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authorNorbert Preining <norbert@preining.info>2024-01-30 03:00:44 +0000
committerNorbert Preining <norbert@preining.info>2024-01-30 03:00:44 +0000
commit084f5d8435744b7ea7ef487ec111a7bfd100ed62 (patch)
treed4e91f6ef6d075509a2b33942f57337725089951 /macros/musixtex
parent6c43653052d016d5913aabb728c484f0e62b4754 (diff)
CTAN sync 202401300300
Diffstat (limited to 'macros/musixtex')
-rw-r--r--macros/musixtex/README90
-rw-r--r--macros/musixtex/doc/ChangeLog-114.txt98
-rw-r--r--macros/musixtex/doc/ChangeLog-115.txt270
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-rw-r--r--macros/musixtex/doc/ChangeLog-137.txt5
-rw-r--r--macros/musixtex/doc/ChangeLog-musixdoc.txt30
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-rw-r--r--macros/musixtex/doc/examples/musixdbrexample.tex52
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224 files changed, 0 insertions, 61642 deletions
diff --git a/macros/musixtex/README b/macros/musixtex/README
deleted file mode 100644
index 001f12edda..0000000000
--- a/macros/musixtex/README
+++ /dev/null
@@ -1,90 +0,0 @@
-This is MusiXTeX, version 1.37 (2023-10-07).
-MusiXTeX is a TeX-based system for typesetting music.
-
-The main author was Daniel Taupin, who died in a climbing
-accident in 2003; other authors credited in the MusiXTeX
-manual are Andreas Egler and Ross Mitchell. MusiXTeX is now
-being maintained by
-
-Don Simons dsimons(at)roadrunner(dot)com
-Hiroaki Morimoto CQX05646(at)nifty(dot)com
-Bob Tennent rdt(at)cs(dot)queensu(dot)ca
-
-The package includes
-
- + Postscript slur support, due to Stanislav Kneifl
-
- + musixlyr support for lyrics, due to Rainer Dunker
-
- + musixcrd support for chord symbols, due to Robert Hennig
-
- + support for music text in Palatino, Helvetica, Times
- and EC fonts
-
- + several other extension packages
-
- + a script musixflx.lua for the 2nd-pass processing
-
- + a script musixtex.lua that uses pre-processors prepmx,
- pmxab or autosp, as necessary, and automates the 3-pass
- etex -> musixflx -> [pdf]etex process, possibly
- followed by calls to dvips and ps2pdf (or dvipdfm) to
- convert the output to Portable Document Format (PDF)
-
- + wrapper scripts musixflx.bat and musixtex.bat for use on Windows
-
-MusiXTeX fonts, including both the original metafont sources
-and Type 1 versions by Takanori Uchiyama, and specialized
-fonts frenchtab and MuseJazzText have been moved to a
-separate musixtex-fonts package, which must be installed
-before using the MusiXTeX macros.
-
-musixtex-install.{pdf,tex} is a more-detailed version of the
-following instructions:
-
-To install (on TDS-compliant TeX systems):
-
- + unzip mirror.ctan.org/install/macros/musixtex.tds.zip at the root of a
- texmf tree and, if necessary, update the filename database;
- e.g., texhash texmf.
-
- + on Windows: move the scripts in Windows to a folder
- on the executable PATH (or add that folder to the PATH)
-
- + on any Unix-like system: install symbolic links musixflx
- and musixtex in a directory on the executable PATH to
- scripts/musixtex/musixflx.lua and scripts/musixtex/musixtex.lua,
- respectively.
-
-Documentation for MusiXTeX and friends is installed under
-
-doc/generic/musixtex
-
-Documentation for the musixflx and musixtex scripts are in
-
-doc/generic/musixtex/scripts
-
-Many users, especially beginners, will find it easier to
-use the PMX and M-Tx pre-processors, which accept a simpler
-input language than MusiXTeX itself. Another pre-processor,
-autosp, simplifies input to MusiXTeX by automatically
-generating note-spacing commands. These pre-processor
-packages may be found at CTAN under support. Additional
-documentation, additional add-on packages, and many examples
-of MusiXTeX typesetting may be found at the Werner Icking
-Music Archive at
-
-http://icking-music-archive.org/
-
-Support for users of MusiXTeX and related software may be
-obtained via the MusiXTeX mail list at
-
-http://tug.org/mailman/listinfo/tex-music
-
-MusiXTeX may be freely copied, duplicated and used in
-conformance to the GNU General Public License (Version 2,
-1991, see included file gpl.txt) or (at your option) any
-later version.
-
-This distribution is maintained by Bob Tennent
-rdtennent(at)gmail(dot)com.
diff --git a/macros/musixtex/doc/ChangeLog-114.txt b/macros/musixtex/doc/ChangeLog-114.txt
deleted file mode 100644
index 3e77097208..0000000000
--- a/macros/musixtex/doc/ChangeLog-114.txt
+++ /dev/null
@@ -1,98 +0,0 @@
-<<< Changelog of MusiXTeX since T.113 >>>
-
--------------------------------------------------------------------------
-Version T.114 [official release: 26 Dec 2009]
-(1) \cclp, \zccup, \zcclp are moved from musixpoi.tex to musixtex.tex.
-[14 June 2008, Hiroaki. T114-beta1]
-
-(2) musixpoi.tex does not work since T.111.
-[14 June 2008, Hiroaki. T114-beta1]
-
-(3) musixmad.tex is inessential for typesetting musixdoc.tex, thus excluded from musixdoc.sty (see the next item)
-[14 June 2008, Hiroaki. T114-beta1]
-
-(4) the stem length of \metron (at T.113 manual section 2.17.3: Metronomic indications) is too short when musixadd.tex/musixmad.tex is excluded.
-[14 June 2008, Hiroaki. T114-beta1]
-
-(5) spacing problem when you change the music size. (\clef@skip\z@)
-[16 June 2008, known bug pointed out by Daniel Taupin on 3 June 2003 before his accident. T114-beta2]
-
-(6) in \ttie and \tleg definition, #1 isn't braced in the expansion which causes a problem at ID>9.
- * \def\ttie#1{\let\T@i\@c \t@slur{-\p@ne}{#1}\@ne}
- * \def\tleg#1{\let\T@i\@c \tslur{#1}\@ne}
-[1 Feb 2009, reported by David Allsopp. T114-beta4]
-
-(7) Create readme1st.txt
-[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
-
-(8) Create changelog.txt (this file)
-[16 Oct 2009, Hiroaki Morimoto. T114 official]
-
-(9) Updated musixdoc.pdf and its source code.
-[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
-
-(10) Included the repository of music-notation mistakes, contributed by Jean-Pierre Coulon.
-[16 Oct 2009, T114 official]
-
-(11) Create an install manual for MiKTeX on Win32: mxinsuse.{pdf|tex}.
-[16 Oct 2009, Andre Van Ryckeghem and Don Simons. T114 official]
-
-(12) Create install batchfiles for MiKTeX on Win32.
-[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
-
-(13) Create some MS-Win/DOS batch files for easy use: musixtex.bat, mudvi.bat, mudviall.bat, lapsview.bat, lapdfview.bat.
-[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
-
-(14) utility: add flip.exe, flip.txt to musixtexadd folder instead of former utod.exe and dtou.exe (they don't work in XP). Run flip.exe on musixtex.bat.
-[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
-
-(15) Changing directory structure. Add-in tex files are located in musixtexadd directory.
- * musixlyr (by Rainer Dunker)
- * musixps (by Stanislav Kneifl)
-[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
-
-(16) Added some well-known add-ins to musixtexadd directory.
- * curly.tex (by Mthimkhulu Molekwa,19 May 1999)
- * musixdbr.tex (by Rainer Dunker, 23 February 2002)
- * musixtmr.tex & musixesf.tex (by Hiroaki Morimoto, updated 2009-10-15)
- * tuplet.tex. (by Col. G. L. Sicherman. 2003-05-17)... under GNU GPL
-[16 Oct 2009, Don Simons, Andre Van Ryckeghem. T114 official]
-
--------------------------------------------------------------------------
-Version T.113 [19-Apr-2006]
-no funtional change from 30 July 2005; just a maintenance of archive file and recompiling musicdoc.
-
--------------------------------------------------------------------------
-Version T.113 [28 June 2005, (rev.1)17 July 2005, (rev.2)30 July 2005]
-(1) Include the contents of following packages.
- * PostScript Type1 fonts. (by Uchiyama)... under LPPL.
- * musixlyr ver.2.1c. (by Rainer Dunker)... under GNU GPL v.2.
- * musixps ver.0.92a. (by Stanislav Kneifl)... under a unique license; see the file.
-Note that some of these package have different license than GNU GPL v.2.
-
-(2) \Ioctfin[up | down] do not work when \sepbarrules is assigned.
-musixtex.tex line 2259, \def\rul@sep#1
-
-(3) Correction of a bug in the definition of choir bracket (l.1688-1698)
-
-(4) Added following macros.
- * \lwp
- * \rwp
- * \lwpp
- * \rwpp
- * \lhp
- * \rhp
- * \lhpp
- * \rhpp
-
-(5) bug: \catcode`\@=11 at external level in case using musixmad.tex without prior specifying of musixadd.tex.
-[30 July 2005, T113-rev.2]
-
-(6) bug: \immediate\write10{...} in many files are corrected into \immediate\write16{...}.
-[30 July 2005, T113-rev.2]
-
--------------------------------------------------------------------------
-Version T.112 [dated on 3 Jan. 2003, published on 9 Jan. 2003]
-The final milestone by Daniel Taupin himself.
-
--------------------------------------------------------------------------
diff --git a/macros/musixtex/doc/ChangeLog-115.txt b/macros/musixtex/doc/ChangeLog-115.txt
deleted file mode 100644
index be49e54b04..0000000000
--- a/macros/musixtex/doc/ChangeLog-115.txt
+++ /dev/null
@@ -1,270 +0,0 @@
-Changes from MusiXTeX 114 to 115:
-
-replace the changed tex files to T.115. Includes musixbbm.tex, version from Hiroaki's beta3, dtd 11/19/210
-
-replace musixper.tex to the fixed one, posted by David Fritzsche on 19 Oct. (version number may be T.60a, is this ok?) Used file emailed to DAS by J-P Coulon, 1/26/11,
-
-MusiXTeX T.115
-Hiroaki MORIMOTO <CQX05646(at)nifty.com>
-
-<<<new features>>>
-(1) all-new registers allocation routines, ready for
- 12<n<100 instruments
- 6<n<100 128th beams
- 6<n<100 256th beams
- 4<n<100 groups
- 12<n<100 font-based slurs (independent of the number of instruments)
- 6<n<100 octlines
- 6<n<100 trills (MusiXTeX trills only. MusicTeX's legacy "trilles" are
- out of scope.)
-with e-TeX.
-Syntax-level 100% compatible with T.111-T.114.
-Original (non e-) TeX can be used in case of partial extension.
-All The default settings are exactly equal to T.111-T.114, with and without
-musix[add|mad|bm|bbm].tex, individually.
-
-default (musixtex.tex)
-6 voices/128th beams/slurs(font-based)/trills/octave lines
-3 chor groups
-0 256th beams
-
-(musixadd.tex)
-9 voices/slurs(font-based)
-4 chor groups
-6 128th beams/trills/octave lines
-0 256th beams
-
-(musixmad.tex)
-12 voices/slurs(font-based)
-4 chor groups
-6 128th beams/trills/octave lines
-0 256th beams
-
-(musixbm.tex)
-No function since T.111; just for compatibility with old source files.
-
-(musixbbm.tex)
-6 256th beams
-
-
-(2) \smalltrebleoct, \smalltreclelowoct, \smallbassoct, \smallbasslowoct
-
-
-<<<changed features>>>
-(1) In case of use with M-Tx, users can change the font format of
-instrument names dinamically by redefining \mtxInstrfont in filename.mod.
-(for example, writing \def\mtxInstrfont{\relax} in foo.mod.)
-
-
-<<<bug fixes>>>
-(1) If you load musixper.tex and musixdia.tex is not yet loaded then
-the catcode of @ will not be reset correctly, because musixdia will
-overwrite the definition of \catcodeat. (reported by David Fritzsche)
-
-(2) Other internal macros.
-
-
--------------------------------------------------------------------------------
-<<<change lists>>>
-
-<<<changes of public macros>>>
-\maxinstruments
- Separate from the number of slurs.
- It is defined with \chardef and now a kind of internal values.
- Read-accecible anywhere; but it should not be set directly by a user.
- See below for the number of other items.
-
-\mxversion
- The expanded string of version string elements.
- See also \mxvernumber and \mxversuffix.
-
-\setname
- Using \def instead of \edef. This allows users to change the font
- format of instrument names dynamically by redefining \mtxInstrfont
- in filename.mod in case of use with M-Tx.
-
-\resetlayout
-\resetclefsymbols
- Let them compatible to >12 instruments.
-
-
-<<<new public macros>>>
-\mxvernumber
- Major version number of the MusiXTeX kernel. (make it possible to use
- \ifnum)
-
-\mxversuffix
- Suffix of the version. "-beta1", etc. Optional; it must be empty
- in case of completed version.
-
-\setmaxinstruments#1
-\setmaxcxxviiibeams#1
-\setmaxcclvibeams#1
-\setmaxgroups#1
-\setmaxslurs#1
-\setmaxtrills#1
-\setmaxoctlines#1
- set the available numbers of the elements to #1 and allocate
- corresponding registers required.
-
-\maxcxxviiibeams
-\maxcclvibeams
-\maxgroups
-\maxslurs
-\maxtrilles
-\maxtrills
-\maxoctlines
- They are now dynamically defined by \chardef and now a kind of internal
- values.
- Read-accecible anywhere; but they should not be set directly by a user.
-
-
-\smalltrebleoct
-\smalltreclelowoct
-\smallbassoct
-\smallbasslowoct
- Reqested by Hermann Hinsch. (beta4)
-
-
-<<<changes of internal macros>>>
-\test@num@slur
-\test@num@beam
-\s@l@ctslur
-\s@l@ctbeam
- Let them be independent from each other.
-
-\z@suspend
- The change in cutslur section; to make the number of slurs independent
- from the number of instruments.
- Note: some other extension packages which overrides this macro will
- confuse the internal status of linen-breaking font-based slurs.
-
-
-<<<new internal macros>>>
-\noexpand@newcount
-\noexpand@newdimen
-\noexpand@newskip
-\noexpand@newtoks
- \new... for usage inside the loop, for plain TeX.
-
-\roman@c@
- A shortcut.
-
-\@oldmaxinstruments
-\@oldmaxcxxviiibeams
-\@oldmaxcclvibeams
-\@oldmaxgroups
-\@oldmaxslurs
-\@oldmaxtrills
-\@oldmaxoctlines
- Individual element numbers in previous allocation; set by \chardef.
-
-
--------------------------------------------------------------------------------
-<<<basic usage>>>
-Completely the same of ver T.114-T.103. It goes on original TeX.
-\input musixtex
-\input musixmad
-...
-\input musixlyr
-\input musixps <- this is optional
-...
-
-Note that you can use musixps.tex (by Stanislav Kneifl) at your option,
-without any problem. You can get the benefit of the increase of voices,
-beams, groups, octave lines, trills.
-
-
-<<<advanced usages (sometimes requires e-TeX, dependent on the numbers)>>>
-(a) without using musixadd/musixmad (recommended)
-----
-\input musixtex
-\setmaxinstruments{12}
-\setmaxgroups{4}
-\setmaxslurs{12}
-...
-----
-This example is equivalent to musixmad.tex.
-
-
-(b) with musixadd/musixmad
-----
-\input musixtex
-\input musixmad
-\setmaxgroups{6}
-\setmaxslurs{24}
-...
-----
-From this version T.115, the maximum number of slurs becomes independent
-of the maximum number of instruments.
-
-
-(c) with musixps.tex by S. Kneifl, efficient usage for TeX's main memory
-----
-\input musixtex
-\setmaxinstruments{12}
-\setmaxgroups{4}
-\input musixlyr
-\input musixps
-...
-----
-Note that there is no need to write \setmaxslurs{12}, because musixps.tex
-0.92a requires pre-allocated registers for font-based slur ID 0-5
-(internally i-vi) only.
-
-
--------------------------------------------------------------------------------
-<<<History of T.115-beta from T.114>>>
-
-[beta1: 2010/05/05] private test version, not published.
-Drastic change from T.114.
- _readme_T115-beta1.txt : this file
- musixtex.tex : T.115 kernel
- musixadd.tex : changed version for T.115
- musixmad.tex : changed version for T.115
- musixbm.tex : changed version for T.115
- musixbbm.tex : changed version for T.115
- musixper.tex : changed version for T.115
-
-
-[beta2: 2010/06/24]
-musixtex.tex
-Additions:
-* error message for n>maxinstruments to \s@l@ctinstr, to avoid
- the strange error message invoked at \startpiece.
-* error message for n>100 to \setmax...{n}.
-Fixes:
-* \C@acc: adding \expandafter before \@Ti.
- \@Ti (dynamically let to other instances) can't take any arguments
- since T.109 due to \check@staff.
- This is not a bug, however, it is more appropriate to close
- \check@staff-\fi conditional clause before encountering \@Ti.
- This fix make it compatible with T.107 and T.108, and MusixExp (need to
- modify), without any harm.
-Others:
- Some old codes are deleted.
-
-_readme_T115-beta2.txt
-Others:
-* Typo corrections.
-
-
-[beta3: 2010/06/27]
-musixbbm.tex
-Fixes:
-* musixbbm does not work.
-
-
-[beta4: 2011/01/01]
-musixper.tex
-Fixes:
-* If you load musixper.tex and musixdia.tex is not yet loaded then
- the catcode of @ will not be reset correctly, because musixdia will
- overwrite the definition of \catcodeat. (reported by David Fritzsche)
-musixtex.tex
-Additions:
- \smalltrebleoct, \smalltreblelowoct, \smallbassoct, \smallbasslowoct
- (requested by Hermann Hinsch)
-
--------------------------------------------------------------------------------
-[End of File]
diff --git a/macros/musixtex/doc/ChangeLog-116.txt b/macros/musixtex/doc/ChangeLog-116.txt
deleted file mode 100644
index e57225c986..0000000000
--- a/macros/musixtex/doc/ChangeLog-116.txt
+++ /dev/null
@@ -1,35 +0,0 @@
-Changes from MusiXTeX 115 to 116:
-
- (2015-04-21) RDT corrected the definitions of \nnotes and \nnnotes
-
- HM corrected the definitions for cautionary small accidentals
-
- RDT added \check@staff ... \fi to \@qa h, \@mca, \hs, \qqs
- so that \qa, \ca, \ha, etc. can be "hidden" using \setstaffs{n}{0}
-
- RDT incorporated tuplet.tex (approved by George Sicherman)
- and introduced \txtfont to allow changing size or style
-
- RDT introduced
- \qqsk, a one-quarter notehead skip
- \tqu and \tql, synonyms for \tqh and \tqb
- \ztqu and \ztql, synonyms for \ztqh and \ztqb
- \hpp, \qpp, \dsp, \qsp, \hsp, \qqsp for pointed rests
- \nnotes, \nnnotes: abbreviations with \multnoteskip\smallvalue
- and \multnoteskip\tinyvalue spacing
-
- RDT incorporated curly.tex (approved by Mthimkhulu Molekwa)
-
- RDT modernized the treatment of text fonts
- meterfonts must be bf, even if titling fonts are rm or sc
- added dynamic-mark macros \sfz \sfzp
-
- Added to the extension library: musixppff.tex (HM), musixadf (HM),
- musixplt (RDT), musixec (RDT), musixhv (RDT)
-
- RDT extended musixtmr
-
- Stanislav Kneifl fixed a bug in musixps.
-
-
-
diff --git a/macros/musixtex/doc/ChangeLog-117.txt b/macros/musixtex/doc/ChangeLog-117.txt
deleted file mode 100644
index 08bb03d9b6..0000000000
--- a/macros/musixtex/doc/ChangeLog-117.txt
+++ /dev/null
@@ -1,12 +0,0 @@
-Changes from MusiXTeX 116 to 117:
-
-2015-05-25
- re-defined \txtfont for non-normal staff sizes
- defined \tinyppff and \ppfftwelve, and re-defined \ppff to be staffsize dependent
- introduced abbreviations \tqqb \tqqh \tqqqb \tqqqh
- and synonyms \tqql \tqqu \tqqql \tqqqu
- introduced ornaments \tr, \trt
- re-defined \triolet to be consistent with musixdoc (prints \txt, not nec. 3)
- introduced \cpause etc. and corrected definitions of \centerpause etc.
- introduced double-dotted rests \qppp, \dspp, \qspp, etc.
-
diff --git a/macros/musixtex/doc/ChangeLog-118.txt b/macros/musixtex/doc/ChangeLog-118.txt
deleted file mode 100644
index cb5fbde19a..0000000000
--- a/macros/musixtex/doc/ChangeLog-118.txt
+++ /dev/null
@@ -1,11 +0,0 @@
-Changes from MusiXTeX 117 to 118:
-
-2015-07-25
-
- moved definitions of \raggedstoppiece and \slide
- from musixtext.tex to musixtex.tex.
- \xppff musicsize-dependent as well as staffsize-dependent
- revised musixtmr.tex, musixplt.tex and musixhv.tex to allow
- traditional accented characters for etex
- increased the length of beam stems
-
diff --git a/macros/musixtex/doc/ChangeLog-119.txt b/macros/musixtex/doc/ChangeLog-119.txt
deleted file mode 100644
index 11871f1847..0000000000
--- a/macros/musixtex/doc/ChangeLog-119.txt
+++ /dev/null
@@ -1,7 +0,0 @@
-Changes from MusiXTeX 118 to 119:
-
-2015-11-29
-
- definitions for tremolo commands \trml, \trmu, etc.
- corrected typos in the definition of \comput@fonts affecting ppff fonts for
- \Largemusicsize
diff --git a/macros/musixtex/doc/ChangeLog-120.txt b/macros/musixtex/doc/ChangeLog-120.txt
deleted file mode 100644
index 5b9b796d15..0000000000
--- a/macros/musixtex/doc/ChangeLog-120.txt
+++ /dev/null
@@ -1,6 +0,0 @@
-Changes from MusiXTeX 119 to 120:
-
-2015-12-13
-
- re-defined tremolo commands \trml, \trmu, etc. to allow for numerical
- pitches
diff --git a/macros/musixtex/doc/ChangeLog-121.txt b/macros/musixtex/doc/ChangeLog-121.txt
deleted file mode 100644
index 2a2464441b..0000000000
--- a/macros/musixtex/doc/ChangeLog-121.txt
+++ /dev/null
@@ -1,16 +0,0 @@
-Changes from MusiXTeX 120 to 121:
-
- + adjusted the offsets and/or vertical positions for some tremolos
-
- + moved \lastbarpos\lin@pos after calls to \Writ@meters
- to correct \centerbar positioning
-
- + copied the definition of \Hpause from musixlit.tex
-
- + introduced \Changeclefs, \cHpause and \centerHpause
-
- + replaced \smalltype\it by \txtfont in octave clef commands
-
- + moved definitions of \txtfont into \comput@fonts
-
- + added support for piano-pedal bracket notation
diff --git a/macros/musixtex/doc/ChangeLog-122.txt b/macros/musixtex/doc/ChangeLog-122.txt
deleted file mode 100644
index 87a76a65d3..0000000000
--- a/macros/musixtex/doc/ChangeLog-122.txt
+++ /dev/null
@@ -1,8 +0,0 @@
-
-Changes from MusiXTeX 121 to 122:
-
- + bi and sc font definitions added; sl and tt definitions for musixsty moved
- + explicit font choices for \txtfont replaced by generic commands
- \smalltype\it etc.
- + \pdlud \halfwidthbigwedge and \raise height font-dependent
- + \zbreath and \cbreath use BIGtype rather than BIGfont
diff --git a/macros/musixtex/doc/ChangeLog-123.txt b/macros/musixtex/doc/ChangeLog-123.txt
deleted file mode 100644
index 4ffcfed2e9..0000000000
--- a/macros/musixtex/doc/ChangeLog-123.txt
+++ /dev/null
@@ -1,6 +0,0 @@
-
-Changes from MusiXTeX 122 to 123:
-
- + added \xtr and \ptr ornaments
- + adjusted spacing of \tr
- + corrected definition of \C@Inter for \nblines > 6
diff --git a/macros/musixtex/doc/ChangeLog-124.txt b/macros/musixtex/doc/ChangeLog-124.txt
deleted file mode 100644
index 0a2beb1b4e..0000000000
--- a/macros/musixtex/doc/ChangeLog-124.txt
+++ /dev/null
@@ -1,10 +0,0 @@
-
-Changes from MusiXTeX 123 to 124:
-
- + preserve changes to \transpose in an hboxed tremolo command
- + test that musixtex.tex has already been loaded in some extensions:
- + musixps, musixec, musixhv, musixplt, musixtmr, musixppff
- + changed from \it to \ppff in several places
- + support new command \setinterstaff{n}{m}
- + define \largenotesize, \Largenotesize
- + corrected typos \twtybf[g] \svtbf[g]
diff --git a/macros/musixtex/doc/ChangeLog-125.txt b/macros/musixtex/doc/ChangeLog-125.txt
deleted file mode 100644
index 9e392be79a..0000000000
--- a/macros/musixtex/doc/ChangeLog-125.txt
+++ /dev/null
@@ -1,6 +0,0 @@
-
-Changes from MusiXTeX 124 to 125:
-
-* included a "dummy" tuplet.tex in the distribution
-* added \ignorespaces in musixltx.tex
-* defined \qap, \qapp, \tqsk
diff --git a/macros/musixtex/doc/ChangeLog-126.txt b/macros/musixtex/doc/ChangeLog-126.txt
deleted file mode 100644
index 1c16206882..0000000000
--- a/macros/musixtex/doc/ChangeLog-126.txt
+++ /dev/null
@@ -1,5 +0,0 @@
-
-Changes from MusiXTeX 125 to 126:
-
-* Corrected minor bugs in the implementation of
- \setinterstaff that were causing Overfull hboxes.
diff --git a/macros/musixtex/doc/ChangeLog-127.txt b/macros/musixtex/doc/ChangeLog-127.txt
deleted file mode 100644
index 399d5a2eed..0000000000
--- a/macros/musixtex/doc/ChangeLog-127.txt
+++ /dev/null
@@ -1,15 +0,0 @@
-
-Changes from MusiXTeX 126 to 127:
-
-* introduced \meterN, \xxtuplet
-
-* introduced \nqqb \nqqh \nqqqb \nqqqh abbreviations and
- synonyms \nqql \nqqu \nqqql \nqqqu
-
-* introduced \hap, \happ analogous to \qap, \qapp
-
-* introduced \hbsk analogous to \hsk
-
-* introduced \bqsk, \bhsk, \btsk analogous to \qsk, \hqsk, \tqsk
-
-* eliminated \ds@oup
diff --git a/macros/musixtex/doc/ChangeLog-128.txt b/macros/musixtex/doc/ChangeLog-128.txt
deleted file mode 100644
index 39c5fa708e..0000000000
--- a/macros/musixtex/doc/ChangeLog-128.txt
+++ /dev/null
@@ -1,7 +0,0 @@
-
-Changes from MusiXTeX 127 to 128:
-
- * introduced \z[left|right|leftright]repeat, for use *within* a bar
- and \zz...repeat, to force to the end of a system
-
- * corrected definition of \C@Inter for \nblines < 4
diff --git a/macros/musixtex/doc/ChangeLog-129.txt b/macros/musixtex/doc/ChangeLog-129.txt
deleted file mode 100644
index 780d4cef33..0000000000
--- a/macros/musixtex/doc/ChangeLog-129.txt
+++ /dev/null
@@ -1,6 +0,0 @@
-
-Changes from MusiXTeX 128 to 129:
-
- * introduced support for tablature notation: \tabfnt,
- \tabcleffnt, \tabstringfnt, \tabstylespace, \tab, \ztab,
- etc.
diff --git a/macros/musixtex/doc/ChangeLog-130.txt b/macros/musixtex/doc/ChangeLog-130.txt
deleted file mode 100644
index 69dae51de7..0000000000
--- a/macros/musixtex/doc/ChangeLog-130.txt
+++ /dev/null
@@ -1,5 +0,0 @@
-
-Changes from MusiXTeX 129 to 130:
-
- * defined \zdoublebar for use within a bar
- * defined \hbp and \hbpp
diff --git a/macros/musixtex/doc/ChangeLog-131.txt b/macros/musixtex/doc/ChangeLog-131.txt
deleted file mode 100644
index 93fac608e5..0000000000
--- a/macros/musixtex/doc/ChangeLog-131.txt
+++ /dev/null
@@ -1,4 +0,0 @@
-
-Changes from MusiXTeX 130 to 131:
-
- * defined \zzdoublebar, \zzbar, \zendpiece
diff --git a/macros/musixtex/doc/ChangeLog-132.txt b/macros/musixtex/doc/ChangeLog-132.txt
deleted file mode 100644
index 2d288c95bc..0000000000
--- a/macros/musixtex/doc/ChangeLog-132.txt
+++ /dev/null
@@ -1,6 +0,0 @@
-
-Changes from MusiXTeX 131 to 132:
-
- * commented out spurious \let\doublebar\doublebar@II
- * forbid line-breaking at \zdoublebar
- * new add-on musixvbm.tex to support vectorized beams
diff --git a/macros/musixtex/doc/ChangeLog-133.txt b/macros/musixtex/doc/ChangeLog-133.txt
deleted file mode 100644
index 226ded73bf..0000000000
--- a/macros/musixtex/doc/ChangeLog-133.txt
+++ /dev/null
@@ -1,8 +0,0 @@
-
-Changes from MusiXTeX 132 to 133a:
-
- * \tabfnt etc. now uses (Helvetica) bold for tablature notes
- * replace ledger lines by slashes (/) or numbers for tablature notes below the staff
- * new commands \tzqu, \tzcup, etc. for tiny notes to indicate duration, for use in
- tablature
-
diff --git a/macros/musixtex/doc/ChangeLog-134.txt b/macros/musixtex/doc/ChangeLog-134.txt
deleted file mode 100644
index fb19280be0..0000000000
--- a/macros/musixtex/doc/ChangeLog-134.txt
+++ /dev/null
@@ -1,9 +0,0 @@
-
-Changes from MusiXTeX 133 to 134:
-
- * new extension library musixftab.tex to support traditional French
- tablature using script letters instead of numerals
-
- * \tabfnt ... commands re-defined to allow re-definition in
- musixftab.tex
-
diff --git a/macros/musixtex/doc/ChangeLog-135.txt b/macros/musixtex/doc/ChangeLog-135.txt
deleted file mode 100644
index ae00d0c07b..0000000000
--- a/macros/musixtex/doc/ChangeLog-135.txt
+++ /dev/null
@@ -1,8 +0,0 @@
-
-Changes from MusiXTeX 134 to 135:
-
- * new extension library musixjt.tex to support using the handwriting
- font MuseJazzText for all textual elements of a MusiXTeX score.
-
- * Aug. 30, 2021: moved frenchtab and MuseJazzText fonts and
- associated support files to the musixtex-fonts package
diff --git a/macros/musixtex/doc/ChangeLog-136.txt b/macros/musixtex/doc/ChangeLog-136.txt
deleted file mode 100644
index 06ac3fee83..0000000000
--- a/macros/musixtex/doc/ChangeLog-136.txt
+++ /dev/null
@@ -1,7 +0,0 @@
-
-Changes from MusiXTeX 135 to 136:
-
- * Support for Turkish classical music accidentalsi; see musixmkm.tex.
- * Re-define \hlthick to produce thicker ledger lines.
- * Provide thinner accidentals; see musixthacc.tex.
- * Thicker Postscript hairpins.
diff --git a/macros/musixtex/doc/ChangeLog-137.txt b/macros/musixtex/doc/ChangeLog-137.txt
deleted file mode 100644
index 2f62d7a0e9..0000000000
--- a/macros/musixtex/doc/ChangeLog-137.txt
+++ /dev/null
@@ -1,5 +0,0 @@
-
-Changes from MusiXTeX 136 to 137:
-
- * added small ss fonts
- * added extension library musixmtab.tex supporting "modern" tablature
diff --git a/macros/musixtex/doc/ChangeLog-musixdoc.txt b/macros/musixtex/doc/ChangeLog-musixdoc.txt
deleted file mode 100644
index aea36ae40c..0000000000
--- a/macros/musixtex/doc/ChangeLog-musixdoc.txt
+++ /dev/null
@@ -1,30 +0,0 @@
-2016-11-12 RDT
-
- Expanded treatment of big cautionary accidentals
-
-2016-06-06 RDT
-
- Revised the material on page layout.
-
-2015-02-20 RDT
-
- Clean up title page and preface(s).
- Three-pass system material revised.
- Link to WIMA for installation instructions.
- Extracting-parts material (DT) restored from T114.
- Chapter 3 (Acquiring, Installing, and Using MusiXTeX) deleted.
- musixdoc.sty revamped to allow use of Times or Palatino fonts.
- musixdoc.tex broken up into separate chapter files for use with includeonly.
- Many corrections and improvements, too numerous to list.
-
-2011-04
-
- Musixdoc: Update links to CTAN in 3.1.
-
- Musixdoc: Set link for musixtex.zip once we decide if it should be 1.15
-
- Musixdoc: Edit 128th beam stuff.
-
- Musixdoc: Add smalltreblelowoct etc.
-
- Musixdoc: Explain where musixflx source and binaries are.
diff --git a/macros/musixtex/doc/examples/adagio.tex b/macros/musixtex/doc/examples/adagio.tex
deleted file mode 100644
index 1d63294cf2..0000000000
--- a/macros/musixtex/doc/examples/adagio.tex
+++ /dev/null
@@ -1,446 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\title{Adagio}
-\subtitle{(pour orgue)}
-\headtitle{I. Adagio}
-\csname titremorceautoc\endcsname
-\shortauthor{D. Taupin}
-\fullauthor{Daniel TAUPIN\\organiste \`{a} Gif-sur-Yvette}
-\othermention{Compos\'{e} en 1989}
-%
-%
-
-\maketitle
-\parindent 18mm
-%
-% calcul de \elemskip en fonction de la largeur de page pour eviter les glues
-%
-\def\znotes{\vnotes 0\elemskip}%
-
-
-\tracingstats=1\relax
-%
-\nbporteesii=2\relax
-\def\nbinstruments{2}
-\global\cleftoksii={{6}{0}{0}{0}}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{-1}\relax % un bemol a la clef
-\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}%
-\def\troistemps{\generalmeter{\meterfrac{3}{4}}}%
-%\check
-\def\instrumenti{16', 8'}
- \def\instrumentii{\vbox{\hsize=\parindent\centerline{cornet}\vskip \interportee
-\vskip -10pt\centerline{fl\^ute 8'}}}%
-%\check
-%\elemskip=10pt\relax
-%\normal
-\def\gluemaxskip{7pt}%
-%
-% formes frequentes
-% deux croches hautes
-\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qu0{#3}}%
-\def\doubler{\multiply\noteskip by 2\relax}%
-%
-\noautolines
-\quatretemps
-%
-\debutmorceau
-\hyphenpenalty -50\relax
-\global\cleftoksii={{0}{0}{0}{0}}%
-\changeclefs\zglu
-\notes&|\uptext{\raise 1.5\Interligne\hbox{\kern -14mm\moyen Adagio \bf \metron{\qu}{60}}}\enotes
-% mesure 1
-\zglu\notes\itenl1K\wh K&\zq f\zqu h\itenl2d\wh d|\ibbu0h0\qh0h\tbbu0\qh0g\enotes
-\Notes&|\tbu0\itenu0h\qh0h\enotes
-\NOTes&\zq f\qu h|\tten0\hu h\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h|\qu i\enotes
-% mesure 2
-\barre\NOTes\tten1\hu K&\zq e\zqu g\qsk\tten2\wh d|\hu g\enotes
-\temps\NOTes&\zq e\qu g\enotes
-\temps\NOTes\soupir&\zq e\qu g|\soupir\enotes
-\temps\Notes\qu K&\zq e\qu g|\ibu0h3\qh0g\enotes
-\notes&|\nbbu0\qh0h\enotes
-\notes&|\tbu0\qh0i\enotes
-% mesure 3
-\barre\Notes\wh{^J}&\rlap{\wh{^c}}\zq e\qu g|\ibu0i{-3}\qh0i\tbu0\qh0h\enotes
-\temps\Notes &\zq e\qu g|\ibu0h{-3}\qh0h\tbu0\qh0g\enotes
-\temps\Notes &\zq e\qu g|\ibu0g{-3}\qh0g\tbu0\qh0f\enotes
-\temps\Notes &\zq e\qu h|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes
-% mesure 4
-%\etroit
-\barre\NOTes\hup K&\zw d\zq f\zqu h|\qup f\enotes
-\temps\Notes&\zq f\qu h|\sk\cu e\enotes
-\temps\NOTes&\zq f\qu h|\qup d\enotes
-\temps\Notes\soupir&\zq f\qu h|\sk\demisoupir\enotes
-% mesure 5
-\barre\notes\wh K&\itenl1d\zq f\zqu h\wh d|\ibbu0h0\qh0h\tbbu0\qh0g\enotes
-\Notes&|\tbu0\itenl0h\qh0h\enotes
-\NOTes&\zq f\qu h|\tten0\hu h\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h|\qu j\enotes
-% mesure 6
-\barre\nspace\NOTes\wh{=I}&\tten1\lsh g\zw d\zq f\rq g\qu{=i}|\itenl2i\hu{=i}\enotes
-\temps\NOTes&\zq f\rq g\qu i\enotes
-\temps\Notes&\zq f\rq g\qu i|\tten2\ibl0i3\qb0i\enotes
-\notes&|\nbbl0\qb0j\tbl0\qb0k\enotes
-\temps\NOTes&\zq{eg}\qu i|\qu{^g}\enotes
-% mesure 7
-\barre\NOTes\wh{^J}&\itenl1c\zq e\zqu h\wh{^c}|\itenl0h\hu h\enotes
-\temps\NOTes&\zq e\qu h|\enotes
-\temps\Notes&\zq e\qu h|\tten0\ibu0h{-3}\qh0h\tbu0\qh0{=g}\enotes
-\temps\Notes&\zq e\qu h|\ibu0h{-4}\qh0h\tbu0\qh0f\enotes
-% mesure 8
-\barre\NOTes\wh H&\tten1\zq e\zqu g\wh{^c}|\itenl0g\hu g\enotes
-\temps\NOTes&\zq e\qu g|\enotes
-\temps\Notes&\zq e\qu g|\tten0\ibu0g{-3}\qh0g\tbu0\qh0f\enotes
-\temps\Notes&\zq e\qu g|\ibu0g{-4}\qh0g\tbu0\qh0e\enotes
-% mesure 9
-\barre\NOTes\hup K&\rlap{\wh a}\zq d\qu f|\qup f\enotes
-\temps\Notes&\zq d\qu f|\sk\cu e\enotes
-\temps\NOTes&\zq d\qu f|\qup d\enotes
-\temps\Notes\soupir&\zq d\qu f|\sk\demisoupir\enotes
-% mesure 10
-\barre\notes\wh K&\rlap{\wh d}\zq f\qu h|\ibbu0h0\qh0h\tbbu0\qh0g\enotes
-\Notes&|\tbu0\itenl0h\qh0h\enotes
-\NOTes&\zq f\qu h|\tten0\hu h\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h|\qu i\enotes
-%\check
-% mesure 11
-\barre\NOTes \wh J&\zw c\zq{^f}\qu h|\hu j\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h|\soupir\enotes
-\temps\Notes&\zq f\qu h|\ibl0i3\qb0j\enotes
-\notes &|\nbbl0\qb0k\tbl0\qb0{_l}\enotes
-%\check
-% mesure 12
-\barre\Notes\wh K&\itenl0d\zq{^f}\zqu h\wh d|\ibl0l{-3}\qb0{_l}\tbl0\qb0k\enotes
-\temps\Notes &\zq f\qu h|\ibl0k{-3}\qb0k\tbl0\qb0j\enotes
-\temps\Notes &\zq f\qu h|\ibl0j{-3}\qb0j\tbl0\qb0i\enotes
-\temps\Notes&\zq f\qu h|\ibl0i{-3}\qb0i\tbl0\qb0h\enotes
-%\check
-% mesure 13
-\barre\NOTes\wh N&\tten0\zw d\zq g\qu i|\qlp i\enotes
-\temps\Notes&\zq g\qu i|\sk\cu h\enotes
-\temps\NOTes&\zq g\qu i|\qup g\enotes
-\temps\Notes&\zq g\qu i|\sk\ds \enotes
-%\check
-% mesure 14
-\barre\nspace\NOTes\wh L&\lna e\zw{^c}\zq e\qu h|\rlap{\hl{^j}}\zcharnote
- n{\Trille{2\noteskip}}\relax
-\zcharnote q{\ \ (*)}\enotes
-\footnote{}{(*) Trilles commenc\'es sur la note et finissant sans
-terminaison sur la note suivante.}\relax
- \temps\NOTes&\zq e\qu h\enotes
-\temps\NOTes&\zq e\qu h|\ql j\enotes
-\temps\Notes&\zq e\qu h|\ibl0i3\qb0{=i}\tbl0\qb0j\enotes
-%\check
-% mesure 15
-\barre\NOTes\wh K&\rlap{\wh d}\zq f\qu h|\rlap{\hl k}\zcharnote n{\Trille{2\noteskip}}\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h|\ql k\enotes
-\temps\Notes&\zq f\qu h|\ibl0j3\qb0{^j}\tbl0\qb0k\enotes
-%\check
-% mesure 16
-\barre\NOTes\wh{^J}&\rlap{\wh e}\zq g\qu i|\rlap{\hl l}\zcharnote n{\Trille{2\noteskip}}\enotes
-\temps\NOTes&\zq g\qu i\enotes
-\temps\Notes&\zq g\qu i|\ibl0l0\qb0l\enotes
-\notes&|\nbbl0\qb0m\tbl0\qb0l\enotes
-\temps\Notes&\zq g\qu i|\ibl0k3\qb0k\tbl0\qb0l\enotes
-%\check
-% mesure 17
-\barre\NOTes\wh K&\zw d\zq f\qu h|\hlp m\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h|\soupir\enotes
-%\check
-% mesure 18
-\barre\NOTes\wh J&\zw{=c}\zq{^f}\qu h|\rlap{\hl{^m}}%
-\zcharnote p{\Trille{2\noteskip}}\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h|\ql m\enotes
-\temps\Notes&\zq f\qu h|\ibl0l3\qb0l\tbl0\qb0m\enotes
-%\check
-% mesure 19
-\barre\NOTes\wh I&\rlap{\wh d}\zq g\qu i|\rlap{\hl n}\zcharnote p{\Trille{2\noteskip}}\enotes
-\temps\NOTes&\zq g\qu i\enotes
-\temps\NOTes&\zq g\qu i|\ql n\enotes
-\temps\Notes&\zq g\qu i|\ibl0m3\qb0{^m}\tbl0\qb0n\enotes
-%\check
-% mesure 20
-\barre\NOTes\wh H&\rlap{\wh c}\zq{^f}\qu h|\rlap{\hl o}\zcharnote q{\Trille{2\noteskip}}\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\Notes&\zq f\qu h|\ibl0o0\qb0o\enotes
-\notes&|\nbbl0\qb0p\tbl0\qb0o\enotes
-\temps\Notes&\zq f\qu h|\ibl0n3\qb0n\tbl0\qb0o\enotes
-%\check
-% mesure 21
-\barre\NOTes\wh G&\zw d\zq g\qu i|\qlp p\enotes
-\temps\Notes&\zq g\qu i|\sk\cl o\enotes
-\temps\Notes&\zq g\qu i|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes
-\temps\Notes&\zq g\qu i|\ibl0l{-3}\qb0l\tbl0\qb0k\enotes
-%\check
-% mesure 22
-\barre\Notes\hup H&\zw{^c}\zq e\qu g|\ibl0j{-4}\qb0{^j}\tbl0\qb0h\enotes
-\temps\Notes&\zq e\qu g|\ibl0i3\qb0{=i}\tbl0\qb0 j\enotes
-\temps\Notes&\zq e\qu g|\ibl0k3\qb0k\tbl0\qb0l\enotes
-\temps\Notes\qu G&\zq e\qu g|\ibl0m3\qb0m\tbl0\qb0n\enotes
-%\check
-% mesure 23
-\barre\NOTes\hu F&\zw d\zq f\qu h|\qlp o\enotes
-\temps\Notes&\zq f\qu h|\sk\cl k\enotes
-\temps\Notes\qu G&\zq b\qu g|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes
-\temps\NOTes\itenl0H\qu H&\zq a\qu f|\ql m\enotes
-%\check
-% mesure 24
-\barre\NOTes\tten0\wh H&\zw a\zq{^c}\qu e|\zcharnote o{\Trille{3\noteskip}}\wh l\enotes
-\temps\NOTes&\zq c\qu e|\enotes
-\temps\NOTes&\zq c\qu e|\enotes
-\temps\Notes&\zq {ce}\qu g|\ibl0l{-3}\qb0l\tbl0\qb0k\enotes
-%\check
-% mesure 25
-\barre\NOTes\hup K&\zw d\zq f\qu h|\hlp k\enotes
-\temps\NOTes&\zq f\qu h|\enotes
-\temps\NOTes&\zq f\qu h|\enotes
-\temps\NOtes\soupir&\zq f\qu h|\soupir\enotes
-% mesure 26
-\barre\notes\hup K&\rlap{\hlp d}\zq f\qu h|\ibbl0k0\qb0k\tbbl0\qb0{=j}\enotes
-\Notes&|\tbl0\itenl0k\qb0k\enotes
-\NOTes&\zq f\qu h|\tten0\hl k\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOtes\qu J&\rlap{\ql c}\zq{_e}\qu h|\ql{_l}\enotes
-% mesure 27
-\barre\NOtes\wh{=I}&\rlap{\zw d}\rq g\qu f|\hl m\enotes
-\temps\NOtes&\rq g\qu f\enotes
-\temps\NOtes&\rq g\qu f|\soupir\enotes
-\temps\Notes&\rq g\qu f|\ibl0m3\qb0m\enotes
-\notes&|\nbbl0\qb0n\tbl0\qb0{_o}\enotes
-% mesure 28
-\barre\nspace\Notes\wh G&\rlap{\wh{=b}}\zq d\qu f|\ibl0o{-3}\qb0{_o}\tbl0\qb0n\enotes
-\temps\Notes &\zq d\qu f|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes
-\temps\Notes &\zq d\qu f|\ibl0m{-3}\qb0m\tbl0\qb0{_l}\enotes
-\temps\Notes &\zq d\zq f\qu{=i}|\ibl0l{-3}\qb0l\tbl0\qb0k\enotes
-% mesure 29
-\barre\NOTes\wh J&\zw c\zq{_e}\qu g|\qlp{_l}\enotes
-\temps\Notes&\zq e\qu g|\sk\cl k\enotes
-\temps\NOTes&\zq e\qu g|\qlp j\enotes
-\temps\Notes&\zq e\qu g|\sk\ds \enotes
-%\check
-% mesure 30
-\barre\NOTes\wh H&\zw c\zq{^f}\qu h|\itenu0o\hl o\enotes
-\temps\NOTes&\zq f\qu h&\enotes
-\temps\Notes&\zq f\qu h|\tten0\ibl0o3\qb0o\enotes
-\notes&|\nbbl0\qb0p\tbl0\qb0q\enotes
-\NOTes&\zq f\qu h|\ql{^m}\enotes
-% mesure 31
-\barre\NOTes\wh I&\zw b\zq d\qu g|\itenu0n\hl n\enotes
-\temps\NOTes&\zq d\qu g|\enotes
-\temps\Notes&\zq d\qu g|\tten0\ibl0n{-3}\qb0n\tbl0\qb0{=m}\enotes
-\Notes&\zq d\qu g|\ibl0n{-4}\qb0n\tbl0\qb0{_l}\enotes
-%\check
-% mesure 32
-\barre\NOTes\wh{=I}&\zw d\zq f\qu{=i}|\itenu0m\hl m\enotes
-\temps\NOTes&\zq f\qu i|\enotes
-\temps\Notes&\zq f\qu i|\tten0\ibl0m{-3}\qb0m\tbl0\qb0{_l}\enotes
-\temps\Notes&\zq f\qu{_h}|\ibl0m{-4}\qb0m\tbl0\qb0k\enotes
-%\check
-% mesure 33
-\barre\NOTes\wh J&\zw c\zq{_e}\qu g|\fl l\qlp l\enotes
-\temps\Notes&\zq e\qu g|\sk\cl k\enotes
-\temps\NOTes&\zq e\qu g|\qlp j\enotes
-\temps\Notes&\zq e\qu g|\sk\ds \enotes
-%\check
-% mesure 34
-\barre\nspace
-\NOTes\wh K&\zw d\lsh f\zq f\qu{=h}|\itenu0k\hl k\enotes
-\temps\NOTes&\zq f\qu h|\enotes
-\temps\Notes&\zq f\qu h|\tten0\dqb3k{_l}\enotes
-\temps\Notes&\zq f\qu h|\dqb{-3}kj\enotes
-% mesure 35
-\barre
-\Notes\wh J&\zw c\sh f\zq f\qu h|\dqb3k{=l}\enotes
-\temps\Notes&\zq f\qu h|\dqb3{^m}n\enotes
-\temps\Notes&\zq f\qu h|\dqb3op\enotes
-\temps\Notes&\zq f\qu h|\dqb{-4}qo\enotes
-% mesure 36
-\barre%
-\Notes\wh I&\zw b\zq d\qu g|\dqb{-3}rq\enotes
-\temps\Notes&\zq d\qu g|\dqb{-3}po\enotes
-\temps\Notes&\zq d\qu g|\dqb{-3}nm\enotes
-\temps\Notes&\zq d\qu g|\dqb{-4}nl\enotes
-% mesure 37
-\barre
-\Notes\wh H&\zw c\zq{^f}\qu h|\sh m\dqb{-3}ml\enotes
-\temps\Notes&\zq f\qu h|\dqb3mn\enotes
-\temps\Notes&\zq f\qu h|\dqb3op\enotes
-\temps\Notes&\zq f\qu h|\dqb{-4}qo\enotes
-% mesure 38
-\barre
-\Notes\wh G&\itenl0d\zw d\zq g\qu i|\dqb{-3}po\enotes
-\temps\Notes&\zq g\qu i|\dqb{-3}n{=m}\enotes
-\temps\Notes&\zq g\qu i|\fl l\dqb{-3}lk\enotes
-\temps\Notes&\zq g\qu i|\dqb{-3}ji\enotes
-% mesure 39
-%\check
-\barre
-\NOTes\wh F&\tten0\zw d\na i\zq f\qu i|\rlap{\hl{=i}}\zcharnote n{\Trille{2\noteskip}}\enotes
-\temps\NOTes&\zq f\qu i|\enotes
-\temps\Notes&\zq f\qu i|\ibl0i0\qb0i\enotes
-\notes&|\nbbl0\qb0j\tbl0\qb0i\enotes
-\temps\Notes&\zq f\qu i|\dqb3hi\enotes
-%\check
-% mesure 40
-\barre\NOTes\wh E&\zw c\zq e\qu g|\zcharnote o{\Trille{2\noteskip}}\hl j\enotes
-\temps\NOTes&\zq e\qu g|\enotes
-\temps\Notes&\zq e\qu g|\ibl0j0\qb0j\enotes
-\notes&|\nbbl0\qb0k\tbl0\qb0j\enotes
-\temps\Notes&\zq e\qu g|\dqb3{=i}j\enotes
-% mesure 41
-\barre\NOTes\wh H&\zw{^c}\zq e\qu g|\zcharnote o{\Trille{2\noteskip}}\hl{^j}\enotes
-\temps\NOTes&\zq e\qu g|\enotes
-\temps\Notes&\rlap{\midtwotext{\it rit.}}\zq e\qu g|\ibl0j0\qb0j\enotes
-\notes&|\nbbl0\qb0k\tbl0\qb0j\enotes
-\temps\Notes&\zq e\qu g|\dqb3{=i}j\enotes
-% mesure 42
-\barre\NOTes\hup D&\rlap{\midtwotext{\it a tempo}}\zw d\zq{^f}\qu h|\hlp k\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes\soupir&\zq f\qu h|\soupir\enotes
-%\check
-% mesure 43
-\barre\notes\wh K&\rlap{\wh d}\zq{=f}\qu h|\ibbu0h0\qh0h\tbbu0\qh0g\enotes
-\Notes&|\tbu0\itenl0h\qh0h\enotes
-\NOTes&\zq f\qu h|\tten0\hu h\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h|\qu i\enotes
-%\check
-% mesure 44
-\barre\NOTes\wh G&\zw b\zq d\qu g|\hu g\enotes
-\temps\NOTes&\zq d\qu g\enotes
-\temps\NOTes&\zq d\qu g|\soupir\enotes
-\temps\Notes&\zq d\qu g|\ibu0h3\qh0g\enotes
-\notes&|\nbbu0\qh0h\tbu0\qh0i\enotes
-% mesure 45
-\barre\Notes\wh J&\rlap{\rhl b}\zq c\qu e|\ibu0i{-3}\qh0i\tbu0\qh0h\enotes
-\temps\Notes &\zq c\qu e|\ibu0h{-3}\qh0h\tbu0\qh0g\enotes
-\temps\Notes &\rlap{\hl c}\zq e\qu i|\ibu0g{-3}\qh0g\tbu0\qh0f\enotes
-\temps\Notes &\zq e\qu i|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes
-%\check
-% mesure 46
-\barre \NOTes\wh F&\zw a\zq c\qu f|\qup f\enotes
-\temps\Notes&\zq c\qu f|\sk\cu g\enotes
-\temps\NOTes&\zq c\qu f|\qup h\enotes
-\temps\Notes&\zq c\qu f|\sk\ds\enotes
-% mesure 47
-%\check
-\large
-\barre\notes\hl K&\rlap{\hl d}\zq g\qu i|\ibbu0i0\qh0{iji}\tbu0\qh0h\enotes
-\temps\notes&\zq g\qu i|\ibbu0i0\qh0{igh}\tbu0\qh0{=i}\enotes
-\temps\notes\hl L&\rlap{\hl{^c}}\zq e\qu g|\ibbl0j3\qb0{^jkl}\tbl0\qb0m\enotes
-\temps\notes&\zq e\qu g|\ibbl0n3\qb0{no=p}\tbl0\qb0{^q}\enotes
-% mesure 48
-%\check
-\barre\notes\hl M&\rlap{\hl a}\zq d\qu f|\ibbl0r{-3}\qb0{r=q_p}\tbl0\qb0o\enotes
-\temps\notes&\zq d\qu f|\ibbl0n{-3}\qb0{nml}\tbl0\qb0 k\enotes
-\temps\notes\hl G&\rlap{\hl b}\zq e\qu g|\ibbl0n{-3}\qb0{nml}\tbl0\qb0k\enotes
-\temps\notes&\zq e\qu g|\ibbl0j{-3}\qb0{^j=ih}\tbl0\qb0g\enotes
-% mesure 49
-%\check
-\barre\notes\hu H&\rlap{\hl a}\zq d\qu f|\ibbl0f3\qb0{fhk}\tbl0\qb0h\enotes
-\temps\notes&\zq d\qu f|\ibbl0k3\qb0{mko}\tbl0\qb0m\enotes
-\temps\notes\hu I&\rlap{\hl b}\zq d\qu g|\ibbl0g3\qb0{g_il}\tbl0\qb0i\enotes
-\temps\notes&\zq d\qu g|\ibbl0l3\qb0{nl_p}\tbl0\qb0n\enotes
-% mesure 50
-%\check
-\barre\notes\hu H&\rlap{\hl d}\zq f\qu h|\ibbl0h3\qb0{hkm}\tbl0\qb0k\enotes
-\temps\notes&\zq f\qu h|\ibbl0m3\qb0{omr}\tbl0\qb0o\enotes
-\temps\notes\hu G&\rlap{\hl d}\zq g\qu i|\ibbl0i3\qb0{ikn}\tbl0\qb0k\enotes
-\temps\notes&\zq g\qu i|\ibbl0m3\qb0{pnr}\tbl0\qb0 p\enotes
-% mesure 51
-%\check
-\normal
-\barre\NOTes\hup F&\rlap{\hlp d}\zq f\qu h|\qlp o\enotes
-\temps\Notes&\zq f\qu h|\sk\cl n\enotes
-\temps\notes&\zq f\qu h|\ibl0m{-3}\qb0m\zcharnote o{\sl 3}\qb0l\tbl0\qb0k\enotes
-\temps\Notes\qu G&\rlap{\ql b}\zq e\qu g|\ibl0n{-3}\qb0n\tbl0\qb0m\enotes
-% mesure 52
-%\check
-\barre\NOTes\wh H&\itenl0a\zw a\zq d\qu f|\ql m\enotes
-\temps\NOTes&\zq{^c}\qu e|\zcharnote n{\Trille{2\noteskip}}\hl l\enotes
-\temps\NOTes&\zq c\qu e|\enotes
-\temps\NOtes&\zq c\qu e|\ibl0l{-3}\pt l\qb0l\enotes
-\notes&|\tbbl0\tbl0\qb0k\enotes
-% mesure 53
-%\check
-\barre\NOTes\hup D&\tten0\zw a\zq d\qu f|\hlp k\enotes
-\temps\NOTes&\zq d\qu f|\enotes
-\temps\NOTes&\zq d\qu f|\enotes
-\temps\NOTes\soupir&\zq d\qu f|\soupir\enotes
-% mesure 54
-%\cleftoksii={{3}{0}{0}{0}}\changeclefs
-\barre\notes\itenu1K\wh K&\itenl2d\zw d\zq f\qu h|\ibbu0h0\qh0h\tbbu0\qh0g\enotes
-\Notes&|\tbu0\itenl0h\qh0h\enotes
-\NOTes&\zq f\qu h|\tten0\hu h\enotes
-\temps\NOTes&\zq f\qu h\enotes
-\temps\NOTes&\zq f\qu h|\qu i\enotes
-% mesure 55
-\barre\NOTes\tten1\hu K&\zq e\zqu g\qsk\tten2\wh d|\hu g\enotes
-\temps\NOTes&\zq e\qu g\enotes
-\temps\NOTes\soupir&\zq e\qu g|\soupir\enotes
-\temps\Notes\qu K&\zq e\qu g|\ibu0h3\qh0g\enotes
-\notes&|\nbbu0\qh0h\enotes
-\notes&|\tbu0\qh0i\enotes
-% mesure 56
-\barre\Notes\wh{^J}&\rlap{\wh{^c}}\zq e\qu g|\ibu0i{-3}\qh0i\tbu0\qh0h\enotes
-\temps\Notes &\zq e\qu g|\ibu0h{-3}\qh0h\tbu0\qh0g\enotes
-\temps\Notes &\zq e\qu g|\ibu0g{-3}\qh0g\tbu0\qh0{^f}\enotes
-\temps\Notes &\zq e\qu h|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes
-% mesure 57
-\barre\NOTes\wh K&\rlap{\wh d}\zq{^f}\qu h|\qup {^f}\enotes
-\temps\Notes&\zq f\qu h|\sk\cu g\enotes
-\temps\NOTes&\zq f\qu h|\qup h\enotes
-\temps\Notes&\zq f\qu h|\sk\ds \enotes
-% mesure 58
-\barre\NOTes\qu J&\zq{=c}\rq d\qu g|\qu d\enotes
-\temps\NOTes\hup I&\rlap{\hlp b}\zq d\qu g|\itenl0g\qu g\enotes
-\temps\notes&\zq d\qu g|\tten0\ibbu0g{-3}\qh0{g=fe}\tbu0\qh0d\enotes
-\temps\notes&\zq d\qu g|\ibbu0g{-3}\qh0{gfe}\tbu0\qh0d\enotes
-% mesure 59
-%\check
-\barre\notes\wh H&\doubler\itenl0a\zw a\zq{^c}\qu e|\ibbu0c0\qh0{^c=bc}\tbu0\qh0a\enotes
-\temps\notes&\zq c\qu e|\ibbu0b3\qh0{bcd}\tbu0\qh0e\enotes
-\temps\NOTes&\zq d\qu f|\qu f\enotes
-\temps\Notes&\zq d\qu f|\ibu0f{-3}\qh0f\tbu0\qh0e\enotes
-% mesure 60
-%\check
-\barre\NOTes\wh H&\tten0\zw a\zq{^c}\qu e|\zcharnote n{\Trille{3\noteskip}}\hup e\enotes
-\temps\NOTes&\zq c\qu e\rlap{\midtwotext{\sl rall.\ \ \ }}\enotes
-\temps\NOTes&\zq c\qu e|\enotes
-\temps\Notes&\zq c\qu e|\ibu0e{-3}\qh0e\tbu0\qh0d\enotes
-% mesure 61
-%\check
-\cleftoksii={{6}{0}{0}{0}}%
-\zchangeclefs
-\barre
-\elemskip=1.1\elemskip
-\NOTes\itenl1D\wh D&\itenu2d\zw d\zq M\ql a|\itenl0d\zw d\enotes
-\temps\NOTes&\zq M\ql a|\enotes
-\temps\NOTes&\zq N\ql b|\enotes
-\temps\NOTes&\zq L\ql N|\enotes
-% mesure 62
-\barre\nspace
-\NOTEs\tten1\pointdorgue a\hu D&\tten2\zh{Ma}\pointdorgue d\hl d|\tten0\pointdorgue o\hu d\enotes
-\temps\NOTEs\hpause&\hpause|\hpause\enotes
-\mulooseness -2\relax
-\finmorceau
-\bigskip
-\rightline{\it \aujourdhui}
-\vfil
-\eject
-\bye
diff --git a/macros/musixtex/doc/examples/albinoni.tex b/macros/musixtex/doc/examples/albinoni.tex
deleted file mode 100644
index 9b30fd3bb7..0000000000
--- a/macros/musixtex/doc/examples/albinoni.tex
+++ /dev/null
@@ -1,614 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
- \input musixadd
- \title{Adagio (Albinoni)}
-\csname titremorceautoc\endcsname
-\fulltitle{Adagio per archi ed organo}
-\title{Adagio per archi ed organo}
- \author{Tomaso Albinoni\\Transcription orgue et clarinette Daniel
-Taupin}
- \shortauthor{Albinoni}
- \subtitle{\relax}
- \othermention{G.O. (I): Montre 8'+4'\\Positif (II): 8'+4'+quinte
- \\R\'ecit (III): fl\^utes
-8'+4'\\P\'edale : 16'\\Tirasse positif, claviers accoupl‚s.\\Gif :
-2-4/9-11-13/19-22/33-37/46-47-48-49-54}
- \maketitle
-
-
-\parindent 13mm
-\musicsize=20
-\normal
-\relativeaccidentals
-\bigaccid
-\def\nbinstruments{4}
-\def\instrumenti{P\'edale}
-\def\instrumentii{Positif}
-\def\instrumentiii{Positif}
-\def\instrumentiv{Clarinette}
-\def\staffspacingiv{0.64}
-\generalmeter{\meterfrac34}%
-\cleftoksi{6000}
-\cleftoksii{6000}
-\cleftoksiii{0000}
-\cleftoksiv{0000}
-\generalsignature{-2}
- %
- \def\pto#1#2#3{\Ibbbu0{#1}{#3}2\qh0{#1}\tbbu0\qh0{#2}\tbu0\itenu0{#3}\multnoteskip{1.42}\qhp0{#3}}%
- \def\ptb#1#2#3{\Ibbbl0{#1}{#3}2\qb0{#1}\tbbl0\qb0{#2}\tbl0\itenu0{#3}\multnoteskip{1.42}\qbp0{#3}}%
- \def\qpqu#1#2{\Ibu0{#1}{#2}2\qhp0{#1}\sk\tbbu0\tqh0{#2}}
- \def\qpql#1#2{\Ibl0{#1}{#2}2\qbp0{#1}\sk\tbbl0\tqb0{#2}}
- \def\Qpqu#1#2{\Ibu1{#1}{#2}2\qhp1{#1}\sk\tbbu1\tqh1{#2}}
- \def\Qpql#1#2{\Ibl1{#1}{#2}2\qbp1{#1}\sk\tbbl1\tqb1{#2}}
- \def\Qpqlt#1#2#3{\Ibl1{#1}{#2}2\qbp1{#1}\sk\tbbl1\tslur3{#3}\tqb1{#2}}
- %
- \def\grnotes{\vnotes0.7\elemskip}% 16th
- \def\ggrnotes{\vnotes0.5\elemskip}% 16th
- %
- \def\qqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}
- \def\qqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}
- \def\qqqb#1#2#3{{\advance\transpose -13\relax\triolet #2}\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}
- \def\qqqh#1#2#3{{\advance\transpose 8\relax\triolet #1}\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}
- %
-\debutmorceau
-\NOtes\sk\pause&\lpz G\qu G\upz N\ql N\lpz G\qu G
- &\roff{\itenl1b\itenl2d\itenu3g}\zhp b\zhp d\hlp g&\Uptext{\bf\kern -5mm(\metron{\qu}60)}\sk\pause\enotes
- \barre %2
-\NOtes\sk\pause&\zcharnote {-7}{\it il basso staccato}\lpz F\qu F\upz M\ql
-M\lpz F\qu F&\tten1\tten2\tten3\zhp b\zhp d\hlp g&\sk\pause\enotes
- \barre %3
-\notes&\qu E&\roff{\itenl1b\itenl2e}\zhp b\zhlp e\pto ghi&\enotes
-\NOtes\pause&\ql L&\tten0\qup i&\pause\enotes
-\Notes&\qu E&\sk\cu g\enotes
- \barre %4
-\NOtes&\qu D\ql K\qu D&\tten1\tten2\zhp b\zhlp e\hup g&\sk\pause\enotes
- \barre %5
-\notes&\qu C&\roff{\zhp e\zhlp h}\pto hij\enotes
-\NOtes\pause&\qu J\qu C&\tten0\hu j&\pause\enotes
- \barre %6
-\notes&\qu {^C}&\zhp {^e}\zhlp g\pto ihi\enotes
-\NOtes\pause&\qu {^J}\qu C&\tten0\hu i&\pause\enotes
- \barre %7
-\notes&\qu D&\lh d\itenl1d\zhl d\pto hgh\enotes
-\NOtes\pause&\ql K&\tten0\itenu0h\qu h&\pause\enotes
-\Notes&\qu D&\tten1\lq{=c}\zql d\tten0\triolet p\Ibu0hf2\qh0{hg}\tqh0{^f}\enotes
- \barre %8
-\NOtes\sk\pause&\qu G\ql N\qu G&\zhp b\zhlp d\hup g&\sk\pause\enotes
- \setclef2\treble \changeclefs
- \barre %9
- \NOtes\lpz G\qu G\upz N\ql N&\zcharnote n{{\bf III} -- fl–tes}\zhp b\hup d&\zcharnote n{{\bf II} -- quinte}\ppt5\soupir&\isluru3m\ql k\Ibl1ji1\qbp 1j\enotes
- \notes&&\ccu N&\tbbl1\tqb1i\enotes
- \notes\lpz G\qu G&&\Ibu0ab1\qhp0a\sk\tbbu0\tqh0b&\Ibl1hg2\qbp1h\sk\tbbl1\tslur3m\tqb1g\enotes
- %\check
- \barre %10
- \notes\qu H&\hup c&\qpqu cd&\isluru3m\hu g\enotes
- \notes\ql a&&\qpqu ed\enotes
- \notes\qu H&&\qpqu ec&\tslur3l\qu{^f}\enotes
- \barre %11
- \NOtes\qu H&\qup c&\qup{^f}&\isluru3l\ql l\enotes
- \notes\ql a&\sk\dsoupir&\sk\sk\ccu a&\Qpql kj\enotes
- \notes\qu H&\soupir&\qpqu bc&\Qpqlt ihk\enotes
- \barre %12
- \notes\qu I&\hlp d&\qpqu d{^e}&\isluru3l\hl h\enotes
- \notes\ql b&&\qpqu {^f}d\enotes
- \NOtes\qu I&&\qu g&\tslur3k\qu g\enotes
- \barre %13
- \NOtes\qu I&\zhp d\zhlp g\hu k&\hu g&\isluru3o\ql n\enotes
- \Notes\ql b&&&\Ibl1mn2\qb1m\tqb1n\enotes
- \Notes\qu I&&\qu d&\triolet o\Ibl0lk2\qb0{lm}\tqb0k\enotes
- \barre %14
- \NOtes\qu J&\zh e\hu g&\qu d&\tslur3n\hlp l\enotes
- \Notes\ql c&&\Ibu0cd1\qh0c\tqh0d\enotes
- \Notes\qu J&\soupir&\triolet M\Ibu0ba2\qh0{bc}\tqh0a\enotes
- \barre %15
- \NOtes\qu H&\zh c\hu j&\hu f&\isluru3n\ql m\enotes
- \Notes\ql a&&&\Ibl0lm1\qb0l\tqb0m\enotes
- \Notes\qu H&\zq c\qu f&\qu c&\triolet n\Ibl0kj2\qb0{kl}\tqb0j\enotes
- \barre %16
- \NOtes\qu I&\zh d\hu f&\qu c&\tslur3l\hlp k\enotes
- \Notes\ql b&&\qqh bc\enotes
- \Notes\qu I&\soupir&\qqqh abN\enotes
- \barre %17
- \NOtes\qu G&\zh b\hu i&\hu e&\isluru3m\ql l\enotes
- \Notes\ql N&&&\qqb kl\enotes
- \Notes\qu G&\zq b\qu e&\qu b&\qqqb jki\enotes
- \barre %18
- \NOtes\qu H&\zhp c\hup e&\qu b&\tslur3k\hl j\enotes
- \Notes\ql a&&\qqh ab\enotes
- \Notes\qu H&&\qqqh cba&\isluru3k\ql j\enotes
- \barre %19
- \NOtes\qu I&\hu d&\zq a\qu d&\hl k\enotes
- \Notes\ql b&&\Ibl1NM1\Ibu0gf1\zqb1N\qh0g\tbl1\zqb1{^M}\tqh0{^f}\enotes
- \Notes\qu J&\qu e&\Ibl1Na1\Ibu0gh1\zqb1N\zql e\qh0g\tbl1\zqb1a\tqh0h&\ql l\enotes
- \barre %20
- \NOTEs\pointdurgue F\hu K&\hu d&\pointdorgue n\zh {bdg}\hu i&\pointdorgue
- m\tslur3l\hl k\enotes
- \Notes\soupir&\soupir&\uptext{\kern -5mm\it a tempo}\soupir&\Uptext{\kern -5mm\it a tempo}\ds\cl n\enotes
- \barre %21
- \Notes\sk\sk\sk\pause&\sk\sk\sk\pause&\sk\sk\sk\pause&\qqb op\qqb on\qqb {^m}n\enotes
- \barre %22
- \NOTes\qu{^I}\ql{^b}&&\zh{df}\hu{_h}&\hlp{=m}\enotes
- \notes\qu I&&\ibbbu0g0\zq d\qh0f\tbbu0\zq e\qh0g\zq f\qh0h\sk\nbbbu0\zq
-e\qh0g\zq d\tqh0f\enotes
- \barre %23
- \NOtes\qu J&&\zhp c\zhlp e\raise 2\Interligne\soupir&\isluru3m\qlp l\enotes
- \Notes\ql c&&\hu g&\sk\cl j\enotes
- \notes\qu J&&&\qpql ln\enotes
- \barre %24
- \NOtes\qu {=I}&&\zhp N\zhlp d\raise 2\Interligne\soupir&\tslur3l\qlp k\enotes
- \Notes\ql {=b}&&\hu g&\sk\isluru3l\cl i\enotes
- \notes\qu I&&&\qpql kn\enotes
- \barre %25
- \NOtes\qu {_H}\ql{_a}&&\zh {_a}\zhl c&\tslur3l\hl j\enotes
- \notes\qu H&\zcharnote a{(III -- fl–tes)}\qu e&\ibbbu0j0\zq {_h}\qh0j\tbbu0\zq i\qh0k\zq j\qh0l\sk\nbbbu0\zq
-i\qh0k\zq h\tqh0j&\isluru4k\ql j\enotes
- \barre %26
- \NOtes\qu K\ql d&\hup d&\zh g\zhu i&\hlp i\enotes
- \notes\qu K&&\ibbbu0i0\zq g\qh0i\tbbu0\zq {=h}\qh0j\zq i\qh0k\sk\nbbbu0\zq
-h\qh0j\zq g\tqh0i\enotes
- \barre %27
- \NOtes\qu K\ql d&\hup c&\zh {^f}\zhu h&\hlp h\enotes
- \notes\qu K&&\ibbbu0h0\zq f\qh0h\tbbu0\zq g\qh0i\zq h\qh0j\sk\nbbbu0\zq
-g\qh0i\zq f\tqh0h\enotes
- \barre %28
- \NOtes\qu G\ql N\qu G&\itenl1b\hup b&\itenl2d\itenu3g\zhp d\hup g&\tslur4l\hup g\enotes
- %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
- \barno 1\relax
- \barre %2
-\NOtes\zcharnote {-7}{\it il basso staccato}\lpz F\qu F\upz M\ql
-M\lpz F\qu F&\tten1\hup b&\tten2\tten3\zhp d\hup g&\sk\pause\enotes
- \barre %3
-\notes\qu E&&\roff{\itenl1b\itenl2e}\zhp b\zhlp e\pto ghi&\enotes
-\NOtes\ql L&&\tten0\qup i&\pause\enotes
-\Notes\qu E&&\sk\cu g\enotes
- \barre %4
-\NOtes\qu D\ql K\qu D&&\tten1\tten2\zhp b\zhlp e\hup g\enotes
- \barre %5
-\notes\qu C&&\roff{\zhp e\zhlp h}\pto hij\enotes
-\NOtes\qu J\qu C&&\tten0\hu j&\pause\enotes
- \barre %6
-\notes\qu {^C}&&\zhp {^e}\zhlp g\pto ihi\enotes
-\NOtes\qu {^J}\qu C&&\tten0\hu i&\pause\enotes
- \barre %7
-\notes\qu D&&\lh d\itenl1d\zhl d\pto hgh\enotes
-\NOtes\ql K&&\tten0\itenu0h\qu h&\pause\enotes
-\Notes\qu D&&\tten1\lq{=c}\zql d\tten0\triolet p\Ibu0hf2\qh0{hg}\tqh0{^f}\enotes
- \barre %8
-\NOtes\qu G\ql N\qu G&&\zhp b\zhlp d\hup g\enotes
- \barre %9
- \NOtes\lpz G\qu G\upz N\ql N&\zhp b\hup d\zcharnote a{(III --
-fl–tes)}&\ppt5\soupir\zcharnote n{(II -- quinte)}&\isluru3m\ql
-k\Ibl1ji1\qbp 1j\enotes
- \notes&&\ccu N&\tbbl1\tqb1i\enotes
- \notes\lpz G\qu G&&\Ibu0ab1\qhp0a\sk\tbbu0\tqh0b&\Ibl1hg2\qbp1h\sk\tbbl1\tslur3m\tqb1g\enotes
- %\check
- \barre %10
- \notes\qu H&\hup c&\qpqu cd&\isluru3m\hu g\enotes
- \notes\ql a&&\qpqu ed\enotes
- \notes\qu H&&\qpqu ec&\tslur3l\qu{^f}\enotes
- \barre %11
- \NOtes\qu H&\qup c&\qup{^f}&\isluru3l\ql l\enotes
- \notes\ql a&\sk\dsoupir&\sk\sk\ccu a&\Qpql kj\enotes
- \notes\qu H&\soupir&\qpqu bc&\Qpqlt ihk\enotes
- \barre %12
- \notes\qu I&\hlp d&\qpqu d{^e}&\isluru3l\hl h\enotes
- \notes\ql b&&\qpqu {^f}d\enotes
- \NOtes\qu I&&\qu g&\tslur3k\qu g\enotes
- \barre %13
- \NOtes\qu I&\zhp d\zhlp g\hu k&\hu g&\isluru3o\ql n\enotes
- \Notes\ql b&&&\Ibl1mn2\qb1m\tqb1n\enotes
- \Notes\qu I&&\qu d&\triolet o\Ibl0lk2\qb0{lm}\tqb0k\enotes
- \barre %14
- \NOtes\qu J&\zh e\hu g&\qu d&\tslur3n\hlp l\enotes
- \Notes\ql c&&\Ibu0cd1\qh0c\tqh0d\enotes
- \Notes\qu J&\soupir&\triolet M\Ibu0ba2\qh0{bc}\tqh0a\enotes
- \barre %15
- \NOtes\qu H&\zh c\hu j&\hu f&\isluru3n\ql m\enotes
- \Notes\ql a&&&\Ibl0lm1\qb0l\tqb0m\enotes
- \Notes\qu H&\zq c\qu f&\qu c&\triolet n\Ibl0kj2\qb0{kl}\tqb0j\enotes
- \barre %16
- \NOtes\qu I&\zh d\hu f&\qu c&\tslur3l\hlp k\enotes
- \Notes\ql b&&\qqh bc\enotes
- \Notes\qu I&\soupir&\qqqh abN\enotes
- \barre %17
- \NOtes\qu G&\zh b\hu i&\hu e&\isluru3m\ql l\enotes
- \Notes\ql N&&&\qqb kl\enotes
- \Notes\qu G&\zq b\qu e&\qu b&\qqqb jki\enotes
- \barre %18
- \NOtes\qu H&\zhp c\hup e&\qu b&\tslur3k\hl j\enotes
- \Notes\ql a&&\qqh ab\enotes
- \Notes\qu H&&\qqqh cba&\isluru3k\ql j\enotes
- \barre %19
- \NOtes\qu I&\hu d&\zq a\qu d&\hl k\enotes
- \Notes\ql b&&\Ibl1NM1\Ibu0gf1\zqb1N\qh0g\tbl1\zqb1{^M}\tqh0{^f}\enotes
- \Notes\qu J&\qu e&\Ibl1Na1\Ibu0gh1\zqb1N\zql e\qh0g\tbl1\zqb1a\tqh0h&\ql l\enotes
- \barre %20
- \NOTEs\pointdurgue F\hu K&\hu d&\pointdorgue n\zh {bdg}\hu i&\pointdorgue
- m\tslur3l\hl k\enotes
- \Notes\soupir&\soupir&\uptext{\kern -5mm\it a tempo}\soupir&\Uptext{\it a tempo}\ds\cl n\enotes
- \barre %21
- \Notes\sk\sk\sk\pause&\sk\sk\sk\pause&\sk\sk\sk\pause&\qqb op\qqb on\qqb {^m}n\enotes
- \barre %22
- \NOTes\qu{^I}\ql{^b}&&\zh{df}\hu{_h}&\hlp{=m}\enotes
- \notes\qu I&&\ibbbu0g0\zq d\qh0f\tbbu0\zq e\qh0g\zq f\qh0h\sk\nbbbu0\zq
-e\qh0g\zq d\tqh0f\enotes
- \barre %23
- \NOtes\qu J&&\zhp c\zhlp e\raise 2\Interligne\soupir&\isluru3m\qlp l\enotes
- \Notes\ql c&&\hu g&\sk\cl j\enotes
- \notes\qu J&&&\qpql ln\enotes
- \barre %24
- \NOtes\qu {=I}&&\zhp N\zhlp d\raise 2\Interligne\soupir&\tslur3l\qlp k\enotes
- \Notes\ql {=b}&&\hu g&\sk\isluru3l\cl i\enotes
- \notes\qu I&&&\qpql kn\enotes
- \barre %25
- \NOtes\qu {_H}\ql{_a}&&\zh {_a}\zhl c&\tslur3l\hl j\enotes
- \notes\qu H&\zcharnote a{(III --
-fl–tes)}\qu e&\ibbbu0j0\zq {_h}\qh0j\tbbu0\zq i\qh0k\zq j\qh0l\sk\nbbbu0\zq
-i\qh0k\zq h\tqh0j&\isluru3k\ql j\enotes
- \barre %26
- \NOtes\qu K\ql d&\hup d&\zh g\zhu i&\hlp i\enotes
- \notes\qu K&&\ibbbu0i0\zq g\qh0i\tbbu0\zq {=h}\qh0j\zq i\qh0k\sk\nbbbu0\zq
-h\qh0j\zq g\tqh0i\enotes
- \barre %27
- \NOtes\qu K\ql d&\hup c&\zh {^f}\zhu h&\hlp h\enotes
- \notes\qu K&&\ibbbu0h0\zq f\qh0h\tbbu0\zq g\qh0i\zq h\qh0j\sk\nbbbu0\zq
-g\qh0i\zq f\tqh0h\enotes
- \barno 29\relax
- \barre %30
- \znotes&&&\tslur3l\enotes
- \NOTEs\itenl0G\hup G&\itenl1b\itenu2f\zhp{=f}\hup{^b}&\itenl3b\itenu4g\itenl5d\zhp{^b}\zhp d\hup g&\itenu6g\hup g\enotes
- \barre %31
- \znotes\tten0&\tten1\tten2&\tten3\tten4\tten5&\tten6\enotes
- \NOTes\itenl0G\hup G&\zq f\qu{^b}&\itenl1b\itenl2d\itenu3g\zhp{^b}\zhp d\hup g&\qu g\enotes
- \zalapage
- \def\qqqq#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}%
- \def\qqqqh{\qqqq}%
- \def\qqqqb#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}%
- \notes&&\zcharnote n{\kern -4mm{\bf III} -- fl–tes}&\ds\cu g\qqqq{_h}g{^f}g\enotes
- \barre %32
- \znotes&&\tten1\tten2\tten3\zcharnote r{\kern -2mm
-\it reprendre au III}\zcharnote n{\kern -2mm
-\it l'accord du II accoupl‚}\enotes
- \notes\tten0\itenl0G\hup G&&\itenl1d\itenl2b\itenu3g\zhp d\zhp
-g\hup{^b}&\qqqq{=f}ede\qqqq fede\qqqq dc{^b}c\enotes
- \barre %33
- \NOTes\tten0\hu G&&\tten1\tten2\tten3\zh d\zh g\hu{^b}&\hu d\enotes
- \cleftoksii{6000}\zchangeclefs
- \notes\pt5\ds\ccu G&\uptext{\bf II}\pt5\ds\ccl M&\uptext{\bf II}\pt5\ds\zq {^b}\zq d\ccu g&\soupir\enotes
- \barre %34
- \NOtes\itenl0G\hup G&\ql L&\itenl1c\itenl2e\itenu3g\zhp c\zhp e\hup g&\soupir\enotes
- \Notes&&\uptext{{\bf III} - fl–tes}&\ds\cu g\enotes
- \notes&\hpause&&\qqqq{_h}g{^f}g\enotes
- \barre %35
- \notes\tten0\itenl0G\hup G&&\tten1\tten2\tten3\itenl1c\itenl2e\zhp{ce}\hup
-g&\qqqq{=f}ede\qqqq fede\qqqq edc{^b}\enotes
- \barre %36
- \NOTes\pointdorgue b\tten0\itenl0G\hup G&&\pointdorgue m\tten1\tten2\itenl1c\itenl2e\zhp c\hup
-e&\pointdorgue m\qu c\enotes
- \Notes&&&\ds\cu N\qqh ce\enotes
- \barre %37
- \notes\tten0\itenl0G\hup G&&\tten1\tten2\itenl1c\itenl2e\zhp c\hup e&\qqqq
-gecN\qqqq cegj\qqqq ljge\enotes
- \barre %38
- \notes\tten0\itenl0G\hup G&&\tten1\tten2\itenl1c\itenl2e\zhp c\hup e&\qqqq
-gjln\qqqq qnlj\qqqq lnqs\enotes
- \barre %39
- \NOTes\tten0\hu G&&\tten1\tten2\zh c\hu e&\pointdurgue c\qlp {!'n}\enotes
- \notes\pt5\ds\ccu G&\uptext{\kern -5mm\bf I -- \ppff ff}\pt5\ds\ccl N&\uptext{\kern -5mm\bf I --
-\ppff ff}\pt5\ds\zq c\ccu e&\soupir\enotes
- \barre %40
- \NOtes\itenl0G\hup G&\ql N&\itenl1b\roff{\itenl2c}\itenu3e\zhp b\roff{\zhp c}\hup {^e}&\soupir\enotes
- \Notes&\soupir&\uptext{{\bf III} - fl–tes}&\ds\cl j\enotes
- \notes&&&\qqqq{_k}j{^i}j\enotes
- \barre %41
- \notes\tten0\itenl0G\hup G&&\tten1\tten2\tten3\itenl1b\roff{\itenl2c}\itenu3e\zhp b\roff{\zhp c}\hup {^e}%
- &\qqqq {=i}{_h}gh\qqqq ihgh\qqqq gf{^e}f\enotes
- \barre %42
- \NOTes\tten0\hu G&&\tten1\tten2\tten3\zh b\rh c\hu {^e}&\hu g\enotes
- \notes\pt5\ds\ccu G&\uptext{\bf II}\pt5\ds\ccl N&\uptext{\bf II}\pt5\ds\zq
-b\rq c\ccu {^e}&\soupir\enotes
- \barre %43
- \NOtes\itenl0F\hup F&\ql M&\itenl1a\itenl2c\itenu3f\zhp {_a}\zhp c\hup f&\soupir\enotes
- \Notes&&\uptext{{\bf III} - fl–tes}&\ds\cu j\enotes
- \notes&\hpause&&\qqqq{_k}j{^i}j\enotes
- \barre %44
- \notes\tten0\itenl0F\hup F&&\tten1\tten2\tten3\itenl1a\itenl2c\zhp{_a}\zhp c\hup
-f&\qqqq{=i}{_h}gh\qqqq ihgh\qqqq hgf{^e}\enotes
- \barre %45
- \NOTes\pointdorgue b\tten0\itenl0F\hup F&&\pointdorgue m\tten1\tten2\itenl1a\itenl2c\zhp {_a}\hup
-c&\pointdorgue m\qu f\enotes
- \Notes&&&\ds\cu {_a}\qqh cf\enotes
- \barre %46
- \notes\tten0\itenl0F\hup F&&\tten1\tten2\itenl1a\itenl2c\zhp {_a}\hup c&\qqqq
-{_h}fc{_a}\qqqq cfhj\qqqq mjhf\enotes
- \barre %47
- \notes\tten0\itenl0F\hup F&&\tten1\tten2\itenl1a\itenl2c\zhp {_a}\hup c&\qqqq
-{_h}jm{_o}\qqqq qomj\qqqq moqt\enotes
- \barre %48
- \NOTes\tten0\hu F&&\tten1\tten2\zh {_a}\hu c&\pointdurgue e\qlp {!'_o}\enotes
- \notes\pt5\ds\ccu F&\uptext{\kern -5mm\bf I -- \ppff ff}\pt5\ds\ccl
-M&\uptext{\kern -5mm\bf I --
-\ppff ff}\pt5\ds\zq {ac}\ccu f&\soupir\enotes
- \barre %49
- \NOtes\itenl0D\hup D&\qu K&\itenl1a\itenl2c\itenu3f\zhp {=a}\zhp c\hup {^f}&\soupir\enotes
- \Notes&\soupir&\uptext{{\bf III} - fl–tes}&\ds\cl j\enotes
- \Notes&&&\qqb kl\enotes
- \barre %50
- \notes\tten0\hup D&&\tten1\tten2\tten3\zhp a\zhp c\hup {^f}%
- &\qqqq lk{=m}l\qqqq lkkj\qqqq j{^i}ij\enotes
- \barre %51
- \notes\lpz G\qu G&&\zhp N\zhp{^b}\itenu1f\hup{=f}&\ptb {^i}jk\enotes
- \NOtes\upz N\ql N&&&\tten0\qlp k\enotes
- \Notes\lpz N\qu G&&\tten1\qqh fe&\sk\cl j\enotes
- \barre %52
- \NOtes\lpz J\qu J\upz c\ql c\upz J\qu J&&\itenl1N\itenl2c\itenu3e\zhp N\zhp
-c\hup e&\hlp j\enotes
- \barre %53
- \NOtes\qu{=I}\ql{=b}\qu I&\sk\uptext{\bf II}&\tten1\tten2\tten3\zhp N\zhp
-c\hup e\uptext{\bf II}&\sk\pause\enotes
- \barre %54
-\notes\qu {_H}&&\itenl1e\itenl2h\zhp e\zhlp {_h}\pto jkl&\enotes
-\NOtes\ql {_a}&&\tten0\qup l&\pause\enotes
-\Notes\qu H&&\sk\cu j\enotes
- \barre %55
-\NOtes\qu G\ql N\qu G&&\tten1\tten2\zhp e\zhlp {_h}\hup j\enotes
- \barre %56
-\notes\qu F&&\roff{\zhp {_h}\zhlp k}\pto klm\enotes
-\NOtes\qu M\qu F&&\tten0\hu m&\pause\enotes
- \barre %57
-\notes\qu {^F}&&\zhp {=h}\zhlp j\pto lkl\enotes
-\NOtes\qu {^M}\qu F&\hpause\ql c&\tten0\hu l&\pause\enotes
- \barre %58
-\notes\qu G&\hl c&\zhlp g\pto kjk\enotes
-\NOtes\ql N&&\tten0\itenu0k\qu k&\pause\enotes
-\Notes\qu G&\uptrio e2{10}\ql{^b}\sk\cl{=f}&\tten0\triolet t\Ibu0ki2\qh0{kj}\tqh0{^i}\enotes
- \barre %59
-\NOtes\qu J\ql c\qu J&\hlp e\uptext{ \bf I -- \ff}&\zhlp g\hup j\uptext{ \bf I -- \ff}&\sk\pause\enotes
- \barre %60
- \NOTes\qu C&&\zq g\zq j\ql l&\isluru3m\ql n\enotes
- \Notes\qu J&\sk\sk\ccl N&\pt5\ds\sk\ccu c&\qpql ml\enotes
- \Notes\qu C&\qpql {^b}c&\qpqu de&\qpql kj\enotes
- \barre %61
- \Notes\qu D&\hl c&\qpqu fg&\hl k\enotes
- \Notes\qu K&&\qpqu {_h}g\enotes
- \Notes\qu D&\ql{^b}&\rlap{\sk\sk\itenl0f}\qpqu hf&\tslur3j\ql{^i}\enotes
- \barre %62
- \NOTes\qu D&&\tten0\Sh i\lFl h\rq i\zq h\qu f&\isluru3p\ql {_o}\enotes
- \Notes\qu K&\sk\sk\ccl {^b}&\pt5\ds\sk\ccu d&\qpql nm\enotes
- \Notes\qu D&\qpql cd&\qpqu ef&\qpql lk\enotes
- \barre %63
- \Notes\qu E&\hl d&\qpqu g{=h}&\hl k\enotes
- \Notes\qu L&&\rlap{\sk\sk\itenl1g}\qpqu {^i}g\enotes
- \Notes\qu E&\ql c&\tten1\zq g\qu j&\tslur3j\ql j\enotes
- \barre %64
- \NOTes\qu E&\ql c&\zq g\qu j&\ust q\ql q\enotes
- \Notes\ql L&\zhl N\Ibu1dc1\qh1d\itenu0c\tqh1c&\qqh{=i}j&\qqb{=p}q\enotes
- \Notes\qu E&\tten0\itenu0c\qu c&\Fl h\rlap{\sk\sk\itenl2g}\qqqh hig&\isluru3p\Fl o\qqqb opn\enotes
- \barre %65
- \NOTes\qu F&\tten0\hup c&\roff{\tten2\zql g}\hup{_h}&\tslur3p\hlp{_o}\enotes
- \Notes\ql M&\qqb fg&\enotes
- \Notes\qu F&\qqqb efd\enotes
- \barre %66
- \NOTes\qu D&\ql b&\zq f\qu i&\ust p\ql p\enotes
- \Notes\ql K&\zhl M\Ibu1cb1\qh1c\itenu0b\tqh1b&\qqh{_h}i&\qqb{_o}p\enotes
- \Notes\qu D&\tten0\itenu0b\qu b&\rlap{\sk\sk\itenl2f}\qqqh ghf&\isluru3o\qqqb {n}om\enotes
- \barre %67
- \NOTes\qu E&\tten0\hup b&\roff{\tten2\zql f}\hup g&\tslur3o\hlp n\enotes
- \Notes\ql L&\qqb ef\enotes
- \Notes\qu E&\qqqb dec\enotes
- \barre %68
- \NOtes\qu C&\lh e\itenu1f\hlp f&\qu{=h}&\itenu3m\hlp m\enotes
- \Notes\qu J&&\sk\cu h\enotes
- \Notes\qu C&&\qpqu ij\enotes
- \barre %69
- \NOtes\qu D&\zhp b\tten1\zhlp f&\hup i&\tten3\ql m\enotes
- \Notes\qu K&&\uptext{\bf II}&\ds\isluru3n\cl m\enotes
- \Notes\qu D&&&\qpql ki\enotes
- \barre %70
- \NOtes\qu E&\hlp b&\zh e\hu g&\tslur3j\ql i\enotes
- \Notes\qu L&&&\ds\isluru3j\cl {=h}\enotes
- \Notes\qu E&&\qqh ge&\qpql ij\enotes
- \barre %71
- \NOtes\qu D&\ql b&\qu f&\tslur3k\qlp i\enotes
- \Notes\qu K&\soupir&\ds\cu f&\sk\ds\enotes
- \Notes\qu D&\ql M&\qpqu db&\soupir\enotes
- \barre %72
- \NOtes\qu E&\hl N&\qup b\enotes
- \Notes\qu L&&\ds\cu a&\pause\enotes
- \Notes\qu E&\ql N&\qpqu bc\enotes
- \barre %73
- \NOtes\pointdorgue a\hup D&\hlp M\uptext{\bf III}&\pointdorgue l\hup
-b\uptext{\bf III}&\sk\pointdorgue l\pause\sk\enotes
- \barre %74
- \NOtes\hup D&\hlp M&\zq b\qu f&\itenu3p\ql p\enotes
- \notes&&\zhl f\qu k&\tten3\qqqqb ponm\enotes
- \notes&&\qu i&\qqqqb lkji\enotes
- \barre %75
- \Notes\hup E&\hlp L&\zql e\zh g\hu j&\cu g\itenu3n\qlp n\enotes
- \NOtes&&\zhl c&\enotes
- \notes&&\zq b\qu g&\tten3\qqqb nlj\enotes
- \barre %76
- \NOtes\lpz F\qu F\upz M\ql M\lpz F\qu F&\hl b\sk\ql{_a}&\zhp c\hup f&\hl i\sk\ql{_h}\enotes
- \barre %77
- \NOtes\lpz D\qu D&\ql f&\hu i&\itenu3m\hl m\enotes
- \NOtes\upz K\ql K&\hl b&&\enotes
- \notes\lpz D\qu D&\ql {_a}&\qu f&\tten3\qqqb mki\enotes
- \barre %78
- \NOtes\qu E&\roff{\zql a}\Fl a\zhp e\hlp b&\uptext{{\bf II} -- quinte}\soupir&\qu{_h}\enotes
- \Notes\ql L&\hl N&\ds\cu e&\hu g\enotes
- \notes\qu E&&\qpqu bN\enotes
- \barre %79
- \NOtes\qu D&\hl M&\hup{^b}&\qu f\enotes
- \Notes\qu K&&&\ds\cu {^b}\enotes
- \notes\qu D&\ql M&&\qpqu cd\enotes
- \barre %80
- \NOtes\qu E&\zhp N\hlp c&\soupir&\hup c\enotes
- \Notes\ql L&&\ds\cl q\enotes
- \notes\qu E&\zqp N\qlp c&\qpqu nl\enotes
-% \def\grace{\catcodesmusic\grnotes&&&\grcu}%
- \def\grace{\catcodesmusic\hardnotes 1.5\Interligne\notes&&&\grcu}%
- \barre %81
- \grace{_a}\enotes
- \NOtes\qu F&\hlp {_a}&\qup j&\hup f\enotes
- \Notes\ql M&&\ds\cu {^i}\enotes
- \notes\qu F&&\qpqu jk\enotes
- \barre %82
- \grace{N}\enotes
- \NOtes\qu E&\hlp N&\hlp j&\qup e\enotes
- \Notes\ql L&&&\sk\cl j\enotes
- \notes\qu E&&&\qpqu ge\enotes
- \barre %83
- \NOtes\qu F&\itenu2c\zhp c\hlp {_a}&&\qup c\enotes
- \Notes\ql M&&&\sk\cu {^b}\enotes
- \notes\qu F&&&\qpqu cd\enotes
- \barre %84
- \NOTes\qup E&\tten2\zqp c\qlp g&&\qup c\enotes
- \Notes\soupir\sk\cu
-E&&\ibl0c0\ibu1j0\zqb0c\qh1j\zqb0{^b}\qh1{^i}\tbl0\tbu1\zqb0c\zq g\qh1j&\ds\soupir\enotes
- \barre %85
- \NOtes\qu F\ql M&&\zhl {_d}\zh {_h}\hu {_k}\enotes
- \notes\qu F&&\ibbbl0f0\ibbbu1k0\zqb0d\qh1k\tbbl0\tbbu1\zqb0e\qh1l\zqb0f\qh1m\sk
- \nbbbl0\nbbbu1\zqb0e\qh1l\tbl0\tbu1\zqb0d\qh1k&\pause\enotes
- %\check
- \barre %86
- \NOtes\pointdorgue a\hu G&&\pointdorgue m\zhl c\zh e\zh g\hu
-j&\sk\pointdorgue l\hpause\enotes
- \Notes\soupir&&\ds\zcl c\cu j&\ds\cl q\enotes
- \barre %87
- \Notes\sk\sk\pause&&\ibl0d0\ibu1j0\rlap{\qb0{=dedc^b}\tqb0c}\qh1{=klkj^i}\tqh1j&\ibl0p0\qb0{=rsrq^p}\tqb0q\enotes
- \barre %88
- \NOtes\qu{^E}\ql{^L}&&\zhl{=b}\zh{_d}\zh g\hu{=i}&\hl{=p}\enotes
- \notesp\qu E&&\ibbbl0i0\zq g\qb0i\tbbl0\zq {_h}\qb0j\zq i\qb0{_k}\sk\nbbbl0\zq
-h\qb0j\zq g\tqb0i&\advance\transpose 7\ibbbl0i0\qh0i\tbbl0\qh0j\qh0{_k}\sk\nbbbl0\qh0j\tqb0i\enotes
- \barre %89
- \NOtes\qu F&&\zqp f\qup{_h}&\qlp{_o}\enotes
- \Notes\ql M&\sk\cl {_a}&\sk\cu f&\sk\cl m\enotes
- \notes\qu F&\ql c&\qpqu hj&\qpql oq\enotes
- \barre %90
- \NOtes\qu {=E}&\qlp c&\qup g&\qlp n\enotes
- \Notes\ql {=L}&\sk\cl N&\sk\cu e&\sk\cl l\enotes
- \notes\qu E&\ql c&\qpqu gj&\qpql nq\enotes
- \barre %91
- \NOtes\qu{_D}\ql{_K}&\hl{_d}&\hu f&\hl m\enotes
- \notes\qu D&&\ibbbu0j0\zq {f}\zql{_h}\qh0{_k}\tbbu0\qh0l\qh0m\sk\nbbbu0\qh0l\tqh0k&\ibbbl0n0\qb0m\tbbl0\qb0n\qb0{_o}\sk\nbbbl0\qb0n\tqb0m\enotes
- \barre %92
- \NOtes\qu{G}\ql{N}&&\zh {e}\zhl{g}\hu j&\hl l\enotes
- \notesp\qu G&&\ibbbu0i0\zq {e}\zql{g}\qh0{j}\tbbu0&\ibbbu1m0\qh1l\tbbu1\enotes
- \notes&&\qh0{=k}\qh0l\sk\nbbbu0\qh0k\tqh0j&\qh1m\qh1n\sk\nbbbu1\qh1m\tqh1l\enotes
- \barre %93
- \NOtes\qu{G}\ql{N}&&\zh {d}\zhl{f}\hu {^i}&\hl k\enotes
- \notes\qu G&&\ibbbu0h0\zq {d}\zql{f}\qh0i\tbbu0\qh0{j}\qh0k\sk\nbbbu0\qh0j\tqh0i&\ibbbu0l0\qh0k\tbbu0\qh0l\qh0m\sk\nbbbu0\qh0l\tqh0k\enotes
- \barre %94
- \NOtes\qu{_H}\ql{_a}\qu{_H}&\zhp e\hlp c&\hup j&\itenu3j\hlp j\enotes
- \barre %95
- \notes\qu G&\ptb cde&\hup j&\tten3\hlp j\enotes
- \NOtes\ql N&\tten0\hl e\enotes
- \NOtes\qu G\enotes
- \barre %96
- \def\alldsp{\notes\pt5\ds&\pt5\ds&\pt5\ds&\pt5\ds\enotes}%
- \grace e\enotes
- \notesp\pointdurgue E\hu
-{^F}&\Ibbl3ce2\roff{\tbbl3}\qb3c\sk\itenu0e\tbl3\qbp3e\sk&\zq{=h}\Ibbbu0jl2\qh0j\tbbu0\zq{^i}\qh0
-k\itenu1j\zqp j\itenu2l\tbu0\qhp0l\sk&\pointdorgue l\hl j\enotes
- \NOTes\pointdorgue c\qu {^M}&\tten0\pointdorgue e\zq L\lSh M\lq M\zq a\ql
-e&\pointdorgue s\tten1\tten2\zq j\qu l\enotes
- \advance\mulooseness -1\relax
- \zalapage
- \alldsp\grace{j}\enotes
- \notes\ccu {^F}&\ccl c\zmidtwotext{\llap{\bf I -- \ff\space\space}}&\zq e\ccu h&\ccl l\Uptext{\llap{\ppff
-Solenne }}\enotes
- \barre %97
- \grace j\enotes
- \NOtes\hup G&\zql c&\zhp d\hup g&\ql k\enotes
- \grace{^i}\enotes
- \NOTes&\hl{^b}&&\hl k\enotes
- \barre %98
- \grace k\enotes
- \NOTes\hu{^I}&\hl{_a}&\zh d\hu f&\hl m\enotes
- \alldsp\grace{k}\enotes
- \notes\cu I&\ccl d&\zq f\ccu{_h}&\ccl m\enotes
- \barre %99
- \grace k\enotes
- \NOtes\hup J&\ql d&\zhp e\hup g&\ql l\enotes
- \grace j\enotes
- \NOTes&\hl c&&\hl l\enotes
- \barre %100
- \grace{^l}\enotes
- \NOTes\hu{^J}&\hl{=b}&\zh{^e}\hu g&\hl n\enotes
- \alldsp\grace{l}\enotes
- \notes\ccu J&\zq {^e}\ccl g&\ccu i&\ccl n\enotes
- \barre %101
- \grace{^l}\enotes
- \NOtes\hup K&\zq {^e}\ql g&\hup h&\ql n\enotes
- \grace k\enotes
- \NOTes&\zh f\hl d&&\hl m\enotes
- \barre %102
- \grace{i}\enotes
- \NOTes\hu G&\zh{b}\hl{=e}&\hu i&\hl {=l}\enotes
- \alldsp\grace i\enotes
- \notes\ccu G&\zq{b}\ccl{e}&\ccu i&\ccl l\enotes
- \barre %103
- \grace i\enotes
- \NOtes\hup H&\zq b\ql e&\hu i&\ql l\enotes
- \notes&&&\enotes
- \NOtes&\lSh c\zh{c}\hl{^e}&&\ql {^j}\enotes
- \grace h\enotes
- \Notes&&\qu h&\ibl0j0\qb0j\enotes
- \grace g\enotes
- \Notes&&&\tqb0j\enotes
- \barre %104
- \grace f\enotes
- \NOTEs\pointdurgue F\hup I&\pointdorgue d\hl d&\pointdorgue l\hup f&\pointdorgue m\hlp k\enotes
- \barre %105
- \ggrnotes&&&\tinynotesize\Ibbu0ej1\qh0e\tqh0j\enotes
- \NOTes\hu{^F}&\hl{=e}&\zh{hj}\hu l&\hl o\enotes
- \notes\pt5\ds&\soupir&\pt5\ds&\pt5\ds\enotes
- \grace j\enotes
- \notes\ccu F&&\zq{hj}\ccu l&\ccl o\enotes
- \barre %106
- \grace j\enotes
- \NOtes\hup G&\soupir\soupir\ql b&\roff{\zql h}\zhp i\hup k\hlp g&\ql o\hl n\enotes
- \barre %107
- \grnotes&&&\tinynotesize\Ibbu0dh1\qh0d\tqh0{_h}\enotes
- \NOTes\hu{^I}&\hl{^b}&\zh{f_h}\hu k&\hl m\enotes
- \notes\pt5\ds&\soupir&\pt5\ds&\pt5\ds\enotes
- \grace h\enotes
- \notes\ccu I&&\zq{fh}\ccu k&\ccl m\enotes
- \barre %108
- \grace g\enotes
- \NOtes\hup J&\soupir\soupir\ql c&\roff{\zhlp g}\zq f\qu k\zh e\hu j&\ql m\hl l\enotes
- \barre %109
- \grace{g}\enotes
- \NOTes\hu{^J}&\hl{^c}&\zh{^eg}\hu i&\hl i\enotes
- \notes\pt5\ds&\soupir&\pt5\ds&\pt5\ds\enotes
- \grace {=e}\enotes
- \notes\ccu {^C}&&\ccl g&\ccl i\enotes
- \barre %110
- \ggrnotes&&&\tinynotesize\Ibbu0Nd1\qh0N\tqh0{d}\enotes
- \NOtes\qu D\qu K\qu D&&\zhp {bd}\hup g&\hlp i\enotes
- \barre %111
- \notes\qu{=C}&&\pt L\zh N\roff{\zhp a}\hup e&\ptb hij\enotes
- \NOtes\qu{=J}\qu C&&&\tten0\hl j\enotes
- \barre %112
- \notes\qu{^C}&&\zhp b\zhp N\hup {^e}&\ptb ihi\enotes
- \NOtes\qu{^J}\qu C&&&\tten0\hl i\enotes
- \barre %113
- \notes\qu D&\hl N&\zh a\hup d&\pto hgh\enotes
- \NOtes\qu K&&&\tten0\itenu0h\ql h\enotes
- \Notes\qu D&\zql K\triolet d\ibu0L0\qh0{^MN}\tqh0M&\triolet l\Ibu0ca2\qh0c\qh0b\tqh0a&\tten0\qqqh hg{^f}\enotes
- \barre %114
- \NOTes\itenl0G\hup G&\itenl1K\hlp K&\itenl2N\itenl3b\zhp N\hup b&\qup g\enotes
- \notes&&&\cu N\islurd5c\qqqq bdgi\enotes
- \barre %115
- \notes\tten0\hup G&\tten1\hlp K&\tten2\tten3\itenl2N\itenl3b\zhp N\hup
-b&\rlap{\sk\sk\sk\tslur5c}\qqqqh gdbd\islurd5f\qqqqh gikn\tslur5n\rlap{\sk\isluru5n}\qqqqb pnpr\enotes
- \barre %116
- \NOtes\pointdorgue a\hup G&\sk\pause&\pointdorgue l\tten2\tten3\zhp b\zhp d\hup
-g&\pointdurgue e\tslur5u\hlp u\enotes
-\mulooseness 1\relax
-\finmorceau
-\bigskip\rightline{\sl\aujourdhui}
-\bye
diff --git a/macros/musixtex/doc/examples/angescam.tex b/macros/musixtex/doc/examples/angescam.tex
deleted file mode 100644
index f2b915632f..0000000000
--- a/macros/musixtex/doc/examples/angescam.tex
+++ /dev/null
@@ -1,19 +0,0 @@
-\advance\staffbotmarg by 7\Interligne
-%
-% option pas d'accompagnement
-\newcount\orgue
-\orgue=0\relax
-%
-\def\Transpose{0}%
-\def\Signature{1}\relax % un dieze a la clef
-\input angescax
-\signaturegenerale{0}\savesignature\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{-1}\relax
-\def\Signature{-1}\relax % un bemol a la clef
-\input angescax
-\signaturegenerale{0}\savesignature\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{-2}\relax
-\def\Signature{-3}\relax % un bemol a la clef
-\input angescax
-\bye
-
diff --git a/macros/musixtex/doc/examples/angescao.tex b/macros/musixtex/doc/examples/angescao.tex
deleted file mode 100644
index e2a7b34bce..0000000000
--- a/macros/musixtex/doc/examples/angescao.tex
+++ /dev/null
@@ -1,24 +0,0 @@
-\input musixtex
-\input musixcpt
-\input musixsty
-
-\advance\staffbotmarg by 4\Interligne
-%
-% option accompagnement
-\newcount\orgue
-\orgue=1\relax
-%
-\interinstrument=41pt
-\def\Transpose{0}%
-\def\Signature{1}\relax % un dieze a la clef
-\input angescax
-\signaturegenerale{0}\savesignature\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{-1}\relax
-\def\Signature{-1}\relax % un bemol a la clef
-\input angescax
-\signaturegenerale{0}\savesignature\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{-2}\relax
-\def\Signature{-3}\relax % un bemol a la clef
-\input angescax
-\bye
-
diff --git a/macros/musixtex/doc/examples/angescax.tex b/macros/musixtex/doc/examples/angescax.tex
deleted file mode 100644
index 6dcab817c7..0000000000
--- a/macros/musixtex/doc/examples/angescax.tex
+++ /dev/null
@@ -1,366 +0,0 @@
-\tenpoint
-%
-\catcodesmusic
-\ifnum\orgue=1\relax
- \def\org#1&#2\\{#1&#2&}\relax
-% \def\cadrage{\vrule width 0pt height 40mm}\relax
- \def\cadrage{\vrule width 0pt height 1mm}\relax
-\else
- \def\org#1&#2\\{}\relax
- \def\cadrage{\vrule width 0pt height 10mm}\relax
-\fi
-%
-\title{Les anges dans nos campagnes}
-\subtitle{No\"el du XIII\umero\ si\`ecle}
-\fullauthor{Harmonisation
- Fran\c cois-Auguste GEVAERT\\1828 -- 1908\ifnum\orgue>0\\
- Partition d'orgue Daniel TAUPIN\fi}
-\shortauthor{F.-A. Gevaert, D. Taupin}
-\maketitle
-%
-\parindent 12mm
-\sepbarrules
-% deux croches hautes
-\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-\def\dqh{\dqu}\def\dqb{\dql}%
-%
-% quatre croches
-\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbH#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax
-\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-\def\qqbL#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax
-%\check
-%\bigskip
-%
-% soufflets crescendo et decrescendo
-%
-\def\soufflcr#1{\zcharnote{#1}{\kern -1cm\Cresc}}%
-\def\Soufflcr#1{\zcharnote{#1}{\kern -1cm\CREsc}}%
-%
-\def\souffldim#1{\zcharnote{#1}{\kern -1cm\Dimin}}%
-\def\Souffldim#1{\zcharnote{#1}{\kern -1cm\DIMin}}%
-%
-%\check
-\ifnum\orgue=0\relax
- \def\nbinstruments{4}\global\nbporteesi=1\relax
- \global\nbporteesii=1\relax
- \global\nbporteesiii=1\relax
- \global\nbporteesiv=1\relax
- \global\cleftoksi={{6}{0}{0}{0}}\relax
- \global\cleftoksii={{0}{0}{0}{0}}\relax
- \global\cleftoksiii={{0}{0}{0}{0}}\relax
- \global\cleftoksiv={{0}{0}{0}{0}}\relax
- \def\instrumenti{Basses}\relax
- \def\instrumentii{T\'enors}\relax
- \def\instrumentiii{Altos}\relax
- \def\instrumentiv{Sopran.}\relax
- \interinstrument=30pt
- \songbottom{1} % to be used to make heavy bars at staff left
- \songtop{4} % to be used to make heavy bars at staff left
-\else
- \interinstrument=25pt
- \def\interinstrumenti{0pt}
- \def\nbinstruments{6}\global\nbporteesi=1\relax
- \global\nbporteesii=2\relax
- \global\nbporteesiii=1\relax
- \global\nbporteesiv=1\relax
- \global\nbporteesv=1\relax
- \global\nbporteesvi=1\relax
- \global\cleftoksi={{6}{0}{0}{0}}\relax
- \global\cleftoksii={{0}{0}{0}{0}}\relax
- \global\cleftoksiii={{6}{0}{0}{0}}\relax
- \global\cleftoksiv={{0}{0}{0}{0}}\relax
- \global\cleftoksv={{0}{0}{0}{0}}\relax
- \global\cleftoksvi={{0}{0}{0}{0}}\relax
- \def\instrumenti{P\'edale}\relax
- \def\instrumentii{Manuel}\relax
- \def\instrumentiii{Basses}\relax
- \def\instrumentiv{T\'enors}\relax
- \def\instrumentv{Altos}\relax
- \def\instrumentvi{Sopran.}\relax
- \def\staffspacingiii{0.7}\relax
- \def\staffspacingiv{0.7}\relax
- \def\staffspacingv{0.7}\relax
- \def\staffspacingvi{0.7}\relax
- \songbottom{3} % to be used to make heavy bars at staff left
- \songtop{6} % to be used to make heavy bars at staff left
-\fi
-%\check
-%
-\signaturegenerale{\Signature}%
-\relativeaccidentals
-\generalmeter{\meterfrac{4}{4}}
-%\check
-\def\interfacteur{9}%
-%\check
-\def\respire{\notes\org&\\&&&\zbreath\enotes}%
-%
-%\check
-\catcode`\@=13
-%\ifx\ninerm\undefined\font\ninerm=\fontid r9\fi
-
-\def@#1|#2|#3*{\zcharnote{-11}{\vbox to 0pt{\ninerm
- \vss\lineskiplimit=0pt
-\baselineskip 9.5pt\parindent 0pt\parskip 0pt\rlap{\vphantom{\'EQ}#3}
-\rlap{\vphantom{\'EQ}#2}\rlap{\vphantom{\'EQ}#1}\relax
-\vss}}}%
-%
-\barsinline=0\relax
-\linesinpage=0\relax
-\debutmorceau\def\dmtp{}\def\dmtph{}\def\!{\kern -4pt}%
-\ifnum\orgue=0\relax
- \autolines {8}42\relax
-\else
- \autolines {8}42\relax
- \advance\linesinpage 1\relax
-\fi
-\transpose=\Transpose
-\znotes\org&\zmidtwotext{\moyen III}\\&&&\Uptext{\moyen Allegretto}\enotes
-%
-\dmtp\def\txt{@\!Ber-|\!\!Cher-|\!Les*}\Notes\org&\qu g|\ql i\\\relax
- &\txt\ql n&\txt\qu g&\txt\ql i\enotes
-\dmtp\def\txt{@gers,|\!chons|an-*}\Notes\org&\qu f|\ql i\\&\txt\ql m\relax
- &\txt\qu g&\txt\ql i\enotes
-\dmtph\def\txt{@quit-|tous|ges*}\Notes\org\pause&\qu e|\ql i\\\pause
- &\txt\ql l&\txt\qu g&\txt\ql i\enotes
-\dmtp\def\txt{@tez|l'heu-|dans*}\notes\org&\qu d|\dql3ik\\&\txt\ql k\relax
- &\txt\dqu3gi&\txt\dql3ik\enotes
-%
-%\check
-% mesure 2
-\barre\def\txt{@vos|reux|nos*}\Notes\org&\qu e|\qlp k\\&\txt\qlp k\relax
- &\txt\qu i&\txt\qlp k\enotes
-\dmtp\def\txt{@re-|vil-|cam-*}\notes\org&\qu f|\sk\cl j\\\hpause
- &\sk\txt\cl k\qsk&\txt\qu f&\sk\txt\cl j\qsk\enotes
-\dmtph\def\txt{@trai-|la-|pa-*}\notes\org\pause&\qu g|\ql i\\\qp
- &\txt\dql{-3}kj&\txt\dqu{-4}ge&\txt\ql i\enotes
-\dmtp\def\txt{@tes|ge|gnes*}\Notes\org&\qu d|\ql g\\@U--|Qui--|Ont--*\itenu0N\ql N\relax
- &\txt\ql i&\txt\qu d&\txt\ql g\enotes
-%
-%\check
-% mesure 3
-\barre\def\txt{@U-|Qui|Ont*}\Notes\org&\qu g|\ql i\\\tten0\ql N\relax
- &\txt\ql k&\txt\qu g&\txt\ql i\enotes
-\dmtp\def\txt{@nis-|l'a|en-*}\notes\org&\qu f|\rlap{\dql{-2}ih}\\\txt\cl M\relax
- &\txt\cl k&\txt\cu g&\txt\cl i\enotes
-\dmtp\def\txt{@sez-|vu|ton-*}\notes\org&|\\\txt\cl M\relax
- &\txt\cl k&\txt\cu g&\txt\cl h\enotes
-\dmtph\def\txt{@vous|na\^\i-|n\'e*}\notes\org\pause&\qu e|\ql i\\\txt\ql L\relax
- &\txt\qu g&\txt\dqu{-2}gf&\txt\ql i\enotes
-\dmtp\def\txt{@\`a--|tre--|l'hym--*}\notes\org&\dqu2ef|\dql3ik\\\txt\dql2LM\relax
- &\txt\dqu2gh&\txt\dqu{-2}ed&\txt\dql3ik\enotes
-%
-%\check
-% mesure 4
-\barre\def\txt{@leurs|sous|ne*}\Notes\org&\qu f|\qlp k\\\txt\ql M\relax
- &\txt\ql h&\txt\qu d&\txt\qlp k\enotes
-\dmtp\def\txt{@con-|ses|des*}\notes\org&\qu d|\sk\cl j\\\txt\ql K\sk
- &\txt\dql5hk&\txt\qu f&\sk\rlap{\!\txt}\cl j\enotes
-\dmtph\def\txt{@\!certs,|\!toits;|\!Cieux,*}\notes\org\pause
- &\qu b|\zqu i\dql{-6}gd\\\txt\ql N\relax
- &\txt\ql k&\txt\qu g&\txt\ql i\qsk\enotes
-\dmtp\def\txt{@Et|Of-|Et*}\notes\org&\soupir|\rlap{\dql2ef}\soupir\\\soupir\relax
- &\txt\cl l&\soupir&\soupir\enotes
-\dmtp\def\txta{@que|\!frons|l'\'e*}\notes\org&|\\\relax
- &\txta\cl m&&\enotes
-%
-%\check
-% mesure 5
-\def\txtb{@vos-|lui|cho*}%
-\ifnum\orgue=0\relax
- \barre
-\else
- \global\cleftoksii={{6}{0}{0}{0}}\changeclefs\alapage% barre
-\fi
-\Notes\org&\ql N|\zql g\qu i\\&\txtb\ql n&\txt\qu g&\txt\ql i\enotes
-\dmtp\Notes\org&\ql M|\zql g\qu i\\&\txta\ql m&\txta\qu g&\txta\ql i\enotes
-\dmtph\Notes\org\pause&\ql L|\zql g\qu i\\\pause
- &\txtb\ql l&\txtb\qu g&\txtb\ql i\enotes
-\dmtp\def\txt{@ten-|le|de*}\notes\org&\ql K|\rlap{\dql3gi}\dqu3ik\\\relax
- &\txt\ql k&\txt\dqu3gi&\txt\dql3ik\cadrage\enotes
-%
-%\check
-% mesure 6
-\barre
-\def\txt{@dres|\!\!tendre|nos*}\Notes\org&\hl K|\zql i\qup k\\&\txt\qlp k\relax
- &\txt\qu i&\txt\qlp k\enotes
-\dmtp\def\txt{@mu-|hom-|mon-*}\notes\org&|\ql f\cu j\\\hpause
- &\sk\txt\cl k\qsk&\txt\qu f&\sk\txt\cl j\qsk\enotes
-\dmtph\def\txt{@set-|ma-|ta-*}\notes\org\pause
- &\dql{-3}KJ|\zqu i\dql{-4}ge\\\soupir
- &\txt\dql{-3}kj&\txt\dqu{-4}ge&\txt\ql i\enotes
-\def\txta{@Fas-|Et|Re-*}\relax
-\dmtp\def\txt{@tes|ge|gnes*}\Notes\org&\ql I|\zql d\qu g\\\txta\ql N\relax
- &\txt\ql i&\txt\qu d&\txt\ql g\enotes
-%
-%\check
-% mesure 7
-\def\txtb{@\!sent|de|dit*}%
-\barre
- \Notes\org&\ql N|\zql d\qu i\\\txtb\ql N&\txta\qu i\relax
- &\txta\qu d&\txta\ql i\enotes
-\dmtp\def\txt{@re-|nos|ce*}\notes\org&\ql M|\rlap{\dqu{-2}ih}\qlp{^d}\\\txt\ql M\relax
- &\txtb\cu h&\txtb\cu{^d}&\txtb\cl i\enotes
-\dmtp\notes\org&|\\\relax
- &\txt\cu h&\txt\cu d&\txt\cl h\enotes
-\dmtph\def\txt{@ten-|c\oe urs|chant*}\notes\org\pause
- &\dql{-2}ML|\qu i\cl e\\\relax
- \txt\dql{-2}ML&\txt\dqu{-2}hg&\txt\dqu2de&\txt\ql i\enotes
-\dmtp\def\txt{@tir--|et--|m\'e--*}\notes
- \org&\dql{-6}LI|\rlap{\dql{-2}gf}\dqu3ik\\\txt\dql{-6}LI\relax
- &\txt\dqu4gi&\txt\dqu{-2}gf&\txt\dql3ik\enotes
-%
-%\check
-% mesure 8
-\barre\def\txt{@dans|de|lo-*}\Notes\org&\ql J|\zql e\qup k\\\txt\ql J\relax
- &\txt\ql i&\txt\qu e&\txt\qlp k\enotes
-\dmtp\def\txt{@les|nos|di-*}\notes\org&\ql K|\ql f\cu j\\\txt\ql K\sk
- &\txt\qu h&\txt\qu f&\sk\txt\cl j\enotes
-\dmtph\def\txt{@airs:|voix.|eux.*}\Notes\org\pause&\ql N|\zql{=d}\qu i\\\txt\ql N\relax
- &\txt\ql i&\txt\qu{=d}&\txt\ql i\enotes
-\temps\Notes\org&\soupir|\soupir\\\soupir\relax
- &\soupir&\soupir&\soupir\enotes
-\ifnum\orgue=0\relax
-\else
- \global\cleftoksii={{0}{0}{0}{0}}\changeclefs
-\fi
-\suspmorceau
-%\eject
-\catcodesmusic
-%
-%\check
-\def@#1|#2|#3*{\zcharnote{-5}{\vbox to 0pt{\vss\lineskiplimit=0pt
-\baselineskip 10pt\parindent 0pt\parskip 0pt\rlap{\vphantom{\'EQ}#3}
-\rlap{\vphantom{\'EQ}#2}\rlap{\vphantom{\'EQ}#1}\relax
-\vss}}}
-\ifnum\orgue=0\relax
- \autolines {8}43\relax
-\linesinpage=0\relax
-\barsinline=0\relax
- \interinstrument=6pt
-\else
- \interinstrument=5pt
- \def\interinstrumenti{0pt}
-\fi
-%
-%
-% mesure 9
-\def\xx{@|---|*}%
-\reprmorceau\def\Glo{@|Glo -|*}\Notes\org&\zcharnote{-5}{\moyen II}\hpause
- |\uptext{\moyen I}\hl k\\&&\sk\hpause&\Glo\hl k\enotes
-\temps\notes\org\pause&\hu g\relax
- |\qqbl{-2}lkji\\\pause&\pause
- &\Glo\hu g&\xx\qqbl{-2}lkji\cadrage\enotes
-%
-% mesure 10
-\barre\notes\org&\qqbh{-2}hgfe|\hl j\\&&\xx\qqbh{-2}hgfe&\xx\hl j\enotes
-\temps\notes\org\pause&\hu f|\qqbl{-2}kjih\\\pause&\pause&\xx\hu f&\xx\qqbl{-2}kjih\enotes
-%
-% mesure 11
-\barre\notes\org&\qqbh{-2}gfed|\hl i\\&&\xx\qqbh{-2}gfed&\xx\hl i\enotes
-\temps\def\Ri{@|ri-|*}\notes\org\pause&\hu e|\qqbl{-2}jihg\\\pause&\pause
- &\xx\qup e\sk\sk\Ri\cu e&\xx\qqbl{-2}jihg\enotes
-%
-% mesure 12
-%\check
-\barre\def\txta{@|a|*}\def\Txta{@|a--|*}%
-\notes\org&\qqbh{-1}fede|\qup h\sk\sk\cu h\\&\soupir\sk\Glo\hl k\relax
- &\Txta\qqbh{-1}fede&\xx\qup h\sk\sk\Ri\cu h\enotes
-\temps\notes\org\pause&\qu f\sk\soupir|\rlap{\ql d\sk\ql c}\qqbH0gfghf\\\pause
- &\xx\sk\sk\Ri\cl j\txta\cl j\relax
- &\xx\qqbH0gfghf&\txta\qu d\sk\soupir\enotes
-\ifnum\orgue=0\relax
-\else
- \global\cleftoksii={{6}{0}{0}{0}}\changeclefs
-\fi
-%
-% mesure 13
-\barre\def\In{@|in|*}\NOtes\org&\qu K|\zq{bd}\upz g\ql g\\&\In\ql i\relax
- &\xx\qu d&\In\lpz g\qu g\enotes
-\dmtp\def\Ex{@|ex-|*}\notes\org&\zql J\qu M|\zq{cf}\upz h\ql h\\&\Ex\dql{-4}jh\relax
- &\In\cu e\Ex\cu f&\Ex\lpz h\qu h\enotes
-\temps\def\txt{@|cel-|*}\notes\org\pause&\zql I\qu N|\zq{eg}\upz i\ql i\\\pause\relax
- &\txt\dql{-2}lk&\txt\qu g&\txt\upz i\ql i\enotes
-\dmtp\def\txt{@|sis|*}\Notes\org&\zql J\qu L|\zq{eh}\upz j\ql j\\&\txt\ql j&\txt\itenl0h\qu h\relax
- &\txt\upz j\ql j\enotes
-%
-% mesure 14
-\barre\def\De{@|De-|*}\Notes\org&\hu K|\zw d\zh g\hu i\\\relax
- &\De\ql k&\tten0\qu h&\De\hl i\enotes
-\dmtp\Notes\org&|\\&@|o!|*\ql k&\De\hu g&\xx\enotes
-\temps\notes\org\pause&\zcharnote{-6}{\moyen I}\qqbl{-2}MLKJ|\zh f\hu h\\\pause&\Glo\qqbl{-2}kjih\relax
- &\sk\sk@|o!|*\qu f&@|o!|*\hl h\cadrage\enotes
-%
-% mesure 15
-\barre\notes\org\ql N\sk\ql M&\hu I|\zw g\zh i\hu k\\\sk\hpause
- &\xx\hlp i&\Glo\qqbh{-2}ihgf&\Glo\hl k\enotes
-\temps\notes\org\hl L&\hl N|\qqbh{-2}lkji\\\Glo\hl N&\xx\sk\sk\dql{-2}lk\relax
- &\xx\itenl0e\hu e&\xx\qqbl{-2}lkji\enotes
-%\check
-% mesure 16
-%
-\barre\notes\org\ql M\sk\ql L&\qqbl{-2}aNML|\zh e\zh h\hu j\relax
- \\\xx\qqbl{-2}aNML&\xx\dql{-2}ji\hl h\relax
- &\xx\tten0\qu e\sk\dqu{-2}hg&\xx\qu j\enotes
-\temps\notes\org\hl K&\hl K|\zh f\zhl h\rlap{\qqbh{-2}kjih}\relax
- \\\xx\hl M&\sk\sk&\xx\dqh{-2}fe\relax
- &\xx\rlap{\qqbl{-2}kjih}\enotes
-\dmtp\notes\org&|\\&\xx\dql{-2}kj&\itenl0d\qu d&\enotes
-%
-% mesure 17
-\barre
-%\autolines 753
-\notes\org\ql L\sk\ql K&\qqbl{-2}NMLK|\zw e\zw g\hu i\relax
- \\\xx\qqbl{-2}NMLK&\dqh{-2}ih\xx\hu g\relax
- &\tten0\qu d\zbreath\sk\dqh{-2}gf&\xx\hl i\enotes
-\temps\notes\org\hl J&\hl J|\rlap{\qqbh{-2}jihg}\relax
- \\\xx\hl L&\sk\sk&\xx\dqh{-2}ed\relax
- &\xx\rlap{\qqbh{-2}jihg}\enotes
-\dmtp\notes\org&|\\&\dql{-2}ji&\itenl0c\qu c&\cadrage\enotes
-%
-% mesure 18
-\barre\notes\org\bigaccid\hu{^J}&\qqbl{-1}MLKL\relax
- |\bigaccid\Sh c\zhl c\zqp f\qup h\relax
- \sk\sk\zq f\cu h\\\xx\qqbl{-1}MLKL&\xx\dqh{-2}hg\Ri\dqh2fg\relax
- &\tten0\dqh0c{^c}\Ri\dqh{-2}dc\relax
- &\xx\qup h\sk\sk\Ri\cu h\enotes
-\def\txt{@|a--|*}%
-\temps\notes\org\hu K&\qqbl0MNaM|\zhu d\hl d\\\xx
-\qqbl0MNaM&\qqbH0ihi{=j}h\relax
- &\txt\qqbH0edefe&\txt\qu d\sk\soupir\enotes
-%
-%mesure 19
-\barre\def\Ex{@|ex-|*}\relax
-\notes\org\qu I\sk\qu H&\ql N\sk\ql M|\zq b\zq d\upz g\ql g\sk\bigaccid
-\zq{=c}\zq f\upz h\ql h\relax
- \\\xx\qqbl{-1}bcba&\In\upz k\ql k\sk\Ex\upz j\ql j\relax
- &\In\lpz d\qu d\sk\Ex\lpz f\qu f\relax
- &\In\lpz g\qu g\sk\Ex\lpz h\qu h\enotes
-\temps\def\Cel{@|cel-|*}\NOtes\org\qu I&\ql N|\zq d\zq g\upz i\ql i\relax
- \\\Ri\ql N&\Cel\upz k\ql k\relax
- &\Cel\lpz g\qu g&\Cel\upz i\ql i\enotes
-\dmtp\def\Sis{@|sis|*}\Notes\org\qu{=J}\relax
- &\qu L|\zq e\zq h\upz j\ql j\relax
- \\@|a|*\qu J&\Sis\upz l\ql l\relax
- &\Sis\itenl0h\qu h&\Sis\upz j\ql j\enotes
-% mesure 20
-\barre\Notes\org\hu K&\qu K|\zh d\zhl i\qsk\qu h\relax
- \\\De\ql K&\De\itenu1k\hl k&\tten0\qu h&\De\hl i\enotes
-\temps\notes\org&\dqb5Nb|\qu g\\\dqb5Nb&&\De\qu g&\enotes
-\temps\notes\org\hu D&\qqbL{-2}bdcbc|\zh f\hu h\sk\itenl2d\ql d\sk\relax
- \\\xx\hl d&\tten1\xx\qqbl{-1}kjij&\xx\hu f&\xx\hl h\sk\enotes
-% mesure 21
-\xbarre\def\txt{@|o!|*}\NOTes\org\pointdorgue a\hu G\relax
- &\pointdorgue b\zh N\hl b|\tten2\pointdorgue n\zh d\hu g\relax
- \\\txt\pointdorgue a\hl N\relax
- &\txt\pointdorgue l\hl i&\txt\pointdorgue l\hu d\relax
- &\txt\pointdorgue m\hu g\enotes
-\temps\Notes\org&|\\\hpause&\hpause&\hpause&\hpause\enotes
-%
-\finmorceau
-\medskip\rightline{\it le \aujourdhui}
-\absoluteaccidentals
-\eject
-
-\endinput
diff --git a/macros/musixtex/doc/examples/avemaria.tex b/macros/musixtex/doc/examples/avemaria.tex
deleted file mode 100644
index 67348d0423..0000000000
--- a/macros/musixtex/doc/examples/avemaria.tex
+++ /dev/null
@@ -1,18 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\tracingstats=2\relax
-\hsize=185mm
-\vsize=270mm
-\hoffset -1.70cm
-\voffset -1.54cm
-\barsinline=0\relax
-\linesinpage=0\relax
-\resetfacteurs
-\computewidths
-\sepbarrules
-%
-\input avemarix
-\bye
diff --git a/macros/musixtex/doc/examples/avemarid.tex b/macros/musixtex/doc/examples/avemarid.tex
deleted file mode 100644
index e190c1201f..0000000000
--- a/macros/musixtex/doc/examples/avemarid.tex
+++ /dev/null
@@ -1,1016 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
- \title{Ave Maria (Gounod)}
-\csname titremorceautoc\endcsname
-\fulltitle{M\'editation -- Ave Maria}
-\title{M\'editation -- Ave Maria}
- \author{Charles Gounod \& J.-S. Bach\\Transcription Orgue solo Daniel
-Taupin\\\& Markus Veittes}
- \shortauthor{C. Gounod, J.-S. Bach, D. Taupin}
- \subtitle{\relax}
- \othermention{G.O.: fl\^ute 8' [+4']\\R\'ecit : fl\^utes 8'+4' [+nasard ou
-chalumeau {\it ad lib.}]\\Positif : quinte\\P\'edale : 16', acc.
-G.O.\\Gif : 2/9-11-12/20-23/33-37-45/50-52-54}
-\maketitle
-
-\staffbotmarg\Interligne
-%
-\parindent 13mm
-\musicsize=20
-\normal
-\relativeaccidentals
-\generalsignature{2}
-\transpose=1
-\def\oct{\advance\transpose by 7\relax}
-\def\nbinstruments{3}
-\def\instrumenti{P\'edale}
-\def\instrumentii{G.O.}
-%\def\interinstrumenti{-2\Interligne}
-%\def\interinstrumentii{-2\Interligne}
-\def\instrumentiii{Positif}
-\nbporteesi=1\relax
-\nbporteesii=1\relax
-\nbporteesiii=1\relax
-
-\generalmeter{\meterC}%
-\cleftoksi{{6}{0}{0}{0}}
-\cleftoksii{{0}{0}{0}{0}}
-\cleftoksiii{{0}{0}{0}{0}}
-%\raggedlinestrue % uncomment for ragged right lines
-
-
-\debutmorceau
-\def\OrgNotes#1&#2&#3&#4&#5&#6\enotes{\Notes#1&#2&\relax#5\enotes}%
-\autolines{25}{3}{5}%
- %\check
-%Takt 1
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause&&\pause&\enotes
-\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&\enotes
-\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&\enotes
-\barre
- %\check
-%Takt 2
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause&&\pause&\enotes
-\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes
-\barre
- %\check
-%Takt 3
-\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes
-\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause&&\pause&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes
-\barre
- %\check
-%Takt 4
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause&&\pause&&&&\enotes
-\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&\enotes
-\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&\enotes
-\barre
- %\check
-%Takt 5
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\wh l&A\rlap{---}&\wh e&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&\enotes
-\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes
-\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&&&&\enotes
-\barre
- %\check
-%Takt 6
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\wh m&ve&\hupp f&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2h&&&&\enotes
-\OrgNotes&\qb2k\tqb2m&&Ma-&\cu f&&&&\enotes
-\barre
- %\check
-%Takt 7
-\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hlp n&ri\rlap{---}&\hup g&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes
-\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\ql k&\rlap{---}&\qu d&&&&\enotes
-\barre
- %\check
-%Takt 8
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hlp l&a,&\hup e&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&\enotes
-\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes
-\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 9
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\oct
- \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0h\tqb0l&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\oct
- \tten5\ibl4c0\qb4h&&\tten4\cu h&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\rlap{---}&\Ibu5ac4\qh5a&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\qh5b&&&&\enotes
-\OrgNotes&\qb1l\tqb1o&\oct\tqb4c&a&\tqh5c&&&&\enotes
-\barre
- %\check
-%Takt 10
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct
- \qlp d&ple\rlap{---}&\qup d&&&&\enotes
-\OrgNotes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2k\qh2f&&&&\enotes
-\OrgNotes&\qh2h\tqh2k&\oct \cl e&&\cu e&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct
- \ql d&na,&\qu d&&&&\enotes
-\OrgNotes&\ibbu1g3\qh1f\tqh1h&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 11
-\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct
- \itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&&&&\enotes
-\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct
- \tten5\ibl4b0\qb4g&&\tten4\cu g&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&\oct
- \qb4N&\rlap{---}&\Ibu5Nb4\qh5N&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2n\qb2g&\oct
- \qb4a&mi-&\qh5a&&&&\enotes
-\OrgNotes&\qb2k\tqb2n&\oct
- \tqb4b&nus&\tqh5b&&&&\enotes
-\def\atnextline{\autolines{25}35}\relax
-\barre
- %\check
-%Takt 12
-\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\oct
- \qlp c&te\rlap{---}&\qup c&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2e&&&&\enotes
-\OrgNotes&\qh2g\tqh2j&\oct
- \cl d&&\cu d&&&&\enotes
-\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\oct
- \ql c&cum,&\qu c&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qp&&\qp&&&&\enotes
-%
-\def\atnextline{\autolines{25}35}\relax
-\barre
- %\check
-%Takt 13
-\OrgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\oct
- \itenu5j\hl j&be\rlap{---}&\itenu4j\hu j&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&&&\enotes
-\temps\OrgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\oct
- \tten5\ibl4c0\qb4j&&\tten4\cu j&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&\oct
- \qb4c&\rlap{---}&\Ibu5ce4\qh5c&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2e&\oct
- \qb4d&ne\rlap{---}&\qh5d&&&&\enotes
-\OrgNotes&\qh2g\tqh2j&\oct
- \tqb4e&&\tqh5e&&&&\enotes
-\barre
- %\check
-%Takt 14
-\OrgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct\bigaccid
- \qlp{^f}&\rlap{dic---}&\bigaccid\qup {^f}&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2d&&&&\enotes
-\OrgNotes&\qh2f\tqh2j&\oct
- \cl e&&\cu e&&&&\enotes
-\temps\OrgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct
- \ql d&\rlap{---}&\qu d&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\tqh1f&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\oct
- \ql a&ta&\qu a&&&&\enotes
-\barre
- %\check
-%Takt 15
-\def\atnextline{\staffbotmarg3\Interligne}%
-\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct
- \hl b&tu&\hu b&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&&&\enotes
-\temps\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\qp&&\qp&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\oct
- \ql d&in&\qu d&&&&\enotes
-\barre
- %\check
-%Takt 16
-\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\oct
- \itenu5e\hl e&mu\rlap{---}&\itenl4e\hu e&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes
-\OrgNotes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j&&&&\enotes
-\temps\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct
- \tten5\ibl5e1\qb5e&&\tten4\cu e&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&\oct
- \qb5e&li\rlap{---}&\Ibu4eg4\qh4e&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2e&\oct
- \qb5f&&\qh4f&&&&\enotes
-\OrgNotes&\qh2g\tqh2j&\oct
- \tqb5g&&\tqh4g&&&&\enotes
-\barre
- %\check
-%Takt 17
-\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct
- \hl h&e\rlap{---}&\ppt h\qu h&&&&\enotes
-\OrgNotes&\ibbu1g3\qh1d\tqh1h&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2k\qh2d\qh2h&&&&\enotes
-\OrgNotes&\tqh2k&&ri-&\ccu a&&&&\enotes
-\temps\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct
- \ql a&bus&\qu a&&&&\enotes
-\OrgNotes&\ibbu1g3\qh1d\tqh1h&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 18
-\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\oct
- \itenu5d\hl d&et\rlap{---}&\itenl4d\hu d&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\tqh1f&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i&&&&\enotes
-\temps\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct
- \tten5\ibl4d1\qb4d&&\tten4\cu d&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\tqh1f&\oct
- \qb4d&be\rlap{---}&\Ibu5df4\qh5d&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2i\qh2d&\oct
- \qb4e&&\qh5e&&&&\enotes
-\OrgNotes&\qh2f\tqh2i&\oct
- \tqb4f&ne-&\tqh5f&&&&\enotes
-\barre
- %\check
-%Takt 19
-\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct
- \hl g&\rlap{dic---}&\hu g&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1c\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&&&&\enotes
-\temps\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct
- \qu N&tus&\qu N&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1c\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 20
-\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \itenu5c\hl c&fruc\rlap{---}&\itenl4c\hu c&&&&\enotes
-\OrgNotes&\ibbu1c3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&\enotes
-\temps\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \tten5\ibl4c1\qb4c&&\tten4\cu c&&&&\enotes
-\OrgNotes&\ibbu1c3\qh1a\tqh1c&\oct
- \qb4c&tus&\Ibu5ce4\qh5c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct
- \qb4d&&\qh5d&&&&\enotes
-\OrgNotes&\qh2c\tqh2f&\oct
- \tqb4e&&\tqh5e&&&&\enotes
-\barre
- %\check
-%Takt 21
-\OrgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \itenu5f\hl f&vent\rlap{---}&\itenl4f\hu f&&&&\enotes
-\OrgNotes&\ibbu1c3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&\enotes
-\temps\OrgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \tten5\ibl4f1\qb4f&&\tten4\cu f&&&&\enotes
-\OrgNotes&\ibbu1c3\qh1a\tqh1c&\oct
- \qb4f&ris&\Ibu5fh4\qh5f&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct
- \qb4g&&\qh5g&&&&\enotes
-\OrgNotes&\qh2c\tqh2f&\oct
- \tqb4h&&\tqh5h&&&&\enotes
-\barre
- %\check
-%Takt 22
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \qlp i&tu--&\qlp i&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&&&&\enotes
-\OrgNotes&\qh2b\tqh2f&\oct
- \cl h&i,&\cl h&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \ql g&\rlap{Je---}&\qu g&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct
- \ql d&&\qu d&&&&\enotes
-\barre
- %\check
-%Takt 23
-\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \hlp e&sus.&\hup e&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct
- &&&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct
- &&&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct
- \pt a\ds\sk\sk\cl e&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 24
-\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct
- \hl g&\rlap{Sanc---}&\hu g&&&&\enotes
-\OrgNotes&\bigaccid\ibbu1b3\qh1{_b}\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct
- \ql e&ta&\qu e&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c&\oct
- \pt a\ds&&\pt h\ds&&&&\enotes
-\OrgNotes&\tqh2e&\oct
- \ccl e&\rlap{\kern -\Interligne Ma-}&\ccu e&&&&\enotes
-\barre
- %\check
-%Takt 25
-\OrgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \hl h&ri\rlap{---}&\hu h&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \ql a&a,&\qu a&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\oct
- \qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 26
-\OrgNotes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\oct
- \hl h&\rlap{sanc---}&\hu h&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\oct
- \ql c&ta&\qu c&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c&\oct\qsk
- \pt a\ds&&\qsk\pt h\ds&&&&\enotes
-\OrgNotes&\tqh2e&\oct
- \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h&&&&\enotes
-\barre
- %\check
-%Takt 27
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {_L}&\ds&\oct
- \hl j&ri\rlap{---}&\hl j&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes
-\OrgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \bigaccid\ql{_e}&a,&\bigaccid\qu{_e}&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c&\oct
- \pt a\ds&&\pt j\ds&&&&\enotes
-\OrgNotes&\tqh2e&\oct
- \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j&&&&\enotes
-\barre
- %\check
-%Takt 28
-\OrgNotes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \hl j&ri\rlap{---}&\hl j&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&&&\enotes
-\temps\OrgNotes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \ql d&a!&\qu d&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\oct
- \pt a\ds\sk\sk\ccl d&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 29
-\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \itenu5d\hl d&O\rlap{---}&\itenl4d\hu d&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d&&&&\enotes
-\temps\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \tten5\ibl4d{-1}\qb4d&&\tten4\cu d&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&\oct
- \qb4d&ra&\Ibu5db4\qh5d&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2d\qh2N&\oct
- \qb4c&&\qh5c&&&&\enotes
-\OrgNotes&\qh2b\tqh2d&\oct
- \tqb4b&pro&\tqh5 b&&&&\enotes
-\barre
- %\check
-%Takt 30
-\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \qlp g&no\rlap{---}&\qup g&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N&&&&\enotes
-\OrgNotes&\qh2c\tqh2e&\oct
- \cl e&&\cu e&&&&\enotes
-\temps\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \ql c&bis,&\qu c&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct
- \qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 31
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \itenu5f\hl f&no\rlap{---}&\itenl4f\hu f&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \tten5\ibl4f{-1}\qb4f&&\tten4\cu f&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct
- \qb4f&bis&\Ibu5fd4\qh5f&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct
- \qb4e&pec-&\qh5e&&&&\enotes
-\OrgNotes&\qh2c\tqh2f&\oct
- \tqb4d&ca-&\tqh5d&&&&\enotes
-\barre
- %\check
-%Takt 32
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \qlp k&to\rlap{---}&\qlp k&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&&&&\enotes
-\OrgNotes&\qh2b\tqh2f&\oct
- \cl i&ri-&\cl i&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \ql g&bus,&\qu g&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct
- \qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 33
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\oct
- \itenu5h\hl h&nunc&\itenl4h\hu h&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\bigaccid\qsk\ibbu2e0\qh2{^f}\qh2a\qh2c\tqh2f&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \tten5\ibl4h1\qb4h&&\tten4\cu h&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&\oct
- \qb4h&et\rlap{---}&\Ibu5hj4\qh5h&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct
- \qb4i&&\qh5i&&&&\enotes
-\OrgNotes&\qh2c\tqh2f&\oct
- \tqb4j&in&\tqh5j&&&&\enotes
-\barre
- %\check
-%Takt 34
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {=L}&\ds&\oct
- \itenu5l\hl l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \tten5\ibl4j{-4}\qb4l&&\tten4\cl l&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct
- \qb4j&--&\Ibu5je4\qh5j&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2g\qh2N&\oct
- \qb4g&ra,&\qh5g&&&&\enotes
-\OrgNotes&\qh2c\tqh2g&\oct
- \tqb4e&in&\tqh5e&&&&\enotes
-\barre
- %\check
-%Takt 35
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \itenu5d\hl d&ho\rlap{---}&\itenl4d\hu d&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \tten5\ibl4d3\qb4d&&\tten4\ibu5g3\qh5d&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct
- \qb4h&&\tqh5h&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct
- \qb4i&ra&\ibu5i{-1}\qh5i&&&&\enotes
-\OrgNotes&\qh2c\tqh2f&\oct
- \tqb4h&&\tqh5h&&&&\enotes
-\barre
- %\check
-%Takt 36
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \ibl4h{-3}\usf h\qb4h&\rlap{mor---}&\ibu5j2\qh5g&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&\oct
- \usf g\qb4g&&\tqh5k&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct
- \usf f\qb4f&tis&\ibu5i{-2}\qh5i&&&&\enotes
-\OrgNotes&\qh2b\tqh2f&\oct
- \usf d\tqb4d&&\tqh5g&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\relax
- \lsf i\ibu4i{-3}\qh4i&nos-&\ibu5f{-2}\qh5f&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&\relax
- \lsf h\qh4h&&\tqh5d&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&\relax
- \lsf f\qh4f&tr\ae.&\ibu5b{-2}\qh5b&&&&\enotes
-\OrgNotes&\qh2b\tqh2f&\relax
- \lsf d\tqh4d&&\tqh5N&&&&\enotes
-\barre
- %\check
-%Takt 37
-\OrgNotes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds&\relax
- \hup c&A\rlap{---}&\itenl4c\hu c&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl J\raise2\Interligne\hbox{\qs}\qupp L&\ds&&\rlap{men.}&\tten4\qu c&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&\uptext{R\'ecit (doux)}&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 38
-\def\orgNotes#1&#2&#3&#4&#5&#6&#7\enotes{\Notes#1&#2&\relax#4\enotes}%
-\def\orgNOTes#1&#2&#3&#4&#5&#6&#7\enotes{\NOTes#1&#2&\relax#4\enotes}%
-\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&&\wh l&A\rlap{---}&&&&&\enotes
-\orgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&\enotes
-\orgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&\raise -2\Interligne\hpause&&&&&\enotes
-\temps\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&&\hl g&&&&&&\enotes
-\orgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes
-\orgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&&&&\enotes
-\barre
- %\check
-%Takt 39
-\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\wh m&ve&&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1h\tqb1k&&&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&\raise -2\Interligne\hpause&&&&&\enotes
-\temps\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp d&\ds&&\hl h&&&&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1h\tqb1k&&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2m\qb2h&&&&&&&\enotes
-\orgNotes&\qb2k\tqb2m&&&\rlap{\kern -\Interligne Ma-}&\cu f&&&&&&\enotes
-\barre
- %\check
-%Takt 40
-\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu3g\wh g&\zhl i\hup n&&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&&&\enotes
-\temps\orgNotes\zhl b\raise 5.5\Interligne\qs\qupp d&\ds&&\hl f&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&\qu k&&&&&&\enotes
-\barre
- %\check
-%Takt 41
-\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\tten3\zw e\wh
- g&\zhlp g\hup l&&&&&&&&&\enotes
-\orgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&&&\enotes
-\orgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&&&&&\enotes
-\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&&&&&\enotes
-\orgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&&&&&\enotes
-\orgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&\qp&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 42
-\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu h&\relax
- {\roffset{0.3}{\zhu j}}\oct
- \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h&&&&&&&&\enotes
-\orgNotes&\ibbl0j3\qb0h\tqb0l&&&&&&&&\enotes
-\orgNotes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o&&&&&&&&\enotes
-\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp
-e&\ds&&{\roffset {0.3}{\zhu l}}\oct
- \tten5\ibl4a0\qb4h&&\tten4\ibu5g{-3}\qh5h&&&&&&&&\enotes
-\orgNotes&\ibbl0j3\qb0h\tqb0l&&\oct\qb4a&\rlap{---}&\tqh5a&&&&&&&&\enotes
-\orgNotes&\ibbl1k0\qb1o\qb1h&&\oct\qb4b&ti-&\cu b&&&&&&&&\enotes
-\orgNotes&\qb1l\tqb1o&&\oct\tqb4c&a&\cu c&&&&&&&&\enotes
-\barre
- %\check
-%Takt 43
-\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\bigaccid\zw{^f}&\itenu5o{\zhu o}\oct
- \qlp d&ple\rlap{---}&\Ilegu4k\qup d&&&&&&&&\enotes
-\orgNotes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2k\qh2f&&&&&&&&\enotes
-\orgNotes&\qh2h\tqh2k&&\oct \cl e&&\tleg4\cu e&&&&&&&&\enotes
-\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\tten5{\ibu3m{-2}\zqh3o}\oct
- \ql d&na,&\qu d&&&&&&&&\enotes
-\orgNotes&\ibbu1g3\qh1f\tqh1h&&{\qh3h}&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&&\raise -2\Interligne\rlap{\qp}{\qh3i\sk\tqh3j}&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 44
-\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\zw g&\relax
- \rlap{\roffset{0.3}{\qupp k}}\oct
- \normalnotesize\itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g&&&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&&\sk\sk\sk\ccu l&&&&&&&\enotes
-\temps\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\roffset {0.5}{\zhu k}\oct
- \normalnotesize\tten5\ibl4N0\qb4g&&\tten4\ibu5f{-3}\qh5g&&&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1g\tqb1k&&\oct
- \qb4N&\rlap{---}&\tqh5N&&&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2n\qb2g&&\oct
- \qb4a&mi-&\cu a&&&&&&&&\enotes
-\orgNotes&\qb2k\tqb2n&&\oct
- \tqb4b&nus&\cu b&&&&&&&&\enotes
-\def\atnextline{\autolines{25}35}\relax
-\barre
- %\check
-%Takt 45
-\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\itenl4e\zw e&{\itenu3n\zhu n}\oct
- \qlp c&te\rlap{---}&\Ilegu2j\qup c&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2e&&&&&&&&\enotes
-\orgNotes&\qh2g\tqh2j&&\oct
- \cl d&&\tleg2\cu d&&&&&&&&\enotes
-\temps\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&&{\tten3\ibu3l{-3}\zqh3n}\oct
- \ql c&cum,&\qu c&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&\qh3g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&\raise -2.5\Interligne\rlap{\qp}\qh3h\sk\tqh3i&\qp&\qp&&&&&&&&\enotes
-%
-\barre
- %\check
-%Takt 46
-\orgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\tten4\zw e&\relax
- {\roffset{0.3}{\zhl j}}\oct
- \itenu5j\hu j&be\rlap{---}&\itenu4j\hu j&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&&&&&&&\enotes
-\temps\orgNotes\zhl a\raise 5\Interligne\qs\qupp c&\ds&&{\zql h}\oct
- \tten5\cu j&&\tten4\cl j&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&\oct
- \Ibu4ce4\qh4c&\rlap{---}&\Ibl5ce4\qh5c&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2e&&{\zql g}\oct
- \qh4d&ne\rlap{---}&\ibu5e1\qh5d&&&&&&&&\enotes
-\orgNotes&\qh2g\tqh2j&&\oct
- \tqh4e&&\tqh5e&&&&&&&&\enotes
-\barre
- %\check
-%Takt 47
-\orgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds
- &&\bigaccid\zhlp h\oct
- \qup{^f}&\rlap{dic---}&\bigaccid\Ilegu4l\qup {^f}&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2d&&&&&&&&\enotes
-\orgNotes&\qh2f\tqh2j&&\oct
- \cu e&&\tleg4\cu e&&&&&&&&\enotes
-\temps\orgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&&\oct
- \qu d&\rlap{---}&\qu d&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\tqh1f&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&&\oct
- \zql a\qu a&ta&\qu a&&&&&&&&\enotes
-\barre
- %\check
-%Takt 48
-\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\relax
- {\zw g}\oct \hu b&tu&\hu b&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\tqh1g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&&&&&&&\enotes
-\temps\orgNotes\zhl N\raise 4.2\Interligne\qs\qupp b&\ds&&\relax
- \raise\Interligne\qp&&\qp&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\tqh1g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&\oct
- \qu d&in&\qu d&&&&&&&&\enotes
-\barre
- %\check
-%Takt 49
-\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&&{\zw{^j}}\oct
- \itenu5e\hu e&mu\rlap{---}&\itenl4e\hu e&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes
-\orgNotes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j&&&&&&&&\enotes
-\temps\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\oct
- \tten5\cu e&&\tten4\cu e&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&\oct
- \Ibu5eg4\qh5e&li\rlap{---}&\Ibu4eg4\qh4e&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2e&&\oct
- \qh5f&&\qh4f&&&&&&&&\enotes
-\orgNotes&\qh2g\tqh2j&&\oct
- \tqh5g&&\tqh4g&&&&&&&&\enotes
-\barre
- %\check
-%Takt 50
-\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\itenu3o\hu o&\relax
- \rlap{\hlp k}\oct \itenu4h\hu h&e\rlap{---}&\ppt h\qu h&&&&&&&&\enotes
-\orgNotes&\ibbu1g3\qh1d\tqh1h&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2k\qh2d\qh2h&&&&&&&&\enotes
-\orgNotes&\tqh2k&&&ri-&\ccu a&&&&&&&&\enotes
-\temps\orgNotes\zhl M\raise 3.8\Interligne\qs\qupp a&\ds&\tten3&\tten4\relax
- \oct \cu h&bus&\qu a&&&&&&&&\enotes
-\orgNotes&\ibbu1g3\qh1d\tqh1h&&{\Ibu3hj4\qh3h}&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&&\qh3i\sk\tqh3j&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 51
-\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\bigaccid
- \hu r&\bigaccid\zw {=i}\oct\itenu5d\hu d&et\rlap{---}&\itenl4d\hu d&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\tqh1f&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i&&&&&&&&\enotes
-\temps\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\hu k&\oct
- \tten5\cu d&&\tten4\cu d&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\tqh1f&&\oct
- \Ibu4df4\qh4d&be\rlap{---}&\ibu5e1\qh5d&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2i\qh2d&&\oct
- \qh4e&&\tqh5e&&&&&&&&\enotes
-\orgNotes&\qh2f\tqh2i&&\oct
- \tqh4f&ne-&\cu f&&&&&&&&\enotes
-\barre
- %\check
-%Takt 52
-\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\itenu3n\hu
-n&{\zhlp j}\oct
- \itenu4g\hu g&\rlap{dic---}&\hu g&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1c\tqh1g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&&&&&&&&\enotes
-\temps\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\tten3\ibl3n{3}\qb3n&\oct
- \tten4\cu g&tus&\qu N&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1c\tqh1g&\qb3n&\Ibu4gi4\qh4g&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qb3o\sk\tqb3p&\qh4h\sk\tqh4i&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 53
-\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\zw h\hu
-q&{\zw h}\oct
- \itenu5c\hu c&fruc\rlap{---}&\itenl4c\hu c&&&&&&&&\enotes
-\orgNotes&\ibbu1c3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&&&&&\enotes
-\temps\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\itenu3j\hu j&\oct
- \tten5\cu c&&\tten4\cu c&&&&&&&&\enotes
-\orgNotes&\ibbu1c3\qh1a\tqh1c&&\oct
- \Ibu4ce4\qh4c&tus&\ibu5d1\qh5c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct
- \qh4d&&\qh5d&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2f&&\oct
- \tqh4e&&\tqh5e&&&&&&&&\enotes
-\barre
- %\check
-%Takt 54
-\orgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\tten3\zw c\hu j&\relax
- {\zw j}\oct
- \itenu5f\hu f&vent\rlap{---}&\itenl4f\hu f&&&&&&&&\enotes
-\orgNotes&\ibbu1c3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&&&&&\enotes
-\temps\orgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&&\oct
- \tten5\cu f&&\tten4\cu f&&&&&&&&\enotes
-\orgNotes&\ibbu1c3\qh1a\tqh1c&\hu h&\oct
- \Ibu4fh4\qh4f&ris&\ibu5g1\qh5f&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct
- \qh4g&&\qh5g&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2f&&\oct
- \tqh4h&&\tqh5h&&&&&&&&\enotes
-\barre
- %\check
-%Takt 55
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\hu
-g&{\zqlp n}\oct
- \qup i&tu--&\Ilegu4k\qlp i&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&&&&&&&\enotes
-\orgNotes&\qh2b\tqh2f&&\oct
- \cu h&i,&\tleg4\cl h&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\qs\qupp K&\ds&&\relax
- \rlap{\roff{\hl m}}\oct \qu g&\rlap{Je---}&\Ilegu5l\qu g&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct
- \qu d&&\tleg5\qu d&&&&&&&&\enotes
-\barre
- %\check
-%Takt 56
-\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&&{\zhlp j}\oct
- \hup e&sus.&\hup e&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\hu g&\oct
- &&&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct
- &&&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct
- \pt a\ds\sk\sk\ccl e&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 57
-\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\zw e\relax
- &{\bigfl i\zhlp i}\oct \hu g&&&&&&&\enotes
-\orgNotes&\ibbu1b3\bigaccid\qh1{_b}\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\hu l&\oct
- \qu e&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct
- \pt a\ds&&&&&&&&&\enotes
-\orgNotes&\tqh2e&&\oct
- \ccl e&&&&&&\enotes
-\barre
- %\check
-%Takt 58
-\orgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zhl c\itenl3e\itenu4h\zh e\hu
-h&\itenu2j\zh j\hl o&ri\rlap{---}&\hu h&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten3\tten4\zh e\zhl h\hu
-j&\tten2\zq j\ql h&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&\oct
- \qp&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 59
-\orgNotes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\bigaccid
- \zw h\hu{_l}&{\bigfl l\zh l}\oct
- \hl h&\rlap{sanc---}&\hu h&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\qsk\bigaccid\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\hu
-o&{\zq h}\oct
- \ql c&ta&\qu c&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c&&\oct
- \pt a\ds&&\pt h\ds&&&&&&&&\enotes
-\orgNotes&\tqh2e&&\oct
- \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h&&&&&&&&\enotes
-\barre
- %\check
-%Takt 60
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\zw g\zw j\hu
-n&\itenl2j\zh j\oct \hl j&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes
-\orgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\qs\qupp L&\ds&\bigaccid\hu{_l}&\bigaccid
- \tten2\zq j\ql{_l}&&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct
- \pt a\ds&&\pt j\ds&&&&&&&&\enotes
-\orgNotes&\tqh2e&&\oct
- \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j&&&&&&&&\enotes
-\barre
- %\check
-%Takt 61
-\orgNotes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu
-k&{\zhp l}\oct
- \hl j&ri\rlap{---}&\hl j&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&&&&&&&\enotes
-\temps\orgNotes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hu j&\oct
- \ql d&a!&\qu d&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&\oct
- \pt a\ds\sk\sk\ccl d&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 62
-\orgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu
-i&{\zhl f}\oct
- \itenu5d\hu d&O\rlap{---}&\itenl4d\hu d&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 2\Interligne\qs\qupp M&\ds&&{\zql i}\oct
- \tten5\cu d&&\tten4\cu d&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&\oct
- \Ibu4db4\qh4d&ra&\ibu5d{-1}\qh5d&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2d\qh2N&&{\itenl4g\zql g}\oct
- \qh4c&&\tqh5c&&&&&&&&\enotes
-\orgNotes&\qh2b\tqh2d&&\oct
- \tqh4b&pro&\cu b&&&&&&&&\enotes
-\barre
- %\check
-%Takt 63
-\orgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\zw e\hu
-g&{\tten4\zhlp g}\oct
- \qup g&no\rlap{---}&\Ilegu4l\qup g&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2e&&\oct
- \cu e&&\tleg4\cu e&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 2\Interligne\qs\qupp L&\ds&\itenu3j\zhl g\hu j&\oct
- \qu c&bis,&\qu c&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct
- \raise\Interligne\qp&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 64
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\itenl3f\zw
-f&{\zhl j}\oct
- \itenu5f\hu f&no\rlap{---}&\itenl4f\hu f&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl c&{\zhl h}\oct
- \tten5\cu f&&\tten4\cu f&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct
- \Ibu4fd4\qh4f&bis&\cu f&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct
- \qh4e&pec-&\cu e&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2f&&\oct
- \tqh4d&ca-&\cu d&&&&&&&&\enotes
-\barre
- %\check
-%Takt 65
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\zw f\zhl d\hu
-i&{\zh m}\oct
- \qlp k&\raise\Interligne\hbox{to---}&\Ilegu4k\qlp k&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&&&&&&&\enotes
-\orgNotes&\qh2b\tqh2f&&\oct
- \cl i&ri-&\tleg4\cl i&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl b\hu
-k&{\zq i}\oct
- \ql g&bus,&\qu g&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct
- \qp&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 66
-\def\atnextline{\autolines{25}25}\relax
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid
- \qupp {_L}&\ds&\bigaccid\zhl{^f}&{\bigaccid\zw j\zhl{_l}}\oct
- \itenu5h\hu h&nunc&\itenl4h\hu h&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\qsk\ibbu2e0\bigaccid\qh2{^f}\qh2a\qh2c\tqh2f&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\zhl h&{\bigaccid\zhl{^m}}\oct
- \tten5\cu h&&\tten4\cu h&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&\oct
- \Ibl4hj4\qb4h&et\rlap{---}&\ibu5i1\qh5h&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct
- \qb4i&&\tqh5i&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2f&&\oct
- \tqb4j&in&\cl j&&&&&&&&\enotes
-\barre
- %\check
-%Takt 67
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {=L}&\ds&\zw g\zh j&{\zhl n}\oct
- \itenu5l\hu l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\hu{=l}&{\zql{=l}}\oct
- \tten5\cu l&&\tten4\ibu5j{-2}\qh5l&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct
- \Ibu4je4\qh4j&---&\tqh5j&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2g\qh2N&&{\zql j}\oct
- \qh4g&ra,&\cu g&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2g&&\oct
- \tqh4e&in&\cu e&&&&&&&&\enotes
-\barre
- %\check
-%Takt 68
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw f\hu
-k&{\zhl f}\oct
- \itenu5d\hu d&&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu
-h&{\zhl h}\oct
- \tten5\cu d&&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct
- \Ibu4hh4\qh4h&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct
- \qh4i&&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2f&&\oct
- \tqh4h&&&&&&&&\enotes
-\alaligne
- %\check
-%Takt 69
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\zw d\rh f\zhu
-g&\zhl i\oct \Ibu4fc6\qh4h&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&\oct \qh4g&&&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct
- \qh4f&tis&\ibu5i{-2}\qh5i&&&&&&&&\enotes
-\orgNotes&\qh2b\tqh2f&&\oct
- \tqh4d&&&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu N&\relax
- {\zhl d}\ibu4i{-3}\qh4i&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&\relax
- \qh4h&&\tqh5d&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&\relax
- \qh4f&&&&&&&\enotes
-\orgNotes&\qh2b\tqh2f&&\relax
- \tqh4d&&&&&&\enotes
-\barre
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
- %\check
-%Takt 70
-\orgNotes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds
- &\bigaccid\zw{_b}\roff{\itenu3c\zw c}&\roff{\itenu4c\zw c}\bigaccid\wh{_b}\relax
- &&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\bigaccid\qsk\tqh1{_b}&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhu C\raise\Interligne\qs\qupp J&\ds&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e&&&&&&&&\enotes
-\def\atnextline{\autolines{20}35}\relax
-%\cleftoksii{6000}\changeclefs
-\alaligne
- %\check
-%Takt 71
-\orgNotes\raise\Interligne\rlap{\qs}\wh C\itenl2J\qupp J&\ds&\tten3\zw a\wh
-c&\tten4\zw a\wh c&&&&&&&&&\enotes
-\orgNotes&\oct\ibbu1a3\qh1M\tqh1a&&&&&&&&\enotes
-\orgNotes&\oct\ibbu2e0\qh2c\qh2f\qh2c\tqh2a&&&&&&&&\enotes
-\temps\orgNotes\tten2\hu J&\oct\ibbu2b0\qh2c\qh2a\qh2M\tqh2a&&&&&&&&\enotes
-\orgNotes&\oct\ibbu3M0\qh3M\qh3K\qh3M\tqh3K&&&&&&&&\enotes
-%\cleftoksii{0000}\changeclefs
-\barre
- %\check
-%Takt 72
-\orgNotes\zw C\qs\itenl3I\qupp I&\ds&&\bigaccid\wh{=b}&&&&&&&&&\enotes
-\orgNotes&\ibbl1h3\qb1g\tqb1i&&&&&&&&\enotes
-\orgNotes&\ibbl2j{-2}\qb2k\qb2m\qb2k\tqb2i&&&&&&&&\enotes
-\temps\orgNotes\tten3\hu I&\ibbl2h0\qb2k\qb2i\qb2g\tqb2i&&&&&&&&&&\enotes
-\orgNotes&\ibbu3e0\qh3d\qh3f\pince n\qh3e\tqh3d&&&&&&&&\enotes
-\barre
- %\check
-%Takt 73
-\orgNOTes\pointdurgue C\zwh C\wh J&\zwh e\zwh g\pointdorgue j\wh j\relax
- &&\pointdorgue f\wh c&&&&&&&&\enotes
-\finmorceau
-\bye
-
diff --git a/macros/musixtex/doc/examples/avemaril.tex b/macros/musixtex/doc/examples/avemaril.tex
deleted file mode 100644
index ac2d11f3e4..0000000000
--- a/macros/musixtex/doc/examples/avemaril.tex
+++ /dev/null
@@ -1,20 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\tracingstats=2\relax
-\hsize=185mm
-\vsize=270mm
-\hoffset -1.70cm
-\voffset -1.54cm
-\barsinline=0\relax
-\linesinpage=0\relax
-\resetfacteurs
-\computewidths
-\musicsize 29
-%
-\input avemarix
-\bye
-
-
diff --git a/macros/musixtex/doc/examples/avemario.tex b/macros/musixtex/doc/examples/avemario.tex
deleted file mode 100644
index 747452c4a4..0000000000
--- a/macros/musixtex/doc/examples/avemario.tex
+++ /dev/null
@@ -1,1014 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
- \title{Ave Maria (Gounod)}
-\csname titremorceautoc\endcsname
-\fulltitle{M\'editation -- Ave Maria}
-\title{M\'editation -- Ave Maria}
- \author{Charles Gounod \& J.-S. Bach\\Transcription Orgue solo Daniel
-Taupin\\\& Markus Veittes}
- \shortauthor{C. Gounod, J.-S. Bach, D. Taupin}
- \subtitle{\relax}
- \othermention{G.O.: fl\^ute 8' [+4']\\R\'ecit : fl\^utes 8'+4' [+nasard ou
-chalumeau {\it ad lib.}]\\Positif : quinte\\P\'edale : 16', acc.
-G.O.\\Gif : 2/9-11-12/20-23/33-37-45/50-52-54}
-\maketitle
-
-\staffbotmarg\Interligne
-%
-\parindent 13mm
-\musicsize=20
-\normal
-\relativeaccidentals
-\def\oct{\advance\transpose by 7\relax}
-\def\nbinstruments{3}
-\def\instrumenti{P\'edale}
-\def\instrumentii{G.O.}
-%\def\interinstrumenti{-2\Interligne}
-%\def\interinstrumentii{-2\Interligne}
-\def\instrumentiii{Positif}
-\nbporteesi=1\relax
-\nbporteesii=1\relax
-\nbporteesiii=1\relax
-
-\generalmeter{\meterC}%
-\cleftoksi{{6}{0}{0}{0}}
-\cleftoksii{{0}{0}{0}{0}}
-\cleftoksiii{{0}{0}{0}{0}}
-%\raggedlinestrue % uncomment for ragged right lines
-
-
-\debutmorceau
-\def\OrgNotes#1&#2&#3&#4&#5&#6\enotes{\Notes#1&#2&\relax#5\enotes}%
-\autolines{25}{3}{5}%
- %\check
-%Takt 1
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause&&\pause&\enotes
-\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&\enotes
-\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&\enotes
-\barre
- %\check
-%Takt 2
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause&&\pause&\enotes
-\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes
-\barre
- %\check
-%Takt 3
-\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes
-\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause&&\pause&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes
-\barre
- %\check
-%Takt 4
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause&&\pause&&&&\enotes
-\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&\enotes
-\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&\enotes
-\barre
- %\check
-%Takt 5
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\wh l&A\rlap{---}&\wh e&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&\enotes
-\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes
-\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&&&&\enotes
-\barre
- %\check
-%Takt 6
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\wh m&ve&\hupp f&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1h\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2h&&&&\enotes
-\OrgNotes&\qb2k\tqb2m&&Ma-&\cu f&&&&\enotes
-\barre
- %\check
-%Takt 7
-\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hlp n&ri\rlap{---}&\hup g&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&\enotes
-\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\ql k&\rlap{---}&\qu d&&&&\enotes
-\barre
- %\check
-%Takt 8
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hlp l&a,&\hup e&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0g\tqb0j&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&\enotes
-\OrgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes
-\OrgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 9
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\oct
- \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0h\tqb0l&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\oct
- \tten5\ibl4c0\qb4h&&\tten4\cu h&&&&\enotes
-\OrgNotes&\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\rlap{---}&\Ibu5ac4\qh5a&&&&\enotes
-\OrgNotes&\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\qh5b&&&&\enotes
-\OrgNotes&\qb1l\tqb1o&\oct\tqb4c&a&\tqh5c&&&&\enotes
-\barre
- %\check
-%Takt 10
-\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct
- \qlp d&ple\rlap{---}&\qup d&&&&\enotes
-\OrgNotes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2k\qh2f&&&&\enotes
-\OrgNotes&\qh2h\tqh2k&\oct \cl e&&\cu e&&&&\enotes
-\temps\OrgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct
- \ql d&na,&\qu d&&&&\enotes
-\OrgNotes&\ibbu1g3\qh1f\tqh1h&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 11
-\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct
- \itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&&&&\enotes
-\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\oct
- \tten5\ibl4b0\qb4g&&\tten4\cu g&&&&\enotes
-\OrgNotes&\ibbl1j3\qb1g\tqb1k&\oct
- \qb4N&\rlap{---}&\Ibu5Nb4\qh5N&&&&\enotes
-\OrgNotes&\ibbl2k0\qb2n\qb2g&\oct
- \qb4a&mi-&\qh5a&&&&\enotes
-\OrgNotes&\qb2k\tqb2n&\oct
- \tqb4b&nus&\tqh5b&&&&\enotes
-\def\atnextline{\autolines{25}35}\relax
-\barre
- %\check
-%Takt 12
-\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\oct
- \qlp c&te\rlap{---}&\qup c&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2e&&&&\enotes
-\OrgNotes&\qh2g\tqh2j&\oct
- \cl d&&\cu d&&&&\enotes
-\temps\OrgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\oct
- \ql c&cum,&\qu c&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qp&&\qp&&&&\enotes
-%
-\def\atnextline{\autolines{25}35}\relax
-\barre
- %\check
-%Takt 13
-\OrgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\oct
- \itenu5j\hl j&be\rlap{---}&\itenu4j\hu j&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&&&\enotes
-\temps\OrgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\oct
- \tten5\ibl4c0\qb4j&&\tten4\cu j&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&\oct
- \qb4c&\rlap{---}&\Ibu5ce4\qh5c&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2e&\oct
- \qb4d&ne\rlap{---}&\qh5d&&&&\enotes
-\OrgNotes&\qh2g\tqh2j&\oct
- \tqb4e&&\tqh5e&&&&\enotes
-\barre
- %\check
-%Takt 14
-\OrgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct\bigaccid
- \qlp{^f}&\rlap{dic---}&\bigaccid\qup {^f}&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2d&&&&\enotes
-\OrgNotes&\qh2f\tqh2j&\oct
- \cl e&&\cu e&&&&\enotes
-\temps\OrgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct
- \ql d&\rlap{---}&\qu d&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\tqh1f&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\oct
- \ql a&ta&\qu a&&&&\enotes
-\barre
- %\check
-%Takt 15
-\def\atnextline{\staffbotmarg3\Interligne}%
-\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct
- \hl b&tu&\hu b&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&&&\enotes
-\temps\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\qp&&\qp&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\oct
- \ql d&in&\qu d&&&&\enotes
-\barre
- %\check
-%Takt 16
-\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\oct
- \itenu5e\hl e&mu\rlap{---}&\itenl4e\hu e&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&&&&\enotes
-\OrgNotes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j&&&&\enotes
-\temps\OrgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct
- \tten5\ibl5e1\qb5e&&\tten4\cu e&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1e\tqh1g&\oct
- \qb5e&li\rlap{---}&\Ibu4eg4\qh4e&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2e&\oct
- \qb5f&&\qh4f&&&&\enotes
-\OrgNotes&\qh2g\tqh2j&\oct
- \tqb5g&&\tqh4g&&&&\enotes
-\barre
- %\check
-%Takt 17
-\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct
- \hl h&e\rlap{---}&\ppt h\qu h&&&&\enotes
-\OrgNotes&\ibbu1g3\qh1d\tqh1h&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2k\qh2d\qh2h&&&&\enotes
-\OrgNotes&\tqh2k&&ri-&\ccu a&&&&\enotes
-\temps\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct
- \ql a&bus&\qu a&&&&\enotes
-\OrgNotes&\ibbu1g3\qh1d\tqh1h&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 18
-\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\oct
- \itenu5d\hl d&et\rlap{---}&\itenl4d\hu d&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\tqh1f&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i&&&&\enotes
-\temps\OrgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct
- \tten5\ibl4d1\qb4d&&\tten4\cu d&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1d\tqh1f&\oct
- \qb4d&be\rlap{---}&\Ibu5df4\qh5d&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2i\qh2d&\oct
- \qb4e&&\qh5e&&&&\enotes
-\OrgNotes&\qh2f\tqh2i&\oct
- \tqb4f&ne-&\tqh5f&&&&\enotes
-\barre
- %\check
-%Takt 19
-\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct
- \hl g&\rlap{dic---}&\hu g&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1c\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&&&&\enotes
-\temps\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct
- \qu N&tus&\qu N&&&&\enotes
-\OrgNotes&\ibbu1f3\qh1c\tqh1g&&&&\enotes
-\OrgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 20
-\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \itenu5c\hl c&fruc\rlap{---}&\itenl4c\hu c&&&&\enotes
-\OrgNotes&\ibbu1c3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&\enotes
-\temps\OrgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \tten5\ibl4c1\qb4c&&\tten4\cu c&&&&\enotes
-\OrgNotes&\ibbu1c3\qh1a\tqh1c&\oct
- \qb4c&tus&\Ibu5ce4\qh5c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct
- \qb4d&&\qh5d&&&&\enotes
-\OrgNotes&\qh2c\tqh2f&\oct
- \tqb4e&&\tqh5e&&&&\enotes
-\barre
- %\check
-%Takt 21
-\OrgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \itenu5f\hl f&vent\rlap{---}&\itenl4f\hu f&&&&\enotes
-\OrgNotes&\ibbu1c3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&\enotes
-\temps\OrgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \tten5\ibl4f1\qb4f&&\tten4\cu f&&&&\enotes
-\OrgNotes&\ibbu1c3\qh1a\tqh1c&\oct
- \qb4f&ris&\Ibu5fh4\qh5f&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct
- \qb4g&&\qh5g&&&&\enotes
-\OrgNotes&\qh2c\tqh2f&\oct
- \tqb4h&&\tqh5h&&&&\enotes
-\barre
- %\check
-%Takt 22
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \qlp i&tu--&\qlp i&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&&&&\enotes
-\OrgNotes&\qh2b\tqh2f&\oct
- \cl h&i,&\cl h&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \ql g&\rlap{Je---}&\qu g&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct
- \ql d&&\qu d&&&&\enotes
-\barre
- %\check
-%Takt 23
-\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \hlp e&sus.&\hup e&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct
- &&&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct
- &&&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct
- \pt a\ds\sk\sk\cl e&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 24
-\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct
- \hl g&\rlap{Sanc---}&\hu g&&&&\enotes
-\OrgNotes&\bigaccid\ibbu1b3\qh1{_b}\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct
- \ql e&ta&\qu e&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c&\oct
- \pt a\ds&&\pt h\ds&&&&\enotes
-\OrgNotes&\tqh2e&\oct
- \ccl e&\rlap{\kern -\Interligne Ma-}&\ccu e&&&&\enotes
-\barre
- %\check
-%Takt 25
-\OrgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \hl h&ri\rlap{---}&\hu h&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \ql a&a,&\qu a&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\oct
- \qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 26
-\OrgNotes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\oct
- \hl h&\rlap{sanc---}&\hu h&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\oct
- \ql c&ta&\qu c&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2a\qh2c&\oct\qsk
- \pt a\ds&&\qsk\pt h\ds&&&&\enotes
-\OrgNotes&\tqh2e&\oct
- \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h&&&&\enotes
-\barre
- %\check
-%Takt 27
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {_L}&\ds&\oct
- \hl j&ri\rlap{---}&\hl j&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes
-\OrgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \bigaccid\ql{_e}&a,&\bigaccid\qu{_e}&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2b\qh2c&\oct
- \pt a\ds&&\pt j\ds&&&&\enotes
-\OrgNotes&\tqh2e&\oct
- \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j&&&&\enotes
-\barre
- %\check
-%Takt 28
-\OrgNotes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \hl j&ri\rlap{---}&\hl j&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&&&\enotes
-\temps\OrgNotes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \ql d&a!&\qu d&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1b\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\oct
- \pt a\ds\sk\sk\ccl d&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 29
-\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \itenu5d\hl d&O\rlap{---}&\itenl4d\hu d&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d&&&&\enotes
-\temps\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \tten5\ibl4d{-1}\qb4d&&\tten4\cu d&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&\oct
- \qb4d&ra&\Ibu5db4\qh5d&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2d\qh2N&\oct
- \qb4c&&\qh5c&&&&\enotes
-\OrgNotes&\qh2b\tqh2d&\oct
- \tqb4b&pro&\tqh5 b&&&&\enotes
-\barre
- %\check
-%Takt 30
-\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \qlp g&no\rlap{---}&\qup g&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N&&&&\enotes
-\OrgNotes&\qh2c\tqh2e&\oct
- \cl e&&\cu e&&&&\enotes
-\temps\OrgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \ql c&bis,&\qu c&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct
- \qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 31
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \itenu5f\hl f&no\rlap{---}&\itenl4f\hu f&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \tten5\ibl4f{-1}\qb4f&&\tten4\cu f&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct
- \qb4f&bis&\Ibu5fd4\qh5f&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct
- \qb4e&pec-&\qh5e&&&&\enotes
-\OrgNotes&\qh2c\tqh2f&\oct
- \tqb4d&ca-&\tqh5d&&&&\enotes
-\barre
- %\check
-%Takt 32
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \qlp k&to\rlap{---}&\qlp k&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&&&&\enotes
-\OrgNotes&\qh2b\tqh2f&\oct
- \cl i&ri-&\cl i&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \ql g&bus,&\qu g&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct
- \qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 33
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\oct
- \itenu5h\hl h&nunc&\itenl4h\hu h&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&&&&\enotes
-\OrgNotes&\bigaccid\qsk\ibbu2e0\qh2{^f}\qh2a\qh2c\tqh2f&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \tten5\ibl4h1\qb4h&&\tten4\cu h&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1a\tqh1c&\oct
- \qb4h&et\rlap{---}&\Ibu5hj4\qh5h&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2a&\oct
- \qb4i&&\qh5i&&&&\enotes
-\OrgNotes&\qh2c\tqh2f&\oct
- \tqb4j&in&\tqh5j&&&&\enotes
-\barre
- %\check
-%Takt 34
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {=L}&\ds&\oct
- \itenu5l\hl l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \tten5\ibl4j{-4}\qb4l&&\tten4\cl l&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct
- \qb4j&--&\Ibu5je4\qh5j&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2g\qh2N&\oct
- \qb4g&ra,&\qh5g&&&&\enotes
-\OrgNotes&\qh2c\tqh2g&\oct
- \tqb4e&in&\tqh5e&&&&\enotes
-\barre
- %\check
-%Takt 35
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \itenu5d\hl d&ho\rlap{---}&\itenl4d\hu d&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \tten5\ibl4d3\qb4d&&\tten4\ibu5g3\qh5d&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&\oct
- \qb4h&&\tqh5h&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct
- \qb4i&ra&\ibu5i{-1}\qh5i&&&&\enotes
-\OrgNotes&\qh2c\tqh2f&\oct
- \tqb4h&&\tqh5h&&&&\enotes
-\barre
- %\check
-%Takt 36
-\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\oct
- \ibl4h{-3}\usf h\qb4h&\rlap{mor---}&\ibu5j2\qh5g&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&\oct
- \usf g\qb4g&&\tqh5k&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&\oct
- \usf f\qb4f&tis&\ibu5i{-2}\qh5i&&&&\enotes
-\OrgNotes&\qh2b\tqh2f&\oct
- \usf d\tqb4d&&\tqh5g&&&&\enotes
-\temps\OrgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\relax
- \lsf i\ibu4i{-3}\qh4i&nos-&\ibu5f{-2}\qh5f&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1b&\relax
- \lsf h\qh4h&&\tqh5d&&&&\enotes
-\OrgNotes&\ibbu2e0\qh2f\qh2N&\relax
- \lsf f\qh4f&tr\ae.&\ibu5b{-2}\qh5b&&&&\enotes
-\OrgNotes&\qh2b\tqh2f&\relax
- \lsf d\tqh4d&&\tqh5N&&&&\enotes
-\barre
- %\check
-%Takt 37
-\OrgNotes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds&\relax
- \hup c&A\rlap{---}&\itenl4c\hu c&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&\enotes
-\temps\OrgNotes\zhl J\raise2\Interligne\hbox{\qs}\qupp L&\ds&&\rlap{men.}&\tten4\qu c&&&&\enotes
-\OrgNotes&\ibbu1b3\qh1N\tqh1c&&&\uptext{R\'ecit (doux)}&&&&\enotes
-\OrgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp&&\qp&&&&\enotes
-\barre
- %\check
-%Takt 38
-\def\orgNotes#1&#2&#3&#4&#5&#6&#7\enotes{\Notes#1&#2&\relax#4\enotes}%
-\def\orgNOTes#1&#2&#3&#4&#5&#6&#7\enotes{\NOTes#1&#2&\relax#4\enotes}%
-\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&&\wh l&A\rlap{---}&&&&&\enotes
-\orgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&\enotes
-\orgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&\raise -2\Interligne\hpause&&&&&\enotes
-\temps\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&&\hl g&&&&&&\enotes
-\orgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&\enotes
-\orgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&&&&&\enotes
-\barre
- %\check
-%Takt 39
-\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\wh m&ve&&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1h\tqb1k&&&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&&\raise -2\Interligne\hpause&&&&&\enotes
-\temps\orgNotes\zhl c\raise 5.5\Interligne\qs\qupp d&\ds&&\hl h&&&&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1h\tqb1k&&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2m\qb2h&&&&&&&\enotes
-\orgNotes&\qb2k\tqb2m&&&\rlap{\kern -\Interligne Ma-}&\cu f&&&&&&\enotes
-\barre
- %\check
-%Takt 40
-\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu3g\wh g&\zhl i\hup n&&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&&&&&\enotes
-\temps\orgNotes\zhl b\raise 5.5\Interligne\qs\qupp d&\ds&&\hl f&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&\qu k&&&&&&\enotes
-\barre
- %\check
-%Takt 41
-\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\tten3\zw e\wh
- g&\zhlp g\hup l&&&&&&&&&\enotes
-\orgNotes&\ibbl0j3\qb0g\tqb0j&&&&&&&&\enotes
-\orgNotes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&&&&&&\enotes
-\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&&&&&&&&&\enotes
-\orgNotes&\ibbl2j3\qb2g\tqb2j&&&&&&&&&&&\enotes
-\orgNotes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&\qp&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 42
-\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu h&\relax
- {\roffset{0.3}{\zhu j}}\oct
- \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h&&&&&&&&\enotes
-\orgNotes&\ibbl0j3\qb0h\tqb0l&&&&&&&&\enotes
-\orgNotes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o&&&&&&&&\enotes
-\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp
-e&\ds&&{\roffset {0.3}{\zhu l}}\oct
- \tten5\ibl4a0\qb4h&&\tten4\ibu5g{-3}\qh5h&&&&&&&&\enotes
-\orgNotes&\ibbl0j3\qb0h\tqb0l&&\oct\qb4a&\rlap{---}&\tqh5a&&&&&&&&\enotes
-\orgNotes&\ibbl1k0\qb1o\qb1h&&\oct\qb4b&ti-&\cu b&&&&&&&&\enotes
-\orgNotes&\qb1l\tqb1o&&\oct\tqb4c&a&\cu c&&&&&&&&\enotes
-\barre
- %\check
-%Takt 43
-\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\bigaccid\zw{^f}&\itenu5o{\zhu o}\oct
- \qlp d&ple\rlap{---}&\Ilegu4k\qup d&&&&&&&&\enotes
-\orgNotes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2k\qh2f&&&&&&&&\enotes
-\orgNotes&\qh2h\tqh2k&&\oct \cl e&&\tleg4\cu e&&&&&&&&\enotes
-\temps\orgNotes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\tten5{\ibu3m{-2}\zqh3o}\oct
- \ql d&na,&\qu d&&&&&&&&\enotes
-\orgNotes&\ibbu1g3\qh1f\tqh1h&&{\qh3h}&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&&\raise -2\Interligne\rlap{\qp}{\qh3i\sk\tqh3j}&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 44
-\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\zw g&\relax
- \rlap{\roffset{0.3}{\qupp k}}\oct
- \normalnotesize\itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g&&&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1g\tqb1k&&&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&&\sk\sk\sk\ccu l&&&&&&&\enotes
-\temps\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\roffset {0.5}{\zhu k}\oct
- \normalnotesize\tten5\ibl4N0\qb4g&&\tten4\ibu5f{-3}\qh5g&&&&&&&&\enotes
-\orgNotes&\ibbl1j3\qb1g\tqb1k&&\oct
- \qb4N&\rlap{---}&\tqh5N&&&&&&&&\enotes
-\orgNotes&\ibbl2k0\qb2n\qb2g&&\oct
- \qb4a&mi-&\cu a&&&&&&&&\enotes
-\orgNotes&\qb2k\tqb2n&&\oct
- \tqb4b&nus&\cu b&&&&&&&&\enotes
-\def\atnextline{\autolines{25}35}\relax
-\barre
- %\check
-%Takt 45
-\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\itenl4e\zw e&{\itenu3n\zhu n}\oct
- \qlp c&te\rlap{---}&\Ilegu2j\qup c&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2e&&&&&&&&\enotes
-\orgNotes&\qh2g\tqh2j&&\oct
- \cl d&&\tleg2\cu d&&&&&&&&\enotes
-\temps\orgNotes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&&{\tten3\ibu3l{-3}\zqh3n}\oct
- \ql c&cum,&\qu c&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&\qh3g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&\raise -2.5\Interligne\rlap{\qp}\qh3h\sk\tqh3i&\qp&\qp&&&&&&&&\enotes
-%
-\barre
- %\check
-%Takt 46
-\orgNotes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\tten4\zw e&\relax
- {\roffset{0.3}{\zhl j}}\oct
- \itenu5j\hu j&be\rlap{---}&\itenu4j\hu j&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&&&&&&&&\enotes
-\temps\orgNotes\zhl a\raise 5\Interligne\qs\qupp c&\ds&&{\zql h}\oct
- \tten5\cu j&&\tten4\cl j&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&\oct
- \Ibu4ce4\qh4c&\rlap{---}&\Ibl5ce4\qh5c&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2e&&{\zql g}\oct
- \qh4d&ne\rlap{---}&\ibu5e1\qh5d&&&&&&&&\enotes
-\orgNotes&\qh2g\tqh2j&&\oct
- \tqh4e&&\tqh5e&&&&&&&&\enotes
-\barre
- %\check
-%Takt 47
-\orgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds
- &&\bigaccid\zhlp h\oct
- \qup{^f}&\rlap{dic---}&\bigaccid\Ilegu4l\qup {^f}&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2d&&&&&&&&\enotes
-\orgNotes&\qh2f\tqh2j&&\oct
- \cu e&&\tleg4\cu e&&&&&&&&\enotes
-\temps\orgNotes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&&\oct
- \qu d&\rlap{---}&\qu d&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\tqh1f&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&&\oct
- \zql a\qu a&ta&\qu a&&&&&&&&\enotes
-\barre
- %\check
-%Takt 48
-\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\relax
- {\zw g}\oct \hu b&tu&\hu b&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\tqh1g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&&&&&&&\enotes
-\temps\orgNotes\zhl N\raise 4.2\Interligne\qs\qupp b&\ds&&\relax
- \raise\Interligne\qp&&\qp&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\tqh1g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&\oct
- \qu d&in&\qu d&&&&&&&&\enotes
-\barre
- %\check
-%Takt 49
-\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&&{\zw{^j}}\oct
- \itenu5e\hu e&mu\rlap{---}&\itenl4e\hu e&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&&&&&&&\enotes
-\orgNotes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j&&&&&&&&\enotes
-\temps\orgNotes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\oct
- \tten5\cu e&&\tten4\cu e&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1e\tqh1g&&\oct
- \Ibu5eg4\qh5e&li\rlap{---}&\Ibu4eg4\qh4e&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2e&&\oct
- \qh5f&&\qh4f&&&&&&&&\enotes
-\orgNotes&\qh2g\tqh2j&&\oct
- \tqh5g&&\tqh4g&&&&&&&&\enotes
-\barre
- %\check
-%Takt 50
-\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\itenu3o\hu o&\relax
- \rlap{\hlp k}\oct \itenu4h\hu h&e\rlap{---}&\ppt h\qu h&&&&&&&&\enotes
-\orgNotes&\ibbu1g3\qh1d\tqh1h&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2k\qh2d\qh2h&&&&&&&&\enotes
-\orgNotes&\tqh2k&&&ri-&\ccu a&&&&&&&&\enotes
-\temps\orgNotes\zhl M\raise 3.8\Interligne\qs\qupp a&\ds&\tten3&\tten4\relax
- \oct \cu h&bus&\qu a&&&&&&&&\enotes
-\orgNotes&\ibbu1g3\qh1d\tqh1h&&{\Ibu3hj4\qh3h}&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&&\qh3i\sk\tqh3j&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 51
-\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\bigaccid
- \hu r&\bigaccid\zw {=i}\oct\itenu5d\hu d&et\rlap{---}&\itenl4d\hu d&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\tqh1f&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i&&&&&&&&\enotes
-\temps\orgNotes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\hu k&\oct
- \tten5\cu d&&\tten4\cu d&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1d\tqh1f&&\oct
- \Ibu4df4\qh4d&be\rlap{---}&\ibu5e1\qh5d&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2i\qh2d&&\oct
- \qh4e&&\tqh5e&&&&&&&&\enotes
-\orgNotes&\qh2f\tqh2i&&\oct
- \tqh4f&ne-&\cu f&&&&&&&&\enotes
-\barre
- %\check
-%Takt 52
-\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\itenu3n\hu
-n&{\zhlp j}\oct
- \itenu4g\hu g&\rlap{dic---}&\hu g&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1c\tqh1g&&&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&&&&&&&&\enotes
-\temps\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\tten3\ibl3n{3}\qb3n&\oct
- \tten4\cu g&tus&\qu N&&&&&&&&\enotes
-\orgNotes&\ibbu1f3\qh1c\tqh1g&\qb3n&\Ibu4gi4\qh4g&&&&&&\enotes
-\orgNotes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qb3o\sk\tqb3p&\qh4h\sk\tqh4i&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 53
-\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\zw h\hu
-q&{\zw h}\oct
- \itenu5c\hu c&fruc\rlap{---}&\itenl4c\hu c&&&&&&&&\enotes
-\orgNotes&\ibbu1c3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&&&&&\enotes
-\temps\orgNotes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\itenu3j\hu j&\oct
- \tten5\cu c&&\tten4\cu c&&&&&&&&\enotes
-\orgNotes&\ibbu1c3\qh1a\tqh1c&&\oct
- \Ibu4ce4\qh4c&tus&\ibu5d1\qh5c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct
- \qh4d&&\qh5d&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2f&&\oct
- \tqh4e&&\tqh5e&&&&&&&&\enotes
-\barre
- %\check
-%Takt 54
-\orgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\tten3\zw c\hu j&\relax
- {\zw j}\oct
- \itenu5f\hu f&vent\rlap{---}&\itenl4f\hu f&&&&&&&&\enotes
-\orgNotes&\ibbu1c3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f&&&&&&&&\enotes
-\temps\orgNotes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&&\oct
- \tten5\cu f&&\tten4\cu f&&&&&&&&\enotes
-\orgNotes&\ibbu1c3\qh1a\tqh1c&\hu h&\oct
- \Ibu4fh4\qh4f&ris&\ibu5g1\qh5f&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct
- \qh4g&&\qh5g&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2f&&\oct
- \tqh4h&&\tqh5h&&&&&&&&\enotes
-\barre
- %\check
-%Takt 55
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\hu
-g&{\zqlp n}\oct
- \qup i&tu--&\Ilegu4k\qlp i&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&&&&&&&\enotes
-\orgNotes&\qh2b\tqh2f&&\oct
- \cu h&i,&\tleg4\cl h&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\qs\qupp K&\ds&&\relax
- \rlap{\roff{\hl m}}\oct \qu g&\rlap{Je---}&\Ilegu5l\qu g&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct
- \qu d&&\tleg5\qu d&&&&&&&&\enotes
-\barre
- %\check
-%Takt 56
-\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&&{\zhlp j}\oct
- \hup e&sus.&\hup e&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\hu g&\oct
- &&&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct
- &&&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct
- \pt a\ds\sk\sk\ccl e&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 57
-\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\zw e\relax
- &{\bigfl i\zhlp i}\oct \hu g&&&&&&&\enotes
-\orgNotes&\ibbu1b3\bigaccid\qh1{_b}\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\hu l&\oct
- \qu e&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct
- \pt a\ds&&&&&&&&&\enotes
-\orgNotes&\tqh2e&&\oct
- \ccl e&&&&&&\enotes
-\barre
- %\check
-%Takt 58
-\orgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zhl c\itenl3e\itenu4h\zh e\hu
-h&\itenu2j\zh j\hl o&ri\rlap{---}&\hu h&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten3\tten4\zh e\zhl h\hu
-j&\tten2\zq j\ql h&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&\oct
- \qp&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 59
-\orgNotes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\bigaccid
- \zw h\hu{_l}&{\bigfl l\zh l}\oct
- \hl h&\rlap{sanc---}&\hu h&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\qsk\bigaccid\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\hu
-o&{\zq h}\oct
- \ql c&ta&\qu c&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2a\qh2c&&\oct
- \pt a\ds&&\pt h\ds&&&&&&&&\enotes
-\orgNotes&\tqh2e&&\oct
- \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h&&&&&&&&\enotes
-\barre
- %\check
-%Takt 60
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\zw g\zw j\hu
-n&\itenl2j\zh j\oct \hl j&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes
-\orgNotes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\qs\qupp L&\ds&\bigaccid\hu{_l}&\bigaccid
- \tten2\zq j\ql{_l}&&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct
- \pt a\ds&&\pt j\ds&&&&&&&&\enotes
-\orgNotes&\tqh2e&&\oct
- \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j&&&&&&&&\enotes
-\barre
- %\check
-%Takt 61
-\orgNotes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu
-k&{\zhp l}\oct
- \hl j&ri\rlap{---}&\hl j&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&&&&&&&\enotes
-\temps\orgNotes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hu j&\oct
- \ql d&a!&\qu d&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1b\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&\oct
- \pt a\ds\sk\sk\ccl d&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 62
-\orgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu
-i&{\zhl f}\oct
- \itenu5d\hu d&O\rlap{---}&\itenl4d\hu d&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 2\Interligne\qs\qupp M&\ds&&{\zql i}\oct
- \tten5\cu d&&\tten4\cu d&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&\oct
- \Ibu4db4\qh4d&ra&\ibu5d{-1}\qh5d&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2d\qh2N&&{\itenl4g\zql g}\oct
- \qh4c&&\tqh5c&&&&&&&&\enotes
-\orgNotes&\qh2b\tqh2d&&\oct
- \tqh4b&pro&\cu b&&&&&&&&\enotes
-\barre
- %\check
-%Takt 63
-\orgNotes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\zw e\hu
-g&{\tten4\zhlp g}\oct
- \qup g&no\rlap{---}&\Ilegu4l\qup g&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2e&&\oct
- \cu e&&\tleg4\cu e&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 2\Interligne\qs\qupp L&\ds&\itenu3j\zhl g\hu j&\oct
- \qu c&bis,&\qu c&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct
- \raise\Interligne\qp&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 64
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\itenl3f\zw
-f&{\zhl j}\oct
- \itenu5f\hu f&no\rlap{---}&\itenl4f\hu f&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl c&{\zhl h}\oct
- \tten5\cu f&&\tten4\cu f&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct
- \Ibu4fd4\qh4f&bis&\cu f&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct
- \qh4e&pec-&\cu e&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2f&&\oct
- \tqh4d&ca-&\cu d&&&&&&&&\enotes
-\barre
- %\check
-%Takt 65
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\zw f\zhl d\hu
-i&{\zh m}\oct
- \qlp k&\raise\Interligne\hbox{to---}&\Ilegu4k\qlp k&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&&&&&&&\enotes
-\orgNotes&\qh2b\tqh2f&&\oct
- \cl i&ri-&\tleg4\cl i&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl b\hu
-k&{\zq i}\oct
- \ql g&bus,&\qu g&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct
- \qp&&\qp&&&&&&&&\enotes
-\barre
- %\check
-%Takt 66
-\def\atnextline{\autolines{25}25}\relax
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid
- \qupp {_L}&\ds&\bigaccid\zhl{^f}&{\bigaccid\zw j\zhl{_l}}\oct
- \itenu5h\hu h&nunc&\itenl4h\hu h&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&&&&&&&\enotes
-\orgNotes&\qsk\ibbu2e0\bigaccid\qh2{^f}\qh2a\qh2c\tqh2f&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\zhl h&{\bigaccid\zhl{^m}}\oct
- \tten5\cu h&&\tten4\cu h&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1a\tqh1c&&\oct
- \Ibl4hj4\qb4h&et\rlap{---}&\ibu5i1\qh5h&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2a&&\oct
- \qb4i&&\tqh5i&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2f&&\oct
- \tqb4j&in&\cl j&&&&&&&&\enotes
-\barre
- %\check
-%Takt 67
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {=L}&\ds&\zw g\zh j&{\zhl n}\oct
- \itenu5l\hu l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\hu{=l}&{\zql{=l}}\oct
- \tten5\cu l&&\tten4\ibu5j{-2}\qh5l&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct
- \Ibu4je4\qh4j&---&\tqh5j&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2g\qh2N&&{\zql j}\oct
- \qh4g&ra,&\cu g&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2g&&\oct
- \tqh4e&in&\cu e&&&&&&&&\enotes
-\barre
- %\check
-%Takt 68
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw f\hu
-k&{\zhl f}\oct
- \itenu5d\hu d&&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu
-h&{\zhl h}\oct
- \tten5\cu d&&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1c&&\oct
- \Ibu4hh4\qh4h&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct
- \qh4i&&&&&&&&&\enotes
-\orgNotes&\qh2c\tqh2f&&\oct
- \tqh4h&&&&&&&&\enotes
-\alaligne
- %\check
-%Takt 69
-\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\zw d\rh f\zhu
-g&\zhl i\oct \Ibu4fc6\qh4h&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&\oct \qh4g&&&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&\oct
- \qh4f&tis&\ibu5i{-2}\qh5i&&&&&&&&\enotes
-\orgNotes&\qh2b\tqh2f&&\oct
- \tqh4d&&&&&&&&&&\enotes
-\temps\orgNotes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu N&\relax
- {\zhl d}\ibu4i{-3}\qh4i&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&\relax
- \qh4h&&\tqh5d&&&&&&&&\enotes
-\orgNotes&\ibbu2e0\qh2f\qh2N&&\relax
- \qh4f&&&&&&&\enotes
-\orgNotes&\qh2b\tqh2f&&\relax
- \tqh4d&&&&&&\enotes
-\barre
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
- %\check
-%Takt 70
-\orgNotes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds
- &\bigaccid\zw{_b}\roff{\itenu3c\zw c}&\roff{\itenu4c\zw c}\bigaccid\wh{_b}\relax
- &&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\bigaccid\qsk\tqh1{_b}&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e&&&&&&&&\enotes
-\temps\orgNotes\zhu C\raise\Interligne\qs\qupp J&\ds&&&&&&&&\enotes
-\orgNotes&\ibbu1b3\qh1N\tqh1b&&&&&&&&\enotes
-\orgNotes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e&&&&&&&&\enotes
-\def\atnextline{\autolines{20}35}\relax
-%\cleftoksii{6000}\changeclefs
-\alaligne
- %\check
-%Takt 71
-\orgNotes\raise\Interligne\rlap{\qs}\wh C\itenl2J\qupp J&\ds&\tten3\zw a\wh
-c&\tten4\zw a\wh c&&&&&&&&&\enotes
-\orgNotes&\oct\ibbu1a3\qh1M\tqh1a&&&&&&&&\enotes
-\orgNotes&\oct\ibbu2e0\qh2c\qh2f\qh2c\tqh2a&&&&&&&&\enotes
-\temps\orgNotes\tten2\hu J&\oct\ibbu2b0\qh2c\qh2a\qh2M\tqh2a&&&&&&&&\enotes
-\orgNotes&\oct\ibbu3M0\qh3M\qh3K\qh3M\tqh3K&&&&&&&&\enotes
-%\cleftoksii{0000}\changeclefs
-\barre
- %\check
-%Takt 72
-\orgNotes\zw C\qs\itenl3I\qupp I&\ds&&\bigaccid\wh{=b}&&&&&&&&&\enotes
-\orgNotes&\ibbl1h3\qb1g\tqb1i&&&&&&&&\enotes
-\orgNotes&\ibbl2j{-2}\qb2k\qb2m\qb2k\tqb2i&&&&&&&&\enotes
-\temps\orgNotes\tten3\hu I&\ibbl2h0\qb2k\qb2i\qb2g\tqb2i&&&&&&&&&&\enotes
-\orgNotes&\ibbu3e0\qh3d\qh3f\pince n\qh3e\tqh3d&&&&&&&&\enotes
-\barre
- %\check
-%Takt 73
-\orgNOTes\pointdurgue C\zwh C\wh J&\zwh e\zwh g\pointdorgue j\wh j\relax
- &&\pointdorgue f\wh c&&&&&&&&\enotes
-\finmorceau
-\bye
-
diff --git a/macros/musixtex/doc/examples/avemarix.tex b/macros/musixtex/doc/examples/avemarix.tex
deleted file mode 100644
index c6a57cca4b..0000000000
--- a/macros/musixtex/doc/examples/avemarix.tex
+++ /dev/null
@@ -1,951 +0,0 @@
-% \input musixtex
-% \input musixcpt
-% \input musixsty
-\fulltitle{M\'editation -- Ave Maria}
-\author{Charles Gounod \& J.-S. Bach\\Transcription Orgue+soliste Daniel
- Taupin\\\& Markus Veittes}
-\shortauthor{C. Gounod, J.-S. Bach, D. Taupin}
- \title{Ave Maria}
- \othermention{G.O.: fl\^ute 8' [+4']\\Positif : fl\^utes 8'+4'
-[+2']\\P\'edale : 16', acc. positif}
- \maketitle
-
-\parindent 13mm
-\ifnum\musicsize=0\musicsize=20\fi
-\normal
-\relativeaccidentals
-\def\oct{\advance\transpose by 7\relax}
-\def\nbinstruments{4}
-\def\instrumenti{Positif}
-\def\staffspacingii{0.64}
-\def\staffspacingiv{0.64}
-\def\instrumentii{Violon}
-%\def\interinstrumenti{-2\Interligne}
-%\def\interinstrumentii{-2\Interligne}
-\def\instrumentiv{Chant}
-\nbporteesi=2\relax
-\nbporteesiii=0\relax
-%\font\gros=\fonthdg\fonthdge bx12 scaled \magstep3
-
-\generalmeter{\meterC}%
-\cleftoksi{{6}{0}{0}{0}}
-\cleftoksii{{0}{0}{0}{0}}
-\cleftoksiv{{0}{0}{0}{0}}
-%\raggedlinestrue % uncomment for ragged right lines
-\def\nbinstruments{1}%
-\debutmorceau
-\autolines{25}{3}{4}%
-%Takt 1
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds\enotes
-\Notes|\ibbl0j3\qb0g\tqb0j\enotes
-\Notes|\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds\enotes
-\Notes|\ibbl2j3\qb2g\tqb2j\enotes
-\Notes|\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes
-\barre
-%Takt 2
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds\enotes
-\Notes|\ibbl1j3\qb1h\tqb1k\enotes
-\Notes|\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds\enotes
-\Notes|\ibbl1j3\qb1h\tqb1k\enotes
-\Notes|\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes
-\barre
-%Takt 3
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds\enotes
-\Notes|\ibbl1j3\qb1g\tqb1k\enotes
-\Notes|\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes
-\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds\enotes
-\Notes|\ibbl1j3\qb1g\tqb1k\enotes
-\Notes|\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes
-%
-\suspmorceau
-%
-%
-\def\nbinstruments{4}%
-\debutmorceau
-\barno=4\relax
-%Takt 4
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds\enotes
-\Notes|\ibbl0j3\qb0g\tqb0j\enotes
-\Notes|\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&\pause&&\pause\enotes
-\Notes|\ibbl2j3\qb2g\tqb2j\enotes
-\Notes|\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes
-\barre
-%Takt 5
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&\wh l&A\rlap{---}&\wh e\enotes
-\Notes|\ibbl0j3\qb0g\tqb0j&&&\enotes
-\Notes|\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&&&\enotes
-\Notes|\ibbl2j3\qb2g\tqb2j&&&\enotes
-\Notes|\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&\enotes
-\barre
-%Takt 6
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\wh m&ve&\hupp f\enotes
-\Notes|\ibbl1j3\qb1h\tqb1k\enotes
-\Notes|\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&&&\enotes
-\Notes|\ibbl1j3\qb1h\tqb1k\enotes
-\Notes|\ibbl2k0\qb2m\qb2h\enotes
-\Notes|\qb2k\tqb2m&&Ma-&\cu f\enotes
-\barre
-%Takt 7
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\hlp n&ri\rlap{---}&\hup g\enotes
-\Notes|\ibbl1j3\qb1g\tqb1k\enotes
-\Notes|\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes
-\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds\enotes
-\Notes|\ibbl1j3\qb1g\tqb1k\enotes
-\Notes|\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\ql k&\rlap{---}&\qu d\enotes
-\barre
-%Takt 8
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&\hlp l&a,&\hup e\enotes
-\Notes|\ibbl0j3\qb0g\tqb0j\enotes
-\Notes|\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&&&\enotes
-\Notes|\ibbl2j3\qb2g\tqb2j&&&\enotes
-\Notes|\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp&&\qp\enotes
-\barre
-%Takt 9
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&\oct
- \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h\enotes
-\Notes|\ibbl0j3\qb0h\tqb0l\enotes
-\Notes|\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e|\ds&\oct
- \tten5\ibl4c0\qb4h&&\tten4\ibu5g{-3}\qh5h\enotes
-\Notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\rlap{---}&\tqh5a\enotes
-\Notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\cu b\enotes
-\Notes|\qb1l\tqb1o&\oct\tqb4c&a&\cu c\enotes
-\barre
-%Takt 10
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\oct
- \qlp d&ple\rlap{---}&\Ilegu4k\pt d\qu d\enotes
-\Notes|\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes
-\Notes|\ibbu2i0\qh2k\qh2f\enotes
-\Notes|\qh2h\tqh2k&\oct \cl e&&\tleg4\cu e\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\oct
- \ql d&na,&\qu d\enotes
-\Notes|\ibbu1g3\qh1f\tqh1h\enotes
-\Notes|\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp\enotes
-\barre
-%Takt 11
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\oct
- \itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g\enotes
-\Notes|\ibbl1j3\qb1g\tqb1k\enotes
-\Notes|\ibbl2k0\qb2n\qb2g\qb2k\tqb2n\enotes
-\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d|\ds&\oct
- \tten5\ibl4b0\qb4g&&\tten4\ibu5f{-3}\qh5g\enotes
-\Notes|\ibbl1j3\qb1g\tqb1k&\oct
- \qb4N&\rlap{---}&\tqh5N\enotes
-\Notes|\ibbl2k0\qb2n\qb2g&\oct
- \qb4a&mi-&\cu a\enotes
-\Notes|\qb2k\tqb2n&\oct
- \tqb4b&nus&\cu b\enotes
-\def\atnextline{\autolines{25}34}\relax
-\barre
-%Takt 12
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c|\ds&\oct
- \qlp c&te\rlap{---}&\Ilegu4j\pt c\qu c\enotes
-\Notes|\ibbu1f3\qh1e\tqh1g\enotes
-\Notes|\ibbu2i0\qh2j\qh2e\enotes
-\Notes|\qh2g\tqh2j&\oct
- \cl d&&\tleg4\cu d\enotes
-\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c|\ds&\oct
- \ql c&\rlap{cum,}&\qu c\enotes
-\Notes|\ibbu1f3\qh1e\tqh1g\enotes
-\Notes|\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qp&&\qp\enotes
-%
-\def\atnextline{\autolines{25}34}\relax
-\barre
-%Takt 13
-\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c|\ds&\oct
- \itenu5j\hl j&be\rlap{---}&\itenu4j\hu j\enotes
-\Notes|\ibbu1f3\qh1e\tqh1g\enotes
-\Notes|\ibbu2i0\qh2j\qh2e\qh2g\tqh2j\enotes
-\temps\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c|\ds&\oct
- \tten5\ibl4c0\qb4j&&\tten4\ibu5h{-3}\qh5j\enotes
-\Notes|\ibbu1f3\qh1e\tqh1g&\oct
- \qb4c&\rlap{---}&\tqh5c\enotes
-\Notes|\ibbu2i0\qh2j\qh2e&\oct
- \qb4d&ne\rlap{---}&\ibu5e1\qh5d\enotes
-\Notes|\qh2g\tqh2j&\oct
- \tqb4e&&\tqh5e\enotes
-\barre
-%Takt 14
-\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a|\ds&\oct\bigaccid
- \qlp{^f}&\rlap{dic---}&\bigaccid\Ilegu4l\pt f\qu {^f}\enotes
-\Notes|\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}\enotes
-\Notes|\ibbu2i0\qh2j\qh2d\enotes
-\Notes|\qh2f\tqh2j&\oct
- \cl e&&\tleg4\cu e\enotes
-\temps\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a|\ds&\oct
- \ql d&\rlap{---}&\qu d\enotes
-\Notes|\ibbu1f3\qh1d\tqh1f\enotes
-\Notes|\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\oct
- \ql a&ta&\qu a\enotes
-\barre
-%Takt 15
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b|\ds&\oct
- \hl b&tu&\hu b\enotes
-\Notes|\ibbu1f3\qh1d\tqh1g\enotes
-\Notes|\ibbu2i0\qh2i\qh2d\qh2g\tqh2i\enotes
-\temps\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b|\ds&\qp&&\qp\enotes
-\Notes|\ibbu1f3\qh1d\tqh1g\enotes
-\Notes|\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\oct
- \ql d&in&\qu d\enotes
-\barre
-%Takt 16
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}|\ds&\oct
- \itenu5e\hl e&mu\rlap{---}&\itenl4e\hu e\enotes
-\Notes|\ibbu1f3\qh1e\tqh1g\enotes
-\Notes|\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j\enotes
-\temps\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b|\ds&\oct
- \tten5\ibl5e1\qb5e&&\tten4\cu e\enotes
-\Notes|\ibbu1f3\qh1e\tqh1g&\oct
- \qb5e&li\rlap{---}&\ibu4f1\qh4e\enotes
-\Notes|\ibbu2i0\qh2j\qh2e&\oct
- \qb5f&&\qh4f\enotes
-\Notes|\qh2g\tqh2j&\oct
- \tqb5g&&\tqh4g\enotes
-\barre
-%Takt 17
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a|\ds&\oct
- \hl h&e\rlap{---}&\ppt h\qu h\enotes
-\Notes|\ibbu1g3\qh1d\tqh1h\enotes
-\Notes|\ibbu2i0\qh2k\qh2d\qh2h\enotes
-\Notes|\tqh2k&&ri-&\ccu a\enotes
-\temps\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a|\ds&\oct
- \ql a&bus&\qu a\enotes
-\Notes|\ibbu1g3\qh1d\tqh1h\enotes
-\Notes|\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qp&&\qp\enotes
-\barre
-%Takt 18
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}|\ds&\oct
- \itenu5d\hl d&et\rlap{---}&\itenl4d\hu d\enotes
-\Notes|\ibbu1f3\qh1d\tqh1f\enotes
-\Notes|\ibbu2i0\qh2i\qh2d\qh2f\tqh2i\enotes
-\temps\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a|\ds&\oct
- \tten5\ibl4d1\qb4d&&\tten4\cu d\enotes
-\Notes|\ibbu1f3\qh1d\tqh1f&\oct
- \qb4d&be\rlap{---}&\ibu5e1\qh5d\enotes
-\Notes|\ibbu2i0\qh2i\qh2d&\oct
- \qb4e&&\tqh5e\enotes
-\Notes|\qh2f\tqh2i&\oct
- \tqb4f&ne-&\cu f\enotes
-\barre
-%Takt 19
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N|\ds&\oct
- \hl g&\rlap{dic---}&\hu g\enotes
-\Notes|\ibbu1f3\qh1c\tqh1g\enotes
-\Notes|\ibbu2i0\qh2j\qh2c\qh2g\tqh2j\enotes
-\temps\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N|\ds&\oct
- \qu N&tus&\qu N\enotes
-\Notes|\ibbu1f3\qh1c\tqh1g\enotes
-\Notes|\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qp&&\qp\enotes
-\barre
-%Takt 20
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M|\ds&\oct
- \itenu5c\hl c&fruc\rlap{---}&\itenl4c\hu c\enotes
-\Notes|\ibbu1c3\qh1a\tqh1c\enotes
-\Notes|\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes
-\temps\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M|\ds&\oct
- \tten5\ibl4c1\qb4c&&\tten4\cu c\enotes
-\Notes|\ibbu1c3\qh1a\tqh1c&\oct
- \qb4c&tus&\ibu5d1\qh5c\enotes
-\Notes|\ibbu2e0\qh2f\qh2a&\oct
- \qb4d&&\qh5d\enotes
-\Notes|\qh2c\tqh2f&\oct
- \tqb4e&&\tqh5e\enotes
-\barre
-%Takt 21
-\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M|\ds&\oct
- \itenu5f\hl f&vent\rlap{---}&\itenl4f\hu f\enotes
-\Notes|\ibbu1c3\qh1a\tqh1c\enotes
-\Notes|\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes
-\temps\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M|\ds&\oct
- \tten5\ibl4f1\qb4f&&\tten4\cu f\enotes
-\Notes|\ibbu1c3\qh1a\tqh1c&\oct
- \qb4f&ris&\ibu5g1\qh5f\enotes
-\Notes|\ibbu2e0\qh2f\qh2a&\oct
- \qb4g&&\qh5g\enotes
-\Notes|\qh2c\tqh2f&\oct
- \tqb4h&&\tqh5h\enotes
-\barre
-%Takt 22
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct
- \qlp i&tu--&\Ilegu4k\pt i\ql i\enotes
-\Notes|\ibbu1b3\qh1N\tqh1b\enotes
-\Notes|\ibbu2e0\qh2f\qh2N\enotes
-\Notes|\qh2b\tqh2f&\oct
- \cl h&i,&\tleg4\cl h\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct
- \ql g&\rlap{Je---}&\Ilegu5l\qu g\enotes
-\Notes|\ibbu1b3\qh1N\tqh1b\enotes
-\Notes|\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct
- \ql d&&\tleg5\qu d\enotes
-\barre
-%Takt 23
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L|\ds&\oct
- \hlp e&sus.&\hup e\enotes
-\Notes|\ibbu1b3\qh1N\tqh1c\enotes
-\Notes|\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes
-\temps\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L|\ds&\oct
- &&\enotes
-\Notes|\ibbu1b3\qh1N\tqh1c&\oct
- &&\enotes
-\Notes|\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct
- \pt a\ds\sk\sk\cl e&&\qp\enotes
-\barre
-%Takt 24
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N|\ds&\oct
- \hl g&\rlap{Sanc---}&\hu g\enotes
-\Notes|\bigaccid\ibbu1b3\qh1{_b}\tqh1c\enotes
-\Notes|\ibbu2d0\qh2e\qh2b\qh2c\tqh2e\enotes
-\temps\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N|\ds&\oct
- \ql e&ta&\qu e\enotes
-\Notes|\ibbu1b3\qh1b\tqh1c\enotes
-\Notes|\ibbu2d0\qh2e\qh2b\qh2c&\oct
- \pt a\ds&&\pt h\ds\enotes
-\Notes|\tqh2e&\oct
- \ccl e&\rlap{\kern -\Interligne Ma-}&\ccu e\enotes
-\barre
-%Takt 25
-\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct
- \hl h&ri\rlap{---}&\hu h\enotes
-\Notes|\ibbu1b3\qh1a\tqh1c\enotes
-\Notes|\ibbu2d0\qh2e\qh2a\qh2c\tqh2e\enotes
-\temps\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct
- \ql a&a,&\qu a\enotes
-\Notes|\ibbu1b3\qh1a\tqh1c\enotes
-\Notes|\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\oct
- \qp&&\qp\enotes
-\barre
-%Takt 26
-\Notes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J|\ds&\oct
- \hl h&\rlap{sanc---}&\hu h\enotes
-\Notes|\ibbu1b3\qh1a\tqh1c\enotes
-\Notes|\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e\enotes
-\temps\Notes\zhl F\raise\Interligne\hbox{\qs}\qupp J|\ds&\oct
- \ql c&ta&\qu c\enotes
-\Notes|\ibbu1b3\qh1a\tqh1c\enotes
-\Notes|\ibbu2d0\qh2e\qh2a\qh2c&\oct\qsk
- \pt a\ds&&\qsk\pt h\ds\enotes
-\Notes|\tqh2e&\oct
- \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h\enotes
-\barre
-%Takt 27
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {_L}|\ds&\oct
- \hl j&ri\rlap{---}&\hl j\enotes
-\Notes|\ibbu1b3\qh1b\tqh1c\enotes
-\Notes|\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L|\ds&\oct
- \bigaccid\ql{_e}&a,&\bigaccid\qu{_e}\enotes
-\Notes|\ibbu1b3\qh1b\tqh1c\enotes
-\Notes|\ibbu2d0\qh2e\qh2b\qh2c&\oct
- \pt a\ds&&\pt j\ds\enotes
-\Notes|\tqh2e&\oct
- \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j\enotes
-\barre
-%Takt 28
-\Notes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct
- \hl j&ri\rlap{---}&\hl j\enotes
-\Notes|\ibbu1b3\qh1b\tqh1c\enotes
-\Notes|\ibbu2d0\qh2d\qh2b\qh2c\tqh2d\enotes
-\temps\Notes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct
- \ql d&a!&\qu d\enotes
-\Notes|\ibbu1b3\qh1b\tqh1c\enotes
-\Notes|\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\oct
- \pt a\ds\sk\sk\ccl d&&\qp\enotes
-\barre
-%Takt 29
-\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct
- \itenu5d\hl d&O\rlap{---}&\itenl4d\hu d\enotes
-\Notes|\ibbu1b3\qh1N\tqh1b\enotes
-\Notes|\ibbu2d0\qh2d\qh2N\qh2b\tqh2d\enotes
-\temps\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M|\ds&\oct
- \tten5\ibl4d{-1}\qb4d&&\tten4\cu d\enotes
-\Notes|\ibbu1b3\qh1N\tqh1b&\oct
- \qb4d&ra&\ibu5d{-1}\qh5d\enotes
-\Notes|\ibbu2d0\qh2d\qh2N&\oct
- \qb4c&&\tqh5c\enotes
-\Notes|\qh2b\tqh2d&\oct
- \tqb4b&pro&\cu b\enotes
-\barre
-%Takt 30
-\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L|\ds&\oct
- \qlp g&no\rlap{---}&\Ilegu4l\pt g\qu g\enotes
-\Notes|\ibbu1b3\qh1N\tqh1c\enotes
-\Notes|\ibbu2d0\qh2e\qh2N\enotes
-\Notes|\qh2c\tqh2e&\oct
- \cl e&&\tleg4\cu e\enotes
-\temps\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L|\ds&\oct
- \ql c&bis,&\qu c\enotes
-\Notes|\ibbu1b3\qh1N\tqh1c\enotes
-\Notes|\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct
- \qp&&\qp\enotes
-\barre
-%Takt 31
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct
- \itenu5f\hl f&no\rlap{---}&\itenl4f\hu f\enotes
-\Notes|\ibbu1b3\qh1N\tqh1c\enotes
-\Notes|\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct
- \tten5\ibl4f{-1}\qb4f&&\tten4\cu f\enotes
-\Notes|\ibbu1b3\qh1N\tqh1c&\oct
- \qb4f&bis&\cu f\enotes
-\Notes|\ibbu2e0\qh2f\qh2N&\oct
- \qb4e&pec-&\cu e\enotes
-\Notes|\qh2c\tqh2f&\oct
- \tqb4d&ca-&\cu d\enotes
-\barre
-%Takt 32
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct
- \qlp k&to\rlap{---}&\Ilegu4k\pt k\ql k\enotes
-\Notes|\ibbu1b3\qh1N\tqh1b\enotes
-\Notes|\ibbu2e0\qh2f\qh2N\enotes
-\Notes|\qh2b\tqh2f&\oct
- \cl i&ri-&\tleg4\cl i\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct
- \ql g&bus,&\qu g\enotes
-\Notes|\ibbu1b3\qh1N\tqh1b\enotes
-\Notes|\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct
- \qp&&\qp\enotes
-\barre
-%Takt 33
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}|\ds&\oct
- \itenu5h\hl h&nunc&\itenl4h\hu h\enotes
-\Notes|\ibbu1b3\qh1a\tqh1c\enotes
-\Notes|\bigaccid\qsk\ibbu2e0\qh2{^f}\qh2a\qh2c\tqh2f\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L|\ds&\oct
- \tten5\ibl4h1\qb4h&&\tten4\cu h\enotes
-\Notes|\ibbu1b3\qh1a\tqh1c&\oct
- \qb4h&et\rlap{---}&\ibu5i1\qh5h\enotes
-\Notes|\ibbu2e0\qh2f\qh2a&\oct
- \qb4i&&\tqh5i\enotes
-\Notes|\qh2c\tqh2f&\oct
- \tqb4j&in&\cl j\enotes
-\barre
-%Takt 34
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {=L}|\ds&\oct
- \itenu5l\hl l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l\enotes
-\Notes|\ibbu1b3\qh1N\tqh1c\enotes
-\Notes|\ibbu2e0\qh2g\qh2N\qh2c\tqh2g\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L|\ds&\oct
- \tten5\ibl4j{-4}\qb4l&&\tten4\ibu5j{-2}\qh5l\enotes
-\Notes|\ibbu1b3\qh1N\tqh1c&\oct
- \qb4j&--&\tqh5j\enotes
-\Notes|\ibbu2e0\qh2g\qh2N&\oct
- \qb4g&ra,&\cu g\enotes
-\Notes|\qh2c\tqh2g&\oct
- \tqb4e&in&\cu e\enotes
-\barre
-%Takt 35
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct
- \itenu5d\hl d&ho\rlap{---}&\itenl4d\hu d\enotes
-\Notes|\ibbu1b3\qh1N\tqh1c\enotes
-\Notes|\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct
- \tten5\ibl4d3\qb4d&&\tten4\ibu5g3\qh5d\enotes
-\Notes|\ibbu1b3\qh1N\tqh1c&\oct
- \qb4h&&\tqh5h\enotes
-\Notes|\ibbu2e0\qh2f\qh2N&\oct
- \qb4i&ra&\ibu5i{-1}\qh5i\enotes
-\Notes|\qh2c\tqh2f&\oct
- \tqb4h&&\tqh5h\enotes
-\barre
-%Takt 36
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\oct
- \ibl4h{-3}\usf h\qb4h&\rlap{mor---}&\ibu5j2\qh5g\enotes
-\Notes|\ibbu1b3\qh1N\tqh1b&\oct
- \usf g\qb4g&&\tqh5k\enotes
-\Notes|\ibbu2e0\qh2f\qh2N&\oct
- \usf f\qb4f&tis&\ibu5i{-2}\qh5i\enotes
-\Notes|\qh2b\tqh2f&\oct
- \usf d\tqb4d&&\tqh5g\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K|\ds&\relax
- \lsf i\ibu4i{-3}\qh4i&nos-&\ibu5f{-2}\qh5f\enotes
-\Notes|\ibbu1b3\qh1N\tqh1b&\relax
- \lsf h\qh4h&&\tqh5d\enotes
-\Notes|\ibbu2e0\qh2f\qh2N&\relax
- \lsf f\qh4f&tr\ae.&\ibu5b{-2}\qh5b\enotes
-\Notes|\qh2b\tqh2f&\relax
- \lsf d\tqh4d&&\tqh5N\enotes
-\suspmorceau
-\eject
-%
-%Takt 37
-\def\instrumenti{P\'ed. 16'}
-\def\instrumentii{Positif}
-\def\instrumentiii{(Pos.)}
-\def\instrumentiv{Violon}
-\def\instrumentvi{Chant}
-\def\nbinstruments{6}
-\linesinpage=0\relax
-\nbporteesi=1\relax
-\nbporteesii=1\relax
-\nbporteesiii=1\relax
-\nbporteesiv=1\relax
-\nbporteesv=0\relax
-\nbporteesvi=1\relax
-\cleftoksi={6000}\relax
-\cleftoksii={6000}\relax
-\cleftoksiii={0000}\relax
-\cleftoksiv={0000}\relax
-\cleftoksvi={0000}\relax
-\def\interinstrumenti{0pt}
-\def\interinstrumentii{0pt}
-%\def\interinstrumentiv{-2\Interligne}
-\def\staffspacingi{1}%
-\def\staffspacingii{1}%
-\def\staffspacingiii{1}%
-\def\staffspacingiv{0.64}%
-\def\staffspacingvi{0.64}%
-\debutmorceau\barno=37\relax
-\autolines{26}33\relax
-\def\atnextline{\autolines{24}33}\relax
-%
-\Notes&\zhl C\raise\Interligne\hbox{\qs}\qupp J&\ds&\relax
- \hup c&A\rlap{---}&\itenl4c\hu c\enotes
-\Notes&&\ibbu1b3\qh1N\tqh1c&\enotes
-\Notes&&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes
-\temps\Notes\pause&\zhl J\raise2\Interligne\hbox{\qs}\qupp L&\ds&&\rlap{men.}&\tten4\qu c\enotes
-\Notes&&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp&&\qp\enotes
-\cleftoksii={0000}\changeclefs
-\barre
-%Takt 38
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\uptext{G.O.}&\wh l&A\rlap{---}&\wh e\enotes
-\Notes&\ibbl0j3\qb0g\tqb0j&\hpause\enotes
-\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&&&\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu e&&&\enotes
-\Notes&\ibbl2j3\qb2g\tqb2j&&&\enotes
-\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&&\enotes
-\barre
-%Takt 39
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&&\wh m&ve&\hupp f\enotes
-\Notes&\ibbl1j3\qb1h\tqb1k&\hpause\enotes
-\Notes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hu h&&&\enotes
-\Notes&\ibbl1j3\qb1h\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2h\enotes
-\Notes&\qb2k\tqb2m&&&\rlap{\kern -\Interligne Ma-}&\cu f\enotes
-\barre
-%Takt 40
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu3g\wh g&\hlp n&ri\rlap{---}&\hup g\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes
-\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hl f\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&&\ql k&\rlap{---}&\qu d\enotes
-\barre
-%Takt 41
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\tten3\zw e\wh g&\hlp l&a,&\hup e\enotes
-\Notes&\ibbl0j3\qb0g\tqb0j\enotes
-\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&&&\enotes
-\Notes&\ibbl2j3\qb2g\tqb2j&&&\enotes
-\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&&\qp&&\qp\enotes
-\barre
-%Takt 42
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu h&\oct
- \itenu5h\hl h&gra\rlap{---}&\itenl4h\hu h\enotes
-\Notes&\ibbl0j3\qb0h\tqb0l\enotes
-\Notes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hu e&\oct
- \tten5\ibl4a0\qb4h&&\tten4\ibu5g{-3}\qh5h\enotes
-\Notes&\ibbl0j3\qb0h\tqb0l&&\oct\qb4a&\rlap{---}&\tqh5a\enotes
-\Notes&\ibbl1k0\qb1o\qb1h&&\oct\qb4b&ti-&\cu b\enotes
-\Notes&\qb1l\tqb1o&&\oct\tqb4c&a&\cu c\enotes
-\barre
-%Takt 43
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\bigaccid\zw{^f}\itenu5o\hu o&\oct
- \qlp d&ple\rlap{---}&\Ilegu4k\pt d\qu d\enotes
-\Notes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes
-\Notes&\ibbu2i0\qh2k\qh2f\enotes
-\Notes&\qh2h\tqh2k&&\oct \cl e&&\tleg4\cu e\enotes
-\temps\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\tten5\ibu3m{-2}\qh3o&\oct
- \ql d&na,&\qu d\enotes
-\Notes&\ibbu1g3\qh1f\tqh1h&\qh3h\enotes
-\Notes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qh3i\sk\tqh3j&\qp&&\qp\enotes
-\barre
-%Takt 44
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\zw g\qupp k&\oct
- \itenu5g\hl g&Do\rlap{---}&\itenu4g\hu g\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&\sk\sk\sk\ccu l\enotes
-\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hu k&\oct
- \tten5\ibl4N0\qb4g&&\tten4\ibu5f{-3}\qh5g\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k&&\oct
- \qb4N&\rlap{---}&\tqh5N\enotes
-\Notes&\ibbl2k0\qb2n\qb2g&&\oct
- \qb4a&mi-&\cu a\enotes
-\Notes&\qb2k\tqb2n&&\oct
- \tqb4b&nus&\cu b\enotes
-\def\atnextline{\autolines{25}33}\relax
-\barre
-%Takt 45
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\itenl4e\zw e\itenu3n\hu n&\oct
- \qlp c&te\rlap{---}&\Ilegu2j\pt c\qu c\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2e\enotes
-\Notes&\qh2g\tqh2j&&\oct
- \cl d&&\tleg2\cu d\enotes
-\temps\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\tten3\ibu3l{-3}\qh3n&\oct
- \ql c&\rlap{cum,}&\qu c\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g&\qh3g\enotes
-\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qh3h\sk\tqh3i&\qp&&\qp\enotes
-%
-\def\atnextline{\autolines{25}33}\relax
-\barre
-%Takt 46
-\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\tten4\zw e\hu j&\oct
- \itenu5j\hl j&be\rlap{---}&\itenu4j\hu j\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j\enotes
-\temps\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\qu h&\oct
- \tten5\ibl4c0\qb4j&&\tten4\ibu5h{-3}\qh5j\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g&&\oct
- \qb4c&\rlap{---}&\tqh5c\enotes
-\Notes&\ibbu2i0\qh2j\qh2e&\qu g&\oct
- \qb4d&ne\rlap{---}&\ibu5e1\qh5d\enotes
-\Notes&\qh2g\tqh2j&&\oct
- \tqb4e&&\tqh5e\enotes
-\barre
-%Takt 47
-\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds
- &\bigaccid\zw {^f}\zw c\roff{\itenl3d\zw d}&\oct\bigaccid
- \qlp{^f}&\rlap{dic---}&\bigaccid\Ilegu4l\pt f\qu {^f}\enotes
-\Notes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}\enotes
-\Notes&\ibbu2i0\qh2j\qh2d\enotes
-\Notes&\qh2f\tqh2j&&\oct
- \cl e&&\tleg4\cu e\enotes
-\temps\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&&\oct
- \ql d&\rlap{---}&\qu d\enotes
-\Notes&\ibbu1f3\qh1d\tqh1f\enotes
-\Notes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&&\oct
- \ql a&ta&\qu a\enotes
-\barre
-%Takt 48
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\tten3\zw d\wh g&\oct
- \hl b&tu&\hu b\enotes
-\Notes&\ibbu1f3\qh1d\tqh1g\enotes
-\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i\enotes
-\temps\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\qp&&\qp\enotes
-\Notes&\ibbu1f3\qh1d\tqh1g\enotes
-\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&&\oct
- \ql d&in&\qu d\enotes
-\barre
-%Takt 49
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\bigsh c\wh{c}&\oct
- \itenu5e\hl e&mu\rlap{---}&\itenl4e\hu e\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g\enotes
-\Notes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j\enotes
-\temps\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&&\oct
- \tten5\ibl5e1\qb5e&&\tten4\cu e\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g&&\oct
- \qb5e&li\rlap{---}&\ibu4f1\qh4e\enotes
-\Notes&\ibbu2i0\qh2j\qh2e&&\oct
- \qb5f&&\qh4f\enotes
-\Notes&\qh2g\tqh2j&&\oct
- \tqb5g&&\tqh4g\enotes
-\barre
-%Takt 50
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\zw k\itenu3o\hu o&\oct
- \hl h&e\rlap{---}&\ppt h\qu h\enotes
-\Notes&\ibbu1g3\qh1d\tqh1h\enotes
-\Notes&\ibbu2i0\qh2k\qh2d\qh2h\enotes
-\Notes&\tqh2k&&&ri-&\ccu a\enotes
-\temps\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\tten3\ibl3m2\qb3o&\oct
- \ql a&bus&\qu a\enotes
-\Notes&\ibbu1g3\qh1d\tqh1h&\qb3o\enotes
-\Notes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qb3p\sk\tqb3q&\qp&&\qp\enotes
-\barre
-%Takt 51
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\bigaccid
- \zw {=i}\hu r&\oct\itenu5d\hl d&et\rlap{---}&\itenl4d\hu d\enotes
-\Notes&\ibbu1f3\qh1d\tqh1f\enotes
-\Notes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i\enotes
-\temps\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\hu k&\oct
- \tten5\ibl4d1\qb4d&&\tten4\cu d\enotes
-\Notes&\ibbu1f3\qh1d\tqh1f&&\oct
- \qb4d&be\rlap{---}&\ibu5e1\qh5d\enotes
-\Notes&\ibbu2i0\qh2i\qh2d&&\oct
- \qb4e&&\tqh5e\enotes
-\Notes&\qh2f\tqh2i&&\oct
- \tqb4f&ne-&\cu f\enotes
-\barre
-%Takt 52
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\zw j\itenu3n\hu n&\oct
- \hl g&\rlap{dic---}&\hu g\enotes
-\Notes&\ibbu1f3\qh1c\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j\enotes
-\temps\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\tten3\ibl3n{3}\qb3n&\oct
- \qu N&tus&\qu N\enotes
-\Notes&\ibbu1f3\qh1c\tqh1g&\qb3n\enotes
-\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qb3o\sk\tqb3p&\qp&&\qp\enotes
-\barre
-%Takt 53
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\zw h\hu q&\oct
- \itenu5c\hl c&fruc\rlap{---}&\itenl4c\hu c\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes
-\temps\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\itenu3j\hu j&\oct
- \tten5\ibl4c1\qb4c&&\tten4\cu c\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c&&\oct
- \qb4c&tus&\ibu5d1\qh5c\enotes
-\Notes&\ibbu2e0\qh2f\qh2a&&\oct
- \qb4d&&\qh5d\enotes
-\Notes&\qh2c\tqh2f&&\oct
- \tqb4e&&\tqh5e\enotes
-\barre
-%Takt 54
-\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\tten3\zw c\hu j&\oct
- \itenu5f\hl f&vent\rlap{---}&\itenl4f\hu f\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes
-\temps\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&&\oct
- \tten5\ibl4f1\qb4f&&\tten4\cu f\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c&\hu h&\oct
- \qb4f&ris&\ibu5g1\qh5f\enotes
-\Notes&\ibbu2e0\qh2f\qh2a&&\oct
- \qb4g&&\qh5g\enotes
-\Notes&\qh2c\tqh2f&&\oct
- \tqb4h&&\tqh5h\enotes
-\barre
-%Takt 55
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\hu g&\oct
- \qlp i&tu--&\Ilegu4k\pt i\ql i\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\enotes
-\Notes&\qh2b\tqh2f&&\oct
- \cl h&i,&\tleg4\cl h\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu f&\oct
- \ql g&\rlap{Je---}&\Ilegu5l\qu g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct
- \ql d&&\tleg5\qu d\enotes
-\barre
-%Takt 56
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\zw c\hu e&\oct
- \hlp e&sus.&\hup e\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes
-\temps\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\hu g&\oct
- &&\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&&\oct
- &&\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct
- \pt a\ds\sk\sk\cl e&&\qp\enotes
-\barre
-%Takt 57
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\zw e\bigfl i\relax
- \roff{\zw i}\hu j&\oct \hl g&\rlap{Sanc---}&\hu g\enotes
-\Notes&\ibbu1b3\bigaccid\qh1{_b}\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e\enotes
-\temps\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\hu l&\oct
- \ql e&ta&\qu e\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct
- \pt a\ds&&\pt h\ds\enotes
-\Notes&\tqh2e&&\oct
- \ccl e&\rlap{\kern -\Interligne Ma-}&\ccu e\enotes
-\barre
-%Takt 58
-\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zhl c\itenl3e\itenu4h\zh e\hu h&\oct
- \hl h&ri\rlap{---}&\hu h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e\enotes
-\temps\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten3\tten4\zh e\zhl h\hu j&\oct
- \ql a&a,&\qu a\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&&\oct
- \qp&&\qp\enotes
-\barre
-%Takt 59
-\Notes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\bigaccid
- \zw h\hu{_l}&\oct
- \hl h&\rlap{sanc---}&\hu h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\qsk\bigaccid\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e\enotes
-\temps\Notes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\hu o&\oct
- \ql c&ta&\qu c\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2a\qh2c&&\oct
- \pt a\ds&&\pt h\ds\enotes
-\Notes&\tqh2e&&\oct
- \ccl h&\rlap{\kern -\Interligne Ma-}&\ccu h\enotes
-\barre
-%Takt 60
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\zw g\zw j\hu n&\oct
- \hl j&ri\rlap{---}&\hl j\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\hu{_l}&\oct\bigaccid
- \ql{_e}&a,&\bigaccid\qu{_e}\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2b\qh2c&&\oct
- \pt a\ds&&\pt j\ds\enotes
-\Notes&\tqh2e&&\oct
- \ccl j&\rlap{\kern -\Interligne Ma-}&\ccl j\enotes
-\barre
-%Takt 61
-\Notes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu k&\oct
- \hl j&ri\rlap{---}&\hl j\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d\enotes
-\temps\Notes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hu j&\oct
- \ql d&a!&\qu d\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&&\oct
- \pt a\ds\sk\sk\ccl d&&\qp\enotes
-\barre
-%Takt 62
-\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zw f\hu i&\oct
- \itenu5d\hl d&O\rlap{---}&\itenl4d\hu d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d\enotes
-\temps\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\zhl b\itenu3g\hu g&\oct
- \tten5\ibl4d{-1}\qb4d&&\tten4\cu d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b&&\oct
- \qb4d&ra&\ibu5d{-1}\qh5d\enotes
-\Notes&\ibbu2d0\qh2d\qh2N&&\oct
- \qb4c&&\tqh5c\enotes
-\Notes&\qh2b\tqh2d&&\oct
- \tqb4b&pro&\cu b\enotes
-\barre
-%Takt 63
-\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\tten3\zw e\hu g&\oct
- \qlp g&no\rlap{---}&\Ilegu4l\pt g\qu g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\enotes
-\Notes&\qh2c\tqh2e&&\oct
- \cl e&&\tleg4\cu e\enotes
-\temps\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\itenu3j\zhl g\hu j&\oct
- \ql c&bis,&\qu c\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&&\oct
- \qp&&\qp\enotes
-\barre
-%Takt 64
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\itenl3f\zw f\hu j&\oct
- \itenu5f\hl f&no\rlap{---}&\itenl4f\hu f\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl c\hu h&\oct
- \tten5\ibl4f{-1}\qb4f&&\tten4\cu f\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&&\oct
- \qb4f&bis&\cu f\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&&\oct
- \qb4e&pec-&\cu e\enotes
-\Notes&\qh2c\tqh2f&&\oct
- \tqb4d&ca-&\cu d\enotes
-\barre
-%Takt 65
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten3\zw f\zhl d\hu i&\oct
- \qlp k&\raise\Interligne\hbox{to---}&\Ilegu4k\pt k\ql k\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\enotes
-\Notes&\qh2b\tqh2f&&\oct
- \cl i&ri-&\tleg4\cl i\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl b\hu k&\oct
- \ql g&bus,&\qu g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&&\oct
- \qp&&\qp\enotes
-\barre
-%Takt 66
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid
- \qupp {_L}&\ds&\bigaccid\zw j\zhl{^f}\hu{_l}&\oct
- \itenu5h\hl h&nunc&\itenl4h\hu h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\qsk\ibbu2e0\bigaccid\qh2{^f}\qh2a\qh2c\tqh2f\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\zhl h\hu{^m}&\oct
- \tten5\ibl4h1\qb4h&&\tten4\cu h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c&&\oct
- \qb4h&et\rlap{---}&\ibu5i1\qh5h\enotes
-\Notes&\ibbu2e0\qh2f\qh2a&&\oct
- \qb4i&&\tqh5i\enotes
-\Notes&\qh2c\tqh2f&&\oct
- \tqb4j&in&\cl j\enotes
-\barre
-%Takt 67
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {=L}&\ds&\zw g\zh j\hu n&\oct
- \itenu5l\hl l&\raise 3\internote\hbox{ho---}&\itenu4l\hl l\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\hu{=l}&\oct
- \tten5\ibl4j{-3}\qb4l&&\tten4\ibu5j{-2}\qh5l\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&&\oct
- \qb4j&---&\tqh5j\enotes
-\Notes&\ibbu2e0\qh2g\qh2N&&\oct
- \qb4g&ra,&\cu g\enotes
-\Notes&\qh2c\tqh2g&&\oct
- \tqb4e&in&\cu e\enotes
-\barre
-%Takt 68
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw f\hu k&\oct
- \itenu5d\hl d&ho\rlap{---}&\itenl4d\hu d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu h&\oct
- \tten5\ibl4d3\qb4d&&\tten4\ibu5g3\qh5d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&&\oct
- \qb4h&&\tqh5h\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&&\oct
- \qb4i&ra&\ibu5i{-1}\qh5i\enotes
-\Notes&\qh2c\tqh2f&&\oct
- \tqb4h&&\tqh5h\enotes
-\barre
-%Takt 69
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zw b\zw d\rh f\zhu g&\oct
- \ibl4h{-3}\usf h\qb4h&\rlap{mor---}&\ibu5j2\qh5g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b&&\oct
- \usf g\qb4g&&\tqh5k\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&&\oct
- \usf f\qb4f&tis&\ibu5i{-2}\qh5i\enotes
-\Notes&\qh2b\tqh2f&&\oct
- \usf d\tqb4d&&\tqh5g\enotes
-\temps\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\hu N&\relax
- \lsf i\ibu4i{-3}\qh4i&\rlap{nos---}&\ibu5f{-2}\qh5f\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b&&\relax
- \lsf h\qh4h&&\tqh5d\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&&\relax
- \lsf f\qh4f&tr\ae.&\ibu5b{-2}\qh5b\enotes
-\Notes&\qh2b\tqh2f&&\relax
- \lsf d\tqh4d&&\tqh5N\enotes
-\barre
-\autolines{19}43\relax
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%Takt 70
-\Notes\zhl C\raise\Interligne\hbox{\qs}\qupp J&\ds
- &\bigaccid\zw{_b}\roff{\itenu3c\zw c}&\itenl4c\wh c
- &A\rlap{---}&\wh c\enotes
-\Notes&\ibbu1b3\qh1N\bigaccid\qsk\tqh1{_b}\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e\enotes
-\temps\Notes\zhl C\raise\Interligne\hbox{\qs}\qupp J&\ds\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e\enotes
-\barre
-%Takt 71
-\Notes\raise\Interligne\rlap{\qs}\wh C\itenl2J\qupp J&\ds&\tten3\zw a\wh c&\tten4\wh c
- &\rlap{\kern -\interligne men!}&\hu c\enotes
-\Notes&\ibbu1a3\qh1M\tqh1a\enotes
-\Notes&\ibbu2e0\qh2c\qh2f\qh2c\tqh2a\enotes
-\temps\Notes\tten2\hu J&\ibbu2b0\qh2c\qh2a\qh2M\tqh2a&&\oct
- &&\hpause\enotes
-\Notes\ibbu3M0\qh3M\qh3K\qh3M\tqh3K\enotes
-\barre
-%Takt 72
-\Notes\zw C\qs\itenl3I\qupp I&\ds&\bigaccid\zw{=b}\wh g&\itenl4N\wh N
- &A\rlap{---}&\wh g\enotes
-\Notes&\ibbl1h3\qb1g\tqb1i\enotes
-\Notes&\ibbl2j{-2}\qb2k\qb2m\qb2k\tqb2i\enotes
-\temps\Notes\tten3\hu I&\ibbl2h0\qb2k\qb2i\qb2g\tqb2i&&\enotes
-\Notes&\ibbu3e0\qh3d\qh3f\pince n\qh3e\tqh3d\enotes
-\barre
-%Takt 73
-\NOTes\pointdurgue C\zwh C\wh J&\zwh e\zwh g\pointdorgue j\wh j\relax
- &\zw N\zw c\wh e&\tten4\wh N&\rlap{\kern -\interligne men!}&\pointdorgue g\wh g\enotes
-\finmorceau
-\bye
-
diff --git a/macros/musixtex/doc/examples/avemaroo.tex b/macros/musixtex/doc/examples/avemaroo.tex
deleted file mode 100644
index 520d5f0530..0000000000
--- a/macros/musixtex/doc/examples/avemaroo.tex
+++ /dev/null
@@ -1,858 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
- \input avemaria.reg
- \title{Ave Maria (Gounod)}
-\csname titremorceautoc\endcsname
-\fulltitle{M\'editation -- Ave Maria}
-\title{M\'editation -- Ave Maria}
- \author{Charles Gounod \& J.-S. Bach\\Transcription Orgue solo Daniel
-Taupin\\\& Markus Veittes}
- \shortauthor{C. Gounod, J.-S. Bach, D. Taupin}
- \subtitle{\relax}
- \othermention{G.O.: fl\^ute 8' [+4']\\R\'ecit : fl\^utes 8'+4' [+nasard ou
-chalumeau {\it ad lib.}]\\Positif : quinte\\P\'edale : 16', acc.
-G.O.\\Gif : 2/9-11-12/20-23/33-37-45/50-52-54}
-\maketitle
-
-\staffbotmarg\Interligne
-%
-\parindent 13mm
-\musicsize=20
-\normal
-\relativeaccidentals
-\def\oct{\advance\transpose by 7\relax}
-\def\nbinstruments{3}
-\def\instrumenti{P\'edale}
-\def\instrumentii{G.O.}
-%\def\interinstrumenti{-2\Interligne}
-%\def\interinstrumentii{-2\Interligne}
-\def\instrumentiii{Positif}
-\nbporteesi=1\relax
-\nbporteesii=1\relax
-\nbporteesiii=1\relax
-
-\generalmeter{\meterC}%
-\cleftoksi{{6}{0}{0}{0}}
-\cleftoksii{{0}{0}{0}{0}}
-\cleftoksiii{{0}{0}{0}{0}}
-%\raggedlinestrue % uncomment for ragged right lines
-
-
-\debutmorceau
-\def\OrgNotes#1&#2&#3&#4&#5&#6\enotes{\Notes#1&#2&\relax#5\enotes}%
-\def\orgNotes#1&#2&#3&#4&#5&#6&#7\enotes{\Notes#1&#2&\relax#4\enotes}%
-\def\orgNOTes#1&#2&#3&#4&#5&#6&#7\enotes{\NOTes#1&#2&\relax#4\enotes}%
- %\check
-%Takt 1
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds\enotes
-\Notes&\ibbl0j3\qb0g\tqb0j\enotes
-\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause\enotes
-\Notes&\ibbl2j3\qb2g\tqb2j\enotes
-\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes
-\barre
- %\check
-%Takt 2
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds\enotes
-\Notes&\ibbl1j3\qb1h\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause\enotes
-\Notes&\ibbl1j3\qb1h\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes
-\barre
- %\check
-%Takt 3
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\pause\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes
-\barre
- %\check
-%Takt 4
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds\enotes
-\Notes&\ibbl0j3\qb0g\tqb0j\enotes
-\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\pause\enotes
-\Notes&\ibbl2j3\qb2g\tqb2j\enotes
-\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes
-\barre
- %\check
-%Takt 5
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\wh e\enotes
-\Notes&\ibbl0j3\qb0g\tqb0j\enotes
-\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds\enotes
-\Notes&\ibbl2j3\qb2g\tqb2j\enotes
-\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes
-\barre
- %\check
-%Takt 6
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hupp f\enotes
-\Notes&\ibbl1j3\qb1h\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds\enotes
-\Notes&\ibbl1j3\qb1h\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2h\enotes
-\Notes&\qb2k\tqb2m&\cu f\enotes
-\barre
- %\check
-%Takt 7
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\hup g\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\qu d\enotes
-\barre
- %\check
-%Takt 8
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\hup e\enotes
-\Notes&\ibbl0j3\qb0g\tqb0j\enotes
-\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds\enotes
-\Notes&\ibbl2j3\qb2g\tqb2j\enotes
-\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp\enotes
-\barre
- %\check
-%Takt 9
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\itenl4h\hu h\enotes
-\Notes&\ibbl0j3\qb0h\tqb0l\enotes
-\Notes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\tten4\cu h\enotes
-\Notes&\ibbl0j3\qb0h\tqb0l&\Ibu5ac4\qh5a\enotes
-\Notes&\ibbl1k0\qb1o\qb1h&\qh5b\enotes
-\Notes&\qb1l\tqb1o&\tqh5c\enotes
-\barre
- %\check
-%Takt 10
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\qup d\enotes
-\Notes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes
-\Notes&\ibbu2i0\qh2k\qh2f\enotes
-\Notes&\qh2h\tqh2k&\cu e\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\qu d\enotes
-\Notes&\ibbu1g3\qh1f\tqh1h\enotes
-\Notes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp\enotes
-\barre
- %\check
-%Takt 11
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu4g\hu g\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n\enotes
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\tten4\cu g\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k&\Ibu5Nb4\qh5N\enotes
-\Notes&\ibbl2k0\qb2n\qb2g&\qh5a\enotes
-\Notes&\qb2k\tqb2n&\tqh5b\enotes
-\barre
- %\check
-%Takt 12
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\qup c\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2e\enotes
-\Notes&\qh2g\tqh2j&\cu d\enotes
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&\qu c\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\qp\enotes
-%
-\barre
- %\check
-%Takt 13
-\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\itenu4j\hu j\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j\enotes
-\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\tten4\cu j\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g&\Ibu5ce4\qh5c\enotes
-\Notes&\ibbu2i0\qh2j\qh2e&\qh5d\enotes
-\Notes&\qh2g\tqh2j&\tqh5e\enotes
-\barre
- %\check
-%Takt 14
-\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\bigaccid\qup {^f}\enotes
-\Notes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}\enotes
-\Notes&\ibbu2i0\qh2j\qh2d\enotes
-\Notes&\qh2f\tqh2j&\cu e\enotes
-\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\qu d\enotes
-\Notes&\ibbu1f3\qh1d\tqh1f\enotes
-\Notes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\qu a\enotes
-\barre
- %\check
-%Takt 15
-\def\atnextline{\staffbotmarg3\Interligne}%
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\hu b\enotes
-\Notes&\ibbu1f3\qh1d\tqh1g\enotes
-\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i\enotes
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\qp\enotes
-\Notes&\ibbu1f3\qh1d\tqh1g\enotes
-\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\qu d\enotes
-\barre
- %\check
-%Takt 16
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\itenl4e\hu e\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g\enotes
-\Notes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j\enotes
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\tten4\cu e\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g&\Ibu4eg4\qh4e\enotes
-\Notes&\ibbu2i0\qh2j\qh2e&\qh4f\enotes
-\Notes&\qh2g\tqh2j&\tqh4g\enotes
-\barre
- %\check
-%Takt 17
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\ppt h\qu h\enotes
-\Notes&\ibbu1g3\qh1d\tqh1h\enotes
-\Notes&\ibbu2i0\qh2k\qh2d\qh2h\enotes
-\Notes&\tqh2k&\ccu a\enotes
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\qu a\enotes
-\Notes&\ibbu1g3\qh1d\tqh1h\enotes
-\Notes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qp\enotes
-\barre
- %\check
-%Takt 18
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\itenl4d\hu d\enotes
-\Notes&\ibbu1f3\qh1d\tqh1f\enotes
-\Notes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i\enotes
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\tten4\cu d\enotes
-\Notes&\ibbu1f3\qh1d\tqh1f&\Ibu5df4\qh5d\enotes
-\Notes&\ibbu2i0\qh2i\qh2d&\qh5e\enotes
-\Notes&\qh2f\tqh2i&\tqh5f\enotes
-\barre
- %\check
-%Takt 19
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\hu g\enotes
-\Notes&\ibbu1f3\qh1c\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j\enotes
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\qu N\enotes
-\Notes&\ibbu1f3\qh1c\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qp\enotes
-\barre
- %\check
-%Takt 20
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\itenl4c\hu c\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\tten4\cu c\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c&\Ibu5ce4\qh5c\enotes
-\Notes&\ibbu2e0\qh2f\qh2a&\qh5d\enotes
-\Notes&\qh2c\tqh2f&\tqh5e\enotes
-\barre
- %\check
-%Takt 21
-\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\itenl4f\hu f\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes
-\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\tten4\cu f\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c&\Ibu5fh4\qh5f\enotes
-\Notes&\ibbu2e0\qh2f\qh2a&\qh5g\enotes
-\Notes&\qh2c\tqh2f&\tqh5h\enotes
-\barre
- %\check
-%Takt 22
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\qlp i\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\enotes
-\Notes&\qh2b\tqh2f&\cl h\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\qu g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\qu d\enotes
-\barre
- %\check
-%Takt 23
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\hup e\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp\enotes
-\barre
- %\check
-%Takt 24
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\hu g\enotes
-\Notes&\bigaccid\ibbu1b3\qh1{_b}\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e\enotes
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\qu e\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2b\qh2c&\pt h\ds\enotes
-\Notes&\tqh2e&\ccu e\enotes
-\barre
- %\check
-%Takt 25
-\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hu h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e\enotes
-\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\qu a\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\qp\enotes
-\barre
- %\check
-%Takt 26
-\Notes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp J&\ds&\hu h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e\enotes
-\Notes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&\qu c\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2a\qh2c&\qsk\pt h\ds\enotes
-\Notes&\tqh2e&\ccu h\enotes
-\barre
- %\check
-%Takt 27
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {_L}&\ds&\hl j\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\bigaccid\qu{_e}\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2b\qh2c&\pt j\ds\enotes
-\Notes&\tqh2e&\ccl j\enotes
-\barre
- %\check
-%Takt 28
-\Notes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\hl j\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d\enotes
-\Notes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\qu d\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\qp\enotes
-\barre
- %\check
-%Takt 29
-\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\itenl4d\hu d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d\enotes
-\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten4\cu d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b&\Ibu5db4\qh5d\enotes
-\Notes&\ibbu2d0\qh2d\qh2N&\qh5c\enotes
-\Notes&\qh2b\tqh2d&\tqh5 b\enotes
-\barre
- %\check
-%Takt 30
-\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\qup g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\enotes
-\Notes&\qh2c\tqh2e&\cu e\enotes
-\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\qu c\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp\enotes
-\barre
- %\check
-%Takt 31
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\itenl4f\hu f\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten4\cu f\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&\Ibu5fd4\qh5f\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&\qh5e\enotes
-\Notes&\qh2c\tqh2f&\tqh5d\enotes
-\barre
- %\check
-%Takt 32
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\qlp k\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\enotes
-\Notes&\qh2b\tqh2f&\cl i\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\qu g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\qp\enotes
-\barre
- %\check
-%Takt 33
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\itenl4h\hu h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\bigaccid\qsk\ibbu2e0\qh2{^f}\qh2a\qh2c\tqh2f\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\tten4\cu h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c&\Ibu5hj4\qh5h\enotes
-\Notes&\ibbu2e0\qh2f\qh2a&\qh5i\enotes
-\Notes&\qh2c\tqh2f&\tqh5j\enotes
-\barre
- %\check
-%Takt 34
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {=L}&\ds&\itenu4l\hl l\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&\tten4\cl l\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&\Ibu5je4\qh5j\enotes
-\Notes&\ibbu2e0\qh2g\qh2N&\qh5g\enotes
-\Notes&\qh2c\tqh2g&\tqh5e\enotes
-\barre
- %\check
-%Takt 35
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\itenl4d\hu d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\tten4\ibu5g3\qh5d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&\tqh5h\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&\ibu5i{-1}\qh5i\enotes
-\Notes&\qh2c\tqh2f&\tqh5h\enotes
-\barre
- %\check
-%Takt 36
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\ibu5j2\qh5g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b&\tqh5k\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&\ibu5i{-2}\qh5i\enotes
-\Notes&\qh2b\tqh2f&\tqh5g\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\ibu5f{-2}\qh5f\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b&\tqh5d\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&\ibu5b{-2}\qh5b\enotes
-\Notes&\qh2b\tqh2f&\tqh5N\enotes
-\barre
- %\check
-%Takt 37
-\Notes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds&\itenl4c\hu c\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes
-\Notes\zhl J\raise2\Interligne\hbox{\qs}\qupp L&\ds&\tten4\qu c\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&\uptext{R\'ecit (doux)}\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\qp\enotes
-\barre
- %\check
-%Takt 38
-\Notes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&\wh l\enotes
-\Notes&\ibbl0j3\qb0g\tqb0j\enotes
-\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l&\raise -2\Interligne\hpause\enotes
-\Notes\zhl c\raise 5.5\Interligne\qs\qupp e&\ds&\hl g\enotes
-\Notes&\ibbl2j3\qb2g\tqb2j\enotes
-\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l\enotes
-\barre
- %\check
-%Takt 39
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\wh m\enotes
-\Notes&\ibbl1j3\qb1h\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2h\qb2k\tqb2m&\raise -2\Interligne\hpause\enotes
-\Notes\zhl c\raise 5.5\Interligne\qs\qupp d&\ds&\hl h\enotes
-\Notes&\ibbl1j3\qb1h\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2h\enotes
-\Notes&\qb2k\tqb2m\enotes
-\barre
- %\check
-%Takt 40
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\zhl i\hup n\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m\enotes
-\Notes\zhl b\raise 5.5\Interligne\qs\qupp d&\ds&\hl f\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2m\qb2g\qb2k\tqb2m&\qu k\enotes
-\barre
- %\check
-%Takt 41
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\zhlp g\hup l\enotes
-\Notes&\ibbl0j3\qb0g\tqb0j\enotes
-\Notes&\ibbl1k0\qb1l\qb1g\qb1j\tqb1l\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds\enotes
-\Notes&\ibbl2j3\qb2g\tqb2j\enotes
-\Notes&\ibbl3k0\qb3l\qb3g\qb3j\tqb3l&\qp\enotes
-\barre
- %\check
-%Takt 42
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp e&\ds&\relax
- {\roffset{0.3}{\zhu j}}\oct
- \itenu5h\hl h\enotes
-\Notes&\ibbl0j3\qb0h\tqb0l\enotes
-\Notes&\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp
-e&\ds&{\roffset {0.3}{\zhu l}}\oct
- \tten5\ibl4a0\qb4h\enotes
-\Notes&\ibbl0j3\qb0h\tqb0l&\oct\qb4a\enotes
-\Notes&\ibbl1k0\qb1o\qb1h&\oct\qb4b\enotes
-\Notes&\qb1l\tqb1o&\oct\tqb4c\enotes
-\barre
- %\check
-%Takt 43
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\itenu5o{\zhu o}\oct
- \qlp d\enotes
-\Notes&\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes
-\Notes&\ibbu2i0\qh2k\qh2f\enotes
-\Notes&\qh2h\tqh2k&\oct \cl e\enotes
-\Notes\zhl c\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\tten5{\ibu3m{-2}\zqh3o}\oct
- \ql d\enotes
-\Notes&\ibbu1g3\qh1f\tqh1h&{\qh3h}\enotes
-\Notes&\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\raise -2\Interligne\rlap{\qp}{\qh3i\sk\tqh3j}\enotes
-\barre
- %\check
-%Takt 44
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\relax
- \rlap{\roffset{0.3}{\qupp k}}\oct
- \normalnotesize\itenu5g\hl g\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k\enotes
-\Notes&\ibbl2k0\qb2n\qb2g\qb2k\tqb2n&\sk\sk\sk\ccu l\enotes
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp d&\ds&\roffset {0.5}{\zhu k}\oct
- \normalnotesize\tten5\ibl4N0\qb4g\enotes
-\Notes&\ibbl1j3\qb1g\tqb1k&\oct \qb4N\enotes
-\Notes&\ibbl2k0\qb2n\qb2g&\oct
- \qb4a\enotes \Notes&\qb2k\tqb2n&\oct \tqb4b\enotes
-\barre
- %\check
-%Takt 45
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&{\itenu3n\zhu n}\oct
- \qlp c\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2e\enotes
-\Notes&\qh2g\tqh2j&\oct
- \cl d\enotes
-\Notes\zhl b\raise 5.5\Interligne \hbox{\qs}\qupp c&\ds&{\tten3\ibu3l{-3}\zqh3n}\oct
- \ql c\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g&\qh3g\enotes
-\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j&\raise -2.5\Interligne\rlap{\qp}\qh3h\sk\tqh3i\enotes
-%
-\barre
- %\check
-%Takt 46
-\Notes\zhl a\raise 5\Interligne\hbox{\qs}\qupp c&\ds&\relax
- {\roffset{0.3}{\zhl j}}\oct
- \itenu5j\hu j\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2e\qh2g\tqh2j\enotes
-\Notes\zhl a\raise 5\Interligne\qs\qupp c&\ds&{\zql h}\oct
- \tten5\cu j\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g&\oct
- \Ibu4ce4\qh4c\enotes
-\Notes&\ibbu2i0\qh2j\qh2e&{\zql g}\oct
- \qh4d\enotes
-\Notes&\qh2g\tqh2j&\oct
- \tqh4e\enotes
-\barre
- %\check
-%Takt 47
-\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds
- &\bigaccid\zhlp h\oct
- \qup{^f}\enotes
-\Notes&\ibbu1f3\qh1d\bigaccid\qsk\tqh1{^f}\enotes
-\Notes&\ibbu2i0\qh2j\qh2d\enotes
-\Notes&\qh2f\tqh2j&\oct \cu e\enotes
-\Notes\zhl K\raise 3.5\Interligne\hbox{\qs}\qupp a&\ds&\oct
- \qu d\enotes
-\Notes&\ibbu1f3\qh1d\tqh1f\enotes
-\Notes&\ibbu2i0\qh2j\qh2d\qh2f\tqh2j&\oct
- \zql a\qu a\enotes
-\barre
- %\check
-%Takt 48
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\relax
- {\zw g}\oct \hu b\enotes
-\Notes&\ibbu1f3\qh1d\tqh1g\enotes
-\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i\enotes
-\Notes\zhl N\raise 4.2\Interligne\qs\qupp b&\ds&\relax
- \raise\Interligne\qp\enotes
-\Notes&\ibbu1f3\qh1d\tqh1g\enotes
-\Notes&\ibbu2i0\qh2i\qh2d\qh2g\tqh2i&\oct
- \qu d\enotes
-\barre
- %\check
-%Takt 49
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_b}&\ds&\zw{^j}\oct
- \itenu5e\hu e\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g\enotes
-\Notes&\bigaccid\qsk\ibbu2i0\qh2{^j}\qh2e\qh2g\tqh2j\enotes
-\Notes\zhl N\raise 4.2\Interligne\hbox{\qs}\qupp b&\ds&\oct
- \tten5\cu e&\enotes
-\Notes&\ibbu1f3\qh1e\tqh1g&\oct
- \Ibu5eg4\qh5e\enotes
-\Notes&\ibbu2i0\qh2j\qh2e&\oct
- \qh5f\enotes
-\Notes&\qh2g\tqh2j&\oct
- \tqh5g\enotes
-\barre
- %\check
-%Takt 50
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&
- \rlap{\hlp k}\oct \itenu4h\hu h\enotes
-\Notes&\ibbu1g3\qh1d\tqh1h\enotes
-\Notes&\ibbu2i0\qh2k\qh2d\qh2h\enotes
-\Notes&\tqh2k\enotes
-\Notes\zhl M\raise 3.8\Interligne\qs\qupp a&\ds&\tten4\relax
- \oct \cu h\enotes
-\Notes&\ibbu1g3\qh1d\tqh1h&{\Ibu3hj4\qh3h}\enotes
-\Notes&\ibbu2i0\qh2k\qh2d\qh2h\tqh2k&\qh3i\sk\tqh3j\enotes
-\barre
- %\check
-%Takt 51
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\bigaccid\qsk\qupp{_a}&\ds&\bigaccid\zw {=i}\oct\itenu5d\hu d\enotes
-\Notes&\ibbu1f3\qh1d\tqh1f\enotes
-\Notes&\ibbu2i0\qh2i\qh2d\qh2f\tqh2i\enotes
-\Notes\zhl M\raise 3.8\Interligne\hbox{\qs}\qupp a&\ds&\oct
- \tten5\cu d\enotes
-\Notes&\ibbu1f3\qh1d\tqh1f&\oct
- \Ibu4df4\qh4d\enotes
-\Notes&\ibbu2i0\qh2i\qh2d&\oct
- \qh4e\enotes
-\Notes&\qh2f\tqh2i&\oct
- \tqh4f\enotes
-\barre
- %\check
-%Takt 52
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&{\zhlp j}\oct
- \itenu4g\hu g\enotes
-\Notes&\ibbu1f3\qh1c\tqh1g\enotes
-\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j\enotes
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp N&\ds&\oct
- \tten4\cu g\enotes
-\Notes&\ibbu1f3\qh1c\tqh1g&\Ibu4gi4\qh4g\enotes
-\Notes&\ibbu2i0\qh2j\qh2c\qh2g\tqh2j&\qh4h\sk\tqh4i\enotes
-\barre
- %\check
-%Takt 53
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&{\zw h}\oct
- \itenu5c\hu c\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes
-\Notes\zhl L\raise 3.5\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \tten5\cu c\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c&\oct
- \Ibu4ce4\qh4c\enotes
-\Notes&\ibbu2e0\qh2f\qh2a&\oct
- \qh4d\enotes
-\Notes&\qh2c\tqh2f&\oct
- \tqh4e\enotes
-\barre
- %\check
-%Takt 54
-\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\relax
- {\zw j}\oct
- \itenu5f\hu f\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2a\qh2c\tqh2f\enotes
-\Notes\zhl K\raise 3\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \tten5\cu f\enotes
-\Notes&\ibbu1c3\qh1a\tqh1c&\oct
- \Ibu4fh4\qh4f\enotes
-\Notes&\ibbu2e0\qh2f\qh2a&\oct
- \qh4g\enotes
-\Notes&\qh2c\tqh2f&\oct
- \tqh4h\enotes
-\barre
- %\check
-%Takt 55
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zqlp n}\oct
- \qup i\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\enotes
-\Notes&\qh2b\tqh2f&\oct \cu h\enotes
-\Notes\zhl G\raise 1.6\Interligne\qs\qupp K&\ds&\relax
- \rlap{\roff{\hl m}}\oct \qu g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\oct
- \qu d&\enotes
-\barre
- %\check
-%Takt 56
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&{\zhlp j}\oct
- \hup e\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e\enotes
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp L&\ds&\oct
- \enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&\oct
- \enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct
- \pt a\ds\sk\sk\ccl e\enotes
-\barre
- %\check
-%Takt 57
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&{\bigfl i\zhlp i}\oct \hu g\enotes
-\Notes&\ibbu1b3\bigaccid\qh1{_b}\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2b\qh2c\tqh2e\enotes
-\Notes\zhl J\raise 2\Interligne\hbox{\qs}\qupp N&\ds&\oct \qu e\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2b\qh2c&\oct \pt a\ds\enotes
-\Notes&\tqh2e&\oct \ccl e\enotes
-\barre
- %\check
-%Takt 58
-\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\itenu2j\zh j\hl o\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e\enotes
-\Notes\zhl F\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\tten2\zq j\ql h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2a\qh2c\tqh2e&\oct \qp\enotes
-\barre
- %\check
- %Takt 59
- \Notes\bigaccid\zhl {^F}\raise\Interligne\hbox{\qs}\qupp
-J&\ds&{\bigfl l\zh l}\oct \hl h\enotes
- \Notes&\ibbu1b3\qh1a\tqh1c\enotes
- \Notes&\qsk\bigaccid\ibbu2d0\qh2{_e}\qh2a\qh2c\tqh2e\enotes
- \Notes\zhl F\raise\Interligne\hbox{\qs}\qupp J&\ds&{\zq h}\oct \ql c\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2a\qh2c&\oct \pt a\ds\enotes
-\Notes&\tqh2e&\oct \ccl h\enotes
-\barre
- %\check
-%Takt 60
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\bigaccid\qsk\qupp {_L}&\ds&\itenl2j\zh j\oct \hl j\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\bigaccid\qsk\ibbu2d0\qh2{_e}\qh2b\qh2c\tqh2e\enotes
-\Notes\zhl G\raise 1.6\Interligne\qs\qupp L&\ds&\bigaccid
- \tten2\zq j\ql{_l}\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2b\qh2c&\oct
- \pt a\ds\enotes
-\Notes&\tqh2e&\oct
- \ccl j\enotes
-\barre
- %\check
-%Takt 61
-\Notes\bigaccid\zhl {_H}\raise 2\Interligne\hbox{\qs}\qupp M&\ds&{\zhp l}\oct
- \hl j\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d\enotes
-\Notes\zhl H\raise 2\Interligne\hbox{\qs}\qupp M&\ds&\oct
- \ql d\enotes
-\Notes&\ibbu1b3\qh1b\tqh1c\enotes
-\Notes&\ibbu2d0\qh2d\qh2b\qh2c\tqh2d&\oct
- \pt a\ds\sk\sk\ccl d\enotes
-\barre
- %\check
-%Takt 62
-\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp M&\ds&{\zhl f}\oct
- \itenu5d\hu d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2d0\qh2d\qh2N\qh2b\tqh2d\enotes
-\Notes\zhl G\raise 2\Interligne\qs\qupp M&\ds&{\zql i}\oct
- \tten5\cu d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b&\oct
- \Ibu4db4\qh4d\enotes
-\Notes&\ibbu2d0\qh2d\qh2N&{\itenl4g\zql g}\oct
- \qh4c\enotes
-\Notes&\qh2b\tqh2d&\oct
- \tqh4b\enotes
-\barre
- %\check
-%Takt 63
-\Notes\zhl G\raise 2\Interligne\hbox{\qs}\qupp L&\ds&{\tten4\zhlp g}\oct
- \qup g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\enotes
-\Notes&\qh2c\tqh2e&\oct
- \cu e\enotes
-\Notes\zhl G\raise 2\Interligne\qs\qupp L&\ds&\oct
- \qu c\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2c\tqh2e&\oct
- \raise\Interligne\qp\enotes
-\barre
- %\check
-%Takt 64
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zhl j}\oct
- \itenu5f\hu f\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zhl h}\oct
- \tten5\cu f\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&\oct
- \Ibu4fd4\qh4f\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&\oct
- \qh4e\enotes
-\Notes&\qh2c\tqh2f&\oct
- \tqh4d\enotes
-\barre
- %\check
-%Takt 65
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zh m}\oct
- \qlp k\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\enotes
-\Notes&\qh2b\tqh2f&\oct
- \cl i\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zq i\oct
- \ql g\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2b\tqh2f&\qp\enotes
-\barre
- %\check
-%Takt 66
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid
- \qupp {_L}&\ds&{\bigaccid\zw j\zhl{_l}}\oct
- \itenu5h\hu h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c\enotes
-\Notes&\qsk\ibbu2e0\bigaccid\qh2{^f}\qh2a\qh2c\tqh2f\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&{\bigaccid\zhl{^m}}\oct
- \tten5\cu h\enotes
-\Notes&\ibbu1b3\qh1a\tqh1c&\oct
- \Ibl4hj4\qb4h\enotes
-\Notes&\ibbu2e0\qh2f\qh2a&\oct
- \qb4i\enotes
-\Notes&\qh2c\tqh2f&\oct
- \tqb4j\enotes
-\barre
- %\check
-%Takt 67
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qsk\bigaccid\qupp {=L}&\ds
-&{\zhl n}\oct \itenu5l\hu l\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2e0\qh2g\qh2N\qh2c\tqh2g\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp L&\ds&{\zql{=l}}\oct
- \tten5\cu l\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&\oct
- \Ibu4je4\qh4j\enotes
-\Notes&\ibbu2e0\qh2g\qh2N&{\zql j}\oct \qh4g\enotes
-\Notes&\qh2c\tqh2g&\oct \tqh4e\enotes
-\barre
- %\check
-%Takt 68
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zhl f}\oct
- \itenu5d\hu d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c\enotes
-\Notes&\ibbu2e0\qh2f\qh2N\qh2c\tqh2f\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&{\zhl h}\oct
- \tten5\cu d\enotes
-\Notes&\ibbu1b3\qh1N\tqh1c&\oct
- \Ibu4hh4\qh4h\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&\oct
- \qh4i\enotes
-\Notes&\qh2c\tqh2f&\oct
- \tqh4h\enotes
-\barre
- %\check
-%Takt 69
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\zhl i\oct \Ibu4fc6\qh4h\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b&\oct \qh4g\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&\oct
- \qh4f\enotes
-\Notes&\qh2b\tqh2f&\oct
- \tqh4d\enotes
-\Notes\zhl G\raise 1.6\Interligne\hbox{\qs}\qupp K&\ds&\relax
- {\zhl d}\ibu4i{-3}\qh4i\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b&\relax
- \qh4h\enotes
-\Notes&\ibbu2e0\qh2f\qh2N&\relax
- \qh4f\enotes
-\Notes&\qh2b\tqh2f&\relax
- \tqh4d\enotes
-\barre
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
- %\check
-%Takt 70
-\Notes\zhu C\raise\Interligne\hbox{\qs}\qupp J&\ds
- &\bigaccid\zw{_b}\roff{\itenu3c\zw c}\enotes
-\Notes&\ibbu1b3\qh1N\bigaccid\qsk\tqh1{_b}\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e\enotes
-\Notes\zhu C\raise\Interligne\qs\qupp J&\ds\enotes
-\Notes&\ibbu1b3\qh1N\tqh1b\enotes
-\Notes&\ibbu2d0\qh2e\qh2N\qh2b\tqh2e\enotes
-%\cleftoksii{6000}\changeclefs
-\barre
- %\check
-%Takt 71
-\Notes\raise\Interligne\rlap{\qs}\wh C\itenl2J\qupp J&\ds&\tten3\zw a\wh c\enotes
-\Notes&\oct\ibbu1a3\qh1M\tqh1a\enotes
-\Notes&\oct\ibbu2e0\qh2c\qh2f\qh2c\tqh2a\enotes
-\Notes\tten2\hu J&\oct\ibbu2b0\qh2c\qh2a\qh2M\tqh2a\enotes
-\Notes&\oct\ibbu3M0\qh3M\qh3K\qh3M\tqh3K\enotes
-%\cleftoksii{0000}\changeclefs
-\barre
- %\check
-%Takt 72
-\Notes\zw C\qs\itenl3I\qupp I&\ds&\bigaccid\wh{=b}\enotes
-\Notes&\ibbl1h3\qb1g\tqb1i\enotes
-\Notes&\ibbl2j{-2}\qb2k\qb2m\qb2k\tqb2i\enotes
-\Notes\tten3\hu I&\ibbl2h0\qb2k\qb2i\qb2g\tqb2i\enotes
-\Notes&\ibbu3e0\qh3d\qh3f\pince n\qh3e\tqh3d\enotes
-\barre
- %\check
-%Takt 73
-\NOTes\pointdurgue C\zwh C\wh J&\zwh e\zwh g\pointdorgue j\wh j\relax
- &\pointdorgue f\wh c\enotes
- \linegoal 19
-\finmorceau
-\bye
-
diff --git a/macros/musixtex/doc/examples/aveverch.tex b/macros/musixtex/doc/examples/aveverch.tex
deleted file mode 100644
index 3d29ea6f48..0000000000
--- a/macros/musixtex/doc/examples/aveverch.tex
+++ /dev/null
@@ -1,3 +0,0 @@
-\def\chorale{\relax}
-\input aveverum
-\endinput
diff --git a/macros/musixtex/doc/examples/aveverdd.tex b/macros/musixtex/doc/examples/aveverdd.tex
deleted file mode 100644
index 7480111e5f..0000000000
--- a/macros/musixtex/doc/examples/aveverdd.tex
+++ /dev/null
@@ -1,4 +0,0 @@
-\def\Signature{-5}
-\def\Transpose{-1}
-\input aveverum
-\endinput
diff --git a/macros/musixtex/doc/examples/aveveruc.tex b/macros/musixtex/doc/examples/aveveruc.tex
deleted file mode 100644
index be83ce5730..0000000000
--- a/macros/musixtex/doc/examples/aveveruc.tex
+++ /dev/null
@@ -1,4 +0,0 @@
-\def\Signature{0}
-\def\Transpose{-2}
-\input aveverum
-\endinput
diff --git a/macros/musixtex/doc/examples/aveverud.tex b/macros/musixtex/doc/examples/aveverud.tex
deleted file mode 100644
index 329d5ac4c8..0000000000
--- a/macros/musixtex/doc/examples/aveverud.tex
+++ /dev/null
@@ -1,4 +0,0 @@
-\def\Signature{2}
-\def\Transpose{-1}
-\input aveverum
-\endinput
diff --git a/macros/musixtex/doc/examples/aveverum.tex b/macros/musixtex/doc/examples/aveverum.tex
deleted file mode 100644
index c5e732595e..0000000000
--- a/macros/musixtex/doc/examples/aveverum.tex
+++ /dev/null
@@ -1,297 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
- \title{Ave Verum}
- \author{Charles Gounod}
- \shortauthor{C. Gounod}
- \subtitle{\relax}
- \maketitle
-\parindent 13mm
-\musicsize=20
-\normal
-\relativeaccidentals
-\def\nbinstruments{1}
-\def\instrumenti{Orgue}
-\def\instrumentii{Basse}
-\def\instrumentiii{T\'{e}nor}
-\def\instrumentiv{\vbox{\hsize\parindent\centerline{Soprano}\centerline{Alto}}}
-\nbporteesi=2\relax
-\generalmeter{\allabreve}
-\setinterinstrument1{10pt}
-\setinterinstrument2{10pt}
-\setinterinstrument3{10pt}
-\cleftoksi{6000}
-\cleftoksii{6000}
-\cleftoksiii{6000}
-
-\ifx\Transpose\undefined
- \def\Transpose{0}
- \def\Signature{-3}
-\fi
-\generalsignature{\Signature}
-
-\ifx\chorale\undefined
- \setsize1{\normalvalue}
- \setsize2{\smallvalue}
- \setsize3{\smallvalue}
- \setsize4{\smallvalue}
-\else
- \setsize1{\smallvalue}
- \setsize2{\normalvalue}
- \setsize3{\normalvalue}
- \setsize4{\normalvalue}
-\fi
-\ninepoint
-
-\def\Zsong{\zsong}
-
-\stemcut
-
-\transpose=\Transpose
-\debutmorceau
-\qspace
-\NOtes\itenl1E\itenl2L\zw E\wh L|\hpause\enotes
-\NOtes\hu N|\zh b\hu e\enotes
-\barre % 2
-\NOtes\tten1\tten2\itenl1E\itenl2L\zw E\zwh L\hu a|\itenl0c\zwh c\hu f\enotes
-\NOtes\hu N|\hu g\enotes
-\barre %3
-\NOtes\tten1\tten2\zhl E\roff{\itenu1M}\rh M\hu L|\tten0\zhl c\hu h\enotes
-\NOtes\zhl F\tten1\zh M\hu a|\zh d\hu j\enotes
-\barre %4
-\NOtes\zhl G\zh N\hu b|\zwh e\hu i\enotes
-\NOtes\zhl H\zh J\hu a|\hu e\enotes
-\barre %5
-\NOtes\itenl2I\zwh I\hu b|\itenl1e\zh e\hu g\enotes
-\NOtes\hu N|\tten1\itenu1e\zh b\hu e\enotes
-\barre %6
-\NOtes\tten2\zwh I\hu M|\zwh a\zh c\tten1\hu e\enotes
-\NOtes|\zh b\hu d\enotes
-\barre %7
-\NOTes\zhlp E\hup L|\zhp N\zhp b\hup e\enotes
-\Notes\soupir|\soupir\enotes
-\suspmorceau
-\def\nbinstruments{4}%
-\debutmorceau %8
-\barno 8\relax
-\qspace
-\def\H#1#2#3#4#5{\NOtes\zhl{#1}\hu{#2}|\zhl{#3}\hu{#4}&\Zsong{#5}\hu{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\zhl{#3}\hu{#4}\enotes}%
-\def\Hh#1#2#3#4#5{\NOtes\hl{#1}|\zhl{#2}\zh{#3}\hu{#4}&\Zsong{#5}\hu{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\zhl{#3}\hu{#4}\enotes}%
-\def\Hqhq#1#2#3#4#5{\Notes\zhl{#1}\qu{#2}|\zhl{#3}\qu{#4}&\Zsong{#5}\hu{#1}&\Zsong{#5}\ql{#2}&\Zsong{#5}\zhl{#3}\qu{#4}\enotes}%
-\def\Hhhq#1#2#3#4#5{\Notes\zhl{#1}\hu{#2}|\zhl{#3}\qu{#4}&\Zsong{#5}\hu{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\zhl{#3}\qu{#4}\enotes}%
-\H LNei{A--}%
-\Hqhq I{ba}d{gf}{ve}%
-\barre %9
-\H JNee{ve--}%
-\NOtes \zhl I\hu N|\Fl d\zhu e\roff{\hl d}&\Zsong{rum }\hu I&\Zsong{rum }\hl
-N&\Zsong{rum }\Fl d\zhu e\roff{\hl d}\enotes
-\barre %10
-\H Hacj{Cor--}%
-\Hqhq I{NM}{=d}{ih}{pus }%
-\barre %11
-\Hh Lceh{na--}%
-\Hh Lbeg{tum }%
-\barre %12
-\H LNgi{de }%
-\Hqhq K{^a^b}f{jk}{Ma--}%
-\barre %13
-\H Jcel{ri--}%
-\H Lcgg{a }%
-\barre %14
-\Notes\zw M\wh{=a}|\zhl c\qu{fg}\zql f\qu h\zql e\qu j\relax
- &\Zsong{Vir-}\hup M\sk\sk\Zsong{gi-}\qu M\relax
- &\Zsong{Vir-}\hup{=a}\sk\sk\Zsong{gi-}\qu a\relax
- &\Zsong{Vir-}\zhl c\qu{fg}\Zsong{gi-}\zql f\qu h\zql e\qu j\enotes
-\barre %15
-\NOtes\zw I\wh a|\zw d\hu {ji}&\Zsong{ne.}\wh I&\Zsong{ne.}\wh a&\Zsong{ne.}\zw
- d\hu {ji}\enotes
-\barre %16
-\H LNei{Ve-}%
-\Hqhq I{ba}d{gf}{re}%
-\barre %17
-\H JNee{pas-}%
-\NOtes \zhl I\hu N|\Fl d\zhu e\roff{\hl d}&\Zsong{sum }\hu I&\Zsong{sum }\hl
-N&\Zsong{sum }\Fl d\zhu e\roff{\hl d}\enotes
-\barre %18
-\H Hacj{im-}%
-\Hqhq I{NM}{=d}{ih}{mo-}%
-\barre %19
-\Hh Lceh{la-}%
-\Hh Lbeg{tum }%
-\barre %20
-\H Kbfi{In }%
-\H Ibfk{cru-}%
-\barre %21
-\Hhhq Lbe{g^f}{ce }%
-\Hhhq JLe{g^h}{pro }%
-\barre %22
-\NOtes\zw K\hu d|\zhl g\hu i&\Zsong{ho-}\hup K&\Zsong{ho-}\hl
-d&\Zsong{ho-}\zhl g\hu i\enotes
-\Notes\qup c|\lSh f\zqlp f\qup{^h}&&\Zsong{-}\qlp c&\Zsong{-}\lSh f\zqp f\qup{^h}\enotes
-\notes\sk\cu c|\sk\lNa h\zq{=f}\cu h&\Zsong{mi-}\qu K&\sk\Zsong{mi-}\cl
-c&\sk\Zsong{mi-}\lNa h\zcl{=f}\cu h\enotes
-\barre %23
-\def\Hp#1#2#3#4#5{\NOTes\zhlp{#1}\hup{#2}|\zhlp{#3}\hup{#4}&\Zsong{#5}\hup{#1}&\Zsong{#5}\hlp{#2}&\Zsong{#5}\zhlp{#3}\hup{#4}\enotes}%
-\def\Qhhq#1#2#3#4#5{\Notes\zhu{#2}\ql{#1}|\zhl{#3}\qu{#4}&\Zsong{#5}\qu{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\zhl{#3}\qu{#4}\enotes}%
-\Hp Nbgg{ne }%
-\Notes\soupir|\soupir&\soupir&\soupir&\soupir\enotes
-\barre %24
-\H Nbei{Cu-}%
-\Qhhq {ML}be{=hg}{jus }%
-\barre %25
-\NOtes\roff{\zhl a}\hu b|\zhl d\hu g&\Zsong{la-}\hu a&\Zsong{la-}\hl
-b&\Zsong{la-}\zhl d\hu g\enotes
-\NOtes\roff{\zhl a}\hu b|\zhl d\hu f&\Zsong{tus }\hu a&\Zsong{tus }\hl
-b&\Zsong{tus }\zhl d\hu f\enotes
-\barre %26
-\H Nbei{per-}%
-\Qhhq {ML}be{hg}{fo-}%
-\barre %27
-\NOtes\roff{\zhl a}\hu b|\zhl d\hu g&\Zsong{ra-}\hu a&\Zsong{ra-}\hl
-b&\Zsong{ra-}\zhl d\hu g\enotes
-\NOtes\roff{\zhl a}\hu b|\zhl d\hu f&\Zsong{tum }\hu a&\Zsong{tum }\hl
-b&\Zsong{tum }\zhl d\hu f\enotes
-\barre %28
-\H Nbee{flu-}%
-\Hhhq Kbf{ih}{xit}%
-\barre %29
-\def\Qqqq#1#2#3#4#5{\Notes\rlap{\qu{#2}}\ql{#1}|\rlap{\ql{#3}}\qu{#4}&\Zsong{#5}\qu{#1}&\Zsong{#5}\ql{#2}&\Zsong{#5}\rlap{\ql{#3}}\qu{#4}\enotes}%
-\H Lbgg{un-}%
-\Qqqq L{^b}gk{da }%
-\Qqqq Lcgj{et }%
-\barre %30
-\Notes\zhlp M\qu {dc=b}\zql M\qu c|\zhl f\qu{i^h}\zhl
-e\qu{g=h}\relax
- &\Zsong{san-}\hup M\sk\sk\Zsong{gui-}\qu M\relax
- &\Zsong{san-}\ql{dc}\Zsong{gui-}\ql{=bc}\relax
- &\Zsong{san-}\zhl f\qu{i^h}\Zsong{gui-}\zhl e\qu{g=h}\enotes
-\barre %31
-\Hp Ibdi{ne, }%
-\Notes\soupir|\soupir&\soupir&\soupir&\soupir\enotes
-\barre %32
-\H LNei{Es-}%
-\Hqhq I{ba}d{gf}{to }%
-\barre %33
-\H JNee{no-}%
-\NOtes \zhl N\hu b|\Fl d\zhu e\roff{\hl d}&\Zsong{bis }\hu N&\Zsong{bis }\hl
-b&\Zsong{bis }\Fl d\zhu e\roff{\hl d}\enotes
-\barre %34
-\def\Qqhh#1#2#3#4#5{\Notes\rlap{\qu{#2}}\ql{#1}|\zhl{#3}\hu{#4}&\Zsong{#5}\qu{#1}&\Zsong{#5}\ql{#2}&\Zsong{#5}\zhl{#3}\hu{#4}\enotes}%
-\def\Qqqh#1#2#3#4#5{\Notes\rlap{\qu{#2}}\ql{#1}|\zhu{#4}\ql{#3}&\Zsong{#5}\qu{#1}&\Zsong{#5}\ql{#2}&\Zsong{#5}\zhu{#4}\ql{#3}\enotes}%
-\Qqhh {aN}{cb}cj{pr\ae{}-}%
-\Qqqh {ML}{aN}{=de}j{gus-}%
-\barre %35
-\H Kafj{ta-}%
-\H Kafi{tum }%
-\barre %36
-\H LNei{Mor-}%
-\Hh Jegj{tis }%
-\barre %37
-\Hhhq Mcf{ih}{in }%
-\Hqhq H{ba}c{gf}{ex-}%
-\barre %38
-\NOtes\zhlp I\hu N|\zhlp b\hu e&\Zsong{a-}\hup
-I&\Zsong{a-}\hl N&\Zsong{a-}\zhlp b\hu e\enotes
-\Notes\hu a\ql I|\hu d\ql b&\sk\Zsong{mi-}\qup I&\Zsong{ni-}\hl
-a&\Zsong{mi-}\hu d\ql b\enotes
-\barre %39
-\NOtes\zhlp L\hup N|\zhlp b\hup e&\Zsong{ne }\hu L&\Zsong{ne
-}\hlp N&\Zsong{ne }\zhlp b\hup e\enotes
-\Notes\sk\soupir|\sk\soupir&\Zsong{O }\hu L&\sk\soupir&\sk\soupir\enotes
-\barre %40
-\NOtes\zhl L\hu c|\zhl e\hu h&\Zsong{Je-}\hu L&\Zsong{O }\hl c&\Zsong{O }\zhl
-e\hu h\enotes
-\Notes\zhl L\qu{bb}|\zhl d\qu{hg}&\Zsong{su }\hu L&\Zsong{Je-}\ql b\Zsong{su
-}\ql b&\Zsong{Je-}\zql d\qu h\Zsong{su }\zql d\qu g\enotes
-\barre %41
-\def\qhhh#1#2#3#4#5{\Notes\zhu{#2}\ql{#1}|\zhl{#3}\qu{#4}&\Zsong{#5}\qu{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\zhl{#3}\hu{#4}\enotes}%
-\H Lacg{dul-}%
-\Notes \zhu a\zhl{LL}|\zhl c\hu f&\Zsong{cis }\qu L\Zsong{O }\qu L&\Zsong{cis
-}\hl a&\Zsong{cis }\zhl c\hu f\enotes
-\barre %42
-\NOtes\zhl L\hu e|\zhl h\hu j&\Zsong{Je-}\hu L&\Zsong{O }\hl e&\Zsong{O }\zhl
-h\hu j\enotes
-\Notes\zhl L\qu{_dd}|\zhl g\qu{ji}&\Zsong{su }\hu L&\Zsong{Je-}\ql {_d}\Zsong{su
-}\ql d&\Zsong{Je-}\zql g\qu j\Zsong{su }\zql g\qu i\enotes
-\barre %43
-\H Lcfi{pi-}%
-\H Lcfh{e }%
-\barre %44
-\H b{=d}hm{Je-}%
-\NOtes\zhu c\roff{\hl b}|\zhl h\hu l&\Zsong{su, }\hu b&\Zsong{su, }\hl
-f&\Zsong{su, }\zhl h\hu l\enotes
-\barre %45
-\H bfhk{Je-}%
-\H begj{su }%
-\barre %46
-\Hhhq Idf{ji}{fi-}%
-\Qqqq Icej{li }%
-\Qqqq Ibdh{Ma-}%
-\barre %47
-\H Lbeh{ri-}%
-\Qqqq Lbeg{\ae{} }%
-\Qqqq bbeg{In }%
-\barre %48
-\Qqqq aceg{no-}%
-\Notes \zql a\qu c|\zqu f\roff{\ql e}&\Zsong{bis }\qu a&\Zsong{bis }\ql c&\Zsong{bis }\roff{\zql
-e}\qu f\enotes
-\Notes \roff{\zql a}\qu b|\zqu f\ql d&\Zsong{mi-}\qu a&\Zsong{mi-}\ql b&\Zsong{mi-}\roff{\zql
-e}\qu f\enotes
-\Notes \roff{\zql a}\qu b|\zqu j\ql d&\Zsong{se-}\qu a&\Zsong{se-}\ql b&\Zsong{se-}\zql
-d\qu j\enotes
-\barre %49
-\H Nbej{re-}%
-\Qqqq Nbei{re }%
-\Qqqq Nbei{O }%
-\barre %50
-\Qqqq {Lb}{bd}{gh}{nm}{Je-}%
-\Qqqq cegl{su }%
-\Qqqq N{^b}fk{In }%
-\barre %51
-\Qqqq acej{no-}%
-\Qqqq {^L}{_d}gi{bis }%
-\Qqqq Mcfh{mi-}%
-\Qqqq Hacf{se-}%
-\barre %52
-\def\Whhh#1#2#3#4#5{\NOtes\zwh{#1}\hu{#2}|\rlap{\hl{#3}}\hu{#4}&\Zsong{#5}\zwh{#1}&\Zsong{#5}\hl{#2}&\Zsong{#5}\rlap{\hl{#3}}\hu{#4}\enotes}%
-\Whhh I{Na}{eb}{id}{re-}%
-\barre %53
-\NOtes\zhl L\hup N|\zhlp b\hup e&\Zsong{re }\hu L&\Zsong{re }\hlp N&\Zsong{re }\zhlp b\hup e\enotes
-\Notes\itenl1E\itenl2L\zh E\hl L\raise2\Interligne\soupir|\sk\soupir&\itenl3L\Zsong{A-}\hu L&\sk\soupir&\sk\soupir\enotes
-\barre %54
-\NOtes\tten1\tten2\zwh c\zh E\hl L|\zw g\wh l&\Zsong{--}\tten3\hu L&\Zsong{A-}\wh
-c&\Zsong{A-}\zw g\wh l\enotes
-\Notes\itenl1E\itenl2L\zh E\hl L&\csong{men !}\itenl3L\hu L\enotes
-\barre %55
-\NOtes\tten1\tten2\zh E\zhl L\hup b|\zhlp g\hup k&\tten3\Zsong{--}\hu L&\csong{men !}\hlp b&\csong{men !}\zhlp g\hup k\enotes
-\Notes\itenl1E\itenl2L\zh E\hl L\raise2\Interligne\soupir|\sk\soupir&\itenl3L\Zsong{A-}\hu L&\sk\soupir&\sk\soupir\enotes
-\barre %56
-\NOtes\tten1\tten2\zwh {^a}\zh E\hl L|\zw {^f}\wh j&\tten3\Zsong{--}\hu L&\Zsong{A-}\wh
-{^a}&\Zsong{A-}\zw {^f}\wh j\enotes
-\Notes\itenl1E\itenl2L\zh E\hl L&\csong{men !}\itenl3L\hu L\enotes
-\barre %57
-\NOtes\tten1\tten2\zh E\zhl L\hu b|\zhlp g\hup i&\tten3\Zsong{--}\hu L&\csong{men !}\hlp b&\csong{men !}\zhlp g\hup i\enotes
-\Notes\itenl1E\itenl2L\zh E\hl L\raise2\Interligne\soupir|\sk\soupir&\itenl3L\Zsong{A-}\hu L&\sk\soupir&\sk\soupir\enotes
-\barre %58
-\NOtes\tten1\tten2\zwh c\zh E\hl L|\zw e\wh h&\tten3\Zsong{--}\hu L&\Zsong{A-}\wh
-c&\Zsong{A-}\zw e\wh h\enotes
-\Notes\itenl1E\itenl2L\zh E\hl L&\csong{men !}\itenl3L\hu L\enotes
-\barre %59
-\NOtes\tten1\tten2\zhp E\zhlp L\hup b|\zhlp e\hup g&\tten3\hu L&\csong{men !}\hlp b&\csong{men !}\zhlp e\hup g\enotes
-\Notes\sk\soupir|\sk\soupir&\sk\soupir&\sk\soupir&\sk\soupir\enotes
-\barre %60
-\NOtes\zw I\rw b\wh a|\zw d\hu{gf}&\Zsong{A-}\wh I&\Zsong{A-}\rw b\wh
-a&\Zsong{A-}\zw d\hu{gf}\enotes
-\barre %61
-\NOtes\zw E\wh L|\pointdorgue l\zw{Nb}\wh e&\Zsong{men.}\zw E\wh L&\Zsong{men.}\zw N\wh
-b&\pointdorgue l\Zsong{men.}\wh e\enotes
-\ifnum\Signature<-3\relax
-\mulooseness1\relax
-\else
-\mulooseness2\relax
-\fi
-\finmorceau
-\bye
-
diff --git a/macros/musixtex/doc/examples/changecontext.tex b/macros/musixtex/doc/examples/changecontext.tex
deleted file mode 100644
index 819a59131f..0000000000
--- a/macros/musixtex/doc/examples/changecontext.tex
+++ /dev/null
@@ -1,95 +0,0 @@
-\input musixtex
-\instrumentnumber2\setstaffs22%
-\hsize 100mm \vsize 230mm
-\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
-\setclef1{\bass}\generalsignature2%
-\startpiece
-\notes\qu K&\qu d|\qu e\en
-%
-% Signatures
-% if there is no bar line, the signatures are confusing
-% it is not clear if they are for a single note or not
-% bar 1
-%% Signature changing in a single instrument with 2 staves
-\setsign21\changesignature
-\notes\qu J&\qu d|\qu e\en
-% Signature changing in a single instrument
-%\setsign1{-1}\changesignature
-%\notes\qu K&\qu d|\qu e\en
-% Signature changing in a single staff without naturals
-\setsign11\ignorenats\changesignature
-\notes\qu M&\qu d|\qu e\en
-% bar 2
-% New signatures after a 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
-\generalsignature{1}\zchangecontext%
-\notes\qu K&\qu d|\qu e\en%
-%
-% new music line caused by mulooseness
-\mulooseness1
-%
-% bar 3
-%\setsign2{-1}\changesignature\Changecontext%
-\setsign2{-1}\ignorenats\Changecontext%
-%\zalaligne%
-\notes\qu K&\qu d|\qu e\en%
-% bar 4
-\generalsignature{2}\ignorenats\Changecontext%
-\notes\qu K&\qu d|\qu e\en%
-% bar 5 OK :
-\setsign1{-3}\setsign2{-3}\changecontext%
-\notes\qu K&\qu d|\qu e\en%
-% bar 6
-% Are all this options common (choose 1 line of 3)?
-%\generalsignature{-3}\changecontext\alaligne%
-%\generalsignature{-3}\changesignature\setdoublebar\alaligne%
-\generalsignature{-3}\changesignature\Changecontext%
-%
-\notes\qu K&\qu d|\qu e\en%
-% bar 7
-\generalsignature{2}\ignorenats\Changecontext%
-\notes\qu K&\qu d|\qu e\en%
-%
-% Clefs
-% in 1 staff and taking space
-\setclef1\treble\changeclefs%
-\notes\qu k&\cu{.d}\ccu{e}|\qu e\en%
-% combined with signature change - space is already available
-\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\zchangeclefs%
-\notes\qu K&\cu{de}|\qu e\en%
-% bar 10
-% Meter
-\setmeter1{{\meterfrac{2}{4}}}%
-% How big the '2' must be?
-\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 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
-\mulooseness1\Stoppiece\eject\bye
diff --git a/macros/musixtex/doc/examples/chanson.tex b/macros/musixtex/doc/examples/chanson.tex
deleted file mode 100644
index 1047b9f948..0000000000
--- a/macros/musixtex/doc/examples/chanson.tex
+++ /dev/null
@@ -1,318 +0,0 @@
-\ifx
-\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\title{Chanson innocente}
-\subtitle{(pour orgue)}
-\fulltitle{XII. Chanson innocente}
-\csname titremorceautoc\endcsname
-\shortauthor{D. Taupin}
-\fullauthor{Daniel TAUPIN\\organiste \`{a} Gif-sur-Yvette}
-\othermention{Compos\'{e} en 1996-1999}
-%
-%
-
-\maketitle
-\parindent 18mm
-
-\instrumentnumber{3}
-\setname1{Fl\^{u}te 16, 8'}
-\setname2{Fl\^{u}te 8'}
-\setname3{Sesquialtera}
-\generalmeter{\meterfrac68}
-
-%\def\ttriou#1#2#3{\def\txt{\eightit3}\Ibbu0{#1}{#3}2\qh0{#1}\butext0\qh0{#2}\tqh0{#3}}
-
-%\def\ttriol#1#2#3{\def\txt{\eightit3}\Ibbl0{#1}{#3}2\qb0{#1}\bltext0\qb0{#2}\tqb0{#3}}
-
-\def\sextol#1#2#3{\ibbl0{#1}0\qb0{#1}\qb0{#2}\qb0{#3}\qb0{#1}\qb0{#2}\tqb0{#3}}
-\def\sextou#1#2#3{\ibbu0{#3}0\qb0{#1}\qb0{#2}\qb0{#3}\qb0{#1}\qb0{#2}\tqh0{#3}}
- %\check
-\def\Sextol#1#2#3#4#5#6{\Ibbl0{#1}{#4}3\qb0{#1}\qb0{#2}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}
-\def\Sextou#1#2#3#4#5#6{\Ibbu0{#3}{#6}3\qb0{#1}\qb0{#2}\qb0{#3}\qb0{#4}\qb0{#5}\tqh0{#6}}
- %\check
-\def\triou#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}
- %\check
-\def\triol#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}
- %\check
-\def\triopl#1#2#3{\Ibl0{#1}{#3}4\qbp0{#1}\sk\sk\tbbl0\qb0{#2}\tqb0{#3}\sk}
-\def\triopu#1#2#3{\Ibu0{#1}{#3}4\qhp0{#1}\sk\sk\tbbu0\qh0{#2}\tqh0{#3}\sk}
-\noautolines
-\setname1{P\'{e}dale}\setname2{Fl\^{u}te}\setname3{Sesquialtera}
-\generalsignature{1}
-\setclef1{\bass}\setclef2{\treble}\setclef3{\treble}
-\def\tripler{\noteskip=3\noteskip}
-\def\doubler{\noteskip=2\noteskip}
-\debutmorceau
-\Notes\qup G&\sextou bdg&\Uptext{\moyen Andantino \bf \metron{\qup}{40}}\enotes
-\Notes\qup H&\sextou ceg&\pause\enotes
-\barre %2
-\Notes\qup K&\Sextou adfacf&\doubler\sk\pt5\soupir\enotes
-\Notes\qup G&\Sextou Nbdbdg&\doubler\soupir\sk\ilegu0n\cu g\enotes
-\barre %3
-\Notes\qup G&\sextou bdg&\doubler\qu i\sk\cu i\enotes
-\Notes\qup H&\sextou acf&\doubler\triou jij\enotes
-\barre %4
-\Notes\qup I&\sextou bdg&\doubler\qu k\sk\cu i\enotes
-\Notes\qup L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu g\enotes
-\barre %5
-\Notes\qup J&\sextou Nce&\doubler\ql l\sk\cl l\enotes
-\Notes\qup H&\sextou acf&\doubler\triol jkl\enotes
-\barre %6
-\Notes\qup I&\sextou bdg&\doubler\qlp k\enotes
-\Notes\qlp L&\sextou beg&\doubler\cu i\tleg0\ds\ilegu0n\cu g\enotes
-\barre %7
-\Notes\qup H&\sextou ace&\doubler\qu j\sk\cu j\enotes
-\Notes\qlp K&\sextou Mad&\doubler\triou hij\enotes
-\barre %8
-\Notes\qup I&\Sextou Ma{^d}Mad&\doubler\qu i\sk\cu h\enotes
-\Notes\qlp L&\sextou Nbe&\doubler\cu g\tleg0\ds\ilegu0n\cu i\enotes
-\barre %9
-\Notes\qlp J&\sextou ace&\doubler\qu h\sk\cu g\enotes
-\Notes\qlp K&\Sextou adgadf&\doubler\qu g\sk\cu f\enotes
-\barre %10
-\Notes\qup I&\sextou bdg&\qup g\tleg0\enotes
-\Notes\qup H&\Sextou acgacd&\doubler\soupir\sk\ilegu0n\cu g\enotes
-\barre %11
-\Notes\qup G&\Sextou Nbdbdg&\doubler\qu i\sk\cu i\enotes
-\Notes\qup H&\sextou acf&\doubler\triou jij\enotes
-\barre %12
-\Notes\qup I&\sextou bdg&\doubler\qu k\sk\cu i\enotes
-\Notes\qup L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu g\enotes
-\barre %13
-\Notes\qup J&\sextou ceg&\doubler\ql l\sk\cl l\enotes
-\Notes\qup H&\sextou acf&\doubler\triol lmn\enotes
-\barre %14
-\Notes\qup I&\sextou bdg&\doubler\qlp k\enotes
-\Notes\qlp L&\sextou beg&\doubler\cu i\tleg0\ds\sk\ilegu0n\cu g\enotes
-\barre %15
-\Notes\qup H&\sextou ace&\doubler\qu j\sk\cu j\enotes
-\Notes\qup {^K}&\sextou acf&\doubler\triou hij\enotes
-\barre %16
-\Notes\qlp L&\Sextou NbeNaf&\doubler\qu i\sk\cu h\enotes
-\Notes\doubler\qup J&\sextou Nce&\doubler\cu g\tleg0\ds\ilegu0n\cu i\enotes
-\barre %17
-\Notes\qup H&\sextou ace&\doubler\qu h\sk\cu g\enotes
-\Notes\qlp K&\Sextou acdacf&\doubler\qu g\sk\cu f\enotes
-\barre %18
-\Notes\qup G&\sextou bdg&\hu g\tleg0\enotes
-\Notes\sk\sk\sk\soupir&\sextou dgi&\doubler\soupir\sk\ilegu0n\cl i\enotes
-\barre %19
-\Notes\qup I&\sextou dgi&\doubler\ql k\sk\cl k\enotes
-\Notes\qup K&\Sextou dfhcfh&\triopl mlm\enotes
-\barre %20
-\Notes\qup L&\sextou egi&\triopl nml\enotes
-\Notes\qup I&\sextou dgi&\doubler\ql k\sk\cl l\enotes
-\barre %21
-\Notes\qup H&\sextou acf&\doubler\ql j\sk\cl k\enotes
-\Notes\qup G&\Sextou bdgdgi&\doubler\qu i\sk\cu g\enotes
-\barre %22
-\Notes\qup K&\sextou dfh&\doubler\qup h\tleg0\enotes
-\Notes\qup D&\Sextou dfhcfh&\doubler\soupir\sk\ilegu0n\cu h\enotes
-\barre %23
-\Notes\qup G&\sextou dgi&\doubler\qu i\sk\cu i\enotes
-\Notes\qup H&\sextou fhj&\doubler\triou jij\enotes
-\barre %24
-\Notes\qup I&\sextou dgi&\doubler\qu k\sk\cu i\enotes
-\Notes\qup L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu i\enotes
-\barre %25
-\Notes\qup J&\sextou ehj&\doubler\qu h\sk\cu g\enotes
-\Notes\qup K&\Sextou cdhdfj&\doubler\qu g\sk\cu f\enotes
-\barre %26
-\Notes\qup G&\sextou bdg&\qup g\tleg0\enotes
-\Notes\sk\sk\pt 5\soupir&\sextou dgi&\doubler\soupir\sk\ilegu0n\cl i\enotes
-\barre %27
-\Notes\qup G&\sextou dgi&\doubler\ql k\sk\cl k\enotes
-\Notes\qup H&\sextou cfh&\doubler\triol mkm\enotes
-\barre %28
-\Notes\qup I&\sextou dgi&\triopl nml\enotes
-\Notes\qup G&\sextou dgi&\doubler\ql k\sk\cl l\enotes
-\barre %29
-\Notes\qup H&\sextou acf&\doubler\ql j\sk\cl k\enotes
-\Notes\qup G&\Sextou bdgdgi&\triopl iji\enotes
-\generalmeter{\meterfrac 98}%
-\changecontext %30
-\Notes\qup K&\sextou dfh&\doubler\cu h\tleg0\ds\ilegu0n\cu h\enotes
-\Notes\qup G&\sextou dgi&\triopu iji\enotes
-\Notes\qup D&\Sextou dghcfh&\triopu hih\enotes
-\generalmeter{\meterfrac 68}%
-\changecontext %31
-\Notes\hu G&\Sextou bdgNbd&\qup g\tleg0\enotes
-\Notes\sk\sk\soupir&\sextou bdg&\doubler\soupir\sk\ilegu0n\cu g\enotes
-\generalsignature{-2}%
-\changecontext %32
-\Notes\qup G&\sextou bdg&\doubler\ql i\sk\cl i\enotes
-\Notes\qup H&\Sextou ac{^f}acf&\triopl jij\enotes
-\barre %33
-\Notes\qup I&\sextou bdg&\doubler\ql k\sk\cl i\enotes
-\Notes\qup L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu g\enotes
-\barre %34
-\Notes\qup J&\sextou Nce&\doubler\ql l\sk\cl l\enotes
-\Notes\qup K&\Sextou d{^f}hcfh&\doubler\triol jkl\enotes
-\barre %35
-\Notes\qup I&\Sextou bdgNbd&\doubler\qlp k\enotes
-\Notes\qlp L&\sextou beg&\doubler\cu i\tleg0\ds\ilegu0n\cu g\enotes
-\barre %36
-\Notes\qup H&\sextou ace&\doubler\qu j\sk\cu j\enotes
-\Notes\qlp K&\sh M\sextou Mad&\doubler\triou hij\enotes
-\barre %37
-\Notes\qup G&\Sextou bdgac{^f}&\doubler\qu i\sk\cu h\enotes
-\Notes\qlp L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu i\enotes
-\barre %38
-\Notes\qlp J&\sextou ace&\doubler\qu h\sk\cu g\enotes
-\Notes\qlp K&\Sextou adgad{^f}&\doubler\qu g\sk\cu {^f}\enotes
-\barre %39
-\Notes\hu G&\Sextou bdgNbd&\qup g\tleg0\enotes
-\Notes\doubler\sk\soupir&\sextou bdg&\doubler\soupir\sk\ilegu0n\cl i\enotes
-\barre %40
-\Notes\qup G&\sextou bdg&\doubler\ql k\sk\cl k\enotes
-\Notes\qup H&\Sextou ac{^f}acf&\triopl{^m}{=l}m\enotes
-\barre %41
-\Notes\qup I&\sextou bdg&\triopl n{=m}{_l}\enotes
-\Notes\qup J&\sextou ceg&\doubler\ql k\sk\cl j\enotes
-\barre %42
- %\check
-\Notes\qup K&\sextou dgi&\triopl iji\enotes
-\Notes\qup K&\Sextou d{^f}hdfh&\triopl hih\enotes
-\barre %43
-\Notes\hu G&\Sextou dgibdg&\doubler\qup g\tleg0\enotes
-\Notes\doubler\sk\soupir&\sextou dgi&\doubler\soupir\sk\ilegu0n\cl i\enotes
-\barre %44
-\Notes\qup I&\sextou dfi&\doubler\ql k\sk\cl k\enotes
-\Notes\qup K&\sextou fik&\triopl mlk\enotes
-\Notes\doubler\ql{=M}\sk\cl{^M}&\sextou fhj&\doubler\ql j\sk\cl k\enotes
-\barre %45
-\Notes\qlp N&\sextou dgi&\triopl iji\enotes
-\Notes\qup K&\Sextou d{^f}hdfh&\doubler\cu h\tleg0\ds\ilegu0n\cu h\enotes
-\barre %46
-\Notes\qlp N&\sextou dgi&\triopu iji\enotes
-\Notes\qlp K&\Sextou d{^f}hdfj&\triopu hih\enotes
-\barre %47
-\Notes\hu G&\Sextou bdgdgi&\qup g\tleg0\enotes
-\Notes\doubler\sk\soupir&\Sextou dg{=i}dgi&\doubler\soupir\sk\ilegu0o\cl k\enotes
-\generalsignature{1}%
-\changecontext %48
-\Notes\qup G&\sextou dgi&\doubler\ql p\sk\cl p\enotes
-\Notes\qlp K&\sextou dfh&\triopl opo\enotes
-\barre %49
-\Notes\qlp L&\sextou beg&\triopl nml\enotes
-\Notes\qup I&\sextou bdg&\doubler\ql k\sk\cl i\enotes
-\barre %50
-\Notes\qup H&\Sextou cfhacf&\triopl jkj\enotes
-\Notes\qup G&\Sextou bdgdgi&\triopu ihg\enotes
-\barre %51
-\Notes\qup K&\sextou dfh&\qu h\tleg0\sk\ds\enotes
-\Notes\qup I&\sh d\sextou dfi&\doubler\ilegu0n\qu i\sk\cu h\enotes
-\barre %52
-\Notes\qlp L&\sextou beg&\doubler\qu g\sk\cu g\enotes
-\Notes\qup H&\sextou acf&\triopu jih\enotes
-\barre %53
-\Notes\qup I&\sextou beg&\doubler\qu i\sk\cu i\enotes
-\Notes\qup I&\sextou bfh&\doubler\qu i\sk\cu i\enotes
-\barre %54
-\Notes\hl L&\Sextou begNbe&\doubler\qup e\tleg0\enotes
-\Notes\doubler\sk\soupir&\sextou beg&\doubler\soupir\sk\ilegu0n\cl i\enotes
-\barre %55
-\Notes\qlp L&\sextou beg&\doubler\ql n\sk\cl n\enotes
-\Notes\qup H&\sextou acf&\ibl0m0\pt m\qb0m\sk\sk\nbbl0\qb0{nm}\tqb0l\enotes
-\barre %56
-\Notes\qup I&\Sextou b{^d}fadf&\doubler\cl{^k}\tleg0\ds\ilegu0n\cl i\enotes
-\Notes\qlp L&\sextou beg&\doubler\ql l\sk\cl m\enotes
-\barre %57
-\Notes\qup J&\Sextou cegceh&\doubler \ql n\sk\ql o\enotes
-\Notes\qup I&\Sextou {^d}fidfi&\doubler\ql p\sk\cl m\enotes
-\barre %58
-\Notes\qup L&\sextou egi&\Ibl0nl5\qb0n\sk\nbbl0\qb0{onm}\tqb0l\enotes
-\Notes\qup I&\sh d\sextou dfi&\doubler\cl {^k}\tleg0\ds\ilegu0o\cl i\enotes
-\barre %59
-\Notes\qlp L&\sextou beg&\doubler\ql l\sk\cl m\enotes
-\Notes\qup J&\Sextou cegceh&\doubler \ql n\sk\cl o\enotes
-\barre %60
-\Notes\qup G&\sextou dgi&\doubler\ql p\sk\cl n\enotes
-\Notes\qup I&\sextou bdg&\Ibl0nl5\qbp0n\sk\sk\nbbl0\qb0{on}\tqb0m\enotes
-\barre %61
-\Notes\qup J&\sextou ceg&\doubler\ql l\sk\cl j\enotes
-\Notes\qlp N&\sextou dgi&\triopl iji\enotes
-\barre %62
-\Notes\qup K&\sextou dfh&\triopu hih\enotes
-\Notes\qup L&\sextou egi&\triopu gfe\enotes
-\barre %63
-\Notes\qup H&\sextou acf&\doubler\qu f\sk\cu f\enotes
-\Notes\qup I&\sextou beg&\triopu gfe\enotes
-\Notes\qup I&\sextou bfh&\triopu fe{^d}\enotes
-\barre %64
-\Notes\hu L&\Sextou begNbe&\qup e\tleg0\enotes
-\Notes\doubler\sk\soupir&\Sextou begbdg&\doubler\soupir\sk\ilegu0n\cu g\enotes
-\barre %65
-\Notes\qup G&\sextou dgi&\doubler\ql i\sk\cl i\enotes
-\Notes\qup I&\sextou bdg&\triopl kji\enotes
-\barre %66
-\Notes\doubler\qu K\sk\cu{^K}&\Sextou dfhdfi&\doubler\qu h\sk\cu i\enotes
-\Notes\qup L&\sextou egi&\Ibu0ge5\qh0g\sk\nbbu0\qh0{hgf}\tqh0e\enotes
-\Notes\qup I&\sh d\sextou dfi&\Ibu0fd5\qh0f\sk\nbbu0\qh0{gfe}\tqh0{^d}\enotes
-\barre %67
-\Notes\hl L&\Sextou egibeg&\qup e\tleg0\enotes
-\Notes\doubler\sk\soupir&\Sextou egidgi&\doubler\soupir\sk\ilegu0n\cu g\enotes
-\barre %68
-\Notes\qup G&\sextou bdg&\doubler\qu i\sk\cu i\enotes
-\Notes\qup H&\sextou acf&\doubler\triou jij\enotes
-\barre %69
-\Notes\qup I&\sextou bdg&\doubler\qu k\sk\cu i\enotes
-\Notes\qup L&\sextou beg&\doubler\cu g\tleg0\ds\ilegu0n\cu g\enotes
-\barre %70
-\Notes\qup J&\sextou ceg&\doubler\ql l\sk\cl l\enotes
-\Notes\qup H&\sextou cfh&\doubler\triol lmn\enotes
-\barre %71
-\Notes\qup I&\sextou bdg&\doubler\qlp k\enotes
-\Notes\qlp L&\sextou beg&\doubler\cu i\tleg0\ds\ilegu0n\cu i\enotes
-\barre %72
-\Notes\qup H&\sextou ace&\doubler\qu j\sk\cu j\enotes
-\Notes\qlp K&\sextou Mad&\doubler\triou lkj\enotes
-\barre %73
-\Notes\qup I&\Sextou Ma{^d}Mad&\doubler\qu i\sk\cu h\enotes
-\Notes\qlp L&\sextou Nbe&\doubler\cu g\tleg0\ds\ilegu0n\cu i\enotes
-\barre %74
-\Notes\qlp J&\sextou ace&\doubler\qu h\sk\cu g\enotes
-\Notes\qlp K&\Sextou adgadf&\doubler\qu g\sk\cu f\enotes
-\barre %75
-\Notes\qup I&\sextou bdg&\qup g\tleg0\enotes
-\Notes\qup H&\ibbu0f0\qh0{acged}\tqh0c&\doubler\soupir\sk\ilegu0n\cl i\enotes
-\barre %76
-\Notes\qup I&\sextou bdg&\doubler\ql k\sk\cl k\enotes
-\Notes\qup K&\Sextou dfhcfh&\triopl mlm\enotes
-\barre %77
-\Notes\qup L&\sextou egi&\triopl nml\enotes
-\Notes\qup I&\Sextou dgibeg&\doubler\ql k\sk\cl l\enotes
-\barre %78
-\Notes\qup H&\sextou acf&\doubler\ql j\sk\cl k\enotes
-\Notes\qup G&\Sextou bdgdgi&\doubler\qu i\sk\cu g\enotes
-\barre %79
-\Notes\qup K&\sextou dfh&\doubler\cu h\tleg0\ds\ilegu0n\cu h\enotes
-\Notes\qup G&\sextou dgi&\triopu iji\enotes
-\Notes\qup D&\Sextou dghcfh&\triopu hih\enotes
-\barre %80
-\Notes\hu G&\Sextou bdgdgi&\qup g\tleg0\enotes
-\Notes\sk\sk\soupir&\Sextou gikikn&\uptext{\moyen Rall.}\doubler\soupir\sk\ilegu0o\cl n\enotes
-\barre %81
-\Notes\qup G&\Ibbl0nk3\qb0{pnknk}\tqb0i&\advance\transpose 7\triopl iji\enotes
-\Notes\qup D&\Ibbu0jg5\qh0{khfcf}\tqh0h&\advance\transpose 7\triopl hih\enotes
-\barre %82
-\Notes\hup G&\Ibbu0je5\qh0{igdgd}\tqh0b&\hlp n\tleg0\enotes
-\Notes&\Sextou Nbdbdf\enotes
-\NOtes\pt 5\soupir&\qup g&\pt 5\soupir\enotes
-%\linegoal 28
-\mulooseness -7
-\finmorceau
-
-\rightline{\sl\aujourdhui}\vfil\eject
-
-\ifx\toc\undefined
- \let\finishpiece \end
-\else
- \let\finishpiece\relax
-\fi
-\finishpiece
-\endinput
-
diff --git a/macros/musixtex/doc/examples/dissonan.tex b/macros/musixtex/doc/examples/dissonan.tex
deleted file mode 100644
index 021607ab3f..0000000000
--- a/macros/musixtex/doc/examples/dissonan.tex
+++ /dev/null
@@ -1,947 +0,0 @@
-\title{Fantaisie aigre-douce}
-\subtitle{(pour orgue)}
-\shortauthor{D. Taupin}
-\fullauthor{Daniel TAUPIN}
-\othermention{Compos\'e en 1993}
-\maketitle
-
-\tracingstats=2\relax
-%
-% formes fr‚quentes
-%
-%au moins deux croches basses et hautes
-\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
-%au moins deux doubles croches basses et hautes
-\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
-%au moins trois doubles croches basses et hautes
-\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}%
-\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}%
-%au moins quatre croches basses et hautes
-\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}%
-\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}%
-\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}%
-%au moins quatre doubles croches basses et hautes
-\def\qqbb#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}%
-\def\Qqbb#1#2#3#4{\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\qqBB#1#2#3#4{\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\qqhh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}%
-\def\Qqhh#1#2#3#4{\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\qqHH#1#2#3#4{\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}%
-%
-\def\qlppz#1{\uppz #1\ql #1}
-\def\zlppz#1{\lppz #1\zq #1}
-\def\quppz#1{\lppz #1\qu #1}
-%
-\nbporteesii=2\relax
-\def\nbinstruments{2}
-\global\cleftoksii={{6}{0}{0}{0}}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{0}\relax % ut majeur
-\def\troistemps{\generalmeter{\meterfrac{3}{4}}}%
-%\check
-\def\instrumenti{P\'edale}%
-\def\instrumentii{G.O.}%
-%\check
-\medskip\noindent{\rm G.O.: Plein jeu, anches 8' et fonds 16' {\sl ad libitum.}}%
-\par\noindent{\rm P\'ed.: fonds et anches 16', tirasse G.O.}%
-\smallskip
-%
-\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}%
-\def\doubler{\multiply\noteskip by 2\relax}%
-\troistemps
-\debutmorceau
-\bigaccid
-\notes&|\Uptext{\hbox{\kern -16mm\moyen Allegro
- \bf(\metron{\hup}{50})}}\enotes
-\advance\linesinpage by 1\relax
-\ifx\mxversion\undefined\kern -\Interligne\fi
-%\check
-% mesure 1
-\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes
-%\check
-% mesure 2
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes
-%\check
-% mesure 3
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\notes&\zq L\uppz a\ql{_a}|\lppz c\zql{_d}\dqh fe\enotes
-\temps\NOtes\soupir&\zq L\qlppz a|\lppz c\zql d\qu f\enotes
-%\check
-% mesure 4
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\notes&\zq L\uppz a\ql{_a}|\na d\roff{\lppz d\zql d}\dqh ef\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes
-%\check
-% mesure 5
-\barre\NOtes\hu{_K}&\zq L\qlppz N|\lppz d\zq{_d}\qu f\enotes
-\temps\NOtes&\zq L\qlppz N|\lppz d\rq e\qu{=d}\enotes
-\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\lppz d\zq{_d}\qu f\enotes
-%\check
-% mesure 6
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\na d\roff{\lppz d\zql d}\dqh ef\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes
-%\check
-% mesure 7
-\barre\NOtes\hu{^J}&\zq K\qlppz N|\lppz c\zq{^c}\qu g\enotes
-\temps\NOtes&\zq L\qlppz N|\lppz d\zq d\qu{^f}\enotes
-\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\qu{=f}\enotes
-%\check
-% mesure 8
-\barre\NOtes\qu J&\zq L\qlppz N|\na c\zlppz c\qu e\enotes
-\temps\notes\doubler\qu{K}&\zq L\uppz a\ql{_a}|\lppz c\zql c\dqh e{^d}\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes
-%\check
-% mesure 9
-\barre\NOtes\hu{_L}&\zq L\qlppz N|\lppz b\zq {_e}\qu{b}\enotes
-\temps\NOtes&\zq L\qlppz N|\zq a\lppz a\qu{^c}\enotes
-\temps\NOtes\qu{K}&\zq M\uppz a\ql{_a}|\lppz b\zq b\qu d\enotes
-%\check
-% mesure 10
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu{=e}\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes
-%\check
-% mesure 11
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes\qu{_K}&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-% mesure 12
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-%\check
-% mesure 13
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-%\check
-% mesure 14
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\notes\qu{_K}&\zq L\uppz a\ql{_a}|\lppz c\zq f\zql{_d}\dqh {_h}g\enotes
-\temps\NOtes\soupir&\zq L\qlppz a|\lppz c\zq d\zql f\qu h\enotes
-%\check
-% mesure 15
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\relax
- \na d\lppz d\zq f\zql d\roff{\dqh g{_h}}\enotes
- \nspace
-\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\zq e\qu g\enotes
-%\check
-% mesure 16
-\barre\NOtes\hu{^J}&\zq L\qlppz N|\lppz c\zq{^c}\zq f\qu{_h}\enotes
-\temps\NOtes&\zq L\qlppz N|\lppz d\rq e\zq d\qu g\enotes
-\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\lppz c\zq{=c}\zq f\qu h\enotes
-%\check
-% mesure 17
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\relax
- \lfl e\lq e\lppz d\zql d\dqh g{=h}\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\na e\lppz c\zql c\zq e\qu g\enotes
-%\check
-% mesure 18
-\barre\NOtes\hu{^J}&\zq L\qlppz N|\lppz c\zq{^c}\zq e\zq g\qu{_i}\enotes
-\temps\NOtes&\zq L\qlppz N|\lppz d\zq d\zq{^f}\qu h\enotes
-\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\zql{_e}\qu{_h}\enotes
-%\check
-% mesure 19
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq{=e}\qu g\enotes
-\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\lppz c\zq e\zql c\dqh g{^f}\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\zq e\qu g\enotes
-%\check
-% mesure 20
-\barre\NOtes\hu{^K}&\zq L\qlppz N|\lsh c\lppz b\rq c\zq{_b}\qu{^f}\enotes
-\temps\NOtes&\zq L\qlppz N|\na b\lppz d\zq b\rq c\qu{=f}\enotes
-\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\lppz b\zq b\qu{^f}\enotes
-%\check
-% mesure 21
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-%\check
-% mesure 22
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes\qu{_K}&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-%\check
-% mesure 23
-\barre\NOtes\qu L&\zq {La}\qlppz c|\zlppz e\zq h\qu j\enotes
-\temps\NOtes\qu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-%\check
-% mesure 24
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-% mesure 25
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-\temps\notes&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\dqh jk\enotes
-\temps\NOtes\soupir&\zq {Ma}\qlppz c|\zlppz f\zql {h}\qu j\enotes
-%\check
-% mesure 26
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq {jg}\qu l\enotes
-\temps\NOtes&\zq {L=a}\qlppz c|\lna h\sh f\zlppz f\zq {hj}\qu{_l}\enotes
-\temps\NOtes\soupir&\lfl a\zq {^Ma}\qlppz c|\zlppz f\zq {_h}\qu k\enotes
-% mesure 27
-\barre\NOtes\hu J&\zq {L=a}\qlppz c|\zlppz e\zq{=h}\qu j\enotes
-\temps\notes&\zq {LN}\qlppz c|\zlppz e\zql {g}\dqh ji\enotes
-\temps\NOtes\soupir&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\qu j\enotes
-%\check
-% mesure 28
-\barre\NOtes\hu J&\zq {L_a}\qlppz c|\zlppz e\rq f\qu{_h}\enotes
-\temps\NOtes&\zq {LN}\uppz b\qlp{_b}|\zlppz e\zq g\qu{_i}\enotes
-\temps\NOtes\soupir&\zq {_LN}\na b\qlppz b|\fl e\zlppz e\zq g\qu{=i}\enotes
-%\check
-% mesure 29
-\barre\NOtes\hu J&\zq {=LN}\qlppz c|\na e\zlppz e\zq g\qu j\enotes
-\temps\notes&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\dqh jk\enotes
-\temps\NOtes\soupir&\lsh M\zq {M=a}\qlppz c|\lsh f\zlppz f\zql {=h}\qu j\enotes
-%\check
-% mesure 30
-\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq {gj}\qu l\enotes
-\temps\NOtes&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes\soupir&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 31
-\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq {gj}\qu l\enotes
-\temps\NOtes&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes\soupir&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 32
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\notes&\zq {L_a}\uppz d\ql{_d}|\lppz f\zq{f_h}\zql{_k}\dqh ml\enotes
-\temps\NOtes\soupir&\zq{La}\qlppz d|\lppz f\zq{fh}\zql k\qu m\enotes
-%\check
-% mesure 33
-\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\notes&\zq {L_a}\uppz d\ql{=d}|\zlppz e\zq{=h}\zql k\roff{\dqh lm}\enotes
-\nspace
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 34
-\barre\NOtes\hu{^J}&\zq {LN}\sh c\qlppz c|\zlppz f\zq{h^j}\qu m\enotes
-\temps\NOtes&\zq {LN}\qlppz d|\zlppz e\rq k\zq g\qu l\enotes
-\temps\NOtes\soupir&\lfl a\zq {Ma}\na c\qlppz c|\zlppz f\zq{h=j}\qu m\enotes
-%\check
-% mesure 35
-\barre\NOtes\qu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\notes\doubler\qu{=K}&\zq {L_a}\ql d|\lppz e\zq{e_h}\zql k\roff{\dqh lm}\enotes
-\nspace
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 36
-\barre\NOtes\hu{^J}&\zq {KN}\sh c\qlppz c|\lppz g\zq{g^j}\rq k\qu n\enotes
-\temps\NOtes&\zq{LN}\qlppz d|\zq{^fj}\rq l\qu{^m}\enotes
-\temps\NOtes\soupir&\zq {M_a}\qlppz c|\lfl h\na f\zlppz f\zq{hj}\qu{=m}\enotes
-%\check
-% mesure 37
-\barre\NOtes\qu J&\zq {LN}\na c\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\notes\doubler\qu{=K}&\lfl a\zq {La}\na d\qlppz d|\lppz e\zq{_h}\zql j\dqh l{^k}\enotes
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\lppz e\zq{egj}\qu l\enotes
-%\check
-% mesure 38
-\barre\NOtes\qsk\hu{^K}&\qsk\lfl b\na d\zq {LNb}\qlppz d|\qsk
- \zlppz e\zq{g}\qu{=k}\enotes
-\temps\NOtes&\sh c\zq {LN}\qlppz c|\zq e\lppz e\zq h\qu{^j}\enotes
-\temps\NOtes\qu{=K}&\lq a\lfl a\zq {M}\qlppz b|\lppz d\zq {df_h}\qu k\enotes
-%\check
-% mesure 39
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 40
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\Uptext{\it rit.}\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 41
-\barre
-\notes\zcharnote B{\it legato}\Ilegu0b\hl L&\zcharnote g{\it
- a tempo}\Qqbb Nece|\Uptext{\it bien
- sirupeux~!}\ibbu0i0\qh0{lgj}\tqh0g\enotes
-\temps\notes&\Qqbb Nece|\ibbu0i0\qh0{lgj}\tqh0g\enotes
-\temps\notes\ql L&\Qqbb Nece|\ibbu0i0\qh0{lgj}\tqh0g\enotes
-%\check
-% mesure 42
-\barre\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 43
-\barre\notes\ql J&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 44
-\barre\notes\qlp N&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\sk\tleg0\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\Ilegu0b\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 45
-\barre\notes\hlp a&\Qqbb Mcac|\Qqhh mhjh\enotes
-\temps\notes&\Qqbb Mcac|\Qqhh mhjh\enotes
-\temps\notes&\Qqbb Mcac|\Qqhh mhjh\enotes
-%\check
-% mesure 46
-\barre\notes\qlp N\tleg0&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\sk\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\Ilegu0c\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 47
-\barre\notes\hl c&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 48
-\barre\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql M&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 49
-\barre\notes\hu K\tleg0&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes\soupir&\Qqbb Ndbd|\Qqhh kgig\enotes
-%\check
-% mesure 50
-\barre\notes\Ilegu0c\hl L&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 51
-\barre\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 52
-\barre\notes\ql J&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 53
-\barre\notes\hl a&\Qqbb aece|\Qqhh lhjh\enotes
-\temps\notes&\Qqbb aece|\Qqhh lhjh\enotes
-\temps\notes\ql b&\Qqbb {^N}ebe|\Qqhh l{^g}ig\enotes
-%\check
-% mesure 54
-\barre\notes\qlp c\tleg0&\Qqbb aece|\Qqhh lhjh\enotes
-\temps\notes\sk\sk\ds&\Qqbb aece|\Qqhh lhjh\enotes
-\temps\notes\Ilegu0c\ql c&\Qqbb aece|\Qqhh lhjh\enotes
-%\check
-% mesure 55
-\barre\notes\hl b&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\nspace\notes\ql a&\Qqbb aece|\bigsh m\Qqhh mhjh\enotes
-%\check
-% mesure 56
-\barre\notes\hl N&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\ql a&\Qqbb aece|\Qqhh lhjh\enotes
-%\check
-% mesure 57
-\barre\notes\hl N&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\nspace\notes\ql {^M}&\varaccid\Qqbb a{^f}{^d}f|\sh m\varaccid\Qqhh mh{^k}h\enotes
-%\check
-% mesure 58
-\barre\notes\hl L\tleg0&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\soupir&\Qqbb Nebe|\Qqhh lgig\enotes
-%\check
-% mesure 59
-\barre\notes\Ilegu0b\hl N&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 60
-\barre\notes\hl M&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh njlj\enotes
-%\check
-% mesure 61
-\barre\notes\hlp K&\Qqbb Ndbd|\Qqhh niki\enotes
-\temps\notes&\Qqbb Ndbd|\Qqhh niki\enotes
-\temps\notes&\Qqbb Ndbd|\Qqhh niki\enotes
-%\check
-% mesure 62
-\barre\notes\hl J\tleg0&\Qqbb Nece|\Qqhh njlj\enotes
-\temps\notes&\Qqbb Nece|\Qqhh njlj\enotes
-\temps\notes\soupir&\Qqbb Nece|\Qqhh njlj\enotes
-% mesure 63
-\barre\notes\Ilegu0b\hl L&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 64
-\barre\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql K&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 65
-\barre\notes\ql J&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql K&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 66
-\barre\notes\qlp N&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\sk\tleg0\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\Ilegu0c\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 67
-\barre\notes\hlp c&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes
-%\check
-% mesure 68
-\barre\notes\qlp N\tleg0&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\sk\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\Ilegu0c\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-% mesure 69
-\barre\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql M&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 70
-\barre\notes\hu K&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes\qu K&\Qqbb Ndbd|\Qqhh kgig\enotes
-%\check
-% mesure 71
-\barre\notes\hu J\tleg0&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\soupir&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 72
-\barre\notes\lppz J\qu J&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\lppz J\qu J&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\lppz J\qu J&\Qqbb Nece|\soupir\enotes
-%\check
-% mesure 73
-\barre
- \NOtes\hu J&\zq L\qlppz N|\uptext{\it aigre et nerveux}\zlppz c\qu e\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes
-%\check
-% mesure 74
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes
-%\check
-% mesure 75
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\notes&\zq L\uppz a\ql{_a}|\lppz c\zql{_d}\dqh fe\enotes
-\temps\NOtes\soupir&\zq L\qlppz a|\lppz c\zql d\qu f\enotes
-%\check
-% mesure 76
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\notes&\zq L\uppz a\ql{_a}|\na d\roff{\lppz d\zql d}\dqh ef\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes
-%\check
-% mesure 77
-\barre\NOtes\hu{_K}&\zq L\qlppz N|\lppz c\zq{_d}\qu f\enotes
-\temps\NOtes&\zq L\qlppz N|\lppz d\rq e\qu{=d}\enotes
-\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\qu f\enotes
-%\check
-% mesure 78
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\na d\roff{\lppz d\zql d}\dqh ef\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes
-%\check
-% mesure 79
-\barre\NOtes\hu{_K}&\zq K\qlppz N|\lppz c\zq{_d}\qu g\enotes
-\temps\NOtes&\zq L\qlppz N|\lppz d\zq{=d}\qu{^f}\enotes
-\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\qu{=f}\enotes
-%\check
-% mesure 80
-\barre\NOtes\qu J&\zq L\qlppz N|\na c\zlppz c\qu e\enotes
-\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\lppz c\zql c\dqh e{^d}\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\qu e\enotes
-%\check
-% mesure 81
-\barre\NOtes\hu{^K}&\zq L\qlppz N|\lppz b\zq {^d}\qu{b}\enotes
-\temps\NOtes&\zq L\qlppz N|\zq a\lppz a\qu{^c}\enotes
-\temps\NOtes\qu{=K}&\zq M\uppz a\ql{_a}|\lppz b\zq b\qu{=d}\enotes
-%\check
-% mesure 82
-\barre\NOtes\hu J&\zq L\qlppz N|\lppz c\zq{=c}\qu e\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\qu e\enotes
-%\check
-% mesure 83
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes\qu{_K}&\zq L\qlppz N|\zlppz c\qu e\enotes
-\temps\NOtes\qu J&\zq L\qlppz N|\zlppz c\qu e\enotes
-% mesure 84
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-%\check
-% mesure 85
-\barre\NOtes\hu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-%\check
-% mesure 86
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\notes\qu{_K}&\zq L\uppz a\ql{_a}|\lppz c\zq f\zql{_d}\dqh {_h}g\enotes
-\temps\NOtes\soupir&\zq L\qlppz a|\lppz c\zq d\zql f\qu h\enotes
-%\check
-% mesure 87
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\notes\doubler\qu{=K}&\zq L\uppz a\ql{_a}|\relax
- \na d\lppz d\zq f\zql d\roff{\dqh g{_h}}\enotes
- \nspace
-\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\zq e\qu g\enotes
-%\check
-% mesure 88
-\barre\NOtes\hu{^J}&\zq L\qlppz N|\lppz c\zq{^c}\zq f\qu{_h}\enotes
-\temps\NOtes&\zq L\qlppz N|\lppz d\rq e\zq d\qu g\enotes
-\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\zq f\qu h\enotes
-%\check
-% mesure 89
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\notes\qu{K}&\zq L\uppz a\ql{_a}|\relax
- \lfl e\lq e\lppz d\zql d\dqh g{=h}\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\na e\lppz c\zql c\zq e\qu g\enotes
-%\check
-% mesure 90
-\barre\NOtes\hu{^J}&\zq L\qlppz N|\lppz c\zq{^c}\zq e\zq g\qu{_i}\enotes
-\temps\NOtes&\zq L\qlppz N|\lppz d\zq d\zq{^f}\qu h\enotes
-\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\zlppz c\zql{_e}\qu{_h}\enotes
-%\check
-% mesure 91
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq{=e}\qu g\enotes
-\temps\notes\qu{K}&\zq L\uppz a\ql{_a}|\lppz c\zq e\zql c\dqh g{^f}\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\lppz c\zql c\zq e\qu g\enotes
-%\check
-% mesure 92
-\barre\NOtes\hu{^K}&\zq L\qlppz N|\lsh c\lppz b\rq c\zq{_b}\qu{^f}\enotes
-\temps\NOtes&\zq L\qlppz N|\na b\lppz d\zq b\rq c\qu{=f}\enotes
-\temps\NOtes\soupir&\zq M\uppz a\ql{_a}|\lppz b\zq b\qu{^f}\enotes
-%\check
-% mesure 93
-\barre\NOtes\hu J&\zq L\qlppz N|\lppz c\zq{=c}\zq e\qu g\enotes
-\temps\NOtes&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes\soupir&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-%\check
-% mesure 94
-\barre\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes\qu{_K}&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-\temps\NOtes\qu J&\zq L\qlppz N|\zlppz c\zq e\qu g\enotes
-%\check
-% mesure 95
-\barre\NOtes\qu L&\zq {La}\qlppz c|\zlppz e\zq h\qu j\enotes
-\temps\NOtes\qu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-%\check
-% mesure 96
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-% mesure 97
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-\temps\notes&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\dqh jk\enotes
-\temps\NOtes\soupir&\zq {Ma}\qlppz c|\zlppz f\zql {h}\qu j\enotes
-%\check
-% mesure 98
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq {jg}\qu l\enotes
-\temps\NOtes&\zq {L=a}\qlppz c|\lna h\sh f\zlppz f\zq {hj}\qu{_l}\enotes
-\temps\NOtes\soupir&\lfl a\zq {^Ma}\qlppz c|\zlppz f\zq {_h}\qu k\enotes
-% mesure 99
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq g\qu j\enotes
-\temps\notes&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\dqh jk\enotes
-\temps\NOtes\soupir&\zq {Ma}\qlppz c|\zlppz f\zql {h}\qu j\enotes
-%\check
-% mesure 100
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq {jg}\qu l\enotes
-\temps\NOtes&\zq {L=a}\qlppz c|\lna h\sh f\zlppz f\zq {hj}\qu{_l}\enotes
-\temps\NOtes\soupir&\lfl a\zq {^Ma}\qlppz c|\zlppz f\zq {_h}\qu k\enotes
-% mesure 101
-\barre\NOtes\hu J&\zq {L=a}\qlppz c|\zlppz e\zq{=h}\qu j\enotes
-\temps\notes&\zq {LN}\qlppz c|\zlppz e\zql {g}\dqh ji\enotes
-\temps\NOtes\soupir&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\qu j\enotes
-%\check
-% mesure 102
-\barre\NOtes\hu J&\zq {L_a}\qlppz c|\zlppz e\rq f\qu{_h}\enotes
-\temps\NOtes&\zq {LN}\uppz b\qlp{_b}|\zlppz e\zq g\qu{_i}\enotes
-\temps\NOtes\soupir&\zq {_LN}\na b\qlppz b|\fl e\zlppz e\zq g\qu{=i}\enotes
-%\check
-% mesure 103
-\barre\NOtes\hu J&\zq {L=a}\qlppz c|\zlppz e\zq{=h}\qu j\enotes
-\temps\notes&\zq {LN}\qlppz c|\zlppz e\zql {g}\dqh ji\enotes
-\temps\NOtes\soupir&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\qu j\enotes
-%\check
-% mesure 104
-\barre\NOtes\hu J&\zq {L_a}\qlppz c|\zlppz e\rq f\qu{_h}\enotes
-\temps\NOtes&\zq {LN}\uppz b\qlp{_b}|\zlppz e\zq g\qu{_i}\enotes
-\temps\NOtes\soupir&\zq {_LN}\na b\qlppz b|\fl e\zlppz e\zq g\qu{=i}\enotes
-%\check
-% mesure 105
-\barre\NOtes\hu J&\zq {=LN}\qlppz c|\na e\zlppz e\zq g\qu j\enotes
-\temps\notes&\zq {M_a}\qlppz c|\zlppz f\zql {_h}\dqh jk\enotes
-\temps\NOtes\soupir&\lsh M\zq {M=a}\qlppz c|\lsh f\zlppz f\zql {=h}\qu j\enotes
-%\check
-% mesure 106
-\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq {gj}\qu l\enotes
-\temps\NOtes&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes\soupir&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 107
-\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq {gj}\qu l\enotes
-\temps\NOtes&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes\soupir&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 108
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\notes&\zq {L_a}\uppz d\ql{_d}|\lppz f\zq{f_h}\zql{_k}\dqh ml\enotes
-\temps\NOtes\soupir&\zq{La}\qlppz d|\lppz f\zq{fh}\zql k\qu m\enotes
-%\check
-% mesure 109
-\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\notes&\zq {L_a}\uppz d\ql{=d}|\zlppz e\zq{=h}\zql k\roff{\dqh lm}\enotes
-\nspace
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 110
-\barre\NOtes\hu{^J}&\zq {LN}\sh c\qlppz c|\zlppz f\zq{h^j}\qu m\enotes
-\temps\NOtes&\zq {LN}\qlppz d|\zlppz e\rq k\zq g\qu l\enotes
-\temps\NOtes\soupir&\lfl a\zq {Ma}\na c\qlppz c|\lfl h\zlppz f\zq{h=j}\qu m\enotes
- %\check
-% mesure 111
-\barre\NOtes\hu K&\zq {^Ma}\qlppz d|\sh f\zlppz f\zq{hk}\qu{^m}\enotes
-\temps\NOtes&\zq {^La}\sh c\qlppz c|\lsh j\sh e\zlppz e\zq{hj}\qu{^l}\enotes
-\temps\NOtes\soupir&\zq {Ma}\qlppz d|\zlppz f\zq{hk}\qu{m}\enotes
- %\check
-% mesure 112
-\barre\NOtes\hu L&\zq {N=c}\qlppz e|\zlppz g\zq{j=l}\qu{n}\enotes
-\temps\NOtes&\zq {^Ma}\qlppz d|\sh f\zlppz f\zq{hk}\qu{^m}\enotes
-\temps\NOtes\soupir&\zq {Nc}\qlppz e|\zlppz g\zq{jl}\qu{n}\enotes
- %\check
-% mesure 113
-\barre\NOtes\hu K&\zq {^Ma}\qlppz d|\sh f\zlppz f\zq{hk}\qu{^m}\enotes
-\temps\NOtes&\zq {^La}\sh c\qlppz c|\lsh j\sh e\zlppz e\zq{hj}\qu{^l}\enotes
-\temps\NOtes\soupir&\zq {Ma}\qlppz d|\zlppz f\zq{hk}\qu{m}\enotes
- %\check
-% mesure 114
-\barre\NOtes\hu{_L}&\zq{Nc}\lppz e\ql{_e}|\zlppz g\zq{_lj}\qu{n}\enotes
-\temps\NOtes&\zq{Nc}\qlppz{e}|\zlppz g\zq{lj}\qu{n}\enotes
-\temps\NOtes\soupir&\zq{Nc}\qlppz{e}|\zlppz g\zq{lj}\qu{n}\enotes
- %\check
-% mesure 115
-\barre\NOtes\hu{K}&\zq{Nc}\fl e\qlppz{e}|\zlppz g\zq{_lj}\qu{n}\enotes
-\temps\NOtes&\zq{Nc}\qlppz{e}|\zlppz g\zq{lj}\qu{n}\enotes
-\temps\NOtes\soupir&\zq{Nc}\qlppz{e}|\zlppz g\zq{lj}\qu{n}\enotes
- %\check
-% mesure 116
-\barre\NOtes\hu{K}&\zq{Nb}\qlppz{d}|\zlppz g\zq{ik}\qu{n}\enotes
-\temps\NOtes&\zq{Nb}\qlppz{d}|\zlppz g\zq{ik}\qu{n}\enotes
-\temps\NOtes\soupir&\zq{Nb}\qlppz{d}|\zlppz g\zq{ik}\qu{n}\enotes
-% mesure 117
-\barre
-\notes\zcharnote B{\it legato}\Ilegu0b\hl L&\zcharnote g{\it
- a tempo}\Qqbb Nece|\Uptext{\it bien
- sirupeux~!}\ibbu0i0\qh0{lgj}\tqh0g\enotes
-\temps\notes&\Qqbb Nece|\ibbu0i0\qh0{lgj}\tqh0g\enotes
-\temps\notes\ql L&\Qqbb Nece|\ibbu0i0\qh0{lgj}\tqh0g\enotes
-%\check
-% mesure 118
-\barre\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 119
-\barre\notes\ql J&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql K&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 120
-\barre\notes\qlp N&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\sk\tleg0\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\Ilegu0b\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 121
-\barre\notes\bigfl a\hlp a&\bigaccid\Qqbb Mc{_a}c|\bigaccid\Qqhh m{_h}jh\enotes
-\temps\notes&\Qqbb Mcac|\Qqhh mhjh\enotes
-\temps\notes&\Qqbb Mcac|\Qqhh mhjh\enotes
-%\check
-% mesure 122
-\barre\notes\qlp N\tleg0&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\sk\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\Ilegu0c\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-% mesure 123
-\barre\notes\hl c&\bigfl a\Qqbb afcf|\bigaccid\Qqhh m{_h}jh\enotes
-\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 124
-\barre\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql M&\Qqbb {=a}fcf|\Qqhh m{=h}jh\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 125
-\barre\notes\hu K\tleg0&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes&\Qqbb Ndbd|\Qqhh kgig\enotes
-\temps\notes\soupir&\Qqbb Ndbd|\Qqhh kgig\enotes
-%\check
-% mesure 126
-\barre\notes\Ilegu0b\hl L&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 127
-\barre\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql K&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 128
-\barre\notes\ql J&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql K&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 129
-\barre\notes\qlp N&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\sk\tleg0\sk\ds&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\Ilegu0c\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 130
-\barre\notes\hlp c&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes&\Qqbb afcf|\Qqhh mhjh\enotes
-%\check
-% mesure 131
-\barre\notes\qlp b\tleg0&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\sk\sk\ds&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\Ilegu0c\ql c&\Qqbb aece|\Qqhh lhjh\enotes
-% mesure 132
-\barre\notes\qlp b\tleg0&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\sk\sk\ds&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\Ilegu0c\ql c&\Qqbb aece|\Qqhh lhjh\enotes
-%\check
-% mesure 133
-\barre\notes\ql b&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\ql N&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\ql a&\Qqbb aece|\Qqhh lhjh\enotes
-%\check
-% mesure 134
-\barre\notes\ql b&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\ql a&\Qqbb aece|\Qqhh lhjh\enotes
-\temps\nspace\notes\ql b&\varaccid\Qqbb a{^f}{^d}f|\varaccid\sh m\Qqhh mh{^k}h\enotes
-%\check
-% mesure 135
-\barre\notes\hl L\tleg0&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\soupir&\Qqbb Nebe|\Qqhh lgig\enotes
-%\check
-% mesure 136
-\barre\notes\Ilegu0b\hl N&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes&\Qqbb Nece|\Qqhh lgjg\enotes
-\temps\notes\ql N&\Qqbb Nece|\Qqhh lgjg\enotes
-%\check
-% mesure 137
-\barre\notes\ql N&\Qqbb Nebe|\Qqhh lgig\enotes
-\temps\notes\ql M&\Qqbb afcf|\Qqhh mhjh\enotes
-\temps\notes\ql L&\Qqbb Nece|\Qqhh njlj\enotes
-%\check
-% mesure 138
-\barre\notes\hl K&\Qqbb Ndbd|\Qqhh niki\enotes
-\temps\notes&\Qqbb Ndbd|\Qqhh niki\enotes
-\temps\notes\ql K&\Qqbb Ndbd|\Qqhh niki\enotes
-%\check
-% mesure 139
-\barre\notes\hl J\tleg0&\Qqbb Nece|\Qqhh njlj\enotes
-\temps\notes&\Qqbb Nece|\Qqhh njlj\enotes
-\temps\notes\soupir&\Qqbb Nece|\Qqhh njlj\enotes
-%\check
-% mesure 140
-\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq {gj}\qu l\enotes
-\temps\NOtes&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes\soupir&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 141
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\notes&\zq {L_a}\uppz d\ql{_d}|\lppz f\zq{f_h}\zql{_k}\dqh ml\enotes
-\temps\NOtes\soupir&\zq{La}\qlppz d|\lppz f\zq{fh}\zql k\qu m\enotes
-%\check
-% mesure 142
-\barre\NOtes\hu J&\zq{LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\notes&\zq {L_a}\uppz d\ql{=d}|\zlppz e\zq{=h}\zql k\roff{\dqh lm}\enotes
-\nspace
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 143
-\barre\NOtes\hu{^J}&\zq {LN}\sh c\qlppz c|\zlppz f\zq{h^j}\qu m\enotes
-\temps\NOtes&\zq {LN}\qlppz d|\zlppz e\rq k\zq g\qu l\enotes
-\temps\NOtes\soupir&\lfl a\zq {Ma}\na c\qlppz c|\zlppz f\zq{h=j}\qu m\enotes
-%\check
-% mesure 144
-\barre\NOtes\qu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\notes\doubler\qu{=K}&\zq {L_a}\ql d|\lppz e\zq{e_h}\zql k\roff{\dqh lm}\enotes
-\nspace
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 145
-\barre\NOtes\hu{^J}&\zq {KN}\sh c\qlppz c|\lppz g\zq{g^j}\rq k\qu n\enotes
-\temps\NOtes&\zq{LN}\qlppz d|\zq{^fj}\rq l\qu{^m}\enotes
-\temps\NOtes\soupir&\zq {M_a}\qlppz c|\lfl h\na f\zlppz f\zq{hj}\qu{=m}\enotes
-%\check
-% mesure 146
-\barre\NOtes\qu J&\zq {LN}\na c\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\notes\doubler\qu{=K}&\lfl a\zq {La}\na d\qlppz d|\lppz e\zq{_h}\zql j\dqh l{^k}\enotes
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\lppz e\zq{egj}\qu l\enotes
-%\check
-% mesure 147
-\barre\NOtes\qsk\hu{^K}&\qsk\lfl b\na d\zq {LNb}\qlppz d|\qsk
- \zlppz e\zq{g}\qu{=k}\enotes
-\temps\NOtes&\sh c\zq {LN}\qlppz c|\zq e\lppz e\zq h\qu{^j}\enotes
-\temps\NOtes\qu{=K}&\lq a\lfl a\zq {M}\qlppz b|\lppz d\zq {df_h}\qu k\enotes
-%\check
-% mesure 148
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 149
-\barre\NOtes\hu J&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-\temps\NOtes\soupir&\zq {LN}\qlppz c|\zlppz e\zq{gj}\qu l\enotes
-%\check
-% mesure 150
-\def\sQqbb{\smallnotesize\Qqbb}%
-\def\sqqBB{\smallnotesize\qqBB}%
-\def\sQqhh{\smallnotesize\Qqhh}%
-\notes\hu J&\sQqbb Nece|\smallnotesize\roff{\normalnotesize\zhu l}\relax
- \ibbl0i0\qb0{lgj}\tqb0g\enotes
-\temps\notes&\sQqbb cece|\smallnotesize\ibbl0i0\qb0{jgj}\tqb0g\enotes
-\temps\notes\qu J&\sQqbb Nece|\zqu l\smallnotesize\ibbl0i0\qb0{lgj}\tqb0g\enotes
-%\check
-% mesure 151
-\barre\notes\qu J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes
-\temps\notes\qu G&\sQqbb Ndbd|\zqu k\sqqBB kgig\enotes
-\temps\notes\qu J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes
-%\check
-% mesure 152
-\barre\notes\qu H&\sQqbb Nece|\zqu j\sqqBB jghg\enotes
-\temps\notes\qu I&\sQqbb Ndbd|\zqu k\sqqBB kgig\enotes
-\temps\notes\qu J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes
-%\check
-% mesure 153
-\barre\notes\qlp L&\sQqbb Nece|\zqup n\sqqBB njlj\enotes
-\temps\notes\sk\sk\ds&\sQqbb cece|\rlap{\sk\sk\raise 3\Interligne\ds}\relax
- \sqqBB ljlj\enotes
-\temps\notes\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes
-%\check
-% mesure 154
-\barre\notes\hlp M&\sQqbb Mcac|\rlap{\smallnotesize\qsk\normalnotesize\hup o}\relax
- \sqqBB ojmj\enotes
-\temps\notes&\sQqbb acac|\sqqBB mjmj\enotes
-\temps\notes&\sQqbb acac|\sqqBB mjmj\enotes
-%\check
-% mesure 155
-\barre\notes\qlp L&\sQqbb Nece|\zqup n\sqqBB njlj\enotes
-\temps\notes\sk\sk\ds&\sQqbb cece|\rlap{\sk\sk\raise 3\Interligne\ds}\relax
- \sqqBB ljlj\enotes
-\temps\notes\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes
-%\check
-% mesure 156
-\barre\notes\hl M&\sQqbb afcf|\rlap{\smallnotesize\qsk
- \normalnotesize\hu q}\sqqBB qmom\enotes
-\temps\notes&\sQqbb afcf|\sqqBB omom\enotes
-\temps\notes\itenu0L\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes
-%\check
-% mesure 157
-\barre\notes\tten0\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes
-\temps\notes\ql K&\sQqbb afcf|\zqu m\sqqBB mhjh\enotes
-\temps\notes\ql J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes
-%\check
-% mesure 158
-\barre\notes\hu G&\sQqbb Ndbd|\rlap{\smallnotesize\qsk\normalnotesize\hu k}\relax
- \sqqBB kgig\enotes
-\temps\notes&\sQqbb Ndbd|\sqqBB igig\enotes
-\temps\notes\soupir&\sQqbb Ndbd|\raise 2\Interligne\rlap{\soupir}\sqqBB igig\enotes
-%\check
-% mesure 159
-\barre\notes\hu J&\sQqbb Nece|\rlap{\smallnotesize\qsk\normalnotesize\hu l}\relax
- \sqqBB lgjg\enotes
-\temps\notes&\sQqbb Nece|\sqqBB jgjg\enotes
-\temps\notes\qu J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes
-%\check
-% mesure 160
-\barre\notes\qu J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes
-\temps\notes\qu I&\sQqbb Ndbd|\zqu k\sqqBB kgig\enotes
-\temps\notes\qu G&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes
-%\check
-% mesure 161
-\barre\notes\qu J&\sQqbb Nece|\zqu j\sqqBB jghg\enotes
-\temps\notes\qu H&\sQqbb Nece|\zqu k\sqqBB kgig\enotes
-\temps\notes\qu G&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes
-%\check
-% mesure 162
-\barre\notes\qup J&\sQqbb Nece|\zqup n\sqqBB njlj\enotes
-\temps\notes\sk\sk\ds&\sQqbb Nece|\rlap{\sk\sk\raise 3\Interligne\ds}\relax
- \sqqBB ljlj\enotes
-\temps\notes\qu J&\sQqbb Nece|\zqu n\sqqBB njlj\enotes
-%\check
-% mesure 163
-\barre\notes\hlp M&\sQqbb afcf|\rlap{\smallnotesize\qsk\normalnotesize\hup q}\relax
- \sqqBB qmom\enotes
-\temps\notes&\sQqbb afcf|\sqqBB omom\enotes
-\temps\notes&\sQqbb afcf|\sqqBB omom\enotes
-%\check
-% mesure 164
-\barre\notes\qlp L&\sQqbb Nece|\zqup n\sqqBB njlj\enotes
-\temps\notes\sk\sk\ds&\sQqbb Nece|\rlap{\sk\sk\raise 3\Interligne\ds}\relax
- \sqqBB ljlj\enotes
-\temps\notes\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes
-% mesure 165
-\barre\notes\ql L&\sQqbb Nece|\zqu n\sqqBB njlj\enotes
-\temps\notes\ql K&\sQqbb afcf|\zqu m\sqqBB mhjh\enotes
-\temps\notes\ql J&\sQqbb Nece|\zqu l\sqqBB lgjg\enotes
-%\check
-% mesure 166
-\barre\notes\hu G&\sQqbb Ndbd|\rlap{\smallnotesize\qsk\normalnotesize\hu k}\relax
- \sqqBB kgig\enotes
-\temps\notes&\sQqbb Ndbd|\sqqBB igig\enotes
-\temps\notes\qu G&\sQqbb Ndbd|\zqu k\sqqBB kgig\enotes
-%\check
-% mesure 167
-\barre\notes\hu J&\sQqbb
-LcNc|\normalnotesize\roff{\zhu j}\relax
- \sqqBB jege\enotes
-\temps\notes&\sQqbb LcNc|\sqqBB gege\enotes
-\temps\notes\soupir&\sQqbb LcNc|\rlap{\raise 2\interligne\soupir}\relax
- \sqqBB gege\enotes
-% mesure 168
-\barre
-\Notes\hu L&\zh c\hl g|\zh{jl}\hl n\enotes
-\temps\Notes&\enotes
-\temps\Notes\qu L&\zq c\qlppz g|\zq{jl}\qlppz n\enotes
-% mesure 169
-\barre\Notes\qu L&\zq c\ql g|\zq{jl}\ql n\enotes
-\temps\Notes\qu K&\zq b\ql f|\zq{ik}\ql m\enotes
-\temps\Notes\qu J&\zq N\ql e|\zq{gj}\ql l\enotes
-%\check
-% mesure 170
-\barre\Notes\hu G&\zh N\hl d|\zh{gi}\hl k\enotes
-\temps\Notes&\enotes
-\temps\Notes\qu G&\zq N\ql d|\zq{gi}\ql k\enotes
-%\check
-% mesure 171
-\barre\NOtes\itenu0J\hup J&\itenl1N\itenu2c\zhp N\hlp c|\itenl3e\itenu4g\itenu5j\zhp e\zhp g\hlp j\enotes
-%\check
-% mesure 172
-\barre\Notes\tten0\zhlp J\hlp C&\tten1\tten2\zhp N\hlp c|\tten3\tten4\tten5\zhp e\zhp g\hlp j\enotes
-%\mulooseness 1\relax
-\mulooseness -4\relax
-\finmorceau
-\rightline{\sl\aujourdhui}\vfil\eject
-\bye
diff --git a/macros/musixtex/doc/examples/eightbitchar.tex b/macros/musixtex/doc/examples/eightbitchar.tex
deleted file mode 100644
index 54969d68d0..0000000000
--- a/macros/musixtex/doc/examples/eightbitchar.tex
+++ /dev/null
@@ -1,12 +0,0 @@
-
-\input plainenc\relax\inputencoding{cp1252}
-\input musixtex
-\input musixlyr
-\hsize50mm
-\setlyrics1{á ä ö}\assignlyrics11%
-\startpiece\addspace{4pt}%
-\znotes\zcharnote{12}{Poème naïf}\en%
-\Notes\qa{ggg}\en%
-\endpiece
-\vfill\eject
-\end
diff --git a/macros/musixtex/doc/examples/fantaisc.tex b/macros/musixtex/doc/examples/fantaisc.tex
deleted file mode 100644
index 7a965a7350..0000000000
--- a/macros/musixtex/doc/examples/fantaisc.tex
+++ /dev/null
@@ -1,4 +0,0 @@
-\def\ftranspose{-1}
-\def\fsignature{-3}
-\input fantaisi
-\bye
diff --git a/macros/musixtex/doc/examples/fantaisd.tex b/macros/musixtex/doc/examples/fantaisd.tex
deleted file mode 100644
index 7bb931e091..0000000000
--- a/macros/musixtex/doc/examples/fantaisd.tex
+++ /dev/null
@@ -1,2 +0,0 @@
-\input fantaisi
-\bye
diff --git a/macros/musixtex/doc/examples/fantaisi.tex b/macros/musixtex/doc/examples/fantaisi.tex
deleted file mode 100644
index 3d84d2b181..0000000000
--- a/macros/musixtex/doc/examples/fantaisi.tex
+++ /dev/null
@@ -1,1238 +0,0 @@
-\ifx\ftranspose\undefined\def\ftranspose{0}\fi
-\ifx\fsignature\undefined\def\fsignature{-1}\fi
-
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-
-
-\fullauthor{Daniel TAUPIN}
-\shortauthor{D. Taupin}
-\shorttitle{Fantaisie en style romantique}
-\title{Fantaisie en style romantique}
-\transpose=\ftranspose\relax
-\newif\iffiveoctaves
-\ifnum\transpose=0\relax
- \subtitle{(pour orgue \`a 5 octaves)}
- \fiveoctavestrue
- \else\ifnum\transpose=-1\relax
- \subtitle{(pour orgue \`a 4 octaves et demi, do--sol)}
- \fiveoctavesfalse
- \else
- \subtitle{(pour orgue)}
- \fiveoctavesfalse
- \fi
-\fi
-
-\othermention{Compos\'e en 1992\\r\'evis\'e en 1995}
-\maketitle
-
-\ifx\ftranspose\undefined\def\ftranspose{0}\fi
-\ifx\fsignature\undefined\def\fsignature{-1}\fi
-
-\parindent 18mm
-\tracingstats=2\relax
-%
-% formes fr\'equentes
-%
-%au moins deux croches basses et hautes
-\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
-%au moins deux doubles croches basses et hautes
-\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
-%au moins trois doubles croches basses et hautes
-\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}%
-\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}%
-\def\sTqbb#1#2#3{{\smallnotesize\Tqbb{#1}{#2}{#3}}}%
-%au moins quatre croches basses et hautes
-\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}%
-\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}%
-\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}%
-%au moins quatre doubles croches basses et hautes
-\def\qqbb#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}%
-\def\sqqbb#1#2#3#4{{\smallnotesize\qqbb{#1}{#2}{#3}{#4}}}%
-\def\Qqbb#1#2#3#4{\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\sQqbb#1#2#3#4{{\smallnotesize\Qqbb{#1}{#2}{#3}{#4}}}%
-\def\qqBB#1#2#3#4{\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\sqqBB#1#2#3#4{{\smallnotesize\qqBB{#1}{#2}{#3}{#4}}}%
-\def\qqhh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}%
-\def\Qqhh#1#2#3#4{\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\qqHH#1#2#3#4{\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\sqqHH#1#2#3#4{{\smallnotesize\qqHH{#1}{#2}{#3}{#4}}}%
-%
-\nbporteesii=2\relax
-\def\nbinstruments{2}
-\global\cleftoksii={{6}{0}{0}{0}}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{\fsignature}\relax % r\'e mineur
-\transpose=\ftranspose\relax
-\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}%
-\def\troistemps{\generalmeter{\meterfrac{3}{4}}}%
-\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}%
-\def\Quatretemps{\generalmeter{\meterfrac{4}{2}}}%
-\def\Troistemps{\generalmeter{\meterfrac{3}{2}}}%
-\def\Deuxtemps{\generalmeter{\meterfrac{2}{2}}}%
-%\check
-\def\instrumenti{P\'edale 16'}%
-\def\instrumentii{G.O.}%
-%\check
-\medskip\noindent{\rm G.O.: Plein jeu, fonds 16' {\sl ad libitum.}}%
-\par\noindent{\rm Pos.: Plein jeu, acc. G.O.}%
-\par\noindent{\rm P\'ed.: fonds et anches 16', tirasses G.O. \& pos.}%
-\smallskip
-%
-\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}%
-\def\doubler{\multiply\noteskip by 2\relax}%
-\quatretemps
-\staffbotmarg=10pt
-\debutmorceau
-\relativeaccidentals
-\bigaccid
-\autolines{9}55\relax
-\notes&|\Uptext{\hbox{\kern -16mm\moyen Allegro maestoso
- \bf(\metron{\qu}{55})}}\enotes
-\advance\linesinpage by 1\relax
-%\check
-% mesure 1
-\temps\notes\sk\soupir&\sk\soupir|\qqhh de{^c}d\enotes
-%\check
-% mesure 2
-%\check
-\barre\NOTes\hu K&\zh M\hl a|\zh d\hu f\enotes
-\temps\NOtes&|\soupir\enotes
-\temps\notes\hpause&\hpause|\qqhh de{^c}d\enotes
-%\check
-% mesure 3
-%\check
-\barre\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes
-\temps\NOtes&|\soupir\enotes
-\temps\notes\hpause&\hpause|\qqhh de{^c}d\enotes
-%\check
-% mesure 4
-%\check
-\deuxtemps\changecontext
-\Notes\dqh{^J}J&\zmidtwotext{\it rit.}\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax
- |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes
-\temps\Notes\dqh{J}J&\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax
- |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes
-%\check
-% mesure 5
-%\check
-\quatretemps\changecontext
-\NOTes\pointdurgue G\hu K&\pointdorgue a\zh{M}\hl a\relax
- |\pointdorgue l\zh{df}\hu h\enotes
-\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 6
-%\check
-\barre\NOTes\hu K&\zh{LN}\hl b|\zh{d}\lh e\hl g\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 7
-%\check
-\barre\NOTes\hu K&\zh{M}\hl a|\zh{d}\hu f\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh HI{^G}H|\qqhh ab{^N}a\enotes
-%\check
-% mesure 8
-%\check
-\deuxtemps\changecontext
-\addspace{-0.5\afterruleskip}%
-\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax
- |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes
-\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq{J}\tqb0L\relax
- |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes
-%\check
-% mesure 9
-%\check
-\quatretemps\changecontext
-\NOTes\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax
- |\pointdorgue l\zh{a}\hu d\enotes
-\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 10
-%\check
-\barre\NOTes\hu K&\zh M\hl a|\zh d\hu f\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 11
-%\check
-\barre\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 12
-%\check
-\deuxtemps\changecontext
-\Notes\dqh{^J}J&\zmidtwotext{\it rit.}\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax
- |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes
-\temps\Notes\dqh{J}J&\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax
- |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes
-%\check
-% mesure 13
-%\check
-\quatretemps\changecontext
-\NOTes\pointdurgue G\hu{=J}&\pointdorgue a\Sh M\zh{M}\hl a\relax
- |\pointdorgue l\lsh f\zh{=cf}\hu h\enotes
-\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh JK{^I}J|\qqhh cd{^b}c\enotes
-%\check
-% mesure 14
-%\check
-\barre\NOTes\hu J&\zh{=M}\hl a|\zh{c=f}\hu h\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh {^I}JHI|\qqhh {^b}cab\enotes
-%\check
-% mesure 15
-%\check
-\barre\NOTes\hu{^I}&\zh{K}\hl N|\zh{d}\hu g\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh {=I}JHI|\qqhh {=b}cab\enotes
-%\check
-% mesure 16
-%\check
-\barre\NOTes\hu{=I}&\zh{L}\hl N|\zh{be}\hu g\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh HI{^G}H|\qqhh ab{^N}a\enotes
-%\check
-% mesure 17
-%\check
-\deuxtemps\changecontext
-\addspace{-0.5\afterruleskip}%
-\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax
- |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes
-\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq{J}\tqb0L\relax
- |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes
-%\check
-% mesure 18
-%\check
-\quatretemps\changecontext
-\NOTes\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax
- |\pointdorgue l\zh{a}\hu d\enotes
-\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 19
-\advance\barsinline by 1\relax
-\barre\notes\hup K&\bigSh M\Qqbb Mcac|\doubler\bigSh f\zh{f}\zhl h\qu{_l}\enotes
-\temps\notes&\Qqbb Mcac|\doubler\qu k\enotes
-\temps\notes&\Qqbb Mcac|\doubler\zh{f}\zhl h\qu k\enotes
-\temps\notes\soupir&\Qqbb Mcac|\doubler\qu j\enotes
-%\check
-% mesure 20
-\barre\autolines{16}45\relax
-\notes\hup G&\Qqbb KbNb|\doubler\zh{d}\zhl g\hu i\enotes
-\temps\notes&\Qqbb KbNb\enotes
-\temps\notes&\Qqbb KbNb|\doubler\dqh gh\enotes
-\temps\notes\soupir&\Qqbb KbNb|\doubler\dqh{^f}g\enotes
-%\check
-% mesure 21
-\barre\notes\hup J&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu k\enotes
-\temps\notes&\Qqbb LcNc|\doubler\qu j\enotes
-\temps\notes&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu j\enotes
-\temps\notes\soupir&\Qqbb LcNc|\doubler\qu i\enotes
-%\check
-% mesure 22
-\barre\notes\hup F&\Qqbb JaLa|\doubler\zh{cf}\hu h\enotes
-\temps\notes&\Qqbb JaLa\enotes
-\temps\notes&\Qqbb JaMa|\doubler\cNa f\dqh fg\enotes
-\temps\notes\soupir&\Qqbb JaMa|\doubler\dqh ef\enotes
-%\check
-% mesure 23
-\barre\notes\hup I&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu j\enotes
-\temps\notes&\Qqbb KbMb|\doubler\qu i\enotes
-\temps\notes&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu i\enotes
-\temps\notes\soupir&\Qqbb KbMb|\doubler\qu h\enotes
-%\check
-% mesure 24
-\barre\autolines{16}35\relax
-\notes\hup H&\Qqbb LbNb|\doubler\zh{^ce}\hu g\enotes
-\temps\notes&\Qqbb LbNb\enotes
-\temps\notes&\bigaccid\Qqbb L{^c}Nc|\doubler\dqh ef\enotes
-\temps\notes\soupir&\Qqbb LcNc|\doubler\dqh de\enotes
-%\check
-% mesure 25
-\barre\notes\hu G&\Qqbb LbNb|\doubler\zh{^c}\zhl e\qu i\enotes
-\temps\notes&\Qqbb LbNb|\doubler\qu h\enotes
-\temps\notes\hu H&\Qqbb LbNb|\doubler\zh{c}\zhl e\qu h\enotes
-\temps\notes&\Qqbb LbNb|\doubler\qu g\enotes
-%\check
-% mesure 26
-\barre\notes\hu K&\Qqbb KaMa|\doubler\zhl{d}\qu f\enotes
-\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes
-\nspace
-\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zhl{d}\qu{^f}\enotes
-\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes
-%\check
-% mesure 27
-\barre\notes\hu K&\Qqbb KbNb|\doubler\zhl{d}\qu g\enotes
-\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes
-\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zh d\zhl{f}\qu h\enotes
-\temps\notes&\Qqbb KaMa|\qqhh ihgh\enotes
-%\check
-% mesure 28
-\barre\notes\hl K&\Qqbb KbNb|\doubler\zh d\zhl{g}\qu i\enotes
-\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes
-\nspace
-\temps\notes\hl L&\bigaccid\Qqbb L{^c}Nc|\doubler\zh e\zhl{g}\qu{^j}\enotes
-\temps\notes&\Qqbb LcNc|\qqhh kj{^i}j\enotes
-%\check
-% mesure 29
-\barre\bigaccid
-\notes\wh M&\Qqbb Mdad|\bigaccid\zh{=fh}\hu k\enotes
-\temps\notes&\Qqbb Mdad|\enotes
-\temps\notes&\Qqbb Mdad|\zh{f}\hu h\enotes
-\temps\notes&\Qqbb Mdad|\enotes
-%
-% mesure 30
-\barre\autolines{10}55\relax
-\notes\hu G&\Qqbb INKN|\doubler\zh{b}\zhl d\qu g\enotes
-\temps\notes&\zmidtwotext{\it rit.}\Qqbb INKN|\qu f\enotes
-\temps\notes\hu H&\Qqbb {^J}NLN|\doubler\zhl{a^c}\qu e\enotes
-\temps\notes&\Qqbb {J}NLN|\qu d\enotes
-%\check
-% mesure 31
-%\check
-\barre\NOTes\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax
- |\pointdorgue l\zh{a}\hu d\enotes
-\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes
-\varaccid
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 32
-%\check
-\barre\NOTes\hu K&\zh M\hl a|\zh d\hu f\enotes
-\temps\Notes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 33
-%\check
-\barre\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes
-\temps\Notes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 34
-%\check
-\deuxtemps\changecontext\autolines{9}55\relax
-\addspace{-\afterruleskip}%
-\Notes\qsk\cNa J\dqh{J}J&\qsk\zmidtwotext{\it rit.}
- \ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax
- |\qsk\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes
-\temps\Notes\dqh{J}J&\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax
- |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes
-%\check
-% mesure 35
-%\check
-\quatretemps\changecontext
-\NOTEs\cNa F\hu{F}&\zh{JL}\hl a|\zh{ce}\hu h\enotes
-\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh JK{^I}J|\qqhh cd{^b}c\enotes
-%\check
-% mesure 36
-%\check
-\barre\NOTes\hu H&\zh{J=M}\hl a|\zh{c=f}\hu h\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\bigaccid
-\temps\notes\hpause&\qqhh {^I}JHI|\qqhh {^b}cab\enotes
-%\check
-% mesure 37
-%\check
-\barre\NOTes\hu{=I}&\zh{L}\hl{N}|\zh{=be}\hu g\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh {=I}JHI|\qqhh bcab\enotes
-%\check
-% mesure 38
-%\check
-\deuxtemps\changecontext
-\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax
- |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes
-\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq J\tqb0L\relax
- |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes
-%\check
-% mesure 39
-\quatretemps\changecontext\stemcut
-\notes\hu D&\Qqbb HMKM|\uptext{\it\kern -1em un
-poco pi\`u vivo}\zqp a\qup d\enotes
-\temps\notes&\Qqbb HMKM|\sk\sk\ds\enotes
-\zalaligne\autolines{15}45\relax
-%\check
-\notes\sk\sk\hpause&\Qqbb KaMa|\Ilegu0r\ql o\enotes
-\temps\notes&\Qqbb KaMa|\ql o\enotes
-%\check
-% mesure 40
-\def\atnextline{\autolines{17}35}\relax
-\barre\notes\wh K&\Qqbb Mdad|\zhl h\qu o\enotes
-\temps\notes&\Qqbb Mdad|\doubler\dqh nm\enotes
-\temps\notes&\Qqbb Mdad|\zhl g\qu l\enotes
-\temps\notes&\Qqbb Mdad|\qu k\enotes
-%\check
-% mesure 41
-\barre\notes\wh H&\bigaccid\Qqbb L{^c}Nc|\doubler\zhl h\hu{^j}\tleg0\enotes
-\temps\notes&\Qqbb LcNc|\enotes
-\temps\notes&\Qqbb LcNc|\Ilegu0r\zql h\qu h\enotes
-\temps\notes&\Qqbb LcNc|\zqu h\qsk\zql g\enotes
-%\check
-% mesure 42
-\barre\notes\qu K&\Qqbb Mdad|\zql f\qu k\enotes
-\temps\notes\bigSh J\qu J&\Qqbb L{^c}Nc|\zql i\qu l\enotes
-\temps\notes\qu K&\Qqbb Mdad|\zql h\qu m\enotes
-\temps\notes\qu I&\Qqbb KbNb|\zql i\qu n\enotes
-%\check
-% mesure 43
-\barre\notes\hu H&\Qqbb L{^c}Nc|\bigSh j\zqlp j\qup l\tleg0\enotes
-\temps\notes&\Qqbb LcNc|\sk\sk\ds\enotes
-\temps\notes\sk\sk\sk\hpause&\Qqbb KaMa|\zhl h\Ilegu0r\qu o\enotes
-\temps\notes&\Qqbb KaMa|\qu o\enotes
-%\check
-% mesure 44
-\barre\notes\hu K&\Qqbb Mdad|\zhl h\qu o\enotes
-\temps\notes&\Qqbb Mdad|\doubler\dqh nm\enotes
-\temps\notes\hu K&\Qqbb Mdad|\zhl g\qu l\enotes
-\temps\notes&\Qqbb Mdad|\qu k\enotes
-%\check
-% mesure 45
-\barre\notes\zwh G&\Qqbb KbNb|\zhlp i\hu p\enotes
-\temps\notes&\Qqbb KbNb|\enotes
-\temps\notes&\Qqbb KbNb|\qu n\enotes
-\temps\notes&\Qqbb KbNb|\zqu p\raise -2\Interligne\soupir\enotes
-%\check
-% mesure 46
-\barre\notes\qu H&\Qqbb Mdad|\zql m\qu o\enotes
-\temps\notes\qu I&\Qqbb KbNb|\zql l\qu n\enotes
-\temps\notes\hu H&\Qqbb Mdad|\zql k\qu m\enotes
-\temps\notes&\bigaccid\Qqbb L{^c}Nc|\bigSh j\zql j\qu l\enotes
-%\check
-% mesure 47
-\barre\notes\hup D&\Qqbb KaMa|\zqlp f\qup k\tleg0\enotes
-\temps\notes&\Qqbb KaMa|\sk\sk\dsoupir\enotes
-\temps\notes&\Qqbb KbNb|\Ilegu0r\ql r\enotes
-\temps\notes\soupir&\Qqbb KbNb|\ql r\enotes
-\def\atnextline{}%
-%\check
-% mesure 48
-\barre\notes\hu G&\Qqbb LcNc|\ql r\enotes
-\temps\notes&\Qqbb LcNc|\doubler\dqb qp\enotes
-\temps\notes\hu J&\Qqbb LcNc|\ql o\enotes
-\temps\notes&\Qqbb LcNc|\ql n\enotes
-%\check
-% mesure 49
-\barre\notes\hu H&\Qqbb Mcac|\hl q\enotes
-\temps\notes&\Qqbb Mcac\enotes
-\temps\notes\hu F&\Qqbb Mcac|\zhl m\qu o\enotes
-\temps\notes&\Qqbb Mcac|\qu o\enotes
-%\check
-% mesure 50
-\barre\notes\hu G&\Qqbb KbNb|\zhl n\qu p\enotes
-\temps\notes&\Qqbb KbNb|\qu r\enotes
-\temps\notes\hu J&\Qqbb LcNc|\zhl l\qu q\enotes
-\temps\notes&\Qqbb LcNc|\qu p\enotes
-%\check
-%\check
-% mesure 51
-\barre\def\atnextline{\autolines{14}45}\relax
-\notes\hu F&\Qqbb Mcac|\zqlp m\qup o\tleg0\enotes
-\temps\notes&\Qqbb Mcac|\sk\sk\ds\enotes
-\temps\notes\hu I&\Qqbb KbMb|\Ilegu0s\zhl k\qu p\enotes
-\temps\notes&\Qqbb KbNb|\qu p\enotes
-%\check
-% mesure 52
-\barre\notes\hu L&\Qqbb LbNb|\zhl n\qu p\enotes
-\temps\notes&\Qqbb LbNb|\doubler\dqh qp\enotes
-\temps\notes\bigSh J\hu J&\bigaccid\Qqbb L{^c}Nc|\zhl l\qu o\enotes
-\temps\notes&\Qqbb LcNc|\qu n\enotes
-%\check
-% mesure 53
-\barre\notes\hup K&\Qqbb Mdad|\zhl m\hu r\enotes
-\temps\notes&\Qqbb Mdad\enotes
-\temps\notes&\Qqbb Mdad|\zhl h\qu m\enotes
-\temps\notes\sk\soupir&\Qqbb Mdad|\qu m\enotes
-%\check
-% mesure 54
-\barre\notes\hu H&\bigaccid\Qqbb L{^c}Nc|\bigSh j\zql j\qu l\enotes
-\temps\notes&\Qqbb Mdad|\zql k\qu m\enotes
-\temps\notes\soupir&\Qqbb LcNc|\zhl l\qu n\enotes
-\temps\notes\qu H&\Qqbb LcNc|\qu o\enotes
-%\check
-% mesure 55
-\barre\notes\hu D&\Qqbb Mdad|\wh k\tleg0\enotes
-\temps\notes&\Qqbb Mdad|\raise -\Interligne\hpause\enotes
-\temps\zalaligne
-\notes\Ilegu0a\ql a&\sQqbb Mdad|\Uptext{\it \kern -1.5\Interligne
- les petites notes}\uptext{\it\kern -1.5\Interligne au positif ad lib.}%
- \qs\sTqbb fhf\enotes
-\temps\notes\ql a&\sQqbb Mdad|\sQqbb hfhf\enotes
-%\check
-% mesure 56
-\barre\notes\ql a&\sQqbb Mdad|\smallnotesize\zhu k\raise -\Interligne\qs\Tqbb fhf\enotes
-\temps\notes\doubler\dqb NM&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes\ql L&\sQqbb Mdad|\smallnotesize\zhu k\raise -\Interligne\qs\Tqbb fhf\enotes
-\temps\notes\ql K&\sQqbb Mdad|\sQqbb hfhf\enotes
-%\check
-% mesure 57
-\barre\notes\tleg0\bigSh J\hu J&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\zw l\raise -\Interligne\qs
- \bigaccid\Tqbb h{^j}h\enotes
-\temps\notes&\sQqbb L{c}Nc|\sQqbb jhjh\enotes
-\temps\notes\Ilegu0N\qu H&\sQqbb L{c}Nc|\sQqbb jhjh\enotes
-\temps\notes\qu H&\sQqbb L{c}Nc|\sQqbb jgjg\enotes
-%\check
-% mesure 58
-\barre\def\atnextline{\autolines{17}35}\relax
-\notes\ql K&\sQqbb Mdad|\smallnotesize\zw m\raise -\Interligne\qs
- \Tqbb hkh\enotes
-\temps\notes\ql L&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\bigSh j\Qqbb jhjh\enotes
-\temps\notes\ql M&\sQqbb Mdad|\sQqbb khkh\enotes
-\temps\notes\ql N&\sQqbb Ndbd|\sQqbb kiki\enotes
-%\check
-% mesure 59
-\barre\notes\hl L\tleg0&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\zw o\raise -\Interligne\qs
- \bigSh j\Tqbb jlj\enotes
-\temps\notes&\sQqbb L{c}Nc|\sQqbb ljlj\enotes
-\temps\notes\Ilegu0a\ql a&\sQqbb L{c}Nc|\sQqbb ljlj\enotes
-\temps\notes\ql a&\sQqbb L{c}Nc|\sQqbb ljlj\enotes
-%\check
-% mesure 60
-\barre\notes\ql a&\sQqbb Mdad|\smallnotesize\zw o\raise -\Interligne\qs\Tqbb lml\enotes
-\temps\notes\doubler\dqb NM&\sQqbb Mdad|\sQqbb mlml\enotes
-\temps\notes\ql L&\sQqbb Mdad|\sQqbb mlml\enotes
-\temps\notes\ql K&\sQqbb Mdad|\sQqbb mlml\enotes
-%\check
-% mesure 61
-\barre\notes\hl b\tleg0&\sQqbb Ndbd|\smallnotesize\zw n\raise -\Interligne\qs\Tqbb iki\enotes
-\temps\notes&\sQqbb Ndbd|\sQqbb kiki\enotes
-\temps\notes\Ilegu0a\ql N&\sQqbb Ndbd|\sQqbb kiki\enotes
-\temps\notes\ql b&\sQqbb Ndbd|\sQqbb kiki\enotes
-%\check
-% mesure 62
-\barre\notes\ql a&\sQqbb Mdad|\smallnotesize\zhup m\raise -\Interligne\qs\Tqbb hkh\enotes
-\temps\notes\ql N&\smallnotesize\bigaccid\Qqbb L{^c}Nc|\smallnotesize\bigSh j\Qqbb jljl\enotes
-\temps\notes\ql M&\sQqbb Mdad|\sQqbb hkhk\enotes
-\temps\notes\ql L&\sQqbb LcNc|\smallnotesize\zqu l\Qqbb hjhj\enotes
-%\check
-% mesure 63
-\barre\notes\hl K\tleg0&\sQqbb Mdad|\smallnotesize\zwh k\raise -\Interligne\qs\Tqbb fhf\enotes
-\temps\notes&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes\Ilegu0d\ql d&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes\ql d&\sQqbb Mdad|\sQqbb hfhf\enotes
-%\check
-% mesure 64
-\barre\notes\ql d&\sQqbb Mdbd|\smallnotesize\zhu k\raise -\Interligne\qs\Tqbb gig\enotes
-\temps\notes\doubler\dqb cb&\sQqbb Mdbd|\sQqbb igig\enotes
-\temps\notes\ql a&\sQqbb LcNc|\smallnotesize\zhu l\raise -\Interligne\qs\Tqbb gig\enotes
-\temps\notes\ql N&\sQqbb LcNc|\sQqbb igig\enotes
-%\check
-% mesure 65
-\barre\notes\hl c\tleg0&\sQqbb Mcac|\smallnotesize\zw m\raise -\Interligne\qs\Tqbb hjh\enotes
-\temps\notes&\sQqbb Mcac|\sQqbb jhjh\enotes
-\temps\notes\Ilegu0b\ql a&\sQqbb Mcac|\sQqbb jhjh\enotes
-\temps\notes\ql a&\sQqbb Mcac|\sQqbb jhjh\enotes
-%\check
-% mesure 66
-\barre\notes\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb iki\enotes
-\temps\notes\ql d&\sQqbb Mdbd|\sQqbb kiki\enotes
-\temps\notes\ql c&\sQqbb LcNc|\smallnotesize\zhu l\raise -\Interligne\qs\Tqbb jgj\enotes
-\temps\notes\ql b&\sQqbb LcNc|\sQqbb gjgj\enotes
-%\check
-% mesure 67
-\barre\notes\hl a\tleg0&\sQqbb Mcac|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb hjh\enotes
-\temps\notes&\sQqbb Mcac|\sQqbb jhjh\enotes
-\temps\notes\Ilegu0c\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb iki\enotes
-\temps\notes\ql b&\sQqbb Mdbd|\sQqbb kiki\enotes
-%\check
-% mesure 68
-\barre\notes\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\Tqbb iki\enotes
-\temps\notes\doubler\dqb cb&\sQqbb Mdbd|\sQqbb kiki\enotes
-\temps\notes\ql a&\sQqbb Mdbd|\smallnotesize\zhu l\raise -\Interligne\qs\Tqbb gig\enotes
-\temps\notes\ql N&\sQqbb Mdbd|\sQqbb igig\enotes
-%\check
-% mesure 69
-\barre\notes\hl d\tleg0&\sQqbb Mdad|\smallnotesize\zwh k\raise -\Interligne\qs\Tqbb fhf\enotes
-\temps\notes&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes\Ilegu0N\ql M&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes\ql M&\sQqbb Mdad|\sQqbb hfhf\enotes
-%\check
-% mesure 70
-\barre\notes\ql L&\bigaccid\sQqbb L{^c}ac|\smallnotesize\bigaccid
- \zwh l\raise -\Interligne\qs\Tqbb h{^j}h\enotes
-\temps\notes\ql M&\sQqbb L{c}ac|\sQqbb jhjh\enotes
-\temps\notes\ql N&\sQqbb LcNc|\sQqbb jgjg\enotes
-\temps\notes\ql a&\sQqbb LcNc|\sQqbb jgjg\enotes
-%\check
-% mesure 71
-\def\uppzql#1{\uppz #1\ql #1}%
-\barre\notes\hu K\tleg0&\sk\hpause
- |\smallnotesize\varaccid\Ibbl0hk3\qb0h\zq k\qb0m\zq{^j}\qb0l\zq{^i}\tqb0k\enotes
-\temps\notes&\zq M\uppzql a\relax
- |\smallnotesize\Ibbl0hk3\qb0h\zq k\qb0m\zq j\qb0l\zq i\tqb0k\enotes
-\temps\notes\bigaccid\hu{^J}&\zq L\uppzql N\relax
- |\smallnotesize\Ibbl0hl3\qb0h\zq l\qb0n\zq k\qb0m\zq{j}\tqb0l\enotes
-\temps\notes&\zq L\uppzql N\relax
- |\smallnotesize\Ibbl0hl3\qb0h\zq l\qb0n\zq k\qb0m\zq{j}\tqb0l\enotes
-%\check
-% mesure 72
-\barre\notes\hu K&\zq M\uppzql a\relax
- |\smallnotesize\Ibbl0hm3\qb0h\zq m\qb0o\zq l\qb0n\zq k\tqb0m\enotes
-\temps\notes&\zq M\uppzql a\relax
-|\smallnotesize\Ibbl0hm3\qb0h\zq m\qb0o\zq l\qb0n\zq k\tqb0m\enotes
-\temps\notes\hu I&\zq N\uppzql b\relax
- |\smallnotesize\Ibbl0in3\qb0i\zq n\qb0p\zq m\qb0o\zq l\tqb0n\enotes
-\temps\notes&\zq N\uppzql b\relax
- |\smallnotesize\Ibbl0in3\qb0i\zq n\qb0p\zq m\qb0o\zq l\tqb0n\enotes
-%\check
-% mesure 73
-\barre\notes\qu H&\zq M\uppzql a\relax
- |\smallnotesize\Ibbl0hm3\qb0h\zq m\qb0o\zq l\qb0n\zq k\tqb0m\enotes
-\temps\notes\qu H&\zq L\uppzql N\relax
- |\smallnotesize\Ibbl0hl3\qb0h\zq l\qb0n\zq k\qb0m\zq{j}\tqb0l\enotes
-\temps\notes\qu H&\zq K\uppzql M\relax
- |\smallnotesize\varaccid\Ibbl0hk3\qb0h\zq k\qb0m\zq{^j}\qb0l\zq{^i}\tqb0k\enotes
-\temps\notes\qu H&\zq{^J}\uppzql L\relax
- |\smallnotesize\Ibbl0hj3\qb0h\zq j\qb0l\zq i\qb0k\zq h\tqb0j\enotes
-%\check
-% mesure 74
-\barre\notes\Ilegl2H\qu K&\sQqbb Mdad|\smallnotesize\itenu1k\zwh k\raise -\Interligne\qs\Tqbb fhf\enotes
-\temps\notes\doubler\dqh ML&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes\qu K&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes\doubler\bigSh J\dqh JK&\sQqbb Mdad|\sQqbb hfhf\enotes
-%\check
-% mesure 75
-\barre\notes\qu L&\sQqbb Mdad|\smallnotesize\tten1\zwh k\Qqbb hfhf\enotes
-\temps\notes\qu M&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes\hu K\tleg2&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes&\sQqbb Mdad|\sQqbb hfhf\enotes
-%\check
-% mesure 76
-\barre\notes\Ilegu2a\ql M&\sQqbb afcf|\smallnotesize\itenu1m\zwh m\raise -\Interligne\qs\Tqbb hjh\enotes
-\temps\notes\doubler\dqb aN&\sQqbb afcf|\sQqbb jhjh\enotes
-\temps\notes\ql M&\sQqbb afcf|\sQqbb jhjh\enotes
-\temps\notes\doubler\dqb LM&\sQqbb afcf|\sQqbb jhjh\enotes
-%\check
-% mesure 77
-\barre\notes\ql N&\sQqbb afcf|\smallnotesize\tten1\zwh m\raise -\Interligne\qs\Tqbb hjh\enotes
-\temps\notes\ql a&\sQqbb afcf|\sQqbb jhjh\enotes
-\temps\notes\hl M\tleg2&\sQqbb afcf|\sQqbb jhjh\enotes
-\temps\notes&\sQqbb afcf|\sQqbb jhjh\enotes
-\cleftoksii={0000}\changeclefs
-%\check
-% mesure 78
-\barre\notes\Ilegu2b\ql a&\sqqHH cheh|\smallnotesize\zwh o\raise -\Interligne\qs\Tqbb jlj\enotes
-\temps\notes\doubler\dqb c{^b}&\sqqHH cheh|\sQqbb ljlj\enotes
-\temps\notes\ql a&\sqqHH cheh|\sQqbb ljlj\enotes
-\temps\notes\doubler\dqb {^N}a&\sqqHH cheh|\sQqbb ljlj\enotes
-%\check
-% mesure 79
-\barre\notes\bigaccid\ql {^b}&\sqqHH ei{^g}i\relax
- |\smallnotesize\zhu p\raise -\Interligne\qs\Tqbb l{^n}l\enotes
-\temps\notes\ql c&\sqqHH eigi|\sQqbb nlnl\enotes
-\temps\notes\ql a\tleg2&\sqqHH ejhj\relax
- |\smallnotesize\zhu q\raise -\Interligne\qs\Tqbb lol\enotes
-\temps\notes\ql e&\sqqHH ejhj|\sQqbb olol\enotes
-%\check
-% mesure 80
-%\cleftoksii={6000}\changeclefs
-\barre\notes\hlp f&\sqqHH dhfh|\smallnotesize\zwh o\raise -\Interligne\qs\Tqbb kmk\enotes
-\temps\notes&\sqqHH dhfh|\sQqbb mkmk\enotes
-\temps\notes&\sqqHH dhfh|\sQqbb mkmk\enotes
-\temps\notes\doubler\dqb ed&\sqqHH dhfh|\sQqbb mkmk\enotes
-%\check
-% mesure 81
-\barre\notes\hl e&\sqqHH cheh|\smallnotesize\zwh o\raise -\Interligne\qs\Tqbb jlj\enotes
-\temps\notes&\sqqHH cheh|\sQqbb ljlj\enotes
-\temps\notes\soupir&\sqqHH cheh|\sQqbb ljlj\enotes
-\temps\notes\ql a&\sqqHH cheh|\sQqbb ljlj\enotes
-%\check
-% mesure 82
-\barre\notes\hlp d&\sqqHH bfdf|\smallnotesize\zwh m\raise -\Interligne\qs\Tqbb iki\enotes
-\temps\notes&\sqqHH bfdf|\sQqbb kiki\enotes
-\temps\notes&\sqqHH bfdf|\sQqbb kiki\enotes
-\temps\notes\doubler \dqb cb&\sqqHH bfdf|\sQqbb kiki\enotes
-%\check
-% mesure 83
-\barre\notes\hl c&\sqqHH afcf|\smallnotesize\zw m\raise -\Interligne\qs\Tqbb hjh\enotes
-\temps\notes&\sqqHH afcf|\sQqbb jhjh\enotes
-\temps\notes\soupir\zcharnote{-4}{\it non legato}&\sqqHH afcf|\sQqbb jhjh\enotes
-\temps\notes\ql M&\sqqHH afcf|\sQqbb jhjh\enotes
-% mesure 84
-\barre\notes\ql b&\sqqHH bgdg|\sqqBB niki\enotes
-\temps\notes\ql a&\sqqHH bfdf|\sqqBB miki\enotes
-\temps\notes\ql N&\sqqHH bede|\sqqBB liki\enotes
-\temps\notes\ql M&\sqqHH bdbd|\sqqBB kiki\enotes
-%\check
-% mesure 85
-\barre\notes\ql b&\sqqHH bgdg|\sqqBB niki\enotes
-\temps\notes\ql a&\sqqHH bfdf|\sqqBB miki\enotes
-\temps\notes\ql N&\sqqHH bede|\sqqBB liki\enotes
-\temps\notes\ql M&\sqqHH bdbd|\sqqBB kiki\enotes
-%\check
-% mesure 86
-\cleftoksii={6000}\changeclefs
-\barre\notes\ql L&\sQqbb Ne{^c}e|\bigaccid\sqqBB o{^j}lj\enotes
-\temps\notes\ql a&\sQqbb Ne{c}e|\sqqBB ojlj\enotes
-\temps\notes\ql L&\sQqbb Ne{c}e|\sqqBB ojlj\enotes
-\temps\notes\ql a&\sQqbb Ne{c}e|\sqqBB ojlj\enotes
-%\check
-% mesure 87
-\barre\notes\ql M&\sQqbb Mdad|\bigaccid\sqqBB okmk\enotes
-\temps\notes\ql K&\sQqbb Mdad|\sqqBB okmk\enotes
-\temps\notes\ql M&\sQqbb Mdad|\sqqBB okmk\enotes
-\temps\notes\ql K&\sQqbb Mdad|\sqqBB okmk\enotes
-%\check
-% mesure 88
-\barre\notes\ql L&\sQqbb Ne{^c}e|\bigaccid\sqqBB o{^j}lj\enotes
-\temps\notes\ql a&\sQqbb Nece|\sqqBB ojlj\enotes
-\temps\notes\ql L&\sQqbb Nece|\sqqBB ojlj\enotes
-\temps\notes\ql a&\sQqbb Nece|\sqqBB ojlj\enotes
-%\check
-% mesure 89
-\barre\notes\ql M&\sQqbb Ndbd|\bigaccid\sqqBB okmk\enotes
-\temps\notes\ql a&\sQqbb Ndbd|\sqqBB okmk\enotes
-\temps\notes\ql L&\bigaccid\sQqbb L{^c}Nc|\bigaccid\sqqBB o{^j}lj\enotes
-\temps\notes\ql a&\sQqbb LcNc|\sqqBB ojlj\enotes
-%
-% mesure 90
-\def\octp{\advance\transpose by 7\relax}%
-\barre\notes\hup K&\sQqbb Mdad|\sQqbb komo\enotes
-\temps\notes&\sQqbb Mdad|\sQqbb komo\enotes
-\cleftoksii={0000}\changeclefs
-\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes\soupir&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes
-%
-% mesure 91
-\barre\notes\wh K&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes
-\advance\linesinpage by 1\relax
-\temps\notes&\sqqHH dhfh|\octp\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax
- \Ibbl1gf2\qb1{gkf}\tqb1k\enotes
-\temps\notes&\sqqHH dhfh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes
-\temps\notes&\sqqHH dhfh|\varaccid\octp\zq d\zqu k\qqbb dhfh\enotes
-%\check
-% mesure 92
-\barre\nspace\notes\wh H&\qsk\Sh c\sqqHH cgeg|\zh{^j}\zhu{^q}\qsk\qqbb jolo\enotes
-\temps\notes&\sqqHH cgeg|\qqbb lolo\enotes
-\temps\notes&\sqqHH cgeg|\zq h\zqu o\qqbb hljl\enotes
-\temps\notes&\sqqHH cgeg|\zq h\zqu o\qqbb hljl\enotes
-%\check
-% mesure 93
-\barre\notes\qu K&\sqqHH dhfh|\zq k\zqu r\qqbb komo\enotes
-\temps\notes\qu{^J}&\sqqHH{^c}heh|\zq l\zqu s\qqbb lono\enotes
-\temps\notes\qu K&\sqqHH dhfh|\zq m\zqu t\qqbb mror\enotes
-\temps\notes\qu I&\sqqHH digi|\zq n\zqu u\qqbb nrpr\enotes
-%\check
-% mesure 94
-\barre\notes\wh H&\roff{\sqqHH{^c}heh}|\zh l\zhu s\roff{\qqbb l{^q}oq}\enotes
-\temps\notes&\sqqHH cheh|\qqbb oqoq\enotes
-\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes
-%
-% mesure 95
-\barre\notes\wh K&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\sqqHH dhfh|\octp\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax
- \Ibbl1gf2\qb1{gkf}\tqb1k\enotes
-\temps\notes&\sqqHH dhfh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes
-\temps\notes&\sqqHH dhfh|\varaccid\octp\zq d\zqu k\qqbb dhfh\enotes
-%
-% mesure 96
-\barre\notes\wh G&\roff{\sqqHH digi}|\iffiveoctaves
- \octp\zh i\zhu p\roff{\qqbb inkn}\relax
- \else\octp\zh g\zhu n\roff{\qqbb gkik}\relax
- \fi\enotes
- \nspace
-\temps\notes&\sqqHH digi|\iffiveoctaves
- \octp\qqbb knkn\relax
- \else\octp\qqbb gkik\relax
- \fi\enotes
-\temps\notes&\sqqHH digi|\iffiveoctaves
- \octp\zq g\zqu n\qqbb gkik\relax
- \else\octp\zq e\zqu l\qqbb eigi\relax
- \fi\enotes
-\temps\notes&\sqqHH eigi|\iffiveoctaves
- \octp\zq i\zqu p\qqbb inln\relax
- \else\octp\zq e\zqu l\qqbb eigi\relax
- \fi\enotes
-%\check
-% mesure 97
-\barre\notes\wh H&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hmkm\enotes
-\temps\notes&\sqqHH{^c}heh|\octp\zq g\zqu n\qqbb gl{^j}l\enotes
-\temps\notes&\sqqHH dhfh|\octp\zq f\zqu m\qqbb fkhk\enotes
-\temps\notes&\sqqHH cheh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes
-%\check
-% mesure 98
-\barre\notes\hu D&\qsk\sqqHH afdf|\zh k\zhu r\qsk\qqbb komo\enotes
-\temps\notes&\sqqHH dfdf|\qqbb komo\enotes
-\temps\notes\hu K&\sqqHH afdf|\zq k\zqu r\qqbb komo\enotes
-\temps\notes&\sqqHH afdf|\zq k\zqu r\qqbb komo\enotes
-%\check
-% mesure 99
-\barre\notes\wh G&\sqqHH digi|\zq k\zqu r\qqbb kpnp\enotes
-\temps\notes&\sqqHH bgdg|\rlap{\doubler\zq j\Ibu0qp1\qh0 q\zq i\tqh0p}\relax
- \Ibbl1ji2\qb1{jni}\tqb1n\enotes
-\temps\notes&\sqqHH bgdg|\zq h\zqu o\qqbb hkik\enotes
-\temps\notes&\sqqHH bgdg|\zq g\zqu n\qqbb gkik\enotes
-%
-% mesure 100
-\barre\notes\wh H&\qsk\sqqHH afcf|\zh j\zhu q\qsk\qqbb jomo\enotes
-\temps\notes&\sqqHH afcf|\qqbb momo\enotes
-\temps\notes&\sqqHH afcf|\zq h\zqu o\qqbb hmjm\enotes
-\temps\notes&\sqqHH afcf|\zq h\zqu o\qqbb hmjm\enotes
-%\check
-% mesure 101
-\cleftoksii={6000}\changeclefs
-\barre\notes\hu G&\sQqbb Ndbd|\zq i\zqu p\qqbb inkn\enotes
-\temps\notes&\sQqbb Ndbd|\zq k\zqu r\qqbb kpnp\enotes
-\temps\notes\hu J&\sQqbb LcNc|\zq j\zqu q\qqbb jnln\enotes
-\temps\notes&\sQqbb LcNc|\zq i\zqu p\qqbb inln\enotes
-%
-% mesure 102
-\advance\linesinpage by 1\relax
-\barre\notes\hu F&\qsk\sQqbb Mcac|\zh h\zhu o\qsk\qqbb hmjm\enotes
-\temps\notes&\sQqbb Mcac|\qqbb jmjm\enotes
-\temps\notes\hu G&\sQqbb Ndbd|\zq i\zqu p\qqbb inkn\enotes
-\temps\notes&\sQqbb Ndbd|\zq i\zqu p\qqbb inkn\enotes
-%\check
-% mesure 103
-\barre\notes\wh L&\sQqbb Ne{^c}e|\zq i\zqu p\qqbb inln\enotes
-\temps\notes&\sQqbb Nece|\cNa j\rlap{\doubler\zq j\Ibu0qp1\qh0 q\zq i\tqh0p}\relax
- \Ibbl1ji2\qb1{jni}\tqb1n\enotes
-\cleftoksii={0000}\changeclefs
-\temps\notes&\sqqHH af{=c}f|\zq h\zqu o\qqbb hmjm\enotes
-\temps\notes&\sqqHH Nece|\zq g\zqu n\qqbb gljl\enotes
-%
-% mesure 104
-\barre\notes\wh K&\qsk\sqqHH afdf|\zh k\zhu r\qsk\qqbb komo\enotes
-\temps\notes&\sqqHH afdf|\qqbb momo\enotes
-\temps\notes&\sqqHH afdf|\octp\zq f\zqu m\qqbb fkhk\enotes
-\temps\notes&\sqqHH afdf|\octp\zq f\zqu m\qqbb fkhk\enotes
-%
-% mesure 105
-\barre\notes\qu H&\sqqHH Ne{^c}e|\octp\zq e\zqu l\qqbb e{^j}hj\enotes
-\temps\notes\qu I&\sqqHH afdf|\octp\zq f\zqu m\qqbb fkhk\enotes
-\temps\notes\qu G&\sqqHH Nece|\octp\zq g\zqu n\qqbb gl{^j}l\enotes
-\temps\notes\qu H&\sqqHH Nece|\octp\zq h\zqu o\qqbb hljl\enotes
-%\check
-% mesure 106
-\barre\notes\hup D&\qsk\sqqHH afdf|\octp\zh d\zhu k\qsk\Qqbb dhfh\enotes
-\temps\notes&\sqqHH afdf|\octp\Qqbb fhfh\enotes
-\temps\notes&\sqqHH afdf|\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes\soupir&\sqqHH afdf|\zq h\zqu o\qqbb hkmk\enotes
-%
-% mesure 107
-\barre\notes\wh K&\sqqHH Mdad|\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\sqqHH Mdad|\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax
- \Ibbl1gf2\qb1{gkf}\tqb1k\enotes
-\temps\notes&\sqqHH Mdad|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes
-\temps\notes&\sqqHH Mdad|\varaccid\zq d\zqu k\qqbb dhfh\enotes
-%
-% mesure 108
-\barre\notes\wh G&\qsk\sqqHH Ndbd|\zh i\zhu p\qsk\qqbb inkn\enotes
-\temps\notes&\sqqHH Ndbd|\qqbb knkn\enotes
-\temps\notes&\sqqHH Ndbd|\zq g\zqu n\qqbb gkik\enotes
-\temps\notes&\sqqHH Ndbd|\zq i\zqu p\qqbb inln\enotes
-%\check
-% mesure 109
-\barre\notes\wh H&\sqqHH afdf|\zq h\zqu o\qqbb hmkm\enotes
-\temps\notes&\sqqHH ae{^c}e|\zq g\zqu n\qqbb gl{^j}l\enotes
-\temps\notes&\sqqHH afdf|\zq f\zqu m\qqbb fkhk\enotes
-\temps\notes&\sqqHH aece|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes
-% mesure 110
-%\check
-\xbarre\autolines{9}55\relax
-\NOtes&\pointdorgue l\hpause
- |\pointdorgue l\hpause\enotes
-\zalapage\nostemcut
-\temps\NOtes\pointdorgue a\pause
- &\soupir|\soupir\enotes
-\cleftoksii={6000}\changeclefs
-\varaccid
-\temps\notes&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 111
-%\check
-\barre\NOtes\hu K&\zh M\hl a|\zh d\hu f\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 112
-%\check
-\barre
-\NOTes\hu K&\zh M\hl a|\zh{df}\hu h\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 113
-%\check
-\deuxtemps\changecontext
-\def\atnextline{\autolines{9}55\relax}\relax
-\Notes\qsk\cNa J\dqh{J}J&\qsk\zmidtwotext{\it rit.}
- \ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax
- |\qsk\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes
-\temps\Notes\dqh{J}J&\ibl0L0\zq{LN}\qb0b\zq{LN}\tqb0b\relax
- |\ibu0i0\zq{eg}\qh0i\zq{eg}\tqh0i\enotes
-%\check
-% mesure 114
-%\check
-\quatretemps\changecontext
-\NOTEs\cNa F\hu{F}&\zh{JL}\hl a|\zh{ce}\hu h\enotes
-\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh JK{^I}J|\qqhh cd{^b}c\enotes
-%\check
-% mesure 115
-%\check
-\barre\NOTes\hu H&\zh{J=M}\hl a|\zh{c=f}\hu h\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\bigaccid
-\temps\notes\hpause&\qqhh {^I}JHI|\qqhh {^b}cab\enotes
-% mesure 116
-%\check
-\barre\NOTes\hup{=I}&\zh{L}\hl{N}|\zh{=be}\hu g\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh {=I}JHI|\qqhh {=b}cab\enotes
-% mesure 117
-%\check
-\barre\NOTes\hup{I}&\zh{K}\hl{N}|\zh{bd}\hu g\enotes
-\temps\NOtes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh HIGH|\qqhh abNa\enotes
-% mesure 118
-\def\atnextline{\autolines{16}45\relax}\relax
-%\check
-\deuxtemps\changecontext
-\Notes\dqh HH&\zcharnote c{\it rit.}\ibl0K0\zq{K}\qb0M\zq{K}\tqb0M\relax
- |\ibu0f0\zq{ad}\qh0f\zq{ad}\tqh0f\enotes
-\temps\Notes\dqh HH&\ibl0J0\zq{^J}\qb0L\zq{J}\tqb0L\relax
- |\ibu0e0\zq{a^c}\qh0e\zq{ac}\tqh0e\enotes
-%\check
-% mesure 119
-%\check
-\quatretemps\changecontext
-\NOTes\pointdurgue D\hu D&\pointdorgue N\zh{HK}\hl M\relax
- |\pointdorgue l\zh{a}\hu d\enotes
-\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 120
-\advance\barsinline by 1\relax
-\barre\notes\hup K&\bigSh M\Qqbb Mcac|\doubler
- \bigSh f\zh{f}\zhl h\qu{_l}\enotes
-\temps\notes&\Qqbb Mcac|\doubler\qu k\enotes
-\temps\notes&\Qqbb Mcac|\doubler\zh{f}\zhl h\qu k\enotes
-\temps\notes\soupir&\Qqbb Mcac|\doubler\qu j\enotes
-%\check
-% mesure 121
-\barre\notes\hup G&\Qqbb KbNb|\doubler\zh{d}\zhl g\hu i\enotes
-\temps\notes&\Qqbb KbNb\enotes
-\temps\notes&\Qqbb KbNb|\doubler\dqh gh\enotes
-\temps\notes\soupir&\Qqbb KbNb|\doubler\dqh{^f}g\enotes
-%\check
-% mesure 122
-\barre\notes\hup J&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu k\enotes
-\temps\notes&\Qqbb LcNc|\doubler\qu j\enotes
-\temps\notes&\Qqbb LcNc|\doubler\zh{e}\zhl g\qu j\enotes
-\temps\notes\soupir&\Qqbb LcNc|\doubler\qu i\enotes
-%\check
-% mesure 123
-\barre\notes\hup F&\Qqbb JaLa|\doubler\zh{cf}\hu h\enotes
-\temps\notes&\Qqbb JaLa\enotes
-\temps\notes&\Qqbb JaMa|\doubler\cNa f\dqh fg\enotes
-\temps\notes\soupir&\Qqbb JaMa|\doubler\dqh ef\enotes
-%\check
-% mesure 124
-\barre\notes\hup I&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu j\enotes
-\temps\notes&\Qqbb KbMb|\doubler\qu i\enotes
-\temps\notes&\Qqbb KbMb|\doubler\zh{d}\zhl f\qu i\enotes
-\temps\notes\soupir&\Qqbb KbMb|\doubler\qu h\enotes
-%\check
-% mesure 125
-\barre\autolines{16}35\relax
-\notes\hup H&\Qqbb LbNb|\doubler\zh{^ce}\hu g\enotes
-\temps\notes&\Qqbb LbNb\enotes
-\temps\notes&\bigaccid\Qqbb L{^c}Nc|\doubler\dqh ef\enotes
-\temps\notes\soupir&\Qqbb LcNc|\doubler\dqh de\enotes
-%\check
-% mesure 126
-\barre\notes\hu G&\Qqbb LbNb|\doubler\zh{^c}\zhl e\qu i\enotes
-\temps\notes&\Qqbb LbNb|\doubler\qu h\enotes
-\temps\notes\hu H&\Qqbb LbNb|\doubler\zh{c}\zhl e\qu h\enotes
-\temps\notes&\Qqbb LbNb|\doubler\qu g\enotes
-%\check
-% mesure 127
-\barre\notes\hu K&\Qqbb KaMa|\doubler\zhl{d}\qu f\enotes
-\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes
-\nspace
-\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zhl{d}\qu{^f}\enotes
-\temps\notes&\Qqbb KaMa|\qqhh gfef\enotes
-%\check
-% mesure 128
-\barre\notes\hu K&\Qqbb KbNb|\doubler\zhl{d}\qu g\enotes
-\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes
-\nspace
-\temps\notes\hu K&\bigaccid\Qqbb Ka{^M}a|\doubler\zh d\zhl{f}\qu h\enotes
-\temps\notes&\Qqbb KaMa|\qqhh ihgh\enotes
-%\check
-% mesure 129
-\barre\notes\hl K&\Qqbb KbNb|\doubler\zh d\zhl{g}\qu i\enotes
-\temps\notes&\Qqbb KbNb|\qqhh hg{^f}g\enotes
-\nspace
-\temps\notes\hl L&\bigaccid\Qqbb L{^c}Nc|\doubler\zh e\zhl{g}\qu{^j}\enotes
-\temps\notes&\Qqbb LcNc|\qqhh kj{^i}j\enotes
-%\check
-% mesure 130
-\barre\autolines{17}35\relax
-\bigaccid
-\notes\hl M&\Qqbb Mdad|\bigaccid\zh{=fh}\hu k\enotes
-\temps\notes&\Qqbb Mdad|\enotes
-\temps\notes\hu K&\Qqbb Mdad|\zh{f}\hu h\enotes
-\temps\notes&\Qqbb Mdad|\enotes
-%
-% mesure 131
-\barre\notes\hu G&\Qqbb INKN|\doubler\zh{b}\zhl d\qu g\enotes
-\temps\notes&\zmidtwotext{\it rit.}\Qqbb INKN|\qu f\enotes
-\temps\notes\hu H&\Qqbb {^J}NLN|\doubler\zhl{a^c}\qu e\enotes
-\temps\notes&\Qqbb {J}NLN|\qu d\enotes
-%
-% mesure 132
-\stemcut
-\barre \notes\hu D&\Qqbb HMKM|\doubler\zh{a}\hu d\enotes
-\temps\notes&\Qqbb HMKM|\enotes
-\temps\notes\uptext{\it a tempo}\sk\hpause
- &\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes
-%\check
-%
-% mesure 133
-\barre\notes\wh F&\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\sQqbb KaMa|\normalnotesize\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax
- \Ibbl1gf2\qb1{gkf}\tqb1k\enotes
-\temps\notes&\sQqbb {^J}NLN|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes
-\temps\notes&\sQqbb INKN|\varaccid\zq d\zqu k\qqbb digi\enotes
-%
-% mesure 134
-\def\octm{\advance\transpose by -7\relax}%
-\barre\notes\hu H&\qsk\Sh J\sQqbb JNLN|\zh{^c}\zhu{^j}\qsk\qqbb cheh\enotes
-\temps\notes&\sQqbb JNLN|\qqbb eheh\enotes
-\temps\notes\hu G&\sQqbb JNLN|\zq a\zqu h\qqBB aece\enotes
-\temps\notes&\sQqbb JNLN|\zq a\zqu h\qqBB aece\enotes
-%\check
-% mesure 135
-\barre\notes\qu F&\sQqbb HMKM|\octm\zq k\zqu r\qqbb komo\enotes
-\temps\notes\qu G&\sQqbb{^J}aLa|\octm\zq l\zqu s\qqbb lono\enotes
-\temps\notes\qu H&\sQqbb KaMa|\octm\zq m\zqu t\qqbb mror\enotes
-\temps\notes\qu I&\sQqbb KbNb|\octm\zq n\zqu u\qqbb nrpr\enotes
-%\check
-% mesure 136
-\barre\notes\wh H&\qsk\octm\sQqbb{^c}heh|\octm\zh l\zhu s\qsk\qqbb l{^q}oq\enotes
-\temps\notes&\octm\sQqbb cheh|\octm\qqbb oqoq\enotes
-\temps\notes&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hkmk\enotes
-%
-% mesure 137
-\barre\notes\wh K&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\octm\sQqbb dhfh|\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax
- \Ibbl1gf2\qb1{gkf}\tqb1k\enotes
-\temps\notes&\octm\sQqbb dhfh|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes
-\temps\notes&\octm\sQqbb dhfh|\varaccid\zq d\zqu k\qqbb dhfh\enotes
-%
-% mesure 138
-\barre\notes\wh G&\qsk\sQqbb KbNb|\zh i\zhu p\qsk\qqbb inkn\enotes
-\temps\notes&\sQqbb KbNb|\qqbb knkn\enotes
-\temps\notes&\octm\sQqbb bgdg|\zq g\zqu n\qqbb gkik\enotes
-\temps\notes&\octm\sQqbb bgdg|\zq i\zqu p\qqbb inln\enotes
-%\check
-% mesure 139
-\barre\notes\wh H&\octm\sQqbb dhfh|\zq h\zqu o\qqbb hmkm\enotes
-\temps\notes&\octm\sQqbb{^c}heh|\zq g\zqu o\qqbb gl{^j}l\enotes
-\temps\notes&\octm\sQqbb afdf|\zq h\zqu o\qqbb hmkm\enotes
-\temps\notes&\sQqbb JaLa|\zq g\zqu o\qqbb gljl\enotes
-%\check
-% mesure 140
-\barre\notes\hl K&\sQqbb Mdad|\zhu k\raise -\Interligne\qs\Tqbb fhf\enotes
-\temps\notes&\sQqbb Mdad|\Qqbb hfhf\enotes
-\temps\notes\Ilegu0d\ql d&\sQqbb KaMa|\uptext{\it positif}\sQqbb hfhf\enotes
-\temps\notes\ql d&\sQqbb KaMa|\raise\Interligne\rlap{\hpause}\sQqbb hfhf\enotes
-%\check
-% mesure 141
-\barre\notes\ql d&\sQqbb KbNb|\smallnotesize\zhu k\raise -\Interligne\qs\sTqbb gig\enotes
-\temps\notes\doubler\dqb cb&\sQqbb KbNb|\sQqbb igig\enotes
-\temps\notes\ql a&\sQqbb LcNc|\smallnotesize\zhu l\raise -\Interligne\qs\sTqbb gig\enotes
-\temps\notes\ql N&\sQqbb LcNc|\sQqbb igig\enotes
-%\check
-% mesure 142
-\barre\notes\hl c\tleg0&\sQqbb JaMa|\smallnotesize\zw m\raise -\Interligne\qs\sTqbb hjh\enotes
-\temps\notes&\sQqbb JaMa|\sQqbb jhjh\enotes
-\temps\notes\Ilegu0a\ql a&\sQqbb JaMa|\sQqbb jhjh\enotes
-\temps\notes\ql a&\sQqbb JaMa|\sQqbb jhjh\enotes
-%\check
-% mesure 143
-\barre\notes\ql b&\sQqbb IMKM|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb iki\enotes
-\temps\notes\ql d&\sQqbb IMKM|\sQqbb kiki\enotes
-\temps\notes\ql c&\sQqbb JNLN|\smallnotesize\zhu l\raise -\Interligne\qs\sTqbb jgj\enotes
-\temps\notes\ql b&\sQqbb JNLN|\sQqbb gjgj\enotes
-%\check
-% mesure 144
-\barre\notes\tleg0\hl a&\sQqbb Mcac|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb hjh\enotes
-\temps\notes&\sQqbb Mcac|\sQqbb jhjh\enotes
-\temps\notes\Ilegu0c\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb iki\enotes
-\temps\notes\ql b&\sQqbb Mdbd|\sQqbb kiki\enotes
-%\check
-% mesure 145
-\barre\notes\ql b&\sQqbb Mdbd|\smallnotesize\zhu m\raise -\Interligne\qs\sTqbb iki\enotes
-\temps\notes\doubler\dqb cb&\sQqbb Mdbd|\sQqbb kiki\enotes
-\temps\notes\ql a&\sQqbb Mdbd|\smallnotesize\zhu l\raise -\Interligne\qs\sTqbb gig\enotes
-\temps\notes\ql N&\sQqbb Mdbd|\sQqbb igig\enotes
-%\check
-% mesure 146
-\barre\notes\hl d\tleg0&\sQqbb Mdad|\smallnotesize\zwh k\raise -\Interligne\qs\sTqbb fhf\enotes
-\temps\notes&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes\Ilegu0a\ql M&\sQqbb Mdad|\sQqbb hfhf\enotes
-\temps\notes\ql M&\sQqbb Mdad|\sQqbb hfhf\enotes
-%\check
-% mesure 147
-\barre\notes\ql L&\bigaccid\sQqbb L{^c}ac|\smallnotesize\bigaccid
- \zwh l\raise -\Interligne\qs\sTqbb h{^j}h\enotes
-\temps\notes\ql M&\sQqbb L{c}ac|\sQqbb jhjh\enotes
-\temps\notes\ql N&\sQqbb LcNc|\sQqbb jgjg\enotes
-\temps\notes\ql a&\sQqbb LcNc|\sQqbb jgjg\enotes
-%\check
-% mesure 148
-\barre\autolines{8}65\relax
-\NOTes\pointdurgue H\hu K\tleg0&\pointdurgue H\smallnotesize\zh{Ma}\hl d\relax
- |\pointdorgue m\smallnotesize\zh{fh}\hu k\enotes
-\temps\NOtes&\zmidtwotext{\it\kern -1em a tempo}\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 149
-\barre\NOtes\hu K&\zh M\hl a|\zh d\hu f\enotes
-\temps\Notes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-%\check
-% mesure 150
-%\check
-\barre\NOtes\hu K&\zh M\hl a|\zh{df}\hu h\enotes
-\temps\Notes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh KL{^J}K|\qqhh de{^c}d\enotes
-% mesure 151
-%\check
-\deuxtemps\changecontext
-\Notes\dqh{^J}J&\zmidtwotext{\it rit.}\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax
- |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes
-\temps\Notes\dqh{J}J&\ibl1L0\zq{LN}\qb1b\zq{LN}\tqb1b\relax
- |\ibu2i0\zq{eg}\qh2i\zq{eg}\tqh2i\enotes
-%\advancebottom{-2\Interligne}%
-%\check
-% mesure 152
-\quatretemps\changecontext\varaccid
-\NOTes\pointdurgue H\hu K&\pointdorgue a\zh{M}\hl a\relax
- |\pointdorgue l\zh{df}\hu h\enotes
-\temps\Notes&\soupir|\uptext{\it\kern -1em a tempo}\soupir\enotes
-\temps\notes\hpause&\qqhh K{_L}{^J}K|\qqhh d{_e}{^c}d\enotes
-% mesure 153
-\barre\NOtes\hu K&\zh{^Ma}\hl c|\zh{^fhj}\hl{_l}\enotes
-\temps\Notes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh K{_L}{^J}K|\qqhh d{_e}{^c}d\enotes
-% mesure 154
-\barre\NOtes\hu J&\zh{^Ma}\hl c|\zh{hj}\hl{^m}\enotes
-\temps\Notes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh K{_L}{=J}K|\qqhh d{_e}{=c}d\enotes
-% mesure 155
-\barre\NOtes\hu I&\zh{LN}\hl{^c}|\lSh j\zh{j=l}\hl n\enotes
-\temps\Notes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh K{_L}{=J}K|\qqhh d{_e}{=c}d\enotes
-% mesure 156
-\barre\NOtes\hu G&\zh{KN}\hl{b}|\zh{ik}\hl n\enotes
-\temps\Notes&\soupir|\soupir\enotes
-\temps\notes\hpause&\qqhh HIGH|\qqhh abNa\enotes
-%\check
-% mesure 157
-\barre\NOtes\qu D&\zq{^Ma}\ql{d}|\zq{^fh}\ql k\enotes
-\temps\NOtes\pointdorgue a\soupir&\pointdorgue a\soupir|\pointdorgue l\soupir\enotes
-\temps\notes\hu H&\sQqbb Mdad|\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\sQqbb Mdad|\zq h\zqu o\qqbb hkmk\enotes
-%
-% mesure 158
-\barre\autolines{16}35\relax
-\notes\wh H&\sQqbb KaMa|\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\sQqbb KaMa|\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax
- \Ibbl1gf2\qb1{gkf}\tqb1k\enotes
-\temps\notes&\sQqbb KaMa|\varaccid\zq e\zqu l\qqbb e{^j}gj\enotes
-\temps\notes&\sQqbb KaMa|\varaccid\zq d\zqu k\qqbb dhfh\enotes
-%
-% mesure 159
-\staffbotmarg=2pt
-\barre\notes\qu H&\sQqbb L{^c}ac|\zq h\zqu o\qqbb hl{^j}l\enotes
-\temps\NOtes\pointdorgue a\soupir&\pointdorgue a\soupir|\pointdorgue l\soupir\enotes
-\cleftoksii={0000}\changeclefs
-\temps\notes\sk\hpause&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes
-%
-% mesure 160
-\barre\notes\wh K&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hkmk\enotes
-\temps\notes&\sqqHH dhfh|\octp\rlap{\doubler\zq g\Ibu0nm1\qh0 n\zq f\tqh0m}\relax
- \Ibbl1gf2\qb1{gkf}\tqb1k\enotes
-\temps\notes&\sqqHH dhfh|\varaccid\octp\zq e\zqu l\qqbb e{^j}gj\enotes
-\temps\notes&\sqqHH dhfh|\varaccid\octp\zq d\zqu k\qqbb dhfh\enotes
-%
-% mesure 161
-\barre\notes\wh G&\roff{\sqqHH digi}|\iffiveoctaves
- \octp\zh i\zhu p\roff{\qqbb inkn}\relax
- \else\octp\zh g\zhu n\roff{\qqbb gkik}\relax
- \fi\enotes
- \nspace
-\temps\notes&\sqqHH digi|\iffiveoctaves
- \octp\qqbb knkn\relax
- \else\octp\qqbb gkik\relax
- \fi\enotes
-\temps\notes&\sqqHH digi|\iffiveoctaves
- \octp\zq g\zqu n\qqbb gkik\relax
- \else\octp\zq e\zqu l\qqbb eigi\relax
- \fi\enotes
-\temps\notes&\sqqHH eigi|\iffiveoctaves
- \octp\zq i\zqu p\qqbb inln\relax
- \else\octp\zq e\zqu l\qqbb eigi\relax
- \fi\enotes
-%\check
-% mesure 162
-\barre\autolines{8}65\relax
-\notes\wh H&\sqqHH dhfh|\octp\zq h\zqu o\qqbb hmkm\enotes
-\temps\notes&\sqqHH{^c}heh|\octp\zq g\zqu n\qqbb gl{^j}l\enotes
-\temps\notes&\sqqHH dhfh|\octp\zq f\zqu m\qqbb fkhk\enotes
-\temps\notes&\sqqHH aece|\varaccid\octp\zq e\zqu l\qqbb e{j}gj\enotes
-%\check
-% mesure 163
-\barre\NOtes\pointdorgue N\hpause
- &\zmidtwotext{\ppff {f}{f}{f}}\pointdurgue f\hpause|\pointdorgue l\hpause\enotes
-\temps\NOtes\lppz G\qu G&\lppz b\zq{bd}\qu g|\Uptext{\moyen Maestoso}\octp\uppz g\zq{bd}\ql g\enotes
-\temps\NOtes\lppz G\qu I&\lppz d\zq{dg}\qu i|\octp\uppz i\zq{dg}\ql i\enotes
-% mesure 164
-\barre
-\NOtes\lppz H\qu H&\octp\lppz K\zq{KM}\qu a|\octp\uppz h\zq{df}\ql h\enotes
-\temps\NOtes\lppz H\qu H&\octp\lppz I\zq{IK}\qu N|\octp
- \uppz g\zq{bd}\ql g\enotes
-\temps\NOtes\lppz H\qu H&\octp\lppz H\zq{HK}\qu M|\octp
- \uppz f\zq{ad}\ql f\enotes
-\temps\NOtes\lppz H\qu H&\octp\lppz H\zq{H^J}\qu L|\octp
- \uppz e\zq{a^c}\ql e\enotes
-% mesure 165
-\barre\NOtes\qu I&\zq{bd}\qu{h}|\zq{ik}\ql o\enotes
-\temps\NOtes\pointdorgue a\soupir&\pointdorgue l\soupir|\pointdorgue l\soupir\enotes
-\temps\NOtes\lppz G\qu G&\octp\uppz N\zq{IK}\ql N|\octp\uppz g\zq{bd}\ql g\enotes
-\temps\notes\lppz G\qu I&\octp\uppz N\zq{IK}\ql N|\octp\uppz i\zq{bdg}\ql i\enotes
-\cleftoksii={6000}\changeclefs
-% mesure 166
-\barre\NOtes\lppz G\qu H&\octp\uppz M\zq{HK}\ql M|\octp\uppz h\zq{adf}\ql h\enotes
-\temps\NOtes\lppz G\qu G&\octp\uppz K\zq{GI}\ql K|\octp\uppz g\zq{Nbd}\ql g\enotes
-\temps\NOtes\lppz F\qu F&\octp\uppz K\zq{FH}\ql K|\octp\uppz f\zq{Mad}\ql f\enotes
-\temps\NOtes\lppz E\qu E&\octp\uppz J\zq{EH}\ql{^J}|\octp\uppz e\zq{La^c}\ql e\enotes
-% mesure 167
-\barre\NOTes\wh D&\octp\zw{DF}\wh{H}|\octp\zw{KMa}\wh d\enotes
-\finmorceau
-\staffbotmarg=0pt
-\rightline{\sl\aujourdhui}\vfil\eject
-
-\end
diff --git a/macros/musixtex/doc/examples/fantcmol.tex b/macros/musixtex/doc/examples/fantcmol.tex
deleted file mode 100644
index fae4884314..0000000000
--- a/macros/musixtex/doc/examples/fantcmol.tex
+++ /dev/null
@@ -1,626 +0,0 @@
-\fullauthor{Daniel TAUPIN}
-\shortauthor{D. Taupin}
-\fulltitle{XI. Fantaisie et fugue en style baroque}
-\shorttitle{Fantaisie et fugue en style baroque}
-\csname titremorceautoc\endcsname
-\shorttitle{Fantaisie en style baroque}
-\subtitle{{\frtbf Fantaisie}}
-\othermention{Compos\'e en 1995}
-\maketitle
-
- % if transpose not defined outside assume 0 and three flats
-\ifx\ftranspose\undefined\def\ftranspose{0}\fi
-\ifx\fsignature\undefined\def\fsignature{-3}\fi
-
-
-\parindent 18mm
-\tracingstats=2\relax
- %
- % formes fr\'equentes
- %
- %au moins deux croches basses et hautes
-\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
- %au moins deux doubles croches basses et hautes
-\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
- %au moins trois doubles croches basses et hautes
-\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}%
-\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}%
-\def\sTqbb#1#2#3{{\smallnotesize\Tqbb{#1}{#2}{#3}}}%
- %au moins quatre croches basses et hautes
-\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}%
-\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}%
-\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}%
- %au moins quatre doubles croches basses et hautes
-\def\qqbb#1#2#3#4{\varaccid\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}%
-\def\sqqbb#1#2#3#4{\varaccid\smallnotesize\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}%
-\def\Qqbb#1#2#3#4{\varaccid\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\sQqbb#1#2#3#4{{\varaccid\smallnotesize\Qqbb{#1}{#2}{#3}{#4}}}%
-\def\qqBB#1#2#3#4{\varaccid\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\sqqBB#1#2#3#4{{\varaccid\smallnotesize\qqBB{#1}{#2}{#3}{#4}}}%
-\def\qqhh#1#2#3#4{\varaccid\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}%
-\def\sqqhh#1#2#3#4{\varaccid\smallnotesize\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}%
-\def\Qqhh#1#2#3#4{\varaccid\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\sQqhh#1#2#3#4{\varaccid\smallnotesize\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\qqHH#1#2#3#4{\varaccid\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\sqqHH#1#2#3#4{{\varaccid\smallnotesize\qqHH{#1}{#2}{#3}{#4}}}%
- %
-\nbporteesii=2\relax
-\def\nbinstruments{2}
-\global\cleftoksii={6000}%
-\global\cleftoksi={6000}%
-%
-\noautolines
- %
-\generalsignature{\fsignature}\relax % r\'e mineur
-\transpose=\ftranspose\relax
- %\check
-\def\instrumenti{P\'edale 16'}%
-\def\instrumentii{G.O.}%
- %\check
-\medskip\noindent{\rm G.O.: Plein jeu, fonds 16' {\sl ad libitum.}}%
-\par\noindent{\rm Pos.: Plein jeu, acc. G.O.}%
-\par\noindent{\rm P\'ed.: fonds et anches 16', tirasses G.O. \& pos.}%
-\smallskip
- %
-\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}%
-\def\doubler{\multiply\noteskip by 2\relax}%
-\generalmeter{\meterfrac 34}
-\staffbotmarg=10pt
-\stafftopmarg=0pt
-\interstaff{10}
-\debutmorceau
-%\noautolines
-\relativeaccidentals
-\bigaccid
-%\autolines{9}55\relax
-\znotes&|\Uptext{\hbox{\kern -8mm\moyen Allegro
- \bf(\metron{\qu}{55})}}\enotes
- %\advance\linesinpage by 1\relax
- %\check
- % mesure 1
-\notes&\sqqhh JKLM|\sqqhh cdef\enotes
-\temps\notes\sk\pause&\sqqhh NLKJ|\sqqhh gedc\enotes
-\temps\notes&\sqqhh caNM|\sqqhh jhgf\enotes
- %\check
- % mesure 2
-\barre\notes&\sqqhh NaMa|\sqqhh ghfh\enotes
-\temps\notes\sk\pause&\sqqhh NLKJ|\sqqhh gedc\enotes
-\temps\notes&\sqqhh caNM|\sqqhh jhgf\enotes
- %\check
- % mesure 3
-\barre\notes&\sqqhh NaMN|\sqqhh ghfg\enotes
-\temps\notes\sk\pause&\sqqhh LMKL|\sqqhh efde\enotes
-\temps\notes&\sqqhh JLKJ|\sqqhh cedc\enotes
- %\check
- % mesure 4
-\barre\notes\hu G&\sqqbb N{^a}{^b}c|\itenu1i\itenl2g\zq{^id}\qu g\enotes
-\temps\notes&\sqqbb dbaN|\tten1\tten2\itenl1g\zhl g\zq{k}\qu{^i}\enotes
-\temps\notes\qu J&\sqqbb edec|\zq{l}\qu j\enotes
- %\check
- % mesure 5
-\barre\notes\hu G&\sqqbb{^b}cdb|\tten1\itenl1g\zhlp g\zh{^i}\hu k\enotes
-\temps\notes&\sqqbb NabN|\enotes
-\temps\notes\qu J&\sqqbb edec|\zq j\qu l\enotes
- %\check
- % mesure 6
-\barre\notes\qu I&\sqqbb decd|\tten1\zq{g=i}\qu k\enotes
-\temps\notes\qu K&\sqqbb {=b}c{^a}b|\zq{hj}\qu{^m}\enotes
-\temps\notes\qu G&\sqqbb N{^b}aN|\zq{^ik}\qu n\enotes
- %\check
- % mesure 7
-\barre\notes\hu J&\itenu1c\zh{Nc}\hl e|\sqqbb jklm\enotes
-\temps\notes&|\sqqbb nlkj\enotes
-\temps\notes\qu H&\tten1\itenu1c\zq{ac}\ql f|\sqqbb qonm\enotes
- %\check
- % mesure 8
-\barre\notes\hu J&\tten1\itenu1c\zh{Nc}\hl e|\sqqbb nomo\enotes
-\temps\notes&|\sqqbb nlkj\enotes
-\temps\notes\qu H&\tten1\zq{ac}\ql f|\sqqbb qonm\enotes
- %\check
- % mesure 9
-\barre\notes\qu G&\itenl1N\zh N\zhl{^b}\qu d|\sqqbb nomn\enotes
-\temps\notes\qu{^I}&\qu f|\sqqhh lmkl\enotes
-\temps\notes\qu J&\tten1\zq N\lfl b\zq{b}\ql{^e}|\sqqhh j{^l}kj\enotes
- %\check
- % mesure 10
-\barre\notes\hu F&\sqqbb MNab|\itenu1m\zh h\zhl j\hup m\enotes
-\temps\notes&\sqqbb caNM\enotes
-\temps\notes\qu I&\sqqbb f{_d}cb|\zq i\ql k\enotes
- %\check
- % mesure 11
-\barre\notes\hu F&\sqqbb c{_d}bd|\tten1\itenu1m\zh h\zhl j\hup m\enotes
-\temps\notes&\sqqbb caNM\enotes
-\temps\notes\qu I&\sqqbb fdcb|\zq i\ql k\enotes
- %\check
- % mesure 12
-\barre\notes\qu H&\sqqbb c{_d}bc|\tten 1\zq h\zq j\ql m\enotes
-\temps\notes\qu J&\sqqbb abNa|\zq g\zq i\ql{^l}\enotes
-\temps\notes\qu F&\sqqbb MNab|\zq h\zq j\ql m\enotes
- %\check
- % mesure 13
-\barre\notes\hu J&\zh N\zhl{^e}\roff{\qu c}|\sqqbb jk{^l}m\enotes
-\temps\notes&\qu b|\sqqbb nlkj\enotes
-\temps\notes\qu H&\zq{ac}\ql f|\sqqbb qonm\enotes
- %\check
- % mesure 14
-\barre\notes\hu J&\zh N\zhl{^e}\roff{\qu c}|\sqqbb nomo\enotes
-\temps\notes&\qu b|\sqqbb n{^l}kj\enotes
-\temps\notes\qu H&\zq{ac}\ql f|\sqqbb qonm\enotes
- %\check
- % mesure 15
-\barre\notes\qu G&\itenl1N\zql N\zq c\qu {=e}|\sqqbb nomn\enotes
-\temps\notes\qu {^I}&\tten1\zq N\zq {^b}\qu f|\sqqbb {=l}mkl\enotes
-\temps\notes\qu J&\zq {=b}\rq c\qu {^e}|\sqqbb jk{^l}j\enotes
- %\check
- % mesure 16
-\barre\notes\hu {^H}&\sqqbb MN{^a}b|\itenl1h\zhp{^hj}\hlp m\enotes
-\temps\notes&\sqqbb cbca\enotes
-\temps\notes\qu J&\sqqbb {=e}c{^a}N|\enotes
- %\check
- % mesure 17
-\barre\notes\hu K&\sqqbb {^M}N{^a}b|\tten1\itenl1h\itenu2m\zh{^hk}\hl{^m}\enotes
-\temps\notes&\sqqbb cbca\enotes
-\temps\notes\qu J&\sqqbb {^f}{=e}dc|\tten1\tten2\zq{hj}\ql m\enotes
- %\check
- % mesure 18
-\barre\notes\qu I&\sqqbb bcdb|\itenl1i\itenu2n\zq{ik}\ql n\enotes
-\temps\notes\qu L&\sqqbb g{=e}dc|\tten1\tten2\zq{il}\ql n\enotes
-\temps\notes\qu K&\sqqbb d{^e}{^f}d|\zq{^hj}\ql{^m}\enotes
- %\check
- % mesure 19
-\barre\notes\qu I&\sqqbb g{=e}dc|\zq{ik}\zqu n\enotes
-\temps\notes\qu H&\sqqbb dcba|\zq{^hj}\zqu{^m}\enotes
-\temps\notes\qu G&\sqqbb N{^a}{^b}N|\zq{^ik}\zqu{=m}\enotes
- %\check
- % mesure 20
-\barre\notes\hu{^H}&\itenl1c\itenu2e\lSh c\zq{^ac}\ql{^e}|\sqqbb {^j}k{^l}m\enotes
-\temps\notes&\tten1\tten2\zq{ce}\ql g|\sqqbb nmnl\enotes
-\temps\notes\qu K&\zq{^ad}\ql{=f}|\sqqbb mlk{=j}\enotes
- %\check
- % mesure 21
-\barre\notes\qu G&\itenl1N\itenu2f\zhlp N\zq{^b}\qu f|\sqqbb {^i}jkl\enotes
-\temps\notes\qu {^I}&\tten2\zq{d}\qu f|\sqqbb mlmk\enotes
-\temps\notes\qu J&\zq{=b}\qu {^e}|\sqqbb lkj{=i}\enotes
- %\check
- % mesure 22
-\barre\notes\hup{^H}&\tten1\lSh c\zql N\zhp{c}\hup{^e}|\sqqbb {^h}{^i}{^j}k\enotes
-\temps\notes&\ql{^a}|\sqqbb {^l}k{^j}i\enotes
-\temps\notes&\ql N|\sqqbb jhij\enotes
- %\check
- % mesure 23
-\generalsignature{2}\changecontext
-\notes\itenl1K\hup K&\sqqbb MNaM|\itenl2k\zh {hm}\hu k\enotes
-\temps\notes&\sqqbb KMNa|\enotes
-\temps\notes&\sqqbb babN|\tten2\itenl2k\zq{ik}\ql n\enotes
- %\check
- % mesure 24
-\barre\notes\tten1\hup K&\sqqbb abad|\tten2\itenu2m\zh{hk}\hl m\enotes
-\temps\notes&\sqqbb cbaN|\enotes
-\temps\notes&\sqqbb MNaM|\tten2\itenu2m\zq{_j}\zql m\qu o\enotes
- %\check
- % mesure 25
-\barre\notes\hu I&\sqqbb KMNa|\tten2\zh i\zhl k\qu m\enotes
-\temps\notes&\sqqbb babN|\qu n\enotes
-\temps\notes\qu H&\sqqbb cabc|\zq j\zql l\qu o\enotes
- %\check
- % mesure 26
-\barre\notes\hu K&\itenu1d\zh{ad}\hl f|\sqqbb klmn\enotes
-\temps\notes&|\sqqbb omlk|\enotes
-\temps\notes\qu I&\tten1\itenu1d\zq{bd}\ql g|\sqqbb popn\enotes
- %\check
- % mesure 27
-\barre\notes\hu K&\tten1\zh{ad}\hl f|\sqqbb opon\enotes
-\temps\notes&|\sqqbb monm|\enotes
-\temps\notes\qu G&\zq{be}\ql g|\sqqbb nmlk\enotes
- %\check
- % mesure 28
-\barre\notes\hup H&\zhp a\zhlp c\hu e|\sqqbb jklm\enotes
-\temps\notes&|\sqqbb nlon\enotes
-\temps\notes&\qu g|\sqqbb {_m}lkj\enotes
- %\check
- % mesure 29
-\barre\notes\hu K&\sqqbb KL{_M}N|\itenu1k\zh {_fh}\hu k\enotes
-\temps\notes&\sqqbb aNaM|\enotes
-\temps\notes\qu G&\sqqbb {_b}aNb|\tten1\itenu1k\zq{g_i}\qu k\enotes
- %\check
- % mesure 30
-\barre\notes\hup K&\sqqbb a{_M}LK|\tten1\zq{_f}\zql h\hup k\enotes
-\temps\notes&\sqqbb d{_b}aN|\zq g\ql{_i}\enotes
-\temps\notes&\sqqbb aNMa|\zq f\ql h\enotes
- %\check
- % mesure 31
-\barre\notes\qu G&\sqqbb N{_M}LK|\zq g\zq{_i}\ql l\enotes
-\temps\notes\qu H&\sqqbb JKLM|\itenu0j\zq h\zq j\ql {_m}\enotes
-\temps\notes\qu F&\sqqbb {=M}{^N}{^a}M|\tten0\lSh h\zq{h}\zq j\ql {=m}\enotes
- %\check
- % mesure 32
-\barre\notes\itenl1I\hup I&\itenl2b\zh b\zh d\hl f|\sqqbb ijkl\enotes
-\temps\notes&|\sqqbb mkji\enotes
-\temps\notes&\tten2\itenl2b\zq b\zq e\ql g|\sqqbb pnml\enotes
- %\check
- % mesure 33
-\barre\notes\tten1\hu I&\tten2\zh b\zh d\itenu2f\hl f|\sqqbb mnml\enotes
-\temps\notes&|\sqqbb km{^o}p\enotes
-\temps\notes\qu F&\tten2\itenu2f\zq{^ac}\ql f|\sqqbb qpo{^n}\enotes
- %\check
- % mesure 34
-\barre\notes\hup I&\zh b\tten2\itenu2d\itenu3f\zh {^d}\hl f|\sqqbb ml{^k}j\enotes
-\temps\notes&|\sqqbb klm{=o}\enotes
-\temps\notes&\tten2\tten3\zq{df}\ql{=a}|\sqqbb {_q}omk\enotes
- %\check
- % mesure 35
-\barre\notes\hu E&\sqqbb LMNa|\zh{gi}\itenu1l\hl l\enotes
-\temps\notes&\sqqbb bNML|\enotes
-\temps\notes\qu H&\sqqbb e{_c}ba|\zq{h_j}\tten1\itenu1l\ql l\enotes
- %\check
- % mesure 36
-\barre\notes\hu E&\sqqbb b{_c}ac|\zh{gi}\tten1\itenu1l\hl l\enotes
-\temps\notes&\sqqbb bNML|\enotes
-\temps\notes\qu {_J}&\sqqbb ecba|\zq{h_j}\tten1\itenu1l\ql l\enotes
- %\check
- % mesure 37
-\barre\notes\hu I&\sqqbb b{_c}ab|\tten1\itenl1i\zq{g}\zql i\qu l\enotes
-\temps\notes&\sqqbb NaMN|\loff{\tten1\zq g}\zql h\qu{^k}\enotes
-\temps\notes\qu{^G}&\sqqbb L{^N}ML|\zq{^gi}\ql l\enotes
- %\check
- % mesure 38
-\barre\notes\hup H&\zh N\zh c\hl e|\sqqhh hijk\enotes
-\temps\notes&|\sqqhh ljih\enotes
-\temps\notes\qu{_F}&\itenl1a\zq a\zq d\ql {_f}|\sqqhh {_m}lmk\enotes
- %\check
- % mesure 39
-\barre\notes\hu J&\tten1\zhp c\zhlp a\hu e|\sqqhh lkji\enotes
-\temps\notes&|\sqqhh jhjk\enotes
-\temps\notes\qu H&\qu g|\sqqhh ljkl\enotes
- %\check
- % mesure 40
-\barre\notes\qu F&\itenu1f\zq {^a}\zq c\ql f|\sqqhh mlkj\enotes
-\temps\notes\hu I&\tten1\zql b\zh{^d}\hu f|\sqqhh {^k}ikm\enotes
-\temps\notes&\ql {=a}|\sqqhh ponm\enotes
- %\check
- % mesure 41
-\generalsignature{3}\relax
-\changecontext\notes\hu J&\sqqbb {^L}M{N}L|\itenu0j\zh{^l}\zh g\hu j\enotes
-\temps\notes&\sqqbb cbaN\enotes
-\temps\notes\qu F&\sqqbb aMac|\tten0\itenu0m\zq m\zq h\qu j\enotes
- %\check
- % mesure 42
-\barre\notes\hu I&\sqqbb fedc|\tten0\zhp i\zhlp k\hu m\enotes
-\temps\notes&\sqqbb decd\enotes
-\temps\notes\qu K&\sqqbb bdcb|\qu n\enotes
- %\check
- % mesure 43
-\barre\notes\hu E&\zhp{N}\zhlp b\hu d|\sqqhh {g}hi{_j}\enotes
-\temps\notes&|\sqqhh kihg\enotes
-\temps\notes\qu G&\itenu1e\qu e|\sqqhh lkji\enotes
- %\check
- % mesure 44
-\barre\notes\hu H&\tten1\zhp c\zhup e\hl a|\sqqhh {=j}kji\enotes
-\temps\notes&|\sqqhh jhjk\enotes
-\temps\notes\qu{_G}&\ql {_N}|\sqqhh ljkl\enotes
- %\check
- % mesure 45
-\barre\notes\hu F&\advance\transpose -7\relax\sqqbb f{g}{^h}i|\zh{^h}\zhl
- j\itenu1m\hup m\enotes
-\temps\notes&\advance\transpose -7\relax\sqqbb jhgf\enotes
-\temps\notes\qu I&\advance\transpose -7\relax\sqqbb kjki|\zq i\ql k\enotes
- %\check
- % mesure 46
-\barre\notes\hu F&\advance\transpose -7\relax\sqqbb jkik|\tten1\zh{^h}\zh j\hl m\enotes
-\temps\notes&\advance\transpose -7\relax\sqqbb j{^h}{g}f\enotes
-\temps\notes\qu{^H}&\advance\transpose -7\relax\sqqbb lklj|\zq j\zq l\ql{^o}\enotes
- %\check
- % mesure 47
-\barre\notes\qu I&\advance\transpose -7\relax\sqqbb kji{=h}|\itenl1i\itenl2k\zq
-i\zq k\ql m\enotes
-\temps\notes\qu K&\advance\transpose -7\relax\sqqbb
-{g}hig|\tten1\tten2\itenu1n\zq i\zq k\ql n\enotes
-\temps\notes\qu J&\advance\transpose -7\relax\sqqbb {^l}{^k}lj|\tten1\zq
-j\zq{^l}\ql n\enotes
- %\check
- % mesure 48
-\barre\notes\hu H&\zh a\zhl c\itenu1f\hup f|\sqqbb mnop\enotes
-\temps\notes&|\sqqbb qpqo\enotes
-\temps\notes\qu I&\itenu2b\itenu0d\zq b\ql d|\sqqbb rqrp\enotes
- %\check
- % mesure 49
-\barre\notes\qu G&\tten0\tten1\tten2\zq b\zq d\ql f|\advance\transpose 7\sqqbb mkji\enotes
-\temps\notes\qu J&\zq {c^e}\zql g|\advance\transpose 7\sqqbb jkik\enotes
-\temps\notes\qu H&\zq{ac}\ql f|\advance\transpose 7\sqqbb jhgf\enotes
- %\check
- % mesure 50
-\barre\notes\qu G&\itenu1c\zql N\zh c\hu {^e}|\sqqhh nm{^l}{^k}\enotes
-\temps\notes\qu J&\ql b|\sqqhh jihg\enotes
-\temps\notes\qu H&\tten1\zq{a}\ql c|\sqqhh hfhj\enotes
- % mesure 51
-\barre\notes\hup F&\sqqbb MNab|\zhp {hj}\itenu1m\hlp m\enotes
-\temps\notes&\sqqbb c{^d}{^e}c\enotes
-\temps\notes&\sqqbb f{=e}{=d}c\enotes
- %\check
- % mesure 52
-\barre\notes\hu I&\sqqbb dcdb|\tten1\zq i\zq k\ql m\enotes
-\temps\notes&\sqqbb Nabc|\zq g\itenu1j\itenu2l\zq j\ql{^l}\enotes
-\temps\notes\qu J&\sqqbb {^d}{^e}fg|\tten1\tten2\zq j\zq l\ql n\enotes
- %\check
- % mesure 53
-\barre\notes\hup H&|\zq h\itenu1j\itenu2m\zq j\zqu m\sqqbb f{^e}fc\enotes
-\temps\notes&|\tten1\tten2\itenu2m\zq j\zqu m\sqqbb hghf\enotes
-\temps\notes&|\tten2\zqu m\sqqbb jijh\enotes
- % mesure 54
- %\check
-\barre\notes\qu{^H}&|\itenl1f\zq f\zql c\sqqhh m{^l}mj\enotes
-\temps\notes\qu I&|\tten1\zq b\zql f\sqqhh kjki\enotes
-\temps\notes\qu G&|\zq N\zq b\zql{=e}\sqqhh {=l}kli\enotes
- % mesure 55
- %\check
-\barre\notes\qu H&\itenu1a\zq{ac}\ql e|\sqqhh jijh\enotes
-\temps\notes\qu F&\tten1\itenu1d\zq{Ma}\ql d|\sqqhh kjkh\enotes
-\temps\notes\qu G&\tten1\itenu1N\zq{Nb}\ql d|\sqqhh ihig\enotes
- % mesure 56
- %\check
-\barre\notes\qu{^E}&\tten1\zq{^L}\zql N\hu c|\sqqhh jijg\enotes
-\temps\notes\qu F&\zh M\hl a|\sqqhh high\enotes
-\temps\notes\qu D&\qu d|\sqqhh fhgf\enotes
- % mesure 57
- %\check
-\barre\notes\hup C&\zq{^L}\zql N\itenu1c\zhup c|\zqu j\ibbl0g0\qb0{j^e^d}\tqb0e\enotes
-\temps\notes&\zq M\ql a|\zqu j\ibbl0h0\qb0{jfe}\tqb0f\enotes
-\temps\notes&\zq N\ql b|\zqu j\ibbl0h0\qb0{jgf}\tqb0g\enotes
- % mesure 58
- %\check
-\barre\notes\qu D&\tten1\itenl1M\itenu2c\zq M\zq a\ql c|\zqu j\sqqBB jhgh\enotes
-\temps\notes\qu F&\tten1\tten2\zq M\zq{^a}\ql c|\zqu m\sqqBB m{^h}gh\enotes
-\temps\notes\qu G&\zq N\zq b\ql d|\zqu m\sqqBB mihi\enotes
- % mesure 59
- %\check
-\barre\notes\qu {^H}&\zq{^a}\zq c\itenu1f\ql f|\zqu m\sqqBB mjij\enotes
-\temps\notes\qu I&\zh b\zh d\tten1\hl f|\zqu m\sqqBB mkjk\enotes
-\temps\notes\qu {=H}&|\zqu i\sqqbb ijkm\enotes
- % mesure 60
- %\check
-\barre\notes\qu G&\zql N\zhp c\hup{^e}|\zqu n\sqqBB n{^l}kl\enotes
-\temps\notes\hu I&\hl b|\zqu j\sqqbb jlkl\enotes
-\temps\notes&|\zqu n\sqqBB nlkl\enotes
- % mesure 61
- %\check
-\barre\notes\hup H&\zhp {ac}\hlp f|\zqu j\sqqBB jm{^l}m\enotes
-\temps\notes&|\zqu o\sqqbb omlm\enotes
-\temps\notes&|\zqu j\sqqBB jmlm\enotes
- % mesure 62
- %\check
-\barre\notes\qu I&\itenu1g\zq b\zql d\hup g|\zqu p\sqqBB pnmn\enotes
-\temps\notes\qu J&\zq{c}\ql {^e}|\zqu {^l}\sqqbb lnmn\enotes
-\temps\notes\qu K&\zq{b}\ql d|\zqu p\sqqBB pnmn\enotes
- % mesure 63
- %\check
-\barre\notes\qu J&\tten1\itenu1c\zq{c^e}\ql g|\sqqbb {^l}nmn\enotes
-\temps\notes\qu H&\tten1\zq{ac}\itenu1f\ql f|\sqqbb opno\enotes
-\temps\notes\qu I&\tten1\zq{bd}\ql f|\sqqbb monm\enotes
- % mesure 64
- %\check
-\barre\notes\itenl3J\hup J&\sqqhh JK{^L}M|\itenu2q\zh{^ln}\hl q\enotes
-\temps\notes&\sqqbb NabN\enotes
-\temps\notes&\sqqbb abNa|\tten2\itenu1m\itenu2o\zq{mo}\ql q\enotes
- % mesure 65
- %\check
-\barre\notes\tten3\itenl3J\hup J&\sqqbb MaNM|\tten1\tten2\zq{jm}\ql o\enotes
-\temps\notes&\sqqbb {^L}cbc|\itenu1q\zh{^ln}\hl q\enotes
-\temps\notes&\sqqbb Lcbc\enotes
- % mesure 66
- %\check
-\barre\notes\tten3\itenl3J\hup J&\sqqbb Mcac|\tten1\itenu1q\zh m\zhl o\hup q\enotes
-\temps\notes&\sqqbb Mcac\enotes
-\temps\notes&\sqqbb Ncbc|\itenu4n\itenu2p\zq n\ql p\enotes
- % mesure 67
- %\check
-\barre\notes\tten3\hup J&\sqqbb Ncbc|\tten4\tten2\roff{\tten1\zhup q}\zq p\ql n\enotes
-\temps\notes&\sqqbb af{^e}f|\itenu1m\zh m\hl o\enotes
-\temps\notes&\sqqbb afef\enotes
- % mesure 68
- %\check
-\barre\notes\qu I&\sqqbb df{=e}d|\tten1\itenl1m\zhlp m\zq p\qu r\enotes
-\temps\notes\hu J&\sqqbb cfac|\itenu2o\itenu3q\zh o\hu q\enotes
-\temps\notes&\sqqbb MaNM\enotes
- % mesure 69
- %\check
-\barre\notes\qu H&\sqqbb JMac|\tten3\tten1\tten2\itenu1m\zq m\zq o\ql q\enotes
-\temps\notes\qu I&\sqqbb dcba|\tten1\itenu1p\zq m\zq p\ql r\enotes
-\temps\notes\qu L&\sqqbb NabN|\tten1\zq l\zq n\ql p\enotes
- % mesure 70
- %\check
-\barre\notes\hu H&\itenl1a\zh c\zhu e\hlp a|\sqqbb opqr\enotes
-\temps\notes&|\sqqbb srsq\enotes
-\temps\notes\qu K&\zq d\ql{_f}|\sqqbb {_t}str\enotes
- % mesure 71
- %\check
-\barre\notes\qu H&\tten1\zhl a\zq c\qu e|\sqqbb srqs\enotes
-\temps\notes\qu I&\zq d\qu{_f}|\sqqbb r{_q}po\enotes
-\temps\notes\qu E&\zq N\zq b\ql e|\sqqbb nopn\enotes
- \generalsignature{0}\relax
-% mesure 72
-\changecontext\notes\itenl2H\hup H&\sqqbb abcd|\itenl1o\zhlp o\zh q\hu s\enotes
-\temps\notes&\sqqbb ecba\enotes
-\temps\notes&\sqqbb hfed|\zq r\qu t\enotes
- %\check
- %mesure 73
-\barre\notes\tten2\itenl2H\hup H&\sqqbb efdf|\tten1\itenl1o\zhlp o\zh q\hu s\enotes
-\temps\notes&\sqqbb ecba\enotes
-\temps\notes&\sqqbb hfed|\zq r\qu t\enotes
- %\check
- %mesure 74
-\barre\notes\tten2\hu H&\sqqbb efde|\tten1\zh o\zh q\zhl s\enotes
-\temps\notes&\sqqbb cdbc\enotes
-\temps\notes\qu F&\sqqbb acba|\zq m\zq p\ql r\enotes
- %\check
- %mesure 75
-\barre\notes\hu E&\zh{^N}\zhl b\hup e|\sqqbb l{^m}{^n}o\enotes
-\temps\notes&|\sqqbb pqrp\enotes
-\temps\notes\qu H&\itenu1a\itenu2c\zq a\ql c|\sqqbb qrpq\enotes
- %\check
- %mesure 76
-\barre\notes\qu F&\tten1\tten2\zq M\zq a\ql c|\sqqbb oqpo\enotes
-\temps\notes\hu E&\itenu1e\zq{^N}\zq b\ql e|\sqqbb {^n}opn\enotes
-\temps\notes&\tten1\zq a\zq c\ql e|\sqqbb l{=m}{=n}l\enotes
- %\check
- %mesure 77
-\barre\notes\hup F&\itenl1M\itenu2d\zq M\zq a\ql d|\sqqbb mlkj\enotes
-\temps\notes&\tten1\tten2\itenu1b\itenu2d\zq M\zq b\ql d|\sqqbb ijki\enotes
-\temps\notes&\tten1\tten2\zq{Nb}\ql d|\sqqbb ghig\enotes
- %\check
- %mesure 78
-\barre\notes\hu J&\advance\transpose 7\sqqbb JKLM|\advance\transpose 7\sqqbb cdef\enotes
-\temps\notes&\advance\transpose 7\sqqbb NLKJ|\advance\transpose 7\sqqbb gedc\enotes
-\temps\notes\qu H&\advance\transpose 7\sqqbb aMLK|\advance\transpose 7\sqqbb jhgf\enotes
- %\check
- % mesure 79
-\barre\notes\hu J&\advance\transpose 7\sqqbb LMKM|\advance\transpose 7\sqqbb ghfh\enotes
-\temps\notes&\advance\transpose 7\sqqbb LJIH|\advance\transpose 7\sqqbb gedc\enotes
-\temps\notes\qu H&\advance\transpose 7\sqqbb aMLK|\advance\transpose 7\sqqbb jhgf\enotes
- %\check
- % mesure 80
-\barre\notes\qu J&\advance\transpose 7\sqqbb LMKL|\advance\transpose 7\sqqbb ghfg\enotes
-\temps\notes\qu H&\advance\transpose 7\sqqbb JKIJ|\advance\transpose 7\sqqbb efde\enotes
-\temps\notes\qu F&\advance\transpose 7\sqqbb HJIH|\advance\transpose 7\sqqbb cedc\enotes
- %\check
- % mesure 81
-\barre\notes\hu G&\sqqbb Nabc|\itenl1i\zhlp i\zq k\qu n\enotes
-\temps\notes&\sqqbb dbaN|\zq k\qu m\enotes
-\temps\notes\qu J&\sqqbb edec|\zq j\qu l\enotes
- %\check
- % mesure 82
-\barre\notes\hu G&\sqqbb bcdb|\tten1\itenl1g\zhlp g\zh{i}\hu k\enotes
-\temps\notes&\sqqbb NabN|\enotes
-\temps\notes\qu J&\sqqbb edec|\zq j\qu l\enotes
- %\check
- % mesure 83
-\barre\notes\qu I&\sqqbb decd|\tten1\itenu1k\zq{gi}\qu k\enotes
-\temps\notes\qu K&\sqqbb bcab|\tten1\itenu1k\zq{hk}\qu m\enotes
-\temps\notes\qu G&\rlap{\sk\sk\sk\itenu0N}\sqqbb NabN|\tten1\zq{ik}\qu n\enotes
- %\check
- % mesure 84
-\barre\notes\hu J&\itenu1c\tten0\zh{Nc}\hl e|\sqqbb jklm\enotes
-\temps\notes&|\sqqbb nlkj\enotes
-\temps\notes\qu H&\tten1\itenu1c\zq{ac}\ql f|\sqqbb qonm\enotes
- %\check
- % mesure 85
-\barre\notes\hu J&\tten1\itenu1c\zh{Nc}\hl e|\sqqbb nomo\enotes
-\temps\notes&|\sqqbb nlkj\enotes
-\temps\notes\qu H&\tten1\zq{ac}\ql f|\sqqbb qonm\enotes
- %\check
- % mesure 86
-\barre\notes\qu G&\itenl1N\zh N\zhl b\qu d|\sqqbb nomn\enotes
-\temps\notes\qu I&\qu f|\sqqhh lmkl\enotes
-\temps\notes\qu J&\tten1\zq N\zq{_b}\ql e|\sqqhh jlkj\enotes
- %\check
- % mesure 87
-\barre\notes\hu F&\sqqbb MNa{_b}|\itenu1m\zh h\zhl j\hup m\enotes
-\temps\notes&\sqqbb caNM\enotes
-\temps\notes\qu {_I}&\sqqbb fdcb|\zq{_i}\ql k\enotes
- %\check
- % mesure 88
-\barre\notes\hu F&\sqqbb cd{_b}d|\tten1\itenu1m\zh h\zhl j\hup m\enotes
-\temps\notes&\sqqbb caNM\enotes
-\temps\notes\qu {_I}&\sqqbb fdcb|\zq {_i}\ql k\enotes
- %\check
- % mesure 89
-\barre\notes\qu H&\sqqbb cdbc|\tten 1\zq h\zq j\ql m\enotes
-\temps\notes\qu J&\sqqbb a{_b}Na|\zq g\zq{_i}\ql l\enotes
-\temps\notes\qu F&\sqqbb MNab|\zq h\zq j\ql m\enotes
- %\check
- % mesure 90
-\barre\notes\hu J&\zh N\zhl e\roff{\qu c}|\sqqbb jklm\enotes
-\temps\notes&\qu {_b}|\sqqbb nlkj\enotes
-\temps\notes\qu H&\itenu1c\zq{ac}\ql f|\sqqbb qonm\enotes
- %\check
- % mesure 91
-\barre\notes\hu J&\zh N\zhl e\roff{\tten1\qu c}|\sqqbb nomo\enotes
-\temps\notes&\qu {_b}|\sqqbb nlkj\enotes
-\temps\notes\qu H&\itenu1c\zq{ac}\ql f|\sqqbb qonm\enotes
- %\check
- % mesure 92
-\barre\notes\qu G&\tten1\itenl1N\zql N\zq c\qu e|\sqqbb nomn\enotes
-\temps\notes\qu I&\tten1\zq N\zq {=b}\qu f|\sqqbb lmkl\enotes
-\temps\notes\qu J&\zq{_b}\rq c\qu e|\sqqbb jklj\enotes
- %\check
- % mesure 93
-\barre\notes\hu H&\sqqbb MNa{_b}|\itenl1h\zhp{hj}\hlp m\enotes
-\temps\notes&\sqqbb cbca\enotes
-\temps\notes\qu J&\sqqbb {_e}caN|\enotes
- %\check
- % mesure 94
-\barre\notes\hu K&\sqqbb {^M}Na{_b}|\tten1\itenl1h\itenu2m\zh{hk}\hl{^m}\enotes
-\temps\notes&\sqqbb cbca\enotes
-\temps\notes\qu J&\sqqbb {^f}{_e}dc|\tten1\tten2\zq{hj}\ql m\enotes
- %\check
- % mesure 95
-\barre\notes\qu {_I}&\sqqbb {_b}cdb|\itenl1i\itenu2n\zq{ik}\ql n\enotes
-\temps\notes\qu {_L}&\sqqbb g{_e}dc|\tten1\tten2\zq{i_l}\ql n\enotes
-\temps\notes\qu K&\sqqbb d{=e}{^f}d|\zq{hj}\ql{^m}\enotes
- %\check
- % mesure 96
-\barre\notes\qu {_I}&\sqqbb g{_e}dc|\zq{_ik}\zqu n\enotes
-\temps\notes\qu H&\sqqbb dc{_b}a|\zq{hj}\zqu{^m}\enotes
-\temps\notes\qu G&\rlap{\sk\sk\sk\itenl1N}\sqqbb Na{=b}N|\zq{=ik}\zqu{=m}\enotes
- %\check
- % mesure 97
- \barre\notes\hu J&\tten1\itenu1c\itenu2e\zhl N\zhp c\hup{_e}|\sqqbb jk{_l}m\enotes
- \temps\notes&|\sqqbb nlkj\enotes
- \temps\notes\qu{_H}&\ql {^M}|\sqqbb q{_o}n{^m}\enotes
- %\check
- % mesure 98
- \barre\notes\hu J&\tten1\tten2\itenu1c\itenu2e\zhl N\zhp c\hup{_e}|\sqqbb n{_o}{=m}o\enotes
- \temps\notes&|\sqqbb n{_l}kj\enotes
- \temps\notes\qu{_H}&\ql {=M}|\sqqbb qonm\enotes
- %\check
- % mesure 99
- \barre\notes\qu G&\tten1\tten2\zhl N\zq c\qu{_e}|\sqqbb n{_o}mo\enotes
- \temps\notes\qu I&\zq b\qu d|\sqqbb nm{_l}k\enotes
- \temps\notes\qu J&\zq c\qu {=e}|\sqqbb jk{=l}j\enotes
- %\check
- % mesure 100
- \barre
-\znotes&|\Sh m\enotes
- \nspace
- \notes\hu K&\sqqbb acbc|\ust m\lh l\zh{h}\hl{m}\enotes
- \temps\notes&\sqqbb acbc\enotes
- \temps\notes\qu H&\sqqbb acbc|\uppz m\lq l\zq h\ql{m}\enotes
- %\check
- % mesure 101
- \barre\znotes&|\lFl l\Sh m\enotes
- \nspace
- \notes\hu {^F}&\sqqbb {^M}aNa|\ust q\lh l\zh{jm}\hl q\enotes
- \temps\notes&\sqqbb MaNa\enotes
- \temps\notes\qu J&\sqqbb MaNa|\uppz q\lq l\zq{jm}\ql q\enotes
- %\check
- % mesure 102
- \barre\notes\hu G&\sqqbb N{_e}ce|\uppz u\zq{nq_s}\ql u\enotes
- \temps\notes&\sqqbb Nece|\uppz s\zq{_lnq}\ql s\enotes
- \temps\notes\qu {_I}&\sqqbb Nd{_b}d|\uppz r\zq{kn_p}\ql r\enotes
- %\check
- % mesure 103
- \barre\nspace
- \notes\hu H&\sqqbb ae{^c}e|\lSh j\zh{j=ln}\hl {^q}\enotes
- \temps\notes&\sqqbb aece\enotes
- \temps\notes\qu {^J}&\sqqbb aece|\uppz q\zq{jln}\ql q\enotes
- %\check
- % mesure 104
- \barre\notes\hu {_I}&\sqqbb {_b}fdf|\uppz r\zq{km_p}\ql r\enotes
- \temps\notes&\sqqbb bfdf|\uppz t\zq{mpr}\ql t\enotes
- \temps\notes\qu G&\sqqbb Nf{=b}f|\cNa i\uppz p\zq{ikn}\ql {=p}\enotes
- %\check
- % mesure 105
- \barre\nspace
- \NOTEs\hu{_H}&\itenu1a\itenu3f\zh{_ac}\hl f|\itenu2q\zhl j\zh{m_o}\hu q\enotes
- \temps\NOtes\qu F&\tten1\tten3\zq{ad}\ql f|\zql k\enotes
- %\check
- % mesure 106
- \barre\NOTEs\hup C&\zhp{Nce}\hlp g|\tten2\zhp{jln}\hlp q\enotes
- \mulooseness -4\relax
-\finmorceau
-\rightline{\sl\aujourdhui}\vfil\eject
-\endinput
diff --git a/macros/musixtex/doc/examples/fantfuga.tex b/macros/musixtex/doc/examples/fantfuga.tex
deleted file mode 100644
index d44cb7558e..0000000000
--- a/macros/musixtex/doc/examples/fantfuga.tex
+++ /dev/null
@@ -1,18 +0,0 @@
-\input musixtex
-\input musixcpt
-\input musixsty
-%
-\def\misazero{\def\nbinstruments{2}\nbporteesi=1\relax
-\nbporteesii=2\relax
-\barsinline=0\relax
-\linesinpage=0\relax
-\signaturegenerale{0}\savesignature
-\resetfacteurs
-\computewidths}%
-%
-\misazero
-\input fantcmol.tex
-\misazero
-\input fugcmoll.tex
-\bye
-
diff --git a/macros/musixtex/doc/examples/fugcmoll.tex b/macros/musixtex/doc/examples/fugcmoll.tex
deleted file mode 100644
index 922cfac945..0000000000
--- a/macros/musixtex/doc/examples/fugcmoll.tex
+++ /dev/null
@@ -1,517 +0,0 @@
-\fullauthor{Daniel TAUPIN}
-\shortauthor{D. Taupin}
-\fulltitle{{\frtbf Fugue}}
-\shorttitle{Fugue en style baroque}
-\subtitle{}
-\othermention{}
-\maketitle
-
- % if transpose not defined outside assume 0 and three flats
-\ifx\ftranspose\undefined\def\ftranspose{0}\fi
-\ifx\fsignature\undefined\def\fsignature{-3}\fi
-
- %
- % formes fr\'equentes
- %
- %au moins deux croches basses et hautes
-\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
- %au moins deux doubles croches basses et hautes
-\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
- %au moins trois doubles croches basses et hautes
-\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}%
-\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}%
-\def\sTqbb#1#2#3{{\smallnotesize\Tqbb{#1}{#2}{#3}}}%
- %au moins quatre croches basses et hautes
-\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}%
-\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}%
-\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}%
- %au moins quatre doubles croches basses et hautes
-\def\qqbb#1#2#3#4{\varaccid\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}%
-\def\Qqbb#1#2#3#4{\varaccid\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\sQqbb#1#2#3#4{{\varaccid\smallnotesize\Qqbb{#1}{#2}{#3}{#4}}}%
-\def\qqBB#1#2#3#4{\varaccid\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}%
-\def\sqqBB#1#2#3#4{{\varaccid\smallnotesize\qqBB{#1}{#2}{#3}{#4}}}%
-\def\qqhh#1#2#3#4{\varaccid\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}%
-\def\Qqhh#1#2#3#4{\varaccid\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\qqHH#1#2#3#4{\varaccid\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}%
-\def\sqqHH#1#2#3#4{{\varaccid\smallnotesize\qqHH{#1}{#2}{#3}{#4}}}%
- %
-\nbporteesii=2\relax
-\def\nbinstruments{2}
-\global\cleftoksii={6000}%
-\global\cleftoksi={6000}%
- %
-\generalsignature{\fsignature}\relax % r\'e mineur
-\transpose=\ftranspose\relax
- %\check
-\def\instrumenti{P\'edale 16'}%
-\def\instrumentii{G.O.}%
- %\check
-\medskip\noindent{\rm G.O.: mixtures {\sl ad libitum.}}%
-\par\noindent{\rm Pos.: mixtures, acc. G.O.}%
-\par\noindent{\rm P\'ed.: fonds 16', tirasses G.O. \& pos.}%
-\smallskip
-\generalmeter{\meterfrac 32}
-\staffbotmarg=10pt
-\stafftopmarg=0pt
-\interstaff{10}
-\debutmorceau
-\relativeaccidentals
-\varaccid
-\nspace
- \Notes\wh G\sk\sk\hu C&\sk\pause\sk\soupir\ql c|\Uptext{\hbox{\kern
--8mm\moyen Andante
- \bf(\metron{\qu}{65})}}\sk\sk\pausep\enotes
- %\check
- % mesure 2
-\barre\Notes&\zhl L\qu N\hu e\hl M\enotes
-\temps\notes\pause&\dqh dc\enotes
-\temps\Notes&\zhl K\qu {^b}\enotes
-\temps\notes&\dqh cd\enotes
- %\check
- % mesure 3
-\barre\Notes&\zhl L\qu N\hu c\enotes
-\temps\Notes\sk\pause&\hl {^L}\qu b\zhl M\qu a\enotes
-\temps\notes&\dqh Na\enotes
- %\check
- % mesure 4
-\barre\Notes\sk\sk\sk\pause&\zql {=L}\qu N\zql K\qu M\zql J\qu L\zql H\qu M\enotes %
-\temps\Notes&\zhl G\qu N\enotes
-\temps\notes&\dqh ML\enotes
- %\check
- % mesure 5
- \generalmeter{\meterfrac 22}%
-\changecontext\Notes\sk\pause&\zhl{^I}\roff{\Pince c}\hu K\enotes
-\temps\Notes&\zql J\qu J\soupir|\sk\qu g\enotes
- %\check
- % mesure 6
- \generalmeter{\meterfrac 32}%
-\changecontext\Notes&\hl b\sk\hl{^M}|\roff{\zw d}\qu d\hu i\enotes
-\temps\notes\pause&|\dqh hg\enotes
-\temps\Notes&\hl K|\zhl c\qu{^f}\enotes
-\temps\notes&|\dqh gh\enotes
- %\check
- % mesure 7
-\barre\Notes\sk\sk\sk\pause&\zhl I\hu b\sk\zhl{^I}\itenu1N\wh N\sk\ql J|\qu d\hu g\sk\qu f\qu e\enotes
-\temps\notes&\dqb {=I}J|\dqh de\enotes
- %\check
- % mesure 8
-\barre\Notes\sk\sk\sk\pause&\tten1\zqu N\ql I\zqu {^M}\ql H\zqu N\ql G\zqu {^a}\ql L\zqu b\ql K|\qu {dcbcd}\enotes
-\temps\notes&\rlap{\dqb LJ}\dqh aN|\dqh cb\enotes
- %\check
- % mesure 9
- \generalmeter{\meterfrac 22}%
-\changecontext\Notes\sk\pause&\zhl K\hu{^M}|\roff{\Pince L}\hu a\enotes
-\temps\Notes&\zql N\qu N\soupir|\qu N\qu g\enotes
- %\check
- % mesure 10
-\barre\Notes\sk\sk\pause&\hl L\sk\hl{^I}|\roff{\zhl c}\qu c\hu h\hl d\enotes
-\temps\notes&|\dqh gf\enotes
- %\check
- % mesure 11
-\barre\Notes&\hl{=I}|\zhl c\qu{^e}\enotes
-\temps\notes\sk\pause&|\dqh fg\enotes
-\temps\Notes&\zhu M\hl H\sk|\qu c\qu j\enotes
- %\check
- % mesure 12
- \generalmeter{\meterfrac 32}%
-\changecontext\Notes&\zhu N\hl I\sk\hl J|\qu f\hu{_k}\hl{^e}\enotes
-\temps\notes\pause&|\dqh ji\enotes
-\temps\Notes&\hl {_K}|\zhl f\qu h\enotes
-\temps\notes&|\dqh ij\enotes
- %\check
- % mesure 13
-\barre\Notes&\hl J|\zhl{=b}\qu {^e}\enotes
-\temps\notes&|\dqh fg\enotes
-\temps\Notes\pause&\hl I|\zhl a\qu c\enotes
-\temps\notes&|\dqh de\enotes
-\temps\Notes&\itenu1M\zhu M\hl{^H}\sk|\qu f\qu m\enotes
- %\check
- % mesure 14
-\barre\Notes&\tten1\zhu M\hl G|\qu {^i}\hu o\enotes
-\temps\Notes&\zw N\hl{^I}|\enotes
-\temps\notes\pause&|\dqh nm\enotes
-\temps\Notes&\hl {^H}|\qu l\enotes
-\temps\notes&|\dqh kj\enotes
- %\check
- % mesure 15
-\barre\Notes\sk\sk\pause&\zqu a\ql K\zqu c\ql L\hl N|\qu m\qu l\zql g\hu k\ql f\enotes
-\temps\Notes\soupir\qu J&\ql c\soupir|\zql e\qu j\soupir\enotes
- %\check
- % mesure 16
- \generalmeter{\meterfrac 22}%
-\changecontext\Notes\qu G\hu L\sk&\sk\pause|\sk\pause\enotes
-\temps\notes\dqh KL&|\enotes
- %\check
- % mesure 17
-\barre\Notes\qu M\qu K&|\sk\hpause\enotes
-\temps\Notes\hu L&\pause|\soupir\qu h\enotes
- %\check
- % mesure 18
-\barre\Notes\hu K\sk\hu J&\sk\sk\pause|\qu f\hu j\enotes
-\temps\notes&|\dqh{^i}j\enotes
- %\check
- % mesure 19
-\barre\Notes\hu {^I}\sk&\sk\hpause|\qu k\qu{^i}\enotes
-\temps\Notes\hu J&\sk\qu N|\itenu1j\hu j\enotes
- %\check
- % mesure 20
-\barre\Notes\hu H&\qu L\hu c|\tten1\wh j\enotes
-\temps\Notes\hu {_K}&\enotes
-\temps\notes&\dqh{=b}c\enotes
- %\check
- % mesure 21
-\barre\Notes\hu I&\qu {_d}\qu b|\hu g\enotes
-\temps\Notes\qu H\qu M&\itenu1c\hu c|\soupir\qu h\enotes
- %\check
- % mesure 22
-\barre\Notes\qu J\hl a&\tten1\wh c|\qu m\qu{^l}|\enotes
-\temps\Notes\sk&|\qu m\enotes
-\temps\notes\dqb Na&|\dqh lk\enotes
- %\check
- % mesure 23
-\barre\Notes\ql N&\ql b|\hu j\enotes
-\temps\Notes\ql M&\ql a\enotes
-\temps\Notes\ql {^L}&\ql N|\zhl i\hu{^l}\enotes
-\temps\notes\dqb KJ&\dqb ab\enotes
- %\check
- % mesure 24
-\barre\Notes\ql M&\ql c|\zql h\qu m\enotes
-\temps\Notes\ql J&\ql b|\zql i\qu {^l}\enotes
-\temps\Notes\hu F&\ql a\soupir|\zql j\qu m\zql f\raise 2\Interligne\soupir\enotes
- %\check
- % mesure 25
-\barre\Notes\hu H&|\ql c\hl h\enotes
-\temps\Notes\hu I&\pause|\sk\enotes
-\temps\notes&|\dqb gh\enotes
- %\check
- % mesure 26
-\barre\Notes\hu {_K}&|\ql i\zql g\raise4\internote\hpause\enotes
-\temps\Notes\hu J&\hpause|\hl h\qu j\enotes
- %\check
- % mesure 27
-\barre\Notes\hu H&\wh c|\qu m\hu {^l}\enotes
-\temps\Notes\hu I&|\sk\enotes
-\temps\notes&|\dqh kl\enotes
- %\check
- % mesure 28
-\barre\Notes\hu {^I}&\zhl a\hu d|\qu m\qu k\enotes
-\temps\Notes\hu{=I}&\zhl N\itenu1c\hu c|\qu {^l}\enotes
-\temps\notes&|\dqh kj\enotes
- %\check
- % mesure 29
-\barre\Notes\hu{H}&\tten1\zhl M\wh c|\qu m\enotes
-\temps\notes&|\bigNa l\dqh l{_k}\enotes
-\temps\notes\hu G&\hu{^e}|\dqh ji\enotes
-\temps\notes&|\dqh hg\enotes
- %\check
- % mesure 30
- \generalmeter{\meterfrac 32}%
-\changecontext\Notes\hu F&\zhl M\hu d|\qu h\enotes
-\temps\notes&|\dqh gf\enotes
-\temps\Notes\hu{^E}&\zhl N\hu c|\qu {j^e}\enotes
-\temps\Notes\hu F&\zql M\hu a|\hu f\enotes
-\temps\Notes&\qu M|\sk\enotes
- %\check
- % mesure 31
-\barre\Notes\hu K&\qu a\hu{^I}\enotes
-\temps\Notes\hu G&\enotes
-\temps\notes&\dqh JK|\pause\enotes
-\temps\Notes\qu {LK}&\qu N\qu M\enotes
- %\check
- %mseure 32
-\barre\Notes\hu J&\qu L\enotes
-\temps\notes&\dqh KL\enotes
-\temps\notes\hu H&\dqh ML|\pause\enotes
-\temps\notes&\dqh KJ\enotes
-\temps\Notes\hu G&\qu N\soupir|\soupir\qu g\enotes
- %\check
- % mesure 33
-\barre\Notes\hu H&\hu M|\qu c\hu h\enotes
-\temps\Notes\hu {^I}&\zhl K\hu{^b}\enotes
-\temps\notes&|\dqh gf\enotes
-\temps\Notes\hu J&\zhl L\hu c|\qu e\enotes
-\temps\notes&|\dqh dc\enotes
- %\check
- % mesure 34
- \generalmeter{\meterfrac 22}%
-\changecontext\notes\hu G&\zhl K\hu{^b}|\dqh gf\enotes
-\temps\notes&|\dqh ed\enotes
-\temps\Notes\hu J&\zql L\qu N\soupir|\qu c\qu j\enotes
- %\check
- % mesure 35
- \generalmeter{\meterfrac 32}%
-\changecontext\Notes\hu {^H}&\zql M\hu c\ql {^a}|\qu l\hu{^f}\enotes
-\temps\Notes\hu K&\zw{^M}\hu d|\enotes
-\temps\notes&|\dqh kj\enotes
-\temps\notes\hu{^F}&\hu c|\dqh kj\enotes
-\temps\notes&|\dqh ih\enotes
- %\check
- % mesure 36
-\barre\Notes\hu G&\zhl b\hu d|\qu g\enotes
-\temps\notes&|\dqh {^h}i\enotes
-\temps\Notes\hu {^H}&\zhl L\itenu0c\hu c|\qu j\enotes
-\temps\Notes&|\qu e\enotes
-\temps\Notes\hu K&\zhl{^M}\tten0\qu c|\qu d\enotes
-\temps\notes&\qu a|\dqh {^e}{^f}\enotes
- %\check
- % mesure 37
-\barre\Notes\hu G&\zql N\hu b\ql L|\hu g\enotes
-\temps\notes\qu {^H}&\zql K\qu{^M}|\dqh ji\enotes
-\temps\notes\qu K&\zql M\qu c|\dqh {^h}g\enotes
-\temps\Notes\hu G&\zqu{^b}\ql N|\qu g\enotes
-\temps\notes&\soupir|\dqh g{^h}\enotes
- %\check
- % mesure 38
- \generalmeter{\meterfrac 22}%
-\changecontext\notes\hu K&\zhl{^b}\hu f|\dqh {^i}j\dqh kl\enotes
-\temps\Notes\hu{^I}&\cNa a\zhl a\hu d|\qu m\enotes
-\temps\notes&|\dqh fg\enotes
- %\check
- % mesure 39
-\barre\notes\hu G&\itenl1N\zhl N\qu f\sk\qu d|\dqh {^h}{^i}\dqh jk\enotes
-\temps\Notes\itenl0J\hu J&\tten1\zql N\qu e|\itenu1l\ql l\enotes
-\temps\notes&\dqh LK\enotes
- %\check
- % mesure 40
-\barre\notes\tten0\hu J&\dqh LM\dqh Na|\itenl0g\zhl g\tten1\hu l\enotes
-\temps\Notes\hu F&\qu a|\tten0\itenl0g\zhl g\hu k\enotes
-\temps\notes&\dqh NM\enotes
- %\check
- % mesure 41
- \generalmeter{\meterfrac 32}%
-\changecontext\Notes\hu G&\qu L|\tten0\zhl g\hu j\enotes
-\temps\notes&\dqh KJ\enotes
-\temps\notes\hu{^I}&\dqh NM|\zhl f\hu{^i}\enotes
-\temps\notes&\dqh LK\enotes
-\temps\Notes\hu H&\qu {^J}|\zql g\qu{^j}\enotes
-\temps\Notes&\soupir|\qu h\enotes
- %\check
- % mesure 42
-\barre\Notes\hl K&|\qu f\enotes
-\temps\Notes\sk\hl{^L}&|\hu k\sk\enotes
-\temps\notes&\pause|\dqh{^j}{^i}\enotes
-\temps\Notes\hu{^H}&|\qu j\enotes
-\temps\notes&|\dqh k{^l}\enotes
- %\check
- % mesure 43
-\barre\Notes\hu F&|\qu h\enotes
-\temps\Notes\sk\hu I&|\hu k\sk\enotes
-\temps\Notes&\pause|\qu j\enotes
-\temps\Notes\hu J&|\qu {=i}\enotes
-\temps\notes&|\dqh hi\enotes
- %\check
- % mesure 44
-\barre\Notes\qu{^J}&|\qu {^h}\enotes
-\temps\Notes\cNa I\qu I&|\qu g\enotes
-\temps\Notes\qu H&|\qu f\enotes
-\temps\Notes\qu G&\pause|\qu g\enotes
-\temps\Notes\qu F&|\qu {^h}\enotes
-\temps\notes\qu G&|\dqh gf\enotes
- %\check
- % mesure 45
- \generalmeter{\meterfrac 22}%
-\changecontext\Notes\hu {^H}&|\roff{\Pince l}\hu {^e}\enotes
-\temps\Notes&\hpause|\sk\enotes
-\temps\Notes\hu D&\soupir|\hu d\enotes
-\temps\Notes&\ql{^a}|\sk\enotes
- %\check
- % mesure 46
- \generalmeter{\meterfrac 32}%
-\changecontext\Notes\hu I&\ql M\hl d|\zhl{^h}\hu k\enotes
-\temps\Notes\hu {^H}&|\zhl g\hu{^l}\enotes
-\temps\notes&\dqb{^c}{^b}\enotes
-\temps\Notes\hu{^J}&\ql c|\zhl l\hu n\enotes
-\temps\notes&\dqb d{^e}\enotes
- %\check
- % mesure 47
- \barre\Notes\hu K&\ql f|\zhl h\hu m\enotes
- \temps\notes&\dqb{^e}d\enotes
- \temps\notes\hu{^H}&\ql e\sk\ql{^c}|\itenl0j\zhl{^j}\dqh {^o}n\dqh m{^l}\enotes
- \temps\Notes\hu F&\ql {^a}\soupir|\roff{\tten0\zql j}\qu k\ql k\enotes
- %\check
- % mesure 48
- \barre\Notes\hu G&\qu K|\ql p\enotes
- \temps\notes&\dqh{^L}M|\hl n\enotes
- \temps\Notes\hu J&\qu L|\enotes
- \temps\notes\sk\sk\hu I&\dqh KJ\hu{^L}|\dqb m{^l}\dqb qp\dqb {=o}n\enotes
- %\check
- % mesure 49
- \barre\Notes\hu H&\ql M|\ql o\enotes
- \temps\notes&\dqb Na|\dqb nm\enotes
- \temps\Notes\hu I\sk\hu J&\hl N\sk\ql{^L}|\ql {_r}\hl {^l}\sk\enotes
- \temps\notes&\dqb Nb|\dqb mn\enotes
- %\check
- % mesure 50
- \barre\notes\hu H&\dqb aN\dqb M{=L}|\ql j\sk\ql m\enotes
- \temps\notes\qu G\sk\qu J&\hl{^L}|\dqb po\dqb nm\enotes
- \temps\Notes\hu F&\ql a\soupir|\ql m\qu m\enotes
- %\check
- % mesure 51
- \barre\Notes\hu H&\zhl a\itenu1f\hu f|\zhl h\qu j\enotes
- \temps\Notes\sk&|\hu o\enotes
- \temps\Notes\hu I&\tten1\itenl1b\zhl b\zhu f|\hl{_k}\enotes
- \temps\notes\sk&|\dqh nm\enotes
- \temps\Notes\hu J&\tten1\zhl b\hu{^e}|\zhl j\qu{^l}\enotes
- \temps\notes\sk&|\dqh mn\enotes
- %\check
- % mesure 52
- \barre\Notes\hu H&\zhl a\itenu1f\hu f|\zhl h\qu j\enotes
- \temps\Notes\sk&|\hu m\enotes
- \temps\Notes\hu{^H}&\zhl{^a}\tten1\itenu1f\hu f|\hl j\enotes
- \temps\Notes\sk&|\qu{=l}\enotes
- \temps\Notes\hu I&\tten1\zhl b\hu f|\zhl i\qu{_k}\enotes
- \temps\notes\sk&|\dqh jk\enotes
- %\check
- % mesure 53
- \barre\Notes\qu J&\zhl b\hu{^e}|\loff{\zqu j}\hl i\enotes
- \temps\Notes\qu I&|\qu{^l}\enotes
- \temps\Notes\qu H&\zql c\hu f|\zhl h\qu m\enotes
- \temps\notes\qu I&\ql{_d}|\dqh {=l}{_k}\enotes
- \temps\Notes\qu J&\zql c\hu{^e}|\zhl g\qu j\enotes
- \temps\Notes\qu I&\ql N|\qu {^l}\enotes
- %\check
- % mesure 54
- \barre\Notes\hu H&\zhl a\itenu0f\hu f|\zhl j\qu m\enotes
- \temps\Notes\sk&|\qu {=l}\enotes
- \temps\Notes\hu G&\zhl{^b}\tten0\hu f|\zhl {^i}\qu{=k}\enotes
- \temps\notes\sk&|\dqh jk\enotes
- \temps\Notes\hu J&\zhl N\hu{=e}|\zhl g\qu l\enotes
- \temps\notes\sk&|\dqh kj\enotes
- %\check
- % mesure 55
- \generalmeter{\meterfrac 22}%
- \changecontext\notes\hu G&\zql{^b}\hu f|\zhl{^i}\dqh lk\enotes
- \temps\notes\sk&\rlap{\sk\itenu1N}\dqb aN|\dqh j{^i}\enotes
- \temps\Notes\qu J&\tten1\zql N\qu e|\zhl g\qu j\enotes
- \temps\Notes\soupir&\itenu1c\zqu c\raise -\Interligne\soupir|\qu l\enotes
- %\check
- % mesure 56
- \generalmeter{\meterfrac 32}%
-\changecontext\Notes\hu G\sk\hu H&\tten1\zhl L\qu c\hu e\hl M|\zhl g\qu j\hu n\hl h\enotes
-\temps\notes&\dqh dc|\dqh ml\enotes
-\temps\Notes\hu F&\zhl K\qu {^b}|\zhl h\qu k\enotes
-\temps\notes&\dqh cd|\dqh lm\enotes
- %\check
- % mesure 57
-\barre\Notes\hu E&\zhl L\qu N\hu c|\itenl0j\zwh j\qu l\hu o\enotes
-\temps\Notes\hu J\sk\hu H&\hl {^L}\qu b\zhl M\qu a|\sk\qu n\tten0\zhl j\qu m\enotes
-\temps\notes&\rlap{\sk\itenu0c}\dqh bc|\dqh no\enotes
- %\check
- % mesure 58
-\barre\Notes\hu G\sk \qu J\qu H&\zql N\tten0\qu c\zql M\qu {^b}\zql L\qu N\zql a\qu
-d|\zql l\qu n\zql k\qu m\zql j\qu l\zql h\qu m\enotes %
-\temps\Notes\itenl2G\hu G&\zql N\qu e|\zql j\qu n\enotes
-\temps\notes&\rlap{\dqb aN}\dqh dc|\rlap{\dqb hg}\dqh ml\enotes
- %\check
- % mesure 59
- \generalmeter{\meterfrac 22}%
-\changecontext\Notes\tten2\hu G&\zql a\hu d\itenl1N\ql N|\zhl{^i}\roff{\Pince q}\hu k\enotes
-\temps\Notes\qu J\qu J&\tten1\zql N\qu e\soupir|\zql g\qu j\soupir\enotes
- %\check
- % mesure 60
- \barre \temps\Notes\qu K&\zhl a\itenu1f\hu f|\zhl h\hu k\enotes
- \temps\Notes\hu G\sk&\sk\itenl0N\zhl N\tten1\hu f|\sk\zhl {^i}\hu m\enotes
- \temps\notes\dqh H{^I}&|\enotes
- \temps\Notes\qu J&\tten0\zhl N\hu e|\zhl j\hu l\enotes
- \temps\notes\dqh KL&|\enotes
- %\check
- % mesure 61
- \barre\Notes\ql M&\zhl a\hu f|\zhl k\hu m\enotes
- \temps\notes\dqb Na&|\enotes
- \temps\Notes\ql N&\zhl c\hu g|\zhl l\itenu1n\hu n\enotes
- \temps\notes\dqb ML&|\enotes
- \temps\Notes\ql K&\zhl {^b}\hu f|\zhl k\tten1\hu n\enotes
- \temps\Notes\ql N&|\enotes
- %\check
- % mesure 62
- \setclef2{0000}\changeclefs
- \barre\Notes\hl J&\zhl c\hu e|\zhl g\qu j\enotes
- \temps\Notes\sk&|\hu l\enotes
- \temps\Notes\hl L&\zhl e\hu g|\hl j\enotes
- \temps\Notes\sk&|\qu n\enotes
- \temps\Notes\hl M&\itenl0d\zhl d\hu h|\zql j\itenu1o\hu o\enotes
- \temps\Notes\sk&|\ql k\enotes
- %\check
- % mesure 63
- \barre\Notes\hl N&\tten0\zhl d\hu f|\zhl{^i}\tten1\qu o\enotes
- \temps\notes\sk&|\dqh nm\enotes
- \temps\Notes\hl J&\zhl e\qu h|\zw j\hu l\enotes
- \temps\Notes\sk&\qu g|\enotes
- \temps\Notes\hl L&\zhl c\qu e|\hu m\enotes
- \temps\Notes\sk&\itenu1h\qu h|\enotes
- %\check
- % mesure 64
- \barre\Notes\hl{^I}&\tten1\zhl d\qu h|\zhl k\hu n\enotes
- \temps\notes\sk&\dqh gf|\enotes
- \temps\Notes\hl J&\zhl c\qu e|\zhl l\hu o\enotes
- \temps\Notes\sk&\hu j|\enotes
- \temps\Notes\hl{^L}&\hl g|\zhl k\hu n\enotes
- \temps\Notes\sk&\qu i|\enotes
- %\check
- % mesure 65
- \barre\Notes\hl M&\zql h\itenu1j\hu j|\itenl2l\zhl l\hu o\enotes
- \temps\notes\sk&\dqb gf|\enotes
- \temps\Notes\hl{=L}&\tten1\zql g\qu j|\tten2\zql l\hu q\enotes
- \temps\Notes\sk&\itenl1f\ql f|\ql o\enotes
- \temps\Notes\hl K&\roff{\tten1\zhl f}\qu g|\zql n\hu{^p}\enotes
- \temps\Notes\sk&\qu h|\ql m\enotes
- %\check
- % mesure 66
- \barre\Notes\qu J&\zhl e\itenu1g\wh g|\zhl j\qu l\enotes
- \temps\Notes\qu H&|\qu m\enotes
- \temps\Notes\hu G&\hl d|\zhl{^i}\hu n\enotes
- \temps\Notes\sk&|\enotes
- \temps\Notes\hu C&\zql c\zq e\tten1\qu g|\soupir\enotes
- \temps\Notes\sk&\soupir|\qu j\enotes
- %\check
- % mesure 67
- \barre\Notes\hu K&\zh{^b}\itenu1f\zhl f\bracket h{27}\hu h|\ql o\enotes
- \temps\Notes\sk&|\hl {^i}\enotes
- \temps\Notes\hu G&\tten1\zh a\itenl1d\zh d\hu f|\enotes
- \temps\notes\sk&|\dqb jk\enotes
- \temps\Notes\hu E&\roff{\itenu0c}\rh c\zh N\tten1\hu d|\ql g\enotes
- \temps\notes\sk&|\dqb nm\enotes
- %\check
- % mesure 68
- \barre\Notes\hu G&\tten0\itenl1a\itenl2c\zh{ac}\hu e|\ql l\enotes
- \temps\notes\sk&|\dqb mn\enotes
- \temps\Notes\hu F&\tten1\tten2\zh{a}\zhl c\qu f|\ql o\enotes
- \temps\notes\sk&\rlap{\sk\itenu2h}\dqh gh|\dqb nm\enotes
- \temps\Notes\hu G&\tten2\zh{^b}\zhl f\qu h|\ql {^p}\enotes
- \temps\notes\sk&\dqh gf|\dqb {^o}n\enotes
- %\check
- % mesure 69
- \barre\Notes\hu{^H}&\zh{ce}\hu g|\ql q\enotes
- \temps\Notes\sk&|\ql n\enotes
- \temps\notes\hu{=H}&\itenu1f\zh{^bf}\hu{=h}|\dqb ml\enotes
- \temps\notes\sk&|\dqb kj\enotes
- \temps\Notes\hu F&\tten1\zh{ad}\hu f|\ql o\enotes
- \temps\notes\sk&|\dqb nm\enotes
- %\check
- \generalmeter{\meterfrac 22}%
- % mesure 70
- \changecontext\notes\hu G&\itenu1c\itenu2e\zh{Nc}\hu e|\dqb lm\enotes
- \temps\Notes\sk&|\hl n\enotes
- \temps\Notes\hu J&\tten1\tten2\itenl0a\zh{ac}\hu e|\sk\enotes
- \temps\notes\sk&|\dqb ml\enotes
- %\check
- % mesure 71
- \generalmeter{\meterfrac 32}%
- \changecontext\Notes\qu G&\tten0\zh a\itenu2f\hu f|\ITrille 0p\zw{^i}\wh k\enotes
- \temps\Notes\qu H&|\enotes
- \temps\NOtes\wh G&\tten2\zw{^b}\wh f|\enotes
- \temps\NOtes\sk&|\Ttrille 0\zhl j\hu j\enotes
- %\check
- % mesure 72
- \barre\NOTes\whp C&\zwp{Nc}\whp e|\whp j\enotes
-\mulooseness 5\relax
-\finmorceau
-\rightline{\sl\aujourdhui}\vfil\eject
-\endinput
-
diff --git a/macros/musixtex/doc/examples/fugue.tex b/macros/musixtex/doc/examples/fugue.tex
deleted file mode 100644
index d6065f3651..0000000000
--- a/macros/musixtex/doc/examples/fugue.tex
+++ /dev/null
@@ -1,677 +0,0 @@
-\parindent 18mm
-%
-\centerline{\moyen FUGUE}\bigskip
-\tracingstats=2\relax
-%
-\nbporteesii=2\relax
-\def\nbinstruments{2}
-\global\cleftoksii={{6}{0}{0}{0}}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{1}\relax % sol majeur
-%\check
-\def\instrumenti{P\'edale 16'}%
-\def\instrumentii{G.O.}%
-%\check
-\def\gluemaxskip{7pt}%
-\medskip\noindent{\rm G.O.: mixtures, fonds 8'}%
-\par\noindent{\rm P\'ed.: fonds 16', tirasse G.O.}%
-\smallskip
-%
-\generalmeter{\meterfrac 68}%
-%
-\debutmorceau
-% calcul de \elemskip en fonction de la largeur de page pour eviter les glues
-%
-\autolines {12}45\relax
-%\check
-%
-\hyphenpenalty -50\relax
-\notes&|\Uptext{\hbox{\kern -16mm\moyen Giocoso \bf(\metron{\cu}{120})}}\enotes
-\advance\linesinpage by 1\relax
-%
-% formes frequentes
-\def\ptsoupir{\pt 5\soupir}% soupir pointe
-% deux croches hautes
-\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-\def\dqh{\dqu}\def\dqb{\dql}%
-%
-% formes frequentes
-% trois croches hautes
-\def\trql#1#2#3#4{\ibl0{#2}{#1}\qb0{#2#3}\tbl0\qb0{#4}}%
-\def\trqL#1#2#3#4{\ibl0{#3}{#1}\qb0{#2#3}\tbl0\qb0{#4}}%
-%\check
-\def\trqu#1#2#3#4{\ibu0{#2}{#1}\qh0{#2#3}\tbu0\qh0{#4}}%
-\def\trqU#1#2#3#4{\ibu0{#3}{#1}\qh0{#2#3}\tbu0\qh0{#4}}%
-%\check
-%
-% formes frequentes
-% trois croches hautes pizzicato
-\def\pztql#1#2#3#4{\ibl0{#2}{#1}\blpz0\qb0{#2}\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}%
-\def\pztqL#1#2#3#4{\ibl0{#3}{#1}\blpz0\qb0{#2}\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}%
-%
-\def\pztqu#1#2#3#4{\ibu0{#2}{#1}\bupz0\qh0{#2}\bupz0\qh0{#3}\bupz0\tbu0\qh0{#4}}%
-\def\pztqU#1#2#3#4{\ibu0{#3}{#1}\bupz0\qh0{#2}\bupz0\qh0{#3}\bupz0\tbu0\qh0{#4}}%
-%
-\def\lpztqu#1#2#3#4{\ilegl0{#3}\ibu0{#2}{#1}\qh0{#2}\tleg0\bupz0\qh0{#3}\bupz0\tbu0\qh0{#4}}%
-\def\lpztqL#1#2#3#4{\ilegu0{#2}\ibl0{#3}{#1}\qb0{#2}\tleg0\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}%
-\def\lpztql#1#2#3#4{\ilegu0{#3}\ibl0{#2}{#1}\qb0{#2}\tleg0\blpz0\qb0{#3}\blpz0\tbl0\qb0{#4}}%
-%
-\def\lPztqL#1#2#3#4{\ilegu0{#2}\ibl0{#3}{#1}\qb0{#2}\tleg0\upzqb{#3}\tbl0\upzqb{#4}}%
-\def\lPztql#1#2#3#4{\ilegu0{#3}\ibl0{#2}{#1}\qb0{#2}\tleg0\upzqb{#3}\tbl0\upzqb{#4}}%
-\def\lPztqU#1#2#3#4{\ilegl0{#2}\ibu0{#3}{#1}\qh0{#2}\tleg0\lpzqh{#3}\tbu0\lpzqh{#4}}%
-%
-\def\upzqb#1{\upz{#1}\qb0{#1}}%
-\def\lpzqh#1{\lpz{#1}\qh0{#1}}%
-%
-\def\Pztql#1#2#3#4{\ibl0{#2}{#1}\upzqb{#2}\upzqb{#3}\tbl0\upzqb{#4}}%
-\def\PztqL#1#2#3#4{\ibl0{#3}{#1}\upzqb{#2}\upzqb{#3}\tbl0\upzqb{#4}}%
-\def\Pztqu#1#2#3#4{\ibu0{#2}{#1}\lpzqh{#2}\lpzqh{#3}\tbu0\lpzqh{#4}}%
-\def\PztqU#1#2#3#4{\ibu0{#3}{#1}\lpzqh{#2}\lpzqh{#3}\tbu0\lpzqh{#4}}%
-\def\Pztqh{\Pztqu}\def\Pztqb{\Pztql}%
-%
-% deux doubles croches hautes
-\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-\def\dqbbh{\dqbbu}\def\dqbbb{\dqbbl}%
-%
-% quatre doubles croches
-\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbH#1#2#3#4#5#6{\ibbu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax
-\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}%
-\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-\def\qqbbL#1#2#3#4#5#6{\ibbl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax
-%\check
-% quatre croches
-\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbH#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax
-\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-\def\qqbL#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax
-%\check
-% croche pointee et 3 doubles croches
-\def\cpdddu#1#2#3#4{\ibu0{#1}{-2}\qhp0{#1}\sk\sk\nbbu0\qh0{#2}\qh0{#3}\tqh0{#4}}%
-\def\cpdddl#1#2#3#4{\ibl0{#2}{-2}\qbp0{#1}\sk\sk\nbbl0\qb0{#2}\qb0{#3}\tqb0{#4}}%
-%\check
-% croche et 4 doubles croches
-\def\cddddu#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#2}\sk\nbbu0\qh0{#3#4#5}\tqh0{#6}}%
-\def\cddddl#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#2}\sk\nbbl0\qb0{#3#4#5}\tqb0{#6}}%
-%
-\def\doubler{\multiply\noteskip by 2\relax}%
-%
-% mesure 1
-\Notes&|\pztql0iki\enotes
-\temps\notes\pause&\pause|\cpdddl lkji\enotes
-%\check
-% mesure 2
-\barre\Notes&|\pztqU0hjh\enotes
-\temps\Notes\pause&\pause|\qu k\sk\dsoupir\enotes
-%\check
-% mesure 3
-\barre\Notes&|\pztqU0gig\enotes
-\temps\Notes\pause&\pause|\pztqu0jhj\enotes
-%
-% mesure 4
-\barre\Notes&|\lpztqu0khk\enotes
-\temps\notes\pause&\pause|\cddddu2ighij\enotes
-%\check
-% mesure 5
-\barre\autolines {10}55\relax
-\Notes&\Pztql0bdb|\pztql0kmk\enotes
-\temps\notes\pause&\doubler\ql L\sk\cu{^J}|\cpdddl nmlk\enotes
-%\check
-% mesure 6
-\barre\Notes&\sh a\Pztql0a{^c}a|\sh j\pztql0jlj\enotes
-\temps\Notes\pause&\ql K\sk\cl M|\ql m\sk\dsoupir\enotes
-%\check
-% mesure 7
-\barre\Notes&\ql N\sk\cl b|\pztql0iki\enotes
-\temps\Notes\pause&\ql c\sk\na a\cl a|\pztqL0l{=j}l\enotes
-% mesure 8
-\barre\Notes&\ql M\sk\cl K|\pztqL0khk\enotes
-\temps\notes\pause&\ql N\sk\dsoupir|\cddddu1gefgh\enotes
-% mesure 9
-\barre\Notes&\pztql0LNL|\rlap{\qlp i}\qup n\enotes
-\temps\notes\pause&\cpdddl aNML|\rlap{\qlp j}\qup l\enotes
-%\check
-% mesure 10
-\barre\Notes&\pztql0KMK|\rlap{\qlp h}\qup m\enotes
-\temps\notes\pause&\cpdddl baNM|\rlap{\qlp g}\qup k\enotes
-% mesure 11
-\barre\Notes&\pztql0LNL|\rlap{\qup l}\pztql2ghi\enotes
-\temps\Notes\pause&\pztqu{-2}JIH|\itenu0m\rlap{\qup m}\pztql2hi{^j}\enotes
-% mesure 12
-\barre\Notes\ptsoupir&\pztqu0I{^K}I|\tten0\sh k\rlap{\qlp k}\qup m\enotes
-\temps\Notes\PztqU0EGE&\qu L\sk\dsoupir|\zql i\qu n\sk\dsoupir\enotes
-%\check
-\cleftoksii={{0}{0}{0}{0}}\changeclefs %
-% mesure 13
-\barre\Notes\qu I\sk\dsoupir&\PztqU0{^d}fd|\pztql0i{^k}i\enotes
-\temps\notes\doubler\pztqU0EGE&\doubler\pztqu0geg|\cpdddu l{=k}ji\enotes
-%\check
-% mesure 14
-\barre\Notes\qu J\sk\dsoupir&\PztqU0cec|\pztql0hjh\enotes
-\temps\notes\doubler\pztqU0FHF&\doubler\PztqU0{^d}fd|\cpdddl ml{^k}j\enotes
-%\check
-\def\atnextline{\autolines{10}45}\relax
-% mesure 15
-\barre\Notes\qup{^K}&\pztqU0fhf|\pztql0i{^k}i\enotes
-\temps\Notes\qlp L&\pztqu0igi|\pztqL0nln\enotes
-%\check
-% mesure 16
-\barre\Notes\qup I&\qup{^d}|\rlap{\qup m}\pztql0i{^k}i\enotes
-\temps\notes\qup J&\doubler\pztqU0ege|\bigaccid
- \rlap{\qup n}\cpdddl l{=k}ji\enotes
-%\check
-% mesure 17
-\barre\notes\qup H&\cpdddu fe{=d}c|\doubler\rlap{\qup m}\pztql0hjh\enotes
-\temps\Notes\qup I&\PztqU0bdb|\zql i\qu n\sk\dsoupir\enotes
-%\check
-% mesure 18
-\barre\notes\qup G&\cpdddu edcb|\doubler\zhup l\pztql0gig\enotes
-\temps\Notes\qup H&\PztqU0aca|\pztqL0jhj\enotes
-%
-% mesure 19
-\barre\Notes\qup F&\Pztqu0dcd|\rlap{\qup m}\lpztqL0khk\enotes
-\temps\notes\qup G&\qu b\sk\sk\sk\dsoupir|\rlap{\doubler
- \qu n\sk\raise 2\Interligne\dsoupir}\cl i\sk\qqbbl2ghij\off{-\elemskip}\enotes
-%\check
-% mesure 20
-\cleftoksii={{6}{0}{0}{0}}\changeclefs %
-\barre\Notes\qup I&\Pztql0bdb|\rlap{\qlp g}\pztqU0kmk\enotes
-\temps\notes\qup E&\doubler\PztqL0ebe|\rlap{\qlp i}\cpdddu nmlk\enotes
-%\check
-% mesure 21
-\barre\notes\qup H&\bigsh c\cpdddl cbaN|\itenl0h\rlap{\qlp h}\doubler\sh j\pztqU0jlj\enotes
-\temps\Notes\qup D&\pztql0MaM|\tten0\zql h\qu m\sk\dsoupir\enotes
-%\check
-\def\atnextline{\autolines{10}55}\relax
-% mesure 22
-\barre\notes\qup G&\cpdddl baNM|\rlap{\hlp g}\doubler\pztqU0iki\enotes
-\temps\Notes\qup C&\pztql0LNL|\pztqu0ljl\enotes
-% mesure 23
-\barre\Notes\qup D&\pztql0MKM|\rlap{\qlp f}\pztqu0khk\enotes
-\temps\notes\qup G&\ql b\sk\sk\sk\dsoupir|\rlap{\doubler
- \ql d\sk\raise-2\Interligne\dsoupir}\cu i\sk\qqbbu2ghij\enotes
-%\check
-% mesure 24
-\cleftoksii={{6}{0}{0}{0}}\changeclefs %
-\barre\Notes\qup I&\Pztql0bdb|\rlap{\qlp g}\pztqU0kmk\enotes
-\temps\notes\qup E&\doubler\PztqL0ebe|\rlap{\qlp i}\cpdddu nmlk\enotes
-%\check
-% mesure 25
-\barre\notes\qup H&\cpdddl cbaN|\itenl0h\rlap{\qlp h}\doubler\pztqU0jlj\enotes
-\temps\Notes\qup D&\pztql0MaM|\tten0\zql h\qu m\sk\dsoupir\enotes
-%\check
-% mesure 26
-\barre\notes\qup G&\cpdddl baN{=M}|\rlap{\hlp g}\doubler\pztqU0iki\enotes
-\temps\Notes\qup C&\qlp L|\pztqu0ljl\enotes
-% mesure 27
-\barre\Notes\qup {=F}&\qlp a|\rlap{\hlp{=f}}\pztqu0khk\enotes
-\temps\Notes\qup G&\qlp N|\pztqu0igi\enotes
-\signaturegenerale{0}%
-% mesure 28
-\changecontext\Notes\pztql0JLJ&\ql N\sk\dsoupir|\zql c\qu j\sk\dsoupir\enotes
-\transpose=1\relax % pour eviter de monter d'un cran ce qui ecrit en si bemol
-\temps\notes\cpdddl MLKJ&\ptsoupir|\ptsoupir\enotes
-% mesure 29
-\barre\Notes\pztql0IKI\enotes
-\temps\notes\cpdddl NMLK&\pause|\pause\enotes
-% mesure 30
-\barre\Notes\pztql0JLJ\enotes
-\temps\Notes\lpztqL0aMa&\pause|\pause\enotes
-% mesure 31
-\barre\Notes\lpztqL0bab\enotes
-\temps\Notes\ql M\sk\dsoupir&\pause|\pause\enotes
-% mesure 32
-\barre\Notes\qup I&\Pztql0bdb|\rlap{\kern -1pt\qlp i}\pztqU0dfd\enotes
-\temps\notes\doubler\qup L&\doubler\pztqL0NLN|\zql e\cpdddu gfed\enotes
-% mesure 33
-\barre\Notes\qup H&\pztql0aca|\rlap{\kern -1pt\qlp h}\PztqU0cec\enotes
-\temps\notes\qup K&\doubler\pztql0MaM|\rlap{\qlp d}\cpdddu fedc\enotes
-% mesure 34
-\barre\Notes\qup G&\pztql0NbN|\rlap{\kern -1pt\hlp g}\PztqU0bdb\enotes
-\temps\notes\qup J&\cpdddl NMLK|\doubler\Pztqu0ece\enotes
-% mesure 35
-\barre\Notes\qup H&\pztql1JML|\rlap{\kern -1pt\qlp h}\pztqu0fcf\enotes
-\transpose=0\relax % retour a la normale
-\temps\Notes\qu J&\zql L\qu N\sk\dsoupir|\rlap{\kern -1pt\qlp j}\Pztqu{-3}ecb\enotes
-\signaturegenerale{-3}%
-% mesure 36
-\changecontext\Notes\PztqU0CEC&|\qu c\sk\dsoupir\enotes
-\temps\Notes\qu G\sk\dsoupir&\pause|\Pztqu0{=b}db\enotes
-% mesure 37
-\barre\notes\doubler\PztqU0CEC&|\cpdddu gfed\enotes
-\temps\Notes\qu H\sk\dsoupir&\pause|\Pztqu0cec\enotes
-% mesure 38
-\barre\notes\doubler\PztqU0DFD&|\cpdddu hgfe\enotes
-\temps\Notes\qu {=I}\sk\dsoupir&\pause|\Pztqu0dfd\enotes
-% mesure 39
-\barre\notes\doubler\PztqU0G{=I}G&|\bigaccid\cpdddu {=i}{=h}gf\enotes
-\temps\Notes\qu J\sk\dsoupir&\pause|\pztqU0ege\enotes
-% mesure 40
-\barre\notes\qup E&\rlap{\qlp L}\cpdddu cbaN|\doubler\pztqu0jgj\enotes
-\temps\Notes\qup F&\rlap{\qlp M}\pztqU0cac|\bigna h\pztqu0hfh\enotes
-% mesure 41
-\barre\notes\qup I&\rlap{\qlp M}\cpdddu dcba|\doubler\pztqu0khk\enotes
-\temps\Notes\qup L&\rlap{\qlp N}\pztqu0beb|\pztqu0igi\enotes
-% mesure 42
-\barre\notes\qup J&\rlap{\qlp N}\cpdddu edcb|\doubler\pztqu0lil\enotes
-\temps\Notes\qup H&\rlap{\qlp a}\qup c|\pztqu0jhj\enotes
-% mesure 43
-\barre\notes\doubler\qup{=H}&\rlap{\bigna a\qlp a}\cpdddu fedc|\doubler\pztqu0mjm\enotes
-\temps\Notes\qup I&\rlap{\qlp b}\itenu0d\qup d|\pztqu0kik\enotes
-% mesure 44
-\barre\Notes\qup G&\tten0\rlap{\qlp{=b}}\qup d|\pztqL0nkn\enotes
-\temps\Notes\qup J&\itenu0c\itenu1e\rlap{\zqp c\qlp N}\qup e|\pztql0ljl\enotes
-% mesure 45
-\barre\Notes\qup{=H}&\tten0\tten1\itenu0a\rlap{\zqp c\qlp{=a}}\qup e|\na o\pztqL0olo\enotes
-\temps\Notes\qup J&\tten0\itenu0d\rlap{\zqp a\qup{^M}}\qup d|\pztqu0{^m}km\enotes
-% mesure 46
-\signaturegenerale{-2}%
-\changecontext\Notes\qup G&\tten0\zqp {Nb}\qlp d|\pztql{-4}nkj\enotes
-\temps\Notes\ptsoupir&\ptsoupir|\pztql2ijk\enotes
-% mesure 47
-\barre\Notes\qup G&\Pztql0bdb|\qu g\sk\dsoupir\enotes
-\temps\notes\qup J&\cpdddl edcb|\ptsoupir\enotes
-% mesure 48
-\barre\Notes\qup F&\Pztql0aca|\enotes
-\temps\notes\qup I&\cpdddl dcba|\pause\enotes
-% mesure 49
-\barre\Notes\qup E&\Pztql0NbN|\enotes
-\temps\Notes\qup H&\lPztqL0cac|\pause\enotes
-% mesure 50
-\barre\Notes\sh F\qup F&\PztqL0dad\enotes
-\temps\notes\qup G&\cl b\sk\qqbbl3Nabc|\pause\enotes
-% mesure 51
-\barre\Notes\qup I&\PztqL0dbd|\pztql0iki\enotes
-\temps\notes\qup J&\doubler\PztqL0geg|\cpdddl lkji\enotes
-%\check
-% mesure 52
-\barre\Notes\qup L&\Pztql0cec|\pztqU0hjh\enotes
-\temps\Notes\qup K&\PztqL0{^f}df|\qu k\sk\dsoupir\enotes
-%\check
-% mesure 53
-\barre\Notes\qup E&\Pztql0bdb|\pztqU0gig\enotes
-\temps\notes\qup H&\cpdddl edcb|\doubler\pztqu0jhj\enotes
-%
-% mesure 54
-\barre\Notes\qup{^F}&\lpztql0ada|\Pztqu0khk\enotes
-\temps\notes\qup G&\itenl0N\rlap{\qlp N}\qup d|\cddddu2ighij\enotes
-%\check
-% mesure 55
-\barre\Notes\qup I&\tten0\rlap{\kern 1pt\qup N}\Pztql0bdb|\pztql0kmk\enotes
-\temps\notes\qup G&\doubler\rlap{\kern 1pt\qup a}\Pztql0ege|\bigaccid
- \cpdddl n{=m}lk\enotes
-%\check
-% mesure 56
-\barre\Notes\qup H&\sh M\rlap{\kern 1pt\hup M}\Pztql0aca|\pztql0jlj\enotes
-\temps\Notes\qup K&\Pztql0d{^f}d|\ql{^m}\sk\dsoupir\enotes
-%\check
-% mesure 57
-\barre\Notes\qup G&\rlap{\kern 1pt\qup N}\PztqL0dbd|\pztql0iki\enotes
-\temps\Notes\qup H&\rlap{\kern 1pt\qup L}\PztqL0cac|\pztqL0ljl\enotes
-% mesure 58
-\barre\Notes\qup{^F}&\sh M\rlap{\kern 1pt\qup M}\Pztql0aca|\pztqL0khk\enotes
-\temps\Notes\itenl0G\qup G&\rlap{\qup d}\Pztql0NbN|\qu g\sk\dsoupir\enotes
-% mesure 59
-\barre\notes\tten0\qup G&\bigfl e\cpdddl edcb|\enotes
-\temps\Notes\qup{=F}&\Pztql0aca|\pause\enotes
-%\check
-% mesure 60
-\barre\Notes\qu I\sk\dsoupir&\ql d\sk\dsoupir|\ptsoupir\enotes
-\temps\Notes\qup E&\Pztql2Nab|\qup i\enotes
-% mesure 61
-\barre\notes\qup H&\doubler\Pztql0cec|\cpdddl lkji\enotes
-\temps\Notes\qup D&\Pztql2MNa|\qup h\enotes
-% mesure 62
-\barre\Notes\qup G&\Pztql0bdb|\qup k\enotes
-\temps\Notes\qup C&\pztql2LMN|\qup g\enotes
-% mesure 63
-\barre\Notes\hup H&\Pztql0aca|\pztql0jlj\enotes
-\temps\Notes&\pztqL0MLM|\pztqu0hfh\enotes
-%\check
-% mesure 64
-\barre\Notes\pztql0IKI&\ql b\sk\dsoupir|\ql i\sk\dsoupir\enotes
-\temps\notes\cpdddl MLKJ&\ptsoupir|\ptsoupir\enotes
-% mesure 65
-\barre\Notes\pztql0IKI\enotes
-\temps\notes\cpdddl NMLK&\pause|\pause\enotes
-% mesure 66
-\barre\Notes\pztql0JLJ\enotes
-\temps\Notes\lpztqL0aMa&\pause|\pause\enotes
-% mesure 67
-\barre\Notes\lpztqL0bab\enotes
-\temps\Notes\ql M\sk\dsoupir&\pause|\pause\enotes
-% mesure 68
-\barre\Notes\qup I&\Pztql0bdb|\pztqU0dfd\enotes
-\temps\notes\doubler\qup L&\doubler\pztqL0NLN|\cpdddu gfed\enotes
-% mesure 69
-\barre\Notes\qup H&\pztql0aca|\PztqU0cec\enotes
-\temps\notes\qup K&\doubler\pztql0MaM|\cpdddu fedc\enotes
-% mesure 70
-\barre\Notes\qup G&\pztql0NbN|\PztqU0bdb\enotes
-\temps\notes\qup J&\cpdddl NMLK|\doubler\Pztqu0ece\enotes
-% mesure 71
-\barre\Notes\qup H&\pztql1JML|\pztqu0fcf\enotes
-\temps\Notes\qup I&\itenl0M\rlap{\qlp K}\qup M|\pztqu0dbd\enotes
-% mesure 72
-\barre\Notes\qup{=I}&\tten0\pt a\rlap{\qu N}\qsk\qlp M|\pztqu0gdg\enotes
-\temps\Notes\qup J&\itenl0L\rlap{\qlp L}\qup N|\pztqu0ece\enotes
-% mesure 73
-\barre\Notes\qup H&\tten0\rlap{\qlp L}\hup a|\pztqu0heh\enotes
-\temps\Notes\itenl0K\qup K&\itenl1M\qlp M|\pztqu0fdf\enotes
-% mesure 74
-\barre\Notes\tten0\qup K&\tten1\rlap{\qlp M}\hup b|\pztqu0ifi\enotes
-\temps\Notes\qlp L&\itenl0N\qlp N|\pztqu0geg\enotes
-% mesure 75
-\barre\Notes\qup J&\tten0\rlap{\qlp N}\zhp c\hup e|\pztqu0jgj\enotes
-\temps\Notes\qlp M&\itenu0a\qlp a|\pztqu0hfh\enotes
-% mesure 76
-\barre\Notes\qup K&\tten0\itenu0d\zqp{^Ma}\qlp d|\pztqu0khk\enotes
-\temps\Notes\qup G&\tten0\itenl0N\itenu1b\zqp{dN}\qlp b|\pztqu0igi\enotes
-% mesure 77
-\barre\Notes\qup J&\tten0\tten1\zqp{N}\rlap{\qlp b}\hup e|\pztqu0lil\enotes
-\temps\Notes\qup H&\itenl2a\itenu3c\zqp{a}\qlp c\relax
-|\pztqu0jhj\enotes
-% mesure 78
-\barre\Notes\qup K&\tten2\tten3\rlap{\kern 1pt\qup c}\zhp a\hlp{^f}|\pztqL0{^m}km\enotes
-\temps\Notes\qup J&\qlp d|\pztqL0{m}km\enotes
-% mesure 79
-\signaturegenerale{1}%
-\changecontext\Notes\qup G&\zqp {Nb}\qlp d|\pztql{-4}nkj\enotes
-\temps\Notes\ptsoupir&\ptsoupir|\lpztql2{=i}jk\enotes
-% mesure 80
-\barre\Notes\qup G&\Pztql0bdb|\qup g\enotes
-\temps\notes\qup J&\cpdddl edcb|\ptsoupir\enotes
-% mesure 81
-\barre\Notes\qup F&\Pztql0aca|\enotes
-\temps\notes\qup I&\cpdddl dcba|\pause\enotes
-% mesure 82
-\barre\Notes\qup E&\Pztql0NbN|\enotes
-\temps\Notes\qup H&\lPztqL0cac|\pause\enotes
-% mesure 83
-\barre\Notes\qup F&\PztqL0dad\enotes
-\temps\notes\qup G&\cl b\sk\qqbbl2Nabc|\pause\enotes
-\cleftoksii={{0}{0}{0}{0}}\changeclefs
-% mesure 84
-\barre\Notes\qup I&\PztqU0dfd|\pztql0iki\enotes
-\temps\notes\qup E&\doubler\pztqu0geg|\cpdddl lkji\enotes
-%\check
-% mesure 85
-\barre\Notes\qup F&\PztqU0{^c}ec|\pztqU0{^h}{^j}h\enotes
-\temps\Notes\qup I&\Pztqu0fdf|\qu k\sk\dsoupir\enotes
-%\check
-% mesure 86
-\barre\Notes\qup E&\PztqU0bdb|\pztqU0gig\enotes
-\temps\notes\qup H&\cpdddu ed{=c}b|\doubler\pztqu0j{=h}{=j}\enotes
-%
-% mesure 87
-\barre\Notes\qup{=F}&\lPztqU0ada|\lpztqu0khk\enotes
-\temps\Notes\qup G&\Pztqu0d{_b}d|\pztqu0{_i}gi\enotes
-% mesure 88
-\barre\Notes\qup J&\PztqU0cec|\pztqL0l{_i}l\enotes
-\cleftoksii={{6}{0}{0}{0}}\changeclefs
-\temps\Notes\qup{=F}&\pztqL0a{_L}a|\pztqu0h{=f}h\enotes
-%\check
-\signaturegenerale{-2}%
-% mesure 89
-\changecontext\Notes\qup I&\Pztql0bdb|\rlap{\kern -1pt\hlp i}\pztqU0dfd\enotes
-\temps\notes\doubler\qup L&\doubler\pztqL0NLN|\cpdddu gfed\enotes
-% mesure 90
-\barre\Notes\qup H&\pztql0aca|\rlap{\kern -1pt\hlp h}\PztqU0cec\enotes
-\temps\notes\qup K&\doubler\pztql0MaM|\cpdddu fedc\enotes
-% mesure 91
-\barre\Notes\qup G&\pztql0NbN|\rlap{\kern -1pt\hlp g}\PztqU0bdb\enotes
-\temps\notes\qup J&\cpdddl NMLK|\doubler\Pztqu0ece\enotes
-% mesure 92
-\barre\Notes\qup H&\pztql1JML|\rlap{\kern -1pt\qlp h}\pztqu0fcf\enotes
-\temps\Notes\qup I&\ql K\sk\dsoupir|\zql d\qu i\sk\dsoupir\enotes
-% mesure 93
-\barre\Notes&\Pztql0bdb\enotes
-\temps\notes\pause&\bigaccid\cpdddl edcb|\pause\enotes
-% mesure 94
-\barre\Notes&\fl a\Pztql0aca|\enotes
-\temps\Notes\pause&\ql d\sk\dsoupir|\pause\enotes
-% mesure 95
-\barre\Notes&\Pztql2N{_a}b\enotes
-\temps\Notes\pause&\lpztqL{-2}cba|\pause\enotes
-% mesure 96
-\barre\Notes&\Pztql0b{_a}b|\ptsoupir\enotes
-\temps\Notes\pause&\qlp L|\Pztqu0ege|\enotes
-% mesure 97
-\barre\notes&\qlp K|\bigaccid\cpdddu i{_h}gf\enotes
-\temps\Notes\pause&\qlp J|\Pztqu0ege\enotes
-\def\atnextline{\autolines{9}65}\relax
-% mesure 98
-\barre\Notes&\qup{_H}|\ql j\sk\dsoupir\enotes
-\temps\Notes\pause&\qlp I|\Pztqu0f{_h}f\enotes
-% mesure 99
-\barre\Notes&\qup K|\lpztqL0kik\enotes
-\temps\Notes\pause&\qup L|\Pztqu{-3}li{_h}\enotes
-% mesure 100
-\def\atnextline{\autolines{10}55}\relax
-\barre\Notes&\Pztql0N{=b}N|\qu g\sk\dsoupir\enotes
-\temps\notes\pause&\cpdddl edcb|\ptsoupir\enotes
-%\check
-% mesure 101
-\barre\Notes&\cna a\Pztql0aca\enotes
-\temps\Notes\pause&\qu K\sk\dsoupir|\pause\enotes
-% mesure 102
-\barre\Notes&\lPztql2Nab\enotes
-\temps\Notes\pause&\Pztql0cec|\pause\enotes
-%\check
-% mesure 103
-\barre\Notes&\lPztql2MNa\enotes
-\temps\Notes\pause&\Pztql0bdb|\pause\enotes
-% mesure 104
-\barre\Notes&\lPztql2LMN\enotes
-\temps\Notes\pause&\Pztql0aca|\pause\enotes
-% mesure 105
-\barre\Notes&\lPztql2K{=L}{^M}\enotes
-\temps\Notes\pause&\Pztql0NbN|\pause\enotes
-%\check
-% mesure 106
-\barre
-\Notes&\ql d\sk\dsoupir|\ptsoupir\enotes
-\temps\Notes\pause&\Pztql0N{=b}N|\rlap{\qlp{=i}}\qup k\enotes
-% mesure 107
-\barre\notes&\cpdddl edcb|\doubler\rlap{\qlp g}\pztqu0ljl\enotes
-\temps\Notes\pause&\Pztql0aca|\rlap{\qlp f}\qup h\enotes
-% mesure 108
-\barre\Notes&\qu K\sk\dsoupir|\rlap{\qlp{^f}}\pztqu0khk\enotes
-\temps\Notes\pause&\lPztql2Nab|\itenl0g\rlap{\qlp g}\qup i\enotes
-%\check
-% mesure 109
-\barre\notes&\doubler\Pztql0cec|\tten0\rlap{\qlp g}\cpdddu lkji\enotes
-\temps\Notes\pause&\lPztql2MNa|\itenl0f\rlap{\qlp {=f}}\qup h\enotes
-% mesure 110
-\barre\Notes&\Pztql0bdb|\tten0\rlap{\qlp f}\qup k\enotes
-\temps\Notes\pause&\lPztql2LMN|\itenl0e\rlap{\qlp e}\qup g\enotes
-% mesure 111
-\barre\notes&\doubler\Pztql0aca|\tten0\rlap{\qlp e}\cpdddu jihg\enotes
-\temps\Notes\pause&\lPztql2K{=L}{^M}|\rlap{\qlp d}\qup{^f}\enotes
-%\check
-% mesure 112
-\barre\Notes&\Pztql0NbN|\itenl1g\rlap{\hlp g}\qup i\enotes
-\temps\Notes\pause&\lPztql2JK{_L}|\qup l\enotes
-% mesure 113
-\barre\Notes&\Pztql0{=M}N{_a}|\rlap{\qsk\tten1\qlp g}\pt i\hu{_h}\enotes
-\temps\Notes\pause&\lpztql2KLM|\zqp {=f}\qlp k\enotes
-\def\atnextline{\autolines {13}45}\relax
-% mesure 114
-\barre\Notes\ptsoupir&\pztqL0NMN|\rlap{\qlp g}\qup{=i}\enotes
-\temps\Notes\PztqU0CEC&\qu J\sk\dsoupir|\ptsoupir\enotes
-%\check
-% mesure 115
-\barre\NOtes\qu G\sk\dsoupir&|\PztqU0cec\enotes
-\temps\notes\doubler\Pztqu0CEC&\pause|\cpdddu gfed\enotes
-% mesure 116
-\barre\NOtes\qu{_H}\sk\dsoupir&|\PztqU0cec\enotes
-\temps\notes\doubler\PztqU0DFD&\pause|\bigfl h\cpdddu hgfe\enotes
-% mesure 117
-\barre\NOtes\qu{=I}\sk\dsoupir&|\PztqU0dfd\enotes
-\temps\notes\doubler\pztqU0GIG&\pause|\bigaccid\na i\cpdddu i{=h}gf\enotes
-%\check
-% mesure 118
-\barre\NOtes\qup J&\trql{-3}cN{^M}|\uptext
- {\it legato}\rlap{\qlp e\itenl0g\ql g}\trqu6egj\enotes
-\temps\NOtes\pointdorgue N\qu G\sk\dsoupir
- &\pointdurgue H\ql N\sk\dsoupir|\tten0\zq d\zql g\pointdorgue o\qu{=i}\sk\dsoupir\enotes
-\signaturegenerale{-3}%
-% mesure 119
-\setdoublebar
-\changecontext\NOtes\qup J&\rlap{\qup e}\trqL0cNc|\Uptext{\bf\kern -14mm+acc. III}\rlap{\zqp g\qlp j}\trqU0lnl\enotes
-\temps\notes\qup F&\doubler
- \rlap{\qlp L}\trqu0cac|\rlap{\zqp h\qlp j}\cpdddu onml\enotes
-%\check
-% mesure 120
-\barre\NOtes\qup I&\rlap{\qup d}\trqL0aMa|\rlap{\zqp f\qlp h}\trqU0kmk\enotes
-\temps\notes\qup E&\doubler
- \rlap{\qlp K}\trqu0bNb|\rlap{\zqp g\qlp i}\cpdddu nmlk\enotes
-% mesure 121
-\barre\NOtes\qup H&\rlap{\qup c}\trqL0aLa|\rlap{\zqp e\qlp h}\trqU0jlj\enotes
-\temps\NOtes\qup F&\rlap{\qlp M}\trqu0dad|\rlap{\zqp f\qlp h}\trqu0mkm\enotes
-% mesure 122
-\barre\NOtes\qup G&\rlap{\qup {=b}}\trqL0NMN|\rlap{\zqp d\qlp f}\na i\trqU0igi\enotes
-\temps\NOtes\qup E&\rlap{\qlp L}\trqu0cNc|\rlap{\zqp e\qlp g}\trqu0jlj\enotes
-%\check
-% mesure 123
-\barre\NOtes\qu G\sk\dsoupir&\zq{KN=b}\ql d\sk\dsoupir
- |\zq{=ik}\ql n\sk\dsoupir\enotes
-\temps\NOtes\qup J&\rlap{\qup e}\trqL0cNc|\rlap{\zqp g\qlp j}\trqU0lnl\enotes
-% mesure 124
-\barre\notes\qup F&\doubler
- \rlap{\qlp L}\trqu0cac|\rlap{\zqp h\qlp j}\cpdddu onml\enotes
-\temps\NOtes\qup I&\rlap{\qup d}\trqL0aMa|\rlap{\zqp f\qlp h}\trqU0kmk\enotes
-%\check
-% mesure 125
-\def\atnextline{\autolines {12}45}\relax
-\signaturegenerale{-2}\relax
-\changecontext\notes\qup E&\doubler
- \rlap{\qlp K}\trqu0bNb|\rlap{\zqp g\qlp i}\cpdddu nmlk\enotes
-\temps\NOtes\qup H&\rlap{\qup c}\trqL0N{^M}N|\relax
- \rlap{\zqp{^f}\qlp h}\trqU0jlj\enotes
-% mesure 126
-\barre\NOtes\qup{^F}&\rlap{\qlp{^M}}\trqu0dad|\rlap{\zqp{^f}\qlp h}\trqu0{^m}km\enotes
-\temps\NOtes\qup G&\rlap{\qup d}\trqL0bNb|\rlap{\zqp g\qlp i}\trqu{-5}nkj\enotes
-% mesure 127
-\barre\NOtes\qup D&\itenl0K\rlap{\qlp K}\trqU{-2}cba|\rlap{\zqp d\qlp{^f}}\trqu2ijk\enotes
-\temps\NOtes\qu G\sk\dsoupir&\tten0\zq{KN}\ql b\sk\dsoupir
- |\qu g\sk\dsoupir\enotes
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% reprise prelude
-%\check
-% mesure 128
-\barre\def\atnextline{\autolines{12}35}\relax
-\notes\qup G&\zqu N\qqbbl0N{dbd}Nb|\doubler\rlap{\trqL0igi}\trqu0kik\enotes
-\temps\notes\qup J&\zqu L\qqbbl0L{cNc}LN|\doubler\rlap{\trqL0jej}\trqu0lgl\enotes
-%\check
-% mesure 129
-\barre
-\notes\qup F&\zqu M\qqbbl0M{cac}Ma|\doubler\rlap{\trqL0hfh}\trqu0jhj\enotes
-\temps\notes\qup I&\zqu K\qqbbl0K{bMb}KM|\doubler\rlap{\trqL0idi}\trqu0kfk\enotes
-%\check
-% mesure 130
-\barre\notes\qup E&\zqu L\qqbbl0L{bNb}LN|\doubler\rlap{\trqL0geg}\relax
- \trqu0igi\enotes
-\temps\notes\qup H&\zqu J\qqbbl0J{aLa}JL|\doubler\rlap{\trqL0hch}\trqu0jej\enotes
-% mesure 131
-\barre\notes\qup D&\zqu K\qqbbl0K{a^Ma}KM|\doubler\rlap{\trqL0{^f}df}\relax
- \trqu0hfh\enotes
-\temps\notes\qup G&\zqu N\qqbbl0N{dad}bd|\doubler\rlap{\trqL0ghi}\trqu0ijk\enotes
-%\check
-% mesure 132
-\barre\notes\doubler\qup{=I}&\zqu N\qqbbl0N{d=bd}Nb|\doubler\rlap{\trqL0{=i}{=f}i}\trqu0nkn\enotes
-\temps\notes\qup J&\zqu L\qqbbl0L{cNc}LN|\doubler\rlap{\trqL0geg}\trqu0ljl\enotes
-%\check
-% mesure 133
-\barre\notes\qup F&\zqu M\qqbbl0M{cac}Ma|\doubler\rlap{\qlp h}\trqu0mjm\enotes
-\temps\notes\qup I&\zqu K\qqbbl0K{_bMb}KM|\doubler\rlap{\trql0fef}\trqu0kjk\enotes
-%\check
-% mesure 134
-\barre\notes\qup E&\zqu L\qqbbl0L{bNb}LN|\doubler\rlap{\trql0geg}\trqu0lgl\enotes
-\temps\notes\qup H&\zqu J\qqbbl0J{aLa}JL|\doubler\rlap{\trqL0heh}\trqu0jhj\enotes
-% mesure 135
-\barre\notes\qup D&\zqu K\qqbbl0K{a^Ma}KM|\doubler\rlap{\qlp {^f}}\trqu0khk\enotes
-\temps\notes\qup G&\zqu N\qqbbl0N{dad}bd|\doubler\rlap{\trqL0gfg}\trqu{-2}ihg\enotes
-%\check
-% mesure 136
-\barre\notes\doubler\qu G\sk\dsoupir
- &\zqu N\qqbbl0N{d=bd}Nb|\doubler\rlap{\trqL0{=i}{=f}i}\trqu0nkm\enotes
-\temps\notes\doubler\qu J\sk\dsoupir
- &\zqu L\qqbbl0L{cNc}LN|\doubler\rlap{\trqL0gfg}\trqu0lkl\enotes
-%\check
-% mesure 137
-\barre\notes\doubler\qu F\sk\dsoupir
- &\zqu M\qqbbl0M{cac}Ma|\doubler\rlap{\qlp h}\trqu0mjl\enotes
-\temps\notes\doubler\qu I\sk\dsoupir
- &\zqu K\qqbbl0K{_bMb}KM|\doubler\rlap{\trql0fef}\trqu0kjk\enotes
-%\check
-% mesure 138
-\barre\notes\doubler\qu E\sk\dsoupir
- &\zqu L\qqbbl0L{bNb}LN|\doubler\rlap{\qlp g}\trqu0lik\enotes
-\temps\notes\doubler\qu H\sk\dsoupir
- &\zqu J\qqbbl0J{aLa}JL|\doubler\rlap{\trqL0hgh}\trqu{-2}jih\enotes
-% mesure 139
-\barre\Notes\qu K\sk\dsoupir&\zq{Nb}\ql K\sk\dsoupir|\zq{gi}\ql k\sk\dsoupir\enotes
-\temps\Notes\qu G\sk\dsoupir&\zq{LN}\ql c\sk\dsoupir|\zq{gj}\ql l\sk\dsoupir\enotes
-% mesure 140
-\barre% \advance\barsinline by -1\relax
-\Notes\qu H\sk\dsoupir&\zq{La}\ql c\sk\dsoupir|\zq{eh}\ql j\sk\dsoupir\enotes
-\temps\Notes\pointdurgue K\qup K&\pointdorgue d\zqp{^Ma}\qlp d|\pointdorgue l\zqp{^fh}\qlp k\enotes
-\temps\Notes&\zmidtwotext{\ff}|\Uptext{\moyen Maestoso\ \bf(\metron{\cu}{90})}\enotes
-%\check
-% mesure 141
-\def\motif#1#2#3#4{\doubler{\advance\transpose by 2\relax
- \ibl0{#1}0\advance\transpose by-3\relax
- \ibu1{#4}0}\zq{#1}\rlap{\qb0{#2}}\buppz1\qh1{#3}\relax
- \zq{#2}\rlap{\qb0{#3}}\buppz1\qh1{#4}\relax
- \zq{#1}\rlap{\tqb0{#2}}\buppz1\tqh1{#3}}%
-\setdoublebar\signaturegenerale{1}\changecontext
-\notes\qup G&\qqbbl{-2}b{cba}NM|\motif dgik\enotes
-\temps\notes\qup J&\qqbbl1LM{Nba}N|\relax
- \rlap{\doubler\zq g\ql j\sk\zq e\cl g}\cpdddu lkji\enotes
-% mesure 142
-\barre\notes\qup K&\qqbbl1MN{acb}a|\motif cfhj\enotes
-\temps\notes\qup I&\qqbbl{-1}N{aba}NM|\relax
- \rlap{\doubler\zq g\ql i\sk\zq d\cl g}\cpdddu kjih\enotes
-% mesure 143 %
-\barre\notes\qup L&\qqbbl1L{MNa}bN|\motif begi\enotes
-\temps\notes\qup H&\qqbbl{-2}c{baN}ML|\relax
- \rlap{\doubler\zq e\ql h\sk\zq c\cl e}\cpdddu jihg\enotes
-% mesure 144 %
-\barre\notes\qup I&\bigaccid\sh K\qqbbl1K{LMa}NM|\bigsh d\motif bdfh\enotes
-\temps\notes\qup E&\qqbbl2L{MNa}bc|\relax
- \doubler\zq{gi}\ql e\sk\dsoupir\enotes
-% mesure 145
-\barre\notes\qup G&\qqbbl{-2}b{cba}NM|\motif dgik\enotes
-\temps\notes\qup J&\qqbbl1LM{Nba}N|\relax
- \rlap{\doubler\zq g\ql j\sk\zq e\cl g}\cpdddu lkji\enotes
-% mesure 146
-\barre\notes\qup K&\qqbbl1MN{acb}a|\motif cfhj\enotes
-\temps\notes\qup I&\qqbbl{-1}N{aba}NM|\relax
- \rlap{\doubler\zq g\ql i\sk\zq d\cl g}\cpdddu kjih\enotes
-% mesure 147
-\barre\notes\qup L&\qqbbl1L{MNa}bN|\motif begi\enotes
-\temps\notes\qup H&\qqbbl{-2}c{baN}ML|\relax
- \rlap{\doubler\zq e\ql h\sk\zq c\cl e}\cpdddu jihg\enotes
-% mesure 148 %
-\barre\notes\qup J&\qqbbl1K{LMN}aN|\motif adfh\enotes
-\temps\notes\doubler\qup I&\qqbbl1M{LMa}bc|\relax
- \rlap{\doubler\zq f\ql h\sk\zq d\cl f}\cpdddu kjih\enotes
-% mesure 149 %
-\barre\notes\qup L&\qqbbl1L{MNa}bN|\Uptext{\it rit.}\motif begi\enotes
-\temps\notes\qup H&\qqbbl{-2}c{baN}ML|\relax
- \rlap{\doubler\zq e\ql h\sk\zq c\cl e}\cpdddu jihg\enotes
-% mesure 150 %
-\barre\notes\qup K&\qqbbl1K{LMa}NM|\Uptext{\it rall. molto}\doubler
- \itenl5c\rlap{\pt b\lh d\hlp c}\trqU0fhf\enotes
-\temps\NOtes\itenl0G\qup G&\itenl1K\itenu3N\zqp {K}\qlp N|\relax
-\itenu2d\rlap{\qsk\tten5\qlp c}\itenu4g\itenu5i\zq d\pt e\zqp g\qup i\enotes
-% mesure 151
-\advance\barsinline by -1\relax
- \barre\NOtes\tten0\hup G&\tten1\zhp {KN}\hlp
-b|\tten2\tten3\tten4\tten5\zhp{dg}\hup i\enotes
- \finmorceau
-\rightline{\sl\aujourdhui}\vfil\eject
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
diff --git a/macros/musixtex/doc/examples/gloriab.tex b/macros/musixtex/doc/examples/gloriab.tex
deleted file mode 100644
index 8813989fc3..0000000000
--- a/macros/musixtex/doc/examples/gloriab.tex
+++ /dev/null
@@ -1,314 +0,0 @@
-\input musixtex
-\input musixcpt
-\input musixsty
-\ifx\qh\undefined\let\qh\qb\fi %
-\ifx\qhp\undefined\let\qhp\qbp\fi %
-\ifx\qhpp\undefined\let\qhpp\qbpp\fi %
-\parindent 15mm
- %
-\title{Gloria}
-\fullauthor{M\'elodie~: Guy BOUSSION\\Harmonisation~: Daniel TAUPIN}
-\shortauthor{G. Boussion}
-\maketitle
-
-\tracingstats=1\relax
- %
-
-\def\nbinstruments{3}
-\setsize3{\tinyvalue}
-\setstaffs22\relax
-\setclef2{6000}%
-\setclef1{6000}%
-\setclef3{0000}%
- %
-\generalsignature{-1}\relax % un bemol a la clef
-\generalmeter{\meterfrac{2}{2}}
- %\check
-\def\instrumenti{P\'edale}
-\def\instrumentii{\vbox{\hsize=\parindent\centerline{Orgue$^{\tenbf *}$}\centerline{(manuel)}}}
-\def\instrumentiii{}\def\instrumentiv{Chant}
- %\check
-\elemskip=7pt\relax
-\setinterinstrument2{3\Interligne}
- %
- \footnote{}{\noindent\bf{*} \rm Si, pour une raison ou une autre, il n'est
-pas possible de jouer la partie basse au p\'edalier, celle-ci devra \^etre
-jou\'ee \`a la main gauche sur un clavier manuel, de pr\'ef\'erence avec un
-jeu de 16 pieds. Dans ce cas, on pourra sacrifier la partie manuelle en clef
-de Fa. Les indications {\bf I} et {\bf II} indiquent des changements de plan
-sonore (ou de clavier) dans le cas o\`u l'on alterne le chant par
-l'assembl\'ee (I) et par une chorale (II).
-}%
- %
- %\check
-\geometricskipscale
-\eightrm
-\sepbarrules
-\startpiece
-\def\respire{\notes&&\cbreath\enotes}%
-\znotes&\zmidstaff{\bf \kern -6pt I \ppff(mf)}&\uptext{\kern -9mm\raise 9pt\hbox{\bigfont
- Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes
-\hardlyrics{\kern-9pt Gloire }\notes\qp&\qp|\qu c&\hsong\thelyrics\cu c\enotes
-\notes &| &\hsong{\`a }\cu c\enotes
-\barre
-\NOtes\hup F&\hup M|\zhp a\zhp c\hup f&\hsong{Dieu~}\hu f\enotes
-\notes &|&\hsong{au~}\cu f\enotes
-\hardlyrics{plus~}\notes &|&\hsong\thelyrics\cu f\enotes
-\hardlyrics{haut~}\notes \qu J&\qu L|\zq{ce}\qu g&\hsong\thelyrics\cu g\enotes
-\notes&&\zsong{des~}\cu g\enotes
-\barre
-\NOtes\hl M&\hl M|\zh{cf}\hu h&\hsong{cieux~}\qup h\enotes
-\notes&&\hsong{et~}\cu h\enotes
-\Notes\qu K&\hl b|\zq{df}\qu i&\hsong{paix~}\qu i\enotes
-\notes\qu L&|\ibu0h{-3}\rlap{\zq c\ql e}\qh0h&\hsong{sur~}\cu h\enotes
-\notes&|\tbu0\qh0g&\hsong{la~}\cu g\enotes
-\barre
-\Notes\hl M&\wh M|\zh{ac}\hu f&\hsong{ter-~}\qu f\enotes
-\notes&&\hsong{re~}\cu f\enotes
-\hardlyrics{aux~}\notes&&\hsong\thelyrics\cu f\enotes
-\hardlyrics{hom-~}\notes\qu I&|\rlap{\zh b\hl d}\qu g&\hsong\thelyrics\qu g\enotes
-\hardlyrics{mes~}\notes\qu G&|\ibu0h3\qh0h&\hsong\thelyrics\cu h\enotes
-\notes &|\tbu0\qh0i&\zsong{qu'il~}\cu i\enotes
-\barre
-\Notes\qu J&\hl N|\rlap{\ql c}\zh e\hu g&\hsong{ai-~}\hu g\enotes
-\Notes\qu C&|\ql b&\enotes
-\Notes\hu F&\hl M|\zh a\zh c\hu f&\hsong{me. }\hu f\enotes
- %\check
-\respire\Notes&\cmidstaff{\kern -15pt\bf II \ppff(mf)}\enotes
-\barre
-\hardlyrics{Nous~}\notes\ql M&\ql a|\rlap{\hl c}\zq f\qu h&\hsong\thelyrics\qu h\enotes
-\notes\qu J&\ql N|\zq e\qu g&\hsong{Te~}\cu g\enotes
-\hardlyrics{lou-~}\notes&&\hsong\thelyrics\cu g\enotes
-\NOtes\hl M&\hl a|\zh{cf}\hu h&\hsong{ons,~}\hu h\enotes
- %\check
-\barre
-\hardlyrics{nous~}\notes\qu K&\ql M|\zq{df}\qu h&\hsong\thelyrics\cu h\enotes
-\notes&&\hsong{Te~}\cu h\enotes
-\notes\qu L&\ql N|\zq{eg}\qu j&\hsong{b\'e-~}\cu j\enotes
-\hardlyrics{nis-~}\notes&&\hsong\thelyrics\cu j\enotes
- %\check
-\NOTes \hl M&\hl a|\zh{cf}\hu h&\hsong{sons,~}\hu h\enotes
-\barre
-\hardlyrics{nous~}\notes \qu M&\ql a|\zq{cf}\qu h&\hsong\thelyrics\qu h\enotes
- %\check
-\Notes\hup J&\hlp N|\rlap{\ql c}\zh e\hu g&\hsong{T'a-~}\hu g\enotes
-\Notes&|\hl b&\enotes
-\Notes&|\zq c\qu f&\hsong{do-~}\qu f\enotes
-\barre
-\NOtes \hu F&\hl M|\zh{ac}\hu f&\hsong{rons,~}\hu f\enotes
- %\check
-\znotes&\cmidstaff{\bf I}\enotes
-\respire
-\hardlyrics{nous~}\notes\ql M&\ql a|\rlap{\hl c}\istied0c\zq f\qu h&\hsong\thelyrics\cu h\enotes
-\notes&&\hsong{Te~}\cu h\enotes
- %\check
-\hardlyrics{glo-~}\notes\ql J&\ql N|\zq e\qu g&\hsong\thelyrics\cu g\enotes
-\notes&&\hsong{ri-~}\cu g\enotes
-\barre
-\NOTes\hl M&\hl a|\tten0\rlap{\hl c}\zh f\hu h&\hsong{fions,~}\hu h\enotes
- %\chec
-\hardlyrics{\kern -4pt nous~}\notes\qlp K&\qlp a|\rlap{\hl d}\zqp f\qup h&\hsong\thelyrics\cu h\enotes
-\notes&&\hsong{Te~}\cu h\enotes
-\hardlyrics{ren-~}\notes&&\hsong\thelyrics\cu h\enotes
-\notes\cu I&\cl N|\zq g\cu i&\zsong{dons~}\cu i\enotes
-\barre
-\NOtes\qup J&\qlp L|\zqp c\zqp e\qup g&\hsong{gr\^a-~}\qu g\enotes
-\notes&&\hsong{ces }\cu g\enotes
-\hardlyrics{pour~}\notes\cu J&\cl L|\zq e\cu g&\hsong\thelyrics\cu g\enotes
-\hardlyrics{Ton~}\notes\ibl0L0\qb0M&\ibl1M3\qb1M|\ibu2h3\zq f\qh2h&\hsong\thelyrics\cu h\enotes
-\hardlyrics{im-~}\notes\qb0L&\qb1N|\zq g\qh2i&\hsong\thelyrics\cu i\enotes
-\hardlyrics{men-~}\notes\qb0M&\qb1a|\zq h\qh2j&\hsong\thelyrics\cu j\enotes
-\notes\tbl0\qb0K&\tbl1\qb1b|\tbu2\zq i\qh2k&\hsong{se~}\cu k\enotes
- %\check
-\barre
-\Notes\qu L&\ql c|\rlap{\zh e\hl g}\qu j&\isluru1k\hsong{gloi-~}\ql j\enotes
-\Notes\qu J&\ql L|\qu i&\hsong{--~}\ql i\enotes
-\notes\ql M&\ql a|\zq f\qu h&\tslur1j\hsong{re~!~}\ql h\enotes
-\rlap{\respire}\notes&\cmidstaff{\bf II}\enotes
-\notes\ibl2M3\qb2M&\ibl0a3\qb0a|\ibu1h3\zq{cf}\qh1h&\hsong{\kern -4pt Sei-~}\cu h\enotes
-\hardlyrics{gneur~}\notes\tbl2\qb2N&\tbl0\qb0b|\tbu1\zq{dg}\qh1i&\hsong\thelyrics\cu i\enotes
-\barre
-\hardlyrics{Dieu,~}\notes\ql a&\zql c\roff{\zhup c}|\zq{fh}\qu j&\hsong\thelyrics\qu j\enotes
- %\check
-\hardlyrics{Roi~}\notes\ibl2M{-3}\qb2M&\ibl0a{-3}\qb0a|\ibu1h{-3}\zq f\qh1h&\hsong\thelyrics\cu h\enotes
-\notes\tbl2\qb2L&\tbl0\qb0N|\tbu1\zq e\qh1g&\hsong{du~}\cu g\enotes
-\Notes\ql M&\ql a|\zq f\qu h&\hsong{Ciel,~}\qu h\enotes
- %\check
-\hardlyrics{Dieu~}\notes\ibl2K{-3}\qb2K&\ibl0a{-3}\qb0a|\ibu1h{-3}\zq{df}\qh1h&\hsong\thelyrics\cu h\enotes
-\notes\tbl2\qb2J&\tbl0\qb0N|\tbu1\zq{ce}\qh1g&\hsong{le~}\cu g\enotes
- %\check
-\barre
-\notes\ibl2I{-4}\qb2I&\ibl0M{-4}\qb0M|\ibu1h0\rlap{\ql c}\zq
-f\qh1h&\hsong{\kern -4pt P\`e-~}\cu h\enotes
-\notes\tbl2\qb2G&\tbl0\qb0K|\zq g\qh1i&\hsong{re~}\cu i\enotes
-\hardlyrics{\kern -4pt tout-~}\notes\ql J&\ql L|\rlap{\ql e}\qh1g&\hsong\thelyrics\cu g\enotes
-\hardlyrics{puis-~}\notes&|\tbu1\zq c\qh1h&\hsong\thelyrics\cu h\enotes
-\NOtes\qup F&\hl M|\zqp c\zqp f\qup h&\hsong{sant~!~}\qup h\enotes
-\notes&\cmidstaff{\bf I}\enotes
-\respire
-\hardlyrics{Sei-~}\notes\ds&|\cu h&\hsong\thelyrics\cu h\enotes
- %\check
-\barre
-\hardlyrics{gneur,~}\notes \ql M&\ql a|\rlap{\hl c}\zq f\qu h&\hsong\thelyrics\qu h\enotes
-\notes \qu J&\ql L|\zq e\qu g&\hsong{Fils~}\cu g\enotes
-\notes&&\hsong{u-~}\cu g\enotes
-\notes \qu K&\ql M|\zq {ad}\qu f&\hsong{ni-~}\cu f\enotes
-\notes&&\hsong{que~}\cu f\enotes
-\notes \qu J&\ql N|\zq{ce}\qu g&\hsong{J\'e-~}\cu g\enotes
-\notes&&\hsong{sus~}\cu g\enotes
- %\check
-\barre
-\NOtes \hl M&\hl a|\zh{cf}\hu h&\hsong{Christ,~}\hu h\enotes
-\respire
-\Notes \ql M&\ql a|\rlap{\hl c}\zq f\qu h&\hsong{Sei-~}\qu h\enotes
-\Notes \qu J&\ql N|\zq e\qu g&\zsong{gneur~}\qu g\enotes
- %\check
-\barre
-\NOtes \hl M&\hl a|\zh c\zh f\hu h&\hsong{Dieu,~}\hu h\enotes
-\notes\soupir&\soupir|\ds&\ds\enotes
-\notes&|\cu h&\hsong{a-~}\cu h\enotes
-\hardlyrics{\kern -4pt gneau~}\notes \Ibu0KI1\qh0K&\ql a|\rlap{\zq d\ql f}\ibu1h3\qh1h&\hsong\thelyrics\cu h\enotes
-\notes \tbu0\qh0I&|\tbu1\qh1i&\hsong{de~}\cu i\enotes
-\barre
-\NOtes \qup J&\qlp N|\zqp c\zqp e\qup g&\hsong{Dieu,~}\qup g\enotes
-\notes \cu K&\cl a|\zq d\cu f&\hsong{le~}\cu f\enotes
-\Notes \hu J&\ql N|\rlap{\zh c\hl e}\qu g&\hsong{Fils~}\qu g\enotes
-\Notes&|\qu g&\hsong{du~}\qu g\enotes
-\barre
-\NOTes \hup F&\hlp a|\rlap{\zhp c\hlp f}\hu h&\isluru1n\hsong{P\`e-~}\hu h\enotes
-\Notes&|\qu h&\tslur1m\hsong{re~}\qu h\enotes
-\Notes\soupir &\rlap{\soupir}\cmidstaff{\kern -8pt \bf II \ppff(mp)\kern 17pt}|\soupir&\soupir\enotes
-\barre
-\Notes\qu K&\ql a|\zq d\qu f&\hsong{Toi~}\qu f\enotes
-\notes\qu J&\ql N|\rlap{\hl c}\zq e\qu g&\hsong{qui~}\cu g\enotes
-\notes&&\hsong{en-~}\cu g\enotes
-\notes\ql M&\ql a|\zq f\qu h&\hsong{l\`e-~}\cu h\enotes
-\notes&&\hsong{ves~}\cu h\enotes
-\notes\ql K&\ql b|\zq d\zq f\qu i&\hsong{le~}\cl i\enotes
-\notes&&\hsong{p\'e-~}\cl i\enotes
-\barre
-\notes\hup J&\ibl0M3\qb0M|\istied0c\rlap{\hl c}\ibu1h{-3}\zq f\qh1h&\hsong{ch\'e~}\cu h\enotes
-\notes&\tbl0\qb0N|\tbu1\zq e\qh1g&\hsong{du~}\cu g\enotes
-\hardlyrics{mon-~}\notes&\ql M|\zq f\qu h&\hsong\thelyrics\qu h\enotes
-\Notes&\ql L|\tten0\zq{ce}\qu g&\hsong{de,~}\qu g\enotes
-\Notes\soupir&\soupir|\soupir&\soupir\enotes
-\barre
-\NOtes\qup K&\qlp a|\zqp d\qup f&\hsong{prends~}\qup f\enotes
-\notes\cu G&\cl N|\zq{bd}\cu g&\hsong{pi-~}\cu g\enotes
-\NOtes\hu J&\hl N|\itenu0c\rlap{\hl c}\zq e\qup g&\hsong{ti\'e~}\qup g\enotes
-\notes&|\zq b\cu f&\hsong{de~}\cu f\enotes
-\barre
-\NOTes\hup F&\hlp M|\tten0\zhp a\zhp c\hup f&\hsong{nous~!~}\hup f\enotes
-\Notes\soupir&\zmidstaff{\bf\kern -20pt I \ppff(mp)}\soupir|\soupir&\soupir\enotes
- %\check
-\barre
-\Notes\qu K&\ql a|\zq d\qu f&\hsong{Toi~}\qu f\enotes
-\notes\qu J&\ql N|\rlap{\hl c}\zq e\qu g&\hsong{qui~}\cu g\enotes
-\notes&&\hsong{en-~}\cu g\enotes
-\notes\ql M&\ql a|\zq f\qu h&\hsong{l\`e-~}\cu h\enotes
-\notes&&\hsong{ves~}\cu h\enotes
-\notes\ql K&\ql b|\zq d\zq f\qu i&\hsong{le~}\cl i\enotes
-\notes&&\hsong{p\'e-~}\cl i\enotes
-\barre
-\notes\hup J&\ibl0M3\qb0M|\istied0c\rlap{\hl c}\ibu1h{-3}\zq f\qh1h&\hsong{ch\'e~}\cu h\enotes
-\notes&\tbl0\qb0N|\tbu1\zq e\qh1g&\hsong{du~}\cu g\enotes
-\Notes&\ql M|\zq f\qu h&\hsong{mon-~}\qu h\enotes
-\Notes&\ql L|\tten0\zq{ce}\qu g&\hsong{de,~}\qu g\enotes
-\notes\soupir&\soupir|\ds&\ds\enotes
-\notes&|\cu h&\hsong{en-~}\cu h\enotes
-\barre
-\hardlyrics{tends~}\notes\qu K&\ql a|\zq d\qu f&\hsong\thelyrics\cu f\enotes
-\notes&&\hsong{no-~}\cu f\enotes
-\notes\qu J&\ql N|\rlap{\hlp c}\zq e\qu g&\hsong{tre~}\cu g\enotes
-\hardlyrics{pri-~}\notes&&\hsong\thelyrics\cu g\enotes
-\Notes\ql M&\ql M|\zq f\qu h&\hsong{\`e-~}\qu h\enotes
-\Notes\qu J&\ql L|\zq e\qu g&\hsong{re~! }\qu g\enotes
-\rlap{\respire}\notes&\cmidstaff{\bf II}\enotes
-\barre
-\NOTEs \hu L&\istied0c\wh c|\zh{eg}\hu j&\hsong{Toi~}\hu j\enotes
-\Notes \ql M&|\rlap{\hl f}\zq h\qu j&\hsong{qui~}\qu j\enotes
-\notes \qu I&|\zq i\qu k&\hsong{es~}\cu k\enotes
-\notes&&\hsong{as-~}\cu k\enotes
-\barre
-\Notes \qu H&\tten0\hl c|\zq f\zq h\qu j&\hsong{sis~}\ql j\enotes
-\notes \ibu1G{-3}\qh1G&|\zq g\ibu0i{-3}\qh0i&\hsong{\`a~}\cl i\enotes
-\notes \tbu1\qh1F&|\zq f\tbu0\qh0h&\hsong{la~}\cl h\enotes
-\Notes \qu J&\ql L|\zq c\zq e\qu g&\hsong{droi-~}\qu g\enotes
-\notes \ibl1K3\qb1K&\ibl2M3\qb2M|\zq d\ibu0f3\qh0f&\hsong{te~}\cu f\enotes
-\notes \tbl1\qb1L&\tbl2\qb2N|\zq e\tbu0\qh0g&\hsong{du~}\cu g\enotes
-\barre
-\NOTes \hl M&\hl a|\rlap{\hlp c}\zh f\hu h&\isluru1n\hsong{P\`e-~}\hu h\enotes
-\Notes \qu J&\ql N|\zq e\qu g&\tslur1m\hsong{re~}\qu g\enotes
-\Notes\soupir&\soupir|\soupir&\soupir\enotes
- %\check
- %\check
-\barre
-\NOtes \hu K&\hl a|\rlap{\zh d\hl f}\qup h&\hsong{prends~}\qup h\enotes
-\notes&|\cu h&\hsong{pi-~}\cu h\enotes
-\NOtes \hu G&\hl N|\rlap{\zh b\hl d}\qup g&\hsong{ti\'e~}\qup g\enotes
-\notes&|\cu h&\hsong{de~}\cu h\enotes
- %\check
-\barre
-\NOTes \hu H&\hl a|\zh{^ce}\hu h&\hsong{nous~!~}\hu h\enotes
-\notes&\zmidstaff{\kern -12pt\bf I \ppff(f)}|\soupir
- &\Uptext{\bigfont plus anim\'e}\soupir\enotes
-\notes\hpause&\hpause|\qu{=c}&\hsong{\kern -4pt Car~}\cu c\enotes
-\notes&&\hsong{Toi~}\cu c\enotes
- %\check
-\barre
-\Notes\qu K&\ql M|\zq{ad}\qu f&\hsong{seul~}\qu f\enotes
-\Notes\qu J&\ql N|\zq{ce}\qu g&\hsong{es~}\qu g\enotes
-\Notes\hu F&\hl M|\zqp c\zqp f\qup h&\zsong{saint~!~}\qup h\enotes
-\notes&|\qs&\qs\enotes
-\notes&|\zq{cf}\ccu h&\zsong{Toi~}\ccu h\enotes
-\barre
-\Notes\qu F&\ql M|\zq {cf}\qu h&\hsong{seul~}\qu h\enotes
-\notes\Ibu0CF1\qhp0C&\ibl1L3\qbp1L|\zql c\Ibu2gh1\zqp e\qhp2g&\hsong{es~}\cup g\enotes
-\hardlyrics{Sei-~}\notes\tbbu0\tbu0\qh0 F&\tbbl1\tbl1\qb1M|\zq {f}\tbbu2\tbu2\qh2h&\hsong\thelyrics\ccu h\enotes
-\NOtes\qup F&\qlp M|\zqp c\zqp f\qup h&\hsong{gneur~!~}\qup h\enotes
-\notes&\cmidstaff{\bf II \ppff(f)\kern 12pt}\enotes
-\respire
-\notes\ds&\cl M|\zq {cf}\cu h&\hsong{Toi~}\cu h\enotes
- %\check
-\barre
-\notes\ibu0M0\qh0M&\ibl2a0\qb2a|\ibu1h0\rlap{\hl c}\zq f\qh1h&\hsong{\kern
- -4pt seul~}\cu h\enotes
-\notes\qh0J&\qb2N|\zq e\qh1g&\hsong{es~}\cu g\enotes
-\notes\qh0M&\qb2a|\zq f\qh1h&\hsong{le~}\cu h\enotes
-\hardlyrics{Tr\`es-~}\notes\tbu0\qh0N&\tbl2\qb2b|\zq g\tbu1\qh1i&\hsong\thelyrics\cu i\enotes
-\hardlyrics{haut,~}\notes\ql a&\ql c|\zq {fh}\qu j&\hsong\thelyrics\ql j\enotes
-\notes\ibl0a{-3}\qb0a&\ibl2c{-3}\qb2c|\zq {h}\ibl1j{-3}\qb1j&\hsong{J\'e-~}\cl j\enotes
-\notes\tbl0\qb0N&\tbl2\qb2b|\zq g\tbl1\qb1i&\zsong{sus-~}\cl i\enotes
- %\check
-\barre
-\NOtes\hl M&\hl a|\zhl f\zq h\qup j&\hsong{Christ,~}\qlp j\enotes
-\notes&|\cu h&\hsong{a-}\cu h\enotes
-\notes \qu K&\ql M|\zq{ad}\qu f&\hsong{vec~}\cu f\enotes
-\notes&&\hsong{le~}\cu f\enotes
-\hardlyrics{\kern -4pt Saint-~}\notes \qu J&\ql N|\zq{ce}\qu g&\hsong\thelyrics\cu g\enotes
-\notes&&\hsong{Es-~}\cu g\enotes
- %\check
-\barre
-\NOtes \hl M&\hl a|\zh{cf}\hu h&\hsong{prit~! }\hu h\enotes
-\notes&\cmidstaff{\bf I}\enotes
-\Notes\qu K&\ql M|\zq{ad}\qu f&\hsong{dans~}\qu f\enotes
-\notes\qu J&\ql N|\zq{ce}\qu g&\hsong{la~}\qu g\enotes
-\barre
-\Notes\qup F&\qlp a|\rlap{\hl c}\zqp f\qu h&\hsong{gloi-~}\qu h\enotes
-\notes&|&\hsong{re~}\cu h\enotes
-\notes\cu C&\cl N|\zq e\cu g&\hsong{de~}\cu g\enotes
-\Notes\qu F&\ql M|\zq{cf}\qu h&\hsong{Dieu~}\qu h\enotes
-\Notes\qu I&\ql b|\zq{df}\qu i&\hsong{le~}\qu i\enotes
-\barre
-\Notes\qu J\qu C&\hl N|\rlap{\ql c}\zh e\hu g\ql b&\isluru1m\hsong{P\`e-~}\hu g\enotes
-\NOtes\hu F&\hl M|\zh{ac}\hu f&\tslur1l\hsong{re. }\hu f\enotes
-\rlap{\respire}\Notes&\cmidstaff{\kern -12pt\ppff $<$ ff}\enotes
-\barre
-\Notes\qu J\qu I\qu H\qu G&\wh L|\zw c\zw e\wh g&\islurd1e\zsong{A - - - - - }\wh g\enotes\barre
-\NOtes\zhp F\hup M&\hlp a|\zhp c\zhp f\hup h&\tslur1f\hsong{men~!~}\hup h\enotes
-\notes\soupir&\soupir|\soupir&\soupir\enotes
-\mulooseness 2
-\Stoppiece
-\medskip\rightline{\it le \aujourdhui}
-\eject
-\bye
diff --git a/macros/musixtex/doc/examples/glorias.tex b/macros/musixtex/doc/examples/glorias.tex
deleted file mode 100644
index 351730c676..0000000000
--- a/macros/musixtex/doc/examples/glorias.tex
+++ /dev/null
@@ -1,286 +0,0 @@
-\input musixtex
-\input musixcpt
-\input musixsty
-%
-\parindent 15mm
-%
-\title{Gloria}
-\fullauthor{M\'elodie~: Guy BOUSSION}
-\shortauthor{G. Boussion}
-\maketitle
-\tracingstats=1\relax
-%
-\bigskip
-\def\nbinstruments{1}
-\setstaffs11
-%
-\generalsignature{-1}\relax % un bemol a la clef
-\generalmeter{\meterfrac{2}{2}}
-%\check
-%
-\geometricskipscale
-\staffbotmarg=5\Interligne\stafftopmarg=1.5\Interligne
-\startpiece
-\setsongraise1{2\Interligne}%
-\def\respire{\notes\cbreath\enotes}%
-\znotes\uptext{\kern -9mm\raise 9pt\hbox{\bigfont
- Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes
-%
-\hardlyrics {\kern-5pt Gloire }\notes\hsong{\thelyrics }\cu c\enotes
-\notes\hsong{\`a }\cu c\enotes
-\barre
-\NOTes\hsong{Dieu~}\hu f\enotes
-\notes\hsong{au}\cu f\enotes
-\hardlyrics{plus~}\notes\hsong{\thelyrics }\cu f\enotes
-\hardlyrics{haut~}\notes\hsong{\thelyrics }\cu g\enotes
-\notes\hsong{des}\cu g\enotes
-\barre
-\NOtes\hsong{cieux~}\qup h\enotes
-\notes\hsong{et~}\cu h\enotes
-\hardlyrics{paix~}\notes\hsong{\thelyrics }\qu i\enotes
-\hardlyrics{sur~}\notes\hsong{\thelyrics }\cu h\enotes
-\notes\hsong{la~}\cu g\enotes
-\barre
-\Notes\hsong{ter-}\qu f\enotes
-\notes\hsong{re~}\cu f\enotes
-\hardlyrics{aux~}\notes\hsong{\thelyrics}\cu f\enotes
-\hardlyrics{hom- }\notes\hsong{\thelyrics}\qu g\enotes
-\hardlyrics{mes~}\notes\hsong{\thelyrics }\cu h\enotes
-\hardlyrics{qu'il~}\notes\hsong{\thelyrics }\cu i\enotes
-\barre
-\Notes\hsong{ai-}\hu g\enotes
-\Notes\hsong{}\enotes
-\Notes\hsong{me.}\hu f\enotes
-%\check
-\respire\Notes\uptext{\bf II }\enotes
-\barre
-\hardlyrics{Nous~}\notes\hsong{\thelyrics}\qu h\enotes
-\notes\hsong{Te~}\cu g\enotes
-\notes\hsong{lou-}\cu g\enotes
-\NOtes\hsong{ons,}\hu h\enotes
-%\check
-\barre
-\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes
-\notes\hsong{Te~}\cu h\enotes
-\notes\hsong{b\'e-}\cu j\enotes
-\notes\hsong{nis-}\cu j\enotes
-%\check
-\NOTes\hsong{sons,}\hu h\enotes
-\barre
-\Notes\hsong{nous~}\qu h\enotes
-%\check
-\Notes\hsong{t'a-}\hu g\enotes
-\Notes\enotes
-\Notes\hsong{do-}\qu f\enotes
-\barre
-\NOtes\hsong{rons,~}\hu f\enotes
-%\check
-\respire\notes\uptext{\bf I}\enotes
-\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes
-\notes\hsong{Te~}\cu h\enotes
-%\check
-\notes\hsong{glo-}\cu g\enotes
-\notes\hsong{ri-}\cu g\enotes
-\barre
-\NOTEs\hsong{fions,~}\hu h\enotes
-%\chec
-\hardlyrics{\kern -4pt nous~}\notes\hsong\thelyrics\cu h\enotes
-\notes\hsong{Te~}\cu h\enotes
-\notes\hsong{ren-}\cu h\enotes
-\notes\zsong{dons~}\cu i\enotes
-\barre
-\NOtes\hsong{gr\^a~-}\qu g\enotes
-\notes\hsong{ces~}\cu g\enotes
-\hardlyrics{pour~}\notes\hsong\thelyrics\cu g\enotes
-\hardlyrics{Ton~}\notes\hsong\thelyrics\cu h\enotes
-\notes\hsong{im-}\cu i\enotes
-\hardlyrics{men-}\notes\hsong\thelyrics\cu j\enotes
-\notes\zsong{se~}\cu k\enotes
-%\check
-\barre
-\Notes\hsong{gloi-}\ql j\enotes
-\Notes\hsong{-}\ql i\enotes
-\Notes\hsong{re~!}\qu h\enotes
-\respire\notes\uptext{\bf II}\enotes
-\notes\hsong{Sei-}\cu h\enotes
-\notes\zsong{gneur~}\thelyrics\cu i\enotes
-\barre
-\hardlyrics{Dieu,~}\notes\hsong\thelyrics\qu j\enotes
-%\check
-\notes\hsong{Roi~}\cu h\enotes
-\notes\hsong{du~}\cu g\enotes
-\Notes\hsong{Ciel,~}\qu h\enotes
-%\check
-\hardlyrics{Dieu~}\notes\hsong\thelyrics\cu h\enotes
-\notes\zsong{le~}\cu g\enotes
-%\check
-\barre
-\notes\hsong{P\`e-~}\itied1h\cu h\enotes
-\notes\hsong{re~}\ttie1\cu i\enotes
-\hardlyrics{tout-}\notes\hsong\thelyrics\cu g\enotes
-\hardlyrics{puis-}\notes\hsong\thelyrics\cu h\enotes
-\Notes\hsong{sant~!}\qup h\enotes
-\respire\notes\uptext{\bf I}\enotes
-\notes\zsong{Sei-}\cu h\enotes
-%\check
-\barre
-\hardlyrics{gneur,~}\notes\hsong\thelyrics\qu h\enotes
-\hardlyrics{Fils~}\notes\hsong\thelyrics\cu g\enotes
-\notes\hsong{u-}\cu g\enotes
-\notes\hsong{ni-}\cu f\enotes
-\hardlyrics{que~}\notes\hsong\thelyrics\cu f\enotes
-\notes\hsong{J\'e-}\cu g\enotes
-\notes\zsong{sus~}\cu g\enotes
-%\check
-\barre
-\NOtes\hsong{Christ,}\hu h\enotes
-\respire
-\Notes\hsong{Sei-}\qu h\enotes
-\Notes\zsong{gneur}\qu g\enotes
-%\check
-\barre
-\NOtes\hsong{Dieu,}\hu h\enotes
-\notes\hsong{}\ds\enotes
-\notes\hsong{a-}\cu h\enotes
-\hardlyrics{\kern -4pt gneau~}\notes\hsong\thelyrics\cu h\enotes
-\notes\zsong{de~}\cu i\enotes
-\barre
-\NOtes\hsong{Dieu,}\qup g\enotes
-\notes\hsong{le~}\cu f\enotes
-\Notes\hsong{Fils~}\qu g\enotes
-\Notes\zsong{du~}\qu g\enotes
-\barre
-\NOTes\hsong{P\`e-}\hu h\enotes
-\Notes\hsong{re~}\qu h\enotes
-\Notes\hsong{}\rlap{\uptext{\bf II }}\soupir\enotes
-\barre
-\Notes\hsong{Toi~}\qu f\enotes
-\notes\hsong{qui~}\cu g\enotes
-\notes\hsong{en-}\cu g\enotes
-\notes\hsong{l\`e-}\cu h\enotes
-\notes\hsong{ves~}\cu h\enotes
-\notes\hsong{le~}\cl i\enotes
-\notes\zsong{p\'e-}\cl i\enotes
-\barre
-\notes\hsong{ch\'e~}\cu h\enotes
-\notes\hsong{du~}\cu g\enotes
-\Notes\hsong{mon-}\qu h\enotes
-\NOtes\hsong{de,}\qu g\enotes
-\Notes\hsong{}\soupir\enotes
-\barre
-\NOtes\hsong{prends~}\qup f\enotes
-\notes\hsong{pi-}\cu g\enotes
-\NOtes\hsong{ti\'e~}\qup g\enotes
-\notes\zsong{de~}\cu f\enotes
-\barre
-\NOTes\hsong{nous~!}\hup f\uptext{\bf I}\enotes
-\Notes\hsong{}\soupir\enotes
-%\check
-\barre
-\Notes\hsong{Toi~}\qu f\enotes
-\notes\hsong{qui~}\cu g\enotes
-\notes\hsong{en-}\cu g\enotes
-\notes\hsong{l\`e-}\cu h\enotes
-\notes\hsong{ves~}\cu h\enotes
-\notes\hsong{le~}\cl i\enotes
-\notes\zsong{p\'e-}\cl i\enotes
-\barre
-\notes\hsong{ch\'e~}\cu h\enotes
-\notes\hsong{du~}\cu g\enotes
-\Notes\hsong{mon-}\qu h\enotes
-\NOtes\hsong{de,}\qu g\enotes
-\notes\hsong{}\ds\enotes
-\notes\zsong{en-}\cu h\enotes
-\barre
-\hardlyrics{tends~}\notes\hsong\thelyrics\cu f\enotes
-\notes\hsong{no-}\cu f\enotes
-\notes\hsong{tre~}\cu g\enotes
-\notes\hsong{pri-}\cu g\enotes
-\Notes\hsong{\`e-}\qu h\enotes
-\Notes\hsong{re~!}\qu g\enotes
-\respire\notes\uptext{\bf II}\enotes
-\barre
-\NOTEs\hsong{Toi~}\hu j\enotes
-\Notes\hsong{qui~}\qu j\enotes
-\notes\hsong{es~}\cu k\enotes
-\notes\zsong{as-}\cu k\enotes
-\barre
-\Notes\hsong{sis~}\ql j\enotes
-\notes\hsong{ \`a~}\cl i\enotes
-\notes\hsong{la~}\cl h\enotes
-\Notes\hsong{droi-}\qu g\enotes
-\notes\hsong{te~}\cu f\enotes
-\notes\zsong{du~}\cu g\enotes
-\barre
-\NOTes\hsong{P\`e-}\hu h\enotes
-\Notes\hsong{re~}\qu g\enotes
-\Notes\hsong{}\soupir\enotes
-%\check
-%\check
-\barre
-\NOtes\hsong{prends~}\qup h\enotes
-\notes\hsong{pi-}\cu h\enotes
-\NOtes\hsong{ti\'e~}\qup g\enotes
-\notes\zsong{de~}\cu h\enotes
-%\check
-\barre
-\NOTes\hsong{nous~!}\hu h\uptext{\bf I }\enotes
-\notes\rlap{\uptext{\raise 9pt\hbox{\bigfont\
- plus anim\'e\kern 5pt}}}\soupir\enotes
-\hardlyrics{Car~}\notes\hsong\thelyrics\cu c\enotes
-\notes\zsong{Toi~}\cu c\enotes
-%\check
-\barre
-\Notes\hsong{seul~}\qu f\enotes
-\Notes\hsong{es~}\qu g\enotes
-\Notes\zsong{saint~!}\qup h\enotes
-\notes\zsong{\sk Toi~}\qs\ccu h\enotes
-\barre
-\Notes\hsong{seul~}\qu h\enotes
-\notes\hsong{es~}\cup g\enotes
-\notes\hsong{Sei-}\ccu h\enotes
-\NOtes\hsong{gneur~!}\qup h\enotes
-\respire\notes\uptext{\bf II }\enotes
-\notes\zsong{Toi~}\cu h\enotes
-%\check
-\barre
-\notes\hsong{\kern -4pt seul~}\cu h\enotes
-\notes\hsong{es~}\cu g\enotes
-\notes\hsong{le~}\cu h\enotes
-\hardlyrics{Tr\`es-}\notes\hsong\thelyrics\cu i\enotes
-\Notes\hsong{haut,}\ql j\enotes
-\notes\hsong{J\'e-}\cl j\enotes
-\notes\zsong{sus-}\cl i\enotes
-%\check
-\barre
-\NOtes\hsong{Christ,}\qlp j\enotes
-\notes\hsong{a-}\cu h\enotes
-\notes\hsong{vec~}\cu f\enotes
-\notes\hsong{le~}\cu f\enotes
-\hardlyrics{\kern -4pt Saint-}\notes\hsong\thelyrics\cu g\enotes
-\notes\zsong{Es-}\cu g\enotes
-%\check
-\barre
-\NOtes\hsong{prit~!}\hu h\enotes
-\notes\uptext{\bf I}\enotes
-\Notes\hsong{dans~}\qu f\enotes
-\notes\zsong{la~}\qu g\enotes
-\barre
-\Notes\hsong{gloi-}\qu h\enotes
-\notes\hsong{re~}\cu h\enotes
-\notes\hsong{de~}\cu g\enotes
-\Notes\hsong{Dieu~}\qu h\enotes
-\Notes\zsong{le~}\qu i\enotes
-\barre
-\Notes\hsong{P\`e-}\hu g\enotes
-\NOtes\zsong{re.}\hu f\enotes
-\respire
-\barre
-\Notes\zsong{A - - - - - }\wh g\enotes
-\barre
-\NOtes\hsong{men~!}\hup h\enotes
-\notes\hsong{}\soupir\enotes
-\mulooseness 4%
-\Stoppiece
-\medskip\rightline{\it le \aujourdhui\ \ \ \ }
-\bye
diff --git a/macros/musixtex/doc/examples/gloriax.tex b/macros/musixtex/doc/examples/gloriax.tex
deleted file mode 100644
index 509b8dea32..0000000000
--- a/macros/musixtex/doc/examples/gloriax.tex
+++ /dev/null
@@ -1,283 +0,0 @@
-\input musixtex
-\input musixcpt
-\input musixsty
-\sepbarrules
-\def\tempz{\temps}%
-%
-\vsize=28.2cm
-\hsize=18.5cm
-\parindent 15mm
-%
-\vbox{%
-\centerline{\enorme Gloria}
-\medskip
-\rightline{\cmbx M\'elodie~: Guy BOUSSION}
-}%
-\tracingstats=1\relax
-%
-\bigskip
-\def\nbinstruments{2}
-\global\nbporteesi=0
-%
-\signaturegenerale{-1}\relax % un bemol a la clef
-\generalmeter{\meterfrac{2}{2}}
-%\check
-%\check
-
-%
-\def\eightpoint{\Tenpoint}%
-%
-%\check
-\catcode`\@=11
-\newdimen\lyricskip
-\def\varskip#1{%
- \setbox\ch@box\hbox{#1}\global\lyricskip\wd\ch@box}
-\catcode`\@=12
-
-\normal\elemskip=15pt
-\def\gluemaxskip{6pt}%
-\staffbotmarg=1.5\Interligne\stafftopmarg=1.5\Interligne
-\debutmorceau
-%
-\def\respire{\notes&\cbreath\enotes}%
-\temps\znotes&\uptext{\kern -9mm\raise 9pt\hbox{\moyen
- Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes
-%
-\def\Varnotes#1&#2\enotes{\vnotes0.05\elemskip &\enotes
-% \varskip{#1}\vnotes0.05\elemskip\rlap{#1}&\rlap{#2}\enotes
- \varskip{#1}\znotes\rlap{#1}&\rlap{#2}\enotes
- \hardspace{\lyricskip}%
- \vnotes0.05\elemskip &\enotes
-}%
-%
-\def\VarNotes#1&#2\enotes{\vnotes0.05\elemskip &\enotes
- \varskip{#1}\vnotes1\elemskip\rlap{#1}&\rlap{#2}\enotes
- \hardspace{\lyricskip}%
- \vnotes0.05\elemskip &\enotes
-}%
-%
-\def\VarNOtes#1&#2\enotes{\vnotes0.05\elemskip &\enotes
- \varskip{#1}\vnotes2\elemskip\rlap{#1}&\rlap{#2}\enotes
- \hardspace{\lyricskip}%
- \vnotes0.05\elemskip &\enotes
-}%
-\temps\Varnotes \kern-5pt Gloire &\cu c\enotes
-\temps\Varnotes \`a &\cu c\enotes
-\barre\NOTes Dieu~&\hu f\enotes
-\tempz\Varnotes au&\cu f\enotes
-\temps\Varnotes plus~&\cu f\enotes
-\temps\Varnotes haut~&\cu g\enotes
-\temps\Varnotes des &\cu g\enotes
-\barre\VarNOtes cieux~&\qup h\enotes
-\temps\Varnotes et~&\cu h\enotes
-\tempz\VarNotes paix~&\qu i\enotes
-\temps\Varnotes sur~&\cu h\enotes
-\temps\Varnotes la~&\cu g\enotes
-\barre\VarNotes ter-&\qu f\enotes
-\temps\Varnotes re~&\cu f\enotes
-\temps\Varnotes aux~&\cu f\enotes
-\tempz\VarNotes hom~-&\qu g\enotes
-\temps\Varnotes mes~&\cu h\enotes
-\temps\Varnotes qu'il~&\cu i\enotes
-\alaligne\VarNotes ai-&\hu g\enotes
-\temps\VarNotes &\enotes
-\tempz\VarNotes me.&\hu f\enotes
-%\check
-\temps\respire\VarNotes&\uptext{\bf II }\enotes
-\barre\VarNotes Nous~&\qu h\enotes
-\temps\Varnotes Te~&\cu g\enotes
-\temps\Varnotes lou-&\cu g\enotes
-\tempz\VarNOtes ons,&\hu h\enotes
-%\check
-\barre\Varnotes nous~&\cu h\enotes
-\temps\Varnotes Te~&\cu h\enotes
-\temps\Varnotes b\'e-&\cu j\enotes
-\temps\Varnotes nis-&\cu j\enotes
-%\check
-\tempz\NOTes sons,&\hu h\enotes
-\barre\VarNotes nous~&\qu h\enotes
-%\check
-\temps\VarNotes t'a-&\hu g\enotes
-\tempz\VarNotes&\enotes
-\temps\VarNotes do-&\qu f\enotes
-\alaligne\VarNOtes rons,~&\hu f\enotes
-%\check
-\temps\respire\Varnotes&\uptext{\bf I}\enotes
-\tempz\Varnotes nous~&\cu h\enotes
-\temps\Varnotes Te~&\cu h\enotes
-%\check
-\temps\Varnotes glo-&\cu g\enotes
-\temps\Varnotes ri-&\cu g\enotes
-\barre\NOTEs fions,~&\hu h\enotes
-%\chec
-\tempz\Varnotes \kern -4pt nous~&\cu h\enotes
-\temps\Varnotes Te~&\cu h\enotes
-\temps\Varnotes ren-&\cu h\enotes
-\temps\Varnotes dons~&\cu i\enotes
-\barre\VarNOtes gr\^a~-&\qu g\enotes
-\temps\Varnotes ces&\cu g\enotes
-\temps\Varnotes pour&\cu g\enotes
-\tempz\Varnotes Ton~&\cu h\enotes
-\temps\Varnotes im-&\cu i\enotes
-\temps\Varnotes men&\cu j\enotes
-\temps\Varnotes se~&\cu k\enotes
-%\check
-\alaligne\VarNotes gloi-&\ql j\enotes
-\temps\VarNotes -&\ql i\enotes
-\temps\VarNotes re~!&\qu h\enotes
-\temps\respire\Varnotes&\uptext{\bf II}\enotes
-\temps\Varnotes Sei-&\cu h\enotes
-\temps\Varnotes gneur~&\cu i\enotes
-\barre\VarNotes Dieu,~&\qu j\enotes
-%\check
-\temps\Varnotes Roi~&\cu h\enotes
-\temps\Varnotes du~&\cu g\enotes
-\tempz\VarNotes Ciel,~&\qu h\enotes
-%\check
-\temps\Varnotes Dieu~&\cu h\enotes
-\temps\Varnotes le~&\cu g\enotes
-%\check
-\barre\Varnotes P\`e-~&\cu h\enotes
-\temps\Varnotes re~&\cu i\enotes
-\temps\Varnotes tout-&\cu g\enotes
-\temps\Varnotes puis-&\cu h\enotes
-\tempz\VarNOtes sant~!&\qup h\enotes
-\temps\respire\Varnotes&\uptext{\bf I}\enotes
-\temps\Varnotes Sei-&\cu h\enotes
-%\check
-\barre\VarNotes gneur,~&\qu h\enotes
-\temps\Varnotes Fils~&\cu g\enotes
-\temps\Varnotes u-&\cu g\enotes
-\tempz\Varnotes ni-&\cu f\enotes
-\temps\Varnotes que-&\cu f\enotes
-\temps\Varnotes J\'e-&\cu g\enotes
-\temps\Varnotes sus~&\cu g\enotes
-%\check
-\barre\VarNOtes Christ,&\hu h\enotes
-\temps\respire
-\tempz\VarNotes Sei-&\qu h\enotes
-\temps\VarNotes gneur&\qu g\enotes
-%\check
-\barre\VarNOtes Dieu,&\hu h\enotes
-\tempz\notes &\ds\enotes
-\temps\Varnotes a-&\cu h\enotes
-\temps\Varnotes \kern -4pt gneau~&\cu h\enotes
-\temps\Varnotes de~&\cu i\enotes
-\alaligne
-\temps\VarNOtes Dieu,&\qup g\enotes
-\temps\Varnotes le~&\cu f\enotes
-\tempz\VarNotes Fils~&\qu g\enotes
-\temps\VarNotes du~&\qu g\enotes
-\barre\NOTes P\`e-&\hu h\enotes
-\tempz\VarNotes re~&\qu h\enotes
-\temps\Notes &\rlap{\uptext{\bf II }}\soupir\enotes
-\barre\VarNotes Toi~&\qu f\enotes
-\temps\Varnotes qui~&\cu g\enotes
-\temps\Varnotes en-&\cu g\enotes
-\tempz\Varnotes l\`e-&\cu h\enotes
-\temps\Varnotes ves~&\cu h\enotes
-\temps\Varnotes le~&\cl i\enotes
-\temps\Varnotes p\'e-&\cl i\enotes
-\barre\Varnotes ch\'e~&\cu h\enotes
-\temps\Varnotes du~&\cu g\enotes
-\temps\VarNotes mon-&\qu h\enotes
-\tempz\VarNOtes de,&\qu g\enotes
-\temps\Notes &\soupir\enotes
-\alaligne\VarNOtes prends~&\qup f\enotes
-\temps\Varnotes pi-&\cu g\enotes
-\tempz\VarNOtes ti\'e~&\qup g\enotes
-\temps\Varnotes de~&\cu f\enotes
-\barre\NOTes nous~!&\hup f\uptext{\bf I}\enotes
-\temps\Notes &\soupir\enotes
-%\check
-\barre\VarNotes Toi~&\qu f\enotes
-\temps\Varnotes qui~&\cu g\enotes
-\temps\Varnotes en-&\cu g\enotes
-\tempz\Varnotes l\`e-&\cu h\enotes
-\temps\Varnotes ves~&\cu h\enotes
-\temps\Varnotes le~&\cl i\enotes
-\temps\Varnotes p\'e-&\cl i\enotes
-\barre\Varnotes ch\'e~&\cu h\enotes
-\temps\Varnotes du~&\cu g\enotes
-\temps\VarNotes mon-&\qu h\enotes
-\tempz\VarNOtes de,&\qu g\enotes
-\temps\notes &\ds\enotes
-\temps\Varnotes en-&\cu h\enotes
-\barre\Varnotes tends~&\cu f\enotes
-\temps\Varnotes no-&\cu f\enotes
-\temps\Varnotes tre~&\cu g\enotes
-\temps\Varnotes pri-&\cu g\enotes
-\tempz\VarNotes \`e-&\qu h\enotes
-\temps\VarNotes re~!&\qu g\enotes
-\temps\respire\Varnotes&\uptext{\bf II}\enotes
-\barre\NOTEs Toi~&\hu j\enotes
-\tempz\VarNotes qui~&\qu j\enotes
-\tempz\Varnotes es~&\cu k\enotes
-\tempz\Varnotes as-&\cu k\enotes
-\barre\VarNotes sis~&\ql j\enotes
-\temps\Varnotes \`a~&\cl i\enotes
-\temps\Varnotes la~&\cl h\enotes
-\tempz\VarNotes droi-&\qu g\enotes
-\tempz\Varnotes te~&\cu f\enotes
-\temps\Varnotes du~&\cu g\enotes
-\alaligne\NOTes P\`e-&\hu h\enotes
-\tempz\VarNotes re~&\qu g\enotes
-\temps\Notes &\soupir\enotes
-%\check
-%\check
-\barre\VarNOtes prends~&\qup h\enotes
-\temps\Varnotes pi-&\cu h\enotes
-\tempz\VarNOtes ti\'e~&\qup g\enotes
-\temps\Varnotes de~&\cu h\enotes
-%\check
-\barre\NOTes nous~!&\hu h\uptext{\bf I }\enotes
-\tempz\notes&\rlap{\uptext{\raise 8pt\hbox{\moyen plus anim\'e\kern 5pt}}}\soupir\enotes
-\temps\Varnotes Car~&\cu c\enotes
-\temps\Varnotes Toi~&\cu c\enotes
-%\check
-\barre\VarNotes seul~&\qu f\enotes
-\temps\VarNotes es~&\qu g\enotes
-\tempz\VarNotes saint~!&\qup h\enotes
-\temps\notes \sk&\qsoupir\enotes
-\temps\Varnotes Toi~&\ccu h\enotes
-\alaligne\VarNotes seul~&\qu h\enotes
-\temps\Varnotes es~&\cup g\enotes
-\temps\Varnotes Sei-&\ccu h\enotes
-\tempz\VarNOtes gneur~!&\qup h\enotes
-\temps\respire\Varnotes&\uptext{\bf II }\enotes
-\temps\Varnotes Toi~&\cu h\enotes
-%\check
-\barre\Varnotes seul~&\cu h\enotes
-\temps\Varnotes es~&\cu g\enotes
-\temps\Varnotes le~&\cu h\enotes
-\temps\Varnotes Tr\`es-&\cu i\enotes
-\tempz\VarNotes haut,&\ql j\enotes
-\temps\Varnotes J\'e-&\cl j\enotes
-\temps\Varnotes sus-&\cl i\enotes
-%\check
-\barre\VarNOtes Christ,&\qlp j\enotes
-\temps\Varnotes a-&\cu h\enotes
-\tempz\Varnotes vec~&\cu f\enotes
-\temps\Varnotes le~&\cu f\enotes
-\temps\Varnotes \kern -4pt Saint-&\cu g\enotes
-\temps\Varnotes Es-&\cu g\enotes
-%\check
-\barre\VarNOtes prit~!&\hu h\enotes
-\tempz\Varnotes&\uptext{\bf I}\enotes
-\temps\VarNotes dans~&\qu f\enotes
-\temps\Varnotes la~&\qu g\enotes
-\barre\VarNotes gloi-&\qu h\enotes
-\temps\Varnotes re~&\cu h\enotes
-\temps\Varnotes de~&\cu g\enotes
-\tempz\VarNotes Dieu~&\qu h\enotes
-\temps\VarNotes le~&\qu i\enotes
-\barre\VarNotes P\`e-&\hu g\enotes
-\tempz\VarNOtes re.&\hu f\enotes
-\temps\respire
-\barre\VarNotes A - - - - - &\wh g\enotes
-\barre\VarNOtes men~!&\hup h\enotes
-\tempz\notes &\soupir\enotes
-%\mulooseness -2\relax
-\finmorceau
-\medskip\rightline{\it le \aujourdhui\ \ \ \ }
-\bye
diff --git a/macros/musixtex/doc/examples/gymnoman.tex b/macros/musixtex/doc/examples/gymnoman.tex
deleted file mode 100644
index 07f1ac9966..0000000000
--- a/macros/musixtex/doc/examples/gymnoman.tex
+++ /dev/null
@@ -1,569 +0,0 @@
-% \input musixtex
-% \input musixcpt
-% \input musixsty
-\title{Gymnomanie}
-\shortauthor{D. Taupin}
-\fullauthor{Daniel TAUPIN}
-%
-\othermention{Compos\'e en 1994}
-\maketitle
-
-\parindent 12mm
-\tracingstats=2\relax
-%
-\nbporteesi=2\relax
-\def\nbinstruments{1}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{0}\relax % un bemol a la clef
-\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}%
-\def\troistemps{\generalmeter{\meterfrac{3}{4}}}%
-\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}%
-%\check
-\def\instrumenti{Piano}
-%\check
-\troistemps
-\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}%
-\def\ff{{f}\kern -1pt{f}}%
-\def\gluemaxskip{6pt}%
-%
-% formes frequentes
-%
-%\check
-% au moins deux croches basses et hautes
-\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
-%
-% trois doubles croches hautes
-\def\tqbbl#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}%
-\def\tqbbu#1#2#3{\Ibbu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}%
-\def\tqbbh{\tqbbu}%
-\def\tqbbb{\tqbbl}%
-% quatre doubles croches
-\def\qqbbh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1}\qh0{#2}\qh0{#3}\tqh0{#4}}\relax
-\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}%
-\def\qqbbl#1#2#3#4{\Ibbl0{#1}{#2}3\qb0{#1}\qb0{#2}\qb0{#3}\tqb0{#4}}\relax
-%\check
-% octave basse en blanche
-\def\bohl#1{\zh{!`#1}\hl{!#1}}%
-\def\bohu#1{\zh{!`#1}\hu{!#1}}%
-\def\sohl#1{\zh{!'#1}\hl{!#1}}%
-\def\sohu#1{\zh{!'#1}\hu{!#1}}%
-% octave basse en blanche pointee
-\def\bohlp#1{\zhp{!`#1}\hlp{!#1}}%
-\def\bohup#1{\zhp{!`#1}\hup{!#1}}%
-\def\sohlp#1{\zhp{!'#1}\hlp{!#1}}%
-\def\sohup#1{\zhp{!'#1}\hup{!#1}}%
-%
-\def\bozh#1{\zh{!`#1!#1}}%
-\def\bozq#1{\zq{!`#1!#1}}%
-\def\boql#1{\zq{!`#1}\ql{!#1}}%
-\def\boqu#1{\zq{!`#1}\qu{!#1}}%
-% octave sup. en croches u
-\def\soqh#1{\zq{!'#1}\qh0{!#1}}%
-\def\soqb#1{\zq{!'#1}\qb0{!#1}}%
-\def\soqu#1{\zq{!'#1}\qu{!#1}}%
-\def\soql#1{\zq{!'#1}\ql{!#1}}%
-%\check
-%
-\def\interfacteur{11}%
-\computewidths
-\staffbotmarg=5\Interligne %
-\def\lPED{\zcharnote{-5}{\hbox to 2.4\internote{\hss\Ped\kern -2pt}}}%
-\def\PEDDEP{\PED\sk\sk\sk\DEP\pause}%
-\def\PEDpDEP{\PED\sk\sk\sk\DEP\sk}%
-\def\upsoupir#1{\raise#1\Interligne\rlap{\soupir}}
-%
-\debutmorceau
-% call \autolines with musiCtex, not with musiXtex !!!
-\ifx\mxversion\undefined\autolines {6}55\relax\fi
-\advance\barsinline by 1\relax
-\notes|\Uptext{\moyen\kern -20pt Lento \rm(\metron{\qu}{65})}\enotes
-\vnotes 0.2\elemskip\uptext{\kern -5mm\ppff
- p}|\zcharnote a{\kern -5mm\ppff mp}\enotes
- %
-\temps\NOtes \upsoupir2\bohlp K|\hu m\enotes
-\temps\NOtes\zq{Ma}\qu d\enotes
-\temps\NOtes\zq{Maf}\qu d|\qu m\enotes
- % mesure 2
-\barre\NOtes \upsoupir2\bohlp{^J}|\upsoupir{-2}\hup l\enotes
-\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes
-\temps\NOtes\zq{LN}\qu{c}|\zq h\qu e\enotes
- %\check
- % mesure 3
-\barre\NOtes \upsoupir2\bohlp K|\hu m\enotes
-\temps\NOtes\zq{Ma}\qu d\enotes
-\temps\NOtes\zq{ad}|\zql f\qu m\enotes
- % mesure 4
-\barre\NOtes \upsoupir2\bohlp{=J}|\upsoupir{-2}\hup n\enotes
-\temps\NOtes\zq{LN}\qu{=c}|\qu e\enotes
-\temps\NOtes\zq{LN}\qu{c}|\zq g\qu e\enotes
- % mesure 5
-\barre\NOtes \upsoupir2\bohup F|\upsoupir{-2}\hu o\enotes
-\temps\NOtes\zq{Ma}\qu c|\qu f\enotes
-\temps\NOtes\zq{Mac}|\zql f\zq h\qu o\enotes
- % mesure 6
-\barre\NOtes \upsoupir2\bohlp{H}|\qu q\enotes
-\temps\NOtes\zq{Ma}\qu{c}|\qu o\enotes
-\temps\NOtes\zq{Mad}|\zql f\qu m\enotes
- % mesure 7
- %\check
-\barre\NOtes \upsoupir2\bohlp J|\upsoupir{-2}\hu n\enotes
-\temps\NOtes\zq L\qu N|\zq c\qu e\enotes
-\temps\NOtes\zq L\qu N|\upsoupir3\zq {ce}\qu g\enotes
- % mesure 8
-\barre\NOtes \upsoupir2\bohlp K|\hu o\enotes
-\temps\NOtes\zq{Ma}\qu d\enotes
-\temps\NOtes\zq{Maf}\qu d|\qu o\enotes
- % mesure 9
-\barre\NOtes \upsoupir2\bohlp{H}|\upsoupir{-2}\hup n\enotes
-\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes
-\temps\NOtes\zq{L}\qu{c}|\zq g\qu e\enotes
- % mesure 10
-\barre\NOtes \upsoupir2\bohlp{^J}|\upsoupir{-2}\hu o\enotes
-\temps\NOtes\zq{a^c}\qu e|\qu g\enotes
-\temps\NOtes\zq{ae}\qu g|\zql h\qu o\enotes
- % mesure 11
-\barre\NOtes \upsoupir2\bohup{D}|\upsoupir{-2}\hup m\enotes
-\temps\NOtes\zq{KMa}\qu{d}|\upsoupir{-2}\enotes
-\temps\NOtes\zq{Ka}\qu{d}|\qu f\enotes
- %\check
- % mesure 12
-\barre\NOtes \upsoupir2\bohup F|\hu o\enotes
-\temps\NOtes\zq{Mad}|\zql f\enotes
-\temps\NOtes\zq{ad}|\zq f\zql h\qu o\enotes
- %\check
- % mesure 13
-\barre\NOtes \upsoupir2\bohlp{H}|\upsoupir{-2}\hup n\enotes
-\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes
-\temps\NOtes\zq{L}\qu{c}|\zq h\ql e\enotes
- %\check
- % mesure 14
-\barre\NOtes \upsoupir2\bohup{F}|\qu o\enotes
-\temps\NOtes\zq{Mad}|\zql{f}\qu n\enotes
-\temps\NOtes\zq{ad}|\zq f\zql{h}\qu m\enotes
- %\check
- % mesure 15
-\barre\NOtes \upsoupir2\bohup{C}|\hu n\enotes
-\temps\NOtes\zq{LNc}\qu{e}|\enotes
-\temps\NOtes\zq{Nce}|\upsoupir2\ql g\enotes
- %\check
- % mesure 16
-\barre\NOtes \upsoupir2\bohup D|\hu m\enotes
-\temps\NOtes\zq{KMa}\qu d\enotes
-\temps\NOtes\zq{Mad}\qu f|\qu m\enotes
- %\check
- % mesure 17
-\barre\NOtes \upsoupir2\bohlp G|\hup l\enotes
-\temps\NOtes\zq{LN_b}\qu e\enotes
-\temps\NOtes\zq{Nbe}\qu g|\enotes
- %\check
- % mesure 18
-\barre\NOtes \upsoupir2\bohup D|\zcharnote b{\CREsc}\hu {^m}\enotes
-\temps\NOtes\zq{K^Ma}\qu d\enotes
-\temps\NOtes\zq{Mad}\qu{^f}|\qu m\enotes
- %\check
- % mesure 19
-\barre\NOtes \upsoupir2\bohup E|\hu{^n}\enotes
-\temps\NOtes\zq{L^Nb}\qu e\enotes
-\temps\NOtes\zq{Nbe}|\zql{^g}\qu n\enotes
- %\check
- % mesure 20
-\barre\NOtes \upsoupir2\bohup{^F}|\hu{^o}\enotes
-\temps\NOtes\lsh a\zq{^Ma^c}|\ql{^f}\enotes
-\temps\NOtes\zq{ac}|\zq f\zql{^h}\qu o\enotes
- %\check
- % mesure 21
-\barre\NOtes \upsoupir2\bohlp{^G}|\hup{^p}\enotes
-\temps\NOtes\lsh b\zq{^Nb^d}|\ql{^g}\enotes
-\temps\NOtes\zq{^Mdb}|\zq g\zql{^i}\enotes
- %\check
- % mesure 22
-\barre\NOtes \upsoupir2\bohlp{=H}|\hup{^q}\enotes
-\temps\NOtes\lna a\zq{a^c}|\zq e\ql{=h}\enotes
-\temps\NOtes\zq{Lc}|\zq {eg}\ql{^j}\enotes
- %\check
- % mesure 23
-\barre\NOtes \upsoupir2\bohup{^F}|\qu{^q}\enotes
-\temps\NOtes\zq{^Ma^c}|\zql{^f}\qu p\enotes
-\temps\NOtes\zq{ac}|\zq f\zql{h}\qu o\enotes
- %\check
- % mesure 24
-\barre\NOtes \upsoupir2\bohup{^C}|\hup{^n}\enotes
-\temps\NOtes\lsh N\zq{^LN^c}|\ql{^e}\enotes
-\temps\NOtes\zq{Nb}|\zq e\ql {^g}\enotes
- %\check
- % mesure 25
-\barre\NOtes \upsoupir2\bohlp{K}|\hu{^m}\enotes
-\temps\NOtes\zq{^Mad}|\ql{^f}\enotes
-\temps\NOtes\zq{ad}|\zq f\zql {h}\qu m\enotes
- %\check
- % mesure 26
-\barre\NOtes \upsoupir2\bohlp{^J}|\hup{l}\enotes
-\temps\NOtes\lsh N\zq{LN^c}|\ql{e}\enotes
-\temps\NOtes\zq{Nc}|\zq e\ql {^g}\enotes
- %\check
- % mesure 27
-\barre\NOtes \upsoupir2\bohlp{K}\zmidtwotext{\DIMin}|\qu k\enotes
-\temps\NOtes\zq{^Ma}\ql d|\qu l\enotes
-\temps\NOtes\zq{ad}|\zql {^f}\qu{^m}\enotes
- %\check
- % mesure 28
-\xbarre\NOtes \upsoupir2\bohlp{^J}|\hu{^j}\enotes
-\temps\NOtes\lsh N\zq{^LN^c}|\ql{^e}\enotes
-\temps\NOtes\zq{Nb}|\zq e\zql {^g}\upsoupir2\enotes
- %\check
- % mesure 29
-\barre\NOtes \upsoupir2\bohup{^F}|\bohu{o}\enotes
-\temps\NOtes\lna a\zq{^Ma}\ql{^c}|\enotes
-\temps\NOtes\zq{Mac}\ql {^f}|\boqu o\enotes
- %\check
- % mesure 30
-\barre\NOtes \upsoupir2\bohlp{^J}|\bohup{^n}\enotes
-\temps\NOtes\lsh N\zq{^LN^c}|\ql{^e}\enotes
-\temps\NOtes\zq{Nb}|\zq e\ql {^g}\enotes
- %\check
- % mesure 31
-\barre\NOtes \upsoupir2\bohup{^F}|\bohu{o}\enotes
-\temps\NOtes\lna a\zq{^Ma}\ql{^c}|\enotes
-\temps\NOtes\zq{Mac}\qu {^f}|\boqu o\enotes
- %\check
- % mesure 32
-\barre\NOtes \upsoupir2\bohup{E}|\bohup{p}\enotes
-\temps\NOtes\zq{L^Nb}|\ql{e}\enotes
-\temps\NOtes\zq{Nb}|\zq d\ql {g}\enotes
- %\check
- % mesure 33
-\barre\NOtes \upsoupir2\bohlp{H}|\bohu{^q}\enotes
-\temps\NOtes\zq{a^ce}|\ql{h}\enotes
-\temps\NOtes\zq{Lc}\ql {e}|\boqu q\enotes
- %\check
- % mesure 34
-\barre\NOtes \upsoupir2\bohlp{^J}|\boqu{s}\enotes
-\temps\NOtes\zq{a^c}|\zq{^f}\zql{h}\boqu{^q}\enotes
-\temps\NOtes\zq{^Mac}|\zql f\boqu o\enotes
- %\check
- % mesure 35
-\barre\NOtes \upsoupir2\bohlp{^J}|\bohu{^n}\enotes
-\temps\NOtes\lsh e\lsh N\zq{^LN^c}\ql{e}\enotes
-\temps\NOtes\zq{LN}\lq b\zql c|\soupir\enotes
- %\check
- % mesure 36
-\barre\NOtes \upsoupir2\bohup{^F}|\bohu{o}\enotes
-\temps\NOtes\lna a\zq{^Ma}\ql{^c}|\enotes
-\temps\NOtes\zq{Mac}\ql {^f}|\boqu o\enotes
- %\check
- % mesure 37
-\barre\NOtes \upsoupir2\bohup{H}|\bohu{=n}\enotes
-\temps\NOtes\lna a\zq{=La^c}|\ql{=e}|\enotes
-\temps\NOtes\zq{ac}|\zql e\boqu n\enotes
- %\check
- % mesure 38
-\barre\NOtes \upsoupir3\bohup K|\boqu {^m}\enotes
-\temps\NOtes\zq{K^Ma}\qu d|\boqu l\enotes
-\temps\NOtes\zq{Ma}\qu{^f}|\boqu k\enotes
- %\check
- % mesure 39
-\barre\NOtes \upsoupir2\bohup{H}|\bohu{^j}\enotes
-\temps\NOtes\zq{La^c}\ql{e}|\enotes
-\temps\NOtes\zq{ace}|\zql h\upsoupir2\enotes
- %\check
- % mesure 40
-\barre\NOtes \upsoupir2\bohup{G}|\bohup{p}\enotes
-\temps\NOtes\zq{KNb}\ql{d}|\enotes
-\temps\NOtes\zq{Nbd}|\zql g\enotes
- %\check
- % mesure 41
-\barre\NOtes \upsoupir2\bohup{H}|\bohup{^q}\enotes
-\temps\NOtes\zq{La^c}\ql{e}|\enotes
-\temps\NOtes\zq{ace}|\ql h\enotes
- %\check
- % mesure 42
-\barre\NOtes \upsoupir2\bohup{I}|\boqu{^r}\enotes
-\temps\NOtes\zq{^Mb^d}|\zql{^f}\boqu{^q}\enotes
-\temps\NOtes\zq{bd}|\zq h\zql {f}\qsk\boqu p\enotes
- %\check
- % mesure 43
-\barre\NOtes \upsoupir2\bohup{E}|\bohup{s}\enotes
-\temps\NOtes\zq{LN}\ql{c}|\enotes
-\temps\NOtes\zq{Nc}\ql e\enotes
- %\check
- % mesure 44
-\barre\NOtes \upsoupir2\bohup{G}|\boqu{t}\enotes
-\temps\NOtes\zq{KNb}\ql d|\boqu{s}\enotes
-\temps\NOtes\zq{Nbd}\zql {f}|\boqu r\enotes
- %\check
- % mesure 45
-\barre\NOtes \upsoupir2\bohup{C}|\bohu{s}\enotes
-\temps\NOtes\zq{LNc}|\ql{e}\enotes
-\temps\NOtes\zq{Nc}|\zq e\zql g\boqu s\enotes
- %\check
- % mesure 46
-\barre\NOtes \upsoupir2\bohup{G}|\bohup{r}\enotes
-\temps\NOtes\zq{Nb}\ql e|\enotes
-\temps\NOtes\zq{Nb}\ql d|\enotes
- %\check
- % mesure 47
-\barre\NOtes \upsoupir2\bohup{H}|\boqu{q}\enotes
-\temps\NOtes\zq{Lac}\zql{e}|\boqu p\enotes
-\temps\NOtes\zq{Lac}\zql e|\boqu o\enotes
- %\check
- % mesure 48
-\barre\NOtes \qsk\upsoupir2\bohup{G}|\qsk\bohup{_p}\enotes
-\temps\NOtes\zq{KN_b}\ql d|\enotes
-\temps\NOtes\zq{Nbd}|\ql g|\enotes
- %\check
- % mesure 49
-\barre\NOtes \zmidtwotext{\it rit.}\upsoupir2\bohup{H}|\bohu{o}\enotes
-\temps\NOtes\zq{La^c}\ql e|\enotes
-\temps\NOtes\zq{ac}\ql e|\boqu n\enotes
- %\check
- % mesure 50
-\barre\NOtes \zmidtwotext{\it a tempo}\upsoupir2\bohlp K|\bohu m\enotes
-\temps\NOtes\zq{Ma}\qu d\enotes
-\temps\NOtes\zq{Maf}\qu d|\boqu m\enotes
- % mesure 51
-\barre\NOtes \upsoupir2\bohlp{^J}|\bohup l\enotes
-\temps\NOtes\zq{LN^c}\ql e\enotes
-\temps\NOtes\zq{LNc}|\zq h\ql e\enotes
- %\check
- % mesure 52
-\barre\NOtes \upsoupir2\bohlp K|\bohu m\enotes
-\temps\NOtes\zq{Ma}\qu d\enotes
-\temps\NOtes\zq{M_b}\qu d|\boqu m\enotes
- % mesure 53
-\barre\NOtes \upsoupir2\bohlp{=J}|\bohup n\enotes
-\temps\NOtes\zq{LN=c}|\ql e\enotes
-\temps\NOtes\zq{LNc}|\zq g\ql e\enotes
- % mesure 54
-\barre\NOtes \upsoupir2\bohup F|\bohu o\enotes
-\temps\NOtes\zq{Mac}|\zql f\enotes
-\temps\NOtes\zq{Mac}|\zql f\boqu o\enotes
- % mesure 55
-\barre\NOtes \upsoupir2\bohlp{H}|\boqu q\enotes
-\temps\NOtes\zq{Ma}\qu{c}|\boqu o\enotes
-\temps\NOtes\zq{Ma}\zql d|\boqu m\enotes
- % mesure 56
- %\check
-\barre\NOtes \upsoupir2\bohlp{^J}|\bohu n\enotes
-\temps\NOtes\zq {LN}|\zq{^c}\ql e\enotes
-\temps\NOtes\zq L\zq N|\upsoupir3\zq {ce}\ql g\enotes
- % mesure 57
-\barre\NOtes \upsoupir2\bohlp K|\bohu o\enotes
-\temps\NOtes\zq{Ma}\qu d\enotes
-\temps\NOtes\zq{Maf}\qu d|\boqu o\enotes
- % mesure 58
-\barre\NOtes \upsoupir2\bohlp{G}|\bohup n\enotes
-\temps\NOtes\zq{KN_b}\qu{d}|\enotes
-\temps\NOtes\zq{Nbd}|\ql g\enotes
- % mesure 59
- %\check
-\barre\NOtes \upsoupir2\bohlp{H}|\boqu o\enotes
-\temps\NOtes\zq {KMa}\qu d|\boqu n\enotes
-\temps\NOtes\zq {Ma}\zql d|\boqu m\enotes
- % mesure 60
- %\check
-\barre\NOtes \upsoupir2\bohlp{J}|\bohup {_l}\enotes
-\temps\NOtes\zq {_LNc}\zql{_e}\enotes
-\temps\NOtes\zq {Nce}|\ql g\enotes
- % mesure 61
- %\check
-\barre\NOtes \upsoupir2\bohlp{K}|\bohu k\enotes
-\temps\NOtes\zq {K^Ma}\zql d|\enotes
-\temps\NOtes\zq {Mad}\zql{^f}|\soupir\enotes
- %\check
- % mesure 62
-\barre\NOtes \qsk\upsoupir2\bohup{G}|\bohu{n}\enotes
-\temps\NOtes\zq{KN_b}\ql d|\enotes
-\temps\NOtes\zq{Nb}\ql d|\boqu n\enotes
- % mesure 63
- %\check
-\barre\NOtes \upsoupir2\bohlp{F}|\bohup {_o}\enotes
-\temps\NOtes\lfl a\zq {=Mac}\zql{=f}|\enotes
-\temps\NOtes\zq {acf}|\zql h\enotes
- % mesure 64
- %\check
-\barre\NOtes \upsoupir2\bohlp{J}|\boqu n\enotes
-\temps\NOtes\zq {_LNc}\zql{_e}|\boqu m\enotes
-\temps\NOtes\zq {Nc}\zql{g}|\boqu{_l}\enotes
- % mesure 65
- %\check
-\barre\NOtes \upsoupir2\bohlp{F}|\bohup {_k}\enotes
-\temps\NOtes\lfl a\zq {Ma_d}\zql{f}|\enotes
-\temps\NOtes\zq {adf}\zql{_h}|\enotes
- % mesure 66
- %\check
-\barre\NOtes \upsoupir2\bohlp{G}|\cna b\cna i\bohu {i}\enotes
-\temps\NOtes\zq {Nb}\zql{=d}|\enotes
-\temps\NOtes\zq {bd}\zql{f}|\soupir\enotes
- % mesure 67
- %\check
-\barre\NOtes \upsoupir2\bohlp{_H}|\zcharnote a{\ppff mf}\bohup {q}\enotes
-\temps\NOtes\zq {_ac}|\zq{_e}\zql{_h}\enotes
-\temps\NOtes|\zq {ceh}\ql{j}|\enotes
- % mesure 68
- %\check
-\barre\NOtes \upsoupir2\bohlp{J}|\boqu {_s}\enotes
-\temps\NOtes\zq {_ac}|\zq{_e}\zql{_h}\boqu q\enotes
-\temps\NOtes|\zq {ceh}\zql{j}\qsk\fl o\boqu {o}\enotes
- % mesure 69
- %\check
-\barre\NOtes \upsoupir3\bohlp{_L}|\bohup {n}\enotes
-\temps\NOtes\zq {_LN_b}\zql{_e}\enotes
-\temps\NOtes\zq {Nbe}|\ql{g}\enotes
- % mesure 70
- %\check
-\barre\NOtes \upsoupir2\bohlp{_H}|\boqu {q}\enotes
-\temps\NOtes\zq {_ac}\zql{_e}|\zq{j_l}\boqu {_o}\enotes
-\temps\NOtes\zq {ce}|\zql h\zq{lo}\boqu {q}\enotes
- % mesure 71
- %\check
-\barre\NOtes \qsk\upsoupir3\bohlp{_L}|\qsk\boqu {_p}\enotes
-\temps\NOtes\zq {N_b}\zql{_e}|\zq{_i_l}\boqu {n}\enotes
-\temps\NOtes\zq {be}|\zql g\zq{ln}\boqu {p}\enotes
- % mesure 72
- %\check
-\barre\NOtes \qsk\upsoupir3\bohlp{M}|\qsk\boqu {_o}\enotes
-\temps\NOtes\zq {_ac}\zql{f}|\zq{_hj}\boqu {m}\enotes
-\temps\NOtes\zq {c}\zql f|\zq{jm}\boqu {o}\enotes
- % mesure 73
- %\check
-\barre\NOtes \qsk\upsoupir3\bohlp{_L}|\qsk\bohup {_p}\enotes
-\temps\NOtes\zq {_LN_b}\zql{_e}|\enotes
-\temps\NOtes\zq {Nbe}|\zql g\enotes
- % mesure 74
- %\check
-\barre\NOtes \upsoupir2\bohlp{_H}|\boqu {q}\enotes
-\temps\NOtes\zq {_ac}\zql{_e}|\zq{j_l}\boqu {_o}\enotes
-\temps\NOtes\zq {ce}|\zql h\zq{lo}\boqu {q}\enotes
- % mesure 75
- %\check
-\barre\NOtes \qsk\upsoupir3\bohlp{_L}|\qsk\boqu {_p}\enotes
-\temps\NOtes\zq {N_b}\zql{_e}|\zq{_i_l}\boqu {n}\enotes
-\temps\NOtes\zq {be}|\zql g\zq{ln}\boqu {p}\enotes
- % mesure 76
- %\check
-\barre\NOtes \qsk\upsoupir3\bohlp{M}|\qsk\boqu {_o}\enotes
-\temps\NOtes\zq {_ac}\zql{f}|\zq{_hj}\boqu {m}\enotes
-\temps\NOtes\zq {c}\zql f|\zq{jm}\boqu {o}\enotes
- % mesure 77
- %\check
-\barre\NOtes \upsoupir3\bohlp{J}|\bohup {n}\enotes
-\temps\NOtes\zq {=LNc}\zql{=e}|\enotes
-\temps\NOtes\zq {Nce}|\zql g\enotes
- % mesure 78
- %\check
-\barre\NOtes \upsoupir3\bohlp{_K}|\bohu {m}\enotes
-\temps\NOtes\zq {M_a_d}\ql{f}|\enotes
-\temps\NOtes\zq {KMa}\ql d|\boqu m\enotes
- % mesure 79
- %\check
-\barre\NOtes \upsoupir3\bohlp{J}|\qsk\bohup {_l}\enotes
-\temps\NOtes\zq {_LNc}\ql{_e}|\enotes
-\temps\NOtes\zq {Nce}|\ql g\enotes
- % mesure 80
- %\check
-\barre\NOtes \qsk\upsoupir3\bohlp{_K}|\qsk\zq{f_h}\boqu {_k}\enotes
-\temps\NOtes\fl N\fl d\zq {KN_b}\ql{d}|\zq{_g_i}\boqu{_l}\enotes
-\temps\NOtes\zq {KM_a}\ql d|\zq{hk}\boqu m\enotes
- % mesure 81
- %\check
-\barre\NOtes \qsk\upsoupir2\bohlp{J}|\qsk\lna g\zh{=eg}\bohu {j}\enotes
-\temps\NOtes\lna L\zq {L=N}\ql{c}|\enotes
-\temps\NOtes\zq {Nc}\ql{=e}|\soupir\enotes
- %\check
- % mesure 82
-\barre\NOtes \upsoupir2\zmidtwotext{\DIMin}\bohup{G}|\bohu{n}\enotes
-\temps\NOtes\zq{KN_b}\ql d|\enotes
-\temps\NOtes\zq{Nb}\ql d|\boqu n\enotes
- %\check
- % mesure 83
-\barre\NOtes \upsoupir3\bohlp K|\bohup m\enotes
-\temps\NOtes\zq{Ma}\qu d\enotes
-\temps\NOtes\zq{Maf}\qu d|\enotes
- %\check
- % mesure 84
-\barre\NOtes \upsoupir2\bohlp J|\zq{gj}\boqu{_l}\enotes
-\temps\NOtes\zq{_LN}\ql c|\boqu{k}\enotes
-\temps\NOtes\zq{LN}\qu {_e}|\boqu j\enotes
- % mesure 85
- %\check
-\barre\NOtes \upsoupir2\bohlp{K}|\bohu k\enotes
-\temps\NOtes\zq {K^Ma}\zql d|\enotes
-\temps\NOtes\zq {Mad}\zql{^f}|\soupir\enotes
- % mesure 86
-\barre\NOtes\uptext{\kern -\Interligne\ppff
- p} \upsoupir2\bohlp K|\zcharnote a{\kern -\Interligne\ppff mp}\cna m\hu m\enotes
-\temps\NOtes\zq{=Ma}\qu d\enotes
-\temps\NOtes\zq{Maf}\qu d|\qu m\enotes
- % mesure 87
-\barre\NOtes \upsoupir2\bohlp{^J}|\upsoupir{-2}\hup l\enotes
-\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes
-\temps\NOtes\zq{LN}\qu{c}|\zq h\qu e\enotes
- %\check
- % mesure 88
-\barre\NOtes \upsoupir2\bohlp K|\hu m\enotes
-\temps\NOtes\zq{Ma}\qu d\enotes
-\temps\NOtes\zq{ad}|\zql f\qu m\enotes
- % mesure 89
-\barre\NOtes \upsoupir2\bohlp{=J}|\upsoupir{-2}\hup n\enotes
-\temps\NOtes\zq{LN}\qu{=c}|\qu e\enotes
-\temps\NOtes\zq{LN}\qu{c}|\zq g\qu e\enotes
- % mesure 90
-\barre\NOtes \upsoupir2\bohup F|\upsoupir{-2}\hu o\enotes
-\temps\NOtes\zq{Ma}\qu c|\qu f\enotes
-\temps\NOtes\zq{Mac}|\zql f\zq h\qu o\enotes
- % mesure 91
-\barre\NOtes \upsoupir2\bohlp{H}|\qu q\enotes
-\temps\NOtes\zq{Ma}\qu{c}|\qu o\enotes
-\temps\NOtes\zq{Mad}|\zql f\qu m\enotes
- % mesure 92
- %\check
-\barre\NOtes \upsoupir2\bohlp J|\upsoupir{-2}\hu n\enotes
-\temps\NOtes\zq L\qu N|\zq c\qu e\enotes
-\temps\NOtes\zq L\qu N|\upsoupir3\zq {ce}\qu g\enotes
- % mesure 93
-\ifx\mxversion\undefined\def\atnextline{\autolines665}\fi % only with musiCtex
-\barre\NOtes\upsoupir2\zmidtwotext{\it diminuendo}\bohlp K|\hu m\enotes
-\temps\NOtes\zq{Ma}\qu d\enotes
-\temps\NOtes\zq{Maf}\qu d|\qu m\enotes
- % mesure 94
-\barre\NOtes \upsoupir2\bohlp{H}|\upsoupir{-2}\hup l\enotes
-\temps\NOtes\zq{LN}\qu{^c}|\qu e\enotes
-\temps\NOtes\zq{LN}\qu{c}|\zq h\qu e\enotes
- %\check
- % mesure 95
-\barre\NOtes \upsoupir2\bohlp K|\hu m\enotes
-\temps\NOtes\zq{Ma}\qu d\enotes
-\temps\NOtes\zq{ad}|\zql f\qu m\enotes
- % mesure 96
-\barre\NOtes \upsoupir2\bohlp{G}|\upsoupir{-2}\hup n\enotes
-\temps\NOtes\zq{KN}\qu{_b}|\zq d\qu g\enotes
-\temps\NOtes\zq{N}\qu{b}|\zq d\zq g\qu{_i}\enotes
- % mesure 97
-\barre\NOtes \upsoupir2\bohup F|\upsoupir{-2}\hu o\enotes
-\temps\NOtes\zq{Ma}\qu c|\qu f\enotes
-\temps\NOtes\zq{Mac}|\zql f\zq h\qu o\enotes
- % mesure 98
-\barre\NOtes \upsoupir2\bohlp{H}|\qu q\enotes
-\temps\NOtes\zq{Ma}\qu{c}|\qu o\enotes
-\temps\NOtes\zq{Mad}|\zql f\qu m\enotes
- % mesure 99
-\barre\NOtes \upsoupir2\bohlp{H}|\hup l\enotes
-\temps\NOtes\zq{Lae}\qu{^c}\enotes
-\temps\NOtes\zq{ace}|\ql g\enotes
- % mesure 100
-\barre\NOtes \pointdurgue{!`D}\upsoupir2\bohup{D}\zmidtwotext{\it rall.}\relax
- |\pointdorgue n\hup k\enotes
-\temps\NOtes\zq{Mad}|\ql f\enotes
-\temps\NOtes\pointdorgue d\zq{Ma}\ql d\enotes
-\mulooseness 1\relax
-\finmorceau
- \rightline{\sl \aujourdhui}\eject
-\bye
-
-
-
-
-
-
diff --git a/macros/musixtex/doc/examples/ilestne.tex b/macros/musixtex/doc/examples/ilestne.tex
deleted file mode 100644
index dd9ce0b018..0000000000
--- a/macros/musixtex/doc/examples/ilestne.tex
+++ /dev/null
@@ -1,22 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\resetfacteurs\advance\staffbotmarg by 2\Interligne
-\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{0}\relax
-\def\Signature{1}\relax % un dieze a la clef
-\input ilestnex
-\resetfacteurs\advance\staffbotmarg by 2\Interligne
-\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{-1}\relax
-\def\Signature{-1}\relax % un bemol a la clef
-\input ilestnex
-\resetfacteurs\advance\staffbotmarg by 2\Interligne
-\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{-2}\relax
-\def\Signature{-3}\relax % un bemol a la clef
-\input ilestnex
-\bye
-
diff --git a/macros/musixtex/doc/examples/ilestnex.tex b/macros/musixtex/doc/examples/ilestnex.tex
deleted file mode 100644
index c264edb937..0000000000
--- a/macros/musixtex/doc/examples/ilestnex.tex
+++ /dev/null
@@ -1,202 +0,0 @@
-\fulltitle{Il est n\'e, le divin enfant}
-\title{Il est n\'e, le divin enfant}
-\author{traditionnel\\Harmonisation Pierre Darmon}
-\shortauthor{traditionnel}
-\maketitle
-
-\tracingstats=1\relax
-\relativeaccidentals
-\sepbarrules
-%
-\bigskip
-% au moins deux croches basses et hautes
-\def\dql#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqu#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
-\def\dqh{\dqu}\def\dqb{\dql}%
-%
-%
-% soufflets crescendo et decrescendo
-%
-\def\soufflcr#1{\zcharnote{#1}{\kern -1cm\cresc}}%
-\def\Soufflcr#1{\zcharnote{#1}{\kern -1cm\CResc}}%
-%
-\def\souffldim#1{\zcharnote{#1}{\kern -1cm\dimin}}%
-\def\Souffldim#1{\zcharnote{#1}{\kern -1cm\DImin}}%
-%
-%\check
-\def\nbinstruments{2}\resetsignatures
-\barsinline=0\relax\linesinpage=0\relax
-\global\nbporteesi=1\relax
-\global\nbporteesii=1\relax
-\global\cleftoksi={{6}{0}{0}{0}}%
-\global\cleftoksii={{0}{0}{0}{0}}%
-\songbottom{1} % to be used to make heavy bars at staff left
-\songtop{2} % to be used to make heavy bars at staff left
-%
-\ifx\Signature\undefined\def\Signature{1}\fi
-\ifx\Transpose\undefined\def\Transpose{0}\fi
-%
-\signaturegenerale{\Signature}%
-\generalmeter{\meterfrac{4}{4}}
-%\check
-\def\interfacteur{12}%
-\def\instrumenti{\vbox{\hsize=\parindent
-\centerline{T\'enors}\centerline{basses}}}%
-\def\instrumentii{\vbox{\hsize=\parindent
-\centerline{Sopran.}\centerline{Altos}}}%
-%\check
-\def\respire{\notes&\cbreath\enotes}%
-%
-\def\eightpoint{\Tenpoint}%
-%\check
-\catcodesmusic
-
-\def\txt#1|#2|#3&{{\vbox to 0pt{\Smalltype\baselineskip 9pt
-\vss\hrule width 9pt height 0pt
-\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote
- #3\kern\internote}\smallskip
-\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote
- #2\kern\internote}\smallskip
-\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote
- #1\kern\internote}\kern -12pt}}}%
- %
-\def\interfacteur{16}%
-%
-\debutmorceau
-\autolines 784\relax
-\transpose=\Transpose
-\notes&\Uptext{\raise 2\Interligne\hbox{\moyen Lent}}\enotes
- %
-%
-\Notes\zql N\qu b&\hsong{\txt |Il |&}\qu d\enotes
-\temps\Notes\zql N\qu b&\hsong{\txt |est|&}\qu g\enotes
-%
-%\check
-\barre\Notes\zql N\qu b&\hsong{\txt |n\'e|&}\qu g\enotes
-\notes\rlap{\dqb NK}\dqu db&\zsong{\txt |le di-|&}\thelyrics\dqu ig\enotes
-%
-%\check
-\barre\Notes\zql I\qu N&\hsong{\txt |vin|&}\qu d\enotes
-\temps\notes\zqu b\dql KM&\hsong{\txt |en-|&}\qu g\enotes
-%
-%\check
-\barre\hardlyrics{\txt |fant !|&}\notes\zql N\qu b&\hsong\thelyrics\qu g\enotes
-\temps\Notes\soupir&\soupir\enotes
-%
-%\check
-\barre\Notes\zql N\qu b&\hsong{\txt |Jou-|&}\qu g\enotes
-\temps\notes\rlap{\dqb NM}\dqu bc&\zsong{\txt |ez haut-|&}\dqu gh\enotes
-%
-%\check
-\barre\hardlyrics{\txt |bois, |&}\notes\zql L\qu d&\hsong\thelyrics\ql i\enotes
-\temps\notes\rlap{\dqb NL}\dqu ed&\zsong{\txt |r\'eson-|&}\dql ji\enotes
-%
-%\check
-\barre\Notes\zql M\qu c&\hsong{\txt |nez|&}\qu h\enotes
-\temps\Notes\zql L\qu b&\hsong{\txt |mu-|&}\qu g\enotes
-%
-%\check
-\barre\Notes\zql K\qu c&\hsong{\txt |set-|&}\qu h\enotes
-\temps\notes\zcl M\cu c&\zsong{\txt |tes |&}\cu d\enotes
-\temps\notes\ds&\ds\enotes
-%
-%\check
-\barre\notes\zql N\qu b&\hsong{\txt |Il |&}\zql d\dqu nm\enotes
-\temps\notes\zql N\qu b&\zsong{\txt |est |&}\zql g\dqu lk\enotes
-%
-%\check
-\barre\notes\zql N\qu b&\hsong{\txt |n\'e |&}\zql g\dqu lk\enotes
-\temps\notes\rlap{\dqb NK}\dqu db&\zsong{\txt |le di-|&}%
- \Ibl0 ig1\zqb0 i\loff{\Ibu1ji1\qh1j}\tbl0\zqb0g\tqh1i\enotes
-%
-%\check
-\barre\notes\zql I\qu N&\hsong{\txt |vin|&}\zql d\dqu ji\enotes
-\temps\notes\zqu b\dql KM&\hsong{\txt |en-|&}\zql g\qsk\dqu hg\enotes
-%
-%\check
-\barre\hardlyrics{\txt |fant !|&}\notes\zql N\qu b&\hsong\thelyrics\zql g\qu k\enotes
-\temps\Notes\soupir&\soupir\enotes
-%
-%\check
-\barre\hardlyrics{\txt |Chan-|&}\notes\zql N\qu b&\hsong\thelyrics\zql g\qu k\enotes
-\temps\notes\zql M\dqu ca&\zsong{\txt |tons|&}\zql h\qu k\enotes
-%
-%\check
-\barre\hardlyrics{\txt |tous |&}\notes\zql L\qu N&\hsong\thelyrics\zql i\qu l\enotes
-\temps\notes\rlap{\dqb LJ}\qu a&\zsong{\txt |son a-|&}\zqu l\dql ji\enotes
-%
-%\check
-\barre\Notes\zql K\qu d&\hsong{\txt |v\`e-|&}\zql h\qu m\enotes
-\temps\Notes\zql K\qu c&\hsong{\txt |ne-|&}\zql k\qu m\enotes
-%
-%\check
-\barre\NOTes\zhl N\hu b&\hsong{\txt |ment|&}\zhl g\zh k\hu n\enotes
-\setdoublebar
-%
-%\check
-\barre\Notes\itenu0N\tten0\itenu0N\hl N&\hsong{\txt |De-|&}\zql g\qu i\enotes
-\temps\Notes&\hsong{\txt |puis|&}\zql h\qu j\enotes
-%
-%\check
-\barre\Notes\tten0\itenu0N\hl N&\hsong{\txt |plus|&}\zql i\qu k\enotes
-\temps\notes&\zsong{\txt |de qua-|&}\rlap{\dqb hg}\dqu ji\enotes
-%
-%\check
-\barre\Notes\tten0\itenu0N\hl N&\hsong{\txt |tre|&}\zql h\qu j\enotes
-\temps\Notes&\hsong{\txt |mille|&}\zql j\qu l\enotes
-%
-%\check
-\barre\NOtes\tten0\itenu0N\hl N&\hsong{\txt |ans|&}\zhl i\hu k\enotes
-%
-%\check
-\barre\Notes\tten0\itenu0N\hl N&\hsong{\txt |Nous|&}\zql g\qu i\enotes
-\temps\Notes&\hsong{\txt |le|&}\zql h\qu j\enotes
-%
-%\check
-\barre\Notes\tten0\itenu0N\hl N&\hsong{\txt |pro-|&}\zql i\qu k\enotes
-\temps\notes&\zsong{\txt |mettaient|&}\rlap{\dqb ji}\dqu lk\enotes
-%
-%\check
-\barre\Notes\tten0\itenu0N\hl N&\hsong{\txt |les|&}\zql h\qu j\enotes
-\temps\Notes&\hsong{\txt |pro-|&}\zql g\qu i\enotes
-%
-%\check
-\barre\Notes\tten0\qlp N&\hsong{\txt |ph\`e-|&}\zql g\qu i\enotes
-\temps\notes&\hsong{\txt |tes|&}\zcl f\cu h\enotes
-\temps\notes\ds&\ds\enotes
-%
-%\check
-\barre\Notes\ql N&\hsong{\txt |De-|&}\zql g\qu i\enotes
-\temps\Notes\ql M&\hsong{\txt |puis|&}\zql h\qu j\enotes
-%
-%\check
-\barre\Notes\ql L&\hsong{\txt |plus|&}\zql i\qu k\enotes
-\temps\notes\dqb MN&\zsong{\txt |de qua-|&}\rlap{\dqb hg}\dqu ji\enotes
-%
-%\check
-\barre\Notes\ql K&\hsong{\txt |tre|&}\zql h\qu j\enotes
-\temps\Notes\ql N&\hsong{\txt |mille|&}\zql j\qu l\enotes
-%
-%\check
-\barre\NOtes\hl N&\hsong{\txt |ans|&}\zhl i\hu k\enotes
-%
-%\check
-\barre\Notes\ql N&\hsong{\txt |Nous|&}\zql g\qu i\enotes
-\temps\Notes\ql M&\hsong{\txt |at-|&}\zql h\qu j\enotes
-%
-%\check
-\barre\Notes\ql L&\hsong{\txt |ten-|&}\zql i\qu k\enotes
-\temps\notes\dqb aL&\zsong{\txt |dions cet|&}\rlap{\dqb ji}\dqu lk\enotes
-%
-%\check
-\barre\Notes\ql M&\hsong{\txt |heu-|&}\zql h\qu j\enotes
-\temps\notes\dql LI&\zsong{\txt |reux|&}\zql g\qu i\enotes
-%
-%\check
-\barre\NOtes\hl K&\hsong{\txt |temps.|&}\zhl f\hu h\enotes
-%
-\finmorceau
-\medskip\rightline{\it le \aujourdhui}
-\absoluteaccidentals
-\vfil\eject
-
diff --git a/macros/musixtex/doc/examples/ilfaitda.tex b/macros/musixtex/doc/examples/ilfaitda.tex
deleted file mode 100644
index 25a596e928..0000000000
--- a/macros/musixtex/doc/examples/ilfaitda.tex
+++ /dev/null
@@ -1,18 +0,0 @@
-
-\resetfacteurs\advance\staffbotmarg by 2\Interligne
-\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{0}%
-\def\Signature{0}\relax %
-\input ilfaitdx
-\resetfacteurs\advance\staffbotmarg by 2\Interligne
-\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{-1}\relax
-\def\Signature{-2}\relax % deux diezes a la clef
-\input ilfaitdx
-\resetfacteurs\advance\staffbotmarg by 2\Interligne
-\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{-2}\relax
-\def\Signature{+3}\relax % un bemol a la clef
-\input ilfaitdx
-\bye
-
diff --git a/macros/musixtex/doc/examples/ilfaitdx.tex b/macros/musixtex/doc/examples/ilfaitdx.tex
deleted file mode 100644
index 009d000f54..0000000000
--- a/macros/musixtex/doc/examples/ilfaitdx.tex
+++ /dev/null
@@ -1,171 +0,0 @@
-\fulltitle{Il fait danser les mondes}
-\shorttitle{Il fait danser les mondes}
- \fullauthor{Jean-S‚bastien Bach\\Transposition
-Daniel Taupin\\paroles Jacques Tournier}
- \shortauthor{J.-S. Bach}
- \maketitle
- %
-\tracingstats=1\relax
-\relativeaccidentals
-\sepbarrules
- %
-\parindent 15mm
- % soufflets crescendo et decrescendo
- %
-\def\soufflcr#1{\zcharnote{#1}{\kern -0.5cm\cresc}}%
-\def\Soufflcr#1{\zcharnote{#1}{\kern -0.5cm\CResc}}%
- %
-\def\souffldim#1{\zcharnote{#1}{\kern -0.5cm\dimin}}%
-\def\Souffldim#1{\zcharnote{#1}{\kern -0.5cm\DImin}}%
- %
- %au moins deux croches basses et hautes
-\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
-\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
- %
- %\check
-\def\nbinstruments{2}\resetsignatures
-\global\nbporteesi=1\relax
-\global\nbporteesii=1\relax
-\global\cleftoksi={{6}{0}{0}{0}}%
-\global\cleftoksii={{0}{0}{0}{0}}%
-\def\lowersonginstrum{1} % to be used to make heavy bars at staff left
-\def\uppersonginstrum{2} % to be used to make heavy bars at staff left
- %
-\signaturegenerale{\Signature}%
-\generalmeter{\meterC}
- %\check
-\def\interfacteur{20}%
-\def\instrumenti{\vbox{\hsize=\parindent
-\centerline{T\'enors}\centerline{basses}}}%
-\def\instrumentii{\vbox{\hsize=\parindent
-\centerline{Sopran.}\centerline{Altos}}}%
- %\check
- %
-\def\eightpoint{\Tenpoint}%
- %\check
-\catcode`\@=13
-\catcodesmusic
- %
-\def\respire{\notes&\cbreath\enotes}%
- %
-\def\txt#1|#2|#3&{{\vbox to 0pt{\Smalltype\baselineskip 9pt
-\vss\hrule width 9pt height 0pt
-\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote
- #3\kern\internote}\smallskip
-\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote
- #2\kern\internote}\smallskip
-\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote
- #1\kern\internote}\kern -12pt}}}%
- %
-\elemskip 20pt\relax
-\debutmorceau
- %\autolines 754\relax
- \transpose=\Transpose
- \qspace
- %
- \NOtes\zql J\qu L&\hsong{\txt Chaque|Il|Il&}\zql N\qu c\enotes
- \barre %1
-\hardlyrics{\txt homme |est|fait&}\notes\zql L\qu N&\hsong\thelyrics\zql c\qu g\enotes
- \Notes\zql J\qu c&\hsong{\txt est |en |dan-&}\zql e\qu g\enotes
- \Notes\zql M\qu c&\hsong{\txt son |cha-|ser &}\zql f\qu h\enotes
- \Notes\zql{^G}\qu b&\hsong{\txt re-|que |les &}\zql e\qu i\enotes
- %
- %\check
- \barre %2
- \NOtes\zhl H\hu a&\hsong{\txt fu- |pier-|mon-&}\zhl e\hu j\enotes
- \Notes\zql H\qu a&\hsong{\txt ge |re |des &}\zql e\qu j\enotes
- \Notes\zql a\qu c&\hsong{\txt Il |En |Les &}\zql h\qu l\enotes
- %
- %\check
- \barre %3
- \Notes\zql M\qu a&\hsong{\txt se |cha-|as-&}\zql h\qu k\enotes
- \Notes\zql K\qu a&\hsong{\txt re-|que |tres &}\zql f\qu j\enotes
- \Notes\zql N\qu N&\hsong{\txt pose |c\oe ur |les &}\zql e\qu j\enotes
- \Notes\zql G\qu N&\hsong{\txt en |vi-|sau-&}\zql d\qu i\enotes
- %
- %\check
- \barre %4
- \NOTes\zhlp J\hup N&\hsong{\txt lui, |vant |sons &}\zhlp e\hup j\enotes
- \Notes\zql J\qu L&\hsong{\txt Mais |Au |Il &}\zql N\qu c\enotes
- %
- %\check
- \barre %5
- \Notes\zql L\qu N&\hsong{\txt y |cen-|pŠ-&}\zql c\qu g\enotes
- \Notes\zql J\qu c&\hsong{\txt p‚-|tre |se &}\zql e\qu g\enotes
- \hardlyrics{\txt nŠtre |de |juge &}\notes\zql M\qu c&\hsong\thelyrics\zql f\qu h\enotes
- \Notes\zql{^G}\qu b&\hsong{\txt en |la |et &}\zql e\qu i\enotes
- %
- %\check
- \barre %6
- \NOtes\zhl H\hu a&\hsong{\txt Ju- |ter-|son-&}\zhl e\hu j\enotes
- \Notes\zql H\qu a&\hsong{\txt ge |re |de &}\zql e\qu j\enotes
- \Notes\zql a\qu c&\hsong{\txt L'‚- |Au |Ren-&}\zql h\qu l\enotes
- %
- %\check
- \barre %7
- \hardlyrics{\txt prouve |fond |ver-&}\notes\zql M\qu a&\hsong\thelyrics\zql h\qu k\enotes
- \Notes\zql K\qu a&\hsong{\txt et |des |se &}\zql f\qu j\enotes
- \Notes\zql N\qu N&\hsong{\txt le |o-|les &}\zql e\qu j\enotes
- \Notes\zql G\qu N&\hsong{\txt con-|c‚-|pri-&}\zql d\qu i\enotes
- %
- %\check
- \barre %8
- \NOTes\zhlp J\hup N&\hsong{\txt duit. |ans. |sons. &}\zhlp e\hup j\enotes
- \notes\zql J\qu L&\zsong{\txt L'a |Il |Il &}\rlap{\dqb ef}\dqh jk\enotes
- %
- %\check
- \barre %9
- \notes\zqu c\dqb cb&\zsong{\txt fait |fait |per-&}\zql g\qu l\enotes
- \notes\zqu c\dqb aN&\zsong{\txt … |ger-|ce &}\zql h\qu l\enotes
- \Notes\zql {^M}\qu d&\hsong{\txt son |mer |l'im-&}\zql h\qu k\enotes
- \Notes\zql K\qu d&\hsong{\txt i-|les |pos-&}\zql {^f}\qu j\enotes
- %
- %\check
- \barre %10
- \notes\zhl N\dqh dc&\zsong{\txt ma-|grai-|tu-&}\rlap{\dqb g{^f}}\dqh ih\enotes
- \Notes\qu d&\hsong{\txt -- |--|-- &}\zql g\qu i\enotes
- \Notes\zql G\qu b&\hsong{\txt ge |nes, |re &}\zql d\qu g\enotes
- \Notes\zql {=M}\qu d&\hsong{\txt D'a-|Di-|A-&}\zql g\qu i\enotes
- %
- %\check
- \barre %11
- \Notes\zql L\qu c&\hsong{\txt mour |ri-|bais-&}\zql g\qu j\enotes
- \Notes\zql K\qu d&\hsong{\txt et |ge |se &}\zql f\qu i\enotes
- \Notes\zql J\qu e&\hsong{\txt de |les |les &}\zql e\qu h\enotes
- \notes\zql K\dqh dc&\hsong{\txt bon-|ruis-|plus &}\zql{^f}\qu h\enotes
- %
- %\check
- \barre %12
- \NOTes\zhlp G\hup b&\hsong{\txt heur |seaux |forts &}\zhlp d\hup g\enotes
- \Notes\zql I\qu N&\hsong{\txt Et |Fait |D‚-&}\zql d\qu g\enotes
- %
- %\check
- \barre %13
- \notes\zql J\qu N&\hsong{\txt l'at-|jail-|mas-&}\rlap{\dqb cd}\dqh ef\enotes
- \Notes\zql {_I}\qu c&\hsong{\txt tend |lir |que &}\zql e\qu g\enotes
- \notes\zqu c\dqb H{=I}&\hsong{\txt au |les |le &}\zql f\qu h\enotes
- \notes\zql {^J}\qu {_b}&\hsong{\txt ri-|fon-|par-&}\zql e\qu g\enotes
- %
- %\check
- \barre %14
- \Notes\zhl K\hu a&\hsong{\txt va-|tai-|ju-&}\islurd1e\isluru2g\zql e\qu g\enotes
- \Notes&\hsong{\txt --|--|--&}\tslur1d\tslur2f\zql d\qu f\enotes
- \Notes\zql H\qu a&\hsong{\txt ge |nes, |re &}\zql c\qu e\enotes
- \Notes\zql {_I}\qu L&\hsong{\txt Dont |Et |Et &}\zql c\qu g\enotes
- %
- %\check
- \barre %15
- \Notes\zql H\qu M&\hsong{\txt il |chan-|com-&}\zql c\qu f\enotes
- \hardlyrics{\txt est |ter |mande &}\notes\zql G\qu N&\hsong\thelyrics\zql c\qu e\enotes
- \Notes\cNa F\zql F\qu a&\hsong{\txt le |les |… &}\roff{\zql c}\qu d\enotes
- \notes\zql G\dqh NM&\zsong{\txt Sei-|oi-|la &}\zql b\qu d\enotes
- %
- %\check
- \barre %16
- \NOTes\zhlp J\hup L&\hsong{\txt gneur.|seaux.|mort.&}\zhlp N\hup c\enotes
- \finmorceau
-\medskip\rightline{\it le \aujourdhui}
-\absoluteaccidentals
-\vfil\eject
-
-\endinput
diff --git a/macros/musixtex/doc/examples/kinder.tex b/macros/musixtex/doc/examples/kinder.tex
deleted file mode 100644
index d5869d25ab..0000000000
--- a/macros/musixtex/doc/examples/kinder.tex
+++ /dev/null
@@ -1,125 +0,0 @@
-\input musixtex
-\input musixplt
-\input soul.sty % comment out this line and the next line if soul.sty not available
-\sodef{\so}{}{0.15em}{0.5em}{0.5em}
-\smallmusicsize
-\geometricskipscale
-\input musixps
-\nohalfties
-\def\pstiehgt{0.5}
-\def\psslurhgt{1}
-\def\qqsk{\off{0.25\elemskip}}
-\input musixsty
-\setclef1\bass\setbassclefsymbol1\bassoct
-\setclef4\treble\settrebleclefsymbol4\trebleoct
-\setname1{Bass Recorder}
-\setname2{Tenor Recorder}
-\setname3{Treble Recorder}
-\setname4{Descant Recorder}
-\advance\parindent by 18ex
-\fulltitle{\BIgfont\so{Von fremden Ländern und Menschen}}
-\subtitle{From {\rm Kinderszenen} (Scenes from Childhood), Opus~15 No.1}
-\othermention{Arranged for Recorders by R. D. Tennent}
-\author{Robert Schumann {\sc (1810--1856)}}
-\hsize=7.275in
-\vsize=9.5in
-\hoffset=8.5in\advance\hoffset-\hsize\divide\hoffset2\advance\hoffset-1.0in
-\voffset=11in\advance\voffset-\vsize\divide\voffset2\advance\voffset-1.0in
-\def\outmorceau{\shipout\vbox{\vbox to \vsize{\vss\pagecontents\vss}\line{%
-\hss\rm \copyright\ R.D. Tennent {\sc 2014}.\quad Licensed under a Creative Commons Attribution--Share Alike license.\hss}}}
-\maketitle
-\generalsignature{1}
-\relativeaccid
-\instrumentnumber4
-\songbottom{1}\songtop{4}
-\setmeter1{{\meterfrac24}}
-\setmeter2{{\meterfrac24}}
-\setmeter3{{\meterfrac68}}
-\setmeter4{{\meterfrac24}}
-\stafftopmarg=7.0\Interligne%
-\staffbotmarg=7.0\Interligne%
-\setinterinstrument1{2.5\internote}
-\startbarno=1
-\nobarnumbers
-\def\raisebarno{8\internote}%
-\def\shiftbarno{-1.0\Interligne}%
-\startpiece\addspace\afterruleskip%
-\systemnumbers
-\znotes\zcharnote{e}{\ppff \kern-3ex mezzo staccato}&&&\en
-\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en
-\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en
-\bar%2
-\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en
-\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en
-\bar%3
-\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en
-\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en
-\bar%4
-\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en
-\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en
-\bar%5
-\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en
-\notes\qa{I}&\itied1g\qa g&\ds\ibl1k5\qb1{k}\tqb1n&\qa n\sk\sk\en
-\bar%6
-\notes\qa J&\ttie1\qa g&\ds\ibl1l5\qb1{l}\tqb1n&\ibl2l{-2}\qb2{.l}\sk\hroff{\tbbl2\tqb2k}\en
-\notes\qa L&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\qa j\sk\sk\tfslur1o\en
-\bar%7
-\notes\qa K&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\isluru1o\qa h\en
-\notes\qa{K}&\qa f&\ds\ibl1j5\qb1{j}\tqb1m&\qa k\en
-\bar%8
-\notes\qa G&\qa d&\ds\ibl1i5\qb1{i}\tqb1n&\tfslur1k\ha i\en
-\notes\qp&\qa g&\ds\ibl1i5\qb1{i}\tqb1n&\en
-\setmeter3{{\meterfrac24}}%
-\setmeter2{{\meterfrac68}}%
-\setleftrightrepeat%9
-\changecontext%
-\notes\zcharnote{A}{\ppff tenuto}\qa L&\ds\ibl1i5\qb1{i}\tqb1l&\qa n&\isluru1j\qa i\en
-\notes\qa H&\ds\ibl1h5\qb1{h}\tqb1l&\qa o&\qa j\en
-\bar%10
-\notes\ibu0K{-2}\qb0{.K}\sk\hroff{\tbbu0\tqh0J}&\ds\ibl1h{5}\qb1{h}\tqb1k&\qa m&\qa h\en
-\notes\qa I&\ds\ibl1g5\qb1{g}\tqb1k&\qa n&\tslur1j\qa i\en
-\bar%11
-\notes\qa J&\ds\ibu1h5\qb1{g}\tqh1j&\qa l&\isluru1n\qa g\en
-\notes\off{6pt}{\smallnotesize\zqu M}\qu F&\ds\ibu1h5\qb1{f}\tqh1j&\qa l&\qa h\sk\sk\en
-\bar%12
-\notes\ibu0I{-2}\qb0{.I}\sk\hroff{\tbbu0\tqh0H}&\ds\ibu1g5\qb1{f}\tqh1{i}&\qa{^k}&\qa f\en
-\notes\qa G&\ds\ibu1g5\qb1{g}\tqh1i&\qa{=k}&\tfslur1n\qa g\en
-\setmeter3{{\meterfrac24}}%
-\setmeter4{{\meterfrac68}}%
-\changecontext%13
-\znotes&&&\zcharnote{s}{\ppff ritardando}\en
-\notes\qa J&\qa c&\ds\ibu1h5\qb1{g}\tqh1j&\isluru1m\qa e\en
-\notes\qa J&\qa d&\ds\ibu1i5\qb1{h}\tqh1k&\qa f\en
-\bar%14
-\notes\ibu0I{-2}\qb0{.I}\sk\hroff{\tbbu0\tqh0H}&\fermataup l\ha d&\ds\ibl1g5\qb1{g}\tqb1k&\ibu2g1\qb2{.g}\sk\hroff{\tbbu2\tqh2h}\hqsk\en
-\notes\fermataup N\qa G&&\ds\ibl1h{5}\qb1{h}\fermataup l\tqb1k&\ibl2i1\fermataup l\qb2{.i}\sk\tfslur1n\qqsk\roff{\tbbl2\tqb2j}\hqsk\en
-\bar%15
-\znotes&&&\zcharnote{t}{\kern-2ex\ppff a tempo}\en
-\notes\zcharnote{e}{\ppff \kern-3.0ex mezzo staccato}\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1m\qa k\en
-\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en
-\bar%16
-\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en
-\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en
-\bar%17
-\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en
-\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en
-\bar%18
-\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en
-\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en
-\bar%19
-\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en
-\notes\qa{I}&\itied1g\qa g&\ds\ibl1k5\qb1{k}\tqb1n&\qa n\sk\sk\en
-\bar%20
-\notes\qa J&\ttie1\qa g&\ds\ibl1l5\qb1{l}\tqb1n&\ibl2l{-2}\qb2{.l}\sk\hroff{\tbbl2\tqb2k}\en
-\notes\qa L&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\qa j\en
-\bar%21
-\notes\qa K&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\qa h\en
-\notes\qa{K}&\qa f&\ds\ibl1j5\qb1{j}\tqb1m&\qa k\en
-\bar%22
-\notes\ha G&\ha d&\ds\ibl1i5\qb1{i}\tqb1n&\thslur1k\ha i\en
-\notes&&\ds\ibl1i5\qb1{i}\tqb1n&\en
-\mulooseness0%
-\setrightrepeat%
-\endpiece
-\eject
-\end
diff --git a/macros/musixtex/doc/examples/kv315.tex b/macros/musixtex/doc/examples/kv315.tex
deleted file mode 100644
index 390d5d0030..0000000000
--- a/macros/musixtex/doc/examples/kv315.tex
+++ /dev/null
@@ -1,827 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\title{Andante KV 315}\subtitle{pour fl\^ute et orchestre}
-\author{W. A. Mozart\\transcription pour fl\^ute, hautbois et orgue\\D. Taupin}
-\shortauthor{W. A. Mozart / D. Taupin}
-\maketitle
-
-\parindent 2cm
-\generalsignature{0}
-\instrumentnumber{3}
- %\setname1{P\'edale 16'}
-\setname1{Orgue}
-\setname2{\vbox{\hbox{Haubois}\hbox{Violon}}}
-\setname3{Fl\^ute}
-\setstaffs12
-\setclef1{6000}
-\ifx\orgue\undefined\else\setsize2{0.64}\setsize3{0.64}\fi
-\ifx\oboe\undefined\else\setsize1{0.64}\setsize3{0.64}\fi
-\ifx\flute\undefined\else\setsize2{0.64}\setsize1{0.64}\fi
-\generalmeter{\meterfrac 24}
-\def\dble{\multnoteskip 2}
-
-\debutmorceau
-\zbarre
-\NOTes\zq J\ql N\zq G\ql N|\zq c\qu e\zq d\qu f&\ql j\ql i&\multnoteskip{0.7}\sk\pause\enotes
-%
-\barre %2
-\NOtes
- \ibl0K0\upz a\zq N\qb0J\upz b\zq N\qb0 b\relax
- |\Ibu1eg2\lpz c\zq c\qh1e\qh1g\relax
- &\Ibl2jl2\qb2j\zcharnote n{\it tr}\multnoteskip{0.6}\qb2k\relax
- {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax
- &\soupir\enotes
-\NOtes
- \zq J\upz c\tqb0c|\tqh1g\relax
- &\tqb2l&\ds\enotes
-\notes\ds|\ds&\ds&\Ibbl0lm2\zcharnote n{\it tr}\qbp0l\sk\tbbbl0\tqb0m\enotes
-%
-\barre %3
-\notes\dble\zhu N\cl J\raise -\Interligne\ds\cl G\raise -\Interligne\ds
- |\ibbu0e0\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq
-c\qh0e\zq d\qh0f\zq b\tqh0d\relax
- & \dble\dble\sk\pause
- &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes
-%
-\barre %4
-\notes\dble\zq C\cu J\ds\zq C\cu J\ds\relax
- |\qs\ibbu0d0\zq b\qh0{^d}\zq c\qh0e\zq b\tqh0d\relax
- \Ibbu0df3\zq c\qh0e\zq c\qh0e\zq {=d}\qh0f\zq e\tqh0g\relax
- &\dble\dble\sk\pause
- &\Ibl0kl2\qb0{^k}\sk\tqb0l\sk\qs\Ibbl0ln2\qb0{lm}\tqb0n\enotes
-%
-\barre %5
-\notes\dble\zq C\cu J\ds\cu J\ds
- |\qs\ibbu0g0\zq f\qh0h\zq c\qh0f\zq f\tqh0h\Ibbu0ig3\zq h\qh0j\zq
-h\qh0j\sk\zq g\qh0i\zq f\tqh0h\relax
- &\dble\dble\sk\pause
- &\ibbl0o0\qb0o\tbbl0\qb0m\itenu0q\tqb0q\sk
- \ibbl0o0\tten0\qbp0q\relax
- {\multnoteskip{0.66}\sk\nbbbl0\qb0r\tqb0q}\relax
- \Ibbl0po1\qb0p\tqb0o\enotes
-%
-\barre %6
-\notes\dble\zq C\cu J\ds\cu J\ds
- |\qs\Ibbu0fd2\zq f\qh0h\zq e\qh0g\zq{^d}\tqh0{^f}\relax
- \ibbu0i0\zq e\qh0g\zq g\qh0j\zq c\qh0e\zq e\tqh0g\relax
- &\dble\dble\sk\pause
- &\dble\Ibl0on1\zcharnote q{\it tr}\qb0o\tqb0n\ds
- \multnoteskip{0.33}\zcharnote p{\it tr}\ibbl0n0\qbp0n\sk\tbbbl0\tqb0n\enotes
-%
-\barre %7
-\notes\dble\zq H\ql a\sk\zq{_H}\ql{_a}\relax
- |\qs\Ibbu0fj2\zq c\qh0f\zq f\qh0h\zq h\tqh0j\ds\Ibbu0fj2\zq c\qh0f\zq
-f\qh0{_h}\zq h\tqh0j\relax
- &\dble\dble\sk\pause
- &\Ibbl0qo1\qb0q\tqb0o\dble\ql m\sk\cl m\enotes
-%
-\barre %8
-\Notes\zq G\ql N|\qs\Ibbu0di2\zq b\qh0d&\relax
- &\multnoteskip{0.5}\Ibbbl1nk3\qb1{nml}\tqb1k\enotes
-\notes|\zq d\qh0f\zq f\tqh0i&\sk\pause
- &\ql k\sk\enotes
-\notes\dble\Ibu0MJ1\zq G\qh0N\zq C\tqh0J\relax
- |\qs\ibbu0i0\zq f\qh0i\zq e\qh0j\zq e\tqh0g\relax
- &&\sk\sk\multnoteskip{0.7}\Ibbl0lj2\qbp0l\sk\tbbbl0\tqb0j\enotes
-%
-\barre %9
-\notes\dble\zq F\qu M\sk\zql G\ibu0L0\qh0N\tqh0N\relax
- |\dble\zqp d\qup f\sk\sk\zq b\cu d\relax
- &\dble\dble\sk\pause
- &\ibbl0i0\isluru0i\qb0i\tslur0h\qb0h\isluru0m\qb0m\tslur0k\tqb0k\relax
- \ibbl0j0\isluru0j\qb0j\tslur0i\qb0i\isluru0n\qb0n\tslur0m\tqb0m\enotes
-%
-\barre %10
-\notes\dble\zhu N\ql J\sk\Ibl0JI1\qb0J\tqb0I\relax
- |\qs\Ibbu0bd2\qh0b\qh0c\tqh0{=d}\Ibbu0eg3\qh0{^de=d}\tqh0g\relax
- &\qs\Ibbu0ef2\qh0{^de}\tqh0f\Ibbu0fi3\qh0{^fgh}\tqh0i\relax
- &\dble\Ibl0kl1\qb0{^k}\tqb0l\ds
- \zcharnote p{\it tr}\multnoteskip{0.4}\ibbl0n0\qbp0n\sk\tbbbl0\tqb0n\enotes
-%
-\barre %11
-\notes\dble\zq H\ql a\sk\zq{_H}\ql{_a}\relax
- |\qs\Ibbu0fj2\zq f\qh0c\zq f\qh0h\zq h\tqh0j\relax
- \qs\Ibbu0fj2\zq c\qh0f\zq f\qh0{_h}\zq h\tqh0j\relax
- &\dble\ql j\sk\ds\cl j\relax
- &{\multnoteskip{0.667}\triolet q\Ibbl0qm2\qb0{qo}\tqb0m}\relax
- \dble\ql m\sk\cl m\enotes
-%
-\barre %12
-\notes\dble\Ibu0LK1\lpz G\zq G\qh0N\lpz F\zq F\tqh0M\ds
- |\dble\lpz d\zq d\Ibu0gd1\qh0g\lpz b\zq b\tqh0d\ds
- &\dble\Ibu0ig2\lpz i\qh0i\lpz g\tqh0g\ds
- &\ibbl0k0\qb0m\tbbl0\qb0p\tqb0p\sk\ds\enotes
-\notes\cl L|\cu c&\cu g&\Ibbbl0qo3\qb0{qp_p}\tqb0o\enotes
-%
-\barre %13
-\notes\ql M|\dble\dble\Ibu0cd1\qh0c\tqh0d\relax
- &\dble\dble\Ibu0fh1\qh0f\tqh0h\relax
- &\ibbbl0n0\qb0{^no=p}\tqb0o\Ibbbl0nk3\qb0{=nml}\tqb0k\enotes
-\Notes\dble\ibl0N0\qb0N\tqb0N\relax
- |\ds\Ibbu0gd2\zq e\qh0g\zq c\qh0e\zq b\tqh0d\relax
- &\sk\sk\soupir
- &\ibbl0j0\roff{\tbbl0}\qh0{jl}\sk
- \multnoteskip{0.6}\nbbbl0\qb0m\tqb0k\enotes
-%
-\barre %14
-\notes\zql J\Ibbu0JI2\qh0M\tbbu0\qh0L\tqh0L\sk\dble\zq{_L}\ql N\relax
- |\qs\Ibbu0cg2\zq c\qh0N\zq c\qh0e\zq e\tqh0g\qs
- \Ibbu0ej2\zq c\qh0{_e}\zq e\qh0g\zq g\tqh0j\relax
- &\dble\dble\sk\pause
- &\zcharnote n{\it tr}\Ibbl0kj2\qb0k\tbbl0\qb0 j\tqb0j\sk\ds\sk
- \multnoteskip{0.67}\Ibbl0jn2\qbp0j\sk\tbbbl0\tqb0n\enotes
-%
-\barre %15
-\notes\zh D\hu K|\dble\ibl1h0\qb1h\qb1{^f}\relax
- &\dble\ds\isluru0m\ql k\relax
- &\Ibbl0nm2\qb0n\tbbl0\qb0{^m}\itenu3m\tqb0m\enotes
-\notes|\multnoteskip{0.75}\dble\dble\qb1g\itenu1h\tqb1h\relax
- &\multnoteskip{0.75}\dble\dble\sk\tslur0l\itenu2j\cl j\relax
- &\multnoteskip{0.75}\tten3\ibbbl0m0\qb0{mln}\tqb0m\Ibbbl0ol3\qb0{onm}\tqb0l\enotes
-%
-\barre %16
-\notes\zh D\hu K|\dble\zcl{^f}\tten1\cu h\Ibl0po1\zq o\qb0q\zq
-n\tqb0p\itenl1g\cu g\relax
- &\tten2\dble\cu j\ds\ds\itenu2i\cu i\relax
- &\uppersh p\zcharnote n{\it tr}\Ibbl0nk2\qb0l\tbbl0\qb0k\itenu3k\tqb0k\sk
- \tten3\ibbl0k0\qb0k\tqb0p\multnoteskip{0.8}\Ibbbl0ol2\qb0{on^m}\tqb0l\enotes
-%
-\barre %17
-\notes\zh D\hu K|\dble\zcl e\tten1\cu g\Ibl0on1\zq n\qb0p\zq
-{^m}\tqb0o\zq d\cu {^f}\relax
- &\tten2\dble\cu i\ds\ds\cu h\relax
- &\ibbl0k0\qb0k\tbbl0\qb0j\itenu3q\tqb0q\sk
- \tten3\Ibbl0qj2\qb0{qo^m}\tqb0j\enotes
-%
-\barre %18
-\notes\dble\zq G\qu N\sk\ds\zq d\cl b\relax
- |\zq d\cu g\sk\sk\sk\ds\ibbu0f0\qh0d\qh0g\tqh0{=f}\relax
- &\dble\qu i\sk\soupir\relax
- &\Ibbl0ip3\qb0{ikn}\tqb0p\itenu4r\ql r\enotes
-%
-\barre %19
-\notes\dble\ibl0c0\qb0{ccc}\tqb0c\relax
- |\zhl e\ibbu0j0\roff{\tbbu0}\qh0g\qh0l\sk\qh0k\sk\qh0j\sk\tbbu0\tqh0i\relax
- &\dble\ibu0g0\qh0{g^gh}\tqh0{=g}\relax
- &\tten4\Ibbl0rn7\roff{\tbbl0}\qb0r\qb0q\sk\qb0p\sk\qb0o\sk\tbbl0\tqb0n\enotes
-%
-\barre %20
-\NOtes\dble\ibl0d0\qb0d\tqb0d\multnoteskip{0.7}\cl d\ds
- |\dble\ibu0h0\qh0h\tqh0h\multnoteskip{0.7}\cu h\ds
- &\dble\ibu0f0\qh0{^f}\tqh0f\multnoteskip{0.7}\cu f\ds
- &{\multnoteskip{0.5}\Ibbbl0nk3\qb0{n^ml}\tqb0k\Ibbbl0jk3\qb0{^jkl}\tqb0k}\relax
- \cl k\ds\enotes
-%
-\barre %21
-\Notes\zq G\cu N\ds\zq K\cu D|\zq b\cu d\ds\zq c\rq d\cu{^f}\ds
- &\cu g\ds\cu h\ds&\sk\sk\pause\enotes
-%
-\barre %22
-\Notes\Ibl0HJ2\upz N\zq N\qb0G\upz a\zq a\qb0H|\ibu1g1\zq d\qh1g\zq d\qh1{^f}\relax
- &\Ibl2ik2\upz i\qb2i\upz j\zq j\qb2j&\soupir\enotes
-\notes\upz b\zq I\tqb0b\sk\ds
- |\zq d\tqh1g\sk\ds
- &\tqb2k\sk\ds
- &\qs\Ibbl2kp2\qb2{kn}\tqb2p\enotes
-%
-\barre %23
-\NOtes\zhu d\islurd0a\ql a\tslur0N\ql N|\isluru0j\ql j\tslur0i\ql i\relax
- &\isluru0m\ql{^m}\tslur0n\ql n&\itenu5r\hl r\enotes
-%
-\barre %24
-\NOtes\upz d\zq d\lq c\Ibl0Ma2\qb0{^M}\upz d\zq d\zq b\qb0N\upz f\zq{^f}\tqb0a\relax
- |\ibl0k0\qb0{kk}\tqb0k\relax
- &\Ibl0oq2\qb0o\zcharnote r{\it tr}\relax
- \rlap{\multnoteskip{0.25}\sk\sk\tinynotesize\Ibbu1op1\qh1o\tqh1p}\relax
- \qb0p\tqb0q\relax
- &\tten5\itenu5r\ql r\sk
- \tten5\multnoteskip{0.6}\ibbl0r0\qb0r\relax
- \nbbbl0\multnoteskip{0.6}\qb0s\tqb0r\enotes
-\notes\ds|\ds&\ds&\multnoteskip{0.72}\Ibbbl0ro3\qb0{rqp}\tqb0o\enotes
-%
-\barre %25
-\Notes\ql N|\qs\ibbu1i0\zq b\qh1g\relax
- &&\multnoteskip{0.5}\ibbbl0n0\qb0{nop}\tqb0o\enotes
-\notes\dble\sk\ql b|\zq i\qh1k\zq g\tqh1i\ibbu0g0\zq d\qh0g\zq d\qh0g\zq d\qh0g\zq d\tqh0g\relax
- &\sk\pause
- &\dble\isluru0n\ql n\sk\tslur0m\cl{^m}\enotes
-%
-\barre %26
-\Notes\ql c|\qs\ibbu1g0\zq e\qh1g\relax
- &&\multnoteskip{0.5}\ibbbl0l0\qb0{l^mn}\tqb0m\enotes
-\notes\dble\sk\ql N|\qh1e\zq g\tqh1e\ibbu0i0\zq j\qh0g\zq j\qh0g\zq i\qh0g\zq i\tqh0g\relax
- &\sk\pause
- &\dble\isluru0l\ql l\sk\tslur0k\cl{k}\enotes
-%
-\barre %27
-\notes\ql a|\ds\ibbu0g0\zq e\qh0g\zq e\qh0g\zq e\tqh0g\relax
- &\sk\sk\sk\pause
- &\ibl0j0\zcharnote m{\it tr}\qbp0j\sk\sk\nbbbl0\multnoteskip{0.7}\qb0i\tqb0j\enotes
-\notes\ql K|\ibbu0h0\zq{^f}\qh0h\zq f\qh0h\zq f\qh0h\zq f\tqh0h\relax
- &&\Ibl0kj2\isluru0k\qb0k\sk\tslur0j\tqb0j\enotes
-%
-\barre %28
-\NOtes\ds\Ibl1LJ3\zqu b\qb1L|\ds\zqu g\Ibl2ge3\qb2g\relax
- &&\Ibu3hi1\islurd3h\qh3{^h}\tslur3i\tqh3i\enotes
-\notes\dble\dble\qb1K\zcu c\tqb1J|\dble\dble\qb2{^f}\zcu g\tqb2e\relax
- &\pause
- &\hs\Ibbbu0gi2\qh0{g=h}\tqh0i\Ibbbl0jm3\qb0{jkl}\tqb0{^m}\enotes
-%
-\barre %29
-\Notes\cu I|\zqup g\raise -6\Internote\qs\ibbl1f0\zq b\qb1d\relax
- &\soupir&\multnoteskip{0.5}\ibbbl0n0\qb0{nop}\tqb0o\enotes
-\notes\dble\ds\cu I\ds|\zq d\qb1b\zq d\tqb1b\Ibbl0ef3\zq b\qb0d\zq b\qb0d\zq d\qb0{=f}\zq d\tqb0f\relax
- &\dble\sk\ds\cu{^g}\relax
- &\itenu0n\cl n\sk\tten0\ibbl0o0\qb0{nrq}\tqb0p\enotes
-%
-\barre %30
-\notes\ibu1J0\qh1J\sk\qh1J|\Ibbu0fe2\zq d\qh0f\zq c\tbbu0\qh0e\zq c\tqh0e\relax
- &\Ibbu0ih2\qh0i\tbbu0\qh0h\tqh0h\relax
- &\Ibbl0no1\qb0{^n}\tqb0o\qs\ccl s\enotes
-\Notes\dble\qh1J\tqh1J|\dble\Ibu0hj1\zq e\qh0h\zq h\tqh0j\relax
- &\dble\Ibu0jl1\qh0j\tqh0l\relax
- &\multnoteskip{0.5}\qs\sk\Ibbbl0rq1\qb0r\tqb0q\qs\sk\Ibbbl0po1\qb0p\tqb0o\enotes
-%
-\barre %31
-\Notes\zq K\ql d|\qs\ibbu1i0\zq g\qh1i\relax
- &\ds
- &\multnoteskip{0.71}\ibbl3n0\qbp3p\sk\tbbbl3\tbbl3\qb3n\enotes
-\Notes\dble\sk\zq K\ql d|\qh1i\tqh1i\Ibbu0ig3\qh0i\zq e\qh0{^h}\lna h\zq{^f}\qh0h\tqh0g\relax
- &\ibbu0k0\qh0k\tqh0k\Ibbu0ki3\qh0{k^j=j}\tqh0i\relax
- &\itenu1r\tqb3r\sk\tten1\Ibbl0rp3\qb0{r^q=q}\tqb0p\enotes
-%
-\barre %32
-\Notes\zcl K\roff{\zq d\itenu1d}\itenl0c\qu c\sk\raise -2\Internote\ds
- |\qs\ibbu0g0\qh0{gg}\tqh0g\relax
- &\itenl2h\qu h\relax
- &\zhl o\xTrille q{8\noteskip}\enotes
-\notes\dble\zcl K\ibbu0b0\roff{\zq d\tten1}\tten0\qh0c\rq d\qh0c\rq d\relax
- \raise -2\Internote\rlap{\ds}\qh0c\rq d\tqh0c\relax
- |\Ibbbu0fg3\qh0{^fgh}\tqh0g\ibbbu0i0\qh0{hij}\tqh0h\relax
- &\tten2\Ibbbu0hi3\qh0{hij}\tqh0i\Ibbbu0jm3\qh0{jkl}\tqh0{^m}\relax
- &\sk\sk\sk\sk\sk\sk\sk\multnoteskip{0.7}\tinynotesize\Ibbbu0lm1\qh0n\tqh0o\enotes
-%
-\barre %33
-\notes\zql N\zql G\ibbu1a0\qh1b\zcharnote C{(p\'ed.)}\sk\qh1d\relax
- |\Ibbbu0gh3\qh0{ghi}\tqh0h\relax
- &\Ibbbl0no3\qb0{nop}\tqb0o\relax
- &\ql n\enotes
-\Notes\qh1b\tqh1d\zql I\raise4\Internote\qs\ibbu0N0\qh0{Nd}\tqh0N\relax
- |\dble\qu g\sk\cu{^f}\relax
- &\dble\isluru0n\ql n\sk\tslur0m\cl{^m}\relax
- &\dble\sk\soupir\enotes
-%
-\barre %34
-\notes\zql J\raise4\Internote\qs\sk\ibbu1M0\qh0N\relax
- |\Ibbbu0ef3\qh0{e^fg}\tqh0f\relax
- &\Ibbbl0lm3\qb0{l^mn}\tqb0m\relax
- &\enotes
-\Notes\qh1c\tqh1N\rlap{\dble\Ibl0JK1\qb0J\tqb0L}\Ibbu0aM3\qh0{cNb}\tqh0N\relax
- |\dble\qu e\sk\cu d\relax
- &\dble\isluru0l\ql l\sk\tslur0k\cl k\relax
- &\dble\sk\pause\enotes
-%
-\barre %35
-\notes\zqlp L\Ibbbu0LM3\qh0{L=MN}\tqh0M\relax
- |\Ibbbu0cd3\qh0{cde}\tqh0d\relax
- &\Ibbbl0jk3\qb0{jkl}\tqb0k\relax
- &\enotes
-\Notes\ibbu0L0\qh0L\tqh0N\Ibbu0LK2\qh0{LN}\roff{\zcl K}\qh0K\tqh0N\relax
- |\dble\qu c\sk\cu b\relax
- &\dble\isluru0j\ql j\sk\tslur0i\cl i\relax
- &\dble\sk\pause\enotes
-%
-\barre %36
-\Notes\zql J\Ibu0Lc3\qh0L\sk\nbbu0\qh0a\tqh0c|\dble\ibu0e0\qh0e\tqh0e\relax
- &\Ibbu0gl3\qh0{^ghj}\tqh0l\enotes
-\notes\zql K\ibl0f0\qb0d\sk\sk\tqb0d\relax
- |\Ibbu0ig2\qhp0i\sk\tbbbu0\tqh0g\Ibbbu0if3\qh0{ihg}\tqh0{^f}\relax
- &\islurd0k\Ibbu0ki2\qhp0k\sk\tbbbu0\tqh0i\Ibbbu0kh3\qh0{kji}\tslur0h\tqh0h\relax
- &\sk\pause\enotes
-%
-\barre %37
-\Notes\zcl G\zq {Nb}\cu d\sk\ds|\cu g\sk\ds
- &\cu g\sk\ds
- &\qs\isluru0g\Ibbl0gk2\qb0{gi}\tqb0k\enotes
-\notes\soupir|\soupir&\soupir
- &\tslur0n\ibbbl0n0\qb0n\upz k\qb0k\upz l\qb0l\upz
-m\tqb0{^m}\Ibbbl0nq3\upz n\qb0n\upz o\qb0o\upz p\qb0p\upz q\tqb0q\enotes
-%
-\barre %38
-\Notes\zq G\cu N\ds\zq D\cu K\ds|\zq {_bd}\cu g\ds\zq{ac}\rq d\cu{^f}\sk
- &\cu g\ds\cu {^f}\ds&\itenu0r\hl r\enotes
-%
-\barre %39
-\Notes\Ibl1GN2\upz N\zq N\qb1G\upz c\zq c\qb1K\relax
- |\Ibu2gi2\lpz b\zq{_bd}\qh2g\zq{d^f}\qh2h\relax
- &\Ibu3gi2\lpz g\qh3g\lpz h\qh3h\relax
- &\tten0\itenu0r\ql r\enotes
-\notes\upz b\zq N\tqb1{_b}\sk\ds
- |\lpz d\zq{dg}\tqh2{_i}\sk\ds
- &\lpz i\tqh3{_i}\sk\ds
- &\tten0\ibbl0r0\qb0{rrr}\tqb0r\enotes
-%
-\barre %40
-\notes\zql H\raise2\Interligne\qs\Ibbu0Ma1\qh0{^M}\zqlp a\tqh0a\relax
- |\ds\sk\qs\itenl0c\ccu c\relax
- &\relax
- &\dble\dble\isluru1s\ql{_s}\enotes
- \nspace
-\notes
- |\tten0\zq c\zql{_e}\Ibbu0ej3\qh0{e^fh}\tqh0j\relax
- &\pause
- &\tslur1m\ql{^m}\enotes
-%
-\barre %41
-\Notes\lpz I\Ibu0NL2\zq{_I}\qh0{_b}\lpz F\zq{^F}\qh0{^M}\lpz G\zq G\tqh0N\ds
- |\lpz d\Ibu0ki2\zq{dg}\qh0k\lpz d\zq{dh}\qh0j\lpz d\zq{dg}\tqh0{_i}\ds
- &\upz k\Ibl0ki2\qb0k\upz j\qb0j\upz i\tqb0{_i}\ds
- &\Ibl0no1\qb0n\zcharnote q{\it tr}\upperfl s\qb0o\tqb0{_p}\ds
- \enotes
-%
-\barre %42
-\notes\ql c|\ds&&\multnoteskip{0.8}\ibbbl0o0\qb0{_poq}\tqb0o\enotes
-\Notes\sk\ql d|\Ibl0jh2\zq{_l}\qb0j\zq l\qb0{_i}\zq j\tqb0 h\relax
- &\sk\pause
- &\isluru0n\ql n\sk\tslur0m\cl{^m}\enotes
-%
-\barre %43
-\notes\dble\zql N\hu d\sk\ql{=M}\relax
- |\Ibbu0ji3\zq{^f}\qh0j\zq g\qh0{_i}\zq g\qh0i\zq g\tqh0i\relax
- \qs\ibbu0i0\zq g\qh0i\zq f\qh0h\zq g\tqh0i\relax
- &\dble\sk\sk\pause
- &\Ibbl0on2\qb0o\tbbl0\qb0n\tqb0n\sk\ds\sk\cl n\enotes
-%
-\barre %44
-\notes\dble\zq L\ql{^c}\sk\zq K\ql d\relax
- |\qs\ibbu0i0\zq g\qh0{_i}\zq{^f}\qh0h\zq g\tqh0i\relax
- \qs\ibbu0i0\zq g\qh0i\zq f\qh0h\zq g\tqh0i\relax
- &\dble\sk\sk\pause
- &\itenu1n\ql n\sk\sk\sk\tten1\ibbl0n0\qb0n\qb0n\qb0{^m}\tqb0n\enotes
-%
-\barre %45
-\notes\dble\qu{^J}\sk\qu K\relax
- |\zql e\ibbu0h0\qh0{gh^g}\tqh0h\ibbu0h0\zq d\qh0{=f}\zq f\qh0h\zq
-e\qh0{=g}\zq d\tqh0f\relax
- &\dble\sk\sk\pause
- &\Ibbl0po2\qb0{_p}\tbbl0\qb0o\itenu0o\tqb0o\sk
- \tten0\Ibbl0oq3\qb0{or^q}\tqb0r\enotes
-%
-\barre %46
-\notes\zql E\raise2\Interligne\qs\Ibbu0JL1\qh0{^J}\zqlp L\tqh0L\relax
- |\ds\sk\qs\itenl0N\ccu N\relax
- &\relax
- &\dble\dble\isluru1p\ql{_p}\enotes
- \nspace
-\notes
- |\tten0\zq N\zql{_b}\Ibbu0bg3\qh0{b^ce}\tqh0g\relax
- &\pause
- &\tslur1j\ql{^j}\enotes
-%
-\barre %47
-\Notes\lpz F\Ibu0MK2\zq F\qh0M\lpz C\zq{^C}\qh0{^J}\lpz D\zq D\tqh0K\ds
- |\lpz a\Ibu0hf2\zq{ad}\qh0h\lpz a\zq{ae}\qh0g\lpz a\zq{ad}\tqh0f\ds
- &\lpz h\Ibu0hf2\qh0h\lpz g\qh0g\lpz f\tqh0f\ds
- &\Ibl0kl1\qb0k\zcharnote n{\it tr}\qb0l\tqb0m\ds
- \enotes
-%
-\barre %48
-\notes\ql N|\ds&&\multnoteskip{0.8}\ibbbl0l0\qb0{mln}\tqb0l\enotes
-\Notes\sk\ql a|\Ibu0hf2\zq{_i}\qh0g\zq h\qh0f\zq g\tqh0 e\relax
- &\pause
- &\isluru0k\ql k\sk\tslur0j\cl{^j}\enotes
-%
-\barre %49
-\notes\dble\zq K\ql a\sk\zq{=I}\ql{=b}\relax
- |\ibbu0g0\zq{^c}\qh0h\zq d\qh0f\lpz d\zq d\qh0f\lpz d\zq d\tqh0f\zq d\qh0{^g}\relax
- &\dble\sk\sk\pause
- &\Ibbl0lk2\qb0l\tbbl0\qb0k\tqb0k\sk\qs\ibbl0m0\qb0{mm}\tqb0m\enotes
-%
-\barre %50
-\notes\dble\zq J\ql c\sk\zq{^G}\ql{^N}\relax
- |\qs\ibbu0i0\zq e\qh0h\zq e\qh0h\zq e\tqh0h\zq e\qh0{=i}\relax
- &\dble\sk\pause
- &\Ibbl0ml2\qb0m\tbbl0\qb0l\tqb0l\sk\qs\ibbl0k0\qb0{kk}\tqb0k\enotes
-%
-\barre %51
-\notes\dble\zq H\ql a\sk\zq F\qu M\relax
- |\zcl e\Ibbu0ih1\qh0i\tqh0h\zq c\dble\qu h\relax
- &\dble\sk\sk\pause
- &\ibbl0k0\qb0k\tbbl0\qb0j\itenu0o\tqb0o\sk
- \multnoteskip{0.6}\Ibbl0om3\tten0\qb0o\sk\nbbbl0\qb0n\tqb0m\enotes
-\notes|\zq a\cu h&&\Ibbl0lk1\qb0l\tqb0{^k}\enotes
-%
-\barre %52
-\notes\zql E\raise2\Interligne\qs\ibbu0L0\qh0{LL}\tqh0L\dble\cu L\ds
- |\Ibbu0hg3\zq c\qh0h\zq b\qh0{^g}\zq b\zq e\qh0g\zq b\zq e\tqh0g\dble\zq
- {be}\cu g\ds
- &\dble\dble\pause
- &\Ibbl0kl2\qb0{^k}\tbbl0\qb0l\tqb0l\sk\qs\ibbl0l0\qb0{ll}\tqb0l\enotes
-%
-\barre %53
-\notes\qs\ibbl0K0\qb0{KK}\tqb0K\relax
- |\qs\ibbu0i0\rq g\sh g\zq f\qh0i\rq g\zq f\qh0i\rq g\zq f\tqh0i\relax
- &\qs\ibbu0i0\qh0{ii}\tqh0i\relax
- &\Ibbl0nm2\qb0n\tbbl0\qb0m\tqb0m\enotes
-\notes\multnoteskip{0.7}\cl K\sk\sk\sk\ds
- |\multnoteskip{0.7}\zq f\rq g\cu i\sk\sk\sk\ds
- &\multnoteskip{0.7}\cu i\sk\sk\sk\ds
- &\multnoteskip{0.7}\hs\ibbbl0l0\qb0{ml}\tqb0m\ibbbl0l0\qb0{nml}\tqb0m\enotes
-%
-\barre %54
-\notes\zql G\raise3\Internote\qs\ibbl0N0\qb0{NN}\tqb0N\relax
- |\qs\ibbu0i0\zq d\zq f\qh0i\zq d\zq f\qh0i\zq d\zq f\tqh0i\relax
- &\qs\ibbu0i0\qh0{ii}\tqh0i\relax
- &\Ibbl0qp2\qb0q\tbbl0\qb0p\tqb0p\enotes
-\notes\multnoteskip{0.7}\cl N\sk\sk\sk\ds
- |\multnoteskip{0.7}\zq f\rq g\cu i\sk\sk\sk\ds
- &\multnoteskip{0.7}\cu i\sk\sk\sk\ds
- &\multnoteskip{0.7}\hs\ibbbl0o0\qb0{po}\tqb0p\ibbbl0o0\qb0{qpo}\tqb0p\enotes
-%
-\barre %55
-\NOTes\zq J\ql N\zq G\ql N|\zq c\qu e\zq d\qu f&\ql j\ql i&\ql q\soupir\enotes
-%
-\barre %56
-\NOtes
- \ibl0K0\upz a\zq N\qb0J\upz b\zq N\qb0 b\relax
- |\Ibu1eg2\lpz c\zq c\qh1e\qh1g\relax
- &\Ibl2jl2\qb2j\zcharnote n{\it tr}\multnoteskip{0.6}\qb2k\relax
- {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax
- &\soupir\enotes
-\NOtes
- \zq J\upz c\tqb0c|\tqh1g\relax
- &\tqb2l&\ds\enotes
-\notes\ds|\ds&\ds&\Ibbl0lm2\zcharnote n{\it tr}\qbp0l\sk\tbbbl0\tqb0m\enotes
-%
-\barre %57
-\notes\dble\zhu N\cl J\raise -\Interligne\ds\cl G\raise -\Interligne\ds
- |\ibbu0e0\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq
-c\qh0e\zq d\qh0f\zq b\tqh0d\relax
- & \dble\dble\sk\pause
- &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes
-%
-\barre %58
-\notes\dble\zq C\cu J\ds\zq C\cu J\ds\relax
- |\qs\ibbu0d0\zq b\qh0{^d}\zq c\qh0e\zq b\tqh0d\relax
- \Ibbu0df3\zq c\qh0e\zq c\qh0e\zq {=d}\qh0f\zq e\tqh0g\relax
- &\dble\dble\sk\pause
- &\Ibl0kl2\qb0{^k}\sk\tqb0l\sk\qs\Ibbl0ln2\qb0{lm}\tqb0n\enotes
-%
-\barre %59
-\notes\dble\zq C\cu J\ds\cu J\ds
- |\qs\ibbu0g0\zq f\qh0h\zq c\qh0f\zq f\tqh0h\Ibbu0ig3\zq h\qh0j\zq
-h\qh0j\sk\zq g\qh0i\zq f\tqh0h\relax
- &\dble\dble\sk\pause
- &\ibbl0o0\qb0o\tbbl0\qb0m\itenu0q\tqb0q\sk
- \ibbl0o0\tten0\qbp0q\relax
- {\multnoteskip{0.66}\sk\nbbbl0\qb0r\tqb0q}\relax
- \Ibbl0po1\qb0p\tqb0o\enotes
-%
-\barre %60
-\notes\dble\zq C\cu J\ds\cu J\ds
- |\qs\Ibbu0fd2\zq f\qh0h\zq e\qh0g\zq{^d}\tqh0{^f}\relax
- \ibbu0i0\zq e\qh0g\zq g\qh0j\zq c\qh0e\zq e\tqh0g\relax
- &\dble\dble\sk\pause
- &\dble\Ibl0on1\zcharnote q{\it tr}\qb0o\tqb0n\ds
- \multnoteskip{0.33}\zcharnote p{\it tr}\ibbl0n0\qbp0n\sk\tbbbl0\tqb0n\enotes
-%
-\barre %61
-\notes\dble\zq H\ql a\sk\zq{_H}\ql{_a}\relax
- |\qs\Ibbu0fj2\zq c\qh0f\zq f\qh0h\zq h\tqh0j\ds\Ibbu0fj2\zq c\qh0f\zq
-f\qh0{_h}\zq h\tqh0j\relax
- &\dble\dble\sk\pause
- &\Ibbl0qo1\qb0q\tqb0o\dble\ql m\sk\cl m\enotes
-%
-\barre %62
-\Notes\zq G\ql N|\qs\Ibbu0di2\zq b\qh0d&\relax
- &\multnoteskip{0.5}\Ibbbl1nk3\qb1{nml}\tqb1k\enotes
-\notes|\zq d\qh0f\zq f\tqh0i&\sk\pause
- &\ql k\sk\enotes
-\notes\dble\Ibu0MJ1\zq G\qh0N\zq C\tqh0J\relax
- |\qs\ibbu0i0\zq f\qh0i\zq e\qh0j\zq e\tqh0g\relax
- &&\sk\sk\multnoteskip{0.7}\Ibbl0lj2\qbp0l\sk\tbbbl0\tqb0j\enotes
-%
-\barre %63
-\notes\dble\zq F\qu M\sk\zql G\ibu0L0\qh0N\tqh0N\relax
- |\dble\zqp d\qup f\sk\sk\zq b\cu d\relax
- &\dble\dble\sk\pause
- &\ibbl0i0\isluru0i\qb0i\tslur0h\qb0h\isluru0m\qb0m\tslur0k\tqb0k\relax
- \ibbl0j0\isluru0j\qb0j\tslur0i\qb0i\isluru0n\qb0n\tslur0m\tqb0m\enotes
-%
-\barre %64
-\notes\dble\zhu N\ql J\sk\Ibl0JI1\qb0J\tqb0I\relax
- |\qs\Ibbu0bd2\qh0b\qh0c\tqh0{=d}\Ibbu0eg3\qh0{^de=d}\tqh0g\relax
- &\qs\Ibbu0ef2\qh0{^de}\tqh0f\Ibbu0fi3\qh0{^fgh}\tqh0i\relax
- &\dble\Ibl0kl1\qb0{^k}\tqb0l\ds
- \zcharnote p{\it tr}\multnoteskip{0.4}\ibbl0n0\qbp0n\sk\tqb0n\enotes
-%
-\barre %65
-\notes\dble\zq H\ql a\sk\zq{_H}\ql{_a}\relax
- |\qs\Ibbu0fj2\zq f\qh0c\zq f\qh0h\zq h\tqh0j\relax
- \qs\Ibbu0fj2\zq c\qh0f\zq f\qh0{_h}\zq h\tqh0j\relax
- &\dble\ql j\sk\ds\cl j\relax
- &{\multnoteskip{0.667}\triolet q\Ibbl0qm2\qb0{qo}\tqb0m}\relax
- \dble\ql m\sk\cl m\enotes
-%
-\barre %66
-\notes\dble\Ibu0LK1\lpz G\zq G\qh0N\lpz F\zq F\tqh0M\ds
- |\dble\lpz d\zq d\Ibu0gd1\qh0g\lpz b\zq b\tqh0d\ds
- &\dble\Ibu0ig2\lpz i\qh0i\lpz g\tqh0g\ds
- &\ibbl0k0\qb0m\tbbl0\qb0p\tqb0p\sk\ds\enotes
-\notes\cl L|\cu c&\cu g&\Ibbbl0qo3\qb0{qp_p}\tqb0o\enotes
-%
-\barre %67
-\notes\ql M|\dble\dble\Ibu0cd1\qh0c\tqh0d\relax
- &\dble\dble\Ibu0fh1\qh0f\tqh0h\relax
- &\ibbbl0n0\qb0{^no=p}\tqb0o\Ibbbl0nk3\qb0{=nml}\tqb0k\enotes
-\Notes\dble\ibl0N0\qb0N\tqb0N\relax
- |\ds\Ibbu0gd2\zq e\qh0g\zq c\qh0e\zq b\tqh0d\relax
- &\sk\sk\soupir
- &\ibbl0j0\roff{\tbbl0}\qh0{jl}\sk
- \multnoteskip{0.6}\nbbbl0\qb0m\tqb0k\enotes
-%
-\barre %68
-\notes\zql J\Ibbu0JI2\qh0M\tbbu0\qh0L\tqh0L\sk\dble\ql N\relax
- |\qs\Ibbu0cg2\zq c\qh0N\zq c\qh0e\zq e\tqh0g\qs
- \Ibbu0ej2\zq c\qh0{e}\zq e\qh0g\zq g\tqh0j\relax
- &\dble\dble\sk\pause
- &\zcharnote n{\it tr}\Ibbl0kj2\qb0k\tbbl0\qb0 j\tqb0j\sk\ds\sk
- \multnoteskip{0.67}\Ibbl0jj2\qbp0j\sk\tbbbl0\tqb0j\enotes
-%
-\barre %69
-\Notes\zhl J\qu a\relax
- |\qs\Ibbu0fj2\zq c\qh0{^f}\zq f\qh0h\zq h\tqh0j\relax
- &\relax
- &\Ibbl0jn2\qb0{^j}\tbbl0\qb0k\itenu0r\tqb0r\enotes
-\notes\ql{_b}|\dble\qs\Ibbu0gk2\zq d\qh0g\zq g\qh0{_i}\zq i\tqh0k\relax
- &\pause
- &\tten0\isluru0r\Ibbbl0ro3\qb0{r=q_p}\tqb0o\Ibbbl0nk3\qb0{nml}\tslur0k\tqb0k\enotes
-%
-\barre %70
-\Notes\zhl J\qu N\relax
- |\qs\Ibbu0gk2\zq d\qh0g\zq g\qh0{_i}\zq i\tqh0k\relax
- &\relax
- &\zcharnote m{\it tr}\ibbl0j0\qb0k\tbbl0\qb0j\itenu0q\tqb0q\enotes
-\notes\ql a|\dble\qs\Ibbu0fj2\zq c\qh0{=f}\zq f\qh0h\zq h\tqh0j\relax
- &\pause
- &\tten0\isluru0q\Ibbbl0qn3\qb0{q_po}\tqb0n\Ibbbl0mj3\qb0{mlk}\tslur0j\tqb0j\enotes
-%
-\barre %71
-\Notes\ql J\relax
- |\qs\Ibbu0fj2\zq a\qh0d\zq d\qh0f\zq f\tqh0h\relax
- &\relax
- &\zcharnote m{\it tr}\ibbl0i0\qb0j\tbbl0\qb0{_i}\itenu0p\tqb0{_p}\enotes
-\Notes\ql c\relax
- |\ibbu0g0\zq e\qh0{g_ih}\tqh0g\relax
- &\pause
- &\tten0\ibbl0p0\qb0{prq}\tqb0p\enotes
-%
-\barre %72
-\notes\dble\ibl0N0\zq M\qb0c\zq N\qb0c\zq a\qb0c\zq N\tqb0c\relax
- |\dble\ibu0g0\qh0{fef}\tqh0g\relax
- &\dble\sk\pause
- &\Ibbl0nl7\roff{\tbbl0}\qb0{^no}\sk\qb0{=n}\sk\qb0m\sk\tbbl0\tqb0l\enotes
-%
-\barre %73
-\notes\dble\dble\zhup a\ibl0M0\qb0{MMM}\zcu M\tqb0M\relax
- |\dble\dble\ibu0h0\qh0{hhh}\zq f\tqh0h\relax
- &\dble\dble\dble\pause
- &\isluru0k\Ibbbl0jk3\qb0{^jkl}\tqb0k\Ibbbl0lm3\qb0{lmn}\tslur0m\tqb0m\relax
- \isluru0n\Ibbbl0no3\qb0{^nop}\tqb0o\Ibbbl0nk3\qb0{=nml}\tslur0k\tqb0k\enotes
-%
-\barre %74
-\notes\dble\Ibu0LJ1\qh0N\tqh0G\relax
- |\ibl0g0\zqu g\itenu0g\qbp0e\sk\multnoteskip{0.7}\sk\nbbbl0\qb0f\tqb0e\relax
- &\sk\sk\sk\pause
- &\ibl0j0\qbp0j\sk\multnoteskip{0.7}\sk\nbbbl0\qb0k\tqb0j\enotes
-\Notes\cl N\ds|\tten0\zcl d\cu g\ds
- &\relax
- &\cl i\ds\enotes
-%
-\barre %75
-\NOtes\zq C\cu J\ds\zq G\qu N\ds|\zq e\cu g\ds\zq{eg}\cu i\ds
- &\cl j\ds\cl k\ds
- &\sk\sk\pause\enotes
-%
-\barre %76
-\Notes\lpz C\zq C\Ibu1JL2\qh1J\lpz D\zq D\qh1K\relax
- |\upz j\zq j\ibu2i0\qh2g\upz i\zq g\qh2i\relax
- &\upz l\Ibl3ln2\qb3l\upz m\qb3m\relax
- &\soupir\enotes
-\notes\lpz E\zq E\tqh1L\sk\ds
- |\upz j\zq g\tqh2j\sk\ds
- &\upz n\tqb3n\relax
- &\qs\Ibbl0gl2\qb0{gj}\tqb0l\enotes
-%
-\barre %77
-\NOtes\zq N\lq M\ql d\zq{LN}\ql c|\qu g\qu g\relax
- &\qu i\qu j\relax
- &\itenu3n\hl n\enotes
-%
-\barre %78
-\Notes\Ibl1IK2\upz b\zq {Nb}\qb1I\upz c\zq{cN}\qb1J\relax
- |\ibu2g0\qh2{gg}\relax
- &\Ibl3km2\qb3k\zcharnote n{\it tr}\multnoteskip{0.33}\qb3l\tinynotesize\Ibbu0kl1\qh0k\tqh0l\relax
- &\tten3\itenu3n\ql n\enotes
-\notes\upz b\zq{Nb}\tqb1K\sk\ds
- |\tqh2g\sk\ds
- &\tqb3m\sk\ds
- &\tten3\Ibbl0np3\qb0{n^no}\tqb0p\enotes
-%
-\barre %79
-\Notes\ql c|\qs\Ibbl1ij2\zq e\qb1j\relax
- &&\multnoteskip{0.5}\ibbbl0q0\qb0{qrs}\tqb0r\enotes
-\notes\dble\sk\ql e|\zq l\qb1n\zq j\tqb1l\ibbu0i0\zq j\qh0g\zq j\qh0g\zq j\qh0g\zq j\tqh0g\relax
- &\sk\pause
- &\dble\isluru0q\ql q\sk\tslur0p\cl p\enotes
-%
-\barre %80
-\Notes\ql f|\qs\Ibbl1hg0\zq h\qb1j\relax
- &&\multnoteskip{0.5}\ibbbl0o0\qb0{opq}\tqb0p\enotes
-\notes\dble\sk\ql c|\zq m\qb1j\zq j\tqb1h\ibbu0h0\zq f\qh0h\zq f\qh0h\zq e\qh0g\zq e\tqh0g\relax
- &\sk\pause
- &\dble\isluru0o\ql o\sk\tslur0n\cl n\enotes
-%
-\barre %81
-\notes\ql d|\qs\ibbu0i0\zq j\qh0h\zq j\qh0h\zq j\tqh0h\relax
- &\sk\sk\sk\pause
- &\ibl0m0\xTrille q{3\noteskip}\qbp0m\sk\sk\nbbbl0\multnoteskip{0.7}\qb0l\tqb0m\enotes
-\notes\zq N\ql d|\ibbu0h0\zq g\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0i\relax
- &&\Ibl0nm2\isluru0n\qb0n\sk\tslur0m\tqb0m\enotes
-%
-\barre %82
-\NOtes\ds\Ibu1MK3\zqu a\qh1H\relax
- |\ds\zql e\ibu2i0\qh2j\relax
- &&\Ibl3kl1\isluru3k\qh3{^k}\tslur3l\tqb3l\enotes
-\notes\dble\dble\zq G\qh1N\zq F\tqh1M\relax
- |\dble\dble\rq j\qh2i\zcl f\zq h\tqh2j\relax
- &\pause
- &\hs\Ibbbl0jl2\qh0{j=k}\tqb0l\Ibbbl0mp3\qb0{mno}\tqb0p\enotes
-%
-\barre %83
-\Notes\zq E\cu L|\zqup j\raise -6\Internote\qs\ibbl1f0\zq e\qb1g\relax
- &\soupir&\multnoteskip{0.5}\ibbbl0q0\qb0{qrs}\tqb0r\enotes
-\notes\dble\ds\zq C\cu J\ds|\zq e\qb1g\zq e\tqb1g\ibbl0f0\zq e\qb0g\zq g\qb0{_i}\zq
-f\qb0h\zq e\tqb0{^g}\relax
- &\dble\sk\ds\cu j\relax
- &\itenu0q\cl q\sk\tten0\Ibbl0qn3\qb0{q_po}\tqb0{^n}\enotes
-%
-\barre %84
-\notes\ibu1L0\zq F\qh1M\relax
- |\ibu2i0\zq f\qh2h\relax
- &\ibu3h0\qh3j\relax
- &\Ibbl0no1\qb0{^n}\tqb0o\enotes
-\Notes\dble\zq F\qh1M\zq F\qh1M\zq F\tqh1M\relax
- |\dble\zq j\qh2f\zq h\qh2j\zq k\tqh2f\relax
- &\dble\qh3h\qh3f\tqh3h\relax
- &\multnoteskip{0.5}\qs\sk\Ibbbl0rq1\qb0r\tqb0q\relax
- \qs\sk\Ibbbl0po1\qb0{=p}\tqb0o\relax
- \qs\sk\Ibbbl0nm1\qb0{=n}\tqb0m\enotes
-%
-\barre %85
-\notes\dble\zq G\qu N\sk\zq G\qu N\relax
- |\qs\advance\transpose 7\ibbl0d0\zq c\qh0e\zq e\qh0g\zq e\tqb0e\relax
- \ibbl0d0\zq e\qh0g\zq{a^d}\qh0{^f}\zq{b=d}\qh0{=f}\zq c\tqb0e\relax
- &\itenl0g\qu g\sk\sk\sk\tten0\Ibbu0ge3\qh0{g^f=f}\tqh0e\relax
- &\Ibbl0ln2\qb0l\tbbl0\qb0n\itenu0n\tqb0n\sk\tten0\Ibbl0nl3\qb0{n^m=m}\tqb0l\enotes
-%
-\barre %86
-\Notes\zcl G\roff{\zq N\itenl1N}\itenl0M\qu M\sk\raise -4\Internote\ds
- |\qs\advance\transpose 7\ibbl0e0\lq c\qh0d\lq c\qh0d\lq c\tqb0d\relax
- &\itenl2d\qu d\relax
- &\zhl k\xTrille q{8\noteskip}\enotes
-\notes\dble\zcl G\tten0\roff{\tten1}\ibbu0L0\rq N\qh0M\rq N\qh0M\rq N\qh0M\rq N\tqh0M\relax
- |\advance\transpose 7\Ibbbl0de3\qh0{bcd}\tqb0c\ibbbl0f0\qh0{def}\tqb0d\relax
- &\tten2\Ibbbu0df3\qh0{def}\tqh0e\Ibbbu0fi3\qh0{fgh}\tqh0i\relax
- &\dble\sk\sk\sk\multnoteskip{0.3}\tinynotesize\Ibbu0jk1\qh0j\tqh0k\enotes
-%
-\barre %87
-\Notes\zqu C\ibbu1N0\qh1L\zcharnote C{(p\'ed.)}\qh1N\relax
- |\advance\transpose 7\multnoteskip{0.5}\ibbbl0j0\qb0{jkl}\tqb0k\relax
- &\multnoteskip{0.5}\ibbbu0j0\qb0{jkl}\tqh0k\relax
- &\ql j\enotes
-\notes\qh1c\tqh1N\zql E\ibbu1N0\qh1{LNc}\tqh1N\relax
- |\dble\advance\transpose 7\ql j\sk\cl i\relax
- &\dble\islurd0j\qu j\sk\tslur0i\cu i\relax
- &\dble\sk\soupir\enotes
-%
-\barre %88
-\Notes\zql F\ibbu1N0\qh1M\qh1a\relax
- |\multnoteskip{0.5}\advance\transpose7\ibbbl0h0\qh0{hij}\tqb0i\relax
- &\multnoteskip{0.5}\ibbbu0h0\qb0{hij}\tqh0i\relax
- &\enotes
-\notes\qh1c\tqh1N\zqu{^C}\ibbu1L0\qh1{^JLa}\tqh1L\relax
- |\dble\advance\transpose 7\ql h\sk\cl g\relax
- &\dble\islurd0h\qu h\sk\tslur0g\cu g\relax
- &\dble\sk\pause\enotes
-%
-\barre %89
-\Notes\zql D\ibbu1a0\qh1K\qh1a\relax
- |\multnoteskip{0.5}\advance\transpose7\ibbbl0h0\qh0{fgh}\tqb0g\relax
- &\multnoteskip{0.5}\ibbbu0f0\qb0{fgh}\tqh0g\relax
- &\enotes
-\notes\qh1d\tqh1{_a}\zcl I\rlap{\sk\sk\zcl J}\ibbu1N0\qh1{NdN}\tqh1c\relax
- |\dble\advance\transpose 7\ql f\sk\cl e\relax
- &\dble\islurd0f\qu f\sk\tslur0e\cu e\relax
- &\dble\sk\pause\enotes
-%
-\barre %90
-\Notes\zql F\multnoteskip{0.5}\ibbbu0M0\qh0{MNa}\tqh0N\relax
- |\multnoteskip{0.5}\advance\transpose7\ibbbl0g0\qh0{def}\tqb0e\relax
- &\multnoteskip{0.5}\ibbbu0d0\qb0{def}\tqh0e\relax
- &\enotes
-\notes\ibbl0N0\qb0M\tqb0c\ibbl0N0\qb0{Mc^M}\tqb0c\relax
- |\dble\zq h\ql k\sk\zq h\cl{_l}\relax
- &\dble\islurd0d\qu d\sk\tslur0e\cu{_e}\relax
- &\sk\sk\pause\enotes
-%
-\barre %91
-\notes\zcl G\ibbu0N0\qh0{Nc_a}\tqh0c\ibbu0N0\qh0{Nc^M}\tqh0c\relax
- |\dble\ibl0k0\zq j\qb0{=l}\zq j\qh0m\zq j\qh0n\zq j\tqb0o\relax
- &\dble\ibu0e0\qh0{=efe}\tqh0{_e}\relax
- &\dble\dble\sk\pause\enotes
-%
-\barre %92
-\notes\dble\pointdurgue F\zq G\qu N\sk\soupir
- |\dble\pointdorgue n\zq{n}\ql j\sk\soupir
- &\dble\pointdorgue m\qu{=e}\sk\soupir
- &\Ibl0lj3\pointdorgue o\qbp0n\sk\sk\tbbl0\tqb0j\xTrille n{3\noteskip}\ibl0j0\qbp0k\sk\sk\multnoteskip{0.7}\nbbbl0\qb0j\tqb0k\enotes
-%
-\barre %93
-\NOtes\zq J\ql N\zq N\ql G|\zq e\qu c\zq f\qu d\relax
- &\ql j\ql i&\ql j\soupir\enotes
-%
-\barre %94
-\NOtes
- \ibl0K0\upz a\zq N\qb0J\upz b\zq N\qb0 b\relax
- |\Ibu1eg2\lpz c\zq c\qh1e\qh1g\relax
- &\Ibl2jl2\qb2j\zcharnote n{\it tr}\multnoteskip{0.6}\qb2k\relax
- {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax
- &\soupir\enotes
-\NOtes
- \zq J\upz c\tqb0c|\tqh1g\relax
- &\tqb2l&\ds\enotes
-\notes\ds|\ds&\ds&\Ibbl0lm2\zcharnote n{\it tr}\qbp0l\sk\tbbbl0\tqb0m\enotes
-%
-\barre %95
- %\check
-\notes\dble\zhu N\cl J\raise -\Interligne\ds\cl G\raise -\Interligne\ds
- |\ibbu0e0\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq
-c\qh0e\zq d\qh0f\zq b\tqh0d\relax
- & \dble\dble\sk\pause
- &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes
-%
-\barre %96
- %\check
-\Notes\zhl J\Ibu1LN2\qh1N\sk\tqh1{_b}\relax
- |\qs\Ibbu2dg2\zq b\qh2{^d}\zq c\qh2e\relax
- &\relax
- &\Ibl3kl3\qb3{^k}\sk\nbbl3\qb3l\enotes
- %\check
-\Notes\sk|\zq e\tqh2g\relax
- &\relax
- &\multnoteskip{0.6}\raise2\Interligne\hs\tbbbl3\tqb3l\enotes
- %\check
-\Notes\Ibu0MK2\qh0a\sk\tqh0M\relax
- |\Ibbu0gc3\roff{\tbbu0}\zq f\qh0h\zq{=d}\qh0f\sk\tbbu0\zq{=b}\tqh0d\relax
- &\pause
- &\zcharnote o{\it tr}\multnoteskip{0.5}\ibbbl0n0\qb0{mlm}\tqb0n\relax
- \zcharnote q{\it tr}\ibbbl0p0\qb0{ono}\tqb0p\enotes
-%
-\barre %97
- %\check
-\notes\ibl1J0\zcu L\qb1J\relax
- |\zq c\ibu2f0\qh2g\relax
- &&\Ibbl3on2\qbp3q\sk\tbbbl3\tqb3n\enotes
-\notes\zqb1M\Ibbu4MN3\qhp4M\sk\sk\tbbbu4\tqh4a\relax
- |\nbbbu2\qh2{gfe}\tqh2d\relax
- &\sk\pause
- &\Ibbbl3pm3\isluru4p\qb3{pon}\tqb3m\enotes
- %\check
-\NOtes\qb1N\zq G\tqb1N\relax
- |\cu c\zq{df}\cu i\relax
- &\relax
- &\Ibl0lk1\qb0l\tslur4k\tqb0k\enotes
- %\check
-%
-\barre %98
-\NOTes\zqp J\qlp N\multnoteskip{0.7}\sk\ds|\isluru0i\zq d\zq f\qu i\tslur0j\multnoteskip{0.7}\zq c\zq e\cu j\ds
- &\pause&\isluru0k\ql k\tslur0j\multnoteskip{0.7}\cl j\ds\enotes
-%
-\ifx\orgue\undefined
- \ifx\flute\undefined
- \ifx\oboe\undefined
- \linegoal24\relax
- \else\linegoal19\fi
- \else\linegoal20\fi % flute
-\else\linegoal20\fi % orgue
-\finmorceau
-
-\rightline{\sl \today}
-\eject
-
-
-\bye
diff --git a/macros/musixtex/doc/examples/kv315f.tex b/macros/musixtex/doc/examples/kv315f.tex
deleted file mode 100644
index 5ea4c9b67c..0000000000
--- a/macros/musixtex/doc/examples/kv315f.tex
+++ /dev/null
@@ -1,2 +0,0 @@
-\def\flute{xxx}
-\input kv315.tex
diff --git a/macros/musixtex/doc/examples/kv315h.tex b/macros/musixtex/doc/examples/kv315h.tex
deleted file mode 100644
index a502fc3a89..0000000000
--- a/macros/musixtex/doc/examples/kv315h.tex
+++ /dev/null
@@ -1,2 +0,0 @@
-\def\oboe{xxx}
-\input kv315.tex
diff --git a/macros/musixtex/doc/examples/kv315o.tex b/macros/musixtex/doc/examples/kv315o.tex
deleted file mode 100644
index 4f71bd5536..0000000000
--- a/macros/musixtex/doc/examples/kv315o.tex
+++ /dev/null
@@ -1,2 +0,0 @@
-\def\orgue{xxx}
-\input kv315.tex
diff --git a/macros/musixtex/doc/examples/kv315org.tex b/macros/musixtex/doc/examples/kv315org.tex
deleted file mode 100644
index ab58cef273..0000000000
--- a/macros/musixtex/doc/examples/kv315org.tex
+++ /dev/null
@@ -1,813 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\title{Andante KV 315}\subtitle{pour fl\^ute et orchestre}
-\author{W. A. Mozart\\transcription pour orgue solo \`a 3 claviers\\(disposition
-baroque avec G.O. entre R\'ecit et Positif)\\D. Taupin, 2001}
-\shortauthor{W. A. Mozart / D. Taupin}
- \othermention{R\'ecit : fl\^utes 8', 4', nazard {\it ad lib.}
-\\G.O. : principaux 8', 4'
-\\Positif : fonds 8', 4', 2' {\it ad lib.}, acc. G.O.
-\\P\'edale : bourdon 16', tirasse positif
-\csname HomeReg\endcsname}
-\maketitle
-
-\parindent 2cm
-\generalsignature{0}
-\instrumentnumber{3}
-\setname1{P\'edale 16'}
-\setname2{Orgue}
-\setname3{R\'ecit}
-\setstaffs22
-\setclef1{6000}
-\setclef2{6000}
-\setclef3{0000}
-\generalmeter{\meterfrac 24}
-\def\dble{\multnoteskip 2}
-
-\def\FourStaff{\relax
- \gdef\Nextstaff{\nextstaff}\relax
- \setclef2{6000}\relax
- \setstaffs22\relax}
-
-\def\ThreeStaff{\relax
- \gdef\Nextstaff{\relax}\setstaffs21\relax
- \setclef2{0000}\relax
-}
-
- \FourStaff
-
-\systemnumbers
-\def\freqbarno{9999}
-
-
-\debutmorceau
-\zbarre
-\NOTes\qu J\qu G&\zmidtwotext{\llap{\bf G.O.}}\ql N\ql N|\zq c\zq e\qu j\zq d\zq f\qu i&\multnoteskip{0.7}\sk\pause\enotes
-%
-\barre %2
-\NOtes
- \ibu0K0\lpz J\qh0J\lpz G\qh0G&\Ibl1Na2\upz c\zq c\qb1N\upz b\zq N\qb1b\relax
- |\Ibl2fh2\upz j\zq e\qb2j\Pince n\multnoteskip{0.6}\zq g\qb2k\relax
- {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax
- &\soupir\enotes
-\NOtes
- \lpz J\tqh0J&\upz c\tqb1c\relax
- |\zq g\tqb2l&\ds\enotes
-\notes\ds&\zmidtwotext{\bf Pos.}\ds|\ds&\Ibbl0lm2\qbp0l\turn n\sk\tbbbl0\tqb0m\enotes
-%
-\barre %3
-\def\atnextline{\ThreeStaff}%
-\notes\dble\cl J\ds\cl G\ds
- &\Nextstaff\ibbu0e0\zcl N\qh0c\zq c\qh0e\zq e\qh0g\zq
-e\tqh0c\zq e\ibbu0e0\qh0g\zq c\qh0e\zq d\qh0f\zq b\tqh0d\relax
- &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes
-%
-\barre %4
-\notes\dble\cu J\ds\cu C\ds\relax
- &\Nextstaff\qs\ibbu0d0\zq b\qh0{^d}\zq c\qh0e\zq b\tqh0d\relax
- \Ibbu0df3\zq c\qh0e\zq c\qh0e\zq {=d}\qh0f\zq e\tqh0g\relax
- &\Ibl0kl2\qb0{^k}\sk\tqb0l\sk\qs\Ibbl0ln2\qb0{lm}\tqb0n\enotes
-%
-\barre %5
-\notes\dble\cu J\ds\cu J\ds
- &\Nextstaff\qs\ibbu0g0\zq f\qh0h\zq c\qh0f\zq f\tqh0h\Ibbu0ig3\zq h\qh0j\zq
-h\qh0j\sk\zq g\qh0i\zq f\tqh0h\relax
- &\ibbl0o0\qb0o\tbbl0\qb0m\itenu0q\tqb0q\sk
- \ibbl0o0\tten0\qbp0q\relax
- {\multnoteskip{0.66}\sk\nbbbl0\qb0r\tqb0q}\relax
- \Ibbl0po1\qb0p\tqb0o\enotes
-%
-\barre %6
-\notes\dble\cu J\ds\cu J\ds
- &\Nextstaff\qs\Ibbu0fd2\zq f\qh0h\zq e\qh0g\zq{^d}\tqh0{^f}\relax
- \ibbu0i0\zq e\qh0g\zq g\qh0j\zq c\qh0e\zq e\tqh0g\relax
- &\dble\Ibl0on1\Pince q\qb0o\tqb0n\ds
- \multnoteskip{0.33}\ibbl0n0\qbp0n\uppersh m\turn r\sk\tbbbl0\tqb0n\enotes
-%
-\barre %7
-\notes\dble \cu H\ds\qu{_H}\ds\relax
- &\Nextstaff\qs\Ibbu0fj2\zq c\qh0f\zq f\qh0h\zq h\tqh0j\ds\Ibbu0fj2\zq c\qh0f\zq
-f\qh0{_h}\zq h\tqh0j\relax
- &\Ibbl0qo1\qb0q\tqb0o\dble\ql m\sk\cl m\enotes
-%
-\barre %8
-\Notes\cu G\relax
- &\Nextstaff\qs\Ibbu0di2\zq b\qh0d\relax
- &\multnoteskip{0.5}\Ibbbl1nk3\qb1{nml}\tqb1k\enotes
-\notes\ds&\Nextstaff\zq d\qh0f\zq f\tqh0i\relax
- &\ql k\sk\enotes
-\notes\dble\cu J\sk\relax
- &\Nextstaff\qs\ibbu0i0\zq f\qh0i\zq e\qh0j\zq e\tqh0g\relax
- &\sk\sk\multnoteskip{0.7}\Ibbl0lj2\qbp0l\sk\tbbbl0\tqb0j\enotes
-%
-\barre %9
-\notes\dble\cu F\ds\cu G\ds
- &\Nextstaff\dble\zql d\qup f\sk\Ibu0ad0\qh0N\zq{d}\tqh0b\relax
- &\ibbl0i0\isluru0i\qb0i\tslur0h\qb0h\isluru0m\qb0m\tslur0k\tqb0k\relax
- \ibbl0j0\isluru0j\qb0j\tslur0i\qb0i\isluru0n\qb0n\tslur0m\tqb0m\enotes
-%
-\barre %10
-\notes\dble\qu J\sk\Ibu0JI1\qh0J\tqh0I\relax
- &\Nextstaff\zql N\ds\Ibbu0ef2\zq{^d}\qh0b\zq e\qh0c\zq
-f\tqh0{=d}\Ibbu0eg3\zq{^f}\qh0{^d}\zq e\qh0{g}\zq{=d}\qh0h\zq i\tqh0g\relax
- &\dble\Ibl0kl1\qb0{^k}\tqb0l\ds
- \multnoteskip{0.4}\ibbl0n0\qbp0n\turn o\sk\tbbbl0\tqb0n\enotes
-%
-\barre %11
-\notes\dble\qu H\sk\qu{_H}\relax
- &\Nextstaff\zcu j\raise -4\Internote\qs\Ibbu0fj2\zq f\qh0c\zq f\qh0h\zq h\tqh0j\relax
- \qs\Ibbu0fj2\zq c\qh0f\zq f\qh0{_h}\zq h\tqh0j\relax
- &{\multnoteskip{0.667}\triolet q\Ibbl0qm2\qb0{qo}\tqb0m}\relax
- \dble\ql m\sk\cl m\enotes
-%
-\barre %12
-\notes\dble\Ibu0GF1\lpz G\qh0G\tqh0F\ds
- &\Nextstaff\dble\lpz d\zq d\zq g\Ibu0ig1\qh0i\zq b\zq g\tqh0d\ds
- &\ibbl0k0\qb0m\tbbl0\qb0p\tqb0p\sk\ds\enotes
-\notes\cl L&\Nextstaff\zq c\cu g&\Ibbbl0qo3\qb0{qp_p}\tqb0o\enotes
-%
-\barre %13
-\notes\ql M\relax
- &\Nextstaff\dble\dble\Ibu0fh1\zq c\qh0f\zq d\tqh0h\relax
- &\ibbbl0n0\qb0{^no=p}\tqb0o\Ibbbl0nk3\qb0{=nml}\tqb0k\enotes
-\Notes\dble\ql N\relax
- &\Nextstaff\ds\Ibbu0gd2\zq e\qh0g\zq c\qh0e\zq b\tqh0d\relax
- &\ibbl0j0\roff{\tbbl0}\qh0{jl}\sk
- \multnoteskip{0.6}\nbbbl0\qb0m\tqb0k\enotes
-%
-\barre %14
-\notes\dble\qu J\sk\ql{_L}\relax
- &\Nextstaff\Ibbu0bg3\qh0M\zq c\qh0N\zq c\qh0e\zq e\tqh0g\relax
- \qs\Ibbu0ej2\zq c\qh0{_e}\zq e\qh0g\zq g\tqh0j\relax
- &\pince n\Ibbl0kj2\qb0k\tbbl0\qb0 j\tqb0j\sk\ds\sk
- \multnoteskip{0.67}\Ibbl0jn2\qbp0j\sk\tbbbl0\tqb0n\enotes
-%
-\barre %15
-\notes\hl K\relax
- &\Nextstaff\dble\raise 4\Internote\rlap{\ds}\ibl1h0\qb1h\zqu k\qb1{^f}\relax
- &\Ibbl0nm2\qb0n\tbbl0\qb0{^m}\itenu3m\tqb0m\enotes
-\notes&\Nextstaff\multnoteskip{0.75}\dble\dble\qb1g\zcu j\tqb1h\relax
- &\multnoteskip{0.75}\tten3\ibbbl0m0\qb0{mln}\tqb0m\Ibbbl0ol3\qb0{onm}\tqb0l\enotes
-%
-\barre %16
-\notes\hl K\relax
- &\Nextstaff\dble\zql{^f}\raise 2\Internote\ds\Ibu0ji1\zq h\qh0j\raise -6\Internote\rlap{\ds}\relax
- \zq g\tqh0i\zq g\cu i\relax
- &\uppersh o\pince n\Ibbl0lk2\qb0l\tbbl0\qb0k\itenu3k\tqb0k\sk
- \tten3\ibbl0k0\qb0k\tqb0p\multnoteskip{0.8}\Ibbbl0ol2\qb0{on^m}\tqb0l\enotes
-%
-\def\atnextline{\FourStaff}%
-\barre %17
-\notes\hl K\relax
- &\Nextstaff\dble\zql e\raise 2\Internote\ds\raise
--6\Internote\rlap{\ds}\Ibu0ih1\roff{\zq h\itenu0h}\qb0g\zq
-{^f}\tten0\itenu0h\tqh0h\zq d\tten0\itenl0d\zq h\cu {^f}\relax
- &\ibbl3k0\qb3k\tbbl3\qb3j\itenu3q\tqb3q\sk
- \tten3\Ibbl0qj2\qb0{qo^m}\tqb0j\enotes
-%
-\barre %18
-\notes\dble\ql N\sk\soupir
- &\Nextstaff\tten0\zq d\zq i\qu g\sk\sk\sk\ds\ibbu0f0\qh0d\zcl b\qh0g\tqh0{=f}\relax
- &\Ibbl0ip3\qb0{ikn}\tqb0p\itenu4r\ql r\enotes
-%
-\barre %19
-\notes\hl L\relax
- &\Nextstaff\rlap{\ibbu0j0\roff{\tbbu0}\qh0g\qh0l\sk\qh0k\sk\qh0j\sk\tbbu0\tqh0i}\relax
- \dble\Ibl0eg3\qb0{e^gh}\tqb0{=g}\relax
- &\tten4\Ibbl0rn7\roff{\tbbl0}\qb0r\qb0q\sk\qb0p\sk\qb0o\sk\tbbl0\tqb0n\enotes
-%
-\barre %20
-\NOtes\dble\qup K\sk\multnoteskip{0.5}\sk\ds
- &\Nextstaff \dble\ibu0h0\zq{^f}\qh0h\zq f\tqh0h\multnoteskip{0.5}\zq f\cu h\ds
- &{\multnoteskip{0.5}\Ibbbl0nk3\qb0{n^ml}\tqb0k\Ibbbl0jk3\qb0{^jkl}\tqb0k}\relax
- \cl k\ds\enotes
-%
-\barre %21
-\Notes\cu G\ds\cu D\ds
- &\uptext{\rlap{\bf G.O.}}\relax
- \cl N\ds\cl K\ds|\zq b\zq g\cu d\ds\zq h\zq c\rq d\cu{^f}\ds
- &\sk\sk\pause\enotes
-%
-\barre %22
-\Notes\Ibu0GI2\lpz G\qh0G\lpz H\qh0H\relax
- &\Ibl3Nb3\upz N\qb3N\upz a\qb3a\relax
- |\Ibu1ik2\lpz d\zq i\zq d\qh1g\lpz d\zq j\zq d\qh1{^f}\relax
- &\soupir\enotes
-\notes\lpz I\tqh0I\sk\ds
- &\upz b\tqb3b\sk\ds
- |\lpz d\zq d\zq k\tqh1g\sk\ds
- &\qs\Ibbl2kp2\qb2{kn}\tqb2p\enotes
-%
-\def\atnextline{\ThreeStaff}%
-\barre %23
-\NOtes\ql a\ql N\relax
- &\Nextstaff\lsh m\zq k\itenu2k\zhl k\islurd0j\lq j\isluru1m\ql{m}\tten2\zq k\tslur0i\zq i\tslur1n\ql n\relax
- &\itenu5r\hl r\enotes
-%
-\barre %24
-\NOtes\upz M\Ibl0Ma2\qb0{^M}\upz N\qb0N\upz a\tqb0a\relax
- &\Nextstaff\upz o\lq j\zq k\Ibl0jk2\qb0o\Pince r\relax
- \rlap{\multnoteskip{0.25}\sk\sk\tinynotesize\Ibbu1op1\qh1o\tqh1p}\relax
- \zq k\qb0p\zq{^m}\tqb0q\relax
- &\tten5\itenu5r\ql r\sk
- \tten5\multnoteskip{0.6}\ibbl0r0\qb0r\relax
- \nbbbl0\multnoteskip{0.6}\qb0s\tqb0r\enotes
-\notes\ds&\Nextstaff\ds&\multnoteskip{0.72}\Ibbbl0ro3\qb0{rqp}\tqb0o\enotes
-%
-\barre %25
-\Notes\ql N\relax
- &\Nextstaff\zmidtwotext{\bf Pos.}\qs\ibbu1i0\zq b\qh1g\relax
- &\multnoteskip{0.5}\ibbbl0n0\qb0{nop}\tqb0o\enotes
-\notes\dble\sk\ql b\relax
- &\Nextstaff\zq i\qh1k\zq g\tqh1i\ibbu0g0\zq d\qh0g\zq d\qh0g\zq d\qh0g\zq d\tqh0g\relax
- &\dble\isluru0n\ql n\sk\tslur0m\cl{^m}\enotes
-%
-\barre %26
-\Notes\ql c\relax
- &\Nextstaff\qs\ibbu1g0\zq e\qh1g\relax
- &\multnoteskip{0.5}\ibbbl0l0\qb0{l^mn}\tqb0m\enotes
-\notes\dble\sk\ql N\relax
- &\Nextstaff\qh1e\zq g\tqh1e\ibbu0i0\zq j\qh0g\zq j\qh0g\zq i\qh0g\zq i\tqh0g\relax
- &\dble\isluru0l\ql l\sk\tslur0k\cl{k}\enotes
-%
-\barre %27
-\notes\ql a\relax
- &\Nextstaff\ds\ibbu0g0\zq e\qh0g\zq e\qh0g\zq e\tqh0g\relax
- &\ibl0j0\xTrille n{3\noteskip}\qbp0j\sk\sk\nbbbl0\multnoteskip{0.7}\qb0i\tqb0j\enotes
-\notes\ql K\relax
- &\Nextstaff\ibbu0h0\zq{^f}\qh0h\zq f\qh0h\zq f\qh0h\zq f\tqh0h\relax
- &\Ibl0kj2\isluru0k\qb0k\sk\tslur0j\tqb0j\enotes
-%
-\barre %28
-\NOtes\ds\Ibl1LJ3\qb1L\relax
- &\Nextstaff\ds\zql b\zq g\ibu2g0\qu2g\relax
- &\Ibu3hi1\islurd3h\qh3{^h}\tslur3i\tqh3i\enotes
-\notes\dble\dble\qb1K\tqb1J\relax
- &\Nextstaff\dble\dble\qh2{^f}\zcl e\tqh2g\relax
- &\hs\Ibbbu0gi2\qh0{g=h}\tqh0i\Ibbbl0jm3\qb0{jkl}\tqb0{^m}\enotes
-%
-\barre %29
-\Notes\cu I\relax
- &\Nextstaff\zqup g\raise -6\Internote\qs\ibbl1f0\zq b\qb1d\relax
- &\multnoteskip{0.5}\ibbbl0n0\qb0{nop}\tqb0o\enotes
-\notes\dble\ds\cu I\ds
- &\Nextstaff\zq d\qb1b\zq d\tqb1b\Ibbl0ef3\zq b\qb0d\zq b\qb0d\zcu
-{^g}\qb0g\zq d\tqb0f\relax
- &\itenu0n\cl n\sk\tten0\ibbl0o0\qb0{nrq}\tqb0p\enotes
-%
-\def\atnextline{\FourStaff}%
-\barre %30
-\notes\ibu1J0\qh1J\sk\qh1J\relax
- &\Nextstaff\Ibbu0ih2\zq d\zq i\qh0f\zq c\zq h\tbbu0\qh0e\zq {hc}\tqh0e\relax
- &\Ibbl0no1\qb0{^n}\tqb0o\qs\ccl s\enotes
-\Notes\dble\qh1J\tqh1J\relax
- &\Nextstaff\dble\Ibu0jl1\zq {je}\qh0h\zq {lh}\tqh0j\relax
- &\multnoteskip{0.5}\qs\sk\Ibbbl0rq1\qb0r\tqb0q\qs\sk\Ibbbl0po1\qb0p\tqb0o\enotes
-%
-\barre %31
-\Notes\ql K\relax
- &\Nextstaff\qs\Ibbu1ik2\zq g\qh1i\relax
- &\multnoteskip{0.71}\ibbl3n0\qbp3p\sk\tbbbl3\tbbl3\qb3n\enotes
-\Notes\dble\sk\ql K\relax
- &\Nextstaff\zq k\qh1i\zq k\tqh1i\Ibbu0ki3\zq k\qh0i\lsh h\zq{^j}\zq e\qh0h\zq{=j}\lna
-h\zq{^f}\qh0h\zq i\tqh0g\relax
- &\itenu1r\tqb3r\sk\tten1\Ibbl0rp3\qb0{r^q=q}\tqb0p\enotes
-%
-\barre %32
-\Notes\ql K\relax
- &\midtwotext{\bf G.O.}|\zqu h\itenu2h\raise -4\Internote\qs\ibbl0g0\qh0{gg}\tqb0g\relax
- &\zhl o\xTrille q{8\noteskip}\enotes
-\notes\dble\zcl K\sk\sk\ds
- &\Nextstaff\zcl {^f}\tten2\Ibbbu0hi3\qh0{hij}\tqh0i\Ibbbu0jm3\qh0{jkl}\tqh0{^m}\relax
- &\sk\sk\sk\sk\sk\sk\sk\multnoteskip{0.7}\tinynotesize\Ibbbu0lm1\qh0n\tqh0o\enotes
-%
-\barre %33
-\notes\qu G\relax
- &\Nextstaff\Uptext{\bf m.g.}\Ibbbl0no3\qb0{nop}\tqb0o\relax
- &\itenu3n\cl n\enotes
- \nspace
-\Notes\dble\sk\qu I\sk\relax
- &\zcharnote f{\bf m.g.}\qs\ccl d\ibbl0N0\qb0{bNb}\tqb0N\relax
- |\bracket m{22}\Uptext{\bf m.d.}\dble\isluru0n\ql n\sk\tslur0k\cl{^m}\relax
- &\dble\tten3\cl n\ds\soupir\enotes
-%
-\barre %34
-\notes\qu J\relax
- &\qs\sk\ibbl1M0\qh1N\relax
- |\Ibbbl0lm3\qb0{l^mn}\tqb0m\relax
- &\enotes
-\Notes\dble\sk\Ibu0JK1\qh0J\tqh0K\relax
- &\qb1c\tqb1N\Ibbl0aM3\qb0{cNb}\tqb0N\relax
- |\dble\isluru0l\ql l\sk\tslur0k\cl k\relax
- &\dble\sk\pause\enotes
-%
-\barre %35
-\notes\zqlp L\relax
- &\Ibbbl0LM3\qb0{L=MN}\tqb0M\relax
- |\Ibbbl0jk3\qb0{jkl}\tqb0k\relax
- &\enotes
-\Notes\dble\sk\sk\cl K\relax
- &\ibbl0L0\qb0L\tqb0N\Ibbl0LK2\qb0{LN}\qb0K\tqb0N\relax
- |\dble\isluru0j\ql j\sk\tslur0i\cl i\relax
- &\dble\sk\pause\enotes
-%
-\barre %36
-\Notes\qu J\relax
- &\Ibl0Lc3\qb0L\sk\nbbl0\qb0a\tqb0c\relax
- |\rlap{\dble\ibl0g0\qb0e\tqb0e}\Ibbu0gl3\qh0{^ghj}\tqh0l\enotes
-\notes\qu K\relax
- &\ibl0d0\qb0d\sk\sk\tqb0d\relax
- |\islurd0k\Ibbu0ki2\qhp0k\sk\tbbbu0\tqh0i\Ibbbu0kh3\qh0{kji}\tslur0h\tqh0h\relax
- &\sk\pause\enotes
-%
-\barre %37
-\Notes\cu G\sk\ds
- &\zq {Nb}\cl d\sk\ds|\cu g\sk\ds
- &\qs\isluru0g\Ibbl0gk2\qb0{gi}\tqb0k\enotes
-\notes\soupir&\soupir|\soupir
- &\tslur0n\ibbbl0n0\qb0n\upz k\qb0k\upz l\qb0l\upz
-m\tqb0{^m}\Ibbbl0nq3\upz n\qb0n\upz o\qb0o\upz p\qb0p\upz q\tqb0q\enotes
-%
-\barre %38
-\Notes\cu G\ds\cu D\ds\relax
- &\Nextstaff\zq {_bd}\cu g\ds\zq{ac}\rq d\cu{^f}\sk
- &\itenu0r\hl r\enotes
-%
-\barre %39
-\Notes\Ibl1GN2\upz G\qb1G\upz K\qb1K\relax
- &\Nextstaff\Ibu2gi2\lpz b\zq{_bd}\qh2g\lpz d\zq{d^f}\qh2h\relax
- &\tten0\itenu0r\ql r\enotes
-\notes\upz N\tqb1N\sk\ds
- &\Nextstaff\lpz d\zq{dg}\tqh2{_i}\sk\ds
- &\tten0\ibbl0r0\qb0{rrr}\tqb0r\enotes
-%
-\barre %40
-\notes\hu H\relax
- &\qs\Ibbu0Ma1\qh0{^Ma}\tqh0c\relax
- &\dble\dble\isluru1s\ql{_s}\enotes
-\notes
- &\Nextstaff\Ibbu0ej3\qh0{_e^fh}\tqh0j\relax
- &\tslur1m\ql{^m}\enotes
-%
-\barre %41
-\NOtes\lpz I\Ibu0IG2\qh0{_I}\lpz F\qh0{^F}\lpz G\tqh0G\ds
- &\Nextstaff\lpz d\Ibu0ki2\zq{dg}\qh0k\lpz d\zq{dh}\qh0j\lpz d\zq{dg}\tqh0{_i}\ds
- &\Ibl0no1\qb0n\turn q\upperfl r\qb0o\tqb0{_p}\ds
- \enotes
-%
-\barre %42
-\notes\qu J&\zmidtwotext{\bf Pos.}|\ds&\multnoteskip{0.8}\ibbbl0o0\qb0{_poq}\tqb0o\enotes
-\Notes\sk\qu K\relax
- &\Nextstaff\Ibl0jh2\zq{_l}\qb0j\zq k\qb0{_i}\zq j\tqb0 h\relax
- &\isluru0n\ql n\sk\tslur0m\cl{^m}\enotes
-%
-\barre %43
-\notes\dble\ql N\sk\ql{=M}\relax
- &\Nextstaff\zhl d\Ibbu0ji3\zq{^f}\qh0j\zq g\qh0{_i}\zq g\qh0i\zq g\tqh0i\relax
- \qs\ibbu0i0\zq g\qh0i\zq f\qh0h\zq g\tqh0i\relax
- &\Ibbl0on2\qb0o\tbbl0\qb0n\tqb0n\sk\ds\sk\cl n\enotes
-%
-\barre %44
-\notes\dble\qu L\sk\qu K\relax
- &\Nextstaff\zql{^c}\qs\ibbu0i0\zq g\qh0{_i}\zq{^f}\qh0h\zq g\tqh0i\relax
- \zql d\qs\ibbu0i0\zq g\qh0i\zq f\qh0h\zq g\tqh0i\relax
- &\itenu1n\ql n\sk\sk\sk\tten1\ibbl0n0\qb0n\qb0n\qb0{^m}\tqb0n\enotes
-%
-\barre %45
-\notes\dble\qu{^J}\sk\qu K\relax
- &\Nextstaff\zql e\ibbu0h0\qh0{gh^g}\tqh0h\ibbu0h0\zq d\qh0{=f}\zq f\qh0h\zq
-e\qh0{=g}\zq d\tqh0f\relax
- &\Ibbl0po2\qb0{_p}\tbbl0\qb0o\itenu0o\tqb0o\sk
- \tten0\Ibbl0oq3\qb0{or^q}\tqb0r\enotes
-%
-\barre %46
-\notes\qu E\relax
- &\zmidtwotext{\bf G.O.}\qs\Ibbu0JN2\qh0{^JL}\tqh0N\relax
- &\dble\dble\isluru1p\ql{_p}\enotes
- \nspace
-\notes\soupir
- &\Nextstaff\Ibbu0bg3\qh0{_b^ce}\tqh0g\relax
- &\tslur1j\ql{^j}\enotes
-%
-\barre %47
-\def\atnextline{\ThreeStaff}%
-\NOtes\lpz F\Ibu0FK2\qh0F\lpz J\qh0{^J}\lpz K\tqh0K\ds
- &\Nextstaff\lpz a\Ibu0hf2\zq{ad}\qh0h\lpz a\zq{ae}\qh0g\lpz a\zq{ad}\tqh0f\ds
- &\Ibl0kl1\qb0k\turn n\qb0l\tqb0m\ds
- \enotes
-%
-\barre %48
-\notes\ql N\relax
- &\zmidtwotext{\bf Pos.}|\ds&\multnoteskip{0.8}\ibbbl0l0\qb0{mln}\tqb0l\enotes
-\Notes\sk\ql a\relax
- &\Nextstaff\Ibu0hf2\zq{_i}\qh0g\zq h\qh0f\zq g\tqh0 e\relax
- &\isluru0k\ql k\sk\tslur0j\cl{^j}\enotes
-%
-\barre %49
-\notes\dble\qu K\sk\ql{=b}\relax
- &\Nextstaff\ibbu0g0\zq{^c}\qh0h\zq d\qh0f\lpz d\zq d\qh0f\lpz d\zq d\tqh0f\zq d\qh0{^g}\relax
- &\Ibbl0lk2\qb0l\tbbl0\qb0k\tqb0k\sk\qs\ibbl0m0\qb0{mm}\tqb0m\enotes
-%
-\barre %50
-\notes\dble\qu J\sk\ql{^N}\relax
- &\Nextstaff\qs\ibbu0i0\zq e\qh0h\zq e\qh0h\zq e\tqh0h\zq e\qh0{=i}\relax
- &\Ibbl0ml2\qb0m\tbbl0\qb0l\tqb0l\sk\qs\ibbl0k0\qb0{kk}\tqb0k\enotes
-%
-\barre %51
-\notes\dble\qu H\sk\qu F\relax
- &\Nextstaff\zcl e\Ibbu0ih1\qh0i\tqh0h\zq c\dble\qu h\relax
- &\ibbl0k0\qb0k\tbbl0\qb0j\itenu0o\tqb0o\sk
- \multnoteskip{0.6}\Ibbl0om3\tten0\qb0o\sk\nbbbl0\qb0n\tqb0m\enotes
-\notes&\Nextstaff\zq a\cu h&\Ibbl0lk1\qb0l\tqb0{^k}\enotes
-%
-\def\atnextline{\FourStaff}%
-\barre %52
-\notes\dble\qu E\sk\cu L\ds
- &\Nextstaff\Ibbu0hg3\zq c\qh0h\zq b\qh0{^g}\zq b\zq e\qh0g\zq b\zq e\tqh0g\dble\zq
- {be}\cu g\ds
- &\Ibbl0kl2\qb0{^k}\tbbl0\qb0l\tqb0l\sk\qs\ibbl0l0\qb0{ll}\tqb0l\enotes
-%
-\barre %53
-\notes\qs\ibbl0K0\qb0{KK}\tqb0K\relax
- &\Nextstaff\qs\ibbu0i0\rq g\sh g\zq f\qh0i\rq g\zq f\qh0i\rq g\zq f\tqh0i\relax
- &\Ibbl0nm2\qb0n\tbbl0\qb0m\tqb0m\enotes
-\notes\multnoteskip{0.7}\cl K\sk\sk\sk\ds
- &\Nextstaff\multnoteskip{0.7}\zq f\rq g\cu i\sk\sk\sk\ds
- &\multnoteskip{0.7}\hs\ibbbl0l0\qb0{ml}\tqb0m\ibbbl0l0\qb0{nml}\tqb0m\enotes
-%
-\barre %54
-\notes\zql G\raise3\Internote\qs\ibbl0N0\qb0{NN}\tqb0N\relax
- &\Nextstaff\zcharnote N{\bf G.O.}\relax
- \qs\ibbu0i0\zq d\zq f\qh0i\zq d\zq f\qh0i\zq d\zq f\tqh0i\relax
- &\Ibbl0qp2\qb0q\tbbl0\qb0p\tqb0p\enotes
-\notes\multnoteskip{0.7}\cl N\sk\sk\sk\ds
- &\Nextstaff\multnoteskip{0.7}\zq f\rq g\cu i\sk\sk\sk\ds
- &\multnoteskip{0.7}\hs\ibbbl0o0\qb0{po}\tqb0p\ibbbl0o0\qb0{qpo}\tqb0p\enotes
-%
-\barre %55
-\NOTes\qu J\qu G\relax
- &\sk\cl N|\zq c\zq j\qu e\zq d\zq g\qu i&\ql q\soupir\enotes
-%
-\barre %56
-\NOtes
- \ibl0K0\upz J\qb0J\upz N\qb0 N\relax
- &\ibl1b0\qb1{cb}
- |\Ibl2fh2\zq {ce}\qb2j\zq g\Pince n\multnoteskip{0.6}\qb2k\relax
- {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax
- &\soupir\enotes
-\NOtes
- \upz J\tqb0J\relax
- &\tqb1c|\zq g\tqb2l&\ds\enotes
-\notes\ds&\zmidtwotext{\bf Pos.}\ds&\Ibbl0lm2\qbp0l\turn o\sk\tbbbl0\tqb0m\enotes
-\def\atnextline{\ThreeStaff}%
-%
-\barre %57
-\notes\dble\cu J\ds\cu G\ds
- &\Nextstaff\ibbu0e0\zq N\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq
-c\qh0e\zq d\qh0f\zq b\tqh0d\relax
- &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes
-%
-\barre %58
-\notes\dble\cu J\ds\cu J\ds\relax
- &\Nextstaff\qs\ibbu0d0\zq b\qh0{^d}\zq c\qh0e\zq b\tqh0d\relax
- \Ibbu0df3\zq c\qh0e\zq c\qh0e\zq {=d}\qh0f\zq e\tqh0g\relax
- &\Ibl0kl2\qb0{^k}\sk\tqb0l\sk\qs\Ibbl0ln2\qb0{lm}\tqb0n\enotes
-%
-\barre %59
-\notes\dble\cu J\ds\cu J\ds
- &\Nextstaff\qs\ibbu0g0\zq f\qh0h\zq c\qh0f\zq f\tqh0h\Ibbu0ig3\zq h\qh0j\zq
-h\qh0j\sk\zq g\qh0i\zq f\tqh0h\relax
- &\ibbl0o0\qb0o\tbbl0\qb0m\itenu0q\tqb0q\sk
- \ibbl0o0\tten0\qbp0q\relax
- {\multnoteskip{0.66}\sk\nbbbl0\qb0r\tqb0q}\relax
- \Ibbl0po1\qb0p\tqb0o\enotes
-%
-\barre %60
-\notes\dble\cu J\ds\cu J\ds
- &\Nextstaff\qs\Ibbu0fd2\zq f\qh0h\zq e\qh0g\zq{^d}\tqh0{^f}\relax
- \ibbu0i0\zq e\qh0g\zq g\qh0j\zq c\qh0e\zq e\tqh0g\relax
- &\dble\Ibl0on1\Pince q\qb0o\tqb0n\ds
- \multnoteskip{0.33}\ibbl0n0\qbp0n\turn p\sk\tbbbl0\tqb0n\enotes
-%
-\barre %61
-\notes\dble\qu H\sk\qu{_H}\relax
- &\Nextstaff\qs\Ibbu0fj2\zq c\qh0f\zq f\qh0h\zq h\tqh0j\ds\Ibbu0fj2\zq c\qh0f\zq
-f\qh0{_h}\zq h\tqh0j\relax
- &\Ibbl0qo1\qb0q\tqb0o\dble\ql m\sk\cl m\enotes
-%
-\barre %62
-\Notes\qu G\relax
- &\Nextstaff\qs\Ibbu2di2\zq b\qh2d\relax
- &\multnoteskip{0.5}\Ibbbl3nk3\qb3{nml}\tqb3k\enotes
-\notes&\Nextstaff\zq d\qh2f\zq f\tqh2i\relax
- &\ql k\sk\enotes
-\notes\dble\Ibu0GJ1\qh0G\tqh0J\relax
- &\Nextstaff\qs\ibbu0i0\zq f\qh0i\zq e\qh0j\zq e\tqh0g\relax
- &\sk\sk\multnoteskip{0.7}\Ibbl0lj2\qbp0l\sk\tbbbl0\tqb0j\enotes
-%
-\barre %63
-\notes\dble\qu F\sk\qu G\relax
- &\Nextstaff\dble\zq d\qup f\sk\Ibu0bd1\qh0N\zq b\tqh0d\relax
- &\ibbl0i0\isluru0i\qb0i\tslur0h\qb0h\isluru0m\qb0m\tslur0k\tqb0k\relax
- \ibbl0j0\isluru0j\qb0j\tslur0i\qb0i\isluru0n\qb0n\tslur0m\tqb0m\enotes
-%
-\barre %64
-\notes\dble\qu J\sk\Ibu0JI1\qh0J\tqh0I\relax
- &\Nextstaff\zcl N\qs\Ibbu0ef2\zq b\qh0{^d}\zq c\qh0e\zq{=d}\tqh0f\relax
- \Ibbu0fi3\zq{^d}\qh0{^f}\zq e\qh0g\zq{=d}\qh0h\zq g\tqh0i\relax
- &\dble\Ibl0kl1\qb0{^k}\tqb0l\ds
- \turn p\multnoteskip{0.4}\ibbl0n0\qbp0n\sk\tqb0n\enotes
-%
-\barre %65
-\notes\dble\qu H\sk\qu{_H}\relax
- &\Nextstaff\zcu j\raise -4\Internote\qs\Ibbu0fj2\zq f\qh0c\zq f\qh0h\zq h\tqh0j\relax
- \qs\Ibbu0fj2\zq c\qh0f\zq f\qh0{_h}\zq h\tqh0j\relax
- &{\multnoteskip{0.667}\triolet q\Ibbl0qm2\qb0{qo}\tqb0m}\relax
- \dble\ql m\sk\cl m\enotes
-%
-\barre %66
-\notes\dble\Ibu0HM1\lpz G\qb0G\lpz M\tqh0M\ds
- &\Nextstaff\dble\lpz d\zq d\Ibu0ig1\zq i\qh0g\lpz b\zq g\zq b\tqh0d\ds
- &\ibbl0k0\qb0m\tbbl0\qb0p\tqb0p\sk\ds\enotes
-\notes\cl L&\Nextstaff\zq c\cu g&\Ibbbl0qo3\qb0{qp_p}\tqb0o\enotes
-%
-\barre %67
-\notes\ql M\relax
- &\Nextstaff\dble\dble\Ibu0fh1\zq f\qh0c\zq h\tqh0d\relax
- &\ibbbl0n0\qb0{^no=p}\tqb0o\Ibbbl0nk3\qb0{=nml}\tqb0k\enotes
-\Notes\dble\ql N\relax
- &\Nextstaff\ds\Ibbu0gd2\zq e\qh0g\zq c\qh0e\zq b\tqh0d\relax
- &\ibbl0j0\roff{\tbbl0}\qh0{jl}\sk
- \multnoteskip{0.6}\nbbbl0\qb0m\tqb0k\enotes
-%
-\barre %68
-\notes\dble\qu J\sk\dble\ql N\relax
- &\Nextstaff\Ibbu0bg3\qh0M\zq c\qh0N\zq c\qh0e\zq e\tqh0g\qs
- \Ibbu0ej2\zq c\qh0{e}\zq e\qh0g\zq g\tqh0j\relax
- &\pince n\Ibbl0kj2\qb0k\tbbl0\qb0 j\tqb0j\sk\ds\sk
- \multnoteskip{0.67}\Ibbl0jj2\qbp0j\sk\tbbbl0\tqb0j\enotes
-%
-\barre %69
-\Notes\qu J\relax
- &\Nextstaff\qs\Ibbu0fj2\zq c\qh0{^f}\zq f\qh0h\zq h\tqh0j\relax
- &\Ibbl0jn2\qb0{^j}\tbbl0\qb0k\itenu0r\tqb0r\enotes
-\notes\qu{_I}\relax
- &\Nextstaff\dble\qs\Ibbu0gk2\zq d\qh0g\zq g\qh0{_i}\zq i\tqh0k\relax
- &\tten0\isluru0r\Ibbbl0ro3\qb0{r=q_p}\tqb0o\Ibbbl0nk3\qb0{nml}\tslur0k\tqb0k\enotes
-%
-\barre %70
-\def\atnextline{\FourStaff}%
-\Notes\qu J\relax
- &\Nextstaff\qs\Ibbu0gk2\zq d\qh0g\zq g\qh0{_i}\zq i\tqh0k\relax
- &\pince m\ibbl0j0\qb0k\tbbl0\qb0j\itenu0q\tqb0q\enotes
-\notes\qu H\relax
- &\Nextstaff\dble\qs\Ibbu0fj2\zq c\qh0{=f}\zq f\qh0h\zq h\tqh0j\relax
- &\tten0\isluru0q\Ibbbl0qn3\qb0{q_po}\tqb0n\Ibbbl0mj3\qb0{mlk}\tslur0j\tqb0j\enotes
-%
-\barre %71
-\Notes\qu J\relax
- &\Nextstaff\qs\Ibbu0fj2\zq N\qh0d\zq d\qh0f\zq f\tqh0h\relax
- &\pince m\ibbl0i0\qb0j\tbbl0\qb0{_i}\itenu0p\tqb0{_p}\enotes
-\Notes\qu J\relax
- &\Nextstaff\ibbu0g0\zq e\qh0{g_ih}\tqh0g\relax
- &\tten0\ibbl0p0\qb0{prq}\tqb0p\enotes
-%
-\barre %72
-\notes\dble\ibl0N0\qb0M\qb0N\qb0a\tqb0N\relax
- &\Nextstaff\dble\ibu0g0\zq c\qh0f\zq c\qh0e\zq c\qh0f\zq c\tqh0g\relax
- &\Ibbl0nl7\roff{\tbbl0}\qb0{^no}\sk\qb0{=n}\sk\qb0m\sk\tbbl0\tqb0l\enotes
-%
-\barre %73
-\notes\dble\dble\ibl0M0\qb0{MMM}\tqb0M\relax
- &\Nextstaff\zhlp a\dble\dble\ibu0h0\qh0{hhh}\zcl f\tqh0h\relax
- &\isluru0k\Ibbbl0jk3\qb0{^jkl}\tqb0k\Ibbbl0lm3\qb0{lmn}\tslur0m\tqb0m\relax
- \isluru0n\Ibbbl0no3\qb0{^nop}\tqb0o\Ibbbl0nk3\qb0{=nml}\tslur0k\tqb0k\enotes
-%
-\barre %74
-\notes\dble\ql N\sk\relax
- &\Nextstaff\ibl0e0\zqu g\itenu0g\qbp0e\sk\multnoteskip{0.7}\sk\nbbbl0\qb0f\tqb0e\relax
- &\ibl0j0\qbp0j\sk\multnoteskip{0.7}\sk\nbbbl0\qb0k\tqb0j\enotes
-\Notes\cu G\ds
- &\Nextstaff\tten0\zcl d\cu g\ds
- &\cl i\ds\enotes
-%
-\barre %75
-\NOtes\cu J\ds\cl N\ds\relax
- &\zmidtwotext{\bf G.O.}\cl c\ds\cl b\ds\relax
- |\zq g\zq e\cu j\ds\zq d\zq g\zq i\cu k\ds
- &\sk\sk\pause\enotes
-%
-\barre %76
-\def\atnextline{\ThreeStaff}%
-\Notes\lpz J\Ibu1JL1\qh1J\lpz K\qh1K\relax
- &\Ibl2ce2\upz c\qb2c\upz d\qb2d\relax
- |\upz l\Ibl3gi2\zq j\zq g\qb3l\upz m\zq g\zq i\qb3m\relax
- &\soupir\enotes
-\notes\lpz L\tqh1L\sk\ds
- &\upz e\tqb2e\sk\ds
- |\upz n\zq g\zq j\tqb3n\sk\ds
- &\qs\Ibbl0gl2\qb0{gj}\tqb0l\enotes
-%
-\barre %77
-\NOtes\ql M\ql L\relax
- &\Nextstaff\zq i\zq d\qu g\zq e\zq j\qu g\relax
- &\itenu3n\hl n\enotes
-%
-\barre %78
-\NOtes\Ibu1IK2\lpz I\qh1I\lpz J\qh1J\relax
- &\Nextstaff\Ibl3fh2\zq i\zq g\qb3k\Pince n\multnoteskip{0.33}\zq j\zq g\qb3l\sk\tinynotesize\Ibbu0kl1\qh0k\tqh0l\relax
- &\tten3\itenu3n\ql n\enotes
-\notes\lpz K\tqh1K\sk\ds
- &\Nextstaff\Uptext{\hbox to 4\noteskip{\hss\bf R\'ec./G.O.}}\zq g\zq i\tqb3m\sk\ds
- &\tten3\Ibbl0np3\qb0{n^no}\tqb0p\enotes
-%
-\barre %79
-\Notes\qu J\relax
- &\zmidtwotext{\bf Pos.}\Nextstaff\qs\Ibbl1ij2\zq e\qb1j\relax
- &\multnoteskip{0.5}\ibbbl0q0\qb0{qrs}\tqb0r\enotes
-\notes\dble\sk\qu L\relax
- &\Nextstaff\zq l\qb1n\zq j\tqb1l\ibbu0i0\zq j\qh0g\zq j\qh0g\zq j\qh0g\zq j\tqh0g\relax
- &\dble\isluru0q\ql q\sk\tslur0p\cl p\enotes
-%
-\barre %80
-\Notes\ql M\relax
- &\Nextstaff\qs\Ibbl1hg0\zq h\qb1j\relax
- &\multnoteskip{0.5}\ibbbl0o0\qb0{opq}\tqb0p\enotes
-\notes\dble\sk\qu J\relax
- &\Nextstaff\zq m\qb1j\zq j\tqb1h\ibbu0h0\zq f\qh0h\zq f\qh0h\zq e\qh0g\zq e\tqh0g\relax
- &\dble\isluru0o\ql o\sk\tslur0n\cl n\enotes
-%
-\barre %81
-\notes\qu K\relax
- &\Nextstaff\qs\ibbu0i0\zq j\qh0h\zq j\qh0h\zq j\tqh0h\relax
- &\ibl0m0\xTrille o{3\noteskip}\qbp0m\sk\sk\nbbbl0\multnoteskip{0.7}\qb0l\tqb0m\enotes
-\notes\qu G\relax
- &\Nextstaff\ibbu0h0\zq g\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0i\relax
- &\Ibl0nm2\isluru0n\qb0n\sk\tslur0m\tqb0m\enotes
-%
-\barre %82
-\NOtes\ds\Ibu1HF3\qh1H\relax
- &\Nextstaff\ds\zql e\ibu2i0\qh2j\relax
- &\Ibl3kl1\isluru3k\qh3{^k}\tslur3l\tqb3l\enotes
-\notes\dble\dble\qh1G\tqh1F\relax
- &\Nextstaff\dble\dble\rq j\qh2i\zcl f\zq h\tqh2j\relax
- &\hs\Ibbbl0jl2\qh0{j=k}\tqb0l\Ibbbl0mp3\qb0{mno}\tqb0p\enotes
-%
-\barre %83
-\Notes\cu E\relax
- &\Nextstaff\zqu j\raise -6\Internote\qs\ibbl1f0\zq e\qb1g\relax
- &\multnoteskip{0.5}\ibbbl0q0\qb0{qrs}\tqb0r\enotes
-\notes\dble\ds\cu J\ds
- &\Nextstaff\raise 3\Internote\rlap{\ds}\zq e\qb1g\zq e\tqb1g\ibbl0f0\zq e\qb0g\zq
-g\qb0{_i}\zcu j\zq f\qb0h\zq e\tqb0{^g}\relax
- &\itenu0q\cl q\sk\tten0\Ibbl0qn3\qb0{q_po}\tqb0{^n}\enotes
-%
-\def\atnextline{\FourStaff}%
-\barre %84
-\notes\ibu1M0\qh1M\relax
- &\Nextstaff\ibu3j0\zq {fh}\qh3j\relax
- &\Ibbl0no1\qb0{^n}\tqb0o\enotes
-\Notes\dble\qh1M\qh1M\tqh1M\relax
- &\Nextstaff\dble\zq j\qh3h\zq h\qh3f\zq k\tqh3h\relax
- &\multnoteskip{0.5}\qs\sk\Ibbbl0rq1\qb0r\tqb0q\relax
- \qs\sk\Ibbbl0po1\qb0{=p}\tqb0o\relax
- \qs\sk\Ibbbl0nm1\qb0{=n}\tqb0m\enotes
-%
-\barre %85
-\notes\dble\ql N\sk\ql N\relax
- &\Nextstaff\qs\ibbu0f0\zq c\qh0e\zq e\qh0g\zq e\tqh0e\relax
- \Ibbu0ge3\zq e\qh0g\zq{a^d}\qh0{^f}\zq{b=d}\qh0{=f}\zq c\tqh0e\relax
- &\Ibbl0ln2\qb0l\tbbl0\qb0n\itenu0n\tqb0n\sk\tten0\Ibbl0nl3\qb0{n^m=m}\tqb0l\enotes
-%
-\barre %86
-\Notes\cl G\sk\ds\relax % \roff{\zq N\itenl1N}\itenl0M\qu M\sk\raise -4\Internote\ds
- &\Nextstaff\uptext{G.O.}\itenu2d\zq f\zqu d\raise -8\Internote\ds\ibbl0e0\qb0{cc}\tqb0c\relax
- &\zhl k\xTrille q{8\noteskip}\enotes
-\notes\dble\zcl G\raise 2\Internote\qs\ibbu0L0\qh0M\zqh0M\raise -4\Internote\ds\tqh0M\relax
- &\Nextstaff\tten2\Ibbbu0df3\zcl b\qh0{def}\tqh0e\Ibbbu0fi3\qh0{fgh}\tqh0i\relax
- &\dble\sk\sk\sk\multnoteskip{0.3}\tinynotesize\Ibbu0jk1\qh0j\tqh0k\enotes
- \setclefs2{6000}\zchangeclefs
-%
-\barre %87
-\qspace
-\Notes\qu C\relax
- &\uptext{\bf m.g.}\ibbl1N0\qb1L\qb1N\relax
- |\zcharnote b{\bf m.d.}\bracket h{22}\multnoteskip{0.5}\ibbbu0j0\qb0{jkl}\tqh0k\relax
- &\ql j\enotes
-\notes\dble\sk\qu E\relax
- &\qh1c\tqb1N\ibbl1N0\qb1{LNc}\tqb1N\relax
- |\dble\isluru0p\qu j\sk\tslur0p\cl p\relax
- &\dble\sk\soupir\enotes
-%
-\barre %88
-\Notes\qu F\relax
- &\ibbl1N0\qb1M\qb1a\relax
- |\multnoteskip{0.5}\advance\transpose7\ibbbl0h0\qh0{hij}\tqb0i\relax
- &\enotes
-\notes\dble\sk\qu{^J}\relax
- &\qh1c\tqb1N\ibbl1L0\qb1{^JLa}\tqb1L\relax
- |\dble\advance\transpose 7\isluru0h\ql h\sk\tslur0g\cl g\relax
- &\dble\sk\pause\enotes
-%
-\barre %89
-\Notes\qu K\relax
- &\ibbu1a0\qh1K\qh1a\relax
- |\multnoteskip{0.5}\advance\transpose7\ibbbl0h0\qh0{fgh}\tqb0g\relax
- &\enotes
-\notes\dble\sk\Ibu0IJ1\qh0I\tqh0J\relax
- &\qh1d\tqh1{_a}\ibbu1N0\qh1{NdN}\tqh1c\relax
- |\dble\advance\transpose 7\isluru0f\ql f\sk\tslur0e\cl e\relax
- &\dble\sk\pause\enotes
-%
-\barre %90
-\Notes\qup F\relax
- &\multnoteskip{0.5}\ibbbu0M0\qh0{MNa}\tqh0N\relax
- |\multnoteskip{0.5}\advance\transpose7\ibbbl0g0\qh0{def}\tqb0e\relax
- &\enotes
-\notes\dble\sk\sk\cu{^F}\relax
- &\ibbl0N0\qb0M\tqb0c\ibbl0N0\qb0{Mc^M}\tqb0c\relax
- |\dble\zq h\isluru0k\ql k\sk\zq h\tslur0l\cl{_l}\relax
- &\sk\sk\pause\enotes
-%
-\barre %91
-\notes\dble\ibu0G0\qh0{G_HG}\tqh0{^F}\relax
- &\ibbu0N0\qh0{Nc_a}\tqh0c\ibbu0N0\qh0{Nc^M}\tqh0c\relax
- |\dble\ibl0k0\zq j\upz l\qb0{=l}\zq j\upz m\qh0m\zq j\upz l\qh0l\lsh k\lq j\upz k\tqb0{k}\relax
- &\dble\dble\sk\pause\enotes
-%
-\barre %92
-\notes\dble\pointdurgue F\qu G\sk\soupir
- &\dble\pointdorgue b\qu N\sk\soupir
- |\dble\pointdorgue o\zq{gj}\qu{=l}\sk\soupir
- &\Ibl0lj3\pointdorgue o\qbp0n\Uptext{\it cadenza ad lib.}\sk\sk\tbbl0\tqb0j\xTrille n{3\noteskip}\ibl0j0\qbp0k\sk\sk\multnoteskip{0.7}\nbbbl0\qb0j\tqb0k\enotes
-%
-\barre %93
-\NOtes\qu J\qu G\relax
- &\zmidtwotext{G.O.}\ql N\ql N|\zq e\zq j\qu c\zq f\zq i\qu d\relax
- &\uptext{\vbox{\hbox{R\'ecit}\hbox{non acc.}}}\ql j\soupir\enotes
-%
-\barre %94
-\NOtes
- \ibl0K0\upz J\qb0J\upz N\qb0N\relax
- &\Ibu1Lc2\lpz J\qh1J\lpz N\qh1N\relax
- |\Ibu2jl2\zq{ce}\qb2j\Pince n\multnoteskip{0.6}\zq g\qb2k\relax
- {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax
- &\soupir\enotes
-\NOtes
- \upz J\tqb0J\relax
- &\tqh1c\relax
- |\zq g\tqh2l&\ds\enotes
-\notes\ds&\ds&\Ibbl0lm2\qbp0l\turn o\sk\tbbbl0\tqb0m\enotes
-%
-\def\atnextline{\ThreeStaff}%
-\barre %95
- %\check
-\notes\dble\cu J\ds\cu G\ds
- &\Nextstaff\zhl N\ibbu0e0\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq
-c\qh0e\zq d\qh0f\zq b\tqh0d\relax
- &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes
-%
-\barre %96
- %\check
-\Notes\hu J\relax
- &\Nextstaff\qs\Ibbu2dg2\zq b\qh2{^d}\zq c\qh2e\relax
- &\Ibl3kl3\qb3{^k}\sk\nbbl3\qb3l\enotes
- %\check
-\Notes\sk
- &\Nextstaff\zq e\tqh2g\relax
- &\multnoteskip{0.6}\raise2\Interligne\hs\tbbbl3\tqb3l\enotes
- %\check
-\Notes\Ibl0aM2\qb0a\sk\tqb0M\relax
- &\Nextstaff\Ibbu0gc3\roff{\tbbu0}\zq f\qh0h\zq{=d}\qh0f\sk\tbbu0\zq{=b}\tqh0d\relax
- &\pince o\multnoteskip{0.5}\ibbbl0n0\qb0{mlm}\tqb0n\relax
- \pince q\ibbbl0p0\qb0{ono}\tqb0p\enotes
-%
-\barre %97
- %\check
-\notes\Ibl1LI{10}\qb1L\relax
- &\Nextstaff\zq c\ibu2f0\qh2g\relax
- &\Ibbl3on2\qbp3q\sk\tbbbl3\tqb3n\enotes
-\notes\qb1M\relax
- &\Nextstaff\nbbbu2\qh2{gfe}\tqh2d\relax
- &\Ibbbl3pm3\isluru4p\qb3{pon}\tqb3m\enotes
- %\check
-\NOtes\qb1N\tqb1G\relax
- &\Nextstaff\cu c\zq{df}\cu i\relax
- &\Ibl0lk1\qb0l\tslur4k\tqb0k\enotes
- %\check
-%
-\barre %98
-\NOTes\qu J\multnoteskip{0.7}\cu C\ds
- &\Nextstaff\isluru0i\zq d\zq f\qu i\tslur0j\multnoteskip{0.7}\zq c\zq e\cu j\ds
- &\Pince n\isluru0k\ql k\tslur0j\multnoteskip{0.7}\cl j\ds\enotes
-%
-\linegoal20
-\finmorceau
-
-\rightline{\today}
-\eject
-
-\bye
diff --git a/macros/musixtex/doc/examples/marcello.tex b/macros/musixtex/doc/examples/marcello.tex
deleted file mode 100644
index 45dfe704dd..0000000000
--- a/macros/musixtex/doc/examples/marcello.tex
+++ /dev/null
@@ -1,319 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\title{Adagio (B. Marcello)}
-\csname titremorceautoc\endcsname
-\title{Adagio}
-\fulltitle{Adagio}
-\subtitle{(extrait du Concerto pour Hautbois)}
-\othermention{R\'ecit: cornet ou cromorne\\G.O.
- bourdon 8'\\P\'ed.: bourdon 16'+tirasse G.O.}
-\author{Benedetto MARCELLO\\Transcription Daniel TAUPIN}
-\shortauthor{B. Marcello, D. Taupin}
-\maketitle
-%
-\parindent 13mm
-%
-\tracingstats=2\relax
-%
-\def\nbinstruments{3}
-\def\interfacteur{9}
-\global\cleftoksi={{6}{0}{0}{0}}%
-\global\cleftoksii={{0}{0}{0}{0}}%
-\global\cleftoksiii={{0}{0}{0}{0}}%
-\nbporteesi=1\relax%
-\nbporteesii=1\relax%
-\nbporteesiii=1\relax%
-\signaturegenerale{-3}\relax
-%\check
-\def\instrumenti{P\'ed}%
-\def\instrumentii{G.O.}%
-\def\instrumentiii{R\'ecit}%
-%\check
-\def\gluemaxskip{7pt}%
-%
-\def\doubler{\multiply\noteskip by 2\relax}%
-% formes frequentes
-\def\Pause{\sk\sk\qsk\pause}%
-%
-%\check
-%
-\generalmeter{\meterfrac 34}%
-%
-\debutmorceau
-\linesinpage=0\relax
-\autolines{19}35\relax
-%\check
-%
-\hyphenpenalty -50\relax
-\notes&&\zcharnote{w}{\kern -20mm\moyen Adagio
-\bf(\metron{\cu}{84})}\enotes
-%
-%\check
-%
-% mesure 1
-\NOTes\Pause&\ibl0j0\qb0{jjjjj}\tqb0j&\Pause\enotes
-\advance\linesinpage by 1
-% mesure 2
-\barre\NOTes\Pause
-&\ibl0j0\lq j\qb0k\lq j\qb0k\lq j\qb0k\lq j\qb0k\lq j\qb0k\lq j\tqb0k&\Pause\enotes
-% mesure 3
-\def\motif{\zq i\qh0k}%
-\barre\NOTes\hup G&\rlap{\pt g\lh f\hlp g}\bigna i\ibu0k0\motif
-\motif\motif\motif\motif\tbu0\motif&\Pause\enotes
-% mesure 4
-\def\motif{\zq j\qh0 l}%
-\barre\NOTes\Ibu2CJ1\qh2C\itenl0J\tqh2J\relax
-&\ibu0l0\itenl1e\rlap{\zhp g\hlp e}\motif\motif\relax
-&\Ibl1jl1\qb1j\tqb1l\enotes
-\NOTes\tten0\hu J&\motif\motif&\Ibl1ln1\qb1l\tqb1n\enotes
-\NOTes&\motif&\ibl1n0\qb1n\enotes
-\NOtes&\tbu0\motif&\nbbl1\qb1o\tqb1n\enotes
-% mesure 5
-\def\motif{\zq h\qh0j}%
-\barre\NOTes\qsk\hup F&\qsk\tten1\zql e\relax
-\ibu0j0\motif\motif&\qsk\mordant q\zhl o\enotes
-\NOTes&\zql d\motif\motif\enotes
-\NOTes&\zql c\motif\tbu0\motif&\soupir\enotes
-% mesure 6
-\def\motif{\zq h\qh0k}%
-\barre\temps\NOTes\hup I&\zhl f\ibu0k0\motif\motif&\Ibl1ik1\qb1i\tqb1k\enotes
-\NOTes&\motif&\Ibl1kl2\qb1k\enotes
-\NOtes&\motif&\nbbl1\qb1m\tqb1l\enotes
-\NOtes&\itenl1d\zql d\motif\sk\tbu0\motif&\Ibbl1mn3\qb1{mno}\tqb1n\enotes
-% mesure 7
-\def\motif{\zq g\qh0i}%
-\barre\autolines{20}35\relax
-\NOTes\qsk\hup E&\qsk\tten1\zql d\ibu0i0\motif
-\motif&\qsk\mordant p\zhl n\enotes
-\NOTes&\zql c\motif\motif\enotes
-\NOTes&\zql b\motif\tbu0\motif&\soupir\enotes
-% mesure 8
-\def\motif{\zq h\qh0j}%
-\barre\NOtes\hup H&\ibu0j0\zhl e\motif\sk\motif
-&\Ibbl1hi3\qb1{hij}\tqb1i\enotes
-\NOtes&\motif\sk\motif
-&\Ibbl1jk3\qb1{jkl}\tqb1k\enotes
-\NOtes&\itenl1c\zql c\motif\sk\tbu0\motif
-&\Ibbl1lm3\qb1{lmn}\tqb1m\enotes
-% mesure 9
-\def\motif{\zq f\qh0h}%
-\barre\NOTes\qsk\hup K&\qsk\tten1\zql c\ibu0h0\motif
-\tbu0\motif&\qsk\mordant o\zhl m\enotes
-\def\motif{\zq f\qh0i}%
-\temps\NOTes&\zql b\ibu0i0\motif\motif\enotes
-\NOTes&\zql a\motif\tbu0\motif&\soupir\enotes
-% mesure 10
-\def\motif{\zq i\qh0k}%
-\barre\autolines{28}25\relax
-\Notes\Ibu2NG4\qh2N\sk\sk\sk\itenl0G\tqh2G&\bigna i\zhlp f\relax
-\ibu0k0\motif\sk\sk\sk\motif&\Ibbbu1gk7\qh1{g^fgh=ihi}\tqh1j\enotes
-\Notes\tten0\hu G&\motif\sk\sk\sk\motif&\Ibbbl1jj7\qb1{kijkn=ml}\tqb1k\enotes
-\NOtes&\motif\sk\tbu0\motif&\Ibbl1kl3\qb1{klm}\tqb1l\enotes
-% mesure 11
-%\check
-\def\motif{\zq g\qh0 j}%
-\barre\notes\Ibu2CJ5\qh2C&\zhlp e\ibu0j0\motif
-&\ibbbbl1l0\qb1{lkl}\tbbbbl1\tbbbl1\tbbl1\qb1m\enotes
-\NOtes&&\tbl1\qbp1l\enotes
-\NOTes\itenl0J\tqh2J&\motif&\enotes
-\NOtes\tten0\itenl0J\hu J&\motif\sk\motif&\qsoupir\Ibbl1ln2\qb1{lo}\tqb1n\enotes
-\NOtes&\motif\sk\tbu0\motif&\Ibbl1ol3\qb1{omm}\tqb1l\enotes
-% mesure 12
-%\check
-\barre
-\NOTes\tten0\qu J&\ibu0h0\zhl d\zq f\qh0h\zq f\tqh0h\relax
-&\mordant q\ql k\sk\enotes
-\NOtes\itenl2I\hu I&\ibu0i0\zq g\qh0i\sk\zq g\tqh0i&\qsoupir
-\Ibbl1km2\qb1{kn}\tqb1m\enotes
-\NOtes&\ibu0j0\zq g\qh0j\sk&\ibbl1k0\qb1n\qbp1l\enotes
-\Notes&\zq g\tqh0j&\sk\nbbbl1\qb1{kj}\tqb1k\enotes
-% mesure 13
-\barre
-\notes\tten2\qu I&\zhl c\ibu0g0\zq e\qh0g&\ibbbbl1j0\qb1{j=ij}\relax
-\tbbbbl1\tbbbl1\tbbl1\qb1k\enotes
-\NOtes&&\tbl1\qbp1j\enotes
-\NOTes&\zq e\tqh0g&\enotes
-\temps\Notes\hu H&\ibu0h0\zq f\qh0h\sk\sk\sk\zq f\tqh0h\relax
-&\qsoupir\sk\ibbbl1j0\qb1j\tbbl1\qb1l\nbbbl1\qb1{kjk}\tqb1l\enotes
-\temps\Notes&\zql d\ibu0h0\zq f\qh0h\sk\sk\sk\zq f\tqh0h&\ibbbl1k0\qb1{mnlmkl}\relax
-\triolet M\qb1{jk}\tqb1j\enotes
-% mesure 14
-%\check
-\def\motif{\zq g\qh0 i}%
-\barre\autolines{21}35\relax
-\NOTes\hup G&\rlap{\qsk\hlp d}\bigna b\ibu0i0\qh0b\rq
-f\rlap{\qsk\itenl0f}\bigna i\motif
-&\bigna i\hl i\enotes
-\NOTes&\rlap{\qsk\tten0\hl f}\motif\motif\motif\tbu0\motif&\sk\sk\soupir\enotes
-% mesure 15
-\barre\NOTes\hup J&\bigna e\zhlp c\Ibu0jg1\zq e\qh0j\tqh0g\relax
-&\ibl1l0\bigna l\qb1l\qb1n\enotes
-\NOTes&\ibu0g0\zq e\qh0g\zq e\tqh0g&\qb1n\tqb1l\enotes
-\temps\NOtes&\ibu0j0\zq e\qh0j\sk\zq e\tqh0j&\fl i\ibbl1i0\qb1{inl}\tqb1i\enotes
-% mesure 16
-\barre\NOTes\hlp M&\zql c\ibu0j0\zq g\qh0j&\ibu1k0\itenl1i\qh1i\enotes
-\Notes&\zq g\tqh0j&\tten1\nbbbu1\qh1{ihj}\tqh1i\enotes
-\temps\NOTes&\ibu0j0\zhl f\zq h\qh0j\zq h\relax
-\qh0j\zq h\qh0j\zq h\tqh0j&\qu h\sk\soupir\enotes
-% mesure 17
-\def\motif{\zq h\qh0 k}%
-\barre\autolines{24}35\relax
-\NOtes\hup K&\lsh f\zhlp f\na h\ibu0k0\motif\sk\motif
-&\ibbl1m0\sh m\qb1{m=om}\tqb1n\enotes
-\Notes&\motif\sk\sk\sk\motif\sk\sk\sk&\Ibbbl1oh7\qb1{onm=lkji}\tqb1{=h}\enotes
-\Notes&\motif\sk\sk\sk\sk\tbu0\motif\sk\sk\sk
-&\Ibbbu1dl9\qh1{d=e^fghij}\qhp1k\qsk\tbbbbu1\tqh1j\enotes
-% mesure 18
-\barre
-\NOTes\hup G&\zql d\zq g\ibu0k0\qh0k\zq g\tqh0k&\Ibl1ji1\qb1j\tqb1i\enotes
-\temps\NOTes&\itenl0e\zhl e\zq g\ibu0i0\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0i\relax
-&\Ibl1lk1\bigfl l\qb1l\tqb1k\mordant n\itenu1l\ql l\enotes
-% mesure 19
-\barre\NOTes\hl M&\tten0\zql e\zq{_h}\ibu0j0\qh0j\relax
-&\tten1\ibl1l0\qb1l\enotes
-\NOtes&\zq h\tqh0j&\nbbl1\qb1m\tqb1l\enotes
-\temps\NOTes&\zhl d\zq f\ibu0h0\qh0h&\ibl1k0\qb1k\enotes
-\NOtes&\zq f\qh0h&\nbbl1\qb1l\tqb1j\enotes
-\NOTes\qu F&\zq f\qh0h\zq f\tqh0h&\itenu1k\mordant m\ql k\enotes
-% mesure 20
-\barre\autolines{28}35\relax
-\NOtes\hu E&\zql d\ibu0i0\zq g\qh0i\sk\zq g\tqh0 i\relax
-&\tten1\ibbl1k0\qb1{knl}\tqb1k\enotes
-\temps\NOtes&\zhl c\ibu0g0\zq e\qh0g\sk\zq e\qh0g&\ibbl1i0\qb1{jih}\tqb1i\enotes
-\NOTes\ql L&\zq e\qh0g\zq e\tqh0g&\upperna j\mordant o\itenu1j\ql j\enotes
-% mesure 21
-\barre
-\NOtes\hup K&\zhl b\zq f\ibu0h0\qh0h\sk\zq f\tqh0h\relax
-&\ibbl1j0\tten1\qb1j\qb1{_i}\qb1k\enotes
-\Notes&&\nbbbl1\qb1m\tqb1l\enotes
-\temps\Notes&\zq d\ibu0f0\qh0f\sk\sk\sk\zq d\qh0f\relax
-&\ibbbl1i0\qb1{kjihijk}\tqb1l\enotes
-\NOtes&\zql a\zq d\qh0f\sk\zq d\tqh0f&\Ibbl1mi3\qb1{mk}\relax
-\pince l\qb1j\enotes
-\NOtes&&\itenu0i\tqb1i\enotes
-% mesure 22
-\barre\Notes\hup J&\zql N\ibu0g0\zq e\qh0g\sk\sk\sk\zq e\tqh0g\relax
-&\tten0\ibbbl1i0\qb1{ijj}\tqb1i\Ibbbu1ig3\qh1{ihh}\tqh1g\enotes
-\temps\Notes&\ibu0j0\zql e\zq g\qh0j\sk\sk\sk\zq g\tqh0j\relax
-&\ibbbu1g0\qh1{ghh}\tqh1g\Ibbbu1ge3\qh1{gff}\tqh1e\enotes
-\temps\NOtes&\zql e\rq f\ibu0h0\qh0h\sk\zq f\tqh0h\relax
-&\ibbu1k0\qh1{flk}\tqh1j\enotes
-% mesure 23
-\barre\autolines{21}35\relax
-\Notes\hu I&\doubler
-\zhl d\zq f\ibu0h0\qh0h\zq f\qh0h\zq f\qh0h\zq f\tqh0h\relax
-&\itenu1k\ql k\sk\sk\sk\tten1\Ibl1ki3\qbp1k\sk\sk\tbbl1\tqb1i\enotes
-\NOTes\qu J&\zql c\zq e\ibu0g0\qh0g\zq e\tqh0g&\itenu1l\ql l\enotes
-% mesure 24
-\barre
-\NOTes\qu{H}&\zqu j\ibl0e0\zq e\qb0h&\tten1\ibl1i0\itenu1l\qb1l\enotes
-\Notes&\zq e\tqb0 h&\tten1\nbbbl1\qb1{ljk}\tqb1l\enotes
-\temps\NOTes\hu I&\zhu i\ibl0d0\zq d\qb0f\zq d\qb0f\zq d\qb0f\zq e\tqb0g\relax
-&\qlp m\sk\sk\cl l\enotes
-% mesure 25
-\barre\NOTes\hlp M&\zhlp f\ibu0k0\qh0h\zq h\qh0{_k}&\bigfl k\qlp k\enotes
-\NOtes&\zq h\qh0k\sk\zq h\qh0k\sk\zq h\qh0k\sk\zq h\tqh0k\sk
-&\sk\sk\ibbl1m0\qb1{mnonm}\tqb1l\enotes
-% mesure 26
-\barre\autolines{23}35\relax
-\NOTes\hlp N&\zhlp e\ibu0i0\zq g\qh0i\zq g\qh0i&\itenu1k\ql{_k}\enotes
-\NOtes&\zq i\qh0g\sk\zq i\qh0g\sk\zq i\qh0g\sk\zq i\tqh0g\sk
-&\tten1\Ibbl1ko3\qb1{kln}\tqb1{o}\Ibbl1pk3\qb1{pnl}\tqb1k\enotes
-% mesure 27
-\barre
-\NOTes\hl a&\zhl e\zq h\ibu0j0\qh0j\relax
-&\bigfl k\ibl1j0\itenu1k\qb1k\enotes
-\Notes&\zq h\qh0j&\tten1\nbbbl1\qb1{kjl}\tqb1k\enotes
-\NOtes&\zq h\qh0j\sk\zq h\tqh0j&\Ibbl1jn3\qb1{jlm}\tqb1n\enotes
-\temps\NOtes\qu H&\zql f\ibu0j0\zq h\qh0j\sk\zq h\tqh0j\relax
-&\Ibbl1ol3\qb1{onm}\tqb1l\enotes
-% mesure 28
-\barre\NOTes\hu G&\rlap{\qsk\zhl f}\ibu0i0\bigna i\zq g\qh0i\zq g\qh0i\relax
-&\itenu1m\ql m\enotes
-\NOtes&\zq g\qh0i\sk\zq g\tqh0i&\tten1\ibbl1h0\qb1{mgh}\tqb1{=i}\enotes
-\temps\NOtes\qu{H}&\itenl0f\zql f\zq h\itenu2h\itenu1j\qu j\relax
-&\Ibbl1jk3\qb1{j=kl}\tqb1k\enotes
-% mesure 29
-\barre\autolines{23}35\relax
-\NOtes\qu F&\tten2\tten1\tten0\zq f\zql h\Ibu0jk2\qh0j\sk\tqh0k\relax
-&\ibbl1l0\qb1{lom}\tqb1k\enotes
-\temps\NOTes\hu G&\zqlp d\na i\Ibu0ij3\zq g\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0j\relax
-&\qlp{=i}\sk\sk\cl j\enotes
-% mesure 30
-%\check
-\barre
-\NOTes\hup{H}&\zhlp c\ibu0h0\zq f\qh0h\zq f\qh0h\zq f\qh0h\zq f\qh0h\relax
-&\itenl1f\hu f\enotes
-\NOtes&\zq f\qh0h\sk\zq f\tqh0h&\tten1\Ibbu1fe3\qh1{fcd}\tqh1e\enotes
-% mesure 31
-%\check
-\barre
-\NOtes\hu G&\zhl d\bigna i\zq g\qh0i\sk\zq g\qh0i\sk
-&\Ibbu1fe3\qh1{fed}\tqh1e\enotes
-\NOtes&\zq g\qh0i\sk\zq g\tqh0i&\Ibbu1fg3\qh1{fgh}\tqh1g\enotes
-\temps\Notes\ql L&\ibu0j0\zql c\zq g\qh0j\sk\sk\sk\zq g\tqh0j\relax
-&\Ibbbu1gi7\qh1{gfefghi}\tqh1{=i}\enotes
-% mesure 32
-%\check
-\barre\autolines{21}35\relax
-\NOtes\bigaccid\zql{a}&\zql c\ibu0h0\zq f\qh0h\sk\zq f\tqh0h\relax
-&\Ibl1jk3\qbp1j\sk\sk\tbbl1\tqb1k\enotes
-\temps\NOTes\hl N&\ibl0d0\rlap{\qup{=i}}\zq d\qb0f\zq d\qb0f\zq d\qb0f\zcu j\zq e\tqb0g\relax
-&\qlp k\sk\sk\cl j\enotes
-% mesure 33
-%\check
-\def\motif{\zq h\qh0 j}%
-\barre\NOTes\hu K&\bigaccid\lsh f\na h\zhl f\ibu0j0\motif\motif
-\motif\tbu0\motif
-&\bigsh m\itenu1m\hl m\enotes
-\temps\NOTes\qu G&\zql d\bigna i\zq g\ibu0i0\qh0i\zq g\tqh0i\relax
-&\tten1\Ibl1nk1\qb1n\tqb1k\enotes
-% mesure 34
-%\check
-\barre\NOTes\Ibl2JG5\qb2J&\zql e\zq g\ibu0j0\qh0j&\Ibl1lj2\qb1l\enotes
-\NOtes\qb2L&\zq g\tqh0j&\nbbl1\qb1k\tqb1j\enotes
-\NOTes\qb2{NMN}\tqb2G&\zh d\zhl g\na i\qup i\sk\sk\cu j&\zcharnote
-n{\Trille{2\noteskip}}\na i\qlp i\sk\sk\cl j\enotes
-% mesure 35
-%\check
-\barre\autolines{17}35\relax
-\NOTes\hup J&\Ibu0je1\zq e\zq g\qh0j&\hlp j\enotes
-\NOTes&\itenl0N\zq N\zq c\tqh0e\enotes
-\temps\NOTes&\tten0\zhl N\ibu0e0\zq c\qh0e\zq c\qh0e\zq c\qh0e\zq c\tqh0e\enotes
-% mesure 36
-%\check
-\barre\NOTes\hup G&\ibu0e0\zhlp N\zq c\qh0e\rq d\qh0c\rq d\qh0c\rq d\qh0c\zq
-{_b}\qh0d\zq b\tqh0d&\sk\sk\qsk\pause\enotes
-% mesure 37
-%\check
-\barre\NOTes\hup J&\na e\zhlp N\ibu0e0\relax
-\zq b\qh0 e\zq b\qh0 e\zq b\qh0 e\zq b\qh0 e\zq b\qh0 e\zq b\tqh0 e\relax
-&\sk\sk\qsk\pause\enotes
-% mesure 38
-%\check
-\barre\autolines{16}45\relax
-\NOTes\hlp M&\rlap{\qsk\zql b}\ibu0f0\zq c\qh0f\zq c\qh0f\enotes
-\NOTes&\itenl1a\zql a\zq c\qh0 f\zq c\tqh0f&\sk\pause\enotes
-\temps\NOTes&\tten1\zq {ac}\rq f\qu e\enotes
-% mesure 39
-%\check
-\barre\NOTes\hl N&\rlap{\qup f}\na b\ibl0b0\zq b\qb0d\zq b\qb0d\zq b\qb0d\relax
-\Ibu1gc2\zq b\rlap{\tqb0d}\qh1g\relax
-&\sk\sk\qsk\pause\enotes
-\NOTes\ql a&\zq c\qh1e\rq d\tqh1c\enotes
-% mesure 40
-%\check
-\barre\NOTes\ql M&\zq a\zql c\Ibu1ef1\qh1e\tqh1f\enotes
-\temps\NOTes\ibu2N0\qh2{NMN}\tqh2G&\na b\zh b\hu d&\qsk\pause\enotes
-% mesure 41
-%\check
-\cleftoksii={{6}{0}{0}{0}}\changeclefs\barre
-\NOTES\hlp J&\zhp{LN}\hup c&\sk\pause\enotes
-\finmorceau
-\rightline{\sl\aujourdhui}\eject
-
-
-\bye
diff --git a/macros/musixtex/doc/examples/marcon1.tex b/macros/musixtex/doc/examples/marcon1.tex
deleted file mode 100644
index 47102c7ec7..0000000000
--- a/macros/musixtex/doc/examples/marcon1.tex
+++ /dev/null
@@ -1,729 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-
-%
-\title{Concerto pour hautbois --- allegro}
-\fulltitle{Concerto pour hautbois --- allegro}
-\othermention{Transcription pour hautbois, fl\^{u}te et orgue\\{\bf
- \ifFlute Partition fl\^{u}te\fi
- \ifOboe Partition hautbois\fi
- \ifOrgue Partition orgue\fi}
-}
-\shorttitle{Concerto pour hautbois --- allegro}
-\author{Benedetto MARCELLO\\Transcription Daniel TAUPIN}
-\shortauthor{B. Marcello, D. Taupin}
-\maketitle
-%
-\parindent 13mm
-\def\interfacteur{10} % was 9
-\def\OrgelManual{\ifOrgue
- \global\cleftoksi={{6}{0}{0}{0}}%
- \def\interinstrumentii{0pt}%
- \def\interinstrumenti{0pt}%
- \nbporteesi=2\relax%
- \fi
-}
-\def\OrgelPedal{\ifOrgue
- \global\cleftoksi={{6}{6}{0}{0}}%
- \def\interinstrumentii{-\Interligne}%
- \def\interinstrumenti{-\Interligne}%
- \nbporteesi=3\relax%
- \fi
-}
-\ifOrgue
- \def\nbinstruments{3}
- \global\cleftoksi={{6}{6}{0}{0}}%
- \global\cleftoksii={{0}{0}{0}{0}}%
- \global\cleftoksiii={{0}{0}{0}{0}}%
- \nbporteesi=3\relax%
- \nbporteesii=1\relax%
- \nbporteesiii=1\relax%
- \def\instrumenti{Orgue}%
- \def\instrumentii{Fl\^{u}te}%
- \def\instrumentiii{Hautbois}%
- \def\staffspacingii{0.64}\def\staffspacingiii{0.64}%
-\else
- \def\nbinstruments{2}
- \global\cleftoksi={{0}{0}{0}{0}}%
- \global\cleftoksii={{0}{0}{0}{0}}%
- \nbporteesi=1\relax%
- \nbporteesii=1\relax%
- \def\instrumenti{Fl\^{u}te}%
- \def\instrumentii{Hautbois}%
- \ifFlute\def\staffspacingi{1.0}\else\def\staffspacingi{0.64}\fi
- \ifOboe\def\staffspacingii{1.0}\else\def\staffspacingii{0.64}\fi%
- \def\everystaff{\vrule width 0pt depth 5mm\relax}%
-\fi
-
-\ifOboe\def\interinstrumenti{2\Interligne}\fi
-%
-\signaturegenerale{-3}\relax
-%\check
-\def\doubler{\multiply\noteskip by 2\relax}%
-%
-% formes frequentes
-%
-\def\Pause{\sk\sk\sk\qsk\pause\sk\sk\sk}%
-\def\PauseSoliste{\ifOrgue\Pause\else\sk\pause\sk\fi}%
-\def\PauseSoliste{\Pause}%
-%
- \def\oct{\advance\transpose 7\relax}%
-%
-%
-\def\clpz#1{\upz{#1}\cl{#1}}
-\def\cupz#1{\lpz{#1}\cu{#1}}
-\def\qlpz#1{\upz{#1}\ql{#1}}
-\def\qupz#1{\lpz{#1}\qu{#1}}
-%
- \def\fourlll#1#2#3#4{\Ibbl0{#1}{#4}3%
-\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\isluru0{#3}\qb0{#3}%
-\tslur0{#4}\tqb0{#4}}%
-%
- \def\fourllu#1#2#3#4{\Ibbu0{#1}{#4}3%
-\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\islurd0{#3}\qh0{#3}%
-\tslur0{#4}\tqh0{#4}}%
-%
- \def\twobbu#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}
- \def\twobbl#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}
-%
- \def\fourbu#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}
- \def\fourbl#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}
-%
- \def\fourblu#1#2#3#4{\Ibu0{#1}{#4}3\islurd0{#1}\qh0{#1#2#3}\tslur0{#4}\tqh0{#4}}
- \def\fourbll#1#2#3#4{\Ibl0{#1}{#4}3\isluru0{#1}\qb0{#1#2#3}\tslur0{#4}\tqb0{#4}}
-%
- \def\fourbbu#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}
- \def\fourbbl#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}
-%
- \def\fourbblu#1#2#3#4{\Ibbu0{#1}{#4}3{\advance\transpose-1\islurd0{#1}}\qh0{#1#2#3}{\advance\transpose-1\tslur0{#4}}\tqh0{#4}}
- \def\fourbbll#1#2#3#4{\Ibbl0{#1}{#4}3{\advance\transpose 1\isluru0{#1}}\qb0{#1#2#3}{\advance\transpose 1\tslur0{#4}}\tqb0{#4}}
-%
- \def\twobu#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}
- \def\twobl#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}
- \def\twolbu#1#2{\Ibu0{#1}{#2}1\islurd0{#1}\qh0{#1}\tslur0{#2}\tqh0{#2}}
- \def\twolbl#1#2{\Ibl0{#1}{#2}1\isluru0{#1}\qb0{#1}\tslur0{#2}\tqb0{#2}}
-
-\catcodesmusic
-\def\org#1|#2&{\ifOrgue \ifnum\nbporteesi=3#1|\fi #2&\relax\fi}
-\def\GO{\znotes\org|\zmidtwotext{\llap{\bf I}}&\enotes}
-\def\Pos{\znotes\org|\zmidtwotext{\llap{\bf II}}&\enotes}
-%
-%\check
-%
-\generalmeter{\meterC}%
-\sepbarrules
-%
-\OrgelPedal
-\debutmorceau
-\GO
-\notes\org|\relax
- &\ifFlute\zcharnote N{\sl (orgue solo)}\fi
- &\ifOboe\zcharnote N{\sl (orgue solo)}\fi\zcharnote{w}{\kern -20mm\moyen Allegro moderato \bf(\metron{\cu}{112})}\enotes
-%
-%\check
-% mesure 1
-\Notes\org \Ibu0cL1\qh0c\tqh0J\ds\cu J\ibu0L0\qh0{KGN}\tqh0K\relax
- |\Pause
- |\oct\Ibu0cL1\qh0c\tqh0J\ds\cu J\ibu0L0\qh0{KGN}\tqh0K\relax
- &\ifFlute\tinynotesize\oct\Ibu0cL1\qh0c\tqh0J\ds\cu J\ibu0L0\qh0{KGN}\tqh0K\relax
- \else\PauseSoliste\fi
- &\ifOboe \tinynotesize\oct\Ibu0cL1\qh0c\tqh0J\ds\cu J\ibu0L0\qh0{KGN}\tqh0K\relax
- \else\PauseSoliste\fi
- \enotes
- %\check
- \barre % mesure 2
-\Notes\org \Ibu0LJ1\qh0L\tqh0J\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax
- |\Pause
- |\oct\Ibu0LJ1\qh0L\tqh0J\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax
- &\ifFlute\tinynotesize\oct\Ibu0LJ1\qh0L\tqh0J\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax
- \else\PauseSoliste\fi
- &\ifOboe \tinynotesize\oct\Ibu0LJ1\qh0L\tqh0J\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax
- \else\PauseSoliste\fi
- \enotes
- %\check
- \barre % mesure 3
-\notes\org \qu G\sk\qs\sk\sk\soupir\sk\sk\sk\hpause
- |\relax \soupir\sk\qs\Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax
- |\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax
- &\ifFlute\tinynotesize\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax
- \else\multnoteskip{1.8}\PauseSoliste\fi
- &\ifOboe\tinynotesize\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax
- \else\multnoteskip{1.8}\PauseSoliste\fi
- \enotes
- %\check
- \barre % mesure 4
- \Pos
-\notes\org \doubler\Pause
- |\doubler\ibl0K0\qb0{JKL}\tqb0J\qu{=I}\sk\ds\cu G\relax
- |\doubler\zq N\zq c\qu e\sk\zql N\Ibu0ce1\qh0c\tqh0e\zq N\qu d\sk\ds\zq d\rq g\cu f\relax
- &\ifFlute\zcharnote N{\sl fl\^{u}te}\fi
- \ibu0g0\qh0g\sk\nbbu0\qh0g\tqh0f\doubler\qu g\sk\qu g\sk\ds\cu{=i}\relax
- &\ifOboe\zcharnote N{\sl hautbois}\fi
- \uptext{\p}\cl j\sk\sk\sk\qs\Ibbl0jl2\qb0j\qb0k\tqb0l\Ibl0kg2\qb0 k\sk\tqb0g\ibbl0m0\qb0{nmn}\tqb0k\enotes
- %\check
- \barre % mesure 5
-\Notes\org\soupir\sk|\ql J\sk|\zq{ce}\qu g&\ql j\sk&\Ibl0lj1\qb0l\tqb0j\enotes
-\GO
-\Notes\org \ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax
- |\soupir\sk\sk\hpause
- |\oct\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax
- &\ifFlute\tinynotesize\oct\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax
- \else\soupir\sk\sk\hpause\fi
- &\ifOboe\tinynotesize\oct\ds\cu a\ibu0L0\qh0{INH}\tqh0M\relax
- \else\soupir\sk\sk\hpause\fi
- \enotes
- %\check
- \barre % mesure 6
- \ifOrgue\def\atnextline{\OrgelManual}\fi%
-\notes\org \qu G\sk\qs\sk\sk\soupir\sk\sk\sk\hpause
- |\relax \soupir\sk\qs\Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax
- |\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax
- &\ifFlute\tinynotesize\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax
- \else\multnoteskip{1.8}\PauseSoliste\fi
- &\ifOboe\tinynotesize\oct\qu G\sk\qs \Ibbu0GI2\qh0{GH}\tqh0{=I}\Ibbu0JM3\qh0{JKL}\tqh0M\multnoteskip{1.44}\Ibu0NJ1\qh0N\tqh0G\relax
- \else\multnoteskip{1.8}\PauseSoliste\fi
- \enotes
- %\check
- \barre % mesure 7
- \Pos
-\notes\org \doubler\Pause
- |\doubler\ibl0K0\qb0{JKL}\tqb0J\qu{=I}\sk\ds\cu G\relax
- |\doubler\zq N\zq c\qu e\sk\zql N\Ibu0ce1\qh0c\tqh0e\zq N\qu d\sk\ds\zq d\rq g\cu f\relax
- &\ibu0g0\qh0g\sk\nbbu0\qh0g\tqh0f\doubler\qu g\sk\qu g\sk\ds\cu{=i}\relax
- &\uptext{\p}\cl j\sk\sk\sk\qs\Ibbl0jl2\qb0j\qb0k\tqb0l\Ibl0kg2\qb0 k\sk\tqb0g\ibbl0m0\qb0{nmn}\tqb0k\enotes
- %\check
- \barre % mesure 8
- \notes\org\doubler\Pause
- |\doubler\ibl0L0\qb0{Jca}\tqb0M\ql b\sk\ds\cl N\relax
- |\zq c\qu e\sk\sk\sk\zql c\ibu0f0\qh0e\sk\nbbu0\qh0h\tqh0g\zq d\qu f\sk\sk\sk\ds\sk\zcl d\Ibbu0gf1\qh0g\tqh0f\relax
- &\ibu0j0\qh0j\sk\nbbu0\qh0j\tqh0{_i}\itenu0j\qu j\sk\sk\sk\tten0\Ibu0ji3\qh0j\sk\nbbu0\qh0j\tqh0i\itenu1i\qu i\relax
- &\pince n\rlap{\Ibbl0lj2\multnoteskip{0.667}\qbp0l\sk\tbbbl0\qb0k\tqb0j}\sk\sk\sk\sk\qs\isluru0l\ibbl0l0\qb0{lm}\tslur0l\tqb0l\fourlll
-lkkn\fourlll nknk\enotes
- %\check
- \barre % mesure 9
- \notes\org&\relax&\grcu l\enotes
- \notes\org\doubler\Pause
- |\doubler\ql a\sk\ds\cl M\Ibl0NK3\qb0{NNL}\tqb0J\relax
- |\zq c\qu e\sk\sk\sk\ds\sk\zcl c\Ibbu0fe1\qh0f\tqh0e\doubler\Ibu0ec3\zq
-c\qh0e\zq{=b}\qh0d\qh0c\zq N\tqh0c\relax
- &\tten1\Ibu0ih3\qh0i\sk\nbbu0\qh0i\tqh0h\itenu0h\qu h\sk\sk\sk\tten0\Ibu0hg3\qh0h\sk\nbbu0\qh0h\tqh0g\Ibu0ge2\qh0g\sk\tqh0e\relax
- &\fourlll kjjm\fourlll mjmj\pince m\Ibl0ji2\qb0j\sk\tqb0{=i}\sk\ds\sk\cu g\enotes
- %\check
- \barre % mesure 10
- \notes\org\doubler\Pause
- |\doubler\ql M\sk\twobl LK\qu J\sk\twobu JI\relax
- |{\doubler \Ibu0cd1\zq c\qh0a\zq d\tqh0{=b}\Ibu0ef1\zq c\qh0e\zq d\tqh0f\zq e\qu g\sk\rlap{\twobl d{=e}}}\fourllu hggh\relax
- &\fourllu fggh\fourlll h{=i}ij\Ibbl0jg2\qb0j\tbbl0\qb0g\tqb0g\sk\doubler{\twobl jj}\relax
- &\fourlll h{=i}ij\fourlll jkkl\fourlll ljjk\fourlll k{=l}lm\enotes
- %\check
- \barre % mesure 11
- \notes\org\doubler\Pause
- |\doubler\ibu0K0\qh0{HaN}\tqh0{=I}\ibu0K0\qh0{JMN}\tqh0G\relax
- |\rlap{\sk\sk\fourlll fggf}{\doubler\ibu0h0\zq f\qh0 h\qh0 j\qh0{=i}\rq
-g\tqh0f\Ibu0gf1\zq e\qh0g\zq f\tqh0d}\Ibbu0fd2\zq d\qh0f\tbbu0\zq c\qh0e\zq{=b}\tqh0d\relax
- &\fourlll jmml\Ibbu0lk2\qh0l\tbbu0\qh0k\tqh0k\sk\doubler\twobu jh\qu g\relax
- &\mordent o{\doubler \isluru0m\qlp m\sk\sk\tslur0n\cl
-n}\Ibl0lj3\qb0{_l}\sk\nbbl0\upz k\qb0k\upz j\tqb0j\Pince n\Ibl0ij3\isluru0i\qbp0{=i}\sk\sk\tbbl0\tslur0j\tqb0j\enotes
- %\check
- \barre % mesure 12
- \notes\org\doubler\Pause
- |\doubler\ibu0J0\qh0{JKL}\tqh0J\qu M\sk\twobu LK\relax
- |{\doubler\zq{Nc}\qu e\sk\Ibu0dg1\zq N\qh0c\zq e\tqh0g}\zql f\fourllu
-h{=i}ij\rlap{\doubler\twobl gf}\fourllu jiij\relax
- &\ibu0g0\qh0g\sk\nbbu0\qh0g\tqh0f{\doubler \twobu gj}\fourllu jkkl\fourllu lkkl\relax
- &\doubler\ql j\sk\soupir\sk\hpause\enotes
- %\check
- \barre % mesure 13
- \notes\org\doubler\Pause
- |\doubler\qu J\sk{\multnoteskip{1.2}\twobu JI}\twobu HH\twobu G{=I}\relax
- |\rlap{\fourllu jjjk\multnoteskip{1.2}\fourllu k{=l}lm}{\doubler\twobl eg{\multnoteskip{1.2}\roff{\ibl0j0\qb0j}\tqb0j}\zql j\qu
-m\sk}\ibu0g0\zq d\qh0g\sk\zq d\rq f\tqh0g\relax
- &\fourlll lllm{\ifOrgue\multnoteskip{1.2}\fi\fourlll mnno\ql o}\sk\sk\sk\fourllu{=i}kgn\relax
- &\doubler\Pause\enotes
- %\check
- \barre % musure 14
- \notes\org\doubler\Pause
- |\doubler\ibu0L0\qh0{JMN}\tqh0G\qu J\sk\ql c\relax
- |\Ibu1gh2\zq g\qh1e\sk\rlap{\twobbl fe}\tqh1h\sk{\doubler\zql d\twobu
-gf}{\doubler\ibu0h0\zq c\qh0e\zq c\zq e\tqh0g}\ibu0g0\zq e\qh0g\sk\nbbu0\qb0e\tqh0g\relax
- &\Ibl0lj3\qb0l\sk\nbbl0\qb0k\tqb0j\Ibl0ij3\qbp0{=i}\sk\sk\tbbl0\tqb0j\doubler\ibl0j0\qb0{jjj}\tqb0j\relax
- &{\doubler\sk\hpause\sk\sk}\qs\ibbl0j0\qb0j\isluru0j\qb0j\tslur0l\tqb0l\fourlll
- lnn{_i}\enotes
- %\check
- \barre % mesure 15
- \notes\org\doubler\Pause
- |\doubler\qlpz M\sk\qlpz b\sk\qlpz L\sk\qlpz a\relax
- |\zql c\ibu0h0\zq f\qh0h\sk\zq f\tqh0h\sk\ibu0f0\zq d\qh0f\sk\nbbu0\qh0d\tqh0f\relax
- \roff{\zql d}\ibu0g0\zq e\qh0g\sk\zq e\tqh0g\sk\ibu0e0\zq c\qh0e\sk\nbbu0\qh0c\tqh0e\relax
- &\doubler\ibu0j0\qh0{jj_i}\tqh0i\ibu0i0\qh0{iih}\tqh0h\relax
- &\fourlll ihhk\fourlll kmmh\fourlll hggi\fourlll illg\enotes
- \barre % mesure 16
- \notes\org\doubler\Pause
- |\doubler\qlpz K\sk\qlpz N\sk\qlpz J\sk\qlpz M\relax
- |\zql c\ibu0f0\qh0f\sk\tqh0f\sk\ibu0d0\zq b\qh0d\sk\nbbu0\qh0b\tqh0d\relax
- \zql b\ibu0e0\qh0e\sk\tqh0e\sk\ibu0d0\zq a\qh0c\sk\nbbu0\qh0d\tqh0c\relax
- &\doubler\ibu0h0\qh0{hhg}\tqh0g\ibu0g0\qh0{ggf}\tqh0f\relax
- &\fourlll gffh\fourlll hkkf\fourlll feei\fourlll lnml\enotes
- \barre % mesure 17
- \notes\org\doubler\Pause
- |\doubler\Ibl0JL3\qb0{IbN}\tqb0L\ibl0a0\qb0{aNa}\tqb0N\relax
- |\ibbu0d0\qh0{dfe}\tqh0d\ibbu0e0\qh0{egf}\tqh0e\ibbu0d0\qh0c\tbbu0\qh0e\tqh0b\sk\ibbu0d0\qh0c\tbbu0\qh0e\tqh0b\relax
- &{\doubler\qu f\sk}\ibbu0g0\qh0{gih}\tqh0g\doubler\ibl0l0\qh0{ll}\ds\tqb0l\relax
- &{\doubler\ql k\sk\ds\cl i}\fourlll jiij\fourlll jiij\enotes
- %\check
- \barre % mesure 18
- \notes\org\doubler\Pause
- |\doubler\twobl aH\ds\cl a\ibl0a0\qb0{bab}\tqb0a\relax
- |\ibbu0c0\qh0{cMa}\tqh0c\cu f\sk\cu c\sk\ibbu0e0\qh0d\tbbu0\qh0f\tqh0c\sk\ibbu0e0\qh0d\tbbu0\qh0f\tqh0c\relax
- &\ql m\sk\sk\sk\Ibbl0hm3\qb0{jhj}\itenu0m\tqb0m\tten0\doubler\ibl0m0\qh0{mm}\ds\tqb0m\relax
- &{\doubler\twobu jf\ds\cl j}\fourlll kjjk\fourlll kjjk\enotes
- \ifOrgue\def\atnextline{\OrgelPedal}\fi%
- %\check
- \barre % mesure 19
- \notes\org\doubler\Pause
- |\doubler\twobl bI\ds\cl{=b}\ibl0b0\qb0{cbc}\tqb0b\relax
- |\ibbu0d0\qh0{dNb}\tqh0d\cu g\sk\cu d\sk\ibbu0f0\qh0e\tbbu0\qh0g\tqh0d\sk\ibbu0f0\qh0e\tbbu0\qh0g\tqh0d\relax
- &\ql n\sk\sk\sk\Ibbl0in3\qb0{ikm}\itenu0n\tqb0n\tten0\doubler\ibl0n0\qh0{nn}\ds\tqb0n\relax
- &{\doubler\twobu kg\ds\cl k}\fourlll lkkl\fourlll lkkl\enotes
- %\check
- \barre % mesure 20
- \notes\org\doubler\Pause
- |\doubler\twobl cJ\ds\cu J\ibu0J0\qb0{KJK}\tqh0J\relax
- |\ibbu0e0\qh0{eac}\tqh0e\cu h\sk\cu e\sk\doubler\zhl b\ibu0f0\qh0{fef}\tqh0d\relax
- &\ql o\sk\sk\sk\ibbl0j0\qb0{hjl}\tqb0h\itenu0h\qu h\sk\sk\sk\tten0\ibu0h0\qhp0h\sk\sk\tbbu0\tqh0h\relax
- &{\doubler\twobu lh\ds\cl l}\fourlll moom\fourlll mkki\enotes
- %\check
- \barre % mesure 21
- \notes\org\doubler\soupir\sk\soupir\sk\twobu LE\ds\cu L\relax
- |\Ibl0La3\qb0L\sk\nbbl0\qb0N\tqb0a\doubler\zmidtwotext{\bf I}\twobl bI\twobu LL\soupir\relax
- |\ibu0e0\zq b\qhp0e\sk\sk\tbbu0\zq c\tqh0e\Ibu0eg3\qh0d\sk\nbbu0\zq f\qh0h\zq e\tqh0g\doubler\zq e\twobu ge\ds\cu e\relax
- &\Ibu0gj3\qhp0g\sk\sk\tbbu0\tqh0j\doubler\twobl ik\zmidtwotext{\f}\ql l\sk\soupir
- \ifFlute\tinynotesize\cu e\fi
- &\isluru0i\Ibbl0im3\qh0{ikl}\tslur0m\tqb0m\Pince
-n\isluru0k\Ibl0kl3\qbp0k\sk\sk\tbbl0\tslur0l\tqb0l\doubler\ql l\sk\soupir
- \ifOboe\tinynotesize\cu e\fi\enotes
- %\check
- \barre % mesure 22
- \def\orgel{\ibu0N0\qh0{MIb}\tqh0M\twobu NL\ds\cl c}%
- \Notes\org\orgel|\Pause|\oct\orgel\relax
- &\ifFlute\tinynotesize\oct\orgel
- \else\PauseSoliste\fi
- &\ifOboe\tinynotesize\oct\orgel
- \else\PauseSoliste\fi\enotes
- \barre % mesure 23
- \def\orgel{\ibu0N0\qh0{KbJ}\tqh0a\qu I\sk}%
- \Notes\org\orgel|\sk\hpause\sk\sk\soupir|\oct\orgel\relax
- &\ifFlute\tinynotesize\oct\orgel
- \else\PauseSoliste\fi
- &\ifOboe\tinynotesize\oct\orgel
- \else\PauseSoliste\fi\enotes
- \notes\org\sk\soupir|\qs\Ibbu0IK2\qh0{IJ}\tqh0K|\oct\qs\Ibbu0IK2\qh0{IJ}\tqh0K\relax
- &\ifFlute\tinynotesize\oct\qs\Ibbu0IK2\qh0{IJ}\tqh0K\fi
- &\ifOboe\tinynotesize\oct\qs\Ibbu0IK2\qh0{IJ}\tqh0K\fi\enotes
- \ifOrgue\def\atnextline{\OrgelManual}\fi%
- %\check
- \barre % mesure 24
- \def\orgel{\Ibbu0La3\qh0{LMN}\tqh0a{\multnoteskip{1.42}\twobu bI}}%
- \notes\org|\orgel|\oct\orgel
- &\ifFlute\tinynotesize\oct\orgel
- \else\doubler\sk\hpause\fi
- &\ifOboe\tinynotesize\oct\orgel
- \else\doubler\sk\hpause\fi\enotes
- \nspace\Pos\nspace
- \notes\org\pause
- |\doubler\ibu0L0\qh0{LMN}\tqh0L|\doubler\zql b\itenl0e\qu e\sk\tten0\zql
-b\twobu eg\relax
- &\doubler\rlap{\sk\turn n}\twobl gh\ql i\relax
- &\ql l\sk\sk\sk\qs\Ibbl0ln3\isluru0l\qb0{lm}\tslur0n\tqb0n\enotes
- %\check
- \barre % mesure 25
- \notes\org\doubler\Pause
- |\doubler\qu K\sk\ds\cu I\ibu0L0\qh0{LKN}\tqh0L\relax
- |\doubler\zq b\qu f\sk\ds\zq b\cu d\zq b\qu e\sk\Ibu0ei1\zq b\qh0e\zq g\tqh0i\relax
- &{\doubler\qu i\sk\ds\cu
-f}\Ibbu0gh3\islurd0g\qh0{gfg}\tslur0h\tqh0h\doubler\twobu il\relax
- &{\doubler\twobl mi}\fourlll mhmh{\doubler\pince p\twolbu hg}\qs\ibbl0i0\qb0{il}\tqb0i\enotes
- %\check
- \barre % mesure 26
- \notes\org\doubler\Pause
- |\doubler \ibl0M0\qb0{aaN}\tqb0L\twobl aH\ds\cl {=a}\relax
- |\doubler \ibu0j0\qh0{jei}\tqh0g\twobu jh\twobu fj\relax
- &{\doubler\ibl0l0\qb0{ljl}\tqb0i}\ibbl0j0\qb0{lhj}\tqb0l\ibbl0k0\qb0{mjl}\tqb0m\relax
- &\ibbl0j0\isluru0j\qb0{jhj}\tslur0l\tqb0l\relax
- \ibbl0i0\isluru0i\qb0{igi}\tslur0l\tqb0l\relax
- \ql j\sk\sk\sk\qs\ibbl0j0\qb0{jm}\tqb0j\enotes
- %\check
- \barre % mesure 27
- \notes\org\doubler\Pause
- |\doubler \ibl0N0\qh0{bb=a}\tqb0M\twobl bI\ds\cl {=b}\relax
- |\doubler \ibu0k0\qh0{kfj}\tqh0{=h}\twobu ki\twobu gk\relax
- &{\doubler\ibl0l0\qb0{mkm}\tqb0j}\ibbl0j0\qb0{mik}\tqb0m\ibbl0k0\qb0{nkm}\tqb0n\relax
- &\ibbl0k0\isluru0k\qb0{kik}\tslur0m\tqb0m\relax
- \ibbl0j0\isluru0i\qb0{j=hj}\tslur0m\tqb0m\relax
- \ql k\sk\sk\sk\qs\ibbl0k0\qb0{kn}\tqb0k\enotes
- %\check
- \barre % mesure 28
- \notes\org\doubler\Pause
- |\doubler \ibl0N0\qb0{cc=b}\tqb0N\twobl cJ\soupir\relax
- |\doubler \ibu0l0\qh0{lgk}\tqh0{=i}\zq l\qu g\sk\soupir\relax
- &\doubler\ibl0m0\qb0{nln}\tqb0k\ql n\sk\soupir\relax
- &\ibbl0l0\isluru0l\qb0{ljl}\tslur0n\tqb0n\relax
- \ibbl0j0\isluru0k\qb0{k=ik}\tslur0n\tqb0n\relax
- \fourlll lnnl\fourlll ljj{=h}\enotes
- %\check
- \ifOrgue\def\atnextline{\OrgelPedal}\fi%
- \barre % mesure 29
- \notes\org\doubler\Pause
- |\doubler\doubler\ql M\soupir\ql L\soupir
- |\doubler\doubler\zq e\qu c\qu d\zq d\qu g\qu c\relax
- &\doubler\doubler\ql {=hkil}\relax
- &\fourlll {=h}mmk\fourlll kiig\fourlll gllj\fourlll jhh{^f}\enotes
- %\check
- \barre % mesure 30
- \notes\org\doubler\Pause
- |\doubler\doubler\qu K\soupir\qu G\soupir
- |\doubler\doubler\lsh f\zq {df}\qu{=h}\soupir\zq {dg}\qu i\soupir\relax
- &\doubler\doubler\ql {j^mkn}\relax
- &\fourlll {^f}{=h}kh\fourlll fhkh\fourlll iknk\fourlll {=i}knk\enotes
- %\check
- \barre % mesure 31
- \notes\org\doubler\sk\sk\hpause
- |\doubler\qu J\sk
- |\doubler\zq{eg}\qu j\sk\soupir
- &\doubler\doubler\ql l\soupir
- &\fourlll lnnl\fourlll ljj{^m}\enotes
- \GO
- \notes\org\doubler\ibu0L0\qh0{K=L^M}\tqh0K\relax
- |\hl d|\fourllu{^f}gg{=h}\doubler\twobu hf\relax
- &\itenu0j\ql j\sk\sk\sk\tten0\ibl0j0\qbp0j\sk\sk\tbbl0\tqb0j\relax
- &\ql m\sk\sk\sk\qs\Ibbl0km2\qb0{k=l}\tqb0m\enotes
- %\check
- \barre % mesure 32
- \notes\org\doubler\Ibu0LJ3\qh0{NJK}\tqh0D\qu G\relax
- |\doubler\ibl0d0\qb0{ded}\tqb0d\ql N\relax
- |\doubler\ibl0h0\qb0g\zq{gi}\qb0l\zq{=h}\qb0k\lq j\zq h\tqb0k\zq{gi}\ql k\relax
- &{\doubler \twobl in}\ibl0n0\isluru0n\qbp0n\sk\sk\tslur0m\tbbl0\tqb0{^m}\ql n\relax
- &\isluru0n\ibbl0k0\qb0{nki}\tslur0j\tqb0j\Pince n{\doubler\qu{=h}\sk\qu g}\qsk\enotes
- \Notes\org\ds\cl e|\soupir|\ds\cl l\relax
- &\soupir\ifFlute\tinynotesize\cl l\fi
- &\soupir\ifOboe \tinynotesize\cl l\fi\enotes
- %\check
-\barre % mesure 33
- \Notes\org\ibl0M0\qb0{MdL}\tqb0c\qu K\relax
- |\sk\sk\hpause\sk\soupir
- |\ibu0h0\qh0{fke}\tqh0j\qu d\relax
- &\ifFlute\tinynotesize\ibu0j0\qh0{fke}\tqh0j\qu d\relax
- \else\rlap{\PauseSoliste}\fi
- &\ifOboe \tinynotesize\ibu0j0\qh0{fke}\tqh0j\qu d\relax
- \else\rlap{\PauseSoliste}\fi\enotes
- %\check
- \notes\org\sk\soupir
- |\qs\Ibbl0KM2\qb0{K=L}\tqb0{^M}\relax
- |\qs\Ibbu0df2\qb0{d=e}\tqh0{^f}\relax
- &\ifFlute\tinynotesize\qs\Ibbu0df2\qb0{d=e}\tqh0{^f}\fi
- &\ifOboe \tinynotesize\qs\Ibbu0df2\qb0{d=e}\tqh0{^f}\fi\enotes
- %\check
- \ifOrgue\def\atnextline{\OrgelManual}\fi%
- \barre % mesure 34
- \notes\org
- |\Ibbl0Nc3\qb0{N=a_b}\tqb0c\relax
- |\Ibbu0gi3\qh0{g=h_i}\tqh0j\relax
- &\ifFlute\tinynotesize\Ibbu0gi3\qh0{g=h_i}\tqh0j\relax
- \else\rlap{\doubler\Pause}\fi
- &\ifOboe \tinynotesize\Ibbu0gi3\qh0{g=h_i}\tqh0j\relax
- \else\sk\sk\hpause\fi\enotes
- \Notes\org
- |\twobl dK\relax
- |\twobu kd\relax
- &\ifFlute\tinynotesize\twobu kd\fi
- &\ifOboe \tinynotesize\twobu kd\fi\enotes
- \notes\org\pause
- |\doubler\ql N\sk\soupir
- |\doubler\qu g\sk\soupir
- &\ifFlute\tinynotesize\qu g\fi
- &\ifOboe {\tinynotesize \zql g}\raise\Interligne\qs\else\qs\fi
- \Ibbl0nk2\qb0n\isluru0n\qb0n\tslur0k\tqb0k\fourlll k{=i}ig\enotes
- \Pos
- %\check
- \barre % mesure 35
- \notes\org\rlap{\doubler\Pause}\relax
- |\doubler\zq G\qu N\sk\soupir
- |\doubler\zq n\zq{=i}\ql k\sk\soupir
- &\sk\sk\hpause
- &\fourlll g{=i}ik\fourlll knn{=l}\enotes
- %\check
- \Notes\org
- |\hu J\relax % fourbu JJJJ\relax
- |\ibl0i0\lfl i\lq i\zq g\qb0j\lq i\zq g\qb0j\lq i\zq g\qb0j\lq i\zq g\tqb0j\relax
- &\ibl0l0\na l\qb0{lll}\tqb0l\relax
- &\doubler\ql l\soupir\enotes
- %\check
- \barre % mesure 36
- \notes\org\doubler\Pause
- |\doubler\doubler\ql M\soupir\zq M\qu F\soupir
- |\doubler\doubler\zq {f=h}\qu j\soupir\zq{=ac}\qu f\soupir
- &\doubler\doubler\ql m\soupir\hpause
- &\qs\Ibbl0mj2\qb0m\isluru0m\qh0m\tslur0j\tqb0j\relax
- \fourllu j{=h}hf\fourllu fhhj\fourlll jmmk\enotes
- \barre % mesure 37
- \nspace
- \Notes\org
- |\hu I\relax % \fourbu IIII\relax
- |\ibl0j0\lfl h\lq h\zq i\qb0k\lq h\zq i\qb0k\lq h\zq i\qb0k\lq h\zq i\tqb0k\relax
- &\ibl0m0\qb0{mmm}\tqb0m\relax
- &\doubler\ql k\soupir\enotes
- \notes\org\pause
- |\doubler\ql L\sk\soupir
- |\doubler\zq {il}\ql g\sk\soupir
- &\doubler\ql n\sk\soupir
- &\qs\Ibbl0li2\qb0l\isluru0l\qb0l\tslur0i\tqb0i\fourlll igge\enotes
- %\check
- \barre % mesure 38
- \notes\org\rlap{\doubler\Pause}\relax
- |\doubler\zq E\qu L\sk\soupir
- |\doubler\zq {Nbe}\qu g\sk\soupir
- &\sk\sk\hpause
- &\fourllu eggi\fourlll illj\enotes
- %\check
- \Notes\org
- |\hu H\relax % \fourbu HHHH\relax
- |\ibl0i0\zq h\qb0j\zq h\qb0j\zq h\qb0j\zq h\tqb0j\relax
- &\fourbl llll\relax
- &\doubler\ql j\soupir\enotes
- %\check
- \barre % mesure 39
- \notes\org\doubler\Pause
- |\doubler\doubler\ql K\soupir\zq K\qu D\soupir
- |\doubler\doubler\zq {fh}\qu k\soupir\zq{Mad}\qu f\soupir
- &\doubler\doubler\ql m\soupir\hpause
- &\qs\Ibbl0kh2\qb0k\isluru0k\qh0k\tslur0h\tqb0h\relax
- \fourllu hffd\fourllu dffh\fourlll hkk{=i}\enotes
- %\check
- \barre % mesure 40
- \notes\org\doubler\Pause
- |\doubler\hu G\sk\sk\sk\hu J\relax % \fourbu GGGG\fourbu JJJJ\relax
- |\doubler\ibl0h0\zq{g=i}\qb0k\zq{gi}\qb0k\zq{gi}\qb0k\zq{gi}\tqb0k\relax
- \lfl i\ibl0h0\lq i\zq g\qb0j\lq i\zq g\qb0j\lq i\zq g\qb0j\lq i\zq g\tqb0j\relax
- &\doubler\fourbl mmmm\na l\fourbl llll\relax
- &\fourbblu{=i}gik\fourbblu igik\rlap{\sk\islurd0c\sk\sk\tslur0g}\fourbbu{=l}c{=e}g\fourbblu eceg\enotes
- %\check
- \barre % mesure 41
- \notes\org\doubler\Pause
-% |\doubler\fourbl MMMM\fourbl bbbb\relax
- |\doubler\hl M\sk\sk\sk\hl b\relax
- |\doubler\ibl0h0\zq{f=h}\qb0j\zq{fh}\qb0j\zq{fh}\qb0j\zq{fh}\tqb0j\relax
- \ibu0h0\rq i\zq f\qh0{_h}\rq i\zq f\qh0h\rq i\zq f\qh0h\rq i\zq f\tqh0h\relax
- &\doubler\fourbl {_l}lll\fourbl kkkk\relax
- &\na h\fourbblu hfhj\fourbblu hfhj\fourbblu kikm\fourbblu kikm\enotes
- \ifOrgue\def\atnextline{\OrgelPedal}\fi%
- \barre % mesure 42
- \notes\org\doubler\Pause
-% |\doubler\fourbl LLLL\fourbl aaaa\relax
- |\doubler\hl L\sk\sk\sk\hl a\relax % fourbl LLLL\fourbl aaaa\relax
- |\doubler\ibl0h0\zq{eg}\qb0i\zq{eg}\qb0i\zq{eg}\qb0i\zq{eg}\tqb0i\relax
- \ibu0h0\zq e\qh0{_h}\zq e\qh0h\zq e\qh0h\zq e\tqh0h\relax
- &\doubler\fourbl {_k}kkk\fourbl jjjj\relax
- &\rlap{\sk\islurd0e\sk\sk\tslur0i}\fourbbu negi\fourbblu gegi\fourbbll jhjl\fourbbll jhjl\enotes
- %\check
- \barre % mesure 43
- \notes\org\doubler\Pause
-% |\doubler\fourbl MMMM\fourbl MMMM\relax
- |\doubler\hl M\sk\sk\sk\hl M\relax %MMM\fourbl MMMM\relax
- |\doubler\ds\ibu0c0\zq a\qh0c\zq a\qh0c\zq a\tqh0c\relax
- \ds\ibu0d0\zq a\qh0d\zq a\qh0d\zq a\tqh0d\relax
- &\fourbblu jhjm\fourbblu jhjm\fourbblu hfhj\fourbblu hfhj\relax
- &\itenu1m\wh m\enotes
- \barre % mesure 44
- \notes\org\doubler\sk\sk\hpause\relax
- |\doubler\ibu0L0\qh0{NJN}\tqh0G\relax
- |\doubler\ibu0i0\zq d\qh0g\zq e\qh0g\zq d\qh0g\zq d\tqh0f\relax
- &\doubler\ibu0i0\qh0{=i}\itenl0j\qh0j\tten0\qh0j\tqh0i\relax
- &\tten1\ibl0m0\qb0m\sk\nbbl0\qb0l\tqb0m\Pince
-n\ibl0k0\qhp0k\sk\sk\nbbl0\tqb0j\enotes
- %\check
- \Notes\org\soupir\sk\ds\cl a\relax
- |\qu J\zmidtwotext{\bf I}\sk\soupir
- |\zq e\qu c\sk\ds\cu h\relax
- &\qu j\sk\soupir\ifFlute\tinynotesize\cu h\fi
- &\ql j\sk\soupir\ifOboe \tinynotesize\cu h\fi\enotes
- %\check
- \barre % mesure 45
- \def\orgel{\ibu0L0\qh0{_INH}\tqh0M}%
- \Notes\org\orgel|\sk\qsk\hpause|\oct\orgel
- &\ifFlute\tinynotesize\oct\orgel
- \else\rlap{\PauseSoliste}\fi
- &\ifOboe \tinynotesize\oct\orgel
- \else\rlap{\PauseSoliste}\fi
- \enotes
- %\check
- \def\orgel{\qs\Ibbu0GI2\qh0{GH}\tqh0{=I}}%
- \notes\org\qu G\sk\sk\soupir|\soupir\sk\orgel|\qu N\sk\oct\orgel\relax
- &\ifFlute\tinynotesize\qu N\sk\oct\orgel\fi
- &\ifOboe \tinynotesize\qu N\sk\oct\orgel\fi\enotes
- \ifOrgue\def\atnextline{\OrgelManual}\fi%
- %\check
- \barre % mesure 46
- \notes\org|\fourbbu JKLM|\fourbbu cdef\relax
- &\ifFlute\tinynotesize\fourbbu cdef\fi
- &\ifOboe \tinynotesize\fourbbu cdef\relax
- \else\sk\sk\sk\hpause\fi\enotes
- \Notes\org\sk\pause|\twobu NG\qu J\zmidtwotext{\bf II}\sk\soupir|\twobu gN\qu
-c\sk\ds\zq g\cu{_i}\relax
- &\ifFlute\tinynotesize\twobu gN\qu c\relax
- \else\sk\pause\fi
- &\ifOboe \tinynotesize\twobu gN\qu c\relax
- \else\sk\sk\soupir\sk\fi\normalnotesize\ds\cl{=l}\enotes
- %\check
- \barre % mesure 47
- \notes\org||\doubler\ibu0i0\zq h\qh0j\zq g\qh0
-i\zq h\qh0 j\zq g\tqh0i\relax
- &&\fourlll m{=l}lm\fourlll mllm\enotes
- \Notes\org\pause|\pause|\ibu0i0\zq h\qh0j\zq g\tqh0i\ds\zq{=h}\cl j\relax
- &\pause&\twobl ml\ds\cl{^m}\enotes
- %\check
- \barre % mesure 48
- \notes\org\doubler\Pause
- |\doubler\sk\hpause\sk\sk\ds\Ibl0bN2\qb0{=bc}\tqb0N\relax
- |\doubler\ibl0i0\zq i\qb0k\zq h\qb0 j\zq i\qb0k\zq h\tqb0 j\relax
- \ibu0h0\zq g\qh0i\tqh0{=i}\zq g\zq e\Ibu0jg1\qh0j\tqh0g\relax
- &\doubler\Pause
- &\fourlll n{^m}mn\fourlll nmmn\fourlll nkkl\fourlll l{=i}ij\enotes
- %\check
- \barre % mesure 49
- \notes\org\doubler\Pause
- |\doubler\zqu c\twobl a{=L}\zqu a\twobl MJ\rlap{\qu N\sk\qu N}\fourbl KJ{=I}G\relax
- |\doubler\zq f\twobu h{=e}\zq c\twobu fc\zq{=b}\ibu0e0\qh0f\zq c\qh0e\zq d\qh0f\zq b\tqh0d\relax
- &\doubler\Pause
- &\fourllu jggh\fourllu h{=e}ef\itenl0f\qu f\sk\sk\sk\sk\tten0\fourllu fhgf\enotes
- %\check
- \barre % mesure 50
- \Notes\org|\Ibl1JH3\qb1{JM}\relax
- |\Ibu0eh1\zq{Nc}\qh0{_e}\zq{ac}\tqh0h\relax
- &&\ibu2i0\qh2{_ej}\enotes
- \notes\org\sk\sk\sk\pause|\qb1N\sk\tqb1G\relax
- |\zql{=b}\fourbbu gfed\relax
- &\hpause
- &\doubler\qh2d\tqh2{=i}\enotes
- \Notes\org|\rlap{\sk\sk\sk\cu c}\fourbl JKLJ\relax
- |\zq{Nc}\qu e\sk\ds\cu g\relax
- &\soupir\sk\ds\cl{=l}\relax
- &\qup c\sk\sk\ds\enotes
- %\check
- \barre % mesure 51
- \notes\org\doubler\sk\sk\sk\pause
- |\doubler\zqu c\ibl0K0\qb0{MJ}\raise6\internote\rlap{\ds}\qb0M\zcu c\tqb0J\relax
- |\fourllu hggh\fourllu hggh\relax
- &\fourlll m{=l}lm\fourlll mllm\relax
- &\doubler\sk\sk\sk\pause\enotes
- \Notes\org|\zqu c\twobl MJ\ds\zcl K\cu d\relax
- |\twobu hg\ds\cu{=h}\relax
- &\twobl ml\ds\cl{^m}&\enotes
- %\check
- \barre % mesure 52
- \notes\org\doubler\sk\sk\sk\pause
- |\doubler\zqu d\ibl0L0\qb0{NK}\raise6\internote\rlap{\ds}\qb0N\zcu d\tqb0K\relax
- |\fourllu i{=h}hi\fourllu ihhi\relax
- &\fourlll n{^m}mn\fourlll nmmn\relax
- &\doubler\sk\sk\sk\pause\enotes
- %\check
- \notes\org|\doubler\zqu d\ql N\sk
- |\multnoteskip{1.2}\fourlll i{=i}ij\relax
- &\ifOrgue\multnoteskip{1.2}\fi\fourlll nkkl&\enotes
- %\check
- \notes\org|\doubler\raise6\internote\rlap{\ds}\ql G\cu N\relax
- |\fourlll jiij\relax
- &\fourlll lkkl&\enotes
- %\check
- \barre % mesure 53
- \notes\org\doubler\sk\sk\sk\pause
- |\doubler\zhl J\raise 2\internote\rlap{\ds}\hu c\ibu0N0\zq{=L}\qh0N\zq M\qh0a\tqh0N\relax
- |\fourlll jgg{_h}\fourlll h{=l}lm\relax
- &\fourlll l{=l}l{=m}\fourlll mnno\relax
- &\doubler\sk\sk\sk\pause\enotes
- \Notes\org|\zql M\cu c\qu d\multnoteskip{0.71}\doubler\rlap{\sk\cu N}\twobl NG\relax
- |\ql m\sk\ql{=i}\relax
- &\itenu0o\ql o\sk\multnoteskip{0.71}\tten0\fourbbl oonm\enotes
- %\check
- \barre % mesure 54
- \notes\org\doubler\sk\sk\sk\pause
- |\rlap{\sk\sk\sk\sk\fourbbu NMLK}\doubler\zqu c\Ibl0JG3\qb0{JMN}\tqb0G\relax
- |\fourbbl jlkj\ibl0i0\qbp0{=i}\sk\sk\tbbl0\tqb0j\relax
- &\fourbbll lnml\isluru0k\ibl0j0\qbp0k\sk\sk\tbbl0\tslur0j\tqb0j\relax
- &\doubler\sk\sk\hpause\enotes
- \Notes\org|\zql J\fourbu JKLJ\relax
- |\ql j\sk\ds\cu e\relax
- &\ql j\sk\ds\cl j\relax
- &\soupir\sk\ds\cl l\enotes
- %\check
- \barre % mesure 55
- \notes\org\doubler\Pause
- |\itenu1N\wh N\relax
- |\fourllu edde\fourllu fgfe\fourllu edde\fourllu fgfe\relax
- &\fourlll j{=i}ij\fourlll klkj\fourlll jiij\fourlll klkj\relax
- &\fourlll lkkl\fourbbll mnml\fourlll lkkl\fourbbll mnml\enotes
- %\check
- \barre % mesure 56
- \Notes\org|\tten1\fourbl NNLJ|\twobu ed\Ibu0ge1\zq g\qh0c\zq{Nc}\tqh0e\relax
- &\twobl j{=i}\ql j\relax
- &\twobl lk\ds\cu g\enotes
- \notes\org\pause
- |\doubler\zq a\ql M\sk\Ibl0LK1\zq c\qb0L\zq{=b}\tqb0K\relax
- |\doubler\zq c\qu c\sk\twobu ef\relax
- &\fourllu fggh\Ibbu0hg2\qh0h\tbbu0\qh0g\tqh0g\relax
- &\fourlll h{=i}ij\fourlll jkkl\enotes
- \ifOrgue\def\atnextline{\OrgelPedal}\fi%
- %\check
- \barre % mesure 57
- \notes\org\doubler\Pause
- |\doubler\qu J\sk\twobu JI\ibu0M0\qh0{HaN}\tqh0{=I}\relax
- |\zql c\zqu g\ibl0e0\qb0e\sk\nbbl0\qb0e\tqb0f\zql c\doubler\twobu f{=e}\zq
-c\qu f\sk\zql d\multnoteskip{0.5}\ibu0g0\qhp0g\sk\sk\tbbu0\tqh0f\relax
- &\qu g\sk\sk\sk\fourllu fggh\fourllu hjj{=i}\Ibbu0ik2\qh0i\tbbu0\qh0j\tqh0k\relax
- &\fourlll ljjk\fourlll k{=l}lm\doubler\mordent o\isluru0m\qlp m\sk\sk\tslur0n\cl n\enotes
- %\check
- \barre % mesure 58
- \notes\org\doubler\sk\sk\hpause
- |\doubler\ibu0M0\qh0{JMN}\tqh0G\relax
- |{\doubler\ibu0f0\qh0{_e}\zq c\tqh0f}\zq {=b}\zql d\fourbblu gfed\relax
- &{\doubler\twobu jh}\ibbu0k0\qh0{gml}\tqh0k\relax
- &\Ibl0lj3\isluru0l\qb0 l\sk\nbbl0\qb0k\tslur0j\tqb0j\Pince n\isluru0i\Ibl0ij3\qbp0{=i}\sk\sk\tslur0j\tbbl0\tqb0j\enotes
- \Notes\org\fourbu JKLJ\relax
- |\qlp c\sk\sk\cl N\relax
- |\fourbu efge\relax
- &\fourbl lmnl\relax
- &\ql j\sk\soupir\enotes
- %\check
- \barre % mesure 59
- \notes\org\doubler\ql M\sk\soupir\sk\sk\hpause
- |\doubler\qu M\sk\twobu LK\qu J\sk \twobu JI\relax
- |\fourllu a{=b}bc\fourllu cbbc\Ibbu0cd3\qh0{cc}\islurd0c\qh0c\tslur0d\tqh0d\fourllu d{=e}ef\relax
- &\advance\transpose 7\fourlll cdde\fourlll edde\Ibbl0ef3\qb0{ee}\isluru0e\qb0e\tslur0f\tqb0f\fourlll fggh\relax
- &\doubler\Pause\enotes
- %\check
- \barre % mesure 60
- \Notes\org\ibu0M0\qh0{HaN}\tqh0{=I}\relax
- |\ql c\sk\twobl{=b}d\relax
- |\zq f\ibu0h0\qh0h\itenu0f\qh0f\zq d\tten0\qh0f\tqh0g\relax
- &\ibl0m0\qb0{omk}\tqb0n\enotes
- \notes\org\ibu1M0\doubler\qh1{JM}\relax
- |\zq c\ql N\relax
- |\fourbbu fedc\relax
- &\fourbbl mlkj&\pause\enotes
- \Notes\org\qh1N\tqh1G\relax
- |\twobl bN|\qu g\relax
- &\twobl n{=i}\enotes
- %\check
- \barre % mesure 61
- \NOtes\org\pointdurgue B\wh C|\zw J\wh N|\zw c\wh e\relax
- &\pointdorgue m\wh j&\pointdorgue m\pause\enotes
-% \ifOrgue\advance\mulooseness 1\fi
- \ifOrgue\linegoal 19\fi
- \finmorceau
-
-
-
-\endinput
-
diff --git a/macros/musixtex/doc/examples/marcon2.tex b/macros/musixtex/doc/examples/marcon2.tex
deleted file mode 100644
index 0632c642a2..0000000000
--- a/macros/musixtex/doc/examples/marcon2.tex
+++ /dev/null
@@ -1,723 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-
-%
-\title{Concerto pour hautbois --- adagio}
-\fulltitle{Concerto pour hautbois --- adagio}
-\othermention{Transcription pour hautbois, fl\^{u}te et orgue\\{\bf
- \ifFlute Partition fl\^{u}te\fi
- \ifOboe Partition hautbois\fi
- \ifOrgue Partition orgue\fi}
-}
-\shorttitle{Concerto pour hautbois --- adagio}
-\author{Benedetto MARCELLO\\Transcription Daniel TAUPIN}
-\shortauthor{B. Marcello, D. Taupin}
-\maketitle
-%
-\parindent 13mm
-\def\interfacteur{10} % was 9
-\def\OrgelManual{%
- \global\cleftoksi={{6}{0}{0}{0}}%
- \def\interinstrumentii{0pt}%
- \def\interinstrumenti{0pt}%
- \nbporteesi=2\relax%
-}
-\def\OrgelPedal{%
- \global\cleftoksi={{6}{6}{0}{0}}%
- \def\interinstrumentii{0pt}%
- \def\interinstrumenti{0pt}%
- \nbporteesi=3\relax%
-}
-\ifOrgue
- \def\nbinstruments{3}
- \global\cleftoksi={{6}{0}{0}{0}}%
- \global\cleftoksii={{0}{0}{0}{0}}%
- \global\cleftoksiii={{0}{0}{0}{0}}%
- \nbporteesi=3\relax%
- \nbporteesii=1\relax%
- \nbporteesiii=1\relax%
- \def\instrumenti{Orgue}%
- \def\instrumentii{Fl\^{u}te}%
- \def\instrumentiii{Hautbois}%
- \def\staffspacingii{0.64}\def\staffspacingiii{0.64}%
-\else
- \def\nbinstruments{2}
- \global\cleftoksi={{0}{0}{0}{0}}%
- \global\cleftoksii={{0}{0}{0}{0}}%
- \nbporteesi=1\relax%
- \nbporteesii=1\relax%
- \def\instrumenti{Fl\^{u}te}%
- \def\instrumentii{Hautbois}%
- \ifFlute\def\staffspacingi{1.0}\else\def\staffspacingi{0.64}\fi
- \ifOboe\def\staffspacingiii{1.0}\else\def\staffspacingii{0.64}\fi%
- \def\everystaff{\vrule width 0pt depth 8mm\relax}%
-\fi
-
-\ifOboe\def\interinstrumenti{2\Interligne}\fi
-%
-\signaturegenerale{-3}\relax
-%\check
-\def\doubler{\multiply\noteskip by 2\relax}%
-%
-% formes frequentes
-%
-\def\Pause{\sk\sk\qsk\pause}%
-%
- \def\twobbu#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}
- \def\twobbl#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}
-%
- \def\fourbbu#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}
- \def\fourbbl#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}
-%
- \def\fourlll#1#2#3#4{\Ibbl0{#1}{#4}3%
-\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\isluru0{#3}\qb0{#3}%
-\tslur0{#4}\tqb0{#4}}%
-%
- \def\fourllu#1#2#3#4{\Ibbu0{#1}{#4}3%
-\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\islurd0{#3}\qh0{#3}%
-\tslur0{#4}\tqh0{#4}}%
-%
- \def\twobu#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}
- \def\twobl#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}
-%
- \def\sixbu#1#2#3#4#5#6{\Ibu0{#1}{#2}1\qh0{#1}\qh0{#2}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}
- \def\sixbl#1#2#3#4#5#6{\Ibl0{#1}{#2}1\qb0{#1}\qb0{#2}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}
-%
- \def\twolbu#1#2{\Ibu0{#1}{#2}1\islurd0{#1}\qh0{#1}\tslur0{#2}\tqh0{#2}}
- \def\twolbl#1#2{\Ibl0{#1}{#2}1\isluru0{#1}\qb0{#1}\tslur0{#2}\tqb0{#2}}
-
-%
-%\check
-%
-\catcodesmusic
-\def\org#1|#2&{\ifOrgue \ifnum\nbporteesi=3#1|\fi #2&\relax\fi}
-%
-\generalmeter{\meterfrac 34}%
-\sepbarrules
-%
-\debutmorceau
-%\check
-%
-\notes\org\relax
- |&&\zcharnote{w}{\kern -20mm\moyen Adagio
-\bf(\metron{\cu}{84})}\enotes
-%
-%\check
-%
-% mesure 1
-\NOTes\org\Pause\relax
- |\Pause\relax
- |\ibl0j0\qb0{jjjjj}\tqb0j\relax
- &\ifFlute\zcharnote N{\sl (orgue solo)}\fi
- \ifFlute\tinynotesize\ibl0j0\qb0{jjjjj}\tqb0j\relax
- \else\Pause
- \fi\relax
- &\ifOboe\zcharnote N{\sl (orgue solo)}\fi
- \ifOboe\tinynotesize\ibl0j0\qb0{jjjjj}\tqb0j\relax
- \else\Pause\fi\enotes
-% mesure 2
-\barre\NOTes\org\Pause
- |\Pause\relax
- |\ibl0j0\qb0j\qb0j\qb0j\qb0j\qb0j\tqb0j\relax
- &\ifFlute\zcharnote N{\sl fl\^{u}te}\fi\ibl0k0\qb0k\qb0k\qb0k\qb0k\qb0k\tqb0k\relax
- &\ifOboe\tinynotesize\ibl0j0\qb0j\qb0j\qb0j\qb0j\qb0j\tqb0j\relax
- \else\Pause\fi\enotes
-% mesure 3
-\barre\NOTes\org\hup G\relax
- |\roff{\pt g}\rh g\hup f\relax
- |\na i\ibl0i0\qb0{iiiii}\tqb0i\relax
- &\ibl0k0\qb0{kkkkk}\tqb0k\relax
- &\ifOboe\tinynotesize\na i\ibl0i0\qb0{iiiii}\tqb0i\relax
- \else\Pause\fi\enotes
-% mesure 4
-\def\motif{\zq j\qh0 l}%
-\barre\NOTes\org\Ibu1CJ1\qh1C\itenl5J\tqh1J\relax
- |\itenl1e\zhp c\zhp g\hlp e\relax
- |\ibl3j0\qb3{jj}\relax
- &\ibl4l0\qb4{ll}\relax
- &\ifOboe\zcharnote N{\sl hautbois}\fi\twolbl jl\enotes
-\NOTes\org\tten5\hu J\relax
- |\relax
- |\qb3{jj}\relax
- &\qb4{ll}\relax
- &\twolbl ln\enotes
-\NOTes\org\relax
- |\relax
- |\qb3j\relax
- &\qb4l\relax
- &\isluru5n\ibl5n0\qb5n\enotes
-\NOtes\org\relax
- |\relax
- |\tqb3j\relax
- &\tqb4l\relax
- &\nbbl5\qb5o\tslur5n\tqb5n\enotes
-% mesure 5
-\barre\NOTes\org\hup F\relax
- |\tten1\zql e\roff{\hup f}\sk\ql d\sk\ql c\relax
- |\ibu3h0\qh3{hhhhh}\tqh3h\relax
- &\ibl4j0\qb4{jjjjj}\tqb4j\relax
- &\mordant q\hl o\sk\sk\sk\soupir\enotes
-% mesure 6
-\barre\temps\NOTes\org\hup I\relax
- |\zhl b\hup f\relax
- |\ibu3h0\qh3{hh}\relax
- &\ibl4k0\qh4{kk}\relax
- &\twolbl ik\enotes
-\NOTes\org\relax
- |\relax
- |\qh3{h}\relax
- &\qh4k\relax
- &\Ibl5kl2\isluru5k\qb5k\enotes
-\NOtes\org\relax
- |\relax
- |\qh3h\relax
- &\qb4k\relax
- &\nbbl5\qb5m\tslur5l\tqb5l\enotes
-\NOtes\org\relax
- |\itenl2d\ql d\relax
- |\qb3h\sk\tqh3h\relax
- &\qb4k\sk\tqb4k\relax
- &\Ibbl5mn3\isluru5m\qb5{mno}\tslur5n\tqb5n\enotes
-% mesure 7
-\barre
-\NOTes\org\hup E\relax
- |\tten2\qu d\sk\qu c\sk\qu b\relax
- |\sixbu gggggg\relax
- &\sixbu iiiiii\relax
- &\doubler\mordant p\hl n\sk\soupir\enotes
-% mesure 8
-\def\motif{\zq h\qh0j}%
-\barre\NOtes\org\hup H\relax
- |\doubler\doubler\zhl a\hup e\sk\itenl2c\qu c\relax
- |\doubler\sixbu hhhhhh\relax
- &\doubler\sixbl jjjjjj\relax
- &\isluru0h\fourbbl hiji\fourbbl jklk\rlap{\sk\sk\sk\tslur0m}\fourbbl lmnm\enotes
-% mesure 9
-\def\motif{\zq f\qh0h}%
-\def\motifa{\zq f\qh0i}%
-\barre\NOTes\org\hup K\relax
- |\doubler\tten2\qu c\qu b\qu a\relax
- |\ibu0h0\motif\tbu0\motif\ibu0i0\motifa\motifa\motifa\tbu0\motifa\relax
- &\sixbl kkkkkk\relax
- &\doubler\mordant o\hl m\sk\soupir\enotes
-% mesure 10
-\barre
-\Notes\org\Ibu1NG4\qh1N\sk\sk\sk\itenl1G\tqh1G\relax
- |\hup f\relax
- |\doubler\doubler\bigna i\ibu3i0\qh3{ii}\relax
- &\doubler\doubler\ibl4k0\qb4k\qb4k\relax
- &\islurd5f\Ibbbu5gk7\qh5{g^fgh=ihi}\tslur5i\tqh5j\enotes
-\Notes\org\tten1\hu G\relax
- |\relax
- |\doubler\doubler\qh3{ii}\relax
- &\doubler\doubler\qb4{kk}\relax
- &\isluru5l\Ibbbl0jj7\qb0{kijkn=ml}\tslur5l\tqb0k\enotes
-\NOtes\org\relax
- |\relax
- |\doubler\qh3i\tqh3i\relax
- &\doubler\qb4k\tqb4k\relax
- &\isluru5l\Ibbl0kl3\qb0{klm}\tslur5m\tqb0l\enotes
-% mesure 11
-%\check
-\def\motif{\zq e\qh3 g}%
-\barre\notes\org\Ibu1CJ5\qh1C\relax
- |\hup c\relax
- |\ibu3g0\motif\relax
- &\ibl4j0\qb4j\relax
- &\isluru5l\ibbbbl5l0\qb5{lkl}\tbbbbl5\tbbbl5\tbbl5\qb5m\enotes
-\NOtes\org\relax
- |\relax
- |\relax
- &\relax
- &\tbl5\tslur5l\qbp5l\enotes
-\NOTes\org\itenl1J\tqh1J\relax
- |\relax
- |\motif\relax
- &\qb4j\relax
- &\enotes
-\NOtes\org\tten1\itenl1J\hu J\relax
- |\relax
- |\motif\sk\motif\relax
- &\qb4j\sk\qb4j\relax
- &\qsoupir\isluru5n\Ibbl5ln2\qb5{lo}\tslur5o\tqb5n\enotes
-\NOtes\org\relax
- |\relax
- |\motif\sk\tbu3\motif\relax
- &\qb4j\sk\tqb4j\relax
-% &\Ibbl5ol3\qb5{omm}\tqb5l\enotes
- &\fourlll omml\enotes
-% mesure 12
-%\check
-\barre
-\NOTes\org\tten1\qu J\relax
- |\roff{\zql c}\hu d\relax
- |\ibu3f0\qh3f\tqh3f\relax
- &\ibu4h0\qh4h\tqh4h\relax
- &\mordant p\ql k\sk\enotes
-\NOtes\org\itenl1I\hu I\relax
- |\hl b\relax
- |\ibu0g0\qh0g\sk\tqh0g\relax
- &\ibu0i0\qh0i\sk\tqh0i\relax
- &\qsoupir
- \isluru5m\Ibbl5km2\qb5{kn}\tslur5m\tqb5m\enotes
-\NOtes\org\relax
- |\qu e\relax
- |\ibu3g0\qh3g\sk\relax
- &\ibu4j0\qh4j\sk\relax
- &\isluru5n\ibbl5k0\qb5n\qbp5l\enotes
-\Notes\org\relax
- |\relax
- |\tqh3g\relax
- &\tqh4j\relax
- &\sk\nbbbl5\qb5{kj}\tslur5k\tqb5k\enotes
-% mesure 13
-\barre
-\notes\org\tten1\qu I\relax
- |\roff{\zql b}\hu c\relax
- |\ibu3e0\qh3e\relax
- &\ibu4g0\qh4g\relax
- &\isluru5k\ibbbbl1j0\qb1{j=ij}\relax
-\tbbbbl1\tbbbl1\tbbl1\qb1k\enotes
-\NOtes\org\relax
- |\relax
- |\relax
- &\relax
- &\tslur5k\tbl1\qbp1j\enotes
-\NOTes\org\relax
- |\relax
- |\tqh3e\relax
- &\tqh4g\relax
- &\enotes
-\temps\Notes\org\hu H\relax
- |\hl a\relax
- |\ibu0f0\qh0f\sk\sk\sk\tqh0f\relax
- &\ibu0h0\qh0h\sk\sk\sk\tqh0h\relax
- &\qsoupir\sk\isluru5k\ibbbl1j0\qb1j\tbbl1\qb1l\nbbbl1\qb1{kjk}\tslur5l\tqb1l\enotes
-\temps\Notes\org\relax
- |\qu d\relax
- |\ibu0f0\qh0f\sk\sk\sk\tqh0f\relax
- &\ibu0h0\qh0h\sk\sk\sk\tqh0h\relax
- &\isluru5n\ibbbl1k0\qb1{mnlmkl}\relax
-\triolet n\qb1{jk}\tslur5k\tqb1j\enotes
-% mesure 14
-%\check
-\def\motif{\rq g\qh3f}%
-\barre
-\NOTes\org\hup G\relax
- |\hup b\relax
- |\zhlp d\ds\ibu3g0\motif\motif\motif\motif\tbu3\motif
- &\ds\ibu0i0\qh0{=iiii}\tqh0i\relax
- &\bigna i\hl i\sk\sk\sk\soupir\enotes
-% mesure 15
-\barre\NOTes\org\hup J\relax
- |\hup c\relax
- |\bigna e\ibu0g0\zq e\qh0g\zq e\tqh0g\relax
- &\twobu jg\relax
- &\bigna l\twolbl ln\enotes
-\NOTes\org\relax
- |\relax
- |\ibu0g0\zq e\qh0g\zq e\tqh0g\relax
- &\twobu gg\relax
- &\twolbl nl\enotes
-\NOtes\org\relax
- |\relax
- |\doubler\twobu ee\relax
- &\doubler\twobl jj\relax
- &\fl i\isluru5m\ibbl1i0\qb1{inl}\tslur5m\tqb1i\enotes
-% mesure 16
-\barre\NOTes\org\hlp M\relax
- |\qu c\relax
- |\ibu3g0\qh3g\relax
- &\ibl4j0\qb4j\relax
- &\ibu5k0\itenl5i\qh5i\enotes
-\Notes\org\relax
- |\relax
- |\tqh3g\relax
- &\tqb4j\relax
- &\tten5\nbbbu5\islurd5i\qh5{ihj}\tslur5i\tqh5i\enotes
-\temps\NOTes\org\relax
- |\hu f\relax
- |\ibu0h0\qh0{hhh}\tqh0h\relax
- &\ibl0j0\qb0{jjj}\tqb0j\relax
- &\qu h\sk\soupir\enotes
-% mesure 17
-\def\motif{\zq h\qh0 k}%
-\barre
-\NOtes\org\hup K\relax
- |\hup {^f}\relax
- |\ibu3h0\na h\qh3h\sk\qh3h\relax
- &\ibl4k0\qb0k\sk\qb0k\relax
- &\ibbl1m0\sh m\qb1{m=om}\tqb1n\enotes
-\Notes\org\relax
- |\relax
- |\qh3h\sk\sk\sk\qh3h\sk\sk\sk\relax
- &\qb4k\sk\sk\sk\qb4k\sk\sk\sk\relax
- &\Ibbbl1oh7\qb1{onm=lkji}\tqb1{=h}\enotes
-\Notes\org\relax
- |\relax
- |\qh3h\sk\sk\sk\sk\tqh3h\sk\sk\sk\relax
- &\qb4k\sk\sk\sk\sk\tqb4k\sk\sk\sk\relax
- &\Ibbbu1dl9\qh1{d=e^fghij}\pointdurgue e\qhp1k\qsk\tbbbbu1\tqh1j\enotes
-% mesure 18
- \barre
-\NOTes\org\hup G\relax
- |\qu d\relax
- |\twobu gg\relax
- &\twobl kk\relax
- &\twolbl ji\enotes
-\NOTes\org\relax
- |\itenl2e\hu e\relax
- |\ibu3g0\qh3{ggg}\tqh3g\relax
- &\ibl4i0\qb4{iii}\tqb4i\relax
- &\bigfl l\twobl lk\mordant n\itenu5l\ql l\enotes
-% mesure 19
-\barre\NOTes\org\hl M\relax
- |\tten2\qu e\relax
- |\ibu3h0\qh3{_h}\relax
- &\ibl4j0\qh4j\relax
- &\tten5\isluru5m\ibl5l0\qb5l\enotes
-\NOtes\org\relax
- |\relax
- |\tqh3h\relax
- &\tqb4j\relax
- &\nbbl5\qb5m\tqb5l\enotes
-\NOTes\org\relax
- |\hu d\relax
- |\ibu3f0\qh3f\relax
- &\ibu4h0\qh4h\relax
- &\ibl5k0\qb5k\enotes
-\NOtes\org\relax
- |\relax
- |\qh3f\relax
- &\qh4h\relax
- &\nbbl5\qb5l\tslur5k\tqb5j\enotes
-\NOTes\org\qu F\relax
- |\relax
- |\qh3f\tqh3f\relax
- &\qh4h\tqh4h\relax
- &\itenu5k\mordant m\ql k\enotes
-% mesure 20
-\barre
-\NOtes\org\hu E\relax
- |\qu d\relax
- |\doubler\twobu gg\relax
- &\doubler\twobu ii\relax
- &\tten5\ibbl0k0\rlap{\sk\isluru5n}\qb0{knl}\tqb0k\enotes
-\temps\NOtes\org\relax
- |\hu c\relax
- |\ibu3e0\qh3{e*e}\relax
- &\ibu4g0\qh4{g*g}\relax
- &\ibbl0i0\qb0{jih}\tslur5i\tqb0i\enotes
-\NOTes\org\ql L\relax
- |\relax
- |\qh3e\sk\tqh3e\relax
- &\qh4g\sk\tqh4g\relax
- &\upperna j\mordant o\itenu5j\ql j\enotes
-% mesure 21
-\barre
-\NOtes\org\hup K\relax
- |\hu b\relax
- |\doubler\twobu ff\relax
- &\doubler\twobu fh\relax
- &\ibbl5j0\tten5\qb5j\isluru5k\qb5{_i}\qb5k\multnoteskip{0.71}\nbbbl5\qb5m\tqb5l\enotes
-\Notes\org\relax
- |\relax
- |\ibu3d0\qh3d\sk\sk\sk\qh3d\relax
- &\ibu4f0\qh4f\sk\sk\sk\qh4f\relax
- &\ibbbl5i0\qb5{kjihijk}\tqb5l\enotes
-\NOtes\org\relax
- |\qu a\relax
- |\qh3d\sk\tqh3d\relax
- &\qh4f\sk\tqh4f\relax
- &\Ibbl5mi3\qb5{mk}\relax
-\pince l\qb5j\enotes
-\NOtes\org\relax
- |\relax
- &\relax
- &\tslur5k\itenu5i\tqb5i\enotes
-% mesure 22
-\barre
-\Notes\org\hup J\relax
- |\qu N\relax
- |\ibu3e0\qh3e\sk\sk\sk\tqh3e\relax
- &\ibu4g0\qh4g\sk\sk\sk\tqh4g\relax
- &\tten5\ibbbl1i0\rlap{\sk\isluru5m}\qb1{ijj}\tqb1i\Ibbbu1ig3\qh1{ihh}\tqh1g\enotes
-\Notes\org\relax
- |\qu e\relax
- |\ibu3g0\qh3g\sk\sk\sk\tqh3g\relax
- &\ibu4j0\qh4j\sk\sk\sk\tqh4j\relax
- &\ibbbu1g0\qh1{ghh}\tqh1g\Ibbbu1ge3\qh1{gff}\tqh1e\enotes
-\temps\NOtes\org\relax
- |\qu e\relax
- |\ibu3f0\qh3f\sk\tqh3f\relax
- &\ibu4h0\qh4h\sk\zq f\tqh4h\relax
- &\ibbu5k0\tslur5m\rlap{\sk\isluru5r}\qh5{flk}\tqh5j\enotes
-% mesure 23
-\barre
-\NOTes\org\hu I\relax
- |\hu d\relax
- |\ibu3f0\qh3{fff}\relax
- &\ibu4h0\qh4{hhh}\relax
- &\tslur5n\itenu5k\ql k\sk\tten5\Ibl5ki3\qbp5k\enotes
-\NOtes\org
- |\relax
- |\tqh3f\relax
- &\tqh4h\relax
- &\sk\tbbl5\tqb5i\enotes
-\NOTes\org\qu J\relax
- |\qu c\relax
- |\twobu ee\relax
- &\twobu gg\relax
- &\itenu5l\ql l\enotes
-% mesure 24
-\barre
-\NOTes\org\qu{H}\relax
- |\relax
- |\ibu3h0\zq e\qh3h\relax
- &\ql j\relax
- &\tten5\ibl5i0\itenu5l\qb5l\enotes
-\Notes\org\relax
- |\relax
- |\zq e\tqh3h\relax
- &\relax
- &\tten5\rlap{\sk\isluru5m}\nbbbl5\qb5{ljk}\tqb5l\enotes
-\NOTes\org\hu I\relax
- |\hpause
- |\ibu0f0\zq d\qh0f\zq d\qh0f\zq d\qh0f\zq e\tqh0g\relax
- &\hl i\relax
- &\ifOboe\rlap{\tinynotesize\ibl0d0\zq d\qb0f\zq d\qb0f\zq d\qb0f\loff{\zq e\tqb0g}\relax}\fi
- \qlp m\sk\sk\tslur5m\cl l\enotes
-% mesure 25
-\barre\NOTes\org\hlp M\relax
- |\relax
- |\zhlp f\ibu3h0\qh3{hhh}\relax
- &\Ibl4hk6\qb4h\qb4{_kk}\relax
- &\Uptext{\pp}\bigfl k\qlp k\enotes
-\NOtes\org\relax
- |\pause
- |\doubler\qh3{hh}\tqh3h\relax
- &\doubler\qb4{kk}\tqb4k\relax
- &\ibbl5m0\isluru5n\qb5{mnonm}\tslur5m\tqb5l\enotes
-% mesure 26
-\barre
-\NOTes\org\hlp N\relax
- |\relax
- |\zhlp e\ibu3g0\qh3{gg}\relax
- &\ibu4i0\qh4{ii}\relax
- &\itenu5k\ql{_k}\enotes
-\NOtes\org\relax
- |\sk\pause
- |\doubler\qh3{ggg}\tqh3g\relax
- &\doubler\qh4{iii}\tqh4i\relax
- &\tten5\isluru5m\Ibbl1ko3\qb1{kln}\tqb1{o}\Ibbl1pk3\qb1{pnl}\tslur5m\tqb1k\enotes
-% mesure 27
-\barre
-\NOTes\org\hl a\relax
- |\hu e\relax
- |\ibu3h0\qh3h\relax
- &\ibl4j0\qb4j\relax
- &\bigfl k\ibl1j0\isluru5l\itenu1k\qb1k\enotes
-\Notes\org\relax
- |\relax
- |\qh3h\relax
- &\qh4j\relax
- &\tten1\nbbbl1\qb1{kjl}\tqb1k\enotes
-\NOtes\org\relax
- |\relax
- |\qh3h\sk\tqh3h\relax
- &\qb4j\sk\tqb4j\relax
- &\Ibbl1jn3\qb1{jlm}\tqb1n\enotes
-\NOtes\org\qu H\relax
- |\itenl2f\qu f\relax
- |\ibu3h0\qh3h\sk\tqh3h\relax
- &\ibl4j0\qb4j\sk\tqb4j\relax
- &\Ibbl1ol3\qb1{onm}\tslur5m\tqb1l\enotes
-% mesure 28
-\barre\NOTes\org\hu G\relax
- |\tten2\hu f\relax
- |\ibu3g0\qh3{gg}\relax
- &\ibl4i0\bigna i\qb4{ii}\relax
- &\itenu5m\ql m\enotes
-\NOtes\org\relax
- |\relax
- |\qh3g\sk\tqh3g\relax
- &\qb4i\sk\tqb4i\relax
- &\tten5\ibbl5h0\rlap{\sk\isluru5j}\qb1{mgh}\tqb5{=i}\enotes
-\NOtes\org\qu{H}\relax
- |\itenl2f\qu f\relax
- |\itenu3h\qu h\relax
- &\itenu4j\ql j\relax
- &\Ibbl1jk3\qb1{j=kl}\tqb1k\enotes
-% mesure 29
-\barre
-\NOtes\org\qu F\relax
- |\tten2\qu f\relax
- |\doubler\tten3\twobu hh\relax
- &\doubler\tten4\twobl jk\relax
- &\ibbl5l0\qb5{lom}\tslur5m\tqb5k\enotes
-\temps\NOTes\org\hu G\relax
- |\qup d\sk\sk\cu e\relax
- |\ibu0g0\qh0{ggg}\tqh0g\relax
- &\qlp{=i}\sk\sk\cl j\relax
- &\ifOboe\rlap{\tinynotesize\ibl0g0\qb0{ggg}\tqb0g\relax}\fi
- \isluru5k\qlp{=i}\sk\sk\tslur5l\cu j\enotes
-% mesure 30
-%\check
-\barre
-\NOTes\org\hup{H}\relax
- |\hup c\relax
- |\ibu3h0\zq f\qh3h\zq f\qh3h\zq f\qh3h\zq f\qh3h\relax
- &\ibl4j0\qb4{jjjj}\relax
- &\itenl5f\hu f\enotes
-\NOtes\org\relax
- |\relax
- |\zq f\qh3h\sk\zq f\tqh3h\relax
- &\qb4j\sk\tqb4j\relax
- &\tten5\rlap{\sk\islurd5c}\Ibbu5fe3\qh5{fcd}\tqh5e\enotes
-% mesure 31
-%\check
-\barre
-\NOtes\org\hu G\relax
- |\hu d\sk
- |\doubler\ibu3g0\qh3{gggg}\relax
- &\doubler\bigna i\ibl4i0\qb4{iii}\tqb4i\relax
- &\Ibbu5fe3\qh5{fed}\tslur5d\tqh5e\islurd5e\Ibbu5fg3\qh5{fgh}\tslur5f\tqh5g\enotes
-\Notes\org\ql L\relax
- |\qu c\relax
- |\doubler\doubler\qh3g\tqh3g\relax
- &\doubler\doubler\twobl jj\relax
- &\islurd5f\Ibbbu1gi7\qh1{gfefghi}\tslur5g\tqh1{=i}\enotes
-% mesure 32
-%\check
-\barre
-\NOtes\org\bigaccid\zql{a}\relax
- |\qu c\relax
- |\ibu0f0\qh0f\sk\tqh0f\relax
- &\doubler\twobu hh\relax
- &\Ibl5jk3\qbp5j\sk\sk\tbbl5\tqb5k\enotes
-\NOTes\org\hl N\relax
- |\qup d\sk\sk\cu e\relax
- |\twobu ff\twobu gg\relax
- &\qlp{=i}\sk\sk\cl j\relax
- &\ifOboe\rlap{\tinynotesize\twobl ff\twobl gg\relax}\fi
- \isluru5l\qlp k\sk\sk\tslur5l\cu j\enotes
-% mesure 33
-%\check
-\barre\NOTes\org\hu K\relax
- |\zhu{^f}\hlp d\relax
- |\na h\ibu3h0\qh3{hhh}\tqh3h\relax
- &\ibl4j0\qb4{jjj}\tqb4j\relax
- &\bigsh m\isluru5n\hl m\enotes
-\NOTes\org\qu G\relax
- |\raise 2\internote\soupir
- |\twobu gg\relax
- &\bigna i\twobu ii\relax
- &\tslur5o\isluru5o\twobl nk\enotes
-% mesure 34
-%\check
-\barre\NOTes\org\Ibl1JG5\qb1J\relax
- |\qu e\relax
- |\ibu3g0\qh3g\relax
- &\ibl4j0\qb4j\relax
- &\tslur5m\Ibl5lj2\qb5l\enotes
-\NOtes\org\qb1L\relax
- |\relax
- |\tqh3g\relax
- &\tqb4j\relax
- &\nbbl5\qb5k\tqb5j\enotes
-\NOTes\org\qb1{NMN}\tqb1G\relax
- |\hu d\relax
- |\hu g\relax
- &\na i\qup i\sk\sk\cu j\relax
- &\zcharnote o{\Trille{1.8\noteskip}}\na i\ql i\sk\rlap{\isluru5j\sk\tslur5k}\twobl ij\enotes
- \ifOrgue\cleftoksi={{6}{6}{0}{0}}\changeclefs\fi
-% mesure 35
-%\check
-\barre
-\NOTes\org\hup J\relax
- |\rlap{\sk\itenl2N}\twobl cN\relax
- |\Ibu3ge1\zq e\qh3g\zq c\tqh3e\relax
- &\Ibl4jl5\qh4{jl}\relax
- &\hlp j\enotes
-\NOTes\org\relax
- |\tten2\hl N\relax
- |\ibu3e0\zq c\qh3e\zq c\qh3e\zq c\qh3e\zq c\tqh3e\relax
- &\qb4{lll}\tqb4l\enotes
-% mesure 36
-%\check
-\barre\NOTes\org\hup G\relax
- |\hlp N\relax
- |\ibu3e0\zq c\qh3e\rq d\qh3c\rq d\qh3c\rq d\qh3c\zq
-{_b}\qh3d\zq b\tqh3d\relax
- &\Ibl4lk5\qb4{lkkkk}\tqb4k\relax
- &\sk\sk\qsk\pause\enotes
-% mesure 37
-%\check
-\barre\NOTes\org\hup J\relax
- |\hlp N
- |\na e\ibu3e0\relax
-\zq b\qh3 e\zq b\qh3 e\zq b\qh3 e\zq b\qh3 e\zq b\qh3 e\zq b\tqh3 e\relax
- &\na l\ibl4l0\qb4{lllll}\tqb4l\relax
- &\sk\sk\qsk\pause\enotes
-% mesure 38
-%\check
-\barre
-\NOTes\org\hlp M\relax
- |\zql b\relax
- |\ibu3f0\zq c\qh3f\zq c\qh3f\relax
- &\ibl4m0\qb4m\qb4m\enotes
-\NOTes\org\relax
- |\itenu2a\ql a\relax
- |\zq c\qh3f\zq c\tqh3f\relax
- &\qb4m\tqb4m\relax
- &\sk\pause\enotes
-\temps\NOTes\org\relax
- |\tten2\ql a\relax
- |\zq {c}\rq f\qu e\relax
- &\ql m\sk
- &\enotes
-% mesure 39
-%\check
-\barre
-\NOTes\org\hl N\relax
- |\na b\ibl2b0\zq b\qb2d\zq b\qb2d\zq b\qb2d\zq b\tqb2d\relax
- |\qup f\sk\sk\Ibu3gc2\qh3g\relax
- &\qlp m\sk\sk\Ibl4nj2\qb4n\relax
- &\sk\sk\qsk\pause\enotes
-\NOTes\org\ql a\relax
- |\ql c\relax
- |\qh3e\tqh3d\relax
- &\qb4l\tqb4k\enotes
-% mesure 40
-%\check
-\barre
-\NOTes\org\ql M\relax
- |\zq c\ql a\sk\relax
- |\twobu ef\relax
- &\twobl lm\enotes
-\NOTes\org\ibu2N0\qh2{NMN}\tqh2G\relax
- |\hl{=b}\relax
- |\hu d\relax
- &\hl k\sk\sk\relax
- &\qsk\pause\enotes
-% mesure 41
-%\check
-%\ifOrgue\cleftoksi={{6}{6}{0}{0}}\changeclefs\fi
-\barre
-\NOTES\org\hup J\relax
- |\zhp{LN}\hlp c\relax
- |\sk\pause
- &\hlp j\relax
- &\sk\pause\enotes
-\ifOrgue \linegoal 9\relax
-\else \linegoal 12\relax
-\fi
-\finmorceau
-
-\endinput
-
-
-
diff --git a/macros/musixtex/doc/examples/marcon3.tex b/macros/musixtex/doc/examples/marcon3.tex
deleted file mode 100644
index de25e96f87..0000000000
--- a/macros/musixtex/doc/examples/marcon3.tex
+++ /dev/null
@@ -1,1106 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-
-%
-\title{Concerto pour hautbois --- finale}
-\fulltitle{Concerto pour hautbois --- finale}
-\othermention{Transcription pour hautbois, fl\^{u}te et orgue\\{\bf
- \ifFlute Partition fl\^{u}te\fi
- \ifOboe Partition hautbois\fi
- \ifOrgue Partition orgue\fi}
-}
-\shorttitle{Concerto pour hautbois --- finale}
-\author{Benedetto MARCELLO\\Transcription Daniel TAUPIN}
-\shortauthor{B. Marcello, D. Taupin}
-\maketitle
-%
-\parindent 13mm
-\def\interfacteur{10} % was 9
-\ifOrgue
- \def\nbinstruments{3}
- \global\cleftoksi={{6}{6}{0}{0}}%
- \global\cleftoksii={{0}{0}{0}{0}}%
- \global\cleftoksiii={{0}{0}{0}{0}}%
- \nbporteesi=3\relax%
- \nbporteesii=1\relax%
- \nbporteesiii=1\relax%
- \def\instrumenti{Orgue}%
- \def\instrumentii{Fl\^{u}e}%
- \def\instrumentiii{Hautbois}%
- \def\staffspacingii{0.64}\def\staffspacingiii{0.64}%
-\else
- \def\nbinstruments{2}
- \global\cleftoksi={{0}{0}{0}{0}}%
- \global\cleftoksii={{0}{0}{0}{0}}%
- \nbporteesi=1\relax%
- \nbporteesii=1\relax%
- \def\instrumenti{Fl\^{u}te}%
- \def\instrumentii{Hautbois}%
- \ifFlute\def\staffspacingi{1.0}\else\def\staffspacingi{0.64}\fi
- \ifOboe\def\staffspacingiii{1.0}\else\def\staffspacingii{0.64}\fi%
- \def\everystaff{\vrule width 0pt depth 5mm\relax}%
-\fi
-
-\ifOboe\def\interinstrumenti{2\Interligne}\fi
-%
-\signaturegenerale{-3}\relax
-%\check
-\def\doubler{\multiply\noteskip by 2\relax}%
-% formes frequentes
-\def\Pause{\sk\sk\qsk\pause}%
-%
-%
-\def\sixlpl#1#2#3#4#5#6{\Ibbl0{#1}{#6}5%
-\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\upz{#3}\qb0{#3}%
-\upz{#4}\qb0{#4}\upz{#5}\qb0{#5}\upz{#6}\tqb0{#6}}%
-%
-\def\Sixlpl#1#2#3#4#5#6{{\advance \transpose -1\relax\Ibbl0{#1}{#6}5}%
-\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\upz{#3}\qb0{#3}%
-\upz{#4}\qb0{#4}\upz{#5}\qb0{#5}\upz{#6}\tqb0{#6}}%
-%
-\def\fiveplpl#1#2#3#4#5{\Ibbl0{#1}{#5}4%
-\isluru0{#1}\qb0{#1}\qb0{#2}\qb0{#3}%
-\tslur0{#4}\tbbl0\qb0{#4}\upz{#5}\tqb0{#5}}%
-%
-\def\fourplpl#1#2#3#4{\Ibl0{#1}{#4}4%
-\upz{#1}\qb0{#1}\sk\isluru0{#2}\nbbl0\qb0{#2}\tbbl0\tslur0{#3}\qb0{#3}%
-\upz{#4}\tqb0{#4}\sk}%
-%
-\def\threelpl#1#2#3{\Ibbl0{#1}{#3}2%
-\isluru0{#1}\qb0{#1}%
-\tslur0{#2}\tbbl0\qb0{#2}\upz{#3}\tqb0{#3}}%
-%
-\def\threell#1#2#3{\Ibbl0{#1}{#3}2%
-\isluru0{#1}\qb0{#1}%
-\tslur0{#2}\tbbl0\qb0{#2}\tqb0{#3}}%
-%
-\def\sixlpu#1#2#3#4#5#6{\Ibbu0{#1}{#6}5%
-\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\lpz{#3}\qh0{#3}%
-\lpz{#4}\qh0{#4}\lpz{#5}\qh0{#5}\lpz{#6}\tqh0{#6}}%
-%
-\def\Sixlpu#1#2#3#4#5#6{{\advance\transpose 1\relax\Ibbu0{#1}{#6}5}%
-\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\lpz{#3}\qh0{#3}%
-\lpz{#4}\qh0{#4}\lpz{#5}\qh0{#5}\lpz{#6}\tqh0{#6}}%
-%
-\def\fiveplpu#1#2#3#4#5{\Ibbu0{#1}{#5}4%
-\islurd0{#1}\qh0{#1}\qh0{#2}\lpz{#3}\qh0{#3}%
-\tslur0{#4}\tbbu0\qh0{#4}\lpz{#5}\tqh0{#5}}%
-%
-\def\fourplpu#1#2#3#4{\Ibu0{#1}{#4}4%
-\lpz{#1}\qh0{#1}\sk\islurd0{#2}\nbbu0\qh0{#2}\tbbu0\tslur0{#3}\qh0{#3}%
-\lpz{#4}\tqh0{#4}\sk}%
-%
-\def\threelpu#1#2#3{\Ibbu0{#1}{#3}2%
-\islurd0{#1}\qh0{#1}%
-\tslur0{#2}\tbbu0\qh0{#2}\lpz{#3}\tqh0{#3}}%
-%
-\def\threelu#1#2#3{\Ibbu0{#1}{#3}2%
-\islurd0{#1}\qh0{#1}%
-\tslur0{#2}\tbbu0\qh0{#2}\tqh0{#3}}%
-%
-\def\sixppl#1#2#3#4#5#6{\Ibbl0{#1}{#6}5%
-\upz{#1}\qb0{#1}\upz{#2}\qb0{#2}\upz{#3}\qb0{#3}%
-\upz{#4}\qb0{#4}\upz{#5}\qb0{#5}\upz{#6}\tqb0{#6}}%
-%
-\def\Sixppl#1#2#3#4#5#6{{\advance\transpose -1\relax\Ibbl0{#1}{#6}5}%
-\upz{#1}\qb0{#1}\upz{#2}\qb0{#2}\upz{#3}\qb0{#3}%
-\upz{#4}\qb0{#4}\upz{#5}\qb0{#5}\upz{#6}\tqb0{#6}}%
-%
-\def\threeppl#1#2#3{\Ibbl0{#1}{#3}2%
-\upz{#1}\qb0{#1}\tbbl0\upz{#2}\qb0{#2}\tqb0{#3}}%
-%
-\def\sixppu#1#2#3#4#5#6{\Ibbu0{#1}{#6}5%
-\lpz{#1}\qh0{#1}\lpz{#2}\qh0{#2}\lpz{#3}\qh0{#3}%
-\lpz{#4}\qh0{#4}\lpz{#5}\qh0{#5}\lpz{#6}\tqh0{#6}}%
-%
-\def\threeppu#1#2#3{\Ibbu0{#1}{#3}2%
-\lpz{#1}\qh0{#1}\tbbu0\lpz{#2}\qh0{#2}\tqh0{#3}}%
-%
-\def\triol#1#2#3{\doubler\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}%
-\def\triou#1#2#3{\doubler\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}%
-\def\triopl#1#2#3{\doubler\Ibl0{#1}{#3}2\upz{#1}\qb0{#1}\upz{#2}\qb0{#2}\upz{#3}\tqb0{#3}}%
-\def\triopu#1#2#3{\doubler\Ibu0{#1}{#3}2\lpz{#1}\qh0{#1}\lpz{#2}\qh0{#2}\lpz{#3}\tqh0{#3}}%
-%
-\def\clpz#1{\upz{#1}\cl{#1}}
-\def\cupz#1{\lpz{#1}\cu{#1}}
-% Siciliano : O. oO
-\def\sicu#1#2#3{\Ibu0{#1}{#3}4\qhp0{#1}\sk\sk\tbbu0\qh0{#2}\tqh0{#3}\sk}
-\def\sicl#1#2#3{\Ibl0{#1}{#3}4\qbp0{#1}\sk\sk\tbbl0\qb0{#2}\tqb0{#3}\sk}
-
-\catcodesmusic
-\def\org#1&{\ifOrgue #1\relax
- &\relax\fi}
-%
-%\check
-%
-\generalmeter{\meterfrac 38}%
-\sepbarrules
-%
-\debutmorceau
-\notes\org\relax
- &\relax
- &\zcharnote{w}{\kern -20mm\moyen Allegro \bf(\metron{\cu}{160})}\enotes
-%
-%\check
-% mesure 1
-\notes\org\Pause
- |\zmidtwotext{\llap{\bf II}}\qlp c\relax
- |\zqp e\qup g\relax
- &\qlp j\relax
- &\uptext{\p}\sixlpl jgjklj\enotes
-%\check
- \barre % mesure 2
-\notes\org\Pause
- |\qlp{=b}\relax
- |\zqp d\qup g\relax
- &\qlp k\relax
- &\sixlpl kgklmk\enotes
-%\check
- \barre % mesure 3
-\notes\org\Pause
- |\doubler\cl c\ql a\relax
- |\doubler\zq e\cu g\zq c\qu f\relax
- &\doubler\Ibu0ii1\bupz0\qh0j\bupz0\qh0l\bupz0\tqh0j\relax
- &\sixppl lkjklm\enotes
-%\check
- \barre % mesure 4
-\Notes\org\sk\pause
- |\qlp N\relax
- |\zqp d\qup g\relax
- &\qup{=i}\relax
- &\isluru0n\ql n\sk\tslur0g\cl g\enotes
-%\check
- \barre % mesure 5
-\notes\org\Pause
- |\qup J\relax
- |\sixppl lkj{_i}hg\relax
- &\sixppl nmlkj{_i}\relax
- &\Pause\enotes
-%\check
- \barre % mesure 6
-\notes\org\Pause
- |\sixppl MNMLKJ\relax
- |\qu f\sk\sk\sk\ds\relax
- &\threeppl hjm\sk\ds\relax
- &\Pause\enotes
-%\check
- \barre % mesure 7
-\notes\org\Pause
- |\zqlp I\Ibbu0KN2\qh0K\tbbu0\qh0M\tqh0b\sk\ds\relax
- |\sixppu kjihgf\relax
- &\sixppl mlkjih\relax
- &\Pause\enotes
-%\check
- \barre % mesure 8
-\notes\org\Pause
- |\sixppl LMLKJI\relax
- |\qu e\sk\sk\sk\ds\relax
- &\threeppl gil\sk\ds\relax
- &\Pause\enotes
-%\check
- \barre % mesure 9
-\notes\org\Pause
- |\zqlp H\Ibbu0JM2\qh0J\tbbu0\qh0L\tqh0a\sk\ds\relax
- |\sixppu jihgfe\relax
- &\sixppl lkjihg\relax
- &\Pause\enotes
-%\check
- \barre % mesure 10
-\notes\org\Pause
- |\sixppl KLKJIH\relax
- |\qu d\sk\sk\sk\ds\relax
- &\threeppl fhk\sk\ds\relax
- &\Pause\enotes
-%\check
- \barre % mesure 11
-\notes\org\Pause
- |\zqlp G\Ibbu0IL2\qh0{=I}\tbbu0\qh0K\tqh0N\sk\ds\relax
- |\sixppu {=i}hgfed\relax
- &\relax
- \ifx\Quer\undefined \sixppu kj{=i}onm\else\sixppu kj{=i}hgf\fi
- \relax
- &\Pause\enotes
-%\check
- \barre % mesure 12
-\notes\org\Pause
- |\sicu JKL\relax
- |\Ibbu0cg4\qh0{cde}\tbbu0\qh0f\tqh0g\sk\relax
- &\relax
- \ifx\Quer\undefined \Ibbu0li2\qh0l\tqh0k\itenl0j\qu j\sk
- \else\Ibbu0ei2\qh0e\tqh0g\itenl0j\qu j\sk
- \fi\relax
- &\Pause\enotes
-%\check
- \barre % mesure 13
-\notes\org\Pause
- |\doubler\Ibl0MI2\qb0M\qb0N\tqb0G\relax
- |\doubler
-\Ibu0fd2\zq f\qb0h\zq g\qh0d\zq f\tqh0d\relax
- &\tten0\ibbu0j0\qh0j\tbbu0\qh0k\qhp0{=i}\sk\sk\tbbu0\tqh0j\enotes
-%\check
- \barre % mesure 14
-\notes\org\qup J\relax
- |\zmidtwotext{\llap{\bf I}}\qlp c\relax
- |\zqp e\qup g\relax
- &\qlp j\relax
- &\sixlpl jgjklj\enotes
-%\check
- \barre % mesure 15
-\notes\org\doubler\qup {=I}\relax
- |\doubler\qlp{=b}\relax
- |\zqp d\qup g\relax
- &\qlp k\relax
- &\sixlpl kgklmk\enotes
-%\check
- \barre % mesure 16
-\notes\org\doubler\cu J\qu H\relax
- |\doubler\cl c\ql a\relax
- |\doubler\zq e\cu g\zq c\qu f\relax
- &\doubler\Ibl0ii1\upz j\qb0j\upz l\qb0l\upz j\tqb0j\relax
- &\sixppl lkjklm\enotes
-%\check
- \barre % mesure 17
-\notes\org\qup G\relax
- |\qlp N\relax
- |\zqp d\qup g\relax
- &\fourplpl{=i}kji\relax
- &\doubler\isluru0n\ql n\sk\tslur0g\cl g\enotes
-%\check
- \barre % mesure 18
-\notes\org\doubler\qu J\sk\lpz H\cu H\relax
- |\doubler\ql c\sk\upz a\cl a\relax
- |\doubler\zq e\qu g\sk\ds\relax
- &\fourplpl llkj\relax
- &\sixlpl nljlom\enotes
- %\check
- \barre % mesure 19
-\notes\org\doubler\qu I\sk\lpz G\cu G\relax
- |\doubler\ql b\sk\upz N\cl N\relax
- |\qu d\sk\ds\relax
- &\fiveplpl iklmn\relax
- &\threelpl kmp\sk\ds\enotes
-%\check
- \barre % mesure 20
-\notes\org\doubler\qu H\sk\lpz F\cu F\relax
- |\doubler\ql a\sk\upz M\cl M\relax
- |\doubler\zq c\qu e\sk\ds\relax
- &\fourplpl jjih\relax
- &\sixlpl ljhjlj\enotes
- %\check
- \barre % mesure 21
-\notes\org\doubler\qu G\sk\ds\relax
- |\doubler\ql N\sk\ds\relax
- |\doubler\qu {=b}\sk\ds\relax
- &\fiveplpl gh{=i}jk\relax
- &\threelpl {=i}kn\sk\ds\enotes
- %\check
- \barre % mesure 22
-\notes\org\Pause
- |\Pause
- |\doubler\ibu0g0\zq e\qh0g\zq e\qh0g\zq e\tqh0g\relax
- &\fourplpl jlkj\relax
- &\sixlpl lkjklj\enotes
- %\check
- \barre % mesure 23
-\notes\org\Pause
- |\Pause
- |\doubler\ibu0h0\zq {df}\qh0h\zq {df}\qh0h\zq {df}\tqh0h\relax
- &\fourplpl imlk\relax
- &\sixlpl mlklmk\enotes
- %\check
- \barre % mesure 24
-\notes\org\Pause
- |\Pause
- |\doubler\ibu0g0\zq e\qh0g\zq e\qh0g\zq e\tqh0g\relax
- &\fourplpl inml\relax
- &\sixlpl nmlmnl\enotes
- %\check
- \barre % mesure 25
-\notes\org\Pause
- |\Pause
- |\doubler\ibu0h0\zq f\qh0h\zq f\qh0h\zq f\tqh0h\relax
- &\fourplpl ionm\relax
- &\sixlpl pnmlkj\enotes
- %\check
- \barre % mesure 26
-\notes\org \Pause
- |\Pause
- |\doubler\Ibl0hg2\zq g\qb0i\zq f\qb0 h\zq e\tqb0 g\relax
- &\Ibbl0li5\qb0{lkkjj}\tqb0i\relax
- &\rlap{\sk\sk\sk\sk\itenu0l}\sicl iil\enotes
- %\check
- \barre % mesure 27
-\notes\org\Pause
- |\doubler\ql c\sk\cl b\relax
- |\doubler\Ibu0hi2\zq f\qh0{hi}\rq i\zq h\tqh0f\relax
- &\doubler\Ibl0jk2\qb0{jk}\tqb0k\relax
- &\tten0\ibbl0l0\qb0l\tbbl0\qb0m\isluru0m\Pince o\qb0m\sk\sk\tslur0l\tbbl0\tqb0l\enotes
- %\check
- \barre % mesure 28
- \notes\org\doubler\ibl0L0\qb0{LN}\tqb0L\relax
- |\doubler\zq g\ql b\sk\itenu1b\itenu2e\zq e\cl
-b\relax
- |\sixppu iilmnl\relax
- &\sixppl lilmnl\relax
- &\doubler\ql l\sl\ds\enotes
- %\check
- \barre % mesure 29
- \notes\org\doubler\ibl0J0\qb0{IK}\tqb0I\relax
- |\tten1\tten2\doubler\zql b\cu e\qu
-d\cl b\relax
- |\sixppu miklmk\relax
- &\sixppl mimnom\relax
- &\relax\Pause\enotes
- %\check
- \barre % mesure 30
- \notes\org\doubler\ibl0M0\qb0{LN}\tqb0L\relax
- |\doubler\ibl0c0\qb0{be}\tqb0b\relax
- |\sixppl lkjklm\relax
- &\sixppl nmlmno\relax
- &\Pause\enotes
- %\check
- \barre % mesure 31
- \notes\org\qup I\relax
- |\Ibbl0bM5\qb0{bcbaN}\tqb0M\relax
- |\doubler\isluru0k\ql k\sk\tslur0i\cl i\relax
- &\doubler\ql p\sk\ds\relax
- &\Pause\enotes
- %\check
- \barre % mesure 32
- \notes\org\Pause
- |\zmidtwotext{\llap{\bf II}}\doubler\ibl0L0\upz L\qb0L\upz N\qb0 N\upz
-L\tqb0L\relax
- |\doubler\zq g\qu i\sk\zq g\cu i\relax
- &\doubler\ibl0j0\isluru0l\qb0l\tslur0i\qb0i\upz l\tqb0l\relax
- &\uptext{\mf}\sixlpl lilmnl\enotes
- %\check
- \barre % mesure 33
- \notes\org\Pause
- |\doubler\ibu0J0\lpz I\qb0I\lpz K\qb0 K\lpz I\tqh0I\relax
- |\doubler
-\zq f\qu i\sk\zq k\cu i\relax
- &\doubler\ibl0j0\isluru0l\qb0l\tslur0k\qb0k\upz m\tqb0m\relax
- &\Sixlpl mimnom\enotes
- %\check
- \barre % mesure 34
- \notes\org\Pause
- |\doubler\ibl0L0\upz L\qb0L\upz N\qb0 N\upz
-L\tqb0L\relax
- |\doubler\zq i\ql l\sk\zq i\cl l\relax
- &\doubler\ibl0l0\isluru0n\qb0n\tslur0i\qb0i\upz n\tqb0n\relax
- &\sixlpl nmlmno\enotes
- %\check
- \barre % mesure 35
- \notes\org\Pause
- |\doubler\ql b\sk\ds\relax
- |\doubler\zql i\Ibu0lk1\qh0l\tqh0k\ds\relax
- &\doubler\Ibl0nm1\isluru0n\qb0n\tslur0m\tqb0m\ds\relax
- &\doubler\isluru0p\ql p\sk\tslur0i\cl i\ds\enotes
- %\check
- \barre % mesure 36
- \notes\org\Pause
- |\doubler\ql L\sk\ds\relax
- |\doubler\zq e\zq g\ql i\sk\ds\relax
- &\doubler\ql l\sk\ds\relax
- &\Sixlpl ligili\enotes
- %\check
- \barre % mesure 37
- \notes\org\Pause
- |\doubler\ibl0a0\upz c\zq a\qb0c\upz c\zq a\qb0c\upz c\zq a\tqb0c\relax
- |\Pause\relax
- &\sixlpl ljhjlj\relax
- &\threelpl jlo\sk\ds\enotes
- %\check
- \barre % mesure 38
- \notes\org\Pause
- |\doubler\zq M\ql c\sk\ds\relax
- |\doubler\qu{=h}\sk\ds\relax
- &\threelpl {=h}jm\sk\ds\relax
- &\Sixlpl mj{=h}jmj\enotes
- %\check
- \barre % mesure 39
- \notes\org\Pause
- |\doubler\ibl0c0\zq b\upz d\qb0d\zq b\upz d\qb0d\zq b\upz d\tqb0d\relax
- |\Pause\relax
- &\sixlpl mkikmk\relax
- &\threelpl kmp\sk\ds\enotes
- %\check
- \barre % mesure 40
- \notes\org\Pause
- |\doubler\zq N\ql d\sk\ds\relax
- |\doubler\qu{=i}\sk\ds\relax
- &\threelpl {=i}kn\sk\ds\relax
- &\Sixlpl nk{=i}knk\enotes
- %\check
- \barre % mesure 41
- \notes\org\doubler\qu J\sk\cupz F\relax
- |\zmidtwotext{\llap{\bf I}}\doubler\ql c\sk\clpz M\relax
- |\doubler\ds\Ibu0gh1\qh0g\tqh0{_h}\relax
- &\doubler\isluru0l\ql l\sk\tslur0m\clpz m\relax
- &\sixlpl lnlj{_o}m\enotes
- %\check
- \barre % mesure 42
- \notes\org\doubler\qu I\sk\cupz E\relax
- |\doubler
- \ql b\sk\clpz L\relax
- |\doubler\Ibu0fg2\qh0f\qh0 i\tqh0g\relax
- &\doubler\isluru0k\ql k\sk\tslur0j\clpz j\relax
- &\sixlpl kmkinl\enotes
- %\check
- \barre % mesure 43
- \notes\org\doubler\qu H\sk\cupz D\relax
- |\doubler
- \ql a\sk\clpz K\relax
- |\doubler\ds\Ibu0eh1\zq c\qh0e\zq f\tqh0h\relax
- &\Ibl0ji5\isluru0j\qb0j\sk\qb0l\sk\nbbl0\qb0h\tslur0i\tqb0i\relax
- &\sixlpl jljhmk\enotes
- %\check
- \barre % mesure 44
- \notes\org\doubler\qu G\sk\cupz C\relax
- |\doubler\ql N\sk\clpz J\relax
- |\doubler\Ibu0de2\qh0d\qh0g\tqh0e\relax
- &\doubler\isluru0i\ql i\sk\tslur0h\cl h\relax
- &\sixlpl ikiglj\enotes
- %\check
- \barre % mesure 45
- \notes\org\doubler\qu F\sk\cupz I\relax
- |\doubler\ql M\sk\clpz b\relax
- |\doubler\ds\Ibu0cd1\qh0c\tqh0d\relax
- &\itenl0h\qu h\sk\sk\sk\Ibbu0hg1\tten0\qh0h\tqh0g\relax
- &\sixlpu hjhfki\enotes
- %\check
- \barre % mesure 46
- \notes\org\doubler\qu E\sk\cupz C\relax
- |\doubler\ql L\sk\clpz J\relax
- |\doubler\Ibu0dd2\qh0e\qh0N\tqh0e\relax
- &\doubler\islurd0g\qu g\sk\tslur0h\cu {=h}\relax
- &\sixlpu gigej{=h}\enotes
- %\check
- \barre % mesure 47
- \notes\org\doubler\qu D\sk\ds\relax
- |\doubler\ql K\sk\ds\relax
- |\zq c\rq d\qu{^f}\sk\ds\relax
- &\doubler\qu {=h}\sk\ds\relax
- &\sixlpu {^f}df{=h}kh\enotes
- %\check
- \barre % mesure 48
- \notes\org\doubler\qu G\sk\ds\relax
- |\ql N\sk\ds\doubler\relax
- |\doubler\zq {bd}\qu g\sk\ds\relax
- &\doubler\qu i\sk\ds\relax
- &\sixlpl igiknk\enotes
- %\check
- \barre % mesure 49
- \notes\org\doubler\qu J\sk\ds\relax
- |\doubler\ql c\sk\ds\relax
- |\doubler\zq e\qu g\sk\ds\relax
- &\doubler\ql j\sk\ds \relax
- &\sixlpl ljlnqn\enotes
- %\check
- \barre % mesure 50
- \notes\org\doubler\qu K\sk\cupz L\relax
- |\doubler\ql{=a}\sk\ds\relax
- |\doubler\zq d\qu{^f}\sk\zq e\cu g\relax
- &\Ibu0hk5\qh0{=h}\sk\nbbu0\bupz0\qh0h\bupz0\qh0i\bupz0\qh0j\bupz0\tqh0k\relax
- &\rlap{\sk\sk\sk\sk\itenu0n}\sicl {^m}kn\enotes
- %\check
- \barre % mesure 51
- \notes\org\doubler\qu J\sk\cupz G\relax
- |\doubler\ql c\sk\cupz N\relax
- |\doubler
- \ibu0g0\lpz g\qh0g\lpz f\qh0{^f}\lpz g\tqh0g\relax
- &\doubler\Ibl0lj2\qb0l\qb0k\tqb0j\relax
- &\tten0\ibbl0n0\qb0n\tbbl0\qb0{=o}\Pince o\isluru0m\qh0{^m}\sk\sk\tslur0n\tbbl0\tqb0n\enotes
- %\check
- \barre % mesure 52
- \notes\org\doubler\qu G\sk\ds\relax
- |\doubler\ql N\sk\ds\relax
- |\doubler\zq {bd}\qu g\sk\ds\relax
- &\doubler\qu i\sk\ds\relax
- &\sixlpl nknkik\enotes
- %\check
- \barre % mesure 53
- \notes\org\qup G\relax
- |\qlp N\relax
- |\sixppu i{=h}gfed\relax
- &\advance\transpose 7\relax\sixppl kji{=h}gf\relax
- &\doubler\qu g\sk\ds\enotes
- %\check
- \barre % mesure 54
- \notes\org\doubler\qu E\sk\ds\relax
- |\sixppu JKJI{=H}G\relax
- |\doubler\qu c\sk\ds\relax
- &\advance\transpose 7\relax \threeppl egj\sk\ds\relax
- &\Pause\enotes
- %\check
- \barre % mesure 55
- \notes\org\qup F\relax
- |\threeppu {=H}JM\sk\ds\relax
- |\sixppu {=h}gfedc\relax
- &\advance\transpose 7\relax \sixppl ji{=h}gfe\relax
- &\Pause\enotes
- %\check
- \barre % mesure 56
- \notes\org\doubler\qu D\sk\ds\relax
- |\sixppu IJI{=H}GF\relax
- |\doubler\qu b\sk\ds\relax
- &\advance\transpose 7\relax \threeppl dfi\sk\ds\relax
- &\pause\enotes
- %\check
- \barre % mesure 57
- \notes\org\qup E\relax
- |\threeppu GIL\sk\ds\relax
- |\sixppu gfedcb\relax
- &\advance\transpose 7\relax \sixppl i{=h}gfed\relax
- &\Pause\enotes
- %\check
- \barre % mesure 58
- \notes\org\doubler\qu C\sk\ds\relax
- |\sixppu {=H}IHGF{=E}\relax
- |\doubler\qu {=a}\sk\ds\relax
- &\advance\transpose 7\relax \threeppl c{=e}{=h}\sk\ds\relax
- &\Pause\enotes
- %\check
- \barre % mesure 59
- \notes\org\doubler\qu D\sk\ds\relax
- |\threeppu{^F}{=H}K\sk\ds\relax
- |\sixppu {^f}{_e}dcb{=a}\relax
- &\advance\transpose 7\relax \sixppu{=h}g{^f}{_e}dc\relax
- &\Pause\enotes
- %\check
- \barre % mesure 60
- \notes\org\sicu G{=H}I\relax
- |\Ibbl0Nd4\qb0N\qb0{=a}\qb0b\tbbl0\qb0c\tqb0d\sk\relax
- |\Ibbu0bd1\qh0b\tqh0d\itenu1g\qu g\relax
- &\advance\transpose 7\relax \Ibbl0bd1\qb0b\tqb0d\itenu0g\ql g\relax
- &\Pause\enotes
- %\check
- \barre % mesure 61
- \notes\org\doubler\Ibu0IG2\qh0J\qh0K\tqh0D\relax
- |\doubler
- \Ibl0eb2\qb0e\zq{=a}\qb0d\zq a\tqb0c\relax
- |\tten1\ibbu0g0\qh0g\tbbu0\qh0{=h}\qhp0{^f}\sk\sk\tbbu0\tqh0g\relax
- &\advance\transpose 7\relax \tten0\ibbl0g0\qb0g\tbbl0\qb0{=h}\isluru0f\qbp0{^f}\sk\sk\tbbl0\tslur0g\tqb0g\relax
- &\Pause\enotes
- %\check
- \barre % mesure 62
- \notes\org\qup G\relax
- |\zqp{=b}\qlp N\relax
- |\doubler\qup g\relax
- &\relax\advance\transpose 7\relax
- \qlp g\relax
- &\Pause\enotes
- \ifOrgue
- \setrightrepeat
- \alapage % mesure 63
- \addspace{-\afterruleskip}%
- \leftrepeatsymbol
- \else
- \setleftrightrepeat
- \barre % mesure 63
- \fi
- \notes\org\triou GIG\relax
- |\zmidtwotext{\llap{\bf I}}\triol NbN\relax
- |\doubler\zq d\qu g\sk\zq d\cu g\relax
- &\fourplpl ikji\relax
- &\sixlpl nknopn\enotes
- %\check
- \barre % mesure 64
- \notes\org\triou JIH\relax
- |\triol cba\relax
- |\doubler\zq c\zq {=e}\qu g\sk \itenl0c\zq c\cu h\relax
- &\doubler\ql n\sk\itenu1 j\cl j\relax
- &\Ibl0lh5\qbp0{=l}\sk\sk\nbbl0\qb0{jm}\tqb0h\enotes
- %\check
- \barre % mesure 65
- \notes\org\triou IJJ\relax
- |\triol bcc\relax
- |\doubler\tten0\ibu0g0\zq c\qh0g\rq g\qh0f\zq{=e}\tqh0g\relax
- &\doubler\tten1\ql j\sk\cl j\relax
- &\ibbl0i0\qb0{gmgmg}\tqb0{=l}\enotes
- %\check
- \barre % mesure 66
- \notes\org\qu F\sk\ds\relax
- |\triol MaM\relax
- |\doubler\qu h\sk\ds\relax
- &\Sixlpl mjmnom\relax
- &\doubler\ql m\sk\ds\enotes
- %\check
- \barre % mesure 67
- \notes\org\Pause
- |\doubler\qu I\sk\cu J\relax
- |\ibu0i0\zqp h\zqp f\qhp0f\sk\sk\nbbu0\qh0{ij}\tqh0g\relax
- &\doubler\ql k\sk\clpz l\relax
- &\Pause\enotes
- %\check
- \barre % mesure 68
- \notes\org\Pause
- |\triou HII\relax
- |\ibbl0h0\qb0{flflf}\tqb0k\relax
- &\triopl mmm\relax
- &\Pause\enotes
- %\check
- \barre % mesure 69
- \notes\org\Pause
- |\triopl LNL\relax
- |\doubler\ibu0i0\lpz g\zq g\qh0i\lpz g\zq g\qh0i\lpz g\zq g\tqh0i\relax
- &\doubler\ql l\sk\clpz l\relax
- &\sixlpl lilmnl\enotes
- %\check
- \barre % mesure 70
- \notes\org\Pause
- |\triopl IKI\relax
- |\doubler\ibu0i0\lpz d\zq d\zq f\qh0i\lpz d\zq d\zq f\qh0i\lpz
-d\zq d\zq f\tqh0i\relax
- &\doubler\ql l\sk\clpz m\relax
- &\Sixlpl mimnom\enotes
- %\check
- \barre % mesure 71
- \notes\org\Pause
- |\triopl LNL\relax
- |\doubler\ibu0k0\lpz g\zq g\zq i\qh0l\lpz g\zq g\zq i\qh0l\lpz
-g\zq g\zq i\tqh0l\relax
- &\doubler\ql n\sk\clpz n\relax
- &\sixlpl nmlmno\enotes
- %\check
- \barre % mesure 72
- \Notes\org\sl\qsk\pause
- |\ql b\sk\ds\relax
- |\zql i\Ibu0lk1\qh0l\tqh0k\ds\relax
- &\Ibl0nm1\isluru0n\qh0n\tslur0m\tqb0m\ds\relax
- &\isluru0p\ql p\sk\tslur0i\cl i\enotes
- %\check
- \barre % mesure 73
-%
- \def\sixllpl#1#2#3#4#5#6{\Ibbl0{#1}{#6}5%
-\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\isluru0{#3}\qb0{#3}%
-\tslur0{#4}\qb0{#4}\upz{#5}\qb0{#5}\upz{#6}\tqb0{#6}}%
-%
- \def\sixllpu#1#2#3#4#5#6{\Ibbu0{#1}{#6}5%
-\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\islurd0{#3}\qh0{#3}%
-\tslur0{#4}\qh0{#4}\lpz{#5}\qh0{#5}\lpz{#6}\tqh0{#6}}%
-%
- \def\sixllll#1#2#3#4#5#6{\Ibbl0{#1}{#6}5%
-\isluru0{#1}\qb0{#1}\tslur0{#2}\qb0{#2}\isluru0{#3}\qb0{#3}%
-\tslur0{#4}\qb0{#4}\isluru0{#5}\qb0{#5}\tslur0{#6}\tqb0{#6}}%
-%
- \def\sixlllu#1#2#3#4#5#6{\Ibbu0{#1}{#6}5%
-\islurd0{#1}\qh0{#1}\tslur0{#2}\qh0{#2}\islurd0{#3}\qh0{#3}%
-\tslur0{#4}\qh0{#4}\islurd0{#5}\qh0{#5}\tslur0{#6}\tqh0{#6}}%
-%
- \notes\org\Pause
- |\zmidtwotext{\bf II}\doubler\ql L\sk\ds\relax
- |\doubler\zq e\zq g\ql i\sk\ds\relax
- &\doubler\ql l\sk\ds\relax
- &\uptext{\p}\sixllpl liij{_k}k\enotes
- %\check
- \barre % mesure 74
- \notes\org\Pause
- |\doubler\ibl0a0\upz a\qb0a\upz a\qb0a\upz a\tqb0a\relax
- |\doubler\soupir\ibu0e0\lpz c\qh0c\lpz c\zq c\tqh0e\relax
- &\sixllpu ihhijj\relax
- &\usf m\threell {_k}jj\enotes
- %\check
- \barre % mesure 75
- \notes\org\Pause
- |\doubler\zq M\ql{=a}\sk\ds\relax
- |\qu e\sk\ds\relax
- &\doubler\ql j\sk\ds\relax
- &\sixllpl mjj{=k}ll\enotes
- %\check
- \barre % mesure 76
- \notes\org\Pause
- |\doubler\ibl0b0\upz b\qb0b\upz b\qb0b\upz b\tqb0b\relax
- |\doubler\soupir\ibu0f0\lpz d\qh0d\lpz d\zq f\tqh0d\relax
- &\sixllpl jiijkk\relax
- &\usf m\threell lkk\enotes
- %\check
- \barre % mesure 77
- \notes\org\Pause
- |\doubler\zq N\ql{=b}\sk\ds\relax
- |\doubler\qu f\sk\ds\relax
- &\doubler\ql k\sk\ds\relax
- &\sixllpl nkklmm\enotes
- %\check
- \barre % mesure 78
- \notes\org\Pause
- |\doubler\ibl0c0\upz c\qb0c\upz c\qb0c\upz c\tqb0c\relax
- |\doubler\soupir\ibu0g0\lpz e\qh0e\lpz e\zq e\tqh0g\relax
- &\sixllpl kjjkll\relax
- &\usf n\threell mll\enotes
- %\check
- \barre % mesure 79
- \notes\org\Pause
- |\doubler\zq a\ql c\sk\ds\relax
- |\doubler\qu {_g}\sk\ds\relax
- &\doubler\ql l\sk\ds\relax
- &\sixllpl ollm{_n}n\enotes
- %\check
- \barre % mesure 80
- \notes\org\Pause
- |\doubler\ibl0d0\upz d\qb0{_d}\upz d\qb0d\upz d\tqb0d\relax
- |\doubler\soupir\ibu0h0\lpz f\qh0f\lpz f\zq h\tqh0f\relax
- &\sixllpl l{_k}klmm\relax
- &\sixlpl {_n}mm{=n}op\enotes
- %\check
- \barre % mesure 81
- \notes\org\doubler\soupir\sk\cu J\relax
- |\doubler\ust e\ql e\sk\zmidtwotext{\bf I}\clpz c\relax
- |\doubler\lst g\qu g\sk\zq h\upz l\ql l\relax
- &\doubler\ql l\sk\clpz o\relax
- &\ibbl0k0\isluru0k\qb0{_k}\qb0j\tslur0k\qb0k\upz m\qb0m\upz l\qh0l\upz k\tqb0k\enotes
- %\check
- \barre % mesure 82
- \notes\org\triopl {_K}LE\relax
- |\triopl {_d}eL\relax
- |\doubler\Ibu0ki2\zq f\qh0m\zq i\qh0l\zq i\tqh0{_k}\relax
- &\triopl oon\relax
- &\uptext{\f}%
- \Ibbl0in1\isluru0j\qb0j\tslur0o\tqb0o\Ibl0ih3\Pince m\isluru0i\qbp0i\sk\sk\tslur0h\tbbl0\tqb0h\enotes
- %\check
- \barre % mesure 83
- \notes\org\triopu HJH\relax
- |\triopl aca\relax
- |\zq h\sixppu jehijh\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl hehijh\relax
- &\relax\doubler\qu h\sk\ds\enotes
- %\check
- \barre % mesure 84
- \notes\org\triopu EGE\relax
- |\triopu LNL\relax
- |%\rlap{\roff{\ql h}\sk\ql g}%
- \sixppu ieij{_k}i\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\Sixppl ieij{_k}i\relax
- &\Pause\enotes
- %\check
- \barre % mesure 85
- \notes\org\doubler\qu H\sk\cupz H\relax
- |\doubler\ql a\sk\clpz a\relax
- |\sixppu hgfghi\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl jihij{=k}\relax
- &\Pause\enotes
- %\check
- \barre % mesure 86
- \Notes\org\qup E\relax
- |\qlp L\relax
- |\zq g\qu i\sk\cu e\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\isluru0l\ql l\sk\tslur0e\cl e\relax
- &\sk\qsk\pause\enotes
- %\check
- \barre % mesure 87
- \notes\org\qup J\relax
- |\doubler\qlp c\sk\zmidtwotext{\bf II}\relax
- |\zqp e\zqp h\qlp l\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\qlp h\relax
- &\sixlpl ljhjlh\enotes
- %\check
- \barre % mesure 88
- \notes\org\Pause
- |\doubler\ibl0L0\zq {_K}\upz a\qb0a\zq K\upz a\qb0a\zq K\upz a\tqb0a\relax
- |\Pause\relax
- &\sixlpl om{_k}mom\relax
- &\doubler\ql m\sk\ds\enotes
- %\check
- \barre % mesure 89
- \notes\org\Pause
- |\doubler\zq I\ql a\sk\ds\relax
- |\doubler\ql i\sk\ds\relax
- &\doubler\ql{=k}\sk\ds\relax
- &\sixlpl mkikmi\enotes
- %\check
- \barre % mesure 90
- \notes\org\Pause
- |\doubler\ibl0L0\zq L\upz N\qb0N\zq L\upz N\qb0N\zq L\upz N\tqb0N\relax
- |\Pause\relax
- &\sixlpl pnlnpn\relax
- &\doubler\ql n\sk\ds\enotes
- %\check
- \barre % mesure 91
- \notes\org\Pause
- |\doubler\zq J\ql N\sk\ds\relax
- |\doubler\ql j\sk\ds\relax
- &\doubler\ql{=l}\sk\ds\relax
- &\sixlpl n{=l}jlnj\enotes
- %\check
- \barre % mesure 92
- \notes\org\Pause
- |\doubler\isluru0a\Ibbl0Ma2\zq M\qb0a\zq N\qb0 b\tslur0c\zq
-a\tqb0c\relax
- |\rlap{\triol f{=e}f}\Ibu0jg5\qhp0j\sk\sk\nbbu0\qh0i\qh0h\tqh0g\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\Ibl0jg5\qbp0j\sk\sk\nbbl0\qb0i\qb0h\tqb0g\relax
- &\Ibl0ol5\isluru0o\qbp0o\sk\sk\nbbl0\qb0n\qb0m\tslur0l\tqb0{=l}\enotes
- %\check
- \barre % mesure 93
- \notes\org\Pause
- |\doubler\Ibl0bK2\lq b\qb0c\qb0c\zq b\tqb0J\relax
- |\zcl f\Ibbu0hj4\qh0h\tbbu0\qh0i\zql{=e}\qh0g\sk\tqh0j\relax
- &\Ibbl0oq4\qb0o\tbbl0\qb0p\qb0n\sk\tqb0q\relax
- &\ibbl0m0\isluru0m\qb0m\tslur0n\tbbl0\qb0n\Pince n\isluru0l\qbp0{=l}\sk\sk\tbbl0\tslur0m\tqb0m\enotes
- %\check
- \barre % mesure 94
- \notes\org\triopu MFF\relax
- |\zmidtwotext{\bf I}\triopl aMM\relax
- |\sixlpu jhfhjf\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl jhfhjf\relax
- &\doubler\ql m\sk\ds\enotes
- %\check
- \barre % mesure 95
- \notes\org\qup I\relax
- |\triopl bbb\relax
- |\doubler\ql {_k}\sk\ds\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\ql{_k}\sk\ds\relax
- &\sixlpl m{_k}ikmi\enotes
- %\check
- \barre % mesure 96
- \notes\org\triopu EEE\relax
- |\qup L\relax
- |\sixlpu igegie\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl igegie\relax
- &\doubler\ql n\sk\ds\enotes
- %\check
- \barre % mesure 97
- \notes\org\qup H\relax
- |\triopl aaa\relax
- |\doubler\ql j\sk\ds\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\ql j\sk\ds\relax
- &\sixlpl ljhjlh\enotes
- %\check
- \barre % mesure 98
- \notes\org\triopu {_D}DD\relax
- |\qup {_K}\relax
- |\sixlpu hf{_d}fhd\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl hf{_d}fhd\relax
- &\doubler\ql m\sk\ds\enotes
- %\check
- \barre % mesure 99
- \notes\org\qup G\relax
- |\triopl NNN\relax
- |\doubler\ql i\sk\ds\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\ql i\sk\ds\relax
- &\sixlpl {_k}igikg\enotes
- %\check
- \barre % mesure 100
- \notes\org\triopu CCC\relax
- |\qup J\relax
- |\sixlpu g{=e}cegc\relax
- &\ifx\Quer\undefined \advance\transpose 7\fi\sixppl g{=e}cegc\relax
- &\doubler\ql n\sk\ds\enotes
- %\check
- \barre % mesure 101
- \notes\org\triopu FFF\relax
- |\zqup c\triopl MMM\relax
- |\islurd0h\Ibbu0he5\qh0{hihgf}\tslur0e\tqh0e\relax
- &\ifx\Quer\undefined \advance\transpose 7\relax\isluru0h\Ibbl0he5\qb0{hihgf}\tslur0e\tqb0e\relax
- \else\isluru0h\Ibbu0he5\qh0{hihgf}\tslur0e\tqh0e\fi
- &\isluru0m\Ibbl0mj5\qb0{mnml=k}\tslur0j\tqb0j\enotes
- %\check
- \barre % mesure 102
- \notes\org\doubler\qu G\sk\ds\relax
- |\doubler\zql
-N\cu{=b}\sk\ds\relax
- |\doubler\ibu0g0\qh0d\rq g\zq d\qh0f\rq g\zq d\tqh0f\relax
- &\doubler\ifx\Quer\undefined \Ibu0ki2\qh0k\else\Ibu0gi2\qh0d\fi\qh0{=i}\tqh0i\relax
- &\ibbu0h0\rlap{\sl\islurd0g}\qh0{=igigi}\tslur0g\tqh0g\enotes
- %\check
- \barre % mesure 103
- \notes\org\doubler\qu J\sk\cu{=I}\relax
- |\doubler\ql c\sk\cl{=b}\relax
- |\doubler\ibu0g0\zq
-e\qh0g\zq e\qh0g\zq d\tqh0 g\relax
- &\triopl jjk\relax
- &\ibbl0i0\isluru0j\qb0{jgjgk}\tslur0j\tqb0g\enotes
- %\check
- \barre % mesure 104
- \notes\org\sicu J{_I}H\relax
- |\sicl c{_b}a\relax
- |\doubler\ibu0i0\zq e\zq j\qh0g\zq e\zq j\qh0g\zq
-f\zq j\tqh0h\relax
- &\triopl llm\relax
- &\ibbl0i0\isluru0l\qb0{lglgm}\tslur0l\tqb0h\enotes
- %\check
- \barre % mesure 105
- \notes\org\doubler\qu G\sk\cupz J\relax
- |\doubler\ql N\sk\clpz c\relax
- |\doubler\ibl0h0\zq
-g\zq{=i}\qb0m\zq{gi}\qb0k\zq h\tqb0j\relax
- &\Ibl0nk4\isluru0n\qbp0n\sk\sk\nbbl0\qb0{ml}\tslur0k\tqb0k\relax
- &\Ibl0nk4\isluru0n\qbp0n\sk\sk\nbbl0\qb0{ml}\tslur0k\tqb0k\enotes
- %\check
- \barre % mesure 106
- \notes\org\triopu MNG\relax
- |\triopl ffN\relax
- |\doubler\zq h\cl j\zql g\Ibu0ji1\qh0j\tqh0{=i}\relax
- &\isluru0l\Ibbl0lm1\qb0l\tslur0m\tqb0m\ql k\relax
- &\Ibbl0lj5\isluru0l\qb0l\tslur0m\tbbl0\qb0m\isluru0k\Pince n\qbp0k\sk\sk\tslur0j\tbbl0\tqb0j\enotes
- %\check
- \barre % mesure 107
- \notes\org\qup J\relax
- |\triopl eec\relax
- |\doubler\ql j\sk\ds\relax
- &\sixppu jgjklj\relax
- &\doubler\ql j\sk\ds\enotes
- %\check
- \barre % mesure 108
- \notes\org\qup G\relax
- |\qlp N\relax
- |\doubler\cl j\ql{=i}\relax
- &\sixppu kgklmk\relax
- &\Pause\enotes
- %\check
- \barre % mesure 109
- \notes\org\qup J\relax
- |\doubler\Ibl0ec2\zq e\qb0g\zq d\qb0f\zq c\tqb0e\relax
- |\sixppl j{=i}jklm\relax
- &\sixppl lklmno\relax
- &\Pause\enotes
- %\check
- \barre % mesure 110
- \notes\org\qup G\relax
- |\sixppl NaNMLK\relax
- |\doubler\zqlp d\qu {=i}\sk\cu g\relax
- &\doubler\isluru0n\ql n\sk\tslur0h\cu g\relax
- &\Pause\enotes
- %\check
- \barre % mesure 111
- \notes\org\doubler\qu J\sk\ds\relax
- |\doubler\ql c\sk\ds\relax
- |\doubler\ibl0h0\zq g\upz j\qb0j\upz
-j\qb0j\upz g\tqb0g\relax
- &\triopl ljn\relax
- &\uptext{\mf}\sixppl nmlkji\enotes
- %\check
- \barre % mesure 112
- \notes\org\qup F\relax
- |\sixppl MNMLKJ\relax
- |\sixppu hihgfe\relax
- &\sixppl oponml\relax
- &\threell hjm\sk\ds\enotes
- %\check
- \barre % mesure 113
- \notes\org\doubler\qu I\sk\ds\relax
- |\doubler\ql b\sk\ds\relax
- |\threelu dfi\sk\ds\relax
- &\threell kmp\sk\ds\relax
- &\sixppl mlkjih\enotes
- %\check
- \barre % mesure 114
- \notes\org\qup E\relax
- |\sixppl LMLKJI\relax
- |\sixppu ghgfed\relax
- &\sixppl nonmlk\relax
- &\threell gil\sk\ds\enotes
- %\check
- \barre % mesure 115
- \notes\org\doubler\qu H\sk\ds\relax
- |\doubler\ql a\sk\ds\relax
- |\threelu ceh\sk\ds\relax
- &\threell jlo\sk\ds\relax
- &\sixppl lkjihg\enotes
- %\check
- \barre % mesure 116
- \notes\org\doubler\qup D\relax
- |\sixppl KLKJIH\relax
- |\sixppu fgfedc\relax
- &\sixppl mnmlkj\relax
- &\threell fhk\sk\ds\enotes
- %\check
- \barre % mesure 117
- \notes\org\doubler\qu G\sk\ds\relax
- |\doubler\ql N\sk\ds\relax
- |\threelu {=b}dg\sk\ds\relax
- &\threell {=i}kn\sk\ds\relax
- &\sixppl kj{=i}hgf\enotes
- %\check
- \barre % mesure 118
- \notes\org\sicu JKL\relax
- |\doubler\zq N\cl c\soupir\relax
- |\Ibbu0eg4\lpz e\qh0e\lpz
-d\qh0d\lpz e\qh0 e\lpz f\tbbu0\qh0f\lpz g\tqh0g\relax
- &\advance\transpose 7\relax\Ibbl0eg4\upz e\qb0e\upz
-d\qb0d\upz e\qb0 e\upz f\tbbl0\qb0f\upz g\tqb0g\relax
- &\islurd0e\Ibbu0eg1\qh0e\tslur0g\tqh0g\itenu0j\ql j\enotes
- %\check
- \barre % mesure 119
- \notes\org\triopu MNG\relax
- |\triopl c{=b}N\relax
- |\doubler\Ibu0hf2\lpz e\zq e\qh0h\lpz
-d\zq d\qh0g\lpz d\zq d\tqh0f\relax
- &\triopl onm\relax
- &\tten0\ibbl0j0\isluru0j\qb0j\tslur0k\tbbl0\qb0k\Pince n\isluru0i\qlp{=i}\sk\sk\tbbl0\tslur0j\tqb0j\enotes
- %\check
- \barre % mesure 120
- \notes\org\doubler\qu J\sk\cupz I\relax
- |\doubler\ql N\sk\ds\relax
- |\doubler\zq c\qu e\sk\ds\relax
- &\doubler\ql l\sk\ds\relax
- &\sixllll joonnm\enotes
- %\check
- \barre % mesure 121
- \notes\org\doubler\qu H\sk\cupz F\relax
- |\doubler\ql a\sk\clpz M\relax
- |\triou cff\relax
- &\sixlllu fjkjj{=i}\relax
- &\Ibl0mk5\qb0{mm}\isluru0m\qb0m\tslur0l\qb0l\isluru0l\qh0l\tslur0k\tqb0k\enotes
- %\check
- \barre % mesure 122
- \notes\org\qup G\relax
- |\doubler\ql N\sk\clpz N\relax
- |\doubler\ibu0f0\zq d\qh0f\rq f\zq d\qh0g\rq f\zq d\tqh0g\relax
- &\triopu {=i}ii\relax
- &\Ibbl0ih5\qb0{kg=igi}\tqb0g\enotes
- %\check
- \barre % mesure 123
- \notes\org\doubler\qu J\sk\cupz{=I}\relax
- |\doubler\ql c\sk\clpz {=b}\relax
- |\doubler\ibu0f0\zq e\qh0g\zq e\qh0g\zq d\tqh0g\relax
- &\triopl jjk\relax
- &\Ibbl0hi5\qb0{jgjgk}\tqb0g\enotes
- %\check
- \barre % mesure 124
- \notes\org\sicu J{_I}H\relax
- |\doubler\ql c\sk\clpz a\relax
- |\doubler\ibu0h0\zq {eg}\qh0j\zq {eg}\qh0j\zq {fh}\tqh0j\relax
- &\triopl llm\relax
- &\Ibbl0hi5\qb0{lglgm}\tqb0h\enotes
- %\check
- \barre % mesure 125
- \notes\org\doubler\qu G\sk\cupz H\relax
- |\doubler\cl N\sk\clpz c\relax
- |\doubler\ibl0h0\zq{m=i}\qb0g\zq{ki}\qb0g\tqb0j\relax
- &\Ibl0nk5\isluru0n\qbp0n\sk\sk\nbbl0\qb0{ml}\tslur0k\tqb0k\relax
- &\Ibl0nk5\isluru0n\qbp0n\sk\sk\nbbl0\qb0{ml}\tslur0k\tqb0k\enotes
- %\check
- \barre % mesure 126
- \notes\org\triopu FGG\relax
- |\doubler\ql a\qu d\zq N\cl N\relax
- |\doubler\zq j\cl h\zql f\Ibu0ji1\qh0j\tqh0{=i}\relax
- &\Ibbl0lm1\qb0l\tqb0m\ql k\relax
- &\isluru0l\Ibbl0lj5\qb0l\tslur0q\tbbl0\qb0q\Pince n\isluru0k\qbp0k\sk\sk\tbbl0\tslur0j\tqb0j\enotes
- \setvoltabox{1}%\check
- \barre % mesure 127
- \Notes\org\qu J\sk\ds\relax
- |\ql c\sk\ds\relax
- |\zq e\zq g\qu j\sk\ds\relax
- &\ql j\sk\ds\relax
- &\ql j\sk\ds\enotes
- \endvoltabox
- \nspace
-\setrightrepeat
- \setvoltabox{2}\setrightrepeat%\check
- \barre % mesure 128
- \NOtes\org\qup J\relax
- |\qlp c\relax
- |\zqp e\zqp g\qup j\relax
- &\qlp j\relax
- &\qlp j\enotes
- \endvoltabox
-\ifOrgue \advance\mulooseness -1\relax
-\else \advance\mulooseness 1\relax
-\fi
-\finmorceau
-
-\bye
-
diff --git a/macros/musixtex/doc/examples/marconf.tex b/macros/musixtex/doc/examples/marconf.tex
deleted file mode 100644
index 048ab60276..0000000000
--- a/macros/musixtex/doc/examples/marconf.tex
+++ /dev/null
@@ -1,21 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\newif\ifOrgue
-\Orguefalse
-\newif\ifFlute
-\Flutetrue
-\newif\ifOboe
-\Oboefalse
-%\def\Quer{z} % define Querfl\"ote
-%
-%
-\input marcon1.tex
-\eject
-\input marcon2.tex
-\eject
-\input marcon3.tex
-\bye
-
diff --git a/macros/musixtex/doc/examples/marconh.tex b/macros/musixtex/doc/examples/marconh.tex
deleted file mode 100644
index fa7aa31533..0000000000
--- a/macros/musixtex/doc/examples/marconh.tex
+++ /dev/null
@@ -1,20 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\newif\ifOrgue
-\Orguefalse
-\newif\ifFlute
-\Flutefalse
-\newif\ifOboe
-\Oboetrue
-%\def\Quer{z} % define Querfl\"ote
-%
-\input marcon1.tex
-\eject
-\input marcon2.tex
-\eject
-\input marcon3.tex
-\bye
-
diff --git a/macros/musixtex/doc/examples/marcono.tex b/macros/musixtex/doc/examples/marcono.tex
deleted file mode 100644
index eb28d9a12e..0000000000
--- a/macros/musixtex/doc/examples/marcono.tex
+++ /dev/null
@@ -1,19 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\newif\ifOrgue
-\Orguetrue
-\newif\ifFlute
-\Flutefalse
-\newif\ifOboe
-\Oboefalse
-%\def\Quer{z} % define Querfl\"ote
-%
-\input marcon1.tex
-\eject
-\input marcon2.tex
-\eject
-\input marcon3.tex
-\bye
diff --git a/macros/musixtex/doc/examples/musixdbrexample.tex b/macros/musixtex/doc/examples/musixdbrexample.tex
deleted file mode 100644
index 94bd968e56..0000000000
--- a/macros/musixtex/doc/examples/musixdbrexample.tex
+++ /dev/null
@@ -1,52 +0,0 @@
-\input musixtex
-\input musixdbr
-
-\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14
-\setsize2\tinyvalue
-\indivbarrules
-
-\startpiece
- % normal barlines
- \bar
- % separate instrument 2 from 1
- \sepbarrule2\bar
- % barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showbarrule
- \bar
- % barlines between staves
- \allbarrules\conbarrule
- \allbarrules\conmultibarrule
- \allbarrules\hidebarrule
- \bar
- % dashed barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showdashbarrule
- \bar
- % dashed barlines between staves
- \allbarrules\condashbarrule
- \allbarrules\condashmultibarrule
- \allbarrules\hidebarrule
- \bar
- % dotted barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showdotbarrule
- \bar
- % dotted barlines between staves
- \allbarrules\condotbarrule
- \allbarrules\condotmultibarrule
- \allbarrules\hidebarrule
- \bar
- % a wild mixture of all
- \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
- \condashbarrule2\conbarrule3\condotbarrule4%
- \condashmultibarrule2\sepmultibarrule3%
- \bar
- % conventional ending
- \allbarrules\showbarrule
- \allbarrules\conbarrule
- \allbarrules\conmultibarrule
-\Endpiece \bye
diff --git a/macros/musixtex/doc/examples/onuitbri.tex b/macros/musixtex/doc/examples/onuitbri.tex
deleted file mode 100644
index 55bc22b61c..0000000000
--- a/macros/musixtex/doc/examples/onuitbri.tex
+++ /dev/null
@@ -1,25 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-
-\advance\staffbotmarg by 2\Interligne
-\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{0}%
-\def\Signature{3}\relax % trois diezes a la clef
-\input onuitbrx
-\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{1}\relax
-\def\Signature{-2}\relax % deux diezes a la clef
-\input onuitbrx
-\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{2}\relax
-\def\Signature{0}\relax % un bemol a la clef
-\input onuitbrx
-\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{-1}\relax
-\def\Signature{1}\relax % un bemol a la clef
-\input onuitbrx
-\bye
-
diff --git a/macros/musixtex/doc/examples/onuitbrr.tex b/macros/musixtex/doc/examples/onuitbrr.tex
deleted file mode 100644
index 2a07b1c619..0000000000
--- a/macros/musixtex/doc/examples/onuitbrr.tex
+++ /dev/null
@@ -1,12 +0,0 @@
-%
-
-%
-\def\Transpose{0}%
-\def\Signature{3}\relax % trois diezes a la clef
-\input onuitbrx
-\signaturegenerale{1}\savesignature\barsinline=0\relax\linesinpage=0\relax
-\def\Transpose{-1}\relax
-\def\Signature{1}\relax % un dieze a la clef
-\input onuitbrx
-\bye
-
diff --git a/macros/musixtex/doc/examples/onuitbrx.tex b/macros/musixtex/doc/examples/onuitbrx.tex
deleted file mode 100644
index b18ba5f25e..0000000000
--- a/macros/musixtex/doc/examples/onuitbrx.tex
+++ /dev/null
@@ -1,174 +0,0 @@
-\fulltitle{\^O nuit brillante}
-\shorttitle{\^O nuit brillante}
- \fullauthor{No\"el ancien\\Musique A. Sala\\Texte J. Bovet\\Transposition
-Daniel Taupin}
- \othermention{Paroisse de Gif-sur-Yvette\\Transposition \`a usage
-priv\'e}
- \shortauthor{Traditionnel -- A. Sala}
- \maketitle
- %
-\tracingstats=1\relax
-\relativeaccidentals
-\sepbarrules
- %
-\parindent 15mm
- % soufflets crescendo et decrescendo
- %
-\def\soufflcr#1{\zcharnote{#1}{\kern -0.5cm\cresc}}%
-\def\Soufflcr#1{\zcharnote{#1}{\kern -0.5cm\CResc}}%
- %
-\def\souffldim#1{\zcharnote{#1}{\kern -0.5cm\dimin}}%
-\def\Souffldim#1{\zcharnote{#1}{\kern -0.5cm\DImin}}%
- %
- %\check
-\def\nbinstruments{2}\resetsignatures
-\global\nbporteesi=1\relax
-\global\nbporteesii=1\relax
-\global\cleftoksi={{6}{0}{0}{0}}%
-\global\cleftoksii={{0}{0}{0}{0}}%
-\songbottom{1} % to be used to make heavy bars at staff left
-\songtop{2} % to be used to make heavy bars at staff left
- %
-\signaturegenerale{\Signature}%
-\generalmeter{\meterfrac68}
- %\check
-\def\interfacteur{18}%
-\def\instrumenti{\vbox{\hsize=\parindent
-\centerline{T\'enors}\centerline{basses}}}%
-\def\instrumentii{\vbox{\hsize=\parindent
-\centerline{Sopran.}\centerline{Altos}}}%
- %\check
- %
-\def\eightpoint{\Tenpoint}%
- %\check
-\catcode`\@=13
-\catcodesmusic
- %
-\def\respire{\notes&\cbreath\enotes}%
- %
-\def\txt#1|#2&{{\vbox to 0pt{\Smalltype\baselineskip 9pt
-\vss\hrule width 9pt height 0pt
-\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote
- #2\kern\internote}\smallskip
-\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote
- #1\kern\internote}\kern -6pt}}}%
- %
-\elemskip 20pt\relax
-\debutmorceau
- %\autolines 754\relax
-\transpose=\Transpose
-\znotes&\Uptext{\moyen Lent}\enotes
- %
-\znotes\zcharnote {-3}{\ppff p}&\zcharnote{10}{\ppff p}\enotes
-\qspace
-\NOtes\zqlp M\qup a&\hsong{\^O}\zqlp c\qup f\enotes
-\notes\zql L\qu b\sk&\zsong{nuit }\zql e\Ibu0gf1\qh0g\tqh0f\enotes
-\notes\zcl L\cu b&\hsong{bri-}\zcl e\cu g\enotes
- %
- \barre
- \Notes\islurd0J\zql J\isluru1c\qu c&\hsong{lan-}\zqlp e\isluru2h\qu h\enotes
- \notes\tslur0L\tslur1b\zcl L\cu b&\hsong{--}\tslur2g\cu g\enotes
- \Notes\zql M\qu a&\hsong{te}\zql c\qu f\enotes
- \notes\ds&\ds\enotes
- %
- \barre
- \Notes\zql K\qu d&\hsong{Nuit }\zql f\qu h\enotes
- \notes\zcl L\cu b&\hsong{de }\zcl e\cu g\enotes
- \notes\zcl M\cu a&\hsong{vi-}\zcl c\cu f\enotes
- \notes\zcl N\cu N&\hsong{ve }\zcl b\cu e\enotes
- \hardlyrics{\kern -4pt splen-}\notes\zcl L\cu b&\hsong\thelyrics\zcl e\cu g\enotes
- %
- \barre
- \NOtes\itenl0M\itenu1a\zqlp M\qup a&\hsong{deur.}\itenl2c\itenu3f\zqlp c\qup f\enotes
- \Notes\tten0\tten1\zql M\qu a&\hsong{--}\tten2\tten3\zql c\qu f\enotes
- \notes\ds&\ds\enotes
- %
- \barre
- \Notes\zql M\qu a&\hsong{Ta }\zql c\qu f\enotes
- \notes\zcl M\cu b&\Soufflcr q\hsong{lu-}\zcl e\cu g\enotes
- \hardlyrics{\kern -4pt mi\`ere }\notes\zcl M\cu c&\hsong\thelyrics\zcl f\cu h\enotes
- \notes\zcl M\cu d&\hsong{\'e-}\zcl g\cu i\enotes
- \notes\zcl M\cu e&\hsong{cla-}\zcl h\cu j\enotes
- %
- \barre
- \Notes\islurd0I\zql I\isluru1d\qu d&\roff{\Souffldim q}\hsong{tan-}\zqlp f\isluru2i\qu i\enotes
- \notes\tslur0K\tslur1c\zcl I\cu c&\hsong{--}\tslur2g\cu h\enotes
- \Notes\zql L\qu b&\hsong{te}\zql e\qu g\enotes
- \notes\ds&\ds\enotes
- %
- \barre
- \Notes\zql H\qu c&\hsong{Fait }\zql e\qu h\enotes
- \notes\zcl L\cu b&\hsong{le }\zcl e\cu g\enotes
- \hardlyrics{jour }\notes\zcl M\cu a&\hsong\thelyrics\zcl c\cu f\enotes
- \hardlyrics{dans }\notes\zcl N\cu N&\hsong\thelyrics\zcl b\cu e\enotes
- \notes\zcl L\cu b&\zsong{mon }\zcl e\cu g\enotes
- %
- \barre
- \NOtes\itenl0M\itenu1a\zqlp M\qup a&\hsong{c\oe ur.}\itenl2c\itenu3f\zqlp c\qup f\enotes
- \notes\tten0\tten1\zql M\qu a&\hsong{--}\tten2\tten3\zql c\qu f\enotes
- \notes&\uptext{\sl FIN}\enotes
- \setdoublebar
- \barre
- \znotes\zcharnote {-3}{\ppff f}&\zcharnote{10}{\ppff f}\enotes
- \qspace
- \notes\zcl a\cu e&\hsong{\txt Mer-|\'E-&}\zcl h\cu
-j\enotes
- %
- \barre
- \NOtes\zqlp a\zqup e&\hsong{\txt veil-|toi-&}\zqlp h\qup j\enotes
- \notes\zql L\qu e&\hsong{\txt le !|les !&}\zql g\qu i\enotes
- \respire
- \notes\zcl L\cu e&\hsong{\txt Mer-|\'E-&}\zcl g\cu j\enotes
- %
- \barre
- \Notes\zqlp M\qup c&\hsong{\txt veil-|toi-&}\zqlp f\isluru2i\qu i\enotes
- \notes&\hsong{--}\tslur2h\cu h\enotes
- \Notes\zql J\qu c&\hsong{\txt le !|les !&}\zql e\qu g\enotes
- \notes\ds&\ds\enotes
- %
- \barre
- \hardlyrics{\txt Gloire |res-&}\notes\zcl M\cu M&\hsong\thelyrics\zcl c\cu h\enotes
- \notes\roff{\zcl M}\cu N&\hsong{\txt au |plen-&}\zcl c\cu g\enotes
- \notes\zcl M\cu a&\hsong{\txt plus |dis-&}\zcl c\cu f\enotes
- \Notes\zql K\qu a&\hsong{\txt Haut |sez &}\zql f\qu h\enotes
- \notes\zcl K\cu a&\hsong{\txt des |sur &}\zcl f\cu i\enotes
- \barre
- \NOtes\itenl0H\itenu1a\zqlp H\qup a&\hsong{\txt cieux !|Lui
-!&}\itenl2e\itenu3j\zqlp e\qup j\enotes
- \Notes\tten0\tten1\zql H\qu a&\hsong{--}\tten2\tten3\zql e\qu j\enotes
- \respire
- \notes\zcl a\cu e&\hsong{\txt De-|Un &}\zcl h\cu j\enotes
- %
- \barre
- \Notes\zqlp a\zqup e&\hsong{\txt bout, |Dieu &}\zqlp h\qup j\enotes
- \hardlyrics{\txt qu'on |sous &}\notes\zcl a\cu e&\hsong\thelyrics\zcl h\cu
-j\enotes
- \hardlyrics{\txt se |d'hum-&}\notes\zql L\qu e&\hsong\thelyrics\zql g\qu
-i\enotes
- \notes\zcl L\cu d&\hsong{\txt r\'e-|bles &}\zcl g\cu j\enotes
- %
- \barre
- \Notes\zqlp M\qup c&\hsong{\txt veil-|voi-&}\zqlp f\isluru2i\qu i\enotes
- \notes&\hsong{--}\tslur2h\cu h\enotes
- \Notes\zql J\qu c&\hsong{\txt le !|les !&}\zql e\qu g\enotes
- \notes\ds&\ds\enotes
- %
- \barre
- \Notes\zcharnote {-3}{\ppff p}\zql M\qu a&\zcharnote{10}{\ppff p}\hsong{\txt
-Paix |Vient &}\zql c\qu h\enotes
- \notes\zcl M\cu a&\Soufflcr q\hsong{\txt sur |\`a &}\zcl c\cu h\enotes
- \notes\roff{\itenl0M\zqlp M}\cu N&\hsong{\kern -4pt\txt terre |nous &}\zcl d\cu i\enotes
- \notes\cu a&\hsong{\txt en |cet-&}\zcl d\cu h\enotes
- \notes\cu b&\hsong{\txt tous |te &}\zcl d\cu g\enotes
- %
- \barre
- \notes\roff{\tten0\zcl M}\itenu1 N\qup N\cl L\cl K&\zsong{\txt
- lieux.|nuit.&}\itenl2c\itenl3g\itenu4j\zqlp c\zqp g\qup j\Souffldim q\enotes
- \Notes\zql J\tten1\zqu N&\hsong{---}\tten2\tten3\tten4\zql c\zq g\qu j\enotes
- \NOtes\ds&\uptext{\kern -3\Internote\it au refrain}\ds\enotes
- \finmorceau
-\medskip\rightline{\it le \aujourdhui}
-\absoluteaccidentals
-\vfil\eject
-
-\endinput
diff --git a/macros/musixtex/doc/examples/ossiaexa.tex b/macros/musixtex/doc/examples/ossiaexa.tex
deleted file mode 100644
index 4a5da5b12b..0000000000
--- a/macros/musixtex/doc/examples/ossiaexa.tex
+++ /dev/null
@@ -1,30 +0,0 @@
-\input musixtex
-\startmuflex
-\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%
-\endpiece
-\vfill\eject\endmuflex
-\bye
diff --git a/macros/musixtex/doc/examples/ostinato.tex b/macros/musixtex/doc/examples/ostinato.tex
deleted file mode 100644
index 46feebddc1..0000000000
--- a/macros/musixtex/doc/examples/ostinato.tex
+++ /dev/null
@@ -1,450 +0,0 @@
-\title{Adagio con basso ostinato}
-\fulltitle{VIII. \titremorceau}
-\csname titremorceautoc\endcsname
-\subtitle{(pour orgue)}
-\author{Daniel TAUPIN}
-\shortauthor{D. Taupin}
-
-\othermention{Compos\'e en 1992\vrule width 0pt depth 3mm\\G.O.: fonds 8' ou
-8'+4' doux\\R\'ec.: cornet ou cromorne\\P\'ed.: 16', tirasse G.O.}%
-
-\maketitle
-
-% formes frequentes
-% deux croches hautes
-\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}
-\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}
-\def\pzqu#1{\lpz{#1}\qu{#1}}%
-\def\pzql#1{\upz{#1}\ql{#1}}%
-%
-\parindent 18mm
-%
-\tracingstats=2\relax
-%
-\nbporteesii=1\relax
-\def\nbinstruments{3}
-\global\cleftoksii={{0}{0}{0}{0}}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{-1}\relax % un bemol a la clef
-\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}%
-\def\troistemps{\generalmeter{\meterfrac{3}{4}}}%
-%\check
-\def\instrumenti{P\'edale 16'}%
-\def\instrumentii{G.O. fonds}%
-\def\instrumentiii{R\'ecit}%
-%\check
-\def\gluemaxskip{7pt}%
-%
-%
-\troistemps
-%
-\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}%
-\def\resp{\vnotes 0.2\elemskip&&\cbreath\enotes}%
-\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbH#1#2#3#4#5{{\advance\transpose by 1\relax
- \ibbu0{#2}{#1}}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-%
-\debutmorceau
-%
-\autolines 765\relax
-%\check
-%
-\notes&&\Uptext{\hbox{\kern -16mm\moyen Andante
- \bf(\metron{\qu}{65})}}\enotes
-\advance\linesinpage by 1\relax
-% mesure 1
-\nspace\NOtes\pzql M&&\enotes
-\temps \NOtes\pzql M&\pause&\pause\enotes
-\temps \NOtes\pzql M&\enotes
-%\check
-% mesure 2
-\barre\NOtes\pzql M&\zhp c\itenl0f\itenu1h\zhp f\hup h&\hup f\enotes
-\temps\NOtes\pzql M&&\enotes
-\temps\NOtes\pzql L&&\enotes
-%\check
-% mesure 3
-\barre\NOtes\pzqu K&\zhlp d\tten0\tten1\itenl0d\itenl1f\zhp f\hup h\relax
- &\hup h\enotes
-\temps\NOtes\pzqu K&&\enotes
-\temps\notes\pzqu J&&\enotes
-%\check
-% mesure 4
-\barre\NOtes\pzqu I&\tten0\tten1\zhp i\zhlp d\hup f\relax
- &\itenl2i\mordant o\hu i\enotes
-\temps\NOtes\pzqu I&&\enotes
-\temps\notes\pzqu I&\itenu3g\qu g&\tten2\trioskip\Ibu0ij2\qhp0i\sk\tbbu0\tqh0j\enotes
-\def\atnextline{\autolines765}%
-% mesure 5
-\barre\NOtes\pzqu J&\tten3\zhp e\zhup j\hl g&\hu j\enotes
-\temps\NOtes\pzqu J&&\enotes
-\temps\NOtes\pzqu J&\itenu0h\ql h&\soupir\enotes
-% mesure 6
-\barre\NOtes\pzqu K&\tten0\zh d\zhl{^f}\hup h&\qlp k\enotes
-\temps\notes\pzqu K&&\bigaccid\sk\cl{_l}\enotes
-\temps\notes\pzqu J&\bigaccid\zq c\ql{_e}&\Ibl0jk1\qb0j\tqb0k\enotes
-%\check
-% mesure 7
-\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes
-\temps\NOtes\pzqu G&&\enotes
-\temps\NOtes\pzqu I&\itenl0e\ql {=e}&\ql j\enotes
-%\check
-% mesure 8
-\barre\NOtes\pzqu J&\tten0\zhlp c\itenl0c\zh e\hu h&\qlp j\enotes
-\temps\notes\pzqu J&&\sk\cl{k}\enotes
-\temps\notes\pzqu I&\zq g\qu d&\Ibl0ij1\qb0i\tqb0j\enotes
-% mesure 9
-\barre\NOtes\pzqu H&\tten0\itenu1h\zhp f\zhp c\hup h&\hu h\enotes
-\temps\NOtes\pzqu H&&\enotes
-\temps\NOtes\pzqu H&&\soupir\enotes
-% mesure 10
-\barre\NOtes\pzqu H&\tten1\zhl e\zhp{^c}\itenu0h\hup h&\qup h\enotes
-\temps\notes\pzqu H&&\sk\bigsh j\cl j\enotes
-\temps\notes\pzqu H&\ql g&\dqb kl\enotes
-% mesure 11
-\barre\NOtes\pzqu K&\tten0\zhp d\zhp f\hup h&\hl m\enotes
-\temps\NOtes\pzqu K&&\enotes
-\temps\NOtes\pzqu J&&\itenu0m\ql m\enotes
-% mesure 12
-\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\tten0\ql m\enotes
-\temps\notes\pzqu I&&\dqb lk\enotes
-\temps\notes\pzqu I&\itenl0e\ql e&\bigaccid\dqb{^j}k\enotes
-% mesure 13
-\barre\NOtes\pzqu H&\tten0\zhp{^c}\zhlp e\hu h&\hl{^j}\enotes
-\temps\NOtes\pzqu H&&\enotes
-\temps\NOtes\pzqu H&\qu g&\soupir\enotes
-% mesure 14
-\barre\NOtes\pzqu I&\itenl0b\itenl1d\zhp b\zhp d\hup f&\hlp k\enotes
-\temps\NOtes\pzqu I&&\enotes
-\temps\NOtes\pzqu H&&\enotes
-% mesure 15
-\barre\NOtes\pzqu G&\tten0\tten1\zhp b\zhp d\itenu0g\hup g&\qlp i\enotes
-\temps\notes\pzqu G&&\sk\cl j\enotes
-\temps\notes\pzqu I&&\dqb hi\enotes
-% mesure 16
-\barre\NOtes\pzqu J&\tten0\itenl0c\zhp c\zhup g\hl e&\qlp j\enotes
-\temps\notes\pzqu J&&\sk\cl k\enotes
-\temps\notes\pzqu I&\ql d&\dqb ij\enotes
-% mesure 17
-\barre\NOtes\pzqu H&\tten0\zhl e\zhp c\hup h&\hu h\enotes
-\temps\NOtes\pzqu H&&\enotes
-\temps\NOtes\pzqu H&\ql f&\soupir\enotes
-%\check
-% mesure 18
-\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes
-\temps\notes\pzqu G&\ql f&\sk\cl j\enotes
-\temps\notes\pzqu I&\ql e&\dqb hi\enotes
-%\check
-% mesure 19
-\barre\NOtes\pzqu J&\pt b\itenl0c\zh c\zhu g\qsk\ql d&\hu g\enotes
-\temps\NOtes\pzqu J&\hl e&\enotes
-\temps\NOtes\pzqu J&\qu i&\qu f\enotes
-%\check
-% mesure 20
-\barre\NOtes\pzqu F&\tten0\zh c\zhu h\qsk\zql d&\hu f\enotes
-\temps\NOtes\pzql M&\ql e&\enotes
-\temps\NOtes\pzql M&\itenl2f\zql f\raise \Interligne\soupir&\soupir\enotes
-%\check
-% mesure 21
-\barre\NOtes\pzql M&\tten2\zhp c\itenl0f\itenu1h\zhp f\hup h\relax
- &\hup f\enotes
-\temps\NOtes\pzql M&&\enotes
-\temps\NOtes\pzql L&&\enotes
-%\check
-% mesure 22
-\barre\NOtes\pzqu K&\zhlp d\tten0\tten1\itenl0d\itenl1f\zhp f\hup h\relax
- &\hup h\enotes
-\temps\NOtes\pzqu K&&\enotes
-\temps\notes\pzqu J&&\enotes
-%\check
-% mesure 23
-\barre\NOtes\pzqu I&\tten0\tten1\zhp i\zhlp d\hu f\relax
- &\itenl2i\mordant o\hu i\enotes
-\temps\NOtes\pzqu I&&\enotes
-\temps\notes\pzqu I&\itenu3g\qu g&\tten2\trioskip\Ibu0ij2\qhp0i\sk\tbbu0\tqh0j\enotes
-% mesure 24
-\barre\NOtes\pzqu J&\tten3\zhl e\zhp g\hup j&\hu j\enotes
-\temps\NOtes\pzqu J&&\enotes
-\temps\NOtes\pzqu J&\ql{_e}&\soupir\enotes
-% mesure 25
-\barre\NOtes\pzqu J&\zql d\zhp{^f}\hup h&\hl{_l}\enotes
-\temps\NOtes\pzqu H&\hl c&\enotes
-\temps\NOtes\pzqu{^F}&&\ql k\enotes
-% mesure 26
-\barre\NOtes\pzqu G&\zhl b\zh d\hu g&\hl i\enotes
-\temps\NOtes\pzqu G&&\enotes
-\temps\NOtes\pzqu I&\soupir&\soupir\enotes
-% mesure 27
-\barre\NOtes\pzqu L&\zhl b\zhp e\hup g&\hl{_k}\enotes
-\temps\NOtes\pzqu L&&\enotes
-\temps\NOtes\pzqu J&\itenl0c\ql c&\ql j\enotes
-% mesure 28
-\barre\NOtes\pzqu H&\tten0\itenu1h\zqu e\zhp c\hlp h&\hu h\enotes
-\temps\NOtes\pzqu H&\hu f&\enotes
-\temps\NOtes\pzqu F&&\soupir\enotes
-% mesure 29
-\barre\NOtes\pzqu H&\tten1\zhl{^c}\zhp e\hup h&\qup h\enotes
-\temps\notes\pzqu G&&\sk\cu i\enotes
-\temps\notes\pzqu F&\bigaccid\ql{=c}&\dqh hg\enotes
-%\check
-% mesure 30
-\barre\NOtes\pzqu I&\itenl0b\itenl1d\zhu f\zhp b\hlp d&\qu f\enotes
-\temps\NOtes\pzqu H&&\qu h\enotes
-\temps\NOtes\pzqu H&\itenu2g\qu g&\qu k\enotes
-% mesure 31
-\barre\NOtes\pzqu I&\tten1\tten2\tten0\itenu1g\zhu d\zhp b\hlp g&\qlp n\enotes
-\temps\notes\pzqu H&&\sk\cl m\enotes
-\temps\notes\pzqu G&\itenl0e\qu e&\dqb lk\enotes
-%\check
-% mesure 32
-\barre\NOtes\pzqu H&\tten0\tten1\itenl1c\zhu g\zhp{^c}\hlp e&\ql{^j}\enotes
-\temps\NOtes\pzqu H&&\ql l\enotes
-\temps\NOtes\pzqu I&\qu h&\ql h\enotes
-%\check
-% mesure 33
-\barre\notes\pzqu G&\tten1\itenu1g\zql c\zhup g\qsk\hu d&\dqh ih\enotes
-\temps\notes\pzqu G&\hl b&\dqh gf\enotes
-\temps\notes\pzqu I&\itenl0e\qu e&\dqh ed\enotes
-%\check
-% mesure 34
-\barre\NOtes\pzqu H&\tten0\tten1\zhp{^ce}\hup g&\qu{^c}\enotes
-\temps\NOtes\pzqu G&&\qu e\enotes
-\temps\NOtes\pzqu F&&\qu h\enotes
-% mesure 35
-\barre\NOtes\pzqu G&\itenl0b\itenl1d\zhu f\zhp b\hlp d&\qup f\enotes
-\temps\notes\pzqu I&&\sk\cu g\enotes
-\temps\notes\pzqu H&\qu e&\dqh ef\enotes
-% mesure 36
-\barre\NOtes\pzqu K&\tten0\tten1\zq b\zqu g\hlp d&\hu d\enotes
-\temps\NOtes\pzqu K&\zh a\hu f&\enotes
-\temps\NOtes\pzqu K&&\soupir\enotes
-% mesure 37
-%\check
-\barre\NOtes\pzqu K&\itenl0d\zhp {ad}\hup f&\hup f\enotes
-\temps\NOtes\pzqu K&&\enotes
-\temps\NOtes\pzqu J&&\enotes
-% mesure 38
-%\check
-\barre\NOtes\pzqu I&\tten0\zhp {bd}\hup g&\hup g\enotes
-\temps\NOtes\pzqu H&&\enotes
-\temps\NOtes\pzqu J&&\enotes
-% mesure 39
-%\check
-\barre\NOtes\pzqu G&\zhl b\zhp e\hup g&\hu i\enotes
-\temps\NOtes\pzqu G\enotes
-\temps\NOtes\pzqu I&\ql{^c}&\qu h\enotes
-% mesure 40
-%\check
-\barre\NOtes\pzqu H&\zh {df}\hu h&\hu h\enotes
-\temps\NOtes\pzqu H\enotes
-\temps\NOtes\pzqu H&\soupir&\soupir\enotes
-% mesure 41
-%\check
-\barre\NOtes\pzqu J&\zhl{^f}\zhp d\hup h&\qlp k\enotes
-\temps\notes\pzqu J&&\sk\cna l\cl l\enotes
-\temps\notes\pzqu J&\bigfl e\ql e&\dqb jk\enotes
-%\check
-% mesure 42
-\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes
-\temps\notes\pzqu G&&\sk\cl j\enotes
-\temps\notes\pzqu I&\itenl0e\bigna e\ql e&\dqb hi\enotes
-%\check
-% mesure 43
-\barre\NOtes\pzqu J&\tten0\zhl c\zhp e\hup g&\qlp j\enotes
-\temps\notes\pzqu J&&\sk\cl{k}\enotes
-\temps\notes\pzqu I&\itenl0c\bigsh c\ql c&\Ibl0ij1\qb0i\tqb0j\enotes
-% mesure 44
-\barre\NOtes\pzqu H&\tten0\sh c\zhp c\zhup h\qsk\zql g&\hu h\enotes
-\temps\NOtes\pzqu H&\ql f&\enotes
-\temps\NOtes\pzqu H&\ql e&\soupir\enotes
-%\check
-% mesure 45
-\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes
-\temps\notes\pzqu G&\ql f&\sk\cl j\enotes
-\temps\notes\pzqu I&\ql e&\dqb hi\enotes
-%\check
-% mesure 46
-\barre\NOtes\pzqu J&\zhp c\zhu g\qsk\ql d&\hu g\enotes
-\temps\NOtes\pzqu J&\itenl0e\hl e&\enotes
-\temps\NOtes\pzqu J&\qu i&\qu h\enotes
-% mesure 47
-\barre\NOtes\pzqu H&\tten0\zhl e\zhp c\hup h&\hu h\enotes
-\temps\NOtes\pzqu H&&\enotes
-\temps\NOtes\pzqu H&\ql f&\soupir\enotes
-% mesure 48
-%\check
-\barre\NOtes\pzqu J&\zhl{^f}\zhp d\hup h&\qlp k\enotes
-\temps\notes\pzqu J&&\sk\cna l\cl l\enotes
-\temps\notes\pzqu J&\bigfl e\ql e&\dqb jk\enotes
-%\check
-% mesure 49
-\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes
-\temps\notes\pzqu G&&\sk\cl j\enotes
-\temps\notes\pzqu I&\itenl0e\bigna e\ql e&\dqb hi\enotes
-%\check
-% mesure 50
-\barre\NOtes\pzqu J&\tten0\zhl c\zhp e\hup g&\qlp j\enotes
-\temps\notes\pzqu J&&\sk\cl{k}\enotes
-\temps\notes\pzqu I&\itenl0c\bigsh c\ql c&\Ibl0ij1\qb0i\tqb0j\enotes
-% mesure 51
-\barre\NOtes\pzqu H&\tten0\sh c\zhp c\zhup h\qsk\zql g&\hu h\enotes
-\temps\NOtes\pzqu H&\ql f&\enotes
-\temps\NOtes\pzqu H&\ql e&\soupir\enotes
-%\check
-% mesure 52
-\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes
-\temps\notes\pzqu G&\ql f&\sk\cl j\enotes
-\temps\notes\pzqu I&\ql e&\dqb hi\enotes
-%\check
-% mesure 53
-\barre\NOtes\pzqu J&\zhp c\zhu g\qsk\ql d&\hu g\enotes
-\temps\NOtes\pzqu J&\hl e&\enotes
-\temps\NOtes\pzqu J&\qu i&\qu f\enotes
-%\check
-% mesure 54
-\barre\NOtes\pzqu F&\zh c\zhu h\qsk\zql d&\hu f\enotes
-\temps\NOtes\pzql M&\ql e&\enotes
-\temps\NOtes\pzql M&\raise\Interligne\rlap{\soupir}\ql f&\soupir\enotes
-%\check
-% mesure 55
-\barre\NOtes\pzqu M&\zql e\zhp{^c}\itenu0h\hup h&\qup h\enotes
-\temps\notes\pzqu M&\ql f&\sk\bigsh j\cl j\enotes
-\temps\notes\pzqu L&\ql g&\dqb kl\enotes
-% mesure 56
-\barre\NOtes\pzqu K&\tten0\itenl2d\itenl1f\zhp d\zhp f\hup h&\hl m\enotes
-\temps\NOtes\pzqu K&&\enotes
-\temps\NOtes\pzqu J&&\itenu0m\ql m\enotes
-% mesure 57
-\barre\NOtes\pzqu{=I}&\tten2\tten1\itenu1d\zhp d\zhp f\hup{_h}&\tten0\ql m\enotes
-\temps\notes\pzqu I&&\dqb lk\enotes
-\temps\notes\pzqu I&&\bigaccid\dqb nm\enotes
-%\check
-% mesure 58
-\barre\NOtes\pzqu H&\zh{^c}\zhu{=h}\qsk\tten1\zql d&\hl l\enotes
-\temps\NOtes\pzqu H&\ql e&\enotes
-\temps\NOtes\pzqu{_I}&\raise\Interligne\rlap{\soupir}\ql f&\soupir\enotes
-%\check
-% mesure 59
-\bigaccid
-\barre\NOtes\pzqu{=I}&\itenl0d\zq d\zql f\hup{_h}&\qlp m\enotes
-\temps\notes\pzqu I&\tten0\zql d\qsk\itenu0e\zhu e&\sk\cl n\enotes
-\temps\notes\pzqu{=J}&\zql{=c}&\dqb lm\enotes
-% mesure 60
-\barre\NOtes\pzqu{^J}&\tten0\itenl0c\zq{^c}\zql e\hup{=h}&\qlp n\enotes
-\temps\notes\pzqu J&\tten0\itenu0f\zql c\hu f&\sk\cl o\enotes
-\temps\notes\pzqu{=J}&\itenl1d\ql d&\dqb mn\enotes
-%\check
-% mesure 61
-\barre\NOtes\pzqu{=I}&\tten0\tten1\itenl1d\zhp d\zhlp f\hu{_h}&\qlp o\enotes
-\temps\notes\pzqu I&&\sk\cl n\enotes
-\temps\notes\pzqu I&\qu g&\dqb mn\enotes
-%\check
-% mesure 62
-\barre\NOtes\pzqu{_I}&\zhp e\zhup g\qsk\tten1\zhl d&\itenu0l\hl l\enotes
-\temps\NOtes\pzqu I\enotes
-\temps\notes\pzqu I&\bigaccid\ql{^c}&\tten0\dqb lm\enotes
-%\check
-% mesure 63
-\barre\NOtes\pzqu{=I}&\itenl0d\zhlp d\zhu{_h}\qsk\qu f&\hl k\enotes
-\temps\NOtes\pzqu I&\qu e\enotes
-\temps\NOtes\pzqu I&\zq f\qu{=h}&\soupir\enotes
-% mesure 64
-\barre\NOtes\pzqu H&\tten0\zh f\zhl d\itenu1h\hup h&\qlp m\enotes
-\temps\notes\pzqu H&&\sk\cl n\enotes
-\temps\notes\pzqu H&\zq e\ql{^c}&\dqb lm\enotes
-% mesure 65
-\barre\NOtes\pzqu K&\tten1\zhlp d\zhp f\hup h&\hl k\enotes
-\temps\NOtes\pzqu K&&\enotes
-\temps\NOtes\pzqu K&&\soupir\enotes
-% mesure 66
-\barre\NOtes\pzqu K&\itenu1f\itenl0d\zhp f\zhlp d\hup h&\hup f\enotes
-\temps\NOtes\pzqu K&&\enotes
-\temps\NOtes\pzqu J&&\enotes
-% mesure 67
-\barre\NOtes\pzqu I&\tten1\tten0\zhlp d\zhp f\zhu i&\hu h\enotes
-\temps\NOtes\pzqu I&&\enotes
-\temps\NOtes\pzqu H&&\qu i\enotes
-%\check
-% mesure 68
-\barre\NOtes\pzqu G&\zhlp b\zh d\itenu0g\hu g\relax
- &\itenl2i\mordant o\hu i\enotes
-\temps\NOtes\pzqu G&&\enotes
-\temps\notes\pzqu I&\tten0\itenu1e\zq e\qu g&\tten2\trioskip
- \Ibu0ij2\qhp0i\sk\tbbu0\tqh0j\enotes
-%\check
-% mesure 69
-\barre\NOtes\pzqu H&\tten1\itenu0h\zql e\zhp c\hup h&\qu j\enotes
-\temps\NOtes\pzqu H&\ql e&\enotes
-\temps\NOtes\pzqu H&\ql f&\soupir\enotes
-% mesure 70
-\barre\NOtes\pzqu K&\tten0\zh d\zhl{^f}\hup h&\qlp k\enotes
-\temps\notes\pzqu K&&\bigaccid\sk\cl{_l}\enotes
-\temps\notes\pzqu J&\bigaccid\zq c\ql{_e}&\Ibl0jk1\qb0j\tqb0k\enotes
-%\check
-% mesure 71
-\barre\NOtes\pzqu I&\zhl d\zhp b\hup g&\hl i\enotes
-\temps\NOtes\pzqu G&&\enotes
-\temps\NOtes\pzqu I&\itenl0e\ql {=e}&\ql j\enotes
-%\check
-% mesure 72
-\barre\NOtes\pzqu H&\tten0\itenl0e\zhl c\zhu h\hlp e&\qlp j\enotes
-\temps\notes\pzqu H&&\sk\cl{k}\enotes
-\temps\notes\pzqu G&\zq b\qu g&\Ibl0ij1\qb0i\tqb0j\enotes
-% mesure 73
-\barre\NOtes\pzqu F&\tten0\itenu1h\zhp c\zhlp h\hu e&\hu h\enotes
-\temps\NOtes\pzqu F&&\enotes
-\temps\NOtes\pzqu F&\qu f&\soupir\enotes
-% mesure 74
-\barre\NOtes\pzqu H&\tten1\zhl e\zhp{^c}\hup h&\qup h\enotes
-\temps\notes\pzqu H&&\sk\bigsh j\cl j\enotes
-\temps\notes\pzqu H&\ql g&\dqb kl\enotes
-% mesure 75
-\barre\NOtes\pzqu K&\zhp d\zhup{_h}\hl f&\hl m\enotes
-\temps\NOtes\pzqu K&&\enotes
-\temps\NOtes\pzqu J&\itenu1g\ql g&\itenu0m\ql m\enotes
-% mesure 76
-\barre\NOtes\na I\pzqu I&\itenu2g\tten1\zh d\zhl{=b}\hup g&\tten0\ql m\enotes
-\temps\notes\pzqu I&&\dqb lk\enotes
-\temps\notes\fl I\pzqu I&\itenl0e\zq{_b}\ql e&\bigaccid\dqb{^j}k\enotes
-% mesure 77
-\barre\NOtes\pzqu H&\tten0\tten2\zhp{^c}\zhlp e\qu g&\hl{^j}\enotes
-\temps\NOtes\pzqu H&\qu h&\enotes
-\temps\NOtes\pzqu H&\cfl i\qu i&\soupir\enotes
-% mesure 78
-\barre\NOtes\pzqu I&\zhp{_h}\zhp d\hup f&\hlp k\enotes
-\temps\NOtes\pzqu I&&\enotes
-\temps\NOtes\pzqu H&&\enotes
-% mesure 79
-\barre\NOtes\pzqu G&\zhp b\zhup g\itenu0g\hl e&\qlp i\enotes
-\temps\notes\pzqu G&&\sk\cl j\enotes
-\temps\notes\pzqu I&\ql{^f}&\dqb hi\enotes
-% mesure 80
-\barre\NOtes\pzqu H&\tten0\itenl0c\zhp c\zhup g\hl e&\qlp j\enotes
-\temps\notes\pzqu H&&\sk\cl k\enotes
-\temps\notes\pzqu G&\ql d&\dqb ij\enotes
-% mesure 81
-\barre\NOtes\pzqu F&\tten0\zhl e\zhp c\hup h&\hu h\enotes
-\temps\NOtes\pzqu F&&\enotes
-\temps\NOtes\pzqu F&\ql f&\soupir\enotes
-%\check
-% mesure 82
-\barre\NOtes\pzqu G&\zql g\zhp d\hup i&\qlp i\enotes
-\temps\notes\pzqu G&\ql f&\sk\cl j\enotes
-\temps\notes\pzqu I&\ql e&\dqb hi\enotes
-%\check
-% mesure 83
-\barre\NOtes\pzqu J&\itenl0c\zhp c\zhu g\qsk\ql d&\hu g\enotes
-\temps\NOtes\pzqu J&\hl e&\enotes
-\temps\NOtes\pzqu J&\qu i&\qu f\enotes
-%\check
-% mesure 84
-\barre\NOtes\pzqu F&\tten0\pt b\zh c\zhup h\qsk\zql d&\pointdorgue m\hup f\enotes
-\temps\NOtes\pzqu F&\ql e&\enotes
-\temps\NOtes\pointdurgue F\qu F&\pointdorgue m\zql f&\enotes
-%\check
-\finmorceau
-%
-\medskip\rightline{\it \aujourdhui}
-\vfil
-\eject
diff --git a/macros/musixtex/doc/examples/pacifiqb.tex b/macros/musixtex/doc/examples/pacifiqb.tex
deleted file mode 100644
index c40994059b..0000000000
--- a/macros/musixtex/doc/examples/pacifiqb.tex
+++ /dev/null
@@ -1,9 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\musicsize=16\relax
-\def\NoPageCut{\relax}
-\input c:/taupin/musixtex/scores/pacifiqn
-\bye
diff --git a/macros/musixtex/doc/examples/pacifiqn.tex b/macros/musixtex/doc/examples/pacifiqn.tex
deleted file mode 100644
index 7839592745..0000000000
--- a/macros/musixtex/doc/examples/pacifiqn.tex
+++ /dev/null
@@ -1,1128 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-%
-\parindent 12mm
-%
-\title{Pacifique}
-\shortauthor{D. Taupin}
-\fullauthor{Daniel TAUPIN\\\`a Christiane}
- \othermention{Compos\'e en 1972, \sl San Jose (Calif.)\\r\'ev. mai 1981,
-janvier 1990}
-\maketitle
-
-\tracingstats=2\relax
-%
-\nbporteesi=2\relax
-\def\nbinstruments{1}
-\global\cleftoksi={{6}{0}{0}{0}}%
-\def\noteskipLARGE{\def\scalenoteskip{1.5}}%
-\def\noteskipLarge{\def\scalenoteskip{1.2}}%
-\def\noteskiplarge{\def\scalenoteskip{1.1}}%
-\def\noteskipnormal{\def\scalenoteskip{1.0}}%
-%
-\signaturegenerale{-4}\relax % quatre bemols a la clef
-\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}%
-\def\troistemps{\generalmeter{\meterfrac{3}{4}}}%
-%\check
-\def\instrumenti{Piano}
-%\check
-\generalmeter{\allabreve}
-\normal\noteskipLarge
-\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}%
-\def\gluemaxskip{6pt}%
-%
-% formes frequentes
-%
-%au moins deux croches basses et hautes
-\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-%au moins quatre croches basses et hautes
-\def\qqb#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}%
-\def\qqB#1#2#3#4#5{\ibl0{#3}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}%
-\def\qqh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}%
-\def\qqH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}%
-% octave basse en blanche
-\def\bohl#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hl{#1}}%
-\def\bohu#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hu{#1}}%
-\def\sohl#1{\zh{#1}{\advance\transpose by 7\relax\hl{#1}}\sk}%
-\def\sohu#1{\zh{#1}{\advance\transpose by 7\relax\hu{#1}}\sk}%
-%
-% octave sup. en croches u
-\def\soqh#1{\zq{#1}\rlap{\advance\transpose by 7\qh0{#1}}\sk}%
-\def\soqu#1{\zq{#1}\rlap{\advance\transpose by 7\qu{#1}}\sk}%
-\def\soqb#1{\zq{#1}\rlap{\advance\transpose by 7\qb0{#1}}\sk}%
-\def\soql#1{\zq{#1}\rlap{\advance\transpose by 7\ql{#1}}\sk}%
-\def\dsoqh#1#2#3{{\advance\transpose by 7\ibu0{#2}{#1}}\soqh{#2}\tbu0\soqh{#3}}%
-\def\dsoqb#1#2#3{\ibl0{#2}{#1}\soqb{#2}\tbl0\soqb{#3}}%
-%\check
-\def\qsoqh#1#2#3#4#5{{\advance\transpose by 7\relax\ibu0{#2}{#1}}\soqh{#2}\relax
- \soqh{#3}\soqh{#4}\tbu0\soqh{#5}}%
-\def\qsoqb#1#2#3#4#5{\ibl0{#2}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}%
-%\check
-\def\qsoqB#1#2#3#4#5{\ibl0{#3}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}%
-%\check
-% octave inf. en croches u
-\def\boqh#1{{\advance\transpose by -7\relax\zq{#1}}\qh0{#1}}%
-\def\boqb#1{{\advance\transpose by -7\relax\zq{#1}}\qb0{#1}}%
-\def\dboqh#1#2#3{\ibu0{#2}{#1}\boqh{#2}\tbu0\boqh{#3}}%
-\def\dboqb#1#2#3{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\tbl0\boqb{#3}}%
-%\check
-\def\qboqb#1#2#3#4#5{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\relax
- \boqb{#3}\boqb{#4}\tbl0\boqb{#5}}%
-\def\qboqh#1#2#3#4#5{\ibu0{#2}{#1}\boqh{#2}\boqh{#3}\boqh{#4}\tbu0\boqh{#5}}%
-%\check
-%
-\def\arpg#1#2{\znotes\arpeggio{#1}{#2}\enotes}
-\def\Arpg#1#2{\znotes\larpeggio{#1}{#2}\enotes}
-\def\uarpg#1#2{\znotes\nextstaff\arpeggio{#1}{#2}\enotes}
-\def\uArpg#1#2{\znotes\nextstaff\larpeggio{#1}{#2}\enotes}
-%
-% soufflets crescendo
-%
-\def\soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Cresc}}}
-\def\Soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\CREsc}}}
-%
-\def\interfacteur{11}%
-\computewidths
-\staffbotmarg=5\Interligne
-%
-% Changes for 16 pt musicsize
-%\showthe\musicsize
-\def\Zalapage{\ifx\NoPageCut\undefined\zalapage\else\zbarre\fi}%
-\def\Zalaligne{\ifx\NoPageCut\undefined\zalaligne\else\zbarre\fi}%
-\def\Alapage{\ifx\NoPageCut\undefined\alapage\else\barre\fi}%
-\def\Alaligne{\ifx\NoPageCut\undefined\alaligne\else\barre\fi}%
-\def\Eject{\ifx\NoPageCut\undefined\eject\else\par\fi}%
-%
-\debutmorceau
-%
-\noteskipLarge
-\hyphenpenalty -50\relax
-\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{70})}\enotes
-\vnotes 0.2\elemskip\uptext{\kern -5mm\ppff p}|\uptext{\ppff mp}\enotes
-\zglu\Notes\PED\zh{Ma}\hl c|\soupir\enotes
-\zglu\notes\sk\DEP|\Ilegl0d\dqh3fg\enotes
-\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0hfgh\enotes
-% mesure 2
-\barre\notes\PED\zh{Mb}\hl d\sl\sk\DEP|\qqh0ighi\enotes
-\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0jhij\enotes
-% mesure 3
-\barre\notes\PED\zh{Mb}\hl d\sk\zcharnote{-5}{\it simile}|\Tleg0\qu k\sk\Ilegl0d\dqh4ik\enotes
-\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes
-% mesure 4
-\barre\notes\zh{Mb}\lh N\hl d|\qqh0ihgi\enotes
-\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes
-% mesure 5
-\alaligne\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes
-\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes
-\temps\notes|\raise -\internote\rlap{\Uptext{\it sempre \ppff mp}}\Ilegl0d\dqh3gh\enotes
-% mesure 6
-\barre\notes\zh{LN}\hl b|\qqh0ighi\enotes
-\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes
-% mesure 7
-\barre\notes\zh{N=b}\hl d|\qqh0{=k}{=i}jk\enotes
-\temps\notes\zh{Nc}\hl{=e}|\qqh0{=l}jkl\enotes
-% mesure 8
-\barre\notes\zh{Mc}\hl f|\qqh{-3}m{_l}{_k}j\enotes
-\temps\notes\zh{M_b}\hl d|\qqh0k{_i}jk\enotes
-% mesure 9
-\alaligne\notes\zh{LN}\hl b|\qqh{-3}lkji\enotes
-\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes
-% mesure 10
-\barre\notes\zh{ad}\hl f|\qqh{-3}kjih\enotes
-\temps\notes\lh b\zh c\hl{=e}|\qqh0ighi\enotes
-% mesure 11
-\barre\notes\zh{Nb}\hl{=e}|\qqh{-3}jihg\enotes
-\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\sk\enotes
-\temps\notes|\Ilegl0d\dqh3gh\enotes
-% mesure 12
-\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes
-\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes
-% mesure 13
-\Alaligne\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes
-\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes
-\temps\notes\rmidtwotext{\kern -3mm\it un poco}|\Ilegu0r\dqh3gh\enotes
-% mesure 14
-\barre\notes\bohl e\rmidtwotext{\it pi\`u forte}\relax
- |\zq g\qqh0ighi\enotes
-\temps\notes\bohl a|\rlap{\hl e}\zq h\qqh0jhij\enotes
-% mesure 15
-\barre\notes\bohu M|\rlap{\hl f}\zq h\qqh0kijk\enotes
-\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes
-% mesure 16
-\barre\notes\bohu a|\rlap{\hl e}\zq h\qqh0jijk\enotes
-\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes
-% mesure 17
-\Alaligne\Notes\bohu M|\zq f\tleg0\qu h\enotes
-\temps\notes|\Ilegu0q\dqh3ij\enotes
-\temps\notes\bohu K|\rlap{\hl f}\zq h\qqh{-3}kjih\enotes
-% mesure 18
-\barre\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh3ghik\enotes
-\temps\notes\bohu{=L}|\rlap{\hl e}\zq g\qqh{-3}jihg\enotes
-% mesure 19
-\barre\Notes\bohu M|\rlap{\ql f}\zq f\tleg0\qu h\enotes
-\temps\notes|\Ilegu0p\dqh3gh\enotes
-\temps\notes\bohu K|\rlap{\hl d}\zq f\qqh0ihgi\enotes
-% mesure 20
-\barre\notes\bohu J|\rlap{\hl c}\zq f\qqh0hgfh\enotes
-\temps\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh0gfeg\enotes
-% mesure 21
-\xbarre\Notes\zq F\ql M|\zq{ac}\tleg0\qu f\enotes
-\Zalapage\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax
- |\soupir\uptext{\ppff p}\enotes
-\temps\notes\qqB0aMNa|\zh{fh}\hu j\enotes
-% mesure 22
-\barre\notes\qqB0bNab|\zh{gi}\hu{=l}\enotes
-\temps\notes\qqB0cabc|\zh{hj}\hu m\enotes
-% mesure 23
-\barre\notes\Tleg0\ql d\sk|\zh{hk}\hu m\enotes
-\temps\notes\Ilegu0d\dqb4bd|\enotes
-\temps\notes\qqB0cbac|\zh{hj}\hu{_l}\enotes
-% mesure 24
-\barre\notes\qqB0baNb|\zh i\rh j\hu{=l}\enotes
-\temps\notes\qqB0aNMa|\zh{hj}\hu m\enotes
-% mesure 25
-\Alaligne\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes
-\temps\notes\Tleg0\ql M\zmidtwotext{\it crescendo}\sk|\zh{hjm}\hl o\enotes
-\temps\notes\Ilegl0F\dqb3Na|\enotes
-% mesure 26
-\barre\notes\zmidtwotext{\it\ poco\ \ a\ \ poco}\qqB0bNab\relax
- |\zh{gi_l}\hu n\enotes
-\temps\notes\qqB0cabc|\zh{fhj}\hu m\enotes
-% mesure 27
-\barre\notes\qqB0{=d}bcd|\zh{fi=k}\hu m\enotes
-\temps\notes\qqB0{=e}cde|\zh{gj}\rh i\hu{=l}\enotes
-%\check
-% mesure 28
-\barre\notes\qqb{-3}f{_e}{_d}c|\zh{f=hj}\hu m\enotes
-\temps\notes\qqb{1}bcde|\zh{gil}\hu n\enotes
-% mesure 29
-\Alaligne\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes
-\temps\notes\qqb0cbab|\zh{fhj}\hl m\enotes
-% mesure 30
-\barre\notes\qqb{-3}cbaN|\zh{gj=l}\hl n\enotes
-\temps\notes\qqb3MNac|\zh{hjm}\hl o\enotes
-%\check
-% mesure 31
-\barre\notes\qqb{-3}baNM|\zh{i_ln}\hl p\enotes
-\temps\notes\qqb3LMNb|\zh{gil}\hu n\enotes
-%\check
-%mesure 32
-\barre\notes\Tleg0\ql a\sk|\zh{hjl}\hl o\enotes
-\temps\notes\Ilegl0F\dqb3bc|\enotes
-\temps\notes\qqb0dcde|\zh{iln}\hl p\enotes
-%
-% mesure 33
-% changement d'espacement
-\def\atnextline{\def\interfacteur{12}}%
-\Alaligne\noteskipLARGE\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes
-\temps\notes\Tleg0\ql a\sk|\zh{hjm}\hl o\enotes
-\temps\notes\Ilegl0F\dqb3bc|\enotes
-% mesure 34
-\barre\notes\qqb{-3}dcba|\zh{ikm}\hl p\enotes
-\temps\notes\qqb3Nabc|\zh{j=ln}\hl q\enotes
-% mesure 35
-\barre\notes\qqb0dcde|\zh{kmp}\hl r\enotes
-\temps\notes\soufflcr\qqb{-3}cbaN|\zh{=lnq}\hl{=s}\enotes
-% mesure 36
-\barre\nspace\notes\zmidtwotext{\ppff f}\tleg0\ql M|\zq{m_oq}\ql t\cbreath\enotes
-\Zalapage\noteskipLarge\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes
-\temps\arpg K5\relax
-\notes \zh{Mac}\hl f\uptext{\vbox{\offinterlineskip\hbox{\it arpeggi}\vskip 1mm\hbox{\it nervosi}}}\relax
- |\qsoqb0hfgh\enotes
-%\check
-% mesure 37
-\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0ighi\enotes
-\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jhij\enotes
-%\check
-% mesure 38
-\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0kjik\enotes
-\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jihj\enotes
-%\check
-% mesure 39
-\barre\Arpg J5\notes\zh{=LNc}\lh b\hl{=e}|\qsoqb0ihgi\enotes
-\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0hgfh\enotes
-%\check
-% mesure 40
-\Alaligne\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes
-\temps\arpg F6\notes\zq{FJMa}\ql c|\Tleg0\zq f\ql m\sk\enotes
-\notes\soupir|\Ilegu0t\dsoqb3gh\enotes
-%\check
-% mesure 41
-\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb0ighi\enotes
-\temps\arpg a4\notes\zh{ace}\hl h|\qsoqb0jhij\enotes
-%check
-% mesure 42
-\barre\Arpg K5\notes\zh{Mb=d}\hl f|\qsoqb0{=k}ijk\enotes
-\temps\Arpg J5\notes\zh{JNc}\hl{=e}|\qsoqb0{=l}jkl\enotes
-%check
-% mesure 43
-\barre\Arpg K5\notes\zh{Mcf}\hl{=h}|\qsoqb{-3}m{_l}{_k}j\enotes
-\temps\Arpg I5\notes\zh{IMb}\hl{_d}\sk|\Tleg0\zq i\ql p\enotes
-\temps\notes|\Ilegu0t\dsoqb3jk\enotes
-%\check
-% mesure 44
-\def\atnextline{\advancebottom{\Interligne}}\relax
-\Alaligne\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes
-\temps\arpg K5\notes\zh{Mac}\hl f\sk|\Tleg0\zq h\ql o\enotes
-\temps\notes|\Ilegu0r\dsoqb3gh\enotes
-%\check
-% mesure 45
-\barre\arpg I5\notes\zh{IMb}\hl d|\qsoqb0ihgi\enotes
-\temps\arpg H5\notes\zh{JMa}\hl c|\qsoqb0hgfh\enotes
-%check
-% mesure 46
-\def\sfql#1{\usf{#1}\ql{#1}}%
-\barre\Arpg J5\notes\soufflcr\zh{JNc}\hl{=e}|\qsoqb0gf{=e}g\enotes
-\temps\arpg E5\notes\zq{FJM}\sfql a\sk|\Tleg0\zq f\sfql m\enotes
-\temps\notes\zmidtwotext{\ppff f}\dsoqb{-3}F{=E}|\relax
- \ifx\mxversion\undefined\Ilegu0s\relax
- \else\Ilegu0q\relax
- \fi
- \dsoqb3fg\enotes
-%\check
-% mesure 47
-\barre\notes\zq F\ql M\sk\dsoqb3{_E}F|\zq{jm}\qsoqb0hfgh\enotes
-\temps\notes\qsoqb0GEFG|\zq{_ln}\qsoqb0ighi\enotes
-%\check
-% mesure 48
-\Alaligne\noteskipLARGE\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes
-\temps\notes\zq D\ql K\sk\dsoqb3EF|\zq{mp}\qsoqb0kijk\enotes
-%\check
-% mesure 49
-\barre\notes\zq G\ql N\sk\zq E\ql L|\zq{np}\qsoqb{-3}lkji\enotes
-\temps\notes\qsoqb0HGHI|\zq{mo}\qsoqb0jijk\enotes
-%\check
-% mesure 50
-\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{=ln}\qsoqb{-3}jihg\enotes
-\temps\notes\qboqb{-3}fe{=d}{_d}|\zq{jm}\qsoqb0hghi\enotes
-%\check
-% mesure 51
-\Alaligne\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes
-\temps\arpg F5\notes\zq{FJM}\ql a\sk|\relax
- \ifx\mxversion\undefined\Tleg0\relax
- \else\tslur0o\relax
- \fi
- \zq{fhj}\ql m\enotes
-\temps\notes\Ilegl0F\zmidtwotext{\it meno}\dqb3MN|\soupir\enotes
-%\check
-% mesure 52
-\barre\nspace\uarpg h4\notes\zmidtwotext{\it\ \ forte}\qqb0aNab|\zh{hjm}\hl o\enotes
-\temps\uArpg h5\notes\qqb0cbcd|\zh{j_lo}\hl q\enotes
-%\check
-% mesure 53
-\barre\nspace\uarpg l4\notes\qqb0edef|\zh{lnp}\hl s\enotes
-\temps\uarpg l4\notes\qqb{-3}edcb|\zh{lnp}\hl s\enotes
-%\check
-% mesure 54
-\barre\nspace\uarpg h5\notes\tleg0\ql a\sk|\zh{jlo}\hl q\enotes
-\def\atnextline{\advancebottom{-\Interligne}\relax\def\interfacteur{10}}%
-\Zalapage\noteskipLarge\notes\dsoqb3J{=K}|\enotes
-\temps\uArpg h5\notes\qsoqb0{=L}KLM|\zh{j=ln}\hl q\enotes
-% mesure 55
-\barre\noteskipLarge\nspace\uArpg h5\notes\qboqb0gfg{=h}|\zh{j=ln}\hl q\enotes
-\temps\uArpg i4\notes\qboqb{-3}gf{=e}d|\zh{=ikn}\hl{=p}\enotes
-%\check
-%mesure 56
-\barre\nspace\uArpg h5\notes\zq J\ql c\sk\dboqb3{=d}{=e}|\zh{j=ln}\hl q\enotes
-\temps\notes\zcharnote j{\kern -2\noteskip\it senza arpeggiare}\relax
-\qboqb{-3}f{_e}{_d}c|\zq{m=oq}\ql t\sk\zq{moq}\ql t\enotes
-%\check
-% mesure 57
-\barre\notes\zmidtwotext{\ppff f}\zq I\ql b\sk|\zh{ikm}\hl p\enotes
-\temps\notes\dsoqb3JK|\enotes
-\temps\notes\Soufflcr\qsoqb{-3}LKJI|\zq{_lnp}\ql s\sk\zq{lnp}\ql s\enotes
-%\check
-% mesure 58
-\Alaligne\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes
-\temps\notes\dsoqb3IJ|\enotes
-\temps\notes\qsoqb0KJIK|\zq{ikm}\ql p\sk\zq{ikm}\ql p\enotes
-%\check
-% mesure 59
-\barre\notes\qsoqb0JIHJ|\zh{hjm}\hl o\enotes
-\temps\notes\qsoqb0IHGI|\zq{i=ln}\ql p\sk\zq{i=ln}\ql p\sk\enotes
-%\check
-% mesure 60
-\barre\notes\soufflcr\zq H\ql a|\zh{jmo}\hl q\enotes
-\temps\notes\dsoqb3GH|\enotes
-\temps\notes\rlap{\sk\sk\zmidtwotext{\ppff ff}}\qsoqb0IHGI\relax
- |\zq{kmp}\ql r\sk\zq{kmp}\ql r\sk\enotes
-% mesure 61
-%\check
-\barre\notes\qsoqb0HGFH|\zq{jmo}\ql q\sk\zq{jmo}\ql q\sk\enotes
-\temps\notes\qsoqb0GF{=E}G|\zq{j=ln}\ql q\sk\zq{jln}\ql q\sk\enotes
-%\check
-%mesure 62
-\def\atnextline{\def\interfacteur{9}}%
-\Alaligne\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax
- |\zq{moq}\ql t\cbreath\enotes
-\temps\noteskipLarge\notes\zmidtwotext{\ppff mp \it subito}\soupir|\Ilegu0r\dqh3fg\enotes
-\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hfgh\enotes
-%\check
-% mesure 63
-\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0ighi\enotes
-\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jhij\enotes
-%\check
-% mesure 64
-\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0kjik\enotes
-\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jihj\enotes
-%\check
-% mesure 65
-%
-\barre\Arpg H5\notes\zh{JN}\lh b\hl c|\qqh0ihgi\enotes
-\temps\arpg H5\notes\zh{JMa}\hl c|\Tleg0\qu h\sk\enotes
-\temps\notes|\Ilegu0q\dqh3gh\enotes
-%\check
-% mesure 66
-\Alaligne\arpg I4\notes\zh{KMb}\hl d|\qqh0ihgi\enotes
-\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hgfh\enotes
-%\check
-% mesure 67
-\barre\Arpg H5\notes\zh{J=LN}\hl c|\qqh0gf{=e}g\enotes
-\temps\arpg M3\notes\zq{Ma}\ql c|\Tleg0\qu f\enotes
-\cleftoksi={{6}{6}{0}{0}}%
-\changeclefs\nspace
-\notes\soupir|\zcharnote A{\ppff f}\ifx\mxversion\undefined\Ilegu0g\else
- \Ilegu0d\fi
- \dqb3MN\enotes
-%\check
-% mesure 68
-\def\bozh#1{{\advance\transpose by -7\zh{#1}}\zh{#1}}\relax
-\def\bozq#1{{\advance\transpose by -7\zq{#1}}\zq{#1}}\relax
-\barre\arpg{!`F}6\notes\uptext{\ppff f \it e nervoso}\bozh F\hu J\relax
- |\qqB0aMNa\enotes
-\temps\arpg{!`E}6\notes\bozh E\hu I|\qqB0bNab\enotes
-% mesure 69
-%\check
-\barre\arpg A6\notes\bozh H\hu L|\qqB0cabc\enotes
-\temps\arpg B6\notes\bozh I\hu M|\qqB0{=d}bcd\enotes
-%\check
-% mesure 70
-\Alaligne\noteskipLARGE\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes
-\temps\Arpg {!`E}8\notes\bozh F\zh{=H}\hu M|\qqb{-3}f{_e}{_d}c\enotes
-%\check
-% mesure 71
-\barre\arpg B6\notes\bozh I\hu M|\qqb3bcdf\enotes
-\temps\arpg A8\notes\bozh E\zh I\hu N|\qqb{-3}edcb\enotes
-%\check
-% mesure 72
-\barre\arpg A6\notes\bozh H\hu L|\qqb3abce\enotes
-\temps\arpg B6\notes\bozh I\hu M|\qqb{-3}dcba\enotes
-%\check
-% mesure 73
-\Alaligne\noteskipLARGE\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes
-\temps\arpg B6\notes\bozh J\hu N|\qqb{-3}cbaN\enotes
-%
-% mesure 74
-\barre\arpg {!`D}6\notes\bozh F\hu J|\ifx\mxversion\undefined\Tleg0\relax
- \else\tslur0b\fi
- \ql a\sk\enotes
-\temps\notes|\Ilegu0d\dqb3Na\enotes
-\temps\arpg B5\notes\bozh I\hu K|\qqB0baNb\enotes
-%\check
-% mesure 75
-\barre\arpg C5\notes\bozh J\hu M|\qqB0aNMa\enotes
-\temps\Arpg C5\notes\bozh J\hu {=L}\zmidtwotext{\ppff mf}|\qqB0NM{=L}N\enotes
-%\check
-% mesure 76
-\barre\noteskipLarge\arpg{-8}6\notes\bozq F\zq H\qu J\relax
- |\Tleg0\ql M\enotes
-\cleftoksi={{6}{0}{0}{0}}%
-\changeclefs
-\def\atnextline{\def\interfacteur{11}\advancebottom{\Interligne}}\relax
-\Zalapage\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes
-\temps\arpg D5\notes\bozh L\hu N|\qboqh0ighi\enotes
-% mesure 77
-%\check
-\barre\arpg A6\notes\bozh H\hu L|\qboqh0jijk\enotes
-\temps\arpg E5\notes\bozh L\hu N|\qboqh{-3}lkji\enotes
-% mesure 78
-%\check
-\barre\arpg F4\notes\zh{FJ}\hu M|\zq a\qu h\sk\enotes
-\temps\notes|\dboqh3ij\enotes
-\temps\arpg {!`G}7\notes\bozh I\hu M|\qboqh{-3}kjih\enotes
-% mesure 79
-\barre\Arpg C5\Notes\bozh J\hu{=L}|\zq N\qu g\enotes
-\temps\notes|\dboqh3hi\enotes
-\temps\arpg C6\notes\bozh J\hu N|\qboqh{-3}jihg\enotes
-%\check
-% mesure 80
-\Alaligne\arpg {!`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes
-\temps\notes|\dboqh3gh\enotes
-\temps\arpg B5\notes\bozh I\hu K|\qboqh0ihgi\enotes
-% mesure 81
-\barre\arpg B6\notes\bozh J\hu M|\qboqh0hgfh\enotes
-\temps\Arpg B5\notes\bozh J\hu{=L}|\qboqh0gfeg\enotes
-%\check
-%mesure 82
-\barre\arpg {!`F}6\notes\bozq F\qu J\zmidtwotext{\ppff f}|\Tleg0\zq{Ma}\qu f\sk\enotes
-\temps\notes\dboqh3LM\zmidtwotext{\it sempre}|\dsoqb3gh\enotes
-\temps\notes\qboqb0NLMN|\zq{ln}\qsoqh0ighi\enotes
-% mesure 83
-\barre\notes\zmidtwotext{\it crescendo}\qboqb0aMNa|\zq{lo}\qsoqb0jhij\enotes
-\temps\notes\zmidtwotext{\it\kern 1.5\noteskip e}\qboqb0bNab\relax
- |\zq{mp}\qsoqb0kijk\enotes
-% \check
-% mesure 84
-\Alaligne\noteskipLARGE\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes
-\temps\notes\zmidtwotext{\it animato}\zh F\hl M|\zq{jm}\qsoqb2hijl\enotes
-% \check
-% mesure 85
-\def\boql#1{{\advance\transpose by -7\relax\zq{#1}}\ql{#1}}%
-\def\boqu#1{{\advance\transpose by -7\relax\zq{#1}}\qu{#1}}%
-\barre\notes\boql b\sk\boql b|\zq{mp}\qsoqb{-3}kjih\enotes
-\temps\notes\bohu L|\zq{jl}\qsoqb2ghik\enotes
-% mesure 86
-\barre\notes\boql a\sk\boql a|\zq{mo}\qsoqb{-3}jihg\enotes
-\temps\notes\bohu K|\zq{ik}\qsoqb2fghj\enotes
-% mesure 87
-\Alaligne\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes
-\temps\notes\bohu J|\zq{gi}\qsoqh2{=e}fgi\enotes
-% mesure 88
-\barre\notes\qboqh0M{=L}MN|\zq{jm}\qsoqb0hghi\enotes
-\temps\notes\qboqb0aNab|\zq{mo}\qsoqb0jij{=k}\enotes
-%\check
-% mesure 89
-\barre\notes\zmidtwotext{\ppff \fff}\qboqb0c{=b}c{=d}|\relax
- \ifx\mxversion\undefined\octsup v9\relax
- \else \ioctfinup v\relax
- \fi \zq{gj}\qsoqh0{=e}{=d}ef\enotes
-\temps\notes\qboqb0{=e}def|\zq{j=l}\qsoqh0gfgh\enotes
-%\check
-% mesure 90
-\Alaligne\noteskipLarge\notes\qboqb{-2}gg{=e}{_d}|\relax
- \ifx\mxversion\undefined\octfin v9\fi
- \zq{=ln}\qsoqb{-2}iig{=e}\enotes
-\temps\notes\qboqb{-2}cbN{=L}|\qsoqh{-2}{_d}dbN\relax
- \ifx\mxversion\undefined\else\toctfin\fi
- \enotes
-% mesure 91
-%\check
-\barre\notes\qboqh{-2}JIG{=E}|\qsoqh{-2}ddbN\enotes
-\temps\notes\rlap{\qboqb0CGEC}\ibu0d{-2}\boqh d\qsk\boqh d\boqh b\tbu0\boqh N\enotes
-%\check
-% mesure 92
-\barre\notes\rlap{\qsk\ibu0A0\boqh C\tbu0\boqh C}\ibu0K0\boqh K\qsk\rq K\tbu0\qh0J|\enotes
-\temps\notes\rlap{\qsk\dsoqb0CC}\ibu0d0\boqh d\qsk\rq d\tbu0\qh0c|\enotes
-\temps\notes\dsoqb0JJ|\ibu0k0\boqh k\rq k\tbu0\qh0j\enotes
-\temps\notes|\rlap{\qsk\dsoqb0cc}\ibu0q0\soqh k\qsk\rq r\tbu0\qh0q\enotes
-\cleftoksi={{0}{0}{0}{0}}\zchangeclefs
-%\check
-% mesure 93
-\barre\noteskipLarge\def\scalenoteskip{1.05}\relax
-\notes\dsoqb0jj\dsoqh0cc|\ifx\mxversion\undefined\octsup v6\else\ioctfinup t\fi
- \ibl0l0\soqb k\lq q\soqb k\zq p\soqb k\lq p\tbl0\soqb j\enotes
-\temps\notes\zq M\cu f|\zq m\cl t\zbreath\enotes
-\cleftoksi={{6}{0}{0}{0}}\changeclefs
-\def\atnextline{\staffbotmarg=3\Interligne\def\interfacteur{11}}%
-\Zalapage\notes\midtwotext{\kern -6mm\it sempre
- \ppff \fff}\enotes
-\temps\notes\dsoupir\boql f|\ifx\mxversion\undefined\octline v\fi
- \ibl0f1\soqb f\soqb g\tbl0\soqb h\enotes
-% mesure 94
-\barre\notes\zmidtwotext{\it ed accelerando}\boql f\sk\boql f|\qsoqb0ighi\enotes
-\temps\notes\boql f\sk\boql f|\qsoqb0jhij\enotes
-%\check
-% mesure 95
-\barre\notes\boql f\sk\boql f|\qsoqb0kjik\enotes
-\temps\notes\boql f\sk\boql f|\qsoqb0jihj\enotes
-%\check
-% mesure 96
-\barre\notes\boql f\sk\boql f|\qsoqb0ihgi\enotes
-\temps\notes\boql f\sk\boql f|\qsoqb0hgfh\enotes
-%\check
-% mesure 97
-\Alaligne\noteskipLarge
-\notes\boql{=e}\sk\boql e|\ifx\mxversion\undefined\octline t\fi
- \qsoqb0gf{=e}g\enotes
-\temps\notes\boql f\sk\boql f|\qsoqb3ffgh\enotes
-%\check
-% mesure 98
-\barre\notes\boql d\sk\boql d|\qsoqb0ighi\enotes
-\temps\notes\boql c\sk\boql c|\qsoqb0jhij\enotes
-%\check
-% mesure 99
-\barre\notes\boql b\sk\boql b|\qsoqb0kjik\enotes
-\temps\notes\boql a\sk\boql a|\qsoqb0jihj\enotes
-%\check
-% mesure 100
-\barre\notes\boql N\sk\boql N|\qsoqb0ihgi\enotes
-\temps\notes\boql M\sk\boql M|\soql h\sk\dsoqb3gh\enotes
-%\check
-% mesure 101
-\Alaligne\notes\boql K\sk\boql K|\ifx\mxversion\undefined\octfin u{17}\fi
- \qsoqb0ihgi\enotes
-\temps\notes\boql J\sk\boql J|\qsoqb0hgfh\enotes
-%\check
-% mesure 102
-\barre\notes\boql J\sk\boql J|\qsoqb0gf{=e}g\enotes
-\temps\NOtes\pointdorgue d\bohu K|\pointdorgue o\zh{hk}\bohl m\relax
- \ifx\mxversion\undefined\else\toctfin\fi \enotes
-% mesure 103
-\barre\notes\zmidtwotext{\ppff mp \it dolce}\soupir|\Uptext{\moyen A tempo}\enotes
-\temps\notes\islurd0G\dqb3Na|\hpause\enotes
-\temps\notes\qqb2bcdf|\zh{fi}\hu k\enotes
-%\check
-% mesure 104
-\barre\notes\qqb{-3}edcb|\zh{gi}\lh k\hl l\enotes
-\temps\notes\tslur0G\ql c\sk|\zh{hj}\hl l\enotes
-\temps\notes\Ilegu0d\dqb3bc\enotes
-%\check
-% mesure 105
-\Alaligne\notes\qqB0dcbd|\zh{il}\hl n\enotes
-\temps\notes\qqB0cbac|\zh{hj}\hl m\enotes
-% mesure 106
-\barre\notes\qqB0baNb|\lh i\zh j\hl{=l}\enotes
-\temps\notes\tleg0\ql a\sk|\zh{hj}\hl m\enotes
-\temps\notes\Ilegu0c\dqb3Na|\enotes
-%\check
-% mesure 107
-\barre\notes\qqB0baNb|\zh{gik}\hl m\enotes
-\temps\notes\qqB0aNMa|\zh{hj}\hl m\enotes
-%\check
-% mesure 108
-\barre\notes\qqB0NM{=L}N|\zh{gj}\lh i\hl{=l}\enotes
-\temps\notes\Tleg0\ql M\sk|\zq{hj}\ql m\enotes
-\temps\notes\soupir|\Ilegl0M\dqh3MN\enotes
-% mesure 109
-\def\atnextline{\advancebottom{-2\Interligne}}%
-%\check
-\Alaligne\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax
- |\uptext{\it espressivo e delicato}\qqh3abcd\enotes
-\temps\notes\rlap{\zh{EI}\hl L}\zh N|\qqh{-3}edcb\enotes
-% mesure 110
-\barre\notes\zh H\hl L|\ifx\mxversion\undefined\Tleg0\else\tslur0a\fi
- \qu a\sk\enotes
-\temps\notes|\Ilegl0a\dqh3c{=d}\enotes
-\temps\notes\zh{JN}\hl c|\qqh4{=e}fgh\enotes
-%\check
-% mesure 111
-\barre\notes\zh{JN}\hl b|\qqh{-6}ig{_d}c\enotes
-\temps\notes\zh{FJ}\hl M|\Tleg0\qu c\sk\enotes
-\temps\notes|\Ilegl0b\dqh3fg\enotes
-% mesure 112
-\barre\notes\zh F\hl L|\rlap{\hl c}\qqh0{=h}ijh\enotes
-\temps\notes\zh{IM}\hl b|\rlap{\hl d}\tleg0\qu f\sk\enotes
-\temps\notes|\Ilegl0b\dqh3ij\enotes
-% mesure 113
-\Alaligne\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes
-\temps\notes\zh{JN}\hl c|\qqH6{=e}gkj\enotes
-% mesure 114
-\barre\notes\zh{FJ}\hu M|\ibu0j{-6}\qh0{j=h}\tbu0\tleg0\qh0f\enotes
-\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0q\cl{_n}\enotes
-\Arpg F5\notes\zh{FJ}\hu{=a}|\qqB0mljl\enotes
-% mesure 115
-\barre\arpg I5\notes\zh{IM}\hl d|\qqh{-5}lkif\enotes
-\temps\notes\Soufflcr\zh{JN}\hl c|\rlap{\sk\sk\sk\tleg0}\qqH6{=e}gkj\enotes
-%\check
-% mesure 116
-\barre\notes\zmidtwotext{\ppff ff}\zq{J=L}\ql N|\dsoqh{-3}dc\enotes
-\cleftoksi={{0}{0}{0}{0}}\zchangeclefs
-\nspace\notes\zq{c=e}\qu g|\dsoqb{-3}kj\enotes
-\temps\notes\zq{j=l}\ql n|\dsoqb{-3}rq\enotes
-\temps\notes\zq{ce}\qu g|\dsoqb{-3}kj\enotes
-\cleftoksi={{6}{0}{0}{0}}\zchangeclefs
- %\check
-% mesure 117
-\def\motif#1#2#3{\notes\ibu0F4\boqh F\relax
- |\sk{\advance\transpose by 3\relax\ibu1{#3}6}\zq{#1}\zq{#2}\qh1{#3}\relax
- \tbl0\zq{#1}\zq{#2}\qb0{#3}\tbu1{\advance\transpose by 7\relax
- \zq{#1}\zq{#2}\qh1{#3}}\enotes}%
-%\check
-\staffbotmarg=5\Interligne
-\Alapage\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm
-\moyen pi\`u vivo \rm(\metron{\qu}{110})}\enotes
-\motif acf\temps\motif bdg\relax
-% mesure 118
-\barre\motif cfh\temps\motif acf\relax
-% mesure 119
-\barre\motif bdg\temps\motif cfh\relax
-% mesure 120
-\barre\motif dgi\temps\motif bdg\relax
-% mesure 121
-\Alaligne\motif cfh\temps\motif dgi\relax
-% mesure 122
-\xbarre\znotes\Soufflcr\enotes\motif {cf}hj\temps\motif cfh\relax
-% mesure 123
-\xbarre\motif dfi\temps\motif fhj\relax
-% mesure 124
-\barre\motif fik\temps\motif dfi\relax
-\generalmeter{\meterfrac 54}\relax
-\changecontext
-\znotes\zmidtwotext{\kern -5mm\ppff ff}\enotes
-% mesure 125
-%\check
-\def\motif#1#2#3#4#5#6{\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax
-\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes
-\notes{\advance\transpose by -7\relax
-\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes
-\notes|\zq{#1}\zq{#2}\qb1{#3}\zq{#4}\zq{#5}\qb0{#6}\enotes
-\notes|{\advance\transpose by 7\relax
-\zq{#1}\zq{#2}\qb1{#3}\tbl0\zq{#4}\zq{#5}\qb0{#6}}\enotes
-\notes|{\advance\transpose by 14\relax
-\tbl1\zq{#1}\zq{#2}\qb1{#3}}\enotes}%
-%\check
-\noteskipLarge\relax
-\motif {=e}gjegj\relax
-% mesure 126
-\barre\motif fhjfhj\relax
-% mesure 127
-\barre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax
-\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes
-\notes{\advance\transpose by -7\relax
-\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes
-\notes|\zq g\lq i\qb1j\zq g\lq i\qb0j\enotes
-\notes|{\advance\transpose by 7\relax
-\zq g\lq i\qb1j\tbl0\zq g\lq i\qb0j}\enotes
-\notes|{\advance\transpose by 14\relax
-\tbl1\zq g\lq i\qb1j}\enotes
-%\check
-% mesure 128
-\Alaligne\motif fikfik\relax
-% mesure 129
-\barre\motif gi{=l}gil\relax
-% mesure 130
-\generalmeter{\allabreve}\changecontext
-\noteskipnormal\NOtes|\octfin z1\rlap{\sforz I\zh{ce}\hl g}\relax
-\sforz x\zh{j=ln}\hu q\enotes
-\temps\NOtes\pointdorgue c\hpause|\pointdorgue o\hpause\enotes
-% mesure 131
-\noteskipLarge\transpose=0\relax
-\ifx\HalfPieceCut\undefined
- \barre
-\else
- \advance\mulooseness -2\relax
- \alapage
- \advance\mulooseness 3\relax
-\fi
-\notes\rlap{\bohu F}\isluru0e\relax
- \qqh3MNab|\zcharnote{-4}{\it dolce ed espressivo}\Uptext{\kern -3mm\moyen
- tempo I$^{\bf o}$}\enotes
-\temps\notes\qqb0cbcd%
-\off{\beforeruleskip}\hloff{\Tslurbreak0h}\off{-\beforeruleskip}%
-|\zh{hj}\hu m\uptext{\it m.s.}\enotes
-% mesure 132
-\Alaligne
-\notes
-\off{-\afterruleskip}\hloff{\Islurdbreak0h}\off{\afterruleskip}%
-\bohu L|\qqb0edef\enotes
-\temps\notes|\rlap{\zh{il}\hu n}\qqb{-3}edcb\enotes
-% mesure 133
-\barre\Notes\tslur0f\bohu H|\hl c\enotes
-\temps\notes|\raise -5\Interligne\rlap{\soupir}\zh{lo}\hl q\enotes
-\temps\notes|\Ilegl0K\ibl0c1\qb0{=b}\tqb0c\enotes
-% mesure 134
-%\check
-\barre\notes\bohu J|\qqb5{=e}gkj\enotes
-\temps\notes|\rlap{\zh n\rh p\hu q}\qqB{-6}igdc\enotes
-% mesure 135
-\barre\notes\bohl M|\ibl0e0\qb0{=h=ef}\tqb0g\enotes
-\temps\notes|\rlap{\zh{m=o}\hu q}\qqb3hijk\enotes
-%\check
-% mesure 136
-\Alapage\noteskipLarge\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk
- \ifx\mxversion\undefined\tleg0\else\tslur0a\fi}\qqb{-6}lj{=h}f\enotes
-\temps\arpg G6\notes\zh{IMb}\hl d|\qqb{-6}ki{_h}g\enotes
-%\check
-% mesure 137
-\barre\arpg I5\notes\zh{KMb}\hl d|\qqb{-6}ki{_h}g\enotes
-\temps\Arpg H5\notes\zmidtwotext{\it crescendo}\zh{JN}\lh b\hl c|\qqh{-6}{=l}kig\enotes
-% mesure 138
-%\check
-\barre\Arpg H6\notes\zh{=Lb=e}\hl g\zmidtwotext{\it molto}|\qqh{-6}n{=l}ki\enotes
-\temps\Arpg b{9}\notes\zh c|\rlap{\zh {=eg}\hl j}\qqh{-6}pnlk\enotes
-%\check
-% mesure 139
-\barre\Arpg H5\notes\zh{=LN}\bohl c|\qqb{-8}rpnj\enotes
-\temps\notes\zmidtwotext{\ppff f}\boql c\sk\boql c|\qsoqb{-8}rpnj\enotes
-%\check
-% mesure 140
-\Alaligne\noteskiplarge\bigaccid
-\notes\zmidtwotext{\vbox{\hbox{\ppff ff \it con fuoco}\smallskip
- \hbox{\it e crescendo}}}\soupir|\soupir\enotes
-%\check
-\noteskipnormal\def\scalenoteskip{0.75}\relax
-\notes\ibbl0F3\soqb F\qs\tbl0\soqb G\qs|\qs\ibbu0m3\soqh f\qs\tbu0\soqh g\enotes
-%\check
-\def\motif#1#2#3#4{\notes\ibbu0b0{\advance\transpose by -7\relax\boqh{#1}}\sk
- |\qsk\sk\rlap{\soqb{#1}}\enotes
-\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#2}}\enotes
-\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#3}}\enotes
-\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk
-\tbl0\soqb{#4}}\enotes
-}% fin motif
-%\check
-\temps\motif hfgh\relax
-%\check
-% mesure 141
-\barre\motif ighi\temps\motif jhij\relax
-% mesure 142
-\barre\motif kjik\temps\motif jihj\relax
-% mesure 143
-\def\scalenoteskip{0.7}\Alaligne\motif ihgi\temps\motif hgfh\relax
-%\check
-% mesure 144
-\barre\motif gf{=e}g\temps\motif ffgh\relax
-% mesure 145
-\barre\motif ighi\temps\motif jhij\relax
-% mesure 146
-\Alaligne\motif {=k}ijk\temps\motif {=l}jkl\relax
-% mesure 147
-\barre\motif m{_l}{_k}j\temps\motif iijk\relax
-% mesure 148
-\barre\motif lkji\temps\motif hhij\relax
-% mesure 149
-\Alaligne\motif kjik\relax
-%\check
-\def\motif#1#2#3#4#5#6#7#8{\notes\ibbu0b0{\advance\transpose by -7\relax
-\boqh{#1}}\sk|\qsk\sk\rlap{\soqb{#5}}\enotes
-\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#6}}\enotes
-\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#7}}\enotes
-\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk
-\tbl0\soqb{#8}}\enotes}% fin motif
-%\check
-\temps\motif j{^j}{=k}{^k}jjjj\relax
-% mesure 150
-\barre\motif {=l}{_l}{=k}{_k}jjjj\relax
-\temps\motif jihgjj{=k}{=l}\relax
-% mesure 151
-\noteskipLarge\varaccid
-\xbarre\Notes\pointdorgue a\zcharnote i{\ppff \fff}\bohl M\relax
- |\pointdorgue u\zh{=oq}\sohl m\enotes
-%\check
-\NOtes\rlap{\pointdurgue F\soupir}\midtwotext{\it\vbox{\hsize 2\noteskip
-\centerline{a piacere
-}\centerline{%
-quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes
-\Zalapage
-\transpose=-7\relax
-%
-\staffbotmarg=3\Interligne
-\Notes\charnote C{\ppff f}\dqh8FJ\enotes
-%
-%
-% mesure 152
-%
-\def\motif{}%
-\def\motifb#1#2#3#4#5#6#7{\ibbl0{#2}{#1}\usf{#2}\qb0{#2}\tbbl0\qb0{#3}%
-\nbbl0\qb0{#4}\tbbl0\qb0{#5}\nbbl0\qb0{#6}\tqb0{#7}}%
-\def\motifh#1#2#3#4#5#6#7{\ibbu0{#2}{#1}\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}%
-\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}%
-\def\motifH#1#2#3#4#5#6#7{{\advance\transpose by 3\ibbu0{#2}{#1}}%
-\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}%
-%\check
-\noteskipnormal\def\scalenoteskip{1.11}\hyphenpenalty -20\relax
-\transpose=0\relax
-\barre\notes\motifh8FHJMac\enotes
-\temps\notes|\motifb8fhjmoq\enotes
-%\check
-% mesure 153
-\barre\notes|\motifb{-6}t{=s}tqom\enotes
-\zbarre\notes|\na l\motifb{-6}lmjhf{=e}\enotes
-\zbarre\notes|\usf f\ibbl0d0\qb0f\tbbl0\qb0c\enotes
-\notes\nbbu0\qh0a\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes
-\zbarre\notes\motifh{-4}JHF{=E}FC\enotes
-\transpose=-7\relax
-\zbarre\notes\ibbu0I{-6}\qh0H\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes
-%\check
-% mesure 154
-\Alaligne
-\transpose=-7\relax
-\notes\motifh8FIKMbd\enotes
-\zbarre\notes|\motifh8fikmpr\enotes
-\transpose=7\relax
-\notes|\usf f\ibbl0f4\qb0{fi}\tqb0k\enotes
-%\check
-% mesure 155
-\transpose=0\relax
-\barre\notes|\motifb{-6}t{=s}trpm\enotes
-\zbarre\notes|\na l\motifb{-6}lmkif{=e}\enotes
-\zbarre\notes|\usf f\ibbl0e0\qb0f\tbbl0\qb0d\enotes
-\notes\nbbu0\qh0b\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes
-\zbarre\notes\motifh{-4}KIF{=E}FD\enotes
-\transpose=-7\relax
-\Zalaligne\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes
-%\check
-% mesure 156
-\transpose=-7\relax
-\barre\notes\motifH8FJ{_L}Mc{_e}\enotes
-\zbarre\notes|\motifH8fj{_l}mq{_s}\enotes
-\transpose=7\relax
-\zbarre\notes|\sforz h\ibbl0g4\qb0{fj}\tqb0{_l}\enotes
-%\check
-% mesure 157
-\transpose=0\relax
-\barre\notes|\motifb{-6}t{=s}t{_s}qm\enotes
-\zbarre\notes|\na l\motifb{-6}lm{_l}jf{=e}\enotes
-\zbarre\notes|\sforz h\ibbl0e0\qb0f\tbbl0\qb0{_e}\enotes
-\notes\nbbu0\qh0c\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes
-\Zalaligne\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes
-\transpose=-7\relax
-\zbarre\notes\ibbu0I{-4}\qh0J\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes
-%\check
-% mesure 158
-\def\motif{}%
-\def\motifb{}%
-\def\motifh{}%
-\noteskipnormal
-\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FIK}\tqh0M\enotes
-\zbarre\notes\transpose=0\relax\ibbu0I8\qh0{IK}\tqh0M\enotes
-\zbarre\notes|\transpose=7\relax\ibbu0I8\qh0{IK}\tqh0M\enotes
-\zbarre\notes|\transpose=0\relax\lsf i\ibbu0i8\qh0{ik}\tqh0m\enotes
-\zbarre\notes|\transpose=7\relax\lsf g\ibbu0g8\qh0{gik}\tqh0m\enotes
-%\check
-\def\souffldim{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Dimin}}}%
-% mesure 159
-\transpose=7\relax\def\motifa{\sforz u\ibbu0m0\qh0{nm}\tqh0n}\relax
-\def\motifb{\ibbl0k{-8}\qb0{ki}\tqb0f}\relax
-\barre\notes\souffldim|\motifa\enotes
-\notes|\motifb\enotes
-\transpose=0\relax
-\zbarre\notes|\motifa\enotes
-\notes|\motifb\enotes
-\transpose=-7\relax
-\zbarre\notes|\motifa\enotes
-\notes\motifb\enotes
-\transpose=-14\relax
-\zbarre\notes\motifa\enotes
-\notes\motifb\enotes
-\transpose=-21\relax
-\zbarre\notes\motifa\enotes
-\notes\motifb\enotes
-%\check
-% mesure 160
-\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FJM}\tqh0N\enotes
-\zbarre\notes\transpose=0\relax\ibbu0H8\qh0{HJM}\tqh0N\enotes
-\zbarre\notes\transpose=7\relax\ibbu0J0\qh0{HJ}\enotes
-\notes|\transpose=7\qb0M\tqb0N\enotes
-\zbarre\notes|\transpose=0\relax\ibbu0h8\qh0{hjm}\tqh0n\enotes
-\zbarre\notes|\transpose=7\relax\ibbl0h8\qb0{hjm}\tqb0n\enotes
-%
-% mesure 161
-% sixte et quinte inferieures
-\transpose=0\relax
-\def\motifb{}\def\motifh{}\def\motifH{}%
-\def\bsqh#1{{\advance\transpose by -5\relax\zq{#1}}\qh0{#1}}%
-\def\bqqh#1{{\advance\transpose by -4\relax\zq{#1}}\qh0{#1}}%
-\def\tbsqh{\tbu0\bsqh}\def\tbqqh{\tbu0\bqqh}%
-\cleftoksi={{0}{0}{0}{0}}\changeclefs
-\generalmeter{\meterfrac 44}\changecontext\staffbotmarg=5\Interligne
-\def\serre{\def\scalenoteskip{0.8}}\serre
-\def\motif{\ibbbl2n{-6}\qb2{onm}\tqb2j}%
-\transpose=0\relax
-\def\atnextline{\serre}\relax
-\ifx\mxversion\undefined
- \def\everystaff{\znotes\nextstaff\octline t\enotes}\relax
-\fi
-\Zalapage
-\ifx\mxversion\undefined\else
- \znotes|\ioctfinup t\enotes
-\fi
-\notes|\motif\enotes
-\zbarre\notes\souffldim|\motif\enotes
-\zbarre\notes\hpause|\motif\enotes
-\zbarre\notes|\motif\enotes
-%
-%
-\temps\notes\soupir|\motif\enotes
-\zbarre\notes\zmidtwotext{\ppff p}|\motif\enotes
-\zbarre\notes\ibu0f1\bsqh f|\motif\enotes
-\notes\tbsqh g|\motif\enotes
-% mesure 162
-\def\Motif#1#2#3#4{\Ibbbl2{#1}{#4}3\hb2{#1#2#3}\tbl2\hb2{#4}}%
-\barre\NOtes\ibu0g0\bsqh h\bsqh f\bsqh g\tbsqh h\relax
- |\Motif onmj\enotes
-\temps\NOtes\ibu0h0\bsqh i\bsqh g\bsqh h\tbsqh i|\Motif ponk\enotes
-% mesure 163
-%\check
-\def\motif#1#2#3#4{\Ibbbl1{#1}{#4}3\qb1{#1#2#3}\tbl1\qb1{#4}}%
-\barre\NOtes\ibu0g0\bsqh j\bsqh h\bsqh i\tbsqh j\relax
- |\Motif qpom\enotes
-\temps\notes\ibu0j{-6}\bsqh k|\motif rqpm\enotes
-\notes\tbsqh i|\motif rqpm\enotes
-\zbarre\notes\ibu0i{-6}\bsqh j|\motif qpom\enotes
-\notes\tbsqh h|\motif qpom\enotes
-%\check
-% mesure 164
-\generalmeter{\meterfrac 34}\changecontext
-\notes\ibu0h{-4}\zq d\qh0i|\motif pon{=l}\enotes
-\notes\tbsqh g|\motif ponl\enotes
-\temps\NOtes\zh b\zh{=e}\hu g|\Motif ponl\enotes
-%\check
-% mesure 165
-\generalmeter{\meterfrac 44}\changecontext\serre
-\Notes\Ibu0hg3\bsqh i|\motif ponk\enotes
-\Notes\tbsqh g|\motif ponk\enotes
-\zbarre\Notes\Ibu0ge3\bsqh h|\motif onmj\enotes
-\Notes\tbsqh f|\motif onmj\enotes
-\zbarre\NOtes\zq a\qu f\sk\Ibu0gf1\bsqh h\tbsqh f|\Motif onmj\enotes
-%\check
-% mesure 166
-\barre\serre\notes\ibu0g1\bigna e\bsqh e\relax|\motif nm{=l}i\enotes
-\notes\bsqh g|\motif nmli\enotes
-\notes\bsqh f|\motif onmj\enotes
-\notes\tbsqh h|\motif onmj\enotes
-\notes\ibu0i1\bsqh g|\motif ponk\enotes
-\notes\bsqh i|\motif ponk\enotes
-\notes\bsqh h|\motif qpol\enotes
-\notes\tbu0\bsqh j|\motif qpol\enotes
-%\check
-% mesure 167
-\generalmeter{\meterfrac 34}%
-\changecontext\notes\ibu0j1\bigna h\bsqh h\relax
-|\motif qp{=o}m\enotes
-\notes\bsqh j|\motif qpom\enotes
-\notes\bsqh i|\motif rqpm\enotes
-\notes\tbsqh k|\motif rqpm\enotes
-\notes\ibu0j1\bsqh j|\motif srqm\enotes
-\notes\bigfl g\tbsqh l|\motif srqm\enotes
-%
-% mesure 168
-\generalmeter{\meterfrac 44}\changecontexte
-\NOtes\zq f\qu k\sk\ibu0i2\bsqh i\tbsqh k|\Motif rqpm\enotes
-\zbarre\NOtes\ibu0i0\bsqh j\bsqh i\fl h\bsqh h\tbsqh j|\Motif qpom\enotes
-%
-% mesure 169
-\barre\NOtes\ibu0h0\bsqh i\bsqh h\bsqh g\tbsqh i|\Motif ponk\enotes
-\zbarre\Notes\ibu0g0\bsqh h\bsqh g\bsqh f\tbsqh h|
-\Motif onmj\enotes
-% mesure 170
-\barre\Notes\ibu0f0\bsqh g\bsqh f\na e\bsqh e\tbsqh g|\Motif nm{=l}i\enotes
-\temps\Notes\zh a\hu f|\Motif onmj\enotes
-%\check
-% mesure 171
-\barre\Notes\ibu0f0\na a\zq c\bsqh f\zq c\bsqh f\zq c\bsqh f\zq c\tbsqh
-f|\na o\Motif onmj\enotes
-\temps\Notes\ibu0f0\zq d\bqqh f\zq d\bqqh f\zq d\bqqh f\zq d\tbqqh
-f|\Motif p{_o}nk\enotes
-%\check
-% mesure 172
-\barre\Notes\ibu0g0\zq d\bsqh g\zq d\bsqh g\zq d\bsqh g\zq d\tbsqh
-g|\Motif ponk\enotes
-\temps\Notes\ibu0h0\zq f\bsqh h\zq f\bsqh h\zq f\bsqh h\zq f\tbsqh
-h|\Motif qpom\enotes
-% mesure 173
-\barre\Notes\ibu0g0\zmidtwotext{\it smorz.}\relax
-\zq{c=e}\qh0i\zq{ce}\qh0i\zq{ce}\qh0i\zq{ce}\tqh0i|\Motif pon{=l}\enotes
-\nspace\NOtes\pointdorgue l\hpause|\pointdorgue l\hpause\toctfin\enotes
-\suspmorceau\def\everystaff{}\relax
-\Eject
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% finale %
-\transpose=0\relax\cleftoksi={{6}{0}{0}{0}}%
- \Eject\staffbotmarg=3\Interligne\relax
-\def\atnextline{\def\interfacteur{11}}%
-\def\scalenoteskip{1.0}%
-% mesure 200
-\barno=200\relax
-\generalmeter{\allabreve}\reprmorceau
-\savemeters\noteskipLarge\saveclefs
-\notes\zmidtwotext{\ppff p}|\Uptext{\kern -7mm\moyen
-a tempo primo, con molta delicatezza}\soupir\enotes
-\temps\notes\hpause|\Ilegl0d\dqh3fg\enotes
-\temps\notes\zh{Ma}\hl c|\qqh0hfgh\enotes
-% mesure 201
-\xbarre\notes\zh{Mb}\hl d|\qqh0ighi\enotes
-\temps\notes\zh{Ma}\hl c|\Tleg0\qu j\sk\enotes
-\temps\notes|\Ilegl0d\dqh3ij\enotes
-% mesure 202
-\xbarre\notes\zh{Mb}\hl d|\qqh0kjik\enotes
-\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes
-%\check
-% mesure 203
-\xbarre\notes\zh M\lh N\hl b|\qqh0ihgi\enotes
-\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\enotes
-\temps\notes|\Ilegl0d\dqh3gh\enotes
-%\check
-% mesure 204
-\Alaligne\notes\zh{Mb}\hl d|\qqh0ihgi\enotes
-\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes
-% mesure 205
-\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes
-\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes
-\temps\notes|\Ilegu0r\dqh3gh\enotes
-% mesure 206
-\barre\notes\zh{LN}\hl b|\rlap{\hl e}\qqh0ighi\enotes
-\temps\notes\zh{La}\hl c|\rlap{\hl e}\qqh0jijk\enotes
-% mesure 207
-\barre\notes\zh b\bohl e|\rlap{\hl g}\qqh{-3}lkji\enotes
-\cleftoksi={{0}{0}{0}{0}}\changeclefs
-\temps\notes\zh{ac}\hl e|\Tleg0\qu h\sk\enotes
-\temps\notes|\Ilegu0t\dqh3jk\enotes
-% mesure 208
-\Alaligne\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes
-\temps\notes\zh{ce}\hu i|\qqb{-6}pnkj\enotes
-% mesure 209
-\barre\nspace\notes\zh{cf}\hu{=h}|\Uptext{\it sempre \ppff p}\relax
- \ibl0m0\qb0{=o=lm}\tqb0n\enotes
-\temps\notes\zh{c_e}\hu h|\qqb3opqr\enotes
-%\check
-% mesure 210
-\xbarre\notes\zh{=ac}\hu{_g}|\qqb{-7}sq{=o}m\enotes
-\temps\notes\zh{bd}\hu f|\Tleg0\ql r\enotes
-\temps\notes|\Ilegu0s\dqb4pr\enotes
-% mesure 211
-\xbarre\notes\zh{ac}\hu f|\qqB0qpoq\enotes
-\cleftoksi={{6}{0}{0}{0}}\changeclefs
-\temps\notes\zh{Nb}\hl{=e}|\qqB0ponp\enotes
-% mesure 212
-\generalmeter{\meterfrac 32}\changecontexte
-\Notes\zh{Ma}\hl c|\Tleg0\ql o\enotes
-\temps\notes|\Ilegu0r\dqb3no\enotes
-\temps\notes\zh{KM}\hl b|\qqB0ponp\enotes
-\temps\notes\zh{JM}\hl a|\qqB0onmo\enotes
-%\check
-% mesure 213
-\generalmeter{\allabreve}\changecontexte
-\notes\zh{J=L}\hl N|\qqB0nm{=l}n\enotes
-\temps\Notes\boqu M|\Tleg0\hl m\enotes
-\temps\notes\zmidtwotext{\kern -1.5\noteskip\ppff pp}\Ilegu0e\dqb3MN\enotes
-%\check
-% mesure 214
-\xbarre\notes\qqb3abcd|\zh{fh}\hu j\enotes
-\temps\notes\qqb{-3}cbaN|\zh{=eg}\hu j\enotes
-%\check
-% mesure 215
-\xbarre\Notes\tleg0\ql a|\zh{fh}\hu j\enotes
-\temps\notes\Ilegu0d\dqb3Na\enotes
-\temps\notes\qqb0baNb|\zh{fi}\hu k\enotes% mesure 216
-\Alaligne\notes\qqB0aNMa|\zh{fh}\hl j\enotes
-\temps\notes\qqB0NM{=L}N|\zh{=eg}\hu j\enotes
-% mesure 217
-\barre\notes\Tleg0\hl M|\zh{fh}\hu j\enotes
-\cleftoksi={{6}{6}{0}{0}}\changeclefs
-\notes|\Ilegl0E\dqh3Na\enotes
-\temps\notes\bohu K|\rlap{\hl M}\qqh5bcdf\enotes
-% mesure 218
-\barre\notes\bohu L|\rlap{\hl N}\qqh{-3}edcb\enotes
-\temps\Notes\bohu H|\Tleg0\rlap{\ql a}\qu c\enotes
-\temps\notes|\Ilegl0E\dqh3bc\enotes
-%\check
-% mesure 219
-\barre\notes\bohu I|\rlap{\hl M}\qqh0dcbd\enotes
-\temps\notes\bohu J|\rlap{\hl M}\qqh0cbac\enotes
-%\check
-% mesure 220
-\Alaligne\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes
-\temps\notes\bohu F\sk|\Tleg0\rlap{\ql J}\qu a\enotes
-\temps\notes|\Ilegl0F\dqh3Na\enotes
-% mesure 221
-\barre\notes\Uptext{\it diminuendo,\ \ \ ma senza}\bohu D\relax
- |\rlap{\hl K}\qqh0baNb\enotes
-\temps\notes\bohu C|\rlap{\hl J}\qqh0aNMa\enotes
-% mesure 222
-%\check
-\barre\notes\Uptext{\it rallentare}\bohu C|\rlap{\hl J}\qqh0NMLN\enotes
-\temps\NOtes\bohu F|\Tleg0\rlap{\hl J}\hu M\enotes
-% mesure 223
-\barre\notes\bohu F|\itenu0f\itenl1M\roff{\zqp b\zqup d}\bohl f\sk\sk
-\itenu2a\itenu3c\zq a\cu c\qsk\enotes
-\NOtes\pointdorgue a\bohu F\relax
- |\pointdurgue F\tten0\tten1\tten2\tten3\zh{ac}\bohl f\enotes
-\finmorceau \rightline{\sl \aujourdhui}
-\eject
-\bye
-\endinput
diff --git a/macros/musixtex/doc/examples/pacifiqt.tex b/macros/musixtex/doc/examples/pacifiqt.tex
deleted file mode 100644
index 2077a6b801..0000000000
--- a/macros/musixtex/doc/examples/pacifiqt.tex
+++ /dev/null
@@ -1,10 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\musicsize=20\relax
-\def\NoPageCut{\relax}
-\def\HalfPieceCut{\relax}
-\input c:/taupin/musixtex/scores/pacifiqn
-\bye
diff --git a/macros/musixtex/doc/examples/parnasum.tex b/macros/musixtex/doc/examples/parnasum.tex
deleted file mode 100644
index decd8797a8..0000000000
--- a/macros/musixtex/doc/examples/parnasum.tex
+++ /dev/null
@@ -1,132 +0,0 @@
-%format musix
-
-\input musixtex
-
-\catcode`@=11
-\def\Special{\def\n@bbl{\C@nb\c@z\c@x\m@ne\z@}%
- \def\beamst@m{\getcurpos\advance\y@v-\b@x
- \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z \stem@skip\z@
- \advance\y@ii\b@n\interbeam \advance\y@ii\tw@\interbeam \st@bot\y@ii\C@stem}%
- \def\t@xbl{\C@txb\lthick{\f@ur\b@amthick}\interbeam\hlthick<}}%
-\def\DS{\zchar4\ds}
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% TEX translation of MIDI File :
-% o.MID
-%
-% Written by Hans Kuykens
-% this translation of date : 1-9-1993
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\centerline{\BIGtype Doctor Gradus ad Parnassum}\bigskip\bigskip
-\rightline{\medtype Claude Debussy}\medskip
-\musicparskip
-\parindent10mm
-
-\generalmeter{\meterfrac44}
-\setstaffs1{2}
-\interstaff{11}
-\setclef1\bass
-\startmuflex\startpiece\systemnumbers
-%%% bar 1
-\scale\tinyvalue
-\notes\zchar{11}{\p\lower.5ex\hbox{\it\ \'egal et sans s\'echeresse}}%
- \itied0C\tinynotesize\stdstemfalse\grcu C%
- |\Uptext{\medtype\bf Mod\'er\'ememt anim\'e}\en
-\scale\normalvalue
-\notes\tslur0H\isslurd0J\lst J\wh J%
- |\qs\Ibbu0Nd2\isslurd1N\qb0{Nc}\tqh0d\en
-\notes|\ibbu0d0\qb0{eNc}\tqh0e\ibbu0c0\qb0{dMc}\tqh0d\en
-\notes|\ibbu0e0\qb0{fab}\tqh0f\en
-%%% bar 2
-\bar
-\notes\midslur{-4}\ttie0\itied0J\wh J|\ibbu0d0\qb0{eNc}\tqh0e\en
-\notes|\ibbu0f0\qb0{gbc}\tqh0g\en
-\notes|\ibbu0e0\qb0{fac}\tqh0f\en
-\notes|\ibbu0g0\qb0{hbf}\tqh0h\curve{-2}15\tslur1d\midslur{-4}\en
-%%% bar 3
-\bar
-\notes\zchar4\qp\ttie0\ql J%
- |\loffset{1.3}{\islurd1e}\ibbu0f0\qb0{gce}\tslur1f\tqh0g\en
-\notes\roffset{1.1}{\zhu{.c}}\roffset{1.75}{\itieu1c}\ibslurd0c\ql c%
- |\ibsluru2k\upz{11}\zcu j\ibbl0h0\qb0{je}\DS\qb0g\tqb0j\en
-\notes\ql b|\upz{11}\zcu k\ibbl0h0\qb0{ke}\DS\qb0g\tqb0k\en
-\notes\ql a|\upz{11}\zcu j\ibbl0h0\qb0{je}\DS\qb0g\tqb0j\en
-%%% bar 4
-\bar
-\notes\ttie1\zqu c\rql b%
- |\upz{10}\zcu i\ibbl0h0\qb0{ie}\DS\qb0g\tqb0i\en
-\notes\ql c|\upz9\zcu h\ibbl0h0\qb0{he}\DS\qb0g\tqb0h\en
-\notes\ql b|\upz8\zcu g\ibbl0f0\qb0{gc}\DS\qb0e\tqb0g\en
-\notes\midslur{-5}\tdbslur0a\ql a%
- |\tdbslur2g\upz7\zcu f\ibbl0f0\qb0{fc}\DS\qb0e\tqb0f\en
-%%% bar 5
-\bar
-\notes\issluru0N\ql N|\ibsluru1f\zqu e\ibbl0d0\qb0{ebc}\tqb0e\en
-\notes\ql M|\zqu d\ibbl0c0\qb0{dac}\tqb0d\en
-\notes\icresc\ql L\sk\sk\roff{\zchar{12}\tcresc}%
- |\zqu g\ibbl0e0\qb0{gbe}\tqb0g\en
-\notes\icresc\curve200\tsslur0a\ql a\sk\sk\roff{\zchar{12}\tdecresc}%
- |\zqu h\ibbl0e0\qb0{hce}\curve333\tslur1d\tqb0h\en
-%%% bar 6
-\bar
-\notes\uptext{\llap\p}\issluru0N\ql N%
- |\ibsluru1e\zqu e\ibbl0c0\qb0{eac}\tqb0e\en
-\notes\ql M|\zqu d\ibbl0c0\qb0{dac}\tqb0d\en
-\setclef1{\bass\bass}\changeclefs
-\notes\ql L|\zqu c\ibbl0a0\qb0{cNa}\tqb0c\en
-\notes\curve236\tsslur0K\ql K%
- |\zqu b\ibbl0N0\qb0{bMN}\curve974\tubslur1h\tqb0b\en
-%%% bar 7
-\bar
-\notes\roff{\lmidstaff\pp}\roffset{1.125}{\lst F\zw F}%
- \ibbu0J5\qb0F\roff\icresc\qb0{JK}\tbbu0\qb0L|\ibsluru0{-10}\en
-\notes|\Special\nbbl0\qb0{Mac}\tqb0d\en
-\notes\ibbl0t{-5}\loff{\zqb0e\zchar{-2}\tcresc}\icresc
- |\sk\qb0{dc}\tbbl0\qb0a\nbbl0\qb0M\en
-\notes\qb0{LK}\roff{\zchar{-2}\tdecresc}\tqh0J%
- |\sk\sk\curve{16}65\tubslur0{-10}\en
-%%% bar 8
-\bar
-\notes\roff{\lmidstaff{\pp\kern-2mm}}\roffset{1.125}{\lst F\zw F}%
- \ibbu0J5\qb0F\roff\icresc\qb0{JK}\tbbu0\qb0L|\ibsluru0{-10}\en
-\notes|\Special\nbbl0\qb0{Mac}\tqb0d\en
-\notes\ibbl0t{-5}\loff{\zqb0e\zchar{-2}\tcresc}\icresc
- |\sk\qb0{dc}\tbbl0\qb0b\nbbl0\qb0a\en
-\notes\qb0{LK}\roff{\zchar{-2}\tdecresc}\tqh0J%
- |\sk\sk\curve{16}65\tubslur0{-10}\en
-%%% bar 9
-\bar
-\notes\roff{\lmidstaff{\pp\kern-2mm}}\roffset{1.125}{\lst F\zw F}%
- \ibbu0J5\qb0F\roff\icresc\qb0{JK}\tbbu0\qb0L|\ibsluru0{-10}\en
-\notes|\Special\nbbl0\qb0{M_ac}\tqb0d\en
-\notes\ibbl0t{-5}\loff{\zqb0e\zchar{-2}\tcresc}\icresc
- |\sk\qb0{dc}\tbbl0\qb0a\nbbl0\qb0M\en
-\notes\qb0{LK}\roff{\zchar{-2}\tdecresc}\tqh0J%
- |\sk\sk\curve{16}65\tubslur0{-10}\en
-%%% bar 10
-\bar
-\notes\roff{\lmidstaff\pp}\roffset{1.125}{\lst F\zw F}%
- \ibbu0J5\qb0F\roff\icresc\qb0{JK}\tbbu0\qb0L|\ibsluru0{-10}\en
-\notes|\Special\nbbl0\qb0{M_ac}\tqb0d\en
-\notes\ibbl0t{-5}\loff{\zqb0e\zchar{-2}\tcresc}\icresc
- |\sk\qb0{dc}\tbbl0\qb0{_b}\nbbl0\qb0a\en
-\notes\qb0{LK}\roff{\zchar{-2}\tdecresc}\tqh0J%
- |\sk\sk\curve{16}66\tubslur0{-10}\en
-%%% bar 11
-\bar
-\notes\ibbu0K9\qb0{EI}|\ibsluru0{-13}\en
-\notes|\qb0L\tqb0{^N}\en
-\notes\ibbu0M9\qb0{IL}|\Uptext{\twelveit cresc. --~~~~--~~~~--~~~~--~~~~--}\en
-\notes|\qb0N\tqb0b\en
-\notes\ibbu0L3\qb0L\en
-\znotes\qb0{^N}\en
-\setclef1\bass\changeclefs
-\notes|\qb0b\tqb0e\en
-\notes\ibbu0N3\qb0{Nb}|\sk\sk\qb0e\tqb0{^g}\en
-%%% bar 12
-\bar
-\qspace
-\NOTEs\lcharnote{17}{\twelveit s\kern-.25ex\f~}\isluru3e\wholeshift{%
- \ust e\usfz f}\roffset2\icresc\wh e\zchar{19}\tdecresc
- |\curve{16}33\tubslur0{-10}\en
-\def\atnextbar{\znotes|\centerpause\en}\mulooseness1\stoppiece
-\eject\endmuflex\end
diff --git a/macros/musixtex/doc/examples/partitur.tex b/macros/musixtex/doc/examples/partitur.tex
deleted file mode 100644
index bb2288e7a7..0000000000
--- a/macros/musixtex/doc/examples/partitur.tex
+++ /dev/null
@@ -1,433 +0,0 @@
-% partitur.tex to demonstrate MusiXTeX's capabilities for large scores
-% (c) 1997, Werner Icking
-
-\ifx\mxversion\undefined
- \input musixtex
- \fi
-
-% A4-width, letter-length
-\hoffset-15.4mm\voffset-15.4mm
-\hsize210mm\advance\hsize-20mm
-\vsize11in\advance\vsize-20mm\advance\vsize-20pt
-
-\def\myfootline#1{%
-\def\crtextde{Nicht-kommerzielle Vervielf\"altigung erw\"unscht.}%
-\def\crtexten{Non-commercial copying welcome.}%
-\def\cryear{#1}\setfootline}
-
-\def\setfootline{\footline={\ifodd\pageno%
-{\rlap{\sevenrm\copyright~\cryear, Werner Icking, D-53721 Siegburg, Farnweg 28}%
- \hfill\folio\hfill
- \llap{\sevenrm\crtextde}}%
-\else
-{\rlap{\sevenrm\copyright~\cryear, Werner.Icking@gmd.de}%
- \hfill\folio\hfill
- \llap{\sevenrm\crtexten}}%
-\fi}}
-\myfootline{1997}
-
-\input musixmad
-
-\startmuflex
-
-\arithmeticskipscale
-\let\ni\nextinstrument
-\let\ns\nextstaff
-
-%= Example 1 ============================================================
-
-\centerline{\BIGtype C}\par\medskip
-
-\parindent 90pt
-
-\instrumentnumber{12}
-
-\generalmeter{\allabreve}
-\generalsignature 0
-
-\groupbottom11
-\setstaffs11\setclef1\bass \setname1{Contrabassi}
-\setstaffs21\setclef2\bass \setname2{Violoncelli}
-\setstaffs31\setclef3\alto \setname3{Viole}
-\setstaffs42\setclef4{\treble\treble} \setname4{\vbox{\hbox{Violini I}%
- \vskip 6\Interligne\hbox{Violini II}}}
-\grouptop14
-\setstaffs52\setclef5{\treble\treble} \setname5{Celesta}
-\groupbottom26
-\setstaffs61\setclef6\treble\setclefsymbol6\empty
- \setlines61 \setname6{Batteria}
-\setstaffs71\setclef7\treble \setname7{Silofono}
-\setstaffs81\setclef8\treble \setname8{3 Timpani}
-\grouptop28
-
-\groupbottom39
-\setstaffs91\setclef9\bass \setname9{Tuba}
-\setstaffs{10}1\setclef{10}\bass \setname{10}{3 Tromboni}
-\setstaffs{11}1\setclef{11}\treble \setname{11}{3 Trombe in Do}
-\setstaffs{12}2\setclef{12}{\treble\treble}
- \setsign{12}{-1} \setname{12}{4 Corni in Fa}
-\grouptop3{12}
-
-\systemnumbers\startpiece\addspace\afterruleskip
-\Notes \qa{CDEF}&\qa{CDEF}&\qa{`cdef}&\qa{cdef}|\qa{cdef}\ni
- \qa{cdef}|\qa{cdef}\ni
- \ni\ni\ni
- \qa{CDEF}&\qa{CDEF}&\qa{cdef}\ni
- \transpose3\qa{cdef}|\transpose3\qa{cdef}\en
-\def\atnextbar{%
-\znotes&&&&&\lower2\internote\hbox{\centerpause}&\centerpause&\centerpause&\en}%
-\generalmeter{\meterfrac34}\changecontext
-\Notes \qa{G'AB}&\qa{G'AB}&\qa{`g'ab}&\qa{g'ab}|\qa{g'ab}\ni
- \qa{g'ab}|\qa{g'ab}\ni
- \ni\ni\ni
- \qa{G'AB}&\qa{G'AB}&\qa{g'ab}\ni
- \transpose3\qa{g'ab}|\transpose3\qa{g'ab}\en
-\def\atnextbar{%
-\znotes&&&&&\lower2\internote\hbox{\centerpause}&\centerpause&\centerpause&\en}%
-\generalmeter{\meterfrac44}\changecontext
-\NOTes \wh{'C}&\wh{'C}&\wh{c}&\wh{'c}|\wh{'c}\ni
- \wh{'c}|\wh{'c}\ni
- \ni\ni\ni
- \wh{'C}&\wh{'C}&\wh{'c}\ni
- \transpose3\wh{'c}|\transpose3\wh{'c}\en
-\def\atnextbar{%
-\znotes&&&&&\lower2\internote\hbox{\centerpause}&\centerpause&\centerpause&\en}%
-\setdoubleBAR\stoppiece
-
-\vfill\eject
-
-%= Example 2 ============================================================
-
-\def\namespace{14mm} % provide space for instrument names
-\advance\hoffset\namespace\advance\hsize-\namespace
-
-\centerline{\BIGtype Sinfonie D-Dur} \par\medskip
-\centerline{\BIgtype Haffner Sinfonie} \par\medskip
-\centerline{\Bigtype K.V. 385} \par\medskip
-\rightline{\medtype Wolfgang Amadeus Mozart (1756--1791)}\par\bigskip
-
-\instrumentnumber{10}\resetlayout
-
-\interinstrument 1\Interligne
-
-\generalmeter{\meterC}
-\generalsignature 2
-
-\parindent 60pt
-
-\groupbottom11
-\setstaffs11\setclef1\bass \setname1{\vbox{\hbox{Violoncelli e}
- \hbox{Contrabassi}}}
-\setstaffs21\setclef2\alto \setname2{Viole}
-\setstaffs32\setclef3{\treble\treble} \setname3{\vbox{\hbox{Violini I}
- \vskip 6\Interligne\hbox{Violini II}}}
-\setinterinstrument3{3\Interligne}
-\grouptop13
-
-\setstaffs41\setclef4\bass\setsign40 \setname4{Timpani}
-\setinterinstrument4{3\Interligne}
-
-\groupbottom25
-\setstaffs51\setclef5\treble\setsign50 \setname5{\vbox{\hbox{2 Trombe}\hbox{~~~in Re}}}
-\setstaffs61\setclef6\treble\setsign60 \setname6{\vbox{\hbox{2 Corni}\hbox{~~~in Re}}}
-\setinterinstrument6{3\Interligne}
-\grouptop26
-
-\groupbottom37
-\setstaffs71\setclef7\bass \setname7{2 Fagotti}
-\setstaffs81\setclef8\treble\setsign8{-1}\setname8{\vbox{\hbox{2 Clarinetti}\hbox{~~~in La}}}
-\setstaffs91\setclef9\treble \setname9{2 Oboi}
-\setstaffs{10}1\setclef{10}\treble \setname{10}{2 Flauti}
-\grouptop3{10}
-\stafftopmarg 8\Interligne
-\staffbotmarg 5\Interligne
-
-\def\dsp{\pt 5\ds}
-\def\TR#1{\zcharnote{#1}{\it tr}}
-\def\adue{\zcharnote9{\llap{a}2}}
-\def\dyn#1#2{\lower4\internote\hbox{\zcharnote{-#1}{#2}}}
-\def\sFp{\sF\ppff p}%
-
-\afterruleskip0.8\afterruleskip
-\beforeruleskip0.2\afterruleskip
-
-\nobarnumbers\startpiece\addspace\afterruleskip\systemnumbers
-\makeatletter
-\def\everystaff{\kern-\clef@skip\kern-\namespace\znotes
- \zcharnote0{\vbox{\hbox{Vlc. e}\hbox{Cb.}}}\ni
- \zcharnote2{Vle.}\ni
- \zcharnote2{Vl.II}|\zcharnote4{Vl.I}\ni
- \zcharnote2{Timp.}\ni
- \zcharnote0{\vbox{\hbox{2 Tr.}\hbox{(Re)}}}\ni
- \zcharnote0{\vbox{\hbox{2 Cor.}\hbox{(Re)}}}\ni%
- \zcharnote2{2 Fg.}\ni
- \zcharnote0{\vbox{\hbox{2 Cl.}\hbox{(Fa)}}}\ni
- \zcharnote2{2 Ob.}\ni
- \zcharnote2{2 Fl.}%
- \en\kern\clef@skip\kern\namespace}%
-\makeatother
-\NOTEs \dyn0\f\wh{'D}&\dyn0\f\wh d\ni
- \dyn2\f\roffset{1.4}{\zwh d}\wh d|\dyn2\f\roffset{1.4}{\zwh d}\zwh d\ni
- \dyn0\f\Trille9{1.6}\wh{'D}\ni
- \dyn3\f\adue\transpose-1\wh d&\dyn3\f\adue\transpose-1\wh d\ni
- \dyn0\f\adue\wh{'D}&\dyn0\f\adue\transpose2\wh d\ni
- \dyn0\f\adue\wh{'d}\ni
- \loffset{5}{\zcharnote{'''b}{\medtype\bf Allegro con spirito}}%
- \dyn0\f\adue\wh{```'d}\en
-\bar\addspace{-.5\afterruleskip}%
-\notes \ni\ni
- \multnoteskip{.7}\tinynotesize\ibbbu0{'b}3\islurd0{`d}\qb0d\tslur0{'a}\tbu0\qb0d\ns
- \multnoteskip{.7}\tinynotesize\ibbbu1{'b}3\islurd0{`d}\qb1d\tslur0{'a}\tbu1\qb1d\en
- \Notes \isluru0{''D}\ha D&\isluru1{'d}\ha d\ni
- \isluru2{''d}\ha d|\isluru3{''d}\ha d\ni
- \qa{'D}\ni
- \transpose-1\isluru4{'d}\ha d&\transpose-1\isluru5{'d}\ha d\ni
- \isluru6{''D}\ha D&\transpose2\isluru7{'d}\ha d\ni
- \isluru8{''d}\ha d&\isluru9{''d}\ha d\en
-\NOtes &&&\qp\en
-\NOtes \tslur0{''D}\ppt D\qa D&\tslur1{'d}\ppt d\qa d\ni
- \tslur2{''d}\ppt d\qa d|\tslur3{''d}\ppt d\qa d\ni
- \hpause\ni
- \transpose-1\tslur4{'d}\qa d&\transpose-1\tslur5{'d}\qa d\ni
- \tslur6{''D}\ppt D\qa D&\transpose2\tslur7{'d}\ppt d\qa d\ni
- \tslur8{''d}\ppt d\qa d&\tslur9{''d}\ppt d\qa d\en
-\Notesp &&&&\qp&\qp\en
-\notes \cca{'D}&\cca d&\cca d|\cca d\ni
- \ni
- \ni\ni
- \cca{'D}&\transpose2\cca d&\cca{'d}&\cca{'d}\en
-\bar
-\NOtes \lpz{'C}\qu C\upz{'C}\qa C\qp&\upz c\ql c\upz{'c}\ql c\qp\ni
- \lpz c\qu c\upz{''c}\ql c\qp|\lpz c\qu c\upz{''c}\ql c\qp\ni
- \lpz{'A}\qu A\lpz A\qu A\hpause\ni
- \transpose-1\lpz{'a}\qu a\lpz a\qu a\hpause\ni
- \transpose-1\lpz{'a}\qu a\lpz a\qu a\hpause\ni
- \lpz{'C}\qu C\upz{'C}\qa C\qp&\transpose2\lpz c\qu c\upz{'c}\ql c\qp\ni
- \upz{'c}\ql c\upz{'c}\ql c\qp&\upz{'c}\ql c\upz{'c}\ql c\qp\en
-\Notesp \dsp&\dsp&\dsp|\dsp\ni
- \ni
- \ni\ni
- \dsp&\dsp&\dsp&\dsp\en
-\notes \cca{'C}&\cca c&\cca c|\cca c\ni
- \ni
- \ni\ni
- \cca{'C}&\transpose2\cca c&\cca{'c}&\cca{'c}\en
-\bar
-\NOtes \qa{'B}&\qa b&\qa b|\qa b\ni
- \qa{'D}\ni
- \transpose-1\zq d\qu{'d}&\transpose-1\zq d\qu{'d}\ni
- \qa{'B}&\transpose2\qa b&\qa{'b}&\qa{'b}\en
-\Notesp \ibu0{'B}0\qbp0B&\ibu1b0\qbp1b&\ibu2b0\qbp2b|\ibu3b0\qbp3b\ni
- \ibl4{'D}0\qbp4D\ni
- \transpose-1\zqp d\ibu5{'d}0\qbp5d\ni
- \transpose-1\zqp d\ibu6{'d}0\qbp6d\ni
- \ibu7{'B}0\qbp7B&\transpose2\ibu8b0\qbp8b\ni
- \ibl9{'b}0\qbp9b&\ibl{10}{'b}0\qbp{10}b\en
-\notes \tbbu0\tbu0\qb0{'B}&\tbbu1\tbu1\qb1b\ni
- \tbbu2\tbu2\qb2b|\tbbu3\tbu3\qb3b\ni
- \tbbl4\tbl4\qb4{'D}\ni
- \transpose-1\zq d\tbbu5\tbu5\qb5{'d}\ni
- \transpose-1\zq d\tbbu6\tbu6\qb6{'d}\ni
- \tbbu7\tbu7\qb7{'B}&\transpose2\tbbu8\tbu8\qb8b\ni
- \tbbl9\tbl9\qb9{'b}&\tbbl{10}\tbl{10}\qb{10}{'b}\en
-\NOtes \TR{10}\islurd0{'B}\pt B\qa B&\TR{11}\islurd1b\pt b\qa b\ni
- \TR9\islurd2b\pt b\qa b|\TR9\islurd3b\pt b\qa b\ni
- \qa{'D}\ni
- \transpose-1\zq d\qu{'d}&\transpose-1\zq d\qu{'d}\ni
- \TR{10}\islurd7{'B}\pt B\qa B&\transpose2\TR9\islurd8b\pt b\qa b\ni
- \TR9\isluru9{'b}\pt b\qa b&\TR9\isluru{10}{'b}\pt b\qa b\en
-\Notes \ni\ni\ni
- \qa{'D}\ni
- \transpose-1\zq d\qu{'d}&\transpose-1\zq d\qu{'d}\en
-\notes \ibbu0{'A}3\qb0A\tslur0B\tbu0\qb0B\ni
- \ibbu1a3\qb1a\tslur1b\tbu1\qb1b\ni
- \ibbu2a3\qb2a\tslur2b\tbu2\qb2b|\ibbu3a3\qb3a\tslur3b\tbu3\qb3b\ni
- \ni
- \ni\ni
- \ibbu7{'A}3\qb7A\tslur7B\tbu7\qb7B\ni
- \transpose2\ibbu8a3\qb8a\tslur8b\tbu8\qb8b\ni
- \ibbu9{'a}3\qb9a\tslur9{'b}\tbu9\qb9{`b}\ni
- \ibbu{10}{'a}3\qb{10}a\tslur{10}{'b}\tbu{10}\qb{10}{`b}\en
-\def\atnextline{%
- \setinterinstrument3{8\Interligne}%
- \setinterinstrument4{8\Interligne}%
- \setinterinstrument6{8\Interligne}%
- \stafftopmarg 11\Interligne
- \staffbotmarg 8\Interligne }%
-\barno200\alaligne
-\NOtes \ha{'D}&\ha d\ni
- \loffset{1.8}{\isluru2{'d}}\tslur2d\pt d\qa d\ns
- \loffset{1.8}{\isluru3{'d}}\tslur3d\pt d\qa d\ni
- \qa{'D}\ni
- \transpose-1\adue\ha d&\transpose-1\adue\ha d\ni
- \adue\ha{'D}&\transpose2\zh{`d}\hu{'d}\ni
- \adue\ha{'d}&\adue\ha{'d}\en
-\Notes &&&\qp\en
-\notes \ni\ni
- \ibbl2{'d}2\isluru2d\qb2d\tbl2\qb2e\ns
- \ibbl3{'d}2\isluru3d\qb3d\tbl3\qb3e\en
-\Notes \qa{'F}&\qa f\ni
- \ibl2{'d}2\tslur2f\qb2f|\ibl3{'d}2\tslur3f\qb3f\ni
- \hpause\ni
- \transpose-1\qa f&\transpose-1\qa f\ni
- \qa{'F}&\transpose2\zq{`f}\qu{'f}\ni
- \qa{'f}&\qa{'f}\en
-\notes \ni\ni
- \nbbl2\isluru2{'f}\qb2f\tbl2\qb2g\ns
- \nbbl3\isluru3{'f}\qb3f\tbl3\qb3g\en
-\Notes \qa{''A}&\qa{'a}\ni
- \ibl2{'f}2\tslur2{'a}\qb2a|\ibl3{'f}2\tslur3{'a}\qb3a\ni
- \ni
- \transpose-1\qa{'a}&\transpose-1\qa{'a}\ni
- \qa{''A}&\transpose2\zq a\qu{'a}\ni
- \qa{''a}&\qa{''a}\en
-\notes \ni\ni
- \multnoteskip{.707}\nbbl2\triolet d\isluru2{''a}\qb2{ab}\tbl2\qb2c\ns
- \multnoteskip{.707}\nbbl3\triolet d\isluru3{''a}\qb3{ab}\tbl3\qb3c\en
-\bar
-\NOtes \qa{''DDA`F}&\qa{'dda`f}\ni
- \tslur2{''d}\qa d\zq{``d'a}\ql f\zq{`d'a}\ql f\zq{`d'a}\ql f\ns
- \tslur3{''d}\qa d\zq{``d'd}\ql{'d}\zq{``d'd}\ql{'d}\zq{``d'd}\ql{'d}\ni
- \qa{'DDDD}\ni
- \transpose-1\qa{'d}\zq{`f}\qu{'a}\zq{`f}\qu{'a}\zq{`f}\qu{'a}\ni
- \transpose-1\qa{'d}\zq{`d}\qu{'d}\zq{`d}\qu{'d}\zq{`d}\qu{'d}\ni
- \qa{''DDA`F}&\transpose2\zq d\qa{'d}\zq{``f}\qu{'a}\zq{`f}\qu{'a}\zq{`f}\qu{'a}\ni
- \qa{''d}\zq{`d}\ql f\zq d\ql f\zq d\ql f\ni
- \qa{''d}\zq{`f}\ql{'d}\zq{`f}\ql{'d}\zq{`f}\ql{'d}\en
-\bar
-\NOTes \ha{'DD}&\ha{dd}\ni
- \zq{d'a}\hl f\zq{`d'a}\hl f|\zq{d'd}\hl{'d}\zq{``d'd}\hl{'d}\ni
- \ha{'DD}\ni
- \transpose-1\zh f\hu{'a}\zh{`f}\hu{'a}\ni
- \transpose-1\zh d\hu{'d}\zh{`d}\hu{'d}\ni
- \ha{'DD}&\transpose2\zh{`f}\hu{'a}\zh{`f}\hu{'a}\ni
- \zh{'d}\hl f\zh d\hl f&\zh{'f}\hl{'d}\zh{`f}\hl{'d}\en
-\bar
-\NOTes \ha{'D}\hpause&\ha{d}\hpause\ni
- \zq{d'a}\hl f\hpause|\zq{d'd}\hl{'d}\hpause\ni
- \ha{'D}\hpause\ni
- \transpose-1\zh f\hu{'a}\hpause&\transpose-1\zh d\hu{'d}\hpause\ni
- \ha{'D}\hpause&\transpose2\zh{`f}\ha{'a}\hpause\ni
- \zh{'d}\ha f\hpause&\zh{'f}\ha{'d}\hpause\en
-\Endpiece\def\everystaff{}
-\vfill\eject
-
-\instrumentnumber{6}\resetlayout
-
-\interinstrument 1\Interligne
-
-\generalmeter{\meterfrac 2 4}
-\generalsignature 1
-
-\parindent 60pt
-
-\groupbottom11
-\setstaffs11\setclef1\bass \setname1{\vbox{\hbox{Violoncelli e}
- \hbox{Contrabassi}}}
-\setinterinstrument1{0\Interligne}
-\setstaffs21\setclef2\alto \setname2{Viole}
-\setinterinstrument2{1\Interligne}
-\setstaffs32\setclef3{\treble\treble} \setname3{\vbox{\hbox{Violini I}
- \vskip 6\Interligne\hbox{Violini II}}}
-\setinterinstrument3{2\Interligne}
-\grouptop13
-
-\groupbottom24
-\setstaffs41\setclef4\treble\setsign60 \setname4{\vbox{\hbox{2 Corni}\hbox{~~~in Sol}}}
-\setinterinstrument4{1\Interligne}
-\grouptop24
-
-\groupbottom35
-\setstaffs51\setclef5\bass \setname5{2 Fagotti}
-\setinterinstrument5{1\Interligne}
-\setstaffs61\setclef6\treble \setname6{2 Oboi}
-\grouptop36
-
-\nobarnumbers\startpiece\addspace\afterruleskip\systemnumbers
-\makeatletter
-\newif\ifstaffseparator\staffseparatortrue
-\def\everystaff{\kern-\clef@skip\kern-\namespace\znotes
- \zcharnote0{\vbox{\hbox{Vlc. e}\hbox{Cb.}}}\ni
- \zcharnote2{Vle.}\ni
- \zcharnote2{Vl.II}|\zcharnote4{Vl.I}\ni
- \zcharnote0{\vbox{\hbox{2 Cor.}\hbox{(Sol)}}}\ni
- \zcharnote2{2 Fg.}\ni
- \zcharnote2{2 Ob.}%
- \ifstaffseparator\zcharnote{20}{\vbox{\hbox to 8mm{\leaders\hrule height 3pt\hfill}%
- \vskip-7pt\hbox to 8mm{\leaders\hrule height 3pt\hfill}}}%
- \else\staffseparatortrue\fi
- \en\kern\clef@skip\kern\namespace}%
-\makeatother
-\notes \dyn0\p\qa{'G}&\dyn0\p\qa g\ni
- \loffset{1.5}{\dyn4\p}\ibbu2c0\lpz{`g}\qb2g\lpz{'b}\qb2b\lpz d\qb2d\tbu2\lpz b\qb2b\ns
- \dyn0\p\roffset{0.5}{\isluru3g}\qa g\ni
- \dyn2\p\transpose-4\zh g\hu{'g}\ni
- \dyn0\p\zh{''B}\isluru5D\hl D\ni
- \loffset{5}{\zcharnote{''b}{\medtype\bf Andante}}%
- \roffset{0.3}{\dyn1\p}\zhl{``g}\hu g\en
-\notes \qp&\qp\ni
- \ibbu2c0\lpz{`g}\qb2g\lpz{'b}\qb2b\lpz d\qb2d\tbu2\lpz b\qb2b\ns
- \ibl3{'b}2\tslur3b\qbp3{b**}\tbbl3\tbl3\upz d\qb3d\en
-\bar
-\notes \dyn1\sF\qa{'D}&\dyn0\sF\qa d\ni
- \dyn6\sF\ibbu2d0\lpz a\qb2a\lpz c\qb2c\lpz f\qb2f\tbu2\lpz c\qb2c\ns
- \dyn0\sF\pt{'d}\qa d\ni
- \dyn6\sFp\transpose-4\zh d\hu{'d}\ni
- \dyn0\sFp\loff{\zh{''C}}\tslur5D\hl D\ni
- \dyn0\sFp\zh f\hu{'a}\en
-\notes \qp&\qp\ni
- \ibbu2d0\lpz a\qb2a\lpz c\qb2c\lpz f\qb2f\tbu2\lpz c\qb2c\ns
- \sk\sk\dyn2\p\multnoteskip{.667}\ibbl3{'d}{-2}\triolet d\qb3{cb}\tbl3\qb3a\en
-\bar
-\notes \dyn0\p\ibl0{'G}{-1}\upz G\qb0{G*}\upz{'B}\qb0{B*}\upz D\qb0{D*}\tbl0\upz{`D}\qb0{D*}\ni
- \dyn1\p\ibl1d0\upz d\qb1{d*}\upz d\qb1{d*}\upz d\qb1{d*}\tbl1\upz f\qb1{f*}\ni
- \dyn4\p\ibbu2e0\lpz b\qb2b\lpz d\qb2d\lpz g\qb2g\tbu2\lpz d\qb2d%
- \ibbu2c0\lpz b\qb2b\lpz d\qb2d\lpz c\qb2c\tbu2\lpz a\qb2a\ns
- \ibu3g1\lpz g\qb3{g*}\lpz g\qb3{g*}\lpz g\qb3{g*}\tbu3\lpz{'a}\qb3{a*}\en
-\def\atnextbar{\znotes&&&\centerpause&\centerpause&\centerpause\en}\alaligne
-\notes \slur{'G}Bu4\qa{G***}\ca{`G*}\ds\ni
- \slur fgu4\qa{f***}\ca{g*}\ds\ni
- \ibbu2c0\lpz a\qb2a\lpz c\qb2c\lpz d\qb2d\tbu2\lpz c\qb2c%
- \ibbu2b0\lpz{`g}\qb2g\lpz{'b}\qb2b\lpz d\qb2d\tbu2\lpz b\qb2b\ns
- \ibu3{'a}0\slur aad3\qbp3{a**}\tbbu3\tbu3\qb3{^a}\ca{b*}\ds\en
-\def\atnextbar{\znotes&&&\centerpause&\centerpause&\centerpause\en}\bar
-\notes \ds\dyn3\f\ibbl0{'F}{-3}\qb0{GE}\tbl0\qb0C\qa{`G}\ni
- \ds\dyn2\f\ibbl0f{-3}\qb0{ge}\tbl0\qb0c\qa{`g}\ni
- \dyn5\f\ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e%
- \dyn5\p\ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e\ns
- \roffset{0.3}{\dyn1\f}\zq g\zq{'c}\ql{e***}\qs\multnoteskip{0.5}%
- \tinynotesize\slur fgd1\grcu f\normalnotesize\dyn0\p\ibbl3g0\qb3g%
- \tinynotesize\slur fgd1\grcu f\normalnotesize\qb3g%
- \tinynotesize\slur fgd1\grcu f\normalnotesize\tbl3\qb3g\ni
- \dyn4\sFp\transpose-4\islurd4g\zh g\roffset{0.5}{\isluru5{'g}}\hu g\ni
- \dyn0\sFp\islurd6{''C}\zh C\isluru7E\hl E\ni
- \dyn0\sFp\islurd8{'c}\zh c\isluru9e\hl e\en
-\bar
-\notes \ni\ni
- \ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e%
- \ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e\ns
- \ibbl3{''b}{-3}\slur cau1\qb3c\tbl3\qb3{`g}\qs\TR{'b}\cca{`g}%
- \ibbl3{'b}{-3}\slur cau1\qb3c\qb3{`g}\slur geu1\qb3g\tbl3\qb3e\ni
- \transpose-4\tslur4g\islurd4g\zh g\tslur5{'g}\roffset{0.5}{\isluru5g}\hu g\ni
- \loffset{0.5}{\tslur6{''C}}\zh C\loffset{0.5}{\tslur7E}\hl E\ni
- \loffset{0.5}{\tslur8{'c}}\zh c\loffset{0.5}{\tslur9e}\hl e\en
-\def\atnextbar{\znotes\centerpause&\centerpause\en}\bar
-\notes \ds\dyn3\f\ibbl0{'F}{-3}\qb0{GD}\tbl0\qb0B\qa{`G}\ni
- \ds\dyn2\f\ibbl0f{-3}\qb0{gd}\tbl0\qb0b\qa{`g}\ni
- \dyn5\f\ibbu2e0\lpz b\qb2b\lpz d\qb2d\lpz g\qb2g\tbu2\lpz d\qb2d%
- \dyn5\p\ibbu2e0\lpz b\qb2b\lpz d\qb2d\lpz g\qb2g\tbu2\lpz d\qb2d\ns
- \dyn6\f\zq{`g}\zq{'d}\qu{'d***}\qs\multnoteskip{0.5}%
- \tinynotesize\slur fgd1\grcu f\normalnotesize\dyn0\p\ibbl3g0\qb3g%
- \tinynotesize\slur fgd1\grcu f\normalnotesize\qb3g%
- \tinynotesize\slur fgd1\grcu f\normalnotesize\tbl3\qb3g\ni
- \dyn4\sFp\transpose-4\tslur4g\islurd4g\zh g%
- \tslur5{'g}\roffset{0.5}{\isluru5g}\hu{g*******}%
- \tslur4{`g}\tslur5{'g}\ni
- \dyn0\sFp\islurd6{''B}\zh B\isluru7D\hl{D*******}\tslur6B\tslur7D\ni
- \dyn1\sFp\islurd8{'b}\zh b\isluru9d\hl{d*******}\tslur8b\tslur9d\en
-\endpiece\def\everystaff{}
-
-\vfill\eject
-
-\endmuflex
-\bye
diff --git a/macros/musixtex/doc/examples/pedal.tex b/macros/musixtex/doc/examples/pedal.tex
deleted file mode 100644
index e666733515..0000000000
--- a/macros/musixtex/doc/examples/pedal.tex
+++ /dev/null
@@ -1,24 +0,0 @@
-\input musixtex
-%\largemusicsize
-\setstaffs12
-\setclef1{\bass}
-\def\raiseped{-8}
-\nobarnumbers
-\startpiece\addspace\afterruleskip%
-\NOtes\qa H\qa I\pdld\qa J\qa K|\wh l\en
-\NOtes\pdlu\qa L\qa M|\wh l\en
-\bar%
-\NOtes\pdld\qa J\qa K\pdlud\qa L\qa M\pdlu\qa N|\wh l\en
-\bar%
-\NOtes\pdld\qa J\qa K|\wh l\en
-\NOtes\qa L\qa M|\wh l\en
-\bar%
-\NOtes\qa J\qa K\qa L\pdlu\qa M|\wh l\en
-\NOtes\pdld\qa J\qa K\qa L\pdlu\qa M|\wh l\en
-\bar%
-\NOtes\qa J\qa K\qa L\qa M|\wh l\en
-\NOtes\pdld\qa J\pdlud\qa K\pdlud\qa L\pdlu\qa M|\wh l\en
-\bar%
-\Notes\pdld\qa J\sk\qa K\sk\pdlud\qa L\sk\pdlu\qa M|\ibu1e2\qb1{efghij}\tqu1k\en
-\stoppiece
-\end
diff --git a/macros/musixtex/doc/examples/prelfug.tex b/macros/musixtex/doc/examples/prelfug.tex
deleted file mode 100644
index a1e6928ae7..0000000000
--- a/macros/musixtex/doc/examples/prelfug.tex
+++ /dev/null
@@ -1,4 +0,0 @@
-\input prelude.tex
-\barsinline=0\relax\linesinpage=0\relax
-\input fugue.tex
-\bye
diff --git a/macros/musixtex/doc/examples/prelude.tex b/macros/musixtex/doc/examples/prelude.tex
deleted file mode 100644
index 160d9d5e7b..0000000000
--- a/macros/musixtex/doc/examples/prelude.tex
+++ /dev/null
@@ -1,715 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\title{Pr\'elude et fugue}
-\fulltitle{\enorme VI. \titremorceau}
-\subtitle{(pour orgue)}
-\othermention{Compos\'e en 1990}
-\author{Daniel TAUPIN}
-\shortauthor{D. Taupin}
-\csname titremorceautoc\endcsname
-\maketitle
-
-\parindent 18mm
-%
-\bigskip
-\centerline{\moyen PR\'ELUDE}\medskip
-\tracingstats=2\relax
-%
-\nbporteesii=2\relax
-\def\nbinstruments{2}
-\global\cleftoksii={{6}{0}{0}{0}}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{-2}\relax % sol mineur
-\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}%
-\def\troistemps{\generalmeter{\meterfrac{3}{4}}}%
-\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}%
-\def\Mordant{\mordant{10}}%
-%\check
-\def\instrumenti{P\'edale 16'}%
-\def\instrumentii{G.O.}%
-%\check
-\def\gluemaxskip{7pt}%
-\medskip\noindent{\rm G.O.: Plein jeu, fonds 16' {\sl ad libitum.}}%
-\par\noindent{\rm P\'ed.: fonds et anches 16', tirasse G.O.}%
-\smallskip
-%
-\quatretemps%
-%
-\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}%
-\def\doubler{\multiply\noteskip by 2\relax}%
-\debutmorceau
-% calcul de \elemskip en fonction de la largeur de page pour eviter les glues
-%
-\autolines {17}35\relax
-\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}%
-%\check
-%
-\hyphenpenalty -50\relax
-\notes&|\Uptext{\hbox{\kern -16mm\moyen Maestoso \bf(\metron{\qu}{50})}}\enotes
-\advance\linesinpage by 1\relax
-%
-% formes frequentes
-% deux croches hautes
-\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-\def\dqh{\dqu}\def\dqb{\dql}%
-%
-% deux doubles croches hautes
-\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-\def\dqbbh{\dqbbu}\def\dqbbb{\dqbbl}%
-%
-% quatre doubles croches
-\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbH#1#2#3#4#5#6{\ibbu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax
-\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}%
-\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-\def\qqbbL#1#2#3#4#5#6{\ibbl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax
-%\check
-% quatre croches
-\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbH#1#2#3#4#5#6{\ibu0{#2}{#1}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}\relax
-\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-\def\qqbL#1#2#3#4#5#6{\ibl0{#2}{#1}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}\relax
-%\check
-%
-% mesure 1
-\smallnotesize\varaccid
-\notes&\zmidtwotext{\ppff ff\hskip 8mm}\qqbbH9KGKNa\enotes
-\temps\notes\sk\sk\pause&\qqbbL{-4}abN{^M}N\enotes
-\temps\notes&\qqbbl7KNbc\enotes
-\temps\notes&\qqbbL{-4}cdbab\enotes
-%\check
-% mesure 2
-\barre\notes&|\qqbbH8bNbd{^f}\enotes
-\temps\notes\sk\sk\pause&|\qqbbH{-4}ggdcd\enotes
-\temps\notes&|\qqbbH7dbdfg\enotes
-\temps\notes&|\qqbbu0ifgi\enotes
-%\check
-% mesure 3
-\barre\notes&|\qqbbL0ikgik\enotes
-\normalnotesize
-\temps\Notes\hpause&|\cl n\qsoupir\enotes
-\temps\Notes\ccu G&\itenl1N\itenu2g\zq{Nbd}\ccl g|\itenu3n\zq{ik}\ccu n|\enotes
-\temps
-\NOtes\pointdorgue 8\qup G&\tten1\tten2\pointdurgue H\zqp{Nce}\qlp g\relax
- |\tten3\pointdorgue o\zqp{jl}\qlp n\enotes
-\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes
-%\check
-% mesure 4
-\autolines {16}35\relax
-\smallnotesize\bigaccid
-\barre\notes&\qqbbH7IGJLM\enotes
-\temps\notes\sk\sk\pause&\qqbbL{-4}MNLKL\enotes
-\temps\notes&\qqbbl7JLN{=b}\enotes
-\temps\notes&\qqbbL{-4}acNMN\enotes
-%\check
-% mesure 5
-\barre\notes&\qqbbH7MLN{=b}c\enotes
-\temps\notes\sk\sk\sk\pause&|\qqbbH0debce\enotes
-\temps\notes&|\qqbbH7cNceg\enotes
-\temps\notes&|\qqbbL0hjg{=i}j\enotes
-%\check
-% mesure 6
-\barre\notes&|\qqbbL0kljln\enotes
-\normalnotesize
-\temps\notes\hpause&|\cl q\qsoupir\sk\enotes
-\temps\Notes\ccu E&\itenu1c\zq{LN}\ccl c|\itenu2j\zq{eg}\ccu j\enotes
-\temps
-\NOtes\pointdorgue 7\qup D&\tten1\pointdorgue{10}\zqp{K^Ma}\qlp c\relax
- |\tten2\pointdorgue{10}\zqp{^fh}\qup j\enotes
-\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes
-%\check
-% mesure 7
-\barre\autolines 775\relax
-\smallnotesize
-\notes&\qqbbH8FD{^F}HJ\enotes
-\temps\notes\sk\sk\sk\pause&\qqbbH0KLKLJ\enotes
-\zbarre\notes&\qqbbl3K{^M}Nb\enotes
-\temps\notes&\qqbbL3aabcd\enotes
-% mesure 8
-\barre\notes&|\qqbbH3dec{^f}g\enotes
-\temps\notes\sk\sk\pause&|\qqbbl2hijk\enotes
-\zbarre\notes&|\qqbbL{-2}jlj{=i}j\enotes
-\temps\notes&|\bigaccid\qqbbl2{^m}non\enotes
-% mesure 9
-\barre\notes\soupir&|\qqbbl{-3}{^m}lkj\enotes
-\normalnotesize
-\temps\NOtes\qu G&\zq{KN}\ql b|\zq{dg}\ql{_i}\enotes
-\smallnotesize\varaccid
-\zbarre\notes\sk\sk\sk\hpause&\qsoupir\ibbl0L4\qb0{KN}\tqb0{^M}\enotes
-\temps\notes&\qqbbL3LNKba\enotes
-% mesure 10
-\barre\notes&\qqbbL2abNdc\enotes
-\temps\notes\sk\sk\sk\pause&|\qqbbH4fdbgh\enotes
-\zbarre\notes&|\qqbbh{-3}ihg{=f}\enotes
-\temps\notes&|\qqbbh{-3}gfed\enotes
-%\check
-% mesure 11
-\normalnotesize
-\barre\NOtes\qu J&\zq {LN}\ql c|\qu e\enotes
-\smallnotesize\varaccid
-\temps\notes\sk\soupir&|\qsoupir\ibbu0d2\qh0{ce}\tqh0d\enotes
-\zbarre\notes\sk\sk\hpause&|\qqbbH2fechg\enotes
-\temps\notes&|\qqbbH2hh{^f}ji\enotes
-% mesure 12
-\barre\varaccid\notes&|\qqbbH3jjhlk\enotes
-\temps\notes\sk\sk\sk\pause&|\qqbbh{-4}lkji\enotes
-\zbarre\notes&|\qqbbh{-4}hg{^f}e\enotes
-\temps\notes&|\qqbbh{-4}dc{=b}a\enotes
-% mesure 13
-\normalnotesize\bigaccid
-\barre\NOtes\qu G&\zq {=IK}\lq M\ql N|\qu{=b}\enotes
-\smallnotesize\varaccid
-\temps\notes\soupir&|\qsoupir\ibbu0a2\qh0{N=b}\tqh0a\enotes
-\zbarre\notes\sk\sk\hpause&|\qqbbH2cbNdc\enotes
-\temps\notes&|\qqbbh3dbfe\enotes
-%\check
-% mesure 14
-\barre\notes&|\ifx\mxversion\undefined\off{-2\Interligne}\fi % was for musiCtex
- \qqbbh3fd{_h}g\enotes
-\temps\notes\sk\sk\sk\pause&|\qqbbl5hfml\enotes
-\zbarre\notes&|\qqbbl{-3}kj{i}{_h}\enotes
-\temps\notes&|\qqbbh{-3}gfed\enotes
-% mesure 15
-\normalnotesize\bigaccid
-\barre\NOtes\qu C&\zq {J=LN}\lq b\ql c|\qu{=e}\enotes
-\smallnotesize\varaccid
-\temps\notes\soupir&|\qsoupir\ibbu0d2\qh0{c=e}\tqh0d\enotes
-\zbarre\notes\sk\sk\hpause&|\qqbbh3ecgf\enotes
-\temps\notes&|\qqbbh3gei{_h}\enotes
-%\check
-% mesure 16
-\troistemps
-\changecontext\notes&|\ifx\mxversion\undefined\off{-2.4\Interligne}\fi % was for musiCtex
- \qqbbL5hig{=l}m\enotes
-\temps\notes\sk\pause&\midtwotext{\it animando}|\qqbbl{-3}nmlk\enotes
-\temps\notes&|\qqbbl{-3}j{i}{_h}g\enotes
-% mesure 17
-\quatretemps\normalnotesize
-\changecontext\Notes
- \ifx\mxversion\undefined\off{-\Interligne}\fi % was for musiCtex
-\qu F&\ifx\mxversion\undefined\off{-1.4\Interligne}\fi % was for musiCtex
-\zq {M_ac}\ql f|\ifx\mxversion\indefined\off{-\Interligne}\fi % was for musiCtex
- \qu{_h}\enotes
-\smallnotesize\varaccid
-\temps\notes\soupir&\zmidtwotext{\it poco a poco}|\qsoupir\ibbu0d6\qh0{cf}\tqh0g\enotes
-\zbarre\notes\sk\sk\hpause&|\fl h\qqbbh{-3}hgfe\enotes
-\temps\notes&|\qqbbh{-3}dc{=b}{=a}\enotes
-%\check
-% mesure 18
-\normalnotesize
-\barre\autolines {16}35\relax\bigaccid
-\NOtes\qu G&\zq {=IK}\ql N|\qu{=b}\enotes
-\smallnotesize\varaccid
-\temps\notes\soupir&|\qsoupir\ibbu0b7\qh0{Nb}\tqh0d\enotes
-\temps\notes\sk\sk\hpause&|\qqbbu0gd{^f}g\enotes
-\temps\notes&|\qqbbu3{=i}gik\enotes
-%\check
-% mesure 19
-\barre\notes&|\qqbbl{-2}m{_o}nm\enotes
-\temps\notes\hpause&|\qqbbl{-3}lkj{=i}\enotes
-\normalnotesize
-\temps\notes\cu J&\bigaccid\zq{=LN}\lq b\ccl c|\bigna e\fl i\rq i\zq{eg}\ccu j\enotes
-\smallnotesize
-\temps\notes\sk\dsoupir&|\ibbu0f5\qh0{cg}\tqh0f\enotes
-\temps\notes\sk\soupir&|\qqbbH3hgej{=i}\enotes
-% mesure 20
-\normalnotesize\bigaccid
-\barre\nspace\notes\cu I&\bigaccid\lfl b\zq{=LN}\lq b\ccl c|\fl i\rq i\zq{=eg}\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\sk\dsoupir&|\ibbu0f5\qh0{cg}\tqh0f\enotes
-\temps\notes\sk\soupir&|\qqbbH3hgej{=i}\enotes
-\normalnotesize
-\temps\notes\bigaccid\cu{_H}&\bigaccid\zq{M_a}\ccl c|\zq{f_h}\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\sk\dsoupir&|\advance\noteskip by 1pt\ibbu0f5\qh0{ch}\tqh0g\enotes
-\temps\notes\sk\soupir&|\qqbbH3ihfji\enotes
-%\check
-% mesure 21
-\normalnotesize\bigaccid
-\barre\nspace\notes\cu G&\bigaccid\lfl b\zq{=LN}\lq b\ccl c|\fl i\rq i\zq{=eg}\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\sk\dsoupir&|\ibbu0f5\qh0{cg}\tqh0f\enotes
-\temps\notes\sk\soupir&|\qqbbH3hgej{=i}\enotes
-\normalnotesize
-\temps\notes\cu{F}&\bigaccid\zq{M_a}\ccl c|\zq{f_h}\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\sk\dsoupir&|\advance\noteskip by 1pt\ibbu0f5\qh0{ch}\tqh0g\enotes
-\temps\notes\sk\soupir&|\qqbbH3ihfji\enotes
-%\check
-% mesure 22
-\normalnotesize\bigaccid
-\barre\notes\bigaccid\cu{^F}&\bigaccid\sh M\lna a\zq{JMa}\ccl c|\lna h\sh f\zq{fh}\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\sk\dsoupir&|\advance\noteskip by 1pt\ibbu0f5\qh0{dh}\tqh0g\enotes
-\temps\notes\sk\soupir&|\qqbbH3ihfj{=i}\enotes
-\normalnotesize
-\temps\notes\cu{K}&\zq{Ma}\ccl c|\zq{dfh}\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\sk\dsoupir&|\ibbl0i5\qb0{ho}\tqb0n\enotes
-\temps\notes\sk\soupir&|\qqbbL3mo{^m}q{=p}\enotes
-% mesure 23
-\barre\notes&|\qqbbl3qosr\enotes
-\temps\notes\sk\sk\sk\pause&|\qqbbl{-3}srq{_p}\enotes
-\temps\notes&|\qqbbl{-3}qpon\enotes
-\temps\notes&|\qqbbl{-3}{^m}lkj\enotes
-%\check
-% mesure 24
-\autolines {17}35\relax
-\normalnotesize\varaccid
-\barre\notes\qu G&\zq{Nb}\ql d|\Uptext{\hbox{\kern -6mm\moyen Allegro moderato
- \bf(\metron{\qu}{65})}}\zqu i\qqbbL{-2}hig{^f}g\enotes
-\temps\notes\soupir&\soupir|\zqu i\qqbbL{-2}higfg\enotes
-\temps\notes\qu G&\lq a\zq{Nc}\ql e|\zqu j\qqbbL{-2}ijgfg\enotes
-\temps\notes\soupir&\soupir|\zqu j\qqbbL{-2}ijgfg\enotes
-% mesure 25
-%\check
-\barre\notes\qu G&\zq{Nb}\ql d|\zqu k\qqbbL{-2}hig{^f}g\enotes
-\temps\notes\soupir&\soupir|\zqu k\qqbbL{-2}higfg\enotes
-\temps\notes\qu G&\lq a\zq{Nc}\ql e|\zqu l\qqbbL{-2}ijgfg\enotes
-\temps\notes\soupir&\soupir|\zqu l\qqbbL{-2}ijgfg\enotes
-%\check
-% mesure 26
-\barre\notes\hu G&\zqu N\qqbbl2Ndbd|\doubler\rlap{\dql{-3}ig}\dqu{-3}ki\enotes
-\temps\notes&\qqbbl{-2}bdNb|\ibu0i3\zql g\qh0i\sk\tqh0k\enotes
-\temps\notes\hu J&\zqu L\qqbbl2LcNc|\rlap{\ibl1h{-4}\qb1j\sk\tqb1e}\relax
- \ibu0l{-4}\qh0l\sk\tqh0g\enotes
-\temps\notes&\qqbbl{-2}NcLN|\ibu0h6\zql e\qh0g\sk\tqh0l\enotes
-%\check
-% mesure 27
-\barre\notes\hu F&\zqu M\qqbbl3Mcac|\rlap{\ibl1h{-3}\qb1h\sk\tqb1f}\relax
- \ibu0j{-3}\qh0j\sk\tqh0h\enotes
-\temps\notes&\qqbbl{-3}acMa|\ibu0h3\zql f\qh0h\sk\tqh0j\enotes
-\temps\notes\hu I&\zqu K\qqbbl3KbMb|\rlap{\ibl1g{-3}\qb1i\sk\tqb1d}\relax
- \ibu0k{-4}\qh0k\sk\tqh0f\enotes
-\temps\notes&\qqbbl{-2}MbKM|\ibu0h5\zql d\qh0f\sk\tqh0k\enotes
-%\check
-% mesure 28
-\barre\notes\hu E&\zqu L\qqbbl2LbNb|\rlap{\ibl1g{-3}\qb1g\sk\tqb1e}\relax
- \ibu0i{-3}\qh0i\sk\tqh0g\enotes
-\temps\notes&\qqbbl{-2}NbLN|\ibu0h2\zql e\qh0g\sk\tqh0i\enotes
-\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}hc}\dqh{-5}je\enotes
-\temps\notes&\qqbbl{-2}LaJL|\doubler\zql c\dqu7ej\enotes
-% mesure 29
-\barre\notes\hu D&\zqu K\qqbbl2Ka{^M}a|\rlap{\ibl1f{-3}\qb1{^f}\sk\tqb1d}\relax
- \ibu0h{-3}\qh0h\sk\tqh0f\enotes
-\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql d\qh0f\sk\tqh0h\enotes
-\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\relax
- \qqbbl2Ndad|\doubler\rlap{\dql2gh}\dqu2ij\enotes
-\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql i\qu k\enotes
-%\check
-% mesure 30
-\barre\notes\bigaccid\hu{=I}&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes
-\temps\notes&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes
-\temps\notes\hu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}ge}\dqu{-3}lj\enotes
-\temps\notes&\qqbbl{-2}NcLN|\doubler\zql e\dqu4jl\enotes
-%\check
-% mesure 31
-\barre\notes\hu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes
-\temps\notes&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes
-\temps\notes\hu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\fl i\dql{-3}ih}\dqu{-4}kj\enotes
-\temps\notes&\qqbbl{-2}MbKM|\ibu0i4\zql f\qh0i\sk\tqh0k\enotes
-%\check
-% mesure 32
-\barre\notes\hu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}gg}\dqu{-3}li\enotes
-\temps\notes&\qqbbl{-2}NbLN|\ibu0j2\zql g\qh0i\sk\tqh0k\enotes
-\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-3}ji\enotes
-\temps\notes&\rlap{\qu b}\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes
-% mesure 33
-\barre\notes\hu D&\zqu K\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes
-\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0j\enotes
-%\check
-\temps\notes\doubler\dqu{-2}G{^F}&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax
-|\doubler\rlap{\dql2gh}\dqu2ij\enotes
-\temps\notes\qu G&\rlap{\cu b}\qqbbl{-2}bdNb|\zq i\qu k\enotes
-%\check
-% mesure 34
-\barre\notes\qup G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes
-\temps\notes\bigaccid\sk\cu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes
-\temps\notes\doubler\dqu2JK&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes
-\temps\notes\qu L&\qqbbl{-2}NcLN|\zql e\qu j\enotes
-%\check
-% mesure 35
-\barre\notes\qup F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes
-\temps\notes\sk\cu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0m\enotes
-\temps\notes\doubler\dqu2IJ&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes
-\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\qu i\enotes
-%\check
-% mesure 36
-\barre\notes\qup E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}ge}\dqu{-3}lg\enotes
-\temps\notes\sk\cu G&\qqbbl{-2}NbLN|\ibu0k2\zql e\qh0g\sk\tqh0l\enotes
-\temps\notes\doubler\dqu2HI&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}he}\dqu{-3}jh\enotes
-\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes
-% mesure 37
-\barre\notes\qup D&\zqu K\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes
-\temps\notes\sk\sh F\cu F&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0k\enotes
-\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax
-|\doubler\rlap{\dql{-2}gf}\dqu{-2}ih\enotes
-\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql g\qu g\enotes
-%\check
-% mesure 38
-\barre\notes\qu G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes
-\temps\notes\bigaccid\qu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0m\enotes
-\temps\notes\qu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes
-\temps\notes\qu L&\qqbbl{-2}NcLN|\doubler\zql g\dqu{-3}lj\enotes
-%\check
-% mesure 39
-\barre\notes\qu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes
-\temps\notes\qu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes
-\temps\notes\qu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes
-\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\doubler\dqu{-3}ki\enotes
-%\check
-% mesure 40
-\barre\notes\qu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql0gg}\dqu{-3}li\enotes
-\temps\notes\qu G&\qqbbl{-2}NbLN|\ibu0k2\zql g\qh0i\sk\tqh0k\enotes
-\temps\notes\qu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-2}ji\enotes
-\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0i{-2}\zql e\qh0j\sk\tqh0h\enotes
-% mesure 41
-\generalmeter{\meterfrac 54}\changecontext
-\NOTes\qu K&\zq{Nb}\ql K|\zq{gi}\ql k\enotes
-\temps\NOTes\qu G&\zq{LN}\ql c|\zq{gj}\ql l\enotes
-\temps\NOTes\qu H&\zq{La}\ql c|\zq{eh}\ql j\enotes
-\temps\NOTEs\qup K&\zqp{^Ma}\qlp d|\zqp{^fh}\qlp k\enotes
-\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes
-%\check
-% mesure 42
-\quatretemps\changecontext
-\notes\qu G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes
-\temps\notes\bigaccid\qu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0m\enotes
-\temps\notes\qu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes
-\temps\notes\qu L&\qqbbl{-2}NcLN|\doubler\zql g\dqu{-3}lj\enotes
-%\check
-% mesure 43
-\barre\notes\qu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes
-\temps\notes\qu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes
-\temps\notes\qu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes
-\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\doubler\dqu{-3}ki\enotes
-%\check
-% mesure 44
-\barre\notes\qu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql0gg}\dqu{-3}li\enotes
-\temps\notes\qu G&\qqbbl{-2}NbLN|\ibu0k2\zql g\qh0i\sk\tqh0k\enotes
-\temps\notes\qu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-2}ji\enotes
-\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0i{-2}\zql e\qh0j\sk\tqh0h\enotes
-% mesure 45
-\barre\NOtes\qu K&\zq{Nb}\ql d|\zq{gi}\ql k\enotes
-\temps\NOtes\soupir&\soupir|\soupir\enotes
-\temps\NOtes\qu G&\zq{LN}\ql c|\zq{gj}\ql l\enotes
-\temps\NOtes\soupir&\soupir|\soupir\enotes
-% mesure 46
-\barre\NOtes\qu H&\zq{La}\ql c|\zq{eh}\ql j\enotes
-\temps\NOtes\soupir&\soupir|\soupir\enotes
-\temps\NOtes\qu K&\zq{^Ma}\ql d|\zq{^fh}\ql k\enotes
-\temps\NOtes\soupir&\soupir|\soupir\enotes
-%\check
-% mesure 47
-\generalmeter{\meterfrac 32}\changecontext
-\NOTEs\hu G&\zh I\zh K\hl N|\zh b\zh d\hu g\enotes
-\smallnotesize\bigaccid
-\notes&|\Uptext{\hbox{\kern -16mm\moyen Maestoso \bf(\metron{\qu}{50})}}\enotes
-\notes&\qqbbH9KGKNa\enotes
-\temps\notes\sk\sk\pause&\qqbbL{-4}abN{^M}N\enotes
-\temps\notes&\qqbbl7KNbc\enotes
-\temps\notes&\qqbbL{-4}cdbab\enotes
-%\check
-% mesure 48
-\quatretemps
-\changecontext\notes&|\qqbbH8bNbd{^f}\enotes
-\temps\notes\sk\sk\pause&|\qqbbH{-4}ggdcd\enotes
-\temps\notes&|\qqbbH7dbdfg\enotes
-\temps\notes&|\qqbbu0ifgi\enotes
-%\check
-% mesure 49
-\barre\notes&|\qqbbL0ikgik\enotes
-\normalnotesize
-\temps\notes\hpause&|\cl n\qsoupir\sk\enotes
-\temps\Notes\ccu G&\itenl1N\itenu2g\zq{Nbd}\ccl g|\itenu3n\zq{ik}\ccu n|\enotes
-\temps\NOtes\pointdorgue 8\qup G&\tten1\tten2\pointdurgue H\zqp{Nce}\qlp g\relax
- |\tten3\pointdorgue o\zqp{jl}\qlp n\enotes
-\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes
-%\check
-\autolines {16}35\relax
-% mesure 50
-\smallnotesize\bigaccid
-\barre\notes&\qqbbH7IGJLM\enotes
-\temps\notes\sk\sk\pause&\qqbbL{-4}MNLKL\enotes
-\temps\notes&\qqbbl7JLN{=b}\enotes
-\temps\notes&\qqbbL{-4}acNMN\enotes
-%\check
-% mesure 51
-\barre\notes&\qqbbH7MLN{=b}c\enotes
-\temps\notes\sk\sk\sk\pause&|\qqbbH0debce\enotes
-\temps\notes&|\qqbbH7cNceg\enotes
-\temps\notes&|\qqbbL0hjg{=i}j\enotes
-%\check
-% mesure 52
-\barre\notes&|\qqbbL0kljln\enotes
-\normalnotesize
-\temps\notes\hpause&|\cl q\qsoupir\sk\enotes
-\temps\Notes\ccu E&\itenu1c\zq{LN}\ccl c|\itenu2j\zq{eg}\ccu j\enotes
-\temps\NOtes\pointdorgue 7\qup F&\tten1\pointdorgue{10}\zqp{JM_a}\qlp c\relax
- |\tten2\pointdorgue{10}\zqp{f_h}\qup j\enotes
-\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes
-%\check
-% mesure 53
-\smallnotesize\bigaccid
-\barre\notes&\qqbbH7KJM{_a}b\enotes
-\temps\notes\sk\sk\pause&\qqbbL{-4}acaNa\enotes
-\temps\notes&\qqbbl7Mac{=e}\enotes
-\temps\notes&\qqbbL{-4}cfcbc\enotes
-%\check
-% mesure 54
-% \barre\notes&\qqbbH7c{_a}c{=e}f\enotes
-\barre\notes&\ibbu0h7\qh0{_a}\qh0c|\sk\sk\qh0{=e}\tqh0f\enotes
-\temps\notes\sk\sk\sk\pause&|\qqbbH0f{_h}fef\enotes
-\temps\notes&|\qqbbH7ecfhi\enotes
-\temps\notes&|\qqbbL0hjhgh\enotes
-%\check
-% mesure 55
-\troistemps\changecontext\notes&|\qqbbl6f{_h}j{=l}\enotes
-\temps\notes\sk\sk\pause&|\qqbbl2mn{_o}n\enotes
-\temps\notes&|\qqbbl{-3}m{_l}{_k}j\enotes
-% mesure 56
-%\check
-\normalnotesize
-\quatretemps\changecontext\NOTes\qup I&\zqp M\zqp b\qlp{_d}|\zqp{fi}\qlp{_k}\enotes
-\smallnotesize\bigaccid
-\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes
-\temps\notes\sk\sk\sk\hpause&\ibbu0h5\qh0M\qh0b|\sk\sk\qh0{_d}\tqh0e\enotes
-\temps\notes&|\qqbbh{-2}fdcd\enotes
-%\check
-% mesure 57
-\barre\notes&|\qqbbH7bb{_d}fh\enotes
-\temps\notes\sk\sk\sk\pause&|\qqbbL{-2}gifef\enotes
-\temps\notes&|\qqbbH8e{_d}fi{_k}\enotes
-\temps\notes&|\qqbbL{-2}kmkjk\enotes
-%
-% mesure 58
-\barre\notes&|\qqbbl5ikmo\enotes
-\temps\notes\hpause&|\qqbbl{-3}p{_o}{_n}m\enotes
-\normalnotesize
-\temps\NOtes\qup E&\zqp{_Nb}|\zqp e\rlap{\qlp {_g}}\zqp{il}\qup{_n}\enotes
-\temps\Notes\dsoupir&\dsoupir|\dsoupir\enotes
-% mesure 59
-\smallnotesize\bigaccid
-\barre\notes&\ibbl0L7\qb0L\qb0b\enotes
-\notes&|\qb0e\tqb0f\enotes
-\temps\notes\sk\sk\sk\pause&|\qqbbh{-2}{_g}e{_d}e\enotes
-\temps\notes&|\qqbbH6dce{g}j\enotes
-\temps\notes&|\qqbbL{-2}jljij\enotes
-% mesure 60
-\barre\notes&|\qqbbl5{=h}jl{_n}\enotes
-\temps\notes\sk\sk\sk\pause&|\qqbbl2opqp\enotes
-\temps\notes&|\qqbbl{-3}o{=n}ml\enotes
-\temps\notes&|\qqbbl{-3}{_k}jih\enotes
-% mesure 61
-\normalnotesize
-\barre\nspace\autolines{18}35\relax
-\Notes\cu{_H}&\zmidtwotext{\it accelerando poco a poco}\relax
-\zq K\lq a\lfl a\zq M\ccl b|\fl h\zq d\zq f\rq h\ccu i\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0g3\qh0{fi}\tqh0h\enotes
-\temps\notes\soupir&|\qqbbH3gidih\enotes
-\normalnotesize
-\temps\Notes\cu G&\zq L\zq N\ccl b|\zq e\zq g\ccu i\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{eg}\tqh0f\enotes
-\temps\notes\soupir&|\qqbbH3fgeih\enotes
-% mesure 62
-\barre\nspace
-\normalnotesize
-\Notes\cu F&\zq K\zq M\lfl a\lq a\ccl b|\fl h\zq d\zq f\rq h\ccu i\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{df}\tqh0e\enotes
-\temps\notes\soupir&|\qqbbH3ffdih\enotes
-\normalnotesize
-\temps\Notes\cu E&\zq L\zq N\ccl b|\zq e\zq g\ccu i\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{eg}\tqh0f\enotes
-\temps\notes\soupir&|\qqbbH3fgeih\enotes
-% mesure 63
-\normalnotesize
-\barre\Notes\cu D&\zq K\zq N\ccl{=b}|\zq d\zq g\ccu{=i}\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{dg}\tqh0f\enotes
-\temps\notes\soupir&|\qqbbH3fgeji\enotes
-\normalnotesize\nspace
-\temps\Notes\cu C&\zq{=L}\zq N\lfl b\lq b\ccl c|\fl i\zq{=e}\zq g\rq i\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{cg}\tqh0f\enotes
-\temps\notes\soupir&|\qqbbH3fgej{=i}\enotes
-% mesure 64
-\normalnotesize
-\barre\Notes\cu I&\zq{=L}\zq N\lq b\ccl c|\fl i\zq{=e}\zq g\rq i\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{cg}\tqh0f\enotes
-\temps\notes\soupir&|\qqbbH3fgej{=i}\enotes
-\normalnotesize\nspace
-\temps\Notes\cu{_H}&\zq M\zq{_a}\ccl c|\zq f\zq{_h}\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{c_h}\tqh0g\enotes
-\temps\notes\soupir&|\qqbbH3fhfji\enotes
-% mesure 65
-\normalnotesize
-\barre\Notes\cu G&\zq{=L}\zq N\lq b\ccl c|\fl i\zq{=e}\zq g\rq i\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{cg}\tqh0f\enotes
-\temps\notes\soupir&|\qqbbH3fgej{=i}\enotes
-\normalnotesize
-\temps\Notes\cu F&\zq M\zq{=a}\ccl c|\zq f\zq{=h}\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{fh}\tqh0g\enotes
-\temps\notes\soupir&|\qqbbH3fhfj{=i}\enotes
-% mesure 66
-\normalnotesize
-\barre\Notes\cu{^F}&\zq{^M}\zq a\ccl c|\zq{^f}\zq h\ccu j\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{dh}\tqh0g\enotes
-\temps\notes\soupir&|\qqbbH3fhf{_i}h\enotes
-\normalnotesize
-\temps\Notes\cu G&\zq K\zq N\ccl b|\zq d\zq g\ccu i\enotes
-\smallnotesize\varaccid
-\temps\notes\dsoupir&|\ibbu0f3\qh0{di}\tqh0h\enotes
-\temps\notes\soupir&|\qqbbH5higik\enotes
-\autolines {17}35\relax
-%\check
-% mesure 67
-\normalnotesize
-\barre\notes\hu G&\zqu N\qqbbl2Ndbd|\raise 7\Interligne\rlap{\vbox to 2\Interligne
-{\vss\hbox{\moyen Allegro \bf(\metron{\qu}{70})}}}\relax
- \doubler\rlap{\dql{-3}ig}\dqu{-5}ni\enotes
-\temps\notes&\qqbbl{-2}bdNb|\ibu0i3\zql g\qh0i\sk\tqh0k\enotes
-\temps\notes\hu J&\zqu L\qqbbl2LcNc|\rlap{\ibl1h{-4}\qb1j\sk\tqb1e}\relax
- \ibu0l{-4}\qh0l\sk\tqh0g\enotes
-\temps\notes&\qqbbl{-2}NcLN|\ibu0h6\zql e\qh0g\sk\tqh0l\enotes
-%\check
-% mesure 68
-\barre\notes\hu F&\zqu M\qqbbl3Mcac|\rlap{\ibl1h{-3}\qb1h\sk\tqb1f}\relax
- \ibu0j{-5}\qh0m\sk\tqh0h\enotes
-\temps\notes&\qqbbl{-3}acMa|\ibu0h3\zql f\qh0h\sk\tqh0j\enotes
-\temps\notes\hu I&\zqu K\qqbbl3KbMb|\rlap{\ibl1g{-3}\qb1i\sk\tqb1d}\relax
- \ibu0k{-4}\qh0k\sk\tqh0f\enotes
-\temps\notes&\qqbbl{-2}MbKM|\ibu0h5\zql d\qh0f\sk\tqh0i\enotes
-%\check
-% mesure 69
-\barre\notes\hu E&\zqu L\qqbbl2LbNb|\rlap{\ibl1g{-3}\qb1g\sk\tqb1e}\relax
- \ibu0i{-5}\qh0l\sk\tqh0g\enotes
-\temps\notes&\qqbbl{-2}NbLN|\ibu0h2\zql e\qh0g\sk\tqh0i\enotes
-\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}hc}\dqh{-5}je\enotes
-\temps\notes&\qqbbl{-2}LaJL|\doubler\zql c\dqu6eh\enotes
-% mesure 70
-\barre\notes\hu D&\zqu K\qqbbl2Ka{^M}a|\rlap{\ibl1f{-3}\qb1{^f}\sk\tqb1d}\relax
- \ibu0h{-5}\qh0k\sk\tqh0f\enotes
-\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql d\qh0f\sk\tqh0h\enotes
-\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\relax
- \qqbbl2Ndad|\doubler\rlap{\dql2gh}\dqu2ij\enotes
-\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql i\qu k\enotes
-%\check
-% mesure 71
-\barre\notes\bigaccid\hu{=I}&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes
-\temps\notes&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes
-\temps\notes\hu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}ge}\dqu{-3}lj\enotes
-\temps\notes&\qqbbl{-2}NcLN|\doubler\zql e\dqu4jl\enotes
-%\check
-% mesure 72
-\barre\notes\hu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes
-\temps\notes&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes
-\temps\notes\bigaccid\hu{_I}&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\fl i\dql{-3}ih}\dqu{-4}kj\enotes
-\temps\notes&\qqbbl{-2}MbKM|\ibu0i4\zql f\qh0i\sk\tqh0k\enotes
-%\check
-% mesure 73
-\barre\notes\hu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}gg}\dqu{-3}li\enotes
-\temps\notes&\qqbbl{-2}NbLN|\ibu0j2\zql g\qh0i\sk\tqh0k\enotes
-\temps\notes\hu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-3}ji\enotes
-\temps\notes&\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes
-% mesure 74
-\barre\notes\hu D&\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes
-\temps\notes&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0j\enotes
-%\check
-\temps\notes\doubler\dqu{-2}G{^F}&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax
-|\doubler\rlap{\dql2gh}\dqu2ij\enotes
-\temps\notes\qu G&\rlap{\cu b}\qqbbl{-2}bdNb|\zq i\qu k\enotes
-%\check
-% mesure 75
-\barre\notes\qup G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes
-\temps\notes\bigaccid\sk\cu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0n\enotes
-\temps\notes\doubler\dqu2JK&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes
-\temps\notes\qu L&\qqbbl{-2}NcLN|\zql e\qu j\enotes
-%\check
-% mesure 76
-\barre\notes\qup F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes
-\temps\notes\sk\cu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0m\enotes
-\temps\notes\doubler\dqu2IJ&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes
-\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\qu i\enotes
-%\check
-% mesure 77
-\barre\notes\qup E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql{-3}ge}\dqu{-3}lg\enotes
-\temps\notes\sk\cu G&\qqbbl{-2}NbLN|\ibu0k2\zql e\qh0g\sk\tqh0l\enotes
-\temps\notes\doubler\dqu2HI&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-5}he}\dqu{-3}jh\enotes
-\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0h2\zql e\qh0h\sk\tqh0j\enotes
-% mesure 78
-\barre\notes\qup D&\zql K\qqbbl2Ka{^M}a|\doubler\rlap{\dql0{^f}f}\dqu{-4}kh\enotes
-\temps\notes\doubler\sk\sh F\cu F&\qqbbl{-2}MaKM|\ibu0h2\zql f\qh0h\sk\tqh0k\enotes
-\temps\notes\doubler\dqu2GH&\rlap{\doubler\cu N\cu a}\qqbbl2Ndad\relax
-|\doubler\rlap{\dql{-2}gf}\dqu{-2}ih\enotes
-\temps\notes\qu I&\rlap{\cu b}\qqbbl{-2}bdNb|\zql g\qu g\enotes
-%\check
-% mesure 79
-\barre\notes\qu G\sk&\zqu N\qqbbl2Nd{=b}d|\doubler\rlap{\dql{-5}{=i}{=f}}\dqu{-5}nk\enotes
-\temps\notes\bigaccid\qu{=I}&\qqbbl{-2}bdNb|\ibu0k5\zql f\qh0k\sk\tqh0m\enotes
-\temps\notes\qu J&\zqu L\qqbbl2LcNc|\doubler\rlap{\dql{-3}gf}\dqu{-3}lk\enotes
-\temps\notes\qu L&\qqbbl{-2}NcLN|\zql g\doubler\dqu{-3}lj\enotes
-%\check
-% mesure 80
-\barre\notes\qu F&\zqu M\qqbbl3Mcac|\doubler\rlap{\dql0hh}\dqu{-3}mj\enotes
-\temps\notes\qu H&\qqbbl{-3}acMa|\ibu0j3\zql h\qh0j\sk\tqh0l\enotes
-\temps\notes\qu I&\zqu K\qqbbl3K{_b}Mb|\doubler\rlap{\dql{-2}fe}\dqu{-2}kj\enotes
-\temps\notes\qu K&\qqbbl{-2}MbKM|\zql d\doubler\dqu{-3}ki\enotes
-%\check
-% mesure 81
-\barre\notes\qu E&\zqu L\qqbbl2LbNb|\doubler\rlap{\dql0gg}\dqu{-3}li\enotes
-\temps\notes\qu G&\qqbbl{-2}NbLN|\ibu0k2\zql g\qh0i\sk\tqh0k\enotes
-\temps\notes\qu H&\zqu J\qqbbl3JaLa|\doubler\rlap{\dql{-2}hg}\dqu{-2}ji\enotes
-\temps\notes\qu J&\qqbbl{-2}LaJL|\ibu0i{-2}\zql e\qh0j\sk\tqh0h\enotes
-% mesure 82
-\barre\notes\qu K&\qqbbl2KbNb|\doubler\rlap{\dql{-2}ih}\dqu{-2}kj\enotes
-\temps\notes\qu L&\qqbbl{-2}NbLN|\doubler\rlap{\dql2gh}\dqu2ij\enotes
-\temps\notes\qup K&\qqbbl6KNbd|\rlap{\cl g\sk
- \raise -3\internote\dsoupir}\zqp i\qup k\enotes
-\notes\sk\sk\dsoupir&|\ql g\sk\raise 3\internote\dsoupir\enotes
-% mesure 83
-\barre\notes\qu J&\qqbbl7JLNc|\zq{gj}\ql l\enotes
-\temps\NOtes\soupir&\cl e\dsoupir|\soupir\enotes
-\temps\notes\qu H&\qqbbl7HJLa|\zq{eh}\ql j\enotes
-\temps\NOtes\soupir&\cl c\dsoupir|\soupir\enotes
-% mesure 84
-\barre\notes\qu K&\qqbbl7K{^M}ad|\bigaccid\rlap{\cl{^f}\sk
-\raise-3\interligne\dsoupir}\zq{h}\qu k\enotes
-\temps\NOTEs\soupir&\soupir|\zql f\raise 3\interligne\soupir\enotes
-\temps\NOTEs\hpause&\hpause|\hpause\enotes
-% mesure 85
-\troistemps\changecontext\NOtes\cu G&\zq{KNb}\cl d|\zq{gik}\cl n\enotes
-\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes
-\temps\NOtes\cu E&\zq{JLN}\cl c|\zq{egj}\cl l\enotes
-\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes
-\temps\NOtes\cu C&\zq{JL}\cl a|\zq{ceh}\cl j\enotes
-\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes
-% mesure 86
-\barre\NOTEs\qu D&\zq{K^M}\ql a|\zq{d^fh}\ql k\enotes
-\temps\NOTEs\soupir&\soupir|\soupir\enotes
-\cleftoksii={{0}{0}{0}{0}}\changeclefs
-\temps\NOtes\zq D\cu K&\cu d|\cu k\enotes
-\temps\NOtes\dsoupir&\dsoupir|\dsoupir\enotes
-\advance\barsinline by -1\relax
-% mesure 87
-\barre\NOTES\zh N\hl G&\hu g|\hu n\enotes
-\temps\NOTES\soupir&\soupir|\soupir\enotes
-%
-\finmorceau
-\rightline{\sl\aujourdhui}\vfil\eject
-\endinput
-
diff --git a/macros/musixtex/doc/examples/pslurvgap.tex b/macros/musixtex/doc/examples/pslurvgap.tex
deleted file mode 100644
index 216f3d183d..0000000000
--- a/macros/musixtex/doc/examples/pslurvgap.tex
+++ /dev/null
@@ -1,21 +0,0 @@
-\input musixtex
-\input musixps
-
-\footline={}
- \Nosluradjust \Notieadjust
-
-\startmuflex \nobarnumbers
-
-\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes
- \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract
-
- \instrumentnumber{1} \generalmeter{\meterfrac34}
-\startextract
-\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes
- \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes
- \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes
- \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes
- \endextract
-
-\endmuflex
-\end
diff --git a/macros/musixtex/doc/examples/quod.tex b/macros/musixtex/doc/examples/quod.tex
deleted file mode 100644
index b73720fa6a..0000000000
--- a/macros/musixtex/doc/examples/quod.tex
+++ /dev/null
@@ -1,162 +0,0 @@
-\input musixtex.tex
-\input musixsty.tex
-\input musixps
-\nohalfties
-\def\pstiehgt{0.5}
-\def\psslurhgt{0.5}
-\vsize9.75in
-\voffset-0.5in
-\hsize7.0in
-\hoffset-0.25in
-\smallmusicsize
-\bigaccid
-\advance\parindent by 10pt
-\def\raisebarno{7\internote}%
-\nobarnumbers
-\relativeaccid
-\geometricskipscale
-
-\instrumentnumber4
-\setclef1\bass\setbassclefsymbol1\bassoct
-\setclef4\treble\settrebleclefsymbol4\trebleoct
-\generalsignature{+1}
-\generalmeter\meterC
-\setname1{B}
-\setname2{T}
-\setname3{A}
-\setname4{S}
-\songtop4
-\songbottom1
-\fulltitle{Quodlibet}
-\subtitle{Variation 30 of the Goldberg Variations for Clavier}
-\title{Quodlibet}
-\author{J. S. Bach (1685--1750)}
-\shortauthor{J. S. Bach}
-\othermention{Arranged for Recorders by R. D. Tennent}
-\maketitle
-\startbarno=0
-\nobarnumbers
-\stafftopmarg=3.0\Interligne%
-\staffbotmarg=3.0\Interligne%
-\startpiece\addspace\afterruleskip%
-\systemnumbers%
-\Notes\ds&\cu d&\ds&\ds\en
-\bar%1
-\Notes\hl N&\ibu1g2\qb1{ghi}\tqh1j&&\hpause\en
-\Notes\hl M&\ibl1k{-2}\qb1k&&\en
-\notes&\nbbl1\qb1j\tqb1i&&\qp\en
-\Notes&\ibu1h0\qb1h&&\ds\en
-\notes&\nbbu1\qb1g\tqh1h&&\cu d\en
-\def\atnextbar{\znotes&&\centerpause&\en}%
-\bar%2
-\Notes\hl L&\ibu1i{-2}\qb1i\tqh1h&\ql n&\ibu3g2\qb3{gh}\en
-\Notes&\itied1g\qu g&\ql n&\qb3i\tqh3j\en
-\Notes\ql{.K}&\ttie1\qu g&\ql o&\ibl3k{-2}\qb3k\en
-\notes&&&\nbbl3\qb3j\tqb3i\en
-\Notes&\ibu1f0\shake{n}\qb1f&\cl o&\cu h\en
-\notes\cu J&\nbbu1\qb1e\tqh1f&\ds&\ds\en
-\bar%3
-\Notes\hu I&\qu g&\ibl2n{-1}\qb2{no}&\ql k\en
-\Notes&\ds\cl k&\qb2{n}\tqb2{=m}&\ql k\en
-\Notes\hu J&\ibu1j{-2}\qb1{ji}&\ibl2j{0}\qb2{lk}&\ql l\en
-\Notes&\qb1h\tqh1g&\qb2j\tqb2p&\ql l\en
-\bar%4
-\Notes\hl K&\itied1f\shake{n}\qu f&\ibl2o{-1}\qb2{on}&\ibl3k{-1}\qb3{kl}\en
-\notes&\ttie1\ibbu1e{-2}\qb1f\tbbu1\qb1e&\qb2o&\qb3k\en
-%\vnotes1.5\elemskip&\nbbbu1\qb1e\tbbu1\qb1f&&\en
-\Notes&\itied1d\tqh1d&\tqb2m&\tqb3j\en
-\Notes\qu G&\ttie1\qu d&\ibl2n{-2}\qb2n\tqb2m&\ibu3h{-1}\shake{p}\qb3i\tqh3h\en
-\Notes\ds&\qp&\ibl2n{-5}\qb2n&\qu g\en
-\notes\ibbl0b{-1}\qb0b\tqb0a&&\tqb2k&\en
-\bar%5
-\Notes\ibl0M0\qb0N&\ql n&\ibl2n2\qb2n&\hpause\en
-\notes\nbbl0\qb0M\tqb0N&&\qb2o&\en
-\Notes\ibl0K0\qb0L&\ql n&\qb2p&\en
-\notes\nbbl0\qb0K\tqb0L&&\tqb2q&\en
-\Notes\ql{.M}&\ql o&\ibl2r{-2}\qb2r&\qp\en
-\notes&&\nbbl2\qb2q\tqb2p&\en
-\Notes\sk\cu I&\ql o&\ibl2o6\qb2o\itieu2r\tqb2r&\ds\cl k\en
-\bar%6
-\Notes\ql{.L}&\ibl1n{-1}\qb1{no}&\ttie2\ibl2r{-2}\qb2r\tqb2q&\ibl3n{-2}\qb3{nm}\en
-\Notes&\qb1n&\ql p&\qb3l\en
-\notes\ibbl0M2\qb0M\tqb0N&\tqb1m&&\tqb3k\en
-\Notes\itieu0a\ql a&\ibl1l{-2}\qb1l&\ql{.o}&\shake{n}\ibl3i0\qb3{^j}\en
-\notes&\tqb1k&&\nbbl3\qb3i\tqb3j\en
-\notes\ttie0\ibbl0a{-2}\qb0{aN}&\cl{^j}&&\cu h\en
-\notes\qb0M\tqb0L&\ds&\ibbl2i2\qb2i\qsk\tqb2{^j}&\ds\en
-\bar%7
-\Notes\ql M&\ibu1g0\qb1{fg}&\ibl2k0\qb2{kl}&\qu h\en
-\Notes\ql K&\qb1h\tqh1f&\qb2m\tqb2k&\qu h\en
-\Notes\ql N&\ibu1g{-2}\qb1{gf}&\ibl2i4\qb2{ik}&\ql i\en
-\Notes\qu G&\qb1e\tqh1d&\qb2n\tqb2m&\ql i\en
-\bar%8
-\Notes\qu{.H}&\ibu1c4\qb1{^cd}&\ibl2l{-1}\qb2{.l}\roff{\itieu2k\tbbl2\tqb2k}\qsk&\ibu3i{-1}\qb3{hi}\en
-\notes&\qb1e&\ttie2\ibbl2j0\qb2k\hqsk\tbbl2\qb2{^j}&\qb3h\en
-\Notes\cu{^J}&\itied1h\tqh1h&\itieu2l\tqb2l&\tqh3g\en
-\notes\ql K&\ttie1\ibu1h{-2}\qb1h&\ttie2\ibbl2l{-1}\qb2{lk}&\ibu3f{-1}\qb3f\en
-\notes&\tqh1g&\qb2l\tqb2j&\tqh3e\en
-\Notes\cl K&\cu f&\cl k&\cu d\en
-\advance\barno by -1%
-\leftrightrepeat
-\Notes\ds&\cl m&\ds&\cl o\en
-\bar%9
-\Notes\ql d\sk\ql c&\ibl1k0\qb1{kmk}\tqb1{m}&\ql o\sk\ql o&\ibl3m0\qb3{mom}\tqb3o\en
-\Notes\ql b&\ibl1k0\qb1n&\ql p&\ibl3k2\qb3k\en
-\notes&\qb1k&&\nbbl3\qb3l\tqb3m\en
-\Notes\ql N&\qb1k\tqb1n&\ql p&\ibl3n{-4}\qb3n\tqb3l\en
-\bar%10
-\Notes\ibl0b{-1}\qb0{cbc}\tqb0a&\cl l\ds\qp&\ibl2o{-1}\qb2{opo}\tqb2n&\ibl3o{-2}\qb3{onm}\tqb3l\en
-\Notes\ql{.b}&\ql m&\ibl2m{-2}\qb2m&\ibl3j0\shake n\qb3{^k}\en
-\notes&&\tqb2l&\nbbl3\qb3{^j}\tqb3k\en
-\Notes\sk\cl a&\ql m&\cl{^k}\ds&\ibl3i8\qb3i\tqb3{p}\en
-\bar%11
-\Notes\ql{N}\sk\ql{N}&\ibl1l0\qb1{nln}\tqb1l&\ql p\sk\ql p&\ibl3m0\qb3{lpl}\tqb3{p}\en
-\notes\ql{.a}&\ibl1m{-1}\qb1{m*n}&\ql q&\ibbl3k2\qb3{^klm}\tqb3n\en
-\Notes&\qb1m&\ql q&\ibl3o{-2}\qb3o\en
-\notes\cl{^a}&\tqb1l&&\nbbl3\qb3n\qsk\tqb3{m}\en
-\bar%12
-\Notes\ql b&\ibl1k2\qb1{^k}&\ibl2o{-1}\qb2p&\ibl3n{-2}\qb3n\en
-\notes&\nbbl1\qb1l\tqb1m&\qb2q&\nbbl3\qb3m\tqb3l\qsk\en
-\notes\qu I&\itied1i\qu i&\qb2p&\ibbl3k0\qb3{^kl}\en
-\notes&&\tqb2o&\qb3m\tqb3k\en
-\Notes\ql{.L}&\ttie1\ibu1i0\qb1i&\ibl2n0\qb2n&\itieu3l\hl l\en
-\notes&\nbbu1\qb1h\tqh1i&\nbbl2\qb2m\tqb2n&\en
-\Notes&\ibu1g2\qb1g&\cl l&\en
-\notes\cl{=K}&\nbbu1\qb1h\tqh1i&\ds&\en
-\bar%13
-\notes\qu J&\ibl1j2\qb1j\sk\qb1k&\hpause&\ttie3\ibbl3k1\slur lku1\qb3l\qb3k\slur mlu1\qb3m\tqb3l\en
-\notes\ql c&\qb1l\sk\tqb1m&&\ibbl3m1\isluru3n\qb3n\tbbl3\tslur3m\qb3m\tqb3o\en
-\notes\ql{.b}&\ibl1n{-1}\qb1n\sk\nbbl1\qb1m\tqb1l&\ql n&\ql{.k}\en
-\Notes&\cl k&\ibl2i{-5}\qb2n&\en
-\notes\ibbu0J{-2}\qb0J\tqh0I&\ds&\tqb2g&\ibbl3j2\qb3j\tqb3k\en
-\bar%14
-\Notes\qu{.H}&\ds&\ibl2j1\qb2{.j}&\ibl3l2\qb3l\en
-\notes&\cu h&\sk\tbbl2\tqb2k&\nbbl3\qb3m\tqb3n\en
-\Notes&\ibu1e0\qb1e&\ibl2j{-2}\qb2j&\ibl3o{-2}\qb3o\en
-\notes\ibbu0I2\qb0I\tqh0J&\nbbu1\qb1d\tqh1e&\tqb2{i}&\tqb3n\en
-\notes\ql{.K}&\ibu1g1\qb1f&\ibu2h1\qb2h&\ibbl3m{-2}\shake{o}\qb3m\en
-\notes&&&\tbbl3\qb3l\en
-\Notes&\itied1g\tqh1g&\tqh2i&\tqb3k\en
-\Notes&\ttie1\ibu1g{-1}\qb1g&\ibl2j2\qb2j&\ibu3i{-6}\qb3j\en
-\notes\ibbu0J2\qb0J\tqh0K&\tqh1f&\tqb2k&\tqh3d\en
-\bar%15
-\Notes\ibu0I0\qb0G&\qu d&\ibu2i0\qb2i&\ibl3i0\qb3i\en
-\notes\qb0H&&\nbbu2\qb2h\tqh2i&\qb3j\en
-\Notes\qb0I&\qu d&\cu g&\qb3k\en
-\Notes\tqh0G&&\ds&\tqb3i\en
-\Notes\qu{.J}&\qu e&\ds&\ibu3j{-2}\qb3j\en
-\notes&&\ibbl2l{-2}\qb2l\tqb2k&\qb3i\en
-\Notes&\qu e&\ibl2j4\qb2j&\qb3h\en
-\Notes\cu{^J}&&\tqb2l&\tqh3g\en
-\bar%16
-\notes\ql K&\ibu1g{1}\qb1d&\ibbl2h1\qb2{hk}&\ibu3f2\qb3f\en
-\notes&\qb1e&\qb2j\tqb2i&\tqh3g\en
-\notes\ql K&\qb1d&\ibbl2j0\qb2j\tbbl2\qb2h&\ibu3h{-4}\qb3h\en
-\Notes&\tqh1j&\itieu2k\tqb2k&\tqh3f\en
-\Notes\ql N&\ibu1i{-2}\qb1i&\ttie2\ibl2j0\qb2k&\qu g\en
-\notes&\tqh1h&\nbbl2\qb2j\tqb2k&\en
-\Notes\cu G&\cu g&\cl i&\cu g\en
-\setrightrepeat
-\endpiece%
-\eject
-\end
diff --git a/macros/musixtex/doc/examples/racine.tex b/macros/musixtex/doc/examples/racine.tex
deleted file mode 100644
index 0354b45c26..0000000000
--- a/macros/musixtex/doc/examples/racine.tex
+++ /dev/null
@@ -1,596 +0,0 @@
-
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-
-\hsize 190mm \vsize 280mm
-\hoffset -1.84cm
-
-
-\fulltitle{Cantique de Jean Racine}
-\shorttitle{Cantique de Jean Racine}
-\shortauthor{G. Faur\'e}
-\fullauthor{Gabriel Faur\'e\\Transcription Orgue Daniel Taupin}
-\othermention{Gif~: 2.4/9.11.13/19.23/33.37.41/54/46.47.48.51}
-\maketitle
-
-%
-\parindent 14mm
-\musicsize=20
-
-\def\quatreinstruments{\def\nbinstruments{4}\relax
-\nbporteesi=1\relax
-\nbporteesii=2\relax
-\nbporteesiii=1\relax
-\nbporteesiv=1\relax
-\cleftoksi{6000}\relax
-\cleftoksii{6000}\relax
-\cleftoksiii{6000}\relax
-\cleftoksiv{0000}\relax
-\def\staffspacingi{1.0}\def\interinstrumenti{0pt}\relax
-\def\staffspacingii{1.0}\def\interinstrumentii{-2\Interligne}\relax
-\def\staffspacingiii{0.64}\def\interinstrumentiii{0pt}\relax
-\def\staffspacingiv{0.64}\def\interinstrumentiv{0pt}\relax
-}
- %
-\def\sanspedale{\def\nbinstruments{3}\relax
-\nbporteesi=2\relax
-\nbporteesii=1\relax
-\nbporteesiii=1\relax
-\cleftoksi{6000}\relax
-\cleftoksii{6000}\relax
-\cleftoksiii{0000}\relax
-\def\staffspacingi{1.0}\def\interinstrumenti{-2\Interligne}\relax
-\def\staffspacingii{0.64}\def\interinstrumentii{0pt}\relax
-\def\staffspacingiii{0.64}\def\interinstrumentiii{0pt}\relax
-}
- %
-
-\def\paroles{\eightrm}
-
-%\paroles
-% \line{G.O. ({\bf I}) : 8'+4', acc. Positif/R\'ecit\hss Gabriel Faur\'e}
-% \line{Positif ({\bf II}) : 8'+4'+1 1/3, acc. R\'ecit\hss Transcription Orgue Daniel
-%Taupin }
-% \line{R\'ecit ({\bf III}) : 8'+4'\hss... }
-% \line{P\'edale : 16'+8', acc. Positif\hss }
-
-\quatreinstruments
-\normal
-\def\instrumenti{P\'edale}
-\def\instrumentii{Manuel}
-\def\instrumentiii{\vbox{\hbox{T\'enors}\hbox{Basses}}}
-\def\instrumentiv{\vbox{\hbox{Sopran.}\hbox{Altos}}}
-\generalmeter{\meterC}%
-%
-%
-% formes frequentes
-% deux croches hautes
-\def\dqb#1#2{\bigaccid\Ibl0{#1}{#2}1\qb0{#1}\varaccid\tqb0{#2}}
-\def\dqh#1#2{\bigaccid\Ibu0{#1}{#2}1\qh0{#1}\varaccid\tqh0{#2}}
-\def\sdqh{\ds\dqh}
-\def\lsdqb{\raise-3\Internote\ds\dqb}
-\def\sdqb{\ds\dqb}
-\def\Tqb#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\varaccid\qb0{#2}\tqb0{#3}}
-\def\tQb#1#2#3{\ibl0{#2}0\qb0{#1}\varaccid\qb0{#2}\tqb0{#3}}
-\def\Tqh#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\varaccid\qh0{#2}\tqh0{#3}}
-\def\tQh#1#2#3{\ibu0{#2}0\qh0{#1}\varaccid\qh0{#2}\tqh0{#3}}
-\def\Sqh#1#2#3{\bigaccid\Tqh{#1}{#2}{#3}\Tqh}
-\def\Sqb#1#2#3{\bigaccid\Tqb{#1}{#2}{#3}\Tqb}
-\def\Qqh#1#2{\sdqh{#1}{#2}\Tqh}
-\def\Qqb#1#2{\sdqb{#1}{#2}\Tqb}
-\def\dnu#1#2{\bigaccid\qu{#1}\sk\sk\qu{#2}}%
-\def\Dnu#1#2{\bigaccid\zq{!#1}\qu{!`#1}\sk\sk\zq{!`#2}\qu{!#2}}%
-\def\dnb#1#2{\bigaccid\ql{#1}\sk\sk\ql{#2}}%
-\def\Dnb#1#2{\bigaccid\zq{!#1}\ql{!`#1}\sk\sk\zq{!`#2}\ql{!#2}}%
-\def\dnl{\dnb}\def\Dnl{\Dnb}
-\def\Hu#1{\bigaccid\zh{!`#1}\hu{!#1}}
-\def\Hl#1{\bigaccid\zh{!`#1}\hl{!#1}}
-\def\hlu#1#2{\bigaccid\zhl{#1}\hu{#2}}
-\def\huu#1#2{\bigaccid\zh{#1}\hu{#2}}
-\def\hll#1#2{\bigaccid\zh{#1}\hl{#2}}
-\def\qlu#1#2{\bigaccid\zql{#1}\qu{#2}}
-\def\quu#1#2{\bigaccid\zq{#1}\qu{#2}}
-\def\qll#1#2{\bigaccid\zq{#1}\ql{#2}}
-\def\Pause{\sk\sk\sk\sk\sk\pause}
-\def\Hpause{\sk\sk\hpause}
-%
-\def\zmid#1{\zcharnote{12}{\paroles #1}}
-%
-\staffbotmarg\Interligne
-
-\generalsignature{-5}
-\def\nbinstruments{2}%
-\debutmorceau
-\autolines{14}{4}{4}%
-%Takt 1
-\notes\zcharnote b{$\wedge$}\wh K&\uptext{\kern -1.5\Interligne
- \bf II}\sdqb cd\Tqb fcd|\uptext{\moyen Andante}\Hpause\enotes
-\temps\notes&\Tqb acd\sdqb cd|\sk\sk\sk\qu f\enotes
-%Takt 2
-\barre\notes\hu F&\Sqb acdfda|\hu h\enotes
-\temps\notes\hu H&\Qqb {=b}ceca|\hu g\enotes
-%Takt 3
-\autolines{13}{4}{4}%
-\barre\notes\hu K&\Qqb acdaM|\hup f\enotes
-\temps\notes\hu J&\Sqb acdfda|\sk\sk\sk\qu h\enotes
-%Takt 4
-\def\atnextline{\autolines{13}44}%
-\barre\notes\qu I&\sdqb{=e}f|\qu k\enotes
-\temps\notes\qu H&\sdqb fc|\qu j\enotes
-\temps\notes\qu G&\sdqb cd|\qu i\enotes
-\temps\notes\qu F&\sdqb da|\qu h\enotes
-%Takt 5
-\barre\notes\hu H&\sdqb{=b}c|\qu h\enotes
-\temps\notes &\Tqb eca|\qu g\enotes
-\temps\notes\qu K&\sdqb{=N}a|\qu f\enotes
-\temps\notes\qu F&\Tqb daM|\qu f\enotes
-%Takt 6
-\barre\notes\hu G&\Qqb{=a}bdbL|\hu e\enotes
-\temps\notes\hu H&\Qqb {=b}cec{_a}|\hu g\enotes
-%Takt 7
-\barre\notes\dnu KJ&\Qqb{=N}adaM|\hu f\enotes
-\temps\notes\dnu IH&\sdqb cd\sdqb da|\soupir\sk\sk\qu f\enotes
-%Takt 8
-\barre\notes\hup G&\Qqb {=a}bdbL|\hu e\enotes
-\temps\notes\sk\sk\sk\ql N&\Qqb{=b}cedc|\hu i\enotes
-%Takt 9
-\barre\notes\dnb ML&\Qqb{=b}cfc{=a}|\hu{=h}\enotes
-\temps\notes\dnb KJ&\sdqb ae\sdqb ea|\sk\sk\sk\qu f\enotes
-%Takt 10
-\barre\notes\dnu IH&\sdqb{=e}f\sdqb fc|\dnu kj\enotes
-\temps\notes\dnu GF&\sdqb cd\Tqb fd{_a}|\dnu i{_h}\enotes
-%Takt 11
-\barre\notes\hu H&\Qqb{=b}ceca|\dnu hg\enotes
-\temps\notes\dnu DF&\Qqb{=N}adad|\dnu fh\enotes
-%Takt 12
-\advance\linesinpage by -1\relax
- %
-\barre\notes\hu G&\Qqb{=a}bdb{_N}|\hu f\enotes
-\temps\notes\hu H&\Qqb N{_a}caN|\hu e\enotes
-\def\atnextline{\sanspedale\def\nbinstruments{2}\savemeters}%
- %
-%Takt 13
-\barre\notes\zcharnote B{\kern -2\Interligne\rm(P\'ed.)}\zhl K\relax
- \raise 2\Interligne\sdqb Ma\sdqb aM|\cu d\sk\ds\itenl1d\qu d&\Hpause\enotes
-\temps\notes\cl a\sk\ds|\tten1\Tqh dcd&\soupir\enotes
-\temps\notes\zcharnote C{\bf I \rm(G.O.)}\soupir|\Tqh fda&\relax
- \zmid{Verbe \'e-}\clp M\sk\ccl M\enotes
-%Takt 14
-\barre\notes\hu F|\Qqh cdfda&\zmid{gal}\hl a\enotes
-\temps\notes\hu H|\Qqh {=b}ceca&\zmid{au}\qlp N\sk\sk\sk\zmid{Tr\`es-}\sk\cl N\enotes
-%Takt 15
-\barre\notes\hu K|\Qqh acdaM&\zmid{Haut}\hlp M\enotes
-\temps\notes\hu J|\Sqh acdfda&\sk\sk\sk\zmid{notre}\qll Ma\enotes
-%Takt 16
-\barre\notes\qu I|\sdqh{=e}f&\zmid{u-}\qll Md\enotes
-\temps\notes\qu H|\sdqh fc&\zmid{ni-}\zq M\ql c\enotes
-\temps\notes\qu G|\sdqh cd&\zmid{que es-}\zq K\ql b\enotes
-\temps\notes\qu F|\sdqh da&\zmid{p\'e}\zq a\ql a\enotes
- %\check
-%Takt 17
-\def\atnextline{\sanspedale\def\nbinstruments{3}\savemeters}%
-\barre\notes\hu H|\Qqh aceca&\zmid{ran-}\zql a\hu c\sk\sk\ql N&\Pause\enotes
-\temps\notes\dnu DF|\Qqh acdaM&\zmid{ce}\zq M\ql d\sk\sk\zmid{Jour}\zq M\ql d\enotes
- %\check
-%Takt 18
-\barre\notes\hu G|\Qqh bdedb&\zmid{\'e-}\zh L\hl d&\Pause\enotes
-\temps\notes\hu H|\Qqh NcecN&\zmid{ter-}\zh N\hl c\enotes
- %\check
-%Takt 19
-\barre\notes\wh I|\Qqh MbdbM&\zmid{nel}\zh M\hl d&\Hpause\enotes
-\temps\notes|\Sqh bcdfdb&\zmid{de}\zq M\ql d\sk\sk
- \zmid{la}\zq M\ql d&\soupir\sk\sk\zmid{De}\qu f\enotes
- %\check
-%Takt 20
-\barre\notes\wh H|\Qqh cdfda&\zmid{terre}\hll Md&\zmid{la}\qu h\sk\sk
- \zmid{pai-}\qu h\enotes
-\temps\notes|\Qqh NdedN&\zmid{et}\zq L\ql d\sk\sk
- \zmid{des}\zq M\ql c&\zmid{si-}\qu g\sk\sk
- \zmid{ble}\qu g\enotes
- %\check
-%Takt 21
-\barre\notes\hu K|\Qqh MadaM&\zmid{cieux,}\zh K\hlp d&\zmid{nuit,}\hup f\enotes
-\temps\notes\hu J|\Sqh acdfda&\hl J\sk\sk\zmid{nous}\qu a&\sk\sk\sk
- \zq f\qu h\enotes
- %\check
-%Takt 22
-\barre\notes\dnu IH|\sdqh{=e}f\sdqh fc&\zmid{rom-}\qll Ib\sk\sk
- \zmid{pons}\qll Hd&\quu fk\sk\sk\quu fj\enotes
-\temps\notes\dnu {=G}J|\sdqh bf\sdqh eb&\zmid{le}\qll {=G}d\sk\sk
- \zmid{si-}\qll Jc&\quu fi\sk\sk\quu {=e}j\enotes
- %\check
-%Takt 23
-\barre\notes\hup F|\Qqh {=N}c{=e}cN&\zmid{len-}\hll Fc&\huu {=e}i\enotes
-\temps\notes\sk\sk\sk\qu J|\Sqh acfh{_e}c&\zmid{ce,}\qll Mc\sk\sk
- \zmid{Di-}\qll Je&\quu fh\sk\sk\quu hj\enotes
- %\check
-%Takt 24
-\barre\notes\hu K|\Qqh bfhfb&\zmid{vin}\hll Kf&\zhu i\qsk\hl h\enotes
-\temps\notes\hu L|\Qqh bd{=g}db&\zmid{Sau-}\hll Lb&\zh{=g}\hu k\enotes
- %\check
-%Takt 25
-\barre\notes\Dnu a{=N}|\sdqh ce\ds\rq c\dqh b{=e}\relax
- &\zmid{veur,}\qll aa\sk\sk\qll{=N}b&\zhup j\dnb e{=e}\enotes
-\temps\notes\Dnu ML|\ds\zq a\dqh cf\ds\zq{=a}\dqh c{_g}&\relax
-\qll Ma\sk\sk\zmid{jet-}\qll L{=a}&\ql f\sk\sk\quu{_g}j\enotes
- %\check
-%Takt 26
-\barre\notes\Hu K|\Qqh bdfdb&\zmid{te}\zh K\hlp b\sk\sk\zmid{sur}\relax
- &\zhl f\qu i\sk\sk\qu i\enotes
-\temps\notes\Hu L|\Qqh bd{=g}db&\hl L\sk\sk\qu b&\zhl{=g}\qu k\sk\sk\qu k\enotes
- %\check
-%Takt 27
-\barre\notes\Hu{=L}|\Qqh c{=g}igc&\zmid{yeux,}\hll {=L}b&\zhl{=g}\hup j\enotes
-\temps\notes\zq F\dnu MH|\Qqh ch{_g}ca&\quu Ma\sk\sk\zmid{Di-}\qll ac\relax
- &\ql h\sk\sk\lfl g\zqu h\qsk\ql g\enotes
- %\check
-%Takt 28
-\barre\notes\Dnu KM|\sdqh fk\zq{=h}\Tqh jfe&\zmid{vin}\qll Kd\sk\sk\quu M{=a}\relax
- &\Ilegu1q\zhl f\qu m\sk\sk\qu j\sk\tleg1\enotes
-\temps\notes\Dnu ba|\Qqh di{_j}f{=d}&\zmid{Sau-}\qll bb\sk\sk\quu a{=d}&\relax
- \Ilegu1q\quu fk\sk\sk\quu {_j}m\sk\tleg1\enotes
- %\check
-%Takt 29
-\barre\notes\Dnu{=N}{=L}|\Qqh ei{=g}{_d}i&\zmid{veur}\qll {=N}e\sk\sk
- \zmid{jet-}\qll {=L}b&\quu il\sk\sk\quu {=g}k\enotes
-\temps\notes\Dnu{M}{=K}|\Qqh chfca&\zmid{te}\qll Ma\sk\sk
- \zmid{sur}\qll {=K}a&\quu hj\sk\sk\quu fj\enotes
- %\check
-%Takt 30
-\barre\notes\zh E\hu L|\Qqh c{=g}ec{=N}&\zmid{nous}\hll L{=N}&\huu ej\enotes
-\temps\notes\hu E|\Qqh dgedN&\zmid{les}\hll LN&\huu di\enotes
- %\check
-%Takt 31
-\barre\notes\hu H|\Qqh cehec&\zmid{yeux !}\hll Ha&\huu ch\enotes
-\temps\notes\Hpause|\Tqh e{=g}h\zqu j\Tqb jgh&\Hpause
- &\Hpause\enotes
- %\check
-%Takt 32
-\barre\notes\hu J|\zhu l\Qqb{=g}hjgh&\Pause&\Pause\enotes
-\temps\notes\hu L|\zhu k\raise -\interligne\ds\dqb{^f}g\Tqb ifg\enotes
-\def\atnextline{\sanspedale\def\nbinstruments{1}}%
- %\check
-%Takt 33
-\advance\linesinpage by -1\relax
- %
-\barre\notes\hl a|\zhup j\raise -\interligne\ds\dqb e{=g}\Tqb hec\enotes
-\temps\notes\hl{=N}|\Tqb egh\zqu l\sdqb jh\enotes
- %\check
-%Takt 34
-\barre\notes\dnb ML|\bigaccid\zqu o\sdqb{=i}j\bigaccid\zqu{=n}\sdqb kj\enotes
-\temps\notes\dnb KJ|\bigaccid\zqu m\sdqb{=g}h\zqu l\sdqb ih\enotes
- %\check
-%Takt 35
-\barre\notes\dnu IL|\zqu l\sdqb fh\zqu k\raise -\Interligne\ds\dqb e{=g}\enotes
-\temps\notes\dnu HJ|\zqu j\raise -2\Interligne\ds\dqb eg\zqu j\Tqb heh\enotes
- %\check
-%Takt 36
-\barre\notes\hl K|\zhu i\raise -2\Interligne\ds\dqb fh\Tqb dfh\enotes
-\temps\notes\hl L|\zhu k\raise -2\Interligne\ds\dqb e{=g}\Tqb ieg\enotes
- %\check
-\def\atnextline{\quatreinstruments\savemeters}%
- %\check
-%Takt 37
-\barre\notes&\hl{=L}|\zhu j\raise -2\Interligne\ds\dqb {=g}i\Tqb {=e}gi&\Pause
- &\Pause\enotes
-\temps\notes\soupir\sk\sk\qu J&\dnb Mc|\Sqh cfhjeh\enotes
- %\check
-%Takt 38
-\barre\notes\hl K&\hl b|\Qqh fhifh&\Pause&\Pause\enotes
-\temps\notes\hl L&\hl d|\Qqh e{=g}ieg\enotes
- %\check
-%Takt 39
-\barre\notes\wh H&\hlp c|\Qqh e{=g}hec&\Hpause&\Hpause\enotes
-\temps\notes&\uptext{\bf II}\sk\sk\sk\soupir|\Sqh eghjhe&\soupir\sk\sk
- \zmid{R\'e-}\qll Ha&\soupir\sk\sk\quu ej\enotes
- \ifx\mxversion\undefined\hskip -\Interligne\fi % only with MusiCTeX, not MusiX
-\cleftoksii{0000}\changeclefs
- %\check
-%Takt 40
-\barre\notes\hu H&\Qqh eecee|\zh h\hu j&\zmid{pands}\hll Ha&\huu ej\enotes
-\temps\notes\hu I&\Qqh ddbdd|\zh f\hu i&\zmid{sur}\hll IM&\huu di\enotes
- %\check
-%Takt 41
-\barre\notes\wh J&\Qqh cc{=N}cc|\lna e\zq e\qu{=g}\sk\sk\qu e&\relax
- \zmid{nous}\qll J{=L}\sk\sk
- \zmid{le}\qll Jc&\quu c{=g}\sk\sk\zq c\qu {=e}\enotes
-\temps\notes&\Qqh ccbcc|\zq{=d}\qu f\sk\sk\zq e\qu g&\zmid{feu}\qll
-Jb\sk\sk\zmid{de la}\zq J\cl b\sk\zq J\cl b&\zq {=d}\qu f\sk
- \sk\zq{=e}\cu h\sk\zq e\cu h\enotes
- %\check
-%Takt 42
-\barre\notes\wh M&\sdqh cc\sdqh cc|\zq f\qu h\sk\sk\zq f\qu h&\zmid{gr\^a-}\zhl
-M\qu a\sk\sk\ql f&\huu fh\enotes
-\temps\notes&\Qqh ffeff|\zq{=g}\qu i\sk\sk\zq{=h}\qu j&\zmid{ce}\qll Mf\sk\sk
- \zmid{puis-}\qll Me&\zq {=g}\qu i\sk\sk\zq {=h}\qu j\enotes
- %\check
-%Takt 43
-\barre\notes\wh I&\Qqh ffeff|\zh{=h}\hu j&\zmid{gr\^a}\hll Ie&\zh h\hu j\enotes
-\temps\notes&\Qqh ffiff|\zq i\qu k\sk\sk\zcharnote{n}{\bf I\rm(G.O.)}\soupir
- &\zmid{te,}\qll Id\sk\sk\zmid{que}\qll bf&\zq i\qu k\sk\sk\zq i\qu k\enotes
- %\check
-%Takt 44
-\barre\notes\hl b&\Qqh ffdff|\zh i\hu k&\zmid{tout}\hll bf&\huu ik\enotes
-\temps\notes\hl L&\Qqh eecee|\zh{_g}\hu j&\zmid{l'en-}\hll Le&\zh{_g}\hu j\enotes
- %\check
-%Takt 45
-\barre\notes\wh M&\Qqh ccfcc|\zh f\hu{=h}&\zmid{fer,}\qll Mc\sk\sk
- \zmid{que}\qll Mf&\quu f{=h}\sk\sk\quu fh\enotes
-\temps\notes&\Qqh ffeff|\zq{=g}\qu i\sk\sk\zq h\qu j&\zmid{tout}\qll {=N}f\sk\sk
- \zmid{l'en-}\qll {=a}e&\quu fi\sk\sk\quu fj\enotes
- %\check
-%Takt 46
-\barre\notes\wh b&\Qqh ffiff|\zh i\hl k&\zmid{fer}\qll bd\sk\sk
- \zmid{fuie}\ql b&\quu fk\sk\sk\quu ik\enotes
-\temps\notes&\Qqh iihii|\zq j\ql l\sk\sk\zq{=k}\ql m&\zmid{au}\lq c\ql b\sk\sk
- \zmid{son}\qll b{=d}&\quu il\sk\sk\qll hm\enotes
- %\check
-%Takt 47
-\barre\notes\wh L&\Qqb iihii|\zh{=k}\hl m\zcharnote m{\bf II \rm(Pos.)}\relax
- &\zmid{de}\zqp L\qlp{=d}\sk\sk\sk\zmid{ta}\relax
- \zq L\cl d&\zhp h\hup m\sk\sk\sk\zq g\cu n\enotes
-\temps\notes&\sdqb ig\Tqb ebe|\zq l\cl n\sk\ds\sk\soupir&\zmid{voix}\qll Le\sk
- \sk\soupir&\quu gn\sk\sk\zmid{Dis-}\quu in\enotes
-\cleftoksii{6000}\changeclefs
- %\check
-%Takt 48
-\barre\notes\itenl0F\wh F&\Hpause|\sdqh{c}f\zql g\Tqh geb&\soupir\sk\sk
- \zmid{Dis-}\qll bg&\Ilegu1o\zmid{si}\quu {=h}m\sk\sk\quu ej\tleg1\enotes
-\temps\notes&\soupir\sk\sk\ql N|\zql f\Tqh fc{=h}\zql i\Tqh iec&\relax
- \zmid{si-}\qll{=a}f\sk\sk\zmid{pe}\qll{N}e&\zq e\hu j\sk\sk\qu i\enotes
-\def\atnextline{\sanspedale\savemeters}%
- %\check
-%Takt 49
-\barre\notes\tten0\zhl F\zhlp M\qsk\zcharnote D{\it(Ped.)}\relax
- |\zhu h\raise -3\Interligne\ds\dqb ce\tQb fce\relax
- &\zmid{le}\qll Me\sk\sk\zmid{som-}\zql M\noteskip=1.5\noteskip\dqh dc\relax
- &\zq j\zqu{=h}\noteskip=1.5\noteskip\sk\sk\zql h\dqh kl\enotes
-\temps\notes\ql I\sk\sk\soupir|\Sqh idfifd&\zmid{meil}\qll Id\sk\sk\soupir
- &\quu ik\sk\sk\zmid{d'une}\quu fk\enotes
- %\check
-%Takt 50
-\barre\notes\itenl1J\wh J\sk\sk\ql d|\sdqh{=e}{=g}\zql f\Tqh fgi&\soupir
- \sk\sk\zmid{lan-}\qll Md&\zmid{\^a-}\quu{=e}j\sk\sk\zmid{me}\quu d{=g}\enotes
-\temps\notes\ql c\sk\sk\itenu2b\ql b|\bigaccid\zql{=e}\Tqh egi\ds\zq d\dqh fg\relax
- &\qll{=L}c\sk\sk\zmid{guis-}\qll{_K}b&\zmid{lan-}\quu bg\sk\sk\rq g\qu f\enotes
- %\check
-%Takt 51
-\barre\notes\tten1\zhl J\tten2\ql b\sk\sk\noteskip=1.5\noteskip\dqh{=a}{=N}\relax
- |\ds\zq c\dqh{=e}{=g}\Tqh{=h}ei&\zmid{san-}\zhl J\ql b\sk\sk\noteskip
- =1.5\noteskip\dqb {=a}{=N}&\zhl{=e}\qu{=g}\sk\sk\noteskip=1.5\noteskip
- \dqh{=h}i\enotes
-\temps\notes\zcl M\cu a\sk\ds\zq F\qu M|\Qqh cfhfc&\zmid{te,}\qll Fa\sk
- \sk\zmid{qui}\ql M&\quu fh\sk\sk\soupir\enotes
- %\check
-%Takt 52
-\barre\notes\Hu b|\Qqh dfifd&\hl b\sk
- \zmid{qui}\sk\qu b&\hpause\enotes
-\temps\notes\Hu{_a}|\Qqh cfjfc&\zmid{la}\zhl a\ql f\sk
- \sk\zmid{con-}\ql f&\soupir\sk\sk\qu f\enotes
- %\check
-%Takt 53
-\barre\notes\Hu N|\Qqh fiebe&\zmid{duit}\zhl N\ql f\sk\sk\ql e\relax
- &\hlp i\sk\sk\qu i\enotes
-\temps\notes\Dnu MK|\Qqh dfifb&\zmid{\`a}\qll Md\sk\sk\zmid{l'ou-}\qll Kf\relax
- &\qu m\sk\sk\qlu ii\enotes
- %\check
-%Takt 54
-\barre\notes\Hu L|\Qqh cgigc&\zmid{bli}\hll Lb&\rq j\qu i\sk\sk\noteskip
- =1.5\noteskip\rq j\cu i\rq j\cu i\enotes
-\temps\notes\Hu M|\Qqh ce{=h}ec&\zmid{ de}\zql M\noteskip=1.5\noteskip
- \dqh fe\zmid{tes}\dqh dc&\quu {=h}j\sk\sk\noteskip=1.5\noteskip
- \zq h\cu k\zq h\cu l\enotes
- %\check
-%Takt 55
-\barre\notes\Hu N|\Qqh d{=h}igd&\zmid{lois,}\zhl N\ql c\sk\sk\ql b\relax
- &\quu{=h}l\sk\sk\quu ik\enotes
-\temps\notes\zmidtwotext{\kern -2\Interligne\bf I \rm(G.O.)}\Dnu ML|\relax
- \Qqh df{=h}fc&\soupir\sk\sk\ql M&\Hpause\enotes
- %\check
-%Takt 56
-\barre\notes\Hu K\zcharnote I{(+P\'ed.)}|\sdqh bf\itenu1i\zqu i\Tqb ifb&\hl b\sk
- \zmid{qui}\sk\qu b&\hpause\enotes
-\temps\notes\Hu J\zcharnote I{(+P\'ed.)}|\tten1\zqu i\raise -2\Interligne\ds
- \dqb bf\zqu {_h}\qsk
- \Tqb ifb&\zmid{la}\qll bf\sk\sk\zmid{con-}\qll af&\soupir\sk\sk\qu f\enotes
- \def\atnextline{\quatreinstruments}%
- %\check
-%Takt 57
-\barre\notes\wh I&\hu I|\zhu g\raise -5\Internote\ds\dqb bf\Tqb ifb\relax
- &\zmid{duit}\zhl N\ql f\sk\sk\ql e&\hlp i\sk\sk\qu i\enotes
-\temps\notes&\Hl b|\zqu f\raise -6\Internote\ds\dqb df\zqu i\Tqb ifd\relax
- &\zmid{\`a}\qll Md\sk\sk\zmid{l'ou-}\qll bd&\qu m\sk\sk\quu fk\enotes
- %\check
-%Takt 58
-\barre\notes\hu H&\Hl a|\itenu1j\zh h\zhu j\raise -3\Interligne\ds
- \dqb ce\Tqb ece&\zmid{bli}\hll ac&\quu hl\sk\sk\noteskip=1.5\noteskip
- \zq h\cu l\zq h\cu l\enotes
-\temps\notes\hu G&\Hl N|\tten1\rh i\zhu j\raise -3\Interligne\ds
- \dqb ce\Tqb ece&\zmid{de}\qll Nb\sk\sk\zmid{tes}\qll Nb&\quu il\sk\sk
- \noteskip=1.5\noteskip\zq i\cu k\zq i\cu l\enotes
- %\check
-%Takt 59
-\barre\notes\hu F&\zw F\wh M|\zq{=h}\zqu j\raise -3\Interligne\ds
- \dqb c{=e}\Tqb fc{=a}&\zmid{lois !}\zhp M\hl c&\huu {=h}m\enotes
-\temps\notes\Hpause&\zmidtwotext{\bf II \rm(Pos.)}|\Sqh cefhfc&\sk
- \sk\sk\zmid{\^O}\ql M&\Hpause\enotes
-\def\atnextline{\sanspedale}%
- %\check
-%Takt 60
-\barre\notes\Pause
- &\hu F|\Qqh cdfd{_a}&\zmid{Christ sois}\dnb aa&\Pause\enotes
-\temps\notes&\hu H|\Qqh {=b}c{_e}ca&\zmid{fa-\ \ \ \ vo-}\dnb NN\enotes
- %\check
-%Takt 61
-\barre\notes\hu K|\Qqh acdaM&\zmid{ra-}\hl M&\Pause\enotes
-\temps\notes\hu J|\Sqh acdfda&\zmid{ble \`a}\ql M\sk\sk\zmid{\ ce}\zql M\cu
-a\sk\cu a\enotes
- %\check
-%Takt 62
-\barre\notes\dnu IH|\sdqh{=e}f\sdqh fc&\zmid{peu-}\zhl M\qu d\sk
- \sk\qu c&\Pause\enotes
-\temps\notes\qu G|\sdqh cd&\zmid{ple}\qll Kb\enotes
-\temps\notes\qu F|\sdqh da&\zmid{fi-}\qll aa\enotes
- %\check
-%Takt 63
-\barre\notes\hu H|\sdqh ac\Tqh eca&\relax
- \Ilegl1F\zmid{d\`e-}\zql a\hu c\sk\sk\ql N\tleg1&\Pause\enotes
-\temps\notes\qu D|\sdqh ac&\zmid{le}\qll Md&\enotes
-\temps\notes\qu F|\Tqh daM&\zmid{pour}\qll Md\sk\sk\enotes
- %\check
-%Takt 64
-\barre\notes\hu G|\Qqb bdedb&\zmid{te}\hll Ld&\Pause\enotes
-\temps\notes\hu H|\Qqb NcecN&\zmid{b\'e-}\hll Nc\enotes
- %\check
-%Takt 65
-\barre\notes\wh I|\Qqh MbdbM&\zmid{nir}\hll Md&\Hpause\enotes
-\temps\notes|\Sqh bcdfdb&\zmid{main-}\qll Md\sk\sk\zmid{te-}\qll Md&\relax
- \soupir\sk\sk\zmid{Re-}\qu f\enotes
-%Takt 66
-\barre\notes\wh H|\zh f\zhu h\raise -4\Interligne\ds\dqb ac\Tqb dad&\relax
- \zmid{nant}\hll Md&\zmid{\c cois}\ql h\sk\sk\zmid{\c les}\ql h\enotes
-\temps\notes|\zh e\zhu g\raise -4\Interligne\ds\dqb ac\Tqb dad&\relax
- \zmid{ras-}\qll Ld\sk\sk\zmid{sem-}\qll Lc&\zmid{chants}\ql g\sk\sk
- \zmid{qu'il}\ql g\enotes
- %\check
-%Takt 67
-\barre\notes\zql D\sdqh ac\zql H\Tqh daM|\zh d\zhu f&\relax
- \zmid{bl\'e,}\zw d\ql K\sk\sk\qu H&\zmid{of-}\hu f\enotes
-\temps\notes\dnb KJ|\Sqh adfhfd&\ql K\sk\sk\ql J&\zmid{re}\hl f\sk
- \sk\zmid{Re-}\qu h\enotes
- %\check
-%Takt 68
-\barre\notes\wh I|\sdqh ad\zqu h\Tqb fda&\zmid{chants}\zhl I\raise\Interligne
- \soupir\sk\sk
- \qu a&\zmid{\c cois}\zhlp f\qu k\sk\sk\zmid{les}\qu j\enotes
-\temps\notes|\zqu k\Tqb fdf\zqu j\Tqb hfd&\zmid{qu'il}\zhl I\ql d\sk\sk\ql c&\relax
- \zmid{chants}\qu i\sk\sk\zmid{qu'il}\quu fh\enotes
- %\check
-%Takt 69
-\barre\notes\qsk\dnu LI|\zhu i\qsk\tQb hbe\Tqb heb&\zmid{offre}\zql L\hu b\sk
- \sk\zmid{\`a}\ql I&\zmid{of-}\zh e\hu h\enotes
-\temps\notes\dnu LK|\zqu i\Sqb gbegeb&\zmid{ta}\zql L\hu b\sk\sk
- \zmid{gloi-}\ql K&\zmid{fre,}\zq e\qu g\sk\sk\zmid{\`a}\qu i\enotes
- %\check
-%Takt 70
-\barre\notes\zmidtwotext{\kern -\Interligne\bf I \rm(G.O.)}\wh J|\sdqb be\zqu i\Tqb geb\relax
- &\zmid{ta}\zhl J\raise\Interligne\soupir\sk\sk\zmid{gloire}\qu b\relax
- &\zhlp g\qu l\sk\sk\qu k\enotes
-\temps\notes|\zqu l\Tqb geg\zqu k\Tqb ige&\zmid{im-}\zhl J\ql e\sk\sk
- \zmid{mor-}\ql d&\qu j\sk\sk\quu gi\enotes
- %\check
-%Takt 71
-\barre\notes\qsk\Dnl MJ|\zhu j\qsk\tQb icf\Tqb ifc&\zmid{tel-}\zql M\hl c\sk\sk
- \ql J&\zh f\hu i\enotes
-\temps\notes\Dnl ML|\zqu j\tQb hcf\itenu1h\zqu h\qsk\Tqb gca&\zmid{le,}\relax
- \qll Mc\sk\sk\zmid{et}\qll Lc&\zq f\qu h\sk\sk\rq h\qu g\enotes
- %\check
-%Takt 72
-\barre\notes\Dnl KM|\tten1\zqu h\tQb fdf\zqu{=h}\tQb ece&\zmid{de}\qll Kd\sk\sk
- \qll M{=a}&\zhl f\qu m\sk\sk\qu j\enotes
-\temps\notes\Dnl ba|\zqu i\Tqb dfd\zqu{_j}\tQb f{=d}f&\zmid{tex}\ql b\sk\sk
- \qll {_a}{=d}&\zq f\qu k\sk\sk\zq{j}\qu m\enotes
- %\check
-%Takt 73
-\barre\notes\Dnl{=N}{=L}|\zqu i\tQb ebe\zqu{=g}\tQb{_d}bd&\zmid{dons}\qll {=N}e\sk
- \sk\qll{=L}b&\zq i\qu l\sk\sk\zq{=g}\qu k\enotes
-\temps\notes\Dnl M{=K}|\zqu h\tQb cac\zq h\zqu j\tQb fcf&\zmid{qu'il}\qll Ma\sk
- \sk\qll{=K}a&\quu hj\sk\sk\quu fj\enotes
- %\check
-%Takt 74
-\barre\notes\zh E\hu L|\zh{=g}\zhu j\tQb ece\tQb ece&\zmid{tour-}\hll L{=N}\relax
- &\huu ej\enotes
-\temps\notes\zh{_D}\hu{_K}|\zh g\zhu i\raise -3\Interligne\ds
- \dqb be\Tqb ebe&\zmid{ne}\zqp{_K}\qlp N\sk\sk\sk\zmid{com-}\zq K\cl N&\zqp e\qup i\sk
- \sk\sk\zq e\cu i\enotes
- %\check
-%Takt 75
-\barre\notes\Hu J|\zhu h\raise -3\Interligne\ds\dqb ae\tQb eae\relax
- &\hll Ja&\zh e\hup h\enotes
-\temps\notes|\zcharnote n{\bf II}\sk\enotes
-\temps\notes\hu K|\zhu{_j}\tQb fdf\Tqb hfd&\zmid{Et}\hll K{_c}&\hu f\sk
- \sk\ql h\enotes
- %\check
-%Takt 76
-\barre\notes\dnu GI|\zqu i\raise -3\Interligne\ds\dqb dg\zqu h\relax
- \raise -3\Interligne\ds\dqb {=d}f&\zmid{de}\qll Gd\sk\sk\qll Ia&\zq d\qu i\sk
- \sk\zq{=d}\qu f\enotes
-\temps\notes\dnb L{_K}|\zqu{_g}\raise -3\Interligne\ds
- \dqb be\zq{=g}\zqu i\tQb gb{=e}&\zmid{tes}\qll LN\sk\sk\qll K{=N}&\relax
- \zq d\qu g\sk\sk\zq{=f}\qu i\enotes
- %\check
-%Takt 77
-\def\atnextline{\quatreinstruments\savemeters}%
- %
-\barre\notes\Pause&\dnu JG|\zqu h\raise -3\Interligne\ds
- \dqb a{_e}\zqu j\tQb {=h}eh&\zmid{dons}\qll Ja\sk\sk\qll Nc&\quu eh\sk\sk
- \dfl i\quu il\enotes
-\temps\notes\Pause&\dnu F{=G}\relax
- |\zqu k\tQb {_h}fh\raise 2\Interligne\rlap{\ds}\Tqh bdb&\zmid{qu'il}\relax
- \qll Md\sk\sk\zmid{re-}\qll {=N}b&\zq h\qu k\sk\sk\zq d\qu f\enotes
- %\check
-%Takt 78
-\barre\notes&\wh H|\Qqh acfca&\zmid{tour-}\hll aa&\zh c\hu h\enotes
-\temps\notes&|\Qqh NcecN&\zmid{ne}\zqp H\qlp{_N}\sk\sk\sk
- \zmid{com-}\zq H\cl N&\zqp c\qup e\sk\sk\sk\cu d\enotes
- %\check
- %Takt 79
-\barre\notes\zcharnote b{$\wedge$}\hl K&\zmidtwotext{\bf III
- \rm(r\'ecit)}\sdqb Ma\Tqb daM|\sk\hpause&\zmid{bl\'e !}\zhp K\hlp M\relax
- &\hup d\enotes
-\temps\notes\hpause&\Tqb acd\sdqb da|\soupir\sk\sk\qu f&\sk\sk\sk\soupir
- &\sk\sk\sk\soupir \enotes
- %\check
- %Takt 80
-\barre\notes\hu F&\Qqb cdfda|\hu h&\Pause&\Pause\enotes
-\temps\notes\hu G&\Qqb {=a}bdbN|\hu g\enotes
- %\check
- %Takt 81
-\barre\notes\itenl1H\wh H&\Qqb {=N}adaM|\hup f&\Hpause&\Hpause\enotes
-\temps\notes&\Sqb acdfda|\sk\sk\sk\soupir&\soupir\sk\sk
-\zmid{Et}\qll Ha&\soupir\sk\sk\zq d\qu f\enotes
- %\check
- %Takt 82
-\barre\notes\tten1\wh H&\Qqb NdedN|&\zmid{de}\zhl H\dnu NM&\zhu e\qsk\hl d\enotes
-\temps\notes&\Qqb NcecN|&\zmid{tes}\hll HL&\huu cg\enotes
- %\check
- %Takt 83
-\barre\notes\wh K&\Qqb MadaM|&\zmid{dons}\zhp K\hlp M&\zhp d\hup f\enotes
-\temps\notes&\Tqb acd\sdqb da|\soupir\sk\sk\qu f&\sk\sk\sk\soupir
- &\sk\sk\sk\soupir\enotes
- %\check
- %Takt 84
-\barre\notes\hu{=H}&|\zqu k\Tqb efe\zqu j\Tqb fef&\Pause&\Pause\enotes
-\temps\notes\dnu IJ&|\zqu i\Tqb dfd\zqu h\tQb fcf&\enotes
- %\check
- %Takt 85
-\barre\notes\dnu KL&|\zqu h\Tqb cfc\zqu g\tQb ebe&\Hpause&\Hpause\enotes
-\temps\notes\dnu MF&\Sqb {=a}cMd{_a}M|\qu f\sk\sk\soupir
- &\zmid{qu'il}\qll F{=a}\sk\sk
- \zmid{re-}\qll F{_a}&\zq c\qu f\sk\sk\zq d\qu {_h}\enotes
- %\check
- %Takt 86
-\barre\notes\wh G&\Qqh MbdbM|&\zmid{tour-}\zw G\wh b&\zw d\wh f\enotes
-\temps\notes&|\Tqh bdf\zq i\cu k\ds\enotes
- %\check
- %Takt 87
-\barre\notes\wh H&\sdqh Na|\sk\sk\sk\Tqh ceg&\zmid{ne}\relax
- \zhlp H\hup N&\zhp c\hup e\enotes
-\temps\notes&|\zq h\cu j\sk\ds\soupir&\sk\sk\zmid{com-}\qll HN\relax
- &\sk\sk\quu dd\enotes
- %\check
- %Takt 88
-\barre\notes\itenl1K\wh K&|\Qqh acdaM&\relax
- \zmid{bl\'e}\itenl0K\itenu3M\zw K\wh M&\itenl4d\wh d\enotes
-\temps\notes&|\Tqb acd\itenu2f\zqu f\Tqb fda\enotes
- \advance\barsinline by -1\relax % accepter une mesure de plus
- %\check
- %Takt 89
-\barre\notes\tten1\wh K&|\tten2\zw {Mad}\wh f\sk
- &\tten0\tten3\zw K\wh M&\tten4\wh d\enotes
-\finmorceau
-\bye
-
diff --git a/macros/musixtex/doc/examples/recit.tex b/macros/musixtex/doc/examples/recit.tex
deleted file mode 100644
index be717f9bc5..0000000000
--- a/macros/musixtex/doc/examples/recit.tex
+++ /dev/null
@@ -1,416 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\title{R\'ecit}
-\fulltitle{II. R\'ecit}
-\csname titremorceautoc\endcsname
-\subtitle{\sl (pour orgue)}
-\othermention{Compos\'e en 1990}
-\fullauthor{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}
-\maketitle
-
-\tracingstats=2\relax
-%
-\nbporteesii=2\relax
-\def\nbinstruments{2}
-\global\cleftoksii={{0}{0}{0}{0}}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{-2}\relax % deux bemols a la clef
-\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}%
-\def\troistemps{\generalmeter{\meterfrac{3}{4}}}%
-%\check
-\def\instrumenti{P\'edale 16'}%
-\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt
- \centerline{G.O.}}}%
-%\check
-\def\gluemaxskip{7pt}%
-%
-% formes frequentes
-% deux croches hautes
-\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-%
-\medskip\noindent{\rm G.O.: fonds 8' ou 8'+4' doux}%
-\par\noindent{\rm R\'ec.: cornet ou cromorne}%
-\par\noindent{\rm P\'ed.: 16', tirasse G.O.}%
-\smallskip
-%
-\troistemps
-%
-\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}%
-\debutmorceau
-%
-\autolines 855\relax
-\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}%
-%\check
-%
-\hyphenpenalty -50\relax
-\NOtes&|\Uptext{ \hbox{\kern -16mm\moyen Adagio \bf(\metron{\qu}{60})}}\enotes
-% mesure 1
-\advance\linesinpage by 1\relax
-%
-\NOtes\hu I&\zh{bd}\hu g|\qu d\enotes
-\temps\NOtes&|\qu g\enotes
-\temps\NOtes\qu H&\zq{ac}\qu{^f}|\qu h\enotes
-%\check
-% mesure 2
-\barre\NOtes\hu G&\zhp b\zh d\itenu1g\hup g|\hu i\enotes
-\temps\NOtes&|\enotes
-\temps\NOtes\qu J&\itenu2e\qu e|\itenl0i\qu i\enotes
-%\check
-% mesure 3
-\barre\NOtes\hu H&\zhp c\zhp e\tten2\tten1\hup g|\tten0\qu i\enotes
-\temps\notes&|\dqh{-2}hg\enotes
-\temps\notes\qu J&|\dqh{-2}ji\enotes
-%\check
-% mesure 4
-\barre\NOtes\hu K&\zh a\zh d\hu{^f}|\hu h\enotes
-\temps\NOtes&|\enotes
-\temps\NOtes\qu J&\soupir|\soupir\enotes
-% mesure 5
-\barre\NOtes\hu I&\itenu0d\zh b\zh d\hu g|\qu d\enotes
-\temps\NOtes&|\qu g\enotes
-\temps\NOtes\qu H&\tten0\itenu0d\zq a\zq d\qu{^f}|\qu i\enotes
-% mesure 6
-\autolines 755\relax
-\barre\NOtes\hu G&\tten0\itenu1d\zhp b\zhp d\hup g|\hu k\enotes
-\temps\NOtes&|\enotes
-\temps\NOtes\qu I&|\qu k\enotes
-%\check
-% mesure 7
-\barre\NOtes\qu{=I}&\tten1\itenl1N\zqu d\zhp{=b}\hlp N|\qup m\enotes
-\temps\notes&\qu{=f}|\sk\cu l\enotes
-\temps\notes\qu G&\qu d|\dqh{-5}mk\enotes
-%\check
-% mesure 8
-\barre\NOtes\hup J&\tten1\zhl N\zhp c\hup e|\qup l\enotes
-\temps\notes&|\sk\cu k\enotes
-\temps\NOtes&\ql a|\qu j\enotes
-% mesure 9
-\barre\notes\hl K&\zhp d\zhp{^f}\hup h|\dqh3kl\enotes
-\temps\notes&|\dqh{-3}kj\enotes
-\temps\notes\ql J&|\dqh{-3}ih\enotes
-% mesure 10
-\barre\NOtes\hu I&\itenu1g\zh b\zhl d\hup g|\qup k\enotes
-\temps\notes&|\sk\cu i\enotes
-\temps\NOtes\qu J&\zq c\ql e|\qu g\enotes
-% mesure 11
-\barre\NOtes\hu K&\tten1\zhl d\zhp g\hup i|\soupir\enotes
-\temps\notes&|\dsoupir\cu d\enotes
-\temps\notes\qu J&\ql e|\dqh7gj\enotes
-% mesure 12
-\barre\NOtes\hup K&\zhp a\zh d\hup{^f}|\hup h\enotes
-\temps\NOtes&|\relax\enotes
-\temps\NOtes&\ql c|\relax\enotes
-% mesure 13
-\barre\NOTes\hu G&\zh g\zh b\hu d|\hu g\enotes
-\temps\NOtes\soupir&\soupir|\soupir\enotes
-%
-% mesure 14
-\barre\NOtes\hu I&\zh b\zh d\hu g|\qu d\enotes
-\temps\NOtes&|\qu g\enotes
-\temps\NOtes\qu H&\zq a\zq c\qu{^f}|\qu h\enotes
-%\check
-% mesure 15
-\barre\NOtes\itenl1G\hlp G&\itenu0d\zhu g\zhp b\hlp d|\hu i\enotes
-\temps\NOtes&|\relax\enotes
-\temps\NOtes&\itenl2N\ql N|\qu i\enotes
-%\check
-% mesure 16
-\barre\NOtes\tten1\hlp G&\tten2\tten0\itenl1N\zhp{=b}\zqu d\hlp N|\xTrille q{2\noteskip}\hu{=i}\enotes
-\temps\NOtes&\qu{=f}|\relax\enotes
-\temps\notes&\qu d|\ibu0i0\qh0i\noteskip=0.6\elemskip\relax\nbbu0\qh0h\tqh0i\enotes
-%\check
-% mesure 17
-\barre\NOtes\hu J&\tten1\zhl N\zhp c\hup e|\qup j\enotes
-\temps\notes&|\sk\cu k\enotes
-\temps\NOtes\qu H&\ql a|\qu l\enotes
-%\check
-% mesure 18
-\barre\NOtes\hlp K&\itenu1f\itenu2h\zhp d\zhp {^f}\hup h|\itenl0k\hlp k\enotes
-\temps\NOtes&|\relax\enotes
-\temps\NOtes&|\relax\enotes
-% mesure 19
-\barre\notes\hup J&\tten1\tten2\zhp c\zhp{^f}\hup h|\tten0\dqb5k{^m}\enotes
-\temps\notes&|\dqb3no\enotes
-\temps\notes&|\dqb{-5}pn\enotes
-% mesure 20
-\barre\notes\hup I&\zhp b\zhp d\hup g|\dqb6kn\enotes
-\temps\notes&|\dqb3op\enotes
-\temps\notes&|\dqb{-5}qo\enotes
-% mesure 21
-\barre\notes\hup H&\zhp a\zhp c\hup{^f}|\dqb9ko\enotes
-\temps\notes&|\dqb3pq\enotes
-\temps\notes&|\dqb{-5}rp\enotes
-% mesure 22
-\barre\notes\hup G&\itenl1N\zqu d\zhp N\hlp{=b}|\dqb3n{_o}\enotes
-\temps\notes&\qu{=f}|\dqb{-3}nm\enotes
-\temps\notes&\qu d|\dqb{-3}lk\enotes
-% mesure 23
-\barre\NOtes\qu J&\tten1\zhp N\zhp c\hup e|\qup j\enotes
-\temps\notes\qu H&|\sk\cl k\enotes
-\temps\notes\qu J&|\dqb{-5}lj\enotes
-% mesure 24
-\barre\notes\hu K&\zhp a\zhp d\hup{^f}|\dqb3kl\enotes
-\temps\notes&|\dqb{-3}kj\enotes
-\temps\notes\qu{^F}&|\dqb{-3}ih\enotes
-% mesure 25
-\barre\NOtes\qu G&\zql b\zhp e\hup g|\qup g\enotes
-\temps\notes\hu E&\hl c|\sk\cu h\enotes
-\temps\notes&|\dqh3ij\enotes
-%
-% mesure 26
-\barre\NOtes\hup D&\zhl d\zhp{^f}\hup h|\hu h\enotes
-\temps\NOtes&|\relax\enotes
-\temps\notes&\ql c|\trioskip\ibl0d5\qbp0d\sk\tbbl0\tqb0k\enotes
-% mesure 27
-\barre\NOtes\qu G&\itenu1d\itenu2g\zhp b\zhp d\hup g|\qlp k\enotes
-\temps\notes\hu I&|\sk\cl l\enotes
-\temps\notes&|\dqb5m{_o}\enotes
-% mesure 28
-\barre\notes\hup{=I}&\tten1\tten2\itenu1g\zhl{=b}\zhp d\hup g|\dqb{-3}nm\enotes
-\temps\notes&|\dqb{-3}lk\enotes
-\temps\notes&\ql N|\dqb{-3}j{=i}\enotes
-% mesure 29
-\barre\NOtes\hu J&\tten1\zh c\zh e\hu g|\ql k\enotes
-\temps\notes&|\ql j\enotes
-\resp
-\temps\notes\qu H&\soupir|\trioskip\ibl0f5\qbp0f\sk\tbbl0\tqb0m\enotes
-% mesure 30
-\barre\notes\hup F&\zhp a\zhp c\itenl1f\hup f|\dqb3mn\enotes
-\temps\notes&|\dqb{-3}ml\enotes
-\temps\notes&|\dqb{-3}kj\enotes
-%\check
-% mesure 31
-\barre\NOtes\qup I&\itenl3b\tten1\zhu f\zhp b\hlp d|\hl k\enotes
-\temps\notes\sk\cu H&|\relax\enotes
-\temps\NOtes\qu G&\itenl2g\qu g|\itenl0g\qu g\enotes
-% mesure 32
-\barre\NOtes\hu E&\tten3\tten2\zhl b\zhp e\hup g|\tten0\qup g\enotes
-\temps\notes&|\sk\cu d\enotes
-\temps\notes\qu J&\ql c|\dqh7gj\enotes
-% mesure 33
-\barre\NOtes\hu K&\zh d\zh{^f}\hu a|\hu h\enotes
-\temps\Notes&|\relax\enotes
-\resp
-\temps\notes\qu J&\soupir|\trioskip\ibl0g5\qbp0g\sk\tbbl0\tqb0n\enotes
-% mesure 34
-\barre\notes\hup{=I}&\itenu1g\zhp{=b}\zhp d\hup g|\dqb3n{_o}\enotes
-\temps\notes&|\dqb{-3}nm\enotes
-\temps\notes&|\dqb{-3}lk\enotes
-% mesure 35
-\barre\notes\hup J&\tten1\itenl1c\zhp c\zhp e\hup g|\dqb{-3}ml\enotes
-\temps\notes&|\dqb{-3}kj\enotes
-\temps\notes&|\dqb3kl\enotes
-% mesure 36
-\barre\notes\hup H&\tten1\itenu1f\zhp a\zhp c\hup f|\dqb3mn\enotes
-\temps\notes&|\dqb{-3}ml\enotes
-\temps\notes&|\dqb{-3}kj\enotes
-% mesure 37
-\barre\notes\hu I&\tten1\zhl b\zq f\hup d|\dqh{-5}kg\enotes
-\temps\notes&\qu{^f}|\dqh3{^f}g\enotes
-\temps\notes\qu{=I}&\zqu{_h}\ql{=b}|\dqh3{=i}k\enotes
-%\check
-% mesure 38
-\barre\NOtes\hu J&\zhu g\zhp c\hlp e|\qu k\enotes
-\temps\NOtes&|\qu j\enotes
-\resp
-\temps\notes\qu H&\qu{=h}|\trioskip\ibl0f5\qbp0f\sk\tbbl0\tqb0m\enotes
-% mesure 39
-\barre\notes\hup F&\zhp a\zhp c\itenl1f\hup f|\dqb3mn\enotes
-\temps\notes&|\dqb{-3}ml\enotes
-\temps\notes&|\dqb{-3}kj\enotes
-%\check
-% mesure 40
-\barre\notes\hup I&\tten1\zhp f\zhp b\hup d|\dqh{-5}kg\enotes
-\temps\notes&|\dqh3{^f}g\enotes
-\temps\notes&|\dqh3{_i}k\enotes
-%\check
-% mesure 41
-\barre\notes\hup J&\itenu1c\itenu2e\zhp N\zhp c\hup e|\dqb3lm\enotes
-\temps\notes&|\dqb{-3}lk\enotes
-\temps\notes&|\dqb{-3}ji\enotes
-% mesure 42
-\barre\notes\hup H&\tten1\tten2\itenl1a\zhp a\zhp c\hup e|\dqh3hi\enotes
-\temps\notes&|\dqh{-3}hg\enotes
-\temps\notes&|\dqh5hj\enotes
-% mesure 43
-\barre\notes\hu K&\tten1\zhp a\zhp d\hup{^f}|\dqb3kl\enotes
-\temps\notes&|\dqb{-3}kj\enotes
-\temps\notes\qu{^F}&|\dqb{-3}ih\enotes
-% mesure 44
-\barre\NOtes\qu G&\zql b\zhp e\hup g|\qup g\enotes
-\temps\notes\hu E&\hl c|\sk\cu{^f}\enotes
-\temps\notes&|\dqh8gj\enotes
-%
-% mesure 45
-\barre\NOtes\hup D&\zhp d\zhp{^f}\hup h|\xTrille p{3\noteskip}\hu h\enotes
-\temps\NOtes&|\relax\enotes
-\temps\NOtes&|\relax\enotes
-%\check
-% mesure 46
-\barre\NOtes\hup G&\zh b\zh d\hu g|\hu g\enotes
-\temps\Notes&|\relax\enotes
-\resp
-\temps\notes&\soupir|\fl i\trioskip\ibl0i5\qbp0i\sk\tbbl0\tqb0p\enotes
-%\check
-% mesure 47
-\barre\notes\hup{=L}&\lna e\zhp e\zhp g\hup{_b}|\dqb{-3}p{_o}\enotes
-\temps\notes&|\dqb{-3}nm\enotes
-\temps\notes&|\dqb{-3}{=l}k\enotes
-%\check
-% mesure 48
-\barre\NOtes\hup M&\itenl1f\itenl2h\zhp f\zhp{_h}\hup c|\hu j\enotes
-\temps\NOtes&|\relax\enotes
-\temps\notes&|\trioskip\ibl0h5\qbp0{_h}\sk\tbbl0\tqb0{_o}\enotes
-%\check
-% mesure 49
-\barre\nspace\notes\hup K&\tten1\tten2\zhp d\zhp f\hup{_h}|\dqb{-3}{_o}n\enotes
-\temps\notes&|\dqb{-3}m{_l}\enotes
-\temps\notes&|\dqb{-3}kj\enotes
-% mesure 50
-\barre\NOtes\hup L&\itenu1e\itenu2g\zhp b\zhp e\hup g|\hu i\enotes
-\temps\NOtes&|\relax\enotes
-\temps\notes&|\trioskip\ibl0e5\qbp0e\sk\tbbl0\tqb0l\enotes
-% mesure 51
-\barre\notes\hup J&\tten1\tten2\zhp c\zhp e\hup g|\dqb{-3}lk\enotes
-\temps\notes&|\dqb3jk\enotes
-\temps\notes&|\dqb{-5}lj\enotes
-%\check
-% mesure 52
-\barre\notes\hup K&\itenu1d\zhp{ad}\hup{^f}|\dqb3hi\enotes
-\temps\notes&|\dqb{-3}hg\enotes
-\temps\notes&|\dqb5hj\enotes
-%\check
-% mesure 53
-\barre\notes\hup I&\tten1\zhp{bd}\hup g|\dqb3kl\enotes
-\temps\notes&|\dqb{-3}kj\enotes
-\temps\notes&|\dqb{-5}ki\enotes
-% mesure 54
-\barre\notes\hup L&\itenu1c\itenu2e\zh{Nc}\hup e|\dqh3gh\enotes
-\temps\notes&|\dqh{-3}g{^f}\enotes
-\temps\notes&|\dqh5gi\enotes
-% mesure 55
-\barre\notes\hup H&\tten1\tten2\itenl1a\zhp{ac}\hup e|\dqb3jk\enotes
-\temps\notes&|\dqb{-3}ji\enotes
-\temps\notes&|\dqb{-5}jh\enotes
-% mesure 56
-\barre\notes\hup K&\tten1\itenu1d\zhp{ad}\hup{^f}|\dqh{-5}{^f}d\enotes
-\temps\notes&|\dqh3ef\enotes
-\temps\notes&|\dqh3gh\enotes
-% mesure 57
-\barre\notes\itenl0G\hup G&\tten1\itenu1g\zhp{bd}\hup g|\dqh{-5}ig\enotes
-\temps\notes&|\dqh3{^f}g\enotes
-\temps\notes&|\dqh3hi\enotes
-% mesure 58
-\barre\notes\tten0\itenl0G\hup G&\tten1\itenu1g\zhp{ce}\hup g|\dqh{-7}jg\enotes
-\temps\notes&|\dqh5{^f}g\enotes
-\temps\notes&|\dqh3ij\enotes
-% mesure 59
-\barre\notes\tten0\hup G&\tten1\itenu1g\itenl2b\zhp{bd}\hup g|\dqh3kl\enotes
-\temps\notes&|\dqh{-3}kj\enotes
-\temps\notes&|\dqh{-3}i{_h}\enotes
-%\check
-% mesure 60
-\generalmeter{\meterfrac 24}%
-\advance\elemskip by 1.5pt
-\changecontext\notes\qu L&\itenu3e\tten1\tten2\zql b\zh e\hu g|\Uptext{\moyen pi\`u lento}\dqb5gi\enotes
-\temps\notes\qu J&\itenl1c\ql c|\dqb3jk\enotes
-%\check
-% mesure 61
-\barre\NOTes\itenl0H\hu H&\tten1\tten3\itenl1a\zh a\zh c\hu e|\qlpp l\enotes
-\temps\notes&|\ccl n\enotes
-%\check
-% mesure 62
-\barre\NOtes\tten0\hu H&\tten1\itenl1a\lna e\zh a\zh{^c}\hu e|\xTrille q{2\noteskip}\qup{^j}\enotes
-\temps\notes&|\trioskip\sk\ibbl0i3\qb0i\tqb0j\enotes
-%\check
-% mesure 63
-\barre\NOTEs\pointdurgue G\hu K&\tten1\pointdorgue m\zh{ad}\hu{^f}|\pointdorgue m\hl k\enotes
-% mesure 64
-\troistemps
-\advance\elemskip by -1.5pt
-\changecontext\NOtes\hu I&\soupir|\soupir\enotes
-\temps\notes&\zq b\zql d\hu g|\dqh7dg\enotes
-\temps\notes\qu L&\zq c\ql e|\dqh{-3}ji\enotes
-% mesure 65
-\barre\NOTEs\hup K&\itenl0d\zhu h\zhp d\hlp{^f}|\Uptext{\moyen tempo primo}\xTrille o{\noteskip}\hu h\enotes
-\temps\notes&\qu j|\dqb{-3}hg\enotes
-% mesure 66
-\barre\NOTes\hu G&\tten0\zh{dg}\hu i|\hu g\enotes
-\temps\notes\soupir&\soupir|\soupir\enotes
-% mesure 67
-\barre\NOtes\hu I&\zh{bd}\hu g|\qu d\enotes
-\temps\NOtes&|\qu g\enotes
-\temps\NOtes\qu H&\zq{ac}\qu{^f}|\qu h\enotes
-% mesure 68
-\barre\NOtes\hu G&\itenu1g\zhp b\zh d\hup g|\hu i\enotes
-\temps\NOtes&|\relax\enotes
-\temps\NOtes\qu I&\itenl2e\qu e|\itenl0i\qu i\enotes
-% mesure 69
-\barre\NOtes\hu J&\tten1\tten2\zhl c\zhp e\hup g|\tten0\qu i\enotes
-\temps\notes&|\dqh{-3}hg\enotes
-\temps\notes\qu L&\ql a|\dqh{-3}ji\enotes
-% mesure 70
-\barre\NOtes\hu K&\zh d\zh{^f}\hu h|\hu h\enotes
-\temps\NOtes&|\relax\enotes
-\temps\NOtes\qu J&\soupir|\soupir\enotes
-% mesure 71
-\barre\NOtes\hu I&\itenl1d\itenu2g\zhp b\zhp d\hup g|\qu d\enotes
-\temps\NOtes&|\qu g\enotes
-\temps\notes\qu H&|\dqh5ik\enotes
-%
-% mesure 72
-\barre\NOtes\hup G&\zhp{=b}\tten1\tten2\zhp d\hup g|\qlp m\enotes
-\temps\notes&|\sk\cl m\enotes
-\temps\notes\qu{=I}&|\dqb{-3}lk\enotes
-% mesure 73
-\barre\NOtes\hup J&\zh e\zhu g\hlp c|\hl j\enotes
-\temps\Notes&|\relax\enotes
-\temps\NOtes&\zq{^f}\qu h|\ql k\enotes
-\autolines {12}45\relax
-% mesure 74
-\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbH#1#2#3#4#5{\ibbu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-%\check
-\barre\notes\hu I&\zhl b\zhp d\hup g|\qqbbl0klkj\enotes
-\temps\notes&|\qqbbl{-3}kjih\enotes
-\temps\notes\qu{=I}&\ql{=b}|\qqbbl{-3}gfed\enotes
-% mesure 75
-\autolines{14}35\relax
-\alaligne\notes\hu J&\zhu g\zhp c\hup e|\qqbbl0lmlk\enotes
-\temps\notes&|\qqbbl{-3}lkji\enotes
-\temps\notes\qu H&\qu a|\qqbbh{-3}hg{^f}{=e}\enotes
-% mesure 76
-\barre\notes\hu K&\zhl d\zhp{^f}\hup h|\qqbbl0{^m}nm{=l}\enotes
-\temps\notes&|\qqbbl{-4}mlkj\enotes
-\temps\notes\qu J&\ql c|\qqbbl{-5}ihg{^f}\enotes
-% mesure 77
-\barre\notes\qu I&\zq b\zq d\qu g|\qqbbh0g{=e}{^f}g\enotes
-\temps\notes\qu H&\zq c\zql e\hu h|\qqbbl4hij{_l}\enotes
-\temps\notes\qu K&\zq d\qu{^f}|\qqbbl0k{=l}{^m}k\enotes
-\quatretemps
-% mesure 78
-\autolines {10}35\relax
-\changecontext\barsinline=0\relax
-\NOTEs\hlp I&\zwh g\zhp b\hlp d|\hl n\enotes
-\temps\NOtes&|\dsoupir\cl d\enotes
-\temps\NOtes\qu J&\zq c\ql e|\dqb5gj\enotes
-% mesure 79
-\barre\NOtes\hup K&\zw d\zw{^f}\wh h|\xTrille o{3\noteskip}\hlp h\enotes
-\temps\NOtes&|\enotes
-\temps\NOtes&|\enotes
-\temps\notes\qu D&|\dqh{-3}hg\enotes
-% mesure 80
-\barre\NOtes\wh G&\zw b\zw d\wh g|\mordant o\wh g\enotes
-\temps\NOtes&|\enotes
-\temps\NOtes&|\enotes
-\temps\NOtes&|\enotes
-\finmorceau
-\medskip\rightline{\it \aujourdhui}
-\eject
-\bye
diff --git a/macros/musixtex/doc/examples/recueil.tex b/macros/musixtex/doc/examples/recueil.tex
deleted file mode 100644
index 9e540aa192..0000000000
--- a/macros/musixtex/doc/examples/recueil.tex
+++ /dev/null
@@ -1,156 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\hyphenation{re-gis-tra-tion}
-\csname french\endcsname
-\tracingstats=2\relax
-\line{\ \hss}
-\vskip 15mm
-
-\def\magstep#1{\ifcase#1 \@m\or 1200\or 1440\or 1728\or 2074\or
- 2488\or 2986\or 3583\or 4300\or 5160\fi\relax}
-
-\message{Font name: \fontname\the\font}
-\iflongDCfontnames
- \font\geant=\fontid bx3583
- \font\assezgros=\fontid r2074
-\else\iflongECfontnames
- \font\geant=\fontid bx3583
- \font\assezgros=\fontid rm2074
- \else
- \font\geant=\fontid bx12 scaled \magstep 6
- \font\assezgros=\fontid r17 scaled \magstep 1
- \fi
-\fi
-\centerline{\assezgros Daniel TAUPIN}
-\vfil
-{\baselineskip 20mm
-\centerline{\geant PETITES}
-\centerline{\geant PI\`ECES}\centerline{\geant POUR}
-\centerline{\geant PLAIRE}
-}
-\vskip 15mm
-\centerline{\sl Petites pi\`eces pas trop difficiles pour orgue}
-\smallskip
-\centerline{\sl \`a deux claviers et p\'edalier}
-\vfil
-\centerline{Orsay, \aujourdhui}
-\eject
-%\check
-\null
-\vfil
-\hbox to \hsize{\hss\vbox{\hsize 12cm
-\centerline{\moyen PR\'EFACE ET AVERTISSEMENT}
- \bigskip Pour pouvoir avoir l'outrecuidance de se pr\'etendre compositeur \`a
-la fin du XX\raise 0.7ex \hbox{\eightrm e} si\`ecle, il est indispensable de
-faire preuve d'audaces, de produire du jamais entendu, m\^eme si seule une
-minorit\'e infime d'initi\'es, c'est-\`a-dire l'\'elite musicale et
-musicologique, est capable d'appr\'ecier la d\'elicate saveur des
-\'etranget\'es harmoniques qu'on lui propose.
- \medskip Ou bien alors, si l'on veut produire de la musique tonale, il faut
-se r\'esigner \`a \^etre catalogu\'e dans cette musique de vari\'et\'es, qui
-est r\'eput\'ee \^etre \`a la vraie musique ce que le ``fast-food'' est \`a
-la gastronomie.
- \medskip En d\'efinitive, l'audace de l'auteur de ces <<~Petites Pi\`eces
-Pour Plaire~>> est d'avoir os\'e \'ecrire de la musique qui n'est ni de la
-musique <<~contemporaine~>>, ni de la musique de <<~vari\'et\'es~>>, et qui
-aurait pu \^etre \'ecrite -- disons modestement~: comme exercices de style --
-par des \'el\`eves des compositeurs des deux ou trois si\`ecles pass\'es. Leur
-simple objectif est de charmer les oreilles d'auditeurs de culture classique,
-tout en restant compatibles avec le genre des lieux o\`u l'on trouve le plus
-d'orgues classiques, \`a savoir les \'eglises.
- \medskip
-\centerline{\vrule height 0.4pt width 0.5\hsize}
-\vskip 1mm
- \medskip Comme il est \'ecrit dans le titre, ces pi\`eces n\'ecessitent
-l'usage du p\'edalier, mais la partie de p\'edale est rarement difficile~; de
-ce fait elles pourront servir de pi\`eces d'initiation \`a l'orgue pour des
-pianistes d'un niveau moyen.
- \medskip Bien que certaines pi\`eces (notamment le Choral Vari\'e et la
-Romance sans Paroles)
-mentionnent une registration \`a trois claviers, toutes ces pi\`eces peuvent
-\^etre jou\'ees avec les instruments usuels \`a deux claviers et p\'edalier.
- \vskip 15mm
- \rightline{\vtop{\divide\hsize by 2\relax\centerline{\sl Daniel
-TAUPIN}\smallskip \centerline{\sl \aujourdhui}}}
-
- \bigskip
- \centerline{\rm Tous droits de reproduction commerciale r\'eserv\'es}
- \centerline{\rm All rights of commercial distribution reserved}
- \bigskip
- \def\tocitem#1#2{\hbox to \hsize{\hskip 1cm #1\dotfill\ p. #2\hskip 1cm}}
- \input recueil.toc
-}\hss}\vfil
-\eject
- \def\titremorceautoc{\edef\zetitre{\titremorceau}%
- \write\toc{\noexpand\tocitem{\zetitre}{\the\pageno}}}
- \newwrite\toc
- \immediate\openout\toc=recueil.toc
-%
-%
-\def\misazero{\def\nbinstruments{2}\nbporteesi=1\relax
-\nbporteesii=2\relax
-\barsinline=0\relax
-\linesinpage=0\relax
-\signaturegenerale{0}\savesignature
-\resetfacteurs
-\computewidths}%
-%
-\misazero
-\input adagio
-%
-\misazero
-\input recit
-%
-\misazero
-\input tierce
-%
-\misazero
-\input choral
-%
-\misazero
-\input reves
-%
-\misazero
-\input prelude
-%
-\misazero
-\input fugue
-%
-\misazero
-\input aria
-%
-\misazero
-\input ostinato
-%
-\misazero
-\input romances
-%
-\misazero
-\input magnific
-%
-\misazero
-\input fantcmol
-%
-\misazero
-\input fugcmoll
-%
-\misazero
-\input chanson
-%
-\misazero
-\input quietude
-%
-\misazero
-\input marcello
-%
-\misazero
-\input purcellx
-%
-\misazero
-\input avemario
-%
-\closeout\toc
-\bye
diff --git a/macros/musixtex/doc/examples/rests.tex b/macros/musixtex/doc/examples/rests.tex
deleted file mode 100644
index 075089d837..0000000000
--- a/macros/musixtex/doc/examples/rests.tex
+++ /dev/null
@@ -1,229 +0,0 @@
-% format plain musixTex musixtEx musIxtex musiCtex
-% (c) 1996, Werner Icking
-% Multibar rests section revised 2015 for T1.17 by Bob Tennent.
-%
-\ifx\mxversion\undefined
- \input musixtex
- \fi
-\input musixlit
-\hoffset-15.4mm\voffset-15.4mm
-\hsize210mm\advance\hsize-20mm
-\vsize11in\advance\vsize-20mm\advance\vsize-20pt
-\footline{\smalltype Edited by Werner.Icking@gmd.de using {\it Herbert Chlapik,
- Die Praxis des Notensetzers, Doblinger Wien 1987, ISBN 3-9000~035-96-2}.\hfil}
-\parskip 12pt minus 12pt
-\nobarnumbers
-%\smallmusicsize
-\geometricskipscale
-\transpose7
-\settrebleclefsymbol1\empty
-\settrebleclefsymbol2\empty
-\setinterinstrument1{-2\Interligne}
-\def\qpp{\pt 5\qp}
-\newbox\xtrcti\newbox\xtrctii\newbox\xtrctiii
-\def\xtrct#1{
- \def\writeextract{\extract#1\vskip-6pt}
- \ifnum#1=3\def\extractline{\setbox\xtrctiii\hbox}\fi
- \ifnum#1=2\def\extractline{\setbox\xtrctii\hbox}\fi
- \ifnum#1=1\def\extractline{\setbox\xtrcti\hbox}\fi
- \ifnum#1=0\def\extractline{\centerline}\def\writeextract{}\fi}
-\def\extract#1{
- \ifnum#1=1\line{\hfil\unhbox\xtrcti\hfil}\fi
- \ifnum#1=2\line{\xhfil\unhbox\xtrcti\hfil\unhbox\xtrctii\xhfil}\fi
- \ifnum#1=3\line{\xhfil\unhbox\xtrcti\hfil\unhbox\xtrctii\hfil
- \unhbox\xtrctiii\xhfil}\fi}
-\def\centeron{\def\xhfil{\hfil}}\def\centeroff{\def\xhfil{}}\centeron
-\def\wrong{\uPtext{wrong}}
-\def\right{\uPtext{right}}
-\def\better{\uPtext{better}}
-\def\notrec{\uPtext{not recommended}}
-\def\uPtext#1{\uptext{\kern-\afterruleskip\medtype\it #1}}
-\def\Endextract{\setdoubleBAR\endextract}
-\def\Startextract{\startextract\addspace{-0.5\afterruleskip}}
-
-\bigtype
-
-Whole rest as whole rest\par
-
-\xtrct1\generalmeter{\meterfrac21}\Startextract
-\NOTes\wh c\pause\en\endextract
-\xtrct2\generalmeter{\meterfrac42}\Startextract
-\NOtes\wrong\ha c\en\NOTes\pause\en\NOtes\hpause\en\endextract
-\xtrct3\generalmeter{\meterfrac42}\Startextract
-\NOtes\right\ha c\hpause\en\NOTes\pause\en\setdoublebar\bar
-\NOtes\better\ha c\hpause\hpause\hpause\en\endextract
-\writeextract
-
-Whole rest as full bar rest {\medtype --- not used for e.g. 3/16}\par
-
-\def\CP{\def\atnextbar{\znotes\centerpause\en}}
-\def\CPB{\def\atnextbar{\znotes\nextinstrument\centerpause\en}}
-
-\xtrct1\generalmeter{\meterfrac18}\Startextract\notesp\sk\en\CP
-\generalmeter{\meterfrac28}\Changecontext\Notes\sk\en\CP
-\generalmeter{\meterfrac38}\Changecontext\Notesp\sk\en\CP
-\generalmeter{\meterfrac48}\Changecontext\NOtes\sk\en\CP
-\generalmeter{\meterfrac14}\Changecontext\Notesp\sk\en\CP
-\generalmeter{\meterfrac24}\Changecontext\NOtes\sk\en\CP
-\generalmeter{\meterfrac34}\Changecontext\NOtesp\sk\en\CP
-\generalmeter{\meterfrac44}\Changecontext\NOTes\sk\en\CP
-\generalmeter{\meterfrac54}\Changecontext\NOTes\sk\en\CP
-\generalmeter{\meterfrac64}\Changecontext\NOTes\sk\en\CP
-\endextract\writeextract
-
-\xtrct1\generalmeter{\meterfrac12}\Startextract\Notesp\sk\en\CP
-\generalmeter{\meterfrac22}\Changecontext\NOtes\sk\en\CP
-\generalmeter{\meterfrac32}\Changecontext\NOtesp\sk\en\CP
-\generalmeter{\meterfrac42}\Changecontext\NOTes\sk\en\CP
-\generalmeter{\meterfrac62}\Changecontext\NOTes\sk\en\CP
-\generalmeter{\meterfrac21}\Changecontext\NOTES\wrong\sk\en\CP
-\generalmeter{\meterfrac21}\Changecontext\NOTes\right\pause\pause\en
-\endextract\writeextract
-
-\instrumentnumber2
-\xtrct1\generalmeter{\meterfrac24}\Startextract
-\Notes\ca c&\ds\en\bar
-\NOtesp\pt c\qa c\en\Notes\ca c\en\CPB\bar
-\Notes\ca c\en\NOtesp\pt c\qa c\en\CPB\bar
-\NOtesp\pt c\qa c&\wrong\en\CPB\Endextract
-\xtrct2\generalmeter{\meterfrac24}\Startextract
-\Notes\ca c&\ds\en\bar
-\NOtesp\pt c\qa c\en\Notes\ca c\en\CPB\bar
-\Notes\ca c\en\NOtesp\pt c\qa c\en\CPB\bar
-\NOtes\pt c\qa c&\right\qp\en\Notes&\ds\en\Endextract
-\writeextract
-
-\xtrct1\generalmeter{\meterfrac68}\Startextract
-\NOtesp\pt c\qa c&\qpp\en\bar
-\NOtesp\pt c\qa c\en\Notes\ibl0c0\qb0{cc}\tbl0\qb0c\en\CPB\bar
-\NOtesp\pt c\qa c&\wrong\en\CPB\Endextract
-\xtrct2\generalmeter{\meterfrac68}\Startextract
-\Notesp\pt c\qa c&\qpp\en\bar
-\NOtesp\pt c\qa c\en\Notes\ibl0c0\qb0{cc}\tbl0\qb0c\en\CPB\bar
-\NOtesp\pt c\qa c&\right\qpp\en\Endextract
-\writeextract
-\instrumentnumber1
-
-Rests and rhythm\par
-
-\centeroff
-\scale{0.9}
-\xtrct1\generalmeter{\meterfrac38}\Startextract
-\NOtes\wrong\qp\en\Notes\ca c\en\bar
-\Notes\right\ds\ds\ca c\en\setdoublebar\bar
-\Notes\wrong\ca c\en\NOtes\qp\en\bar
-\Notes\right\ca c\ds\ds\en\endextract
-\xtrct2\generalmeter{\meterfrac34}\Startextract
-\NOTes\wrong\hpause\en\NOtes\qa c\en\bar
-\NOtes\right\qp\qp\qa c\en\setdoublebar\bar
-\NOtes\wrong\qa c\en\NOTes\hpause\en\bar
-\NOtes\right\qa c\qp\qp\en\endextract
-\writeextract
-
-\scale{0.75}
-\xtrct1\generalmeter{\meterfrac68}\Startextract
-\Notes\wrong\ca c\en\NOtes\qp\en\Notes\ca c\en\NOtes\qp\en\bar
-\Notes\right\ca c\ds\ds\ca c\ds\ds\en\setdoublebar\bar
-\Notes\wrong\ca c\ds\ds\ds\ds\ca c\en\bar
-\Notes\right\ca c\ds\ds\en\NOtes\qp\en\Notes\ca c\en\endextract
-\xtrct2\generalmeter{\meterfrac44}\Startextract
-\NOtes\wrong\qa c\en\NOTes\hpause\en\NOtes\qa c\en\bar
-\NOtes\right\qa c\qp\qp\qa c\en\endextract
-\writeextract
-
-\scale{0.7}
-\xtrct1\generalmeter{\meterfrac34}\Startextract
-\NOtes\uPtext{3/4 versus 6/8}\qa c\qp\qp\en
-\generalmeter{\meterfrac68}\changecontext
-\NOtes\qa c\en\Notes\ds\en\NOtes\qp\en\Notes\ds\en\endextract
-\xtrct2\generalmeter{\meterfrac34}\Startextract
-\Notes\ca c\ds\en\NOtes\qp\en\Notes\ds\ca c\en
-\generalmeter{\meterfrac68}\changecontext
-\Notes\ca c\ds\ds\en\NOtes\qp\en\Notes\ca c\en\endextract
-\xtrct3\generalmeter{\meterfrac34}\Startextract
-\Notes\ca c\ds\en\NOtes\qp\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en
-\generalmeter{\meterfrac68}\changecontext
-\Notes\ca c\ds\ds\ds\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en\endextract
-\writeextract
-
-\scale{0.7}
-\xtrct1\generalmeter{\meterfrac34}\Startextract
-\NOtes\qp\qp\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en
-\generalmeter{\meterfrac68}\changecontext
-\NOtes\qp\en\Notes\ds\ds\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en\endextract
-\xtrct2\generalmeter{\meterfrac34}\Startextract
-\NOtesp\pt c\qa c\en\Notes\ds\en\NOtes\qp\en
-\generalmeter{\meterfrac68}\changecontext
-\NOtesp\pt c\qa c\en\NOtes\qp\en\Notes\ds\en\endextract
-\xtrct3\generalmeter{\meterfrac32}\Startextract
-\NOTes\uPtext{3/2 versus 6/4}\ha c\hpause\hpause\en
-\generalmeter{\meterfrac64}\changecontext
-\NOTes\ha c\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qp\en\endextract
-\writeextract
-
-\scale{0.8}
-\xtrct1\generalmeter{\meterfrac{12}8}\Startextract
-\NOTesp\wrong\pt c\ha c\hpausep\en\endextract
-\xtrct2\generalmeter{\meterfrac{12}8}\Startextract
-\Notes\notrec\ca c\ds\ds\en\NOtes\qp\en\Notes\ds\en\NOtes\qp\en\Notes\ds\en
-\NOtes\qp\en\Notes\ds\en\endextract
-\xtrct3\generalmeter{\meterfrac{12}8}\Startextract
-\NOTesp\right\pt c\ha c\en\NOtesp\qpp\qpp\en\bar
-\NOTesp\right\pt c\ha c\en\NOtesp\qp\en\Notes\ds\en\NOtesp\qp\en\Notes\ds\en
-\endextract
-\writeextract
-
-\scale{0.6}
-\xtrct1\generalmeter{\meterfrac{12}8}\Startextract
-\Notes\right\ca c\ds\ds\en\NOtesp\qpp\en\NOTesp\hpausep\en\bar
-\Notes\right\ca c\ds\ds\en\NOtes\qp\en\Notes\ds\en\NOTesp\hpausep\en\endextract
-\xtrct2\generalmeter{\meterfrac{15}8}\Startextract
-\Notes\wrong\ca c\ds\ds\en\NOtesp\qpp\qpp\qpp\qpp\en\bar
-\Notes\notrec\ca c\ds\ds\en\Notesp\qp\en\Notes\ds\en
-\Notesp\qp\en\Notes\ds\en\Notesp\qp\en\Notes\ds\en\Notesp\qp\en\Notes\ds\en\bar
-\Notes\right\ca c\ds\ds\en\NOTes\hpausep\hpausep\en\endextract
-\writeextract
-
-\scale{0.8}
-\xtrct1\generalmeter{\meterfrac64}\Startextract
-\NOTesp\notrec\hpausep\en\NOTes\hpause\en\NOtes\qa c\en\endextract
-\xtrct2\generalmeter{\meterfrac64}\Startextract
-\NOTes\right\hpause\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qa c\en\bar
-\NOTesp\right\hpausep\en\NOtes\qp\qp\qa c\en\endextract
-\xtrct3\generalmeter{\meterfrac64}\Startextract
-\NOTesp\right\pt c\ha c\en\NOTes\hpause\en\NOtes\qp\en\bar
-\NOTesp\right\pt c\ha c\hpausep\en\endextract
-\writeextract
-
-%\scale{0.8}
-%\xtrct1\generalmeter{\meterfrac{3\meterplus 2}8}\Startextract
-%\NOTesp\notrec\hpausep\en\NOTes\hpause\en\NOtes\qa c\en\endextract
-%\xtrct2\generalmeter{\meterfrac64}\Startextract
-%\NOTes\right\hpause\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qa c\en\bar
-%\NOTesp\right\hpausep\en\NOtes\qp\qp\qa c\en\endextract
-%\xtrct3\generalmeter{\meterfrac64}\Startextract
-%\NOTesp\right\pt c\ha c\en\NOTes\hpause\en\NOtes\qp\en\bar
-%\NOTesp\right\pt c\ha c\hpausep\en\endextract
-%\writeextract
-
-Multibar rests
-
-\scale{1.1}
-\def\TPF{\off{2.5\elemskip}}
-\def\CB#1{\centerbar{#1}}
-\def\CN#1{\CB{\ccn{9}{\meterfont{#1}}}}
-\xtrct1\generalmeter{}\Startextract
-\NOtesp\sk\en\def\atnextbar{\znotes\CN2\CB{\cPAuse}\en}\bar
-\NOTes \sk\en\def\atnextbar{\znotes\CN3\CB{\cPAuse\TPF\cpause}\en}\bar
-\NOtesp\sk\en\def\atnextbar{\znotes\CN4\CB{\cPAUSe}\en}\bar
-\NOTes \sk\en\def\atnextbar{\znotes\CN5\CB{\cPAUSe\TPF\cpause}\en}\bar
-\NOTes \sk\en\def\atnextbar{\znotes\CN6\CB{\cPAUSe\TPF\cPAuse}\en}\bar
-\NOTEs \sk\en\def\atnextbar{\znotes\CN7\CB{\cPAUSe\TPF\cPAuse\TPF\cpause}\en}\bar
-\NOTes \sk\en\def\atnextbar{\znotes\CN8\CB{\cPAUSe\TPF\cPAUSe}\en}\bar
-\NOTEs \sk\en\def\atnextbar{\znotes\CN9\CB{\cPAUSe\TPF\cPAUSe\TPF\cpause}\en}\bar
-\NOTEs \Hpause4{0.83}\en\def\atnextbar{\znotes\CN{10}\en}\bar
-\NOTEsp\Hpause4{0.83}\en\def\atnextbar{\znotes\CN{11}\en}\endextract
-\writeextract
-\vfill\eject
-
-\bye
diff --git a/macros/musixtex/doc/examples/reves.tex b/macros/musixtex/doc/examples/reves.tex
deleted file mode 100644
index 04702a1dd4..0000000000
--- a/macros/musixtex/doc/examples/reves.tex
+++ /dev/null
@@ -1,543 +0,0 @@
-
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\title{R\^eves}
-\fulltitle{V. \titremorceau}
-\subtitle{(pour orgue)}
-\csname titremorceautoc\endcsname
-\othermention{Compos\'e en 1990}
-\author{Daniel TAUPIN}
-\shortauthor{D. Taupin}
-\maketitle
-\parindent 18mm
-%
-
-\tracingstats=2\relax
-%
-\nbporteesii=2\relax
-\def\nbinstruments{2}
-\global\cleftoksii={{0}{0}{0}{0}}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{0}\relax % pas d'armature
-\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}%
-\def\troistemps{\generalmeter{\meterfrac{3}{4}}}%
-\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}%
-\def\Mordant{\mordant{10}}%
-%\check
-\def\instrumenti{P\'edale 16'}%
-\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt
- \centerline{G.O.}}}%
-%\check
-\def\gluemaxskip{7pt}%
-%
-\def\doubler{\multnoteskip 2\relax}%
-\def\tripler{\multnoteskip 3\relax}%
-% formes frequentes
-% deux croches hautes
-\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-\def\dqh{\dqu}\def\dqb{\dql}%
-%
-% deux doubles croches hautes
-\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-%
-% croche pointee et double croche meme hauteur
-\def\cpdcl#1{\trioskip\ibl0{#1}0\qbp0{#1}\sk\tbbl0\tqb0{#1}}%
-\def\cpdcu#1{\trioskip\ibu0{#1}0\qhp0{#1}\sk\tbbu0\tqh0{#1}}%
-%
-% croche et deux doubles croches (1ere = 3eme)
-\def\cddcu#1#2{\ibu0{#1}0\qh0{#1}\trioskip
- \nbbu0\qh0{#2}\tqh0{#1}}%
-\def\cddcl#1#2{\ibl0{#1}0\qb0{#1}\trioskip
- \nbbl0\qb0{#2}\tqb0{#1}}%
-%
-\medskip\noindent{\rm G.O.: bourdon 8', unda maris ou tremblant}%
-\par\noindent{\rm R\'ec.: nasard, tremblant}%
-\par\noindent{\rm P\'ed.: 16', tirasse G.O.}%
-\smallskip
-%
-\generalmeter{\meterfrac 44\meterfrac 54}%
-%
-\def\trioskip{\doubler\relax\divide\noteskip by 3\relax}%
-\debutmorceau
-\autolines {10}45\relax
-\footnote{}{\noteskip=18pt\altportee=0pt\resetstem
-\tenpoint\bf* \rm Notation :\ \ \zwq 1\ \ \ = \itenl01\wh 1\tten0\qu 1\ \ .}%
-\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}%
-%\check
-%
-\hyphenpenalty -50\relax
-\notes&|\Uptext{\hbox{\kern -16mm\moyen Adagio molto \bf(\metron{\qu}{50})}}\enotes
-\advance\linesinpage by 1\relax
-% \advance\barsinline by 1\relax
-%
-\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbH#1#2#3#4#5{\ibbu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}%
-\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-\def\dqbbh#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tqh0{#3}}\relax
-\def\dqbbu{\dqbbh}\def\dqbbb{\dqbbl}%
-\def\dqbbl#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tqb0{#3}}\relax
-%\check
-\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-%\check
-%
-% mesure 1
-\Notes\itenu0J\zwq J\zcharnote 8 {\bf *}&\itenl1c\qu c\enotes
-\Notes&\tten1\itenl1c\zw c\qsk\wh d\enotes
-\Notes&\qu g|\pause\enotes
-\Notes&\qu{_h}\enotes
-\Notes&\qu{_i}\enotes
-% mesure 2
-\barre\nspace\nspace
- \notes\tten0\itenu0J\zwq J&\tten1\itenl1c\lh d\lfl d\zhl c\relax
- \ibu0g0\qh0g\trioskip\nbbu0\qh0{=h}\tqh0g|\sk\hpause\enotes
-\notes&\dqu3ef\enotes
-\NOTEs&\tten1\itenl1c\itenl2e\itenu3g\relax
- \zhp c\zhp e\hup g|\divide\noteskip by 2\relax\sk\hpause\enotes
-\NOtes&|\qu c\enotes
-% mesure 3
-\def\atnextline{\autolines {9}45}\relax
-\barre\nspace
-\Notes\tten0\wh J&\tten1\tten2\tten3\zw c\zw e\itenu1g\wh g|\qu{_d}\enotes
-\Notes&|\qu g\enotes
-\Notes&|\qu{_h}\enotes
-\Notes&|\qu{_i}\enotes
-% mesure 4
-\barre\nspace\notes\doubler\hu{=H}&\zw g\tten1\lfl d\fl e\kern 3pt\lh d\hl e\relax
- |\ibu0g0\qh0g\trioskip\nbbu0\qh0{_h}\tqh0g\enotes
-\notes&|\dqu3{_e}f\enotes
-\NOTEs\itenu0J\hup J&\itenu1c\itenu2e\zhp c\hlp{=e}|\hu g\enotes
-\NOtes&\qu{_h}|\qu j\enotes
-% mesure 5
-%\barre
-\alaligne
-\notes\tten0\wh J&\tten1\tten2\itenu1c\itenu2e\zw{ceg}\relax
- |\ibu0g0\qh0g\trioskip\nbbu0\qh0f\tqh0g\enotes
-\notes&|\dqh3ef\enotes
-\NOtes&|\qu g\enotes
-\NOtes&|\qu{_h}\enotes
-% mesure 6
-\barre\NOtes\wh{_H}&\tten1\tten2\itenu2e\zw{_ac}\wh e|\qu{_i}\enotes
-\NOtes&|\qu j\enotes
-\NOtes&|\qu k\enotes
-\notes&|\dql3l{^m}\enotes
-% mesure 7
-\barre\nspace\NOtes\zwq E&\tten2\itenu2e\zwq{be}\zwq{^g}|\ql{^n}\enotes
-\NOtes&|\ql l\enotes
-\notes&|\cddcu i{^j}\enotes
-\notes&|\dqu3{^g}h\enotes
-\NOtes&|\qu i\enotes
-% mesure 8
-\barre\NOtes\zwq J&\tten2\itenl1c\zwq{ce}\zwq{=g}|\ql j\enotes
-\NOtes&|\qu{=g}\enotes
-\notes&|\cddcu e{^f}\enotes
-\notes&|\dqu3cd\enotes
-\NOtes&|\qu e\enotes
-% mesure 9
-\barre\Notes\zw{^G}&\tten1\itenl1c\zw{ac_e}|\qu{^f}\enotes
-\Notes&|\qu{^g}\enotes
-\Notes&|\qu{^h}\enotes
-\notes&|\dql3jk\enotes
-%\check
-% mesure 10
-\barre\NOtes\zwq J&\tten1\zwq{Nc=e}|\ql l\enotes
-\NOtes&|\ql j\enotes
-\notes&|\na g\cddcu g{=h}\enotes
-\notes&|\dqu3e{=f}\enotes
-\NOtes&|\qu g\enotes
-% mesure 11
-\barre\NOtes\zwq F&\fl d\zwq{_af}\rlap{\qsk\hup d}|\qu{_h}\enotes
-\NOtes&|\qu{_i}\enotes
-\NOtes&|\ql j\enotes
-\notes&\itenl0b\hu b|\dql3kl\enotes
-\NOtes&|\ql{^m}\enotes
-% mesure 12
-\barre\nspace\Notes\zwq E&\tten0\zw b\zwq{e^g}|\ql{^n}\enotes
-\Notes&|\ql l\enotes
-\notes&|\cddcu i{^j}\enotes
-\notes&|\dqu3{^g}{^h}\enotes
-\NOtes&\qu{^b}|\qu{^i}\enotes
-\def\atnextline{\autolines {11}45}\relax
-% mesure 13
-\barre\NOtes\zwq{^J}&\lsh f\zwq{^c^g}\qsk\hu f|\qsk\ql{^j}\enotes
-\NOtes&|\qu{^g}\enotes
-\notes&\hu d|\na e\cddcu e{^f}\enotes
-\notes&|\dqu3{^c}d\enotes
-\NOtes&\qu e|\qu e\enotes
-% mesure 14
-\barre\NOtes\wh F&\rlap{\lna c\qsk\hup{c}}\zw{a=f}|\qu {=f}\enotes
-\NOtes&|\qu{=c}\enotes
-\notes&|\dqu3de\enotes
-\NOtes&\qu{_d}|\qu f\enotes
-% mesure 15
-\barre\nspace\NOtes\wh{_E}&\lfl e\rlap{\qsk\hup e}\zw{_b_g}|\qu{_g}\enotes
-\NOtes&|\qu{_d}\enotes
-\notes&|\bigfl e\dqu3{e}f\enotes
-\NOtes&\qu{=d}|\qu g\enotes
-% mesure 16
-\advance\barsinline by -1\relax
-\barre\nspace\NOtes\wh{=E}&\lna e\rlap{\qsk\hup e}\zw{=b_h}|\qu{_h}\enotes
-\NOtes&|\qu{=e}\enotes
-\notes&|\bigfl g\dqu3{g}{_h}\enotes
-\NOtes&\qu f|\qu{_i}\enotes
-% mesure 17
-\barre\NOtes\zwq J&\zwq{ce}\zwq g|\ql j\enotes
-\NOtes&|\qu{=g}\enotes
-\notes&|\cddcu ef\enotes
-\notes&|\dqu3cd\enotes
-\NOtes&|\qu e\enotes
-% mesure 18
-\barre\nspace\NOtes\wh{^F}&\zw a\zw{_e}\qsk\itenu1d\wh d|\qu{_e}\enotes
-\notes&|\dqu{3}de\enotes
-\notes&|\dqu{3}cd\enotes
-\notes&|\dqu{3}ef\enotes
-% mesure 19
-\barre\NOtes\wh G&\tten1\zw b\zw d\zw g|\qu g\enotes
-\notes&|\cddcu d{_e}\enotes
-\Notes&|\dqu3bc\enotes
-\Notes&|\qu d\enotes
-% mesure 20
-\advance\barsinline by -1\relax
-\autolines {22}25\relax
-\cleftoksii={{6}{0}{0}{0}}\changeclefs
-\def\sxtu#1#2#3#4#5#6{{\advance\transpose by 4\ibbu0{#1}2}\qh0{#1}\relax
- \qh0{#2}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}%
-%\check
-\def\sxtl#1#2#3#4#5#6{{\advance\transpose by 2\ibbl0{#1}2}\qb0{#1}\relax
- \qb0{#2}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}%
-%\check
-% croche et deux doubles croches (1ere = 3eme)
-\def\duoskip{\tripler\relax
- \divide\noteskip by 2\relax}%
-\def\cddcu#1#2{\duoskip\ibu0{#1}0\qh0{#1}\sk
- \nbbu0\qh0{#2}\tqh0{#1}}%
-\def\cddcl#1#2{\duoskip\ibl0{#1}0\qb0{#1}\sk
- \nbbl0\qb0{#2}\tqb0{#1}}%
-%
-\barre\notes\doubler\wh{_G}&\fl N\sxtl N{_a}{_d}{_e}da|\bigaccid\qu{_e}\enotes
-\notes&\sxtl{N}ad{e}da|\qu f\enotes
-\notes&\sxtl{N}ad{e}da|\qu g\enotes
-\notes&\sxtl{N}{a}{=d}{=e}da|\tripler\dqu2hi\enotes
-% mesure 21
-\autolines {29}25\relax
-\barre\notes\doubler\wh{^J}&\sxtl M{_a}d{_e}da|\bigsh j\cddcu jk\enotes
-\notes&\sxtl M{a}d{e}da|\tripler\dqu{-2}{^g}{^f}\enotes
-\notes&\sxtl M{a}d{e}da|\tripler\dqu{2}{^e}f\enotes
-\notes&\sxtl M{a}d{e}da|\qu g\enotes
-% mesure 22
-\barre\notes\zwq K&\sxtl KMbcbM|\qu h\enotes
-\notes&\sxtl KMbcbM|\qu i\enotes
-\notes&\sxtl KMbcbM|\tripler\dqu2jk\enotes
-\notes&\sxtl KMbcbM|\ql l\enotes
-\notes&\sxtl KMbcbM|\ql m\enotes
-\autolines {27}25\relax
-% mesure 23
-\cleftoksii={{0}{0}{0}{0}}\changeclefs
-\barre\notes\itenu0J\zwq J&\sxtu Ncefec|\ql n\enotes
-\notes&\sxtu Ncefec|\tripler\dql{-2}lj\enotes
-\notes&\sxtu Ncefec|\cddcu gh\enotes
-\notes&\sxtu Ncefec|\tripler\dqu2ef\enotes
-\notes&\sxtu Ncefec|\qu g\enotes
-% mesure 24
-\barre\notes\tten0\hup J&\sxtu Ncefec|\tripler\dqu2hi\enotes
-\notes&\sxtu Ncefec|\tripler\dqu2jk\enotes
-\notes&\sxtu Ncefec|\tripler\dql4ln\enotes
-\notes\qu H&\multnoteskip{1.1}\sxtu ac{_e}{^f}ec|\bigsh m\ql{m}\enotes
-% mesure 25
-\autolines {31}25\relax
-\barre\notes\zwq G&\noteskip 1.2\noteskip\sxtu ac{=e}{^f}ec|\ql n\enotes
-\notes&\sxtu acefec|\tripler\dql{-4}lj\enotes
-\notes&\sxtu acefec|\cddcu gh\enotes
-\notes&\sxtu acefec|\tripler\dqu2e{^f}\enotes
-\notes&\sxtu acegec|\qu g\enotes
-% mesure 26
-\barre\notes\doubler\zwq{_G}&\noteskip 1.3\noteskip
-\lfl N\bigfl a\sxtu N{a}e{^f}ea|\doubler\qu{_h}\enotes
-\notes&\sxtu Naefea|\tripler\dql2{_i}j\enotes
-\notes&\sxtu Naefea|\tripler\dql2kl\enotes
-\notes&\sxtu Naefea|\tripler\dql2{^m}{^n}\enotes
-\notes&\sxtu Naefea|\tripler\ql{_p}\enotes
-% mesure 27
-\autolines {28}25\relax\barre\notes\zwq J&\bigna N\sxtu Ncegec|\ql q\enotes
-\notes&\sxtu Ncegec|\doubler\ql{=n}\enotes
-\notes&\sxtu Ncegec|\bigaccid\cddcl l{=m}\enotes
-\notes&\sxtu Ncegec|\tripler\dql2jk\enotes
-\notes&\sxtu Ncegec|\ql l\enotes
-%\check
-% mesure 28
-\barre\notes\zwq H&\noteskip 1.2\noteskip\sxtu ac{_e}{_g}ec|\bigaccid\ql{^m}\enotes
-\notes&\sxtu acegec|\tripler\dql{-2}{=l}k\enotes
-\notes&\fl a\sxtu ac{=e}fec|\tripler\dql{-2}j{_i}\enotes
-\notes&\sxtu acefec|\tripler\dqu{-2}{_h}{_g}\enotes
-% mesure 29
-\autolines {24}25\relax
-\barre\notes\wh J&\sxtu Ncegec|\cddcu ef\enotes
-\notes&\sxtu Ncegec|\tripler\dqu3{=g}{=i}\enotes
-\notes&\sxtu Ncegec|\tripler\dql2jk\enotes
-\notes&\sxtu Ncegec|\tripler\dql4ln\enotes
-%\check
-% mesure 30
-\barre\notes\wh H&\sxtu ac{^f}{^g}fc|\ql q\enotes
-\notes&\sxtu acfgfc|\tripler\dql{-2}{_p}{^n}\enotes
-\notes&\sxtu acfgfc|\tripler\dql{-2}{^m}l\enotes
-\notes&\sxtu acfgfc|\tripler\dql{-2}kj\enotes
-%\check
-\cleftoksii={{6}{0}{0}{0}}\changeclefs
-% mesure 31
-\autolines {25}25\relax
-\barre\notes\hup J&\sxtl Ncegec|\cddcu gh\enotes
-\notes&\sxtl Nce{^f}ec|\tripler\dqu{-2}{^f}e\enotes
-\notes&\sxtl Ncefec|\tripler\dqu{-2}dc\enotes
-\notes\itenl0H\doubler\qu{_H}&\fl N\sxtl N{_a}d{_e}da|\doubler
- \itenl1e\qu{_e}\enotes
-%\check
-% mesure 32
-\barre\notes\doubler\tten0\wh{_H}&\noteskip 1.1\noteskip\fl N\sxtl
-N{_a}d{_e}da|\bigfl e\tten1\qu{e}\enotes
-\notes&\noteskip 1.1\noteskip\sxtl Nad{=e}da|\bigaccid\hup{=e}\enotes
-\notes&\sxtl Nadeda|\enotes
-\notes&\sxtl Nadeda|\enotes
-%\check
-% mesure 33
-\barre\notes\doubler\wh{_K}&\sxtl M{_a}{_d}fda|\qu f\enotes
-\notes&\sxtl Madfda|\tripler\dql2{_h}{_i}\enotes
-\notes&\sxtl Madfda|\tripler\dql2j{_k}\enotes
-\notes&\sxtl Madfda|\tripler\dql2{_l}m\enotes
-%\check
-% mesure 34
-\barre\nspace\notes\doubler\wh{_L}&\noteskip 1.2\noteskip
- \sxtl M{_N}{_b}{_e}bN|\bigaccid\ql{_p}\enotes
-\notes&\sxtl MNbebN|\tripler\dql{-2}{_o}{_n}\enotes
-\notes&\sxtl MNbebN|\tripler\dql{-2}m{_l}\enotes
-\notes&\sxtl MNbebN|\tripler\dql{-4}{_k}{_i}\enotes
-%\check
-% mesure 35
-\barre\notes\doubler\wh{_K}&\sxtl M{_a}{_d}fda|\bigfl h\cddcu h{_i}\enotes
-\notes&\sxtl Madfda|\tripler\dqu{-2}f{_e}\enotes
-\notes&\sxtl Madfda|\tripler\dqu2{_d}e\enotes
-\notes&\sxtl Madfda|\qu f\enotes
-%\check
-% mesure 36
-\barre\notes\doubler\wh{_L}&\sxtl M{_N}{_b}ebN|\doubler\uptext{\it rit.}\qu{_g}\enotes
-\notes&\sxtl MNbebN|\doubler\qu{_h}\enotes
-\notes&\sxtl MNbebN|\doubler\qu{_i}\enotes
-\notes&\sxtl MNbebN|\qu j\enotes
-%\check
-% mesure 37
-\autolines{30}25\relax
-\barre\notes\doubler\itenl0L\wh{=K}&\noteskip 1.2\noteskip\sxtl M{=a}{=d}fda|\itenu2m\wh m\enotes
-\notes&\sxtl M{_a}dfda|\enotes
-\notes&\noteskip 1.15\noteskip\sxtl M{=N}{_d}{_e}dN|\enotes
-\notes&\noteskip 1.15\noteskip\sxtl M{_N}{=d}edN|\enotes
-%\check
-\barre\autolines{15}35\relax
-% mesure 38
-\notes\tten0\itenl0L\wh K&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0{_N}\tqb0d|\tten2\hlp m\enotes
-\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0{_e}\qb0d\tqb0N\enotes
-\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0N\tqb0d\enotes
-\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0e\qb0d\tqb0N|\sk\soupir\enotes
-% mesure 39
-\barre\notes\tten0\hup K&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0{_N}\tqb0d|\enotes
-\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0{_e}\qb0d\tqb0N|\sk\sk\pause\enotes
-\NOtes&\itenl3L\hl L\enotes
-\NOtes\itenl2J\qu J&|\enotes
-%\check
-% mesure 40
-\barre\nspace\autolines{11}45\relax
-\NOtes\tten2\zwq J&\tten3\zwq L\itenl1L|\uptext{\it a tempo}\qu c\enotes
-\NOtes&\wh{=N}|\qu{_d}\enotes
-\NOtes&\itenu2c\hup c|\qu g\enotes
-\NOtes&|\qu{_h}\enotes
-\NOtes&|\qu{_i}\enotes
-% mesure 41
-%
-% croche et deux doubles croches (1ere = 3eme)
-\def\cddcu#1#2{\ibu0{#1}0\qh0{#1}\trioskip
- \nbbu0\qh0{#2}\tqh0{#1}}%
-\def\cddcl#1#2{\ibl0{#1}0\qb0{#1}\trioskip
- \nbbl0\qb0{#2}\tqb0{#1}}%
-%
-\barre
-\nspace\notes\doubler\hu{_H}&\doubler\tten1\itenl1L\relax
-\tten2\itenu2c\zwq L\zwq c\hl{_a}|\cddcu g{_h}\enotes
-\notes&|\dqu3{_e}f\enotes
-\NOTEs\itenu0J\hup J&\hl{N}|\hu g\enotes
-\NOtes&\ql{a}|\qu j\enotes
-% mesure 42
-\barre\notes\tten0\wh J&\tten1\tten2\itenu1c\itenl2L\zw{LNc}\relax
- |\cddcu gf\enotes
-\notes&|\dqh3ef\enotes
-\NOtes&|\qu g\enotes
-\NOtes&|\qu{_h}\enotes
-% mesure 43
-\barre\NOtes\wh{_H}&\tten1\tten2\itenl1N\zw{_ac}\wh L|\qu{_i}\enotes
-\NOtes&|\qu j\enotes
-\NOtes&|\qu k\enotes
-\notes&|\dql3l{^m}\enotes
-% mesure 44
-\barre\nspace\NOtes\zwq E&\tten1\itenu2e\zwq{be}\zwq{^N}|\ql{^n}\enotes
-\NOtes&|\ql l\enotes
-\notes&|\cddcu i{^j}\enotes
-\notes&|\dqu3{^g}h\enotes
-\NOtes&|\qu i\enotes
-% mesure 45
-\barre\NOtes\zwq J&\tten2\itenu1c\zwq{ce}\zwq{=N}|\ql j\enotes
-\NOtes&|\qu{=g}\enotes
-\notes&|\cddcu e{^f}\enotes
-\notes&|\dqu3cd\enotes
-\NOtes&|\qu e\enotes
-% mesure 46
-\barre\NOtes\zw{^G}&\tten1\itenu1c\zw{ac_e}|\qu{^f}\enotes
-\NOtes&|\qu{^g}\enotes
-\NOtes&|\qu{^h}\enotes
-\notes&|\dql3jk\enotes
-%\check
-% mesure 47
-\barre\NOtes\zwq J&\tten1\zwq{Lc}\kern 3pt\qsk\zhl M|\ql l\enotes
-\NOtes&|\ql j\enotes
-\notes&\hl{_a}|\na g\cddcu g{=h}\enotes
-\notes&|\dqu3e{=f}\enotes
-\NOtes&\ql N|\qu g\enotes
-% mesure 48
-\barre\nspace\NOtes\zwq{_G}&\lfl a\zwq{_Nc}\qsk\zwq a|\qu{_h}\enotes
-\NOtes&|\qu{_i}\enotes
-\NOtes&|\ql j\enotes
-\notes&|\dql3kl\enotes
-\NOtes&|\ql{^m}\enotes
-\cleftoksii={{0}{0}{0}{0}}\changeclefs
-% mesure 49
-\barre\NOtes\zwq E&\zw b\zwq{b^g}\zw d|\ql{^n}\enotes
-\NOtes&|\ql l\enotes
-\notes&|\cddcu i{^j}\enotes
-\notes&|\dqu3{^g}{^h}\enotes
-\NOtes&\qu{^d}|\qu{^i}\enotes
-% mesure 50
-\barre\NOtes\zwq{^J}&\lsh f\zwq{^c^g}\qsk\hu f|\qsk\ql{^j}\enotes
-\NOtes&|\qu{^g}\enotes
-\notes&\hu d|\bigna e\cddcu e{^f}\enotes
-\notes&|\dqu3{^c}d\enotes
-\NOtes&\qu e|\qu e\enotes
-% mesure 51
-\barre\NOtes\wh F&\lna c\rlap{\qsk\hup c}\zw{a=f}|\qu f\enotes
-\NOtes&|\qu{=c}\enotes
-\notes&|\dqu3de\enotes
-\NOtes&\qu{_d}|\qu f\enotes
-% mesure 52
-\barre\autolines{10}35\nspace
-\NOtes\wh{_E}&\bigna d\lfl b\rlap{\qsk\hup d}\zw{b_g}|\qu{_g}\enotes
-\NOtes&|\qu{_d}\enotes
-\notes&|\bigfl e\dqu3{e}f\enotes
-\NOtes&\qu{_e}|\qu g\enotes
-% mesure 53
-\barre\nspace\NOtes\wh{=E}&\lna e\rlap{\qsk\hup e}\zw{=b_h}|\qu{_h}\enotes
-\NOtes&|\qu{=e}\enotes
-\notes&|\dqu3{_g}{_h}\enotes
-\NOtes&\qu f|\qu{_i}\enotes
-% mesure 54
-\barre\NOtes\zwq J&\zwq{cf}\qsk\zw g|\ql j\enotes
-\notes&|\cddcu gf\enotes
-\notes&|\dqu{-2}ed\enotes
-\notes&|\dqu2cd\enotes
-\NOtes&\qu{_h}|\qu e\enotes
-% mesure 55
-\barre\nspace\NOtes\wh H&\lfl d\zw{c=f}\qsk\zw{dg}|\qu{^f}\enotes
-\notes&|\dqu{-2}gf\enotes
-\notes&|\dqu{-2}ih\enotes
-\notes&|\noteskip 0.9\noteskip\ibu0g{-1}\qh0g\zcharnote n{\sl 3}\relax
-\qh0{^f}\tqh0{=f}\enotes
-\cleftoksii={{6}{0}{0}{0}}\changeclefs
-% mesure 56
-\barre\nspace\NOtes\wh J&\fl a\fl e\zw{Nd}\qsk\zw{ae}|\qu{=e}\enotes
-\notes&|\bigsh f\dqu{-2}{f}e\enotes
-\notes&|\dqu3{^g}{^h}\enotes
-\notes&|\dqu3jk\enotes
-%\check
-% mesure 57
-\barre\bigaccid
-\NOtes\zwq C&\zwq{Nc=e}|\ql l\enotes
-\NOtes&|\ql j\enotes
-\notes&|\cddcu gh\enotes
-\notes&|\dqu{-2}{^f}e\enotes
-\notes&|\dqu{-2}dc\enotes
-%\check
-% mesure 58
-\barre\NOtes\wh{_H}&\zw{^M}\rw d\wh{_e}|\qu{_e}\enotes
-\notes&|\trioskip\fl f\ibu0f0\qh0f\zcharnote l{\sl 3}\qh0e\tqh0f\enotes
-\notes&|\dqu2ef\enotes
-\notes&|\dqu2de\enotes
-% mesure 59
-\barre\NOtes\wh J&\zw{Nb}\rw c\wh{=e}|\qu{=e}\enotes
-\notes&|\dqu{-2}{=f}e\enotes
-\notes&|\dqu4gi\enotes
-\notes&|\dqu4jl\enotes
-% mesure 60
-\barre\NOtes\wh{_G}&\fl N\zw M\rw N\rw d\wh c|\ql{^m}\enotes
-\notes&|\trioskip\ibl0l0\qb0l\zcharnote c{\sl 3}\qb0m\tqb0l\enotes
-\notes&|\dqb{-2}kj\enotes
-\notes&|\dqu{-2}{_i}{_h}\enotes
-% mesure 61
-\barre\NOtes\wh H&\sh M\zw M\zw a\wh d|\qu{=h}\enotes
-\notes&|\trioskip\ibu0e0\qh0{^f}\zcharnote n{\sl 3}\qh0e\tqh0f\enotes
-\notes&|\dqu2de\enotes
-\notes&|\dqu6fi\enotes
-% mesure 62
-\barre\NOTEs\hup E&\itenu0a\zwq a\qsk\zhp L\hup N|\hu h\enotes
-\notes&|\trioskip\ibu0g{-1}\qhp0g\sk\tbbu0\tqh0{^f}\enotes
-\NOTEs\hu D&\itenu1d\zh {^M}\hu d|\hu f\enotes
-\resp
-% mesure 63
-\barre\Notes\itenl3D\zwq D&\tten0\tten1\itenu1d\zwq{^fad}|\qu d\enotes
-\Notes&|\qu{_e}\enotes
-\Notes&|\qu h\enotes
-\Notes&|\qu{_i}\enotes
-\Notes&|\qu j\enotes
-% mesure 64
-\barre\notes\tten3\itenl3D\zwq D&\tten1\itenu1d\zh L\zhl N\zwq d|\cddcu h{_i}\enotes
-\notes&|\dqu2{^f}g\enotes
-\NOTEs&\itenl0M\zhu a\hlp{^M}|\hu h\enotes
-\NOtes&\qu{_b}|\ql k\enotes
-%\check
-% mesure 65
-\barre\notes\tten3\itenl3D\zwq D&\tten0\tten1\itenu1d\zhp{^M}\zwq d\hlp a|\cddcu h{_i}\enotes
-\notes&|\dqu2{^f}g\enotes
-\NOtes&|\qu h\enotes
-\notes&\zh{LN}\hl{_b}|\dqu2gh\enotes
-\notes&|\dqu2gh\enotes
-% mesure 66
-\barre\notes\tten3\itenl3D\zw D&\tten1\itenu1d\zh{^M}\zw d\hl a|\sh f\cddcu fe\enotes
-\NOtes&|\qu d\enotes
-\notes&\zh{LN}\hl{_b}|\dqu2gh\enotes
-\notes&|\dqu2gh\enotes
-% mesure 67
-\barre\notes\tten3\itenl3D\zw D&\tten1\zh{^M}\zw d\hl a|\sh f\cddcu fe\enotes
-\NOtes&|\qu d\enotes
-\notes&\zh{LN}\itenu2b\hl{_b}|\dqu2gh\enotes
-\notes&|\dqu2gh\enotes
-% mesure 68
-\barre\nspace\NOTes\tten3\itenl3D\zw D&\tten2\lfl b\zw{_L_Nb_e}|\hl{_i}\enotes
-\NOtes&|\ql j\enotes
-\NOtes&|\sh j\ql j\enotes
-% mesure 69
-\barre\NOTes\tten3\zwq D\pointdorgue 8&\na L\na N\zwq{Kd}\qsk\itenl2N\zh L\hu N|\pointdorgue m\zwq k\enotes
-\NOTes&\tten2\zh N\hu {_b}\enotes
-\NOtes&\zq{^M}\pointdorgue {11}\qu a\enotes
-\finmorceau
-\rightline{\sl\aujourdhui}\vfil\eject
-\varaccid
-
-\ifx\toc\undefined
- \let\finishpiece \end
-\else
- \let\finishpiece\relax
-\fi
-\finishpiece
-\endinput
-
diff --git a/macros/musixtex/doc/examples/romances.tex b/macros/musixtex/doc/examples/romances.tex
deleted file mode 100644
index c337b1192b..0000000000
--- a/macros/musixtex/doc/examples/romances.tex
+++ /dev/null
@@ -1,499 +0,0 @@
-\title{Romance sans paroles}
-\fulltitle{IX. \titremorceau}
-\subtitle{(pour orgue)}
-\othermention{Compos\'e en 1992--93}
-\author{Daniel TAUPIN}
-\shortauthor{D. Taupin}
-\maketitle
-
-\csname titremorceautoc\endcsname
-
-%
-% formes frequentes
-% deux croches hautes
-\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}
-\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}
-\def\Tqb#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}
-\def\Tqh#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}
-\def\doubler{\noteskip=2\noteskip}%
-\def\bassyn#1{\doubler\dsoupir\cu{#1}\dsoupir}
-%
-\parindent 18mm
-%
-
-\tracingstats=2\relax
-%
-\nbporteesii=1\relax
-\def\nbinstruments{3}
-\global\cleftoksiii={{0}{0}{0}{0}}%
-\global\cleftoksii={{0}{0}{0}{0}}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{-2}\relax % deux bemols a la clef
-\def\quatretemps{\generalmeter{\meterfrac{12}{8}}}%
-\def\troistemps{\generalmeter{\meterfrac{9}{8}}}%
-\def\deuxtemps{\generalmeter{\meterfrac{6}{8}}}%
-%\check
-\def\instrumenti{P\'edale 16'}%
-\def\instrumentii{Positif ({\bf II})}%
-\def\instrumentiii{R\'ecit ({\bf III})}%
-%\check
-\def\gluemaxskip{7pt}%
-%
-\medskip\noindent{\rm G.O.: fonds 8'+4' ou 8'+4'+2' (acc. positif.)}%
-\par\noindent{\rm Pos.: fonds 8'+4'+2' doux}%
-\par\noindent{\rm R\'ec.: nasard, larigot ({\ppff f}, tremblant {\sl ad lib.})}%
-\par\noindent{\rm P\'ed.: 16'+8',(+4' doux {\sl ad lib.})}%
-\smallskip
-%
-\deuxtemps
-%
-\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}%
-\def\resp{\vnotes 0.2\elemskip&&\cbreath\enotes}%
-\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbH#1#2#3#4#5{{\advance\transpose by 1\relax
- \ibbu0{#2}{#1}}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-\def\sqbbh#1#2#3#4#5#6#7{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\relax
- \qh0{#4}\qh0{#5}\qh0{#6}\tqh0{#7}}\relax
-\def\sqbbH#1#2.#3#4#5#6#7#8{\Ibbu0{#1}{#2}5\qh0{#3}\qh0{#4}\relax
- \qh0{#5}\qh0{#6}\qh0{#7}\tqh0{#8}}\relax
-\def\sqbbl#1#2#3#4#5#6#7{\ibbl0{#2}{#1}\qb0{#2}\qh0{#3}\qh0{#4}\relax
- \qh0{#5}\qh0{#6}\tqb0{#7}}\relax
-\def\sqbbL#1#2.#3#4#5#6#7#8{\Ibbl0{#1}{#2}5\qb0{#3}\qb0{#4}\relax
- \qb0{#5}\qb0{#6}\qb0{#7}\tqb0{#8}}\relax
-%
-\debutmorceau
-%
-\ifnum\musicsize>16\def\barperline{6}\else\def\barperline{7}\fi
-\autolines {6}{\barperline}5\relax
-%\check
-%
-\ifnum\musicsize>16\relax\advance\linesinpage by 1\relax\fi
-% mesure 1
-\ifx\mxversion\undefined\kern -\internote\fi
-\notes&\sqbbH dd.bdgdbN&\Uptext{\hbox{\kern -16mm\moyen Andante con moto
- \bf(\metron{\qup}{60})}}\enotes
-\zbarre \notes\pause&\sqbbH dd.a{^c}g{^f}gc&\pause\enotes
-%\check
-% mesure 2
-\barre\ifx\mxversion\undefined\kern -\Interligne\fi
-\notes&\sqbbH ff.d{^f}gigd&\sk\sk\qsk\pt i\soupir\enotes
-\zbarre\notes\pause&\sqbbH cc.{=c}dfdca&\sk\soupir\sk\Ilegu3o\sk\cu d\enotes
-%\check
-% mesure 3
-\barre\ifx\mxversion\undefined\kern -\Interligne\fi
-\notes\bassyn G&\sqbbH eg.bdgi{=e}{^f}&\doubler
- \qu g\sk\cu h\enotes
-\zbarre\notes\doubler\dsoupir\cu I\dsoupir&\sqbbH gg.dfgied&\doubler
- \qu i\sk\cu k\enotes
-%\check
-% mesure 4
-\barre\notes\doubler\dsoupir\cu H\dsoupir&\bigsh c\sqbbH gh.c{=e}g{^j}ge&\doubler
- \qup{^j}\enotes
-\zbarre\notes\doubler\dsoupir\cu{^J}\dsoupir&\sqbbH ee.acegfe&\doubler
- \qu h\tleg3\sk\dsoupir\enotes
-%\check
-% mesure 5
-\barre\notes\doubler\dsoupir\cu{=I}\dsoupir&\sqbbH fg.dfh{=i}hf&\doubler
- \Ilegu3o\Tqh{=i}hg\enotes
-\zbarre\notes\doubler\dsoupir\cu{^J}\dsoupir&\sqbbH gh.{=e}gh{^j}hg&\doubler
- \Tqh{_i}hg\enotes
-%\check
-% mesure 6
-\barre\notes\doubler\dsoupir\cu K\dsoupir&\sqbbH gh.d{^f}h{=j}{=i}h&\doubler
- \qu{^f}\sk\cu{=e}\enotes
-\zbarre\notes\bassyn I&\sqbbH hh.{_i}fgigd&\qu d\tleg3\sk
- \cbreath\sk\Ilegu3o\cu d\enotes
-%\check
-% mesure 7
-\barre\notes\bassyn G&\sqbbH dg.bd{^f}g{=e}f&\doubler
- \qu g\sk\cu h\enotes
-\zbarre\notes\doubler\dsoupir\cu I\dsoupir&\sqbbH gg.dfgied&\doubler
- \qu i\sk\cu k\enotes
-%\check
-% mesure 8
-\barre\notes\bassyn{^J}&\sqbbH gg.{^c}{=e}g{^j}ge&\doubler
- \qlp{=l}\enotes
-\zbarre\notes\doubler\dsoupir\cna J\cu{J}\dsoupir&\sqbbH fd.{^f}dhfd{=c}&\relax
- \ql k\tleg3\sk
- \cbreath\sk\Ilegu3o\cna j\cl j\enotes
-%\check
-% mesure 9
-\barre\notes\bassyn I&\sqbbH df.dbgd{_e}g&\doubler
- \ql i\sk\cl j\enotes
-\zbarre\notes\bassyn D&\sqbbH ff.d{^f}jhdf&\doubler
- \ql h\sk\cl i\enotes
-%\check
-% mesure 10
-\barre\notes\bassyn G&\sqbbH fd.igdgdb&\doubler\hu g\tleg3\sk\sk\enotes
-\zbarre\notes\bassyn J&\sqbbH bd.Nbcdec&\doubler\sk\dsoupir
- \Ilegu3o\cu d\enotes
-%\check
-% mesure 11
-\barre\notes\bassyn G&\sqbbH df.bdgi{=e}{^f}&\doubler
- \qu g\sk\cu h\enotes
-\zbarre\notes\doubler\dsoupir\cu I\dsoupir&\sqbbH gg.dfgied&\doubler
- \qu i\sk\cu k\enotes
-%\check
-% mesure 12
-\barre\notes\bassyn H&\sqbbH eg.{^c}{=e}gied&\doubler\qlp n\enotes
-\zbarre\notes\bassyn J&\sqbbH fg.{=c}{^f}hjhf&\doubler\ql {^m}\sk\cl{=l}\enotes
-%\check
-% mesure 13
-\barre\notes\bassyn K&\sqbbH gi.dgijig&\doubler\Tqb kji\enotes
-\zbarre\notes\doubler\dsoupir\cu{^J}\dsoupir&\sqbbH gh.{=e}gh{^j}hg&\doubler
- \Tqh{i}hg\enotes
-%\check
-% mesure 14
-\barre\notes\bassyn K&\sqbbH gg.hd{^f}{=j}hf&\doubler\qu h\tleg3\sk\dsoupir\enotes
-\zbarre\notes\bassyn G&\sqbbH gi.gdgili&\doubler\Ilegu3o\qu i\sk\cu i\enotes
-%\check
-% mesure 15
-\barre\notes\bassyn H&\sqbbH hj.hehjlj&\doubler\qu j\sk\cu j\enotes
-\zbarre\notes\bassyn I&\sqbbH hj.idgilk&\doubler\qu k\sk\cu k\enotes
-%\check
-% mesure 16
-\barre\notes\bassyn{^F}&\sqbbH ii.{^j}hdfh{=i}&\doubler\Tqh k{^j}{=j}\enotes
-\zbarre\notes\bassyn G&\sqbbH fh.egh{=j}{_i}g&\doubler\Tqh {_i}hg\enotes
-%\check
-% mesure 17
-\barre\notes\bassyn K&\sqbbH gg.hd{^f}hjh&\qup h\enotes
-\zbarre\notes\doubler\qup G&\Ibbu0ge3\qh0{gig}\tqh0d&\cu g\tleg3\sk\dsoupir
- \Ilegu3p\enotes
-\cleftoksii={6000}\changeclefs
-\temps\notes&\zmidtwotext{\kern -\Interligne\bf I \rm(GO)}\Ibbl0bc1\qb0b\tqb0c&\doubler
- \uptext{\kern -\Interligne\bf I \rm(GO)}\itenl0d\cu d\enotes
-%\check
-% mesure 18
-\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler
- \tten0\itenl0d\zqlp d\qu g\sk\zq {^f}\cu h\enotes
-\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler
- \tten0\zql d\zq g\qu i\sk\zcl g\cu g\enotes
-%\check
-% mesure 19
-\barre\notes\doubler\qu H\sk\dsoupir&\sqbbL ce.{^c}a{=b}cd{=e}&\doubler
- \zq g\rq h\qu{^j}\tleg3\sk\dsoupir\enotes
-\zbarre\notes\doubler\qu {^F}\sk\cu H&\sqbbL dM.d{=c}{_b}aN{^M}&\doubler
- \Ilegu3o\zqp {^f}\zqlp h\qu k\sk\cu {=j}\enotes
-%\check
-% mesure 20
-\barre\notes\doubler\qup G&\sqbbL LN.{=L}{^M}NabN&\doubler
- \zqlp d\zq g\Tqh ihg\enotes
-\zbarre\notes\doubler\qup J&\sqbbL cL.cbaN{=M}{=L}&\doubler
- \zqlp{=e}\zq g\Tqh ihg\enotes
-%\check
-% mesure 21
-\barre\notes\doubler\hu K&\sqbbL La.{^M}K{=L}MNa&\doubler
- \zq d\zql{^f}\qup h\sk\raise -2.5\Interligne\soupir\enotes
-\zbarre\notes\doubler\sk\sk\soupir&\sqbbL NN.bMNabc&\qu d\tleg3\sk
- \doubler\cbreath\Ilegu3o\itenl0d\cu d\enotes
-%\check
-% mesure 22
-\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler
- \tten0\itenl0d\zqlp d\qu g\sk\zq{^f}\cu h\enotes
-\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler
- \tten0\zql d\itenl0g\zq g\itenu1i\qu i\sk
- \tten0\tten1\itenl0g\zq g\zq i\cu k\enotes
-%\check
-% mesure 23
-\barre\notes\doubler\qup{^J}&\sqbbL cM.{^c}{=e}cbaN&\doubler
- \tten0\pt f\zqp g\rlap{\qsk\itenu1h\zqp h}\qup{=l}\sk\sk\enotes
-\zbarre\notes\doubler\qu K\sk\dsoupir&\sqbbL La.{^M}K{=L}MNa&\relax
- \tten1\zq {^f}\zq h\qu k\tleg3\sk\doubler\sk\Ilegu3o\cna j\cl j\enotes
-%\check
-% mesure 24
-\barre\notes\qup G&\sqbbL aa.{_b}aN{=c}aN&\doubler
- \itenl0d\zqp d\zqlp g\qu i\sk\cu j\enotes
-\zbarre\notes\qup K&\sqbbL LL.{^M}{=L}MKLM&\doubler
- \tten0\zql d\zqp {^f}\qu h\sk \zcu i\raise -3\Interligne\ds\enotes
-%\check
-% mesure 25
-\barre\notes\hu G&\sqbbL NI.N{^M}NKIK&\doubler\zh b\zh d\hu g\sk\sk\enotes
-\zbarre\notes\sk\sk\soupir&\cu G\sk\dsoupir&\sk\tleg3\sk\dsoupir\enotes
-\cleftoksii={0000}\changeclefs
-\temps\notes&\uptext{(I)}\Ibbu0dc1\qh0d\tqh0c&\relax
- \uptext{\bf III}\Ilegu3p\cu d\enotes
-%\check
-% mesure 26
-\barre\notes\doubler\qu G\sk\cu K&\rlap{\ql b\sk\sk\sk\cl a}\relax
-\sqbbH df.bdgdce&\doubler\qu g\sk\cu h\enotes
-\zbarre\notes\doubler\qu I\sk\cu H&\rlap{\ql b\sk\sk\sk\qsk\cl c}\relax
-\sqbbH ff.dgigd{^f}&\doubler\qu i\sk\cu k\enotes
-%\check
-% mesure 27
-\barre\notes\doubler\qu G\sk\cu{=I}&\rlap{\ql{=b}\sk\sk\sk\cl d}\relax
- \sqbbH fh.dg{=i}g{=f}g&\doubler\ql n\sk\cl m\enotes
-\zbarre\notes\qup J&\zqlp c\sqbbH gi.egjghg&\doubler\Tqb lkj\enotes
-%\check
-% mesure 28
-\barre\notes\doubler\qup H&\rlap{\qsk\zql e}\sqbbH gi.{^f}hjijh&\doubler
- \Tqb lkj\enotes
-\zbarre\notes\doubler\qup{^J}&\zqlp e\sqbbH gh.{=e}gh{^j}hg&\doubler
- \Tqh{_i}hg\enotes
-%\check
-% mesure 29
-\barre\notes\doubler\qup{=J}&\rlap{\ql d\sk\sk\sk\cna c\cl c}\relax
- \sqbbH gg.hg{^f}{=j}hf&\doubler\qu h\sk\cu{^f}\enotes
-\zbarre\notes\doubler\qu I\sk\soupir&\rlap{\ql d\sk\sk\sk\cl c}\relax
- \sqbbH gg.gihg{^f}g&\qu d\tleg3\sk\cbreath\sk
- \Ilegu3o\cu d\enotes
-%\check
-% mesure 30
-\barre\notes\doubler\qup I&\zqlp b\sqbbH gh.dgigdg&\doubler
- \Tqh ghi\enotes
-\zbarre\notes\doubler\qup H&\zqlp c\sqbbH gh.eghjhg&\doubler
- \Tqb ijk\enotes
-%\check
-% mesure 31
-\barre\notes\doubler
- \qup K&\zqlp c\sqbbH fh.c{=e}{^f}hjh&\doubler
- \Tqb k{=l}{^m}\enotes
-\zbarre\notes\doubler\qu I\sk\cu{=I}&\zqlp d\sqbbH ii.giki{=i}g&\doubler
- \ql n\sk\cl {=m}\enotes
-%\check
-% mesure 32
-\barre\notes\doubler\qup J&\zqlp c\sqbbH gi.{_e}ghjhg&\doubler
- \Tqb {_l}kj\enotes
-\zbarre\notes\doubler\qup{^J}&\lsh c\zqlp c\sqbbH gh.{=e}gh{^j}hg&\doubler
- \Tqh ihg\enotes
-%\check
-% mesure 33
-\barre\notes\doubler\qup{_I}&\lna c\zqlp c\sqbbH gh.{_e}gh{=j}hg&\doubler
- \Tqh ihg\enotes
-\zbarre\notes\doubler\qu K\sk\ds&\zql d\sqbbH ge.{^f}hjhfd&\doubler
- \qu h\tleg3\sk\dsoupir\enotes
-%\check
-% mesure 34
-\barre\notes\doubler\qu G\sk\cu F&\rlap{\ql b\sk\sk\sk\cl d}\relax
- \sqbbH ff.dgigdg&\doubler\Ilegu3o\Tqh gh{=i}\enotes
-\zbarre\notes\doubler\qup E&\zqlp c\sqbbH gh.eghjhg&\doubler
- \Tqb ijk\enotes
-%\check
-% mesure 35
-\barre\notes\doubler
- \qup D&\zqlp c\sqbbH gg.{^f}hjhdf&\doubler
- \Tqb k{=l}{^m}\enotes
-\zbarre\notes\doubler
- \qu{=E}\sk\cu{=I}&\rlap{\ql b\sk\sk\sk\cl{=b}}\sqbbH gg.{=e}g{=i}gdf&\doubler
- \ql n\sk\cl m\enotes
-% mesure 36
-\barre\notes\doubler\qup J&\lna e\rlap{\qsk\zql e}\sqbbH gi.{^f}hjkjh&\doubler
- \Tqb {=l}kj\enotes
-\zbarre\notes\doubler\qup H&\zqlp c\sqbbH gh.{_e}ghjhg&\doubler
- \Tqb {_i}hg\enotes
-% mesure 37
-\barre\notes\doubler\ql{I}\sk\ds&\rlap{\clp{^c}\sk\sk\pt{-5}\raise -4\Interligne\ds}\relax
- \sqbbH cc.{^c}egeca&\doubler
- \ql{^j}\tleg3\sk\ds\enotes
-\cleftoksii={6000}\changeclefs
-\zbarre\notes\doubler\qup K&\uptext{\kern -\Interligne(I)}\sqbbL La.{^M}K{=L}MNa&\relax
- \uptext{\kern -2\Interligne\bf I}\doubler\Ilegu3o
- \zqp {^f}\zqlp h\qu k\sk\cu{=j}\enotes
-%\check
-% mesure 38
-\barre\notes\qup G&\sqbbL aa.{_b}aNcaN&\doubler
- \itenl0d\zqp d\zqlp g\qu i\sk\cu j\enotes
-\zbarre\notes\qup K&\sqbbL LL.{^M}{=L}MKLM&\doubler
- \tten0\zql d\zqp {^f}\qu h\sk \zcu i\raise -3\Interligne\ds\enotes
-%\check
-% mesure 39
-\barre\notes\hu G&\sqbbL NI.N{^M}NKIK&\doubler\zh b\zh d\hu g\sk\sk\enotes
-\zbarre\notes\sk\sk\soupir
- &\cu G\sk\ds&\sk\tleg3\sk\uptext{\rm (I)}\dsoupir\enotes
-\cleftoksii={0000}\changeclefs
-\temps\notes&\uptext{\bf III}\Ibbu0dc1\qh0d\tqh0c&\relax
- \Ilegu3q\cu k\enotes
-%\check
-% mesure 40
-\barre\notes\doubler\qu G\sk\cu{^F}&\sqbbH bb.babNac&\doubler
- \zq{ik}\ql n\sk\zq{j^m}\cl o\enotes
-\zbarre\notes\doubler\qu G\sk\cu I&\sqbbH bd.babNdb&\doubler
- \zq{kn}\ql p\sk\zq{=mp}\cl r\enotes
-%\check
-% mesure 41
-\barre\notes\qup H&\sqbbH ce.a{^c}{=e}gfe&\doubler\zq{=lo}\ql{^q}\sk\tleg3\enotes
-\zbarre\notes\doubler\qu K\sk\cu{^F}&\sqbbH ff.{^f}dhfd{=c}&\doubler
- \Ilegu3r\zqp{^m}\zqlp o\qu r\sk\cl{=q}\enotes
-%\check
-% mesure 42
-\barre\notes\doubler\qu G\sk\cu J&\sqbbH dd.bdgdec&\doubler
- \itenu2n\zq{kn}\ql p\sk\tten2\zq{ln}\cl q\enotes
-\zbarre\notes\doubler\qu K\sk\cu K&\sqbbH dd.ac{^f}dcd&\doubler
- \zqp k\zqlp{^m}\qu o\sk\cu p\enotes
-% mesure 43
-\barre\notes\doubler\hu G&\sqbbH cc.bdgdec&\doubler
- \zq{ik}\ql n\tleg3\sk\ds\enotes
-\zbarre\notes\doubler\sk\soupir&\sqbbH ff.bd{=e}{^f}gh&\doubler
- \Ilegu3r\ql k\sk\itenl0k\cl k\enotes
-%\check
-% mesure 44
-\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL if.{!'b}abNa{^M}&\doubler
- \tten0\itenl0k\zqlp k\ql n\sk\zq{^m}\cl o\enotes
-\zbarre\notes\doubler\qu G\sk\cu I&\sqbbH gj.{'N}abN{=e}d&\doubler
- \tten0\zq k\itenl0n\itenu1p\zq n\ql p\sk
- \tten0\tten1\zq n\zq p\cl r\enotes
-%\check
-% mesure 45
-\barre\notes\doubler\qsk\qup H&\qsk\sqbbL jf.{!'^c}{=e}cbaN&\doubler\qsk
- \lna s\zqp o\zqp {^q}\qlp{s}\sk\tleg3\sk\enotes
-\zbarre\notes\doubler\qu {^F}\sk\cu H&\sqbbH he.hgfed{=c}&\doubler
- \Ilegu3s\zqp {^m}\zqlp o\qu r\sk\cu {=q}\enotes
-%\check
-% mesure 46
-\barre\notes\doubler\qup G&\sqbbH ce.bcd{=e}{^f}g&\doubler
- \zqlp k\zq n\Tqh pon\enotes
-\zbarre\notes\doubler\qup J&\sqbbL ff.eihg{=f}{=e}&\doubler
- \zqlp{=l}\zq n\Tqh pon\enotes
-%\check
-% mesure 47
-\barre\notes\doubler\qup K&\sqbbL eh.{!'^M}K{=L}MNa&\doubler
- \zqp {k^m}\qlp o\enotes
-\zbarre\notes\doubler\qu G\sk&\Ibbu0gc3\qh0{g_ed}\tqh0c&\cl n\tleg3\sk\dsoupir\enotes
-\cleftoksii={6000}\changeclefs
-\temps\notes\ds&\Ibbl0bc1\qb0b\tqb0c&\doubler
- \Ilegu3r\itenl0k\cu k\enotes
-%\check
-% mesure 48
-\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler
- \tten0\itenl0k\zqlp k\qu n\sk\zq {^m}\cu o\enotes
-\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler
- \tten0\zq k\zq n\ql p\sk\cl n\enotes
-%\check
-% mesure 49
-\barre\notes\doubler\qu H\sk\dsoupir&\sqbbL ce.{^c}a{=b}cd{=e}&\doubler
- \lq n\zq o\ql{^q}\tleg3\sk\dsoupir\enotes
-\cleftoksii={0000}\changeclefs
-\zbarre\notes\doubler\qup K&\sqbbH eh.{!'^M}K{=L}MNa&\doubler
- \Ilegu3r\zq {^m}\zq o\ql r\sk\cna q\cl q\enotes
-%\check
-% mesure 50
-\barre\notes\qup G&\sqbbH hh.{!'_b}aNcaN&\doubler
- \itenl0k\zqp k\zqlp n\qu p\sk\cu q\enotes
-\zbarre\notes\qup K&\sqbbH ee.{!'^M}{=L}MKLM&\doubler
- \tten0\itenl0k\zqp k\zqlp {^m}\qu o\sk \cu p\enotes
-%\check
-% mesure 51
-\barre\notes\hu G&\sqbbH gd.{!'N}{^M}NKIK&\doubler\tten0\zh i\zh k\hl n\sk\sk\enotes
-\zbarre\notes\sk\sk\soupir&\cu N\zmidtwotext{\bf I \ppff ff}\sk\dsoupir
- &\sk\tleg3\sk\dsoupir\enotes
-\cleftoksii={6000}\changeclefs
-\temps\notes&\cl c&\cu d\enotes
-%\check
-% mesure 52
-\barre\NOtes\qu G\sk\cu H&\Tqb bN{^M}&\zqlp d\zq g\qu i\sk\zq{^f}\cu h\enotes
-\zbarre\NOtes\Tqh IHG&\Tqb KMN&\zqlp d\Ibu1gi2\zq b\qh1g\zq{^f}\qh1h\zq g\tqh1i\enotes
-%\check
-% mesure 53
-\barre\NOtes\qu H\sk\cu J&\Tqb aLN&\zqlp e\zq g\qu j\sk\zq{g}\cu i\enotes
-\zbarre\NOtes\qup K&\Tqb {^M}KJ&\zqp d\zqlp{^f}\qu h\sk\cu h\enotes
-%\check
-% mesure 54
-\barre\NOtes\qup I&\Tqb IKN&\zql d\Ibu1ig2\zq g\qh1i\zq{^f}\qh1h\zcl e\zq g\tqh1i\enotes
-\zbarre\NOtes\qup{^J}&\Tqh {=L}{^J}N&\zqp{=e}\zqlp g\qu{^j}\sk\cu j\enotes
-% check
-% mesure 55
-\barre\notes\qup K&\sqbbL aJ.aN{^M}{=L}KJ&\doubler
- \zqp{^f}\zqlp h\qu k\sk\cu k\enotes
-\zbarre\notes\doubler\qu G\sk\cu J&\sqbbL IK.IKNK{_L}J&\doubler
- \zq d\zq g\itenu1g\qu i\sk\tten1\zq e\zq g\cu j\enotes
-%\check
-% mesure 56
-\barre\notes\qup K&\sqbbL KK.KJK{^M}aJ&\doubler\zqp d\zqlp {^f}\qu h\sk\cu i\enotes
-\zbarre\notes\qup G&\sqbbL Ia.IK{=L}MNa&\doubler\zq{bd}\qu g\sk\ds\enotes
-%\check
-% mesure 57
-\barre\notes\qup I&\sqbbL aa.babNab&\doubler
- \uptext{\it non legato}\zq{dg}\qu i\sk\zq{dg}\cu i\enotes
-\zbarre\notes\qup H&\sqbbL bb.cbcabc&\doubler\zq{eh}\qu j\sk\zq{eh}\cu j\enotes
-%\check
-% mesure 58
-\barre\notes\qup I&\sqbbL aa.d{^c}dbNd&\doubler\zq g\zq i\qu k\sk\zq{eg}\cu k\enotes
-\zbarre\notes\qup {^F}&\sqbbL NN.{=c}aKMac&\doubler\zqp{^f}\zqlp h\Tqh k{^j}{=j}\enotes
-%\check
-% mesure 59
-\barre\notes\qup G&\sqbbL aa.{=b}aNbaN&\doubler
- \zq{dg}\qu {=i}\sk\zq{dg}\cu i\enotes
-\zbarre\notes\qup E&\sqbbL Ma.{!`e}gh{=j}{_i}g&\doubler
- \zq e\zql g\Tqh {_i}hg\enotes
-%\check
-% mesure 60
-\barre\notes\qup D&\sqbbL LL.aK{^M}aca&\itenl1d\zqp d\zqp {^f}\qup h\enotes
-\zbarre\notes\doubler\qu G&\cl N\sk\ds&\tten1\zq d\cu g\sk\dsoupir
- \enotes
-\temps\notes\ds&\zmidtwotext{\kern -2\Interligne\fff}\Ibbl0bc1\qb0b\tqb0c&\doubler
- \Ilegu3o\itenl0d\cu d\enotes
-%\check
-% mesure 61
-\barre\notes\doubler\qu I\sk\cu{^F}&\sqbbL bM.babNa{^M}&\doubler
- \tten0\itenl0d\zqlp d\qu g\sk\zq {^f}\cu h\enotes
-\zbarre\notes\doubler\qu G\sk\cu I&\sqbbL Nc.NabN{=e}d&\doubler
- \tten0\zql d\zq g\qu i\sk\zcl g\cu g\enotes
-%\check
-% mesure 62
-\barre\notes\doubler\qu H\sk\dsoupir&\sqbbL ce.{^c}a{=b}cd{=e}&\doubler
- \zq g\rq h\qu{^j}\tleg3\sk\dsoupir\enotes
-\zbarre\notes\doubler\qu {^F}\sk\cu H&\sqbbL dM.d{=c}{_b}aN{^M}&\doubler
- \lst f\zq {^f}\zq h\qu k\sk\lppz f\zq {fh}\cu {=j}\enotes
-%\check
-% mesure 63
-\barre\notes\doubler\qu I\sk\cu G&\sqbbL aa.NabNcb&\doubler
- \lst d\zq d\zq g\qu i\sk\lppz e\zq{eg}\cu j\enotes
-\zbarre\notes\doubler\qu K\sk\cu D&\sqbbL NN.aNa{^M}ba&\doubler
- \lst d\zq{d^f}\qu h\sk\lppz d\zq{d^f}\qu i\enotes
-%\check
-% mesure 64
-\barre\notes\doubler\qu G\sk\ds&\sqbbL NH.NLKJIH&\doubler
- \zhp {bd}\hup g\enotes
-\ifnum\musicsize<17\relax\autolines695\relax\fi
-\zbarre\NOtes\qu G\sk\ds&\cu G\ds\cl a&\relax
- \sk\ds\uptext{\kern 3\Interligne\llap{\moyen maestoso}}\rq d\cu c\enotes
-%\check
-% mesure 65
-\barre\NOtes\qu G\sk\cu{^F}&\ust N\ql N\sk\uppz a\zq{^M}\cl a&\relax
- \lst b\zq{bd}\qu g\sk\lppz d\zq{^fd}\cu h\enotes
-\zbarre\NOtes\qu G\sk\cu{=F}&\ust b\zq N\ql b\sk\uppz d\zq{=Mb}\cl d&\relax
- \lst d\zq{dg}\qu i\sk\lppz f\zq{=fi}\cu k\enotes
-%\check
-% mesure 66
-\barre\NOtes\qu{=E}\sk\cu G&\lsh c\zqp{=LNc}\qlp{=e}&\relax
- \Ilegu3o\lsh j\zqp{gj=l}\qlp n\enotes
-\zbarre\NOtes\qu{^F}\sk\ds&\zq{^Ma}\ql d\sk\ds&\tleg3\zq {^fh}\ql k\sk\ds\enotes
-%\check
-% mesure 67
-\barre\NOtes\qu H\sk\cu I&\ust c\zq{_La}\ql c\sk\uppz b\zq{KN}\cl b&\relax
- \lst e\zq{_eh}\qu{=j}\sk\lppz d\zq{dg}\cu i\enotes
-\zbarre\NOtes\qu J\sk\cu{^J}&\zql L\qup N\sk\cl{=L}&\relax
- \rlap{\zq c\ql e\sk\lsh c\zq c\cl{=e}}\Tqh hgh\enotes
-%\check
-% mesure 68
-\barre\Notes\hu K&\zh{=J^M}\hl a&\hu d\sk\sk\sk\enotes
-\zbarre\NOtes\soupir&\ds\zq{^M}\cl a&\ds\rq d\cu c\enotes
-%\check
-% mesure 69
-\advance\maxbarsinline by 1\relax
-\barre\NOtes\qu G\sk\cu{^F}&\ust N\ql N\sk\uppz a\zq{^M}\cl a&\relax
- \lst b\zq{bd}\qu g\sk\lppz d\zq{^fd}\cu h\enotes
-\zbarre\NOtes\qu G\sk\cu{=F}&\ust b\zq N\ql b\sk\uppz d\zq{=Mb}\cl d&\relax
- \lst d\zq{dg}\qu i\sk\lppz f\zq{=fi}\cu k\enotes
-%\check
-% mesure 70
-\barre\NOtes\qup C&\zq{J=LN}\ql c\sk\ds&\zq{=egj}\ql{=l}\sk\ds\enotes
-\zbarre
-\NOtes\qu D\sk\cu{^F}&\zqp{^Ma}\qlp d&\zqp{^f}\zqlp h\qu k\sk\cu j\enotes
-%\check
-% mesure 71
-\barre\notes\qup G&\doubler\zcl K\zqp N\qup b\ql J&\relax
- \rlap{\zq d\cl g\sk\zq{_e}\ql g}\ibu0i0\qh0i\sk\nbbu0\qh0{ihj}\tqh0i\enotes
-\zbarre\notes\qup D&\doubler\zcl K\zqp{^M}\qup a\ql J&\relax
- \rlap{\zq d\cl{^f}\sk\zq{c}\ql f}\ibu0h0\qh0h\sk\nbbu0\qh0{hgi}\tqh0h\enotes
-% mesure 72
-\barre\NOtes\hup G\sk\sk&\zql{J}\zqp{=L}\itenu0N\qup N\sk\cl H&\relax
- \zqp{c}\zqlp{=e}\itenu1g\qup g\enotes
-\zbarre\NOtes&\zqp{I}\zqlp K\tten0\qup N&\zqp{b}\zqlp{d}\tten1\qup g\enotes
-%\check
-\finmorceau
-%
-\medskip\rightline{\it \aujourdhui}
-\vfil
-\eject
diff --git a/macros/musixtex/doc/examples/scale.tex b/macros/musixtex/doc/examples/scale.tex
deleted file mode 100644
index ac0d005ce9..0000000000
--- a/macros/musixtex/doc/examples/scale.tex
+++ /dev/null
@@ -1,67 +0,0 @@
-\voffset-15.4mm\vsize=259mm
-\hoffset-10.4mm\hsize=185mm
-\nobarnumbers\nopagenumbers
-\smallmusicsize\relativeaccid
-\parindent45pt
-\def\scale#1#2{\setname1{\vbox{\hbox{#1}\hbox{#2}}\hfill}%
- \startpiece\addspace\afterruleskip
- \notesp\qa{cdefg'abcba`gfedc}\en\setdoublebar\bar
- \notesp\qa{abcde^f^g'a`=g=fedcba}\en\endpiece}
-\def\german{\parindent45pt\def\Dur{Dur}\def\Moll{Moll}
- \def\C{C}\def\Cis{Cis}\def\Des{Des}\def\D{D}\def\Es{Es}\def\E{E}
- \def\F{F}\def\Fis{Fis}\def\Ges{Ges}\def\G{G}\def\As{As}\def\A{A}
- \def\B{B}\def\H{H}\def\Ces{Ces}
- \def\a{a}\def\ais{ais}\def\b{b}\def\h{h}\def\c{c}\def\cis{cis}
- \def\d{d}\def\dis{dis}\def\es{es}\def\e{e}\def\f{f}\def\fis{fis}
- \def\g{g}\def\gis{gis}\def\as{as}}
-
-\def\flat{\raise 0.5\Interligne\hbox{\musicsixteen 2}}
-\def\sharp{\raise1.0\Interligne\hbox{\hskip1pt\musicsixteen 4}}
-\def\english{\parindent45pt\def\Dur{major}\def\Moll{minor}
- \def\C{C}\def\Cis{C\sharp}\def\Des{D\flat}\def\D{D}\def\Es{E\flat}\def\E{E}
- \def\F{F}\def\Fis{F\sharp}\def\Ges{G\flat}\def\G{G}\def\As{A\flat}\def\A{A}
- \def\B{B\flat}\def\H{B}\def\Ces{C\flat}
- \def\a{a}\def\ais{a\sharp}\def\b{b\flat}\def\h{b}\def\c{c}\def\cis{c\sharp}
- \def\d{d}\def\dis{d\sharp}\def\es{e\flat}\def\e{e}\def\f{f}\def\fis{f\sharp}
- \def\g{g}\def\gis{g\sharp}\def\as{a\flat}}
-
-%--\german
-\english
-
-\startmuflex
-\transpose0 \generalsignature{-7} \scale{\Ces-\Dur}{\as-\Moll}
-\vfil\hrule\vfil
-\transpose4 \generalsignature{-6} \scale{\Ges-\Dur}{\es-\Moll}
-\transpose1 \generalsignature{-5} \scale{\Des-\Dur}{\b-\Moll}
-\transpose5 \generalsignature{-4} \scale{\As-\Dur}{\f-\Moll}
-\transpose2 \generalsignature{-3} \scale{\Es-\Dur}{\c-\Moll}
-\transpose6 \generalsignature{-2} \scale{\B-\Dur}{\g-\Moll}
-\transpose3 \generalsignature{-1} \scale{\F-\Dur}{\d-\Moll}
-\transpose0 \generalsignature0 \scale{\C-\Dur}{\a-\Moll}
-\transpose4 \generalsignature1 \scale{\G-\Dur}{\e-\Moll}
-\transpose1 \generalsignature2 \scale{\D-\Dur}{\h-\Moll}
-\transpose5 \generalsignature3 \scale{\A-\Dur}{\fis-\Moll}
-\transpose2 \generalsignature4 \scale{\E-\Dur}{\cis-\Moll}
-\transpose6 \generalsignature5 \scale{\H-\Dur}{\gis-\Moll}
-\transpose3 \generalsignature6 \scale{\Fis-\Dur}{\dis-\Moll}
-\vfil\hrule\vfil
-\transpose0 \generalsignature7 \scale{\Cis-\Dur}{\ais-\Moll}
-\eject\musicparskip
-\transpose0 \generalsignature0 \scale{\C-\Dur}{\a-\Moll}
-\transpose0 \generalsignature7 \scale{\Cis-\Dur}{\ais-\Moll}
-\transpose1 \generalsignature{-5} \scale{\Des-\Dur}{\b-\Moll}
-\transpose1 \generalsignature2 \scale{\D-\Dur}{\h-\Moll}
-\transpose2 \generalsignature{-3} \scale{\Es-\Dur}{\c-\Moll}
-\transpose2 \generalsignature4 \scale{\E-\Dur}{\cis-\Moll}
-\transpose3 \generalsignature{-1} \scale{\F-\Dur}{\d-\Moll}
-\transpose3 \generalsignature6 \scale{\Fis-\Dur}{\dis-\Moll}
-\transpose4 \generalsignature{-6} \scale{\Ges-\Dur}{\es-\Moll}
-\transpose4 \generalsignature1 \scale{\G-\Dur}{\e-\Moll}
-\transpose5 \generalsignature{-4} \scale{\As-\Dur}{\f-\Moll}
-\transpose5 \generalsignature3 \scale{\A-\Dur}{\fis-\Moll}
-\transpose6 \generalsignature{-2} \scale{\B-\Dur}{\g-\Moll}
-\transpose6 \generalsignature5 \scale{\H-\Dur}{\gis-\Moll}
-\transpose7 \generalsignature{-7} \scale{\Ces-\Dur}{\as-\Moll}
-\transpose7 \generalsignature0 \scale{\C-\Dur}{\a-\Moll}
-\endmuflex
-\eject\bye
diff --git a/macros/musixtex/doc/examples/souvenir.tex b/macros/musixtex/doc/examples/souvenir.tex
deleted file mode 100644
index 9ab7f02a6a..0000000000
--- a/macros/musixtex/doc/examples/souvenir.tex
+++ /dev/null
@@ -1,31 +0,0 @@
-\input musixtex
-\input musixsty
-\input musixcpt
-%
-\def\Transpose{0}%
-\def\Signature{-3}\relax % trois bemols a la clef
-\generalsignature{\Signature}\savesignature
-\barsinline=0\relax\linesinpage=0\relax
-\input souvenix
-%
-\def\Transpose{-4}%
-\def\Signature{-4}\relax % quatre bemols a la clef
-\generalsignature{\Signature}\savesignature
-\barsinline=0\relax\linesinpage=0\relax
-\input souvenix
-%
-\bye
-
-\def\Transpose{-4}\relax
-\def\Signature{3}\relax % trois diezes a la clef
-\generalsignature{\Signature}\savesignature
-\barsinline=0\relax\linesinpage=0\relax
-\input souvenix
-%
-\def\Transpose{-3}\relax
-\def\Signature{-2}\relax % deux bemols a la clef
-\generalsignature{\Signature}\savesignature
-\barsinline=0\relax\linesinpage=0\relax
-\input souvenix
-\bye
-
diff --git a/macros/musixtex/doc/examples/souvenix.tex b/macros/musixtex/doc/examples/souvenix.tex
deleted file mode 100644
index a9ce439bf1..0000000000
--- a/macros/musixtex/doc/examples/souvenix.tex
+++ /dev/null
@@ -1,474 +0,0 @@
-
-\fulltitle{Un souvenir...}
-\shortauthor{Rossi/Capitani}
-\title{Un souvenir}
-\othermention{Paroles d'Oreste ROSSI}
-\fullauthor{Musique de Fernand CAPITANI}%
-\maketitle
-
-\ifx\Transpose\undefined\def\Transpose{0}\fi
-\ifx\Signature\undefined\def\Signature{-3}\fi
-
-\tracingstats=1\relax
-%\check
-%
-%
-% soufflets crescendo et decrescendo
-%
-\def\soufflcr#1{\zcharnote{#1}{\kern -1cm\cresc}}%
-\def\Soufflcr#1{\zcharnote{#1}{\kern -1cm\CResc}}%
-%
-\def\souffldim#1{\zcharnote{#1}{\kern -1cm\dimin}}%
-\def\Souffldim#1{\zcharnote{#1}{\kern -1cm\DImin}}%
-%
-%\check
-\def\nbinstruments{2}
-\setstaffs12\relax
-\setstaffs21\relax
-\setclefs1{6000}%
-\setclefs2{0000}%
-%
-\generalsignature{\Signature}%
-\generalmeter{\meterfrac{4}{4}}
-%\check
-\def\interfacteur{10}%
-\parindent 15mm
-\def\instrumenti{Piano}%
-\def\instrumentii{Chant}%
-\setinterinstrument1{4\Interligne}
-%\check
-\def\respire{\notes\nextinstrument\cbreath\enotes}%
-%
-%\check
-\catcode`\@=13
-%
-\def\doct#1#2{\Ibl0{#1}{#2}1{\zq{'#1}}\qb0{#1}{\zq{'#2}}\tqb0{#2}}%
-\def\doctu#1#2{{\advance\transpose by 7\relax
-\Ibu0{#1}{#2}1\zq{#1}}\qh0{#1}{\zq{'#2}}\tqh0{#2}}%
-%
-\def\nbinstruments{1}\computewidths
-\debutmorceau
-\autolines {10}44\relax
-\transpose=\Transpose
-\notes|\Uptext{\raise 2\Interligne\hbox{\moyen Moderato}}\enotes
-%
-\def\rchone{\lq q\zq{lnp}\ql s}%
-\def\Lchone{\lh c\zh{be}\hl g}%
-\def\lchone{\lq c\zq{be}\ql g}%
-\def\Lchtwo{\zh{bd}\hl g}%
-\def\lchtwo{\zq{bd}\ql g}%
-\def\octs#1{\zw{#1}\advance\transpose by 7\zw{#1}\raise 3\Interligne\soupir}%
-\znotes\zmidtwotext{\kern -3mm\ppff p}\enotes
-\temps\NOtes\octs E|\soupir\enotes
-\temps\NOtes\Lchone|\rchone\enotes
-\temps\NOtes|\rchone\enotes
-\temps\NOtes\lchone|\rchone\enotes
- %\check
-% mesure 2
-\barre\NOtes\octs G|\itenl1k\itenl2n\itenu3p\itenu4r\zw{knpr}\enotes
-\temps\NOtes\Lchtwo\enotes
-\temps\NOtes\sk\enotes
-\temps\NOtes\lchtwo\enotes
- %\check
-% mesure 3
-%
-\def\lchthree{\lq f\zq{ce}\ql h}%
-\def\Lchthree{\lh f\zh{ce}\hl h}%
-\xbarre\NOtes\octs H|\tten1\tten2\tten3\tten4\zq{knp}\ql r\enotes
-\temps\notes\Lchthree|\doct jk\enotes
-\temps\NOtes|\zq{lnq}\ql s\enotes
-\temps\notes\lchthree|\doct kj\enotes
-%
- %\check
-% mesure 4
-\def\lchfour{\zq{be}\ql g}%
-\def\Lchfour{\zh{be}\hl g}%
-\xbarre\NOtes\octs G|\zw{inp}\qsk\zql m\enotes
-\temps\NOtes\Lchfour|\ql l\enotes
-\temps\NOtes|\ql k\enotes
-\temps\NOtes\lchfour|\Fl k\ql k\enotes
-%
- %\check
-% mesure 5
-%
-\def\lchfive{\lq e\zq c\ql f}%
-\def\Lchfive{\lh e\zh c\hl f}%
-\def\uchfive{\lq m\zq{hl}\ql o}%
-\barre\autolines 854\relax
-\NOtes\octs F|\soupir\enotes
-\temps\NOtes\lFl c\Lchfive|\uchfive\enotes
-\temps\NOtes|\uchfive\enotes
-\temps\notes\lchfive|\lq m\zq l\doct hh\enotes
-%
- %\check
-% mesure 6
-%
-\def\lchsix{\lq c\zq{Nb}\ql e}%
-\def\Lchsix{\lNa c\lh c\zh{Nb}\hl e}%
-\xbarre\NOtes\octs B|\itenl1g\itenu2n\zw{gn}\qsk\ql m\enotes
-\temps\NOtes\Lchsix|\ql l\enotes
-\temps\NOtes|\ql j\enotes
-\temps\NOtes\lchsix|\ql i\enotes
-%
- %\check
-% mesure 7
-\def\lchseven{\zq{Ma}\ql c}%
-\def\Lchseven{\Fl c\zh{Mac}\hl e}%
-\xbarre\NOtes\octs B|\tten1\tten2\zq g\qu n\enotes
-\temps\notes\bigaccid\Lchseven|\doctu fg\enotes
-\temps\NOtes|\Fl j\zh h\zhl j\kern 1pt\zq f\zqu m\enotes
-\temps\Notes\lchseven|\doctu ef\enotes
-%
- %\check
-% mesure 8
-\xbarre\NOTes\itenl1E\itenu2L\zw E\zw L\raise 3\Interligne\hpause
- |\Na j\rh j\zh{egi}\hu l\enotes
-\temps\NOTes\Fl c\Lchthree|\lh m\zh{il}\hl p\enotes
-%
- %\check
-% mesure 9
-\xbarre\notes\qsk\enotes
-\NOTEs\llap{\lNa c\kern 1pt}\tten1\tten2\zw{EL}\lw c\zw{be}\wh g\relax
- |\lw p\zw{lnq}\wh s\enotes
-\setdoublebar\suspmorceau
-%
- %\check
-% mesure 10
-\def\nbinstruments{2}\generalmeter{}\savemeters
- %\computewidths
- %\advance\linesinpage by 1
- \lreprmorceau
-\llap{\leftrepeatsymbol}%
-\def\txt#1|#2&{\hsong{\vbox to 0pt{\Smalltype\baselineskip 10pt
-\vss\hrule width \noteskip height 0pt
-\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote
- #2\kern\internote}\smallskip
-\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote
- #1\kern\internote}}}}%
-\znotes\zmidtwotext{\kern -3mm\ppff p}&\enotes
-%
-\def\arpg#1#2{\vnotes 0.2\elemskip\larpeggio{#1}{#2}\enotes}%
-\def\uarpg#1#2{\vnotes 0.2\elemskip|\larpeggio{#1}{#2}\enotes}%
-%
-\vnotes 0.2\elemskip\rlap{\larpeggio E6}\larpeggio c6\enotes
-\notes\zw{EILNb}|\wh g&\ds\enotes
-\temps\notes&\txt Se |De &\cu g\enotes
-\temps\notes&\txt sou-|la &\cu g\enotes
-\temps\notes&\txt ve-|mer-&\cu g\enotes
-\temps\notes&\txt nir |veil-&\cu i\enotes
-\temps\notes&\txt c'est |leuse &\cu i\enotes
-\temps\notes&\txt croire |a-&\cu j\enotes
-\temps\notes&\txt en |ven-&\cu j\enotes
- %\check
-% mesure 11
-\xbarre\vnotes 0.2\elemskip\larpeggio G5|\larpeggio d4\enotes
-\NOtes\zh{GK}\hu b|\zh{dgi}\hu k&\txt co-|tu-&\hl k\enotes
-\temps\vnotes 0.2\elemskip\larpeggio M8|\larpeggio i4\enotes
-\NOtes\zh{Nd}|\zhl g\zh{knp}\hu r&\txt re |re &\hl k\enotes
-%
- %\check
-% mesure 12
-\xbarre
-\vnotes 0.2\elemskip\rlap{\larpeggio D8}\larpeggio b4\enotes
-\notes\zw{EILNb}|\zw g\qsk\hl f&\ds\enotes
-\temps\notes&\txt Que |Qui &\cu g\enotes
-\temps\notes&\txt tout |un &\cu g\enotes
-\temps\notes&\txt vient |jour &\cu g\enotes
-\temps\notes|\hl e&\txt de |a &\cu i\enotes
-\temps\notes&\txt re-|pu &\cu i\enotes
-\temps\notes&\txt com-|nous &\cu j\enotes
-\temps\notes&\txt men-|u-&\cu j\enotes
- %\check
-% mesure 13
-\xbarre\vnotes 0.12\elemskip\larpeggio E6\qsk|\larpeggio c4\enotes
-\NOtes\zw{GKb}|\Sh h\zw{dik}\qsk\zhl h\sk&\txt cer |nir &\wh k\enotes
-\temps\NOtes|\hl g\enotes
-%
- %\check
-% mesure 14
-\alaligne
-\notes\zh{JN}\hl c|\zh{eg}\hu l&\ds\enotes
-\temps\notes&\txt\kern -\Interligne C'est |Je &\cl l\enotes
-\temps\notes&\txt re-|gar- &\cl k\enotes
-\temps\notes&\txt voir-|de &\cu j\enotes
-\temps\notes\bigaccid\zh H\zh L\Na a\hl a|\zh{cj}\zhu e\qsk\zql i&\txt
- l'\^e-|mal-&\cu i\enotes
-\temps\notes&\txt tre |gr\'e &\cu i\enotes
-\temps\notes|\bigaccid\Na h\ql h&\txt qu'on |mes &\cu j\enotes
-\temps\notes&\txt a- |bles-&\cu j\enotes
- %\check
-% mesure 15
-\xbarre\NOTes\zh{F}\zhl J\zh{ac}|\zh{e}\hu g&\txt do-|su-&\hu g\enotes
-\temps\NOTes\zh{M}\hl c|\zh{hjl}\hl n&\txt re |res &\hu g\enotes
-%
- %\check
-% mesure 16
-\xbarre
-\notes\bigaccid\Sh a\zw{FLac}|\zw e\wh g&\ds\enotes
-\temps\notes&\txt Et |L'in-&\cu g\enotes
-\temps\notes&\txt re-|ef-&\cu g\enotes
-\temps\notes&\txt trou-|fa-&\cu g\enotes
-\temps\notes&\txt ver |\c ca-&\cu f\enotes
-\temps\notes&\txt tout |ble &\cu f\enotes
-\temps\notes&\txt le |sou-&\cu g\enotes
-\temps\notes&\txt pas-|ve-&\cu g\enotes
- %\check
-% mesure 17
-\xbarre\NOtes\Na a\zw{Ia}|\zh{g}\zhu i\qlp d&\txt s\'e... |nir... &\wh i\enotes
-\temps\notes|\Ibbl0ef2\qb0e\Sh e\qb0e\tqb0f\enotes
-\NOTes|\Sh f\Sh m\zhl f\zh{ikm}\hu p\enotes
-%
- %\check
-% mesure 18
-\setdoublebar\alaligne
-%
-\autolines {10}44\relax
-\znotes\zmidtwotext{\kern -3mm\ppff p}&\uptext{\rm REFRAIN}\soupir\enotes
-\temps\NOtes\octs E|\soupir\enotes
-\temps\NOtes\Lchone|\rchone&\hsong{Un }\ql l\enotes
-\temps\NOtes|\rchone&\hsong{sou- }\ql l\enotes
-\temps\NOtes\lchone|\rchone&\hsong{ve- }\ql l\enotes
- %\check
-% mesure 19
-\barre\NOtes\octs G|\itenl1k\itenl2n\itenu3p\itenu4r\zw{knpr}&\hsong{nir }\wh k\enotes
-\temps\NOtes\Lchtwo\enotes
-\temps\NOtes\sk\enotes
-\temps\NOtes\lchtwo\enotes
- %\check
-% mesure 20
-%
-\xbarre\NOtes\octs H|\tten1\tten2\tten3\tten4\zq{knp}\ql r&\soupir\enotes
-\temps\Notes\Lchthree|\doct jk&\hsong{\kern -2\Interligne C'est l'i-}\cl j\cl k\enotes
-\temps\NOtes|\zq{lnq}\ql s&\hsong{ma- }\ql l\enotes
-\temps\Notes\lchthree|\doct kj&\hsong{ge d'un }\cl k\cl j\enotes
-%
- %\check
-% mesure 21
-\xbarre\NOtes\octs G|\zh{inl}\hl p&\hsong{r\^e- }\hl i\enotes
-\temps\NOtes\Lchfour|\enotes
-\temps\NOtes|\zh{inl}\hl p&\hsong{be }\hl i\enotes
-\temps\NOtes\lchfour|\enotes
-%
- %\check
-% mesure 22
-%
-\def\lchttwo{\zq a\zq c\ql e}%
-\def\Lchttwo{\zh a\zh c\hl e}%
-\def\uchttwo{\zq{hjl}\ql o}%
-\barre\NOtes\octs F|\soupir&\soupir\enotes
-\temps\NOtes\Lchttwo|\uchttwo&\hsong{\kern -\internote D'une }\qu h\enotes
-\temps\NOtes|\uchttwo&\hsong{\kern -\internote heu- }\qu h\enotes
-\temps\Notes\lchttwo|\zq j\zq l\doct hh&\hsong{\kern -\internote re trop }\cu h\cu h\enotes
-%
- %\check
-% mesure 23
-%
-\def\Lchtthree{\lh c\zh{Nb}\hl e}%
-\def\lchtthree{\lq c\zq{Nb}\ql e}%
-\barre\NOtes\octs B|\zh{gjl}\hl n&\hsong{br\`e-}\hu g\enotes
-\temps\NOtes\Lchtthree|\enotes
-\temps\NOtes|\itenl1g\itenl2j\itenu3l\itenu4n\zh{gjl}\hl n&\hsong{be }\hu g\enotes
-\temps\NOtes\lchsix|\enotes
-%
- %\check
-% mesure 24
-\def\Lchtfour{\zh{Mac}\hl e}%
-\barre\NOtes\octs B|\tten1\tten2\tten3\tten4\zq{gjl}\qu n&\soupir\enotes
-\temps\Notes\Lchtfour|\doctu fg&\hsong{Qui ne }\cu f\cu g\enotes
-\temps\NOtes|\zq f\qu m&\hsong{beut }\qu f\enotes
-\temps\Notes\lchseven|\doctu ef&\hsong{pas fi-}\cu e\cu f\enotes
-%
- %\check
-% mesure 25
-\barre\NOtes\octs E|\zh{gil}\hu n&\hsong{nir }\hu g\enotes
-\temps\NOtes\lchtthree\enotes
-\temps\NOtes\soupir|\Sh m\zh{ikm}\hu p&\hsong{--}\hu i\enotes
-\temps\NOtes\qu I\enotes
-%
- %\check
-% mesure 26
-\barre\temps\NOtes\octs E|\soupir&\soupir\enotes
-\temps\NOtes\Lchone|\rchone&\hsong{Un }\ql l\enotes
-\temps\NOtes|\rchone&\hsong{sou-}\ql l\enotes
-\temps\NOtes\lchone|\rchone&\hsong{ve-}\ql l\enotes
-%
- %\check
-% mesure 27
-\barre\NOtes\octs G|\itenl1k\itenu3p\itenu4r\Sh o\zw{kpr}\qsk\zql o&\hsong{nir }\wh k\enotes
-\temps\NOtes\Lchtwo|\ql n\enotes
-\temps\NOtes\sk|\Sh m\ql m\enotes
-\temps\NOtes\lchtwo|\ql n\enotes
- %\check
-% mesure 28
-%
-\barre\NOtes\octs H|\tten1\tten3\tten4\zq{kp}\ql r&\soupir\enotes
-\temps\Notes\Lchthree|\doct jk&\hsong{\kern -2\Interligne C'est tou-}\cl {jk}\enotes
-\temps\NOtes|\zq{lnq}\ql s&\hsong{te }\ql l\enotes
-\temps\Notes\lchthree|\doct kj&\hsong{la ten-}\cl{kj}\enotes
-%
- %\check
-% mesure 29
-\barre\NOtes\octs G|\zh{in}\zhl p\qsk\zqu m&\hsong{dres-}\hu i\enotes
-\temps\NOtes\Lchfour|\qu l\enotes
-\temps\NOtes\sk|\zh{in}\zhl p\qsk\zqu k&\hsong{se }\hu i\enotes
-\temps\NOtes\lchfour|\Fl k\qu k\enotes
-%
- %\check
-% mesure 30
-%
-\barre\NOtes\octs F|\soupir&\soupir\enotes
-\temps\NOtes\lFl c\Lchfive|\uchfive&\hsong{Des }\qu h\enotes
-\temps\NOtes|\uchfive&\hsong{beaux }\qu h\enotes
-\temps\Notes\lchfive|\lq m\zq l\doct hh&\hsong{jours d'i-}\cu{hh}\enotes
-%
- %\check
-% mesure 31
-%
-\barre\NOtes\octs B|\zh{g}\zhl n\qsk\qu m&\hsong{bres-}\hu g\enotes
-\temps\NOtes\Lchsix|\qu l\enotes
-\temps\NOtes|\itenl1g\itenu2n\zh{g}\zhl n\qsk\qu j&\hsong{se }\hu g\enotes
-\temps\NOtes\lchsix|\qu i\enotes
-%
- %\check
-% mesure 32
-\barre\NOtes\octs B|\tten1\tten2\zq g\qu n&\soupir\enotes
-\temps\Notes\Lchseven|\doctu fg&\hsong{Que l'on }\cu f\cu g\enotes
-\temps\NOtes|\Fl j\zh h\zhl j\kern 1pt\zq f\zqu m&\txt voit |croit&\qu f\enotes
-\temps\Notes\lchseven|\doctu ef&\txt re-ve-|re-te-&\cu e\cu f\enotes
-%
- %\check
-% mesure 33
-\barre\NOtes\octs E|\Na j\rh j\zh{egi}\hu l&\txt nir|nir&\wh e\enotes
-\temps\NOtes\qu N\enotes
-\temps\NOtes\qu a\enotes
-\temps\NOtes\Sh a\qu a\enotes
-%
- %\check
-% mesure 34
-\barre\notes\zh G\zhl K|\zh b\hu d&\ds\enotes
-\temps\notes&\hsong{Un }\Ibu0eh2\qh0d\enotes
-\notes&\hsong{soir }\qh0g\enotes
-\notes&\hsong{tu }\bigaccid\Sh h\tqh0h\enotes
-\temps\notes\zh I\hu N|\zh k\hl g&\hsong{as }\ibu0j0\qh0i\enotes
-\notes&\hsong{pu }\qh0k\enotes
-\notes&\hsong{te }\qh0j\enotes
-\notes&\hsong{re-}\tqh0i\enotes
- %\check
-% mesure 35
-\barre\NOTes\Sh H\zw H\wh N|\zw e\zw g\hu k&\hsong{pren-}\hl k\enotes
-\temps\NOTes|\hu j&\hsong{dre }\hl j\enotes
- %\check
-% mesure 36
-\barre\notes\zw K\bigaccid\Sh a\wh a|\bigaccid\Sh f\zw f\wh j&\ds\enotes
-\temps\notes&\hsong{\kern -\internote Tout }\ibu0j0\qh0j\enotes
-\notes&\hsong{bri-}\qh0j\enotes
-\notes&\hsong{ser, }\tqh0j\enotes
-\notes&\hsong{tout }\Ibu0kh4\qh0k\enotes
-\notes&\hsong{a-}\qh0k\enotes
-\notes&\hsong{n\'e-}\bigaccid\Sh h\qh0h\enotes
-\notes&\hsong{an-}\tqh0h\enotes
- %\check
-% mesure 37
-\barre\notes\Ibu0Ga3\qh0{GKN}\Sh a\tqh0a|\zw{g}\wh i&\hsong{tir }\wh i\enotes
-\temps\notes|\Ibu0cf3\qh0{bdg}\Sh f\tqh0f\enotes
- %\check
-% mesure 38
-\barre\notes\zh I\hu M|\zh d\bigaccid\Na f\hu f&\ds\enotes
-\temps\notes&\hsong{\kern -3\internote Mais }\Ibu0gj3\qh0f\enotes
-\notes&\hsong{pour }\qh0i\enotes
-\notes&\hsong{moi }\tqh0j\enotes
-\temps\notes\zh K\hl b|\zh f\hl i&\hsong{qui }\Ibu0ki3\qh0k\enotes
-\notes&\hsong{ne }\qh0k\enotes
-\notes&\hsong{sais }\qh0j\enotes
-\notes&\hsong{com-}\tqh0i\enotes
- %\check
-% mesure 39
-\barre\NOTes\zw J\wh b|\bigaccid\Fl g\zw e\wh g&\hsong{pren-}\hu k\enotes
-\temps\NOTes&\hsong{dre }\hu j\enotes
- %\check
-% mesure 40
-\barre\NOtes\zmidtwotext{\it rit.}\zw F\wh M|\zw e\zw j\qsk\zhl i&\soupir\enotes
-\temps\NOtes&\hsong{\kern -\internote Qu'on }\ql j\enotes
-\temps\NOtes|\Sh h\hl h&\hsong{peut }\ql k\enotes
-\temps\NOtes&\hsong{men-}\ql l\enotes
- %\check
-% mesure 41
-\barre\NOtes\zw I\qu b|\bigaccid\Na h\zw{hm}\qsk\qu k&\hsong{tir }\wh m\enotes
-\temps\NOtes\qu c|\qu j\enotes
-\temps\NOtes\Sh c\qu c|\Sh i\qu i\enotes
-\temps\NOtes\qu d|\Na i\qu i\enotes
- %\check
-% mesure 42
-\barre\temps\NOtes\zmidtwotext{\it a tempo}\octs E|\soupir&\soupir\enotes
-\temps\NOtes\Lchone|\rchone&\hsong{Un }\ql l\enotes
-\temps\NOtes|\rchone&\hsong{sou-}\ql l\enotes
-\temps\NOtes\lchone|\rchone&\hsong{ve-}\ql l\enotes
- %\check
-% mesure 43
-\barre\NOtes\octs G|\itenl1k\itenu3p\itenu4r\Sh o\zw{kpr}\qsk\zql o&\hsong{nir }\wh k\enotes
-\temps\NOtes\Lchtwo|\ql n\enotes
-\temps\NOtes\sk|\Sh m\ql m\enotes
-\temps\NOtes\lchtwo|\ql n\enotes
- %\check
-% mesure 44
-%
-\barre\NOtes\octs H|\tten1\tten3\tten4\zq{kp}\ql r&\soupir\enotes
-\temps\Notes\Lchthree|\doct jk&\hsong{\kern -2\Interligne C'est l'i-}\cl {jk}\enotes
-\temps\NOtes|\zq{lnq}\ql s&\hsong{ma-}\ql l\enotes
-\temps\Notes\lchthree|\doct kj&\hsong{ge d'un}\cl{kj}\enotes
-%
- %\check
-% mesure 45
-\barre\NOtes\octs G|\zh{in}\zhl p\qsk\zqu m&\hsong{r\^e-}\hu i\enotes
-\temps\NOtes\Lchfour|\qu l\enotes
-\temps\NOtes\sk|\zh{in}\zhl p\qsk\zqu k&\hsong{be }\hu i\enotes
-\temps\NOtes\lchfour|\Fl k\qu k\enotes
-%
- %\check
-% mesure 46
-%
-\barre\autolines {9}54\relax
-\NOtes\octs F|\soupir&\soupir\enotes
-\temps\NOtes\lFl c\Lchfive|\uchfive&\hsong{\kern -\internote D'une }\qu h\enotes
-\temps\NOtes|\uchfive&\hsong{\kern -\internote heu-}\qu h\enotes
-\temps\Notes\lchfive|\lq m\zq l\doct hh&\hsong{\kern -\internote re trop}\cu{hh}\enotes
-%
- %\check
-% mesure 47
-%
-\xbarre\NOtes\octs B|\zh{g}\zhl n\qsk\qu m&\hsong{br\`e-}\hu g\enotes
-\temps\NOtes\Lchsix|\qu l\enotes
-\temps\NOtes|\itenl1g\itenu2n\zh{g}\zhl n\qsk\qu j&\hsong{be }\hu g\enotes
-\temps\NOtes\lchsix|\qu i\enotes
-%
- %\check
-% mesure 48
-\xbarre\NOtes\octs B|\tten1\tten2\zq g\qu n&\soupir\enotes
-\temps\Notes\Lchseven|\doctu fg&\hsong{\kern -\internote Qui ne }\cu f\cu g\enotes
-\temps\NOtes|\Fl j\zh h\zhl j\kern 1pt\zq f\zqu m&\hsong{\kern -\internote veut }\qu f\enotes
-\temps\Notes\lchseven|\doctu ef&\hsong{\kern -\internote pas fi-}\cu e\cu f\enotes
-%
- %\check
-% mesure 49
-\xbarre\NOTes\itenl1E\itenl2L\octs E\relax
-|\Na j\rh j\zh{egi}\hu l&\hsong{nir...}\wh e\enotes
-\temps\NOTes
- \ifnum\transpose<-2\relax
- \Fl c\qsk\lh e\zh c\zh f\hl h\else \sk\fi
-|\ifnum\transpose<-2\else
- \rlap{\Fl c\qsk\lh e\zh c\zh f\zhl h}\fi
- \zh{il}\rh m\hu p\relax
-\enotes
- %\check
-% mesure 50
-\xbarre\NOTes\Na c\qsk\tten1\tten2\zh E\zhl L\rh c\zh b\zh e\hu g|\qsk
-\lh q\zh l\zh n\zh p\hl s\enotes
-\temps\NOtes\qu E|\hpause&\pause\enotes
-\temps\NOtes\soupir\enotes
-\setrightrepeat\finpartition
-\medskip\rightline{\it le \aujourdhui}
-\eject
-
-
-
-
diff --git a/macros/musixtex/doc/examples/tierce.tex b/macros/musixtex/doc/examples/tierce.tex
deleted file mode 100644
index 1a17a982d6..0000000000
--- a/macros/musixtex/doc/examples/tierce.tex
+++ /dev/null
@@ -1,376 +0,0 @@
-\ifx\mxversion\undefined
- \input musixtex
- \input musixcpt
- \input musixsty
-\fi
-\title{Tierce en taille}
-\fulltitle{III. \titremorceau}
-\csname titremorceautoc\endcsname
-%
-\parindent 18mm
-
-\subtitle{\sl (pour orgue)}
-\othermention{Compos\'e en 1990}
-\author{Daniel TAUPIN}
-\maketitle
-
-\tracingstats=2\relax
-%
-\nbporteesii=2\relax
-\def\nbinstruments{2}
-\global\cleftoksii={{0}{3}{0}{0}}%
-\global\cleftoksi={{6}{0}{0}{0}}%
-%
-\signaturegenerale{1}\relax % un dieze a la clef
-\def\quatretemps{\generalmeter{\allabreve}}%
-\def\troistemps{\generalmeter{\meterfrac{3}{2}}}%
-\def\deuxtemps{\generalmeter{\meterfrac{2}{2}}}%
-\def\Mordant{\mordant{10}}%
-\def\tenPince{\pince{10}}%
-%\check
-\def\instrumenti{P\'edale 16'}%
-\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt
- \centerline{G.O.}}}%
-%\check
-\def\gluemaxskip{7pt}%
-%
-% formes frequentes
-%
-% deux croches hautes
-\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-\def\dqh{\dqu}\def\dqb{\dql}%
-%
-% deux doubles croches hautes
-\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}%
-\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}%
-%
-% croche pointee et double croche meme hauteur
-\def\cpdcl#1{\trioskip\ibl0{#1}0\qbp0{#1}\sk\tbbl0\tqb0{#1}}%
-\def\cpdcu#1{\trioskip\ibu0{#1}0\qhp0{#1}\sk\tbbu0\tqh0{#1}}%
-%
-\medskip\noindent{\rm G.O.: fonds 8' ou 8'+4' doux}%
-\par\noindent{\rm R\'ec.: cornet ou cromorne}%
-\par\noindent{\rm P\'ed.: 16', tirasse G.O.}%
-\smallskip
-%
-\quatretemps
-%
-\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}%
-\debutmorceau
-\noautolines
-\advancebottom{4\internote}%
-%\autolines {8}44\relax
-\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}%
-%\check
-%
-\hyphenpenalty -50\relax
-\notes&|\Uptext{ \hbox{\kern -16mm\moyen Adagio \bf(\metron{\qu}{60})}}\enotes
-\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbH#1#2#3#4#5{\ibbu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}%
-\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-\def\dqbbh#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tqh0{#3}}\relax
-\def\dqbbu{\dqbbh}\def\dqbbb{\dqbbl}%
-\def\dqbbl#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tqb0{#3}}\relax
-%\check
-\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax
-\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax
-%\check
-%
-% mesure 1
-\notes\hup G&\itenu1g\itenu2i\zw i\zw g\hlp d|\cpdcl g\enotes
-\temps\NOTEs&|\hu d\enotes
-\temps\notes\qu J&\ql e|\trioskip\tenPince\qqbbl{-5}edeb\enotes
-% mesure 2
-\barre\NOTEs\hu I&\tten1\tten2\zh d\zhl g\hup i|\hu d\enotes
-\temps\notes\qu L&\itenl1e\ql e|\cpdcu N\enotes
-\temps\notes\qu H&\tten1\itenu0h\zq c\zql e\qu h|\dqu3ab\enotes
-% mesure 3
-\barre\NOTes\hu K&\tten0\zw d\zh f\hu h|\xTrille i{1.0\noteskip}\qup a\enotes
-\temps\notes&|\ibbu0N3\trioskip\qh0N\tqh0a\enotes
-\temps\NOtes\hu G&\zh g\hu i|\itenl0b\qu b\enotes
-\temps\notes&|\trioskip\tten0\qqbbh3bbcd\enotes
-% mesure 4%\autolines{9}44\relax
-\barre\NOTes\hu H&\zh f\zh h\hu j|\xTrille i{1.2\noteskip}\qup c\enotes
-\temps\notes&|\sk\trioskip\ibbu0b3\qh0b\tqh0c\enotes
-\temps\NOtes\hu I&\itenl1d\zh d\zh g\hu i|\itenl0d\qu d\enotes
-\temps\notes&|\trioskip\tten0\qqbbh3defg\enotes
-% mesure 5
-\barre\NOtes\hu K&\tten1\zql d\zh f\hu h|\tenPince\ql f\enotes
-\temps\notes&\zql c|\dql{-2}ed\enotes
-\temps\notes\hu I&\zh b\zh d\hu g|\dql6dg\enotes
-\temps\notes&|\dql{-8}dN\enotes
-% mesure 6
-\barre\NOTes\hu H&\zh c\zhl e\hup h|\qup c\enotes
-\temps\notes&|\cu c\enotes
-\temps\NOtes\hu D&\itenl1d\zh d\zhl f|\xTrille i{1.5\noteskip}\qup c\enotes
-\temps\notes&\qu j|\sk\cu b\enotes
-% mesure 7
-\barre\NOTEs\hup G&\tten1\zhp d\zhp g\hup i|\hup b\enotes
-\resp
-\temps\notes\soupir&\soupir|\cpdcu N\enotes
-% mesure 8
-\barre\NOTes\hu H&\zh c\zhl e\wh h|\qup a\enotes
-\temps\notes&|\cu b\enotes
-\temps\NOTes\hu K&\itenl1d\zh d\hl f|\xTrille i{1.0\noteskip}\qup a\enotes
-\temps\notes&|\trioskip\dqbbh3Na\enotes
-% mesure 9
-\barre\NOtes\hu G&\tten1\zh d\zh g\hu i|\itenl1b\qu b\enotes
-\temps\notes&|\tten1\qqbbh3bb{^c}d\enotes
-\temps\NOTes\hu H&\itenu1h\zh{^ce}\hu h|\xTrille i{\noteskip}\qup{c}\enotes
-\temps\notes&|\trioskip\ibbu1b3\qh1b\tqh1c\enotes
-% mesure 10
-\barre\NOTes\hup K&\tten1\zhp {df}\hup h|\hup d\enotes
-\resp
-\temps\notes\soupir&\soupir|\cpdcu a\enotes
-% mesure 11
-\barre\NOTes\wh H&\zh{=c}\zhl e\wh h|\qup{=c}\enotes
-\temps\notes&|\cu c\enotes
-\temps\notes\hu K&\itenl2d\zh d\zhl f|\ibu0c3\qh0c\trioskip\nbbu0\qh0d\tqh0e\enotes
-\temps\notes&|\tenPince\dql{-3}dc\enotes
-% mesure 12
-\troistemps
-\changecontext\NOTes\hu G&\tten2\itenl2d\zh d\zh g\hu i|\xTrille i{\noteskip}\qup b\enotes
-\temps\notes&|\cu a\enotes
-\temps\NOTEs\wh K&\zw d\tten2\zw f\wh h|\Mordant \wh a\enotes
-\resp
-% mesure 13
-\deuxtemps\changecontext\notes\wh{=J}&\zw{=cf}\wh h|\cpdcl h\enotes
-\temps\NOTes&|\hu f\enotes
-\temps\notes&|\trioskip\pince j\qqbbl{-3}hghd\enotes
-% mesure 14
-\barre\NOtes\hu I&\zh{bd}\hu g|\qu g\enotes
-\temps\NOtes&|\qu N\enotes
-\temps\NOtes\hu H&\itenu2h\zh{ce}\hu h|\itenl1a\qu a\enotes
-\temps\notes&|\trioskip\tten1\qqbbu3aabc\enotes
-% mesure 15
-\barre\NOtes\hu K&\tten2\itenl2d\zh{df}\hu h|\itenl1d\qu d\enotes
-\temps\notes&|\trioskip\tten1\qqbbu3ddef\enotes
-\temps\notes\qu I&\tten2\zq d\zq b\qu g|\ibu0e{-9}\qh0g\tqh0N\enotes
-\temps\notes\qu J&\zq{ch}\qu e|\dql{-3}cb\enotes
-%\check
-% mesure 16
-\troistemps
-\changecontext\temps\NOtes\qu K&\zql d\zh f\hu h|\xTrille i{1.5\noteskip}\qup a\enotes
-\temps\notes\qu D&\zql c|\sk\cu N\enotes
-\temps\NOTes\wh G&\zw{bd}\zw g|\wh N\enotes
-\resp
-% mesure 17
-\deuxtemps
-\changecontext\notes\hup I&\zw{gi}\hlp d|\cpdcl g\enotes
-\temps\NOTes&|\hl d\enotes
-\temps\notes\qu J&\ql e|\trioskip\tenPince\qqbbl{-5}edeb\enotes
-% mesure 18
-\barre\NOTEs\hup H&\itenl1e\itenu2h\zhp{^c}\zhp e\hup h|\hup{^c}\enotes
-\temps\notes\qu {^J}&\tten1\tten2\zq e\rq g\qu h|\cpdcu a\enotes
-% mesure 19
-\barre\NOtes\qu K&\zhl d\zq f\qu h|\ql h\enotes
-\temps\notes\qu I&\zq g\qu i|\dql{-3}gf\enotes
-\temps\NOtes\hu H&\zh{^c}\zhl e\qu h|\xTrille l{1.5\noteskip}\qlp e\enotes
-\temps\notes&\qu g|\sk\cl d\enotes
-% mesure 20
-\barre\NOTEs\hup D&\zhp d\zhp f\hup h|\hlp d\enotes
-\resp
-\temps\notes\qu J&\itenl1c\itenu2h\zq{=ce}\qu h|\cpdcu a\enotes
-% mesure 21
-\barre\NOTes\hu H&\tten1\tten2\zw f\zw h\hl c|\hu c\enotes
-\temps\notes&|\cu c\enotes
-\temps\notes\hu K&|\ibl1c3\qb1c\trioskip\nbbl 1\qb1d\tqb1e\enotes
-\temps\notes&\itenl1d\ql d|\tenPince\dql{-2}dc\enotes
-% mesure 22
-\barre\NOtes\hu G&\tten1\zh g\zh i\hu d|\itenu1 b\qu b\enotes
-\notes&|\tten1\trioskip\qqbbl3bbcd\enotes
-\temps\notes\hu J&\zh c\zh e\hu g|\cpdcl e\enotes
-\temps\notes&|\dql{-6}ea\enotes
-% mesure 23
-\barre\NOtes\hu I&\zh d\zh g\hu i|\itenu0d\qu d\enotes
-\temps\notes&|\tten0\trioskip\qqbbh{-1}dNab\enotes
-\temps\NOTes\hu H&\itenu2h\zh e\zh h\hu c|\qup c\enotes
-\temps\notes&|\cu c\enotes
-% mesure 24
-\troistemps\changecontext\NOTes\hu F&\tten2\itenl2f\zh f\zh h\hu c|\xTrille i{1.2\noteskip}\qup c\enotes
-\temps\notes&|\cu b\enotes
-\temps\NOTEs\wh I&\tten2\zw{^d}\zw f\wh i|\Mordant \wh b\enotes
-\resp
-% mesure 25
-\barre\notes\wh H&\zw{^df}\hup i|\cpdcl f\enotes
-\temps\NOTes&|\hu{^d}\enotes
-\temps\notes&\qu h|\trioskip\tenPince\qqbbl{-3}fefb\enotes
-% mesure 26
-\barre\notes\hu G&\zh b\zh e\hu g|\cpdcl e\enotes
-\temps\NOtes&|\hu e\enotes
-\temps\notes\hu H&\zh {cf}\hu h|\enotes
-\temps\notes&|\trioskip\ibl0f3\qb0f\sk\nbbl0\qb0g\tqb0h\enotes
-% mesure 27
-\barre\NOTes\hu I&\itenl1b\itenu2g\zh {bd}\hu g|\hu d\enotes
-\temps\NOTes\hl L&\tten1\tten2\zh b\zh e\hu g|\hl g\enotes
-% mesure 28
-\barre\temps\notes\hu H&\zh c\zh f\hu h|\qqbl{-2}fedc\enotes
-\temps\NOTEs\hu I&\itenl1d\zh d\zh g\hu i|\hu b\enotes
-% mesure 29
-\troistemps\changecontext\NOTes\hu K&\tten1\itenl1d\zh d\zh f\hu h|\xTrille i{\noteskip}\qup a\enotes
-\temps\notes&|\cu N\enotes
-\temps\NOTEs\hup G&\tten1\zhp d\zhp g\hup i|\hup N\enotes
-\temps\Notes\soupir&\soupir|\soupir\enotes
-%\check
-% mesure 31
-\deuxtemps\changecontext\notes\hup G&\itenu1g\itenu2i\zw i\zw g\hlp d|\cpdcl g\enotes
-\temps\NOTEs&|\hu d\enotes
-\temps\notes\qu J&\ql e|\trioskip\tenPince\qqbbl{-5}edeb\enotes
-% mesure 31
-\barre\NOTEs\hu I&\tten1\tten2\zhl d\zhp g\hup i|\hu d\enotes
-\temps\notes\qu L&\itenl1e\zql e|\cpdcu N\enotes
-\temps\notes\qu H&\tten1\itenu1h\zq c\zql e\qu h|\dqu3ab\enotes
-% mesure 32
-\barre\NOTes\hu K&\tten1\zw d\zh f\hu h|\xTrille i{1.0\noteskip}\qup a\enotes
-\temps\notes&|\ibbu0N3\trioskip\qh0N\tqh0a\enotes
-\temps\NOtes\hu G&\zh g\hu i|\itenl0b\qu b\enotes
-\temps\notes&|\trioskip\tten0\qqbbh3bbcd\enotes
-% mesure 33
-\barre\NOtes\hu J&\zw g\zh c\hl e|\itenu0e\ql e\enotes
-\temps\notes&|\trioskip\tten0\qqbbl3eefg\enotes
-\temps\notes\hu I&\zh b\hl d|\dql6dg\enotes
-\temps\notes&|\dql{-8}dN\enotes
-% mesure 34
-\barre\NOtes\hu H&\zh c\zhl e\wh h|\itenl0a\qu a\enotes
-\temps\notes&|\tten0\trioskip\qqbbh3aabc\enotes
-\temps\NOtes\hu K&\zh d\hl f|\itenl0d\qu d\enotes
-\temps\notes&|\tten0\trioskip\qqbbh3ddef\enotes
-%\check
-% mesure 35
-\cleftoksii={{0}{0}{0}{0}}\changeclefs
-\barre\NOTes\hu I&\zhl d\zhp g\hup i|\qup g\enotes
-\temps\notes&|\cu h\enotes
-\temps\notes\qu L&\hl e|\dqu{-4}ge\enotes
-\temps\notes\qu H&\zq h\qu j|\dqu{-3}ji\enotes
-% mesure 36
-\troistemps\changecontext\NOtes\qu K&\zw d\zh f\hu h|\xTrille o{\noteskip}\qup h\enotes
-\temps\notes\qu D&|\sk\cu g\enotes
-\temps\NOtes\hup G&\zhp{dg}\hup i|\hup g\enotes
-\resp
-\temps\notes\soupir&\soupir|\cpdcu b\enotes
-% mesure 37
-\deuxtemps\changecontext\notes\hu I&\zh{^d}\zhl f\wh i|\dqu3ij\enotes
-\temps\notes&|\dqu{-3}ih\enotes
-\temps\notes\hu L&\zh g\hl e|\pince o\dqu{-3}gf\enotes
-\temps\notes&|\dqu{-5}ge\enotes
-% mesure 38
-\barre\notes\hu{^J}&\zh{^c}\zhl e\wh h|\dqu3hi\enotes
-\temps\notes&|\dqu{-3}hg\enotes
-\temps\notes\hu K&\zh d\hl f|\pince o\dqu{-3}fe\enotes
-\temps\NOtes&|\qu d\enotes
-% mesure 39
-\barre\notes\hu I&\zh b\zhl d\wh g|\dqu3gh\enotes
-\temps\notes&|\dqu{-8}gd\enotes
-\temps\notes\hu J&\zh c\hl e|\dqu3ef\enotes
-\temps\NOtes&|\pince o\qu e\enotes
-% mesure 40
-\barre\notes\hu H&\zh{^c}\zhl e\wh h|\dqu3hi\enotes
-\temps\notes&|\dqu{-8}he\enotes
-\temps\notes\hu J&\zh d\hl f|\dqu3fg\enotes
-\temps\NOtes&|\pince o\qu f\enotes
-%\check
-% mesure 41
-\barre\notes\hu G&\zhl d\zw g\wh i|\dqu3ij\enotes
-\temps\notes&|\dqu{-3}ih\enotes
-\temps\notes\hu L&\hl e|\dqu{-3}gf\enotes
-\temps\notes&|\dqu{-5}ge\enotes
-%\check
-% mesure 42
-\barre\notes\hu H&\itenu1h\zh c\zhl e\wh h|\dqu3jk\enotes
-\temps\notes&|\dqu{-3}ji\enotes
-\temps\notes\hu{^J}&\hl{^c}|\dqu{-3}hg\enotes
-\temps\notes&|\dqu{-3}fe\enotes
-% mesure 43
-\barre\notes\qu K&\tten1\zql d\zh f\hu h|\dqu3fg\enotes
-\temps\notes\qu{=J}&\ql{=c}|\pince o\dqu{-6}fd\enotes
-\temps\NOTes\hu I&\zh{bd}\hu g|\qup g\enotes
-\temps\notes&|\cu h\enotes
-% mesure 44
-\troistemps\changecontext\NOtes\qu K&\itenl0d\zh d\zh f\hu h|\xTrille o{1.5\noteskip}\qup h\enotes
-\temps\notes\qu D&|\sk\cu g\enotes
-\temps\NOTEs\wh G&\tten0\zw b\zw d\wh g|\Mordant\wh g\enotes
-\resp
-% mesure 45
-\cleftoksii={{0}{3}{0}{0}}\changeclefs
-\barre\notes\hup G&\itenu1g\itenu2i\zw i\zw g\hlp d|\cpdcl g\enotes
-\temps\NOTEs&|\hu d\enotes
-\temps\notes\qu J&\ql e|\trioskip\tenPince\qqbbl{-5}edeb\enotes
-% mesure 46
-\barre\NOTEs\hu I&\tten1\tten2\zh d\zhl g\hup i|\hu d\enotes
-\temps\notes\qu L&\itenl1e\ql e|\cpdcu N\enotes
-\temps\notes\qu H&\tten1\itenu0h\zq c\zql e\qu h|\dqu3ab\enotes
-% mesure 47
-\barre\NOTes\hu K&\tten0\zw d\zh f\hu h|\xTrille i{1.0\noteskip}\qup a\enotes
-\temps\notes&|\ibbl0N3\trioskip\qb0N\tqb0a\enotes
-\temps\NOtes\hu G&\zh g\hu i|\itenl0b\qu b\enotes
-\temps\notes&|\trioskip\tten0\qqbbh3bbcd\enotes
-% mesure 48
-\barre\NOTes\hu H&\zh f\zh h\hu j|\xTrille i{1.2\noteskip}\qup c\enotes
-\temps\notes&|\sk\trioskip\ibbl0b3\qb0b\tqb0c\enotes
-\temps\NOtes\hu I&\itenl1d\zh d\zh g\hu i|\itenl0d\qu d\enotes
-\temps\notes&|\trioskip\tten0\qqbbh3defg\enotes
-% mesure 49
-\barre\NOtes\hu K&\tten1\zql d\zh f\hu h|\tenPince\ql f\enotes
-\temps\notes&\zql c|\dql{-2}ed\enotes
-\temps\notes\hu I&\zh b\zh d\hu g|\dql6dg\enotes
-\temps\notes&|\dql{-8}dN\enotes
-% mesure 50
-\troistemps\changecontext\NOTes\hu H&\zh c\zhl e\hup h|\xTrille i{\noteskip}\qup a\enotes
-\temps\notes&|\cu b\enotes
-\temps\NOTEs\wh I&\zw{^d}\zw f\wh i|\Mordant\wh b\enotes
-\resp
-% mesure 51
-\deuxtemps\changecontext\notes\wh H&\zw{^df}\hup i|\cpdcl f\enotes
-\temps\NOTes&|\hu{^d}\enotes
-\temps\notes&\qu h|\trioskip\tenPince\qqbbl{-3}fefb\enotes
-% mesure 52
-\barre\notes\hu G&\zh b\zh e\hu g|\cpdcl e\enotes
-\temps\NOtes&|\hu e\enotes
-\temps\notes\hu H&\zh {cf}\hu h|\enotes
-\temps\notes&|\trioskip\ibl0f3\qb0f\sk\nbbl0\qb0g\tqb0h\enotes
-% mesure 53
-\barre\NOTes\hu I&\itenl1b\itenu2g\zh {bd}\hu g|\hu d\enotes
-\temps\NOTes\hl L&\tten1\tten2\zh b\zh e\hu g|\hl g\enotes
-% mesure 54
-\barre\temps\notes\hu H&\zh c\zh f\hu h|\qqbl{-2}fedc\enotes
-\temps\NOTes\hu I&\itenl1d\zw d\zh g\hu i|\xTrille i{1.5\noteskip}\qup b\enotes
-\temps\notes&|\cu a\enotes
-% mesure 55
-\barre\NOTes\wh K&\tten1\zw d\zw f\wh h|\Mordant \wh a\enotes
-\resp
-% mesure 56
-\barre\notes\wh{=J}&\zw{=cf}\wh h|\cpdcl h\enotes
-\temps\NOTes&|\hu f\enotes
-\temps\notes&|\trioskip\pince{11}\qqbbl{-3}hghd\enotes
-% mesure 57
-\barre\NOtes\hu I&\zh{bd}\hu g|\qu g\enotes
-\temps\NOtes&|\qu N\enotes
-\temps\NOtes\hu H&\itenu2h\zh{ce}\hu h|\itenl1a\qu a\enotes
-\temps\notes&|\trioskip\tten1\qqbbu3aabc\enotes
-% mesure 58
-\barre\NOtes\hu K&\tten2\itenl2d\zh{df}\hu h|\itenl1d\qu d\enotes
-\temps\notes&|\trioskip\tten1\qqbbu3ddef\enotes
-\temps\notes\qu I&\tten2\zq d\zq b\qu g|\ibu0e{-9}\qh0g\tqh0N\enotes
-\temps\notes\qu J&\zq{hc}\qu e|\dql{-3}cb\enotes
-%\check
-% mesure 59
-\barre\NOTes\hu K&\itenl1d\zw d\zh g\hu i|\hu b\enotes
-\temps\NOTes\hu D&\zh f\hu h|\xTrille i{\noteskip}\qup a\enotes
-\temps\notes&|\cu N\enotes
-% mesure 60
-\barre\NOTEs\wh G&\tten1\zw{bd}\zw g|\wh N\enotes
-\mulooseness 3\relax
-\finmorceau
-\rightline{\sl\aujourdhui}\vfil\eject
-
-\ifx\toc\undefined
- \let\finishpiece \end
-\else
- \let\finishpiece\relax
-\fi
-\finishpiece
-\endinput
-
diff --git a/macros/musixtex/doc/examples/traeumer.tex b/macros/musixtex/doc/examples/traeumer.tex
deleted file mode 100644
index f97c8f8563..0000000000
--- a/macros/musixtex/doc/examples/traeumer.tex
+++ /dev/null
@@ -1,299 +0,0 @@
-%format musix
-
-\input musixtex
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% TEX translation of MIDI File :
-% b.MID
-%
-% Written by Hans Kuykens
-% this translation of date : 1-9-1993
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-\musicparskip
-
-\def\slopecresc#1#2#3#4{\rlap{\varline{#1}{#2\noteskip}{#3}}%
- \rlap{\varline{#1}{#2\noteskip}{#4}}}%
-
-\def\liftqp#1{\raise#1\Interligne\rlap\qp}
-\def\liftds#1{\raise#1\Interligne\rlap\ds}
-\def\raiseped{-6}
-
-\nopagenumbers\parindent10mm
-
-\centerline{\BIGfont Tr\"aumerei}\bigskip
-\rightline{\medtype Robert Schumann}\smallskip
-
-\generalsignature{-1}
-\generalmeter\meterC
-\setstaffs12
-\interstaff{12}
-\setclef1\bass
-\meterskip\Interligne
-\relativeaccid
-\startbarno0\startmuflex\startpiece\systemnumbers
-%%% bar 0
-\nspace
-\NOtes\zmidstaff\p\qp|\isluru2j\qu c\en
-%%% bar 1
-\leftrepeat
-\NOtes\sPED\zqu F\roff{\itied0F\zw F}|\liftqp{-4}\issluru1g\hu f\en
-\qspace
-\Notes\itieu3J\zhp J\issluru4b\hup a|\lpt c\lpt M\zh c\hl M\en
-\Notes|\ttie1\ttie2\cu f\ibsluru5d%
- \roff{\slopecresc{12}{4.3}8{11}}\ibu0d5\qb0e\en
-\Notes|\qb0f\tqh0h\en
-%%% bar 2
-\bar
-\Notes\ttie0\zql F\ttie3\zq J\tslur4b\qu a|\liftqp{-2}\ibu1i5\qb1j\en
-\znotes|\tubslur5j\tqh1m\en
-\qspace
-\notes\multnoteskip\smallvalue\sPED\tinynotesize\ibbu0J9\qb0I\islurd0N\tqh0M\en
-\NOtes\ttie0\lpt M\zhl M\hu d|\islurd1f\zhlp f\hu m\en
-\Notes\ibsluru0b\ibu0b{-1}\qb0c\tqh0b|\ibsluru2k\ibu2k{-2}\qb2l\tqh2k\en
-%%% bar 3
-\bar
-\Notes\zchar{-7}\Dep\tslur0J\zql J\qu a%
- |\tsslur1f\zql f\ibu2j5\qb2j\tubslur2k\tqh2m\en
-\Notes\ibsluru0a\zhl J\ibu0a{-2}\qb0b\tqh0a%
- |\ibsluru1f\zhl e\ibu3f5\qb3g\tqh3h\en
-\Notes\tubslur0M\qu N|\ibu3h5\qb3i\tubslur1i\tqh3k\en
-\Notes\ibslurd0I\ibsluru1L\roffset{.5}{\slopecresc{-8}{2.6}48}%
- \ibl0I5\qb0H\tbl0\zqb0J\bsk\ibu1L5\qb1M\tqh1N%
- |\itied2c\ibsluru3e\zql{!c}\ibu4e5\qb4f\zq e\tqh4g\en
-%%% bar 4
-\bar
-\Notes\tdbslur0M\zql M\qu a%
- |\ttie2\zql c\zq f\ibu2h5\qb2h\tqh2j\en
-\Notes\tubslur1J\ibslurd0K\zhu N\ibl1K3\qb1J\tqb1K%
- |\tubslur3g\zhl c\zh g\hu e\en
-\Notes\ibl0J{-1}\qb0J\qb0I\en
-\Notes\liftqp1\qb0G\tqb0H|\ibsluru2c\zql c\qu c\en
-\def\atnextline{\Liftslur02\Liftslur23\def\interstaff{12}}%
-%%% bar 5
-\bar
-\NOtes\zchar{-7}\sPed\tsslur0M%
- \roff{\isslurd0F\zw F}\qu F|\liftqp{-4}\issluru1g\hu f\en
-\qspace
-\Notes\issluru3J\zhp J\issluru4b\hup a|\lpt c\lpt M\zh c\hl M\en
-\Notes|\ttie1\tubslur2f\cu f\ibsluru5d%
- \roff{\slopecresc{12}{4.3}8{11}}\ibu0d5\qb0e\en
-\Notes|\qb0f\tqh0h\en
-%%% bar 6
-\bar
-\Notes\tsslur0F\zq F\tsslur3J\zq J\tslur4b\qu a|\liftqp{-2}\ibu1k5\qb1j\en
-\znotes|\tubslur5l\tqh1o\en
-\qspace
-\notes\multnoteskip\smallvalue\sPED\tinynotesize\ibbu0L9\qb0{^J}\islurd0b\tqh0O\en
-\NOtes\ttie0\islurd0a\issluru1e\lpt a\zhl a\hup e%
- |\islurd2g\lpt g\lh g\zhlp h\qup o\en
-\Notes\sk\sk\DEP|\ibsluru3m\ibu2m{-3}\qb2n\qb2m\tqh2l\en
-%%% bar 7
-\bar
-\Notes\sPED\tsslur0a\tslur1e\lpt K\lpt a\zq K\zql a\qup d%
- |\tsslur2h\zqlp h\ibu4l0\qb4m\en
-\Notes|\qb4o\en
-\Notes|\qb4k\en
-\nspace
-\Notes\DEP\islurd0M\isluru1c\zq M\cl c|\ibslurd4h\zcl{_h}\tqh4m\en
-\Notes\sPED\tslur0N\ttie1\zqp N\qlp c|\ibl3g0\zqb3g\qup l\en
-\Notes|\qb3j\en
-\Notes|\qb3e\en
-\nspace
-\Notes\DEP\islurd0a\zcl a\ibsluru1b\cu c|\zcu{_l}\tqb3{^f}\en
-%%% bar 8
-\bar
-\nspace
-\Notes\sPED\tsslur0a\zhl N\ibu1d0\qb1{^b}|\tdbslur4h\zqu k\zhl{=f}\en
-\Notes\qb1g\en
-\Notes\DEP\qb1a|\qu{=l}\en
-\notes\tqh1b\en
-\notes|\tinynotesize\grcu j\en
-\Notes\tubslur1b\zcu c\ibslurd0K\ibl0K{-2}\qb0J%
- |\curve105\tslur3g\zql e\hu j\en
-\Notes\liftds3\qb0K\en
-\nspace
-\Notes\liftqp3\qb0{=I}|\liftds{-2}\en
-\Notes\tqb0G|\isluru2j\cu c\en
-%%% bar 9
-\rightrepeat
-\NOtes\zchar{-7}\sPed\tdbslur0L\roff{\zw F}\qu F%
- |\liftqp{-4}\issluru1g\hu f\en
-\qspace
-\Notes\zhp J\hup a|\lpt c\lpt M\zh c\hl M\en
-\Notes|\ttie1\ttie2\cu f\ibsluru5d%
- \roff{\slopecresc{12}{4.3}8{11}}\ibu0d5\qb0e\en
-\Notes|\qb0f\tqh0h\tubslur5g\en
-%%% bar 10
-\bar
-\Notes\ds|\loffset{1.3}{\ibsluru5g}\ibl3j{-1}\zqb3j%
- \rlap{\varline{14}{1.5\noteskip}8}%
- \rlap{\varline{15}{1.5\noteskip}{11}}\ibu5i3\qb5j\en
-\nspace
-\Notes\zchar{-7}\Dep\islurd0G\ibsluru1M\zcu N\zcl J%
- |\tubslur5j\loffset{.33}{\na i}\tbl3\zqb3i\tqh5{_l}\en
-\nspace
-\Notes\zchar{-7}\sPed\islurd2K\zhl K\ibu2L5\qb2{^M}|\zhl h\hu l\en
-\Notes\tqh2a\en
-\NOtes\ibu2d5\zqb2d\roffset{1.5}{\isluru3d}\rhl d\en
-\Notes|\tqb2{^f}\en
-\Notes\zchar{-7}\Dep\tsslur2L\invertslur1\curve300\tslur1e\ibl1L3\qb1K%
- |\zql h\ibsluru4i\ibu5i{-3}\qb5k\en
-\Notes\tqb1M|\tqh5j\en
-%%% bar 11
-\bar
-\Notes\tslur0H\ttie3\zqlp N\qup d|\lpt g\zql g\ibu3h0\qb3i\en
-\Notes|\qb3k\en
-\Notes|\qb3g\en
-\nspace
-\Notes\isluru0M\zq J\cl{^M}|\islurd3a\zcl{_e}\tqh3h\en
-\Notes\tslur0N\zqp K\qlp N|\ibl2e0\zqb2d\qup i\en
-\Notes|\tdbslur3M\qb2g&\en
-\Notes|\ibslurd3e\qb2b\en
-\Notes\islurd0L\cl{_L}|\zcu h\tqb2c\en
-%%% bar 12
-\bar
-\Notes\tsslur0K\lpt K\zql K\ibu0a0\qb0b|\qup g\en
-\Notes\qb0d\en
-\Notes\qb0N|\invertslur3\zchar{.5}{\curve{-1}00\tslur3c}\en
-\Notes\islurd0G\islurd1K\issluru2a\zcl K\tqh0a%
- |\roff{\islurd3c}\issluru5d\rcl c\cu d\en
-\qspace
-\Notes\tsslur1K\tsslur2a\ibl0K{-2}\zqb0K\ibu1N{-2}\qb1a%
- |\tsslur3c\tsslur5d\tslur4d\zql b\qu d\en
-\Notes\zqb0N\qb1N\en
-\Notes\zqb0G\qb1G|\ds\en
-\Notes\tbl0\zqb0H\tqh1H|\ibsluru3f\cu f\en
-%%% bar 13
-\bar
-\NOtes\zchar{-9.5}\sPed\curve{-5}30\tsslur0C\qu B%
- |\liftqp{-3}\itieu2i\hu i\en
-\Notes\zhp d\hlp M|\zhp f\hlp b\en
-\Notes|\ttie3\ttie2\cu i\en
-\Notes|\icresc\ibsluru2g\ibu0g5\qb0h\en
-\Notes|\qb0i\en
-\Notes|\tqh0k\en
-%%% bar 14
-\bar
-\Notes\ds|\zqu m\ibu4m{5}\qb4m\en
-\Notes\DEP\islurd0J\ibsluru1c\zcl N\cu d%
- |\roff{\zchar{-3}\tcresc}\tubslur2n\tqh4p\en
-\nspace
-\Notes\sPED\isslurd2a\zhl a\ibu2b3\qb2{^c}|\zhl l\hu p\en
-\Notes\tqh2e\en
-\NOtes\ibu2h5\zqb2h\roff{\isluru3h}\rhl h\en
-\Notes|\tqb2{^j}\en
-\Notes\DEP\tsslur2a\invertslur1\curve300\tslur1i\ibl1b3\qb1a%
- |\zql l\ibsluru4n\ibu5n{-3}\qb5o\en
-\Notes\tqb1c|\tqh5n\en
-\def\atnextline{\Liftslur02\Liftslur4{-2}}%
-%%% bar 15
-\bar
-\Notes\ttie0\ttie3\zqlp d\qup h|\lpt k\zql k\ibu3l0\qb3m\en
-\Notes|\qb3o\en
-\Notes|\qb3k\en
-\Notes\isluru0c\zq N\cl{^c}|\islurd3d\zcl i\tqh3l\en
-\Notes\tslur0d\zqp a\qlp d|\ibl2h0\zqb2h\qup m\en
-\Notes|\tdbslur3b\qb2k&\en
-\Notes|\ibslurd3h\qb2f\en
-\Notes\islurd0L\cl b|\zcu l\tqb2g\en
-%%% bar 16
-\bar
-\Notes\isslurd1a\zhl a|\ibl3f{-2}\zqb3f\qup k\en
-\notes|\qb3h\en
-\Notes\qb3d|\curve{-4}00\invertslur3\tslur3a\en
-\nspace
-\Notes\zq e\tqh3{^c}|\issluru2h\zcu h\rcl g\en
-\qspace
-\Notes\tsslur1a\ibl0b2\zqb0a\qu d%
- |\zchar{12}{\twelveit ritard.}\tubslur4h\tsslur2h\zql f\qu h\en
-\Notes\islurd2a\tqb0b\en
-\nspace
-\Notes\zchar{-7}\sPed\zcu{=c}\roff{\tsslur2a\ibl0N{-7}\qb0b}%
- |\ibsluru2g\zql e\qu g\en
-\qspace
-\Notes\zchar{-7}\Dep\liftds2\tqb0J%
- |\roff{\stdstemfalse\tinynotesize\grcu c}\en
-%%% bar 17
-\bar
-\NOtes\curve{-6}40\tsslur0G\zchar{-7}\sPed\zqu F\cchar{11}\p
- \roff{\isslurd0F\zw F}%
- |\zchar{12}{\twelveit a tempo}\liftqp{-4}\issluru1g\hu f\en
-\qspace
-\Notes\issluru3J\zhp J\issluru4b\hup a|\pt b\pt L\zh c\hl M\en
-\Notes|\ttie1\tslur2e\cu f\ibsluru5d%
- \roff{\slopecresc{12}{4.3}8{11}}\ibu0d5\qb0e\en
-\Notes|\qb0f\tqh0h\en
-%%% bar 18
-\bar
-\Notes\tsslur0F\zq F\tsslur3J\zq J\tsslur4b\qu a|\liftqp{-2}\ibu1i5\qb1j\en
-\znotes|\tubslur5j\tqh1m\en
-\qspace
-\notes\multnoteskip\tinyvalue\sPED\tinynotesize\ibbu0J9\qb0I\islurd0N\tqh0M\en
-\NOtes\ttie0\lpt M\zhl M\hu d|\islurd1f\zhlp f\hu m\en
-\Notes\ibsluru0b\ibu0b{-1}\qb0c\tqh0b|\ibsluru2k\ibu2k{-2}\qb2l\tqh2k\en
-%%% bar 19
-\bar
-\Notes\zchar{-7}\Dep\tslur0J\zql J\qu a%
- |\tsslur1g\zql f\ibu2j5\qb2j\tubslur2k\tqh2m\en
-\Notes\ibsluru0a\zhl J\ibu0a{-2}\qb0b\tqh0a%
- |\ibsluru1f\zhl e\ibu3f5\qb3g\tqh3h\en
-\Notes\tubslur0M\qu N|\ibu3h5\qb3i\tubslur1i\tqh3k\en
-\Notes\ibslurd0I\ibsluru1L\roffset{.5}{\slopecresc{-8}{1.6}38}%
- \ibl0I3\qb0H\tbl0\zqb0J\bsk\ibu1L3\qb1M\tqh1N%
- |\isslurd2c\ibsluru3f\zql{!c}\ibu4f3\qb4f\zq e\tqh4g\en
-%%% bar 20
-\def\atnextline{\Liftslur04}\bar
-\Notes\tdbslur0M\zql M%
- \rlap{\kern-2mm\varline{-6}{1.5\noteskip}3}%
- \rlap{\kern-2mm\varline{-5.5}{1.5\noteskip}8}\qu a%
- |\tsslur2c\zql c\zq f\ibu2h5\qb2h\tqh2j\en
-\Notes\tubslur1K\ibslurd0K\zhu N\ibl1K3\qb1J\tqb1K%
- |\tubslur3g\zhl c\zh g\hu e\en
-\Notes\ibl0J{-1}\qb0J\qb0I\en
-\Notes\liftqp1\qb0G\tqb0H|\ibsluru2c\zql c\qu c\en
-%%% bar 21
-\bar
-\NOtes\zchar{-7}\sPed\tdbslur0L\zqu F\roff{\isslurd0F\zw F}%
- |\liftqp{-4}\issluru1g\hu f\en
-\Notes\issluru3J\zhp J\issluru4b\hup a|\pt b\pt L\zh c\hl M\en
-\Notes|\ttie1\tubslur2f\cu f\ibsluru5d%
- \roff{\slopecresc{12}{4.3}8{11}}\ibu0d5\qb0e\en
-\Notes|\qb0f\tqh0h\en
-%%% bar 22
-\bar
-\def\tx#1{\cchar{14}{\twelveit #1}}%
-\def\rtx#1{\zchar{14}{\twelveit #1}}%
-\def\ctx{\cchar{14}{\twelveit --}}%
-\Notes\tsslur0F\zq F\tsslur3J\zq J\tslur4b\qu a|\liftqp{-2}\ibu1k5\qb1j\en
-\Notes|\tubslur5l\tqh1o\en
-\nspace
-\NOtes\zchar{-8}{\kern1pt\sPed}\fermataup b\cchar{16}\pp
- \isslurd0G\zhp{G^I}\hlp{^b}%
- |\islurd2g\lpt g\lpt k\lh f\zhp g\zhl k\fermataup s\qup o\en
-\Notes\tx{ri}\sk\sk\ctx|\ibsluru3m\ibu2m{-3}\qb2n\qb2m\tqh2k\en
-%%% bar 23
-\bar
-\Notes\rtx{tar}\zchar{-7}\Dep\tsslur0J\zq{Ja}\ql c%
- |\tsslur2g\zql f\ibu2j5\qb2j\tubslur3k\tqh2m\en
-\Notes\ctx\zhl J\zhu c\roff{\ibsluru0a\ibu0a{-2}\qb0b}%
- |\ibsluru1f\zhl e\ibu3f5\qb3g\en
-\qspace
-\Notes\tqh0a|\tqh3h\en
-\Notes\ctx\tubslur0L\qu N|\ibu3h5\qb3i\tubslur1i\tqh3k\en
-\Notes\tx{dan}\isluru1N\ibl0I3\zq N\qb0I\rtx{\twelveit~--}%
- |\isslurd2d\ibsluru3f\zql d\ibu4f3\qb4g\en
-\nspace
-\Notes\zq a\tqb0K|\zq{^f}\tqh4h\en
-%%% bar 24
-\bar
-\Notes\tslur1b\zq N\ql b|\tsslur2d\zql d\zq g\ibu1k3\qb1i\en
-\Notes\ctx|\tubslur3k\tqh1k\en
-\Notes\zchar{11}\p\ibslurd0G\issluru1J\zqu J\ibl0G{-3}\qb0J%
- |\isluru2i\zql N\zq b\ibu1c2\qb1d\en
-\Notes\tx{do}\tqb0C|\islurd3c\zq c\tqh1e\en
-\NOTes\tslur0J\tsslur1J\fermatadown C\zh F\hu J%
- |\zhl a\tsslur3d\zh c\tslur2h\fermataup m\hu f\en
-%\mulooseness-2\relax
-\mulooseness-1\relax
-\Endpiece\eject\endmuflex\end
diff --git a/macros/musixtex/doc/examples/widor.tex b/macros/musixtex/doc/examples/widor.tex
deleted file mode 100644
index 5fc02a89f8..0000000000
--- a/macros/musixtex/doc/examples/widor.tex
+++ /dev/null
@@ -1,792 +0,0 @@
-\title{Toccata}
-\shortauthor{Ch.-M. Widor}
-\subtitle{(extraite de la cinqui\`eme symphonie pour orgue)}
-\fullauthor{Charles-Marie WIDOR}
-\maketitle
-\parindent 13mm
-%
-
-\tracingstats=2\relax
-%
-\nbporteesi=2\relax
-\def\nbinstruments{1}
-\global\cleftoksi={{0}{0}{0}{0}}%
-%
-\signaturegenerale{-1}\relax
-\def\Mordant{\mordant{10}}%
-%\check
-\def\instrumenti{Manuel}%
-%\check
-\def\gluemaxskip{7pt}%
-%
-\def\bnotes{\barre\notes}\def\bnoteP{\bnotes\Pause}
-\def\tnotes{\temps\notes}
-\def\zbnotes{\zbarre\notes}
-\def\doubler{\multiply\noteskip by 2\relax}%
-\def\Pause{\sk\sk\sk\sk\sk\sk\sk\pause}%
-% formes frequentes
-%
-\def\qbupz#1{\upz{#1}\qb0{#1}}
-\def\qhlpz#1{\lpz{#1}\qh0{#1}}
-%\check
-\def\umotif#1#2#3#4#5#6#7#8#9{\varaccid
-{\advance\transpose by 2\ibbl0{#9}0}\relax
-\ilegu0{#1}\qb0{#1}\tleg0\qb0{#2#3}%
-\qbupz{#1}\qbupz{#4#5}\qbupz{#6#7}\qbupz{#8#9}\qbupz{#7}\tbl0\qbupz{#5}}%
-%\check
-\def\mmotif#1#2#3#4#5#6#7#8#9{\varaccid
-{\advance\transpose by -2\ibbu0{#1}0}\relax
-\ilegl0{#3}\qh0{#1}\tleg0\qh0{#2#3}%
-\qhlpz{#1}\qhlpz{#4#5}\qhlpz{#6#7}\qhlpz{#8#9}\qhlpz{#7}\tbu0\qhlpz{#5}}%
-\def\Mmotif#1#2#3#4#5{\mmotif#1!#2!#3!#4!#5}
-\def\Umotif#1#2#3#4#5{\umotif#1!#2!#3!#4!#5}
-%\check
-%
-\def\culpz#1{\lpz{#1}\cu{#1}}%
-\def\clupz#1{\upz{#1}\cl{#1}}%
-%
-%\check
-% double accord de 4 + soupir
-\def\dbuq#1#2#3#4{\lst{#4}\ibu0{#1}0\zq{#1#2#3}\qh0{#4}\sk
-\lpz{#4}\zq{#1#2#3}\tqh0{#4}\sk\dsoupir\sk}%
-\def\dblq#1#2#3#4{\ust{#1}\ibl0{#4}0\zq{#1#2#3}\qb0{#4}\sk
-\upz{#1}\zq{#1#2#3}\tqb0{#4}\sk\dsoupir\sk}%
-%
-\def\dblql#1#2#3#4{\ust{#1}\ibl0{#4}0\zq{#1#3}\lq{#2}\qb0{#4}\sk
-\upz{#1}\zq{#1#3}\lq{#2}\tqb0{#4}\sk\dsoupir\sk}%
-\def\dbuqr#1#2#3#4{\lst{#4}\ibu0{#1}0\rq{#2}\zq{#1#3}\qh0{#4}\sk
-\lpz{#4}\rq{#2}\zq{#1#3}\tqh0{#4}\sk\dsoupir\sk}%
-%
-%\check
-% double accord de 3 + soupir
-\def\dbut#1#2#3{\lst{#3}\ibu0{#1}0\zq{#1#2}\qh0{#3}\sk
-\lpz{#3}\zq{#1#2}\tqh0{#3}\sk\dsoupir\sk}%
-\def\Dbut#1#2#3{\ibu0{#1}0\zq{#1#2}\bupz0\qh0{#3}\sk
-\zq{#1#2}\bupz0\tqh0{#3}\sk\dsoupir\sk}%
-\def\dblt#1#2#3{\ust{#1}\ibl0{#3}0\zq{#1#2}\qb0{#3}\sk
-\upz{#1}\zq{#1#2}\tqb0{#3}\sk\dsoupir\sk}%
-%
-\def\dbutr#1#2#3{\lst{#3}\ibu0{#1}0\zq{#1}\rq{#2}\qh0{#3}\sk
-\lpz{#3}\rq{#2}\zq{#1}\tqh0{#3}\sk\dsoupir\sk}%
-\def\Dbutr#1#2#3{\ibu0{#1}0\zq{#1}\rq{#2}\bupz0\qh0{#3}\sk
-\rq{#2}\zq{#1}\bupz0\tqh0{#3}\sk\dsoupir\sk}%
-\def\dbltl#1#2#3{\ust{#1}\ibl0{#3}0\zq{#1}\lq{#2}\qb0{#3}\sk
-\upz{#1}\zq{#1}\lq{#2}\tqb0{#3}\sk\dsoupir\sk}%
-%
-%\check
-% double accord de 2 + soupir
-\def\dbud#1#2{\lst{#2}\ibu0{#1}0\zq{#1}\qh0{#2}\sk
-\lpz{#2}\zq{#1}\tqh0{#2}\sk\dsoupir\sk}%
-\def\Dbud#1#2{\ibu0{#1}0\zq{#1}\bupz0\qh0{#2}\sk
-\zq{#1}\bupz0\tqh0{#2}\sk\dsoupir\sk}%
-%
-% double accord de 3 doubles croches
-\def\ddbut#1#2#3{\lpz{#3}\ibbu0{#1}0\zq{#1#2}\qh0{#3}%
-\lpz{#3}\zq{#1#2}\tqh0{#3}}%
-\def\ddblt#1#2#3{\upz{#1}\ibbl0{#3}0\zq{#1#2}\qb0{#3}%
-\upz{#1}\zq{#1#2}\tqb0{#3}}%
-%
-% double accord de 2 doubles croches
-\def\ddbud#1#2{\lpz{#2}\ibbu0{#1}0\zq{#1}\qh0{#2}%
-\lpz{#2}\zq{#1}\tqh0{#2}}%
-\def\ddbld#1#2{\upz{#1}\ibbl0{#2}0\zq{#1}\qb0{#2}%
-\upz{#1}\zq{#1}\tqb0{#2}}%
-%
-% double accord de 3 + soupir
-\def\dbutmr#1#2#3{\lst{#3}\ibu0{#1}0\rq{#2}\zq{#1}\qh0{#3}\sk
-\lpz{#3}\rq{#2}\zq{#1}\tqh0{#3}\sk\dsoupir\sk}%
-%
-% double accord de 2 + soupir
-\def\dbudr#1#2{\lst{#2}\ibu0{#1}0\rq{#1}\qh0{#2}\sk
-\lpz{#2}\rq{#1}\tqh0{#2}\sk\dsoupir\sk}%
-%
-% double accord de 3 doubles croches
-\def\ddbutr#1#2#3{\lpz{#3}\ibbu0{#1}0\rq{#2}\zq{#1}\qh0{#3}%
-\lpz{#3}\rq{#2}\zq{#1}\tqh0{#3}}%
-\def\ddbltl#1#2#3{\upz{#1}\ibbl0{#3}0\lq{#2}\zq{#1}\qb0{#3}%
-\upz{#1}\lq{#2}\zq{#1}\tqb0{#3}}%
-%
-% double accord de 2 doubles croches
-\def\ddbudr#1#2{\lpz{#2}\ibbu0{#1}0\rq{#1}\qh0{#2}\relax
-\lpz{#2}\rq{#1}\tqh0{#2}}%
-%
-% accord de 4, 3 doubles croches inf
-\def\lmotbba#1#2#3#4{\dbuq{#1}{#2}{#3}{#4}%
-\ddbut{#2}{#3}{#4}}%
-%\check
-%
-% accord de 4, 2 doubles croches sup
-\def\lmotbbb#1#2#3#4{\dbuq{#1}{#2}{#3}{#4}%
-\ddbud{#1}{#2}}%
-%\check
-%
-% accord de 4, 2 doubles croches med
-\def\lmotbbc#1#2#3#4{\dbuq{#1}{#2}{#3}{#4}%
-\ddbud{#2}{#3}}%
-%\check
-%
-% accord de 2, 2 doubles croches med
-\def\lmotbbd#1#2#3{\dbud{#1}{#2}%
-\ddbud{#2}{#3}}%
-%\check
-%
-\def\bld#1#2{\zq{#2}\clupz{#1}}%
-\def\blt#1#2#3{\zq{#3#2}\clupz{#1}}%
-\def\bltl#1#2#3{\zq{#3}\lq{#2}\clupz{#1}}%
-\def\blq#1#2#3#4{\zq{#4#3#2}\clupz{#1}}%
-\def\blql#1#2#3#4{\lq{#2}\zq{#3#4}\clupz{#1}}%
-%
-\def\bud#1#2{\zq{#1}\culpz{#2}}%
-\def\budr#1#2{\rq{#1}\culpz{#2}}%
-\def\but#1#2#3{\zq{#1#2}\culpz{#3}}%
-\def\butr#1#2#3{\zq{#1}\rq{#2}\culpz{#3}}%
-\def\buq#1#2#3#4{\zq{#1#3#2}\culpz{#4}}%
-\def\buqr#1#2#3#4{\zq{#1#3}\rq{#2}\culpz{#4}}%
-\def\tblq#1#2#3#4{\dblq{#1}{#2}{#3}{#4}\blq{#1}{#2}{#3}{#4}}%
-\def\tblql#1#2#3#4{\dblql{#1}{#2}{#3}{#4}\blql{#1}{#2}{#3}{#4}}%
-\def\tbuq#1#2#3#4{\dbuq{#1}{#2}{#3}{#4}\buq{#1}{#2}{#3}{#4}}%
-\def\tblt#1#2#3{\dblt{#1}{#2}{#3}\blt{#1}{#2}{#3}}%
-\def\tbltl#1#2#3{\dbltl{#1}{#2}{#3}\bltl{#1}{#2}{#3}}%
-%\check
-%
-\def\tbuqr#1#2#3#4{\dbuqr{#1}{#2}{#3}{#4}\buqr{#1}{#2}{#3}{#4}}%
-%\check
-%
-% accord de 3, final croche
-\def\tbut#1#2#3{\dbut{#1}{#2}{#3}\but{#1}{#2}{#3}}%
-\def\Tbut#1#2#3{\Dbut{#1}{#2}{#3}\but{#1}{#2}{#3}}%
-%\check
-%
-\def\tbutr#1#2#3{\dbutr{#1}{#2}{#3}\butr{#1}{#2}{#3}}%
-\def\Tbutr#1#2#3{\Dbutr{#1}{#2}{#3}\butr{#1}{#2}{#3}}%
-%\check
-%
-% accord de 2, final croche
-\def\tbud#1#2{\dbud{#1}{#2}\bud{#1}{#2}}%
-\def\Tbud#1#2{\Dbud{#1}{#2}\bud{#1}{#2}}%
-%\check
-%
-\def\register#1{\boxit{\hbox{\bf #1}}}
-%
-\generalmeter{\meterfrac 42}%
-%
-\ifnum\musicsize=16\def\bottomfacteur{7}\else\def\bottomfacteur{5}\fi
-\debutmorceau
-%
-\ifnum\musicsize=16\relax
- \autolines{19}47\else
- \autolines{19}36\fi
-\ifx\undefined\horizontalscore \else\autolines{19}54\fi
-%\check
-%
-\bigaccid
-\hyphenpenalty -50\relax
-\notes\zmidtwotext{\fff}|\zcharnote{w}{\kern -20mm\moyen Allegro
-\bf(\metron{\qu}{100})}\enotes
-%
-%\check
-%
-% mesure 1
-\tnotes\lmotbba mjhf|\umotif t!s!q!o!m\enotes
-\tnotes\tbuq ljhf|\umotif s!r!q!o!m\enotes
-\zbnotes\tbuqr kjhf|\umotif r!q!q!o!m\enotes
-\tnotes\tbuq ljhf|\umotif s!r!q!o!m\enotes
-% mesure 2
-\bnotes\lmotbba mjhf|\umotif t!s!q!o!m\enotes
-\tnotes\tbuq ljhf|\umotif s!r!q!o!m\enotes
-\ifnum\musicsize=16\relax
- \autolines {17}47\else
- \autolines {17}36\fi
-\ifx\undefined\horizontalscore \else\autolines{17}54\fi
-\zbnotes\tbuqr kjhf|\umotif r!q!q!o!m\enotes
-\tnotes\na i\tbuq lige|\umotif s=p!p!n!m\enotes
-% mesure 3
-\bnotes\lmotbba jgec|\umotif q=p!n!l!j\enotes
-\nspace\tnotes\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes
-\zbnotes\tbuqr hgec|\umotif o!n!n!l!j\enotes
-\tnotes\tbuq igec|\umotif p!o!n!l!j\enotes
-% mesure 4
-\bnotes\lmotbba jgec|\umotif q=p!n!l!j\enotes
-\nspace\tnotes\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes
-\zbnotes\tbuqr hgec|\umotif o!n!n!l!j\enotes
-\tnotes\sh f\na i\tbut ifd|\na p\umotif p^m!m!k!j\enotes
-% mesure 5
-\bnotes\na b\lmotbbc gdbN|\umotif n^m!k=i!g\enotes
-\nspace\tnotes\sh c\tbut gec|\umotif o^n!l^j!h\enotes
-\zbnotes\tbutr gfd|\umotif o=m!m!k!h\enotes
-\tnotes\sh c\tbut gec|\umotif o^n!l^j!h\enotes
-% mesure 6
-\bnotes\lmotbbb fd!N|\umotif o!m!m!k!h\enotes
-\qspace
-\tnotes\lsh d\sh f\tbut hfd|\na p\umotif p^o^m^k=i\enotes
-\zbnotes\tbutr hge|\umotif p!n!n!l!i\enotes
-\tnotes\tbut hfd|\umotif p!o!m!k!i\enotes
-% mesure 7
-\bnotes\lmotbbb ge!N|\na p\umotif p!n!n!l=i\enotes
-\nspace\tnotes\fl i\tbut ige|\umotif q!p!n!l!j\enotes
-\zbnotes\tbut ifd|\umotif q!m!m!k!j\enotes
-\tnotes\tbutr ihf|\umotif q!o!o!m!j\enotes
-% mesure 8
-% increase the number of instruments at the next line change
-\def\manuale{}% nothing until changed
-\def\pedalepause{}%
-\def\atnextline{\nbporteesii=2\relax
- \nbporteesi=1\relax
- \def\nbinstruments{2}\relax
- \global\cleftoksii={{0}{0}{0}{0}}\global\cleftoksi={{6}{0}{0}{0}}\relax
- \def\pedalepause{\Pause}\def\manuale{&}\relax
- \signaturegenerale{-1}}\relax
-%
-\bnotes\pedalepause\manuale\tbut ige|\umotif q!n!n!l!j\enotes
-\tnotes\manuale\sh j\fl e\tbuqr jige|\sh q\umotif q!n!n!l^j\enotes
-%
-\zbnotes\pedalepause\manuale\tbuq kigd|\umotif r^q!p!n!k\enotes
-\tnotes\manuale\na c\na l\tbuq ligc\relax
- |\ibbl0{p}0\ilegu0{s}\qb0{s}\tleg0\qb0{^r}%
-\qbupz{s}\qbupz{=q}\qbupz{p}\qbupz{n}\qbupz{p}\tbl0\qbupz{q}\enotes
-% mesure 9
-%\check
-% modification de la liaison initiale en pizz.
-\def\umotif#1#2#3#4#5#6#7#8#9{\varaccid
-{\advance\transpose by 2\ibbl0{#9}0}\qbupz{#1}\qbupz{#2#3}%
-\qbupz{#1}\qbupz{#4#5}\qbupz{#6#7}\qbupz{#8#9}\qbupz{#7}\tbl0\qbupz{#5}}%
-%\check
-\def\mmotif#1#2#3#4#5#6#7#8#9{\varaccid
-{\advance\transpose by -2\ibbu0{#1}0}\qhlpz{#1}\qhlpz{#2#3}%
-\qhlpz{#1}\qhlpz{#4#5}\qhlpz{#6#7}\qhlpz{#8#9}\qhlpz{#7}\tbu0\qhlpz{#5}}%
-%
-%\check
-\bnotes\zcharnote{E}{\llap{\ff}}\relax
-\doubler\qlp f\sk\sk\cu F&\lmotbba mjhf|\umotif t!s!q!o!m\enotes
-\tnotes\doubler\qlp e\sk\sk\cu F&\tbuq ljhf|\umotif s!r!q!o!m\enotes
-\zbnotes\doubler\qlp d\sk\sk\cu F&\tbuqr kjhf|\umotif r!q!q!o!m\enotes
-\tnotes\doubler\qlp e\sk\sk\cu F&\tbuq ljhf|\umotif s!r!q!o!m\enotes
-% mesure 10
-\bnotes\doubler\qlp f\sk\sk\cu F&\lmotbba mjhf|\umotif t!s!q!o!m\enotes
-\tnotes\doubler\qlp e\sk\sk\cu F&\tbuq ljhf|\umotif s!r!q!o!m\enotes
-\zbnotes\doubler\qlp d\sk\sk\cu F&\tbuqr kjhf|\umotif r!q!q!o!m\enotes
-\tnotes\doubler\qlp e\sk\sk\cu G&\na i\tbut lig|\umotif s=p!p!n!m\enotes
-% mesure 11
-\bnotes\itenu1c\wh c&\lmotbba jgec|\umotif q=p!n!l!j\enotes
-\nspace\tnotes&\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes
-\zbnotes\tten1\hl c&\tbuqr hgec|\umotif o!n!n!l!j\enotes
-\tnotes\hpause&\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes
-% mesure 12
-\bnotes\doubler\qlp c\sk\sk\cu C&\lmotbba jgec|\umotif q=p!n!l!j\enotes
-\nspace\tnotes\doubler\qlp{=b}\sk\sk\cu C&\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes
-\zbnotes\doubler\qlp a\sk\sk\cu C&\tbuqr hgec|\umotif o!n!n!l!j\enotes
-\tnotes\doubler\qlp b\sk\sk\cu D&\sh f\na i\tbut ifd|\na p\umotif p^m!m!k!j\enotes
-% mesure 13
-\bnotes\whp N&\na b\lmotbbc gdbN|\umotif n^m!k=i!g\enotes
-\tnotes&\tbut gec|\umotif n!m!l!j!g\enotes
-\zbnotes&\tbut gdb|\umotif n!m!k!i!g\enotes
-\tnotes\hpause&\sh c\tbut gec|\umotif o^n!l^j!h\enotes
-% mesure 14
-\bnotes\doubler\qlp N\sk\sk\cu G&\sh c\tbut hec|\umotif
-o^n!l^j!h\enotes
-\tnotes\doubler\qlp N\sk\sk\cu G&\tbut hec|\umotif o!n!l!j!h\enotes
-\zbnotes\doubler\qlp M\sk\sk\cu F&\tbut hfd|\na p\umotif
-p!m!m!k=i\enotes
-\tnotes\doubler\qlp L\sk\sk\cu E&\tbutr hge|\sh q\umotif
-q!o!o!n^j\enotes
-% mesure 15
-\ifnum\musicsize=16\relax
- \autolines{17}46\else
- \autolines{17}35\relax
-\fi
-\ifx\undefined\horizontalscore \else\autolines{17}53\fi
-\bnotes\itenu1K\wh K&\lmotbbd hfd|\umotif r^q!o!m!k\enotes
-\tnotes&\tbud hf|\umotif r!q!o!m!k\enotes
-\zbnotes\tten1\hl K&\na i\tbut ifd|\na p\umotif p!o!o!m!k\enotes
-\tnotes\hpause&\tbut jfd|\na q\umotif q!p!o!m!k\enotes
-% mesure 16
-\bnotes\doubler\qlp a\sk\sk\cu H&\sh d\lsh f\na i\tbut
-ifd|\na p\umotif p^o^m^k=i\enotes
-\tnotes\doubler\qlp a\sk\sk\cu H&\tbut ifd|\umotif p!o!m!k!i\enotes
-\zbnotes\doubler\qlp N\sk\sk\cu G&\tbut ige|\sh q\umotif
-q!n!n!l^j\enotes
-\tnotes\doubler\qlp{^M}\sk\sk\cu{^F}&\na i\sh f\tbutr ihf|\sh r\umotif
-r!p!p!o^k\enotes
-%\check
-% mesure 17
-\bnotes\itenu1L\wh L&\na i\dbud ig\ddbud ge|\umotif
-s^r=p!n!l\enotes
-\tnotes&\dbud ig\but ige|\umotif s!r!p!n!l\enotes
-\zbnotes\tten1\hl L&\tbut jge|\umotif q=p!p!n!l\enotes
-\tnotes\hpause&\tbut kge|\na r\umotif r=p!p!n!l\enotes
-% mesure 18
-\bnotes\doubler\fl b\qlp b\sk\sk\cu I&\dbut jge\bud ge|\umotif q=p!n!l!j\enotes
-\tnotes\doubler\qlp b\sk\sk\cu I&\dbut jge\bud ge|\umotif q!p!n!m!j\enotes
-\zbnotes\doubler\qlp a\sk\sk\cu H&\dbuqr kjhf\but jhf|\umotif
-r^q!o!m!k\enotes
-\tnotes\doubler\qlp N\sk\sk\cu G&\fl i\tbuqr ljig\relax
- |\varaccid\ibbl0{p}0\ilegu0{s}\qb0{s}\tleg0\qb0{^r}%
-\qbupz{s}\qbupz{=q}\qbupz{_p}\qbupz{n}\qbupz{p}\tbl0\qbupz{s}\enotes
-% mesure 19
-\bnotes\doubler\qlp M\sk\sk\cu F&\lmotbba mkhf|\umotif t!s!r!n!m\enotes
-\nspace\tnotes\doubler\qlp N\sk\sk\cu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes
-\nspace\zbnotes\doubler\qlp M\sk\sk\cu F&\tbut khf|\sh q\umotif
-r!q!o!m!l\enotes
-\tnotes\doubler\qlp L\sk\sk\cu E&\na j\tbut jhe|\na q\umotif
-q!o!o!l!j\enotes
-% mesure 20
-\bnotes\doubler\qlp K\sk\sk\cu D&\fl i\tbutr ihd|\umotif p!o!o!m!i\enotes
-\tnotes\doubler\qlp L\sk\sk\cu E&\tbut ige|\umotif p!n!n!l!i\enotes
-\zbnotes\doubler\qlp{^J}\sk\sk\cu{^C}&\sh c\tbutr hgc|\umotif
-o!n!n!l!h\enotes
-\tnotes\doubler\qlp K\sk\sk\cu D&\tbut hfd|\umotif o!m!m!k!h\enotes
-% mesure 21
-\bnotes\wh I&\mmotif h^f!f!d!b|\sh m\dblt omk\ddblt omk\enotes
-\tnotes&\mmotif i!g!g!d!b|\tblq rpnk\enotes
-\zbnotes\wh J&\mmotif g=f!f!d!c|\lna m\tbltl nmi\enotes
-\tnotes&\mmotif g!e!e!d!c|\tblt nli\enotes
-%\check
-% mesure 22
-\bnotes\hu F&\dbut fca\ddbut fca|\umotif m!l!j!h!f\enotes
-\tnotes\sk\hpause&\tbut eca|\umotif l!k!j!h!f\enotes
-\zbnotes\Pause&\tbutr dca|\umotif k!j!j!h!f\enotes
-\tnotes&\tbut eca|\umotif l!k!j!h!f\enotes
-% mesure 23
-\global\cleftoksii={{6}{0}{0}{0}}\changeclefs
-\bnotes\Pause&\umotif f!e!c!a!M|\dblt mjh\ddblt mjh\enotes
-\tnotes&\umotif e!d!c!a!M|\tblt ljh\enotes
-\zbnotes\hpause&\umotif d!c!c!a!M|\tbltl kjh\enotes
-\tnotes\lpz F\qu F\sk\sk\sk\soupir&\umotif d=b!b!a!M|\na i\dblt
-oki\na p\blt pki\enotes
-% mesure 24
-\bnotes\qu E\sk\sk\sk\soupir&\lsh N\na b\tblt ebN|\mmotif l^k=i^g!e\enotes
-\tnotes\sk\hpause&\sh d\tblt dbN|\mmotif k^j!i!g!e\enotes
-\qspace
-\zbnotes\Pause&\lsh c\tbltl cbN|\mmotif j!i!i!g!e\enotes
-\tnotes&\tblt dbN|\mmotif k!i!i!g!e\enotes
-% mesure 25
-\bnoteP&\umotif e^d=b^N!L|\lsh g\na i\dblt lig\ddblt lig\enotes
-\nspace\tnotes&\umotif d^c!b!N!L|\sh k\tblt kig\enotes
-\zbnotes\sk\hpause&\qsk\sh c\umotif c=b!b^N!L|\sh g\sh j\lna i\qsk\tbltl jig\enotes
-\tnotes\lpz E\qu E\sk\sk\sk\soupir&\umotif c^a!a!N!L|\relax
- \sh h\sh n\dblt njh\sh o\blt ojh\enotes
-% mesure 26
-\bnotes\fl E\qu E\sk\sk\sk\soupir&\lfl b\na N\fl e\dblt
-ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes
-\tnotes\sk\hpause&\tblt dbN|\mmotif k!i!i!g!e\enotes
-\qspace
-\zbnotes\sk\hpause&\lsh c\tbltl cbN|\sh j\mmotif
- j!i!i!g!e\enotes
-\global\cleftoksii={{0}{0}{0}{0}}\changeclefs
-\tnotes\ilegl1G\fl L\hl L&\sh c\dbutmr gcb\zq g\rq c\culpz b|\umotif
- n^m^j!i!g\enotes
-% mesure 27
-\bnotes\tleg1\hu G&\na b\dbut gdb\ddbud db|\umotif n^m!k=i!g\enotes
-\nspace\tnotes\sk\hpause&\sh f\tbut fdb|\umotif m!k!k!i!g\enotes
-\zbnotes\Pause&\sh e\tbutr edb|\bigsh l\umotif l!k!k!i!g\enotes
-\tnotes\ilegl1I\hl N&\na i\tbutr ied|\bigna p\umotif p^o!l!k!i\enotes
-% mesure 28
-%\check
-\bnotes\na I\tleg1\hu I&\na i\lsh f\sh d\dbut ifd\ddbud fd|\na p\umotif
- p^o^m^k=i\enotes
-\nspace\tnotes\sk\hpause&\sh h\tbut hfd|\sh o\umotif o!m!m!k!i\enotes
-\zbnotes\Pause&\na h\tbut hfd|\na o\umotif o!m!m!k!i\enotes
-\tnotes\na b\ilegu1c\hl b&\sh k\dbut khf\zq{kh}\culpz f|\sh r\umotif
- r!o!o!m!k\enotes
-% mesure 29
-%\check
-\bnotes\fl b\tleg1\hl b&\na f\lfl i\na k\dbut kif\ddbut ifd|\na r\umotif
- r^q!p!m!k\enotes
-\nspace\tnotes\doubler\soupir\sk\dsoupir\cu I\relax
-&\fl g\fl l\dbutmr lhg\rq h\lpz g\cu g|\fl s\umotif s!o!o_n_l\enotes
-\zbnotes\hl b&\dbut kif\ddbut ifd|\na r\umotif
- r^q!o!m!k\enotes
-\nspace\tnotes\doubler\soupir\sk\dsoupir\cu I\relax
-&\fl g\fl l\dbutmr lhg\rq h\lpz g\zq l\cu g|\fl s\umotif
- s!o!o_n_l\enotes
-% mesure 30
-%\check
-\bnotes\hl b&\dbut kif\ddbut ifd|\umotif r^q!p!m!k\enotes
-\tnotes\sk\hpause
-&\dbut kif\zq{if}\culpz d|\umotif r!q!p!m!k\enotes
-\zbnotes&\dbut kif\zq{if}\culpz d|\umotif r!q!p!m!k\enotes
-\tnotes\pause&\dbut kif\zq{if}\culpz d|\umotif r!q!p!m!k\enotes
-% mesure 31
-%\check
-\bnoteP&\zcharnote N{\llap{\register{II} }}%
-\zmidtwotext{\llap{\mf}}\dbut khf\ddbut hfd|\zcharnote s{\llap{(I)}}%
-\umotif r^q!o!m!k\enotes
-\tnotes&\dbut khf\zq{hf}\culpz d|\umotif r!q!o!m!k\enotes
-\zbnotes\Pause&\dbut khf\zq{hf}\culpz d|\umotif r!q!o!m!k\enotes
-\tnotes&\dbut khf\zq{hf}\culpz d|\umotif r!q!o!m!k\enotes
-% mesure 32
-%\check
-\bnoteP&\qsk\zcharnote a{\llap{(II)}}%
-\bigsh g\dbutr kgf\rq g\culpz f|\qsk\zcharnote r{\llap{\register{II} }}%
-\umotif r^q^n!m!k\enotes
-\tnotes&\dbutr kgf\rq g\culpz f|\umotif r!q!n!m!k\enotes
-\zbnotes\Pause&\dbutr kgf\rq g\culpz f|\umotif r!q!n!m!k\enotes
-\tnotes&\dbutr kgf\rq g\culpz f|\umotif r!q!n!m!k\enotes
-% mesure 33
-%\check
-\signaturegenerale{2}\Changecontext
-\ifnum\musicsize=16\relax
- \def\atnextline{\nbporteesi=2\relax
- \def\nbinstruments{1}\relax
- \global\cleftoksi={{0}{0}{0}{0}}\relax
- \def\pedalepause{}\def\manuale{}}\fi
-%
-\znotes\manuale\zmidtwotext{\llap{\register{III} \pp}}\enotes
-\notes\pedalepause\manuale\mmotif k!j!h!f!d|\dblt rom\ddblt rom\enotes
-\tnotes\manuale\mmotif j!i!h!f!d|\tblq qomk\enotes
-\zbnotes\pedalepause\manuale\mmotif i!h!h!f!d|\tblql pomk\enotes
-\tnotes\manuale\mmotif j!h!h!f!d|\tblq qomk\enotes
-%
-% mesure 34
-\bnotes\pedalepause\manuale\mmotif k!j!h!f!d|\dblt rom\ddblt rom\enotes
-\tnotes\manuale\mmotif j!i!h!f!d|\tblq qomk\enotes
-\zbnotes\pedalepause\manuale\mmotif i!h!h!f!e|\tblql pomk\enotes
-\tnotes\manuale\mmotif j^g!g!f!e|\tblql qlnk\enotes
-%
-%\check
-% mesure 35
-\bnotes\pedalepause\manuale\dbut hec\ddbud ec|\umotif o^n!l!j!h\enotes
-\nspace\tnotes\manuale\bigsh g\tbut gec|\umotif n!m!l!j!h\enotes
-\zbnotes\pedalepause\manuale\tbutr fec|\umotif m!l!l!j!h\enotes
-\tnotes\manuale\sh g\tbut gec|\bigsh n\umotif n!l!l!j!h\enotes
-%
-%\check
-% mesure 36
-\ifnum\musicsize=16\advance\linesinpage by -1\relax\fi
-%
-\bnotes\pedalepause\manuale\mmotif h^g!e!c!a|\dblt olj\ddblt olj\enotes
-\nspace\tnotes\manuale\mmotif g!f!e!c!a|\bigsh n\tblq nljh\enotes
-\zbnotes\pedalepause\manuale\mmotif f!e!e!c!a|\tblql mljh\enotes
-\tnotes\manuale\mmotif g^d!d!b!a|\bigsh k\tblql nhki\enotes
-%
-%\check
-% mesure 37
-\bnotes\pedalepause\manuale\bigsh N\dbut ebN\bud bN|\umotif l^k!i^g!e\enotes
-\qspace
-\tnotes\manuale\mmotif e^c!c^a!L|\bigaccid\lsh h\sh j\tblq mjhf\enotes
-\zbnotes\pedalepause\manuale\dbud db\bud db|\umotif m=k!k!i!f\enotes
-\tnotes\manuale\mmotif e!c!c!a!L|\tblq mjhf\enotes
-%
-%\check
-% mesure 38
-\bnotes\pedalepause\manuale\tbud db|\umotif m!k!k!i!f\enotes
-\qspace
-\tnotes\manuale\mmotif f^d!d^b!L|\bigaccid
- \lsh n\lsh i\sh k\sh g\tblq nkig\enotes
-\zbnotes\pedalepause\manuale\tbud ec|\sh n\umotif n!l!l!j^g\enotes
-\qspace
-\tnotes\manuale\mmotif f^d!d^b!L|\bigaccid\lsh i\sh k\tblq nkig\enotes
-%\check
-% mesure 39
-\bnotes\pedalepause\manuale\dbud ec\bud ec|\sh n\umotif n!l!l!j^g\enotes
-\tnotes\manuale\bigna g\dbut gec\but gec|\umotif o!l!l!j!h\enotes
-\zbnotes\pedalepause\manuale\dbut gdb\but gdb|\umotif o!k!k!i!h\enotes
-\tnotes\manuale\tbutr gfd|\umotif o!m!m!k!h\enotes
-%
-%\check
-% mesure 40
-\bnotes\pedalepause\manuale\tbut gec|\umotif o!l!l!j!h\enotes
-\tnotes\manuale\tbut geb|\umotif p!n!n!l!i\enotes
-\zbnotes\pedalepause\manuale\bigfl b\tbut geb|\bigna q\umotif q!n!n!l=j\enotes
-\tnotes\manuale\tbut gea|\bigsh q\ibbl0{l}0\ilegu0{q}\qb0{q}\tleg0\qb0{n}%
-\qbupz{q}\qbupz{n}\qbupz{l}\qbupz{^j}\qbupz{l}\tbl0\qbupz{j}\enotes
-\ifnum\nbinstruments=1\relax
- \global\cleftoksi={{6}{0}{0}{0}}\else
- \global\cleftoksi={{6}{0}{0}{0}}\global\cleftoksii={{6}{0}{0}{0}}\fi
-\changeclefs
-%\check
-% mesure 41
-\bnotes\pedalepause\manuale\qsk\zcharnote f{\llap{\pp}}\lsh N\tbltl cbN|\qsk
- \mmotif j!i!i^g^e\enotes
-\nspace\tnotes\manuale\tbltl cbM|\bigsh k\mmotif k!i!i!g^d\enotes
-\qspace
-\zbnotes\pedalepause\manuale\bigaccid\lsh a\tbltl cba|\bigna l\mmotif l!j!j!i=e\enotes
-\qspace
-\tnotes\manuale\bigaccid\lsh N\tbltl cbN|\bigsh l\mmotif l!j!j!i^e\enotes
-\ifnum\nbinstruments=1\relax
- \global\cleftoksi={{0}{0}{0}{0}}\else
- \global\cleftoksi={{6}{0}{0}{0}}\global\cleftoksii={{0}{0}{0}{0}}\fi
-\addspace{-2\afterruleskip}\changeclefs\notes\manuale \zcharnote N{\register{II}}\enotes
-%\check
-% mesure 42
-\bnotes\pedalepause\manuale
-\zcharnote o{\it cresc.}\relax
- \zwp{^a}\Dbud fc\ddbud fc|\zcharnote r{(III)}\umotif m!j!j^h!f\enotes
-\nspace\tnotes\manuale\bigna f\Tbud fc|\bigna m\umotif m=l!j!h=f\enotes
-\zbnotes\pedalepause\manuale\Tbud ec|\umotif l^k!j!h!e\enotes
-\tnotes\manuale\zhl c\bigsh h\Tbud he|\bigsh o\umotif o!l!l!j!h\enotes
-%
-%\check
-% mesure 43
-\bnotes\pedalepause\manuale\zwp d\bigna f\bigfl i\Dbud if\ddbud if|\bigfl p\umotif p=m!m!k_i\enotes
-\tnotes\manuale\Tbud hf|\umotif o^n!m!k!h\enotes
-\zbnotes\pedalepause\manuale\bigfl h\Tbud hf|\bigfl o\umotif o=n!m!k_h\enotes
-\tnotes\manuale\zhl f\Tbud kh|\umotif r!o!o!m!k\enotes
-%
-% mesure 44
-\barre
-\def\atnextline{\nbporteesii=2\relax
- \nbporteesi=1\relax
- \def\nbinstruments{2}\relax
- \global\cleftoksii={{0}{0}{0}{0}}\global\cleftoksi={{6}{0}{0}{0}}\relax
- \def\pedalepause{\Pause}\def\manuale{&}\relax
- \signaturegenerale{2}}\relax
-%
-\notes\pedalepause\manuale\bigaccid\sh f\qsk\na h\zwp f\Dbud kh\ddbud kh|\qsk
- \umotif r=o!o^m!k\enotes
-\tnotes\manuale\Tbud jh|\umotif q^p!o!m!j\enotes
-\zbnotes\manuale\bigna h\qsk\na j\Tbud jh|\qsk\bigna q\umotif q=p!o!m=j\enotes
-\tnotes\manuale\zhl h\Tbud mj|\umotif t!q!q!o!m\enotes
-%
-%\check
-% mesure 45
-\bnotes\pedalepause\manuale\bigsh j\qsk\zmidtwotext{\llap{\mf}}\zcharnote a{\llap{(II)}}\relax
-\bigsh g\bigsh l\zhl g\Dbud lj\budr ji|\zcharnote r{\llap{\register{II}}}\qsk
- \bigsh s\umotif s>r!q!p^l\enotes
-\tnotes\manuale\zhl h\bigna j\Tbud mj|\umotif t=q!q!o!m\enotes
-\zbnotes\pedalepause\manuale\zhl g\bigsh j\Dbud lj\loff{\ddbudr ji}|\umotif s!r^q!p!l\enotes
-\tnotes\manuale\qsk\zhl h\bigna j\Tbud mj|\qsk\umotif t=q!q!o!m\enotes
-%
-%\check
-% mesure 46
-\bnotes\doubler\pt 5\soupir\sk\sk\cl c\manuale\bigaccid
-\lsh j\sh g\sh l\dblt ljg\bud jg|\bigsh s\umotif s>r!q!p^l\enotes
-\tnotes\bigsh e\wh e\manuale\dbut ljg\ddbld jg|\umotif s!r!q!p!l\enotes
-\zbnotes\manuale\tblt ljg|\umotif s!r!q!p!l\enotes
-\tnotes\hpause\manuale\dblt ljg\bld jg|\umotif s!r!q!p!l\enotes
-%
-% mesure 47
-\generalsignature{-1}\Changecontext
-\notes\doubler\pt 5\soupir\sk\sk
- \cl c\manuale\bigfl h\dblt mjh\bud jh|\umotif t!s!q_o!m\enotes
-\tnotes\wh f\manuale\dbut mjh\ddbud jh|\umotif t!s!q!o!m\enotes
-\zbnotes\manuale\dblt mjh\bud jh|\umotif t!s!q_o!m\enotes
-\tnotes\hpause\manuale\dblt mjh\bud jh|\umotif t!s!q!o!m\enotes
-%
-%\check
-% mesure 48
-\bnotes\qsk\qsk\doubler\pt 5\soupir\sk\sk\bigna b\cl
-b&\qsk\lfl h\na i\zcharnote N{\llap{\register{I}}}\qsk
- \zmidtwotext{\llap{\ff}}\bigaccid
-\dbltl mhi\budr ih|\qsk\qsk
-\zcharnote r{\llap{(II)}}\umotif t!s_r_q!m\enotes
-\tnotes\wh f&\dbltl mhi\ddbudr ih|\umotif t!s!r!q!m\enotes
-\qspace\zbnotes&\dbltl mhi\budr ih|\umotif t!s!r!q!m\enotes
-\tnotes\hpause&\dbltl mhi\budr ih|\umotif t!s!r!q!m\enotes
-%\check
-%
-% mesure 49
-\bnotes\qsk\hpause&\zmidtwotext{\llap{\fff}}\relax
- \zcharnote a{\llap{(I)}}\bigaccid
-\lfl h\na i\qsk\dbltl mhi\budr ih|\zcharnote r{\llap{\register{I}}}\qsk
- \umotif t!s_r_q!m\enotes
-\tnotes\doubler\fl K\ql K\sk\soupir&\dbltl mhi\budr ih|\umotif t!s!r!q!m\enotes
-\zbnotes\doubler\na b\ql b\sk\soupir&\dbltl mhi\budr ih|\umotif t!s!r!q!m\enotes
-\tnotes\doubler\ql f\sk\soupir&\tbltl mhi|\umotif t!s!r!q!m\enotes
-%\check
-%
-% mesure 50
-\bnotes\doubler\zh F\hu M&\zhl f\bigna h\Dbut mjh\ddbut mjh|\umotif t=s=q!o!m\enotes
-\tnotes\doubler\zh E\hu L&\zhl e\Tbut ljh|\umotif s!r!q!o!m\enotes
-\zbnotes\doubler\zh D\hu K&\zhl d\Tbutr kjh|\umotif r!q!q!o!m\enotes
-\tnotes\doubler\zh E\hu L&\zhl e\Tbut ljh|\umotif s!r!q!o!m\enotes
-% mesure 51
-\bnotes\doubler\zh F\hu M&\zhl f\Dbut mjh\ddbut mjh|\umotif t!s!q!o!m\enotes
-\tnotes\doubler\zh E\hu L&\zhl e\Tbut ljh|\umotif s!r!q!o!m\enotes
-\zbnotes\doubler\zh D\hu K&\zhl d\Tbutr kjh|\umotif r!q!q!o!m\enotes
-\tnotes\doubler\zh E\hu L&\zhl e\na i\Tbut lig|\umotif s=p!p!n!m\enotes
-% mesure 52
-\bnotes\zbv C\zbv J&\zbv c\Dbut jge\ddbut jge|\umotif q=p!n!l!j\enotes
-\nspace\tnotes&\na i\Tbut ige|\umotif p!o!n!l!j\enotes
-\zbnotes&\Tbutr hge|\umotif o!n!n!l!j\enotes
-\tnotes&\Tbut ige|\umotif p!o!n!l!j\enotes
-% mesure 53
-\bnotes\doubler\zh J\hl c&\dbut jge\ddbud ge|\umotif q=p!n!l!j\enotes
-\nspace\tnotes\doubler\zh{=I}\hl{=b}&\na i\tbut ige|\umotif p!o!n!l!j\enotes
-\zbnotes\doubler\zh H\hl a&\tbutr hge|\umotif o!n!n!l!j\enotes
-\tnotes\doubler\zh I\hl b&\sh f\na i\tbuqr idfc|\umotif p^m!m!k!j\enotes
-% mesure 54
-\bnotes\itenl2G\zw G\itenu1N\wh N&\na b\dbut gdb\ddbud db|\umotif n^m!k=i!g\enotes
-\tnotes&\tbut gec|\umotif n!m!l!j!g\enotes
-\zbnotes\tten1\tten2\zh G\hl N&\tbut gdb|\umotif n!m!k!i!g\enotes
-\tnotes\hpause&\sh c\tbut gec|\umotif o^m!l^j!h\enotes
-% mesure 55
-\bnotes\doubler\zh N\hl G&\sh c\tbut hec|\umotif
-o^n!l^j!h\enotes
-\tnotes\doubler\zh N\hl G&\tbut hec|\umotif o!n!l!j!h\enotes
-\zbnotes\doubler\zh M\hu F&\tbut hfd|\na p\umotif
-p!m!m!k=i\enotes
-\tnotes\doubler\zh L\hu E&\tbutr hge|\sh q\umotif
-q!o!o!n^j\enotes
-% mesure 56
-\bnotes\itenl2D\zw D\itenu1K\wh K&\lmotbbd hfd|\umotif r^q!o!m!k\enotes
-\tnotes&\dbud hf\but hfd|\umotif r!q!o!m!k\enotes
-\zbnotes\tten1\tten2\zh D\hu K&\na i\tbut ifd|\na p\umotif p!o!o!m!k\enotes
-\tnotes\hpause&\tbut jfd|\na q\umotif q!p!o!m!k\enotes
-% mesure 57
-\bnotes\doubler\zh a\hl H&\sh d\lsh f\na i\tbut
-ifd|\na p\umotif p^o^m^k=i\enotes
-\tnotes\doubler\zh a\hl H&\tbut ifd|\umotif p!o!m!k!i\enotes
-\zbnotes\doubler\zh N\hl G&\tbut ige|\sh q\umotif
-q!n!n!l^j\enotes
-\tnotes\doubler\zh{^M}\hl{^F}&\sh f\tbutr ihf|\sh r\umotif
-r!p!p!o^k\enotes
-%\check
-% mesure 58
-\bnotes\itenl2E\itenu1L\zw E\wh L&\na i\dbud ig\ddbud ge|\umotif
-s^r=p!n!l\enotes
-\tnotes&\dbud ig\but ige|\umotif s!r!p!n!l\enotes
-\zbnotes\tten2\tten1\zh E\hu L&\tbut jge|\umotif q=p!p!n!l\enotes
-\tnotes\hpause&\tbut kge|\na r\umotif r!p!p!n!l\enotes
-% mesure 59
-\bnotes\doubler\fl b\fl I\zh b\hu I&\dbut jge\bud ge|\umotif q=p!n!l!j\enotes
-\tnotes\doubler\zh b\hu I&\dbut jge\bud ge|\umotif q!p!n!l!j\enotes
-\zbnotes\doubler\zh a\hu H&\dbuqr kjhf\but jhf|\umotif
-r^q!o!m!k\enotes
-\tnotes\doubler\zh N\hu G&\tbuqr ljig\relax
- |\varaccid\ibbl0{p}0\qbupz{s}\qbupz{^r}%
-\qbupz{s}\qbupz{=q}\qbupz{_p}\qbupz{n}\qbupz{p}\tbl0\qbupz{s}\enotes
-% mesure 60
-\bnotes\doubler\zh M\hu F&\lmotbba mkhf|\umotif t!s!r!n!m\enotes
-\nspace\tnotes\doubler\zh N\hu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes
-\zbnotes\doubler\zh M\hu F&\tbut khf|\umotif
-r^q!o!m!l\enotes
-\tnotes\doubler\zh L\hu E&\na j\tbut jhe|\na q\umotif
-q!o!o!l!j\enotes
-% mesure 61
-\bnotes\doubler\zh K\hu D&\tbutr ihd|\umotif p!o!o!m!i\enotes
-\tnotes\doubler\zh L\hu E&\tbut ige|\umotif p!n!n!l!i\enotes
-\zbnotes\doubler\zh{^J}\hu{^C}&\sh c\tbutr hgc|\umotif
-o!n!n!l!h\enotes
-\tnotes\doubler\zh K\hu D&\tbut hfd|\umotif o!m!m!k!h\enotes
-% mesure 62
-\bnotes\wh I&\mmotif h^f!f!d!b|\sh m\dblt omk\ddblt omk\enotes
-\tnotes&\mmotif i!g!g!d!b|\tblq rpnk\enotes
-\zbnotes\wh J&\mmotif g=f!f!d!c|\lna m\tbltl nmi\enotes
-\tnotes&\mmotif g!e!e!d!c|\tblt nli\enotes
-%\check
-% mesure 63
-\bnotes\zbv F&\dblql mkjf\ddbutr kjf|\umotif t!r!r!q!m\enotes
-\nspace\tnotes&\dblq mkif\but kif|\umotif t!r!r!p!m\enotes
-\zbnotes&\dblql mijf\bltl jif|\umotif t!q!q!p!m\enotes
-\tnotes&\dblq mjhf\bld jf|\umotif t!q!q!o!m\enotes
-%\check
-% mesure 64
-\bnoteP&\dbltl kjf\ddbld jf|\umotif r!q!q!m!k\enotes
-\tnotes&\dblt kif\bld if|\umotif r!p!p!m!k\enotes
-\zbnotes\pedalepause&\dbltl jif\bld if|\umotif q!p!p!m!j\enotes
-\tnotes&\dblt jhf\bud fM|\umotif q!o!o!m!j\enotes
-%
-% mesure 65
-\bnoteP&\zcharnote N{\llap{\register{II}}}\qsk\zmidtwotext{\it diminuendo}\relax
- \dblt ifd\ddbud fd|\qsk\zcharnote o{\llap{(I)}}\umotif p!o!o!m!i\enotes
-\tnotes&\dbutr ied\budr ed|\umotif p!n!n!l!i\enotes
-\zbnotes\pedalepause&\dbut hec\bud ec|\umotif o!n!n!l!h\enotes
-\tnotes&\dbutr hdc\budr dc|\umotif o!m!m!k!h\enotes
-%
-% mesure 66
-\bnoteP&\dbut hdb\ddbud hf|\ibbl0m0\qbupz o\qbupz m\qbupz o\qbupz m\relax
- \qbupz k\qbupz k\qbupz m\tbl0\qbupz o\enotes
-\tnotes&\tblt kig|\umotif r!p!p!n!k\enotes
-\zbnotes\sk\hpause&\dbutr gfc\bud fc|\umotif n!m!m!j!g\enotes
-\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\dbut gec\cl q|\umotif n!l!l!i!g\enotes
-%
-% mesure 67
-\bnotes\hl f&\Ioctfinup0p\dbltl mkj\ddbltl mkj|\mmotif m!k!k!j!f\enotes
-\tnotes\hpause&\tblt mki|\mmotif m!k!k!i!f\enotes
-\zbnotes\hpause&\tbltl mji|\mmotif m!j!j!i!f\enotes
-\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\tblt mjh|\mmotif m!j!j!h!f\enotes
-%
-% mesure 68
-\bnotes\hl f&\dbutr kjf\ddbltl kjf|\mmotif k!j!j!f!d\enotes
-\tnotes\hpause&\tblt kif|\mmotif k!i!i!f!d\enotes
-\zbnotes\hpause&\tbltl jif|\zcharnote L{\kern\noteskip\it sempre
- diminuendo}\mmotif j!i!i!f!c\enotes
-\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\dblt jhf\bigfl e\rq f\cu e\relax
- |\mmotif j!h!h!f!c\enotes
-%
-% mesure 69
-\bnotes\doubler\ql f\sk\soupir&\dbut ifd\ddblt ifd|\Mmotif ihhfd\enotes
-\nspace\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\bigna e\tblt ige|\Mmotif igged\enotes
-\zbnotes\doubler\ql f\sk\soupir&\dbut hec\ddbut hec|\Mmotif hggec\enotes
-\tnotes\doubler\pt 5\soupir\sk\sk\cu F&\tbut hfd|\Mmotif hffda\enotes
-%
-% mesure 70
-\bnotes\hl M&\dbut hdb\ddbld hf|\ibbu0g0\relax
-\qhlpz h\qhlpz f\qhlpz h\qhlpz f\qhlpz d\qhlpz d\qhlpz f\tbu0\qhlpz h\enotes
-\tnotes\hpause&\tblt kig|\Mmotif kiigd\enotes
-\zbnotes\hpause&\tbutr gfc|\Mmotif gffcN\enotes
-\tnotes\doubler\ql M\sk\soupir&\tbuqr gceb|\Mmotif geecN\enotes
-%
-% mesure 71
-\bnotes\doubler\lpz F\qu F\sk\soupir&\doubler
- \zq{hfc}\lpz a\qu a\sk\soupir|\Mmotif fecaM\enotes
-\tnotes\sk\hpause&\mmotif h^g!f!d!a|\doubler
- \ibu0h0\zq{hf}\qhlpz a\tbu0\zq{hf}\qhlpz a\soupir\enotes
-\zbnotes\doubler\upz M\ql M\sk\soupir&\doubler
- \zq{hfc}\lpz a\qu a\sk\soupir|\Mmotif fecaM\enotes
-\tnotes\sk\hpause&\Mmotif hgfda|\doubler
- \ibu0h0\zq{hf}\qhlpz a\tbu0\zq{hf}\qhlpz a\soupir\enotes
- \ifx\undefined\horizontalscore \else\autolines{17}43\fi
-%
-% mesure 72
-\bnotes\doubler\upz M\ql M\sk\soupir&\doubler
- \zq{hfc}\lpz a\qu a\sk\soupir|\Mmotif fecaM\enotes
-\tnotes\hpause&\dbut hfd\ddbut hfd|\mmotif h^g!f!d!a\enotes
-\zbnotes\hpause&\tbut hfc|\Mmotif hgfca\enotes
-\tnotes\doubler\ql M\sk\soupir&\tblt kif|\mmotif k^j!i!f!d\enotes
-%
-% mesure 73
-\bnotes\doubler\qsk\upz f\ql f\sk\soupir
- &\qsk\tbutr jif|\qsk\bigna j\Mmotif jiifc\enotes
-\tnotes\doubler\upz f\ql f\sk\soupir
- &\tbutr jif|\zcharnote b{\it cresc.}\Mmotif jiifc\enotes
-\zbnotes\hpause&\tblt jhf|\Mmotif jhhfc\enotes
-\tnotes\doubler\upz f\ql f\sk\soupir&\tbutr jgf|\Mmotif jggfc\enotes
-%
-% mesure 74
-\def\Xmotif#1#2#3#4#5#6#7#8#9{{\advance\transpose by 8\relax
-\advance\transpose by \interfacteur\ibbl0{#7}0}\sk\sk\sk\sk\sk\bigaccid
-\qhlpz{#8#9}\varaccid\qhlpz{#7}\qhlpz{#5}\relax
-|\qbupz{#1}\qbupz{#2#3}\qbupz{#1}\qbupz{#4#5}\qbupz{#6#7}\sk\sk\tbu0}%
-%\check
-\bnotes\doubler\upz f\ql f\sk\soupir&\ibu0i0\doubler
- \zq{jh}\qhlpz f\tbu0\zq{jh}\qhlpz f\soupir\Toctfin0\relax
- |\Mmotif jhhfc\enotes
-\tnotes\sk\hpause&\zcharnote N{\register{I}}\zcharnote n{\llap{\it cresc.
- }}\Xmotif j=i!h!f!c\enotes
-\zbnotes\Pause&\Xmotif m!l!j!h!f\enotes
-\tnotes&\Xmotif o^n!m!j!h\enotes
-%
-% mesure 75
-\bnotes&|\ibbl0j0\qbupz o\qbupz{^n}\qbupz o\qbupz m\qbupz j\enotes
-\notes\sk\sk\pause&\qhlpz c\qhlpz f\tbu0\qhlpz h\enotes
-\tnotes&\Xmotif m!l!j!h!f\enotes
-\zbnotes\Pause&\Xmotif o!n!m!j!h\enotes
-\tnotes&\Xmotif q=p!o!m!j\enotes
-%
-% mesure 76
-\ifnum\musicsize=16\relax
- \elemskip=0.66\elemskip\advance\barsinline by -1\fi
-\ifx\undefined\horizontalscore\else
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diff --git a/macros/musixtex/doc/musixdoc.pdf b/macros/musixtex/doc/musixdoc.pdf
deleted file mode 100644
index c01420e9c0..0000000000
--- a/macros/musixtex/doc/musixdoc.pdf
+++ /dev/null
Binary files differ
diff --git a/macros/musixtex/doc/musixdoc/accidentals.tex b/macros/musixtex/doc/musixdoc/accidentals.tex
deleted file mode 100644
index de374139be..0000000000
--- a/macros/musixtex/doc/musixdoc/accidentals.tex
+++ /dev/null
@@ -1,77 +0,0 @@
-\chapter{Accidentals}
-\vspace*{-4ex}
-\enlargethispage*{2ex}
-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.
-Thinner accidentals are available using the definitions enabled by extension library \keyindex{musixthacc}
-described in Section~\ref{musixthacc}.
-
-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
deleted file mode 100644
index 6d39c30985..0000000000
--- a/macros/musixtex/doc/musixdoc/barlines.tex
+++ /dev/null
@@ -1,316 +0,0 @@
-\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 typeset a double-bar line in the middle of a bar, use \keyindex{zdoublebar};
-use \keyindex{zzdoublebar} to force the mid-bar double-bar line to the end
-of a system.
-
-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}
-
-\section{Ledger Lines}
-
-Ledger lines are the short horizontal lines above or below the staff for high or low notes.
-As of version 1.36, these have been thickened. To restore the thickness used in
-previous versions, add \verb|\def\hlthick{0.2pt}| to the preamble after inputting
-\verb|musixtex.tex|.
diff --git a/macros/musixtex/doc/musixdoc/barnumbering.tex b/macros/musixtex/doc/musixdoc/barnumbering.tex
deleted file mode 100644
index 9ad9d5c79c..0000000000
--- a/macros/musixtex/doc/musixdoc/barnumbering.tex
+++ /dev/null
@@ -1,127 +0,0 @@
-\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
deleted file mode 100644
index dbf57e2eb4..0000000000
--- a/macros/musixtex/doc/musixdoc/beams.tex
+++ /dev/null
@@ -1,627 +0,0 @@
-\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
-There are also dotted and double-dotted versions \keyindex{hbp} and
-\keyindex{hbpp}.
-
-
-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}).
-
-
- \section{Discontinuities in Long Beams}
-By default, \texttt{musixtex} produces beams using special fonts. Unfortunately, long beams may have
-unsightly discontinuities (gaps or bumps). See Section~\ref{musixvbm}
-for a solution to this problem.
diff --git a/macros/musixtex/doc/musixdoc/changing.tex b/macros/musixtex/doc/musixdoc/changing.tex
deleted file mode 100644
index 24b329a5f2..0000000000
--- a/macros/musixtex/doc/musixdoc/changing.tex
+++ /dev/null
@@ -1,498 +0,0 @@
-\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
deleted file mode 100644
index 519eb93220..0000000000
--- a/macros/musixtex/doc/musixdoc/embedding.tex
+++ /dev/null
@@ -1,180 +0,0 @@
-\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
deleted file mode 100644
index 6ca863122c..0000000000
--- a/macros/musixtex/doc/musixdoc/examples.tex
+++ /dev/null
@@ -1,125 +0,0 @@
-\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.ltx}}
-
-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.ltx|, 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|;
-the \texttt{-e0} option prevents \texttt{dvips} from making pixel adjustments
-intended for letters in words.
-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|.
-
-Alternatively, if you have the \verb|musixtex| script, just run
-\verb|musixtex -x musixdoc|
-(where
-the \verb|-x| option is only needed 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
deleted file mode 100644
index c11c389efa..0000000000
--- a/macros/musixtex/doc/musixdoc/extensions.tex
+++ /dev/null
@@ -1,2510 +0,0 @@
-\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{musixftab}\label{frenchtab}\index{tablature}\index{musixftab@{\tt musixftab.tex}}
-This extension replaces the default (Helvetica) numerals of the tablature commands
-of Section~\ref{tablature} with the traditional script letters of French tablature.
-These glyphs are generated in \keyindex{tabfnt} by arguments \texttt{0}--\texttt{9}
-or by (capital) Latin letters \texttt{A}--\texttt{R} (excluding \texttt{J}).
-\clearpage
-
-The example of Section~\ref{tablature} with \texttt{musixftab.tex} is as follows:
-\medskip
-
-\begin{music}
-\input musixftab
-\input musixps
-%\tabstylespacetrue
-\largemusicsize
-\def\psslurhgt{0.5}
-\instrumentnumber{1}
-\generalmeter{\meterfrac34}
-\generalsignature{-1}
-\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10
-\nobarnumbers
-\parindent=2ex
-\setname1{\tabstringfnt\baselineskip=1.2\internote%
-\vbox{\hbox{F}\hbox{D}\hbox{A}\hbox{F}\hbox{D}\hbox{A}}}
-\nostartrule
-\startextract
-\scale{0.6}
-\NOtes\tzqu\qa{*}\en
-\NOtesp\zltab50\zltab40\tzqup\ltab30\en
-\Notes\tzcu\ltab30\en
-\bar%
-\NOtes\zltab50\zltab42\zltab31\tzqu\ltab22\en
-\NOtesp\zltab64\zltab35\zltab30\tzqup\ltab22\en
-\Notes\tzcu\ltab22\en
-\bar%
-\NOtes\zltab50\zltab30\zltab20\tzqu\ltab10\en
-\NOtes\zltab61\zltab40\tzqup\ltab20\en
-\Notes\tzcu\ltab33\en
-\bar%
-\NOtes\zltab70\zltab55\tzqu\ltab45\en
-\NOtes\zltab60\zltab53\ltab44\en
-\notesp\zltab64\tzccu\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53\en
-\bar%
-\notesp\ztab{10}0\tzccu\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50\en
-\NOtesp\zltab50\zltab40\tzqup\ltab30\en
-\Notes\tzcu\ltab30\en
-\bar%
-\zendextract
-\end{music}
-\medskip
-
- \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{musixjt}\label{JazzText}\index{musixjt@{\tt musixjt.tex}}
-
- Jazz scores often use a ``handwriting'' font \texttt{JazzText} originally designed by
-Richard Sigler and now bundled with Finale. This font is
-widely available and is said to be ``free for personal use'' but this
-is not sufficiently ``free'' for packaging into TeXLive. A similar
-font \texttt{MuseJazzText} is bundled with MuseScore and because it is OFL-licensed,
-it can be distributed with \musixtex.
-This font will be used for all textual elements of your \musixtex\ score if you input \texttt{musixjt.tex}
-after \texttt{musixtex.tex}. Here is an example:
-
-\smallskip
-\begin{music}
-\input musixjt
-\begin{center}
-\Bigtype Q\,U\,O\,D\,L\,I\,B\,E\,T\\[1ex]
-\medtype Variation 30 of the Goldberg Variations for Clavier
-\end{center}
-\def\pstiehgt{0.5}
-\def\psslurhgt{0.5}
-\smallmusicsize
-\bigaccid
-\parindent=10pt
-\def\raisebarno{7\internote}%
-\nobarnumbers
-\relativeaccid
-\geometricskipscale
-\instrumentnumber4
-\setclef1\bass\setbassclefsymbol1\bassoct
-\setclef4\treble\settrebleclefsymbol4\trebleoct
-\generalsignature{+1}
-\generalmeter\meterC
-\setname1{B}
-\setname2{T}
-\setname3{A}
-\setname4{S}
-\songtop4
-\songbottom1
-\startbarno=0
-\nobarnumbers
-\startextract
-\scale{0.76}
-\znotes&&&\ccn{16}{\rm\kern-1ex Arranged for Recorders}\en
-\Notes\ds&\cu d&\ds&\ds\en
-\bar%1
-\Notes\hl N&\ibu1g2\qb1{ghi}\tqh1j&&\hpause\en
-\Notes\hl M&\ibl1k{-2}\qb1k&&\en
-\notes&\nbbl1\qb1 j\tqb1i&&\qp\en
-\Notes&\ibu1h0\qb1h&&\ds\en
-\notes&\nbbu1\qb1g\tqh1h&&\cu d\en
-\def\atnextbar{\znotes&&\centerpause&\en}%
-\bar%2
-\Notes\hl L&\ibu1i{-2}\qb1i\tqh1h&\ql n&\ibu3g2\qb3{gh}\en
-\Notes&\itied1g\qu g&\ql n&\qb3i\tqh3j\en
-\Notes\ql{.K}&\ttie1\qu g&\ql o&\ibl3k{-2}\qb3k\en
-\notes&&&\nbbl3\qb3j\tqb3i\en
-\Notes&\ibu1f0\shake{n}\qb1f&\cl o&\cu h\en
-\notes\cu J&\nbbu1\qb1e\tqh1f&\ds&\ds\en
-\bar%3
-\Notes\hu I&\qu g&\ibl2n{-1}\qb2{no}&\ql k\en
-\Notes&\ds\cl k&\qb2{n}\tqb2{=m}&\ql k\en
-\Notes\hu J&\ibu1j{-2}\qb1{ji}&\ibl2j{0}\qb2{lk}&\ql l\en
-\Notes&\qb1h\tqh1g&\qb2j\tqb2p&\ql l\en
-\bar%4
-\Notes\hl K&\itied1f\shake{n}\qu f&\ibl2o{-1}\qb2{on}&\ibl3k{-1}\qb3{kl}\en
-\notes&\ttie1\ibbu1e{-2}\qb1f\tbbu1\qb1e&\qb2o&\qb3k\en
-%\vnotes1.5\elemskip&\nbbbu1\qb1e\tbbu1\qb1f&&\en
-\Notes&\itied1d\tqh1d&\tqb2m&\tqb3j\en
-\Notes\qu G&\ttie1\qu d&\ibl2n{-2}\qb2n\tqb2m&\ibu3h{-1}\shake{p}\qb3i\tqh3h\en
-\Notes\ds&\qp&\ibl2n{-5}\qb2n&\qu g\en
-\notes\ibbl0b{-1}\qb0b\tqb0a&&\tqb2k&\en
-\znotes&&&\lcn{16}{\rm J.S. Bach (1685-1750)}\en
-\zendextract
-\end{music}
-
-\clearpage
-
- \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{musixmkm} \ixtt{musixmkm.tex}
- The following special accidentals used in Turkish classical music (makam\index{makam})
-are supported:
-\smallskip
-\begin{music}
-\input musixmkm
-\normalmusicsize
-\startextract
-\Notes\shtanini i\en
-\Notes\shbuyukmucenneb i\en
-\Notes\shkucuk i\en
-\Notes\shbakiye i\en
-\Notes\shkoma i\en
-\Notes\flkoma i\en
-\Notes\flbakiye i\en
-\Notes\flkucuk i\en
-\Notes\flbuyukmucenneb i\en
-\Notes\fltanini i\en
-\endextract%
-\end{music}%
-These are generated by, respectively,
-\begin{list}{}{}
-\item{}
-\begin{tabular}{l}
-\keyindex{shtanini} $p$\\
-\keyindex{shbuyukmucenneb} $p$\\
-\keyindex{shkucuk} $p$\\
-\keyindex{shbakiye} $p$\\
-\keyindex{shkoma} $p$\\
-\keyindex{flkoma} $p$\\
-\keyindex{flbakiye} $p$\\
-\keyindex{flkucuk} $p$\\
-\keyindex{flbuyukmucenneb} $p$\\
-\keyindex{fltanini} $p$\\
-\end{tabular}
-\end{list}
-
- \section{musixmtab}\index{tablature}\index{musixmtab@{\tt musixmtab.tex}}\label{mtab}
-
-Modern instrumentalists of string instruments (guitar, banjo, mandolin, etc.)
-use a hybrid form of tablature in which notes have (downward) stems and beams attached.%
-\footnote{It seems this ``modern'' form of tablature was introduced by Pete Seeger in his 5-string banjo
-instruction book, first published in 1948.}
-The \verb\musixmtab\\index{musixmtab} package combines traditional Gelten-style tablature notation
-already in \musixtex\ with the stems and beams of standard music notation.
-It is assumed that there is at most one beam (beam number $0$) and that all stems are downward.
-
-In the following commands,
-\{$s$\} is a string number (counting from the top) and \{$n$\} is a numerical note (i.e., fret number).
-
-\begin{center}
-\begin{tabular}{ll}
-\keyindex{uh}\{$s$\}\{$n$\} & a half note (boxed, to differentiate from a quarter note)\\
-\keyindex{zuh}\{$s$\}\{$n$\} & a non-spacing stemless half note\\
-\keyindex{uq}\{$s$\}\{$n$\} & a quarter note (with a centered stem)\\
-\keyindex{uc}\{$s$\}\{$n$\} & an eighth note (with a flag)\\
-\keyindex{ucc}\{$s$\}\{$n$\} & a sixteenth note (with a double flag)\\
-\keyindex{zu}\{$s$\}\{$n$\} & a non-spacing stemless quarter, eighth or sixteenth note\\
-\keyindex{uib}\{$s$\}\{$l$\} & initiate a single beam; $s$ is the starting string and $l$ is the slope\\
-\keyindex{uibb}\{$s$\}\{$l$\} & initiate a double beam; $s$ is the starting string and $l$ is the slope\\
-\keyindex{ub}\{$s$\}\{$n$\} & a beamed note\\
-\keyindex{unbb} & increase the beam multiplicity to 2\\
-\keyindex{utbb} & decrease the beam mutiplicity to 1 after the following note\\
-\keyindex{utb} & terminate the beam after the following note\\
-\keyindex{utq}\{$s$\}\{$n$\} & terminate the beam after this note\\
-
-\end{tabular}
-\end{center}
-Conventional \musixtex\ commands such as \verb|pt| and \verb|arpeggio| may be used but arguments must reference \musixtex\ note
-designations rather than string numbers.
-
-Here is an example, {\it Cripple Creek}, for 5-string banjo in standard G tuning, clawhammer style:
-
-\begin{music}
-\parindent=2ex
-\input musixmtab
-\setclefsymbol1\tabclef\setsize1{\largevalue}\setsign10
-\setname1{\tabstringfnt\baselineskip=1.2\internote%
-\vbox{\hbox{D}\hbox{B}\hbox{G}\hbox{D}\hbox{\ g}}}
-\generalmeter{\meterfrac24}
-\startbarno1
-\nobarnumbers
-\nostartrule
-\startpiece\addspace\afterruleskip
-\notes\uibb40\ub12\lcn{10}{\it SL}\ub15\zu15\zu20\ub30\utq50\en
-\notes\uibb40\ub10\ccn{10}{\it T}\ub20\ub10\utq50\en
-\bar%2
-\Notes\uib24\ub21\utq12\en
-\Notes\uib40\ub10\en
-\notes\unbb\zu10\zu20\ub30\utq50\en
-\bar%3
-\notes\uibb40\ub12\lcn{10}{\it SL}\ub15\zu15\zu20\ub30\utq50\en
-\notes\uibb40\ub10\ccn{10}{\it T}\ub20\ub10\utq50\en
-\bar%4
-\notes\uibb2{-2}\ub21\utbb\ccn9{\it P}\ub20\en
-\Notes\utq32\en
-\Notes\uib40\ub30\en
-\notes\unbb\zu10\zu20\ub30\utq50\en
-\setrightrepeat
-\alaligne
-\zleftrepeat
-\notes\uibb40\ub32\lcn{9}{\it SL}\ub34\zu10\zu20\ub34\utq50\en
-\notes\uibb3{-1}\ub32\utbb\ccn9{\it P}\ub30\utq42\en
-\bar
-\notes\uibb40\ub32\lcn9{\it SL}\ub34\zu10\zu20\ub34\utq50\en
-\Notes\uib40\ub40\en
-\notes\unbb\zu10\zu20\ub30\utq50\en
-\bar
-\notes\uibb40\ub32\lcn9{\it SL}\ub34\zu10\zu20\ub34\utq50\en
-\notes\uibb4{-1}\ub32\ccn9{\it P}\ub30\ub42\ccn9{\it P}\utq40\en
-\bar
-\notes\uibb40\ub40\ccn9{\it H}\ub42\zu10\zu20\ub30\utq50\en
-\Notes\uib40\ub30\en
-\Notes\unbb\zu10\zu20\ub30\utq50\en
-\zrightrepeat
-\qspace
-\NOtes\arpeggio05\zuh10\zuh20\zuh30\zuh40\uh50\en
-\Endpiece
-
-\end{music}
-
-
- \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}
-You may need to install additional packages: \texttt{psnfss}, \texttt{palatino} and \texttt{fpl}.
-
-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{musixthacc}\index{musixthacc@{\tt musixthacc.tex}}\label{musixthacc}
-Provides ``thin'' accidentals
-\keyindex{thna}~$p$, \keyindex{thsh}~$p$, \keyindex{thfl}~$p$, \keyindex{thdsh}~$p$
-and \keyindex{thdfl}~$p$:
-\smallskip
-\begin{music}
-\input musixthacc
-\normalmusicsize
-\startextract
-\Notes\thna i\en
-\Notes\thsh i\en
-\Notes\thfl i\en
-\Notes\thdsh i\en
-\Notes\thdfl i\en
-\endextract%
-\end{music}%
-Any necessary adjustment of horizontal position and spacing is up to
-the user and \keyindex{relativeaccid} adjustment is not effective.
-
- \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}\index{extracting parts}
-
-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{musixvbm}\ixtt{musixvbm.tex}
-\label{musixvbm}
-By default, \texttt{musixtex} produces beams using special fonts. Unfortunately, long beams may have
-unsightly minor discontinuities (gaps or bumps). The \texttt{musixvbm} add-on
-by Hiroaki \textsc{Morimoto} produces smooth vectorized beams; simply input
-\texttt{musixvbm} in the preamble of your score (after inputting \texttt{musixtex}).
-For example, compare
-
-\medskip
-\begin{music}
-\let\extractline\hbox
-\vectorizedbeamfalse % disable vectorized beams
-\nostartrule
-\setclef1{\bass}
-\hbox to \hsize{%
-\hss
-\startextract
-\nnotes\ibbl0G1\qb0{GJKLMLMLMLMLMLMK}\tqb0L\en
-\zendextract
-\hss
-\raise20pt\hbox{ and }
-\hss
-\vectorizedbeamtrue % re-enable vectorized beams
-\startextract
-\nnotes\ibbl0G1\qb0{GJKLMLMLMLMLMLMK}\tqb0L\en
-\zendextract
-\hss}
-\end{music}
-\medskip
-\noindent
-with various magnifications. The output on the left shows a font-based beam; the one
-on the right
-shows the same beam with
-\texttt{musixvbm} activated.
-All the other beams in this report are vectorized.
-
-
-The only known disadvantage with use of \texttt{musixvbm} is that many \texttt{dvi} viewers
-(including \texttt{xdvi} and \texttt{yap}) do not support the ``\texttt{tpic} specials''
-that implement vectorized beams in \texttt{dvi} output, so that no beams are shown\footnote{%
-The \texttt{dviout} program for Windows supports \texttt{tpic} specials;
-it is available from CTAN and in the Win32 distribution of TeXLive.};
-however, Postscript and PDF
-output generated using \texttt{dvips} and \texttt{ps2pdf} (or using
-\texttt{dvipdfm},
-or by processing the score using \texttt{pdfetex}) should be satisfactory.
-
-If Postscript hairpins
-(as described in Section~\ref{PostscriptSlurs}) are not being used,
-the \texttt{musixvbm} add-on also vectorizes crescendos and
-decrescendos.
-
-\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
-\keyindex{tuplettxt},
-\keyindex{uptuplet} and
-\keyindex{downtuplet}.
-See Section~\ref{tuplet}.
diff --git a/macros/musixtex/doc/musixdoc/extracting.tex b/macros/musixtex/doc/musixdoc/extracting.tex
deleted file mode 100644
index 2039733fd0..0000000000
--- a/macros/musixtex/doc/musixdoc/extracting.tex
+++ /dev/null
@@ -1,101 +0,0 @@
-\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
deleted file mode 100644
index 2326b86c95..0000000000
--- a/macros/musixtex/doc/musixdoc/fonts.tex
+++ /dev/null
@@ -1,231 +0,0 @@
-\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
deleted file mode 100644
index e62408b2ac..0000000000
--- a/macros/musixtex/doc/musixdoc/frontmatter.tex
+++ /dev/null
@@ -1,143 +0,0 @@
-\title{\Huge\bfseries\musixtex\\[\bigskipamount]
-\LARGE\bfseries Using \TeX{} to write polyphonic\\or
-instrumental music\\\Large\itshape Version 1.37}
-\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~1.36.
-
-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
deleted file mode 100644
index c56508b6d8..0000000000
--- a/macros/musixtex/doc/musixdoc/index.tex
+++ /dev/null
@@ -1,10 +0,0 @@
-\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
deleted file mode 100644
index cb6d87fb0f..0000000000
--- a/macros/musixtex/doc/musixdoc/introduction.tex
+++ /dev/null
@@ -1,822 +0,0 @@
-\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 prevent
-inappropriate adjustments that \verb|dvips| makes by default, it is recommended to
-add the option \verb|-e0|. 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 or vectorized beams, 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|
-will by default 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
deleted file mode 100644
index a22a88255c..0000000000
--- a/macros/musixtex/doc/musixdoc/layout.tex
+++ /dev/null
@@ -1,185 +0,0 @@
-\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};
-to force the mid-bar bar line to the end of a system, use \keyindex{zzbar}.
-
-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}.
-To terminate it with no bar line at all, code \keyindex{zstoppiece}.
-If you want to suppress right-justification of the last line of a score,
-use \keyindex{raggedstoppiece}; the bar line can be suppressed by
-using \keyindex{zendpiece} (or \keyindex{setemptybar}).
-
-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
deleted file mode 100644
index 41d52fa221..0000000000
--- a/macros/musixtex/doc/musixdoc/lyrics.tex
+++ /dev/null
@@ -1,407 +0,0 @@
-\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
deleted file mode 100644
index 6b1cbf4fe5..0000000000
--- a/macros/musixtex/doc/musixdoc/miscellaneous.tex
+++ /dev/null
@@ -1,1097 +0,0 @@
-\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 suggest the terms used in the
-descriptions is that apparently Daniel Taupin had in mind other terms,
-such as \emph{pizzicato}.}
-\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 may use
-\begin{quote}
-\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}|
-\end{quote}
-to center accents
-(and other items) above or below a whole note. For example,
-\keyindex{Fermataup}\pitchp~(described in Section~{\ref{ornaments}}) is
-\emph{defined} as \keyindex{wholeshift}\verb|{|\keyindex{fermataup}\pitchp\verb|}|.
-
-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.
-\zkeyindex{txtfont}
-
-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}
-\label{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 (or below) 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}\index{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}\index{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}\index{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}\label{tablature}\index{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|,
-\verb|\setsize| and \verb|\setname| may be used as usual for a tablature staff.
-A size-dependent font \keyindex{tabstringfnt} can be used for string names.
-
-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|.
-Space for a ``rest'' can be generated by a command like
-\verb|\qa{*}|.
-Ledger lines are replaced by slashes (/) for $n$ greater than the number of staff lines,
-or simply the number of courses below the staff if this is greater than 3.
-\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 bold is the
-default font family but the traditional script letters of French tablature may be obtained by
-inputting the extension library \verb|musixftab.tex|\index{musixftab@{\tt musixftab.tex}}
-described in Section~\ref{frenchtab}.
-
-The default tablature style is to place fingering notations \emph{on} staff lines;
-Postscript specials are used to ``blank'' staff lines below
-the tab characters.
-Here is an example
-for baroque lute
-(from \emph{Ciaccona} in D~minor by J.S.~Bach):
-
-\begin{music}
-\input musixps
-\def\psslurhgt{0.5}
-\instrumentnumber{2}
-\songbottom1\songtop2
-\generalmeter{\meterfrac34}
-\interinstrument=5\internote
-\nobarnumbers
-\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10
-\setsign2{-1}\setclefsymbol2\treblelowoct
-\parindent=2ex
-\setname1{\tabstringfnt\baselineskip=1.2\internote%
-\vbox{\hbox{F}\hbox{D}\hbox{A}\hbox{F}\hbox{D}\hbox{A}}}
-\startextract
-\scale{0.8}
-\NOtes\qa{*}&\qp\en
-\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
-\Notes\ltab30&\cu{h}\en
-\bar%
-\NOtes\zltab50\zltab42\zltab31\ltab22&\zql d\zqu g\zq i\qu l\en
-\NOtesp\zltab64\zltab55\zltab30\ltab22&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
-\Notes\ltab22&\cu{l}\en
-\bar%
-\NOtes\zltab50\zltab40\zltab30\ltab10&\zql d\zq f\zq h\qu{m}\en
-\NOtes\zltab61\zltab40\ltab20&\zhl b\zh f\qu{.k}\en
-\Notes\ltab33&\cu j\en
-\bar%
-\NOtes\zltab70\zltab55\ltab45&\zql N\zq g\qu i\en
-\NOtes\zltab60\zltab53\ltab44&\zql a\zq f\qu h\en
-\notes\zltab64\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53%
-&\zql{^c}\ibbu0g{-1}\qb0g\slur eed2\qb0{fe}\tqu0f\en
-\bar%
-\notes\ztab{10}0\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50%
-&\zql K\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
-\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
-\Notes\ltab30&\cu{h}\en
-\bar%
-\zendextract
-\end{music}
-\noindent
-The coding is
-\begin{footnotesize}
-\begin{quote}\begin{verbatim}
-\instrumentnumber{2}
-\songbottom1\songtop2
-\generalmeter{\meterfrac34}
-\interinstrument=4\internote
-\nobarnumbers
-\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10
-\setsign2{-1}\setclefsymbol2\treblelowoct
-\parindent=2ex
-\setname1{\tabstringfnt\baselineskip=1.2\internote%
-\vbox{\hbox{F}\hbox{D}\hbox{A}\hbox{F}\hbox{D}\hbox{A}}}
-\startextract
-\NOtes\qa{*}&\qp\en
-\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
-\Notes\ltab30&\cu{h}\en
-\bar%
-\NOtes\zltab50\zltab42\zltab31\ltab22&\zql d\zqu g\zq i\qu l\en
-\NOtesp\zltab64\zltab55\zltab30\ltab22&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
-\Notes\ltab22&\cu{l}\en
-\bar%
-\NOtes\zltab50\zltab40\zltab30\ltab10&\zql d\zq f\zq h\qu{m}\en
-\NOtes\zltab61\zltab40\ltab20&\zhl b\zh f\qu{.k}\en
-\Notes\ltab33&\cu j\en
-\bar%
-\NOtes\zltab70\zltab55\ltab45&\zql N\zq g\qu i\en
-\NOtes\zltab60\zltab53\ltab44&\zql a\zq f\qu h\en
-\notes\zltab64\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53%
-&\zql{^c}\ibbu0g{-1}\qb0g\slur eed2\qb0{fe}\tqu0f\en
-\bar%
-\notes\ztab{10}0\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50%
-&\zql K\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
-\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
-\Notes\ltab30&\cu{h}\en
-\bar\zendextract
-\end{verbatim}\end{quote}
-\end{footnotesize}
-
-\clearpage
-
-\par\noindent
-If it is desired that fingering notations be placed \emph{above} staff lines, use
-the command \keyindex{tabstylespacetrue}.
-Here is the same example with \verb|\tabstylespacetrue|:
-\begin{music}
-\input musixps
-\def\psslurhgt{0.5}
-\tabstylespacetrue
-\instrumentnumber{2}
-\songbottom1\songtop2
-\generalmeter{\meterfrac34}
-\interinstrument=4\internote
-\nobarnumbers
-\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10
-\setsign2{-1}\setclefsymbol2\treblelowoct
-\parindent=2ex
-\setname1{\tabstringfnt\baselineskip=1.2\internote%
-\vbox{\hbox{F}\hbox{D}\hbox{A}\hbox{F}\hbox{D}\hbox{A}}}
-\startextract
-\scale{0.8}
-\NOtes\qa{*}&\qp\en
-\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
-\Notes\ltab30&\cu{h}\en
-\bar%
-\NOtes\zltab50\zltab42\zltab31\ltab22&\zql d\zqu g\zq i\qu l\en
-\NOtesp\zltab64\zltab55\zltab30\ltab22&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
-\Notes\ltab22&\cu{l}\en
-\bar%
-\NOtes\zltab50\zltab40\zltab30\ltab10&\zql d\zq f\zq h\qu{m}\en
-\NOtes\zltab61\zltab40\ltab20&\zhl b\zh f\qu{.k}\en
-\Notes\ltab33&\cu j\en
-\bar%
-\NOtes\zltab70\zltab55\ltab45&\zql N\zq g\qu i\en
-\NOtes\zltab60\zltab53\ltab44&\zql a\zq f\qu h\en
-\notes\zltab64\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53%
-&\zql{^c}\ibbu0g{-1}\qb0g\slur eed2\qb0{fe}\tqu0f\en
-\bar%
-\notes\ztab{10}0\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50%
-&\zql K\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
-\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en
-\Notes\ltab30&\cu{h}\en
-\bar%
-\zendextract
-\end{music}
-\medskip
-
-\noindent
-In pure tablature, note durations can be specified by tiny notes
-above the staff, as in:
-\medskip
-
-\begin{music}
-\input musixps
-\def\psslurhgt{0.5}
-\instrumentnumber{1}
-\generalmeter{\meterfrac34}
-\generalsignature{-1}
-\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10
-\nobarnumbers
-\parindent=2ex
-\setname1{\tabstringfnt\baselineskip=1.2\internote%
-\vbox{\hbox{F}\hbox{D}\hbox{A}\hbox{F}\hbox{D}\hbox{A}}}
-\nostartrule
-\startextract
-\scale{0.8}
-\NOtes\tzqu\qa{*}\en
-\NOtesp\zltab50\zltab40\tzqup\ltab30\en
-\Notes\tzcu\ltab30\en
-\bar%
-\NOtes\zltab50\zltab42\zltab31\tzqu\ltab22\en
-\NOtesp\zltab64\zltab35\zltab30\tzqup\ltab22\en
-\Notes\tzcu\ltab22\en
-\bar%
-\NOtes\zltab50\zltab30\zltab20\tzqu\ltab10\en
-\NOtes\zltab61\zltab40\tzqup\ltab20\en
-\Notes\tzcu\ltab33\en
-\bar%
-\NOtes\zltab70\zltab55\tzqu\ltab45\en
-\NOtes\zltab60\zltab53\ltab44\en
-\notes\zltab64\tzccu\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53\en
-\bar%
-\notes\ztab{10}0\tzccu\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50\en
-\NOtesp\zltab50\zltab40\tzqup\ltab30\en
-\Notes\tzcu\ltab30\en
-\bar%
-\zendextract
-\end{music}
-\medskip
-\noindent
-
-\smallskip
-
-\noindent
-A tiny note can be generated above the staff using one of the commands
-\keyindex{tzwh}, \keyindex{tzwhp}, \keyindex{tzhu}, \keyindex{tzhup}, \keyindex{tzqu}, \keyindex{tzqup}, \keyindex{tzcu}, \keyindex{tzcup}, \keyindex{tzccu}, \ldots\
-\emph{before} a spacing command. These commands suppress spurious ledger lines and
-avoid raising dots on dotted notes.
-
-\smallskip
-
-\noindent
-Coding
-for the notes in the example above is as follows:
-\begin{footnotesize}
-\begin{quote}\begin{verbatim}
-\startextract
-\NOtes\tzqu\qa{*}\en
-\NOtesp\zltab50\zltab40\tzqup\ltab30\en
-\Notes\tzcu\ltab30\en
-\bar%
-\NOtes\zltab50\zltab42\zltab31\tzqu\ltab22\en
-\NOtesp\zltab64\zltab35\zltab30\tzqup\ltab22\en
-\Notes\tzcu\ltab22\en
-\bar%
-\NOtes\zltab50\zltab30\zltab20\tzqu\ltab10\en
-\NOtes\zltab61\zltab40\tzqup\ltab20\en
-\Notes\tzcu\ltab33\en
-\bar%
-\NOtes\zltab70\zltab55\tzqu\ltab45\en
-\NOtes\zltab60\zltab53\ltab44\en
-\notes\zltab64\tzccu\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53\en
-\bar%
-\notes\ztab{10}0\tzccu\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50\en
-\NOtesp\zltab50\zltab40\tzqup\ltab30\en
-\Notes\tzcu\ltab30\en
-\bar%
-\zendextract
-\end{verbatim}\end{quote}
-\end{footnotesize}
-
-\medskip
-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}.
-See extension libraries in Section~\ref{frenchtab} and \ref{mtab} for ``french'' and ``modern''
-variants, respectively.
diff --git a/macros/musixtex/doc/musixdoc/musixdoc.ltx b/macros/musixtex/doc/musixdoc/musixdoc.ltx
deleted file mode 100644
index c48e40b773..0000000000
--- a/macros/musixtex/doc/musixdoc/musixdoc.ltx
+++ /dev/null
@@ -1,102 +0,0 @@
-%
-% 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
deleted file mode 100644
index d07d8ddcd4..0000000000
--- a/macros/musixtex/doc/musixdoc/musixdoc.sty
+++ /dev/null
@@ -1,149 +0,0 @@
-%
-% 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 musixvbm % experimental vectorized beams
-\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
deleted file mode 100644
index 8ecffdad46..0000000000
--- a/macros/musixtex/doc/musixdoc/parameters.tex
+++ /dev/null
@@ -1,220 +0,0 @@
-\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.
-
- \section{Split and Shortened Systems}
-It is sometimes desirable to typeset a ``shortened'' system or to split
-a system into left and right segments, as in the following (extracted from a
-Geminiani \emph{concerto grosso}):
-
-\begin{music}
-\smallmusicsize
-\setclef1\bass
-\setclef5\treble\settrebleclefsymbol5\trebleoct
-\generalsignature{-2}
-\instrumentnumber5
-\songbottom{1}\songtop{5}
-\setinterinstrument4{1\internote}
-\nobarnumbers
-\generalmeter{\meterfrac38}
-\hbox to\hsize\bgroup\vbox\bgroup\hsize=1.7in
-\startpiece\addspace\afterruleskip
-\Notes\qa G\sk&\ibu1i{-1}\qb1i\qb1{.g}&\ca d\qa g&\ca n\itieu3n\qa n&\ca g\ds\en
-\notes\ds\sk&\sk\tbbu1\tqu1g&\sk\sk&\sk\sk\ttie3&\ds\sk\en
-\znotes&&&&\lcn{q}{\bf D.S. al\kern3ex}\coda p\en
-\setdoublebar\endpiece
-\egroup\hfill\vbox\bgroup\hsize=3.7in
-\generalmeter{\allabreve}
-\startpiece\addspace\afterruleskip
-\znotes&&&&\coda o\en
-\NOtes\qa{.G}&\qa{.k}&\qa{.d}&\qa n&\qa g\en
-\notes\sk\sk\qs\cca N&\sk\sk\qs\cca i&\sk\sk\qs\cca k&\qs\ibbl3p{-2}\qb3{p}\qb3{o}\tql3n&\qp\sk\sk\sk\en
-\NOtes\qa{.M}&\qa{.h}&\qa{.k}&\qa o&\ha k\en
-\Notes\sk&\sk&\sk&\itieu3r\qa r&\sk\en
-\notes\qs\cca M&\qs\cca h&\qs\cca k&\sk\sk&\sk\sk\en
-\bar
-\NOtes\wh L\sk&\qa{g}\qa{g}&\ha{l}\sk&\ttie3\ha r\sk&\ha{g}\sk\en
-\NOTes\sk&\ha j&\ha{n}&\tr s\ha q&\ha{n}\en
-\bar
-\nspace
-\NOtesp\ha{.K}&\ha{.h}&\ha{.k}&\ha{.r}&\ha{.^m}\en
-\setdoublebar\endpiece
-\egroup\egroup
-\end{music}
-
-This was coded as follows:
-\begin{footnotesize}
-\begin{quote}\begin{verbatim}
-\setclef1\bass\setclef5\treble\settrebleclefsymbol5\trebleoct
-\generalsignature{-2}
-\instrumentnumber5\songbottom{1}\songtop{5}
-\nobarnumbers
-\generalmeter{\meterfrac38}
-\hbox to\hsize\bgroup\vbox\bgroup\hsize=1.7in % specify length of left segment
-\startpiece\addspace\afterruleskip
-\Notes\qa G\sk&\ibu1i{-1}\qb1i\qb1{.g}
- &\ca d\qa g&\ca n\itieu3n\qa n&\ca g\ds\en
-\notes\ds\sk&\sk\tbbu1\tqu1g
- &\sk\sk&\sk\sk\ttie3&\ds\sk\en
-\znotes&&&&\lcn{q}{\bf D.S. al\kern3ex}\coda p\en
-\setdoublebar\endpiece
-\egroup\hfill\vbox\bgroup\hsize=3.7in % specify length of right segment
-\generalmeter{\allabreve}
-\startpiece\addspace\afterruleskip
-\znotes&&&&\coda o\en
-\NOtes\qa{.G}&\qa{.k}&\qa{.d}&\qa n&\qa g\en
-\notes\sk\sk\qs\cca N&\sk\sk\qs\cca i
- &\sk\sk\qs\cca k
- &\qs\ibbl3p{-2}\qb3{p}\qb3{o}\tql3n
- &\qp\sk\sk\sk\en
-\NOtes\qa{.M}&\qa{.h}&\qa{.k}&\qa o&\ha k\en
-\Notes\sk&\sk&\sk&\itieu3r\qa r&\sk\en
-\notes\qs\cca M&\qs\cca h&\qs\cca k
- &\sk\sk&\sk\sk\en
-\bar
-\NOtes\wh L\sk&\qa{g}\qa{g}&\ha{l}\sk
- &\ttie3\ha r\sk&\ha{g}\sk\en
-\NOTes\sk&\ha j&\ha{n}&\tr s\ha q&\ha{n}\en
-\bar
-\nspace
-\NOtesp\ha{.K}&\ha{.h}&\ha{.k}&\ha{.r}&\ha{.^m}\en
-\setdoublebar\endpiece
-\egroup\egroup % close open \bgroups
-\end{verbatim}\end{quote}
-\end{footnotesize}
diff --git a/macros/musixtex/doc/musixdoc/preparing.tex b/macros/musixtex/doc/musixdoc/preparing.tex
deleted file mode 100644
index 88e3756bf4..0000000000
--- a/macros/musixtex/doc/musixdoc/preparing.tex
+++ /dev/null
@@ -1,285 +0,0 @@
-\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
deleted file mode 100644
index a0c89b5f59..0000000000
--- a/macros/musixtex/doc/musixdoc/repeats.tex
+++ /dev/null
@@ -1,272 +0,0 @@
-\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{bourr\'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
deleted file mode 100644
index 2bf4aebfb6..0000000000
--- a/macros/musixtex/doc/musixdoc/restsdoc.tex
+++ /dev/null
@@ -1,233 +0,0 @@
-\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
-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
deleted file mode 100644
index 17b8697848..0000000000
--- a/macros/musixtex/doc/musixdoc/settingup.tex
+++ /dev/null
@@ -1,367 +0,0 @@
-\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}\index{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}\index{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}\index{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}\index{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}\index{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}\index{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}\index{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
deleted file mode 100644
index c387eb2b68..0000000000
--- a/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex
+++ /dev/null
@@ -1,382 +0,0 @@
- \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};
-for shifts farther to the right, use
-\keyindex{iRsluru},
-\keyindex{iRslurd}
-or \keyindex{tRslur}.
-
-
-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
deleted file mode 100644
index 8674dc02e9..0000000000
--- a/macros/musixtex/doc/musixdoc/slurstiesfont.tex
+++ /dev/null
@@ -1,598 +0,0 @@
-\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
deleted file mode 100644
index 8a50b8e596..0000000000
--- a/macros/musixtex/doc/musixdoc/smaller.tex
+++ /dev/null
@@ -1,190 +0,0 @@
-\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}\index{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
deleted file mode 100644
index f4bcf29817..0000000000
--- a/macros/musixtex/doc/musixdoc/spacing.tex
+++ /dev/null
@@ -1,106 +0,0 @@
-\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
deleted file mode 100644
index 2827067330..0000000000
--- a/macros/musixtex/doc/musixdoc/staffsize.tex
+++ /dev/null
@@ -1,101 +0,0 @@
-\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
deleted file mode 100644
index d3f70a4bf9..0000000000
--- a/macros/musixtex/doc/musixdoc/summary.tex
+++ /dev/null
@@ -1,310 +0,0 @@
-\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
deleted file mode 100644
index 4fc9e9d609..0000000000
--- a/macros/musixtex/doc/musixdoc/transposition.tex
+++ /dev/null
@@ -1,217 +0,0 @@
- \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
deleted file mode 100644
index bc8b3cd4d7..0000000000
--- a/macros/musixtex/doc/musixdoc/writingnotes.tex
+++ /dev/null
@@ -1,294 +0,0 @@
- \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{maxima}{\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}, \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}, all followed by a pitch argument.
-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}{\tt\char123}$p${\tt\char125}, or
-\keyindex{pppt}{\tt\char123}$p${\tt\char125} 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|.
-As a matter of style, if two voices share one staff, the dots in
-the lower voice should be \emph{lowered} if the note is on a line. For
-this you can use \keyindex{lpt},
-\keyindex{lppt} and \keyindex{lpppt}.
-
-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}, followed by a pitch,
-and similarly with two \verb|p|'s for
-double-dotted notes.
-The following provide dotted chord notes shifted left or right:
-\keyindex{lhp},
-\keyindex{rhp},
-\keyindex{lqp},
-\keyindex{rqp},
-and similarly with two \verb|p|'s for
-double-dotted notes.
-
-
-\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.
diff --git a/macros/musixtex/doc/musixftab/frenchtab-samples.pdf b/macros/musixtex/doc/musixftab/frenchtab-samples.pdf
deleted file mode 100644
index a035265ce6..0000000000
--- a/macros/musixtex/doc/musixftab/frenchtab-samples.pdf
+++ /dev/null
Binary files differ
diff --git a/macros/musixtex/doc/musixftab/frenchtab-samples.tex b/macros/musixtex/doc/musixftab/frenchtab-samples.tex
deleted file mode 100644
index 8ee4f077ce..0000000000
--- a/macros/musixtex/doc/musixftab/frenchtab-samples.tex
+++ /dev/null
@@ -1,9 +0,0 @@
-\font\tabfnt=frenchtab at 11pt
-
-{\tabfnt 0 1 2 3 4 5 6 7 8 9}
-
-{\tabfnt A B C D E F G H I K L M N O P Q R}
-
-{\tabfnt V W X Y Z}
-
-\end
diff --git a/macros/musixtex/doc/musixlyr/README.musixlyr b/macros/musixtex/doc/musixlyr/README.musixlyr
deleted file mode 100644
index bbf9abd9be..0000000000
--- a/macros/musixtex/doc/musixlyr/README.musixlyr
+++ /dev/null
@@ -1,74 +0,0 @@
-
- musixlyr -- a MusiXTeX Extension Package for Lyrics Handling
- Version 2.1c
-
- (C) Rainer Dunker 1996-2003
-
-
-musixlyr is a set of TeX macros to be used with Taupin MusiXTeX
-(version T.52 or later) for typesetting vocal music. Its purpose is
-to compensate two drawbacks of MusiXTeX's lyrics handling:
-
- o Typesetting lyrics with the ``native'' MusiXTeX commands \zcharnote,
- \zsong etc. tends to be quite inefficient, particularly if the
- lyrics have to be changed or corrected. The idea underlying
- musixlyr is to separate lyrics coding from music coding and let TeX
- weave them together with as little manual interference as
- possible. As a result you can enter and edit lyrics (nearly) as
- easily as normal text.
-
- o MusiXTeX has no built-in mechanism for centering hyphens between
- syllables and for handling hyphenation at long melismas. This is
- implemented in musixlyr following the example of engraved music.
-
-
-New in version 2.1:
-
- o \appendlyrics: Appends additional lyrics to existing lyrics line
- without discarding the remainder of the current lyrics
-
- o A couple of bugs fixed
-
-
-New in version 2.0:
-
- o Support for lyrics on multi-staff instruments
-
- o Melisma declaration as part of the lyrics definition,
- i.e. within \setlyrics
-
- o Improved scheme for vertical lyrics positioning
-
- o Using PMX: Automatic detection of upper/lower voice context in
- a two-voice staff; explicitly addressing lyrics commands to
- auxiliary lyrics with \auxlyr is no longer required
-
- o Context-dependent lyrics settings that do not need to be
- adressed to absolute instrument/staff numbers, making lyrics
- assignment robust against PMX part extraction
-
- o No more TeX register allocations per verse
- (i.e. musixlyr uses only a small, fixed number of registers)
-
- o Facility for posting "extra" lyrics anywhere on a staff,
- even where no notes are present at all
-
- o Slightly more robust processing of undefined verses
-
-
-See the included file mxlyrdoc.dvi about how to make use of musixlyr.
-This DVI file has been created using MusiXTeX T.103. If you have
-another version installed, the music examples of the manual may be
-corrupted due to font incompatibilities. Nevertheless, the rest of
-the manual will remain readable so that you will be able to install
-musixlyr and recompile the mxlyrdoc.tex file in order to get
-everything right.
-
-All kinds of comments, suggestions, and bug reports are welcome!
-
-Author: Rainer Dunker
- Wachtelweg 31
- 85591 Vaterstetten
- Germany
-
- E-mail: rainer.dunker@web.de
diff --git a/macros/musixtex/doc/musixlyr/examples/nonmoriar.pdf b/macros/musixtex/doc/musixlyr/examples/nonmoriar.pdf
deleted file mode 100644
index d23648bb6a..0000000000
--- a/macros/musixtex/doc/musixlyr/examples/nonmoriar.pdf
+++ /dev/null
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diff --git a/macros/musixtex/doc/musixlyr/examples/nonmoriar.tex b/macros/musixtex/doc/musixlyr/examples/nonmoriar.tex
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index 4f0c45a12f..0000000000
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+++ /dev/null
@@ -1,23 +0,0 @@
-\input musixtex
-\input musixlyr
-
-\generalmeter\allabreve
-\generalsignature2
-\nobarnumbers
-\scale{0.9}
-\setlyrics{latin} {Non mo-ri-ar sed}
-\setlyrics{german}{Ich wer-de nicht ster-ben, son-dern}
-\assignlyrics1{latin,german}
-\setsongraise1{-1.5mm}
-\startextract
- \znotes\verses{,\lyrlayout{\it}}\en
- \NOTEs\wh{'a}\en\bar
- \NOTes\verses{\beginmel}\ha{'b}\verses{\endmel}\ha a\en\bar
- \NOtesp\beginmel\qup{'a}\en
- \Notes\ca{'b}\en
- \NOtes\verses{,\endmel}\qa{'c}\verses{,\beginmel}\itieu0d\qa d\en\bar
- \NOtes\ttie0\qa{'d}\endmel\qa c\en
- \NOtes\verses{\beginmel}\ha{'d}\en\bar
- \NOTes\verses{\endmel}\ha{'ee}\en
-\endextract
-\bye
diff --git a/macros/musixtex/doc/musixlyr/mxlyrdoc.pdf b/macros/musixtex/doc/musixlyr/mxlyrdoc.pdf
deleted file mode 100644
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--- a/macros/musixtex/doc/musixlyr/mxlyrdoc.pdf
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diff --git a/macros/musixtex/doc/musixlyr/mxlyrdoc.tex b/macros/musixtex/doc/musixlyr/mxlyrdoc.tex
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+++ /dev/null
@@ -1,1876 +0,0 @@
-%%
-%% mxlyrdoc.tex: Manual for the MusiXTeX lyrics package musixlyr
-%%
-%% Copyright (C) 1996-2003 Rainer Dunker
-%%
-%% This document 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 of the License, or
-%% any later version.
-%%
-%% This document 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 this document; if not, write to the Free Software
-%% Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA.
-%%
-%% Author:
-%% Rainer Dunker
-%% Wachtelweg 31
-%% 85591 Vaterstetten
-%% Germany
-%%
-%% E-mail: rainer.dunker@web.de
-%%
-\documentclass[twoside]{article}
-\usepackage{musixtex,multicol,makeidx}
-
-\input musixlyr
-
-\textwidth210mm \advance\textwidth-2in % These format settings
-\textheight297mm \advance\textheight-2in % can be freely changed!
-\advance\textheight-\headheight \advance\textheight-\headsep
-\footskip0pt \topmargin0pt \evensidemargin0pt \oddsidemargin0pt
-
-\pagestyle{headings}
-\parskip0.5ex plus 0.25ex minus 0.25ex
-\parindent0pt
-\sloppy
-
-\nobarnumbers
-\smallmusicsize
-
-%
-% command index
-%
-\makeatletter
-\renewenvironment{theindex}
- {\let\item\@idxitem
- \begin{multicols}{2}
- \parskip0pt}
- {\end{multicols}}
-\def\printcmd#1{{\tt\char92 #1}}
-\def\ci#1{\printcmd{#1}\bci{#1}}
-\def\bci#1{\index{#1@\printcmd{#1}}} % "blind" command index entry
-\makeindex
-
-\let\myqnwidth\qn@width
-\makeatother
-
-\def\musixlyr{{\tt musixlyr}}
-\def\PMX{{\bf PMX}}
-\def\var#1{\hbox{$\langle$#1$\rangle$}}
-\def\oneversespace{\par\vspace*{2mm}}
-\def\twoversesspace{\par\vspace*{7mm}}
-
-
-
-
-\begin{document}
-
-
-\title{\musixlyr\ --- a \musixtex\ Extension Package for Lyrics Handling
- (Version 2.1c)}
-\author{\copyright\ Rainer Dunker 1996--2003\\
- {\tt rainer.dunker@web.de}}
-\maketitle
-\thispagestyle{empty}
-
-
-{\small\sl (The page layout of this document is tailored to A4 paper
- format, but the text width and height can be freely changed in order
- to meet other paper sizes; no part of the layout relies on a
- particlular size.)\/}
-
-{\parskip0pt\tableofcontents}
-
-
-
-\section{Introduction}
-
-
-\subsection{Basic concepts}
-
-\musixlyr\ is a set of \TeX\ macros to be used with Taupin \musixtex\
-(version T.52 or later) for typesetting vocal music. Its purpose is
-to compensate two drawbacks of \musixtex's lyrics handling:
-\begin{itemize}
- \item Typesetting lyrics with the ``native'' \musixtex\ commands
- \verb|\zcharnote|, \verb|\zsong| etc.\ tends to be quite
- inefficient, particularly if the lyrics have to be changed or
- corrected. The idea underlying \musixlyr\ is to separate lyrics
- coding from music coding and let \TeX\ weave them together with as
- little manual interference as possible. As a result you can enter
- and edit lyrics (nearly) as easily as normal text.
- \item \musixtex\ has no built-in mechanism for centering hyphens between
- syllables and for handling hyphenation at long melismas. This is
- implemented in \musixlyr\ following the example of engraved music.
-\end{itemize}
-
-
-
-\subsection{New since version~2.0}
-
-\musixlyr~2.0 provides the following major enhancements:
-\begin{itemize}
- \item Support for lyrics on multi-staff instruments
- $\longrightarrow$~section~\ref{multi-staff-instruments}
- %
- \item Melisma declaration as part of the lyrics definition,
- i.\,e.~within \ci{setlyrics}
- $\longrightarrow$~section~\ref{melismas}
- %
- \item Improved scheme for vertical lyrics positioning
- $\longrightarrow$~section~\ref{vertical-positioning}
- %
- \item Facility for posting lyrics anywhere on a staff, even where no
- notes are present at all
- $\longrightarrow$~section~\ref{lyric*-verse-numbers}
-\end{itemize}
-
-These new features are especially interesting when \musixlyr\ is used in
-conjunction with \PMX:
-\begin{itemize}
- \item Automatic detection of upper/lower voice context in
- a two-voice staff; explicitly addressing lyrics commands to
- auxiliary lyrics with \ci{auxlyr} is no longer required
- $\longrightarrow$~section~\ref{auxlyr-attachment}
- %
- \item Context-dependent lyrics settings that do not need to be
- adressed to absolute instrument/staff numbers, making lyrics
- assignment robust against part extraction
- $\longrightarrow$~section~\ref{assignment-by-context}
-\end{itemize}
-
-Finally, a few improvements have been made that do not bear explicit
-new features but work rather behind the scenes:
-\begin{itemize}
- \item No more \TeX\ register allocations for each verse name newly
- defined by \ci{setlyrics} or \ci{copylyrics}; the use
- of those registers has been replaced by macros.
- %
- \item Due to the abandoned per-verse register allocations, the
- \ci{enableauxlyrics} command is obsolete. It is retained for the
- sake of backward compatibility, but it has no effect.
- %
- \item Slightly more robust processing of undefined verses. An error
- is raised immediately when an undefined verse is assigned to a
- staff/instrument, and the undefined verse name is implicitly
- defined as having empty lyrics. This avoids obscure errors in later
- stages of \TeX\ processing.
-\end{itemize}
-
-The current version~2.1c is mainly a bugfix version of~2.0, with a few
-functional additions:
-\begin{itemize}
- \item Possibility to add additional lyrics to an existing lyrics
- definition without discarding the remainder of the current lyrics
- line contents; useful if lyrics are defined in several portions
- spread over the score (see~\ref{appendlyrics}).
- \item The \musixlyr\ version is identified by the predefined macro
- \verb|\musixlyrversion|, enabling other \TeX\ code to check for
- version compatibility (according to a suggestion by Dirk Laurie).
-\end{itemize}
-
-Suggestions for other useful things are welcome.
-
-
-
-\subsection{Backward incompatibility issues}
-
-The following properties make \musixlyr\ versions~2.$x$ incompatible
-to earlier versions:
-\begin{itemize}
- \item
- It is no longer possible to represent ``empty syllables'' by
- empty \TeX\ environments `\verb|{}|' within \ci{setlyrics}; see
- also section~\ref{empty-syllable}.
- %
- \item
- Within \ci{setlyrics}, the underscore character has got a
- special meaning and thus can no longer be used as usual; see
- section~\ref{melismas-by-underscores}.
- %
- \item
- By default, auxiliary lyrics are now placed vertically {\em
- above\/} (no longer below) the staff they are assigned to; see
- section~\ref{auxlyr-vertical-position-default}.
-\end{itemize}
-
-
-The following bugfix of \musixlyr~2.1b also implies a slight backward
-incompatibility:
-\begin{itemize}
- \item
- At the beginning of a music line (system), lyrics have often been
- right-shifted because \musixlyr\ has assumed MusiXTeX's horizontal
- ``zero'' position as the left boundary for lyrics positioning. Now,
- lyrics are allowed to extend into the left margin as far as
- required for centered placement under/above the note.
-
- Although this is a more ``natural'' behaviour, it may lead to
- collisions between lyrics and other stuff (like dynamic marks) that
- have not occurred using older \musixlyr\ versions. In such a case,
- there are two ways to solve the problem:
- %
- \begin{itemize}
- \item Restore the former \musixlyr\ behaviour globally by saying
- \begin{quote}
- \ci{oldlyrlinestart}
- \end{quote}
- near the top of your score source.
- %
- \item Right-shift the colliding lyrics where necessary using
- \ci{lyroffset} (see~\ref{lyroffset}).
- \end{itemize}
- \end{itemize}
-
-
-
-\subsection{Restrictions}
-
-\begin{itemize}
- \item \musixlyr\ does not influence the \musixtex/{\tt musixflx}
- spacing algorithm in order to make the notes spacing dependent on
- the space requirements of the lyrics. See section~\ref{horizpos}
- about how spacing problems are handled.
- %
- \item \musixlyr\ seems to work correctly in my preferred working
- environment, but I cannot exclude problems in situations I have
- not undergone (especially concerning the use of \musixtex\
- preprocessors, the \musixtex\ extension library, and past or
- future \musixtex\ releases). Thus it is important that you point out
- encountered bugs and incompatibilities to me; there is little
- chance that I notice them on my own.
-
- Please do also bother me if you find this manual --- or parts of
- it --- incomprehensible or incomplete.
-\end{itemize}
-
-
-
-\section{Installation}
-
-Put the {\tt musixlyr.tex} file into a directory that is included in
-your \verb|TEXINPUTS| search path --- that's all. (Refer to your local \TeX\
-documentation for details on this.)
-
-
-
-\section{Usage}
-
-Before using \musixlyr\ macros, state
-\begin{quote}\verb|\input musixlyr|\end{quote}
-near the beginning of your source file but {\bf after} the
-\verb|\input musixtex| (\LaTeX: \verb|\usepackage{musixtex}|)
-command.
-
-
-
-\subsection{Entering lyrics}
-
-
-\subsubsection{Lyrics as lines of words}
-
-As opposed to the ``vertical'' music construction of
-\musixtex, \musixlyr\ treats lyrics ``horizontally'' as {\em lyrics
-lines.\/} Each separate ``thread'' of words is a separate lyrics
-line; thus, in the following example\footnote{Excerpt from
-``Tourdion'' by {\sc Pierre Attaignant} ({\sl ars
-musica\/} vol.\,4, M\"oseler Verlag Wolfenb\"uttel/Z\"urich)},
-
-\begin{music}
- \setlyrics{soprano}
- {Quand je bois du vin clai-ret, a-mi tout}
- \setlyrics{alto}{Le bon vin nous}
- \setlyrics{tenor}{Bu-vons bien, bu-vons mes a-mis,}
- \copylyrics{tenor}{bass}
- \assignlyrics4{soprano}
- \assignlyrics3{alto}
- \assignlyrics2{tenor}
- \assignlyrics1{bass}
- \setsongraise3{-1.5mm}
- \small
- \instrumentnumber4
- \generalsignature2
- \generalmeter{\meterfrac32}
- \setclef1\bass
- \songtop4
- \songbottom1
- \sepbarrules
- \startextract
- \NOtes\wh{`e}\sk\sk\sk\ha e&%
- \wh g\sk\sk\sk\ha e&%
- \wh b\sk\sk\sk\ha b&%
- \qa{efg'a!gf}\en\bar
- \NOTesp\wh{`e}&\wh{'b}&\wh e&\hup e\en
- \NOtes\sk\ha{`e}&\sk\ha{'b}&\sk\ha e&\qa{fg'a}\en
- % force hyphens of incomplete words:
- \def\atnextbar{\znotes\lyric{}&\lyric{}\en}%
- \endextract
-\end{music}
-\oneversespace
-
-there are four lyrics lines notwithstanding that two of them consist
-of the same words.
-
-Note that the number of lyrics lines does not depend on the number
-of staves: Any number of lyrics lines (including none) can be attached
-to each staff (more about multiple lyrics lines per staff in
-section~\ref{multilyrlines}).
-
-
-\subsubsection{Setting up a lyrics line}
-
-A lyrics line is set up using the command
-\begin{quote}
- \ci{setlyrics}\verb|{|\var{name}\verb|}{|\var{words}\/\verb|}|
-\end{quote}
-where \var{name} is a name\footnote{This name must not contain
-backslashes or commas. Most other characters do not cause problems;
-however, it is safer to use only letters and digits.} for the lyrics
-line (e.\,g.\ the name of the voice singing these lyrics) and
-\var{words} is the complete text where multi-syllable words must be
-given {\bf hyphenated.} For example, the soprano lyrics of the above
-example are set as follows:
-\begin{quote}
- \bci{setlyrics}
- \begin{verbatim}
-\setlyrics{soprano}{Quand je bois du vin clai-ret, a-mi tout}\end{verbatim}
-\end{quote}
-
-Important notes on using \ci{setlyrics}:
-\begin{itemize}
- \item
- Within the lyrics definition, spaces and hyphens are used to
- split the whole text into words or syllables. If you want a space
- or hyphen appear {\em within\/} a word/syllable, use the command
- \verb|\space| or \ci{lyrhyphenchar}, respectively, instead.
- \item
- \label{empty-syllable}%
- If you want the lyrics attachment to skip over a note,
- i.\,e.~a certain note shall not receive a syllable, you may
- achieve this by inserting an empty syllable in the \var{words}
- text. However, neither a ``really empty'' syllable (i.\,e.~two
- consecutive separating spaces) nor an empty environment \verb|{}|
- will work, but you may use either \verb|{\empty}| or
- \verb|\empty{}| for this.
-
- Normally, the \ci{nolyr} command (discussed later in this
- manual) should be used for this purpose, but an empty syllable may
- be more handy if it occurs in only one of multiple assigned
- verses; see also sections~\ref{melismas-by-underscores}
- and~\ref{multilyrlines}.
- \item
- Note that, since lyrics lines are cut into pieces which are
- processed separately, you cannot apply things like temporary font
- changes in the usual manner (i.\,e.~using \TeX\
- environments). See section~\ref{layoutpar} about how to accomplish
- layout changes.
- \item
- Applying \ci{setlyrics} to an already defined \var{name}
- redefines the lyrics line. This may be useful at very long pieces
- because setting up and applying lyrics in smaller portions
- (e.\,g.\ movement by movement) saves both time and memory.
- \item
- It is possible to specify melismas --- that shall occur later when
- a verse is attached to the music --- already within
- \ci{setlyrics}; see section~\ref{melismas-by-underscores} for
- details.
-
-\end{itemize}
-
-There are two variants of the \verb|\setlyrics| command available:
-\begin{itemize}
- \item
- If several voices have the same lyrics, you do not have to copy
- and paste the lyrics for each further voice; just say
- \begin{quote}\ci{copylyrics}\verb|{|\var{from name}%
- \verb|}{|\var{to name}\verb|}|\end{quote}
- to set up a lyrics line named \var{to name} with the same contents
- as \var{from name}.
- \item
- Applying \ci{setlyrics} to an already defined \var{name}
- has the effect of discarding all previous contents of \var{name},
- even if part of the lyrics is still pending for being
- processed. If you want to {\em append\/} further lyrics to an already
- existing lyrics line instead --- without interrupting the
- processing of the current lyrics contents ---, use the command
- \label{appendlyrics}
- \begin{quote}
- \ci{appendlyrics}\verb|{|\var{name}\verb|}{|\var{words}\/\verb|}|
- \end{quote}
- instead of \verb|\setlyrics|.
- % A warning about performance loss due to \appendlyrics's material
- % accumulation may be added here; it should occur only if \golyr
- % jumps to or near to the lyrics beginning are performed.
-\end{itemize}
-
-
-\subsubsection{Assigning lyrics lines to staves}
-
-{\bf Note:} During the following discussion, the term {\em staff\/} is
-used wherever \musixtex\ would precisely use the term {\em
-instrument\/} instead, assuming that lyrics are posted to single-staff
-instruments only. However, everything also applies to the assignment
-of lyrics to staves of multi-staff instruments; see
-section~\ref{multi-staff-instruments} about how to use lyrics in a
-multi-staff instrument context.
-
-To assign a lyrics line to a staff, say
-\begin{quote}\ci{assignlyrics}\verb|{|\var i%
- \verb|}{|\var{name}\verb|}|\end{quote}
-where \var i is the instrument number (counted as usual from bottom to
-top) and \var{name} the name of the lyrics line.
-
-The resulting assignment can be redefined everywhere. This is useful
-if the arrangement of voices on staves changes within the score; when
-a voice is continued on a different staff at the next system, use
-\ci{assignlyrics} (preferrably enclosed in \verb|\atnextline{...}|) to
-make the respective lyrics line follow this change without
-interrupting the flow of words.
-
-If a lyrics line is assigned to instrument \var i and you want it to be
-continued on a different instrument while assigning no other lyrics line
-to instrument \var i, you must explicitly cancel the former assignment by
-saying \ci{assignlyrics}\verb|{|\var i\verb|}{}|.
-
-{\bf Caution:} Never assign a lyrics line to more than one
-staff simultaneously; if the same lyrics are needed at
-several staves in parallel, use \ci{copylyrics} (see above).
-
-As a summary of this section, here is the complete ``lyrics
-definition section'' of the above example:
-\begin{quote}
- \bci{setlyrics}
- \bci{copylyrics}
- \bci{assignlyrics}
- \begin{verbatim}
-\setlyrics {soprano}{Quand je bois du vin clai-ret, a-mi tout}
-\setlyrics {alto} {Le bon vin nous}
-\setlyrics {tenor} {Bu-vons bien, bu}
-\copylyrics{tenor} {bass}
-\assignlyrics4{soprano}
-\assignlyrics3{alto}
-\assignlyrics2{tenor}
-\assignlyrics1{bass}\end{verbatim}
-\end{quote}
-
-See also section~\ref{assignment-by-context} about an alternative way
-to assign lyrics to staves.
-
-
-
-\subsection{Managing the attachment of lyrics to notes}
-\label{manipulation}
-
-
-\subsubsection{Automatic lyrics attachment}
-\label{auto-attachment}
-
-By default, the syllables of a lyrics line are consecutively attached to
-all {\em spacing\/} notes of the assigned staff. Chords thus receive only
-one syllable since they usually contain exactly one spacing note.
-However, this may be different if you are using auxiliary lyrics;
-see section~\ref{auxlyrics} for details.
-
-``Spacing'' in this context means: generated by one of the commands
-\verb|\qu|, \verb|\hu|, \verb|\wh|, etc.\ and not by \verb|\zqu|,
-\verb|\zhu|, \verb|\zq|, etc. Spacing or not does {\em not\/} depend on
-whether the note-generating command is enclosed in \verb|\znotes| or
-any other \verb|\notes| command. So if any note seems to have been
-left out by the attachment automatism, first make sure that this
-note is generated using a command not beginning with \verb|\z|.
-
-If the number of words of a lyrics line gets exhausted before all
-notes of the respective staff are processed, ``???'' is posted at all
-remaining notes.
-
-
-\subsubsection{Addressing manipulations to lyrics}
-
-In the ``ideal'' case, the attachment automatism perfectly distributes the
-lyrics over the music. In practice, however, situations in which the
-automatism must be ``helped'' manually are frequent. Such
-manipulations must be posted within the music code. Here are the
-basic rules:
-\begin{enumerate}
- \item All lyrics manipulations must be stated inside
- \verb|\notes...\enotes|.
- (Exception: melisma specifications within \verb|\setlyrics|, see
- section~\ref{melismas-by-underscores}).
- \item Lyrics manipulations solely refer to the lyrics line(s)
- attached to the current staff (``current'' with respect to the
- enclosing `\verb|&|' characters).
- \item Similar to many other \musixtex\ commands (e.\,g.\ for beams
- and slurs), lyrics manipulations must be issued before the
- corresponding note commands.
-\end{enumerate}
-Examples in the following sections will illustrate the application.
-
-
-\subsubsection{Melismas}
-\label{melismas}
-
-Regarding lyrics and music separately, melismas are no property of
-either one; instead, they characterize the relation between both and
-play a role only where music and lyrics occur together. Using
-\musixlyr, however, lyrics coding and music coding are basically
-unrelated, but melismas do have to be specified somewhere. You have to
-decide yourself whether you regard melismas as an attribute rather of
-the lyrics or rather of the music (this may vary according to the type
-of score you are preparing, or may even differ within a score);
-\musixlyr\ provides two corresponding styles of melisma specification
-which are discussed in the following paragraphs.
-
-\begin{description}
- \item[Melismas as a music property.]
- Within the music code, a melisma is initiated and terminated by the
- command pair
- \begin{quote}
- \hspace*{\fill}\ci{beginmel}\hfill\ci{endmel}\hspace*{\fill}
- \end{quote}
- issued before the first and last note, respectively, of the melisma.
- This left-justifies the current word/syllable, suspends lyrics until
- after the melisma, and sets up a ``word extension
- underline''\footnote{I am not sure whether this is the appropriate
- term; it is taken from the {\sl Finale\/} reference manual.} unless
- the current word is continued afterwards and thus has to be
- hyphenated. For example,
-
- \begin{music}
- \resetlyrics
- \instrumentnumber1
- \small\scale{0.6}
- \setlyrics{melismatic}{a me-lis-ma}
- \assignlyrics1{melismatic}
- \startextract
- \NOtes\beginmel\qa{def}\endmel\qa e\en\bar
- \NOtes\beginmel\qa{def}\endmel\qa g\en\bar
- \NOtes\beginmel\qa{'a!gf}\endmel\qa e\en\bar
- \NOtes\beginmel\qa{defe}\en\bar
- \NOTEs\endmel\wh d\en
- \endextract
- \end{music}
- \oneversespace
-
- has been coded as:
- \begin{quote}
- \bci{beginmel}
- \bci{endmel}
- \begin{verbatim}
-...
-\NOtes\beginmel\qa{def}\endmel\qa e\en\bar
-\NOtes\beginmel\qa{def}\endmel\qa g\en\bar
-\NOtes\beginmel\qa{'a!gf}\endmel\qa e\en\bar
-\NOtes\beginmel\qa{defe}\en\bar
-\NOTEs\endmel\wh d\en
-...\end{verbatim}
- \end{quote}
- If a system break occurs within the melisma, hyphenation or underline
- is continued at the next system, thus automatic line breaking is
- applicable.
-
- \item[Melismas as a lyrics property.]
- \label{melismas-by-underscores}
- To specify a melisma within a lyrics definition (i.\,e.~within
- \ci{setlyrics} or \ci{appendlyrics}), simply append an underscore
- character to a syllable to make it span over an additional note,
- two underscores to span over two additional notes, and so
- on. Alternatively, you may append to a syllable a single underscore
- followed by a number which denotes the number of {\em additional\/}
- melisma notes: \verb|abc_| is equivalent to \verb|abc_1|,
- \verb|abc__| to \verb|abc_2|, and so on.
-
- No matter which of the two underscore appendix styles you use: If a
- melismatic syllable is hyphenated to the following one, the melisma
- denotation must {\bf precede} the hyphen --- for example:
- \verb|abc__-def| ({\bf not:} \verb|abc-__def|).
-
- All melisma properties mentioned above (lyrics suspension, left
- justification of syllable, word extension underline, system break
- support) also apply to melismas specified this way. For reference,
- here is the lyrics definition section of the example above, this time
- utilizing the underscore melisma technique (note that, in this case,
- all \ci{beginmel} and \ci{endmel} commands must be omitted in the
- music section):
-
- \begin{quote}
- \ci{setlyrics}\verb|{melismatic}{a___ me_3-lis___-ma_4}|
- \end{quote}
-
- \item[Comparing both points of view.]
- The music-oriented melisma view (using \ci{beginmel}/\ci{endmel}) is
- advantageous for music with a rather loose binding to certain lyrics,
- e.\,g.~folk songs that are to be printed with various verse compilations
- or in different languages. You may then enter each verse without
- taking care of melismas because they are coded just once as part of
- the music.
-
- On the other hand, the lyrics-focused melisma style (using
- underscores) is best suited to pieces with a fixed lyrics-to-music
- binding; it is easier to type and to read, but less flexible as
- regards combining the same lyrics with different music. It is
- especially advantageous for multiple verses (see
- section~\ref{multilyrlines}) with different syllables-to-notes
- distribution (see verse~3 of the ``Drunken sailor'' example in
- section~\ref{versenumbers}); it is much easier to code each verse's
- melismas individually than tracking all melismas in parallel using
- the \ci{verses} command (see again section~\ref{multilyrlines}).
-
- \item[Note.]
- You may use both styles within the same score but you should avoid
- activating both melisma types simultaneously at the same lyrics line;
- the result of such an occurrence is undefined.
-\end{description}
-
-
-\subsubsection{Turning automatic lyrics attachment on/off}
-
-If the attachment automatism is unsuitable for some
-situation --- e.\,g.\ at complex polyphonic voicings or wherever you
-want to place all syllables manually --- you can turn it off using
-\begin{quote}\ci{lyricsoff}\end{quote}
-after the last note that shall get a syllable. (If your piece begins
-with a lyrics-less section, state \ci{lyricsoff} before the first
-note of a staff.) To re-enable automatic lyrics attachment, use
-\begin{quote}\ci{lyricson}\end{quote}
-before the first note that shall get a syllable.
-
-If automatic lyrics attachment shall skip over certain single notes
-only, the \ci{nolyr} command is more suitable (see
-section~\ref{nolyr-command}).
-
-
-\subsubsection{Lyrics repetition and skipping}
-
-As in the following example of a polyphonic piece,
-
-\begin{music}
- \resetlyrics
- \instrumentnumber2
- \setclef1\bass
- \songtop2
- \songbottom1
- \small
- \setlyrics{amen1}
- {\llabel{amenlabel}A-men!} \assignlyrics1{amen1}
- \copylyrics{amen1}{amen2} \assignlyrics2{amen2}
- \startextract
- \NOtes% lower staff:
- \itenu0K\beginmel\wh K\sk\sk\sk
- \midslur2\tten0\endmel\hlp K&%
- % upper staff:
- \qa f\lyrnop\lyrpt,\qa g%
- \golyr{amenlabel}\lclyr\qa h\lyrnop\lyrpt,\qa{_i}%
- \golyr{amenlabel}\lclyr\beginmel\islurd1h\qa{hg}%
- \tslur1f\endmel\qa f\en
- \NOTEs\wh N&\wh g\en
- \endextract
-\end{music}
-\oneversespace
-
-it often happens that some lyrics phrases are repeated by some but
-not all voices, or that each voice has its individual arrangement of
-lyrics repetitions. Nevertheless, you do not have to enter
-these repetitions directly within \ci{setlyrics}; instead, you
-enter the lyrics as if they were performed in an unbroken
-sequence. Repetitions and skips are then handled using a ``go to''
-technique involving the following steps:
-\begin{description}
- \item[Labelling ``go to'' targets.] A syllable which has to be jumped at
- must be preceded (without spaces in between) by
- \begin{quote}\ci{llabel}\verb|{|\var{label name}\verb|}|\end{quote}
- within \ci{setlyrics}.
- \item[Performing jumps.] Within the music code, say
- \begin{quote}\ci{golyr}\verb|{|\var{label name}\verb|}|\end{quote}
- before the note at which the jump has to be performed.
-
- {\bf Caution:} If you try to jump to an undefined lyrics label, no
- meaningful error message is produced. However, if \TeX\ reports an
- error at a \ci{golyr} command, you should check conformity of
- defined and used labels.
-\end{description}
-The following actions must be taken in special cases:
-\begin{description}
- \item[Adding punctuation marks.] Usually a comma or period is
- appended to the word preceding a jump; this is done by the command
- \begin{quote}\ci{lyrpt}\var{punctuation char}\end{quote}
- where \var{punctuation char} can be any single punctuation
- character.
- \item[Removing punctuation marks.] Before adding a punctuation mark
- to a word as said above, an already existing punctuation mark
- should be removed by the command:
- \begin{quote}\ci{lyrnop}\end{quote}
- \item[Lower case letters.] Words at jump targets often begin with a
- capital letter which should appear lower case after a jump;
- this can be forced by the command:
- \begin{quote}\ci{lclyr}\end{quote}
-\end{description}
-Here is a code excerpt from the above example, summarizing the use of
-all mentioned commands:
-\begin{quote}\small
- \bci{llabel}
- \bci{copylyrics}
- \bci{setlyrics}
- \bci{lyrnop}
- \bci{lyrpt}
- \bci{golyr}
- \bci{lclyr}
- \bci{beginmel}
- \bci{endmel}
- \begin{verbatim}
-\setlyrics{amen1}
- {\llabel{amenlabel}A-men!} \assignlyrics1{amen1}
-\copylyrics{amen1}{amen2} \assignlyrics2{amen2}
-\startextract
- \NOtes% lower staff:
- \itenu0K\beginmel\wh K\sk\sk\sk
- \midslur2\tten0\endmel\hlp K&%
- % upper staff:
- \qa f\lyrnop\lyrpt,\qa g%
- \golyr{amenlabel}\lclyr\qa h\lyrnop\lyrpt,\qa{_i}%
- \golyr{amenlabel}\lclyr\beginmel\islurd1h\qa{hg}%
- \tslur1f\endmel\qa f\en
- \NOTEs\wh N&\wh g\en
-\endextract\end{verbatim}
-\end{quote}
-Note that the ``go to'' technique is recommendable mainly if different
-voices perform different repetitions or skips on the same lyrics; if
-all voices perform the same sequence of repetitions, however, it is
-easier to hard-code them within \ci{setlyrics}.
-
-
-\subsubsection{Miscellaneous}
-\label{miscmanip}
-
-\begin{description}
- \item[Excluding single notes.]
- \label{nolyr-command}%
- In the following situation,
-
- \begin{music}
- \resetlyrics
- \instrumentnumber1
- \setlyrics1{ca-den-za}
- \assignlyrics11
- \startextract
- \NOtes\zqlp{'c}\qu e\en
- \Notes\qu{'d}\nolyr\cl b\en
- \bar
- \NOTes\zhl{'c}\hu c\en
- \endextract
- \end{music}
- \oneversespace
-
- the eighth note must be excluded from receiving a syllable. This
- can be accomplished saying
- \begin{quote}\ci{nolyr}\end{quote}
- before the command generating this note.
- \item[Manual lyrics posting.] When automatic lyrics attaching is
- switched off, a word or syllable can be placed manually saying
- \begin{quote}\ci{lyr}\end{quote}
- before the command generating the note that shall get this
- word/syllable.
-
- This command also works independently from a following note command;
- you can issue it before a rest, a \verb|\sk| or even alone for
- itself in order to place a word/syllable wherever you want (no
- matter whether the attachment automatism is on or off).
-
- Manipulations to the posted word/syllable have to be placed {\em
- before\/} the \ci{lyr} command.
- \item[Left justification.] Say
- \begin{quote}\ci{llyr}\end{quote}
- in order to have the next word/syllable left-justified to the
- notehead instead of centered.
-
- If you prefer to have left justification as the default, say
- \begin{quote}\ci{leftlyrtrue}\end{quote}
- before your piece begins (\ci{leftlyrfalse} to restore centered
- lyrics).
- \item[Word extension underlines.] The melisma commands (see
- \ref{melismas}) automatically manage word extension underlines;
- however, they can be set manually: Say
- \begin{quote}\ci{lyrrule}\end{quote}
- before the respective note command to initiate an underline {\em
- after\/} the word, and
- \begin{quote}\ci{lyrruleend}\end{quote}
- before the note where the underline shall be terminated.
-
- Note that no underline will be drawn if the word is continued
- afterwards so that the underline would interfere with the
- hyphenation.
- \item[Horizontal offset.]\label{lyroffset}%
- To shift a word/syllable out of its default
- horizontal position, say
- \begin{quote}\ci{lyroffset}\verb|{|\var n\verb|}|\end{quote}
- which --- similar to \verb|\roffset| --- moves the next word/syllable
- \var n quarter note head widths to the right (left if \var n
- is negative).
-
- Note that the effect of \ci{lyroffset} may be overridden by
- automatic lyrics shifting. If you want to gain complete manual
- control over the positioning, you have to disable the shifting
- automatism; see section \ref{horizpos} for details.
- \item[Extra lyrics.] If, as in the following
- example\footnote{Excerpt from ``In the town where I was born''
- ({\sl Eine kleine Melodie,\/} Strube, M\"unchen 1989)},
-
- \begin{music}
- \resetlyrics
- \instrumentnumber2
- \generalsignature1
- \setclef1\bass
- \songtop2
- \songbottom1
- \interinstrument=6mm
- \setsongraise2{-0.5mm}
- \scale{1.5}
- \forcelyrhyphenstrue
- \small
- \setlyrics{lower}{yel-low sub-ma-rine,} \assignlyrics1{lower}
- \copylyrics{lower}{upper} \assignlyrics2{upper}
- \startextract
- \Notes\ibl0N0\zqbp0N\ibu1N0\qbp1b&%
- \ibl2f0\zqbp2d\ibu3g0\qbp3g\en
- \notes\tbbl0\tbl0\zqb0N\tbbu1\tbu1\qb1b&%
- \tbbl2\tbl2\zqb2d\tbbu3\tbu3\qb3g\en
- \Notes\ibl0M0\zqbp0M\ibu1N0\qbp1b&%
- \ibl2f0\zqbp2d\ibu3g0\qbp3g\en
- \notes\tbbl0\tbl0\zqb0M\tbbu1\tbu1\qb1b&%
- \tbbl2\tbl2\zqb2d\tbbu3\tbu3\qb3g\en
- \Notes\ibl0L{-1}\zqbp0L\hu b&\zhl d\hu g\en
- \notes\tbbl0\tbl0\lyric{ya,}\qb0K\en
- \Notes\ibl0L1\lyric{ya,}\qbp0L\en
- \notes\tbbl0\tbl0\lyric{ya,}\qb0M\en
- \endextract
- \end{music}
- \oneversespace
-
- a voice has ``extra'' lyrics (such as ``hmm'', ``ah'', ``ya'', etc.)
- in addition to the ``main'' lyrics, you need not enter them within
- \ci{setlyrics} (which would inhibit using \ci{copylyrics});
- instead, you can enter them directly within the music code using
- the command
- \begin{quote}\ci{lyric}\verb|{|\var{extra syllable}\verb|}|\end{quote}
- before the note where they shall appear. (Note that the effect is
- different from using \verb|\csong| which would not apply automatic
- hyphenation, horizontal positioning control, and \musixlyr's
- vertical positioning scheme.) Automatic lyrics attaching --- if
- active --- is suspended at that note. All manipulations can be
- applied; they must be given before the \ci{lyric} command.
-
- If you want the syllable linked to the following one by a hyphen,
- use \ci{lyrich} instead of \ci{lyric}.
-
- It may sometimes be necessary to post lyrics where no note is
- present at all, i.\,e.~in the empty space between notes. This is,
- however, possible with \verb|\lyric|, but is is unsuitable because
- automatic lyrics attachment shall {\em not\/} be suspended at the
- next note. In this case one of the commands \ci{lyric*} or --- for
- hyphenated syllables --- \ci{lyrich*} should rather be used; they
- have no effect on the ``regular'' flow of lyrics.
- \label{lyric*-verse-numbers}%
- One application for this are vertically aligned verse numbers. For
- example,
-
- \begin{quote}
- \bci{lyric*}
- \bci{verses}
- \begin{verbatim}
-\setlyrics1{Spring time}
-\setlyrics2{Au-tumn}
-\assignlyrics1{1,2}
-...
-\znotes\loffset{2.2}{\verses{\lyric*{1.},\lyric*{2.}}}\en
-\hardspace{4mm}%
-\NOTes\hu{ee}\en
-...\end{verbatim}
- \end{quote}
-
- yields:
-
- \begin{music}
- \resetlyrics
- \setlyrics1{Spring time}
- \setlyrics2{Au-tumn}
- \assignlyrics1{1,2}
- \lyrraise1{b -1.5mm}
- \scale{1.2}
- \startextract
- \znotes\loffset{2.2}{\verses{\lyric*{1.},\lyric*{2.}}}\en
- \hardspace{4mm}%
- \NOTes\hu{ee}\en
- \endextract
- \twoversesspace
- \end{music}
-
- (See section~\ref{multilyrlines} about attaching multiple verses
- to a single staff, a feature that has not been introduced so far.)
-
- You may even obtain verse numbers that are repeated at the
- beginning of each system by enclosing the \verb|\znotes...| command
- for setting the numbers in \verb|\def\everystaff{...}|.
-
- Another possible application --- combined with empty syllables ---
- is coping with unusual lyrics situations at voltas; for example,
-
- \begin{music}
- \twoversesspace
- \setlyrics1{first pass}
- \setlyrics2{se-cond pass}
- \assignlyrics1{1,2}
- \resetlyrics
- \scale{2}
- \startextract
- \NOTEs\wh g\en
- \Setvolta1\def\atnextbar{\znotes\verses{,\lyric{}}\en}\bar
- \NOTEs\wh g\en
- \znotes\verses{,\lyrich*{}}\en \Setvolta2\setendvoltabox\rightrepeat
- \NOTEs\verses\lyricsoff\pause\en\bar
- \NOTEs\ha{gg}\en\setendvolta
- \endextract
- \twoversesspace
- \end{music}
-
- is accomplished by:
-
- \begin{quote}
- \bci{verses}
- \bci{lyric}
- \bci{lyrich*}
- \begin{verbatim}
-\setlyrics1{first pass}
-\setlyrics2{se-cond pass}
-\assignlyrics1{1,2}
-\startextract
- \NOTEs\wh g\en
- \Setvolta1\def\atnextbar{\znotes\verses{,\lyric{}}\en}\bar
- \NOTEs\wh g\en
- \znotes\verses{,\lyrich*{}}\en
- \Setvolta2\setendvoltabox\rightrepeat
- \NOTEs\verses\lyricsoff\pause\en\bar
- \NOTEs\ha{gg}\en\setendvolta
-\endextract\end{verbatim}
- \end{quote}
-
- The trick used here is to inject empty syllables into the second
- verse at the barlines around the first volta; they serve as anchors
- for the hyphenation suspended under this volta.
-
- Note that the \ci{lyric}, \ci{lyric*}, \ci{lyrich}, and
- \ci{lyrich*} commands cannot be used at staves without assigned
- lyrics lines.
-\end{description}
-
-
-
-\subsection{Horizontal positioning}
-\label{horizpos}
-
-\musixlyr\ takes care of blank space between words. If a word --- at
-its default position --- would come too close to or overlap the
-previous word, it is shifted right in order to ensure a minimum of
-blank space. This minimal interword space can be set by
-\begin{quote}\ci{minlyrspace}\verb|=|\var{any \TeX\ dimension}\end{quote}
-and is initially set to~3\,pt.
-
-%The situation is different if two syllables belong to the same
-%word. Such syllables are allowed to close up; only overlapping is
-%inhibited by shifting. If the space between such syllables is
-%narrower than a hyphen, the hyphen is omitted unless you force
-%hyphens in every spatial situation saying
-%\begin{quote}\verb|\forcelyrhyphenstrue|\end{quote}
-%(to restore the default behaviour: \verb|\forcelyrhyphensfalse|). In
-%this case, enough room is made for the hyphen by shifting the right
-%syllable if necessary.
-
-\leavevmode\label{nicerhyphens}%
-The situation is different if two syllables belong to the same
-word. Such syllables are allowed to close up; only overlapping is
-inhibited by shifting. If the ``natural'' space between such syllables is
-narrower than a hyphen, the hyphen is omitted and the two syllables
-close up completely (eventually by left-shifting the second syllable
-to prevent a small gap). You may though force
-hyphens in every spatial situation saying
-\begin{quote}\ci{forcelyrhyphenstrue}\end{quote}
-(to restore the default behaviour: \ci{forcelyrhyphensfalse}). In
-this case, enough room is made for the hyphen by right-shifting the
-second syllable if necessary.
-
-If the note spacing is quite narrow, lyrics shifting may get
-accumulated within a system. In order to prevent shifting words too
-far out of their original position, a wider note spacing should be
-considered. The command
-\begin{quote}\ci{showlyrshifttrue}\end{quote}
-marks each lyric shift with a black rectangle of the respective
-width, thus making it easy to detect questionable positionings.
-
-If you prefer to completely disable lyrics shifting, set
-\ci{minlyrspace} to a large negative value (e.\,g.~$-10$\,cm).
-
-
-
-\subsection{Vertical positioning}
-\label{vertical-positioning}
-
-By default, \musixlyr\ places lyrics vertically centered between the
-two adjacent staves. Lyrics below the lowest or above the topmost
-staff of a system are centered around the system's bottom or top
-margin line.%
-\footnote{This is not necessarily the most reasonable way, but it is
- compatible to \musixtex's \printcmd{csong} behaviour.}
-
-In most scores, you will have to deviate from this standard and
-manually adjust the lyrics' vertical position. This can be done per
-staff with the command
-\begin{quote}
- \ci{lyrraise}\verb|{|\var n\verb|}|\verb|{|\var{pos}\var{raise}\verb|}|
-\end{quote}
-which applies the following setting to the lyrics attached to staff
-number~\var n: \var{pos} is one of the letters \verb|a|
-and~\verb|b|. \verb|a| sets the lyrics above the staff, \verb|b| below
-the staff. \var{raise} is a dimension value by which the lyrics are
-lifted above (or lowered under, if it is negative) the default
-position as mentioned above. \ci{lyrraise}\verb|{|\var n\verb|}{b0pt}|
-is the initial setting for all staves.
-
-It is possible to apply changes to the vertical position at any place
-within the score, but in most cases it is most reasonable to do so
-within \verb|\atnextline{...}| which ensures consistent, even spacing
-within each system.
-
-For the sake of backward compatibility, applying \musixtex's command
-\ci{setsongraise}\verb|{|\var n\verb|}{|\var{raise}\verb|}|
-implicitly performs a
-\ci{lyrraise}\verb|{|\var n\verb|}|\verb|{b|\var{raise}\verb|}|,
-but not vice versa --- i.\,e.~\ci{lyrraise} has no effect on lyrics
-set with \musixtex's lyrics commands \verb|\csong|,
-\verb|\zsong|,~etc. Likewise, the obsolete \musixlyr\ command
-\ci{auxsetsongraise} implies \verb|\auxlyr{\lyrraise...{b...}}|, but
-not vice versa (see section~\ref{auxlyrics} to learn about the meaning
-of \verb|\auxlyr|).
-
-
-
-\subsection{Setting lyrics layout parameters}
-\label{layoutpar}
-
-
-\subsubsection{Available parameters}
-
-\begin{description}
- \item[Font:] There is no special font command; the current font is
- used for lyrics. It can be changed using the usual \TeX/\LaTeX\
- commands.
- \item[Minimum length of word extension underlines:] A word extension
- underline is omitted if it would become too short. The minimum
- length can be set by
- \begin{quote}\ci{minlyrrulelength}\verb|=|\var{any \TeX\ dimension}
- \end{quote}
- and is initially set to~2\,mm. If you prefer to completely inhibit
- the underlines, set this parameter to an unsurpassably high value
- (e.\,g.~the width of your paper).
- \item[Minimum inter-syllable distance for multiple hyphens:] If the
- space between two hyphenated syllables (or between one of the
- syllables and the respective system margin) is wider than this
- distance, it is filled with a line of hyphens instead of a single
- hyphen. The minimum distance to be filled with more than one
- hyphen can be set by
- \begin{quote}\ci{minmulthyphens}\verb|=|\var{any \TeX\ dimension}\end{quote}
- and is initially set to~15\,mm. If you prefer to completely inhibit
- filling with multiple hyphens, set this parameter to an
- unsurpassably high value.
- \item[Hyphen character:] This can be redefined by:
- \begin{quote}\verb|\def|\ci{lyrhyphenchar}\verb|{|\dots\verb|}|\end{quote}
-\end{description}
-Further layout parameters discussed elsewhere are: vertical
-positioning (section \ref{vertical-positioning}), word justification
-(section \ref{miscmanip}), minimum interword distance, and forcing
-hyphens (section \ref{horizpos}).
-
-{\bf Note:} In order to change the mentioned parameters globally, the
-respective commands must be issued {\em outside\/}
-\verb|\notes...\enotes|.
-
-\subsubsection{Individual settings per staff}
-\label{indivlayout}
-
-All layout parameters can be set either globally (applying to all
-lyrics lines) or individually, i.\,e.\ valid for a single specified staff.
-An individual change is accomplished by enclosing the proper command
-in
-\begin{quote}\ci{lyrlayout}\verb|{|\dots\verb|}|\end{quote}
-and issuing this within \verb|\notes...\enotes| in the section of the
-referred-to staff. For example,
-\begin{quote}
- \verb|\notes...&|\ci{lyrlayout}\verb|{\it\leftlyrtrue}...&...\en|
-\end{quote}
-applies italic font and left justification to the lyrics line(s)
-assigned to the second staff.
-
-Applying \ci{lyrlayout} to the same staff again overrides
-{\em all\/} previous individual settings for this staff;
-pay attention to this if you have made several individual settings and
-want to reset some but retain others. Saying \ci{lyrlayout}\verb|{}|
-restores the global settings for a staff.
-
-The \ci{lyrlayout} command can also be used within
-\ci{setlyrics}; this is useful if an individual setting
-(especially a font change) should apply to a particular
-portion of lyrics rather than to a portion of music. For example,
-\begin{quote}
- \ci{setlyrics}\verb|{x}{An |\ci{lyrlayout}%
- \verb|{\it}em-pha-sized\lyrlayout{} phrase}|
-\end{quote}
-causes the word ``emphasized'' to appear italic wherever it is posted
-within the music. (Be sure to attach \ci{lyrlayout} commands to
-the corresponding lyrics portions {\em without\/} blank spaces in
-between.)
-
-{\bf As an exception,} the {\bf vertical positioning of lyrics} cannot be
-changed within \ci{lyrlayout}; instead, it is handled staff-wise
-using the special commands discussed in
-section~\ref{vertical-positioning}.
-
-
-
-\subsection{Multiple verses per staff}
-\label{multilyrlines}
-
-An arbitrary number of verses can be assigned to a staff
-straightforwardly by saying
-\begin{quote}\ci{assignlyrics}\verb|{|\var n\verb|}{|%
- \var{names}\verb|}|\end{quote}
-where \var{names} is a {\bf comma-separated list} of the desired
-lyrics line names, listed from top to bottom. In the following
-example\footnote{Excerpt from: ``Non moriar sed vivam'', motet by
-{\sc Martin Luther}},
-
-\begin{music}
- \resetlyrics
- \generalmeter\allabreve
- \generalsignature2
- \scale{0.9}
- \setlyrics{latin} {Non mo-ri-ar sed}
- \setlyrics{german}{Ich wer-de nicht ster-ben, son-dern}
- \assignlyrics1{latin,german}
- \small
- \setsongraise1{-1.5mm}
- \startextract
- \znotes\verses{,\lyrlayout{\footnotesize\it}}\en
- \NOTEs\wh{'a}\en\bar
- \NOTes\verses{\beginmel}\ha{'b}\verses{\endmel}\ha a\en\bar
- \NOtesp\beginmel\qup{'a}\en
- \Notes\ca{'b}\en
- \NOtes\verses{,\endmel}\qa{'c}\verses{,\beginmel}\itieu0d\qa d\en\bar
- \NOtes\ttie0\qa{'d}\endmel\qa c\en
- \NOtes\verses{\beginmel}\ha{'d}\en\bar
- \NOTes\verses{\endmel}\ha{'ee}\en
- \endextract
-\end{music}
-\twoversesspace
-
-the lyrics lines have been set up as follows:
-\begin{quote}
- \bci{assignlyrics}
- \begin{verbatim}
-\setlyrics{latin} {Non mo-ri-ar sed}
-\setlyrics{german}{Ich wer-de nicht ster-ben, son-dern}
-\assignlyrics1{latin,german}\end{verbatim}
-\end{quote}
-
-
-\subsubsection{Handling verses individually}
-
-If you code lyrics attachment manipulations the way
-described in section~\ref{manipulation}, these manipulations apply
-{\em to all lyrics lines\/} of the referred staff {\em
-simultaneously.\/} In order to address each lyrics line separately,
-use the command
-\begin{quote}
- \ci{verses}\verb|{|\var{man1}\verb|,|\var{man2}\verb|,|\dots\verb|}|
-\end{quote}
-where \var{man1} is a sequence of commands to manipulate the upper
-lyrics line, \var{man2} to manipulate the second lyrics line from
-above, and so on. These command sequences may be empty. Delimiting
-commas after the last non-empty list entry can be omitted. For example,
-\begin{quote}
- \ci{verses}\verb|{,,\beginmel,\golyr{abc}}|
-\end{quote}
-leaves the upper two lyrics lines unaltered, initiates a melisma at
-the third, performs a jump to label {\tt abc} at the fourth, and
-leaves all further ones (whatever their number may be) unaltered. As
-another example, the font change for the german lyrics of the above
-excerpt is accomplished by
-\begin{quote}
- \verb|\znotes|\ci{verses}\verb|{,\lyrlayout{\footnotesize\it}}\en|
-\end{quote}
-before the first note is coded.
-
-
-\subsubsection{Vertical positioning}
-\label{multiple-vert-pos}
-
-A block of multiple lyrics lines is vertically centered around the position
-which a single lyrics line would have taken; thus you can do things
-like
-
-{\small\setlyrstrut
- \resetlyrics
- \setlyrics{Winter1}{Win-ter a-de\rlap{,} a-ber dein Schei-den macht\rlap{,}}
- \setlyrics{Winter2}{schei-den tut weh\rlap,}
- \assignlyrics1{Winter1,Winter2}
- \generalmeter{\meterfrac34}
- \generalsignature2
- \setsongraise1{-2mm}
- \startextract
- \NOtes\qa{ffe}\en\bar
- \NOTesp\hup d\en\rightrepeat
- \assignlyrics1{Winter1}%
- \NOtes\qa{fgh}\en\bar
- \NOtes\qa h\en
- \Notes\beginmel\Ibu0gf1\qb0g\endmel\tqh0f\en
- \NOtes\qa g\en
- \endextract}
-\twoversesspace
-
-without having to adjust the vertical position within the
-piece. (See the source of this manual for the coding of this
-example.)
-
-\leavevmode\label{lyrstrut}%
-The vertical distance between the baselines of multiple verses is
-appropriate for the default 10~points font size of plain \TeX.
-However, the size-switching commands \verb|\smalltype|,
-\verb|\medtype|~etc.\ do not implicitly adjust the vertical distance
-to the chosen font size. Since the vertical distance of lyrics is
-controlled by the concept of a {\em lyrics strut\/}\footnote{In
-analogy to \TeX's {\tt\char92 strut}; see {\sl The \TeX book\/} by
-{\sc D.~E.~Knuth.}}, you should perform this adjustment explicitly with
-the command
-\begin{quote}\ci{setlyrstrut}\end{quote}
-directly after each ``global'' font size change (i.\,e.~after each size
-change not issued within \verb|\lyrlayout{...}|;
-see~\ref{indivlayout}) unless you do not want the spacing to be
-adjusted. (\TeX perts only: If you like to define your own vertical
-spacing, you may redefine the \ci{lyrstrutbox} yourself.)
-
-
-
-\subsection{Auxiliary lyrics}
-\label{auxlyrics}
-
-If you have typeset two voices of a polyphonic arrangement within one
-staff, you normally want to give each voice its own lyrics lines.
-Usually, the two voices are distinguished by means of the notes' stem
-direction; the lyrics of the up-stemmed voice are typeset above,
-those of the down-stemmed voice below the staff. \musixlyr\
-provides the facility to maintain such two lyrics ``streams'' per
-staff; one of them --- which is handled exactly as described so
-far --- will be called {\em main lyrics,\/} the second one {\em
-auxiliary lyrics.\/}
-
-
-\subsubsection{Addressing auxiliary lyrics}
-
-Only two rules are to be obeyed for directing commands to auxiliary lyrics:
-\begin{enumerate}
- \item Enclose everything concerning auxiliary lyrics in:
- \begin{quote}\ci{auxlyr}\verb|{...}|\end{quote}
- For example, assign lyrics line~{\tt verse1} to staff~2 as
- auxiliary lyrics by:
- \begin{quote}\ci{auxlyr}\verb|{\assignlyrics{2}{verse1}}|\end{quote}
- For example, begin a melisma at the next note of the ``auxiliary'' voice by:
- \begin{quote}\ci{auxlyr}\verb|{\beginmel}|\end{quote}
- (For \TeX perts: If the argument of \ci{auxlyr} consists of
- only one token, the braces can be omitted, so that
- \verb|\auxlyr\beginmel| does the same.)
- \item There are exactly two exceptions to the first rule. The first
- one are the \ci{setlyrics}, \ci{appendlyrics}, and \ci{copylyrics}
- commands which need not be enclosed in \ci{auxlyr}\verb|{...}|;
- their function is independent of the later use of the defined
- lyrics lines as either main or auxiliary lyrics.
-
- The second exception concerns lyrics commands issued as type-1
- \TeX\ strings in a \PMX\ source; see below for details.
-\end{enumerate}
-
-\label{auxlyr-vertical-position-default}%
-Auxiliary lyrics are lifted above the staff by default, i.\,e.~they have
-the same vertical position as main lyrics belonging to the staff above
-the current staff. If this causes collisions with the main lyrics of
-the upper staff, you have to shift the lyrics away from each other
-using the vertical spacing commands discussed in
-section~\ref{vertical-positioning}.
-
-
-\subsubsection{Automatic attachment of auxiliary lyrics}
-\label{auxlyr-attachment}
-
-While it is easy to attach only one lyrics ``stream'' to a single
-voice within a system automatically, the attachment of both main and
-auxiliary lyrics involves the task of determining which note belongs
-to which voice. Unfortunately, \musixtex\ does not explicitly state a
-note's membership of a particular voice; therefore, a heuristic
-method has to be used to gather this information. However,
-the situation is completely different if you prepare your scores with
-the \PMX%
-\footnote{If you don't know what \PMX\ is, have a look at:
- {\tt http://icking-music-archive.sunsite.dk/musixtex/software/pmx/}}
-preprocessor. The following paragraphs explain managing the lyrics
-attachment automatism for both cases --- \PMX\ and
-non-\PMX\ --- separately.
-
-
-\paragraph{Using \PMX.}
-\label{pmx-autodetection}
-
-(This paragraph requires some \PMX\ knowledge.) For \PMX-prepared
-scores (which \musixlyr\ detects automagically\footnote{%
- This automatic \PMX\ detection may cause problems for processing
- \PMX\ scores prepared with the \PMX-unaware \musixlyr\
- version~1.0. See section~\ref{no-pmx-autodetection} about how to
- solve this backward-incompatibility issue.
-}), the distinction
-between the two voices of a staff works fully automatic. This applies
-to both the automatic lyrics attachment as well as explicit lyrics
-manipulations --- i.\,e.,~you do not have to use \ci{auxlyr}\verb|{...}| for
-manipulating auxiliary lyrics. (This only applies to manipulations
-that appear in a voice's context, i.\,e.~within a type-1 \TeX\ string.)
-For reference, see the following example\footnote{Excerpt from
-``Waldesnacht, du wunderk\"uhle'' by {\sc Johannes Brahms} ({\sl Eine
-kleine Melodie,\/} Strube, M\"unchen 1989)},
-
-\oneversespace
-\begin{music}
- \resetlyrics\small
- \setlyrics{soprano}{all der ir-ren Qua-len los.}
- \auxlyr{\assignlyrics1{soprano}}
- \copylyrics{soprano}{alto}
- \assignlyrics1{alto}
-
- \auxlyr{\lyrraise1{a -3\internote}}
- \staffbotmarg5.5\Interligne
- \stafftopmarg5\Interligne
- \generalsignature2
- \lyrmodealter0
-
- \startextract\addspace\afterruleskip
- \scale{1.2}%
- \NOtes\zhu{=j}\lower6\internote\qp\lifthpause{-3}\sk\qu h\en
- \bar
- \NOtes\auxlyr\beginmel\roffset{.8}{\isluru2j}\zhup f\lower8\internote\qp\en
- \NOTes\hl{^d}\en
- \NOTes\zql e\itieu0e\qu e\en
- \bar
- \NOtes\beginmel\islurd1c\zql c\ttie0\tslur2h\auxlyr\endmel\qu e%
- \roff{\endmel\tsslur1d\zhl d}\qu{=d}%
- \auxlyr\beginmel\itieu0d\hu d%
- \ql d\en
- \bar
- \NOTes\zhl d\ttie0\auxlyr\endmel\hu d%
- \zhl a\hu c\en
- \bar
- \NOTes\zhl a\fermataup l\hu d\hpause\en
- \setdoubleBAR\endextract
-\end{music}
-\oneversespace
-
-which can be obtained by the following \PMX\ code (processed with
-\PMX\ version~2.3):
-\begin{quote}
-\bci{auxlyr}
-\begin{verbatim}
----
-\input musixtex % These commands are necessary
-\input pmx % because pmx.tex MUST be \input
-\input musixlyr % before musixlyr.tex!
-
-\setlyrics{soprano} % \setlyrics and \copylyrics
- {all der ir-ren Qua-len los.} % need not be enclosed in
-\copylyrics{soprano}{alto} % \auxlyr{...}.
-
-\assignlyrics1{alto}
-\auxlyr{\assignlyrics1{soprano}
- \lyrraise1{a 3\Interligne}}
-
-\let\BM\beginmel % For brevity within the subsequent
-\let\EM\endmel % music coding recommended.
----
-1 1 4 4 0 0 3 2 0 5 20 0
-
-t
-./
-
-% 1st and 2nd bar:
-r4-6 r2-6 | r4-8 d24s e4 //
-c25n a4 | \BM\ f2d s+4 \isu0e{.8}\ e4 /
-% 3rd bar:
-\BM\ c s \EM\ d2r s d4 //
-\ts0e0\EM\ e s+3 dn \BM\ d2 s /
-% 4th bar:
- d2 a // % Note that \BM and \EM
-\EM\ d s c / % apply either to main
-% 5th bar: % or to auxiliary lyrics,
-a r+0 // % depending on which voice
-d of rb / % they appear in.\end{verbatim}
-\end{quote}
-
-By default, main lyrics are attached to the lower voice (whose
-lines end with \verb|//| in the \PMX\ source), auxiliary lyrics to the
-upper voice; due to \PMX\ internals, this ensures that if only one
-voice is present, main lyrics are attached to it. However, situations
-exist in which it is desirable to have main lyrics attached to the
-upper voice, e.\,g.~when you have only main lyrics and want to
-synchronize them with the soprano voice instead of the alto voice
-(both of them set on the same staff). In this case, you can toggle the
-attachment of lyrics to voices with the command
-\begin{quote}\ci{lyrmodealter}\verb|{|\var n\verb|}|\end{quote} for
-staff number \var n; the command
-\begin{quote}\ci{lyrmodenormal}\verb|{|\var n\verb|}|\end{quote}
-restores the default behaviour. If $\hbox{\var n}=0$ then the change
-affects all staves.
-
-
-\paragraph{Using ``plain'' \musixtex\ without \PMX.}
-
-In this context, there are two basically different modes for lyrics
-attachment:
-\begin{enumerate}
- \item In {\em normal mode\/} (which is active by default) only main
- lyrics are provided automatically as described in
- section~\ref{auto-attachment}. All auxiliary lyrics must be issued
- manually by saying \ci{auxlyr}\ci{lyr} before the respective note.
- This mode is useful when you do not have auxiliary lyrics at all
- or when auxiliary lyrics occur only occasionally within the piece.
- \item In {\em alternative mode\/}, both main and auxiliary lyrics
- are provided automatically. The two voices of a staff are
- distinguished by means of their notes' stem direction; the lower
- voice gets main lyrics, the upper one auxiliary lyrics. This
- implies that the automatism fails at stemless
- notes\footnote{Ancient notes, namely breve, longa, and maxima, are
- also treated as stemless notes by \musixtex's internals.}, thus you
- have to provide lyrics manually by saying \ci{lyr} or
- \ci{auxlyr}\ci{lyr}, respectively, before such notes. This mode is
- meant for staves which continuously contain two polyphonic voices
- with separate lyrics.
-\end{enumerate}
-
-The appropriate mode can be chosen staff-wise: The command
-\begin{quote}\ci{lyrmodealter}\verb|{|\var n\verb|}|\end{quote}
-enables alternative mode for staff number \var n; the command
-\begin{quote}\ci{lyrmodenormal}\verb|{|\var n\verb|}|\end{quote}
-restores normal mode. As stated above, $\hbox{\var n}=0$ performs the
-choice affecting all staves.
-
-For illustration, have a look at the following
-example\footnote{Excerpt from ``Audite nova'' by {\sc Orlando di
-Lasso} ({\sl ars musica\/} vol.\,4, M\"oseler Verlag
-Wolfenb\"uttel/Z\"urich)}:
-
-\oneversespace
-\begin{music}
- \resetlyrics \small
- \lyrmodealter0
- \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}}
- \copylyrics{soprano}{alto} \assignlyrics1{alto}
-
- \generalsignature{-2}
- \advance\stafftopmarg3\Interligne
- \advance\staffbotmarg2\Interligne
-
- \startextract\addspace\afterruleskip
- \NOtes\zqu g\ql e\en
- \bar
- \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0f\en
- \Notes\qb0e\en
- \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
- \Notes\tqb0e\en
- \Notes\endmel\tbslurd0e\ql c\en
- \notes\ibbu0h{-1}\qb0h\en
- \notes\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}
-\oneversespace
-
-The lyrics were defined as follows:
-\begin{quote}
- \bci{auxlyr}
- \bci{assignlyrics}
- \begin{verbatim}
-\setlyrics{soprano}{bring her die Gans,}
-\copylyrics{soprano}{alto}
-
-\assignlyrics1{alto}
-\auxlyr{\assignlyrics1{soprano}}
-
-\lyrmodealter0 % provide main + aux. lyrics automatically\end{verbatim}
-\end{quote}
-
-This is the complete notes section:
-\begin{quote}
- \bci{auxlyr}
- \begin{verbatim}
-\NOtes\zqu g\ql e\en
-\bar
-\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0f\en
-\Notes\qb0e\en
-\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
-\Notes\tqb0e\en
-\Notes\endmel\tbslurd0e\ql c\en
-\notes\ibbu0h{-1}\qb0h\en
-\notes\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.\end{verbatim}
-\end{quote}
-
-Note that, as opposed to using \PMX, there is no special provision
-for attaching main lyrics to the upper voice. If you desire a single
-lyrics ``thread'' synchronized with the upper voice, please use
-auxiliary lyrics instead and position them below the staff (see
-section~\ref{vertical-positioning}).
-Alternatively, you may use main lyrics in normal lyrics mode and code
-the lower voice completely non-spacing (in the sense explained
-in~\ref{auto-attachment}), the upper voice completely spacing; this
-should not be too complicated for mainly homophonic pieces.
-
-
-
-\subsection{Lyrics at multi-staff instruments}
-\label{multi-staff-instruments}
-
-So far in this manual, the term {\em staff\/} has always been used for
-what \musixtex\ precisely calls an {\em instrument\/}. This section,
-however, correctly adopts the \musixtex\ terminology.
-
-Lyrics can be assigned to staves of a multi-staff instrument. To do
-so, use
-\begin{quote}
- \ci{assignlyricsmulti}\verb|{|\var i\verb|}{|\var s\verb|}{...}|
-\end{quote}
-instead of \verb|\assignlyrics...|; here, \var s~addresses the desired
-staff number (counted from bottom to top) of instrument~\var i.
-
-Nevertheless,
-\ci{assignlyrics}\verb|{|\var i\verb|}{...}|
-can be used as well if instrument~\var i has multiple staves; in this
-case, it is equivalent to
-\verb|\assignlyricsmulti{|\var i\verb|}{1}{...}|,
-i.\,e.~it affects only the first staff (and not all staves, as may be
-presumed).
-
-In the same spirit, the following ``multi'' commands replace the
-standard ones within a multi-staff instrument context:
-\begin{quote}
- \ci{lyrraisemulti}\\
- \ci{lyrmodenormalmulti}\\
- \ci{lyrmodealtermulti}
-\end{quote}
-
-All other \musixlyr\ commands or features can be used the same way as
-within a single-staff instrument context.
-
-Using lyrics at multi-staff instruments can be useful, for example,
-for typesetting songs with piano accompaniment:%
-\footnote{Example taken from songbook {\sl Am Brunnen vor dem Tore\/},
-Delphin Verlag M\"unchen/Z\"urich 1981}
-
-\begin{music}
- \resetlyrics
- \setlyrics{verse}{Gu-ter Mond, du gehst_ so_ stil_-le}
- \assignlyricsmulti11{}
- \assignlyricsmulti12{verse}
- \lyrraisemulti12{b 2\internote}
- \setstaffs12
- \generalsignature{-1}
- \generalmeter\meterC
- \setclef1\bass
- \interstaff{13}
- \scale{1.3}
- \startextract
- \Notes\qp|\ibl0j{-2}\qb0j\tqb0i\en
- \bar\hardspace{1.7\myqnwidth}%
- \NOtes\isluru1d\lq c\zq M\ql d|\qa h\en
- \NOtes\zq c\zq M\ql e|\qa h\en
- \Notes\lq c\zq M\ql d|\islurd0h\ibu0h2\qb0h\tslur0i\tqh0i\en
- \Notes\tslur1e\zq c\zq M\ql e|\isluru0j\ibl0j2\qb0j\tslur0k\tqb0k\en
- \bar\hardspace\myqnwidth
- \Notes\isluru1d\lq c\zq M\ql d|\isluru0j\ibl0j{-2}\qb0j\tslur0i\tqb0i\en
- \NOtes\zq c\zq M\ql e|\qa g\en
- \NOtes\lq c\zq M\ql d|\qp\en
- \znotes\midslur2\tsslur1d\en
- \zendextract
-\end{music}
-
-The lyrics of this example are defined as follows:
-\begin{quote}
- \bci{assignlyricsmulti}
- \bci{lyrraisemulti}
- \begin{verbatim}
-\setlyrics{verse}{Gu-ter Mond, du gehst_ so_ stil_-le}
-\assignlyricsmulti{1}{2}{verse}
-\lyrraisemulti {1}{2}{b \internote}\end{verbatim}
-\end{quote}
-
-
-
-\subsection{Managing lyrics assignment according to current context}
-\label{assignment-by-context}
-
-Managing the properties of lyrics lines assignment to instruments by
-absolute instrument numbers --- as it is done with the
-\ci{assignlyrics}, \ci{lyrraise}, and \ci{lyrmodealter}
-commands --- may cause difficulties whenever the score's number and
-order of instruments shall be rearranged; in this case instrument
-numbers change, thus the instrument number parameters of the
-mentioned lyrics-related commands have to be adjusted.
-
-This is especially unpleasant where such a rearrangement is done
-automatically, e.\,g.~by \PMX's part extraction facility {\em
-scor2prt\/}; this is intended to work without any manual editing
-of the generated part files.
-
-To address this issue, \musixlyr\ provides {\em context-dependent\/}
-variants of the commands mentioned above. For example: Instead of
-\verb|\assignlyrics{2}{soprano}|, you may say something like:
-\begin{quote}
- \verb|\notes...&|\ci{assignlyricshere}\verb|{soprano}...\en|
-\end{quote}
-\ci{assignlyricshere}\verb|{|\var{name(s)}\verb|}| assigns the given verse
-\var{name(s)} to the instrument/staff whose context it occurs in within the
-\verb|\notes...\en| construct; no absolute instrument/staff number needs to
-be specified.
-
-For example, the following two code fragments are equivalent:
-
-\begin{quote}
- \footnotesize
- \hfill
- \def\arraystretch{1}%
- \begin{tabular}{l@{\qquad}|@{\qquad}l}
- \begin{tabular}[t]{@{}l@{}}
- \ci{assignlyrics}\verb| {1} {acct}%|\\
- \ci{assignlyricsmulti}\verb|{2}{2}{verse}%|\\
- \verb.\NOtes\qa c&\qa e|\qa g\en.
- \end{tabular}
- &
- \begin{tabular}[t]{@{}l@{}}
- \verb|\NOtes|\ci{assignlyricshere}\verb|{acct}\qa c%|\\
- \verb| &\qa e%|\\
- \verb. |.\ci{assignlyricshere}\verb|{verse}\qa g\en|
- \end{tabular}
- \end{tabular}
- \hfill\strut
-\end{quote}
-
-Using \PMX, the context-dependent commands must be given as type-1
-inline \TeX\ strings. Here is the same example, coded as \PMX input:
-
-\begin{quote}
- \footnotesize
- \hfill
- \def\arraystretch{1}%
- \begin{tabular}{l@{\qquad}|@{\qquad}l}
- \begin{tabular}[t]{@{}l@{}}
- \ci{assignlyrics}\verb| {1} {acct}\|\\
- \ci{assignlyricsmulti}\verb|{2}{2}{verse}\|\\
- \verb|c44 /|\\
- \verb|e44 /|\\
- \verb|g44 /|\\
- \end{tabular}
- &
- \begin{tabular}[t]{@{}l@{}}
- \hphantom{\tt .NOtes.assignlyricshere.acct..qa cg.en}\\
- \\
- \ci{assignlyricshere}\verb|{acct}\ c44 /|\\
- \verb| e44 /|\\
- \ci{assignlyricshere}\verb|{verse}\ g44 /|\\
- \end{tabular}
- \end{tabular}
- \hfill\strut
-\end{quote}
-
-The first one (left) results in wrong lyrics assignments in {\em
-scor2prt\/} output; the second one (right) is robust against part
-extraction.
-
-This is the complete set of ``here'' commands that can be applied the
-same way:
-\begin{quote}
- \ci{assignlyricshere}\\
- \ci{lyrraisehere}\\
- \ci{lyrmodenormalhere}\\
- \ci{lyrmodealterhere}
-\end{quote}
-
-All other \musixlyr\ commands are context-driven anyway, i.\,e.~using
-the mentioned ``here'' commands you can completely omit any absolute
-instrument/staff number assignment.
-
-
-
-\subsection{Miscellaneous}
-
-\subsubsection{Avoiding problems after {\tt\char92
- endpiece...\char92 startpiece}}
-
-Sometimes, after having suspended the music with \verb|\endpiece| and
-restarted it with \verb|\startpiece| (or the respective
-\verb|\...extract| commands), the lyrics lines are totally misaligned
-because the internal lyrics positioning parameters are not reset
-properly. Saying
-\begin{quote}\ci{resetlyrics}\end{quote}
-before the beginning of the new music section should solve this
-problem.
-
-
-\subsubsection{Improved centering of words with punctuation marks}
-
-Centered words with an attached punctuation mark often seem a bit
-left-shifted since the punctuation mark also counts for the
-centering. To have a word centered solely with respect to its
-letters, enclose the punctuation mark in \verb|\rlap{...}| as it is
-done in the example of section~\ref{multiple-vert-pos}. Unfortunately,
-this circumvents the lyrics shifting automatism, and is incompatible
-with the use of \ci{lyrnop}.
-
-
-\subsubsection{Verse numbers}
-\label{versenumbers}
-
-There is no special command for this topic. See the following example:
-
-\begin{music}
- \resetlyrics
- \generalmeter{\meterfrac24}
- \scale{1.8}
- \setlyrics{sailor1}
- {\llap{1.} What shall we do with a drun-ken sail-or\rlap{?}}
- \setlyrics{sailor2}
- {\llap{2.} Take him and shake him and try to\lyrlink a-wake him,}
- \setlyrics{sailor3}{\llap{3.} Give him a dose of_ salt and wa-ter,}
- \setlyrics{sailor4}{\llap{4.} Give him a dash with a bo-som's rub-ber,}
- \assignlyrics1{sailor1,sailor2,sailor3,sailor4}
- \small\setlyrstrut
- \setsongraise1{-6mm}
- \startextract
- \znotes\llyr\lyroffset{-2}% make the numbers stand off to the left
- \lyr% post the numbers
- \en
- \Notes\ibu0h0\qb0h\en
- \notes\nbbu0\qb0h\tqh0h\en
- \Notes\ibu0h0\qb0h\en
- \notes\nbbu0\qb0h\tqh0h\en\bar
- \Notes\Dqbu hd\Dqbu fh\en
- \endextract
-\end{music}
-\oneversespace
-\twoversesspace
-
-To see how this is accomplished, look for the example's coding within
-{\tt mxlyrdoc.tex}.
-
-Section~\ref{lyric*-verse-numbers} explains an alternative method for
-setting vertically aligned verse numbers.
-
-
-\subsubsection{``Lyrics slurs''}
-
-If two consecutive syllables of a lyrics line share the same note (as
-in the second verse of the above example), you may want to link them
-together with a small slur under them \mbox{like\lyrlink this.} To do
-this, use the command \ci{lyrlink} instead of the respective blank
-space within the \verb|\setlyrics| definition.
-
-If any of the adjacent characters extend under their \TeX\ baseline
-(like `g', `j', `p', etc.), use \ci{lowlyrlink} which lowers the
-slur accordingly (e.\,g.: \mbox{sing\lowlyrlink gladly}).
-
-
-\subsubsection{Restoring the \PMX-unaware behaviour of \musixlyr~1.0}
-\label{no-pmx-autodetection}
-
-As stated in section~\ref{pmx-autodetection}, \musixlyr\ distinguishes
-between main and auxiliary lyrics context in a special way when it
-detects that the score has been set up using \PMX. However, this
-automatic \PMX\ detection may cause problems for processing \PMX\
-scores prepared with the \PMX-unaware \musixlyr\ version~1.0. To solve
-this, you can force the old \musixlyr\ behaviour by an explicit macro
-redefinition as follows:
-
-Within {\tt musixlyr.tex}, find the code fragment
-\begin{quote}\begin{verbatim}
-\ifx\nextvoice\undefined
- \def\decide@lyrmode{%
- \call@lyrmode
- ...
- \fi\fi\fi\fi\fi\fi\fi}
-\else\end{verbatim}\end{quote}
-(which is about 25 lines long). Copy it, exluding the first and the
-last line, to your score source and surround it by the
-\verb|\makeatletter...\makeatother| command pair. This
-should then look like this:
-\begin{quote}\begin{verbatim}
-\makeatletter
- \def\decide@lyrmode{%
- \call@lyrmode
- ...
- \fi\fi\fi\fi\fi\fi\fi}
-\makeatother\end{verbatim}\end{quote}
-
-To restore the \PMX-aware \musixlyr\ behaviour of version~1.1 and
-newer, copy the {\em second\/} \verb|\decide@lyrmode| definition
-from {\tt musixlyr.tex} to the desired place in your score and
-surround it with \verb|\makeatletter...\makeatother|.
-
-To do these redefinitions within a \PMX\ input file, it is probably
-always best to wrap them in macro definitions within the \PMX\ file
-preamble. This way, you can switch between the ``old'' and ``new''
-\musixlyr\ behaviour by simply calling these macros in \PMX's
-inline-\TeX\ style.
-
-\pagebreak[4]
-\section{Command index}
-\printindex
-
-
-
-\section{Software license}
-
-\musixlyr\ (including this manual) 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 of the License, or any later version.
-
-\musixlyr\ 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 \musixlyr; if not, write to the Free Software
-Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA.
-
-\medskip
-Author:
-\begin{tabular}[t]{l}
- Rainer Dunker\\
- Wachtelweg 31\\
- 85\,591 Vaterstetten\\[0.5ex]
- Germany\\[1ex]
- E-mail: \tt rainer.dunker@web.de
-\end{tabular}
-
-\end{document}
diff --git a/macros/musixtex/doc/musixtex-install.pdf b/macros/musixtex/doc/musixtex-install.pdf
deleted file mode 100644
index 763ba6964a..0000000000
--- a/macros/musixtex/doc/musixtex-install.pdf
+++ /dev/null
Binary files differ
diff --git a/macros/musixtex/doc/musixtex-install.tex b/macros/musixtex/doc/musixtex-install.tex
deleted file mode 100644
index b3e78f4328..0000000000
--- a/macros/musixtex/doc/musixtex-install.tex
+++ /dev/null
@@ -1,158 +0,0 @@
-\documentclass[11pt]{article}
-\usepackage[textwidth=6.5in,textheight=8.5in]{geometry}
-\usepackage[osf]{mathpazo}
-\usepackage{textcomp}
-\PassOptionsToPackage{urlcolor=black,colorlinks}{hyperref}
-\RequirePackage{hyperref}
-\usepackage{xcolor}
-\newcommand{\myurl}[1]{\textcolor{blue}{\underline{\textcolor{black}{\url{#1}}}}}
-\newcommand{\musixflxVersion}{0.83.3}
-\begin{document}
-\title{Installation of MusiXTeX}
-\author{Bob Tennent\\
-\small\url{rdt@cs.queensu.ca}}
-\date{\today}
-\maketitle
-\thispagestyle{empty}
-
-\section{Introduction}
-Before trying to install from CTAN, check whether your TeX distribution
-provides packages for MusiXTeX; this will be easier than doing it yourself.
-But if your TeX distribution
-doesn't have MusiXTeX (or doesn't have the most recent version), this distribution
-of MusiXTeX is very easy to install, though
-you may need to read the material on
-installation of (La)TeX files in the
-TeX FAQ\footnote{%
-\myurl{http://www.tex.ac.uk/cgi-bin/texfaq2html}},
-particularly
-the pages on
-which tree to use\footnote{%
-\myurl{http://www.tex.ac.uk/cgi-bin/texfaq2html?label=what-TDS}}
-and installing files\footnote{%
-\myurl{http://www.tex.ac.uk/cgi-bin/texfaq2html?label=inst-wlcf}}.
-
-\section{Installing \texttt{musixtex.tds.zip}}
-
-In this distribution of MusiXTeX, most of the files to be installed
-(including macros, scripts, and documentation) are in a zipped TEXMF hierarchy
-\begin{list}{}{}\item
-\myurl{http://mirror.ctan.org/install/macros/musixtex.tds.zip}
-\end{list}
-at CTAN. Simply download and unzip this archive in the root folder/directory of whichever TEXMF tree
-you decide is most appropriate, likely a ``local'' or ``personal'' one.
-This should work with any TDS\footnote{%
-\myurl{http://www.tex.ac.uk/cgi-bin/texfaq2html?label=tds}}
-compliant TeX distribution, including MikTeX, TeXlive and teTeX.
-
-After unzipping the archive, update the filename database as necessary,
-for example, by executing \verb\texhash ~/texmf\ or
-clicking the button labelled ``Refresh FNDB" in the MikTeX settings program.
-
-MusiXTeX requires a large set of specialized fonts. If necessary, install the
-\texttt{musixtex-fonts} package.
-
-You should now be able to process files that use the MusiXTeX macros using
-\verb\etex\ or \verb\pdfetex\;
-documentation for MusiXTeX is installed under \verb\.../doc/generic/musixtex...\
-in the TEXMF tree. But the music will be ``squeezed'' to the left; to produce
-proper spacing, go on.
-
-\section{Installing \texttt{musixflx}}
-
-The next step in the installation is to install
-the one crucial file that can't be installed in a TEXMF tree: a \texttt{musixflx} executable, which calls
-the script that implements
-the second pass of the three-pass MusiXTeX typesetting system described in Section~1.3 of the
-MusiXTeX manual (\verb\musixdoc.pdf\). In this MusiXTeX package, the
-calculations are done by a Lua script
-\begin{list}{}{}
-\item \verb|.../scripts/musixtex/musixflx.lua|
-\end{list}
-On a Unix-like system (with \texttt{luatex} installed), you can put a
-symbolic link to \texttt{musixflx.lua} in any directory on the executable PATH as follows:
-\begin{list}{}{}
-\item \verb\ln -s <path to musixflx.lua> musixflx\
-\end{list}
-On Windows, you can \emph{either}
-copy the batch file
-\begin{list}{}{}
-\item \verb|Windows\musixflx.bat|
-\end{list}
-to a folder
-on the executable PATH \emph{or} add the folder
-\verb|Windows| to the executable PATH
-as follows:
-in ``My Computer''
-click on
-\begin{center}
-View System Information\quad$\rightarrow$\quad Advanced\quad$\rightarrow$\quad Environment Variables
-\end{center}
-scroll
-down to ``path'', select it, click edit, and add the path to \verb|Windows| after a semi-colon.
-Documentation for \verb\musixflx\ is in the \verb\doc/generic/musixtex/scripts\ directory.
-
-\section{Installing \texttt{musixtex}}
-
-The Lua script \verb\.../scripts/musixtex/musixtex.lua\
-is simply a convenient wrapper that, by default,
-runs the following processes in order (and then deletes intermediate files):
-\begin{itemize}\topsep=0pt\itemsep=0pt
-\item pre-processors \verb|prepmx|, \verb|pmxab| or \verb|autosp|,
-as necessary
-\item \verb\etex\ (1st pass)
-\item \verb\musixflx\ (2nd pass)
-\item \verb\etex\ (3rd pass)
-\item \verb\dvips\ (to convert \verb\dvi\ output to Postscript)
-\item \verb\ps2pdf\ (to convert \verb\ps\ output to Portable Document Format)
-\end{itemize}%
-To install, follow the instructions given in the preceding section; i.e.,
-on Unix-like systems,
-install a symbolic link \verb\musixtex\; on Windows,
-ensure that the corresponding batch file
-is in a folder on the executable PATH. Documentation is in the
-\verb\doc/generic/musixtex/scripts\ directory.
-
-If the \verb\musixps.tex\ package is not used to produce slurs, it is possible to use \verb\pdfetex\
-rather than \verb\etex\, in which case a PDF file will be produced directly,
-without the use of \verb\dvips\ and \verb\ps2pdf\; use the \verb\-p\ option in the call to \verb\musixtex\.
-The \verb\-d\ option will replace \verb\dvips\ and \verb\ps2pdf\ by \verb\dvipdfm\; again,
-this option is usable only if Postscript slurs are \emph{not} used. Use the \verb\-s\ option
-to stop processing after the third pass; i.e., at the \verb\dvi\ file.
-Use the \verb\-l\ option for \verb\LaTeX\ processing and the \verb\-f\ option to restore the defaults for subsequent files.
-
-The cross-platform TeXWorks editing environment can
-be configured
-to use the relevant \verb\musixtex\ script as a typesetting process as follows:
-\begin{center}
-Edit\quad$\rightarrow$\quad Preferences\quad$\rightarrow$\quad Typesetting
-\end{center}
-then click on + to add a new processing tool as follows:
-\begin{description}\itemsep=0pt
-\item[Name:] \verb\musixtex\
-\item[Program:] \verb\musixtex\
-\item[Arguments:] \verb\$basename\
-\end{description}
-If necessary, add the path to the directory/folder containing the \verb\musixtex\
-script to the list of Paths for TeX and related programs.
-
-\section{Discussion}
-Many users, especially beginners, will find it easier to use the PMX and
-M-Tx pre-processors, which accept a simpler input language than MusiXTeX
-itself.
-Advanced users may want to use the \texttt{autosp} pre-processor
-which simplifies the creation of \texttt{musixtex} scores by automating
-the choice of note-spacing commands.
-These pre-processor packages may be found at CTAN under \verb\support\.
-
-Additional documentation, additional
-add-on packages, and many examples of MusiXTeX typesetting may be found
-at the Werner Icking Music Archive\footnote{%
-\myurl{http://icking-music-archive.org}}.
-Support for users of MusiXTeX and related software may be obtained via
-the MusiXTeX mail list\footnote{%
-\myurl{http://tug.org/mailman/listinfo/tex-music}}.
-MusiXTeX may be freely copied, modified and used in conformance to the
-GNU General Public License (Version~2 or, at your option, any later version; see included file \verb\gpl.txt\).
-
-\end{document}
diff --git a/macros/musixtex/doc/notationMistakes/coulhack.tex b/macros/musixtex/doc/notationMistakes/coulhack.tex
deleted file mode 100644
index 1f797876cd..0000000000
--- a/macros/musixtex/doc/notationMistakes/coulhack.tex
+++ /dev/null
@@ -1,70 +0,0 @@
-% thicker ledger lines
-\def\myhlthick{1.5\lthick}
-\makeatletter
-\def\h@linei{%
- \y@ii\n@v\internote
- \y@iii\y@ii
- \advance\y@ii\myhlthick
- \advance\y@iii-\myhlthick
- \y@vi\noteskip % noteskip
-%-\ifnum\y@vi=\z@ \y@vi\maxdimen\fi % (or maxdimen if noteskip = 0)
- \advance\y@vi-\y@v % - notewidth
- \y@vi0.7\y@vi % this may be eaten =: additional length
- \y@iv\h@lf\qn@width\ifnum\y@vi>\y@iv \y@vi\y@iv\fi % not more than 0.5 qn@width
- \y@iv0.2\qn@width \ifnum\y@vi<\y@iv \y@vi\y@iv\fi % not less than 0.2 qn@width
- \y@iv\y@v % notewidth
- \advance\y@iv\y@vi % + additional length =: total length
- \kernm\h@lf\y@vi % center the ledger line
-%-\message{noteskip = \the\noteskip, length = \the\y@iv, notewidth = \the\y@v}%
- \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv
- \kernm\y@iv\kern\h@lf\y@vi}
-
-% same adapted from MUSIXFLL.TEX
-
-\ifx\undefined\longledgerlines \else \endinput \fi
-
-\immediate\write10{MusiXFormerLedgerLines T.74\space<06 April 1997>}%
-
-%\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\let\h@lineick\h@linei
-\def\h@lineidt{%
- \y@ii\n@v\internote
- \y@iii\y@ii
- \advance\y@ii\myhlthick
- \advance\y@iii-\myhlthick
- \y@iv\y@v
- \advance\y@iv\h@lf\qn@width
- \kernm.25\qn@width
- \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv
- \kernm\y@iv\kern.25\qn@width}
-\def\longledgerlines{\global\let\h@linei\h@lineidt}
-\def\autoledgerlines{\global\let\h@linei\h@lineick}
-\longledgerlines
-%\catcode`\@=\catcodeat
-
-% space between signatures and first note at each system:
-
-\def\contpiece{\noindent \piece@conta \writ@staffs \piece@beginc
-% \Writ@meters \wbarno@x \hardspace{10pt}\addspace\afterruleskip
- \Writ@meters \wbarno@x \hardspace{.3\elemskip}\addspace\afterruleskip}
-% ^^^^^^^^^^^^^^^^^^^^^^^
-
-% missing pixels at some beam ends:
-\def\beamst@m{% queue de note vers une poutre
- \getcurpos \advance\y@v-\b@x
- \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z
- \ifdim\y@ii>\st@top % la poutre est au-dessus
- \stem@skip\qd@skip \comp@slope\stem@skip \advance\y@ii\s@lope
- \advance\y@ii .25\interbeam% hack
- \ifnum\b@n>\z@ \advance\y@ii\b@n\interbeam \advance\y@ii-\interbeam \fi
- \st@top\y@ii % a mettre a jour avec la pente ulterieurement
- \else
- \advance\y@ii-.25\interbeam% hack
- \stem@skip\z@
- \ifdim\y@ii<\st@bot
- \ifnum\b@n<\z@ \advance\y@ii\b@n\interbeam \advance\y@ii\interbeam \fi
- \st@bot\y@ii \fi \fi
- \C@stem}
-
-\makeatother
diff --git a/macros/musixtex/doc/notationMistakes/sottieng.pdf b/macros/musixtex/doc/notationMistakes/sottieng.pdf
deleted file mode 100644
index ab29004645..0000000000
--- a/macros/musixtex/doc/notationMistakes/sottieng.pdf
+++ /dev/null
Binary files differ
diff --git a/macros/musixtex/doc/notationMistakes/sottieng.tex b/macros/musixtex/doc/notationMistakes/sottieng.tex
deleted file mode 100644
index 1ce95adb9a..0000000000
--- a/macros/musixtex/doc/notationMistakes/sottieng.tex
+++ /dev/null
@@ -1,1075 +0,0 @@
-\documentclass[12pt,twoside]{article}
-\usepackage{a4}
-\usepackage{musixtex}
-\usepackage[english]{babel}
-\usepackage{randtext}
-\input coulhack
-\raggedbottom
-\setlength{\textwidth}{18cm} \setlength{\textheight}{26cm}
-\setlength{\oddsidemargin}{0pt}\setlength{\evensidemargin}{0pt}
-\setlength{\parindent}{0cm}\setlength{\parskip}{.5cm}
-\setlength{\marginparwidth}{1in} \setlength{\marginparsep}{0pt}
-\setlength{\hoffset}{-1cm}
-\setlength{\voffset}{-2.5cm}
-%\setlength{\headsep}{2cm}
-\setlength{\itemsep}{0cm}
-
-\newcommand{\milieu}[1]{\begin{center}{#1}\end{center}}
-\newcommand{\pruneau}{$\bullet$~}
-\newcommand{\subsec}{\vspace{-1cm}\subsection{~}\vspace{-.5cm}}
-% \today should work the same in theory
-\def\mytoday{\ifcase\month\or
- January\or February\or March\or April\or May\or June\or
- July\or August\or September\or October\or November\or December\fi
- \space\number\day, \number\year}
-
-\def\notess{\vnotes2.4\elemskip}
-\def\notesss{\vnotes1.7\elemskip}
-\def\notesm{\vnotes1.5\elemskip}
-\def\appog{\multnoteskip\tinyvalue\tinynotesize}
-\newcommand{\zcn}[2]{\zcharnote{#1}{#2}}
-\newcommand{\lcn}[2]{\lcharnote{#1}{#2}}
-\newcommand{\ccn}[2]{\ccharnote{#1}{#2}}
-\newcommand{\nxst}{\nextstaff}
-\def\hhqsk{\off{.7\elemskip}}
-
-\newcommand{\twoextr}[2]
-%{\begin{music}\let\extractline\hbox
-{\let\extractline\hbox
-\hbox to \hsize{
-\hfill
-\startextract #1
-\zendextract\hfill
-\startextract #2
-\zendextract
-\hfill}
-
-%\let\extractline\centerline\end{music}}
-\let\extractline\centerline}
-
-\accshift=0mm
-\geometricskipscale
-\nostartrule
-\nobarmessages\nobarnumbers
-\let\extractline\centerline
-
-\begin{document}
-\milieu{\ppfftwentynine Repository of music-notation mistakes}
-\milieu{\medtype or}
-\milieu{\ppfftwentyfour Essay on the true art of music engraving}
-\milieu{\Huge Jean-Pierre Coulon}
-%\centerline{\tt
-%\kern3.5em{obs-nice}\kern-4.5em{@}\kern-3.5em{coulon}\kern4.5em{.fr}}
-
-\centerline{\tt \randomize{coulon@obs-nice.fr}}
-
-
-\milieu{\mytoday}
-%\milieu{\today}
-
-\milieu{\large intended for:}
-\begin{itemize}
-\item users of music-typesetting software packages,
-\item developers of such packages,
-\item traditional music-engravers,
-\item sheet-music collectors,
-\item those keen on problems of \textit{semantics}, \textit{semiology},
-\textit{philology} , etc.
-\end{itemize}
-
-{\footnotesize NB: These examples are certainly musically worthless:
-do not read them with your instrument :-)\\
-To limit myself to the essential, and lacking sufficient expertise,
-I do not deal with any of these neighboring, exciting topics:
-
-\pruneau music theory, harmony, composition, etc.\\
-\pruneau comparative test of various typesetting packages,\\
-\pruneau how to interpret the quoted symbols according to epochs,\\
-\pruneau copyright issues,\\
-\pruneau percussion notation, and plucked-string instrument tablatures,\\
-\pruneau very-early-music notation, and avant-garde music
-notation.\\
-\textit{ I apologize to readers of some countries for having adhered
-to the U.S. terminology}
-
-}
-
-
-\section{General issues}
-\subsec
-When simultaneous notes are present on the same staff, two notations
-are posssible: chord notation, or multiple-voice, a.k.a. \textit{polyphonic}
-notation.
-
-\twoextr
-{\NOtes\qu c\zq c\qu e\en
-\Notes\ibu0e2\zq c\qb0e\zq d\tqh0f\en}
-{\NOtes\zql c\qp\zql c\qu e\en
-\Notes\ibl0c2\ibu1e2\zqb0c\qb1e\tbl0\zqb0d\tqh1f\en}
-
-Of course, if parts have distinct rythms, the polyphonic notation is
-required.
-
-\eject\milieu{\ppfftwenty from here:}
-{\ppfftwentyfour This side: incorrect. \hfill This side: correct. }
-
-\subsec
-Do your best to place \textit{page-turns} at places
-acceptable for the musician, otherwise he will either
-require a ``page-turner'', or labor to arrange
-chunks of photocopies. Since modern musical scores are smaller
-than before, this demands more efforts from the music engraver.
-
-{\footnotesize The actual print size, i.e. omitting margins,
-of most scores from former epochs, almost matched the usual format
-of most of modern scores including the margins.
-
-}
-
-An easy solution consists in using a small engraving size.
-It is better to use a bigger size, at the price of more effort
-to manage the spacing rationally.
-These two excerpts require the same horizontal space, but that on the
-right is easier to read:
-
-\bigaccid
-\begin{music}\let\extractline\hbox
-\hbox to \hsize{
-\hfill
-\smallmusicsize
-\setclef1{\treble}
-\startextract%
-\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en
-\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en
-\bar%
-\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en
-\zendextract\hfill
-\normalmusicsize
-\startextract%
-\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en
-\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en
-\bar%
-\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en
-\zendextract
-\hfill}
-\let\extractline\centerline\end{music}
-
-Moreover, you also have to vary the distances between the staves
-of systems, to avoid wasting some vertical space
-(see my edition of Dussek's piano Sonata op.35-3).
-
-
-
-
-\subsec
-Choose horizontal spacings that increase according to note durations,
-but not proportional to these durations. Personally I am happy with a
-spacing ratio
-of \hbox{$\sqrt{2}\approx 1.414$} to represent a duration-ratio of 2,
-but this is not an absolute rule, especially if thirty-second or
-sixty-fourth notes are present, because this would bring them
-too close to each other.
-Do not change the spacing of a specific duration within a line without
-a good reason.
-
-\nostartrule
-\setclef1\treble
-\hsize82.1mm
-\startpiece
-\NOTEs\hu c\sk\en
-\NOTEs\qu c\en
-\NOtes\cu c\en
-\notes\ibbu0c0\qb0c\en
-\notes\qb0{cc}\tqh0c\en
-\setemptybar
-\endpiece
-
-\hsize18cm
-
-\setclef1\treble
-\twoextr
-{\notes\hu c\en
-\NOtes\qu c\en
-\NOTes\cu c\en
-\notes\ibbu0c0\qb0c\en
-\Notes\qb0{cc}\tqh0c\en}
-{\NOTes\hu c\en
-\NOtes\qu c\en
-\Notes\cu c\en
-\notes\ibbu0c0\qb0{cc}\en
-\notes\qb0c\tqh0c\en}
-
-{\footnotesize If a system has several staves, the part
-with the \textbf{shortest} durations governs the overall spacing.
-Lyrics, if any, may demand still wider spacings.
-
-}
-
-\subsec
-Here is a good reason to modify tight note spacing: avoiding clashes:
-
-\twoextr
-{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en}
-{\notesss\ccu c\hqsk\ibbl0k2\qb0{jklm}\hqsk\tqb0{^n}\en}k
-
-\subsec
-If no other simultaneous part prevents it, note stems should also be
-taken into account for the spacing:
-
-\largemusicsize
-\twoextr
-{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en}
-{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en}
-
-
-\subsec
-Never displace the vertical alignment to accommodate accidentals:
-
-\setstaffs1{2}\setclef1\bass\startrule\bigaccid
-\twoextr{
-\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en
-\bar%
-\NOtes\ql M\nxst\hhqsk\qu{^h}\en}
-{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en
-\bar%
-\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en}
-
-\nostartrule
-
-
-
-\subsec
-Write an interval of a \textit{second} in a chord with the lower note
-\textbf{left}. On the other hand, in polyphonic writing,
-it should be put \textbf{right}.
-
-\largemusicsize\setstaffs1{1}\setclef1{\treble}
-\twoextr
-{\NOtes\rq b\zq{ce}\qu g\en
-\NOtes\rq b\zq{^ce}\qu g\en
-\NOtes\rq c\rq e\rq g\qu b\en
-\doublebar%
-\NOtes\zql b\roffset{.9}{\qu c}\en
-\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en
-\notes\tbl1\zqb1a\qb0c\tqh0d\en}
-{\NOtes\rq c\zq{be}\qu g\en
-\NOtes\sh c\rq c\zq{be}\qu g\en
-\NOtes\rq c\zq{be}\qu g\en
-\doublebar%
-\NOtes\zqu c\roffset{.9}{\ql b}\en
-\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en
-\notes\tbl1\zqb1a\qb0c\tqh0d\en}
-
-{\footnotesize
-I omit cases of voice crossing.
-Do not be perturbed by an accidental associated with the
-upper note. Do not perturb notes aside this second.
-
-}
-
-
-\subsec
-In polyphonic writing, notes should be shifted just enough to
-distinguish them, anyway less than the spacing for a second:
-
-\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble
-\twoextr
-{\NOtes\zql c\roff{\zqu e}\qu g\en
-\NOtes\zql c\zqu e\qu g\en
-\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en
-\NOtes\zqlp c\roff{\zqup f}\qup h\en}
-{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en
-\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en
-\NOtes\zql c\roff{\zqu f}\qu g\en
-\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en}
-
-{\footnotesize Note the case of dotted notes: the augmentation dots
-must be aligned vertically.}
-
-\subsec
-Sometimes augmentations dots must be placed so as to avoid any
-ambiguity:
-
-\twoextr
-{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en
-\notes\tbbu0\tqh0h\en
-\NOtes\zqlp g\qu i\en
-\Notes\qu j\cl f\en
-\Notes\zql e\qu k\en}
-{\Notesp\loffset{.3}{\ibu0h0\zqb0h}%
-\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en
-%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en
-\notes\tbbu0\tqh0h\en
-\NOtes\pt f\zql g\qu i\en
-\Notes\qu j\cl f\en
-\Notes\zql e\qu k\en}
-
-
-
-
-\subsec
-In a two-part polyphonic notation, upper-part note stems should be
-upwards, even if the other part has a rest:
-
-\normalmusicsize\setclef1{\bass}
-\twoextr
-{\NOTesp\zw H\hup a\en
-\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en}
-{\NOTesp\zw H\hup a\en
-\Notes\qu N\liftpause{-2}\qu{MKLM}\en}
-
-{\footnotesize(same for the lower part.)}
-
-
-\subsec
-Some linkings of notes or rests may be correct
-according to music theory,
-but impede sight reading:
-
-\normalmusicsize
-\generalmeter{\meterfrac44}\setclef1\treble
-\twoextr
-{\notes\cu c\en
-\bar%
-\notes\cu d\en
-\Notes\qp\en
-\notes\ibu0f2\qb0{efgh}\tqh0i\en
-\bar
-\znotes\en}
-%\notes\cl j\en}
-{\notes\cu c\en
-\bar%
-\notes\cu d\ds\ds\cu e\en
-\notes\ibu0g2\qb0{fgh}\tqh0i\en
-\bar
-\znotes\en}
-
-In other words, rests should not act as syncopated notes. In a ternary
-beat, separate a rest that affects the second and third time values.
-Beams do not demand so much care.
-
-{\footnotesize Some will argue that in early music, flag/beam notation
-expresses some degree of articulation. But the rule above almost always
-coincides with some \textit{reasonable} articulation.
-
-}
-
-
-\section{Beaming}
-\subsec
-Beams should have an appropriate slope. In the past, one would avoid
-too weak a slope, because the printing ink would maliciously attempt
-to fill the tiny angle between these beams and the staff lines.
-For a scale or an arpeggio, this slope cannot be steeper than that
-formed by the notes, nor horizontal. A compromise must be found.
-Here is an example, with its solution, by two distinguished publishers:
-
-\generalmeter{\empty}
-\setstaffs1{1}\setclef1{\treble}
-\twoextr{
-\notes\ibbu0a6\qb0{cdefg}\tqh0h\en
-\notes\ibbu0g0\qb0{cdefg}\tqh0h\en}
-{\notes\zcn q{\smalltype Peters end 19$^{th}$C.}\ibbu0a4\qb0{cdefg}\tqh0h\en
-\notes\zcn q{\smalltype Henle end 20$^{th}$C.}\ibbu0e1\qb0{cdefg}\tqh0h\en
-\notes\zcn q{recommended}\ibbu0d2\qb0{cdefg}\tqh0h\en}
-
-\footnotesize{If you want to imitate some French publishers :}
-
-\startextract%
-\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en
-\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en
-\zendextract
-
-\subsec
-Beam placement should be adapted to the context. This placement varies
-depending on whether this group of notes is isolated or in a series:
-
-\startextract
-\NOTes\hu c\hu d\en
-\bar
-\NOtes\qu f\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\NOtes\qu{cd}\en
-\bar%
-\NOtes\qp\en
-\NOTes\hu f\en
-\zendextract
-
-\twoextr
-{\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en}
-{\notes\ibbu0h1\qb0{ceg}\tqh0j\en
-\notes\ibbu0h1\qb0{ceg}\tqh0j\en
-\notes\ibbu0h1\qb0{ceg}\tqh0j\en
-\notes\ibbu0h1\qb0{ceg}\tqh0j\en}
-
-\subsec
-Avoid Z-like beams, as found in former editions:
-
-\normalmusicsize
-\setclef1\bass
-\twoextr
-{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en
-\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en}
-{\Notes\ibl0H2\qb0G\en
-\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en
-\doublebar%
-\Notes\cu G\en
-\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en}
-
-
-\subsec
-Beams should never cross ledger lines:
-
-\setclef1{\treble}
-\twoextr
-{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en}
-{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en}
-
-\subsec
-Do not affect beam placement to place rests at their usual height.
-Rather move the rests:
-
-\twoextr
-{\Notes\ibl0k1\qb0n\ds\tqb0o\en
-\Notes\ibl0l0\qb0o\ds\tqb0o\en}
-{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en
-\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en}
-
-
-\section{Ties and slurs}
-\subsec
-When \textbf{slurred} notes are intended, the slur takes off and lands
-above or below the \textbf{centers} of note heads. But for \textbf{tied}
-notes,
-the same sign takes off and lands vertically aligned with the boundary
-of the note head, and not higher than this head.
-One breaks from the first rule to
-avoid colliding the note stems.
-
-
-\largemusicsize
-\twoextr
-{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en
-\bar%
-\NOtesp\tslur0f\roff{\itied0f}\qup f\en
-\NOtes\ttie0\qu f\en}
-{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en
-\bar%
-\NOtesp\ttie0\itied0f\qup f\en
-\NOtes\ttie0\qu f\en}
-
-{\footnotesize Note that the tie becomes ``quieter''.}
-
-
-\subsec
-Meanwhile avoid ``acrobatics'' to strictly abide these rules:
-
-\largemusicsize
-\twoextr
-{\NOtes\islurd0c\qu c\tsslur0j\ql j\en
-\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en}
-{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en
-\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en}
-
-
-\subsec
-During some epochs a single tie was supposed to refer to \textbf{all}
-notes of a particular chord. Particular cases have become so frequent,
-that it is better to note all ties explicitly.
-
-\largemusicsize
-\twoextr
-{\NOtes\itieu0g\zq{ce}\qu g\en
-\bar%
-\NOtes\ttie0\zq{ce}\qu g\en}
-{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en
-\bar%
-\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en}
-
-\subsec
-Associations of ties and slurs with dots and ornaments:
-
-\twoextr
-{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en
-\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en}
-{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en
-\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en}
-
-\newpage
-\subsec
-Associations of ties and slurs:
-
-\twoextr
-{\NOtes\itied0d\qu d\en
-\bar
-\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en
-\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en
-\bar
-\NOtes\ttie0\qu f\en}
-{\NOtes\islurd1d\itied0d\qu d\en
-\bar
-\NOtes\ttie0\qu d\tslur1c\qu c\en
-\NOtes\islurd1e\qu e\itied0f\qu f\en
-\bar
-\NOtes\tslur1f\ttie0\qu f\en}
-
-{\footnotesize Bowed-instruments players will find this obvious.}
-
-
-
-\subsec
-The dotted slur is the best way to emphasize an \textit{editorial slur}:
-
-\setclef1{\treble}
-\twoextr
-{\NOtes\islurd0c\qu c\tslur0d\qu d\en
-\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e%
-\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en
-\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en}
-{\NOtes\islurd0c\qu c\tslur0d\qu d\en
-\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en
-\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en}
-
-
-\section{Accidentals}
-\subsec
-When a note with an accidental expands over several measure,
-do not repeat the accidental on the next measures, except if there is
-a line-break or a page-break:
-
-\twoextr
-{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en
-\bar%
-\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en}
-{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en
-\bar%
-\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en}
-
-\subsec
-
-When an accidental affects \textit{small notes}, and is desired
-to also affect subsequent notes, it must be repeated.
-
-\twoextr
-{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en
-\NOTes\wh c\en}
-{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en
-\NOTes\qsk\wh{^c}\en}
-
-\subsec
-When a note with a single sharp comes after the same note with a
-double sharp, you no longer put a natural sign before the single
-sharp, unless you want to mimic 19th engraving style. Same for flats:
-
-\twoextr
-{\NOtes\qu{>c}\lna c\qu{^c}\qu{<d}\lna d\qu{_d}\en}
-{\NOtes\qu{>c}\qu{^c}\qu{<d}\qu{_d}\en}
-
-
-
-\subsec
-In polyphonic writing, accidentals of either part are not
-supposed to affect other parts. If such accidentals are to
-affect other parts, they should be written explicitly:
-
-
-\normalmusicsize
-\setstaffs1{1}\setclef1\treble
-\twoextr
-{\Notes\zql d\qu f\en
-\bar%
-\NOtes\zql c\qu{_e}\zql d\qu f\zql e\qu g\zql f\qu h\en
-\bar\
-\znotes\en}
-{\Notes\zql d\qu f\en
-\bar%
-\NOtes\zql c\qu{_e}\zql d\qu f\zql{_e}\qu g\zql f\qu h\en
-\bar
-\znotes\en}
-
-{\footnotesize Remember, around 1600 a Fugue for organ or harpsichord
-would have been written on \textbf{four} staves. Then accidentals where
-not dependent between staves.
-
-}
-
-\newpage
-\subsec
-In the old days, an accidental would also affect corresponding notes
-at other octaves:
-
-\startextract
-\Notes\ibu0e4\qb0{^ceg}\tqh0j\en
-\NOtes\zq{_b}\qu i\en
-\zendextract
-
-
-
-Nowadays, such accidentals should be explicitly written:
-
-\twoextr
-{\Notes\ibu0e4\qb0{^ceg}\uppersh c\tqh0j\en
-\NOtes\zq{_b}\upperfl i\qu i\en}
-{\Notes\ibu0e4\qb0{^ceg}\tqh0{^j}\en
-\NOtes\zq{_b}\qu{_i}\en}
-
-
-{\footnotesize Note that some software packages, able to convert
-between a MIDI file and a score, have kept this former convention. Then
-a MIDI file may contradict its source score for some accidentals.
-
-}
-
-\subsec
-
-When changing the key signature to decrease the number
-of accidentals, the natural signs should be written \textbf{before} the
-remaining accidentals:
-
-\generalsignature5
-\twoextr{%
-\notes\qu{cde}\en
-\doublebar
-\notes\sh m\qsk\sh j\qsk\na n\qsk\na k\qsk\na h\qsk\en
-\notes\qu{fg}\en}
-{\notes\qu{cde}\en
-\generalsignature{2}\Changecontext
-\notes\qu{fg}\en}
-\generalsignature0
-
-\subsec
-When such a change comes at a line- or page break, it must be shown
-\textbf{before} this break:
-
-\generalsignature2
-\twoextr
-{\Notes\qu{cdef}\en
-\afterruleskip=-4pt\bar}
-{\afterruleskip=8pt
-\Notes\qu{cdef}\en
-\generalsignature{-2}\Changecontext}
-
-\generalsignature0
-\twoextr
-{\notes\na m\hsk\na j\hsk\en
-\doublebar%
-\notes\fl i\hsk\fl l\hsk\en
-\Notes\qu{ghij}\en}
-{\notes\fl i\hsk\fl l\sk\en
-\Notes\qu{ghij}\en}
-
-
-\subsec
-When there is a need to shift some accidentals to avoid collisions,
-the upper is left at its normal position, and the lower is shifted
-to the left, either in chord- or in polyphonic-writing:
-
-\twoextr
-{\NOtes\qsk\lsh f\zq{^d}\qu f\en
-\bar%
-\NOtes\qsk\lsh f\zql{^d}\qu f\en}
-{\NOtes\qsk\lsh d\zq d\qu{^f}\en
-\bar%
-\NOtes\qsk\lsh d\zql d\qu{^f}\en}
-
-
-\subsec
-Accidentals other than well defined ones, get classified in three sets:
-
-\begin{itemize}
-\item editorial accidentals \textbf(e),
-\item cautionary accidentals \textbf(y),
-\item ``courtesy'' accidentals \textbf(c).
-\end{itemize}
-
-Put an editorial accidental when you think the source is wrong.
-Note it with a small-size accidental above or below the note.
-If this note is within a chord, place it left of the note.
-
-{\footnotesize \textit{Thorough bass} also uses such small accidentals above
-notes. But the misunderstanding is unlikely most of the time.
-
-}
-
-Put a cautionary accidental when music-theory rules demand its effect,
-but you fear the musician misses it, e.g. at the end of a ``crowded'' measure.
-It must be parenthesized.
-
-A courtesy accidental is a theoretically redundant accidental, which
-confirms the cancelling effect of a barline on previous accidentals.
-The usage is to write it normally.
-
-\twoextr
-{\NOtes\qu{^c}\qu d\cfl e\qu e\qu{^c}\en
-\bar%
-\NOtes\cna c\qu c\en}
-{\NOtes\qu{^c}\qu d\ccn q{(e)}\upperfl L\qu e\ccn q{(y)}\csh c\qu c\en
-\bar%
-\NOtes\ccn q{(c)}\qu{=c}\en}
-
-{\footnotesize It is better to notate \textbf{all} accidentals in
-some modern, complex works.
-
-}
-
-\subsec In ancient times some copists thought that when the
-first note of a measure is the same as that, with an accidental, of the
-previous measure, the accidental was implicit:
-
-\setstaffs12\setclef1{\bass\treble}
-\startrule
-\interstaff{11}
-
-\startextract
-\NOtesp\zhl K\hu a|\zh{^f}\zhl d\qup j\en
-\notesp|\triolet r\ibbu3i{-1}\qb3j\en
-\notes|\qb3{_i}\tqh3h\en
-\NOtesp\pt F\zql G\qu N|\zqp g\zqlp d\qup i\en
-\notes\ibbl0H1\triolet C\zcu N\qb0G|\zq g\zcl d\cu i\en
-\notesp\qb0H\en
-\notes\tqb0{_I}\en
-\bar
-\NOtes\zhl J\qu N|\pt b\zql c\loffset{.25}{\zql e}\qu i\en
-\Notes\qu M|\zhl f\ibu3h{-1}\qbp3h\en
-\notes|\cl c\en
-\notes|\tbbu3\tqh3g\en
-\NOtes\zhl C\qu N|\pt b\zql c\qu g\en
-\zendextract
-
-The correction is then obvious, and does not require an editorial
-accidental:
-
-\smallmusicsize
-\twoextr
-{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en
-\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en
-\notes\nextstaff\qb3{_i}\tqh3h\en
-\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en
-\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en
-\notesp\qb0H\en
-\notes\tqb0{_I}\en
-\bar%
-\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\upperfl n\qu i\en
-\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en
-\notes\nextstaff\cl c\en
-\notes\nextstaff\tbbu3\tqh3g\en
-\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en}
-{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en
-\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en
-\notes\nextstaff\qb3{_i}\tqh3h\en
-\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en
-\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en
-\notesp\qb0H\en
-\notes\tqb0{_I}\en
-\bar%
-\nspace%
-\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\qu{_i}\en
-\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en
-\notes\nextstaff\cl c\en
-\notes\nextstaff\tbbu3\tqh3g\en
-\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en}
-
-{\footnotesize (a fortiori a cautionary accidental. Your musicologist's
-abilities are recognized at this stage!)}
-
-
-\subsec
-Some accidentals in ancient editions may seem redundant according to
-our modern rules, like the C sharp at the end of this bar:
-
-\nostartrule
-\setstaffs11
-\largemusicsize
-\setclef1{\bass}
-\startextract
-\bar%
-\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
-\NOtes\zq b\qu d\zq{^c}\qu e\en
-\bar%
-\zendextract
-
-
-Therefore the following theory must be banned:
-\textit{if this accidental is present in my source,
-there must be a good reason for this,
-but a wrong accidental has been written here. Indeed, if the composer
-had wanted a C-sharp at the end of this bar, he wouldn't have
-written any sign there. So let me correct this mistake!}
-
-\twoextr{
-\bar%
-\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
-\NOtes\zq b\qu d\zq{=c}\qu e\en
-\bar%
-}
-{\bar%
-\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
-\NOtes\zq b\qu d\zq c\qu e\en
-\bar%
-}
-
-{\footnotesize If these thirds of fourth-notes had been written
-as polyphonic notes, the explanation would be obvious.
-I could also quote similar misunderstandings about accidentals
-an octave away, as seen before.
-
-}
-
-\section{Measure numbers}
-
-\subsec
-Initial rests, common to all parts, are never notated, especially if
-there is a repeat from the first note:
-
-\normalmusicsize\nostartrule\setclef1\treble
-\generalmeter{\meterfrac34}
-
-\twoextr
-{\NOtes\hpause\en
-\Notes\qu c\en
-\bar%
-\Notes\qu{def}\en
-\bar%
-\Notes\qu{hi}\en
-\rightrepeat
-\Notes\ql j\en
-\bar
-\Notes\ql k\en}
-{\Notes\qu c\en
-\bar%
-\Notes\qu{def}\en
-\bar%
-\Notes\qu{hi}\en
-\rightrepeat
-\Notes\ql j\en
-\bar
-\Notes\ql k\en}
-
-
-
-\subsec
-The number of the very first measure of a piece is never written.
-If this measure is an upbeat, this number is \textbf{zero}.
-
-\normalmusicsize\nostartrule\setclef1\treble
-\generalmeter{\meterfrac34}
-
-\twoextr
-{\Notes\loffset{8}{\zcharnote o{\eightbf 1}}\qu c\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{def}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en}
-{\Notes\qu c\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 1}}\qu{def}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{hi}\ql j\en}
-
-{\footnotesize Measure numbers at system left-tops are enough in practice.
-
-}
-
-\subsec
-If there is a double bar within a measure it does not act on measure
-numbering.
-
-\twoextr
-{\Notes\qu{cde}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en
-\leftrightrepeat%
-\Notes\qu f\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 4}}\qu{hi}\ql j\en
-\bar}
-{\Notes\qu{cde}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en
-\leftrightrepeat%
-\Notes\qu f\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en
-\bar}
-
-
-
-\subsec
-
-When \textit{first ending-second ending} measures are present, measure
-numbers of only the \textit{first ending} measure act on the numbering.
-If necessary, corresponding measure numbers have the subscripts
-\textit{a} and \textit{b}.
-
-\generalmeter{\null}
-\twoextr
-{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en\bar
-\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en
-\Setvolta1\bar
-\Notes\hu e\en
-\bar
-\Notes\loffset{2}{\zcharnote o{\eightbf 33}}\hu f\en
-\setvolta2\endvoltabox\rightrepeat
-\Notes\hu g\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hu h\en
-\bar%
-\Notes\hu i\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 37}}\hl j\en}
-{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en
-\bar
-\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en
-\Setvolta1\bar%
-\Notes\hu e\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 33a}}\hu f\en
-\setvolta2\endvoltabox\rightrepeat
-\Notes\hu g\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 33b}}\hu h\en
-\bar%
-\Notes\hu i\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hl j\en}
-
-{\footnotesize
-Indeed many fast movements have repeats bars amid a measure (like the
-Allegretto of the \textit{Moonloght sonata}). This repeat could as well had
-been noted under the \textit{first ending-second ending} form for this
-measure. Hence both notations must yield the same measure numbering.
-
-
-}
-
-
-\section{Miscellaneous}
-
-\subsec
-No barline should be written at the beginning of an instrument part
-involving a single staff, unlike a conductor score.
-
-\setclef1\alto
-\startrule\largemusicsize
-\begin{music}\let\extractline\hbox
-\hbox to \hsize{
-\hfill
-\startextract
-\NOtes\qu{abc}\en
-\zendextract\hfill\nostartrule
-\startextract
-\NOtes\qu{abc}\en
-\zendextract
-\hfill}
-
-\let\extractline\centerline\end{music}
-
-
-\subsec
-
-In ancient times, some staccato notes had a small wedge instead of
-the modern dot. If \textbf{both} symbols show up in a piece, they also
-represent two degrees of staccato. This notation must then be faithfully
-reproduced. On the other hand, if only wedges exist, they must be
-replaced with dots.:
-
-\largemusicsize\setstaffs1{1}\setclef1{\treble}\nostartrule
-\twoextr{
-\Notes\ibu0d1\lppz c\qb0c\lppz d\qb0d\lppz e\qb0e\lppz f\tqh0f\en}
-{\Notes\ibu0d1\lpz c\qb0c\lpz d\qb0d\lpz e\qb0e\lpz f\tqh0f\en}
-
-\subsec
-Such signs are always located above the note heads, rather than above the
-note stems, even if polyphony requires a stem-side location:
-
-\twoextr
-{\NOtes\zhl c\hroff{\upz l}\qu e\hroff{\uppz k}\qu f\en
-\Notes\zql b\ibu0g0\hroff{\upz m}\qb0g\hroff{\upz m}\tqh0g\en}
-{\NOtes\zhl c\upz l\qu e\uppz k\qu f\en
-\Notes\zql b\ibu0g0\upz m\qb0g\upz m\tqh0g\en}
-
-
-
-\subsec
-Appoggiature, or \textit{small notes}, are written \textbf{after}
-the bar, regardless of their rythmic interpretation:
-
-
-\twoextr
-{\NOtes\qu N\en
-\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en
-\bar
-\NOtes\hu g\en}
-{\NOtes\qu N\en
-\bar
-\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en
-\NOtes\hu g\en}
-
-
-\subsec
-The tempo indication should be written in roman characters, and other marks
-should in italic:
-
-\setclef1\treble
-\twoextr
-{\NOtes\zcn o{\medtype\it allegro}\qu{de}\zcn N{Cres}\qu{fg}\en}
-{\NOtes\zcn o{\medtype Allegro}\qu{de}\zcn N{\medtype\it cresc.}\qu{fg}\en}
-
-{\footnotesize Also note the capitalization, and the abbreviation dot.}
-
-
-\subsec
-In the old days one would write \textbf{loco} (from Latin \textit{at
-the place})
-to emphasize the end
-of an octave sign (\textit{8}\raisebox{2mm}{- - - - -}).
-Now such signs have become common,
-and this \textbf{loco} is well redundant.
-
-\newpage
-
-\section{Some moral advice if you make engrave a score}
-
-\subsec
-If you elect to using a specific notation practice, keep up with it
-along the entire piece, instead of toggling between two practices
-according to your whim, even if we have seen that this first
-practice is questionable.
-
-\subsec
-Pitch errors of a third are much more frequent than those of
-a second, for obvious visual-perception reasons. Be tolerant
-with the authors of your source.
-
-\subsec
-What to do when you think you've done with your edition? Of course,
-you rush to your instrument, and you play the piece with this edition.
-
-But since you are familiar with the piece, you will very likely
-miss quite a few misprints, overwhelmed by your enthusiasm.
-Quit your instrument, put your edition and its source on a desk,
-and take a pencil. Compare measures one at a time, and if there are
-multiple staves, one staff at a time. End up with the miscellaneous
-signs (tempo, interpretation, piano pedalling, etc.) common to these
-several staves.
-
-But this is not enough yet. Indeed a good musician like you has the ability
-to correct some misprints (like accidentals) when playing, without noticing.
-The previous test will not detect such misprints, because they are the
-same in both versions.
-
-If your typesetting software is able to convert your piece into
-MIDI format, the obtained file will be helpful. Otherwise you will
-have to submit your edition to a musician less experienced than you,
-who would not yet be prone to such automatic corrections.
-
-
-\subsec
-\textbf{Remember: Noting music correctly is as difficult as playing
-an instrument correctly.}
-
-\end{document}
-
diff --git a/macros/musixtex/doc/notationMistakes/sottiger.pdf b/macros/musixtex/doc/notationMistakes/sottiger.pdf
deleted file mode 100644
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--- a/macros/musixtex/doc/notationMistakes/sottiger.pdf
+++ /dev/null
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diff --git a/macros/musixtex/doc/notationMistakes/sottiger.tex b/macros/musixtex/doc/notationMistakes/sottiger.tex
deleted file mode 100644
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--- a/macros/musixtex/doc/notationMistakes/sottiger.tex
+++ /dev/null
@@ -1,1103 +0,0 @@
-\documentclass[12pt,twoside]{article}
-\usepackage{a4}
-\usepackage{musixtex}
-\usepackage[german]{babel}
-\usepackage[latin1]{inputenc}
-\usepackage{randtext}
-\input coulhack
-\raggedbottom
-\setlength{\textwidth}{18cm} \setlength{\textheight}{26cm}
-\setlength{\oddsidemargin}{0pt}\setlength{\evensidemargin}{0pt}
-\setlength{\parindent}{0cm}\setlength{\parskip}{.5cm}
-\setlength{\marginparwidth}{1in} \setlength{\marginparsep}{0pt}
-\setlength{\hoffset}{-1cm}
-\setlength{\voffset}{-2.5cm}
-%\setlength{\headsep}{2cm}
-\setlength{\itemsep}{0cm}
-
-\newcommand{\milieu}[1]{\begin{center}{#1}\end{center}}
-\newcommand{\pruneau}{$\bullet$~}
-\newcommand{\subsec}{\vspace{-1cm}\subsection{~}\vspace{-.5cm}}
-% \today should work the same in theory
-%\def\mytoday{\ifcase\month\or
-% January\or February\or March\or April\or May\or June\or
-% July\or August\or September\or October\or November\or December\fi
-% \space\number\day, \number\year}
-
-\def\notess{\vnotes2.4\elemskip}
-\def\notesss{\vnotes1.7\elemskip}
-\def\notesm{\vnotes1.5\elemskip}
-\def\appog{\multnoteskip\tinyvalue\tinynotesize}
-\newcommand{\zcn}[2]{\zcharnote{#1}{#2}}
-\newcommand{\lcn}[2]{\lcharnote{#1}{#2}}
-\newcommand{\ccn}[2]{\ccharnote{#1}{#2}}
-\newcommand{\nxst}{\nextstaff}
-\def\hhqsk{\off{.7\elemskip}}
-
-\newcommand{\twoextr}[2]
-%{\begin{music}\let\extractline\hbox
-{\let\extractline\hbox
-\hbox to \hsize{
-\hfill
-\startextract #1
-\zendextract\hfill
-\startextract #2
-\zendextract
-\hfill}
-
-%\let\extractline\centerline\end{music}}
-\let\extractline\centerline}
-
-\accshift=0mm
-\geometricskipscale
-\nostartrule
-\nobarmessages\nobarnumbers
-\let\extractline\centerline
-
-\begin{document}
-\milieu{\ppfftwentynine Sammlung der Irrtümer beim Notensatz}
-\milieu{\medtype oder}
-\milieu{\ppfftwentyfour Essay über die Kunst des guten Notensatzes}
-\milieu{\Huge Jean-Pierre Coulon}
-%\centerline{\tt
-%\kern3.5em{obs-nice}\kern-4.5em{@}\kern-3.5em{coulon}\kern4.5em{.fr}}
-
-\centerline{\tt \randomize{coulon@obs-nice.fr}}
-
-
-%\milieu{\mytoday}
-\milieu{\today}
-
-\milieu{\large gedacht f"ur:}
-\begin{itemize}
-\item Anwender von Notensatz-Software,
-\item Entwickler solcher Software,
-\item konventionelle Notenstecher,
-\item Notensammler,
-\item jene mit geschärftem Blick für Fragen der \textit{Semantik},
-\textit{Semiologie},
-\textit{Philologie} , u. a.
-\end{itemize}
-
-{\footnotesize NB: Die verwendeten Beispiele sind selbstverständlich
-musikalisch wertlos; spielen Sie diese also nicht auf ihrem
-Instrument nach :-)\\
-Um mich auf das wesentliche zu beschränken und mangels
-ausreichender Fachkompetenz, behandle ich keine der benachbarten,
-aufregenden Sachgebiete:
-
-\pruneau Musiktheorie, Harmonielehre, Komposition u. a.\\
-\pruneau Vergleichstests verschiedener Notensatzprogramme ,\\
-\pruneau wie die zitierten Symbole in den einzelnen Epochen zu
-interpretieren sind,\\
-\pruneau Fragen des Copyrights,\\
-\pruneau Schlagzeug-Notation und Zupfinstrument-Tabulaturen,\\
-\pruneau sehr frühe und avantgardistische Musiknotation.\\
-
-}
-
-\section{Grundsätzliches}
-\subsec
-Wenn Noten zur gleichen Zeit in der gleichen Notenzeile
-auftreten, sind zwei Schreibweisen möglich: als Akkord oder
-mehrstimmig (\textit{polyphon}):
-
-\twoextr
-{\NOtes\qu c\zq c\qu e\en
-\Notes\ibu0e2\zq c\qb0e\zq d\tqh0f\en}
-{\NOtes\zql c\qp\zql c\qu e\en
-\Notes\ibl0c2\ibu1e2\zqb0c\qb1e\tbl0\zqb0d\tqh1f\en}
-
-Natürlich erfordert ein unterschiedlicher Rhythmus der
-Einzelstimmen die polyphone Schreibweise.
-
-\eject\milieu{\ppfftwenty Ab hier gilt:}
-{\ppfftwentyfour Linke Seite: fehlerhaft. \hfill Rechte Seite:
-richtig. }
-
-\subsec
-Bemühe Dich, die Stellen, an denen die \textit{Seiten gewendet}
-werden müssen, für den Musiker annehmbar zu setzen; anderenfalls
-wird er entweder jemanden zum Blättern benötigen oder mit
-aneinandergeklebten Photokopien herumexperimentieren. Seitdem
-moderne Notenausgaben kleiner als früher sind, verlangt diese
-Forderung einen höheren Aufwand vom Notensetzer.
-
-{\footnotesize Die tatsächliche Druckgröße (d.\,h. weggelassene
-Ränder) der meisten Noten aus früheren Epochen entspricht nahezu dem
-üblichen Format der meisten moderner Ausgaben einschließlich der
-Ränder.
-}
-
-Eine einfache Lösung bietet sich durch Verwendung einer kleinen
-Stichgröße. Es ist aber besser, auf Kosten von mehr Aufwand eine
-größere zu verwenden, um den Platz vernünftig auszunutzen.
-Die folgenden Beispiele nehmen den gleichen horizontalen
-Raum ein, jedoch ist das rechte leichter zu lesen:
-
-\bigaccid
-\begin{music}\let\extractline\hbox
-\hbox to \hsize{
-\hfill
-\smallmusicsize
-\setclef1{\treble}
-\startextract%
-\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en
-\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en
-\bar%
-\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en
-\zendextract\hfill
-\normalmusicsize
-\startextract%
-\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en
-\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en
-\bar%
-\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en
-\zendextract
-\hfill}
-\let\extractline\centerline\end{music}
-
-Außerdem mußt Du auch die Abstände zwischen den Zeilen des Systems
-verändern, um keinen vertikalen Raum zu verschwenden
-(s. meine Ausgabe von Dusseks Klaviersonate Op. 35-3).
-
-\subsec
-Wähle horizontale Zwischenräume, die sich entsprechend der
-Notenlänge vergrößern, nicht linear dazu. Ich persönlich bin
-glücklich mit
-1 : \hbox{$\sqrt{2}\approx 1.414$},
-um ein Längenverhältnis von 1 : 2 darzustellen, jedoch ist das keine
-absolute Regel, besonders wenn Zweiunddreißgstel oder
-Vierundsechzigstel vorkommen, weil diese dabei zu dicht
-zusammengedrängt würden. Ändere den Abstand einer absoluten
-Notenlänge innerhalb einer Zeile nie ohne guten Grund.
-
-\nostartrule
-\setclef1\treble
-\hsize82.1mm
-\startpiece
-\NOTEs\hu c\sk\en
-\NOTEs\qu c\en
-\NOtes\cu c\en
-\notes\ibbu0c0\qb0c\en
-\notes\qb0{cc}\tqh0c\en
-\setemptybar
-\endpiece
-
-\hsize18cm
-
-\setclef1\treble
-\twoextr
-{\notes\hu c\en
-\NOtes\qu c\en
-\NOTes\cu c\en
-\notes\ibbu0c0\qb0c\en
-\Notes\qb0{cc}\tqh0c\en}
-{\NOTes\hu c\en
-\NOtes\qu c\en
-\Notes\cu c\en
-\notes\ibbu0c0\qb0{cc}\en
-\notes\qb0c\tqh0c\en}
-
-{\footnotesize Wenn ein System mehrere Zeilen hat, bestimmt die
-Stimme mit den \textbf{kürzesten} Notenwerten die alle anderen Abstände.
-Liedtext, soweit vorhanden, kann noch größere Abstände fordern.
-}
-
-\subsec
-Hier ein guter Grund, engen Notenabstand zu verändern:
-die Vermeidung von Kollisionen:
-
-\twoextr
-{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en}
-{\notesss\ccu c\hqsk\ibbl0k2\qb0{jklm}\hqsk\tqb0{^n}\en}
-
-\subsec
-Wenn keine andere Stimme es verlangt, sollen Notenhälse
-ebenfalls in die Abstandsberechnungen einbezogen werden:
-
-\largemusicsize
-\twoextr
-{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en}
-{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en}
-
-
-\subsec
-Verschiebe die vertikale Ausrichtung nicht unter dem Vorwand, genug
-Platz für die Vorzeichen zu lassen:
-
-\setstaffs1{2}\setclef1\bass\startrule\bigaccid
-\twoextr{
-\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en
-\bar%
-\NOtes\ql M\nxst\hhqsk\qu{^h}\en}
-{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en
-\bar%
-\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en}
-
-\nostartrule
-
-\subsec
-Schreibe die tiefere Note eines \textit{Sekundenintervalls} in
-einem Akkord \textbf{links}. Im polyphonen Satz hingegen sollte sie
-\textbf{rechts} stehen.
-
-\largemusicsize\setstaffs1{1}\setclef1{\treble}
-\twoextr
-{\NOtes\rq b\zq{ce}\qu g\en
-\NOtes\rq b\zq{^ce}\qu g\en
-\NOtes\rq c\rq e\rq g\qu b\en
-\doublebar%
-\NOtes\zql b\roffset{.9}{\qu c}\en
-\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en
-\notes\tbl1\zqb1a\qb0c\tqh0d\en}
-{\NOtes\rq c\zq{be}\qu g\en
-\NOtes\sh c\rq c\zq{be}\qu g\en
-\NOtes\rq c\zq{be}\qu g\en
-\doublebar%
-\NOtes\zqu c\roffset{.9}{\ql b}\en
-\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en
-\notes\tbl1\zqb1a\qb0c\tqh0d\en}
-
-{\footnotesize Ich lasse Fälle von Stimmkreuzung aus. Störe Dich
-nicht an dem Vorzeichen, das zur oberen Note gehört, auch nicht an
-Noten außerhalb dieser Sekunde.
-}
-
-
-\subsec
-Im polyphonen Satz sollen Noten gerade soweit verschoben sein, um sie
-zu unterscheiden, jedenfalls weniger als der Abstand für eine
-Sekunde:
-
-\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble
-\twoextr
-{\NOtes\zql c\roff{\zqu e}\qu g\en
-\NOtes\zql c\zqu e\qu g\en
-\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en
-\NOtes\zqlp c\roff{\zqup f}\qup h\en}
-{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en
-\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en
-\NOtes\zql c\roff{\zqu f}\qu g\en
-\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en}
-
-{\footnotesize Merke für den Fall punktierter Noten: die
-Punkte müssen vertikal ausgerichtet werden.}
-
-\subsec
-Manchmal müssen die Punkte so plaziert werden, damit jede
-Zweideutigkeit vermieden wird:
-
-\twoextr
-{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en
-\notes\tbbu0\tqh0h\en
-\NOtes\zqlp g\qu i\en
-\Notes\qu j\cl f\en
-\Notes\zql e\qu k\en}
-{\Notesp\loffset{.3}{\ibu0h0\zqb0h}%
-\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en
-%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en
-\notes\tbbu0\tqh0h\en
-\NOtes\pt f\zql g\qu i\en
-\Notes\qu j\cl f\en
-\Notes\zql e\qu k\en}
-
-\subsec
-Im zweitimmigen polyphonen Satz sollen die Notenhälse der Oberstimme
-nach oben zeigen, auch wenn die anderen Stimme eine Pause hat:
-
-\normalmusicsize\setclef1{\bass}
-\twoextr
-{\NOTesp\zw H\hup a\en
-\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en}
-{\NOTesp\zw H\hup a\en
-\Notes\qu N\liftpause{-2}\qu{MKLM}\en}
-
-{\footnotesize(Das gleiche gilt für die untere Stimme.)}
-
-
-\subsec
-Einige Verbindungen von Noten oder Pausen können musiktheoretisch
-korrekt, jedoch der Lesbarkeit hinderlich sein:
-
-\normalmusicsize
-\generalmeter{\meterfrac44}\setclef1\treble
-\twoextr
-{\notes\cu c\en
-\bar%
-\notes\cu d\en
-\Notes\qp\en
-\notes\ibu0f2\qb0{efgh}\tqh0i\en
-\bar
-\znotes\en}
-%\notes\cl j\en}
-{\notes\cu c\en
-\bar%
-\notes\cu d\ds\ds\cu e\en
-\notes\ibu0g2\qb0{fgh}\tqh0i\en
-\bar
-\znotes\en}
-
-Mit anderen Worten: Pausen sollen nicht wie synkopierte Noten
-fungieren.
-Teile in einem 3-er-Schlag eine Pause auf, die auf den zweiten und
-dritten Schlag fällt. Verbalkte Noten bedürfen weniger Sorgfalt.
-
-{\footnotesize Jemand könnte vorbringen, daß in der alten
-Musik die Fähnchen-/Balkenschreibung etwas über den Grad der
-Artikulation ausdrückt. Doch deren Regel stimmt fast immer mit
-einer \textit{vernüftigen} Artikulation überein.
-}
-
-
-\section{Verbalkung}
-\subsec
-Balken sollten eine angemessene Schräge haben. Früher hätte man
-eine zu geringe Steigung vermieden, weil die Druckerschwärze
-boshafterweise versucht, den winzigen Winkel zwischen diesen Balken
-und den Notenlinien auszufüllen. Für eine Tonleiter oder ein
-Arpeggio kann diese Steigung weder steiler sein, als sie durch durch
-die Noten gebildet wird, noch flach. Es muß ein Kompromiß
-gefunden werden. Hier ein Beispiel mit einer Lösung zweier
-unterschiedlicher Herausgeber:
-
-\generalmeter{\empty}
-\setstaffs1{1}\setclef1{\treble}
-\twoextr{
-\notes\ibbu0a6\qb0{cdefg}\tqh0h\en
-\notes\ibbu0g0\qb0{cdefg}\tqh0h\en}
-{\notes\zcn q{\scriptsize Peters, 19. Jht.}\ibbu0a4\qb0{cdefg}\tqh0h\en
-\notes\zcn q{\scriptsize Henle, 20. Jht}\ibbu0e1\qb0{cdefg}\tqh0h\en
-\notes\zcn q{empfohlen}\ibbu0d2\qb0{cdefg}\tqh0h\en}
-
-%\footnotesize{If you want to imitate some French publishers :}
-\footnotesize{Wenn Du manche französische Herausgeber nachahmen willst:}
-
-\startextract%
-\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en
-\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en
-\zendextract
-
-\newpage
-
-\subsec
-Die Balkensetzung soll an den Kontext angepaßt werden. Die
-Plazierung variiert abhängig davon, ob diese Notengruppe einzeln
-steht oder in Folge:
-
-\startextract
-\NOTes\hu c\hu d\en
-\bar
-\NOtes\qu f\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\NOtes\qu{cd}\en
-\bar%
-\NOtes\qp\en
-\NOTes\hu f\en
-\zendextract
-
-\twoextr
-{\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en}
-{\notes\ibbu0h1\qb0{ceg}\tqh0j\en
-\notes\ibbu0h1\qb0{ceg}\tqh0j\en
-\notes\ibbu0h1\qb0{ceg}\tqh0j\en
-\notes\ibbu0h1\qb0{ceg}\tqh0j\en}
-
-\subsec
-Vermeide Z-förmige Balken, wie sie in früheren Ausgaben zu finden
-sind:
-
-\vspace{10pt}
-
-\normalmusicsize
-\setclef1\bass
-\twoextr
-{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en
-\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en}
-{\Notes\ibl0H2\qb0G\en
-\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en
-\doublebar%
-\Notes\cu G\en
-\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en}
-
-
-\subsec
-Balken sollten Hilfslinien niemals kreuzen:
-
-\vspace{10pt}
-
-\setclef1{\treble}
-\twoextr
-{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en}
-{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en}
-
-\subsec
-Beeinflusse die Balkensetzung nicht, um Pausen in ihrer üblichen
-Höhe zu setzen. Versetze lieber die Pausen.
-
-\twoextr
-{\Notes\ibl0k1\qb0n\ds\tqb0o\en
-\Notes\ibl0l0\qb0o\ds\tqb0o\en}
-{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en
-\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en}
-
-
-\section{Halte- und Bindebögen}
-\subsec
-Bei \textbf{gebundenen} Noten beginnt und endet der Bogen über oder
-unter der \textbf{Mitte} des Notenkopfes. \textbf{Haltebögen}
-jedoch beginnen und enden vertikal ausgerichtet am Rand des
-Notenkopfes und nicht höher als dieser. Um Zusammenstöße mit
-Notenhälsen zu vermeiden, kann die erste Regel verletzt werden.
-
-\vspace{10pt}
-
-\largemusicsize
-\twoextr
-{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en
-\bar%
-\NOtesp\tslur0f\roff{\itied0f}\qup f\en
-\NOtes\ttie0\qu f\en}
-{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en
-\bar%
-\NOtesp\ttie0\itied0f\qup f\en
-\NOtes\ttie0\qu f\en}
-
-{\footnotesize Merke, daß der Haltebogen "`ruhiger"' wird.}
-
-\newpage
-
-\subsec
-Vermeide indessen "`Akrobatik"', um diese Regeln strikt einzuhalten:
-
-%\vspace{10pt}
-
-\largemusicsize
-\twoextr
-{\NOtes\islurd0c\qu c\tsslur0j\ql j\en
-\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en}
-{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en
-\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en}
-
-\vspace{-6pt}
-
-\subsec
-In manchen Epochen wurde ein einzelner Haltebogen auf \textbf{alle}
-Noten eines einzelnen Akkords bezogen. Sonderfälle sind so häufig
-geworden, daß es besser ist, alle Haltebögen explizit zu setzen.
-
-\largemusicsize
-\twoextr
-{\NOtes\itieu0g\zq{ce}\qu g\en
-\bar%
-\NOtes\ttie0\zq{ce}\qu g\en}
-{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en
-\bar%
-\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en}
-
-\vspace{-10pt}
-
-\subsec
-Verbindungen von Halte- und Bindebögen mit Punkten und Verzierungen:
-
-\twoextr
-{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en
-\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en}
-{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en
-\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en}
-
-\vspace{-10pt}
-
-\subsec
-Verbindungen von Halte- und Bindebögen:
-
-\twoextr
-{\NOtes\itied0d\qu d\en
-\bar
-\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en
-\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en
-\bar
-\NOtes\ttie0\qu f\en}
-{\NOtes\islurd1d\itied0d\qu d\en
-\bar
-\NOtes\ttie0\qu d\tslur1c\qu c\en
-\NOtes\islurd1e\qu e\itied0f\qu f\en
-\bar
-\NOtes\tslur1f\ttie0\qu f\en}
-
-\vspace{-6pt}
-
-{\footnotesize Streicher werden das als offensichtlich empfinden.}
-
-\subsec
-Der gepunktete Bogen ist die beste Weise, einen \textit{Bogen des
-Herausgebers} hervorzuheben:
-
-\setclef1{\treble}
-\twoextr
-{\NOtes\islurd0c\qu c\tslur0d\qu d\en
-\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e%
-\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en
-\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en}
-{\NOtes\islurd0c\qu c\tslur0d\qu d\en
-\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en
-\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en}
-
-
-\section{Vorzeichen}
-\subsec
-Wenn sich eine Note mit Vorzeichen über mehrere Takte erstreckt,
-wiederhole das Vorzeichen in den nächsten Takten nicht, außer
-wenn dort ein Zeilen- und Seitenumbruch ist.
-
-\twoextr
-{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en
-\bar%
-\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en}
-{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en
-\bar%
-\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en}
-
-\subsec
-Wenn ein Vorzeichen auf \textit{Hilfsnoten} wirkt und es auch für
-nachfolgende Noten gelten soll, muß es wiederholt werden.
-
-\twoextr
-{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en
-\NOTes\wh c\en}
-{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en
-\NOTes\qsk\wh{^c}\en}
-
-\subsec
-Wenn eine Note mit einfachem einer mit doppeltem Vorzeichen folgt,
-schreibe kein Auflösungszeichen vor dem einfachen Vorzeichen, es sei
-denn, Du willst den Stil des 19. Jhts. nachahmen:
-
-\vspace{-3pt}
-
-\twoextr
-{\NOtes\qu{>c}\lna c\qu{^c}\qu{<d}\lna d\qu{_d}\en}
-{\NOtes\qu{>c}\qu{^c}\qu{<d}\qu{_d}\en}
-
-\vspace{-3pt}
-
-\subsec
-Im polyphonen Satz beeinflussen Vorzeichen der einen Stimme die
-andere nicht. Wenn dieses Vorzeichen auf die andere Stimme wirken
-soll, ist es explizit zu schreiben.
-
-\vspace{-3pt}
-
-\normalmusicsize
-\setstaffs1{1}\setclef1\treble
-\twoextr
-{\Notes\zql d\qu f\en
-\bar%
-\NOtes\zql c\qu{_e}\zql d\qu f\zql e\qu g\zql f\qu h\en
-\bar\
-\znotes\en}
-{\Notes\zql d\qu f\en
-\bar%
-\NOtes\zql c\qu{_e}\zql d\qu f\zql{_e}\qu g\zql f\qu h\en
-\bar
-\znotes\en}
-
-\vspace{-3pt}
-
-{\footnotesize Zur Erinnerung: um 1600 wurde eine Fuge für Orgel
-oder Cembalo in \textbf{vier} Zeilen geschrieben. Damit waren die
-Vorzeichen zwischen den Zeilen unanhängig.
-}
-
-\vspace{-3pt}
-
-\subsec
-Früher hätte ein Vorzeichen auch für die entsprechenden Noten in
-anderen Oktaven gegolten:
-
-\startextract
-\Notes\ibu0e4\qb0{^ceg}\tqh0j\en
-\NOtes\zq{_b}\qu i\en
-\zendextract
-
-\vspace{-6pt}
-
-Heutzutage müssen solche Vorzeichen klar ausgeschrieben werden:
-
-\twoextr
-{\Notes\ibu0e4\qb0{^ceg}\uppersh c\tqh0j\en
-\NOtes\zq{_b}\upperfl i\qu i\en}
-{\Notes\ibu0e4\qb0{^ceg}\tqh0{^j}\en
-\NOtes\zq{_b}\qu{_i}\en}
-
-\vspace{-6pt}
-
-{\footnotesize Merke, daß Softwarepakete, die MIDI-Dateien in
-Notenschrift konvertieren können, diese alte Übereinkunft
-beibehalten haben. Dann kann eine MIDI-Datei in einigen Vorzeichen
-den Noten widersprechen.
-}
-
-\subsec
-
-Bei Tonartwechsel mit weniger Vorzeichen werden die
-Auflösungszeichen \textbf{vor} den verbleibenden Vorzeichen
-geschrieben:
-
-\generalsignature5
-\twoextr{%
-\notes\qu{cde}\en
-\doublebar
-\notes\sh m\qsk\sh j\qsk\na n\qsk\na k\qsk\na h\qsk\en
-\notes\qu{fg}\en}
-{\notes\qu{cde}\en
-\generalsignature{2}\Changecontext
-\notes\qu{fg}\en}
-\generalsignature0
-
-\subsec
-Bei einem Zeilen- oder Seitenumbruch muß ein solcher Wechsel
-\textbf{vor} dem Umbruch erscheinen:
-
-\generalsignature2
-\twoextr
-{\Notes\qu{cdef}\en
-\afterruleskip=-4pt\bar}
-{\afterruleskip=8pt
-\Notes\qu{cdef}\en
-\generalsignature{-2}\Changecontext}
-
-\generalsignature0
-\twoextr
-{\notes\na m\hsk\na j\hsk\en
-\doublebar%
-\notes\fl i\hsk\fl l\hsk\en
-\Notes\qu{ghij}\en}
-{\notes\fl i\hsk\fl l\sk\en
-\Notes\qu{ghij}\en}
-
-\newpage
-
-\subsec
-Wenn es notwendig ist, einige Vorzeichen zu versetzen, um
-Kollisionen zu vermeiden, ist das obere rechts zu lassen und das
-untere nach links zu verschieben, sowohl in Akkord- als auch in
-polyphoner Schreibweise:
-
-\twoextr
-{\NOtes\qsk\lsh f\zq{^d}\qu f\en
-\bar%
-\NOtes\qsk\lsh f\zql{^d}\qu f\en}
-{\NOtes\qsk\lsh d\zq d\qu{^f}\en
-\bar%
-\NOtes\qsk\lsh d\zql d\qu{^f}\en}
-
-
-\subsec
-Andere Vorzeichen als die regulären werden in drei Gruppen
-eingeteilt:
-
-\begin{itemize}
-\item Redaktionelle Vorzeichen \textbf{(r)},
-\item Vorsorgliche Vorzeichen \textbf{(v)},
-\item "`Aufmerksamkeits"'-Vorzeichen \textbf{(a)}.
-\end{itemize}
-
-Setze ein redaktionelles Vorzeichen, wenn Du denkst, die Quelle ist
-falsch. Vermerke es durch ein kleines Vorzeichen über oder unter
-der Note. In einem Akkord plaziere es links der Note.
-
-{\footnotesize Der \textit{Generalbaß} verwendet ebenfalls solche
-kleinen Vorzeichen über den Noten, aber ein Mißverständnis ist
-unwahrscheinlich.
-}
-
-Setze ein vorsorgliches Vorzeichen, wenn es aus dem Kontext heraus
-bereits wirkt, Du aber fürchtest, der Musiker übersieht es, z.\,B. am
-Ende eines "`überfüllten"' Taktes. Es ist in Klammern zu setzen.
-
-Ein Aufmerksamkeits-Vorzeichen ist ein theoretisch überflüssiges, das
-die Löschung eines vorhergehenden Vorzeichens durch den Taktstrich
-bestätigt. Üblicherweise ist es normal zu schreiben.
-
-\twoextr
-{\NOtes\qu{^c}\qu d\cfl e\qu e\qu{^c}\en
-\bar%
-\NOtes\cna c\qu c\en}
-{\NOtes\qu{^c}\qu d\ccn q{(r)}\upperfl L\qu e\ccn q{(v)}\csh c\qu c\en
-\bar%
-\NOtes\ccn q{(a)}\qu{=c}\en}
-
-{\footnotesize In manchen modernen, komplizierten Werken ist es
-besser, \textbf{alle} Vorzeichen zu schreiben.
-}
-
-%-------------------------------------------------------------------\\
-\subsec Früher dachten manche Kopisten, daß das Vorzeichen
-selbstverständlich sei, wenn die erste Note in einem Takt dieselbe
-ist wie diejenige -- mit Vorzeichen -- im vorausgegangenen Takt:
-
-\setstaffs12\setclef1{\bass\treble}
-\startrule
-\interstaff{11}
-
-\startextract
-\NOtesp\zhl K\hu a|\zh{^f}\zhl d\qup j\en
-\notesp|\triolet r\ibbu3i{-1}\qb3j\en
-\notes|\qb3{_i}\tqh3h\en
-\NOtesp\pt F\zql G\qu N|\zqp g\zqlp d\qup i\en
-\notes\ibbl0H1\triolet C\zcu N\qb0G|\zq g\zcl d\cu i\en
-\notesp\qb0H\en
-\notes\tqb0{_I}\en
-\bar
-\NOtes\zhl J\qu N|\pt b\zql c\loffset{.25}{\zql e}\qu i\en
-\Notes\qu M|\zhl f\ibu3h{-1}\qbp3h\en
-\notess|\cl c\en
-\notess|\tbbu3\tqh3g\en
-\NOtes\zhl C\qu N|\pt b\zql c\qu g\en
-\zendextract
-
-\newpage
-
-Die Korrektur ist dann offensichtlich und bedarf keines
-redaktionellen Vorzeichens:
-
-\vspace{6pt}
-
-\smallmusicsize
-\twoextr
-{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en
-\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en
-\notes\nextstaff\qb3{_i}\tqh3h\en
-\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en
-\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en
-\notesp\qb0H\en
-\notes\tqb0{_I}\en
-\bar%
-\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\upperfl n\qu i\en
-\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en
-\notess\nextstaff\cl c\en
-\notess\nextstaff\tbbu3\tqh3g\en
-\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en}
-{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en
-\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en
-\notes\nextstaff\qb3{_i}\tqh3h\en
-\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en
-\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en
-\notesp\qb0H\en
-\notes\tqb0{_I}\en
-\bar%
-\nspace%
-\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\qu{_i}\en
-\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en
-\notess\nextstaff\cl c\en
-\notess\nextstaff\tbbu3\tqh3g\en
-\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en}
-
-\vspace{-6pt}
-
-{\footnotesize (Ein vorsorgliches Vorzeichen wäre zwar ein Beleg für deine
-musiktheoretischen Kenntnisse, aber es wäre überflüssig.)}
-%-----------------------------------------------------------------------//
-
-\subsec
-Einige Vorzeichen in alten Ausgaben scheinen entsprechend unserer
-modernen Regeln überflüssig zu sein wie das Cis am Ende dieses
-Taktes:
-
-\nostartrule
-\setstaffs11
-\largemusicsize
-\setclef1{\bass}
-\startextract
-\bar%
-\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
-\NOtes\zq b\qu d\zq{^c}\qu e\en
-\bar%
-\zendextract
-
-\vspace{-6pt}
-
-Deswegen ist die folgende Theorie abzulehnen: \textit{
-Wenn dieses Vorzeichen in meiner Quelle vorhanden ist, muß es dafür
-einen guten Grund geben, hier aber wurde ein falsches Vorzeichen
-geschrieben. Wenn jedoch der Komponist ein Cis am Ende des Taktes
-gewollt hätte, hätte er dort irgendein Zeichen geschrieben. Also laß
-mich den Fehler korrigieren!}
-
-\vspace{6pt}
-
-\twoextr{
-\bar%
-\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
-\NOtes\zq b\qu d\zq{=c}\qu e\en
-\bar%
-}
-{\bar%
-\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
-\NOtes\zq b\qu d\zq c\qu e\en
-\bar%
-}
-
-\vspace{-16pt}
-
-{\footnotesize Wenn diese drei Viertelnoten polyphon geschrieben
-worden wären, wäre die Erklärung offensichtlich. Ich könnte auch
-ähnliche Mißverständnisse über oktavenübergreifende Vorzeichen
-anführen, wie vorher gezeigt.}
-
-\section{Taktnummern}
-
-\subsec
-Pausen am Anfang, die allen Stimmen gemeinsam sind, werden nicht
-geschrieben, besonders wenn es eine Wiederholung von der ersten Note
-an gibt:
-
-\normalmusicsize\nostartrule\setclef1\treble
-\generalmeter{\meterfrac34}
-
-\twoextr
-{\NOtes\hpause\en
-\Notes\qu c\en
-\bar%
-\Notes\qu{def}\en
-\bar%
-\Notes\qu{hi}\en
-\rightrepeat
-\Notes\ql j\en
-\bar
-\Notes\ql k\en}
-{\Notes\qu c\en
-\bar%
-\Notes\qu{def}\en
-\bar%
-\Notes\qu{hi}\en
-\rightrepeat
-\Notes\ql j\en
-\bar
-\Notes\ql k\en}
-
-\subsec
-Die Nummer des allerersten Taktes eines Stückes wird niemals
-geschrieben. Ist dieser Takt ein Auftakt, ist seine Nummer
-\textbf{Null}.
-
-\normalmusicsize\nostartrule\setclef1\treble
-\generalmeter{\meterfrac34}
-
-\twoextr
-{\Notes\loffset{8}{\zcharnote o{\eightbf 1}}\qu c\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{def}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en}
-{\Notes\qu c\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 1}}\qu{def}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{hi}\ql j\en}
-
-\vspace{-9pt}
-
-{\footnotesize Taktnummern am System links oben gibt es in der
-Praxis genug.}
-
-\newpage
-\subsec
-Wenn ein Doppelstrich innerhalb eines Taktes steht, hat er keinen
-Einfluß auf die Taktnumerierung.
-
-\twoextr
-{\Notes\qu{cde}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en
-\leftrightrepeat%
-\Notes\qu f\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 4}}\qu{hi}\ql j\en
-\bar}
-{\Notes\qu{cde}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en
-\leftrightrepeat%
-\Notes\qu f\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en
-\bar}
-
-
-\subsec
-Wenn \textit{Erstes-Ende-Zweites-Ende}-Takte vorkommen, wird nur die
-Taktnummer des \textit{ersten Endes} in die Zählung einbezogen. Wenn
-notwendig, bekommen entsprechende Taktnummern Indices \textit{a}
-und \textit{b}.
-
-\vspace{12pt}
-
-\generalmeter{\null}
-\twoextr
-{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en\bar
-\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en
-\Setvolta1\bar
-\Notes\hu e\en
-\bar
-\Notes\loffset{2}{\zcharnote o{\eightbf 33}}\hu f\en
-\setvolta2\endvoltabox\rightrepeat
-\Notes\hu g\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hu h\en
-\bar%
-\Notes\hu i\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 37}}\hl j\en}
-{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en
-\bar
-\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en
-\Setvolta1\bar%
-\Notes\hu e\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 33a}}\hu f\en
-\setvolta2\endvoltabox\rightrepeat
-\Notes\hu g\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 33b}}\hu h\en
-\bar%
-\Notes\hu i\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hl j\en}
-
-{\footnotesize
-Allerdings haben viele schnelle Sätze Wiederholungsbalken
-inmitten eines Taktes (wie das Allegretto der
-\textit{Mondscheinsonate}). Diese Wiederholung könnte genauso gut
-in der \textit{Erstes-Ende-Zweites-Ende}-Form für diesen Takt
-notiert werden. Deshalb müssen beide Schreibweisen die gleiche
-Taktnummer ergeben.
-}
-
-\section{Verschiedenes}
-
-\subsec
-Am Anfang einer einzeiligen Instrumentenstimme sollte kein
-Taktstrich gesetzt werden, anders als in der Orchesterpartitur.
-
-\setclef1\alto
-\startrule\largemusicsize
-\begin{music}\let\extractline\hbox
-\hbox to \hsize{
-\hfill
-\startextract
-\NOtes\qu{abc}\en
-\zendextract\hfill\nostartrule
-\startextract
-\NOtes\qu{abc}\en
-\zendextract
-\hfill}
-
-\let\extractline\centerline\end{music}
-
-\subsec
-Früher hatten manche Staccato-Noten einen kleinen Keil anstatt des
-modernen Punktes. Wenn \textbf{beide} Symbole in einem Stück
-vorkommen, bezeichnen sie zwei Arten des Staccato. Diese Schreibweise
-ist dann originalgetreu zu kopieren. Andererseits sind nur Punkte zu
-setzen, wenn ausschließlich Keile vorkommen:
-
-\largemusicsize\setstaffs1{1}\setclef1{\treble}\nostartrule
-\twoextr{
-\Notes\ibu0d1\lppz c\qb0c\lppz d\qb0d\lppz e\qb0e\lppz f\tqh0f\en}
-{\Notes\ibu0d1\lpz c\qb0c\lpz d\qb0d\lpz e\qb0e\lpz f\tqh0f\en}
-
-\subsec
-Solche Zeichen stehen in vertikaler Ausrichtung stets über den
-Notenköpfen statt den Notenhälsen, sogar wenn Polyphonie
-eine halsseitige Stellung verlangt:
-
-\twoextr
-{\NOtes\zhl c\hroff{\upz l}\qu e\hroff{\uppz k}\qu f\en
-\Notes\zql b\ibu0g0\hroff{\upz m}\qb0g\hroff{\upz m}\tqh0g\en}
-{\NOtes\zhl c\upz l\qu e\uppz k\qu f\en
-\Notes\zql b\ibu0g0\upz m\qb0g\upz m\tqh0g\en}
-
-\subsec
-Vorschläge werden \textbf{nach} dem Taktstrich geschrieben,
-ungeachtet ihrer rhythmischen Interpretation:
-
-\twoextr
-{\NOtes\qu N\en
-\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en
-\bar
-\NOtes\hu g\en}
-{\NOtes\qu N\en
-\bar
-\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en
-\NOtes\hu g\en}
-
-\newpage
-
-\subsec
-Die Tempobezeichnung sollte in Antiqua geschrieben werden, andere
-Zeichen in Kursiv:
-
-\vspace{6pt}
-
-\setclef1\treble
-\twoextr
-{\NOtes\zcn o{\medtype\it allegro}\qu{de}\zcn N{Cres}\qu{fg}\en}
-{\NOtes\zcn o{\medtype Allegro}\qu{de}\zcn N{\medtype\it cresc.}\qu{fg}\en}
-
-\vspace{-6pt}
-
-{\footnotesize Merke auch die Großschreibung und den Abkürzungspunkt.}
-
-\subsec
-Früher schrieb man \textbf{loco} (lat. \textit{zum Ort}), um
-das Ende eines Oktavenzeichens (\textit{8}\raisebox{2mm}{- - - - -})
-zu kennzeichnen. Jetzt sind solche Zeichen üblich geworden, so daß
-\textbf{loco} überflüssig ist.
-
-\section{Einige moralische Ratschläge zum Notensatz}
-
-\subsec
-Wenn Du Dich für eine bestimmte Schreibweise entschieden hast, mache
-damit im ganzen Stück so weiter, anstatt nach Deiner Laune zwischen
-zwei Praktiken zu wechseln, selbst wenn wir gesehen haben, daß die
-erste fragwürdig ist.
-
-\subsec
-Fehler bei einer Terz sind aus offensichtlichen Gründen der
-optischen Wahrnehmung viel häufiger als bei einer Sekunde. Sei
-tolerant mit den Autoren Deiner Quelle.
-
-\subsec
-Was machst Du, wenn Du denkst, Deine Noten sind fertig? Klar,
-Du stürzt an Dein Instrument und spielst das Stück aus diesen
-Noten.
-
-Aber wenn Dir das Stück geläufig ist, wirst Du, überwältigt von
-Deiner Begeisterung, sehr wahrscheinlich ziemlich viele Fehler
-übersehen. Laß Dein Instrument beiseite, lege Deine Noten und die
-Vorlage auf den Tisch und nimm einen Stift. Vergleiche Takt für Takt
-und -- wenn es mehrere Zeilen gibt -- Stimme für Stimme. Schließe ab
-mit den Sonderzeichen (Tempo, Interpretation, Pianopedal usw.)
-jeweils für mehrere Stimmen.
-
-Doch das ist noch nicht genug. Tatsächlich hat ein guter Musiker wie
-Du die Fähigkeit, unwillkürlich einige Fehler bei Spielen zu korrigieren
-(z.\,B. Vorzeichen). Der vorhergehende Test wird solche Fehler nicht
-aufdecken, weil sie in beiden Versionen die gleichen sind.
-
-Wenn Deine Notensatzsoftware Dein Stück ins MIDI-Format konvertieren
-kann, wird die dabei erhaltene Datei hilfreich sein. Anderenfalls wirst
-Du Deine Noten einem weniger erfahrenen Musiker geben, der noch nicht
-gegenüber einer solchen automatischen Korrektur anfällig ist.
-
-\subsec
-\textbf{Merke Dir: Noten richtig zu setzen, ist ebenso schwierig wie
-ein Instrument richtig zu spielen.}
-
-\end{document}
-
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@@ -1,1086 +0,0 @@
-\documentclass[12pt,twoside]{article}
-\usepackage{a4}
-\usepackage{musixtex}
-\usepackage[francais]{babel}
-\usepackage[T1]{fontenc}
-\usepackage{randtext}
-\input coulhack
-\raggedbottom% supprime messages undefull vbox ...
-\setlength{\textwidth}{18cm} \setlength{\textheight}{26cm}
-\setlength{\oddsidemargin}{0pt}\setlength{\evensidemargin}{0pt}
-\setlength{\parindent}{0cm}\setlength{\parskip}{.5cm}
-\setlength{\marginparwidth}{1in} \setlength{\marginparsep}{0pt}
-\setlength{\hoffset}{-1cm}
-\setlength{\voffset}{-2.5cm}
-%\setlength{\headsep}{2cm}
-\setlength{\itemsep}{0cm}
-
-\newcommand{\milieu}[1]{\begin{center}{#1}\end{center}}
-\newcommand{\pruneau}{$\bullet$~}
-\newcommand{\subsec}{\vspace{-1cm}\subsection{~}\vspace{-.5cm}}
-\def\notess{\vnotes2.4\elemskip}
-\def\notesss{\vnotes1.7\elemskip}
-\def\notesm{\vnotes1.5\elemskip}
-\def\appog{\multnoteskip\tinyvalue\tinynotesize}
-\def\monte#1{\raise#1\Interligne}
-\newcommand{\zcn}[2]{\zcharnote{#1}{#2}}
-\newcommand{\lcn}[2]{\lcharnote{#1}{#2}}
-\newcommand{\ccn}[2]{\ccharnote{#1}{#2}}
-\newcommand{\nxst}{\nextstaff}
-\def\hhqsk{\off{.7\elemskip}}
-
-\newcommand{\twoextr}[2]
-{\let\extractline\hbox
-\hbox to \hsize{
-\hfill
-\startextract #1%
-\zendextract\hfill
-\startextract #2%
-\zendextract
-\hfill}
-
-\let\extractline\centerline}
-
-\accshift=0mm
-\geometricskipscale
-\nostartrule
-\nobarmessages\nobarnumbers
-\let\extractline\centerline
-
-\begin{document}
-\milieu{\ppfftwentynine Sottisier de la gravure de partoches}
-\milieu{\medtype ou}
-%\milieu{\ppfftwentyfour Essai sur la mani\`ere correcte de noter la musique}
-\milieu{\large\textit{\textbf{Essai sur la mani\`ere correcte de noter la
-musique}}}
-\centerline{\Huge Jean-Pierre Coulon}
-%\centerline{\tt
-%\kern3.5em{obs-nice}\kern-4.5em{@}\kern-3.5em{coulon}\kern4.5em{.fr}}
-\centerline{\tt \randomize{coulon@obs-nice.fr}}
-\milieu{\today}
-\milieu{\large \`a l'usage des :}
-\begin{itemize}
-\item utilisateurs de logiciels de gravure musicale,
-\item concepteurs de ces logiciels,
-\item graveurs de musique par des m\'ethodes traditionnelles,
-\item collectionneurs de partitions de musique,
-\item amateurs de \textit{s\'emantique}, \textit{s\'emiologie},
-\textit{philologie}, etc.
-\end{itemize}
-
-{\footnotesize NB : ces exemples n'ont aucune pr\'etention d'int\'er\^et musical.
-Ne les d\'echiffrez pas avec votre instrument :-)\\
-Afin de m'en tenir \`a l'essentiel, et faute d'expertise suffisante,
-je n'aborderai aucun de ces sujets connexes, passionnants :
-
-\pruneau solf\`ege, harmonie, \'ecriture, etc.\\
-\pruneau essai comparatif de diff\'erents logiciels de gravure musicale,\\
-\pruneau interpr\'etation des symboles musicaux mentionn\'es selon les \'epoques,\\
-\pruneau droit d'auteur et droit de copie,\\
-\pruneau notation de percussions, et tablatures
-d'intruments \`a cordes pinc\'ees,\\
-\pruneau notation de la musique tr\`es ancienne, et de la musique d'avant-garde.
-
-}
-
-
-\section{G\'en\'eralit\'es}
-\subsec
-Lorsqu'il existe des notes simultan\'ees sur une m\^eme port\'ee, il y a
-deux notations possibles : la notation \textit{en accords} et la
-notation \textit{polyphonique} :
-
-\twoextr
-{\NOtes\qu c\zq c\qu e\en
-\Notes\ibu0e2\zq c\qb0e\zq d\tqh0f\en}
-{\NOtes\zql c\qp\zql c\qu e\en
-\Notes\ibl0c2\ibu1e2\zqb0c\qb1e\tbl0\zqb0d\tqh1f\en}
-
-Bien entendu, si les parties ont des rythmes diff\'erents, la notation
-polyphonique est la seule possible.
-
-\eject
-\milieu{\large\textit{\textbf{\`a partir d'ici :}}}
-
-{\ppfftwentyfour A gauche, ce qui n'est pas correct. \hfill
-A droite, ce qui l'est. }
-
-\subsec
-Faire tout son possible pour placer les \textit{tournes} \`a des endroits
-acceptables pour le musicien, faute de quoi il sera oblig\'e, soit de
-recourir \`a un << tourneur de pages >>, soit de faire de laborieux montages
-de morceaux de photocopies. Compte tenu du fait que les partitions
-des temps modernes sont plus petites qu'autrefois, ceci impose un
-effort suppl\'ementaire de la part du graveur.
-
-{\footnotesize La zone effectivement imprim\'ee, c'est-\`a-dire sans tenir
-compte des marges, de la plupart des
-partitions anciennes, correspondait presque au
-format habituel des partitions de notre temps, marges comprises.
-
-}
-
-Un solution de facilit\'e consiste \`a utiliser une petite taille de gravure.
-Il vaut mieux utiliser une gravure de taille sup\'erieure, au prix
-d'un effort plus important pour g\'erer les espacements rationnellement.
-Ces deux extraits prennent le m\^eme espace horizontal, mais celui de
-droite est plus lisible :
-
-\bigaccid
-\begin{music}\let\extractline\hbox
-\hbox to \hsize{
-\hfill
-\smallmusicsize
-\setclef1\treble
-\startextract%
-\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en
-\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en
-\bar%
-\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en
-\zendextract\hfill
-\normalmusicsize
-\startextract%
-\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en
-\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en
-\bar%
-\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en
-\zendextract
-\hfill}
-\let\extractline\centerline\end{music}
-
-De plus, il faut parfois varier \'egalement la distance entre les
-port\'ees d'un m\^eme syst\`eme, afin de ne pas gaspiller d'espace vertical
-(voir mon \'edition de la Sonate op.35-3 de Dussek).
-
-\subsec
-Choisir des espacements horizontaux croissants en fonction des valeurs
-de notes, mais cependant pas proportionnels \`a ces valeurs. Personnellement,
-je suis satisfait avec le rapport \hbox{$\sqrt{2}\approx 1.414$}
-correspondant aux valeurs de notes de rapport 2, mais ce n'est pas une
-r\`egle absolue, surtout s'il y a des triples ou quadruples croches, qui
-peuvent alors \^etre trop serr\'ees.
-Ne pas changer d'espacement au cours d'une ligne sans
-raison valable.
-
-\nostartrule
-\setclef1\treble
-\hsize82.1mm
-\startpiece
-\NOTEs\hu c\sk\en
-\NOTEs\qu c\en
-\NOtes\cu c\en
-\notes\ibbu0c0\qb0c\en
-\notes\qb0{cc}\tqh0c\en
-\setemptybar
-\endpiece
-
-\hsize18cm
-\twoextr
-{\notes\hu c\en
-\NOtes\qu c\en
-\NOTes\cu c\en
-\notes\ibbu0c0\qb0c\en
-\Notes\qb0{cc}\tqh0c\en}
-{\NOTes\hu c\en
-\NOtes\qu c\en
-\Notes\cu c\en
-\notes\ibbu0c0\qb0{cc}\en
-\notes\qb0c\tqh0c\en}
-
-{\footnotesize S'il y a plusieurs port\'ees par syst\`eme, c'est la
-partie comportant les notes les plus \textbf{br\`eves}
-qui impose l'espacement de l'ensemble. S'il y a des paroles, elles
-peuvent imposer un espacement encore plus grand.
-
-}
-
-\subsec
-Voici une raison valable de changer d'espacement pour les notes
-serr\'ees : \'eviter les collisions :
-
-\twoextr
-{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en}
-{\notesss\ccu c\hqsk\ibbl0k2\qb0j\qb0{klm}\hqsk\tqb0{^n}\en}
-
-\newpage
-
-\subsec
-Si aucune autre partie simultan\'ee ne l'interdit, il faut aussi
-tenir compte des queues de notes pour les espacements :
-
-\largemusicsize
-\twoextr
-{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en}
-{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en}
-
-\subsec
-Ne jamais compromettre l'aplomb entre parties sous pr\'etexte de loger
-les alt\'erations :
-
-\setstaffs1{2}\setclef1\bass\startrule\bigaccid
-\twoextr{
-\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en
-\bar%
-\NOtes\ql M\nxst\hhqsk\qu{^h}\en}
-{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en
-\bar%
-\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en}
-\nostartrule
-
-
-\subsec
-Pour noter un intervalle de seconde dans un accord, on met la note
-inf\'erieure \`a gauche. Par contre, dans une \'ecriture polyphonique,
-elle se met \`a droite.
-
-\largemusicsize\setstaffs1{1}\setclef1\treble
-\twoextr
-{\NOtes\rq b\zq{ce}\qu g\en
-\NOtes\rq b\zq{^ce}\qu g\en
-\NOtes\rq c\rq e\rq g\qu b\en
-\doublebar%
-\NOtes\zql b\roffset{.9}{\qu c}\en
-\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en
-\notes\tbl1\zqb1a\qb0c\tqh0d\en}
-{\NOtes\rq c\zq{be}\qu g\en
-\NOtes\sh c\rq c\zq{be}\qu g\en
-\NOtes\rq c\zq{be}\qu g\en
-\doublebar%
-\NOtes\zqu c\roffset{.9}{\ql b}\en
-\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en
-\notes\tbl1\zqb1a\qb0c\tqh0d\en}
-
-{\footnotesize
-Je fais l'impasse sur les cas de \textit{croisements de voix}.
-Ne pas se laisser influencer par une alt\'eration concernant
-la note sup\'erieure.
-Ne pas perturber les notes \'etrang\`eres
-\`a cette seconde.
-
-}
-
-\subsec
-Pour les \'ecritures polyphoniques, on d\'ecale les notes juste ce qu'il
-faut pour pouvoir les distinguer, en tout cas moins que pour un intervalle
-de seconde :
-
-\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble
-\twoextr
-{\NOtes\zql c\roff{\zqu e}\qu g\en
-\NOtes\zql c\zqu e\qu g\en
-\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en
-\NOtes\zqlp c\roff{\zqup f}\qup h\en}
-{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en
-\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en
-\NOtes\zql c\roff{\zqu f}\qu g\en
-\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en}
-
-{\footnotesize Noter le cas des notes point\'ees.}
-
-\subsec
-Il faut parfois adapter la place du point pour \'eviter les ambigu\"it\'es :
-
-\twoextr
-{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en
-\notes\tbbu0\tqh0h\en
-\NOtes\zqlp g\qu i\en
-\Notes\qu j\cl f\en
-\Notes\zql e\qu k\en}
-{\Notesp\loffset{.3}{\ibu0h0\zqb0h}%
-\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en
-%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en
-\notes\tbbu0\tqh0h\en
-\NOtes\pt f\zql g\qu i\en
-\Notes\qu j\cl f\en
-\Notes\zql e\qu k\en}
-
-
-\newpage
-
-\subsec
-Dans une notation polyphonique \`a deux parties, on met les queues
-des notes de la partie sup\'erieure vers le haut, m\^eme si l'autre partie
-comporte un silence :
-
-\normalmusicsize\setclef1{\bass}
-\twoextr
-{\NOTesp\zw H\hup a\en
-\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en}
-{\NOTesp\zw H\hup a\en
-\Notes\qu N\liftpause{-2}\qu{MKLM}\en}
-
-{\footnotesize(et inversement pour la partie du bas.)}
-
-
-\subsec
-Certains regroupements de notes ou de silences peuvent \^etre
-\textit{solf\'egiquement corrects}, mais rendent le d\'echiffrage difficile :
-
-\normalmusicsize\setclef1\treble
-\generalmeter{\meterfrac44}
-\twoextr
-{\notes\cu c\en
-\bar%
-\notes\cu d\en
-\Notes\qp\en
-\notes\ibu0f2\qb0{efgh}\tqh0i\en
-\bar
-\znotes\en}
-%\notes\cl j\en}
-{\notes\cu c\en
-\bar%
-\notes\cu d\ds\ds\cu e\en
-\notes\ibu0g2\qb0{fgh}\tqh0i\en
-\bar
-\znotes\en}
-
-
-Autrement dit, ne pas faire jouer le r\^ole de syncopes \`a des silences.
-Dans une mesure ternaire, s\'eparer un silence qui concerne les deuxi\`eme
-et troisi\`eme unit\'es de valeur.
-Pour les barres des croches, on peut \^etre un peu plus souple.
-
-{\footnotesize Certains objecteront qu'en musique ancienne, la notation
-des croches en crochets ou en barre exprime un degr\'e d'articulation
-souhait\'e. Mais la r\`egle ci-dessus recoupe presque toujours une
-articulation << raisonnable >>.
-
-}
-
-
-\section{Croches en barres}
-\subsec
-Il faut donner aux << barres >> ou << ligatures >>
-des croches une pente appropri\'ee. Autrefois,
-on \'evitait de trop faibles pentes, parce que l'encre d'imprimerie
-avait une f\^acheuse tendance \`a combler un angle trop petit entre ces
-barres et les lignes de la port\'ee. Pour une gamme ou un arp\`ege, cette
-pente ne peut pas \^etre sup\'erieure \`a celle form\'ee par les notes, ni
-horizontale. Il faut t\^acher de trouver un compromis. Voici un exemple,
-avec sa r\'eponse, par deux illustres \'editeurs :
-
-\generalmeter{\empty}
-\setstaffs1{1}\setclef1\treble
-\twoextr{
-\notes\ibbu0a6\qb0{cdefg}\tqh0h\en
-\notes\ibbu0g0\qb0{cdefg}\tqh0h\en}
-{\notes\zcn q{Peters \smalltype fin XIX$^e$}\ibbu0a4\qb0{cdefg}\tqh0h\en
-\notes\zcn q{Henle \smalltype fin XX$^e$}\ibbu0e1\qb0{cdefg}\tqh0h\en
-\notes\zcn q{conseill\'e}\ibbu0d2\qb0{cdefg}\tqh0h\en}
-
-\footnotesize{Si vous voulez imiter certains \'editeurs fran\c{c}ais :}
-
-\startextract%
-\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en
-\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en
-\zendextract
-
-\newpage
-
-\subsec
-Le placement des barres doit \^etre adapt\'e au contexte. Ce
-placement est diff\'erent selon qu'on a un groupe de croches isol\'ees ou
-un passage de croches semblables :
-
-\startextract
-\NOTes\hu c\hu d\en
-\bar
-\NOtes\qu f\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\NOtes\qu{cd}\en
-\bar%
-\NOtes\qp\en
-\NOTes\hu f\en
-\zendextract
-
-\twoextr
-{\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en
-\notes\ibbu0f4\qb0{ceg}\tqh0j\en}
-{\notes\ibbu0h1\qb0{ceg}\tqh0j\en
-\notes\ibbu0h1\qb0{ceg}\tqh0j\en
-\notes\ibbu0h1\qb0{ceg}\tqh0j\en
-\notes\ibbu0h1\qb0{ceg}\tqh0j\en}
-
-
-
-
-\subsec
-\'Eviter les barres de croches en forme de Z, qu'on trouve dans les
-\'editions d'autrefois :
-
-\normalmusicsize
-\setclef1\bass
-\twoextr
-{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en
-\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en}
-{\Notes\ibl0H2\qb0G\en
-\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en
-\doublebar%
-\Notes\cu G\en
-\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en}
-
-
-\subsec
-On ne fait jamais interf\'erer les barres de croches avec les lignes
-suppl\'ementaires :
-
-\setclef1\treble
-\twoextr
-{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en}
-{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en}
-
-\subsec
-Ne pas affecter le placement des barres pour placer les silences
-\`a leur hauteur normale. Au contraire, d\'eplacer les silences :
-
-\twoextr
-{\Notes\ibl0k1\qb0n\ds\tqb0o\en
-\Notes\ibl0l0\qb0o\ds\tqb0o\en}
-{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en
-\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en}
-
-
-
-\section{Tenues et liaisons}
-\subsec
-Quand on veut exprimer des notes \textbf{li\'ees}, le signe de liaison
-d\'emarre et atterrit au dessus du \textbf{centre} des notes. Par contre,
-pour exprimer des notes \textbf{tenues}, ce m\^eme signe d\'emarre et
-atterrit \`a la verticale de la limite de la t\^ete de la note, et pas
-plus haut que celle-ci. On d\'eroge
-\`a la premi\`ere r\`egle pour \'eviter des collisions avec les queues des
-notes :
-
-
-\largemusicsize
-\twoextr
-{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en
-\bar%
-\NOtesp\tslur0f\roff{\itied0f}\qup f\en
-\NOtes\ttie0\qu f\en}
-{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en
-\bar%
-\NOtesp\ttie0\itied0f\qup f\en
-\NOtes\ttie0\qu f\en}
-{\footnotesize A noter que la tenue en devient plus discr\`ete.}
-
-\subsec
-Ne pas faire quand m\^eme trop d' << acrobaties >> pour suivre ces r\`egles
-\`a la lettre :
-
-\twoextr
-{\NOtes\islurd0c\qu c\tsslur0j\ql j\en
-\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en}
-{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en
-\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en}
-
-
-\subsec
-A certaines \'epoques, on estimait qu'une seule tenue concernait
-\textbf{toutes} les notes d'un m\^eme accord. Les cas particuliers sont
-devenus si nombreux, qu'il vaut mieux noter explicitement toutes
-les tenues :
-
-\largemusicsize
-\twoextr
-{\NOtes\itieu0g\zq{ce}\qu g\en
-\bar%
-\NOtes\ttie0\zq{ce}\qu g\en}
-{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en
-\bar%
-\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en}
-
-\subsec
-Cohabitation de liaisons et tenues avec des notes piqu\'ees et des
-ornements :
-
-\twoextr
-{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en
-\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en}
-{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en
-\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en}
-
-\subsec
-Cohabitation entre liaisons et tenues :
-
-\twoextr
-{\NOtes\itied0d\qu d\en
-\bar
-\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en
-\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en
-\bar
-\NOtes\ttie0\qu f\en}
-{\NOtes\islurd1d\itied0d\qu d\en
-\bar
-\NOtes\ttie0\qu d\tslur1c\qu c\en
-\NOtes\islurd1e\qu e\itied0f\qu f\en
-\bar
-\NOtes\tslur1f\ttie0\qu f\en}
-
-{\footnotesize Les instrumentistes \`a archet trouveront ceci \'evident.}
-
-\subsec
-Lorsqu'on veut ajouter une liaison en temps qu'\'editeur, le pointill\'e
-est la meilleure mani\`ere de signaler cette intervention :
-
-\setclef1\treble
-\twoextr
-{\NOtes\islurd0c\qu c\tslur0d\qu d\en
-\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e%
-\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en
-\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en}
-{\NOtes\islurd0c\qu c\tslur0d\qu d\en
-\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en
-\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en}
-
-
-
-\section{Alt\'erations}
-\subsec
-Quand une note tenue alt\'er\'ee s'\'etend sur plusieurs mesures, on
-ne r\'ep\`ete pas les alt\'erations aux mesures suivantes, sauf en cas de
-saut de ligne ou de page.
-
-\twoextr
-{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en
-\bar%
-\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en}
-{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en
-\bar%
-\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en}
-
-
-\subsec
-Quand une alt\'eration concerne de \textit{petites notes}, et qu'on
-estime qu'elle doit s'appliquer aux notes normales qui suivent, il
-faut r\'ep\'eter cette alt\'eration.
-
-\twoextr
-{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en
-\NOTes\wh c\en}
-{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en
-\NOTes\qsk\wh{^c}\en}
-
-\newpage
-
-\subsec
-Quand une note affect\'ee d'un simple di\`ese succ\`ede \`a la m\^eme note
-affect\'ee d'un double di\`ese dans la m\^eme mesure, on ne met plus de b\'ecarre
-avant le simple di\`ese,
-\`a moins de vouloir imiter le style de gravure du 19$^e$ si\`ecle. De m\^eme pour les
-b\'emols :
-
-\twoextr
-{\NOtes\qu{>c}\lna c\qu{^c}\qu{<d}\lna d\qu{_d}\en}
-{\NOtes\qu{>c}\qu{^c}\qu{<d}\qu{_d}\en}
-
-\subsec
-Dans une \'ecriture polyphonique, les alt\'erations de l'une des parties
-ne sont pas cens\'ees concerner les autres parties. Il faut donc noter
-explicitement ces alt\'erations si on estime qu'elles s'appliquent :
-
-\normalmusicsize
-\setstaffs1{1}\setclef1\treble
-\twoextr
-{\Notes\zql d\qu f\en
-\bar%
-\NOtes\zql c\qu{_e}\zql d\qu f\zql e\qu g\zql f\qu h\en
-\bar\
-\znotes\en}
-{\Notes\zql d\qu f\en
-\bar%
-\NOtes\zql c\qu{_e}\zql d\qu f\zql{_e}\qu g\zql f\qu h\en
-\bar
-\znotes\en}
-
-{\footnotesize Rappelez-vous que vers 1600, on aurait not\'e une Fugue
-\`a quatre voix pour orgue ou pour clavecin sur \textbf{quatre} port\'ees.
-Les alt\'erations \'etaient donc propres \`a chaque port\'ee.
-
-}
-
-\subsec
-Autrefois, une alt\'eration concernait \'egalement les notes correspondantes
-aux autres octaves :
-
-\startextract
-\Notes\ibu0e4\qb0{^ceg}\tqh0j\en
-\NOtes\zq{_b}\qu i\en
-\zendextract
-
-
-De nos jours, il faut indiquer ces alt\'erations
-explicitement :
-
-\twoextr
-{\Notes\ibu0e4\qb0{^ceg}\uppersh c\tqh0j\en
-\NOtes\zq{_b}\upperfl i\qu i\en}
-{\Notes\ibu0e4\qb0{^ceg}\tqh0{^j}\en
-\NOtes\zq{_b}\qu{_i}\en}
-
-{\footnotesize A noter que certains logiciels capables de conversion entre
-fichier MIDI et partition ont conserv\'e cette ancienne convention.
-Un fichier MIDI peut donc contredire la partition dont il
-est la traduction pour de telles alt\'erations.
-
-}
-
-
-\subsec
-Quand on change l'armure pour diminuer le nombre d'alt\'erations,
-on nomme les b\'ecarres \textbf{avant} les alt\'erations restantes :
-
-
-\generalsignature5
-\twoextr{%
-\notes\qu{cde}\en
-\doublebar
-\notes\sh m\qsk\sh j\qsk\na n\qsk\na k\qsk\na h\qsk\en
-\notes\qu{fg}\en}
-{\notes\qu{cde}\en
-\generalsignature{2}\Changecontext
-\notes\qu{fg}\en}
-\generalsignature0
-
-\subsec
-Quand un tel changement survient au moment d'un saut de ligne ou de
-page, on l'indique \textbf{avant} ce saut :
-
-\generalsignature2
-\twoextr
-{\Notes\qu{cdef}\en
-\afterruleskip=0pt\bar}
-{\afterruleskip=8pt
-\Notes\qu{cdef}\en
-\generalsignature{-2}\Changecontext}
-
-\generalsignature0
-\twoextr
-{\notes\na m\hsk\na j\hsk\en
-\doublebar%
-\notes\fl i\hsk\fl l\hsk\en
-\Notes\qu{ghij}\en}
-{\notes\fl i\hsk\fl l\sk\en
-\Notes\qu{ghij}\en}
-
-\subsec
-Quand il est n\'ecessaire de d\'ecaler des alt\'erations pour \'eviter les
-collisions, on place celle du haut \`a la position normale, puis on d\'ecale
-vers la gauche celle du bas, que l'\'ecriture soit polyphonique, ou en
-accords :
-
-\twoextr
-{\NOtes\qsk\lsh f\zq{^d}\qu f\en
-\bar%
-\NOtes\qsk\lsh f\zql{^d}\qu f\en}
-{\NOtes\qsk\lsh d\zq d\qu{^f}\en
-\bar%
-\NOtes\qsk\lsh d\zql d\qu{^f}\en}
-
-\subsec
-Les alt\'erations, autres que celles qui sont bien d\'efinies, se divisent en
-trois cat\'egories :
-
-\begin{itemize}
-\item les alt\'erations \'editoriales \textbf(e),
-\item les alt\'erations de pr\'ecaution \textbf(p),
-\item les alt\'erations << cadeau de la maison >> \textbf(c).
-\end{itemize}
-
-On met une alt\'eration \'editoriale quand on estime que la source
-avec laquelle on travaille est erron\'ee. On la note par une alt\'eration
-de petite taille, plac\'ee au dessus de la note si la place le permet,
-sinon au dessous. Si la note
-est au milieu d'un accord, on la place \`a gauche de la note.
-
-{\footnotesize Le chiffrage de la \textit{basse continue} fait aussi
-usage de petites alt\'erations au dessus des notes. Mais en g\'en\'eral, la
-confusion est peu vraisemblable.
-
-}
-
-On met une alt\'eration de pr\'ecaution quand les r\`egles du solf\`ege voudraient
-qu'elle s'applique, mais on craint qu'elle n'\'echappe au musicien, comme
-par exemple, \`a la fin d'une mesure tr\`es riche en notes. Elle se note
-entre parenth\`eses.
-
-Une alt\'eration << cadeau de la maison >> est une alt\'eration superflue
-au regard du solf\`ege, et qui confirme l'effet de la barre de
-mesure sur les alt\'erations pr\'ec\'edentes. L'habitude est de la noter
-normalement :
-
-\twoextr
-{\NOtes\qu{^c}\qu d\cfl e\qu e\qu{^c}\en
-\bar%
-\NOtes\cna c\qu c\en}
-{\NOtes\qu{^c}\qu d\ccn q{(e)}\upperfl L\qu e\ccn q{(p)}\csh c\qu c\en
-\bar%
-\NOtes\ccn q{(c)}\qu{=c}\en}
-
-
-{\footnotesize Pour certaines \oe uvres contemporaines complexes, il
-est pr\'ef\'erable de noter \textbf{toutes} les alt\'erations.}
-
-\subsec Autrefois, pour certains copistes, il allait de soi que quand la
-premi\`ere note d'une mesure est la m\^eme que celle alt\'er\'ee de la
-mesure pr\'ec\'edente, l'alt\'eration continue \`a s'appliquer :
-
-\setstaffs12\setclef1{\bass\treble}
-\startrule
-\interstaff{11}
-
-\startextract
-\NOtesp\zhl K\hu a|\zh{^f}\zhl d\qup j\en
-\notesp|\triolet r\ibbu3i{-1}\qb3j\en
-\notes|\qb3{_i}\tqh3h\en
-\NOtesp\pt F\zql G\qu N|\zqp g\zqlp d\qup i\en
-\notes\ibbl0H1\triolet C\zcu N\qb0G|\zq g\zcl d\cu i\en
-\notesp\qb0H\en
-\notes\tqb0{_I}\en
-\bar
-\NOtes\zhl J\qu N|\pt b\zql c\loffset{.25}{\zql e}\qu i\en
-\Notes\qu M|\zhl f\ibu3h{-1}\qbp3h\en
-\notes|\cl c\en
-\notes|\tbbu3\tqh3g\en
-\NOtes\zhl C\qu N|\pt b\zql c\qu g\en
-\zendextract
-
-La correction est donc \'evidente, et ne justifie donc pas une alt\'eration
-\'editoriale :
-
-\smallmusicsize
-\twoextr
-{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en
-\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en
-\notes\nextstaff\qb3{_i}\tqh3h\en
-\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en
-\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en
-\notesp\qb0H\en
-\notes\tqb0{_I}\en
-\bar%
-\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\upperfl n\qu i\en
-\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en
-\notes\nextstaff\cl c\en
-\notes\nextstaff\tbbu3\tqh3g\en
-\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en}
-{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en
-\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en
-\notes\nextstaff\qb3{_i}\tqh3h\en
-\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en
-\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en
-\notesp\qb0H\en
-\notes\tqb0{_I}\en
-\bar%
-\nspace%
-\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\qu{_i}\en
-\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en
-\notes\nextstaff\cl c\en
-\notes\nextstaff\tbbu3\tqh3g\en
-\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en}
-
-{\footnotesize (\`a plus forte raison une alt\`eration de
-pr\'ecaution. Vos comp\'etances de musicologue sont d\'ej\`a
-reconnues \`a ce stade !)}
-
-\subsec
-Dans une \'edition ancienne, certaines alt\'erations peuvent sembler superflues
-selon nos r\`egles modernes, comme le \textit{do} di\`ese \`a la fin de
-cette mesure :
-
-\nostartrule
-\setstaffs11
-\largemusicsize
-\setclef1{\bass}
-\startextract
-\bar%
-\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
-\NOtes\zq b\qu d\zq{^c}\qu e\en
-\bar%
-\zendextract
-
- Le raisonnement suivant est donc \`a proscrire :
-<<\textit{si cette alt\'eration est pr\'esente, c'est qu'il
-y a une bonne raison, mais il se trouve que cette alt\'eration est erron\'ee.
-En effet, si le compositeur avait voulu un} do \textit{di\`ese
-\`a la fin de la mesure, il n'aurait rien mis.
-Je me charge donc de faire la correction qui s'impose.}>>
-
-
-\twoextr{
-\bar%
-\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
-\NOtes\zq b\qu d\zq{=c}\qu e\en
-\bar%
-}
-{\bar%
-\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
-\NOtes\zq b\qu d\zq c\qu e\en
-\bar%
-}
-
-{\footnotesize Si ces noires en tierces avaient \'et\'e not\'ees de mani\`ere
-polyphonique, tout s'expliquerait. Je pourrais citer d'autres malentendus
-semblables, \`a propos du cas des alt\'erations \`a l'octave,
-que nous avons vu plus haut.
-
-}
-
-
-\section{Num\'eros de mesures}
-
-\subsec
-On ne note jamais les silences initiaux communs \`a toutes les
-parties, surtout s'il y a une reprise partant de la premi\`ere note :
-
-\normalmusicsize\nostartrule\setclef1\treble
-\generalmeter{\meterfrac34}
-
-\twoextr
-{\NOtes\hpause\en
-\Notes\qu c\en
-\bar%
-\Notes\qu{def}\en
-\bar%
-\Notes\qu{hi}\en
-\rightrepeat
-\Notes\ql j\en
-\bar
-\Notes\ql k\en}
-{\Notes\qu c\en
-\bar%
-\Notes\qu{def}\en
-\bar%
-\Notes\qu{hi}\en
-\rightrepeat
-\Notes\ql j\en
-\bar
-\Notes\ql k\en}
-
-
-\subsec
-On n'indique jamais le num\'ero de la toute premi\`ere mesure
-d'un morceau. Si cette premi\`ere mesure est en \textit{lev\'ee}, le
-num\'ero de cette mesure est \textbf{z\'ero}.
-
-\normalmusicsize\nostartrule\setclef1\treble
-\generalmeter{\meterfrac34}
-
-\twoextr
-{\Notes\loffset{8}{\zcharnote o{\eightbf 1}}\qu c\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{def}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en}
-{\Notes\qu c\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 1}}\qu{def}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{hi}\ql j\en}
-
-{\footnotesize En pratique, des num\'eros pour la premi\`ere mesure
-de chaque syst\`eme sont suffisants.
-
-}
-
-\subsec
-Quand il y a une double barre de reprise au cours d'une mesure, cette double barre
-ne compte pas pour la num\'erotation des mesures.
-
-\twoextr
-{\Notes\qu{cde}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en
-\leftrightrepeat%
-\Notes\qu f\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 4}}\qu{hi}\ql j\en
-\bar}
-{\Notes\qu{cde}\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en
-\leftrightrepeat%
-\Notes\qu f\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en
-\bar}
-
-
-\subsec
-Quand il y a des mesures \textit{premi\`ere fois-deuxi\`eme fois}, seuls les
-num\'eros de mesure de la \textit{premi\`ere fois} comptent. Si n\'ecessaire,
-on distingue les mesures de m\^emes num\'eros par les indices \textit{a}
-et \textit{b}.
-
-\generalmeter{\null}\setclef1\treble\normalmusicsize
-\twoextr{
-\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en\bar
-\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en
-\Setvolta1\bar
-\Notes\hu e\en
-\bar
-\Notes\loffset{2}{\zcharnote o{\eightbf 33}}\hu f\en
-\setvolta2\endvoltabox\rightrepeat
-\Notes\hu g\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hu h\en
-\bar%
-\Notes\hu i\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 37}}\hl j\en}
-{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en
-\bar
-\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en
-\Setvolta1\bar%
-\Notes\hu e\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 33a}}\hu f\en
-\setvolta2\endvoltabox\rightrepeat
-\Notes\hu g\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 33b}}\hu h\en
-\bar%
-\Notes\hu i\en
-\bar%
-\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hl j\en}
-
-
-{\footnotesize En effet, de nombreux mouvements rapides, comportent
-des barres de reprise au cours d'une mesure (comme l'Allegretto de la
-sonate \textit{Clair de lune}). On aurait aussi bien pu noter cette
-reprise sous la forme \textit{premi\`ere fois-deuxi\`eme fois} pour
-cette mesure. Il faut donc
-que ces deux formulations conduisent \`a la m\^eme num\'erotation des
-mesures.
-
-}
-
-\section{Questions diverses}
-
-\subsec
-Quand on note la partie d'un instrument n'exigeant qu'une port\'ee, on ne
-met pas de barres verticales en d\'ebut de port\'ees, contrairement \`a
-une partition de << conducteur >>.
-
-\setclef1\alto
-\startrule\largemusicsize
-\begin{music}\let\extractline\hbox
-\hbox to \hsize{
-\hfill
-\startextract
-\NOtes\qu{abc}\en
-\zendextract\hfill\nostartrule
-\startextract
-\NOtes\qu{abc}\en
-\zendextract
-\hfill}
-
-\let\extractline\centerline\end{music}
-
-
-\subsec
-Autrefois, certaines notes piqu\'ees \'etaient not\'ees avec un petit triangle
-au lieu du point moderne. Si dans une \oe uvre, ces \textbf{deux} notations
-se pr\'esentent, elles repr\'esentent \'egalement deux degr\'es dans le caract\`ere
-piqu\'e. Il faut donc respecter la notation originale. Si par contre, seuls
-les petits triangles existent, il faut les restituer par de simples
-points :
-
-\largemusicsize\setstaffs1{1}\setclef1\treble\nostartrule
-\twoextr{
-\Notes\ibu0d1\lppz c\qb0c\lppz d\qb0d\lppz e\qb0e\lppz f\tqh0f\en}
-{\Notes\ibu0d1\lpz c\qb0c\lpz d\qb0d\lpz e\qb0e\lpz f\tqh0f\en}
-
-\subsec
-De tels signes se placent toujours \`a la verticale des t\^etes de notes,
-et non pas \`a la verticale des hampes, m\^eme si la polyphonie exige
-un placement cot\'e hampes :
-
-\twoextr
-{\NOtes\zhl c\hroff{\upz l}\qu e\hroff{\uppz k}\qu f\en
-\Notes\zql b\ibu0g0\hroff{\upz m}\qb0g\hroff{\upz m}\tqh0g\en}
-{\NOtes\zhl c\upz l\qu e\uppz k\qu f\en
-\Notes\zql b\ibu0g0\upz m\qb0g\upz m\tqh0g\en}
-
-
-\subsec
-Les appoggiatures, ou \textit{petites notes}, se notent \textbf{apr\`es}
-la barre de mesure. Ceci quelle que soit leur interpr\'etation rythmique
-suppos\'ee :
-
-\twoextr
-{\NOtes\qu N\en
-\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en
-\bar
-\NOtes\hu g\en}
-{\NOtes\qu N\en
-\bar
-\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en
-\NOtes\hu g\en}
-
-\subsec
-On \'ecrit l'indication g\'en\'erale de mouvement en caract\`eres normaux,
-et les indications interm\'ediaires en italique :
-
-\setclef1\treble
-\twoextr
-{\NOtes\zcn o{\medtype\it allegro}\qu{de}\zcn N{Cres}\qu{fg}\en}
-{\NOtes\zcn o{\medtype Allegro}\qu{de}\zcn N{\medtype\it cresc.}\qu{fg}\en}
-
-{\footnotesize Notez aussi l'usage de majuscules, et le point d'abbr\'eviation.}
-
-
-\subsec
-Autrefois on indiquait \textbf{loco} (du latin : \textit{au lieu}
- pour attirer l'attention sur
-la fin d'un signe d'octaviation (\textit{8}\raisebox{2mm}{- - - - -}).
-Maintenant que ces octaviations sont
-devenues habituelles, ce \textbf{loco} est bien inutile.
-
-\section{Quelques conseils moraux, quand vous gravez une partition}
-
-\subsec
-Quand vous faites un certain choix dans une mani\`ere de noter,
-conservez-le d'un bout \`a l'autre du morceau, au lieu d'alterner
-\`a votre guise avec une autre mani\`ere, m\^eme si cette premi\`ere
-mani\`ere est contestable d'apr\`es ce que nous avons vu.
-
-\subsec
-En typographie musicale,
-les erreurs de hauteur d'une tierce sont beaucoup plus fr\'equentes
-que les erreurs d'une seconde, pour des raisons \'evidentes de
-perception visuelle. Soyez donc compr\'ehensif envers les auteurs de votre
-source.
-
-\subsec
-Que faire, quand vous pensez en avoir termin\'e avec votre \'edition,
-apr\`es tous ces conseils ?
-Bien s–r, vous vous pr\'ecipitez sur votre instrument, et vous jouez
-le morceau avec cette \'edition.
-
-Mais comme ce morceau vous est familier, vous risquez fort,
-emport\'e par votre enthousiasme,
-de laisser \'echapper un certain nombre d'erreurs.
-Abandonnez donc l'instrument,
-posez votre \'edition et sa source sur une table, et prenez un crayon.
-Comparez-les mesure par mesure, et s'il y a plusieurs port\'ees, une
-seule port\'ee \`a la fois. Terminez par les indications diverses (tempo,
-interpr\'etation, p\'edale pour le piano, etc.) qui sont communes \`a
-ces plusieurs port\'ees.
-
-Ceci n'est pas encore suffisant. En effet, un bon musicien, tel que vous,
-poss\`ede la capacit\'e de corriger certaines erreurs (notamment d'alt\'erations)
-en jouant, sans s'en rendre compte. Le test pr\'ec\'edent ne mettra donc
-pas ces erreurs \`a jour, les deux versions comportant la m\^eme erreur.
-
-Si votre logiciel est apte \`a traduire votre morceau au format MIDI,
-le fichier produit pourra vous aider. Sinon, il faudra soumettre votre
-\'edition \`a un musicien moins exp\'eriment\'e que vous, qui n'aurait pas encore
-pris ces habitudes de corrections spontan\'ees.
-
-\subsec
-\textbf{N'oubliez jamais ceci : faire une \'edition correcte est aussi
-difficile que jouer correctement un instrument.}
-\end{document}
-
diff --git a/macros/musixtex/doc/psslurs/README.psslurs b/macros/musixtex/doc/psslurs/README.psslurs
deleted file mode 100644
index adf4569bd1..0000000000
--- a/macros/musixtex/doc/psslurs/README.psslurs
+++ /dev/null
@@ -1,42 +0,0 @@
-This package adds the PostScript slurs, ties and crescendos into
-MusiXTeX. It is possible to use it in almost the same way as the
-original bitmapped slur simply saying "\input musixps" at the beginning
-of your source file. The resulting dvi file should be then converted
-into PostScript by dvips (and then to PDF using ps2pdf, ghostscript or
-Adobe Distiller, if necessary).
-
-Please note that the slurs won't appear in any other dvi previewer, nor when
-you use pdftex to produce the PDF file directly.
-
-The mxsk font is used for "half ties" - short breaked ties at the
-beginning of the line. If you use \nohalfties, you do not need to
-install this font. The musixps.tex should be placed anywhere TeX can
-find it, prefferably into the musixtex directory. Do not include it into
-your TeX format file! The psslurs.pro should be placed somewhere dvips
-can find it.
-
-musixps.tex 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 of the License, or (at your
-option) any later version.
-
-Stanislav Kneifl,
-stanislav.kneifl@hieronymus.cz
-
-
-HISTORY
-~~~~~~~
-
- 2010-11-05
-
- Relicensed to the GPL by Bob Tennent as instructed by an e-mail
- from the author.
-
-0.92 (12.5.2002)
- added: \nosluradjust, \sluradjust, \notieadjust, \tieadjust
- added: \slopebrkslurtrue, \slopebrkslurfalse
- fixed: shaded slurs now do not break up to separate curves
- at high resolutions
-
-0.91 (10.1.2002)
- First public release, adopted from OpusTeX version.
diff --git a/macros/musixtex/doc/psslurs/slurs.pdf b/macros/musixtex/doc/psslurs/slurs.pdf
deleted file mode 100644
index d2bc50629f..0000000000
--- a/macros/musixtex/doc/psslurs/slurs.pdf
+++ /dev/null
Binary files differ
diff --git a/macros/musixtex/doc/psslurs/slurs.tex b/macros/musixtex/doc/psslurs/slurs.tex
deleted file mode 100644
index 037233fc7e..0000000000
--- a/macros/musixtex/doc/psslurs/slurs.tex
+++ /dev/null
@@ -1,77 +0,0 @@
-\input musixtex
-\input musixps
-
-\Nosluradjust
-\Notieadjust
-
-\startmuflex
-
-\startpiece
-\NOtes\qu{cdef}\isluru0k\qu{ghij}\en\bar
-\NOtes\idecresc0\qu{cdefghij}\en
-\alaligne
-\NOtes\qu{cdefghij}\tcresc0\en\bar
-\NOtes\tslur0h\qu{cdefghij}\en
-\endpiece
-
-\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
-\endextract
-
-\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\tdbslur1k\hl k\en
-\endextract
-
-\startextract
-\NOTes\itenl0c\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes
-\bar
-\NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes
-\endextract
-
-\generalmeter{\meterfrac34}
-\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes
- \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract
-
-\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes
- \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract
-
-\instrumentnumber{1}
-\generalmeter{\meterfrac34}
-\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes
- \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes
- \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes
- \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes
- \endextract
-
-\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 hmd1\qu{hm}\en
-\NOTes\hu g\en
-\endextract
-
-\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
-\endextract
-
-\startextract
-\NOtes\ibu0g1\iBsluru00\qb0g\en
-\NOtes\tBslur00\tbu0\qb0h\en
-\NOtes\ibl0k1\iBslurd00\qb0k\en
-\NOtes\tBslur00\tbl0\qb0l\en
-\endextract
-
-\endmuflex
-\end
diff --git a/macros/musixtex/doc/reference/musixre1.pdf b/macros/musixtex/doc/reference/musixre1.pdf
deleted file mode 100644
index 551dda083c..0000000000
--- a/macros/musixtex/doc/reference/musixre1.pdf
+++ /dev/null
Binary files differ
diff --git a/macros/musixtex/doc/scripts/musixflx.1 b/macros/musixtex/doc/scripts/musixflx.1
deleted file mode 100644
index 4ef7c35870..0000000000
--- a/macros/musixtex/doc/scripts/musixflx.1
+++ /dev/null
@@ -1,46 +0,0 @@
-.\" This manpage is licensed under the GNU Public License
-.TH MUSIXFLX 1 2018-06-15 "musixflx-0.83.3lua7" ""
-
-.SH NAME
-musixflx \- process mx1 files (the second pass of 3-pass MusiXTeX typesetting)
-
-.SH SYNOPSIS
-[ texlua ]
-.B musixflx[.lua]
-.I jobname
-[ .mx1 | .tex ]
-[
-.I debugmode
-]
-
-where
-.I debugmode
-can be
-.br
- d output debugging information to the screen
-.br
- m output line numbers to the screen
-.br
- f output debugging information to jobname.mxl (not mx1)
-.br
- s output computed lines to the screen
-
-.SH DESCRIPTION
-Musixflx processes mx1 files (the second pass of 3-pass MusiXTeX typesetting)
-
-To allow for ease of use with a batch file, \fB musixflx.lua\fR
-can be fed with either \fI jobname.mx1\fP, \fI jobname.tex\fP,
-or just \fI jobname\fP, any of which open \fI jobname.mx1\fP
-and create \fI jobname.mx2\fP.
-
-.SH SEE ALSO
-.BR musixtex (1)
-.br
-musixdoc.pdf
-
-.SH AUTHOR
-This manual page was written by Andreas Tille
-<tille@debian.org> for the Debian GNU/Linux system (but may be used
-by others). Corrections to the synopsis were pointed out by Peter
-Breitenlohner <peb@mppmu.mpg.de> and implemented by Bob Tennent
-<rdt@cs.queensu.ca>.
diff --git a/macros/musixtex/doc/scripts/musixflx.pdf b/macros/musixtex/doc/scripts/musixflx.pdf
deleted file mode 100644
index 0d6b152bc7..0000000000
--- a/macros/musixtex/doc/scripts/musixflx.pdf
+++ /dev/null
Binary files differ
diff --git a/macros/musixtex/doc/scripts/musixtex.1 b/macros/musixtex/doc/scripts/musixtex.1
deleted file mode 100644
index 59b6c8874e..0000000000
--- a/macros/musixtex/doc/scripts/musixtex.1
+++ /dev/null
@@ -1,204 +0,0 @@
-.\" This manpage is licensed under the GNU Public License
-.TH MUSIXTEX 1 2020-05-21 "musixtex version 0.23" ""
-
-.SH NAME
-musixtex \- processes MusiXTeX files, using pre-processors prepmx, xml2pmx, pmxab and autosp
-as necessary, and then deletes intermediate and log files (unless
-.B -i
-is used)
-.SH SYNOPSIS
-[ texlua ]
-.B musixtex[.lua]
-{
-.I option
-|
-.I jobname
-[ .xml | .mtx | .pmx | .aspc | .tex | .ltx ] } ...
-.SH DESCRIPTION
-.TP
-If a jobname argument has a .tex extension, the default effect is to process the file using
-.TP 12
-.BR etex (1)
-(first pass)
-.TP
-.BR musixflx (1)
-(second pass)
-.TP
-.BR etex (1)
-(third pass)
-.TP
-.BR dvips (1)
-(dvi to Postscript)
-.TP
-.BR ps2pdf (1)
-(Postscript to Portable Document Format)
-.TP
-normally followed by removal of intermediate and log files. A log musixtex.log is generated, even if other log files are removed.
-.P
-If a jobname argument has a .pmx extension, the file is first preprocessed using
-.BR pmxab (1)
-and the resulting .tex file is processed as above.
-.P
-If a jobname argument has a .xml extension, the file is first preprocessed using
-.BR xml2pmx (1)
-and the resulting .pmx file is processed as above.
-.P
-If a jobname argument has a .mtx extension, the file is first preprocessed using
-.BR prepmx (1)
-and the resulting .pmx file is processed as above.
-.P
-If a jobname argument has a .ltx extension, the file is processed using
-.BR latex (1)
-(or
-.BR pdflatex (1))
-in place of
-.BR etex .
-.P
-If a jobname argument has a .aspc extension, the file is first preprocessed using
-.BR autosp (1)
-and the resulting .tex or .ltx file is processed as above.
-.P
-If a jobname argument has none of these extensions, the script will look for a file
-.IR jobname .xml
-or
-.IR jobname .mtx
-or
-.IR jobname .pmx
-or
-.IR jobname .aspc
-or
-.IR jobname .tex
-or
-.IR jobname .ltx ,
-in that order, and process it as above.
-.SH OPTIONS
-.TP 10
-.B -v, -version, --version
-output program name and version number, and quit
-.TP
-.B -h, -help, --help
-output usage summary and quit
-.TP
-.B -l
-assume LaTeX source;
-implied if the file has .ltx extension
-.TP
-.B -p
-change the TeX processor to
-.BR pdfetex (1)
-or
-.BR pdflatex (1)
-(and doesn't run a dvi processor)
-.TP
-.B -c
-preprocess pmx file using
-.BR pmxchords (1)
-.TP
-.B -d
-don't generate a .ps file and change the dvi processor to
-.BR dvipdfm (1)
-.TP
-.B -D dvix
-use
-.B dvix
-as the dvi processor; e.g., -D "dvipdfm -m 0.9".
-Use -d
-.I before
--D to suppress .ps generation.
-.TP
-.B -P ps2pdf
-use
-.B ps2pdf
-as the Postscript processor; e.g., -P "ps2pdf -sPAPERSIZE=a4"
-.TP
-.B -F fmt
-use
-.B fmt
-as the TeX processor; e.g., -F "luatex --output-format=dvi"
-.TP
-.B -m
-stop processing at the pmx file
-.TP
-.B -M mtxx
-use
-.B mtxx
-as the mtx preprocessor; e.g., -M "prepmx -i".
-.TP
-.B -X pmxx
-use
-.B pmxx
-as the pmx preprocessor; e.g., -X "./pmxab",
-.TP
-.B -A aspcx
-use
-.B aspcx
-as the aspc preprocessor; e.g., -A "autosp -l".
-.TP
-.B -L xmlx
-use
-.B xmlx
-as the xml preprocessor; e.g., -L "./XML2PMX".
-.TP
-.B -t
-stop processing at the tex/mid files
-.TP
-.B -s
-stop processing at the dvi file
-.TP
-.B -g
-stop processing at the ps file
-.TP
-.B -i
-retain intermediate and log files
-.TP
-.B -1
-one-pass [pdf][la]tex processing; i.e., without calling
-.B musixflx
-.TP
-.B -x
-call
-.BR makeindex (1)
-to update index database
-.TP
-.B -f
-restore default processing
-.TP
-.B -q
-quiet mode (only musixtex's own messages); other messages are diverted to a temporary file.
-If an error occurs at the TeX stage, processing halts immediately and the tail of the log file is sent to stderr.
-Version information is copied from the temporary file to the log file.
-
-.TP 0
-Options affect processing of all succeeding MusiXTeX files unless changed by another option. Option flags cannot be combined; e.g., use \fB -l -x \fP rather than \fB -lx\fP.
-
-Note that four TeX engines are available via the -l and -p options:
-.TP
- etex default
- latex -l
- pdfetex -p
- pdflatex -l -p
-.TP 0
-If the -F option is used, options -l and -p need to be set if the engine name does not contain "latex" and "pdf" respectively. For example, the above four engines can be replaced by:
- -F "luatex --output-format=dvi"
- -F "lualatex --output-format=dvi"
- -F "luatex" -p
- -F "lualatex" -p
-
-.SH SEE ALSO
-.BR autosp (1),
-.BR etex (1),
-.BR latex (1),
-.BR pdfetex (1),
-.BR pdflatex (1),
-.BR makeindex (1),
-.BR musixflx (1),
-.BR dvipdfm (1),
-.BR dvips (1),
-.BR pmxab (1),
-.BR pmxchords (1),
-.BR prepmx (1),
-.BR ps2pdf (1),
-.BR xml2pmx (1)
-and musixdoc.pdf.
-.SH AUTHOR
-This manual page was written by Bob Tennent <rdt@cs.queensu.ca>.
diff --git a/macros/musixtex/doc/scripts/musixtex.pdf b/macros/musixtex/doc/scripts/musixtex.pdf
deleted file mode 100644
index 8df9e182dc..0000000000
--- a/macros/musixtex/doc/scripts/musixtex.pdf
+++ /dev/null
Binary files differ
diff --git a/macros/musixtex/dvips/psslurs.pro b/macros/musixtex/dvips/psslurs.pro
deleted file mode 100644
index b18ba9bd3a..0000000000
--- a/macros/musixtex/dvips/psslurs.pro
+++ /dev/null
@@ -1,282 +0,0 @@
-% This file can be used instead of psslurs.pro, it is only commented
-% and indented.
-%
-% VERSION: 1.01
-%
-% WARNING! This is a heavy magic! If you want something more understandable,
-% you will have to write it yourself (if it is possible in a stack-oriented
-% language that PostScript is). There are some constants you can
-% change and see what happens, but I think the slurs should be almost
-% always satisfiable. When not, let me know at:
-% stanislav@kneifl.net
-% Also any bug reports and comments are welcomed.
-%
-% Stanislav Kneifl.
-
-/slur@Dict 200 dict def
-
-% this dictionary is for \setslurtext, overriding some dvips's definitions
-/temp@xx@dict 4 dict def temp@xx@dict begin
- /a { moveto ax1 ay1 rmoveto } def
- /V {gsave newpath transform round exch round exch itransform
- exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
- rlineto rulex neg 0 rlineto fill grestore} def
-end
-
-TeXDict begin
-% get dimen from TeX's string ("125pt" -> 125 PS points)
-/psxGD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
-% get dimen adjusted to Resolution
-/psxGDAR { dup length 2 sub 0 exch getinterval cvr 4 psxAR mul 1.045 mul} def
-% Adjust to Resolution
-/psxAR { Resolution mul 300 div } def
-% the distances in dvips's PostScript are resolution dependant!
-end
-
-slur@Dict begin
-/CP /currentpoint load def
-/ED { exch def } bind def
-/psxAR { Resolution mul 300 div } def % stands for Adjust to Resolution,
-/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
-/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
-/M { mul } def
-/A { add } def
-/SB { sub } def
-/P { pop } def
-/DP { dup } def
-/R { roll } def
-
-/drawseg { 0 0 moveto
- ax1 ay1
- ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
- ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
- ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
- ax2 ay2
- x2 0 curveto } def
-
-/DS {
- psxAR /maxe ED
- /ifadjust ED
- /ifdash ED
- psxAR /m ED % max height of the slur
- /e ED % "angularity" of the slur; 0.1 = very angular,
- % 0.3 = very round
- /aa exch neg def % what to multiply the height with
- % AFTER the max height checking
- /y2 ED % y coordinate of the end of the slur
- /x2 ED % x coordinate of the end of the slur
- /y1 ED % y coordinate of the beginning of the slur
- /x1 ED % x coordinate of the beginning of the slur
- /yr2 ED
- /yr1 ED
- /internote ED
- /x2 x2 x1 sub def % x2=x2-x1
- /y2 y2 y1 sub def % y2=y2-y1
- /sx y2 x2 div def
- /b x2 300 mul Resolution div abs sqrt psxAR 2 mul def % b=2*sqrt(x2)
- b 3 psxAR lt {/b 3 psxAR def} if % b=max(b,3)
- b m gt {/b m def} if % b=min(b,m)
- /aa b aa mul def % aa=aa*b
- /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
- /aa aa s cos div def % aa=aa/cos(s) height of the slur
- /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
- % is the length of the slur
- e x2 mul maxe gt { /e maxe x2 div def } if
- /beta e x2 mul aa neg atan def
- beta 90 gt {/beta 180 beta sub def} if
- /ax1 e x2 mul def % control points
- /ay1 aa def
- /ax2 1 e sub x2 mul def
- /ay2 aa def
-
-% check if the starting and endin vector stay in desired quadrants
-% => beta < abs(s)
- beta s abs lt {
- /b aa abs s abs 2 add sin mul s abs 2 add cos div def
- s aa mul 0 lt {
- s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
-% ^^^^ ^^^ ^^^
-% (values to play with)
- /ax2 x2 b sub def
- }
- {
- /ax1 b def
- s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
-% ^^^^ ^^^ ^^^
- } ifelse
- } if
-
-% align the slur to the staff lines
-
- gsave
- x1 y1 translate
- s rotate
-% [1 0 sx 1 0 0] concat
- drawseg
- gsave
- initmatrix
- flattenpath
- pathbbox
- exch pop
- sub
- /slh ED % in slh we have the height of the whole slur
- pop
- grestore
-
- /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
- /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
-% check if the slur gets too close to staff line
- /shift 0 def
- slh 4.45 lt slh -0.5 gt and {
- /slh slh dup truncate sub def
- slh 0 lt { /slh 1 slh add def } if
- aa 0 gt { /slh 1 slh sub def } if
-
- % slh now contains the position ot the slur top/bottom in the space
- % between the nearest staff lines (from <0,1>), regardless direction
-
- % slur is too low:
- slh 0.45 lt { /shift 0.45 slh sub def } if
- % slur is too high, but we can be shift it down:
- slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
- % slur is too high, must be shifted up:
- slh 0.85 ge { /shift 1.45 slh sub def } if
- } if
-
- aa 0 gt { /shift shift neg def } if
-
- ifadjust 0 eq {
- /shift 0 def
- } if
-
-
-% and finally draw it...
-
- grestore
- gsave
- /linew internote 0.06 mul psxAR def
- linew 4 mul setlinewidth
- 1 setlinecap
- 0 setlinejoin
- ifdash 1 eq
- { [internote 8 mul psxAR internote 5 mul psxAR] 0 setdash } if
- x1 y1 shift neg 2 mul internote mul 4 psxAR mul add translate
- s rotate
-% [1 sx 0 1 0 0] concat
-
-% uncomment this to see the control points
-% 5 psxAR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
-% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
-
- drawseg
- 1 VS
- drawseg
- -2 VS
- drawseg
- x2 20 psxAR gt {
- 3 VS
- drawseg
- } if
- x2 50 psxAR gt {
- -4 VS
- drawseg
- } if
- x2 80 psxAR gt {
- 5 VS
- drawseg
- } if
- stroke
-
- grestore
-
- % now some \slurtext code...
-
- /x1 ax1 ax2 add 2 div def % middle of the slur
- /y1 ay1 ay2 add 2 div def
- x1 s cos mul y1 s sin mul add neg
- y1 s cos mul x1 s sin mul sub
- aa 0 lt {1} {0} ifelse
- end
-
- % this is a hack to place the slurtext in the middle of the slur.
- % From unknown reasons simple 'ax1 ay1 translate' did not work,
- % so we have to overlay some definitions with our own, namely
- % 'a', which is originally 'moveto' and 'V' for drawing rules.
- % maybe there are some other operations that should be redefined,
- % but for almost all cases this will be sufficient. If you find
- % anything that won't be typeset at the correct position, let me know...
-
- temp@xx@dict begin
- /dir exch def
- /ay1 exch def
- /ax1 exch def
-} def
-
-% crescendos
-/DC {
- /y2 ED
- /x2 ED
- /y1 ED
- /x1 ED
- gsave
- 2.5 psxAR ceiling setlinewidth % line thickness: this results
- 1 setlinecap % to exactly 2.5 pixels in 300 dpi
- 1 setlinejoin
- x2 y2 10 psxAR add moveto % the 10's specify wideness of the
- x1 y1 lineto % open end of the crescendo,
- x2 y2 10 psxAR sub lineto % similarly the 11's below
- stroke
- grestore
-} def
-
-% half crescendos
-/DHC {
- /y2 ED
- /x2 ED
- /y1 ED
- /x1 ED
- gsave
- 2.5 psxAR ceiling setlinewidth
- 1 setlinecap
- 1 setlinejoin
- x2 y2 11 psxAR add moveto
- x1 y1 4 psxAR add lineto stroke
- x1 y1 4 psxAR sub moveto
- x2 y2 11 psxAR sub lineto
- stroke
- grestore
-} def
-
-% differenced line
-
-/DLN {
- gsave
- psxGDAR ceiling setlinewidth
- psxGDAR exch psxGDAR neg rlineto
- stroke
- grestore
-} def
-
-% sloped line
-
-/DSLN {
- gsave
- psxGDAR ceiling setlinewidth
- psxGDAR exch 1.125 mul neg rotate 0 rlineto
- stroke
- grestore
-} def
-
-% free line (init & terminate)
-
-/DFLN {
- gsave
- psxGDAR ceiling setlinewidth
- CP moveto
- lineto
- stroke
- grestore
-} def
-
-end
-
diff --git a/macros/musixtex/latex/musixcpt.sty b/macros/musixtex/latex/musixcpt.sty
deleted file mode 100644
index 54c2ca8dd6..0000000000
--- a/macros/musixtex/latex/musixcpt.sty
+++ /dev/null
@@ -1,3 +0,0 @@
-\input musixcpt
-\endinput
-
diff --git a/macros/musixtex/latex/musixcrd.sty b/macros/musixtex/latex/musixcrd.sty
deleted file mode 100644
index b185b3ca60..0000000000
--- a/macros/musixtex/latex/musixcrd.sty
+++ /dev/null
@@ -1,11 +0,0 @@
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%% musixcrd - typsetting chord symbols with %%
-%% musixtex %%
-%% musixcrd stylefile for documentation generation %%
-%% $Id$ %%
-%% copyright 2004 , Robert Hennig %%
-%% this code is licensed in terms of the %%
-%% GNU Public License %%
-%% %%
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\input musixcrd.dtx \ No newline at end of file
diff --git a/macros/musixtex/latex/musixfll.sty b/macros/musixtex/latex/musixfll.sty
deleted file mode 100644
index 08569182b4..0000000000
--- a/macros/musixtex/latex/musixfll.sty
+++ /dev/null
@@ -1,2 +0,0 @@
-\input musixfll.tex
-\endinput
diff --git a/macros/musixtex/latex/musixltx.tex b/macros/musixtex/latex/musixltx.tex
deleted file mode 100644
index 54b0af9865..0000000000
--- a/macros/musixtex/latex/musixltx.tex
+++ /dev/null
@@ -1,33 +0,0 @@
-%
-% 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.
-%
-\ifx\undefined\music \else \endinput \fi
-
-\immediate\write16{MusiXLaTeX T.125\space<8 April 2017>}%
-
-\newenvironment{music}{\@afterindenttrue\parskip0pt\catcodesmusic
- \resetlayout}{}%
-
-\ifx\musix@begindocument\undefined
- \let\musix@begindocument\document
- \def\document{\musix@begindocument
- \ifstartmuflex@done\else\startmuflex\fi\ignorespaces}%
- % 1.25: added \ignorespaces RDT
-\fi
-
-\endinput
diff --git a/macros/musixtex/latex/musixtex.sty b/macros/musixtex/latex/musixtex.sty
deleted file mode 100644
index c8127f51d0..0000000000
--- a/macros/musixtex/latex/musixtex.sty
+++ /dev/null
@@ -1,3 +0,0 @@
-\input musixtex
-\input musixltx
-\endinput
diff --git a/macros/musixtex/scripts/musixflx.bat b/macros/musixtex/scripts/musixflx.bat
deleted file mode 100644
index 684441ebb3..0000000000
--- a/macros/musixtex/scripts/musixflx.bat
+++ /dev/null
@@ -1,6 +0,0 @@
-:: wrapper script to call musixflx.lua
-:: Usage: musixflx basename[.mx1 | .tex] [debug mode]
-:: Suggested by Tomasz Luczak (Tomek) t34www@googlemail.com
-
-@for /f "delims=" %%I in ('kpsewhich --format=texmfscripts %~n0.lua') do texlua "%%I" %*
-:end
diff --git a/macros/musixtex/scripts/musixflx.lua b/macros/musixtex/scripts/musixflx.lua
deleted file mode 100644
index 0a267f4815..0000000000
--- a/macros/musixtex/scripts/musixflx.lua
+++ /dev/null
@@ -1,1071 +0,0 @@
-#!/usr/bin/env texlua
-
--- The MUSIXFLXVERSION below is the one checked against.
-
-MUSIXFLXVERSION = "0.83"
-VERSION = "0.83.3.lua7"
-
---[[
-
-Line breaking program for MusiXTeX.
-
- (c) Copyright Ross Mitchell 1992-1997 ross.mitchell@csiro.au
- (c) Copyright J. Hunsberger 1997 jhunsberger@i2k.co
- (c) Copyright 2009, 2010 Peter Breitenlohner <tex-live@tug.org>
- (c) Copyright 2011 Nikhil Helferty 6nh14@queensu.ca
- (c) Copyright 2011 Bob Tennent rdt@cs.queensu.ca
-
-This program 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 of the License, or (at your
-option) any later version.
-
-This program 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 this program; if not, write to the Free Software Foundation, Inc.,
-51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA.
-
---]]
-
---[[
-
-Conversion to Lua by Nikhil Helferty, 2011.
-Minor corrections by Bob Tennent rdt@cs.queensu.ca.
-
-NH: Comments marked NH (such as this one) are comments new to the Lua
-version. Most have to do with explaining any additions or changes made
-necessary due to differences between Lua and C. Comments not so marked
-are retained from C version.
-
-Almost all comments from the C version have been put in this version as
-well. Note that Lua variables are dynamically typed, and Lua has only
-one data structure called "tables" which, though more flexible than
-arrays, are essentially just used as arrays here.
-
---]]
-
---[[
-
- ChangeLog:
-
- lua7 2011/04/21 RDT
- Decode option argument for debugging.
- Revert to accepting .mx1 or .tex filenames.
- Rationalize file-name variables.
-
- lua6 2011/04/18 RDT
- Revert to stand-alone use.
-
- lua5 2011/04/13 RDT
- Allow .mx1 file to have a version number only.
-
- lua4 2011/04/12 RDT
- Adaptation to being called from musixtex.tex
-
- lua3 2011/04/11 RDT
- Replaced body of eightfivefloat by string.format("%8.5f", ... )
-
- lua2 2011/04/11 RDT
- Change PRINT to print for dbug output.
-
- lua1 2011/04/08 RDT
- Strip off pt for L line.
-
---]]
-
--- max sizes
--- NH: these aren't needed for array sizes in Lua (tables grow dynamically)
--- but I am keeping the checks in case the maximums are necessary for
--- TeX processing
-
-MAX_SIGNS = 128; MAX_SECTIONS = 128; MAX_BARS = 2048
-
-function GETLINE()
- linebuf = infile:read()
- return linebuf
-end
-
--- NH: declare tables
-
--- NH: the following tables were all arrays of type int in C
--- the following tables were size MAX_BARS in C (2048)
-zbar = {}; lr_repeat = {}; raggedline = {}
-l_repeat = {}; barno = {}
-
--- NH: the following tables were size MAX_SECTIONS in C (128)
-autolines = {}; bars = {}; mulooseness = {}
-
--- NH: the following was of size MAX_SIGNS in C (128)
-signchange = {}
-
--- NH: the following were counters declared for xbar sign change detection
--- xbar of size MAX_BARS, linegoal MAX_SECTIONS
--- xbar_count, xbar_flag, softspace_count were integers declared here
--- as they aren't tables they'll be declared upon use
-xbar = {}; linegoal = {}
-
--- NH: the following tables were all arrays of type double in C
--- the following were size MAX_BARS
-hardbarlength = {}; softbarlength = {}
-width_leftrightrepeat = {}; width_leftrepeat = {}
-
--- NH: the following were size MAX_SECTIONS
-eff_hardlength = {}; eff_softlength = {}
-
--- NH: the following were size MAX_SIGNS
-oldsignskip = {}; signskip = {}; futuresignskip = {}
-
-
--- NH: (no need to add last \n as print does this)
-function error_exit (error_number)
- -- NH: the following if/elseif/else construction mirrors case structure
-
- if error_number == 0 then
- print("\nFile error.")
- elseif error_number == 1 then
- print("\nUsage: [texlua] musixflx.lua basename[.tex | .mx1] [ d | m | f | s ]")
- elseif error_number == 2 then
- print("\nThis shouldn't happen ! Too few bars or \\mulooseness too large ?")
- elseif error_number == 3 then
- print("\nThis shouldn't happen ! Too few bars in section !")
- elseif error_number == 4 then
- print("\nMissing endmark ! Forgotten \\stop[end]piece ?")
- elseif error_number == 5 then
- print("\nDivision by zero ! Ask a wizard !")
- elseif error_number == 6 then
- print("\nVersion mis-match:")
- print("MusiXTeX version " .. linebuf)
- print("musixflx expected version " .. MUSIXFLXVERSION)
- elseif error_number == 7 then
- print("\nFile not found: " .. infilename)
- elseif error_number == 8 then
- print("\nCorrupted " .. infilename)
- elseif error_number == 9 then
- print("\nToo many sections, maximum number of sections: " .. MAX_SECTIONS)
- elseif error_number == 10 then
- print("\nError in " .. infilename .. " at line " .. currentline)
- elseif error_number == 11 then
- print("\nToo many bars, maximum number of bars: " .. MAX_BARS)
- else
- print("!!! Can't go on !!!")
- end
- os.exit(3)
-
-end
--- end error_exit
-
--- NH: there is really no analogue to the strrchr function in C, which is frequently used
--- to locate the location of a last occurrence of a string
--- so I coded a similar function for Lua
--- takes two strings (str and pat), and returns everything after the last occurence of pat
--- in str - if no occurrences of pat, then returns nil
-function strrchr(str, pat)
- notfound = true
- currentIndex = 0
- lastIndex = 0
- while notfound do
- currentIndex = string.find(str, pat, lastIndex+1, true)
- if (not currentIndex) then -- NH: returned nil - no occurence past lastIndex
- notfound = false
- else -- NH: got a hit for an occurence - store this value as lastIndex
- lastIndex = currentIndex
- end
- end
- if lastIndex == 0 then return nil end -- NH: no occurence found
- return string.sub(str, lastIndex+1)
-end
-
-
--- NH: start "main chunk"
-
-io.write(string.format("Musixflx-%s", VERSION))
-
--- initialize variables
-junk = -9999
-dbug = false
-dbug_lines = false
-dbug_logfile = false
-showresult = false
-detectraggedline = false
-currentline = 1
-samechapter = true
-line_number = 0
-chapterno = 1
-
-lthick = .4
-
-if dbug then
- print("\n ... decoding command line")
-end
-
-filename = arg[1]
-if not filename then
- error_exit(1)
-end
-
-extension = string.sub(filename, -4, -1)
-if extension == ".tex" or extension == ".mx1" then
- basename = string.sub(filename, 1, -5)
-else
- basename = filename
-end
-
---[[
-
-debugging options:
- d output debugging information to the screen
- m output line numbers to the screen
- f output debugging information to file basename.mxl (not mx1)
- s output computed lines to the screen
-
- --]]
-
-if (#arg == 2) then
- if (arg[2] == "d") then
- dbug = true
- elseif (arg[2] == "m") then
- dbug_lines = true
- elseif (arg[2] == "f") then
- dbug = true
- dbug_logfile = true
- dbug_lines = true
- elseif (arg[2] == "s") then
- showresult = true
- else
- error_exit(1)
- end
-end
-
-infilename = basename .. ".mx1"
-
--- open the .mx1 file containing bar length information
-
-if dbug then
- print(" ... opening " .. infilename .. " for input")
--- NH: io.open analagous to fopen C function
--- will return nil value if not successful
--- nil is taken as false in if statements
-end
-infile = io.open(infilename, "r")
-if (not infile) then
- error_exit(7)
-end
-io.write(string.format(" (%s", infilename))
-if showresult then
- print("")
-end
-
-currentline = currentline + 1
-if GETLINE() and (linebuf ~= MUSIXFLXVERSION) then
- error_exit(6)
-end
-
-
--- Open the output file
-outfilename = basename .. ".mx2"
-if dbug then
- print(" ... opening " .. outfilename .. " for output")
-end
-outfile = io.open(outfilename, "w")
-if (not outfile) then
- print("\nCan't create: " .. outfilename)
- os.exit(3)
-end
-
--- Open the logfile
-if dbug_logfile then
- logfilename = basename .. ".mxl"
- print(" ... open " .. logfilename .. " for debugging")
- logfile = io.open(logfilename, "w")
- if (not logfile) then
- print("\nCan't create: " .. logfilename)
- os.exit(3)
- end
- logfile:write("Version ", VERSION, "\n")
-end
-
--- skip startindicator
-
-if GETLINE() and (linebuf ~= "S") then
- error_exit(8)
-end
-
---[[
-do...while loop for
- moretimes call of \startpiece
- >>>>>>>>>>>>>>>>>>>>>>>>>>>
-
- Do while equivalent is repeat...until
- --]]
-
- GETLINE()
-
- repeat
-
--- reset all arrays
-
-if dbug then print("\n------- Chapter " .. chapterno .. " -------\n"); end
-if dbug_logfile then logfile:write("\n------- Chapter ", chapterno, " -------\n\n"); end
--- NH: copying C method of loops but this means will be initializing the max spaces every time
--- ... not taking advantage of dynamic sizes of tables in Lua
--- however necessary to initialize since the starting values are used in operations
--- note upper bounds for these loops are the max-1, as for syntax in lua will include the upper (<= instead of <)
-
-for i = 0, MAX_SIGNS-1 do
- signchange[i] = junk
- oldsignskip[i] = 0
- futuresignskip[i] = 0 -- jh-1
- signskip[i] = 0
-end
-
-for i = 0, MAX_BARS-1 do
- hardbarlength[i] = 0
- softbarlength[i] = 0
- width_leftrightrepeat[i] = 0
- lr_repeat[i] = false
- width_leftrepeat[i] = 0
- xbar[i] = 0 -- jh-1
- l_repeat[i] = false
- zbar[i] = false
- raggedline[i] = false
- barno[i] = 0
-end
-
-for i = 0, MAX_SECTIONS-1 do
- eff_hardlength[i] = 0
- eff_softlength[i] = 0
- bars[i] = 0
- autolines[i] = false
- linegoal[i] = 0
- mulooseness[i] = 0
-end
-
---[[
-
- Read and decode header items:
-
- 1. Linewidth;
- 2. Parindent;
- 3. Beforeruleskip;
- 4. Afterruleskip;
- 5. Elemskip;
- 6. Clefskip;
- 7. Signskip;
- --]]
-
- -- NH: for those curious why it is necessary to take a substring of the line, it is to strip the "pt" off of the string
- -- to make them valid strings for coercion to numbers later on (something that the atof does automatically)
- -- RDT: linebuf tests are to avoid taking a substring of an empty string
-if linebuf then linewidth = string.sub(linebuf, 1, -3); currentline=currentline+1 end
-GETLINE(); if linebuf then parindent = string.sub(linebuf, 1, -3); currentline=currentline+1 end
-GETLINE(); if linebuf then beforerule = string.sub(linebuf, 1, -3); currentline=currentline+1 end
-GETLINE(); if linebuf then afterrule = string.sub(linebuf, 1, -3); currentline=currentline+1 end
-GETLINE(); if linebuf then elemskip = string.sub(linebuf, 1, -3); currentline=currentline+1 end
-GETLINE(); if linebuf then clefskip = string.sub(linebuf, 1, -3); currentline=currentline+1 end
-GETLINE(); if linebuf then signskip[0] = string.sub(linebuf, 1, -3); currentline=currentline+1 end
-
-futuresignskip[0] = signskip[0] -- Initialize for xbar signs, jh-1
-
---[[
- Read the records specifying contributions to bar length.
- Lengths are of two types:
- (a) Hard or unscaleable, eg barlines, clef or meter changes (typ=0).
- (b) Soft or scaleable, eg noteboxes which scale with \elemskip (typ=1).
- Note that \afterruleskip and \beforerulskip are considered soft.
- --]]
-
-jbar = junk
-i = 0
-sign = 0
-xbar_count = 0 -- Used to detect presence of xbars jh-1
-xbar_flag = false -- True allows check for xbar jh-1
-hardsign = 0 -- Accumulator for hard skip from sign change jh-1
-softspace_count = 0 -- Watch for softspace after bars are posted jh-1
-
-all_section = 0
-
-if dbug then
- print(" ... reading")
-end
-
-while (samechapter and GETLINE()) do
-
- currentline = currentline + 1
- local firstChar = string.sub(linebuf, 1, 1)
-
- -- NH: use if/elseif/else to mirror switch/case statements
-
---[[
-'\startpiece'
- stop reading,
- compute,
- write
- and start again
- --]]
-
- if (firstChar == "S") then
- samechapter = false
-
---[[
- End of section. Action:
- Right justify the material ending at the previous bar.
- Read the number following the *, which is the 'looseness'
- parameter of the section just ended.
- Reset the bar test integer to JUNK in case the bar number
- was reset between sections.
- --]]
-
- elseif (firstChar == "*") then
- local firstSpace = string.find(linebuf, " ")
- local secondSpace = string.find(linebuf, " ", firstSpace+1)
- if not secondSpace then -- NH: possibility that there is no second number in line
- mulooseness[all_section] = string.sub(linebuf, firstSpace+1)
- else
- mulooseness[all_section] = string.sub(linebuf, firstSpace+1, secondSpace-1)
- end
- -- NH: above firstSpace/secondSpace mathematics were to mimic function of atol use in original C function
- linegoal[all_section] = 0 -- jh-2 + WS-1
- if secondSpace then
- linegoal[all_section] = string.sub(linebuf, secondSpace+1) -- NH: this my interpretation of an sscanf line signed jh-2 + WS-1 in C
- end
- linegoal[all_section] = linegoal[all_section] + 0 -- NH: this is a fairly silly trick to force coercion for valid comparison to numbers, could also use tonumber function
- mulooseness[all_section] = mulooseness[all_section] + 0
- if ((mulooseness[all_section] ~= 0) and (linegoal[all_section] > 0)) then
- print("\\linegoal{" .. linegoal[all_section] .. "} ignored because \\mulooseness not equal to zero")
- print(" for section " .. all_section+1 .. " in chapter " .. chapterno)
- linegoal[all_section] = 0 -- Reset to ignore it. jh-2 + WS-1
- end
- all_section = all_section + 1
- if all_section > (MAX_SECTIONS - 1) then
- error_exit(9)
- end
- jbar=junk
-
---[[
- Right justify the material ending at the previous bar.
- Set flag.
- Reset the bar test integer to JUNK in case the bar number
- was reset between sections.
- ]]
-
-
- elseif (firstChar == "a") then
- autolines[all_section] = true
- all_section = all_section + 1
- if (all_section > (MAX_SECTIONS - 1)) then
- error_exit(9)
- end
- jbar=junk
-
---[[
- found a raggedline, let's set a flag
- I think, I'll hardly get a Nobel-Award for coding this
- What a pity! :-(
- but perhaps a Pulitzer-Award for my comments. :-)
---]]
-
- elseif (firstChar == "r") then
- raggedline[i+1] = true
-
-
- -- found \zbar, set flag and store barno
- elseif (firstChar == "z") then
- zbar[i] = true
- barno[i] = strrchr(linebuf, " ")
- xbar_count = xbar_count + 1 -- Help detect xbars, track zbar offsets. jh-1
- hardsign = 0 -- reset any sign change skip accumulated. jh-1
- softspace_count = 0 -- Reset for next bar. jh-1
-
-
---[[
- found a leftrightrepeat
- set a flag and store the different widths
- ]]
-
- elseif (firstChar == "l") then
- -- NH: there are some commented out printf lines in C code in this case
- -- I'm assuming they were used at one point for debugging purposes and
- -- am not translating them, but if should be reinstated they exist at lines
- -- 380-387 in C program
- lr_repeat[i] = true
- local firstSpace = string.find(linebuf, " ")
- local secondSpace = string.find(linebuf, " ", firstSpace + 1)
- width_leftrightrepeat[i] = string.sub(linebuf, firstSpace+1, secondSpace-3) -- NH: secondspace-3 as secondspace-1 will include the "pt"
- width_leftrepeat[i] = string.sub(linebuf, secondSpace+1, -3) -- NH: again, -3 to chop off the "pt"
-
-
---[[
- found a leftrepeat
- set a flag and store width
- ]]
-
- elseif (firstChar == "L") then
- l_repeat[i] = true
- local firstSpace = string.find(linebuf, " ")
- width_leftrepeat[i] = string.sub(linebuf, firstSpace+1, -3) -- RDT: again, -3 to chop off the "pt"
-
-
- -- store barno
- elseif (firstChar == "b") then
- barno[i] = strrchr(linebuf, " ")
- xbar_count = xbar_count+1 -- Track possible xbars. jh-1
- xbar_flag = true -- Allow check of next line to detect xbar. jh-1
- hardsign = 0 -- Reset accumulated hard sign skip. jh-1
- softspace_count = 0 -- Reset for next bar. jh-1
-
---[[
- enabling the use of 'hard' offsets
- advance current hardwith
- reduce current softwidth
---]]
-
- elseif (firstChar == "h") then
- x = string.sub(strrchr(linebuf, " "), 1, -3) -- -3 is to chop off "pt" in string to allow x to be valid for arithmetic
- softbarlength[i] = softbarlength[i] - x
- hardbarlength[i] = hardbarlength[i] + x
- eff_softlength[all_section] = eff_softlength[all_section] - x
- eff_hardlength[all_section] = eff_hardlength[all_section] + x
-
-
---[[
- This record began with 's' and specifies a key signature change
- store the signskip, s.b.
- ]]
-
- elseif (firstChar == "s") then -- Changes to detect xbar and signchange interaction, jh-1
-
- local firstSpace = string.find(linebuf, " ")
- local secondSpace = string.find(linebuf, " ", firstSpace+1)
- if not secondSpace then
- tempholdskip = string.sub(linebuf, firstSpace+1, -3)
- else
- tempholdskip = string.sub(linebuf, firstSpace+1, secondSpace-3)
- end
- -- NH: all of above to mimic atof statement
- -- wasn't sure if statements with s would have a second space and more info
- -- so accounted for either possibility
-
- -- We might be in the middle of an xbar setup, and we only want to increment
- -- the sign pointer if this is the first sign change. jh-1
- if (not (signchange[sign] == i)) then -- first time for this bar set jh-1
- sign = sign + 1
- signchange[sign] = i
- signskip[sign] = tempholdskip
- oldsignskip[sign] = hardsign -- Capture accumulated hard space. jh-1
- xbar[i] = xbar[i] + 1 -- Increment to detect xbars with sign changes. jh-1
- --[[
- Housekeeping is done... Now, one more condition to check. If there
- has been any soft space since the bar was declared, then musixtex
- will NOT publish a sign change notice at the end of the line for
- this sign change when there is a line break in this bar.
- In that case, signal that this should be treated as an xbar, which
- will effectively suppress the transfer of hardspace for the sign
- change notice. jh-1
- --]]
- if softspace_count > 0 then xbar[i] = 2 end-- Suppress space move jh-1
- end
- -- Always update the futuresignskip value in case this is the last
- futuresignskip[sign] = tempholdskip
-
- -- comment, do nothing
- elseif (firstChar == "%") then
-
- -- This is an 'ordinary' line, listing a contribution to the barlength.
- else
- if (not (tonumber(firstChar))) then
- error_exit(10)
- end
- local firstSpace = string.find(linebuf, " ")
- local secondSpace = string.find(linebuf, " ", firstSpace + 1)
- bar = string.sub(linebuf, 1, firstSpace-1)
- typ = string.sub(linebuf, firstSpace+1, secondSpace-1)
- x = string.sub(linebuf, secondSpace+1, -3) -- the -3 is to strip the "pt" off of the x
- if (typ ~= "0") then eff_softlength[all_section] = eff_softlength[all_section] + x
- else eff_hardlength[all_section] = eff_hardlength[all_section] + x
- end
-
---[[
- Increment bar number if the bar number
- read from the file has changed.
- Accumulate current bar length.
- --]]
- bar = bar + 0 -- NH: forcing coercion to number type from string
- if tonumber(bar) > jbar then
- i = i + 1
- bars[all_section] = bars[all_section] + 1
- if i > MAX_BARS then
- error_exit(11)
- end
- end
-
- -- At this point, can check if this is an xbar...Only check once. jh-1
- if xbar_flag then
- if ((xbar_count - bar - 1) == 0) then -- find an xbar. jh-1
- xbar_count = xbar_count-1 -- adjust offset to stay on track
-
- --[[
- To handle the special conditions caused by possible xbars and
- sign changes, the xbar logic state has to be examined and changed
- only if this is the first xbar, and not for subsequent ones. jh-1
- --]]
- if (xbar[i] == 0) then -- then this is the first xbar in the setup
- -- or there has already been a sign change
- xbar[i] = 1 -- jh-1
- end
- end
- end
-
- xbar_flag = false -- Reset to prevent checks until next bar. jh-1
-
- if (typ ~= "0") then
- softbarlength[i] = softbarlength[i] + x
- -- Count softspace entries to help in sign/linebreak decisions jh-1
- softspace_count = softspace_count+1
- hardsign = 0 -- Safety - just be sure in case line break jh-1
- else -- jh-1
- hardbarlength[i] = hardbarlength[i] + x
- hardsign = hardsign + x -- accumulate hardspace, there may be a sign change
- end
-
- jbar = bar
-
- end -- end if statements
-
-end -- end while loop
-
---[[
-Decrement the number of sections if the final section is void.
- This will be the usual case where the input file ends with
- an end of section record.
- If this record has been omitted, stop going on to avoid
- 'You can't use \raise....'.
- ]]
-
-if dbug then
- print(" ... compute")
-end
-
-if (bars[all_section] == 0) then
- all_section = all_section - 1
-else
- error_exit(4)
-end
-
--- Summarize sectioning information
-
-if dbug then
- print("\nNumber of sections : " .. (all_section+1) .."\n")
-
- for section = 0, all_section do
- if (autolines[section]) then
- print("---- autoline section ----")
- end
- print("Section : " .. (section+1))
- print("Number of bars in section : " .. bars[section])
- print("Length(hard) of section " .. (section+1) .. " : " .. eff_hardlength[section])
- print("Length(soft) of section " .. (section+1) .. " : " .. eff_softlength[section])
- if (linegoal[section] ~= 0) then -- linegoal applies, signed jh-2 in C
- print("Section line goal was determined by \\linegoal value...")
- print("Line Goal for section : " .. linegoal[section])
- else -- mulooseness applies, signed jh-2 in C
- print("Looseness of section : " .. mulooseness[section])
- end
-
- io.read() -- NH: mimics getchar()
- end -- end for
-
-end -- end if
-
-if dbug_logfile then
- logfile:write("\nNumber of sections : ", all_section+1, "\n\n")
-
- for section = 0, all_section do
- if (autolines[section]) then
- logfile:write("---- autoline section ----\n")
- end
- logfile:write("Section : ", section+1, "\n")
- logfile:write("Number of bars in section : ", bars[section], "\n")
- logfile:write("Length(hard) of section ", section+1, " : ", eff_hardlength[section], "\n")
- logfile:write("Length(soft) of section ", section+1, " : ", eff_softlength[section], "\n")
- if (linegoal[section] ~= 0) then -- line goal applies. signed jh-2 in C
- logfile:write("Section line goal was determined by \\linegoal value...\n")
- logfile:write("Line goal for section : ", linegoal[section], "\n")
- else -- mulooseness applies, signed jh-2 in C
- logfile:write("Looseness of section : ", mulooseness[section], "\n")
- end
- end
-end
-
---[[
-C Comments:
-Loop over the sections defined in the input file.
- Each section must be right justified.
- LAST is the absolute number of the last bar
- in the current section.
---]]
-
-sign = 0
-mark = 0
-lastbarnumber = 0
-
-
-for section = 0, all_section do
- line_in_section = 1
- lastbarnumber = lastbarnumber + bars[section]
-
- -- Find number of lines to work towards
- lines = math.floor(((eff_hardlength[section] + eff_softlength[section] + parindent)/
- (linewidth-(clefskip+signskip[sign]))) + .5) -- need to use floor function as lua has no "integer" type, just numbers
- if (lines == 0) then lines = 1 end -- safety
-
- natural_lines = lines -- Keep this for debug report. Signed jh-2 in C
- lines = lines + mulooseness[section]
- if ((mulooseness[section] ~= 0) and (linegoal[section] > 0)) then -- signed jh-2 in C
- print("Unexpected line goal reset occured for section " .. section+1)
- linegoal[section] = 0 -- Zero it, Safety, should not happen, signed jh-2 in C
- end
- if (linegoal[section] > 0) then lines = linegoal[section] end -- Signed jh-2 in C
- if lines < 1 then
- lines = 1
- print("Don't stress \\mulooseness too much !!!")
- end
-
---[[
-C comments:
- autolinesflag set in current section ?
- iftrue force number of lines to 1
- --]]
-
- if (autolines[section]) then lines = 1 end
-
- if dbug then
- print("Section number : " .. section+1)
- print("Last bar in this section : " .. lastbarnumber)
- print("Number of bars : " .. bars[section])
- print("Natural number of lines : " .. natural_lines) -- signed jh-2 in C
- print("Chosen number of lines : " .. lines .. "\n")
- end
-
- if dbug_logfile then
- logfile:write("Section number : ", section+1, "\n")
- logfile:write("Last bar in this section : ", lastbarnumber, "\n")
- logfile:write("Number of bars : ", bars[section], "\n")
- logfile:write("Natural number of lines : ", natural_lines, "\n") -- signed jh-2 in C
- logfile:write("Chosen number of lines : ", lines, "\n\n")
- end
-
- if (bars[section]<1) then error_exit(3) end
-
---[[
-C comments:
- fill_length is the length of 'bar' material (ie excluding
- signature space) required to fill the remainder
- of the piece. This value will not be exact if there are
- sign changes within the section. However,
- fill_length is used only to keep track of the mean scale factor
- for the remainder of the piece, as opposed to individual lines.
-
- Loop over lines, working out number of bars
- and revised \elemskip for each line.
- added correct computing of fill_length
- --]]
-
-
- for j = 1, lines do
- line_number = line_number + 1
- fill_length = (lines-j+1) * (linewidth - (clefskip + signskip[sign]))
-
-
---[[
-C comments:
- Work out mean element skip over remaining bars
- in the current section.
- EFFWID is the effective line width once
- key signature have been written.
- Set parindent to zero after it has been used for the
- first line of the first section.
- --]]
-
- if (eff_softlength[section] == 0) then error_exit(5) end
- spc_factor = (fill_length - eff_hardlength[section])/eff_softlength[section]
- if ((xbar[mark+1] > 1) and (mark>0)) then
- -- The bar is an bar+xbar with a sign change. Signed jh-1 in C
- eff_linewidth = linewidth - (clefskip+signskip[sign-1]) - parindent
- else -- This is a normal bar. Signed jh-1 in C
- eff_linewidth = linewidth - (clefskip+signskip[sign]) - parindent
- end -- Signed jh-1 in C
-
- signskip[sign] = futuresignskip[sign] -- Supports xbar signs. Signed jh-1 in C
-
- parindent = 0
-
- -- Fill the current line by adding bars until overflow.
-
- i = mark
- firstbarno = barno[mark+1]
- hardlength = 0
- softlength = 0
- x = 0
- lastbar = 0
- detect_end = false
-
- while (x < eff_linewidth) do
- if detect_end then break end
- i = i + 1
- -- Check for raggedline
-
- if raggedline[i] then detectraggedline = true end
-
- -- Check for key signature change at this bar.
-
- if (i == signchange[sign+1]) then sign = sign + 1 end
-
- lastbar = hardbarlength[i] + spc_factor*softbarlength[i]
- x = x + lastbar
-
- -- Enforce termination at last bar and last line
-
- if (i==lastbarnumber) then detect_end = true
- elseif (line_in_section == lines) then
- detect_end = false
- x = 0
- end
-
- hardlength = hardlength + hardbarlength[i]
- softlength = softlength + softbarlength[i]
-
- end
-
---[[
-C comments:
- If the overhang is less than half the barlength,
- include the latest bar in the line,
- and shrink the line accordingly.
---]]
-
- if ((x-eff_linewidth) < (lastbar/2)) then
- barsinline = i - mark
- mark = i
- lastbarno = barno[mark]
-
---[[
-C comments:
- last bar in line a zbar?
- if true -> add to the first bar in next line
- the amount of afterruleskip
---]]
-
- if zbar[mark] then
- softbarlength[i+1] = softbarlength[i+1] + afterrule
- eff_softlength[section] = eff_softlength[section] + afterrule
- end
-
---[[
-C comments:
- last bar in line a leftrightrepeat?
- if true -> reduce hardwidth of current line
- advance the hardwidth of next bar
- advance the softwidth of next bar
---]]
-
- if lr_repeat[mark] then
- -- NH: there are some commented lines of code out here (printf statements) that I have not preserved
- -- if they should be reinstated then they are located at lines 744-746 of the original program
- hardlength = hardlength - (width_leftrightrepeat[i] - width_leftrepeat[i])
- eff_hardlength[section] = eff_hardlength[section] + (width_leftrightrepeat[i] - width_leftrepeat[i])
- hardbarlength[i+1] = hardbarlength[i+1] + width_leftrepeat[i]
- softbarlength[i+1] = softbarlength[i+1] + (afterrule/2)
- eff_softlength[section] = eff_softlength[section] + (afterrule/2)
- end
-
---[[
-C comments:
- last bar in line a leftrepeat?
- if true -> reduce hardwidth of current line
- advance the hardwidth of next bar
- advance the softwidth of next bar
---]]
-
- if l_repeat[mark] then
- hardlength = hardlength - (width_leftrepeat[i] - lthick)
- hardbarlength[i+1] = hardbarlength[i+1] + width_leftrepeat[i]
- softbarlength[i+1] = softbarlength[i+1] + (afterrule/2)
- eff_softlength[section] = eff_softlength[section] + (afterrule/2)
- end
-
- if (signchange[sign+1] == mark+1) then -- signed s.b. in C
- sign = sign + 1
---[[
-C comments:
- Because the bar is staying here in the line, we look ahead
- to see if the upcoming bar is a sign change, and adjust space
- to account for the complimentary sign change notice that will
- be posted at the end of this line. However, if the upcoming
- sign change bar is really a bar+xbar set, where the sign change
- is buried in the xbar, then we don't do the move because the
- change notice really won't be posted in this line.
-
- Signed jh-1 in C.
-
---]]
- if (xbar[mark+1] < 2) then -- okay to do the move. signed jh-1 in C
- hardlength = hardlength + oldsignskip[sign]
- hardbarlength[mark+1] = hardbarlength[mark+1] - oldsignskip[sign]
- end
- end
-
- -- Exclude the latest bar, and stretch the line.
-
- else
- barsinline=i-1-mark
- if (barsinline < 1) then error_exit(2) end
- mark = i - 1
- lastbarno = barno[mark]
- hardlength = hardlength - hardbarlength[i]
- softlength = softlength - softbarlength[i]
-
- if zbar[mark] then softbarlength[i] = softbarlength[i] + afterrule end
-
- if lr_repeat[mark] then
- hardlength = hardlength - (width_leftrightrepeat[i-1]-width_leftrepeat[i-1])
- eff_hardlength[section] = eff_hardlength[section] + (width_leftrightrepeat[i-1] - width_leftrepeat[i-1])
- hardbarlength[i] = hardbarlength[i] + width_leftrepeat[i-1]
- softbarlength[i] = softbarlength[i] + (afterrule/2)
- eff_softlength[section] = eff_softlength[section] + (afterrule/2)
- end
-
- if l_repeat[mark] then
- hardlength = hardlength - (width_leftrepeat[i-1] - lthick)
- hardbarlength[i] = hardbarlength[i] + width_leftrepeat[i-1]
- softbarlength[i] = softbarlength[i] + (afterrule/2)
- eff_softlength[section] = eff_softlength[section] + (afterrule/2)
- end
-
---[[
-C comments:
- Error (o/u-hbox) occurs only when signature change start in next line
- -> look for signature change in next line
- if true then advance the hardwidth of current line
- reduce next hard barlength by signature change
---]]
-
- if (signchange[sign] == (mark+1)) then
---[[
-C comments:
-However, if the next bar is a bar+xbar set where the
-sign change comes from the xbar, then don't do this
-move, because the extra skip is not really there!
-
-Signed jh-1 in C.
---]]
- if(xbar[mark+1] < 2) then -- alright, do the move. signed jh-1 in C
- hardlength = hardlength + oldsignskip[sign]
- hardbarlength[mark+1] = hardbarlength[mark+1] - oldsignskip[sign]
- end
-
- end
-
- end
-
---[[
-C comments:
- Define a flex factor for this line as the ratio
- of soft part of the specified line width,
- to soft width in the approximate line.
- --]]
-
- if (softlength == 0) then error_exit(5) end
- flexit = (eff_linewidth - hardlength) / softlength
- if detectraggedline then
- flexit = 1
- detectraggedline = false
- end
- cor_elemskip = elemskip * flexit
- cor_afterrule = afterrule * flexit
- cor_beforerule = beforerule * flexit
-
- if dbug then
- print("Line number : " .. line_number)
- print("Fill length : " .. fill_length)
- print("Effective length : " .. eff_softlength[section] + eff_hardlength[section])
- print("Mean space factor : " .. spc_factor)
- print("Bars in line : " .. barsinline)
- print("Effective linewidth : " .. eff_linewidth)
- print("Uncorrected hard length : " .. hardlength)
- print("Uncorrected soft length : " .. softlength)
- print("fLex factor (soft) : " .. flexit)
- print("Corrected elemskip : " .. cor_elemskip)
- print("Corrected afterrule : " .. cor_afterrule)
- print("Corrected beforerule : " .. cor_beforerule)
-
- io.read() -- NH: mimics getchar()
- end
-
- if dbug_logfile then
- logfile:write("Line number : ", line_number, "\n")
- logfile:write("Fill length : ", fill_length, "\n")
- logfile:write("Effective length : ", eff_softlength[section] + eff_hardlength[section], "\n")
- logfile:write("Mean space factor : ", spc_factor, "\n")
- logfile:write("Bars in line : ", barsinline, "\n")
- logfile:write("Effective linewidth : ", eff_linewidth, "\n")
- logfile:write("Uncorrected hard length : ", hardlength, "\n")
- logfile:write("Uncorrected soft length : ", softlength, "\n")
- logfile:write("Flex factor (soft) : ", flexit, "\n")
- logfile:write("Corrected elemskip : ", cor_elemskip, "\n")
- logfile:write("Corrected afterrule : ", cor_afterrule, "\n")
- logfile:write("Corrected beforerule : ", cor_beforerule, "\n\n")
- end
-
- eff_hardlength[section] = eff_hardlength[section] - hardlength
- eff_softlength[section] = eff_softlength[section] - softlength
- fill_length = fill_length - eff_linewidth
-
- -- Write a record to the output file
-
- outfile:write(
- string.format("\\lineset{%3d}{%2d}{%8.5fpt}{%8.5fpt}{%8.5fpt}%% %d - %d\n",
- line_number, barsinline, cor_elemskip, cor_afterrule,
- cor_beforerule,
- firstbarno, lastbarno))
-
-
-
- if showresult then
- print(
- string.format("\\lineset{%3d}{%2d}{%8.5fpt}{%8.5fpt}{%8.5fpt}%% %d - %d",
- line_number, barsinline, cor_elemskip, cor_afterrule,
- cor_beforerule,
- firstbarno, lastbarno))
- end
-
- if dbug_lines then print(" ... writing line : " .. line_number) end
- line_in_section = line_in_section + 1 -- NH: need to do this in loop, lua syntax doesn't allow for it in for loop spec
- end -- end lines for
-end -- end sections for
-
-if dbug_lines then print("") end
-
-
-samechapter = true
-chapterno = chapterno + 1
-until (not GETLINE()) -- end repeat loop
-
--- closing files
-infile:close()
-io.write(")")
-if dbug_logfile then
- logfile:close()
- if (not logfile) then error_exit(0) end
-end
-outfile:close()
-if (not outfile) then error_exit(0) end
-
-if dbug then
- print(" ... that's all, bye")
-end
-print("")
--- NH: end main chunk and program!
diff --git a/macros/musixtex/scripts/musixtex.bat b/macros/musixtex/scripts/musixtex.bat
deleted file mode 100644
index 249ae595c4..0000000000
--- a/macros/musixtex/scripts/musixtex.bat
+++ /dev/null
@@ -1,6 +0,0 @@
-:: wrapper script to call musixtex.lua
-:: Usage: musixtex [options] basename[.tex|.ltx|.mtx|.pmx|.aspc]
-:: Suggested by Tomasz Luczak (Tomek) t34www@googlemail.com
-
-@for /f "delims=" %%I in ('kpsewhich --format=texmfscripts %~n0.lua') do texlua "%%I" %*
-:end
diff --git a/macros/musixtex/scripts/musixtex.lua b/macros/musixtex/scripts/musixtex.lua
deleted file mode 100755
index b568bb8903..0000000000
--- a/macros/musixtex/scripts/musixtex.lua
+++ /dev/null
@@ -1,648 +0,0 @@
-#!/usr/bin/env texlua
-
-VERSION = "0.23b"
-
---[[
- musixtex.lua: processes MusiXTeX files using xml2pmx and/or prepmx and/or pmxab
- and/or autosp as pre-processors (and deletes intermediate files)
-
- (c) Copyright 2011-2021 Bob Tennent rdt@cs.queensu.ca
- and Dirk Laurie dirk.laurie@gmail.com
-
- This program 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 of the License, or (at your
- option) any later version.
-
- This program 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 this program; if not, write to the Free Software Foundation, Inc.,
- 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA.
-
---]]
-
---[[
-
- ChangeLog:
-
- version 0.23b 2020-05-27 RDT
- improve the -h output
-
- version 0.23a 2020-08-14 RDT
- pmxprep files now deleted by xml2pmx
-
- version 0.23 2020-05-21 RDT
- added support for xml2pmx pre-preprocessing
-
- version 0.22 2020-03-20 RDT
- add -X option
- add -version, --version, -help, --help options
-
- version 0.21 2018-07-27 RDT
- add -P option.
-
- version 0.20 2018-06-11 RDT
- remove .mx1 file before tex processing
-
- version 0.19 2017-12-10 RDT
- Allow non-standard extensions.
- Add -M and -A options.
-
- version 0.18 2017-06-13 RDT
- Allow autosp to generate .ltx files
-
- version 0.17a 2017-01-08 RDT
- Added -D option.
- Avoid writing or concatenating a nil value.
-
- version 0.16e 2016-03-02 DL
- missing version information (caused by batchmode in 0.16c) fixed
-
- version 0.16d 2016-03-02 RDT
- filename argument in autosp failure message fixed
-
- version 0.16c 2016-02-24 RDT
- -interaction batchmode for -q
- report_error reports only the first error
-
- version 0.16b 2016-02-20 DL
- Improved help message as suggested by Bob Tennent.
-
- version 0.16a 2015-12-30 DL
- Corrects bug in -g option reported by Christian Mondrup.
-
- version 0.16 2015-12-24 DL
- Versions read from tempfile and written to musixtex.log.
-
- version 0.15 2015-12-03 DL
- Option -q added, which redirects most screen output into
- a temporary file. If an error occurs at the TeX stage, processing
- halts immediately and the tail of the log file is sent to stderr.
-
- version 0.14 2015-12-01 DL
- Writes `musixtex.log` and deletes other logfiles (except with -i)
- Hierarchy of extensions emphasized in usage() and consistently
- used elsewhere.
- Unknown option-like arguments reported and ignored, not treated
- as filenames
- Warnings and error messages generated by musixtex.lua start with
- respctively `!` and `!!`.
-
- version 0.13 2015-11-30 RDT
- Process .mtx and .pmx files (suggested by Dirk Laurie)
- exit_code is now an error count
- Use pmxab exit code to distinguish between errors and warnings
-
- version 0.12 2015-11-28 RDT
- Process .ltx files, with -l implied
-
- version 0.11 2015-07-16 RDT
- Automatic autosp preprocessing.
-
- version 0.10 2015-04-23 RDT
- Add -a option to preprocess using autosp
-
- version 0.9 2015-02-13 RDT
- Add an additional latex pass to resolve cross-references.
- Add -e0 option to dvips as given in musixdoc.tex
- Add -x option to call makeindex
-
- version 0.8 2014-05-18 RDT
- Add -g option
-
- version 0.7 2013-12-11 RDT
- Add -F fmt option
-
- version 0.6 2012-09-14 RDT
- Add -1 (one-pass [pdf][la]tex processing) option.
-
- version 0.5 2011-11-28 RDT
- Add -i (retain intermediate files) option.
-
- version 0.4 2011-04-30 RDT
- Allow multiple filenames (and options).
- Add -f (default) and -l (latex) options.
-
- version 0.3 2011-04-25 RDT
- Add -d (dvipdfm) and -s (stop at dvi) options.
-
- version 0.2 2011-04-21 RDT
- Allow basename.tex as filename.
- Add -p option for pdfetex processing.
- Add standard -v -h options.
---]]
-local orig_print = print
-
-function usage()
- orig_print
-[[
-Usage: [texlua] musixtex.lua { option | basename[ .xml | .mtx | .pmx | .aspc | .tex | .ltx] } ...
- When no extension is given, extensions are tried in the above order
- until a source file is found. Preprocessing goes
- .xml - .pmx - .tex
- .mtx - .pmx - .tex
- .pmx - .tex
- .aspc - .tex
- with the entry point determined by the filename extension.
- The normal route after preprocessing goes .tex - .dvi - .ps - .pdf,
- but shorter routes are also available; see the options.
- The default 3-pass processing route for .tex files is
- etex - musixflx - etex.
- .ltx files, possibly after autosp preprocessing, are treated as latex
- source and processed by latex (or pdflatex) rather than etex.
-Options: -v, --version version
- -h, --help help
- -l latex source; implied by .ltx extension
- -p direct tex-pdf (pdftex etc)
- -F fmt use fmt as the TeX processor
- -d tex-dvi-pdf (using dvipdfm if -D not used)
- -D dvixx use dvixx as the dvi processor
- -P ps2pdfxx use ps2pdfxx as the Postscript processor
- -c preprocess pmx file using pmxchords
- -m stop at pmx
- -M prepmxx use prepmxx as the mtx preprocessor
- -A autospx use autospx as the aspc preprocessor
- -X pmxabx use pmxabx as the pmx preprocessor
- -L xmlx use xmlx as the xml preprocessor
- -t stop at tex/mid
- -s stop at dvi
- -g stop at ps
- -i retain intermediate and log files
- -q quiet mode (redirect screen logs, write summary on musixtex.log)
- -1 one-pass [pdf][la]tex processing
- -x run makeindex
- -f restore default processing
-Four TeX engines are available via the -l and -p options.
- etex default
- latex -l
- pdfetex -p
- pdflatex -l -p
-If the -F option is used, options -l and -p need to be set if the engine
-name does not contain "latex" and "pdf" respectively. For example, the
-above four engines can be replaced by:
- -F "luatex --output-format=dvi"
- -F "lualatex --output-format=dvi"
- -F "luatex" -p
- -F "lualatex" -p
-]]
-end
-
-function whoami ()
- print("This is musixtex.lua version ".. VERSION .. ".")
-end
-
-function exists (filename, nolog)
- local f = io.open(filename, "r")
- if f then
- f:close()
- if not nolog then musixlog:write("Processing " .. filename,'\n' ) end
- return true
- else
- return false
- end
-end
-
--- System commands for the various programs are mostly
--- set to nil if the step is to be omitted, which can be
--- tested by a simple "if" statement.
--- Exceptions:
--- 'tex' is the command for processing a TeX file, but it is important
--- to know whether the user has explicitly specified an option that
--- affects this choice, in which case the automatic selection of the
--- command is restricted or disabled.
--- force_engine "use the command provided"
--- override records when 'l' and/or 'p' options are in effect
--- 'dvi' is the command for processing a DVI file, but there are two
--- reasons for not needing it and it is important for the automatic
--- selection of a TeX engine to know which is in effect. This is
--- possible by exploiting the the fact that Lua has two false values.
--- dvi == nil "do not produce a DVI file" (but maybe PDF)
--- dvi == false "do not process the DVI file" (but stop after TeX)
-
-local dvips = "dvips -e0"
--- option -e0 suppresses dvips "feature" of adjusting location to align
--- characters in words of text
-
-function defaults()
- xml2pmx = "xml2pmx"
- prepmx = "prepmx"
- pmx = "pmxab"
- autosp = "autosp"
- tex = "etex"
- musixflx = "musixflx"
- dvi = dvips
- ps2pdf = "ps2pdf"
- cleanup = true -- clean up intermediate and log files
- index = false
- latex = false
- force_engine = false -- indicates whether -F is specified
- override = ""
- passes = 2
- quiet = "" -- set by "-q"
-end
-
-------------------------------------------------------------------------
-
-if #arg == 0 then
- whoami()
- usage()
- os.exit(0)
-end
-
--- Logging on `musixtex.log` everything that is printed, all os calls,
--- and warnings from other log files.
-
-musixlog = io.open("musixtex.log","w")
-if not musixlog then
- print"!! Can't open files for writing in current directory, aborting"
- os.exit(1)
-end
-
-------------------------------------------------------------------------
-
-print = function(...)
- orig_print(...)
- musixlog:write(...,"\n") -- only the first argument gets written!
-end
-
-local orig_remove = os.remove
-remove = function(filename)
- if exists(filename,"nolog") then
- musixlog:write(" removing ",filename,"\n")
- return orig_remove(filename)
- end
-end
-
-local orig_execute = os.execute
-execute = function(command)
- musixlog:write(" ",command,"\n")
- return orig_execute(command .. quiet)
-end
-
-function report_warnings(filename,pattern)
- local log = io.open(filename)
- if not log then
- print("! No file "..filename)
- return
- end
- for line in log:lines() do
- if line:match(pattern) then
- musixlog:write("! "..line,"\n")
- end
- end
-end
-
-function report_error(filename)
- local log = io.open(filename)
- if not log then
- print("! No file "..filename)
- return
- end
- local trigger = false
- for line in log:lines() do
- if trigger and line:match"^!" then
- -- report just the first error
- break
- end
- trigger = trigger or line:match"^!"
- if trigger then
- io.stderr:write("! "..line,"\n")
- end
- end
-end
-
-function process_option(this_arg)
- if this_arg == "-v" or this_arg == "-version" or this_arg == "--version" then
- os.exit(0)
- elseif this_arg == "-h" or this_arg == "-help" or this_arg == "--help" then
- usage()
- os.exit(0)
- elseif this_arg == "-l" then
- latex = true
- override = override .. 'l'
- elseif this_arg == "-p" then
- dvi = nil
- override = override .. 'p'
- elseif this_arg == "-d" then
- dvi = "dvipdfm"; ps2pdf = nil
- elseif this_arg == "-D" then
- narg = narg+1
- dvi = arg[narg]
- elseif this_arg == "-c" then
- pmx = "pmxchords"
- elseif this_arg == "-F" then
- narg = narg+1
- tex = arg[narg]
- force_engine = true
- elseif this_arg == "-s" then
- dvi = false; ps2pdf = nil; protect.dvi = true
- elseif this_arg == "-g" then
- dvi = dvips; ps2pdf = nil; protect.ps = true
- elseif this_arg == "-i" then
- cleanup = false
- elseif this_arg == "-x" then
- index = true
- elseif this_arg == "-1" then
- passes = 1
- elseif this_arg == "-f" then
- defaults()
- elseif this_arg == "-t" then
- tex, dvi, ps2pdf = nil,nil,nil
- protect.tex = true
- elseif this_arg == "-m" then
- pmx, tex, dvi, ps2pdf = nil,nil,nil,nil
- protect.pmx = true
- elseif this_arg == "-M" then
- narg = narg+1
- prepmx = arg[narg]
- elseif this_arg == "-A" then
- narg = narg+1
- autosp = arg[narg]
- elseif this_arg == "-L" then
- narg = narg+1
- xml2pmx = arg[narg]
- elseif this_arg == "-q" then
- if not tempname then
- tempname = tempname or os.tmpname()
- print("Redirecting screen output to "..tempname)
- end
- if dvi == dvips then dvi = dvi .. " -q" end
- quiet = " >> " .. tempname
- elseif this_arg == "-P" then
- narg = narg+1
- ps2pdf = arg[narg]
- elseif this_arg == "-X" then
- narg = narg+1
- pmx = arg[narg]
- else
- print("! Unknown option "..this_arg.." ignored")
- end
-end
-
-function find_file(this_arg)
- basename, extension = this_arg:match"(.*)%.(.*)"
- extensions = {["xml"] = true, ["mtx"] = true, ["pmx"] = true, ["aspc"] = true, ["tex"] = true, ["ltx"] = true}
- if extensions[extension] then
- return basename, extension
- end
- basename, extension = this_arg, null
- for ext in ("xml,mtx,pmx,aspc,tex,ltx"):gmatch"[^,]+" do
- if exists (basename .. "." .. ext) then
- extension = ext
- break
- end
- end
- if extension == null then
- print("!! No file " .. basename .. ".[xml|mtx|pmx|aspc|tex|ltx]")
- exit_code = exit_code+1
- return
- end
- return basename, extension
-end
-
-function preprocess(basename,extension)
- if not (basename and extension) then return end
- if extension == "xml" then
- if execute(xml2pmx .. " " .. basename .. ".xml" .. " " .. basename .. ".pmx" ) == 0 then
- extension = "pmx"
- else
- print ("!! xml2pmx preprocessing of " .. basename .. ".xml fails.")
- return
- end
- elseif extension == "mtx" then
- if execute(prepmx .. " " .. basename ) == 0 then
- extension = "pmx"
- else
- print ("!! prepmx preprocessing of " .. basename .. ".mtx fails.")
- return
- end
- end
- if extension == "pmx" then
- local OK = true
- if pmx then
- local code = execute(pmx .. " " .. basename)
- local pmxaerr = io.open("pmxaerr.dat", "r")
- if (not pmxaerr) then
- OK = false
- print("!! No pmx log file.")
- else
- extension = "tex"
- local linebuf = pmxaerr:read()
- local err = tonumber(linebuf)
- if (code == 0) then
- if err ~=0 then
- print ("! pmx produced a warning on line "..err..
- " of "..basename..".pmx")
- end
- else
- OK = false
- print ("!! pmx processing of " .. basename .. ".pmx fails.")
- end
- pmxaerr:close()
- end
- end
- if not OK then
- exit_code = exit_code+1
- return
- end
- end
- if extension == "aspc" then
- if execute (autosp .. " " .. basename .. ".aspc" ) == 0 then
- if exists ( basename .. ".ltx")
- then extension = "ltx"
- else extension = "tex"
- end
- else
- print ("!! autosp preprocessing of " .. basename .. ".aspc fails.")
- exit_code = exit_code+1
- return
- end
- end
- return extension
-end
-
-function tex_process(tex,basename,extension)
- if not (extension == "tex" or extension == "ltx") or not tex then return end
- remove(basename .. ".mx1")
- remove(basename .. ".mx2")
- local filename = basename .. "." ..extension
--- .ltx extension re-selects engine only for the current file, and only
--- if default processing is plain TeX
- local latex = latex
- if extension == "ltx" then
- if not force_engine and not latex then
- if dvi then tex = "latex" else tex = "pdflatex" end
- end
- latex = true
- end
- if quiet ~= "" then
- tex = tex .. " -interaction batchmode"
- end
- local OK = (execute(tex .. " " .. filename) == 0)
- if passes ~= 1 then
- OK = OK and (execute(musixflx .. " " .. basename) == 0)
- and (execute(tex .. " " .. filename) == 0)
- if latex and index then
- OK = OK and (execute("makeindex -q " .. basename) == 0)
- and (execute(tex .. " " .. filename) == 0)
- if exists (basename .. ".toc","nolog") then
- -- an extra line for the index will have been added
- OK = OK and (execute(tex .. " " .. filename) == 0)
- -- there is a tiny possibility that the extra line for the index
- -- has changed the pagination. If you feel this should not be
- -- ignored, here are the possibilities:
- -- a. Do an extra TeX pass regardless.
- -- b. Provide a user option -4 to force the extra pass.
- -- c. Compare aux files to find out.
- end
- end
- end
- if (quiet ~= "") and not OK then
- report_error(basename..".log")
- end
- if OK and latex then
- report_warnings(basename..".log","LaTeX.*Warning")
- end
- if dvi then OK = OK and (execute(dvi .. " " .. basename) == 0) end
- if dvi and ps2pdf then
- OK = OK and (execute(ps2pdf .. " " .. basename .. ".ps") == 0)
- if OK then
- print(basename .. ".pdf generated by " .. ps2pdf .. ".")
- end
- end
- if not OK then
- print("!! Processing of " .. filename .. " fails.\n")
- exit_code = exit_code+1
- end
-end
-
----- Report version information on musixtex.log
-
--- File names and message signatures to be looked for in a TeX log file.
-logtargets = {
-mtxtex = {"mtx%.tex","mtxTeX"},
-mtxlatex = {"mtxlatex%.sty","mtxLaTeX"},
-pmxtex = {"pmx%.tex","PMX"},
-musixtex = {"musixtex%.tex","MusiXTeX"},
-musixltx = {"musixltx%.tex","MusiXLaTeX"},
-musixlyr = {"musixlyr%.tex","MusiXLYR"}
-}
-
--- Signatures of messages displayed on standard output by programs
-capturetargets = {
-MTx = "This is (M%-Tx.->)",
-PMX = "This is (PMX[^\n]+)",
-pdftex = "This is (pdfTeX[^\n]+)",
-musixflx = "Musixflx%S+",
-autosp = "This is autosp.*$",
-index = "autosp,MTx,PMX,musixflx,pdftex"
-}
-
-function report_texfiles(logname)
- local log = logname and io.open(logname)
- if not log then return end
- local lines =
- {"--- TeX files actually included according to "..logname.." ---"}
- log = log:read"*a"
--- The following pattern matches filenames input by TeX, even if
--- interrupted by a line break. It may include the first word of
--- an \immediate\write10 message emitted by the file.
- for pos,filename in log:gmatch"%(()(%.?[/]%a[%-/%.%w\n]+)" do
- local hit
- repeat
- local oldfilename = filename
- filename = oldfilename:match"[^\n]+" -- up to next line break
- hit = io.open(filename) -- success if the file exists
- if hit then break end
- filename = oldfilename:gsub("\n","",1) -- remove line break
- until filename==oldfilename
- if hit then
- for target,sig in pairs(logtargets) do
- if filename:match(sig[1]) then
- local i,j = log:find(sig[2].."[^\n]+",pos)
- if j then lines[#lines+1] = filename.."\n "..log:sub(i,j) end
- end
- end
- end
- end
- return table.concat(lines,'\n').."\n"
-end
-
-function report_versions(tempname)
- if not tempname then return end -- only available with -q
- local logs = io.open(tempname)
- if not logs then
- musixlog:write ("No version information: could not open "..tempname)
- return
- end
- local versions = {}
- musixlog:write("--- Programs actually executed according to "..tempname.." ---\n")
- for line in logs:lines() do
- for target in capturetargets.index:gmatch"[^,]+" do
- if not versions[target] then
- local found = line:match(capturetargets[target])
- if found then
- versions[target] = found
- musixlog:write(found,"\n")
- end
- end
- end
- end
- logs:close()
- return
-end
-
-------------------------------------------------------------------------
-
-whoami()
-
-defaults()
-
-exit_code = 0
-narg = 1
-protect = {} -- extensions not to be deleted, even if cleanup requested
-
-repeat
- this_arg = arg[narg]
- if this_arg:match"^%-" then process_option(this_arg)
- else
- basename, extension = find_file(this_arg) -- nil,nil if not found
- if tex then -- tex output enabled, now select engine
- if tex:match"pdf" then dvi = nil end
- if not dvi then ps2pdf = nil end
- -- .ltx extension will be taken into account later, in `process`
- -- deduce tex/latex from current engine name if -l is not specified
- if not override:match"l" then latex = tex:match"latex" end
- if not force_engine then -- select appropriate default engine
- if latex then
- if dvi==nil then tex = "pdflatex" else tex = "latex" end
- else
- if dvi==nil then tex = "pdfetex" else tex = "etex" end
- end
- end
- end
- extension = preprocess(basename, extension)
- tex_process(tex,basename,extension)
- if basename and io.open(basename..".log") then -- to be printed later
- versions = report_texfiles(basename..".log")
- end
- if basename and cleanup then
- remove("pmxaerr.dat")
- for ext in ("mx1,mx2,dvi,ps,idx,log,ilg,pml"):gmatch"[^,]+" do
- if not protect[ext] then remove(basename.."."..ext)
- end
- end
- end
- protect = {}
- end
- narg = narg+1
-until narg > #arg
-
-if versions then musixlog:write(versions) end
-report_versions(tempname)
-musixlog:close()
-os.exit( exit_code )
diff --git a/macros/musixtex/source/doc.tex b/macros/musixtex/source/doc.tex
deleted file mode 100644
index b919dcbc4d..0000000000
--- a/macros/musixtex/source/doc.tex
+++ /dev/null
@@ -1,24 +0,0 @@
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%% musixcrd - typsetting chord symbols with %%
-%% musixtex %%
-%% doc.tex documentation generation %%
-%% $Id$ %%
-%% copyright 2004 , Robert Hennig %%
-%% this code is licensed in terms of the %%
-%% GNU Public License %%
-%% %%
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\documentclass{ltxdoc}
-\usepackage{musixtex,musixcrd,syntax,sverb}
-\EnableCrossrefs
-\PageIndex
-\CodelineIndex
-\setlength\hfuzz{15pt}
-\begin{document}
- \DocInput{musixcrd.dtx}
-\end{document}
-
-%%% Local Variables:
-%%% mode: plain-tex
-%%% TeX-master: t
-%%% End:
diff --git a/macros/musixtex/source/makefile b/macros/musixtex/source/makefile
deleted file mode 100644
index 68202db902..0000000000
--- a/macros/musixtex/source/makefile
+++ /dev/null
@@ -1,45 +0,0 @@
-#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-#%% musixcrd - typsetting chord symbols with %%
-#%% musixtex %%
-#%% makefile %%
-#%% $Id$ %%
-#%% copyright 2004 , Robert Hennig %%
-#%% this code is licensed in terms of the %%
-#%% GNU Public License %%
-#%% %%
-#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-SOURCES = readme musixcrd.dtx makefile musixcrd.sty doc.tex strip.tex
-TARGETS = readme musixcrd.tex doc.pdf
-
-doc: doc.dvi
-
-strip: musixcrd.tex
-
-srcdist: musixcrdsrc.tgz
-
-dist: musixcrd.tgz
-
-all: strip doc srcdist dist
-
-musixcrd.tex: strip.tex musixcrd.dtx
- tex strip.tex
-
-doc.toc: doc.tex musixcrd.dtx
- latex doc.tex
- latex doc.tex
-
-doc.dvi: doc.tex musixcrd.dtx doc.toc
- latex doc.tex
-
-doc.ps: doc.dvi
- dvips -o doc.ps doc.dvi
-
-doc.pdf: doc.dvi
- dvipdfm -o doc.pdf doc.dvi
-
-musixcrdsrc.tgz: $(SOURCES)
- tar czvf musixcrdsrc.tgz $(SOURCES)
-
-musixcrd.tgz: makefile $(TARGETS)
- tar czvf musixcrd.tgz $(TARGETS) \ No newline at end of file
diff --git a/macros/musixtex/source/musixcrd.dtx b/macros/musixtex/source/musixcrd.dtx
deleted file mode 100644
index 3caf93ff06..0000000000
--- a/macros/musixtex/source/musixcrd.dtx
+++ /dev/null
@@ -1,811 +0,0 @@
-%\iffalse
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%% musixcrd - typsetting chord symbols with %%
-%% musixtex %%
-%% main source file contains code, doc, and examples %%
-%% $Id$ %%
-%% copyright 2004 , Robert Hennig %%
-%% this code is licensed in terms of the %%
-%% GNU Public License %%
-%% %%
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%\fi
-\ifx\makeatletter\undefined\def\makeatletter{\catcode`\@=11\relax}\fi
-\ifx\makeatother\undefined\def\makeatother{\catcode`\@=12\relax}\fi
-
-\makeatletter% ^^A allows to use @ as ordinary letter
-%
-% \def\backslash{\tt\char'134}
-% \def\musixtex{MusiX\TeX}
-% \def\musixcrd{MusixCrd}
-% \def\crdexample#1{{\tt\backslash c #1 }$\rightarrow$ \c #1 \medskip}
-% \def\pmx{PMX}
-% \title{
-% {\bf \musixcrd} \\
-% --- Typesetting Chord Symbols with \musixtex --- \\
-% Version 1.1 \\
-% {\large $Revision$}}
-%
-% \author{Robert Hennig\thanks{robert.hennig@freylax.de}}
-% \maketitle
-% \tableofcontents
-%
-% \section{Usage}
-% This package was written to ease the typesetting of chord symbols
-% for music scores.
-% One point of focus was that the user should have not to much to type
-% if placing the cord. So one macro will be used which takes characters
-% as argument which describe the chord to type. \par
-% Thought the syntax of the chord description could easily be altered they
-% should become somewhat stable whereas the output format can be adapted to
-% individual needs.
-% Further the notenames can be transposed, so transposing a music piece
-% with chord symbols can be done easily. \par
-% The package can be used with \musixtex\ and \pmx\
-% -- which also gave the idea for the usage of an short chord--description
-% `language'.
-% \footnote{If the default output functions are changed the package could
-% also be used with \TeX{} and \LaTeX{} alone.}
-% \par
-%
-% \DescribeMacro{\c}
-% The main macro which the package defines is
-% \verb*|\c |\synt{chord-list}\verb*| |. The argument is an space
-% terminated \synt{chord-list}
-% \footnote{This form of argument was choosen because it leads to a
-% short notation inside \pmx\ e.g.: \\
-% {\tt \backslash c AfM \backslash\ e8 f g4 \backslash c Gm7 \backslash\ b4 g}
-% }.
-% \begin{demo}[w]{\musixtex}
-% \nobarnumbers
-% \startextract
-% \NOtes\c CM7 \hu e\c Dm7 \hu f\en\bar
-% \NOTEs\c Ch/E \hu g\c F6/A \hu h\en\bar
-% \NOtes\c 0-1E7/G \hl i\c Fd/Af \hl j\en
-% \endextract
-% \end{demo}
-%
-% \subsection{Syntax}
-% \begin{grammar}
-% <empty> ::= `'
-%
-% <digit> ::= `0' | `1' | `2' | `3' | `4' | `5' | `6' | `7' | `8' | `9'
-%
-% <number> ::= <digit> | `-' <digit>
-%
-% <vertical-shift> ::= <number> | <empty>
-%
-% <horizontal-shift> ::= <number> | <empty>
-%
-% <note-base-name> ::= `C' | `D' | `E' | `F' | `G' | `A' | `B'
-%
-% <accidental> ::= `s' | `f' | `ds' | `df'
-%
-% <note-name> ::= <empty> | <note-base-name>
-% | <note-base-name> <accidental>
-%
-% <chord-qualifier> ::=
-% `m' | `d' | `h' | `M' | `4' | `+5' | `-5' | `6' | `7' | `-9' | `+9'
-%
-% <chord-qualifier-list> ::= <empty>
-% | <chord-qualifier> <chord-qualifier-list>
-%
-% <begin-bass-note> ::= <empty> | `/'
-%
-% <chord> ::= <vertical-shift> <horizontal-shift> \\
-% <note-name> <chord-qualifier-list> \\
-% <begin-bass-note> <note-name> <chord-qualifier-list>
-%
-% <chord-list> ::= <chord-list> `,' <chord-list> | <chord> | <empty>
-% \end{grammar}
-%
-%
-% \subsection{Semantics}
-% \paragraph{\synt{vertical-shift}}
-% \DescribeMacro{\crddefaultheight}
-% Adjustment of the vertical chord position in internotes,
-% relative to the default value defined with
-% \verb*|\crddefaultheight|. You may change this default within
-% your sheet.
-% \begin{macrocode}
-\def\crddefaultheight{10}
-% \end{macrocode}
-% \paragraph{\synt{horizontal-shift}}
-% Horizontal adjustment in multiples of \verb*|\elemskip|.
-%
-% \paragraph{\synt{accidental}}
-% Allowed accidentals are: sharp, flat, double-sharp, double-flat.
-%
-% \paragraph{\synt{note-name}}
-% \DescribeMacro{\crdtranspose}
-% The given note names are transposed by the number of quint steps
-% given in \verb*|\crdtranspose|. You may change this value within
-% your sheet.
-% \begin{macrocode}
-\def\crdtranspose{0}
-% \end{macrocode}
-% \paragraph{\synt{chord-qualifier}}
-% Currently known qualifiers are:
-% \begin{description}
-% \item[m] minor
-% \item[d] diminished
-% \item[h] half-diminished
-% \item[M] major
-% \item[4] suspended fourth
-% \item[+5] augmented fifth
-% \item[-5] diminished fifth
-% \item[6] 6th
-% \item[7] 7th
-% \item[9] 9th
-% \item[-9] diminished 9th
-% \item[+9] augmented 9th
-% \end{description}
-% Note that the syntax is independent of the visualization
-% of the qualifier so different chord styles could be applied.
-%
-% \paragraph{\synt{begin-bass-note}}
-% Use the `/' symbol to skip the \synt{note-name} and
-% \synt{chord-qualifier-list} to allow the notation of
-% bass-notes without chord-notes.
-%
-% \paragraph{\synt{chord-list}}
-% With `,' separated chords are spread evenly
-% within one bar. Use this notation if the horizontal positions
-% of the chords do not line up with the notes.
-%
-%
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% \section{Implementation}
-% \subsection{Input Guard}
-% To prevent repeated defenition of the main macros
-% we end the inclusion of this file if we already now
-% about our macros.
-% \begin{macrocode}
-\ifx\crd@parser\undefined\else\makeatother\endinput\fi%
-% \end{macrocode}
-% \subsection{List Macros}
-% For the parsing of the chord description some macros are needed which
-% can do simple string operations. \medskip \\
-% \DescribeMacro{\crd@append}
-% \syntax{"\\crd@append"<tokens-a>"\\to"<tokens-b>}\\
-% Append \synt{tokens-a} to \synt{tokens-b}.
-% \begin{macrocode}
-\def\crd@append#1\to#2{%
- \toks0=\expandafter{#1}\toks2=\expandafter{#2}%
- \edef#2{\the\toks2 \the\toks0}}
-% \end{macrocode}
-% \DescribeMacro{\crd@prepend}
-% \syntax{"\\crd@prepend"<tokens-a>"\\by"<tokens-b>}\\
-% Prepend \synt{tokens-a} by \synt{tokens-b}.
-% \begin{macrocode}
-\def\crd@prepend#1\by#2{%
- \toks0=\expandafter{#1}\toks2=\expandafter{#2}%
- \edef#1{\the\toks2 \the\toks0}}
-% \end{macrocode}
-% \DescribeMacro{\crd@movetoken}
-% \syntax{"\\crd@movetoken"<tokens-a>"\\to"<tokens-b>}\\
-% Move the first token of \synt{tokens-a} to the front of
-% \synt{tokens-b}.
-% \begin{macrocode}
-\def\crd@movetoken#1\to#2{%
- \ifx#1\empty\else\expandafter\crd@moveoff#1\crd@moveoff#1#2\fi}%
-\def\crd@moveoff#1#2\crd@moveoff#3#4{\def#3{#2}\crd@prepend#4\by#1}
-% \end{macrocode}
-% \begin{demo}[w]{test}
-% \makeatletter
-% \def\l{oo} (\l) %
-% \crd@append{ns}\to\l append:(\l) %
-% \crd@prepend\l\by{sp} prepend:(\l)\\%
-% \def\swap#1#2{(#1,#2) %
-% \ifx#1\empty\else\crd@movetoken#1\to#2\swap#1#2\fi}
-% \def\r{} movetoken:\\ \swap\l\r
-% \makeatother
-% \end{demo}
-%
-% \subsection{Parsing}
-% To describe the syntatic items which exists for a distinct semantic
-% a \synt{syntax-table} is used.
-% For each item exists a coresponding macro which will be executed
-% if it name matches. The name of the item consists of the
-% \synt{syntax-table} name and the \emph{reverse} syntax of this item. \par
-%
-% \DescribeMacro{\crd@parse}
-% The \syntax{"\\crd@parse"<tokens>"\\for"<syntax-table>} macro is used
-% to test if the first part of \synt{tokens} has matches for the longest
-% possible item described in \synt{syntax-table}.
-% If an item matched its macro will be expanded and
-% and the tokens of the item are cut of from the given \synt{tokens}.
-% \DescribeMacro{\crd@parsematched}
-% The conditional \verb|\crd@parsematched| is true if an item matched and
-% false otherwise.
-%
-% \begin{macrocode}
-\newif\ifcrd@parsematched% true if parse matched
-\newcount\crd@parsedepth% internal register
-
-\def\crd@parse#1\for#2{% parse tokens #1 for occurence of items of table #2
- \crd@parsedepth=1 % default if not defined
- \expandafter\ifx\csname#2depth\endcsname\relax\else%
- \crd@parsedepth=\csname#2depth\endcsname%
- \fi%
- \def\stack{}%\def\crd@parseresult{}
- \crd@parsematchedfalse% initialisation
- \crd@parser#1\for#2% call the recursive part
-}
-\def\crd@parser#1\for#2{% recursive part of parser
- \ifx#1\empty\else% is list filled ?
- \ifnum\crd@parsedepth>0 % and do we have to read more chars into stack
- \advance\crd@parsedepth by-1 %
- \crd@movetoken#1\to\stack%
- \crd@parser#1\for#2% recursive call
- \ifcrd@parsematched\else% if still not matched
- \expandafter\ifx\csname#2\stack\endcsname\relax% does item match
- \crd@movetoken\stack\to#1% no match, put char back to source
- \else% match
- \csname#2\stack\endcsname%
- \crd@parsematchedtrue% signal success
- \fi%
- \fi%
- \fi%
- \fi%
-}
-% \end{macrocode}
-% For an example suppose that we want to express the
-% semantic \synt{bool} by the following grammar:
-% \begin{grammar}
-% <bool> ::= `y' | `n' | `yes' | `no'
-% \end{grammar}
-%
-% \begin{demo}[w]{bool}
-% \def\bool{bool} % syntax-table with name `bool'
-% \def\booldepth{3} % max length of text to looking for is 3
-% \def\booly{true}
-% \def\booln{false}
-% \def\boolsey{true*} % reverse syntax !!!
-% \def\boolon{false*} % reverse syntax !!!
-% \makeatletter
-% \def\p#1{ (#1) \crd@parse#1\for\bool : (#1)\\}
-% \makeatother
-% \def\l{nonyyestest} \p\l\p\l\p\l\p\l\p\l
-% \end{demo}
-%
-%
-% \subsection{Chord parsing}
-% \subsubsection{Vertical and Horizontal shifting}
-% \begin{macrocode}
-\newcount\crd@vshift%
-\newcount\crd@hshift%
-\def\crd@number{crd@number}%
-\def\crd@numberdepth{2}%
-\expandafter\def\csname\crd@number0\endcsname{\crd@numberval=0 }%
-\expandafter\def\csname\crd@number1\endcsname{\crd@numberval=1 }%
-\expandafter\def\csname\crd@number2\endcsname{\crd@numberval=2 }%
-\expandafter\def\csname\crd@number3\endcsname{\crd@numberval=3 }%
-\expandafter\def\csname\crd@number4\endcsname{\crd@numberval=4 }%
-\expandafter\def\csname\crd@number5\endcsname{\crd@numberval=5 }%
-\expandafter\def\csname\crd@number6\endcsname{\crd@numberval=6 }%
-\expandafter\def\csname\crd@number7\endcsname{\crd@numberval=7 }%
-\expandafter\def\csname\crd@number8\endcsname{\crd@numberval=8 }%
-\expandafter\def\csname\crd@number9\endcsname{\crd@numberval=9 }%
-\expandafter\def\csname\crd@number1-\endcsname{\crd@numberval=-1 }%
-\expandafter\def\csname\crd@number2-\endcsname{\crd@numberval=-2 }%
-\expandafter\def\csname\crd@number3-\endcsname{\crd@numberval=-3 }%
-\expandafter\def\csname\crd@number4-\endcsname{\crd@numberval=-4 }%
-\expandafter\def\csname\crd@number5-\endcsname{\crd@numberval=-5 }%
-\expandafter\def\csname\crd@number6-\endcsname{\crd@numberval=-6 }%
-\expandafter\def\csname\crd@number7-\endcsname{\crd@numberval=-7 }%
-\expandafter\def\csname\crd@number8-\endcsname{\crd@numberval=-8 }%
-\expandafter\def\csname\crd@number9-\endcsname{\crd@numberval=-9 }%
-
-\def\crd@bracketinit{%
- \def\crd@bracketopen{}%
- \def\crd@bracketclose{}%
-}
-\def\crd@bracket{crd@bracket}%
-\def\crd@bracketdepth{1}%
-\expandafter\def\csname\crd@bracket(\endcsname{%
- \crd@append(\to\crd@bracketopen}%
-\expandafter\def\csname\crd@bracket)\endcsname{%
- \crd@append)\to\crd@bracketclose}%
-
-% \end{macrocode}
-% \subsubsection{Notes and Accidentals}
-% \paragraph{Syntax}
-% In order to allow transposition of notes we use the circle of fifth
-% for representing notes.
-% \DescribeMacro{\crd@quintval}
-% The syntax table \verb|\crd@quintval| contains the mapping from note
-% names to the note position in the circle of fifth. \\
-% \DescribeMacro{\crd@quint}
-% The count register \verb|\crd@quint| is used to receive the result.
-% \begin{macrocode}
-\newcount\crd@quint% register used to represent notes in the circle of
-\def\crd@quintval{crd@quintval}%
-\def\crd@quintvalA{\crd@quint=3 }% A
-\def\crd@quintvalB{\crd@quint=5 }% B
-\def\crd@quintvalC{\crd@quint=0 }% C
-\def\crd@quintvalD{\crd@quint=2 }% D
-\def\crd@quintvalE{\crd@quint=4 }% E
-\def\crd@quintvalF{\crd@quint=-1 }% F
-\def\crd@quintvalG{\crd@quint=1 }% G
-% \end{macrocode}
-% \DescribeMacro{\crd@quintmod}
-% The modification of the note position in the circle of fifth
-% which is caused by the accidentals is coded in the
-% \verb|\crd@quintmod| syntax table.
-% \begin{macrocode}
-\def\crd@quintmod{crd@quintmod}
-\def\crd@quintmoddepth{2}
-\def\crd@quintmods{\advance\crd@quint by7 }% sharp
-\def\crd@quintmodf{\advance\crd@quint by-7 }% flat
-\def\crd@quintmodsd{\advance\crd@quint by14 }% double sharp
-\def\crd@quintmodfd{\advance\crd@quint by-14 }% double flat
-% \end{macrocode}
-% \paragraph{Notenames and accidental symbols}
-% After transpositon and enharmonic adaption an reverse mapping
-% from the circle of fifth to notenames and accidentals is needed.
-% \DescribeMacro{\crd@note}
-% The mapping from circle of fifth to notenames without accidentals
-% is specified in the \verb|\crd@note| table.
-% \DescribeMacro{\crd@notelow}\DescribeMacro{\crd@notehigh}
-% In addition we need to now where the notes without accidentals
-% start and end which is defined in \verb|\crd@notelow| and
-% \verb|crd@notehigh|.
-% \begin{macrocode}
-\def\crd@note{crd@note}
-\expandafter\def\csname\crd@note3\endcsname{A}
-\expandafter\def\csname\crd@note5\endcsname{B}
-\expandafter\def\csname\crd@note0\endcsname{C}
-\expandafter\def\csname\crd@note2\endcsname{D}
-\expandafter\def\csname\crd@note4\endcsname{E}
-\expandafter\def\csname\crd@note-1\endcsname{F}
-\expandafter\def\csname\crd@note1\endcsname{G}
-\def\crd@notelow{-1} % lowest quint without accidental
-\def\crd@notehigh{5} % highest quint without accidental
-% \end{macrocode}
-%
-% \DescribeMacro{\crd@sharp}\DescribeMacro{\crd@flat}
-% \DescribeMacro{\crd@doublesharp}\DescribeMacro{\crd@doubleflat}
-% The following macros define the representation of the
-% (default) accidentals.
-% \begin{macrocode}
-\def\crd@sharp{\sharp}
-\def\crd@flat{\flat}
-\def\crd@doublesharp{\sharp\sharp}
-\def\crd@doubleflat{\flat\flat}
-% \end{macrocode}
-% \paragraph{Parsing}
-% \DescribeMacro{\crd@input}
-% The following functions read their input from \verb|\crd@input|.\\
-% \DescribeMacro{\crd@parsenote}
-% The \syntax{"\\crd@parsenote"<note><accidental>}
-% macro parses the input \verb|\crd@input| and if note and
-% accidental could be detected the transposed note position
-% in the circle of fifth will be calculated, transposed and
-% adapted using the \verb|\crd@enharmonic| macro.
-% Then the position in the circle of fifth is calculated back
-% to the \synt{note} and \synt{accidental} representation which
-% is stored in the arguments.
-% \begin{macrocode}
-\def\crd@parsenote#1#2{% parse input results: #1
- \def#1{}\def#2{}%
- \crd@parse\crd@input\for\crd@quintval%
- \ifcrd@parsematched% we got an valid note
- \crd@parse\crd@input\for\crd@quintmod%
- \advance\crd@quint by\crdtranspose \relax% transposition, space is needed!
- \crd@enharmonic%
- \ifnum\crd@quint>\crd@notehigh % sharps ?
- \advance\crd@quint by-7 %
- \ifnum\crd@quint>\crd@notehigh % double sharp ?
- \advance\crd@quint by-7 %
- \ifnum\crd@quint>\crd@notehigh % too much sharps !
- \relax ERROR:too much sharps%
- \else\edef#2{\crd@doublesharp}\fi%
- \else\edef#2{\crd@sharp}\fi%
- \fi%
- \ifnum\crd@quint<\crd@notelow % flats ?
- \advance\crd@quint by7 %
- \ifnum\crd@quint<\crd@notelow % double flat ?
- \advance\crd@quint by7 %
- \ifnum\crd@quint<\crd@notelow % too much flats !
- \relax ERROR:too much flats%
- \else\edef#2{\crd@doubleflat}\fi%
- \else\edef#2{\crd@flat}\fi%
- \fi%
- \expandafter\ifx\csname\crd@note\number\crd@quint\endcsname\relax%
- ERROR:notename for (\number\crd@quint) is not defined.
- \fi%
- \edef#1{\csname\crd@note\number\crd@quint\endcsname}% set note
- \fi%
-}
-% \end{macrocode}
-%
-%
-% \DescribeMacro{\crd@enharmonic}
-% To allow different enharmonic adaptions the \verb|\crd@enharmonic|
-% macro is provided which default behaviour is to do nothing.
-% \begin{macrocode}
-\def\crd@enharmonic{}%
-% \end{macrocode}
-%
-% \begin{demo}[w]{noteparsing}
-% \makeatletter
-% \def\parsenoter{\crd@parsenote\n\a%
-% \ifx\n\empty\else{\crd@notetype\n\a}\parsenoter\fi}%
-% \def\parsenotes#1{%
-% \let\crd@flat=\crd@noteflat%
-% \let\crd@sharp=\crd@notesharp%
-% \def\crd@input{#1}\parsenoter}
-% \makeatother
-%
-% \parsenotes{CDfDEfEFFsGAfAsB}
-% \end{demo}
-%
-%
-% \subsubsection{Chord Qualifiers}
-% To cover a broad range of different styles for setting chord qualifiers
-% the design is open for extensions. For the sake of demonstration and
-% simple usability an default implementation is provided and discussed
-% furtherwards. \\
-% Suppose we want to distinguish 3 different kinds of qualifiers,
-% some go down, some go up and alterations are put in brackets.
-% \DescribeMacro{\crd@qualinit}
-% We choose to use 3 lists (macros) to hold the parsing results.
-% For initialisation of these lists the \verb|\crd@qualinit| macro
-% has to be implemented.
-% \begin{macrocode}
-\def\crd@qualinit{%
- \def\crd@lo{}% lower extensions
- \def\crd@up{}% upper extensioins
- \def\crd@alt{}% alterations
-}
-% \end{macrocode}
-% \DescribeMacro{\crd@qual}
-% Now the syntax table \verb|\crd@qual| has to be defined which fills
-% the lists appropriatly.
-% \begin{macrocode}
-\def\crd@qual{crd@qual}%
-\def\crd@qualdepth{2}
-\def\crd@qualm{\crd@append{\crd@smalltype m}\to\crd@lo}% minor
-\def\crd@qualM{\crd@append{\crd@capitaltype M}\to\crd@up}% major7
-\expandafter\def\csname\crd@qual4\endcsname% 4
-{\crd@append{\crd@numbertype4}\to\crd@lo}
-\expandafter\def\csname\crd@qual5+\endcsname% aug. 5
-{\crd@append{\crd@numbertype\crd@numbersharp5}\to\crd@alt}
-\expandafter\def\csname\crd@qual5-\endcsname% dim. 5
-{\crd@append{\crd@numbertype\crd@numberflat5}\to\crd@alt}
-\expandafter\def\csname\crd@qual6\endcsname% 6
-{\crd@append{\crd@numbertype6}\to\crd@up}
-\expandafter\def\csname\crd@qual7\endcsname% dominant 7
-{\crd@append{\crd@numbertype7}\to\crd@up}
-\def\crd@quald{\crd@append{\crd@dim}\to\crd@up}% diminished
-\def\crd@qualh{\crd@append{\crd@hdim}\to\crd@up}% half diminished
-\expandafter\def\csname\crd@qual9-\endcsname% -9
-{\crd@append{\crd@numbertype\crd@numberflat9}\to\crd@alt}
-\expandafter\def\csname\crd@qual9+\endcsname% +9
-{\crd@append{\crd@numbertype\crd@numbersharp9}\to\crd@alt}
-% \end{macrocode}
-%
-% \begin{demo}[w]{qualparsing}
-% \makeatletter
-% \def\parsequal#1{\def\crd@input{#1}%
-% \crd@qualinit%
-% \loop\crd@parse\crd@input\for\crd@qual%
-% \ifcrd@parsematched\repeat%
-% (\crd@lo,\crd@up,\crd@alt)%
-% }%
-% \makeatother
-%
-% \parsequal{mMdh4+5-567-9+9}
-% \end{demo}
-%
-% \subsubsection{Parsing the whole chord}
-% We are now ready to parse the whole chord, consisting
-% of chordnote, qualifiers and bassnote. However
-% if one likes to set only a bassnote one needs to tell
-% that there is no chord note to set. For this purpose
-% the \DescribeMacro{\crd@skipcrdnote} \verb|\crd@skipcrdnote|
-% syntax table defines the `/' item which does this skip.
-% \begin{macrocode}
-\def\crd@skipcrdnote{crd@skipcrdnote}
-\expandafter\def\csname\crd@skipcrdnote/\endcsname{}
-% \end{macrocode}
-% \DescribeMacro{\crd@parsecrd}
-%
-% \begin{macrocode}
-\def\crd@parsecrd{%
- \crd@vshift=0 %
- \let\crd@numberval=\crd@vshift%
- \crd@parse\crd@input\for\crd@number%
- \crd@hshift=0 %
- \let\crd@numberval=\crd@hshift%
- \crd@parse\crd@input\for\crd@number%
- \crd@bracketinit%
- \crd@parse\crd@input\for\crd@bracket%
- \def\crd@crdnote{}% chord note
- \def\crd@crdacc{}% chord note accidental
- \def\crd@bassnote{}% bass note
- \def\crd@bassacc{}% bass note accidental
- \crd@qualinit% initialize qualifiers
- \let\crd@flat=\crd@noteflat%
- \let\crd@doubleflat=\crd@notedoubleflat%
- \let\crd@sharp=\crd@notesharp%
- \let\crd@doublesharp=\crd@notedoublesharp%
- \crd@parsenote\crd@crdnote\crd@crdacc% read chord note
- \loop\crd@parse\crd@input\for\crd@qual% read qualifiers
- \ifcrd@parsematched\repeat%
- \crd@parse\crd@input\for\crd@skipcrdnote% skip eventually
- \let\crd@flat=\crd@bassflat%
- \let\crd@doubleflat=\crd@bassdoubleflat%
- \let\crd@sharp=\crd@basssharp%
- \let\crd@doublesharp=\crd@bassdoublesharp%
- \crd@parsenote\crd@bassnote\crd@bassacc% read bass note
- \crd@parse\crd@input\for\crd@bracket%
- \crd@formatcrd\hfil% call rendering
-}
-% \end{macrocode}
-% \subsubsection{ Multiple chords}
-% \DescribeMacro{\crd@parsecrds}
-% The \verb|\crd@parsecrds| macro is used to read more then one
-% chord. This can be usefull if no corresponding note over which
-% one can put the note exist.
-% \DescribeMacro{\crd@crddelim}
-% The syntax table \verb|\crd@crddelim| is used.
-% \begin{macrocode}
-\def\crd@crddelim{crd@crddelim}%
-\expandafter\def\csname\crd@crddelim,\endcsname{}%
-\def\crd@parsecrds{%
- \crd@parsecrd%
- \crd@parse\crd@input\for\crd@crddelim%
- \ifcrd@parsematched\crd@parsecrds\fi%
-}
-% \end{macrocode}
-% \begin{demo}[w]{multiple chords}
-% \c (Cm),2CM,Cm7
-% \end{demo}
-% \DescribeMacro{\c}
-% The main entry point for the user is the
-% \verb*|\c |\synt{chord-list}\verb*| | macro which calls the
-% \verb|\crd@output| routine with the formatted chords.
-% \begin{macrocode}
-\def\crd#1 {\def\crd@input{#1}\crd@output\crd@parsecrds}
-\let\cedilla=\c
-\let\c=\crd
-% \end{macrocode}
-%
-% \subsection{Formatting}
-% To allow the use of different fonts the
-% notion of fontstyles is introduced.
-% The initialisation of fontstyles is done in different macros.
-% \DescribeMacro{\crd@fontstylea}
-% \begin{macrocode}
-\def\crd@fontstylea{%
- \font\crd@eightrm=cmr8
- \font\crd@eightit=cmmi8
- \font\crd@seventeenrm=cmr17
- \font\crd@fourteenrm=cmr14
- \font\crd@twelverm=cmr12
- \font\crd@ninerm=cmr9
- \font\crd@smallninerm=cmr9 scaled 900
- \font\crd@bigninerm=cmr9 scaled 1100
- \let\crd@notetype=\crd@seventeenrm
- \def\crd@noteflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty2}}
- \def\crd@notedoubleflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty3}}
- \def\crd@notesharp{\raise0.8ex\hbox{\musictwenty4}}
- \def\crd@notedoublesharp{\raise0.8ex\hbox{\musictwenty5}}
- \let\crd@basstype=\crd@fourteenrm
- \def\crd@bassflat{\raise.5ex\hbox{\musicsixteen2}}
- \def\crd@bassdoubleflat{\raise0.6ex\hbox{\kern-0.085em\musicsixteen3}}
- \def\crd@basssharp{\raise1ex\hbox{\musicsixteen4}}
- \def\crd@bassdoublesharp{\raise0.8ex\hbox{\musicsixteen5}}
- \let\crd@numbertype=\crd@ninerm
- \def\crd@numberflat{\raise.5ex\hbox{\musiceleven2}}
- \def\crd@numbersharp{\raise1ex\hbox{\musiceleven4}}
- \def\crd@numberminus{\crd@ninerm-}
- \def\crd@numberplus{\crd@ninerm+}
- \let\crd@capitaltype=\crd@smallninerm % capitals
- \let\crd@smalltype=\crd@bigninerm % small
- \def\crd@hdim{\crd@eightit$\circ$\kern-4.4pt\raise.9pt\hbox{\crd@eightrm/}}
- \def\crd@dim{\crd@eightit$\circ$}
-}
-% \end{macrocode}
-% The formating of the chords is done in the
-% \DescribeMacro{\crd@formatcrd}
-% \verb|\crd@formatcrd| macro. The parse results are
-% stored in the following macros:
-% \verb|\crd@crdnote| -- chord note,
-% \verb|\crd@crdacc| -- chord note accidental,
-% \verb|\crd@bassnote| -- bass note and
-% \verb|\crd@bassacc| -- bass note accidental.
-%
-%
-%\iffalse % dont include this, just experimental code
-%<*gobble>
-\def\mymatrix#1{\null\,\vcenter{\normalbaselines\m@th
- \ialign{\hfil$##$\hfil&&\quad\hfil$##$\hfil\crcr
- \mathstrut\crcr\noalign{\kern-\baselineskip}
- #1\crcr\mathstrut\crcr\noalign{\kern-\baselineskip}}}\,}
-\def\crd@formatcrdb{%
- ${\rm \crd@crdnote}\crd@crdacc%
- ^{\crd@up}_{\raise0pt\hbox{{\rm \crd@lo}}}
- \ifx\crd@alt\empty\else\left(\mymatrix\crd@alt\right)\fi%
- \ifx\crd@bassnote\empty\else% do we have an bass note set ?
- /{\rm \crd@bassnote}\crd@bassacc%
- \fi$%
-}
-%</gobble>
-%\fi
-% \begin{macrocode}
-\def\crd@formatcrda{%
- \hbox{\kern\crd@hshift\elemskip\raise\crd@vshift\internote\hbox{%
- {\crd@notetype\crd@bracketopen}%
- {\crd@notetype\crd@crdnote\crd@crdacc}%
- \vbox{%
- \hbox{%
- \crd@up%
- \ifx\crd@alt\empty\else\crd@numbertype(\crd@alt\crd@numbertype)\fi%
- }%
- \nointerlineskip\vskip1pt%
- \hbox{\vphantom{\crd@capitaltype M}\crd@lo}}%
- \ifx\crd@bassnote\empty\else%
- {\crd@basstype/%
- \lower0.5ex\hbox{\kern-0.17em \crd@bassnote\crd@bassacc}}%
- \fi%\
- {\crd@notetype\crd@bracketclose}%
- }}
-}
-% \end{macrocode}
-% \begin{macrocode}
-\let\crd@formatcrd=\crd@formatcrda
-\crd@fontstylea
-% \end{macrocode}
-%
-% \begin{demo}[w]{formatting}
-% \generalsignature{0}\generalmeter{\meterfrac44}
-% \nobarnumbers
-% \startextract
-% \NOtes\c Cm,CM,Dm7 \hu f\en\bar
-% \endextract
-% \end{demo}
-%
-%
-% \DescribeMacro{\crd@output}
-% The output function puts the formatted chords on their place.
-%
-% \begin{macrocode}
-\def\crd@musixOutput#1{\hbox{\zchar{\crddefaultheight}{\hbox to\elemskip{#1\hss}}}}
-\let\crd@output=\crd@musixOutput
-% \end{macrocode}
-%
-%
-\makeatother
-%
-% \section{Customization}
-% If the default implementation does not suite the needs
-% some tips of how to change the default behaviour will be
-% given.
-% \subsection{Changing the extensions}
-% \begin{description}
-% \item[Q:] How do I get the symbol $Dm^{M7}$ ?
-% \item[A:] The M has to be put to the upper extensions list, so we
-% have to change the definition in the \verb|\crd@qual| table:
-% \def\crddefaultheight{0}
-% \begin{demo}[w]{$Dm^{M7}$}
-% \makeatletter%
-% \def\crd@qualM{\crd@append{\crd@capitaltype M}\to\crd@up}% major7
-% \makeatother%
-% \c DmM7 %
-% \end{demo}
-% \item[Q:] How do I get the symbol $Dm^{7-5}$ ?
-% \item[A:]
-% \begin{itemize}
-% \renewcommand{\labelitemi}{-}
-% \item
-% The predefined symbol can be found by using `h' -- for
-% half dimineshed.
-% \begin{demo}[w]{h}
-% \c Dh %
-% \end{demo}
-% \item
-% to ge the diminished fifth explicit to the upper extensions one could
-% either change the definition of the `h' to:
-% \begin{demo}[w]{Dmh : $Dm^{7-5}$}
-% \makeatletter%
-% \def\crd@qualh%
-% {\crd@append{\crd@numbertype 7-5}\to\crd@up}% half diminished
-% \makeatother%
-% \c Dmh %
-% \end{demo}
-% \item
-% or may introduce an mapping for the -5 and has to write: D7-5
-% \begin{demo}[w]{Dm7-5 : $Dm^{7-5}$}
-% \makeatletter%
-% \expandafter\def\csname\crd@qual5-\endcsname% dimin. 5
-% {\crd@append{\crd@numberminus\crd@numbertype5}\to\crd@up}%
-% \makeatother%
-% \c Dm7-5 %
-% \end{demo}
-% \end{itemize}
-% \end{description}
-%
-% \subsection{change fonts}
-% \begin{description}
-% \item[Q:] How do I change the font?
-% \item[A:] One has to create his own fontstyle definition
-% with a suitable formatting like for example:
-% \begin{demo}[w]{change fonts}
-% \makeatletter%
-% \def\crd@fontstyleb{%
-% \font\crd@newfont=cmssbx10%
-% \let\crd@notetype=\crd@newfont%
-% \def\crd@noteflat{\raise2pt\hbox{\musixchar90}}%
-% \def\crd@notedoubleflat{\crd@noteflat\crd@noteflat}%
-% \def\crd@notesharp{\raise3.5pt\hbox{\musixchar92}}%
-% \def\crd@notedoublesharp{\crd@notesharp\crd@notesharp}%
-% \let\crd@basstype=\crd@newfont%
-% \def\crd@bassflat{\crd@noteflat}%
-% \def\crd@bassdoubleflat{\crd@notedoubleflat}%
-% \def\crd@basssharp{\crd@notesharp}%
-% \def\crd@bassdoublesharp{\crd@notedoublesharp}%
-% \let\crd@numbertype=\crd@newfont%
-% \def\crd@numberflat{\crd@noteflat}%
-% \def\crd@numbersharp{\crd@notesharp}%
-% \def\crd@numberminus{\crd@newfont-}%
-% \def\crd@numberplus{\crd@newfont+}%
-% \let\crd@capitaltype=\crd@newfont % capitals in extension
-% \let\crd@smalltype=\crd@newfont % small letters in extension
-% \def\crd@hdim%
-% {\crd@newfont$\circ$\kern-4.4pt\raise.9pt\hbox{\crd@newfont/}}%
-% \def\crd@dim{\crd@newfont$\circ$}%
-% }%
-% \def\crd@formatcrdb{%
-% \hbox{\kern\crd@hshift\elemskip\raise\crd@vshift\internote\hbox{%
-% {\crd@notetype\crd@crdnote\crd@crdacc}%
-% \crd@lo%
-% \raise4pt%
-% \hbox{%
-% \crd@up%
-% \ifx\crd@alt\empty\else\crd@numbertype(\crd@alt\crd@numbertype)\fi%
-% }%
-% \ifx\crd@bassnote\empty\else%
-% {\crd@basstype/\crd@bassnote\crd@bassacc}%
-% \fi%\
-% }}
-% }
-% \crd@fontstyleb%
-% \let\crd@formatcrd=\crd@formatcrdb
-% \makeatother%
-% \nobarnumbers%
-% \startextract\NOtes\c D7,AfM7 \hu f\en\bar\endextract%
-% \end{demo}
-% \end{description}
-% Contributions for improving either the current fontstyle
-% or the definition of new ones are welcome.
-%
-% \section{Todo}
-%
-% The actual implementation is not really open for changing
-% the input format and the way the chords are displayed.
-% One should implement an middle layer which is fixed and
-% offer various implementations either for the input format
-% and the output format which are written using this layer.
-%
-% \section{Change Log}
-%
-% \begin{description}
-% \item[Version 1.0] (2.11.2004) \par Initial version.
-% \item[Version 1.1] (1.7.2005) \par
-% Added input guard and resetting of parameters
-% if file is included more than once.
-% \end{description}
-%
-% \Finale \PrintIndex
-%
-%\iffalse
-%<*gobble>
-%%% Local Variables:
-%%% mode: plain-tex
-%%% TeX-master: t
-%%% End:
-%</gobble>
-%\fi \ No newline at end of file
diff --git a/macros/musixtex/source/readme b/macros/musixtex/source/readme
deleted file mode 100644
index d1baf7ea57..0000000000
--- a/macros/musixtex/source/readme
+++ /dev/null
@@ -1,54 +0,0 @@
-#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-#%% musixcrd - typsetting chord symbols with %%
-#%% musixtex %%
-#%% readme %%
-#%% $Id$ %%
-#%% copyright 2004 , Robert Hennig %%
-#%% this code is licensed in terms of the %%
-#%% GNU Public License %%
-#%% %%
-#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-Chord setting for musixtex or pmx.
-
-There exist two distributions, the sources and the compiled on.
-The sources are only necessary for development. Normal usage
-requires only the compiled version.
-
-
-compiled distribution
----------------------
- The archive musixcrd.tgz contains the following files:
-
- o readme this file
- o musixcrd.tex tex macros
- o doc.pdf documentation
-
- Put the musixcrd.tex file or an link to it into your
- musixtex/pmx working directory. For pmx use the lines
-
- ---
- \input musixtex % These commands are necessary
- \input pmx % because pmx.tex MUST be \input
- \input musixcrd
- ---
-
- as preamble in your pmx source file to include musixcrd.tex.
- Look at doc.ps for further instructions of how to use musixcrd.
-
-
-source distribution
--------------------
- The archive musixcrdsrc.tgz contains the following files:
-
- o readme this file
- o musixcrd.dtx tex macros and documentation
- o makefile makefile
- o musixcrd.sty latex stylefile is a link to musixcrd.dtx
- o doc.tex latex macros for documentation generation
- using musixcrd.dtx
- o strip.tex tex file for strip documentation from musixcrd.dtx
-
- Extract the file into an directory. Use make with the arguments
- doc, strip, srcdist and dist to generate the targets.
-
diff --git a/macros/musixtex/source/strip.tex b/macros/musixtex/source/strip.tex
deleted file mode 100644
index 21ff28fafb..0000000000
--- a/macros/musixtex/source/strip.tex
+++ /dev/null
@@ -1,20 +0,0 @@
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%% musixcrd - typsetting chord symbols with %%
-%% musixtex %%
-%% docstrip batchfile %%
-%% $Id$ %%
-%% copyright 2004 , Robert Hennig %%
-%% this code is licensed in terms of the %%
-%% GNU Public License %%
-%% %%
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\def\batchfile{strip.tex}
-\input docstrip
-\askforoverwritefalse
-\generate{\file{musixcrd.tex}{\from{musixcrd.dtx}{}}}
-\endbatchfile
-
-%%% Local Variables:
-%%% mode: plain-tex
-%%% TeX-master: t
-%%% End:
diff --git a/macros/musixtex/tex/musixadd.tex b/macros/musixtex/tex/musixadd.tex
deleted file mode 100644
index 9e3b716071..0000000000
--- a/macros/musixtex/tex/musixadd.tex
+++ /dev/null
@@ -1,30 +0,0 @@
-%
-% 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.
-%
-%
-% musixadd.tex : allocate registers for additional instruments
-%
-\immediate\write16{MusiXADDitional instruments T.115 <19 Nov 2010>}%
-%
-%
-% setup the maximum element numbers
-\setmaxinstruments{9}%
-\setmaxgroups{4}%
-\setmaxslurs\maxinstruments
-%
-\endinput
diff --git a/macros/musixtex/tex/musixadf.tex b/macros/musixtex/tex/musixadf.tex
deleted file mode 100644
index 33c93ddca8..0000000000
--- a/macros/musixtex/tex/musixadf.tex
+++ /dev/null
@@ -1,138 +0,0 @@
-%
-% musixadf.tex - some additional accents for MusiXTeX
-%
-%% Author:
-%% Hiroaki MORIMOTO <CQX05646\atmark nifty.com>
-%% Tokyo, Japan
-%% URL: http://homepage1.nifty.com/kuuku/pub/musixtex/index-e.html
-%
-\immediate\write16{MusiXTeX Additional Accents <2015-02-15> )}%
-%
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-%
-\font\musixadfeleven=xadf11
-\font\musixadfthirteen=xadf13
-\font\musixadfsixteen=xadf16
-\font\musixadftwenty=xadf20
-\font\musixadftwentyfour=xadf24
-\font\musixadftwentynine=xadf29
-%
-\let\comput@fonts@org=\comput@fonts\relax
-\def\comput@fonts{%
- \comput@fonts@org
- \ifnum\musicsize=\sixt@@n
- \let\musixadfLargefont\musixadftwentyfour
- \let\musixadflargefont\musixadftwenty
- \let\musixadfnorfont\musixadfsixteen
- \let\musixadfsmallfont\musixadfthirteen
- \let\musixadftinyfont\musixadfeleven
- \else\ifnum\musicsize=\@xxiv
- \let\musixadfLargefont\musixadftwentynine
- \let\musixadflargefont\musixadftwentynine
- \let\musixadfnorfont\musixadftwentyfour
- \let\musixadfsmallfont\musixadftwenty
- \let\musixadftinyfont\musixadfsixteen
- \else\ifnum\musicsize=\@xxix
- \let\musixadfLargefont\musixadftwentynine
- \let\musixadflargefont\musixadftwentynine
- \let\musixadfnorfont\musixadftwentynine
- \let\musixadfsmallfont\musixadftwentyfour
- \let\musixadftinyfont\musixadftwenty
- \else
- \musicsize\tw@nty
- \let\musixadfLargefont\musixadftwentynine
- \let\musixadflargefont\musixadftwentyfour
- \let\musixadfnorfont\musixadftwenty
- \let\musixadfsmallfont\musixadfsixteen
- \let\musixadftinyfont\musixadfthirteen
- \fi\fi\fi
-}%
-%
-\let\set@Largenotesize@org=\set@Largenotesize\relax
-\let\set@largenotesize@org=\set@largenotesize\relax
-\let\set@normalnotesize@org=\set@normalnotesize\relax
-\let\set@smallnotesize@org=\set@smallnotesize\relax
-\let\set@tinynotesize@org=\set@tinynotesize\relax
-%
-\def\set@Largenotesize{%
- \set@Largenotesize@org\let\musixadfont\musixadfLargefont}%
-\def\set@largenotesize{%
- \set@largenotesize@org\let\musixadfont\musixadflargefont}%
-\def\set@normalnotesize{%
- \set@normalnotesize@org\let\musixadfont\musixadfnorfont}%
-\def\set@smallnotesize{%
- \set@smallnotesize@org\let\musixadfont\musixadfsmallfont}%
-\def\set@tinynotesize{%
- \set@tinynotesize@org\let\musixadfont\musixadftinyfont}%
-%
-\def\musixadfchar{\musixadfont\char}%
-%
-\def\uacc@Char@adf#1{\check@staff
- \inhgetn@i#1\relax \relax
- \ifnum\n@i<\@ight \ifodd\n@i \else\advance\n@i\@ne \fi \fi
- \zchar\n@i\C@ChaR@adf
- \fi}%
-%
-\def\lacc@Char@adf#1{\check@staff
- \inhgetn@i#1\relax \relax
- \ifnum\n@i>\@ne \ifodd\n@i \else\advance\n@i\m@ne \fi \fi
- \zchar\n@i\C@ChaR@adf
- \fi}%
-\def\C@ChaR@adf{\musixadfont\char\n@iv}%
-%
-\def\@Char@adf#1{\zcharnote{#1}\C@ChaR@adf}%
-%
-% coda sign with serif
-%
-% ___
-% |
-% /~|~\
-% |-+--+--+-|
-% \_|_/
-% |
-% ~~~
-%
-%\def\scoda{\musixadfchar85\relax}%
-\def\adfC@coda#1{\llap{\@Char@adf{#1}\kern\afterruleskip}}%
-\def\scoda{\n@iv85\adfC@coda}%
-\def\replacecoda{\let\coda=\scoda}%
-%
-%
-%
-% upright segno
-%
-%\def\upsegno{\musixadfchar86\relax}%
-\def\upsegno{\n@iv86\@Char@adf}%
-\def\replacesegno{\let\segno=\upsegno}%
-%
-%
-% little swell ...something like <>
-%
-% lower
-\def\llsw{\n@iv31\lacc@Char@adf}
-% upper
-\def\ulsw{\n@iv30\uacc@Char@adf}%
-%
-%
-% a little larger sforzato
-%
-\def\uSfz{\n@iv\tw@nty \uacc@Char@adf}
-\def\lSfz{\n@iv21\lacc@Char@adf}
-\def\dSfz{\lSfz}
-\def\replacesforzato{%
- \let\usfz=\uSfz\relax
- \let\lsfz=\lSfz\relax
-}%
-%
-%
-% v-breath
-%
-\def\zuBreath{\check@staff\raise\@ight\internote\rlap{\n@iv33\C@ChaR@adf}\fi}%
-\def\cuBreath{\check@staff\adv@box{\raise\@ight\internote
- \hbox\@to\noteskip{\hss\n@iv33\C@ChaR@adf\hss}}\fi}%
-\def\zlBreath{\check@staff\raise0\internote\rlap{\n@iv34\C@ChaR@adf}\fi}%
-\def\clBreath{\check@staff\adv@box{\raise0\internote
- \hbox\@to\noteskip{\hss\n@iv34\C@ChaR@adf\hss}}\fi}%
-%
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixbar.tex b/macros/musixtex/tex/musixbar.tex
deleted file mode 100644
index 5e748aae6d..0000000000
--- a/macros/musixtex/tex/musixbar.tex
+++ /dev/null
@@ -1,148 +0,0 @@
-%%%%%%%%%% Hiding/printing bar lines individually %%%%%%%%%%%%%%%%%%%%%%%%%%%
-%
-% Here comes a bunch of rather general macros which enable printing or
-% hiding barlines for each staff and inter-staff space individually:
-%
-% Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
-
-\ifx\indivbarrules\undefined\else\endinput\fi
-
-\immediate\write16{MusiXBAR printing or hiding seperate bar lines 1.01\space<23 Februar 2000>}%
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-%\makeatletter
-
-\newdimen\barline@depth
-
-\def\rul@indiv#1{%
- \n@loop
- \Comp@High
- \expandafter\ifx\csname s@b\romannumeral\noinstrum@nt\endcsname\relax
- \multiply\barline@depth -1\relax
- \advance\barline@depth\altitude
- \else
- \barline@depth=0pt\relax
- \fi
- {\expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 1%
- \y@v=0pt\relax
- \fi
- \raise\altitude\rlap{\vrule\@depth\barline@depth\@width#1\@height\y@v}}%
- \barline@depth\altitude
- \advance\barline@depth\y@v
- \repeat
- \addspace#1}
-
-\def\rul@indiv@#1{\n@loop{\prul@indiv@#1}\repeat\addspace#1}
-
-\def\prul@indiv@#1{%
- \y@v\interportee \C@Inter\advance\y@v-\stem@skip
- \expandafter\ifx\csname s@b\romannumeral\noinstrum@nt\endcsname\relax
- \multiply\barline@depth -1\relax
- \advance\barline@depth\altitude
- \else
- \barline@depth=0pt\relax
- \fi
- {\expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 1%
- \y@v=0pt\relax
- \fi
- \p@loop
- \raise\altportee\rlap{%
- \vrule\@depth\barline@depth\@width#1\@height\y@v}%
- \count@portee
- \repeat}%
- \barline@depth\altitude
- \advance\barline@depth\y@v}
-
-%== Required to use the following macros
-\def\indivbarrules{%
- \let\writ@rule\rul@indiv
- \sepbarrule 1}
-
-\def\Indivbarrules{%
- \let\writ@rule\rul@indiv@
- \sepbarrule 1}
-
-%== separates bar line of specified instrument from one of previous instrument
-\def\sepbarrule#1{\expandafter\let\csname s@b\romannumeral#1\endcsname 1}
-
-%== connects bar line of specified instrument to one of previous instrument
-\def\conbarrule#1{%
- \if 1#1\else\expandafter\let\csname s@b\romannumeral#1\endcsname\relax\fi}
-
-%== hides bar line for specified instrument
-\def\hidebarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname 1}
-
-%== shows bar line for specified instrument
-\def\showbarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname\relax}
-
-%== separates barlines in multistaff instruments
-\def\rul@sep@#1{\n@loop{\prul@sep#1}\repeat\addspace#1}
-
-\def\prul@sep#1{%
- \y@v\interportee \C@Inter\advance\y@v-\stem@skip
- \p@loop
- \hbox{\raise\altportee\rlap{%
- \vrule\@depth\hlthick\@width#1\@height\y@v}}%
- \count@portee\repeat}
-
-\def\Sepbarrules{\let\writ@rule\rul@sep@ }
-
-%-\makeatother
-
-\catcode`\@=\catcodeat
-\endinput
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-% Here comes an example of how to use these macros
-
-%%%%% Pre-amble
-\input musixtex
-\input musixbar
-
-\instrumentnumber3
-\setmeter3{{\meterfrac{3}{4}}}
-\setmeter2{{\meterfrac{2}{4}}}
-\setmeter1{{\meterfrac{3}{8}}}
-\nobarnumbers
-\indivbarrules
-\sepbarrule2
-\sepbarrule3
-
-%%%%% Spacing
-\beforeruleskip=0.5\afterruleskip
-\interinstrument=4\Interligne
-
-%%%%% Macros
-\let\ni\nextinstrument
-
-%%%%% Music
-\linegoal2
-\startpiece\addspace\afterruleskip
-\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
-\hidebarrule2\hidebarrule3\bar
-\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
-\showbarrule2\bar
-\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
-\hidebarrule2\showbarrule3\bar
-\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
-\showbarrule2\hidebarrule3\bar
-\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
-\hidebarrule2\bar
-\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
-\showbarrule2\showbarrule3\bar
-\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
-\hidebarrule2\hidebarrule3\bar
-\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
-\showbarrule2\bar
-\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
-\hidebarrule2\showbarrule3\bar
-\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
-\showbarrule2\hidebarrule3\bar
-\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
-\hidebarrule2\bar
-\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
-\showbarrule2\showbarrule3\stoppiece
-\bye
-
diff --git a/macros/musixtex/tex/musixbbm.tex b/macros/musixtex/tex/musixbbm.tex
deleted file mode 100644
index c3c2333002..0000000000
--- a/macros/musixtex/tex/musixbbm.tex
+++ /dev/null
@@ -1,69 +0,0 @@
-%
-% 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.
-%
-%
-% musixbbm.tex : allocate registers and define macros for 256th beam
-%
-\immediate\write16{MusiXBBeaM T.115 <19 Nov 2010>}%
-%
-\ifx\undefined\ibbbbbbu \else \endinput \fi
-%
-% setup the maximum element numbers
-\setmaxcclvibeams{6}%
-%
-%
-% definitions for 256th beams
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-%
-\def\s@l@ctg{\edef\g@x{\csname g@x\romannumeral\n@i\endcsname}%
- \edef\g@z{\csname g@z\romannumeral\n@i\endcsname}\s@l@ctf}
-
-\def\ibbbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctg \i@bbbbbbu}
-\def\ibbbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctg \i@bbbbbbl}
-
-\def\i@bbbbbbu#1#2{%
- \ifnum\b@n=\z@ \i@bbbbbu{#1}{#2}\C@ba\b@z\@ne \C@ba\c@z\@ne
- \C@ba\d@z\@ne \C@ba\e@z\@ne \C@ba\f@z\@ne \fi \n@bbbbbbu}
-\def\i@bbbbbbl#1#2{%
- \ifnum\b@n=\z@ \i@bbbbbl{#1}{#2}\C@ba\b@z\m@ne \C@ba\c@z\m@ne
- \C@ba\d@z\m@ne \C@ba\e@z\m@ne \C@ba\f@z\m@ne \fi \n@bbbbbbl}
-
-\def\nbbbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctg \Dec@b\@ne\n@bbu
- \Dec@b\tw@\n@bbbu \Dec@b\thr@@\n@bbbbu \Dec@b\f@ur\n@bbbbbu
- \Dec@b\fiv@\n@bbbbbbu}
-\def\nbbbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctg \Dec@b\@ne\n@bbl
- \Dec@b\tw@\n@bbbl \Dec@b\thr@@\n@bbbbl \Dec@b\f@ur\n@bbbbbl
- \Dec@b\fiv@\n@bbbbbbl}
-
-\def\n@bbbbbbu{\C@nb\g@z\g@x\fiv@\qd@skip}
-\def\n@bbbbbbl{\C@nb\g@z\g@x\fiv@\z@}
-
-\def\tbbbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctg \t@bbbbbbu}
-\def\tbbbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctg \t@bbbbbbl}
-
-\def\t@bbbbbu{\n@v\fiv@ \C@b\t@bbbbbbu\n@bbbbbu\y@i\f@z \beam@pos\f@x \t@xbu}
-\def\t@bbbbbl{\n@v\fiv@ \C@b\t@bbbbbbl\n@bbbbbl\y@i\f@z \beam@pos\f@x \t@xbl}
-
-\def\t@bbbbbbu{\n@v\si@ \C@b\empty\n@bbbbbu\y@i\g@z \beam@pos\g@x \t@xbu}
-\def\t@bbbbbbl{\n@v\si@ \C@b\empty\n@bbbbbl\y@i\g@z \beam@pos\g@x \t@xbl}
-
-\def\Ibbbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctg \I@bu\i@bbbbbbu}
-\def\Ibbbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctg \I@bl\i@bbbbbbl}
-
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixblx.tex b/macros/musixtex/tex/musixblx.tex
deleted file mode 100644
index d40de4cb68..0000000000
--- a/macros/musixtex/tex/musixblx.tex
+++ /dev/null
@@ -1,44 +0,0 @@
-%
-% 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.
-%
-% (Nicolas Brouard)
-
-\immediate\write16{MusiXBigLateX 0.36\space<1 March 1995>}%
-
-\ifx\undefined\largevaugment \else \endinput \fi
-
-\newenvironment{music}{\catcodesmusic\parskip0pt\resetlayout}{}%
-
-\newdimen\largevaugment \newdimen\largehaugment
-
-\newenvironment{largemusic}{\vfill\eject\catcodesmusic\parskip0pt
- \resetlayout
- \edef\theoldtextwidth{\the\textwidth}%
- \edef\theoldtextheight{\the\textheight}%
- \def\Fullwidth{185mm}\def\Fullheight{260mm}%
- \largevaugment\Fullheight \advance\largevaugment-\theoldtextheight
- \largehaugment\Fullwidth \advance\largehaugment-\theoldtextwidth
- \divide\largevaugment2 \divide\largehaugment2
- \advance\voffset\largevaugment \advance\hoffset-\largehaugment
- \xdef\thelargehoffset{\the\hoffset}%
- \hsize\Fullwidth \textwidth\Fullwidth
-
- \bgroup\textwidth\Fullwidth\hsize\Fullwidth\vsize\Fullheight}%
- {\egroup\advance\voffset.5\largevaugment
- \clearpage\advance\voffset-.5\largevaugment}
-\endinput
diff --git a/macros/musixtex/tex/musixbm.tex b/macros/musixtex/tex/musixbm.tex
deleted file mode 100644
index 29147d8707..0000000000
--- a/macros/musixtex/tex/musixbm.tex
+++ /dev/null
@@ -1,25 +0,0 @@
-%
-% 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.
-%
-%
-\immediate\write16{MusiXEXTra \space<7 June 2015>}%
-%
-%
-% (nothing to do. - T.118 or later provide \slide and \raggedstoppiece by default.)
-%
-\endinput
diff --git a/macros/musixtex/tex/musixcho.tex b/macros/musixtex/tex/musixcho.tex
deleted file mode 100644
index 55b5e482eb..0000000000
--- a/macros/musixtex/tex/musixcho.tex
+++ /dev/null
@@ -1,68 +0,0 @@
-%
-% 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.
-%
-\immediate\write16{MusiXCHOir T.89\space<24 March 1998>}%
-
-\ifx\undefined\braceheight \else \endinput \fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-\catcodesmusic
-
-% big parentheses for e.g. multiline text
-
-\newskip\braceheight \braceheight=4\Interligne\relax
-\def\ChoirStrut{\vphantom{\^Wgjpqy}}
-
-\def\biglbrace{\let\@Ti\llap \let\@Tii\{\relax \C@br}
-\def\bigrbrace{\let\@Ti\rlap \let\@Tii\}\relax \C@br}
-\def\C@br{\C@tx{\@Ti{$\left\@Tii\vbox\@to\braceheight{}\right.\n@space$}\vss}}
-
-% multiline text
-
-\def\@kti{\kern\thr@@\Internote\strut}
-\def\@kmi{\kernm\Internote\strut}
-
-\def\Dtx#1|#2*{\C@tx{\lrlap{\@kti#1\ChoirStrut}\lrlap{\@kti#2\ChoirStrut}\vss}}
-\def\Drtx#1|#2*{\C@tx{\rlap{\@kmi#1\ChoirStrut}\rlap{\@kmi#2\ChoirStrut}\vss}}
-
-\def\Ttx#1|#2|#3*{\C@tx{\lrlap{\@kti#1\ChoirStrut}\lrlap{\@kti#2\ChoirStrut}\lrlap{\@kti#3\ChoirStrut}\vss}}
-\def\Trtx#1|#2|#3*{\C@tx{\rlap{\@kmi#1\ChoirStrut}\rlap{\@kmi#2\ChoirStrut}\rlap{\@kmi#3\ChoirStrut}\vss}}
-
-\def\Qtx#1|#2|#3|#4*{\C@tx{\lrlap{\@kti#1\ChoirStrut}\lrlap{\@kti#2\ChoirStrut}%
- \lrlap{\@kti#3\ChoirStrut}\lrlap{\@kti#4\ChoirStrut}\vss}}
-\def\Qrtx#1|#2|#3|#4*{\C@tx{\rlap{\@kmi#1\ChoirStrut}\rlap{\@kmi#2\ChoirStrut}\rlap{\@kmi#3\ChoirStrut}%
- \rlap{\@kmi#4\ChoirStrut}\vss}}
-
-\def\tx#1*{\C@tx{\lrlap{\@kti#1\ChoirStrut}\vss}}
-\def\rtx#1*{\C@tx{\rlap{\@kmi#1\ChoirStrut}\vss}}
-
-% longation rule
-
-\newskip\@ihf
-\def\thf{\getcurpos\advance\y@v-\@ihf \advance\y@v-\tw@\Interligne
- \llap{\vrule\@width\y@v\@height\lthick\kern\Interligne}}%
-
-\def\ixhf#1{\setbox\ch@box\hbox{#1}\getcurpos \advance\y@v\h@lf\wd\ch@box
- \advance\y@v\Interligne \global\@ihf\y@v \box\ch@box}
-
-\def\ihf#1{\setbox\ch@box\hbox{#1}\getcurpos \advance\y@v\wd\ch@box
- \global\@ihf\y@v \box\ch@box}
-
-\endcatcodesmusic
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixcpt.tex b/macros/musixtex/tex/musixcpt.tex
deleted file mode 100644
index 90d9066465..0000000000
--- a/macros/musixtex/tex/musixcpt.tex
+++ /dev/null
@@ -1,826 +0,0 @@
-%
-% 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.
-%
-%%% for those who want compatibility, input it !after! musixtex and all
-%%% other \input files, means: at very last
-
-\ifx\undefined\DIMin \else \endinput \fi
-
-\immediate\write16{MusiXComPaTible T.109\space<8 May 2018>}%
-
-\ifx\undefined\mxversion \errmessage{MusiXcpt input before MusiXTeX !}\fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-\catcodesmusic
-
-\voffset=-15.4mm
-\parindent=10mm
-
-\def\z@suspend@autoflag{\ifx\auto@flag\empty
- \fil@autolines\fi \let\auto@flag\empty}
-
-
-\let\fil@autolines\empty
-\let\auto@flag\empty
-
-\def\updatecontext{%
- \T@bil \writ@newclefs\wbarno@x\Writ@newsigns
- \Writ@meters\addspace\afterruleskip
- \else\fil@autolines\let\auto@flag\@ne
- \writ@newclefs\Writ@newsigns\z@suspend\@NewPage\fi}
-
-\def\changecontext{\n@wbar\updatecontext}
-\def\zchangecontext{\advance\n@skip\beforeruleskip \widthtyp@\@ne \t@rmskip
- \zn@wbar\updatecontext}
-
-\def\@breakpassInoauto{\def\T@bil{\getcurpos \ifdim\y@v<\h@lf\line@width}}
-\def\ori@passIzbarre{\zn@wbar\fil@{z \the\barno}}
-
-\def\ori@passIendsection{\fil@{*\space\the\mulooseness}\mulooseness\z@}
-
-\def\@breakpassIauto{\advance\barsinlin@\@ne \ifnum\barsinlin@<\maxbarsinline}%
-
-\def\@xbarrepassIauto{\T@bil \else\advance\barsinlin@\m@ne \fi\@bar}
-\let\@xbarrepassIIauto\barre
-
-\def\@zbarpassIauto{\T@bil \zn@wbar\else\zstoppiec@\@NewPage\fi}
-
-%!!! Attention: If you use \autolines, take care for the number of lines.
-% If they exceed 127, trouble will be ahead. (adjust MAX_SECTIONS in
-% musixflx.c or insert a \suspmorceau..\debutmorceau) !!!
-
-\def\autolines#1#2#3{% #1 nombre d'elemskip par mesure,
-% #2 nombre de mesures par ligne,
-% #3 nb lignes par page
- \ifstartmuflex@done\else\startmuflex\fi
- \global\maxbarsinline=#2\relax
- \global\maxlinesinpage=#3\relax
- \let\count@lines\count@lines@auto
- \ifx\ragg@d\empty % ---> pass 1
- \message{/autolines pass I }%
- \let\xbar=\@xbarrepassIauto
- \let\zbar=\@zbarpassIauto
- \let\@nds@ction=\empty
- \def\fil@autolines{\fil@{a}}%
- \let\barsinline=\barsinlin@
- \let\T@bil=\@breakpassIauto
- \else %---> pass 2
- \message{/autolines pass II }%
- \let\xbar=\@xbarrepassIIauto
- \let\@nds@ction=\empty
- \fi}
-
-\def\noautolines{\let\fil@autolines\empty
- \ifstartmuflex@done\else\startmuflex\fi
- \let\xbar\ori@xbarre % original X handling
- \let\count@lines\count@lines@empty
- \ifx\ragg@d\empty %---> pass 1
- \message{/noautolines pass I }%
- \let\zbar\ori@zbarre % original X handling
- \let\barsinline=\barsinline@ori
- \let\T@bil\ori@T@bil
- \let\@nds@ction=\ori@passIendsection
- \else
- \message{/noautolines pass II }%
- \let\@nds@ction=\empty
- \fi}
- %
-
-\def\count@lines@auto{\global\advance\linesinpage\@ne
- \ifnum\linesinpage<\maxlinesinpage
- \else \eject \global\linesinpage\z@ \fi}
-\def\count@lines@empty{\global\advance\linesinpage\@ne}
-\let\count@lines\count@lines@empty
-
-\def\@NewPage{\count@lines \contpiece}
-\def\@LeftRp{\stoppiec@\@NewPage\addspace{\h@lf\afterruleskip}%
- \kernm\afterruleskip\l@eftrepeat\kern\afterruleskip}
-
-\def\T@bil{\advance\barsinlin@\@ne \ifnum\barsinlin@<\maxbarsinlin@}
-\def\ori@T@bil{\advance\barsinlin@\@ne \ifnum\barsinlin@<\maxbarsinlin@}
-
-\def\barre{\T@bil \@bar\else\stoppiec@\@NewPage\fi}
-
-\def\xbar{\@bar\global\advance\barsinpi@c@\m@ne }
-\def\ori@xbarre{\@bar\global\advance\barsinpi@c@\m@ne }
-
-\def\zbar{\T@bil \zn@wbar\else\zstoppiece\@NewPage\fi}
-\def\ori@zbarre{\T@bil \zn@wbar\else\zstoppiece\@NewPage\fi}
-
-\def\alaligne{\stoppiece\@NewPage}
-\def\Suspmorceau{\Stoppiece\count@lines}
-\def\suspmorceau{\stoppiece\count@lines}
-\def\zalaligne{\zstoppiece\@NewPage}
-\def\leftrepeat{\leftrepeat@II}
-\def\leftrepeat@II{\T@bil \setleftrepeat\@bar\else\@LeftRp\fi}
-\def\leftrightrepeat{\leftrightrepeat@II}
-\def\leftrightrepeat@II{\T@bil \setleftrightrepeat\@bar
- \else\setrightrepeat\@LeftRp\fi}
-
-\def\finrightrepeat{\setrightrepeat\stoppiec@}
-
-
-\let\nbporteesi\n@pi
-\let\nbporteesii\n@pii
-\let\nbporteesiii\n@piii
-\let\nbporteesiv\n@piv
-\let\nbporteesv\n@pv
-\let\nbporteesvi\n@pvi
-\def\nbporteesvii{\n@pvii}%
-\def\nbporteesviii{\n@pviii}%
-\def\nbporteesix{\n@pvix}%
-
-\def\nbstaffsi{\n@pi}%
-\def\nbstaffsii{\n@pii}%
-\def\nbstaffsiii{\n@piii}%
-\def\nbstaffsiv{\n@piv}%
-\def\nbstaffsv{\n@pv}%
-\def\nbstaffsvi{\n@pvi}%
-\def\nbstaffsvii{\n@pvii}%
-\def\nbstaffsviii{\n@pviii}%
-\def\nbstaffsix{\n@pvix}%
-
-\def\resetlayout{\nullthick\f@ur\Interligne \let\interfacteur\nin@
- \stafftopmarg\thr@@\Interligne \staffbotmarg\thr@@\Interligne
- \let\stafflinesnbi\fiv@ \let\stafflinesnbii\fiv@ \let\stafflinesnbiii\fiv@
- \let\stafflinesnbiv\fiv@ \let\stafflinesnbv\fiv@ \let\stafflinesnbvi\fiv@
- \let\clefdesoli\trebleclef \let\clefdesolii\trebleclef
- \let\clefdesoliii\trebleclef \let\clefdesoliv\trebleclef
- \let\clefdesolv\trebleclef \let\clefdesolvi\trebleclef
- \let\clefduti\altoclef \let\clefdutii\altoclef
- \let\clefdutiii\altoclef \let\clefdutiv\altoclef
- \let\clefdutv\altoclef \let\clefdutvi\altoclef
- \let\clefdefai\bassclef \let\clefdefaii\bassclef
- \let\clefdefaiii\bassclef \let\clefdefaiv\bassclef
- \let\clefdefav\bassclef \let\clefdefavi\bassclef
- \elemskip\f@ur\Internote}
-
-% These definition depends on the assumption, that \elemskip is equal 10pt
-
-\def\hqsk{\off{.3\@l@mskip}}
-\def\qsk{\hqsk\hqsk}
-
-% ============================
-% will change
-
-\chardef\@li=51
-\chardef\@liii=53
-\newif\ifcautionacc
-
-\def\@acc#1{\check@staff
- \inhgetn@i#1\relax\@BigAcc
- \fi}
-\def\@BigAcc{\pl@base\raise\y@i\llap{\musixchar\n@v\kern\accshift}}
-
-\def\bigfl{\n@v\@l \@acc}
-\def\bigdfl{\n@v\@li \@acc}
-\def\bigsh{\n@v\@lii \@acc}
-\def\bigdsh{\n@v\@liii \@acc}
-\def\bigna{\n@v\@liv \@acc}
-
-\def\@smallacc#1{\check@staff
- \inhgetn@i#1\relax\n@iv\fiv@ \@SmallACC
- \fi}
-\def\@SmallACC{\check@staff
- \pl@base\raise\y@i\llap{\@SmallAcc\kern\accshift}\fi}
-\def\@SmallAcc{\check@staff
- \ifcautionacc\C@ChaR \fi \musixchar\n@v
- \ifcautionacc\kern.3\qn@width \fi
- \fi\global\cautionaccfalse}
-
-\def\smallna{\n@v94\@smallacc}
-\def\smallfl{\n@v90\@smallacc}
-\def\smallsh{\n@v92\@smallacc}
-\def\smalldsh{\n@v93\@smallacc}
-\def\smalldfl#1{\check@staff
- \n@v91\inhgetn@i#1\relax\n@iv\si@ \@SmallACC
- \fi}
-
-\def\csh{\cautionacctrue\smallsh}
-\def\cdsh{\cautionacctrue\smalldsh}
-\def\cna{\cautionacctrue\smallna}
-\def\cfl{\cautionacctrue\smallfl}
-\def\cdfl{\cautionacctrue\smalldfl}
-
-\def\@UpperAcc#1{\inhgetn@i#1\relax\@UpAcc}
-\def\@UpAcc{\advance\n@i\thr@@ \zchar\n@i{\kern\qu@rt\qn@width\@SmallAcc}}
-
-\def\upperna{\n@v94\@UpperAcc}
-\def\upperfl{\n@v90\@UpperAcc}
-\def\uppersh{\n@v92\@UpperAcc}
-
-% analysis of accidentals within collective note coding
-
-\def\absoluteaccidentals{%
- \let\Xna\na \let\Xsh\sh \let\Xfl\fl \let\Xdsh\dsh \let\Xdfl\dfl}
-\absoluteaccidentals
-
-\def\Na#1{\small@test\bigNa{#1}\else\smallNa{#1}\fi}
-\def\Fl#1{\small@test\bigFl{#1}\else\smallFl{#1}\fi}
-\def\Sh#1{\small@test\bigSh{#1}\else\smallSh{#1}\fi}
-\def\dFl#1{\small@test\bigdFl{#1}\else\smalldFl{#1}\fi}
-\def\dSh#1{\small@test\bigdSh{#1}\else\smalldSh{#1}\fi}
-
-\def\cNa{\cautionacctrue\smallNa}
-\def\cFl{\cautionacctrue\smallFl}
-\def\cSh{\cautionacctrue\smallSh}
-\def\cdFl{\cautionacctrue\smalldFl}
-\def\cdSh{\cautionacctrue\smalldSh}
-
-\def\lNa#1{\shiftaccwidth{\Na{#1}}}
-\def\lFl#1{\shiftaccwidth{\Fl{#1}}}
-\def\lSh#1{\shiftaccwidth{\Sh{#1}}}
-\def\ldFl#1{\shiftaccwidth{\dFl{#1}}}
-\def\ldSh#1{\shiftaccwidth{\dSh{#1}}}
-\def\shiftaccwidth{\loffset\smallvalue}
-
-\def\sign@diff#1\relax{\getn@i#1\relax\n@iii\n@i
- \advance\n@iii-\ut@ref \advance\n@iii-\ut@ref
- \loop\ifnum\n@iii>\si@ \advance\n@iii-\s@v@n \repeat
- \loop\ifnum\n@iii<\z@ \advance\n@iii\s@v@n \repeat
- \ifcase\n@iii
- \n@ii\si@ % mi
- \or\n@ii\@ne % fa
- \or\n@ii\thr@@ % sol
- \or\n@ii\fiv@ % la
- \or\n@ii\s@v@n % si
- \or\n@ii\tw@ % do
- \or\n@ii\f@ur % re
- \fi
-% \n@ii positive signature limit, \n@ii-8 negative signature limit
- \advance\n@ii-\a@s \advance\n@ii\si@ \divide\n@ii\s@v@n \n@iv\fiv@}
-
-\def\C@aacc{\check@staff
- \advance\n@v\n@vi \@Ti
- \fi }
-
-\def\@Flat#1{\sign@diff#1\relax
- \ifcase\n@ii \n@v\@liv \or\n@v\@l \or\n@v\@li \fi \C@aacc}
-
-\def\set@bigaccid{\n@vi\z@ \let\@Ti\@BigAcc}
-\def\set@smallaccid{\n@vi\@xl \let\@Ti\@SmallACC}
-\def\set@UpAcc{\n@vi\@xl \let\@Ti\@UpAcc}
-
-\def\bigFl{\set@bigaccid\@Flat}
-\def\smallFl{\set@smallaccid\@Flat}
-\def\upperFl{\set@UpAcc\@Flat}
-
-\def\@Natural#1{\sign@diff#1\relax
- \ifcase\n@ii \n@v\@lii \or\n@v\@liv \or\n@v\@l \fi \C@aacc}
-
-\def\bigNa{\set@bigaccid\@Natural}
-\def\smallNa{\set@smallaccid\@Natural}
-\def\upperNa{\set@UpAcc\@Natural}
-
-\def\@Sharp#1{\sign@diff#1\relax
- \ifcase\n@ii \n@v\@liii \or\n@v\@lii \or\n@v\@liv \fi \C@aacc}
-
-\def\bigSh{\set@bigaccid\@Sharp}
-\def\smallSh{\set@smallaccid\@Sharp}
-\def\upperSh{\set@UpAcc\@Sharp}
-
-\def\@nod{Can't double }
-
-\def\@dSharp#1{\sign@diff#1\relax
- \ifcase\n@ii \message{\@nod sharpen !\noexpand\dSh #1}%
- \or\n@v\@liii \C@aacc\or\n@v\@lii \C@aacc \fi}
-
-\def\bigdSh{\set@bigaccid\@dSharp}
-\def\smalldSh{\set@smallaccid\@dSharp}
-%\def\upperdSh{\set@UpAcc\@dSharp}
-
-\def\@dFlat#1{\sign@diff#1\relax
- \ifcase\n@ii \n@v\@l \C@aacc\or\n@v\@li \C@aacc
- \or\message{\@nod flatten !\noexpand\dFl #1}\fi}
-
-\def\bigdFl{\set@bigaccid\@dFlat}
-\def\smalldFl{\n@vi\@xl \n@iv\si@ \let\@Ti\@SmallACC \@dFlat}
-%\def\upperdFl{\set@UpAcc\@dFlat}
-
-\def\relativeaccidentals{%
- \let\Xna\Na \let\Xsh\Sh \let\Xfl\Fl \let\Xdsh\dSh \let\Xdfl\dFl}
-
-%\def\writ@names{\n@loop
-% \setbox\n@otebox\llap{\vbox{\hbox\@to\parindent{%
-% \hss\csname instrument\romannumeral\noinstrum@nt\endcsname\hss}}~~}%
-% \altportee\altitude \Comp@High\advance\y@v-\ht\n@otebox
-% \advance\altportee\h@lf\y@v \raise\altportee\box\n@otebox \repeat}
-%\let\Writ@names\writ@names
-
-%\let\instrumenti\empty \let\instrumentii\empty \let\instrumentiii\empty
-%\let\instrumentiv\empty \let\instrumentv\empty \let\instrumentvi\empty
-
-% ============================
-
-\def\dimin{\decrescendo{4\qn@width}}
-\def\Dimin{\decrescendo{8\qn@width}}
-\def\DImin{\decrescendo{12\qn@width}}
-\def\DIMin{\decrescendo{16\qn@width}}
-\def\DIMIn{\decrescendo{24\qn@width}}
-\def\DIMIN{\decrescendo{36\qn@width}}
-\def\cresc{\crescendo{4\qn@width}}
-\def\Cresc{\crescendo{8\qn@width}}
-\def\CResc{\crescendo{12\qn@width}}
-\def\CREsc{\crescendo{16\qn@width}}
-\def\CRESc{\crescendo{24\qn@width}}
-\def\CRESC{\crescendo{36\qn@width}}
-
-\let\interligne\Interligne
-\def\debutmorceau{\ifstartmuflex@done\else\startmuflex\fi
-\startpiece
-\let\debutmorceau\startpiece}
-\let\finmorceau\Stoppiece
-\let\zfinmorceau\zstoppiece
-\let\finpartition\stoppiece
-\let\debutextrait\startextract
-\let\finextrait\endextract
-\let\zfinextrait\zendextract
-\let\reprmorceau\contpiece
-\let\lreprmorceau\contpiece
-\def\preprmorceau{\eject \global\linesinpage\z@ \contpiece}
-\def\resetsignatures{\generalsignature0\savesignature}
-\def\alapage{\stoppiece\eject \global\linesinpage\z@ \contpiece}
-\def\zalapage{\zstoppiece\eject \global\linesinpage\z@ \contpiece}
-\def\pchangecontext{\n@wbar\writ@newclefs\writ@newsigns
- \z@suspend \eject \global\linesinpage\z@ \contpiece}
-\def\lchangecontext{\n@wbar\writ@newclefs\writ@newsigns
- \z@suspend \count@lines \contpiece}
-\let\xbeambarre\bar
-\def\xbarre{\xbar}
-\def\zbarre{\zbar}
-\let\temps\empty
-\let\zglue\empty
-\let\zglu\empty
-\let\doublebarre\doublebar
-
-\def\leftrightrepeatsymbol{\C@rep\l@eftrightrepeat}
-\def\leftrepeatsymbol{\C@rep\l@eftrepeat}
-\def\rightrepeatsymbol{\C@rep\r@ightrepeat}
-\def\C@rep#1{\advance\n@skip\beforeruleskip \widthtyp@\@ne \t@rmskip
- #1\widthtyp@\z@ \t@rmskip\addspace\afterruleskip}
-
-%\let\suspmorceau\stoppiece
-%\let\Suspmorceau\Stoppiece
-\let\computewidths\empty
-\let\computespecifics\empty
-\let\zsuspmorceau\zstoppiece
-\let\signaturegenerale\generalsignature
-\let\pointdorgue\fermataup
-\let\pointdurgue\fermatadown
-\let\zbv\zbreve
-\let\zsb\zmaxima
-\let\ha\hu
-\let\resetfacteurs\resetlayout
-\let\savesignature\empty
-\let\savemeter\empty
-\let\savemeters\empty
-\let\saveclefs\empty
-%%%%%%%%%%%%%%%%%%%%%%%%%%
-\let\ITenu\istieu
-\let\ITenl\istied
-%%%%%%%%%%%%%%%%%%
-\let\ilegu\isluru
-\let\ilegl\islurd
-\let\Ilegu\isluru
-\let\Ilegl\islurd
-%\let\tleg\tslur
-%\def\Tleg#1{\roff{\ttie#1}}
-\let\Invertslur\invertslur
-\let\qh\qb
-\let\qhp\qbp
-\let\qhpp\qbpp
-\let\zqh\zqb
-\let\zqhp\zqbp
-\let\zqhpp\zqbpp
-\let\hh\hb
-\let\soupir\qp
-\let\dsoupir\ds
-\let\demisoupir\ds
-\let\qsoupir\qs
-\let\quartsoupir\qs
-\let\hsoupir\hs
-\let\huitsoupir\hs
-\let\seizsoupir\qqs
-\let\Pince\Shake
-\let\pince\shake
-\let\Lpince\Shakel
-\let\Pincesw\Shakesw
-\let\Pincene\Shakene
-\let\Pincenw\Shakenw
-\let\mordant\mordent
-\let\nblines\z@
-\let\wd@skip\wn@width
-\let\musicnfont\musixfont
-
-\let\clefdesolsymbol\trebleclef
-\let\clefdefasymbol\altoclef
-\let\clefdutsymbol\bassclef
-\let\gclefdut\gregorianCclef
-\let\drumclefsymbol\drumclef
-\let\smallclefdesol\smalltrebleclef
-\let\smallclefdefa\smallaltoclef
-\let\smallclefdut\smallbassclef
-
-\let\cmbxmicro\sevenbf
-\let\cmbxtiny\eightbf
-\let\cmbxsmall\tenbf
-\let\cmbx\twelvebf
-\let\cmbxbig\bigfont
-\let\moyen\bigfont
-\let\gros\Bigfont
-\let\enorme\BIGfont
-
-\def\setprimavolta{\setvolta1}
-\def\setsecondavolta{\setvolta2}
-
-\def\advancebottom#1{}
-\newif\ifraggedlines
-\newcount\linesinpage
-\newcount\barsinline@ori
-\let\barsinline\barsinline@ori
-\newcount\maxbarsinline
-\newcount\maxlinesinpage \maxlinesinpage\maxdimen
-\newskip\zglueskip
-\newskip\tempsskip
-
-%%% definitions for holding up compatibility, not supported in musixtex
-
-\let\endinstrument\@ndstaff
-\def\huslur#1#2{\errmessage{No more need for \noexpand\huslur!}}
-\def\hdslur#1#2{\errmessage{No more need for \noexpand\hdslur!}}
-\def\liftslur#1#2{\errmessage{\noexpand\liftslur is not supported in MusiXTeX}}
-
-\def\expause#1{\charnote{#1}{\musicnorfont\char 11\hss}}
-\def\zexpause#1{\zcharnote{#1}{\musicnorfont\char 11\hss}}
-\def\exhpause#1{\charnote{#1}{\musicnorfont\char 10\hss}}
-\def\zexhpause#1{\zcharnote{#1}{\musicnorfont\char 10\hss}}
-
-\def\vdlthick{\vrule depth \hlthick}
-\let\resettens\empty
-\let\resetstem\resetst@m
-\let\setstem\setst@m
-\let\resetlegs\empty
-\let\savepenalties\empty
-\let\currenthyphenpenalty\empty
-\let\setnohyphenpenalty\empty
-\let\sethyphenpenalty\empty
-\let\setnormalhyphen\empty
-\let\glueaftersymbol\empty
-\def\zgluearule{\addspace\afterruleskip}%
-\let\gluearule\zgluearule
-\let\ygluearule\zgluearule
-\let\Writesignatures\writ@signs
-\let\changecontexte\changecontext
-\let\Changecontexte\Changecontext
-\let\Changeclefs\changeclefs
-\let\Changeclef\Changeclefs
-\def\shortstems{\stemlength4}%
-\def\normalstems{\stemlength{4.66}}%
-\normalstems
-
-\def\phpause{\hbox to \noteskip{\vrule width
- 1.2\qn@width height \internote\hss}}%
-%\def\pause{\hbox{\raise 5\internote\phpause}}%
-%\def\hpause{\hbox{\raise 4\internote\phpause}}%
-\let\zha\zhu
-\def\minternote{-\internote}%
-\def\ffff{{\ppff {f}\kern -0.1ex{f}\kern -0.1ex{f}\kern -0.1ex{f}}}
-\def\testseq{}%
-
-\def\rtenl#1#2{\roff{\islurd{#1}{#2}}}
-\def\rtenu#1#2{\roff{\isluru{#1}{#2}}}
-
-\def\diamg{\ynq}
-\def\diamw{\dnq}
-
-\def\zdiamg{\yznq}
-\def\zdiamw{\dznq}
-
-\def\carrg{\squ}
-\def\zcarrg{\zsqu}
-\def\carpg{\lsqu}
-\def\zcarpg{\zlsqu}
-\def\carqg{\rsqu}
-\def\zcarqg{\zrsqu}
-
-\def\yu{\yqu}
-\def\yup{\yqup}
-\def\yupp{\yqupp}
-\def\yuppp{\yquppp}
-\def\yl{\yql}
-\def\ylp{\yqlp}
-\def\ylpp{\yqlpp}
-\def\ylppp{\yqlppp}
-
-\def\yh{\yqb}
-\def\yb{\yqb}
-
-\def\zy{\yzq}
-\def\zyp{\yzqp}
-\def\zypp{\yzqpp}
-\def\zyppp{\yzqppp}
-
-\def\du{\dqu}
-\def\dup{\dqup}
-\def\dupp{\dqupp}
-\def\duppp{\dquppp}
-
-\def\dl{\dql}
-\def\dlp{\dqlp}
-\def\dlpp{\dqlpp}
-\def\dlppp{\dqlppp}
-
-\def\dh{\dqb}
-\def\db{\dqb}
-
-\def\zd{\dzq}
-\def\zdp{\dzqp}
-\def\zdpp{\dzqpp}
-\def\zdppp{\dzqppp}
-
-\def\xu{\xqu}
-\def\xup{\x@symbol\@qup}
-\def\xupp{\x@symbol\@qupp}
-\def\xl{\xql}
-\def\xlp{\x@symbol\@qlp}
-\def\xlpp{\x@symbol\@qlpp}
-
-\let\xb\xqb
-\let\xh\xqb
-
-\def\zx{\xzq}
-\def\zxp{\x@symbol\@zqp}
-\def\zxpp{\x@symbol\@zqpp}
-
-\def\xcccu{\x@symbol\@cccu}
-\def\xccccu{\x@symbol\@ccccu}
-\def\xcccl{\x@symbol\@cccl}
-\def\xccccl{\x@symbol\@ccccl}
-
-\def\xclp{\x@symbol\@clp}
-\def\xcup{\x@symbol\@cup}
-\def\xclpp{\x@symbol\@clpp}
-\def\xcupp{\x@symbol\@cupp}
-
-\def\oxu{\oxqu}
-\def\oxup{\ox@symbol\@qup}
-\def\oxupp{\ox@symbol\@qupp}
-\def\oxl{\oxql}
-\def\oxlp{\ox@symbol\@qlp}
-\def\oxlpp{\ox@symbol\@qlpp}
-
-\def\oxb\oxqb
-\let\oxh\oxqb
-
-\def\ozx{\oxzq}
-\def\ozxp{\ox@symbol\@zqp}
-\def\ozxpp{\ox@symbol\@zqpp}
-
-\def\oxcccu{\ox@symbol\@cccu}
-\def\oxccccu{\ox@symbol\@ccccu}
-\def\oxcccl{\ox@symbol\@cccl}
-\def\oxccccl{\ox@symbol\@ccccl}
-
-\def\oxclp{\ox@symbol\@clp}
-\def\oxcup{\ox@symbol\@cup}
-\def\oxclpp{\ox@symbol\@clpp}
-\def\oxcupp{\ox@symbol\@cupp}
-
-\def\ku{\kqu}
-\def\kup{\k@symbol\@qup}
-\def\kupp{\k@symbol\@qupp}
-\def\kl{\kql}
-\def\klp{\k@symbol\@qlp}
-\def\klpp{\k@symbol\@qlpp}
-
-\let\kb\kqb
-\let\kh\kqb
-
-\def\zk{\kzq}
-\def\zkp{\k@symbol\@zqp}
-\def\zkpp{\k@symbol\@zqpp}
-
-\def\kcccu{\k@symbol\@cccu}
-\def\kccccu{\k@symbol\@ccccu}
-\def\kcccl{\k@symbol\@cccl}
-\def\kccccl{\k@symbol\@ccccl}
-
-\def\kclp{\k@symbol\@clp}
-\def\kcup{\k@symbol\@cup}
-\def\kclpp{\k@symbol\@clpp}
-\def\kcupp{\k@symbol\@cupp}
-
-%%% text, lyrics
-
-\def\midtwotext{\let\@Ti\hss \let\@Tii\hss \C@midcpt}
-\def\rmidtwotext{\let\@Ti\empty \let\@Tii\hss \C@midcpt}
-\def\zmidtwotext{\zmidstaff}
-\def\lmidtwotext{\let\@Ti\hss \let\@Tii\empty \C@midcpt}
-
-\def\C@midcpt#1{\check@staff
- \y@v\interportee \advance\y@v\f@ur\Interligne \divide\y@v\tw@
- \raise\y@v\uplap{\hbox\@to\noteskip{\@Ti\strut#1\@Tii}\vss}%
- \advance\locx@skip\noteskip
- \fi}
-
-% for what ?
-
-\def\sforz#1{{\advance\transpose by -2\usf{#1}}}
-\def\pz#1{{\advance\transpose by -2\upz{#1}}}
-\def\ppz{\uppz}
-\def\st#1{{\advance\transpose by -2\ust{#1}}}
-
-% octlines
-
-\def\barfill{\leaders\hbox{ --}\hfill}%
-\def\octnvrule{\vrule width \z@ height 3\p@ depth 3\p@}%
-\def\octvrule{\vrule width \lthick height 3\p@ depth 3\p@}%
-\def\octsup#1#2{\zcharnote{#1}{\hbox to #2\noteskip
-{\llap{\rm 8}\barfill\octnvrule}}}%
-\def\Octsup#1#2{\zcharnote{#1}{\hbox to #2{\rm 8\barfill\octnvrule}}}%
- %\check
- %\def\octfin#1#2{\zcharnote{#1}{\hbox to #2\noteskip{\llap{\rm 8}\barfill
- %--\octvrule}}}%
- \let\octfin\octfinup
-\def\Octfin#1#2{\zcharnote{#1}{\hbox to #2{\rm 8\barfill
---\octvrule}}}%
-\def\octline#1{\zcharnote{#1}{\hbox to \line@width{\llap{\rm 8}\barfill
-\octnvrule\hskip 12\Internote}}}%
-\def\Octline#1{\zcharnote{#1}{\hbox to \line@width{\rm 8\barfill
-\octnvrule\hskip 8\Internote}}}%
- %\check
-
-\def\octlineup{\n@v\@xxiii\C@ol}
-\def\octlinedown{\n@v\@xxv \C@ol}
-\def\C@ol#1{\zcharnote{#1}{\getcurpos\y@eol\advance\y@-\y@v
- \hbox\@to\y@{\octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill}}}
-
-% now different meaning !!!
-
-\def\trilleC#1{\hbox to #1{\leaders\hbox{\musixchar69}\hfill}}%
-\let\trille\trilleC
-\def\TrilleC#1{\hbox to #1{\it tr\leaders\hbox{\musixchar69}\hfill}}%
-\let\Trille\TrilleC
-
-\def\ntrille#1#2{\zcharnote{#1}{\trille{#2\elemskip}}}%
-\def\nTrille#1#2{\zcharnote{#1}{\Trille{#2\elemskip}}}%
-\def\xtrille#1#2{\zcharnote{#1}{\trille{#2}}}%
-\def\xTrille#1#2{\zcharnote{#1}{\Trille{#2}}}%
-
-% finding which class of fonts is normally used (cmxxx, dmxxx, dcxxx,...)
-
-\def\@wsa#1#2+{#1}
-\def\@wsb#1#2#3+{#2}
-\rm
-\edef\fonthdg{\expandafter\@wsa\fontname\the\font+}
-\edef\fonthdge{\expandafter\@wsb\fontname\the\font+}
-
-% new coda is centered above a barrule
-
-\def\coda{\n@iv85\@Char}
-
-% special wish
-
-\let\octline\octlineup
-
-% old spacings
-
-\def\normal{\elemskip=4\Internote \def\scalenoteskip{1.00}%
- \def\notes{\vnotes1.0\elemskip}% double croches
- \def\notesp{\vnotes1.18\elemskip}% double croches
- \def\Notes{\vnotes1.4\elemskip}% croches
- \def\Notesp{\vnotes1.66\elemskip}% croches
- \def\NOtes{\vnotes2.0\elemskip}% croches pointees
- \def\NOtesp{\vnotes2.36\elemskip}% croches pointees
- \def\NOTes{\vnotes2.8\elemskip}% noires
- \def\NOTesp{\vnotes3.32\elemskip}% noires
- \def\NOTEs{\vnotes4.0\elemskip}%
- \def\NOTEsp{\vnotes4.72\elemskip}%
- \def\NOTES{\vnotes5.6\elemskip}}
-
-% \large could cause trouble, if user changes \scalenoteskip on his own,
-% but this is *HIS* problem
-
-\ifx\large\undefined \def\large{\normal\def\scalenoteskip{1.2}}\fi
-
-\def\etroit{\normal
- \def\Notes{\vnotes1.3\elemskip}%
- \def\NOtes{\vnotes1.8\elemskip}%
- \def\NOTes{\vnotes2.6\elemskip}%
- \def\NOTEs{\vnotes3.6\elemskip}%
- \def\NOTES{\vnotes5.2\elemskip}}
-
-% correct the shifting of arpeggio to musictex's appearance,
-% a little bit tricky, but works
-
-\let\arpeggio@X\arpeggio
-\def\arpeggio#1#2{\roffset{.2}{\arpeggio@X{#1}{#2}}}
-\def\larpeggio#1#2{\loffset{.6}{\arpeggio@X{#1}{#2}}} % .6=\smallvalue - 0.2
-
-% correct (nearly) the distance between note and accidental
-
-\accshift=-.1\qn@width
-
-% 'translate' old metertoks (works only if they are used as
-% \metertoksi={...}, not for \metertoksi{...}
-
-\def\metertoksi#1#2{\if =#1\else\C@warn \fi
- \let\Writ@meters\writ@meters \m@ti={#2}}
-\def\metertoksii#1#2{\if =#1\else\C@warn \fi
- \let\Writ@meters\writ@meters \m@tii={#2}}
-\def\metertoksiii#1#2{\if =#1\else\C@warn \fi
- \let\Writ@meters\writ@meters \m@tiii={#2}}
-\def\metertoksiv#1#2{\if =#1\else\C@warn \fi
- \let\Writ@meters\writ@meters \m@tiv={#2}}
-\def\metertoksv#1#2{\if =#1\else\C@warn \fi
- \let\Writ@meters\writ@meters \m@tv={#2}}
-\def\metertoksvi#1#2{\if =#1\else\C@warn \fi
- \let\Writ@meters\writ@meters \m@tvi={#2}}
-
-\def\C@warn{\errmessage{You MUST use '=' behind \noexpand\metertoks}\end}
-
-\let\signi\a@si
-\let\signii\a@sii
-\let\signiii\a@siii
-\let\signiv\a@siv
-\let\signv\a@sv
-\let\signvi\a@svi
-
-\let\cleftoksi\a@ci
-\let\cleftoksii\a@cii
-\let\cleftoksiii\a@ciii
-\let\cleftoksiv\a@civ
-\let\cleftoksv\a@cv
-\let\cleftoksvi\a@cvi
-
-% to be used to make heavy bars at staff left
-
-\newskip\nullthick
-\let\lowersonginstrum\maxdimen
-\let\uppersonginstrum\z@
-\newdimen\Interportee % distance between staffs of the same instrument (excl)
-
-\def\xgetn@i#1\relax{\n@viii\z@ \n@i\maxdimen % par defaut
- \edef\t@ruc{\f@tok #1\relax\af@tok}%
- \edef\s@uite{\s@tok #1\empty\af@tok}%
-%% pas lettre
- \ifcat a\t@ruc \n@i\expandafter`\t@ruc\relax
-%% ramener au E (position zero en clef de sol, ut@ref=0)
- \ifnum\n@i>96\advance\n@i-101%
- \else\advance\n@i-\@lxxxiii % ramener au S= E + 14
- \fi
- \advance\n@i\ut@ref \advance\n@i\ut@ref \advance\n@i\transpose
- \edef\ss@uite{\noexpand\n@fon{\s@uite}}%
-%% cas active character dont chiffre
- \else
- \let\ss@uite\empty
- \let\alt@suite\empty
- \ifcat 1\t@ruc
- \if =\t@ruc \let\@TI\Xna \C@GET \fi
- \if *\t@ruc \sk \C@Get \fi
- \if .\t@ruc \let\@TI\pt \C@GET \fi
- \if >\t@ruc \let\@TI\Xdsh \C@GET \fi
- \if <\t@ruc \let\@TI\Xdfl \C@GET \fi
- \if !\t@ruc \transpose\normaltranspose \C@Get \fi
- \if '\t@ruc \advance\transpose\s@v@n \C@Get \fi
- \if `\t@ruc \advance\transpose-\s@v@n \C@Get \fi
- \ifnum\n@viii<\maxdimen \n@i#1\fi
- \else
- \if ^\t@ruc \let\@TI\Xsh \C@GET \fi
- \if _\t@ruc \let\@TI\Xfl \C@GET \fi
- \fi\alt@suite
- \fi}
-
-% MusicTeX's settings
-
-\afterruleskip=10pt % plus glue
-\beforeruleskip=2pt % plus glue
-\nostemcut
-
-\let\nbinstruments\maxinstruments
-\normalnotesize
-\normal % to get \notes correctly defined
-\resetlayout
-\let\nbinstruments\@ne
-
-\def\breath{\errmessage{\noexpand\breath\space not implemented in MusiXTeX,
- use \noexpand\zbreath\space or \noexpand\cbreath!}}
-
-\endcatcodesmusic
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixcrd.tex b/macros/musixtex/tex/musixcrd.tex
deleted file mode 100644
index 2701d104ee..0000000000
--- a/macros/musixtex/tex/musixcrd.tex
+++ /dev/null
@@ -1,272 +0,0 @@
-%%
-%% This is file `musixcrd.tex',
-%% generated with the docstrip utility.
-%%
-%% The original source files were:
-%%
-%% musixcrd.dtx
-%%
-%% IMPORTANT NOTICE:
-%%
-%% For the copyright see the source file.
-%%
-%% Any modified versions of this file must be renamed
-%% with new filenames distinct from musixcrd.tex.
-%%
-%% For distribution of the original source see the terms
-%% for copying and modification in the file musixcrd.dtx.
-%%
-%% This generated file may be distributed as long as the
-%% original source files, as listed above, are part of the
-%% same distribution. (The sources need not necessarily be
-%% in the same archive or directory.)
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%% musixcrd - typsetting chord symbols with %%
-%% musixtex %%
-%% main source file contains code, doc, and examples %%
-%% $Id: musixcrd.dtx,v 1.7 2004/11/02 13:13:41 hennig Exp $ %%
-%% copyright 2004 , Robert Hennig %%
-%% this code is licensed in terms of the %%
-%% GNU Public License %%
-%% %%
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\ifx\makeatletter\undefined\def\makeatletter{\catcode`\@=11\relax}\fi
-\ifx\makeatother\undefined\def\makeatother{\catcode`\@=12\relax}\fi
-
-\makeatletter% ^^A allows to use @ as ordinary letter
-\def\crddefaultheight{10}
-\def\crdtranspose{0}
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\def\crd@append#1\to#2{%
- \toks0=\expandafter{#1}\toks2=\expandafter{#2}%
- \edef#2{\the\toks2 \the\toks0}}
-\def\crd@prepend#1\by#2{%
- \toks0=\expandafter{#1}\toks2=\expandafter{#2}%
- \edef#1{\the\toks2 \the\toks0}}
-\def\crd@movetoken#1\to#2{%
- \ifx#1\empty\else\expandafter\crd@moveoff#1\crd@moveoff#1#2\fi}%
-\def\crd@moveoff#1#2\crd@moveoff#3#4{\def#3{#2}\crd@prepend#4\by#1}
-\newif\ifcrd@parsematched% true if parse matched
-\newcount\crd@parsedepth% internal register
-
-\def\crd@parse#1\for#2{% parse tokens #1 for occurence of items of table #2
- \crd@parsedepth=1 % default if not defined
- \expandafter\ifx\csname#2depth\endcsname\relax\else%
- \crd@parsedepth=\csname#2depth\endcsname%
- \fi%
- \def\stack{}%\def\crd@parseresult{}
- \crd@parsematchedfalse% initialisation
- \crd@parser#1\for#2% call the recursive part
-}
-\def\crd@parser#1\for#2{% recursive part of parser
- \ifx#1\empty\else% is list filled ?
- \ifnum\crd@parsedepth>0 % and do we have to read more chars into stack
- \advance\crd@parsedepth by-1 %
- \crd@movetoken#1\to\stack%
- \crd@parser#1\for#2% recursive call
- \ifcrd@parsematched\else% if still not matched
- \expandafter\ifx\csname#2\stack\endcsname\relax% does item match
- \crd@movetoken\stack\to#1% no match, put char back to source
- \else% match
- \csname#2\stack\endcsname%
- \crd@parsematchedtrue% signal success
- \fi%
- \fi%
- \fi%
- \fi%
-}
-\newcount\crd@vshift%
-\newcount\crd@hshift%
-\def\crd@number{crd@number}%
-\def\crd@numberdepth{2}%
-\expandafter\def\csname\crd@number0\endcsname{\crd@numberval=0 }%
-\expandafter\def\csname\crd@number1\endcsname{\crd@numberval=1 }%
-\expandafter\def\csname\crd@number2\endcsname{\crd@numberval=2 }%
-\expandafter\def\csname\crd@number3\endcsname{\crd@numberval=3 }%
-\expandafter\def\csname\crd@number4\endcsname{\crd@numberval=4 }%
-\expandafter\def\csname\crd@number5\endcsname{\crd@numberval=5 }%
-\expandafter\def\csname\crd@number6\endcsname{\crd@numberval=6 }%
-\expandafter\def\csname\crd@number7\endcsname{\crd@numberval=7 }%
-\expandafter\def\csname\crd@number8\endcsname{\crd@numberval=8 }%
-\expandafter\def\csname\crd@number9\endcsname{\crd@numberval=9 }%
-\expandafter\def\csname\crd@number1-\endcsname{\crd@numberval=-1 }%
-\expandafter\def\csname\crd@number2-\endcsname{\crd@numberval=-2 }%
-\expandafter\def\csname\crd@number3-\endcsname{\crd@numberval=-3 }%
-\expandafter\def\csname\crd@number4-\endcsname{\crd@numberval=-4 }%
-\expandafter\def\csname\crd@number5-\endcsname{\crd@numberval=-5 }%
-\expandafter\def\csname\crd@number6-\endcsname{\crd@numberval=-6 }%
-\expandafter\def\csname\crd@number7-\endcsname{\crd@numberval=-7 }%
-\expandafter\def\csname\crd@number8-\endcsname{\crd@numberval=-8 }%
-\expandafter\def\csname\crd@number9-\endcsname{\crd@numberval=-9 }%
-\newcount\crd@quint% register used to represent notes in the circle of
-\def\crd@quintval{crd@quintval}%
-\def\crd@quintvalA{\crd@quint=3 }% A
-\def\crd@quintvalB{\crd@quint=5 }% B
-\def\crd@quintvalC{\crd@quint=0 }% C
-\def\crd@quintvalD{\crd@quint=2 }% D
-\def\crd@quintvalE{\crd@quint=4 }% E
-\def\crd@quintvalF{\crd@quint=-1 }% F
-\def\crd@quintvalG{\crd@quint=1 }% G
-\def\crd@quintmod{crd@quintmod}
-\def\crd@quintmoddepth{2}
-\def\crd@quintmods{\advance\crd@quint by7 }% sharp
-\def\crd@quintmodf{\advance\crd@quint by-7 }% flat
-\def\crd@quintmodsd{\advance\crd@quint by14 }% double sharp
-\def\crd@quintmodfd{\advance\crd@quint by-14 }% double flat
-\def\crd@note{crd@note}
-\expandafter\def\csname\crd@note3\endcsname{A}
-\expandafter\def\csname\crd@note5\endcsname{B}
-\expandafter\def\csname\crd@note0\endcsname{C}
-\expandafter\def\csname\crd@note2\endcsname{D}
-\expandafter\def\csname\crd@note4\endcsname{E}
-\expandafter\def\csname\crd@note-1\endcsname{F}
-\expandafter\def\csname\crd@note1\endcsname{G}
-\def\crd@notelow{-1} % lowest quint without accidental
-\def\crd@notehigh{5} % highest quint without accidental
-\def\crd@sharp{\sharp}
-\def\crd@flat{\flat}
-\def\crd@doublesharp{\sharp\sharp}
-\def\crd@doubleflat{\flat\flat}
-\def\crd@parsenote#1#2{% parse input results: #1
- \def#1{}\def#2{}%
- \crd@parse\crd@input\for\crd@quintval%
- \ifcrd@parsematched% we got an valid note
- \crd@parse\crd@input\for\crd@quintmod%
- \advance\crd@quint by\crdtranspose \relax% transposition, space is needed!
- \crd@enharmonic%
- \ifnum\crd@quint>\crd@notehigh % sharps ?
- \advance\crd@quint by-7 %
- \ifnum\crd@quint>\crd@notehigh % double sharp ?
- \advance\crd@quint by-7 %
- \ifnum\crd@quint>\crd@notehigh % too much sharps !
- \relax ERROR:too much sharps%
- \else\edef#2{\crd@doublesharp}\fi%
- \else\edef#2{\crd@sharp}\fi%
- \fi%
- \ifnum\crd@quint<\crd@notelow % flats ?
- \advance\crd@quint by7 %
- \ifnum\crd@quint<\crd@notelow % double flat ?
- \advance\crd@quint by7 %
- \ifnum\crd@quint<\crd@notelow % too much flats !
- \relax ERROR:too much flats%
- \else\edef#2{\crd@doubleflat}\fi%
- \else\edef#2{\crd@flat}\fi%
- \fi%
- \expandafter\ifx\csname\crd@note\number\crd@quint\endcsname\relax%
- ERROR:notename for (\number\crd@quint) is not defined.
- \fi%
- \edef#1{\csname\crd@note\number\crd@quint\endcsname}% set note
- \fi%
-}
-\def\crd@enharmonic{}%
-\def\crd@qualinit{%
- \def\crd@lo{}% lower extensions
- \def\crd@up{}% upper extensioins
- \def\crd@alt{}% alterations
-}
-\def\crd@qual{crd@qual}%
-\def\crd@qualdepth{2}
-\def\crd@qualm{\crd@append{\crd@smalltype m}\to\crd@lo}% minor
-\def\crd@qualM{\crd@append{\crd@capitaltype M}\to\crd@lo}% major7
-\expandafter\def\csname\crd@qual5+\endcsname% aug. 5
-{\crd@append{+}\to\crd@lo}
-\expandafter\def\csname\crd@qual6\endcsname% 6
-{\crd@append{\crd@numbertype6}\to\crd@up}
-\expandafter\def\csname\crd@qual7\endcsname% dominant 7
-{\crd@append{\crd@numbertype7}\to\crd@up}
-\def\crd@quald{\crd@append{\crd@dim}\to\crd@up}% diminished
-\def\crd@qualh{\crd@append{\crd@hdim}\to\crd@up}% half diminished
-\expandafter\def\csname\crd@qual9-\endcsname% -9
-{\crd@append{\crd@numbertype\crd@numberflat9}\to\crd@alt}
-\expandafter\def\csname\crd@qual9+\endcsname% +9
-{\crd@append{\crd@numbertype\crd@numbersharp9}\to\crd@alt}
-\def\crd@skipcrdnote{crd@skipcrdnote}
-\expandafter\def\csname\crd@skipcrdnote/\endcsname{}
-\def\crd@parsecrd{%
- \crd@vshift=0 %
- \let\crd@numberval=\crd@vshift%
- \crd@parse\crd@input\for\crd@number%
- \crd@hshift=0 %
- \let\crd@numberval=\crd@hshift%
- \crd@parse\crd@input\for\crd@number%
- \def\crd@crdnote{}% chord note
- \def\crd@crdacc{}% chord note accidental
- \def\crd@bassnote{}% bass note
- \def\crd@bassacc{}% bass note accidental
- \crd@qualinit% initialize qualifiers
- \let\crd@flat=\crd@noteflat%
- \let\crd@doubleflat=\crd@notedoubleflat%
- \let\crd@sharp=\crd@notesharp%
- \let\crd@doublesharp=\crd@notedoublesharp%
- \crd@parsenote\crd@crdnote\crd@crdacc% read chord note
- \loop\crd@parse\crd@input\for\crd@qual% read qualifiers
- \ifcrd@parsematched\repeat%
- \crd@parse\crd@input\for\crd@skipcrdnote% skip eventually
- \let\crd@flat=\crd@bassflat%
- \let\crd@doubleflat=\crd@bassdoubleflat%
- \let\crd@sharp=\crd@basssharp%
- \let\crd@doublesharp=\crd@bassdoublesharp%
- \crd@parsenote\crd@bassnote\crd@bassacc% read bass note
- \crd@formatcrd\hfil% call rendering
-}
-\def\crd@crddelim{crd@crddelim}%
-\expandafter\def\csname\crd@crddelim,\endcsname{}%
-\def\crd@parsecrds{%
- \crd@parsecrd%
- \crd@parse\crd@input\for\crd@crddelim%
- \ifcrd@parsematched\crd@parsecrds\fi%
-}
-\def\c#1 {\def\crd@input{#1}\crd@output\crd@parsecrds}
-\def\crd@fontstylea{%
- \font\crd@eightrm=cmr8
- \font\crd@eightit=cmmi8
- \font\crd@seventeenrm=cmr17
- \font\crd@fourteenrm=cmr14
- \font\crd@twelverm=cmr12
- \font\crd@ninerm=cmr9
- \font\crd@smallninerm=cmr9 scaled 900
- \font\crd@bigninerm=cmr9 scaled 1100
- \let\crd@notetype=\crd@seventeenrm
- \def\crd@noteflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty2}}
- \def\crd@notedoubleflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty3}}
- \def\crd@notesharp{\raise0.8ex\hbox{\musictwenty4}}
- \def\crd@notedoublesharp{\raise0.8ex\hbox{\musictwenty5}}
- \let\crd@basstype=\crd@fourteenrm
- \def\crd@bassflat{\raise.5ex\hbox{\musicsixteen2}}
- \def\crd@bassdoubleflat{\raise0.6ex\hbox{\kern-0.085em\musicsixteen3}}
- \def\crd@basssharp{\raise1ex\hbox{\musicsixteen4}}
- \def\crd@bassdoublesharp{\raise0.8ex\hbox{\musicsixteen5}}
- \let\crd@numbertype=\crd@ninerm
- \def\crd@numberflat{\raise.5ex\hbox{\musiceleven2}}
- \def\crd@numbersharp{\raise1ex\hbox{\musiceleven4}}
- \def\crd@numberminus{\crd@ninerm-}
- \def\crd@numberplus{\crd@ninerm+}
- \let\crd@capitaltype=\crd@smallninerm % capitals
- \let\crd@smalltype=\crd@bigninerm % small
- \def\crd@hdim{\crd@eightit$\circ$\kern-4.4pt\raise.9pt\hbox{\crd@eightrm/}}
- \def\crd@dim{\crd@eightit$\circ$}
-}
-\def\crd@formatcrda{%
- \hbox{\kern\crd@hshift\elemskip\raise\crd@vshift\internote\hbox{%
- {\crd@notetype\crd@crdnote\crd@crdacc}%
- \vbox{%
- \hbox{%
- \crd@up%
- \ifx\crd@alt\empty\else\crd@numbertype(\crd@alt\crd@numbertype)\fi%
- }%
- \nointerlineskip\vskip1pt%
- \hbox{\vphantom{\crd@capitaltype M}\crd@lo}}%
- \ifx\crd@bassnote\empty\else%
- {\crd@basstype/%
- \lower0.5ex\hbox{\kern-0.17em \crd@bassnote\crd@bassacc}}%
- \fi%\
- }}
-}
-\let\crd@formatcrd=\crd@formatcrda
-\crd@fontstylea
-\def\crd@musixOutput#1{\hbox{\zchar{\crddefaultheight}{\hbox to\elemskip{#1\hss}}}}
-\let\crd@output=\crd@musixOutput
-\makeatother
-\endinput
-%%
-%% End of file `musixcrd.tex'.
diff --git a/macros/musixtex/tex/musixdat.tex b/macros/musixtex/tex/musixdat.tex
deleted file mode 100644
index 16541a6e5c..0000000000
--- a/macros/musixtex/tex/musixdat.tex
+++ /dev/null
@@ -1,59 +0,0 @@
-%
-% 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.
-%
-\immediate\write16{MusiXDATes 0.36\space<1 March 1995>}%
-
-\ifx\undefined\dategerman \else \endinput \fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-%% This is 'stolen' from GERMAN.TEX or GERMAN.STY, Vers. 2.4a, 12 Apr 1991
-
-% Dates
-% -----
-
-\def\month@german{\ifcase\month \or
- Januar\or Februar\or M\"arz\or April\or Mai\or Juni\or
- Juli\or August\or September\or Oktober\or November\or Dezember\fi}
-\def\dategerman{\def\today{\number\day.~\month@german
- \space\number\year}}
-\def\dateaustrian{\def\today{\number\day.~\ifnum 1=\month
- J\"anner\else \month@german\fi \space\number\year}}
-\def\month@english{\ifcase\month \or
- January\or February\or March\or April\or May\or June\or
- July\or August\or September\or October\or November\or December\fi}
-\def\dateUSenglish{\def\today{\month@english
- \space\number\day, \number\year}}
-\def\dateenglish{\def\today{\number\day \ifcase\day \or
- st\or nd\or rd\or th\or th\or th\or th\or th\or th\or th\or % 1..10
- th\or th\or th\or th\or th\or th\or th\or th\or th\or th\or % 11..20
- st\or nd\or rd\or th\or th\or th\or th\or th\or th\or th\or % 21..30
- st\fi
- ~\month@english \space\number\year}}
-\def\datefrench{\def\today{\number\day \ifnum1=\day \/$^{\rm er}$\fi
- \space\ifcase\month \or
- janvier\or f\'evrier\or mars\or avril\or mai\or juin\or
- juillet\or ao\^ut\or septembre\or octobre\or novembre\or d\'ecembre\fi
- \space\number\year}}
-
-\def\aujourdhui{\datefrench\today}
-
-\dateUSenglish% or whatever you prefer
-
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixdbr.tex b/macros/musixtex/tex/musixdbr.tex
deleted file mode 100644
index 2ad82ca662..0000000000
--- a/macros/musixtex/tex/musixdbr.tex
+++ /dev/null
@@ -1,250 +0,0 @@
-\ifx\indivbarrules\undefined\else\endinput\fi
-
-\immediate\write10{MusiXDashed and Dotted BaRlines 1.0\space<23 February 2002>}%
-% by Rainer Dunker
-% Ideas and code based on musixbar.tex
-% by Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
-
-\makeatletter
-
-\newdimen\barline@depth
-
-\def\barlinedash#1{\vskip.5\Internote
- \hrule\@width#1\@height\Internote
- \vskip.5\Internote}
-\def\barlinedots#1{\vskip.5\Internote
- \hbox to #1{\hss\tenrm.\hss}
- \vskip.5\Internote}
-
-\def\rul@indiv#1{%
- \n@loop
- \Comp@High
- \multiply\barline@depth -1\relax
- \advance\barline@depth\altitude
- \expandafter\ifx\csname s@b\romannumeral\noinstrum@nt\endcsname\relax
- % normal barline below instrument
- \raise\altitude\rlap{\vrule\@depth\barline@depth\@width#1\@height0pt }%
- \else
- \expandafter\ifx\csname s@b\romannumeral\noinstrum@nt\endcsname 2%
- % dashed barline below instrument
- \raise\altitude\hbox{%
- \lower\barline@depth\rlap{%
- \vbox to \barline@depth{%
- \xleaders\vbox{\barlinedash{#1}}\vfill}}}%
- \else
- \expandafter\ifx\csname s@b\romannumeral\noinstrum@nt\endcsname 3%
- % dotted barline below instrument
- \raise\altitude\hbox{%
- \lower\barline@depth\rlap{%
- \vbox to \barline@depth{%
- \xleaders\vbox{\barlinedots{#1}}\vfill}}}%
- \fi
- \fi
- \fi
- \ifnum\st@ffs>1 % multi-staff instrument
- \multi@instrum@bars{#1}%
- \else % single-staff instrument
- \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname\relax
- % normal barline through instrument
- \raise\altitude\rlap{\vrule\@depth0pt \@width#1\@height\y@v}%
- \else
- \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 2%
- % dashed barline through instrument
- \raise\altitude\rlap{%
- \vbox to \y@v{%
- \cleaders\vbox to 2\internote{\vss
- \hrule\@width#1\@height\internote
- \vss}%
- \vfill}}%
- \else
- \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 3%
- % dotted barline through instrument
- \raise\altitude\rlap{%
- \vbox to \y@v{%
- \cleaders\vbox to 2\internote{\vss
- \hbox to #1{\hss\tenrm.\hss}%
- \vss}%
- \vfill}}%
- \fi
- \fi
- \fi
- \fi
- \barline@depth\altitude
- \advance\barline@depth\y@v
- \repeat
- \addspace#1}
-
-\def\multi@instrum@bars#1{%
- \begingroup
- % retrieve staff height
- \count@=\nblines \advance\count@ -1 \multiply\count@ 2
- \dimen@=\count@\internote
- \p@loop
- % barline within staff
- \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname\relax
- % normal barline through staff
- \raise\altportee\rlap{\vrule\@depth0pt \@width#1\@height\dimen@}%
- \else
- \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 2%
- % dashed barline through staff
- \raise\altportee\rlap{%
- \vbox to \dimen@{%
- \cleaders\vbox to 2\internote{\vss
- \hrule\@width#1\@height\internote
- \vss}%
- \vfill}}%
- \else
- \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 3%
- % dotted barline through staff
- \raise\altportee\rlap{%
- \vbox to \dimen@{%
- \cleaders\vbox to 2\internote{\vss
- \hbox to #1{\hss\tenrm.\hss}%
- \vss}%
- \vfill}}%
- \fi
- \fi
- \fi
- \count@portee
- % barline above staff
- \ifnum\noport@@<\st@ffs % not for topmost staff
- \barline@depth\interportee
- \advance\barline@depth -\dimen@
- \raise\altportee\hbox{\raise\dimen@\rlap{%
- \expandafter\ifx\csname s@mb\romannumeral\noinstrum@nt\endcsname
- \relax
- % normal barline
- \vrule\@height\barline@depth\@width#1\relax
- \else
- \expandafter\ifx\csname s@mb\romannumeral\noinstrum@nt\endcsname 2%
- % dashed barline
- \vbox to \barline@depth{%
- \xleaders\vbox{\barlinedash{#1}}\vfill}%
- \else
- \expandafter\ifx\csname s@mb\romannumeral\noinstrum@nt\endcsname
- 3% dotted barline
- \vbox to \barline@depth{%
- \xleaders\vbox{\barlinedots{#1}}\vfill}%
- \fi
- \fi
- \fi}}%
- \fi
- \repeat
- \endgroup}
-
-
-% Activate individual barline processing
-\def\indivbarrules{%
- \let\writ@rule\rul@indiv
- \sepbarrule 1}
-
-%== separates bar line of specified instrument from one of previous instrument
-\def\sepbarrule#1{\expandafter\let\csname s@b\romannumeral#1\endcsname 1}
-
-%== connects bar line of specified instrument to one of previous instrument
-% with dashed line
-\def\condashbarrule#1{%
- \ifnum#1>1 \expandafter\let\csname s@b\romannumeral#1\endcsname 2\fi}
-
-%== connects bar line of specified instrument to one of previous instrument
-% with dotted line
-\def\condotbarrule#1{%
- \ifnum#1>1 \expandafter\let\csname s@b\romannumeral#1\endcsname 3\fi}
-
-%== connects bar line of specified instrument to one of previous instrument
-\def\conbarrule#1{%
- \ifnum#1>1 \expandafter\let\csname s@b\romannumeral#1\endcsname\relax\fi}
-
-%== hides bar line for specified instrument
-\def\hidebarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname 1}
-
-%== dashes bar line for specified instrument
-\def\showdashbarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname 2}
-
-%== dots bar line for specified instrument
-\def\showdotbarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname 3}
-
-%== shows bar line for specified instrument
-\def\showbarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname\relax}
-
-%== separates bar line within multistaff instrument
-\def\sepmultibarrule#1{\expandafter\let\csname s@mb\romannumeral#1\endcsname 1}
-
-%== dashes bar line between staves of multistaff instrument
-\def\condashmultibarrule#1{%
- \expandafter\let\csname s@mb\romannumeral#1\endcsname 2}
-
-%== dots bar line between staves of multistaff instrument
-\def\condotmultibarrule#1{%
- \expandafter\let\csname s@mb\romannumeral#1\endcsname 3}
-
-%== shows bar line between staves of multistaff instrument
-\def\conmultibarrule#1{%
- \expandafter\let\csname s@mb\romannumeral#1\endcsname\relax}
-
-% set barlines for all instruments together
-\def\allbarrules#1{\n@loop#1\noinstrum@nt\repeat}
-
-
-\makeatother
-\endinput
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-% Here comes an example of how to use these macros
-
-\input musixtex
-\input musixdbr
-
-\instrumentnumber4
-\setstaffs23
-\setstaffs32
-\setlines14
-\setsize2\tinyvalue
-
-\indivbarrules
-
-\startpiece
- % normal barlines
- \bar
- % barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showbarrule
- \bar
- % barlines between staves
- \allbarrules\conbarrule
- \allbarrules\conmultibarrule
- \allbarrules\hidebarrule
- \bar
- % dashed barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showdashbarrule
- \bar
- % dashed barlines between staves
- \allbarrules\condashbarrule
- \allbarrules\condashmultibarrule
- \allbarrules\hidebarrule
- \bar
- % dotted barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showdotbarrule
- \bar
- % dotted barlines between staves
- \allbarrules\condotbarrule
- \allbarrules\condotmultibarrule
- \allbarrules\hidebarrule
- \bar
- % a wild mixture of all
- \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
- \condashbarrule2\conbarrule3\condotbarrule4%
- \condashmultibarrule2\sepmultibarrule3%
- \bar
- % conventional ending
- \allbarrules\showbarrule
- \allbarrules\conbarrule
- \allbarrules\conmultibarrule
-\Endpiece
-\bye
diff --git a/macros/musixtex/tex/musixdia.tex b/macros/musixtex/tex/musixdia.tex
deleted file mode 100644
index 05839eea01..0000000000
--- a/macros/musixtex/tex/musixdia.tex
+++ /dev/null
@@ -1,110 +0,0 @@
-%
-% 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.
-%
-
-\immediate\write16{MusiXDIAmond T.40\space<12 September 1995>}%
-
-\ifx\undefined\dqu \else \endinput \fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-%%% notes with a unfilled diamond head, for gregorian and flagolet notes ...
-
-\def\d@symbol{\def\q@u{\musixfont\&}}
-
-\def\dnq{\d@symbol\@nq}
-\def\dznq{\advancefalse\dnq}
-
-\def\dqu{\d@symbol\@qu}
-\def\dqup{\d@symbol\@qup}
-\def\dqupp{\d@symbol\@qupp}
-%\def\dquppp{\d@symbol\@quppp}
-
-\def\dql{\d@symbol\@ql}
-\def\dqlp{\d@symbol\@qlp}
-\def\dqlpp{\d@symbol\@qlpp}
-%\def\dqlppp{\d@symbol\@qlppp}
-
-\def\dqb{\d@symbol\@qb}
-
-\def\dzq{\d@symbol\@zq}
-\def\dzqp{\d@symbol\@zqp}
-\def\dzqpp{\d@symbol\@zqpp}
-%\def\dzqppp{\d@symbol\@zqppp}
-
-\def\dcu{\d@symbol\@cu}
-\def\dccu{\d@symbol\@ccu}
-\def\dcccu{\d@symbol\@cccu}
-\def\dccccu{\d@symbol\@ccccu}
-\def\dcl{\d@symbol\@cl}
-\def\dccl{\d@symbol\@ccl}
-\def\dcccl{\d@symbol\@cccl}
-\def\dccccl{\d@symbol\@ccccl}
-
-\def\dcup{\d@symbol\@cup}
-\def\dcupp{\d@symbol\@cupp}
-%\def\dcuppp{\d@symbol\@cuppp}
-
-\def\dclp{\d@symbol\@clp}
-\def\dclpp{\d@symbol\@clpp}
-%\def\dclppp{\d@symbol\@clppp}
-
-%%% notes with a filled diamond head, for gregorian notes ...
-
-\def\y@symbol{\def\q@u{\musixfont\%}}
-
-\def\ynq{\y@symbol\@nq}
-\def\yznq{\advancefalse\ynq}
-\def\zynq{\advancefalse\ynq}
-
-\def\yqu{\y@symbol\@qu}
-\def\yqup{\y@symbol\@qup}
-\def\yqupp{\y@symbol\@qupp}
-%\def\yquppp{\y@symbol\@quppp}
-
-\def\yql{\y@symbol\@ql}
-\def\yqlp{\y@symbol\@qlp}
-\def\yqlpp{\y@symbol\@qlpp}
-%\def\yqlppp{\y@symbol\@qlppp}
-
-\def\yqb{\y@symbol\@qb}
-
-\def\yzq{\y@symbol\@zq}
-\def\yzqp{\y@symbol\@zqp}
-\def\yzqpp{\y@symbol\@zqpp}
-%\def\yzqppp{\y@symbol\@zqppp}
-
-\def\ycu{\y@symbol\@cu}
-\def\yccu{\y@symbol\@ccu}
-\def\ycccu{\y@symbol\@cccu}
-\def\yccccu{\y@symbol\@ccccu}
-\def\ycl{\y@symbol\@cl}
-\def\yccl{\y@symbol\@ccl}
-\def\ycccl{\y@symbol\@cccl}
-\def\yccccl{\y@symbol\@ccccl}
-
-\def\ycup{\y@symbol\@cup}
-\def\ycupp{\y@symbol\@cupp}
-%\def\ycuppp{\y@symbol\@cuppp}
-
-\def\yclp{\y@symbol\@clp}
-\def\yclpp{\y@symbol\@clpp}
-%\def\yclppp{\y@symbol\@clppp}
-
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixec.tex b/macros/musixtex/tex/musixec.tex
deleted file mode 100644
index e213f30fb1..0000000000
--- a/macros/musixtex/tex/musixec.tex
+++ /dev/null
@@ -1,169 +0,0 @@
-% musixec.tex : EC font definitions for MusiXTeX
-%
-% usage:
-%
-% \input musixtex
-% \input musixec
-% ...
-%
-% MusiXec.tex 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.
-%
-% MusiXppl.tex 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.
-%
-% Copyright 2015-2017 Bob Tennent rdt@cs.queensu.ca
-%
-\ifx\undefined\startpiece\errmessage{Input musixtex.tex before musixec.tex}\fi
-\immediate\write16{MusiXec\space<2017/02/10>}
-%
-
-\longECfontnamestrue
-\def\fontid{ec}
-
-% 7pt
-\font\sevenrm=ecrm0700
-\font\sevenbf=ecbx0700
-\font\sevenit=ecti0800 at 7pt
-\font\sevenbi=ecbi0700
-\font\sevensc=ecsc0700
-%
-% 8pt
-\font\eightrm=ecrm0800
-\font\eightbf=ecbx0800
-\font\eightit=ecti0800
-\font\eightbi=ecbi0800
-\font\eightsc=ecsc0800
-%
-% 9pt
-\font\ninerm=ecrm0900
-\font\ninebf=ecbx0900
-\font\nineit=ecti0900
-\font\ninebi=ecbi0900
-\font\ninesc=ecsc0900
-%
-% 10pt
-\font\tenrm=ecrm1000
-\font\tenbf=ecbx1000
-\font\tenit=ecti1000
-\font\tenbi=ecbi1000
-\font\tensc=ecsc1000
-%
-% 11pt
-\font\elevenrm=ecrm1095
-\font\elevenbf=ecbx1095
-\font\elevenit=ecti1095
-\font\elevenbi=ecbi1095
-\font\elevensc=ecsc1095
-%
-% 12pt
-\font\twelverm=ecrm1200
-\font\twelvebf=ecbx1200
-\font\twelveit=ecti1200
-\font\twelvebi=ecbi1200
-\font\twelvesc=ecsc1200
-%
-% 14pt
-\font\frtrm=ecrm1440
-\font\frtbf=ecbx1440
-\font\frtit=ecti1440
-\font\frtbi=ecbi1440
-\font\frtsc=ecsc1440
-%
-% 17pt
-\font\svtrm=ecrm1728
-\font\svtbf=ecbx1728
-\font\svtit=ecti1728
-\font\svtbi=ecbi1728
-\font\svtsc=ecsc1728
-%
-% 20pt
-\font\twtyrm=ecrm2074
-\font\twtybf=ecbx2074
-\font\twtyit=ecti2074
-\font\twtybi=ecbi2074
-\font\twtysc=ecsc2074
-%
-% 25pt
-\font\twfvrm=ecrm2488
-\font\twfvbf=ecbx2488
-\font\twfvit=ecti2488
-\font\twfvbi=ecbi2488
-\font\twfvsc=ecsc2488
-%
-%
-%
-\font\ppfftwelve=ecbi0800
-\font\ppffsixteen=ecbi1000
-\font\ppfftwenty=ecbi1200
-\font\ppfftwentyfour=ecbi1440
-\font\ppfftwentynine=ecbi1728
-%
-%
-% tt fonts needed by musixsty
-%
-\font\eighttt=ectt0800
-\font\ninett=ectt0900
-\font\tentt=ectt1000
-\font\twelvett=ectt1200
-\font\frttt=ectt1440
-\font\svttt=ectt1728
-\font\twtytt=ectt2074
-\font\twfvtt=ectt2488
-%
-% sl fonts needed by musixsty
-%
-\font\eightsl=ecsl0800
-\font\ninesl=ecsl0900
-\font\tensl=ecsl1000
-\font\twelvesl=ecsl1200
-\font\frtsl=ecsl1440
-\font\svtsl=ecsl1728
-\font\twtysl=ecsl2074
-\font\twfvsl=ecsl2488
-
-%
-% Redefine accented characters for 8-bit font
-%
-
-\ifx\documentclass\undefined
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-\def\ProvidesFile#1[#2]{}
-\def\DeclareFontEncoding#1#2#3{}
-\def\DeclareTextAccent#1#2#3{%
-\def#1##1{%
-\expandafter\ifx\csname T1\string#1-\string##1\endcsname\relax
-{\accent#1 ##1}%
-\else
-\csname T1\string#1-\string##1\expandafter\endcsname
-\fi}}
-\def\DeclareTextCommand#1#2{\xdtcmd}%not today
-\def\xdtcmd#1#{\xxdtcmd}%not today
-\def\xxdtcmd#1{}%not today
-\def\DeclareTextCompositeCommand#1#2#3#4{}%not today
-\def\DeclareTextSymbol#1#2#3{%
-\def#1{\char#3\relax}}
-\def\DeclareTextComposite#1#2#3#4{%
-\expandafter\def\csname T1\string#1-\string#3\endcsname{\char#4\relax}}
-
-\input t1enc.def
-
-% \c requires special treatment
-\def\c#1{\leavevmode\ifx c#1\char231 \else\setbox\z@\hbox{#1}\ifdim\ht\z@=1ex\accent11 #1%
- \else{\ooalign{\unhbox\z@\crcr
- \hidewidth\char11\hidewidth}}\fi\fi}
-\catcode`\@=\catcodeat
-\fi
-
-
-\normtype
-\endinput
diff --git a/macros/musixtex/tex/musixeng.tex b/macros/musixtex/tex/musixeng.tex
deleted file mode 100644
index e9e3d0d8b9..0000000000
--- a/macros/musixtex/tex/musixeng.tex
+++ /dev/null
@@ -1,42 +0,0 @@
-%
-% 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.
-%
-
-% suggested by Ross Mitchell
-
-\immediate\write16{MusiX ENGlish rests T.404\space<08 May 2018>}%
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\let\Qwr\PAUSe
-\let\Dwr\PAuse
-\let\liftwr\liftpause
-\let\wrp\pausep
-\let\wr@\pause
-\let\lifthr\lifthpause
-\let\hrp\hpausep
-\let\hr\hpause
-\let\qr\qp
-\let\er\ds % \ds\oup no longer available
-\let\eer\qs
-\let\eeer\hs
-\let\eeeer\qqs
-\def\wr{\pause}
-
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixesf.tex b/macros/musixtex/tex/musixesf.tex
deleted file mode 100644
index 0fa6fd0829..0000000000
--- a/macros/musixtex/tex/musixesf.tex
+++ /dev/null
@@ -1,79 +0,0 @@
-%%
-%% musixesf.tex : efont-serif series fonts definition for MusiXTeX
-%%
-%% usage:
-%% \input musixtex
-%% \input musixesf
-%% ...
-%%
-%% This file is public domain.
-%%
-%% Author:
-%% Hiroaki MORIMOTO <CQX05646 at nifty dot com>
-%% Tokyo, Japan
-%% URL(en): http://homepage1.nifty.com/kuuku/pub/musixtex/index-e.html
-%% (jp): http://homepage1.nifty.com/kuuku/pub/musixtex/index.html
-%%
-%% reference: musixtex.tex (T.99) 268-508
-%% MusiXTeX: (c) Daniel Taupin, et al.
-%%
-%% efont-serif:
-%% (c) /efont/ <efont\atmark ring.gr.jp>
-%% The Electronic Font Open Laboratory
-%% http://openlab.ring.gr.jp/efont/dist/serif/efont-serif-tex-20010312-p3.tar.gz
-%% http://openlab.ring.gr.jp/efont/serif/index.html.en
-%% http://openlab.ring.gr.jp/efont/index.html.en
-%%
-%% History: see trailer.
-%
-\immediate\write16{MusiXTeX efont-serif\space<2009/10/15>}
-%
-% 8pt roman, bold, and italic
-\font\eightrm=esfr7t at 8pt
-\font\eightbf=esfb7t at 8pt
-\font\eightit=esfri7t at 8pt
-%
-% 9pt
-\font\ninerm=esfr7t at 9pt
-\font\ninebf=esfb7t at 9pt
-\font\nineit=esfri7t at 9pt
-%
-% 10pt
-\font\tenrm=esfr7t
-\font\tenbf=esfb7t
-\font\tenit=esfri7t
-%
-% 12pt
-\font\twelverm=esfr7t scaled \magstep 1
-\font\twelvebf=esfb7t scaled \magstep 1
-\font\twelveit=esfri7t scaled \magstep 1
-%
-% Large fonts for titles
-% (If you prefer efont-serif-bold, use esfb7t instead of esfr7t)
-\font\bigfont=esfr7t scaled \magstep2 % 14pt
-\font\Bigfont=esfr7t scaled \magstep3 % 17pt
-\font\BIgfont=esfr7t scaled \magstep4 % 20pt
-\font\BIGfont=esfr7t scaled \magstep5 % 25pt
-%
-% PMX changes font assignment in pmx.tex
-% \BIGfont=\fontid bx10 scaled\magstep4
-% \Bigfont=\fontid bx10 scaled\magstep2
-\ifx\pmxversion\undefined\relax\else
- \font\Bigfont=esfr7t scaled \magstep2 % 14pt
- \font\BIGfont=esfr7t scaled \magstep4 % 20pt
-\fi
-%
-\normtype
-\endinput
-%%
-%% History
-%%
-%% 2006/05/13
-%% first publish
-%% 2007/06/11
-%% no functional change. (email protection, real address change, URL change)
-%% 2008/08/01
-%% Font assignment change on PMX.
-%% 2009/10/15
-%% small update for MusiXTeX T.114 final release.
-%%
diff --git a/macros/musixtex/tex/musixevo.tex b/macros/musixtex/tex/musixevo.tex
deleted file mode 100644
index dd6c1e5ffc..0000000000
--- a/macros/musixtex/tex/musixevo.tex
+++ /dev/null
@@ -1,19 +0,0 @@
-\immediate\write16{MusiXEVenOdd T.53\space<1 April 1996>}%
-
-% enables
-
-\makeatletter
-\def\outmorceau{\shipout\hbox{\null\ifodd\pageno\kern 2.5mm
- \else\kern -2.5mm
- \fi
- \vbox{\vbox to \vsize{\vss\pagecontents\vss}\line{%
-\ifodd\pageno\sl \titremorceau\ (\s@hortauthor)
-\ifcopyright\rm$\copyright$\fi\hss \number\pageno
-\else\rm\number\pageno\hss\sl \titremorceau\ (\s@hortauthor)
-\ifcopyright\rm$\copyright$\fi\fi}}}%
- \global\advance\count0 by 1\relax
- \ifnum\outputpenalty>-20000 \else\dosupereject\fi}%
-
-\output{\outmorceau}
-\makeatother
-\endinput
diff --git a/macros/musixtex/tex/musixext.tex b/macros/musixtex/tex/musixext.tex
deleted file mode 100644
index d6ac3b9c4b..0000000000
--- a/macros/musixtex/tex/musixext.tex
+++ /dev/null
@@ -1,26 +0,0 @@
-%
-% 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.
-%
-%
-% musixext.tex
-%
-\immediate\write16{MusiXext T.118 <2015-07-25>}%
-%
-% (nothing to do. - T.118 or later provides \slide and \raggedstoppiece
-%
-\endinput
diff --git a/macros/musixtex/tex/musixfll.tex b/macros/musixtex/tex/musixfll.tex
deleted file mode 100644
index 7cb9e44fae..0000000000
--- a/macros/musixtex/tex/musixfll.tex
+++ /dev/null
@@ -1,44 +0,0 @@
-%
-% 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.
-%
-
-\ifx\undefined\longledgerlines \else \endinput \fi
-
-\immediate\write16{MusiXFormerLedgerLines T.74\space<06 April 1997>}%
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\let\h@lineick\h@linei
-\def\h@lineidt{%
- \y@ii\n@v\internote
- \y@iii\y@ii
- \advance\y@ii\hlthick
- \advance\y@iii-\hlthick
- \y@iv\y@v
- \advance\y@iv\h@lf\qn@width
- \kernm.25\qn@width
- \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv
- \kernm\y@iv\kern.25\qn@width}
-\def\longledgerlines{\global\let\h@linei\h@lineidt}
-\def\autoledgerlines{\global\let\h@linei\h@lineick}
-\longledgerlines
-
-\catcode`\@=\catcodeat
-
-\endinput
-
diff --git a/macros/musixtex/tex/musixftab.tex b/macros/musixtex/tex/musixftab.tex
deleted file mode 100644
index 82e679ad9f..0000000000
--- a/macros/musixtex/tex/musixftab.tex
+++ /dev/null
@@ -1,148 +0,0 @@
-
-% musixftab.tex : french tablature definitions for MusiXTeX
-%
-% usage:
-%
-% \input musixtex
-% \input musixftab
-% ...
-%
-% musixftab.tex 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.
-%
-% musixftab.tex 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.
-%
-% Copyright 2021 Bob Tennent rdt@cs.queensu.ca
-%
-\immediate\write16{musixftab\space<2017/02/10>}
-\ifx\undefined\startpiece\errmessage{Input musixtex.tex before musixftab.tex}\fi
-
-\font\tabfntthirteen=frenchtab at 4pt
-\font\tabfntsixteen=frenchtab at 5pt
-\font\tabfnttwenty=frenchtab at 6pt
-\font\tabfnttwentyfour=frenchtab at 7pt
-\font\tabfnttwentynine=frenchtab at 9pt
-
-\makeatletter
-
-% need to raise note boxes 0.25ex for frenchtab.pfb
-
-\def\tabbox#1#2{%
- \setbox0=\hbox{\tabfnt #2}%
- \stringraise\nblines
- \advance\stringraise by -#1
- \multiply\stringraise by 2
- \advancefalse\def\q@u{}\loffset{0.45}{\@nq{\the\stringraise}}%
- \iftabstylespace\else\advance\stringraise-1\fi
- \special{ps: 1 setgray}%
- \ccharnote{\the\stringraise}{\vrule height \ht0 width \wd0 depth \dp0}%
- \special{ps: 0 setgray}%
- \ccharnote{\the\stringraise}{\raise 0.25ex\box0}%
-}
-% \ltabbox does the same as \tabbox, except that it produces
-% left-outlined symbols
-\def\ltabbox#1#2{\setbox0=\hbox{\tabfnt #2}%
- \stringraise\nblines
- \advance\stringraise by -#1
- \multiply\stringraise by 2
- \advancefalse\def\q@u{}\loffset{0.2}{\@nq{\the\stringraise}}%
- \iftabstylespace\else\advance\stringraise-1\fi
- \special{ps: 1 setgray}%
- \zcharnote{\the\stringraise}{\vrule height \ht0 width \wd0 depth \dp0}%
- \special{ps: 0 setgray}%
- \zcharnote{\the\stringraise}{\raise 0.25ex\box0}%
-}
-% \rtabbox does the same as \tabbox, except that it produces
-% right-outlined symbols
-\def\rtabbox#1#2{\setbox0=\hbox{\tabfnt #2}%
- \stringraise\nblines
- \advance\stringraise by -#1
- \multiply\stringraise by 2
- \advancefalse\def\q@u{}\loffset{0.75}{\@nq{\the\stringraise}}%
- \iftabstylespace\else\advance\stringraise-1\fi
- \special{ps: 1 setgray}%
- \lcharnote{\the\stringraise}{\vrule height \ht0 width \wd0 depth \dp0}%
- \special{ps: 0 setgray}%
- \lcharnote{\the\stringraise}{\raise 0.25ex\box0}%
-}
-
-\makeatother
-
-
-\def\tab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\tabbox{#1}{#2}\or\zcn{-3}{\tabfnt V0}\or\zcn{-3}{\tabfnt W0}\or\zcn{-3}{\tabfnt X0}\or\zcn{-3}{\tabstringfnt\bf 4}\or\zcn{-3}{\tabstringfnt\bf 5}\or\zcn{-3}{\tabstringfnt\bf 6}\or\zcn{-3}{\tabstringfnt\bf 7}\fi%
-\else\tabbox{#1}{#2}\fi\sk}
-
-% left spilling \tab
-\def\ltab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\ltabbox{#1}{#2}\or\zcn{-3}{\tabfnt V0}\or\zcn{-3}{\tabfnt W0}\or\zcn{-3}{\tabfnt X0}\or\zcn{-3}{\tabstringfnt\bf 4}\or\zcn{-3}{\tabstringfnt\bf 5}\or\zcn{-3}{\tabstringfnt\bf 6}\or\zcn{-3}{\tabstringfnt\bf 7}\fi%
-\else\ltabbox{#1}{#2}\fi\sk}
-
-% right spilling \tab
-\def\rtab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\rtabbox{#1}{#2}\or\zcn{-3}{\tabfnt V0}\or\zcn{-3}{\tabfnt W0}\or\zcn{-3}{\tabfnt X0}\or\zcn{-3}{\tabstringfnt\bf 4}\or\zcn{-3}{\tabstringfnt\bf 5}\or\zcn{-3}{\tabstringfnt\bf 6}\or\zcn{-3}{\tabstringfnt\bf 7}\fi%
-\else\rtabbox{#1}{#2}\fi\sk}
-
-% \chord-tab symbol. Same as \tab, but no \sk is given, so multiple
-% symbols can be placed above one another
-\def\ztab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\tabbox{#1}{#2}\or\zcn{-3}{\tabfnt V0}\or\zcn{-3}{\tabfnt W0}\or\zcn{-3}{\tabfnt X0}\or\zcn{-3}{\tabstringfnt\bf 4}\or\zcn{-3}{\tabstringfnt\bf 5}\or\zcn{-3}{\tabstringfnt\bf 6}\or\zcn{-3}{\tabstringfnt\bf 7}\fi%
-\else\tabbox{#1}{#2}\fi}
-
-% left spilling \ztab
-\def\zltab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\ltabbox{#1}{#2}\or\zcn{-3}{\tabfnt V0}\or\zcn{-3}{\tabfnt W0}\or\zcn{-3}{\tabfnt X0}\or\zcn{-3}{\tabstringfnt\bf 4}\or\zcn{-3}{\tabstringfnt\bf 5}\or\zcn{-3}{\tabstringfnt\bf 6}\or\zcn{-3}{\tabstringfnt\bf 7}\fi%
-\else\ltabbox{#1}{#2}\fi}
-
-% right spilling \ztab
-\def\zrtab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\rtabbox{#1}{#2}\or\zcn{-3}{\tabfnt V0}\or\zcn{-3}{\tabfnt W0}\or\zcn{-3}{\tabfnt X0}\or\zcn{-3}{\tabstringfnt\bf 4}\or\zcn{-3}{\tabstringfnt\bf 5}\or\zcn{-3}{\tabstringfnt\bf 6}\or\zcn{-3}{\tabstringfnt\bf 7}\fi%
-\else\rtabbox{#1}{#2}\fi}
-
-\endinput
diff --git a/macros/musixtex/tex/musixgre.tex b/macros/musixtex/tex/musixgre.tex
deleted file mode 100644
index a7272fb30c..0000000000
--- a/macros/musixtex/tex/musixgre.tex
+++ /dev/null
@@ -1,351 +0,0 @@
-%
-% 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.
-%
-\immediate\write16{MusiXGREgorian T.67\space<3 January 1997>}%
-
-\ifx\undefined\gregorianCclef \else \endinput \fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-\catcodesmusic
-
-\font\xgregeleven=xgreg11
-\font\xgregthirteen=xgreg13
-\font\xgregsixteen=xgreg16
-\font\xgregtwenty=xgreg20
-\font\xgregtwentyfour=xgreg24
-\font\xgregtwentynine=xgreg29
-
-\let\xgregnorfont\xgregtwenty
-
-\def\xgregkeyfont{%
- \ifdim\internote<\p@seven6\Internote \xgregtinyfont
- \else
- \ifdim\internote<.95\Internote \xgregsmallfont
- \else
- \ifdim\internote<1.19\Internote \xgregnorfont
- \else
- \ifdim\internote<1.43\Internote \xgreglargefont
- \else
- \xgregLargefont
- \fi
- \fi
- \fi
- \fi}
-
-\def\xgregchar{\xgregfont\char}
-\def\xgregkeychar{\xgregkeyfont\char}
-
-
-% \[z]carrg=\[z]squ, \[z]carpg=\[z]lsqu, \[z]carqg=\[z]rsqu
-
-\def\gregorianCclef{\xgregkeychar98}
-\def\gregorianFclef{\xgregkeychar122}
-
-\def\squ#1{\getn@i#1\relax\let\n@fon\squ \def\n@sym{\xgregchar5}\g@diamg}
-\def\r@small@squ#1{\getn@i#1\relax\let\n@fon\r@small@squ
- \def\n@sym{\xgregchar0\llap{\xgregchar12\xgregchar18}}\g@diamg}
-\def\punctumauctup#1{\getn@i#1\relax\let\n@fon\squ
- \def\n@sym{\xgregchar9}\g@diamg}
-\def\punctumauctdown#1{\getn@i#1\relax\let\n@fon\squ
- \def\n@sym{\xgregchar8}\g@diamg}
-\def\punctumdeminutum#1{\getn@i#1\relax\let\n@fon\squ
- \def\n@sym{\xgregchar4}\g@diamg}
-\def\shavedsqu#1{\getn@i#1\relax\let\n@fon\squ
- \def\n@sym{\xgregchar17}\g@diamg}
-\let\punctum\squ
-\def\diapunc#1{\getn@i#1\relax\let\n@fon\squ
- \def\n@sym{\xgregchar1}\g@diamg}
-\def\diapuncauctdown#1{\getn@i#1\relax\let\n@fon\squ
- \def\n@sym{\xgregchar2}\g@diamg}
-\def\apostropha#1{\getn@i#1\relax\let\n@fon\squ
- \def\n@sym{\xgregchar3}\g@diamg}
-\def\apostrophaaucta#1{\getn@i#1\relax\let\n@fon\squ
- \def\n@sym{\xgregchar11}\g@diamg}
-\def\oriscus#1{\getn@i#1\relax\let\n@fon\squ
- \def\n@sym{\xgregchar10}\g@diamg}
-\def\usqu#1{\getn@i#1\relax\let\n@fon\squ
- \def\n@sym{\xgregchar13}\g@diamg}
-\def\lsqu#1{\getn@i#1\relax\let\n@fon\lsqu
- \def\n@sym{\xgregchar6}\g@diamg}
-\def\rsqu#1{\getn@i#1\relax\let\n@fon\rsqu
- \def\n@sym{\xgregchar7}\g@diamg}
-\let\virga\rsqu
-\def\quilisma#1{\getn@i#1\relax\let\n@fon\quilisma
- \def\n@sym{\xgregchar125}\g@diamg}
-\def\shavedquilisma#1{\getn@i#1\relax\let\n@fon\shavedquilisma
- \def\n@sym{\xgregchar126}\g@diamg}
-
-
-
-\def\zsqu{\advancefalse\squ}
-\let\zpunctum\zsqu
-\def\zusqu{\advancefalse\usqu}
-\def\zlsqu{\advancefalse\lsqu}
-\def\zrsqu{\advancefalse\rsqu}
-\let\zvirga\zrsqu
-\def\zoriscus{\advancefalse\oriscus}
-\def\zdiapunc{\advancefalse\diapunc}
-\def\zapostropha{\advancefalse\apostropha}
-\def\zquilisma{\advancefalse\quilisma}
-\def\zshavedquilisma{\advancefalse\shavedquilisma}
-
-\def\g@diamg{\y@v.71\qn@width \let\st@m\resetst@m \writ@note}
-
-\def\groff{\roffset{.71}}
-\def\dgroff{\roffset{1.42}}
-
-\def\getthen@one@two#1#2{\getn@i{#1}\relax\edef\then@one{\the\n@i}%
- \getn@i{#2}\relax\edef\then@two{\the\n@i}%
- \n@ii=\then@one\relax
- \advance\n@i -\n@ii\relax
- \edef\the@two@minus@one{\the\n@i}%
- \n@i=-\n@i
- \edef\the@one@minus@two{\the\n@i}%
-}%
-\def\getthen@one@three#1#2#3{\getthen@one@two{#1}{#2}\relax
- \getn@i{#3}\relax\edef\then@three{\the\n@i}%
- \n@ii=\then@two\relax
- \advance\n@i -\n@ii\relax
- \edef\the@three@minus@two{\the\n@i}%
- \n@i=-\n@i
- \edef\the@two@minus@three{\the\n@i}%
-}%
-
-\def\bivirga#1#2{\zrsqu{#1}\roff{\rsqu{#2}}}
-
-\def\trivirga#1#2#3{\zrsqu{#1}\roff{\zrsqu{#2}}\roffset2{\rsqu{#3}}}
-
-\def\bistropha#1#2{\zsqu{#1}\roff{\squ{#2}}}
-
-\def\tristropha#1#2#3{\zsqu{#1}\roff{\zsqu{#2}}\roffset2{\squ{#3}}}
-
-\def\trigonus#1#2#3{\zdiapunc{#1}\groff{\zdiapunc{#2}}\dgroff{\diapunc{#3}}}
-
-\def\clivis#1#2{\getthen@one@two{#1}{#2}\relax
-\zlsqu{#1}{\xgregchar0}\zcharnote{#2}{\vrule\@depth\z@ \@height \the@one@minus@two\internote}\squ{#2}}
-
-\def\clivisdeminut#1#2{\getthen@one@two{#1}{#2}\relax
-\zlsqu{#1}\zcharnote{#2}{\xgregchar0\vrule\@depth\z@ \@height
-\the@one@minus@two\internote}\r@small@squ{#2}}
-
-\def\clivisauctup#1#2{\getthen@one@two{#1}{#2}\relax
-\zlsqu{#1}{\xgregchar0}\zcharnote{#2}{\vrule\@depth\z@ \@height \the@one@minus@two\internote}\punctumauctup{#2}}
-
-\def\clivisauctdown#1#2{\getthen@one@two{#1}{#2}\relax
-\zlsqu{#1}{\xgregchar0}\zcharnote{#2}{\vrule\@depth\z@ \@height \the@one@minus@two\internote}\punctumauctdown{#2}}
-
-\def\lclivis#1#2{\zsqu{#1}\groff{\lsqu{#2}}}
-
-\def\podatus#1#2{\getthen@one@two{#1}{#2}\relax
- \zcharnote{#1}{\ifnum\the@two@minus@one<2\relax
- \xgregchar16%
- \else
- \xgregchar15%
- \fi
- \vrule\@depth\z@ \@height\the@two@minus@one\internote}%
-\ifnum\the@two@minus@one<2\relax
- \shavedsqu{#2}%
- \else
- \squ{#2}%
- \fi
-}
-
-\def\podatusdeminut#1#2{\getthen@one@two{#1}{#2}\relax
- \zcharnote{#1}{\ifnum\the@two@minus@one<2\relax
- \xgregchar16%
- \else
- \xgregchar15%
- \fi
- \vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- \r@small@squ{#2}%
-}
-
-\def\lpodatus#1#2{\zusqu{#1}\groff{\rsqu{#2}}}
-
-\def\podatusinitiodebilis#1#2{\getthen@one@two{#1}{#2}\relax
- \zcharnote{#1}{\xgregchar12\xgregchar18%
- \vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- {\xgregchar18}\squ{#2}%
-}
-
-\def\podatusauctup#1#2{\getthen@one@two{#1}{#2}\relax
- \zcharnote{#1}{\xgregchar5\xgregchar0%
- \vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- {\xgregchar0}\punctumauctup{#2}%
-}
-
-\def\podatusauctdown#1#2{\getthen@one@two{#1}{#2}\relax
- \zcharnote{#1}{\xgregchar5\xgregchar0%
- \vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- {\xgregchar0}\punctumauctdown{#2}%
-}
-
-\def\scandicus#1#2#3{\getthen@one@three{#1}{#2}{#3}\relax
- \advancefalse\podatus{#1}{#2}{\xgregchar0}%
-% \zcharnote{#2}{\vrule\@depth\z@ \@height\the@three@minus@two\internote}%
- \rsqu{#3}}
-
-\def\scandicusdeminut#1#2#3{\getthen@one@two{#1}{#2}%
- \zsqu{#1}{\xgregchar0}%
-% \zcharnote{#1}{\vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- \podatusdeminut{#2}{#3}}
-
-\def\scandicusauctdown#1#2#3{\getthen@one@three{#1}{#2}{#3}\relax
- \zsqu{#1}{\xgregchar0}%
- \zcharnote{#1}{\vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- \zsqu{#2}{\xgregchar0}%
- \zcharnote{#2}{\vrule\@depth\z@ \@height\the@three@minus@two\internote}%
- \punctumauctdown{#3}}
-
-\def\torculus#1#2#3{\getthen@one@three{#1}{#2}{#3}\zsqu{#1}{\xgregchar0}%
- \zcharnote{#1}{\vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- \zsqu{#2}{\xgregchar0}%
- \zcharnote{#3}{\vrule\@depth\z@ \@height\the@two@minus@three\internote}%
- \squ{#3}}
-
-\def\torculusdeminut#1#2#3{\getthen@one@three{#1}{#2}{#3}\zsqu{#1}{\xgregchar0}%
- \zcharnote{#1}{\vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- \zsqu{#2}%
- \zcharnote{#3}{\xgregchar0\vrule\@depth\z@ \@height\the@two@minus@three\internote}%
- \r@small@squ{#3}}
-
-\def\torculusauctdown#1#2#3{\getthen@one@three{#1}{#2}{#3}\zsqu{#1}{\xgregchar0}%
- \zcharnote{#1}{\vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- \zsqu{#2}{\xgregchar0}%
- \zcharnote{#3}{\vrule\@depth\z@ \@height\the@two@minus@three\internote}%
- \punctumauctdown{#3}}
-
-\def\torculusinitiodebilis#1#2#3{\getthen@one@three{#1}{#2}{#3}%
- \zcharnote{#1}{\xgregchar12\xgregchar18\vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- {\xgregchar18}\zsqu{#2}{\xgregchar0}%
- \zcharnote{#3}{\vrule\@depth\z@ \@height\the@two@minus@three\internote}%
- \squ{#3}}
-
-\def\torculusdebilis#1#2#3{\getthen@one@three{#1}{#2}{#3}%
- \zcharnote{#1}{\xgregchar12\xgregchar18\vrule\@depth\z@ \@height\the@two@minus@one\internote}%
- {\xgregchar18}\zsqu{#2}%
- \zcharnote{#3}{\xgregchar0\vrule\@depth\z@ \@height\the@two@minus@three\internote}%
- \r@small@squ{#3}}
-
-\def\climacus#1#2#3{\zrsqu{#1}\groff{\zdiapunc{#2}{\xgregchar0}\diapunc{#3}}}
-
-\def\climacusresupinus#1#2#3#4{\zrsqu{#1}\groff{\zdiapunc{#2}{\xgregchar0}\zdiapunc{#3}{\xgregchar0}\squ{#4}}}
-
-\def\climacusdeminut#1#2#3{\zrsqu{#1}\groff{\zdiapunc{#2}{\xgregchar0}\punctumdeminutum{#3}}}
-
-\def\climacusauctdown#1#2#3{\zrsqu{#1}\groff{\zdiapunc{#2}{\xgregchar0}\diapuncauctdown{#3}}}
-
-\def\lclimacus#1#2#3{\zlsqu{#1}\groff{\zdiapunc{#2}{\xgregchar0}\diapunc{#3}}}
-
-\def\pesquassus#1#2{\getthen@one@two{#1}{#2}\relax
- \zoriscus{#1}{\xgregchar0}\zcharnote{#1}{\vrule\@depth\z@ \@height \the@two@minus@one\internote}\rsqu{#2}}
-
-\def\pesquassusauctdown#1#2{\getthen@one@two{#1}{#2}\relax
- \zoriscus{#1}{\xgregchar0}\zcharnote{#1}{\vrule\@depth\z@ \@height \the@two@minus@one\internote}\punctumauctdown{#2}}
-
-\def\quilismapes#1#2{\getthen@one@two{#1}{#2}\relax
- \ifnum\the@two@minus@one<2\relax
- \zshavedquilisma{#1}% \message{ zshavedqui OK}%
- \else
- \zquilisma{#1}% \message{ zquilisma OK}%
- \fi %\message{zqui OK}%
- \zcharnote{#1}{\xgregchar0\vrule\@depth\z@ \@height \the@two@minus@one\internote}%
- \ifnum\the@two@minus@one<2\relax
- \shavedsqu{#2}%
- \else
- \squ{#2}%
- \fi
-}
-\def\quilismapesauctdown#1#2{\getthen@one@two{#1}{#2}\relax
- \zquilisma{#1}% \message{ zquilisma OK}%
- \zcharnote{#1}{\xgregchar0\vrule\@depth\z@ \@height \the@two@minus@one\internote}%
- {\xgregchar0}\punctumauctdown{#2}%
-}
-
- %\check
-\def\hporrectus#1{\errmessage{\noexpand\hporrectus\space does not exist
-anymore, use \bporrectus with two args}}
-
-\def\porrectus#1#2{\errmessage{\noexpand\porrectus does not exist anymore, use
- \noexpand\Porrectus}}
-
-\def\porrectusflexus#1#2{\errmessage{\noexpand\porrectusflexus does not exist anymore, use
- \noexpand\Porrectusflexus}}
-
- %\check
-\def\bporrectus#1#2{\getthen@one@two{#1}{#2}\relax
- \ifnum\the@one@minus@two=1\relax
- \def\n@sym{\xgregchar121}\relax
- \else\ifnum\the@one@minus@two=2\relax
- \def\n@sym{\xgregchar120}\relax
- \else\ifnum\the@one@minus@two=3\relax
- \def\n@sym{\xgregchar119}\relax
- \else\ifnum\the@one@minus@two=4\relax
- \def\n@sym{\xgregchar118}\relax
- \else\errmessage{Porrectus 2nd arg must be 1st minus 1 to 4}\relax
- \fi
- \fi
- \fi
- \fi
- \getn@i#1\relax\let\n@fon\squ \g@diamg
-}
-
-%\check
-
-\def\Porrectusflexus#1#2#3#4{%
- \advancefalse\bporrectus{#1}{#2}{\xgregchar0\xgregchar0\xgregchar0}%
- \getthen@one@three{#2}{#3}{#4}%
- \zcharnote{#2}{\vrule \@height\the@two@minus@one\internote\@depth\z@}%
- \zsqu{#3}%
- {\xgregchar0}\zcharnote{#4}{\vrule\@depth\z@ \@height \the@two@minus@three\internote}\squ{#4}}
-
-%\check
-
-\def\Porrectus#1#2#3{\getthen@one@three{#1}{#2}{#3}\relax
- \advancefalse\bporrectus{#1}{#2}{\xgregchar0\xgregchar0}%
- \zcharnote{#2}{\xgregchar0\vrule\@height\the@three@minus@two\internote\@depth\z@}%
- \ifnum\the@three@minus@two<2\relax
- \shavedsqu{#3}%
- \else
- \squ{#3}%
- \fi
-}
-
-\def\Porrectusdeminut#1#2#3{\getthen@one@three{#1}{#2}{#3}\relax
- \advancefalse\bporrectus{#1}{#2}{\xgregchar0\xgregchar0}%
- \zcharnote{#2}{\xgregchar0\vrule\@height\the@three@minus@two\internote\@depth\z@}\r@small@squ{#3}%
-}
-
-\def\Porrectusauctdown#1#2#3{\getthen@one@three{#1}{#2}{#3}\relax
- \advancefalse\bporrectus{#1}{#2}{\xgregchar0\xgregchar0\xgregchar0}%
- \zcharnote{#2}{\vrule\@height\the@three@minus@two\internote\@depth\z@}\punctumauctdown{#3}%
-}
-
-\def\salicus#1#2#3{\zsqu{#1}\groff{\pesquassus{#2}{#3}}}
-%\check
-
-\def\salicusflexus#1#2#3#4{\zsqu{#1}{\xgregchar0}\torculus{#2}{#3}{#4}}
-
-\def\salicusauctdown#1#2#3{\zsqu{#1}\groff{\pesquassusauctdown{#2}{#3}}}
-%\check
-
-\let\xgregfont\xgregnorfont
-
-\endcatcodesmusic
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixgui.tex b/macros/musixtex/tex/musixgui.tex
deleted file mode 100644
index 103360b269..0000000000
--- a/macros/musixtex/tex/musixgui.tex
+++ /dev/null
@@ -1,41 +0,0 @@
-%
-% 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.
-%
-\immediate\write16{MusiXGUItar 0.36\space<1 March 1995>}%
-
-\ifx\undefined\guitar \else \endinput \fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\newskip\guitar@dim \guitar@dim=-.6\qn@width\relax
-
-% to raise the chords (steps of internote)
-\def\raiseguitar#1{\edef\r@gu{#1}}
-\let\r@gu\z@
-
-\def\d@c#1{\if x#1\tw@nty \else\if o#1\char19\else\char28\fi\fi}
-\def\guitar#1#2#3#4#5#6#7#8{\zchar\r@gu{\raise\Interligne\lrlap{#1}%
- \mxsps\lrlap\sixt@@n\lrlap{\d@c#3\d@c#4\d@c#5\d@c#6\d@c#7\d@c#8}%
- \lower\Internote\lrlap{\eightbf#2\kern\s@v@n\guitar@dim}}}
-\def\gbarre#1{\zchar\r@gu{\n@v#1\advance\n@v\m@ne
- \raise\n@v\guitar@dim\lrlap{\mxsps\char18}}}
-\def\gdot#1#2{\zchar\r@gu{\n@v#2\advance\n@v\m@ne\kern\si@\guitar@dim
- \kernm#1\guitar@dim\raise\n@v\guitar@dim\rlap{\mxsps\char17}}}
-
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixhor.tex b/macros/musixtex/tex/musixhor.tex
deleted file mode 100644
index fbc73393e1..0000000000
--- a/macros/musixtex/tex/musixhor.tex
+++ /dev/null
@@ -1,41 +0,0 @@
-%
-% 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.
-%
-
-\ifx\undefined\Tenpoint
- \input musixsty.tex
-\fi
-
-\immediate\write16{MusiXtextSTYle-horizontal T.98\space<21 October 1999>}%
-
-\vsize=185mm
-\hsize=275mm
-\hoffset=297mm
-\advance\hoffset -\hsize
-\divide\hoffset 2\relax
-\advance\hoffset -2.54cm
-\voffset -3mm
-\tenpoint
-\def\horizontalscore{\relax}
-%%%%%%%%%%%%%%%%%%%%%%%%% local adjust to be tuned %%%%%%%%%%%%%%%%%%%%%%%%%%
-\advance\voffset -5mm
-\hoffset=-1.54cm
-%%%%%%%%%%%%%%%%%%%%%%%%% local adjust to be tuned %%%%%%%%%%%%%%%%%%%%%%%%%%
-
-\endinput
-
diff --git a/macros/musixtex/tex/musixhou.tex b/macros/musixtex/tex/musixhou.tex
deleted file mode 100644
index d0eb65d23b..0000000000
--- a/macros/musixtex/tex/musixhou.tex
+++ /dev/null
@@ -1,58 +0,0 @@
-%
-% 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.
-%
-
-\immediate\write16{MusiXHOUsestyles T.64\space<8 October 1996>}%
-
-\ifx\undefined\Metron \else \endinput \fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-% match the mid of lower chars (only for \tenrm)
-
-\def\writ@names{\n@loop
- \setbox\toks@box\llap{\vbox{\hbox\@to\parindent{%
- \hss\csname instrument\romannumeral\noinstrum@nt\endcsname
- \hss}\kern\h@lf ex}~~}%
- \altportee\altitude \Comp@High\advance\y@v-\ht\toks@box
- \advance\altportee\h@lf\y@v \writ@box \repeat}
-
-% smaller metron
-
-\def\Metron#1{{\tinynotesize\stemlength\thr@@\eightrm (\zqu 0~~~= #1)}}
-
-%%% dynamics
-\iflongDCfontnames
- \font\frtnbxit=\fontid bi1440
-\else\iflongECfontnames
- \font\frtnbxit=\fontid bi1440
- \else
- \font\frtnbxit=\fontid bxti10 scaled \magstep2
- \fi
-\fi
-\def\f{\frtnbxit f}
-\def\ff{\f\f@kern f}
-\def\fff{\ff\f@kern f}
-\def\mf{\twelveit m\p@kern\f@kern\f}
-\def\mp@{\twelveit m\p@kern\p}
-\def\p{\frtnbxit p}
-\def\pp{\p\p@kern p}
-\def\ppp{\pp\p@kern p}
-
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixhv.tex b/macros/musixtex/tex/musixhv.tex
deleted file mode 100644
index 9c24763330..0000000000
--- a/macros/musixtex/tex/musixhv.tex
+++ /dev/null
@@ -1,180 +0,0 @@
-% musixhv.tex : Helvetica font definitions for MusiXTeX
-%
-% usage:
-%
-% \input musixtex
-% \input musixhv
-% ...
-%
-% MusiXhv.tex 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.
-%
-% MusiXhv.tex 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.
-%
-% Copyright 2015-2017 Bob Tennent rdt@cs.queensu.ca
-%
-\immediate\write16{MusiXhv\space<2017/02/10>}
-\ifx\undefined\startpiece\errmessage{Input musixtex.tex before musixhv.tex}\fi
-%
-% 7pt "Roman" (sans serif), bold, "italic" (oblique), "bold-italic" (bold-oblique), and small-cap
-\font\sevenrm=phvr8t at 7pt
-\font\sevenbf=phvb8t at 7pt
-\font\sevenit=phvro8t at 7pt
-\font\sevenbi=phvbo8t at 7pt
-\font\sevensc=phvrc8t at 7pt
-%
-% 8pt
-\font\eightrm=phvr8t at 8pt
-\font\eightbf=phvb8t at 8pt
-\font\eightbi=phvbo8t at 8pt
-\font\eightsc=phvrc8t at 8pt
-\font\eightit=phvro8t at 8pt
-%
-% 9pt
-\font\ninerm=phvr8t at 9pt
-\font\ninebf=phvb8t at 9pt
-\font\nineit=phvro8t at 9pt
-\font\ninebi=phvbo8t at 9pt
-\font\ninesc=phvrc8t at 9pt
-%
-% 10pt
-\font\tenrm=phvr8t at 10pt
-\font\tenbf=phvb8t at 10pt
-\font\tenit=phvro8t at 10pt
-\font\tenbi=phvbo8t at 10pt
-\font\tensc=phvrc8t at 10pt
-%
-% 11pt
-\font\elevenrm=phvr8t at 11pt
-\font\elevenbf=phvb8t at 11pt
-\font\elevenit=phvro8t at 11pt
-\font\elevenbi=phvbo8t at 11pt
-\font\elevensc=phvrc8t at 11pt
-%
-% 12pt
-\font\twelverm=phvr8t scaled \magstep1
-\font\twelvebf=phvb8t scaled \magstep1
-\font\twelveit=phvro8t scaled \magstep1
-\font\twelvebi=phvbo8t scaled \magstep1
-\font\twelvesc=phvrc8t scaled \magstep1
-%
-% 14pt
-\font\frtrm=phvr8t scaled \magstep2
-\font\frtbf=phvb8t scaled \magstep2
-\font\frtit=phvro8t scaled \magstep2
-\font\frtbi=phvbo8t scaled \magstep2
-\font\frtsc=phvrc8t scaled \magstep2
-%
-% 17pt
-\font\svtrm=phvr8t scaled \magstep3
-\font\svtbf=phvb8t scaled \magstep3
-\font\svtit=phvro8t scaled \magstep3
-\font\svtbi=phvbo8t scaled \magstep3
-\font\svtsc=phvrc8t scaled \magstep3
-%
-% 20pt
-\font\twtyrm=phvr8t scaled \magstep4
-\font\twtybf=phvb8t scaled \magstep4
-\font\twtyit=phvro8t scaled \magstep4
-\font\twtybi=phvbo8t scaled \magstep4
-\font\twtysc=phvrc8t scaled \magstep4
-%
-% 25pt
-\font\twfvrm=phvr8t scaled \magstep5
-\font\twfvbf=phvb8t scaled \magstep5
-\font\twfvit=phvro8t scaled \magstep5
-\font\twfvbi=phvbo8t scaled \magstep5
-\font\twfvsc=phvrc8t scaled \magstep5
-%
-% large fonts for titles
-% (If you prefer bold, use \bf)
-%
-\def\bigtype{\bigfont\rm}
-\def\Bigtype{\Bigfont\rm}
-\def\BIgtype{\BIgfont\rm}
-\def\BIGtype{\BIGfont\rm}
-%
-%
-\font\ppfftwelve=phvbo8t at 8pt
-\font\ppffsixteen=phvbo8t at 10pt
-\font\ppfftwenty=phvbo8t at 12pt
-\font\ppfftwentyfour=phvbo8t at 14pt
-\font\ppfftwentynine=phvbo8t at 17pt
-%
-\def\f{{\ppff f}}
-\def\ff{{\ppff ff}}
-\def\fp{{\ppff fp}}
-\def\fff{{\ppff fff}}
-\def\ffff{{\ppff ffff}}
-\def\mf{{\ppff mf}}
-\def\p{{\ppff p}}
-\def\pp{{\ppff pp}}
-\def\ppp{{\ppff ppp}}
-\def\pppp{{\ppff pppp}}
-
-% sl fonts needed by musixsty
-%
-\font\eightsl=phvro8t at 8pt
-\font\ninesl=phvro8t at 9pt
-\font\tensl=phvro8t at 10pt
-\font\twelvesl=phvro8t scaled \magstep1
-\font\frtsl=phvro8t scaled \magstep2
-\font\svtsl=phvro8t scaled \magstep3
-\font\twtysl=phvro8t scaled \magstep4
-\font\twfvsl=phvro8t scaled \magstep5
-%
-%
-\edef\catcodeat{\the\catcode`\@}
-\catcode`\@=11
-%
-\def\sF{{\ppff s\p@kern f}}
-\def\sfz{{\ppff s\p@kern f\f@kern z}}
-\def\sfzp{{\ppff s\p@kern f\f@kern z\p@kern p}}
-
-\def\mp@{{\ppff mp}}
-\let\mezzopiano\mp@
-\catcode`\@=\catcodeat
-
-%
-% Redefine accented characters for etex, suggested by David Carlisle:
-%
-\ifx\documentclass\undefined
-\catcode`\@=11
-\def\ProvidesFile#1[#2]{}
-\def\DeclareFontEncoding#1#2#3{}
-\def\DeclareTextAccent#1#2#3{%
-\def#1##1{%
-\expandafter\ifx\csname T1\string#1-\string##1\endcsname\relax
-{\accent#1 ##1}%
-\else
-\csname T1\string#1-\string##1\expandafter\endcsname
-\fi}}
-\def\DeclareTextCommand#1#2{\xdtcmd}%not today
-\def\xdtcmd#1#{\xxdtcmd}%not today
-\def\xxdtcmd#1{}%not today
-\def\DeclareTextCompositeCommand#1#2#3#4{}%not today
-\def\DeclareTextSymbol#1#2#3{%
-\def#1{\char#3\relax}}
-\def\DeclareTextComposite#1#2#3#4{%
-\expandafter\def\csname T1\string#1-\string#3\endcsname{\char#4\relax}}
-
-\input t1enc.def
-
-\def\c#1{\leavevmode\ifx c#1\char231 \else\setbox\z@\hbox{#1}\ifdim\ht\z@=1ex\accent11 #1%
- \else{\ooalign{\unhbox\z@\crcr
- \hidewidth\char11\hidewidth}}\fi\fi}
-\catcode`\@=\catcodeat
-\fi
-
-\normtype
-\endinput
diff --git a/macros/musixtex/tex/musixinv.tex b/macros/musixtex/tex/musixinv.tex
deleted file mode 100644
index 4a8d6ae864..0000000000
--- a/macros/musixtex/tex/musixinv.tex
+++ /dev/null
@@ -1,2 +0,0 @@
-% still a dummy
-\endinput
diff --git a/macros/musixtex/tex/musixlit.tex b/macros/musixtex/tex/musixlit.tex
deleted file mode 100644
index f55fb8f826..0000000000
--- a/macros/musixtex/tex/musixlit.tex
+++ /dev/null
@@ -1,87 +0,0 @@
-%
-% 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.
-%
-
-\immediate\write16{MusiXLITurgical 0.38\space<17 Dec 2016>}%
-
-\ifx\undefined\oldGclef \else \endinput \fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\def\oldGclef{\keychar103}
-
-\def\cqu{\def\q@u{\musixchar99}\@qu}
-\def\cql{\def\q@u{\musixfont\@c}\@ql}
-\def\chu{\def\q@u{\musixchar101}\@qu}
-\def\chl{\def\q@u{\musixchar102}\@ql}
-
-\def\cnqu{\def\q@u{\musixchar99}\@nq}
-\def\cnql{\def\q@u{\musixfont\@c}\@nq}
-\def\cnhu{\def\q@u{\musixchar101}\@nq}
-\def\cnhl{\def\q@u{\musixchar102}\@nq}
-\def\cqb{\def\q@u{\musixchar99}\@qb} % RDT 2016-12-17
-\def\zcqb{\advancefalse\cqb} % RDT 2016-12-17
-
-
-% Moved to musixtex.tex. RDT 2015-12-23
-%\def\Hpause#1#2{\zcharnote{#1}{\def\s@r{%
-% \vrule\@width.6\p@\@height1\h@lf\internote\@depth1\h@lf\internote}%
-% \s@r
-% \vrule\@width#2\noteskip\@height\h@lf\internote\@depth\h@lf\internote
-% \s@r}}
-
-\def\Hlonga#1#2{\zcharnote{#1}{\def\s@r{%
- \vrule\@width.6\p@\@height1\h@lf\internote\@depth1\h@lf\internote}%
- \s@r
- \raise\h@lf\internote\rlap{\vrule\@width#2\noteskip
- \@height 0.3pt\@depth 0.3pt}%
- \raise-\h@lf\internote\hbox{\vrule\@width#2\noteskip
- \@height 0.3pt\@depth 0.3pt}%
- \s@r}}
-
-% separated short vrules over every staff (fits only for 1,2,3,5 Lines)
-
-\def\rul@SEP#1{\n@loop\short@rule\repeat\addspace#1}
-\def\short@rule{{\p@loop\y@\altportee\advance\y@\tw@\internote\raise\y@%
- \rlap{\vrule\@width\lthick\@height\f@ur\internote}\count@portee\repeat}}
-\def\shortbarrules{\let\writ@rule\rul@SEP }
-
-% separated short vrules between every staff (fits only for 1,2,3,5 Lines)
-
-\def\rul@int#1{\n@loop\inter@rule\repeat\addspace#1}
-\def\inter@rule{{%
- \y@iv\altitude \y@v\y@iv
- \ifnum\st@ffs>\@ne \@ri \Comp@High\advance\y@v\altitude
- \else \ifnum\st@ffs>\z@ \advance\y@v\@ight\internote \fi\fi
- \advance\noinstrum@nt\@ne \s@l@ctinstr
- \ifnum\st@ffs=\z@ \advance\noinstrum@nt\@ne\s@l@ctinstr \fi
- \ifnum\nbinstruments<\noinstrum@nt
- \y@iii\y@iv \y@ii\y@iii \advance\y@ii-\y@v \Put@inter@rule
- \else
- \y@iii\altitude \y@ii\y@iii \advance\y@ii-\y@v \Put@inter@rule
- \fi}}
-\def\@ri{\n@ii\st@ffs \advance\st@ffs\m@ne
- \C@Inter \y@ii\stem@skip
- \p@loop \y@iii\altportee \advance\y@iii\interportee
- \Put@inter@rule \advance\noport@@\@ne \repeat
- \st@ffs\n@ii}
-\def\Put@inter@rule{\raise\y@iii\rlap{\vrule\@width\lthick\@depth\y@ii}}
-\def\interbarrules{\let\writ@rule\rul@int }
-
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixlyr.tex b/macros/musixtex/tex/musixlyr.tex
deleted file mode 100644
index fc9aaaf9b1..0000000000
--- a/macros/musixtex/tex/musixlyr.tex
+++ /dev/null
@@ -1,1162 +0,0 @@
-%%
-%% musixlyr.tex: Convenient lyrics handling for MusiXTeX T.52 or later
-%%
-%% Copyright (C) 1996-2003 Rainer Dunker
-%%
-%% This program 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 of the License, or
-%% any later version.
-%%
-%% This program 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 this program; if not, write to the Free Software
-%% Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA.
-%%
-%% Author:
-%% Rainer Dunker
-%% Wachtelweg 31
-%% 85591 Vaterstetten
-%% Germany
-%%
-%% E-mail: rainer.dunker@web.de
-%%
-\ifx\undefined\lyr\else\endinput\fi
-\immediate\write16{MusiXLYRics 2.1c\space<June 10, 2003>}
-\def\musixlyrversion{2.12}
-
-\makeatletter
-
-%%%%%%%%%%
-%
-% register allocation
-%
-%%%%%%%%%%
-\newtoks\alle@texte
-
-% internal parameters for setting text
-\let\evtl@klein\empty
-\let\evtl@komma\empty
-\let\evtl@punktweg\empty
-\let\evtl@offset\empty
-\let\evtl@next@lyr\empty
-\newif\if@strich
-\newif\iflyr@processing
-\newif\if@pmx@nextvoice
-\newif\if@lyrmode
-\newif\if@hyphen
-\newif\ifaux@active
-\newif\if@single@token
-\newdimen\lyr@shift
-\newbox\lyr@box
-\newbox\lyr@hyphen@box
-\newbox\lyr@linkbox
-\newbox\lyr@linkdepthbox
-\def\ma@sw{lyr@m} % "main/aux switch"
-
-% helpers for shuffling data around
-\newtoks\@rohtext
-\newtoks\@textvar
-
-\let\text@name\empty
-
-% public parameters
-\newif\ifleftlyr
-\newif\ifforcelyrhyphens
-\newif\ifshowlyrshift
-\newdimen\minlyrrulelength \minlyrrulelength=2mm
-\newdimen\minmulthyphens \minmulthyphens=1.5cm
-\newdimen\minlyrspace \minlyrspace=3pt
-\def\lyrhyphenchar{-}
-\newbox\lyrstrutbox
-\def\lyrlinestartpos{-10cm }
-\def\oldlyrlinestart{\def\lyrlinestartpos{0pt }} % to restore 2.1 behaviour
-
-\def\lyrlog#1{\immediate\write16{#1}} % just for debugging convenience
-
-% for testing token lists for emptyness with \ifx
-\def\emp@tst{\empty@test@errmsg}
-\def\empty@test@errmsg{%
- \errmessage{This shouldn't happen; you have found a musixlyr bug}}
-
-%%%%%%%%%%
-%
-% lyrics definition
-%
-%%%%%%%%%%
-% set up text completely
-\def\setlyrics#1#2{% iterative variant
- % Parameter:
- % #1 - lyrics line name
- % #2 - text
- \@rohtext={#2 -}%
- \@textvar={}%
- %\lyrlog{setlyrics{#1}, raw text: \the\@rohtext}%
- \loop
- \expandafter\ifx\expandafter\emp@tst\the\@rohtext\emp@tst % no more text
- \let\@weiter n\else \let\@weiter j%
- \fi
- \ifx\@weiter j%
- \expandafter\split@lyr@by@hyphens\the\@rohtext\@end
- \repeat
- \expandafter\xdef\csname dertext@#1\endcsname{\the\@textvar}%
- \expandafter\xdef\csname nochtext@#1\endcsname{\the\@textvar}%
- %\lyrlog{setlyrics{#1}: \the\@textvar}%
- \initialize@verse{#1}}
-
-\def\appendlyrics#1#2{% iterative variant
- % Parameter:
- % #1 - lyrics line name
- % #2 - text
- % test whether lyrics line name already defined
- \expandafter\ifx\csname stp@#1\endcsname\relax
- % if not: set it up newly
- \setlyrics{#1}{#2}%
- \else
- % if yes: preprocess new material, then append it to existing stuff
- \@rohtext={#2 -}%
- \@textvar={}%
- %\lyrlog{appendlyrics{#1}, raw text: \the\@rohtext}%
- \loop
- \expandafter\ifx\expandafter\emp@tst\the\@rohtext\emp@tst % no more text
- \let\@weiter n\else \let\@weiter j%
- \fi
- \ifx\@weiter j%
- \expandafter\split@lyr@by@hyphens\the\@rohtext\@end
- \repeat
- %
- % properly append new material to \dertext@#1
- \toks@=\expandafter\expandafter\expandafter{\csname dertext@#1\endcsname}%
- \expandafter\test@final@hyphen@i\the\toks@\@end
- \expandafter\xdef\csname dertext@#1\endcsname{\the\toks@\the\@textvar}%
- %
- % properly append new material to \nochtext@#1
- \toks@=\expandafter\expandafter\expandafter{\csname nochtext@#1\endcsname}%
- \expandafter\ifx\expandafter\emp@tst\the\toks@\emp@tst
- % pending text empty - don't call \test@final@hyphen
- \else
- \expandafter\test@final@hyphen@i\the\toks@\@end
- \fi
- \expandafter\xdef\csname nochtext@#1\endcsname{\the\toks@\the\@textvar}%
- %\lyrlog{appendlyrics{#1}: \the\@textvar}%
- \fi}
-
-% separate hyphens from syllables
-\def\split@lyr@by@hyphens#1-#2\@end{%
- % #1: text before first hyphen
- % #2: text after first hyphen; may be empty
- \ifx\emp@tst#2\emp@tst % -> no hyphen present
- \@textvar=\expandafter{\the\@textvar#1}%
- \else % -> hyphen present
- \@textvar=\expandafter{\the\@textvar#1 @}%
- \fi
- \@rohtext={#2}%
- %\lyrlog{splitlyrics 1: \the\@textvar}%
- %\lyrlog{splitlyrics 2: \the\@rohtext}%
- }
-
-% helper macros for \appendlyrics, handling the case that pre-existing
-% lyrics material ends with an open hyphen
-\def\test@final@hyphen@i#1 \@end{%
- % truncate trailing space, then proceed with detecting a trailing @
- \test@final@hyphen@ii#1@@\@end}
-\def\test@final@hyphen@ii#1@@#2\@end{%
- \ifx\emp@tst#2\emp@tst
- % no trailing, open hyphen
- %\lyrlog{No trailing hyphen: #1}%
- \else
- % reset \toks@ so that trailing @ is not longer followed by a space
- \toks@={#1@}%
- %\lyrlog{Trailing hyphen: #1}%
- \fi}
-
-% copy whole text under different name
-\def\copylyrics#1#2{%
- % #1 - existing text name
- % #2 - new text name
- % text still undefined?
- \expandafter\ifx\csname dertext@#1\endcsname\relax
- \errmessage{Trying to copy undefined verse "#1" to "#2"}%
- \setlyrics{#2}{UNDEFINED}%
- \else
- \expandafter\let\expandafter\text@copy\csname dertext@#1\endcsname
- \global\expandafter\let\csname dertext@#2\endcsname\text@copy
- \global\expandafter\let\csname nochtext@#2\endcsname\text@copy
- \initialize@verse{#2}%
- \fi}
-
-% at 1st definition of a text name
-\def\initialize@verse#1{%
- % test whether lyrics line name already defined
- \expandafter\ifx\csname stp@#1\endcsname\relax
- \expandafter\xdef\csname stp@#1\endcsname{\lyrlinestartpos}% tracks horizontal progress
- \global\expandafter\let\csname cont@#1\endcsname\relax% context stuff
- \expandafter\gdef\csname zwr@#1\endcsname{0}% flag for hyphen/rule status
- % for layout definitions
- \global\expandafter\let\csname llay@#1\endcsname\relax
- % switch on auto-text
- {\def\text@name{#1}\lyricson}%
- % insert in list of all defined text names
- \global\alle@texte=\expandafter{\the\alle@texte#1,}%
- \fi}
-
-% just for more elegance ...
-\def\if@multistaff{\ifnum\st@ffs>1 }
-
-\def\set@texte#1#2{%
- % assign assigned lyrics lines to \@texte
- % or \empty in case they are empty
- % #1: instrument number
- % #2: staff number of instrument
- \expandafter\let\expandafter\@texte\csname\ma@sw#1-#2\endcsname
- \ifx\@texte\relax\let\@texte\empty\fi}
-
-\def\set@texte@current#1{%
- % apply \set@texte to current context
- % using PMX, automatically switch to aux lyrics where required
- \switch@pmx@aux{%
- % get the verses
- \ifnum\st@ffs>1 % multi-staff instrument
- \set@texte{\the\noinstrum@nt}{\the\noport@@}%
- \else
- \set@texte{\the\noinstrum@nt}{1}%
- \fi
- % perform given action
- #1}}
-
-\def\loop@texte#1\@repeat{%
- % assumption: \@texte is already set properly, may be empty
- % #1: action to be executed
- \ifx\@texte\empty\else
- \expandafter\loop@texte@step\@texte\@end{#1}%
- \fi}
-
-\def\loop@texte@step#1,#2\@end#3{%
- % assumption: text list is not empty, #1 contains list head
- % #1: text list head
- % #2: text list tail
- % #3: action to be executed
- %
- % perform action on first text
- \def\text@name{#1}%
- #3\relax
- %
- % prepare iteration
- \ifx\emp@tst#2\emp@tst % list tail empty
- \let\@iterate \empty % stop looping
- \let\text@name\empty % reset working environment
- \else
- \def\@iterate{\loop@texte@step#2\@end{#3}}%
- \fi
- \@iterate}
-
-% assign text name to staff
-\def\assignlyrics#1{% for single-staff instruments
- % #1: instrument number
- \assignlyricsmulti{#1}1}
-
-\def\assignlyricshere#1{% assign lyrics to current instrument/staff context
- % #1: comma-separated list of text names
- \switch@pmx@aux{%
- \ifnum\st@ffs>1 % multi-staff instrument
- \assignlyricsmulti{\the\noinstrum@nt}{\the\noport@@}{#1}%
- \else
- \assignlyrics{\the\noinstrum@nt}{#1}%
- \fi}}
-
-\def\assignlyricsmulti#1#2#3{%
- % #1: instrument number
- % #2: staff number of instrument
- % #3: comma-separated list of text names
- % gather farthest right current position
- % of currently assigned lyrics lines
- \y@v=\lyrlinestartpos
- \set@texte{#1}{#2}%
- \loop@texte
- % starting position greater than retrieved so far?
- \ifdim\csname stp@\text@name\endcsname > \y@v
- \y@v=\csname stp@\text@name\endcsname % advance maximum
- \fi
- \@repeat
- %
- % new text names list non-empty -> append comma
- \ifx\emp@tst#3\emp@tst
- \expandafter\global\expandafter\let\csname\ma@sw#1-#2\endcsname\relax
- \else
- \expandafter\gdef\csname\ma@sw#1-#2\endcsname{#3,}%
- \fi
- % set parameters according to newly assigned lyrics lines
- \set@texte{#1}{#2}%
- \loop@texte
- % check for existence
- \expandafter\ifx\csname stp@\text@name\endcsname\relax
- \errmessage{Trying to assign undefined verse "\text@name"}%
- \expandafter\setlyrics\expandafter{\text@name}{EMPTY}%
- \fi
- \reset@params
- \@repeat}
-
-
-\def\reset@params{%
- \expandafter\xdef\csname stp@\text@name\endcsname{\the\y@v}%
- \expandafter\gdef\csname zwr@\text@name\endcsname{0}}
-
-
-%
-% reset horizontal positioning parameters of all lyrics lines
-%
-\def\resetlyrics{%
- \edef\@texte{\the\alle@texte}%
- \y@v=\lyrlinestartpos
- \loop@texte \reset@params \@repeat}
-
-
-%%%%%%%%%%
-%
-% process lyrics verse-wise
-%
-%%%%%%%%%%
-% same action for all assigned verses
-\def\forall@verses#1{%
- % #1: action to be executed
- \ifx\text@name\empty
- % perform action for all assigned verses
- \set@texte@current{%
- \ifx\@texte\empty\else
- \vplace@lyrics{\loop@texte \hbox{\lyr@strut #1}\@repeat}%
- \fi}%
- \else
- % text name already selected -> perform action for this one only
- #1%
- \fi}
-
-
-% specify separate actions per verse
-\def\verses#1{%
- % #1: comma-separated list of actions (from top to bottom)
- \set@texte@current{%
- \def\@param{#1}% running variable for per-text actions
- \vplace@lyrics{%
- \loop@texte \expandafter\one@verse\@param,\@end \@repeat}}}
-
-\def\one@verse#1,#2\@end{%
- % #1: action list head = action for current verse
- % #2: action list tail = actions for remaining verses
- \def\@param{#2}%
- % perfrom action
- \hbox{\lyr@strut #1}}
-
-
-%%%%%%%%%%
-%
-% line spacing for multiple verses
-%
-%%%%%%%%%%
-\def\lyr@strut{\copy\lyrstrutbox}
-\def\setlyrstrut{% set up strut according to currently active font
- \setbox0=\hbox{()}%
- \setbox\lyrstrutbox=\hbox{\vrule height 1.1\ht0 depth 1.1\dp0 width\z@}}
-\setlyrstrut % initialize
-
-
-%%%%%%%%%%
-%
-% retrieve text by syllable
-%
-%%%%%%%%%%
-\def\next@lyr{%
- \expandafter\let\expandafter\@nochtext\csname nochtext@\text@name\endcsname
- %\show\@nochtext
- \ifx\@nochtext\empty
- % no more text
- \@hyphenfalse\@lyric{???}%
- \else
- \@textvar=\expandafter{\@nochtext}%
- \expandafter\next@syllable\the\@textvar\relax\relax
- \fi}
-
-\def\next@syllable#1 #2#3\relax{%
- % #1 - first syllable
- % #2 - either hyphenation symbol @
- % or \relax (if text ends after #2)
- % or 1st char/group of rest text
- % #3 - rest text, may be empty
- \parse@melisma{#2}{#3}#1_\@end}
-
-\def\test@single@token#1#2\@end{%
- % #2 is empty if argument consists of a single token
- \ifx\emp@tst#2\emp@tst
- \@single@tokentrue
- \else
- \@single@tokenfalse
- \fi}
-
-\def\parse@melisma#1#2#3_#4\@end{% parse trailing underscores
- % #1: either hyphenation indicator @
- % or \relax (if text ends after #1),
- % or 1st char/group of rest text
- % #2: rest text, may be empty
- % #3: current syllable; may be empty if melisma pending
- % #4: trailing underscores, if any, or
- % melisma notes number followed by single underscore, or
- % empty if no melisma
- %
- % evaluate hyphenation sign
- \ifx @#1%
- \@hyphentrue
- \@textvar={#2}% may be empty
- \else
- \@hyphenfalse
- % decide rest text (#1 was no hyphen sign)
- \ifx\relax#1% current syllable is final syllable
- \@textvar={}%
- \else
- \test@single@token#1\@end % #1 may have been grouped
- \if@single@token
- \@textvar={#1#2}%
- \else
- \@textvar={{#1}#2}%
- \fi
- \fi
- \fi
- %
- % melisma pending?
- \ifx\emp@tst#4\emp@tst % no melisma
- \let\melisma@spec\empty
- \@lyric{\evtl@klein{\evtl@punktweg{#3}}\evtl@komma}%
- \else % melisma
- \ifx\emp@tst#3\emp@tst % syllable empty, d.i. in mid-melisma
- \parse@melisma@tail#4\@end
- \ifx\melisma@spec\empty % final melisma note
- \lyrruleend
- \fi
- \else % syllable non-empty, d.i. at melisma start
- \leftlyrtrue\@strichtrue
- \parse@melisma@start#4\@end
- \@lyric{\evtl@klein{\evtl@punktweg{#3}}\evtl@komma}%
- \fi % at melisma start
- \fi % in melisma
- %
- % set remaining text
- \expandafter\xdef
- \csname nochtext@\text@name\endcsname{\melisma@spec\the\@textvar}}
-
-\def\parse@melisma@start#1_\@end{%
- % Cut trailing underscore and attach it at argument head.
- % For underscore sequences, the effect is void.
- % For numbers, it converts "num_" to "_num".
- % Moreover, append a single space.
- \def\melisma@spec{_#1 }}
-
-\def\parse@melisma@tail#1_\@end{%
- % #1: either trailing underscores minus one
- % or melisma notes number
- % or empty
- \ifx\emp@tst#1\emp@tst % no more underscores
- \let\melisma@spec\empty
- \else
- \parse@melisma@tail@ii#1\@end
- \fi}
-
-\def\parse@melisma@tail@ii#1#2\@end{% helper for deciding melisma spec type
- % #1#2: either trailing underscores minus one
- % or melisma notes number
- \if#1_% % underscore sequence given
- \def\melisma@spec{#1#2 }%
- \else % number given
- \ifnum#1#2>1 % more melisma notes pending
- \count@=#1#2
- \advance\count@\m@ne
- \edef\melisma@spec{_\the\count@\space}%
- \else % no more melisma notes
- \let\melisma@spec\empty
- \fi
- \fi}
-
-\def\@lyric#1{%
- % #1: Text
- \evtl@offset
- % Alles Folgende ist Argument fuer obiges \evtl@offset:
- {\csname llay@\text@name\endcsname% Layoutkontext abrufen
- \lyr@processingtrue
- \setbox\lyr@box=\hbox{#1}%
- \setbox\lyr@hyphen@box=\hbox{\lyrhyphenchar}%
- % Zwischenraum zu voriger Silbe ermitteln:
- \get@lyrspace
- \ifleftlyr\else
- % Silbe zentriert -> Zwischenraum entspr. kleiner:
- \advance\y@v -0.5\wd\lyr@box
- \advance\y@v 0.5\qn@width % halbe Notenkopfbreite dazu
- \fi
- % Bindestrich von voriger Silbe anhaengig?
- \expandafter\ifnum\csname zwr@\text@name\endcsname=2
- % Minimalzwischenraum entsprechend aendern:
- \ifforcelyrhyphens
- % Min. Zw.-R. mindestens so breit wie Bindestrich:
- \ifdim\minlyrspace < \wd\lyr@hyphen@box
- \minlyrspace=\wd\lyr@hyphen@box
- \fi
- \else
- \minlyrspace=0pt % % kein Zwischenraum noetig
- \fi
- \fi
- \ifdim\y@v < \minlyrspace % Zwischenraum zu klein?
- \lyr@shift=\minlyrspace % Silbe um Differenz nach rechts verschieben
- \advance\lyr@shift -\y@v
- \y@v=\minlyrspace % Zwischenraumbreite = geg. Minimum
- \else
- \expandafter\ifnum\csname zwr@\text@name\endcsname=2 % Bindestrich anhaengig?
- \ifforcelyrhyphens\else % Bindestrich nicht erzwungen?
- \ifdim\y@v < \wd\lyr@hyphen@box % Zwischenraum zu schmal?
- \advance\lyr@shift -\y@v % => Zw.raum ganz wegnehmen
- % Dank an Sebastian Clauss fuer diese Verbesserung
- \fi
- \fi
- \fi
- \fi
- \rlap{%
- \hskip\lyr@shift
- {\ifleftlyr
- \aftergroup\rlap % linksbuendig
- \else
- \aftergroup\qlrlap % zentriert
- \fi}%
- % Alles Folgende ist Argument fuer obiges \qlrlap bzw. \rlap:
- {% Ist von voriger Silbe noch ein Bindestrich anhaengig?
- \expandafter\ifnum\csname zwr@\text@name\endcsname=2
- % limit hyphens at line beginning to zero position
- \ifdim\csname stp@\text@name\endcsname < \z@
- \advance\y@v \csname stp@\text@name\endcsname \fi
- % Bindestrich nur setzen, wenn Platz genug vorhanden:
- \ifdim\y@v < \wd\lyr@hyphen@box\else
- \print@hyphen
- \fi
- \fi
- \ifshowlyrshift
- % Mit Rechteck Wortverschiebung zeigen:
- \llap{\vrule width \lyr@shift height \ht\strutbox}%
- \fi
- \unhcopy\lyr@box % Wort setzen
- % Startposition des nachfolgenden Zwischenraums festhalten:
- \getcurpos
- \advance\y@v by \lyr@shift
- \ifleftlyr
- \advance\y@v \wd\lyr@box
- \else
- \advance\y@v 0.5\wd\lyr@box
- \advance\y@v 0.5\qn@width % halbe Notenkopfbreite dazu
- \fi
- \expandafter\xdef\csname stp@\text@name\endcsname{\the\y@v}% Startposition setzen
- \if@hyphen % Bindestrich gefordert?
- \expandafter\gdef\csname zwr@\text@name\endcsname{2}%
- \else
- \if@strich % Verlaengerungs-Strich gefordert?
- \expandafter\gdef\csname zwr@\text@name\endcsname{1}%
- \else % nichts gefordert
- \expandafter\gdef\csname zwr@\text@name\endcsname{0}%
- \fi
- \fi}}}}
-
-\def\print@hyphen{%
- \llap{\hbox to \y@v{%
- % Zwischenraum mit "Strich-Kette" ausfuellen:
- \loop
- \hfil\lyrhyphenchar\hss% rechter Raum darf am Systemende negativ werden
- \advance\y@v by -\minmulthyphens
- \ifdim\y@v > 0pt%
- \repeat}}}
-
-\def\get@lyrspace{%
- \getcurpos
- \advance\y@v by -\csname stp@\text@name\endcsname
- \relax}
-
-% set lyrpos to zero if less than that
-\def\limit@lyrpos{%
- \ifdim\csname stp@\text@name\endcsname < \z@
- \expandafter\xdef\csname stp@\text@name\endcsname{\the\z@}\fi}
-
-% Verlaengerungs-Striche abschliessen:
-\def\lyrruleend{\forall@verses\lyrrule@end}
-
-\def\lyrrule@end{%
- \expandafter\ifcase\csname zwr@\text@name\endcsname
- % 0 -> kommt nicht vor
- \or
- % 1 -> Strich anhaengig:
- \roff{% Zum rechten Notenkopf-Rand
- \limit@lyrpos\get@lyrspace \print@lyr@rule
- % Zwischenraum-Startposition festhalten, wenn Wort nicht nach
- % rechts darueber hinausragt:
- \getcurpos
- \ifdim\csname stp@\text@name\endcsname < \y@v
- \expandafter\xdef\csname stp@\text@name\endcsname{\the\y@v}%
- \fi}%
- % Einstellung zuruecksetzen:
- \expandafter\gdef\csname zwr@\text@name\endcsname{0}%
- \or
- % 2 -> Bindestrich anhaengig -> nichts tun
- \or
- % 3 -> fortgesetzter Bindestrich anhaengig
- % -> Einstellung fuer Bindestrich-Einfuegen an nächster Note setzen
- \expandafter\gdef\csname zwr@\text@name\endcsname{2}%
- \fi}
-
-\def\print@lyr@rule{%
- % Kleiner Zwischenraum zur vorherigen Silbe:
- \advance\y@v -2pt
- \ifdim \y@v > \minlyrrulelength
- \llap{\vrule\@width\y@v\@height\lthick\@depth0pt}%
- \fi}
-
-
-%%%%%%%%%%
-%
-% Textstellen per Label anspringen
-%
-%%%%%%%%%%
-\def\llabel#1{}% Damit Kennzeichnung bei der Ausgabe ohne Effekt bleibt
-
-\def\golyr#1{\forall@verses{\@golyr{#1}}}
-
-\def\@golyr#1{{%
- \expandafter\let\expandafter\@nochtext\csname dertext@\text@name\endcsname
- \def\query@label{#1}%
- \loop
- \expandafter\find@llabel\@nochtext\ende
- \ifx\query@label\cur@label\let\@weiter n\else \let\@weiter j\fi
- \if\@weiter j\repeat
- \expandafter\global\expandafter\let
- \csname nochtext@\text@name\endcsname\@nochtext}}
-
-\def\find@llabel#1\llabel#2#3\ende{%
- % #1 - Text vor erstem \llabel
- % #2 - naechstfolgender \llabel-Name
- % #3 - Resttext
- \def\cur@label{#2}%
- \def\@nochtext{#3}}
-
-
-%%%%%%%%%%
-%
-% Offene Silbentrennungen und -verlaengerungen am Systemende abschliessen
-%
-%%%%%%%%%%
-\let\@orig@z@suspend\z@suspend
-\def\z@suspend{%
- \znotes\sysend@lyrics\empty\en
- \znotes\sysend@lyrics\auxlyr\en
- \@orig@z@suspend}
-
-\def\sysend@verse{%
- % Flag auswerten:
- \ifnum\csname zwr@\text@name\endcsname = 1 % Verlaengerungs-Strich anhaengig
- % Platz zum rechten Systemrand, damit Strich nicht in Taktstrich ragt
- \loffset{0.3}{\limit@lyrpos\get@lyrspace\print@lyr@rule}%
- \else\ifnum\csname zwr@\text@name\endcsname > 1 % Bindestrich anhaengig:
- \csname llay@\text@name\endcsname% Layoutkontext abrufen
- \limit@lyrpos\get@lyrspace\print@hyphen
- % als forgesetzten Bindestrich fortfuehren
- \expandafter\gdef\csname zwr@\text@name\endcsname{3}%
- \fi\fi
- % Startposition fuer naechstes System zuruecksetzen:
- \expandafter\xdef\csname stp@\text@name\endcsname{\lyrlinestartpos}}
-
-\def\sysend@lyrics#1{%
- % #1: \auxlyr or \empty
- #1{\let\switch@pmx@aux\empty \forall@verses\sysend@verse}%
- \if@multistaff
- % loop over staves of instrument
- \ifnum \noport@@ < \st@ffs
- \def\@next{\nextstaff\sysend@lyrics#1}%
- \else % staves of instrument finished; continue with next instrument
- \sysend@lyrics@instrum@loop#1%
- \fi
- \else % single-staff instrument
- \sysend@lyrics@instrum@loop#1%
- \fi
- % iterate
- \@next}
-
-\def\sysend@lyrics@instrum@loop#1{%
- % prepare instruments loop
- \ifnum \noinstrum@nt < \nbinstruments
- \def\@next{\nextinstrument\sysend@lyrics#1}%
- \else % \noinstrum@nt >= \nbinstruments
- \let\@next\empty
- \fi}
-
-
-%%%%%%%%%%
-%
-% Zeilenspezifisches Layout festlegen
-%
-%%%%%%%%%%
-\def\lyrlayout#1{%
- \forall@verses{%
- \expandafter\gdef\csname llay@\text@name\endcsname{#1}%
- % Wenn gerade Text verarbeitet wird, Kontext sofort abrufen:
- \iflyr@processing #1\fi}}
-
-%
-% Kontextbehandlung fuer Textnamen:
-%
-% Aktion zu Kontext hinzufuegen:
-\def\add@context#1{%
- \toks@=\expandafter\expandafter\expandafter
- {\csname cont@\text@name\endcsname #1}%
- \expandafter\xdef\csname cont@\text@name\endcsname{\the\toks@}}
-
-% Kontext abrufen:
-\def\@context{%
- \expandafter\let\expandafter\der@kontext\csname cont@\text@name\endcsname
- \clear@context
- \der@kontext}
-
-% Kontext loeschen:
-\def\clear@context{%
- \global\expandafter\let\csname cont@\text@name\endcsname\empty}
-
-
-%%%%%%%%%%
-%
-% Zusaetzliche Textzeilen oberhalb der Notenzeile (auxiliary lyrics)
-%
-%%%%%%%%%%
-\let\enableauxlyrics\empty % just for backward compatibility
-
-% Befehle auf auxlyrics beziehen:
-\def\auxlyr#1{{%
- \def\ma@sw{lyr@a}%
- \aux@activetrue
- #1}}
-
-
-%%%%%%%%%%
-%
-% vertical lyrics positioning
-%
-%%%%%%%%%%
-\def\lyrraise#1{%
- % #1: instrument number
- \lyrraisemulti{#1}1}
-
-\def\lyrraisehere#1{%
- % #1: position/offset
- \switch@pmx@aux{%
- \ifnum\st@ffs>1 % multi-staff instrument
- \lyrraisemulti{\the\noinstrum@nt}{\the\noport@@}{#1}%
- \else
- \lyrraise{\the\noinstrum@nt}{#1}%
- \fi}}
-
-\def\lyrraisemulti#1#2#3{%
- % #1: instrument number
- % #2: staff of instrument
- % #3: position/offset
- \toks@=\expandafter{\csname l@raise#1-#2\endcsname}%
- \expandafter\ifx\the\toks@\relax
- % raise parameter still unset
- \expandafter\lyrraise@init\the\toks@
- \fi
- % now set raise parameter
- \expandafter\expandafter\expandafter
- \lyr@raise@multii\the\toks@\@end{#1}{#2}{#3}%
- %\lyrlog{raise #1-#2: \expandafter\empty\the\toks@}%
-}
-
-\def\lyr@raise@multii#1@#2\@end#3#4#5{%
- % #1: current main position/offset
- % #2: current aux position/offset
- % #3: instrument number
- % #4: staff of instrument
- % #5: new position/offset
- \expandafter\xdef\csname l@raise#3-#4\endcsname{%
- \ifaux@active #1@#5\else #5@#2\fi}}
-
-% be backward compatible
-\let\setsongraise@orig\setsongraise
-\def\setsongraise#1#2{\setsongraise@orig{#1}{#2}\lyrraise{#1}{b#2}}
-\def\auxsetsongraise#1#2{\auxlyr{\lyrraise{#1}{b#2}}}
-
-
-\def\lyrraise@init#1{%
- % #1: control sequence to be set to default value
- \gdef#1{b0pt@a0pt}}
-
-
-% vertically place lyrics columns
-% replaces MusiXTeX's \C@tx
-\def\vplace@lyrics#1{%
- % find out applicable positioning settings
- \edef\placelyr@staff{\ifnum\st@ffs>1 \the\noport@@ \else 1\fi}%
- \toks@=\expandafter
- {\csname l@raise\the\noinstrum@nt-\placelyr@staff\endcsname}%
- % eventually initialize lyrraise setting first
- \expandafter\ifx\the\toks@\relax % lyrraise still unset
- \expandafter\lyrraise@init\the\toks@
- \fi
- \expandafter\expandafter\expandafter\vplace@lyricsii\the\toks@\@end{#1}}
-
-\def\vplace@lyricsii#1#2@#3#4\@end#5{%
- % #1: main lyrics positioning switch (a/b)
- % #2: main lyrics raise value
- % #3: aux lyrics positioning switch (a/b)
- % #4: aux lyrics raise value
- % #5: lyrics material to be issued
- %
- % decice main/aux context
- %
- \ifaux@active \let\lyr@ab#3\toks@={#4}%
- \else \let\lyr@ab#1\toks@={#2}%
- \fi
- %
- % decide placement situation: above/below/in-mid of system or instrument
- %
- \if\lyr@ab a% above staff
- \ifnum\placelyr@staff<\st@ffs % non-highest staff of multiple staves
- \vplaceLyricsAboveMultistaff{#5}%
- \else % single or highest staff of instrument
- \ifnum\noinstrum@nt<\nbinstruments % lyrics go above instrument
- \vplaceLyricsAboveInstrument{#5}%
- \else % lyrics go into top margin
- \vplaceLyricsTopMargin{#5}%
- \fi
- \fi
- \else % below staff
- \ifnum\placelyr@staff>1 % non-lowest staff of multiple staves
- \vplaceLyricsBelowMultistaff{#5}%
- \else % single or lowest staff of instrument
- \ifnum\noinstrum@nt>1 % lyrics go below instrument
- \vplaceLyricsBelowInstrument{#5}%
- \else % lyrics go into bottom margin
- \vplaceLyricsBottomMargin{#5}%
- \fi
- \fi
- \fi}
-
-%
-% user-supersedable placement calculations
-%
-\def\vplaceLyricsBelowMultistaff#1{%
- % #1: lyrics material
- % reduced \C@Tx algorithm
- \y@iv=\the\toks@\relax
- \C@Inter % compute \stem@skip (?)
- \advance\y@iv -0.5\stem@skip
- \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}}
-
-\def\vplaceLyricsAboveMultistaff#1{%
- % #1: lyrics material
- % reduced \C@Tx algorithm
- \y@iv=\the\toks@\relax
- \C@Inter % compute \stem@skip (?)
- \advance\y@iv -0.5\stem@skip
- % add height difference to base line of upper staff
- \advance\y@iv \interportee
- \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}}
-
-\def\vplaceLyricsBottomMargin#1{%
- % #1: lyrics material
- % based on \C@tx
- \y@iv=\the\toks@\relax
- \advance\y@iv -\staffbotmarg
- \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}}
-
-\def\vplaceLyricsTopMargin#1{%
- % #1: lyrics material
- % based on \C@tx, "mirrored" bottom margin situation
- \begingroup % seems to be necessary to make \Comp@High local;
- % problem occurred with helper lines for low/high notes
- \y@iv=\the\toks@\relax
- \advance\y@iv \stafftopmarg
- \Comp@High \advance\y@iv\y@v % \y@v = total height of instrument
- \advance\y@iv \altitude % for multi-staff:
- \advance\y@iv-\altportee % reduce by base height of current staff
- \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}%
- \endgroup}
-
-\def\vplaceLyricsBelowInstrument#1{%
- % #1: lyrics material
- % assumption: \noinstrum@nt > 1
- % based on \C@tx
- \y@iv=\the\toks@\relax
- \multiply\y@iv 2 % balance division by 2 below
- \advance\noinstrum@nt\m@ne
- \advance\y@iv -\csname interinstrument\romannumeral\noinstrum@nt\endcsname
- \C@Inter % compute \stem@skip (?)
- \advance\y@iv -\stem@skip
- \divide\y@iv\tw@
- \advance\noinstrum@nt\@ne
- \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}}
-
-\def\vplaceLyricsAboveInstrument#1{%
- % #1: lyrics material
- % assumption: \noinstrum@nt < \nbinstruments
- % analogous to \C@tx, but refers to upper instrument instead
- \y@iv=\the\toks@\relax
- \multiply\y@iv 2 % balance division by 2 below
- \advance\y@iv -\csname interinstrument\romannumeral\noinstrum@nt\endcsname
- \C@Inter % compute \stem@skip (?)
- \advance\y@iv -\stem@skip
- \divide\y@iv\tw@
- % add height difference to base line of upper instrument
- \begingroup
- \advance\y@iv-\altportee \advance\noinstrum@nt\@ne \s@l@ctinstr
- \advance\y@iv \altitude
- \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}%
- \endgroup}
-
-
-%\def\C@tx{%
-% \ifnum\noinstrum@nt=\@ne
-% \y@iv\staffbotmarg
-% \else
-% \advance\noinstrum@nt\m@ne
-% \y@iv\csname interinstrument\romannumeral\noinstrum@nt\endcsname
-% \C@Inter % compute \stem@skip
-% \advance\y@iv\stem@skip
-% \divide\y@iv\tw@
-% \advance\noinstrum@nt\@ne
-% \fi
-% \advance\y@iv-\csname T@R\romannumeral\noinstrum@nt\endcsname
-% \lower\y@iv\uplap}
-%\def\uplap#1{\vbox\@to\z@{\vss#1}}
-
-
-%%%%%%%%%%
-%
-% Textsatz-Automatik
-%
-%%%%%%%%%%
-% Text automatisch unter alle "spacing"-Noten eines Systems:
-\let\orig@writ@note\writ@note
-\def\writ@note{%
- \ifnum\n@i<\@c % Bedingung fuer's Notenschreiben in \writ@note (warum?)
-% \ifx\st@m\beamst@m
-% \uptext{\csname s@bl\balken@nr\endcsname}%
-% \else
- \decide@lyrmode
- \main@aux@or@not{\forall@verses{\@context\evtl@next@lyr}}%
-% \fi
- \fi
- \orig@writ@note}
-
-\def\lyrmode@no {\def\main@aux@or@not##1{}}
-\def\lyrmode@main{\def\main@aux@or@not##1{##1}}
-\def\lyrmode@aux {\let\main@aux@or@not\auxlyr}
-\let\pmx@auxmode\lyrmode@aux
-
-% Feststellen, ob Haupt- oder Nebentext oder gar nichts gesetzt werden soll:
-\ifx\nextvoice\undefined % ohne PMX
- \def\decide@lyrmode{%
- \call@lyrmode
- \if@lyrmode \decide@stem@direction % Notenhals-Automatik
- \else % manuell, nur "spacing"-Noten
- \ifadvance \lyrmode@main
- \else \lyrmode@no
- \fi
- \fi}
- \def\decide@stem@direction{%
- \ifx\st@m\upst@m \lyrmode@aux \else
- \ifx\st@m\up@flag \lyrmode@aux \else
- \ifx\st@m\downst@m \lyrmode@main\else
- \ifx\st@m\down@flag\lyrmode@main\else
- \ifx\st@m\setst@m \lyrmode@no \else % kein Hals
- \ifx\st@m\resetst@m\lyrmode@no \else
- \ifx\st@m\beamst@m
- \expandafter\ifx\csname s@bl\balken@nr\endcsname o\lyrmode@aux
- \else\lyrmode@main
- \fi
- \else\errmessage{invalid \string\st@m\space setting}%
- \fi\fi\fi\fi\fi\fi\fi}
-\else % mit PMX
- \def\decide@lyrmode{%
- \ifadvance % nur "spacing"-Noten
- \call@lyrmode
- \if@pmx@nextvoice % Oberstimme
- \if@lyrmode\lyrmode@main \else\pmx@auxmode \fi
- \else % Unterstimme
- \if@lyrmode\pmx@auxmode \else\lyrmode@main \fi
- \fi
- \else
- \lyrmode@no % non-spacing Note
- \fi}
- \let\orig@nextvoice\nextvoice % \nextvoice erweitern
- \def\nextvoice{\orig@nextvoice\@pmx@nextvoicetrue}
-\fi
-
-\def\call@lyrmode{% activate lyrmode setting of current staff/instrument
- \ifnum\st@ffs>1 % multi-staff instrument
- \csname zlm@\the\noinstrum@nt-\the\noport@@\endcsname
- \else % single-staff instrument
- \csname zlm@\the\noinstrum@nt-1\endcsname
- \fi}
-
-\def\switch@pmx@aux#1{%
- % using PMX, automatically activate auxlyr context for #1 after \nextvoice
- \ifx\nextvoice\undefined % not using PMX
- #1%
- \else % using PMX
- \call@lyrmode
- \if@pmx@nextvoice % upper PMX voice
- \if@lyrmode\lyrmode@main \else\pmx@auxmode \fi
- \else % lower PMX voice
- \if@lyrmode\pmx@auxmode \else\lyrmode@main \fi
- \fi
- \main@aux@or@not{#1}%
- \fi}
-
-
-
-% lyrmode umschalten:
-\def\switch@lyrmode#1#2#3{%
- % #1: instrument number
- % #2: staff-of-instrument number
- % #3: lyrmode setting
- \ifnum#1=0 % % alle Zeilen einbeziehen
- \switch@lyrmode@all@instrum#3%
- \else % nur 1 Zeile
- \global\expandafter\let\csname zlm@#1-#2\endcsname=#3%
- \fi}
-
-% loop over all possible instruments
-\def\switch@lyrmode@all@instrum#1{%
- \m@loop \switch@lyrmode@all@staves#1\repeat}
-
-% loop over 4 possible staves of instrument
-\def\switch@lyrmode@all@staves#1{%
- \begingroup
- \count@=0
- \loop
- \advance\count@ 1
- \switch@lyrmode{\the\noinstrum@nt}{\the\count@}#1%
- \ifnum\count@<4 \repeat
- \endgroup}
-% ... nicht wahnsinnig effizient, zugegeben ...
-
-
-\def\lyrmodenormal#1{\lyrmodenormalmulti{#1}1}
-\def\lyrmodealter #1{\lyrmodealtermulti {#1}1}
-
-\def\lyrmodenormalmulti#1#2{\switch@lyrmode{#1}{#2}\@lyrmodefalse}
-\def\lyrmodealtermulti #1#2{\switch@lyrmode{#1}{#2}\@lyrmodetrue }
-
-\def\lyrmodenormalhere{\lyrmode@here\@lyrmodefalse}
-\def\lyrmodealterhere {\lyrmode@here\@lyrmodetrue }
-
-\def\lyrmode@here#1{% apply lyrmode to current instrument/staff context
- % #1: lyrmode switch
- \if@multistaff
- \switch@lyrmode{\the\noinstrum@nt}{\the\noport@@}#1%
- \else
- \switch@lyrmode{\the\noinstrum@nt}1#1%
- \fi}
-
-\lyrmodenormal0 % auf "normal" initialisieren
-
-% fuer Halsrichtungs-Automatik: Balkenlage in \s@bl<nr> vermerken
-\def\balk@nlage#1{\global\expandafter\let
- \csname s@bl\balken@nr\endcsname #1\relax}
-\let\orig@i@bu\i@bu \def\i@bu{\balk@nlage o\orig@i@bu}% <o>ben
-\let\orig@i@bl\i@bl \def\i@bl{\balk@nlage u\orig@i@bl}% <u>nten
-
-\let\orig@s@l@ctbeam\s@l@ctbeam
-\def\s@l@ctbeam#1\relax{\orig@s@l@ctbeam#1\relax \xdef\balken@nr{\number\n@i}}
-
-
-% Auto-Text ein- und ausschalten (innerhalb \notes...\enotes):
-\def\lyricson{\forall@verses{\add@context\verse@on@context}}
-\def\verse@on@context{%
- \let\evtl@next@lyr\next@lyr
- \add@context\verse@on@context}
-
-\def\lyricsoff{\forall@verses\clear@context}
-
-\def\lyric {\let\evtl@hyph\@hyphenfalse\futurelet\ast@risk\lyric@i}
-\def\lyrich{\let\evtl@hyph\@hyphentrue \futurelet\ast@risk\lyric@i}
-
-\def\lyric@i{%
- \ifx\ast@risk*%
- \let\evtl@nolyr\relax \let\@next\lyric@ii
- \else
- \let\evtl@nolyr\nolyr \def\@next{\nolyr\lyric@ii*}%
- \fi
- \@next}
-
-% Silben abseits vom Haupttext ausgeben:
-\def\lyric@ii*#1{\forall@verses{\@context\evtl@hyph\@lyric{#1}}\evtl@nolyr}
-
-% Manipulationen einzelner Haupttext-Silben:
-\def\forall@context#1{\forall@verses{\add@context{#1}}}
-
-% 1 Silbe ausgeben:
-\def\lyr{\forall@verses{\@context\next@lyr}}
-
-% Linksbuendig:
-\def\llyr{\forall@context{\leftlyrtrue}}
-
-% Verlaengerungs-Strich:
-\def\lyrrule{\forall@context{\@strichtrue}}
-
-% Horizontale Verschiebung (analog \roffset):
-\def\lyroffset#1{\forall@context{\def\evtl@offset{\roffset{#1}}}}
-
-% Kein automatischer Text:
-\def\nolyr{\forall@context{\let\evtl@next@lyr\empty}}
-
-% Kleinbuchstaben:
-\def\lclyr{\forall@context{\let\evtl@klein\@klein}}
-\def\@klein#1{\lowercase\expandafter{#1}}
-
-% Satzzeichen anhaengen:
-\def\lyrpt#1{\forall@context{\def\evtl@komma{#1}}}
-
-% Punkt vom Ende abschneiden:
-\def\lyrnop{\forall@context{\let\evtl@punktweg\@punktweg}}
-\def\@punktweg#1{{\punktweg@rek#1\ende}}
-\def\punktweg@rek#1#2\ende{%
- \def\par@ii{#2}%
- \ifx\par@ii\empty\else
- \aftergroup#1%
- \expandafter\punktweg@rek\par@ii\ende
- \fi}
-
-% Melisma beginnen und abschliessen:
-\def\beginmel{\forall@verses{\llyr\lyrrule\add@context\lyricsoff}}
-\def\endmel{\forall@verses{\lyrruleend\add@context\lyricson}}
-
-%
-% Bindebogen unter zwei Silben derselben Note:
-%
-\def\lyrlink {\lyr@link0}
-\def\lowlyrlink{\lyr@link1}
-
-\def\lyr@link#1{%
- % Bogen erstellen:
- \setbox\lyr@linkbox=\hbox{$\smile$}%
- % In Box der Breite eines Wortzwischenraums einsetzen:
- \setbox\lyr@linkbox=\hbox to\the\fontdimen2\the\font{%
- \hss
- % Unter die Grundlinie druecken:
- \lower\ht\lyr@linkbox\hbox{%
- % Zusaetzlicher vertikaler Abstand zur Wortunterseite:
- \lower1pt\hbox{%
- \if#10\relax
- \hbox{$\smile$}%
- \else
- % Buchstabe mit Unterlaenge -> auch darunter druecken:
- \setbox\lyr@linkdepthbox=\hbox{y}%
- \lower\dp\lyr@linkdepthbox\hbox{$\smile$}%
- \fi}}%
- \hss}%
- % Keine zusaetzliche Tiefe fuer Bogen anrechnen:
- \dp\lyr@linkbox=0pt
- % Bogen setzen:
- \box\lyr@linkbox}
-
-\makeatother
diff --git a/macros/musixtex/tex/musixmad.tex b/macros/musixtex/tex/musixmad.tex
deleted file mode 100644
index 6d29d3cd84..0000000000
--- a/macros/musixtex/tex/musixmad.tex
+++ /dev/null
@@ -1,30 +0,0 @@
-%
-% 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.
-%
-%
-% musixmad.tex : allocate registers for more additional instruments
-%
-\immediate\write16{MusiXMore ADditional instruments T.115 <19 Nov 2010>}%
-%
-%
-% setup the maximum element numbers
-\setmaxinstruments{12}%
-\setmaxgroups{4}%
-\setmaxslurs\maxinstruments
-%
-\endinput
diff --git a/macros/musixtex/tex/musixmkm.tex b/macros/musixtex/tex/musixmkm.tex
deleted file mode 100644
index 1aca900845..0000000000
--- a/macros/musixtex/tex/musixmkm.tex
+++ /dev/null
@@ -1,54 +0,0 @@
-%
-% 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.
-%
-\immediate\write16{MusiXMaKaM v.001\space<2022-12-25>}%
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-\catcodesmusic
-
-
-\font\fetaeleven=feta20 scaled \magstephalf
-\font\fetathirteen=feta20 scaled \magstep1
-\font\fetasixteen=feta20 scaled \magstep2
-\font\fetatwenty=feta20 scaled \magstep3
-\font\fetatwentyfour=feta20 scaled \magstep4
-\font\fetatwentynine=feta20 scaled \magstep5
-
-\let\fetanorfont\fetatwenty
-\def\fetachar{\fetafont\char}
-
-
-\def\writ@ka{\pl@base\raise\y@i\llap{\fetachar\n@v\kern\accshift}}
-\def\set@ka{\let\@Ti=\writ@ka}
-
-\def\shtanini#1{\set@ka \n@v30 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\shbuyukmucenneb#1{\set@ka \n@v26 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\shkucuk#1{\set@ka \n@v27 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\shbakiye#1{\set@ka \n@v20 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\shkoma#1{\set@ka \n@v25 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\flkoma#1{\set@ka \n@v45 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\flbakiye#1{\set@ka \n@v42 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\flkucuk#1{\set@ka \n@v37 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\flbuyukmucenneb#1{\set@ka \n@v43 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\fltanini#1{\set@ka \n@v47 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-
-\let\fetafont\fetanorfont
-
-\endcatcodesmusic
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixmtab.tex b/macros/musixtex/tex/musixmtab.tex
deleted file mode 100644
index 087395a2a9..0000000000
--- a/macros/musixtex/tex/musixmtab.tex
+++ /dev/null
@@ -1,166 +0,0 @@
-% musixmtab.tex : modern tablature definitions for MusiXTeX
-%
-% usage:
-%
-% \input musixtex
-% \input musixmtab
-% ...
-%
-% musixmtab.tex 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.
-%
-% musixmtab.tex 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.
-%
-% Copyright 2023 Bob Tennent rdtennent@gmail.com
-%
-
-\immediate\write16{musixmtab\space<2023/07/21>}
-\ifx\undefined\startpiece\errmessage{Input musixtex.tex before musixmtab.tex}\fi
-
-\makeatletter
-
-
-% Assumption: there is at most one beam and it is a lower beam
-
-% like \downst@m but with quarter skip; used in \uq
-\def\midst@m{\stem@skip\qd@skip
- \divide\stem@skip by 4
- \advance\st@bot-\stemfactor\interbeam
- \advance\st@bot-\altportee
- \ifx\st@mcut\empty
- \ifdim\st@bot<-\thr@@\internote
- \cutst@l\thr@@\cutst@l\f@ur\cutst@l\fiv@
- \cutst@l\si@\cutst@l\s@v@n\cutst@l\@ight \fi \fi
- \minst@bot\advance\st@bot\altportee
- \C@stem}
-
-
-% a half note (boxed)
-% argument 1 is the string number
-% argument 2 is the note number
-\def\uh#1#2{%
- \boxitsep=1pt%
- \setbox0=\hbox{\raise-0.25\internote\hbox{\boxit{\tabsmallfnt #2}}}%
- \stringraise\nblines%
- \advance\stringraise by -#1%
- \multiply\stringraise by 2%
- \advance\stringraise-1%
- \advancefalse\def\q@u{}\loffset{0.2}{\@nq{\the\stringraise}}%
- \special{ps: 1 setgray}%
- \zchar{\the\stringraise}{\vrule height \ht0 width \wd0 depth \dp0}%
- \special{ps: 0 setgray}%
- \zchar{\the\stringraise}{\box0}%
- \n@i\stringraise%
- \def\q@u{}\let\st@m\downst@m\let\n@sym\q@u%
- \y@v\qn@width\writ@note%
-}
-
-% a non-spacing stemless half note
-% argument 1 is the string number
-% argument 2 is the note number
-\def\zuh#1#2{%
- \boxitsep=1pt%
- \setbox0=\hbox{\raise-0.25\internote\hbox{\boxit{\tabsmallfnt #2}}}%
- \stringraise\nblines%
- \advance\stringraise by -#1%
- \multiply\stringraise by 2%
- \advance\stringraise-1%
- \advancefalse\def\q@u{}\loffset{0.2}{\@nq{\the\stringraise}}%
- \special{ps: 1 setgray}%
- \zchar{\the\stringraise}{\vrule height \ht0 width \wd0 depth \dp0}%
- \special{ps: 0 setgray}%
- \zchar{\the\stringraise}{\box0}%
-}
-
-% a quarter note (with a centered stem)
-% argument 1 is the string number
-% argument 2 is the note number
-\def\uq#1#2{%
- \zltab{#1}{#2}%
- \stringraise\nblines%
- \advance\stringraise by -#1%
- \multiply\stringraise by 2%
- \advance\stringraise-1%
- \n@i\stringraise%
- \def\q@u{}\let\st@m\midst@m\let\n@sym\q@u%
- \y@v\qn@width\writ@note%
-}
-
-% an eighth note (with a flag)
-% argument 1 is the string number
-% argument 2 is the note number
-\def\uc#1#2{%
- \zltab{#1}{#2}%
- \stringraise\nblines%
- \advance\stringraise by -#1%
- \multiply\stringraise by 2%
- \n@i\stringraise%
- \def\q@u{}\n@vii\@xlv\let\st@m\down@flag%
- \let\n@sym\q@u\y@v\qn@width\writ@note%
-}
-
-% a non-spacing stemless quarter or eighth note
-% argument 1 is the string number
-% argument 2 is the note number
-\def\zu#1#2{\zltab{#1}{#2}}%
-
-% initiate a beam
-% argument 1 is a string number
-% argument 2 is the slope
-\def\uib#1#2{%
- \stringraise\nblines%
- \advance\stringraise by -#1%
- \multiply\stringraise by 2%
- \ibl0{\the\stringraise}{#2}%
-}
-
-% initiate a double beam
-% argument 1 is a string number
-% argument 2 is the slope
-\def\uibb#1#2{%
- \stringraise\nblines%
- \advance\stringraise by -#1%
- \multiply\stringraise by 2%
- \ibbl0{\the\stringraise}{#2}%
-}
-
-% a beam note
-% argument 1 is the string number
-% argument 2 is the note number
-\def\ub#1#2{%
- \zltab{#1}{#2}%
- \s@l@ctbeam{0}\relax%
- \stringraise\nblines%
- \advance\stringraise by -#1%
- \multiply\stringraise by 2%
- \n@i\stringraise%
- \def\q@u{}\let\st@m\beamst@m%
- \let\n@fon\g@q\let\n@sym\q@u\y@v\qn@width\writ@note%
-}
-
-% increase the beam multiplicity to 2
-\def\unbb{\nbbl0}
-
-% decrease the beam multiplicity to one after the following note
-\def\utbb{\tbbl0}
-
-% terminate the beam after the following note
-\def\utb{\tbl0}
-
-% terminate the beam at this note
-% argument 1 is the string number
-% argument 2 is the note number
-\def\utq#1#2{\utb\ub{#1}{#2}}
-
-\makeatother
-\endinput
diff --git a/macros/musixtex/tex/musixper.tex b/macros/musixtex/tex/musixper.tex
deleted file mode 100644
index 47ad54e644..0000000000
--- a/macros/musixtex/tex/musixper.tex
+++ /dev/null
@@ -1,195 +0,0 @@
-%
-% 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.
-%
-\ifx\undefined\drumclef \else \endinput \fi
-
-\immediate\write16{MusiXPERcussion T.60\space<27 September 2010>}%
-
-\ifx\undefined\dqb
- \input musixdia
-\fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-% if you need pointed percussion notes, say '\p[p][p]t n\xqu n' or '\xqu{.n}'
-% if you need them more often define them by your one
-
-\def\drumclef{\raise2\internote\hbox{\keychar77}}
-
-%%% notes with a circled diagonal cross head, for closed hihat ...
-
-\def\dc@symbol{\def\q@u{\musixchar113}}
-
-\def\dcqu{\dc@symbol\@qu}
-\def\dcql{\dc@symbol\@ql}
-
-\def\dcqb{\dc@symbol\@qb}
-
-\def\dczq{\dc@symbol\@zq}
-
-\def\dccu{\dc@symbol\@cu}
-\def\dcccu{\dc@symbol\@ccu}
-%\def\dccccu{\dc@symbol\@cccu}
-%\def\dcccccu{\dc@symbol\@ccccu}
-\def\dccl{\dc@symbol\@cl}
-\def\dcccl{\dc@symbol\@ccl}
-%\def\dccccl{\dc@symbol\@cccl}
-%\def\dcccccl{\dc@symbol\@ccccl}
-
-%%% notes with a diagonal cross half circle head, for half open hihat ...
-
-\def\dh@symbol{\def\q@u{\musixchar112}}
-
-\def\dhqu{\dh@symbol\@qu}
-\def\dhql{\dh@symbol\@ql}
-
-\def\dhqb{\dh@symbol\@qb}
-
-\def\dhzq{\dh@symbol\@zq}
-
-\def\dhcu{\dh@symbol\@cu}
-\def\dhccu{\dh@symbol\@ccu}
-%\def\dhcccu{\dh@symbol\@cccu}
-%\def\dhccccu{\dh@symbol\@ccccu}
-\def\dhcl{\dh@symbol\@cl}
-\def\dhccl{\dh@symbol\@ccl}
-%\def\dhcccl{\dh@symbol\@cccl}
-%\def\dhccccl{\dh@symbol\@ccccl}
-
-%%% notes with a diagonal cross head, for open hihat ...
-
-\def\do@symbol{\def\q@u{\musixchar111}}
-
-\def\doqu{\do@symbol\@qu}
-\def\doql{\do@symbol\@ql}
-
-\def\doqb{\do@symbol\@qb}
-
-\def\dozq{\do@symbol\@zq}
-
-\def\docu{\do@symbol\@cu}
-\def\doccu{\do@symbol\@ccu}
-%\def\docccu{\do@symbol\@cccu}
-%\def\doccccu{\do@symbol\@ccccu}
-\def\docl{\do@symbol\@cl}
-\def\doccl{\do@symbol\@ccl}
-%\def\docccl{\do@symbol\@cccl}
-%\def\doccccl{\do@symbol\@ccccl}
-
-%%% notes with a doublesharp-head
-
-\def\x@symbol{\def\q@u{\musixchar114}}
-
-\def\xqu{\x@symbol\@qu}
-\def\xql{\x@symbol\@ql}
-
-\def\xqb{\x@symbol\@qb}
-
-\def\xzq{\x@symbol\@zq}
-
-\def\xcu{\x@symbol\@cu}
-\def\xccu{\x@symbol\@ccu}
-%\def\xcccu{\x@symbol\@cccu}
-%\def\xccccu{\x@symbol\@ccccu}
-\def\xcl{\x@symbol\@cl}
-\def\xccl{\x@symbol\@ccl}
-%\def\xcccl{\x@symbol\@cccl}
-%\def\xccccl{\x@symbol\@ccccl}
-
-%%% notes with a circled doublesharp-head
-
-\def\ox@symbol{\def\q@u{\musixfont\@cxv}}
-
-\def\oxqu{\ox@symbol\@qu}
-\def\oxql{\ox@symbol\@ql}
-
-\def\oxqb{\ox@symbol\@qb}
-
-\def\oxzq{\ox@symbol\@zq}
-
-\def\oxcu{\ox@symbol\@cu}
-\def\oxccu{\ox@symbol\@ccu}
-%\def\oxcccu{\ox@symbol\@cccu}
-%\def\oxccccu{\ox@symbol\@ccccu}
-\def\oxcl{\ox@symbol\@cl}
-\def\oxccl{\ox@symbol\@ccl}
-%\def\oxcccl{\ox@symbol\@cccl}
-%\def\oxccccl{\ox@symbol\@ccccl}
-
-%%% notes with a RhOmbus head, for shaker ...
-
-\def\r@symbol{\def\q@u{\musixchar118}}
-
-\def\roqu{\r@symbol\@qu}
-\def\roql{\r@symbol\@ql}
-
-\def\roqb{\r@symbol\@qb}
-
-\def\rozq{\r@symbol\@zq}
-
-\def\rocu{\r@symbol\@cu}
-\def\roccu{\r@symbol\@ccu}
-%\def\rocccu{\r@symbol\@cccu}
-%\def\roccccu{\r@symbol\@ccccu}
-\def\rocl{\r@symbol\@cl}
-\def\roccl{\r@symbol\@ccl}
-%\def\rocccl{\r@symbol\@cccl}
-%\def\roccccl{\r@symbol\@ccccl}
-
-%%% notes with a TrianGle head, for rattle ...
-
-\def\t@symbol{\def\q@u{\musixchar116}}
-
-\def\tgqu{\t@symbol\@qu}
-\def\tgql{\t@symbol\@ql}
-
-\def\tgqb{\t@symbol\@qb}
-
-\def\tgzq{\t@symbol\@zq}
-
-\def\tgcu{\t@symbol\@cu}
-\def\tgccu{\t@symbol\@ccu}
-%\def\tgcccu{\t@symbol\@cccu}
-%\def\tgccccu{\t@symbol\@ccccu}
-\def\tgcl{\t@symbol\@cl}
-\def\tgccl{\t@symbol\@ccl}
-%\def\tgcccl{\t@symbol\@cccl}
-%\def\tgccccl{\t@symbol\@ccccl}
-
-%%% notes with a + head, for bongos ...
-
-\def\k@symbol{\def\q@u{\musixchar117}}
-
-\def\kqu{\k@symbol\@qu}
-\def\kql{\k@symbol\@ql}
-
-\def\kqb{\k@symbol\@qb}
-
-\def\kzq{\k@symbol\@zq}
-
-\def\kcu{\k@symbol\@cu}
-\def\kccu{\k@symbol\@ccu}
-%\def\kcccu{\k@symbol\@cccu}
-%\def\kccccu{\k@symbol\@ccccu}
-\def\kcl{\k@symbol\@cl}
-\def\kccl{\k@symbol\@ccl}
-%\def\kcccl{\k@symbol\@cccl}
-%\def\kccccl{\k@symbol\@ccccl}
-
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixplt.tex b/macros/musixtex/tex/musixplt.tex
deleted file mode 100644
index 3e0b36aae1..0000000000
--- a/macros/musixtex/tex/musixplt.tex
+++ /dev/null
@@ -1,184 +0,0 @@
-% musixplt.tex : Palatino font definitions for MusiXTeX
-%
-% usage:
-%
-% \input musixtex
-% \input musixplt
-% ...
-%
-% MusiXplt.tex 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.
-%
-% MusiXplt.tex 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.
-%
-% Copyright 2015-2017 Bob Tennent rdt@cs.queensu.ca
-%
-\immediate\write16{MusiXplt\space<2017/02/10>}
-\ifx\undefined\startpiece\errmessage{Input musixtex.tex before musixplt.tex}\fi
-%
-% 7pt roman, bold, italic, bold italic, slanted and small-cap
-\font\sevenrm=pplr8t at 7pt
-\font\sevenbf=pplb8t at 7pt
-\font\sevenit=pplri8t at 7pt
-\font\sevenbi=pplbi8t at 7pt
-\font\sevensc=pplrc9d at 7pt
-%
-% 8pt roman, bold, italic, bold italic, slanted and small-cap
-\font\eightrm=pplr8t at 8pt
-\font\eightbf=pplb8t at 8pt
-\font\eightit=pplri8t at 8pt
-\font\eightbi=pplbi8t at 8pt
-\font\eightsc=pplrc9d at 8pt
-%
-% 9pt
-\font\ninerm=pplr8t at 9pt
-\font\ninebf=pplb8t at 9pt
-\font\nineit=pplri8t at 9pt
-\font\ninebi=pplbi8t at 9pt
-\font\ninesc=pplrc9d at 9pt
-%
-% 10pt
-\font\tenrm=pplr8t at 10pt
-\font\tenbf=pplb8t at 10pt
-\font\tenit=pplri8t at 10pt
-\font\tenbi=pplbi8t at 10pt
-\font\tensc=pplrc9d at 10pt
-%
-% 11pt
-\font\elevenrm=pplr8t scaled \magstephalf
-\font\elevenbf=pplb8t scaled \magstephalf
-\font\elevenit=pplri8t scaled \magstephalf
-\font\elevenbi=pplbi8t scaled \magstephalf
-\font\elevensc=pplrc9d scaled \magstephalf
-%
-% 12pt
-\font\twelverm=pplr8t scaled \magstep1
-\font\twelvebf=pplb8t scaled \magstep1
-\font\twelveit=pplri8t scaled \magstep1
-\font\twelvebi=pplbi8t scaled \magstep1
-\font\twelvesc=pplrc9d scaled \magstep1
-%
-% 14pt
-\font\frtrm=pplr8t scaled \magstep2
-\font\frtbf=pplb8t scaled \magstep2
-\font\frtit=pplri8t scaled \magstep2
-\font\frtbi=pplbi8t scaled \magstep2
-\font\frtsc=pplrc9d scaled \magstep2
-%
-% 17pt
-\font\svtrm=pplr8t scaled \magstep3
-\font\svtbf=pplb8t scaled \magstep3
-\font\svtit=pplri8t scaled \magstep3
-\font\svtbi=pplbi8t scaled \magstep3
-\font\svtsc=pplrc9d scaled \magstep3
-%
-% 20pt
-\font\twtyrm=pplr8t scaled \magstep4
-\font\twtybf=pplb8t scaled \magstep4
-\font\twtyit=pplri8t scaled \magstep4
-\font\twtybi=pplbi8t scaled \magstep4
-\font\twtysc=pplrc9d scaled \magstep4
-%
-% 25pt
-\font\twfvrm=pplr8t scaled \magstep5
-\font\twfvbf=pplb8t scaled \magstep5
-\font\twfvit=pplri8t scaled \magstep5
-\font\twfvbi=pplbi8t scaled \magstep5
-\font\twfvsc=pplrc9d scaled \magstep5
-%
-%
-% large fonts for titles
-% (If you prefer bold, use \bf)
-% (If you prefer roman, use \rm)
-%
-\def\bigtype{\bigfont\sc}
-\def\Bigtype{\Bigfont\sc}
-\def\BIgtype{\BIgfont\sc}
-\def\BIGtype{\BIGfont\sc}
-%
-\font\ppfftwelve=pplbi8t at 8pt
-\font\ppffsixteen=pplbi8t at 10pt
-\font\ppfftwenty=pplbi8t at 12pt
-\font\ppfftwentyfour=pplbi8t at 14pt
-\font\ppfftwentynine=pplbi8t at 17pt
-%
-\def\f{{\ppff f}}
-\def\ff{{\ppff ff}}
-\def\fp{{\ppff fp}}
-\def\fff{{\ppff fff}}
-\def\ffff{{\ppff ffff}}
-\def\mf{{\ppff mf}}
-\def\p{{\ppff p}}
-\def\pp{{\ppff pp}}
-\def\ppp{{\ppff ppp}}
-\def\pppp{{\ppff pppp}}
-%
-%
-% sl fonts needed by musixsty
-%
-\font\eightsl=pplro8t at 8pt
-\font\ninesl=pplro8t at 9pt
-\font\tensl=pplro8t at 10pt
-\font\twelvesl=pplro8t scaled \magstep1
-\font\frtsl=pplro8t scaled \magstep2
-\font\svtsl=pplro8t scaled \magstep3
-\font\twtysl=pplro8t scaled \magstep4
-\font\twfvsl=pplro8t scaled \magstep5
-%
-%
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-%
-\def\sF{{\ppff s\p@kern f}}
-\def\sfz{{\ppff s\p@kern f\f@kern z}}
-\def\sfzp{{\ppff s\p@kern f\f@kern z\p@kern p}}
-
-\def\mp@{{\ppff mp}}
-\let\mezzopiano\mp@
-
-\catcode`\@=\catcodeat
-
-%
-% Redefine accented characters for 8-bit font, suggested by David Carlisle:
-%
-
-\ifx\documentclass\undefined
-\catcode`\@=11
-\def\ProvidesFile#1[#2]{}
-\def\DeclareFontEncoding#1#2#3{}
-\def\DeclareTextAccent#1#2#3{%
-\def#1##1{%
-\expandafter\ifx\csname T1\string#1-\string##1\endcsname\relax
-{\accent#1 ##1}%
-\else
-\csname T1\string#1-\string##1\expandafter\endcsname
-\fi}}
-\def\DeclareTextCommand#1#2{\xdtcmd}%not today
-\def\xdtcmd#1#{\xxdtcmd}%not today
-\def\xxdtcmd#1{}%not today
-\def\DeclareTextCompositeCommand#1#2#3#4{}%not today
-\def\DeclareTextSymbol#1#2#3{%
-\def#1{\char#3\relax}}
-\def\DeclareTextComposite#1#2#3#4{%
-\expandafter\def\csname T1\string#1-\string#3\endcsname{\char#4\relax}}
-
-\input t1enc.def
-
-% \c needs special treatment
-\def\c#1{\leavevmode\ifx c#1\char231 \else\setbox\z@\hbox{#1}\ifdim\ht\z@=1ex\accent11 #1%
- \else{\ooalign{\unhbox\z@\crcr
- \hidewidth\char11\hidewidth}}\fi\fi}
-\catcode`\@=\catcodeat
-\fi
-
-\normtype
-\endinput
diff --git a/macros/musixtex/tex/musixpoi.tex b/macros/musixtex/tex/musixpoi.tex
deleted file mode 100644
index dcf33f4f95..0000000000
--- a/macros/musixtex/tex/musixpoi.tex
+++ /dev/null
@@ -1,67 +0,0 @@
-%
-% 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.
-%
-
-%\immediate\write16{MusiXPOInted shorties 0.36\space<1 March 1995>}
-\immediate\write16{MusiXPOInted shorties T.114\space<16 June 2008>}
-
-%\ifx\undefined\ccup \else \endinput \fi % conflicts since musixtex.tex T.111 defines \ccup
-\ifx\undefined\zcccclpp \else \endinput \fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-%\def\@ccup{\n@vii\@xli \let\st@m\up@flag \g@qp}% moved into musixtex.tex since T.111
-\def\@cccup{\n@vii42\let\st@m\up@flag \g@qp}
-\def\@ccccup{\n@vii43\let\st@m\up@flag \g@qp}
-%\def\@cclp{\n@vii46\let\st@m\down@flag \g@qp}% moved into musixtex.tex at T.114
-\def\@ccclp{\n@vii47\let\st@m\down@flag \g@qp}
-\def\@cccclp{\n@vii48\let\st@m\down@flag \g@qp}
-\def\@ccupp{\n@vii\@xli \let\st@m\up@flag \g@qpp}
-\def\@cccupp{\n@vii42\let\st@m\up@flag \g@qpp}
-\def\@ccccupp{\n@vii43\let\st@m\up@flag \g@qpp}
-\def\@cclpp{\n@vii46\let\st@m\down@flag \g@qpp}
-\def\@ccclpp{\n@vii47\let\st@m\down@flag \g@qpp}
-\def\@cccclpp{\n@vii48\let\st@m\down@flag \g@qpp}
-%\def\ccup{\q@symbol\@ccup}% moved into musixtex.tex since T.111
-%\def\zccup{\advancefalse\ccup}% moved into musixtex.tex at T.114
-%\def\cclp{\q@symbol\@cclp}% moved into musixtex.tex since T.111
-%\def\zcclp{\advancefalse\cclp}% moved into musixtex.tex at T.114
-\def\ccupp{\q@symbol\@ccupp}
-\def\zccupp{\advancefalse\ccupp}
-\def\cclpp{\q@symbol\@cclpp}
-\def\zcclpp{\advancefalse\cclpp}
-\def\cccup{\q@symbol\@cccup}
-\def\zcccup{\advancefalse\cccup}
-\def\ccclp{\q@symbol\@ccclp}
-\def\zccclp{\advancefalse\ccclp}
-\def\cccupp{\q@symbol\@cccupp}
-\def\zcccupp{\advancefalse\cccupp}
-\def\ccclpp{\q@symbol\@ccclpp}
-\def\zccclpp{\advancefalse\ccclpp}
-\def\ccccup{\q@symbol\@ccccup}
-\def\zccccup{\advancefalse\ccccup}
-\def\cccclp{\q@symbol\@cccclp}
-\def\zcccclp{\advancefalse\cccclp}
-\def\ccccupp{\q@symbol\@ccccupp}
-\def\zccccupp{\advancefalse\ccccupp}
-\def\cccclpp{\q@symbol\@cccclpp}
-\def\zcccclpp{\advancefalse\cccclpp}
-
-\catcode`\@=\catcodeat
-\endinput
-
diff --git a/macros/musixtex/tex/musixppff.tex b/macros/musixtex/tex/musixppff.tex
deleted file mode 100644
index 6d06e70b42..0000000000
--- a/macros/musixtex/tex/musixppff.tex
+++ /dev/null
@@ -1,169 +0,0 @@
-%% musippff.tex This is an extension library for Musix\Tex which
-%% replaces the macros used for dynamic marks to use a mini-font xppff10
-%%
-%% Author:
-%% Hiroaki MORIMOTO <CQX05646\atmark nifty.com>
-%% Tokyo, Japan
-%% URL: http://homepage1.nifty.com/kuuku/pub/musixtex/index-e.html
-%%
-%% usage:
-%% \input musixtex
-%% \input musixppff
-%% ...
-%%
-%%
-\immediate\write16{MusiXppff \noexpand\ppff font replacement <2017/02/10>}%
-\ifx\undefined\startpiece\errmessage{Input musixtex.tex before musixppff.tex}\fi
-
-\font\xppfftwelve=xppff10 at 8pt
-\font\xppffsixteen=xppff10
-\font\xppfftwenty=xppff10 scaled \magstep1
-\font\xppfftwentyfour=xppff10 scaled \magstep2
-\font\xppfftwentynine=xppff10 scaled \magstep3
-\font\tinyxppff=xppff10 at 8pt
-\font\smallxppff=xppff10
-\font\normxppff=xppff10 scaled \magstep1
-\font\medxppff=xppff10 scaled \magstep2
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\def\xppff{%
-\ifdim\internote<\p@seven6\Internote \tinyxppff
-\else\ifdim\internote<.95\Internote \smallxppff
-\else\ifdim\internote<1.19\Internote \normxppff
-\else\medxppff\fi\fi\fi}
-
-
-\def\f{{\xppff f}}%
-\def\ff{{\xppff ff}}%
-\def\fp{{\xppff fp}}%
-\def\sF{{\xppff sf}}%
-\def\fff{{\xppff fff}}%
-\def\ffff{{\xppff ffff}}%
-\def\mf{{\xppff mf}}%
-\def\p{{\xppff p}}%
-\def\pp{{\xppff pp}}%
-\def\ppp{{\xppff ppp}}%
-\def\pppp{{\xppff pppp}}%
-\def\sfz{{\xppff sfz}}%
-\def\sfzp{{\xppff sfzp}}%
-\def\mp@{{\xppff mp}}%
-\let\mezzopiano\mp@
-
-%
-\def\tinydyn{\let\ppff\tinyppff\let\xppff\tinyxppff}%
-\def\smalldyn{\let\ppff\smallppff\let\xppff\smallxppff}%
-\def\normdyn{\let\ppff\normppff\let\xppff\normxppff}%
-\def\meddyn{\let\ppff\medppff\let\xppff\medxppff}%
-
-\def\comput@fonts{%
- \ifnum\musicsize=\sixt@@n
- \let\musicLargefont\musictwentyfour
- \let\musiclargefont\musictwenty
- \let\musicnorfont\musicsixteen
- \let\musicsmallfont\musicthirteen
- \let\musictinyfont\musiceleven
- \let\xgregLargefont\xgregtwentyfour
- \let\xgreglargefont\xgregtwenty
- \let\xgregnorfont\xgregsixteen
- \let\xgregsmallfont\xgregthirteen
- \let\xgregtinyfont\xgregeleven
- \let\slurd\slurdsixteen \let\sluru\slurusixteen
- \let\hslurd\hslurdsixteen \let\hsluru\hslurusixteen
- \let\meternorfont\tenbf \let\metersmallfont\eightbf % version 1.16 RDT
- \let\meterbigfont\twelvebf \let\meterlargefont\frtbf
- \let\meterLargefont\svtbf
- \let\tinyppff\ppfftwelve % version 1.17 RDT
- \let\smallppff\ppfftwelve
- \let\normppff\ppffsixteen
- \let\medppff\ppfftwenty
- \let\tinyxppff\xppfftwelve % version 1.17 RDT
- \let\smallxppff\xppfftwelve
- \let\normxppff\xppffsixteen
- \let\medxppff\xppfftwenty
- \else\ifnum\musicsize=\@xxiv
- \let\musicLargefont\musictwentynine
- \let\musiclargefont\musictwentynine
- \let\musicnorfont\musictwentyfour
- \let\musicsmallfont\musictwenty
- \let\musictinyfont\musicsixteen
- \let\xgregLargefont\xgregtwentynine
- \let\xgreglargefont\xgregtwentynine
- \let\xgregnorfont\xgregtwentyfour
- \let\xgregsmallfont\xgregtwenty
- \let\xgregtinyfont\xgregsixteen
- \let\sluru\slurutwenty \let\slurd\slurdtwenty
- \let\hsluru\hslurutwenty \let\hslurd\hslurdtwenty
- \let\meternorfont\frtbf \let\metersmallfont\twelvebf % version 1.18 RDT
- \let\meterbigfont\svtbf \let\meterlargefont\twtybf
- \let\meterlargefont\twfvbf
- \let\tinyppff\ppffsixteen
- \let\smallppff\ppfftwenty
- \let\normppff\ppfftwentyfour
- \let\medppff\ppfftwentynine
- \let\tinyxppff\xppffsixteen
- \let\smallxppff\xppfftwenty
- \let\normxppff\xppfftwentyfour
- \let\medxppff\xppfftwentynine
- \else\ifnum\musicsize=\@xxix
- \let\musicLargefont\musictwentynine
- \let\musiclargefont\musictwentynine
- \let\musicnorfont\musictwentynine
- \let\musicsmallfont\musictwentyfour
- \let\musictinyfont\musictwenty
- \let\xgregLargefont\xgregtwentynine
- \let\xgreglargefont\xgregtwentynine
- \let\xgregnorfont\xgregtwentynine
- \let\xgregsmallfont\xgregtwentyfour
- \let\xgregtinyfont\xgregtwenty
- \let\sluru\slurutwenty \let\slurd\slurdtwenty
- \let\hsluru\hslurutwenty \let\hslurd\hslurdtwenty
- \let\slurud\slurutwentyd \let\slurdd\slurdtwentyd % +ickd
- \let\hslurud\hslurutwentyd \let\hslurdd\hslurdtwentyd %+ickd
- \let\meternorfont\svtbf \let\metersmallfont\frtbf % version 1.18 RDT
- \let\meterbigfont\twtybf \let\meterlargefont\twfvbf
- \let\meterLargefont\twfvbf
- \let\tinyppff\ppfftwenty
- \let\smallppff\ppfftwentyfour
- \let\normppff\ppfftwentynine
- \let\medppff\ppfftwentynine
- \let\tinyxppff\xppfftwenty
- \let\smallxppff\xppfftwentyfour
- \let\normxppff\xppfftwentynine
- \let\medxppff\xppfftwentynine
-\else
- \ifnum\musicsize=\tw@nty
- \else\ifnum\musicsize=\z@
- \else\errmessage{\noexpand\musicsize=\the\musicsize\space not supported,
- set to default of 20}%
- \fi
- \fi\musicsize\tw@nty
- \let\musicLargefont\musictwentynine
- \let\musiclargefont\musictwentyfour
- \let\musicnorfont\musictwenty
- \let\musicsmallfont\musicsixteen
- \let\musictinyfont\musicthirteen
- \let\xgreglargefont\xgregtwentyfour
- \let\xgregLargefont\xgregtwentynine
- \let\xgregnorfont\xgregtwenty
- \let\xgregsmallfont\xgregsixteen
- \let\xgregtinyfont\xgregthirteen
- \let\sluru\slurutwenty \let\slurd\slurdtwenty
- \let\hsluru\hslurutwenty \let\hslurd\hslurdtwenty
- \let\meternorfont\twelvebf \let\metersmallfont\tenbf % version 1.18 RDT
- \let\meterbigfont\frtbf \let\meterlargefont\svtbf
- \let\meterLargefont\twtybf
- \let\tinyppff\ppfftwelve
- \let\smallppff\ppffsixteen
- \let\normppff\ppfftwenty
- \let\medppff\ppfftwentyfour
- \let\tinyxppff\xppfftwelve
- \let\smallxppff\xppffsixteen
- \let\normxppff\xppfftwenty
- \let\medxppff\xppfftwentyfour
-\fi\fi\fi}%
-
-\catcode`\@=\catcodeat
-
-\endinput
-
diff --git a/macros/musixtex/tex/musixps.tex b/macros/musixtex/tex/musixps.tex
deleted file mode 100644
index 7bff890330..0000000000
--- a/macros/musixtex/tex/musixps.tex
+++ /dev/null
@@ -1,976 +0,0 @@
-%% PostScript slurs, ties and crescendos
-% Coded by Stanislav Kneifl
-% RDT added \psRslurskip \iRslur \tRslur \psRtieskip \tRtie \psLtieskip \tLtie 2019/06/17
-% RDT added \iRtieu \iRtied 2020/09/07
-% RDT modified /DC to produce thicker hairpins 2022/12/29
-
-\ifx\undefined\startpiece\errmessage{Input musixtex.tex before musixps.tex}\fi
-\ifx\undefined\liftcresc\else\endinput\fi
-
-\immediate\write16{MusiXPS PostScript slurs, ties and crescendos 0.94 (07.09.2020)}%
-
-\catcode`\@=11
-
-
-%%%% remove the next line if you include this file into a format (see endnotes!).
-
-\special{header=psslurs.pro}%
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-\font\mxsk=mxsk
-
-% you can change these values if you want...
-% Offsets are in \internotes measured vertically from the center and
-% horizontally from the left edge of the notehead.
-% see the doc at the end for (short) explanation
-
-\def\psslurraise{1.6} % vertical offset of the slur beginnings/endings
-\def\psbslurraise{2} % vert. offset for slurs on beams
-
-\def\psLslurskip{-0.2} % horiz. offset of slurs shifted more to the left
-\def\psRslurskip{4} % horiz. offset of slurs shifted more to the right
-\def\pslslurskip{0.4} % horiz. offset of slurs shifted to the left
-\def\psislurskip{1.4} % horiz. offset of the slur beginnings
-\def\pstslurskip{1.2} % horiz. offset of the slur endings
-\def\psrslurskip{2.8} % horiz. offset of slurs shifted to the right
-
-\def\psfslurhgt{0.7} % height coeficient of the 'f'lat slurs
-\def\psslurhgt{1} % height coeficient of normal slurs
-\def\pshslurhgt{1.6} % height coeficient of 'h'igh slurs
-\def\psHslurhgt{2.2} % height coeficient of 'H'igh slurs
-\def\psHHslurhgt{2.8} % height coeficient of 'HH'igh slurs
-\def\psslurmaxhgt{40} % maximal height of the slur
- % (before multiplication by \...slurhgt !!)
-
-\def\psslurangul{0.17} % angularity of normal, flat and high slurs
-\def\psHslurangul{0.15} % angularity of High slurs
-\def\psHHslurangul{0.13} % angularity of HHigh slurs
-
-\def\pstieraise{1.3} % vertical offset of the ties
-\def\psitieskip{2.6} % horiz. offset of the tie beginnings
-\def\psttieskip{0.3} % horiz. offset of the tie endings
-\def\psltieskip{-0.2} % horiz. offset of ties shifted to the left
-\def\psrtieskip{3} % horiz. offset of ties shifted to the right
-\def\psLtieskip{-0.4} % horiz. offset of ties shifted more to the left
-\def\psRtieskip{4} % horiz. offset of ties shifted more to the right
-
-\def\pstiehgt{0.7} % height coeficient of the ties
-\def\pstiemaxhgt{30} % maximal height if the ties
-\def\pstieflathgt{20} % maximal height if the ties between staff lines
-\def\pstieangul{0.14} % angularity of the ties
-
-%%%%
-
-\def\d@nh{-5} % default altitude of the crescendos in \internote
-\def\setcrescheight{\def@it\d@nh}
-
-\def\sl@space{-3pt} % neg. space before continued slurs, ties and crescs.
-\def\h@tielim{15pt} % limit for drawing half continued ties
-
-\def\nohalfties{\def\h@tielim{\z@}}
-\def\halfties{\def\h@tielim{15pt}}
-\newif\ifslopebrkslurs
-\slopebrkslursfalse
-
-\def\dotted{\def\d@sh{1}} % the '1' is important!
-\def\solid{\def\d@sh{0}}
-\def\Dotted{\def\D@sh{1}}
-\def\Solid{\def\D@sh{0}}
-\Solid\solid
-
-\def\nosluradjust{\gdef\s@adj{0}}
-\def\sluradjust{\gdef\s@adj{1}}
-\def\Nosluradjust{\gdef\S@adj{0}\gdef\s@adj{0}}
-\def\Sluradjust{\gdef\S@adj{1}\gdef\s@adj{1}}
-\Sluradjust
-
-\def\notieadjust{\gdef\t@adj{0}}
-\def\tieadjust{\gdef\t@adj{1}}
-\def\Notieadjust{\gdef\T@adj{0}\gdef\t@adj{0}}
-\def\Tieadjust{\gdef\T@adj{1}\gdef\t@adj{1}}
-\Notieadjust
-
-\newif\ifdangermessages\dangermessagestrue
-
-\def\@clr#1{\let#1\empty}
-\def\def@it#1#2{\def#1{#2}}
-\def\slurtext{\def@it\s@tx}
-\let\s@tx\empty
-\def\lr@lap#1{\rlap{\hss#1}}
-
-% how many slurs will be stored into the TeX's registers?
-% => how many slurs can go across the page break?
-% determines also the needed amount of the following registers.
-\let\max@slurs\t@n
-
-\let\slur@alt=\s@xi \let\slur@hgt=\s@Yv \let\slur@lift=\s@yi
-\let\slur@alti=\s@xii \let\slur@hgti=\s@Yvi \let\slur@lifti=\s@yii
-\let\slur@altii=\s@xiii \newdimen\slur@hgtii \let\slur@liftii=\s@yiii
-\let\slur@altiii=\s@xiv \newdimen\slur@hgtiii \let\slur@liftiii=\s@yiv
-\let\slur@altiv=\s@xv \newdimen\slur@hgtiv \let\slur@liftiv=\s@yv
-\let\slur@altv=\s@Y \newdimen\slur@hgtv \let\slur@liftv=\s@yvi
-\let\slur@altvi=\s@Yi \newdimen\slur@hgtvi \let\slur@liftvi=\s@Ni
-\let\slur@altvii=\s@Yii \newdimen\slur@hgtvii \let\slur@liftvii=\s@Nii
-\let\slur@altviii=\s@Yiii \newdimen\slur@hgtviii \let\slur@liftviii=\s@Niii
-\let\slur@altix=\s@Yiv \newdimen\slur@hgtix \let\slur@liftix=\s@Niv
-
-% in the 'lift' register is coded the altitude of the ending point of the slur
-% at the end of a line (y1) and the relative alt. of the starting point at the
-% beginning of a line (y2): y1=(reg div 65536)-16384, y2=(reg mod 65536)-16384
-
-\newdimen\tie@alt \newdimen\tie@hgt
-\newdimen\tie@alti \newdimen\tie@hgti
-\newdimen\tie@altii \newdimen\tie@hgtii
-\newdimen\tie@altiii \newdimen\tie@hgtiii
-\newdimen\tie@altiv \newdimen\tie@hgtiv
-\newdimen\tie@altv \newdimen\tie@hgtv
-\newdimen\tie@altvi \newdimen\tie@hgtvi
-\newdimen\tie@altvii \newdimen\tie@hgtvii
-\newdimen\tie@altviii \newdimen\tie@hgtviii
-\newdimen\tie@altix \newdimen\tie@hgtix
-
-\newdimen\cresc@alt
-\newdimen\cresc@alti
-\newdimen\cresc@altii
-\newdimen\cresc@altiii
-\newdimen\cresc@altiv
-\newdimen\cresc@altv
-\newdimen\cresc@altvi
-\newdimen\cresc@altvii
-\newdimen\cresc@altviii
-\newdimen\cresc@altix
-
-\newcount\pss@rega \pss@rega=\z@ % PS slurs
-\newcount\pss@regb \pss@regb=\z@
-\newcount\pst@rega \pss@rega=\z@ % PS ties
-\newcount\pst@regb \pss@regb=\z@
-\newcount\psc@rega \pss@rega=\z@ % PS [de]crescendos
-\newcount\psc@regb \pss@regb=\z@
-
-\newif\if@up
-\newif\if@dash
-
-% information in these registers is binary coded:
-% a: lower bit is set ( 2^2i ): there is a pending slur number i
-% upper bit is set ( 2^(2i+1) ): slur number i already went across line break
-% b: lower bit is set: slur/tie is dotted
-% upper bit is set: slur/tie is lower / decrescendo
-
-% everything else is stored in PostScript variables. If you run out
-% of the PostScript dictionary used for slurs, you can increase its size
-% by changing the number 200 in the first line of psslurs.pro to anything
-% reasonable. (The number says how many tokens can be defined.)
-
-%%%%%%%
-
-% input is i for 2^i and register to extract the bits from
-% in reg. n@i will be only the bits 2^2i and 2^(2i+1)
-% in n@vi will be these bits shifted to 2^0 and 2^1,
-% n@ii will be set to 2^2i
-\def\get@bits#1#2{\n@i=#1\relax\n@ii\@ne
- \loop\ifnum\n@i>\z@\multiply\n@ii\f@ur\advance\n@i\m@ne\repeat
- \n@i=\n@ii\multiply\n@i\f@ur\n@iii #2\relax
- \divide\n@iii\n@i\multiply\n@iii\n@i\n@i=#2\relax
- \advance\n@i-\n@iii\divide\n@i\n@ii\n@vi\n@i\multiply\n@i\n@ii\relax}
-
-\def\s@l@slur#1{\xdef\th@salt{\csname slur@alt\romannumeral#1\endcsname}%
- \xdef\th@shgt{\csname slur@hgt\romannumeral#1\endcsname}%
- \xdef\th@slift{\csname slur@lift\romannumeral#1\endcsname}}
-
-\def\s@l@tie#1{\xdef\th@salt{\csname tie@alt\romannumeral#1\endcsname}%
- \xdef\th@shgt{\csname tie@hgt\romannumeral#1\endcsname}}
-
-\def\s@l@cresc#1{\xdef\th@salt{\csname cresc@alt\romannumeral#1\endcsname}}
-
-\def\gt@pssb#1#2{\s@l@ctbeam#1\relax\getcurpos\advance\y@v#2\relax % \y@v = hpos
- \advance\y@v-\b@x
- \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z
- \advance\y@ii-\altportee\n@ii=\internote \divide\n@ii6553
- \n@i=\y@ii\divide\n@i\n@ii\divide\n@i6554\relax}
-
-\def\t@bslur#1#2#3#4{\n@vii\n@i\ifnum#3<\fiv@t@@n\get@bits{#3}\pss@regb\n@i\n@vii
- \ifnum\n@vi>\@ne\gt@pssb{#4}\z@\T@slur{#3}{\psbslurraise}{0}{#1}{#2}%
- \else\gt@pssb{#4}{\tw@\qn@width}\T@slur{#3}{\psbslurraise}{2.4}{#1}{#2}\fi
- \else\gt@pssb{#4}\z@\T@slur{#3}{1.7}{0}{#1}{#2}\fi}
-
-
-%%%%%% slurs %%%%%%%%%%%%%%%%%%%
-
-% ID, pitch, voffset, hoffset
-% all offsets are in \internote, the slur direction is determined
-% by the sign of the vertical offset.
-
-\def\iSlur#1#2{\inhgetn@i#2\relax\I@slur{#1}}
-
-% ID, voffset, hoffset; \n@i = pitch
-\def\I@slur#1#2#3{\y@i=\n@i\internote
- \ifdim#2\internote<\z@\@upfalse\else\@uptrue\fi
- \advance\y@i#2\internote\raise\y@i\rlap{\hskip #3\internote
- \special{ps: slur@Dict begin CP /S#1y1 ED /S#1x1 ED
- /S#1hgt (\the\y@i) psxGD N /S#1brk S#1hgt (\the\internote) psxGD
- \ifslopebrkslurs 3 \else 1 \fi\if@up 1 \else -1 \fi M M A N /S#1lift 0 N
- /S#1alt (\the\altportee) psxGDAR N /S#1dir \if@up1\else-1\fi\space N
- /S#1dash \d@sh\space N /S#1adj \s@adj\space N end}}%
- \ifnum#1>\fourt@@n
- \ifnum#1=99\relax\else
- \ifdangermessages\message{Danger! Slur with ID >14.}\fi\fi
- \else\n@iv\n@i\get@bits{#1}\pss@rega
- \ifcase\n@i\else\message{Slur #1 was re-opened.}%
- \advance\pss@rega-\n@i\fi % clear the bits
- \global\advance\pss@rega\n@ii % and set the lower bit
- \get@bits{#1}\pss@regb\global\advance\pss@regb-\n@i % clear the bits
- \ifnum\d@sh=1\relax\global\advance\pss@regb\n@ii\fi
- \if@up\else\multiply\n@ii\tw@\global\advance\pss@regb\n@ii\fi
- \ifnum#1<\max@slurs\s@l@slur{#1}%
- \global\th@salt\altportee\global\th@shgt\y@i\th@slift\n@iv
- \if@up\advance\th@slift\fiv@\else\advance\th@slift-\fiv@\fi
- \advance\th@slift 16384\relax\multiply\th@slift65536\relax
- \global\advance\th@slift16384\relax
- \fi\fi\gdef\d@sh{\D@sh}\gdef\s@adj{\S@adj}}
-
-% ID, height, voffset, hoffset, curvature, angularity
-\def\tSlur#1#2{\inhgetn@i#2\relax\T@slur{#1}}
-
-\def\T@slur#1#2#3#4#5{\n@vii\n@i\n@ii\@ne
- \ifnum#1<\fiv@t@@n
- \get@bits{#1}\pss@rega
- \global\advance\pss@rega-\n@i
- \ifcase\n@i\message{Not opened slur #1 was closed.}\n@ii\z@
- \else
- \ifnum\n@vi>\@ne % the slur was breaked
- \get@bits{#1}\pss@regb % it's not necessary to clear this register
- \ifnum\n@vi>\@ne\@upfalse\else\@uptrue\fi
- \ifodd\n@vi\@dashtrue\else\@dashfalse\fi
- \y@ii=\lin@pos\advance\y@ii\locx@skip\advance\y@ii#3\internote
- \advance\y@ii\sl@space
- \y@i=\n@vii\internote\advance\y@i\if@up\else-\fi#2\internote
- \ifnum#1<\max@slurs
- \s@l@slur{#1}\n@ii\th@slift\divide\n@ii65536\relax
- \multiply\n@ii65536\relax\n@iii\th@slift\advance\n@iii-\n@ii
- \advance\n@iii-16384\y@iii=\n@iii\internote\advance\y@iii\th@shgt
- \raise\y@i\rlap{\hskip #3\internote\special{ps: slur@Dict begin
- CP S (\the\y@ii) psxGDAR SB /S#1x1 ED
- (\the\y@i) psxGD (\the\y@iii) psxGD SB 4 psxAR M A /S#1y1 ED
- (\the\internote) psxGD (\the\th@shgt) psxGD (\the\y@i) psxGD
- S#1x1 S#1y1 CP #4 \if@up\else neg \fi #5 30
- \if@dash1\else0\fi\space \s@adj\space 90 DS end}}%
- \else
- \raise\y@i\rlap{\hskip #3\internote\special{ps: slur@Dict begin
- CP S (\the\y@ii) psxGDAR SB /S#1x1 ED
- S#1hgt S#1lift (\the\internote) psxGD M A 4 psxAR M
- (\the\y@i) psxGDAR SB SB /S#1y1 ED
- (\the\internote) psxGD S#1hgt (\the\y@i) psxGD
- S#1x1 S#1y1 CP #4 \if@up\else neg \fi #5 30
- S#1dash \s@adj\space 90 DS end}}%
- \fi\n@ii\z@
- \fi
- \fi
- \fi
- \ifcase\n@ii\else\y@ii=#2\internote\setbox\z@=\hbox{\s@tx}%
- \y@i=\n@vii\internote\raise\y@i\rlap{\hskip #3\internote
- \special{ps: slur@Dict begin (\the\internote) psxGD S#1hgt (\the\y@i) psxGD
- #2 (\the\internote) psxGD M S#1dir M A
- S#1x1 S#1y1 CP (\the\y@ii) psxGDAR S#1dir M SB
- #4 S#1dir M #5 \psslurmaxhgt\space S#1dash S#1adj 90 DS
- /ay1 ay1 (\the\ht\z@) psxGDAR -10 psxAR add dir mul add def}%
- \lr@lap{\box\z@}\special{ps: end}}%
- \fi\@clr\s@tx}
-
-\def\liftslur#1#2{\special{ps: slur@Dict begin /S#1lift #2 N end}%
- \ifnum#1<\t@n\s@l@slur{#1}\divide\th@slift65536\relax
- \multiply\th@slift65536 \advance\th@slift16384\relax
- \advance\th@slift#2\relax\fi}
-
-\def\breakslur#1#2{\inhgetn@i#2\relax\y@i=\n@i\internote\special
- {ps: slur@Dict begin /S#1brk (\the\y@i) psxGD N end}%
- \ifnum#1<\t@n\s@l@slur{#1}\n@ii\th@slift\divide\n@ii65536\relax
- \multiply\n@ii65536 \advance\th@slift-\n@ii\advance\n@i16384\relax
- \multiply\n@i65536 \global\advance\th@slift\n@i\fi}
-
-%%%%% [de]crescendos %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-% ID, height, hoffset
-
-\def\Icresc{\i@cresc0}
-\def\Idecresc{\i@cresc2}
-
-\def\i@cresc#1#2#3#4{\y@i=#3\internote\raise\y@i\rlap
- {\hskip#4\internote\advance\y@i\altportee\special{ps: slur@Dict begin
- CP /C#2y1 ED /C#2x1 ED /C#2alt (\the\y@i) psxGD N
- /C#2dir #1 N end}}%
- \ifnum#2>\fourt@@n
- \ifdangermessages\message{Danger! [De]crescendo with ID >14.}\fi
- \else\get@bits{#2}\psc@rega
- \ifcase\n@i\else\message{[De]crescendo #2 was re-opened.}%
- \advance\psc@rega-\n@i\fi
- \global\advance\psc@rega\n@ii
- \get@bits{#2}\psc@regb\advance\psc@regb-\n@i
- \multiply\n@ii#1\relax
- \global\advance\psc@regb\n@ii\relax
- \ifnum#2<\max@slurs\s@l@cresc{#2}%
- \advance\y@i\altportee\global\th@salt\y@i\fi\fi}
-
-\def\Tcresc#1#2#3{\n@ii\@ne\n@i=#1\relax
- \ifnum\n@i<\fiv@t@@n
- \get@bits{#1}\psc@rega\global\advance\psc@rega-\n@i
- \ifcase\n@i\message{Not opened crescendo #1 was closed.}\n@ii\z@
- \else
- \ifnum\n@vi>\@ne % the crescendo was breaked
- \get@bits{#1}\psc@regb % it's not necessary to clear this register
- \y@ii=\lin@pos\advance\y@ii\locx@skip\advance\y@ii#3\internote
- \advance\y@ii\sl@space
- \zchar{#2}{\hskip #3\internote\special{ps: slur@Dict begin
- CP S (\the\y@ii) psxGDAR SB S CP 4 \the\n@vi\space R
- \the\n@vi\space 0 eq { DHC } { DC } ifelse end}}%
- \global\n@ii\z@\fi
- \fi\fi
- \ifcase\n@ii\else\zchar{#2}{\hskip#3\internote\special{ps: slur@Dict begin
- C#1x1 C#1y1 CP 4 C#1dir R DC end}}\fi}
-
-\def\liftcresc#1#2{\y@i=#2\internote\ifnum#1<\max@slurs\s@l@cresc{#1}%
- \global\advance\th@salt\y@i\else\special{ps: slur@Dict begin
- /C#1alt (\the\y@i) psxGDAR C#1alt A N end}\fi}
-
-
-%%%% ties %%%%%%%%%%%%%%%%%%%%%%
-
-\def\iTieu{\i@tie{1}}
-\def\iTied{\i@tie{-1}}
-
-% 1/-1, ID, height, hoffset
-\def\i@tie#1#2#3#4{\inhgetn@i#3\relax\y@i=\pstieraise\internote
- \multiply\y@i#1\relax\advance\y@i\n@i\internote\raise\y@i\rlap
- {\hskip #4\internote\special{ps: slur@Dict begin
- /S#1alt (\the\altportee) psxGDAR N
- CP /T#2y1 ED /T#2x1 ED /T#2hgt (\the\y@i) psxGD N
- /T#2dir #1 N /T#2dash \d@sh\space N
- /T#2adj \t@adj\space N end}}%
- \ifnum #2>\fourt@@n
- \ifnum#2=99\relax\else
- \ifdangermessages\message{Danger! Tie with ID >14.}\fi\fi
- \else\get@bits{#2}\pst@rega
- \ifcase\n@i\else\message{Tie #2 was re-opened.}%
- \global\advance\pst@rega-\n@i\fi
- \global\advance\pst@rega\n@ii
- \get@bits{#2}\pst@regb\global\advance\pst@regb-\n@i % clear the bits
- \ifnum\d@sh=1\relax\global\advance\pst@regb\n@ii\fi
- \ifnum#1=1\relax\else\multiply\n@ii\tw@\global\advance\pst@regb\n@ii\fi
- \ifnum#2<\max@slurs\s@l@tie{#2}%
- \global\th@salt\altportee\global\th@shgt\y@i\fi
- \fi\gdef\d@sh{\D@sh}\gdef\t@adj{\T@adj}}
-
-% ID, hoffset
-\def\tTie#1#2{\n@ii\@ne
- \ifnum#1<\fiv@t@@n
- \get@bits{#1}\pst@rega
- \global\advance\pst@rega-\n@i
- \ifcase\n@i\message{Not opened tie #1 was closed.}\n@ii\z@
- \else
- \ifnum\n@vi>\@ne % the tie was breaked
- \get@bits{#1}\pst@regb % it's not necessary to clear this register
- \ifnum\n@vi>\@ne\@upfalse\else\@uptrue\fi
- \ifodd\n@vi\@dashtrue\else\@dashfalse\fi
- \y@ii=\lin@pos\advance\y@ii\locx@skip\advance\y@ii#2\internote
- \advance\y@ii\sl@space
- \ifnum#1<\max@slurs\s@l@tie{#1}%
- \ifdim\y@ii<\h@tielim
- \raise\th@shgt\rlap{\hskip-0.3\internote
- \ifdim\internote>.9\Internote\n@i=\z@\else
- \ifdim\internote<.7\Internote \n@i=\@cxxviii
- \else\n@i=64\fi\fi\if@up\else\advance\n@i\@ne\fi
- \mxsk\char\n@i}%
- \else
- \rlap{\hskip #2\internote\special{ps: slur@Dict begin
- (\the\internote) psxGD (\the\th@shgt) psxGD DP
- CP S (\the\y@ii) psxGDAR SB S (\the\th@shgt)
- psxGDAR SB DP CP P S \if@up \pstiehgt\space
- \else -\pstiehgt\space \fi \pstieangul\space \pstiemaxhgt\space
- \if@dash 1 \else 0 \fi \t@adj\space 40 DS end}}%
- \fi
- \else
- \rlap{\hskip #2\internote\special{ps: slur@Dict begin
- (\the\internote) psxGD T#1hgt psxGD DP
- CP S (\the\y@ii) psxGDAR SB S T#1hgt psxGDAR SB DP CP P S
- \if@up -\pstiehgt\space \else \pstiehgt\space \fi
- \pstieangul\space \pstiemaxhgt\space \if@dash 1 \else 0 \fi
- \t@adj\space 40 DS end}}%
- \fi
- \global\n@ii=\z@
- \fi
- \fi
- \fi
- \ifcase\n@ii\else
- \rlap{\hskip#2\internote
- \special{ps: slur@Dict begin (\the\internote) psxGD T#1hgt DP
- T#1x1 T#1y1 CP P T#1y1
- \pstiehgt\space T#1dir M \pstieangul\space \pstiemaxhgt\space T#1dash T#1adj 40 DS end}}%
- \fi}
-
-
-%%%%%%% simple slurs %%%%%%%%%%%%%%%%%
-
-% #1 start pitch #2 final pitch #3 sense(u,d) #4 length[noteskip]
-
-% \s@Y = vert. offset, \y@ii = horiz. offset at the end, \y@iii add to length
-% \y@v = length
-
-\def\C@sl#1#2#3#4{\inhgetn@i#1\relax \n@ii\n@i\inhgetn@i#2\relax
- \if d#3 \s@vy-\s@vy \ifx\@ne\nxt \y@ii\z@\fi \fi
- \y@v#4\noteskip\advance\y@v\y@iii\advance\y@ii-\y@iii
- \rlap{\hskip\y@ii\y@i=\n@ii\internote\advance\y@i\s@vy
- \y@ii=\n@i\internote\advance\y@ii\s@vy\setbox\z@=\hbox{\s@tx}%
- \ifx\s@tx\empty\def\tx@sp{1}\else\ifdim\y@v<\tw@nty\internote\def\tx@sp{1.5}%
- \else\ifdim\y@v<\@l\internote\def\tx@sp{1.2}\else\def\tx@sp{1}\fi\fi\fi
- \special{ps: slur@Dict begin (\the\internote) psxGD
- (\the\y@i) psxGD (\the\y@ii) psxGD CP (\the\y@i) psxGDAR swub
- CP exch (\the\y@v) psxGDAR add exch (\the\y@ii) psxGDAR sub
- \if d#3 -1 \else 1 \fi \tx@sp\space mul \psslurangul\space
- \psslurmaxhgt\space \d@sh\space \s@adj\space 90 DS
- /ax1 ax1 (\the\y@v) psxGDAR add def /ay1 ay1 (\the\y@ii) psxGDAR sub
- (\the\ht\z@) psxGDAR dir mul add def}\lr@lap{\unhbox\z@}\special{ps: end}}%
- \@clr\s@tx\gdef\d@sh{\D@sh}\gdef\s@adj{\S@adj}}
-
-
-%%%%%%% breaking the line %%%%%%%%%%%%%%%%%
-
-\def\br@slur{\divide\n@v\tw@
- \ifodd\n@v % the slur was breaked again
- \y@i=\lin@pos\advance\y@i\x@skip\advance\y@i-\tw@\p@
- \advance\y@i\sl@space
- \ifnum\n@iv<\max@slurs\s@l@slur\n@iv\n@i\th@slift\divide\n@i65536%
- \n@ii\n@i\advance\n@ii-16384\y@iii=\n@ii\internote
- \multiply\n@i65536 \n@ii\th@slift\advance\n@ii-\n@i
- \advance\n@ii-16384\y@ii=\n@ii\internote\advance\y@ii\th@shgt
- \ifnum\n@vi>\@ne\@upfalse\else\@uptrue\fi
- \raise\th@salt\rlap{\hskip -2pt\special
- {ps: slur@Dict begin /in (\the\internote) psxGD N
- in (\the\y@ii) psxGD (\the\y@iii) psxGD CP S (\the\y@i) psxGD
- 4 psxAR M SB S (\the\y@ii) psxGDAR SB
- CP (\the\y@iii) psxGDAR SB \if@up1\else-1\fi\space
- 0.13 30 \ifodd\n@vi 1 \else 0 \fi \s@adj\space 90 DS end}}%
- \else
- \rlap{\hskip -2pt\special{ps: slur@Dict begin
- /in (\the\internote) psxGD N in S\the\n@iv hgt
- S\the\n@iv lift in M A S\the\n@iv brk
- CP S (\the\y@i) psxGDAR SB in 10 psxAR M A S
- S\the\n@iv hgt S\the\n@iv lift in M A 4 psxAR M SB
- S\the\n@iv alt 4 psxAR M SB CP S\the\n@iv brk
- S\the\n@iv alt A 4 psxAR M SB S\the\n@iv dir
- 0.13 30 S\the\n@iv dash S\the\n@iv adj 90 DS end}}%
- \fi
- \else % the slur was breaked the first time
- \rlap{\hskip-2pt\special{ps: slur@Dict begin (\the\internote) psxGD
- S\the\n@iv hgt S\the\n@iv brk S\the\n@iv x1 S\the\n@iv y1 CP P
- S\the\n@iv y1 S\the\n@iv hgt S\the\n@iv brk SB 4 psxAR M A
- S\the\n@iv dir 0.17 \psslurmaxhgt\space S\the\n@iv dash S\the\n@iv adj 90 DS end}}%
- \get@bits\n@iv\pss@rega
- \multiply\n@ii\tw@\global\advance\pss@rega\n@ii\fi}
-
-
-\def\br@cresc{\divide\n@v\tw@
- \ifodd\n@v % the crescendo was breaked again
- \y@i=\lin@pos\advance\y@i\x@skip\advance\y@i-\tw@\p@
- \advance\y@i\sl@space
- \ifnum\n@iv<\max@slurs\s@l@cresc\n@iv
- \rlap{\hskip-2pt\divide\n@vi\tw@\special{ps: slur@Dict begin CP S
- (\the\y@i) psxGDAR SB S (\the\th@salt) psxGDAR SB DP CP P S
- 4 \ifodd\n@vi 2 \else 0 \fi R DHC end}}%
- \else
- \rlap{\hskip-2pt\divide\n@vi\tw@\special{ps: slur@Dict begin CP S
- (\the\y@i) psxGDAR SB (\the\internote) psxGD 10 psxAR M A S
- C\the\n@iv alt psxGDAR SB DP CP P S
- 4 C\the\n@iv dir R DHC end}}\fi
- \else % the crescendo was breaked the first time
- \rlap{\hskip-2pt\special{ps: slur@Dict begin
- C\the\n@iv x1 C\the\n@iv y1 DP CP P S
- 4 C\the\n@iv dir R C\the\n@iv dir 0 eq
- { DC } { DHC } ifelse end}}%
- \get@bits\n@iv\psc@rega
- \multiply\n@ii\tw@\global\advance\psc@rega\n@ii\fi}
-
-
-\def\br@tie{\divide\n@v\tw@
- \ifodd\n@v % the tie was breaked again
- \y@i=\lin@pos\advance\y@i\x@skip\advance\y@i-\tw@\p@
- \advance\y@i\sl@space
- \ifnum\n@iv<\max@slurs\s@l@tie\n@iv
- \ifnum\n@vi>\@ne\@upfalse\else\@uptrue\fi
- \y@ii\th@salt\advance\y@ii\th@shgt
- \raise\y@ii\rlap{\hskip-2pt\special{ps: slur@Dict begin
- (\the\internote) psxGD (\the\th@shgt) psxGD DP CP S (\the\y@i) psxGDAR SB S
- CP \if@up \pstiehgt\space \else -\pstiehgt\space \fi \pstieangul\space
- \pstiemaxhgt\space \ifodd\n@vi 1 \else 0 \fi \t@adj\space 40 DS end}}%
- \else
- \rlap{\hskip-2pt\special{ps: slur@Dict begin
- (\the\internote) psxGD T\the\n@iv hgt DP CP S (\the\y@i)
- psxGDAR SB (\the\internote) psxGD 10 psxAR M A S
- T\the\n@iv alt T\the\n@iv hgt A 4 psxAR M SB DP
- CP P S \pstiehgt\space T\the\n@iv dir M
- \pstieangul\space \pstiemaxhgt\space T\the\n@iv dash T\the\n@iv adj 40 DS end}}\fi
- \else % the tie was breaked the first time
- \rlap{\hskip-2pt\special{ps: slur@Dict begin
- (\the\internote) psxGD T\the\n@iv hgt DP
- T\the\n@iv x1 T\the\n@iv y1 DP CP P S
- \pstiehgt\space T\the\n@iv dir M \pstieangul\space \pstiemaxhgt\space
- T\the\n@iv dash 40 T\the\n@iv adj DS end}}%
- \get@bits\n@iv\pst@rega
- \multiply\n@ii\tw@\global\advance\pst@rega\n@ii\fi}
-
-\let\mxps@oldsuspend=\z@suspend
-
-\def\z@suspend{%
-% cut PostScript slurs
- {\n@iv\z@\n@v\pss@rega\n@vi\pss@regb
- \loop\ifnum\n@v>\z@
- \ifodd\n@v{\br@slur}\fi\divide\n@v\f@ur
- \advance\n@iv\@ne\divide\n@vi\f@ur
- \repeat}%
-% cut PostScript [de]crescendos
- {\n@iv=\z@\n@v=\psc@rega\n@vi\psc@regb
- \loop\ifnum\n@v>\z@
- \ifodd\n@v{\br@cresc}\fi\divide\n@v\f@ur
- \advance\n@iv\@ne\divide\n@vi\f@ur
- \repeat}%
-% cut PostScript ties
- {\n@iv=\z@\n@v=\pst@rega\n@vi\pst@regb
- \loop\ifnum\n@v>\z@
- \ifodd\n@v{\br@tie}\fi\divide\n@v\f@ur
- \advance\n@iv\@ne\divide\n@vi\f@ur
- \repeat}%
- \special{ps: slur@Dict begin /pss@rega \the\pss@rega\space N
- /psc@rega \the\psc@rega\space N /pst@rega \the\pst@rega\space N end }%
-% do all other mxtex stuff
- \mxps@oldsuspend}
-
-% checking for lost slurs
-
-\def\checkslurs{
- \ifcase\pss@rega\else\message{Warning! Opened slur(s) at checkpoint!}\fi
- \ifcase\psc@rega\else\message{Warning! Opened crescendo(s) at checkpoint!}\fi
- \ifcase\pst@rega\else\message{Warning! Opened tie(s) at checkpoint!}\fi}
-
-
-%%%%%% common abbreviations %%%%%%%%%%%%%%%%%%%%
-
-\def\isluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\psislurskip}}
-\def\islurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psislurskip}}
-\def\irsluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\psrslurskip}}
-\def\irslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psrslurskip}}
-\def\ilsluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\pslslurskip}}
-\def\ilslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\pslslurskip}}
-\def\iLsluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\psLslurskip}}
-\def\iLsluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\psLslurskip}}
-\def\iRslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psRslurskip}}
-\def\iRslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psRslurskip}}
-
-\def\tfslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\psfslurhgt}{\psslurangul}}
-\def\tslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\psslurhgt}{\psslurangul}}
-\def\thslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\pshslurhgt}{\psslurangul}}
-\def\tHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\psHslurhgt}{\psHslurangul}}
-\def\tHHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\psHHslurhgt}{\psHHslurangul}}
-
-\def\trfslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psrslurskip}{\psfslurhgt}{\psslurangul}}
-\def\trslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psrslurskip}{\psslurhgt}{\psslurangul}}
-\def\trhslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psrslurskip}{\pshslurhgt}{\psslurangul}}
-\def\trHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psrslurskip}{\psHslurhgt}{\psHslurangul}}
-\def\trHHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psrslurskip}{\psHHslurhgt}{\psHHslurangul}}
-
-\def\tlfslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pslslurskip}{\psfslurhgt}{\psslurangul}}
-\def\tlslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pslslurskip}{\psslurhgt}{\psslurangul}}
-\def\tlhslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pslslurskip}{\pshslurhgt}{\psslurangul}}
-\def\tlHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pslslurskip}{\psHslurhgt}{\psHslurangul}}
-\def\tlHHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pslslurskip}{\psHHslurhgt}{\psHHslurangul}}
-
-\def\tLfslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psfslurhgt}{\psslurangul}}
-\def\tLslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psslurhgt}{\psslurangul}}
-\def\tRslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psRslurskip}{\psslurhgt}{\psslurangul}}
-\def\tLhslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\pshslurhgt}{\psslurangul}}
-\def\tLHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psHslurhgt}{\psHslurangul}}
-\def\tLHHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psHHslurhgt}{\psHHslurangul}}
-
-% slur ID, beam ID
-\def\iBsluru#1#2{\gt@pssb{#2}{\tw@\qn@width}\I@slur{#1}{\psbslurraise}{2.4}}
-\def\iBslurd#1#2{\gt@pssb{#2}\z@\I@slur{#1}{-\psbslurraise}0}
-\def\tBfslur{\t@bslur\psfslurhgt\psslurangul}
-\def\tBslur{\t@bslur\psslurhgt\psslurangul}
-\def\tBhslur{\t@bslur\pshslurhgt\psslurangul}
-\def\tBHslur{\t@bslur\psHslurhgt\psHslurangul}
-\def\tBhHslur{\t@bslur\psHHslurhgt\psHHslurangul}
-
-
-\def\itieu#1#2{\iTieu{#1}{#2}{\psitieskip}}
-\def\itied#1#2{\iTied{#1}{#2}{\psitieskip}}
-\def\iltieu#1#2{\iTieu{#1}{#2}{\pslslurskip}}
-\def\iltied#1#2{\iTied{#1}{#2}{\pslslurskip}}
-\def\irtieu#1#2{\iTieu{#1}{#2}{\psrslurskip}}
-\def\irtied#1#2{\iTied{#1}{#2}{\psrslurskip}}
-\def\iRtieu#1#2{\iTieu{#1}{#2}{\psRslurskip}}
-\def\iRtied#1#2{\iTied{#1}{#2}{\psRslurskip}}
-\def\ttie#1{\tTie{#1}{\psttieskip}}
-\def\tltie#1{\tTie{#1}{\psltieskip}}
-\def\trtie#1{\tTie{#1}{\psrtieskip}}
-\def\tLtie#1{\tTie{#1}{\psLtieskip}}
-\def\tRtie#1{\tTie{#1}{\psRtieskip}}
-
-\def\icresc#1{\Icresc{#1}{\d@nh}{0}}
-\def\idecresc#1{\Idecresc{#1}{\d@nh}{0}}
-\def\tcresc#1{\Tcresc{#1}{\d@nh}{2}}
-\let\tdecresc\tcresc
-
-\def\ilcresc#1{\Icresc{#1}{\d@nh}{-4}}
-\def\ildecresc#1{\Idecresc{#1}{\d@nh}{-4}}
-\def\tlcresc#1{\Tcresc{#1}{\d@nh}{-2}}
-\let\tldecresc\tlcresc
-
-\def\ircresc#1{\Icresc{#1}{\d@nh}{4}}
-\def\irdecresc#1{\Idecresc{#1}{\d@nh}{4}}
-\def\trcresc#1{\Tcresc{#1}{\d@nh}{-6}}
-\let\trdecresc\trcresc
-
-% for compatibility with old MusiXTeX slurs ...
-\let\Tslur\tslur
-\let\Ttie\ttie
-\let\issluru\irsluru
-\let\isslurd\irslurd
-\let\tsslur\tLslur
-\def\ibsluru#1#2{\iSlur{#1}{#2}8{\psrslurskip}}
-\def\ibslurd#1#2{\iSlur{#1}{#2}{-8}{\psrslurskip}}
-\def\tubslur#1#2{\tSlur{#1}{#2}8{\psrslurskip}{\psslurhgt}{\psslurangul}}
-\def\tdbslur#1#2{\tSlur{#1}{#2}8{\pslslurskip}{\psslurhgt}{\psslurangul}}
-\let\tbsluru=\tubslur
-\let\tbslurd=\tdbslur
-\let\istieu\irtieu
-\let\istied\irtied
-\let\itenu\irtieu
-\let\itenl\irtied
-\let\tstie\tltie
-\let\tten\tltie
-\let\Itenu\istieu
-\let\Itenl\istied
-\let\Liftslur\liftslur
-% p1 p2 sense len
-\def\slur#1#2#3#4{\csname islur#3\endcsname{99}{#1}%
- \rlap{\hskip#4\noteskip\tslur{99}{#2}}}
-\def\tie#1#2#3{\csname itie#2\endcsname{99}{#1}%
- \rlap{\hskip#3\noteskip\ttie{99}}}
-
-\catcode`\@=\catcodeat
-
-\endinput
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-
-USAGE:
-~~~~~~
-Basic usage is:
-
-\isluru0g - starts upper slur with ID 0 above the note 'g'
-\tslur0i - terminates slur with ID 0. It will end above or below
- the note 'i' with respect to the slur direction
-
-You can shift the starting or ending point slightly to the left
-or right using \ilsluru, \ilslurd, \irsluru, \irslurd, \trslur and \tlslur.
-
-And finally you can make the slur a bit more flat than default
-( \tfslur0f ), higher ( \thslur0f ), more higher ( \tHslur0f ) or
-even more higher ( \tHHslur0f ). All combinations with shifting are
-allowed (see the abbreviations above). These commands act like
-\midslur for standard slurs.
-
-If this is not sufficient, you can use the \iSlur and \tSlur and adjust the
-parameter as you want (see comments above their definitions) or even change
-the default parameters.
-
-NOTE 1: The identification parameter should be a number greater
- or equal to 0 and lower than 10. You can use even higher
- numbers, but slurs, ties and crescendos with ID >10
- can not go over page break but can go across line break.
- Slurs, ties and crescendos with ID >14 can't be breaked at all
- (these slurs also can not be exactly positioned at a beam, so
- don't use for example \tbslur{16}0; \ibslur{16}0 is safe).
- If you know that a line break can not occur inside the slur
- (probably inside a bar) you can happily use numbers
- up to 2^31-1, which is also the maximal number of
- simultaneously opened slurs :-). Such slurs will be also
- a bit faster...
-
-NOTE 2: You can start a slur, tie and crescendo with the same ID,
- the ID's are independent. This is not true for crescendos
- and decrescendos. That means you can say \isluru0f\icresc0,
- but not \icresc0\idecresc0, in which case you'll get a warning
- message and the first crescendo will be forgotten.
-
-There are also macros for slurs begining or ending at a beam:
-
-\iBsluru{slur ID}{beam ID}
-\iBslurd{slur ID}{beam ID}
-\tBslur{slur ID}{beam ID}
-
-They are NOT THE SAME as for the original slurs, but a bit smarter...
-
-for example:
-
-\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
- \setslurtext{6}\tBslur00\qb0e\en
-
-The \slurtext works for PostScript slurs exactly the same way as
-for the bitmapped ones. When you say '\slurtext3', a number '3' will
-be typeset in the middle of the next closed slur.
-The position of the reference point of the box with text will be
-exactly in the middle horizontally and adjusted according to the
-height of the box in case of upper slur.
-
-This works only for non-breaked slurs, if the slur is breaked,
-the text disappears.
-
-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.
-
-There is also an unpleasant side-effect: when you look at the
-DVI-file with some standard (non-PostScript) driver, the figure will
-be placed at the end of the slur instead of the middle. From obvious
-reasons this can't be fixed --- TeX can't know where the middle is,
-as the slur shape is defined by a PostScript program.
-
-
-General coding is very simple:
-
-\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}
-
-where h. shift can be 'l', 'r' or nothing
-and slur height can be 'f', nothing, 'h', 'H' or 'HH'
-
-Mnemonics: \tlfslur means 'terminate left flat slur'.
-
-
-There are also simple slurs with same invocation and parameters as the
-original ones.
-
-
-Similarly the ties:
-~~~~~~~~~~~~~~~~~~~
-\itieu0e
-\ttie0
-
-\i[h.shift]tie[u|d]{ID}{note height}
-\t[h.shift]tie{ID}
-
-
-And crescendos:
-~~~~~~~~~~~~~~~
-\icresc0
-\tcresc0 draws a crescendo at a default position (defined with
- \setcrescheight)
-
-NOTE 1: \tcresc is the same as \tdecresc.
-
-NOTE 2: The coding of crescendos is incompatible with original crescendos.
- The difference (as you notices) is in defining the type
- (crescendo/decrescendo) at the beginning instead of the end.
- This can't be fixed, because the TeX must know this at the end
- of the line when the crescendo is breaked.
-
-
-You can shift the starting and ending point horizontally with
-
-\ilcresc \ildecresc
-\ircresc \irdecresc
-\tlcresc \tldecresc
-\trcresc \trdecresc
-
-to get some space for \mf, \ff etc.
-
-
-Furthermore, you can say:
-
-\Icresc0{-6}0
-\Tcresc0{-8}2
-
-and you will get crescendo with ending point lower than the begining
-one. (The '0' and '2' at the end is horizontal offset in \internote
-from the current point.) Due to some implemenational reasons, you must
-use numbered height when specifying the altitude of the crescendos.
-
-
-
-Dotted slurs and ties
-~~~~~~~~~~~~~~~~~~~~~
-The slurs and ties can be dotted, when you say \dotted anywhere before
-the begining of the slur or tie. The first slur or tie following this
-command will then be drawed with dotted line.
-
-[dangerous bend] When you say \Dotted, then ALL slurs and ties
- from this point will be dotted until you say
-\Solid. Furthermore, inside the \Dotted...\Solid you can make single slur or
-tie solid saying \solid before its begining.
-
-NOTE: These macros are taken into account only at the begining
- of the slur or tie.
-
-
-Collisions of slurs/ties and staff lines
-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-In PostScript it is possible to do some computations, which are very hard
-to implement in TeX. One of neat features of the PS slurs and ties is a
-check, whether the curve passes close the staff line and if so, adjustment
-of the altitude of the curve to avoid collision ("black triangles" or narrow
-white space). You can turn this feature on globally (\Sluradjust,
-\Tieadjust) or locally (\sluradjust, \tieadjust), or disable it either
-globally (\Nosluradjust, \Notieadjust) or locally (\nosluradjust,
-\notieadjust). Default is \Sluradjust and \Notieadjust. "Locally"
-means before the next opening command of the slur or tie.
-
-
-Line breaking:
-~~~~~~~~~~~~~~
-The slurs, ties and crescendos going across the line breaks are handled
-automatically. Of course they can go over more lines than two (this is
-true also for ties, though it would be somewhat strange).
-
-There is the classic \breakslur implemented, which sets the height of the
-ending point slur at the end of a line to given number of \internotes.
-
-There is also a switch, \ifslopebrkslurs, indicating whether the ending point
-of the first segment of the breaked slur (at the end of the line) should
-be automatically raised by 3 \internote. You can turn this feature on by
-the \slopebrkslurstrue and off by \slopebrkslursfalse commands, default
-is false.
-
-You can raise or lower the starting point of the slur at the begining of
-the next line with the command \liftslur with ID and the relative offset in
-\internotes measured from the slur beginning height. Its usage and behavior
-is the same as of the original \liftslur, only it is not necessary to code
-it in \atnextstaff{}, just anywhere inside the slur.
-
-Similar is \liftcresc, but it works only for the middle part of crescendos
-broken into three parts. The height of the last part of a broken crescendo
-is defined with the height parameter of \Tcresc.
-
-As said before, anything with ID <10 is breaked fully automatically, but
-you should be careful about the slurs, ties and crescendos with 10 <= ID < 15.
-These can not go acress PAGE break, otherwise you'll get a PostScript error
-like 's11hgt undefined'. Of course the LINE breaking works for them
-automatically too.
-
-When a tie is continuead after breaking at the very beginning of a line,
-only a half of the tie is drawn (the 'very beginning' means that the tie
-would be less than 15pt long). To forbid this feature, say \nohalfties
-(default is \halfties). A font called mxsk is necessary for \halfties.
-
-
-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 \invertslur is not implemented yet
-- the \curve and \midslur macros have no effect
-
-
-
-
-Memory requrements
-~~~~~~~~~~~~~~~~~~
-
-I have tried to make the macros as small and fast as possible. The problem
-about them is not in their size, but in their output. Each \i... and \t...
-produces a \special command, which must be stored into the TeX's main memory.
-Therefore, if too many slur occurs in one page, some memory troubles could
-occur. In that case either use BigTeX (but I suppose you already do), or
-use the bitmapped slurs.
-
-
-
-About the PS header:
-~~~~~~~~~~~~~~~~~~~~
-The slurs need the PS header file psslurs.pro to be included into the
-output PostScript file. You have to say this to dvips with command
-
-\special{header=psslurs.pro}
-
-placed anywhere inside the piece. As default, this is done when \inputting
-the MusiXpss, but if you include the MusiXpss.tex into a format, the first
-page of your document will be always empty. If you want the macros included
-in your format file, comment the line 13 of this file and don't forget
-to copy it into your source file.
-
-Warning to dvidvi users: If you select a set of pages from your document,
-don't forget to include the page in which the \special command was used
-(default is first page). Otherwise the dvips won't find this command and
-won't include the header file, putting the PostScript device into a serious
-problems. You can also use the "-h psslurs.pro" option to tell dvips to add
-the header file manually.
-
-
-About the slur shape:
-~~~~~~~~~~~~~~~~~~~~~
-The shape is defined via trapezium:
-
- c
- <----> b
- <----------------------------------------->
- _ _ _________________________________ _ _
- | /^1 _____/ ^2 ^3 ^4\_____ 5^\ | ^
- / __/ \___ \ |
- | /_/ \ \_\ | |
- // this is the 'slur' \\ | a
- |/ \\| |
- |_________________________________________| v
- 0 6
-
-Points 0 and 6 are the starting and ending points. When the slope is not
-zero, the trapezium is simply rotated, NOT slanted.
-
-'a' is computed as sqrt(b)*2, bounded with <3,\psslurmaxhgt> and multiplied
-by the given height coeficient (see \tSlur and \t..slur, defaults to 1)
-The units are not equal to anything common, the values were found
-after a lot of testing.
-
-'c' is computed as angularity*b. Default angularity is 0.17, reasonable
-values should lie in <0.1, 0.3>.
-
-Then the shape is corrected when the slur is so steep that its extreme
-in horizontal direction lies inside the slur and shifted up or down
-if it's top would be too close to nearest staff line (!!!!!!!!).
-
-The slur then consists of two bezier curves:
-from 0 to 3 with control points 1 and 2 and
-from 3 to 6 with control points 4 and 5.
-
-The shading is made according to its length and current \internote.
-
-
-
-If you are interested, see a slightly commented PS code in psslurs.pro.
-
-Bug reports and complainments are welcomed at:
-
- Stanislav Kneifl,
-
- standa@hiero.cz
-
-
-
-HISTORY
-~~~~~~~
-
-0.93 (17.2.2015)
- changed definitions of AR, GDAR and GD to avoid collisions in certain PS files
-
-0.92 (12.5.2002)
- added: \nosluradjust, \sluradjust, \notieadjust, \tieadjust
- added: \slopebrkslurtrue, \slopebrkslurfalse
- fixed: shaded slurs now do not break up to separate curves
- at high resolutions
-
-0.91 (10.1.2002)
- First public release, adopted from OpusTeX version.
diff --git a/macros/musixtex/tex/musixref.tex b/macros/musixtex/tex/musixref.tex
deleted file mode 100644
index dd7c9b92d8..0000000000
--- a/macros/musixtex/tex/musixref.tex
+++ /dev/null
@@ -1,305 +0,0 @@
-%
-% 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.
-%
-
-%format musix
-
-% version compatible with T103 12 Aug. 2001 D. Taupin
-
-%II 59.9
-
-\input musixtex
-%\input musixcpt
-\input musixhou
-\input musixper
-\input musixlit
-\input musixgre
-\input musixext
-
-\parindent 0mm
-\nopagenumbers\nobarnumbers
-
-\ifx\MusiXTeX\indefined\def\MusiXTeX{MusiX\TeX}\fi
-%\centerline{\cmbxbig\MusiXTeX---Reference}\medskip
-\centerline{\Bigfont\MusiXTeX---Reference}\medskip
-\centerline{\bigfont Pitches}\medskip
-\tt
-\def\bs{\char92}
-\setclef1{6000}
-\afterruleskip2pt
-\startmuflex\startpiece
-%
-% Pitches
-%
-\addspace\afterruleskip
-\notes\wh{`ABCDEFG!ABCDEFGHIJKLMNabcde}\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-3\Interligne\setclef1{0000}\contpiece
-\notes\wh{abcdefghijklmnopqrstuvwxyz}\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
-\medskip\centerline{\bigfont Notes, Accidentals, Accents, Clefs and Rests}
-\medskip
-%
-% Notes& Accidentals
-%
-\contpiece
-\Notes
- \zchar{-4}{Accidentals:}%
- \zchar9{\bs zmaxima}\zmaxima i\sk
- \zchar{12}{\bs zlonga}\zlonga i\sk
- \zchar9{\bs zbreve}\zbreve i\sk
- \zchar{12}{\bs zwq}\zwq i\sk
- \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\medskip
-%
-% various noteheads
-%
-\contpiece
-\Notes
-\multnoteskip{1.1}%
- \zchar{10}{\bs dqu$^{123}$}%
- \zchar{-3}{\eightrm 1 musixdia.tex~~2 musixper.tex~~3 musixgre.tex%
- ~~4 musixlit.tex~~5 musixext.tex}\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\medskip\contpiece
-\Notes
- \zchar{-5}{\eightrm Accent on beam with prefix {\it b} and beamrefnumber
- instead 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\medskip
-%
-% clefs
-%
-\let\clefdesoli\empty \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\smallskip
-%
-% Rests
-%
-\let\clefdesoli\trebleclef \startrule\contpiece
-\NOtes
-\multnoteskip{.5}%
- \zchar{13}{\bs qqs}\qqs
- \zchar{13}{\bs hs}\hs
- \zchar{13}{\bs qs}\qs
- \zchar{13}{\bs ds}\ds
- \zchar{13}{\bs qp}\qp
-\multnoteskip2%
- \zchar{13}{\bs hpause}\hpause
- \zchar{13}{\bs hpausep}\hpausep
- \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\centerline{\bigfont Other Symbols}\medskip
-%
-% Other Symbols
-%
-\contpiece
-\NOtes
- \zchar{14}{\bs Trille}\zchar{-4}{\bs allabreve}\Trille n1%
- \zchar0\allabreve\sk
- \zchar{14}{\bs trille}\zchar{-4}{\bs meterC}\trille n1\zchar0\meterC\sk
- \zchar{14}{\bs shake}\zchar{-4}{\bs reverseC}\shake n\zchar0\reverseC\sk
- \zchar{14}{\bs Shake}\zchar{-4}{\bs meterplus}\Shake n%
- \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\off{.66\noteskip}%
- \zchar{14}{\bs mordent}\mordent n\sk
- \zchar{14}{\bs Mordent}\zchar{-4}{\bs duevolte}\Mordent n\duevolte\sk
-\multnoteskip{.66}%
- \zchar{14}{\bs turn}\turn n\sk
-\multnoteskip{1.25}%
- \zchar{14}{\bs backturn}\zchar{-4}{\bs l[r]par}\backturn n%
- \lpar f\rpar f{\stemlength4\qu f}%
- \zchar{14}{\bs Shakel}\Shakel n\sk
- \zchar{14}{\bs Shakesw}\Shakesw n\sk
- \zchar{14}{\bs Shakene}\Shakene n\sk
- \zchar{14}{\bs Shakenw}\Shakenw n\sk\en
-\stoppiece\medskip
-%
-% again
-%
-\contpiece
-\NOtes\zchar9{\bs metron}\zchar{13}{\metron\qu{99}}\sk\en
-\setvoltabox1\bar
-\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en
-\setvolta2\setendvolta\rightrepeat
-\NOtes\loff{\zchar{17}{\bs setvolta}}\loff{\zchar{20}{\bs setendvolta}}\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-3\Interligne\bs Segno}\Segno\hsk
- \zchar{17}{\bs caesura}\sk\caesura
- \zchar{17}{\bs cbreath}\cbreath\sk
-\multnoteskip{.66}%
- \zchar{17}{\bs PED}\PED\sk
- \zchar{17}{\bs sPED}\sPED\sk
- \zchar{17}{\bs DEP}\DEP\sk
- \zchar{17}{\bs sDEP}\sDEP\sk\en
-\stoppiece\medskip
-%
-% and again ...
-%
-\contpiece
-\Notes
- \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$^5$}%
- \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\endmuflex\eject\end
diff --git a/macros/musixtex/tex/musixslu.tex b/macros/musixtex/tex/musixslu.tex
deleted file mode 100644
index 86a69982f4..0000000000
--- a/macros/musixtex/tex/musixslu.tex
+++ /dev/null
@@ -1,4 +0,0 @@
-\errmessage{Musixslu.tex does not exist. Remove any reference to musixslu.tex
-or \noexpand\input musixslu in your source files!}
-\endinput
-
diff --git a/macros/musixtex/tex/musixsqr.tex b/macros/musixtex/tex/musixsqr.tex
deleted file mode 100644
index 4a480cca56..0000000000
--- a/macros/musixtex/tex/musixsqr.tex
+++ /dev/null
@@ -1,3 +0,0 @@
-\errmessage{musixsqr.tex has been removed. Use the
-\noexpand\geometricskipscale\space command.}
-\endinput
diff --git a/macros/musixtex/tex/musixste.tex b/macros/musixtex/tex/musixste.tex
deleted file mode 100644
index 7741e4b974..0000000000
--- a/macros/musixtex/tex/musixste.tex
+++ /dev/null
@@ -1,35 +0,0 @@
-
-\def\explainstr#1{% #1 = 0 standard explanation; #1 = 1 TeX-ish expl.
-\ifnum #1>0 \def\bslstr##1{$\backslash$##1} \else\def\bslstr##1{} \fi
-$$\vbox{
-\halign{ ## \quad & ## & ## \hfill & ## \hfill & ## \hfill & ## \hfill \cr
-\ifnum #1=1 & & Explication des signes & Explanation of the signs & Zeichenerkl\"arung & Jelek magyar\'azata \cr \fi
-\ifnum #1=0 & & {\bf Explication des signes} & {\bf Explanation of the signs} & {\bf Zeichenerkl\"arung} & {\bf Jelek magyar\'azata} \cr \fi
-\cr
- \AB & \bslstr{AB} & Tirez l'archet & down-bow & Abstrich & Lefel\'e \cr
-\ifnum #1>0 \downbow & \bslstr{downbow} & Tirez l'archet & down-bow & Abstrich & Lefel\'e \cr \fi
- \AUF & \bslstr{AUF} & Poussez l'archet & up-bow & Aufstrich & F\"olfel\'e \cr
-\ifnum #1>0 \upbow & \bslstr{upbow} & Poussez l'archet & up-bow & Aufstrich & F\"olfel\'e \cr \fi
-\cr
- \SP & \bslstr{SP} & A la pointe & at the top & An der Spitze & Cs\'ucsn\'al \cr
- \FR & \bslstr{FR} & Au talon & at the nut & Am Frosch & K\'ap\'an\'al \cr
-\cr
- \GB & \bslstr{GB} & Tout l'archet & whole bow & Ganzer Bogen & Eg\'esz von\'oval \cr
-\ifnum #1>0 \Gb & \bslstr{Gb} & Tout l'archet & whole bow & Ganzer Bogen & Eg\'esz von\'oval \cr \fi
- \UH & \bslstr{UH} & La moiti\'e inf\'erieure ... & lower half & Untere H\"alfte & A von\'o als\'o fele \cr
-\ifnum #1>0 \Uh & \bslstr{Uh} & La moiti\'e inf\'erieure ... & lower half & Untere H\"alfte & A von\'o als\'o fele \cr \fi
- \OH & \bslstr{OH} & La moiti\'e sup\'erieure ... & upper half & Obere H\"alfte & A von\'o fels\H{o} fele \cr
-\ifnum #1>0 \Oh & \bslstr{Oh} & La moiti\'e sup\'erieure ... & upper half & Obere H\"alfte & A von\'o fels\H{o} fele \cr \fi
- \MI & \bslstr{MI} & Au milieu ... & middle & In der Mitte & K\"oz\'epen \cr
-\ifnum #1>0 \Mi & \bslstr{Mi} & Au milieu ... & middle & In der Mitte & K\"oz\'epen \cr \fi
- \UD & \bslstr{UD} & Le premier tiers ... & lower third & Unteres Drittel & A von\'o als\'o harmada \cr
-\ifnum #1>0 \Ud & \bslstr{Ud} & Le premier tiers ... & lower third & Unteres Drittel & A von\'o als\'o harmada \cr \fi
- \OD & \bslstr{OD} & Le troisi\`eme tiers ... & upper third & Oberes Drittel & A von\'o fels\H{o} harmada \cr
-\ifnum #1>0 \Od & \bslstr{Od} & Le troisi\`eme tiers ... & upper third & Oberes Drittel & A von\'o fels\H{o} harmada \cr \fi
- & & \hfill ... de l'archet \cr
-\cr
- \Pizz & \bslstr{Pizz} & Pincez avec la main & left hand pizzicato & Pizzicato der linken & piccikat\'o bal k\'ezzel \cr
- & & gauche & & Hand \cr
- \Tr & \bslstr{Tr} & (ou trille) & (or trille) & (oder Triller) & (vagy trilla) \cr
-}}$$}
-
diff --git a/macros/musixtex/tex/musixstf.tex b/macros/musixtex/tex/musixstf.tex
deleted file mode 100644
index a73cf021ff..0000000000
--- a/macros/musixtex/tex/musixstf.tex
+++ /dev/null
@@ -1,28 +0,0 @@
-% musixstr.ref
-
-\input musixstr
-\input musixste
-
-\parindent0pt\nopagenumbers
-
-\def\T#1{\zcharnote g{#1}\qa d}
-\def\Sk#1{\off{0.#1\noteskip}}
-
-\centerline{\bigfont MusiXSTRings}\smallskip
-
-\nostartrule\def\nbinstruments{1}\generalsignature{0}
-\startmuflex\startpiece\transpose=7%
-\NOtes\Sk5%
- \T{\downbow}\T{\AB}\T{\upbow}\T{\AUF}%
- \T{\SP}\T{\FR}\T{\GB}\T{\Gb}\T{\UH}\T{\Uh}\T{\OH}%
- \T{\Oh}\T{\MI}\T{\Mi}\T{\UD}\T{\Ud}\T{\OD}\T{\Od}%
- \T{\Pizz}\T{\Tr}\en
-\stoppiece\endmuflex
-
-\bigskip{\bf$\backslash$explainstr1}\smallskip\explainstr1
-\bigskip{\bf$\backslash$explainstr0}\smallskip\explainstr0
-
-\vfill\eject
-
-\bye
-
diff --git a/macros/musixtex/tex/musixstr.tex b/macros/musixtex/tex/musixstr.tex
deleted file mode 100644
index ac23af18f4..0000000000
--- a/macros/musixtex/tex/musixstr.tex
+++ /dev/null
@@ -1,47 +0,0 @@
-%
-% 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.
-%
-\immediate\write16{MUsiXSTRingaccents T.57\space<6 September 1996>}%
-
-% accents for strings by Werner Icking (Werner.Icking@gmd.de)
-
-\let\AB\downbow
-\let\AUF\upbow
-\def\SP{$\mathrel\triangleleft\joinrel\mid$}
-\def\FR{$\mapstochar\mathrel=\joinrel\mid$}
-\def\GB{$\longleftrightarrow$}
-\def\Gb{$\leftrightarrow$}
-\def\UH{$\longleftarrow$}
-\def\Uh{$\leftarrow$}
-\def\OH{$\longrightarrow$}
-\def\Oh{$\rightarrow$}
-\def\MI{$\mapstochar\relbar\joinrel\relbar\joinrel\mapstochar$}
-\def\Mi{$\mapstochar\relbar\joinrel\mapstochar$}
-\def\UD{$\longleftarrow\joinrel\mapstochar$}
-\def\Ud{$\leftarrow\joinrel\mapstochar$}
-\def\OD{$\mapstochar\longrightarrow$}
-\def\Od{$\mapstochar\rightarrow$}
-
-
-
-
-\def\Pizz{\kern-.3pt{\sevenrm+}}
-\let\Tr\Pizz
-
-\endinput
-
diff --git a/macros/musixtex/tex/musixsty.tex b/macros/musixtex/tex/musixsty.tex
deleted file mode 100644
index 794a7ce336..0000000000
--- a/macros/musixtex/tex/musixsty.tex
+++ /dev/null
@@ -1,388 +0,0 @@
-%
-% 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.
-%
-\ifx\undefined\Tenpoint \else \endinput\fi
-
-\immediate\write16{MusiXtextSTYle T.123\space<04 March 2016>}%
-
-% modified by RDT to be independent of Computer Modern (other than Math fonts)
-% RDT: added \headline{..} in \maketitle
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12
-\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12
-
-% non musical procedures used in typesetting the non-musical
-% texts together with musictex
-
-% eight point math fonts
-
-\font\eighti=cmmi8 \skewchar\eighti='177
-\font\eightsy=cmsy8 \skewchar\eightsy='60
-%
-% nine point math fonts
-%
-\font\ninei=cmmi9 \skewchar\ninei='177
-\font\ninesy=cmsy9 \skewchar\ninesy='60
-%
-% eleven point math fonts (RDT: not used?)
-%
-\font\eleveni=cmmi10 scaled \magstephalf \skewchar\eleveni='177
-\font\elevensy=cmsy10 scaled \magstephalf \skewchar\elevensy='60
-%
-% twelve point math fonts
-%
-\font\twelvei=cmmi12 \skewchar\twelvei='177
-\font\twelvesy=cmsy10 scaled \magstep1 \skewchar\twelvesy='60
-%
-% fourteen point math fonts
-%
-\font\frti=cmmi12 scaled \magstep1 \skewchar\frti='177
-\font\frtsy=cmsy10 scaled \magstep2 \skewchar\frtsy='60
-%
-% seventeen point math fonts
-%
-\font\svti=cmmi12 scaled \magstep2 \skewchar\svti='177
-\font\svtsy=cmsy10 scaled \magstep3 \skewchar\svtsy='60
-%
-% twenty point math fonts
-%
-\font\twtyi=cmmi12 scaled \magstep3 \skewchar\twtyi='177
-\font\twtysy=cmsy10 scaled \magstep4\skewchar\twtysy='60
-%
-% twenty five point math fonts
-%
-\font\twfvi=cmmi12 scaled \magstep4 \skewchar\twfvi='177
-\font\twfvsy=cmsy10 scaled \magstep5 \skewchar\twfvsy='60
-%
-%
-% SEVERAL DIFFERENT POINT SIZES
-%
-\def\Twfvpoint{\normalbaselineskip=30pt
- \def\rm{\fam0\twfvrm}%
- \def\it{\fam\itfam\twfvit}%
- \def\sl{\fam\slfam\twfvsl}%
- \def\bf{\fam\bffam\twfvbf}%
- \def\smc{\twfvrm}%
- \def\mit{\fam 1}%
- \def\cal{\fam 2}%
- \textfont0=\twfvrm \scriptfont0=\twtyrm \scriptscriptfont0=\svtrm
- \textfont1=\twfvi \scriptfont1=\twtyi \scriptscriptfont1=\svti
- \textfont2=\twfvsy \scriptfont2=\twtysy \scriptscriptfont2=\svtsy
- \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
- \textfont\itfam=\twfvit \scriptfont\itfam=\twtyit
- \textfont\slfam=\twfvsl \scriptfont\slfam=\twtysl
- \textfont\bffam=\twfvbf \scriptfont\bffam=\twtybf
- \scriptscriptfont\bffam=\twtybf
- \setbox\strutbox=\hbox{\vrule height 22pt depth 8pt width 0pt}%
- \def\tt{\twfvtt}\normalbaselines\rm
-}
-\def\twfvpoint{\Twfvpoint}
-%
-\def\Twtypoint{\normalbaselineskip=25pt
- \def\rm{\fam0\twtyrm}%
- \def\it{\fam\itfam\twtyit}%
- \def\sl{\fam\slfam\twtysl}%
- \def\bf{\fam\bffam\twtybf}%
- \def\smc{\twtyrm}%
- \def\mit{\fam 1}%
- \def\cal{\fam 2}%
- \textfont0=\twtyrm \scriptfont0=\svtrm \scriptscriptfont0=\frtrm
- \textfont1=\twtyi \scriptfont1=\svti \scriptscriptfont1=\frti
- \textfont2=\twtysy \scriptfont2=\svtsy \scriptscriptfont2=\frtsy
- \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
- \textfont\itfam=\twtyit \scriptfont\itfam=\svtit
- \textfont\slfam=\twtysl \scriptfont\slfam=\svtsl
- \textfont\bffam=\twtybf \scriptfont\bffam=\svtbf
- \scriptscriptfont\bffam=\svtbf
- \setbox\strutbox=\hbox{\vrule height 18pt depth 7pt width 0pt}%
- \def\tt{\twtytt}\normalbaselines\rm}
-\def\twtypoint{\Twtypoint}
-%
-\def\Svtpoint{\normalbaselineskip=21pt
- \def\rm{\fam0\svtrm}%
- \def\it{\fam\itfam\svtit}%
- \def\sl{\fam\slfam\svtsl}%
- \def\bf{\fam\bffam\svtbf}%
- \def\smc{\svtrm}%
- \def\mit{\fam 1}%
- \def\cal{\fam 2}%
- \textfont0=\svtrm \scriptfont0=\frtrm \scriptscriptfont0=\twelverm
- \textfont1=\svti \scriptfont1=\frti \scriptscriptfont1=\twelvei
- \textfont2=\svtsy \scriptfont2=\frtsy \scriptscriptfont2=\twelvesy
- \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
- \textfont\itfam=\svtit \scriptfont\itfam=\frtit
- \textfont\slfam=\svtsl \scriptfont\slfam=\frtsl
- \textfont\bffam=\svtbf \scriptfont\bffam=\frtbf
- \scriptscriptfont\bffam=\frtbf
- \setbox\strutbox=\hbox{\vrule height 14.5pt depth 6.5pt width 0pt}%
- \def\tt{\svttt}\normalbaselines\rm}
-\def\svtpoint{\Svtpoint}
-%
-\def\Frtpoint{\normalbaselineskip=17pt
- \def\rm{\fam0\frtrm}%
- \def\it{\fam\itfam\frtit}%
- \def\sl{\fam\slfam\frtsl}%
- \def\bf{\fam\bffam\frtbf}%
- \def\smc{\frtrm}%
- \def\mit{\fam 1}%
- \def\cal{\fam 2}%
- \textfont0=\frtrm \scriptfont0=\twelverm \scriptscriptfont0=\eightrm
- \textfont1=\frti \scriptfont1=\twelvei \scriptscriptfont1=\eighti
- \textfont2=\frtsy \scriptfont2=\twelvesy \scriptscriptfont2=\eightsy
- \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
- \textfont\itfam=\frtit \scriptfont\itfam=\twelveit
- \textfont\slfam=\frtsl \scriptfont\slfam=\twelvesl
- \textfont\bffam=\frtbf \scriptfont\bffam=\twelvebf
- \scriptscriptfont\bffam=\twelvebf
- \setbox\strutbox=\hbox{\vrule height 12pt depth 5pt width 0pt}%
- \def\tt{\frttt}\normalbaselines\rm}
-\def\frtpoint{\Frtpoint}
-%
-\def\Twlpoint{\normalbaselineskip=14pt
- \def\rm{\fam0\twelverm}%
- \def\it{\fam\itfam\twelveit}%
- \def\sl{\fam\slfam\twelvesl}%
- \def\bf{\fam\bffam\twelvebf}%
- \def\smc{\twelverm}%
- \def\mit{\fam 1}%
- \def\cal{\fam 2}%
- \textfont0=\twelverm \scriptfont0=\tenrm \scriptscriptfont0=\eightrm
- \textfont1=\twelvei \scriptfont1=\teni \scriptscriptfont1=\eighti
- \textfont2=\twelvesy \scriptfont2=\tensy \scriptscriptfont2=\eightsy
- \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
- \textfont\itfam=\twelveit \scriptfont\itfam=\tenit
- \textfont\slfam=\twelvesl \scriptfont\slfam=\tensl
- \textfont\bffam=\twelvebf \scriptfont\bffam=\tenbf
- \scriptscriptfont\bffam=\tenbf
- \setbox\strutbox=\hbox{\vrule height 10pt depth 4pt width 0pt}%
- \def\tt{\twelvett}\normalbaselines\rm}
-\def\twlpoint{\Twlpoint}
-\def\twelvepoint{\Twlpoint}
-%
-\def\Tenpoint{\normalbaselineskip\tw@lv@\p@
- \def\rm{\fam\z@\tenrm}%
- \def\it{\fam\itfam\tenit}%
- \def\sl{\fam\slfam\tensl}%
- \def\bf{\fam\bffam\tenbf}%
- \let\smc\tenrm
- \def\mit{\fam\@ne}%
- \def\cal{\fam\tw@}%
- \textfont0\tenrm \scriptfont0\eightrm \scriptscriptfont0\eightrm
- \textfont1\teni \scriptfont1\eighti \scriptscriptfont1\eighti
- \textfont2\tensy \scriptfont2\eightsy \scriptscriptfont2\eightsy
- \textfont3\tenex \scriptfont3\tenex \scriptscriptfont3\tenex
- \textfont\itfam\tenit \scriptfont\itfam=\eightit
- \textfont\slfam\tensl \scriptfont\slfam=\eightsl
- \textfont\bffam\tenbf \scriptfont\bffam\eightbf
- \scriptscriptfont\bffam\eightbf
- \setbox\strutbox\hbox{\vrule\@height8\h@lf\p@\@depth3\h@lf\p@\@width\z@}%
- \let\tt\tentt \normalbaselines\rm}
-\let\tenpoint\Tenpoint
-
-\def\Eightpoint{\normalbaselineskip\t@n\p@
- \def\rm{\fam\z@\eightrm}%
- \def\it{\fam\itfam\eightit}%
- \def\sl{\fam\slfam\eightsl}%
- \def\bf{\fam\bffam\eightbf}%
- \def\tt{\eighttt}
- \def\mit{\fam\@ne}%
- \def\cal{\fam\tw@}%
- \textfont0\eightrm \scriptfont0\eightrm \scriptscriptfont0\eightrm
- \textfont1\eighti \scriptfont1\eighti \scriptscriptfont1\eighti
- \textfont2\eightsy \scriptfont2\eightsy \scriptscriptfont2\eightsy
- \textfont3\tenex \scriptfont3\tenex \scriptscriptfont3\tenex
- \textfont\itfam\eightit
- \textfont\slfam\eightsl
- \textfont\bffam\eightbf \scriptfont\bffam\eightbf
- \scriptscriptfont\bffam\eightbf
- \setbox\strutbox\hbox{\vrule\@height\s@v@n\p@\@depth\thr@@\p@\@width\z@}%
- \normalbaselines\rm}
-\def\eightpoint{\Eightpoint}
-%
-\def\Ninepoint{\normalbaselineskip=10pt
- \def\rm{\fam0\ninerm}%
- \def\it{\fam\itfam\nineit}%
- \def\sl{\fam\slfam\ninesl}%
- \def\bf{\fam\bffam\ninebf}%
- \def\mit{\fam 1}%
- \def\cal{\fam 2}%
- \textfont0=\ninerm \scriptfont0=\ninerm \scriptscriptfont0=\ninerm
- \textfont1=\ninei \scriptfont1=\ninei \scriptscriptfont1=\ninei
- \textfont2=\ninesy \scriptfont2=\ninesy \scriptscriptfont2=\ninesy
- \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
- \textfont\itfam=\nineit \scriptfont\itfam=\nineit
- \textfont\slfam=\ninesl \scriptfont\slfam=\ninesl
- \textfont\bffam=\ninebf \scriptfont\bffam=\ninebf
- \scriptscriptfont\bffam=\ninebf
- \setbox\strutbox=\hbox{\vrule height 7pt depth 3pt width 0pt}%
- \def\tt{\ninettt}\normalbaselines\rm}
-\def\ninepoint{\Ninepoint}
-
-% GENERAL FOOTNOTES
-
-\newcount\footmarkcount
-
-\def\resetfootnote{\global\footmarkcount\z@ }
-\def\footmarknumber{\raise\smallvalue ex\hbox{%
- \eightpoint\rm\the\footmarkcount}}
-
-\def\Footnote#1{\global\advance\footmarkcount\@ne
- \footnote{\footmarknumber}{#1}}
-
-% \TeX book footnote
-% En cas de panique: couper en deux (une seule note autorisee)
-
-\def\markfootnote{{\advance\footmarkcount\@ne \footmarknumber}}
-
-\def\realfootnote#1{\global\advance\footmarkcount\@ne
- \vfootnote{{\footmarknumber}#1}}
-
-% to enable inserting different \hsize (two columns case)
-\let\footnotehsize\empty
-
-\def\vfootnote#1{\insert\footins\bgroup\parskip\z@\eightpoint
- \interlinepenalty\interfootnotelinepenalty
- \splittopskip\ht\strutbox \advance\splittopskip\p@
- \splitmaxdepth\dp\strutbox \floatingpenalty20000
- \leftskip\z@ \rightskip\z@
- \spaceskip\z@ \xspaceskip\z@
- \eightpoint\footnotehsize\noindent{#1}\footstrut\futurelet\next\fo@t}
-
-\def\footnoterule{\vskip-\thr@@\p@\hrule\@width2truein \vskip 2.6\p@}
-
-\def\aujourdhui{\space\number\day\space%
- \ifcase\month\or janvier\or f\'evrier\or mars\or avril\or mai\or juin\or
- juillet\or ao\^ut\or septembre\or octobre\or novembre\or d\'ecembre\fi
- \space\number\year}
-\def\today{\space%
- \ifcase\month\or January\or February\or March\or April\or May\or June\or
- July\or August\or September\or October\or November\or December\fi
- \space\number\day,\space\number\year}
-\def\cenboxit#1{\centerline{\boxit{#1}}}
-\def\Item{\medskip\item}
-
-\newdimen\theslant
-\def\fup#1{\raise 0.8ex\hbox{\theslant=\fontdimen1\the\font\kernm.03em\kern \theslant\the\scriptfont\fam #1}}
-
-\def\umero{\fup{o}}
-\def\ieme{\fup{e}}
-\def\ier{\fup{er}}
-\let\titremorceau\empty
-\def\title#1{\def\titremorceau{#1}}
-\def\shorttitle{\title}
-\def\subtitle#1{\def\subt@itremorceau{#1}}
-\let\headt@itremorceau\undefined
-\def\headtitle#1{\def\headt@itremorceau{#1}}
-\def\fulltitle{\headtitle}
-\let\othert@itremorceau\empty
-\def\othermention#1{\def\othert@itremorceau{#1}}
-
-\let\headl@ne\undefined
-\def\headline#1{\def\headl@ne{#1}}
-
-\let\s@hortauthor\empty
-\def\shortauthor#1{\def\s@hortauthor{(#1)}}
-
-\def\fullauthor#1{\def\f@ullauthor{#1}}
-\def\author{\fullauthor}
-
-\newif\ifcopyright
-
-\def\outmorceau{\shipout\vbox{\vbox to \vsize{\vss\pagecontents\vss}\line{%
-\ifodd\pageno\sl \titremorceau\ \s@hortauthor
-\ifcopyright\rm$\copyright$\fi\hss \number\pageno
-\else\rm\number\pageno\hss\sl \titremorceau\ \s@hortauthor
-\ifcopyright\rm$\copyright$\fi\fi}}%
- \global\advance\count0 by 1\relax
- \ifnum\outputpenalty>-20000 \else\dosupereject\fi}%
-
-\output{\outmorceau}
-
-\def\maketitle{%
-\ifx\headl@ne\undefined\else\line{\headl@ne}\bigskip\fi% for version 123 RDT
-\centerline{\BIGfont \ifx\headt@itremorceau\undefined
- \titremorceau\else\headt@itremorceau\fi}
-\medskip
-\ifx\subt@itremorceau\undefined\else
- \centerline{\sl \subt@itremorceau}
-\medskip
-\fi
-
-
-\hbox to \hsize{\vtop{\def\\{\hss\egroup\hbox to 0.5\hsize\bgroup\relax}\relax
- \hbox to 0.5\hsize
- \bgroup\othert@itremorceau\hss
- \egroup
- }\hss
- \vtop{\def\\{\egroup\hbox to 0.5\hsize\bgroup\relax\hss}\relax
- \hbox to 0.5\hsize
- \bgroup\hss\f@ullauthor
- \egroup
- }}
-\bigskip
-}
-
-
-\def\rectoverso#1{%
-\def\outmorceau{\shipout\hbox{\null\ifodd\pageno\kern #1\relax
- \else\kern -#1\relax
- \fi
- \vbox{\vbox to \vsize{\vss\pagecontents\vss}\line{%
-\ifodd\pageno\sl \titremorceau\ \s@hortauthor
-\ifcopyright\rm$\copyright$\fi\hss \number\pageno
-\else\rm\number\pageno\hss\sl \titremorceau\ \s@hortauthor
-\ifcopyright\rm$\copyright$\fi\fi}}}%
- \global\advance\count0 by 1\relax
- \ifnum\outputpenalty>-20000 \else\dosupereject\fi}%
-
-\output{\outmorceau}}
-
-
-
-\catcode`\>=\catcode@gt
-\catcode`\<=\catcode@lt
-\catcode`\@=\catcodeat
-
-%%% A4 (210mm x 297mm):
-\hsize=190mm %%% adjust to increase/decrease printer margins
-\vsize=270mm %%% adjust to increase/decrease printer margins
-\hoffset=210mm\advance\hoffset-\hsize\divide\hoffset2
-\advance\hoffset-1.0in % TeX convention
-\voffset=297mm\advance\voffset-\vsize\divide\voffset2
-\advance\voffset-1.0in % TeX convention
-
-%%% letter-size (8.5in x 11.0in):
-%\hsize=7.5in %%% adjust to increase/decrease printer margins
-%\vsize=10.0in %%% adjust to increase/decrease printer margins
-%\hoffset=8.5in\advance\hoffset-\hsize\divide\hoffset2
-%\advance\hoffset-1.0in % TeX convention
-%\voffset=11.0in\advance\voffset-\vsize\divide\voffset2
-%\advance\voffset-1.0in % TeX convention
-
-%%% To determine the *minimal* margins supported by your
-%%% printer and check for printer mis-alignment, process
-%%% testpage.tex with LaTeX and print the result.
-
-\tenpoint
-
-%%%%%%% adjust here for a non-centering printer %%%%%%%%
-%\advance\hoffset 0mm
-%\advance\voffset 0mm
-
-\endinput
diff --git a/macros/musixtex/tex/musixtex.tex b/macros/musixtex/tex/musixtex.tex
deleted file mode 100644
index a46abeec61..0000000000
--- a/macros/musixtex/tex/musixtex.tex
+++ /dev/null
@@ -1,5970 +0,0 @@
-%
-% 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.
-%
-%
-\ifx\undefined\startpiece \else \endinput \fi
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\ifx\makeatletter\undefined\def\makeatletter{\catcode`\@=11\relax}\fi
-\ifx\makeatother\undefined\def\makeatother{\catcode`\@=12\relax}\fi
-
-\def\mufl@x{0.83}%
-\def\mxmajorvernumber{1}
-\def\mxminorvernumber{37}
-\def\mxvernumber{\mxmajorvernumber\mxminorvernumber}% make it possible to compare with \ifnum
-\def\mxversuffix{}%
-\edef\mxversion{\mxmajorvernumber.\mxminorvernumber\mxversuffix}
-\def\mxdate{2023-10-07}
-
-\immediate\write16{MusiXTeX(c) \mxversion\space<\mxdate>}%
-\everyjob{\immediate\write16{MusiXTeX(c) \mxversion\space<\mxdate>}}%
-
-% version 1.37
-%
-% added small ss fonts
-%
-% version 1.36
-%
-% Support for Turkish classical music accidentalsi; see musixmkm.tex.
-% Re-define \hlthick to produce thicker ledger lines.
-% Provide thinner accidentals; see musixthacc.tex.
-% Thicker Postscript hairpins.
-
-% version 1.35
-%
-% This release includes a handwriting font from MuseScore and an extension
-% library musixjt.tex to support it.
-
-% version 1.34
-%
-% redefine \tabfnt... commands to allow re-definition in musixftab.tex
-% decrement the number of slashes if tabstylespace is true
-%
-
-% version 1.33a
-%
-% improved implementations of the tablature commands:
-% + 4-7 slashes are replaced by numbers 4-7
-% + notehead-less stems are replaced by tiny notes (without ledger lines)
-
-% version 1.33
-%
-% \tabfnt etc. now uses (Helvetica) bold
-% replace ledger lines by slashes (/) for tablature notes below the staff
-% new commands \tzqu, \tzcup, etc. for stems without noteheads, for use in tablature
-
-% version 1.32
-
-% commented out spurious \let\doublebar\doublebar@II
-% forbid line-breaking at \zdoublebar
-
-% version 1.31
-%
-% defined \zzdoublebar, \zzbar, \zendpiece
-
-% version 1.30
-%
-% defined \zdoublebar for use within a bar
-% defined \hbp and \hbpp
-
-% version 1.29
-%
-% defined \tabfnt, \tabcleffnt, \tabstringfnt, \tab etc. to support tablature
-
-% version 1.28
-%
-% defined
-% \z[left|right|leftright]repeat, for use *within* a bar
-% \zz...repeat, to force to the end of a system
-% corrected definition of \C@Inter for \nblines < 4
-
-% version 1.27
-%
-% introduced \meterN
-% eliminated \ds@oup
-% introduced \nqqb \nqqh \nqqqb \nqqqh abbreviations and
-% synonyms \nqql \nqqu \nqqql \nqqqu
-% introduced \hap, \happ analogous to \qap, \qapp
-% introduced \hbsk analogous to \hsk
-% introduced \bqsk, \bhsk, \btsk analogous to \qsk, \hqsk, \tqsk
-% introduced \xxtuplet
-
-% version 1.26
-%
-% deleted spurious definition in \resetlayout and
-% spurious space in definition of \interfacteur...
-
-% version 1.25
-%
-% included a "dummy" tuplet.tex in the distribution
-% added \ignorespaces in musixltx.tex
-% defined \qap, \qapp, \tqsk
-
-% version 1.24
-%
-% preserve changes to \transpose in an hboxed tremolo command
-% test that musixtex.tex has already been loaded in some extensions:
-% musixps, musixec, musixhv, musixplt, musixtmr, musixppff
-% changed from \it to \ppff in several places
-% support new command \setinterstaff{n}{m}
-% define \largenotesize, \Largenotesize
-% correct typos \twtybf[g] \svtbf[g]
-
-% version 1.23
-%
-% added \xtr and \ptr ornaments
-% adjusted spacing of \tr
-% corrected definition of \C@Inter for \nblines > 6
-
-% version 1.22
-%
-% bi and sc font definitions added; sl and tt definitions for musixsty moved
-% explicit font choices for \txtfont replaced by generic commands \smalltype\it etc.
-% \pdlud \halfwidthbigwedge and \raise-height font-dependent
-% \cbreath and \zbreath use \BIGtype rather than \BIGfont
-
-
-% version 1.21
-%
-% RDT adjusted the offsets and/or vertical positions for some tremolos
-% RDT moved \lastbarpos\lin@pos after calls to \Writ@meters
-% to correct \centerbar positioning
-% RDT copied the definition of \Hpause from musixlit.tex
-% RDT introduced \Changeclefs, \cHpause and \centerHpause
-% RDT replaced \smalltype\it by \txtfont in octave clef commands
-% RDT moved definitions of \txtfont into \comput@fonts
-% RDT added support for piano-pedal bracket notation
-
-% version 1.20
-%
-% RDT re-defined tremolo commands to allow for numerical pitches;
-% use of \raise and \hbox suggested by Jean-Pierre Colon
-
-% version 1.19:
-%
-% RDT corrected typos in the definition of \comput@fonts
-% affecting ppff fonts for \Largemusicsize
-% RDT introduced definitions for tremolo commands \trml, \trmu, etc.
-% RDT turned off lyrics for \metron and \metronequiv notes
-
-% version 1.18:
-%
-% RDT added definitions of \raggedstoppiece and \slide from musixext.tex
-% RDT increased the length of beam stems (adapted from J.-P. Coulon)
-
-% version 1.17:
-%
-% RDT re-defined \txtfont for non-normal staff sizes
-% RDT defined \tinyppff and \ppfftwelve, and re-defined \ppff to be staffsize dependent
-% RDT introduced \tqqb \tqqh \tqqqb \tqqqh abbreviations
-% and synonyms \tqql \tqqu \tqqql \tqqqu
-% RDT introduced ornaments \tr, \trt
-% RDT re-defined \triolet to be consistent with musixdoc (prints \txt, not nec. 3)
-% RDT introduced \cpause etc. and corrected definitions of \centerpause etc.
-% RDT introduced double-dotted rests \qppp, \dspp, \qspp, etc.
-
-% version 1.16:
-%
-% RDT corrected the definitions of \nnotes and \nnnotes
-
-% HM corrected the definitions for cautionary small accidentals
-
-% RDT added \check@staff ... \fi to \@qa h, \@mca, \hs, \qqs
-% so that \qa, \ca, \ha, etc. can be "hidden" using \setstaffs{n}{0}
-
-% RDT incorporated tuplet.tex (approved by George Sicherman)
-% and introduced \txtfont to allow changing size or style
-
-% RDT introduced
-% \qqsk, a one-quarter notehead skip
-% \tqu and \tql, synonyms for \tqh and \tqb
-% \ztqu and \ztql, synonyms for \ztqh and \ztqb
-% \hpp, \qpp, \dsp, \qsp, \hsp, \qqsp for pointed rests
-% \nnotes, \nnnotes: 1.6 and 1.28 \elemskip spacing
-% \zcn, \ccn, \lcn, synomyms for \zcharnote etc.
-
-% RDT incorporated curly.tex (approved by Mthimkhulu Molekwa)
-
-% RDT modernized the treatment of text fonts
-% meterfonts must be bf, even if titling fonts are rm or sc
-% added dynamic-mark macros \sfz \sfzp
-
-% version 1.15:
-%
-% moved out:
-% - 1/128th beams -> musixbm
-% - triple pointed notes -> musixtri
-
-% and shrinked the memory consumption
-
-%++ickd 19Sep1997: with help of William P. Houser introduced dotted slurs.
-% Changes marked with +ickd for added single lines, -ickd for replaced
-%++ickd single lines, ++ickd...++ickd for added blocks
-
-%++simick 04Dec2000: Don Simons and Werner Icking made some improvements
-% to volta-processing and centerbar processing the changes are
-% marked with +simick for added single lines, -simick for
-%++simick replaced lines and ++simick...++simick for added blocks
-
-% Hiroaki, May2010, T.115: change register allocation codes into new ones
-% which enables >12 elements. Search the string "version 1.15" for details.
-%
-
-% TeXperts may want to change the next
-
-% PARAMETER DIFFERENT THAN PLAIN
-
-\showboxdepth=0
-\showboxbreadth=0
-
-\ifx\undefined\documentstyle % -> []plain.tex
- \parindent0pt
- \hoffset-15.4mm
- \voffset-10mm
- \hsize190mm
- \vsize260mm
-\fi
-
-%%% from LaTeX
-% The following definitions save token space. E.g., using \@height
-% instead of height saves 5 tokens at the cost in time of one macro
-% expansion.
-
-\def\@height{height}
-\def\@depth{depth}
-\def\@width{width}
-
-%%% also removed 'by', '='
-
-\def\@to{to}
-\def\p@ne{.1}
-\def\qu@rt{.25}
-\def\h@lf{.5}
-\def\p@seven{.7}
-
-%%%from plain
-% To make the macros more efficient in time and space,
-% several constant values are declared here as control sequences
-% If they were changed, anything could happen; so they are private symbols
-
-%\chardef\active=13
-%\chardef\&=`\& -> 38
-%\chardef\#=`\# -> 35
-%\chardef\$=`\$ -> 36
-% Nomenclature: '@' means most times 'e' or seperator, sometimes 'o','a'
-
-\chardef\f@ur=4
-\chardef\fiv@=5
-\chardef\si@=6
-\chardef\s@v@n=7
-\chardef\@ight=8
-\chardef\nin@=9
-\chardef\t@n=10
-\chardef\@l@v@n=11
-\chardef\tw@lv@=12
-\chardef\fourt@@n=14
-\chardef\fiv@t@@n=15
-\chardef\tw@nty=20
-\chardef\@xxiii=23
-\chardef\@xxv=25
-\chardef\@xxiv=24
-\chardef\@xxvi=26
-\chardef\@xxvii=27
-\chardef\@xxix=29
-\chardef\@xxxii=32
-\chardef\@xl=40
-\chardef\@xli=41
-\chardef\@xlv=45
-\chardef\@l=50
-\chardef\@lii=52
-\chardef\@liv=54
-\chardef\@lxxxiii=83
-\chardef\@c=100
-\chardef\@cxv=115
-\chardef\@cxxviii=128
-
-\newif\ifcatcodesmusic
-
-\def\catcodesmusic{\ifcatcodesmusic\relax
- \else
- \edef\catcode@gt{\the\catcode`\>}\catcode`\>\tw@lv@
- \edef\catcode@lt{\the\catcode`\<}\catcode`\<\tw@lv@
- \edef\catcode@vert{\the\catcode`\|}\catcode`\|\active
- \edef\catcode@and{\the\catcode`\&}\catcode`\&\active
- \edef\catcode@excl{\the\catcode`\!}\catcode`\!\tw@lv@
- \edef\catcode@star{\the\catcode`\*}\catcode`\*\tw@lv@
- \edef\catcode@pt{\the\catcode`\.}\catcode`\.\tw@lv@
- \edef\catcode@sc{\the\catcode`\:}\catcode`\:\tw@lv@
- \let\@@bar\bar
- \def\bar{\barre}%
- \fi\catcodesmusictrue}
-
-\catcodesmusic
-
-% MusicTeX + MuFlex -> MusiXTeX
-\def\musixtex{MusiX\TeX}
-
-\def\kernm{\kern-}
-
-%...\let\@wloG=\wlog
-%...\def\wlog#1{}
-
-%%% account registers
-
-% \let\maxinstruments\si@ % [version 1.15] here disabled to avoid conflict
-
-% temporary registers
-
-\newcount\n@i
-\newcount\n@ii
-\newcount\n@iii
-\newcount\n@iv
-\newcount\n@v
-\newcount\n@vi
-\newcount\n@vii
-\newcount\n@viii
-\newcount\count@
-
-\newbox\toks@box
-\newbox\w@rkbox
-\newbox\n@otebox
-
-\newdimen\y@
-\newdimen\y@i
-\newdimen\y@ii
-\newdimen\y@iii
-\newdimen\y@iv
-\newdimen\y@v
-
-% [version 1.15] moved out to the new register allocation code -- start from here --
-% altitude
-% \newskip\k@ii
-% InterNote
-% \newdimen\i@ni
-\def\i@n{\z@} % safety in case of....
-% positions x et z de debut des poutres
-% \newdimen\b@xi \newdimen\b@zi
-% \newdimen\c@xi \newskip\c@zi
-% \newdimen\d@xi \newskip\d@zi
-% \newdimen\e@xi \newskip\e@zi
-% \newdimen\f@xi \newskip\f@zi
-% pentes des poutres ( entier de -9 a +9 )
-% multiplicite des poutres ( de -5 a +5 . 0= inactive )
-% \newcount\b@pi \newcount\b@ni
-% Number of Portees
-% \newcount\n@pi \n@pi\@ne
-% Actual Signs Old Signs
-% \newcount\a@si \newcount\o@si
-% ActualCleftoks
-% \newtoks\a@ci \a@ci={{\z@}{\z@}{\z@}{\z@}}
-% OldCleftoks
-% \newtoks\o@ci
-% MeterToks
-% \newtoks\m@ti
-% Altitude of choir groups
-% \newskip\g@bi
-% Height of choir groups
-% \newskip\g@hi
-
-% [version 1.15] moved out to the new register allocation code -- until here --
-% \let\maxgroups\thr@@ % maximum three groups of instruments or choirs [version 1.15] moved to later, using \setmaxgroups
-\newcount\group@no
-
-%%% [version 1.15] new register allocation code -- start from here --
-%
-% register allocation for use inside \loop...\if...\repeat
-% (only for plain, but no harm even in case of LaTeX)
-\edef\noexpand@newcount{\noexpand\newcount}%
-\edef\noexpand@newdimen{\noexpand\newdimen}%
-\edef\noexpand@newskip{\noexpand\newskip}%
-%\edef\noexpand@newmuskip{\noexpand\newmuskip}% not used
-%\edef\noexpand@newbox{\noexpand\newbox}% not used
-\edef\noexpand@newtoks{\noexpand\newtoks}%
-%\edef\noexpand@newmarks{\noexpand\newmarks}% not used
-%
-% a shortcut for register allocation routines
-\def\roman@c@{\romannumeral\count@}%
-%
-% some registers (i@n, b@x, b@z, c@x, d@x, e@x, s@x, s@Y)
-% should be allocated by \newdimen (for id 0...5) and \newskip (for id 6...11)
-% because T.114 and earlier did so and for the compatibility to Stanislav
-% Kneifl's musixps.tex 0.92a.
-% And again \newdimen (for id>11), because both \dimen and \skip are
-% applicable but \dimen uses less memory in case of >255 on e-TeX.
-\def\noexpand@newdimsk{%
- \ifnum\count@<7 \let\@@newdimsk=\noexpand@newdimen
- \else\ifnum\count@<13 \let\@@newdimsk=\noexpand@newskip
- \else\let\@@newdimsk=\noexpand@newdimen
- \fi\fi \@@newdimsk}%
-%
-% and some other registers (c@z, d@z, e@z, f@z, g@z)
-% should be allocated by \newskip (for id 0...11) and \newdimen (for id>11)
-% for the same reason of above.
-\def\noexpand@newskdim{%
- \ifnum\count@<13 \let\@@newskdim=\noexpand@newskip
- \else \let\@@newskdim=\noexpand@newdimen
- \fi \@@newskdim}%
-%
-% registers for instrument
-\newdimen\interinstrument % moved from "distance between instruments" to here
-\def\setmaxinstruments#1{%
- \ifnum#1>\@oldmaxinstruments
- \chardef\maxinstruments=#1\relax
- \ifnum#1>\@c
- \errmessage{The maximum reference number of elements is limited to \the\@c}
- \chardef\maxinstruments=\@c
- \fi
- \count@\@oldmaxinstruments\loop
- \advance\count@ by\@ne
- %
- \expandafter \let \csname interinstrument\roman@c@\endcsname \interinstrument
- \expandafter\def\csname interfacteur\roman@c@\endcsname{\interfacteur}% RDT 1.26
- %
- % altitude
- \expandafter \noexpand@newskip \csname k@i\roman@c@\endcsname
- %
- % InterNote
- \expandafter \noexpand@newdimsk \csname i@n\roman@c@\endcsname
- %
- % beam horizontal positions: x=start, z=end, 8th-64th beams
- \expandafter \noexpand@newdimsk \csname b@x\roman@c@\endcsname
- \expandafter \noexpand@newdimsk \csname b@z\roman@c@\endcsname
- \expandafter \noexpand@newdimsk \csname c@x\roman@c@\endcsname
- \expandafter \noexpand@newskdim \csname c@z\roman@c@\endcsname
- \expandafter \noexpand@newdimsk \csname d@x\roman@c@\endcsname
- \expandafter \noexpand@newskdim \csname d@z\roman@c@\endcsname
- \expandafter \noexpand@newdimsk \csname e@x\roman@c@\endcsname
- \expandafter \noexpand@newskdim \csname e@z\roman@c@\endcsname
- %
- % pentes des poutres ( entier de -9 a +9 ) (slopes of the beams)
- % multiplicite des poutres ( de -5 a +5 . 0= inactive ) (multiplicity of the beams)
- \expandafter \noexpand@newcount \csname b@p\roman@c@\endcsname
- \expandafter \noexpand@newcount \csname b@n\roman@c@\endcsname
- %
- % Number of Portees
- \expandafter \noexpand@newcount \csname n@p\roman@c@\endcsname
- \csname n@p\roman@c@\endcsname\@ne
- %
- % Actual Signs
- \expandafter \noexpand@newcount \csname a@s\roman@c@\endcsname
- %
- % Old Signs
- \expandafter \noexpand@newcount \csname o@s\roman@c@\endcsname
- %
- % ActualCleftoks
- \expandafter \noexpand@newtoks \csname a@c\roman@c@\endcsname
- \csname a@c\roman@c@\endcsname={{\z@}{\z@}{\z@}{\z@}}%
- %
- % OldCleftoks
- \expandafter \noexpand@newtoks \csname o@c\roman@c@\endcsname
- %
- % MeterToks
- \expandafter \noexpand@newtoks \csname m@t\roman@c@\endcsname
- %
- % staffsize
- \expandafter \let \csname staffspacing\roman@c@\endcsname \@ne
- %
- % text, lyrics, free positioning of chars
- \expandafter \let \csname T@R\roman@c@\endcsname \z@
- %
- % preset clef symbols
- \expandafter \let \csname treblec@s\roman@c@\endcsname \z@
- \expandafter \let \csname altoc@s\roman@c@\endcsname \z@
- \expandafter \let \csname bassc@s\roman@c@\endcsname \z@
- %
- % preset default staff lines as 5
- \expandafter \let \csname n@l\roman@c@\endcsname \fiv@
- %
- \ifnum\count@<\maxinstruments\repeat
- \expandafter\message\expandafter{maxinstruments=\the\maxinstruments}%
- \chardef\@oldmaxinstruments=\maxinstruments\relax%
- \normalnotesize\resetlayout
- \fi
-}%
-%
-% registers for 128th beam
-\def\setmaxcxxviiibeams#1{%
- \ifnum#1>\maxinstruments
- \errmessage{The number of 128th beam must not exceed maxinstruments}%
- \else
- \ifnum#1>\@oldmaxcxxviiibeams
- \chardef\maxcxxviiibeams=#1\relax
- \ifnum#1>\@c
- \errmessage{The maximum reference number of elements is limited to \the\@c}
- \chardef\maxcxxviiibeams=\@c
- \fi
- \count@\@oldmaxcxxviiibeams \loop
- \advance\count@ by\@ne
- \expandafter \noexpand@newdimen \csname f@x\roman@c@\endcsname
- \expandafter \noexpand@newskdim \csname f@z\roman@c@\endcsname
- \ifnum\count@<\maxcxxviiibeams\repeat
- \expandafter\message\expandafter{max128beams=\the\maxcxxviiibeams}%
- \chardef\@oldmaxcxxviiibeams=\maxcxxviiibeams\relax%
- \fi
- \fi
-}%
-%
-% registers for 256th beam
-\def\setmaxcclvibeams#1{%
- \ifnum#1>\maxcxxviiibeams
- \errmessage{The number of 256th beam must not exceed the number of 128th beam}%
- \else
- \ifnum#1>\@oldmaxcclvibeams
- \chardef\maxcclvibeams=#1\relax
- \ifnum#1>\@c
- \errmessage{The maximum reference number of elements is limited to \the\@c}
- \chardef\maxcclvibeams=\@c
- \fi
- \count@\@oldmaxcclvibeams \loop
- \advance\count@ by\@ne
- \expandafter \noexpand@newdimen \csname g@x\roman@c@\endcsname
- \expandafter \noexpand@newskdim \csname g@z\roman@c@\endcsname
- \ifnum\count@<\maxcclvibeams\repeat
- \expandafter\message\expandafter{max256beams=\the\maxcclvibeams}%
- \chardef\@oldmaxcclvibeams=\maxcclvibeams\relax%
- \fi
- \fi
-}%
-%
-% registers for choir group
-\def\setmaxgroups#1{%
- \ifnum#1>\@oldmaxgroups
- \chardef\maxgroups=#1\relax
- \ifnum#1>\@c
- \errmessage{The maximum reference number of elements is limited to \the\@c}
- \chardef\maxgroups=\@c
- \fi
- \count@\@oldmaxgroups \loop
- \advance\count@ by\@ne
- % Altitude
- \expandafter \noexpand@newskip \csname g@b\roman@c@\endcsname
- % Height
- \expandafter \noexpand@newskip \csname g@h\roman@c@\endcsname
- %
- \expandafter \let \csname lowersonginstrum\roman@c@\endcsname \maxdimen
- \expandafter \let \csname uppersonginstrum\roman@c@\endcsname \z@
- \ifnum\count@<\maxgroups\repeat
- \expandafter\message\expandafter{maxgroups=\the\maxgroups}%
- \chardef\@oldmaxgroups=\maxgroups\relax%
- \fi
-}%
-%
-% registers for slur
-\def\setmaxslurs#1{%
- \ifnum#1>\@oldmaxslurs
- \chardef\maxslurs=#1\relax
- \ifnum#1>\@c
- \errmessage{The maximum reference number of elements is limited to \the\@c}
- \chardef\maxslurs=\@c
- \fi
- \count@\@oldmaxslurs \loop
- \advance\count@ by\@ne
- %
- % horizontal start position of slur
- \expandafter \noexpand@newdimsk \csname s@x\roman@c@\endcsname
- %
- % sense u,d and x (flag) for pending slurs
- \expandafter \noexpand@newtoks \csname s@s\roman@c@\endcsname
- \csname s@s\roman@c@\endcsname={x}%
- %
- % vertical offset of slur
- \expandafter \noexpand@newdimsk \csname s@Y\roman@c@\endcsname
- %
- % altportee of slur
- \expandafter \noexpand@newskip \csname s@a\roman@c@\endcsname
- %
- % vertical start position of slur [steps of internote]
- \expandafter \noexpand@newcount \csname s@y\roman@c@\endcsname
- %
- % instrument number of that slur (to retrieve internote)
- \expandafter \noexpand@newcount \csname s@N\roman@c@\endcsname
- %
- % vertical end position of slur [steps of internote], used from
- % \breakslur. the value \maxdimen is used to decide, if
- % \breakslur is used or not (flag)
- \expandafter \noexpand@newcount \csname s@z\roman@c@\endcsname
- \csname s@z\roman@c@\endcsname\maxdimen
- %
- %++ickd: dotted indicator for pending slurs
- \expandafter \noexpand@newtoks \csname s@d\roman@c@\endcsname
- %
- \ifnum\count@<\maxslurs\repeat
- \expandafter\message\expandafter{maxslurs=\the\maxslurs}%
- \chardef\@oldmaxslurs=\maxslurs\relax%
- \fi
-}%
-%
-% registers for trill (MusiXTeX-type trill only. Legacy \trillC and
-% \TrillC are out of the scope.)
-\def\setmaxtrills#1{%
- \ifnum#1>\@oldmaxtrills
- \chardef\maxtrills=#1\relax
- \ifnum#1>\@c
- \errmessage{The maximum reference number of elements is limited to \the\@c}
- \chardef\maxtrills=\@c
- \fi
- \count@\@oldmaxtrills \loop
- \advance\count@ by\@ne
- % starting horizontal pos
- \expandafter \noexpand@newskip \csname tr@x\roman@c@\endcsname
- \csname tr@x\roman@c@\endcsname\maxdimen\relax
- % heading of trill
- \expandafter \noexpand@newtoks \csname tr@sw\roman@c@\endcsname
- % height of trill
- \expandafter \noexpand@newskip \csname tr@y\roman@c@\endcsname
- \ifnum\count@<\maxtrills\repeat
- \expandafter\message\expandafter{maxtrills=\the\maxtrills}%
- \chardef\@oldmaxtrills=\maxtrills\relax%
- \fi
-}%
-%
-% registers for octave line
-\def\setmaxoctlines#1{%
- \ifnum#1>\@oldmaxoctlines
- \chardef\maxoctlines=#1\relax
- \ifnum#1>\@c
- \errmessage{The maximum reference number of elements is limited to \the\@c}
- \chardef\maxoctlines=\@c
- \fi
- \count@\@oldmaxoctlines \loop
- \advance\count@ by\@ne
- % starting horizontal pos
- \expandafter \noexpand@newskip \csname o@x\roman@c@\endcsname
- \csname o@x\roman@c@\endcsname\maxdimen\relax
- % height of octline
- \expandafter \noexpand@newskip \csname o@y\roman@c@\endcsname
- % sense of octline
- \expandafter \noexpand@newtoks \csname o@sw\roman@c@\endcsname
- \ifnum\count@<\maxoctlines\repeat
- \expandafter\message\expandafter{maxoctlines=\the\maxoctlines}%
- \chardef\@oldmaxoctlines=\maxoctlines\relax%
- \fi
-}%
-%
-\chardef\@oldmaxinstruments=\z@
-\chardef\@oldmaxcxxviiibeams=\z@
-\chardef\@oldmaxcclvibeams=\z@
-\chardef\@oldmaxgroups=\z@
-\chardef\@oldmaxslurs=\z@
-\chardef\@oldmaxtrills=\z@
-\chardef\@oldmaxoctlines=\z@
-%
-% actual setup (=register allocation) of the maximum element numbers
-% should be done after fonts definition.
-%
-%%% [version 1.15] new register allocation code -- until here --
-
-
-%%% fonts
-
-\newif\iflongDCfontnames
-\newif\iflongECfontnames
-\longDCfontnamesfalse % obsolete
-\longECfontnamesfalse % to use EC fonts, \input musixec
-\def\fontid{cm} % deprecated but used in pmx.tex
-
-%%
-% Small bold sans serif fonts % version 1.33 RDT
-%%
-
-\font\threedc=phvb8t at 3pt
-\font\fourdc=phvb8t at 4pt
-\font\fivedc=phvb8t at 5pt
-\font\sixdc=phvb8t at 6pt
-
-%%
-% small ss fonts % version 1.37 RDT
-%%
-\font\fourss=phvr8t at 4pt
-\font\fivess=phvr8t at 5pt
-\font\sixss=phvr8t at 6pt
-
-%%
-% Seven point fonts
-%%
-
-\font\sevenrm=cmr7
-\font\sevenbf=cmbx7
-\font\sevenit=cmti7
-\font\sevenbi=cmbxti10 at 7pt % version 1.22 RDT
-\font\sevensc=cmcsc10 at 7pt
-\font\sevenss=phvr8t at 7pt % version 1.29 RDT
-\font\sevendc=phvb8t at 7pt
-
-
-%%
-% Eight point fonts
-%%
-
-\font\eightrm=cmr8
-\font\eightbf=cmbx8
-\font\eightit=cmti8
-\font\eightbi=cmbxti10 at 8pt % version 1.22 RDT
-\font\eightsc=cmcsc10 at 8pt
-\font\eightss=phvr8t at 8pt % version 1.29 RDT
-\font\eightdc=phvb8t at 8pt
-
-%%
-% Nine point fonts
-%%
-
-\font\ninerm=cmr9
-\font\ninebf=cmbx9
-\font\nineit=cmti9
-\font\ninebi=cmbxti10 at 9pt % version 1.22 RDT
-\font\ninesc=cmcsc10 at 9pt
-\font\niness=phvr8t at 9pt % version 1.29 RDT
-\font\ninedc=phvb8t at 9pt
-
-%%
-% Ten point fonts
-%%
-
-\font\tenrm=cmr10
-\font\tenbf=cmbx10
-\font\tenit=cmti10
-\font\tenbi=cmbxti10 % version 1.22 RDT
-\font\tensc=cmcsc10
-\font\tenss=phvr8t % version 1.29 RDT
-\font\tendc=phvb8t
-
-%%
-% Eleven point fonts
-%%
-\font\elevenrm=cmr9 scaled \magstephalf
-\font\elevenbf=cmbx9 scaled \magstephalf
-\font\elevenit=cmti9 scaled \magstephalf
-\font\elevenbi=cmbxti10 at 11pt % version 1.22 RDT
-\font\elevensc=cmcsc10 at 11pt
-\font\elevenss=phvr8t at 11pt % version 1.29 RDT
-\font\elevendc=phvb8t at 11pt
-
-%%
-% Twelve point fonts
-%%
-\font\twelverm=cmr12
-\font\twelvebf=cmbx12
-\font\twelveit=cmti12
-\font\twelvebi=cmbxti10 scaled \magstep1 % version 1.22 RDT
-\font\twelvesc=cmcsc10 scaled \magstep1
-\font\twelvess=phvr8t scaled \magstep1 % version 1.29 RDT
-\font\twelvedc=phvb8t scaled \magstep1
-
-% 14pt fonts
-\font\frtrm=cmr12 scaled \magstep1
-\font\frtbf=cmbx12 scaled \magstep1
-\font\frtit=cmti12 scaled \magstep1
-\font\frtsc=cmcsc10 scaled \magstep2
-\font\frtbi=cmbxti10 scaled \magstep2 % version 1.22 RDT
-\font\frtss=phvr8t scaled \magstep2 % version 1.29 RDT
-\font\frtdc=phvb8t scaled \magstep2
-%
-% 17pt
-\font\svtrm=cmr12 scaled \magstep2
-\font\svtbf=cmbx12 scaled \magstep2
-\font\svtit=cmti12 scaled \magstep2
-\font\svtsc=cmcsc10 scaled \magstep3
-\font\svtbi=cmbxti10 scaled \magstep3
-\font\svtdc=phvb8t scaled \magstep3
-%
-% 20pt
-\font\twtyrm=cmr12 scaled \magstep3
-\font\twtybf=cmbx12 scaled \magstep3
-\font\twtyit=cmti12 scaled \magstep3
-\font\twtysc=cmcsc10 scaled \magstep4
-\font\twtybi=cmbxti10 scaled \magstep4 % version 1.22 RDT
-\font\twtydc=phvb8t scaled \magstep4
-%
-% 25pt
-\font\twfvrm=cmr12 scaled \magstep4
-\font\twfvbf=cmbx12 scaled \magstep4
-\font\twfvit=cmti12 scaled \magstep4
-\font\twfvsc=cmcsc10 scaled \magstep5
-\font\twfvbi=cmbxti10 scaled \magstep5 % version 1.22 RDT
-%
-%%
-%%
-% Define five font families
-%%
-\def\tinytype{%
- \let\rm\sevenrm
- \let\bf\sevenbf
- \let\it\sevenit
- \let\bi\sevenbi
- \let\sc\sevensc
- \rm}
-\def\smalltype{%
- \let\rm\eightrm
- \let\bf\eightbf
- \let\it\eightit
- \let\bi\eightbi
- \let\sc\eightsc
- \rm}
-\def\Smalltype{%
- \let\rm\ninerm
- \let\bf\ninebf
- \let\it\nineit
- \let\bi\ninebi
- \let\sc\ninesc
- \rm}
-\def\normtype{%
- \let\rm\tenrm
- \let\bf\tenbf
- \let\it\tenit
- \let\bi\tenbi
- \let\sc\tensc
- \rm}
-\def\medtype{%
- \let\rm\twelverm
- \let\bf\twelvebf
- \let\it\twelveit
- \let\bi\twelvebi
- \let\sc\twelvesc
- \rm}
-%
-% four font families at big/Big/BIg/BIG sizes
-% default is \bf here and in musixec, but \sc in musixplt, \rm in musixtmr
-%
-\def\bigfont{%
- \let\rm\frtrm
- \let\bf\frtbf
- \let\it\frtit
- \let\sc\frtsc
- \let\bi\frtbi
- \bf}
-\def\Bigfont{%
- \let\rm\svtrm
- \let\bf\svtbf
- \let\it\svtit
- \let\sc\svtsc
- \let\bi\svtbi
- \bf}
-\def\BIgfont{%
- \let\rm\twtyrm
- \let\bf\twtybf
- \let\it\twtyit
- \let\sc\twtysc
- \let\bi\twtybi
- \bf}
-\def\BIGfont{%
- \let\rm\twfvrm
- \let\bf\twfvbf
- \let\it\twfvit
- \let\sc\twfvsc
- \let\bi\twfvbi
- \bf}
-%%
-% large fonts for titles
-% (If you prefer Roman, use \rm)
-% (If you prefer small-caps, use \sc)
-%
-\def\bigtype{\bigfont\bf} % default for "big" fonts is \bf
-\def\Bigtype{\Bigfont\bf}
-\def\BIgtype{\BIgfont\bf}
-\def\BIGtype{\BIGfont\bf}
-%
-%
-% Bold italic fonts for dynamic markings.
-%%
-
-\font\ppfftwelve=cmbxti10 at 8pt % version 1.17 RDT
-\font\ppffsixteen=cmbxti10
-\font\ppfftwenty=cmbxti10 scaled \magstep1
-\font\ppfftwentyfour=cmbxti10 scaled \magstep2
-\font\ppfftwentynine=cmbxti10 scaled \magstep3
-
-\def\ppff{\ifdim\internote<\p@seven6\Internote\tinyppff% version 1.17 RDT
-\else\ifdim\internote<.95\Internote\smallppff%
-\else\ifdim\internote<1.19\Internote\normppff%
-\else\medppff\fi\fi\fi}%
-
-
-\def\tinydyn{\let\ppff\ppfftwelve} % version 1.18 RDT
-\def\smalldyn{\let\ppff\ppffsixteen}
-\def\normdyn{\let\ppff\ppfftwenty}
-\def\meddyn{\let\ppff\ppfftwentyfour}
-
-\font\tabfntthirteen=phvb8t at 5pt % version 1.37 RDT
-\font\tabfntsixteen=phvb8t at 6pt
-\font\tabfnttwenty=phvb8t at 7pt
-\font\tabfnttwentyfour=phvb8t at 9pt
-\font\tabfnttwentynine=phvb8t at 11pt
-
-\font\musiceleven=musix11
-\font\musicthirteen=musix13
-\font\musicsixteen=musix16
-\font\musictwenty=musix20
-\font\musictwentyfour=musix24
-\font\musictwentynine=musix29
-
-
-%
-% tt fonts needed by musixsty % version 1.22 RDT
-%
-\font\eighttt=cmtt8
-\font\ninett=cmtt9
-\font\tentt=cmtt10
-\font\twelvett=cmtt12
-\font\frttt=cmtt12 scaled \magstep1
-\font\svttt=cmtt12 scaled \magstep2
-\font\twtytt=cmtt12 scaled \magstep3
-\font\twfvtt=cmtt12 scaled \magstep4
-%
-%
-% sl fonts needed by musixsty % version 1.22 RDT
-%
-\font\eightsl=cmsl8
-\font\ninesl=cmsl9
-\font\tensl=cmsl10
-\font\twelvesl=cmsl12
-\font\frtsl=cmsl12 scaled \magstep1
-\font\svtsl=cmsl12 scaled \magstep2
-\font\twtysl=cmsl12 scaled \magstep3
-\font\twfvsl=cmsl12 scaled \magstep4
-
-% piano brackets, slides, guitar chords, lines, (de)crescendi, circles
-
-\font\mxsps=musixspx
-
-
-%%%
-%
-% Slur macro package for MusicTeX
-%
-% Ross Mitchell, February 20 1993
-%
-%%%
-%%
-% Load the font set
-%
-% Nomenclature: slur[p][size]
-% [p] : sign of slur gradient; u=positive, d=negative, z=zero
-%%
-
-\font\slurz=xslz20
-\font\slurzd=xslz20d %+ickd
-
-\font\slurueleven=xslu11 % slur up eleven points
-\font\sluruthirteen=xslu13
-\font\slurusixteen=xslu16
-\font\slurutwenty=xslu20
-\font\slurutwentyfour=xslu24
-\font\slurutwentynine=xslu29
-
-\font\slurdeleven=xsld11 % slur down eleven points
-\font\slurdthirteen=xsld13
-\font\slurdsixteen=xsld16
-\font\slurdtwenty=xsld20
-\font\slurdtwentyfour=xsld24
-\font\slurdtwentynine=xsld29
-
-%++ickd same for dotted slurs
-\font\sluruelevend=xslu11d % slur up eleven points
-\font\sluruthirteend=xslu13d
-\font\slurusixteend=xslu16d
-\font\slurutwentyd=xslu20d
-\font\slurutwentyfourd=xslu24d
-\font\slurutwentynined=xslu29d
-
-\font\slurdelevend=xsld11d % slur down eleven points
-\font\slurdthirteend=xsld13d
-\font\slurdsixteend=xsld16d
-\font\slurdtwentyd=xsld20d
-\font\slurdtwentyfourd=xsld24d
-\font\slurdtwentynined=xsld29d
-%++ickd
-
-%!these fonts can't be used with highres printers (>~800dpi)
-% for these printers comes a interface to PS using DVIPS (PS-Tricks)
-% and \special{}-commands next time (patience is a virtue ...)
-
-\font\xtie=xslhz20
-\font\xtied=xslhz20d %+ickd
-
-\font\hslurdeleven=xslhd11 % slur half down eleven points
-\font\hslurdthirteen=xslhd13
-\font\hslurdsixteen=xslhd16 % slur half down sixteen points
-\font\hslurdtwenty=xslhd20
-\font\hslurdtwentyfour=xslhd24
-\font\hslurdtwentynine=xslhd29
-
-\font\hslurueleven=xslhu11
-\font\hsluruthirteen=xslhu13
-\font\hslurusixteen=xslhu16
-\font\hslurutwenty=xslhu20
-\font\hslurutwentyfour=xslhu24
-\font\hslurutwentynine=xslhu29
-
-%++ickd same for dotted slurs
-\font\hslurdelevend=xslhd11d % slur half down eleven points
-\font\hslurdthirteend=xslhd13d
-\font\hslurdsixteend=xslhd16d % slur half down sixteen points
-\font\hslurdtwentyd=xslhd20d
-\font\hslurdtwentyfourd=xslhd24d
-\font\hslurdtwentynined=xslhd29d
-
-\font\hsluruelevend=xslhu11d
-\font\hsluruthirteend=xslhu13d
-\font\hslurusixteend=xslhu16d
-\font\hslurutwentyd=xslhu20d
-\font\hslurutwentyfourd=xslhu24d
-\font\hslurutwentynined=xslhu29d
-%++ickd
-
-% number of pending slurs
-
-\newcount\N@s
-
-% [version 1.15] moved out to the new register allocation code (except for \s@Y)
-% horizontal start position of slur
-% \newdimen\s@xi
-% sense u,d and x (flag) for pending slurs
-% \newtoks\s@si \s@si={x}
-% vertical offset of slur
-\newdimen\s@Y % this register is for common use
-% \newdimen\s@Yi
-% altportee of slur
-% \newskip\s@ai
-% vertical start position of slur [steps of internote]
-% \newcount\s@yi
-% instrument number of that slur (to retrieve internote)
-% \newcount\s@Ni
-% vertical end position of slur [steps of internote], used from \breakslur
-% the value \maxdimen is used to decide, if \breakslur is used or not (flag)
-% \newcount\s@zi \s@zi\maxdimen
-%++ickd: dotted indicator for pending slurs
-% \newtoks\s@di % moved out to the new register allocation code
-%++ickd
-
-\def\roman@n@i{\romannumeral\n@i\endcsname}
-
-%
-% [version 1.15] make slurs independent from \maxinstruments
-\def\test@slurnum{%
- \ifnum\n@i<\z@ \n@i\@c \fi
- \ifnum\n@i<\maxslurs \else
- \count@\maxslurs \advance\count@\m@ne
- \errmessage{Wrong slur reference number \the\n@i! (valid: 0 to \the\count@)}% [version 1.15]
- \n@i\z@% [version 1.15]
- \fi
- \advance\n@i\@ne}%
-%
-\def\s@l@ctslur#1\relax{%
- \n@i#1\relax\test@slurnum% [version 1.15] make it independent from beams
- \edef\s@a{\csname s@a\roman@n@i}% dimen (altportee)
- \edef\s@x{\csname s@x\roman@n@i}% dimen (hor start pos)
- \edef\s@y{\csname s@y\roman@n@i}% count (startnote [internote])
- \edef\s@N{\csname s@N\roman@n@i}% count (instrument number)
- \edef\s@z{\csname s@z\roman@n@i}% count (endnote [internote])
- \edef\s@Y{\csname s@Y\roman@n@i}% dimen (voffset)
- \edef\s@d{\csname s@d\roman@n@i}% token (dotted) +ickd
- \edef\s@s{\csname s@s\roman@n@i}}% token (sense)
-
-% get current position (returns the dimen in \y@v)
-% (\lin@pos starts behind signatures!)
-
-\newdimen\lin@pos
-\def\getcurpos{\y@v\lin@pos \advance\y@v\locx@skip}
-
-% \n@i vertical offset of first note (number); temporary
-% \n@ii vertical offset of second note (number); temporary
-% \n@iii meet note
-% \n@iv first note
-% \n@v temp. character
-% \n@vi last note
-% \n@vii right halfslur length
-% \n@viii don't touch
-% \y@ complete length of slur - allowed overlap (4pt), temp. length
-% \y@i abs. height of slur
-% \y@ii complete length of slur
-% \y@iii old maxslurwidth
-% \y@iv don't touch
-% \y@v don't touch
-
-% \@sense{u,d}
-%
-% if \curve (\midslur) is used
-% \@meet{}
-% \l@length{}
-% \r@length{}
-
-% #1 start pitch #2 end pitch #3 length #4 right hoffset
-
-\newcount \meet@minus@n@iv
-\def\writ@slur#1#2#3#4{\check@staff % modified: sld... into slurd... 12.04.95 ick
- \let\slz\slurz% inserted
- \let\slzd\slurzd% inserted for dotted slurs +ickd
- \ifx\s@N\undefined \relax % \let\internote\Internote
- \else
- \edef\internote{\csname i@n\romannumeral\s@N\endcsname}%
- \fi
-% \immediate\write16{\noexpand\writ@slur internote:\the\internote}%
- \n@iv#1%
- \n@vi#2%
-%%
-% Get note vertical offsets
-% \n@iv= vertical offset of first note(n@i temp);
-% \n@vi= vertical offset of second note(n@ii temp);
-% \y@i = reference height of first note (pt);
-%
-% Define adequate fonts for this slur, according to the value of \internote
-%
- \ifdim\internote>3.5pt
- \let\sld\slurdtwentynine \let\slu\slurutwentynine
- \let\hslurd\hslurdtwentynine \let\hsluru\hslurutwentynine
- \let\sldd\slurdtwentynined \let\slud\slurutwentynined % +ickd
- \let\hslurdd\hslurdtwentynined \let\hslurud\hslurutwentynined %+ickd
- \def\@stepwidth{3.6pt}%
- \else \ifdim\internote>2.9pt
- \let\sld\slurdtwentyfour \let\slu\slurutwentyfour
- \let\hslurd\hslurdtwentyfour \let\hsluru\hslurutwentyfour
- \let\sldd\slurdtwentyfourd \let\slud\slurutwentyfourd % +ickd
- \let\hslurdd\hslurdtwentyfourd \let\hslurud\hslurutwentyfourd %+ickd
- \def\@stepwidth{3.0pt}%
- \else \ifdim\internote>2.3pt
- \let\sld\slurdtwenty \let\slu\slurutwenty
- \let\hslurd\hslurdtwenty \let\hsluru\hslurutwenty
- \let\sldd\slurdtwentyd \let\slud\slurutwentyd % +ickd
- \let\hslurdd\hslurdtwentyd \let\hslurud\hslurutwentyd %+ickd
- \def\@stepwidth{2.5pt}%
- \else \ifdim\internote>1.8pt
- \let\sld\slurdsixteen \let\slu\slurusixteen
- \let\hslurd\hslurdsixteen \let\hsluru\hslurusixteen
- \let\sldd\slurdsixteend \let\slud\slurusixteend % +ickd
- \let\hslurdd\hslurdsixteend \let\hslurud\hslurusixteend %+ickd
- \def\@stepwidth{2pt}%
- \else \ifdim\internote>1.4pt
- \let\sld\slurdthirteen \let\slu\sluruthirteen
- \let\hslurd\hslurdthirteen \let\hsluru\hsluruthirteen
- \let\sldd\slurdthirteend \let\slud\sluruthirteend % +ickd
- \let\hslurdd\hslurdthirteend \let\hslurud\hsluruthirteend %+ickd
- \def\@stepwidth{1.6pt}%
- \else
- \let\sld\slurdeleven \let\slu\slurueleven
- \let\hslurd\hslurdeleven \let\hsluru\hslurueleven
- \let\sldd\slurdelevend \let\slud\sluruelevend % +ickd
- \let\hslurdd\hslurdelevend \let\hslurud\hsluruelevend %+ickd
- \def\@stepwidth{1.28pt}%
- \fi\fi\fi\fi\fi
-%
-% End choice of font
-%
- \n@i\n@iv \pl@base % \y@i = initial height
- \n@ii\n@vi
-%
-% Select appropriate font
-% Set \n@i to the vertical difference index
-% setup \n@iii(meetnote)
-%
- \ifnum\n@ii=\n@i % Slope is zero
- \n@iii\n@i
- \if u\@sense \advance\n@iii\thr@@ \else \advance\n@iii-\thr@@ \fi
- \def\@slope{z}\n@i\z@
- \else
- \ifnum\n@ii<\n@i % Slope is negative
- \C@csl\n@i\n@ii\def\@slope{d}% % compute @meet height for slurs
- \else % Slope is positive
- \C@csl\n@ii\n@i\def\@slope{u}\n@i\n@ii % compute @meet height for slurs
- \fi
- \fi
-%%
-% Select the required font and load the width parameters
-%
-% Font specific parameters
-% \y@iii is the horizontal width of the longest slur in the fonts
-% This parameter is loaded from the tfm \fontdimen parameter 5
-% respectively
-%%
- \y@iii\fontdimen\fiv@\csname sl\@slope\endcsname
- \y@ii#3%
-%
-% \n@i contains slope (difference between start and end note)
-%
-% force longslurs if (!!! no check, be careful !!!)
-% long slurs are at least 20[16] pt long) !!! Perhaps will change again !!!
-% - difference between first note and last note > 8
-% - if \curve or \midslur is def'd
-% - if \invertslur is used
-%
- \ifnum\n@i>\@ight \y@iii\z@ \fi % RMslurs limit 8 steps
- \ifx\@meet\empty \else\y@iii\z@ \fi
- \ifx\@invert\@ne \y@iii\z@ \fi
- \ifdim\y@ii>\y@iii % start of longslurs
-%
-% setup meet height of slur
-%
- \ifx\empty\@meet
-% \immediate\write16{\noexpand\@meet was empty.}%
- \else
- \n@iii\n@iv
- \advance\n@iii\@meet
- \fi
- \edef\@meet{\the\n@iii}%
-% \immediate\write16{\noexpand\@meet = \@meet.}%
-%
-% allow a little bit overlap (2*2pt) for nicer outlook (as longer as nicer)
-% clip to extremities
-% compute the max length in fontunits (\count@)
-%
- \y@\y@ii \advance\y@\f@ur\p@ \n@v\y@
- \sp@pt\t@n % 10pt steps
- \advance\n@v-\f@ur % first brace is 20pt wide (perhaps 10pt is better ??)
- \min@n@v\z@
- \max@n@v\fourt@@n % largest braces are 2*((90pt-20pt)/10pt)
- \count@\n@v % max length
-%
-% compute the length of the starting and ending halfslurs
-% in case, that curve is not def'd
-%
- \ifx\empty\l@length
- \divide\n@v\tw@ % 2 halfslurs
- \n@vii\n@v
- \n@ii\n@v
- \def@lr
-%
-% first try to reach nicer long slurs without using \curve
-%
- \if z\@slope % leave ties untouched
- \else
- \ifnum\count@>\z@ % only for long slurs
- \multiply\n@v\tw@
- \if\@slope\@sense % uu,dd advance l@length ud,du advance r@length
- \s@adjust\n@vii\n@ii
- \else
- \s@adjust\n@ii\n@vii
- \fi
- \def@lr
- \fi
- \fi
-%
-% adjust \curve parameters, if neccesary
-%
- \else
- \n@vii\l@length
- \n@ii\r@length
- \loop
- \count@\n@vii
- \advance\count@\n@ii
- \ifnum\count@>\n@v
- \advance\n@vii\m@ne \ifnum\n@vii<\z@ \n@vii\z@ \fi
- \advance\n@ii\m@ne \ifnum\n@ii<\z@ \n@ii\z@ \fi
- \repeat
- \def@lr
- \fi
-%
-% clip to extremity heights (max slur height= 16\internote)
-%
- \C@csm\n@iv
- \C@csm\n@vi
-%
-% change sense and offset behind linebreak and reset flag
-%
- \ifx\@invert\@ne \ifdim\s@x=\z@
- \@invsl \let\@invert\empty \s@Y-\s@Y
- \fi \fi
-%
-% compute final height and put the box
-%
-% \immediate\write16{ before @meet:\noexpand\y@i=\the\y@i}%
-% \message{ was \noexpand\n@iv\the\n@iv}%
-% \message{ was \noexpand\n@vi\the\n@vi}%
-%
- \meet@minus@n@iv=\@meet
- \advance\meet@minus@n@iv-\n@iv
-% \immediate\write16{\noexpand\meet@minus@n@iv=\the\meet@minus@n@iv}%
-% \y@i\@meet\internote % \y@i final height
-% change from DT for staffspacing not standard
- \y@i \@stepwidth % part proportional to slur font size
- \multiply \y@i \meet@minus@n@iv
- \advance\y@i \n@iv\internote % was done by \pl@base...
-%
- \C@sof % add the voffsets
- \llap{\raise\y@i\hbox\@to\y@ii{%
-%
-% compute the beginning and ending halfslur chars
-% n@i firstslur
-% n@ii lastslur
-% n@v character
-%
- \C@cc\n@iv\n@i\n@ii
- \C@cc\n@vi
-%
- \n@v\l@length
- \multiply\n@v\sixt@@n % 16 different heigths
- \advance\n@v\n@i % offset to length
- \advance\n@v\@cxxviii % offset to starthalfslur
- \@boX \box\ch@box\hss% put starthalfslur
- \n@v\r@length
- \multiply\n@v\sixt@@n
- \advance\n@v\n@ii
-%
-% put ending halfslur in box
-%
- \ifx\@invert\@ne \@invsl \fi
- \@boX
-%
-% put the middle extension (could be replaced by []rule)
-%
- \ifdim\y@ii>\p@ne\p@
- \n@v\y@ii
- \sp@pt\f@ur % 4pt steps
- \ifx\@invert\@ne
- \divide\n@v\tw@
- \if u\@sense \advance\n@v\@cxxviii \fi
- \mid@box\hss\hss% don't ask me why
- \if u\@sense \advance\n@v-\@cxxviii \else \advance\n@v\@cxxviii \fi
- \mid@box%
- \else
- \if d\@sense \advance\n@v\@cxxviii \fi
- \mid@box \fi \fi
-%
-% place the end of slur and kern right horizontal offset
-%
- \hss\box\ch@box}\kern#4}%
-%
-% reset slurcurve
-%
- \global\let\@meet\empty
- \let\l@length\empty
- \let\@invert\empty
-%
-%>>>>>> start of RM slurs
-% Set \n@v to the width index in the slur font table
-%
- \else
- \ifdim\y@ii<\@ight\p@ \y@ii\@ight\p@ \fi % Clip to extremities
- \y@\y@ii
- \advance\y@-\si@\p@
- \n@v\y@
- \sp@pt\f@ur
-%
-% Find decimal character count into font table
-% (a) Zero height slurs: charnum= width index
-% (b) Others: charnum= 16*(height index - 1) + width index
-% Place the character count in \n@v
-%
- \if z\@slope
- \if d\@sense \advance\n@v\@liv \fi % \@liv(=54) offset to slurchars
- \else
- \advance\n@i\m@ne % height index - 1
- \multiply\n@i\sixt@@n % 16*(height index - 1)
- \advance\n@v\n@i % 16*(height index - 1) + width index
- \if d\@sense \advance\n@v\@cxxviii \fi
- \fi
-%
-% Place the slur character
-%
- \C@sof
- \ifnum\n@v>255 % to avoid diags in case of...
- \n@v=255\relax
- \fi
- \ifnum\n@v<0 % to avoid diags in case of...
- \n@v=0\relax
- \fi
-%
- \llap{\raise\y@i\hbox\@to\y@ii{%
-%-ickd \hss\csname sl\@slope\endcsname\char\n@v\hss}\kern#4}%
- \hss\csname sl\@slope\@dotted\endcsname\char\n@v\hss}\kern#4}%
- \fi
-\fi} % end writ@slur
-
-
-\def\sp@pt#1{\divide\n@v65536\divide\n@v#1}
-\def\max@n@v#1{\ifnum\n@v>#1\n@v#1\fi}
-\def\min@n@v#1{\ifnum\n@v<#1\n@v#1\fi}
-
-%-ickd \def\mid@box{\hbox{\xtie\char\n@v}}
-\def\mid@box{%
- \ifnum\n@v>255 % to avoid diags in case of...
- \n@v=255\relax
- \fi
- \ifnum\n@v<0 % to avoid diags in case of...
- \n@v=0\relax
- \fi
-%
- \hbox{\csname xtie\@dotted\endcsname\char\n@v}}
-%-ickd \def\@boX{\setbox\ch@box\hbox{\csname hslur\@sense\endcsname\char\n@v}%
-\def\@boX{%
- \ifnum\n@v>255 % to avoid diags in case of...
- \n@v=255\relax
- \fi
- \ifnum\n@v<0 % to avoid diags in case of...
- \n@v=0\relax
- \fi
-%
- \setbox\ch@box\hbox{\csname hslur\@sense\@dotted\endcsname\char\n@v}%
- \advance\y@ii-\wd\ch@box}
-
-\def\def@lr{\edef\l@length{\the\n@vii}\edef\r@length{\the\n@ii}}
-
-\def\s@adjust#1#2{%
- \ifnum\n@v<\count@ \advance#1\@ne \fi
- \ifnum\n@v>\z@ \advance#1\@ne \advance#2\m@ne
- \ifnum#1>\s@v@n #1\s@v@n \fi \fi}
-
-\def\C@csl#1#2{% compute meet height for slurs
- \if u\@sense \n@iii#1\advance\n@iii\tw@
- \else \n@iii#2\advance\n@iii-\tw@ \fi
- \ifx\@invert\@ne
- \n@iii#1\advance\n@iii-#2\divide\n@iii\tw@ \advance\n@iii#2\fi
- \advance#1-#2}
-
-\def\C@cc#1{% slur = abs(meet-note) - 1
- \n@ii\@meet
- \advance\n@ii-#1%
- \ifnum\n@ii<\z@ \n@ii-\n@ii \fi
- \advance\n@ii\m@ne
- }
-% \ifnum\n@ii<\z@\immediate\write16{Warning: \noexpand\C@cc->\noexpand\n@ii=\the\n@ii}\fi
-% \n@ii\z@} % modeif DT 20-12-97
-
-\def\C@csm#1{% clip to extremity heights (max slur height= 16\internote)
- \n@i\n@iii
- \advance\n@i-#1%
- \ifnum\n@i>\sixt@@n
- \ifnum\n@iii>#1%
- #1\n@iii \advance#1-\sixt@@n
- \else
- #1\n@iii \advance#1\sixt@@n
- \fi
- \fi}
-
-\def\C@sof{\advance\y@i\s@Y % abs. voffset
- \ifx\@Ti\@ne \advance\y@i\s@a \let\@Ti\empty \fi}% call from cutslur
-
-% manual influation on the curve for long slurs
-% must be coded in front of \tslur
-% #1 final height [number, steps of internote, relativ to beginning! note]
-% #2 (length)slope left #3 (length)slope right
-
-\def\curve#1#2#3{\getcurpos % ignore \curve behind a linebreak
- \ifdim\y@v>\@xxxii\p@ \xdef\@meet{#1}\edef\l@length{#2}\edef\r@length{#3}\relax
- \else
-% \message{\noexpand\curve #1#2#3 not expanded}%
- \fi}
-
-% raise (or lower) only the mid of slur
-% #1 final height [number, steps of internote, relativ to beginning! note]
-%! #1 can still be changed to work relativ from default height ???
-
-\def\midslur#1{\getcurpos
- \ifdim\y@v>\@xxxii\p@ \xdef\@meet{#1}\relax
- \else
-% \message{\noexpand\midslur #1 not expanded}%
- \fi}
-
-\let\@meet\empty
-\let\l@length\empty
-\let\r@length\empty
-
-% Liftslur #1 refnumber #2 lift[steps of internote]
-
-\def\Liftslur#1#2{\n@i#1\advance\n@i\@ne \advance\csname s@y\roman@n@i#2}
-
-% breakslur #1 refnumber #2 endheight during linebreak[steps of internote]
-
-\def\breakslur#1#2{\inhgetn@i#2\relax\n@ii\n@i
- \n@i#1\advance\n@i\@ne \global\csname s@z\roman@n@i\n@ii}
-
-% invertslur #1 refnumber
-
-\def\@invsl{\if u\the\s@s \s@s{d}\else \s@s{u}\fi}
-
-\def\invertslur#1{\s@l@ctslur#1\relax
- \if u\the\s@s \global\s@s{D}% change sense and set flag for invertslur
- \else \global\s@s{U}\fi}
-
-% initiate slur #1 reference number #2 start note
-
-\def\isluru{\i@slur\h@lf{1\p@seven\internote}u}% 'normal'
-\def\issluru{\i@slur{1\p@ne}{\p@seven\internote}u}% shorter for accords
-% for beam(ib[l]u) or stem, doesn't work with \stemcut (yet?)
-\def\ibsluru{\y@i\stemfactor\interbeam
- \advance\y@i\h@lf\internote \i@slur1\y@i u}
-\def\islurd{\i@slur\h@lf{-1\p@seven\internote}d}
-\def\isslurd{\i@slur{1\p@ne}{-\p@seven\internote}d}
-\def\ibslurd{\y@i\stemfactor\interbeam
- \advance\y@i\h@lf\internote \y@i-\y@i \i@slur0\y@i d}
-
-% initiate slur at half note width but NO vertical offset (for linkings)
-
-\def\ihsluru{\i@slur\h@lf\z@ u}%
-\def\ihslurd{\i@slur\h@lf\z@ d}%
-
-\let\itieu\issluru
-\let\itied\isslurd
-\def\istieu{\i@slur{1\p@ne}{\qu@rt\internote}u}% shorter for accords
-\def\istied{\i@slur{1\p@ne}{-\qu@rt\internote}d}%
-\let\itenu\istieu
-\let\itenl\istied
-\let\Itenu\istieu
-\let\Itenl\istied
-
-\def\dotted{\let\dott@d\@ne}\let\dott@d\empty %+ickd
-
-\def\@mis{missing }
-
-% #1 hoffset #2 voffset #3 sense (u,d) #4 reference number #5 start note
-
-\def\i@slur#1#2#3#4#5{%
- \check@staff
- \global\advance\N@s\@ne % update slurcounter
- \s@l@ctslur#4\relax
-% test for already invoked \islur
- \if x\the\s@s \else\errmessage{\@mis\noexpand\tslur#4}\fi
- \global\s@Y#2% store voffset (abs. dim. to rel. height)
- \global\s@s{#3}% store sense (u,d)
- \ifx\dott@d\empty \global\s@d{}\else\global\s@d{d}\fi %+ickd
- \let\dott@d\empty % set dotted indicator +ickd
- \global\s@N\noinstrum@nt % store instrument number
- \inhgetn@i#5\relax
- \global\s@y\n@i % start vpos (steps of internote)
- \global\s@a\altportee % store altportee of current slur
- \getcurpos
- \advance\y@v#1\qn@width
- \global\s@x\y@v
- \fi}% start hpos (current pos including hoffset)
-
-% terminate slur #1 reference number #2 end note
-% the various types only influence the horizontal offset, if you want to
-% terminate a \ibslur with a \tslur it becomes a little bit tricky
-%%
-%% RDT: the "trick", whatever it is, doesn't seem to be working !!!!!
-%% e.g. \Notes\ibsluru1g\qa g\ha l\sk\zq g\zq i\tslur1k\qu k\en
-
-\def\tslur{\t@slur\h@lf}
-\def\tsslur{\t@slur{-\p@ne}}
-\def\tubslur{\t@slur1}
-\def\tdbslur{\t@slur0}
-\def\tbsluru{\t@slur1}
-\def\tbslurd{\t@slur0}
-
-% \def\ttie#1{\let\T@i\@c \t@slur{-\p@ne}#1\@ne}
-% \def\tleg#1{\let\T@i\@c \tslur #1\@ne}
-% #1 should be braced... by David Alsop on January 11, 2009
-\def\ttie#1{\let\T@i\@c \t@slur{-\p@ne}{#1}\@ne}
-\def\tleg#1{\let\T@i\@c \tslur{#1}\@ne}
-\let\tten\ttie
-\let\Tten\ttie
-\let\Tleg\tleg
-
-% y@i linewidth
-% y@iv right hoffset
-% y@v endpos, complete length
-
-% #1 hoffset #2 reference number #3 end note
-
-\def\t@slur#1#2#3{%
- \check@staff
- \s@l@ctslur#2\relax
- \y@iv#1\qn@width
- \def\@sense{\the\s@s}%
- \edef\@dotted{\the\s@d}%+ickd
-% test for missing \islur
- \if x\@sense \errmessage{\@mis\noexpand\islur#2}\fi
-% test for \invertslur
- \if D\@sense \s@s{u}%
- \let\@invert\@ne
- \fi
- \if U\@sense \s@s{d}%
- \let\@invert\@ne
- \fi
-% compute length
- \getcurpos
- \advance\y@v\y@iv
-% eoline
- \y@eol\advance\y@-\beforeruleskip
-% clip slur at eoline
- \ifdim\y@v>\y@ \y@v\y@ \advance\y@v\beforeruleskip \y@iv\beforeruleskip \fi
- \advance\y@v-\s@x
- \ifx\T@i\@c \n@i\s@y \else \inhgetn@i#3\relax \fi
- \writ@slur\s@y\n@i\y@v{-\y@iv}%
-% reset sense of slur
- \global\s@s{x}\let\T@i\empty
- \global\advance\N@s\m@ne
- \fi}% update slur counter
-
- % this command is made to terminate the slur #1 exactly on the note pitch #2
-\def\Tslurbreak#1#2{\s@l@ctslur#1\relax
- \def\@sense{\the\s@s}%
- {\if d\@sense \advance\transpose 2\raise0.2\Interligne\hbox{\tslur{#1}{#2}}\relax
- \else \advance\transpose -2\raise-0.2\Interligne\hbox{\tslur{#1}{#2}}\relax
- \fi
- }%
-\global\let\@meet\empty
-\let\l@length\empty
-\let\r@length\empty
-\let\@invert\empty
-}
-
-\def\Islurubreak#1#2{{\advance\transpose -1\isluru{#1}{#2}}}
-\def\Islurdbreak#1#2{{\advance\transpose 1\islurd{#1}{#2}}}
-
-\def\TslurbreakNextBar#1#2{\off{\beforeruleskip}\hloff{\Tslurbreak{#1}{#2}}\off{-\beforeruleskip}}
-\def\IslurubreakPrevBar#1#2{\off{-\afterruleskip}\hloff{\Islurubreak{#1}{#2}}\off{\afterruleskip}}
-\def\IslurdbreakPrevBar#1#2{\off{-\afterruleskip}\hloff{\Islurdbreak{#1}{#2}}\off{\afterruleskip}}
-
-\def\y@eol{\y@\line@width \advance\y@-\sign@skip
- \advance\y@-\clef@skip \advance\y@-\s@indent}
-
-% hold up the RM-slur calling, because faster coding,
-% if the slurs are inside a bar (and you use one kind of \notes)
-% and ... there is no limitation in the number of slurs
-% if you want to call a short slur, extending to the left use \slur[][][]0
-
-% #1 start pitch #2 final pitch #3 sense(u,d) #4 length[noteskip]
-
-\def\C@slur#1#2#3#4{\check@staff
- \inhgetn@i#1\relax \n@ii\n@i
- \inhgetn@i#2\relax \relax
- \ifx\dott@d\empty \gdef\@dotted{}\else\gdef\@dotted{d}\fi %+ickd
- \let\dott@d\empty % set dotted indicator +ickd
- \def\@sense{#3}%
- \if d\@sense \s@Y-\s@Y \fi
- \y@v#4\noteskip
- \y@iv\y@v
- \advance\y@iv\y@ii
- \advance\y@v\y@iii
- \kern\y@iv
- \writ@slur\n@ii\n@i\y@v\z@
- \kernm\y@iv
- \fi}
-
-\def\sslur{%
- \let\s@N\undefined % do not store instrument number
- \s@Y\p@seven\internote
- \y@iii-1.2\qn@width % offset to length 1.1behind+.1before
- \y@ii-\p@ne\qn@width
- \C@slur}
-\def\slur{%
- \let\s@N\undefined % do not store instrument number
- \s@Y1\p@seven\internote
- \y@iii\z@
- \y@ii\h@lf\qn@width
- \C@slur}
-\def\stie#1{\sslur{#1}{#1}}
-\def\tie#1{\slur{#1}{#1}}
-
-%%% setup fontsizes
-
-\newdimen\interbeam % distance entre poutres
-\newdimen\b@amthick % half beamthickness
-\newdimen\Interligne% de la base d'une ligne a l'autre
-\newdimen\Internote % la moitie de \Interligne
-
-\let\internote\Internote
-\def\musixchar{\musixfont\char}
-\def\keychar{\musickeyfont\char}
-
-\let\musicnorfont\musictwenty
-
-\def\set@Largenotesize{\let\musixfont\musicLargefont
- \let\xgregfont\xgregLargefont
- \let\fetafont\fetaLargefont % RDT 1.36
- \b@amthick.3456\Interligne \interbeam1.08\Interligne }
-
-\def\set@largenotesize{\let\musixfont\musiclargefont
- \let\xgregfont\xgreglargefont
- \let\fetafont\fetalargefont % RDT 1.36
- \b@amthick.288\Interligne \interbeam.9\Interligne }
-
-\def\set@normalnotesize{\let\musixfont\musicnorfont
- \let\xgregfont\xgregnorfont
- \let\fetafont\fetanorfont % RDT 1.36
- \b@amthick.24\Interligne \interbeam\p@seven5\Interligne }
-
-\def\set@smallnotesize{\let\musixfont\musicsmallfont
- \let\xgregfont\xgregsmallfont
- \let\fetafont\fetasmallfont % RDT 1.36
- \b@amthick\p@ne92\Interligne \interbeam.6\Interligne }
-
-\def\set@tinynotesize{\let\musixfont\musictinyfont
- \let\xgregfont\xgregtinyfont
- \let\fetafont\fetatinyfont % RDT 1.36
- \b@amthick\p@ne536\Interligne \interbeam.48\Interligne }
-
-\def\normalnotesize{\set@normalnotesize\comput@specifics
- \let\curr@ntsiz@\normalnotesize}
-\def\smallnotesize{\set@smallnotesize\comput@specifics
- \let\curr@ntsiz@\smallnotesize}
-\def\tinynotesize{\set@tinynotesize\comput@specifics
- \let\curr@ntsiz@\tinynotesize}
-\def\largenotesize{\set@largenotesize\comput@specifics % v.124 RDT
- \let\curr@ntsiz@\largenotesize}
-\def\Largenotesize{\set@Largenotesize\comput@specifics % v.124 RDT
- \let\curr@ntsiz@\Largenotesize}
-
-\def\musickeyfont{%
- \ifdim\internote<\p@seven6\Internote \musictinyfont
- \else
- \ifdim\internote<.95\Internote \musicsmallfont
- \else
- \ifdim\internote<1.19\Internote \musicnorfont
- \else
- \ifdim\internote<1.43\Internote \musiclargefont
- \else
- \musicLargefont
- \fi
- \fi
- \fi
- \fi}
-
-\def\meterfont{%
- \ifdim\internote<\p@seven6\Internote \metersmallfont
- \else
- \ifdim\internote<.95\Internote \meternorfont
- \else
- \ifdim\internote<1.19\Internote \meterbigfont
- \else
- \ifdim\internote<1.43\Internote \meterlargefont
- \else \meterLargefont
- \fi
- \fi
- \fi
- \fi}
-
-\def\tabcleffnt{% 1.29 RDT
- \ifdim\internote<.95\Internote \tabsmallcleffnt
- \else
- \ifdim\internote<1.19\Internote \tabnorcleffnt
- \else
- \ifdim\internote<1.43\Internote \tablargecleffnt
- \else \tabLargecleffnt
- \fi
- \fi
- \fi}
-
-\def\tabfnt{% 1.29 RDT
- \ifdim\internote<.95\Internote \tabsmallfnt
- \else
- \ifdim\internote<1.19\Internote \tabnorfnt
- \else
- \ifdim\internote<1.43\Internote \tablargefnt
- \else \tabLargefnt
- \fi
- \fi
- \fi}
-
-\newbox\ch@box
-\newcount\musicsize
-\newdimen\qd@skip
-\newdimen\qn@width
-\newdimen\wn@width
-
-\newskip\txt@ff
-\newskip\s@indent % store parindent
-\newskip\big@spc
-
-\newdimen\lthick \lthick=.4pt
-% \def\hlthick{\h@lf\lthick}
-\def\hlthick{0.4pt} % 1.36 RDT
-
-%%%
-
-\def\normalmusicsize{\musicsize\tw@nty \comput@specifics
- \afterruleskip\@ight\p@ \elemskip\fontdimen\si@\musicnorfont \clef@skip\z@}
-\def\smallmusicsize{\musicsize\sixt@@n \comput@specifics
- \afterruleskip\si@\p@ \elemskip\fontdimen\si@\musicnorfont \clef@skip\z@}
-\def\largemusicsize{\musicsize\@xxiv \comput@specifics
- \afterruleskip\t@n\p@ \elemskip\fontdimen\si@\musicnorfont \clef@skip\z@}
-\def\Largemusicsize{\musicsize\@xxix \comput@specifics
- \afterruleskip\t@n\p@ \elemskip\fontdimen\si@\musicnorfont \clef@skip\z@}
-
-\def\comput@fonts{%
- \ifnum\musicsize=\sixt@@n
- \let\musicLargefont\musictwentyfour
- \let\musiclargefont\musictwenty
- \let\musicnorfont\musicsixteen
- \let\musicsmallfont\musicthirteen
- \let\musictinyfont\musiceleven
- \let\xgregLargefont\xgregtwentyfour
- \let\xgreglargefont\xgregtwenty
- \let\xgregnorfont\xgregsixteen
- \let\xgregsmallfont\xgregthirteen
- \let\xgregtinyfont\xgregeleven
- \let\fetaLargefont\fetatwentyfour % 1.36 RDT
- \let\fetalargefont\fetatwenty
- \let\fetanorfont\fetasixteen
- \let\fetasmallfont\fetathirteen
- \let\fetatinyfont\fetaeleven
- \let\slurd\slurdsixteen \let\sluru\slurusixteen
- \let\hslurd\hslurdsixteen \let\hsluru\hslurusixteen
- \let\meternorfont\tenbf \let\metersmallfont\eightbf % version 1.16 RDT
- \let\meterbigfont\twelvebf \let\meterlargefont\frtbf
- \let\meterLargefont\svtbf
- \let\tinyppff\ppfftwelve % version 1.17 RDT
- \let\smallppff\ppfftwelve
- \let\normppff\ppffsixteen
- \let\medppff\ppfftwenty
- \def\txtfont{\ifdim\internote<.95\Internote \tinytype\it % version 1.22 RDT
- \else\ifdim\internote<1.19\Internote \smalltype\it
- \else\ifdim\internote<1.43\Internote \Smalltype\it
- \else\normtype\it\fi\fi\fi}%
- \let\tabnorfnt\tabfntsixteen \let\tablargefnt\tabfnttwenty % 1.34 RDT
- \let\tabLargefnt\tabfnttwentyfour \let\tabsmallfnt\tabfntthirteen
- \let\tabnorcleffnt\eightdc \let\tablargecleffnt\tendc
- \let\tabLargecleffnt\twelvedc \let\tabsmallcleffnt\sixdc
- \def\tabstringfnt{\ifdim\internote<.95\Internote \fourss % 1.29 RDT
- \else\ifdim\internote<1.19\Internote \fivess
- \else\ifdim\internote<1.43\Internote \sevenss
- \else\eightss\fi\fi\fi}%
- \else\ifnum\musicsize=\@xxiv
- \let\musicLargefont\musictwentynine
- \let\musiclargefont\musictwentynine
- \let\musicnorfont\musictwentyfour
- \let\musicsmallfont\musictwenty
- \let\musictinyfont\musicsixteen
- \let\xgregLargefont\xgregtwentynine
- \let\xgreglargefont\xgregtwentynine
- \let\xgregnorfont\xgregtwentyfour
- \let\xgregsmallfont\xgregtwenty
- \let\xgregtinyfont\xgregsixteen
- \let\fetaLargefont\fetatwentynine % 1.36 RDT
- \let\fetalargefont\fetatwentynine
- \let\fetanorfont\fetatwentyfour
- \let\fetasmallfont\fetatwenty
- \let\fetatinyfont\fetasixteen
- \let\sluru\slurutwenty \let\slurd\slurdtwenty
- \let\hsluru\hslurutwenty \let\hslurd\hslurdtwenty
- \let\meternorfont\frtbf \let\metersmallfont\twelvebf % version 1.18 RDT
- \let\meterbigfont\svtbf \let\meterlargefont\twtybf
- \let\meterlargefont\twfvbf
- \let\tinyppff\ppffsixteen
- \let\smallppff\ppfftwenty
- \let\normppff\ppfftwentyfour
- \let\medppff\ppfftwentynine
- \def\txtfont{\ifdim\internote<.95\Internote \smalltype\it % version 1.22 RDT
- \else\ifdim\internote<1.19\Internote \Smalltype\it
- \else\ifdim\internote<1.43\Internote \normtype\it
- \else\medtype\it\fi\fi\fi}%
- \let\tabnorfnt\tabfnttwentyfour \let\tablargefnt\tabfnttwentynine % 1.34 RDT
- \let\tabLargefnt\tabfnttwentynine \let\tabsmallfnt\tabfnttwenty
- \let\tabnorcleffnt\twelvedc \let\tablargecleffnt\frtdc
- \let\tabLargecleffnt\svtdc \let\tabsmallcleffnt\tendc
- \def\tabstringfnt{\ifdim\internote<.95\Internote \sixss % 1.29 RDT
- \else\ifdim\internote<1.19\Internote \sevenss
- \else\ifdim\internote<1.43\Internote \eightss
- \else\twelvess\fi\fi\fi}%
- \else\ifnum\musicsize=\@xxix
- \let\musicLargefont\musictwentynine
- \let\musiclargefont\musictwentynine
- \let\musicnorfont\musictwentynine
- \let\musicsmallfont\musictwentyfour
- \let\musictinyfont\musictwenty
- \let\xgregLargefont\xgregtwentynine
- \let\xgreglargefont\xgregtwentynine
- \let\xgregnorfont\xgregtwentynine
- \let\xgregsmallfont\xgregtwentyfour
- \let\xgregtinyfont\xgregtwenty
- \let\fetaLargefont\fetatwentynine % 1.36 RDT
- \let\fetalargefont\fetatwentynine
- \let\fetanorfont\fetatwentynine
- \let\fetasmallfont\fetatwentyfour
- \let\fetatinyfont\fetatwenty
- \let\sluru\slurutwenty \let\slurd\slurdtwenty
- \let\hsluru\hslurutwenty \let\hslurd\hslurdtwenty
- \let\slurud\slurutwentyd \let\slurdd\slurdtwentyd % +ickd
- \let\hslurud\hslurutwentyd \let\hslurdd\hslurdtwentyd %+ickd
- \let\meternorfont\svtbf \let\metersmallfont\frtbf % version 1.18 RDT
- \let\meterbigfont\twtybf \let\meterlargefont\twfvbf % version 1.24 typos corrected
- \let\meterLargefont\twfvbf
- \let\tinyppff\ppfftwenty
- \let\smallppff\ppfftwentyfour
- \let\normppff\ppfftwentynine
- \let\medppff\ppfftwentynine
- \def\txtfont{\ifdim\internote<.95\Internote \normtype\it % version 1.22 RDT
- \else\ifdim\internote<1.19\Internote \medtype\it
- \else\ifdim\internote<1.43\Internote \bigfont\it
- \else\Bigfont\it\fi\fi\fi}%
- \let\tabnorfnt\tabfnttwentynine \let\tablargefnt\tabfnttwentynine % 1.34 RDT
- \let\tabLargefnt\tabfnttwentynine \let\tabsmallfnt\tabfnttwentyfour
- \let\tabnorcleffnt\frtdc \let\tablargecleffnt\svtdc
- \let\tabLargecleffnt\twtydc \let\tabsmallcleffnt\twelvedc
- \def\tabstringfnt{\ifdim\internote<.95\Internote \eightss % 1.29 RDT
- \else\ifdim\internote<1.19\Internote \niness
- \else\ifdim\internote<1.43\Internote \twelvess
- \else\frtss\fi\fi\fi}%
-\else
- \ifnum\musicsize=\tw@nty
- \else\ifnum\musicsize=\z@
- \else\errmessage{\noexpand\musicsize=\the\musicsize\space not supported,
- set to default of 20}%
- \fi
- \fi\musicsize\tw@nty
- \let\musicLargefont\musictwentynine
- \let\musiclargefont\musictwentyfour
- \let\musicnorfont\musictwenty
- \let\musicsmallfont\musicsixteen
- \let\musictinyfont\musicthirteen
- \let\xgreglargefont\xgregtwentyfour
- \let\xgregLargefont\xgregtwentynine
- \let\xgregnorfont\xgregtwenty
- \let\xgregsmallfont\xgregsixteen
- \let\xgregtinyfont\xgregthirteen
- \let\fetalargefont\fetatwentyfour % 1.36 RDT
- \let\fetaLargefont\fetatwentynine
- \let\fetanorfont\fetatwenty
- \let\fetasmallfont\fetasixteen
- \let\fetatinyfont\fetathirteen
- \let\sluru\slurutwenty \let\slurd\slurdtwenty
- \let\hsluru\hslurutwenty \let\hslurd\hslurdtwenty
- \let\meternorfont\twelvebf \let\metersmallfont\tenbf % version 1.18 RDT
- \let\meterbigfont\frtbf \let\meterlargefont\svtbf
- \let\meterLargefont\twtybf
- \let\tinyppff\ppfftwelve
- \let\smallppff\ppffsixteen
- \let\normppff\ppfftwenty
- \let\medppff\ppfftwentyfour
- \def\txtfont{\ifdim\internote<.95\Internote \smalltype\it
- \else\ifdim\internote<1.19\Internote \Smalltype\it
- \else\ifdim\internote<1.43\Internote \normtype\it
- \else\medtype\it\fi\fi\fi}%
- \let\tabnorfnt\tabfnttwenty \let\tablargefnt\tabfnttwentyfour % 1.34 RDT
- \let\tabLargefnt\tabfntwentynine \let\tabsmallfnt\tabfntsixteen
- \let\tabnorcleffnt\tendc \let\tablargecleffnt\twelvedc
- \let\tabLargecleffnt\frtdc \let\tabsmallcleffnt\eightdc
- \def\tabstringfnt{\ifdim\internote<.95\Internote \fivess % 1.29 RDT
- \else\ifdim\internote<1.19\Internote \sevenss % 1.37 RDT
- \else\ifdim\internote<1.43\Internote \eightss
- \else\niness\fi\fi\fi}%
-\fi\fi\fi}%
-
-\def\comput@specifics{\comput@fonts\comput@sizes}
-
-\def\comput@sizes{%
- \Interligne\fontdimen\fiv@\musicnorfont
- \Internote\h@lf\Interligne \big@spc.6\Interligne
- \qn@width\fontdimen\si@\musixfont
- \wn@width1\qu@rt\qn@width
- \txt@ff\h@lf\qn@width
- \qd@skip\qn@width\advance\qd@skip-\hlthick}
-
-%\newdimen\afterruleskip
-\newskip\afterruleskip
-\newdimen\staffbotmarg % marge au-dessous des portees
-\newdimen\stafftopmarg % au-dessus des portees
-\newdimen\line@width
-
-\def\normalvalue{1}
-\def\largevalue{1.2}
-\def\Largevalue{1.44}
-\def\smallvalue{.8}
-\def\tinyvalue{.64}
-
-\def\instrumentnumber#1{\n@v#1\relax
- \min@n@v\@ne
- \max@n@v\maxinstruments
- \edef\nbinstruments{\the\n@v}}
-
-% staffsize
-
-\def\setsize#1#2{\n@v#1\relax % select instrument
- \expandafter\edef\csname staffspacing\romannumeral\n@v\endcsname{#2}}
-
-% [version 1.15] moved out to the new register allocation code
-% \let\staffspacingi\@ne
-
-% number of staffs
-
-\def\setstaffs#1#2{\n@v#1\relax \csname n@p\romannumeral\n@v\endcsname#2}
-
-% staff lines
-
-\def\setlines#1#2{\n@v#1\relax % select instrument
- \expandafter\def\csname n@l\romannumeral\n@v\endcsname{#2}}
-
-\newdimen\interportee % distance between staffs of the same instrument (incl)
-\newcount\noport@@
-\newcount\noinstrum@nt
-\newdimen\altportee
-
-\def\interstaff#1{\def\interfacteur{#1}}
-
-\def\s@l@ctinstr{%
- \ifnum\noinstrum@nt>\maxinstruments % [version 1.15] -- from here --
- \errmessage{Wrong instrument reference number \the\noinstrum@nt, maxinstruments=\the\maxinstruments}
- \fi % [version 1.15] -- until here --
- \edef\altitude{\csname k@i\romannumeral\noinstrum@nt\endcsname}%
- \edef\st@ffs{\csname n@p\romannumeral\noinstrum@nt\endcsname}%
- \edef\nblines{\csname n@l\romannumeral\noinstrum@nt\endcsname}%
- \edef\internote{\csname i@n\romannumeral\noinstrum@nt\endcsname}%
- \edef\int@rf{\csname interfacteur\romannumeral\noinstrum@nt\endcsname}% RDT 1.24
- \interportee\int@rf\internote \interportee\tw@\interportee}% RDT 1.26
-
-\def\C@Inter{% RDT: corrected to work if \nblines > 6 (version 1.23)
- % RDT: corrected for \nblines < 4 (version 1.28)
- \stem@skip\interportee
- \ifnum\nblines<\f@ur
- \advance\stem@skip-\@ight\internote
- \else
- \advance\stem@skip-\nblines\internote
- \advance\stem@skip-\nblines\internote
- \advance\stem@skip\tw@\internote
- \fi}
-
-%%% loop over instruments and staffs
-
-\def\count@portee{\advance\noport@@\@ne}
-
-\def\n@loop{\noinstrum@nt\z@ \loop\ifnum\noinstrum@nt<\nbinstruments
- \advance\noinstrum@nt\@ne \s@l@ctinstr}
-
-\def\m@loop{\noinstrum@nt\z@ \loop\ifnum\noinstrum@nt<\maxinstruments
- \advance\noinstrum@nt\@ne}
-
-\def\p@loop{\noport@@\z@ \loop\ifnum\noport@@<\st@ffs
- \altportee\altitude \advance\altportee\noport@@\interportee}
-
-\def\Comp@High{\y@v\st@ffs\interportee \C@Inter\advance\y@v-\stem@skip}
-
-% to be used to make heavy bars at staff left
-% modified according to Werner Icking
-
-
-\def\groupbottom#1#2{\group@no#1\relax
- \advance\group@no\m@ne\test@grnum % testgr@num advances group@no by 1...
- \expandafter\def\csname lowersonginstrum\romannumeral\group@no\endcsname{#2}}
-
-\def\grouptop#1#2{\group@no#1\relax
- \advance\group@no\m@ne\test@grnum % testgr@num advances group@no by 1...
- \expandafter\def\csname uppersonginstrum\romannumeral\group@no\endcsname{#2}}
-
-\def\songbottom{\groupbottom1}
-\def\songtop{\grouptop1}
-
-% [version 1.15] moved out to the new register allocation code
-% \let\lowersonginstrumi\maxdimen
-% \let\uppersonginstrumi\z@
-
-\def\g@loop{\group@no\z@ \loop\ifnum\group@no<\maxgroups
- \s@l@ctgroup}
-\def\s@l@ctgroup{%
- \relax\test@grnum
- \edef\g@b{\csname g@b\romannumeral\group@no\endcsname}% dimen (group bottom)
- \edef\g@h{\csname g@h\romannumeral\group@no\endcsname}% dimen (group top)
- \edef\lowersonginstrum{\csname lowersonginstrum\romannumeral\group@no\endcsname}% dimen (group top)
- \edef\uppersonginstrum{\csname uppersonginstrum\romannumeral\group@no\endcsname}% dimen (group top)
- }%
-\def\test@grnum{%
- \ifnum\group@no<\z@ \group@no\@c \fi
- \ifnum\group@no<\maxgroups \else
- \count@\maxgroups \advance\count@\m@ne
- \errmessage{Wrong group reference number \the\group@no! (valid: 0 to \the\count@)}% [version 1.15]
- \group@no\z@% [version 1.15]
- \fi
- \advance\group@no\@ne}
-
-% \nobarmessages prevents bar messages
-
-\def\nobarmessages{\let\no@b\@ne}
-\let\no@b\empty
-
-% \nolinemessages prevents line messages in phase three
-\def\nolinemessages{\let\no@l\@ne}
-\let\no@l\empty
-
-% \nobarnumbers prevents bar numbering (Ian Collier)
-% \barnumbers restores bar numbering
-
-\def\nobarnumbers{\let\lin@bar\empty \let\freqbarno\maxdimen}
-\def\barnumbers{\let\freqbarno\normalvalue}
-\barnumbers
-
-% show barnumbers only at the beginning system
-
-\def\raisebarno{\f@ur\internote}
-\let\shiftbarno\z@
-
-\def\writebarno{\boxit{\eightbf\the\barno\barnoadd}}
-\def\systemnumbers{\nobarnumbers\let\lin@bar\@ne}
-
-% add 'a' behind the systembarnumber, if the previous line ended without
-% a bar rule
-
-\let\z@sw\empty
-\def\writezbarno{a}
-\def\barnoadd{\ifx\z@sw\@ne \writezbarno \fi}
-
-% suppress the beginning vertical rule for single-staff scores
-
-\def\startrule{\let\b@rule\empty}
-\def\nostartrule{\let\b@rule\z@}
-\startrule
-
-%%% distance between instruments (added to \interportee)
-
-% [version 1.15] moved out to the above of the new register allocation code
-% \newdimen\interinstrument
-% [version 1.15] moved out to the new register allocation code
-% \let\interinstrumenti\interinstrument
-
-\def\setinterinstrument#1#2{\n@v#1\relax % select instrument
- \expandafter\def\csname interinstrument\romannumeral\n@v\endcsname{#2}}%
-
-\def\setinterstaff#1#2{\n@v#1\relax % select instrument RDT 1.24
- \expandafter\def\csname interfacteur\romannumeral\n@v\endcsname{#2}}%
-
-%%% portees
-
-\newdimen\systemheight
-\newdimen\altplancher
-
-% New version by Werner Icking
-
-\def\writ@staffs{%
- \y@\staffbotmarg \global\altplancher\staffbotmarg
- \rlap{\n@loop\w@st\repeat
-% beginning vertical rule
- \systemheight\y@
- \advance\systemheight-\altplancher
- \C@Inter \global\advance\systemheight-\stem@skip
- \ifx\empty\b@rule \raise\altplancher\rlap{%
- \vrule\@depth\hlthick\@height\systemheight\@width\lthick}\fi
-% 'Akkoladenklammer' don't know the english word
- \g@loop
- \ifnum\uppersonginstrum<\lowersonginstrum
- \else
- \noinstrum@nt\uppersonginstrum\s@l@ctinstr\C@Inter
- \global\advance\g@h-\stem@skip \global\advance\g@h-\g@b
- \global\advance\g@h\Interligne \global\advance\g@b-\Internote
- \raise\g@b\llap{\uplap{\offinterlineskip
- \set@normalnotesize\hbox{\musixfont\fourt@@n}\hbox{\vrule\@height\g@h
- \@width\internote}\hbox{\musixfont\fiv@t@@n}}\kern\internote}%
- \fi
- \repeat
-% systembarnumbers
- \ifx\lin@bar\@ne \y@\altplancher \advance\y@\systemheight
- \advance\y@\raisebarno \raise\y@\rlap{\kern\shiftbarno\writebarno}\fi
-% strut
- \advance\stafftopmarg\staffbotmarg
- \raise\stafftopmarg\hbox{\vrule\@height\systemheight\@width\z@}}}
-
-\def\uplap#1{\vbox\@to\z@{\vss#1}}
-
-% new version of \w@st by Werner Icking
-
-\newskip\instrum@in@group
-\def\w@st{%
- \global\noport@@\z@ \global\altitude\y@
- \global\instrum@in@group=\z@
- {\g@loop
- \ifnum\noinstrum@nt=\lowersonginstrum
- \global\g@b\altitude
- \fi
- \ifnum\uppersonginstrum>\lowersonginstrum\relax
- \ifnum\noinstrum@nt<\lowersonginstrum\relax
- \else
- \ifnum\noinstrum@nt>\uppersonginstrum\relax
- \else
-% \message{\the\noinstrum@nt\space in-group!}%
- \global\instrum@in@group=2\internote
- \fi
- \fi
- \fi
- \repeat}%
-% nullportee
- \ifnum\st@ffs=\z@
- \advance\y@\f@ur\Interligne
- \else
-% multportee
- \ifnum\st@ffs>\@ne \Comp@High\n@v\y@v \sp@pt\tw@
- \advance\n@v\@cxxviii \divide\y@v\tw@
-%==== the parenthesis should be shifted to the left if within
-%==== songbottom -- songtop
- \advance\y@v\y@
- \raise\y@v\hbox{\kern -\instrum@in@group\mxsps\char\n@v\kern\instrum@in@group}%
- \fi
-% normal staff
- {\loop \staff@lines\ifnum\noport@@<\st@ffs \repeat}%
- \fi % fin du \else pour 0 portees=chant
- {\g@loop
- \ifnum\noinstrum@nt=\uppersonginstrum \global\g@h\y@ \fi
- \repeat}%
- \ifnum\noinstrum@nt<\nbinstruments
- \advance\y@\csname interinstrument\romannumeral\noinstrum@nt\endcsname \fi}
-
-\def\staff@lines{\raise\y@\rlap{\uplap{%
- \ifcase\nblines
- \or \Lin@\zLin@\zLin@
- \or \Lin@\zLin@\Lin@\zLin@
- \or \Lin@\zLin@\Lin@\zLin@\Lin@
- \or \Lin@\Lin@\Lin@\Lin@
- \or \Lin@\Lin@\Lin@\Lin@\Lin@
- \or \Lin@\Lin@\Lin@\Lin@\Lin@\Lin@
- \or \Lin@\Lin@\Lin@\Lin@\Lin@\Lin@\Lin@
- \or \Lin@\Lin@\Lin@\Lin@\Lin@\Lin@\Lin@\Lin@
- \or \Lin@\Lin@\Lin@\Lin@\Lin@\Lin@\Lin@\Lin@\Lin@
- \fi\kernm\hlthick}}%
- \global\advance\y@\interportee \count@portee}
-
-\def\zLin@{\kern\tw@\internote}
-\def\Lin@{\zLin@\kernm\lthick\hrule\@width\line@width}
-
-\newskip\boxitsep \boxitsep\thr@@\p@\relax
-
-\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern\boxitsep\vbox{%
- \kern\boxitsep\hbox{#1}\kern\boxitsep}\kern\boxitsep\vrule}\hrule}}
-\def\circleit#1{\setbox\ch@box\hbox{#1}\y@v\ht\ch@box
- \y@v1.41\ht\ch@box % => sqrt(2)
- \n@v\y@v \sp@pt\tw@ \advance\n@v69\rlap{#1}%
- \raise\h@lf\ht\ch@box\rlap{\kern\h@lf\wd\ch@box\mxsps\char\n@v}}
-
-\def\thinrul@{\writ@rule\lthick}
-\def\thickrul@{\writ@rule\big@spc}
-
-%%% start normal score
-
-%%
-% Define a counter to keep track of total number of bars in piece
-% which are terminated by a barline. This is not necessarily
-% the same as \barno, in view of (eg) a bar containing
-% multiple bars rest.
-%%
-% !!! \barsinpi@c@ now used for \zbar and \xbar too, if you use them
-% the value of \barsinpi@c@ says nothing !!!
-%
-
-\newcount\barsinpi@c@
-\newcount\barno
-\newcount\startbarno \startbarno\@ne
-\newdimen\sign@skip
-\newdimen\maxsign@skip
-
-
-\def\piece@begina{\catcodesmusic \barno\startbarno \@l@mskip\elemskip
- \barsinlin@\z@ \let\z@sw\empty \frenchspacing
-% \let\barrul@\thinrul@ \comp@internote} %-simick
- \b@rrul@\comp@internote} %+simick
-
-\def\comp@internote{\comput@specifics
- \n@loop
- \internote\csname staffspacing\romannumeral\noinstrum@nt\endcsname\Internote
- \repeat
- \line@width\hsize}
-
-\def\piece@beginb{\advance\line@width-\parindent \s@indent\parindent
- \writ@staffs \writ@names \advance\line@width\parindent}
-
-\def\piece@beginc{%
-% write clefs
- \n@loop{\writ@clefi}\repeat \kern\clef@skip
-% everystaff stuff
- \everyst@ff
-% write signatures
- \sign@skip\z@ \n@loop{\s@l@ctsigns \let\@Ti\writ@sign \C@wsi}\repeat
- \kern\sign@skip \m@loop \s@l@ctsigns \o@s\a@s \s@l@ctclefs \o@c\a@c \repeat
- \let\Writ@newsigns\empty \hskip\z@ plus\p@ minus\p@ \lastbarpos\z@}
-
-\let\fil@begin\empty
-\let\Writ@meters\empty
-
-\def\startpiece{\ifstartmuflex@done\relax
- \else\startmuflex
- \immediate\write16{\noexpand\startmuflex launched by
- \noexpand\startpiece }%
- \fi
- \barsinpi@c@\z@ \piece@begina \leavevmode \piece@beginb
- \piece@beginc \fil@begin \Writ@meters\lastbarpos\lin@pos %%% 1.21: added \lastbarpos setting
- \let\volta@set\empty % tells the kind of volta setting at next bar
- \let\volta@cut\empty % flag to tell that a volta has been cut at line end
- \let\volta@type\empty % the current volta setting (same defs as \volta@set)
- \let\endvolta@set\empty % tells the kind of volta closing at next bar
- \let\pdl@cut\empty % flag to signal a pedal rule has been cut at the end of a line % 1.21 RDT
-}
-
-\let\everystaff\empty
-\def\everyst@ff{\everystaff}% --> MuFlex Pass II
-
-%%% continue score
-
-\let\atnextline\empty
-
-\def\piece@conta{\catcodesmusic \atnextline \let\atnextline\empty
- \comp@internote \leavevmode \barsinlin@\z@ }
-
-\def\contpiece{\noindent \piece@conta \writ@staffs \piece@beginc
- \Writ@meters\wbarno@x\lastbarpos\lin@pos\addspace\afterruleskip %%% 1.21: added \lastbarpos setting
-}
-
-% like contpiece but with indentation (parindent) and instrument names
-% it's for changing the number of instrument in one piece
-
-\let\fil@indent\empty
-\def\Contpiece{\piece@conta \piece@beginb \fil@indent \piece@beginc
- \Writ@meters\lastbarpos\lin@pos} %%% 1.21: added \lastbarpos setting
-
-
-%%% end score
-
-\let\ragg@d\empty
-\let\z@suspend@autoflag\empty % used in musixcpt only
-
-\def\z@suspend{%
- \z@suspend@autoflag % used in musixcpt only
-% cut pedal rule 1.21 RDT
- \ifdim\pdl@pos=\z@\else%
- \noport@@\z@
- \znotes\selectinstrument{\pdl@instr}\selectstaff{\pdl@staff}\pdlc@\en%
- \global\def\pdl@cut{\@one}%
- \fi
-% cutvolta
- \write@volta@hrule
- \ifx\volta@type\tw@\let\volta@set\tw@ \let\volta@type\empty
- \let\volta@cut\tw@\fi % restart volta at next line if continuous
- \ifx\volta@type\thr@@\let\volta@set\thr@@ \let\volta@type\empty
- \let\volta@cut\thr@@ \fi % restart volta at next line if continuous
-% cutoctline
- \o@loop
- \ifdim\o@x<\maxdimen \let\T@ii\n@ii \C@TO \o@x\z@ \fi
- \repeat
-% cut trill
- \tr@loop
- \ifdim\tr@x<\maxdimen \let\T@ii\n@ii \C@TR \tr@x\z@ \fi
- \repeat
-% cutslur
- \ifnum\N@s>\z@% % any pending slurs ?
- \n@viii\maxslurs % test all possible slur numbers [version 1.15] (Hiroaki)
- \advance\n@viii\m@ne
- \loop\ifnum\n@viii>\m@ne
- \s@l@ctslur\n@viii\relax
- \edef\@sense{\the\s@s}%
- \if x\@sense% % sense flag
- \else% % found slur
- \edef\@dotted{\the\s@d}% +ickd
- \y@v\lin@pos % get current position
- \advance\y@v-\s@x % slurlength = currentpos - startpos
- \let\@Ti\@ne % set flag for \writ@slur (\staffbotmarg)
- \ifnum\s@z=\maxdimen \s@z\s@y \fi % flag (\breakslur not used -> tie)
- \writ@slur\s@y\s@z\y@v\p@% avoid touching the bar rule
- \s@x\z@% reset startpos for next line
- \s@z\maxdimen% reset breakslur
- \fi
- \advance\n@viii\m@ne \repeat
- \fi\s@indent\z@
-%
- \ragg@d\par\lin@pos\z@ \endcatcodesmusic}
-
-\def\stoppiec@{\check@nopen\n@wbar\z@suspend}
-%\def\stoppiece{\stoppiec@\@nds@ction} %-simick
-\def\stoppiece{\T@bil\fi\stoppiec@\@nds@ction} %+simick
-\let\endpiece\stoppiece
-
-\def\zstoppiec@{\check@nopen\zn@wbar\z@suspend}
-%\def\zstoppiece{\zstoppiec@\@nds@ction} %-simick
-\def\zstoppiece{\T@bil\fi\zstoppiec@\@nds@ction}%+simick
-% if you need a line which appears ragged
-\def\raggedstoppiece{\ifx\ragg@d\empty \fil@{r}\fi % version 1.18 RDT (from musixext)
- \check@nopen\n@wbar\hfill\z@suspend\@nds@ction}
-\def\zendpiece{\setemptybar\raggedstoppiece} % RDT version 1.31
-
-\def\Stoppiece{\setdoubleBAR\stoppiece}
-\let\Endpiece\Stoppiece
-
-%%% short excerpts
-
-\def\startextract{\lastbarno\z@ \barno\startbarno
- \piece@begina\setbox\w@rkbox\hbox{\writ@staffs}% to compute heights
- \setbox\w@rkbox\hbox\bgroup% !! all changes are local !!
- \line@width\maxdimen
- \maxbarsinlin@\maxdimen %+simick
- \let\T@bil\iftrue \let\everyst@ff\everystaff \let\fil@spc\empty
- \let\fil@termskip\empty \let\fil@signs\empty \let\fil@barno\empty
- \let\leftrepeat\leftrepeat@II \let\leftrightrepeat\leftrightrepeat@II
-% \let\doublebar\doublebar@II % commented out by RDT version 1.32
- \piece@beginc\Writ@meters\lastbarpos\lin@pos\let\pdl@cut\empty\addspace\afterruleskip}
- %%% 1.21: added \lastbarpos and \pdl@cut settings
-
-% enable left and right extracts (e.g. for footnotes)
-
-\let\extractline\centerline
-
-\def\endextract{\let\z@suspend\write@volta@hrule
- \stoppiec@\egroup\line@width\wd\w@rkbox
- \extractline{\writ@names\writ@staffs\unhbox\w@rkbox}%
- \endcatcodesmusic}
-\def\zendextract{\let\stoppiec@\zstoppiec@ \endextract}
-
-%%
-% Redefine \t@rmskip to include a macro for writing a record to a file,
-% and define the macro
-%%
-
-\newdimen\x@skip
-\newdimen\n@skip
-
-\let\fil@termskip\empty
-\def\t@rmskip{\kern\n@skip\advance\x@skip\n@skip
- \advance\lin@pos\x@skip
- % case of \hardnotes
- \ifnum\V@sw>0\relax
- \y@v\n@skip \fil@spc
- \fi
- % end case \hardnotes
- \fil@termskip\global\n@skip\z@ \global\x@skip\z@ \let\V@sw\z@}
-
-%%
-% Define the amount of space before each barline,
-%%
-
-%\newdimen\beforeruleskip
-\newskip\beforeruleskip
-
-%%
-% We must distinguish between scalable ('soft'=1) material in the bar
-% (eg noteboxes) and absolute ('hard'=0) widths such as those from
-% barlines and clef symbols
-% Hence introduce a switch defining this attribute
-%%
-
-\newcount\widthtyp@ \widthtyp@\@ne
-
-%%% bar numbers
-
-\newcount\lastbarno
-
-\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}
-\def\fontbarno{\it}
-
-\def\wbarno@x{%%%% version 1.21: RDT moved \lastbarpos\lin@pos after calls to \Writ@meters
- \ifx\volta@set\empty
- \n@iii\barno \divide\n@iii\freqbarno\relax
- \ifnum\n@iii=\lastbarno
- \else \y@\altplancher \advance\y@\systemheight \advance\y@\tw@\internote
- \raise\y@\llap{\writethebarno}\fi
- \else
- \ifx\volta@cut\empty
- \else % volta was cut, there is nothing colliding with bar number.
- \n@iii\barno \divide\n@iii\freqbarno\relax
- \ifnum\n@iii=\lastbarno
- \else \y@\altplancher \advance\y@\systemheight \advance\y@\tw@\internote
- \raise\y@\llap{\writethebarno}\fi
- \fi
- \write@volta
- \fi
- \ifx\pdl@cut\empty % 1.21 RDT
- \else% pedal rule was cut at the end of the previous line
- \global\pdl@pos\lin@pos\let\pdl@cut\empty % reset \ped@pos
- \fi
- \b@rrul@ %+simick
- \n@iii\barno \divide\n@iii\freqbarno\relax \lastbarno\n@iii }
-
-%%% pass selective scoring
-
-\newskip\cut@v % contains width of bar rule
-\newskip\init@volta@pos % start position of volta
-\newskip\volta@startcor %+simick volta start correction in case of leftrepeats
-\newskip\volta@endcor %+simick volta end correction in case of rightrepeats
-
-\def\raisevolta{\f@ur\internote}
-
-\newbox\writ@volta@box
-
-\def\voltadot{.}%
-\def\write@volta{% writes the requested |n. and moves the things for further use
- \ifx\volta@type\empty\else\errmessage{/setvolta collision!}\fi
- \y@\altplancher \advance\y@\systemheight
- \advance\y@\raisevolta
-% \setbox\writ@volta@box\rlap{\vrule % \musixfont\sixt@@n %-simick
-% \rm\ \vphantom{\^{\volta@text}\strut gq}\volta@text\voltadot}% %-simick
- \setbox\writ@volta@box\rlap{\vrule\rm\strut\ \volta@text\voltadot}% %+simick
- \xdef\thevolta@boxheight{\the\ht\writ@volta@box}%
- \xdef\thevolta@boxdepth{\the\dp\writ@volta@box}%
- \ifx\volta@cut\empty \else\setbox\writ@volta@box\null
- \fi % if continuation, make writ@volta@box null
-% \raise\y@\llap{\box\writ@volta@box}% %-simick
- \kernm\volta@startcor\raise\y@\llap{\box\writ@volta@box}\kern\volta@startcor %+simick
- \let\volta@type\volta@set
- \let\volta@set\empty
- \let\volta@cut\empty
-% \init@volta@pos\lin@pos\relax %-simick
- \init@volta@pos\lin@pos \advance\init@volta@pos-\volta@startcor %+simick
-}%
-
-\def\write@volta@hrule{% write the hrule of volta bar at its end
- \ifx\volta@type\empty
- \else
- \y@v\lin@pos \advance\y@v-\init@volta@pos
-% \global\advance\cut@v\lthick \advance\y@v-\cut@v %-simick
-% \global\advance\cut@v\lthick %-simick
- \ifnum\barsinlin@=\maxbarsinlin@ %+simick
- \y@i\z@ %+simick
- \else %+simick
- \y@i\cut@v \advance\y@i-\volta@endcor %+simick
- \fi %+simick
- \advance\y@v-\y@i %+simick
- \y@\altplancher \advance\y@\systemheight
- \advance\y@\raisevolta
- \raise\y@\llap{%
- \raise\thevolta@boxheight
-% \hbox{\vrule\@height\z@\@depth\lthick\@width\y@v}}% %-simick
- \hbox{\vrule\@height\z@\@depth\lthick\@width\y@v}\kern\y@i}% %+simick
-% check whether termination has been required
- \ifx\endvolta@set\thr@@ \let\volta@type\thr@@\fi % \endvoltabox forces type \thr@@
- \ifx\endvolta@set\empty \else \write@volta@endbox\fi
- % now set volta@type \@ne to \empty
- \ifx\volta@type\@ne \let\volta@type\empty\fi
- \fi
-}%
-
-\def\write@volta@endbox{% write the hrule of volta bar at its end
- \ifx\volta@type\empty
- \else
-% \y@v\lin@pos \advance\y@v-\init@volta@pos %-simick
-% \global\advance\cut@v\lthick \advance\y@v-\cut@v %-simick
-% \global\advance\cut@v\lthick %-simick
- \y@\altplancher \advance\y@\systemheight
- \advance\y@\raisevolta
- \ifx\volta@type\thr@@
-% \raise\y@\llap{\raise\thevolta@boxheight\hbox{\true@endvoltabox}}% %-simick
- \raise\y@\llap{\raise\thevolta@boxheight\hbox{\true@endvoltabox}\kern\y@i}%+simick
- \fi
-% now force volta@type to \empty
- \let\volta@type\empty
- \let\endvolta@set\empty
- \let\volta@cut\empty
- \fi
-}%
-
-%\check
-
-\let\writ@volta\empty % provisional for testing %
-
-\let\volta@set\empty % tells the kind of volta setting at next bar
- % \@ne = single \setvolta, \tw@ = \Setvolta
- % \thr@@ = setvoltabox
-
-\let\volta@type\empty % the current volta setting (same defs as \volta@set)
-\let\volta@cut\empty
-
-\let\endvolta@set\empty % tells the kind of volta closingg at next bar
- % \@ne = not used, \tw@ = terminate \Setvolta[box]
- % \thr@@ = terminate \Setvolta[box] with an ending hook
-
-\def\setvolta{\let\volta@set\@ne \gen@setvolta}
-\def\Setvolta{\let\volta@set\tw@ \gen@setvolta}
-\def\setvoltabox{\let\volta@set\thr@@ \gen@setvolta}
-
-\def\gen@setvolta#1{\def\volta@text{#1}}
-
-\def\setendvolta{%
- \ifx\volta@type\empty\volta@err
- \else\let\endvolta@set\tw@
- \fi}
-
-\def\setendvoltabox{%
- \ifx\volta@type\empty\volta@err
- \else\let\endvolta@set\thr@@
- \fi}
-
-\let\endvolta\setendvolta
-\let\endvoltabox\setendvoltabox
-
-\def\true@endvoltabox{\raise-\thevolta@boxheight
- \llap{\vrule\@height\thevolta@boxheight \@depth\thevolta@boxdepth}}
-
-\def\volta@err{\immediate\write16{%
- type=\ifx\volta@type\empty 0\else \number\volta@type\fi,
- set=\ifx\volta@set\empty 0\else \number\volta@set\fi}%
-\errmessage{\noexpand\endvolta, %\noexpand\contvolta,
-\noexpand\endvoltabox\space does not match opening \noexpand\S[s]volta...}}
-
-
-%%% line breaking stuff
-
-\let\@nds@ction\empty
-
-\newcount\barsinlin@
-\newcount\maxbarsinlin@
-
-%\def\@LeftRp{\stoppiec@\contpiece\addspace{\h@lf\afterruleskip}% %-simick
-% \kernm\afterruleskip\l@eftrepeat\kern\afterruleskip} %-simick
-\def\@LeftRp{\stoppiec@\l@@ftrepeat\advance\volta@startcor-\afterruleskip %+simick
- \contpiece\addspace{\h@lf\afterruleskip}% %+simick
- \kernm\afterruleskip\l@eftrepeat\kern\afterruleskip %+simick
- \advance\lastbarpos\afterruleskip \b@rrul@} %+simick
-
-\def\@LeftRpCont{\stoppiec@\l@@ftrepeat\advance\volta@startcor-\afterruleskip % RDT 1.28
- \let\z@sw\@ne % turn on continuation bar number
- \contpiece\addspace{\h@lf\afterruleskip}%
- \kernm\afterruleskip\l@eftrepeat\kern\afterruleskip%
- \advance\lastbarpos\afterruleskip \b@rrul@}
-
-\def\T@bil{\advance\barsinlin@\@ne \ifnum\barsinlin@<\maxbarsinlin@}
-
-\def\barre{\T@bil \@bar\else\stoppiec@\contpiece \fi}
-\def\xbar{\@bar\advance\barsinpi@c@\m@ne}
-\def\zbar{\T@bil \zn@wbar\else\zstoppiec@\contpiece \fi}
-\def\alaligne{\stoppiece\contpiece}
-\def\zalaligne{\zstoppiece\contpiece}
-
-% ...@II means used in the *second* tex pass
-
-\def\leftrepeat@II{%
-\T@bil
- \setleftrepeat\@bar
-\else
- \@LeftRp %
-\fi}
-
-\def\zleftrepeat@II{% % RDT 1.28
-\advance\barno\m@ne%
-\T@bil
- \setleftrepeat\@bar%
-\else
- \@LeftRpCont% % RDT 1.28
-\fi}
-
-
-\let\leftrepeat\leftrepeat@II
-\let\zleftrepeat\zleftrepeat@II % RDT 1.28
-
-\def\zzleftrepeat{% % RDT 1.28
-\advance\barno\m@ne%
-\stoppiece%
-\let\z@sw\@ne%
-\contpiece%
-\advance\barno\m@ne%
-\leftrepeat%
-}
-
-\def\leftrightrepeat@II{%
-\T@bil
- \setleftrightrepeat\@bar
-\else
- \setrightrepeat\@LeftRp
-\fi}
-
-\def\zzrightrepeat{% % RDT 1.28
- \advance\barno\m@ne%
- \setrightrepeat\stoppiece
- \let\z@sw\@ne
- \contpiece
-}
-
-\def\zrightrepeat{% % RDT 1.28
-\advance\barno\m@ne
-\setrightrepeat
-\T@bil
- \@bar
-\else
- \stoppiec@
- \let\z@sw\@ne
- \contpiece
-\fi}
-
-\def\zzleftrightrepeat{% % RDT 1.28
-\advance\barno\m@ne%
-\setrightrepeat%
-\stoppiece%
-\let\z@sw\@ne%
-\contpiece%
-\advance\barno\m@ne%
-\leftrepeat% % RDT revised 1.30
-}
-
-\def\zleftrightrepeat@II{% % RDT 1.28
-\advance\barno\m@ne
-\T@bil
- \setleftrightrepeat\@bar
-\else
- \stoppiec@
- \let\z@sw\@ne
- \contpiece
-\fi}
-
-\let\leftrightrepeat\leftrightrepeat@II
-\let\zleftrightrepeat\zleftrightrepeat@II % RDT 1.28
-
-
-\def\zdoublebar{\advance\barno\m@ne\setdoublebar\xbar} % RDT revised 1.32
-
-\def\zzdoublebar{% % RDT 1.31
-\advance\barno\m@ne%
-\setdoublebar%
-\stoppiece%
-\let\z@sw\@ne%
-\contpiece%
-}
-
-\def\zzbar{% % RDT 1.31
-\advance\barno\m@ne%
-\stoppiece%
-\let\z@sw\@ne%
-\contpiece%
-}
-
-\def\alapage{\stoppiece\eject\contpiece}
-\def\zalapage{\zstoppiece\eject\contpiece}
-
-% minuscule: une seule barre
-% majuscule: double barre
-
-\let\Writ@newsigns\empty
-
-\def\updat@context{\writ@newclefs
- \T@bil \wbarno@x\Writ@newsigns\Writ@meters\addspace\afterruleskip
-%%% 1.21: added \lastbarno setting
- \else\Writ@newsigns\z@suspend\contpiece \fi}
-
-
-
-
-
-
-\def\changecontext{\showallbarrules\n@wbar\updat@context}
-\def\Changecontext{\showallbarrules\setdoublebar\changecontext}
-\def\zchangecontext{\advance\n@skip\beforeruleskip \widthtyp@\@ne \t@rmskip
- \zn@wbar\updat@context}
-
-\def\pchangecontext{\showallbarrules\n@wbar
- \writ@newclefs\Writ@newsigns\z@suspend\eject\contpiece}
-\def\pChangecontext{\setdoublebar\pchangecontext}
-
-%%% bars, repeatbars, ...
-
-%%
-% Change ... to add skip \beforeruleskip to the preceeding notebox,
-% and to set the 'soft' switch for the output record
-%%
-%%
-% Redefine \n@wbar to write the bar line thickness to file,
-% then reset \n@skip and \x@skip
-%%
-
-\newskip\lastbarpos
-\let\fil@barno\empty
-\let\atnextbar\empty
-
-\def\n@wbar{%
- \t@rmskip % essai DT
- \advance\n@skip\beforeruleskip \widthtyp@\@ne \t@rmskip
-% \ifdim\cut@v>\z@ \else\ifx\barrul@\thinrul@ \else\global\cut@v.9\Interligne \fi\fi %-simick
-% \barrul@\widthtyp@\z@ \fil@termskip\let\barrul@\thinrul@ %-simick
- \barrul@\widthtyp@\z@ \fil@termskip %+simick
- \advance\barsinpi@c@\@ne \fil@barno
- \ifx\no@b\empty \message{bar \the\barno}\fi
- \advance\barno\@ne \advance\lin@pos\x@skip \atnextbar \let\atnextbar\empty
- \write@volta@hrule %+simick
-% \global\cut@v\z@ % <===================================== inserted %-simick
- \global\n@skip\z@ \global\x@skip\z@ \let\z@sw\empty
-% \write@volta@hrule %-simick
-}%
-
-\def\@bar{\n@wbar\wbarno@x\lastbarpos\lin@pos\addspace\afterruleskip}
-
-\def\zn@wbar{\t@rmskip\advance\barsinpi@c@\@ne \let\z@sw\@ne}
-
-\def\small@spc{\addspace{\h@lf\big@spc}}
-
-\def\b@rrul@{\let\barrul@\thinrul@ %+simick
- \global\cut@v\lthick \global\volta@endcor-\thr@@\lthick \global\volta@startcor\z@} %+simick
-\def\r@ightrepeat{%
- \hbox{\writ@colons\addspace\big@spc\thinrul@\small@spc\thickrul@}}
-\def\r@@ghtrepeat{% %+simick
- \global\cut@v\big@spc \global\advance\cut@v\lthick \global\advance\cut@v\h@lf\big@spc %+simick
- \global\volta@endcor\cut@v \global\advance\cut@v\big@spc \global\volta@startcor\z@} %+simick
-\def\l@eftrepeat{%
- \hbox{\thickrul@\small@spc\thinrul@\addspace\big@spc\writ@colons}}
-\def\l@@ftrepeat{% %+simick
- \global\cut@v\big@spc \global\advance\cut@v\h@lf\big@spc \global\advance\cut@v\lthick %+simick
- \global\advance\cut@v\big@spc \global\volta@endcor\z@ \global\volta@startcor\big@spc %+simick
- \global\advance\volta@startcor\lthick \global\advance\volta@startcor\h@lf\big@spc} %+simick
-\def\l@eftrightrepeat{\hbox{\writ@colons\addspace\big@spc\thickrul@
- \small@spc\thickrul@\addspace\big@spc\writ@colons}}
-\def\l@@ftrightrepeat{% %+simick
- \global\cut@v\big@spc \global\advance\cut@v\big@spc \global\volta@endcor\cut@v %+simick
- \global\advance\cut@v\h@lf\big@spc %+simick
- \global\volta@startcor\big@spc \global\advance\volta@startcor\big@spc %+simick
- \global\advance\cut@v\volta@endcor \global\advance\volta@startcor-\lthick} %+simick
-
-\def\doublebar{\showallbarrules\setdoublebar\barre}% double barre de mesure
-%\def\setdoubleBAR{\showallbarrules\def\barrul@{\thinrul@\small@spc\thickrul@}} %-simick
-\def\setdoubleBAR{\showallbarrules\def\barrul@{\thinrul@\small@spc\thickrul@}% %+simick
- \global\cut@v\lthick \global\advance\cut@v\h@lf\big@spc \global\volta@endcor\cut@v %+simick
- \global\advance\cut@v\big@spc \global\volta@startcor\z@} %+simick
-%\def\setemptybar{\def\barrul@{\relax}} %-simick
-\def\setemptybar{\def\barrul@{\relax}% %+simick
- \global\cut@v\z@ \global\volta@endcor-\f@ur\lthick \global\volta@startcor\z@} %+simick
-\def\setdoublebar{\showallbarrules\global\cut@v.4\Interligne
- \global\advance\cut@v\tw@\lthick \global\volta@endcor\z@ \global\volta@startcor\z@ %+simick
- \def\barrul@{\thinrul@\addspace{.4\Interligne}\thinrul@}}
-
-\def\rightrepeat{\setrightrepeat\barre}
-
-%\def\setrightrepeat{\showallbarrules\let\barrul@\r@ightrepeat} %-simick
-\def\setrightrepeat{\showallbarrules\let\barrul@\r@ightrepeat \r@@ghtrepeat} %+simick
-%\def\setleftrepeat{\showallbarrules\let\barrul@\l@eftrepeat} %-simick
-\def\setleftrepeat{\showallbarrules\let\barrul@\l@eftrepeat \l@@ftrepeat} %+simick
-%\def\setleftrightrepeat{\showallbarrules\let\barrul@\l@eftrightrepeat} %-simick
-\def\setleftrightrepeat{\showallbarrules\let\barrul@\l@eftrightrepeat \l@@ftrightrepeat}%+simick
-
-% write colons on all staffs (a part of [left][right]repeat symbols
-
-%\def\writ@colons{\n@loop{\w@coli}\repeat}
-
-
-
-\def\writ@colons{\n@loop{\w@coli}\repeat}
-\def\w@coli{\p@loop
- {\ifnum\nblines=6\tabc@lsix%
- \else\ifnum\nblines=4\tabc@lfour%
- \else\raise\altportee\hbox{\raise4\internote\hbox{\keychar55}}\fi\fi}\count@portee\repeat}
-
-%%%% 1.29 RDT
-\def\tabc@lsix{\raise\altportee\hbox{%
- %\raise7\internote\rlap{\kernm1.2\internote\hbox{\keychar24}}% uncomment if wanted
- \raise5\internote\rlap{\kernm1.2\internote\hbox{\keychar24}}%
- \raise3\internote\rlap{\kernm1.2\internote\hbox{\keychar24}}% comment out if unwanted
- \raise1\internote\rlap{\kernm1.2\internote\hbox{\keychar24}}%
- %\raise-1\internote\rlap{\kernm1.2\internote\hbox{\keychar24}}% uncomment if wanted
-}}
-
-%%%% 1.29 RDT
-\def\tabc@lfour{\raise\altportee\hbox{%
- \raise3\internote\rlap{\kernm1.2\internote\hbox{\keychar24}}%
- \raise1\internote\rlap{\kernm1.2\internote\hbox{\keychar24}}% comment out if unwanted
- \raise-1\internote\rlap{\kernm1.2\internote\hbox{\keychar24}}%
-}}
-%%% seperated and full barlines
-
-%\def\rul@full#1{\raise\altplancher\rlap{\vrule\@depth\hlthick
-% \@height\systemheight\@width#1}\addspace#1}
-
-\def\rul@full#1{\hbox{\raise\altplancher\rlap{\vrule\@depth\hlthick
- \@height\systemheight\@width#1}}\addspace#1}
-
-\def\rul@sep#1{\noport@@\z@\n@loop
- \edef\rul@hidden{\csname h@bl\romannumeral\noinstrum@nt\endcsname}%
- \Comp@High\hbox{\raise\altitude\rlap{%
-% \message{(tw@=\meaning\tw@\space thr@@=\meaning\thr@@\space \number\noinstrum@nt->}\expandafter\show\rul@hidden
- \expandafter
- \ifx\rul@hidden\relax % if \relax = never hidden
- \vrule\@depth\hlthick\@width#1\@height\y@v
- \else
- \expandafter
- \ifx\rul@hidden\thr@@ % if \thr@@ = not hidden one time,
- \vrule\@depth\hlthick\@width#1\@height\y@v
- \global\expandafter\let\rul@hidden\tw@ % reset to perm. hidden
- \else
- \expandafter
- \ifx\rul@hidden\tw@ % if \tw@ = always hidden
- \relax
- \else
- \expandafter
- \ifx\rul@hidden\@ne % if \@ne = hidden only one time
- \global\expandafter\let\rul@hidden\relax
- \fi
- \fi
- \fi
- \fi}}\repeat\addspace#1}
-
-%== hides (only) next bar line for specified instrument
-\def\Hidebarrule#1{\global\expandafter\let\csname h@bl\romannumeral#1\endcsname\@ne}
-
-%== hides all next bar lines for specified instrument
-\def\hidebarrule#1{\global\expandafter\let\csname h@bl\romannumeral#1\endcsname\tw@}
-
-%== force showing all bar lines for specified instrument
-\def\showbarrule#1{\global\expandafter\let\csname h@bl\romannumeral#1\endcsname\relax}
-
-%== force showing all bar lines for all instruments
-\def\showallbarrules{%
- %\ifx\writ@rule\rul@sep\relax
- \n@loop
- \global\expandafter\let\csname h@bl\romannumeral\noinstrum@nt\endcsname\relax
- \repeat
- %\fi
-}
-
-%== force showing (only) next bar line for specified instrument
-\def\Showbarrule#1{\global\expandafter\let\csname h@bl\romannumeral#1\endcsname\thr@@}
-
-% standard vrules over all instruments
-\def\stdbarrules{\let\writ@rule\rul@full }
-
-% separated vrules par instrum
-\def\sepbarrules{\let\writ@rule\rul@sep }
-\stdbarrules
-
-%%% signs
-
-\def\s@l@ctsigns{\edef\a@s{\csname a@s\romannumeral\noinstrum@nt\endcsname}%
- \edef\o@s{\csname o@s\romannumeral\noinstrum@nt\endcsname}}%
-
-\def\setsign#1#2{\noinstrum@nt#1\relax
- \let\Writ@newsigns\writ@newsigns % only write them, when they are touched
- \s@l@ctsigns % select instrument
- \a@s#2\relax %
-}
-
-\def\generalsignature#1{\let\Writ@newsigns\writ@newsigns
- \m@loop \s@l@ctsigns \a@s#1\repeat}
-
-% Inhibits writing erasing naturals at next change of context
-\def\ignorenats{\m@loop \s@l@ctsigns \o@s\z@ \repeat}
-
-\def\changesignature{\t@rmskip\Writ@newsigns}
-
-\def\writ@sign{\ifnum\a@s=\z@ \else
- \n@v\@lii
- \ifnum\a@s>\z@ \C@sig\t@n
- \C@sh\@ne\s@v@n
- \C@sh\tw@\@l@v@n
- \C@sh\thr@@\@ight
- \C@sh\f@ur\fiv@
- \C@sh\fiv@\nin@
- \C@sh\si@\si@\fi
- \n@v\@l
- \ifnum\a@s<\z@ \C@sig\si@
- \C@fl\@ne\nin@
- \C@fl\tw@\fiv@
- \C@fl\thr@@\@ight
- \C@fl\f@ur\f@ur
- \C@fl\fiv@\s@v@n
- \C@fl\si@\thr@@\fi
- \fi}
-
-\def\C@sh#1#2{\ifnum\a@s>#1\C@sig#2\fi}
-\def\C@fl#1#2{\ifnum\a@s<-#1\C@sig#2\fi}
-
-%%
-% Augment \writ@newsigns so that
-% (1) the space taken by the mid-line sign change is written to the file;
-% (2) the new value of \sign@skip is written to the file
-% Note that this is not necessarily the same value
-% as the mid-line value, which includes cancellation naturals when
-% the key signature changes from N flats to M sharps (or vice-versa)
-%%
-
-\let\fil@signs\empty
-
-\def\writ@newsigns{\sign@skip\z@
- \n@loop{\s@l@ctsigns \let\@Ti\writ@newsign \C@wsi}\repeat
- \n@skip\sign@skip \widthtyp@\z@ \t@rmskip
- \m@loop \s@l@ctsigns \o@s\a@s \repeat
- \let\Writ@newsigns\empty \fil@signs }
-
-\def\upd@width#1{\ifdim#1<\wd\toks@box \global#1\wd\toks@box \fi}
-\def\writ@box{\leavevmode\raise\altportee\rlap{\box\toks@box}}
-
-\newcount\ut@ref
-
-\def\get@refs#1#2#3#4{% #1-#4: cle correspondante 0=sol, 5-6=fa, 1-4=ut
- \ifcase\noport@@ \ut@ref\z@ \or \ut@ref#1\or \ut@ref#2\or
- \ut@ref#3\or \ut@ref#4\fi
- \relax \ifnum \ut@ref=9\relax \ut@ref-1\relax\fi
- \global\ut@ref\ut@ref }
-
- %\def\writ@newsign{\ifnum\a@s=\z@ \else\kern.4\Internote \fi
- % \ifnum\o@s<\z@ \w@flats\w@sharps\else\w@sharps\w@flats \fi}
-
-\def\writ@newsign{\ifnum\a@s=\z@ \else\kern.4\Internote \fi
- \ifnum\o@s<\z@ \w@cancelflats\w@flats\w@sharps
- \else\w@cancelsharps\w@sharps\w@flats \fi}
-
-\def\w@flats{\W@Fl\z@\si@ \W@Fl\@ne\nin@ \W@Fl\tw@\fiv@ \W@Fl\thr@@\@ight
- \W@Fl\f@ur\f@ur \W@Fl\fiv@\s@v@n \W@Fl\si@\thr@@}
-
-\def\w@cancelflats{\W@canFl\z@\si@ \W@canFl\@ne\nin@ \W@canFl\tw@\fiv@
- \W@canFl\thr@@\@ight \W@canFl\f@ur\f@ur \W@canFl\fiv@\s@v@n \W@canFl\si@\thr@@}
-
- %\def\W@Fl#1#2{%
- % \ifnum\a@s<-#1\n@v\@l \C@sig#2\else \ifnum\o@s<-#1\n@v\@liv \C@sig#2\fi \fi}
-
-\def\W@Fl#1#2{%
- \ifnum\a@s<-#1\n@v\@l \C@sig#2\else \ifnum\o@s<-#1\relax\fi \fi}
-
-\def\W@canFl#1#2{%
- \ifnum\a@s<-#1\relax\else \ifnum\o@s<-#1\n@v\@liv \C@sig#2\fi \fi}
-
-\def\w@sharps{\W@Sh\z@\t@n \W@Sh\@ne\s@v@n \W@Sh\tw@\@l@v@n
- \W@Sh\thr@@\@ight \W@Sh\f@ur\fiv@ \W@Sh\fiv@\nin@ \W@Sh\si@\si@}
-
-\def\w@cancelsharps{\W@canSh\z@\t@n \W@canSh\@ne\s@v@n \W@canSh\tw@\@l@v@n
- \W@canSh\thr@@\@ight \W@canSh\f@ur\fiv@ \W@canSh\fiv@\nin@ \W@canSh\si@\si@}
-
- %\def\W@Sh#1#2{%
- % \ifnum\a@s>#1\n@v\@lii \C@sig#2\else\ifnum\o@s>#1\n@v\@liv \C@sig#2\fi \fi}
-
-\def\W@Sh#1#2{%
- \ifnum\a@s>#1\n@v\@lii \C@sig#2\else\ifnum\o@s>#1\relax\fi \fi}
-
-\def\W@canSh#1#2{%
- \ifnum\a@s>#1\relax\else\ifnum\o@s>#1\n@v\@liv \C@sig#2\fi \fi}
-
-\def\C@wsi{\s@l@ctclefs \p@loop \count@portee \expandafter\get@refs\the\a@c
- \setbox\toks@box\hbox{\kern.4\Internote \@Ti \kern.4\Internote}%
- \upd@width\sign@skip \writ@box \repeat}
-
- %\def\C@sig#1{\n@iii#1%
- % \ifnum\ut@ref>\z@
- % \advance\n@iii\ut@ref \advance\n@iii\ut@ref
- % \ifnum\ut@ref=\si@ \advance\n@iii-\s@v@n \fi
- % \ifnum\ut@ref>\thr@@ \advance\n@iii-\s@v@n \fi
- % \ifnum\n@iii>\@l@v@n \advance\n@iii-\s@v@n \fi
- %\fi
- %\advance\n@iii-\tw@ \raise\n@iii\internote
- %\hbox\@to\tw@\internote{\hss\keychar\n@v\hss}}
-
-\def\C@sig#1{\n@iii#1% Correction by W. Icking
- \advance\n@iii\ut@ref \advance\n@iii\ut@ref
- \ifnum\ut@ref=\si@ \advance\n@iii-\fourt@@n%
- \else \ifnum\ut@ref>\z@ \advance\n@iii-\s@v@n \fi\fi
- \ifnum\n@iii<\@ne \global\advance\n@iii\s@v@n \fi
- \ifnum\n@iii<\@ne \global\advance\n@iii\s@v@n \fi
- \ifnum\n@iii>\@l@v@n \advance\n@iii-\s@v@n \fi
- \ifnum\n@iii>\@l@v@n \advance\n@iii-\s@v@n \fi
- \advance\n@iii-\tw@ \raise\n@iii\internote
- \hbox\@to\tw@\internote{\hss\keychar\n@v\hss}}
-
-%%% meterindicators
-
-\def\s@l@ctm@t{\edef\m@t{\csname m@t\romannumeral\noinstrum@nt\endcsname}}
-
-\def\setmeter#1#2{\noinstrum@nt#1\relax % select instrument
- \let\Writ@meters\writ@meters % only write them, when they are touched
- \s@l@ctm@t \m@t{#2\empty\empty\empty}}
-
-\def\generalmeter#1{\let\Writ@meters\writ@meters
- \m@loop \s@l@ctm@t \m@t{{#1}{#1}{#1}{#1}}\repeat}
-
-%%
-% Redefine \writ@meters to set the 'hard' switch for
-% \t@rmskip, indicating that this length is unscaleable
-%%
-
-% \meterskip influence the space before !first! writemeters
-\newskip\meterskip
-
-\def\writ@meters{\addspace\meterskip \meterskip\z@ \global\n@skip\z@
- \n@loop{\writ@meteri}\repeat
- \ifdim\n@skip>\z@ \advance\n@skip\big@spc
- \widthtyp@\z@ \t@rmskip \fi \let\Writ@meters\empty}
-
-\def\writ@meteri{\s@l@ctm@t \p@loop \setbox\toks@box
- \hbox{\expandafter\writ@meterp\the\m@t{}{}{}{}}\upd@width\n@skip
- \writ@box \count@portee\repeat}
-
-\def\writ@meterp#1#2#3#4{%
- \ifcase\noport@@\hbox{#1}\or \hbox{#2}\or \hbox{#3}\or \hbox{#4}\fi}
-
-\def\meterfrac#1#2{%
- \ifnum\nblines=6%
- \setbox\toks@box\vbox{\hbox{~\meterfont#1}%
- \hbox{~\meterfont #2}}\raise\internote%
- \vbox\@to\@ight\internote{\offinterlineskip%
- \vss\hbox\@to\wd\toks@box{\hss\meterfont#1\hss}\vskip1.5\internote%
- \vss\hbox\@to\wd\toks@box{\hss\meterfont#2\hss}\vss}%
- \else\ifnum\nblines=4%
- \setbox\toks@box\vbox{\hbox{\ \meterfont#1}%
- \hbox{\ \meterfont #2}}\raise-1\internote\vbox\@to\@ight\internote{\offinterlineskip
- \vss\hbox\@to\wd\toks@box{\hss\meterfont#1\hss}\vss
- \vss\hbox\@to\wd\toks@box{\hss\meterfont#2\hss}\vss}
- \else
- \setbox\toks@box\vbox{\hbox{\ \meterfont#1}%
- \hbox{\ \meterfont #2}}\vbox\@to\@ight\internote{\offinterlineskip
- \vss\hbox\@to\wd\toks@box{\hss\meterfont#1\hss}\vss
- \vss\hbox\@to\wd\toks@box{\hss\meterfont#2\hss}\vss}
- \fi\fi
-}
-\def\allabreve{% -> 2/2
- \ifnum\nblines=6\raise5\internote\hbox{\keychar82}%
- \else\ifnum\nblines=4\raise3\internote\hbox{\keychar82}%
- \else\raise4\internote\hbox{\keychar82}\fi\fi}
-\def\reverseallabreve{%
- \ifnum\nblines=6\raise5\internote\hbox{\keychar123}%
- \else\ifnum\nblines=4\raise3\internote\hbox{\keychar123}
- \else\raise4\internote\hbox{\keychar123}\fi\fi}
-\def\meterC{% -> 4/4
- \ifnum\nblines=6\raise5\internote\hbox{\musickeyfont\@lxxxiii}%
- \else\ifnum\nblines=4\raise3\internote\hbox{\musickeyfont\@lxxxiii}%
- \else\raise4\internote\hbox{\musickeyfont\@lxxxiii}\fi\fi}
-\def\reverseC{% -> 4/2
- \ifnum\nblines=6\raise5\internote\hbox{\keychar84}%
- \else\ifnum\nblines=4\raise3\internote\hbox{\keychar84}%
- \else\raise4\internote\hbox{\keychar84}\fi\fi}
-\def\meterN#1{%
- \ifnum\nblines=6\raise3\internote\hbox{\meterfont#1}%
- \else\ifnum\nblines=4\raise1\internote\hbox{\meterfont#1}%
- \else\raise2\internote\hbox{\meterfont#1}\fi\fi}
-\def\meterplus{{\keychar57}}
-
-%%% clefs
-
-\def\s@l@ctclefs{\edef\a@c{\csname a@c\romannumeral\noinstrum@nt\endcsname}%
- \edef\o@c{\csname o@c\romannumeral\noinstrum@nt\endcsname}}
-
-% why simple, when it can be done complicated ?
-
-\newtoks\t@c
-\def\@fourtoks#1#2#3#4#5+{#1#2#3#4}
-
-\def\setclef#1#2{\noinstrum@nt#1\relax
- \ifnum#1<1\errmessage{Instrument number not positive}\fi
- \s@l@ctclefs \t@c{#2000}%
- \a@c\expandafter\expandafter\expandafter{\expandafter\@fourtoks\the\t@c+}}
- \let\setclefs\setclef
-
-\let\bass\si@
-\let\alto\thr@@
-\let\treble\z@
-
-\def\setclefsymbol#1#2{\n@v#1\relax % select instrument
- \expandafter\def\csname bassc@s\romannumeral\n@v\endcsname{#2}%
- \expandafter\def\csname altoc@s\romannumeral\n@v\endcsname{#2}%
- \expandafter\def\csname treblec@s\romannumeral\n@v\endcsname{#2}%
-}%
-
-\def\setbassclefsymbol#1#2{\n@v#1\relax % select instrument
- \expandafter\def\csname bassc@s\romannumeral\n@v\endcsname{#2}%
-}%
-
-\def\setaltoclefsymbol#1#2{\n@v#1\relax % select instrument
- \expandafter\def\csname altoc@s\romannumeral\n@v\endcsname{#2}%
-}%
-
-\def\settrebleclefsymbol#1#2{\n@v#1\relax % select instrument
- \expandafter\def\csname treblec@s\romannumeral\n@v\endcsname{#2}%
-}%
-
-\def\trebleclef{\keychar71}
-\def\bassclef{\keychar73}
-\def\altoclef{\keychar75}
-
-\def\smalltrebleclef{\keychar72}
-\def\smallbassclef{\keychar74}
-\def\smallaltoclef{\keychar76}
-
-%% version 1.21: replaced \smalltype\it by \txtfont (size-dependent)
-%% and adjusted the kerns RDT
-%%
-
-\def\trebleoct{\trebleclef\raise 9\internote\hbox\@to\z@{\txtfont{\kern -3.6\internote 8}\hss}}
-\def\bassoct{\bassclef\raise 2\internote\hbox\@to\z@{\txtfont{\kern -4.6\internote 8}\hss}}
-\def\treblelowoct{\trebleclef\raise -7.5\internote\hbox\@to\z@{\txtfont{\kern -4.6\internote 8}\hss}}
-\def\basslowoct{\bassclef\raise -6\internote\hbox\@to\z@{\txtfont{\kern -5.0\internote 8}\hss}}
-
-% [version 1.15] reqest from Hermann Hinsch
-\def\smalltrebleoct{\smalltrebleclef\raise 7.2\internote\hbox\@to\z@{\txtfont{\kern -3.6\internote 8}\hss}}
-\def\smalltreblelowoct{\smalltrebleclef\raise-6.8\internote\hbox\@to\z@{\txtfont{\kern -4.2\internote 8}\hss}}
-\def\smallbassoct{\smallbassclef\raise 2\internote\hbox\@to\z@{\txtfont{\kern -4.0\internote 8}\hss}}
-\def\smallbasslowoct{\smallbassclef\raise-6.5\internote\hbox\@to\z@{\txtfont{\kern -4.4\internote 8}\hss}}
-% [version 1.15] reqest from Hermann Hinsch: end
-
-
-\newskip\clef@skip
-
-\def\changeclefs{\t@rmskip\writ@newclefs}
-\def\zchangeclefs{\t@rmskip\zwrit@newclefs}
-
-%%% version 1.21: new command to call and reset \atnextbar before outputting new clefs RDT
-\def\Changeclefs{\t@rmskip\atnextbar\let\atnextbar\empty\writ@newclefs}
-
-% since the characters are shifted by default(Metafont) they looked
-% a little bit strange when you mix several staffstaffsizes (flushleft)
-% I've introduced a hack(kern kernm), that they are (nearly) centered
-% (aehmm, really not the best way, because now they look strange
-% if you use music footnotes)
-
-\def\writ@clefi{\s@l@ctclefs
- \p@loop
- \setbox\toks@box\hbox{\expandafter\writ@clefp\the\a@c}%
- \upd@width\clef@skip\raise\altportee\rlap{%
- \ifdim\internote<\Internote \kern\thr@@\Internote\kernm\thr@@\internote \fi
- \box\toks@box}\count@portee\repeat}
-
-\def\writ@clefp#1#2#3#4{%
- \ifcase\noport@@\singl@clef#1%
- \or \singl@clef#2\or \singl@clef#3\or \singl@clef#4\fi}
-
-\def\singl@clef#1{\n@iii#1\relax
- \ifcase\n@iii
- \C@Clef\@ne\trebleclef@var\or
- \C@Clef\z@\altoclef@var\or
- \C@Clef\@ne\altoclef@var\or
- \C@Clef\tw@\altoclef@var\or
- \C@Clef\thr@@\altoclef@var\or
- \C@Clef\tw@\bassclef@var\or
- \C@Clef\thr@@\bassclef@var\or
- \C@Clef\f@ur\bassclef@var\or % 7 = subbass
- \or
- \C@Clef\z@\trebleclef@var % 9 = french violin-clef
- \fi
-}
-
-\def\C@Clef#1#2{\n@iii#1\relax\multiply\n@iii\tw@
- \raise\n@iii\internote\hbox{#2}}
-
-\def\bassclef@var{\expandafter
- \ifx\csname bassc@s\romannumeral\noinstrum@nt\endcsname\z@
- \bassclef\else \csname bassc@s\romannumeral\noinstrum@nt\endcsname \fi}
-\def\trebleclef@var{\expandafter
- \ifx\csname treblec@s\romannumeral\noinstrum@nt\endcsname\z@
- \trebleclef\else \csname treblec@s\romannumeral\noinstrum@nt\endcsname \fi}
-\def\altoclef@var{\expandafter
- \ifx\csname altoc@s\romannumeral\noinstrum@nt\endcsname\z@
- \altoclef\else \csname altoc@s\romannumeral\noinstrum@nt\endcsname \fi}
-
-\def\smallbassclef@var{\expandafter
- \ifx\csname bassc@s\romannumeral\noinstrum@nt\endcsname\z@
- \smallbassclef\else \csname bassc@s\romannumeral\noinstrum@nt\endcsname \fi}
-\def\smalltrebleclef@var{\expandafter
- \ifx\csname treblec@s\romannumeral\noinstrum@nt\endcsname\z@
- \smalltrebleclef\else \csname treblec@s\romannumeral\noinstrum@nt\endcsname \fi}
-\def\smallaltoclef@var{\expandafter
- \ifx\csname altoc@s\romannumeral\noinstrum@nt\endcsname\z@
- \smallaltoclef\else \csname altoc@s\romannumeral\noinstrum@nt\endcsname \fi}
-
-
-%%
-% Redefine \writ@newclefs similarly
-%
-% Note that \clef@skip does not change for the different clef
-% symbols (always 3.2\Interligne for normal sized clefs)
-% Hence there is no need to communicate clef changes to the
-% formatting program
-%%
-
-\def\writ@newclefs{\clef@skip\z@ \n@loop{\writ@newclefi}\repeat
- \n@skip\clef@skip \widthtyp@\z@ \t@rmskip
- \m@loop \s@l@ctclefs \o@c\a@c \repeat}
-
-% the same as \writ@newclefs, but no spacing
-
-\def\zwrit@newclefs{\clef@skip\z@
- \setbox\writ@volta@box \hbox{\n@loop{\writ@newclefi}\repeat}%
- \kern -\clef@skip \box\writ@volta@box
- \kern \clef@skip
- \clef@skip\z@ % test
- \n@skip\clef@skip
- \widthtyp@\z@
- \t@rmskip
- \m@loop \s@l@ctclefs \o@c\a@c \repeat}
-
-% Thanks to Helmut Kopka for helping me out
-\def\writ@newclefi{\s@l@ctclefs\p@loop
- \setbox\toks@box\hbox{\expandafter\expandafter\expandafter\writ@newclefp
- \the\expandafter\a@c\the\o@c}%
- \upd@width\clef@skip \writ@box \count@portee\repeat}
-
-\def\writ@newclefp#1#2#3#4#5#6#7#8{%
- \ifcase\noport@@\newsingl@clef#1#5\or \newsingl@clef#2#6\or
- \newsingl@clef#3#7\or \newsingl@clef#4#8\fi}
-
-\def\newsingl@clef#1#2{\n@iii#1\relax \n@ii#2\relax
- \ifnum\n@ii=\n@iii
- \else
- \ifcase\n@iii
- \C@Clef\@ne\smalltrebleclef@var\or
- \C@Clef\z@\smallaltoclef@var\or
- \C@Clef\@ne\smallaltoclef@var\or
- \C@Clef\tw@\smallaltoclef@var\or
- \C@Clef\thr@@\smallaltoclef@var\or
- \C@Clef\tw@\smallbassclef@var \or
- \C@Clef\thr@@\smallbassclef@var\or
- \C@Clef\f@ur\smallbassclef@var\or % 7 = subbass
- \or
- \C@Clef\z@\smalltrebleclef@var % 9 = french violin-clef
- \fi
- \fi}
-
-%%% instrumentnames
-
-%\let\Writ@names\empty
-
-\def\setname#1#2{\n@v#1\relax % select instrument
-% \let\Writ@names\writ@names
- \expandafter\def\csname instrument\romannumeral\n@v\endcsname{#2}}% [version 1.15] changed from \edef to \def (Hiroaki)
-
-\def\writ@names{\n@loop
- \setbox\toks@box\null\relax
- \ifnum\st@ffs>0\relax
- \setbox\toks@box\llap{\vbox{\hbox\@to\parindent{%
- \hss\csname instrument\romannumeral\noinstrum@nt\endcsname\hss}}\ \ }%
- \fi
- \altportee\altitude \Comp@High \advance\y@v-\ht\toks@box
- \advance\altportee\h@lf\y@v
- \writ@box
- \repeat}
-
-%%%
-
-% les notes proprement dites
-
-\newdimen\noteskip
-\newcount\transpose
-\newcount\normaltranspose
-\newdimen\locx@skip
-\newdimen\elemskip
-\newdimen\@l@mskip
-
-\def\check@staff{%
- \ifnum\noport@@>\st@ffs\relax
- \ifx\Post@Elims\undefined\else
- \immediate\write16{check@staff\space inst=\the\noinstrum@nt\space
- staff=\the\noport@@\space st@ffs=\the\st@ffs\space Elim.}\relax
- \fi
- \ifnum\st@ffs>0\relax
- \errmessage{Staff number (\the\noport@@) out of specified range (\the\st@ffs)!}\fi
- \else\relax}
-%\def\check@staff{\iftrue\relax}
-
-\let\ifactiveinstrument\check@staff
-
-\def\nextstaff{\@ndstaff\beginstaff}
-\def\nextinstrument{\@ndstaff\begininstrument}
-\def\prevstaff{\@ndstaff\advance\noport@@-2\relax\beginstaff}
-\def\selectstaff#1{\@ndstaff\noport@@#1\relax
- \advance\noport@@ -1\relax\beginstaff}
-\def\selectinstrument#1{\@ndstaff\noinstrum@nt#1\relax
- \advance\noinstrum@nt -1\relax\begininstrument}
-
-\def\begininstrument{\advance\noinstrum@nt\@ne \s@l@ctinstr
- \ifdim\internote<\p@seven6\Internote \set@tinynotesize \comput@sizes
- \else
- \ifdim\internote<.95\Internote \set@smallnotesize \comput@sizes
- \else
- \ifdim\internote<1.19\Internote \set@normalnotesize \comput@sizes
- \else
- \ifdim\internote<1.43\Internote \set@largenotesize \comput@sizes
- \else
- \set@Largenotesize \comput@sizes
- \fi
- \fi
- \fi
- \fi
- \noport@@\z@ \beginstaff}
-
-\def\beginstaff{\leavevmode
- \altportee\altitude \advance\altportee\noport@@\interportee
- \count@portee \s@l@ctclefs \expandafter\get@refs\the\a@c
- \setbox\n@otebox\hbox\bgroup
- \let\rq\rq@ \let\lq\lq@ \let\mp\mp@ % \let\ds\ds@oup RDT 1.27
- \locx@skip\x@skip}
-
-\def\@ndstaff{\egroup % this where \transpose gets reset
- \ifdim\n@skip<\wd\n@otebox \n@skip\wd\n@otebox \fi
- \raise\altportee\rlap{\unhbox\n@otebox}}
-
-%%% shifting
-
-\def\offs@t#1{\off{-\s@o@}#1\off\s@o@}
-\def\loffset#1{\edef\s@o@{#1\qn@width}\offs@t}
-\def\roffset#1{\edef\s@o@{-#1\qn@width}\offs@t}
-\def\roff{\roffset\@ne}
-\def\loff{\loffset\@ne}
-\def\hroff{\roffset\h@lf}
-\def\hloff{\loffset\h@lf}
-
-%%% decode collective coding
-
-% les symboles de notes ou assimiles
-
-\newcount\inh@alt
-\def\getn@i{\inh@alt\z@ \xgetn@i}
-\def\inhgetn@i{\inh@alt\@ne \xgetn@i}
-
-\def\f@tok#1#2\af@tok{#1}
-\def\s@tok#1#2\af@tok{#2}
-
-% \n@viii used as flag: \n@viii=\maxdimen -> argument is no number
-
-\def\C@Get{\n@viii\maxdimen \edef\alt@suite{\noexpand\getn@i\s@uite\relax}}
-\def\C@GET{\n@viii\maxdimen \edef\alt@suite{%
- \ifnum\inh@alt=\z@ \noexpand\@TI{\s@uite}\fi \noexpand\getn@i\s@uite\relax}}
-
-\def\xgetn@i#1\relax{\n@viii\z@ \n@i\maxdimen % par defaut
-%% \edef\t@ruc{\f@tok #1\relax\af@tok}%
- \edef\t@ruc{\expandafter\f@tok #1\relax\af@tok}%
- \edef\s@uite{\s@tok #1\empty\af@tok}%
-%% pas lettre
- \ifcat a\t@ruc \n@i\expandafter`\t@ruc\relax
-%% ramener au E (position zero en clef de sol, ut@ref=0)
- \ifnum\n@i>96\advance\n@i-101%
- \else\advance\n@i-\@lxxxiii % ramener au S= E + 14
- \fi
- \advance\n@i\ut@ref \advance\n@i\ut@ref \advance\n@i\transpose
- \edef\ss@uite{\noexpand\n@fon{\s@uite}}%
-%% cas active character dont chiffre
- \else
- \let\ss@uite\empty
- \let\alt@suite\empty
- \ifcat 1\t@ruc
- \if =\t@ruc \let\@TI\na \C@GET \fi
- \if *\t@ruc \sk \C@Get \fi
- \if .\t@ruc \let\@TI\pt \C@GET \fi
- \if >\t@ruc \let\@TI\dsh \C@GET \fi
- \if <\t@ruc \let\@TI\dfl \C@GET \fi
- \if !\t@ruc \transpose\normaltranspose \C@Get \fi
- \if '\t@ruc \advance\transpose\s@v@n \C@Get \fi
- \if `\t@ruc \advance\transpose-\s@v@n \C@Get \fi
- \ifnum\n@viii<\maxdimen \n@i#1\fi
- \else
- \if ^\t@ruc \let\@TI\sh \C@GET \fi
- \if _\t@ruc \let\@TI\fl \C@GET \fi
- \fi\alt@suite
- \fi}
-
-%%% setting stems and flags
-
-\newdimen\st@bot % note stem bottom
-\newdimen\st@top % note stem top
-\newdimen\stem@skip
-
-\def\stdstemfalse{\let\stdst@m\@ne}
-
-\def\setst@m{%
- \advance\y@i\altportee
- \ifdim\st@bot>\y@i \global\st@bot\y@i \fi
- \ifdim\st@top<\y@i \global\st@top\y@i \fi
- \advance\y@i-\altportee}
-
-\def\resetst@m{%
- \global\st@bot\maxdimen \global\st@top-\maxdimen \let\stdst@m\empty}
-\resetst@m
-
-\def\minst@bot{\ifdim\st@bot>\f@ur\internote
- \ifx\stdst@m\empty \st@bot\f@ur\internote \fi \fi}
-
-\def\maxst@top{\ifdim\st@top<\f@ur\internote
- \ifx\stdst@m\empty \st@top\f@ur\internote \fi \fi}
-
-\def\stem@rule{%
- \vrule\@height\st@top\@depth-\st@bot\@width\lthick\kernm\lthick}
-
-\def\comp@stem{\advance\st@bot-\altportee \advance\st@top-\altportee}
-
-\def\C@stem{\ifdim\st@top>\st@bot
- \comp@stem\kern\stem@skip\stem@rule
- \kernm\stem@skip
- \fi\resetst@m}
-
-\def\stemlength#1{\def\stemfactor{#1}}
-\def\DefaultStemlength{4.66}
-\stemlength{\DefaultStemlength}
-
-% cut stems in extrem positions for multiple voices in one staff
-
-\def\stemcut{\let\st@mcut\empty}
-\def\nostemcut{\let\st@mcut\@ne}
-\stemcut
-
-\def\Box@Flag{\setbox\ch@box\hbox{\musixfont\char\n@vii}\y@v\ht\ch@box }
-
-\def\down@flag{\Box@Flag\advance\st@bot-\y@v
- \advance\st@bot-\stemfactor\interbeam
- \advance\st@bot\DefaultStemlength\interbeam
- \ifdim\st@top>\st@bot \comp@stem\minst@bot
- \stem@rule\raise\st@bot\box\ch@box \fi\resetst@m}
-
-\def\up@flag{\Box@Flag\advance\st@top\y@v
- \advance\st@top\stemfactor\interbeam
- \advance\st@top-\DefaultStemlength\interbeam
- \ifdim\st@top>\st@bot \comp@stem\maxst@top
- \kern\qd@skip\stem@rule\advance\st@top-\y@v \raise\st@top\box\ch@box%
- \kernm\qd@skip \fi\resetst@m}
-
-\def\cutst@l#1{%
- \ifdim\st@bot<-#1\internote \advance\st@bot\qu@rt\interbeam \fi}
-
-\def\downst@m{\stem@skip\z@
- \advance\st@bot-\stemfactor\interbeam
- \advance\st@bot-\altportee
- \ifx\st@mcut\empty
- \ifdim\st@bot<-\thr@@\internote
- \cutst@l\thr@@\cutst@l\f@ur\cutst@l\fiv@
- \cutst@l\si@\cutst@l\s@v@n\cutst@l\@ight \fi \fi
- \minst@bot\advance\st@bot\altportee
- \C@stem}
-
-\def\cutst@u#1{%
- \ifdim\st@top>#1\internote \advance\st@top-\qu@rt\interbeam \fi}
-
-\def\upst@m{\stem@skip\qd@skip
- \advance\st@top\stemfactor\interbeam
- \advance\st@top-\altportee
- \ifx\st@mcut\empty
- \ifdim\st@top>\@l@v@n\internote
- \cutst@u\@l@v@n\cutst@u\tw@lv@\cutst@u\active
- \cutst@u\fourt@@n\cutst@u\fiv@t@@n\cutst@u\sixt@@n \fi \fi
- \maxst@top\advance\st@top\altportee
- \C@stem}
-
-\newdimen\s@lope
-
-\def\comp@slope#1{\s@lope\b@p#1\divide\s@lope\tw@nty}
-
-\def\beamst@m{% queue de note vers une poutre
- \getcurpos \advance\y@v-\b@x
- \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z
- \ifdim\y@ii>\st@top % la poutre est au-dessus
- \stem@skip\qd@skip \comp@slope\stem@skip \advance\y@ii\s@lope
- \advance\y@ii .285\interbeam% version 1.18 RDT
- \ifnum\b@n>\z@ \advance\y@ii\b@n\interbeam \advance\y@ii-\interbeam \fi
- \st@top\y@ii % a mettre a jour avec la pente ulterieurement
- \else
- \advance\y@ii-.285\interbeam% version 1.18 RDT
- \stem@skip\z@
- \ifdim\y@ii<\st@bot
- \ifnum\b@n<\z@ \advance\y@ii\b@n\interbeam \advance\y@ii\interbeam \fi
- \st@bot\y@ii \fi \fi
- \C@stem}
-
-%%% writing notes inclusive lines (subsidiary lines ?) (german: Hilfslinien)
-
-\newif\ifadvance\advancetrue
-
-% Modification by Werner Icking
-% ledger lines exceed the note by: y@vi := 0.35 (noteskip - notewidth)
-% and: 0.5 qn@width > y@vi > 0.2 qn@width
-\newdimen\y@vi
-\def\h@linei{%
- \y@ii\n@v\internote
- \y@iii\y@ii
- \advance\y@ii\hlthick
- \advance\y@iii-\hlthick
- \y@vi\noteskip % noteskip
-%-\ifnum\y@vi=\z@ \y@vi\maxdimen\fi % (or maxdimen if noteskip = 0)
- \advance\y@vi-\y@v % - notewidth
- \y@vi0.7\y@vi % this may be eaten =: additional length
- \y@iv\h@lf\qn@width\ifnum\y@vi>\y@iv \y@vi\y@iv\fi % not more than 0.5 qn@width
- \y@iv0.2\qn@width \ifnum\y@vi<\y@iv \y@vi\y@iv\fi % not less than 0.2 qn@width
- \y@iv\y@v % notewidth
- \advance\y@iv\y@vi % + additional length =: total length
- \kernm\h@lf\y@vi % center the ledger line
-%-\message{noteskip = \the\noteskip, length = \the\y@iv, notewidth = \the\y@v}%
- \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv
- \kernm\y@iv\kern\h@lf\y@vi}
-
-% end Werner Icking's modification of ledger lines.
-% old behaviour can be restored with musixfll.tex (or musixfll.sty)
-
-\def\writ@note{%
- \ifnum\n@i<\@c
-% help lines \n@i (position)
- \ifnum\nblines>\thr@@ % no help lines for percussion instruments
- \n@v\z@
- \ifnum\n@i<\m@ne % waste memory, but saves time
- \loop \advance\n@v\m@ne \ifnum\n@i<\n@v
- \advance\n@v\m@ne \h@linei
- \repeat
- \else
- \n@v\nblines \advance\n@v\m@ne \multiply\n@v\tw@
- \ifnum\n@i>\n@v
- \loop \advance\n@v\@ne \ifnum\n@i>\n@v
- \advance\n@v\@ne \h@linei
- \repeat
- \fi
- \fi
- \fi
-%
- \pl@base\setst@m\st@m
- \ifadvance \raise\y@i\adv@box\n@sym \else \raise\y@i\hbox{\n@sym}\fi
- \ss@uite \advancetrue
- \fi}
-
-\def\adv@box#1{\hbox\@to\noteskip{#1\hss}\advance\locx@skip\noteskip}
-
-%%% breve, longa, maxima, arbitrary notes, non spacing
-
-\def\zmaxima{\def\w@h{\musixchar36}\y@v\tw@\wn@width \advancefalse \g@w}
-\def\zlonga{\def\w@h{\musixchar39}\y@v\wn@width \advancefalse \g@w}
-\def\zbreve{\def\w@h{\musixfont\@xxxii}\y@v\wn@width \advancefalse \g@w}
-\def\zwq{\def\w@h{\musixchar56}\y@v\wn@width \advancefalse \g@w}
-\def\zwqq{\def\w@h{\musixchar127}\y@v\wn@width \advancefalse \g@w}
-
-\def\g@w#1{\let\st@m\resetst@m
- \check@staff
- \getn@i#1\relax\let\n@fon\g@w \let\n@sym\w@h \writ@note
- \fi}
-
-\def\maxima{\def\w@h{\musixchar36}\y@v\tw@\wn@width \g@w}
-\def\longa{\def\w@h{\musixchar39}\y@v\wn@width \g@w}
-\def\breve{\def\w@h{\musixfont\@xxxii}\y@v\wn@width \g@w}
-\def\wq{\def\w@h{\musixchar56}\y@v\wn@width \g@w}
-\def\wqq{\def\w@h{\musixchar127}\y@v\wn@width \g@w}
-
-%%% alternate longa (with up stem) by Ingo Struck
-%%% struck@student.uni-siegen.de
-
-\def\lngdnst@m{\stem@skip1.25\qd@skip
- \advance\st@bot-\stemfactor\interbeam
- \advance\st@bot-\altportee
- \ifx\st@mcut\empty
- \ifdim\st@bot<-\thr@@\internote
- \cutst@l\thr@@\cutst@l\f@ur\cutst@l\fiv@
- \cutst@l\si@\cutst@l\s@v@n\cutst@l\@ight \fi \fi
- \minst@bot\advance\st@bot\altportee
- \C@stem}
-
-\def\lngupst@m{\stem@skip1.25\qd@skip
- \advance\st@top\stemfactor\interbeam
- \advance\st@top-\altportee
- \ifx\st@mcut\empty
- \ifdim\st@top>\@l@v@n\internote
- \cutst@u\@l@v@n\cutst@u\tw@lv@\cutst@u\active
- \cutst@u\fourt@@n\cutst@u\fiv@t@@n\cutst@u\sixt@@n \fi \fi
- \maxst@top\advance\st@top\altportee
- \C@stem}
-
-\def\@longa#1{\getn@i#1\relax
- \ifnum\n@i>\thr@@
- \let\st@m\lngdnst@m
- \else
- \let\st@m\lngupst@m
- \fi
- \let\n@fon\@longa \let\n@sym\q@u \y@v\qn@width \writ@note}
-
-\def\l@ngasymbol{\def\q@u{\musixfont\@xxxii}}
-
-\def\longaa{\l@ngasymbol\@longa}
-
-%%% whole notes
-
-\def\C@Point#1#2{\ifodd\n@i \else#2\internote \fi\hbox{\musixchar#1}}
-
-\def\wh{\def\w@h{\musixfont\nin@}\y@v\wn@width \g@w}
-\def\whp{\def\w@h{\musixfont\nin@\roffset\qu@rt{\C@Point\z@\raise}}%
- \y@v\wn@width \g@w}
-\def\whpp{\def\w@h{\musixfont\nin@\roffset\qu@rt{\C@Point\@ne\raise}}%
- \y@v\wn@width \g@w}
-
-%%% whole noteheads, no advance
-
-\def\zw{\advancefalse\wh}
-\def\zwp{\advancefalse\whp}
-\def\zwpp{\advancefalse\whpp}
-\let\zwh\zw
-
-\def\lw#1{\kernm\wn@width\zw{#1}\kern\wn@width}
-\def\rw#1{\kern\wn@width\zw{#1}\kernm\wn@width}
-\def\lwp#1{\kernm\wn@width\zwp{#1}\kern\wn@width}
-\def\rwp#1{\kern\wn@width\zwp{#1}\kernm\wn@width}
-\def\lwpp#1{\kernm\wn@width\zwpp{#1}\kern\wn@width}
-\def\rwpp#1{\kern\wn@width\zwpp{#1}\kernm\wn@width}
-
-%%% common routines for noteheads with the same width as a quarter note
-
-\def\@qa#1{\getn@i#1\relax
- \ifnum\n@i>\thr@@
- \let\st@m\downst@m
- \else
- \let\st@m\upst@m
- \fi
- \check@staff % version 1.16
- \let\n@fon\@qa \let\n@sym\q@u \y@v\qn@width \writ@note
- \fi}
-
-\def\@qu{\let\st@m\upst@m \g@q}
-\def\@ql{\let\st@m\downst@m \g@q}
-\def\@zq{\let\st@m\setst@m \advancefalse\g@q}
-\def\@nq{\let\st@m\resetst@m \g@q}
-
-\def\g@q#1{\check@staff
- \getn@i#1\relax\let\n@fon\g@q \let\n@sym\q@u
- \y@v\qn@width \writ@note\fi}
-
-\def\@qup{\let\st@m\upst@m \g@qp}
-\def\@qlp{\let\st@m\downst@m \g@qp}
-\def\@zqp{\let\st@m\setst@m \advancefalse\g@qp}
-\def\@nqp{\let\st@m\resetst@m \g@qp}
-
-\def\q@up{\q@u\C@Point\z@\raise}
-\def\g@qp#1{\check@staff
- \getn@i#1\relax\let\n@fon\g@qp \let\n@sym\q@up
- \y@v\qn@width \writ@note\fi}
-
-\def\@qupp{\let\st@m\upst@m \g@qpp}
-\def\@qlpp{\let\st@m\downst@m \g@qpp}
-\def\@zqpp{\let\st@m\setst@m \advancefalse\g@qpp}
-\def\@nqpp{\let\st@m\resetst@m \g@qpp}
-
-\def\q@upp{\q@u\C@Point\@ne\raise}
-\def\g@qpp#1{\check@staff
- \getn@i#1\relax\let\n@fon\g@qpp \let\n@sym\q@upp
- \y@v\qn@width \writ@note\fi}
-
-\def\@lqu#1{\kernm\qn@width\advancefalse\@qu{#1}\kern\qn@width}
-\def\@rqu#1{\kern\qn@width\advancefalse\@qu{#1}\kernm\qn@width}
-
-\def\@lql#1{\kernm\qn@width\advancefalse\@ql{#1}\kern\qn@width}
-\def\@rql#1{\kern\qn@width\advancefalse\@ql{#1}\kernm\qn@width}
-
-\def\@lq#1{\kernm\qn@width\@zq{#1}\kern\qn@width}
-\def\@rq#1{\kern\qn@width\@zq{#1}\kernm\qn@width}
-
-\def\@qb#1{\s@l@ctbeam#1\relax \let\st@m\beamst@m \g@q}
-\def\@tqb#1{\s@l@ctbeam#1\relax \C@tb\t@bbl\lthick \let\st@m\beamst@m \g@q}
-\def\@tqh#1{\s@l@ctbeam#1\relax \C@tb\t@bbu\qn@width \let\st@m\beamst@m \g@q}
-\def\@qbp#1{\s@l@ctbeam#1\relax \let\st@m\beamst@m \g@qp}
-\def\@qbpp#1{\s@l@ctbeam#1\relax \let\st@m\beamst@m \g@qpp}
-
-\def\@ca{\n@iv\@xlv \@mca}
-\def\@cca{\n@iv46 \@mca}
-\def\@ccca{\n@iv47 \@mca}
-\def\@cccca{\n@iv48 \@mca}
-\def\@ccccca{\n@iv49 \@mca}
-
-\def\@mca#1{\getn@i#1\relax \n@vii\n@iv
- \ifnum\n@i>\thr@@
- \let\st@m\down@flag
- \else
- \let\st@m\up@flag \advance\n@vii -\fiv@\relax
- \fi
- \check@staff % version 1.16
- \let\n@fon\@mca \let\n@sym\q@u \y@v\qn@width \writ@note
- \fi}
-
-\def\@cu{\n@vii\@xl \let\st@m\up@flag \g@q}
-\def\@ccu{\n@vii\@xli \let\st@m\up@flag \g@q}
-\def\@cccu{\n@vii42\let\st@m\up@flag \g@q}
-\def\@ccccu{\n@vii43\let\st@m\up@flag \g@q}
-\def\@cccccu{\n@vii44\let\st@m\up@flag \g@q}
-
-\def\@cl{\n@vii\@xlv \let\st@m\down@flag \g@q}
-\def\@ccl{\n@vii46\let\st@m\down@flag \g@q}
-\def\@cccl{\n@vii47\let\st@m\down@flag \g@q}
-\def\@ccccl{\n@vii48\let\st@m\down@flag \g@q}
-\def\@cccccl{\n@vii49\let\st@m\down@flag \g@q}
-
-\def\@cup{\n@vii\@xl \let\st@m\up@flag \g@qp}
-\def\@ccup{\n@vii\@xli \let\st@m\up@flag \g@qp}
-\def\@clp{\n@vii\@xlv \let\st@m\down@flag \g@qp}
-\def\@cclp{\n@vii46\let\st@m\down@flag \g@qp}
-
-
-\def\@cupp{\n@vii\@xl \let\st@m\up@flag \g@qpp}
-\def\@clpp{\n@vii\@xlv \let\st@m\down@flag \g@qpp}
-
-%%% half notes
-
-\def\h@symbol{\def\q@u{\musixfont\@ight}}
-
-\def\ha{\h@symbol\@qa}
-\def\hap#1{\pt{#1}\ha{#1}} % 1.27 RDT
-\def\happ#1{\ppt{#1}\ha{#1}} % 1.27 RDT
-\def\hu{\h@symbol\@qu}
-\def\hup{\h@symbol\@qup}
-\def\hupp{\h@symbol\@qupp}
-
-\def\hl{\h@symbol\@ql}
-\def\hlp{\h@symbol\@qlp}
-\def\hlpp{\h@symbol\@qlpp}
-
-\def\hb{\h@symbol\@qb}
-\def\hbp{\h@symbol\@qbp}
-\def\hbpp{\h@symbol\@qbpp}
-
-\def\zh{\h@symbol\@zq}
-\def\zhp{\h@symbol\@zqp}
-\def\zhpp{\h@symbol\@zqpp}
-
-\def\lh{\h@symbol\@lq}
-\def\rh{\h@symbol\@rq}
-
-\def\zhu{\advancefalse\hu}
-\def\zhup{\advancefalse\hup}
-\def\zhupp{\advancefalse\hupp}
-
-\def\lhu{\h@symbol\@lqu}
-\def\rhu{\h@symbol\@rqu}
-
-\def\zhl{\advancefalse\hl}
-\def\zhlp{\advancefalse\hlp}
-\def\zhlpp{\advancefalse\hlpp}
-
-\def\lhl{\h@symbol\@lql}
-\def\rhl{\h@symbol\@rql}
-
-\def\lhp#1{\loff{\zhp{#1}}}
-\def\rhp#1{\roff{\zhp{#1}}}
-\def\lhpp#1{\loff{\zhpp{#1}}}
-\def\rhpp#1{\roff{\zhpp{#1}}}
-
-%%% quarter notes, stem up
-
-\def\q@symbol{\def\q@u{\musixfont\s@v@n}}
-
-\def\qa{\q@symbol\@qa}
-
-\def\qap#1{\pt{#1}\qa{#1}} % 1.25 RDT
-\def\qapp#1{\ppt{#1}\qa{#1}} % 1.25 RDT
-
-\def\qu{\q@symbol\@qu}
-\def\qup{\q@symbol\@qup}
-\def\qupp{\q@symbol\@qupp}
-
-%%% quarter notes, stem down
-
-\def\ql{\q@symbol\@ql}
-\def\qlp{\q@symbol\@qlp}
-\def\qlpp{\q@symbol\@qlpp}
-
-%%% quarter notes, stem up, no advance
-
-\def\zqu{\advancefalse\qu}
-\def\zqup{\advancefalse\qup}
-\def\zqupp{\advancefalse\qupp}
-
-\def\lqu{\q@symbol\@lqu}
-\def\rqu{\q@symbol\@rqu}
-
-%%% quarter notes, stem down, no advance
-
-\def\zql{\advancefalse\ql}
-\def\zqlp{\advancefalse\qlp}
-\def\zqlpp{\advancefalse\qlpp}
-
-\def\lql{\q@symbol\@lql}
-\def\rql{\q@symbol\@rql}
-
-%%% quarter noteheads, no advance
-
-\def\zq{\q@symbol\@zq}
-\def\zqp{\q@symbol\@zqp}
-\def\zqpp{\q@symbol\@zqpp}
-
-\def\lqp#1{\loff{\zqp{#1}}}%
-\def\lqpp#1{\loff{\zqpp{#1}}}%
-\def\rqp#1{\roff{\zqp{#1}}}%
-\def\rqpp#1{\roff{\zqpp{#1}}}%
-
-\def\lq@{\q@symbol\@lq}
-\def\rq@{\q@symbol\@rq}
-
-%
-% note heads without stems
-\def\nh{\h@symbol\@nq}
-\def\nq{\q@symbol\@nq}
-\def\znh{\advancefalse\nh}
-\def\znq{\advancefalse\nq}
-
-%%% 8th, 16th, 32th, 64th, (128th) notes
-
-\def\ca{\q@symbol\@ca}
-\def\cca{\q@symbol\@cca}
-\def\ccca{\q@symbol\@ccca}
-\def\cccca{\q@symbol\@cccca}
-\def\ccccca{\q@symbol\@ccccca}
-
-\def\cu{\q@symbol\@cu}
-\def\ccu{\q@symbol\@ccu}
-\def\cccu{\q@symbol\@cccu}
-\def\ccccu{\q@symbol\@ccccu}
-\def\cccccu{\q@symbol\@cccccu}
-
-\def\cup{\q@symbol\@cup}
-\def\ccup{\q@symbol\@ccup}
-\def\cupp{\q@symbol\@cupp}
-
-\def\zcu{\advancefalse\cu}
-\def\zccu{\advancefalse\ccu}
-\def\zcccu{\advancefalse\cccu}
-\def\zccccu{\advancefalse\ccccu}
-\def\zcccccu{\advancefalse\cccccu}
-
-\def\lcu#1{\kernm\qn@width\zcu{#1}\kern\qn@width}
-\def\rcu#1{\kern\qn@width\zcu{#1}\kernm\qn@width}
-
-\def\zcup{\advancefalse\cup}
-\def\zccup{\advancefalse\ccup}
-\def\zcupp{\advancefalse\cupp}
-
-\def\cl{\q@symbol\@cl}
-\def\ccl{\q@symbol\@ccl}
-\def\cccl{\q@symbol\@cccl}
-\def\ccccl{\q@symbol\@ccccl}
-\def\cccccl{\q@symbol\@cccccl}
-
-\def\clp{\q@symbol\@clp}
-\def\cclp{\q@symbol\@cclp}
-\def\clpp{\q@symbol\@clpp}
-
-\def\zcl{\advancefalse\cl}
-\def\zccl{\advancefalse\ccl}
-\def\zcccl{\advancefalse\cccl}
-\def\zccccl{\advancefalse\ccccl}
-\def\zcccccl{\advancefalse\cccccl}
-
-\def\zclp{\advancefalse\clp}
-\def\zcclp{\advancefalse\cclp}
-\def\zclpp{\advancefalse\clpp}
-
-\def\lcl#1{\kernm\qn@width\zcl{#1}\kern\qn@width}
-\def\rcl#1{\kern\qn@width\zcl{#1}\kernm\qn@width}
-
-%%% beam notes
-
-\def\qb{\q@symbol\@qb}
-\def\qbp{\q@symbol\@qbp}
-\def\qbpp{\q@symbol\@qbpp}
-
-\def\zqb{\advancefalse\qb}
-\def\zqbp{\advancefalse\qbp}
-\def\zqbpp{\advancefalse\qbpp}
-
-\def\tqh{\q@symbol\@tqh}
-\def\tqu{\q@symbol\@tqh} % version 1.16 RDT
-\def\tqb{\q@symbol\@tqb}
-\def\tql{\q@symbol\@tqb} % version 1.16 RDT
-
-\def\tqqh#1#2{\tbbu{#1}\tqh{#1}{#2}} % version 1.17 RDT
-\def\tqqu{\tqqh} % version 1.17 RDT
-\def\tqqb#1#2{\tbbl{#1}\tqb{#1}{#2}} % version 1.17 RDT
-\def\tqql{\tqqb} % version 1.17 RDT
-\def\tqqqh#1#2{\tbbbu{#1}\tqqh{#1}{#2}} % version 1.17 RDT
-\def\tqqqu{\tqqqh} % version 1.17 RDT
-\def\tqqqb#1#2{\tbbbl{#1}\tqqb{#1}{#2}} % version 1.17 RDT
-\def\tqqql{\tqqqb} % version 1.17 RDT
-
-\def\nqqh#1#2{\tbbu{#1}\qb{#1}{#2}} % version 1.27 RDT
-\def\nqqb#1#2{\tbbl{#1}\qb{#1}{#2}} % version 1.27 RDT
-\def\nqqqh#1#2{\tbbbu{#1}\qb{#1}{#2}} % version 1.27 RDT
-\def\nqqqb#1#2{\tbbbl{#1}\qb{#1}{#2}} % version 1.27 RDT
-\def\nqqu{\nqqh} % version 1.27 RDT
-\def\nqql{\nqqb} % version 1.27 RDT
-\def\nqqqu{\nqqqh} % version 1.27 RDT
-\def\nqqql{\nqqqb} % version 1.27 RDT
-
-\def\ztqh{\advancefalse\q@symbol\@tqh}
-\def\ztqu{\advancefalse\q@symbol\@tqh} % version 1.16 RDT
-\def\ztqb{\advancefalse\q@symbol\@tqb}
-\def\ztql{\advancefalse\q@symbol\@tqb} % version 1.16 RDT
-
-%%% grace notes
-
-\def\grcu{\q@symbol\@grcu}
-\def\grcl{\q@symbol\@grcl}
-
-\def\@grcu{\n@vii\tw@lv@ \let\st@m\up@flag \g@q}
-\def\@grcl{\n@vii\active \let\st@m\down@flag \g@q}
-
-%%% starting beams
-
-% \ibu{0<=numero<10}{altitude~note}{pente de -9 a +9}
-% \ibl{0<=numero<10}{altitude~note}{pente de -9 a +9}
-
-% \b@p slope (-9) - (9)
-% \b@n number of pending beamlines (-4) - (4)
-
-\def\test@beamnum{% [version 1.15] new macro to make it independent from slur
- \ifnum\n@i<\z@ \n@i\@c \fi
- \ifnum\n@i<\maxinstruments \else
- \count@\maxinstruments \advance\count@\m@ne
- \errmessage{Wrong beam reference number \the\n@i! (valid: 0 to \the\count@)}
- \n@i\z@
- \fi
- \advance\n@i\@ne}%
-
-\def\s@l@ctbeam#1\relax{%
- \n@i#1\relax\test@beamnum % [version 1.15] make it independent from slur
- \edef\b@x{\csname b@x\romannumeral\n@i\endcsname}%
- \edef\b@z{\csname b@z\romannumeral\n@i\endcsname}%
- \edef\b@n{\csname b@n\romannumeral\n@i\endcsname}%
- \edef\b@p{\csname b@p\romannumeral\n@i\endcsname}}
-
-\def\s@l@ctc{\edef\c@x{\csname c@x\romannumeral\n@i\endcsname}%
- \edef\c@z{\csname c@z\romannumeral\n@i\endcsname}}
-
-\def\s@l@ctd{\edef\d@x{\csname d@x\romannumeral\n@i\endcsname}%
- \edef\d@z{\csname d@z\romannumeral\n@i\endcsname}\s@l@ctc}
-
-\def\s@l@cte{\edef\e@x{\csname e@x\romannumeral\n@i\endcsname}%
- \edef\e@z{\csname e@z\romannumeral\n@i\endcsname}\s@l@ctd}
-
-\def\s@l@ctf{\edef\f@x{\csname f@x\romannumeral\n@i\endcsname}%
- \edef\f@z{\csname f@z\romannumeral\n@i\endcsname}\s@l@cte}
-
-\def\s@l@ctg{\edef\g@x{\csname g@x\romannumeral\n@i\endcsname}%
- \edef\g@z{\csname g@z\romannumeral\n@i\endcsname}\s@l@ctf}
-
-\def\ibu#1{\s@l@ctbeam#1\relax \i@bu}
-\def\ibbu#1{\s@l@ctbeam#1\relax \s@l@ctc \i@bbu}
-\def\ibbbu#1{\s@l@ctbeam#1\relax \s@l@ctd \i@bbbu}
-\def\ibbbbu#1{\s@l@ctbeam#1\relax \s@l@cte \i@bbbbu}
-\def\ibbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctf \i@bbbbbu}
-
-\def\ibl#1{\s@l@ctbeam#1\relax \i@bl}
-\def\ibbl#1{\s@l@ctbeam#1\relax \s@l@ctc \i@bbl}
-\def\ibbbl#1{\s@l@ctbeam#1\relax \s@l@ctd \i@bbbl}
-\def\ibbbbl#1{\s@l@ctbeam#1\relax \s@l@cte \i@bbbbl}
-\def\ibbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctf \i@bbbbbl}
-
-\def\i@bu#1#2{%\check@staff
- \ifnum\b@n=\z@ \else \C@tb\t@bbu\qn@width \fi \global\b@n\m@ne
- \inhgetn@i#1\relax \n@v#2 \C@ib+\global\advance\b@x\qd@skip}
-
-\def\i@bl#1#2{%\check@staff
- \ifnum\b@n=\z@ \else \C@tb\t@bbl\lthick \fi \global\b@n\@ne
- \inhgetn@i#1\relax \n@v#2 \C@ib-}
-
-\def\C@ib#1{\max@n@v\nin@\min@n@v{-\nin@}\global\b@p\n@v % clip slope number
- \getcurpos \global\b@x\y@v \b@z#14.333\interbeam \advance\b@z\altportee
- \pl@base \global\advance\b@z\y@i}
-
-\def\C@ba#1#2{\global\advance#1#2\interbeam}
-
-\def\i@bbu#1#2{\ifnum\b@n=\z@ \i@bu{#1}{#2}\C@ba\b@z\@ne \fi\n@bbu}
-\def\i@bbl#1#2{\ifnum\b@n=\z@ \i@bl{#1}{#2}\C@ba\b@z\m@ne \fi\n@bbl}
-
-\def\i@bbbu#1#2{\ifnum\b@n=\z@
- \i@bbu{#1}{#2}\C@ba\b@z\@ne \C@ba\c@z\@ne \fi\n@bbbu}
-\def\i@bbbl#1#2{\ifnum\b@n=\z@
- \i@bbl{#1}{#2}\C@ba\b@z\m@ne \C@ba\c@z\m@ne \fi\n@bbbl}
-
-\def\i@bbbbu#1#2{\ifnum\b@n=\z@
- \i@bbbu{#1}{#2}\C@ba\b@z\@ne \C@ba\c@z\@ne \C@ba\d@z\@ne \fi\n@bbbbu}
-\def\i@bbbbl#1#2{\ifnum\b@n=\z@
- \i@bbbl{#1}{#2}\C@ba\b@z\m@ne \C@ba\c@z\m@ne \C@ba\d@z\m@ne \fi\n@bbbbl}
-
-\def\i@bbbbbu#1#2{\ifnum\b@n=\z@
- \i@bbbbu{#1}{#2}\C@ba\b@z\@ne \C@ba\c@z\@ne \C@ba\d@z\@ne \C@ba\e@z\@ne \fi\n@bbbbbu}
-\def\i@bbbbbl#1#2{\ifnum\b@n=\z@
- \i@bbbbl{#1}{#2}\C@ba\b@z\m@ne \C@ba\c@z\m@ne \C@ba\d@z\m@ne \C@ba\e@z\m@ne \fi\n@bbbbbl}
-
-%%% changing beams
-
-\def\Dec@b#1#2{\ifnum\b@n=#1#2\fi\ifnum\b@n=-#1#2\fi}
-
-%!\def\nbbu#1{\s@l@ctbeam#1\relax \s@l@ctc \ifnum\b@n>-\tw@ \ifnum\b@n<\tw@ \n@bbu \fi \fi }
-%!\def\nbbl#1{\s@l@ctbeam#1\relax \s@l@ctc \ifnum\b@n>-\tw@ \ifnum\b@n<\tw@ \n@bbl \fi \fi }
-
-\def\nbbu#1{\s@l@ctbeam#1\relax \s@l@ctc \n@bbu}
-\def\nbbl#1{\s@l@ctbeam#1\relax \s@l@ctc \n@bbl}
-
-\def\nbbbu#1{\s@l@ctbeam#1\relax \s@l@ctd \Dec@b\@ne\n@bbu \Dec@b\tw@\n@bbbu}
-\def\nbbbl#1{\s@l@ctbeam#1\relax \s@l@ctd \Dec@b\@ne\n@bbl \Dec@b\tw@\n@bbbl}
-
-\def\nbbbbu#1{\s@l@ctbeam#1\relax \s@l@cte
- \Dec@b\@ne\n@bbu \Dec@b\tw@\n@bbbu \Dec@b\thr@@\n@bbbbu}
-\def\nbbbbl#1{\s@l@ctbeam#1\relax \s@l@cte
- \Dec@b\@ne\n@bbl \Dec@b\tw@\n@bbbl \Dec@b\thr@@\n@bbbbl}
-
-\def\nbbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctf
- \Dec@b\@ne\n@bbu \Dec@b\tw@\n@bbbu \Dec@b\thr@@\n@bbbbu \Dec@b\f@ur\n@bbbbbu}
-\def\nbbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctf
- \Dec@b\@ne\n@bbl \Dec@b\tw@\n@bbbl \Dec@b\thr@@\n@bbbbl \Dec@b\f@ur\n@bbbbbl}
-
-\def\n@bbu{\C@nb\c@z\c@x\@ne\qd@skip}
-\def\n@bbl{\C@nb\c@z\c@x\@ne\z@}
-\def\n@bbbu{\C@nb\d@z\d@x\tw@\qd@skip}
-\def\n@bbbl{\C@nb\d@z\d@x\tw@\z@}
-\def\n@bbbbu{\C@nb\e@z\e@x\thr@@\qd@skip}
-\def\n@bbbbl{\C@nb\e@z\e@x\thr@@\z@}
-\def\n@bbbbbu{\C@nb\f@z\f@x\f@ur\qd@skip}
-\def\n@bbbbbl{\C@nb\f@z\f@x\f@ur\z@}
-
-\def\C@nb#1#2#3#4{%
- \global#1\b@z
- \ifnum\b@n<\z@ \global\advance\b@n\m@ne \global\advance#1-#3\interbeam \fi
- \ifnum\b@n>\z@ \global\advance\b@n\@ne \C@ba#1#3\fi
- {\advance\locx@skip#4\getcurpos \global#2\y@v
- \advance\y@v-\b@x \comp@slope\y@v \global\advance#1\s@lope}}
-
-%%% beam termination
-
-\def\b@adjust{\ifdim\y@ii>\tw@\y@ \advance\y@\y@ \advance\n@vi\@ne \fi}
-
-\def\@beam{% \y@ii : longueur, \b@p : pente, \y@i : altitude
- \ifnum\b@p=\z@
-% slope zero
- \y@iii\y@i\y@iv\y@i
- \advance\y@iii-\b@amthick \advance\y@iv\b@amthick
- \vrule\@height\y@iv\@depth-\y@iii\@width\y@ii
- \else\n@vi\z@
-% slope offset
- \ifnum\b@p>\z@ \n@vi\b@p \multiply\n@vi\si@ \advance\n@vi-\si@ \fi
- \ifnum\b@p<\z@ \n@vi-\b@p \multiply\n@vi\si@ \advance\n@vi58\fi
-% find longest possible character to avoid patchwork
- \y@\tw@\p@
- \b@adjust \b@adjust \b@adjust \b@adjust \b@adjust
- \advance\n@vi\@cxxviii
- \chardef\b@alk\n@vi\musixfont
-%
-% \curwidth=0pt \curheight=\y@i \curxpos=\completewidth
-% \loop\ifdim\curwidth<\completewidth
-% \advance\curxpos by -\beamwidth
-% \ifdim\curxpos<0pt
-% \comp@slope\curxpos
-% \advance\curheight by \s@lope \kern\curxpos \fi
-% \raise\curheight\hbox{\b@alk}%
-% \advance\curwidth by \beamwidth
-% \comp@slope\beamwidth
-% \advance\curheight by \s@lope
-% \repeat \fi
-%
- \y@iv\z@ \y@iii\y@i \y@v\y@ii
- \loop\ifdim\y@iv<\y@ii
- \advance\y@v-\y@
- \ifdim\y@v<\z@ \comp@slope\y@v \advance\y@iii\s@lope \kern\y@v \fi
- \raise\y@iii\hbox{\b@alk}%
- \advance\y@iv\y@ \comp@slope\y@ \advance\y@iii\s@lope
- \repeat \fi}
-
-\def\s@l@ctcde{\s@l@ctc \s@l@ctd \s@l@cte \s@l@ctf }
-
-\def\tbu#1{\s@l@ctbeam#1\relax \C@tb\t@bbu\qn@width }
-\def\tbbu#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbu}
-\def\tbbbu#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbu}
-\def\tbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbbu}
-\def\tbbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbbbu}
-
-\def\tbl#1{\s@l@ctbeam#1\relax \C@tb\t@bbl\lthick }
-\def\tbbl#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbl}
-\def\tbbbl#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbl}
-\def\tbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbbl}
-\def\tbbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbbbl}
-
-\def\beam@pos#1{\getcurpos\y@ii\y@v\advance\y@ii-#1}
-
-\def\C@tb#1#2{%
- \n@ii\b@n \ifnum\n@ii<\z@ \n@ii-\n@ii \fi
- \ifcase\n@ii \or \or \s@l@ctc \or \s@l@ctd \or \s@l@cte \or \s@l@ctf \or \s@l@ctg\fi
- \ifnum\b@n<\m@ne #1\fi
- \ifnum\b@n>\@ne #1\fi
- \y@i\b@z \advance\y@i-\altportee \beam@pos\b@x
- \advance\y@ii#2\relax
- \check@staff
- \llap{\@beam\kernm#2}\relax
- \fi\global\b@n\z@}
-
-\def\t@bbu{\n@v\tw@ \C@b\t@bbbu\n@bbu\y@i\c@z \beam@pos\c@x \t@xbu}
-\def\t@bbl{\n@v\tw@ \C@b\t@bbbl\n@bbl\y@i\c@z \beam@pos\c@x \t@xbl}
-
-\def\t@bbbu{\n@v\thr@@ \C@b\t@bbbbu\n@bbbu\y@i\d@z \beam@pos\d@x \t@xbu}
-\def\t@bbbl{\n@v\thr@@ \C@b\t@bbbbl\n@bbbl\y@i\d@z \beam@pos\d@x \t@xbl}
-
-\def\t@bbbbu{\n@v\f@ur \C@b\t@bbbbbu\n@bbbbu\y@i\e@z \beam@pos\e@x \t@xbu}
-\def\t@bbbbl{\n@v\f@ur \C@b\t@bbbbbl\n@bbbbl\y@i\e@z \beam@pos\e@x \t@xbl}
-
-\def\t@bbbbbu{\n@v\fiv@ \C@b\empty\n@bbbbbu\y@i\f@z \beam@pos\f@x \t@xbu}
-\def\t@bbbbbl{\n@v\fiv@ \C@b\empty\n@bbbbbl\y@i\f@z \beam@pos\f@x \t@xbl}
-
-\def\C@b#1#2{%
- \n@ii\b@n \ifnum\n@ii<\z@ \n@ii-\n@ii \fi
- \ifnum\n@ii>\n@v #1\fi
- \loop
- \advance\n@v\m@ne
- \ifnum\n@ii=\n@v {\advance\locx@skip-\qn@width#2}\fi
- \ifnum\n@v>\@ne \repeat}
-
-\def\t@xbu{\C@txb\qn@width\interbeam\b@amthick\qd@skip>}
-\def\t@xbl{\C@txb\lthick\b@amthick\interbeam\hlthick<}
-
-\def\C@txb#1#2#3#4#5{\advance\y@i-\altportee
- \advance\y@ii#1\relax
- \check@staff
- \llap{\@beam\kernm#1}%
- \ifnum\b@n#5\z@ \comp@slope\y@ii \advance\y@i\s@lope
- \raise\y@i\rlap{\kern#4\vrule\@height#3\@depth#2\@width\lthick}\relax
- \fi
- \fi
- \ifnum\b@n<\z@ \global\advance\b@n\@ne \fi
- \ifnum\b@n>\z@ \global\advance\b@n\m@ne \fi}
-
-%%% semiautomatic beams
-
-% adjustable beam slopes
-% #1: beam number
-% #2: starting pitch
-% #3: ending pitch,
-% #4: extension (number of \noteskip's)
-
-\def\Ibu#1{\s@l@ctbeam#1\relax\I@bu\i@bu}
-\def\Ibl#1{\s@l@ctbeam#1\relax\I@bl\i@bl}
-\def\Ibbu#1{\s@l@ctbeam#1\relax \s@l@ctc \I@bu\i@bbu}
-\def\Ibbl#1{\s@l@ctbeam#1\relax \s@l@ctc \I@bl\i@bbl}
-\def\Ibbbu#1{\s@l@ctbeam#1\relax \s@l@ctd \I@bu\i@bbbu}
-\def\Ibbbl#1{\s@l@ctbeam#1\relax \s@l@ctd \I@bl\i@bbbl}
-\def\Ibbbbu#1{\s@l@ctbeam#1\relax \s@l@cte \I@bu\i@bbbbu}
-\def\Ibbbbl#1{\s@l@ctbeam#1\relax \s@l@cte \I@bl\i@bbbbl}
-\def\Ibbbbbu#1{\s@l@ctbeam#1\relax \s@l@cte \I@bu\i@bbbbbu}
-\def\Ibbbbbl#1{\s@l@ctbeam#1\relax \s@l@cte \I@bl\i@bbbbbl}
-
-% compute altitude difference of tried beam in \y@iv
-% and compare with notes altitude difference
-
-\def\@@chk{\y@iv.05\y@v \multiply\y@iv\n@viii}
-
-\def\I@buuchk{\@@chk
- \ifdim\y@iv>\n@ii\internote \advance\n@viii\m@ne \I@buuchk \fi
- \ifnum\n@viii>\nin@ \advance\n@i\@ne \advance\n@ii\m@ne \I@buuchk \fi}
-
-\def\I@bldchk{\@@chk
- \ifdim\y@iv<\n@ii\internote \advance\n@viii\@ne \I@bldchk \fi
- \ifnum\n@viii<-\nin@ \advance\n@i\m@ne \advance\n@ii\@ne \I@bldchk \fi}
-
-\def\I@budchk{\@@chk
- \ifdim\y@iv<\n@ii\internote \advance\n@viii\@ne \I@budchk \fi}
-
-\def\I@bluchk{\@@chk
- \ifdim\y@iv>\n@ii\internote \advance\n@viii\m@ne \I@bluchk \fi}
-
-\def\I@bu{\let\@Ti\I@buuchk \let\@Tii\I@budchk \C@Ib}
-\def\I@bl{\let\@Ti\I@bluchk \let\@Tii\I@bldchk \C@Ib}
-
-\def\C@Ib#1#2#3#4{{\n@v#4\relax \min@n@v\@ne
- \inhgetn@i#3\relax\n@ii\n@i
- \inhgetn@i#2\relax\advance\n@ii-\n@i
- \y@v\noteskip \multiply\y@v\n@v
- \ifnum\n@ii=\z@ #1{#2}0%
- \else
- \ifnum\n@ii>\z@ \n@viii\t@n \@Ti\else\n@viii-\t@n \@Tii \fi
- \edef\I@boper{\noexpand#1{\the\n@i}{\the\n@viii}\relax}\I@boper
- \fi}}
-
-% sets of double notes with computed slopes
-
-\def\B@h{\let\B@ii\tqh}
-\def\B@b{\let\B@ii\tqb}
-
-\def\Dqbu{\let\B@i\Ibu \B@h\C@Dq}
-\def\Dqbl{\let\B@i\Ibl \B@b\C@Dq}
-\def\Dqbbu{\let\B@i\Ibbu \B@h\C@Dq}
-\def\Dqbbl{\let\B@i\Ibbl \B@b\C@Dq}
-
-\def\C@Dq#1#2{\B@i0{#1}{#2}1\qb0{#1}\B@ii0{#2}}
-
-% sets of triple notes with computed slopes
-
-\def\Tqbu{\let\B@i\Ibu \B@h\C@Tq}
-\def\Tqbl{\let\B@i\Ibl \B@b\C@Tq}
-\def\Tqbbu{\let\B@i\Ibbu \B@h\C@Tq}
-\def\Tqbbl{\let\B@i\Ibbl \B@b\C@Tq}
-
-\def\C@Tq#1#2#3{\B@i0{#1}{#3}2\qb0{#1#2}\B@ii0{#3}}
-
-% sets of quadruple notes with computed slopes
-
-\def\Qqbu{\let\B@i\Ibu \B@h\C@Qq}
-\def\Qqbl{\let\B@i\Ibl \B@b\C@Qq}
-\def\Qqbbu{\let\B@i\Ibbu \B@h\C@Qq}
-\def\Qqbbl{\let\B@i\Ibbl \B@b\C@Qq}
-
-\def\C@Qq#1#2#3#4{\B@i0{#1}{#4}3\qb0{#1#2#3}\B@ii0{#4}}
-
-%%% duration points
-
-\def\pt{\g@pt\@ne\z@}
-\def\ppt{\g@pt\@ne\@ne}
-\def\pppt{\g@pt\@ne\tw@}
-
-\def\lpt{\g@pt\m@ne\z@}
-\def\lppt{\g@pt\m@ne\@ne}
-\def\lpppt{\g@pt\m@ne\tw@}
-
-
-% Shifted, pointed chord notes
-%
-\def\lhp#1{\loff{\zhp{#1}}}
-\def\rhp#1{\roff{\zhp{#1}}}
-\def\lqp#1{\loff{\zqp{#1}}}
-\def\rqp#1{\roff{\zqp{#1}}}
-\def\rhpp#1{\roff{\zhpp{#1}}}
-\def\lhpp#1{\loff{\zhpp{#1}}}
-\def\rqpp#1{\roff{\zqpp{#1}}}
-\def\lqpp#1{\loff{\zqpp{#1}}}
-
-\def\g@pt#1#2#3{\check@staff
- \inhgetn@i#3\relax \relax % two \relax since the first one
- \ifnum\n@i<\@c % in swallowed by \inhgetn@i
- \ifodd\n@i \else\advance\n@i#1\fi
- \pl@base \raise\y@i\hbox{\musixchar#2}\fi\fi}
-
-%%% rests
-
-\def\wholeshift#1{\roffset{\p@ne25}{#1}}
-
-\def\centerbar#1{\y@ii\lin@pos \advance\y@ii-\lastbarpos \advance\y@ii\cut@v
- \kern-\h@lf\y@ii\lrlap{#1}\kern\h@lf\y@ii}%
-
-
-\def\cpause{\hbox{\ccn{6}{\musixchar61}}}
-\def\chpause{\hbox{\ccn{4}{\musixchar60}}}
-\def\cPAuse{\hbox{\ccn{0}{\musixchar58}}}
-\def\cPAUSe{\hbox{\ccn{0}{\musixchar59}}}
-
-\def\cHpause#1{% 1.21 RDT
-\y@ii\lin@pos \advance\y@ii-\lastbarpos%
-\def\v@rtpart{\hbox{\vrule width.6pt height1.5\internote depth1.5\internote}}%
-\def\h@rizpart{\hbox{\vrule width0.35\y@ii height.5\internote depth.5\internote}}%
-\raise4\internote\hbox{\v@rtpart\h@rizpart\ccn5{\meterfont{#1}}\h@rizpart\v@rtpart}}%
-
-\def\centerpause{\centerbar{\cpause}}
-\def\centerhpause{\centerbar{\chpause}}
-\def\centerPAuse{\centerbar{\cPAuse}}
-\def\centerPAUSe{\centerbar{\cPAUSe}}
-\def\centerHpause#1{\centerbar{\cHpause{#1}}}
-
-\def\C@ps#1#2#3{\n@viii#3\multiply\n@viii\tw@
- \advance\n@viii#2\raise\n@viii\internote \hbox{\musixchar#1}}
-\def\C@pspt#1#2#3{\n@viii#3\multiply\n@viii\tw@
- \advance\n@viii#2\raise\n@viii\internote \hbox{\musixchar#1\relax
- \ifnum #1=\t@n\relax \raise 0.7\internote\hbox{\kern 0.2\qn@width\musixchar0}%
- \else \raise -0.7\internote\hbox{\kern 0.2\qn@width\musixchar0}%
- \fi}%
- }
-
-\def\PAUSe{\adv@box{\musixchar59}}
-\def\PAuse{\adv@box{\musixchar58}}
-
-\def\pause{\check@staff
- \adv@box{\raise\si@\internote\hbox{\musixchar61}}\fi}
-\def\pausep{\wholeshift{\pt5}\pause}
-\def\liftpause{\C@ps\@l@v@n\si@}
-\def\liftpausep{\C@pspt\@l@v@n\si@}
-
-\def\hpause{\check@staff
- \adv@box{\raise\f@ur\internote\hbox{\musixchar60}}\fi}
-\let\hp\hpause
-\def\hpausep{\wholeshift{\pt5}\hpause}
-\let\hpp\hpausep
-\def\lifthpause{\C@ps\t@n\f@ur}
-\def\lifthpausep{\C@pspt\t@n\f@ur}
-
-\newdimen\lift@rest
-\def\adv@restbox#1{\hbox{\lift@rest 5\internote
- \advance\lift@rest -2.5\fontdimen\fiv@\musixfont
- \raise\lift@rest\hbox\@to\noteskip{#1\hss}}\advance\locx@skip\noteskip}
-
-\def\qp{\adv@restbox{\check@staff\musixchar62\fi}}
-\let\soupir\qp
-
-%\def\ds@oup{\adv@restbox{\check@staff\musixchar63\fi}} % why? RDT 1.27
-\def\ds{\adv@restbox{\check@staff\musixchar63\fi}}
-\def\qs{\adv@restbox{\check@staff\musixchar64\fi}}
-\def\hs{\adv@restbox{\check@staff\musixchar65\fi}}
-\def\qqs{\adv@restbox{\check@staff\musixchar66\fi}}
-
-% pointed rests version 1.16 RDT
-\def\qpp{\adv@restbox{\check@staff\pt5\musixchar62\fi}}
-\def\dsp{\adv@restbox{\check@staff\pt5\musixchar63\fi}}
-\def\qsp{\adv@restbox{\check@staff\pt5\musixchar64\fi}}
-\def\hsp{\adv@restbox{\check@staff\pt5\musixchar65\fi}}
-\def\qqsp{\adv@restbox{\check@staff\pt5\musixchar66\fi}}
-
-% double-dotted rests version 1.17 RDT
-
-\def\pausepp{\wholeshift{\ppt5}\pause}
-\def\hpausepp{\wholeshift{\ppt5}\hpause}
-\let\hppp\hpausepp
-\def\qppp{\adv@restbox{\check@staff\ppt5\musixchar62\fi}}
-\def\dspp{\adv@restbox{\check@staff\ppt5\musixchar63\fi}}
-\def\qspp{\adv@restbox{\check@staff\ppt5\musixchar64\fi}}
-\def\hspp{\adv@restbox{\check@staff\ppt5\musixchar65\fi}}
-\def\qqspp{\adv@restbox{\check@staff\ppt5\musixchar66\fi}}
-
-% copied from musixlit.tex: version 1.21 RDT
-
-\def\Hpause#1#2{\zcharnote{#1}{\def\s@r{%
-\vrule\@width.6\p@\@height1\h@lf\internote\@depth1\h@lf\internote}\s@r%
-\vrule\@width#2\noteskip\@height\h@lf\internote\@depth\h@lf\internote\s@r}}
-
-%%% accidentals
-
-\newskip\accshift
-
-\def\bigaccid{\let\small@test\iftrue}
-\def\smallaccid{\let\small@test\iffalse}
-\def\varaccid{\def\small@test{\ifdim\noteskip>1\p@seven\qn@width}}
-
-\varaccid % accidents de taille variable
-
-\def\na#1{\small@test\bigna{#1}\else\smallna{#1}\fi}
-\def\fl#1{\small@test\bigfl{#1}\else\smallfl{#1}\fi}
-\def\sh#1{\small@test\bigsh{#1}\else\smallsh{#1}\fi}
-\def\dfl#1{\small@test\bigdfl{#1}\else\smalldfl{#1}\fi}
-\def\dsh#1{\small@test\bigdsh{#1}\else\smalldsh{#1}\fi}
-
-% n@vi char pos of cautionpar (normal=5, doubleflat=6)
-% n@v offset to char pos (flat=0, dflat=1, sharp=2, dsharp=3, natural=4)
-% n@vi offset to char pos (big=0, small=60)
-% n@vii =maxdimen -> cautionacctrue
-
-\def\writ@ba{\pl@base\raise\y@i\llap{\musixchar\n@v\kern\accshift}}
-\def\set@ba{\let\@Ti\writ@ba \n@vi\z@}
-
-\def\bigna{\set@ba \let\@Tii\@Na \n@v\f@ur \C@acc}
-\def\bigfl{\set@ba \let\@Tii\@Fl \n@v\z@ \C@acc}
-\def\bigsh{\set@ba \let\@Tii\@Sh \n@v\tw@ \C@acc}
-\def\bigdfl{\set@ba \let\@Tii\@dFl \n@v\@ne \C@acc}
-\def\bigdsh{\set@ba \let\@Tii\@dSh \n@v\thr@@ \C@acc}
-
-\def\@sa{\ifnum\n@vii=\maxdimen \C@ChaR \musixchar\n@v \kern.3\qn@width
- \else \musixchar\n@v \fi \n@vii\z@}
-
-\def\smallna{\set@sa \let\@Tii\@Na \n@v\f@ur \C@acc}
-\def\smallfl{\set@sa \let\@Tii\@Fl \n@v\z@ \C@acc}
-\def\smallsh{\set@sa \let\@Tii\@Sh \n@v\tw@ \C@acc}
-\def\smalldfl{\set@sa \n@iv\si@ \let\@Tii\@dFl \n@v\@ne \C@acc}
-\def\smalldsh{\set@sa \let\@Tii\@dSh \n@v\thr@@ \C@acc}
-
-\def\cna{\set@ca \let\@Tii\@Na \n@v\f@ur \C@acc} % version 1.16 HM
-\def\cfl{\set@ca \let\@Tii\@Fl \n@v\z@ \C@acc}
-\def\csh{\set@ca \let\@Tii\@Sh \n@v\tw@ \C@acc}
-\def\cdfl{\set@ca \n@iv\si@ \let\@Tii\@dFl \n@v\@ne \C@acc}
-\def\cdsh{\set@ca \let\@Tii\@dSh \n@v\thr@@ \C@acc}
-%
-\def\writ@sa{\pl@base\raise\y@i\llap{\musixchar\n@v\kern\accshift}}
-\def\set@sa{\let\@Ti\writ@sa \n@iv\fiv@ \n@vi\@xl }
-\def\writ@ca{\pl@base\raise\y@i\llap{\C@ChaR \musixchar\n@v\kern.3\qn@width\kern\accshift}}
-\def\set@ca{\let\@Ti\writ@ca \n@iv\fiv@ \n@vi\@xl }
-
-\def\writ@ua{\advance\n@i\thr@@ \zchar\n@i{\kern\qu@rt\qn@width\@sa}}
-\def\set@upper{\let\@Ti\writ@ua \n@iv\fiv@ \n@vi\@xl }
-
-\def\upperna{\set@upper \let\@Tii\@Na \n@v\f@ur \C@acc}
-\def\upperfl{\set@upper \let\@Tii\@Fl \n@v\z@ \C@acc}
-\def\uppersh{\set@upper \let\@Tii\@Sh \n@v\tw@ \C@acc}
-
-\def\@Na{\ifcase\n@ii \n@v\tw@ \or \n@v\f@ur \or \n@v\z@ \fi}
-\def\@Fl{\ifcase\n@ii \n@v\f@ur \or \n@v\z@ \or \n@v\@ne \fi}
-\def\@Sh{\ifcase\n@ii \n@v\thr@@ \or \n@v\tw@ \or \n@v\f@ur \fi}
-\def\@dFl{\ifcase\n@ii \n@v\z@ \or \n@v\@ne \or
- \message{\@nod flatten \noexpand\dfl \t@ruc}\let\@Ti\empty \fi}
-\def\@dSh{\ifcase\n@ii
- \message{\@nod sharpen \noexpand\dsh \t@ruc}\let\@Ti\empty
- \or \n@v\thr@@ \or \n@v\tw@ \fi}
-
-\def\C@acc#1{%
- \check@staff
- \inhgetn@i#1\relax
- \ifx\rel@sw\@ne
- \s@l@ctsigns \n@iii\n@i
- \advance\n@iii-\ut@ref \advance\n@iii-\ut@ref
- \loop\ifnum\n@iii>\si@ \advance\n@iii-\s@v@n \repeat
- \loop\ifnum\n@iii<\z@ \advance\n@iii\s@v@n \repeat
- \ifcase\n@iii
- \n@ii\si@ % mi
- \or\n@ii\@ne % fa
- \or\n@ii\thr@@ % sol
- \or\n@ii\fiv@ % la
- \or\n@ii\s@v@n % si
- \or\n@ii\tw@ % do
- \or\n@ii\f@ur % re
- \fi
-% \n@ii positive signature limit, \n@ii-8 negative signature limit
- \advance\n@ii-\a@s \advance\n@ii\si@ \divide\n@ii\s@v@n
- \@Tii
- \fi \advance\n@v\@l \advance\n@v\n@vi \expandafter\@Ti % [version 1.15] (Hiroaki)
- \fi}
-
-\def\@nod{Can't double }
-
-\def\relativeaccid{\let\rel@sw\@ne }
-\def\absoluteaccid{\let\rel@sw\empty }
-\absoluteaccid
-
-\def\lna#1{\loffset\smallvalue{\na{#1}}}
-\def\lfl#1{\loffset\smallvalue{\fl{#1}}}
-\def\lsh#1{\loffset\smallvalue{\sh{#1}}}
-\def\ldfl#1{\loffset\smallvalue{\dfl{#1}}}
-\def\ldsh#1{\loffset\smallvalue{\dsh{#1}}}
-
-%%% arpeggio
-
-\def\arpeggio#1#2{\zcharnote{#1}{%
- \uplap{\leaders\hbox{\musixchar70}\vskip#2\Interligne}}}
-\def\larpeggio#1#2{\loffset\smallvalue{\arpeggio{#1}{#2}}}
-
-%%% ornaments, special signs
-
-\def\@Char#1{\zcharnote{#1}\C@ChaR}
-
-\def\backturn{\n@iv67\@Char}
-\def\turn{\n@iv68\@Char}
-\def\duevolte{{\keychar78}}
-\def\caesura{\llap{\musixchar79\kern\h@lf\noteskip}}
-\def\coda{\n@iv85\C@coda}
-\def\Coda{\n@iv105\C@coda}
-\def\C@coda#1{\llap{\@Char{#1}\kern\afterruleskip}}
-\def\segno{\n@iv86\@Char}
-\def\Segno{{\keychar110}}
-\def\shake{\n@iv87\@Char}
-\def\Shake{\n@iv88\@Char}
-\def\Shakel{\n@iv106\@Char}
-\def\Shakenw{\n@iv107\@Char}
-\def\Shakesw{\n@iv108\@Char}
-\def\Shakene{\n@iv109\@Char}
-\def\mordent{\n@iv89\@Char}
-\def\Mordent{\n@iv119\@Char}
-\def\doublethumb{\n@iv121\@Char}
-\def\trt#1{\loffset{0.65}{\shake{#1}}\roffset{0.65}{\mordent{#1}}}
-
-
-\def\tr#1{\loffset{0.15}{\zcn{#1}{\ppff tr}}} % \loffset added version 1.23 RDT
-\def\xtr#1{\raise1.25\internote\hbox{\n@iv111\zcn{#1}\C@ChaR}} % added version 1.23 RDT
-\def\ptr#1{\raise1.25\internote\hbox{\n@iv117\zcn{#1}\C@ChaR}} % added version 1.23 RDT
-%\def\Xtr#1{\wholeshift{\xtr{#1}}} % unnecessary?
-
-%%% accents
-
-\def\upbow{{\musixfont\@xxiii}}
-\def\downbow{{\musixchar22}}
-
-\def\flageolett{\n@iv120\uacc@Char}
-\def\usfz{\n@iv\tw@nty \uacc@Char}
-\def\lsfz{\n@iv21\lacc@Char}
-\def\dsfz{\lsfz}
-\def\upz{\n@iv\@xxiv \uacc@Char}
-\def\lpz{\n@iv\@xxv \lacc@Char}
-\def\dpz{\lpz}
-\def\ust{\n@iv\@xxvi \uacc@Char}
-\def\lst{\n@iv\@xxvii \lacc@Char}
-\def\dst{\lst}
-\def\uppz{\n@iv28\uacc@Char}
-\def\lppz{\n@iv\@xxix \lacc@Char}
-\def\dppz{\lppz}
-\def\usf{\n@iv30\uacc@Char}
-\def\lsf{\n@iv31\lacc@Char}
-\def\dsf{\lsf}
-\def\upzst{\n@iv18\uacc@Char}
-\def\lpzst{\n@iv19\lacc@Char}
-\def\dpzst{\lpzst}
-
-\def\uacc@Char#1{\check@staff
- \inhgetn@i#1\relax \relax
- \ifnum\n@i<\@ight \ifodd\n@i \else\advance\n@i\@ne \fi \fi
- \zchar\n@i\C@ChaR
- \fi}
-
-\def\lacc@Char#1{\check@staff
- \inhgetn@i#1\relax \relax
- \ifnum\n@i>\@ne \ifodd\n@i \else\advance\n@i\m@ne \fi \fi
- \zchar\n@i\C@ChaR
- \fi}
-
-\def\C@ChaR{\musixfont\char\n@iv}
-
- %%% accents on beams (correction proposed by Klaus Bechert)
-
-\def\acc@ubalk{\acc@balk>\@ne}
-\def\acc@lbalk{\acc@balk<\m@ne}
-\def\acc@balk#1#2#3{\s@l@ctbeam#3\relax \getcurpos \advance\y@v\txt@ff
- \advance\y@v-\b@x \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z
- \ifnum\b@n#1#2\relax \advance\y@ii\b@n\interbeam
- \advance\y@ii-#2\interbeam \fi
- \advance\y@ii-\altportee \raise\y@ii\rlap\balk@accent}
-\let\balk@accent\C@ChaR
-
-%\def\bflageolett{\n@iv120\acc@ubalk}
-\def\busfz{\n@iv\tw@nty \acc@ubalk}
-\def\blsfz{\n@iv21\acc@lbalk}
-%\def\bdownbow{\n@iv22\acc@ubalk}
-%\def\bupbow{\n@iv\@xxiii \acc@lbalk}
-\def\bupz{\n@iv\@xxiv \acc@ubalk}
-\def\blpz{\n@iv\@xxv \acc@lbalk}
-\def\bust{\n@iv\@xxvi \acc@ubalk}
-\def\blst{\n@iv\@xxvii \acc@lbalk}
-\def\buppz{\n@iv28\acc@ubalk}
-\def\blppz{\n@iv\@xxix \acc@lbalk}
-\def\busf{\n@iv30\acc@ubalk}
-\def\blsf{\n@iv31\acc@lbalk}
-%\def\bupzst{\n@iv18\acc@ubalk}
-%\def\blpzst{\n@iv19\acc@lbalk}
-
-% The next macros puts triplets (and others def'd with \txt) on beams
-
-\def\butext#1{\txt@ff\qn@width
- \def\balk@accent{\uplap{\lrlap{\kern\tw@\txt@ff\txtfont\txt}\kern\internote}}%
- \acc@ubalk{#1}\txt@ff\h@lf\qn@width \let\balk@accent\C@ChaR}
-
-\def\bltext#1{\txt@ff\z@
- \def\balk@accent{\vbox\@to\z@{\kern\internote\txtfont\lrlap\txt\vss}}%
- \acc@lbalk{#1}\txt@ff\h@lf\qn@width \let\balk@accent\C@ChaR}
-
-%%% end of accents on beams (correction proposed by Klaus Bechert)
-
-%%% crescendo, decrescendo
-
-% These macros puts variable size (de)crescendo marks.
-% \(de)crescendo{#1} #1=length (any TeX dimension, max 192pt(\simeq 68mm))
-
-\def\C@cresc#1{\y@iv#1\n@v\y@iv
- \sp@pt\@ne \advance\n@v\thr@@ % sp->pt round up
- \divide\n@v\si@ % the next is 6pt(notehead) wider
- \max@n@v\@xxxii
- \min@n@v\@ne % clip to extremities
- \advance\n@v\n@ii % first character position (-1)
- \mxsps\char\n@v}
-
-\def\crescendo{\n@ii\@lxxxiii \C@cresc}
-\def\decrescendo{\n@ii\@cxv \C@cresc}
-
-\newskip\@icresc
-\def\icresc{\getcurpos\global\@icresc\y@v }
-\def\tcresc{\n@ii\@lxxxiii \C@cre}
-\def\tdecresc{\n@ii\@cxv \C@cre}
-\def\C@cre{\getcurpos\advance\y@v-\@icresc \kernm\y@v\C@cresc\y@v\kern\y@v}
-
-%%% pedal signs
-
-\def\raiseped{-5}
-
-\def\sPed{\musixchar34}
-\def\sPED{%
-\zchar\raiseped\sPed%
-\getcurpos\advance\y@v1.6ex\global\pdl@pos\y@v%
-\xdef\pdl@instr{\the\noinstrum@nt}\xdef\pdl@staff{\the\noport@@}% save current instrument and staff
-}
-
-\def\Ped{\musixchar35}
-\def\PED{%
-\zchar\raiseped\Ped%
-\getcurpos\advance\y@v2.8ex\global\pdl@pos\y@v%
-\xdef\pdl@instr{\the\noinstrum@nt}\xdef\pdl@staff{\the\noport@@}% save current instrument and staff
-}
-\def\Dep{\musixchar33}
-\def\DEP{%
-\zchar\raiseped\Dep%
-\global\pdl@pos\z@%
-}
-\def\sDep{\musixchar104}
-\def\sDEP{%
-\zchar\raiseped\sDep%
-\global\pdl@pos\z@%
-}
-
-%%% pedal brackets version 1.21 RDT
-%%
-%% \pdld pedal down
-%% \pdlu pedal up
-%% \pdlud pedal up and immediately down
-
-\newdimen\pdl@pos % cursor position for pedal down
-\global\pdl@pos\z@
-
-\def\pdld{\hbox{\hroff{%
-\raise\raiseped\internote\hbox{\vrule height2ex depth0.5pt width0.5pt}%
-\getcurpos\global\pdl@pos\y@v%
-% save current instrument and staff
-\xdef\pdl@instr{\the\noinstrum@nt}\xdef\pdl@staff{\the\noport@@}%
-}}}%
-
-\def\pdlu{\hbox{\hroff{\getcurpos\advance\y@v-\pdl@pos%% compute length of horizontal rule
-\kern-\y@v%
-\raise\raiseped\internote\hbox{%
-\vrule height-0.5pt depth1pt width\y@v%
-\vrule height2ex depth0.5pt width0.5pt %% pedal up
-}}}%
-\global\pdl@pos\z@}%
-
-\newbox\bigwedgebox % 1.22 RDT
-\def\pdlud{\hbox{\hroff{\getcurpos\advance\y@v-\pdl@pos%% compute length of horizontal rule
-\kern-\y@v%
-\thinmuskip=2mu%
-\setbox\bigwedgebox=\hbox{$\!\bigwedge\!$}%
-\def\halfwidthbigwedge{0.5\wd\bigwedgebox}%
-\advance\y@v-\halfwidthbigwedge%
-\raise\raiseped\internote%
-\hbox{%
-\vrule height-0.5pt depth1pt width\y@v% draw horizontal rule
-\kern\halfwidthbigwedge%
-\raise0.33ex\lrlap{$\bigwedge$}% pedal up and down
-}%
-\getcurpos\advance\y@v\halfwidthbigwedge\global\pdl@pos\y@v%
-}}}%
-
-%% cut pedal rule at line end
-%%
-% compute length of horizontal rule
-\def\pdlc@{\getcurpos\advance\y@v-\pdl@pos%
-\kern-\y@v\raise\raiseped\internote\hbox{%
-\vrule height-0.5pt depth1pt width\y@v %% draw horizontal rule
-}}%
-
-%%% fermata
-
-\def\fermataup{\n@iv80\@Char}
-\def\fermatadown{\n@iv81\@Char}
-% center on whole note
-\def\Fermataup#1{\wholeshift{\fermataup{#1}}}
-\def\Fermatadown#1{\wholeshift{\fermatadown{#1}}}
-
-%%% trills
-
-\def\trilleX{\let\T@i\empty \C@trille}
-\let\trille\trilleX
-\def\TrilleX{\def\T@i{\ppff tr }\C@trille} % 1.24 changed from \it RDT
-\let\Trille\TrilleX
-\def\C@trille#1#2{\zcharnote{#1}{\y@v#2\noteskip \trill@}}
-
-\let\maxtrilles\si@
-% \maxtrilles and \@itrille[i] are only for obsolete Legacy \trillC
-% and \TrillC; not related with new register allocation code. Leave
-% it as-is. [version 1.15]
-
-\newskip\@itrillei
-\newskip\@itrilleii
-\newskip\@itrilleiii
-\newskip\@itrilleiv
-\newskip\@itrillev
-\newskip\@itrillevi
-
- %\def\s@l@cttrille#1\relax{%
- % \n@i#1\relax \ifnum\n@i<\z@ \n@i\@c \fi
- % \ifnum\n@i<\maxtrilles \else
- % \n@i\z@ \errmessage{Wrong trill number!}\fi
- % \advance\n@i\@ne
- % \edef\@itrille{\csname @itrille\roman@n@i}% dimen (altportee)
- % }% select trill
-
-
-\def\itrille{\itrill@old{0}}
-\def\ttrille{\ttrill@old{0}}
-\def\tTrille{\tTrill@old{0}}
-
-\def\itrill@old#1{\s@l@cttrill#1\relax
- \ifdim\tr@x < \maxdimen\errmessage{\@mis \noexpand\Ttrille \number #1}\fi
- \getcurpos\global\tr@y\y@v}
-\def\ttrill@old#1{\s@l@cttrill#1\relax
- \message{\noexpand\tr@x=\the\tr@x, No. #1}%
- \ifdim\tr@x < \maxdimen\else\errmessage{\@mis \noexpand\Itrille \number #1}\fi
- \let\T@i\empty \C@tri}
-\def\tTrill@old#1{\s@l@cttrill#1\relax
- \message{\noexpand\tr@x=\the\tr@x, No. #1}%
- \ifdim\tr@x < \maxdimen\else\errmessage{\@mis \noexpand\Itrille \number #1}\fi
- \def\T@i{\ppff tr }\C@tri} % 1.24 changed from \it RDT
-
-\def\C@tri#1{\getcurpos\advance\y@v-\tr@y \kernm\y@v
- \zcharnote{#1}\trill@\kern\y@v\let\T@i\empty\let\@itrille\undefined}
-\def\trill@{\hbox\@to\y@v{\T@i\leaders\hbox{\musixchar69}\hfill}}
-
-%%%%%%
-
-% \let\maxtrills\si@ % here disabled to avoid conflict with new register allocation code
-% [version 1.15] moved out to the new register allocation code
-% \newskip\tr@xi \tr@xi\maxdimen\relax % starting horizontal pos
-% \newtoks\tr@swi % heading of trill
-% \newskip\tr@yi % height of trill
-
-\newcount\tr@number
-
-\def\tr@loop{\tr@number\z@ \loop\ifnum\tr@number<\maxtrills
- \s@l@cttrill\tr@number\relax
- \advance\tr@number\@ne }
-
-\def\s@l@cttrill#1\relax{%
- \n@i#1\relax \ifnum\n@i<\z@ \n@i\@c \fi
- \ifnum\n@i<\maxtrills \else
- \count@\maxtrills \advance\count@\m@ne
- \errmessage{Wrong trill reference number \the\n@i! (valid: 0 to \the\count@)}% [version 1.15]
- \n@i\z@ % [version 1.15]
- \fi
- \advance\n@i\@ne
- \xdef\tr@x{\csname tr@x\roman@n@i}%
- \xdef\tr@y{\csname tr@y\roman@n@i}%
- \xdef\tr@sw{\csname tr@sw\roman@n@i}%
- }% select octiaviation line
-
-%\newskip\tr@x \tr@x\maxdimen\relax % starting horizontal pos
-%\newskip\tr@y % height of trill
-
-\def\Itrille#1{\s@l@cttrill#1\relax
- \ifdim\tr@x < \maxdimen\errmessage{\@mis \noexpand\Ttrille \number #1}\fi
- \global\tr@sw={\relax}%
- \C@T}
-\def\ITrille#1{\s@l@cttrill#1\relax
- \ifdim\tr@x < \maxdimen\errmessage{\@mis \noexpand\Ttrille \number #1}\fi
- \global\tr@sw={{\ppff tr }}% 1.24 changed from \it RDT
- \C@T}
-
-\def\C@T#1{%
- \getcurpos\global\tr@x\y@v % store horizontal pos
- \inhgetn@i#1\relax\pl@base\advance\y@i\altportee % get absolute height
- \global\tr@y\y@i }
-
-\def\Ttrille#1{\s@l@cttrill#1\relax
- \ifdim\tr@x < \maxdimen\else\errmessage{\@mis \noexpand\Itrille \number #1}\fi
- \advance\tr@y-\altportee \let\T@ii\char \C@TR \global\tr@x\maxdimen }
- \let\TTrille\Ttrille
-
-\def\C@TR{%
- \ifx\T@ii\n@ii \y@v\lin@pos \else \getcurpos \fi
- \advance\y@v-\tr@x \kernm\y@v \raise\tr@y\hbox\@to\y@v{%
-% \the\tr@sw\xleaders\hbox{\musixchar69}\hfill\T@ii\n@ii}}%
-% Correction by Julian Gilbey
- \the\tr@sw\xleaders\hbox{\musixchar69}\hfill}}%
-
-%%% tremolos version 1.19 RDT
-%%% based on code by Werner Icking and Andre van Ryckeghem
-%%% version 1.20 RDT re-defined using \raise, suggested by JPC
-%%% version 1.21
-%%% RDT changed beam numbers to 5, suggested by JPC
-%%% RDT adjusted the vertical positions for 16th and 32nd tremolos
-%%% version 1.24
-%%% RDT use new counter \tr@nspose to preserve changes to \transpose in an \hbox
-
-\newcount\tr@nspose % used to restore value of \transpose after closing an \hbox
-\def\trml#1{\raise2\internote\hbox{\loffset{0.5}{\ibl5{#1}9}\roffset{0.5}{\tbl5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-\def\trmu#1{\raise-3\internote\hbox{\loffset{0.5}{\ibu5{#1}9}\roffset{0.5}{\tbu5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-\def\trrml#1{\raise3\internote\hbox{\loffset{0.5}{\ibbl5{#1}9}\roffset{0.5}{\tbl5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-\def\trrmu#1{\raise-4\internote\hbox{\loffset{0.5}{\ibbu5{#1}9}\roffset{0.5}{\tbu5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-\def\trrrml#1{\raise3\internote\hbox{\loffset{0.5}{\ibbbl5{#1}9}\roffset{0.5}{\tbl5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-\def\trrrmu#1{\raise-4\internote\hbox{\loffset{0.5}{\ibbbu5{#1}9}\roffset{0.5}{\tbu5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-
-% whole notes are wider than quarter/half notes:
-% version 1.21 RDT adjusted the offsets and vertical positions
-
-\def\Trml#1{\raise3\internote\hbox{\ibl5{#1}9\roffset{1.25}{\tbl5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-\def\Trmu#1{\raise-4\internote\hbox{\loffset{1.1}{\ibu5{#1}9}\roffset{0.15}{\tbu5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-\def\Trrml#1{\raise3\internote\hbox{\ibbl5{#1}9\roffset{1.25}{\tbl5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-\def\Trrmu#1{\raise-4\internote\hbox{\loffset{1.1}{\ibbu5{#1}9}\roffset{0.15}{\tbu5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-\def\Trrrml#1{\raise3\internote\hbox{\ibbbl5{#1}9\roffset{1.25}{\tbl5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-\def\Trrrmu#1{\raise-4\internote\hbox{\loffset{1.1}{\ibbbu5{#1}9}\roffset{0.15}{\tbu5}\global\tr@nspose\transpose}\transpose\tr@nspose}%
-
-%%% octave lines
-
-\def\octnumberup{\octnumberdefault\vrule width 0pt height2ex}
-\def\octnumberdefault{\smallppff8} % version 1.17 RDT
-\def\octnumberdown{\octnumberdefault$^a$\txtfont\kern 0.3em bassa\vrule width 0pt depth \Internote}
-
-\def\octfinup{\check@staff
- \n@v\@xxiii\n@ii\@xxiv\global\o@swz={\@ne}\fi
- \C@of}
-\def\octfindown{\check@staff
- \n@v\@xxv \n@ii\@xxvi\global\o@swz={\z@}\fi
- \C@of}
-\def\C@of#1#2{\check@staff
- \y@v#2\noteskip\zcharnote{#1}{\hbox\@to\y@v{%
- \xdef\o@sw{\csname o@swz\endcsname}\relax
- \octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill\char\n@ii}}%
- \fi}
-
-%%%%%%
-% selecting \octnumber??? according to \o@sw
-\def\octnumber{% \show\o@sw
- \setbox\w@rkbox\hbox{%
- \ifnum \@ne=\the\o@sw\relax \octnumberup
- \else \octnumberdown
- \fi}%
- \ifdim \wd\w@rkbox>\y@v\setbox\w@rkbox\hbox{\octnumberdefault}\fi
- \box\w@rkbox
-}
-
-
-%%%%%%
-
-% \let\maxoctlines\si@ % here disabled to avoid conflict with new register allocation code, except for \o@swz
-% [version 1.15] moved out to the new register allocation code
-% \newskip\o@xi \o@xi\maxdimen\relax % starting horizontal pos
-% \newskip\o@yi % height of octline
-\newtoks\o@swz % sense of octline for \octfin[up][down] without number
-% \newtoks\o@swz % sense of octline for \octfin[up][down] without number
-
-\newcount\o@number
-
-\def\o@loop{\o@number\z@ \loop\ifnum\o@number<\maxoctlines
- \s@l@ctoctline\o@number\relax
- \advance\o@number\@ne }
-
-\def\s@l@ctoctline#1\relax{%
- \n@i#1\relax \ifnum\n@i<\z@ \n@i\@c \fi
- \ifnum\n@i<\maxoctlines \else
- \count@\maxoctlines \advance\count@\m@ne
- \errmessage{Wrong octaviation line reference number \the\n@i! (valid: 0 to \the\count@)}% [version 1.15]
- \n@i\z@% [version 1.15]
- \fi
- \advance\n@i\@ne
- \xdef\o@x{\csname o@x\roman@n@i}%
- \xdef\o@y{\csname o@y\roman@n@i}%
- \xdef\o@sw{\csname o@sw\roman@n@i}%
- }% select octiaviation line
-
-%\newskip\o@x \o@x\maxdimen\relax % starting horizontal pos
-%\newskip\o@y % height of octline
-
-\def\ioctfinup{\Ioctfinup0}
-\def\ioctfindown{\Ioctfindown0}
-\def\Ioctfinup#1{\check@staff
- \s@l@ctoctline#1\relax
- \ifdim\o@x < \maxdimen\errmessage{\@mis \noexpand\Toctfin \number #1}\fi
- \global\o@sw={\@ne}\fi
- \C@O}
-\def\Ioctfindown#1{\check@staff
- \s@l@ctoctline#1\relax
- \ifdim\o@x < \maxdimen\errmessage{\@mis \noexpand\Toctfin \number #1}\fi
- \global\o@sw={\z@}\fi
- \C@O}
-
-\def\C@O#1{\check@staff
- \getcurpos\global\o@x\y@v % store horizontal pos
- \inhgetn@i#1\relax\pl@base\advance\y@i\altportee % get absolute height
- \global\o@y\y@i
- \fi} % clise check@staff in Ioctfinup/down
-
-\def\toctfin{\Toctfin0}
-\def\Toctfin#1{\check@staff
- \s@l@ctoctline#1\relax
- \advance\o@y-\altportee \let\T@ii\char \C@TO \global\o@x\maxdimen
- \fi}
-
-\def\C@TO{\check@staff
- \ifnum \@ne=\the\o@sw
- \n@v\@xxiii \n@ii\@xxiv \else \n@v\@xxv \n@ii\@xxvi \fi
- \ifx\T@ii\n@ii \y@v\lin@pos \else \getcurpos \fi
- \advance\y@v-\o@x \kernm\y@v \raise\o@y\hbox\@to\y@v{%
- \octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill\T@ii\n@ii}\relax
- \fi}%
-
-% Liftoctline #1 refnumber #2 lift[steps of internote]
-
-\def\Liftoctline#1#2{\n@i#1\advance\n@i\@ne
- \advance\csname o@y\roman@n@i#2\internote}
-
-%%% some specials
-
-% \def\metron#1#2{{\stemlength\f@ur\noteskip\t@n\p@ #1 1\ = #2}}
-% version 1.19 RDT:
-\let\lyricson\relax
-\let\lyricsoff\relax
-\def\metron#1#2{{\lyricsoff\stemlength\f@ur\noteskip\t@n\p@ #1 1\ = #2\lyricson}}
-\def\metronequiv#1#2{{\lyricsoff\stemlength\f@ur\noteskip\t@n\p@ #1 1\ = #2 1\lyricson}}
-
-
-\def\txt{3}
-\def\xtuplet#1#2{\n@iv#1\advance\n@iv\m@ne {\sign@skip=\n@iv\noteskip
- \sign@skip=0.5\sign@skip \xdef\half@sign@skip{\the\sign@skip}}%
- \zcharnote{#2}{\kern\h@lf\qn@width\kern \half@sign@skip\lrlap{\txtfont#1\/\/}}}
-\def\triolet{\xtuplet\txt} % version 1.17 RDT
-\def\xxtuplet#1:#2#3{\n@iv#1\advance\n@iv\m@ne {\sign@skip=\n@iv\noteskip
- \sign@skip=0.5\sign@skip \xdef\half@sign@skip{\the\sign@skip}}%
- \zcharnote{#3}{\kern\h@lf\qn@width\kern \half@sign@skip\lrlap{\txtfont{#1:#2\/\/}}}}
-
-%
-% Following definitions based on tuplet.tex - conventional tuplet brackets for MusiXTeX.
-% Col. G. L. Sicherman. Last revised 2003-05-17.
-%
-% Added to musixtex.tex version 1.16 by RDT.
-%
-% Standard MusiXTeX uses \uptrio and \downtrio to print tuplet brackets.
-% We define \uptuplet and \downtuplet, with the same arguments:
-%
-% #1 : starting pitch
-% #2 : width of bracket, in (\noteskip)s
-% #3 : slope of bracket, in multiples of 1-1/8 degrees
-%
-% The user defines the text to appear in the opening as \tuplettxt.
-% This is to avoid conflicting with the \txt in standard MusiXTeX.
-%
-% 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{6\/\/}
-% \downtuplet{a}{2.5}{-4}
-%
-% Send comments, complaints, and bouquets to the Colonel at
-% <colonel@monmouth.com>.
-%
-
-% Standard MusiXTeX prints a small "3" (or other number) within
-% the bracket. Here we print the "3" in an opening in the bracket,
-% so we need not use a small font.
-%
-% The double italic correction compensates for centering the number
-% on the bracket line.
-
-\def\tuplettxt{3\/\/}
-
-%%% The rest is adapted from standard MusixTeX.
-
-\newdimen\y@vii % x of right end of left part of bracket.
-\newdimen\y@viii % x of left end of right part of bracket.
-\newdimen\y@ix
-\newbox\tuptxtb@x
-
-% v@rline #1=height[dimen] #2=length[dimen] #3=slope (1\eqiv 1.125degree)
-% (comments and ideas from Ian Collier) (from -20 upto 20 )
-% This macro is used by some of the others which follow,
-% using it directly it must be set in zero box
-
-\def\v@rline#1#2#3{\n@v#3\y@i#2%
- \setbox\tuptxtb@x\hbox{\hskip1pt\txtfont\tuplettxt\hskip1pt}%
- \y@vii=\h@lf\y@i\advance\y@vii-\h@lf\wd\tuptxtb@x%
- \n@ii-\tw@nty \min@n@v\n@ii
- \max@n@v\tw@nty \n@iii\n@v
- \ifnum\n@v<\z@ \n@v-\n@v \advance\n@v\tw@nty \fi % offset to lower linechars
- \advance\n@v\@xxix
- \setbox\ch@box\hbox{\mxsps\char\n@v}%
- \ifdim\y@vii<\wd\ch@box \y@vii\wd\ch@box\fi% At least one whole segment!
- \y@viii=\y@i\advance\y@viii-\y@vii%
- \y@iv\wd\ch@box \y@ii\qu@rt\p@ \y@ii\n@iii\y@ii \y@iii\z@
- \raise#1\internote\hbox{\mxsps\char\n@iv
-%
-% Build bracket with slanted line segments of width 10pt.
-% Left part of bracket:
-%
- \loop\ifdim\y@iv<\y@vii\raise\y@iii\copy\ch@box
- \advance\y@iv\wd\ch@box \advance\y@iii\y@ii \repeat
-%
-% last element
-%
-% \finalheight=2.5\completewidth
-% \finalheight=\n@iii\finalheight
-% \divide\finalheight by 100
-% \advance\overlapwidth by -\completewidth
-% \stepheight=-2.5\overlapwidth
-% \stepheight=\n@iii\stepheight
-% \divide\stepheight by 100
-% \advance\curheight by \stepheight
-% \kern -\overlapwidth \raise\curheight \box\ch@box
-%
- \y@ix=\y@vii\advance\y@ix-\y@iv\hbox to\y@ix{\hss}%
- \y@ix\y@vii\advance\y@ix-\wd\ch@box%
- \y@iii\n@iii\y@ix\y@iii2\h@lf\y@iii\divide\y@iii\@c\raise\y@iii\copy\ch@box%
-%
-% Text:
-%
- \y@v2\h@lf\y@i \y@v\n@iii\y@v \divide\y@v\@c%
- \y@ix=-\y@vii \advance\y@ix\h@lf\y@i \advance\y@ix-\h@lf\wd\tuptxtb@x%
- \hbox to\y@ix{\hss}%
- \y@iii\h@lf\y@v \raise\y@iii\vbox to\z@{%
- \vss{\copy\tuptxtb@x}\vss}
- \y@ix=\y@viii \advance\y@ix-\h@lf\y@i \advance\y@ix-\h@lf\wd\tuptxtb@x
- \hbox to\y@ix{\hss}% To start of right part. No-op unless bracket is short.
-%
-% Right part of bracket:
-%
- \y@iii2\h@lf\y@viii \y@iii\n@iii\y@iii \divide\y@iii\@c%
- \y@iv=\y@viii \advance\y@iv\wd\ch@box%
- \loop\ifdim\y@iv<\y@i\raise\y@iii\copy\ch@box%
- \advance\y@iv\wd\ch@box \advance\y@iii\y@ii \repeat
-%
-% Finish off the right part:
-%
- \y@iii\y@i\advance\y@iii-\wd\ch@box\y@iii2\h@lf\y@iii\y@iii\n@iii\y@iii%
- \y@ix=\y@i\advance\y@ix-\y@iv\hbox to\y@ix{\hss}%
- \divide\y@iii\@c%
- \raise\y@iii\copy\ch@box%
-%
- \raise\y@v\hbox{\mxsps\char\n@iv}}}
-%
-% y@i =complete length
-% y@ii =height of linechar
-% y@iii =current height
-% y@iv =current width
-% y@v =height of ending line
-% y@vii =width of left segment of bracket
-% y@viii=y@vii + width of opening
-% y@ix =adjustment register
-%
-% n@iii=slope
-% n@iv =(number of char for hooks)
-% n@v =slope (number of linechar)
-
-\def\X@bkt#1#2#3{\y@v#2\noteskip \advance\y@v\wn@width
- \inhgetn@i#1\relax \rlap{\kernm\p@ne\qn@width\v@rline\n@i\y@v{#3}}}
-
-\def\uptuplet{\n@iv22\X@bkt}
-\def\downtuplet{\n@iv21\X@bkt}
-
-%\check
-
-\def\zbreath{\check@staff\raise\si@\internote\rlap{\BIGtype'}\fi}
-\def\cbreath{\check@staff\adv@box{\raise\si@\internote
- \hbox\@to\noteskip{\hss\BIGtype'\hss}}\fi}
-
-% The following macros can be used to surround a note by parentheses
-% \l[r]par p produces a left[right] parenthesis at pitch p (Ian Collier)
-
-\def\lpar{\n@iv\thr@@ \@Char}
-\def\rpar{\n@iv\f@ur \@Char}
-
-% \bracket pn draws a square bracket [ to bracket an interval
-% of an n-th whose lowest note is p (Ian Collier)
-
-\def\bracket#1#2{\y@iv#2\internote \advance\y@iv\tw@\internote
- \inhgetn@i#1\relax\pl@base \advance\y@i-1\h@lf\internote
- \raise\y@i\llap{\uplap{\offinterlineskip\hbox{\mxsps\@xxvii}%
- \hbox{\vrule\@height\y@iv}\hbox{\mxsps\@xxvii}}}}
-
-%%% dynamics
-
-\def\f@kern{\kernm\p@ne ex}
-\def\p@kern{\kernm\p@ne5ex}
-
-\def\f{{\ppff f}}
-\def\ff{{\ppff f\f@kern f}}
-\def\fp{{\ppff f\f@kern p}}
-\def\sF{{\ppff s\ppff \p@kern f}} % changed \it to \ppff 1.24 RDT
-\def\fff{{\ppff f\f@kern f\f@kern f}}
-\def\ffff{{\ppff f\f@kern f\f@kern f\f@kern f}}
-\def\mf{{\ppff m\p@kern\f@kern f}}
-\def\mp@{{\ppff m\p@kern p}}
-\let\mezzopiano\mp@
-\def\p{{\ppff p}}
-\def\pp{{\ppff p\p@kern p}}
-\def\ppp{{\ppff p\p@kern p\p@kern p}}
-\def\pppp{{\ppff p\p@kern p\p@kern p\p@kern p}}
-\def\sfz{{\ppff s\p@kern f\f@kern z}} % version 1.16
-\def\sfzp{{\ppff s\p@kern f\f@kern z\p@kern p}} % version 1.16
-
-%%% spacings
-
-% if you want to reduce the space behind e.g. \changecontext, use
-% \addspace{dim} ! Only scaleable values are allowed !
-
-\def\addspace#1{\kern#1\global\advance\x@skip#1}
-
-% \hardspace inserts (reduces) outside of \notes..\en unscaleable space
-
-\let\fil@spc\empty
-\def\hardspace#1{\check@nopen\t@rmskip\y@v#1\addspace\y@v\fil@spc}
-
-\def\off#1{\advance\locx@skip#1\kern#1}
-\def\sk{\off\noteskip}
-\def\hsk{\off{\h@lf\noteskip}}
-\def\bsk{\off{-\noteskip}}
-\def\hbsk{\off{-\h@lf\noteskip}} % version 1.27 RDT
-
-%%
-% Redefine \qsk to be scaleable softwidth rather than a fixed kern
-% Otherwise, over/underfull boxes will occur on rescaled (pass 2) material
-%%
-
-\def\qqsk{\off{\qu@rt\@l@mskip}} % version 1.16 RDT
-\def\hqsk{\off{\h@lf\@l@mskip}}
-\def\tqsk{\off{\p@seven\@l@mskip}} % version 1.25 RDT
-\def\qsk{\off\@l@mskip}
-\def\bhsk{\off{-\h@lf\@l@mskip}} % version 1.27 RDT
-\def\btsk{\off{-\p@seven\@l@mskip}} % version 1.27 RDT
-\def\bqsk{\off-\@l@mskip} % version 1.27 RDT
-
-\def\nspace{\hardspace{\h@lf\qn@width}}
-\def\qspace{\hardspace\qn@width}
-
-%%% notes spacing
-
-\def\arithmeticskipscale{%
- \def\znotes{\vnotes0\elemskip}
- \def\notes{\vnotes2\elemskip}% 16th
- \def\notesp{\vnotes2\h@lf\elemskip}% 16th point=8 trio
- \def\Notes{\vnotes3\elemskip}% 8th
- \def\Notesp{\vnotes3\h@lf\elemskip}% 8th point=4 trio
- \def\NOtes{\vnotes4\elemskip}% 4th
- \def\NOtesp{\vnotes4\h@lf\elemskip}% 4th point
- \def\NOTes{\vnotes5\elemskip}% 2th
- \def\NOTesp{\vnotes5\h@lf\elemskip}% 2th point
- \def\NOTEs{\vnotes6\elemskip}% 1th
- \def\NOTEsp{\undefined}%
- \def\NOTES{\undefined}%
-}%
-
-\def\geometricskipscale{%
- \def\znotes{\vnotes0\elemskip}
- \def\notes{\vnotes2\elemskip}% 16th
- \def\notesp{\vnotes2.38\elemskip}% 16th point=8 trio
- \def\Notes{\vnotes2.83\elemskip}% 8th
- \def\Notesp{\vnotes3.36\elemskip}% 8th point=4 trio
- \def\NOtes{\vnotes4\elemskip}% 4th
- \def\NOtesp{\vnotes4.76\elemskip}% 4th point
- \def\NOTes{\vnotes5.66\elemskip}% 2th
- \def\NOTesp{\vnotes6.72\elemskip}% 2th point
- \def\NOTEs{\vnotes8\elemskip}% 1th
- \def\NOTEsp{\vnotes9.52\elemskip}% 1th
- \def\NOTES{\vnotes11.32\elemskip}% 1th
-}%
-
-\def\nnotes{\vnotes1.6\elemskip} % version 1.16 RDT (corrected 2015-03-31)
-\def\nnnotes{\vnotes1.28\elemskip} % version 1.16 RDT (corrected 2015-03-31)
-
-\arithmeticskipscale
-
-\def\scale#1{\def\scalenoteskip{#1}}
-\let\scalenoteskip\normalvalue
-
-\def\multnoteskip#1{\noteskip#1\noteskip}
-
-\def\vnotes#1\elemskip{\noteskip#1\@l@mskip \@vnotes}
-
-\let\V@sw\z@
-%\def\varnotes#1{\t@rmskip \let\V@sw\@ne
-% \setbox\ch@box\hbox{#1}\noteskip\wd\ch@box \@vnotes}
-
-\def\hardnotes#1\notes{\t@rmskip \let\V@sw\@ne
- \noteskip#1\relax \@vnotes}
-
-\let\thelyrics\empty
-%\def\hardlyrics#1\notes{\t@rmskip \let\V@sw\@ne \def\thelyrics{\hbox{#1}}%
-% \setbox\ch@box\thelyrics \noteskip\wd\ch@box \@vnotes}
-\def\softlyrics#1{\def\thelyrics{\hbox{#1}}}%
-\def\hardlyrics#1\notes{\t@rmskip \let\V@sw\@ne
- \let\save@noteskip\noteskip
- \def\noteskip{\z@\relax\errmessage{You cannot use \noexpand\noteskip
- in \noexpand\hardlyrics's 1st argument!}}%
- \def\thelyrics{\hbox{#1}}%
- \setbox\ch@box\thelyrics \let\noteskip\save@noteskip
- \noteskip\wd\ch@box \@vnotes}
-
-
-\def\@vnotes{\multnoteskip\scalenoteskip
- \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@
- \ifnum\V@sw>0\t@rmskip
- \fi
- \let\thelyrics\empty}
-\let\enotes\en
-
-\newcount\notes@open
-
-\def\check@nopen{%
- \ifnum\notes@open>\z@ \en\errmessage{\@mis\noexpand\enotes ->}\fi}
-
-%%% text, lyrics, free positioning of chars
-
-\def\pl@base{\y@i\n@i\internote}
-\def\lrlap#1{\rlap{\hss#1}}
-\def\hard@box#1{\rlap{\hbox\@to\noteskip{#1\hfil}}}
-\def\dhard@box#1{\rlap{\hbox\@to\tw@\noteskip{#1\hfil}}}
-\def\thard@box#1{\rlap{\hbox\@to\thr@@\noteskip{#1\hfil}}}
-
-\def\zcharnote{\let\@Ti\rlap \C@ch}
-\def\lcharnote{\let\@Ti\llap \C@ch}
-\def\ccharnote{\let\@Ti\lrlap \C@ch}
-\def\hcharnote{\let\@Ti\hard@box \C@ch}
-\def\charnote#1#2{\zcharnote{#1}{#2}\sk}
-
-\def\zcn{\zcharnote} % version 1.16
-\def\ccn{\ccharnote}
-\def\lcn{\lcharnote}
-
-\def\C@ch#1#2{\check@staff\inhgetn@i#1\relax\pl@base\raise\y@i\@Ti{#2}\fi}
-
-\def\zmidstaff{\let\@Ti\rlap \C@mid}
-\def\lmidstaff{\let\@Ti\llap \C@mid}
-\def\cmidstaff{\let\@Ti\lrlap \C@mid}
-
-\def\C@mid#1{\check@staff\y@v\interportee \advance\y@v\f@ur\Interligne \divide\y@v\tw@
- \raise\y@v\uplap{\@Ti{\strut#1}\vss}\fi}
-
-\def\zchar#1#2{\check@staff\raise#1\internote\rlap{#2}\fi}
-\def\lchar#1#2{\check@staff\raise#1\internote\llap{#2}\fi}
-\def\cchar#1#2{\check@staff\raise#1\internote\lrlap{#2}\fi}
-\def\hchar#1#2{\check@staff\raise#1\internote\hard@box{#2}\fi}
-
-\def\uptext#1{\check@staff\zchar\t@n{#1}\fi}
-\def\Uptext#1{\check@staff\zchar\fourt@@n{#1}\fi}
-
-\def\setsongraise#1#2{\n@v#1\relax % select instrument
- \expandafter\def\csname T@R\romannumeral\n@v\endcsname{#2}}
-
-% [version 1.15] moved out to the new register allocation code
-% \let\T@Ri\z@
-
-\def\qlrlap#1{\rlap{\hbox to \qn@width{\hss#1\hss}}}
-\def\zsong{\let\@Ti\rlap \C@t}
-\def\lsong{\let\@Ti\llap \C@t}
-\def\csong{\let\@Ti\qlrlap \C@t}
-\def\hsong{\let\@Ti\hard@box \C@t}
-\def\dhsong{\let\@Ti\dhard@box \C@t}
-\def\thsong{\let\@Ti\thard@box \C@t}
-
-\def\C@t#1{\C@tx{\@Ti{\strut#1}\vss}}
-
-\def\C@tx{%
- \ifnum\noinstrum@nt=\@ne \y@iv\staffbotmarg \else
- \advance\noinstrum@nt\m@ne
- \y@iv\csname interinstrument\romannumeral\noinstrum@nt\endcsname
- \C@Inter \advance\y@iv\stem@skip \divide\y@iv\tw@
- \advance\noinstrum@nt\@ne \fi
- \advance\y@iv-\csname T@R\romannumeral\noinstrum@nt\endcsname
-%% \advance\noinstrum@nt\@ne \fi
- \lower\y@iv\uplap}
-
-%%% slope lines and brackets
-
-% varline #1=height[dimen] #2=length[dimen] #3=slope (1\eqiv 1.125degree)
-% (comments and ideas from Ian Collier) (from -20 upto 20 )
-% This macro is used by some of the others which follow,
-% using it directly it must be set in zero box
-
-\def\varline#1#2#3{\n@v#3\y@i#2%
- \n@ii-\tw@nty \min@n@v\n@ii
- \max@n@v\tw@nty \n@iii\n@v
- \ifnum\n@v<\z@ \n@v-\n@v \advance\n@v\tw@nty \fi % offset to lower linechars
- \advance\n@v\@xxix
- \setbox\ch@box\hbox{\mxsps\char\n@v}%
- \y@iv\wd\ch@box \y@ii\qu@rt\p@ \y@ii\n@iii\y@ii \y@iii\z@
- \raise#1\internote\hbox{\ifx\@hook\@ne \mxsps\char\n@iv \fi
-% main loop
- \loop\ifdim\y@iv<\y@i
- \raise\y@iii\copy\ch@box\advance\y@iv\wd\ch@box \advance\y@iii\y@ii \repeat
-% last element
-%
-% \finalheight=2.5\completewidth
-% \finalheight=\n@iii\finalheight
-% \divide\finalheight by 100
-% \advance\overlapwidth by -\completewidth
-% \stepheight=-2.5\overlapwidth
-% \stepheight=\n@iii\stepheight
-% \divide\stepheight by 100
-% \advance\curheight by \stepheight
-% \kern -\overlapwidth \raise\curheight \box\ch@box
-%
- \y@v2\h@lf\y@i \y@v\n@iii\y@v \divide\y@v\@c \advance\y@iv-\y@i
- \y@ii-2\h@lf\y@iv \y@ii\n@iii\y@ii \divide\y@ii\@c \advance\y@iii\y@ii
- \kernm\y@iv\raise\y@iii\box\ch@box%
- \ifx\@hook\@ne \raise\y@v\hbox{\mxsps\char\n@iv}\fi
-% text in the middle
- \ifx\@text\@ne \ifnum\n@vi=\@ne \y@iii\p@ \else\y@iii-\p@ \fi
- \advance\y@iii\h@lf\y@v \kernm\h@lf\y@i\raise\y@iii\vbox\@to\z@{%
- \ifnum\n@vi=\@ne \vss \fi\lrlap{\txtfont\txt}\ifnum\n@vi=\@ne \else\vss \fi}\fi}%
- \let\@hook\empty \let\@text\empty}
-%
-% y@i =complete length
-% y@ii =height of linechar
-% y@iii=current height
-% y@iv =current width
-% y@v =height of ending line
-%
-% n@iii=slope
-% n@iv =(number of char for hooks)
-% n@v =slope (number of linechar)
-% n@vi =1 -> text above
-% @hook=\@ne -> draws hookrules at begin and end of line
-% @text=\@ne -> puts text at the middle of the line (def'd with \txt)
-
-% \ov[un]bkt{p}{n}{s} draws a bracket over the music starting at the
-% current position at pitch p, width n\noteskip and slope s, causing no space
-% #1=height (note), #2=length (noteskips) #3=slope (1\eqiv 1.125[degree])
-
-\def\ovbkt{\n@iv22\C@bkt}
-\def\unbkt{\n@iv21\C@bkt}
-
-\def\C@bkt#1#2#3{\y@v#2\noteskip \advance\y@v\wn@width \let\@hook\@ne
- \inhgetn@i#1\relax \rlap{\kernm\p@ne\qn@width\varline\n@i\y@v{#3}}}
-
-% \up[down]trio{p}{n}{s} same as above,
-% draws \txt (default \eightit 3) above[below] in the middle
-% #1=height (note), #2=length (noteskips) #3=slope (1\eqiv 1.125[degree])
-
-\def\uptrio{\n@vi\z@ \let\@text\@ne \ovbkt}
-\def\downtrio{\n@vi\@ne \let\@text\@ne \unbkt}
-
-%
-% slide #1=height #2=number of elements #3=slope(-8 to 8 [step 10degree])
-%
-\def\slide#1#2#3{\n@ii#3\relax\inhgetn@i#1\relax%
- \ifnum\n@ii>\m@ne \advance\n@ii\m@ne\let\@Ti\raise
- \else \n@ii-\n@ii \advance\n@ii\s@v@n\let\@Ti\lower \fi
- \setbox\toks@box\hbox{\mxsps\char\n@ii}\n@iii\z@
- \raise\n@i\internote\rlap{\hbox{\loop\ifnum\n@iii<#2%
- \@Ti\n@iii\ht\toks@box\copy\toks@box\advance\n@iii\@ne\repeat}}}
-
-%%% standard settings
-% [115] make them compatible to >12 instruments
-\def\resetlayout{\def\interfacteur{9}%
- \stafftopmarg\thr@@\Interligne \staffbotmarg\thr@@\Interligne
- \count@\z@ \loop
- \advance\count@ by\@ne
- \expandafter \let\csname n@l\roman@c@\endcsname \fiv@
-% \expandafter\def\csname interfacteur\roman@c@\endcsname{\interfacteur} % RDT deleted 1.26
- \ifnum\count@<\maxinstruments\repeat
- \resetclefsymbols}
-
-\def\resetclefsymbols{%
- \count@\z@ \loop
- \advance\count@ by\@ne
- \expandafter \let\csname treblec@s\roman@c@\endcsname \z@
- \expandafter \let\csname altoc@s\roman@c@\endcsname \z@
- \expandafter \let\csname bassc@s\roman@c@\endcsname \z@
- \ifnum\count@<\maxinstruments\repeat
-}
-
-% [version 1.15] setup the default maximum element numbers to the same values of T.114
-\setmaxinstruments\si@
-\setmaxcxxviiibeams\si@ % 128th beam
-\setmaxcclvibeams\z@ % 256th beam
-\setmaxgroups\thr@@ % groups of inst's or choirs
-\setmaxslurs\maxinstruments
-\setmaxtrills\maxinstruments
-\setmaxoctlines\maxinstruments
-%
-
-% [version 1.15] new register allocation code requires some changes
-%\resetlayout % no need
-%\let\nbinstruments\maxinstruments % no need
-%\normalnotesize % already executed in \setmaxinstruments
-\normalmusicsize
-\normalnotesize % important: execute it again after the first execute of \normalmusicsize --- to initialize \metron stem length. but why?
-%\resetlayout % no need
-\def\nbinstruments{1}
-\noinstrum@nt1\s@l@ctinstr\internote\Internote
-\def\tabstringfnt{\ifdim\internote<.95\Internote \fivess % 1.29 RDT
-\else\ifdim\internote<1.19\Internote \sevenss % 1.37 RDT
-\else\ifdim\internote<1.43\Internote \eightss
-\else\niness\fi\fi\fi}%
-
-%%%
-%
-% This is muflex.tex version 1.00 , January 1993
-%
-% Macro library for MusicTeX `flexiline' operations: MuFlex.
-% The idea is to set up a two pass system.
-% On the first pass, information about each bar is written to the file
-% jobname.mx1.
-% After the first pass, an external (non TeX) routine is run to
-% determine optimal values of the elemental spacing (\elemskip)
-% for each line, so as to properly fill each line, and to lead to
-% the piece filling an integral number of lines.
-% The relevant parameters are written onto the file
-% jobname.mx2.
-% On the second pass, the .mx2 file is read in, and the information
-% used as described above.
-%
-% Ross Mitchell, January 1993.
-%
-%%%
-
-\newwrite\outmux
-\def\fil@{\immediate\write\outmux}
-
-%%
-% \mulooseness is the MuFlex analog of TeX's \looseness parameter:
-% the increment to the natural number of lines in the section just
-% ended.
-%%
-
-\newcount\mulooseness
-% Alternative \linegoal
-\newcount\linegoal
-
-%%
-% Invoke \startmuflex before \startpiece to find out the pass number
-% and generally get things going.
-%%
-% !!! If you want (have) to override the .mx1, delete the .mx2 before !!!
-% !! You have to change the mx1, if you change the spacing inbetween !!
-
-\newif\ifstartmuflex@done
-\def\startmuflex{%
- \ifstartmuflex@done
- \immediate\write16{Warning: \noexpand\startmuflex\space
- already done, ignored.}%
- \else
- \startmuflex@donetrue
-% \global\let\ifstartmuflex@done\iftrue
- \openin\inmux\jobname.mx2\relax
- \ifeof\inmux
- \immediate\openout\outmux\jobname.mx1\relax
- \fil@{\mufl@x}%
- \pass@I
- \else
- \message{(\jobname.mx2)}\pass@II
- \fi
- \fi}
-
-\let\endmuflex\empty
-
-\newbox\l@eftrightbox
-
-\def\leftrightrepeat@I{%
- % \setbox\toks@box\l@eftrightrepeat\y@v\wd\toks@box
- % \setbox\toks@box\l@eftrepeat\y@iv\wd\toks@box
- % \advance\y@v\y@iv \global\advance\x@skip-\y@v
- %
- \setleftrightrepeat\@bar
- \edef\thex@skip{\the\x@skip}%
- \setbox\l@eftrightbox\l@eftrightrepeat
- \edef\they@v{\the\wd\l@eftrightbox}%
- \setbox\l@eftrightbox\l@eftrepeat
- \edef\they@iv{\the\wd\l@eftrightbox}%
- \global\x@skip\thex@skip
- \fil@{l \they@v\space\they@iv}}
-
-\def\leftrepeat@I{%
-% \setbox\toks@box\l@eftrepeat\y@iv\wd\toks@box
-% \global\advance\x@skip-\y@iv
- \setleftrepeat\@bar
- \edef\thex@skip{\the\x@skip}%
- \setbox\l@eftrightbox\l@eftrepeat
- \edef\they@iv{\the\wd\l@eftrightbox}%
- \global\x@skip\thex@skip
- \fil@{L \they@iv}}
-
-% \akkoladen from: "Rainer Dunker" <rainer.dunker@ebe-online.de>
-
-
-\def\akkoladen#1{%
- \def\akk@count{0}% avoid occupying yet another count register
- \ifx\empty#1\else\@akkoladen#1\@nd\fi
- % deactivate all remaining \grouptop...bottom items
- \loop
- \ifnum\akk@count<\maxgroups
- \incr@akk@count
- \expandafter\groupbottom\expandafter{\akk@count}\maxdimen
- \expandafter\grouptop\expandafter{\akk@count}\z@
- \repeat}
-\def\@akkoladen#1#2#3\@nd{%
- \incr@akk@count
- \expandafter\groupbottom\expandafter{\akk@count}{#1}%
- \expandafter\grouptop\expandafter{\akk@count}{#2}%
- \ifx\empty#3\else\@akkoladen#3\@nd\fi}
-\def\incr@akk@count{%
- \count@\akk@count\relax \advance\count@\@ne \edef\akk@count{\the\count@}}
-
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% This is MusiXTex code for multiple left curly brackets %
-% %
-% submitted by Mthimkhulu Molekwa %
-% to the mutex list on 19 May 1999 %
-% %
-% %
-% usage: %
-% \curlybrackets{<instrument1lower><instrument1upper> %
-% <instrument2lower><instrument2upper> %
-% ... %
-% <instrument_n_lower><instrument_n_upper> %
-% } %
-% %
-% %
-% %
-% This version corrected 07/23/2007 by Rainer Dunker to make it %
-% insensitive to changes in \interstaff by PMX %
-% %
-% Added to musixtex.tex version 1.16 by RDT %
-% %
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% Macros for Tablature. They put numbers on or above the staff lines. %
-% Based on tabdefs.tex by R.J. Gelten %
-% %
-% 1.33 RDT %
-% replace ledger lines by slashes (/) for string numbers > number of staff lines %
-% %
-% 1.33a RDT %
-% replace 4-7 slashes by numbers 4-7 %
-% decrement number of slashes if tabstylespace is true %
-% %
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-\newcount\stringraise
-\newif\iftabstylespace\tabstylespacefalse
-
-% \tabbox ensures a white background for the tab number in the ps-file
-% so the stafflines don't overwrite the number. Symbols are centered.
-\def\tabbox#1#2{%
- \setbox0=\hbox{\tabfnt #2}%
- \stringraise\nblines
- \advance\stringraise by -#1
- \multiply\stringraise by 2
- \advancefalse\def\q@u{}\loffset{0.45}{\@nq{\the\stringraise}}%
- \iftabstylespace\else\advance\stringraise-1\fi
- \special{ps: 1 setgray}%
- \ccharnote{\the\stringraise}{\vrule height \ht0 width \wd0 depth \dp0}%
- \special{ps: 0 setgray}%
- \ccharnote{\the\stringraise}{\box0}%
-}
-% \ltabbox does the same as \tabbox, except that it produces
-% left-outlined symbols
-\def\ltabbox#1#2{\setbox0=\hbox{\tabfnt #2}%
- \stringraise\nblines
- \advance\stringraise by -#1
- \multiply\stringraise by 2
- \advancefalse\def\q@u{}\loffset{0.2}{\@nq{\the\stringraise}}%
- \iftabstylespace\else\advance\stringraise-1\fi
- \special{ps: 1 setgray}%
- \zcharnote{\the\stringraise}{\vrule height \ht0 width \wd0 depth \dp0}%
- \special{ps: 0 setgray}%
- \zcharnote{\the\stringraise}{\box0}%
-}
-% \rtabbox does the same as \tabbox, except that it produces
-% right-outlined symbols
-\def\rtabbox#1#2{\setbox0=\hbox{\tabfnt #2}%
- \stringraise\nblines
- \advance\stringraise by -#1
- \multiply\stringraise by 2
- \advancefalse\def\q@u{}\loffset{0.75}{\@nq{\the\stringraise}}%
- \iftabstylespace\else\advance\stringraise-1\fi
- \special{ps: 1 setgray}%
- \lcharnote{\the\stringraise}{\vrule height \ht0 width \wd0 depth \dp0}%
- \special{ps: 0 setgray}%
- \lcharnote{\the\stringraise}{\box0}%
-}
-
-\newcount\stringnum
-\newcount\nslashes
-
-% \tab takes two arguments.
-% #1 is the string number
-% #2 is the symbol to be put on the string
-% the symbols are horizontally centered and a \sk is put behind it,
-% to jump to the position of the next symbol.
-% if the string number > \nblines, ledger lines are replaced by slashes (/)
-\def\tab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\tabbox{#1}{#2}\or\zcn{-3}{\tabfnt/#2}\or\zcn{-3}{\tabfnt//#2}\or\zcn{-3}{\tabfnt///#2}\or\zcn{-3}{\tabfnt 4}\or\zcn{-3}{\tabfnt 5}\or\zcn{-3}{\tabfnt 6}\or\zcn{-3}{\tabfnt 7}\fi%
-\else\tabbox{#1}{#2}\fi\sk}
-
-% left spilling \tab
-\def\ltab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\ltabbox{#1}{#2}\or\zcn{-3}{\tabfnt/#2}\or\zcn{-3}{\tabfnt//#2}\or\zcn{-3}{\tabfnt///#2}\or\zcn{-3}{\tabfnt 4}\or\zcn{-3}{\tabfnt 5}\or\zcn{-3}{\tabfnt 6}\or\zcn{-3}{\tabfnt 7}\fi%
-\else\ltabbox{#1}{#2}\fi\sk}
-
-% right spilling \tab
-\def\rtab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\rtabbox{#1}{#2}\or\zcn{-3}{\tabfnt/#2}\or\zcn{-3}{\tabfnt//#2}\or\zcn{-3}{\tabfnt///#2}\or\zcn{-3}{\tabfnt 4}\or\zcn{-3}{\tabfnt 5}\or\zcn{-3}{\tabfnt 6}\or\zcn{-3}{\tabfnt 7}\fi%
-\else\rtabbox{#1}{#2}\fi\sk}
-
-% \chord-tab symbol. Same as \tab, but no \sk is given, so multiple
-% symbols can be placed above one another
-\def\ztab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\tabbox{#1}{#2}\or\zcn{-3}{\tabfnt/#2}\or\zcn{-3}{\tabfnt//#2}\or\zcn{-3}{\tabfnt///#2}\or\zcn{-3}{\tabfnt 4}\or\zcn{-3}{\tabfnt 5}\or\zcn{-3}{\tabfnt 6}\or\zcn{-3}{\tabfnt 7}\fi%
-\else\tabbox{#1}{#2}\fi}
-
-% left spilling \ztab
-\def\zltab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\ltabbox{#1}{#2}\or\zcn{-3}{\tabfnt/#2}\or\zcn{-3}{\tabfnt//#2}\or\zcn{-3}{\tabfnt///#2}\or\zcn{-3}{\tabfnt 4}\or\zcn{-3}{\tabfnt 5}\or\zcn{-3}{\tabfnt 6}\or\zcn{-3}{\tabfnt 7}\fi%
-\else\ltabbox{#1}{#2}\fi}
-
-% right spilling \ztab
-\def\zrtab#1#2{%
-\stringnum=#1
-\ifnum\stringnum>\nblines
-\nslashes=\stringnum
-\advance\nslashes by -\nblines
-\iftabstylespace\advance\nslashes by -1\fi
-\def\numslashes{\the\nslashes}
-\ifcase\numslashes\rtabbox{#1}{#2}\or\zcn{-3}{\tabfnt/#2}\or\zcn{-3}{\tabfnt//#2}\or\zcn{-3}{\tabfnt///#2}\or\zcn{-3}{\tabfnt 4}\or\zcn{-3}{\tabfnt 5}\or\zcn{-3}{\tabfnt 6}\or\zcn{-3}{\tabfnt 7}\fi%
-\else\rtabbox{#1}{#2}\fi}
-
-%
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% define a new clefsymbol \tabclef for tablature %
-% 1.29 RDT
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-\def\tabclef{%
- \setbox0=\hbox{\tabcleffnt T}
- \setbox1=\vbox{\baselineskip=0.5\baselineskip
- \hbox to 2\wd0{{\tabcleffnt T}\hfil}
- \hbox to 2\wd0{{\tabcleffnt A}\hfil}
- \hbox to 2\wd0{{\tabcleffnt B}\hfil}
- }
- \ifnum\nblines=6\lower1.5\internote\box1
- \else\ifnum\nblines=4\lower3.5\internote\box1\else\lower2.5\internote\box1\fi\fi}
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% tiny duration notes placed above tablature staff %
-% 1.33a RDT %
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-\newcount\tiny@hgt % = 2 * \nblines + 1
-
-% need to suppress ledger lines and prevent raising dots in dotted notes
-
-\def\settiny@hgt{\tiny@hgt=\nblines\multiply\tiny@hgt by 2\advance\tiny@hgt by1}
-
-\def\tzwh{%
-\settiny@hgt
-\tinynotesize\advancefalse\def\w@h{\musixfont\nin@}\y@v\wn@width
-\check@staff\getn@i{\the\tiny@hgt}\relax\let\n@fon\g@w \let\n@sym\w@h
-\pl@base\setst@m\resetst@m\raise\y@i\hbox{\n@sym}\advancetrue\fi}
-
-\def\tzwhp{%
-\settiny@hgt
-\tinynotesize\advancefalse\def\w@h{\musixfont\nin@}\y@v\wn@width
-\check@staff\getn@i{\the\tiny@hgt}\relax\let\n@fon\g@w \let\n@sym\w@h
-\pl@base\setst@m\resetst@m\raise\y@i\hbox{\n@sym\musixchar\z@}\advancetrue\fi}
-
-\def\tzhu{%
-\settiny@hgt
-\tinynotesize\advancefalse
-\check@staff\getn@i{\the\tiny@hgt}\relax\y@v\qn@width
-\pl@base\setst@m\upst@m\raise\y@i\hbox{\musixfont\@ight}\advancetrue\fi}
-
-\def\tzhup{%
-\settiny@hgt
-\tinynotesize\advancefalse
-\check@staff\getn@i{\the\tiny@hgt}\relax\y@v\qn@width
-\pl@base\setst@m\upst@m\raise\y@i\hbox{\musixfont{\@ight}\musixchar\z@}\advancetrue\fi}
-
-\def\tzqu{%
-\settiny@hgt
-\tinynotesize\advancefalse
-\check@staff\getn@i{\the\tiny@hgt}\relax\y@v\qn@width
-\pl@base\setst@m\upst@m\raise\y@i\hbox{\musixfont\s@v@n}\advancetrue\fi}
-
-\def\tzqup{%
-\settiny@hgt
-\tinynotesize\advancefalse
-\check@staff\getn@i{\the\tiny@hgt}\relax\y@v\qn@width
-\pl@base\setst@m\upst@m\raise\y@i\hbox{\musixfont{\s@v@n}\musixchar\z@}\advancetrue\fi}
-
-\def\tzcu{%
-\settiny@hgt
-\tinynotesize\advancefalse\q@symbol\n@vii\@xl
-\check@staff\getn@i{\the\tiny@hgt}\relax\let\n@fon\g@q \let\n@sym\q@u\y@v\qn@width
-\pl@base\setst@m\up@flag\raise\y@i\hbox{\n@sym}\advancetrue\fi}
-
-\def\tzcup{%
-\settiny@hgt
-\tinynotesize\advancefalse\q@symbol\n@vii\@xl
-\check@staff\getn@i{\the\tiny@hgt}\relax\let\n@fon\g@qp \let\n@sym\q@up\y@v\qn@width
-\pl@base\setst@m\up@flag\raise\y@i\hbox{\n@sym}\advancetrue\fi}
-
-\def\tzccu{%
-\settiny@hgt
-\tinynotesize\advancefalse\q@symbol\n@vii\@xli
-\check@staff\getn@i{\the\tiny@hgt}\relax\let\n@fon\g@q \let\n@sym\q@u\y@v\qn@width
-\pl@base\setst@m\up@flag\raise\y@i\hbox{\n@sym}\advancetrue\fi}
-
-\def\tzccup{%
-\settiny@hgt
-\tinynotesize\advancefalse\q@symbol\n@vii\@xli
-\check@staff\getn@i{\the\tiny@hgt}\relax\let\n@fon\g@qp \let\n@sym\q@up\y@v\qn@width
-\pl@base\setst@m\up@flag\raise\y@i\hbox{\n@sym}\advancetrue\fi}
-
-\def\tzcccu{%
-\settiny@hgt
-\tinynotesize\advancefalse\q@symbol\n@vii42
-\check@staff\getn@i{\the\tiny@hgt}\relax\let\n@fon\g@q \let\n@sym\q@u\y@v\qn@width
-\pl@base\setst@m\up@flag\raise\y@i\hbox{\n@sym}\advancetrue\fi}
-
-\def\tzcccup{%
-\settiny@hgt
-\tinynotesize\advancefalse\q@symbol\n@vii42
-\check@staff\getn@i{\the\tiny@hgt}\relax\let\n@fon\g@qp \let\n@sym\q@up\y@v\qn@width
-\pl@base\setst@m\up@flag\raise\y@i\hbox{\n@sym}\advancetrue\fi}
-
-
-%%%%%%%% end of tablature support %%%%%%%%%%%%
-
-\let\origin@lwrit@staffs\writ@staffs
-\def\writ@staffs{%
- \origin@lwrit@staffs
- \ifx\br@cks\empty\else\expandafter\@bracks\br@cks\ende\fi}
-
-\let\br@cks\empty
-\def\curlybrackets#1{\def\br@cks{#1}}
-
-\def\@bracks#1#2#3\ende{%
- \ifnum #1<#2 %=========================== inserted by D.S.(?)
- \noinstrum@nt=#1\s@l@ctinstr\b@zi\altitude
- \noinstrum@nt=#2\s@l@ctinstr\b@zii\altitude
- \advance\b@zii-\b@zi
- \C@Inter
- \advance\b@zii\nblines\internote
- \advance\b@zii\nblines\internote
- \advance\b@zii-2\internote
- \n@v\b@zii \sp@pt\tw@ \advance\n@v\@cxxviii
- \divide\b@zii\tw@
- \advance\b@zi\b@zii
- \raise\b@zi\rlap{\mxsps\char\n@v\kern\instrum@in@group}%
- \fi %==================================== inserted by D.S.(?)
- \ifx\empty#3\else\@bracks#3\ende\fi}
-
-
-%%
-% Define \pass@I to perform the following functions:
-%
-% (a) set line and page breaking for the first pass by setting
-% rigid values for \elemskip (#1),
-% \maxbarsinlin@ (#2)
-%
-% (b) Redefine \t@rmskip so that it writes to the .mx1 file;
-%
-% (c) Redefine part of \debutmorceau to open the output (.mx1) file
-% and write the following parameters to the .mx1 file:
-% \line@width
-% \parindent
-% \beforeruleskip
-% \afterruleskip
-% \elemskip
-% \clef@skip
-% \sign@skip;
-%
-% (d) redefine various other macros so that length measures will be
-% written to the .mx1 file
-%%
-
-\def\pass@I{\def\@nds@ction{\fil@{*\space\the\mulooseness\space\the\linegoal}%
- \mulooseness\z@\relax \linegoal\z@}%
-
-%\def\pass@I{\def\@nds@ction{\fil@{*\space\the\mulooseness}\mulooseness\z@}%
-%%
-% Redefine \t@rmskip to include a macro for writing a record to a file,
-% and define the macro
-%%
- \def\fil@termskip{%
- \fil@{\the\barsinpi@c@\space\the\widthtyp@\space\the\x@skip}%
- \widthtyp@\@ne}%
-%%
-% Redefine part of debutmorceau to write header information to file
-%%
- \def\fil@begin{%
- \fil@{S}% Startindicator
- \fil@{\the\line@width}%
- \fil@{\the\parindent}%
- \fil@{\the\beforeruleskip}%
- \fil@{\the\afterruleskip}%
- \fil@{\the\@l@mskip}%
- \fil@{\the\clef@skip}%
- \fil@{\the\sign@skip}}%
-%
-% -> \writ@newsigns
-%
- \def\fil@signs{%
- \maxsign@skip\z@
- \n@loop \s@l@ctsigns
- \sign@skip\tw@\Internote
- \sign@skip\a@s\sign@skip
- \ifdim\sign@skip<\z@ \sign@skip-\sign@skip \fi
- \global\advance\sign@skip\smallvalue\Internote
- \ifdim\maxsign@skip<\sign@skip \global\maxsign@skip\sign@skip
- \fi
- \repeat
- \global\sign@skip\maxsign@skip
- \fil@{s\space\the\sign@skip}}%
-%
-% -> \Contpiece
-%
- \def\fil@indent{\fil@{\the\barsinpi@c@\space0 \the\parindent}}%
-%
-% when a line is stopped with a zbar, to the next bar is added the amount
-% of afterruleskip
-% -> no line break during Pass 1 and indicate musixflx a zbar
-%
- \def\zbar{\zn@wbar\fil@{z \the\barno}}%
-%
-% \leftrightrepeat behaves different in mid of line and end of line
-% -> no line break during Pass 1, get the widths and
-% indicate musixflx a leftrightrepeat
-%
- \let\leftrightrepeat\leftrightrepeat@I
- \let\zleftrightrepeat\leftrightrepeat@I % RDT 1.28
-%
-% s.a.
-%
- \let\leftrepeat\leftrepeat@I
- \let\zleftrepeat\leftrepeat@I % RDT 1.28
-%
-% -> \hardspace
-%
- \def\fil@spc{\fil@{h \the\y@v}}%
-%
-% makes the .mx2 more transparent
-%
- \def\fil@barno{\fil@{b \the\barno}}%
-%
-% break line if value of \lin@pos (exclusive parindent, signs and clefs)
-% is larger than 0.5\hsize
-%
- \def\T@bil{\getcurpos \ifdim\y@v<\h@lf\line@width}%
-%
-% close the file
-%
- \def\endmuflex{\immediate\closeout\outmux}}%
-
-%%
-% Macros to set up the second pass
-%%
-
-\newread\inmux
-
-%%
-% Main macro: \pass@II
-% Function: %%%(a) Open the .mx2 file
-% %%%(b) Set the number of lines per page to #1
-% (c) Set the \everystaff macro to read and decode line
-% parameter settings
-% %%%(d) Define end of bar, end of line and repeat macros
-% %%% according to \autolines
-%%
-
-\def\pass@II{\def\ragg@d{\hfilneg\ }%
-% \def\everyst@ff{\everystaff\read\inmux\@to\inline \inline}} % ancient
- \def\everyst@ff{\read\inmux\@to\inline \inline\relax \everystaff}}
-
-%%
-% \inline expands to \lineset#1#2#3#4#5, so define the latter
-%%
-
-\def\lineset#1#2#3#4#5{\ifx\no@l\empty \message{<#1>}\fi
- \maxbarsinlin@#2%
- \@l@mskip#3%
- \elemskip\@l@mskip
- \afterruleskip#4%
- \beforeruleskip#5}
-
-\def\musicparskip{\parskip\z@ plus\fiv@\Interligne minus\Interligne}
-
-\def\endcatcodesmusic{%
- \catcode`\&\catcode@and
- \catcode`\|\catcode@vert
- \catcode`\>\catcode@gt
- \catcode`\<\catcode@lt
- \catcode`\!\catcode@excl
- \catcode`\*\catcode@star
- \catcode`\:\catcode@sc
- \catcode`\.\catcode@pt
- \let\bar\@@bar
- \catcodesmusicfalse}
-
-\endcatcodesmusic
-
-%...\let\wlog=\@wloG
-
-\catcode`\@=\catcodeat
-\endinput
-
diff --git a/macros/musixtex/tex/musixthacc.tex b/macros/musixtex/tex/musixthacc.tex
deleted file mode 100644
index b20ed567cb..0000000000
--- a/macros/musixtex/tex/musixthacc.tex
+++ /dev/null
@@ -1,49 +0,0 @@
-%
-% 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.
-%
-\immediate\write16{MusiXTHinACCidentals v.001\space<2022-12-29>}%
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-\catcodesmusic
-
-
-\font\fetaeleven=feta20 scaled \magstephalf
-\font\fetathirteen=feta20 scaled \magstep1
-\font\fetasixteen=feta20 scaled \magstep2
-\font\fetatwenty=feta20 scaled \magstep3
-\font\fetatwentyfour=feta20 scaled \magstep4
-\font\fetatwentynine=feta20 scaled \magstep5
-
-\let\fetanorfont\fetatwenty
-\def\fetachar{\fetafont\char}
-
-
-\def\writ@ka{\pl@base\raise\y@i\llap{\fetachar\n@v\kern\accshift}}
-\def\set@ka{\let\@Ti=\writ@ka}
-
-\def\thdsh#1{\set@ka \n@v30 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\thsh#1{\set@ka \n@v20 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\thna#1{\set@ka \n@v32 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\thfl#1{\set@ka \n@v37 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-\def\thdfl#1{\set@ka \n@v47 \check@staff \inhgetn@i#1\relax\expandafter\@Ti\fi}
-
-\let\fetafont\fetanorfont
-
-\endcatcodesmusic
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixtmr.tex b/macros/musixtex/tex/musixtmr.tex
deleted file mode 100644
index 16f48a67e3..0000000000
--- a/macros/musixtex/tex/musixtmr.tex
+++ /dev/null
@@ -1,201 +0,0 @@
-%%
-%% musixtmr.tex : Times-series fonts definition for MusiXTeX
-%%
-%% usage:
-%% \input musixtex
-%% \input musixtmr
-%% ...
-%%
-%% This file is public domain.
-%%
-%% Author:
-%% Hiroaki MORIMOTO <CQX05646 at nifty dot com>
-%% Tokyo, Japan
-%% URL(en): http://homepage1.nifty.com/kuuku/pub/musixtex/index-e.html
-%% (jp): http://homepage1.nifty.com/kuuku/pub/musixtex/index.html
-%% Extensions: Bob Tennent (rdt@cs.queensu.ca) 2016-02-22
-%%
-%% reference: musixtex.tex (0.99) 268-508
-%% MusiXTeX: (c) Daniel Taupin, et al.
-%%
-%% History: see trailer.
-%
-\immediate\write16{MusiXTimesFonts\space<2017/02/10>}
-\ifx\undefined\startpiece\errmessage{Input musixtex.tex before musixtmr.tex}\fi
-%
-% 7pt roman, bold, italic, bold italic, slanted and small-cap
-\font\sevenrm=ptmr8t at 7pt
-\font\sevenbf=ptmb8t at 7pt
-\font\sevenit=ptmri8t at 7pt
-\font\sevenbi=ptmbi8t at 7pt
-\font\sevensc=ptmrc8t at 7pt % artificial small-caps
-%
-% 8pt roman, bold, italic, bold italic, slanted and small-cap
-\font\eightrm=ptmr8t at 8pt
-\font\eightbf=ptmb8t at 8pt
-\font\eightit=ptmri8t at 8pt
-\font\eightbi=ptmbi8t at 8pt
-\font\eightsc=ptmrc8t at 8pt % artificial small-caps
-%
-% 9pt
-\font\ninerm=ptmr8t at 9pt
-\font\ninebf=ptmb8t at 9pt
-\font\nineit=ptmri8t at 9pt
-\font\ninebi=ptmbi8t at 9pt
-\font\ninesc=ptmrc8t at 9pt
-%
-% 10pt
-\font\tenrm=ptmr8t at 10pt
-\font\tenbf=ptmb8t at 10pt
-\font\tenit=ptmri8t at 10pt
-\font\tenbi=ptmbi8t at 10pt
-\font\tensc=ptmrc8t at 10pt
-%
-%
-% 11pt
-\font\elevenrm=ptmr8t scaled \magstephalf
-\font\elevenbf=ptmb8t scaled \magstephalf
-\font\elevenit=ptmri8t scaled \magstephalf
-\font\elevenbi=ptmbi8t scaled \magstephalf
-\font\elevensc=ptmrc8t scaled \magstephalf
-%
-% 12pt
-\font\twelverm=ptmr8t scaled \magstep 1
-\font\twelvebf=ptmb8t scaled \magstep 1
-\font\twelveit=ptmri8t scaled \magstep 1
-\font\twelvebi=ptmbi8t scaled \magstep 1
-\font\twelvesc=ptmrc8t scaled \magstep 1
-%
-% 14pt
-\font\frtrm=ptmr8t scaled \magstep2
-\font\frtbf=ptmb8t scaled \magstep2
-\font\frtit=ptmri8t scaled \magstep2
-\font\frtbi=ptmbi8t scaled \magstep2
-\font\frtsc=ptmrc8t scaled \magstep2
-%
-% 17pt
-\font\svtrm=ptmr8t scaled \magstep3
-\font\svtbf=ptmb8t scaled \magstep3
-\font\svtit=ptmri8t scaled \magstep3
-\font\svtbi=ptmbi8t scaled \magstep3
-\font\svtsc=ptmrc8t scaled \magstep3
-%
-% 20pt
-\font\twtyrm=ptmr8t scaled \magstep4
-\font\twtybf=ptmb8t scaled \magstep4
-\font\twtyit=ptmri8t scaled \magstep4
-\font\twtybi=ptmbi8t scaled \magstep4
-\font\twtysc=ptmrc8t scaled \magstep4
-%
-% 25pt
-\font\twfvrm=ptmr8t scaled \magstep5
-\font\twfvbf=ptmb8t scaled \magstep5
-\font\twfvit=ptmri8t scaled \magstep5
-\font\twfvbi=ptmbi8t scaled \magstep5
-\font\twfvsc=ptmrc8t scaled \magstep5
-%
-% large fonts for titles
-% (If you prefer Times-bold, use \bf)
-% (If you prefer small-caps, use \sc)
-%
-\def\bigtype{\bigfont\rm}
-\def\Bigtype{\Bigfont\rm}
-\def\BIgtype{\BIgfont\rm}
-\def\BIGtype{\BIGfont\rm}
-%
-%
-\font\ppfftwelve=ptmbi8t at 8pt
-\font\ppffsixteen=ptmbi8t at 10pt
-\font\ppfftwenty=ptmbi8t scaled \magstep 1
-\font\ppfftwentyfour=ptmbi8t scaled \magstep2
-\font\ppfftwentynine=ptmbi8t scaled \magstep3
-%
-%
-\def\f{{\ppff f}}
-\def\ff{{\ppff ff}}
-\def\fp{{\ppff fp}}
-\def\fff{{\ppff fff}}
-\def\ffff{{\ppff ffff}}
-\def\mf{{\ppff mf}}
-\def\p{{\ppff p}}
-\def\pp{{\ppff pp}}
-\def\ppp{{\ppff ppp}}
-\def\pppp{{\ppff pppp}}
-
-
-%
-% sl fonts needed by musixsty
-%
-\font\eightsl=ptmro8t at 8pt
-\font\ninesl=ptmro8t at 9pt
-\font\tensl=ptmro8t at 10pt
-\font\twelvesl=ptmro8t scaled \magstep1
-\font\frtsl=ptmro8t scaled \magstep2
-\font\svtsl=ptmro8t scaled \magstep3
-\font\twtysl=ptmro8t scaled \magstep4
-\font\twfvsl=ptmro8t scaled \magstep5
-%
-%
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-%
-\def\sF{{\ppff s\p@kern f}}
-\def\sfz{{\ppff s\p@kern f\f@kern z}}
-\def\sfzp{{\ppff s\p@kern f\f@kern z\p@kern p}}
-
-\def\mp@{{\ppff mp}}
-\let\mezzopiano\mp@
-
-%
-% Redefine accented characters for 8-bit font, suggested by David Carlisle:
-%
-\ifx\documentclass\undefined
-\def\ProvidesFile#1[#2]{}
-\def\DeclareFontEncoding#1#2#3{}
-\def\DeclareTextAccent#1#2#3{%
-\def#1##1{%
-\expandafter\ifx\csname T1\string#1-\string##1\endcsname\relax
-{\accent#1 ##1}%
-\else
-\csname T1\string#1-\string##1\expandafter\endcsname
-\fi}}
-\def\DeclareTextCommand#1#2{\xdtcmd}%not today
-\def\xdtcmd#1#{\xxdtcmd}%not today
-\def\xxdtcmd#1{}%not today
-\def\DeclareTextCompositeCommand#1#2#3#4{}%not today
-\def\DeclareTextSymbol#1#2#3{%
-\def#1{\char#3\relax}}
-\def\DeclareTextComposite#1#2#3#4{%
-\expandafter\def\csname T1\string#1-\string#3\endcsname{\char#4\relax}}
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\input t1enc.def
-
-% \c needs special treatment
-\def\c#1{\leavevmode\ifx c#1\char231 \else\setbox\z@\hbox{#1}\ifdim\ht\z@=1ex\accent11 #1%
- \else{\ooalign{\unhbox\z@\crcr
- \hidewidth\char11\hidewidth}}\fi\fi}
-\catcode`\@=\catcodeat
-\fi
-
-\normtype
-\endinput
-%%
-%% History
-%%
-%% 2001/08/21
-%% first publish
-%% 2004/12/24
-%% no functional change. (email & real address change)
-%% 2007/06/11
-%% no functional change. (email protection, real address change, URL change)
-%% 2008/08/01
-%% Font assignment change on PMX.
-%% 2009/10/15
-%% small update for MusiXTeX 1.14 final release.
-%% 2015/02/06
-%% 8-bit encoding and extensions, similar to musixplt.tex
-%% 2015-07-25
-%% change to ptmr8t fonts and use t1enc.def to re-defined accented characters
-%% 2016-07-11 RDT
-%% \catcode`\@=11 before inputting t1enc.def
diff --git a/macros/musixtex/tex/musixtri.tex b/macros/musixtex/tex/musixtri.tex
deleted file mode 100644
index 52375e170d..0000000000
--- a/macros/musixtex/tex/musixtri.tex
+++ /dev/null
@@ -1,64 +0,0 @@
-%
-% 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.
-%
-
-\immediate\write16{MusiXTRIplepoint 1.05\space<30 April 2002>}
-
-\ifx\undefined\hlppp \else \endinput \fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\def\lppt{\g@pt\m@ne\tw@}
-
-\def\whppp{\def\w@h{\musixfont\nin@\roffset\qu@rt{\C@Point\tw@\raise}}%
- \y@v\wn@width \g@w}
-\def\zwppp{\advancefalse\whppp}
-
-\def\@quppp{\let\st@m\upst@m \g@qppp}
-\def\@qlppp{\let\st@m\downst@m \g@qppp}
-\def\@zqppp{\let\st@m\setst@m \advancefalse\g@qppp}
-\def\@nqppp{\let\st@m\resetst@m \g@qppp}
-
-\def\q@uppp{\q@u\C@Point\tw@\raise}
-\def\g@qppp#1{\getn@i#1\relax \let\n@fon\g@qppp \let\n@sym\q@uppp
- \y@v\qn@width \writ@note}
-
-\def\@qbppp#1{\s@l@ctbeam#1\relax \let\st@m\beamst@m \g@qppp}
-
-\def\@cuppp{\n@vii\@xl \let\st@m\up@flag \g@qppp}
-\def\@clppp{\n@vii45\let\st@m\down@flag \g@qppp}
-
-\def\huppp{\h@symbol\@quppp}
-\def\hlppp{\h@symbol\@qlppp}
-\def\zhppp{\h@symbol\@zqppp}
-\def\zhuppp{\advancefalse\huppp}
-\def\zhlppp{\advancefalse\hlppp}
-\def\quppp{\q@symbol\@quppp}
-\def\qlppp{\q@symbol\@qlppp}
-\def\zquppp{\advancefalse\quppp}
-\def\zqlppp{\advancefalse\qlppp}
-\def\zqppp{\q@symbol\@zqppp}
-\def\cuppp{\q@symbol\@cuppp}
-\def\zcuppp{\advancefalse\cuppp}
-\def\clppp{\q@symbol\@clppp}
-\def\zclppp{\advancefalse\clppp}
-\def\qbppp{\q@symbol\@qbppp}
-\def\zqbppp{\advancefalse\qbppp}
-
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/musixvbm.tex b/macros/musixtex/tex/musixvbm.tex
deleted file mode 100644
index 9a2898c935..0000000000
--- a/macros/musixtex/tex/musixvbm.tex
+++ /dev/null
@@ -1,212 +0,0 @@
-%%
-%% musixvbm.tex - MusiXTeX Extension, Vectorized Beams (& crescendos)
-%% by tpic specials / pdfTeX raw literal
-%%
-%% Copyright (C) 2000-2007 Hiroaki MORIMOTO (Kuuku)
-%% 2021-05-17: RDT added comments on the tpic \specials
-%%
-%% This program 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
-%% of the License, or any later version.
-%%
-%% This program 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 this program; if not, write to the Free Software
-%% Foundation, Inc., 59 Temple Place - Suite 330, Boston, MA 02111-1307, USA.
-%%
-%% \def\domain{nifty.com}
-%% Author:
-%% Hiroaki MORIMOTO <CQX\relax05646@\domain>
-%% Tokyo, Japan
-%% URL: http://kuuku.no.coocan.jp/pub/musixtex/index-e.html
-%%
-%% based on musixtex.tex T.104, line 3255-3290.
-%% MusiXTeX : (C) Daniel Taupin et al.
-%%
-%% January 1, 2007 version 1.20-beta6
-%% This is a successor of `musixtpb.tex' ver.1.10.
-%%
-\ifx\ifvectorizedbeam\undefined\else\endinput\fi
-\immediate\write16{MusiXTeX Extension, Vectorized Beams and crescendos <2007/01/01>}%
-%
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-%
-% Allocation of registers
-% No register is required except for scratch (\dimen@, \count@)
-%
-% Modes definition (default: true)
-\newif\ifvectorizedbeam \vectorizedbeamtrue
-%
-% Operation mode automatic selection (v1.20)
-%
-\let\@beammodesel\relax%
-\ifx\pdftexversion\undefined\else%
- \ifnum\pdfoutput>0\relax
- \immediate\write16{musixvbm: uses pdfTeX raw literal}%
- \edef\@beammodesel{pdftex}%
- \fi
-\fi
-\ifx\@beammodesel\relax
- \immediate\write16{musixvbm: uses tpic specials}%
- \edef\@beammodesel{tpic}%
-\fi
-%
-% Overriding beam termination code (v1.20)
-%
-\let\@beam@font=\@beam\relax
-\def\@beam{%
- \ifvectorizedbeam
- \csname @beam@\@beammodesel\endcsname
- \else
- \@beam@font
- \fi
-}%
-%
-% Main routine for tpic-version beam
-% \y@ii : length, \b@p : slope, \y@i : altitude
-%
-\def\@beam@tpic{%
- % X of end
- \@dimentomil{\y@ii}{\@Xend}%
- % Y of start
- \y@iii\y@i
- \advance\y@iii -\b@amthick
- \@dimentomil{-\y@iii}{\@Ystart@l}%
- \advance\y@iii \tw@\b@amthick
- \@dimentomil{-\y@iii}{\@Ystart@u}%
- % Y of end
- \y@iv\y@i
- \dimen@=\b@p\y@ii \divide\dimen@ \tw@nty% \tw@nty=20 def'd in musixtex.tex
- \advance\y@iv \dimen@
- \advance\y@iv -\b@amthick
- \@dimentomil{-\y@iv}{\@Yend@l}%
- \advance\y@iv \tw@\b@amthick
- \@dimentomil{-\y@iv}{\@Yend@u}%
-% \special{pn 1}%
- \special{sh 1}% RDT: set beam shading to black
- \@addbeampath{0}{\@Ystart@l}% RDT: add points to define the beam perimeter
- \@addbeampath{\@Xend}{\@Yend@l}%
- \@addbeampath{\@Xend}{\@Yend@u}%
- \@addbeampath{0}{\@Ystart@u}%
- \@addbeampath{0}{\@Ystart@l}% RDT: close the perimeter
- \special{ip}% RDT: draw the beam (without the outline)
- \kern\y@ii
-}%
-%
-%
-% Subroutines for tpic-version beam
-%
-\def\@dimentomil#1#2{{%
- % 1m-in = 0.07227pt, 1pt = 13.837m-in
- % \count@=\count255 \dimen@=\dimen0 def'd in plain
- \dimen@=#1\relax\dimen@=13.837\dimen@\relax
- \count@\dimen@
- \ifnum\count@>0
- \advance\count@ by 32768
- \else
- \advance\count@ by -32768
- \fi
- \divide\count@ by 65536
- \xdef#2{\the\count@}}}%
-%
-\def\@addbeampath#1#2{\special{pa #1 #2}}%
-%
-%
-% Main routine for pdfTeX
-%
-\def\@beam@pdftex{%
- % X of end
- \edef\@Xend{\strip@pt\y@ii}%
- % Y of start
- \y@iii\y@i
- \advance\y@iii -\b@amthick
- \edef\@Ystart@l{\strip@pt\y@iii}%
- \advance\y@iii \tw@\b@amthick
- \edef\@Ystart@u{\strip@pt\y@iii}%
- % Y of end
- \y@iv\y@i
- \dimen@=\b@p\y@ii \divide\dimen@ \tw@nty% \tw@nty=20 def'd in musixtex.tex
- \advance\y@iv \dimen@
- \advance\y@iv -\b@amthick
- \edef\@Yend@l{\strip@pt\y@iv}%
- \advance\y@iv \tw@\b@amthick
- \edef\@Yend@u{\strip@pt\y@iv}%
- \pdfliteral{q 0 g 0 \@Ystart@l\space m \@Xend\space\@Yend@l\space l \@Xend\space\@Yend@u\space l 0 \@Ystart@u\space l 0 \@Ystart@l\space l f Q}%
- \kern\y@ii
-}%
-%
-% Subroutines for pdfTeX
-% (taken from latex.ltx 2003/12/01)
-\begingroup
- \catcode`P=12
- \catcode`T=12
- \lowercase{%
- \def\x{\def\rem@pt##1.##2PT{##1\ifnum##2>\z@.##2\fi}}}%
- \expandafter\endgroup\x
-\def\strip@pt{\expandafter\rem@pt\the}%
-%
-%
-% vectorized version of crescendo, decrescendo (under construction)
-%
-\let\C@cresc@font=\C@cresc\relax
-%
-% for tpic-version crescendo
-% #1=length (any TeX dimension, no limit))
-\def\C@cresc@tpic#1{%
- \y@iv#1\relax
-% \rlap{\vrule width\y@iv height1pt}%
- \@dimentomil{\y@iv}{\@Xend}%
- \dimen@=2.5pt \advance\dimen@ by.00125\y@iv\relax% see musixspx.mf
- \@dimentomil{\dimen@}{\@Yend@l}%
- \special{pn 6}% 0.4pt=5.5348mil see musixspx.mf
- \ifnum\n@ii=\@cxv% decrescendo see musixtex.tex T.112 line 3870
- \@addbeampath{0}{\@Yend@l}%
- \@addbeampath{\@Xend}{0}%
- \special{fp}%
- \@addbeampath{0}{-\@Yend@l}%
- \@addbeampath{\@Xend}{0}%
- \special{fp}%
- \else
- \@addbeampath{\@Xend}{\@Yend@l}%
- \@addbeampath{0}{0}%
- \special{fp}%
- \@addbeampath{\@Xend}{-\@Yend@l}%
- \@addbeampath{0}{0}%
- \special{fp}%
- \fi
-% \C@cresc@font#1%
-}%
-%
-% for pdfTeX-version crescendo
-% #1=length (any TeX dimension, no limit))
-\def\C@cresc@pdftex#1{%
- \y@iv#1\relax
-% \rlap{\vrule width\y@iv height1pt}%
- \edef\@Xend{\strip@pt\y@iv}%
- \dimen@=2.5pt \advance\dimen@ by.00125\y@iv\relax% see musixspx.mf
- \edef\@Yend@l{\strip@pt\dimen@}%
- \ifnum\n@ii=\@cxv% decrescendo see musixtex.tex T.112 line 3870
- \pdfliteral{.4 w q 0 g 0 \@Yend@l\space m \@Xend\space 0 l S Q q 0 g 0 -\@Yend@l\space m \@Xend\space 0 l S Q}%
- \else
- \pdfliteral{.4 w q 0 g \@Xend\space \@Yend@l\space m 0 0 l S Q q 0 g \@Xend\space -\@Yend@l\space m 0 0 l S Q}%
- \fi
-% \C@cresc@font#1%
-}%
-%
-% Overriding crescendo (v1.20)
-%
-\def\C@cresc#1{%
- \ifvectorizedbeam
- \csname C@cresc@\@beammodesel\endcsname#1
- \else
- \C@cresc@font#1
- \fi
-}%
-%
-\catcode`\@=\catcodeat
-\endinput
diff --git a/macros/musixtex/tex/tuplet.tex b/macros/musixtex/tex/tuplet.tex
deleted file mode 100644
index 8ea0dfc030..0000000000
--- a/macros/musixtex/tex/tuplet.tex
+++ /dev/null
@@ -1,27 +0,0 @@
-%
-% 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.
-%
-%
-% tuplet.tex
-%
-\immediate\write16{tuplet.tex <2017-03-16>}%
-%
-% (nothing to do. - T.116 or later provide the definitions
-% by Col. Sicherman formerly in tuplet.tex)
-%
-\endinput