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+\def\ks#1{\noindent\hbox{{\tt \char\hex5C}\bf#1}}
+\def\bs{\noindent\hbox{{\tt \char\hex5C}}}%Backslash
+\def\lk{\hbox{{\tt\char\hex7B}}}%linke Klammer auf
+\def\strich{{\hbox{\tt \char\hex7C}}}
+\def\dpkt{{\hbox{\tt \char\hex3A}}}%Doppelpunkt
+\def\gleich{{\hbox{\tt \char\hex3D}}}%
+\def\slash{\noindent{\hbox{\tt \char\hex2F}}}
+\def\blank{{\hbox{\tt \char\hex20}}}
+%
+\verbatimon
+\normalbaselines
+\openup\jot
+\heading{Anhang A:\quad Beispiele}
+
+Abschlie\3end sollen vier Musikst"ucke angef"ugt werden,
+die mit dem entwickelten Format gesetzt wurden.
+Sie sollen zus"atzlich zu den im Text angegebenen Beispielen die
+vorgestellten Verfahren verdeutlichen.
+Zum Vergleich ist die Codierung des ersten, dritten und vierten Beispiels
+hinzugef"ugt.
+
+Das erste Beispiel wurde von D. Byrd \lit{\byrd} in der
+Beschreibung als Test
+seines Notensatzsystems verwendet.
+%
+Mit dem ersten und zweiten Beispiel sollen die verschiedenen
+im Format zur Verf"ugung gestellten Auschlu\3schemata
+(|\hsmall|, |\small|, |\universal|, |\wide| und
+|\loose|) verdeutlicht
+werden.
+Als drittes Beispiel wurde ein zweistimmiges St"uck ausgew"ahlt.
+Das vierte ist ein Beispiel f"ur ein Musikst"uck, das mit Text unterlegt
+wurde.
+
+Beim Satz der Beispiele
+zeigte sich, da\3 es notwendig ist, das Ausschlu\3schema abh"angig
+vom Charakter des Musikst"uckes und von der gew"unschten Zeilenl"ange
+auszuw"ahlen.
+Die schon in Kapitel 9 angedeutete Problematik, da\3
+innerhalb gr"o\3erer Nachbarschaften nicht umbrochen werden kann und
+der Ausschlu\3 an dieser Stelle nicht mehr variabel ist, wird am
+Beispiel von D. Byrd deutlich. Bei der gew"ahlten Zeilenl"ange
+und dem Ausschlu\3 |\small| steht f"ur die letzte Zeile nicht gen"ugend
+Satzmaterial zur Verf"ugung. Sie wird also nicht
+zufriedenstellend ausgeschlossen.
+W"ahlt man als Ausschlu\3 |\wide|, so wird das
+St"uck weiter ausgeschlossen und die dritte Zeile kann gef"ullt werden.
+Dabei wurde es jedoch notwendig, einen Takt in der Taktmitte zu teilen.
+
+Umgekehrt konnten f"ur das zweite Beispiel mit engem und
+universellem Ausschlu\3
+(|\hsmall| und |\universal|)
+gute Ergebnisse, jedoch beim lockeren Ausschlu\3
+(|\loose|) kein zufriedenstellendes Ergebnis erzielt werden.
+Dies ist u.a. auch darauf zur"uckzuf"uhren, da\3 beim lockeren Ausschlu\3
+die Takte sehr breit werden. Die Forderung, da\3 nur nach einem
+Taktstrich umbrochen werden darf, f"uhrt hier zus"atzlich noch
+zu einer "ubervollen Zeile.
+
+F"ur das dritte und vierte
+Beipiel wurde jeweils der universelle Ausschu\3 verwendet.
+\vskip2cm
+\vfill\supereject
+
+%fuer die Beispiele \headings wieder zulassen!
+
+\catcode`@=11
+\def\headings{\par\hbox to \hsize{\hss\title@\hss}%
+ \hbox to \hsize {\poet@\hss\comp@}%
+ \def\comp@{\hbox{}}\def\poet@{\hbox{}}\def\title@{\hbox{}}}
+\catcode`@ = 12
+
+
+{\bf Beispiel 1 \rm (Ausschlu\3: Gomberg ``eng''(\verbatimon
+|\small|) und ``weit'' (|\wide|))\Parsep
+}
+\vskip1cm
+\let \baselines = \baselinesb
+\parindent 40pt
+\small
+\title{\bf String Quartett}%
+\composer{ Donald Byrd, 1968}%
+\voice{Violin 1}%
+\beginsong\vio\C\^n{moderato}{\vrule height 7\nhh width0pt \gluebrule}%
+\meter9/8%
+\pg\|%
+\group{\\{\_v{\mezzopiano}{\v3\.1}}\\{\_v{{\it cant.}}{\h7\.1}}}
+{\\{3}\\{7}}\uslur13\go\|%
+\group{\\{\a8\.1}\\{\b4\a4\.1}\\{\b6\v6\.1}}
+{\\{8}\\{4}\\{6}}\lbeam12\uslur13\go
+\group{\\{\a3}\\{\a4}\\{\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go\|%
+\group{\\{\n6\v6\.1}\\{\x4\v4\.1}}{\\{6}\\{4}}\uslur12\go
+\group{\\{\a3}\\{\b4\a4}\\{\n5\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go
+\|\meter6/8\v6\.1\group{\\{\v{10}\.1}\\{\|\meter9/8}%
+\\{\_v{\crescendo}{\v{10}\.1}}}{\\{10}\\{8}\\{10}}\uslur13\go
+\group{\\{\v9\.1}\\{\v{13}\.1}}{\\{9}\\{13}}\uslur12\go\|%
+\group{\\{\b{14}\a{14}\.1}\\{\b{11}\a{11}\.1}}{\\{14}\\{11}}%
+\lbeam12\uslur12\go
+\group{\\{\v{15}\.1}\\{\a{15}}}{\\{15}\\{15}}\uslur12\go
+\n{14}\v{14}\|%
+\group{\\{\_v{\diminuendo}{\b{14}\v{14}\.1}}%
+\\{\b{10}\v{10}\.1}\\{\v{12}\.1}}{\\{14}\\{10}\\{12}}\uslur13\go\|%
+{\tenuto\v{11}\.1}%
+\group{\\{\h7\.1}\\{\|\meter6/8}\\{\h7\.1}\\{\|}\\{\v7\.1}}
+{\\{7}\\{8}\\{7}\\{8}\\{7}}\uslur13\uslur35\go
+\group{\\{\_v{\piano}{\b7\v7\.1}}\\{\|\meter9/8}%
+\\{\v{10}\.1}}{\\{7}\\{8}\\{10}}\uslur13\go
+\pv\.1\|\pg\|\meter6/8%
+\group{\\{\_v{\crescendo}{\a8}}\\{\b{11}\a{11}}\\{\a{13}}}
+{\\{8}\\{11}\\{13}}\lbeam13\uslur13\go
+\x{12}\v{12}\.1\|%
+{\def\beamlist{\\{1-4,}\\{1-4,}}%
+\group{\\{\s{10}}\\{\b{11}\s{11}}\\{\n{12}\s{12}}\\{\s{13}}}
+{\\{10}\\{11}\\{12}\\{13}}\lbeam14\uslur14\go}%
+{\def\beamlist{\\{1-4,}\\{1-4,}}%
+\group{\\{\x{13}\s{13}}\\{\s{14}}\\{\x{15}\s{15}}\\{\x{16}\s{16}}}
+{\\{13}\\{14}\\{15}\\{16}}\lbeam14\uslur14\go}%
+\|\_v{{\it f}}{\a{17}}\pa\pa\pv\.1\=\endsong
+\par
+\Parsep\Parsep
+\parindent 0pt
+Die Eingabe zu diesem St"uck sieht wie folgt aus:
+\vskip1cm
+%%%%%%%%%%%%%
+%%% byrd%%%
+%%%%%%%%%%%%%
+{\bf!!}
+\ks{title}\{String Quartett\}
+\ks{composer}\{Donald Byrd, 1968\}\ks{voice}\{Violin 1\}\par
+{\ks{treble}}\ks{text}\{\ks{\os{ }c} moderato\}
+\ks{meter}\{{\bf9}\slash{\bf8}\}\par
+{\bf 1p\strich\ks{slur}\{4.`a\{\ks{\us v}\ks{mezzopiano}\}
+2.{`}{`}e\ks{text}\{\ks{\us v} cant\}\}}\strich \par
+{\ks{slur}}{\bf \{\ks{beam}\{8.{`}{`}f b.`h\} b4{`}{`}.d\}}
+\ks{slur}{\bf \{\ks{beam}\{8`a h {`}{`}c\}\}}\strich\par
+{\bf{\ks{slur}}\{4n.d x`.h\}\ks{slur}\{\ks{beam}\{8`a bh n{`}{`}c\}\}}
+\strich\par
+{\bf{\ks{meter}}\{6\slash8\} 4.d
+\ks{slur}\{{`}{`}.a\strich \ks{meter}\{9/8\}
+{`}{`}.a\{\ks{\us v}\ks{crescendo}\}\}
+\ks{slur}\{.f {`}{`}{`}.d\}}\strich\par
+{\bf{\ks{slur}}\{\ks{beam}\{8.be b{`}{`}.h\}\}
+\ks{slur}\{4{`}{`}{`}.f 8f\}
+4ne}\strich\par
+{\bf{\ks{slur}}\{b.e\{\ks{\us v}\ks{diminuendo}\}
+b.{`}{`}a .{`}{`}{`}c\}}\strich\par
+{\ks{tenuto}\bf.{`}{`}h \ks{noaccent} \ks{group}
+\{2.e \strich\ks{meter}\{6\slash 8\} .e\strich 4.e\}\par
+\ks{glsur}\{1-4,4-6\}\ks{slur}\{b.e\{\ks{\us v}\ks{piano}\}
+\strich\ks{meter}\{9\slash 8\} .a\}
+4.p}\strich\par
+{\bf
+1p\strich \ks{meter}\{6\slash 8\}\ks{slur}
+\{\ks{beam}\{8f\{\ks{\us v}\ks{crescendo}\}bh {`}{`}{`}d\}\}
+4x .c}\strich\par
+{\bf{\ks{slur}}\{\ks{beam}\{{`}{`}6a bh n{`}{`}{`}c d\}\}
+\ks{slur}\{\ks{beam}\{6xd e xf xg\}\}}\strich\par
+{\bf 8a\{\ks{\us v}\ks{forte}\} p p 4.p \gleich !!}\Parsep\Parsep
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\vfill\break
+Verwendet man weiten Ausschlu\3 (|\wide|), so erh"alt man:
+\vskip1cm
+\parindent=40pt
+{\wide
+\title{\bf String Quartett}%
+\composer{Donald Byrd, 1968}%
+\voice{Violin 1}%
+\beginsong\vio\C\^n{moderato}{\vrule height7\nhh width0pt\gluebrule}%
+\meter9/8%
+\pg\|%
+\group{\\{\_v{\mezzopiano}{\v3\.1}}\\{\_v{{\it cant.}}{\h7\.1}}}
+{\\{3}\\{7}}\uslur13\go\|%
+\group{\\{\a8\.1}\\{\b4\a4\.1}\\{\b6\v6\.1}}
+{\\{8}\\{4}\\{6}}\lbeam12\uslur13\go
+\group{\\{\a3}\\{\a4}\\{\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go\|%
+\group{\\{\n6\v6\.1}\\{\x4\v4\.1}}{\\{6}\\{4}}\uslur12\go
+\group{\\{\a3}\\{\b4\a4}\\{\n5\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go
+\|\meter6/8\v6\.1\group{\\{\v{10}\.1}\\{\|\meter9/8}%
+\\{\_v{\crescendo}{\v{10}\.1}}}{\\{10}\\{8}\\{10}}\uslur13\go
+\group{\\{\v9\.1}\\{\v{13}\.1}}{\\{9}\\{13}}\uslur12\go\|%
+\group{\\{\b{14}\a{14}\.1}\\{\b{11}\a{11}\.1}}{\\{14}\\{11}}%
+\lbeam12\uslur12\go
+\group{\\{\v{15}\.1}\\{\a{15}}}{\\{15}\\{15}}\uslur12\go
+\n{14}\v{14}\|%
+\group{\\{\_v{\diminuendo}{\b{14}\v{14}\.1}}%
+\\{\b{10}\v{10}\.1}\\{\v{12}\.1}}{\\{14}\\{10}\\{12}}\uslur13\go\|%
+{\tenuto\v{11}\.1}%
+\group{\\{\h7\.1}\\{\|\meter6/8}\\{\h7\.1}\\{\|}\\{\v7\.1}}
+{\\{7}\\{8}\\{7}\\{8}\\{7}}\uslur13\uslur35\go\+%
+\group{\\{\_v{\piano}{\b7\v7\.1}}\\{\|\meter9/8}%
+\\{\v{10}\.1}}{\\{7}\\{8}\\{10}}\uslur13\go
+\pv\.1\|\pg\|\meter6/8%
+\group{\\{\_v{\crescendo}{\a8}}\\{\b{11}\a{11}}\\{\a{13}}}
+{\\{8}\\{11}\\{13}}\lbeam13\uslur13\go
+\x{12}\v{12}\.1\|%
+{\def\beamlist{\\{1-4,}\\{1-4,}}%
+\group{\\{\s{10}}\\{\b{11}\s{11}}\\{\n{12}\s{12}}\\{\s{13}}}
+{\\{10}\\{11}\\{12}\\{13}}\lbeam14\uslur14\go}%
+{\def\beamlist{\\{1-4,}\\{1-4,}}%
+\group{\\{\x{13}\s{13}}\\{\s{14}}\\{\x{15}\s{15}}\\{\x{16}\s{16}}}
+{\\{13}\\{14}\\{15}\\{16}}\lbeam14\uslur14\go}%
+\|\_v{{\it f}}{\a{17}}\pa\pa\pv\.1\=\endsong}
+\par
+\vfill \eject
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\parindent0pt
+{\bf Beispiel 2 \rm (Ausschlu\3: Hader (\verbatimon
+|\hsmall|), Gomberg ``universell'' (|\universal|)) und
+ Gomberg ``locker'' (|\loose|)).}
+\vskip2cm
+\verbatimon
+\hbox to \hsize{\hfill\bf Ausschlu\3: Hader (|\hsmall|)\hfill}
+\Parsep
+\hsmall\parindent0pt
+\poet{\rm Allegro}\composer{Georg Friedrich H\"andel}
+\beginsong\vio\C%
+{\music\mC}%\meter4/4%
+\a7\|\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}%
+\lbeam14\go%\uslur14\go
+\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go
+\pa\a7\|%
+\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}\lbeam14\go
+\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go\pa\a7\|%
+\group{\\{\a{10}}\\{\a3}\\{\a6}\\{\a8}}{\\{10}\\{3}\\{6}\\{8}}\lbeam14%
+\go\v4\pa\a6\|%
+\group{\\{\a{9}}\\{\a2}\\{\a5}\\{\a7}}{\\{9}\\{2}\\{5}\\{7}}%
+\lbeam14\go\v3\pa\a5\|%
+\group{\\{\a{8}}\\{\a6}\\{\a{11}}\\{\a{13}}}{\\{8}\\{6}\\{11}\\{13}}%
+\lbeam14\go\x9\v9\pa\a9\|%
+\group{\\{\a{11}}\\{\a4}\\{\a{6}}\\{\a{4}}}{\\{11}\\{4}\\{6}\\{4}}%
+\lbeam14\go\v8\pa\a4\|%
+\group{\\{\a{6}}\\{\a8}\\{\x9\a{9}}\\{\a{11}}}{\\{6}\\{8}\\{9}\\{11}}%
+\lbeam14\go\v{13}\pa\x9\a9\|%
+\group{\\{\a{10}}\\{\a7}\\{\a{11}}\\{\a7}}{\\{10}\\{7}\\{11}\\{7}}%
+\lbeam14\go
+\group{\\{\a{12}}\\{\a{7}}}{\\{12}\\{7}}\lbeam12\go
+\group{\\{\v8}\\{\|}\\{\a{8}}\\{\a{7}}\\{\a{10}}\\{\a6}%
+\\{\a{6}}\\{\a7}\\{\a{5}}\\{\a4}}
+{\\{8}\\{8}\\{8}\\{7}\\{10}\\{6}\\{6}\\{7}\\{5}\\{4}}%
+\lbeam36\lbeam7{10}\uslur13\uslur67\go\|%
+\def\beamlist{\\{1-4,}\\{-2,-5,}}%
+\group{\\{\a{5}\.1}\\{\s6}\\{\a{4}\.1}\\{\s{3}}}%
+{\\{5}\\{6}\\{4}\\{3}}%
+\lbeam16\go\v3\pa\a{11}\|%
+\def\beamlist{\\{1-3,}\\{2-3,}}%
+\group{\\{\a{12}}\\{\s{11}}\\{\s{10}}}{\\{12}\\{11}\\{10}}%
+\lbeam13\go
+\def\beamlist{\\{1-2,}}%
+\group{\\{\a{9}}\\{\a{8}}}{\\{9}\\{8}}%
+\lbeam12\go\v7\pa\a{8}\|%
+\def\beamlist{\\{1-3,}\\{2-3,}}%
+\group{\\{\a{9}}\\{\s{10}}\\{\s{9}}}{\\{9}\\{10}\\{9}}%
+\lbeam13\go
+\def\beamlist{\\{1-4,}\\{1-4,}}%
+\group{\\{\s{8}}\\{\s{7}}\\{\s6}\\{\s5}}{\\{8}\\{7}\\{6}\\{5}}%
+\lbeam14\go\v4\pa\a{2}\|%
+\def\beamlist{\\{1-\the\N,}}%
+\group{\\{\a{5}}\\{\a7}\\{\a9}\\{\b4\a4}}{\\{5}\\{7}\\{9}\\{4}}%
+\lbeam14\go\v3\pa\a3\|%
+\group{\\{\a{6}}\\{\x8\a8}\\{\a{10}}\\{\a5}}{\\{6}\\{8}\\{10}\\{5}}%
+\lbeam14\go\n4\v4\pa\a4\|%
+\group{\\{\a{7}}\\{\x9\a{9}}\\{\a{11}}\\{\a{6}}}{\\{7}\\{9}\\{11}\\{6}}%
+\lbeam14\go\v5\pa\a{12}\|%
+\group{\\{\a{12}}\\{\a{10}}\\{\a{8}}\\{\a{10}}}{\\{12}\\{10}\\{8}\\{10}}%
+\lbeam14\go\v4\pa\a{13}\|%
+\def\beamlist{\\{1-3,}\\{2-3,}}%
+\group{\\{\a{11}}\\{\s{10}}\\{\s{9}}}{\\{11}\\{10}\\{9}}%
+\lbeam13\go
+\group{\\{\a{10}}\\{\a{11}}}{\\{10}\\{11}}%
+\def\beamlist{\\{1-2,}}%
+\lbeam12\go\v{12}\pa\a{9}\|%
+\group{\\{\a{12}}\\{\a{9}}}{\\{12}\\{9}}%
+\def\beamlist{\\{1-2,}}%
+\lbeam12\go
+\group{\\{\tr\a{7}\noaccent
+\.1}\\{\z{6}}\\{\z{5}}}{\\{7}\\{6}\\{5}}%
+\def\beamlist{\\{1-3,}\\{2-3,}\\{2-3,}}%
+\lbeam14\go
+\def\beamlist{\\{1-4,}}%
+\group{\\{\a{8}}\\{\a{9}}\\{\a{7}}\\{\a{6}}}{\\{8}\\{9}\\{7}\\{6}}%
+\lbeam14\go\|\v7%
+\def\beamlist{\\{1-2,}\\{-2,}}%
+\group{\\{\a{6}\.1}\\{\s{5}}}{\\{6}\\{5}}%
+\lbeam13\go\v5\.1\=% %
+\endsong
+\Parsep\Parsep
+{\eightrm
+Aus: Helmut M\"onkemeyer, Handleitung f"ur das Spiel der Blockfl\"ote,
+Teil I, Edition Moeck Nr. 2033, Moeck Verlag, Celle.
+}
+\vfill\supereject
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\hbox to \hsize{\hfill\bf Ausschlu\3: Hader (|\universal|)\hfill}
+\universal
+\poet{\rm Allegro}\composer{ Georg Friedrich H\"andel}%
+\beginsong\vio\C%
+{\music\mC}%\meter4/4%
+\a7\|\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}%
+\lbeam14\go%\uslur14\go
+\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go
+\pa\a7\|%
+\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}\lbeam14\go
+\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go\pa\a7\|%
+\group{\\{\a{10}}\\{\a3}\\{\a6}\\{\a8}}{\\{10}\\{3}\\{6}\\{8}}\lbeam14%
+\go\v4\pa\a6\|%
+\group{\\{\a{9}}\\{\a2}\\{\a5}\\{\a7}}{\\{9}\\{2}\\{5}\\{7}}%
+\lbeam14\go\v3\pa\a5\|%
+\group{\\{\a{8}}\\{\a6}\\{\a{11}}\\{\a{13}}}{\\{8}\\{6}\\{11}\\{13}}%
+\lbeam14\go\x9\v9\pa\a9\|%
+\group{\\{\a{11}}\\{\a4}\\{\a{6}}\\{\a{4}}}{\\{11}\\{4}\\{6}\\{4}}%
+\lbeam14\go\v8\pa\a4\|%
+\group{\\{\a{6}}\\{\a8}\\{\x9\a{9}}\\{\a{11}}}{\\{6}\\{8}\\{9}\\{11}}%
+\lbeam14\go\v{13}\pa\x9\a9\|%
+\group{\\{\a{10}}\\{\a7}\\{\a{11}}\\{\a7}}{\\{10}\\{7}\\{11}\\{7}}%
+\lbeam14\go
+\group{\\{\a{12}}\\{\a{7}}}{\\{12}\\{7}}\lbeam12\go
+\group{\\{\v8}\\{\|}\\{\a{8}}\\{\a{7}}\\{\a{10}}\\{\a6}%
+\\{\a{6}}\\{\a7}\\{\a{5}}\\{\a4}}
+{\\{8}\\{8}\\{8}\\{7}\\{10}\\{6}\\{6}\\{7}\\{5}\\{4}}%
+\lbeam36\lbeam7{10}\uslur13\uslur67\go\|%
+\def\beamlist{\\{1-4,}\\{-2,-5,}}%
+\group{\\{\a{5}\.1}\\{\s6}\\{\a{4}\.1}\\{\s{3}}}%
+{\\{5}\\{6}\\{4}\\{3}}%
+\lbeam16\go\v3\pa\a{11}\|%
+\def\beamlist{\\{1-3,}\\{2-3,}}%
+\group{\\{\a{12}}\\{\s{11}}\\{\s{10}}}{\\{12}\\{11}\\{10}}%
+\lbeam13\go
+\def\beamlist{\\{1-2,}}%
+\group{\\{\a{9}}\\{\a{8}}}{\\{9}\\{8}}%
+\lbeam12\go\v7\pa\a{8}\|%
+\def\beamlist{\\{1-3,}\\{2-3,}}%
+\group{\\{\a{9}}\\{\s{10}}\\{\s{9}}}{\\{9}\\{10}\\{9}}%
+\lbeam13\go
+\def\beamlist{\\{1-4,}\\{1-4,}}%
+\group{\\{\s{8}}\\{\s{7}}\\{\s6}\\{\s5}}{\\{8}\\{7}\\{6}\\{5}}%
+\lbeam14\go\v4\pa\a{2}\|%
+\def\beamlist{\\{1-\the\N,}}%
+\group{\\{\a{5}}\\{\a7}\\{\a9}\\{\b4\a4}}{\\{5}\\{7}\\{9}\\{4}}%
+\lbeam14\go\v3\pa\a3\|%
+\group{\\{\a{6}}\\{\x8\a8}\\{\a{10}}\\{\a5}}{\\{6}\\{8}\\{10}\\{5}}%
+\lbeam14\go\n4\v4\pa\a4\|%
+\group{\\{\a{7}}\\{\x9\a{9}}\\{\a{11}}\\{\a{6}}}{\\{7}\\{9}\\{11}\\{6}}%
+\lbeam14\go\v5\pa\a{12}\|%
+\group{\\{\a{12}}\\{\a{10}}\\{\a{8}}\\{\a{10}}}{\\{12}\\{10}\\{8}\\{10}}%
+\lbeam14\go\v4\pa\a{13}\|%
+\def\beamlist{\\{1-3,}\\{2-3,}}%
+\group{\\{\a{11}}\\{\s{10}}\\{\s{9}}}{\\{11}\\{10}\\{9}}%
+\lbeam13\go
+\group{\\{\a{10}}\\{\a{11}}}{\\{10}\\{11}}%
+\def\beamlist{\\{1-2,}}%
+\lbeam12\go\v{12}\pa\a{9}\|%
+\group{\\{\a{12}}\\{\a{9}}}{\\{12}\\{9}}%
+\def\beamlist{\\{1-2,}}%
+\lbeam12\go
+\group{\\{\tr\a{7}\noaccent
+\.1}\\{\z{6}}\\{\z{5}}}{\\{7}\\{6}\\{5}}%
+\def\beamlist{\\{1-3,}\\{2-3,}\\{2-3,}}%
+\lbeam14\go
+\def\beamlist{\\{1-4,}}%
+\group{\\{\a{8}}\\{\a{9}}\\{\a{7}}\\{\a{6}}}{\\{8}\\{9}\\{7}\\{6}}%
+\lbeam14\go\|\v7%
+\def\beamlist{\\{1-2,}\\{-2,}}%
+\group{\\{\a{6}\.1}\\{\s{5}}}{\\{6}\\{5}}%
+\lbeam13\go\v5\.1\=% %
+\endsong
+\Parsep\Parsep\vfill\supereject
+\advance \hsize+0.7cm
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\loose
+\hbox to \hsize{\hfill\bf Ausschlu\3: Hader (|\loose|)\hfill}
+\poet{\rm Allegro}\composer{ Georg Friedrich H\"andel}%
+\beginsong\vio\C%
+{\music\mC}%\meter4/4%
+\a7\|\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}%
+\lbeam14\go%\uslur14\go
+\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go
+\pa\a7\|%
+\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}\lbeam14\go
+\group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go\pa\a7\|%
+\group{\\{\a{10}}\\{\a3}\\{\a6}\\{\a8}}{\\{10}\\{3}\\{6}\\{8}}\lbeam14%
+\go\v4\pa\a6\|%
+\group{\\{\a{9}}\\{\a2}\\{\a5}\\{\a7}}{\\{9}\\{2}\\{5}\\{7}}%
+\lbeam14\go\v3\pa\a5\|%
+\group{\\{\a{8}}\\{\a6}\\{\a{11}}\\{\a{13}}}{\\{8}\\{6}\\{11}\\{13}}%
+\lbeam14\go\x9\v9\pa\a9\|%
+\group{\\{\a{11}}\\{\a4}\\{\a{6}}\\{\a{4}}}{\\{11}\\{4}\\{6}\\{4}}%
+\lbeam14\go\v8\pa\a4\|%
+\group{\\{\a{6}}\\{\a8}\\{\x9\a{9}}\\{\a{11}}}{\\{6}\\{8}\\{9}\\{11}}%
+\lbeam14\go\v{13}\pa\x9\a9\|%
+\group{\\{\a{10}}\\{\a7}\\{\a{11}}\\{\a7}}{\\{10}\\{7}\\{11}\\{7}}%
+\lbeam14\go
+\group{\\{\a{12}}\\{\a{7}}}{\\{12}\\{7}}\lbeam12\go
+\group{\\{\v8}\\{\|}\\{\a{8}}\\{\a{7}}\\{\a{10}}\\{\a6}%
+\\{\a{6}}\\{\a7}\\{\a{5}}\\{\a4}}
+{\\{8}\\{8}\\{8}\\{7}\\{10}\\{6}\\{6}\\{7}\\{5}\\{4}}%
+\lbeam36\lbeam7{10}\uslur13\uslur67\go\|%
+\def\beamlist{\\{1-4,}\\{-2,-5,}}%
+\group{\\{\a{5}\.1}\\{\s6}\\{\a{4}\.1}\\{\s{3}}}%
+{\\{5}\\{6}\\{4}\\{3}}%
+\lbeam16\go\v3\pa\a{11}\|%
+\def\beamlist{\\{1-3,}\\{2-3,}}%
+\group{\\{\a{12}}\\{\s{11}}\\{\s{10}}}{\\{12}\\{11}\\{10}}%
+\lbeam13\go
+\def\beamlist{\\{1-2,}}%
+\group{\\{\a{9}}\\{\a{8}}}{\\{9}\\{8}}%
+\lbeam12\go\v7\pa\a{8}\|%
+\def\beamlist{\\{1-3,}\\{2-3,}}%
+\group{\\{\a{9}}\\{\s{10}}\\{\s{9}}}{\\{9}\\{10}\\{9}}%
+\lbeam13\go
+\def\beamlist{\\{1-4,}\\{1-4,}}%
+\group{\\{\s{8}}\\{\s{7}}\\{\s6}\\{\s5}}{\\{8}\\{7}\\{6}\\{5}}%
+\lbeam14\go\v4\pa\a{2}\|%
+\def\beamlist{\\{1-\the\N,}}%
+\group{\\{\a{5}}\\{\a7}\\{\a9}\\{\b4\a4}}{\\{5}\\{7}\\{9}\\{4}}%
+\lbeam14\go\v3\pa\a3\|%
+\group{\\{\a{6}}\\{\x8\a8}\\{\a{10}}\\{\a5}}{\\{6}\\{8}\\{10}\\{5}}%
+\lbeam14\go\n4\v4\pa\a4\|%
+\group{\\{\a{7}}\\{\x9\a{9}}\\{\a{11}}\\{\a{6}}}{\\{7}\\{9}\\{11}\\{6}}%
+\lbeam14\go\v5\pa\a{12}\|%
+\group{\\{\a{12}}\\{\a{10}}\\{\a{8}}\\{\a{10}}}{\\{12}\\{10}\\{8}\\{10}}%
+\lbeam14\go\v4\pa\a{13}\|%
+\def\beamlist{\\{1-3,}\\{2-3,}}%
+\group{\\{\a{11}}\\{\s{10}}\\{\s{9}}}{\\{11}\\{10}\\{9}}%
+\lbeam13\go
+\group{\\{\a{10}}\\{\a{11}}}{\\{10}\\{11}}%
+\def\beamlist{\\{1-2,}}%
+\lbeam12\go\v{12}\pa\a{9}\|%
+\group{\\{\a{12}}\\{\a{9}}}{\\{12}\\{9}}%
+\def\beamlist{\\{1-2,}}%
+\lbeam12\go
+\group{\\{\tr\a{7}\noaccent
+\.1}\\{\z{6}}\\{\z{5}}}{\\{7}\\{6}\\{5}}%
+\def\beamlist{\\{1-3,}\\{2-3,}\\{2-3,}}%
+\lbeam14\go
+\def\beamlist{\\{1-4,}}%
+\group{\\{\a{8}}\\{\a{9}}\\{\a{7}}\\{\a{6}}}{\\{8}\\{9}\\{7}\\{6}}%
+\lbeam14\go\|\v7%
+\def\beamlist{\\{1-2,}\\{-2,}}%
+\group{\\{\a{6}\.1}\\{\s{5}}}{\\{6}\\{5}}%
+\lbeam13\go\v5\.1\=% %
+\endsong
+\vfill\supereject
+\advance \hsize-0.4cm
+{\bf Beispiel 3 \rm(zweistimmiger Satz in einem System)}
+\vskip0.5cm
+\universal
+\title{\vbox{\hbox to 0pt{\hss 6 Suiten f"ur Cello Solo\hss}
+ \hbox to 0pt{\hss Suite II Menuet I\hss}}}
+\poet{\vtop{\hbox to 0pt{F"ur Viola "ubertragen \hss}
+ \hbox to 0pt{von Franz Schmidtner\hss}}}
+\composer{Johann Sebastian Bach}
+\parindent 20pt
+\beginsong\alto\F\meter3/4%
+\rchord \h5\h7\h9\endchord\v{10}\|%
+\two{\group{\\{\a{10}}\\{\a9}\\{\a{10}}\\{\a8}}{\\{10}\\{9}\\{10}\\{8}}%
+\ubeam14\uslur12\go}{\rchord \a4\a6\endchord}%
+\v9\|\rchord\v3\v5\endchord\v8%
+\group{\\{\a7}\\{\a6}}{\\{7}\\{6}}\lbeam12\go\|%
+\two{\group{\\{\a7}\\{\a6}\\{\a5}\\{\x4\a4}\\{\n3\a3}\\{\a2}}
+{\\{7}\\{6}\\{5}\\{4}\\{3}\\{2}}\ubeam16\uslur13\go}%
+{\a2}\|\rchord \h5\h7\h9\endchord\v{10}\|%
+\two{\group{\\{\a{10}}\\{\a9}\\{\tenuto\a{10}}\\{\tenuto\a8\noaccent}}
+{\\{10}\\{9}\\{10}\\{8}}\ubeam14\uslur12\go}{\a6}%
+\v{11}\|\rchord\v7\v9\endchord\rchord\v3\v7\v{12}\endchord
+\rchord\v1\v8\v{13}\endchord\|\rchord\h2\.1\h6\.1\x{11}\h{11}\.1\endchord
+\leftrightrepeat
+\rchord\h9\h{13}\endchord
+{\def\beamlist{\\{1-3,}\\{2-3,}}%
+\group{\\{\a{12}}\\{\s{13}}\\{\s{14}}}{\\{12}\\{13}\\{14}}\lbeam13%
+\uslur13\go}\|
+\two{\group{\\{\a{13}}\\{\a{12}}\\{\x{11}\a{11}}\\{\a{13}}\\{\a9}\\{\a8}}
+{\\{13}\\{12}\\{11}\\{13}\\{9}\\{8}}\ubeam16\uslur15\go}{\a8}\|%
+\two{\group{\\{\v9}\\{\v{12}}}{\\{9}\\{12}}\uslur12\go}{\h7}%
+\x{11}\two{\v{11}}{\v6}\|%
+\two{\group{\\{\a{15}}\\{\a{14}}\\{\a{13}}\\{\a{14}}\\{\a{12}}%
+\\{\n{11}\a{11}}}
+{\\{15}\\{14}\\{13}\\{14}\\{12}\\{11}}\ubeam16\uslur15\go}{\a5}\|%
+\two{\h{10}}{\group{\\{\v8}\\{\v7}}{\\{8}\\{7}}\lslur12\go}%
+\two{\v{11}}{\v6}\|%
+\two{\group{\\{\a9}\\{\a8}\\{\a9}\\{\a7}}{\\{9}\\{8}\\{9}\\{7}}\ubeam14%
+\go}{\a7}%
+\rchord\v{12}\v6\v3\endchord\|\rchord\v{11}\v7\v2\endchord
+\group{\\{\a{10}}\\{\a9}\\{\a8}\\{\a9}}{\\{10}\\{9}\\{8}\\{9}}\lbeam14\go
+\|\group{\\{\a7}\\{\a6}\\{\a7}\\{\a9}\\{\a8}\\{\a{10}}}
+{\\{7}\\{6}\\{7}\\{9}\\{8}\\{10}}\lbeam16\go\|%
+\x7\two{\tr\h9\noaccent}{\h7}%
+\two{\v{10}}{\pv}\|\b6%
+\two{\group{\\{\a8}\\{\a7}\\{\a8}\\{\a6}}
+{\\{8}\\{7}\\{8}\\{6}}\ubeam14\uslur12\go}{\a6}%
+\x7\tr\v7\noaccent\|\rchord\v{12}\v8\v3\endchord\rchord\v{11}\v8\v4\endchord
+\two{\group{\\{\a{10}}\\{\a9}}{\\{10}\\{9}}\ubeam12\uslur12\go}{\v5}\|%
+\group{\\{\rchord\a{11}\a5\a1\endchord
+}\\{\a{10}}\\{\a9}\\{\a{10}}\\{\a8}\\{\a{10}}}
+{\\{1}\\{10}\\{9}\\{10}\\{8}\\{10}}\lbeam16\go\|%
+\two{\group{\\{\v{12}}\\{\x{11}\v{11}}}
+{\\{12}\\{11}}\uslur12\go}{\v8\pv}\n7%
+\two{\v{12}}{\v7}\|\x4%
+\two{\group{\\{\a8}\\{\a7}\\{\a8}\\{\a6}}
+{\\{8}\\{7}\\{8}\\{6}}\ubeam14\uslur12\go}{\a4}%
+\two{\v7}{\v5}\|%
+\group{\\{\a1}\\{\a8}}{\\{1}\\{8}}\lbeam12\go\two{\tr\v6\.1}{\v2\.1}%
+\two{\a5}{\raise-1.5\nhh\hbox{\pa}}\|\lchord\h5\.1\h2\.1\h{-2}\.1\endchord
+\rightrepeat
+\endsong
+\parindent0pt
+\vskip-1cm
+{\eightrm
+Aus: Johann Sebastian Bach, Sechs Suiten, f"ur Viola bearbeitet von
+Franz Schmidtner, Musikverlag Hans Sikorski, Hamburg.
+}
+\vskip0.5cm
+F"ur dieses Musikst"uck lautet die Eingabe:
+\vskip0.5cm
+%%%%%%%%%%%%%%%%%%
+%%%%% bach %%%%%%%
+%%%%%%%%%%%%%%%%%%
+{\bf !!}
+\ks{title}\{6 Suiten f"ur Cello Solo
+\bs{atop} Suite II Menuet I\}\par
+\ks{composer}\{Johann Sebastian Bach\}
+\ks{poet}\{F"ur Viola "ubertragen \bs{atop} von Franz Schmidtner\}\par
+\ks{alto}\ks{F}\ks{meter}\{{\bf3}\slash {\bf4}\}\ks{two}
+\par{\bf \{\ \ \ \ks{chord}\{2`d f a\} 4h\strich
+\ks{chord}\{'8c `e\}\slash\ \slash\ \slash\ 4a\strich
+\par
+\ks{chord}\{4,h `d\} g\ks{beam}\{8f e\}\strich
+,8a \slash\ \slash\ \slash\ \slash\ \slash\ \strich
+\ks{chord}\{`2d f a\} 4h\strich 8e
+\slash\ \slash\ \slash\
+{`}{`}4c \strich\par
+\ks{chord}\{4`f a\}\ks{chord}\{,h `f {`}{`}d\}
+\ks{chord}\{,g `g {`}{`}e\}\strich
+\par\ks{chord}\{2.,a .`e .x{`}{`}c\}
+\dpkt\strich\strich\dpkt
+\par\ks{chord}\{2`a {`}{`}e\}\ks{slur}\{\ks{beam}\{8d 6e f\}\}\strich
+8`g\slash\ \slash\ \slash\ \slash\ \slash\ \strich
+2f \slash\ 4e\strich 8d \slash\ \slash\ \slash\ \slash\ \slash\strich
+\ks{slur}\{4g f\}e\strich\par
+ 8f\slash\ \slash\ \slash\
+\ks{chord}\{4,h `e {`}{`}d\}\strich\ks{chord}\{4,a `f {`}{`}c\}
+\ks{beam}\{8`h a g a\}\strich\par \ks{beam}\{8f e f a g h\}\strich
+2xf 4p \strich b8e \slash\ \slash\ \slash\
+4xf \ks{tr}\strich\ks{chord}\{4,h `g {`}{`}d\}
+\ks{chord}\{4`c g {`}{`}c\} `d\slash\ \strich
+\par\ks{beam}\{\ks{chord}\{,8g `d {`}{`}c\} 8`h a h g h\}\strich
+4g p nf\strich 8xc \slash\ \slash\ \slash\ 4d\strich
+\par\ks{beam}\{8,g `g\} 4.,a 8p\strich \ \slash\
+\dpkt\strich\strich\ \ \}\par
+\{\ \ \slash\ \slash\ \strich
+\ks{beam}\{\ks{slur}\{8{`}h a\} h g\}\slash\ \strich
+\slash\ \slash\ \slash\ \slash\ \strich
+\ks{beam}\{\ks{slur}\{'8f e d\}xc ,nh a\}\strich
+\slash\ \slash\ \strich\par\ks{beam}\{\ks{slur}\{8h a\}\ks{tenuto} h
+f \ks{noaccent}\ \slash\ \}\strich
+\slash\ \slash\ \slash\ \strich
+\slash\ \dpkt\strich\strich\dpkt\par
+\slash\ \slash\ \slash\ \slash\ \strich
+\ks{beam}\{\ks{slur}\{8{`}{`}e d xc e `a\}g\}\strich
+\ks{slur}\{`4a {`}{`}d\}xc\strich
+\ks{beam}\{\ks{slur}\{8{`}{`}g f e f d \}nc\}\strich\par
+`2h\slash\ {`}{`}4c\strich \ks{beam}\{8`a g a f\}\slash\ \strich
+\slash\ \slash\ \slash\ \slash\ \slash\strich
+\slash\ \slash\ \slash\ \slash\ \slash\ \slash\strich\par
+2`a \ks{tr} 4h\strich
+\ks{beam}\{\ks{slur}\{8g f\} g e\}\slash\strich
+\slash\ \slash\ \ks{beam}\{\ks{slur}\{8h a\}\}\strich
+\slash\ \slash\ \slash\ \slash\ \slash\ \slash\ \strich\par
+\ks{slur}\{{`}{`}4d `a\} {`}{`}d\strich
+\ks{beam}\{\ks{slur}\{8`g f\} g e\} 4f\strich
+\slash\ \slash\ 4.e \ks{tr} 8d\strich
+\ks{chord}\{2.,d .a `.d\}
+ \dpkt\strich\strich
+\ \ \} }{\bf!!}
+\vfill\eject
+\advance \hsize-0.3cm
+{\bf Beispiel 4 \rm(Textunterlage)}
+\vskip2cm
+\title{Lobe den Herren}
+\composer{Hugo Distler}
+\def\@#1#2{{$\hbox{#1\hfill}\atop\hbox{#2\hfill}$}}
+\def\lv{{\leaders\hrule \hskip1cm plus 1fill}}
+\parindent 40pt
+\voice{Sopran}%
+\universal
+\beginsong\vio\G\^r{{\rm Schnell}}{\vrule height 7\nhh width0pt%
+\gluebrule}\meter3/4%
+\^{\mezzoforte}\_{\@{Lo-}{Mei-}}{\v2}%
+\_{\@{be}{ne}}{\v2}%
+\_{\@{den}{ge - }}{\v6}\|%
+\_{\@{Her-}{lie - }}{\v4\.1}\_{\@{ren, }{be - }}{\a3}%
+\_l{\@{den}{te }}{\v2}\|%
+\_l{\@{m"ach - }{See - }}{\v1}\_{\@{ti - }{le, }}{\v0}%
+\_{\@{gen }{das }}{\v{-1}}\|%
+\_{\@{K"o - }{ist }}{\h0}%
+\group{\\{\_n{\@{nig \lv }{mein \lv }}{\v1}}\\{\|\meter2/4}\\{\v1}}
+{\\{1}\\{0}\\{1}}\lslur13\go\_{\@{der }{Be- }}{\v2}\|\meter4/4%
+\_{\@{Eh - }{geh - }}{\h3}\_{\@{ren!}{ren.}}{\h2}\rightrepeat\meter3/4%
+%Ende Wiederholung
+\_{Kom-}\^{\forte}{\v6}\_{met}{\v6}\_{zu}{\v6}\|%
+\_{Hauf!}{\h7\.1}\caesura\|\_l{Psal - }{\v4}\_{ter}{\a5}%
+\_l{und }{\a5}%
+\group{\\{\_n{Har\hskip40pt - \hskip40pt -\hskip 40pt - \hskip40pt
+}{\v6}}\\{\|}\\{\a6}\\{\a7}\\{\a6}\\{\a4}\\{\v6}%
+\\{\|}\\{\a6}\\{\a7}\\{\v6\.1}\\{\a7}\\{\|}\\{\v6\.1}}
+{\\{6}\\{8}\\{6}\\{7}\\{6}\\{4}\\{6}\\{8}\\{6}\\{7}\\{6}\\{7}\\{8}\\{6}}%
+\lbeam36\lbeam9{10}\uslur13\uslur79\uslur1{14}\go
+\_{fe,}{\a5}\_l{wacht}{\v4}\|%
+\^{\piano}\_{auf, }{\h3}\group{\\{\_n{wacht}{\caesura\a4}}\\{\a2}}
+{\\{4}\\{2}}\ubeam12\go\|\^{\dec}\_{auf,}{\h3}%
+\group{\\{\_n{wacht}\^{zart}{\caesura\a4}}\\{\a2}}
+{\\{4}\\{2}}\ubeam12\go\|\^{\dec}\_{auf,}{\h6\.1}\caesura\|%
+\^{\forte}\_{las-}{\v{-1}}\_{set}{\v0\.1}\_{den}{\a1}\|%
+\meter4/4\_{Lob - }{\h2}\_{ge - }{\v3}\_{sang}{\v4}\|\meter7/4%
+\group{\\{\_n{h"o \hskip20pt - \hskip20pt - \hskip20pt
+- }{\h5}}\\{\v4\.1}\\{\a3}\\{\v2}\\{\h3}}
+{\\{5}\\{4}\\{3}\\{2}\\{9}}\uslur15\go
+\|\meter3/4\_{ren!}{\h2\.1}\=\endsong
+\parindent=0pt \eightrm
+Aus: R. Baum,``Geselliges Chorbuch I'' B"arenreiter-Verlag, Kassel und
+Basel.
+\vskip1cm \rm Auch zu diesem St"uck sei die Eingabe aufgef"uhrt:
+\vskip1cm
+%%%%%%%%%%%%%%%%
+%%%%%% distler%
+%%%%%%%%%%%%%%%%
+{\bf !!}\ks{title}\{Lobe den Herren\}
+\ks{composer}\{Hugo Distler\}
+\par
+\ks{voice}\{Sopran\}
+\ks{treble}\ks{signature}\{{`}{`}xf\}
+\ks{text}\{\ks{\os{ }l} Schnell\}
+\ks{meter}\{{\bf3}\slash {\bf4}\}\ks{vocal}
+\par {\bf\{\ \ \
+4g\ks{mezzoforte} g {`}{`}d\strich `h. 8a 4g\strich f e d \strich 2e
+\ks{slur}\{4f\strich\ks{meter}\{2\slash 4\} f\} 4g\strich
+\par\ks{meter}\{4\slash 4\} 2a 2g\dpkt\strich\strich
+\ks{meter}\{3\slash 4\} 4{`}{`}d d d \strich 2.e 0p\strich
+\par `4h 8{`}{`}c c
+\ks{group}\{4d\strich 8d e d `h 4{`}{`}d\strich 8d e 4.d 8e\strich 4.d\}
+\ks{gslur}\{1-3, 1-13\}\par
+\ks{gbeam}\{3-6, 9-10\} 8c 4`h\strich 2a
+\ks{piano} 0p\ks{beam}\{8h g\}\strich\par 2a \ks{decr} 0p
+%ks{beam}\{8h g\}\strich\par 2a \ks{decr} 0p
+\ks{beam}\{8h \ks{text}\{{\rm zart}\}g\}\strich
+ {`}{`}2.d\ks{decr} 0p\strich
+\par `4d\ks{forte} .e 8f\strich \ks{meter}\{4\slash 4\} 2g 4a h\strich
+\par
+\ks{meter}\{7\slash 4\}\ks{slur}\{`{}`2c `4.h 8a 4g 2a\}\strich
+\ks{meter}\{3\slash 4\} 2.g \gleich\ \ \ \} }
+\par
+\{\ \ \ \{Lo-\bs{atop} Mei-\} \{be\bs{atop} ne\} \{den\bs{atop} ge-\}
+\{Her-\bs{atop} lie-\} \{ren,\bs{atop} be-\}\par
+ \{den \bs{atop} te\} \{m"ach-\bs{atop} See-\}
+ \{ti-\bs{atop} le,\} \{gen\bs{atop} das\} \par
+ \{K"o-\bs{atop} ist\}
+ \{nig--\bs{atop} mein--\} \slash\
+ \{der\bs{atop} Be-\} \{Eh-\bs{atop} geh-\}
+ \{ren!\bs{atop} ren.\}
+\par Kom- met zu Hauf! Psal- ter und Har-
+\slash\ \slash\ \slash\
+\slash\ \slash\ \slash\
+\slash\ \slash\ \slash\ \slash\
+fe, \par
+wacht auf, wacht \slash\ auf, wacht\ \slash\ auf, \par
+las- set
+den Lob- ge- sang h"o-
+\slash\ \slash\ \slash\ \slash\
+ren!\ \ \ \}{\bf!!}
+\vfill\eject
+\verbatimoff