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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}. |