diff options
Diffstat (limited to 'support/pmx')
23 files changed, 8244 insertions, 0 deletions
diff --git a/support/pmx/OSX/pmxab b/support/pmx/OSX/pmxab Binary files differnew file mode 100755 index 0000000000..473ea54cf3 --- /dev/null +++ b/support/pmx/OSX/pmxab diff --git a/support/pmx/OSX/scor2prt b/support/pmx/OSX/scor2prt Binary files differnew file mode 100755 index 0000000000..f8cf79945a --- /dev/null +++ b/support/pmx/OSX/scor2prt 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 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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. 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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 Binary files differnew file mode 100644 index 0000000000..e4c9429da6 --- /dev/null +++ b/support/pmx/doc/pmx-install.pdf 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 Binary files differnew file mode 100644 index 0000000000..a62ebabf24 --- /dev/null +++ b/support/pmx/doc/pmx284.pdf 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 Binary files differnew file mode 100644 index 0000000000..ca3bb2aec4 --- /dev/null +++ b/support/pmx/doc/pmxab.pdf diff --git a/support/pmx/doc/ref284.pdf b/support/pmx/doc/ref284.pdf Binary files differnew file mode 100644 index 0000000000..422a0b12f2 --- /dev/null +++ b/support/pmx/doc/ref284.pdf 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 Binary files differnew file mode 100644 index 0000000000..0711bba5e3 --- /dev/null +++ b/support/pmx/doc/scor2prt.pdf 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. + |