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authorNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
committerNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
commite0c6872cf40896c7be36b11dcc744620f10adf1d (patch)
tree60335e10d2f4354b0674ec22d7b53f0f8abee672 /macros/musixtex
Initial commit
Diffstat (limited to 'macros/musixtex')
-rw-r--r--macros/musixtex/README89
-rw-r--r--macros/musixtex/doc/ChangeLog-114.txt98
-rw-r--r--macros/musixtex/doc/ChangeLog-115.txt270
-rw-r--r--macros/musixtex/doc/ChangeLog-116.txt35
-rw-r--r--macros/musixtex/doc/ChangeLog-117.txt12
-rw-r--r--macros/musixtex/doc/ChangeLog-118.txt11
-rw-r--r--macros/musixtex/doc/ChangeLog-119.txt7
-rw-r--r--macros/musixtex/doc/ChangeLog-120.txt6
-rw-r--r--macros/musixtex/doc/ChangeLog-121.txt16
-rw-r--r--macros/musixtex/doc/ChangeLog-122.txt8
-rw-r--r--macros/musixtex/doc/ChangeLog-123.txt6
-rw-r--r--macros/musixtex/doc/ChangeLog-124.txt10
-rw-r--r--macros/musixtex/doc/ChangeLog-125.txt6
-rw-r--r--macros/musixtex/doc/ChangeLog-126.txt5
-rw-r--r--macros/musixtex/doc/ChangeLog-127.txt15
-rw-r--r--macros/musixtex/doc/ChangeLog-128.txt7
-rw-r--r--macros/musixtex/doc/ChangeLog-129.txt6
-rw-r--r--macros/musixtex/doc/ChangeLog-musixdoc.txt30
-rw-r--r--macros/musixtex/doc/examples/adagio.tex446
-rw-r--r--macros/musixtex/doc/examples/albinoni.tex614
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-rw-r--r--macros/musixtex/doc/examples/angescax.tex366
-rw-r--r--macros/musixtex/doc/examples/avemaria.tex18
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-rw-r--r--macros/musixtex/doc/examples/avemaril.tex20
-rw-r--r--macros/musixtex/doc/examples/avemario.tex1014
-rw-r--r--macros/musixtex/doc/examples/avemarix.tex951
-rw-r--r--macros/musixtex/doc/examples/avemaroo.tex858
-rw-r--r--macros/musixtex/doc/examples/aveverch.tex3
-rw-r--r--macros/musixtex/doc/examples/aveverdd.tex4
-rw-r--r--macros/musixtex/doc/examples/aveveruc.tex4
-rw-r--r--macros/musixtex/doc/examples/aveverud.tex4
-rw-r--r--macros/musixtex/doc/examples/aveverum.tex297
-rw-r--r--macros/musixtex/doc/examples/changecontext.tex95
-rw-r--r--macros/musixtex/doc/examples/chanson.tex318
-rw-r--r--macros/musixtex/doc/examples/dissonan.tex947
-rw-r--r--macros/musixtex/doc/examples/eightbitchar.tex12
-rw-r--r--macros/musixtex/doc/examples/fantaisc.tex4
-rw-r--r--macros/musixtex/doc/examples/fantaisd.tex2
-rw-r--r--macros/musixtex/doc/examples/fantaisi.tex1238
-rw-r--r--macros/musixtex/doc/examples/fantcmol.tex626
-rw-r--r--macros/musixtex/doc/examples/fantfuga.tex18
-rw-r--r--macros/musixtex/doc/examples/fugcmoll.tex517
-rw-r--r--macros/musixtex/doc/examples/fugue.tex677
-rw-r--r--macros/musixtex/doc/examples/gloriab.tex314
-rw-r--r--macros/musixtex/doc/examples/glorias.tex286
-rw-r--r--macros/musixtex/doc/examples/gloriax.tex283
-rw-r--r--macros/musixtex/doc/examples/gymnoman.tex569
-rw-r--r--macros/musixtex/doc/examples/ilestne.tex22
-rw-r--r--macros/musixtex/doc/examples/ilestnex.tex202
-rw-r--r--macros/musixtex/doc/examples/ilfaitda.tex18
-rw-r--r--macros/musixtex/doc/examples/ilfaitdx.tex171
-rw-r--r--macros/musixtex/doc/examples/kinder.tex125
-rw-r--r--macros/musixtex/doc/examples/kv315.tex827
-rw-r--r--macros/musixtex/doc/examples/kv315f.tex2
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-rw-r--r--macros/musixtex/doc/examples/kv315org.tex813
-rw-r--r--macros/musixtex/doc/examples/marcello.tex319
-rw-r--r--macros/musixtex/doc/examples/marcon1.tex729
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-rw-r--r--macros/musixtex/doc/examples/marcono.tex19
-rw-r--r--macros/musixtex/doc/examples/musixdbrexample.tex52
-rw-r--r--macros/musixtex/doc/examples/onuitbri.tex25
-rw-r--r--macros/musixtex/doc/examples/onuitbrr.tex12
-rw-r--r--macros/musixtex/doc/examples/onuitbrx.tex174
-rw-r--r--macros/musixtex/doc/examples/ossiaexa.tex30
-rw-r--r--macros/musixtex/doc/examples/ostinato.tex450
-rw-r--r--macros/musixtex/doc/examples/pacifiqb.tex9
-rw-r--r--macros/musixtex/doc/examples/pacifiqn.tex1128
-rw-r--r--macros/musixtex/doc/examples/pacifiqt.tex10
-rw-r--r--macros/musixtex/doc/examples/parnasum.tex132
-rw-r--r--macros/musixtex/doc/examples/partitur.tex433
-rw-r--r--macros/musixtex/doc/examples/pedal.tex24
-rw-r--r--macros/musixtex/doc/examples/prelfug.tex4
-rw-r--r--macros/musixtex/doc/examples/prelude.tex715
-rw-r--r--macros/musixtex/doc/examples/pslurvgap.tex21
-rw-r--r--macros/musixtex/doc/examples/quod.tex162
-rw-r--r--macros/musixtex/doc/examples/racine.tex596
-rw-r--r--macros/musixtex/doc/examples/recit.tex416
-rw-r--r--macros/musixtex/doc/examples/recueil.tex156
-rw-r--r--macros/musixtex/doc/examples/rests.tex229
-rw-r--r--macros/musixtex/doc/examples/reves.tex543
-rw-r--r--macros/musixtex/doc/examples/romances.tex499
-rw-r--r--macros/musixtex/doc/examples/scale.tex67
-rw-r--r--macros/musixtex/doc/examples/souvenir.tex31
-rw-r--r--macros/musixtex/doc/examples/souvenix.tex474
-rw-r--r--macros/musixtex/doc/examples/tierce.tex376
-rw-r--r--macros/musixtex/doc/examples/traeumer.tex299
-rw-r--r--macros/musixtex/doc/examples/widor.tex792
-rw-r--r--macros/musixtex/doc/examples/widor_16.tex20
-rw-r--r--macros/musixtex/doc/examples/widor_20.tex18
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-rw-r--r--macros/musixtex/doc/musixdoc/embedding.tex180
-rw-r--r--macros/musixtex/doc/musixdoc/examples.tex124
-rw-r--r--macros/musixtex/doc/musixdoc/extensions.tex2192
-rw-r--r--macros/musixtex/doc/musixdoc/extracting.tex101
-rw-r--r--macros/musixtex/doc/musixdoc/fonts.tex231
-rw-r--r--macros/musixtex/doc/musixdoc/frontmatter.tex143
-rw-r--r--macros/musixtex/doc/musixdoc/index.tex10
-rw-r--r--macros/musixtex/doc/musixdoc/introduction.tex823
-rw-r--r--macros/musixtex/doc/musixdoc/layout.tex183
-rw-r--r--macros/musixtex/doc/musixdoc/lyrics.tex407
-rw-r--r--macros/musixtex/doc/musixdoc/miscellaneous.tex958
-rw-r--r--macros/musixtex/doc/musixdoc/musixdoc.ltx102
-rw-r--r--macros/musixtex/doc/musixdoc/musixdoc.sty148
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-rw-r--r--macros/musixtex/doc/musixdoc/preparing.tex285
-rw-r--r--macros/musixtex/doc/musixdoc/repeats.tex272
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-rw-r--r--macros/musixtex/doc/musixdoc/slurstiesTypeK.tex378
-rw-r--r--macros/musixtex/doc/musixdoc/slurstiesfont.tex598
-rw-r--r--macros/musixtex/doc/musixdoc/smaller.tex190
-rw-r--r--macros/musixtex/doc/musixdoc/spacing.tex106
-rw-r--r--macros/musixtex/doc/musixdoc/staffsize.tex101
-rw-r--r--macros/musixtex/doc/musixdoc/summary.tex310
-rw-r--r--macros/musixtex/doc/musixdoc/transposition.tex217
-rw-r--r--macros/musixtex/doc/musixdoc/writingnotes.tex285
-rw-r--r--macros/musixtex/doc/musixlyr/README.musixlyr74
-rw-r--r--macros/musixtex/doc/musixlyr/examples/nonmoriar.pdfbin0 -> 11229 bytes
-rw-r--r--macros/musixtex/doc/musixlyr/examples/nonmoriar.tex23
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-rw-r--r--macros/musixtex/doc/musixtex-install.tex158
-rw-r--r--macros/musixtex/doc/notationmistakes/coulhack.tex70
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-rw-r--r--macros/musixtex/doc/notationmistakes/sottigra.tex1086
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-rw-r--r--macros/musixtex/dvips/psslurs.pro282
-rw-r--r--macros/musixtex/latex/musixcpt.sty3
-rw-r--r--macros/musixtex/latex/musixcrd.sty11
-rw-r--r--macros/musixtex/latex/musixfll.sty2
-rw-r--r--macros/musixtex/latex/musixltx.tex33
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-rwxr-xr-xmacros/musixtex/scripts/musixtex.lua608
-rw-r--r--macros/musixtex/source/doc.tex24
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-rw-r--r--macros/musixtex/source/readme54
-rw-r--r--macros/musixtex/source/strip.tex20
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-rw-r--r--macros/musixtex/tex/musixadf.tex138
-rw-r--r--macros/musixtex/tex/musixbar.tex148
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-rw-r--r--macros/musixtex/tex/musixdat.tex59
-rw-r--r--macros/musixtex/tex/musixdbr.tex250
-rw-r--r--macros/musixtex/tex/musixdia.tex110
-rw-r--r--macros/musixtex/tex/musixec.tex169
-rw-r--r--macros/musixtex/tex/musixeng.tex42
-rw-r--r--macros/musixtex/tex/musixesf.tex79
-rw-r--r--macros/musixtex/tex/musixevo.tex19
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-rw-r--r--macros/musixtex/tex/musixgre.tex351
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-rw-r--r--macros/musixtex/tex/musixlit.tex87
-rw-r--r--macros/musixtex/tex/musixlyr.tex1162
-rw-r--r--macros/musixtex/tex/musixmad.tex30
-rw-r--r--macros/musixtex/tex/musixper.tex195
-rw-r--r--macros/musixtex/tex/musixplt.tex184
-rw-r--r--macros/musixtex/tex/musixpoi.tex67
-rw-r--r--macros/musixtex/tex/musixppff.tex169
-rw-r--r--macros/musixtex/tex/musixps.tex963
-rw-r--r--macros/musixtex/tex/musixref.tex305
-rw-r--r--macros/musixtex/tex/musixslu.tex4
-rw-r--r--macros/musixtex/tex/musixsqr.tex3
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-rw-r--r--macros/musixtex/tex/musixtex.tex5707
-rw-r--r--macros/musixtex/tex/musixtmr.tex201
-rw-r--r--macros/musixtex/tex/musixtri.tex64
-rw-r--r--macros/musixtex/tex/tuplet.tex27
-rw-r--r--macros/musixtex/windows/musixflx.bat6
-rw-r--r--macros/musixtex/windows/musixtex.bat6
209 files changed, 60045 insertions, 0 deletions
diff --git a/macros/musixtex/README b/macros/musixtex/README
new file mode 100644
index 0000000000..aebd633e31
--- /dev/null
+++ b/macros/musixtex/README
@@ -0,0 +1,89 @@
+This is MusiXTeX, version 1.29 (2018-08-04).
+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 are in 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
+rdt(at)cs(dot)queensu(dot)ca.
diff --git a/macros/musixtex/doc/ChangeLog-114.txt b/macros/musixtex/doc/ChangeLog-114.txt
new file mode 100644
index 0000000000..3e77097208
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-114.txt
@@ -0,0 +1,98 @@
+<<< 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
new file mode 100644
index 0000000000..be49e54b04
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-115.txt
@@ -0,0 +1,270 @@
+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
new file mode 100644
index 0000000000..e57225c986
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-116.txt
@@ -0,0 +1,35 @@
+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
new file mode 100644
index 0000000000..08bb03d9b6
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-117.txt
@@ -0,0 +1,12 @@
+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
new file mode 100644
index 0000000000..cb5fbde19a
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-118.txt
@@ -0,0 +1,11 @@
+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
new file mode 100644
index 0000000000..11871f1847
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-119.txt
@@ -0,0 +1,7 @@
+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
new file mode 100644
index 0000000000..5b9b796d15
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-120.txt
@@ -0,0 +1,6 @@
+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
new file mode 100644
index 0000000000..2a2464441b
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-121.txt
@@ -0,0 +1,16 @@
+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
new file mode 100644
index 0000000000..87a76a65d3
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-122.txt
@@ -0,0 +1,8 @@
+
+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
new file mode 100644
index 0000000000..4ffcfed2e9
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-123.txt
@@ -0,0 +1,6 @@
+
+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
new file mode 100644
index 0000000000..0a2beb1b4e
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-124.txt
@@ -0,0 +1,10 @@
+
+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
new file mode 100644
index 0000000000..9e392be79a
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-125.txt
@@ -0,0 +1,6 @@
+
+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
new file mode 100644
index 0000000000..1c16206882
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-126.txt
@@ -0,0 +1,5 @@
+
+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
new file mode 100644
index 0000000000..399d5a2eed
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-127.txt
@@ -0,0 +1,15 @@
+
+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
new file mode 100644
index 0000000000..39c5fa708e
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-128.txt
@@ -0,0 +1,7 @@
+
+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
new file mode 100644
index 0000000000..780d4cef33
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-129.txt
@@ -0,0 +1,6 @@
+
+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-musixdoc.txt b/macros/musixtex/doc/ChangeLog-musixdoc.txt
new file mode 100644
index 0000000000..aea36ae40c
--- /dev/null
+++ b/macros/musixtex/doc/ChangeLog-musixdoc.txt
@@ -0,0 +1,30 @@
+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
new file mode 100644
index 0000000000..1d63294cf2
--- /dev/null
+++ b/macros/musixtex/doc/examples/adagio.tex
@@ -0,0 +1,446 @@
+\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
new file mode 100644
index 0000000000..9b30fd3bb7
--- /dev/null
+++ b/macros/musixtex/doc/examples/albinoni.tex
@@ -0,0 +1,614 @@
+\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
new file mode 100644
index 0000000000..f2b915632f
--- /dev/null
+++ b/macros/musixtex/doc/examples/angescam.tex
@@ -0,0 +1,19 @@
+\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
new file mode 100644
index 0000000000..e2a7b34bce
--- /dev/null
+++ b/macros/musixtex/doc/examples/angescao.tex
@@ -0,0 +1,24 @@
+\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
new file mode 100644
index 0000000000..6dcab817c7
--- /dev/null
+++ b/macros/musixtex/doc/examples/angescax.tex
@@ -0,0 +1,366 @@
+\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
new file mode 100644
index 0000000000..67348d0423
--- /dev/null
+++ b/macros/musixtex/doc/examples/avemaria.tex
@@ -0,0 +1,18 @@
+\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
new file mode 100644
index 0000000000..e190c1201f
--- /dev/null
+++ b/macros/musixtex/doc/examples/avemarid.tex
@@ -0,0 +1,1016 @@
+\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
new file mode 100644
index 0000000000..ac2d11f3e4
--- /dev/null
+++ b/macros/musixtex/doc/examples/avemaril.tex
@@ -0,0 +1,20 @@
+\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
new file mode 100644
index 0000000000..747452c4a4
--- /dev/null
+++ b/macros/musixtex/doc/examples/avemario.tex
@@ -0,0 +1,1014 @@
+\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
new file mode 100644
index 0000000000..c6a57cca4b
--- /dev/null
+++ b/macros/musixtex/doc/examples/avemarix.tex
@@ -0,0 +1,951 @@
+% \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
new file mode 100644
index 0000000000..520d5f0530
--- /dev/null
+++ b/macros/musixtex/doc/examples/avemaroo.tex
@@ -0,0 +1,858 @@
+\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
new file mode 100644
index 0000000000..3d29ea6f48
--- /dev/null
+++ b/macros/musixtex/doc/examples/aveverch.tex
@@ -0,0 +1,3 @@
+\def\chorale{\relax}
+\input aveverum
+\endinput
diff --git a/macros/musixtex/doc/examples/aveverdd.tex b/macros/musixtex/doc/examples/aveverdd.tex
new file mode 100644
index 0000000000..7480111e5f
--- /dev/null
+++ b/macros/musixtex/doc/examples/aveverdd.tex
@@ -0,0 +1,4 @@
+\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
new file mode 100644
index 0000000000..be83ce5730
--- /dev/null
+++ b/macros/musixtex/doc/examples/aveveruc.tex
@@ -0,0 +1,4 @@
+\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
new file mode 100644
index 0000000000..329d5ac4c8
--- /dev/null
+++ b/macros/musixtex/doc/examples/aveverud.tex
@@ -0,0 +1,4 @@
+\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
new file mode 100644
index 0000000000..c5e732595e
--- /dev/null
+++ b/macros/musixtex/doc/examples/aveverum.tex
@@ -0,0 +1,297 @@
+\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
new file mode 100644
index 0000000000..819a59131f
--- /dev/null
+++ b/macros/musixtex/doc/examples/changecontext.tex
@@ -0,0 +1,95 @@
+\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
new file mode 100644
index 0000000000..1047b9f948
--- /dev/null
+++ b/macros/musixtex/doc/examples/chanson.tex
@@ -0,0 +1,318 @@
+\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
new file mode 100644
index 0000000000..021607ab3f
--- /dev/null
+++ b/macros/musixtex/doc/examples/dissonan.tex
@@ -0,0 +1,947 @@
+\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
new file mode 100644
index 0000000000..54969d68d0
--- /dev/null
+++ b/macros/musixtex/doc/examples/eightbitchar.tex
@@ -0,0 +1,12 @@
+
+\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
new file mode 100644
index 0000000000..7a965a7350
--- /dev/null
+++ b/macros/musixtex/doc/examples/fantaisc.tex
@@ -0,0 +1,4 @@
+\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
new file mode 100644
index 0000000000..7bb931e091
--- /dev/null
+++ b/macros/musixtex/doc/examples/fantaisd.tex
@@ -0,0 +1,2 @@
+\input fantaisi
+\bye
diff --git a/macros/musixtex/doc/examples/fantaisi.tex b/macros/musixtex/doc/examples/fantaisi.tex
new file mode 100644
index 0000000000..3d84d2b181
--- /dev/null
+++ b/macros/musixtex/doc/examples/fantaisi.tex
@@ -0,0 +1,1238 @@
+\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
new file mode 100644
index 0000000000..fae4884314
--- /dev/null
+++ b/macros/musixtex/doc/examples/fantcmol.tex
@@ -0,0 +1,626 @@
+\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
new file mode 100644
index 0000000000..d44cb7558e
--- /dev/null
+++ b/macros/musixtex/doc/examples/fantfuga.tex
@@ -0,0 +1,18 @@
+\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
new file mode 100644
index 0000000000..922cfac945
--- /dev/null
+++ b/macros/musixtex/doc/examples/fugcmoll.tex
@@ -0,0 +1,517 @@
+\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
new file mode 100644
index 0000000000..d6065f3651
--- /dev/null
+++ b/macros/musixtex/doc/examples/fugue.tex
@@ -0,0 +1,677 @@
+\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
new file mode 100644
index 0000000000..8813989fc3
--- /dev/null
+++ b/macros/musixtex/doc/examples/gloriab.tex
@@ -0,0 +1,314 @@
+\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
new file mode 100644
index 0000000000..351730c676
--- /dev/null
+++ b/macros/musixtex/doc/examples/glorias.tex
@@ -0,0 +1,286 @@
+\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
new file mode 100644
index 0000000000..509b8dea32
--- /dev/null
+++ b/macros/musixtex/doc/examples/gloriax.tex
@@ -0,0 +1,283 @@
+\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
new file mode 100644
index 0000000000..07f1ac9966
--- /dev/null
+++ b/macros/musixtex/doc/examples/gymnoman.tex
@@ -0,0 +1,569 @@
+% \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
new file mode 100644
index 0000000000..dd9ce0b018
--- /dev/null
+++ b/macros/musixtex/doc/examples/ilestne.tex
@@ -0,0 +1,22 @@
+\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
new file mode 100644
index 0000000000..c264edb937
--- /dev/null
+++ b/macros/musixtex/doc/examples/ilestnex.tex
@@ -0,0 +1,202 @@
+\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
new file mode 100644
index 0000000000..25a596e928
--- /dev/null
+++ b/macros/musixtex/doc/examples/ilfaitda.tex
@@ -0,0 +1,18 @@
+
+\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
new file mode 100644
index 0000000000..009d000f54
--- /dev/null
+++ b/macros/musixtex/doc/examples/ilfaitdx.tex
@@ -0,0 +1,171 @@
+\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
new file mode 100644
index 0000000000..d5869d25ab
--- /dev/null
+++ b/macros/musixtex/doc/examples/kinder.tex
@@ -0,0 +1,125 @@
+\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
new file mode 100644
index 0000000000..390d5d0030
--- /dev/null
+++ b/macros/musixtex/doc/examples/kv315.tex
@@ -0,0 +1,827 @@
+\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
new file mode 100644
index 0000000000..5ea4c9b67c
--- /dev/null
+++ b/macros/musixtex/doc/examples/kv315f.tex
@@ -0,0 +1,2 @@
+\def\flute{xxx}
+\input kv315.tex
diff --git a/macros/musixtex/doc/examples/kv315h.tex b/macros/musixtex/doc/examples/kv315h.tex
new file mode 100644
index 0000000000..a502fc3a89
--- /dev/null
+++ b/macros/musixtex/doc/examples/kv315h.tex
@@ -0,0 +1,2 @@
+\def\oboe{xxx}
+\input kv315.tex
diff --git a/macros/musixtex/doc/examples/kv315o.tex b/macros/musixtex/doc/examples/kv315o.tex
new file mode 100644
index 0000000000..4f71bd5536
--- /dev/null
+++ b/macros/musixtex/doc/examples/kv315o.tex
@@ -0,0 +1,2 @@
+\def\orgue{xxx}
+\input kv315.tex
diff --git a/macros/musixtex/doc/examples/kv315org.tex b/macros/musixtex/doc/examples/kv315org.tex
new file mode 100644
index 0000000000..ab58cef273
--- /dev/null
+++ b/macros/musixtex/doc/examples/kv315org.tex
@@ -0,0 +1,813 @@
+\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
new file mode 100644
index 0000000000..45dfe704dd
--- /dev/null
+++ b/macros/musixtex/doc/examples/marcello.tex
@@ -0,0 +1,319 @@
+\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
new file mode 100644
index 0000000000..47102c7ec7
--- /dev/null
+++ b/macros/musixtex/doc/examples/marcon1.tex
@@ -0,0 +1,729 @@
+\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
new file mode 100644
index 0000000000..0632c642a2
--- /dev/null
+++ b/macros/musixtex/doc/examples/marcon2.tex
@@ -0,0 +1,723 @@
+\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
new file mode 100644
index 0000000000..de25e96f87
--- /dev/null
+++ b/macros/musixtex/doc/examples/marcon3.tex
@@ -0,0 +1,1106 @@
+\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
new file mode 100644
index 0000000000..048ab60276
--- /dev/null
+++ b/macros/musixtex/doc/examples/marconf.tex
@@ -0,0 +1,21 @@
+\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
new file mode 100644
index 0000000000..fa7aa31533
--- /dev/null
+++ b/macros/musixtex/doc/examples/marconh.tex
@@ -0,0 +1,20 @@
+\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
new file mode 100644
index 0000000000..eb28d9a12e
--- /dev/null
+++ b/macros/musixtex/doc/examples/marcono.tex
@@ -0,0 +1,19 @@
+\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
new file mode 100644
index 0000000000..94bd968e56
--- /dev/null
+++ b/macros/musixtex/doc/examples/musixdbrexample.tex
@@ -0,0 +1,52 @@
+\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
new file mode 100644
index 0000000000..55bc22b61c
--- /dev/null
+++ b/macros/musixtex/doc/examples/onuitbri.tex
@@ -0,0 +1,25 @@
+\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
new file mode 100644
index 0000000000..2a07b1c619
--- /dev/null
+++ b/macros/musixtex/doc/examples/onuitbrr.tex
@@ -0,0 +1,12 @@
+%
+
+%
+\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
new file mode 100644
index 0000000000..b18ba5f25e
--- /dev/null
+++ b/macros/musixtex/doc/examples/onuitbrx.tex
@@ -0,0 +1,174 @@
+\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
new file mode 100644
index 0000000000..4a5da5b12b
--- /dev/null
+++ b/macros/musixtex/doc/examples/ossiaexa.tex
@@ -0,0 +1,30 @@
+\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
new file mode 100644
index 0000000000..46feebddc1
--- /dev/null
+++ b/macros/musixtex/doc/examples/ostinato.tex
@@ -0,0 +1,450 @@
+\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
new file mode 100644
index 0000000000..c40994059b
--- /dev/null
+++ b/macros/musixtex/doc/examples/pacifiqb.tex
@@ -0,0 +1,9 @@
+\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
new file mode 100644
index 0000000000..7839592745
--- /dev/null
+++ b/macros/musixtex/doc/examples/pacifiqn.tex
@@ -0,0 +1,1128 @@
+\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
new file mode 100644
index 0000000000..2077a6b801
--- /dev/null
+++ b/macros/musixtex/doc/examples/pacifiqt.tex
@@ -0,0 +1,10 @@
+\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
new file mode 100644
index 0000000000..decd8797a8
--- /dev/null
+++ b/macros/musixtex/doc/examples/parnasum.tex
@@ -0,0 +1,132 @@
+%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
new file mode 100644
index 0000000000..bb2288e7a7
--- /dev/null
+++ b/macros/musixtex/doc/examples/partitur.tex
@@ -0,0 +1,433 @@
+% 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
new file mode 100644
index 0000000000..e666733515
--- /dev/null
+++ b/macros/musixtex/doc/examples/pedal.tex
@@ -0,0 +1,24 @@
+\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
new file mode 100644
index 0000000000..a1e6928ae7
--- /dev/null
+++ b/macros/musixtex/doc/examples/prelfug.tex
@@ -0,0 +1,4 @@
+\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
new file mode 100644
index 0000000000..160d9d5e7b
--- /dev/null
+++ b/macros/musixtex/doc/examples/prelude.tex
@@ -0,0 +1,715 @@
+\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
new file mode 100644
index 0000000000..216f3d183d
--- /dev/null
+++ b/macros/musixtex/doc/examples/pslurvgap.tex
@@ -0,0 +1,21 @@
+\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
new file mode 100644
index 0000000000..b73720fa6a
--- /dev/null
+++ b/macros/musixtex/doc/examples/quod.tex
@@ -0,0 +1,162 @@
+\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
new file mode 100644
index 0000000000..0354b45c26
--- /dev/null
+++ b/macros/musixtex/doc/examples/racine.tex
@@ -0,0 +1,596 @@
+
+\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
new file mode 100644
index 0000000000..be717f9bc5
--- /dev/null
+++ b/macros/musixtex/doc/examples/recit.tex
@@ -0,0 +1,416 @@
+\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
new file mode 100644
index 0000000000..9e540aa192
--- /dev/null
+++ b/macros/musixtex/doc/examples/recueil.tex
@@ -0,0 +1,156 @@
+\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
new file mode 100644
index 0000000000..075089d837
--- /dev/null
+++ b/macros/musixtex/doc/examples/rests.tex
@@ -0,0 +1,229 @@
+% 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
new file mode 100644
index 0000000000..04702a1dd4
--- /dev/null
+++ b/macros/musixtex/doc/examples/reves.tex
@@ -0,0 +1,543 @@
+
+\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
new file mode 100644
index 0000000000..c337b1192b
--- /dev/null
+++ b/macros/musixtex/doc/examples/romances.tex
@@ -0,0 +1,499 @@
+\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
new file mode 100644
index 0000000000..ac0d005ce9
--- /dev/null
+++ b/macros/musixtex/doc/examples/scale.tex
@@ -0,0 +1,67 @@
+\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
new file mode 100644
index 0000000000..9ab7f02a6a
--- /dev/null
+++ b/macros/musixtex/doc/examples/souvenir.tex
@@ -0,0 +1,31 @@
+\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
new file mode 100644
index 0000000000..a9ce439bf1
--- /dev/null
+++ b/macros/musixtex/doc/examples/souvenix.tex
@@ -0,0 +1,474 @@
+
+\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
new file mode 100644
index 0000000000..1a17a982d6
--- /dev/null
+++ b/macros/musixtex/doc/examples/tierce.tex
@@ -0,0 +1,376 @@
+\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
new file mode 100644
index 0000000000..f97c8f8563
--- /dev/null
+++ b/macros/musixtex/doc/examples/traeumer.tex
@@ -0,0 +1,299 @@
+%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
new file mode 100644
index 0000000000..5fc02a89f8
--- /dev/null
+++ b/macros/musixtex/doc/examples/widor.tex
@@ -0,0 +1,792 @@
+\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
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+\tnotes\doubler\pt 5\soupir\sk\sk\cu F&\tbut hfd|\Mmotif hffda\enotes
+%
+% mesure 70
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+%
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+ \zq{hfc}\lpz a\qu a\sk\soupir|\Mmotif fecaM\enotes
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+ \ifx\undefined\horizontalscore \else\autolines{17}43\fi
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+\ifx\undefined\horizontalscore\else
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+ \zq c\zq f\cu h|\tinynotesize\tinynotesize\zq m\cl o\enotes
+\NOTES\tten2\pointdurgue E\zbv F\zbv M&\relax
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diff --git a/macros/musixtex/doc/examples/widor_16.tex b/macros/musixtex/doc/examples/widor_16.tex
new file mode 100644
index 0000000000..24f3ba04a4
--- /dev/null
+++ b/macros/musixtex/doc/examples/widor_16.tex
@@ -0,0 +1,20 @@
+\ifx\mxversion\undefined
+ \input musixtex
+ \input musixcpt
+ \input musixsty
+\fi
+
+\musicsize=16\relax
+\vsize 275mm
+\tracingstats=2\relax
+
+\barsinline=0\relax
+\linesinpage=0\relax
+\staffbotmarg\Interligne
+\resetfacteurs
+\computewidths
+\othermention{\'edition compacte aide-m\'emoire}
+%
+\input widor
+\bye
+
diff --git a/macros/musixtex/doc/examples/widor_20.tex b/macros/musixtex/doc/examples/widor_20.tex
new file mode 100644
index 0000000000..9d318ff588
--- /dev/null
+++ b/macros/musixtex/doc/examples/widor_20.tex
@@ -0,0 +1,18 @@
+\ifx\mxversion\undefined
+ \input musixtex
+ \input musixcpt
+ \input musixsty
+\fi
+
+\musicsize=20\relax
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+\tracingstats=2\relax
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+<<
+/Size 163
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+/Info 1 0 R
+>>
+startxref
+174808
+%%EOF
diff --git a/macros/musixtex/doc/musixdoc.pdf b/macros/musixtex/doc/musixdoc.pdf
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index 0000000000..d2b3b793db
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc.pdf
Binary files differ
diff --git a/macros/musixtex/doc/musixdoc/accidentals.tex b/macros/musixtex/doc/musixdoc/accidentals.tex
new file mode 100644
index 0000000000..a504837530
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/accidentals.tex
@@ -0,0 +1,74 @@
+\chapter{Accidentals}
+\vspace*{-3ex}
+Accidentals can be introduced in two ways.
+ The first way, using explicit macros, consists for
+example in coding \keyindex{fl}\pitchp~to put a \ital{flat} at the
+pitch $p$, presumably right before a note at the same pitch. This is a
+non-spacing command and will automatically place the accidental an
+appropriate distance to the left of the anticipated note head.
+Naturals, sharps, double flats and double sharps are coded \keyindex{na}\pitchp,
+\keyindex{sh}\pitchp, \keyindex{dfl}\pitchp~and \keyindex{dsh}\pitchp~respectively.
+
+The alternate macros \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh},
+\keyindex{ldfl} and \keyindex{ldsh}
+place the same accidentals, but shifted one note head width
+to the left. These can be used if a note head has been shifted to the left, or
+to avoid collision with other accidentals
+in a chord. If you want to shift an accidental by some other amount for
+more precise positioning, you could use \keyindex{loffset} with the normal
+accidental macro as the second parameter.
+
+ The second way of coding accidentals is to modify the parameter of a
+note command. Just put the symbol
+\verb|^| for a sharp, \verb|_| for a flat, \verb|=|~for a natural,
+\verb|>| for a double sharp, or \verb|<| for a double
+flat, right before the letter or number representing the pitch.
+For example, \verb|\qb{^g}| yields a
+$G\sharp$. This may be used effectively in collective coding, e.g.
+\verb|\qu{ac^d}|.
+
+ There are two sizes of accidentals. By default they will be large unless there
+is not enough space between notes, in which case they will be made small. Either
+size can be forced locally by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or
+\keyindex{smallfl}, \keyindex{smallsh}, etc. If you want all accidentals to
+be large, then declare \keyindex{bigaccid} near the top of the input file. For
+exclusively small ones use \keyindex{smallaccid}; \keyindex{varaccid} will restore
+variable sizes.
+
+ For editorial purposes, small accidentals can be placed \ital{above} note
+heads. This is done using \keyindex{uppersh}\pitchp, \keyindex{upperna}\pitchp, or
+\keyindex{upperfl}\pitchp:
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\uppersh l\qa l\en
+\NOtes\upperna m\qa m\en
+\NOtes\upperfl l\qa l\en
+\zendextract
+\end{music}
+
+\vspace*{-2ex}
+It also possible to introduce \ital{\ixem{cautionary accidental}s},
+i.e.,~small accidentals enclosed in parentheses. This is done by preceding
+the name of the accidental keyword with ``\verb|c|''\label{cautionary}.
+Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl},
+\keyindex{cna},
+\keyindex{cdfl} and \keyindex{cdsh}, which give
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\csh g\qa g\en
+\NOtes\cfl h\qa h\en
+\NOtes\cna i\qa i\en
+\NOtes\cdfl j\qa j\en
+\NOtes\cdsh k\qa k\en
+\zendextract
+\end{music}
+
+\vspace*{-2ex}
+\noindent The distance between notes and accidentals is controlled by
+\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension}, where
+positive values shift to the left and negative to right, with a
+default of~\verb|0pt|.
+For ``big'' cautionary accidentals, use, for example,
+\verb|{|\keyindex{largenotesize}\verb|\csh|\pitchp\verb|}| or see Section~\ref{brapar}.
diff --git a/macros/musixtex/doc/musixdoc/barlines.tex b/macros/musixtex/doc/musixdoc/barlines.tex
new file mode 100644
index 0000000000..0303b7a9a4
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/barlines.tex
@@ -0,0 +1,308 @@
+\chapter{Bar Lines}
+ \section{Single, double, and invisible bar lines}\label{doublebars}
+The usual macro to typeset a single bar line is \keyindex{bar}.
+There is a possibility of
+confusion with a command in \TeX's math mode that has exactly the same name.
+However, there will generally be no problem, because inside
+\verb|\startpiece...\endpiece|,
+\verb|\bar| will take the musical meaning, while outside, it will have the
+mathematical one.
+If for some reason you need the math \verb|\bar| inside, you can use
+\verb|\endcatcodesmusic...\bar...\catcodesmusic|.
+
+To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You could
+also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or
+\keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced
+by a double bar.
+
+There is no specific command to print a thin-thick double bar line, but
+\keyindex{setdoubleBAR} will cause one in the same cases where
+\verb|\setdoublebar| would cause a thin-thin double bar line.
+
+To make the next bar line invisible, use \keyindex{setemptybar} before
+\verb|\bar|.
+
+You can suppress the beginning vertical rule with saying \keyindex{nostartrule}
+and restore the default with \keyindex{startrule} after that. Note that
+it is conventional practice to omit beginning rules for single-staff music.
+
+\section{Simple discontinuous bar lines}
+Normally, bars (as well as double bars, final bars and repeat bars) are
+drawn continuously from the bottom of the lowest staff of the
+lowest instrument to the top of the highest staff of the uppermost
+instrument. However, if desired, they can be made discontinuous between
+instruments by saying \keyindex{sepbarrules}. An example of this is given in
+%avrb
+%{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the
+%avre
+\texttt{avemaria.tex} in Section~\ref{avemaria}\label{avemaria2}.
+
+Continuous bar lines can be restored with \keyindex{stdbarrules}. In
+the extension library are some more types of bar rules, mainly for very old
+music, see Section~\ref{otherbars}.
+
+% DAS. Andre, are there some other kinds of bars in an addon?
+
+\section{Elementary asynchronous bar lines}
+
+ Situations may arise where the bar lines in different instruments are not
+aligned with one another. To set this up, first say \verb|\sepbarrules|.
+Then use a combination of the following five commands:
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+\item\keyindex{hidebarrule}\onen~hides the bar rule for instrument $n$, until
+this is changed by \verb|\showbarrule|\onen.
+\item\keyindex{showbarrule}\onen~stops hiding the bar rule for instrument $n$,
+until this is changed by \verb|\hidebarrule|\onen.
+\item\keyindex{Hidebarrule}\onen~hides the bar rule for instrument $n$, only
+for the next bar.
+\item\keyindex{Showbarrule}\onen~shows the bar rule for instrument
+$n$ once only,
+and then resets it.
+%
+% DAS ???
+% and then resets it to \verb|hidebarrule|.
+%
+\item\keyindex{showallbarrules} resets all defined instruments to
+\verb|\showbarrule|\onen. This command is automatically inserted with double
+bars, final bars and repeats.
+\end{itemize}
+
+Thus, this example
+
+\begin{music}
+\instrumentnumber3
+\setmeter3{{\meterfrac{3}{4}}}
+\setmeter2{{\meterfrac{2}{4}}}
+\setmeter1{{\meterfrac{3}{8}}}
+\nobarnumbers
+\sepbarrules
+
+\startextract
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\hidebarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\hidebarrule3\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setdoublebar
+\bar\hidebarrule3
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\message{Showbarrule3 coming}%
+\Hidebarrule2\Showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setrightrepeat
+\endextract
+\end{music}
+
+\noindent was obtained with the following coding:
+\begin{quote}\begin{verbatim}
+\instrumentnumber3
+\setmeter3{{\meterfrac{3}{4}}}
+\setmeter2{{\meterfrac{2}{4}}}
+\setmeter1{{\meterfrac{3}{8}}}
+\nobarnumbers
+\sepbarrules
+
+\startextract
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\hidebarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\hidebarrule3\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setdoublebar
+\bar\hidebarrule3
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\message{Showbarrule3 coming}%
+\Hidebarrule2\Showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setrightrepeat
+\zendextract
+\end{verbatim}\end{quote}
+
+\section{Dotted, dashed, asynchronous and discontinuous bar lines}\label{musixdbr}
+
+The extension
+package \href{http://icking-music-archive.org/software/musixtex/add-ons/musixdbr.tex}
+{\underline{\ttxem{musixdbr.tex}}} by Rainer {\sc Dunker} provides commands for
+dashed, dotted, and arbitrarily discontinuous bar lines. It supports
+individual bar line settings for each instrument, multi-staff instruments,
+different sizes of staves, and even different numbers of lines per staff,
+
+To use the package, you must \verb|\input musixdbr| after \verb|musixtex|, and
+execute the macro \keyindex{indivbarrules} which activates individual bar line
+processing. Then the following commands are available:
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+\item \keyindex{sepbarrule}\onen~separates bar lines of instrument $n$ from those of instrument $n-1$
+
+\item \keyindex{condashbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
+ with a dashed line
+
+\item \keyindex{condotbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
+ with a dotted line
+
+\item \keyindex{conbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
+
+\item \keyindex{hidebarrule}\onen~hides bar lines of instrument $n$
+
+\item \keyindex{showdashbarrule}\onen~dashes bar lines of instrument $n$
+
+\item \keyindex{showdotbarrule}\onen~dots bar lines of instrument $n$
+
+\item \keyindex{showbarrule}\onen~shows bar lines of instrument $n$
+
+\item \keyindex{sepmultibarrule}\onen~separates bar lines within multistaff instrument $n$
+
+\item \keyindex{condashmultibarrule}\onen~dashes bar lines between staves of multistaff instrument $n$
+
+\item \keyindex{condotmultibarrule}\onen~dots bar lines between staves of multistaff instrument $n$
+
+\item \keyindex{conmultibarrule}\onen~ shows bar lines between staves of multistaff instrument $n$
+
+\item \keyindex{allbarrules}[\ital{any of the above commands, without numerical parameter}] sets bar
+line style for all instruments together.
+
+\end{itemize}
+
+Dashing and dotting style may be changed by redefining the macros
+\verb|\barlinedash| or \verb|\barlinedots| respectively (see original definitions in \verb|musixdbr.tex|).
+
+Here is an example of the use of these macros:
+
+\begin{music}
+\input musixdbr
+
+\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14\setsize2\tinyvalue
+\indivbarrules
+\parindent0pt\startextract
+%\startpiece
+%\scale{2}
+ % normal barlines
+ \bar
+ % separate instrument 2 from 1
+ \sepbarrule2
+ \notes\en\bar
+ % barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showbarrule
+ \NOTes\en\bar
+ % barlines between staves
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dashed barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdashbarrule
+ \NOTes\en\bar
+ % dashed barlines between staves
+ \allbarrules\condashbarrule
+ \allbarrules\condashmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dotted barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdotbarrule
+ \NOTes\en\bar
+ % dotted barlines between staves
+ \allbarrules\condotbarrule
+ \allbarrules\condotmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % a wild mixture of all
+ \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
+ \condashbarrule2\conbarrule3\condotbarrule4%
+ \condashmultibarrule2\sepmultibarrule3%
+ \NOTes\en\bar
+ % conventional ending
+ \allbarrules\showbarrule
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \NOTes\en\setdoubleBAR\endextract
+\end{music}
+
+This is the code:
+
+\begin{quote}\begin{verbatim}
+\input musixdbr
+\instrumentnumber4\setstaffs23\setstaffs32\setlines14\setsize2\tinyvalue
+\indivbarrules\parindent0pt\startextract
+ % normal barlines
+ \bar
+ % separate instrument 2 from 1
+ \sepbarrule2
+ \notes\en\bar
+ % barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showbarrule
+ \NOTes\en\bar
+ % barlines between staves
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dashed barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdashbarrule
+ \NOTes\en\bar
+ % dashed barlines between staves
+ \allbarrules\condashbarrule
+ \allbarrules\condashmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dotted barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdotbarrule
+ \NOTes\en\bar
+ % dotted barlines between staves
+ \allbarrules\condotbarrule
+ \allbarrules\condotmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % a wild mixture of all
+ \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
+ \condashbarrule2\conbarrule3\condotbarrule4%
+ \condashmultibarrule2\sepmultibarrule3%
+ \NOTes\en\bar
+ % conventional ending
+ \allbarrules\showbarrule
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \NOTes\en\setdoubleBAR\zendextract
+\end{verbatim}\end{quote}
+
diff --git a/macros/musixtex/doc/musixdoc/barnumbering.tex b/macros/musixtex/doc/musixdoc/barnumbering.tex
new file mode 100644
index 0000000000..9ad9d5c79c
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/barnumbering.tex
@@ -0,0 +1,127 @@
+\chapter{Bar Numbering}
+The current bar number is stored in a count register call \keyindex{barno}.
+When \verb|\startpiece| is encountered, \verb|\barno| is set equal to
+another count register called \verb|\startbarno|, whose default value is one.
+Therefore, if you want the first bar to have a number $n$ different from~$1$, you
+may either say \verb|\startbarno=|$n$ before \verb|\startpiece|, or say
+\verb|\barno=|$n$ afterwards, but before the first bar line. You may also alter the bar
+number at any time, either by explicitly resetting \verb|\barno|, or by
+incrementing it with a command like \verb|\advance\barno-1|.
+
+\musixtex\ supports two distinct modes for printing bar numbers. In \ital{periodic}
+bar numbering, the bar number is
+placed above the top staff with a user-selectable frequency. In
+\ital{system} bar numbering, the
+number will appear at the beginning of each system.
+
+\section{Periodic bar numbering}
+In a normal piece, periodic bar number printing is turned on by default, with a frequency
+of one. In an extract, the default is to not print bar numbers.
+To turn off bar numbering say \keyindex{nobarnumbers}. To reinstate periodic
+bar numbering, or to initiate it in an extract, say \keyindex{barnumbers}.
+To change to a
+different frequency $n$, say \verb|\def|\keyindex{freqbarno}\verb|{|$n$\verb|}|.
+
+The appearance and positioning of the bar number is controlled by the
+token \keyindex{writethebarno}, which by default is defined as\\
+\verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}|
+where the font is defined as \verb|\def\fontbarno{\it}|. You can change
+either of these as desired, for example
+
+ \medskip
+\begin{music}\barnumbers
+\parindent0pt\startpiece
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\def\fontbarno{\bf}%
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en\bar
+\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece
+\end{music}
+\noindent which was coded as
+\begin{quote}\begin{verbatim}\barnumbers
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\def\fontbarno{\bf}%
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en\bar
+\notes\Qqbbu fgge\Qqbbl jhgi\en
+\end{verbatim}\end{quote}
+
+\section{System bar numbering}
+To have a bar number printed just above the beginning of each system, use
+\keyindex{systemnumbers}. The distance above the staff is controlled
+by \verb|\raisebarno|, which by default is \verb|4\internote| (to fit
+above a treble clef). This can be redefined with the command
+\begin{quote}
+\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}|
+\end{quote}
+Similarly, the horizontal position is defined by \keyindex{shiftbarno}
+which by default is \verb|0pt|.
+
+The number normally is enclosed in a
+box. If you don't like that, you may redefine the macro \verb|\writebarno|
+which by default is defined as
+\begin{quote}
+\verb|\def|\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}|
+\end{quote}
+This uses the utility \musixtex\ macro \keyindex{boxit} which will enclose
+any text string in a box.
+
+Here are some possible alternate formats for system bar numbers:
+
+\medskip
+\begin{music}\nostartrule
+\def\fontbarno{\it}%
+\let\extractline\hbox
+\startbarno=36
+\hbox to \hsize{%
+\hss
+ \raise20pt\hbox{(a) }%
+ \systemnumbers\startextract
+ \Notes\wh g\en
+ \zendextract
+\hss
+ \def\writebarno{\tenrm\the\barno\barnoadd}%
+ \def\raisebarno{2\internote}%
+ \def\shiftbarno{2.5\Interligne}%
+ \raise20pt\hbox{(b) }%
+ \systemnumbers\startextract
+ \Notes\wh g\en
+ \zendextract
+\hss
+ \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
+ \def\raisebarno{2\internote}%
+ \def\shiftbarno{1.3\Interligne}%
+ \raise20pt\hbox{(c) }%
+ \systemnumbers\startextract
+ \Notes\wh g\en
+ \zendextract
+\hss}
+\end{music}
+\noindent These were coded as
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item[(a)] (default)
+ \item[(b)]
+ \begin{verbatim}
+\def\writebarno{\tenrm\the\barno\barnoadd}%
+\def\raisebarno{2\internote}%
+\def\shiftbarno{2.5\Interligne}%
+ \end{verbatim}
+ \item[(c)]
+ \begin{verbatim}
+\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
+\def\raisebarno{2\internote}%
+\def\shiftbarno{1.3\Interligne}%
+ \end{verbatim}
+\end{itemize}
+
+If the previous line does not stop with a bar rule, then the next
+printed system bar number will immediately be followed by the contents
+of the token \keyindex{writezbarno}, whose
+default setting is the lower case character `\verb|a|'. You might want to
+change this to `\verb|+|', in which case you should say
+\verb|\def\writezbarno{+}|.
+
diff --git a/macros/musixtex/doc/musixdoc/beams.tex b/macros/musixtex/doc/musixdoc/beams.tex
new file mode 100644
index 0000000000..354906640e
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/beams.tex
@@ -0,0 +1,618 @@
+\chapter{Beams}
+\section{Starting a beam}
+
+Each beam must be declared with a macro issued before the first spacing
+note under the beam is coded. Two distinct kinds of macros are provided
+for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary
+slope and starting height chosen by the user, while the second kind, a
+``semi-automatic'' beam,
+\ital{computes}~the slope and, in addition, adjusts the starting height in some
+cases.
+
+\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}}
+
+The basic form of the macros for starting fixed-slope beams is exemplified
+by the one for a single upper beam, \keyindex{ibu}\nps. Here
+$n$ is the reference number of the beam, $p$ the starting ``pitch'', and
+$s$ the slope.
+
+The reference number is assigned by the user.
+It is needed because more than one beam may be open at
+a time, and it tells \musixtex\ to which beam subsequent beamed notes and
+other beam specification commands are assigned.
+By default, the reference number must be in the range [$0,5$],
+but the range for 8th to 128th beams will be expanded to [$0,8$] or [$0,11$]
+if \verb|musixadd| or \verb|musixmad| respectively has been \verb|\input|.
+
+Alternatively, you can specify the number of $8$th to $64$th beams
+directly\footnote{$8$th to $64$th beams are so basic that the maximum
+number of these beams is related to the maximum number of instruments
+by this command.
+Using $m>12$ may require e-\TeX.}
+with \keyindex{setmaxinstruments}\verb|{|$m$\verb|}|
+within the range $7<m\leq 100$; the corresponding reference number may then be
+in the range from 0 to $(m-1)$.
+\label{musixmad_setmaxinstruments_ccxviiibeams}
+For $128$th beams, use \keyindex{setmaxcxxviiibeams}\verb|{|$m$\verb|}|.
+For $256$th notes, which can only appear in beams, see Section~\ref{musixbbm}.
+
+The ``pitch'' parameter $p$ is a pitch that is three
+staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above}
+the bar for a lower beam); in many (but not all)
+cases it should be input as the actual pitch of the first note. The slope $s$
+is an integer in the range [$-9,9$]. When multipled
+by $5$\%~it gives the actual slope of the heavy bar. Typically a slope of $2$ or $3$
+is okay for ascending scales, and $6$ to $9$ for ascending arpeggios.
+
+The full set of fixed-slope beam initiation macros is as follows:
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+
+ \item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}.
+ \item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}.
+ \item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}.
+ \item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}.
+ \item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}.
+ \item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}.
+ \item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}.
+ \item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}.
+\end{description}\end{quote}
+
+A semi-automatic beam is initiated with a command that has \ital{four}
+parameters, the beam number, the first and last pitches, and the total
+horizontal extent in
+\verb|\noteskip|s, based on the value in effect at the start. For example,
+if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to
+build an upper beam (beam number $2$) horizontally extending \verb|3\noteskip|,
+the first note of which is a \verb|g| and the last note a \verb|j|.
+Knowing these parameters it will choose the highest slope number that
+corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt
+g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as
+for fixed-slope beams. However, if there is no sufficiently steep beam
+slope available, then \musixtex\ will raise (or lower) the starting point.
+
+ Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu},
+\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl},
+\keyindex{Ibbbl} and \keyindex{Ibbbbl}.
+
+\section{Adding notes to a beam}
+
+Spacing notes belonging to beams are coded with the macro
+\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is
+the beam number and $p$ the pitch of the note. \musixtex\ adjusts the
+length of the note stem to link to the beam.
+
+Chord notes within a beam are entered before the main note with the
+non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again,
+the stem length will be automatically adjusted as required.
+
+There are also special macros for semi-automatic beams with
+two, three, or four notes:
+\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl},
+\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl},
+\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}.
+ %\check
+For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|,
+except that the special macros don't require a beam number.
+Their use is illustrated in the following example:
+
+\medskip
+\begin{music}\nostartrule
+\parindent0pt\startpiece
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en
+\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece
+\end{music}
+\noindent This was coded as\footnote{Editor's note: Most music
+typesetting books recommend beam slopes that are \ital{less} than
+the slope between the starting and ending note; these macros cannot
+provide that.}:
+\begin{quote}\begin{verbatim}
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en
+\notes\Qqbbu fgge\Qqbbl jhgi\en
+\end{verbatim}\end{quote}
+ %\check
+
+\section{Ending a beam}
+ The termination of a given
+beam must be declared \ital{before} coding the last spacing note
+connected to that beam. The macros for doing that are
+\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and
+\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for
+beams of any
+multiplicity. So for example an upper triple beam with
+32nd notes is initiated by
+\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|.
+
+ Since beams usually finish with a \verb|\qb| for the last note, the
+following shortcut macros have been provided:
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee
+ \item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee
+ \item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~i.e., no spacing afterwards
+ \item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~i.e., no spacing afterwards
+\end{description}\end{quote}
+The following
+synonyms may be used:
+\begin{quote}\begin{tabular}{lcl}
+\keyindex{tql} & for & \keyindex{tqb}\\
+\keyindex{tqu} & for & \keyindex{tqh}\\
+\keyindex{ztql} & for & \keyindex{ztqb}\\
+\keyindex{ztqu} & for & \keyindex{ztqh}\\
+\end{tabular}\end{quote}
+
+
+\section{Changing multiplicity after the beam starts}
+Multiplicity (the number of heavy bars) can be increased at any position after
+the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of
+upper beam
+number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to
+increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The
+commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same
+for lower beams.
+Thus, the
+sequence
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en
+\zendextract
+\end{music}
+\noindent has been coded as
+\begin{quote}\begin{verbatim}
+\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en
+\end{verbatim}\end{quote}
+
+To decrease multiplicity to one, use \keyindex{tbbu}\onen~or
+\keyindex{tbbl}\onen. To decrease to two or three use
+\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example,
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en
+\zendextract
+\end{music}
+\noindent has been coded as
+
+\begin{quote}\begin{verbatim}
+\startextract
+\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en
+\zendextract
+\end{verbatim}\end{quote}
+
+Although at first it may seem counterintuitive,
+the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts
+may also be invoked when the multiplicity is one. In this case
+a second, third, or fourth heavy bar will be opened one note width \ital{before}
+the current stem, and immediately closed \ital{at} the stem.
+Thus the following sequences
+
+\begin{music}\nostartrule
+\let\extractline\hbox
+\hbox to \hsize{%
+\hss
+ \startextract
+ \Notes\ibu0e0\qbp0e\roff{\tbbu0\tqh0e}\en
+ \zendextract
+\hss\hss
+ \startextract
+ \Notes\ibu0e0\qbpp0e\roff{\tbbbu0\tbbu0\tqh0e}\en
+ \zendextract
+\hss}
+\end{music}
+\noindent are coded
+\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim}
+\Notes\ibu0e0\qbp0e%
+ \roff{\tbbu0\tqh0e}\en
+\end{verbatim}\end{minipage}\hfill
+\begin{minipage}{.4\textwidth}\begin{verbatim}
+\Notes\ibu0e0\qbpp0e%
+ \roff{\tbbbu0\tbbu0\tqh0e}\en
+\end{verbatim}\end{minipage}\hfill\\[4ex]
+The following abbreviations have been provided:
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item \keyindex{tqqb}\enpee~is equivalent to \verb|\tbbl{|$n$\verb|}\tqb|\enpee
+ \item \keyindex{tqqh}\enpee~is equivalent to \verb|\tbbu{|$n$\verb|}\tqh|\enpee
+ \item \keyindex{tqqqh}\enpee~is equivalent to \verb|\tbbbu{|$n$\verb|}\tqqh|\enpee
+ \item \keyindex{tqqqb}\enpee~is equivalent to \verb|\tbbbl{|$n$\verb|}\tqqb|\enpee
+ \item \keyindex{nqqb}\enpee~is equivalent to \verb|\tbbl{|$n$\verb|}\qb|\enpee
+ \item \keyindex{nqqh}\enpee~is equivalent to \verb|\tbbu{|$n$\verb|}\qb|\enpee
+ \item \keyindex{nqqqh}\enpee~is equivalent to \verb|\tbbbu{|$n$\verb|}\qb|\enpee
+ \item \keyindex{nqqqb}\enpee~is equivalent to \verb|\tbbbl{|$n$\verb|}\qb|\enpee
+\end{description}\end{quote}
+and the following
+synonyms may be used:
+\begin{quote}\begin{tabular}{lcl}
+\keyindex{tqql} & for & \keyindex{tqqb}\\
+\keyindex{tqqu} & for & \keyindex{tqqh}\\
+\keyindex{tqqql} & for & \keyindex{tqqqb}\\
+\keyindex{tqqqu} & for & \keyindex{tqqqh}\\
+\keyindex{nqql} & for & \keyindex{nqqb}\\
+\keyindex{nqqu} & for & \keyindex{nqqh}\\
+\keyindex{nqqql} & for & \keyindex{nqqqb}\\
+\keyindex{nqqqu} & for & \keyindex{nqqqh}\\
+\end{tabular}\end{quote}
+
+\medskip
+
+The symmetrical pattern is also possible. For example:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en
+\zendextract
+\end{music}
+\noindent has been coded as:
+\begin{quote}\begin{verbatim}
+\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en
+\end{verbatim}\end{quote}
+
+The constructions in this section illustrate some general
+properties of
+beam initiation and termination commands: To mate properly with the
+expected stems, the starting position of the heavy bar(s) (for initiation commands)
+and the ending position (for terminations) will be at
+different horizontal locations
+depending on whether they are for upper or lower beams: The position for
+upper beam commands is one note head width to the right of those for
+lower beams. In fact this is the \ital{only} difference between upper
+and lower termination commands. Both types will operate on whatever kind of
+beam is open and has the same beam number.
+
+Recognizing this principle, in the example just given it was necessary to
+shift the double termination to the right by one note head width, using the
+command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for
+any \musixtex\ macro.
+
+Here is another, slightly more complicated example which also uses
+\verb|\roff|:
+
+\begin{music}\nostartrule
+\startextract
+\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
+\notesp\tbbu0\qbp0f\en
+\Notes\tbu0\qb0f\en
+\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
+\Notes\qb0f\en
+\notes\tbbbu0\tbbu0\tbu0\qb0f\en
+\zendextract
+\end{music}
+\noindent has been coded as:
+\begin{quote}\begin{verbatim}
+\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
+\notesp\tbbu0\qbp0f\en
+\Notes\tbu0\qb0f\en
+\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
+\Notes\qb0f\en
+\notes\tbbbu0\tbbu0\tbu0\qb0f\en
+\end{verbatim}\end{quote}
+
+\noindent Note that the first beam opening command used a pitch one step
+below the note. This makes the stem shorter by one pitch unit, since it is always
+the \ital{closest} heavy bar that is separated from the given pitch by
+three staff spaces.
+
+We close this section with an example showing how to
+open a beam of one sense, increase multiplicity, then terminate with
+opposite sense:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en
+\zendextract
+\end{music}
+\noindent which has been coded as
+\begin{quote}\begin{verbatim}
+\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en
+\end{verbatim}\end{quote}
+
+One may save some typing by defining personalized
+\TeX\ macros to
+perform any oft-repeated sequence of commands. For example,
+one could define a set of four sixteenths by the macro:
+
+\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}|
+
+\noindent where the first argument is the slope and the other four
+arguments are the pitches of the four successive sixteenths.
+
+ %\check
+ \section{Shorthand beam notations for repeated or alternated notes}\index{repeated patterns}
+Sometimes you may want to indicate repeated or alternated short notes with open note heads joined
+by a beam. Here are examples of how to do that
+using the \keyindex{hb} macro:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibbl0j0\hb0j\tbl0\hb0j\en
+\Notes\ibbl0h4\hb0h\tbl0\hb0j\en
+\zendextract
+\end{music}
+\noindent which has been coded as:
+\begin{quote}\begin{verbatim}
+\Notes\ibbl0j0\hb0j\tbl0\hb0j\en
+\Notes\ibbl0h4\hb0h\tbl0\hb0j\en
+\end{verbatim}\end{quote}\noindent
+A different look could be obtained as follows:
+
+\begin{music}\nostartrule
+\startextract
+\notes\ha j\loffset{0.5}{\ibbl1n3}\qsk\tbl1\qsk\ha l\sk\en
+\zendextract
+\end{music}
+\noindent which has been coded as:
+\begin{quote}\begin{verbatim}
+\notes\ha j\loffset{0.5}{\ibbl1n4}\qsk\tbl1\qsk\ha l\sk\en
+\end{verbatim}\end{quote}
+It is possible to combine this notation
+with a conventional beam, as in
+
+\begin{music}\nostartrule
+\startextract
+\notes\ibl0h3\qb0j\loffset1{\ibbbl1m3}\qsk\tbl1\qsk\tql0l\en
+\zendextract
+\end{music}
+\noindent which has been coded as:
+\begin{quote}\begin{verbatim}
+\notes\ibl0h3\qb0j\loffset1{\ibbbl1m3}\qsk\tbl1\qsk\tql0l\en
+\end{verbatim}\end{quote}\noindent
+or, for whole notes, to dispense with stems:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\loff{\zw j}\ibbl0l4\sk\tbl0\wh l\en
+\Notes\ibbu0e4\wh g\tbu0\roff{\wh i}\en
+\zendextract
+\end{music}
+\noindent which has been coded as:
+\begin{quote}\begin{verbatim}
+\Notes\loff{\zw j}\ibbl0l4\sk\tbl0\wh l\en
+\Notes\ibbu0e4\wh g\tbu0\roff{\wh i}\en
+\end{verbatim}\end{quote}
+
+Short ``beams'' centered on note stems (or directly over
+or under whole notes)
+indicate \emph{tremolos}. Commands that generate tremolo indications are described in Section~\ref{tremolos}.
+
+
+% \begin{music}\nostartrule
+%\startextract
+%\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibu0j0\qb0{jjj}\tbu0\qb0j\en
+%\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h%
+% \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar
+%\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibbu0i0\qb0{jjj}\tbu0\qb0j%
+% \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibbu0i0\qb0{jjj}\tbu0\qb0j\en
+%\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h%
+% \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en
+%\zendextract
+% \end{music}
+% \noindent whose coding (due to Werner {\sc Icking}) is
+%
+%\begin{quote}\begin{verbatim}
+%\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibu0j0\qb0{jjj}\tbu0\qb0j\en
+%\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h%
+% \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar
+%\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibbu0i0\qb0{jjj}\tbu0\qb0j%
+% \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+% \ibbu0i0\qb0{jjj}\tbu0\qb0j\en
+%\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h%
+% \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en
+%\end{verbatim}\end{quote}
+
+ \section{Beams that cross line breaks}
+
+Although careful typesetting can usually avoid it, occasionally
+a beam may need to cross a line break. If so, it must be manually terminated at
+the end of one line and continued in the next. This
+can be done by shifting beam terminations and initiations
+using \keyindex{roff} and/or
+\keyindex{loff}, or by inserting a spacing command such as
+\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf
+Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip
+
+\begin{music}
+\parindent0pt
+\def\rqs{\lower\Interligne\rlap\qs}
+\def\snotes{\vnotes1\elemskip}
+\setstaffs1{2}
+\generalsignature{2}
+\setclef1{\bass}
+\interstaff{12}
+\startpiece
+%%% bar 1
+\addspace\afterruleskip
+\snotes|\tinynotesize\ibsluru0n\ibbu0m5\qb0{=m}\tqh0n\en
+\qspace
+\Notes\zchar{-7}\sPed\loffset{.3}{\fl E}\zq E\qu{_I}%
+ |\zql g\ibu2l0\busf2\qb2{=m}\en
+\Notes|\tubslur0o\qb2{_l}\en
+\Notes\loffset{.3}{\fl L}\zq L\ibl0L0\qb0{_b}%
+ |\ibl1h0\zqb1g\bupz2\qb2l\en
+\Notes\zq L\tqb0b|\tbl1\zqb1g\bupz2\tqh2l\en
+\NOtes\zq L\ql b|\zql g\qu l\en
+\notes\zchar{-7}\sPed\zchar{-7}{\eightit ~~~sempre}%
+ \zchar{14}{\pp\eightit~sempre}\zq I\ibbu1J0\qb1L|\qs\en
+\notes\qs|\zq N\ibbu3d0\qb3{_d}\en
+\notes\qb1E|\rqs\en
+\notes\qs|\fl e\zq N\rq e\qb3d\en
+%%% bar 2
+\bar
+\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\rqs\en
+\qspace
+\notes\qs|\lfl d\zq d\zq {=f}\qb3N\en
+\notes\tqh1{_E}|\rqs\en
+\notes\qs|\zq d\zq g\tqh3N\en
+\notes\zq I\ibbu0J0\qb0L|\rqs\en
+\notes\qs|\zq d\ibbu1d0\qb1N\en
+\notes\qb0E|\rqs\en
+\notes\qs|\fl e\rq e\zq d\qb1N\en
+\notes\zq I\qb0L|\rqs\en
+\notes\qs|\zq f\zq d\qb1N\en
+\notes\tqh0E|\rqs\en
+\notes\qs|\zq g\zq d\tqh1N\en
+\notes\zq I\ibbu0J0\qb0L|\rqs\en
+\notes\qs|\zq d\ibbu1d0\qb1N\en
+\notes\qb0E|\rqs\en
+\notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
+\endpiece
+\end{music}
+\noindent The prolongation of the two upper beams at the end is
+illustrated in the code fragment
+\begin{quote}\begin{verbatim}
+\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
+\end{verbatim}\end{quote}
+ %\check
+
+ \section{Beams with notes on several different staves}
+
+Here's a simple example from {\sc Brahms}'s
+Intermezzo Op.~118, provided by
+Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip
+
+\begin{music}
+\interstaff{12}
+\setstaffs1{2}
+\setclef1\bass
+\generalmeter\allabreve
+\startextract
+\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en
+\bar
+\nspace
+\Notes\ibu0L2\qb0{CEJLcL}%
+ \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en
+\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en
+\bar
+\Notes\ttie1\zh{.L.a}\hl{.e}%
+ \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en
+\NOtes\qp\nextstaff\zq{q}\ql{j}\en
+\endextract
+\end{music}
+ %\check
+\noindent The coding is
+\begin{verbatim}
+\interstaff{13}
+\instrumentnumber{1}
+\setstaffs1{2}
+\setclef1\bass
+\generalmeter\allabreve
+\startextract
+\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en
+\bar
+\nspace
+\Notes\ibu0a1\qb0{CEJLcL}%
+ \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en
+\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en
+\bar
+\Notes\ttie1\zh{.L.a}\hl{.e}%
+ \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en
+\NOtes\qp\nextstaff\zq{q}\ql{j}\en
+\endextract
+\end{verbatim}
+
+\noindent (This example also shows that there is no problem in extending
+a beam across a bar line.)
+
+The general features that enable this type of coding as well as the
+more complex example to follow are
+ \begin{itemize}\setlength{\itemsep}{0ex}
+% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl},
+%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm
+%define beams whose initial vertical position and slope are fixed
+%relative
+%to the staff where they begin, but notes in other staves can still be
+%connected to them using \Bslash{\tt qb}\onen.
+%
+% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate
+%beam $n$ at the specified position, but \musixtex\ remembers the beam
+%parameters until a new beam with the same number is defined.
+%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
+%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still
+%generate notes connected to the phantom extension of this beam,
+%\ital{provided they are issued in a different staff}. If the command
+%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after
+% the beam had ended, an error would result.
+%
+ \item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}},
+{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}}
+define beams whose initial vertical position and slope are fixed
+relative
+to the staff where they begin, but notes in other staves can still be
+connected to them using {\Bslash\texttt{qb}\onen}.
+
+ \item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen}
+terminate
+beam $n$ at the specified position, but \musixtex\ remembers the beam
+parameters until a new beam with the same number is defined.
+Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
+\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still
+generate notes connected to the phantom extension of this beam,
+\ital{provided they are issued in a different staff}. If the command
+\verb|\qb|\enpee\ were issued on the same staff as the beam after
+ the beam had ended, an error would result.
+
+
+
+
+
+ \item If the beam is initiated on one staff,
+notes in a lower staff can be connected to it, but only \ital{after} the beam
+has been defined. This may require using the command \keyindex{prevstaff}
+to go back one staff, as described in Section~\ref{movingtostaffs}.
+
+ \end{itemize}
+
+ Here is an example:
+
+ \begin{music}
+ \setstaffs13
+ \setclef1{6000}
+ \startextract
+ \notesp
+ \nextstaff\Ibbbu0Af7\prevstaff
+ \qb0{AEH^JLa}\relax\nextstaff
+ \qb0{******^c}\tqh0e\relax
+ |\zq{h^jl}\ql o\en
+ \notesp
+ \nextstaff
+ \Ibbbu0hG6\qb0{hec}\prevstaff
+ \qb0{***aLJ}\tqh0H\relax\nextstaff
+ |\zq{h^jl}\ql o\en \nspace
+ \zendextract
+ \end{music}
+
+ \noindent which is coded as:
+
+ \begin{quote}
+ \begin{verbatim}
+ \setstaffs13
+ \setclef1{6000}
+ \startextract
+ \notesp
+ \nextstaff\Ibbbu0Af7\prevstaff
+ \qb0{AEH^JLa}\relax\nextstaff
+ \qb0{******^c}\tqh0e\relax
+ |\zq{h^jl}\ql o\en
+ \notesp
+ \nextstaff
+ \Ibbbu0hG6\qb0{hec}\prevstaff
+ \qb0{***aLJ}\tqh0H\relax\nextstaff
+ |\zq{h^jl}\ql o\en \nspace
+ \zendextract
+ \end{verbatim}
+ \end{quote}
+In this example we see not only multiple uses of \keyindex{nextstaff} and
+\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes
+(see Section~\ref{CollectiveCoding}).
+
diff --git a/macros/musixtex/doc/musixdoc/changing.tex b/macros/musixtex/doc/musixdoc/changing.tex
new file mode 100644
index 0000000000..24b329a5f2
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/changing.tex
@@ -0,0 +1,498 @@
+\chapter{Changing Clefs, Keys and Meters}
+
+\section{Introduction}\label{contextintro}
+
+To define clefs, key signatures, or meters at the start of a piece,
+or to change one or more of these attributes\footnote{In this section,
+\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere
+else in a score,
+\musixtex\ requires two steps. The first step is to \ital{set} the new values of
+the attributes.
+Most of the commands for this have the form \verb|\set|...~. They will be
+described in the following subsections.
+
+But this alone will
+not cause anything to be changed or printed. The second step is to activate the
+change. This is done by issuing one of the
+following commands (outside \verb|\notes|$\dots$\verb|\en|):
+\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|,
+\verb|\Contpiece|,
+\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|,
+\verb|\changecontext|,
+\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|,
+\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform
+other functions as well, and some may be used even when no attributes
+change. Features unrelated to changing attributes are detailed elsewhere.
+The first eleven will activate all pending new attributes.
+If more than one type is activated by a single command in this manner,
+then regardless of the order
+they were set, they will always appear in the following order: clef, key signature,
+meter.
+The last three commands in the above list obviously activate only
+the specific type of attribute referred to in the name of the command.
+
+The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext|
+will respectively insert a single, double, or invisible bar
+line before printing the attributes.
+
+\section{Key Signatures}
+
+We've already seen in Section~\ref{whatspecify} how to set key
+signatures for all instruments with \keyindex{generalsignature}, or for
+specific instruments with \keyindex{setsign}. As just noted, these commands only
+prepare for the insertion of the signatures into the score; it is
+really \verb|\startpiece| that puts them in place at the beginning of the
+score.
+
+The commands \verb|\generalsignature| and \verb|\setsign| also serve to set
+new key signature(s) anywhere in score. The change can then be activated with one of
+the eleven general commands listed above, or with \keyindex{changesignature} if
+in the middle of a bar.
+While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar
+line, the differences are that the latter increments the bar number counter and
+inserts a horizontal space of \verb|\afterruleskip| after the new signature(s).
+All of these options will repost signatures that have not been changed.
+
+Normally, changing a signature from flats to sharps or vice-versa, or
+reducing the number of sharps or flats, will produce the appropriate set of
+naturals to indicate what has been suppressed. This standard feature can be
+temporarily inhibited by the command \keyindex{ignorenats} issued right before
+the change-activating command.
+
+Here is an example showing various possibilities for changing key signatures.
+Note the comments between the code lines.
+
+\begin{quote}\begin{verbatim}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\Notes\qu K&\qu d|\qu e\en
+% Signature change in a single instrument with two staves.
+% Naturals appear by default, indicating cancelled sharps.
+\setsign20\changesignature
+\Notes\qu J&\qu d|\qu e\en
+% When changing signature in the middle of a bar and no naturals
+% are posted, the new signature can be confused with a simple accidental.
+\setsign11\ignorenats\changesignature
+\Notes\qu M&\qu d|\qu e\en
+% New signatures after a double bar line
+\generalsignature{-2}\Changecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\Notes\qu K&\qu d|\qu e\en%
+% New signatures after an invisible bar line. Note the
+% difference in spacing compared with beat 3 of the prior measure
+\generalsignature{1}\zchangecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\end{verbatim}\end{quote}
+
+\begin{music}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\Notes\qu K&\qu d|\qu e\en
+% Signature changing in a single instrument with 2 staves
+% Naturals are allowed to shown there are no more sharps
+\setsign20\changesignature
+\Notes\qu J&\qu d|\qu e\en
+% Signature changing in a single staff without naturals
+% if there is no bar line, the signatures are confusing:
+% it is not clear if they are for a single note or not
+\setsign11\ignorenats\changesignature
+\Notes\qu M&\qu d|\qu e\en
+% New signatures after a double bar line
+\generalsignature{-2}\Changecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\Notes\qu K&\qu d|\qu e\en%
+% New signatures after an invisible bar line
+% see the difference in space comparing beat 2
+\generalsignature{1}\zchangecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\endextract
+\end{music}
+
+
+\section{Clefs}\label{treblelowoct}\label{ClefChanges}
+
+Macros that define clefs have already been discussed in Section~\ref{whatspecify}. By way of review, here are all of the possible clefs
+(applied to the lowest staff):
+%avrb
+\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}}
+
+\begin{center}\vskip-1ex\footnotesize%\small
+\begin{tabular}{||c|c|c|c|c||}\hline\hline
+&&&&\\
+\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\
+\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+
+&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline
+\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2
+&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline
+%\end{tabular}
+&&&&\\
+%\begin{tabular}{ccccc}
+&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\
+\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+
+&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline
+\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7
+&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline
+%This one uses \setclefsymbol1\empty :
+%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline
+\end{tabular}
+\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later}
+\end{center}
+%avre
+
+Just as with key signatures, these commands only \ital{prepare} for clef changes.
+To \ital{activate} them, any of the first eleven commands listed in Section~\ref{contextintro} could be used. However, one should keep in mind that,
+according to modern conventions, a clef change at a bar line is posted
+\emph{before} the bar line, whereas, for example, \verb|\changecontext|, would post it
+\emph{after} the bar line. In part for this reason, we have the special command
+\keyindex{changeclefs}. It can be used anywhere outside
+\verb+\notes...\en+ to activate a clef change and insert an amount of
+horizontal space to accommodate the new clef symbol(s), without printing a
+bar line. Sometimes no added
+space is required, in which case \keyindex{zchangeclefs} should be used.
+
+Here are some examples of clef changes:
+
+\begin{quote}\begin{verbatim}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+% Change in one staff only, with added space
+\setclef1\treble\changeclefs%
+\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
+% Combined with signature change, also no extra space needed
+% twice the same clef in staff 2 - with the help of a blank clef
+\setclef28\zchangeclefs\setclef2\treble%
+\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
+\ignorenats\changesignature%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change before barline
+\setclef1\treble\zchangeclefs\bar%
+\Notes\qu k&\cu{de}|\qu e\en%
+% clef change after barline
+\setclef1\bass\bar\changeclefs%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change after barline with changecontext
+\setclef1\treble\changecontext%
+\Notes\cu k&\cu d|\qu e\en%
+% twice the same clef
+\setclef18\zchangeclefs\setclef1\treble\changeclefs%
+\Notes\cu k&\cu e |\en%
+\zendextract
+\end{verbatim}\end{quote}
+\begin{music}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+% Change in one staff only, with added space
+\setclef1\treble\changeclefs%
+\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
+% Combined with signature change, also no extra space needed
+% twice the same clef in staff 2 - with the help of a blank clef
+\setclef28\zchangeclefs\setclef2\treble%
+\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
+\ignorenats\changesignature%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change before barline
+\setclef1\treble\zchangeclefs\bar%
+\Notes\qu k&\cu{de}|\qu e\en%
+% clef change after barline
+\setclef1\bass\bar\changeclefs%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change after barline with changecontext
+\setclef1\treble\changecontext%
+\Notes\cu k&\cu d|\qu e\en%
+% twice the same clef
+\setclef18\zchangeclefs\setclef1\treble\changeclefs%
+\Notes\cu k&\cu e |\en%
+\endextract
+\end{music}
+
+\noindent Of course the examples in the last two bars are contrary
+to accepted practice.
+
+If \keyindex{atnextbar} is being used to center material and new clefs before
+the bar line should be
+excluded from the ``notes'' region within which material is centered,
+you may use the command \keyindex{Changeclefs}, as in the following:
+
+\begin{music}
+\nobarnumbers
+\nostartrule
+\generalmeter{\meterC}
+\startextract%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{11}\en}%
+\setclef1\bass\Changeclefs%
+\setleftrepeat%
+\generalmeter{\allabreve}%
+\changecontext%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{12}\en}%
+\setclef1\treble\Changeclefs%
+\setrightrepeat\bar%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{13}\en}%
+\endextract
+\end{music}\noindent
+which was coded as
+\begin{quote}
+\begin{verbatim}
+\generalmeter{\meterC}
+\startextract%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{11}\en}%
+\setclef1\bass\Changeclefs%
+\setleftrepeat%
+\generalmeter{\allabreve}%
+\changecontext%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{12}\en}%
+\setclef1\treble\Changeclefs%
+\setrightrepeat\bar%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{13}\en}%
+\endextract
+\end{verbatim}
+\end{quote}
+
+Clef changes initiated with the \verb|\setclef| command have several features
+in common. When activated after the beginning of the piece, the printed symbol
+is smaller than the normal one used at the beginning of the piece. Also,
+\musixtex\ automatically adjusts vertical positions of noteheads consistent
+with the new clef.
+
+There is an additional group of macros for setting new clefs which does not share
+either of these features. In other words, they will always print full sized symbols, and they
+won't change the vertical positions of noteheads from what they would have been
+before the new symbol was printed. We could call this process ``clef symbol substitution'',
+because all it does is print a different symbol (or no symbol at all) in place of
+the underlying clef which was set in the normal way.
+
+You'll need to use clef symbol substitution if you want to have a so-called
+\index{octave clefs}\label{octclef}octave treble clef or octave bass
+clef, i.e., one containing a numeral 8 above or
+below the normal symbol. The syntax for setting upper
+octaviation
+is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\
+or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation
+it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or
+\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to
+\ital{replace} normal bass or treble clefs with a different symbol, they
+require that the normal clefs be set first. For example
+
+\noindent\begin{minipage}{80mm}
+\begin{music}\nostartrule
+ \parindent 19mm
+ \instrumentnumber{4}
+ \generalmeter{\empty}
+ \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble
+ \setbassclefsymbol1\basslowoct
+ \setbassclefsymbol2\bassoct
+ \settrebleclefsymbol3\treblelowoct
+ \settrebleclefsymbol4\trebleoct
+\startextract
+\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\en
+\zendextract
+\end{music}
+\end{minipage}
+\begin{minipage}{50mm}
+\begin{verbatim}
+\parindent 19mm
+\instrumentnumber{4}
+\generalmeter{\empty}
+\setclef1\bass \setclef2\bass
+\setclef3\treble \setclef4\treble
+\setbassclefsymbol1\basslowoct
+\setbassclefsymbol2\bassoct
+\settrebleclefsymbol3\treblelowoct
+\settrebleclefsymbol4\trebleoct
+\startextract
+\Notes\qu{`abcdefghi}&\qu{`abcdefghi}%
+&\qu{abcdefghi}&\qu{abcdefghi}&\en
+\zendextract
+\end{verbatim}
+\end{minipage}
+
+\index{clefs (empty)}
+Another application of clef symbol substitution is to cause no clef to be
+printed, as for example might be desired in percussion music, This
+can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which
+once activated would replace \ital{all} clef symbols in the first (lowest)
+staff of instrument $n$ with blanks.
+
+Normal symbols for those clefs that have been substituted can be restored by
+\keyindex{resetclefsymbols}.
+
+Four other small clef symbols are available: \verb|\smalltrebleoct|,
+\verb|\smalltreblelowoct|, \verb|\smallbassoct|, and \verb|\smallbasslowoct|.
+They look just like the corresponding normal-sized symbols, and are useful by
+clef symbol substitution for clef changes after the beginning of a piece, as
+demonstrated in the following example.
+
+The various clef symbol substitution commands can only be used to substitute for
+\texttt{treble}, \texttt{alto}, or \texttt{bass} clefs.
+
+In the following example, (1) is two normal clef changes. At (2) the clef is first changed
+back to treble and then the \verb|\treblelowoct| symbol is substituted by using
+\verb|\settrebleclefsymbol|.
+When changing the clef away from treble and then back as at (3), the substitution
+symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution.
+If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see
+in the three clefs after (5) in comparison with (2). These also illustrate the use of the small
+octave clef symbol. Obviously the second clef after (5) is
+nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7).
+
+\begin{music}
+\instrumentnumber1\setclef1\bass
+\startpiece
+\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{2}\qu J\en
+\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\doublebar
+\notes\zchar{-5}{5}\qu J\en
+\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\qu I\en\setclef1\treble\changeclefs
+\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
+\notes\qu i\en
+\endpiece
+\end{music}
+
+\noindent This is the code:
+
+\begin{quote}\begin{verbatim}
+\instrumentnumber1\setclef1\bass
+\startpiece
+\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{2}\qu J\en
+\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\doublebar
+\notes\zchar{-5}{5}\qu J\en
+\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\qu I\en\setclef1\treble\changeclefs
+\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
+\notes\qu i\en
+\endpiece
+\end{verbatim}\end{quote}
+
+\section{Meter changes}
+
+As mentioned in Section~\ref{generalmeter}, a common \itxem{meter} for all
+staves can be specified by \keyindex{generalmeter}\verb|{|$m$\verb|}|,
+where $m$ denotes the meter. On the other hand, meter changes in specific
+staves are implemented with
+\keyindex{setmeter}\onen\verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}|,
+where $n$ is the number of the instrument, $m1$ specifies the meter
+of the first (lowest) staff, $m2$ the second staff, and so forth. (Only enter
+as many $m$'s as necessary.)
+
+Since meter changes are meaningful only across bars, there is no special command to
+activate a new meter; rather, they are activated with the general commands
+\keyindex{changecontext}, etc., listed in Section~\ref{contextintro}.
+
+The next example shows a few methods to get a meter change, in all staves or
+in a single staff.
+
+\begin{small}
+\begin{quote}\begin{verbatim}
+\instrumentnumber2\setstaffs22%
+\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\setmeter1{{\meterfrac{2}{4}}}%
+\setmeter2{{\lower2pt\hbox{\meterfrac{\meterlargefont 2}{}}}%
+{\meterfrac{3}{4}}}\changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 11
+% Meters, clefs, and key signatures.
+% All 3 clefs after bar (probably bad form) if no changeclefs
+\setmeter1{{\meterfrac{2}{8}}}%
+\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}%
+\setsign2{-1}%
+% How to force showing the bass clef?
+\setclef1\bass\setclef2{23}%
+\Changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 12
+% Meters, clefs, and key signatures, with clef before the bar.
+% Maybe not best form if signatures are involved
+\setmeter1{{\meterfrac{2}{4}}}%
+\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}%
+\setsign2{-1}%
+\setclef1\treble\zchangeclefs\changecontext
+\Notes\qu k&\cu{de}|\qu e\en
+\end{verbatim}\end{quote}
+\end{small}
+\begin{music}
+\instrumentnumber2\setstaffs22%
+\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\setmeter1{{\meterfrac{2}{4}}}%
+% How big the '2' must be?
+\setmeter2{{\lower2pt\hbox{\meterfrac{\meterlargefont 2}{}}}%
+{\meterfrac{3}{4}}}\changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 11
+% Meter Clefs and Key Signatures
+% all 3 clefs after bar if no changeclefs
+\setmeter1{{\meterfrac{2}{8}}}%
+\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}%
+\setsign2{-1}%
+% How to force showing the bass clef?
+\setclef1\bass\setclef2{23}%
+\Changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 12
+% Meter Clefs Keys Signatures all 3 with clef before the bar
+% probably not if signatures are involved
+\setmeter1{{\meterfrac{2}{4}}}%
+\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}%
+\setsign2{-1}%
+\setclef1\treble\zchangeclefs\changecontext
+\Notes\qu k&\cu{de}|\qu e\en
+\endextract
+\end{music}
+
+\section{Changes at the end of a system}
+It is conventional music-typesetting practice to indicate changes of clef, time signature,
+and key signature that apply to the start of a \emph{new} system
+also at the end of the previous system, as in the following:
+
+\begin{music}
+\nobarnumbers
+\setstaffs12
+\setclef{1}{\bass}
+\generalmeter{\meterfrac44}
+\generalsignature{+2}
+\startextract%
+\Notes\wh K|\qa{fghi}\en
+\setclef{1}{66}\changeclefs%
+\generalmeter{\meterfrac34}%
+\generalsignature{-1}%
+\Changecontext%
+\zendextract%
+\generalsignature{-1}
+\setclef{1}{66}
+\generalmeter{\meterfrac34}
+\startextract%
+\NOtes\ha{.K}|\qa{Mad}\en%
+\bar%
+\Notes\ha{.K}|\qa{Mad}\en%
+\endextract%
+\end{music}
diff --git a/macros/musixtex/doc/musixdoc/embedding.tex b/macros/musixtex/doc/musixdoc/embedding.tex
new file mode 100644
index 0000000000..519eb93220
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/embedding.tex
@@ -0,0 +1,180 @@
+\chapter{Embedding Musical Excerpts in Text Documents}
+
+Here we discuss the options for including music in text documents. The first
+decision is whether or not to use \LaTeX\footnote{We'll assume a user wanting
+to embed a musical excerpt in a \LaTeX\ document is already familiar with the
+fundamentals of \LaTeX. For more information about it, see for example the manual
+\ital{\LaTeX: A Document Preparation System} by Leslie {\sc Lamport}}.
+Because \LaTeX\ so effectively simplifies
+production of text-based \TeX\ documents, most users take that path, and most of the
+descriptions given here will assume that's the case\footnote{Please do not be confused;
+while \LaTeX\ is recommended for text-based documents containing musical
+excerpts, its use is definitely discouraged for ordinary self-contained musical scores
+of any sort.}.
+
+If for some reason you choose not to use \LaTeX\ for musical excerpts,
+the basic approach is simply to set off the musical
+parts between \verb|\startpiece| or \verb|\contpiece| and \verb|\stoppiece| or
+\verb|\endpiece|, or between \verb|\startextract| and \verb|\zendextract|. But
+some details in what follows will also apply without \LaTeX.
+
+There are two basic approaches to embedding musical excerpts in \LaTeX\
+documents. The first method is to directly include the \musixtex\ code in
+the \LaTeX\ source file. That will be the subject of the next subsection. The
+other is to create an EPS (encapsulated Postscript) or PDF file containing only the
+excerpt, and then ``paste'' it into the \LaTeX\ file. That will be covered in
+Section~\ref{embedeps}.
+
+The advantages of using the direct method are that all of the source code for
+all excerpts can be kept in the same file as the text, and that there is no
+limit on the length of the excerpt.
+The advantage of the EPS/PDF method is that you don't have to burden the \LaTeX\
+source with any of the \musixtex\ paraphernalia. That in turn permits use of
+primitive versions of the \TeX\ compiler that may not have the capacity
+to handle the direct method (due to the number of registers consumed by \LaTeX\
+and \musixtex). The disadvantages are that you must create and keep
+track of a separate \TeX\ and EPS/PDF file for every excerpt, and that the excerpt
+must not span any page breaks. On balance, the
+direct method is probably to be preferred.
+
+\section{Directly embedding excerpts in \LaTeX\ documents}\label{excerpts}
+
+To use the direct method, add \verb|\usepackage{musixtex}| to the preamble.
+This will cause the file
+\ttxem{musixtex.sty} to be loaded, so naturally you must make that file
+available in a place where \TeX\ can find it. That file simply inputs two
+other files, \verb|musixtex.tex| and \ttxem{musixltx.tex}, which again must
+obviously be available to \TeX.
+
+Now you are in position to directly embed an excerpt by inserting code at the
+appropriate place in the source file. The most common type of excerpt is
+one that occupies less than a full line and is to be horizontally centered. In
+that case, the extract should begin with the command \keyindex{begin\LBR music\RBR},
+followed by any preliminary commands. Then, instead of \verb|\startpiece|,
+use \keyindex{startextract}. Now comes the normal \musixtex\ coding. Finally,
+end the extract with \keyindex{endextract} instead of \verb|\endpiece|
+or \verb|\stoppiece|, followed by \keyindex{end\LBR music\RBR}.
+
+To terminate an extract without any bar line, use \keyindex{zendextract}
+instead of \verb|\endextract|.
+To create a left-justified excerpt, use the sequence
+\begin{quote}
+\verb|\let\extractline\leftline|.
+\end{quote}
+If several extracts are to be placed on the same line, you can
+redefine \keyindex{extractline} as demonstrated in the following
+example\footnote{The macro {\tt\Bslash extractline} is defined once and for all in
+{\tt musixtex.tex} as {\tt\Bslash centerline}. You might think that the suggested
+coding would permanently redefine {\tt\Bslash extractline}, thereby upsetting the
+normal function of {\tt\Bslash startextract ... \Bslash endextract} for subsequent use.
+But it doesn't, because any actions within
+\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, not
+global.}:
+
+% DAS temp (where is the reference???)
+%An example of this is given at \ref{extractline} on page \pageref{extractline}.
+% end DAS temp
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\let\extractline\hbox
+\hbox to \hsize{%
+\hss\startextract ... \zendextract\hss%
+\hss\startextract ... \zendextract\hss}
+\end{music}
+\end{verbatim}\end{quote}
+
+An even shorter type of extract is one that is embedded \ital{within} a line of text.
+To insert \musixtex\ symbols within a line of text, you could begin by defining
+\keyindex{notesintext} as follows\footnote{provided by Rainer {\sc Dunker}}:
+
+\begin{quote}\begin{verbatim}\begin{music}\nostartrule
+\makeatletter
+\def\notesintext#1{%
+ {\let\extractline\relax
+ \setlines10\smallmusicsize \nobarnumbers \nostartrule
+ \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt
+ \startextract\addspace{-\afterruleskip}#1\zendextract}}
+\makeatother
+\end{music}\end{verbatim}\end{quote}
+
+Then, for example, the code
+
+\begin{verbatim}
+Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}}
+not \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}
+\end{verbatim}
+
+\noindent would produce: ``Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} not
+\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}~''.
+
+\noindent The \verb|\raisebox| voids the vertical space that is introduced by the notes.
+
+Finally, you may want to insert an extract containing more than one line
+of music. This is the easiest of all: between
+\verb|\begin{music}| and \verb|\end{music}|, use \ital{exactly} the same
+coding you would to make an ordinary score.
+
+\enlargethispage*{4ex}
+The best way to learn how to apply these methods is to study
+the source files for this document\footnote{Do note,
+however, that {\tt musixdoc.tex} loads a \texttt{musixdoc.sty} package
+in its preamble, not just \texttt{musixtex.sty}; the former performs the functions of \texttt{musixtex.sty}
+as well as numerous tasks peculiar to this particular document.}.
+
+%DAS I don't think this section is worth including.
+
+% \section{Wide music in \LaTeX}\label{musixblx}
+% Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the
+%page size in a way which is not supposed to be changed within a given document.
+%This means that text horizontal and vertical sizes are somewhat frozen so that
+%one can hardly insert pieces of music of page size different from the size
+%specified by the \LaTeX{} \itxem{style}.
+%Although a \ttxem{musixblx.tex} has been provided, which makes the
+%\ital{environment} \verb|bigmusic| available.
+%\zkeyindex{begin\LBR bigmusic\RBR}
+%The main drawback is an unpredictable behaviour of top and bottom
+%printouts, especially page numberings.
+%
+% If the whole of a document has wide pages, it can be handled with the
+%\ttxem{a4wide} style option, or any derivate of it.
+
+\section{Embedding musical excerpts as PDF or EPS files}
+\label{embedeps}
+To use this method of including excerpts, you first must create a separate
+\musixtex\ input file for each excerpt. Process each such file with
+\TeX\ and \verb|musixflx| to generate a \verb|.dvi| file. Generate
+a Postscript file from each \verb|.dvi| using \verb|dvips|. Then
+convert each Postscript file to a \verb|.pdf| or \verb|.eps| file using
+\verb\ps2pdf\ or \verb\ps2eps\;
+if you are using Windows, {GSview} can be used for either. Note that
+conversion to EPS (Encapsulated Postscript) is possible only for \emph{single-page} Postscript files.
+
+To set up your \LaTeX\ document for including \verb|.pdf| or \verb|.eps| files, you must post
+the command \verb|\usepackage{graphicx}| in the preamble of the
+document. Now, you may include each \texttt{sample.pdf} or \texttt{sample.eps} file at the appropriate place
+in the {\LaTeX} document with a command
+like \keyindex{includegraphics}\verb|{sample}|. If an embedded file is a PDF (rather than an EPS),
+the document must be processed with \verb|pdflatex| (rather than \verb|latex|).
+
+\section{Issues concerning \texorpdfstring{{\Bslash catcodes}}{catcodes}}
+\label{catcodeprobs}
+
+\musixtex\ uses the following symbols differently from plain \TeX: \verb|>|,
+ \verb|<|, \verb&|&, \verb|&|, \verb|!|, \verb|*|, \verb|.|, and \verb|:|\ .\\
+The symbols are given their special meanings by executing the macro
+\keyindex{catcodesmusic}, and are restored to their plain \TeX\ meanings with
+\keyindex{endcatcodesmusic}. When setting either a self-contained score or
+a musical extract, you normally need not worry
+about this at all, because \verb|\startpiece| or \verb|\startextract| executes
+\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\endextract| executes
+\verb|\endcatcodesmusic|. But there are some special situations where you
+might need to use these catcode-modifying macros explicitly. One is if you
+were to define a personalized macro outside
+\verb|\startpiece ... \endpiece|, but which incorporated any of the
+symbols with their \musixtex\ meanings. Another would be if you wished to have
+access to facilities enabled by alternate style files such as
+{\tt\ixem{french.sty}} which change \keyindex{catcode}s themselves. In
+such cases, provided you have input \verb|musixtex.tex|, you can always
+invoke \keyindex{catcodesmusic} to set the \keyindex{catcode}s at their
+\musixtex\ values, and \keyindex{endcatcodesmusic} to restore them to their
+prior values.
diff --git a/macros/musixtex/doc/musixdoc/examples.tex b/macros/musixtex/doc/musixdoc/examples.tex
new file mode 100644
index 0000000000..d0aeb1e6cd
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/examples.tex
@@ -0,0 +1,124 @@
+\chapter{\musixtex\ Examples}
+
+The file \verb|musixdoc.tex|, the source for this manual, contains many useful
+examples. In the manual, many examples are accompanied by a display of the code
+that produced them, while for a few only an image of the extract is included and you'll
+have to look in the \verb|musixdoc| source files to see the coding.
+
+Other useful examples cannot be embedded in the source, either because they are
+meant to be in \TeX, not \LaTeX, or because they are simply too large. For
+these the source files also are provided separately.
+
+When compiling or viewing any of the examples, you should keep in mind that
+most DVI previewers and laser printers have
+their origin one inch below and one inch to the right of the upper right corner
+of the paper, while the musical examples have their upper left
+corner just one centimeter to the right and below the top left corner of the page.
+Therefore, special parameters may have to be given to the DVI transcription
+programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\
+commands have been included within the \TeX\ source.
+
+\section{Small examples}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+\item{\tt ossiaexa.tex}~: This is a stand-alone example of the use of ossia,
+provided by Olivier Vogel (Section~\ref{ossia} on page \pageref{ossia}).
+
+\item{\tt 8bitchar.tex}~: Using 8bit characters.
+
+\end{itemize}
+
+\section{Full examples}
+The small examples above and the longer ones mentioned below are included in
+the documentation folder of the \musixtex\ package.
+Some of them require
+\verb|musixcpt.tex| which makes examples created in
+Music\TeX\ compatible with \musixtex. Here we mention a few of
+special interest.
+
+\subsection{Examples mentioned in the manual}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item{\tt avemaria.tex}~: the ``M\'editation'' (alias ``Ave Maria'') by
+Charles {\sc Gounod} for organ and violin or voice.\index{Gounod, C.@{\sc Gounod, C.}}
+To run this five-page example you'll also need \texttt{avemariax.tex}.
+It demonstrates the use of separated bar rules (Section~\ref{avemaria2})
+and the use of staves of different sizes (Section~\ref{avemaria}).
+Also, an additional instrument is created for lyrics. This was a common
+practice before the \texttt{musixlyr} package was created by Rainer Dunker.
+
+ \item{\tt glorias.tex}~: a local melody for the French version of
+\ital{Gloria in excelsis Deo}, a three-page piece demonstrating the use of the hardlyrics
+commands (Section~\ref{glorias}). {\tt gloriab.tex} is the same piece, but with organ accompaniment.
+
+\end{itemize}
+
+\subsection{Other examples, provided by the authors of \musixtex }
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+ \item{\tt traeumer.tex}~: the famous ``Tr\"aumerei'' by
+Robert {\sc Schumann}\index{Schumann, R.@{\sc Schumann, R.}} for piano, in genuine
+\musixtex\ but with some
+additions to perform ascending bitmapped \itxem{crescendos}.
+There are also S-shaped slurs between 2 staves.
+
+ \item{\tt parnasum.tex}~: the first page of ``Doctor gradus ad
+Parnassum'' by Claude {\sc Debussy}\index{Debussy,
+C.@{\sc Debussy, C.}} for piano.
+It contains a rather complex example of a new command \verb+\Special+
+to create staff-jumping doubly beamed notes.
+\end{itemize}
+
+\subsection{Additional documentation}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+ \item{\tt sottieng}~: Notation mistakes, provided by Jean-Pierre Coulon.
+
+\end{itemize}
+
+\section{Compiling \texttt{musixdoc.tex}}
+
+This manual is an excellent example of a primarily text document with embedded
+musical excerpts. For this reason, it is a \LaTeX\ document and must be compiled
+with \verb|latex| rather than \verb|etex|. Those wishing to combine text and
+musical excerpts should carefully study how it is done here.
+
+Before compiling or recompiling \verb|musixdoc.tex|, you should remove all the auxiliary
+files {\tt musixdoc.[mx1\|\allowbreak mx2\|\allowbreak aux\|\allowbreak toc\|\allowbreak ind\|\allowbreak idx\|\allowbreak ilg\|\allowbreak out]}
+if they are present. Then the following command sequence will produce \verb|musixdoc.ps|:
+\begin{quote}\begin{verbatim}
+latex musixdoc
+musixflx musixdoc
+latex musixdoc
+makeindex musixdoc
+latex musixdoc
+latex musixdoc
+dvips -e0 musixdoc
+\end{verbatim}\end{quote}
+The initial three steps \verb|latex|\allowbreak$\to$\allowbreak\verb|musixflx|\allowbreak$\to$\allowbreak\verb|latex| build up the basic appearance of the document including musical examples.
+The \verb|makeindex| step produces the database for the index.
+After that, \verb|latex| must be run at least twice to complete cross referencing.
+Finally, \verb|dvips| converts the \verb|.dvi| file into \verb|.ps|.
+To produce \verb|musixdoc.pdf|, use \verb|ps2pdf| or the Distiller component of Adobe Acrobat, or open \verb|musixdoc.ps| in \texttt{GSview}, go to
+{\tt File\|Convert}, select \verb|pdfwrite| at 600 dpi resolution, and click
+\verb|OK|.
+Or if you have the \verb|musixtex| script, just run
+\begin{quote}
+\verb|musixtex -l -x musixdoc|
+\end{quote}
+where the \verb|-l| option is to use \verb|latex| as the processing engine
+and \verb|-x| is to create a new index database.
+
+%If you use an older version of \LaTeX\ which doesn't automatically
+%invoke $\varepsilon$\hbox{-}\nobreak\TeX, you will encounter the
+%error ``{\tt !~No room for new \string\count}''.
+%This is because \verb|musixdoc.tex| invokes \verb|musixtex.tex|, which together with \LaTeX\
+%requires more storage registers than available in \TeX.
+%You may be able get around this by using the command
+%\verb|elatex| instead of \verb|latex|;
+%however, it is strongly recommended to upgrade your \TeX\ system to a more recent
+%version in which \verb|latex| automatically invokes $\varepsilon$\hbox{-}\nobreak\TeX.
+
diff --git a/macros/musixtex/doc/musixdoc/extensions.tex b/macros/musixtex/doc/musixdoc/extensions.tex
new file mode 100644
index 0000000000..7d60a4dbc5
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/extensions.tex
@@ -0,0 +1,2192 @@
+\chapter{Extension Library}
+All of the following files are invoked by saying \keyindex{input} \ital{filename}.
+In some cases,
+\verb\musixtex\ must be input \emph{before} the extension,
+but most of them are fully compatible with \verb\musixtex.tex\ in that they do not redefine
+any existing macros and just provide additional functionality.
+In future
+versions of \musixtex\ we may very well incorporate many of them directly into
+\verb|musixtex.tex|, but for now we leave them separate.
+
+ \section{musixadd}\ixtt{musixadd.tex}
+Increases the number of instruments, slurs and beams from six to nine.
+
+ \section{musixadf}
+\input musixadf
+This file and the associated fonts (by Hiroaki \textsc{Morimoto})
+define some additional and alternative musical accents, as follows.
+\begin{description}
+\item[small swells, larger sforzatos:]
+\ \\\begin{music}
+\nostartrule
+\startextract
+\NOTes
+ \ccharnote{-8}{\Bslash ulsw}\ulsw l\ql l%
+ \ccharnote{13}{\Bslash llsw}\llsw f\qu f%
+\en\bar
+\NOtes
+ \ccharnote{-8}{\Bslash uSfz}\uSfz l\ql l%
+ \ccharnote{13}{\Bslash lSfz}\lSfz f\qu f\qsk%
+\en
+\endextract
+\end{music}
+\item[breaths:]
+\ \\
+\begin{music}
+\nostartrule
+\startextract
+\NOTes
+ \zcharnote{-8}{\Bslash cuBreath}\cuBreath \qu f%
+ \zcharnote{13}{\Bslash clBreath}\clBreath \qu f%
+\en\bar
+\NOtes
+ \ccharnote{-8}{\Bslash zuBreath}\zuBreath \qu f%
+ \ccharnote{13}{\Bslash zlBreath}\zlBreath \qu f%
+\en
+\endextract
+\end{music}
+\item[coda with serifs, upright segno:]
+\ \\
+\begin{music}
+\nostartrule
+\startextract
+\NOTes
+ \sk
+ \ccharnote{-4}{\Bslash scoda}\scoda n\sk\sk%
+ \ccharnote{-4}{\Bslash upsegno}\upsegno n\sk%
+\en
+\endextract
+\end{music}
+\end{description}
+The following commands will replace the default specified accents by the new ones
+defined in \texttt{musixadf.tex}:
+ \verb|\replacesforzato|,
+ \verb|\replacecoda|,
+ \verb|\replacesegno|.
+
+ \section{musixbm}
+This file does nothing; it is retained only for compatibility with
+\musixtex{} version 1.10 or earlier.
+Since version 1.11, \verb|musixtex.tex| itself contains all the functions
+of the older \texttt{musixbm}, namely
+commands for 128th notes, either with flags or with beams:
+\keyindex{ibbbbbu},
+\keyindex{ibbbbbl},
+\keyindex{nbbbbbu},
+\keyindex{nbbbbbl},
+\keyindex{tbbbbbu},
+\keyindex{tbbbbbl},
+\keyindex{Ibbbbbu},
+\keyindex{Ibbbbbl},
+\keyindex{cccccu},
+\keyindex{cccccl},
+\keyindex{ccccca},
+\keyindex{zcccccu} and
+\keyindex{zcccccl}.
+
+
+ \section{musixbbm}\label{musixbbm}
+ Provides $256$th notes, but only for use within beams, via the commands
+\keyindex{ibbbbbbu},
+\keyindex{ibbbbbbl},
+\keyindex{nbbbbbbu},
+\keyindex{nbbbbbbl},
+\keyindex{tbbbbbbu},
+\keyindex{tbbbbbbl},
+\keyindex{Ibbbbbbu} and
+\keyindex{Ibbbbbbl}.
+
+By default \texttt{musixbbm} provides six $256$th beams with
+reference number $0$ to $5$.
+You can specify a larger maximum number
+directly with \keyindex{setmaxcclvibeams}\verb|{|$m$\verb|}| within the
+range\footnote{This may require e-\TeX.} $7\leq m\leq 100$.
+
+\section{musixcho}\label{song}
+ Enables certain macros intended for choral music\footnote{Remember
+that we now recommend using \texttt{musixlyr} for any except the
+simplest lyrics. The extension \texttt{musixcho} is only for those
+diehards who choose to ignore this advice}. Provides the following commands:
+\keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight},
+\keyindex{Dtx} and \keyindex{Drtx} for two-line text, \keyindex{Ttx} and
+\keyindex{Trtx} for three-line text, \keyindex{Qtx} and \keyindex{Qrtx} for
+four-line text. To eliminate zigzagging lyrics lines, all multiple line texts
+are automatically vertically justified with the macro \keyindex{ChroirStrut},
+defined as \verb|\vphantom{\^Wgjpqy}|.
+
+The macros \keyindex{tx}\verb|{|$text$\verb|}|,
+\keyindex{rtx}\verb|{|$text$\verb|}| cause song text to be left-justified
+on the insertion point rather then centered.
+ \keyindex{hf}\verb|{|$m$\verb|}| sets a text
+continuation rule of length $m$ \verb|\noteskip|.
+
+Consult the source file {\tt musixdoc.tex} to see the coding of the following
+example:
+
+\begin{music}
+\ninerm
+\parindent9mm
+\braceheight5.4\Interligne\relax
+%\rightline{Arr.: H.~W.~Eichholz}
+\instrumentnumber2
+\generalsignature{-2}
+\generalmeter{\meterfrac22}
+\setclef1\bass
+\relativeaccid
+\setinterinstrument1{11\Interligne}
+\songtop2
+\songbottom1
+\setname2{\vbox{\hsize\parindent\centerline{Sop}\centerline{Alt}}}
+\setname1{\vbox{\hsize\parindent\centerline{Ten}\centerline{Bass}}}
+\sepbarrules\nobarnumbers
+\beforeruleskip-2pt
+\startpiece
+%% bar 1
+\znotes&\rlap{\kernm2em\Qrtx 1.|2.|3.|4.*}\en
+\NOTes\sslur ILd1\sslur bNu1\zhl I\hu b%
+ &\Qtx\ixhf{Oh}|No|No|There'll*\issluru0f\sslur dad1\zhup f\hl d\en
+\Notes\zhl L\hu N&\Qtx ~|more|more|~be*\hl{^c}\en
+\NOtes&\tsslur0g\qu g\en
+%%% bar 2
+\bar
+\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql d\en
+\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en
+%%% bar 3
+\bar
+\nspace
+\NOTes\sslur JMd1\sslur bau1\zhl J\hu b%
+ &\Qtx\ixhf{oh}|no|no|there'll*\issluru0j\sslur edd1\zhup j\hl{^e}\en
+\Notes\zhl M\hu a&\Qtx~|more|more|~be*\hl{=e}\en
+\NOtes&\tsslur0k\qu k\en
+%%% bar 4
+\bar
+\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu j\ql d\en
+\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en
+%%% bar 5
+\bar
+\NOTesp\sslur IJd1\sslur bau1\lpt I\zhl I\hup b%
+ &\Qtx\ixhf{oh}|no|no|~there'll*\isslurd0f\issluru1j\zhup k\hlp f\en
+\NOtes\zql J\qu a&\Qtx~|more|more|~be*\tsslur1f\zqu f\roff{\tsslur0e\ql e}\en
+%%% bar 6
+\bar
+\NOtes\zql K\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql f\en
+\NOtes\zql J\qu b&\zqu i\ql e\en
+\NOtes\zql I\qu b&\rlap{\kernm1\Internote\bigrbrace}\rtx~~~~over*\zqu i\ql d\en
+\NOtes\zql G\qu b&\zqu k\ql f\en
+%%% bar 7
+\bar
+\nspace
+\NOTes\zhl J\hu b\caesura&\tx ~me,*\zhu j\hl{^e}\caesura\en
+\Notes\zcl J\cu b&\rtx ~over*\zcu j\cl e\en
+\NOtesp\zqlp J\qup b&\zqup k\lpt e\ql e\en
+\endpiece
+\end{music}
+
+\section{musixcpt}
+
+Empowers \musixtex\ to run files created under
+Musi\textbf{c}TeX, the predecessor of \musixtex, such as some of the examples
+provided by Daniel {\sc Taupin}. It is not needed for any files created
+under \musixtex, and is included mainly for historical completeness.
+
+\section{musixdat}
+Enables the command \keyindex{today}, which sets the current date in one of
+several possible languages. The language is selected by an optional
+ preparatory command \verb|\date...|.
+The default is \keyindex{dateUSenglish}, but this can changed, either at the
+end of \ttxem{musixdat.tex} for a permanant change, or right before issuing
+\verb|\today|. Available choices and sample results are summarized below:
+\smallskip
+\begin{quote}\begin{tabular}{ll}\hline
+\verb|\dateUSenglish|&\dateUSenglish\today\\
+\verb|\dateaustrian|&\dateaustrian\today\\
+\verb|\dateenglish|&\dateenglish\today\\
+\verb|\datefrench|&\datefrench\today\\
+\verb|\dategerman|&\dategerman\today\\\hline
+\end{tabular}\end{quote}
+
+\section{musixdbr}
+Enables dashed and dotted bar lines (see Section~\ref{musixdbr}).
+
+\section{musixdia}\label{diam}
+Enables notes with diamond-shaped heads as follows:
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Solid note heads (\raise.5ex\hbox to .6em{\musixchar37}) are obtained
+using the macros
+ \keyindex{yqu}, \keyindex{yqup},
+\keyindex{yqupp}, \keyindex{yql}, \keyindex{yqlp}, \keyindex{yqlpp},
+\keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp}, \keyindex{yqb},
+\keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu},
+\keyindex{ycl}, \keyindex{yccl}, \keyindex{ycccl}, \keyindex{yccccl},
+\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}.
+(Think of d{\it y}\kern.5pt amond). A solid diamond with no stem is obtained
+with \keyindex{ynq} (spacing) or \keyindex{yznq} (non-spacing).
+ \item Open note heads (\raise.5ex\hbox to .6em{\musixchar38}) are obtained
+using the macros
+\keyindex{dqu}, \keyindex{dqup},
+\keyindex{dqupp}, \keyindex{dql}, \keyindex{dqlp}, \keyindex{dqlpp},
+\keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp}, \keyindex{dqb},
+\keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu},
+\keyindex{dcl}, \keyindex{dccl}, \keyindex{dcccl}, \keyindex{dccccl},
+\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}.
+(Think of {\it d}\kern.5pt iamond).
+An open diamond with no stem is obtained
+with \keyindex{dnq} (spacing) or \keyindex{dznq} (non-spacing).
+ \end{itemize}
+
+One use of these note heads is for a string part with \itxem{harmonic notes}.
+%(see \ref{othernotes})
+% DAS removed description which was misplaced in the samll=notes section 2.18 4/30/06
+For example,
+
+\begin{music}
+\parindent0pt
+\generalsignature{-2}
+\generalmeter\allabreve
+\startextract
+\NOTes\dzq o\zh d\hu h\en
+\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\bar
+\NOTes\dzq o\zh d\hl h\en
+\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\endextract
+\end{music}
+\noindent was coded as follows:
+\begin{quote}\begin{verbatim}
+\generalsignature{-2}
+\generalmeter\allabreve
+\startextract
+\NOTes\dzq o\zh d\hu h\en
+\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\bar
+\NOTes\dzq o\zh d\hl h\en
+\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\endextract
+\end{verbatim}\end{quote}
+
+Another use is for percussion parts. In fact the file \verb|musixdia.tex|
+is automatically loaded if you input {\tt musixper.tex} (see Section~\ref{perc}).
+
+\section{musixec}\label{ecfonts}
+ This package will replace the \texttt{OT1}-encoded Computer Modern fonts
+by \texttt{T1}-encoded EC versions.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixec
+[\input musixsty]
+...
+\end{verbatim}\end{quote}
+For example,
+
+\begin{music}
+\input musixec
+é è â ç ü ñ\\
+\end{music}
+ \noindent may be coded as
+\begin{quote}
+\begin{verbatim}
+\input musixec
+é è â ç ü ñ\\
+\end{verbatim}
+\end{quote}
+
+
+ \section{musixeng}
+ This package is provided for music typesetters who are allergic to the default
+rest names, which are
+taken from French, German or Italian. It does not provide new features, only
+new command names:
+\medskip
+ \begin{quote}\begin{tabular}{ll}\hline
+\ital{original}&\ital{alternate}\\\hline
+\keyindex{PAUSe}&\keyindex{Qwr}\\
+\keyindex{PAuse}&\keyindex{Dwr}\\
+\keyindex{liftpause}&\keyindex{liftwr}\\
+\keyindex{pausep}&\keyindex{wrp}\\
+\keyindex{pause}&\keyindex{wr}\\
+\keyindex{lifthpause}&\keyindex{lifthr}\\
+\keyindex{hpausep}&\keyindex{hrp}\\
+\keyindex{hpause}&\keyindex{hr}\\
+\keyindex{qp}&\keyindex{qr}\\
+\keyindex{ds}&\keyindex{er}\\
+\keyindex{qs}&\keyindex{eer}\\
+\keyindex{hs}&\keyindex{eeer}\\
+\keyindex{qqs}&\keyindex{eeeer}\\\hline
+\end{tabular}\end{quote}
+
+\section{musixext}
+
+This file does nothing; it is retained only for compatibility with
+\musixtex{} version 1.17 or earlier.
+Since version 1.18, \verb|musixtex.tex| itself contains all the functions
+of the older \texttt{musixext}, namely
+definitions of
+\begin{itemize}
+\item
+\keyindex{raggedstoppiece}~, which inhibits right-justification of the last
+line of a score.
+\item
+\keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~, which provides a glissando
+starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with
+slope {\it s} (ranging from $-8$ to $8$).
+\end{itemize}
+
+ \section{musixf{}l{}l}
+ \input musixfll
+ Enables modification of \ixem{ledger lines}. Ledger lines normally exceed the
+width of a note head by $25$ percent in each direction. If the space between
+notes is insufficient, the ledger lines of
+consecutive notes may meet, creating visual ambiguities. Therefore,
+\musixtex{} shortens the
+ledger lines if notes are set so close together that the ledger lines may
+meet. But because \musixtex{} does not know whether consecutive notes need
+ledger lines, this automatic shortening may be superfluous. The extension
+file \ttxem{musixfll.tex} allows this feature to be switched off and on.
+Upon inputting \verb|musixfll.tex|, the automatic shortening of ledger lines
+is switched off. From then on, it may be switched on again using
+\keyindex{autoledgerlines} and switched off again using
+\keyindex{longledgerlines}. Both macros have global effect.
+
+ The following example shows that narrowly set scales look better with
+\keyindex{autoledgerlines} (the default behavior), whereas single notes
+requiring ledger lines look better with \keyindex{longledgerlines}.
+
+\medskip
+\begin{music}
+\nostartrule
+\startextract
+\notes\multnoteskip{0.7}\Uptext{autoledgerlines}\autoledgerlines
+ \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b%
+ \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b%
+ \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a%
+ \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en
+\endextract
+\medskip
+\startextract
+\notes\multnoteskip{0.7}\Uptext{longledgerlines}\longledgerlines
+ \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b%
+ \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b%
+ \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a%
+ \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en
+\endextract
+\autoledgerlines
+\end{music}
+
+ \section{musixgre}\label{gregnotes}\index{gregorian chant}
+
+% \section{Gregorian chant: staffs and clefs}
+Gregorian chant is often coded using four line staffs
+(see
+%sections \ref{gregorian} and
+Section~\ref{stafflinenumber}) and using special notes called
+\itxem{neumes} (which are described later in this section). It also requires
+special clefs. One way to substitute them for the modern ones is for example
+with commands like
+
+\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef|
+
+\noindent or
+
+\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| ,
+
+\noindent which will cause instrument number~$3$ to display the selected gregorian
+clef. The standard clefs can be restored for every instrument with
+\keyindex{resetclefsymbols}. Note that when using this method you must
+specify whether to substitute for the bass or alto clef
+symbol (there is no treble clef in gregorian
+chant). The reason is that \musixtex\ selects and
+raises the F and C clefs differently, according to the arguments of the
+\keyindex{setclef} command. Therefore, if one had substituted any F clef
+symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear
+on the staff, but it would be set at the position of an alto clef, thus
+seriously misleading the musician.
+
+Another method of clef substitution employs \keyindex{setclefsymbol} (see
+Section~ \ref{treblelowoct}), which substitutes the clef given by
+the second argument \ital{for all clef symbols} of the instrument given by the first,
+regardless of the actual musical meaning of the new clef symbol. This method is
+generally appropriate only if you want to change the clef symbol(s) of
+an instrument for the whole of the score.
+
+ As an example, the same gregorian scale has been written with a gregorian C
+clef on all four lines of the staff:
+
+ \begin{music}\nostartrule
+ \parindent 19mm
+ \instrumentnumber{4}
+ \setname1{1st line} \setname2{2nd line}
+ \setname3{3rd line} \setname4{4th line}
+ \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4}
+ \sepbarrules
+ \generalmeter{\empty}
+ \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000}
+ \setaltoclefsymbol1\gregorianCclef
+ \setaltoclefsymbol2\gregorianCclef
+ \setaltoclefsymbol3\gregorianCclef
+ \setaltoclefsymbol4\gregorianCclef
+\startextract
+\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\en
+\zendextract
+\end{music}
+
+ The coding was:
+ \begin{verbatim}
+ \instrumentnumber{4}
+ \setname1{1st line} \setname2{2nd line}
+ \setname3{3rd line} \setname4{4th line}
+ \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4}
+ \sepbarrules
+ \generalmeter{\empty}
+ \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000}
+ \setaltoclefsymbol1\gregorianCclef
+ \setaltoclefsymbol2\gregorianCclef
+ \setaltoclefsymbol3\gregorianCclef
+ \setaltoclefsymbol4\gregorianCclef
+\startextract
+\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\en
+\zendextract
+ \end{verbatim}
+
+All of the special gregorian symbols available in \musixtex\ are described
+in the following subsections.
+
+\subsection{Clefs}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~=
+ \keyindex{gregorianCclef}, normally activated for instrument $n$ with the
+command
+ \keyindex{setaltoclefsymbol}\itbrace{n}\keyindex{gregorianCclef}
+\item Gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~=
+\keyindex{gregorianFclef}, normally activated with the command
+\keyindex{setbassclefsymbol}\itbrace{n}\keyindex{gregorianFclef}
+ \end{itemize}
+
+ \subsection{Elementary symbols}
+
+
+ \begin{itemize}\setlength{\itemsep}{0ex}
+
+ \item Diamond shaped \itxem{punctum} (This has a different shape compared to the
+percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ =
+\keyindex{diapunc}\pitchp\ .
+ \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ =
+\keyindex{squ}\pitchp\ or \keyindex{punctum}\pitchp\ .
+ \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise
+2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}\pitchp\ .
+ \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ =
+\keyindex{rsqu}\pitchp\ or \keyindex{virga}\pitchp\ .
+ \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ =
+\keyindex{apostropha}\pitchp\ .
+ \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ =
+\keyindex{oriscus}\pitchp\ .
+
+ \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ =
+\keyindex{quilisma}\pitchp\ .
+ \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise
+2.5pt\hbox{\xgregchar9}~ =
+\keyindex{punctumauctup}\pitchp\ .
+ \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise
+2.5pt\hbox{\xgregchar8}~ =
+\keyindex{punctumauctdown}\pitchp\ .
+ \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}:
+\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}\pitchp\ .
+ \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise
+2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}\pitchp\ .
+ \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise
+2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}\pitchp\ .
+
+\end{itemize}
+ All non-\ital{liquescens} symbols have non-spacing variants, namely
+\keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu},
+\keyindex{zapostropha} and \keyindex{zoriscus}.
+
+\subsection{Plain complex neumes}
+Other \itxem{neumes} can be obtained by combining two or more of these
+symbols. Since \itxem{neumes} have a special note head width, an additional
+shifting macro is provided, namely \keyindex{groff}. It is similar to
+\verb|\roff|, but the offset is smaller. For use with comples neumes, another
+shifting macro is provided, namely \keyindex{dgroff}, which causes an
+offset twice the offset of \verb|\groff|.
+
+ Since most of these symbols depend on relative pitches of their components,
+we cannot provide all possible compact combinations as single symbols. The ones
+that are available in \verb|musixgre| are described below. In the following,
+$p_1$, $p_2$, $p_3$, and $p_4$ represent pitches specified as usual. Please refer to
+the source file \verb|musixtex.tex| if you wish to see the coding of those
+examples for which it is not quoted here.
+
+\def\twop{\itbrace{p_1}\itbrace{p_2}}
+\def\threep{\twop\itbrace{p_3}}
+\def\fourp{\threep\itbrace{p_4}}
+
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{bivirga}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \bivirga ab\en
+ \notes \bivirga cc\en
+ \zendextract
+ \end{music}
+
+ This example was coded as:
+ \begin{quote}\begin{verbatim}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \bivirga ab\en
+ \notes \bivirga cc\en
+ \zendextract
+ \end{verbatim}\end{quote}
+
+ \item[\keyindex{trivirga}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \trivirga abc\en
+ \Notes \trivirga cca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{bistropha}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \bistropha ab\en
+ \notes \bistropha cc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{tristropha}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \tristropha abc\en
+ \Notes \tristropha cca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{clivis}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivis ba\en
+ \notes \clivis ca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{lclivis}\twop], for example:
+
+ \begin{music}\nostartrule
+ \setsize1{\Largevalue}
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \lclivis ba\en
+ \notes \lclivis ca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{podatus}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatus ab\en
+ \notes \podatus ac\en
+ \notes \podatus cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{podatusinitiodebilis}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusinitiodebilis ab\en
+ \notes \podatusinitiodebilis ac\en
+ \notes \podatusinitiodebilis cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{lpodatus}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \lpodatus ab\en
+ \notes \lpodatus ce\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{pesquassus}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \pesquassus ab\en
+ \notes \pesquassus ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{quilismapes}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \quilismapes ab\en
+ \notes \quilismapes ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculus aba\en
+ \notes \torculus cfd\en
+ \notes \torculus afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusinitiodebilis}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusinitiodebilis aba\en
+ \notes \torculusinitiodebilis cfd\en
+ \notes \torculusinitiodebilis afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{Porrectus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectus bab\en
+ \notes \Porrectus bac\en
+ \notes \Porrectus bNd\en
+ \notes \Porrectus bMe\en
+ \notes \Porrectus bLe\en
+ \zendextract
+ \end{music}
+\noindent coded:
+ \begin{quote}\begin{verbatim}
+ \notes \Porrectus bab\en
+ \notes \Porrectus bac\en
+ \notes \Porrectus bNd\en
+ \notes \Porrectus bMe\en
+ \notes \Porrectus bLe\en
+ \end{verbatim}\end{quote}
+
+ \verb|\Porrectus| exists in four different shapes, depending on the
+difference between first and second argument. The constraint is that
+ $$ p_1-4 \leq p_2 \leq p_1-1 $$ otherwise a diagnostic occurs. Note also that
+\keyindex{bporrectus} provides the first curved part of the \verb|porrectus|
+command, if you should need it. It has two arguments, the starting pitch and the lower
+pitch.
+
+ \item[\keyindex{Porrectusflexus}\fourp], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectusflexus bacN\en
+ \notes \Porrectusflexus bNdb\en
+ \notes \Porrectusflexus bMeb\en
+ \notes \Porrectusflexus bLea\en
+ \zendextract
+ \end{music}
+\noindent coded:
+ \begin{quote}\begin{verbatim}
+ \notes \Porrectusflexus bacN\en
+ \notes \Porrectusflexus bNdb\en
+ \notes \Porrectusflexus bMeb\en
+ \notes \Porrectusflexus bLea\en
+ \end{verbatim}\end{quote}
+
+
+ \item[\keyindex{climacus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacus cbN\en
+ \Notes \climacus cba\en
+ \Notes \climacus dbN\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{climacusresupinus}\fourp], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacusresupinus cbNa\en
+ \Notes \climacusresupinus cbab\en
+ \Notes \climacusresupinus dbNb\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{lclimacus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+\instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \lclimacus cbN\en
+ \notes \lclimacus cfd\en
+ \notes \lclimacus afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{scandicus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \scandicus abe\en
+ \notes \scandicus ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{salicus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \salicus abe\en
+ \Notes \salicus ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{salicusflexus}\fourp], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \salicusflexus abec\en
+ \Notes \salicusflexus cegd\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{trigonus}\threep],
+%DAS ????????????
+%for example\footnote{The second example is in principle irrelevant,
+%but it shows the possibilities, in case of.}:
+for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \trigonus aaN\en
+ \Notes \trigonus cef\en
+ \zendextract
+ \end{music}
+
+\end{description}
+
+\subsection{Liquescens complex neumes}\index{liquescens neumes}
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{clivisauctup}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivisauctup ba\en
+ \notes \clivisauctup ca\en
+ \zendextract
+ \end{music}
+ \item[\keyindex{clivisauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivisauctdown ba\en
+ \notes \clivisauctdown ca\en
+ \zendextract
+ \end{music}
+ \item[\keyindex{podatusauctup}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusauctup ab\en
+ \notes \podatusauctup ac\en
+ \notes \podatusauctup cf\en
+ \zendextract
+ \end{music}
+ \item[\keyindex{podatusauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusauctdown ab\en
+ \notes \podatusauctdown ac\en
+ \notes \podatusauctdown cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{pesquassusauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \pesquassusauctdown ab\en
+ \notes \pesquassusauctdown ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{quilismapesauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \quilismapesauctdown ab\en
+ \notes \quilismapesauctdown ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusauctdown aba\en
+ \notes \torculusauctdown cfd\en
+ \notes \torculusauctdown afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{Porrectusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectusauctdown bac\en
+ \notes \Porrectusauctdown bNd\en
+ \notes \Porrectusauctdown bMe\en
+ \notes \Porrectusauctdown bLe\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{climacusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacusauctdown cbN\en
+ \Notes \climacusauctdown caM\en
+ \Notes \climacusauctdown aNM\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{scandicusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \scandicusauctdown abe\en
+ \notes \scandicusauctdown ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{salicusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \salicusauctdown abe\en
+ \Notes \salicusauctdown ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{clivisdeminut}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivisdeminut ba\en
+ \notes \clivisdeminut ca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{podatusdeminut}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusdeminut ab\en
+ \notes \podatusdeminut ac\en
+ \notes \podatusdeminut cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusdeminut aba\en
+ \notes \torculusdeminut cfd\en
+ \notes \torculusdeminut afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusdebilis}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusdebilis aba\en
+ \notes \torculusdebilis cfd\en
+ \notes \torculusdebilis afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{Porrectusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectusdeminut bac\en
+ \notes \Porrectusdeminut bNd\en
+ \notes \Porrectusdeminut bMe\en
+ \notes \Porrectusdeminut bLe\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{climacusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacusdeminut cbN\en
+ \Notes \climacusdeminut caM\en
+ \Notes \climacusdeminut aML\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{scandicusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \scandicusdeminut abe\en
+ \notes \scandicusdeminut ceg\en
+ \zendextract
+ \end{music}
+\end{description}
+
+\section{musixgui}\ixtt{musixgui.tex} Provides macros for
+typesetting modern style \itxem{guitar chords}. For example:
+
+\begin{music}
+\hsize130mm
+\tenrm
+\parindent0pt
+\generalmeter{\meterfrac34}
+\generalsignature1
+\startbarno0
+\def\txh{-6.5}
+\def\tx#1*{\zchar\txh{\lrlap{\kern3\Internote#1}}}
+\def\rtx#1*{\zchar\txh{\kern-3\Internote#1}}
+\stafftopmarg10\Interligne
+\raiseguitar{20}
+\nostartrule
+\startpiece
+\addspace{.5\afterruleskip}%
+\NOtes\tx We*\qa d\en
+\bar
+\NOtes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx wish*\qa g\en
+\Notes\tx you*\ca g\en
+\Notes\tx a*\ca h\en
+\Notes\zchar\txh{merry}\ca g\en
+\Notes\ca f\en
+\bar
+\NOtes\guitar C5o-----\gbarre4\gdot26\gdot36\gdot45\rtx christmas,*\qa e\en
+\NOtes\qa e\en
+\NOtes\guitar {e/H}5o-----\gbarre3\gdot35\gdot45\gdot54\tx we*\qa e\en
+\bar
+\NOtes\guitar {A$\!^7$}5o-----\gbarre1\gdot23\gdot42\tx wish*\qa h\en
+\Notes\tx you*\ca h\en
+\Notes\tx a*\ca i\en
+\Notes\zchar\txh{merry}\ca h\en
+\Notes\ca g\en
+\bar
+\NOtes\guitar D{}xxo---\gdot42\gdot53\gdot62\rtx christmas,*\qa f\en
+\NOtes\qa d\en
+\zbar
+\NOtes\guitar{D/c}{}xo----\gdot23\gdot42\gdot53\gdot62\tx we*\qa d\en
+\bar
+\NOtes\guitar{B$^7$}{}xo----\gdot22\gdot31\gdot42\gdot62\tx wish*\qa i\en
+\Notes\tx you*\ca i\en
+\Notes\tx a*\ca j\en
+\Notes\tx ~mer-*\ca i\en
+\Notes\tx ry*\ca h\en
+\bar
+\NOtes\guitar e{}xxo---\gdot32\tx ~christ-*\qa g\en
+\NOtes\tx mas*\qa e\en
+\Notes\guitar {G/d}{}xxo---\gdot63\tx and*\ca d\en
+\Notes\tx a*\ca d\en
+\bar
+\NOtes\guitar{C$^6$}{}xo----\gdot23\gdot32\gdot42\gdot51\tx ~~hap~-*\qa e\en
+\NOtes\tx py*\qa h\en
+\NOtes\guitar{D$^7$}{}xo---x\gdot25\gdot34\gdot45\gdot45\gdot53\tx new*\qa f\en
+\bar
+\NOTes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx ~year.*\ha g\en
+\setdoublebar\endpiece
+\end{music}
+
+\medskip
+The macro \keyindex{guitar} sets the grid, chord name, barre type,
+and on-off indicators for the strings. For example, the first
+chord in above example was coded as
+
+\verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44|
+
+\noindent where the first argument is the text to be placed above the grid, the
+second is empty (relative barre), and the next six characters indicate if the string
+is played or not with either \verb|x|, \verb|o| or \verb|-|. The dots are set with
+\keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The
+rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the position of the barre.
+
+The whole symbol may be vertically shifted with
+\keyindex{raiseguitar}\onen, where $n$ is a number
+in units of \keyindex{internote}. When using guitar chords, it might be
+useful to reserve additional
+space above the chord by advancing \keyindex{stafftopmarg} to
+something like \verb|stafftopmarg=10\Interligne|.
+
+For frequently used chords, it might be useful to define your own
+macros, e.g.
+
+\verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%|
+
+\section{musixhv}\label{helvetica}
+
+
+Replaces the default Computer Modern text fonts by Helvetica (sans serif) fonts;
+see Section~\ref{UserFonts}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixhv
+...
+\end{verbatim}\end{quote}
+
+The usual ``small'' type commands are supported:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{tinytype} & 7pt \\
+\keyindex{smalltype} & 8pt \\
+\keyindex{Smalltype} & 9pt \\
+\keyindex{normtype}& 10pt \\
+\keyindex{medtype} & 12pt \\
+\end{tabular}
+\end{quote}
+For all of these, the following variants are supported:
+\begin{quote}
+\begin{tabular}{ll}
+\verb|\rm| & ``Roman'' (sans serif) \\
+\verb|\bf| & bold \\
+\verb|\it| & ``italic'' (actually oblique) \\
+\verb|\bi| & ``bold-italic'' (actually bold-oblique) \\
+\verb|\sc| & small capitals\\
+\end{tabular}
+\end{quote}
+The ``big'' type commands are as follows:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{bigtype} & 14pt\\
+\keyindex{Bigtype} & 17pt\\
+\keyindex{BIgtype}& 20pt\\
+\keyindex{BIGtype} & 25pt\\
+\end{tabular}
+\end{quote}
+The default variant for all of these is small-caps;
+however, \keyindex{font} commands are defined
+for all the usual variants at all of these sizes.
+To letter-space a title, use the \verb|\so|
+command in the \verb\soul\ package.
+
+
+The following bold-oblique fonts for dynamic marks are defined:
+\begin{quote}\begin{tabular}{lr}
+\keyindex{ppfftwelve} & 8pt \\
+\keyindex{ppffsixteen} & 10pt\\
+\keyindex{ppfftwenty} & 12pt \\
+\keyindex{ppfftwentyfour} & 14pt \\
+\keyindex{ppfftwentynine} & 17pt \\
+\end{tabular}\end{quote}
+
+ \section{musixlit}\label{litu}\label{otherbars}
+ Provides a notation style intermediate between gregorian and baroque, for
+example
+
+\makeatletter
+\catcodesmusic
+%\def\vnotes#1\elemskip{\noteskip#1\@l@mskip \multnoteskip\scal@noteskip
+% \not@s}
+
+%\def\not@s{\def|{\nextstaff}\def&{\nextinstrument}\normaltranspose\transpose
+% \check@nopen\notes@open\@ne
+% \kern\n@skip\advance\x@skip\n@skip \locx@skip\x@skip
+% \n@skip\noteskip \noinstrum@nt\z@ \begininstrument}
+
+%\def\en{\@ndstaff\notes@open\z@
+% \ifx\@ne\V@sw \widthtyp@\z@\t@rmskip \let\V@sw\empty \fi}
+
+\def\double#1{\roffset{1.2}{\advancefalse#1}#1}
+\makeatother
+
+ % Don't know if this example correct ??? But looks nice...
+\begin{music}
+\ninerm
+\parindent0pt
+\instrumentnumber{2}
+\interstaff{11}
+\generalsignature2
+\setclefsymbol2\oldGclef
+\setstaffs1{2}
+\setclef1\bass
+\setinterinstrument1{-\Interligne}
+\startpiece
+\shortbarrules
+\addspace\afterruleskip
+\hardlyrics{Il nous a sign\'es de son
+ }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics*\Hpause h1\en
+\qspace\qspace
+\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\double{\cnql i}\en
+\bar
+\hardlyrics{Et nous avons \'e-
+ }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics~-*\Hpause h1\en
+\qspace\qspace
+\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\double{\cnql i}\en
+\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cnqu g\en
+\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cnqu f\en
+\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\double{\cnqu h}\en
+\bar
+\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cnqu h\en
+\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cnql k\en
+\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\double{\cnql j}\en
+\bar
+\NOTEs\zhl K\hu a|\zhl f\hu k&\tx ~~ia !*\cnhl k\en
+\sepbarrules
+\endpiece
+
+\startpiece
+\interbarrules
+\addspace\afterruleskip
+\hardlyrics{Il nous a sign\'es de son
+ }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics*\Hlonga h1\en
+\qspace\qspace
+\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\chl i\en
+\bar
+\hardlyrics{Et nous avons \'e
+ }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics~-*\Hlonga h1\en
+\qspace\qspace
+\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\chl i\en
+\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cqu g\en
+\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cqu f\en
+\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\chu h\en
+\bar
+\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cqu h\en
+\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cql k\en
+\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\chl j\en
+\bar
+\NOTEs\zbreve K\breve a|\zbreve f\breve k&\tx ~~ia !*\zbreve k\en
+\sepbarrules
+\endpiece
+\end{music}
+\endcatcodesmusic
+
+ This package provides:
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item\keyindex{oldGclef} which replaces the ordinary G clef with an old one,
+using (for instrument 2 as an example):
+ \verb|\settrebleclefsymbol2\oldGclef|
+
+ \item\keyindex{cqu} $p$ provides a square-headed quarter note with stem up at
+pitch $p$.
+
+ \item\keyindex{cql} $p$ provides a square-headed quarter note with stem down at
+pitch $p$.
+
+ \item\keyindex{chu} $p$ provides a square-headed half note with stem up at
+pitch $p$.
+
+ \item\keyindex{chl} $p$ provides a square-headed half note with stem down at
+pitch $p$.
+
+ \item\keyindex{cqb} $n$ $p$ provides a square-headed beam note for beam $n$ at pitch $p$.
+
+ \item\keyindex{zcqb} $n$ $p$ provides a non-spacing square-headed beam note for beam $n$ at pitch $p$.
+
+ \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square
+headed
+quarter note at pitch $p$.
+
+ \item\keyindex{cnhu} $p$ and \keyindex{cnhl} $p$ provide a stemless square
+headed half note at pitch $p$.
+
+%\item\keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch
+%$p$ and of length $n$ \keyindex{noteskip}. However, in the first of the above
+%example, this feature has been used to denote an arbitrary length note rather
+%than a rest!
+
+ \item\keyindex{Hlonga} $p$ $n$ provides an arbitrary length note at pitch
+$p$ and of length $n$ \keyindex{noteskip}.
+This feature has been used to denote an arbitrary length note in the second of
+the above examples;
+in the first example, \keyindex{Hpause}
+was used to denote an arbitrary length note rather
+than a rest.
+
+ \item\keyindex{shortbarrules} has been used to provide bar rules shorter than
+the staff vertical width.
+
+ \item\keyindex{interbarrules} has been used to provide bars between the
+staffs, rather that over them. This is an arbitrary question of taste\ldots
+ \end{itemize}
+
+ \section{musixlyr} \ixtt{musixlyr.tex}
+ Enables the recommended method for adding lyrics to a score (see Section~\ref{musixlyr}).
+
+ \section{musixmad} \ixtt{musixmad.tex} Increases the number of
+instruments, slurs and beams up to twelve. When using this extension, it is
+not necessary to explicitly input \verb|musixadd.tex|.
+If you need greater numbers of these elements, see Sections~\ref{musixmad_setmaxgroups},
+\ref{musixmad_setmaxinstruments_ccxviiibeams},
+\ref{musixmad_setmaxoctlines},
+\ref{musixmad_setmaxslurs} and
+\ref{musixmad_setmaxtrills}.
+
+
+\section{musixper}\label{perc}
+
+Provides special symbols intended for percussion parts. Included are a
+\ital{drum clef}---comprising two vertical parallel lines---and notes with
+various specially shaped heads. The note symbols that are available are as
+follows:
+
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item The \raise.5ex\hbox{\musixchar113}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a
+``\verb|dc|'' (think of {\it d}iagonal {\it c}ross).
+Available are
+\keyindex{dcqu},
+\keyindex{dcql},
+\keyindex{dcqb},
+\keyindex{dczq},
+\keyindex{dccu},
+\keyindex{dcccu},
+\keyindex{dccl} and
+\keyindex{dcccl}.
+
+ \item The \raise.5ex\hbox{\musixchar112}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a
+``\verb|dh|''
+(think of {\it d}iagonal cross {\it h}alf open).
+Available are
+\keyindex{dhqu},
+\keyindex{dhql},
+\keyindex{dhqb},
+\keyindex{dhzq},
+\keyindex{dhcu},
+\keyindex{dhccu},
+\keyindex{dhcl} and
+\keyindex{dhccl}.
+
+ \item The \raise.5ex\hbox{\musixchar111}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a
+``\verb|do|''
+(think of {\it d}iagonal cross {\it o}pen).
+Available are
+\keyindex{doqu},
+\keyindex{doql},
+\keyindex{doqb},
+\keyindex{dozq},
+\keyindex{docu},
+\keyindex{doccu},
+\keyindex{docl} and
+\keyindex{doccl}.
+
+ \item The \raise.5ex\hbox{\musixchar114}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|x|'' (e.g.\ for spoken text of songs).
+Available are
+\keyindex{xqu},
+\keyindex{xql},
+\keyindex{xqb},
+\keyindex{xzq},
+\keyindex{xcu},
+\keyindex{xccu},
+\keyindex{xcl} and
+\keyindex{xccl}.
+
+ \item The \raise.5ex\hbox{\musixchar115}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|ox|'' .
+Available are
+\keyindex{oxqu},
+\keyindex{oxql},
+\keyindex{oxqb},
+\keyindex{oxzq},
+\keyindex{oxcu},
+\keyindex{oxccu},
+\keyindex{oxcl} and
+\keyindex{oxccl}.
+
+ \item The \raise.5ex\hbox{\musixchar118}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|ro|'' (think of {\it r}h{\it o}mbus).
+Available are
+\keyindex{roqu},
+\keyindex{roql},
+\keyindex{roqb},
+\keyindex{rozq},
+\keyindex{rocu},
+\keyindex{roccu},
+\keyindex{rocl} and
+\keyindex{roccl}.
+
+ \item The \raise.5ex\hbox{\musixchar116}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|tg|'' (think of {\it t}rian{\it g}le).
+Available are
+\keyindex{tgqu},
+\keyindex{tgql},
+\keyindex{tgqb},
+\keyindex{tgzq},
+\keyindex{tgcu},
+\keyindex{tgccu},
+\keyindex{tgcl} and
+\keyindex{tgccl}.
+
+ \item The \raise.5ex\hbox to 1em{\musixchar117\hfil}~{}~symbol which is obtained
+using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded by
+``\verb|k|'' .
+Available are
+\keyindex{kqu},
+\keyindex{kql},
+\keyindex{kqb},
+\keyindex{kzq},
+\keyindex{kcu},
+\keyindex{kccu},
+\keyindex{kcl} and
+\keyindex{kccl}.
+ \end{itemize}
+
+The diamond shaped noteheads described in Section~\ref{diam} are also
+available, because \verb|musixper.tex| inputs \verb|musixdia.tex|.
+
+If any of the foregoing notes need to be dotted, you must use the explicit
+dotting macros \verb|\pt|, \verb|\ppt|, or \verb|\pppt| as described in
+Section~\ref{dots}.
+
+Since the usage of these note symbols is
+not standardized, it would be wise to include in the score a explanation
+of which symbol corresponds to which specific percussion instrument.
+
+A special \itxem{drum clef}---comprising two heavy vertical bars---can
+be made to replace the normal clef for the $n$-th intrument by saying
+\keyindex{setclefsymbol}\onen\keyindex{drumclef} .
+To cause this to appear at the right vertical position, the instrument should
+previously have been assigned a treble clef (or not explicitly assigned any
+clef, thereby giving it a treble clef by default).
+
+Percussion music might be written on a staff with either one or five lines.
+If there are several different percussions instruments it may be useful to
+use a five-line staff with a drum clef, and differentiate the instruments
+by the type of the note heads and the apparent
+pitch of the note on the staff. Here is an example of the
+latter\footnote{provided by Agusti {\sc Mart\'in Domingo}}:
+
+\medskip
+\begin{music}
+\generalmeter{\meterfrac44}
+\setclefsymbol1\drumclef
+\parindent0pt\startpiece
+\leftrepeat
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\setrightrepeat\endpiece
+\end{music}
+\noindent Its coding is
+ \begin{quote}\begin{verbatim}
+\begin{music}
+\instrumentnumber{1}
+\generalmeter{\meterfrac44}
+\setclefsymbol1\drumclef
+\parindent0pt\startpiece
+\leftrepeat
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\setrightrepeat\endpiece
+\end{music}
+ \end{verbatim}\end{quote}
+
+Here is an example of a single-line percussion staff using
+diamond-shaped note heads:
+
+\begin{music}
+\parindent 19mm
+\instrumentnumber{3}
+\setname1{keyboard} \setname2{drum} \setname3{monks}
+\setlines2{1}
+\setlines3{4}
+\setinterinstrument1{-2\Interligne}% less vertical space above
+\setinterinstrument2{-2\Interligne}% and below the percussion
+\sepbarrules
+\setsign1{-1} % one flat at keyboard
+\generalmeter{\meterfrac24}
+\setmeter3\empty
+\setclef3\alto
+\setclef1\bass
+\setstaffs12 % 2 staffs at keyboard
+\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3
+\setclefsymbol2\drumclef % cancel G clef at instrument 2
+\startextract
+\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\en\bar
+\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\en
+\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\en\bar
+\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\en
+\endextract
+\end{music}
+\noindent which is coded as follows:
+
+\begin{verbatim}
+\parindent 19mm
+\instrumentnumber{3}
+\setname1{keyboard} \setname2{drum} \setname3{monks}
+\setlines2{1}
+\setlines3{4}
+\setinterinstrument1{-2\Interligne}% less vertical space above
+\setinterinstrument2{-2\Interligne}% and below the percussion
+\sepbarrules
+\setsign1{-1} % one flat at keyboard
+\generalmeter{\meterfrac24}
+\setmeter3{\empty}
+\setclef3{\alto}
+\setclef1{\bass}
+\setstaffs1{2} % 2 staffs at keyboard
+\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3
+\setclefsymbol2{\drumclef} % cancel G clef at instrument 2
+\startextract
+\end{verbatim}
+
+% (DAS) Sorry, guys, I couldn't figure out how to get the |'s to work in this
+% verbatim.
+%
+\vskip-11pt
+\def\Vert{{\tt\char'174}}
+\noindent\verb|\Notes\hu F|\Vert\verb|\zh c\hu h&\dnq4&\squ{acd}\en\bar|\\
+\verb|\NOtes\qu I|\Vert\verb|\zq N\qu d&\qp&\diapunc f\en|\\
+\verb|\NOtes\qu J|\Vert\verb|\zq a\qu e&\ynq4&\diapunc f\en\bar|\\
+\verb|\notes\hu G|\Vert\verb|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\en|\\
+\verb|\endextract|
+
+ \section{musixplt}\index{musixplt@{\tt musixplt.tex}}\label{palatino}
+Replaces the default Computer Modern text fonts by Palatino fonts;
+see Section~\ref{UserFonts}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixplt
+...
+\end{verbatim}\end{quote}
+
+The usual ``small'' type commands are supported:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{tinytype} & 7pt \\
+\keyindex{smalltype} & 8pt \\
+\keyindex{Smalltype} & 9pt \\
+\keyindex{normtype}& 10pt \\
+\keyindex{medtype} & 12pt \\
+\end{tabular}
+\end{quote}
+For all of these, the following variants are supported:
+\begin{quote}
+\begin{tabular}{ll}
+\verb|\rm| & Roman \\
+\verb|\bf| & bold \\
+\verb|\it| & italic \\
+\verb|\bi| & bold italic \\
+\verb|\sc| & small capitals (and old-style figures)\\
+\end{tabular}
+\end{quote}
+The ``big'' type commands are as follows:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{bigtype} & 14pt\\
+\keyindex{Bigtype} & 17pt\\
+\keyindex{BIgtype}& 20pt\\
+\keyindex{BIGtype} & 25pt\\
+\end{tabular}
+\end{quote}
+The default variant for the ``small'' types is Roman and for
+the ``big'' ones, small-caps;
+however, \keyindex{font} commands are defined
+for all the usual variants at all of these sizes.
+To letter-space a title, use the \verb|\so|
+command in the \verb\soul\ package.
+
+
+The following bold-italic fonts for dynamic marks are defined:
+\begin{quote}\begin{tabular}{lr}
+\keyindex{ppfftwelve} & 8pt \\
+\keyindex{ppffsixteen} & 10pt\\
+\keyindex{ppfftwenty} & 12pt \\
+\keyindex{ppfftwentyfour} & 14pt \\
+\keyindex{ppfftwentynine} & 17pt \\
+\end{tabular}\end{quote}
+
+ \section{musixpoi}
+ Adds definitions of less common singly and doubly dotted notes.
+Available are
+\keyindex{ccup},
+\keyindex{zccup},
+\keyindex{cclp},
+\keyindex{zcclp},
+\keyindex{ccupp},
+\keyindex{zccupp},
+\keyindex{cclpp},
+\keyindex{zcclpp},
+\keyindex{cccup},
+\keyindex{zcccup},
+\keyindex{ccclp},
+\keyindex{zccclp},
+\keyindex{cccupp},
+\keyindex{zcccupp},
+\keyindex{ccclpp},
+\keyindex{zccclpp},
+\keyindex{ccccup},
+\keyindex{zccccup},
+\keyindex{cccclp},
+\keyindex{zcccclp},
+\keyindex{ccccupp},
+\keyindex{zccccupp},
+\keyindex{cccclpp} and
+\keyindex{zcccclpp}.
+
+ \section{musixppff}\label{musixppff}\index{musixppff@{\tt musixppff.tex}}
+
+This replaces the default definitions used for dynamic marks to use a ``mini-font''
+\verb\xppff10\ designed by Hiroaki \textsc{Morimoto}. It is used as follows:
+
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixppff
+...
+\end{verbatim}\end{quote}
+\noindent The new dynamic marks are as follows:
+\font\xppff=xppff10
+\begin{quote}
+\xppff
+pppp\ ppp\ pp\ p\ mp\ mf\ f\ fp\ sf\ ff\ fff\ ffff\ sfz\ sfzp
+\end{quote}
+Note that the \verb|xppff10| font has defined glyphs only for the following five characters: f, m, p, s and~z;
+use \keyindex{ppff} etc.\@
+for other bold-italic text in music.
+
+ \section{musixps}\label{musixps}\index{musixps@{\tt musixps.tex}}
+ Activates type K Postscript slurs, ties, and hairpins; see Chapter~\ref{PostscriptSlurs}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixps
+...
+\end{verbatim}\end{quote}
+
+ \section{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}}
+ Provides bowing and other symbols for \itxem{string instruments}\footnote{provided
+by Werner {\sc Icking}}. The symbol can be posted at the desired position using
+ \verb|\zcharnote|\pitchp\verb|{|$command$\verb|}|. The available symbols and
+their meanings are as follows:
+
+{\input musixstr
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+
+ \item[\hbox to 1em{\AB}~: \keyindex{AB} or \keyindex{downbow}] down-bow
+
+ \item[\hbox to 1em{\AUF}~: \keyindex{AUF} or \keyindex{upbow}] up-bow
+
+ \item[\hbox to 1em{\SP}~: \keyindex{SP}] at the top of bow
+
+ \item[\hbox to 1em{\FR}~: \keyindex{FR}] at the nut of bow
+
+ \item[\GB\ or \Gb~: \keyindex{GB} or \keyindex{Gb}] whole bow
+
+ \item[\UH\ or \Uh~: \keyindex{UH} or \keyindex{Uh}] lower half of bow
+
+ \item[\OH\ or \Oh~: \keyindex{OH} or \keyindex{Oh}] upper half of bow
+
+ \item[\MI\ or \Mi~: \keyindex{MI} or \keyindex{Mi}] middle of bow
+
+ \item[\UD\ or \Ud~: \keyindex{UD} or \keyindex{Ud}] lower third of bow
+
+ \item[\OD\ or \Od~: \keyindex{OD} or \keyindex{Od}] upper third of bow
+
+ \item[\Pizz~: \keyindex{Pizz}] left hand pizzicato or trill
+
+ \end{description}\end{quote}
+ }
+
+
+ %\check
+ \section{musixsty}\index{musixsty@{\tt musixsty.tex}}\label{musixsty}
+
+ Provides certain text-handling facilities for titles, footnotes, and other
+items not related to lyrics. It should not be used with \LaTeX. It includes
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item definitions of \keyindex{hsize}, \keyindex{vsize},
+\keyindex{hoffset}, \keyindex{voffset} suitable for A$4$ paper; those using
+other sizes may wish to modify it once and for all;
+ \item a \keyindex{rectoverso}\verb|{|\emph{dimension}\verb|}| command to set up even/odd-page
+ asymmetric margins;
+ \item a set of text size commands:
+
+ \begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm},
+\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to $8$ point font size;
+ \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm},
+\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to $10$ point font size;
+ \item[\keyindex{twlpoint}] (or \keyindex{twelvepoint}) to get $12$ point font size;
+ \item[\keyindex{frtpoint}] to get $14.4$ point font size;
+ \item[\keyindex{svtpoint}] to get $17.28$ point font size;
+ \item[\keyindex{twtypoint}] to get $20.74$ point font size;
+ \item[\keyindex{twfvpoint}] to get $24.88$ point font size;
+ \end{description}
+ \item commands for creating title-page headings:
+ \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{author} or
+\keyindex{fullauthor} to be put at the right of the first page, below the
+title of the piece; the calling sequence is, for example
+
+ \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}|
+
+ \noindent where the \verb|\\| causes the author's name to be displayed on
+two lines;
+
+ \item \keyindex{shortauthor} to be put at the bottom of each page;
+ \item \keyindex{fulltitle} which is the main title of the piece;
+ \item \keyindex{subtitle} is displayed below the main title of the piece;
+ \item \keyindex{shorttitle} or \keyindex{title}
+ which is the title repeated at the bottom of each page;
+ \item \keyindex{othermention} which is displayed on the left of the page,
+vertically aligned with author's name. It may contain \verb|\\| to display it on
+several lines;
+ \item \keyindex{headline} which displays the argument at the top of the title page (use
+ \verb|\hss| after or before the argument text or both to left-align or
+ right-align or center the text);
+ \item \keyindex{maketitle} which displays all the previous stuff;
+ \end{itemize}
+
+ \item commands for making \itxem{footnotes}:
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item The normal Plain-\TeX\ \keyindex{footnote} command, which has two
+arguments---not just one as in \LaTeX\protect\index{LATEX@\LaTeX}---namely
+the label of the footnote, which can be any sequence of characters, and
+the text of the footnote. This command does not work inside
+boxes, so it cannot be issued within music;
+
+ \item The \keyindex{Footnote} command, which counts the footnotes and uses a
+number as the label of the footnote (equivalent to \LaTeX's \verb|\footnote|
+command). The same restriction as with \verb|\footnote| applies concerning
+its use within the music coding;
+
+ \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which
+places a footnote at the bottom of the current page, but does not put
+the footnote label at the place the command is entered in the main text. This
+also may not be used within music, but if a footnote is needed whose reference
+lies inside the music, it can be entered in two steps:
+ \begin{enumerate}
+ \item manually insert the reference inside the music, using e.g., \verb|zcharnote|;
+ \item post the footnote itself with \verb|\vfootnote| outside the music,
+either before \keyindex{startpiece} or between \keyindex{stoppiece} and
+\keyindex{contpiece} or equivalent commands.
+ \end{enumerate}
+
+ \end{itemize}
+
+ \end{itemize}
+
+ \section{musixtmr}\index{musixtmr@{\tt musixtmr.tex}}\label{times}
+ Replaces the default Computer Modern text fonts by Times fonts;
+ see Section~\ref{UserFonts}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixtmr
+...
+\end{verbatim}\end{quote}
+
+The usual ``small'' type commands are supported:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{tinytype} & $7$pt \\
+\keyindex{smalltype} & $8$pt \\
+\keyindex{Smalltype} & $9$pt \\
+\keyindex{normtype}& $10$pt \\
+\keyindex{medtype} & $12$pt \\
+\end{tabular}
+\end{quote}
+For all of these, the following variants are supported:
+\begin{quote}
+\begin{tabular}{ll}
+\verb|\rm| & Roman \\
+\verb|\bf| & bold \\
+\verb|\it| & italic \\
+\verb|\bi| & bold italic \\
+\verb|\sc| & small capitals \\
+\end{tabular}
+\end{quote}
+The ``big'' type commands are as follows:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{bigtype} & $14$pt\\
+\keyindex{Bigtype} & $17$pt\\
+\keyindex{BIgtype}& $20$pt\\
+\keyindex{BIGtype} & $25$pt\\
+\end{tabular}
+\end{quote}
+The default variant for all of them is Roman;
+however, \keyindex{font} commands are defined
+for all the usual variants at all of these sizes.
+To letter-space a title, use the \verb|\so|
+command in the \verb\soul\ package.
+
+
+The following bold-italic fonts for dynamic marks are defined:
+\begin{quote}\begin{tabular}{lr}
+\keyindex{ppfftwelve} & 8pt \\
+\keyindex{ppffsixteen} & 10pt\\
+\keyindex{ppfftwenty} & 12pt \\
+\keyindex{ppfftwentyfour} & 14pt \\
+\keyindex{ppfftwentynine} & 17pt \\
+\end{tabular}\end{quote}
+
+\section{musixtnt}\label{musixtnt}
+This package (tnt = Transform Notes) provides a macro \keyindex{TransformNotes} which makes
+possible several ``transformations'' of the effect of notes commands such as \keyindex{notes}.
+The \verb\musixtnt\ package is distributed separately from \verb\musixtex\.
+
+In general the effect of \verb|\TransformNotes{|\textit{input}\verb|}{|\textit{output}\verb|}|
+is that subsequent notes commands in the source will expect their arguments
+to match the \textit{input} pattern but
+the notes will be typeset according to the \textit{output} pattern.
+
+For example,
+\begin{verbatim}
+ \TransformNotes{#2&#3&#4&#5}{#2&#3&#5}
+\end{verbatim}
+would be appropriate for a four-instrument score (arguments \verb|#2|, \verb|#3|, \verb|#4|, and \verb|#5|, separated by three
+\verb\&\s, but the third instrument (\verb|#4|) will be discarded.
+
+The instrument/staff numbers in the first argument must start at $2$ and increase
+consecutively, using \verb|&| (or \| for multi-staff instruments) as a separator.
+The reason that the segment identifiers start at $2$ is that the first argument for \keyindex{vnotes}
+is a spacing parameter.
+
+It is
+essential that every \verb|\znotes|, \verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc.\@ command in
+the score match the pattern of the first argument to \keyindex{TransformNotes} exactly; for example,
+too few (or too many)
+note segments will result in unintentionally discarded material and possibly compilation failure.
+Similarly, it is not possible to use \keyindex{nextinstrument}, \keyindex{nextstaff}, \keyindex{selectinstrument} or \keyindex{selectstaff}, or to hide the \verb|&| (or \|) tokens inside
+a user-defined macro.
+An auxiliary program \verb|msxlint| distributed in the \verb\musixtnt\ package can be used to detect such incompatibilities.
+
+\keyindex{TransformNotes} may be used anywhere between \keyindex{startpiece}
+and the command that ends the piece.
+
+\subsection{Extracting single-instrument parts from multi-instrument scores}
+
+To extract
+a single-instrument part from a (copy of a) multi-instrument \musixtex\ score:
+\begin{itemize}
+\item Set \verb|\nbinstrument| to 1; for example, with command \verb|\instrumentnumber1|.
+\item Use \keyindex{TransformNotes} to discard all but one of the note segments in notes
+commands.
+For example, the following line placed after
+\verb|\startpiece| (but before any note commands) would be appropriate for a
+four-instrument score and will result in a single-instrument part for the second of
+these:
+\begin{verbatim}
+ \TransformNotes{#2&#3&#4&#5}{#3}%
+\end{verbatim}
+\end{itemize}
+Caveats:
+\begin{itemize}
+\item
+Some additional revisions to the source for the part might be necessary:
+\begin{itemize}
+\item adjusting \verb|\setname|, \verb|\setclef|, \verb|\setsign|,
+\verb|\setmeter| and \verb|\setstaffs| commands, as necessary; see
+Section~\ref{CodingRules} for coding techniques that will make this easier.
+
+\item ensuring that tempo and roadmap markings (\textbf{D.C.}, \textbf{Fine}, etc.) are in
+ the appropriate instrument segment;
+\end{itemize}
+\item
+When the extracted part score is compiled and viewed, it may be seen
+that horizontal-spacing commands designed for \emph{multiple} instruments can produce bad
+spacing when used for a \emph{single} instrument. Bad spacing can be corrected manually but
+this is very tedious; an auxiliary program called \verb\autosp\
+can be used to automate this process; see Section~\ref{autosp}.
+\end{itemize}
+
+\subsection{Other applications}
+
+The \keyindex{TransformNotes} macro may be used for other purposes. Here are some examples:
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2&#3}{#2&\transpose+7#3}%|
+\end{list}
+will begin transposing\index{transpose@{\Bslash transpose}} just the second instrument (argument \verb|#3|).
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2|\|\verb|#3&#4}{#2|\|\verb|#3&\tinynotesize#4}%|
+\end{list}
+will begin typesetting the notes of the second instrument (\verb|#4|) in tiny size.
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2&#3}{#3&#2}%|
+\end{list}
+will switch the order of the two instruments.
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2&#3}{#2&#3}%|
+\end{list}
+will restore normal two-instrument processing.
+
+
+The \texttt{musixtnt} implementation of \keyindex{TransformNotes} is not compatible with the
+\texttt{musixlyr} extension
+package for lyrics described in Section~\ref{musixlyr}. For extracting or omitting parts
+in scores with lyrics, one may either use the
+\texttt{autosp}\index{autosp@{\tt autosp}} preprocessor discussed in Section~\ref{autosp}, which provides
+an alternative implementation of \keyindex{TransformNotes},
+or the techniques described in Chapter~\ref{parts}.
+
+ \section{musixtri}\index{musixtri@{\tt musixtri.tex}}
+Provides triply dotted note symbols.
+Available are:
+\keyindex{lpppt},
+\keyindex{whppp},
+\keyindex{zwppp},
+\keyindex{huppp},
+\keyindex{hlppp},
+\keyindex{zhppp},
+\keyindex{zhuppp},
+\keyindex{zhlppp},
+\keyindex{quppp},
+\keyindex{qlppp},
+\keyindex{zquppp},
+\keyindex{zqlppp},
+\keyindex{zqppp},
+\keyindex{cuppp},
+\keyindex{zcuppp},
+\keyindex{clppp},
+\keyindex{zclppp},
+\keyindex{qbppp} and
+\keyindex{zqbppp}.
+
+
+\section{tuplet}
+
+This file does nothing; it is provided for compatibility with
+\musixtex{} version 1.20 or earlier and legacy scores.
+Since version 1.21, \verb|musixtex.tex| itself contains all the functions
+of the older \texttt{tuplet.tex}, namely
+definitions of
+\begin{itemize}
+\item \keyindex{tuplettxt}
+\item \keyindex{uptuplet}
+\item \keyindex{downtuplet}
+\end{itemize}
+See Section~\ref{tuplet}.
diff --git a/macros/musixtex/doc/musixdoc/extracting.tex b/macros/musixtex/doc/musixdoc/extracting.tex
new file mode 100644
index 0000000000..2039733fd0
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/extracting.tex
@@ -0,0 +1,101 @@
+\chapter{Extracting Parts from a Multi-Instrument Score}\label{parts}
+From the typesetting viewpoint, the major characteristic of orchestral and
+chamber music is that the scores not only have several instruments, but
+variants of the same basic score are needed in which one of the instruments is
+highlighted while some others are typeset in smaller notes or are
+omitted.
+Of course, it must be possible to permute the highlighted instruments and
+the small-type instruments or
+omitted instruments, depending on the instrument to which the
+version of the score is dedicated.
+
+The following is the most general approach to part extraction when
+using \musixtex\ without \textbf{PMX} or \textbf{M-Tx} pre-processors. A
+simpler approach which will work for most purposes is described in Section~\ref{musixtnt}.
+
+\section{Coding rules}\label{CodingRules}
+ To make a ``selectable'' orchestral score you must prepare the master score
+(i.e., the score with all instruments typed) as follows:
+
+ \begin{enumerate}
+ \item Avoid referring to instrument numbers with roman
+numerals. For example use \verb|\setclefs|~$n$ instead of
+\verb|\cleftoksiii=| .
+ \item Introduce symbolic names for the instruments; for example, define:
+ \begin{verbatim}
+ \def\Piano{1}%
+ \def\Flute{2}%
+ \def\Oboe{3}%
+ \def\Soprano{4}%
+ \end{verbatim}
+and code, for example
+ \smallskip
+
+ \verb|\setstaffs\Piano2| rather than \verb|\setstaffs12|.
+
+ \item If, initially, the Piano is the instrument number 1, replace all
+\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc., with
+\verb|\notes\selectinstrument\Piano|, \verb|\Notes\selectinstrument\Piano|,
+\verb|\NOtes\selectinstrument\Piano|, etc.
+
+ \item Instead of using \verb|&| or \verb|\nextinstrument| to move to
+instrument $n+1$, use \verb|\selectinstrument\Flute| and similar instead.
+ \end{enumerate}
+For example,
+\begin{verbatim}
+ \Notes\selectinstrument\Piano ... | ...
+ \selectinstrument\Flute ...
+ \selectinstrument\Oboe ...
+ \selectinstrument\Soprano ... \en
+\end{verbatim}
+With this coding, difficult things such as putting the Flute above the Oboe
+are done easily: just say \verb|\def\Flute{3}| and \verb|\def\Oboe{2}|.
+
+ \section{Selecting, hiding or putting instruments in the background}
+
+ To put, for example, the Flute and the Oboe in the background, i.e., typesetting
+them in small notes, state at the beginning:
+ \begin{quote}
+ \verb|\setsize\Flute\tinyvalue\setsize\Oboe\tinyvalue|
+ \end{quote}
+where the value \keyindex{tinyvalue} for \keyindex{setsize} corresponds to notes and staffs
+of size \keyindex{tinynotesize}.
+ If, instead of putting an instrument in the background, one wants to omit it,
+this is done by:
+ \begin{quote}
+ \verb|\setstaffs\Flute{0}\setstaffs\Oboe{0}|
+ \end{quote}
+since nothing is typeset for
+instruments having \emph{zero} staffs (not to be confused with one-line staffs such
+as percussions).
+
+ \section{Recommendations}
+ \begin{itemize}
+ \item When hiding instruments, reduce
+\keyindex{instrumentnumber} by the number of hidden instruments; otherwise
+bars and leading braces will enclose the position of these dummy arguments,
+which would be ugly.
+
+ \item Exchange the actual instrument numbers so that hidden instruments have
+numbers \emph{greater} than the value of \verb|\instrumentnumber|.
+ Hidden instruments with numbers
+less than \verb|\instrumentnumber| will cause an excess of vertical
+space at their phantom positions; this is not
+recommended.
+
+ \item In hidden instruments, rests no longer behave like \verb|\hbox{...}| and
+\verb|raise|-ing them will result in an error.
+
+ \item In hidden instruments, explicit \verb|\hbox|es will remain as empty
+boxes, thus causing abnormal vertical spacings between instruments. Therefore,
+anything suspect should be made conditional with:
+
+\begin{quote}
+\keyindex{ifactiveinstrument}\ \textit{code to be omitted if instrument is hidden}\ \verb|\fi|
+\end{quote}
+Most \musixtex{} commands become properly hidden if requested. But
+problematic
+parts of code can nonetheless be protected with \verb|\ifactiveinstrument|.
+
+ \end{itemize}
+
diff --git a/macros/musixtex/doc/musixdoc/fonts.tex b/macros/musixtex/doc/musixdoc/fonts.tex
new file mode 100644
index 0000000000..2326b86c95
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/fonts.tex
@@ -0,0 +1,231 @@
+\chapter{Font Selection and Text Placement}
+
+\section{Predefined text fonts}
+While any font with support for \TeX\ can be used by \musixtex, certain styles and
+sizes can be selected using shortcut commands.
+For ordinary text, the shortcuts cover fonts of nine different
+sizes and six styles. The sizes in points are $7$, $8$, $9$, $10$, $12$, $14$, $17$, $20$, and $25$;
+the styles are from the standard Computer Modern family: Roman, bold, italic, bold italic
+and small capitals.
+The size selection macros from smallest to biggest are
+\keyindex{tinytype},
+\keyindex{smalltype},
+\keyindex{Smalltype},
+\keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype},
+\keyindex{Bigtype},
+\keyindex{BIgtype} and \keyindex{BIGtype}.
+The style may be selected or changed using \keyindex{rm} (Roman), \keyindex{bf}
+(bold), \keyindex{it} (italic), \keyindex{bi} (bold italic) or
+\keyindex{sc} (small-capitals). If no style is explicitly selected, Roman style
+will be used for the sizes \verb|\medtype| or smaller; for the larger sizes,
+bold style is the default. Thus, for example,
+eight point italic is selected with \verb|\smalltype\it|, while
+twelve point Roman is selected using \verb|\medtype\rm| or simply
+\verb|\medtype|. To change between styles while maintaining the same size,
+code \verb|\rm|, \verb|\it|, \verb|\bf|, \verb|\bi| or \verb|\sc|, as in Plain \TeX.
+When \musixtex\ is started, the default font for ordinary text is
+ten point Roman, equivalent to \verb|\normtype\rm|.
+
+Another group of fonts, in bold extended italic style, is predefined in point sizes
+$8$, $10$, $12$, $14$, and $17$ for dynamic markings. The appropriate font for the current
+staff size may be selected simply by using \keyindex{ppff} as a
+font specification. Macros \keyindex{tinydyn}, \keyindex{smalldyn}, \keyindex{normdyn}, or \keyindex{meddyn} may be
+used to redefine \verb|\ppff| to represent one of the smallest four.
+
+
+A selection of predefined fonts is summarized in Table~\ref{predefinedfonts}. The second column gives an
+explicit control sequence that can alternatively be used locally as a font specification.
+\font\ctinytype=cmr7
+\font\ctinytypebf=cmbx7
+\font\ctinytypeit=cmti7
+\font\csmalltype=cmr8
+\font\csmalltypebf=cmbx8
+\font\csmalltypeit=cmti8
+\font\cSmalltype=cmr9
+\font\cSmalltypebf=cmbx9
+\font\cSmalltypeit=cmti9
+\font\cnormtype=cmr10
+\font\cnormtypebf=cmbx10
+\font\cnormtypeit=cmti10
+\font\cnormtypebi=cmbxti10
+\font\cnormtypesc=cmcsc10
+\font\cmedtype=cmr12
+\font\cmedtypebf=cmbx12
+\font\cmedtypeit=cmti12
+\font\cmedtypebi=cmbxti10 scaled \magstep1
+\font\cmedtypesc=cmcsc10 scaled \magstep1
+\font\cbigtype=cmbx12 scaled \magstep1
+\font\cBigtype=cmbx12 scaled \magstep2
+\font\cBIgtype=cmbx12 scaled \magstep3
+\font\cBIGtype=cmbx12 scaled \magstep4
+\font\cppfftwelve=cmbxti10 at 8pt
+\font\cppffsixteen=cmbxti10
+\font\cppfftwenty=cmbxti10 scaled \magstep1
+\font\cppfftwentyfour=cmbxti10 scaled \magstep2
+\font\cppfftwentynine=cmbxti10 scaled \magstep3
+\font\cbigtype=cmbx12 scaled \magstep1
+\font\cBigtype=cmbx12 scaled \magstep2
+\font\cBIgtype=cmbx12 scaled \magstep3
+\font\cBIGfont=cmbx12 scaled \magstep4
+\begin{table}
+\begin{center}
+\renewcommand{\arraystretch}{1.15}
+ \begin{tabular}{lll}
+ \hline
+ Size and style & Font specification & Example \\
+ \hline
+ \verb|\tinytype| & \verb|\sevenrm| & {\ctinytype tiny Roman} \\
+ \verb|\tinytype\bf| & \verb|\sevenbf| & {\ctinytypebf tiny bold} \\
+ \verb|\tinytype\it| & \verb|\sevenit| & {\ctinytypeit tiny italic} \\
+ \verb|\smalltype| & \verb|\eightrm| & {\csmalltype small Roman} \\
+ \verb|\smalltype\bf| & \verb|\eightbf| & {\csmalltypebf small bold} \\
+ \verb|\smalltype\it| & \verb|\eightit| & {\csmalltypeit small italic} \\
+ \verb|\Smalltype| & \verb|\ninerm| & {\cSmalltype Small Roman} \\
+ \verb|\Smalltype\bf| & \verb|\ninebf| & {\cSmalltypebf Small bold} \\
+ \verb|\Smalltype\it| & \verb|\nineit| & {\cSmalltypeit Small italic} \\
+ \verb|\normtype| & \verb|\tenrm| & {\cnormtype normal Roman} \\
+ \verb|\normtype\bf| & \verb|\tenbf| & {\cnormtypebf normal bold} \\
+ \verb|\normtype\it| & \verb|\tenit| & {\cnormtypeit normal italic}\\
+ \verb|\normtype\bi| & \verb|\tenbi| & {\cnormtypebi normal bold italic}\\
+ \verb|\normtype\sc| & \verb|\tensc| & {\cnormtypesc normal small capitals}\\
+ \verb|\medtype| & \verb|\twelverm| & {\cmedtype medium Roman} \\
+ \verb|\medtype\bf| & \verb|\twelvebf| & {\cmedtypebf medium bold} \\
+ \verb|\medtype\it| & \verb|\twelveit| & {\cmedtypeit medium italic}\\
+ \verb|\medtype\bi| & \verb|\twelvebi| & {\cmedtypebi medium bold italic}\\
+ \verb|\medtype\sc| & \verb|\twelvesc| & {\cmedtypesc medium small capitals}\\
+ \verb|\bigtype| & \verb|\frtbf| & {\cbigtype big bold} \\[.4ex]
+ \verb|\Bigtype| & \verb|\svtbf| & {\cBigtype Big bold} \\[.4ex]
+ \verb|\BIgtype| & \verb|\twtybf| & {\cBIgtype BIg bold} \\[.4ex]
+ \verb|\BIGtype| & \verb|\twfvbf| & {\cBIGtype BIG bold} \\
+ ~ & \verb|\ppfftwelve| & {\cppfftwelve pp ff diminuendo}\\
+ ~ & \verb|\ppffsixteen| & {\cppffsixteen pp ff diminuendo}\\
+ ~ & \verb|\ppfftwenty| & {\cppfftwenty pp ff diminuendo}\\
+ ~ & \verb|\ppfftwentyfour| & {\cppfftwentyfour pp ff diminuendo}\\[.4ex]
+ ~ & \verb|\ppfftwentynine| & {\cppfftwentynine pp ff diminuendo}\\[.4ex]
+ \hline
+ \end{tabular}
+\end{center}
+\caption{Various predefined fonts}
+\label{predefinedfonts}
+\end{table}
+
+\section{User-defined text fonts}
+
+Since \musixtex\ is a superset of \TeX, you are free to use the standard \TeX\
+machinery for defining and using any special font you desire. You must first
+of course ensure that (a)~all the necessary font files (e.g., \verb|bla10.tfm|,
+\verb|bla10.pfb|, or equivalents) are installed in the right places in your system, (b)~all
+configuration files (e.g., \verb|config.ps| or equivalent) have been updated, and
+(c)~the \TeX\ file-name database has been updated, as required by your \TeX\ system. Then you can use the font just as
+in any \TeX\ document, e.g., by coding \verb|\font blafont=bla10| and then
+\verb|\zchar{10}{\blafont Text in user-defined font}|.
+
+You might also wish to replace once and for all the typefaces invoked by the
+commands described in the previous section. Again, before doing this, you must
+follow steps (a-c) of the previous paragraph for all fonts in question.
+\label{UserFonts}
+You can use bitmapped fonts, which are converted to
+Postscript by e.g.,~\verb|dvips|, but you also may replace them
+by native Postscript fonts.
+
+The extension library
+\verb|musixtmr.tex|\footnote{by Hiroaki {\sc Morimoto}}
+replaces the default Computer Modern text fonts by
+the Times series of fonts; see Section~\ref{times}.
+Other extension libraries, \verb|musixplt.tex| and \verb|musixhv.tex|, replace the default text fonts by
+Palatino and Helvetica fonts, respectively; see Sections~\ref{palatino} and \ref{helvetica}.
+\font\tnormtype=ptmr7t
+\font\tnormtypebf=ptmb7t
+\font\tnormtypeit=ptmri7t
+\font\tbigtype=ptmr7t scaled \magstep2
+\font\tBigtype=ptmr7t scaled \magstep3
+\font\pnormtype=pplr8r
+\font\pnormtypebf=pplb8r
+\font\pnormtypeit=pplri8r
+\font\pbigtype=pplrc8r at 14pt
+\font\pBigtype=pplrc8r at 17pt
+\font\hnormtype=phvr8r at 10pt
+\font\hnormtypebf=phvb8r at 10pt
+\font\hnormtypeit=phvro8r at 10pt
+\font\hbigtype=phvr8r at 14pt
+\font\hBigtype=phvr8r at 17pt
+Here is a comparison of some Times,
+Palatino and Helvetica fonts:
+\begin{center}
+ \begin{tabular}{lll}
+ \hline
+ {\tnormtype normal Times Roman} & {\pnormtype normal Palatino Roman} &{\hnormtype normal Helvetica Roman} \\
+ {\tnormtypebf normal Times bold} & {\pnormtypebf normal Palatino bold}& {\hnormtypebf normal Helvetica bold} \\
+ {\tnormtypeit normal Times italic} & {\pnormtypeit normal Palatino italic } & {\hnormtypeit normal Helvetica italic }\\[.4ex]
+ {\tbigtype Times big} & {\pbigtype Palatino big } & {\hbigtype Helvetica big } \\[.4ex]
+ {\tBigtype Times Big } & {\pBigtype Palatino Big } & {\hBigtype Helvetica Big } \\
+ \hline
+ \end{tabular}
+\end{center}
+
+For users who prefer to stick with the default Computer Modern
+family but want to use the T$1$-encoded EC variants, the extension library
+\verb|musixec.tex| is available; see Section~\ref{ecfonts}\@.
+
+\section{Text placement}\label{textplacement}
+Special macros are provided to allow precise placement of any \TeX\ text, vertically
+relative to the staff, and horizontally relative to any note in
+the staff.
+
+The macros in the first group will vertically position the text with the
+baseline at any specified pitch or staff line. They must be used
+inside \verb|\notes...\en|. They will not insert any additional
+horizontal space. They have the forms
+\keyindex{zcharnote}\pitchp\verb|{|\ital{text}\verb|}|, \keyindex{lcharnote}\pitchp\verb|{|\ital{text}\verb|}|,
+and \keyindex{ccharnote}\pitchp\verb|{|\ital{text}\verb|}|,
+where \ital{p} is the pitch. With the first one, text will spill to the right
+from the current insertion point, with the second it will spill to the left, and with the
+third it will be centered horizontally.
+The following abbreviations are available:
+\begin{quote}
+\begin{tabular}{lcl}
+\keyindex{zcn}& for&\verb|\zcharnote| \\
+\keyindex{lcn}& for&\verb|\lcharnote| \\
+\keyindex{ccn}& for&\verb|\ccharnote| \\
+\end{tabular}
+\end{quote}
+
+There are similar macros \keyindex{zchar}\pitchp\verb|{|\ital{text}\verb|}|,
+\keyindex{lchar}\pitchp\verb|{|\ital{text}\verb|}|, and \keyindex{cchar}\pitchp\verb|{|\ital{text}\verb|}|,
+which differ from the previous three in that the pitch \ital{must} be given with
+a number (representing the number of staff positions up from the lowest line),
+and that the number need not be an integer.
+
+To vertically position any text midway between two consecutive staves, use
+\keyindex{zmidstaff}\verb|{|{\it text}\verb|}|, \keyindex{lmidstaff}\verb|{|{\it text}\verb|}|,
+or \keyindex{cmidstaff}\verb|{|{\it text}\verb|}| at the appropriate point in the lower staff.
+
+The macros \keyindex{uptext}\verb|{|\ital{text}\verb|}| and
+\keyindex{Uptext}\verb|{|\ital{text}\verb|}|
+are simply shorthands for
+\verb|\zchar{10}{|\ital{text}\verb|}| and
+\verb|\zchar{14}{|\ital{text}\verb|}|,
+respectively.
+
+The text items handled by all of the above macros can include any appropriate
+string of \TeX\
+control sequences, including font definitions, \verb|\hbox|'es, etc.
+
+Material posted with any of the macros described in this section will not
+create any additional horizontal or vertical space within the current system,
+and will overwrite anything in the current system that gets in the way. It is
+the typesetter's responsibility to ensure there is adequate white space
+within the current system to accommodate any text placed with
+these macros. On the other hand, if text is placed far above or below a
+system, \musixtex\ will usually insert additional vertical space if needed.
+
+\section{Rehearsal marks}
+
+Rehearsal marks are usually
+boxed or circled uppercase letters or digits. They can be defined using the macros
+\keyindex{boxit}\verb|{|\ital{text}\verb|}| or
+\keyindex{circleit}\verb|{|\ital{text}\verb|}|. For boxed text,
+the margin between the text and box is controlled by the dimension
+register \keyindex{boxitsep}, which can be reset to any \TeX\ dimension if the
+default value of \verb|3pt| is unsatisfactory. To place the mark, use \verb|\Uptext| or
+any of the other macros defined in the previous section.
diff --git a/macros/musixtex/doc/musixdoc/frontmatter.tex b/macros/musixtex/doc/musixdoc/frontmatter.tex
new file mode 100644
index 0000000000..42d4e645c0
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/frontmatter.tex
@@ -0,0 +1,143 @@
+\title{\Huge\bfseries\musixtex\\[\bigskipamount]
+\LARGE\bfseries Using \TeX{} to write polyphonic\\or
+instrumental music\\\Large\itshape Version 1.29}
+\author{}
+
+
+%\author{\Large\rm Daniel \sc Taupin\\\large\sl
+% Laboratoire de Physique des Solides\\\normalsize\sl
+% (associ\'e au CNRS)\\\normalsize\sl
+% b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\\medskip
+% \\\Large\rm Ross \sc Mitchell\\\large\sl
+% CSIRO Division of Atmospheric Research,\\\normalsize\sl
+% Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip
+% \\\Large\rm Andreas \sc Egler\\\large\sl
+% (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum}
+\date{Revised \today}
+\maketitle
+\vfill
+\thispagestyle{empty}
+\begin{flushright}\it
+If you are not familiar with \TeX{} at all, I would recommend\\
+to find another software package to do musical typesetting.\\
+Setting up \TeX{} and \musixtex\ on your machine and mastering it is\\
+an awesome job which gobbles up a lot of your time and disk space.\\[\medskipamount]
+But, once you master it\ldots\\[\smallskipamount]
+Hans {\sc Kuykens} (ca.~1995)
+
+\vspace*{4ex}
+In my humble opinion, that whole statement is obsolete.\\[\smallskipamount]
+Christof\/ {\sc Biebricher} (2006)
+\end{flushright}
+
+\clearpage
+
+\pagenumbering{roman}\setcounter{page}{2}
+
+
+\vspace*{20ex}
+\begin{quote}
+\musixtex{} may be freely copied, duplicated and used in conformance to
+the GNU General Public License (Version 2, 1991, see included file {\tt
+copying})\footnote{Thanks to the Free Software Foundation for advice. See
+\href{http://www.gnu.org}{\underline{\tt http://www.gnu.org}}}.
+
+You may take it or parts of it to include in other packages, but no packages
+called \musixtex{} without specific suffix may be distributed under the name
+\musixtex{} if different from the original distribution (except obvious bug
+corrections).
+
+ Adaptations for specific implementations (e.g., fonts) should be provided as
+separate additional \TeX\ or \LaTeX\ files which override original definitions.
+ \end{quote}
+
+\clearpage
+
+\chapter*{Preface}
+\addcontentsline{toc}{chapter}{Preface}
+\musixtex\ was developed by Daniel Taupin, Ross Mitchell and Andreas
+Egler,
+building
+on earlier work by Andrea Steinbach and Angelika Schofer.
+Unfortunately, Daniel Taupin, the main developer, died all too early in a 2003
+climbing accident. The \musixtex\ community was shocked by this tragic and unexpected
+event. You may read tributes to Daniel Taupin that are archived at the
+\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}} (WIMA\index{WIMA}).
+
+Since then, the only significant update to \musixtex\ has been in version 1.15 (April 2011) which
+takes advantage of the greater capacity of the e\TeX\ version of \TeX.
+This manual
+is the definitive reference to all features of
+\musixtex\ version~1.29.
+
+Novice users need not start here.
+Most
+music typesetting tasks can be accomplished entirely by using the \textbf{PMX}
+(for instrumental music) or \mbox{\textbf{M-Tx}} (for vocal music)
+preprocessors to generate the \musixtex\ input file, relieving the user of
+learning any of the commands or syntax of \musixtex\ itself. It is only
+for out-of-the-ordinary constructions that one must learn these details in order
+to insert the necessary \musixtex\ commands into the preprocessor's input file
+as so-called inline \TeX.
+
+Advanced users might
+want to use \verb|autosp|, another preprocessor. It simplifies
+the production of \musixtex\ scores by automating the choice of
+note-spacing commands; see Section~\ref{autosp}.
+
+It is possible to create inputs for \musixtex, \textbf{PMX}, \mbox{\textbf{M-Tx}} or
+\texttt{autosp} using any text editor, such as \verb|notepad| or \verb|vi| or
+\verb|emacs|. Currently there is no graphical user interface for
+generating input files, other than \TeX-oriented integrated
+graphical development environments such as \TeX Works.
+
+The \href{http://icking-music-archive.org/software/indexmt6.html}
+{\underline{Werner Icking Music Archive}} contains excellent and detailed
+instructions for installing \TeX, \musixtex{} and the strongly recommended
+preprocessors \textbf{PMX}
+and \mbox{\textbf{M-Tx}} on
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00022000000000000000}
+{\underline{Linux/\unix}},
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00021000000000000000}
+{\underline{Windows}} and
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00023000000000000000}
+{\underline{Mac OS}}.
+See
+\href{http://icking-music-archive.org/software/htdocs/Introduction.html#SECTION00012000000000000000}
+{\underline{this}}
+page at WIMA for documentation of
+\textbf{PMX} and \mbox{\textbf{M-Tx}}.
+
+\begin{flushright}
+Oliver Vogel\\ Don Simons\\ Andre van Ryckeghem\\ Cornelius Noack\\
+Hiroaki Morimoto\\
+Bob Tennent\\ \today
+\end{flushright}
+
+\clearpage
+
+\makeatletter
+\renewcommand\tableofcontents{%
+ \if@twocolumn
+ \@restonecoltrue\onecolumn
+ \else
+ \@restonecolfalse
+ \fi
+ \chapter*{\contentsname
+ \@mkboth{%
+ \contentsname}{\contentsname}}%
+ \addcontentsline{toc}{chapter}{Contents} % added by RDT
+ \@starttoc{toc}%
+ \if@restonecol\twocolumn\fi
+ }
+\makeatother
+
+
+%\begin{small}
+\tableofcontents
+%\end{small}
+
+\clearpage
+\setcounter{page}{1}
+\pagenumbering{arabic}
+\renewcommand{\thepage}{\arabic{page}}
diff --git a/macros/musixtex/doc/musixdoc/index.tex b/macros/musixtex/doc/musixdoc/index.tex
new file mode 100644
index 0000000000..c56508b6d8
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/index.tex
@@ -0,0 +1,10 @@
+\makeatletter
+\renewenvironment{theindex}
+ {\pagestyle{plain}\parindent\z@
+ \parskip\z@ \@plus .3\p@\relax
+ \let\item\@idxitem}
+ {\thispagestyle{plain}}
+\makeatother
+\begin{multicols}{3}[\chapter*{Index}\addcontentsline{toc}{chapter}{Index}]
+ \printindex
+\end{multicols}
diff --git a/macros/musixtex/doc/musixdoc/introduction.tex b/macros/musixtex/doc/musixdoc/introduction.tex
new file mode 100644
index 0000000000..e396c200f7
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/introduction.tex
@@ -0,0 +1,823 @@
+\chapter{Introduction to \musixtex}
+
+This chapter is not a tutorial on the use of \musixtex, but instead serves as
+an overview of some of its capabilities, quirks, and history.
+
+\musixtex\ is a set of macros and fonts which enables music typesetting
+within the \TeX\ system. It requires as a prerequisite a working
+installation of \TeX.
+\musixtex\ might be regarded as the digital equivalent of a box of type. It
+contains symbols for staves, notes, chords, beams, slurs and ornaments,
+ready to be arranged to form a sheet of music. But it must be told how to position
+those symbols on the page. This could be done by the typesetter
+himself, if he or she elects to proceed by entering \musixtex\ commands manually
+into an input file. However most users will find it far less taxing to let
+such decisions be made largely by the preprocessor
+\href{http://icking-music-archive.org/software/indexmt6.html#pmx}
+{\underline{\textbf{PMX}}}, which in addition uses a much simpler input
+language than \musixtex.
+
+Lyrics can also be handled by \musixtex. There is a set of primitive
+commands for this which are described later. But there is also a far
+more adaptable set of macros contained in the extension file
+\verb|musixlyr.tex|, and there is the preprocessor
+\href{http://icking-music-archive.org/software/indexmt6.html#mtx}
+{\underline{\mbox{\textbf{M-Tx}}}}\ which provides easy, transparent access to
+these macros.
+
+Most users of \TeX\ are familiar with \LaTeX, a set of \TeX\ macros
+which eases document layout. In fact many may only use \LaTeX.
+Until recently, \LaTeX\ and \musixtex\ coexisted only grudgingly, owing
+primarily to the limited availabily of storage registers. But with modern
+versions of \TeX\ and with the use of e\LaTeX, only a modest increase in
+complexity is incurred with the addition of musical excerpts to a \LaTeX\
+document. Still, fortunately, for typesetting a musical score there is
+rarely if ever any advantage to using \LaTeX. Only if one wanted to create a
+text document with embedded musical examples would there be much use for it.
+Even in that case there is a perfectly fine way to avoid using \musixtex\
+directly in the document file, namely, by using \musixtex\ to create
+\verb|pdf| or \verb|eps| files for
+each of the examples, and then embedding references to those in the file for
+the larger document. But for anyone who still wants to use both together, there is
+no better example than this manual, as generated with the files
+\verb|musixdoc.tex| and \verb|musixdoc.sty|. A few further details about such
+nonstandard applications are given in Section~\ref{excerpts}.
+
+\section{Primary features of \musixtex}
+ \subsection{Music typesetting is two-dimensional} Written music is not
+usually a linear sequence of symbols like a literary text. Rather,
+except for unaccompanied single-note instruments like clarinets,
+trumpets and human voices, it has the form of a two-dimensional matrix.
+ Thus, a logical way of coding music consists
+in horizontally accumulating a set of \ital{vertical combs} with
+\ital{horizontal teeth} as depicted in Table~\ref{readtable}.
+%\def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}}
+ \begin{table}
+ \begin{center}
+ \small
+ \renewcommand{\arraystretch}{1.4}
+ \setlength{\arrayrulewidth}{1.5pt}
+ \setlength{\tabcolsep}{2ex}
+ \begin{tabular}{|ll|ll|}\fbox{note sequence one}
+ &\fbox{note seq.\ four}
+ &\fbox{note seq.\ seven}
+ &\fbox{note seq.\ ten}\\\fbox{note sequence two}
+ &\fbox{note seq.\ five}
+ &\fbox{note seq.\ eight}
+ &\fbox{note seq.\ eleven}\\\fbox{note sequence three}
+ &\fbox{note seq.\ six}
+ &\fbox{note seq.\ nine}
+ &\fbox{note seq.\ twelve}\\
+ \end{tabular}
+ \end{center}
+ \caption{A logical way of coding music}\label{readtable}
+ \end{table}
+Accordingly, in \musixtex\ the fundamental macro used to represent
+one of those vertical combs (or one of the columns in Table~\ref{readtable})
+is of the form
+\begin{center}
+\verb|\notes ... & ... & ... \en|\footnote{The command
+\keyindex{en} is an abbreviation for the command \keyindex{enotes}, which may also be used.}
+\end{center}\index{"&@{\tt\char'046}}
+\noindent where the character \verb|&| is used to separate the notes to be
+typeset on respective staves of the various instruments, starting from the
+bottom.
+
+In the case of an instrument whose score has to be written with
+several staves, they are separated by the
+character \|\index{\tt\char'174@{\tt\char'174}}.
+
+Thus, a score written for a keyboard instrument and
+a single-line instrument (e.g., piano and violin)
+will be coded as follows:
+\begin{center}
+\verb=\notes ... | ... & ...\en=
+\end{center}
+\noindent for each column of simultaneous \ital{groups of notes}.
+Each of those groups, represented by a single box in Table~\ref{readtable}\
+and by a sequence of three dots in the the two example macros above, may contain
+not only chord notes to be played simultaneously, but short sequences of
+consecutive
+notes or chords. As we'll soon see, this implies the need for two fundamentally different
+kinds of basic macros in \musixtex: those whose tokens are automatically followed
+by some amount of space (called \ital{spacing} macros), and those that are not.
+The former type, for example,
+would be used to produce the notes and rests in a single-line score;
+the latter would be used, for example, for chord notes and ornaments.
+
+\subsection{Horizontal spacing}
+Deciding upon the proper horizontal spacing of notes is a very complicated matter
+that we will not address in any detail here. Obviously short-duration notes
+should be closer together than longer ones. Almost as obviously, the spacing
+cannot be linearly proportional to the duration; otherwise for example a whole
+note would occupy 32 times as much horizontal space as a thirty-second note. And
+in polyphonic scores the spacing in one staff is often influenced by the notes
+in another. This is a decision that the typesetter or preprocessor
+must make. Once the decision is made, \musixtex\ can provide the desired spacing.
+The main mechanism is through a set of macros described in
+Section~\ref{newspacings}. At this point we shall only mention that to control
+spacing, one of those
+macros will be selected to replace the symbol \verb|\notes| in the two examples
+above, and it will imply that whenever a spacing macro in encountered within
+a group of notes, a
+certain specific amount of horizontal space will be inserted.
+
+ \subsection{Music tokens}
+The tokens provided by \musixtex\ include
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item note symbols without stems;
+ \item note symbols with stems, and flags for eighth notes and
+shorter;
+ \item beam beginnings and endings;
+ \item beginnings and endings of ties and slurs;
+ \item accidentals;
+ \item ornaments: arpeggios, trills, mordents, turns, staccatos,
+pizzicatos, fermatas, etc.;
+ \item bar lines;
+ \item meters, key signatures, clefs.
+\end{itemize}
+For example, \verb|\wh a| produces a whole note at nominal frequency 222.5~Hz,
+\verb|\wh h| produces one an octave higher, \verb|\qu c|
+produces an up-stemmed quarter note C (250~Hz), and \verb|\cl J| produces a down-stemmed C
+eighth note an octave lower.
+
+ To generate chords with solid note heads, the non-spacing macro \keyindex{zq}
+can be used. It produces a solid note head at the specified pitch,
+the vertical position of which
+is memorized and recalled whenever the next stemmed note (possibly with a flag) is
+coded. The stem length is automatically adjusted to link all simultaneous notes. Thus, the
+\mbox{C-major} chord
+
+\begin{music}\nostartrule
+\startextract\NOtes\zq{ceg}\qu j\en\zendextract
+\end{music}
+ \noindent is coded \verb|\zq c\zq e\zq g\qu j| or more concisely,
+\verb|\zq{ceg}\qu j|; the \verb|u| in the spacing note macro
+\verb|\qu| is what generates the upstem.
+
+ \subsection{Beams}
+Each beam \index{beams} is generated by a pair of macros. The first defines
+the beginning horizontal position (implicitly the current position), altitude,
+direction (upper or lower), multiplicity (number of lateral bars), slope and
+reference number. This latter feature is needed so independent beams
+can overlap. The second macro of the pair specifies the termination
+location (again implicitly) and the reference number.
+
+ \subsection{Setting anything on the score}
+A general macro (\keyindex{zcharnote}) provides a means of
+putting any sequence of symbols (possibly contained in an \verb|\hbox{...}|) at any
+pitch of any staff of any instrument. This allows any symbol defined in a font
+(letters, math symbols, etc.) to be placed in the score at a position keyed
+to the music both in time (horizontally) and pitch (vertically) on the staff,
+\section{A simple example}
+ Before going into more detail, we give below an example of the two first
+bars of the sonata in \mbox{C-major} KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc
+Mozart, W.A.}}:
+
+\begin{music}
+\parindent11mm
+\setname1{Piano}
+\setstaffs12
+\generalmeter{\meterfrac44}
+\startextract
+\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en
+\bar
+\Notes\ibu0f0\qb0{dgf}|\qlp i\en
+\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en
+\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+\zendextract
+\end{music}
+ The coding is as follows:
+\begin{quote}\begin{verbatim}
+\begin{music}
+ \parindent10mm
+ \instrumentnumber{1} % a single instrument
+ \setname1{Piano} % whose name is Piano
+ \setstaffs1{2} % with two staffs
+ \generalmeter{\meterfrac44} % 4/4 meter chosen
+ \startextract % starting real score
+ \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+ \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en
+ \bar
+ \Notes\ibu0f0\qb0{dgf}|\qlp i\en
+ \notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en
+ \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+ \zendextract % terminate excerpt
+\end{music}
+ \end{verbatim}\end{quote}
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \verb|\ibu0f0| begins an upper beam, aligned on the
+\ital{f}, reference number 0, slope 0
+ \item \verb|\tbu0| terminates this beam before writing
+the second \ital{g} by means of \verb|\qb0g|
+ \item \verb|\qb..| indicates a note belonging to a beam.
+ \item \verb|\sk| sets a space between the two quarters in the right
+hand, so that the second one is aligned with the third eighth in the left hand.
+ \item\verb|\qlp| is a dotted quarter note.
+ \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C}
+(\verb|j| at this pitch) with slope 15\%.
+\end{itemize}
+
+\section{The three pass system}\label{threepass}
+\subsection{Introduction}
+\TeX's line-breaking procedure implicitly assumes
+that a normal line of text will contain many words, so that inter-word
+glue need not stretch or shrink too much to justify the line.
+One might at first consider extending this to music, treating each bar like a
+word with no stretchable internal space. But typically this would lead to unsightly
+gaps before each bar rule, simply because the number of bars per line
+is normally many fewer than the number of words in a line of text.
+\musixtex\ needs a more sophisticated horizontal spacing algorithm
+than is used in \TeX.
+
+To understand how \musixtex\ solves this problem, we have to
+recognize two different kinds of horizontal space, \ital{hard}\ and
+\ital{scalable}. Hard space is fixed and always represents the same
+physical distance.
+Examples of hard space are the widths of bar rules, clefs,
+and key signatures. Scalable space can be stretched as needed. It
+is what is normally used for the space after notes or rests. At the
+outset it is only defined in a relative sense. In other words,
+scalable spaces are defined as multiples of \verb|\elemskip|, an
+initially undefined basic spacing unit. For example, in \textbf{PMX}\
+all sixteenth notes
+are typically assigned a scalable width of \verb|1.41\elemskip|.
+One main job of \musixtex\ is to compute the physical value of
+\verb|\elemskip|, often expressed in points (72nds of an inch).
+The correct value is that which makes all the scalable space on
+a line just fill up what's not occupied by hard space. Obviously
+it may vary from line to line.
+
+To this end a three pass system was developed. To start the
+first pass on the file \verb|jobname.tex|, you would enter\footnote{
+In many cases it will suffice to run {\tt tex}, but with \musixtex~1.15,
+it is possible to create a file requiring the enhanced capacity of
+{\tt etex}. Since {\tt etex} can handle any file {\tt tex} can, it's best
+always to use {\tt etex}.}
+\verb|etex jobname|.
+Information about each bar is written to
+an external file named \verb|jobname.mx1|.
+This file begins with a header containing parameters
+such as line width and paragraph indentation. Then the hard and
+scalable space is listed for each bar.
+\index{scalable width}\index{hard width}
+
+The second pass, which is started with \verb|musixflx jobname|,
+determines optimal values of the basic spacing unit \verb|\elemskip|
+for each line, so as to properly fill each line, and to spread
+the piece nicely over an integral number of full lines. This routine was originally written
+in \textsc{fortran} rather than \TeX, the main reason
+being the lack of an array handling capability in \TeX; the current version
+of \verb|musixflx| is a \textsc{lua} script, which may be executed without
+compilation in any standard \TeX\ system.
+
+\verb|musixflx| reads in the file \verb|jobname.mx1|, and writes its
+output to \verb|jobname.mx2|. The latter file contains a single entry for
+each line of music in the reformatted output. The key piece of information
+is the revised value of \keyindex{elemskip} for each line.
+
+Next, the file is \TeX-ed again, by entering \verb|etex jobname|. On this third pass,
+the \verb|jobname.mx2| file is read in, and the information
+is used to physically define the final score and embed the
+page descriptions into a \verb|dvi|\ file.
+
+You may wonder how the same command can
+cause something different to happen the second time it is issued. The explanation
+is that \musixtex\ checks for the presence of \verb|jobname.mx2|. If it's
+not present, the first pass is executed; if it is, the third pass. Obviously if
+you've made some corrections that affect any horizontal spacing, you must remember
+to delete the old \verb|jobname.mx2| and then rerun all three passes, or
+build or use a script that does so.
+
+\subsection{An example}
+
+Here's an example. Here, no value for \verb|\elemskip| is explicitly specified,
+so \musixtex\ assigns a single, default value. After the first pass you might get
+the following output:
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\setsign1{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\raggedstoppiece\contpiece% this is cheated, the problem was to get
+% pass 1 and pass 3 at the same time
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\raggedstoppiece\contpiece
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\setdoubleBAR\raggedstoppiece
+\end{music}
+
+\noindent Note that the space after every quarter note is the same, and
+that lines are not justified.
+After running \verb|musixflx| and \TeX-ing the second time you'll
+get:
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\Endpiece
+\end{music}
+
+\noindent Now \musixtex\ has determined a number of lines
+(which is different from the original number), the lines are justified,
+and if you look carefully you
+can see that the space after quarters in the first line
+is smaller than in the second. This example was coded as:
+\begin{verbatim}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en\bar
+\NOtes\qu{gh}\en\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en\bar
+\NOtes\qu{^f=f}\en\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en\bar
+\Notes\ttie0\Qqbu ed{_d}c\en\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar
+\NOtes\qu c\qp\en\Endpiece
+\end{verbatim}
+
+\subsection{Adjusting the layout}
+
+One benefit of the 3-pass system is the quick and easy
+alteration to the layout which can be achieved
+by changing only one parameter, namely \keyindex{mulooseness}. This value
+acts analogously to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you
+state \verb|\looseness=-1| somewhere inside any paragraph, then
+\TeX\ will try to make the paragraph one line shorter than it normally would.
+With \verb|\mulooseness|, \musixtex\ does the same, but for \ital{systems}
+and \ital{sections} rather than lines and paragraphs. A system is just a group of
+staves treated as a unit, and in this discussion is analogous to a line of text.
+What is a \ital{section}? It's any chunk of coding not containing a
+forced system break, System breaks can be forced with
+\keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece},
+\keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne}
+\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage}. If none
+of these is present, the section comprises the whole piece.
+Somewhere\footnote{Advisably, at the beginning or
+at the end of the section, for the sake of clarity.}
+before the end of the section, you can change the value of
+\keyindex{mulooseness} to something different from the default of $0$, and
+\musixtex\ will typeset that section with a different number of systems.
+
+To give an easy example, changing the last line in the previous example to:
+\begin{verbatim}
+\NOtes\qu c\qp\en\mulooseness=1\Endpiece
+\end{verbatim}
+yields:
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\mulooseness1\Endpiece
+\end{music}
+
+\noindent On the other hand,
+\begin{verbatim}
+\NOtes\qu c\qp\en\mulooseness=-1\Endpiece
+\end{verbatim}
+yields
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\mulooseness-1\Endpiece
+\end{music}
+
+\noindent which is tighter than you would ever want, but serves to further
+demonstrate the use of \keyindex{mulooseness}.
+
+If you want to build up a \musixtex\ input file
+manually (which in fact very few users will ever need to do, considering the
+availability of \textbf{PMX}), here is a roadmap for one way to proceed:
+\begin{enumerate}
+ \item Enter the data one \verb|\notes| group at a time, taking care to select the
+relative horizontal spacing for each group (via the macros discussed in Section~\ref{newspacings})
+so as to maintain a consistent relationship between scalable space and note durations.
+This will be discussed in a great deal more detail in Chapter~\ref{preparing}.
+ \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX.
+ \item Look at the output and decide if you want to have more or fewer
+systems, e.g.,~to fill the page or to get an even number of
+pages.\index{musixflx@{\tt musixflx}}
+ \item If you want to change the number of systems in a section, adjust
+\keyindex{mulooseness} accordingly. Keep in mind that each section cannot have fewer
+systems than bars.
+\item Delete \verb|jobname.mx2| and repeat the process\\
+\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX.
+
+\end{enumerate}
+
+There is an alternate way to proceed if you know at the outset
+how many systems
+you want in a section. You can specify it directly by assigning a
+positive number to \keyindex{linegoal} somewhere within the
+section (\verb|\linegoal| requires
+version 0.83 or later of \verb|musixflx|).
+\keyindex{mulooseness} must be zero
+for \keyindex{linegoal} to work. Both are automatically reset to
+zero after processing the end of a section e.g., as defined by
+\keyindex{stoppiece}.
+
+Finally, for large scores (more than 4 pages or so), having
+only one section and an overall value of \verb|\mulooseness| becomes
+impractical since one wants not only to have nicely spaced systems, but also
+completely filled pages without empty top and
+bottom margins on the last page. It is then wise to force the total number of
+pages and possibly the line breaks in each page, which can be done using
+\keyindex{alapage} and/or \keyindex{alaligne}\footnote{This is the technique
+always used by \textbf{PMX} in constructing a \musixtex\ input file.}.
+%avrb
+%, or more automatically by
+%means of the \keyindex{autolines} command borrowed from \musictex\ and
+%implemented in the additional {\ttxem{musixcpt.tex}} file
+%avre
+
+There is another advantage to \musixtex's way of using scalable space and
+the three pass system. In
+\TeX nical terms it eliminates the need for \ital{glue}, and enables
+every horizontal position in a line to be computed. This in turn enables certain
+variable length symbols such as slurs to be specified by macros entered at
+their beginning and ending points, rather than having to estimate the
+length of the symbol and enter it at the starting point.
+
+ \subsection{Using \texttt{musixflx}}
+
+On most systems, \verb|musixflx| can be invoked by typing the name of the program
+and the name of the file to be acted upon; i.e.,
+\begin{quote}
+\verb|musixflx jobname.mx1|
+\end{quote}
+Optionally, you can add a letter to indicate one of the debug modes, which are:
+\begin{quote}
+\verb|d | for debug information to screen\\
+\verb|f | for debug information to file \verb|jobname.mxl|\\
+\verb|s | to get the computed lines immediately on screen
+\end{quote}
+To allow for ease of use with scripts, \verb|musixflx| can be fed
+with either \verb|jobname.mx1|, \verb|jobname.tex| or only
+\verb|jobname|, any one of which will open \verb|jobname.mx1|.
+
+ \subsection{Unrecorded spaces: the novice's bugaboo}
+
+Because of the way \musixtex\ accounts for hard and scalable space and avoids
+using glue, it is absolutely essential that every horizontal space be
+properly entered into the input file. The most common error in this regard
+is including a blank space in the midst \ital{or at the end} of an input line.
+Such a blank space, or for that matter any stray character not entered with
+an appropriate \musixtex\ macro, will not be properly
+recognized and recorded by \musixtex, but it will still be treated like
+ordinary text by \TeX. The symptoms of such a transgression will be an
+{\bf Overfull hbox} warning during the third pass, and the appearance of
+either excessive blank horizontal space or thick black vertical lines in
+the page image.
+
+\medskip
+\centerline{\fbox{Considerable discipline is needed to avoid this problem!}}
+\smallskip
+
+The best technique for avoiding such unpleasantness is to avoid entering
+any nonessential blanks within input lines, and to end every
+input line with either \verb|%|\index{%@{\tt\char37}} or
+\keyindex{relax}, unless it already ends with a control sequence
+ending in a letter.
+
+There are other ways to enter unrecorded space which should be
+avoided. Between \verb|\startpiece| and \verb|\stoppiece| or
+\verb|\endpiece|, never use \verb|\hskip| or \verb|\kern| except
+within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|,
+\verb|\zcharnote|, \verb|\uptext|, etc., and never assign hard
+values to scalable dimensions like \verb|\noteskip|,
+\verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip|\footnote{Note that {\Bslash hardspace} does not fall in this
+category; it is specifically designed to enter hard space in a way
+that \musixtex\ can properly record it}.
+
+Here is a checklist of tips related to spacing issues. Because the
+foregoing several paragraphs are so important, some of their content
+is repeated in the list.
+
+\begin{enumerate}
+ \item
+Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|,
+end every input line with a either \verb|%| or a command with no arguments
+(including \verb|\relax| and \verb|\en|).
+ \item \verb|\off| must only be used with scalable values, e.g.,
+\verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip|, and
+ \verb|\beforeruleskip|.
+ \item Remember that \verb|\qqsk|, \verb|\qsk| and \verb|\hqsk| are scalable, i.e., \verb|\qsk|
+ doesn't necessarily mean exactly one note head width (it depends on \verb|\elemskip|).
+ \item Lyrics and any other non-\musixtex\ text must be put in zero-width boxes
+such as
+ \verb|\zcharnote|, \verb|\zchar|, \verb|\rlap|, \verb|\lrlap|, \verb|\llap|,
+\verb|\uptext|, or \verb|\zsong|. Additional specific capabilities for entering
+lyrics are provided by
+ \verb|\hardlyrics|, \verb|\hsong|, and---most significantly---the
+text-placement macros defined in \verb|musixlyr.tex| (see Chapter~\ref{lyrics},
+p.~\pageref{lyrics}).
+ \item
+Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|,
+don't assign hard values to \verb|\noteskip|, \verb|\beforeruleskip|,
+or \verb|\afterruleskip|.
+\end{enumerate}
+
+
+\section{Further highlights}
+ %\check
+ \subsection{Key signatures}
+\begin{sloppypar}
+A single key signature can be assigned~to~all~instruments,~for~example~by
+\keyindex{generalsignature}\verb|{-2}|
+which sets two flats on each staff. \keyindex{generalsignature}
+can be overridden for selected instruments, for example by
+\keyindex{setsign}\verb|2{1}| which puts one sharp on each staff
+of instrument number 2. Of course, the current signature as well
+as meters and clefs may change at any time.\end{sloppypar}
+\subsection{Transposition}
+With some extra attention, a score can be input in such a way that it is
+fairly easily transposed. There is an internal register
+called \keyindex{transpose}, the default value of which is zero, but which may be
+set to any reasonable positive or negative value. It defines a number of pitch
+steps (lines or spaces on a staff) by which all pitched symbols with be offset, provided
+they have been entered with letter values to represent their pitch.
+However,
+it will neither change the local accidentals nor the key signature.
+
+For
+example, suppose a piece were originally input in F major, and it contained a
+B natural, and you wanted to transpose it to G. If you simply set
+\verb|\transpose| to 1 with no other special considerations, then
+the key signature would not change, and
+the B~natural would appear as a C~natural, whereas it should be a C~sharp.
+So first you must explicitly change the key signature. Then, to
+solve the problem with accidentals, you should declare
+\verb|\relativeaccid|, which will cause the actual appearance of any
+accidental to depend on the pitch of
+the accidental as well as the current key signature. But the use of this
+facility requires the typesetter to have entered the original set of accidentals
+according to a nonstandard convention wherein an accidental does not
+specifically refer to the black or white keys on a piano, but to the
+amount by which the pitch is altered up or down from what it would naturally
+have been, taking the key signature into account.\index{relative accidentals} This
+is discussed in more detail in Section~\ref{transposeaccids}. Now, finally, you
+can enter \verb|\transpose=1| with more or less the desired effect.
+
+More or less, because there is also an issue with stem
+and beam directions. Normally a typesetter would want full control over them,
+and would exercise that control by entering them with macros that explicitly
+assign the direction. Naturally the assigned directions would persist
+even after changing \verb|\transpose|. With respect to stems of unbeamed notes,
+this matter can also be addressed at
+the input level, by using special macros for notes that leave the
+decision about stem directions up to \musixtex. These macros do the right
+thing in the face of transposition. They are discussed in
+Chapter~\ref{autostemdirections}. Unfortunately there is no corresponding
+such facility for beams, so the typesetter will have to edit the transposed
+score to adjust beam directions as required\footnote{\textbf{PMX}
+will automatically adjust both stem and beam directions when transposing, which
+is yet another reason to use it. However
+if a piece is to be transposed, the typesetter must still explicitly activate relative accidentals
+and enter accidentals according to the relative-accidental convention.}.
+
+ %\check
+ \subsection{Extracting parts from a score}
+It is possible to extract separate scores for
+each individual instrument of a multi-instrument score.
+If you use \textbf{PMX}, it is very easy;
+see the documentation for \textbf{PMX}.
+If you use \musixtex\ without a preprocessor,
+see Chapter~\ref{parts}.
+
+%After assigning symbolic numbers to instruments,
+%there are macros (see \ref{instrum-inhibit}) that permit
+% \begin{itemize}\setlength{\itemsep}{0ex}
+% \item choosing which instrument the following source code is attached to,
+% \item choosing which staff of an instrument the following source code is
+%attached to,
+% \item hiding one or several instruments by zeroing out their staff sizes and staff
+%numbers.
+% \end{itemize}
+
+ %\check
+ \subsection{Staff and note sizes}
+ Although the standard staff size is 20pt, \musixtex\ allows scores with
+sizes of 16, 24, or 29pt. Furthermore, any instrument may be assigned its own special staff
+size (usually smaller than the overall staff size), and there are special macros
+(e.g., \verb|\smallnotesize|, \verb|\tinynotesize|) that cause notes, beams, and
+accidentals all to take a different size.
+
+\subsection{Add-in macro libraries}
+During the early stages of \musixtex's development, common versions of \TeX\ itself were
+very limited in capacity, especially in terms of the numbers of registers that could
+be defined for use in macros. For this historical reason, many important enhancements
+to \musixtex\ are available only via add-in libraries. The user can thus pick and choose
+which to include for any particular compilation. Most of these are included in
+a \musixtex\ distribution, and their uses are discussed in this manual. The
+libraries have names like \verb|blabla.tex|, and are activated by including a line
+like \verb|\input blabla|\ within the the input file. The most common such files
+are \ttxem{musixadd.tex} and \ttxem{musixmad.tex} which respectively increase the
+number of instruments from the default 6 to 9 or 12 as well as increasing available numbers
+of other features; \verb|musixps.tex| which enables Type~K Postscript slurs; and
+\verb|musixlyr.tex| which greatly eases typesetting lyrics. In fact the latter two,
+while now included in \musixtex\ distributions, are not documented in this manual but
+in separate files, namely \verb|musixps.tex| itself and
+\verb|mxlyrdoc.pdf| respectively.
+
+
+\section{Installing and Using \musixtex}\label{using}
+
+As stated in the preface,
+the \href{http://icking-music-archive.org/software/indexmt6.html}
+{\underline{Werner Icking Music Archive}}\ (WIMA) contains excellent and detailed
+instructions for installing \TeX, \musixtex{} and the strongly recommended
+preprocessors \textbf{PMX}
+(for instrumental music) and \mbox{\textbf{M-Tx}} (for vocal music) under
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00022000000000000000}
+{\underline{Linux/\unix}},
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00021000000000000000}
+{\underline{Windows}} and
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00023000000000000000}
+{\underline{Mac OS}}.
+
+As stated in Section~\ref{threepass}, to compile a \musixtex-formatted score, you must run
+in sequence \verb|etex|, \verb|musixflx|,
+and \verb|etex| again. This will produce a \verb|.dvi| file. From this point
+forward, this file can be processed like the device-independent output file
+for any \TeX\ document. The most common approach and the only one to
+be discussed here is to next generate a Postscript file. This is accomplished
+by running \verb|dvips|, which is included in every \TeX\ system. To view the
+Postscript, most users run {\tt GSview} or {\tt gv}, a front-end to {\tt ghostscript}, which must
+be separately downloaded and installed. Finally, you may produce a PDF file
+using \verb|ps2pdf| or GSview, and view that with any PDF viewer, such as
+the Adobe Reader or {\tt GSview}.
+
+You also can view the \verb|.dvi| file directly using a DVI viewer such as Yap or \verb|xdvi|,
+but, if you are using type K Postscript slurs, some DVI viewers will not display them.
+
+Rather than executing all the foregoing programs separately, most users will
+find it more convenient to use the \verb|musixtex| script that comes in most
+distributions of \musixtex. For example,
+
+\verb|musixtex jobname|
+
+\noindent will run the three passes described in Section~\ref{threepass},
+convert the result to PDF and delete intermediate files.
+There are many options available to
+change the behavior; run
+
+\verb|musixtex -h|
+
+\noindent to get a summary.
+
+
+\section{Where to get help using \musixtex}
+
+The home base for all matters related to \musixtex\ is the
+Werner Icking Music Archive, at
+\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}.
+There is a
+\href{http://tug.org/mailman/listinfo/tex-music}{\underline{mailing list}},
+hosted by TUG, the \TeX\ Users Group, where you will always find
+someone willing to answer questions and help solve problems.
+
+ \section{A very brief history of \musixtex}
+The idea of using \TeX\ to typeset music appears to have originated
+around 1987 with the master's thesis of Andrea
+{\sc Steinbach} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer
+A., \ital{Automatisierter Notensatz mit \TeX}, master's thesis,
+Rheinische Friedrich-Wilhelms Universit\"at,
+Bonn, Germany, 1987}. They called their package
+\mutex\index{mutex@\protect\mutex}. It was limited to a single staff.
+It introduced two key concepts: (1) using
+a large number of font characters to construct beams and slurs, and (2) using
+\TeX\ glue to help control horizontal spacing and justification.
+
+The next major step came around 1991 when Daniel {\sc Taupin} created \musictex.
+Its major enhancement was to allow multiple staves. But this came at a
+price: some flexibility was lost in controlling horizontal spacing and
+a great deal of trial and error became necessary to avoid excessive or
+insufficient gaps before and after bar lines.
+
+\musictex\ was a single-pass system. To remedy its shortcomings it became clear
+that a multi-pass system would be required. Around 1997 Dr.~Taupin along with Ross {\sc Mitchell}
+and Andreas {\sc Egler} created the first version of \musixtex. At last a fully
+automatic procedure was coded so as to provide pleasing horizontal spacing in
+multi-staff scores.
+
+Significant enhancements to \musixtex, which have already been mentioned, have been provided
+by Stanislav {\sc Kneifl} (Type~K Postscript slurs) and
+Rainer {\sc Dunker} (Lyrics handling via \verb|musixlyr.tex|).
+
+Since Dr.~Taupin passed away in 2003, \musixtex\ has been maintained by a
+varying cast including Olivier {\sc Vogel}, Hiroaki {\sc Morimoto},
+Bob {\sc Tennent}, Andre {\sc Van Ryckeghem},
+Cornelius {\sc Noack}, and Don {\sc Simons}.
+
+No discussion of the history of \musixtex\ would be complete without mentioning
+the contributions of Werner {\sc Icking}. From the early days of \mutex\ until
+his untimely death in 2001, he served this line of software as its most prominent
+proponent, beta tester, web site and mailing list editor, consultant,
+problem solver, and inspiration for
+many third-party enhancements including \textbf{PMX}. In fact he founded the
+mailing list and the archive that now is named in his honor. The web site is
+currently edited by Christian {\sc Mondrup}, the software page by Bob {\sc Tennent},
+and the mailing list by Maurizio {\sc Codogno}.
+
+
diff --git a/macros/musixtex/doc/musixdoc/layout.tex b/macros/musixtex/doc/musixdoc/layout.tex
new file mode 100644
index 0000000000..10d8bbc3cf
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/layout.tex
@@ -0,0 +1,183 @@
+\chapter{Managing the Layout of your Score}
+\section{Line and page breaking}\label{linebreak}
+If every bar ends with \verb|\bar| and no other line- or page-breaking commands
+are used, then the external program \verb|musixflx| will decide where to insert
+line and page breaks. Line breaks will only come at bar lines. The total
+number of lines will depend on the initial value of \verb|\elemskip|, which by
+default is \verb|6pt| in \verb|\normalmusicsize|.
+
+You can force a line or page break by replacing \keyindex{bar} with
+\keyindex{alaligne} or \keyindex{alapage} respectively. On the other hand,
+to forbid line-breaking at a particular bar, replace \verb|\bar|
+with \keyindex{xbar}. To force a line or page break where there is
+no bar line, use \keyindex{zalaligne} or \keyindex{zalapage}. To mark any
+mid-bar location as an optional line-breaking point, use \keyindex{zbar}.
+
+The heavy final double bar of a piece is one of the consequences of
+\keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate
+the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}.
+If you want to suppress right-justification of the last line of a score,
+use \keyindex{raggedstoppiece}.
+To terminate it with no bar line at all, code \keyindex{zstoppiece}.
+
+Once you have stopped the score by any of these means, you may want to restart
+it, and there are several ways to do so. If you don't need to change the key
+signature, meter, or clef,
+you can use \keyindex{contpiece} for no indentation, or \keyindex{Contpiece}
+to indent by \keyindex{parindent}. If you do want to change some score
+attribute that takes up space, for example
+with \keyindex{generalsignature} after \verb|\stoppiece|, then to restart you
+must use \keyindex{startpiece}. However, if you don't want \verb|\barno| reset
+to 1, you must save its new starting value to \verb|\startbarno|. You may also
+wish to modify instrument names or \verb|\parindent| before restarting.
+
+Recall that thin-thin or thin-thick double bars or blank bar lines can be
+inserted without stopping by using the commands described in Section~\ref{doublebars}.
+Those commands can also be used before \verb|\stoppiece|,
+\verb|\alaligne|, or \verb|\alapage|
+
+\section{Page layout}
+Blank space above and below each staff is controlled by the dimension
+registers \keyindex{stafftopmarg} and \keyindex{staffbotmarg}. For more
+info see Chapter~\ref{LayoutParameters}.
+
+The macro \keyindex{raggedbottom} will remove all vertical glue and
+compact everything toward the top of page.
+In contrast, the macro \keyindex{normalbottom} will restore default
+behavior, in which vertical space between the systems is distributed
+so that the first staff
+on the page is all the way at the top and the last staff all the way at
+the bottom.
+The macro \keyindex{musicparskip} will allow the existing space between
+systems to increase by up to \verb|5\Interligne|.
+
+The following values of page-layout parameters will allow as much material
+as possible
+on a page, provided the printer supports these dimensions which
+imply approximately half-inch margins:
+
+\begin{center}
+\begin{tabular}{|l|l|}\hline
+\multicolumn{1}{|c|}{A$4$}&\multicolumn{1}{|c|}{letter}\\\hline
+\verb+\hsize=190mm+&\verb+\hsize=7.5in+\\\hline
+\verb+\vsize=270mm+&\verb+\vsize=10in+\\\hline
+\end{tabular}
+\end{center}
+\zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset}
+\zkeyindex{hsize}\zkeyindex{vsize}
+You may have to be more conservative if you have headlines or footlines
+or want
+even/odd-page asymmetry, such as with the \keyindex{rectoverso}
+command in \verb|musixsty.tex| (Section~\ref{musixsty}).
+If a score is going to be ``published'' at a public repository (such as
+\mbox{\textsc{imslp}}), you may want to allow for \emph{either}
+A$4$ \emph{or} letter paper, for example by setting the \verb|\hsize| to~190~mm
+and the \verb|\vsize| to~10~in.
+
+To generate a score in ``landscape''\index{landscape mode} mode, adjust the
+text-size parameters above accordingly (e.g., \verb+\hsize=10in+ and \verb+\vsize=7.5in+)
+and add a suitable \verb\papersize\ ``special'' to the \TeX\ output, as in
+\verb+\special{papersize=11in,8.5in}+.
+
+
+For \emph{any} values of
+\verb|\hsize| and \verb|\vsize|,
+material will normally be centered on the page by using
+command sequences such as the following, which simply split the difference between the page size and the text size,
+and then subtract one inch because of \TeX\ conventions:
+\begin{enumerate}
+\item[For A$4$ paper, portrait mode (210~mm $\times$ 297~mm):]\quad\\[-2ex]
+\begin{verbatim}
+\hoffset=210mm\advance\hoffset-\hsize\divide\hoffset2
+\advance\hoffset-1.0in
+\voffset=297mm\advance\voffset-\vsize\divide\voffset2
+\advance\voffset-1.0in
+\end{verbatim}
+\item[For letter-size paper, portrait mode (8.5~in $\times$ 11~in):] \quad\\[-2ex]
+\begin{verbatim}
+\hoffset=8.5in\advance\hoffset-\hsize\divide\hoffset2
+\advance\hoffset-1.0in
+\voffset=11in\advance\voffset-\vsize\divide\voffset2
+\advance\voffset-1.0in
+\end{verbatim}
+\end{enumerate}
+
+To determine the maximal dimensions that \emph{your} printer is capable of,
+process the standard file \verb|testpage.tex| with \LaTeX\ and
+print the result. The ``rulers'' on four sides will indicate
+how much of the one-inch ``margin'' material outside the frame can actually be printed.
+Your \verb|\hsize| and \verb|\vsize| parameters can be increased, or, if necessary, decreased
+accordingly. If your score is going to be printed by a publisher or a colleague, you can send
+\verb|testpage.pdf| to them to determine what margins are necessary for their
+printer.
+
+However, if the margins on the \verb|testpage| output are \emph{not}
+symmetric,
+the printer is mis-aligned.
+If this can't be corrected, the margin offsets will
+have to be adjusted. Ideally, this should be done in the \TeX\ configuration
+so all \TeX\ output will be corrected, but offsets can be adjusted
+for just \verb|musixtex| output using
+\verb|\advance\hoffset ...| and/or
+\verb|\advance\voffset ...|
+after the ``normal'' settings given above.
+
+
+
+
+\section{Page numbering, headers and footers}\index{page
+number}\index{footnote}
+
+There are no special page numbering facilities in \musixtex; you must rely on
+macros from plain \TeX. There is a count register in \TeX\ called
+\verb|\pageno|. It is always initialized to $1$ and incremented by one
+at every page break. By saying \keyindex{pageno}\verb|=|$n$, it can be reset to any
+value at any time, and will continue to be incremented from the new value.
+
+By default, \TeX\ will place a page number on
+every page, centered at the bottom. Unfortunately, this is not the preferred
+location according to any standard practice. To suppress this default
+behavior, say \keyindex{nopagenumbers}.
+
+One way to initiate page numbering in a more acceptable location is to take
+advantage of the facts that (a) \TeX\ prints the contents of the control sequences
+\keyindex{headline} and \keyindex{footline} at the top and bottom
+respectively of every page, and (b) the value of \verb|\pageno| can be printed by
+saying \keyindex{folio}. Therefore, for example, the following sequence of
+commands, issued anywhere before the end of the first page, will cause page
+numbers and any desired text to be printed at the top of every page,
+alternating between placement of the number at the left and right margins, and
+alternating between the two different text strings (the capitalized text in
+the example):
+
+\begin{quote}\begin{verbatim}
+\nopagenumbers
+\headline={\ifodd\pageno\rightheadline\else\leftheadline\fi}%
+\def\rightheadline{\tenrm\hfil RIGHT RUNNING HEAD\hfil\folio}%
+\def\leftheadline{\tenrm\folio\hfil LEFT RUNNING HEAD\hfil}%
+\voffset=2\baselineskip
+\end{verbatim}\end{quote}
+
+\section{Controlling the total number of systems and pages}\index{page/line layout}
+
+Once all the notes are entered into a \musixtex\ score, it would be convenient
+if there were a simple sequence of commands to
+cause a specified number of systems to be uniformly distributed over a
+specified number of pages. Unfortunately that's not directly
+possible\footnote{It \textit{is} possible in \textbf{PMX}.}.
+Rather, some trial and error will usually be required to achieve the desired final
+layout. To this end, some combination of the following strategies may be used:
+
+ \begin{enumerate}\setlength{\itemsep}{0ex}
+ \item Assign a value to the count register \keyindex{linegoal} representing
+the total number of systems. The count register \keyindex{mulooseness} must be $0$ if using
+\verb|\linegoal|.
+ \item Explicitly force line and page breaking as desired, using
+the macros \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|
+or \verb|\zalapage|.
+ \item Adjust both \keyindex{mulooseness} and the initial value of
+\keyindex{elemskip}: increasing \verb|\mulooseness| from its default of 0 will
+increase the total number of systems, while changing the initial value of
+\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) may change the
+total number of systems accordingly.
+ \end{enumerate}
diff --git a/macros/musixtex/doc/musixdoc/lyrics.tex b/macros/musixtex/doc/musixdoc/lyrics.tex
new file mode 100644
index 0000000000..41d52fa221
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/lyrics.tex
@@ -0,0 +1,407 @@
+\chapter{Lyrics}\index{lyrics}\label{lyrics}
+\musixtex{} itself doesn't manage lyrics very well. You should use
+\verb+musixlyr+ instead, a \musixtex\ extension package for lyrics handling by Rainer Dunker.
+The \TeX~source and
+\href{http://icking-music-archive.org/software/musixtex/add-ons/mxlyrdoc.pdf}
+{\underline{documentation}}~are included in the \musixtex~distribution.
+
+But first we recall briefly the older methods, which may still be useful when
+only a small number of words are involved.
+
+\section{Native lyrics method: placing single words}
+\subsection{Native \musixtex\ commands for lyrics}
+ \begin{enumerate}\setlength{\itemsep}{0ex}
+ \item An obvious solution is to use the commands
+\keyindex{zcharnote} (expanded to the right),
+\keyindex{lcharnote} (expanded to the left),
+\keyindex{ccharnote} (centered), to post the text at any position (computed in
+\verb|\internote|s) with respect to the lower line of the current staff.
+The pitch should be usually negative, to have the text below the staff.
+
+Example:\quad
+\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\zcharnote{N}{Word}\wh g\sk\en}}
+\quad is coded by \quad
+\verb|\zcharnote{N}{Word}\wh g|~.
+
+\item The vertical position can also be given with a number in the commands
+\keyindex{zchar} (expanded to the right),
+\keyindex{lchar} (expanded to the left),
+\keyindex{cchar} (centered). The number is internally multiplied by \verb|\internote|~.
+
+Example:\quad
+\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\cchar{-4}{Word}\wh g\sk\en}}
+\quad is coded by \quad
+\verb|\cchar{-5}{Word}\wh g|~.
+
+\item Of easier use are the commands \keyindex{zsong} (right of the note),
+\keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics
+at the lower staff line \ital{minus} the previous
+\keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These
+commands only have one argument, namely the lyrics text:
+%\begin{center}
+\keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad
+\keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad
+\keyindex{csong}\verb|{|\ital{text}\verb|}|
+%\end{center}
+ Depending on the values of the inter-instrument spacings and margins, the
+resulting vertical position might be inappropriate. Then it can be changed for
+any specific $n$-th instrument until further change using
+\begin{quote}
+\keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}|
+\end{quote}
+As an example, the following French song\\
+ \begin{music}
+ \generalsignature{1}
+ \startextract
+ \geometricskipscale
+ \NOtes\zsong{Au }\qu g\en
+ \NOtes\zsong{clair }\qu g\en
+ \NOtes\zsong{de }\qu g\en
+ \NOtes\zsong{la }\qu h\en
+ \bar
+ \NOTes\zsong{lu- }\hu i\en
+ \NOTes\zsong{ne, }\hu h\en
+ \bar
+ \NOtes\zsong{mon }\qu g\en
+ \NOtes\zsong{a- }\qu i\en
+ \NOtes\zsong{mi }\qu h\en
+ \NOtes\zsong{Pier- }\qu h\en
+ \bar
+ \NOTes\zsong{rot, }\wh g\sk\en
+ \endextract
+ \end{music}
+
+\noindent was coded as:
+\begin{quote}\begin{verbatim}
+ \generalsignature{1}
+ \startextract
+ \geometricskipscale
+ \NOtes\zsong{Au }\qu g\zsong{clair }\qu g\en
+ \NOtes\zsong{de }\qu g\zsong{la }\qu h\en\bar
+ \NOTes\zsong{lu- }\hu i\zsong{ne, }\hu h\en\bar
+ \NOtes\zsong{mon }\qu g\zsong{a- }\qu i\en
+ \NOtes\zsong{mi }\qu h\zsong{Pier- }\qu h\en\bar
+ \NOTes\zsong{rot, }\wh g\sk\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{enumerate}
+
+\subsection{Adapting note spacing for lyrics}
+
+The command \keyindex{hardlyrics}\verb|{longword}| provides a spacing that is equal to the length
+of the text argument \verb|{longword}|. In the same time the argument \verb|{longword}|
+is saved in \keyindex{thelyrics}
+
+As an example \quad
+\raisebox{0ex}[5ex][4ex]%
+{\musicintextnoclefn{\staffbotmarg2\Interligne%
+\hardlyrics{clair}\notes\hsong{\thelyrics}\wh g\en\notes\wh{gg}\en}}
+\quad is coded by:
+\begin{tabular}{l}
+\verb|\hardlyrics{clair}%|\\
+\verb|\notes\hsong{\thelyrics}\wh g\en|\\
+\verb|\notes\wh{gg}\en|\\
+\end{tabular}
+
+All notes with long lyrics need such a treatment. The commands only carry out on
+\verb|\notes| (not on \verb|\Notes|, \verb|\NOtes|...).
+
+If you want to go back to the normal placing on an easy way, you simply can replace
+'\verb|\hardlyrics|' by '\verb|\softlyrics|'.
+
+ A complete score is given in example {\tt glorias.tex}\label{glorias} and in
+{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the
+organ accompaniment.
+
+Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed
+length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is
+\verb|3\noteskip|. These are useful when the text is set below (or above) a
+collective coding of two or three notes.
+
+\section{Musixlyr}\label{musixlyr}
+
+Lyrics are best handled by the \texttt{musixlyr}\index{musixlyr} package by Rainer Dunker.
+The package can be used by inserting a line in your source code:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixlyr
+...
+\end{verbatim}\end{quote}
+
+The manual, the input file and a few examples are in \musixtex\ distributions, or they
+may be downloaded
+\href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip}
+{\underline{for Windows}} or \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.tgz}
+{\underline{for \unix}}. Look at the manual for a detailed description. Here is an overview
+of the commands and an example of use.\pagebreak
+
+\def\keyexample#1{\keyindex{#1}}
+
+\noindent\begin{small}\begin{tabbing}
+\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
+Example\> Explanation
+\end{tabbing}
+\vspace{-1ex}
+\hrule
+\vspace{-2ex}
+\begin{tabbing}
+\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
+\keyexample{setlyrics}\verb|{sopr}{the ly_-ric words_}|\> defining the lyrics text\\
+\keyexample{copylyrics}\verb|{sopr}{alto}|\> alto has same lyrics as soprano\\
+\keyexample{appendlyrics}\verb|{alto}{more words}|\> alto lyrics is longer\\
+\keyexample{assignlyrics}\verb|2{sopr,alto}|\>soprano and alto lyrics at staff $2$\\
+\keyexample{assignlyricsmulti}\verb|{1}{2}{alto}|\>assign alto lyrics to staff $2$ of instrument $1$\\
+\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\>assigning without staff number\\
+\keyexample{auxlyr}\verb|\assignlyrics{2}{sopr}|\> assign soprano above staff $2$\\[.8ex]
+\keyexample{lyrrule}\verb|\qu c|...\keyexample{lyrruleend}\verb|\qu c|\>make a melisma by hand\\
+\keyexample{beginmel}\verb|\qu c|...\keyexample{endmel}\verb|\qu c|\>melisma, same as word extension underline\\[.8ex]
+\keyexample{lyr}\verb|\qu c|\>force a syllable from lyrics text at this note or rest\\
+\keyexample{lyric}\verb|{word}\qu c|\>insert syllable 'word' at this note\\
+\verb|\loffset{2}{|\keyexample{lyric*}\verb|{1.}}\qu c|\>combine \verb|1.| with regular syllable\\
+\keyexample{lyrich}\verb|{syl}\qu c|\>same as \verb|\lyric|, but with hyphenation\\
+\keyexample{lyrich*}\verb|{}\qu c|\>same as \verb|\lyric*|, but with hyphenation\\
+\keyexample{lyricsoff}...\keyexample{lyricson}\>stop lyrics, then start again\\
+\keyexample{nolyr}\verb|\qu c|\>no syllable at this note\\[.8ex]
+\keyexample{llabel}\verb|{labelname}name|\>labelling a ``go to'' target in text\\
+\keyexample{golyr}\verb|{labelname}\qu c|\>perform a jump, in music code\\[.8ex]
+\keyexample{lyrpt}\verb|,\qu c|\>add a comma to the syllable under this note\\
+\keyexample{lyrnop}\verb|\qu c|\>remove last character in syllable\\
+\keyexample{lclyr}\verb|\qu c|\>make first character lower case\\
+\keyexample{llyr}\verb|\qu c|\>left justified syllable\\
+\keyexample{leftlyrtrue}\verb|\qu c|...\keyexample{leftlyrfalse}\verb|\qu c|\>start and stop left justification as the default\\
+\keyexample{lyroffset}\verb|{-4}\qu c|\>shift syllable $1$ notehead to the left\\[.8ex]
+\keyexample{minlyrspace}\verb|{3pt}\qu c|\>define minimum space between the words\\
+\keyexample{forcelyrhyphenstrue}\verb|\qu c|\>always use a hyphen from now on\\
+\keyexample{forcelyrhyphensfalse}\verb|\qu c|\>remove hyphen and make one word if necessary \\
+\keyexample{showlyrshifttrue}\verb|\qu c|\>show the lyric shift\\[.8ex]
+\keyexample{lyrraise}\verb|{1}{a 2\Interligne}|\>raise lyrics below staff $1$ by \verb|2\Interligne|\\
+\keyexample{lyrraisemulti}\verb|{1}{2}{a 2\Interligne}|\>raise alto lyrics above staff $2$ of instrument $1$\\
+\keyexample{lyrraisehere}\verb|{b 2\Interligne}\qu c|\>raise lyrics below this staff by \verb|2\Interligne|\\[.8ex]
+\keyexample{minlyrrulelength}\verb|{2mm}|\>melismas shorter than $2$mm are not shown \\
+\keyexample{minmulthyphens}\verb|{15mm}|\>distance between hyphens in 'hyphen melisma'\\
+\verb|\def|\keyexample{lyrhyphenchar}\verb|{-}|\>chose a hyphen character\\
+\verb|\setlyrics{|\keyexample{lyrlayout}\verb|{\it}..}|\>apply italics to all lyrics lines\\
+\keyexample{verses}\verb|{,\beginmel}\qu c|\>initiate melisma at second verse\\[.8ex]
+\verb|\small|\keyexample{setlyrstrut}\>adapt the vertical distance between lyrics lines\\
+\keyexample{lyrstrutbox}\verb|{10pt}|\> (re)define the distance between the lyrics lines\\[.8ex]
+\keyexample{lyrmodealter}\verb|2|\>attach lyrics of staff $2$ to the upper voice\\
+\keyexample{lyrmodealtermulti}\verb|{1}{2}|\>attach lyrics of instr.\ $1$ staff $2$ to the upper voice\\
+\keyexample{lyrmodealterhere}\verb|\qu c|\>attach lyrics of this staff to the upper voice\\
+\keyexample{lyrmodenormal}\verb|2|\>restore the default behaviour\\
+\keyexample{lyrmodenormalmulti}\verb|{1}{2}|\>restore the default behaviour at staff $2$ of instr.\ $1$\\
+\keyexample{lyrmodenormalhere}\verb|\qu c|\>restore the default behaviour of this staff\\[.8ex]
+\keyexample{lyrlink}\>linking two words with a '$_{_\smile}$'\\
+\keyexample{lowlyrlink}\>same as \verb|\lyrlink| but a little bit lower\\[.8ex]
+\keyexample{resetlyrics}\>set word pointer to the first word in all lyrics lines\\[.8ex]
+\keyexample{enableauxlyrics}\>don't use this anymore\\
+\keyexample{setsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraise}{1}{b 2\Interligne}|\\
+\keyexample{auxsetsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraisemulti}{1}{b 2\Interligne}|\\
+\keyexample{oldlyrlinestart}\>don't let the lyrics extend to the left margin\\
+\end{tabbing}\end{small}
+
+As a further illustration of the use of the commands, have a look at the following
+example\footnote{The example is taken from the \texttt{musixlyr} manual.}:
+
+\medskip\medskip
+%\oneversespace
+\begin{music}
+\input musixlyr
+ \resetlyrics \small
+\lyrmodealter0
+ \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}}
+ \copylyrics{soprano}{alto} \assignlyrics1{alto}
+
+ \generalsignature{-2}
+ \advance\stafftopmarg1\Interligne
+ \advance\staffbotmarg2\Interligne
+
+ \startextract\addspace\afterruleskip
+ \NOtes\zqu g\ql e\en
+ \bar
+ \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en
+ \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
+ \Notes\tqb0e\en
+ \Notes\endmel\tbslurd0e\ql c\en
+ \notes\ibbu0h{-1}\qb0h\tqh0g\en
+ \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en
+ \bar
+ \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes
+ \lyr\wh b\en % must be given manually.
+ \endextract
+ \lyrmodenormal0
+\end{music}
+\medskip
+
+%\oneversespace
+
+which was coded as:
+\begin{quote}
+\begin{verbatim}
+% define lyrics above the staff
+\setlyrics{soprano}{bring her die Gans,}
+% lyric beneath the staff are the same
+\copylyrics{soprano}{alto}
+% assign alto lyrics below staff 1 on the notes with stem down
+\assignlyrics1{alto}
+% assign soprano lyrics above staff 1 on the notes with stem up
+\auxlyr{\assignlyrics1{soprano}}
+% attach both lyrics to the upper voice
+\lyrmodealter0
+\generalsignature{-2}
+% make place for the lyrics
+\advance\stafftopmarg1\Interligne\advance\staffbotmarg2\Interligne
+\startextract\addspace\afterruleskip
+\NOtes\zqu g\ql e\en\bar
+% start melisma in lower lyrics
+\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en
+% start melisma in upper lyrics
+\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\tqb0e\en
+% end melisma in lower lyrics
+\Notes\endmel\tbslurd0e\ql c\en
+\notes\ibbu0h{-1}\qb0h\tqh0g\en
+% start melisma in upper lyrics
+\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en\bar
+% The lyrics of the whole notes (without stem) must be given manually.
+\NOTEs\auxlyr\lyr\zwh i\lyr\wh b\en
+\endextract
+\lyrmodenormal0
+\end{verbatim}\end{quote}
+
+ \section{Getting enough vertical space for lyrics}
+ Since songs are
+usually equivalent to a one-staff instrument (possibly with several voices)
+the recommended solution consists in adjusting the distance between
+instruments using either \keyindex{interinstrument}\verb|=|\ital{any
+\TeX-dimension} to give more place below all instruments or using
+\keyindex{setinterinstrument} to make more space above. Note that {\Bslash
+setinterinstrument} defines spacing above and not below an instrument. Since
+lyrics are usually set below the staff, the first argument of a
+\verb|\setinterinstrument| should be the song instrument number \ital{minus
+one}.
+
+ In the case of a single staff tune, or if the song instrument is the lowest
+one, then additional place can be provided using \keyindex{staffbotmarg}.
+
+\section{Fine tuning the placement of the lyrics}
+ When not using \verb|\hardlyrics|, on short notes, sometimes
+ the lyrics are shifted away from the notes or they collide with other words.
+ This are a few approaches to get around this:
+\begin{enumerate}\setlength{\itemsep}{0ex}
+\item Making more music lines for the notes to go further apart. This could be done with
+\verb|\mulooseness|.
+\item Stretch a bar with short notes in it by i.e.,~replacing \verb|\notes| by \verb|\NOTes|.
+\item Insert space between the notes by using \verb|\sk|, \verb|\hsk|, \verb|\qsk|, \verb|\qqsk|, ...
+\item Stretch a bar with short notes in it by using the command \keyindex{scale}:
+\begin{verbatim}
+\scale{1.6}\notes..\en\scale{1}%
+\end{verbatim}
+This method can be used in \textbf{PMX} but only with care, because it changes horizontal spacing
+in a way that \textbf{PMX} will not be aware of. It will not move bars to the next line, but
+will shorten the other bars on the line.
+
+As an example, the lyrics of this music line are better placed by using \verb|\scale| in
+the first bar and moving to the left the word 'mon'. Note that the hyphen is removed
+when there is no place for it:
+
+ \begin{music}
+ \input musixlyr
+ \resetlyrics
+ \setlyrics{v1}{Au clair de la lu-ne, mon a-mi Pier-rot,}%
+ \assignlyrics1{}\assignlyrics1{v1}%
+ \staffbotmarg2\Interligne\generalsignature{1}%
+ \startextract
+ \geometricskipscale
+ \notes\qu{gggh}\en\bar
+ \Notes\hu{ih}\en\bar
+ \notes\qu{gihh}\en\bar
+ \Notes\wh g\en
+ \endextract
+% \end{music}
+%%%%% combined for saving registers %%%%%
+% \begin{music}\nostartrule
+% \input musixlyr
+ \resetlyrics
+ \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}%
+ \assignlyrics1{}\assignlyrics1{v1}%
+ \staffbotmarg2\Interligne\generalsignature{1}%
+ \startextract \geometricskipscale
+ \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}%
+ \Notes\hu{ih}\en\bar
+ \notes\qu{gihh}\en\bar
+ \Notes\wh g\en
+ \endextract
+ \end{music}
+
+\medskip
+The code of the second music line is (\verb|\assignlyrics1{}| is only needed because
+lyrics are assigned before this in this manual):
+\begin{quote}\begin{verbatim}
+ \begin{music}
+ \input musixlyr
+ \resetlyrics
+ \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}%
+ \assignlyrics1{}\assignlyrics1{v1}%
+ \staffbotmarg2\Interligne\generalsignature{1}%
+ \startextract \geometricskipscale
+ \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}%
+ \Notes\hu{ih}\en\bar
+ \notes\qu{gihh}\en\bar
+ \Notes\wh g\en
+ \endextract
+ \end{music}
+\end{verbatim}\end{quote}
+
+\item Moving a word in any direction
+
+\begin{small}
+\noindent\begin{tabular}{ll}
+\multicolumn{2}{l}{\Bslash setlyrics\{alto\}\{\Bslash kernm3ex1.$\sim\sim$firstsyllable...\}}\\
+& left-move verse number\\
+\verb|\setlyrics{alto}{...\kern1exword...}| &right-move a single word\\
+\verb|\setlyrics{alto}{...\lower2pt\hbox{word}...}|& lower a single word\\
+\verb|\setlyrics{alto}{...\raise2pt\hbox{word}...}|& raise a single word\\
+\multicolumn{2}{l}{\Bslash def\Bslash strut\{\Bslash vbox to 2\Bslash Interligne\{\}\}%
+\Bslash setlyrics\{alto\}\{\Bslash lyrlayout\{\Bslash strut\}...\}} \\
+& control distance between verses\\
+\verb|\lyrlayout{\vphantom{Mp(\lowlyrlink}|& minimum distance between verses\\
+\multicolumn{2}{l}{\Bslash setbox\Bslash lyrstrutbox=\Bslash hbox\{\Bslash vphantom\{yM\Bslash lyrlink\}\}}\\
+& redefine default lyrstrut
+\end{tabular}
+\end{small}
+
+\item Placing of accents can be made easier as shows this example:
+\begin{center}
+\begin{minipage}{50mm}
+\begin{music}\nostartrule
+\input musixlyr
+\catcode`\ä\active \defä{\"a}
+\catcode`\ö\active \defö{\"o}
+\catcode`\å\active \letå\aa
+\setlyrics1{å ä ö}
+\assignlyrics1{}\assignlyrics11
+\startextract
+ \setsongraise1{1ex}\NOtes\qa{ggg}\en
+\zendextract
+\end{music}
+\end{minipage}%
+\begin{minipage}{80mm}
+\verb|\catcode`\|\"a\verb|\active \def|\"a\verb|{\"a}|\\
+\verb|\catcode`\|\"o\verb|\active \def|\"o\verb|{\"o}|\\
+\verb|\catcode`\|\aa\verb|\active \let|\aa\verb|\aa|\\
+\verb|\setlyrics1{|\aa\ \"a\ \"o\verb|} \assignlyrics1{}|\\
+\verb|\assignlyrics11|\\
+\verb|\startextract|\\
+\verb|\NOtes\qa{ggg}\en|\\
+\verb|\zendextract|\\
+\end{minipage}
+\end{center}
+\item Using an 8-bit encoded characterset.\label{8bit}
+If you use default (Computer Modern) fonts, you will want to switch to
+the EC variants
+by putting
+%\verb+\input plainenc\relax\inputencoding{cp850}+ % doesn't work!
+\verb+\input musixec+
+after \verb+\input musixtex+ in your source file.
+
+\end{enumerate}
+
diff --git a/macros/musixtex/doc/musixdoc/miscellaneous.tex b/macros/musixtex/doc/musixdoc/miscellaneous.tex
new file mode 100644
index 0000000000..50be2c0344
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/miscellaneous.tex
@@ -0,0 +1,958 @@
+\chapter{Miscellaneous Other Notations}
+%avre
+ \section{Metronomic indications}
+%Metronomic indication deserves a special macro. The mention:
+%
+%\medskip
+%\centerline{\def\nbinstruments{0}\metron{\hup}{60}}
+%
+%\smallskip\noindent
+%is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in
+%\keyindex{Uptext} which is in turn embedded within \verb|\notes...\en|).
+%
+% On the other hand, music writers sometimes want to specify that the duration
+%of a previous note is equal to a distinct furthernote. Thus
+%
+% \smallskip
+%\centerline{\def\nbinstruments{0}\metronequiv{\qup}{\qu}}
+%
+%\smallskip\noindent
+%is coded by \keyindex{metronequiv}\verb|{\qup}{\qu}|.
+
+By way of example, the notations
+\begin{quote}
+\def\nbinstruments{0}
+\metron{\qu}{60}
+\quad and\quad
+\def\nbinstruments{0}\metronequiv{\qup}{\qu}
+\end{quote}
+are
+respectively coded as
+\keyindex{metron}\verb|{\qu}{60}| and \keyindex{metronequiv}\verb|{\qup}{\qu}|,
+which are normally placed using \keyindex{Uptext}.
+Also, you can set a smaller metronomic indication like
+\begin{quote}
+ \def\nbinstruments{0}\metron{\smallnotesize\lqu}{ca.~72}
+\quad or \quad
+\def\nbinstruments{0}\metron{\tinynotesize\lqu}{ca.~72}
+\end{quote}
+by writing
+\begin{quote}
+\verb|\metron{\smallnotesize\lqu}{ca.~72}|
+\end{quote}
+or
+\begin{quote}
+\verb|\metron{\tinynotesize\lqu}{ca.~72}|
+\end{quote}
+
+ \section{Accents}
+
+You may use\footnote{Note from the editor: the reason the names of some of
+these macros don't seem to be constructed to suggest the terms used in the
+descriptions is that whoever originally defined the macros had in mind terms
+that did not agree with normal English usage.}
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{upz}\pitchp~(upper \itxem{staccato}) to put a dot above a note
+head at pitch $p$,
+ \item \keyindex{lpz}\pitchp~(lower \ital{staccato}) to put a dot below a note
+head at pitch $p$,
+ \item \keyindex{usf}\pitchp~(upper \itxem{sforzando}) to put a $>$ accent above
+a note head at pitch $p$,
+ \item \keyindex{lsf}\pitchp~(lower \itxem{sforzando}) to put a $>$ accent below
+a note head at pitch $p$,
+ \item \keyindex{ust}\pitchp~(upper \itxem{tenuto}) to put a
+hyphen above a note head at pitch $p$,
+ \item \keyindex{lst}\pitchp~(lower \ital{tenuto}) to put a
+hyphen below a note head at pitch $p$,
+ \item \keyindex{uppz}\pitchp~(upper \itxem{staccatissimo}) to put a solid vertical
+wedge above a note head at pitch $p$,
+ \item \keyindex{lppz}\pitchp~(lower \ital{staccatissimo}) to put an inverted
+solid vertical wedge below a note head at pitch $p$,
+ \item \keyindex{usfz}\pitchp~(upper \itxem{forzato}) to put a
+``dunce cap'' above a note head at pitch $p$,
+ \item \keyindex{lsfz}\pitchp~(lower \ital{forzato}) to put an inverted
+``dunce cap'' below a note head at pitch $p$,
+ \item \keyindex{upzst}\pitchp~(upper \itxem{mezzo-staccato/portato}) to put a
+dot and a hyphen above a note head at pitch $p$,
+ \item \keyindex{lpzst}\pitchp~(lower \ital{mezzo-staccato/portato}) to put a
+dot and a hyphen below a note head at pitch $p$,
+ \item \keyindex{flageolett}\pitchp~to put a
+small circle above a note head at pitch $p$.
+\end{itemize}
+These marks are horizontally centered relative to solid note heads.
+To
+compensate for the fact that whole notes are wider, you should use
+\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents
+and other items (e.g.,~\verb|\Fermataup|) above a whole note.
+
+There are also variants of the most common accents\footnote{Thanks to Klaus
+{\sc Bechert}'s corrections.} which will be automatically positioned
+above or below a beam. They are spelled like the corresponding normal
+accent, but preceded with the letter \verb|b|, and their argument, instead of
+the pitch, is the beam reference number . Thus
+
+\medskip
+\begin{music}\nostartrule
+\startextract
+\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h%
+ \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en
+\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j%
+ \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim} \startextract
+\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h%
+ \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en
+\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j%
+ \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en
+\zendextract
+\end{verbatim}\end{quote}
+\zkeyindex{busfz}
+\zkeyindex{bupz}
+\zkeyindex{bust}
+\zkeyindex{buppz}
+\zkeyindex{busf}
+\zkeyindex{butext}
+\zkeyindex{blsfz}
+\zkeyindex{blpz}
+\zkeyindex{blst}
+\zkeyindex{blppz}
+\zkeyindex{blsf}
+\zkeyindex{bltext}
+
+The macros \verb|\bltext| and \verb|\butext| are detailed in the next section,
+where the mystery of why they produce the number~$3$ is resolved.
+
+
+\section{Numbers and brackets for xtuplets}\label{tuplet}
+
+The following table lists all the special macros that place a number indicating
+an xtuplet. Some also place a bracket above or below the notes, and are
+intended for use with unbeamed notes.
+In the table, $p$ is a pitch, $k$ is a number, $n$ is a beam number,
+$w$ is a bracket width in \verb|\internote|s, and $s$ is the bracket slope as
+a multiple of $1.125$~degrees. The macro \verb|\txt| contains a default number
+which will be placed by the first and third through sixth macros,
+and is initially defined as \verb|\def\txt{3}|.
+The macro
+\verb|\tuplettxt| serves the same role for the last two macros.
+The font used is defined by
+\verb|\txtfont| and is, by default, \verb|\eightit| (in normal music size) but may be re-defined.
+
+The first four commands in the table
+are normally used with beamed xtuplets. As indicated in the
+last column, the last four produce a sloping bracket and may be used with
+unbeamed xtuplets.
+
+
+\begin{center}
+ \begin{tabular}{lclcc}
+ \hline
+ ~ & Number & ~ & Needs & ~ \\
+ Macro and arguments & printed & Where invoked & Bracket \\
+ \hline
+ \verb|\triolet|\pitchp & \verb|\txt| & before beam & none \\
+ \verb|\xtuplet|\itbrace{k}\pitchp & $k$ & before beam & none \\
+ \verb|\butext|\itbrace{n} & \verb|\txt| & before note at number & none \\
+ \verb|\bltext|\itbrace{n} & \verb|\txt| & before note at number & none \\
+ \verb|\uptrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & solid \\
+ \verb|\downtrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & solid \\
+ \verb|\uptuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & with gap \\
+ \verb|\downtuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & with gap \\
+ \hline
+ \end{tabular}
+\end{center}
+\medskip
+
+Here are some examples of the first six macros in the table:\\
+\vskip-3pt
+\begin{music}
+\parindent0mm
+\generalmeter{\meterfrac24}
+\nostartrule
+\startpiece
+\addspace\afterruleskip
+\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar
+\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en
+\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar
+\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar
+\Notesp\uptrio o16\ql l\en\notesp\cl n\en
+%avrb
+\Notesp\downtrio O16\qu e\en\notesp\cu g\en
+%avre
+\endpiece
+\end{music}
+whose coding is
+\begin{quote}\begin{verbatim}
+\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar
+\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en
+\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar
+\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar
+\Notesp\uptrio o16\ql l\en\notesp\cl n\en
+\Notesp\downtrio O16\qu e\en\notesp\cu g\en
+\end{verbatim}\end{quote}
+\zkeyindex{xtuplet}\zkeyindex{triolet}
+
+\medskip
+Next are examples using \keyindex{uptuplet} and \keyindex{downtuplet}.
+A re-definition of \verb|\tuplettxt| inside a notes group only applies
+inside that group and leaves the default definition intact.
+To get the
+number properly centered in the gap, you must include some extra space after
+the number in the definition of \verb|\tuplettxt|. As you can see in
+the last bar, if the span becomes too small, the macros still won't provide
+enough room for the number in the gap; in this case it would be better to
+use the macros without gaps.
+
+% Examples:
+%
+% Draw a triplet bracket over the notes, starting at pitch "p",
+% 1.25\noteskip wide, with a slope up of 3-3/8 degrees:
+%
+% \uptuplet p{1.25}3
+%
+% Draw a sextuplet bracket under the notes, starting at pitch "a",
+% 2.5\noteskip wide, with a slope down of 4-1/2 degrees:
+%
+% \def\tuplettxt{\smallppff 6\/\/}
+% \downtuplet{a}{2.5}{-4}
+
+\begin{music}
+%\input tuplet
+\parindent0mm
+\generalmeter{\meterfrac24}
+%\startpiece
+\nostartrule
+\startextract
+\addspace\afterruleskip
+\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en
+\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar
+\notesp\def\tuplettxt{5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar
+\Notesp\uptuplet o16\ql l\en\notesp\cl n\en
+\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar
+\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en
+\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en
+%\endpiece
+\endextract
+\end{music}
+
+\noindent with coding
+
+\begin{quote}\begin{verbatim}
+\parindent0mm
+\generalmeter{\meterfrac24}
+\startextract
+\addspace\afterruleskip
+\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en
+\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar
+\notesp\def\tuplettxt{5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar
+\Notesp\uptuplet o16\ql l\en\notesp\cl n\en
+\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar
+\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en
+\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en
+\end{verbatim}\end{quote}
+
+A modern notation uses a \emph{ratio} such as $5$:$6$ to specify the intended duration
+of an x-tuplet. This is supported in \musixtex\ by the command
+\keyindex{xxtuplet}, as in
+
+\begin{music}
+\nostartrule
+\startextract\addspace\afterruleskip
+\notes\xxtuplet5:6o\ibl0j3\qb0{jklm}\tql0n\en
+\endextract
+\end{music}
+
+\noindent with coding \verb|\xxtuplet5:6o\ibl0j3\qb0{jklm}\tql0n|. For the
+other x-tuplet commands (apart from \verb|\triolet|, which is defined in terms of \verb|\xtuplet|),
+it is possible to define \verb|\txt| or
+\verb|\tupletxt| as a ratio, as in
+\begin{quote}\begin{verbatim}
+\def\txt{5:6}
+\end{verbatim}\end{quote}
+
+ \section{Ornaments}
+
+
+ \subsection{Simple ornaments}\index{ornaments}
+
+The argument $p$ in the following macros for ordinary ornaments is the
+pitch at which the ornament itself appears. They are all nonspacing macros.
+You may use
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{mordent}\pitchp\ for \hbox to .75em{\mordent 0\hss}
+ \item \keyindex{Mordent}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}
+ \item \keyindex{shake}\pitchp\ for \hbox to .75em{\shake 0\hss}
+ \item \keyindex{Shake}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}
+ \item \keyindex{Shakel}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}
+ \item \keyindex{Shakesw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}
+ \item \keyindex{Shakene}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}
+ \item \keyindex{Shakenw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}
+ \item \keyindex{turn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}
+ \item \keyindex{backturn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}
+ \item \keyindex{tr}\pitchp\ for \hbox to 1.5em{\kern 0.6em\tr 0\hss}
+ \item \keyindex{trt}\pitchp\ for \hbox to 1.5em{\kern 0.6em\trt 0\hss}\quad (J. S.~Bach's \textit{trillo und mordant})
+ \item \keyindex{xtr}\pitchp\ for \hbox to 1.5em{\kern 0.5em\xtr 0\hss}
+ \item \keyindex{ptr}\pitchp\ for \hbox to 1.5em{\kern 0.5em\ptr 0\hss}
+ \end{itemize}
+To
+compensate for the fact that whole notes are wider, you may use
+\begin{quote}
+\keyindex{wholeshift}\verb|{|\mbox{\ital{Any nonspacing macro}}\verb|}|
+\end{quote}
+to center any of these ornaments
+above a whole note.
+
+
+In the following macros for fermatas, the argument $p$ is the pitch of the
+notehead on which the fermata rests, assuming no additional vertical
+adjustments are needed for stems or intervening staff lines. They are all
+nonspacing macros. You may use
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{fermataup}\pitchp\ for
+\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermataup1\en}},
+\end{itemize}
+\begin{itemize}\setlength{\itemsep}{3ex}
+ \item \keyindex{fermatadown}\pitchp\ for
+\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermatadown2\en}},
+ \item \keyindex{Fermataup}\pitchp\ for
+\raisebox{-1ex}[-1ex][0ex]{\musicintextnoclef{\notes\Fermataup 7\zwh{'c}\en}}~,
+centered over a whole note,
+ \item \keyindex{Fermatadown}\pitchp\ for
+\raisebox{-1ex}[0ex][0ex]{\musicintextnoclef{\notes\Fermatadown1\zwh{'c}\en}}~,
+centered under a whole note.
+ \end{itemize}
+\bigskip
+
+A \itxem{breath} mark
+\raisebox{-5ex}[0ex][0ex]{\notesintext{\notes\zbreath\en}}
+can be put just above the staff with \keyindex{zbreath}. This is a nonspacing
+macro. On the other hand, \keyindex{cbreath} will cause a space of one
+\verb|\noteskip| and place the comma midway through the space.
+
+The \keyindex{caesura} command inserts a slash \verb|0.5\noteskip| before
+the place it is entered, while adding no space:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\zhu j\hl{^e}\caesura\en
+\Notes\zcu j\cl e\en
+\zendextract
+\end{music}
+
+
+ \subsection{Arpeggios}
+\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro
+\keyindex{arpeggio}\pitchp\itbrace{m}
+where $p$ is the pitch of
+the base of the arpeggio symbol and $m$ is its height in units of
+\verb|\interligne|, the distance from one staff line to the next. It should be
+issued before the affected chord. It is
+automatically positioned to the left of the chord, but inserts no spacing.
+Its variant \keyindex{larpeggio} sets the arpeggio symbol roughly
+one note head width to the left of the default position, and is intended to
+avoid collision with single accidentals on chord notes.
+
+ \subsection{Arbitrary length trills}
+ There are two styles of arbitrary length trills\index{trills}, each with two
+variants.
+For a trill with preassigned length, use \keyindex{trille}\pitchp\itbrace{l}
+for \hbox to 1cm{\noteskip1cm\trille11\hss} or
+\keyindex{Trille}\pitchp\itbrace{l} for~~\hbox to
+2cm{\noteskip1cm\Trille12\hss}, where $p$ is the pitch and $l$ the length in
+current \verb|\noteskips|.
+
+To let \musixtex\ compute the length of the trill, or if it extends across a
+system break, you can use \keyindex{Itrille}$n$\pitchp\ to start a plain
+trill, where $n$ is a trill reference number between 0 and 5; then
+\keyindex{Ttrille}$n$ to terminate it. To get the {\it tr} at the
+beginning, use \keyindex{ITrille}$n$\pitchp\ to start the trill and
+\verb|\Ttrille|$n$ to close it.
+
+\begin{sloppypar}
+As with other elements, you can specify the maximum number
+directly with \keyindex{setmaxtrills}\verb|{|$m$\verb|}|, where $7<m\leq 100$%
+\footnote{This may require e-\TeX.};
+the reference number $n$ will be in the range between $0$ and $m-1$.
+\label{musixmad_setmaxtrills}
+\end{sloppypar}
+
+
+For example:
+
+\medskip
+ \begin{music}
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\en
+\bar
+\notes\Itrille 2A\itenu2E\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\en
+\bar
+\Notes\tten2\itenu2E\whp E|\ql{nmlkji}\en
+\bar
+\Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\en
+\endextract
+\end{music}
+whose coding is
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\en
+\bar
+\notes\Itrille 2A\itenu1e\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\en
+\bar
+\Notes\tten1\itenu1E\whp E|\ql{nmlkji}\Toctfin1\en
+\bar
+\Notes\tten1\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\en
+\endextract
+\end{verbatim}\end{quote}
+
+
+ \subsection{Tremolos}\label{tremolos}
+
+The command \keyindex{trml}\verb|{|$p$\verb|}|~is used to indicate that the immediately
+following
+quarter or half note (normally at pitch $p$ and with a lower stem) is to be repeated in eighth notes.
+For example,
+\verb|\trml j\ha j|
+generates
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\trml j\ha j\en
+\zendextract
+\end{music}\noindent
+and is an abbreviation for
+
+\begin{music}\nostartrule
+\startextract
+\notes\ibl0j0\qb0{jjj}\tql0j\en
+\zendextract
+\end{music}\noindent
+Similarly, \keyindex{trmu}\verb|{|$p$\verb|}|~generates an eighth-note tremolo
+on a quarter or half note with an \emph{upper} stem:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\trmu h\ha h\en
+\zendextract
+\end{music}\noindent
+16th-note and 32-note tremolos are similarly generated by
+commands \keyindex{trrml}, \keyindex{trrmu}, \keyindex{trrrml}
+and \keyindex{trrrmu}, as in
+
+\begin{music}
+\nostartrule
+\startextract
+\NOtesp\trrml h\zqlp h\trrmu j\qup j\en
+\Notes\stemlength{6.4}\trrml j\zcl j\trrmu l\cu l\en
+\NOtes\stemlength{6.4}\trrrml h\zql h\trrrmu j\qu j\en
+\endextract
+\end{music}\noindent
+which is coded as
+\begin{quote}\begin{verbatim}
+\NOtesp\trrml h\zqlp h\trrmu j\qup j\en
+\Notes\stemlength{6.4}\trrml j\zcl j\trrmu l\cu l\en
+\NOtes\stemlength{6.4}\trrrml h\zql h\trrrmu j\qu j\en
+\end{verbatim}\end{quote}
+The \keyindex{stemlength} command is used to adjust
+stem lengths;
+the new length remains effective to the end of the current notes group.
+If necessary, the usual stem length can be restored by using
+\verb|\stemlength{\DefaultStemlength}|.
+
+
+For \emph{whole} notes, tremolo indications
+should be wider and centered directly over or under the note. These
+are generated by commands \keyindex{Trml}, \keyindex{Trmu}, \keyindex{Trrml},
+\keyindex{Trrmu}, \keyindex{Trrrml} and \keyindex{Trrrmu}; for example,
+
+\begin{music}
+\nostartrule
+\startextract
+\NOTEs\Trml h\zw h\Trmu j\wh j\en
+\bar%
+\NOTEs\Trrml h\zw h\Trrmu j\wh j\en
+\bar%
+\NOTEs\Trrrml h\zw h\Trrrmu j\wh j\en
+\endextract
+\end{music}\noindent
+which is coded as
+\begin{quote}\begin{verbatim}
+\NOTEs\Trml h\zw h\Trmu j\wh j\en\bar
+\NOTEs\Trrml h\zw h\Trrmu j\wh j\en\bar
+\NOTEs\Trrrml h\zw h\Trrrmu j\wh j\en
+\end{verbatim}\end{quote}
+
+For all of the commands described in this section, the pitch parameter may be used
+if it is necessary to raise or lower the tremolo indication.
+%however, note values
+%must be alphabetic and not numeric,
+%because transposition is used to adjust the vertical position of the mini-beams.
+
+ \section{Piano pedal commands}
+The macro \keyindex{PED} inserts a piano-pedal command below the staff;
+\keyindex{DEP}, a pedal release. Alternate symbols, the first of which
+occupies less space, are invoked with \keyindex{sPED} and \keyindex{sDEP}.
+For example,
+
+\begin{music}
+\setclef1\bass
+\setstaffs1{2}
+\startextract
+\NOtes\PED\wh J|\qu h\en
+\NOtes|\qu g\en
+\NOtes|\hu k\en
+\Notes\DEP\en
+\bar
+\NOtes\sPED\wh J|\qu h\en
+\NOtes|\qu g\en
+\NOtes|\hu k\en
+\Notes\sDEP\en
+\endextract
+\end{music}
+ \noindent was coded as \begin{quote}\begin{verbatim}
+ \NOtes\PED\wh J|\qu h\en
+ \NOtes|\qu g\en
+ \NOtes|\hu k\en
+ \Notes\DEP\en \bar
+ \NOtes\sPED\wh J|\qu h\en
+ \NOtes|\qu g\en
+ \NOtes|\hu k\en
+ \Notes\sDEP\en
+ \end{verbatim}\end{quote}
+The vertical position of
+\keyindex{PED}, \keyindex{sPED}, \keyindex{DEP} and \keyindex{sDEP} can be
+globally changed by redefining its elevation, which has the default
+definition \verb|\def|\keyindex{raiseped}\verb|{-5}|.
+To locally change the vertical position of a pedal symbol, use one of the more
+fundamental
+macros \keyindex{Ped}, \keyindex{sPed}, \keyindex{Dep} and \keyindex{sDep}
+in combination with \keyindex{zchar} or \keyindex{zcharnote}.
+Since the \hbox to .7cm{ \Ped\hss} symbol is rather wide, it might collide
+with adjacent bass notes. To shift it horizontally, you could use \verb|\loff{\PED}|.
+
+The following excerpt from \textit{Liebestr\"aume} by Franz Liszt illustrates
+a more modern approach to specifying piano-pedal usage:
+
+\begin{music}
+\smallmusicsize
+\relativeaccid
+\parindent=0pt
+\generalmeter{\meterfrac64}\generalsignature{-4}
+\nobarnumbers
+\setstaffs12\setclef1{\bass}
+\def\raiseped{-11}
+\def\qpl{\raise-2\Interligne\qp}
+\def\qpu{\raise2\Interligne\qp}
+\def\hppl{\lifthpausep{-2}}
+\startpiece\addspace\afterruleskip%
+\NOtes\zqu L\qpl|\qp\en
+\bar%
+\Notes\loff{\pdld}\ql H\sk\qpl\sk\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\Notes\zhu{.c}\hppl|%
+ \ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql G\sk\qpl\sk\qpl|%
+ \itied1c\zhl{.c}\ds\ibu1i0\qb1{^eiji}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \ttie1\zhl{c}\ds\ibu1i0\qb1{eiji}\tqu1e\en
+\stoppiece%
+\def\raiseped{-15}
+\contpiece%%
+\Notes\pdlud\ql F\sk\qpl\sk\zqu c\qpl|%
+ \zhl{c}\ds\ibu1i0\qb1{=e^hjh}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \zhl{d}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql B\sk\qpl\sk\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{^d^hjh}\tqu1d\en
+\Notes\zqu{M}\hppl\sk\sk\qpu\sk\qu M|%
+ \ds\ibu1i0\qb1{dhjh}\tqu1d\en
+\bar%
+\Notes\zmidstaff{$\cdots$}\sk\pdlu\sk|\en
+\endpiece%
+\end{music}
+\vspace*{2ex}\par\noindent
+This has been coded using the following commands:
+\begin{quote}
+\begin{tabular}{lll}
+\keyindex{pdld}& pedal down & \huge$\llcorner$\\
+\keyindex{pdlu}& pedal up & \huge$\lrcorner$\\
+\keyindex{pdlud} & pedal up and immediately down & \_\raisebox{2pt}{$\!\bigwedge\!$}\_
+\end{tabular}
+\end{quote}
+The elevation is determined by the value of \keyindex{raiseped}.
+Here is how the excerpt may be coded:
+\begin{quote}
+\begin{footnotesize}
+\begin{verbatim}
+\smallmusicsize\relativeaccid\nobarnumbers
+\generalmeter{\meterfrac64}
+\generalsignature{-4}
+\setstaffs12\setclef1{\bass}
+\def\raiseped{-11}
+\def\qpl{\raise-2\Interligne\qp}
+\def\qpu{\raise2\Interligne\qp}
+\def\hppl{\lifthpausep{-2}}
+\startpiece\addspace\afterruleskip%
+\NOtes\zqu L\qpl|\qp\en
+\bar%
+\Notes\loff{\pdld}\ql H\sk\qpl\sk\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\Notes\zhu{.c}\hppl|%
+ \ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql G\sk\qpl\sk\qpl|%
+ \itied1c\zhl{.c}\ds\ibu1i0\qb1{^eiji}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \tltie1\zhl{c}\ds\ibu1i0\qb1{eiji}\tqu1e\en
+\stoppiece%
+\def\raiseped{-15}
+\contpiece%
+\Notes\pdlud\ql F\sk\qpl\sk\zqu c\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{=e^hjh}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \zhl{d}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql B\sk\qpl\sk\qpl|%
+ \zhl{c}\ds\ibu1i0\qb1{^d^hjh}\tqu1d\en
+\Notes\zqu{M}\hppl\sk\sk\qpu\sk\qu M|%
+ \ds\ibu1i0\qb1{dhjh}\tqu1d\en
+\bar%
+\Notes\zmidstaff{$\cdots$}\sk\pdlu\sk|\en
+\endpiece
+\end{verbatim}
+\end{footnotesize}
+\end{quote}
+
+\pagebreak
+\noindent
+The following ``mixed'' patterns are also supported:
+\begin{quote}
+\begin{verbatim}
+\PED ... [\pdlud].. ... \pdlu
+
+\sPED ... [\pdlud].. ... \pdlu
+\end{verbatim}
+\end{quote}
+
+\section{Alphabetic dynamic marks}
+ Conventional dynamic symbols
+\pppp, \ppp, \pp,
+\p,
+\mezzopiano,
+\mf,
+\f,
+\fp,
+\sF,
+\ff,
+\fff,
+\ffff,
+\sfz\ and
+\sfzp\ can be posted using the macros
+\keyindex{pppp},
+\keyindex{ppp},
+\keyindex{pp},
+\keyindex{p},
+\keyindex{mp},
+\keyindex{mf},
+\keyindex{f},
+\keyindex{fp},
+\keyindex{sF},
+\keyindex{ff},
+\keyindex{fff},
+\keyindex{ffff},
+\keyindex{sfz} and
+\keyindex{sfzp}, respectively, as the second argument of \verb|\zcn| (\verb|\zcharnote|) or
+\verb|\ccn| (\verb|\ccharnote|).
+See also Section~\ref{musixppff} for an alternative set of dynamic marks.
+
+
+ \section{Length of note stems}
+
+The default length of note stems is the distance of one octave, i.e.,~\verb|7\internote| or \texttt{4.66}\keyindex{interbeam}. The default may be changed
+with the macro \keyindex{stemlength}\itbrace{b}\ where $b$ is the length in
+\verb|\interbeam|s.
+
+The command \keyindex{stemcut} causes stems that extend outside the staff
+to be shortened depending on the pitch of the notes. It is the default
+behavior. To suppress this adjustment, issue the command
+\keyindex{nostemcut}.
+
+Normally, down stems never end above the middle line of the staff and up stems
+never below that line. The command \keyindex{stdstemfalse} will inhibit this
+adjustment, but only for the next stem generated. There is no command to globally
+suppress this behavior.
+
+ \section{Brackets, parentheses, oblique lines and slides}\label{brapar}
+
+Several varieties of brackets\index{brackets}, parentheses\index{parentheses} and oblique lines\index{oblique lines} are provided for
+use within a score.
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{lpar}\verb|{|$p$\verb|}| and
+\keyindex{rpar}\verb|{|$p$\verb|}| yield left and right
+parentheses at pitch $p$. They can be used to enclose notes or to build
+``big'' cautionary\index{cautionary accidental} accidentals. For example,
+\\
+\begin{center}
+\begin{tabular}{ll}
+\raisebox{-1.5ex}[0ex][0ex]{\musicintextnoclefn{\NOtes\qsk\lpar g\rpar g\hu g\sk%
+\loffset{1.5}{\lpar g\rpar g}\loffset{.4}{\sh g}\hu g\sk%
+\loffset{2.1}{\lpar g}\loffset{1.5}{\rpar g}\loffset{.4}{\dfl g}\hu g\en}}
+\end{tabular}
+\end{center}
+is coded as
+\end{itemize}
+\begin{center}\small
+\begin{tabular}{l}
+\verb+\NOtes\lpar g\rpar g\hu g\sk%+\\
+\verb+\loffset{1.5}{\lpar g\rpar g}\loffset{.4}{\sh g}\hu g\sk%+\\
+\verb+\loffset{2.1}{\lpar g}\loffset{1.5}{\rpar g}\loffset{.4}{\dfl g}\hu g\en+
+\end{tabular}
+\end{center}
+\begin{itemize}
+ \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| posts a
+square bracket to the left of a chord, vertically spanning $n$
+\verb|internote|s.
+ \item \keyindex{doublethumb}\verb|{|$p$\verb|}| indicates a bracket as
+above spanning 2\verb|\internote|s.
+ \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
+\keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|
+draw a sloped bracket starting at the current position at pitch $p$,
+with horizontal extent $n$ \verb|noteskip|s and slope $s$ in multiples of
+$1.125$~degrees.
+ \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
+\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| are like
+\verb|\ovbkt| but with freely definable \keyindex{txt} centered inside.
+
+ \item \keyindex{varline}\itbrace{h}\itbrace{\ell}\itbrace{s}\ builds an
+oblique line starting at the current horizontal position. It must be used
+inside a zero-width box, such as for example as the second argument of
+\verb|\zcharnote|. $h$ is the height of the starting point, $\ell$ is the
+length, and $s$ is the slope. It is used in the definitions of some of
+the foregoing macros, and could be used, for example, to construct various
+obscure baroque ornaments made up of diagonal lines.
+
+\item \keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~ provides a \emph{glissando}
+starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with
+slope {\it s} (ranging from $-8$ to $8$).
+
+\end{itemize}
+
+For example,
+
+\begin{music}
+\setstaffs1{2}
+\setclef1\bass
+\startextract
+\NOtes\bracket C8\zq C\qu J\en
+\NOtes|\doublethumb g\rq h\qu g\en
+\NOtes\lpar c\rpar c\qu c\en
+\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en
+\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en
+\NOtesp\roffset{1.5}{\slide J33}\ca{JM}|\roffset{1.5}{\slide j33}\ca{jm}\en
+\endextract
+\end{music}
+\noindent is coded as
+\begin{quote}\small\begin{verbatim}
+\begin{music}
+\setstaffs1{2}
+\setclef1{\bass}
+\startextract
+\NOtes\bracket C8\zq C\qu J\en
+\NOtes|\doublethumb g\rq h\qu g\en
+\NOtes\lpar c\rpar c\qu c\en
+\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en
+\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en
+\NOtesp\roffset{1.5}{\slide J33}\ca{JM}|\roffset{1.5}{\slide j33}\ca{jm}\en
+\zendextract
+\end{music}
+\end{verbatim}\end{quote}
+
+ \section{Forcing activity at the beginning of systems}
+A macro named \keyindex{everystaff} is executed each time a new system
+begins. It is normally void, but it can be defined (simply by \verb|\def|%
+\keyindex{everystaff}\verb|{...}|) to cause \musixtex\ to post anything
+reasonable at the beginning of each system. For it to affect the first system
+in a score, it must be defined \ital{before}
+\verb|\startpiece|.
+
+If a macro named \keyindex{atnextline} is defined at any point in a score,
+it will be executed just once, viz., at the next computed or forced system
+break. More
+precisely, it is executed after the break and before the next system begins.
+Thus it is suitable for redefining layout parameters.
+
+ \index{octave treble clef}In some scores, tenor parts are not coded using the
+\ital{bass} clef, but using rather the \ital{octave treble clef}, which is
+subscripted by a numeral {\tt8}.
+This clef is supported by the clef substitution command
+\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}, as already
+explained in Section~\ref{treblelowoct}. However, if for some reason you
+aren't happy with the height of the ``8'', it can be posted on selected
+staves at the beginning of every system using \keyindex{everystaff} and
+\keyindex{zcharnote} as follows:
+
+\begin{music}
+\instrumentnumber{4}\setclef1\bass
+\def\everystaff{\znotes&\zchar{-6}{\eightrm\kern-2\Interligne8}%
+ &\zchar{-6}{\eightrm\kern-2\Interligne8}\en}%
+\startextract
+\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en
+\zendextract
+\end{music}
+\noindent
+The coding is
+\begin{quote}\begin{verbatim}
+\instrumentnumber{4}\setclef1\bass
+\def\everystaff{\znotes&\zchar{-6}{\eightrm \kern -2\Interligne 8}%
+ &\zchar{-6}{\eightrm \kern -2\Interligne 8}\en}%
+\startextract
+\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en
+\endextract
+\end{verbatim}\end{quote}
+
+
+\section{Tablature}
+Tablature is a notational system used for fretted stringed instruments such
+as lute, guitar, banjo, mandolin, and so on. Staff lines represent strings
+and conventional note heads are replaced by numbers (or sometimes letters)
+indicating which fret is to be stopped, with $0$ representing an open string.
+
+A special clef symbol
+\keyindex{tabclef} may be used with \verb|\setclefsymbol| for a tablature staff; commands \verb|\setlines|, \verb|\setsign|
+and \verb|\setsize| may be used as usual for a tablature staff. The macros that put numbers (or letters) on staff lines
+are as follows:
+\begin{itemize}
+\item \keyindex{tab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+puts $p$ on string $n$
+(counting from top to bottom); $p$ is centered, using \verb|\ccharnote|.
+Ledger lines are added for $n$ less than $1$ or greater than the current number of staff lines.
+\item \keyindex{ltab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+uses \verb|\zcharnote| so $p$
+spills to the right and
+\keyindex{rtab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+uses \verb|\lcharnote| so $p$
+spills to the left.
+\item \keyindex{ztab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+is a non-spacing \verb|\tab|, and can be used for building chords.
+\item \keyindex{zltab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+is a non-spacing \verb|\ltab| and
+\keyindex{zrtab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}|
+is a non-spacing \verb|\rtab|.
+\end{itemize}
+A size-dependent font \keyindex{tabfnt} is used for tab characters; Helvetica is the default font family.
+
+The default tablature style is to place the fingering notations \emph{on} the staff line;
+Postscript specials are used to ``blank'' staff lines below
+the tab characters.
+If it is desired to locate the fingering notations \emph{above} staff lines, use
+the command \keyindex{tabstylespacetrue}.
+A size-dependent font \keyindex{tabstringfnt} is defined to allow string names to be
+listed using \verb|\setname|.
+
+Here is an example of a guitar tablature (6th string lowered to D):
+
+\begin{music}
+\input musixps
+\def\psslurhgt{0.5}
+\instrumentnumber{2}
+\songbottom1\songtop2
+\generalmeter{\meterfrac34}
+\generalsignature{-1}
+\setlines16
+\setclefsymbol1\tabclef\setclefsymbol2\treblelowoct
+\setsize1\largevalue
+\setsign10
+\nobarnumbers
+\interinstrument=4\internote
+\parindent=2ex
+\setname1{\tabstringfnt\baselineskip=1.5\internote%
+ \vbox{\hbox to\parindent{\hss E \hss}%
+ \hbox to\parindent{\hss B \hss}%
+ \hbox to\parindent{\hss G \hss}%
+ \hbox to\parindent{\hss D \hss}%
+ \hbox to\parindent{\hss A \hss}%
+ \hbox to\parindent{\hss D \hss}%
+}}
+\startextract
+\NOtesp\zltab55\zltab43\ltab32&\zh{d}\zhl{f}\qu{.h}\en
+\Notes\ltab32&\cu{h}\en
+\bar%
+\NOtes\zltab55\zltab45\zltab33\ltab10&\zq d\zql g\zq i\qu l\en
+\NOtesp\zltab54\zltab45\zltab32\ltab10&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
+\Notes\ltab10&\cu{l}\en
+\bar%
+\NOtes\zltab40\zltab32\zltab23\ltab11&\zq d\zq h\zq k\qu{m}\en
+\NOtes\zltab51\zltab43\zltab33\ltab23&\zhl b\zh f\zq{.i}\qu{.k}\en
+\Notes\ltab35&\cu j\en
+\bar%
+\NOtes\zltab65\zltab45\ltab33&\zql N\zq g\qu i\en
+\NOtes\zltab50\zltab43\ltab32&\zql a\zq f\qu h\en
+\notes\zltab54\ltab45\ilsluru04\ltab43\ltab42\tlslur04\ltab43%
+&\zql{^c}\ibbu0g{-1}\qb0{g}\slur eed2\qb0{fe}\tqu0f\en
+\bar%
+\notes\zltab60\zltab50\ltab45\ilsluru04\ltab42\ltab43\tlslur04\ltab40%
+&\zq K\zql a\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
+\znotes&\lcn{14}{J.S. Bach}\en
+\zendextract
+\end{music}
+
+\noindent
+The coding is
+\begin{footnotesize}
+\begin{quote}\begin{verbatim}
+\instrumentnumber{2}
+\songbottom1\songtop2
+\setclefsymbol2\treblelowoct
+\generalmeter{\meterfrac34}
+\generalsignature{-1}
+\setlines16\setclefsymbol1\tabclef\setsize1\largevalue\setsign10
+\nobarnumbers
+\interinstrument=4\internote
+\parindent=2ex
+\setname1{\tabstringfnt\baselineskip=1.5\internote%
+ \vbox{\hbox to\parindent{\hss E\hss}%
+ \hbox to\parindent{\hss B\hss}%
+ \hbox to\parindent{\hss G\hss}%
+ \hbox to\parindent{\hss D\hss}%
+ \hbox to\parindent{\hss A\hss}%
+ \hbox to\parindent{\hss D\hss}}}
+\startextract
+\NOtesp\zltab55\zltab43\ltab32&\zh{d}\zhl{f}\qu{.h}\en
+\Notes\ltab32&\cu{h}\en
+\bar%
+\NOtes\zltab55\zltab45\zltab33\ltab10&\zq d\zql g\zq i\qu l\en
+\NOtesp\zltab54\zltab45\zltab32\ltab10&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
+\Notes\ltab10&\cu{l}\en
+\bar%
+\NOtes\zltab40\zltab32\zltab23\ltab11&\zq d\zq h\zq k\qu{m}\en
+\NOtes\zltab51\zltab43\zltab33\ltab23&\zhl b\zh f\zq{.i}\qu{.k}\en
+\Notes\ltab35&\cu j\en
+\bar%
+\NOtes\zltab65\zltab45\ltab33&\zql N\zq g\qu i\en
+\NOtes\zltab50\zltab43\ltab32&\zql a\zq f\qu h\en
+\notes\zltab54\ltab45\ilsluru04\ltab43\ltab42\tlslur04\ltab43%
+&\zql{^c}\ibbu0g{-1}\qb0{g}\slur eed2\qb0{fe}\tqu0f\en
+\bar%
+\notes\zltab60\zltab50\ltab45\ilsluru04\ltab42\ltab43\tlslur04\ltab40%
+&\zq K\zql a\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
+\znotes&\lcn{14}{J.S. Bach}\en
+\zendextract
+\end{verbatim}\end{quote}
+\end{footnotesize}
+Tablature support in \musixtex\ has been adapted
+from \verb|tabdefs.tex| by R.J.~Gelten, which is available
+\href{http://icking-music-archive.org/software/musixtex/add-ons/tabdefs.tex}
+{\underline{here}}
+at WIMA\index{WIMA}.
diff --git a/macros/musixtex/doc/musixdoc/musixdoc.ltx b/macros/musixtex/doc/musixdoc/musixdoc.ltx
new file mode 100644
index 0000000000..c48e40b773
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/musixdoc.ltx
@@ -0,0 +1,102 @@
+%
+% This file is part of MusiXTeX
+%
+% MusiXTeX is free software; you can redistribute it and/or modify
+% it under the terms of the GNU General Public License as published by
+% the Free Software Foundation; either version 2, or (at your option)
+% any later version.
+%
+% MusiXTeX is distributed in the hope that it will be useful,
+% but WITHOUT ANY WARRANTY; without even the implied warranty of
+% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
+% GNU General Public License for more details.
+%
+% You should have received a copy of the GNU General Public License
+% along with MusiXTeX; see the file COPYING. If not, write to
+% the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
+% Boston, MA 02111-1307, USA.
+%
+%
+% musixdoc.tex : the document
+%
+\documentclass[twoside,11pt,notitlepage]{report}
+
+\usepackage{musixdoc}
+
+
+%\includeonly{%
+%frontmatter,
+%introduction,
+%settingup,
+%preparing,
+%writingnotes,
+%beams,
+%restsdoc,
+%spacing,
+%accidentals,
+%transposition,
+%slurstiesfont,
+%slurstiesTypeK,
+%barlines,
+%barnumbering,
+%layout,
+%changing,
+%repeats,
+%fonts,
+%miscellaneous,
+%smaller,
+%staffsize,
+%parameters,
+%extracting,
+%lyrics,
+%embedding,
+%extensions,
+%examples,
+%summary,
+%index
+%}
+
+\startmuflex
+
+\makeindex
+
+\begin{document}
+
+\include{frontmatter}
+
+\setcounter{page}{1}
+\pagenumbering{arabic}
+\renewcommand{\thepage}{\arabic{page}}
+
+\include{introduction}
+\include{settingup}
+\include{preparing}
+\include{writingnotes}
+\include{beams}
+\include{restsdoc}
+\include{spacing}
+\include{accidentals}
+\include{transposition}
+\include{slurstiesfont}
+\include{slurstiesTypeK}
+\include{barlines}
+\include{barnumbering}
+\include{layout}
+\include{changing}
+\include{repeats}
+\include{fonts}
+\include{miscellaneous}
+\include{smaller}
+\include{staffsize}
+\include{parameters}
+\include{extracting}
+\include{lyrics}
+\include{embedding}
+\include{extensions}
+\include{examples}
+
+\include{summary}
+
+\include{index}
+
+\end{document}
diff --git a/macros/musixtex/doc/musixdoc/musixdoc.sty b/macros/musixtex/doc/musixdoc/musixdoc.sty
new file mode 100644
index 0000000000..d752fc8b02
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/musixdoc.sty
@@ -0,0 +1,148 @@
+%
+% This file is part of MusiXTeX
+%
+% MusiXTeX is free software; you can redistribute it and/or modify
+% it under the terms of the GNU General Public License as published by
+% the Free Software Foundation; either version 2, or (at your option)
+% any later version.
+%
+% MusiXTeX is distributed in the hope that it will be useful,
+% but WITHOUT ANY WARRANTY; without even the implied warranty of
+% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
+% GNU General Public License for more details.
+%
+% You should have received a copy of the GNU General Public License
+% along with MusiXTeX; see the file COPYING. If not, write to
+% the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
+% Boston, MA 02111-1307, USA.
+%
+%
+
+\usepackage[papersize={210mm,11in},margin=1.125in]{geometry} % a4 width, letter-paper height
+\pagestyle{headings}
+\usepackage{makeidx}
+\usepackage{multicol}
+\usepackage{etex}
+\usepackage{amssymb}
+
+
+\newcommand{\comment}[1]{}
+
+%\usepackage{indentfirst}
+
+\usepackage{mflogo}
+
+\usepackage[cp1252]{inputenc} % needed for ç in extensions.tex
+
+% default is Computer Modern OT1 encoding
+\usepackage[T1]{fontenc} % for CM, \input musixec after musixtex
+\usepackage[osf]{mathpazo} % Palatino text, with old-style figures; use $n$ for lining figures
+%\usepackage{mathptmx} % Times text
+%\usepackage{helvet}\renewcommand{\familydefault}{\sfdefault} % Helvetica text
+
+% use OT1 encoding for tt to avoid need for cm-super fonts
+\renewcommand{\ttfamily}{\fontencoding{OT1}\fontfamily{cmtt}\selectfont}
+
+
+\usepackage{textcomp}
+
+\input musixtex
+\input musixbm
+\input musixcho
+\input musixdat
+\input musixext
+\input musixgre
+\input musixgui
+\input musixlit
+\input musixltx
+\input musixper
+
+%%% \input musixps deferred to Section 10.2
+
+%\input musixec % EC (Computer Modern) text in music
+\input musixplt % Palatino text in music
+%\input musixtmr % Times text in music
+%\input musixhv % Helvetica text in music
+
+\usepackage{paralist}
+\setlength{\pltopsep}{1pt plus 2pt minus 1pt}
+\setlength{\plitemsep}{4.5pt plus 2pt minus 1pt}
+\renewenvironment{enumerate}{\begin{compactenum}}{\end{compactenum}}
+\renewenvironment{itemize}{\begin{compactitem}}{\end{compactitem}}
+\renewenvironment{description}{\begin{compactdesc}}{\end{compactdesc}}
+
+\setcounter{tocdepth}{1}
+\setcounter{secnumdepth}{2}
+
+% more place for section numbers in \tableofcontents
+\usepackage{tocloft}
+\setlength{\cftsecnumwidth}{3.0em}
+
+\renewcommand{\chaptermark}[1]{\markboth{\itshape Chapter \thechapter. #1}{}}
+\renewcommand{\sectionmark}[1]{\markright{\itshape\thesection. #1}}
+
+\usepackage[colorlinks=true]{hyperref}
+
+\nobarnumbers
+
+\def\st@ffs{1}
+
+% for usage of notes inside text
+\let\nblines\z@
+
+\def\notesintext#1{% no staff lines, no clefs
+ {\let\extractline\relax
+ \setlines10\smallmusicsize \nobarnumbers \nostartrule
+ \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt
+ \startextract\addspace{-\afterruleskip}#1\zendextract}}
+\def\musicintext#1#2{% normal
+ {\let\extractline\relax
+ \smallmusicsize \nobarnumbers
+ \staffbotmarg0pt \setclef1{#1}
+ \startextract\addspace{-\afterruleskip}#2\endextract}}
+% macro adapted to insert music without clef:
+\def\musicintextnoclef#1{% no clef small
+ {\let\extractline\relax
+ \smallmusicsize \nobarnumbers
+ \staffbotmarg0pt \setclefsymbol1\empty
+ \startextract\addspace{-\afterruleskip}#1\endextract}}
+\def\musicintextnoclefn#1{% no clef normal
+ {\let\extractline\relax
+ \nobarnumbers
+ \staffbotmarg0pt \setclefsymbol1\empty
+ \startextract\addspace{-\afterruleskip}#1\endextract}}
+
+\def\musictex{Music\TeX{}}
+\def\onen{{\ttfamily\char123}$n${\ttfamily\char125}}
+\def\pitchp{{\ttfamily\char123}$p${\ttfamily\char125}}
+\def\itbrace#1{{\ttfamily\char123}$#1${\ttfamily\char125}}
+\def\nochange{{\ital{NOT to be changed}}}
+
+\ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi
+\ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi
+\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\ttfamily}
+\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX}
+\def\Bslash{\ttfamily\char'134}
+\def\|{\texttt{\char'174}}
+\def\LBR{\texttt{\char'173}}
+\def\RBR{\texttt{\char'175}}
+\def\keyindex#1{\leavevmode
+ \hbox{{\Bslash #1}}\index{#1@{\protect\small\protect\Bslash #1}}}
+\def\zkeyindex#1{\index{#1@{\protect\small\protect\Bslash #1}}}
+\def\ixem#1{#1\index{#1}}
+\def\itxem#1{\textit{#1}\index{#1}}
+\def\ttxem#1{\texttt{#1}\index{#1@\texttt{#1}}}
+\def\ixtt#1{\index{#1@\texttt{#1}}}
+\def\ital#1{\textit{#1\/}}
+\def\enpee{{\ttfamily{\char123$n$\char125\char123$p$\char125}}}
+
+\def\unix{\textsc{unix}}
+
+\sloppy
+
+
+\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}%
+\def\_{\protect\underscoreSymbol}
+
+
+\endinput
diff --git a/macros/musixtex/doc/musixdoc/parameters.tex b/macros/musixtex/doc/musixdoc/parameters.tex
new file mode 100644
index 0000000000..6cdd48b62f
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/parameters.tex
@@ -0,0 +1,140 @@
+\chapter{Layout Parameters}\label{LayoutParameters}
+ Most layout parameters are set by \musixtex\ to reasonable default values.
+However, some projects will require altering one or more of them. In this
+section we discuss the most important parameters and how to change them.
+
+ \section{List of layout parameters}
+ In the following, the indication ``\nochange'' does not mean that this
+parameter cannot be changed at all, but that it should not be modified
+directly, e.g,.~by saying something like \verb|\Interligne=14pt|. In other
+words, changes in these parameters must be accomplished only by more
+comprehensive macros which not only revise them but at the same time perform
+other necessary related changes. Even though you cannot \ital{change} these,
+you may \ital{refer} to them in your coding if that proves useful.
+
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{Interligne} :]vertical distance between the bottoms of
+consecutive staff lines of the current instrument, taking no account of a
+possible alteration by \keyindex{setsize}; \nochange.
+ \item[\keyindex{internote} :]vertical spacing between notes one scale
+step apart in the current instrument, taking account of a possible alteration
+by \keyindex{setsize}; \nochange.
+Note that each distinct instrument may have a different
+\verb|\internote| (see Chapter~\ref{staffspacing}).
+ \item[\keyindex{Internote} :]vertical spacing between notes one scale
+step apart in any instrument whose \keyindex{setsize} has the default
+value \keyindex{normalvalue} ($1.0$), equal to \verb|0.5\Interligne|; \nochange.
+\item[\keyindex{staffbotmarg} :]margin below the first (lowest) staff of the
+first (lowest) instrument. Changes are recognized at the next system.
+Default is \verb|3\Interligne|.
+ \item[\keyindex{stafftopmarg} :]margin above the last (uppermost) staff of
+last (uppermost) instrument. Changes are recognized at the next system.
+Default is \verb|3\Interligne|.
+ \item[\keyindex{interbeam} :]vertical distance between beams; \nochange.
+\item[\keyindex{interstaff} :]a very important macro with a single numerical
+argument representing the factor that multiplies \verb|2\internote| to give the
+distance between the bottom of one staff and the bottom of the next one. In
+fact the macro redefines the parameter \verb|\interfacteur|. Default is 9.
+\verb|\interstaff| applies to all the
+instruments; to set the inter-staff spacing for a single instrument,
+use \keyindex{setinterstaff}\itbrace{n}\itbrace{m},
+$n$ is the instrument and $m$ is the replacement factor for that instrument.
+Note that
+after you have used \keyindex{setinterstaff},
+you cannot reset the distances for that instrument with
+\keyindex{interstaff}; you must subsequently use
+\keyindex{setinterstaff} for that purpose.
+\item[\keyindex{interportee} :]distance between the bottom of one staff and
+the bottom of the next one. It is always reset to
+2 times \keyindex{internote} times the \keyindex{interfacteur} for the current
+instrument at the next system.
+Therefore, trying to change \verb|\interportee| will have no effect. Change
+\verb|\interstaff| or use \keyindex{setinterstaff} instead.
+\item[\keyindex{interinstrument} :]additional vertical distance between
+two consecutive instruments. This means that the distance between the lowest
+line of the previous instrument and the lowest line of the top staff of the current
+instrument is \verb|\interportee+\interinstrument|. The
+default value of \verb|\interinstrument| is zero, but sometimes you
+may want additional space between distinct instruments. This is a general
+dimension register. As usual in \TeX, it can be set using a command such as
+\verb|\interinstrument=10pt| or \verb|\interinstrument=6\internote|. Its
+value can be overridden for the space above any particular instrument
+with the macro \keyindex{setinterinstrument}\itbrace{n}\itbrace{s}, where
+$n$ is the instrument and $s$ is the replacement value of the space to
+be added. The \verb|\setinterinstrument| macro may be useful in some vocal
+scores to provide vertical space for lyrics.
+Note that
+after you have used \keyindex{setinterinstrument},
+you cannot reset the distances for that instrument with
+\keyindex{interinstrument}; you must subsequently use
+\keyindex{setinterinstrument} for that purpose.
+
+ \item[\keyindex{systemheight} :]distance from the bottom of the
+lowest staff to the top of the highest one. This is the length of any
+vertical lines such as repeats that span the full height of a system;
+\nochange.
+\end{description}
+
+ In addition, when handling notes of a given staff of a given instrument, the
+following dimensions are available (note these are not true registers, but
+\ital{equivalenced symbols} through a \verb|\def|):
+
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{altplancher} :]altitude of the lowest line of the lowest
+instrument; \nochange.
+ \item[\keyindex{altitude} :]altitude of the lowest line of the lowest
+staff of the current instrument; \nochange.
+ \item[\keyindex{altportee} :]altitude of the lowest line of the current
+staff; \nochange.
+
+ %??? Next perhaps will change to steps of \verb|\internote|.
+
+ \item[\keyindex{stemfactor} :]parameter defining the length of stems on
+half, quarter, and beamed eighth notes, in units of \verb|\interbeam|.
+Normally a stem has the length of one octave,
+i.e.,~\verb|3.5|\keyindex{Interligne}. However, this is not correct for small or tiny
+note sizes. Therefore, stem length is defined as a multiple of the
+dimension \keyindex{interbeam}, which is chosen because it is automatically
+redefined as a
+different multiple of \keyindex{Interligne} whenever note size is changed. For
+example, with \verb|\normalmusicsize| when \verb|\setsize| is
+\verb|\normalvalue|, \verb|\interbeam| is \verb|0.75|\keyindex{Interligne}. This
+legislates a default value for \keyindex{stemfactor} of $4.66$ ($=3.5/0.75$).
+To change stem length, it is easiest to use e.g.,~\keyindex{stemlength}\verb|{3.5}|, which simply redefines \verb|\stemfactor|.
+Subsequently, \verb|\stemfactor| will not automatically be reset to the default,
+but keep in mind that if it is changed
+inside a notes group, the change will only be effective within that notes group.
+\end{description}
+
+ \section{A convenient macro for changing layout parameters}
+Of the parameters just described that can be changed, many should only be
+changed between the end of one system and the beginning of the next. The
+command sequence \verb|\def\atnextline{|\ital{any control sequence}\verb|}|
+may be useful for this purpose. It will cause \ital{any control sequence} to
+be inserted right before the next new line is begun, provided the line break
+is not initiated by a \verb|\startpiece|. Thus this will work with
+automatically generated line breaks, with those forced by \verb|\alaligne|, and
+with those forced by explicit use of \verb|\endpiece| or \verb|\stoppiece|
+followed by \verb|\contpiece|. (Note, however, that in the latter case it
+would be just as convenient to enter the parameter changes explicitly as well.)
+The control sequence will only be executed once,
+after which \verb|\atnextline| is redefined as \verb|\empty|.
+
+ \section{Changing the number of lines per staff}\label{stafflinenumber}
+Naturally, the default number of lines per staff is five. But you may want a
+different number in some or all staves, for example for gregorian music,
+percussion music, guitar tablature, or early baroque keyboard music. To do so,
+use the command \keyindex{setlines}\itbrace{n}\itbrace{m}~where $n$ is the
+instrument number and $m$ is the number of lines.
+
+ \section{Resetting normal layout parameters}
+The general size can only be changed with one of the commands
+\keyindex{smallmusicsize},
+\keyindex{normalmusicsize}, \keyindex{largemusicsize}, or
+\keyindex{Largemusicsize}. Beyond that, the command
+\keyindex{resetlayout} will reset the following key layout parameters
+to their default values: \keyindex{staffbotmarg} (\verb|3\Interligne|),
+\keyindex{stafftopmarg} (\verb|3\Interligne|), \keyindex{interstaff} ($9$),
+ number of lines per staff for all instruments ($5$); and will reset all clef
+symbols to standard clef symbols.
+
diff --git a/macros/musixtex/doc/musixdoc/preparing.tex b/macros/musixtex/doc/musixdoc/preparing.tex
new file mode 100644
index 0000000000..88e3756bf4
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/preparing.tex
@@ -0,0 +1,285 @@
+\chapter{Preparing to Enter Notes}\label{preparing}
+ \section{After the setup, what next?}
+
+The command \keyindex{startmuflex} initiates the serious business of
+\musixtex. On the first \TeX\ pass it
+opens \ital{jobname}{\tt .mx1} for writing bar-by-bar tabulations of all
+hard and scalable space to be fed to \verb|musixflx| on the second pass.
+\verb|musixflx| generates \ital{jobname}{\tt .mx2} which defines the
+number of bars in each system and the factors relating scalable space
+to hard space in each system. On the third pass both files will be opened
+and read to define the final spacing. These files should be closed before
+leaving \TeX, preferably before
+\keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\
+closes all open files on its own when terminating the program, but it is still
+cleaner to do this explicitly.
+
+After \verb|\startmuflex|, the command \keyindex{startpiece} will initiate
+the first system, containing all instruments you have previously defined.
+The indentation will be \keyindex{parindent}, so if you want nonzero
+indentation, this register should be set to the desired hard dimension
+before issuing \verb|\startpiece|.
+
+ \section{Horizontal spacing commands}\label{newspacings}
+\subsection{Basic note spacing}
+\musixtex\ provides a set of macros each of which defines a particular
+increment of scalable spacing. The default set is tabulated in
+Figure~\ref{spacingtable}.
+\begin{table}
+\begin{small}
+\begin{center}
+\tinynotesize
+\renewcommand{\arraystretch}{1.5}% I hate LaTeX (attributed to Daniel Taupin)
+\begin{tabular}{|l|l|l@{~~~~}l|}
+\multicolumn{1}{c}{Usage}&
+\multicolumn{1}{c}{spacing}&
+\multicolumn{2}{c}{Suggested use}\\\hline
+\keyindex{znotes}\verb| ... & ... & ... \en|&(non spacing)
+ &&specials\\
+\keyindex{notes}\verb| ... & ... & ... \en|&\verb=2=\keyindex{elemskip}
+ &\ccu1&16th\\
+\keyindex{notesp}\verb| ... & ... & ... \en|&\verb=2.5\elemskip=
+ &\pt1\ccu1&dotted 16th, 8th triplet\\
+\keyindex{Notes}\verb| ... & ... & ... \en|&\verb=3\elemskip=
+ &\cu1&8th\\
+\keyindex{Notesp}\verb| ... & ... & ... \en|&\verb=3.5\elemskip=
+ &\cup1&dotted 8th, quarter triplet\\
+\keyindex{NOtes}\verb| ... & ... & ... \en|&\verb=4\elemskip=
+ &\qu1&quarter\\
+\keyindex{NOtesp}\verb| ... & ... & ... \en|&\verb=4.5\elemskip=
+ &\qup1&dotted quarter, half triplet\\
+\keyindex{NOTes}\verb| ... & ... & ... \en|&\verb=5\elemskip=
+ &\hu1&half\\
+\keyindex{NOTesp}\verb| ... & ... & ... \en|&\verb=5.5\elemskip=
+ &\hup1&dotted half\\
+\keyindex{NOTEs}\verb| ... & ... & ... \en|&\verb=6\elemskip=
+ &\wh1&whole\\\hline
+\end{tabular}\end{center}
+\end{small}
+\caption{Spacing Commands}
+\label{spacingtable}
+\end{table}
+What each of these macros actually does is to set an
+internal dimension register \keyindex{noteskip} to the given multiple
+of the fundamental spacing unit \keyindex{elemskip}
+(which has dimensions of length, usually given in points).
+Normally, every \itxem{spacing note} (e.g.,
+\keyindex{qu},
+\keyindex{qb}, \keyindex{hl}) will then be followed by a spacing of
+width \keyindex{noteskip}. By selecting a particular note spacing macro
+from the above table, the typesetter can thus control the relative spacing
+between notes.
+
+The actual spacing will therefore be determined by the value of
+\verb|\elemskip|. On the first pass, \TeX\ will set a default value for
+\verb|\elemskip| based on the declared music size, or the user can
+set it to any hard dimension he chooses. However, the value on the
+first pass doesn't matter as much as you might think (more about that later).
+On the second pass,
+\verb|musixflx| determines where the system breaks will come,
+and then computes the final value of \verb|\elemskip| for each system.
+
+If the arithmetic progression of note spacings in the above table does not
+meet your wishes, you may activate an alternate set with
+the command \keyindex{geometricskipscale}. As implied by the name, this
+is a geometric progression, where {\Bslash Notes} is
+$\sqrt{2}$ times wider than {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$
+times wider than {\Bslash Notes}, and so forth.
+Then the factors in the middle column
+of the above table will be replaced by the sequence
+$2.00$, $2.38$, $2.83$, $3.36$, $4.00$, $4.76$, $5.66$, $6.72$, and $8.00$. Two additional
+macros, \verb|\NOTEsp| and \verb|\NOTES|, will be defined corresponding to
+factors $9.52$ and $11.32$. The original arithmetic progression can be
+restored by \keyindex{arithmeticskipscale}.
+
+If neither of the predefined progressions satisfies you, you may define
+your own, using the more general macro \verb|\vnotes| in the same manner
+that \musixtex\ uses it for the predefined progressions. So for example
+\verb|\def\NOtes{\vnotes5.34\elemskip}| will redefine \verb|\NOtes| in
+the obvious way, and the extension to the other spacing macros should
+likewise be obvious.
+The following abbreviations may be useful:
+\begin{quote}
+\begin{tabular}{lcl}
+ \keyindex{nnotes} &for&\verb|\vnotes1.6\elemskip|\\
+ \keyindex{nnnotes} &for&\verb|\vnotes1.28\elemskip|
+\end{tabular}
+\end{quote}
+
+In addition, inside any pair \verb|\notes...\en| there are two
+equivalent ways to
+locally redefine \verb|\noteskip| to another scalable value, namely by
+issuing a command like
+\verb|\noteskip=2.4\noteskip| or \keyindex{multnoteskip}\verb|{2.4}|, which
+have the expected effect until the notes group is terminated or
+\verb|\noteskip| is further redefined.
+Finally, by issuing a command like
+\keyindex{scale}\verb|{2.4}| outside any notes group, you can scale all subsequent
+\verb|\noteskip|s by any desired factor.
+
+These facilities may be useful, for example,
+to control spacing when there are three equal duration notes in one staff against two
+ in another.
+
+
+%\subsection{\Bslash{\tt elemskip}, \Bslash{\tt beforeruleskip} and
+%\Bslash{\tt afterruleskip}}
+%
+% avr wants to call these "commands", but das doesn't.
+%\subsection{Commands {\Bslash\texttt{elemskip}},
+%{\Bslash\texttt{beforeruleskip}}
+%and {\Bslash\texttt{afterruleskip}}}
+%\subsection{{\Bslash\texttt{elemskip}},
+%{\Bslash\texttt{beforeruleskip}}
+%and {\Bslash\texttt{afterruleskip}}}
+
+\subsection{Before and after rule skips}
+
+
+We've just seen how \verb|\elemskip| is used to scale the spacings between notes.
+There are two other spacing units that share some behavior with \verb|\elemskip|:
+\verb|\beforeruleskip| is the horizontal space that is automatically inserted
+\ital{before} every bar line, while \verb|\afterruleskip| goes \ital{after}
+every bar line. (In
+practice \verb|\beforeruleskip| is almost aways set to \verb|0pt| because there
+will typically already be a space of \verb|1\noteskip| before every barline.)
+On the first pass, just as with \verb|\elemskip|, \musixtex\ assigns them default
+values according to the following table:
+
+%\begin{quote}\begin{tabular}{lrrr}\hline
+%\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip}
+% &\keyindex{beforeruleskip}\\\hline
+%\keyindex{normalmusicsize}&6pt&8pt&0pt\\
+%\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline
+%\end{tabular}\end{quote}
+
+\begin{center}\begin{tabular}{lrrr}\hline
+\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip}
+ &\keyindex{beforeruleskip}\\\hline
+\keyindex{normalmusicsize}&{\tt 6pt}&{\tt 8pt}&{\tt 0pt}\\
+\keyindex{smallmusicsize}&{\tt 4.8pt}&{\tt 6pt}&{\tt 0pt}\\\hline
+\end{tabular}\end{center}
+
+\noindent In the second pass, \verb|musixflx| assigns new values to each
+of these dimensions, a different set for each line or system. It does this
+in such a way that available scalable horizontal space in each system is
+exactly filled up.
+
+The values that are assigned to these dimensions on the first pass, whether by
+default or explicitly by the user or in some combination, only matter insofar
+as their relative sizes. That's why we earlier stated that the first-pass value
+of \verb|\elemskip| didn't matter as much as you might think. For both music sizes
+in the table above, it appears that by default \verb|\afterruleskip| is
+\verb|1.3333\elemskip|\footnote{Editor's note: It is a mystery why the authors
+%of \musixtex\ didn't simply define \Bslash{\tt beforeruleskip} and \Bslash{\tt afterruleskip} as
+%specific multiples of \Bslash{\tt elemskip}}.
+of \musixtex\ didn't simply define \Bslash\texttt{beforeruleskip} and \Bslash\texttt{afterruleskip} as
+specific multiples of \Bslash\texttt{elemskip}.}.
+
+Note that if you do want to change any of these
+values, you have to do so \ital{after} setting the
+music size and before \verb|\startpiece|.
+
+Here is an example that illustrates the various dimensions under discussion:\\
+ %\check
+\begin{music}\nostartrule
+\afterruleskip7pt
+\beforeruleskip2pt
+\parindent0pt
+\setclefsymbol1\empty
+% special problems afford special solutions
+\makeatletter\global\clef@skip\z@ \makeatother
+\startpiece
+\zchar{16}{\hbox to\afterruleskip{\downbracefill}}%
+\zchar{19}{\hbox to\afterruleskip{\hss a\hss}}%
+\addspace\afterruleskip
+\zchar{16}{\hbox to2\elemskip{\downbracefill}}%
+\zchar{19}{\hbox to2\elemskip{\hss b\hss}}%
+\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
+\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
+\notes\qa l\en
+\znotes\en
+\zchar{16}{\hbox to4\elemskip{\downbracefill}}%
+\zchar{19}{\hbox to4\elemskip{\hss c\hss}}%
+\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}%
+ \hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
+\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}%
+ \hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
+\NOtes\qa l\en
+\znotes\en
+\zchar{16}{\hbox to\beforeruleskip{\downbracefill}}%
+\zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}%
+\setemptybar\endpiece
+\end{music}
+\begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l}
+a&\keyindex{afterruleskip}\\
+b&\keyindex{notes}\verb| = \vnotes 2\elemskip|\\
+c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\
+d&\keyindex{beforeruleskip}\\
+e&\keyindex{elemskip}
+\end{tabular}\end{quote}
+
+\section{Moving from one staff or instrument to another}
+ \label{movingtostaffs}
+
+When entering notes inside \verb|\notes ... \en|, the usual way to suspend
+input for one instrument and start the next (higher) is with the character
+``\verb|&|''\index{"&@{\tt\char'046}}. If the instrument has more than one
+staff, to switch to the next (higher) one you can use the character
+``\verb+|+''\index{\tt\char'174@{\tt\char'174}}.
+
+There are some alternate navigation commands that may be useful in
+ special situations. Due to ``catcode
+problems'' (see Section~\ref{catcodeprobs}) it may sometimes be necessary
+to use the more explicit commands
+\keyindex{nextinstrument} and \keyindex{nextstaff}, which have the same
+meanings as ``\verb|&|'' and ``\verb+|+'' respectively. To switch to the previous
+(next lower) staff of the same instrument, use \keyindex{prevstaff}. This might
+be useful if a beam starts in a higher staff than where it ends. More
+generally, to switch to an arbitrary instrument $n$, use
+\keyindex{selectinstrument}\onen, and to switch to an arbitrary staff $n$
+of the current instrument, use \keyindex{selectstaff}\verb|{|$n$\verb|}|. In the
+latter case if $n$ exceeds the number of staves defined for the instrument, you
+will receive an error message. You can enter part of a successive voice on
+the \ital{same} staff by using \verb|\selectstaff{|$n$\verb|}| with $n$ for
+the \ital{current} staff.
+
+
+\section{Automatic note spacing}
+\label{autosp}
+
+A preprocessor called \texttt{autosp}\index{autosp@{\tt autosp}} automates the generation
+of note-spacing commands by converting (non-standard) commands
+of the form \verb|\anotes ... \en| into one or more conventional
+note-spacing commands, as determined by the note values
+themselves, with \verb|\sk| spacing commands inserted as necessary.
+The coding for an entire measure can be entered one part at
+a time, without concern for note-spacing changes within the
+part or spacing requirements of other parts.
+For example, from the input
+\begin{verbatim}
+ \anotes\qa J\qa K&\ca l\qa m\ca n\en
+\end{verbatim}
+\texttt{autosp} generates
+\begin{verbatim}
+ \Notes\qa J\sk\qa K\sk&\ca l\qa m\sk\ca n\en
+\end{verbatim}
+\texttt{autosp} also supports non-standard commands for adding ``global''
+skips (i.e., in every staff) and centered whole-bar rests.
+
+As an option, \emph{all} note-spacing commands (except \verb|\znotes|
+and \verb|\vnotes|) will be processed similarly; this is useful for correcting
+the spacing in single-instrument parts extracted from a multi-instrument score;
+see Section~\ref{musixtnt}.
+
+The \texttt{autosp} package is available in
+\href{https://www.tug.org/texlive/}{\underline{TeXLive}}
+and
+\href{http://miktex.org/}{\underline{MiKTeX}}, and
+can also be found at
+the \href{http://icking-music-archive.org/software/autosp/autosp.zip}
+{\underline{Werner Icking Music Archive}}
+or at
+\href{http://mirrors.ctan.org/support/autosp.zip}{\underline{CTAN}}
+(the Comprehensive \TeX\ Archive Network).
+
diff --git a/macros/musixtex/doc/musixdoc/repeats.tex b/macros/musixtex/doc/musixdoc/repeats.tex
new file mode 100644
index 0000000000..5924d92d43
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/repeats.tex
@@ -0,0 +1,272 @@
+\chapter{Repeats}
+
+To replace a bar line with a left, right, or left-right repeat, use one of the
+commands \keyindex{leftrepeat}, \keyindex{rightrepeat} or
+\keyindex{leftrightrepeat} in place of \verb|\bar|. If a \verb|\leftrepeat|
+happens to come at the end of a system, it will automatically be moved to the
+start of the next system. If a \verb|\leftrightrepeat| happens to come at the
+end of a system, \musixtex\ will automatically post a right repeat at the end
+of the system and a left repeat at the beginning of the next.
+
+For example,
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\ha g\en
+\leftrepeat
+\NOTes\ha h\en
+\leftrightrepeat
+\NOTes\ha i\en
+\rightrepeat
+\NOTEs\wh j\en
+\zendextract
+\end{music}
+ \noindent has been coded as:
+\begin{quote}\begin{verbatim}
+\NOTes\ha g\en
+\leftrepeat
+\NOTes\ha h\en
+\leftrightrepeat
+\NOTes\ha i\en
+\rightrepeat
+\NOTEs\wh j\en
+\end{verbatim}\end{quote}
+
+To insert a right-repeat at a forced line break or at the end of a piece, use
+\verb|\setrightrepeat| \textit{before}\ \verb|\alaligne| or \verb|\endpiece|.
+In fact it is possible to use \keyindex{setleftrepeat},
+\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before any
+\keyindex{bar}, \keyindex{stoppiece} or \keyindex{changecontext}; but
+be aware that whereas \verb|\setrightrepeat| behaves properly if the bar is at the
+end of a system, \verb|\setleftrepeat| and \verb|\setleftrightrepeat| do not,
+placing
+the left-repeat symbol at the end of the system rather
+than at the beginning of the next system; see the
+\verb|\zleftrepeat| \verb|\zzleftrepeat| \verb|\zzleftrightrepeat|
+and \verb|\zzleftrightrepeat| commands described below.
+
+
+The following commands generate repeat symbols as usual, but
+are assumed to be in the \emph{middle} of a bar; that is,
+the bar counter is not incremented:
+\begin{itemize}
+\item[] \keyindex{zrightrepeat}
+\item[] \keyindex{zleftrepeat}
+\item[] \keyindex{zleftrightrepeat}
+\end{itemize}
+For example, to insert a left-repeat at a forced line break or at the
+beginning of a piece, simply use \verb|\zleftrepeat| immediately \textit{after}
+\verb|\startpiece| or \verb|\alaligne|. To insert a left-right repeat at a
+forced line break, use \verb|\setrightrepeat\alaligne\zleftrepeat|.
+
+The following commands are similar but force the mid-bar break to the
+end of a system:
+\begin{itemize}
+\item[] \keyindex{zzrightrepeat}
+\item[] \keyindex{zzleftrepeat}
+\item[] \keyindex{zzleftrightrepeat}
+\end{itemize}
+For
+\verb|\zzleftrepeat| and \verb|\zzleftrightrepeat|, the left-repeats occur
+at the beginning of the following system. The bar numbers are
+correctly adjusted, using \keyindex{writezbarno} for the continuation
+if \keyindex{systemnumbers} is in use.
+
+As an example, here is
+a \emph{bour\'ee} by G.-F.~Handel coded using \verb|\zleftrepeat| at the beginning
+of the \textbf{A} section and \verb|\zzleftrightrepeat|
+between the \textbf{A} and the \textbf{B} sections:
+
+\begin{music}
+\smallmusicsize
+\generalmeter{\allabreve}
+\generalsignature{1}
+\startbarno=0
+\nobarnumbers
+\nostartrule
+\startpiece\addspace\afterruleskip
+\systemnumbers
+\zleftrepeat%
+\znotes\ccn{10}{\boxit{\bf A}}\en
+\NOtes\qa d\en%
+\bar%1
+\NOtes\qa{g}\qa{i}\qa{h}\qa{g}\en%
+\bar%2
+\NOTes\ha{k}\ha{i}\en%
+\bar%3
+\NOtes\qa{l}\qa{k}\qa{j}\qa{i}\en%
+\bar%4
+\NOtes\qa j\en
+\NOTes\ha i\en%
+\zzleftrightrepeat%
+\znotes\ccn{10}{\boxit{\bf B}}\en
+\NOtes\qa k\en%
+\bar%5
+\NOtes\qa{l}\qa{j}\qa{h}\en
+\Notes\ibl3i2\qb3i\tql3j\en%
+\bar%6
+\NOtes\qa{k}\qa{i}\qa{g}\en
+\Notes\ibu3h2\qb3h\tqu3i\en%
+\bar%7
+\NOtes\qa{j}\qa{i}\qa{h}\qa{g}\en%
+\bar%8
+\Notes\ibu3h1\qb3{h}\qb3{g}\qb3{h}\tqu3i\en
+\NOtes\qa h\en
+\Notes\ibl3i2\qb3i\tql3j\en%
+\bar%9
+\NOtes\qa k\en
+\Notes\ibl3i2\qb3i\tql3j\en
+\NOtes\qa k\en
+\Notes\ibl3j{-2}\qb3j\tql3i\en%
+\bar%10
+\NOtes\qa j\en
+\Notes\ibu3h2\qb3h\tqu3i\en
+\NOtes\qa j\en
+\Notes\ibu3i{-2}\qb3i\tqu3h\en%
+\bar%11
+\NOtes\qa{i}\qa{g}\en
+\NOtesp\tr{11}\qa{.h}\en
+\Notes\ca g\en%
+\bar%12
+\NOTesp\ha{.g}\en%
+\setrightrepeat%
+\endpiece%
+\end{music}
+
+\noindent No explicit adjustment of \verb|\barno| was necessary. The right-repeat
+at the end of the \textbf{B}~section was produced by
+\verb|\setrightrepeat\endpiece|.
+
+
+
+ \section{First and second endings (Voltas)}\index{volta}
+
+All volta commands must be entered right before the bar line command
+(or repeat, etc.) where they are to take effect. There are three
+commands that suffice to set all voltas. To start one, use
+\keyindex{Setvolta}\verb|{|\textit{text}\verb|}|; to terminate it
+with or without a vertical line, use \keyindex{endvolta} or
+\keyindex{endvoltabox} respectively. The text by default will be followed
+by a period. There are also various alternate
+commands (e.g., \verb|\setendvoltabox| is equivalent to \verb|\endvoltabox|).
+Some such alternate forms are used in the following example, but the first three
+mentioned above are all that are required:
+
+\medskip \begin{music}
+ \parindent0pt
+ \nostartrule
+ \startpiece
+ \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvoltabox{1.-3}\bar
+ \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat
+ \NOTEs\wh d\en\doublebar
+ \NOTEs\wh e\en\bar
+ \NOTEs\wh f\en\leftrepeat
+ \NOTEs\wh g\en\bar
+ \NOTEs\wh h\en\Setvolta1\bar
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh h\en\setendvoltabox
+ \Endpiece
+ \end{music}
+ \noindent This was coded as
+ \begin{quote}\begin{verbatim}
+ \startpiece \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvoltabox{1.-3}\bar
+ \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat
+ \NOTEs\wh d\en\doublebar
+ \NOTEs\wh e\en\bar
+ \NOTEs\wh f\en\leftrepeat
+ \NOTEs\wh g\en\bar
+ \NOTEs\wh h\en\Setvolta1\bar
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh h\en\setendvoltabox
+ \Endpiece
+\end{verbatim}\end{quote}
+ \zkeyindex{leftrepeat}\zkeyindex{rightrepeat}
+
+If the volta only spans one measure and ends without a vertical segment,
+it can be specified simply by saying
+\keyindex{setvolta}\verb|{|\textit{text}\verb|}| before the bar line command
+that starts it, and it will automatically terminate at the
+second bar line command:
+
+\medskip \begin{music}
+ \parindent0pt \nostartrule\startpiece \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat
+ \NOTEs\wh d\en\bar
+ \NOTEs\wh e\en\Endpiece
+\end{music}
+\noindent which was coded as:
+ \begin{quote}\begin{verbatim}
+ \parindent0pt \startpiece \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat
+ \NOTEs\wh d\en\bar
+ \NOTEs\wh e\en\Endpiece
+\end{verbatim}\end{quote}
+
+The height above the top staff line of the horizontal line in a volta symbol
+is determined by the token \keyindex{raisevolta} which is \verb|4\internote| by
+default. You can change this to any desired dimension.
+
+The period after the text can be
+removed by saying \verb|\def|\keyindex{voltadot}\verb|{}|
+and restored by \verb|\def|\keyindex{voltadot}\verb|{.}|\ .
+
+ \section{Special symbols for repeating long sections}
+
+Four special symbols and corresponding macros are available, namely
+\keyindex{coda}~$p$, \keyindex{Coda}~$p$,
+and \keyindex{segno}~$p$, where $p$ specifies the pitch; and \keyindex{Segno}
+with no argument. Their behavior is illustrated in this example:
+
+\begin{music}
+\startextract
+\NOtes\segno n\en
+\bar
+\NOtes\coda n\en
+\NOtes\Segno\en
+\bar
+\NOtes\Coda n\en
+\endextract
+\end{music}
+\noindent which has been coded:
+\begin{quote}\begin{verbatim}
+\NOtes\segno m\en\bar
+\NOtes\coda m\en
+\NOtes\Segno\en\bar
+\NOtes\Coda m\en
+\end{verbatim}\end{quote}
+
+\section{Repeating a single bar}
+ The special symbol for a single-bar repeat is generated by \keyindex{duevolte}, as shown
+in the following example:
+
+\begin{music}
+\generalmeter\meterC
+\setclef1\bass\setstaffs1{2}
+\startextract
+\NOtes|\qa{cegj}\en
+\def\atnextbar{\znotes\centerpause|\en}\bar
+\NOtes\qa{cdef}|\en
+\def\atnextbar{\znotes|\centerbar{\duevolte}\en}%
+\endextract
+\end{music}
+\noindent whose coding is:
+\begin{quote}\begin{verbatim}
+\generalmeter\meterC
+\setclef1\bass\setstaffs1{2}
+\startextract
+\NOtes|\qa{cegj}\en
+\def\atnextbar{\znotes\centerpause|\en}\bar
+\NOtes\qa{cdef}|\en
+\def\atnextbar{\znotes|\centerbar{\duevolte}\en}%
+\endextract
+\end{verbatim}\end{quote}
diff --git a/macros/musixtex/doc/musixdoc/restsdoc.tex b/macros/musixtex/doc/musixdoc/restsdoc.tex
new file mode 100644
index 0000000000..1e3a33431c
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/restsdoc.tex
@@ -0,0 +1,231 @@
+\chapter{Rests}
+ \section{Ordinary rests}
+ A separate macro is defined for each kind of ordinary rest. They cause
+a space after the symbol, just like spacing note commands, but they have
+no parameters. A whole rest is coded as
+\keyindex{pause},
+half rest \keyindex{hpause} or \keyindex{hp},
+quarter rest \keyindex{qp} or \keyindex{soupir},
+eighth rest \keyindex{ds}, sixteenth rest \keyindex{qs},
+$32$nd~rest \keyindex{hs}, and $64$th rest \keyindex{qqs}.
+Dotted rests may be obtained by
+using
+\keyindex{pausep},
+\keyindex{hpausep} or \keyindex{hpp}, \keyindex{qpp}, \keyindex{dsp}, \keyindex{qsp},
+\keyindex{hsp} and \keyindex{qqsp},
+and double-dotted rests by
+\keyindex{pausepp},
+\keyindex{hpausepp} or \keyindex{hppp}, \keyindex{qppp}, \keyindex{dspp}, \keyindex{qspp},
+\keyindex{hspp} and \keyindex{qqspp},.
+
+
+ Longer rests, normally interpreted as lasting
+two or four bars respectively, can be coded as \keyindex{PAuse}
+and \keyindex{PAUSe}, which yield:
+
+\begin{music}\nostartrule
+\generalmeter{\meterfrac44}
+\startextract
+\def\atnextbar{\znotes\centerbar\PAuse\en}%
+\NOTEs\en\bar
+\def\atnextbar{\znotes\centerbar\PAUSe\en}%
+\NOTEs\en
+\endextract
+\end{music}
+ %\check
+\noindent
+The command \keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch
+$p$ and of length $n$ \keyindex{noteskip}. For example,
+\verb|\NOTes\Hpause4{0.83}\en|
+produces
+
+\begin{music}
+\nostartrule
+\startextract
+\NOTes\Hpause4{0.83}\en
+\endextract
+\end{music}
+
+
+ \section{Raising rests and non-spacing rests}\index{raising rests}
+All the
+previous rests (except \keyindex{pausep},
+\keyindex{hpausep} and \keyindex{Hpause}) are \ital{hboxes}, which means that
+they can be vertically offset if needed using the
+standard \TeX\ command \keyindex{raise}. For example:
+
+ \begin{quote}
+ \begin{verbatim}
+ \raise 2\Interligne\qp
+ \raise 3mm\qqs
+ \end{verbatim}
+ \end{quote}
+
+\noindent where \keyindex{Interligne} is the distance from one staff line to the
+next.
+Similarly, non-spacing rests may be coded using the \TeX\ command \keyindex{rlap}, as in
+
+\begin{music}\nostartrule
+\startextract
+\notes\ibbu0h{-1}\zccl e\qb0h\raise-4\Interligne\rlap\qs\qb0e\en
+\notes\raise-4\Interligne\rlap\ds\qb0f\tqu0g\en
+\endextract
+\end{music}\noindent
+for which the coding is
+\begin{verbatim}
+\notes\ibbu0h{-1}\zccl e\qb0h\raise-4\Interligne\rlap\qs\qb0e\en
+\notes\raise-4\Interligne\rlap\ds\qb0f\tqu0g\en
+\end{verbatim}
+
+In addition, four special macros are available to raise or lower a whole or
+half rest. The ordinary \verb|\pause| or
+\verb|\hpause| cannot be used outside the staff because a short horizontal line
+must be added to distinguish between the whole and the half rest. The commands,
+which are non-spacing\footnote{Editor's note: The reason for having defined these
+as non-spacing is not obvious}, are
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{liftpause}~$n$ to get a
+ \hbox to10pt{\liftpause{-2}\hss}
+ raised from original position by $n$ staff line intervals,
+ \item \keyindex{lifthpause}~$n$ to get
+ \hbox to10pt{\lifthpause{-1}\hss} raised the same way.
+ \item \keyindex{liftpausep}~$n$ to get a
+ \hbox to10pt{\liftpausep{-2}\hss}
+ raised from original position by $n$ staff line intervals,
+ \item \keyindex{lifthpausep}~$n$ to get
+ \hbox to10pt{\lifthpausep{-1}\hss} raised the same way.
+ \end{itemize}
+ %\check
+ \section{Bar-centered rests}\label{barcentered}
+Sometimes it is necessary to place a rest (or some other symbols) exactly in the middle
+of the notes region of a bar
+(i.e., excluding any initial clef and key or time signatures).
+This can usually be done with combinations of the commands
+\keyindex{atnextbar},
+\keyindex{centerbar},
+\keyindex{cPAUSe},
+\keyindex{cPAuse},
+\keyindex{cpause},
+\keyindex{chpause},
+\keyindex{cHpause} $n$,
+as demonstrated in the following example:
+
+\begin{music}
+\generalmeter\meterC
+\generalsignature{3}
+\setclef1\bass
+\setstaffs1{2}
+\parindent0pt
+\startextract
+\NOtes|\qa{cegj}\en
+\def\atnextbar{\znotes\centerbar{\cpause}|\en}%
+\generalsignature{-3}\changecontext
+\NOTes\ha{Nc}|\en
+\def\atnextbar{\znotes|\centerbar{\cpause}\en}%
+\setclef1\alto\changeclefs%
+\generalmeter{\meterfrac21}\changecontext%
+\NOTEs\wh d\pause|\en
+\def\atnextbar{\znotes|\centerbar{\cPAuse}\en}%
+\bar
+\NOTEs|\en
+\def\atnextbar{\znotes\centerbar{\cHpause{12}}|\centerbar{\cHpause{12}}\en}%
+\endextract
+\end{music}
+\noindent with the coding
+\begin{verbatim}
+\generalmeter\meterC
+\generalsignature{3}
+\setclef1\bass
+\setstaffs1{2}
+\parindent0pt
+\startextract
+\NOtes|\qa{cegj}\en
+\def\atnextbar{\znotes\centerbar{\cpause}|\en}%
+\generalsignature{-3}\changecontext
+\NOTes\ha{Nc}|\en
+\def\atnextbar{\znotes|\centerbar{\cpause}\en}%
+\setclef1\alto\changeclefs%
+\generalmeter{\meterfrac21}\changecontext%
+\NOTEs\wh d\pause|\en
+\def\atnextbar{\znotes|\centerbar{\cPAuse}\en}%
+\bar
+\NOTEs|\en
+\def\atnextbar{\znotes\centerbar{\cHpause{12}}|\centerbar{\cHpause{12}}\en}%
+\endextract
+\end{verbatim}\noindent
+
+The following abbreviations are provided:
+\begin{quote}
+\begin{tabular}{lcl}
+\keyindex{centerpause}& for & \verb|\centerbar{\cpause}|\\
+\keyindex{centerhpause}& for & \verb|\centerbar{\chpause}|\\
+\keyindex{centerPAuse}& for & \verb|\centerbar{\cPAuse}|\\
+\keyindex{centerPAUSe}& for & \verb|\centerbar{\cPAUSe}|\\
+\keyindex{centerHpause} $n$ & for & \verb|\centerbar{\cHpause| $n$\verb|}|
+\end{tabular}
+\end{quote}
+Material other than these rests may be used as arguments to
+\verb|\centerbar|, as in:\\
+\begin{music}
+\nostartrule
+\generalmeter\meterC
+\parindent0pt
+\startextract
+\NOTEs\sk\hqsk\en\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont7}}%
+\centerbar{\cPAUSe\off{2\elemskip}\cPAuse\off{2\elemskip}\cpause}\en}\bar
+\NOtes\ql{ghij}\en
+\def\atnextbar{\znotes\centerbar{\liftpause2}\en}\bar
+\NOTes\en
+\def\atnextbar{\znotes\centerbar{\duevolte}\en}\bar
+\NOTes\en
+\def\atnextbar{\znotes\loffset{0.7}{\centerbar{\Fermataup l\wh j}}\en}
+\endextract
+\end{music}
+\noindent for which the coding is:
+\begin{verbatim}
+\generalmeter\meterC
+\parindent0pt
+\startextract
+\NOTEs\en\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont7}}%
+\centerbar{\cPAUSe\off{2\elemskip}\cPAuse\off{2\elemskip}\cpause}\en}\bar
+\NOtes\ql{ghij}\en
+\def\atnextbar{\znotes\centerbar{\liftpause2}\en}\bar
+\NOTes\en
+\def\atnextbar{\znotes\centerbar{\duevolte}\en}\bar
+\NOTes\en
+\def\atnextbar{\znotes\loffset{0.7}{\centerbar{\Fermataup l\wh j}}\en}
+\endextract
+\end{verbatim}
+In the last measure,
+it has been necessary to use \keyindex{loffset} to correct the centering of
+the off-center command
+\verb|\wh|\ldots.
+
+%To get proper positioning of \keyindex{centerbar} material before
+%a clef change, you may use an invisible bar line as in
+%\begin{quote}
+%\begin{verbatim}
+%\setclef1\bass
+%\startextract%
+%\NOTEs\Hpause4{0.83}\en
+%\def\atnextbar{\znotes\centerbar{\ccn9{\meterfont{4}}}\en}%
+%\qspace\setemptybar\bar% invisible bar line
+%\setclef1\alto\zchangeclefs\bar%
+%\NOtes\qa{abcd}\en
+%\endextract
+%\end{verbatim}
+%\end{quote}
+%which produces
+%
+%\begin{music}
+%\nostartrule
+%\nobarnumbers
+%\setclef1\bass
+%\startextract%
+%\NOTEs\Hpause4{0.83}\en
+%\def\atnextbar{\znotes\centerbar{\ccn9{\meterfont{4}}}\en}%
+%%\qspace\setemptybar\bar% invisible bar line
+%\setclef1\alto\changeclefs\bar%
+%\NOtes\qa{abcd}\en
+%\endextract
+%\end{music}
diff --git a/macros/musixtex/doc/musixdoc/settingup.tex b/macros/musixtex/doc/musixdoc/settingup.tex
new file mode 100644
index 0000000000..5de88fc3e6
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/settingup.tex
@@ -0,0 +1,367 @@
+\chapter{Setting up the Input File}
+\section{What makes a \TeX\ file a \musixtex\ file?}
+A \musixtex\ input file is a special kind of \TeX\ input file. What makes it
+special is that it must contain the command
+\verb|\input musixtex|
+before any reference to \musixtex\ macros. After that might follow
+\verb|\input musixadd| or \verb|\input musixmad| if you want to have
+respectively up to nine or twelve instruments or simultaneous beams,
+ties, or slurs.\ixtt{musixtex.tex}\ixtt{musixadd.tex}\ixtt{musixmad.tex}
+If you want to have greater numbers of these elements, you can assign them
+directly by including one or more of these commands:
+\verb|\setmaxinstruments|,
+\verb|\setmaxcxxviiibeams|,
+\verb|\setmaxcclvibeams|,
+\verb|\setmaxgroups|,
+\verb|\setmaxslurs|,
+\verb|\setmaxtrills|,
+\verb|\setmaxoctlines|.
+
+Since it is still a \TeX\ file, after that, if you wished to,
+you could write a whole non-musical book
+using normal \TeX\ commands provided that you did not
+use \verb|&| as a tab character like in plain \TeX; in \TeX\ lingo,
+its \keyindex{catcode} has been changed.
+
+ \section{Cautions for the non \TeX pert}
+When \TeX\ reads anything, it inputs one \ital{token} at a time. A token
+may be either a \ital{command} or a character. A command (or \ital{macro},
+or \ital{control sequence}) is a
+\ital{backslash} (``{\Bslash}'') immediately followed by sequence of
+letters with no intervening spaces. For practical purposes, any single symbol (letter, digit,
+special character, or space) that is not part of a command counts as a character
+and therefore as a token.
+
+Each command expects a specific number of parameters.
+The tokens ``\verb|{|'' and ``\verb|}|'' are very special, in that (1) they
+must occur in matched pairs, and (2) any matched pair together with
+the stuff inside counts as a single parameter.
+If the first
+parameter expected is a single letter, it must either be
+separated from the command by a space or
+enclosed in braces (otherwise it would be interpreted as part of the command).
+For example the command \verb|\ibu| expects three parameters, so the
+following are all OK: \verb|\ibu123|, \verb|\ibu1A3|, \verb|\ibu1{`A}3|,
+\verb|\ibu{1}{2}{3}|, \verb|\ibu1{-2}3|, or \verb|\ibu1{23}4|, but
+\verb|\ibu1234| is not OK; the first three digits are taken as parameters,
+leaving the ``4'' with no purpose other than to cause some of the dreaded
+unrecorded space that we have already mentioned.
+
+In the rest of this manual, when describing commands we will write
+things like \verb|\qb{|$n$\verb|}{|$p$\verb|}|. It should be understood that
+when $n$ and $p$ are replaced by their literal values, the braces may
+or may not be necessary. In particular, if both are single digits, no
+braces are needed; but if $n$ has two digits, or if $p$ has more than
+one character, they must be surrounded by braces.
+
+Spaces (blank characters) in the input file must be handled very carefully.
+They are ignored at the beginning of a line, enabling logical
+indentation schemes to help make the file human-readable. There are also a few
+other places within lines where blank spaces are OK (such as mentioned in the prior paragraph),
+but in general is it safest to avoid
+any unnecessary blanks between the beginning and end of an input line.
+At the end of a line, the truth is that a command with no parameters, such as
+\verb|\bar| or \verb|\en| will cause no trouble. However if a command with
+one or more parameters is the last item in an input line, it will cause
+unrecorded space. The way around this is to end the line with either ``\verb|%|''
+or \verb|\relax|.
+
+ \section{Usual setup commands}\label{whatspecify}
+
+\subsection{Music size}
+
+ The first decision is what size type to use. \musixtex\ offers four sizes:
+``small'' \mbox{(\texttt{16pt}-high staves),} ``normal'' (\texttt{20pt}),\index{sizes} ``large''
+(\texttt{24pt}), and ``Large'' (\texttt{29pt}). The default is
+\keyindex{normalmusicsize}. If you want a different size, then you have to
+enter \keyindex{smallmusicsize}, \keyindex{largemusicsize}, or
+\keyindex{Largemusicsize}. Each of these commands defines not only the
+desired staff size but many other related sizes such as note heads, ornaments,
+stem lengths, etc.
+
+\subsection{Number of instruments}
+
+ The command \keyindex{instrumentnumber}\onen~defines the
+number of instruments to be $n$. If not entered, the default is $1$. This number is used in loops
+that build staves,
+set key signatures, set meters, etc., so if it differs from $1$ it must be explicitly
+defined before any further commands. The default maximum number of instruments is $6$
+but this can be increased by using \keyindex{setmaxinstruments}\onen.
+
+\subsection{Number of staves per instrument}
+
+An instrument may have one or more staves (e.g.,~a piano would normally have 2 staves).
+The differences between one
+instrument of several staves and several instruments with one staff each are as follows:
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Different instruments may have different \itxem{key signatures}, while different
+staves of an instrument will all have the same key signature.
+ \item A \itxem{beam} may include notes in different
+staves of the same instrument.
+ \item A \itxem{chord} may extend across several staves of the same
+instrument.
+ \item If an instrument has more than one staff, they will be linked together
+with a big, curly brace at the beginning of each line.
+\end{itemize}
+The default number of staves per instrument is $1$. If it is different, then it
+must be specified by \keyindex{setstaffs}\verb|{|$n$\verb|}{|$p$\verb|}|
+where $p$ is the number of staves and $n$ is the
+number of the instrument. In \musixtex, instruments are numbered
+\ital{starting with the lowest}.
+So for example \verb|setstaffs32|
+assigns two staves to the third instrument from the bottom.
+
+\subsection{Clefs for each staff}
+
+ The default clef for every staff is the \ital{treble} clef. To assign
+any other clef, the command is
+\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}|
+where $n$ is the number of the instrument, $s_1$ is a digit specifying the
+clef for the first (lowest) staff, $s_2$ for the second staff, and so forth.
+Note that like
+instruments, staves of a given instrument are numbered starting with
+the lowest. The parameters $s_2$, $s_3$ and $s_4$ can be omitted, in which case
+any unspecified staves will be assigned a treble clef.
+
+The digits $s$ can range from $0$ to $9$, with the following meanings:
+$s=0$ signifies treble or G clef.
+$s=1$ to $4$ mean C-clef, respectively on the first (lowest) through fourth staff line.
+$1$ is also called \ital{soprano}, $3$ \ital{alto} and $4$ \ital{tenor}.
+$s=5$ to $s=7$ mean F-clef, respectively on the third through fifth staff line. $5$ is
+also called \ital{baritone} and $6$ is the normal \ital{bass}.
+ $s=8$ is used to specify an ``empty'' clef.
+$s=9$ represents a G clef on the first line, also called \ital{French violin} clef.
+
+The three tokens \verb|\treble|, \verb|\alto|, and \verb|\bass| can be used instead
+of a digit for $s$, but only if there would have been but one digit in the string.
+So for example the clefs for a standard piano score
+could be specified by
+\keyindex{setclef}\verb|1{\bass}|.
+
+Treble and bass clefs with the digit $8$ above or below are also possible; see
+Section~\ref{treblelowoct}.
+
+\subsection{Key signatures}
+
+To set a common key signature for all instruments, use
+ \keyindex{generalsignature}\verb|{|$s$\verb|}|,
+where $s>0$ is the number of \itxem{sharps} in the
+signature and $s<0$ the number of \itxem{flats}\footnote{We once saw a
+score in G-minor where the signature consisted of two flats (B and E) plus
+one sharp (F). This is not directly supported by \musixtex.}. To override
+the common key signature for instrument $n$, use
+\keyindex{setsign}\verb|{|$n$\verb|}{|$s$\verb|}|. Note that differing
+key signatures cannot be assigned to different staves of the same instrument.
+
+\subsection{Meters}
+
+A common \itxem{meter} for all staves can be specified by
+ \keyindex{generalmeter}\verb|{|$m$\verb|}|,\label{generalmeter}
+where $m$ describes the appearance of the meter indication, and can take several
+different forms. If the meter is a \ital{fraction} (e.g.,~$3/4$) the command is
+ \verb|\generalmeter{|\keyindex{meterfrac}\verb|{3}{4}}|.
+Other possible tokens~$m$ are \keyindex{meterC},
+\keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve}, \keyindex{meterN} and
+\keyindex{meterplus}.
+To insert extra space before the meter is
+written, use \keyindex{meterskip}$d$ where $d$ is any hard \TeX\
+%dimension\footnote{{\Bslash\tt meterskip} is not a macro but a
+dimension\footnote{{\tt\Bslash meterskip} is not a macro but a
+dimension register. Whatever follows it
+must be a \TeX\ dimension and {\it it must not be enclosed in braces}.}.
+The assignment must occur outside \verb|\startpiece...\endpiece| and will be
+reset to zero after first meter is posted.
+
+These are illustrated in the following example:
+
+ %\check
+\begin{music}
+\generalmeter\meterC
+\nostartrule
+\parindent0pt\startpiece
+\NOtes\qa{cegj}\en
+\generalmeter\allabreve\changecontext
+\NOTes\ha{ce}\en
+\generalmeter\reverseC\changecontext
+\NOTEs\zbreve g\en
+\generalmeter\reverseallabreve\changecontext
+\NOTEs\zwq g\en
+\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext
+\notesp\Tqbu ceg\Dqbl jg\Tqbu gec\en
+\generalmeter{\meterN3}\meterskip4pt\changecontext
+\Notes\qa{ceg}\en\setemptybar
+\endpiece
+\end{music}
+\noindent which was coded as:
+\begin{quote}\begin{verbatim}
+\generalmeter\meterC
+\nostartrule
+\parindent0pt\startpiece
+\NOtes\qa{cegj}\en
+\generalmeter\allabreve\changecontext
+\NOTes\ha{ce}\en
+\generalmeter\reverseC\changecontext
+\NOTEs\zbreve g\en
+\generalmeter\reverseallabreve\changecontext
+\NOTEs\zwq g\en
+\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext
+\notesp\Tqbu ceg\Dqbl jg\Tqbu gec\en
+\generalmeter{\meterN3}\meterskip4pt\changecontext
+\Notes\qa{ceg}\en\setemptybar
+\endpiece
+\end{verbatim}\end{quote}
+
+To override the common meter for any staff, use
+\keyindex{setmeter}\verb|{|$n$\verb|}{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}|.\linebreak
+This works just like \verb|\setclef|. For example,
+\verb|setmeter3{{\meterfrac{12}8}\allabreve}|
+sets the meter to 12/8 for the first staff of the third instrument, and
+\ital{alla breve} for the second staff.
+
+
+\subsection{Instrument names}
+
+To set an \itxem{instrument name}, use
+\keyindex{setname}\verb|{|$n$\verb|}{|\ital{name of the instrument}\verb|}|.
+This will place the name in the space to the left of the
+first staff or group of staves for instrument $n$. To specify the amount of space
+available, use \verb|\parindent|$d$ where $d$ is any hard \TeX\ dimension.
+For multi-line instrument names, use \TeX\ commands as in the following:
+\begin{verbatim}
+ \setname1{\vbox{%
+ \hbox to\parindent{\hss Bass\hss}%
+ \hbox to\parindent{\hss Recorder\hss}}}
+\end{verbatim}
+
+ \section{Groupings of instruments}\label{curlybrackets}
+By default, all staves in a system will be joined
+at the left by a thin, vertical rule. In addition, if an instrument has more than
+one staff, they will be joined by a big, curly brace. Now we introduce a way
+to delineate groups of instruments or choirs with a square brace containing two parallel
+vertical rules, the left one thick and the right one thin. This is commonly used
+to group together the voices in a choir.
+
+If there is only one choir, this can be done with
+ \begin{quote}
+\keyindex{songtop}\onen\\
+\keyindex{songbottom}\verb|{|$m$\verb|}|
+\end{quote}
+\noindent where $m$ and $n$ are the instrument numbers of the first
+and last voices. An example is shown in Section~\ref{song}.
+
+If there is more than one choir to be set off with
+square braces, each one can be specified with
+ \begin{quote}
+\keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\
+\keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}|
+\end{quote}
+\noindent where $m$ and $n$ are the instrument numbers of the first
+and last voices of group number~$g$. \musixtex{} allows up to three
+groups, numbered from $1$ to $3$. The command \verb|\songtop| is equivalent
+to \verb|\grouptop 1|; \verb|\songbottom| is equivalent to
+\verb|\groupbottom 1|.
+
+With \ttxem{musixadd.tex} or \ttxem{musixmad.tex}, the allowable number of
+groups is increased to four.
+Alternatively, you can specify the allowable number of groups to $m$ by
+\keyindex{setmaxgroups}\verb|{|$m$\verb|}|%
+\footnote{Using $m>4$ may require e-\TeX.}.
+\label{musixmad_setmaxgroups}
+
+If any of the instruments grouped this way has more than one staff, the
+heavy curly brace will be shifted to the left of the square brace.
+
+Previously defined square braces can be removed by declaring
+\verb|\songtop| less than \verb|\songbottom|. The same applies to
+\verb|\grouptop| and \verb|\groupbottom| for the same group number.
+
+ An alternate command allows you to specify all choirs at once:
+\begin{quote}
+ \keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}%
+ \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|%
+ {\it lower\_3\/}\verb|}{|{\it upper\_3\/}\verb|}}|
+\end{quote}
+\noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument
+numbers that denote the span of bracket number $n$. For
+setting fewer than three brackets, just omit all unneeded
+\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs.
+
+For example,
+ \verb|\instrumentnumber{5}\akkoladen{{1}{2}{3}{5}}|
+\noindent yields the first example below, with five single-staff instruments
+divided into two groups.
+The second example has two instruments, the first (lower) with two staves and the
+second with three. Each instrument is set off by default with a curly bracket.
+
+If for some reason you want more than one \ital{instrument}\ grouped
+within a curly
+bracket, then you can use the
+command
+
+ \keyindex{curlybrackets}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}%
+ \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}...|
+
+\noindent to be used as illustrated in the third example below.\\
+\begin{small}
+\begin{minipage}[t]{29ex}
+\begin{music}
+ % just to avoid wasting space ...
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}}
+ \startextract\notes\en\bar\notes\en\zendextract
+\end{music}
+\begin{quote}is coded as:
+\begin{verbatim}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber{5}
+ \akkoladen{{1}{2}{3}{5}}
+ \startextract
+ \notes\en\bar\notes\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{minipage}
+\begin{minipage}[t]{27ex}
+\begin{music}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber2 \setstaffs12\setstaffs23
+ \startextract \notes\en\bar\notes\en\zendextract
+\end{music}
+\begin{quote}is coded as:
+\begin{verbatim}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber2
+ \setstaffs12
+ \setstaffs23
+ \startextract
+ \notes\en\bar\notes\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{minipage}
+\begin{minipage}[t]{27ex}
+\begin{music}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber5 %\setstaffs12\setstaffs23
+ \curlybrackets{1235}
+ \startextract \notes\en\bar\notes\en\zendextract
+\end{music}
+\begin{quote}is coded as:
+\begin{verbatim}
+ \sepbarrules
+ \instrumentnumber5
+ \smallmusicsize
+ \curlybrackets{1235}
+ \startextract
+ \notes\en\bar\notes\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{minipage}
+\end{small}
+
+
+
+
diff --git a/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex b/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex
new file mode 100644
index 0000000000..b7bfca7d64
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex
@@ -0,0 +1,378 @@
+ \chapter{Postscript Slurs, Ties and Hairpins}\label{PostscriptSlurs}
+
+\input musixps
+
+
+All of the aforementioned limitations of font-based slurs can be circumvented
+by using type~K Postscript slurs\footnote{``K'' stands for Stanislav Kneifl,
+the developer of the type~K Postscript slur package.}. As well as slurs, the package includes
+ties and crescendos.
+Its use is very similar to font-based slurs, and in fact identical if only
+the elementary slur and tie initiation and termination macros are used.
+
+In order to use type~K Postscript slurs, ties and hairpins, you must first place \texttt{musixps.tex}
+anywhere \TeX\ can find it. You must also place \texttt{psslurs.pro}
+somewhere that \texttt{dvips} can find it.
+
+The \index{mxsk font}\texttt{mxsk} font is required for ``half ties,'' which
+are special symbols that are used by default for the second portion of a tie
+that crosses a line break. If you like
+this treatment you must install the font in your \TeX\ system. However, perfectly
+acceptable line-breaking ties will appear if you invoke \keyindex{nohalfties},
+and then you will not have to install this font.
+
+Once the software mentioned in the prior two paragraphs is installed and the
+\TeX\ filename database is refreshed, the type~K package can be
+invoked by including the command \verb|\input musixps|
+near the beginning of your source file (but after loading \verb\musixtex.tex\).
+The resulting dvi file should then be converted into Postscript using \textbf{dvips}.
+If desired, a PDF file can then be generated with \textbf{ps2pdf}, \textbf{ghostscript},
+or \textbf{Adobe Acrobat} (see Section~\ref{using} for more information on this).
+
+Two minor inconveniences with type~K Postscript slurs are that (1) they won't appear
+in many dvi previewers, and (2) they won't appear in PDF files generated with
+\textbf{pdftex} or \textbf{dvipdfm}. The former limitation can be circumvented by using a Postscript
+viewer such as \textbf{GSview}. The latter simply requires that you create an intermediate
+Postscript file with \textbf{dvips}, then make the PDF with any of the software
+mentioned above.
+
+
+\section{Initiating and terminating type K Postscript slurs}
+
+Basic usage of type K slurs is the same as for font-based slurs. To initiate one,
+use for example \verb|\isluru0g| to start an upper slur with ID 0 above a virtual note
+at pitch level {\tt g}. To terminate one, use a command like
+\verb|\tslur0i| which terminates the slur with ID 0 on a
+virtual note at pitch level {\tt i}.
+Both types of commands are non-spacing and must precede the first or last
+note under the slur.
+
+Termination macros are not restricted to being used
+with their initiation counterpart. For example, a slur
+beginning as a ``beam'' slur may be terminated as a
+normal slur, or \emph{vice versa}. These would be achieved by using macro pairs
+\verb|\ibslur...\tslur...| or \verb|\islur...\tbslur...|, respectively.
+Unlike font-based slurs, adjusting the vertical positioning of the slur termination should not be necessary.
+
+You can shift the starting or ending point slightly to the left
+or right by substituting one of the commands \keyindex{ilsluru},
+\keyindex{ilslurd}, \keyindex{irsluru},
+\keyindex{irslurd}, \keyindex{trslur} or \keyindex{tlslur}.
+For shifts farther to the left, use
+\keyindex{iLsluru},
+\keyindex{iLslurd}
+or \keyindex{tLslur}.
+
+
+You can control the shape of type~K slurs with variants of
+the termination command. To make the slur a bit flatter than default use
+\keyindex{tfslur}0f; a bit higher, \keyindex{thslur}0f; higher still,
+\keyindex{tHslur}0f; or
+even higher, \keyindex{tHHslur}0f. These commands have an effect like
+\keyindex{midslur} does for font-based slurs.
+
+All combinations of the shifting and curvature variants are allowed,
+e.g.\ \verb|\trHHslur|.
+
+
+The following examples demonstrate how much better the type K slurs perform
+in the extreme situations of the prior two typeset examples. The coding is
+exactly the same as above except that \verb|\input musixps| has been added:
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\input musixps
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+....
+\end{verbatim}\end{quote}
+
+\begin{music}\nostartrule
+\instrumentnumber{1}
+\generalmeter{\meterfrac34}
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract
+
+\startextract
+\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en\bar
+\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en
+\NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en\bar
+\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en
+\zendextract
+\end{music}
+
+
+
+
+For maximal control over type K slurs, you can use one of the commands
+\keyindex{iSlur}~$npvh$ and
+\keyindex{tSlur}~$npvhca$, where the characters in
+$npvhca$ respectively stand for ID number, height, vertical offset, horizontal offset,
+curvature, and angularity.
+All offsets are in \verb|internote|, and the slur direction is determined
+by the sign of the vertical offset. See the comments in \verb|musixps.tex|
+for precise definitions of the other parameters. Examples of permissible forms for
+these commands are
+\verb|iSlur0c11| and \verb|tSlur0{!d}11{.2}0|.
+
+The next example shows how you can use \verb|iSlur| in difficult
+circumstances:
+
+
+\begin{music}\nostartrule
+\nobarnumbers
+\generalsignature1%
+\generalmeter{\meterfrac{2}{4}}%
+\nostartrule
+\startextract
+\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlfslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\zchar{-8}{\Bslash iSlur...\Bslash tSlur}\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en
+\zendextract
+\end{music}
+\noindent with this coding:
+
+\begin{quote}\begin{verbatim}
+\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en
+\end{verbatim}\end{quote}
+
+
+The ID number for a slur, tie or crescendo should
+normally range from $0$ to $9$. If it is bigger
+than nine but less than $15$,
+the object can cross a line break but not a page break. If bigger than
+14 but less than $2^{31}$, it can't be broken at all,
+ nor can a slur termination be positioned at a beam with
+ e.g., \verb|\tbsluru{17684}{16}|; however \verb|\ibsluru{152867}{16}| is okay.
+
+It's also okay to have opened simultaneously a slur, tie and crescendo all
+with the same ID, or a slur, tie and decrescendo, but not a crescendo and
+decrescendo.
+
+\def\emen{{\tt\char123}$n${\tt\char125\char123}$m${\tt\char125}}
+
+`
+\section{Type~K Postscript beam slurs}
+Type~K beam slurs are defined differently than the font-based ones:
+They require as parameters both a slur ID number $n$ and a beam ID number $m$,
+but that's all. The commands are
+\keyindex{iBsluru}\emen, \keyindex{iBslurd}\emen, and
+\keyindex{tBslur}\emen.
+They must be placed \ital{after} the beam initiation or termination command.
+Type~K slurs may start on one beam and end on another.
+For example,
+
+\begin{quote}\begin{verbatim}
+\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
+ \slurtext{6}\tBslur00\qb0e\en
+\end{verbatim}\end{quote}
+
+\noindent produces
+%\begin{center}
+%\includegraphics[scale=1]{./mxdexamples/psbeamslur.eps}
+%\end{center}
+
+\begin{music}\nostartrule\startextract
+\Notes\ibu0g2\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
+ \slurtext{6}\tBslur00\qb0e\en
+\zendextract
+\end{music}
+
+This example also illustrates the use of the macro
+\keyindex{slurtext}. It has just one parameter---some text to be
+printed---and it centers it just above or below the midpoint of
+the next slur that is closed.
+This works only for non-breaking slurs; if the slur is broken,
+the text
+disappears\footnote{If you insist on viewing files with a dvi viewer that
+doesn't display
+type~K slurs, you may also find that
+figures placed with \keyindex{slurtext} will appear at the end of the
+slur rather than the middle.}.
+%The placing of the slur text is done with a very dirty Postscript
+%hack, so I am not really sure that everything you want to typeset
+%will be placed at the correct position (if you are interested, see
+%the end of psslurs.pro for details). If you find something that won't
+%work, let me know.
+
+% DAS: why do we need this ???
+%\paragraph{General coding for Postscript slurs and ties of type K.}
+%This can be done by:
+%\begin{quote}\begin{verbatim}
+%\i[h.shift]slur[u|d]{slur ID}{note height}
+%\t[h.shift][slur height]slur{slur ID}{note height}
+%\iBslur[u|d]{slur ID}{beam ID}
+%\tB[slur.height]slur{slur ID}{beam ID}
+%\end{verbatim}\end{quote}
+%\noindent where h.shift can be 'l', 'r' or nothing
+%and slur.height can be 'f', nothing, 'h', 'H' or 'HH'
+%
+%Example: \keyindex{tlfslur} means 'terminate left flat slur'.
+%
+%
+%There are also simple slurs with same invocation and parameters as the
+%original ones.
+
+\section{Type~K Postscript ties}
+All of the foregoing Type~K slur commands
+except the shape-changing ones
+have counterparts for ties. Simply
+replace ``\verb|slur|'' with ``\verb|tie|'', and for terminations omit
+the pitch parameter. Type~K ties not only are positioned differently by
+default, but they also have different shapes than slurs. If you want to change
+the shape of a tie, redefine \verb|\pstiehgt| from its default of $0.7$.
+
+\section{Dotted type K slurs and ties.}%please check the capital D(otted)
+A slur or tie can be made dotted simply by entering \keyindex{dotted} anywhere before
+the beginning of the slur or tie. Only the first slur or tie following this
+command will be affected. On the other hand, if you enter \keyindex{Dotted}, then \emph{all}
+slurs and ties from this point forward will be dotted until you say
+\keyindex{Solid}. Furthermore, inside \verb|\Dotted...\Solid| you can make any individual
+slur or tie solid saying \verb|\solid| before its beginning.
+
+\section{Avoiding collisions with staff lines.}
+In Postscript it is possible to do computations that would be very hard
+to implement directly in TeX. Type~K slurs can use this facility to check whether
+the curve of a slur or tie is anywhere nearly tangent to any staff line, and if
+so, to adjust
+the altitude of the curve to avoid the collision. By default this feature is turned
+on.
+You can disable it either
+globally (\keyindex{Nosluradjust}, \keyindex{Notieadjust}) or locally
+(\keyindex{nosluradjust}, \keyindex{notieadjust}), and you can also turn it
+back on globally (\keyindex{Sluradjust},
+\keyindex{Tieadjust}) or locally (\keyindex{sluradjust}, \keyindex{tieadjust}).
+Here ``locally''
+means that the command will only affect the next slur or tie to be opened.
+
+\section{Type K Postscript hairpins}\label{kcresc}
+
+There are two different types. The first type is normally initiated with either
+\keyindex{icresc}\onen~or \keyindex{idecresc}\onen, and terminated with
+\keyindex{tcresc}\onen, where $n$ is a hairpin index,
+which is virtually unlimited but certain restrictions apply if it exceeds $14$.
+The altitude is set by the value of \keyindex{setcrescheight}, which by default
+is $-5$ and which must be expressed numerically. Note that
+\keyindex{tcresc}~is the same as \keyindex{tdecresc}.
+
+You can shift the starting or ending point horizontally by replacing the
+foregoing macros with
+\keyindex{ilcresc}, \keyindex{ildecresc},
+\keyindex{ircresc}, \keyindex{irdecresc},
+\keyindex{tlcresc}, \keyindex{tldecresc},
+\keyindex{trcresc}, \keyindex{trdecresc},
+for example to make space for an alphabetic dynamic mark.
+
+The second form of Postscript hairpin macros allows individual and arbitrary
+specification of the altitude and horizontal offset. The syntax is
+\keyindex{Icresc}\itbrace{n}\itbrace{h}\itbrace{s}, where $h$ is the
+altitude---which must be numerical---and $s$ is the horizontal offset
+in \verb|\internote|. Similar syntax obtains for \keyindex{Idecresc}\
+and \keyindex{Tcresc}.
+
+These hairpins may span several lines. If one of them spans three systems
+then the height of the middle section can be adjusted with
+\keyindex{liftcresc}\itbrace{n}\itbrace{h}. The height of the first and last
+parts of a broken crescendo will be defined by the height parameter in
+\keyindex{Icresc}~or \keyindex{Tcresc}.
+
+There are numerous other nuances and shorthand macros that are described
+in the comments in \verb|musixps.tex|.
+
+As an example of a Postscript hairpin,
+
+\begin{music}\nostartrule
+\generalmeter{\meterfrac{12}8}
+\startextract
+\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en
+\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en
+\zendextract
+\end{music}
+
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\input musixps
+\generalmeter{\meterfrac{12}8}
+\startextract
+\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en
+\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en
+\zendextract
+\end{verbatim}\end{quote}
+
+
+\section{Line-breaking slurs, ties and hairpins}
+Tyle K slurs, ties and crescendos going across line breaks are handled
+automatically. In fact they can go over more lines than two (this is
+true also for ties, though it would be somewhat strange).
+
+There is a switch \verb|\ifslopebrkslurs| that controls the default
+height of the end point
+of the first segment of all broken slurs. By default the height will be
+the same as the beginning. To have it raised by \verb|3\internote|, simply
+issue the command \keyindex{slopebrkslurstrue}. To revert to the default,
+use \keyindex{slopebrkslursfalse}.
+
+To locally override the default height of the end of the first segment,
+use the command \keyindex{breakslur}\enpee,
+which sets the height for slur number $n$ to pitch $p$, just like with
+font-based slurs.
+
+You can raise or lower the starting point of the second segment of a broken slur
+with the command \keyindex{liftslur}\verb|{|$n$\verb|}{|$h$\verb|}|, with
+parameters slur ID and relative offset in
+\verb|\internote|s measured from the slur beginning. Its effect is
+the same as \keyindex{Liftslur} for font-based slurs, except it is not
+necessary to code
+it within \verb|\atnextstaff{}|, just anywhere inside the slur.
+
+As already mentioned, anything with $\mathrm{ID}<10$ is broken fully automatically, but
+you should be careful about slurs, ties and crescendos with $10\le\mathrm{ID}<15$.
+These cannot cross page breaks, although they can cross line breaks.
+
+If the second segment of a broken tie is less than 15pt long, then by
+default it will have a special shape which begins horizontally. These shapes are
+called \ital{half ties} and are contained in the font \index{mxsk font}\verb|mxsk|.
+Of course if they are to be used, the font files must be integrated into the
+\TeX\ installation. Their use can be turned off with \keyindex{nohalfties}
+and back on with \keyindex{halfties}.
+
+%\paragraph{Backwards compatibility.}
+%There are several ``aliases'' which allow to use the old, bitmapped slur
+%commands for PS slurs without any change. There are however a few differences:
+%the \keyindex{invertslur} is not implemented yet and
+%the \keyindex{curve} and \keyindex{midslur} macros have no effect.
+
+%\paragraph{Memory requirements.}
+\enlargethispage*{4ex}
+\section{A few final technical details}
+Each \verb|\i...| and \verb|\t...|
+produces a \verb|\special| command, which must be stored in TeX's main memory.
+Therefore, if too many slurs occur in one page, some memory problems could
+occur. The only solution is to use font-based slurs.
+%The only solutions are to use Big\TeX\
+%BigTex? it is apparently the mascot for the Texas State Fair
+
+Type~K slurs need the Postscript header file
+\index{psslurs.pro}\texttt{psslurs.pro} to be included in the
+output Postscript file. This is made to happen by the \TeX\ command
+\verb|\special{header=psslurs.pro}|, which is automatically
+included when you \verb|\input musixps|. So normally this is not
+of concern. However if you wish to extract a subset of pages from
+the master \verb|dvi| file using \index{dvidvi}\texttt{dvidvi}, then
+you have three options: (1)~include the first page in the subset,
+(2)~manually issue the
+\verb|\special| command in the \TeX\ source for the first page of the subset, or
+(3)~use the option \texttt{-h psslurs.pro} when you run \texttt{dvips}.
+
diff --git a/macros/musixtex/doc/musixdoc/slurstiesfont.tex b/macros/musixtex/doc/musixdoc/slurstiesfont.tex
new file mode 100644
index 0000000000..8674dc02e9
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/slurstiesfont.tex
@@ -0,0 +1,598 @@
+\chapter{Font-based Slurs, Ties and Hairpins}
+Two fundamentally different implementations of slurs, ties, and hairpins are
+available. First, there are the
+original \ital{font-based} versions. These are constructed with traditional
+\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files.
+Second, it is now possible
+to generate these shapes directly with Postscript, dispensing altogether with
+the font characters\footnote{Please do not be confused by the availability of
+Postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts).
+Once installed in a \TeX\ system,
+their function and use are 100\% transparently identical with bitmapped versions
+of the slur fonts. On the other
+hand, Postscript slurs are functionally distinct from font-based slurs, and only
+ share some of the same syntax.}. We shall first describe the font-based versions,
+then Type~K Postscript slurs, which are one of two available Postscript slur
+options\footnote{An
+alternate approach to Postscript slurs, called {\it Type~M} after its developer
+Hiroaki {\sc Morimoto}, is available from the
+\href{http://icking-music-archive.org/software/indexmt6.html}
+{\underline{Icking Music Archive}}.}. If you plan to use Type~K Postscript slurs,
+you may skip directly to Chapter~\ref{PostscriptSlurs}.
+
+Font-based slurs and ties provided by \musixtex\ can be divided into two categories:
+\label{simpleslur}
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Those where the complete slur symbol is composed of a single
+ character from one of the slur fonts, and
+ \item those where the slur symbol is composed of three distinct
+ characters, to form the beginning, middle and end of the slur.
+\end{itemize}
+The former are called \ital{simple slurs} and the latter,
+\ital{compound slurs}. In many cases the distinction between the two is
+invisible to the user, in that many of the macros described below will
+automatically select between the two types. However, there are other macros
+that allow simple slurs to be forced.
+
+The next few sections describe the usual method of slur coding, where the
+choice between simple or compound slurs is made automatically.
+In this case, slurs are initiated and terminated by separate macros,
+similar to beams.
+
+ \section{Font-based slur initiation}
+A slur must be initiated \ital{before}
+the spacing note on which the slur begins, and terminated \ital{before} the
+note on which it ends.
+
+The basic slur initiation macro is
+\keyindex{isluru}\enpee, which initiates an upper slur, with reference
+number $n$, beginning on a note at pitch $p$. The starting point of the slur is
+centered above a virtual quarter note head at pitch~$p$\footnote{The slur will start in the same place regardless of whether there is
+{\it actually} a note at pitch $p$.}.
+Similarly, \keyindex{islurd}\enpee\ initiates a lower slur.
+These slurs are terminated by coding
+\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the
+termination pitch.
+
+As with beams, the reference number $n$ by default can take values from $0$ to $5$, or
+up to $8$ or $11$ respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included.
+You can also specify the maximum number
+directly with \keyindex{setmaxslurs}\verb|{|$m$\verb|}| where
+$7<m\leq 100$%
+\footnote{This may require e-\TeX.};
+the reference number $n$ will be in the range between $0$ and $m-1$.
+\label{musixmad_setmaxslurs}
+
+To illustrate with an elementary example, the following passage
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
+\bar
+\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
+\NOTes\hu g\en
+\zendextract
+\end{music}
+
+\noindent was coded as:
+\begin{quote}\begin{verbatim}
+\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
+\bar
+\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
+\NOTes\hu g\en
+\end{verbatim}\end{quote}
+
+Other macros are provided to change the horizontal starting and ending points of the slur
+in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\
+initiates a ``short'' upper slur suitable for linking notes involved in chords.
+The
+starting point is shifted to the right, and is vertically aligned with the
+center of a virtual quarter note head at pitch~$p$. If a lower short slur
+is wanted, one should use \keyindex{isslurd}\enpee.
+
+Sometimes, busy scores call for slurs which are vertically aligned with the
+ends of note stems rather than note heads. These ``beam'' slurs---so called
+because the slur is written at usual beam height---are provided by the
+macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros
+initiate slurs raised or lowered by the current stem height to accommodate
+stems or beams above or below.
+ %\check
+
+ \section{Font-based slur termination}
+Font-based slurs that are not forced to be simple must be terminated by an explicit
+command right before the last note under the slur. There are termination
+commands analogous to each of the initiation commands already presented. They
+are summarized in the following table:
+\begin{center}
+ \begin{tabular}{ll}
+ Initiation & Termination \\
+ \hline
+ \keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\
+ \keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\
+ \keyindex{ibsluru} & \keyindex{tbsluru}\\
+ \keyindex{ibslurd} & \keyindex{tbslurd}\\
+ \hline
+ \end{tabular} \end{center}
+
+\noindent All of these command have two parameters, $n$ and $p$.
+
+These specific termination macros are not restricted to
+being used with their initiation counterpart. A slur started
+in one sense can be terminated in another. For example, a
+slur beginning as a ``beam'' slur may be terminated as a
+normal slur, or \emph{vice versa}. These would be achieved using macro pairs
+\verb|\ibslur...\tslur...| or \verb|\islur...\tbslur...|, respectively; however, it may be necessary
+to adjust the vertical position of the slur termination. For example,
+
+\begin{music}
+\startextract
+\Notes\ibsluru1g\qa g\ha l\sk\tslur1e\zq g\zq i\qu k\en
+\Notes\islurd1h\qu h\ha f\sk\tbslurd1c\zq h\zq j\ql l\en
+\endextract
+\end{music}\noindent
+has been coded as follows:
+\begin{quote}
+\begin{verbatim}
+\startextract
+\Notes\ibsluru1g\qa g\ha l\sk\tslur1e\zq g\zq i\qu k\en
+\Notes\islurd1h\qu h\ha f\sk\tbslurd1c\zq h\zq j\ql l\en
+\endextract
+\end{verbatim}
+\end{quote}
+ \section{Font-based ties} Font-based ties will have the same shapes as
+ordinary font-based slurs of the same length between notes of equal pitch,
+but there are two important distinctions:
+(1) There cannot be any pitch difference between start and end, and (2) the
+positions of both the beginning and end of a tie relative to the note heads
+are slightly different from those of an ordinary slur\footnote{Editor's note: In
+fact, it appears that the default positioning of the ends of ties is exactly
+the same as that of short slurs.}.
+Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of
+reference number $n$ at pitch $p$.
+Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of
+reference number $n$ at pitch $p$. The starting position of the tie is the same
+as \verb|\issluru| and
+\verb|\isslurd| respectively. The tie is terminated by coding
+\keyindex{ttie}\onen. Note that no pitch parameter is required.
+
+There are also \ital{short ties}, which bear the same relation to ordinary
+ties as short slurs to ordinary slurs. They are intended to be used between chords.
+They are initiated with
+\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is
+not clear why this command uses ``{\tt l}'' when all other similar ones use
+``{\tt d}''.}, and terminated with \keyindex{tten}\onen.
+
+The following example illustrates the differences in positioning of the various
+slur and tie options:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
+\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
+\itenl0g\qu g\tten0\qu g\en
+\zendextract
+\end{music}
+\noindent It was coded as
+\begin{quote}\begin{verbatim}
+\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
+\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
+\itenl0g\qu g\tten0\qu g\en
+\end{verbatim}\end{quote}
+
+\noindent Here are some more general examples of font-based slurs and ties
+discussed so far:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\isluru0g\hl g\tslur0h\hl h\en
+\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
+\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
+\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
+\zendextract
+\end{music}
+\noindent This was coded as:
+\begin{quote}\begin{verbatim}
+\NOTes\isluru0g\hl g\tslur0h\hl h\en
+\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
+\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
+\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
+\end{verbatim}\end{quote}
+
+\section{Dotted slurs}
+
+Any font-based slur may be made dotted by specifying \keyindex{dotted}
+just before it is initiated:
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
+\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
+\NOTes\hu g\en
+\zendextract
+\end{music}
+
+\noindent This was coded as:
+\begin{quote}\begin{verbatim}
+\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
+\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
+\NOTes\hu g\en
+\end{verbatim}\end{quote}
+
+ \section{Modifying font-based slur properties}
+Several macros are provided to modify the shape of slurs already initiated.
+These macros must be coded right before the slur \ital{termination}. Invoking
+any of the macros described in this section will force the slur to be compound.
+
+By default, the midpoint of a font-based slur is three \verb|\internote|s
+above or below a line between its ends. This can be changed using the macro
+\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For
+example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to
+rise to a maximum height of \verb|6\internote| above the starting position.
+For example,
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\multnoteskip8\isluru0i\ql i\en
+\notes\tslur0i\ql i\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\isluru0i\ql i\en
+\notes\midslur7\tslur0i\ql i\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\isluru2i\ql i\en
+\notes\midslur{11}\tslur2i\ql i\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip8\isluru0i\ql i\en
+\notes\tslur0i\ql i\en
+\NOtes\multnoteskip8\isluru0i\ql i\en
+\notes\midslur7\tslur0i\ql i\en
+\NOtes\multnoteskip8\isluru2i\ql i\en
+\notes\midslur{11}\tslur2i\ql i\en
+\end{verbatim}\end{quote}
+For downward slurs, use negative values; for example,
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\multnoteskip8\islurd0i\qu i\en
+\notes\tslur0i\qu i\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\islurd0i\qu i\en
+\notes\midslur{-7}\tslur0i\qu i\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip8\islurd0i\qu i\en
+\notes\tslur0i\qu i\en
+\NOtes\multnoteskip8\islurd0i\qu i\en
+\notes\midslur{-7}\tslur0i\qu i\en
+\end{verbatim}\end{quote}
+
+The macro \keyindex{curve}$hij$ allows more precise control over the shape
+of a slur or tie. The first parameter $h$
+is the vertical deviation and it works exactly like the sole parameter of
+\verb|\midslur| described above. The second and
+third parameters $i$ and $j$ set the initial and final gradient respectively.
+They are defined as the horizontal distance required to attain maximum
+vertical deviation. Thus smaller numbers for $i$
+and $j$ lead to more extreme gradients.
+The default setting is \verb|\curve344|. Hence, coding \verb|\curve322|
+doubles the initial and final gradient relative to the default.
+As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before
+the slur termination. The example below illustrates the use of \verb|\curve|.
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\multnoteskip8\itieu0g\ql g\en
+\notes\ttie0\ql g\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\itieu1g\ql g\en
+\notes\curve 322\ttie1\ql g\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\itieu2g\ql g\en
+\notes\curve 111\ttie2\ql g\en
+\zendextract
+\end{music}
+\noindent This was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip8\itieu0g\ql g\en
+\notes\ttie0\ql g\en
+\NOtes\multnoteskip8\itieu1g\ql g\en
+\notes\curve 322\ttie1\ql g\en
+\NOtes\multnoteskip8\itieu2g\ql g\en
+\notes\curve 111\ttie2\ql g\en
+\end{verbatim}\end{quote}
+
+Two macros are provided to control the behaviour of slurs which extend across
+line breaks. Normally, the part of the slur before the line break is
+treated as a tie. This can be changed using \keyindex{breakslur}\enpee,
+which sets the termination height of
+the broken slur at the line break to pitch $p$, for slur number $n$.
+
+After the line break, the slur is normally resumed at the initial pitch
+reference, i.e., the one coded in \verb|\islur|. To change this, the macro
+\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used.
+Here $n$ is again the slur reference
+number and $h$ is the change in height relative to the initialization height.
+This macro is normally used following line breaks, in which case it is best
+coded using the \verb|\atnextline| macro. For example, coding
+\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero
+by \verb|6\internote| relative to its initialization height.
+
+The following example illustrates the use of the macros for broken slurs:
+\medskip
+
+\begin{minipage}[t]{85mm}
+Default, without adjustments:
+
+\begin{music}
+\hsize=50mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt\staffbotmarg0pt%
+%
+%\interstaff{14\internote}%
+%
+\nostartrule
+\startpiece\bigaccid
+\Notes\ibsluru1b\qu b\qu g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\mulooseness1\Endpiece
+\end{music}
+\begin{verbatim}
+\Notes\ibsluru1b\qu b\qu g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\end{verbatim}
+\end{minipage}%
+\begin{minipage}[t]{75mm}
+With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\
+\begin{music}
+\hsize=50mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt\staffbotmarg0pt%
+%
+%\interstaff{14\internote}%
+%
+\nostartrule
+\startpiece\bigaccid
+\def\atnextline{\Liftslur17}%
+\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\mulooseness1\Endpiece
+\end{music}
+\begin{verbatim}
+\def\atnextline{\Liftslur17}%
+\Notes\ibsluru1b\qu b\qu g%
+\breakslur1g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\end{verbatim}
+\end{minipage}\medskip
+
+Occasionally in keyboard works one needs to begin a slur in one
+staff but end it in another. This can be done using the macro
+\keyindex{invertslur}\onen\ which is best described by
+reference to the example
+shown below.
+
+% Finding the final pitch is try and error, sorry, no way out.
+
+\begin{music}
+\setstaffs1{2}
+\setclef1\bass\interstaff{10.5}
+\startextract
+\NOtes\multnoteskip5\isluru0a\ql a\en
+\notes\invertslur0\curve311\tslur0j|\qu d\en
+\NOtes\multnoteskip{10}\isluru0a\ql a\en
+\notes\invertslur0\curve333\tslur0j|\qu d\en
+\zendextract
+\end{music}
+\noindent This was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip5\isluru0a\ql a\en
+\notes\invertslur0\curve311\tslur0g|\qu d\en
+\NOtes\multnoteskip{10}\isluru0a\ql a\en
+\notes\invertslur0\curve333\tslur0g|\qu d\en
+\end{verbatim}\end{quote}
+
+\noindent Slur inversion as just described takes effect where the slope is zero; therefore it
+only works with ascending slurs that were started with \verb|\isluru|, and with
+descending slurs started with \verb|\islurd|. Otherwise no horizontal place
+can be found and the result is erratic.
+
+A different approach removes this restriction. The idea is to stop the slur at
+the desired inversion point and restart it in the other sense at the
+same place. The commands to do this are as follows:
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$,
+not above or below the virtual note head.
+ \item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position,
+not above a virtual note head.
+ \item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position,
+not below a virtual note head.
+ \end{itemize}
+
+\noindent The vertical position may have to be adjusted to minimize any discontinuity
+in the slope. For example, the following pattern
+
+ \begin{music}\nostartrule
+\setclef1\treble
+\startextract
+\NOTes\multnoteskip 3\isluru0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\NOTes\multnoteskip 3\islurd0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\NOTes\multnoteskip 3\isluru0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\NOTes\multnoteskip 3\islurd0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\end{music}
+\end{verbatim}\end{quote}
+
+\section{Simple slurs}
+
+\ital{Simple} slurs and ties have advantages in some cases: (1) They will
+always have the best possible shape, and (2) if \verb|\noteskip| doesn't
+change from start to finish, they are easier to code. But they have drawbacks
+as well: (1) They are limited in length to 68pt
+for slurs and 220pt for
+ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they
+may not extend across a line break.
+Despite all these limitations, simple slurs are extremely useful in many
+applications where the slurs are short and contained within a bar.
+
+Simple slurs must be coded {\em before} the note on which the slur begins.
+The primary macro is
+\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$
+where $p_1$ and $p_2$ are respectively the initial and final pitches,
+$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length,
+in {\tt noteskip}s.
+Thus, thirds slured in pairs can be coded
+
+ %\check
+
+\begin{quote}\begin{verbatim}
+\NOtes\slur ced1\qu{ce}\en
+\NOtes\slur dfd1\qu{df}\en
+\NOtes\slur egd1\qu{eg}\en
+\NOtes\slur{'e}cu1\ql{ec}\en
+\NOtes\slur{'d}bu1\ql{db}\en
+\NOtes\slur{'c}au1\ql{ca}\en
+\end{verbatim}\end{quote}
+which yields
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\slur ced1\qu{ce}\en
+\NOtes\slur dfd1\qu{df}\en
+\NOtes\slur egd1\qu{eg}\en
+\NOtes\slur{'e}cu1\ql{ec}\en
+\NOtes\slur{'d}bu1\ql{db}\en
+\NOtes\slur{'c}au1\ql{ca}\en
+\zendextract
+\end{music}
+%%
+
+There are similar commands to force simple versions of the other
+variants of font-based slurs and ties. Simple ties may be set using
+\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed).
+Simple short slurs and short ties can be forced with the macros
+\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and
+\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally,
+simple beam slurs can be forced with
+\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$.
+
+
+\section{Font-based hairpins (crescendos and decrescendos)}\label{sec:crescnd}
+
+There are two categories of font-based hairpins. The first type requires only
+one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or
+\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{}
+dimension, either a fixed one---for example in points---or a scalable one
+expressed either explicitly or implicitly as some number of
+\verb|\noteskip|s. These should be used as arguments to
+\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to
+post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm.
+
+The second type of font-based hairpin requires two commands, one to start it
+and another to end it. The starting macro is \keyindex{icresc}. It has no
+arguments. Only one invocation suffices to start any number and combination of
+crescendos and diminuendos. The ending macros are \keyindex{tcresc} or
+\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc,
+which will set the altitude. For example,
+
+\begin{music}
+\parindent0pt
+\generalmeter{\meterfrac{12}8}
+\setstaffs1{2}
+\startextract
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en
+\endextract
+\end{music}
+
+\noindent which was coded as
+\begin{quote}\begin{verbatim}
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en
+\end{verbatim}\end{quote}
+\medskip
+
+\noindent while
+
+\begin{music}
+\parindent0pt
+\generalmeter{\meterfrac{12}8}
+\setstaffs1{2}
+\startextract
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en
+\endextract
+\end{music}
+
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en
+\end{verbatim}\end{quote}
+
+ \section{Limitations of font-based slurs}
+ The change in altitude between slur initiation and slur termination is limited to
+\verb|16\Internote|. Thus unexpected vertical gaps can appear, as seen in
+
+ \begin{music}\nostartrule
+\instrumentnumber{1}
+\generalmeter{\meterfrac34}
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract
+
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract
+ \end{music}
+ \noindent whose coding was
+ \begin{quote}\begin{verbatim}
+\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en
+\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en
+ \end{music}
+ \end{verbatim}\end{quote}
+
+Furthermore, if the slope becomes too steep, even worse results can occur, such as
+
+\medskip
+ \begin{music}\nostartrule
+\instrumentnumber{1}
+\generalmeter{\meterfrac34}
+\startextract\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en
+ \bar\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en
+ \NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en
+ \bar\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en
+ \zendextract
+ \end{music}
+
+Another limitation of font-based slurs crops up when one attempts to
+generate bitmapped versions for high-resolution printers: the characters
+for long ties can exceed \MF's maximum capacity.
diff --git a/macros/musixtex/doc/musixdoc/smaller.tex b/macros/musixtex/doc/musixdoc/smaller.tex
new file mode 100644
index 0000000000..987b6f6422
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/smaller.tex
@@ -0,0 +1,190 @@
+\chapter{Smaller (or Larger) Notes in Normal-Sized Staves}
+Here we describe how to change the size of note symbols without changing the
+size of the staff itself. Changing overall staff size will be treated in
+Chapter~\ref{staffspacing}.
+
+\section{Arbitrary sequences of notes}
+Written-out ornaments and \itxem{cadenzas} are usually typeset with
+smaller notes and spacing than normal. The smaller \ital{size} can be
+initiated anywhere inside a \verb|\notes| group by stating
+\keyindex{smallnotesize} or \keyindex{tinynotesize}. Normal note size is then
+restored by \keyindex{normalnotesize} or simply by terminating the
+\verb|notes| group and starting another. Smaller \ital{spacing} must also be
+explicitly indicated, usually by redefining \verb|\noteskip| in some way.
+
+As an example, this excerpt, from the beginning
+of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc
+Haydn, J.}},
+
+\begin{music}
+\instrumentnumber{2}
+\generalmeter{\meterfrac44}
+\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}
+\setstaffs2{2}
+\setclef1\bass
+\setclef2\bass
+\startbarno0
+\startextract
+\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en
+% mesure 1
+\bar
+\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en
+\notes&\qbl0c0|\multnoteskip\tinyvalue\tinynotesize
+ \Ibbu1ki2\qb1{kj}\tqh1i\hqsk\en
+\Notes&\qb0e\tbl0\qb0c|\qu j\en
+\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en
+% mesure 2
+\bar
+\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0%
+ \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en
+\notes&|\sk\ccu h\en
+\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g%
+ \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en
+\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en
+\endextract
+\end{music}
+\noindent can be coded as
+\begin{quote}\begin{verbatim}
+\instrumentnumber{2}
+\generalmeter{\meterfrac44}
+\setstaffs2{2}
+\setclef2{\bass}
+\setclef1{\bass}
+\startbarno=0
+\startextract
+\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en
+% mesure 1
+\bar
+\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en
+\notes&\ibl0c0\qb0c|\multnoteskip\tinyvalue\tinynotesize
+ \Ibbu1ki2\qb1{kj}\tqh1i\en
+\Notes&\qb0e\tbl0\qb0c|\qu j\en
+\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en
+% mesure 2
+\bar\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0%
+ \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en
+\notes&|\sk\ccu h\en
+\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g%
+ \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en
+\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en
+\endextract
+\end{verbatim}\end{quote}
+Similarly, you may use
+\keyindex{largenotesize} or \keyindex{Largenotesize} to get \emph{larger} notes.
+
+ \section{Grace notes}
+Grace notes are a special case of small and tiny notes, namely single-stemmed
+eighth notes with a diagonal slash through the flag. To enable this, there
+are the macros \keyindex{grcu}\pitchp\ and \keyindex{grcl}\pitchp, which by
+themselves would
+produce normal-sized eighth notes with a slash. They should be used along
+with the note size reduction macros and spacing reduction macros just
+discussed. In addition, chordal grace notes can be built as in the following
+example:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\hu h\en
+\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en
+\NOTes\hu i\en
+\bar
+\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\en
+\NOTEs\wh i\en
+\zendextract
+\end{music}
+\noindent which was coded as
+\begin{quote}\begin{verbatim}
+\startextract
+\NOTes\hu h\en
+\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en
+\NOTes\hu i\en
+\bar
+\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\en
+\NOTEs\wh i\en
+\zendextract
+\end{verbatim}\end{quote}
+
+ \section[Ossia]{Ossia\texorpdfstring{\protect\footnote{Italian \textit{o sia} (or else)}}{}}
+This clever example had been provided by Olivier Vogel:\label{ossia}
+
+%\begin{center}
+%\includegraphics[scale=1]{./mxdexamples/ossiavogel.eps}
+%\end{center}
+
+\begin{music}
+%\startextract
+%\hsize70mm
+\let\extractline\hbox
+\hbox to \hsize{\hss
+\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
+\off{-#1\elemskip}}%
+\newbox\ornamentbox
+\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm%
+\makeatletter
+\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty\global\clef@skip0pt%
+\makeatother
+%\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty%
+%\startpiece
+%\addspace{2pt}%
+\startextract
+\addspace{-2pt}%
+\let\notest\notes\def\notes{\vnotes2.1\elemskip}%
+\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en%
+\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en%
+\notes\ibl2{'c}1\usf e\qb2c\en%
+\notes\tbl2\qb2{'d}\en
+\let\notes\notest%
+%\zstoppiece%
+\endextract
+}\hss}
+%\setbox\ornamentbox=\hbox to 0pt{Hello}
+%
+%
+%\normalmusicsize\nopagenumbers
+%\def\nbinstruments{1}%
+\setstaffs12\setclef1{60}%
+\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}%
+%\parindent 0pt%
+%\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
+%\startpiece\addspace\afterruleskip%
+\startextract\addspace\afterruleskip%
+\NOtes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|%
+\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en%
+\NOtes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F%
+\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk%
+\cl d\en%
+%\endpiece
+\endextract
+\hss}
+%\vfill\eject\endmuflex
+\end{music}
+
+
+The code is:
+\begin{quote}\begin{verbatim}
+\hsize70mm%
+\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
+\off{-#1\elemskip}}%
+\newbox\ornamentbox
+\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm%
+\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty%
+\startpiece\addspace{2pt}%
+\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en%
+\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en%
+\notes\ibl2{'c}1\usf e\qb2c\en%
+\notes\tbl2\qb2{'d}\en%
+\zstoppiece%
+}\hss}
+\normalmusicsize\nopagenumbers
+\def\nbinstruments{1}%
+\setstaffs12\setclef1{60}%
+\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}%
+\parindent 0pt%
+\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
+\startpiece\addspace\afterruleskip%
+\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|%
+\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en%
+\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F%
+\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk%
+\cl d\en%
+\end{verbatim}\end{quote}
diff --git a/macros/musixtex/doc/musixdoc/spacing.tex b/macros/musixtex/doc/musixdoc/spacing.tex
new file mode 100644
index 0000000000..f4bcf29817
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/spacing.tex
@@ -0,0 +1,106 @@
+\chapter{Skipping Spaces and Shifting Symbols}\label{spacing}
+We've already mentioned that when coding a sequence of notes inside a
+particular pair \verb|\notes...\en|, the command \keyindex{sk} can
+be used to skip horizontally by one \keyindex{noteskip}. This would be
+used for example to align the third note in one staff with the second note
+in another. Skipping in this manner is logically equivalent to inserting
+blank space; as such, the space must be recorded by \musixtex. This command
+and the others discussed here will
+do just that, so that \verb|musixflx| can properly account for
+the added space.
+
+To skip by one \verb|noteskip| while in a collective coding sequence,
+you may simply insert an asterisk (``\verb|*|''\index{*}). This would have
+the same effect as stopping the sequence, entering {\Bslash sk}, then
+restarting. For example,
+
+\begin{music}
+\setstaffs12
+\startextract
+\Notes\hu{e*f*g}|\qu{gghhii}\en
+\zendextract
+\end{music}
+\noindent was coded as
+\verb|\Notes\hu{e*f*g}|{\tt |}\verb|\qu{gghhii}\en|
+
+To skip forward
+by one half of a \verb|\noteskip|, use \keyindex{hsk}.
+To skip \emph{backward}
+by one or half \verb|\noteskip|, use \keyindex{bsk},
+or \keyindex{hbsk}, respectively.
+
+To insert spacing of approximately one note head width, you can use
+\keyindex{qsk}, or for two-thirds, half or one-quarter of that, \keyindex{tqsk}, \keyindex{hqsk}
+or \keyindex{qqsk}, respectively.
+To skip backward one note-head width or two-thirds or half that, use
+\keyindex{bqsk}, \keyindex{btsk} or \keyindex{bhsk}, respectively. More generally,
+to skip an arbitrary distance, use \keyindex{off}\verb|{|$D$\verb|}|
+where $D$ is any \itxem{scalable dimension}, e.g.,~\verb|\noteskip| or
+\verb|\elemskip|. Indeed, if you look in the
+\musixtex\ source, you will see that \verb|\off| is the basic control
+sequence used to define all the other skip commands.
+
+The foregoing commands only work \ital{inside} a \verb|\notes...\en| group.
+A different set of commands must be used to insert space \ital{outside}
+such a group. \keyindex{nspace} produces an
+additional spacing of half a note head width;
+\keyindex{qspace}, one note head width. These are ``hard'' spacings. To
+insert an arbitrary amount of hard space outside a \verb|\notes...\en|
+group, use \keyindex{hardspace}\verb|{|$d$\verb|}| where
+$d$ is any fixed dimension\label{hardspace}. The foregoing three commands are the only
+space-generating commands that insert hard space; all the others insert
+scalable spacing: \keyindex{elemskip},
+\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and
+their multiples. Finally, to insert
+scalable spacing outside
+a \verb|\notes...\en| group, use
+\keyindex{addspace}\verb|{|$D$\verb|}|. The argument may be negative, in
+which case the normal spacing will be reduced. For example, after
+\keyindex{changecontext}, many users prefer to reduce the space with
+a command like
+\verb|addspace{-|\keyindex{afterruleskip}\verb|}|.
+
+There is yet another set of commands for simply shifting a note, symbol, or sequence
+inside \verb|\notes...\en|
+without adding or subtracting any space. To shift by one note head width,
+you may write \keyindex{roff}\verb|{|\ital{any macro}\verb|}|
+or \keyindex{loff}\verb|{|\dots\verb|}| for a right or left shift respectively.
+ To shift by half of a note head width, use
+\keyindex{hroff}\verb|{|\dots\verb|}| or
+\keyindex{hloff}\verb|{|\dots\verb|}|.
+For example, to get
+ %\check
+
+\begin{music}\nostartrule
+\startextract
+\Notes\roff{\zwh g}\qu g\qu h\qu i\en
+\zendextract
+\end{music}
+\noindent you would code:
+
+ %\check
+
+\begin{quote}\begin{verbatim}
+\Notes\roff{\zwh g}\qu g\qu h\qu i\en
+\end{verbatim}\end{quote}
+
+\noindent To shift notes or symbols by an arbitrary amount, use
+\keyindex{roffset}\verb|{|$N$\verb|}{|\dots\verb|}| or
+\keyindex{loffset}\verb|{|$N$\verb|}{|\dots\verb|}|, where
+$N$ is the distance to be shifted in note head widths. For example
+
+\begin{music}\nostartrule
+\startextract
+\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\en
+\zendextract
+\end{music}
+\noindent was coded as
+
+\begin{quote}\begin{verbatim}
+\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\en
+\end{verbatim}\end{quote}
+
+An important feature of these shift commands is that the offset,
+whether implicit or explicit, is \ital{not} added to
+the total spacing amount, but any spacing due to the included commands is.
+
diff --git a/macros/musixtex/doc/musixdoc/staffsize.tex b/macros/musixtex/doc/musixdoc/staffsize.tex
new file mode 100644
index 0000000000..2827067330
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/staffsize.tex
@@ -0,0 +1,101 @@
+\chapter{Staff Size} \index{staff size}\label{staffspacing}
+In contrast with the prior section, here we describe how to change the sizes
+of everything...staff, notes, and all other symbols. In
+Section~\ref{whatspecify} we saw how to set the size for all instruments at
+the start of a score. Any one of the same macros---\verb|\normalmusicsize|,
+\verb|\smallmusicsize|, \verb|\largemusicsize|, or
+\verb|\Largemusicsize|---can be used to change the size of all instruments
+midway through a score, but in this case it must come between
+\verb|\stoppiece| and \verb|\startpiece|.
+
+Once the overall staff size is set, you can alter the size of any desired
+instrument with the macro \keyindex{setsize}\itbrace{n}\itbrace{s}, where
+$n$ is the instrument number and $s$ is a factor by which the size is to be
+changed from the prevailing overall size. There are five predefined macros
+that should be used for the size factor $s$. Their names and respective values
+are \keyindex{normalvalue}~($1.0$), \keyindex{smallvalue}~($0.80$),
+\keyindex{tinyvalue}~($0.64$), \keyindex{largevalue}~($1.2$), and
+\keyindex{Largevalue}~($1.44$). \musixtex\ should not crash if you use an
+explicit number different from any of these, but the result may be
+less than satisfactory.
+
+Once again, if used at the beginning of a piece, the \verb|\setsize| macro
+must precede \verb|\startpiece| (not \verb|\contpiece|), and if used after
+the beginning, must be preceded by \verb|\stoppiece|.
+
+As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc
+Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of
+J. S. Bach's \ital{Well Tempered Clavier}, as transcribed for
+organ, violin and voice by Markus {\sc Veittes}:\label{avemaria}
+
+\begin{music}
+\def\oct{\advance\transpose by 7}
+\def\liftqs#1{\raise#1\Interligne\qs}
+\parindent0pt
+\sepbarrules
+\instrumentnumber{3}
+\generalmeter{\meterC}
+\setinterinstrument2{3\Interligne}
+\setsize3\tinyvalue
+\setsize2\tinyvalue
+\setclef1\bass
+\setstaffs1{2}
+\startpiece\addspace\afterruleskip
+%Takt 9
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\en
+\notes|\ibbl0j3\qb0h\tqb0l\en
+\notes|\ibbl1k0\qb1{ohl}\tqb1o\en
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\en
+\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\en
+\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\en
+\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\en
+\bar
+%Takt 10
+\notes\zhl c\liftqs6\qupp d|\ds&\oct
+ \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\en
+\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\en
+\notes|\ibbu2i0\qb2k\qb2f\en
+\notes|\qb2h\tqh2k&\oct\cl e&\tubslur4f\cu e\en
+\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\en
+\notes|\ibbu1g3\qb1f\tqh1h\en
+\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\en
+\endpiece
+\end{music}
+ This example was coded as:
+\begin{quote}\begin{verbatim}
+\def\oct{\advance\transpose by 7}
+\def\liftqs#1{\raise#1\Interligne\qs}
+\parindent0pt
+\sepbarrules
+\instrumentnumber{3}
+\generalmeter{\meterC}
+\setinterinstrument2{3\Interligne}
+\setsize3\tinyvalue
+\setsize2\tinyvalue
+\setclef1\bass
+\setstaffs1{2}
+\startpiece\addspace\afterruleskip
+%Takt 9
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\en
+\notes|\ibbl0j3\qb0h\tqb0l\en
+\notes|\ibbl1k0\qb1{ohl}\tqb1o\en
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\en
+\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\en
+\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\en
+\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\en
+\bar
+%Takt 10
+\notes\zhl c\liftqs6\qupp d|\ds&\oct
+ \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\en
+\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\en
+\notes|\ibbu2i0\qb2k\qb2f\en
+\notes|\qb2h\tqh2k&\oct\cl e&\curve222\tubslur4f\cu e\en
+\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\en
+\notes|\ibbu1g3\qb1f\tqh1h\en
+\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\en
+\endpiece
+\end{verbatim}\end{quote}
diff --git a/macros/musixtex/doc/musixdoc/summary.tex b/macros/musixtex/doc/musixdoc/summary.tex
new file mode 100644
index 0000000000..d3f70a4bf9
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/summary.tex
@@ -0,0 +1,310 @@
+\newgeometry{margin=0.5in}
+\makeatletter
+\def\@makeschapterhead#1{} % omit chapter head to save space
+\chapter*{}
+\addcontentsline{toc}{chapter}{Summary of Denotations}
+\def\@makeschapterhead#1{% restore usual definition
+ \vspace*{50\p@}%
+ {\parindent \z@ \raggedright
+ \normalfont
+ \interlinepenalty\@M
+ \Huge \bfseries #1\par\nobreak
+ \vskip 40\p@
+ }}
+\makeatother
+\parskip0pt plus 2pt
+\parindent0pt
+\thispagestyle{empty}
+\centerline{\frtbf Pitches}
+\smallskip
+\setclef1\bass
+\afterruleskip2pt
+\newcommand{\bs}{\ttfamily\footnotesize\char92}
+\begin{footnotesize}\ttfamily
+\nostartrule\startpiece%
+%
+% Pitches
+%
+\addspace\afterruleskip
+\notes\wh{`ABCDEFG}\wh{!ABCDEFG}\wh{HIJKLMNabcde}\off{-26\noteskip}%
+ \zchar{14}{\llap`A}\sk
+ \zchar{14}{\llap`B}\sk
+ \zchar{14}{\llap`C}\sk
+ \zchar{14}{\llap`D}\sk
+ \zchar{14}{\llap`E}\sk
+ \zchar{14}{\llap`F}\sk
+ \zchar{14}{\llap`G}\sk
+ \zchar{14}A\sk
+ \zchar{14}B\sk
+ \zchar{14}C\sk
+ \zchar{14}D\sk
+ \zchar{14}E\sk
+ \zchar{14}F\sk
+ \zchar{14}G\sk
+ \zchar{-5}{\llap'A}\zchar{14}H\sk
+ \zchar{-5}{\llap'B}\zchar{14}I\sk
+ \zchar{-5}{\llap'C}\zchar{14}J\sk
+ \zchar{-5}{\llap'D}\zchar{14}K\sk
+ \zchar{-5}{\llap'E}\zchar{14}L\sk
+ \zchar{-5}{\llap'F}\zchar{14}M\sk
+ \zchar{-5}{\llap'G}\zchar{14}N\sk
+ \zchar{14}a\sk
+ \zchar{14}b\sk
+ \zchar{14}c\sk
+ \zchar{14}d\sk
+ \zchar{14}e\sk\en
+\stoppiece\vskip-7\Interligne\setclef1\treble\contpiece
+\notes\wh{abcdefg}\wh{hijklmno}\wh{pqrstuvwxyz}\off{-26\noteskip}%
+ \zchar{-8}a\sk
+ \zchar{-8}b\sk
+ \zchar{-8}c\sk
+ \zchar{-8}d\sk
+ \zchar{-8}e\sk
+ \zchar{-8}f\sk
+ \zchar{-8}g\sk
+ \zchar{-8}h\zchar{-4}{\llap'a}\sk
+ \zchar{-8}i\zchar{-4}{\llap'b}\sk
+ \zchar{-8}j\zchar{-4}{\llap'c}\sk
+ \zchar{-8}k\zchar{-4}{\llap'd}\sk
+ \zchar{-8}l\zchar{-4}{\llap'e}\sk
+ \zchar{-8}m\zchar{-4}{\llap'f}\sk
+ \zchar{-8}n\zchar{-4}{\llap'g}\sk
+ \zchar{-8}o\zchar{-4}{\llap{'\kern-2pt'}a}\sk
+ \zchar{-8}p\zchar{-4}{\llap{'\kern-2pt'}b}\sk
+ \zchar{-8}q\zchar{-4}{\llap{'\kern-2pt'}c}\sk
+ \zchar{-8}r\zchar{-4}{\llap{'\kern-2pt'}d}\sk
+ \zchar{-8}s\zchar{-4}{\llap{'\kern-2pt'}e}\sk
+ \zchar{-8}t\zchar{-4}{\llap{'\kern-2pt'}f}\sk
+ \zchar{-8}u\zchar{-4}{\llap{'\kern-2pt'}g}\sk
+ \zchar{-8}v\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}a}\sk
+ \zchar{-8}w\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}b}\sk
+ \zchar{-8}x\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}c}\sk
+ \zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk
+ \zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en
+\stoppiece
+\smallskip
+\centerline{\frtbf Notes and Accidentals}
+%
+% Notes& Accidentals
+%
+\contpiece
+\Notes
+ \zchar{-4}{\eightrm Accidentals:}%
+ \zchar9{\bs maxima}\maxima i\relax
+ \zchar{12}{\bs longa}\longa i%
+ \zchar9{\bs breve}\breve i%
+ \zchar{12}{\bs wq}\wq i%
+ \zchar{12}{\bs wqq}\wqq i%
+ \zchar{12}{\bs wh}\wh i%
+ \zchar{12}{\bs hu}\zchar{-4}>\hu{>f}%
+ \zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l%
+ \zchar{12}{\bs qu}\zchar{-4}\^\qu{^f}%
+ \zchar{12}{\bs ql}\loff{\zchar{-4}{\bs csh}}\csh l\ql l%
+ \zchar{12}{\bs cu}\zchar{-4}=\cu{=f}%
+ \zchar{12}{\bs cl}\loff{\zchar{-4}{\bs cna}}\cna l\cl l%
+ \zchar{12}{\bs ccu}\zchar{-4}\_\ccu{_f}%
+ \zchar{12}{\bs ccl}\loff{\zchar{-4}{\bs cfl}}\cfl l\ccl l%
+ \zchar{12}{\bs cccu}\zchar{-4}<\cccu{<f}%
+ \zchar{12}{\bs cccl}\loff{\zchar{-4}{\bs cdfl}}\cdfl l\cccl l%
+\multnoteskip{1.2}%
+ \zchar{12}{\bs ccccu}\ccccu f%
+ \zchar{12}{\bs ccccl}\ccccl l%
+\multnoteskip{.8}%
+ \zchar{12}{\bs grcu}\grcu f%
+ \zchar{12}{\bs grcl}\grcl l\en
+\stoppiece
+%
+% various note heads
+%
+\contpiece
+\Notes
+\multnoteskip{1.1}%
+ \zchar{10}{\bs dqu$^{123}$}\dqu g%
+ \zchar{10}{\bs yqu$^{123}$}\yqu g%
+\multnoteskip{.9}%
+ \zchar{10}{\bs dcqu$^2$}\dcqu g%
+ \zchar{10}{\bs dhqu$^2$}\dhqu g%
+ \zchar{10}{\bs doqu$^2$}\doqu g%
+ \zchar{10}{\bs xqu$^2$}\xqu g%
+ \zchar{10}{\bs oxqu$^2$}\oxqu g%
+ \zchar{10}{\bs roqu$^2$}\roqu g%
+ \zchar{10}{\bs tgqu$^2$}\tgqu f%
+ \zchar{10}{\bs kqu$^2$}\kqu f%
+ \zchar{10}{\bs squ$^3$}\squ g%
+ \zchar{10}{\bs lsqu$^3$}\lsqu j%
+ \zchar{10}{\bs rsqu$^3$}\rsqu k%
+ \zchar{10}{\bs cqu$^4$}\cqu g%
+ \zchar{10}{\bs cql$^4$}\cql k%
+ \zchar{10}{\bs chu$^4$}\chu g%
+ \zchar{10}{\bs chl$^4$}\chl k\en
+%
+% Pointed Notes and Accents
+%
+\stoppiece
+\vspace*{-2ex}
+\centerline{\frtbf Pointed Notes and Accents}
+\contpiece
+\Notes
+ \zchar{-5}{\eightrm Accent on beam with prefix {\tt b} and beam reference
+number instead of the pitch}%
+ \zchar{13}{\bs lpz}\lpz f\qu f%
+ \zchar{13}{\bs upz}\upz l\ql l%
+ \zchar{13}{\bs lsf}\lsf f\qu f%
+ \zchar{13}{\bs usf}\usf l\ql l%
+ \zchar{13}{\bs lst}\lst f\qu f%
+ \zchar{13}{\bs ust}\ust l\ql l%
+ \zchar{13}{\bs lppz}\lppz f\qu f%
+ \zchar{13}{\bs uppz}\uppz l\ql l%
+ \zchar{13}{\bs lsfz}\lsfz f\qu f%
+ \zchar{13}{\bs usfz}\usfz l\ql l%
+ \zchar{13}{\bs lpzst}\lpzst f\qu f%
+ \zchar{13}{\bs upzst}\upzst l\ql l%
+ \zchar{16}{\bs downbow}\zchar9\downbow\ql l%
+ \zchar{13}{\bs upbow}\zchar9\upbow\ql l%
+ \zchar{16}{\bs flageolett}\flageolett l\ql l%
+ \zchar{13}{\bs whp}\whp i%
+ \zchar{13}{\bs qupp}\qupp h\en
+\stoppiece
+\centerline{\frtbf Clefs}
+%
+% clefs
+%
+\setclefsymbol1\empty
+%\setlines 11\relax
+\nostartrule\contpiece
+\NOtes
+ \zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk
+ \zchar9{\bs altoclef}\zchar0\altoclef\sk
+ \zchar{13}{\bs bassclef}\zchar0\bassclef\sk
+ \zchar9{\bs smalltrebleclef}\zchar0\smalltrebleclef\sk
+ \zchar{13}{\bs smallaltoclef}\zchar0\smallaltoclef\sk
+ \zchar9{\bs smallbassclef}\zchar0\smallbassclef\sk
+ \zchar{13}{\bs drumclef$^2$}\zchar0\drumclef\sk
+ \zchar9{\bs gregorianCclef$^3$}\zchar0\gregorianCclef\sk
+ \zchar{13}{\bs gregorianFclef$^3$}\zchar0\gregorianFclef\sk
+ \zchar9{\bs oldGclef$^4$}\zchar0\oldGclef\sk\en
+\zstoppiece
+%
+% Rests
+%
+\centerline{\frtbf Rests}
+\setlines 15\relax
+\nostartrule
+\resetclefsymbols\contpiece
+\Notes
+\multnoteskip{0.8}%
+ \zchar{13}{\bs qqs}\qqs\qsk
+ \zchar{13}{\bs hs}\hs
+ \zchar{13}{\bs qs}\qs
+ \zchar{13}{\bs ds}\ds
+ \zchar{13}{\bs qp}\qp
+ \zchar{13}{\bs hp}\hp
+ \zchar{13}{\bs qqsp}\qqsp\qsk
+ \zchar{13}{\bs hsp}\hsp
+ \zchar{13}{\bs qsp}\qsp
+ \zchar{13}{\bs dsp}\dsp
+ \zchar{13}{\bs qpp}\qpp
+ \zchar{13}{\bs hpp}\hpp
+\multnoteskip{1.5}%
+ \zchar{9}{\bs lifthpause}\roff{\lifthpause5}\sk
+ \zchar{13}{\bs pause}\pause
+ \zchar{13}{\bs pausep}\pausep
+ \zchar{9}{\bs liftpause}\roff{\liftpause4}\sk
+ \zchar{13}{\bs PAuse}\PAuse
+ \zchar{13}{\bs PAUSe}\PAUSe
+ \zchar{13}{\bs Hpause$^4$}\Hpause i{.8}\sk\en
+\stoppiece\vskip-2\Interligne
+%
+\smallskip
+\centerline{\frtbf Miscellaneous Symbols}
+%
+% more Symbols
+%
+\nostartrule
+\contpiece
+\Notes\multnoteskip{0.25}\zchar{-4}{\bs allabreve}%
+ \zchar{14}{\bs tr}\tr n%
+ \zchar0\allabreve\qqsk
+ \zchar{14}{\bs Trille}\Trille n{0.9}\sk
+ \zchar{14}{\bs trille}\zchar{-4}{\bs meterC}\trille n{0.9}\zchar0\meterC\sk
+ \zchar{14}{\bs shake}\zchar{-4}{\bs reverseC}\shake n\zchar0\reverseC\sk
+ \zchar{14}{\bs Shake}\zchar{-8}{\bs reverseallabreve}\Shake n%
+ \zchar0\reverseallabreve\hqsk
+ \zchar{18}{\bs mordent}\mordent n\hqsk
+ \zchar{14}{\bs Mordent}\Mordent n\zchar{-4}{\bs meterplus}%
+ \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\hqsk
+ \zchar{18}{\bs turn}\turn n\hqsk
+ \zchar{18}{\bs backturn}\backturn n\zchar{-4}{\bs duevolte}\duevolte\hqsk
+ \zchar{14}{\bs Shakel}\Shakel n\sk
+ \zchar{18}{\bs Shakesw}\Shakesw n\zchar{-4}{\bs l[r]par}%
+ \lpar f\rpar f{\stemlength4\qu f}%
+ \zchar{14}{\bs Shakene}\Shakene n\sk
+ \zchar{18}{\bs Shakenw}\Shakenw n\sk
+ \zchar{14}{\bs trt}\trt n\hqsk\en
+\stoppiece
+%
+% again
+%
+\contpiece
+\NOtes\zchar9{\bs metron}\zchar{13}{\small\metron\qu{99}}\sk\en
+\setvoltabox1\bar
+\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en
+\setvolta2\setendvolta\rightrepeat
+\NOtes\loff{\zchar{17}{\bs setvolta}}\en
+\doublebar
+\notes\zchar{17}{\kern-\afterruleskip\bs coda}\coda n\en\bar
+\notes\zchar{17}{\kern-\afterruleskip\bs Coda}\Coda n\en
+\NOtes
+ \zchar{17}{\bs segno}\segno n\sk
+ \zchar{17}{\kern-2\afterruleskip\bs Segno}\Segno\hsk
+ \zchar{-4}{\bs caesura}\sk\caesura
+ \zchar{-4}{\bs cbreath}\cbreath\qsk
+ \zchar{9}{\bs PED}\PED\hsk
+ \zchar{9}{\bs sPED}\sPED\hsk\qqsk
+ \zchar{9}{\bs pdld}\pdld\hsk\qsk
+ \zchar{9}{\bs pdlud}\pdlud\hsk\qsk
+ \zchar{9}{\bs pdlu}\pdlu\hsk\qqsk
+ \zchar{9}{\bs DEP}\DEP\hsk
+ \zchar{9}{\bs sDEP}\sDEP\hsk\en
+\stoppiece
+%
+% and again ...
+%
+\contpiece
+\Notes
+ \zchar{-14}{\eightrm $^1$musixdia.tex\quad$^2$musixper.tex\quad$^3$musixgre.tex%
+ \quad$^4$musixlit.tex}%
+ \zchar{17}{\bs fermataup}\fermataup l%
+ \zchar{-8}{\bs fermatadown}\fermatadown f{\stemlength3\ql i}%
+ \zchar{13}{\bs Fermataup}\Fermataup l%
+ \zchar{-4}{\kern8pt\bs Fermatadown}\Fermatadown f\wh i%
+ \loff{\zchar{17}{\bs arpeggio d5}}\arpeggio d5\sk
+\multnoteskip{.66}%
+ \loff{\zchar{13}{\bs bracket}}\bracket e{10}\zq n\ql e\en
+\notes\stemlength3%
+ \zchar{17}{\bs uptrio}\uptrio{11}16\ql l\ql n\bsk\bsk
+ \zchar{-8}{\bs downtrio}\downtrio{-5}17\qu c\qu e\en
+\Notes
+ \zchar{17}{\bs octfinup}\octfinup n{.8}%
+ \zchar{-4}{\bs octfindown}\octfindown K{.8}\sk\hsk
+ \zchar{17}{\bs slide}%
+ \slide i58\slide i57\slide i56\slide i55\slide i54%
+ \slide i53\slide i52\slide i51\slide i5{-1}%
+ \slide i5{-2}\slide i5{-3}\slide i5{-4}\slide i5{-5}%
+ \slide i5{-6}\slide i5{-7}\slide i5{-8}\sk\en
+\leftrepeat
+\Notes
+ \loffset2{\zchar{-4}{\bs leftrepeat}}%
+ \boxitsep=2pt\zchar{17}{\bs boxit A}\zchar9{\boxit A}\en
+\leftrightrepeat
+\Notes
+ \loffset2{\zchar{-8}{\bs leftrightrepeat}}%
+ \zchar{17}{\bs circleit B}\uptext{\circleit B}\en
+\rightrepeat
+\NOtes
+ \loffset2{\zchar{-4}{\bs rightrepeat}}\en
+\endpiece\advance\textheight-40mm\eject%
+\endmuflex
+\end{footnotesize}
+\restoregeometry
+
diff --git a/macros/musixtex/doc/musixdoc/transposition.tex b/macros/musixtex/doc/musixdoc/transposition.tex
new file mode 100644
index 0000000000..4fc9e9d609
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/transposition.tex
@@ -0,0 +1,217 @@
+ \chapter{Transposition and Octaviation}\label{octaviation}
+Two different subjects are discussed in this section. First, there
+are commands that cause notes to be printed at different pitches than
+entered. We shall refer to this as \ital{logical} transposition.
+Second, there are notations for octaviation that do
+not otherwise alter the appearance of the score, which we'll call
+\ital{octaviation lines}.
+
+\section{Logical transposition and octaviation}
+
+Logical transposition is controlled by an integer-valued \TeX\ register
+\keyindex{transpose}. Its default value is $0$. If you enter
+\verb|\transpose=|$n$ outside of notes commands, then all subsequent pitches specified by
+letters will be transposed by $n$ positions. Normally this method would be
+used to transpose an entire piece. Pitches specified with
+numbers will not be affected, so if you think you will ever want to
+transpose a piece, you should enter all note pitches with letters.
+
+One way to transpose up or down by one octave would be to increase or decrease
+\keyindex{transpose} by $7$.
+A more convenient way to transpose locally up or down by one octave
+makes use respectively of the characters
+\verb|'| (close-quote, interpreted as an \itxem{acute accent}) and \verb|`| (open-quote, interpreted as
+a \itxem{grave accent}),
+placed immediately before the letter specifying the pitch. So
+for example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and
+\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. These characters have
+cumulative effects; thus,
+for example, \verb|\qu{''A'A}| and \verb|\qu{''A}\qu{'A}| are both equivalent to \verb|\qu{ah}|.
+Alterations to the value of
+\verb|\transpose| in notes commands are \emph{local}: when changing to a different staff or
+instrument or encountering \verb|\en|, \verb|\transpose| will be reset to the
+value it had before the accents were used. (That value is stored in
+another register called \keyindex{normaltranspose}). Another way to localize
+changes to \verb|\transpose| is to create an explicit \TeX\ ''group'' by enclosing commands in \verb|{...}| braces.
+
+At any point it is possible to reset the \verb|\transpose| register
+explicitly to the \verb|\normaltranspose| value
+by prefacing a pitch indication with
+``\verb|!|''. Thus \verb|\qu{!a'a}| always
+gives the note \verb|a| and its upper octave \verb|h|, shifted by the
+value of {\Bslash normaltranspose},
+regardless of the number of grave and
+acute accents earlier in that group.
+
+ \section{Behavior of accidentals under logical transposition}\label{transposeaccids}
+ The above processes indeed change the vertical position of the note heads
+and associated symbols (e.g., stems and beams), but they don't take
+care of the necessary changes of accidentals when transposing. For example,
+suppose an F$\sharp$ occurs in the key of C major. If the piece is
+transposed up three steps to the key of F, the F$\sharp$ should logically
+become a
+B$\natural$. But if all you do is set \verb|\transpose=3|, the note will
+be typeset as a B$\sharp$. In other words, \musixtex\ will interpret the~\verb|\sh|
+or~\verb|^| to mean ``print a $\sharp$''.
+
+Naturally there is a solution, but it requires the typesetter to plan
+ahead: To force accidentals to behave well under transposition, they
+must be entered according to the \ital{relative
+accidental convention}. To alert \musixtex\ that you are using this
+convention to enter notes, you must issue the command
+\keyindex{relativeaccid}. Once you have done this, the meaning of
+accidental macros and characters (accents) in the input file is changed.
+Under the convention, when for example a
+\verb|\sh| is entered, it indicates a note that is supposed to sound
+\ital{one half step higher than what it would normally be under the
+current key signature}. Flats and naturals on entry similarly indicate
+notes one half step lower or at the same pitch as what the key signature
+dictates. \musixtex\ will take account of the key signature, and print
+the correct symbol according to the modern notational convention,
+provided you have explicitly entered the transposed key signature using
+for example \verb|\generalsignature|.
+
+Many people have a difficult time understanding how this works, so
+here are two simple examples in great detail. Consider the case already mentioned
+of the F$\sharp$ in the key of C major. With
+\verb|\relativeaccid| in effect, it should still be entered as \verb|\sh f|, and
+with no transposition it will still appear as F$\sharp$. With
+\verb|\transpose=3| and \verb|\generalsignature{-1}| it will appear
+(correctly) as B$\natural$. Conversely, suppose you want to enter a
+B$\natural$ when originally in the key of F. With \verb|\relativeaccid| in effect, it
+should be entered as \verb|\sh i|. (That's the part that people
+have the most trouble with: ``If I want a natural, why do I have to enter a sharp?'' Answer:
+``Go back and re-read the previous paragraph very carefully.'') With no transposition, it will be
+printed as B$\natural$. Now to transpose this to C major, set
+\verb|\transpose=-3| and \verb|\generalsignature0|, and it will appear
+as F$\sharp$.
+
+If you have invoked \verb|\relativeaccid| and then
+later for some reason wish to revert to the ordinary convention,
+enter \keyindex{absoluteaccid}.
+
+\section{Octaviation lines}
+The first kind of notation for octave transposition covers a
+horizontal range that must be specified at the outset. The sequence
+
+\medskip
+\begin{music}\nostartrule
+\startextract
+\NOTEs\octfinup{10}{3.5}\ql{!'a}\ql b\ql c\ql d\en
+\zendextract
+\end{music}
+\noindent can be coded as
+\verb|\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en|.
+\zkeyindex{octfinup}
+Here, the dashed line is at staff level 10 and extends \verb|3.5\noteskip|.
+Conversely, lower octaviation can be coded. For example
+
+\begin{music}\nostartrule
+\startextract
+\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en
+\zendextract
+\end{music}
+\noindent is coded as
+\verb|\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en|.
+\zkeyindex{octfindown}
+ To change the text that is part of these notations, redefine one of
+the macros \keyindex{octnumberup} or \keyindex{octnumberdown}. The reason for
+the distinction between up and down is that, traditionally, upper octaviation
+only uses the figure
+``8'' to denote its beginning, while lower octaviation uses a more
+elaborate indication such as \hbox{\ppffsixteen8$^{va}$\kern 0.2em\eightit bassa}. Thus
+
+\bigskip
+\begin{music}\nostartrule
+\startextract
+\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en
+\zendextract
+\end{music}
+\noindent is coded
+
+\noindent\verb|\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en|
+
+\noindent while
+
+\begin{music}
+\startextract
+\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}\octfindown{-5}{2.5}\ql l\ql
+k\ql j\en
+\endextract
+\end{music}
+\noindent is coded as
+\begin{quote}\begin{verbatim}
+\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}%
+ \octfindown{-5}{2.5}\ql l\ql k\ql j\en
+\end{verbatim}\end{quote}
+
+The foregoing constructions have the drawbacks that (a) the span must be
+indicated ahead of time and (b) they cannot extend across a line break.
+Both restrictions are removed with the use of the alternate macros \keyindex{Ioctfinup},
+\keyindex{Ioctfindown} and
+\keyindex{Toctfin}.
+
+{\Bslash Ioctfinup}~$np$ indicates an upward octave transposition line with reference number
+$n$ and with dashed line at pitch $p$.
+By default $n$ must be in the range $[0,5]$, but
+you can specify a larger maximum number
+directly with \keyindex{setmaxoctlines}\verb|{|$m$\verb|}|
+where $7<m\leq 100$\footnote{This may require e-\TeX.}; the
+reference number will be in the range between $0$ and $m-1$.
+\label{musixmad_setmaxoctlines}
+
+Usually $p$ will be numeric and $>9$,
+but it can also be a letter.
+{\Bslash Ioctfindown}~$np$ starts a lower octave transposition line at pitch $p$
+(usually $p<-1$). Both extend until terminated with {\Bslash Toctfin}. The
+difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is
+the relative position of the figure ``8'' with respect to the dashed line, and
+the sense of the terminating hook As shorthand, \keyindex{ioctfinup} is equivalent to
+\verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to
+\verb|\Ioctfindown 0|.
+
+For example,
+
+\medskip
+ \begin{music}\nostartrule
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\en
+\bar
+\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\en
+\bar
+\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\en
+\bar
+\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\en
+\zendextract
+\end{music}
+\noindent is coded as
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\en
+\bar
+\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\en
+\bar
+\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\en
+\bar
+\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\en
+\zendextract
+\end{music}
+\end{verbatim}\end{quote}
+ %\check
+
+ The elevation of octaviation lines may be changed in midstream using
+\keyindex{Liftoctline}~$n$$p$, where $n$ is the reference number of the
+ octave line, and $p$ a (possibly negative) number of
+\keyindex{internote}s (staff pitch positions) by which elevation of the dashed line should be changed.
+This may be useful when octaviation lines extend over several systems and the
+elevation needs to be changed in systems after the one where it was initiated.
+
diff --git a/macros/musixtex/doc/musixdoc/writingnotes.tex b/macros/musixtex/doc/musixdoc/writingnotes.tex
new file mode 100644
index 0000000000..7bd5c83375
--- /dev/null
+++ b/macros/musixtex/doc/musixdoc/writingnotes.tex
@@ -0,0 +1,285 @@
+ \chapter{Writing Notes}\label{autostemdirections}
+There are two major kinds of note macros, those that include a space (of
+length \keyindex{noteskip}) after
+the printed symbol, and those that don't cause any space. A single-line melody would be
+written using the first type. All notes of a chord except the last would
+use the second.
+
+Another distinction concerns stemmed notes. Some macros explicitly set the
+stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of
+the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies
+\ital{automatic} stem direction selection. In this case notes below the middle
+staff line will get up stems, otherwise down.
+
+Note pitches can be specified either by letters or numbers. If no transposition
+or octaviation is in effect, letters ranging
+from \verb|a| to \verb|z| represent notes starting with the A below
+middle C. Upper case letters from \verb|A| to \verb|N| represent pitches
+two octaves lower than their lower case counterparts. Any letter can be used in
+any clef, but some users may
+prefer to use the lower case letters in treble clef, and the upper case ones
+in bass clef.
+
+Alternatively, a one- or two-digit, positive or negative integer can always be used.
+The number represents
+the vertical position on the staff, with \verb|0| for the lowest line and
+\verb|1| for the space right above, \ital{regardless of the clef}.
+Unlike with letters, the
+associated pitch will depend on the clef, and notes entered this way are
+immune to transposition and octaviation.
+
+Notes lower than \verb|A| and higher than \verb|z| can be entered, with
+either numbers as just described, or with octaviation as will be explained in
+Chapter~\ref{octaviation}.
+
+ \section{Normal (unbeamed) spacing notes}\label{NormalNotes}
+In the following, \verb|{|$p$\verb|}| signifies a pitch specification as
+described above. However it
+is understood that if the pitch is a single character, the brackets are
+not necessary, provided that if it is a letter, a space separates the
+macro from the letter.
+
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) .
+ \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) .
+ \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} .
+ \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) .
+ \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss})
+(also used as alternate representation of a \ital{breve}).
+ \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note
+(\hbox to8pt{\zwqq1\hss}) (also used as alternate
+representation of a \ital{longa}).
+ \item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note.
+ \item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up.
+ \item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down.
+ \item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction
+ \item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up.
+ \item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down.
+ \item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction.
+ \item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}''
+within this macro name stands for the equivalent British term ``crotchet''} with stem up.
+ \item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down.
+ \item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction.
+ \item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up.
+ \item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down.
+ \item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction.
+ \item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem up.
+ \item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem down.
+ \item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]$32$nd note with automatic stem direction.
+ \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]$64$th note with stem up.
+ \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]$64$th note with stem down.
+ \item[\keyindex{cccca}{\tt\char123}$p${\tt\char125} :]$64$th note with automatic stem direction.
+ \item[\keyindex{cccccu}{\tt\char123}$p${\tt\char125} :]$128$th note with stem up.
+ \item[\keyindex{cccccl}{\tt\char123}$p${\tt\char125} :]$128$th note with stem down.
+ \item[\keyindex{ccccca}{\tt\char123}$p${\tt\char125} :]$128$th note with automatic stem direction.
+\end{description}\end{quote}
+ As an example, the sequence
+
+ %\check
+\begin{music}\nostartrule
+\startextract
+\Notes\cu c\cl j\en\bar
+\Notes\ccu c\ccl j\en\bar
+\Notes\cccu c\cccl j\en\bar
+\Notes\ccccu c\ccccl j\en\bar
+\Notes\cccccu c\cccccl j\en
+\zendextract
+\end{music}
+ \noindent was coded as
+\begin{quote}\begin{verbatim}
+\Notes\cu c\cl j\en\bar
+\Notes\ccu c\ccl j\en\bar
+\Notes\cccu c\cccl j\en\bar
+\Notes\ccccu c\ccccl j\en\bar
+\Notes\cccccu c\cccccl j\en
+\end{verbatim}\end{quote}
+
+
+
+For \keyindex{breve} there is a possibility of
+confusion with a command in \TeX's math mode that has exactly the same name.
+However, there will generally be no problem, because inside
+\verb|\startpiece...\endpiece|,
+\verb|\breve| will take the musical meaning, while outside, it will have the
+mathematical one.
+If for some reason you need the math \verb|\breve| inside, you can use
+\verb|\endcatcodesmusic...\breve...\catcodesmusic|.
+
+ \section{Non-spacing note heads}
+These macros are used to create chords. Any number of them can be entered
+in sequence, followed by a spacing note. All of the note heads will be
+joined to the spacing note and the stem length will automatically be adjusted
+as needed.
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head.
+ \item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head.
+\end{description}\end{quote}
+%das ???
+% \begin{remark} Notes of duration longer than whole notes are
+%always non-spacing. This saves one useless definition, since these notes are
+%always longer than other simultaneous ones. If needed they can be followed by
+%\keyindex{sk} to force spacing.
+%\end{remark}
+
+ \section{Shifted non-spacing note heads}
+These symbols are used mainly
+in chords containing an interval of a \ital{second}. They provide note
+heads shifted either to the left or right of the default position by
+the width of one note head.
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+\item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right.
+\item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left.
+\item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not
+have realized that half and whole note heads have different shapes}.
+\item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left.
+\item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right.
+\item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left.
+\end{description}\end{quote}
+
+ \section{Non-spacing notes}
+These macros provide normal notes, with stems if applicable, but without any
+following space.
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like
+\verb|\hu| for chord building, i.e., it will join together any immediately
+preceding non-spacing note heads.
+ \item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like
+\keyindex{hl} for chord building.
+ \item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like
+\verb|\qu| for chord building.
+ \item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts
+like \verb|\ql| for chord building.
+ \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu},
+ \keyindex{zccccu}, \keyindex{zcccccu}
+:]eighth, ..., note with stem up but no spacing. They act like
+\verb|\cu| for chord building.
+ \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl},
+ \keyindex{zccccl}, \keyindex{zcccccl}
+:]eighth, ..., note with stem down but no spacing. They act
+like \verb|\cl| for chord building.
+ \item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql},
+ \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|,
+ but the note is shifted one note width to the right; others analogous.
+ \item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql},
+ \keyindex{lcu}, \keyindex{lcl} :]same
+ as above, but the note is shifted one note width to the left.
+ \item[\keyindex{zw}\pitchp~:]whole note with no following space.
+ \item[\keyindex{zwq}\pitchp~:]arbitrary duration note
+ (\hbox to8pt{\zwq1\hss}) with no following space.
+ \item[\keyindex{zbreve}\pitchp~:]breve
+ (\hbox to8pt{\zbreve1\hss}) with no following space.
+ \item[\keyindex{zlonga}\pitchp~:]longa
+ (\hbox to8pt{\zlonga1\hss}) with no following space.
+ \item[\keyindex{zmaxima}\pitchp~:]maxima
+ (\hbox to16pt{\zmaxima1\hss}) with no following space.
+\end{description}\end{quote}
+ %\check
+
+\section{Spacing note heads}
+
+Although not needed in normal music scores, these may be useful in
+very special cases.
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+\item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head.
+\item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head.
+\end{description}\end{quote}
+
+\noindent As an example, the sequence
+
+\begin{music}\nostartrule
+ \startextract
+\notes\nq c\nq j\en\barre
+\Notes\nh c\nh j\en\barre
+\notes\nq {cdef}\en
+\zendextract
+\end{music}
+
+\noindent was coded as
+
+\begin{quote}\begin{verbatim}
+\notes\nq c\nq j\en\barre
+\Notes\nh c\nh j\en\barre
+\notes\nq {cdef}\en
+\end{verbatim}\end{quote}
+
+Non spacing variants are also provided, namely
+\keyindex{znh} and \keyindex{znq}.
+% DAS: why???
+
+ \section{Dotted notes}\label{dots}
+
+By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the
+macros just introduced provide one or two dots after the notehead:
+\keyindex{whp}\pitchp, \keyindex{whpp},
+\keyindex{zwp}, \keyindex{zwpp},
+\keyindex{hup}, \keyindex{hupp},
+\keyindex{hlp}, \keyindex{hlpp},
+\keyindex{hap}, \keyindex{happ},
+\keyindex{zhp}, \keyindex{zhpp},
+\keyindex{qup}, \keyindex{qupp},
+\keyindex{qlp}, \keyindex{qlpp},
+\keyindex{qap}, \keyindex{qapp},
+\keyindex{zqp}, \keyindex{zqpp},
+\keyindex{cup}, \keyindex{cupp},
+\keyindex{clp}, \keyindex{clpp},
+\keyindex{qbp} and \keyindex{qbpp}.
+Naturally, the ones that start with ``\verb|z|'' are used in chords.
+The dot(s) will be raised if the note is on a line.
+
+A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125},
+\keyindex{ppt}, or \keyindex{pppt} right
+before any note macro to place one to three dots after the normal note
+head at pitch $p$. Again they will be raised if on a line. In fact this is the only
+way to get a triple-dotted note.
+For example a
+quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots
+as \keyindex{ppt}\verb| h\qu h| and with three as
+\keyindex{pppt}\verb| h\qu h|.
+
+Yet another method for posting a dot is to insert a \ital{period} before
+the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to
+either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when
+using \ital{collective coding}, which will be discussed in the next
+section.
+
+Non-spacing dotted notes can be produced using
+\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp},
+\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp},
+and similarly with two \verb|p|'s for
+double-dotted notes.
+
+As a matter of style, if two voices share one staff, the dots in
+the lower voice should be lowered if the note is on a line. For
+this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and
+\keyindex{lppt}{\tt\char123}$p${\tt\char125}.
+
+\section{Sequences of equally spaced notes; collective coding}
+\label{CollectiveCoding}
+
+It isn't necessary to write a separate macro
+sequence \verb|\notes...\en| for every individual column of notes.
+Rather, a single such macro can contain all the notes in all staves
+over an extended horizontal range, as long as all spacings are equal or
+multiples of a unique value of \keyindex{noteskip}.
+The notes in each staff could be entered one after another as normal
+spacing notes as already described in Section~\ref{NormalNotes}. Then
+each spacing note will cause the insertion point to advance horizontally by the
+operative value of \verb|\noteskip| defined by the choice of
+\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences
+non-spacing chord notes can be entered right before their associated
+spacing note. If you need to skip forward by one \verb|\noteskip|, for
+example after a quarter note when there are two eighth notes in
+another staff, you can use \keyindex{sk}.
+
+If there are only spacing notes in such a sequence, a further
+simplification is available, called \ital{collective coding}. For instance
+\verb|\qu{cdefghij}| writes the C major scale in quarters with
+up stems. Similarly \verb|\cl{abcdef^gh}| writes the
+\ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents
+a sharp). If necessary a void can be inserted in a collective coding sequence
+by using~\verb|*|\index{*}. Not all note-generating macros can be
+used to perform collective coding, but most of them can.
diff --git a/macros/musixtex/doc/musixlyr/README.musixlyr b/macros/musixtex/doc/musixlyr/README.musixlyr
new file mode 100644
index 0000000000..bbf9abd9be
--- /dev/null
+++ b/macros/musixtex/doc/musixlyr/README.musixlyr
@@ -0,0 +1,74 @@
+
+ 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
new file mode 100644
index 0000000000..d23648bb6a
--- /dev/null
+++ b/macros/musixtex/doc/musixlyr/examples/nonmoriar.pdf
Binary files differ
diff --git a/macros/musixtex/doc/musixlyr/examples/nonmoriar.tex b/macros/musixtex/doc/musixlyr/examples/nonmoriar.tex
new file mode 100644
index 0000000000..4f0c45a12f
--- /dev/null
+++ b/macros/musixtex/doc/musixlyr/examples/nonmoriar.tex
@@ -0,0 +1,23 @@
+\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
new file mode 100644
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--- /dev/null
+++ b/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
new file mode 100644
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--- /dev/null
+++ b/macros/musixtex/doc/musixlyr/mxlyrdoc.tex
@@ -0,0 +1,1876 @@
+%%
+%% 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
new file mode 100644
index 0000000000..8a1d27ac52
--- /dev/null
+++ b/macros/musixtex/doc/musixtex-install.pdf
Binary files differ
diff --git a/macros/musixtex/doc/musixtex-install.tex b/macros/musixtex/doc/musixtex-install.tex
new file mode 100644
index 0000000000..b3e78f4328
--- /dev/null
+++ b/macros/musixtex/doc/musixtex-install.tex
@@ -0,0 +1,158 @@
+\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
new file mode 100644
index 0000000000..1f797876cd
--- /dev/null
+++ b/macros/musixtex/doc/notationmistakes/coulhack.tex
@@ -0,0 +1,70 @@
+% 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
new file mode 100644
index 0000000000..ab29004645
--- /dev/null
+++ b/macros/musixtex/doc/notationmistakes/sottieng.pdf
Binary files differ
diff --git a/macros/musixtex/doc/notationmistakes/sottieng.tex b/macros/musixtex/doc/notationmistakes/sottieng.tex
new file mode 100644
index 0000000000..1ce95adb9a
--- /dev/null
+++ b/macros/musixtex/doc/notationmistakes/sottieng.tex
@@ -0,0 +1,1075 @@
+\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}
+
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+\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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+\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
new file mode 100644
index 0000000000..adf4569bd1
--- /dev/null
+++ b/macros/musixtex/doc/psslurs/README.psslurs
@@ -0,0 +1,42 @@
+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
new file mode 100644
index 0000000000..d2bc50629f
--- /dev/null
+++ b/macros/musixtex/doc/psslurs/slurs.pdf
Binary files differ
diff --git a/macros/musixtex/doc/psslurs/slurs.tex b/macros/musixtex/doc/psslurs/slurs.tex
new file mode 100644
index 0000000000..037233fc7e
--- /dev/null
+++ b/macros/musixtex/doc/psslurs/slurs.tex
@@ -0,0 +1,77 @@
+\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
new file mode 100644
index 0000000000..551dda083c
--- /dev/null
+++ b/macros/musixtex/doc/reference/musixre1.pdf
Binary files differ
diff --git a/macros/musixtex/doc/scripts/musixflx.1 b/macros/musixtex/doc/scripts/musixflx.1
new file mode 100644
index 0000000000..4ef7c35870
--- /dev/null
+++ b/macros/musixtex/doc/scripts/musixflx.1
@@ -0,0 +1,46 @@
+.\" 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
new file mode 100644
index 0000000000..934b9097b9
--- /dev/null
+++ b/macros/musixtex/doc/scripts/musixflx.pdf
Binary files differ
diff --git a/macros/musixtex/doc/scripts/musixtex.1 b/macros/musixtex/doc/scripts/musixtex.1
new file mode 100644
index 0000000000..5c3b84ca2c
--- /dev/null
+++ b/macros/musixtex/doc/scripts/musixtex.1
@@ -0,0 +1,189 @@
+.\" This manpage is licensed under the GNU Public License
+.TH MUSIXTEX 1 2018-07-27 "musixtex version 0.21" ""
+
+.SH NAME
+musixtex \- processes MusiXTeX files, using pre-processors prepmx, 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
+[ .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 .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 .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
+output program name and version number, and quit
+.TP
+.B -h
+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 -A aspcx
+use
+.B aspcx
+as the aspc preprocessor; e.g., -A "autosp -l".
+.TP
+.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)
+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
new file mode 100644
index 0000000000..e8caf62c92
--- /dev/null
+++ b/macros/musixtex/doc/scripts/musixtex.pdf
Binary files differ
diff --git a/macros/musixtex/dvips/psslurs.pro b/macros/musixtex/dvips/psslurs.pro
new file mode 100644
index 0000000000..b1ba95253d
--- /dev/null
+++ b/macros/musixtex/dvips/psslurs.pro
@@ -0,0 +1,282 @@
+% 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
+ 1 psxAR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 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
+ 1 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
new file mode 100644
index 0000000000..54c2ca8dd6
--- /dev/null
+++ b/macros/musixtex/latex/musixcpt.sty
@@ -0,0 +1,3 @@
+\input musixcpt
+\endinput
+
diff --git a/macros/musixtex/latex/musixcrd.sty b/macros/musixtex/latex/musixcrd.sty
new file mode 100644
index 0000000000..b185b3ca60
--- /dev/null
+++ b/macros/musixtex/latex/musixcrd.sty
@@ -0,0 +1,11 @@
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%% 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
new file mode 100644
index 0000000000..08569182b4
--- /dev/null
+++ b/macros/musixtex/latex/musixfll.sty
@@ -0,0 +1,2 @@
+\input musixfll.tex
+\endinput
diff --git a/macros/musixtex/latex/musixltx.tex b/macros/musixtex/latex/musixltx.tex
new file mode 100644
index 0000000000..54b0af9865
--- /dev/null
+++ b/macros/musixtex/latex/musixltx.tex
@@ -0,0 +1,33 @@
+%
+% 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
new file mode 100644
index 0000000000..c8127f51d0
--- /dev/null
+++ b/macros/musixtex/latex/musixtex.sty
@@ -0,0 +1,3 @@
+\input musixtex
+\input musixltx
+\endinput
diff --git a/macros/musixtex/scripts/musixflx.lua b/macros/musixtex/scripts/musixflx.lua
new file mode 100644
index 0000000000..0a267f4815
--- /dev/null
+++ b/macros/musixtex/scripts/musixflx.lua
@@ -0,0 +1,1071 @@
+#!/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.lua b/macros/musixtex/scripts/musixtex.lua
new file mode 100755
index 0000000000..f591940b20
--- /dev/null
+++ b/macros/musixtex/scripts/musixtex.lua
@@ -0,0 +1,608 @@
+#!/usr/bin/env texlua
+
+VERSION = "0.21"
+
+--[[
+ musixtex.lua: processes MusiXTeX files using prepmx and/or pmxab and/or
+ autosp as pre-processors (and deletes intermediate files)
+
+ (c) Copyright 2011-2018 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 0.21 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[.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 mtx-pmx-tex or
+ aspc-etex/ltx, with the entry point determined by the extension.
+ The normal route after preprocessing goes tex-dvi-ps-pdf, but shorter
+ routes are also available, see the options. The default processing route
+ for .tex files is etex-musixflx-etex.
+Options: -v version
+ -h help
+ -l latex source
+ -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
+ -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"
+function defaults()
+ 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" then
+ os.exit(0)
+ elseif this_arg == "-h" 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 == "-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]
+ else
+ print("! Unknown option "..this_arg.." ignored")
+ end
+end
+
+function find_file(this_arg)
+ basename, extension = this_arg:match"(.*)%.(.*)"
+ extensions = {["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 ("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 .. ".[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 == "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
new file mode 100644
index 0000000000..b919dcbc4d
--- /dev/null
+++ b/macros/musixtex/source/doc.tex
@@ -0,0 +1,24 @@
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%% 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
new file mode 100644
index 0000000000..68202db902
--- /dev/null
+++ b/macros/musixtex/source/makefile
@@ -0,0 +1,45 @@
+#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+#%% 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
new file mode 100644
index 0000000000..3caf93ff06
--- /dev/null
+++ b/macros/musixtex/source/musixcrd.dtx
@@ -0,0 +1,811 @@
+%\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
new file mode 100644
index 0000000000..d1baf7ea57
--- /dev/null
+++ b/macros/musixtex/source/readme
@@ -0,0 +1,54 @@
+#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+#%% 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
new file mode 100644
index 0000000000..21ff28fafb
--- /dev/null
+++ b/macros/musixtex/source/strip.tex
@@ -0,0 +1,20 @@
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%% 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
new file mode 100644
index 0000000000..9e3b716071
--- /dev/null
+++ b/macros/musixtex/tex/musixadd.tex
@@ -0,0 +1,30 @@
+%
+% 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
new file mode 100644
index 0000000000..33c93ddca8
--- /dev/null
+++ b/macros/musixtex/tex/musixadf.tex
@@ -0,0 +1,138 @@
+%
+% 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
new file mode 100644
index 0000000000..5e748aae6d
--- /dev/null
+++ b/macros/musixtex/tex/musixbar.tex
@@ -0,0 +1,148 @@
+%%%%%%%%%% 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
new file mode 100644
index 0000000000..c3c2333002
--- /dev/null
+++ b/macros/musixtex/tex/musixbbm.tex
@@ -0,0 +1,69 @@
+%
+% 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
new file mode 100644
index 0000000000..d40de4cb68
--- /dev/null
+++ b/macros/musixtex/tex/musixblx.tex
@@ -0,0 +1,44 @@
+%
+% 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
new file mode 100644
index 0000000000..29147d8707
--- /dev/null
+++ b/macros/musixtex/tex/musixbm.tex
@@ -0,0 +1,25 @@
+%
+% 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
new file mode 100644
index 0000000000..55b5e482eb
--- /dev/null
+++ b/macros/musixtex/tex/musixcho.tex
@@ -0,0 +1,68 @@
+%
+% 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
new file mode 100644
index 0000000000..90d9066465
--- /dev/null
+++ b/macros/musixtex/tex/musixcpt.tex
@@ -0,0 +1,826 @@
+%
+% 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
new file mode 100644
index 0000000000..2701d104ee
--- /dev/null
+++ b/macros/musixtex/tex/musixcrd.tex
@@ -0,0 +1,272 @@
+%%
+%% 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
new file mode 100644
index 0000000000..16541a6e5c
--- /dev/null
+++ b/macros/musixtex/tex/musixdat.tex
@@ -0,0 +1,59 @@
+%
+% 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
new file mode 100644
index 0000000000..2ad82ca662
--- /dev/null
+++ b/macros/musixtex/tex/musixdbr.tex
@@ -0,0 +1,250 @@
+\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
new file mode 100644
index 0000000000..05839eea01
--- /dev/null
+++ b/macros/musixtex/tex/musixdia.tex
@@ -0,0 +1,110 @@
+%
+% 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
new file mode 100644
index 0000000000..e213f30fb1
--- /dev/null
+++ b/macros/musixtex/tex/musixec.tex
@@ -0,0 +1,169 @@
+% 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
new file mode 100644
index 0000000000..e9e3d0d8b9
--- /dev/null
+++ b/macros/musixtex/tex/musixeng.tex
@@ -0,0 +1,42 @@
+%
+% 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
new file mode 100644
index 0000000000..0fa6fd0829
--- /dev/null
+++ b/macros/musixtex/tex/musixesf.tex
@@ -0,0 +1,79 @@
+%%
+%% 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
new file mode 100644
index 0000000000..dd6c1e5ffc
--- /dev/null
+++ b/macros/musixtex/tex/musixevo.tex
@@ -0,0 +1,19 @@
+\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
new file mode 100644
index 0000000000..d6ac3b9c4b
--- /dev/null
+++ b/macros/musixtex/tex/musixext.tex
@@ -0,0 +1,26 @@
+%
+% 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
new file mode 100644
index 0000000000..7cb9e44fae
--- /dev/null
+++ b/macros/musixtex/tex/musixfll.tex
@@ -0,0 +1,44 @@
+%
+% 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/musixgre.tex b/macros/musixtex/tex/musixgre.tex
new file mode 100644
index 0000000000..a7272fb30c
--- /dev/null
+++ b/macros/musixtex/tex/musixgre.tex
@@ -0,0 +1,351 @@
+%
+% 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
new file mode 100644
index 0000000000..103360b269
--- /dev/null
+++ b/macros/musixtex/tex/musixgui.tex
@@ -0,0 +1,41 @@
+%
+% 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
new file mode 100644
index 0000000000..fbc73393e1
--- /dev/null
+++ b/macros/musixtex/tex/musixhor.tex
@@ -0,0 +1,41 @@
+%
+% 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
new file mode 100644
index 0000000000..d0eb65d23b
--- /dev/null
+++ b/macros/musixtex/tex/musixhou.tex
@@ -0,0 +1,58 @@
+%
+% 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
new file mode 100644
index 0000000000..9c24763330
--- /dev/null
+++ b/macros/musixtex/tex/musixhv.tex
@@ -0,0 +1,180 @@
+% 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
new file mode 100644
index 0000000000..4a8d6ae864
--- /dev/null
+++ b/macros/musixtex/tex/musixinv.tex
@@ -0,0 +1,2 @@
+% still a dummy
+\endinput
diff --git a/macros/musixtex/tex/musixlit.tex b/macros/musixtex/tex/musixlit.tex
new file mode 100644
index 0000000000..f55fb8f826
--- /dev/null
+++ b/macros/musixtex/tex/musixlit.tex
@@ -0,0 +1,87 @@
+%
+% 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
new file mode 100644
index 0000000000..fc9aaaf9b1
--- /dev/null
+++ b/macros/musixtex/tex/musixlyr.tex
@@ -0,0 +1,1162 @@
+%%
+%% 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
new file mode 100644
index 0000000000..6d29d3cd84
--- /dev/null
+++ b/macros/musixtex/tex/musixmad.tex
@@ -0,0 +1,30 @@
+%
+% 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/musixper.tex b/macros/musixtex/tex/musixper.tex
new file mode 100644
index 0000000000..47ad54e644
--- /dev/null
+++ b/macros/musixtex/tex/musixper.tex
@@ -0,0 +1,195 @@
+%
+% 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
new file mode 100644
index 0000000000..3e0b36aae1
--- /dev/null
+++ b/macros/musixtex/tex/musixplt.tex
@@ -0,0 +1,184 @@
+% 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
new file mode 100644
index 0000000000..dcf33f4f95
--- /dev/null
+++ b/macros/musixtex/tex/musixpoi.tex
@@ -0,0 +1,67 @@
+%
+% 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
new file mode 100644
index 0000000000..6d06e70b42
--- /dev/null
+++ b/macros/musixtex/tex/musixppff.tex
@@ -0,0 +1,169 @@
+%% 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
new file mode 100644
index 0000000000..e2033e2b07
--- /dev/null
+++ b/macros/musixtex/tex/musixps.tex
@@ -0,0 +1,963 @@
+%% PostScript slurs, ties and crescendos
+% Coded by Stanislav Kneifl
+
+\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 0.93 (17.2.2015)}%
+
+\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\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\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\iLslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psLslurskip}}
+
+\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\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\ttie#1{\tTie{#1}{\psttieskip}}
+\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
new file mode 100644
index 0000000000..dd7c9b92d8
--- /dev/null
+++ b/macros/musixtex/tex/musixref.tex
@@ -0,0 +1,305 @@
+%
+% 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
new file mode 100644
index 0000000000..86a69982f4
--- /dev/null
+++ b/macros/musixtex/tex/musixslu.tex
@@ -0,0 +1,4 @@
+\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
new file mode 100644
index 0000000000..4a480cca56
--- /dev/null
+++ b/macros/musixtex/tex/musixsqr.tex
@@ -0,0 +1,3 @@
+\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
new file mode 100644
index 0000000000..7741e4b974
--- /dev/null
+++ b/macros/musixtex/tex/musixste.tex
@@ -0,0 +1,35 @@
+
+\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
new file mode 100644
index 0000000000..a73cf021ff
--- /dev/null
+++ b/macros/musixtex/tex/musixstf.tex
@@ -0,0 +1,28 @@
+% 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
new file mode 100644
index 0000000000..ac23af18f4
--- /dev/null
+++ b/macros/musixtex/tex/musixstr.tex
@@ -0,0 +1,47 @@
+%
+% 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
new file mode 100644
index 0000000000..794a7ce336
--- /dev/null
+++ b/macros/musixtex/tex/musixsty.tex
@@ -0,0 +1,388 @@
+%
+% 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
new file mode 100644
index 0000000000..55382f5dfe
--- /dev/null
+++ b/macros/musixtex/tex/musixtex.tex
@@ -0,0 +1,5707 @@
+%
+% 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{29}
+\def\mxvernumber{\mxmajorvernumber\mxminorvernumber}% make it possible to compare with \ifnum
+\def\mxversuffix{}%
+\edef\mxversion{\mxmajorvernumber.\mxminorvernumber\mxversuffix}
+\def\mxdate{2018-08-04}
+
+\immediate\write16{MusiXTeX(c) \mxversion\space<\mxdate>}%
+\everyjob{\immediate\write16{MusiXTeX(c) \mxversion\space<\mxdate>}}%
+
+
+% 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 sans serif fonts % version 1.29 RDT
+%%
+
+\font\threess=phvr8t at 3pt
+\font\fourss=phvr8t at 4pt
+\font\fivess=phvr8t at 5pt
+\font\fivedc=phvb8t at 5pt
+\font\sixss=phvr8t at 6pt
+\font\sixdc=phvb8t 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
+
+%%
+% 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
+
+%%
+% 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\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
+ \b@amthick.3456\Interligne \interbeam1.08\Interligne }
+
+\def\set@largenotesize{\let\musixfont\musiclargefont
+ \let\xgregfont\xgreglargefont
+ \b@amthick.288\Interligne \interbeam.9\Interligne }
+
+\def\set@normalnotesize{\let\musixfont\musicnorfont
+ \let\xgregfont\xgregnorfont
+ \b@amthick.24\Interligne \interbeam\p@seven5\Interligne }
+
+\def\set@smallnotesize{\let\musixfont\musicsmallfont
+ \let\xgregfont\xgregsmallfont
+ \b@amthick\p@ne92\Interligne \interbeam.6\Interligne }
+
+\def\set@tinynotesize{\let\musixfont\musictinyfont
+ \let\xgregfont\xgregtinyfont
+ \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\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\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\fivess \let\tablargefnt\sixss
+ \let\tabLargefnt\eightss \let\tabsmallfnt\fourss
+ \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\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\eightss \let\tablargefnt\niness
+ \let\tabLargefnt\elevenss \let\tabsmallfnt\sixss
+ \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 \eightss
+ \else\ifdim\internote<1.43\Internote \niness
+ \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\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\niness \let\tablargefnt\elevenss
+ \let\tabLargefnt\twelvess \let\tabsmallfnt\eightss
+ \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\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\sixss \let\tablargefnt\eightss
+ \let\tabLargefnt\niness \let\tabsmallfnt\fivess
+ \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 \sixss
+ \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\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
+ \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
+ \addspace{\h@lf\afterruleskip}%
+ \kernm\afterruleskip\l@eftrepeat\kern\afterruleskip
+ \advance\lastbarpos\afterruleskip \b@rrul@
+}
+
+\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\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\lastbarpos\lin@pos\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\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@}
+
+\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 \sixss
+\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 %
+% version 1.29 RDT
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\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}%
+}
+
+% \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
+\newcount\stringraise
+\def\tab#1#2{%
+ \tabbox{#1}{#2}\sk%
+}
+% left spilling \tab
+\def\ltab#1#2{%
+ \ltabbox{#1}{#2}\sk%
+}
+% right spilling \tab
+\def\rtab#1#2{%
+ \rtabbox{#1}{#2}\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{%
+ \tabbox{#1}{#2}%
+}
+% left spilling \ztab
+\def\zltab#1#2{%
+ \ltabbox{#1}{#2}%
+}
+% right spilling \ztab
+\def\zrtab#1#2{%
+ \rtabbox{#1}{#2}%
+}
+%
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% 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}
+
+
+\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/musixtmr.tex b/macros/musixtex/tex/musixtmr.tex
new file mode 100644
index 0000000000..16f48a67e3
--- /dev/null
+++ b/macros/musixtex/tex/musixtmr.tex
@@ -0,0 +1,201 @@
+%%
+%% 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
new file mode 100644
index 0000000000..52375e170d
--- /dev/null
+++ b/macros/musixtex/tex/musixtri.tex
@@ -0,0 +1,64 @@
+%
+% 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/tuplet.tex b/macros/musixtex/tex/tuplet.tex
new file mode 100644
index 0000000000..8ea0dfc030
--- /dev/null
+++ b/macros/musixtex/tex/tuplet.tex
@@ -0,0 +1,27 @@
+%
+% 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
diff --git a/macros/musixtex/windows/musixflx.bat b/macros/musixtex/windows/musixflx.bat
new file mode 100644
index 0000000000..1f0d4a8f99
--- /dev/null
+++ b/macros/musixtex/windows/musixflx.bat
@@ -0,0 +1,6 @@
+:: 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/windows/musixtex.bat b/macros/musixtex/windows/musixtex.bat
new file mode 100644
index 0000000000..c9bf9af63f
--- /dev/null
+++ b/macros/musixtex/windows/musixtex.bat
@@ -0,0 +1,6 @@
+:: wrapper script to call musixtex.lua
+:: Usage: musixtex [options] basename[.tex]
+:: Suggested by Tomasz Luczak (Tomek) t34www@googlemail.com
+
+@for /f "delims=" %%I in ('kpsewhich --format=texmfscripts %~n0.lua') do texlua "%%I" %*
+:end