summaryrefslogtreecommitdiff
path: root/support/pmx
diff options
context:
space:
mode:
Diffstat (limited to 'support/pmx')
-rwxr-xr-xsupport/pmx/OSX/pmxabbin0 -> 720504 bytes
-rwxr-xr-xsupport/pmx/OSX/scor2prtbin0 -> 120376 bytes
-rw-r--r--support/pmx/README11
-rw-r--r--support/pmx/doc/examples/barsant.pmx69
-rw-r--r--support/pmx/doc/examples/dyntest.pmx122
-rw-r--r--support/pmx/doc/examples/most.pmx83
-rw-r--r--support/pmx/doc/examples/mwalmnd.pmx130
-rw-r--r--support/pmx/doc/examples/netsoos.pmx24
-rw-r--r--support/pmx/doc/examples/staffcrossall.pmx162
-rw-r--r--support/pmx/doc/file600.eps2327
-rw-r--r--support/pmx/doc/gpl.txt622
-rw-r--r--support/pmx/doc/pmx-install.pdfbin0 -> 90847 bytes
-rw-r--r--support/pmx/doc/pmx-install.tex150
-rw-r--r--support/pmx/doc/pmx25-284.html384
-rw-r--r--support/pmx/doc/pmx284.pdfbin0 -> 322439 bytes
-rw-r--r--support/pmx/doc/pmx284.tex2759
-rw-r--r--support/pmx/doc/pmxab.124
-rw-r--r--support/pmx/doc/pmxab.pdfbin0 -> 4034 bytes
-rw-r--r--support/pmx/doc/ref284.pdfbin0 -> 64109 bytes
-rw-r--r--support/pmx/doc/ref284.tex480
-rw-r--r--support/pmx/doc/scor2prt.118
-rw-r--r--support/pmx/doc/scor2prt.pdfbin0 -> 3675 bytes
-rw-r--r--support/pmx/tex/pmx.tex879
23 files changed, 8244 insertions, 0 deletions
diff --git a/support/pmx/OSX/pmxab b/support/pmx/OSX/pmxab
new file mode 100755
index 0000000000..473ea54cf3
--- /dev/null
+++ b/support/pmx/OSX/pmxab
Binary files differ
diff --git a/support/pmx/OSX/scor2prt b/support/pmx/OSX/scor2prt
new file mode 100755
index 0000000000..f8cf79945a
--- /dev/null
+++ b/support/pmx/OSX/scor2prt
Binary files differ
diff --git a/support/pmx/README b/support/pmx/README
new file mode 100644
index 0000000000..492559b1b0
--- /dev/null
+++ b/support/pmx/README
@@ -0,0 +1,11 @@
+This is PMX, version 2.8.4 (2018-02-12). PMX provides a preprocessor for MusiXTeX.
+
+pmxab builds a TeX input file based on a .pmx input file in a much
+simpler language, making most of the layout decisions by itself. It has
+most of MusiXTeX's functionality, but it also permits in-line TeX to
+give access to virtually all of MusiXTeX. For proof-listening, pmxab will
+make a MIDI file of your score.
+
+scor2prt is an auxiliary program that makes parts from a score.
+
+The author of pmxab and scor2prt is Don Simons (dsimons@roadrunner.com).
diff --git a/support/pmx/doc/examples/barsant.pmx b/support/pmx/doc/examples/barsant.pmx
new file mode 100644
index 0000000000..2dd564a143
--- /dev/null
+++ b/support/pmx/doc/examples/barsant.pmx
@@ -0,0 +1,69 @@
+%----------------%
+%
+% barsant.pmx Revised 1 April 2013
+%
+%----------------%
+%
+% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
+ 2 2 4 4 0 6 0 0
+%
+% npages,nsyst,musicsize,fracindent
+ 1 7 20 0.07
+Basso
+Recorder
+bt
+./
+Abpl
+Iiharet60
+Tc
+Francesco Barsanti (1690-1772)
+%%
+AeI1.1
+W.5
+%2S9
+% Bar 1-4
+h
+Adagio
+c43 r8 f 65 f 42 e 6 r c | [ b 6 c ] d 7 b 65 c4 r8 c 65 s |
+ \global\figdrop5\Figu{-1}{\fsmsh}\Figu{0}{4}\Figu{4}{2}\
+ c s bf4 65 x1842 a8 65 s a s #42 g 6 r g 65 s |
+ g s #42 f4 \global\figdrop8\ 65 x1842 \Figu06\ e8 d 54 dd1+ 3 c3 b8 6 g 7 /
+g85 Gf ed1 d3 [ c3 a8+ gd1x5n s+1 f e d c s+1 ] Gc b8 s c s r e |
+ [ d35 s c d s e op ] e s d e s f op [ f s e f s g ] g f e f
+ Gf ed1 d3 c8 r ad1+ g3 |
+ [ fs15 dd+ ] [ c3 \nbbbbl2\ bf1x3 s+2 a g ] s+2 Gfn [ e1 cd+ ] [ b3
+ \nbbbbl2\ a1x3 g f ] Ge ds8 ot e r ed1 dn3 |
+ [ cs15 ad+ ] [ g3 \nbbbbl2\ f1x3 s+2 e d s+2 ]
+ Gcn b1 c8 g1+ g3 s f e f s f8 op r1 f ed d3 /
+% Bar 5-6
+[ c84 f- 7 ] g 4 g- 3 c ed1 f3 gd1 f3 ed1 d3 | cs4 5 r8 c 65 d4 r8 fd1 e3 /
+[ e65 g c e s e1 s ] d6 c b a g f e d dd8 ot c1 c4 r8 ed1 f3 |
+ g85 gx3 s+1 fs g s+1 bf8 [ a3 s g fn e s ] [ f1 s d cs s d op ]
+ d s e f s gs op /
+% Bar 7-8
+ds43 5 r8 d 65 e # ed1 fs3 gs8 e 7 | a4 r8 a 6 g4 7 r8 g 6 /
+a85 ax3n+0+.7 s+2 gs a s+2 c8 bd1 ot a3 g1 Gfs ed8 r1 b+ bd ot a6 s b s |
+ c86x3 s+2 b a s+2 ax3 s+2 g f s+2 fx3 s+1 e f s+1 c+
+ bx3 s+2 a g s+2 gx3 s+2 f e s+2 ex3nf+0+.7 s+2 ds e s+2 b+ /
+% Bar 9-10
+f43 7 r8 d 65 e4 gs- 65 | a r r gs+ 65 /
+a85x3 s+2 g f s+2 fx3 s+2 e d s+2 dx3nf+0+.7 s+2 cs d s+2 a+
+ gs1 b d8 r1 d cd b3 s |
+ [ c1 s a s bf s gs s ] a s fs s gn s e s
+ [ fn s ds s e s cs s ] dn s f s e d s /
+% Bar 11-12
+[ a83 d- 7 ] e 4 e- #3 a ad1+ b3 c8 gs 65 | a4 # cs- 65 d8 dd1 e3 f8 d /
+c15 s+2 gs+ a s+1 d- Gc bd8 ot a1 a4 r8 ed1+ d3 |
+ cs1 e g bf [ a3 cs e1 s ] e6 s d s cn bf a g f e s
+ Ge fd1 e3 d8 ot r8 dd1 cn3 /
+% Bar 13-14
+g43 b- 65 [-1+1 c8 cd1 d3 ] ef8 b 6 | c4 -3 bf n42 af 6 an #6 /
+b14 d f a [ g3 b d1 s ] [+1 d6 s c b a g f e d ]
+ Gd ed1 ot d3 c8 r1 d dd ot c6 s d s |
+ ef1 c cd ot b6 s c s en1 c cd ot b6 s c s
+ f1 c cd ot b6 s c s fs1 c cd ot b6 s c s /
+% Bar 15-end
+b82 6 gd1 a3 b8 g 7 c4 -3 r | r2 r8 f e s 6 d s 6 | [-1 c f 7 g 4 g- 3 ] c2 /
+g45 r1 af gd f3 ef1 bn+ s c s an s [ bf s g s af s fs s ] |
+ g s e s f s d s [ ef s c s df s bn s ] c8 s a op g op f+ s |
+ [ e s a- dd ot c1 ] c2 /
diff --git a/support/pmx/doc/examples/dyntest.pmx b/support/pmx/doc/examples/dyntest.pmx
new file mode 100644
index 0000000000..a06a033d6a
--- /dev/null
+++ b/support/pmx/doc/examples/dyntest.pmx
@@ -0,0 +1,122 @@
+1 1 4 4 4 4 0 1
+2 21 20 .05
+
+t
+./
+\\nobarnumbers\
+Ap
+Tt
+Default Positions of Dynamic Marks
+Tc
+Dr. Don
+g44 Dp g- Dp g+ zb Dp b- zg Dp /
+g45 Dp g-l Dp g+ zb Dp b-l zg Dp /
+g44 Df g- Df g+ zb Df b- zg Df /
+g45 Df g-l Df g+ zb Df b-l zg Df /
+L2
+g84 Dp g- Dp g+ zb Dp b- zg Dp g85 Dp g-l Dp g+ zb Dp b-l zg Dp /
+g84 Df g- Df g+ zb Df b- zg Df g85 Df g-l Df g+ zb Df b-l zg Df /
+L3
+[u g83 Dp a Dp b Dp c Dp d Dp e Dp f Dp g Dp ] //
+g05 /
+ g83 Dp a Dp b Dp c Dp d Dp e Dp f Dp g Dp //
+g05 /
+[l+1+1 g84 Dp a Dp b Dp c Dp d Dp e Dp f Dp g Dp ] //
+g05 /
+L4
+g43 Dp g Dppp g Dmp g Dmf | g Dfp g Dsfz g Df g Dfff /
+b44 Dp b Dppp b Dmp b Dmf | b Dfp b Dsfz b Df b Dfff /
+%
+L5
+g44 D< g- D< g+ zb D< b- zg D< /
+g45 D< g-l D< g+ zb D< b-l zg D< /
+g44 D> g- D> g+ zb D> b- zg D> /
+g45 D> g-l D> g+ zb D> b-l zg D> /
+L6
+g84 D< g- D< g+ zb D< b- zg D< g85 D< g-l D< g+ zb D< b-l zg D< /
+g84 D> g- D> g+ zb D> b- zg D> g85 D> g-l D> g+ zb D> b-l zg D> /
+L7
+[u g83 D< a D< b D< c D< d D< e D< f D< g D< ] //
+g05 /
+ g83 D< a D< b D< c D< d D< e D< f D< g D< //
+g05 /
+%
+g84 D< a D< b D< c D< d D< e D< f D< g D< /
+[l g84 D< a D< b D< c D< d D< e D< f D< g D< ] /
+%
+[u g83 D< a+ D< b- D< c+ D< d- D< e+ D< f- D< g+ D< ] //
+g05 /
+[u g84 D< a- D< b+ D< c- D< d+ D< e- D< f+ D< g- D< ] //
+g05 /
+L10
+g04 D> |
+ g4 D> Dpppp D>
+ g D> Dppp D>
+ g D> Dpp D>
+ g D> Dp D>
+ g4 D> Dffff D>
+ g D> Dfff D>
+ g D> Dff D>
+ g D> Df D>
+g0 D> /
+L11
+g04 D> |
+ g4 D> Dpppp D>
+ g D> Dppp D>
+ g D> Dpp D>
+ g D> Dp D> |
+g04 D> /
+L12
+g04 D> |
+ g4 D> Dffff D>
+ g D> Dfff D>
+ g D> Dff D>
+ g D> Df D> |
+g0 D> /
+L13
+g04 D> |
+ g4 D> Dmp D>
+ g D> Dmf D>
+ g D> Dfp D>
+ g D> Dsfz D> |
+g0 D> /
+L14
+g04 D> |
+ g4 D> Dmp D>
+ g D> Dmf D>
+ g D> Dfp D>
+ g D> Dsfz D> |
+ g4 D> Dmp D>
+ g D> Dmf D>
+ g D> Dfp D>
+ g D> Dsfz D> |
+g0 D> /
+L15
+g44 D< g g D< D> g |
+ g D> D< g g D< D> g |
+ g2 D> D< g |
+ g g |
+ g D< g /
+%
+L16
+[l g83 Dpppp D< a D< Dppp D< b D< Dpp D< c D< Dp D< ]
+[l d D< Dffff D> e D> Dppp D> f D> Dpp D> g D> Dp D> ] |
+a0 D> Dsfz /
+[l g84 Dpppp D< f D< Dppp D< e D< Dpp D< d D< Dp D< ]
+[l c D< Dffff D> b D> Dppp D> a D> Dpp D> g D> Dp D> ] |
+f0 D> Dsfz /
+%
+L18
+g43 Dpppp D< a D< Dppp D< b D< Dpp D< c D< Dp D< |
+ d D< Dffff D> e D> Dppp D> f D> Dpp D> g D> Dp D> |
+a0 D> Dsfz /
+g44 Dpppp D< f D< Dppp D< e D< Dpp D< d D< Dp D< |
+ c D< Dffff D> b D> Dppp D> a D> Dpp D> g D> Dp D> |
+f0 D> Dsfz /
+%
+g43 Dpppp a Dppp b Dpp c Dp |
+ d Dffff e Dppp f Dpp g Dp |
+a0 Dsfz /
+g44 Dpppp f Dppp e Dpp d Dp |
+ c Dffff b Dppp a Dpp g Dp |
+f0 Dsfz /
diff --git a/support/pmx/doc/examples/most.pmx b/support/pmx/doc/examples/most.pmx
new file mode 100644
index 0000000000..81101f8211
--- /dev/null
+++ b/support/pmx/doc/examples/most.pmx
@@ -0,0 +1,83 @@
+%-----------
+%
+% most.pmx
+%
+% revised 19 February 2001
+%
+%-----------
+ 1 1 4 4 4 4 .000 -3
+ 1 10 20 .05000
+
+t
+./
+\\font\ref=cmtt10\def\zt#1#2{\zcharnote{#1}{\ref#2}}\def\bs{$\backslash$}\
+Tc
+Dr. Don
+Tt12
+Most of the PMX commands
+Aa1br
+\zt{18}{\kern-30pt Aa1br csd84}\zt{28}{Tc}\zt{25}{Dr. Don}\
+ csd84 \zt{18}{a+1la}\ a+1la
+\zt{18}{g4r}\ g4r
+\zt{18}{g}\zt{28}{\kern-10pt Tt12}\zt{25}{\kern-10pt Most...}\zql2\ g
+\zt{18}{g4x5n}\ g4x5n \zt{18}{f}\ f \zt{18}{es}\ es
+\zt{18}{d+}\ d+ \zt{18}{c //}\ c //
+\zt{12}{r4}\ r4 \zt{12}{a44}\ a44 \zt{12}{ae}\ ae \zt{12}{r /}\ r+4 /
+% Bar 2
+\zt{11}{\kern-20pt c-2 zen zfr za rd8b}\ c-2 zen zfr za rd8b
+\zt{11}{r1+4}\ r1+4 \zt{11}{G3sg a b c4}\ G3sg a b c4 /
+\zt{11}{rm2}\ rm2 | \zt{11}{Gxf- g2}\ Gxf- g2 \zt{11}{Glm0sf g2}\ Glm0sf g2
+| \zt{10}{rp}\ rp /
+\zt{14}{c84 ot}\ c84 ot \zt{14}{c om}\ c om \zt{14}{c ox}\ c ox
+\zt{14}{c o+}\ c o+ \zt{14}{c oTt.5}\ c oTt.5 \zt{14}{c oT}\ c oT
+\zt{16}{c4 og15}\ c4 og15 /
+\zt{13}{c45 sd}\ c45 sd \zt{13}{c s-7}\ c s-7 \zt{13}{c4 t s}\ c4 t s
+\zt{13}{c8 s s}\ c8 s s \zt{13}{c s t}\ c s t /
+\zt{12}{Cb c03 53 x1264}\ Cb c03 53 x1264 /
+% Bar 10
+\zt{10}{[l c1 c8 c1 ]}\ [l c1 c8 c1 ]
+\zt{10}{[l+0+0+1 c8 c1 c]}\ [l+0+0+1 c8 c1 c ]
+\zt{14}{[ c c ][ c c ]}\ [ c c ][ c c ]
+\zt{14}{[-5+5 c c c c ]}\ [-5+5 c c c c ] /
+% Bar 11
+%L6
+h
+Hello
+\zt{18}{\kern20pt h}\zt{14}{\kern20pt Hello}\zt{10}{\kern20pt L6 c04}\
+L6 c04 /
+l
+How are you?
+\zt{18}{\kern20pt l}\zt{14}{\kern20pt How are you?}\zt{10}{\kern20pt c04 }\
+c04 /
+\zt{14}{m3434 cd2}\ m3434 cd24 | \zt{14}{Ca cd}\ Ca cd /
+% Bar 15
+L7 Rl \zt{16}{L7 Rl cd24}\ cd24 /
+V1 \zt{16}{V1 cd24}\ cd24 /
+Rlr Vb2 \zt{16}{Rlr Vb2 cd24}\ cd24 /
+Vx \zt{16}{Vx cd24}\ cd24 /
+% Bar 19
+L8 Cb \zt{13}{L8 Cb c43 d e}\ c43 d e /
+B \zt{13}{B c43 d e}\ c43 d e /
+% Bar 21
+L9
+P68l mo400 \zt{14}{P68l mo400 c4}\ c4 /
+% Bar 22
+m2400 K+0+4
+\zt{14}{\kern16pt c43 zbe za zge zf e //}\zt{18}{\kern16pt m2400 K+0+4}\
+c43 zbe za zge zf \zt{10}{\kern.7\noteskip L10 Ct}\ e //
+\zt{10}{\kern16pt e43 zfr zg zar zb c /}\
+e43 zfr zg zar zb c /
+% Bar 23-26
+L10 Ct
+\zt{24}{[l+13-8 a13 X.9 a++ s g3 a f1 s+1 ]}\
+ [l+13-8 a13 X.9 a++ s g3 a f1 s+1 ]
+ \zt{20}{[u-13+8 a X-.7 a-- s b3 a g1 s ]}\
+ [u-13+8 a X-.7 a-- s b3 a g1 s ]
+\zt{16}{[l+13-1 a X.9 a++ g3 a X-.7 a1-- ]}\
+ [l+13-1 a X.9 a++ g3 a X-.7 a1-- ]
+ \zt{12}{[u-12+7 a++ X-.7 a-- b3 a c1 ]}\
+ [u-12+7 a++ X-.7 a-- b3 a c1 ]
+\zt{-12}{\kern-40pt [u-12+1 a++ X-.7 a-- b3 a X.9 a1++ ]}\
+ [u-12+1 a++ X-.7 a-- b3 a X.9 a1++ ]
+ \zt{-16}{\kern-90pt [u-12+7 a X-.7 a-- b3 a c1 ] /}\
+ [u-12+7 a X-.7 a-- b3 a c1 ] /
diff --git a/support/pmx/doc/examples/mwalmnd.pmx b/support/pmx/doc/examples/mwalmnd.pmx
new file mode 100644
index 0000000000..5185ac523c
--- /dev/null
+++ b/support/pmx/doc/examples/mwalmnd.pmx
@@ -0,0 +1,130 @@
+%
+% Modified 15 Feb 2004 to use Postscript tlurs
+%
+ 2 1 1 8 0 6 0 1
+ 1 6 20 .05
+
+bt
+./
+It78MR1
+%
+% The following meter change is only needed due to bug in midi-macro
+% recorder which doesn't get the right time tignature for the 1/8 bar.
+%
+m1/8/0/0
+Abe
+Apl
+%h
+%Allemand
+Tc
+Matthias Weckmann (1624-1676)
+Tt-6
+Allmand
+%
+% Bar 0
+%
+r8 /
+e84 /
+%
+% p55 Bar 1-2
+%
+\\\advance\barno-1\
+m4400
+r ad42 t a2 t | a0 //
+r4 a43 t a8 t e f4 | e0 /
+r4-10 r8-8 b83 c4 rb | r1 d e d c4 t c8 t c d c t //
+e24 t ed4 t d8 rb4 r8 gs ad8 a1 t a t b8 a1 t /
+%
+% Bar 3-5
+%
+e22 e | c+4 b a2 | fn+2 e //
+e23 ed4 d8 | r1+8 gs1 a8 td ad t g1 a4 t ad8 t gn1 | r4+8 d+2 c4 t /
+c84 t c b a t a t a b4 | rb0 | rb //
+%\zcharnote{16}{\bigfont\kern-96pt Matthias Weckmann (1624-1676)}\
+a84 t a t a1 t gs8 f1 t f8 t f zds g4 ze |
+r8 e t e1 t e d8 td d1 t e fn b- c d e8 | r+0 a b a td a t g a g /
+%
+% Bar 6-8
+%
+d23 t dd4 t c8 | b0 | r8 ad4 rb4 fn+ //
+c44 t bd2 | r4+4 bd2 | r4 a t a8 t g a4 /
+fn84 rbd4 r8-6 ed4 | r8-6 dd4 rb2 | rb0 //
+r8 b84 c d gs-4 a t | a t t ad8 t a1 gsd8 a1 b3 a b a b a gs1 |
+ ad4 e1 e fn8 e ed ot d1 /
+%
+% Bar 9a
+%
+m7800
+rb2 ed43 //
+ r8+0 [ e83 td gs t1d b t2d ] gd4 t+0-.2 t1 zbd t2 zed /
+e24 t ed4 t /
+%
+% Bar 9b
+%
+IM IMP1 IMR2
+m1/8/0/0/
+\\\advance\barno-1\
+Rlr
+r8+0 /
+e84 //
+gs84 /
+%
+% p55v Bar 10-12
+%
+m4400
+e03 t | e t | rb4 a- b2 //
+b23 c t | c4 t [-1-1 d8 c ] [-1-1 bd a1 ] [-1+1 gs8 a ] |
+ e4 om a t a1 t a g8 f a /
+e24 r8-6 [+1 f1 e ] ds4 t | d t rb2 r1-8 [+3 b c8 ] | b4 ze c rb2 //
+gsd44 g1 g ad4 a1 a t | a8 t a gs1 e a f b8 ds- ed8 f1 |
+ gd8 g1 fd8 e1 ds8 d1 e ed8 ot ds1 /
+%
+% Bar 13-15
+%
+r8+0 e13 gs [ f a ] g b cd4 b8 | a2 rb2 | r8-6 dd42 t d2 t //
+rb0 | rb2 r8+0 c83 b a | d4 dd2 /
+rb0 | c85 rbd4 e-d e8 | fn2 rb2 //
+e24 r8+0 e1 gs [ f a ] g b | rb8 b-1 d [ c e ] d f gs4 a t |
+ a8 t a b a d1 f-n e c+ b d- c a+ /
+\\\def\raisebarno{4.5\internote}\def\shiftbarno{1.5\internote}\
+%
+% Bar 16-18
+%
+IM
+V1
+e22 e+ t | e t d | e e- //
+r8 e43 f8 gs2 t |
+ gd4 t a8 \zhu6\loffset{.15}{\raise8\internote\qp\bsk}\ rb4 r8+8 d8 |
+ dd8 r1+8 c4 e-2 /
+b43 e r8+0 [ d+8 e1 d c8 ] | bd4 a8 r1+0 b b c d c b a |
+ rb4 r1 ed8 t e4 t rb4 //
+gs44 ze a zc rb2 | r8+6 d [-2+1 e1 d c8 ] rb2 |
+ gs1 f e d r8 a+ t a t a gs1 a3 b ad1 ot gs3 /
+%
+% Bar 19
+%
+m7800
+r8 ad42 t ad t //
+r4 [ c83 e td ] ed4 t za /
+a24 ad4 om /
+%
+% Bar 20-22
+%
+IMP2
+m4400
+Vb2 Rr
+e22 e+ t | e0 t | e2 e- //
+r8 e43 f8 gsd4 a8 | b4 c8 d e2 t | ed8 t r1+8 c4 e-2 /
+b43 e r8+0 [ d+8 e1 d c8 ] | bd4 a8 gs1 rbd8 d+1 c b a |
+ rb4 r1 ed8 t e4 t rb4 //
+gs44 ze a zc rb2 | r8+6 d [-2+1 e1 d c8 ] b1a [ b b c ] rb4 |
+ gs1 f e d r8 a+ t a t a gs1 a3 b ad1 ot gs3 /
+%
+% Bar 23
+%
+m7800
+r8 ad42 t ad t //
+r4 [ c83 e td ] ed4 t za /
+a24 ad4 om /
+
+
diff --git a/support/pmx/doc/examples/netsoos.pmx b/support/pmx/doc/examples/netsoos.pmx
new file mode 100644
index 0000000000..894cc1c3c7
--- /dev/null
+++ b/support/pmx/doc/examples/netsoos.pmx
@@ -0,0 +1,24 @@
+2 -2 1 1 3 4 3 4 0.00000 2 1 1 20 0
+
+
+60
+./
+w190m
+\\setinterinstrument{1}{9\Interligne}\
+\\sepbarrules\
+\\grouptop12\groupbottom11\
+\\input musixlyr \
+\\def\at#1{\lyrraisehere{#1\internote}}\
+
+"Net soos ek is, net soos ek is, O Lam van God, ek kom."
+ a43 a4 a4 | g2d | g4 g4 g4 | f2d | b4- g4+ f4 | e2 a4- | d2d ofd RD //
+
+ "Net soos ek is, O Lam van God,- ek kom."@a-4
+rp+6 | b43 e4 d4 | c2d | a4 d4 c4 | (S b2d | b2 )S g4 | f2d /
+
+"Net soos ek is, net soos ek is, O Lam van God, ek kom."@b+6
+ d44s g4 f4 | e2d | e4 f4 e4 | d2d | d4 d4r d4 | d2 c4 | d2d //
+
+"Net soos ek is, net soos ek is, O Lam van God, ek kom."@a+6
+ b44 b4 b4 | b2d | a4 a4 a4 | a2d | d4 e4- f4 | g2 e4 | d2d of /
+
diff --git a/support/pmx/doc/examples/staffcrossall.pmx b/support/pmx/doc/examples/staffcrossall.pmx
new file mode 100644
index 0000000000..069fb31766
--- /dev/null
+++ b/support/pmx/doc/examples/staffcrossall.pmx
@@ -0,0 +1,162 @@
+2 1 2 4 2 4 0 0
+1 6 20 0
+
+bt
+./
+Ai.86
+Tt
+\raise12pt\hbox{Staff-Crossing Beamed Chords}
+[l+24+1 g83 g zc b b ]j /
+\zcharnote{14}{Both-to-both,}\
+\zcharnote{10}{One voice per staff}\
+[jl c84 rb e e ] /
+%
+g82 g g g //
+[+11 g83 g g g ]j /
+\zcharnote{22}{Both-to-both,}\zcharnote{40}{~}\
+\zcharnote{18}{2 voices per staff}\
+[j g84 g g g ] //
+g85 g g g /
+%
+[u+11 g83 g g g ]j /
+[j g84 g g g ] //
+\zcharnote{22}{Both-to-both,}\
+\zcharnote{18}{2-voice upper staff}\
+g85 g g g /
+%
+g82 g g g //
+[+15 g83 g g g ]j /
+\zcharnote{16}{Both-to-both,}\
+\zcharnote{12}{2-voice lower staff}\
+[jl g84 g g g ] /
+%
+a13 r1 rd4 | a2 /
+\zcharnote{10}{Flagged stem}\
+[-10 b14 ] r1 rd4 |
+ \zcharnote{10}{No flag}\
+ b2L14 /
+%
+L2
+[+28 g83 g g ]j rb /
+\zcharnote{12}{Low-to-high}\
+rb8 [lj g84 g g ] /
+%
+[+28 g83 g g ]j rb8 /
+\zcharnote{12}{Low-to-high}\
+rb8 [fj g84 g g ] /
+%
+[+28 g83 g g g ]j /
+\zcharnote{12}{Low-to-both}\
+rb8 [fj g84 g g ] /
+%
+rb8 [fj g83 ]j [j g ]j [fj g ] /
+\zcharnote{12}{High-to-low}\
+[ g84 ]j [j g ]j [j g ]j rb8 /
+%
+rb8 [fj g83 ]j [j g ]j [fj g ] /
+\zcharnote{12}{High-to-both}\
+[ g84 ]j [j g ]j [j g ]j [j g ]j /
+%
+[fj g83 g g ]j [fj g ] /
+\zcharnote{12}{Both-to-low}\
+[ g84 g ]j [j g ]j rb8 /
+%
+rb8 [fj g83 g ]j [fj g ] /
+\zcharnote{12}{High-to-low}\
+[ g84 g ]j [j g ]j rb8 /
+%
+[f+15 g83 g ]j [j g ]j rb8 /
+\zcharnote{12}{Both-to-high}\
+[j g84 g g ]j [fj g ] /
+%
+[+28 g23x5n+21 g g g g ]j /
+\zcharnote{14}{X both-to-both}\
+[lj g24x5 g g g g ] /
+%
+[+28 g23x5n+21 g g g rb ]j /
+\zcharnote{14}{X low-to-high}\
+[jf rb2x5 g4 g g g ] /
+%
+[+28 g23x5n+21 g g g g ]j /
+\zcharnote{14}{X low-to-both}\
+[fj rb2x5 g84 g g g ] /
+%
+[+28 rb2x5n+21 g3 g g g ]j /
+\zcharnote{14}{X high-to-both}\
+[jf g24x5 g g g g ] /
+%
+[+28 g23x5n+21 g g g g ]j /
+\zcharnote{14}{X both-to-low}\
+[jf g24x5 g g g rb ] /
+%
+[+28 rb2x5n+21 g3 g g g ]j /
+\zcharnote{14}{X high-to-low}\
+[jf g24x5 g g g rb ] /
+%
+[+28 g23x5n+21 g g g rb ]j /
+\zcharnote{14}{X both-to-high}\
+[jf g24x5 g g g g ] /
+%
+[+28 g23x5n+21 g rb g g ]j /
+\zcharnote{14}{X both-to-both}\
+[lj g24x5 rb g rb g ] /
+%
+[+28 g23x5n+21 g g rb rb ]j /
+\zcharnote{14}{X low-to-high}\
+[jf rb2x5 rb g4 g g ] /
+%
+[+28 g23x5n+21 g g g g ]j /
+\zcharnote{14}{X low-to-both}\
+[fj rb2x5 rb rb g84 g ] /
+%
+[+28 rb2x5n+21 rb g3 g g ]j /
+\zcharnote{14}{X high-to-both}\
+[jf g24x5 g rb g g ] /
+%
+[+28 g23x5n+21 g rb g g ]j /
+\zcharnote{14}{X both-to-low}\
+[jf g24x5 g g rb rb ] /
+%
+[+28 rb2x5n+21 rb g3 g g ]j /
+\zcharnote{14}{X high-to-low}\
+[jf g24x5 g g rb rb ] /
+%
+[+28 g23x5n+21 rb g g rb ]j /
+\zcharnote{14}{X both-to-high}\
+[jf g24x5 g rb g g ] /
+%
+% Xtups as normal
+%
+[+28 g23x4n g g g ]j /
+\zcharnote{14}{XN both-to-both}\
+[lj g24x4 g g g ] /
+%
+[+28 g23x4n g g rb ]j /
+\zcharnote{14}{XN low-to-high}\
+[jf rb2x4 g4 g g ] /
+%
+[+28 g23x4n g g g ]j /
+\zcharnote{14}{XN low-to-both}\
+[fj rb2x4 g84 g g ] /
+%
+[+28 rb2x4n g3 g g ]j /
+\zcharnote{14}{XN high-to-both}\
+[jf g24x4 g g g ] /
+%
+[+28 g23x4n g g g ]j /
+\zcharnote{14}{XN both-to-low}\
+[jf g24x4 g g rb ] /
+%
+[+28 rb2x4n g3 g g ]j /
+\zcharnote{14}{XN high-to-low}\
+[jf g24x4 g g rb ] /
+%
+[+28 g23x4n g g rb ]j /
+\zcharnote{14}{XN both-to-high}\
+[jf g24x4 g g g ] /
+
+
+
+
+
+
diff --git a/support/pmx/doc/file600.eps b/support/pmx/doc/file600.eps
new file mode 100644
index 0000000000..e3c31f2634
--- /dev/null
+++ b/support/pmx/doc/file600.eps
@@ -0,0 +1,2327 @@
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: GIMP PostScript file plugin V 1.17 by Peter Kirchgessner
+%%Title: file600.eps
+%%CreationDate: Sun Feb 21 23:11:13 2010
+%%DocumentData: Clean7Bit
+%%LanguageLevel: 2
+%%Pages: 1
+%%BoundingBox: 14 14 351 78
+%%EndComments
+%%BeginProlog
+% Use own dictionary to avoid conflicts
+10 dict begin
+%%EndProlog
+%%Page: 1 1
+% Translate for offset
+14.173228346456694 14.173228346456694 translate
+% Translate to begin of first scanline
+0 63.480126960253919 translate
+336.60067320134641 -63.480126960253919 scale
+% Image geometry
+2805 529 8
+% Transformation matrix
+[ 2805 0 0 529 0 0 ]
+% Strings to hold RGB-samples per scanline
+/rstr 2805 string def
+/gstr 2805 string def
+/bstr 2805 string def
+{currentfile /ASCII85Decode filter /RunLengthDecode filter rstr readstring pop}
+{currentfile /ASCII85Decode filter /RunLengthDecode filter gstr readstring pop}
+{currentfile /ASCII85Decode filter /RunLengthDecode filter bstr readstring pop}
+true 3
+%%BeginData: 144422 ASCII Bytes
+colorimage
+JcC<$JcC<$JcC<$JcEdjo)O@AJcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcF7"J,~>
+JcC<$JcC<$JcC<$JcEdjo)O@AJcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcF7"J,~>
+JcC<$JcC<$JcC<$JcEdjo)O@AJcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcF7"J,~>
+JcC<$JcC<$JcC<$JcEsol2ZD8JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcFC&J,~>
+JcC<$JcC<$JcC<$JcEsol2ZD8JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcFC&J,~>
+JcC<$JcC<$JcC<$JcEsol2ZD8JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcFC&J,~>
+_>iZuJcDYJqZ)3IJcC<$JcCW-irFZ1JcC<$OT4JDJcC<$JcC<$JcC<$JcC<$JcC<$k5Tr~>
+_>iZuJcDYJqZ)3IJcC<$JcCW-irFZ1JcC<$OT4JDJcC<$JcC<$JcC<$JcC<$JcC<$k5Tr~>
+_>iZuJcDYJqZ)3IJcC<$JcCW-irFZ1JcC<$OT4JDJcC<$JcC<$JcC<$JcC<$JcC<$k5Tr~>
+`;efsJcDhOo`0RCJcC<$JcCf2h>i-,JcC<$QN,qEJcC<$JcC<$JcC<$JcC<$JcC<$kl6/~>
+`;efsJcDhOo`0RCJcC<$JcCf2h>i-,JcC<$QN,qEJcC<$JcC<$JcC<$JcC<$JcC<$kl6/~>
+`;efsJcDhOo`0RCJcC<$JcCf2h>i-,JcC<$QN,qEJcC<$JcC<$JcC<$JcC<$JcC<$kl6/~>
+`W+irJcDnQo)O@AJcC<$JcCr6f`6U'JcC<$RK)1FJcC<$JcC<$JcC<$JcC<$JcC<$l2Q8~>
+`W+irJcDnQo)O@AJcC<$JcCr6f`6U'JcC<$RK)1FJcC<$JcC<$JcC<$JcC<$JcC<$l2Q8~>
+`W+irJcDnQo)O@AJcC<$JcCr6f`6U'JcC<$RK)1FJcC<$JcC<$JcC<$JcC<$JcC<$l2Q8~>
+`rFlqJcDtSnGn.?JcC<$JcD&9ec::$JcC<$S,_=FJcC<$JcC<$JcC<$JcC<$JcC<$lMlA~>
+`rFlqJcDtSnGn.?JcC<$JcD&9ec::$JcC<$S,_=FJcC<$JcC<$JcC<$JcC<$JcC<$lMlA~>
+`rFlqJcDtSnGn.?JcC<$JcD&9ec::$JcC<$S,_=FJcC<$JcC<$JcC<$JcC<$JcC<$lMlA~>
+`rFlqJcE"Tmf7q=JcC<$JcD/<dK"juJcC<$Sc@OHJcC<$JcC<$JcC<$JcC<$JcC<$lMlA~>
+`rFlqJcE"Tmf7q=JcC<$JcD/<dK"juJcC<$Sc@OHJcC<$JcC<$JcC<$JcC<$JcC<$lMlA~>
+`rFlqJcE"Tmf7q=JcC<$JcD/<dK"juJcC<$Sc@OHJcC<$JcC<$JcC<$JcC<$JcC<$lMlA~>
+`rFipJcE(Vm/V_;JcC<$JcD8?cN&OrJcC<$T)[UHJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE(Vm/V_;JcC<$JcD8?cN&OrJcC<$T)[UHJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE(Vm/V_;JcC<$JcD8?cN&OrJcC<$T)[UHJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE(Vm/V_;JcC<$JcD;@blE=pJcC<$TE!^IJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE(Vm/V_;JcC<$JcD;@blE=pJcC<$TE!^IJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE(Vm/V_;JcC<$JcD;@blE=pJcC<$TE!^IJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+Wli;V:JcC<$JcDABaoI"mJcC<$T`<gJJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+Wli;V:JcC<$JcDABaoI"mJcC<$T`<gJJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+Wli;V:JcC<$JcDABaoI"mJcC<$T`<gJJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+WlMuM9JcC<$JcDGDa8gekJcC<$U&WpKJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+WlMuM9JcC<$JcDGDa8gekJcC<$U&WpKJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+WlMuM9JcC<$JcDGDa8gekJcC<$U&WpKJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+WlMuM9JcC<$JcDMF`;kJhJcC<$UAs$LJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+WlMuM9JcC<$JcDMF`;kJhJcC<$UAs$LJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+WlMuM9JcC<$JcDMF`;kJhJcC<$UAs$LJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+WlMuM9JcC<$JcDPG_Z58fJcC<$U]9-MJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+WlMuM9JcC<$JcDPG_Z58fJcC<$U]9-MJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`rFipJcE+WlMuM9JcC<$JcDPG_Z58fJcC<$U]9-MJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`W+cpJcE+WlMuM9JcC<$JcDSH_#T&dJcC<$U]90NJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`W+cpJcE+WlMuM9JcC<$JcDSH_#T&dJcC<$U]90NJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`W+cpJcE+WlMuM9JcC<$JcDSH_#T&dJcC<$U]90NJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`;e]pJcE+WlMuM9JcC<$JcDVIirJcPkl?;7JcC<$U]93OJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`;e]pJcE+WlMuM9JcC<$JcDVIirJcPkl?;7JcC<$U]93OJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+`;e]pJcE+WlMuM9JcC<$JcDVIirJcPkl?;7JcC<$U]93OJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+_Z/QpJcE+WlMuM9JcC<$JcD\KjT+`Kli;V:JcC<$U&X'OJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+_Z/QpJcE+WlMuM9JcC<$JcD\KjT+`Kli;V:JcC<$U&X'OJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+_Z/QpJcE+WlMuM9JcC<$JcD\KjT+`Kli;V:JcC<$U&X'OJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE+Wli;V:JcC<$JcD\Kk5acHm/V_;JcC<$P5k%PJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE+Wli;V:JcC<$JcD\Kk5acHm/V_;JcC<$P5k%PJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE+Wli;V:JcC<$JcD\Kk5acHm/V_;JcC<$P5k%PJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE(Vm/V_;JcC<$JcD_LkQ'`EmJqh<JcC<$PQ1.QJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE(Vm/V_;JcC<$JcD_LkQ'`EmJqh<JcC<$PQ1.QJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE(Vm/V_;JcC<$JcD_LkQ'`EmJqh<JcC<$PQ1.QJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE(Vm/V_;JcC<$JcDbMl2]fCmf7q=JcC<$PQ1.QJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE(Vm/V_;JcC<$JcDbMl2]fCmf7q=JcC<$PQ1.QJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE(Vm/V_;JcC<$JcDbMl2]fCmf7q=JcC<$PQ1.QJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE%Umf7q=JcC<$JcDbMl2]`Amf7q=JcC<$PlL7RJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE%Umf7q=JcC<$JcDbMl2]`Amf7q=JcC<$PlL7RJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE%Umf7q=JcC<$JcDbMl2]`Amf7q=JcC<$PlL7RJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE"TnGn.?JcC<$JcDbMlN#`?n,S%>JcC<$PlL7RJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE"TnGn.?JcC<$JcDbMlN#`?n,S%>JcC<$PlL7RJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcE"TnGn.?JcC<$JcDbMlN#`?n,S%>JcC<$PlL7RJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcDtSo)O@AJcC<$JcD_Lm/Yi>n,S%>JcC<$Q2g@SJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcDtSo)O@AJcC<$JcD_Lm/Yi>n,S%>JcC<$Q2g@SJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcDtSo)O@AJcC<$JcD_Lm/Yi>n,S%>JcC<$Q2g@SJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcDqRo`0RCJcC<$JcD_Lm/Yc<nGn.?JcC<$Q2g@SJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcDqRo`0RCJcC<$JcD_Lm/Yc<nGn.?JcC<$Q2g@SJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcDqRo`0RCJcC<$JcD_Lm/Yc<nGn.?JcC<$Q2g@SJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcDhOqZ)3IJcC<$JcDYJm/Y]:nGn.?JcC<$QN-ITJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcDhOqZ)3IJcC<$JcDYJm/Y]:nGn.?JcC<$QN-ITJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcDhOqZ)3IJcC<$JcDYJm/Y]:nGn.?JcC<$QN-ITJcC<$JcC<$JcC<$JcC<$JcC<$li2J~>
+ZN'FpJcC<$JcC<$JcC<$c2[23df8k<JcC<$JcD&9nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$c2[23df8k<JcC<$JcD&9nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$c2[23df8k<JcC<$JcD&9nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$cN!;4dJr_:JcC<$JcD):nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$cN!;4dJr_:JcC<$JcD):nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$cN!;4dJr_:JcC<$JcD):nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$cN!>5ci<P9JcC<$JcD):nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$cN!>5ci<P9JcC<$JcD):nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$cN!>5ci<P9JcC<$JcD):nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$ci<G6cN!D7JcC<$JcD,;nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$ci<G6cN!D7JcC<$JcD,;nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$ci<G6cN!D7JcC<$JcD,;nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$d/WP7bl@56JcC<$JcD,;nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$d/WP7bl@56JcC<$JcD,;nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$d/WP7bl@56JcC<$JcD,;nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$d/WS8hZ*<Mq#BmbJcC<$JcD,;nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$d/WS8hZ*<Mq#BmbJcC<$JcD,;nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$d/WS8hZ*<Mq#BmbJcC<$JcD,;nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$dJr\9iW&?Hqu?3eJcC<$JcD/<nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$dJr\9iW&?Hqu?3eJcC<$JcD/<nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$dJr\9iW&?Hqu?3eJcC<$JcD/<nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$df8e:j8\?Drr;NhJcC<$JcD/<nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$df8e:j8\?Drr;NhJcC<$JcD/<nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$df8e:j8\?Drr;NhJcC<$JcD/<nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$df8e:jo=EB!<;TiJcC<$JcD/<nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$df8e:jo=EB!<;TiJcC<$JcD/<nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$df8e:jo=EB!<;TiJcC<$JcD/<nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$e,Sn;jo<d0JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$e,Sn;jo<d0JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$e,Sn;jo<d0JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$e,Sq<k5Wg/JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$e,Sq<k5Wg/JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$e,Sq<k5Wg/JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$eGo%=k5Wd.JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$eGo%=k5Wd.JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$eGo%=k5Wd.JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$eGo%=kPrj.JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$eGo%=kPrj.JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$eGo%=kPrj.JcC<$JcD2=nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$ec5.>kl8j,JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$ec5.>kl8j,JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$ec5.>kl8j,JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$ec51?kl8g+JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$ec51?kl8g+JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$ec51?kl8g+JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$f)P7?l2Sm+JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$f)P7?l2Sm+JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$f)P7?l2Sm+JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$f)P:@kl8d*JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$f)P:@kl8d*JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$f)P:@kl8d*JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$fDk@@l2Sj*JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$fDk@@l2Sj*JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$fDk@@l2Sj*JcC<$JcD5>nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$fDkCAl2Sd(JcC<$JcD8?nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$fDkCAl2Sd(JcC<$JcD8?nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$fDkCAl2Sd(JcC<$JcD8?nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9J,~>
+ZN'FpJcC<$JcC<$JcC<$f`1IAlMp/MqZ#RUJcC<$JcD8?nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$f`1IAlMp/MqZ#RUJcC<$JcD8?nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpJcC<$JcC<$JcC<$f`1IAlMp/MqZ#RUJcC<$JcD8?nGn.?JcC<$JcC<$JcC<$JcC<$JcG'9
+J,~>
+ZN'FpZiBCmm/Qq_JcC<$XoJ"nJcCl4m/ZMQqZ,1Hnc7tTli?_YjoBu4]DqL'SH%pUJcG!7nGn.?
+JcC<$JcDnQo)O@AJcCN*li<^YoDjIBao?k~>
+ZN'FpZiBCmm/Qq_JcC<$XoJ"nJcCl4m/ZMQqZ,1Hnc7tTli?_YjoBu4]DqL'SH%pUJcG!7nGn.?
+JcC<$JcDnQo)O@AJcCN*li<^YoDjIBao?k~>
+ZN'FpZiBCmm/Qq_JcC<$XoJ"nJcCl4m/ZMQqZ,1Hnc7tTli?_YjoBu4]DqL'SH%pUJcG!7nGn.?
+JcC<$JcDnQo)O@AJcCN*li<^YoDjIBao?k~>
+f)P@BlMpAS])U^hoDeObJcEF`pAj.OpAh;plMukCo)PKai;iKLpAihFnc7tTmJuhXk5^tNo`2;t
+lN!j_huJu@oDn1VnGnXMo`0RCVZ65fO8neORfDROJcGHDo`0RCWrLuWWrMAbU&Xiei;`NOj8XW~>
+f)P@BlMpAS])U^hoDeObJcEF`pAj.OpAh;plMukCo)PKai;iKLpAihFnc7tTmJuhXk5^tNo`2;t
+lN!j_huJu@oDn1VnGnXMo`0RCVZ65fO8neORfDROJcGHDo`0RCWrLuWWrMAbU&Xiei;`NOj8XW~>
+f)P@BlMpAS])U^hoDeObJcEF`pAj.OpAh;plMukCo)PKai;iKLpAihFnc7tTmJuhXk5^tNo`2;t
+lN!j_huJu@oDn1VnGnXMo`0RCVZ65fO8neORfDROJcGHDo`0RCWrLuWWrMAbU&Xiei;`NOj8XW~>
+g]-R>mf2eW^Aljdq#C$fJcERdn,VYOn,TcojT(JDl2[jaf`:gIp&NbFnc7tTmf;eUkl@CVl2\Eq
+jT)I`fDqHAlN$AQnGnjSl2ZD8YQ*kfR/cFOU]99QJcGcMl2ZD8ZiAYXZ2`ncW;l>ekPt#Ok5Tr~>
+g]-R>mf2eW^Aljdq#C$fJcERdn,VYOn,TcojT(JDl2[jaf`:gIp&NbFnc7tTmf;eUkl@CVl2\Eq
+jT)I`fDqHAlN$AQnGnjSl2ZD8YQ*kfR/cFOU]99QJcGcMl2ZD8ZiAYXZ2`ncW;l>ekPt#Ok5Tr~>
+g]-R>mf2eW^Aljdq#C$fJcERdn,VYOn,TcojT(JDl2[jaf`:gIp&NbFnc7tTmf;eUkl@CVl2\Eq
+jT)I`fDqHAlN$AQnGnjSl2ZD8YQ*kfR/cFOU]99QJcGcMl2ZD8ZiAYXZ2`ncW;l>ekPt#Ok5Tr~>
+hZ)[;nc/+Z_Z/$aqu?<hcMuGq`;f0(o`+7Xli6;O\,Y=cb5^Q'm/Q)GZ2`5Pqu?<hg&LUClMp>R
+m/Q>NkPs?<iW%s=_#N9l[/\PSUAs<Tnc/+Zh#H11iW%s=kPsZEh#HL:h#HI9m/Q)Gd/W2-m/Q)G
+W;kWQaoC/siW%s=JcE:\dK$cVhZ2"&li?\Xli?AOli?8LJ,~>
+hZ)[;nc/+Z_Z/$aqu?<hcMuGq`;f0(o`+7Xli6;O\,Y=cb5^Q'm/Q)GZ2`5Pqu?<hg&LUClMp>R
+m/Q>NkPs?<iW%s=_#N9l[/\PSUAs<Tnc/+Zh#H11iW%s=kPsZEh#HL:h#HI9m/Q)Gd/W2-m/Q)G
+W;kWQaoC/siW%s=JcE:\dK$cVhZ2"&li?\Xli?AOli?8LJ,~>
+hZ)[;nc/+Z_Z/$aqu?<hcMuGq`;f0(o`+7Xli6;O\,Y=cb5^Q'm/Q)GZ2`5Pqu?<hg&LUClMp>R
+m/Q>NkPs?<iW%s=_#N9l[/\PSUAs<Tnc/+Zh#H11iW%s=kPsZEh#HL:h#HI9m/Q)Gd/W2-m/Q)G
+W;kWQaoC/siW%s=JcE:\dK$cVhZ2"&li?\Xli?AOli?8LJ,~>
+iW%d8o`+F]`;e*_rr;Tjd/VMoa8bE)p]'IXmf2JN]DpUccMui'nGhAG[K"MPrr;TjgAg^DlMp>R
+lMp,LlMoN;k5X<=`;eQl\GseRW;k`To`+F]hZ)7/k5X<=li5rEi;_d:i;_a9nGhAGeGnJ-nGhAG
+XoHuQc2ZGsk5X<=JcEIablGBUgAo\%l2^SYklC/OkQ'oJJ,~>
+iW%d8o`+F]`;e*_rr;Tjd/VMoa8bE)p]'IXmf2JN]DpUccMui'nGhAG[K"MPrr;TjgAg^DlMp>R
+lMp,LlMoN;k5X<=`;eQl\GseRW;k`To`+F]hZ)7/k5X<=li5rEi;_d:i;_a9nGhAGeGnJ-nGhAG
+XoHuQc2ZGsk5X<=JcEIablGBUgAo\%l2^SYklC/OkQ'oJJ,~>
+iW%d8o`+F]`;e*_rr;Tjd/VMoa8bE)p]'IXmf2JN]DpUccMui'nGhAG[K"MPrr;TjgAg^DlMp>R
+lMp,LlMoN;k5X<=`;eQl\GseRW;k`To`+F]hZ)7/k5X<=li5rEi;_d:i;_a9nGhAGeGnJ-nGhAG
+XoHuQc2ZGsk5X<=JcEIablGBUgAo\%l2^SYklC/OkQ'oJJ,~>
+j8[j6pAaX_`rF0]!<;ZkdJqPnaoCQ)qZ#XWo)IeO^AldbdJr)(oDdSG\Gs\O!<;ZkgAg^DlMpAS
+kl9rKli5Q:lMoQ<aT'il]Dp"RXT.#TpAaX_huD:.lMoQ<mf22Fir@p:ir@m9oDdSGf)OV-oDdSG
+YlE/Pd/V\tlMoQ<JcEUeaT0*Uf)XA$kQ(JZjT+lOjT+WHJ,~>
+j8[j6pAaX_`rF0]!<;ZkdJqPnaoCQ)qZ#XWo)IeO^AldbdJr)(oDdSG\Gs\O!<;ZkgAg^DlMpAS
+kl9rKli5Q:lMoQ<aT'il]Dp"RXT.#TpAaX_huD:.lMoQ<mf22Fir@p:ir@m9oDdSGf)OV-oDdSG
+YlE/Pd/V\tlMoQ<JcEUeaT0*Uf)XA$kQ(JZjT+lOjT+WHJ,~>
+j8[j6pAaX_`rF0]!<;ZkdJqPnaoCQ)qZ#XWo)IeO^AldbdJr)(oDdSG\Gs\O!<;ZkgAg^DlMpAS
+kl9rKli5Q:lMoQ<aT'il]Dp"RXT.#TpAaX_huD:.lMoQ<mf22Fir@p:ir@m9oDdSGf)OV-oDdSG
+YlE/Pd/V\tlMoQ<JcEUeaT0*Uf)XA$kQ(JZjT+lOjT+WHJ,~>
+jo<p4q#BjaaT&dNe,R\nbQ$`*qu>[Vo`*qO_>hsaeGnA*p&EYE]`5MBg]-gEli6JTk5XcJm/PT9
+mJkc<bQ$#k^Al4RYlE;Tq#Bjai;_=-mJkc<nGh>FjT"':jT"':p&EYEg&Kn/p&EYE[/\GPe,Rqu
+mJkc<JcE^h`W3mUdfA&#k5bDZirJ`OirJHGJ,~>
+jo<p4q#BjaaT&dNe,R\nbQ$`*qu>[Vo`*qO_>hsaeGnA*p&EYE]`5MBg]-gEli6JTk5XcJm/PT9
+mJkc<bQ$#k^Al4RYlE;Tq#Bjai;_=-mJkc<nGh>FjT"':jT"':p&EYEg&Kn/p&EYE[/\GPe,Rqu
+mJkc<JcE^h`W3mUdfA&#k5bDZirJ`OirJHGJ,~>
+jo<p4q#BjaaT&dNe,R\nbQ$`*qu>[Vo`*qO_>hsaeGnA*p&EYE]`5MBg]-gEli6JTk5XcJm/PT9
+mJkc<bQ$#k^Al4RYlE;Tq#Bjai;_=-mJkc<nGh>FjT"':jT"':p&EYEg&Kn/p&EYE[/\GPe,Rqu
+mJkc<JcE^h`W3mUdfA&#k5bDZirJ`OirJHGJ,~>
+kPs$3q>]sbb5\pNe,R\nbQ$])rr:mVp]'.O_uJ*aec4G*q#AkE^]1bCg]-jFlMpASk5XcJm/PT9
+mf1f;c2Z/k_>hFRZiAMTq>]sbi;_=-mf1f;nc.GGjT"':jT"$9q#AkEgAft/q#AkE[f=SPeGn&!
+mf1f;JcEgk_Z7XTd/_l"joGD\huNNOhuN0EJ,~>
+kPs$3q>]sbb5\pNe,R\nbQ$])rr:mVp]'.O_uJ*aec4G*q#AkE^]1bCg]-jFlMpASk5XcJm/PT9
+mf1f;c2Z/k_>hFRZiAMTq>]sbi;_=-mf1f;nc.GGjT"':jT"$9q#AkEgAft/q#AkE[f=SPeGn&!
+mf1f;JcEgk_Z7XTd/_l"joGD\huNNOhuN0EJ,~>
+kPs$3q>]sbb5\pNe,R\nbQ$])rr:mVp]'.O_uJ*aec4G*q#AkE^]1bCg]-jFlMpASk5XcJm/PT9
+mf1f;c2Z/k_>hFRZiAMTq>]sbi;_=-mf1f;nc.GGjT"':jT"$9q#AkEgAft/q#AkE[f=SPeGn&!
+mf1f;JcEgk_Z7XTd/_l"joGD\huNNOhuN0EJ,~>
+kl9$1qu?0dbl>'Ne,RYmbl?f*s8UpUq>]=P`W+0_fDjY,q>\nD_Z."Dh#HpFli6JTjT"TIm/PQ8
+nc.#;d/V>j_uIRR[f=_Tqu?0di;_:,nc.#;o)IMGjo=-:jo=-:q>\nDg]-(0q>\nD\c9bOf)O5"
+nc.#;JcEmm_#VOUblHMujoGG]h>mBOhZ3'DJ,~>
+kl9$1qu?0dbl>'Ne,RYmbl?f*s8UpUq>]=P`W+0_fDjY,q>\nD_Z."Dh#HpFli6JTjT"TIm/PQ8
+nc.#;d/V>j_uIRR[f=_Tqu?0di;_:,nc.#;o)IMGjo=-:jo=-:q>\nDg]-(0q>\nD\c9bOf)O5"
+nc.#;JcEmm_#VOUblHMujoGG]h>mBOhZ3'DJ,~>
+kl9$1qu?0dbl>'Ne,RYmbl?f*s8UpUq>]=P`W+0_fDjY,q>\nD_Z."Dh#HpFli6JTjT"TIm/PQ8
+nc.#;d/V>j_uIRR[f=_Tqu?0di;_:,nc.#;o)IMGjo=-:jo=-:q>\nDg]-(0q>\nD\c9bOf)O5"
+nc.#;JcEmm_#VOUblHMujoGG]h>mBOhZ3'DJ,~>
+lMo-0r;Z9ec2Y-NeGm_mbl?f*!<:jTqZ#@Oa8a<_f`0b-qu>"C`;d1Eh#HpFli6MUirAEHm/PQ8
+oDd/;dJqAi`W*^R\c9qTr;Z9ei;_:,oDd/;o)IMGjo=-:jo=-:qu>"Ch#H11qu>"C]DonOfDj>#
+oDd/;JcEso^&Z:Tb5g>tjo>D]h#R<Oh#QmCJ,~>
+lMo-0r;Z9ec2Y-NeGm_mbl?f*!<:jTqZ#@Oa8a<_f`0b-qu>"C`;d1Eh#HpFli6MUirAEHm/PQ8
+oDd/;dJqAi`W*^R\c9qTr;Z9ei;_:,oDd/;o)IMGjo=-:jo=-:qu>"Ch#H11qu>"C]DonOfDj>#
+oDd/;JcEso^&Z:Tb5g>tjo>D]h#R<Oh#QmCJ,~>
+lMo-0r;Z9ec2Y-NeGm_mbl?f*!<:jTqZ#@Oa8a<_f`0b-qu>"C`;d1Eh#HpFli6MUirAEHm/PQ8
+oDd/;dJqAi`W*^R\c9qTr;Z9ei;_:,oDd/;o)IMGjo=-:jo=-:qu>"Ch#H11qu>"C]DonOfDj>#
+oDd/;JcEso^&Z:Tb5g>tjo>D]h#R<Oh#QmCJ,~>
+li5-.rr;KgcMt3NeGm_mbl>HYr;YLOb5]K^gAft/r;Y%B`rE@Fh#HsGli6JTirAEHm/PQ8o`*2:
+eGmPhaT&pR]`6.Trr;Kgi;_:,o`*2:oDdVHjo=-:jo=-:r;Y%Bh>c:2r;Y%B^Al+Of`0G$o`*2:
+JcF$q]`?7U`rOur^]=<4gAp^BJ,~>
+li5-.rr;KgcMt3NeGm_mbl>HYr;YLOb5]K^gAft/r;Y%B`rE@Fh#HsGli6JTirAEHm/PQ8o`*2:
+eGmPhaT&pR]`6.Trr;Kgi;_:,o`*2:oDdVHjo=-:jo=-:r;Y%Bh>c:2r;Y%B^Al+Of`0G$o`*2:
+JcF$q]`?7U`rOur^]=<4gAp^BJ,~>
+li5-.rr;KgcMt3NeGm_mbl>HYr;YLOb5]K^gAft/r;Y%B`rE@Fh#HsGli6JTirAEHm/PQ8o`*2:
+eGmPhaT&pR]`6.Trr;Kgi;_:,o`*2:oDdVHjo=-:jo=-:r;Y%Bh>c:2r;Y%B^Al+Of`0G$o`*2:
+JcF$q]`?7U`rOur^]=<4gAp^BJ,~>
+mJk6-s8VThci:9Ne,RYmbl>EXrr:[PbQ#N]g]-(0rVt(AaT&OGh#HsGli6MUi;`6Gm/PQ8pA`>:
+ec3SgaoB!R^]2@Ts8VThi;_:,pA`>:oDdVHjo=-:jo=-:rVt(AhZ)C3rVt(A_#M7Og&KP%pA`>:
+JcF*s\cC"T`;nfq^B"95g&UUAJ,~>
+mJk6-s8VThci:9Ne,RYmbl>EXrr:[PbQ#N]g]-(0rVt(AaT&OGh#HsGli6MUi;`6Gm/PQ8pA`>:
+ec3SgaoB!R^]2@Ts8VThi;_:,pA`>:oDdVHjo=-:jo=-:rVt(AhZ)C3rVt(A_#M7Og&KP%pA`>:
+JcF*s\cC"T`;nfq^B"95g&UUAJ,~>
+mJk6-s8VThci:9Ne,RYmbl>EXrr:[PbQ#N]g]-(0rVt(AaT&OGh#HsGli6MUi;`6Gm/PQ8pA`>:
+ec3SgaoB!R^]2@Ts8VThi;_:,pA`>:oDdVHjo=-:jo=-:rVt(AhZ)C3rVt(A_#M7Og&KP%pA`>:
+JcF*s\cC"T`;nfq^B"95g&UUAJ,~>
+mf19,!<;Qhd/U?Ne,RYmbl>EXs8U^Oc2YZ]h#H11rr:+@b5\^Hh>d$Gli6MUi;`6Gm/PQ8p]&A9
+fDi_gbQ#-R_>hLT!<;Qhi;_:,p]&A9o`*_Ijo=-:jo=-:rr:+@huDL4rr:+@_Z.COgAfY&p]&A9
+JcF0u\H'qT_Z8Wp^B"<6fDtF@J,~>
+mf19,!<;Qhd/U?Ne,RYmbl>EXs8U^Oc2YZ]h#H11rr:+@b5\^Hh>d$Gli6MUi;`6Gm/PQ8p]&A9
+fDi_gbQ#-R_>hLT!<;Qhi;_:,p]&A9o`*_Ijo=-:jo=-:rr:+@huDL4rr:+@_Z.COgAfY&p]&A9
+JcF0u\H'qT_Z8Wp^B"<6fDtF@J,~>
+mf19,!<;Qhd/U?Ne,RYmbl>EXs8U^Oc2YZ]h#H11rr:+@b5\^Hh>d$Gli6MUi;`6Gm/PQ8p]&A9
+fDi_gbQ#-R_>hLT!<;Qhi;_:,p]&A9o`*_Ijo=-:jo=-:rr:+@huDL4rr:+@_Z.COgAfY&p]&A9
+JcF0u\H'qT_Z8Wp^B"<6fDtF@J,~>
+n,K`pdJpENe,RYmbl>BW!<:[OcMt]\h>c:2!<:+?bQ"dHh>d'Hli6MUhZ*$EmJkZ9q#AG9f`/bf
+bl>3R_uI(Di;_:,q#AG9o`*_Ijo=-:jo=-:!<:+?huDL4!<:+?_uIFNg],b'q#AG9JcF4![fFeT
+_#WHo^&S05fDtF@J,~>
+n,K`pdJpENe,RYmbl>BW!<:[OcMt]\h>c:2!<:+?bQ"dHh>d'Hli6MUhZ*$EmJkZ9q#AG9f`/bf
+bl>3R_uI(Di;_:,q#AG9o`*_Ijo=-:jo=-:!<:+?huDL4!<:+?_uIFNg],b'q#AG9JcF4![fFeT
+_#WHo^&S05fDtF@J,~>
+n,K`pdJpENe,RYmbl>BW!<:[OcMt]\h>c:2!<:+?bQ"dHh>d'Hli6MUhZ*$EmJkZ9q#AG9f`/bf
+bl>3R_uI(Di;_:,q#AG9o`*_Ijo=-:jo=-:!<:+?huDL4!<:+?_uIFNg],b'q#AG9JcF4![fFeT
+_#WHo^&S05fDtF@J,~>
+nGffpdf8;,nGhAGdf7SmbQ!e,d/W2-p]'=Th>a5Mc2Zc'nGhAGh>d'Hli6MUhZ*$Em/PT9q>\M9
+g&L.6p]'=Tc2[)0m/Q)G`W*7EhuD4,q>\M9oDdYIjT"':jSttThuBGO`W+rupAa4Sg],e(q>\M9
+JcF7"i;i?HkQ'$1jT,&TjT+9>PQ:7RJ,~>
+nGffpdf8;,nGhAGdf7SmbQ!e,d/W2-p]'=Th>a5Mc2Zc'nGhAGh>d'Hli6MUhZ*$Em/PT9q>\M9
+g&L.6p]'=Tc2[)0m/Q)G`W*7EhuD4,q>\M9oDdYIjT"':jSttThuBGO`W+rupAa4Sg],e(q>\M9
+JcF7"i;i?HkQ'$1jT,&TjT+9>PQ:7RJ,~>
+nGffpdf8;,nGhAGdf7SmbQ!e,d/W2-p]'=Th>a5Mc2Zc'nGhAGh>d'Hli6MUhZ*$Em/PT9q>\M9
+g&L.6p]'=Tc2[)0m/Q)G`W*7EhuD4,q>\M9oDdYIjT"':jSttThuBGO`W+rupAa4Sg],e(q>\M9
+JcF7"i;i?HkQ'$1jT,&TjT+9>PQ:7RJ,~>
+nc.VLp]&qIe,SS2jo=BAdJqMmb5^)oqZ#@OqZ$$bdJrD1n,MSOh>bIppAa@Wci</.jo=BAh>d'H
+li6PVh#HjDli5N9qZ"S9gAg@:n,MSOcN!83jo=KDa8b0"p]&qIhZ).,qZ"S9o)ISIj8\!:j8[+!
+pAa@WhuC[rpAa@Wa8b9%mf2JNg],h)qZ"S9JcF:#jT+HCli>K6kQ()OkQ'TAfDtdJh#R<On,W"Y
+J,~>
+nc.VLp]&qIe,SS2jo=BAdJqMmb5^)oqZ#@OqZ$$bdJrD1n,MSOh>bIppAa@Wci</.jo=BAh>d'H
+li6PVh#HjDli5N9qZ"S9gAg@:n,MSOcN!83jo=KDa8b0"p]&qIhZ).,qZ"S9o)ISIj8\!:j8[+!
+pAa@WhuC[rpAa@Wa8b9%mf2JNg],h)qZ"S9JcF:#jT+HCli>K6kQ()OkQ'TAfDtdJh#R<On,W"Y
+J,~>
+nc.VLp]&qIe,SS2jo=BAdJqMmb5^)oqZ#@OqZ$$bdJrD1n,MSOh>bIppAa@Wci</.jo=BAh>d'H
+li6PVh#HjDli5N9qZ"S9gAg@:n,MSOcN!83jo=KDa8b0"p]&qIhZ).,qZ"S9o)ISIj8\!:j8[+!
+pAa@WhuC[rpAa@Wa8b9%mf2JNg],h)qZ"S9JcF:#jT+HCli>K6kQ()OkQ'TAfDtdJh#R<On,W"Y
+J,~>
+o)IhPn,M5Ee,S_6hZ)a=ci;Ama8arqp]'.Op]'^_e,SY4li62Lh#GOtnGhhTci<;2hZ)a=hZ*-H
+m/QVVh#HjDkl9<9qu>aXp&FF[g]-L<li62Lci<A4j8\?DaT(B&n,M5Eg],q,qu>aXp&FF[n,MAI
+i;_d:iW%($nGhhTh>bXunGhhTaT(H(kl9oJg&K_*qu>aXp&FF[JcF=$k5aNAm/YW8klC&LklBW@
+h#R3LhuNNOn,W%ZJ,~>
+o)IhPn,M5Ee,S_6hZ)a=ci;Ama8arqp]'.Op]'^_e,SY4li62Lh#GOtnGhhTci<;2hZ)a=hZ*-H
+m/QVVh#HjDkl9<9qu>aXp&FF[g]-L<li62Lci<A4j8\?DaT(B&n,M5Eg],q,qu>aXp&FF[n,MAI
+i;_d:iW%($nGhhTh>bXunGhhTaT(H(kl9oJg&K_*qu>aXp&FF[JcF=$k5aNAm/YW8klC&LklBW@
+h#R3LhuNNOn,W%ZJ,~>
+o)IhPn,M5Ee,S_6hZ)a=ci;Ama8arqp]'.Op]'^_e,SY4li62Lh#GOtnGhhTci<;2hZ)a=hZ*-H
+m/QVVh#HjDkl9<9qu>aXp&FF[g]-L<li62Lci<A4j8\?DaT(B&n,M5Eg],q,qu>aXp&FF[n,MAI
+i;_d:iW%($nGhhTh>bXunGhhTaT(H(kl9oJg&K_*qu>aXp&FF[JcF=$k5aNAm/YW8klC&LklBW@
+h#R3LhuNNOn,W%ZJ,~>
+oDe"SlMocBeGnk8gAgC;YQ++m^]3Hso`*qOo`+F]eGne6kPsfIc2ZW#li6>PdJrP5gAgC;hZ*-H
+m/QVVh#HjDd/WV9r;Ys\nc/"Wh#HX>kPsfId/WJ5i;`*Cb5^Z*lMocB_uK6,r;Ys\nc/"Wi;`<I
+dJr_:dJr&'li6>PcMu`$li6>Pb5^]+jT"NG_Z0-+r;Ys\nc/"WJcF@%klBW@m/YZ9l2^#Il2]K:
+k5b/SirJ`OnGr.[J,~>
+oDe"SlMocBeGnk8gAgC;YQ++m^]3Hso`*qOo`+F]eGne6kPsfIc2ZW#li6>PdJrP5gAgC;hZ*-H
+m/QVVh#HjDd/WV9r;Ys\nc/"Wh#HX>kPsfId/WJ5i;`*Cb5^Z*lMocB_uK6,r;Ys\nc/"Wi;`<I
+dJr_:dJr&'li6>PcMu`$li6>Pb5^]+jT"NG_Z0-+r;Ys\nc/"WJcF@%klBW@m/YZ9l2^#Il2]K:
+k5b/SirJ`OnGr.[J,~>
+oDe"SlMocBeGnk8gAgC;YQ++m^]3Hso`*qOo`+F]eGne6kPsfIc2ZW#li6>PdJrP5gAgC;hZ*-H
+m/QVVh#HjDd/WV9r;Ys\nc/"Wh#HX>kPsfId/WJ5i;`*Cb5^Z*lMocB_uK6,r;Ys\nc/"Wi;`<I
+dJr_:dJr&'li6>PcMu`$li6>Pb5^]+jT"NG_Z0-+r;Ys\nc/"WJcF@%klBW@m/YZ9l2^#Il2]K:
+k5b/SirJ`OnGr.[J,~>
+o`+.Uk5XE@eGnt;f)P"8YQ++m^]3Kto)IeOo)J7\eGnk8j8\HGc2Z]%kPsuNdJrY8f)P"8hZ*0I
+li6PVgAg[Cd/WV9rVu*^n,MeUh#H^@j8\HGd/WJ5huE!Bbl?o-k5XE@_uK6,rVu*^n,MeUi;`<I
+dJr_:dJr,)kPsuNcMuf&kPsuNbQ$i-i;`0E_Z0-+rVu*^n,MeUJcFC&l2]Z?m/YZ9li?)Gli>]<
+kQ(2RjT+lOnc87\J,~>
+o`+.Uk5XE@eGnt;f)P"8YQ++m^]3Kto)IeOo)J7\eGnk8j8\HGc2Z]%kPsuNdJrY8f)P"8hZ*0I
+li6PVgAg[Cd/WV9rVu*^n,MeUh#H^@j8\HGd/WJ5huE!Bbl?o-k5XE@_uK6,rVu*^n,MeUi;`<I
+dJr_:dJr,)kPsuNcMuf&kPsuNbQ$i-i;`0E_Z0-+rVu*^n,MeUJcFC&l2]Z?m/YZ9li?)Gli>]<
+kQ(2RjT+lOnc87\J,~>
+o`+.Uk5XE@eGnt;f)P"8YQ++m^]3Kto)IeOo)J7\eGnk8j8\HGc2Z]%kPsuNdJrY8f)P"8hZ*0I
+li6PVgAg[Cd/WV9rVu*^n,MeUh#H^@j8\HGd/WJ5huE!Bbl?o-k5XE@_uK6,rVu*^n,MeUi;`<I
+dJr_:dJr,)kPsuNcMuf&kPsuNbQ$i-i;`0E_Z0-+rVu*^n,MeUJcFC&l2]Z?m/YZ9li?)Gli>]<
+kQ(2RjT+lOnc87\J,~>
+o`+4WirA'>ec5(<eGnh7YQ++m^]3NunGhYOnGi([ec5":huE'DcMul(jT"]Ldf8b9eGnh7hZ*0I
+li6PVgAg[Cd/WV9rr;9ali6GSh#HaAhuE'DdJrS6h>cgAc2[)0irA'>_uK6,rr;9ali6GShuE3H
+dJr_:dJr2+jT"]LcMul(jT"]Lbl?u/h>cjB_uK6,rr;9ali6GSJcF@%li>f?m/Y]:m/Z&Dm/Yi>
+klC5Qk5b#Oo)S@]J,~>
+o`+4WirA'>ec5(<eGnh7YQ++m^]3NunGhYOnGi([ec5":huE'DcMul(jT"]Ldf8b9eGnh7hZ*0I
+li6PVgAg[Cd/WV9rr;9ali6GSh#HaAhuE'DdJrS6h>cgAc2[)0irA'>_uK6,rr;9ali6GShuE3H
+dJr_:dJr2+jT"]LcMul(jT"]Lbl?u/h>cjB_uK6,rr;9ali6GSJcF@%li>f?m/Y]:m/Z&Dm/Yi>
+klC5Qk5b#Oo)S@]J,~>
+o`+4WirA'>ec5(<eGnh7YQ++m^]3NunGhYOnGi([ec5":huE'DcMul(jT"]Ldf8b9eGnh7hZ*0I
+li6PVgAg[Cd/WV9rr;9ali6GSh#HaAhuE'DdJrS6h>cgAc2[)0irA'>_uK6,rr;9ali6GShuE3H
+dJr_:dJr2+jT"]LcMul(jT"]Lbl?u/h>cjB_uK6,rr;9ali6GSJcF@%li>f?m/Y]:m/Z&Dm/Yi>
+klC5Qk5b#Oo)S@]J,~>
+p&F=Xi;_m=ec5.>dJrP5YQ++m^]3R!n,MSOn,MqYfDk4<h>cjBci<#*j8\QJe,Sq<dJrP5hZ*0I
+m/QVVgAg[Cd/WV9s8VEcl2U5Qh>cjBh>cjBdf8_8g]-X@cN!21i;_m=_uK6,s8VEcl2U5QhuE3H
+dJr_:dJr5,j8\QJci<#*j8\QJc2[,1g]-X@`;f?-s8VEcl2U5QJcFC&li>c>m/Y`;m/YuBm/Yl?
+l2^;QkQ()Onc8:]J,~>
+p&F=Xi;_m=ec5.>dJrP5YQ++m^]3R!n,MSOn,MqYfDk4<h>cjBci<#*j8\QJe,Sq<dJrP5hZ*0I
+m/QVVgAg[Cd/WV9s8VEcl2U5Qh>cjBh>cjBdf8_8g]-X@cN!21i;_m=_uK6,s8VEcl2U5QhuE3H
+dJr_:dJr5,j8\QJci<#*j8\QJc2[,1g]-X@`;f?-s8VEcl2U5QJcFC&li>c>m/Y`;m/YuBm/Yl?
+l2^;QkQ()Onc8:]J,~>
+p&F=Xi;_m=ec5.>dJrP5YQ++m^]3R!n,MSOn,MqYfDk4<h>cjBci<#*j8\QJe,Sq<dJrP5hZ*0I
+m/QVVgAg[Cd/WV9s8VEcl2U5Qh>cjBh>cjBdf8_8g]-X@cN!21i;_m=_uK6,s8VEcl2U5QhuE3H
+dJr_:dJr5,j8\QJci<#*j8\QJc2[,1g]-X@`;f?-s8VEcl2U5QJcFC&li>c>m/Y`;m/YuBm/Yl?
+l2^;QkQ()Onc8:]J,~>
+pAaIZh>cU;f)P7?ci<A4YQ++m^]3U"mf2MOmf2hXf`1==g]-X@d/W2-i;`9HeGo%=ci<A4hZ*0I
+m/QYWf`1LBd/WV9!<;BckPt)Qh>cjBg]-X@e,Sh9gAgO?d/WG4h>cU;_uK6,!<;BckPt)QhZ**G
+dJr_:dJr;.i;`9Hci<),i;`9HcN!52g&LI?`;f?-!<;BckPt)QJcFC&li>]<mf:r=m/Yo@m/Yo@
+lN$AQklC/Onc8:]J,~>
+pAaIZh>cU;f)P7?ci<A4YQ++m^]3U"mf2MOmf2hXf`1==g]-X@d/W2-i;`9HeGo%=ci<A4hZ*0I
+m/QYWf`1LBd/WV9!<;BckPt)Qh>cjBg]-X@e,Sh9gAgO?d/WG4h>cU;_uK6,!<;BckPt)QhZ**G
+dJr_:dJr;.i;`9Hci<),i;`9HcN!52g&LI?`;f?-!<;BckPt)QJcFC&li>]<mf:r=m/Yo@m/Yo@
+lN$AQklC/Onc8:]J,~>
+pAaIZh>cU;f)P7?ci<A4YQ++m^]3U"mf2MOmf2hXf`1==g]-X@d/W2-i;`9HeGo%=ci<A4hZ*0I
+m/QYWf`1LBd/WV9!<;BckPt)Qh>cjBg]-X@e,Sh9gAgO?d/WG4h>cU;_uK6,!<;BckPt)QhZ**G
+dJr_:dJr;.i;`9Hci<),i;`9HcN!52g&LI?`;f?-!<;BckPt)QJcFC&li>]<mf:r=m/Yo@m/Yo@
+lN$AQklC/Onc8:]J,~>
+p]'R[gAg@:f)P:@c2[23YQ++m^]3X#m/QAOm/QYWf`1@>g&LI?d/W5.hZ**GeGo(>c2[23hZ*0I
+m/QYWf`1LBd/Vo%jo=lOh>cmCg&LI?df8b9f`1C?dJrP5gAg@:_uJNmjo=lOhZ**GdJr_:dJr>/
+hZ**Gci<,-hZ**Gci<A4f)P.<`W+`ojo=lOJcFF'm/Y`;mf:r=mJtr?mJu#Ali?DPlN$;Oo)SC^
+J,~>
+p]'R[gAg@:f)P:@c2[23YQ++m^]3X#m/QAOm/QYWf`1@>g&LI?d/W5.hZ**GeGo(>c2[23hZ*0I
+m/QYWf`1LBd/Vo%jo=lOh>cmCg&LI?df8b9f`1C?dJrP5gAg@:_uJNmjo=lOhZ**GdJr_:dJr>/
+hZ**Gci<,-hZ**Gci<A4f)P.<`W+`ojo=lOJcFF'm/Y`;mf:r=mJtr?mJu#Ali?DPlN$;Oo)SC^
+J,~>
+p]'R[gAg@:f)P:@c2[23YQ++m^]3X#m/QAOm/QYWf`1@>g&LI?d/W5.hZ**GeGo(>c2[23hZ*0I
+m/QYWf`1LBd/Vo%jo=lOh>cmCg&LI?df8b9f`1C?dJrP5gAg@:_uJNmjo=lOhZ**GdJr_:dJr>/
+hZ**Gci<,-hZ**Gci<A4f)P.<`W+`ojo=lOJcFF'm/Y`;mf:r=mJtr?mJu#Ali?DPlN$;Oo)SC^
+J,~>
+p]'U\f`119f)P:@c2[23YQ++m^]3[$li6;Oli6PVg&LI?fDk7=dJrA0h>csEec51?c2[23huE6I
+m/QYWf`1LBd/Vr&j8\`Oh>cmCfDk7=e,Sn;f)P1=df8\7f`119_uJQnj8\`Oh>d!FdJr_:dJrA0
+h>csEd/W8/h>csEdJrS6eGnt;`W+cpj8\`OJcFC&mJtc:nGq/?mJtl=mJu&Bm/ZJPli?AOo)SC^
+J,~>
+p]'U\f`119f)P:@c2[23YQ++m^]3[$li6;Oli6PVg&LI?fDk7=dJrA0h>csEec51?c2[23huE6I
+m/QYWf`1LBd/Vr&j8\`Oh>cmCfDk7=e,Sn;f)P1=df8\7f`119_uJQnj8\`Oh>d!FdJr_:dJrA0
+h>csEd/W8/h>csEdJrS6eGnt;`W+cpj8\`OJcFC&mJtc:nGq/?mJtl=mJu&Bm/ZJPli?AOo)SC^
+J,~>
+p]'U\f`119f)P:@c2[23YQ++m^]3[$li6;Oli6PVg&LI?fDk7=dJrA0h>csEec51?c2[23huE6I
+m/QYWf`1LBd/Vr&j8\`Oh>cmCfDk7=e,Sn;f)P1=df8\7f`119_uJQnj8\`Oh>d!FdJr_:dJrA0
+h>csEd/W8/h>csEdJrS6eGnt;`W+cpj8\`OJcFC&mJtc:nGq/?mJtl=mJu&Bm/ZJPli?AOo)SC^
+J,~>
+q#B^]fDk(8f)P=AbQ%#2YQ++m^]3[$li6;Oli6PVgAgR@ec5%;df8M2h#HjDec54@bQ%#2huE9J
+li6PVf`1LBd/W#(huEHOh#HdBec5%;e,St=ec5(<e,Se8fDk(8_uJWphuEHOg]-dDdJr_:dJrD1
+h#HjDd/W;0h#HjDdJrV7df8b9`rFrshuEHOJcF@%mJt`9nGq2@mJtf;mJu)Cm/ZJPli?AOo)SC^
+J,~>
+q#B^]fDk(8f)P=AbQ%#2YQ++m^]3[$li6;Oli6PVgAgR@ec5%;df8M2h#HjDec54@bQ%#2huE9J
+li6PVf`1LBd/W#(huEHOh#HdBec5%;e,St=ec5(<e,Se8fDk(8_uJWphuEHOg]-dDdJr_:dJrD1
+h#HjDd/W;0h#HjDdJrV7df8b9`rFrshuEHOJcF@%mJt`9nGq2@mJtf;mJu)Cm/ZJPli?AOo)SC^
+J,~>
+q#B^]fDk(8f)P=AbQ%#2YQ++m^]3[$li6;Oli6PVgAgR@ec5%;df8M2h#HjDec54@bQ%#2huE9J
+li6PVf`1LBd/W#(huEHOh#HdBec5%;e,St=ec5(<e,Se8fDk(8_uJWphuEHOg]-dDdJr_:dJrD1
+h#HjDd/W;0h#HjDdJrV7df8b9`rFrshuEHOJcF@%mJt`9nGq2@mJtf;mJu)Cm/ZJPli?AOo)SC^
+J,~>
+q>]g^ec4n7fDkCAbQ%#2YQ++m^]3^%lMp5OlMpGUgAgUAe,Sk:df8P3gAg[Cf)P:@bQ%#2huE9J
+li6PVf`1LBd/W&)g].6Qg&LL@e,Sk:df8q>e,Sk:ec5":ec4n7_uJZqg].6Qf`1IAdJr_:dJrG2
+gAg[Cd/W>1gAg[Cdf8_8d/WS8`rFutg].6QJcF:#mJtZ7o)RAAmf:i:mf;2DmJuPPm/ZGOo)SC^
+J,~>
+q>]g^ec4n7fDkCAbQ%#2YQ++m^]3^%lMp5OlMpGUgAgUAe,Sk:df8P3gAg[Cf)P:@bQ%#2huE9J
+li6PVf`1LBd/W&)g].6Qg&LL@e,Sk:df8q>e,Sk:ec5":ec4n7_uJZqg].6Qf`1IAdJr_:dJrG2
+gAg[Cd/W>1gAg[Cdf8_8d/WS8`rFutg].6QJcF:#mJtZ7o)RAAmf:i:mf;2DmJuPPm/ZGOo)SC^
+J,~>
+q>]g^ec4n7fDkCAbQ%#2YQ++m^]3^%lMp5OlMpGUgAgUAe,Sk:df8P3gAg[Cf)P:@bQ%#2huE9J
+li6PVf`1LBd/W&)g].6Qg&LL@e,Sk:df8q>e,Sk:ec5":ec4n7_uJZqg].6Qf`1IAdJr_:dJrG2
+gAg[Cd/W>1gAg[Cdf8_8d/WS8`rFutg].6QJcF:#mJtZ7o)RAAmf:i:mf;2DmJuPPm/ZGOo)SC^
+J,~>
+q>]j_e,S_6fDkFBaoCi1YQ++m^]3^%lMp5OlMpDTh#HgCdJrY8e,S\5g&LRBf)P=AaoCi1huE9J
+m/QVVf`1LBd/W)*YlF.ldJrY8df9"@dJr\9ec5%;e,S_6_uJ]rY5e"ldJr_:dJrJ3g&LRBd/WA2
+g&LRBdf8b9cN!A6a8b-!JcDeNmf:]6p&NYCmf:c8mf;5EmJuPPm/ZGOnc8=^J,~>
+q>]j_e,S_6fDkFBaoCi1YQ++m^]3^%lMp5OlMpDTh#HgCdJrY8e,S\5g&LRBf)P=AaoCi1huE9J
+m/QVVf`1LBd/W)*YlF.ldJrY8df9"@dJr\9ec5%;e,S_6_uJ]rY5e"ldJr_:dJrJ3g&LRBd/WA2
+g&LRBdf8b9cN!A6a8b-!JcDeNmf:]6p&NYCmf:c8mf;5EmJuPPm/ZGOnc8=^J,~>
+q>]j_e,S_6fDkFBaoCi1YQ++m^]3^%lMp5OlMpDTh#HgCdJrY8e,S\5g&LRBf)P=AaoCi1huE9J
+m/QVVf`1LBd/W)*YlF.ldJrY8df9"@dJr\9ec5%;e,S_6_uJ]rY5e"ldJr_:dJrJ3g&LRBd/WA2
+g&LRBdf8b9cN!A6a8b-!JcDeNmf:]6p&NYCmf:c8mf;5EmJuPPm/ZGOnc8=^J,~>
+qZ#s`dJrP5fDkFBaoCi1YQ++m^]3a&kl:)Okl:5Sh#HjDci<J7e,S\5g&LRBf)P=AaoCi1huE9J
+m/QYWf)P=Ad/W,+YQ+(lci<J7d/WqBci<J7f)P.<dJrP5_uJ`sXoInkdJr_:dJrJ3g&LRBd/WA2
+g&LRBe,Sh9cN!A6a8b0"JcDeNmJtN3q>f"En,Uf7n,V>Fmf;SOmf;SOo)SF_J,~>
+qZ#s`dJrP5fDkFBaoCi1YQ++m^]3a&kl:)Okl:5Sh#HjDci<J7e,S\5g&LRBf)P=AaoCi1huE9J
+m/QYWf)P=Ad/W,+YQ+(lci<J7d/WqBci<J7f)P.<dJrP5_uJ`sXoInkdJr_:dJrJ3g&LRBd/WA2
+g&LRBe,Sh9cN!A6a8b0"JcDeNmJtN3q>f"En,Uf7n,V>Fmf;SOmf;SOo)SF_J,~>
+qZ#s`dJrP5fDkFBaoCi1YQ++m^]3a&kl:)Okl:5Sh#HjDci<J7e,S\5g&LRBf)P=AaoCi1huE9J
+m/QYWf)P=Ad/W,+YQ+(lci<J7d/WqBci<J7f)P.<dJrP5_uJ`sXoInkdJr_:dJrJ3g&LRBd/WA2
+g&LRBe,Sh9cN!A6a8b0"JcDeNmJtN3q>f"En,Uf7n,V>Fmf;SOmf;SOo)SF_J,~>
+qZ$!aci<A4fDkFBaoCi1YQ++m^]3a&kl:)Okl:5Sh>cpDci<G6eGnh7f`1IAf)P=AaoCi1huE9J
+m/QYWf)P=Ad/W/,YQ+%kci<G6QiHOTfDk:>ci<A4_uJctXT.ejdJr_:dJrM4f`1IAd/WD3f`1IA
+eGnq:bl@/4aT(<$JcDbMmf8aTmf:]6mf;8Fmf;SOmf;SOo)SF_J,~>
+qZ$!aci<A4fDkFBaoCi1YQ++m^]3a&kl:)Okl:5Sh>cpDci<G6eGnh7f`1IAf)P=AaoCi1huE9J
+m/QYWf)P=Ad/W/,YQ+%kci<G6QiHOTfDk:>ci<A4_uJctXT.ejdJr_:dJrM4f`1IAd/WD3f`1IA
+eGnq:bl@/4aT(<$JcDbMmf8aTmf:]6mf;8Fmf;SOmf;SOo)SF_J,~>
+qZ$!aci<A4fDkFBaoCi1YQ++m^]3a&kl:)Okl:5Sh>cpDci<G6eGnh7f`1IAf)P=AaoCi1huE9J
+m/QYWf)P=Ad/W/,YQ+%kci<G6QiHOTfDk:>ci<A4_uJctXT.ejdJr_:dJrM4f`1IAd/WD3f`1IA
+eGnq:bl@/4aT(<$JcDbMmf8aTmf:]6mf;8Fmf;SOmf;SOo)SF_J,~>
+qu?*bcN!83fDkFBaoCi1YQ++m^]3d'kPt#OkPt,Rh>csEc2[85eGnk8f)P7?fDkFBaoCi1huE9J
+m/QYWf)P=Ad/W2-Y5dtkc2[85QiHOTf`1C?cN!83_uJfuX8h\idJr_:dJrP5f)P7?dJrP5f)P7?
+ec5(<bQ%&3aT(?%JcDbMmf8^Sn,U`5n,VAGn,VYOn,VYOo)SF_J,~>
+qu?*bcN!83fDkFBaoCi1YQ++m^]3d'kPt#OkPt,Rh>csEc2[85eGnk8f)P7?fDkFBaoCi1huE9J
+m/QYWf)P=Ad/W2-Y5dtkc2[85QiHOTf`1C?cN!83_uJfuX8h\idJr_:dJrP5f)P7?dJrP5f)P7?
+ec5(<bQ%&3aT(?%JcDbMmf8^Sn,U`5n,VAGn,VYOn,VYOo)SF_J,~>
+qu?*bcN!83fDkFBaoCi1YQ++m^]3d'kPt#OkPt,Rh>csEc2[85eGnk8f)P7?fDkFBaoCi1huE9J
+m/QYWf)P=Ad/W2-Y5dtkc2[85QiHOTf`1C?cN!83_uJfuX8h\idJr_:dJrP5f)P7?dJrP5f)P7?
+ec5(<bQ%&3aT(?%JcDbMmf8^Sn,U`5n,VAGn,VYOn,VYOo)SF_J,~>
+qu?*bc2[23fDkFBaoCi1YQ++m^]3d'kPt#OkPt,RhZ*'FbQ%&3ec4t9f)P7?fDkFBaoCi1huE9J
+m/QYWf)P=Ad/W5.Y5dtkbQ%&3QiHRUf`1C?c2[23_uJj!WrMShdJr_:dJrP5f)P7?dJrP5f)P7?
+f)P1=aoCl2aT(B&JcD_Ln,SgTn,UZ3n,VDHn,VYOn,VYOo)SF_J,~>
+qu?*bc2[23fDkFBaoCi1YQ++m^]3d'kPt#OkPt,RhZ*'FbQ%&3ec4t9f)P7?fDkFBaoCi1huE9J
+m/QYWf)P=Ad/W5.Y5dtkbQ%&3QiHRUf`1C?c2[23_uJj!WrMShdJr_:dJrP5f)P7?dJrP5f)P7?
+f)P1=aoCl2aT(B&JcD_Ln,SgTn,UZ3n,VDHn,VYOn,VYOo)SF_J,~>
+qu?*bc2[23fDkFBaoCi1YQ++m^]3d'kPt#OkPt,RhZ*'FbQ%&3ec4t9f)P7?fDkFBaoCi1huE9J
+m/QYWf)P=Ad/W5.Y5dtkbQ%&3QiHRUf`1C?c2[23_uJj!WrMShdJr_:dJrP5f)P7?dJrP5f)P7?
+f)P1=aoCl2aT(B&JcD_Ln,SgTn,UZ3n,VDHn,VYOn,VYOo)SF_J,~>
+r;Z3cbl@)2fDkFBaoCi1YQ++m^]3d'kPt#OkPt,RhZ*'FbQ%&3ec5":ec5.>fDkFBaoCi1huE9J
+m/QYWf)P=Ad/W8/XoIkjbQ%&3QiHRUg&LL@bl@)2_uJm"WW2JgdJr_:dJrS6ec5.>dJrS6ec5.>
+f)P1=aoCi1aoCN(JcD_Lmf8^Sn,UZ3n,VDHn,VYOn,VYOo)SF_J,~>
+r;Z3cbl@)2fDkFBaoCi1YQ++m^]3d'kPt#OkPt,RhZ*'FbQ%&3ec5":ec5.>fDkFBaoCi1huE9J
+m/QYWf)P=Ad/W8/XoIkjbQ%&3QiHRUg&LL@bl@)2_uJm"WW2JgdJr_:dJrS6ec5.>dJrS6ec5.>
+f)P1=aoCi1aoCN(JcD_Lmf8^Sn,UZ3n,VDHn,VYOn,VYOo)SF_J,~>
+r;Z3cbl@)2fDkFBaoCi1YQ++m^]3d'kPt#OkPt,RhZ*'FbQ%&3ec5":ec5.>fDkFBaoCi1huE9J
+m/QYWf)P=Ad/W8/XoIkjbQ%&3QiHRUg&LL@bl@)2_uJm"WW2JgdJr_:dJrS6ec5.>dJrS6ec5.>
+f)P1=aoCi1aoCN(JcD_Lmf8^Sn,UZ3n,VDHn,VYOn,VYOo)SF_J,~>
+r;Z6db5^o1fDkCAb5^u3Y5e"l^]3g(k5XrOk5Y#QhuE0GaoCi1f)P+;ec5.>fDkCAb5^u3hZ*0I
+m/QYWf)P=Ad/W8/Y5dtkaoCi1R/c[Vg&LOAb5^o1_uJm"WW2JgdJr_:dJrS6ec5.>dJrS6ec5.>
+f)P4>a8bZ0aoCN(JcD_Ln,SgTn,UT1n,VGInGq_OnGq_Oo)SF_J,~>
+r;Z6db5^o1fDkCAb5^u3Y5e"l^]3g(k5XrOk5Y#QhuE0GaoCi1f)P+;ec5.>fDkCAb5^u3hZ*0I
+m/QYWf)P=Ad/W8/Y5dtkaoCi1R/c[Vg&LOAb5^o1_uJm"WW2JgdJr_:dJrS6ec5.>dJrS6ec5.>
+f)P4>a8bZ0aoCN(JcD_Ln,SgTn,UT1n,VGInGq_OnGq_Oo)SF_J,~>
+r;Z6db5^o1fDkCAb5^u3Y5e"l^]3g(k5XrOk5Y#QhuE0GaoCi1f)P+;ec5.>fDkCAb5^u3hZ*0I
+m/QYWf)P=Ad/W8/Y5dtkaoCi1R/c[Vg&LOAb5^o1_uJm"WW2JgdJr_:dJrS6ec5.>dJrS6ec5.>
+f)P4>a8bZ0aoCN(JcD_Ln,SgTn,UT1n,VGInGq_OnGq_Oo)SF_J,~>
+rVu<db5^o1fDkCAaoCo3Y5e"l^]3g(k5XrOk5Y#QhuE0GaoCi1f)P.<eGo%=fDkCAaoCo3hZ*0I
+m/QYWf)P=Ad/W;0XoIkjaoCi1QiHRUg]-^Bb5^o1_uJp#W;lAfdJr_:dJrV7eGo%=dJrV7eGo%=
+fDk:>a8bZ0aoCQ)JcD_Lmf8^Sn,UT1n,VGInGq_OnGq_Oo)SF_J,~>
+rVu<db5^o1fDkCAaoCo3Y5e"l^]3g(k5XrOk5Y#QhuE0GaoCi1f)P.<eGo%=fDkCAaoCo3hZ*0I
+m/QYWf)P=Ad/W;0XoIkjaoCi1QiHRUg]-^Bb5^o1_uJp#W;lAfdJr_:dJrV7eGo%=dJrV7eGo%=
+fDk:>a8bZ0aoCQ)JcD_Lmf8^Sn,UT1n,VGInGq_OnGq_Oo)SF_J,~>
+rVu<db5^o1fDkCAaoCo3Y5e"l^]3g(k5XrOk5Y#QhuE0GaoCi1f)P.<eGo%=fDkCAaoCo3hZ*0I
+m/QYWf)P=Ad/W;0XoIkjaoCi1QiHRUg]-^Bb5^o1_uJp#W;lAfdJr_:dJrV7eGo%=dJrV7eGo%=
+fDk:>a8bZ0aoCQ)JcD_Lmf8^Sn,UT1n,VGInGq_OnGq_Oo)SF_J,~>
+rVu?eaoCf0f)P:@b5_#4Y5e"l^]3g(k5XrOk5Y#QhuE3Ha8bZ0f)P.<eGo%=f)P:@b5_#4hZ*0I
+m/QYWf)P=Ad/W>1XT.eja8bZ0QiHRUg]-aCaoCf0_uJs$VuQ8edJr_:dJrV7eGo%=dJrV7eGo%=
+fDk=?`rGN.b5^]+JcD\Kn,SdSnGpW0nGqPJnGq_OnGq_Oo)SF_J,~>
+rVu?eaoCf0f)P:@b5_#4Y5e"l^]3g(k5XrOk5Y#QhuE3Ha8bZ0f)P.<eGo%=f)P:@b5_#4hZ*0I
+m/QYWf)P=Ad/W>1XT.eja8bZ0QiHRUg]-aCaoCf0_uJs$VuQ8edJr_:dJrV7eGo%=dJrV7eGo%=
+fDk=?`rGN.b5^]+JcD\Kn,SdSnGpW0nGqPJnGq_OnGq_Oo)SF_J,~>
+rVu?eaoCf0f)P:@b5_#4Y5e"l^]3g(k5XrOk5Y#QhuE3Ha8bZ0f)P.<eGo%=f)P:@b5_#4hZ*0I
+m/QYWf)P=Ad/W>1XT.eja8bZ0QiHRUg]-aCaoCf0_uJs$VuQ8edJr_:dJrV7eGo%=dJrV7eGo%=
+fDk=?`rGN.b5^]+JcD\Kn,SdSnGpW0nGqPJnGq_OnGq_Oo)SF_J,~>
+rVu?eaT(`0f)P7?bQ%/6XoInk^]3g(k5XrOk5Y#Qi;`9Ha8bW/fDk:>e,Sq<f)P7?bQ%/6h>d'H
+m/QYWf)P=Ad/WA2XT.bia8bW/R/c[Vg]-aCaT(`0_uK!%VZ6/ddJr_:dJrY8e,Sq<dJrY8e,Sq<
+f`1C?`W,H.b5^`,JcDYJn,SgTn,UN/n,VJJnGq_OnGq_Oo)SF_J,~>
+rVu?eaT(`0f)P7?bQ%/6XoInk^]3g(k5XrOk5Y#Qi;`9Ha8bW/fDk:>e,Sq<f)P7?bQ%/6h>d'H
+m/QYWf)P=Ad/WA2XT.bia8bW/R/c[Vg]-aCaT(`0_uK!%VZ6/ddJr_:dJrY8e,Sq<dJrY8e,Sq<
+f`1C?`W,H.b5^`,JcDYJn,SgTn,UN/n,VJJnGq_OnGq_Oo)SF_J,~>
+rVu?eaT(`0f)P7?bQ%/6XoInk^]3g(k5XrOk5Y#Qi;`9Ha8bW/fDk:>e,Sq<f)P7?bQ%/6h>d'H
+m/QYWf)P=Ad/WA2XT.bia8bW/R/c[Vg]-aCaT(`0_uK!%VZ6/ddJr_:dJrY8e,Sq<dJrY8e,Sq<
+f`1C?`W,H.b5^`,JcDYJn,SgTn,UN/n,VJJnGq_OnGq_Oo)SF_J,~>
+rr;Hfa8bW/f)P4>bQ%27XoInk^]3j)jo=lOjo=oPi;`<I`W,H.fDk:>e,Sq<f)P4>bQ%27h>d'H
+m/QYWf)P=Ad/WA2XT.ej`W,H.R/c[Vh#HjDa8bW/_uK!%VZ6/ddJr_:dJrY8e,Sq<dJrY8e,Sq<
+f`1F@`;f?-b5^`,JcD\Kn,SdSnGpQ.nGqSKnc7eOnc7eOo)SF_J,~>
+rr;Hfa8bW/f)P4>bQ%27XoInk^]3j)jo=lOjo=oPi;`<I`W,H.fDk:>e,Sq<f)P4>bQ%27h>d'H
+m/QYWf)P=Ad/WA2XT.ej`W,H.R/c[Vh#HjDa8bW/_uK!%VZ6/ddJr_:dJrY8e,Sq<dJrY8e,Sq<
+f`1F@`;f?-b5^`,JcD\Kn,SdSnGpQ.nGqSKnc7eOnc7eOo)SF_J,~>
+rr;Hfa8bW/f)P4>bQ%27XoInk^]3j)jo=lOjo=oPi;`<I`W,H.fDk:>e,Sq<f)P4>bQ%27h>d'H
+m/QYWf)P=Ad/WA2XT.ej`W,H.R/c[Vh#HjDa8bW/_uK!%VZ6/ddJr_:dJrY8e,Sq<dJrY8e,Sq<
+f`1F@`;f?-b5^`,JcD\Kn,SdSnGpQ.nGqSKnc7eOnc7eOo)SF_J,~>
+rr;Hfa8bW/f)P.<bQ%>;X8h\i^]3j)jo=lOjo=oPi;`<I`W,H.fDk:>e,Sq<f)P.<bQ%>;g]-jF
+m/QYWf)P=Ad/WD3X8h\i`W,H.R/c[Vh#HjDa8bW/_uK$&V>p&cdJr_:dJrY8e,Sq<dJrY8e,Sq<
+f`1F@`;f?-b5^c-JcDYJn,SdSnGpQ.nGqSKnc7eOnc7eOo)SF_J,~>
+rr;Hfa8bW/f)P.<bQ%>;X8h\i^]3j)jo=lOjo=oPi;`<I`W,H.fDk:>e,Sq<f)P.<bQ%>;g]-jF
+m/QYWf)P=Ad/WD3X8h\i`W,H.R/c[Vh#HjDa8bW/_uK$&V>p&cdJr_:dJrY8e,Sq<dJrY8e,Sq<
+f`1F@`;f?-b5^c-JcDYJn,SdSnGpQ.nGqSKnc7eOnc7eOo)SF_J,~>
+rr;Hfa8bW/f)P.<bQ%>;X8h\i^]3j)jo=lOjo=oPi;`<I`W,H.fDk:>e,Sq<f)P.<bQ%>;g]-jF
+m/QYWf)P=Ad/WD3X8h\i`W,H.R/c[Vh#HjDa8bW/_uK$&V>p&cdJr_:dJrY8e,Sq<dJrY8e,Sq<
+f`1F@`;f?-b5^c-JcDYJn,SdSnGpQ.nGqSKnc7eOnc7eOo)SF_J,~>
+rr;Kg`W,H.ec5%;JcG-;nGp?(nc7eOnc7eOo)RbLn,UH-n,V,@mf:i:nGq,>mJrgXo)S.Wo)RAA
+o)R/;lN"$dn,UH-n,SmVnGqAEnGpQ.nGpK,lN!d]nGpu:nGpu:mf:i:nGpu:mf:i:nGq8Bn,U?*
+nGpc4lMuM9VuQ8eQN-FS`W,E-j8\ZMjo=lOjo=oPo`'F~>
+rr;Kg`W,H.ec5%;JcG-;nGp?(nc7eOnc7eOo)RbLn,UH-n,V,@mf:i:nGq,>mJrgXo)S.Wo)RAA
+o)R/;lN"$dn,UH-n,SmVnGqAEnGpQ.nGpK,lN!d]nGpu:nGpu:mf:i:nGpu:mf:i:nGq8Bn,U?*
+nGpc4lMuM9VuQ8eQN-FS`W,E-j8\ZMjo=lOjo=oPo`'F~>
+rr;Kg`W,H.ec5%;JcG-;nGp?(nc7eOnc7eOo)RbLn,UH-n,V,@mf:i:nGq,>mJrgXo)S.Wo)RAA
+o)R/;lN"$dn,UH-n,SmVnGqAEnGpQ.nGpK,lN!d]nGpu:nGpu:mf:i:nGpu:mf:i:nGq8Bn,U?*
+nGpc4lMuM9VuQ8eQN-FS`W,E-j8\ZMjo=lOjo=oPo`'F~>
+s8VQg`W,H.ec4q8JcG6>nGp?(nc7eOnc7eOo)RbLnGpK,nGq5An,Uo:nGq,>lN!UXo)S.Wo)RAA
+o)R/;li=*dnGpK,nGo!WnGqDFn,UH-nGpK,li<j]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq8Bn,U?*
+nGpc4li;V:VuQ5dQN-IT_uK6,j8\ZMjo=lOjo=oPo`'F~>
+s8VQg`W,H.ec4q8JcG6>nGp?(nc7eOnc7eOo)RbLnGpK,nGq5An,Uo:nGq,>lN!UXo)S.Wo)RAA
+o)R/;li=*dnGpK,nGo!WnGqDFn,UH-nGpK,li<j]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq8Bn,U?*
+nGpc4li;V:VuQ5dQN-IT_uK6,j8\ZMjo=lOjo=oPo`'F~>
+s8VQg`W,H.ec4q8JcG6>nGp?(nc7eOnc7eOo)RbLnGpK,nGq5An,Uo:nGq,>lN!UXo)S.Wo)RAA
+o)R/;li=*dnGpK,nGo!WnGqDFn,UH-nGpK,li<j]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq8Bn,U?*
+nGpc4li;V:VuQ5dQN-IT_uK6,j8\ZMjo=lOjo=oPo`'F~>
+s8VQg`W,H.eGnb5JcG?AnGp?(nc7eOnc7eOo)RbLnGpK,nGq5An,Uo:nGq)=kl@LYo)S.Wo)RAA
+oDm5;li=*dnGpK,nGo!WnGqDFn,UH-nGpK,li<j]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq8Bn,U?*
+nGpc4li;V:VuQ5dQN-IT_uK6,j8\ZMjo=lOjo=oPo`'F~>
+s8VQg`W,H.eGnb5JcG?AnGp?(nc7eOnc7eOo)RbLnGpK,nGq5An,Uo:nGq)=kl@LYo)S.Wo)RAA
+oDm5;li=*dnGpK,nGo!WnGqDFn,UH-nGpK,li<j]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq8Bn,U?*
+nGpc4li;V:VuQ5dQN-IT_uK6,j8\ZMjo=lOjo=oPo`'F~>
+s8VQg`W,H.eGnb5JcG?AnGp?(nc7eOnc7eOo)RbLnGpK,nGq5An,Uo:nGq)=kl@LYo)S.Wo)RAA
+oDm5;li=*dnGpK,nGo!WnGqDFn,UH-nGpK,li<j]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq8Bn,U?*
+nGpc4li;V:VuQ5dQN-IT_uK6,j8\ZMjo=lOjo=oPo`'F~>
+s8VTh`;f?-eGnY2JcGHDnGp?(o)RkOo)RkOo)RbLnGpK,nGq5An,Uo:nGq)=joD:Yo)S.Wnc7>B
+o)R,:m/X0dnGpK,nGo!WnGqDFnGpN-nGpK,m/Wp]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq8BnGpE*
+nGpc4m/V_;VZ6/dQ2g@S_uK6,j8\]NjT"fOjT"fOo`'F~>
+s8VTh`;f?-eGnY2JcGHDnGp?(o)RkOo)RkOo)RbLnGpK,nGq5An,Uo:nGq)=joD:Yo)S.Wnc7>B
+o)R,:m/X0dnGpK,nGo!WnGqDFnGpN-nGpK,m/Wp]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq8BnGpE*
+nGpc4m/V_;VZ6/dQ2g@S_uK6,j8\]NjT"fOjT"fOo`'F~>
+s8VTh`;f?-eGnY2JcGHDnGp?(o)RkOo)RkOo)RbLnGpK,nGq5An,Uo:nGq)=joD:Yo)S.Wnc7>B
+o)R,:m/X0dnGpK,nGo!WnGqDFnGpN-nGpK,m/Wp]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq8BnGpE*
+nGpc4m/V_;VZ6/dQ2g@S_uK6,j8\]NjT"fOjT"fOo`'F~>
+s8VTh`;f?-e,SD-JcGWInGp?(o)RkOo)RkOo)ReMnGpE*nGq8Bn,Uo:nGq&<iW-%Zo)S+Vo)RGC
+o)R,:m/X3enGpE*nGoWihuMU5nGpN-nGpK,m/Wp]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq;Cn,U<)
+nGpc4m/V_;VZ6/dQN-IT_>j$*jT"fOjT"fOjT"fOo`'F~>
+s8VTh`;f?-e,SD-JcGWInGp?(o)RkOo)RkOo)ReMnGpE*nGq8Bn,Uo:nGq&<iW-%Zo)S+Vo)RGC
+o)R,:m/X3enGpE*nGoWihuMU5nGpN-nGpK,m/Wp]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq;Cn,U<)
+nGpc4m/V_;VZ6/dQN-IT_>j$*jT"fOjT"fOjT"fOo`'F~>
+s8VTh`;f?-e,SD-JcGWInGp?(o)RkOo)RkOo)ReMnGpE*nGq8Bn,Uo:nGq&<iW-%Zo)S+Vo)RGC
+o)R,:m/X3enGpE*nGoWihuMU5nGpN-nGpK,m/Wp]nGpu:nGpu:n,Uo:nGpu:n,Uo:nGq;Cn,U<)
+nGpc4m/V_;VZ6/dQN-IT_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Ng`;f?-df8/(Jc>`MnGp?(o)RkOo)RkOo)ReMnGpE*nGq8BnGpu:nGq#;h>jbZo)S.Wo)RGC
+o)R,:mJs9enGpE*nGooqfDse.n,UE,nGpK,mJs!]nGpu:nGpu:nGpu:nGpu:nGpu:nGq;Cn,U<)
+nGpc4mJqh<VZ6,cQN-IT_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Ng`;f?-df8/(Jc>`MnGp?(o)RkOo)RkOo)ReMnGpE*nGq8BnGpu:nGq#;h>jbZo)S.Wo)RGC
+o)R,:mJs9enGpE*nGooqfDse.n,UE,nGpK,mJs!]nGpu:nGpu:nGpu:nGpu:nGpu:nGq;Cn,U<)
+nGpc4mJqh<VZ6,cQN-IT_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Ng`;f?-df8/(Jc>`MnGp?(o)RkOo)RkOo)ReMnGpE*nGq8BnGpu:nGq#;h>jbZo)S.Wo)RGC
+o)R,:mJs9enGpE*nGooqfDse.n,UE,nGpK,mJs!]nGpu:nGpu:nGpu:nGpu:nGpu:nGq;Cn,U<)
+nGpc4mJqh<VZ6,cQN-IT_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,dJqo#L&^ZC^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:dJqo#[/]^tm/QYWf`1OC
+ci<D5WrMSh_>j$*\c:(XhZ**G_uK6,_uK-)UAs``dJr_:dJr_:dJr_:dJr_:dJr_:gAgXB_#Np)
+bl@)2JcDVInGnjSnGpE*nGqYMo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,dJqo#L&^ZC^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:dJqo#[/]^tm/QYWf`1OC
+ci<D5WrMSh_>j$*\c:(XhZ**G_uK6,_uK-)UAs``dJr_:dJr_:dJr_:dJr_:dJr_:gAgXB_#Np)
+bl@)2JcDVInGnjSnGpE*nGqYMo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,dJqo#L&^ZC^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:dJqo#[/]^tm/QYWf`1OC
+ci<D5WrMSh_>j$*\c:(XhZ**G_uK6,_uK-)UAs``dJr_:dJr_:dJr_:dJr_:dJr_:gAgXB_#Np)
+bl@)2JcDVInGnjSnGpE*nGqYMo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,d/VVrMuW;I^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:d/VVr])V@%m/QYWf`1OC
+ci<D5WrMSh_>j$*^AlFXhZ**G_uK6,_uK-)UAs``dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C^]3g(
+bl@)2JcDVInGnjSnGpE*nGqYMo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,d/VVrMuW;I^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:d/VVr])V@%m/QYWf`1OC
+ci<D5WrMSh_>j$*^AlFXhZ**G_uK6,_uK-)UAs``dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C^]3g(
+bl@)2JcDVInGnjSnGpE*nGqYMo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,d/VVrMuW;I^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:d/VVr])V@%m/QYWf`1OC
+ci<D5WrMSh_>j$*^AlFXhZ**G_uK6,_uK-)UAs``dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C^]3g(
+bl@)2JcDVInGnjSnGpE*nGqYMo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,ci;>lOoOqO^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:ci;>l_#O!+m/QYWf`1OC
+ci<G6WW2Jg_>j$*_Z.^XhZ**G_uK6,_uK0*U&XW_dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C^]3g(
+bl@,3JcDSHnGnjSnGpE*nGqYMo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,ci;>lOoOqO^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:ci;>l_#O!+m/QYWf`1OC
+ci<G6WW2Jg_>j$*_Z.^XhZ**G_uK6,_uK0*U&XW_dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C^]3g(
+bl@,3JcDSHnGnjSnGpE*nGqYMo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,ci;>lOoOqO^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:ci;>l_#O!+m/QYWf`1OC
+ci<G6WW2Jg_>j$*_Z.^XhZ**G_uK6,_uK0*U&XW_dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C^]3g(
+bl@,3JcDSHnGnjSnGpE*nGqYMo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,cMu)gQN-IT^]3m*jT"fOjT"fOirAQL^]3j)g&LRBdJr_:cMu)g`W,N0m/QVVgAgaE
+cN!>5WW2Mh^]3j)`W*pXhZ**G_uK6,_uK0*U&XW_dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C^]3g(
+bl@,3JcDSHnGnjSnc6H)nc7bNo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,cMu)gQN-IT^]3m*jT"fOjT"fOirAQL^]3j)g&LRBdJr_:cMu)g`W,N0m/QVVgAgaE
+cN!>5WW2Mh^]3j)`W*pXhZ**G_uK6,_uK0*U&XW_dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C^]3g(
+bl@,3JcDSHnGnjSnc6H)nc7bNo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,cMu)gQN-IT^]3m*jT"fOjT"fOirAQL^]3j)g&LRBdJr_:cMu)g`W,N0m/QVVgAgaE
+cN!>5WW2Mh^]3j)`W*pXhZ**G_uK6,_uK0*U&XW_dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C^]3g(
+bl@,3JcDSHnGnjSnc6H)nc7bNo)RkOo)RkOo)SF_J,~>
+n,UB+nGpi6aT.e0nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpi6aT0H_o)S+Vo)RMEo)R)9
+mf9BfnGp?(nGp]2_Z8Ton,UB+nGpK,mf9']nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7mf7q=
+VZ6,cQN-IT^]3g(jo=oPjT"fOjT"fOo`'F~>
+n,UB+nGpi6aT.e0nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpi6aT0H_o)S+Vo)RMEo)R)9
+mf9BfnGp?(nGp]2_Z8Ton,UB+nGpK,mf9']nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7mf7q=
+VZ6,cQN-IT^]3g(jo=oPjT"fOjT"fOo`'F~>
+n,UB+nGpi6aT.e0nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpi6aT0H_o)S+Vo)RMEo)R)9
+mf9BfnGp?(nGp]2_Z8Ton,UB+nGpK,mf9']nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7mf7q=
+VZ6,cQN-IT^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpf5`rM\1nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpf5`rO?`nc8%Vo)RMEo)R)9
+mf9BfnGp?(nGpf5^]<9lnGpH+nGpK,mf9']nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7mf7q=
+VZ6/dQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpf5`rM\1nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpf5`rO?`nc8%Vo)RMEo)R)9
+mf9BfnGp?(nGpf5^]<9lnGpH+nGpK,mf9']nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7mf7q=
+VZ6/dQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpf5`rM\1nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpf5`rO?`nc8%Vo)RMEo)R)9
+mf9BfnGp?(nGpf5^]<9lnGpH+nGpK,mf9']nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7mf7q=
+VZ6/dQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp`3`W2\3nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp`3`W4?bnc8%Vnc7JFnc6u8
+n,THfnGp?(nGpl7^&['jnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp`3`W2\3nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp`3`W4?bnc8%Vnc7JFnc6u8
+n,THfnGp?(nGpl7^&['jnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp`3`W2\3nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp`3`W4?bnc8%Vnc7JFnc6u8
+n,THfnGp?(nGpl7^&['jnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp]2`;lY4nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp]2`;n9bo)S.Wnc7JFo)R&8
+n,THfnGp?(nGpr9]E$jhnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp]2`;lY4nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp]2`;n9bo)S.Wnc7JFo)R&8
+n,THfnGp?(nGpr9]E$jhnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp]2`;lY4nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp]2`;n9bo)S.Wnc7JFo)R&8
+n,THfnGp?(nGpr9]E$jhnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpW0`;l_6nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpW0`;n?do)S+Vo)RSGo)R&8
+n,THfnGp?(nGq#;\cCXfnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpW0`;l_6nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpW0`;n?do)S+Vo)RSGo)R&8
+n,THfnGp?(nGq#;\cCXfnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpW0`;l_6nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpW0`;n?do)S+Vo)RSGo)R&8
+n,THfnGp?(nGq#;\cCXfnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpN-`W2n9nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpN-`W4Ngo)S+Vnc7PHnc6r7
+n,THfnGp?(nGq)=\,bFdnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpN-`W2n9nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpN-`W4Ngo)S+Vnc7PHnc6r7
+n,THfnGp?(nGq)=\,bFdnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpN-`W2n9nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpN-`W4Ngo)S+Vnc7PHnc6r7
+n,THfnGp?(nGq)=\,bFdnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpH+`W2t;nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpH+`W4Tinc8%Vnc7PHnc6r7
+n,THfnGp?(nGq,>[fG=cnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpH+`W2t;nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpH+`W4Tinc8%Vnc7PHnc6r7
+n,THfnGp?(nGq,>[fG=cnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGpH+`W2t;nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGpH+`W4Tinc8%Vnc7PHnc6r7
+n,THfnGp?(nGq,>[fG=cnGpH+nGpK,n,T-]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7n,S%>
+V>p&cQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp?(a8i4>nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp?(a8jfko)S.WnGqMInc6o6
+nGoNfnGp?(nGq2@[/f+anGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7nGn.?
+V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp?(a8i4>nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp?(a8jfko)S.WnGqMInc6o6
+nGoNfnGp?(nGq2@[/f+anGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7nGn.?
+V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp?(a8i4>nGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp?(a8jfko)S.WnGqMInc6o6
+nGoNfnGp?(nGq2@[/f+anGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7nGn.?
+V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp3$aoJLBnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp3$aoL)oo)S+Vnc7VJnc6o6
+nGoNfnGp?(nGq5Ad/`h=nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp3$aoJLBnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp3$aoL)oo)S+Vnc7VJnc6o6
+nGoNfnGp?(nGq5Ad/`h=nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp3$aoJLBnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp3$aoL)oo)S+Vnc7VJnc6o6
+nGoNfnGp?(nGq5Ad/`h=nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DScI"7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp#tc2asGnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp#tc2cPtnc8%VnGqSKnGpf5
+nGoNfnGp?(nGq8BfDt:<nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DT)d(7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp#tc2asGnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp#tc2cPtnc8%VnGqSKnGpf5
+nGoNfnGp?(nGq8BfDt:<nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DT)d(7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGp#tc2asGnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGp#tc2cPtnc8%VnGqSKnGpf5
+nGoNfnGp?(nGq8BfDt:<nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DT)d(7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGofndf?NMnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGofndfA,%nc8"Unc7\Lnc6l5
+nGoNfnGp?(nGq>Dg]6L:nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DT)d(7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGofndf?NMnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGofndfA,%nc8"Unc7\Lnc6l5
+nGoNfnGp?(nGq>Dg]6L:nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DT)d(7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGofndf?NMnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGofndfA,%nc8"Unc7\Lnc6l5
+nGoNfnGp?(nGq>Dg]6L:nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DT)d(7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGoThfDr)SnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGoThfDsY*o)S+VnGqYMnGpc4
+nGoNfnGp?(nGqAEhuMa9nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DTE*.7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGoThfDr)SnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGoThfDsY*o)S+VnGqYMnGpc4
+nGoNfnGp?(nGqAEhuMa9nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DTE*.7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGoThfDr)SnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGoThfDsY*o)S+VnGqYMnGpc4
+nGoNfnGp?(nGqAEhuMa9nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DTE*.7
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGoBbh#OYYnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGoBbh#Q40nc8%Vn,VVNnGp`3
+nGoNfnGp?(nGqDFiW.j8nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DT`E47
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGoBbh#OYYnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGoBbh#Q40nc8%Vn,VVNnGp`3
+nGoNfnGp?(nGqDFiW.j8nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DT`E47
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGoBbh#OYYnGp?(o)RkOo)RkOo)RhNnGp?(nGq;CnGpu:nGoBbh#Q40nc8%Vn,VVNnGp`3
+nGoNfnGp?(nGqDFiW.j8nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DT`E47
+nGn.?V#TrbQ2g@S^]3g(jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGo0\iW-4_nGp?(o)RkOo)RkOo)RhNn,U<)n,V2BnGpu:nGo0\iW.d6nc8"UnGq_OnGp`3
+nGoNfn,U<)n,V>Fj8ds7nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DU&`:7
+nGn.?V#TrbQ2g=R_>j!)jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGo0\iW-4_nGp?(o)RkOo)RkOo)RhNn,U<)n,V2BnGpu:nGo0\iW.d6nc8"UnGq_OnGp`3
+nGoNfn,U<)n,V>Fj8ds7nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DU&`:7
+nGn.?V#TrbQ2g=R_>j!)jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGo0\iW-4_nGp?(o)RkOo)RkOo)RhNn,U<)n,V2BnGpu:nGo0\iW.d6nc8"UnGq_OnGp`3
+nGoNfn,U<)n,V>Fj8ds7nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>DU&`:7
+nGn.?V#TrbQ2g=R_>j!)jo=oPjT"fOjT"fOo`'F~>
+nGpH+nGo$XjT)RcnGp?(o)RkOo)RkOo)RhNn,U<)n,V2BnGpu:nGo$XjT+*9o)S+Vn,V\PnGp]2
+nGoNfn,U<)n,V>Fk5a07nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>Dn,S%>
+qZ$'cJcDPGnGnjSn,U<)n,VSMo)RkOo)RkOo)SF_J,~>
+nGpH+nGo$XjT)RcnGp?(o)RkOo)RkOo)RhNn,U<)n,V2BnGpu:nGo$XjT+*9o)S+Vn,V\PnGp]2
+nGoNfn,U<)n,V>Fk5a07nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>Dn,S%>
+qZ$'cJcDPGnGnjSn,U<)n,VSMo)RkOo)RkOo)SF_J,~>
+nGpH+nGo$XjT)RcnGp?(o)RkOo)RkOo)RhNn,U<)n,V2BnGpu:nGo$XjT+*9o)S+Vn,V\PnGp]2
+nGoNfn,U<)n,V>Fk5a07nGqJHnGpH+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq>Dn,S%>
+qZ$'cJcDPGnGnjSn,U<)n,VSMo)RkOo)RkOo)SF_J,~>
+n,UB+nGnpUk5_gfnGp?(o)RkOo)RkOo)RhNn,U<)n,V2BnGpu:nGnpUk5a?<nc8"Un,VbRn,UT1
+nGoNfn,U<)n,VAGkQ'36nGqJHn,UB+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq;CnGn.?
+qZ$'cJcDPGn,SdSn,U<)n,VSMo)RkOo)RkOo)SF_J,~>
+n,UB+nGnpUk5_gfnGp?(o)RkOo)RkOo)RhNn,U<)n,V2BnGpu:nGnpUk5a?<nc8"Un,VbRn,UT1
+nGoNfn,U<)n,VAGkQ'36nGqJHn,UB+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq;CnGn.?
+qZ$'cJcDPGn,SdSn,U<)n,VSMo)RkOo)RkOo)SF_J,~>
+n,UB+nGnpUk5_gfnGp?(o)RkOo)RkOo)RhNn,U<)n,V2BnGpu:nGnpUk5a?<nc8"Un,VbRn,UT1
+nGoNfn,U<)n,VAGkQ'36nGqJHn,UB+nGpK,nGo3]nGpu:nGpu:nGpu:nGpu:nGpu:nGq;CnGn.?
+qZ$'cJcDPGn,SdSn,U<)n,VSMo)RkOo)RkOo)SF_J,~>
+!<;Qh_uK6,PlL"KZN'Fp^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:PlL"Kh>d$GlMp>Rm/QPT
+aT(c1VuQ8e_>j$*huDp@eGo%=hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C
+JcGTHnGn.?U]9iaQ2g@S_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,PlL"KZN'Fp^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:PlL"Kh>d$GlMp>Rm/QPT
+aT(c1VuQ8e_>j$*huDp@eGo%=hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C
+JcGTHnGn.?U]9iaQ2g@S_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,PlL"KZN'Fp^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:PlL"Kh>d$GlMp>Rm/QPT
+aT(c1VuQ8e_>j$*huDp@eGo%=hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:gAg[C
+JcGTHnGn.?U]9iaQ2g@S_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,OoObJZiBOq^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:OoObJh>d$Gli6DRmf2_U
+aT(c1VuQ8e_>j$*i;`'Bdf8h;hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:gAgXB
+JcGWInGn.?U]9iaQ2g@S_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,OoObJZiBOq^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:OoObJh>d$Gli6DRmf2_U
+aT(c1VuQ8e_>j$*i;`'Bdf8h;hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:gAgXB
+JcGWInGn.?U]9iaQ2g@S_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,OoObJZiBOq^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:OoObJh>d$Gli6DRmf2_U
+aT(c1VuQ8e_>j$*i;`'Bdf8h;hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:gAgXB
+JcGWInGn.?U]9iaQ2g@S_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,OT4\JZiBOq^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:OT4\Jh>d$GlMp8Po)J+X
+a8bZ0VuQ8e_>j$*i;`-Dd/WV9hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:gAgXB
+JcGWInGn.?U]9iaQ2g@S_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,OT4\JZiBOq^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:OT4\Jh>d$GlMp8Po)J+X
+a8bZ0VuQ8e_>j$*i;`-Dd/WV9hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:gAgXB
+JcGWInGn.?U]9iaQ2g@S_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,OT4\JZiBOq^]3m*jT"fOjT"fOirANK_>j$*g&LRBdJr_:OT4\Jh>d$GlMp8Po)J+X
+a8bZ0VuQ8e_>j$*i;`-Dd/WV9hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:gAgXB
+JcGWInGn.?U]9iaQ2g@S_>j$*jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,eGo7C`W,?+[/]Xr^]3m*jT"fOjT"fOirAKJ_uK3+g&LRBdJr_:eGo7C`W,?+hZ**G
+li6>Pp&F@Ya8bZ0VuQ5d_uK3+iW&6Eci<M8hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:
+dJr_:gAgXBJcGWInGn.?U]9f`QN-FS_uK3+jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,eGo7C`W,?+[/]Xr^]3m*jT"fOjT"fOirAKJ_uK3+g&LRBdJr_:eGo7C`W,?+hZ**G
+li6>Pp&F@Ya8bZ0VuQ5d_uK3+iW&6Eci<M8hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:
+dJr_:gAgXBJcGWInGn.?U]9f`QN-FS_uK3+jT"fOjT"fOjT"fOo`'F~>
+!<;Qh_uK6,eGo7C`W,?+[/]Xr^]3m*jT"fOjT"fOirAKJ_uK3+g&LRBdJr_:eGo7C`W,?+hZ**G
+li6>Pp&F@Ya8bZ0VuQ5d_uK3+iW&6Eci<M8hZ**G_uK6,_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:
+dJr_:gAgXBJcGWInGn.?U]9f`QN-FS_uK3+jT"fOjT"fOjT"fOo`'F~>
+!<;Ng`W,E-ec5:B`;f<,[/]Xr^]3m*jT"fOjT"fOirAKJ_uK3+g&LRBdJr_:ec5:B`;f<,h>d$G
+lMp/MqZ#j]`rGQ/VuQ5d_uK3+iW&<Gc2[;6hZ*'F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:
+dJr_:g&LRBJcGWInGn.?U]9f`QN-FS_uK3+jT"fOjT"fOjT"fOo`'F~>
+!<;Ng`W,E-ec5:B`;f<,[/]Xr^]3m*jT"fOjT"fOirAKJ_uK3+g&LRBdJr_:ec5:B`;f<,h>d$G
+lMp/MqZ#j]`rGQ/VuQ5d_uK3+iW&<Gc2[;6hZ*'F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:
+dJr_:g&LRBJcGWInGn.?U]9f`QN-FS_uK3+jT"fOjT"fOjT"fOo`'F~>
+!<;Ng`W,E-ec5:B`;f<,[/]Xr^]3m*jT"fOjT"fOirAKJ_uK3+g&LRBdJr_:ec5:B`;f<,h>d$G
+lMp/MqZ#j]`rGQ/VuQ5d_uK3+iW&<Gc2[;6hZ*'F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:
+dJr_:g&LRBJcGWInGn.?U]9f`QN-FS_uK3+jT"fOjT"fOjT"fOo`'F~>
+!<;Ng`W,E-f)P=A`;f<,[K#as^]3m*jT"fOjT"fOiW&EJ_uK6,f`1IAdJr_:f)P=A`;f<,hZ**G
+lMo32`W,H.VZ6/d_uK6,i;`6Gbl@25hZ*'F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+g&LOAJcGZJnGn.?UAs``Q2g@S_uK6,j8\]NjT"fOjT"fOo`'F~>
+!<;Ng`W,E-f)P=A`;f<,[K#as^]3m*jT"fOjT"fOiW&EJ_uK6,f`1IAdJr_:f)P=A`;f<,hZ**G
+lMo32`W,H.VZ6/d_uK6,i;`6Gbl@25hZ*'F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+g&LOAJcGZJnGn.?UAs``Q2g@S_uK6,j8\]NjT"fOjT"fOo`'F~>
+!<;Ng`W,E-f)P=A`;f<,[K#as^]3m*jT"fOjT"fOiW&EJ_uK6,f`1IAdJr_:f)P=A`;f<,hZ**G
+lMo32`W,H.VZ6/d_uK6,i;`6Gbl@25hZ*'F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+g&LOAJcGZJnGn.?UAs``Q2g@S_uK6,j8\]NjT"fOjT"fOo`'F~>
+s8VTh`W,E-f)P:@`;f?-[K#as^]3m*jT"fOjT"fOiW&BI`W,E-f`1IAdJr_:f)P:@`;f?-h>d$G
+l2T03`;f?-VZ6,c`W,E-iW&?HbQ%)4h>d!F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+g&LOAJcGZJnGn.?UAs]_QN-FS`W,E-j8\]NjT"fOjT"fOo`'F~>
+s8VTh`W,E-f)P:@`;f?-[K#as^]3m*jT"fOjT"fOiW&BI`W,E-f`1IAdJr_:f)P:@`;f?-h>d$G
+l2T03`;f?-VZ6,c`W,E-iW&?HbQ%)4h>d!F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+g&LOAJcGZJnGn.?UAs]_QN-FS`W,E-j8\]NjT"fOjT"fOo`'F~>
+s8VTh`W,E-f)P:@`;f?-[K#as^]3m*jT"fOjT"fOiW&BI`W,E-f`1IAdJr_:f)P:@`;f?-h>d$G
+l2T03`;f?-VZ6,c`W,E-iW&?HbQ%)4h>d!F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+g&LOAJcGZJnGn.?UAs]_QN-FS`W,E-j8\]NjT"fOjT"fOo`'F~>
+s8VTh`W,E-fDk@@_uK9-[K#as^]3m*jT"fOjT"fOiW&BI`W,E-f`1IAdJr_:fDk@@_uK9-h>d!F
+l2T34`;f?-VZ6,c`W,E-iW&?HbQ%)4h>d!F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+g&LL@JcG]KnGn.?UAs]_QN-FS`W,E-j8\]NjT"fOjT"fOo`'F~>
+s8VTh`W,E-fDk@@_uK9-[K#as^]3m*jT"fOjT"fOiW&BI`W,E-f`1IAdJr_:fDk@@_uK9-h>d!F
+l2T34`;f?-VZ6,c`W,E-iW&?HbQ%)4h>d!F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+g&LL@JcG]KnGn.?UAs]_QN-FS`W,E-j8\]NjT"fOjT"fOo`'F~>
+s8VTh`W,E-fDk@@_uK9-[K#as^]3m*jT"fOjT"fOiW&BI`W,E-f`1IAdJr_:fDk@@_uK9-h>d!F
+l2T34`;f?-VZ6,c`W,E-iW&?HbQ%)4h>d!F`W,E-_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+g&LL@JcG]KnGn.?UAs]_QN-FS`W,E-j8\]NjT"fOjT"fOo`'F~>
+s8VQga8bT.fDk@@_uK9-[K#as^]3m*jT"fOjT"fOiW&BI`W,E-f`1IAdJr_:fDk@@_uK9-h#HpF
+l2T65_uK6,VZ6,c`W,E-iW&BIb5^u3h>csEa8bT._uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+f`1F@JcG]KnGn.?UAs]_QN-FS`W,E-j8\]NjT"fOjT"fOo`'F~>
+s8VQga8bT.fDk@@_uK9-[K#as^]3m*jT"fOjT"fOiW&BI`W,E-f`1IAdJr_:fDk@@_uK9-h#HpF
+l2T65_uK6,VZ6,c`W,E-iW&BIb5^u3h>csEa8bT._uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+f`1F@JcG]KnGn.?UAs]_QN-FS`W,E-j8\]NjT"fOjT"fOo`'F~>
+s8VQga8bT.fDk@@_uK9-[K#as^]3m*jT"fOjT"fOiW&BI`W,E-f`1IAdJr_:fDk@@_uK9-h#HpF
+l2T65_uK6,VZ6,c`W,E-iW&BIb5^u3h>csEa8bT._uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+f`1F@JcG]KnGn.?UAs]_QN-FS`W,E-j8\]NjT"fOjT"fOo`'F~>
+s8VQga8bT.fDk=?_uK9-[f>jt^]3m*jT"fOjT"fOi;`9Ha8bW/fDk@@dJr_:fDk=?_uK9-h>d!F
+l2T<7_Z0-+V>p#ba8bW/iW&BIaoCl2h>csEa8bT._uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+f`1F@JcG]KnGn.?U&XT^QN-FSa8bW/irATMjT"fOjT"fOo`'F~>
+s8VQga8bT.fDk=?_uK9-[f>jt^]3m*jT"fOjT"fOi;`9Ha8bW/fDk@@dJr_:fDk=?_uK9-h>d!F
+l2T<7_Z0-+V>p#ba8bW/iW&BIaoCl2h>csEa8bT._uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+f`1F@JcG]KnGn.?U&XT^QN-FSa8bW/irATMjT"fOjT"fOo`'F~>
+s8VQga8bT.fDk=?_uK9-[f>jt^]3m*jT"fOjT"fOi;`9Ha8bW/fDk@@dJr_:fDk=?_uK9-h>d!F
+l2T<7_Z0-+V>p#ba8bW/iW&BIaoCl2h>csEa8bT._uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+f`1F@JcG]KnGn.?U&XT^QN-FSa8bW/irATMjT"fOjT"fOo`'F~>
+rr;Kga8bT.fDk=?_uK9-[f>jt^]3m*jT"fOjT"fOi;`9Ha8bW/fDk@@dJr_:fDk=?_uK9-h#HmE
+l2TB9_>j$*V>p#ba8bW/iW&BIaoCl2h#HmEa8bT._uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+f`1C?JcG`LnGn.?U&XT^QN-FSa8bW/irATMjT"fOjT"fOo`'F~>
+rr;Kga8bT.fDk=?_uK9-[f>jt^]3m*jT"fOjT"fOi;`9Ha8bW/fDk@@dJr_:fDk=?_uK9-h#HmE
+l2TB9_>j$*V>p#ba8bW/iW&BIaoCl2h#HmEa8bT._uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+f`1C?JcG`LnGn.?U&XT^QN-FSa8bW/irATMjT"fOjT"fOo`'F~>
+rr;Kga8bT.fDk=?_uK9-[f>jt^]3m*jT"fOjT"fOi;`9Ha8bW/fDk@@dJr_:fDk=?_uK9-h#HmE
+l2TB9_>j$*V>p#ba8bW/iW&BIaoCl2h#HmEa8bT._uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+f`1C?JcG`LnGn.?U&XT^QN-FSa8bW/irATMjT"fOjT"fOo`'F~>
+rr;HfaoCc/fDk=?_Z03-[f>jt^]3m*jT"fOjT"fOi;`9Ha8bW/fDk@@dJr_:fDk=?_Z03-h#HmE
+kl9B;^]3g(V>p#ba8bW/iW&BIaoCl2h#HjDaoCc/_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+fDk=?JcG`LnGn.?U&XQ]QiHOTa8bW/irATMjT"fOjT"fOo`'F~>
+rr;HfaoCc/fDk=?_Z03-[f>jt^]3m*jT"fOjT"fOi;`9Ha8bW/fDk@@dJr_:fDk=?_Z03-h#HmE
+kl9B;^]3g(V>p#ba8bW/iW&BIaoCl2h#HjDaoCc/_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+fDk=?JcG`LnGn.?U&XQ]QiHOTa8bW/irATMjT"fOjT"fOo`'F~>
+rr;HfaoCc/fDk=?_Z03-[f>jt^]3m*jT"fOjT"fOi;`9Ha8bW/fDk@@dJr_:fDk=?_Z03-h#HmE
+kl9B;^]3g(V>p#ba8bW/iW&BIaoCl2h#HjDaoCc/_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+fDk=?JcG`LnGn.?U&XQ]QiHOTa8bW/irATMjT"fOjT"fOo`'F~>
+rr;HfaoCc/fDk:>_uK<.[f>jt^]3m*jT"fOjT"fOhuE0GaoCi1f)P7?dJr_:fDk:>_uK<.g]-dD
+kPsB=^Am^'V#ToaaoCi1i;`<IaT(c1h#HjDaoCc/_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+fDk:>_#O31aT(c1JcDDCn,U?*quGINn,UT1n,VGIo)RkOo)RkOo)SF_J,~>
+rr;HfaoCc/fDk:>_uK<.[f>jt^]3m*jT"fOjT"fOhuE0GaoCi1f)P7?dJr_:fDk:>_uK<.g]-dD
+kPsB=^Am^'V#ToaaoCi1i;`<IaT(c1h#HjDaoCc/_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+fDk:>_#O31aT(c1JcDDCn,U?*quGINn,UT1n,VGIo)RkOo)RkOo)SF_J,~>
+rr;HfaoCc/fDk:>_uK<.[f>jt^]3m*jT"fOjT"fOhuE0GaoCi1f)P7?dJr_:fDk:>_uK<.g]-dD
+kPsB=^Am^'V#ToaaoCi1i;`<IaT(c1h#HjDaoCc/_uK6,TE"E]dJr_:dJr_:dJr_:dJr_:dJr_:
+fDk:>_#O31aT(c1JcDDCn,U?*quGINn,UT1n,VGIo)RkOo)RkOo)SF_J,~>
+rVu?ebQ$r0fDk:>_uK<.[f>jt^]3m*jT"fOjT"fOhuE0GaoCi1f)P7?dJr_:fDk:>_uK<.g]-aC
+kPsH?^&RU&V#ToaaoCi1i;`<IaT(c1g]-aCbQ$r0_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+f)P1=_Z0<0b5^u3JcDDCmf:B-p&NqKn,UT1n,VGIo)RkOo)RkOo)SF_J,~>
+rVu?ebQ$r0fDk:>_uK<.[f>jt^]3m*jT"fOjT"fOhuE0GaoCi1f)P7?dJr_:fDk:>_uK<.g]-aC
+kPsH?^&RU&V#ToaaoCi1i;`<IaT(c1g]-aCbQ$r0_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+f)P1=_Z0<0b5^u3JcDDCmf:B-p&NqKn,UT1n,VGIo)RkOo)RkOo)SF_J,~>
+rVu?ebQ$r0fDk:>_uK<.[f>jt^]3m*jT"fOjT"fOhuE0GaoCi1f)P7?dJr_:fDk:>_uK<.g]-aC
+kPsH?^&RU&V#ToaaoCi1i;`<IaT(c1g]-aCbQ$r0_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+f)P1=_Z0<0b5^u3JcDDCmf:B-p&NqKn,UT1n,VGIo)RkOo)RkOo)SF_J,~>
+rVu?ebQ$r0fDk:>_uK<.[f>jt^]3m*jT"fOjT"fOhuE-FbQ%#2f)P7?dJr_:fDk:>_uK<.gAgXB
+k5XKB]DqC$V#Tl`bQ%#2i;`<IaT(c1g]-aCbQ$r0_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+f)P1=_uK?/bQ%)4JcDABn,UN/oDmbJmf:Q2mf;>Ho)RkOo)RkOo)SF_J,~>
+rVu?ebQ$r0fDk:>_uK<.[f>jt^]3m*jT"fOjT"fOhuE-FbQ%#2f)P7?dJr_:fDk:>_uK<.gAgXB
+k5XKB]DqC$V#Tl`bQ%#2i;`<IaT(c1g]-aCbQ$r0_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+f)P1=_uK?/bQ%)4JcDABn,UN/oDmbJmf:Q2mf;>Ho)RkOo)RkOo)SF_J,~>
+rVu?ebQ$r0fDk:>_uK<.[f>jt^]3m*jT"fOjT"fOhuE-FbQ%#2f)P7?dJr_:fDk:>_uK<.gAgXB
+k5XKB]DqC$V#Tl`bQ%#2i;`<IaT(c1g]-aCbQ$r0_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+f)P1=_uK?/bQ%)4JcDABn,UN/oDmbJmf:Q2mf;>Ho)RkOo)RkOo)SF_J,~>
+rVu<dc2[,1fDk7=`;fE/[f>jt^]3m*jT"fOjT"fOhZ*$Ebl@/4ec5.>dJr_:fDk7=`;fE/gAgXB
+jo=HC])V:#U]9c_bl@/4huE3HaT(c1g]-^Bc2[,1_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+f)P.<`W,N0bQ%)4JcDABmf:K0nc7PHmf:T3n,VDHo)RkOo)RkOo)SF_J,~>
+rVu<dc2[,1fDk7=`;fE/[f>jt^]3m*jT"fOjT"fOhZ*$Ebl@/4ec5.>dJr_:fDk7=`;fE/gAgXB
+jo=HC])V:#U]9c_bl@/4huE3HaT(c1g]-^Bc2[,1_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+f)P.<`W,N0bQ%)4JcDABmf:K0nc7PHmf:T3n,VDHo)RkOo)RkOo)SF_J,~>
+rVu<dc2[,1fDk7=`;fE/[f>jt^]3m*jT"fOjT"fOhZ*$Ebl@/4ec5.>dJr_:fDk7=`;fE/gAgXB
+jo=HC])V:#U]9c_bl@/4huE3HaT(c1g]-^Bc2[,1_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+f)P.<`W,N0bQ%)4JcDABmf:K0nc7PHmf:T3n,VDHo)RkOo)RkOo)SF_J,~>
+r;Z6dc2[,1fDk7=`;fE/[f>jt^]3m*jT"fOjT"fOhZ*$Ec2[54ec5.>dJr_:fDk7=`;fE/g&LOA
+jT"NG\,YsuU]9c_c2[54huE3HaT(c1gAgXBc2[,1_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+ec5(<`W,K/bl@25JcDABmJtE0nc7PHmf:W4mf;;Go)RkOo)RkOo)SF_J,~>
+r;Z6dc2[,1fDk7=`;fE/[f>jt^]3m*jT"fOjT"fOhZ*$Ec2[54ec5.>dJr_:fDk7=`;fE/g&LOA
+jT"NG\,YsuU]9c_c2[54huE3HaT(c1gAgXBc2[,1_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+ec5(<`W,K/bl@25JcDABmJtE0nc7PHmf:W4mf;;Go)RkOo)RkOo)SF_J,~>
+r;Z6dc2[,1fDk7=`;fE/[f>jt^]3m*jT"fOjT"fOhZ*$Ec2[54ec5.>dJr_:fDk7=`;fE/g&LOA
+jT"NG\,YsuU]9c_c2[54huE3HaT(c1gAgXBc2[,1_uK6,TE"E]df8e:dJr_:dJr_:dJr_:dJr_:
+ec5(<`W,K/bl@25JcDABmJtE0nc7PHmf:W4mf;;Go)RkOo)RkOo)SF_J,~>
+r;Z3cci<;2fDk4<`W,N0[f>jt^]3m*jT"fOjT"fOh>cpDci<G6eGo%=dJr_:fDk4<`W,N0f`1F@
+irAKJ[K#asUAsZ^ci<G6hZ**GaT(c1gAgUAci<;2_uK6,TE"E]e,Sk:dJr_:dJr_:dJr_:dJr_:
+ec5%;a8bZ0bl@25JcD>Amf:N1nc7MGmf:]6mf;8Fo)RkOo)RkOo)SF_J,~>
+r;Z3cci<;2fDk4<`W,N0[f>jt^]3m*jT"fOjT"fOh>cpDci<G6eGo%=dJr_:fDk4<`W,N0f`1F@
+irAKJ[K#asUAsZ^ci<G6hZ**GaT(c1gAgUAci<;2_uK6,TE"E]e,Sk:dJr_:dJr_:dJr_:dJr_:
+ec5%;a8bZ0bl@25JcD>Amf:N1nc7MGmf:]6mf;8Fo)RkOo)RkOo)SF_J,~>
+r;Z3cci<;2fDk4<`W,N0[f>jt^]3m*jT"fOjT"fOh>cpDci<G6eGo%=dJr_:fDk4<`W,N0f`1F@
+irAKJ[K#asUAsZ^ci<G6hZ**GaT(c1gAgUAci<;2_uK6,TE"E]e,Sk:dJr_:dJr_:dJr_:dJr_:
+ec5%;a8bZ0bl@25JcD>Amf:N1nc7MGmf:]6mf;8Fo)RkOo)RkOo)SF_J,~>
+qu?*bd/WD3fDk4<`W,N0[f>jt^]3m*jT"fOjT"fOh>cpDci<G6eGo%=dJr_:fDk4<`W,N0f`1C?
+i;`NOZ2a=oUAsZ^ci<G6hZ**GaT(c1g&LL@d/WD3_uK6,TE"E]e,Sk:dJr_:dJr_:dJr_:dJr_:
+eGnq:aT(c1bl@25JcGWIq#IMrmJtK2n,V>Fmf:]6mf;8Fo)RkOo)RkOo)SF_J,~>
+qu?*bd/WD3fDk4<`W,N0[f>jt^]3m*jT"fOjT"fOh>cpDci<G6eGo%=dJr_:fDk4<`W,N0f`1C?
+i;`NOZ2a=oUAsZ^ci<G6hZ**GaT(c1g&LL@d/WD3_uK6,TE"E]e,Sk:dJr_:dJr_:dJr_:dJr_:
+eGnq:aT(c1bl@25JcGWIq#IMrmJtK2n,V>Fmf:]6mf;8Fo)RkOo)RkOo)SF_J,~>
+qu?*bd/WD3fDk4<`W,N0[f>jt^]3m*jT"fOjT"fOh>cpDci<G6eGo%=dJr_:fDk4<`W,N0f`1C?
+i;`NOZ2a=oUAsZ^ci<G6hZ**GaT(c1g&LL@d/WD3_uK6,TE"E]e,Sk:dJr_:dJr_:dJr_:dJr_:
+eGnq:aT(c1bl@25JcGWIq#IMrmJtK2n,V>Fmf:]6mf;8Fo)RkOo)RkOo)SF_J,~>
+qu?*bdJrJ3fDk1;a8b]1[f>jt^]3m*jT"fOjT"fOh#HgCdJrY8e,Sq<dJr_:fDk1;a8b]1fDk:>
+L]?lEU&XQ]dJrY8h>csEb5^r2g&LL@dJrJ3_uK6,TE"E]eGnq:dJr_:dJr_:dJr_:dJr_:e,Sh9
+b5^r2bl@25JcG]Ko`2,omJtN3n,V;Emf:c8mf;5Eo)RkOo)RkOo)SF_J,~>
+qu?*bdJrJ3fDk1;a8b]1[f>jt^]3m*jT"fOjT"fOh#HgCdJrY8e,Sq<dJr_:fDk1;a8b]1fDk:>
+L]?lEU&XQ]dJrY8h>csEb5^r2g&LL@dJrJ3_uK6,TE"E]eGnq:dJr_:dJr_:dJr_:dJr_:e,Sh9
+b5^r2bl@25JcG]Ko`2,omJtN3n,V;Emf:c8mf;5Eo)RkOo)RkOo)SF_J,~>
+qu?*bdJrJ3fDk1;a8b]1[f>jt^]3m*jT"fOjT"fOh#HgCdJrY8e,Sq<dJr_:fDk1;a8b]1fDk:>
+L]?lEU&XQ]dJrY8h>csEb5^r2g&LL@dJrJ3_uK6,TE"E]eGnq:dJr_:dJr_:dJr_:dJr_:e,Sh9
+b5^r2bl@25JcG]Ko`2,omJtN3n,V;Emf:c8mf;5Eo)RkOo)RkOo)SF_J,~>
+qZ$!ae,SY4fDk.:aT(i3[K#as^]3m*jT"fOjT"fOh#HdBe,Sh9e,Sq<dJr_:fDk.:aT(i3ec5(<
+a8bl6bl@25U&XN\e,Sh9h#HmEb5^r2f`1C?e,SY4_uK6,TE"E]eGnq:dJr_:dJr_:dJr_:dJr_:
+e,Se8bQ%&3bl@25JcGcMnGo`lmJtT5n,V8DmJt`9mJu,Do)RkOo)RkOo)SF_J,~>
+qZ$!ae,SY4fDk.:aT(i3[K#as^]3m*jT"fOjT"fOh#HdBe,Sh9e,Sq<dJr_:fDk.:aT(i3ec5(<
+a8bl6bl@25U&XN\e,Sh9h#HmEb5^r2f`1C?e,SY4_uK6,TE"E]eGnq:dJr_:dJr_:dJr_:dJr_:
+e,Se8bQ%&3bl@25JcGcMnGo`lmJtT5n,V8DmJt`9mJu,Do)RkOo)RkOo)SF_J,~>
+qZ$!ae,SY4fDk.:aT(i3[K#as^]3m*jT"fOjT"fOh#HdBe,Sh9e,Sq<dJr_:fDk.:aT(i3ec5(<
+a8bl6bl@25U&XN\e,Sh9h#HmEb5^r2f`1C?e,SY4_uK6,TE"E]eGnq:dJr_:dJr_:dJr_:dJr_:
+e,Se8bQ%&3bl@25JcGcMnGo`lmJtT5n,V8DmJt`9mJu,Do)RkOo)RkOo)SF_J,~>
+qZ#s`ec4h5fDk.:aoCo3[K#as^]3m*jT"fOjT"fOg]-[Aec5%;df8h;dJr_:fDk.:aoCo3ec5%;
+aoCu5cN!D7T`=E[ec5%;g]-aCbQ%&3f`1@>ec4h5_uK6,TE"E]ec5":dJr_:dJr_:dJr_:dJr_:
+df8\7c2[54bl@25Jc>`Mmf9Qkm/YN5n,V5CmJtf;mJu)Co)RkOo)RkOo)SF_J,~>
+qZ#s`ec4h5fDk.:aoCo3[K#as^]3m*jT"fOjT"fOg]-[Aec5%;df8h;dJr_:fDk.:aoCo3ec5%;
+aoCu5cN!D7T`=E[ec5%;g]-aCbQ%&3f`1@>ec4h5_uK6,TE"E]ec5":dJr_:dJr_:dJr_:dJr_:
+df8\7c2[54bl@25Jc>`Mmf9Qkm/YN5n,V5CmJtf;mJu)Co)RkOo)RkOo)SF_J,~>
+qZ#s`ec4h5fDk.:aoCo3[K#as^]3m*jT"fOjT"fOg]-[Aec5%;df8h;dJr_:fDk.:aoCo3ec5%;
+aoCu5cN!D7T`=E[ec5%;g]-aCbQ%&3f`1@>ec4h5_uK6,TE"E]ec5":dJr_:dJr_:dJr_:dJr_:
+df8\7c2[54bl@25Jc>`Mmf9Qkm/YN5n,V5CmJtf;mJu)Co)RkOo)RkOo)SF_J,~>
+q>]j_f)Oq6fDk+9b5_#4[K#as^]3m*jT"fOjT"fOg]-X@f)P.<df8h;dJr_:fDk+9b5_#4eGnq:
+bQ%,5ci<M8T`=BZf)P.<g]-aCbl@,3fDk7=f)Oq6_uK6,TE"E]f)P(:dJr_:dJr_:dJr_:dJr_:
+df8Y6ci<G6bQ%)4JcG*;YQ*tidf8b9g]-X@f)P.<h>d'HjT"fOjT"fOo`'F~>
+q>]j_f)Oq6fDk+9b5_#4[K#as^]3m*jT"fOjT"fOg]-X@f)P.<df8h;dJr_:fDk+9b5_#4eGnq:
+bQ%,5ci<M8T`=BZf)P.<g]-aCbl@,3fDk7=f)Oq6_uK6,TE"E]f)P(:dJr_:dJr_:dJr_:dJr_:
+df8Y6ci<G6bQ%)4JcG*;YQ*tidf8b9g]-X@f)P.<h>d'HjT"fOjT"fOo`'F~>
+q>]j_f)Oq6fDk+9b5_#4[K#as^]3m*jT"fOjT"fOg]-X@f)P.<df8h;dJr_:fDk+9b5_#4eGnq:
+bQ%,5ci<M8T`=BZf)P.<g]-aCbl@,3fDk7=f)Oq6_uK6,TE"E]f)P(:dJr_:dJr_:dJr_:dJr_:
+df8Y6ci<G6bQ%)4JcG*;YQ*tidf8b9g]-X@f)P.<h>d'HjT"fOjT"fOo`'F~>
+q#Ba^f`1+7fDk(8bl@56[/]Xr^]3m*jT"fOjT"fOgAgR@fDk7=dJr_:dJr_:fDk(8bl@56df8\7
+cN!A6d/WV9TE"<ZfDk7=gAgUAcN!;4f)P.<f`1+7_uK6,TE"B\fDk1;dJr_:dJr_:dJr_:dJr_:
+dJrP5dJrV7bQ%)4K)b-:YlF%ieGnt;g&LI?fDk7=h#HsGjT"fOjT"fOo`'F~>
+q#Ba^f`1+7fDk(8bl@56[/]Xr^]3m*jT"fOjT"fOgAgR@fDk7=dJr_:dJr_:fDk(8bl@56df8\7
+cN!A6d/WV9TE"<ZfDk7=gAgUAcN!;4f)P.<f`1+7_uK6,TE"B\fDk1;dJr_:dJr_:dJr_:dJr_:
+dJrP5dJrV7bQ%)4K)b-:YlF%ieGnt;g&LI?fDk7=h#HsGjT"fOjT"fOo`'F~>
+q#Ba^f`1+7fDk(8bl@56[/]Xr^]3m*jT"fOjT"fOgAgR@fDk7=dJr_:dJr_:fDk(8bl@56df8\7
+cN!A6d/WV9TE"<ZfDk7=gAgUAcN!;4f)P.<f`1+7_uK6,TE"B\fDk1;dJr_:dJr_:dJr_:dJr_:
+dJrP5dJrV7bQ%)4K)b-:YlF%ieGnt;g&LI?fDk7=h#HsGjT"fOjT"fOo`'F~>
+q#B^]gAg:8fDk%7cN!D7[/]Xr^]3m*jT"fOjT"fOgAgO?g&LI?d/WV9dJr_:fDk%7cN!D7dJrS6
+dJrV7d/WV9TE"9Yg&LI?f`1C?d/WJ5f)P+;gAg:8_uK6,T)\<\f`17;dJr_:dJr_:dJr_:dJr_:
+d/WG4df8b9b5^u3KE(09YlF%iec5(<g&LF>g&LI?g]-jFjT"fOjT"fOo`'F~>
+q#B^]gAg:8fDk%7cN!D7[/]Xr^]3m*jT"fOjT"fOgAgO?g&LI?d/WV9dJr_:fDk%7cN!D7dJrS6
+dJrV7d/WV9TE"9Yg&LI?f`1C?d/WJ5f)P+;gAg:8_uK6,T)\<\f`17;dJr_:dJr_:dJr_:dJr_:
+d/WG4df8b9b5^u3KE(09YlF%iec5(<g&LF>g&LI?g]-jFjT"fOjT"fOo`'F~>
+q#B^]gAg:8fDk%7cN!D7[/]Xr^]3m*jT"fOjT"fOgAgO?g&LI?d/WV9dJr_:fDk%7cN!D7dJrS6
+dJrV7d/WV9TE"9Yg&LI?f`1C?d/WJ5f)P+;gAg:8_uK6,T)\<\f`17;dJr_:dJr_:dJr_:dJr_:
+d/WG4df8b9b5^u3KE(09YlF%iec5(<g&LF>g&LI?g]-jFjT"fOjT"fOo`'F~>
+p]'U\h#HI9fDk"6d/WS8[/]Xr^]3m*jT"fOjT"fOg&LC=h#HaAd/WV9dJr_:fDk"6d/WS8d/WJ5
+e,Se8d/WV9T)\-Wh#HaAf`1@>df8Y6ec5":h#HI9_uK6,T)\<\g&L=;dJr_:dJr_:dJr_:dJr_:
+ci<>3ec5":b5^u3KE(09YQ*qhfDk:>fDk1;h#HaAg]-jFjT"fOjT"fOo`'F~>
+p]'U\h#HI9fDk"6d/WS8[/]Xr^]3m*jT"fOjT"fOg&LC=h#HaAd/WV9dJr_:fDk"6d/WS8d/WJ5
+e,Se8d/WV9T)\-Wh#HaAf`1@>df8Y6ec5":h#HI9_uK6,T)\<\g&L=;dJr_:dJr_:dJr_:dJr_:
+ci<>3ec5":b5^u3KE(09YQ*qhfDk:>fDk1;h#HaAg]-jFjT"fOjT"fOo`'F~>
+p]'U\h#HI9fDk"6d/WS8[/]Xr^]3m*jT"fOjT"fOg&LC=h#HaAd/WV9dJr_:fDk"6d/WS8d/WJ5
+e,Se8d/WV9T)\-Wh#HaAf`1@>df8Y6ec5":h#HI9_uK6,T)\<\g&L=;dJr_:dJr_:dJr_:dJr_:
+ci<>3ec5":b5^u3KE(09YQ*qhfDk:>fDk1;h#HaAg]-jFjT"fOjT"fOo`'F~>
+p]'R[hZ)X:fDjt5df8e:ZiBOq^]3m*jT"fOjT"fOf`1:<huE$Cci<M8dJr_:fDjt5df8e:ci<;2
+f)P(:d/WV9ScA$VhuE$Cf)P.<eGnh7ec4t9hZ)X:_uK6,T)\9[g]-L<dJr_:dJr_:dJr_:dJr_:
+ci<81f`1==aoCl2K`C38YQ*nggAgR@f)P(:huE$CgAgaEjT"fOjT"fOo`'F~>
+p]'R[hZ)X:fDjt5df8e:ZiBOq^]3m*jT"fOjT"fOf`1:<huE$Cci<M8dJr_:fDjt5df8e:ci<;2
+f)P(:d/WV9ScA$VhuE$Cf)P.<eGnh7ec4t9hZ)X:_uK6,T)\9[g]-L<dJr_:dJr_:dJr_:dJr_:
+ci<81f`1==aoCl2K`C38YQ*nggAgR@f)P(:huE$CgAgaEjT"fOjT"fOo`'F~>
+p]'R[hZ)X:fDjt5df8e:ZiBOq^]3m*jT"fOjT"fOf`1:<huE$Cci<M8dJr_:fDjt5df8e:ci<;2
+f)P(:d/WV9ScA$VhuE$Cf)P.<eGnh7ec4t9hZ)X:_uK6,T)\9[g]-L<dJr_:dJr_:dJr_:dJr_:
+ci<81f`1==aoCl2K`C38YQ*nggAgR@f)P(:huE$CgAgaEjT"fOjT"fOo`'F~>
+pAaIZiW%m;fDjq4eGnt;ZiBOq^]3m*jT"fOjT"fOfDk1;iW&6EcN!D7dJr_:fDjq4eGnt;cN!/0
+gAgF<d/WV9SH%pUiW&6Eec5":fDk(8eGnk8iW%m;_uK6,T)\9[h>cX<dJr_:dJr_:dJr_:dJr_:
+cN!/0gAgL>aoCl2K`C38YQ*kfh#HdBeGnk8iW&6Eg&LXDjT"fOjT"fOo`'F~>
+pAaIZiW%m;fDjq4eGnt;ZiBOq^]3m*jT"fOjT"fOfDk1;iW&6EcN!D7dJr_:fDjq4eGnt;cN!/0
+gAgF<d/WV9SH%pUiW&6Eec5":fDk(8eGnk8iW%m;_uK6,T)\9[h>cX<dJr_:dJr_:dJr_:dJr_:
+cN!/0gAgL>aoCl2K`C38YQ*kfh#HdBeGnk8iW&6Eg&LXDjT"fOjT"fOo`'F~>
+pAaIZiW%m;fDjq4eGnt;ZiBOq^]3m*jT"fOjT"fOfDk1;iW&6EcN!D7dJr_:fDjq4eGnt;cN!/0
+gAgF<d/WV9SH%pUiW&6Eec5":fDk(8eGnk8iW%m;_uK6,T)\9[h>cX<dJr_:dJr_:dJr_:dJr_:
+cN!/0gAgL>aoCl2K`C38YQ*kfh#HdBeGnk8iW&6Eg&LXDjT"fOjT"fOo`'F~>
+p&F=XjT"0=fDjk2f`1@>ZN'Fp^]3m*jT"fOjT"fOfDk.:j8\EFcN!D7dJr_:fDjk2f`1@>bl?r.
+h#HX>ci<M8SH%mTj8\EFeGnn9gAg=9e,S_6jT"0=_uK6,ScA0ZhuDg=dJr_:dJr_:dJr_:dJr_:
+c2[#.hZ)mAaT(c1L&^67YQ*hei;`-DeGnh7j8\EFg&LXDjT"fOjT"fOo`'F~>
+p&F=XjT"0=fDjk2f`1@>ZN'Fp^]3m*jT"fOjT"fOfDk.:j8\EFcN!D7dJr_:fDjk2f`1@>bl?r.
+h#HX>ci<M8SH%mTj8\EFeGnn9gAg=9e,S_6jT"0=_uK6,ScA0ZhuDg=dJr_:dJr_:dJr_:dJr_:
+c2[#.hZ)mAaT(c1L&^67YQ*hei;`-DeGnh7j8\EFg&LXDjT"fOjT"fOo`'F~>
+p&F=XjT"0=fDjk2f`1@>ZN'Fp^]3m*jT"fOjT"fOfDk.:j8\EFcN!D7dJr_:fDjk2f`1@>bl?r.
+h#HX>ci<M8SH%mTj8\EFeGnn9gAg=9e,S_6jT"0=_uK6,ScA0ZhuDg=dJr_:dJr_:dJr_:dJr_:
+c2[#.hZ)mAaT(c1L&^67YQ*hei;`-DeGnh7j8\EFg&LXDjT"fOjT"fOo`'F~>
+o`+4WkPsE>fDjh1g]-U?ZN'Fp^]3m*jT"fOjT"fOf)P"8kPsfIc2[;6dJr_:fDjh1g]-U?bQ$c+
+iW&*Aci<M8S,_aRkPsfIe,S_6hZ)X:e,S_6kPsE>_uK6,ScA-YirA'>dJr_:dJr_:dJr_:dJr_:
+bl?l,iW&3Da8bZ0L&^67Y5d\cj8\HGdf8S4kPsfIf`1OCjT"fOjT"fOo`'F~>
+o`+4WkPsE>fDjh1g]-U?ZN'Fp^]3m*jT"fOjT"fOf)P"8kPsfIc2[;6dJr_:fDjh1g]-U?bQ$c+
+iW&*Aci<M8S,_aRkPsfIe,S_6hZ)X:e,S_6kPsE>_uK6,ScA-YirA'>dJr_:dJr_:dJr_:dJr_:
+bl?l,iW&3Da8bZ0L&^67Y5d\cj8\HGdf8S4kPsfIf`1OCjT"fOjT"fOo`'F~>
+o`+4WkPsE>fDjh1g]-U?ZN'Fp^]3m*jT"fOjT"fOf)P"8kPsfIc2[;6dJr_:fDjh1g]-U?bQ$c+
+iW&*Aci<M8S,_aRkPsfIe,S_6hZ)X:e,S_6kPsE>_uK6,ScA-YirA'>dJr_:dJr_:dJr_:dJr_:
+bl?l,iW&3Da8bZ0L&^67Y5d\cj8\HGdf8S4kPsfIf`1OCjT"fOjT"fOo`'F~>
+oDe(UlMo]@fDj_.iW&0CZ2a=o^]3m*jT"fOjT"fOec4k6li62Lbl@25dJr_:fDj_.iW&0CaoCN(
+k5XQDcN!D7RfDUPli62LdJrJ3j8[p8f)P"8lMo]@_uK6,ScA'Wk5XE@dJr_:dJr_:dJr_:dJr_:
+bQ$])kPs`Ga8bZ0L&^67XoIM`kl9rKd/W>1li62LfDkFBjT"fOjT"fOo`'F~>
+oDe(UlMo]@fDj_.iW&0CZ2a=o^]3m*jT"fOjT"fOec4k6li62Lbl@25dJr_:fDj_.iW&0CaoCN(
+k5XQDcN!D7RfDUPli62LdJrJ3j8[p8f)P"8lMo]@_uK6,ScA'Wk5XE@dJr_:dJr_:dJr_:dJr_:
+bQ$])kPs`Ga8bZ0L&^67XoIM`kl9rKd/W>1li62LfDkFBjT"fOjT"fOo`'F~>
+oDe(UlMo]@fDj_.iW&0CZ2a=o^]3m*jT"fOjT"fOec4k6li62Lbl@25dJr_:fDj_.iW&0CaoCN(
+k5XQDcN!D7RfDUPli62LdJrJ3j8[p8f)P"8lMo]@_uK6,ScA'Wk5XE@dJr_:dJr_:dJr_:dJr_:
+bQ$])kPs`Ga8bZ0L&^67XoIM`kl9rKd/W>1li62LfDkFBjT"fOjT"fOo`'F~>
+oDdtRnGg]4k5X6;k5XWFYlF4n^]3m*jT"fOjT"fOeGn_4n,MSObQ%)4dJr_:fDjY,k5XWFa8b6$
+m/Q,Hc2[;6RK)INn,MSOci<2/l2Sp,jo=KDnGg]4df8h;SH%pUli5<3i;`<IdJr_:dJr_:dJr_:
+b5^N&m/Q5K`rGQ/L&^67XT.A^mJlAMci<2/n,MSOf)P=AjT"fOjT"fOo`'F~>
+oDdtRnGg]4k5X6;k5XWFYlF4n^]3m*jT"fOjT"fOeGn_4n,MSObQ%)4dJr_:fDjY,k5XWFa8b6$
+m/Q,Hc2[;6RK)INn,MSOci<2/l2Sp,jo=KDnGg]4df8h;SH%pUli5<3i;`<IdJr_:dJr_:dJr_:
+b5^N&m/Q5K`rGQ/L&^67XT.A^mJlAMci<2/n,MSOf)P=AjT"fOjT"fOo`'F~>
+oDdtRnGg]4k5X6;k5XWFYlF4n^]3m*jT"fOjT"fOeGn_4n,MSObQ%)4dJr_:fDjY,k5XWFa8b6$
+m/Q,Hc2[;6RK)INn,MSOci<2/l2Sp,jo=KDnGg]4df8h;SH%pUli5<3i;`<IdJr_:dJr_:dJr_:
+b5^N&m/Q5K`rGQ/L&^67XT.A^mJlAMci<2/n,MSOf)P=AjT"fOjT"fOo`'F~>
+o)IbNp]'IX!<:sWkl998nc.SKdf6QPjo=?@o)IeOo)IeOg]-@8p]'=TgAfP#nGgo:kPs07nc.SK
+`rFutp&EtNjSudk\,YOip]'=TcMur*oDc].k5XKBp]'IX!<:sWm/OWs]Dq$oo`*&6o)I);nGgo:
+nc-u:nGgo:g&L"2p&F%Ph>b%dV#TNVX8h,Yp&F.Sc2Zl*p]'=Th>cL8o)IeOo)IeOr;V9~>
+o)IbNp]'IX!<:sWkl998nc.SKdf6QPjo=?@o)IeOo)IeOg]-@8p]'=TgAfP#nGgo:kPs07nc.SK
+`rFutp&EtNjSudk\,YOip]'=TcMur*oDc].k5XKBp]'IX!<:sWm/OWs]Dq$oo`*&6o)I);nGgo:
+nc-u:nGgo:g&L"2p&F%Ph>b%dV#TNVX8h,Yp&F.Sc2Zl*p]'=Th>cL8o)IeOo)IeOr;V9~>
+o)IbNp]'IX!<:sWkl998nc.SKdf6QPjo=?@o)IeOo)IeOg]-@8p]'=TgAfP#nGgo:kPs07nc.SK
+`rFutp&EtNjSudk\,YOip]'=TcMur*oDc].k5XKBp]'IX!<:sWm/OWs]Dq$oo`*&6o)I);nGgo:
+nc-u:nGgo:g&L"2p&F%Ph>b%dV#TNVX8h,Yp&F.Sc2Zl*p]'=Th>cL8o)IeOo)IeOr;V9~>
+nc-K,!<:mUlMmjae,QNMlMoZ?p]'.Op]'.Oh>b:kg],Lup&E8:l2Ra`_uI4Hk5Vgh\GsAFbl=%1
+k5W=!!<:mUnc,us]`4]+pA`A;p&E8:p&E8:p&E8:gAe\`huC(aVZ5`XWrK^3bQ#BYhuDL4p]'.O
+p]'.Os8RT~>
+nc-K,!<:mUlMmjae,QNMlMoZ?p]'.Op]'.Oh>b:kg],Lup&E8:l2Ra`_uI4Hk5Vgh\GsAFbl=%1
+k5W=!!<:mUnc,us]`4]+pA`A;p&E8:p&E8:p&E8:gAe\`huC(aVZ5`XWrK^3bQ#BYhuDL4p]'.O
+p]'.Os8RT~>
+nc-K,!<:mUlMmjae,QNMlMoZ?p]'.Op]'.Oh>b:kg],Lup&E8:l2Ra`_uI4Hk5Vgh\GsAFbl=%1
+k5W=!!<:mUnc,us]`4]+pA`A;p&E8:p&E8:p&E8:gAe\`huC(aVZ5`XWrK^3bQ#BYhuDL4p]'.O
+p]'.Os8RT~>
+nGgH-s8UpUlMmmbe,QHKm/Pf?q>]:OqZ#@Oh>b@mg],Fsp]&D:lMmmb_>h(Hk5V^e\c9PIb5[h/
+k5WC#s8UpUo)Guq^Ajo-p]&D:p]&D:p]&D:p]&D:gAebbhuBt^W;krZWW0[4aoB6YhuDF2q>]:O
+qZ#@O!<7Q~>
+nGgH-s8UpUlMmmbe,QHKm/Pf?q>]:OqZ#@Oh>b@mg],Fsp]&D:lMmmb_>h(Hk5V^e\c9PIb5[h/
+k5WC#s8UpUo)Guq^Ajo-p]&D:p]&D:p]&D:p]&D:gAebbhuBt^W;krZWW0[4aoB6YhuDF2q>]:O
+qZ#@O!<7Q~>
+nGgH-s8UpUlMmmbe,QHKm/Pf?q>]:OqZ#@Oh>b@mg],Fsp]&D:lMmmb_>h(Hk5V^e\c9PIb5[h/
+k5WC#s8UpUo)Guq^Ajo-p]&D:p]&D:p]&D:p]&D:gAebbhuBt^W;krZWW0[4aoB6YhuDF2q>]:O
+qZ#@O!<7Q~>
+n,LH/rVt[Rli4$de,QBImf1r?qu>FOqu>FOh>bFog],@qq>\P:li4$d^]1qHk5V[d\GsMJaT%V-
+k5WL&rVt[Ro`)/r^&Of,q>\P:q>\P:q>\P:q>\P:g&JbdhuBq]W;krZW;jX5a8a*YhuD@0qu>FO
+qu>FOJ,~>
+n,LH/rVt[Rli4$de,QBImf1r?qu>FOqu>FOh>bFog],@qq>\P:li4$d^]1qHk5V[d\GsMJaT%V-
+k5WL&rVt[Ro`)/r^&Of,q>\P:q>\P:q>\P:q>\P:g&JbdhuBq]W;krZW;jX5a8a*YhuD@0qu>FO
+qu>FOJ,~>
+n,LH/rVt[Rli4$de,QBImf1r?qu>FOqu>FOh>bFog],@qq>\P:li4$d^]1qHk5V[d\GsMJaT%V-
+k5WL&rVt[Ro`)/r^&Of,q>\P:q>\P:q>\P:q>\P:g&JbdhuBq]W;krZW;jX5a8a*YhuD@0qu>FO
+qu>FOJ,~>
+mJk?0r;YRQli4'edf69Hmf1r?r;YLOr;YLOh#GCpgAf7pq>\P:li4'e]`5bIjSuFa\GsSL`rDG,
+jT!C'r;YRQo`),q^&Oi-q>\P:q>\P:q>\P:q>\P:f`/_ehZ'e[W;l#\V>nF5`W*sYhZ)7/r;YLO
+r;YLOJ,~>
+mJk?0r;YRQli4'edf69Hmf1r?r;YLOr;YLOh#GCpgAf7pq>\P:li4'e]`5bIjSuFa\GsSL`rDG,
+jT!C'r;YRQo`),q^&Oi-q>\P:q>\P:q>\P:q>\P:f`/_ehZ'e[W;l#\V>nF5`W*sYhZ)7/r;YLO
+r;YLOJ,~>
+mJk?0r;YRQli4'edf69Hmf1r?r;YLOr;YLOh#GCpgAf7pq>\P:li4'e]`5bIjSuFa\GsSL`rDG,
+jT!C'r;YRQo`),q^&Oi-q>\P:q>\P:q>\P:q>\P:f`/_ehZ'e[W;l#\V>nF5`W*sYhZ)7/r;YLO
+r;YLOJ,~>
+m/P<1qu>IPli6JT!<9e6dJp-Fn,M&@r;YLOr;YLOgAf=rf`0%nq>\P:li6JT!<9e6])TVIj8Z=`
+[f=MN_uIRRs8UgRj8[@(qu>IPo`),q^&Q.R!<:jTq>\P:q>\P:q>\P:q>\P:fDi_gh#FSYW;l#\
+V#SC6_Z.dZh#H%-r;YLOr;YLOJ,~>
+m/P<1qu>IPli6JT!<9e6dJp-Fn,M&@r;YLOr;YLOgAf=rf`0%nq>\P:li6JT!<9e6])TVIj8Z=`
+[f=MN_uIRRs8UgRj8[@(qu>IPo`),q^&Q.R!<:jTq>\P:q>\P:q>\P:q>\P:fDi_gh#FSYW;l#\
+V#SC6_Z.dZh#H%-r;YLOr;YLOJ,~>
+m/P<1qu>IPli6JT!<9e6dJp-Fn,M&@r;YLOr;YLOgAf=rf`0%nq>\P:li6JT!<9e6])TVIj8Z=`
+[f=MN_uIRRs8UgRj8[@(qu>IPo`),q^&Q.R!<:jTq>\P:q>\P:q>\P:q>\P:fDi_gh#FSYW;l#\
+V#SC6_Z.dZh#H%-r;YLOr;YLOJ,~>
+li592qZ#@Oli6MUrr9h8d/U!Dn,M#?rVtUPr;YLOg&K:sfDiqmq>\P:li6MUrr9h8[f=>IiW$+^
+[K"JO_>hFRrr:^Qir@=)qZ#@Oo`),q]`6+Ss8UmTq>\P:q>\P:q>\P:q>\P:ec3Vhg]+JXVuPu]
+UAr:7^]2OYg],n+rVtUPr;YLOJ,~>
+li592qZ#@Oli6MUrr9h8d/U!Dn,M#?rVtUPr;YLOg&K:sfDiqmq>\P:li6MUrr9h8[f=>IiW$+^
+[K"JO_>hFRrr:^Qir@=)qZ#@Oo`),q]`6+Ss8UmTq>\P:q>\P:q>\P:q>\P:ec3Vhg]+JXVuPu]
+UAr:7^]2OYg],n+rVtUPr;YLOJ,~>
+li592qZ#@Oli6MUrr9h8d/U!Dn,M#?rVtUPr;YLOg&K:sfDiqmq>\P:li6MUrr9h8[f=>IiW$+^
+[K"JO_>hFRrr:^Qir@=)qZ#@Oo`),q]`6+Ss8UmTq>\P:q>\P:q>\P:q>\P:ec3Vhg]+JXVuPu]
+UAr:7^]2OYg],n+rVtUPr;YLOJ,~>
+lMo63q>]7Nli6MUr;X_9ci9mCn,M#?rVtUPr;YLOf`07tf)Nhlq>\P:li6MUr;X_9[/\5JhuBn\
+[/\GP^Al7Squ>FOiW%:*q>]7No`),q]Dp+UrVt[Rq>\P:q>\P:q>\P:q>\P:e,RMigAeAWVuPu]
+T`<18^&QCYgAfe*rVtUPr;YLOJ,~>
+lMo63q>]7Nli6MUr;X_9ci9mCn,M#?rVtUPr;YLOf`07tf)Nhlq>\P:li6MUr;X_9[/\5JhuBn\
+[/\GP^Al7Squ>FOiW%:*q>]7No`),q]Dp+UrVt[Rq>\P:q>\P:q>\P:q>\P:e,RMigAeAWVuPu]
+T`<18^&QCYgAfe*rVtUPr;YLOJ,~>
+lMo63q>]7Nli6MUr;X_9ci9mCn,M#?rVtUPr;YLOf`07tf)Nhlq>\P:li6MUr;X_9[/\5JhuBn\
+[/\GP^Al7Squ>FOiW%:*q>]7No`),q]Dp+UrVt[Rq>\P:q>\P:q>\P:q>\P:e,RMigAeAWVuPu]
+T`<18^&QCYgAfe*rVtUPr;YLOJ,~>
+kl905p]'%Lli6PVqZ"V:bl=UAn,M&@r;YLOr;YLOf)O2!eGmVjq>\P:li6PVqZ"V:YlDrJh>a\Z
+ZN&AR]Dp%Sp]'(MhuD4,p]'%Lo`),q\c:"Vqu>LQq>\P:q>\P:q>\P:q>\P:df7Mkf`//UVZ5r^
+Sc@"9\c:+Yf`0V)r;YLOr;YLOJ,~>
+kl905p]'%Lli6PVqZ"V:bl=UAn,M&@r;YLOr;YLOf)O2!eGmVjq>\P:li6PVqZ"V:YlDrJh>a\Z
+ZN&AR]Dp%Sp]'(MhuD4,p]'%Lo`),q\c:"Vqu>LQq>\P:q>\P:q>\P:q>\P:df7Mkf`//UVZ5r^
+Sc@"9\c:+Yf`0V)r;YLOr;YLOJ,~>
+kl905p]'%Lli6PVqZ"V:bl=UAn,M&@r;YLOr;YLOf)O2!eGmVjq>\P:li6PVqZ"V:YlDrJh>a\Z
+ZN&AR]Dp%Sp]'(MhuD4,p]'%Lo`),q\c:"Vqu>LQq>\P:q>\P:q>\P:q>\P:df7Mkf`//UVZ5r^
+Sc@"9\c:+Yf`0V)r;YLOr;YLOJ,~>
+k5X*7o`*bJli6PVq#AP<b5\F@mf1r?r;YLOr;YLOeGn,#df7Dhq>\P:li6PVq#AP<XT-ZJg]+JX
+YlE;T\,XbSo`*hLh#H%-o`*bJo`),q\Gt"Xq>]:Oq>\P:q>\P:q>\P:q>\P:d/VGmf)MrSV>oo_
+RfCe9[f=qZf)OD'r;YLOr;YLOJ,~>
+k5X*7o`*bJli6PVq#AP<b5\F@mf1r?r;YLOr;YLOeGn,#df7Dhq>\P:li6PVq#AP<XT-ZJg]+JX
+YlE;T\,XbSo`*hLh#H%-o`*bJo`),q\Gt"Xq>]:Oq>\P:q>\P:q>\P:q>\P:d/VGmf)MrSV>oo_
+RfCe9[f=qZf)OD'r;YLOr;YLOJ,~>
+k5X*7o`*bJli6PVq#AP<b5\F@mf1r?r;YLOr;YLOeGn,#df7Dhq>\P:li6PVq#AP<XT-ZJg]+JX
+YlE;T\,XbSo`*hLh#H%-o`*bJo`),q\Gt"Xq>]:Oq>\P:q>\P:q>\P:q>\P:d/VGmf)MrSV>oo_
+RfCe9[f=qZf)OD'r;YLOr;YLOJ,~>
+jT"!8oDd\JlMpJVp&EA=aT&4>mf1r?qu>FOqu>FOdf8&%d/V2fq>\P:li6SWp&EA=W;kBJg&J;W
+XoI,UZiAMTn,MAIgAfq.oDd\JoDc&q[K"hYp]'+Nq#AG9q>\P:q>\P:q>\P:cMuAoeGlcRU]9c_
+QiGV:ZN&YZeGn2%qu>FOqu>FOJ,~>
+jT"!8oDd\JlMpJVp&EA=aT&4>mf1r?qu>FOqu>FOdf8&%d/V2fq>\P:li6SWp&EA=W;kBJg&J;W
+XoI,UZiAMTn,MAIgAfq.oDd\JoDc&q[K"hYp]'+Nq#AG9q>\P:q>\P:q>\P:cMuAoeGlcRU]9c_
+QiGV:ZN&YZeGn2%qu>FOqu>FOJ,~>
+jT"!8oDd\JlMpJVp&EA=aT&4>mf1r?qu>FOqu>FOdf8&%d/V2fq>\P:li6SWp&EA=W;kBJg&J;W
+XoI,UZiAMTn,MAIgAfq.oDd\JoDc&q[K"hYp]'+Nq#AG9q>\P:q>\P:q>\P:cMuAoeGlcRU]9c_
+QiGV:ZN&YZeGn2%qu>FOqu>FOJ,~>
+ir@p:nGhGIkl:;UoDd>@`;ck<m/Pf?q>]:OqZ#@Oci;l&c2Yrep]&D:l2UDVoDd>@UArsJec2rU
+WrLrVYQ*5Tli6&HfDjb/nGhGInc,oqZN&YZo`*kMpA`;9p]&D:p]&D:p]&D:b5^,pdJpNQU&XW_
+PlKJ<XoI8YdJqr$q>]:OqZ#@O!<7Q~>
+ir@p:nGhGIkl:;UoDd>@`;ck<m/Pf?q>]:OqZ#@Oci;l&c2Yrep]&D:l2UDVoDd>@UArsJec2rU
+WrLrVYQ*5Tli6&HfDjb/nGhGInc,oqZN&YZo`*kMpA`;9p]&D:p]&D:p]&D:b5^,pdJpNQU&XW_
+PlKJ<XoI8YdJqr$q>]:OqZ#@O!<7Q~>
+ir@p:nGhGIkl:;UoDd>@`;ck<m/Pf?q>]:OqZ#@Oci;l&c2Yrep]&D:l2UDVoDd>@UArsJec2rU
+WrLrVYQ*5Tli6&HfDjb/nGhGInc,oqZN&YZo`*kMpA`;9p]&D:p]&D:p]&D:b5^,pdJpNQU&XW_
+PlKJ<XoI8YdJqr$q>]:OqZ#@O!<7Q~>
+i;_m=m/Q)GkPt5Un,M,B_#LM:lMoZ?p]'.Op]'.Obl?]'b5]]dp&E8:kl:>Vn,M,BSH%OJdJpTS
+VuPcWX8h#Vj8\BEeGnV1m/Q)Gn,KcqYQ*M\n,MGKo`*/9p&E8:p&E8:p&E8:`rForc2Y0OT)\H`
+O8n,<WW1uYcMu]#p]'.Op]'.Os8RT~>
+i;_m=m/Q)GkPt5Un,M,B_#LM:lMoZ?p]'.Op]'.Obl?]'b5]]dp&E8:kl:>Vn,M,BSH%OJdJpTS
+VuPcWX8h#Vj8\BEeGnV1m/Q)Gn,KcqYQ*M\n,MGKo`*/9p&E8:p&E8:p&E8:`rForc2Y0OT)\H`
+O8n,<WW1uYcMu]#p]'.Op]'.Os8RT~>
+i;_m=m/Q)GkPt5Un,M,B_#LM:lMoZ?p]'.Op]'.Obl?]'b5]]dp&E8:kl:>Vn,M,BSH%OJdJpTS
+VuPcWX8h#Vj8\BEeGnV1m/Q)Gn,KcqYQ*M\n,MGKo`*/9p&E8:p&E8:p&E8:`rForc2Y0OT)\H`
+O8n,<WW1uYcMu]#p]'.Op]'.Os8RT~>
+h>cd@j8\QJi;`QPlMolE])T#8jo=<?oDdkOoDdkO`rG?)_uJ0cn,Lf9jo>)UlMolEQ2g"Ibl>3R
+U&XEYU]9HVdJj1HaoCZ,j8\QJkPr'mWW2,]kPsrMm/PN7n,Lf9nGgr;n,Lf9_#NQta8`[MRfE0`
+MZ;i>U&XEYa8b-!oDdkOoDdkOrVqB~>
+h>cd@j8\QJi;`QPlMolE])T#8jo=<?oDdkOoDdkO`rG?)_uJ0cn,Lf9jo>)UlMolEQ2g"Ibl>3R
+U&XEYU]9HVdJj1HaoCZ,j8\QJkPr'mWW2,]kPsrMm/PN7n,Lf9nGgr;n,Lf9_#NQta8`[MRfE0`
+MZ;i>U&XEYa8b-!oDdkOoDdkOrVqB~>
+h>cd@j8\QJi;`QPlMolE])T#8jo=<?oDdkOoDdkO`rG?)_uJ0cn,Lf9jo>)UlMolEQ2g"Ibl>3R
+U&XEYU]9HVdJj1HaoCZ,j8\QJkPr'mWW2,]kPsrMm/PN7n,Lf9nGgr;n,Lf9_#NQta8`[MRfE0`
+MZ;i>U&XEYa8b-!oDdkOoDdkOrVqB~>
+f`1RDWrMqrjT"WJJcC<$PlL=TJcE%UqZ,^WmJr.Enc47@RfDsZRfDmXNW8VNJcCc1nGn.?JcCH(
+nc47@JcC`0nc5'Wo)O@Ab5Zt~>
+f`1RDWrMqrjT"WJJcC<$PlL=TJcE%UqZ,^WmJr.Enc47@RfDsZRfDmXNW8VNJcCc1nGn.?JcCH(
+nc47@JcC`0nc5'Wo)O@Ab5Zt~>
+f`1RDWrMqrjT"WJJcC<$PlL=TJcE%UqZ,^WmJr.Enc47@RfDsZRfDmXNW8VNJcCc1nGn.?JcCH(
+nc47@JcC`0nc5'Wo)O@Ab5Zt~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC]/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDtSr;_EKJcC<$JcC<$JcF^/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDtSr;_EKJcC<$JcC<$JcF^/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDtSr;_EKJcC<$JcC<$JcF^/J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE%Uq#H!GJcC<$JcC<$JcFd1J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE%Uq#H!GJcC<$JcC<$JcFd1J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE%Uq#H!GJcC<$JcC<$JcFd1J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VpAfdEJcC<$JcC<$JcFg2J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VpAfdEJcC<$JcC<$JcFg2J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VpAfdEJcC<$JcC<$JcFg2J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VpAfdEJcC<$JcC<$JcFg2J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VpAfdEJcC<$JcC<$JcFg2J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VpAfdEJcC<$JcC<$JcFg2J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE+Wo`0RCJcC<$JcC<$JcFj3J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(Vo`0RCJcC<$JcC<$JcFm4J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(Vo`0RCJcC<$JcC<$JcFm4J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(Vo`0RCJcC<$JcC<$JcFm4J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VoDjIBJcC<$JcC<$JcFp5J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VoDjIBJcC<$JcC<$JcFp5J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VoDjIBJcC<$JcC<$JcFp5J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VoDjIBJcC<$JcC<$JcFp5J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VoDjIBJcC<$JcC<$JcFp5J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE(VoDjIBJcC<$JcC<$JcFp5J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE%UoDjIBJcC<$JcC<$JcFs6J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE%UoDjIBJcC<$JcC<$JcFs6J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE%UoDjIBJcC<$JcC<$JcFs6J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE%Uo)O@AJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE%Uo)O@AJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE%Uo)O@AJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE"ToDjIBJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE"ToDjIBJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE"ToDjIBJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE"ToDjIBJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE"ToDjIBJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcE"ToDjIBJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDtSo`0RCJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDtSo`0RCJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDtSo`0RCJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDqRp&K[DJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDqRp&K[DJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDqRp&K[DJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDqRp&K[DJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDqRp&K[DJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDqRp&K[DJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDnQpAfdEJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDnQpAfdEJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDnQpAfdEJcC<$JcC<$JcG!7J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDkPq#H!GJcC<$JcC<$JcFs6J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDkPq#H!GJcC<$JcC<$JcFs6J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDkPq#H!GJcC<$JcC<$JcFs6J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDhOqZ)3IJcC<$JcC<$JcFp5J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDhOqZ)3IJcC<$JcC<$JcFp5J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDhOqZ)3IJcC<$JcC<$JcFp5J,~>
+%%EndData
+showpage
+%%Trailer
+end
+%%EOF
diff --git a/support/pmx/doc/gpl.txt b/support/pmx/doc/gpl.txt
new file mode 100644
index 0000000000..e963df8294
--- /dev/null
+++ b/support/pmx/doc/gpl.txt
@@ -0,0 +1,622 @@
+ GNU GENERAL PUBLIC LICENSE
+ Version 3, 29 June 2007
+
+ Copyright (C) 2007 Free Software Foundation, Inc. <http://fsf.org/>
+ Everyone is permitted to copy and distribute verbatim copies
+ of this license document, but changing it is not allowed.
+
+ Preamble
+
+ The GNU General Public License is a free, copyleft license for
+software and other kinds of works.
+
+ The licenses for most software and other practical works are designed
+to take away your freedom to share and change the works. By contrast,
+the GNU General Public License is intended to guarantee your freedom to
+share and change all versions of a program--to make sure it remains free
+software for all its users. We, the Free Software Foundation, use the
+GNU General Public License for most of our software; it applies also to
+any other work released this way by its authors. You can apply it to
+your programs, too.
+
+ When we speak of free software, we are referring to freedom, not
+price. Our General Public Licenses are designed to make sure that you
+have the freedom to distribute copies of free software (and charge for
+them if you wish), that you receive source code or can get it if you
+want it, that you can change the software or use pieces of it in new
+free programs, and that you know you can do these things.
+
+ To protect your rights, we need to prevent others from denying you
+these rights or asking you to surrender the rights. Therefore, you have
+certain responsibilities if you distribute copies of the software, or if
+you modify it: responsibilities to respect the freedom of others.
+
+ For example, if you distribute copies of such a program, whether
+gratis or for a fee, you must pass on to the recipients the same
+freedoms that you received. You must make sure that they, too, receive
+or can get the source code. And you must show them these terms so they
+know their rights.
+
+ Developers that use the GNU GPL protect your rights with two steps:
+(1) assert copyright on the software, and (2) offer you this License
+giving you legal permission to copy, distribute and/or modify it.
+
+ For the developers' and authors' protection, the GPL clearly explains
+that there is no warranty for this free software. For both users' and
+authors' sake, the GPL requires that modified versions be marked as
+changed, so that their problems will not be attributed erroneously to
+authors of previous versions.
+
+ Some devices are designed to deny users access to install or run
+modified versions of the software inside them, although the manufacturer
+can do so. This is fundamentally incompatible with the aim of
+protecting users' freedom to change the software. The systematic
+pattern of such abuse occurs in the area of products for individuals to
+use, which is precisely where it is most unacceptable. Therefore, we
+have designed this version of the GPL to prohibit the practice for those
+products. If such problems arise substantially in other domains, we
+stand ready to extend this provision to those domains in future versions
+of the GPL, as needed to protect the freedom of users.
+
+ Finally, every program is threatened constantly by software patents.
+States should not allow patents to restrict development and use of
+software on general-purpose computers, but in those that do, we wish to
+avoid the special danger that patents applied to a free program could
+make it effectively proprietary. To prevent this, the GPL assures that
+patents cannot be used to render the program non-free.
+
+ The precise terms and conditions for copying, distribution and
+modification follow.
+
+ TERMS AND CONDITIONS
+
+ 0. Definitions.
+
+ "This License" refers to version 3 of the GNU General Public License.
+
+ "Copyright" also means copyright-like laws that apply to other kinds of
+works, such as semiconductor masks.
+
+ "The Program" refers to any copyrightable work licensed under this
+License. Each licensee is addressed as "you". "Licensees" and
+"recipients" may be individuals or organizations.
+
+ To "modify" a work means to copy from or adapt all or part of the work
+in a fashion requiring copyright permission, other than the making of an
+exact copy. The resulting work is called a "modified version" of the
+earlier work or a work "based on" the earlier work.
+
+ A "covered work" means either the unmodified Program or a work based
+on the Program.
+
+ To "propagate" a work means to do anything with it that, without
+permission, would make you directly or secondarily liable for
+infringement under applicable copyright law, except executing it on a
+computer or modifying a private copy. Propagation includes copying,
+distribution (with or without modification), making available to the
+public, and in some countries other activities as well.
+
+ To "convey" a work means any kind of propagation that enables other
+parties to make or receive copies. Mere interaction with a user through
+a computer network, with no transfer of a copy, is not conveying.
+
+ An interactive user interface displays "Appropriate Legal Notices"
+to the extent that it includes a convenient and prominently visible
+feature that (1) displays an appropriate copyright notice, and (2)
+tells the user that there is no warranty for the work (except to the
+extent that warranties are provided), that licensees may convey the
+work under this License, and how to view a copy of this License. If
+the interface presents a list of user commands or options, such as a
+menu, a prominent item in the list meets this criterion.
+
+ 1. Source Code.
+
+ The "source code" for a work means the preferred form of the work
+for making modifications to it. "Object code" means any non-source
+form of a work.
+
+ A "Standard Interface" means an interface that either is an official
+standard defined by a recognized standards body, or, in the case of
+interfaces specified for a particular programming language, one that
+is widely used among developers working in that language.
+
+ The "System Libraries" of an executable work include anything, other
+than the work as a whole, that (a) is included in the normal form of
+packaging a Major Component, but which is not part of that Major
+Component, and (b) serves only to enable use of the work with that
+Major Component, or to implement a Standard Interface for which an
+implementation is available to the public in source code form. A
+"Major Component", in this context, means a major essential component
+(kernel, window system, and so on) of the specific operating system
+(if any) on which the executable work runs, or a compiler used to
+produce the work, or an object code interpreter used to run it.
+
+ The "Corresponding Source" for a work in object code form means all
+the source code needed to generate, install, and (for an executable
+work) run the object code and to modify the work, including scripts to
+control those activities. However, it does not include the work's
+System Libraries, or general-purpose tools or generally available free
+programs which are used unmodified in performing those activities but
+which are not part of the work. For example, Corresponding Source
+includes interface definition files associated with source files for
+the work, and the source code for shared libraries and dynamically
+linked subprograms that the work is specifically designed to require,
+such as by intimate data communication or control flow between those
+subprograms and other parts of the work.
+
+ The Corresponding Source need not include anything that users
+can regenerate automatically from other parts of the Corresponding
+Source.
+
+ The Corresponding Source for a work in source code form is that
+same work.
+
+ 2. Basic Permissions.
+
+ All rights granted under this License are granted for the term of
+copyright on the Program, and are irrevocable provided the stated
+conditions are met. This License explicitly affirms your unlimited
+permission to run the unmodified Program. The output from running a
+covered work is covered by this License only if the output, given its
+content, constitutes a covered work. This License acknowledges your
+rights of fair use or other equivalent, as provided by copyright law.
+
+ You may make, run and propagate covered works that you do not
+convey, without conditions so long as your license otherwise remains
+in force. You may convey covered works to others for the sole purpose
+of having them make modifications exclusively for you, or provide you
+with facilities for running those works, provided that you comply with
+the terms of this License in conveying all material for which you do
+not control copyright. Those thus making or running the covered works
+for you must do so exclusively on your behalf, under your direction
+and control, on terms that prohibit them from making any copies of
+your copyrighted material outside their relationship with you.
+
+ Conveying under any other circumstances is permitted solely under
+the conditions stated below. Sublicensing is not allowed; section 10
+makes it unnecessary.
+
+ 3. Protecting Users' Legal Rights From Anti-Circumvention Law.
+
+ No covered work shall be deemed part of an effective technological
+measure under any applicable law fulfilling obligations under article
+11 of the WIPO copyright treaty adopted on 20 December 1996, or
+similar laws prohibiting or restricting circumvention of such
+measures.
+
+ When you convey a covered work, you waive any legal power to forbid
+circumvention of technological measures to the extent such circumvention
+is effected by exercising rights under this License with respect to
+the covered work, and you disclaim any intention to limit operation or
+modification of the work as a means of enforcing, against the work's
+users, your or third parties' legal rights to forbid circumvention of
+technological measures.
+
+ 4. Conveying Verbatim Copies.
+
+ You may convey verbatim copies of the Program's source code as you
+receive it, in any medium, provided that you conspicuously and
+appropriately publish on each copy an appropriate copyright notice;
+keep intact all notices stating that this License and any
+non-permissive terms added in accord with section 7 apply to the code;
+keep intact all notices of the absence of any warranty; and give all
+recipients a copy of this License along with the Program.
+
+ You may charge any price or no price for each copy that you convey,
+and you may offer support or warranty protection for a fee.
+
+ 5. Conveying Modified Source Versions.
+
+ You may convey a work based on the Program, or the modifications to
+produce it from the Program, in the form of source code under the
+terms of section 4, provided that you also meet all of these conditions:
+
+ a) The work must carry prominent notices stating that you modified
+ it, and giving a relevant date.
+
+ b) The work must carry prominent notices stating that it is
+ released under this License and any conditions added under section
+ 7. This requirement modifies the requirement in section 4 to
+ "keep intact all notices".
+
+ c) You must license the entire work, as a whole, under this
+ License to anyone who comes into possession of a copy. This
+ License will therefore apply, along with any applicable section 7
+ additional terms, to the whole of the work, and all its parts,
+ regardless of how they are packaged. This License gives no
+ permission to license the work in any other way, but it does not
+ invalidate such permission if you have separately received it.
+
+ d) If the work has interactive user interfaces, each must display
+ Appropriate Legal Notices; however, if the Program has interactive
+ interfaces that do not display Appropriate Legal Notices, your
+ work need not make them do so.
+
+ A compilation of a covered work with other separate and independent
+works, which are not by their nature extensions of the covered work,
+and which are not combined with it such as to form a larger program,
+in or on a volume of a storage or distribution medium, is called an
+"aggregate" if the compilation and its resulting copyright are not
+used to limit the access or legal rights of the compilation's users
+beyond what the individual works permit. Inclusion of a covered work
+in an aggregate does not cause this License to apply to the other
+parts of the aggregate.
+
+ 6. Conveying Non-Source Forms.
+
+ You may convey a covered work in object code form under the terms
+of sections 4 and 5, provided that you also convey the
+machine-readable Corresponding Source under the terms of this License,
+in one of these ways:
+
+ a) Convey the object code in, or embodied in, a physical product
+ (including a physical distribution medium), accompanied by the
+ Corresponding Source fixed on a durable physical medium
+ customarily used for software interchange.
+
+ b) Convey the object code in, or embodied in, a physical product
+ (including a physical distribution medium), accompanied by a
+ written offer, valid for at least three years and valid for as
+ long as you offer spare parts or customer support for that product
+ model, to give anyone who possesses the object code either (1) a
+ copy of the Corresponding Source for all the software in the
+ product that is covered by this License, on a durable physical
+ medium customarily used for software interchange, for a price no
+ more than your reasonable cost of physically performing this
+ conveying of source, or (2) access to copy the
+ Corresponding Source from a network server at no charge.
+
+ c) Convey individual copies of the object code with a copy of the
+ written offer to provide the Corresponding Source. This
+ alternative is allowed only occasionally and noncommercially, and
+ only if you received the object code with such an offer, in accord
+ with subsection 6b.
+
+ d) Convey the object code by offering access from a designated
+ place (gratis or for a charge), and offer equivalent access to the
+ Corresponding Source in the same way through the same place at no
+ further charge. You need not require recipients to copy the
+ Corresponding Source along with the object code. If the place to
+ copy the object code is a network server, the Corresponding Source
+ may be on a different server (operated by you or a third party)
+ that supports equivalent copying facilities, provided you maintain
+ clear directions next to the object code saying where to find the
+ Corresponding Source. Regardless of what server hosts the
+ Corresponding Source, you remain obligated to ensure that it is
+ available for as long as needed to satisfy these requirements.
+
+ e) Convey the object code using peer-to-peer transmission, provided
+ you inform other peers where the object code and Corresponding
+ Source of the work are being offered to the general public at no
+ charge under subsection 6d.
+
+ A separable portion of the object code, whose source code is excluded
+from the Corresponding Source as a System Library, need not be
+included in conveying the object code work.
+
+ A "User Product" is either (1) a "consumer product", which means any
+tangible personal property which is normally used for personal, family,
+or household purposes, or (2) anything designed or sold for incorporation
+into a dwelling. In determining whether a product is a consumer product,
+doubtful cases shall be resolved in favor of coverage. For a particular
+product received by a particular user, "normally used" refers to a
+typical or common use of that class of product, regardless of the status
+of the particular user or of the way in which the particular user
+actually uses, or expects or is expected to use, the product. A product
+is a consumer product regardless of whether the product has substantial
+commercial, industrial or non-consumer uses, unless such uses represent
+the only significant mode of use of the product.
+
+ "Installation Information" for a User Product means any methods,
+procedures, authorization keys, or other information required to install
+and execute modified versions of a covered work in that User Product from
+a modified version of its Corresponding Source. The information must
+suffice to ensure that the continued functioning of the modified object
+code is in no case prevented or interfered with solely because
+modification has been made.
+
+ If you convey an object code work under this section in, or with, or
+specifically for use in, a User Product, and the conveying occurs as
+part of a transaction in which the right of possession and use of the
+User Product is transferred to the recipient in perpetuity or for a
+fixed term (regardless of how the transaction is characterized), the
+Corresponding Source conveyed under this section must be accompanied
+by the Installation Information. But this requirement does not apply
+if neither you nor any third party retains the ability to install
+modified object code on the User Product (for example, the work has
+been installed in ROM).
+
+ The requirement to provide Installation Information does not include a
+requirement to continue to provide support service, warranty, or updates
+for a work that has been modified or installed by the recipient, or for
+the User Product in which it has been modified or installed. Access to a
+network may be denied when the modification itself materially and
+adversely affects the operation of the network or violates the rules and
+protocols for communication across the network.
+
+ Corresponding Source conveyed, and Installation Information provided,
+in accord with this section must be in a format that is publicly
+documented (and with an implementation available to the public in
+source code form), and must require no special password or key for
+unpacking, reading or copying.
+
+ 7. Additional Terms.
+
+ "Additional permissions" are terms that supplement the terms of this
+License by making exceptions from one or more of its conditions.
+Additional permissions that are applicable to the entire Program shall
+be treated as though they were included in this License, to the extent
+that they are valid under applicable law. If additional permissions
+apply only to part of the Program, that part may be used separately
+under those permissions, but the entire Program remains governed by
+this License without regard to the additional permissions.
+
+ When you convey a copy of a covered work, you may at your option
+remove any additional permissions from that copy, or from any part of
+it. (Additional permissions may be written to require their own
+removal in certain cases when you modify the work.) You may place
+additional permissions on material, added by you to a covered work,
+for which you have or can give appropriate copyright permission.
+
+ Notwithstanding any other provision of this License, for material you
+add to a covered work, you may (if authorized by the copyright holders of
+that material) supplement the terms of this License with terms:
+
+ a) Disclaiming warranty or limiting liability differently from the
+ terms of sections 15 and 16 of this License; or
+
+ b) Requiring preservation of specified reasonable legal notices or
+ author attributions in that material or in the Appropriate Legal
+ Notices displayed by works containing it; or
+
+ c) Prohibiting misrepresentation of the origin of that material, or
+ requiring that modified versions of such material be marked in
+ reasonable ways as different from the original version; or
+
+ d) Limiting the use for publicity purposes of names of licensors or
+ authors of the material; or
+
+ e) Declining to grant rights under trademark law for use of some
+ trade names, trademarks, or service marks; or
+
+ f) Requiring indemnification of licensors and authors of that
+ material by anyone who conveys the material (or modified versions of
+ it) with contractual assumptions of liability to the recipient, for
+ any liability that these contractual assumptions directly impose on
+ those licensors and authors.
+
+ All other non-permissive additional terms are considered "further
+restrictions" within the meaning of section 10. If the Program as you
+received it, or any part of it, contains a notice stating that it is
+governed by this License along with a term that is a further
+restriction, you may remove that term. If a license document contains
+a further restriction but permits relicensing or conveying under this
+License, you may add to a covered work material governed by the terms
+of that license document, provided that the further restriction does
+not survive such relicensing or conveying.
+
+ If you add terms to a covered work in accord with this section, you
+must place, in the relevant source files, a statement of the
+additional terms that apply to those files, or a notice indicating
+where to find the applicable terms.
+
+ Additional terms, permissive or non-permissive, may be stated in the
+form of a separately written license, or stated as exceptions;
+the above requirements apply either way.
+
+ 8. Termination.
+
+ You may not propagate or modify a covered work except as expressly
+provided under this License. Any attempt otherwise to propagate or
+modify it is void, and will automatically terminate your rights under
+this License (including any patent licenses granted under the third
+paragraph of section 11).
+
+ However, if you cease all violation of this License, then your
+license from a particular copyright holder is reinstated (a)
+provisionally, unless and until the copyright holder explicitly and
+finally terminates your license, and (b) permanently, if the copyright
+holder fails to notify you of the violation by some reasonable means
+prior to 60 days after the cessation.
+
+ Moreover, your license from a particular copyright holder is
+reinstated permanently if the copyright holder notifies you of the
+violation by some reasonable means, this is the first time you have
+received notice of violation of this License (for any work) from that
+copyright holder, and you cure the violation prior to 30 days after
+your receipt of the notice.
+
+ Termination of your rights under this section does not terminate the
+licenses of parties who have received copies or rights from you under
+this License. If your rights have been terminated and not permanently
+reinstated, you do not qualify to receive new licenses for the same
+material under section 10.
+
+ 9. Acceptance Not Required for Having Copies.
+
+ You are not required to accept this License in order to receive or
+run a copy of the Program. Ancillary propagation of a covered work
+occurring solely as a consequence of using peer-to-peer transmission
+to receive a copy likewise does not require acceptance. However,
+nothing other than this License grants you permission to propagate or
+modify any covered work. These actions infringe copyright if you do
+not accept this License. Therefore, by modifying or propagating a
+covered work, you indicate your acceptance of this License to do so.
+
+ 10. Automatic Licensing of Downstream Recipients.
+
+ Each time you convey a covered work, the recipient automatically
+receives a license from the original licensors, to run, modify and
+propagate that work, subject to this License. You are not responsible
+for enforcing compliance by third parties with this License.
+
+ An "entity transaction" is a transaction transferring control of an
+organization, or substantially all assets of one, or subdividing an
+organization, or merging organizations. If propagation of a covered
+work results from an entity transaction, each party to that
+transaction who receives a copy of the work also receives whatever
+licenses to the work the party's predecessor in interest had or could
+give under the previous paragraph, plus a right to possession of the
+Corresponding Source of the work from the predecessor in interest, if
+the predecessor has it or can get it with reasonable efforts.
+
+ You may not impose any further restrictions on the exercise of the
+rights granted or affirmed under this License. For example, you may
+not impose a license fee, royalty, or other charge for exercise of
+rights granted under this License, and you may not initiate litigation
+(including a cross-claim or counterclaim in a lawsuit) alleging that
+any patent claim is infringed by making, using, selling, offering for
+sale, or importing the Program or any portion of it.
+
+ 11. Patents.
+
+ A "contributor" is a copyright holder who authorizes use under this
+License of the Program or a work on which the Program is based. The
+work thus licensed is called the contributor's "contributor version".
+
+ A contributor's "essential patent claims" are all patent claims
+owned or controlled by the contributor, whether already acquired or
+hereafter acquired, that would be infringed by some manner, permitted
+by this License, of making, using, or selling its contributor version,
+but do not include claims that would be infringed only as a
+consequence of further modification of the contributor version. For
+purposes of this definition, "control" includes the right to grant
+patent sublicenses in a manner consistent with the requirements of
+this License.
+
+ Each contributor grants you a non-exclusive, worldwide, royalty-free
+patent license under the contributor's essential patent claims, to
+make, use, sell, offer for sale, import and otherwise run, modify and
+propagate the contents of its contributor version.
+
+ In the following three paragraphs, a "patent license" is any express
+agreement or commitment, however denominated, not to enforce a patent
+(such as an express permission to practice a patent or covenant not to
+sue for patent infringement). To "grant" such a patent license to a
+party means to make such an agreement or commitment not to enforce a
+patent against the party.
+
+ If you convey a covered work, knowingly relying on a patent license,
+and the Corresponding Source of the work is not available for anyone
+to copy, free of charge and under the terms of this License, through a
+publicly available network server or other readily accessible means,
+then you must either (1) cause the Corresponding Source to be so
+available, or (2) arrange to deprive yourself of the benefit of the
+patent license for this particular work, or (3) arrange, in a manner
+consistent with the requirements of this License, to extend the patent
+license to downstream recipients. "Knowingly relying" means you have
+actual knowledge that, but for the patent license, your conveying the
+covered work in a country, or your recipient's use of the covered work
+in a country, would infringe one or more identifiable patents in that
+country that you have reason to believe are valid.
+
+ If, pursuant to or in connection with a single transaction or
+arrangement, you convey, or propagate by procuring conveyance of, a
+covered work, and grant a patent license to some of the parties
+receiving the covered work authorizing them to use, propagate, modify
+or convey a specific copy of the covered work, then the patent license
+you grant is automatically extended to all recipients of the covered
+work and works based on it.
+
+ A patent license is "discriminatory" if it does not include within
+the scope of its coverage, prohibits the exercise of, or is
+conditioned on the non-exercise of one or more of the rights that are
+specifically granted under this License. You may not convey a covered
+work if you are a party to an arrangement with a third party that is
+in the business of distributing software, under which you make payment
+to the third party based on the extent of your activity of conveying
+the work, and under which the third party grants, to any of the
+parties who would receive the covered work from you, a discriminatory
+patent license (a) in connection with copies of the covered work
+conveyed by you (or copies made from those copies), or (b) primarily
+for and in connection with specific products or compilations that
+contain the covered work, unless you entered into that arrangement,
+or that patent license was granted, prior to 28 March 2007.
+
+ Nothing in this License shall be construed as excluding or limiting
+any implied license or other defenses to infringement that may
+otherwise be available to you under applicable patent law.
+
+ 12. No Surrender of Others' Freedom.
+
+ If conditions are imposed on you (whether by court order, agreement or
+otherwise) that contradict the conditions of this License, they do not
+excuse you from the conditions of this License. If you cannot convey a
+covered work so as to satisfy simultaneously your obligations under this
+License and any other pertinent obligations, then as a consequence you may
+not convey it at all. For example, if you agree to terms that obligate you
+to collect a royalty for further conveying from those to whom you convey
+the Program, the only way you could satisfy both those terms and this
+License would be to refrain entirely from conveying the Program.
+
+ 13. Use with the GNU Affero General Public License.
+
+ Notwithstanding any other provision of this License, you have
+permission to link or combine any covered work with a work licensed
+under version 3 of the GNU Affero General Public License into a single
+combined work, and to convey the resulting work. The terms of this
+License will continue to apply to the part which is the covered work,
+but the special requirements of the GNU Affero General Public License,
+section 13, concerning interaction through a network will apply to the
+combination as such.
+
+ 14. Revised Versions of this License.
+
+ The Free Software Foundation may publish revised and/or new versions of
+the GNU General Public License from time to time. Such new versions will
+be similar in spirit to the present version, but may differ in detail to
+address new problems or concerns.
+
+ Each version is given a distinguishing version number. If the
+Program specifies that a certain numbered version of the GNU General
+Public License "or any later version" applies to it, you have the
+option of following the terms and conditions either of that numbered
+version or of any later version published by the Free Software
+Foundation. If the Program does not specify a version number of the
+GNU General Public License, you may choose any version ever published
+by the Free Software Foundation.
+
+ If the Program specifies that a proxy can decide which future
+versions of the GNU General Public License can be used, that proxy's
+public statement of acceptance of a version permanently authorizes you
+to choose that version for the Program.
+
+ Later license versions may give you additional or different
+permissions. However, no additional obligations are imposed on any
+author or copyright holder as a result of your choosing to follow a
+later version.
+
+ 15. Disclaimer of Warranty.
+
+ THERE IS NO WARRANTY FOR THE PROGRAM, TO THE EXTENT PERMITTED BY
+APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT
+HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY
+OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO,
+THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR
+PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM
+IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF
+ALL NECESSARY SERVICING, REPAIR OR CORRECTION.
+
+ 16. Limitation of Liability.
+
+ IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING
+WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS
+THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY
+GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE
+USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF
+DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD
+PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS),
+EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF
+SUCH DAMAGES.
+
+ 17. Interpretation of Sections 15 and 16.
+
+ If the disclaimer of warranty and limitation of liability provided
+above cannot be given local legal effect according to their terms,
+reviewing courts shall apply local law that most closely approximates
+an absolute waiver of all civil liability in connection with the
+Program, unless a warranty or assumption of liability accompanies a
+copy of the Program in return for a fee.
+
+ END OF TERMS AND CONDITIONS
+
diff --git a/support/pmx/doc/pmx-install.pdf b/support/pmx/doc/pmx-install.pdf
new file mode 100644
index 0000000000..e4c9429da6
--- /dev/null
+++ b/support/pmx/doc/pmx-install.pdf
Binary files differ
diff --git a/support/pmx/doc/pmx-install.tex b/support/pmx/doc/pmx-install.tex
new file mode 100644
index 0000000000..e49bfd0f8c
--- /dev/null
+++ b/support/pmx/doc/pmx-install.tex
@@ -0,0 +1,150 @@
+\documentclass[11pt]{article}
+\usepackage[textwidth=6.5in,textheight=8.5in]{geometry}
+\usepackage[osf]{mathpazo}
+\PassOptionsToPackage{urlcolor=black,colorlinks}{hyperref}
+\RequirePackage{hyperref}
+\usepackage{xcolor}
+\newcommand{\myurl}[1]{\textcolor{blue}{\underline{\textcolor{black}{\url{#1}}}}}
+\newcommand{\pmxVersion}{2.8.4}
+\begin{document}
+\title{Installation of the CTAN PMX Distribution}
+\author{Bob Tennent\\
+\small\url{rdt@cs.queensu.ca}}
+\date{\today}
+\maketitle
+\thispagestyle{empty}
+
+\section{Introduction}
+We assume that you have already installed a MusiXTeX distribution.
+Before trying to install PMX from CTAN, check whether your TeX distribution
+provides a package for PMX; this will be easier than doing it yourself.
+But if your TeX distribution
+doesn't have PMX (or doesn't have the most recent version), this distribution
+of PMX 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{pmx.tds.zip}}
+
+In this distribution of PMX, most of the files to be installed
+(including macros, documentation, and a processing script) are in
+\myurl{http://mirror.ctan.org/install/support/pmx.tds.zip} at CTAN.
+The file \verb|pmx.tds.zip| is a zipped TEXMF
+hierarchy; simply download it and unzip 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.
+
+Documentation for PMX is installed under \verb\doc/generic/pmx\
+in the TEXMF tree.
+
+\section{Installing \texttt{pmxab} and \texttt{scor2prt}}
+
+The next step in the installation is to install
+the two essential files that can't be installed in a TEXMF tree: the \texttt{pmxab} preprocessor
+and \texttt{scor2prt}, an executable used to produce single-player parts from multi-player scores.
+
+\subsection{Pre-Compiled Executables}
+
+On Windows
+systems, one can install \texttt{pmxab.exe} and
+\texttt{scor2prt.exe} in the \texttt{Windows} 32 bit or 64~bit sub-directories; these are pre-compiled
+executables and should be copied to any
+folder on the PATH of executables.
+This might entail creating a suitable folder and adding that folder
+to the PATH as follows:
+in ``My Computer''
+click on
+\begin{center}
+View System Information\quad$\rightarrow$\quad Advanced\quad$\rightarrow$\quad Environment Variables
+\end{center}
+scroll
+down to ``path'', select it, click edit, and add the path
+to the folder after a semi-colon.
+
+
+On the MAC OS-X platform (version 10.2 or better), one can install \texttt{pmxab} and \texttt{scor2prt} that are in the
+\texttt{OSX} sub-directory.
+
+\subsection{Compilation from Source}
+
+If you have conventional GNU development tools (\texttt{tar}, \texttt{gunzip}, \texttt{make})
+and \texttt{gcc}\footnote{%
+\myurl{http://gcc.gnu.org/gcc/}}
+on your platform,
+you should be able to build \texttt{pmxab} and \texttt{scor2prt} executables.
+
+To build \texttt{pmxab} and \texttt{scor2prt} for your platform:
+\begin{enumerate}
+\item Unpack the \texttt{pmx-\pmxVersion.tar.gz} archive:
+\begin{list}{}{}
+\item \texttt{tar zxvf pmx-\pmxVersion.tar.gz}
+\end{list}
+and move to the resulting \texttt{pmx-\pmxVersion} directory.
+\item Configure:
+\begin{list}{}{}
+\item \verb\./configure\
+\end{list}
+or, if you want the executables to be installed in your own path,
+\begin{list}{}{}
+\item \verb\./configure --prefix=$HOME\
+\end{list}
+\item Install:
+\begin{list}{}{}
+\item \verb\make install\
+\end{list}
+as root (admin) to install to the system path, or just
+\begin{list}{}{}
+\item \verb\make install\
+\end{list}
+to install in your own path.
+\end{enumerate}
+You should now have executables \verb\pmxab\ and
+\verb\scor2prt\ available for use.
+
+\section{The \texttt{musixtex.lua} Processing Script}
+
+The Lua script \verb\musixtex.lua\
+is simply a convenient wrapper that,
+on files with extension \verb\.pmx\, by default runs the
+following processes in order (and then deletes intermediate files):
+\begin{itemize}\topsep=0pt\itemsep=0pt
+\item \verb\pmxab\ (pre-processing pass)
+\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}%
+There are many options to vary the default behaviour.
+If the \verb|musixtex| has been properly installed on your system, you should
+be able to just enter the command \verb\musixtex myfile\.
+
+\section{Discussion}
+
+
+
+Other pre-processor packages, additional documentation, additional
+add-on packages, and many examples of PMX and 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}}.
+PMX may be freely copied, duplicated and used in conformance to the
+GNU General Public License (Version 3, 29 June, 2007, see included file \verb\gpl.txt\).
+
+\end{document}
diff --git a/support/pmx/doc/pmx25-284.html b/support/pmx/doc/pmx25-284.html
new file mode 100644
index 0000000000..29d811084c
--- /dev/null
+++ b/support/pmx/doc/pmx25-284.html
@@ -0,0 +1,384 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"
+ "http://www.w3.org/TR/html4/loose.dtd">
+<html>
+<head>
+ <meta http-equiv="Content-Type" content="text/html">
+ <title>PMX 2.84 vs 2.5</title>
+</head>
+
+<body bgcolor="#E1E1E1">
+
+<h2>Changes from PMX 2.5 to the Latest Full Release (2.84), 10 February 2018</h2>
+
+<p>2.501 <strong>(Note: new scor2prt)</strong></p>
+<ul>
+ <li>Bugfix: initialize index in PMX subroutine putorn to eliminate subscript
+ error detected in some compilers</li>
+ <li>Bugfix in <strong>scor2prt</strong>: Ignore special treatment of special
+ symbols if they appear between double quotes.</li>
+ <li>Tweak: move end of first part of line-break ties slightly to the right.</li>
+</ul>
+
+<p>2.502 <strong>(Note: new pmx.tex)</strong></p>
+<ul>
+ <li>The height of a figured bass vertical stack can now be adjusted upward by
+ an integral number of \internote by appending "+" and the number. Recall that
+ it can already be moved downward 4\internote by prepending "_" (underscore). The
+ two options can be combined to provide full control over the vertical position.</li>
+ <li>Ties can now be represented with braces "{" before a note and "}" after. Both are
+ equivalent to "t" after the note. (Thanks to Dirk Laurie).</li>
+ <li>In <strong>pmx.tex</strong> all the commands of the form
+ \font\...=\fontid sy1000 have been changed to \font\...=cmsy10 (Thanks to
+ Olivier Vogel).</li>
+</ul>
+
+<p>2.503</p>
+<ul>
+ <li>Enable arpeggio left shift with ?-[x]</li>
+ <li>Allow musicsize of 24 and 29.</li>
+ <li>Bugfix: Fix bug introduced in 2.415 which caused error in printing replacement
+ number in xtup.</li>
+</ul>
+
+<p>2.504</p>
+<ul>
+ <li>Gap between normal grace and main note: X[x] as option to the G command,
+ where x is the gap size in notehead widths.</li>
+ <li>Bugfix: og (segno) now works OK when nv .ne. noinst.</li>
+</ul>
+
+<p>2.505</p>
+<ul>
+ <li>A new global option AK activates special rules for vertical positioning
+ of rests in two-voice staves. By way of background, without the new option,
+ rests in two-voice staves have default positions based on
+ a simple rule that is not context-sensitive: those
+ in the lower voice (the one before "//") are 4\internote below their
+ single-voice default positions, and those in the upper line are 2\internote
+ above the single-voice default. The new option invokes a set of
+ context-sensitive rules to set the default position. The baseline rule is to
+ align the rest in a horizontal line with the next following note in the same
+ bar. If there is no following note in the bar, then it is aligned with the
+ next prior note. If there are simulataneous rests in both voices, the old
+ rule is applied. When the AK option is in force, it only affects places
+ where there are two voices in a staff. It may be toggled on and off at the
+ beginning of any input block, using
+ just AK. When the option is in effect, any user-defined tweaks on the height
+ of a rest will supersede the option for that particular rest, i.e., the tweak
+ will be applied relative to the single-voice default position.</li>
+</ul>
+
+<p>2.506</p>
+<ul>
+ <li>Fixes a bug in AK. Simultaneous, equal-duration rests will be positioned
+ according to the default rules.</li>
+</ul>
+
+<p>2.507</p>
+<ul>
+ <li>Enhancement to global option AK for vertical positioning of rests in
+ two-voice staves (see version 2.505): The option L ("look left") in a rest will cause the
+ vertical position of that rest to be based on the preceding note, rather than the
+ following one as is the default when AK has been issued </li>
+ <li>Partial bugfix: In unbeamed xtuplets, the length of the bracket and position of
+ the number are now adjusted to account for any inserted hardspaces.</li>
+ <li>Bugfix: unbeamed xtups with two flags are now allowed.</li>
+</ul>
+
+<p>2.508</p>
+<ul>
+ <li>Allow grace notes in xtuplets.</li>
+</ul>
+
+<p>2.509</p>
+<ul>
+ <li>Correct small bug in arpeggio left-shifting (it got confused when there
+ was more than one voice on a staff).</li>
+</ul>
+
+<p>2.510</p>
+<ul>
+ <li>Bugfix: Correct omission of character variable declarations in new subroutine getgrace
+ introduced in 2.508.</li>
+</ul>
+
+<p>2.511 <strong>(Note: new scor2prt named s2p2511.exe)</strong></p>
+<ul>
+ <li>Bugfix: Correct error in horizontal spacing introduced in 2.507.</li>
+ <li>Experiment: Remove prohibition against tempo changes in MIDI macros.</li>
+ <li>Bugfix in <strong>scor2prt</strong>: Make it work right when "R" command occurs at end of
+ input block and "/" is on next line (as produced by M-Tx).</li>
+</ul>
+
+<p>2.512</p>
+<ul>
+ <li>Enable multiplicity down-up "][" within xtuplet</li>
+</ul>
+
+<p>2.513</p>
+<ul>
+ <li>Bugfix: If there is more than one rest at start of a beamed xtuplet marked as a forced
+ beam, beam height and slope tweaks are now properly handled.</li>
+ <li>Bugfix: If an xtuplet with multiplicity 2 or 3 starts with a rest, the rest is now printed
+ correctly.</li>
+ <li>Bugfix: Unbeamed xtuplets (with option 'a' on first note) with multiplicity 2 or 3 are now printed correctly.</li>
+</ul>
+
+<p>2.514</p>
+<ul>
+ <li>Bugfix: Correct horizontal spacing when after-grace is immediately followed by
+ normal grace.</li>
+ <li>Bugfix: Correct transpose register when it has been changed in a single
+ after-grace.</li>
+</ul>
+
+<p>2.515</p>
+<ul>
+ <li>Bugfix: Correct error in automatic forced beams. Before the fix, if the
+ beam did not start an integral number of beam durations from the start of
+ the bar, incorrect results would occur.
+ <li>Bugfix: Properly center fermata over centered whole-bar rest. </li>
+</ul>
+
+<p>2.516 <strong>(Note: new pmx.tex)</strong></p>
+<ul>
+ <li>Allow figures in voice #2.</li>
+</ul>
+
+<p>2.517</p>
+<ul>
+ <li>Allow figures in two voices, voice 1 and any other one.</li>
+</ul>
+
+<p>2.518</p>
+<ul>
+ <li>Bug fixes in 2-voice figures.</li>
+</ul>
+
+<p>2.519</p>
+<ul>
+ <li>Fix bug that prevented \sk from being output, misaligning some voices.</li>
+</ul>
+
+<p>2.520</p>
+<ul>
+ <li>New feature: special characters 2+, 4+, 5+, 6+, 9+ for figured bass. In the PMX
+ string for any figure, follow the number by 's'. This uses the font cmrj from the
+ new package figbas. You must install this font in your TeX setup for this to work.</li>
+</ul>
+
+<p>2.521</p>
+<ul>
+ <li>Bugfix: Font definition syntax corrected so no extra space is introduced.</li>
+</ul>
+
+<p>2.602 <strong>(Note: new pmx.tex; requires eTeX)</strong></p>
+<ul>
+ <li>Allow 24 voices, beams, slurs. Require etex.</li>
+ <li>Include comment about doubling size of internal buffer to 131072, requiring gfortran for Windows to compile.</li>
+ <li>Correct slur indexing in linebreakslurs.</li>
+ <li>Account for comment lines in line count for error messages</li>
+</ul>
+
+<p>2.603 <strong>(Note: new scor2prt)</strong></p>
+<ul>
+ <li>In getpmxmod.for, decrease nline by 2 to fix locating errors
+ following reading in an include file.
+ <li>Add some error messages in g1etset.for setup data
+</ul>
+
+<p>2.610</p>
+<ul>
+ <li>Instrument-wise transposition: Ki[instrument #][+/-][trans amt.][+/-][new key].
+ For more than one instrument, may immediately repeat everything after "K". Must
+ either be at start of score (right after setup), or if later, must be preceded
+ by normal (full score) key
+ change command K+0[+/-][new key]. Must be used with relative accidentals ("Ar").
+ Part(s) to be transposed must be entered in concert key, and will appear transposed
+ in the score. MIDI behavior not yet
+ tested. Has not yet been integrated into scor2prt, so for now
+ if you want to make parts, only use Ki... as score-only (on line after "%%") and/or
+ instrument only (on same line after %[Instrument #]).
+</ul>
+
+<p>2.613</p>
+<ul>
+ <li>Set error trap if "D" is entered before any notes.</li>
+ <li>Enhance "AS" to allow spacing adjustments tailored for either smallsize or
+ tinysize. As before, "AS" must be followed by nv characters, but now they
+ may be "0" for normal, "-" or "s" for small, or "t" for tiny. Still must
+ set sizes of instruments with inline TeX.</li>
+ <li>Bugfix: Fixed broken "K-..." in 2.610.
+</ul>
+
+<p>2.614</p>
+<ul>
+ <li>Bugfix: revise raised dotted rests by separately raising rest and dot.
+</ul>
+
+<p>2.615 <strong>(Note: new scor2prt)</strong></p>
+<ul>
+ <li>Command "AS", described above under 2.163, now also causes staff sizes to change
+ (in score only, not parts), so inline TeX is no longer needed to change sizes of
+ selected staves.</li>
+ <li>Scor2prt transfers partwise transposition commands Ki... (see 2.610 above)
+ into parts. </li>
+</ul>
+
+<p>2.616</p>
+<ul>
+ <li>"Feature" added: Hairpin dynamics now may span input blocks.</li>
+</ul>
+
+<p>2.617</p>
+<ul>
+ <li>Repaired several obscure bugs related to platform and compiler dependencies;
+ see pmxab.for for details.
+ </li>
+</ul>
+
+<p>2.618</p>
+<ul>
+ <li>For letter and a4 paper respectively, commands "Acl" and "Ac4" set horizontal
+ and vertical sizes and offsets that center the page with no further adjustments
+ required in dvips. </li>
+</ul>
+
+<p>2.619 <strong>(Note: new pmx.tex)</strong></p>
+<ul>
+ <li> Several changes at movement breaks to improve compatibility with M-Tx
+ and musixlyr.</li>
+</ul>
+
+<p>2.621</p>
+<ul>
+ <li> Bugfix: Made keyboard rest positioning ("AK" command) work properly
+ when there are rests are within xtuplets.
+ Also fine-tune default positioning of number and
+ bracket in unbeamed xtuplets containing rests. Position of both can still
+ be overridden with options on first note command for xtuplet.</li>
+</ul>
+
+<p>2.622</p>
+<ul>
+ <li> New option in "K" command: "Kn..." inserts \ignorenats before signature
+ change, supressing naturals in new signature</li>
+ <li> Many small fixes in transposition and key changes with "K", "Ki", and
+ "IT" to make MIDI come out OK. Basic function of "K" and "Ki" unchanged.
+ "IT[+/- n1][+/- n2]..." now transposes MIDI by \internotes, not half steps
+ as before. E.g. to transpose MIDI of 2nd instrument out of 3 up by one octave,
+ use "IT+0+7+0". May also use to untranspose a transposing instrument that
+ has been entered transposed, to make MIDI come out at concert pitch.</li>
+</ul>
+
+<p>2.70 <strong>(Note: new scor2prt.exe and pmx.tex)</strong></p>
+<ul>
+ <li>Bugfix in AN, to make it behave as advertised, which is to assign user-
+ defined names to part files rather than using the default.</li>
+</ul>
+
+<p>2.71 <strong>(Note: new pmx.tex and MusiXTeX 1.21)</strong></p>
+<ul>
+ <li>Octave treble clef ("C8" command).</li>
+ <li>In figured bass, apply vertical shift for remainder of line with
+ option "v[-](number)" to the figure command</li>
+ <li>Internal changes in multi-bar rests to accommodate changes in
+ musixtex.tex.</li>
+ <li>Slurs aligned with stem ends, postscript slurs only, option "v".</li>
+ <li>Coda "oC".</li>
+ <li>New, smaller segno "oG". Unlike "og", must enter on every staff. </li>
+</ul>
+
+<p>2.72 <strong>(Note: new pmx.tex; still requires MusiXTeX 1.21)</strong></p>
+<ul>
+ <li>Bugfix when arpeggios go from one voice to another in the same staff.</li>
+ <li>Further tweaks in multibar rests.</li>
+ <li>Tweaks in centered full-bar rests.</li>
+ <li>Fix bug in clef changes for multi-staff instruments.</li>
+</ul>
+
+<p>2.73 <strong>(Note: new pmx.tex)</strong></p>
+<ul>
+ <li>Enabled lyrics with "[text]".</li>
+ <li>Internally replace each '\' in pathname in input file with '/', so files made
+ in Window are compatible with linux systems.
+</ul>
+
+<p>2.74 <strong>(Note: new pmx.tex, new scor2prt)</strong></p>
+<ul>
+ <li>Enabled staff-crossing chords with single stems, as ordinary beams, and as
+ beamed xtuplets.</li>
+ <li>Allow \" in lyrics string, for umlaut.</li>
+ <li>Fix bug in scor2prt that was causing crashes when last line started with %.</li>
+ <li>Enable note option Lx to lengthen a stem by x \internotes.</li>
+</ul>
+
+<p>2.76</p>
+<ul>
+ <li>Allow accented characters in lyrics.</li>
+ <li>Behind-the-scenes modifications to allow staff-crossing chords that
+ are unbeamed or beamed, as illustrated in staffcrossall.pmx.</li>
+ <li>Modifications to allow accented characters in text strings in
+ lyrics, page headers, and text dynamics.</li>
+ <li>Bugfixes in unbeamed, dotted xtuplets.</li>
+ <li>Increased allowable length of text dynamic strings from 52 to 64
+ characters.</li>
+</ul>
+
+<p>2.77</p>
+<ul>
+ <li>Enable AV+/-x+/-y to add vskip bigh before or after \eject.</li>
+</ul>
+
+<p>2.78</p>
+<ul>
+ <li>Expand bufq to 131072 bytes.</li>
+ <li>Expand maxblks tp 9600.</li>
+ <li>Allow up to 75 pages.</li>
+ <li>Index postscript hairpins from 1 up instead of by voice #.</li>
+ <li>Add option 'o' to forced beam for open notehead (\hb); set ipl(3).</li>
+ <li>Add option T[n], n=1,2,3 for single stem tremolo.</li>
+</ul>
+
+<p>2.80</p><strong>(Note: new pmx.tex)</strong></p>
+<ul>
+ <li>Add 2-note tremolos.</li>
+</ul>
+
+<p>2.81</p>
+<ul>
+ <li>Allow string of rests to end xtup,</li>
+ <li>In chordal half-note 2-note tremolo, make chord notes open.</li>
+</ul>
+
+<p>2.82</p>
+<ul>
+ <li>Bugfix: beams with rests, not confused with xtups.</li>
+ <li>x option after slur index to allow slurs to go from one voice to another.</li>
+ <li>x option also for ties.</li>
+</ul>
+
+<p>2.83</p>
+<ul>
+ <li>Fix problems when changing to or from octave treble clef.</li>
+ <li>Fix beaming (or not) and number location for xtups with
+ multiple rests. Still some problems with number height but
+ can be band-aided with number height tweak option.</li>
+ <li>Tweak error messages for options on "R" command.</li>
+ <li>Allow forced beam height and slope tweaks with 2-note tremolos.</li>
+ <li>Allow chordal note with 2-note tremolos, adding dots as needed.</li>
+ <li>Fix call to ncmid in beamstrt when setting start height for beam of
+ 2-note trem, by changing arg from ivx to iv.</li>
+</ul>
+
+<p>2.84</p>
+<ul>
+ <li>Bug fix: dots in chordal seconds.</li>
+ <li>Bug fix: Initialize ihornb for non-beamed, down xtup.</li>
+ <li>Bug fix when using "AT" with 2-note x3c rD.</li>
+</ul>
+
+<p>Revised 12 February 2018, Don Simons (dsimons at roadrunner dot com)</p>
+</body>
+</html>
+
diff --git a/support/pmx/doc/pmx284.pdf b/support/pmx/doc/pmx284.pdf
new file mode 100644
index 0000000000..a62ebabf24
--- /dev/null
+++ b/support/pmx/doc/pmx284.pdf
Binary files differ
diff --git a/support/pmx/doc/pmx284.tex b/support/pmx/doc/pmx284.tex
new file mode 100644
index 0000000000..ce13127428
--- /dev/null
+++ b/support/pmx/doc/pmx284.tex
@@ -0,0 +1,2759 @@
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%
+% pmx284.tex 12/30/2017
+%
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\documentclass[11pt]{article}
+%
+\let\reft\ref
+ \usepackage[dvips,colorlinks=true,linkcolor=blue]{hyperref}
+ \usepackage[dvips]{graphicx}
+ \usepackage{multicol}
+%
+\def\MusiXTeX{MusiX\TeX}
+\def\bs{{\tt\char'134}}
+\newcommand\PMXX{\textbf{PMX}}
+\newcommand\PMX{\PMXX~}
+\newcommand\IMA{\href{http://Icking-Music-Archive.org}{\underline{Icking Music Archive}}}
+%
+% Use \bfx for program names only. Use \bf for single embedded letters
+%
+\font\bfx=cmb10 scaled\magstephalf
+\font\bfi=cmbxti10 scaled\magstephalf
+\font\specfig=cmrj
+\setcounter{secnumdepth}3
+\setcounter{tocdepth}3
+\def\Bslash{\tt\char'134}
+\def\|{{\tt\char'174}}
+\def\LBR{{\tt\char'173}}
+\def\RBR{{\tt\char'175}}
+\textheight= 9.5in \voffset-.8in%
+\textwidth= 6.5in \hoffset-1.0in
+\def\newfrom{2.59} % changed every now and then
+\def\NEW#1{\ifdim#1 pt<\newfrom pt\else%
+\marginpar{\fbox{#1}}\fi}
+
+\hoffset-54pt
+
+%\let\rulet\rule\def\rule#1#2{\if#1<#2\rulet{.05in}{#2}\else\rulet{#1}{.05in}\fi}
+
+\begin{document}
+
+\raggedright
+\parindent24pt
+
+\title{
+ \Huge\bf
+ PMX~--~a Preprocessor for \MusiXTeX{}\\
+ \null\vskip-15pt
+ \Large\sl
+ Version 2.84~--~20 December 2017\\
+ \author{\Large\rm Don \sc Simons\\
+ \large\sl
+ Dr. Don's PC and Harpsichord Emporium\\
+ \normalsize\sl
+ Redondo Beach, California, USA.\\
+% To make the bitmapped eps: (1) TeX file with cmtt scaled 2500,
+% (2) dvips -> gsview -> pdf.
+% (3) gwin32 -sDEVICE=pnggray -sOutputFile=file.png -r100 -dEPSCrop -dbatch -q
+% -dNOPAUSE -dTextAlphaBits=4 file.eps -c quit
+% (4) file.png -> GIMP (crop out blank space) -> save as .eps.
+%
+ \includegraphics[scale=0.4]{file600.eps}}}
+
+\date{}
+
+\maketitle
+
+\section*{Preface}
+Compared to version 2.80, aside from bug fixes which are documented in the
+opening comments in the source code, \PMX version 2.84 allows arbitrary
+numbers of rests in xtuplets, chordal notes in 2-note tremolos, and
+user-defined adjustments of beam height and slope in 2-note tremolos.
+
+\setcounter{page}1
+\tableofcontents
+%\setcounter{secnumdepth}1
+\pagestyle{headings}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\def\boxitsep{10pt}
+\let\hrt\hrule\def\hrule{\hrt height2pt}
+\let\vrt\vrule\def\vrule{\vrt width2pt}
+\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern\boxitsep\vbox{%
+\kern\boxitsep\hbox{#1}\kern\boxitsep}\kern\boxitsep\vrule}\hrule}}
+\font\ded=cmssdc10 scaled \magstep3
+\bigskip
+\setbox4=\vbox{
+ \hsize3in\noindent\strut
+ \centerline{\ded Dedication}
+\vskip 3pt
+The \MusiXTeX~community was stunned by the sudden death of Werner Icking on
+\break February 8, 2001. He had been a benevolent patriarch, touching many
+of us not only
+with his technical savvy and gentle guidance, but also his genuine kindness
+and generosity. His spirit runs deep through all of \PMX. His encouragement
+fueled its development from its very beginning. Many
+enhancements have been his proposals, including one he made on what
+turned out to be his last day. Werner, my friend, I dedicate this work to
+you and your memory.
+}
+\vfill
+$$\boxit{\box4}$$
+\let\hrule\hrt\let\vrule\vrt
+\vfill
+\eject
+
+\section{Introduction}
+%\setcounter{secnumdepth}1
+
+ \PMX is a preprocessor for \MusiXTeX{}. Before using it you should
+have installed \MusiXTeX~Version 1.21 \NEW{2.71} or higher, and
+any available version of \TeX~that includes e-\TeX. The goal of \PMX is to
+facilitate the efficient typesetting of scores and parts
+that have an almost professional appearance. It can do {\it all} the work
+involved in setting up {\tt \bs notes-\bs enotes} groupings,
+selecting groups of
+notes to be beamed, defining beam heights and slopes, spreading the
+entire piece evenly over specified numbers of systems and pages, and inserting
+extra spaces where needed to make room for accidentals, flags, dots,
+and new clefs. The input language for \PMX is much simpler than
+\MusiXTeX. You can enter note values and rests from 64ths to double
+whole notes ({\it breves}), ornaments, slurs, and limited text strings. Every
+voice in every bar must have exactly the correct number of beats in
+the current meter, but you may change the meter at the beginning of any
+measure, with or without printing the new time signature. Before making a
+\TeX{} file, \PMX checks these timings and other aspects of the input.
+\PMX has special features for dealing with baroque chamber music, including
+the ability
+to notate figured bass below the bottom staff in each system. If \PMX hasn't
+yet learned to do something you want to do, you can usually work around the
+problem by inserting literal \TeX\ strings in the \PMX input file.
+
+ You can automatically create parts from a score using {\bfx scor2prt}.
+This auxiliary program generates a set of {\tt .pmx} input files, one for
+each part, from a single {\tt .pmx} file for the score.
+You can control the appearance of the
+parts with special commands in the main file, thereby making it
+possible to include within a single input file all the information
+that defines the score and the individual parts.
+
+The basic \PMX
+distribution as of this version of the manual is
+\href{http://icking-music-archive.org/software/pmx/pmx276.zip}
+{\underline{\tt pmx276.zip}}.\NEW{2.76} It
+contains the FORTRAN sources, binaries that will run in a DOS
+window on a PC with WINDOWS95 or higher, manuals for useage and for installation
+in DOS/Windows, and example typesetting files. Alternatively, the
+\href{http://www.icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html}
+{\underline{software section}} of the Werner Icking Music Archive (WIMA) has instructions
+for acquiring and installing \MusiXTeX~and \PMX on various platforms
+(Windows, Mac-OSX, Unix-like systems) including using automated procedures from
+several external \TeX~distribution sites.
+The packages from those other sites will
+all eventually incorporate all the upgrades in {\tt pmx276.zip} but will take
+varying amounts of time to do so. \PMX is often upgraded; the most current version will
+always be available directly from the ``News'' paragraph
+\href{http://www.icking-music-archive.org/software/htdocs/htdocs.html}{\underline{here}}.
+
+\subsection{Conventions for This Manual}
+
+ Hey, this is boring stuff, but if you take a minute to understand
+the typographic conventions and a little jargon,
+it may avoid some confusion down the road.
+
+ The typewriter typeface always indicates verbatim text as it would
+be input to a computer. This includes file names, \MusiXTeX{} tokens, and
+\PMX commands, e.g., {\tt barsant.pmx, \bs internote, c44}.
+
+ Bold is used for program names (e.g., {\bfx pmxab}), or when applied
+to a single letter, to relate a \PMX command to its meaning (e.g., ``{\tt e}
+signifies a l{\bf e}ft shift'').
+
+ When\NEW{2.5}~viewing the PDF version of this document on a computer
+screen, clickable internal hyperlinks are colored blue, and clickable external
+links are underlined and colored cyan.
+
+ Italics may mean several different things depending on the context:
+simple emphasis, or the first appearance of {\it jargon}
+(buzz-words that need to be explicitly defined), or finally
+to represent input variables for which some verbatim text would need to be
+substituted. In the latter case the variable will be surrounded by
+square brackets, e.g., [{\it basename}], but the brackets are not to be
+included with the substituted text.
+
+ Speaking of jargon, there are several special words that have very
+specific meanings here: A {\it staff} is one set of 5 lines (plural
+{\it staves}), a {\it system} is a group of staves, and {\it voice} refers to
+one of the one or two
+simultaneous allowable sequences of notes in a staff. Note that this
+is a change \NEW{2.5}from versions prior to 2.5, where {\it voice} was used
+interchangeably with staff.
+
+A \PMX {\it command} is a string of characters with no spaces between them.
+The first character determines the type of command. Any other characters
+are parameters that may be either required or optional. Sometimes we loosely
+use the word {\it command} to refer just to the initial character.
+
+\subsection{Setup}
+
+ Here we briefly describe the setup for the Windows OS,
+assuming \TeX\ and \MusiXTeX\ have already been installed. After compiling the
+FORTRAN source code, users of other OS's
+may either adapt these instructions as needed or use one of the other setup
+methods referenced earlier.
+
+After decompressing the distribution file {\tt pmx276.zip},
+you should have these
+files: \NEW{2.76} {\tt pmx276.for}, {\tt scor2prt.for}, two
+Windows executables {\tt pmxab.exe} and {\tt scor2prt.exe}, several sample
+{\tt .pmx} files,
+{\tt pmx.tex}, {\tt ref276.tex} (\TeX\ source for a command summary),
+{\tt pmx276.tex }(\TeX\ source for this file),
+PDF images of the latter two files, {\tt pmx25-276.html} showing
+changes from version 2.50 to 2.76, and {\tt install\_run\_PMX271.pdf} which gives more
+details about installing and running on different platforms.
+
+%If necessary, compile the FORTRAN programs.
+%I have tried to keep the source code as generic as possible, but minor
+%modifications may be needed for FORTRAN-to-C translation and/or other
+%compilers.
+
+ Once you have assembled a full set of files, put the executables
+somewhere in the path or in your working directory, {\tt pmx.tex} into the
+texinput directory, the sample {\tt *.pmx} files in your working
+directory (the one from which you will run \PMXX), and the source code and
+document files wherevever you wish.
+
+\subsection{Basic Operation, by Example}
+
+Edit the 15th line of {\tt barsant.pmx} to contain the path to the
+directory where you want \PMX to write the {\tt .tex} file. For example,
+if you want this to be the same as the working directory, type {\tt .\bs}~for Windows,
+or {\tt ./} for UNIX.
+
+If you haven't done so, open a command window and navigate to the
+folder containing {\tt barsant.pmx}. Execute \PMX by typing
+{\tt pmxab barsant} . Alternatively, you may
+just type {\tt pmxab <return>} and you will be prompted
+for a jobname, which in this case is just {\tt barsant} .
+{\bfx pmxab} will always generate two files in the working
+directory: {\tt barsant.pml}
+is a log file, and {\tt pmxaerr.dat} contains a single integer, 0 if
+the run was successful, otherwise the line number in the {\tt .pmx} file of the
+fatal error (useful for batch processing). Also, on successful completion,
+{\tt barsant.tex} will be placed in the path specified in the setup.
+
+Now you are right where you would be after
+entering, debugging, and rough-editing the {\tt .tex} file manually. To see
+the results, process {\tt barsant.tex} just as you would for any \MusiXTeX{}
+file, running all three passes, and view the {\tt .dvi} file, or go on and run
+{\bf dvips} to create a postscript file and view that with a postscript viewer
+such as {\bf GSview}. To make
+separate parts, run {\bfx scor2prt} by typing {\tt scor2prt barsant} .\NEW{2.0}
+The program will create a new {\tt .pmx} file for each instrument, in this
+case {\tt barsant1.pmx} and {\tt barsant2.pmx}.
+You may then process these
+files like you did the original one to create separate parts.
+
+\section{Elements of PMX}
+\def\l@subsection{\@dottedtocline{2}{5em}{20em}}%original 2 3.8 3.2
+%\setcounter{secnumdepth}2
+
+\subsection{Setup Data in the Input File} \label{setupdata}
+
+ To see how the input file is put together, we'll look at
+{\tt barsant.pmx}. For reference, here are are the first few lines:
+\begin{verbatim}
+%----------------%
+%
+% barsant.pmx Revised 29 June 2002
+%
+%----------------%
+%
+% nv,noinst,mtrnuml,mtrdenl,mtrnmp,mtrdnp,xmtrnum0,isig,
+ 2 2 4 4 0 6 0 0
+%
+% npages,nsyst,musicsize,fracindent
+ 1 7 20 0.07
+Basso
+Recorder
+bt
+./
+\end{verbatim}
+The lines
+with {\tt \%} in column 1 are comments.
+Some special handling of comment lines will be
+discussed in the section on creating parts from a score in
+section~\ref{scor2prt}.
+
+The rest of the lines in this example are the {\it setup data}.
+Starting in the first non-comment line above,
+
+{\tt nv} (integer$\leq$24) \NEW{2.6} is the total number of
+sta{\bf v}es per system. Each staff may contain either one or two voices,
+but the total number of voices at any one time may not exceed 24.
+
+{\tt noinst} (integer$\leq${\tt nv}) is number of {\it instruments}. Each
+instrument has a unique name (see below), and any instrument
+with more than one staff will have its staves joined with a curly bracket.
+Usually there is only one staff per instrument and {\tt noinst=nv}. There
+are two ways to assign more than one staff to one or more instruments.
+If only the first (lowest) instrument has more than one staff, such as in
+a score for piano and a solo instrument, simply make
+{\tt noinst$<$nv} and any difference will show up in instrument 1, the bottom
+one in each system.
+\NEW{1.4} For a
+more general distribution of staves among instruments,
+put a minus sign in front of {\tt noinst},
+and follow {\tt noinst} with the number of staves in each instrument in
+succession, separated by spaces. These numbers must add up to {\tt nv} or your
+computer will explode. For a typical example of keyboard music, see
+{\tt mwalmnd.pmx}, in which {\tt nv=2} and {\tt noinst=1}, producing two
+staves per system with a curly bracket at the left.
+
+The number of instruments can be changed as well after the start of the
+score, but only to a number less than the original one. See
+section~\ref{movbrk} to learn how to start with a smaller
+number of instruments and later increase it.
+
+{\tt mtrnuml} is the {\it logical} numerator of the meter, or the number of
+beats per measure; {\tt mtrdenl} the denominator. Please note the special
+considerations in the paragraph after the next. If {\tt mtrnuml} is
+divisible by 2 or 3, beam grouping will be automatic; otherwise you will
+have to force all beams using {\tt [}$\dots${\tt ]} as described in
+section~\ref{beams}.
+
+{\tt mtrnmp} and {\tt mtrdnp} are the {\it printed} numerator and denominator.
+These determine the appearance of the meter in the printed output but
+have no effect on the internal timing analysis. If {\tt mtrnmp$>$0} then it
+and {\tt mtrdnp} are printed literally as the numerator and denominator
+of the time signature. Please note the special considerations in the following
+paragraph. If
+{\tt mtrnmp$<$0}, then the numerator is abs({\tt mtrnmp}) and the
+entire time signature will be printed with a vertical slash through
+it. If {\tt mtrnmp}=0, then {\tt mtrdnp} determines the printed meter
+as follows:
+
+\medskip
+
+\begin{tabular}{ll}
+\tt 0 & No meter is printed ({\it blind} meter change)\\
+\tt 1, 2, 3, or 4 & A single digit, between the 2nd and 4th lines\\
+\tt 5 & Cut time (alla breve)\\
+\tt 6 & Common time\\
+\tt 7 & Numeral 3 with a vertical slash\\
+\end{tabular}
+
+\medskip
+
+There are special considerations for n/16 and n/1 time signatures (where the
+latter "1" normally means a whole note). To get
+n/1 time, use {\tt 0} (zero) for {\tt mtrdenl} and {\tt 1} for {\tt mtrdnp}. To
+remember this rule, recall that the printed denominator is taken literally,
+while the logical denominator can always be represented
+by the same single digit used for the corresponding time value when entering
+ordinary notes (see section~\ref{notes}). So
+for n/16 time, use {\tt 1} for {\tt mtrdenl} and {\tt 16} for {\tt mtrdnp}.
+
+If the first bar is a partial bar containing a pickup, {\tt xmtrnum0} is
+the number of beats in it; otherwise set it to 0. It need not be an
+integer. The first bar is the {\it only} bar that can have a different
+number of beats than the current value of {\tt mtrnuml} (Later we'll see how
+to change the meter).
+
+{\tt isig} is the key signature, positive integer for sharps, negative for
+flats.
+
+If {\tt npages}$>$0, it is the number of pages and {\tt nsyst} is the total
+number of systems in the entire piece. \PMX will spread the entire
+piece horizontally over this number of systems, and vertically over
+{\tt npages} pages. For proper vertical spacing there should be from
+about 9 to 16 staves per page. If you specify too many staves for the number
+of pages, one or more staves may spill over onto an extra sheet. If this
+happens it will only become obvious when you preview the {\tt .dvi} file.
+One solution is to use the global option {\tt Ae}
+(see section~\ref{AeDirective}); another is to increase {\tt npages} or
+decrease {\tt nsyst}.
+
+If {\tt npages} is set to 0, then {\tt nsyst} is interpreted as the average
+number of measures per system. This is useful while building up a
+file a little at a time. \PMX will calculate how many systems to use, and
+spread them over an appropriate number of pages.
+
+{\tt musicsize} is 16, 20, 24, or 29, the height of a staff in points, with
+20 considered the default\NEW{2.6}.
+
+{\tt fracindent} is the indentation of the first system from the left
+margin, expressed as a decimal fraction of the total line width.
+
+Next come the names of the {\tt noinst} instruments as you want them to
+appear within the indentation in the first system, one per line,
+starting with the {\it bottom} instrument. If you've set {\tt fracindent}=0
+and don't
+want instrument names to appear, you must still leave {\tt noinst}
+blank lines here. Next comes a single string of {\tt nv}
+letters or numbers for the clefs, again starting with the bottom staff:
+\label{ClefCodes}
+{\tt b,~r,~n,~a,~m,~s,~t,~f,~8} or digits 0-8 \NEW{2.71} respectively for {\bf b}ass,
+ba{\bf r}itone, te{\bf n}or, {\bf a}lto, {\bf m}ezzo-soprano, {\bf s}oprano,
+{\bf t}reble,\NEW{2.2} {\bf F}rench violin clef, or octave treble clef.
+The last line of setup data contains the path to the directory
+where you want the {\tt tex} file to go when \PMX creates it. The one
+in {\tt barsant.pmx}~,
+{\tt ./}~, represents the current directory in UNIX and some versions of DOS.
+The path must terminate with {\tt /} or {\tt \bs}~.
+
+\subsection{Structure of the Body of the Input File} \label{structure}
+
+ The rest of the {\tt .pmx} file is the {\it body} of the input.
+The basic unit of input from here on is called an {\it input block} or
+just {\it block}, each one representing an integral number of bars. If there
+is a pickup bar defined by {\tt xmtrnum0} $>$ 0,
+it must be included in the first block {\it together with at least one full bar}.
+If you wish to put a pickup in a separate block, for example at the start
+of a new movement, set the initial logical
+meter to fit the pickup bar, then after the pickup bar do a blind meter change
+as described in section~\ref{MeterChange}).
+
+There will usually be
+4 to 8 bars in a block. 15 is the most allowed. It is good practice
+to separate the blocks with comment lines that state which bars are
+represented, as I've done in {\tt barsant.pmx}.
+It is also advisable, although not required, to separate the bars with
+the command {\tt |}. Its main functions
+are to provide visual separation in the input file, and to help isolate input
+errors: if you put one anywhere except
+at a bar-end, {\bfx pmxab} will stop and show you where it detected the
+timing error. Otherwise, with several minor exceptions,
+{\tt |} has no effect.
+
+At the start of each block there may be a few special commands
+(described starting in section~\ref{pmxcmds}).
+Next come the input data for the selected number
+of bars of the first (lowest in the system) voice in the first staff, followed by
+either {\tt /} to move to the next staff, or {\tt //} to move to the next voice
+on the same staff. Each new voice must start on a new line
+in the input file, i.e., there should be no further data on the same input line
+after {\tt /} or {\tt // }.
+ Continue entering other voices, each with
+{\it exactly} the same number of bars as the first,
+terminated by {\tt /} or {\tt //}, until
+ the last (topmost in the system) ends with a {\tt /} and the block is
+finished. Within
+a block every voice must have the same number of bars, but every block
+needn't have the same number of bars as other blocks. The number of
+voices in a staff can only be 1 or 2, and cannot change within a block, but
+may vary from block to block.
+
+ The data for each voice in each staff are a sequence of commands
+containing one or more adjacent characters. Commands are separated from each
+other by spaces. The line-terminating commands {\tt /} and {\tt //} should also
+naturally be preceded by a space.
+
+\subsubsection{Notes} \label{notes}
+
+ Commands for notes always start with a lower-case letter and, as
+with all commands, end at
+the first space. The first letter is the note name ({\tt a-g}). The
+rest of the characters can be in any order with only a few
+restrictions. The first digit defines the {\it basic time value} of the
+note: {\tt 9, 0, 2, 4, 8, 1, 3} or {\tt 6} respectively for double-whole,
+whole, half, quarter,
+eighth, sixteenth, thirty-second, and sixty-fourth notes. The second
+digit sets the octave (for reference, octave 4 runs from middle C to
+the B above). Certain letters may appear after the initial one: {\tt d}
+for {\bf d}ot; {\tt dd} for \NEW{1.4} double dot;
+{\tt f, n,} or {\tt s} for {\bf f}lat, {\bf n}atural,
+or {\bf s}harp (repeat the letter
+immediately for a double); {\tt u} or {\tt l}, which force the stem
+direction of any un-beamed note; {\tt e} or {\tt r} to shift the notehead
+l{\bf e}ft
+or {\bf r}ight by its own width; {\tt a} (for {\bf a}lone) which inhibits
+beaming for this note (or, if the first note of an xtuplet, for the
+entire xtuplet); and \NEW{2.80}{\tt T} to insert a {\it tremolo}
+on the stem.
+The {\tt T} may be followed by a single digit {\tt 1}, {\tt 2}, or {\tt 3}
+to indicate the
+number of slashes in the tremolo symbol; {\tt 1} is the default if no digit
+is entered. \NEW{2.4}A single accidental may be immediately
+followed by {\tt c} to
+make it {\bf c}autionary, i.e., surround it with parentheses.
+Alternatively, it may also be followed by {\tt i} to
+suppress typesetting \NEW{2.3} but still have
+the M{\bf I}DI processor honor the accidental. Other characters allowed in note
+commands are {\tt +}, {\tt -}, {\tt .}(period), {\tt ,}(comma), {\tt x}, and
+several special characters following {\tt x}, all to be described below.
+Between the first letter and the end or {\tt x} if present,
+non-digits can be in any order with respect to each other and to the digits,
+with minor exceptions involving shifting dots and accidentals.
+
+To move
+a dot from its default location, simply follow the {\tt d}
+with one or two decimal numbers, each predeced by
+{\tt +} or {\tt -}.
+The first is the
+vertical shift in \bs{\tt internote}s, the second, the horizontal shift in
+notehead widths.
+
+\label{AccidentalPosition}
+Accidentals \NEW{1.4} can be shifted too. One way is to enter
+{\tt +} or {\tt -} right after the accidental character,
+then an integer
+for the vertical shift, then another {\tt +} or {\tt -} followed by the
+horizontal shift in notehead widths. If you use this method, you {\it must}
+enter both numbers. Or, to just shift horizontally, use
+{\tt <} or {\tt >} followed by the shift in notehead widths. When shifting
+a sharp to avoid another sharp, a left shift of 0.85 is usually best. When
+shifting a flat to avoid a flat above it, a left shift of 0.3 is suggested.
+In chords (see section~\ref{chords}), if all the notes are in the same \NEW{2.4}voice,
+\PMX will automatically shift accidentals if required. This will be disabled
+for the current chord
+if any user-defined accidental shifts are entered, unless {\tt A} is entered
+along with the shift, e.g., {\tt zcsA<.5} . In that case the user-defined
+shift will be added to the PMX-computed one.
+\NEW{2.4} Another option that affects accidental positioning in
+chords is {\tt Ao},
+entered in the main note command of a chord. It will force the accidentals
+in that chord will be posted in the order
+they come in the source file (starting with the main note), each one as far
+to the right as it will go without crashing into a notehead, stem, or
+another accidental.
+
+
+ Dots and accidentals always have to be entered when and if a note
+calls for them. i.e., they are never carried over from previous notes.
+On the other hand, the octave only needs to be entered if the note is
+more than a fourth away from the most recent note in the same voice.
+This feature lets you go for long stretches in a voice before needing
+to enter the octave. An alternate way to jump more than a fourth but
+less than a twelfth is to type {\tt +} or {\tt -}. In other words, these
+mean to put the note an octave higher or lower than it
+otherwise would have gone. Two {\tt +}'s will raise the pitch two octaves
+above what it otherwise would have been, and so forth.
+The basic time
+value is also carried over from the past if it is not re-entered,
+except for the first note or rest in each voice in an input block,
+for which it {\it must} be entered.
+Therefore, when the melody jumps more than a 4th, using {\tt +} or {\tt -} is
+often more convenient than using a digit. This is because in order to
+use the digit, you must first enter the basic time value whether it
+changes or not.
+
+ For example {\tt c44 d e f g a b c c0-} is an ascending quarter-note
+scale starting on middle C, followed by an octave jump down to a
+whole note middle C.
+
+ Explicit octave \NEW{2.1} numbers can be combined with one or
+more {\tt +} or {\tt -} . In earlier versions, {\tt +} or {\tt -} was
+ignored if an octave number was specified. This is a slight backward
+incompatibility; \PMX prints a warning when it happens.
+
+Stem length \NEW{2.73} can be {\bf s}hortened or {\bf l}engthened by {\it x}
+\bs{\tt internote} with the options {\tt S}{\it x} or {\tt L}{\it x}~.
+{\it x} is restricted to the range (0.5,4.0) for shortening and 0.5 to 27.5
+for lengthening.
+The shortening can be made ``sticky'' by following the number {\it x} with
+{\tt :} . Then every note's stem in the voice will be shortened until
+one is encountered with the option {\tt S:} . By lengthening a stem enough
+to span to the next staff and connect with notes there, unflagged staff-spanning
+chords can be constructed. See section \ref{chords}~for further details
+about staff-spanning chords.
+
+The first note command in each voice in a block must
+contain at a minimum the note name or {\tt r} for a rest (see below),
+and a basic time value. For notes, it is good practice and can simplify
+editing
+if in addition an explicit octave is set here. However if it is not,
+\PMX will make some assumptions. At \NEW{2.4} the start of the first
+input block the pitch will be set as if the prior note were middle C.
+In later blocks \PMX will use the
+obvious inheritance rules from the end of the prior block.
+However, if the number of voices in a staff
+has changed from the prior block, it is safest to reset the octave at the
+start of a new block. Duration is never inherited and must be set at the
+start of each input block.
+
+ Dots can be a little tricky, because even though they affect the
+actual time value, they don't affect the basic time value, and it is only the
+latter that is ``sticky". Therefore, if a note is to be dotted, you always have to
+enter a {\tt d} (or a period, see next paragraph) somewhere within the
+command, after
+the note name, even if the actual time value and octave are the same
+as the prior note. But the {\it basic} time value need not be re-entered if
+it hasn't changed (unless the note is more than a fourth from the
+prior note {\it and} you have for some strange reason elected to indicate the
+octave with a number rather than {\tt +} or {\tt -} ). So for example,
+consecutive dotted half notes, each within a fourth of the previous
+one, could be most cleanly entered as {\tt cd24 ed gd ed}, whereas {\tt cd24 e}
+would represent a dotted half note followed by a plain half note
+(since the basic time value---as defined by the first digit---was a half
+note all along).
+
+ There are two special shortcut rhythmic notations. For normal dotted
+rhythms (3:1 ratio), if you
+include a period ({\tt .}) in the note command, it will
+(a) assign a dot to the note just entered, (b) terminate that note,
+(c) prepare to
+receive the next note name {\it without any space}, and (d)~automatically
+assign a time value to the second note equal to one-third of the first one.
+No time value may be entered for the second note, but octave and accidental
+data may. Ornaments and slurs (see below) following this command will apply
+to the second member. If you need to follow the main note
+with some modifying
+\NEW{2.3}
+command, you can still use the shortcut ({\tt .}) after that command and a
+space.
+The main advantage of this shortcut comes if you want to
+follow one dotted pair with another of the same rhythm; then you
+needn't enter any explicit time value for {\it either} member of the second pair.
+This is possible because after using the shortcut,
+the basic (inheritable) duration is set to that of the
+{\it first} note in the pair, without the dot.
+
+ For paired notes with 2:1 rhythmic ratios, the character {\tt ,}~(comma)
+behaves similarly to the {\tt .}~(period) for 3:1 rhythms.
+
+ Xtuplets, or groups of notes with their stems connected,
+can have from 2 to 24 notes or\NEW{1.4} rests. Normally they
+all have the same duration, but there are several options---described
+below---to change this. The command for the first note of an xtuplet begins
+exactly like a
+note or rest command, with the name of the first note in the xtuplet, or
+{\tt r} if it starts with a {\bf r}est (see subsection below on rests),
+and an optional time value.
+However, the actual time value (including a dot if present and a basic
+duration that may have been inherited from the prior note) now represents the
+{\it total} duration of the xtuplet. Next (with no space, as usual) comes
+{\tt x} followed by either a one- or two-digit integer for the number of notes in
+the xtuplet, or \NEW{2.80}{\tt T} to initiate a 2-note tremolo, to be further
+discussed below. The only options allowed immediately following the number are
+{\tt d} and {\tt n} . \NEW{2.4}{\tt d} signifies that the {\it first} note
+of the xtuplet should have a dot and the second, and extra flag.
+{\tt n} controls the printing of the {\bf n}umber and bracket.
+If {\tt n} is followed by a blank, then no number will be
+printed. On the other hand,
+an \NEW{2.3}{\it unsigned} integer here is taken as a substitute number to
+be printed instead of the natural one.
+If one or two {\it signed} decimal numbers follow {\tt n}
+(each starting with {\tt +} or {\tt -}), the first
+is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift
+in notehead widths. Another suboption to {\tt n} is {\tt f},
+to {\bf f}lip the number vertically from its default position. A \NEW{2.5}final
+suboption to {\tt n} is {\tt s} followed by a signed integer. It applies only
+to non-beamed xtuplets, for which it tweaks the slope of the bracket above or
+below the xtuplet. For non-beamed xtuplets, you can further change the
+appearance of the bracket and number as explain in section~\ref{ATDirective}.
+
+The second through last notes of the xtuplet are each then
+represented by a separate command containing a subset of the characters
+permitted for ordinary notes or rests: note name or {\tt r} (the only required
+character), accidental, and octave change character ({\tt +} or {\tt -}).
+\NEW{1.4} The octave may be given explicitly instead, and any integer will be
+interpreted as such, as no numerical time value is permitted.
+
+To double\NEW{2.3} the duration of any note in an xtuplet, add the
+character {\tt D} to the command for that note. This will decrease the expected
+number of notes in the xtuplet by one. To add a dot to the doubled note
+(as Bach sometimes did), use {\tt F} instead of {\tt D}.
+\NEW{2.4}To add a dot to one
+note and an extra flag to the next, include {\tt d} in the note command,
+{\it after} the {\tt x} if it's the first note of the xtuplet as noted above.
+
+As an example, an ascending quarter-note triplet scale would be
+notated\hfil\break {\tt~c44x3~d~e~f4x3~g~a~b4x3~c~d~\dots}
+
+\subsubsection{2-note tremolos}
+
+A 2-note tremolo \NEW{2.80}is a special case of an xtuplet.
+It represent a rapid alternation between two notes.
+It is notated with a pair of
+notes, either beamed or unbeamed, with the possible addition of from one to three
+indented, disconnected beams between the two note stems.
+Like an ordinary
+xtuplet, it begins with a note name, optional duration and octave level, then
+the character {\tt x}. The duration applies to the total time value of the
+two notes, and is currently limited to either a half note ({\tt 2}),
+quarter ({\tt 4}), or eighth ({\tt 8}). The duration may be dotted.
+Next comes a {\tt T}. This is optionally followed by one or two
+integers from 0 to 3. The first indicates the number of ordinary beams
+connecting the two notes; the second, the number of indented beams.
+No other options are allowed, and some options are prohibited, such as zero
+ordinary beams on anything except a quarter or dotted quarter tremolo. If no
+integers are entered, defaults are assigned: (3,0) for a half, (0,3) for a
+quarter, and (1,2) for an eighth. After a space, the
+second note of the tremolo is entered. If the total duration is a half or dotted
+half, the
+noteheads will be open. For a whole note tremolo, two consecutive half note
+tremolos should be used. As with ordinary xtuplets, the horizontal spacing of the
+notes will always be the
+correct value for notes with half the duration of the total.
+
+Either\NEW{2.84} or both members of the tremolo may include chordal notes,
+using the normal {\tt z} notation described in section~\ref{chords}. Also,
+if the tremolo is beamed, the height and angle of the beam may be adjusted
+after making it a forced beam as described in section!\ref{beams}.
+
+Some examples are shown below. When two versions are shown for a given duration,
+the first is the default. The following \PMX code generates the example.
+
+~
+
+{\tt f24xT a fxT a | fxT20 a fxT20 a /}
+
+{\tt L2 fd24xT a r4 | f24xT a f2xT20 a /}
+
+{\tt L3 fd44xT a r8 f44xT a r4 | f44xT02 a fd8xT a r1 f8xT a r4 f8xT11 a /}
+
+~
+
+\includegraphics[scale=1.0]{tremxmpl3.eps}
+
+\subsubsection{Rests}
+
+ The command for a rest starts with {\tt r}.
+Then for a normal rest, in either order come a digit for the basic time value
+(using same codes as for notes, optional if unchanged from previous value),
+a {\tt d} if the rest is dotted, and a second {\tt d} if double dotted.
+\NEW{2.0} The basic time value of a rest
+affects future notes and rests the same as if it had come from a note,
+i.e., it applies until another value is entered with a subsequent note
+or rest in the same voice. The command {\tt rp} represents a
+full-bar rest notated with a {\bfi p}{\it ause} character (whole rest)
+regardless of
+the time signature; in this case no other duration information is
+needed or allowed. {\tt rb}, followed if necessary by a duration
+specifier, denotes a {\bfi b}{\it lank} rest, one that occupies space and time
+but is invisible. This is most often used when there are
+two voices in a staff and one drops out for some of the duration
+of the current input block. (See {\tt mwalmnd.pmx} for examples).
+\NEW{1.4} The
+option {\tt o} (for {\bf o}ff-center) suppresses centering a full bar rest. If
+you don't exercise this option, then
+{\it all} full-bar rests will be horizontally centered between bar
+lines, including pauses ({\tt rp}) as well as normal rests that fill the bar.
+\label{MultibarRest}{\tt rm} followed immediately by an integer will generate a
+{\bfi m}{\it ulti-bar}
+rest, a special combination of characters between two bar lines with an integer
+above representing two or more bars of rest.
+This command will generally only be used in separate parts
+after having been automatically generated by {\bfx scor2prt}. However, it
+\NEW{2.4}may be used in a multi-line score, provided it is entered for the same
+number of bars in every staff.
+
+ The default vertical position of a rest depends on whether there
+are one or two voices in the staff.
+For one voice it is just the \MusiXTeX{} default
+(approximately centered on the middle line). On the other hand, in
+the lower voice in
+a two-voice staff, the rest is lowered {\tt 4\bs internote}, while
+in the upper voice it is raised {\tt 2\bs internote}. The \PMX default can be
+manually overridden by appending {\tt +}~or~{\tt -} and an integer
+representing the offset from the {\it middle} line of the staff
+(not from the \PMX default if there are two voices in the staff!).
+So for example, in a single staff
+in 3/4 meter, two voices, each with a half note followed by its own
+quarter rest would be either
+\begin{verbatim}
+c24 r4 //
+c25 r4 /
+\end{verbatim}
+or equivalently
+\begin{verbatim}
+c24 r4-4 //
+c25 r4+2 /
+\end{verbatim}
+while
+\begin{verbatim}
+c24 r4+0 //
+c25 r4b /
+\end{verbatim}
+would produce two notes followed by a single, vertically centered rest.
+
+Another way to override the default vertical positioning of rests is useful in
+keyboard scores, or in fact any score containing two voices on a staff.
+The option {\tt K} (for {\bf K}eyboard) in the
+{\tt A} command generally causes rests to be
+aligned horizontally with notes in the voice in which they are entered. See
+section~\ref{Acommands} for a detailed description.
+
+\subsubsection{Chords}\label{chords}
+
+ Chordal notes, which always share a stem and the same time value as the
+prior note, are symbolized with {\tt z} (for {\bf z}ero time) followed by a note name and
+optionally an accidental, {\tt +} or {\tt -} as octave indicator, and {\tt e}
+or {\tt r} for a l{\bf e}ft or {\bf r}ight shift by one notehead width.
+No basic time value is allowed. If the main note
+is dotted, then the chordal note will appear with a dot regardless of whether
+a {\tt d} is entered. The only time a {\tt d} is required in a chordal note
+command is if the dot's position is to be adjusted; in this case the
+{\tt d} is required, followed by one or two decimal numbers, each preceded by
+{\tt +} or {\tt -}. The first is the vertical shift in \bs{\tt internote}s;
+the second, the horizontal shift in notehead widths.
+Any number of chordal notes can follow a
+single main note. The stem direction of a chord is controlled by the main
+note, but may be manually overridden with {\tt u} or {\tt l} in the main note
+command.
+
+ When chordal notes are beamed together, the default height and angle of
+the beam will be determined by the main note on each stem (the one without
+{\tt z}). If a beam joining chordal notes looks bad, you can usually
+fix it either by changing which note acts as the main one,
+or by fine-tuning the beam parameters as described
+in section~\ref{beams}.
+
+\PMX uses a complex algorithm to automatically position accidentals in chords.
+If you are unhappy with the result, you can manually tweak the horizontal
+positions as described in section~\ref{AccidentalPosition}.
+
+Although there is no dedicated command for it, chords can be made to span from
+one staff to another using various techniques\NEW{2.73}. The approach will depend on
+whether
+the chord is single-stemmed with no flag, single-stemmed with a flag, or beamed.
+If beamed, it will also depend on whether it is an xtuplet or not. Examples of all
+the basic possibilities are contained in the sample file {\tt staffcrossall.pmx}.
+
+For unbeamed, unflagged staff-crossing chords,
+by lengthening the stem with the {\tt L} option on the main note, it can
+be made long enough to join with an unflagged single-stemmed note or chord in the
+next staff. Single-stemmed notes with one or more flags can be joined across staves
+with a trick discovered by Andre Van Ryckeghem: In one staff create a standard note or
+chord with
+the stem pointing away from the other staff. In the other staff, place the chord notes
+in a one-note forced beam that has been lowered or raised into the first staff
+(e.g. {\tt [-10 b14 ]}); that
+will stretch the stem to join the other notes, but with just one note (or chord) in the
+beam, the crossbar will have zero length and be invisible.
+
+Beamed chords may also span from one staff to another, using joined beams (see
+section~\ref{beams}). The general approach is to construct a set of chords
+(or single notes, if the other chord notes are in the other staff) in each of
+the two staves, enclose each set in a separate forced beam, and join the two
+beams with {\tt ]j}...{\tt [j}~. It is important to remember that the
+lower staff is processed first. So in most cases, the end of the segment in the lower
+staff must be joined (using {\tt ]j}) to the start of the upper segment (with {\tt [j}).
+It turns out that for non-xtuplet beamed chords, in all cases where the chord at the
+beginning of the beam has a note
+in the {\it lower} staff, this works fine provided that the forced beams are of equal
+duration and cover the same time span, and that positions in either staff with no note
+are represented with
+blank rests \bs{\tt rb} inside the force beam. So for example a set of beamed chords
+that starts only in the
+lower staff and ends only in the upper could be represented by
+\begin{verbatim}
+{\tt [+28 g83 g g rb ]j /
+[jf rb g84 g g ] /}
+\end{verbatim}
+This example highlights some other issues, viz., that the beam height or direction of one
+or both beam groups may need to be altered. Often this will require trial and error.
+
+Unfortunately this two-group procedure breaks down if the first chord in the beam has no
+notes in the lower staff. There are tricks to get around this; the user is referred to
+the file {\tt staffcrossall.pmx} for examples. However, there is a much more
+straightforward way to define
+staff-crossing beamed chords that begin in the upper staff: it simply requires defining
+the beamed group in each staff as an xtuplet within a forced beam. It turns out that
+the treatment of
+staff-crossing beamed xtuplets is more robust than for non-xtuplets, and will admit
+more intuitive coding. So for example, the reverse of the above example, where
+the beam starts in the upper staff and ends in the lower, could be obtained with
+\begin{verbatim}
+{\tt [+28 rb2x4n g3 g g ]j /
+[jf g24x4 g g rb ] /}
+\end{verbatim}
+\newdimen\psav\psav=\parindent\parindent=0pt where we used the option {\tt n} to
+suppress printing the number. As you might expect, more general staff-crossing
+beamed chordal xtuplets follow the same concepts already described for non-xtuplets,
+but as noted, they are more robust and admit patterns that start in the upper staff
+and end in the lower one. {\tt staffcrossall.pmx} also contains examples this
+approach.
+
+\parindent=\psav
+
+\subsubsection{Grace notes}\label{graces}
+
+ A grace note command starts with a {\tt G}. It is entered in its natural
+order, normally before the main note, but sometimes after. After {\tt G} and
+before the note name, comes any
+combination of the following options: an unsigned integer (which may have 2 digits)
+representing the number of
+notes in the grace (default is 1), {\tt m} and a digit for
+{\bfi m}{\it ultiplicity}
+(number of flags or beams, default is 1, 0 is allowed),
+{\tt s} for {\bf s}lur (joining all notes of the
+grace to the main note; no other {\bf s} is needed on the main note),
+{\tt x} for a slash (only for single graces),
+{\tt l} or {\tt u} to force the direction of the stem(s),
+{\tt X} followed by a decimal number {\it x} to insert a gap of {\it x}
+notehead widths between a normal grace and its main note\NEW{2.6},
+{\tt A} (for
+{\bf A}fter) or {\tt W} (for {\bf W}ay-after) to associate
+the grace note with the {\it prior} note. Next comes the only
+required character, the
+first note name. No time value can be entered, but if needed, the
+octave or an accidental can be given as in a normal note. Second and
+later notes must follow immediately in sequence, set apart by spaces, likewise
+without any time value, and without any intervening commands.
+
+ Normal or after-graces will be placed {\it immediately} before or after
+the main note; way-after's, as far to right as possible before the next note
+or bar line. If either type of after-grace is slurred, the slur will start
+on the main note and end on the last one in the grace.
+
+
+\subsubsection{Ornaments}
+
+ Commands for ornaments are entered {\it after} their associated
+note command. The ornaments now available are shake ({\tt ot}), {\bf m}ordent
+({\tt om}), ``x"- or ``+"-shaped ornament symbols ({\tt ox, o+}), pizzicato
+({\tt ou}), strong {\bf p}izzicato ({\tt op}), left parenthesis before
+notehead ({\tt o(}), right parenthesis after notehead ({\tt o)}),
+upper {\bf f}ermata ({\tt of}), {\bf d}own {\bf f}ermata ({\tt ofd}),
+staccato ({\tt o.}), tenuto ({\tt o\_}), two different se{\bf g}nos
+({\tt og} or {\tt oG}), {\bf C}oda ({\tt oC})\NEW{2.71},
+arbitrary-length wavy-line {\bf t}rill with {\it tr} ({\tt oT}),
+arbitrary-length wavy-line
+trill without {\it tr} ({\tt oTt}), sforzando ({\tt o>}),
+%duncecap ({\tt o}\hbox to 6pt{\tt\^~}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and
+duncecap ({\tt o\verb|^|}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and
+{\bf b}reath ({\tt ob}).
+All except the parentheses, staccato,
+tenuto, and down fermata will normally
+appear above the staff; the parentheses appear at the level of the note
+head, and staccato and tenuto just above or below depending on the
+stem direction. The only difference between staccato and
+pizzicato is the vertical positioning of the dot.
+
+Either type of trill may immediately include an unsigned decimal number
+to specify the length of the printed symbol in current \bs{\tt noteskip}s; the
+default is 1. Thus {\tt oT0} represents {\it tr} with no wavy line.
+
+Once the ornament type has been specified, most of them can be raised
+or lowered from their default position by appending
+a signed integer to the command, representing the vertical offset
+in \bs{\tt internote}s. \NEW{2.4}. A second signed integer specifies a
+horizontal shift from default in notehead widths.
+
+The caesura and breath marks differ from the others in their default horizontal position,
+which is 0.5\bs{\tt noteskip} past the note.
+
+The {\tt og} segno has several special properties. It must be entered in the first (lowest)
+staff, but will appear above
+every staff. Its vertical position cannot be altered, but if appended by a number...unsigned
+if positive...all appearances will be shifted horizontally by that number of points. On the
+other hand, the {\tt oG} segno\NEW{2.71} has a smaller symbol than {\tt og},
+applies only to the note after which it is entered, and can be shifted just as a
+normal ornament.
+
+ An ornament can be automatically repeated on a series of consecutive notes,
+provided the notes are all in the same voice and the same input block.
+To activate this feature, terminate
+the first ornament command with~{\tt:}~. Then every note in that voice will
+have the same ornament until a note is followed by the repeat terminator
+{\tt o:} .
+
+\subsubsection{Editorial accidentals}
+
+ To place a small sharp, flat, natural, or question mark above the staff,
+after the affected note enter {\tt oe} followed by {\tt s, f, n} or {\tt ?}.
+\NEW{2.2} You may also put a question mark right after the accidental.
+
+\subsubsection{Slurs} \label{slurs}
+
+ By default \PMX will use \MusiXTeX's built-in font-based slurs.
+But through user intervention it is possible to use either one of
+\NEW{2.4}two different types of postscript slurs. {\it Type K} slurs,
+developed by Stanislav Kneifl, are directly supported by \PMX and will
+be the focus of any future \PMX enhancements.
+They are globally activated with {\tt Ap} and several global
+defaults set with other options to the {\tt A} command as described in
+section~\ref{ApDirective}. If these are used, so will an alternate
+set of hairpins (see section~\ref{dynamics}).
+The other postscript slur option is Hiroaki Morimoto's {\it Type M} slurs.
+These
+are not directly supported by \PMXX, but are intended to be fully
+compatible with the default font-based slurs. To use them, one would
+use the in-line \TeX~command \bs\bs{\tt input musixpss}\bs~, and be sure
+{\it not} to enter {\tt Ap} . From \PMXX's standpoint they are no different
+from font-based slurs.
+
+There are some advanced options available only
+with Type K postscript slurs, and a few obsolete ones only with font-based.
+At this point the main
+difference in functionality between the two is that with postscript, \PMX
+provides support for
+true ties, which are shaped and positioned slightly differently from
+slurs. Future enhancements
+will probably only work with Type K postscript slurs. Some users do still
+prefer
+font-based, possibly because Type K postscript slurs are not visible in some
+DVI viewers.
+New users should experiment with the various types of slurs and decide for
+themselves.
+
+ The normal commands for slurs are {\tt (} placed with a space
+before a note, and {\tt )} placed after. The command {\tt s} is equivalent to
+{\it both} of them (!), except that it always follows the affected note.
+With font-based slurs, {\tt t} is equivalent to {\tt s} but
+with several minor differences to be explained later. With postscript slurs,
+{\tt t} signals to use a true tie.
+The commands {\tt s} and {\tt t} are {\it toggles}, turning
+a slur or tie off if it's already on and starting one otherwise.
+
+A \NEW{2.5} slur or tie may end on a rest, but not start on one. The default
+ending height in this case will be the same as the starting height, and it
+may be tweaked as described below.
+
+ The first character is optionally followed by
+a single-character ID code {\tt 0-9} or {\tt A-Z}, then by other
+options described below. ID codes are only needed if two or more slurs are
+open at the same time within one voice, such as when several chord
+notes are tied. Using ID codes in such cases tells \PMX which open slur to
+close. ID codes cannot be used with font-based {\tt t} slurs.
+
+The rules for finding the default direction and position of a slur
+are complex; many factors enter into defining visually pleasing values. But
+there's no need for gory details here; the result will usually satisfy, and if
+not, it can easily be tweaked. The default direction of curvature can be
+overridden with {\tt u} ({\bf u}pper), {\tt l} ({\bf l}ower),
+or equivalently {\tt d} ({\bf d}own).
+Starting or ending position can be shifted from its default by
+entering one or two explicitly signed numbers. The first, which must be
+an integer, represents the vertical shift in \bs{\tt internote}s; the second,
+which may be decimal, the horizontal offset in notehead widths. \NEW{2.71}Starting
+or ending
+position of a postscript slur or tie can be made to align with the end of the stem
+of an unbeamed note by using the option {\tt v}. No other options are permitted
+with {\tt sv}, but any desired position can be forced with the numeric options.
+
+The shape of the slur may be altered as well\NEW{2.1}. This paragraph
+deals with font-based slurs, for which the shapes may be less
+than fully satisfying due to fundamental limitations of \MusiXTeX.
+At the slur termination only, one or three
+more parameters may follow the ones just described. The first, a signed,
+nonzero
+integer, is a vertical adjustment to the mid-height of the slur in
+\bs{\tt internote}s. The next two, integers between 1 and 7 following a
+``{\tt :}", are alterations to the starting and ending slopes.
+These numbers are
+passed directly as arguments of the \MusiXTeX{} macros \bs{\tt midslur}
+(if only
+one is given) or \bs{\tt curve} (if there are three).
+
+For \NEW{2.4}Type-K slurs,
+the shape may be changed locally by including {\tt f} in either the
+slur's starting or ending command to flatten it a bit, or {\tt h},
+{\tt H}, or {\tt HH} to
+increase its curvature and raise or lower its middle by increasing degrees.
+The default \NEW{2.5}curvature can be altered from normal
+with new suboptions
+to {\tt Ap} as described in section~\ref{ApDirective}. Local
+curvature tweaks will take precedence over the global default. A special
+option {\tt n} to the slur command can be used to locally restore the normal
+curvature if the default curvature has been globally changed.
+
+Another option peculiar to Type-K slurs and ties is to locally
+override the global
+setting for automatic height adjustment (to avoid tangencies with staff
+lines). The global defaults may be changed with the {\tt A} command as
+described in section~\ref{ApDirective}. To
+override the global setting for the current slur or tie only, use
+the option {\tt p} in the command that starts the slur or tie,
+followed by {\tt +} or {\tt -} (to turn adjustment
+on or off), followed by {\tt s} or {\tt t} (for slur or tie).
+
+A dotted \NEW{1.41} slur is activated by including the option {\tt b} (for
+{\bf b}roken) in the command that starts the slur.
+
+Slurs involving grace notes are specified within the command for the grace
+(see section~\ref{graces}).
+
+For font-based slurs, the unique aspect of {\tt t} slurs is that if one
+starts or ends on the same
+note as an {\tt s} slur, the former will be moved away from the notehead to
+avoid a collision. {\it This only works if neither slur has an ID code.}
+This feature is only retained for backward compatibility.
+
+The available options should cover most circumstances, but if not,
+the \TeX\ macros \bs{\tt isu} etc, defined in {\tt pmx.tex}, can be entered
+as in-line \TeX\ commands (see section~\ref{LitTeX}).
+These commands have three arguments:
+slur number, vertical position (pitch, or offset from bottom staff line in
+\bs{\tt internote}s), and horizontal offset in
+notehead widths. When using these commands, you must choose an explicit
+slur number. Use one large enough to avoid
+conflicts with \PMXX 's automatic slurs, which are numbered from \NEW{2.4}
+0 upward.
+Also, remember that non-spacing in-line \TeX\ commands such as this one must
+come {\it before} the note they apply to, in contrast with the \PMX
+slur toggles which may come after.
+
+\subsubsection{Ties}
+
+With font-based slurs, in \PMX the only difference between ties and slurs
+is the default positioning.
+Ordinary slur ends are centered horizontally above or below the notehead,
+while tie ends are shifted inboard and closer to the midheight of the
+notehead. To specify a font-based tie in \PMXX, use a slur command and
+include the option {\tt t}
+in it, somewhere after the initial {\tt ( , ) , s } or {\tt t} .
+
+\NEW{2.4} With postscript slurs, ties---indicated with {\tt t} or
+{\tt st}---will have similar differences
+in endpoint positions,
+but in addition will have a different shape (somewhat flatter) and will
+always end at the same height they start. There is also an option to the
+{\tt A} command that affects ties across line breaks
+(see section~\ref{ApDirective}). By default the
+second part of such ties will be drawn as a complete tie symbol. However,
+if you want them to be a {\it half tie}---a special shape that is horizontal
+at its left end---use the command {\tt Ap+h} at the start of the file.
+
+In addition to the notation options just mentioned, ties may also be
+%indicated with the character {\tt\{} before the starting note and {\tt\}} after
+indicated with the character {\tt$\{$} before the starting note and {\tt$\}$} after
+the ending note\NEW{2.6}.
+
+\subsubsection{Line-breaking Type K slurs and ties} \NEW{2.5} \label{lbslurs}
+
+No special action is required if a slur or tie happens to cross a line break.
+However, some special, manual adjustments are available for Type K postscript
+slurs in these cases. The global option {\tt Apl} by itself adjusts several
+parameters as described in section~\ref{ApDirective}. Further, if {\tt Apl}
+has been issued,
+then case-by-case adjustments for line-breaking Type K slurs and ties are
+available as suboptions to the
+slur commands. To tweak the horizontal and vertical positions of the end of
+the first segment, enter the suboption {\tt s} in the command that starts
+the line-breaking slur or tie, followed by two signed numbers representing
+respectively the vertical shift
+in \bs{\tt internote}s and the the horizontal shift in notehead widths. To
+tweak the position of the start of the second segment, follow the above by
+another {\tt s} and two more signed numbers. The usual curvature options
+{\tt h}, {\tt H}, {\tt HH}, and {\tt f}, if included in
+the starting command for a line-breaking slur, will apply only to the first
+segment, and if in the closing command, to the second segment. If the tweaked
+slur or tie does not happen to come at a linebreak,
+the special position tweaks (after {\tt s} ) will all be ignored, and the
+curvature tweaks on the closing note will take precedence as they normally
+would.
+
+\subsubsection{Dynamics} \label{dynamics}
+
+\NEW{2.3}
+After the affected note, enter {\tt D} followed by one of the
+following {\tt pppp, ppp, pp, p, ffff, fff, ff, f, mf, mp, fp, sfz,
+"[{\it any text}]", >,}
+or {\tt <} . The last two are diminuendo and crescendo, and they are toggles,
+i.e., the first one of each starts the symbol and the next one ends it.
+The one surrounded by \NEW{2.76} double quotes is an arbitrary text string
+no longer than 64 characters, which may include embedded \TeX.
+With any dynamic mark, you can also
+enter position shifts, vertical as a signed integer representing
+the number of {\tt \bs internote}s, then horizontal as a signed number representing
+number of notehead widths. There can only be one of the letter-groups on each
+note, but there may also be {\tt D<} and/or {\tt D>} on the same note. These must be
+entered as separate {\tt D...} commands, and must come in the right order, e.g.,
+
+\medskip
+[{\it some notes}] {\tt D<} [{\it more notes}] {\tt D< Dffff D>}
+[{\it more notes}] {\tt D>}
+\medskip
+
+Hairpins \NEW{2.7} may span from one input block to the next.
+
+There are numerous context-sensistive automagic adjustments to the positions
+of all the dynamic symbols. If you don't like the result you can adjust the
+position as just described.
+
+Due to \MusiXTeX's limitations,
+there are some restrictions on hairpins when using font-based slurs.
+They cannot be longer than 68mm, they cannot wrap over a system break, and they
+must be horizontal. Finally,
+only certain specific lengths are available so some horizontal position
+tweaking may be needed, especially when letter-groups and
+hairpins are combined.
+These restrictions are all removed when using postscript slurs.
+
+\subsubsection{Beams} \label{beams}
+
+ For the most part, \PMX automatically takes care of the details of
+defining beams: selecting which notes are beamed together, and setting
+the angle, direction, height, and {\it multiplicity} (the number of bars
+along the top or bottom). However, one may define a {\it forced}
+beam---which overrides \PMXX 's selection of which notes are beamed
+together---by
+surrounding the included notes with {\tt [} and {\tt ]}, being certain to
+separate these commands and their options from the included note commands with
+spaces. One may also wish to edit certain features of a beam even when
+\PMXX 's grouping decision
+would otherwise be acceptable; here again the beamed notes must be set
+apart with {\tt [} and {\tt ]}.
+
+The {\tt [} may optionally be followed
+immediately by several options.
+
+{\tt u} or {\tt l} will override
+\PMXX 's selection of the direction of the beam, while {\tt f} will
+{\bf f}lip it from whatever \PMX decided.
+
+{\tt j} {\bf j}oins the beam
+grouping to a prior one started in another system (see below).
+
+One, two, or three consecutive integers, each preceded with {\tt +}
+or {\tt -} , will affect the beam's appearance. The first integer is
+an adjustment to the starting level (in \bs{\tt internote}s) and may range
+from -30 to 30; the second is a slope adjustment with the same
+permissible range; the third is an alternate adjustment to the
+starting level (in beam thicknesses) and may only range from 1 to 3,
+always acting to increase the stem length. The latter may be used to
+align consecutive horizontal beams which have internal multiplicity
+changes. For example, in 2/4 time, {\tt c84~c1~c~c~c~c8} would cause two
+beams but the
+first one would be lower than the second; {\tt [+0+0+1~c84~c1~c~]~c~c~c8}
+would align the tops of the beams with each other. Due to the
+complexity of \PMXX 's beam analysis procedures, these editing commands
+may sometimes produce unexpected results, and some iteration may be
+required to get exactly what you want. For example,
+{\tt [+0+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}
+will not produce two aligned beams as desired, because
+when \PMX analyzes the first beam, it automatically raises the starting
+level a bit for another reason, namely, to avoid too short a stem on
+the 64th notes at the end of that beam. In this case,
+the user could counteract \PMXX 's internal adjustment by using
+{\tt [-1+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}.
+
+The option {\tt h} forces the beam to be {\bf h}orizontal.
+
+The character {\tt m} followed by a digit 1-4 forces the {\bf m}ultiplicity
+of the beam, the number of stem-joining bars.
+
+ By default, xtuplets are set apart with their own beam. To beam
+an xtuplet together with other non-xtuplets, just include it with the
+other notes in a forced beam.
+
+ Rests may also be included within forced beams, provided they are
+shorter than quarter rests, and of course that they come {\it between} the first
+and last notes under the beam.
+
+It's \NEW{2.5} now easy to define a repeating forced beam pattern.
+If the option {\tt :}~(colon) is included in the starting command {\tt [}~for
+a forced beam, then after you end the beam, more beams of the same duration
+will be forced in
+that voice, until stopped. They will be stopped at either the next regular
+forced beam, or the end of the input block for that voice, whichever comes
+first.
+
+ Some users may wish to define beamed groupings with subgroups
+joined by a single beam. The command {\tt ][}, standing alone between two
+note commands in a forced beam, causes the multiplicity to decrease to
+unity and immediately increase to its natural value for the next note.
+For example, {\tt [~c14~c~c~c~][~c~c~c~c~]} will generate two doubly-beamed
+groups connected by a single beam.
+
+Related \NEW{2.3} to this is a {\it single-slope beam group}, which is the
+same as described
+in the previous paragraph except that the beam disappears between segments.
+Segments should be separated by {\tt ]-[} standing alone between two notes
+inside the forced beam.
+
+ If there are large jumps in pitch between notes in a beam within
+a single staff, as a matter of taste you may wish
+to start the beam for example as an upper one and end it as a
+lower. \PMX will never do this automatically, but you can accomplish
+it by forcing the beam with appropriately modified up/down-ness, starting level,
+and slope. If you use this technique, there are two details to note: (1)~if
+there are any intermediate multiplicity changes, they will only be handled
+properly if the initially specified up-down-ness is consistent with the
+vertical position
+of the intermediate notes involved, and (2)~for proper appearance in crowded
+scores you may wish
+to insert hardspace or shifts as described in
+section~\ref{hardspace}. Some examples are included in {\tt most.pmx}.
+
+ Beams cannot normally jump staves. But if that is desired, start
+the beam normally in one staff, and terminate the part of the beam in that
+staff with {\tt ...~]j} . Then resume the beam in the new, adjacent staff with
+{\tt [j~...} . For staff-jumping beams, it's OK to have just a single note
+inside one or both of the members. Some adjustment of the beam height and
+slope may be required. Sometimes the ending section's up-downness must be
+overridden; you will know this is so if the ending is shifted horizontally
+from its proper position by one notehead width.
+Each voice must still have the right number
+of beats, so you will probably need to fill time with blank rests after the
+first member of the beam in one staff and before the second member in the other.
+There can
+still only be one staff-jumping beam open at a time.
+
+\subsubsection{Clefs}
+
+ A clef change is signaled by {\tt C} followed by a single lower-case
+letter or digit using the code specified in
+section~\ref{ClefCodes}. If clefs come out at the wrong
+vertical position, refer to the note in {\tt pmx.tex}.
+
+\subsubsection{Arpeggios}
+
+To set an arpeggio (a vertical wavy line), simply place the command {\tt ?}
+after the commands for both the first and last note. To shift the symbol to
+the left by {\it x} notehead widths, use the option {\tt -}[{\it x}]\NEW{2.6} .
+
+\subsubsection{Lyrics}\NEW{2.73}\label{lyrics}
+
+Lyrics depend on the underlying \TeX\ command {\tt\bs pmxlyr} developed by Dirk
+Laurie, which is defined in {\tt pmx.tex}. It in turn makes use of the macro
+package {\tt musixlyr.tex} developed by Rainer Dunker. So to enable lyrics within \PMXX,
+you will need to
+ensure that {\tt musixlyr.tex} is installed somewhere in your system where your
+\TeX\ processor can find it.
+
+Lyrics can be inserted by enclosing them in double-quotes inside the music line
+just before the first note to which they apply, as in
+{\tt "us-ing lyr---ics now\_\hglue1pt\_ "}. Once the first double quote is encountered, \PMX will
+ensure that {\tt musixflx.tex} is input into the \TeX~file.
+
+Lyrics for several notes can be defined in one go.
+The lyrics in each input string demand a specific number of notes, depending on
+the number of syllables, hyphens, and underscores. If there are not enough lyrics,
+question marks will appear; if too many, the excess syllables will not appear.
+
+The rules for aligning lyrics properly with notes are as follows. Words are
+separated by whitespace, with any number of spaces counting as one. Syllables
+within a word that require just one note each are separated by a single hyphen. There are
+two ways to extend a syllable over two or more notes. If it is the last syllable in
+a word (like {\tt "now\_\hglue1pt\_ "}), follow it with consecutive underscores, one for each extra
+note, and finally a space. It will be printed with a continuous underscore.
+To extend a syllable within a word (like {\tt "lyr---ics"}), insert one extra hyphen
+(with no spaces) for each
+extra note, and it will be printed with some number of hyphens filling the proper
+space between syllables. Conversely, a tilde ({\tt \char126}) between two words
+(with no spaces) prints a space between them while assigning the last syllable of the
+first and the first syllable of the second to a single note\footnote{This is just an
+example of using a standard \TeX\ feature within lyrics.}. So in the end, in a voice
+with lyrics, every note must be associated with a syllable, its extension, or two
+syllables joined with a tilde.
+
+Although underscores within a word or consecutive hyphens at the end may not crash the
+code, they are not recommended for any foreseen useful purpose.
+
+Accented characters can be included in lyrics or elsewhere in several different ways. Here
+we provide examples for just one of those methods, one which uses special \TeX~commands.
+The following \PMX input contains most of the available accented characters and
+leads to the example pictured below.
+
+\begin{verbatim}
+"\'o \`o \^o \"o \~o \=o \.o \u{o} \v{o} \H{o} \t{oo}"@b+4
+c44 d e f g a b c c- d e r /
+
+"\c{o} \d{o} \b{o} {\oe} {\OE} {\ae} {\AE} {\aa} {\AA} {\o} {\O} {\l} {\L} {\ss}"
+c44 d e f g a b c c- d e8 f g a /
+\end{verbatim}
+
+\includegraphics[scale=1.0]{accents.eps}
+
+By default, lyrics will be placed below the staff where they are entered, half way between that
+and the next lower staff. You may want to
+alter the vertical position of a lyrics line, especially if both voices in
+a staff have lyrics. This is accomplished with the opfion {\tt @}, immediately
+following the closing quote of the
+lyrics string with no space. That must be followed by either {\tt a} or {\tt b} for
+{\bf a}bove or {\bf b}elow the staff, then a signed integer for the number of
+\bs{\tt internote}s above or below the default height. This command is "sticky"; it
+will remain in force for later lyrics in the same voice until altered.
+
+It may also be necessary to allow extra vertical space where the lyrics are positioned.
+There is no \PMX command for this, but type 2 inline \TeX~can be used to insert extra
+vertical space above any instrument. For example, if the voice is in instrument \#2 and
+lyrics are below that staff,
+\bs\bs{\tt interinstrument=0\bs internote\bs\bs setinterinstrument1\{8\bs internote\}}\bs~ will
+add \newline 8 \bs{\tt internote}s in the space for the lyrics.
+
+Present limitations allow lyrics at upper and lower voices on the bottom two
+staves of instruments 1 to 4. Elsewhere they are quietly ignored.
+
+Most scores with lyrics will benefit from the type 2 command \bs\bs{\tt sepbarrules}\bs, which
+stops bar lines from crossing through the vertical space between instruments.
+
+The notation {\tt "us-ing lyr---ics now\_\hglue1pt\_ "} is actually shorthand for the inline \TeX\
+string {\tt\bs pmxlyr\{us-ing lyr---ics now\_\hglue1pt\_ \}\bs}. All the rules given in
+section~\ref{LitTeX}~for
+Type~1 \TeX\ strings apply. To ensure that the length of all the Type 1 \TeX\
+strings belonging to a particular note combined does not exceed 128, remember
+to account for the nine characters in {\tt\bs pmxlyr\{\}}.
+
+This way of entering lyrics is a convenient interface to a small subset of the
+facilities offered by {\tt musixlyr}. If more advanced features than those supported by
+{\tt\bs pmxlyr} are needed, the necessary {\tt musixlyr} macros could be entered as
+in-line \TeX\ directly into the .pmx file - see the example file {\tt netsoos.pmx} for
+some of those.
+
+If really advanced features are needed (such as having several verses of lyrics
+at once), most users would prefer the convenient interface to {\tt musixlyr} via
+the program {\bfx M-Tx} developed by Dirk Laurie. It is a pre-preprocessor which produces
+a {\tt .pmx} file containing the proper in-line \TeX\ commands. Its input language
+is similar (but not identical) to \PMX and includes most \PMX functionality as a subset.
+
+\subsection{Commands That Affect All Voices} \label{pmxcmds}
+
+ Most commands that affect all the voices can only appear in the first
+(lowest) voice in the first (lowest) staff. Most such commands will
+automatically be
+transferred from score to parts when separate parts are generated by
+{\bfx scor2prt} (see section~\ref{scor2prt}).
+
+\subsubsection{Repeats, double bars, forced single bars}
+
+ Repeat signs, double bars, and other bar-ending options are signaled
+by {\tt R} followed by
+{\tt l, r, lr, d, D, dl, b} or {\tt z} for
+{\bf l}eft repeat, {\bf r}ight repeat, {\bf l}eft-{\bf r}ight repeat,
+thin-thin {\bf d}ouble
+bar, thin-thick {\bf D}ouble bar, thin-thin {\bf d}ouble bar followed by
+{\bf l}eft repeat, single {\bf b}ar, or blank (invisible) barline\NEW{2.4}.
+Some of these have peculiarities.
+{\tt Rb} forces a single bar before a movement break (see section~\ref{movbrk}),
+where otherwise by default there is a double bar. That can be useful for
+example if you
+change the number of instruments (via an option in the movement-break command)
+in the middle of a movement. {\tt Rz} will cause a blank barline at the end
+of the current system, not necessarily the current bar. It can be used
+together with blind meter changes if you want to split a bar across a
+system break.
+If {\tt Rlr} falls at a system break, \PMX will automatically split it in
+two. The command {\tt Rdl} will likewise be split at a system break, but if
+not at a system break, the {\tt d} will be ignored.
+
+These commands must be in the
+first voice. It is best only to place them before the first note in an
+input block or if necessary after the last one; otherwise {\bfx scor2prt}
+may behave erratically.
+Using two separate {\tt R} commands in succession will cause
+unpredictable results.
+
+
+\subsubsection{Voltas (first and second endings)}
+
+ Beginnings and ends of first and second endings are signaled by
+{\tt V} (for {\bfi v}{\it olta}).
+If it's the {\it end} of the volta, add the option {\tt b} (for
+{\bfi b}{\it ox}) or {\tt x} for {\it no bo}{\bfi x}.
+If it's the {\it start} of a volta, you can
+optionally enter any text at all that doesn't include a space and doesn't
+start with {\tt b} or {\tt x} (most
+commonly {\tt 1} or {\tt 2}). A period will automatically be
+appended to the text. If one volta ends and another starts right
+away, only a single {\tt V} is needed. Voltas must only be entered in the
+first voice. If separate parts are to be created from a score using
+{\bfx scor2prt}, then only a single volta is allowed in any given input
+block, and it must be at the beginning of the block.
+
+\subsubsection{Meter changes}\label{MeterChange}
+
+ Meter can only be changed at the beginning of an input block.
+A {\bfi m}{\it eter change} command starts with the letter {\tt m}.
+There are two different ways to complete the command.
+
+{\bfx Method 1.} Enter 4 numbers
+with no intervening spaces. The four numbers are {\tt mtrnuml},
+{\tt mtrdenl}, {\tt mtrnmp}, {\tt mtrdnp} as defined in section~\ref{setupdata},
+with the following exceptions for this method only:
+You must use {\tt o} to represent
+the number 1; if you enter the digit {\tt 1} then \PMX will interpret that
+digit and the next as a 2-digit integer, between 10 and 19 inclusive.
+19 is the largest number that can be entered with this method. Note that
+{\tt mtrdenl=0} still represents a whole note.
+
+{\bfx Method 2.} \NEW{1.4} Enter the four numbers verbatim in the order just
+listed, but separate them with slashes ({\it /}).
+
+\subsubsection{Fundamentals of key changes and transposition}\label{transpose}
+
+As explained in section~\ref{setupdata}, the intial key signature, also called
+the concert key, is specified in the setup data. In order to change the key
+signature or to transpose (i.e. make the printed notes appear at a different
+level than where
+they were entered), use the {\tt K} command. The syntax is {\tt K}[{\it n}][{\it k}]
+where {\it n} and {\it k} are explicitly signed digits respectively giving the distance
+to transpose in \bs{\tt internotes}, and
+new key signature. When transposing, you should always use relative accidentals, activated by
+the separate command {\tt Ar} at the start of the first input block (see section~\ref{ArDirective}).
+For example, to transpose a piece in C major to E major you would enter
+{\tt Ar~K+2+4} at the beginning of the first block.
+
+To transpose by a half step to a key with the same
+letter name, use {\tt K-0}[{\it k}] where as before {\it k} is an explicitly signed integer giving
+the new signature.
+(Using {\tt -0} instead of {\tt +0} eliminates confusion with a simple key
+change, see the next paragraph.)
+
+A simple key change can be signalled at the start of any input block. Use
+the command {\tt K} with {\it n}={\tt +0} as the first argument and the new key signature as the second.
+
+If the signature changes from sharps to flats
+or vice-versa, the default will be to include naturals in the first instance of the new
+signature. To suppress this behavior, use the \NEW{2.7}option {\tt n} right after {\tt K} .
+For example, to change from
+2 flats to 3 sharps and suppress the naturals, enter {\tt Kn+0+3} .
+
+The procedures described above will affect all instruments in the score. To change the key of or
+transpose just a single instrument, use Ki[{\it m}][{\it n}][{\it k}] when {\it m} is an unsigned integer
+representing the instrument number, and {\it n} and {\it k} are as just described.
+For more than one instrument, you may immediately repeat everything after {\tt K} (including {\tt i}).
+This may come either at start of score (right after setup) or at the beginning of any later input
+block. But if it's later, it must be preceded by a normal
+(full score) non-transposing key change command {\tt K+0}[{\it k}].
+For example, to change the keys of the second and third instruments to one sharp and two sharps
+respectively, use {\tt Ki2+0+1i3+0+2} .
+
+\subsubsection{More on transposition; ``transposing'' instruments and example files}
+
+In practice, two fundamentally different situations may arise: (1) (Full-score transposition) A
+score that has been entered in one key
+is to be completely transposed to a different key and pitch level, usually to force the range to fit
+different instruments than original; or (2) (``Transposing''
+instruments) some of the instruments require a part printed in a different key and at a different
+pitch level than it sounds.
+
+To transpose
+an entire score from the key specified in the setup data (Case TTA), simply use the
+{\tt K} command at the
+beginning of the first input block, as outlined in the previous section.
+
+It gets more complicated when some transposing instruments are involved,
+because there are three different possibilities:
+(Case~CTS)~The transposing instruments can be entered in concert key but printed
+transposed in the score and in separate parts created with {\bfx scor2prt} (see
+section~\ref{scor2prt});
+(Case~TTS)~They can be entered transposed and printed transposed in
+both the score and in parts;
+(Case~CCS)~They can be entered in concert key and printed in concert key in the score, but
+printed transposed in parts. Matters are further complicated if there is a later key
+change. Finally, if a MIDI file is to be produced, then in cases CTS and TTS an additional
+step involving the transpose option to the MIDI command {\tt I}
+(see section~\ref{MIDI}) must be taken.
+
+All of the required commands for all four of these cases are summarized in the table
+below. Following that, they are discussed a bit further and illustrated in
+four example files (named [Case]{\tt .pmx}) that are also included in the distribution.
+
+\font\smaller=cmr10
+{\smaller
+\begin{center}
+ \begin{tabular}{cllcll}
+ \hline
+ Case & PMX entry & Printed score & MIDI pitch & Initial commands & Later key change \\
+ \hline
+ TTA & All B flat major, & All transposed up & transposed & {\tt K+2+2} & {\tt K+0-5} \\
+ ~ & later key change & 2 steps to D & ~ & {\tt I} & ~ \\
+ ~ & to B flat minor & major, later to D & ~ & ~ & ~ \\
+ ~ & ~ & minor & ~ & ~ & ~ \\
+ \hline
+ CTS & All B flat major, & Trombone (1) & concert & {\tt Ki2+5+1i3+1+0} & {\tt K+0-5} \\
+ ~ & later key change & concert; alto sax & ~ & {\tt IT+0-5-1} & {\tt Ki2+5-2i3+1-3} \\
+ ~ & to B flat minor & (2) transposed up & ~ & ~ & ~ \\
+ ~ & ~ & 5 to G, later G & ~ & ~ & ~ \\
+ ~ & ~ & minor; clarinet (3) & ~ & ~ & ~ \\
+ ~ & ~ & transposed up 1 to & ~ & ~ & ~ \\
+ ~ & ~ & C, later C minor. & ~ & ~ & ~ \\
+ \hline
+ TTS & Trombone (1) & Trombone (1) & concert & {\tt Ki2+0+1i3+0+0} & {\tt K+0-5} \\
+ ~ & concert; alto sax & concert; alto sax & ~ & {\tt IT+0-5-1} & {\tt Ki2+0-2i3+0-3} \\
+ ~ & (2) transposed up & (2) transposed up & ~ & ~ & ~ \\
+ ~ & 5 to G, later G & 5 to G, later G & ~ & ~ & ~ \\
+ ~ & minor; clarinet (3) & minor; clarinet (3) & ~ & ~ & ~ \\
+ ~ & transposed up 1 to & transposed up 1 to & ~ & ~ & ~ \\
+ ~ & C, later C minor. & C, later C minor. & ~ & ~ & ~ \\
+ \hline
+ CCS & All B flat major, & All B flat major, & concert & {\tt \%2K+5+2} & {\tt K+0-5} \\
+ ~ & later key change & later key change & ~ & {\tt \%3K+1+0} & ~ \\
+ ~ & to B flat minor & to B flat minor; & ~ & ~ & ~ \\
+ ~ & ~ & parts printed & ~ & ~ & ~ \\
+ ~ & ~ & transposed & ~ & ~ & ~ \\
+ \hline
+ \end{tabular}
+\end{center}
+\medskip
+}
+
+{\bfx Case TTA: Full score transposition.}
+Here the entire score is to be transposed. In the setup data the signature is set to -2. Then
+the command {\tt K+2+2} says to transpose up 2 steps from the initial key of B flat to D, and put 2
+sharps in the key signature. No special attention is needed for the MIDI; it will come out in the
+transposed key. A later (full-score) key change requires another {\tt K} command, but now the
+transposition parameter is set to 0 and the new key is the concert key (I guarantee people will be
+confused by this). In the example the command for the signature change is {\tt K+0-5} , making the
+new concert key B flat minor with 5 flats, and, considering the initial transposition, causing the
+score and MIDI to come out in D minor with 2 flats.
+
+{\bfx Case CTS: Parts all entered in concert key, but some transposed in the printed score.}
+Here, to produce the
+printed score, parts are all entered in concert key, but instrument-wise transposition is used for
+the transposed instruments. In the example the alto sax part is entered in B flat but will be
+transposed up 5 steps in the printed score, to G major. This is brought about with {\tt Ki2+5+1} . Similar
+logic applies to the clarinet part, while the trombone part is not transposed. If a MIDI file is
+desired, it will come out in concert key, but only after using the transpose option in the MIDI
+command to undo the transpositions caused by the K command. In the example the command
+{\tt IT+0-5-1} does this, ``de''transposing each of the three instruments by the necessary number of
+steps. For a later key change, first the full-score {\tt K} command changes the concert key, then the
+instrument-wise {\tt Ki command}, with the same transpositions as the initial one, sets the new key
+signatures for the transposing instruments. Here the signatures to be entered are the transposed
+signatures, i.e., the ones that will be printed.
+
+{\bfx Case TTS: Parts entered in respective transposed keys, and printed in those keys in the score.}
+In this method of scoring transposing instruments, parts for transposing instruments
+are transposed ahead of time and
+entered exactly as they will appear in the score. So to produce the printed
+score this way, the pitch does not have to be changed, but the key signatures must be set
+separately for each transposing instrument using the {\tt Ki} command. In the example, the alto sax is
+entered in the key of G so the instrument-wise option for it is {\tt Ki2+0+1} . Note that {\tt +0} means no
+further transposition is needed before printing, because the part was transposed on entry. Once
+again, if a MIDI file is desired, it will come out in concert key, but just as in the previous case,
+you must use the transpose option in the MIDI command {\tt IT} to undo the transpositions caused
+by the {\tt K} command. For a later key change, the same full-score {\tt K} command as in the previous
+case is used to change the concert key. Then the instrument-wise {\tt Ki} command, now with {\tt +0} for
+the transpositions, sets the new key signatures for the transposing instruments, again using the
+transposed signatures.
+
+{\bfx Case CCS: Parts entered in concert key, printed in score in concert key, but transposed in
+separate printed parts.}
+This is the easiest case of all. Nothing special needs to be done for the score, but part-only,
+full-score transposition commands {\tt\%}[instrument number]{\tt K...} should be entered in the score. Then
+{\bfx scor2prt} will generate a transposed part. Of course if a MIDI is made from the score it will
+come out at concert pitch. For example, to transpose the alto sax part up 5 steps, initially to G
+major, near the top of the score file enter {\tt\%2K+5+1} . Later, where the concert key changes to B
+flat minor and the alto sax to G minor, enter simply {\tt K+0-5}, making the new concert key B flat
+minor with 5 flats. When {\bfx scor2prt} is invoked to make separate parts, this will be transferred
+verbatim into all parts, and then \PMX will internally adjust the signature for each transposed part
+as required.
+
+{\bfx Making separate parts.}
+In all of the cases discussed, if the patterns of commands in the table are followed, then
+separate parts can be made as usual using {\bfx scor2prt}. They will
+automatically come out transposed as desired.
+
+\medskip
+%\pagebreak
+{\bfx Texts of the transposition sample files:}
+% Note: when editing is done, figure out how to make scripts size work without page break.
+\begin{scriptsize}
+%\begin{tiny}
+\begin{multicols}{4}
+\begin{verbatim}
+%TTA.pmx
+3 2 4 4 4 4 0 -2
+1 1 20 .13
+Trombone II+III
+Trombone I
+bbb
+.\bs
+Tt
+TTA
+Apr
+I
+K+2+2
+b42 d f b t b t gf df b /
+b42 d f b t b t gf df b /
+b42 d f b t b t gf df b /
+K+0-5
+b42 c d e f gs as b /
+b42 c d e f gs as b /
+b42 c d e f gs as b /
+
+
+
+%CTS.pmx
+3 3 4 4 4 4 0 -2
+1 1 20 .1
+Trombone
+Alto Sax
+Clarinet
+btt
+.\
+Tt
+CTS
+Apr
+Ki2+5+1i3+1+0
+IT+0-5-1
+b42 d f b t b t gf df b /
+b43 d f b t b t gf df b /
+b44 d f b t b t gf df b /
+K+0-5
+Ki2+5-2i3+1-3
+b42 c d e f gs as b /
+b43 c d e f gs as b /
+b44 c d e f gs as b /
+
+%TTS.pmx
+3 3 4 4 4 4 0 -2
+1 1 20 .1
+Trombone
+Alto Sax
+Clarinet
+btt
+.\
+Tt
+TTS
+Apr
+Ki2+0+1i3+0+0
+IT+0-5-1
+b42 d f b t b t gf df b /
+g44 b d g t g t ef bf g /
+c45 e g c t c t af ef c /
+K+0-5
+Ki2+0-2i3+0-3
+b42 c d e f gs as b /
+g44 a b c d es fs g /
+c45 d e f g as bs c /
+
+%CCS.pmx
+3 3 4 4 4 4 0 -2
+1 1 20 .1
+Trombone
+Alto Sax
+Clarinet
+btt
+.\
+Tt
+CCS
+Apr
+%2K+5+1
+%3K+1+0
+I
+b42 d f b t b t gf df b /
+b43 d f b t b t gf df b /
+b44 d f b t b t gf df b /
+K+0-5
+b42 c d e f gs as b /
+b43 c d e f gs as b /
+b44 c d e f gs as b /
+\end{verbatim}
+\end{multicols}
+\end{scriptsize}
+%\end{tiny}
+
+\subsubsection{Text}
+
+ The commands {\tt h} or {\tt l}, when placed in the first
+column of an input line and followed by a blank or, for {\tt h} only, by
+a signed integer,
+stand for {\bfi h}{\it eader} and {\bfi l}{\it ower text}. They will put a
+text string
+above or below the {\it top} staff in the {\it first} bar of the block where
+they are entered. The text string must be on a line of its own,
+immediately following the command. The integer is a vertical shift in
+\bs{\tt internote}s.
+
+ A {\it title block} with up to three elements can be defined at the
+beginning of the first input block. {\tt Tt} signals that the text
+{\it on the following line} is to be set as a {\bf t}itle for the whole piece,
+and it will be centered. {\tt Tc} similarly indicates a {\bf c}omposer's name,
+to be set below the title and right justified. {\tt Ti} likewise stands for
+an {\bf i}nstrument name, which will be set above the title, left-justified.
+The text for any of these commands can be split over two or more lines
+by including \bs\bs~at the location of the line break.
+
+{\tt Ti} will automatically be invoked by {\bfx scor2prt} when it generates
+parts from a score.
+
+Extra vertical space can be added between the title
+block and the top system by appending to {\tt Tt} a one- or two-digit
+number representing the space in \bs{\tt internote}s. This only works if
+{\tt Tt} is the {\it final} title block element entered.
+
+The {\tt D} command can be used to enter arbitrary text as described in
+section~\ref{dynamics}.
+
+Lyrics may be entered as described in section~\ref{lyrics}.\NEW{2.73}
+
+\subsubsection{Page numbering, centered header text}
+
+ If you want pages to be numbered at the top left or right, place
+the command {\tt P} anywhere within the \PMX code that represents the first
+page to be numbered (usually the first or second page).
+{\tt P} can be followed optionally by the starting
+page number and/or by {\tt l} or {\tt r}, the latter overriding the default
+locations of odds on the right and evens on the left. \NEW{2.0}
+There is also a special option {\tt c} for {\bf c}entered header text.
+It must be the {\it last}
+option in the {\tt P} command. It will define text to be printed at the top of
+every page {\it after the first}. If a blank follows {\tt c}, the default
+header text will
+be the instrument name entered with the command {\tt Ti} . If any non-blank
+character except {\tt "} follows {\tt c}, the header text will start with that
+character and end at the next blank. If {\tt "} follows {\tt c}, the
+header text will be everything between that and the next {\tt "} (this
+permits headers containing spaces). The {\tt P} command and its options
+will be ignored when making parts from a score (since page numbering
+will usually be different in the score than in the parts), but page
+numbering (and centered headers) for parts can be still be initiated
+independently, for example with {\tt \%!P2} or {\tt \%1P2r} (see
+section~\ref{scor2prt}).
+
+\subsubsection{Overriding certain defaults, or
+getting the most from \PMXX}\label{Acommands}
+
+Understanding this section is important if you want to get the most out
+of \PMXX. In many
+cases the switches described here represent subtle but significant
+improvements that have come along since \PMX was initially developed. Rather
+than changing the defaults, they are treated as optional in order not to
+upset the layout of older scores. For example, virtually every new score I
+create begins with at least {\tt Abple}.
+
+As you may have guessed, it is the command {\tt A} that can be used to
+override a grab-bag of default settings. The available options affect a
+wide range of \PMX features: sizes
+and interpretation of accidentals,
+dot positions, space before the first note of every bar, space between staves,
+slur package selection, vertical positioning of Type K postscript
+slurs, line-breaking Type-K slurs, curvature of Type-K slurs,
+naming of parts, vertical positioning of rests in 2-voice staves\NEW{2.6},
+brackets for non-beamed xtuplets, and inputting so-called
+{\it normal include} files.
+
+{\bf Size of Accidentals.}
+{\tt b} makes all accidentals
+{\bf b}ig, {\tt s} makes them all {\bf s}mall. By default, big ones are used
+unless unaltered spacing doesn't provide enough space. Thus the default
+behavior may cause a mixture of big and small accidentals, and in fact is not
+recommended.
+
+{\bf Relative accidentals.}\label{ArDirective}
+If transposing, then the {\bf r}elative accidental convention must be used,
+indicated by {\tt r}. This changes the way you enter accidentals. With
+relative accidentals, the note options {\tt s}, {\tt f}, {\tt n} take on
+unconventional meanings, now respectively signaling that a note should be raised
+a half step, lowered a half step, or left alone {\it relative to the pitch
+it would have according to the key signature}. So for example, with {\tt Ar},
+in the key of B flat major the note command {\tt bs} would cause a B natural
+to be printed. By contrast, the default is
+the normal, absolute convention, where the indicated pitch alteration is
+relative to what the pitch would be if there were no key signature.
+
+{\bf Vertical position of dots.}
+If there are staves with two voices, {\tt d} causes dots in the
+lower one to appear on or {\it below} center, in contrast with the default.
+
+{\bf Gap at start of bar.}
+Use {\tt a} followed by a
+decimal number to override the default setting for \bs{\tt afterruleskip},
+the space before the first note in a bar. The default in \PMX is
+{\tt 1}\bs{\tt elemskip}, 20 percent smaller than \MusiXTeX{}'s.
+
+{\bf Space between staves within a system.}
+If \PMXX's vertical spacing between staves within a system is not pleasing, use {\tt I} or
+{\tt i} , followed by a decimal number, to apply a scale factor to
+\bs{\tt interstaff} . {\tt I}
+affects all pages, {\tt i} only the current one. Shrinking the space between
+staves within each system will cause the space between systems to increase, and
+conversely. These options have no effect if there is only one staff per system.
+
+{\bf Equal space between systems.}
+\label{AeDirective}\MusiXTeX~normally draws a virtual box around each system
+and inserts equal vertical space between boxes. \NEW{2.3}
+When objects protrude above the top staff in a system or
+below the bottom one, this can lead to unequal spacing between the top staff
+line in one system and the next. If you prefer that the vertical spacing
+between the staves of consecutive systems be constant for the whole page,
+use the {\tt e} option of the {\tt A} command. One side benefit of {\tt Ae}
+is that it will prevent systems from spilling over onto extra pages,
+regardless of how many systems are put on the page. When using this option,
+you may occasionally want to force more vertical space between certain systems.
+There is a \TeX~macro
+{\tt \bs spread} that can be inserted anywhere in the system before the
+desired wider gap. It has one argument, the desired extra space in
+{\tt\bs internote}s.
+
+{\bf Stop grouping systems at top in sparse pages.}
+Another \NEW{2.4}\ command affecting vertical spacing is the {\tt v}
+option of the {\tt A} command (for
+{\bf v}ertical). \PMX normally spreads staves
+vertically over a full page, unless the white space becomes excessive,
+in which case it groups all staves near the top of the page. Entering
+{\tt Av} will suppress this grouping near the top, and ensure that
+systems will always be spread vertically regardless of how much white
+space is left. It is a toggle; the second time it is issued, the
+behavior reverts to the default.
+
+{\bf Add extra vertical space before and/or page eject (last resort)}\NEW{2.8}
+As a last resort in getting the right spacing at the top or bottom of a page,
+the option {\tt V} will insert a vertical skip of the specified number of
+{\tt \bs Internote}s before and after the next page eject. It must be followed by
+{\tt +} or {\tt -}, then a number, then another {\tt +} or {\tt -} and number.
+
+{\bf Make some staves smaller.}
+The {\tt S}
+option to the {\tt A} command\NEW{2.7} allows you to specify a
+different size for selected staves and their notes compared to the
+global value set in the setup data. It is followed by exactly {\tt noinst}
+characters, one for each instrument, selected from
+{\tt 0}, {\tt -}, {\tt s}, or {\tt t} for
+normal, small, small, or tiny sizes respectively.
+
+{\bf Postscript slurs.}
+The \label{ApDirective}\NEW{2.4} command {\tt Ap} activates Type K
+{\bf p}ostscript slurs. To use this
+you must have {\tt musixps.tex} somewhere that \TeX~can find it, and
+{\tt psslurs.pro} somewhere that {\bfx dvips} can find it.
+If these files happen to be missing from your \TeX~distribution, they
+can be found
+\href{http://www.icking-music-archive.org/software/musixtex/musixtex.zip}
+{\underline{here}}.
+Several suboptions affecting Type K
+postscript slurs are described here and in the following paragraphs. First,
+by default these slurs and ties will not have their vertical positioning tweaked
+to avoid tangencies with staff lines. To activate this type of adjustment,
+use one of the suboptions {\tt +s} or {\tt +t} for
+slurs or ties respectively.
+(For example, {\tt Ap+s}). Be
+warned that this may alter the endpoint positions from what one would normally
+expect. To deactivate the adjustment, use the same command but with {\tt -} .
+Another suboption of {\tt Ap} affects line-breaking slurs. Normally a full tie
+is drawn at the start of the second line.
+However, the suboption {\tt Ap+h} causes the use of
+{\it{\bfi h}alfties} for the second part, which are flattened at their
+left-hand end, and require the
+special font {\tt mxsk} provided with the Type K postscript slur distribution.
+It may be cancelled with {\tt Ap-h} .
+
+The \NEW{2.5} suboption {\tt l} (e.g. {\tt Apl}~) activates some other tweaks
+and tweaking capabilities for line-breaking Type K slurs and ties. It
+automatically tweaks the
+horizontal positions of the end point of the first segment and the start of the
+second, uses a normal tie character for both segments of a tie, and enables
+further tweaking of the horizontal and vertical positions of internal endpoints
+on a case-by-case basis, using options in the initial slur or tie command (see
+section~\ref{lbslurs}, and the end of the fourth system in the example file
+{\tt barsant.pmx}).
+
+Another pair of \NEW{2.5}suboptions to {\tt Ap} affects the default curvature of
+Type-K postscript slurs. {\tt Ap+c} and {\tt Ap-c} will respectively increase or
+decrease the default curvature of all slurs to the next level in the sequence
+{\tt f, n, h, H, HH} . (Here {\tt n} stands for {\bf n}ormal.) Several levels
+may be traversed by repeating the suboption, e.g., {\tt Ap+c+c} increases the
+default curvature by two levels. If you try to
+go outside the allowable range, a warning will be issued, the curvature will be
+set to
+{\tt f} or {\tt HH} , and processing will continue. See section~\ref{slurs} for
+further details.
+
+If \NEW{2.5} your score contains Type K slurs and if you use a program such as
+{\bf dviselec} to extract single pages
+from a {\tt .dvi} file, you should use the suboption {\tt h} (e.g.
+{\tt Aph}~) . This will cause the header file {\tt psslurs.pro} to be written
+into the postscript file at the top of of every page.
+
+{\bf Vertical rest positioning in keyboard scores.}
+The\NEW{2.6} option {\tt AK} activates special rules for vertical positioning of rests in
+two-voice staves. By way of background, without this option, rests in two-voice
+staves have default positions based on a simple rule that is not
+context-sensitive: those in the lower voice (the one before {\tt//}) are
+4\bs{\tt internote}s below their single-voice default positions, and those in
+the upper line are 2\bs{\tt internote}s above the single-voice default. In contrast, the
+option {\tt AK} invokes a set of context-sensitive rules to set the default
+position. The baseline rule is to align the rest in a horizontal line with the
+next following note in the same bar. If there is no following note in the bar,
+then it is aligned with the next prior note. If there are simulataneous rests
+in both voices, the old rule is applied. When the {\tt AK} option is in force,
+it only affects places where there are two voices in a staff. It may be toggled
+on and off at the beginning of any input block, using just {\tt AK}. When the
+option is in effect, any user-defined tweaks on the height of a rest will
+supersede the option for that particular rest, i.e., the tweak will be applied
+relative to the single-voice default position. When {\tt AK} is in effect, the
+option {\tt L} in a rest command will cause the vertical position of that rest
+to be based on the {\it preceding} note, rather than the following one as is
+the default.
+
+{\bf Names of \PMX files for parts.}
+The \label{ANDirective}option {\tt N} to the {\tt A} command allows you to specify
+arbitrary names for the part files generated by
+{\bfx scor2prt}. Follow {\tt AN} with the part number and the new file base name in double
+quotes. Immediately follow this with any number of additional part numbers and
+alternate file base names in quotes. When part files are generated, {\tt .pmx} will be
+appended to the requested base name.
+
+{\bf Gapped bracket for nonbeamed xtuplets.}
+Non-beamed \label{ATDirective}\NEW{2.5}xtuplets will normally be printed with
+a bracket above or below, and
+a number above or below that. If you would like this number instead to be
+positioned within a gap in the bracket itself, enter {\tt AT} .You must have
+{\tt tuplet.tex} available to your \TeX~processor. If missing, this file
+can be found
+\href{http://www.icking-music-archive.org/software/musixtex/musixtex.zip}
+{\underline{here}}.
+
+{\bf ``Include'' file.}
+\PMX commands \NEW{2.5}in an external file can be included at the start of any input
+block by designating the file as a {\it normal include} file, using the
+command {\tt AR}[{\it filename}] . See section~\ref{ARDirective} for details.
+
+{\bf Positioning printed pages.}
+For \NEW{2.7} printing on {\bf l}etter or a{\bf 4} paper, the command {\tt Acl} or
+{\tt Ac4} will set the margins
+of the printed area so it will be properly centered with no further
+adjustments needed when running {\bfx dvips}.
+
+\subsubsection{Extra hardspace, horizontal shifts} \label{hardspace}
+
+ Despite the author's best intentions to relieve you of the chore
+of adjusting {\it any} horizontal spacing by hand, there may be some occasions
+where you
+will want to do it. A command starting with {\tt X} initiates one of two
+types of horizontal adjustment: A {\it shift} moves one or more
+characters but does not affect any other spacing anywhere; a
+{\it hardspace} inserts a fixed amount of space at a particular time and
+affects the horizontal positions of everything in all staves in the system.
+If the command includes {\tt S}, it is a {\bfi s}{\it ingle} shift and affects
+only the next note or rest. If it includes a {\tt :} it either starts or
+terminates a {\it group} shift.
+All {\tt X} commands except group shift terminations
+must include a decimal number for the size of the offset in notehead widths.
+If the number is immediately followed by
+{\tt p}, then the number represents points, otherwise, notehead widths.
+If there is no such number but there is a {\tt :} the command
+signals a group shift termination.
+Group-shift commands must occur in
+start/terminate pairs, and group shifts cannot extend across a bar line.
+
+An {\tt X} command containing neither {\tt S} nor {\tt :} is
+automatically a hardspace.
+
+Because horizontal spacing in parts will usually differ from that in the
+score, by default the hardspace command will {\it not} be copied into parts
+by {\bfx scor2prt}; however the shift commands will be copied.
+These behaviors can be overridden using the methods to be described in
+section~\ref{scor2prt}, Alternatively, \NEW{1.42} to help keep \PMX score
+files neat
+and readable, the character {\tt B} can be used within the {\tt X} command
+to signify that it applies to {\bf b}oth score and part, or {\tt P} for
+{\bf p}art only.
+
+\subsubsection{Minimum spacing between notes in crowded systems}
+
+ \PMX does some special, complex analysis to adjust horizontal spacing
+in crowded systems. By default, the minimum space between consecutive
+noteheads is 0.3 notehead widths. In very special situations you may want to
+change 0.3 to some other fraction. To do so, enter {\tt W. }(decimal point is required)
+ followed by {\tt 1}-{\tt 9} to represent the number
+of tenths of a notehead width to be used as the minimum spacing. Use of this option
+is demonstrated in the example file {\tt barsant.pmx}.
+
+\subsubsection{Page size}
+
+ The default page size is 740 by 524 pt (10.3 by 7.3 in). To change
+the height or width, use the special commands {\tt h}[{\it n}][{\it u}] or
+{\tt w}[{\it n}][{\it u}] at
+the beginning of the first input block. Here {\it n} is a decimal number
+for the new dimension and {\it u} defines the units; {\tt i} for inches, {\tt m} for
+millimeters, and {\tt p} or nothing for points. This command can be used
+together with {\tt \%\%} or {\tt \%!}
+(see section~\ref{scor2prt}) to give the parts made by
+{\bfx scor2prt} different page sizes than the parent score.
+
+\subsubsection{Line, page, and movement breaks} \label{movbrk}
+
+ It is possible to force line, page, or movement breaks anywhere.
+For a line break, just enter {\tt L}[{\it n}] at
+the start of an input block (in the first voice only), and the {\it n}-th
+system will start there. To start page {\it m} at line {\it n}, enter
+{\tt L}[{\it n}]{\tt P}[{\it m}]. You can't force a page break without
+first forcing a line break.
+
+ To force a movement break, you must first force a line break as above,
+then enter {\tt M}. If a page break also occurs here, the {\tt P} must precede
+the {\tt M}. Options following {\tt M} are {\tt +}[{\it integer}] to insert
+vertical space in \bs{\tt internote}s before the break,
+{\tt i}[{\it decimal number}] to reset the first-line indentation as a fraction
+of the line width, and {\tt c}\NEW{1.41} to {\bf c}ontinue bar numbering rather
+than resetting the bar number to 0. \NEW{1.4}Also, to change the {\bf n}umber
+of instruments,
+enter {\tt n}[{\it integer}], then the number of each instrument in their new
+order, then a clef-designating character for each staff of each instrument.
+(An instrument's number is simply its position in the original sequence.)
+There can never be more than the original number of instruments. In this
+instance, \NEW{2.5}two-digit instrument numbers must be preceded with
+{\tt :} (colon). If you want to start with some number of instruments and
+later increase it, you'll need to insert
+a dummy page at the beginning with the full set of instruments, then start the
+second page with a movement break and decrease the number there.
+
+Another\NEW{1.4} option after {\tt M} is {\tt r+} or {\tt r-}, which either
+forces or
+suppresses {\bf r}eprinting the instrument names. The default is to print
+them if the number of instruments changes, but otherwise not.
+
+ Immediately after a movement break, any desired meter changes,
+key changes, or text can be entered in the normal way.
+
+\subsubsection{Fractional bars}
+
+ Often if a piece starts with a pickup, the last bar may not be
+complete. In such cases, it is usually possible to
+place the last bar in an input block by itself, headed by a {\it blind} meter
+change.
+For example, if the meter had been 4/4 and there was a quarter note
+pickup, leaving 3 beats in the last bar, the last bar might be coded
+{\tt m3400 cd24 /}.
+
+\subsubsection{Stem direction of bass notes}
+
+ By default \PMX makes stems go up for middle-line D's in bass
+clef, but down for notes on the middle line of all other clefs. If
+you want middle-line bass-clef notes also to have downward stems by default,
+enter a {\tt B} near the beginning of the file.
+
+\subsection{Putting {\TeX} Commands into the {\PMX}File } \label{LitTeX}
+
+ There are five ways to enter \TeX ~commands into the {\tt .pmx} file.
+Four of
+them are {\it in-line}, where the commands are entered directly; the fifth
+is by way of an external file.
+
+ The four categories of in-line \TeX~strings
+differ mainly in where they will appear in the {\tt .tex} file.
+(A \TeX\ {\it string} consists of a starting character, a sequence of
+\TeX~commands, and a terminal character).
+In the {\tt .pmx} file,
+only type 4 \TeX~strings may wrap over line breaks. All in-line \TeX\ must
+adhere to the 128-character limit per line, but each line can have more than
+one \TeX\ command.
+Type 1 begins with a single \bs\ and will appear in the {\tt .tex} file
+right before the \TeX
+~command for the next note or rest in the {\tt .pmx} file. Multiple
+type 1 strings associated with the same note or rest are allowed, although
+the total length may not exceed 128 characters (so there is generally no
+reason not to combine all \TeX\ commands for a single note into a single
+type 1 string).
+
+A type 2 string begins with \bs\bs\
+and will appear near the top of the {\tt .tex} file, right before
+\bs{\tt startmuflex}, regardless of where it appears in the {\tt .pmx} file.
+A type 3 string starts with \bs\bs\bs\ and will appear right before the
+{\tt\bs xbar}
+or {\tt \bs alaligne} at the beginning of the current input block, before the
+first barline of the block. While individual type 2 and 3 strings may not wrap
+over line breaks in the {\tt .pmx} file, strings of like type on consecutive
+lines will appear together in the {\tt .tex} file.
+Types 1, 2, and 3 strings must end with \bs\ (backslash-space).
+This means that they may not contain
+the \TeX\ macro \bs\ (backslash-space). Finally, each type 2 or 3 string
+should be isolated on a line of its own, and should be started in column 1.
+
+Type four permits multiple
+lines of arbitrary text to be entered at the top of the {\tt .pmx} file;
+they will be transferred verbatim to the top of the {\tt .tex} file. Type
+four is initiated with {\tt ---} alone as the top line of the {\tt .pmx}
+file. Then follows any text on any number of lines, until the next line
+starting with {\tt ---} terminates the block to be transferred.
+
+The only other distinction among the types of in-line \TeX\ strings arises when
+{\bfx scor2prt} is used to make separate parts
+(see section~\ref{scor2prt}):
+types 2-4 will be copied into all parts, while type 1 only goes into its
+original part.
+
+If you should want to enter a type-1 (note-based) string longer than
+128 characters, you could use a series of type-2 or -3 strings to define
+a \TeX\ macro containing the desired commands.
+
+ \PMX provides one further option for entering an unlimited set of
+\TeX ~commands
+just before \bs{\tt startmuflex}, and before any Type 2 in-line \TeX ~strings.
+Simply put the commands into a text file named [{\it basename}]{\tt .mod}
+in the texinput directory. It will then automatically be
+entered with an \bs{\tt input} command. This feature is retained mainly for
+backward compatibility; it has been essentially replaced by the various options
+for in-line \TeX ~strings.
+
+\subsection{Figured Bass}
+
+ Figure commands are entered {\it after} their associated note commands.
+They only work in the first (lowest) voice, and in any one other voice\NEW{2.6}.
+Enter the characters as
+they would appear from top to bottom, and as you might pronounce them,
+e.g., {\tt 64} or {\tt 73}. Flats here are {\tt -} (minus), sharps are
+{\tt \#}, and
+naturals {\tt n}, {\it before} the number (if there is a number) (notice
+the characters are different here than in notes).
+So for example {\it sharp third} is {\tt \#3}, just a sharp is {\tt \#}, {\it six (over)
+flat five} is {\tt 6-5}, and {\it sharp six (over) 4} is {\tt \#64}.
+In addition to the symbols just described, the following special symbols
+are available: {\specfig 2}, {\specfig 4}, {\specfig 5}, {\specfig 6}, {\specfig 9} .
+\NEW{2.6}To use them, you must have the font
+\href{http://www.icking-music-archive.org/software/musixtex/add-ons/figbas.zip}{\underline{\tt cmrj}}
+in your \TeX~system, and then just put an {\tt s} after the number.
+
+The program
+positions all the figures for each system below the lowest staff of that
+system, with their tops aligned, and just low enough to clear the
+lowest beam, notehead, or stem that could interfere. If you would like to
+change the vertical alignment for the remainder of the staff starting at a
+figure after the first, \NEW{2.71}append {\tt v}[{\it n}], where {\it n} is an
+integer representing the vertical shift in \bs{\tt internote}s, which may
+have a minus sign.
+
+If you want a figure to
+align horizontally in the second tier, insert the placeholder figure
+{\tt\_} (underscore) before the one you want lowered. This is equivalent to
+lowering the figure stack by 4 \bs{\tt internote}s.
+\NEW{2.6}If you want to {\it raise} the entire stack by an integral number of
+\bs{\tt internote}s, append {\tt +} and the number. This can be combined with
+the placeholder figure {\tt\_} to provide full control over the vertical
+position of the stack.
+
+ Sometimes you may need to enter a figure when there's no bass
+note sounding. To do this, just after the most recent bass note enter
+{\tt x}, followed by a two single digits (the first is a repeat count; the
+second a time value, i.e., {\tt 2,4,8,1,} or {\tt 3}), immediately followed by a figure symbol
+as defined in the previous paragraph. This will
+offset the figure from the associated note by the specified time
+value. For example, if the lowest voice contained {\tt c03 x3465}, there
+would be a whole-note c, and 3 quarter notes later a figure 65 below
+the staff.
+
+ There is also a {\it continuation} command, a zero followed immediately
+by another \NEW{2.4}
+unsigned number. This produces a horizontal line under the bass note, starting
+just to the left and extending to the right by the given number of
+\bs{\tt noteskip}s. The height and length of the line are set by the current
+note's level and \bs{\tt noteskip} respectively. These \NEW{2.4} can be mixed in with
+other figures to produce vertical stacks. If another figure follows in the
+same command, use {\tt:} as a separator.
+If \bs{\tt noteskip} changes or a note drops
+below the starting level before the line ends, it is possible to trick
+\PMX by entering separate {\tt 0}[{\it n}] commands under each consecutive note; \PMX
+will automagically join them together at the same height
+(thanks to Werner Icking for this idea).
+
+ If there are figured bass commands in a {\tt .pmx} file but
+you want them to be ignored, then enter the command {\tt F} at the
+beginning of the body of the file. This feature would most often be
+used in the form {\tt \%1F}
+(see section~\ref{scor2prt}), which makes a
+separate bass part with no figures.
+
+ Figured bass commands will not be altered in any way under
+transposition. There is no universal set of interpretations of figured bass
+symbols, so no automatic transposition is possible.
+
+\subsection{Macros}
+
+ A \PMX macro is a single command that stands literally for any
+any string of characters that may occur in the input file (sorry, no
+variables). It may be useful if you need to repeat the same string later.
+There is no practical length limit.
+
+To
+{\bfi r}{\it ecord} a macro, type {\tt MR}{\it n} where {\it n} is between
+1 and 20.
+Everything you then type will be processed normally as well as stored,
+until you enter the command {\tt M}. The next time you need to enter the same
+string, just type {\tt MP}{\it n} to {\bf p}lay back the macro.
+
+To just {\bf s}{\it ave} a macro without having \PMX process it as you
+enter it, start it with {\tt MS}{\it n}.
+
+Macros can be redefined at will. \PMX will print a warning whenever this
+occurs.
+
+If you use macros and want to make separate parts, some care is necessary.
+{\bfx Scor2prt} will only transfer {\tt MR} macros into the part where they
+originated, but will transfer {\tt MS} macros into all parts.
+
+\subsection{Include Files}\NEW{2.5}\label{ARDirective}
+{\it Include} files are separate text files
+ containing arbitrary (but contextually appropriate) sequences of
+ valid \PMX commands. By using the techniques described in this section,
+ the commands in an include file can be inserted at any desired
+ place in the virtual \PMX file that the code processes.
+ They will always be syntax-checked.
+
+There are two types of include files, {\it global} and
+ {\it normal}. There can only be one global include file and it must be named
+ {\tt pmx.mod}. If activated, its contents will always be inserted right after
+ the setup data.
+ To activate it, two conditions must be met: (1) an environment variable
+ {\tt PMXMODDIR} must be defined to contain a valid path, ending with {\tt /} or
+ \bs~; (2) a file named {\tt pmx.mod} must be present in the directory so defined.
+ If {\tt PMXMODDIR} is not set, or if it is defined but there is no file
+ {\tt pmx.mod}, then processing will proceed as usual.
+
+ Normal include files
+ can have any name and do not require any environment variable to be set.
+ They are activated by the PMX command {\tt AR[{\it filename}]} , placed in the
+ .pmx file
+ at the location where the included lines are to go. It will generally
+ only make sense to place this command at the beginning of an input block.
+ \PMX will first check
+ for the file as pointed to by [{\it filename}], which may contain a complete
+ or partial pathname preceding the actual file name. If [{\it filename}] is not
+ found, then \PMX will look for {\tt \%PMXMODDIR[{\it filename}]}, i.e., it will check
+ the directory defined by {\tt PMXMODDIR} if {\tt PMXMODDIR} has been set. However,
+ it is not necessary to define {\tt PMXMODDIR} to use a
+ normal include file. There may be any number of normal include files. The same
+ file may be used multiple times. Include files cannot contain references to
+ other include files via the {\tt AR} command; if you try to do that
+ your computer will
+ explode. The following information regarding all activated include
+ files will be printed both to the screen and to the .pml file: notice of
+ opening or closing, echo of the contents, error messages pertaining to syntax
+ errors in the included \PMX commands, and an error message if \PMX cannot find
+ a referenced normal include file. In the latter two cases \PMX will stop.
+
+\subsection{Batch Processing}
+
+Due \NEW{2.0} to the number of different programs that must be run in sequence
+to produce a printed sheet of music with the \MusiXTeX{} system, most users
+prefer to use a batch script to control the process. Since batch commands are
+platform-dependent we will not provide examples here, but will mention
+several \PMX features that can facilitate batch processing.
+
+First, whenever {\bfx pmxab} terminates due to a syntax
+error, the exit code is set to 1. There are various ways of detecting this
+with batch commands, then acting accordingly.
+\NEW{1.4} Second, {\bfx pmxab} always writes a file
+{\tt pmxaerr.dat} containing a single number: 0 if it exited normally,
+otherwise the line number in the {\tt .pmx} file where the syntax
+error was. With advanced batch programming techniques, this file can be
+opened and read, and if there was an input error, a text editor can be
+opened and the input point placed on the line with the error.
+
+There have been several requests to allow \PMX to keep running even
+after it detects an input error.
+This has not been done because in many cases any error messages after
+the first one would be meaningless, or worse, uncorrected errors could
+cause crashes. In any event, all the output from {\bfx pmxab} will be
+stored in the log file [{\it jobname}]{\tt.pml}.
+
+%\setcounter{secnumdepth}1
+\section{Making Parts from a Score} \label{scor2prt}
+
+ Separate parts can be made by running {\bfx scor2prt} and entering the
+basename when prompted. The program will create {\tt noinst} separate
+{\tt .pmx} files, one for each instrument. By default the files will be named
+[{\it basename}][{\it n}]{\tt .pmx}, where [{\it n}]
+is the sequential position of the instrument. If desired, part file names can
+be customized with {\tt AN} as described in section~\ref{ANDirective}.
+
+ In this section we describe how to control the layout of the
+parts separately from that of the score, but by using commands
+that are placed in the {\tt .pmx} file for the score. This eliminates the
+need for ever editing the {\tt .pmx} files for the parts separately. You
+can make all corrections in the file for the score, and then re-run
+{\bfx scor2prt}.
+
+ Normally all lines starting with {\tt \%} in the parent {\tt .pmx} are
+transferred into all the parts. However, if a line has {\tt \%\%} in
+columns 1-2, both it {\it and the following line} will be ignored when
+making parts. If the ignored line contains only {\tt h}~, {\tt l}~,
+ {\tt Tc}~, {\tt Ti}~, or {\tt Tc} to start,
+then one additional line will be ignored.
+
+ Conversely, if a line begins with {\tt \%!} then it will be ignored as
+usual in creating the parent {\tt .tex} file, but after stripping the first
+2 characters the rest will be put in the {\tt .pmx} file for {\it all} the
+parts.
+
+To enter a line into the score file that is only to be transferred to one part,
+begin the line with \NEW{2.6} {\tt\%}{\it h}, where {\it h} is an {\it extended
+hexadecimal digit} representing the part number from 1 to 24
+({\tt1,2,...,9,a,b,c,...,n,o}). The first
+two characters will then be stripped and the rest transferred to the desired part.
+For example, to force a line break to system 15 and a page
+break to page 2 in part 11 only, enter {\tt \%bL15P2}. The use of the extended hex
+digits {\tt a-o} creates a potential incompatibility with prior versions.
+To minimize this, the
+character after ``{\tt\%}" will {\it only} be interpreted as a part number if
+it represents a number less than or equal to {\tt noinst}; otherwise the entire
+line will be treated as an ordinary comment and transferred to all parts as
+a comment.
+
+ Although only permitted in the first voice in the score, the
+following commands with all their options will automatically be copied
+into all parts (unless the preceding line has {\tt \%\%}):
+ {\tt m, V, R, A, h, w, K}. Literal \TeX\ strings of types 2-4 will also be
+copied into all parts, while type 1 will only go into its original part.
+
+User-defined hardspaces ({\tt X} without {\tt :}) are handled specially. By
+default they are not copied into parts. There are two ways to circumvent this.
+One way to insert hardspace {\it x} into part
+{\it n} is to place in the score, on a line of its own, the command
+{\tt\%}[{\it n}]{\tt X}[{\it x}] . The \NEW{1.42} other way is with options
+in the {\tt X} command in the score: {\tt B} causes the hardspace to be
+used in {\bf b}oth score and parts; {\tt P} puts it into the {\bf p}art but not
+the score.
+
+Instrument-wise \NEW{2.7} transposition commands (see section \ref{transpose})
+are also handled specially.
+When {\bfx scor2prt} encounters {\tt Ki}[{\it n}] (for instrument {\it n}) in
+the score, it transfers the transposition information (transposition amount and
+key signature) for that instrument into
+the corresponding part, replacing {\tt Ki} by {\tt K} and keeping only the
+information for instrument {\tt n}.
+
+Lateral shifts ({\tt X}[$\dots$]{\tt :}) will be handled normally,
+staying with their original voice.
+
+ By default the total number of systems in each part will be the
+same as in the score. If you want to override this, there is a command
+{\tt S}[{\it n}] (where {\it n} is the desired number of systems), which
+can only appear at
+the beginning of the first input block. This can be used after {\tt \%!}
+to affect all the parts, or after {\tt \%}[{\it h}] to affect just part {\it h}.
+ {\bfx Scor2prt} will also
+compute how many pages it thinks each part should have, and enter that
+in the startup data for that part. If you wish to override that, then
+in the {\tt .pmx} file for the score, insert for example {\tt \%3S14P2} to
+force the third part to have 14 systems and 2 pages (you cannot override the
+number of pages without first overriding the number of systems).
+
+ A \NEW{2.0} musicsize of 20 is the default in all parts. This may be
+overridden with the option {\tt m} in the command {\tt S}; e.g.,
+{\tt \%2S15m16} .
+
+ As already noted, a {\tt P} command for page numbering in the parent
+file is ignored when making parts. To initiate page numbering in the
+parts, use for example {\tt \%!P} anywhere within the \PMX code representing
+the first page of the parts (from \TeX 's standpoint the command must occur
+between the beginning and end of the page on which the numbering is to begin).
+It \NEW{2.0} will often be useful in this case to use the option {\tt c} ,
+which by default causes the instrument name to be centered in small type at
+the top of every page after the first.
+
+Note the distinctions among the various usages of {\tt P}: as an option with
+{\tt S}, it sets the total number of pages in a part; as an option with
+{\tt L}, it forces a page break; and as a command on its own, it controls page
+numbering and centered headings.
+
+MIDI \NEW{2.2} commands, i.e., those starting with {\tt I}, will never be
+copied into parts, unless they are in a special comment line as just described.
+
+ One function of {\bfx scor2prt} is to condense consecutive bars of rest
+into a single group of special printed characters with a number above it.
+The command {\tt rm} defines such a {\bf m}ulti-bar {\bf r}est as described
+in section~\ref{MultibarRest}.
+{\bfx Scor2prt} will automatically insert {\tt rm} commands into the
+{\tt .pmx} files
+for the parts where appropriate. However, for this feature to work,
+the {\it first} full-bar rest in the sequence {\it must} have its duration
+explicitly defined in the parent {\tt .pmx} file, either with a digit or
+with {\tt p}. I.e., the feature will not work if the first rest in the
+sequence inherits its duration from the previous note.
+
+Using the special \PMX commands listed in this section,
+augmented where needed with literal \TeX ~commands, it is possible to store
+{\it all} the information for both the score and the parts in a single
+{\tt .pmx} file. This greatly simplifies the editing process, since
+both the score and the part can be corrected at once, and parts need not be
+re-edited each time they are regenerated from the score.
+
+\section{Making MIDI Files}\label{MIDI}
+
+\PMX has an elementary capability to create MIDI files. It is intended mainly
+to aid in editing scores, so it does not have advanced facilities one would
+want for making musically satisfying sound files.
+
+As \NEW{2.6} of version 2.6, \PMX can only generate MIDI files for scores with
+15 or fewer voices.
+
+Entering the command {\tt I} before any notes have been entered
+will cause a MIDI file [{\it jobname}]{\tt.mid} to be
+generated in the current directory. Options may follow, without spaces. They
+are defined in the following paragraphs. Multiple
+options can be combined in one {\tt I} command.
+{\tt I} commands can appear later in the file as well, but only at the start
+of an input block. Sometimes the order of the
+options matters, determining for example whether or not a user-defined pause
+is included inside a macro block.
+
+{\tt t}{\it x} sets the tempo to {\it x} quarter notes per minute.
+Default is 96. You can change tempos as often as you like, but only at the
+start of an input block (as with all MIDI commands).
+
+{\tt i}{\it i1i2...in} assigns MIDI instruments {\it i1,i2,...,in} to the
+respective \PMX instruments. The default is harpsichord, of course. If
+you use this option, you must specify {\it all} instruments.
+Each {\it in} is either
+a 2-letter abbreviation or an integer between 1 and 255. Acceptable
+abbreviations are listed below. Numbers and pairs of letters may be mixed,
+but consecutive pairs of numbers must be separated by {\tt :} (colon) .
+This option can only be exercised once per file.
+Also, the number of instruments cannot change during a piece.
+
+The \NEW{2.7} number of arguments following suboption {\tt i}, as well as the next
+three described suboptions, must in fact equal the number of {\it instruments}. Before
+version 2.7, it was the number of {\it staves} (despite the incorrect
+description in the manual!) These numbers may differ and this creates a
+backward incompatibility. Hoping this won't cause too much distress,
+I've enhanced the real-time error messages.
+
+{\tt v}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} velocities
+to each instrument. The colons are required. Values may range from 1 to 127.
+The default is 127.
+
+{\tt b}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} balances to
+each instrument. The colons are required. Values may range from 1 to 128.
+The default value is 64, which represents the center. Smaller numbers favor
+the left stereo channel; larger ones the right.
+
+{\tt T} allows transposing any instrument by a selected number of steps \NEW{2.7}
+ ({\tt\bs internote}s).
+It must be followed by exactly {\tt noinst} signed integers representing the
+amount of transposition for each instrument in order. In practice it is useful
+in two situations (1) To transpose a MIDI output up or down by one octave
+(7 {\tt\bs internote}s); and (2) when a transposing instrument is printed
+in the transposed key in the score after having issued {\tt Ki}, to undo
+the transposition in the MIDI.
+
+{\tt M} initiates a macro operation. This is used for repeats, da capo's, etc.
+Macros must have ID numbers between 1 and 20. Operations are start record
+macro {\it i}: {\tt MR}{\it i} ; end recording: {\tt M} ; and playback (insert)
+macro {\it i}: {\tt MP}{\it i} . Only one macro can be active at a time,
+recording or playing but not both. If you try nesting or overlapping macros,
+your computer will become psychotic.
+
+{\tt p}{\it x} inserts a pause of {\it x} quarter notes. Decimals are
+allowed, but will be rounded to the nearest sixteenth note.
+
+{\tt g}{\it i} sets the MIDI gap to {\it i} MIDI clock tics. This is a silence
+inserted at the end of every note, while decreasing the sounding duration
+by the same amount. The default is 10, which is 2/3 of a 64th note.
+
+ The MIDI module does not recognize graces, ornaments, repeats, voltas, or
+segnos. The only ties that are recognized are those using {\tt s} or {\tt (}
+alone, with no explicit ID number. Key signatures,
+time signatures (meter) and instrument names will be written into the MIDI file,
+the latter as track names. This will have no effect whatsoever on audible
+output but will affect on-screen appearance of some MIDI file players
+and editors. Location of the \PMX key-change and meter-change commands
+relative to MIDI macro delimiters in the source will affect (in the obvious
+way) how these data are passed to such programs.
+
+The MIDI file generator does not yet support changing the number of
+instruments in midstream. Doing so will cause unpredictable results.
+
+ The instruments are a subset of ``The General MIDI Instrument
+Specification." Of course how they sound depends on your hardware and software.
+Instruments not listed below can still be used but must be specified by number.
+The numbers listed here are from the 1-128 range; when passed to the MIDI file
+they are reduced by one.
+
+%\def\toc#1#2{\hbox to 3.1in{{#2}\leaderfill{#1}}}
+\def\tentry#1#2#3{\hbox to 2in{
+\hbox to .24in{\tt #1\hfill}\hbox to 1.7in{#2 (#3)\hfill}\hss}}
+
+\null
+\hbox to 6.5in{\vbox to 1.7in{
+\tentry{pi}{Acoustic Grand Piano}{1}
+\tentry{rh}{Rhodes Piano}{5}
+\tentry{ha}{Harpsichord}{7}
+\tentry{ct}{Clavinet}{8}
+\tentry{ma}{Marimba}{13}
+\tentry{or}{Church Organ}{20}
+\tentry{gu}{Acoustic Nylon Guitar}{25}
+\tentry{ab}{Acoustic Bass}{33}
+\tentry{vl}{Violin}{41}
+}\hss\vbox to 1.7in{
+\tentry{va}{Viola}{42}
+\tentry{vc}{Cello}{43}
+\tentry{cb}{Contrabass}{44}
+\tentry{vo}{Synth Voice}{55}
+\tentry{tr}{Trumpet}{57}
+\tentry{tb}{Trombone}{58}
+\tentry{tu}{Tuba}{59}
+\tentry{fr}{French Horn}{61}
+\tentry{so}{Soprano Sax}{65}
+}\hss\vbox to 1.7in{
+\tentry{al}{Alto Sax}{66}
+\tentry{te}{Tenor Sax}{67}
+\tentry{bs}{Baritone Sax}{68}
+\tentry{ob}{Oboe}{69}
+\tentry{ba}{Bassoon}{71}
+\tentry{cl}{Clarinet}{72}
+\tentry{fl}{Flute}{74}
+\tentry{re}{Recorder}{75}
+}}
+
+\section{Limits}
+
+For simplicity in writing the program, \PMX has numerous variables with
+fixed dimensions. In most cases there are no checks against these limits
+(hey, I've got more important things to program), so
+occasionally there may be hangups due to exceeding a dimension.
+Any of these can potentially be increased by making a request via the
+mailing list. However, before making such a
+request, try working around the problem by
+breaking the input into smaller blocks.
+
+\subsection{Limits on quantities that a user can control}
+
+(The user can control the {\it number} of these items, but cannot control
+the {\it limit on the maximum number} of them.)
+
+128 characters per input line.
+
+24 \NEW{2.6} staves.
+
+2 voices per staff.
+
+24 \NEW{2.6} voices per system.
+
+125 systems.
+
+600 bars.
+
+40 forced line breaks.
+
+10 forced page breaks.
+
+18 key changes.
+
+75 \NEW{2.78} pages.
+
+600 \NEW{2.6} notes per input block.
+
+15 bars per input block.
+
+101 slurs per input block.
+
+74 figures (figured bass) per input block.
+
+37 grace note groups per input block.
+
+74 notes in grace note groups per input block.
+
+52 literal \TeX\ strings per input block.
+
+6 voltas per input block.
+
+24 \NEW{2.6} trills per input block.
+
+62 chordal notes (non-spacing) per input block.
+
+8 beams per voice per bar.
+
+40 \NEW{2.5}forced beams per voice per input block.
+
+10 clef changes per voice per input block.
+
+24 notes per beam.
+
+24 notes per xtuplet.
+
+41 text-dynamic strings per input block.\NEW{2.5}
+
+9600 \NEW{2.78} lines in input file
+
+\subsection{Limits not under immediate user control}
+
+% Need all the spaces because this damn format insists on left-justifying
+% first line of *first* paragraph in a section..
+%
+\ \ \ \ \ \kern6pt 131072 \NEW{2.78} bytes in the entire input file
+
+20 \bs{\tt notes} groups per bar.
+
+20 inserted standard anti-collision spaces (not xtuplet or end-of-bar) per bar.
+
+20 inserted anti-collision spaces within xtuplets per bar.
+
+19 inserted anti-collision end-of-bar hardspaces per system.
+
+83 inserted anti-collision end-of-bar hardspaces.
+
+400 inserted standard anti-collision spaces per system.
+
+100 inserted anti-collision spaces within xtuplets per system.
+
+1000 inserted standard anti-collision spaces.
+
+200 inserted anti-collision spaces within xtuplets.
+
+24576 \NEW{2.2} bytes of MIDI output data per voice.
+
+\section{Closing Notes}
+
+\subsection{About the Example Files}
+
+{\tt most.pmx} contains examples of most of the \PMX commands, and a few
+programming tricks, including examples in the last line of beam groups whose
+notes vary widely in pitch. The printed
+output displays the \PMX commands near to the resulting typeset characters.
+It is more
+useful to look at the printed output rather than the source file, since the
+file is littered with in-line \TeX ~needed to output the text strings
+representing the \PMX commands.
+{\bfx WARNING:} Do not try to play this music; it could be hazardous.
+
+{\tt barsant.pmx} contains the first movement of a recorder sonata by the
+Italian Francesco Barsanti (1690-1772). It demonstrates many of \PMXX 's
+strong points in a ``battlefield'' situation: figured
+bass, complex beaming patterns, xtuplets, and
+automatically adjusted horizontal and vertical spacing in crowded scores.
+In fact,
+this single-page score pushes the limits of vertical and horizontal crowding.
+To get the final result, it makes subtle adjustments using various available options:
+{\tt Ae} for equal space between systems, {\tt AI1.1} to increase the vertical
+space between staves in a system, {\tt Apl} to activate postscript slurs and
+special treatment of line-breaking slurs/ties (note slur at end of fourth
+system), and {\tt W.5} to increase minimum space between noteheads so the 64th
+notes don't touch each other. This is also a
+good score to try making parts with {\bfx scor2prt}. A special command
+{\tt \%2S9} is used to increase the number of systems in the recorder part.
+
+{\tt mwalmnd.pmx} is an Allemand for harpsichord by the German
+Matthias Weckmann
+(1616-1674). It uses many techniques peculiar to keyboard scores, most notably
+two voices per staff.
+
+{\tt netsoos.pmx}\NEW{2.73} is an example with lyrics, including several inline \TeX\
+commands to enhance the layout.
+
+{\tt staffcrossall.pmx}\NEW{2.74} contains examples of staff-crossing chords. Some are
+single-stemmed, some are beamed non-xtuplets, and finally beamed xtuplets.
+
+\subsection{A Benign Bug}
+
+ When \TeX 'ing the output of \PMX you will usually get an {\tt Underfull
+\bs vbox} message at the end of each page. This is due to my using
+\bs{\tt eject} at the end of every page, which automatically spaces the
+systems vertically without having to fiddle with \bs{\tt staffbotmarg}. As far
+as I know, the
+warning is benign, and may be ignored.
+
+\subsection{Where to Get Help} \label{where}
+
+The main home of \PMX on the internet is the software section of the
+\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. This
+site also links to a mailing list devoted to \MusiXTeX\ and related programs including
+\PMX. The denizens of this list are always willing to answer questions about any
+aspect of the software. New users are strongly advised to take advantage of this
+resource.
+
+\subsection{Acknowledgments}
+
+ To Daniel Taupin, Ross Mitchell, and Andreas Egler for creating
+\MusiXTeX{}; to Olivier Clary for suggesting a crucial modification in
+the note-entry scheme;
+to my colleague John DiPol (a non-musician!) for the idea of using binary masks
+to define beam groupings;
+to Joel Hunsberger for unraveling some deep \MusiXTeX~tangles;
+to Dirk Laurie
+for making \PMX accessible to vocal music by creating {\tt\bs pmxlyr}
+and {\bfx M-Tx};
+to Stanislav Kneifl and Hiroaki Morimoto for developing the postscript
+slur packages; to
+Christian Mondrup, Andre Van Ryckeghem, Christof Biebricher, Joerg Anders,
+Olivier Vogel, and other denizens of the TeX-music mailing list
+for first-class bug-finding and support in responding to queries about
+\PMX on the mailing list; to Luigi Cataldi, Olivier Vogel, Christof
+Biebricher, and Cornelius Noack for producing translated and enhanced
+\PMX tutorials; and to Bob Tennent for maintaining the software section
+of the web site.
+Finally, I want to mention again the invaluable contributions by
+Werner Icking: his exhaustive beta testing,
+uncanny bug-finding, continuing encouragement, and promotion
+of \PMX right up until his sudden and premature departure from this
+earthly realm.
+
+\end{document}
diff --git a/support/pmx/doc/pmxab.1 b/support/pmx/doc/pmxab.1
new file mode 100644
index 0000000000..348517f4ae
--- /dev/null
+++ b/support/pmx/doc/pmxab.1
@@ -0,0 +1,24 @@
+.TH pmxab 1 "12 Feb 2018" "Version 2.8.4" "PMX Manual Page"
+.SH NAME
+pmxab \- a MusiXTeX preprocessor
+.SH SYNOPSIS
+.B pmxab
+.RI basename [.pmx]
+
+.SH DESCRIPTION
+pmxab is a preprocessor for MusiXTeX.
+It's usually invoked by a frontend musixtex(1).
+To use it to its full benefit you should have installed MusiXTeX Version 1.21
+or higher, and TeX itself.
+The goal of PMX is to faciliate the efficient typesetting of scores and parts
+that have an almost professional appearance. To learn more about typesetting
+with PMX, please read the PMX Manual.
+
+When invoked directly, pmxab produces tex output utilizing the MusiXTeX
+macro set.
+.SH SEE ALSO
+scor2prt(1), musixtex(1)
+.SH AUTHORS
+PMX was written by Don Simons <dsimons@roadrunner.com>.
+This manual page was written by Roland Stigge <stigge@antcom.de> for the Debian
+project and revised by Bob Tennent <rdt@cs.queensu.ca>.
diff --git a/support/pmx/doc/pmxab.pdf b/support/pmx/doc/pmxab.pdf
new file mode 100644
index 0000000000..ca3bb2aec4
--- /dev/null
+++ b/support/pmx/doc/pmxab.pdf
Binary files differ
diff --git a/support/pmx/doc/ref284.pdf b/support/pmx/doc/ref284.pdf
new file mode 100644
index 0000000000..422a0b12f2
--- /dev/null
+++ b/support/pmx/doc/ref284.pdf
Binary files differ
diff --git a/support/pmx/doc/ref284.tex b/support/pmx/doc/ref284.tex
new file mode 100644
index 0000000000..0355f13e36
--- /dev/null
+++ b/support/pmx/doc/ref284.tex
@@ -0,0 +1,480 @@
+%%%%%%%%%%%%%%%%%
+%%
+%% ref284.tex (latex)
+%%
+%%%%%%%%%%%%%%%%%
+\ifx\documentstyle\undefined
+% \documentstyle[11pt,multicol]{article}
+ \documentstyle[12pt,multicol]{article}
+\else
+% \documentclass[11pt]{article}
+ \documentclass[12pt]{article}
+ \usepackage{multicol}
+\fi
+
+\pagestyle{empty}
+
+% A4 horizontal 210mm, letter vertical 11in:
+\setlength{\textwidth}{21cm}\addtolength{\textwidth}{-2cm}
+\setlength{\textheight}{11in}\addtolength{\textheight}{-2cm}
+\addtolength{\topmargin}{-3.5cm}
+\addtolength{\oddsidemargin}{-3.4cm}
+\addtolength{\evensidemargin}{-3.4cm}
+\setlength\columnsep{2mm}
+
+\hoffset22.5pt
+
+\message{h=\the\textheight, w=\the\textwidth, s=\the\columnsep}
+
+\begin{document}
+
+{\footnotesize\small
+
+\def\bs{{\tt\char'134}}
+\def\bsn{\bs}
+\def\dhline{\hline\hline}
+\def\newcol{
+\hline
+\end{tabular}
+
+\begintab
+\hline
+}
+%\let\blank\ \def\ {\blank\blank}
+
+\centerline{QUICK REFERENCE TABLE FOR {\bf PMX},
+Version 2.84,
+February 2018~~~
+\hfill Don Simons (dsimons@roadrunner.com)}
+
+%\begin{multicols}{2}
+\null
+
+ This table defines PMX command syntax. Each command starts with a
+single character from a non-indented line, followed by characters from
+subsequent indented lines, with no internal spaces. When characters
+on the same line are separated by commas, only one can be used, unless
+otherwise noted. Characters enclosed in brackets {\tt [~]} are optional,
+but if one is used and the following line is indented and unbracketed,
+then one character must be used from the unbracketed group. Several
+characters, chosen from different lines that are indented the same
+amount, may be used in sequence. {\it d1, d2} are single digits, so
+for example {\it d1}{\tt[}{\it d2}{\tt]} is a one- or two-digit integer.
+{\it i}, {\it i1}, or {\it i2} is any non-negative integer.
+{\it x} is any non-negative decimal number.
+
+%\end{multicols}
+
+\begin{multicols}{2}
+\begin{center}
+%\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}}
+\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}}
+\begintab
+\hline
+a,b,c,d,e,f,g & Note name.\\
+\ [0,2,4,8,1,\break\rightline{3,6,9]} & If first digit, duration.
+ Must include if duration not yet set in current input block.\\
+\ [1,2,3,4,5,\break\rightline{6,7]} & If second digit, Octave number.
+ Must include if octave not yet set in current input block.\\
+\ [d] & Dot.\\
+ \ \ [+.- {\it x}] & Vertical shift, \bsn{}internotes.\\
+\ \ \ [+.- {\it x}] & Horiz. shift, notehead widths.\\
+\ \ [d] & Double dot.\\
+\ [f,s,n] & Accidental. Repeat for double.\\
+\ \ [+,- {\it i} +,- {\it x}] & Vertical shift, \bsn{}internotes;
+ horiz. shift, notehead widths.\\
+\ \ [<,> {\it x}] & Horiz. shift, notehead widths.\\
+\ \ [i] & MIDI-only accidental.\\
+\ \ [c] & Cautionary accidental.\\
+\ [+,-] & Shift octave from default (default is within a 4th).\\
+\ [u,l] & Force stem direction.\\
+\ [a] & Prohibit beaming this note. If first note of xtuplet, prohibit
+ beaming the xtuplet.\\
+\ [r] & Right offset by one notehead.\\
+\ [e] & Left offset by one notehead.\\
+\ [.] & Dot shortcut: {\tt a8.b} = {\tt ad8 b1} \\
+\ [,] & 2:1 shortcut: {\tt a8,b} = {\tt a8 b1} \\
+\ [D] & In xtuplet note only, double duration. Reduce number of
+ notes in xtup by 1.\\
+\ [F] & As above, and add dot.\\
+\ [S,L {\it x}] & Shrink or lengthen stem length by {\it x} \bs{\tt internote}.\\
+\ \ [:] & Make it sticky.\\
+\ [S,L :] & Shrink or lengthen this stem, then return to default.\\
+\ [Ao] & In main chord note, post accidentals in order entered.\\
+\ [T] & Single-note tremolo (slashes across stem).\\
+\ \ [1,2,3] & Number of slashes; 1 is default.\\
+\newcol
+~ & Note options, continued\\
+\ [x{\it i}] & An {\it i}-tuplet starts here.
+ Duration (already set) refers to total for xtuplet.
+ Next $i-1$ notes or rests are in
+ xtuplet. They must have no duration number; may have
+ octave number or {\tt d} for dot.\\
+\ \ [d] & Dot first xtup note, halve next.\\
+\ \ [n] & Fine-tune printed number. \\
+\ \ \ (\it{blank}) & Don't print number. \\
+\ \ \ [f] & Flip vertical location. \\
+\ \ \ [{\it i}] & Replacement printed number. \\
+\ \ \ [+,- {\it i}] & Vertical shift, \bsn{}internotes.\\
+\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
+\ \ \ [s] & Fine tune slope of bracket for non-beamed xtuplet.\\
+\ \ \ \ +,- {\it i} & Slope adjustment.\\
+\ [xT] & Start a 2-note tremolo.\\
+\ \ [0,1,2,3] & Number of main beams between 2 notes.\\
+\ \ \ [0,1,2,3] & Number of indented beams.\\
+\dhline
+z & Chordal note. No duration allowed.\\
+\ a,b,c,d,e,f,g & Note name.\\
+\ \ [f,s,n] & Flat, sharp, natural. Repeat for double flat or sharp.
+ Shift options same as on main note.\\
+\ \ \ [A] & (Preceding a shift) Apply shift relative to PMX-computed one.\\
+\ \ [+,-] & Up or down one octave.
+ may use several in succession.\\
+\ \ [r,e] & Right or left offset by one notehead.\\
+\ \ [d] & Dot. Permitted but not required, unless dot is to
+ be shifted. \\
+\ \ \ [+,- {\it x}] & Vertical shift, \bsn{}internotes.\\
+\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
+\newcol
+r & Rest.\\
+\ [0,2,4,8,1,\break\rightline{3,6,9]} & Duration.
+ Must include if duration not yet set in current input block.\\
+\ [d] & Dot.\\
+\ [p] & Full-bar rest using 'Pause' symbol (no digit).\\
+\ [m{\it i}] & Multi-bar rest of {\it i} bars.\\
+\ [b] & Blank rest, not printed (this line of music
+ drops from sight).\\
+\ [o] & Suppress centering full-bar rest.\\
+\ [+,- {\it i}] & Raise/lower rest from middle line, \bsn{}internotes.\\
+\ [L] & With AK, align rest with note to left. \\
+\ [x{\it i}] & Start xtup. After above options. See description for
+ main note.\\
+\dhline
+o & Ornament. Symbol comes after note.\\
+%\ t,m,x,+,u,p,\break\rightline{),-,>,\raise1pt\hbox{\^\ }.}
+\ t,m,x,+,u,p,\break\rightline{(,),\_,.,>,\^\ }
+ & Shake, mordent, ``x", ``+", pizz., strong pizz., ``(" before
+ notehead,
+ ``)" after notehead, tenuto, stacc., sfz, duncecap\\
+\ c,b & Caesura, breath.\\
+\ \ [+,- {\it i}] & Vertical shift, \bs{\tt internote}.\\
+\ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
+\ f & Fermata. Default is up.\\
+\ \ [d] & Convert to down fermata. \\
+\ T,Tt & Trill ({\it tr}) with or without wavy line.\\
+\ \ [{\it x}] & Length to end of wavy line, \bsn{}noteskips.
+ Default is one \bsn{}noteskip.
+ Use {\tt oT0} for {\it tr} .\\
+\ g & Segno. Voice \#1 only.\\
+\ \ [-]{\it n} & Horizontal shift, points. \\
+\ G & Smaller segno, any voice. \\
+\ \ [[-]{\it d1}[{\it d1}]] & Offset of segno symbol in points.\\
+\ e & Editorial accidental. \\
+\ \ s,f,n & Sharp, flat, natural. \\
+\ \ \ [?] & Editorial accidental is dubious. \\
+\ \ ? & Text is dubious. \\
+\ C & Coda. \\
+\ [+,- {\it i}] & (After~setting~ornament~type)\break Raise/lower by
+ {\it i} \bsn{}internotes from default.\\
+\ [:] & Repeat toggle. Must come last. First instance, after setting
+ ornament type, gives all later notes same ornament, until
+ {\tt o:} shuts it off. \\
+\newcol
+G & Grace note group.\\
+\ [{\it i}] & Number of notes in group. Not needed if 1.
+ If {\tt>}1, next $i-1$ notes are in grace.\\
+\ [s] & Slur to/from main note.\\
+\ [m {\it d1}] & Multiplicity (number of flags or beams). Default is 1.\\
+\ [x] & Slash. Single grace only. \\
+\ [l,u] & Forced stem direction.\\
+\ [A,W] & Put grace just after main note, or shifted as far
+ right as possible.\\
+\ [X{\it x}] & Gap to main note, notehead widths. \\
+\ ({\it first note}) & Must follow above options.
+ Use same symbols as normal note.\\
+\dhline
+s,);t,\} & Slur/tie toggle, after note. With {\tt Ap}, {\tt t} or {\tt\}} causes
+ true tie.\\
+(;\{ & Placed before note, same as {\tt s} or {\tt\}} placed after. \\
+\ [{\it c}] & Optional ID code, {\tt 1-9} or {\tt A-Z} . Must be first
+ after {\tt s,t,(,\{} .\\
+\ [u,d,l] & Force direction. Only allowed at slur/tie start.\\
+\ [t] & Position slur end as tie rather than slur. With postscript
+ slurs, print a true tie.\\
+\ [b] & Dotted slur.\\
+\ [+,- {\it i}] & Raise/lower start/end of slur, \bsn{}internotes.\\
+\ \ [+,- {\it x}] & Horizontal shift start/end of slur, notehead widths. \\
+\ \ \ [+,- {\it i}] & Mid-height alteration, nonzero, only on termination.\\
+\ \ \ \ [:{\it d1d2}] & Alter starting and ending slope, 1-7.\\
+\ [f,n,h,H,HH] & Flatten, normalize, or increase curve. For font-based, on end
+ only. For Type K linebrk, 1st seg if on start,
+ 2nd if on end.\\
+\ [s +,- {\it i}] & On start of a line-breaking type K slur or tie, vertical adjustment
+ of end of first segment.\\
+\ \ +,- {\it x} & Horizontal tweak of end of first segment.\\
+\ \ \ [s +,- {\it i}] & Vertical adjustment of start of second segment.\\
+\ \ \ \ +,- {\it x} & Horizontal tweak of start of second segment.\\
+\ [p] & Local change in postscript slur or tie adjustment.\\
+\ \ +,- & Turn on or off automatic adjustment.\\
+\ \ \ s,t & Adjust slur or tie.\\
+\ [v] & Stem slur, postscript only.\\
+\newcol
+A & Miscellaneous controls.
+ Only at start of first block except {\tt i} , {\tt I}\\
+\ [i,I {\it x}] & Factor on \bs{\tt interstaff}\\
+\ [d] & Lower dots in lower voice of 2 on a staff\\
+\ [a{\it x}] & Change afterruleskip to {\it x} \bs{\tt elemskip}s. Default
+ is 1.\\
+\ [b,s] & Force big or small accidentals.\\
+\ [r] & Relative accidentals. Must be set if transposing.\\
+\ [e] & Equalize inter-system spacing.\\
+\ [S] & Make some staves small.\\
+\ \ {\it c1c2...} & A string of specifiers {\tt 0} (normal); {\tt -,s} (small);
+ {\tt t} (tiny); one for each staff.\\
+\ [v] & Toggles vshrink (initially on), which collapses pages vertically
+ when computed \bs{\tt interstaff} exceeds 20.\\
+\ [N] & User-defined part file name.\\
+\ \ {\it i1}"{\it name1}" & Base name to use in part {\it i1}.\\
+\ \ \ [{\it i2}"{\it name2}"] & Base name to use in part {\it i2}.\\
+\ \ \ \ [...] & Continue with other parts as desired.\\
+\ [T] & Use Col. S's broken brackets for non-beamed xtups.\\
+\ [p] & Activate postscript slurs.\\
+\ \ l & Activate special adjustments for line-breaking slurs and ties.\\
+\ \ h & Input Type K postscript header at start of every page, so pages can be
+ separated e.g. with dviselec.\\
+\ \ [+,-] & Turn on or off global slur or tie adjustments, or halfties.\\
+\ \ \ s,t,h,c & Switch slur, tie, halftie, or ratchet curvature.\\
+\ [R] & Read in normal include file.\\
+\ \ {\it filename} & File name, may include path.\\
+\ [K] & Activate special rules for rest positions in 2-staff keyboard scores.\\
+\ [cl,c4] & Set vert. and horiz. page sizes and offsets for letter or a4 paper.\\
+\ [V +,- {\it n1} +,- {\it n2}] & Vertical skips, \bsn{}internotes, before and after next
+ ~\bsn{}eject.\\
+\dhline
+B & Toggles default stem direction for middle line of bass clef.
+ (intial direction is up).\\
+\dhline
+C & Clef change.\\
+\hbox{\ t,s,m,a,n,r,}\hbox{\ b,f,8 or 0-8} & {\bf t}reble, {\bf s}oprano,
+ {\bf m}ezzo-soprano, {\bf a}lto, te{\bf n}or, ba{\bf r}itone,
+ {\bf b}ass, {\bf F}rench violin, octave treble\\
+\newcol
+D & Dynamics.\\
+\ p,pp,...,ffff & Pre-defined standard dynamics.\\
+\ "{\it text}" & Any text string.\\
+\ <.> & Hairpin toggles.\\
+\ \ [+,- {\it n }] & Vertical shift from default, \bs{\tt internote}s.\\
+\ \ \ [+,- {\it n }] & Horizontal shift from default, notehead widths.\\
+\dhline
+F & Cancels figures in bass line
+ (use with {\tt \%1} in score file
+ to make a bass part with no figures).\\
+\dhline
+h,w & If followed by number, page height or width.
+ Only at start of first input block.\\
+\ {\it x} & Page height or width.\\
+\ \ [i,m,p] & Inches, mm, points. Default is points.\\
+\dhline
+h & If followed by blank or {\tt [+,-]}, heading.
+ Next input line will print above top staff.\\
+\ [+,- {\it i}] & Alter height from default, \bs{\tt internote} \\
+\dhline
+I & MIDI controls. Only at start of an input block.\\
+\ [t{\it x}] & Set tempo to {\it x} beats per minute.\\
+\ [p{\it x}] & Insert a pause of {\it x} quarter notes.\\
+\ [i{\it i1i2...in}] & Specify {\tt noinst} MIDI instruments. {\it i1,i2...in}
+ are integers between 1 and 128 or 2-letter abbreviations.
+ Consecutive integers must be separated with {\tt ":"}.\\
+\ [v{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} velocities
+ (volumes), 1$\leq${\it i}$\leq$128. \\
+\ [b{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} balances
+ 1$\leq${\it i}$\leq$128, 64=center. \\
+\ [T] & MIDI-only transposition.\\
+\ \ +,- {\it i1} +,- {\it i2} ... +,- {\it in} & Amounts of transpositions in
+ \bs{\tt internote}s, {\tt noinst} values.\\
+\ [g{\it i}] & Internote gap in midi tics. Default = 10\\
+\ [MR{\it i}] & Start recording macro {\it i}.\\
+\ [M] & Stop recording.\\
+\ [MP{\it i}] & Playback (insert) macro {\it i}.\\
+\dhline
+K & Key signature change and/or transposition.\\
+\ [n] & Suppress printing naturals.\\
+\ [i {\it i}] & Applies only to instrument {\it i}.\\
+\ +,- {\it i} & Amount of transposition in \bsn{}internotes. Use {\tt-0} to transpose
+ by 1/2 step to same-name key.\\
+\ \ +,- {\it i} & New key signature.\\
+\ \ \ [i {\it i}]... & Applies to another instrument {\it i}.\\
+\newcol
+l & Next input line is a text string
+ to appear below top staff.\\
+\dhline
+L{\it i} & Force a line break at line {\it i}. Voice \#1 only. Start of
+ block only.\\
+\ [P{\it i}] & Force a page break at page {\it i}.\\
+\ [M] & Movement break. Must follow {\tt P} if present. \\
+\ \ [+{\it i}] & Extra vertical space, \bs{\tt internote}. \\
+\ \ [i{\it x}] & New indent, decimal fraction of line width.\\
+\ \ [c] & Continue bar numbering, do not reset.\\
+\ \ [r +,-] & Force or suppress reprinting instrument names.\\
+\ \ [n{\it i}] & Change to {\it i} instruments.\\
+\ \ \ {\it d1d2...di} & Numbers of instruments. Precede 2-digit numbers with {\tt :}\\
+\ \ \ \ {\it c1c2...ck} & Clef symbols. Enter one for
+ every staff in new lineup.\\
+\dhline
+m & Meter change. Voice \#1 only. Start of input block only.\\
+\ o,{\it d1}[{\it d2}] & True numerator of meter.
+ Use {\tt o} if full value is exactly 1.
+ If {\it d1}=1, numerator is 10+{\it d2}.\\
+\ \ {\it d1}[{\it d2}] & True denominator.\\
+\ \ \ o,{\it d1}[{\it d2}] & Printed numerator of meter. Use {\tt o} as above.\\
+\ \ \ \ {\it d1}[{\it d2}] & Printed denominator.\\
+\ {\it d1}[{\it d2}]/ & (Alternate syntax) true numer-ator \\
+\ \ {\it d1}[{\it d2}]/ & true denominator \\
+\ \ \ {\it d1}[{\it d2}]/ & printed numerator \\
+\ \ \ \ {\it d1}[{\it d2}] & printed denominator \\
+\dhline
+M & Macro. If alone, ends recording or saving.\\
+\ [R,S,P] & Record (store and execute), save (store but do not execute),
+ or playback. \\
+\ \ {\it i} & Macro ID number, from 1 to 20. \\
+\dhline
+P & Start page numbering in this page. Voice \#1 only.
+ Start of input block only.\\
+\ [{\it i}] & Starting page number. Default is 1.\\
+\ [r,l] & Margin for starting page number. Default is 'r'.\\
+\ [c] & Centered header on each page. Must be last option in symbol.
+ Default text is instrument name \\
+\ \ [{\it text}] & Text with no blanks \\
+\ \ ["{\it text}"] & Text with blanks \\
+\newcol
+R & Repeat or doublebar. Voice \#1 only.
+ Doublebars at start of bar only.\\
+\ l,r,lr,d,D,dl & Left repeat, right repeat, l-r rpt, doublebar, doubleBAR,
+ doublebar-left repeat.\\
+\ z & Blank barline at next system break.\\
+\ b & Single bar (end of movement or piece).\\
+\dhline
+S{\it i} & Reset total number of systems to {\it i}.
+ Only at start of first input block.
+ Only useful with \bs{\tt \%}{\it j} for automatically
+ generated parts.\\
+\ [P{\it i}] & Force total number of pages to be {\it i}.\\
+\ [m{\it i}] & Change musicsize to {\it i}.\\
+\dhline
+T & Title string. Only at start of first input block.\\
+\ t[{\it d1}[{\it d2}]],i,c & Title of piece (centered), instrument (left
+ justified), or composer (right justified). Following line
+ is the text.
+ {\tt Tt} may be followed by a number (\bsn{}internotes) to add
+ vertical space below entire title block.
+ {\tt Tt} must come after {\tt Ti} and {\tt Tc} for this to work.\\
+{\it text}\bs\bs{\it text} & Make a line break in the title string.\\
+\dhline
+V & Toggle for Volta. Voice \#1 only. Start of bar only.
+ For scor2prt, only allowed one per input block,
+ and it must come at start of block.\\
+\ [{\it text}] & Text for start of volta. May not be ``b" or ``x".\\
+\ b,x & At end of volta, boxed end or horizontal (no box).\\
+\dhline
+W & Set new minimum horizontal space between noteheads.\\
+\ . & Decimal point (required).\\
+\ \ {\it d1} & Tenths of notehead width. Default is 3.\\
+\dhline
+x & Floating figure (offset to right).\\
+\ {\it d1} & Number of note-length units of offset.\\
+\ \ {\it d2} & Note-length unit. Same code as for note durations.\\
+\ \ \ 2,3,\dots,9,\break\rightline{\#,-,n,0{\it d1}}
+ & Characters for floating figure,
+ arranged as in normal figure.\\
+\newcol
+X & Shift or insert hardspace. \\
+\ [-]{\it x} & Distance. Default units are notehead widths.\\
+\ \ [{\tt p}] & Units are points.\\
+\ [:] & Begin shift (if number\break also present), end shift
+ (if no number),\\
+\ [S] & Single-note shift ({\tt S}). \\
+\ [P] & Use only in part, not score. \\
+\ [B] & Use in both score and part. \\
+\dhline
+2,3,\dots,9,\#,-,n & Normal figure.
+ Combine characters as needed. See manual.\\
+\ [v] & Start vertical shift for this line.\\
+\ \ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\
+0 {\rm (zero)} & Continuation figure.\\
+\ {\it x} & Length in \bsn{}internotes.\\
+\_ {\rm (underscore)} & Placeholder figure, to lower the next one. \\
+\ [+{\it i}] & In any figure, raise by {\it i}~\bs internotes. \\
+\ [s] & (With 2,4,5,6,9) add slash. Must have font cmrj. \\
+\dhline
+[ & Start a forced beam.\\
+\ [j] & Continue an existing staff-\break jumping beam.\\
+\ [u,l] & Direction of forced beam.\\
+\ [f] & Flip beam direction.\\
+\ [m {\it d1}] & Forced multiplicity. {\it d1} = 1 - 4. \\
+\ [h] & Force horizontal beam (zero slope).\\
+\ [:] & After this forced beam, continue forced beaming over the
+ same interval until next explicit forced beam or end of
+ input block.\\
+\ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\
+\ \ [+,- {\it i}] & Change slope from default.\\
+\ \ \ [+,- {\it i}] & Distance to raise or lower beam, beam thk's.\\
+\dhline
+] & End forced beam.\\
+\ [j] & Keep beam open, prepare to jump to other staff \\
+\dhline
+][ & Between two notes in a forced beam,
+ decrease multiplicity to 1, then immediately increase.
+ Treated as a single symbol, set off by spaces.\\
+\dhline
+]-[ & Between two notes in forced beam, end one segment and
+ start next of a single-slope beam group\\
+\dhline
+( & Placed before a note, equivalent to {\tt s} after note. \\
+) & Equivalent to {\tt s} . \\
+\newcol
+\{ & Placed before a note, equivalent to {\tt t} after note. \\
+\} & Equivalent to {\tt t} . \\
+\dhline
+? & Arpeggio start/stop. Comes after note. \\
+\ [-{\it x}] & Shift left by {\it x} notehead widths. \\
+\dhline
+\bs,\bs\bs,\bs\bs\bs & Start a literal \TeX~string before
+ next note, before \bsn{}startmuflex, or before
+ first \bsn{}notes group of current input block.\\
+\ {\it Text}\bs & TeX string and terminator.
+ May have more than one TeX command, strung end-to-end.\\
+--- (\rm 3 minus's) & Toggle for multiline \TeX\ block. Must start on first
+ line. All lines until next {\tt ---} will be copied verbatim
+ to top of \TeX\ file.\\
+\dhline
+[|] & Bar line. Only used for checking, except required after
+ end-of-bar inserted hardspace.\\
+\dhline
+/ & Terminate input for a staff in this input block.\\
+\dhline
+// & Terminate first line of music on this staff for this input
+ block, start a second line of music on same staff.\\
+\dhline
+\% & Comment line.\\
+\ [{\it h}]{\it text} & Scor2prt will put {\it text}
+ into the part whose hexadecimal number is {\it h}.\\
+\ [!]{\it text} & {\it text}
+ will be put in all parts by scor2prt.\\
+\ [\%] & Following line will be ignored by scor2prt.\\
+\dhline
+.\break\null\ {\it note command} & Detatched dot-form shortcut.\break Note will have
+ 1/3 duration of prior note. See note name command.\\
+\dhline
+,\break\null\ {\it note command} & Detatched 2:1 shortcut. Note will have
+ 1/2 duration of prior note. See note name command.\\
+\dhline
+"\break\null\ {\it text}" & Lyrics. See pmx274.pdf section 2.2.14 for details.\\
+\ \ [@] & Set a vertical offset\\
+\ \ \ a,b & Above or below the staff\\
+\ \ \ \ +,- {\it i} & Amount of offset, \bsn{}internotes\\
+\hline
+\end{tabular}
+\end{center}
+\end{multicols}
+}
+\end{document}
diff --git a/support/pmx/doc/scor2prt.1 b/support/pmx/doc/scor2prt.1
new file mode 100644
index 0000000000..23abdf4c19
--- /dev/null
+++ b/support/pmx/doc/scor2prt.1
@@ -0,0 +1,18 @@
+.TH scor2prt 1 "2 Feb 2016" "Version 2.7.3" "scor2prt Manual Page"
+.SH NAME
+scor2prt \- source-parts separation program for pmx, a MusiXTeX preprocessor
+.SH SYNOPSIS
+.B scor2prt
+.RI basename [.pmx]
+.SH DESCRIPTION
+scor2prt is part of pmx(1), a preprocessor for MusiXTeX. It can automatically
+create parts from a score by generating a set of .pmx files, one for each part,
+from a single .pmx file for the score. The appearance of the parts can be
+controlled by special commands in the main file. Read the PMX Manual for more
+information about that.
+.SH SEE ALSO
+pmx(1), pmxab(1), musixtex(1), PMX Manual
+.SH AUTHORS
+PMX was written by Don Simons <dsimons@roadrunner.com>.
+This manual page was written by Roland Stigge <stigge@antcom.de> for the Debian
+project and revised by Bob Tennent <rdt@cs.queensu.ca>.
diff --git a/support/pmx/doc/scor2prt.pdf b/support/pmx/doc/scor2prt.pdf
new file mode 100644
index 0000000000..0711bba5e3
--- /dev/null
+++ b/support/pmx/doc/scor2prt.pdf
Binary files differ
diff --git a/support/pmx/tex/pmx.tex b/support/pmx/tex/pmx.tex
new file mode 100644
index 0000000000..36fd8d2387
--- /dev/null
+++ b/support/pmx/tex/pmx.tex
@@ -0,0 +1,879 @@
+%%%%%%%%%%%%%%%%%%%%%%%
+%% %%
+%% pmx.tex %%
+%% %%
+%%%%%%%%%%%%%%%%%%%%%%%
+\ifx\pmxversion\undefined\else\endinput\fi
+\def\pmxversion{2.80}\def\pmxdate{15 Mar 17}
+% 2.80 add def'n of \slx, real stemlength
+% 2.73 4 Feb 16 Fix \pmxclefsym to include \smalltreblelowoct
+% 2.73 Added \pmxlyr command.
+% 2.619 At movement break, directly set \nbinstruments in \newmovement;
+% probably don't need \newnoi any more.
+% (2.619a) Added \resetlyrics in \newmovement.
+% 2.614 Comment out definitions of some dotted rests, since either in
+% musixtex.tex or not needed.
+% Modified for two figured bass lines 081115
+% 2.502 (Olivier Vogel) change all the commands of the form
+% \font\...=\fontid sy1000 to \font\...=cmsy10
+% 2.408 comment out extra definition of \mdot
+% tweak \hpausep, replace \liftPAuse, add \liftPAusep
+% 2.406 redefine \starteq to put down strut for first system inside \znotes
+% 2.354a add \zcharnote{##2}{~} to \tieforsl
+% 2.354
+% Macros \tieforisu, etc, to replace slurs with ties, for use with musixps
+% 2.353
+% Define \pmxversion
+% Insert Dirk's 2nd set of (LaTeX-aware) redefinitions for \centerline etc.
+% Add 5th option for \endset to \newmovement, for Rz.
+% 12/24/01 add \setzalaligne
+% 12/23/01 Remove \parskip re-definition.
+% 12/16/01 Define \psforts (postscript slur endings to replace \midslur)
+% 10/20/01 added defn's of \bigcna, etc
+% 10/20/01 define \resetsize, redefine \gaft, \grace, and \shlft so resizing
+% is conditional on current staff line spacing.
+% 11 September Redefine liftpausc to include ledger line.
+% 26 Aug 01 Add \pcaesura, \pbreath
+% 10/21/00 Added PMXbarnotrue/false and stopped PMX zapping writezbarno
+% 15 October added vertical equalization macros
+% 4 July added \PAusep, \brevep, dynamic mark placement \pmxdyn, \sfz
+% 1 July inserted stuff for hairpins
+% 31 May 99 Redefined \smno
+%
+\immediate\write10%
+{PMX, a Preprocessor for MusiXTeX, Version\space\pmxversion b\space<\pmxdate>}%
+% Check for MusiXTeX version. TeX generates an error, not an ordinary
+% \end, because the \ifnum is not completed.
+\ifnum\mxvernumber<121\immediate\write16{ }
+\immediate\write16{****************}
+\immediate\write16{! STOPPING TeX because MusiXTeX Version = \mxvernumber}
+\immediate\write16{ while PMX 2.71+ requires at least 121}
+\immediate\write16{****************}
+\immediate\write16{ }\end{document}\fi
+%
+\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+%
+% The next 4 lines are for Don's home use only
+%
+\font\specfnt=cmssqi8%
+\def\mtr#1{\zcharnote{#1}%
+{\specfnt\kern 1.5\internote\raise 0.3\internote\hbox to 0pt{/\hss}%
+\kern -0.7\internote\raise 1.0\internote\hbox to 0pt{/\hss}}}
+%
+\newif\ifolder%
+%
+% Older fonts had clefs at different heights. If you have the older
+% version you should uncomment the following line
+%\oldertrue%
+%
+% The next 3 lines should be in musixmad. They were omitted in
+% some early versions!
+%
+%\newcount\s@Nx
+%\newcount\s@Nxi
+%\newcount\s@Nxii
+%
+% Stemlength macro shorthands for 2-note unbeamed tremolos
+%
+\def\slx#1{\stdstemfalse\nostemcut\stemlength{#1}}
+\def\slz{\stemcut\stemlength{4.66}}
+%
+% Special clef change stuff
+%
+\newcount\reflect
+\def\pmxnewclefs{\m@loop\s@l@ctclefs\o@c\a@c\repeat}%
+\newtoks\pmxclefsym
+\def\pmxclef#1#2{\ifnum#1=0\def\pmxclefsym{\smalltrebleclef}\else\ifnum#1<5%
+\def\pmxclefsym{\smallaltoclef}\else\ifnum#1=7\def\pmxclefsym{\smalltrebleclef}%
+\else\ifnum#1=8\def\pmxclefsym{\smalltreblelowoct}%
+\else\def\pmxclefsym{\smallbassclef}\fi\fi\fi\fi%
+% Adjust height here for older clef default heights.
+\reflect#2\ifolder\ifnum#1=0\advance\reflect-2\else\ifnum#1<5\advance\reflect-4%
+\else\advance\reflect-6\fi\fi\fi%
+\lcharnote{0}{\raise\reflect\internote\hbox{\pmxclefsym}}}%
+%
+% Grace note stuff, incl. macro to reset size after going tiny.
+% This may assume that \musicsize is 20pt but some staves may have
+% \setsize#1\smallvalue
+%
+\def\resetsize{\ifdim\internote<.95\Internote%
+\let\musictinyfont\musicthirteen\smallnotesize\else\normalnotesize\fi}%
+\def\settiny{\ifdim\internote<.95\Internote\let\musictinyfont\musiceleven\fi%
+\tinynotesize}%
+\def\grace#1#2#3{\off{-#1pt}\settiny\stdstemfalse#2\zcu{#3}%
+\resetsize\off{#1pt}}%
+\def\shlft#1#2{\off{-#1pt}\settiny\stdstemfalse#2\resetsize\off{#1pt}}%
+\def\gaft#1#2{\bsk\roffset{#1}{{\settiny\stdstemfalse#2\resetsize}}\sk}%
+%
+% The following keep octaviation out of brackets.
+% 10/20/01: Are these used anywhere???
+%
+%\def\Gshl#1{\off{-#1pt}\tinynotesize}%
+%\def\Gshr#1{\normalnotesize\off{#1pt}}%
+\def\segnoo#1#2{\zcharnote{#2}{\kern#1pt\musicsmallfont\char"56}}%
+\def\ssegno#1{\zcharnote{#1}{\musictinyfont\char86}}%
+%
+% Some ornaments...
+%
+% Font for x-trill symbol. Could make this more general.
+%
+\def\xtr#1{\zcharnote{#1}{\xtrfont\char"02}}
+%
+% Plus-trill
+%
+\def\ptr#1{\ptrx{#1}{1.8}{.35}}
+\def\ptrx#1#2#3{\zcharnote{#1}{\raise.9\internote\hbox{%
+\pcil\h@lf\qn@width\kern\pcil%
+\razclef#2\internote\pcil#3\internote\kern-\h@lf\razclef\vrule height \h@lf\pcil
+depth \h@lf\pcil width \razclef\kern-\h@lf\razclef\kern-\h@lf\pcil\kern-.1pt
+\vrule height \h@lf\razclef depth \h@lf\razclef width \pcil}}%
+}%
+%
+% Put in a number for an xtuplet.
+%
+\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
+\off{-#1\elemskip}}
+%
+% accidental skips
+%
+\def\ast#1{\off{#1\elemskip}}
+%
+% Check for and read a .mod file; open the .ask file
+%
+\newread\pmxmod
+\def\readmod#1{\openin\pmxmod #1.mod\relax
+\ifeof\pmxmod\else\input #1.mod\fi\closein\pmxmod}
+%
+% Macros for optional small notes, usually w/ down stems. Offset to center
+% them below a large note. I used these in Matteis.
+%
+%\def\smno#1{\roffset{.17}{\tinynotesize#1\normalnotesize}}%
+%
+% Redefined, due to some mysterious problem with \roffset
+%
+\def\smno#1{\off{.17\qn@width}\tinynotesize#1\normalnotesize\off{-.17\qn@width}}%
+\def\pmno#1{\roffset{.08}{\smallnotesize#1\normalnotesize}}%
+\def\smq#1{\smno{\zql{#1}}}\def\smc#1{\smno{\zcl{#1}}}%
+\def\smh#1{\smno{\zhl{#1}}}%
+%
+% Single-digit meter symbol
+%
+\newbox\workbox%
+\def\meterN#1{\setbox\workbox=\vbox{\hbox{\ \meterfont #1}}%
+\vbox to 8\internote{\offinterlineskip\vss\hbox to \wd\workbox{\hss
+\meterfont #1\hss}\vss }}%
+%
+% Meter symbol '3' with vertical slash
+%
+\def\meterIIIS{\kern\internote\raise\Interligne\hbox{\meterfont 3}%
+\kern -2.0\internote
+\vrule height 7\internote depth -\internote width0.3\internote
+\kern 1.7\internote}%
+%
+% Fractional meter with a slash
+%
+\def\meterfracS#1#2{%
+\kern\internote\raise2\Interligne\rlap{\meterfont #1}%\lower2\Interligne%
+\hbox{\meterfont #2}%
+\kern -1.85\internote
+\vrule height 8\internote width0.3\internote
+\kern 1.55\internote}%
+%
+% *Symbols* for use in figures
+%
+\def\sharpfig{\musixchar92}
+\def\flatfig{\musixchar90}
+\def\natfig{\musixchar94}
+\def\fsmsh{\llap{\musixchar92}}
+\def\fsmfl{\llap{\musixchar90}}
+\def\fsmna{\llap{\musixchar94}}
+%
+% Macros for editorial accidentals
+%
+\def\qedit#1{\roffset{.2}{\zcharnote{#1}{\normtype\rm?}}}
+\def\qsharp#1{%
+\loffset{.2}{\zcharnote{#1}{\sharpfig\lower1.3\internote\hbox{\normtype\rm?}}}}
+\def\qflat#1{%
+\loffset{.2}{\zcharnote{#1}{\flatfig\lower.8\internote\hbox{\normtype\rm?}}}}
+\def\qnat#1{%
+\loffset{.2}{\zcharnote{#1}{\natfig\lower1.2\internote\hbox{\normtype\rm?}}}}
+\def\esharp#1{\roffset{.3}{\zcharnote{#1}{\sharpfig}}}
+\def\eflat#1{\roffset{.3}{\zcharnote{#1}{\flatfig}}}
+\def\enat#1{\roffset{.3}{\zcharnote{#1}{\natfig}}}
+%
+% Cautionary big accidentals
+%
+\def\bigcna{\cna} \def\bigcfl{\cfl} \def\bigcsh{\csh}
+%
+% Some fonts...for some reason my system can't do cmbx12 scaled \magstep4
+% 9/17/97 Must redo the following 3 lines to permit EC/DC fonts
+%
+%\font\BIGfont=cmbx10 scaled\magstep4\font\Bigfont=cmbx10 scaled\magstep2
+%\font\tempo=\fontid bx12%
+%\font\dyn=\fontid bx10%
+\iflongDCfontnames
+\font\xtrfont=cmsy10
+\font\tempo=\fontid bx1200
+\font\dyn=\fontid bx1000
+\else\iflongECfontnames
+\font\xtrfont=cmsy10
+\font\tempo=\fontid bx1200
+\font\dyn=\fontid bx1000
+\else
+%\font\xtrfont=cmsy10
+%\font\BIGfont=cmbx10 scaled\magstep4
+%\font\Bigfont=cmbx10 scaled\magstep2
+\font\xtrfont=cmsy10
+% Definitions deleted per Bob Tennent's request 150726
+%\font\BIGfont=\fontid bx10 scaled\magstep4
+%\font\Bigfont=\fontid bx10 scaled\magstep2
+\font\tempo=\fontid bx12%
+\font\dyn=\fontid bx10%
+\fi\fi
+%
+% Continuation figure
+%
+\def\Cont#1#2{\advance\figdrop by #1\lower\figdrop\internote%
+\hbox to \z@{\kern -0.3\noteskip%
+\vbox{\hrule height 1.4\lthick width #2\noteskip}\hss}%
+\advance\figdrop by -#1}%
+\def\Cott#1#2{\advance\figdtwo by #1\lower\figdtwo\internote%
+\hbox to \z@{\kern -0.3\noteskip%
+\vbox{\hrule height 1.4\lthick width #2\noteskip}\hss}%
+\advance\figdtwo by -#1}%
+
+%
+% Tiny C clef on line #1: Will need to mod with new fonts 11-4-96
+%
+\newdimen\razclef\newdimen\symwid%
+\newdimen\pcil %\ifnum\musicsize=20\pcil4pt\else\pcil3.25pt\fi%
+\def\preclef#1#2{%
+\ifnum#2=20\pcil4pt\else\pcil3.25pt\fi%
+\symwid3.692\pcil%
+\hbox{\vbox{\hrule height \lthick width \symwid}%
+\kern-\symwid\raise\pcil\vbox{\hrule height \lthick width \symwid}%
+\kern-\symwid\raise2\pcil\vbox{\hrule height \lthick width \symwid}%
+\kern-\symwid\raise3\pcil\vbox{\hrule height \lthick width \symwid}%
+\kern-\symwid\raise4\pcil\vbox{\hrule height \lthick width \symwid}%
+\razclef-2.43\pcil\advance\razclef#1\pcil%
+\kern-\symwid\raise\razclef\hbox to \symwid{\hss\smallaltoclef\hss}%
+}}%
+\def\namewpc#1#2#3#4#5{\raise#4pt\hbox to \parindent{\raise#5pt\hbox{#1}%
+\hfill\preclef{#2}{#3}}}
+%
+% Stuff for figure placements
+%
+% 9/17/97 redo font names
+%
+%\font\figfont=cmr10
+\def\figfont{\normtype\rm}%
+%
+\newcount\figdrop
+\newcount\figdtwo
+%\figdrop=6
+\newcount\sysno
+\global\sysno=0\relax%
+\def\Figu#1#2{\off{.9pt}\advance\figdrop by #1\lower\figdrop\internote%
+\hbox to \z@{\figfont#2\hss}\off{-.9pt}\advance\figdrop by -#1}%
+%
+% Special Figure macro for 2-bass parts
+%
+%\def\Figt#1#2{\zcharnote{#1}{\kern.9pt\figfont#2}}%
+\def\Figt#1#2{\off{.9pt}\advance\figdtwo by #1\lower\figdtwo\internote%
+\hbox to \z@{\figfont#2\hss}\off{-.9pt}\advance\figdtwo by -#1}%
+%
+% Bar numbering
+%
+\systemnumbers%
+\def\raisebarno{3.5\internote}%
+\def\shiftbarno{3.5\internote}%
+\newdimen\rbnbl\newdimen\sbnbl\newdimen\xrbn\newdimen\xsbn%
+\newdimen\rbndim\newdimen\sbndim%
+\global\rbndim\raisebarno\global\sbndim\shiftbarno%
+\global\def\raisebarno{\rbndim}\global\def\shiftbarno{\sbndim}%
+\global\rbnbl\rbndim\global\sbnbl\sbndim\global\xrbn0pt\global\xsbn0pt%
+%
+% The following 2 macros are messy, but they retain \raisebarno as a macro and
+% retain original definition in musixtex for the end-of-line utility.
+%
+\def\bnrs#1#2{%
+%
+% If here, baseline values will not change. On exit, \rbndim will
+% be the temporary value, \xrbn will be the increment (must save to check later;
+% if <>0 then baseline hasn't changed!), and \rbnbl is still the baseline value.
+%
+ \global\xrbn#1\internote\global\advance\rbndim\xrbn%
+ \global\xsbn#2\internote\global\advance\sbndim\xsbn%
+}%
+\def\writebarno{%
+ \ifnum\barno>1%
+ \boxit{\smalltype\bf\the\barno\barnoadd}%
+ \ifdim\raisebarno=\rbnbl%
+ \empty%
+ \else%
+ \ifdim\xrbn=0pt%
+ \global\rbnbl\raisebarno%
+ \global\def\raisebarno{\rbndim}%
+ \else%
+ \global\xrbn0pt%
+ \fi%
+ \global\rbndim\rbnbl%
+ \fi%
+ \ifdim\shiftbarno=\sbnbl%
+ \empty%
+ \else%
+ \ifdim\xsbn=0pt%
+ \global\sbnbl\shiftbarno%
+ \global\def\shiftbarno{\sbndim}%
+ \else%
+ \global\xsbn0pt%
+ \fi%
+ \global\sbndim\sbnbl%
+ \fi%
+ \fi%
+}%
+%
+% Make small accidentals the default
+%
+\smallaccid%
+%
+% Put in a new time signature. Modified 151226
+%
+\def\newtimes#1%
+{\ifnum#1=0%
+ \n@wbar\writ@newclefs\advance\barsinlin@\@ne%
+%
+% Added 151216
+%
+ \wbarno@x\Writ@newsigns%
+ \advance\n@skip0.3\afterruleskip\widthtyp@\@ne\t@rmskip%
+ \Writ@meters\lastbarpos\lin@pos\addspace\afterruleskip%
+\else\ifnum#1=1%
+ \alaligne
+\else
+ \wbarno@x%
+%
+% Added 151226
+%
+\addspace\afterruleskip
+%
+% -0.7 gave too much space before meter.
+%
+% \advance\n@skip-0.7\afterruleskip\widthtyp@\@ne\t@rmskip%
+ \advance\n@skip-\afterruleskip\widthtyp@\@ne\t@rmskip%
+ \Writ@meters\addspace\afterruleskip%
+\fi\fi}%
+%
+% changecontext with no line break
+%
+\def\xchangecontext{\n@wbar\writ@newclefs
+ \wbarno@x\Writ@newsigns\Writ@meters\addspace\afterruleskip}%
+%
+% changecontext with forced line break and no barline
+%
+\def\zachangecontext{\advance\n@skip\beforeruleskip \widthtyp@\@ne \t@rmskip
+ \zn@wbar \writ@newclefs \advance\barsinlin@\@ne
+ \Writ@newsigns\z@suspend\contpiece }
+%
+% Dotted rests.
+%
+%\def\hsp{\pt7\hs}
+%\def\hspp{\ppt7\hs}
+%\def\qsp{\pt5\qs}\def\dsp{\pt5\ds}\def\qpp{\pt5\qp}
+%\def\qspp{\ppt5\qs}\def\dspp{\ppt5\ds}\def\qppp{\ppt5\qp}
+%\def\pausep{\off{.33\qn@width}\pt5\off{-.33\qn@width}\pause}
+%\def\pausep{\wholeshift{\pt5}\pause}
+\def\hpausepp{\wholeshift{\ppt5}\hpause}
+\def\pausepp{\wholeshift{\ppt5}\pause}
+%
+% Redefine headline to lower pagenumber. The original defn:
+% \def\makeheadline{\vbox to\z@{\vskip-22.5\p@
+% \line{\vbox to8.5\p@{}\the\headline}\vss}\nointerlineskip}
+%
+\def\makeheadline{\vbox to\z@{\vskip-8\p@
+ \line{\vbox to8.5\p@{}\the\headline}\vss}\nointerlineskip}
+%
+% Dot at arbitrary height above a top line of staff
+%
+%\def\mdot#1{\zcharnote8{\kern-5.3pt\raise{#1}\internote\hbox{\musixchar0}}}
+%
+% Titles
+%
+%\def\titles#1#2#3#4#5#6#7{\kern-\lin@pos%
+%\kern-3.2\Interligne\kern-\parindent\kern-\afterruleskip%
+%\kern-\sign@skip%
+%\vbox{\vskip#1\Interligne
+%\ifx\relax#2\relax\else\leftline{\Bigtype #2}\fi\vskip#3\Interligne%
+%\ifx\relax#4\relax\else\centerline{\BIGtype #4}\fi\vskip#5\Interligne%
+%\ifx\relax#6\relax\else\rightline{\Bigtype #6}\fi\vskip#7\Interligne}}%
+%
+% New def'n per Dirk Laurie to allow multiple lines.
+%
+\ifx\documentclass\undefined
+\def\centerlines#1{{\def\\{\hss\egroup\medskip\par\line\bgroup\hss}%
+ \line\bgroup\hss#1\hss\egroup}}
+\def\leftlines#1{{\def\\{\hss\egroup\smallskip\par\line\bgroup}%
+ \line\bgroup#1\hss\egroup}}
+\def\rightlines#1{{\def\\{\egroup\smallskip\par\line\bgroup\hss}%
+ \line\bgroup\hss#1\egroup}}
+\else
+\def\centerlines#1{{\centering#1\\}}
+\def\leftlines#1{{\raggedright#1\\}}
+\def\rightlines#1{{\raggedleft#1\\}}
+\fi
+%\def\centerline#1{{\def\\{\hss\egroup\medskip\par\line\bgroup\hss}%
+% \line\bgroup\hss#1\hss\egroup}}
+%\def\leftline#1{{\def\\{\hss\egroup\smallskip\par\line\bgroup}%
+% \line\bgroup#1\hss\egroup}}
+%\def\rightline#1{{\def\\{\egroup\smallskip\par\line\bgroup\hss}%
+% \line\bgroup\hss#1\egroup}}
+\def\titles#1#2#3#4#5#6#7{\kern-\lin@pos%
+\kern-3.2\Interligne\kern-\parindent\kern-\afterruleskip%
+\kern-\sign@skip%
+\vbox{\vskip#1\Interligne
+% Next 3 lines replaced at Bob Tennent's request 150726
+%\ifx\relax#2\relax\else{\Bigtype\leftlines{#2}}\fi\vskip#3\Interligne%
+%\ifx\relax#4\relax\else{\BIGtype\centerlines{#4}}\fi\vskip#5\Interligne%
+%\ifx\relax#6\relax\else{\Bigtype\rightlines{#6}}\fi\vskip#7\Interligne}}%
+\ifx\relax#2\relax\else{\bigtype\leftlines{#2}}\fi\vskip#3\Interligne%
+\ifx\relax#4\relax\else{\BIgtype\centerlines{#4}}\fi\vskip#5\Interligne%
+\ifx\relax#6\relax\else{\bigtype\rightlines{#6}}\fi\vskip#7\Interligne}}%
+%
+% Slashes on stems
+%
+\def\usoff#1{%
+% Set \pcil to (stem length)-9\Internote
+ \ifnum#1>10
+ \pcil-3.8\Internote
+ \else
+ \pcil#1\Internote
+ \ifnum#1>3
+ \pcil-.38\pcil\advance\pcil-.5\Internote
+ \ifnum#1>7
+ \advance\pcil.38\Internote
+ \fi
+ \else
+ \ifnum#1<-2
+ \pcil-\pcil\advance\pcil-5\Internote
+ \else
+ \pcil-2\Internote
+ \fi
+ \fi
+ \fi
+ \advance\pcil#1\Internote
+}%
+%
+\def\us#1{\usoff{#1}%
+ \raise\pcil\hbox{\loffset{.5}{\ibu009}\roffset{.5}{\tbu0}}}%
+\def\ls#1{\reflect-#1\advance\reflect8 %
+\usoff{\reflect}\advance\pcil-7\Internote%
+ \lower\pcil\hbox{\loffset{.5}{\ibl009}\roffset{.5}{\tbl0}}}%
+%
+% Thinner slashes, better coding
+%
+\newdimen\pmxtop\def\aslash#1#2#3{%
+%
+% #1 = note level relative to bottom line. #2 = 0/1 for down/up stem
+% #3 = 0/1 for down/up slash, For downstem, reflect, do as up, then unreflect.
+%
+\ifcase#3\def\slchar{\char248}\or\def\slchar{\char184}\fi%
+\ifcase#2\pmxtop-#1\internote\advance\pmxtop8\internote\or\pmxtop#1\internote%
+\fi\advance\pmxtop4.66\interbeam\ifdim\pmxtop>11\internote\uptop{11}\uptop{12}%
+\uptop{13}\uptop{14}\uptop{15}\uptop{16}\fi%
+\ifdim\pmxtop<4\internote\pmxtop4\internote\fi%
+%
+% \pmxtop now top of stem for upstem. Unreflect if downstem
+%
+\ifcase#2\pmxtop-\pmxtop\advance\pmxtop8\internote\ifcase#3%
+\advance\pmxtop2.5\internote\or\advance\pmxtop.9\internote\fi%
+\ccharnote0{\raise\pmxtop\hbox{\musictinyfont\slchar}}%
+\or\ifcase#3\advance\pmxtop-.9\internote\or\advance\pmxtop-2.5\internote\fi%
+\roff{\ccharnote0{\raise\pmxtop\hbox{\musictinyfont\slchar}}}\fi}%
+\def\uptop#1{\ifdim\pmxtop>#1\internote\advance\pmxtop-.25\interbeam\fi}%
+%
+% Signature change at end of line
+%
+\def\sigatend#1#2{\setdoublebar\xbar\hardspace{-#2pt}\generalsignature{#1}%
+\zchangecontext\hardspace{-#2pt}\advance\barno-1\let\barrul@\empty}%
+%
+% Macros for beams
+%
+\def\rbbu#1{\roff{\tbbu{#1}}}
+\def\rbbbu#1{\roff{\tbbbu{#1}}}
+\def\rbbbbu#1{\roff{\tbbbbu{#1}}}
+\def\rbbl#1{\roff{\tbbl{#1}}}
+\def\rbbbl#1{\roff{\tbbbl{#1}}}
+\def\rbbbbl#1{\roff{\tbbbbl{#1}}}
+%
+% Stuff for second voice per staff
+%
+\def\nextvoice{%
+\@ndstaff\reflect\noport@@\advance\noport@@-1\beginstaff\noport@@\reflect}%
+%
+% Macros for moving slur starts and stops
+%
+\def\isu#1#2#3{\roffset{#3}{\isluru{#1}{#2}}}%
+\def\isd#1#2#3{\roffset{#3}{\islurd{#1}{#2}}}%
+\def\ts#1#2#3{\roffset{#3}{\tslur{#1}{#2}}}%
+%
+% Macro to replace old \tslur with special postscript slur endings
+%
+\def\psforts#1{\let\tst\tslur\def\tslur##1##2{%
+\ifnum#1=0\tst{##1}{##2}\else%
+\ifnum#1=1\tfslur{##1}{##2}\else%
+\ifnum#1<4\tst{##1}{##2}\else%
+\ifnum#1=4\thslur{##1}{##2}\else%
+\ifnum#1=5\tHslur{##1}{##2}\else%
+\tHHslur{##1}{##2}\fi\fi\fi\fi\fi\let\tslur\tst}}%
+%
+% Macros to replace slurs with ties
+%
+\def\tieforisu{\let\ist\isluru%
+\def\isluru##1##2{\itieu{##1}{##2}\let\isluru\ist}}%
+\def\tieforisd{\let\ist\islurd%
+\def\islurd##1##2{\itied{##1}{##2}\let\islurd\ist}}%
+\def\tieforts{\let\ist\tslur%
+\def\tslur##1##2{\ttie{##1}\zcharnote{##2}{~}\let\tslur\ist}}%
+%
+% Replacement trill macros, to avoid overfull boxes on 1st pass
+%
+\let\savtr\trille\let\savTr\Trille%
+\def\trille#1#2{\ifeof\inmux\else\savtr{#1}{#2}\fi}%
+\def\Trille#1#2{\ifeof\inmux\else\savTr{#1}{#2}\fi}%
+%
+% Mordent as \rpar. If dotted, must move dot to right.
+%
+\def\lpn#1{\loffset{.3}{\lpar{#1}}}% '('
+\def\rpn#1{\roffset{.3}{\rpar{#1}}}% Beam or not, no dot [ ')' only ]
+\def\clm#1#2{\mdot{#1}{#2}\cl{#2}}% Non-beam, dot [ '.' + ')' + note ]
+\def\cum#1#2{\mdot{#1}{#2}\cu{#2}}%
+\def\qlm#1#2{\mdot{#1}{#2}\ql{#2}}%
+\def\qum#1#2{\mdot{#1}{#2}\qu{#2}}%
+\def\hlm#1#2{\mdot{#1}{#2}\hl{#2}}%
+\def\hum#1#2{\mdot{#1}{#2}\hu{#2}}%
+\def\qbm#1#2#3{\mdot{#2}{#3}\qb{#1}{#3}}% Beamed & dotted
+\def\mdot#1#2{\roffset{.32}{\pt{#1}}\roffset{.24}{\rpar{#2}}}%
+\def\lpnu#1{\smallnotesize\loffset{.3}{\zcharnote{#1}%
+{\raise1pt\hbox{\musixchar3}}}\normalnotesize}%
+\def\lpnd#1{\smallnotesize\loffset{.3}{\zcharnote{#1}%
+{\lower1pt\hbox{\musixchar3}}}\normalnotesize}%
+\def\rpnu#1{\smallnotesize\roffset{.6}{\zcharnote{#1}%
+{\raise1pt\hbox{\musixchar4}}}\normalnotesize}%
+\def\rpnd#1{\smallnotesize\roffset{.6}{\zcharnote{#1}%
+{\lower1pt\hbox{\musixchar4}}}\normalnotesize}%
+%
+% For use with mid-bar signature changes, to permit using \ast machinery
+%
+\def\rdoff{\let\toff\off\let\off\addspace}%
+%
+% For raising arpeggios by .5/internote
+%
+\def\raisearp#1#2{\zcharnote{#1}{%
+ \raise.5\internote\hbox{%
+ \uplap{\leaders\hbox{\musixchar70}\vskip#2\Interligne}}}}
+%
+% New Movement Macro
+%
+%\def\newmovement#1#2{\let\holdstop\stoppiece\let\holdcont\contpiece%
+\def\newmovement#1#2#3{\let\holdstop\stoppiece\let\holdcont\contpiece%
+\ifcase#2\def\endset{\setdoubleBAR}\or\def\endset{\setdoublebar}\or%
+%\def\endset{\setrightrepeat}\or\def\endset{\empty}\fi%
+\def\endset{\setrightrepeat}\or\def\endset{\empty}%
+ \or\def\endset{\empty}\fi%
+ \def\stoppiece{\endset%
+%
+%+++
+\ifnum#2=4\zstoppiece\else%
+%+++
+%
+\holdstop%
+%
+%+++
+\fi%
+%+++
+%
+\vskip#1\internote%
+\let\stoppiece\holdstop}%
+% \def\contpiece{
+ \def\contpiece{\def\nbinstruments{#3}% <-- assignment inserted here
+%
+% Added 120904 per Rainer's suggestion to fix problem with M-Tx at m-break.
+%
+\ifx\resetlyrics\undefined\else\resetlyrics\fi%
+%
+\startpiece\addspace\afterruleskip\let\contpiece\holdcont}%
+}%
+%
+% Redefinitions for moving dots vertically by x\interligne and
+% horizontally by y headwidths. Should work for all kinds of dotted notes.
+% Usage: \def\C@Point#1#2{\PMXpt{.0}{-.2}} (x and y hardwired by PMX)
+%
+\global\let\C@Psave\C@Point%
+\def\PMXpt#1#2#3{\ifodd\n@i\else\raise\internote\fi%
+\hbox{\raise#1\internote\hbox{\kern#2\qn@width\musixchar#3\kernm#2\qn@width}}%
+\global\let\C@Point\C@Psave}%
+%
+% Shifted, pointed chord notes (Missing in musixtex.tex ???)
+%
+\def\lhp#1{\loff{\zhp{#1}}}
+\def\rhp#1{\roff{\zhp{#1}}}
+\def\lqp#1{\loff{\zqp{#1}}}
+\def\rqp#1{\roff{\zqp{#1}}}
+\def\rhpp#1{\roff{\zhpp{#1}}}
+\def\lhpp#1{\loff{\zhpp{#1}}}
+\def\rqpp#1{\roff{\zqpp{#1}}}
+\def\lqpp#1{\loff{\zqpp{#1}}}
+%
+% Redefine to include \sk !!!
+%
+\def\liftpause#1{\C@ps\@l@v@n\si@{#1}\sk}
+%\def\liftPAuse#1{\C@ps{58}0{#1}\sk}
+% 1/19/03 Replaced old def'n; added \liftPAusep
+\def\liftPAuse#1{\reflect#1\multiply\reflect2%
+\zcharnote{0}{\raise\reflect\internote\hbox{\kern.4\qn@width\musixchar58}}\sk}%
+\def\liftPAusep#1{\reflect#1\multiply\reflect2%
+\zcharnote{0}{\raise\reflect\internote\hbox{\kern.4\qn@width\musixchar58%
+\kern-\qn@width\pt4}}\sk}%
+\def\lifthpause#1{\C@ps\t@n\f@ur{#1}\sk}%
+\def\liftpausep#1{\reflect#1\advance\reflect2%
+\wholeshift{\raise\reflect\Interligne\hbox{\pt0}}\liftpause{#1}}%
+\def\liftpausepp#1{\reflect#1\advance\reflect2%
+\wholeshift{\raise\reflect\Interligne\hbox{\ppt0}}\liftpause{#1}}%
+\def\lifthpausep#1{\reflect#1\advance\reflect2%
+\wholeshift{\raise\reflect\Interligne\hbox{\pt0}}\lifthpause{#1}}%
+\def\lifthpausepp#1{\reflect#1\advance\reflect2%
+\wholeshift{\raise\reflect\Interligne\hbox{\ppt0}}\lifthpause{#1}}%
+%
+% Text up to bar line. Use before last note, assume 1 noteskip to bar.
+%
+\def\bartext#1#2{\sk\loffset{.3}{\zcharnote{#1}{\llap{#2}}}\bsk}
+%
+% Macro used before movement break to change # of instruments.
+% 120818 Set \nbinstruments in \newmovement; probably don't need this any more.
+%
+\def\newnoi#1{\let\atnb\atnextbar\def\atnextbar{\atnb\def\nbinstruments{#1}}}%
+%
+% Set up top page numbers with optional centered heading
+%
+% #2=0 if odds on rt, else 1. #1 = initial page no. #3=name
+\def\toppageno#1#2#3{\pageno#1%
+\headline{\reflect#2\advance\reflect\pageno%
+\ifodd\reflect\rhead{#3}\else\lhead{#3}\fi}%
+\def\rhead##1{\tempo\ifnum\pageno>1\hfil{##1}\fi\hfil\llap\folio}%
+\def\lhead##1{\tempo\rlap\folio\hfil{##1}\hfil}}%
+%
+% Temporary date and file name. To use it:
+%
+% (1) Define a script to create a file tempdate.dat. The file will
+% contain a single line of text to be centered at the bottom of
+% each page. I use a 4DOS alias (makedate) that inserts current date
+% filename, and filedate as follows:
+%
+% echo \smalltype\rm Printed %_date from file %1.pmx %@filedate[c:\pmx\%1.pmx],
+% %@filetime[c:\pmx\%1.pmx] >tempdate.dat
+%
+% (2) Include a call to makedate in the batch file you use to run pmx+tex.
+% Be sure tempdate.dat is written to a directory accessible to TeX.
+%
+% (3) Include in-line tex \\tempdate\ at the top of the pmx file.
+%
+\def\tempdate{\def\makefootline{\baselineskip2pt\line{\the\footline}}
+\footline{\hss\input tempdate.dat\hss}}
+%
+\def\pnotes#1{\vnotes#1\elemskip}%
+%
+% Hairpins and other dynamic stuff
+%
+\newdimen\hpi\newdimen\hpii\newdimen\hpiii\newdimen\hpiv%
+\newdimen\hpv\newdimen\hpvi\newdimen\hpvii\newdimen\hpviii%
+\newdimen\hpix\newdimen\hpx\newdimen\hpxi\newdimen\hpxii\newdimen\hptmp%
+%
+\def\hpstrt#1#2{\getcurpos\advance\y@v#2\qn@width\advance\y@v\txt@ff%
+\global\csname hp\romannumeral#1\endcsname=\y@v}%
+%
+\def\hpendall#1#2#3#4{\getcurpos%
+\advance\y@v-\csname hp\romannumeral#1\endcsname%
+\zcharnote{#2}{\kernm\y@v\advance\y@v\txt@ff\advance\y@v#3\qn@width#4{\y@v}}}%
+%
+\def\hpcend#1#2#3{\hpendall{#1}{#2}{#3}\crescendo}%
+\def\hpdend#1#2#3{\hpendall{#1}{#2}{#3}\decrescendo}%
+%
+\def\pmxdyn#1#2#3{\ccharnote{#1}{\kern#2\qn@width#3}}
+\def\txtdyn#1#2#3{\zcharnote{#1}{\kern#2\qn@width#3}}
+%
+\def\sfz{{\ppff s\f@kern\f@kern f\f@kern z}}%
+%
+% Dotted breve and rest
+%
+\def\brevep{\def\w@h{\musixchar32\roffset\qu@rt{\C@Point\z@\raise}}%
+ \y@v\wn@width \g@w}
+\def\PAusep{\loffset{.5}{\pt5}\PAuse}%
+%
+% Vertical equalization macros
+%
+%\newskip\pssav\pssav\parskip%
+%
+% Remove this from here in 2.352, since it caused some incompatibilities.
+% (Let PMX write it into *.tex when needed).
+%
+%\parskip 0pt plus 12\Interligne minus 99\Interligne%
+\def\upamt{27}\def\dnamt{-20}%
+%\def\upstrut{\znotes\nextinstrument\nextinstrument\zcharnote{\upamt}{X}\en}%
+%
+% Let PMX write the def'n of \upstrut since I couldn't get the loop to work
+%
+\def\dnstrut{\znotes\zcharnote{\dnamt}{~}\en}%
+%
+% Call the following inline type1 anywhere in first line of equalization.
+%
+\def\starteq{\gdef\everystaff{\upstrut\dnstrut}\dnstrut}%
+%
+% And put this as type 1 in the next-to-last line of equalization!
+%
+%\def\endeq{\gdef\everystaff{\upstrut\global\parskip\pssav%
+\def\endeq{\gdef\everystaff{\upstrut%
+\gdef\everystaff{\empty}}}%
+%
+\gdef\spread#1{\global\let\cont\contpiece%
+\gdef\contpiece{\vskip#1\internote\cont\global\let\contpiece\cont}}%
+%
+% The following avoid zapping \writezbarno in several special situations
+%
+\def\PMXbarnotrue{\let\z@sw\empty}%
+\def\PMXbarnofalse{\let\z@sw\@ne}%
+%
+% Centered rests
+%
+\def\pausc{\lrlap{\pause\off{\qn@width}}}%
+\def\PAusc{\lrlap{\PAuse\off{\txt@ff}}}%
+%\def\liftpausc#1{\raise#1\Interligne\pausc}%
+\def\liftpausc#1{\raise#1\Interligne\lrlap{\
+\raise6\internote\hbox{\musixchar11}\off{1.2\qn@width}}}%
+\def\liftPAusc#1{\raise#1\Interligne\PAusc}%
+%
+% CenterBar and mbrest modified 2/01 to account for simick mods in
+% musixtex 1.01
+%
+\def\CenterBar#1#2#3{%
+\y@ii\lin@pos\advance\y@ii-\lastbarpos%
+\ifx\volta@startcor\undefined \else\advance\y@ii\cut@v\fi%
+\advance\y@ii-#2pt\advance\y@ii-#3pt\kern-#3pt%
+\kern-\h@lf\y@ii\lrlap{#1}\kern\h@lf\y@ii\kern#3pt}%
+%
+% mbrest mods 151226. Changed # of args in mbrest from 3 to 1;
+% changed pmx271 accordingly
+% 160103 back to 3 args
+%
+\def\mbgap{\qsk\hqsk}%
+\def\mbrest#1#2#3{%
+\CenterBar{\ccn{9}{\meterfont#1}}{#2}{#3}%
+\CenterBar{%
+\ifcase #1%
+\relax%
+\or\cpause% 1
+\or\cPAuse% 2
+\or\cPAuse\mbgap\cpause% 3
+\or\cPAUSe% 4
+\or\cPAUSe\mbgap\cpause% 5
+\or\cPAUSe\mbgap\cPAuse% 6
+\or\cPAUSe\mbgap\cPAuse\mbgap\cpause% 7
+\or\cPAUSe\mbgap\cPAUSe% 8
+\or\cPAUSe\mbgap\cPAUSe\mbgap\cpause% 9
+\else
+\def\vertpart{\hbox{\vrule width.6pt height1.5\internote depth1.5\internote}}%
+\raise4\internote\hbox{\vertpart%
+\vrule width0.7\y@ii height.5\internote depth.5\internote%
+\vertpart}%
+\fi}{#2}{#3}}%
+%
+% 151226 Redefine \xchangecontext to add in \afterruleskip
+%
+\def\xchangecontext{\n@wbar\writ@newclefs
+ \wbarno@x\Writ@newsigns\Writ@meters\lastbarpos\lin@pos\addspace\afterruleskip}%
+%
+% 151227 Define \ccoda so it positions like any other ornament
+%
+\def\ccoda{\n@iv85\@Char}%
+\def\pcaesura#1#2{\raise#1\internote\hbox{%
+\rlap{\kern.5\noteskip\kern#2\qn@width\musixchar79}}}%
+\def\pbreath#1#2{\zcharnote6{\raise#1\internote\hbox{%
+\rlap{\kern.5\noteskip\kern#2\qn@width\BIGfont'}}}}%
+%
+% Macro to set up for blank bar line
+%
+%\def\setzalaligne{\let\alat\alaligne%
+% \def\alaligne{\zalaligne\let\alaligne\alat}}%
+\def\setzalaligne{\let\zalat\stoppiece%
+ \def\stoppiece{\zstoppiece\let\stoppiece\zalat}}%
+%
+% Slanted line arpeggio or coule ornament
+%
+\def\arpg#1#2{%
+\roffset{#2}{\zcharnote0{\raise#1\internote\hbox{\varline0{6pt}{20}}}}}%
+\def\arpgu#1{\arpg{#1}{.8}}%
+%
+% \pmxlyr command, see Usage afer \endinput. Dirk Laurie 2016-01-24
+% The unrolled loops are necessary because \assignlyricshere must have
+% a raw string literal as argument.
+\def\pmxlyr#1{%
+\ifnum\noinstrum@nt=1%
+ \ifnum\noport@@=1%
+ \if@pmx@nextvoice\setlyrics{I1P1V2}{#1}\assignlyricshere{I1P1V2}%
+ \else\setlyrics{I1P1V1}{#1}\assignlyricshere{I1P1V1}\fi\fi%
+ \ifnum\noport@@=2%
+ \if@pmx@nextvoice\setlyrics{I1P2V2}{#1}\assignlyricshere{I1P2V2}%
+ \else\setlyrics{I1P2V1}{#1}\assignlyricshere{I1P2V1}\fi\fi\fi%
+\ifnum\noinstrum@nt=2%
+ \ifnum\noport@@=1%
+ \if@pmx@nextvoice\setlyrics{I2P1V2}{#1}\assignlyricshere{I2P1V2}%
+ \else\setlyrics{I2P1V1}{#1}\assignlyricshere{I2P1V1}\fi\fi%
+ \ifnum\noport@@=2%
+ \if@pmx@nextvoice\setlyrics{I2P2V2}{#1}\assignlyricshere{I2P2V2}%
+ \else\setlyrics{I2P2V1}{#1}\assignlyricshere{I2P2V1}\fi\fi\fi%
+\ifnum\noinstrum@nt=3%
+ \ifnum\noport@@=1%
+ \if@pmx@nextvoice\setlyrics{I3P1V2}{#1}\assignlyricshere{I3P1V2}%
+ \else\setlyrics{I3P1V1}{#1}\assignlyricshere{I3P1V1}\fi\fi%
+ \ifnum\noport@@=2%
+ \if@pmx@nextvoice\setlyrics{I3P2V2}{#1}\assignlyricshere{I3P2V2}%
+ \else\setlyrics{I3P2V1}{#1}\assignlyricshere{I3P2V1}\fi\fi\fi%
+\ifnum\noinstrum@nt=4%
+ \ifnum\noport@@=1%
+ \if@pmx@nextvoice\setlyrics{I4P1V2}{#1}\assignlyricshere{I4P1V2}%
+ \else\setlyrics{I4P1V1}{#1}\assignlyricshere{I4P1V1}\fi\fi%
+ \ifnum\noport@@=2%
+ \if@pmx@nextvoice\setlyrics{I4P2V2}{#1}\assignlyricshere{I4P2V2}%
+ \else\setlyrics{I4P2V1}{#1}\assignlyricshere{I4P2V1}\fi\fi\fi%
+}%
+%
+% Definition for \lyrlink&\at, used with pmxlyr strings with '~'and '@'
+%
+\def\lk{\lyrlink}%
+\def\at#1{\lyrraisehere{#1\internote}}%
+
+\catcode`\@=\catcodeat
+\endinput
+
+Usage:
+ \pmxlyr{TEXT} (assigns TEXT as lyrics in the current context)
+
+In PMX, enter the command with a trailing backslash. Starting at PMX 2.73,
+"TEXT" on a music line is equivalent to \pmxlyr{TEXT}.
+
+Spaces and hyphens separate TEXT into syllables. An underscore between
+words combines syllables from different words into a single syllable.
+
+TEXT may contain any TeX macro, in particular:
+ \space Space character that does not separate syllables
+ \lyrhyphenchar Hyphen that does not separate syllables
+ {\empty} Invisible syllable (for notes that get no lyrics)
+
+\pmxlyr uses the unexpanded contents of TEXT when looking for the
+syllable splitters, e.g. \def\mylyrics{many words of poetry} followed
+by \pmxlyr{\mylyrics} will put all those words on one note.
+
+For more information on what is acceptable in TEXT, consult mxlyrdoc.pdf.
+
+Limits: Lyrics are recognized only on the first two staves of instruments
+1 to 4. Elsewhere they are ignored.
+