From 500adb5fa10a924ea571a0d9d7754ed17dab5dbf Mon Sep 17 00:00:00 2001 From: Norbert Preining Date: Mon, 5 Jul 2021 03:00:50 +0000 Subject: CTAN sync 202107050300 --- macros/musixtex/doc/ChangeLog-133.txt | 8 + macros/musixtex/doc/musixdoc.pdf | Bin 1395131 -> 1410802 bytes macros/musixtex/doc/musixdoc/examples.tex | 19 +- macros/musixtex/doc/musixdoc/extensions.tex | 19 +- macros/musixtex/doc/musixdoc/frontmatter.tex | 2 +- macros/musixtex/doc/musixdoc/introduction.tex | 13 +- macros/musixtex/doc/musixdoc/miscellaneous.tex | 266 +++++++++++++++++-------- macros/musixtex/doc/musixdoc/musixdoc.sty | 2 +- macros/musixtex/doc/scripts/musixtex.pdf | Bin 23518 -> 23518 bytes 9 files changed, 215 insertions(+), 114 deletions(-) create mode 100644 macros/musixtex/doc/ChangeLog-133.txt (limited to 'macros/musixtex/doc') diff --git a/macros/musixtex/doc/ChangeLog-133.txt b/macros/musixtex/doc/ChangeLog-133.txt new file mode 100644 index 0000000000..e6e4a70cc9 --- /dev/null +++ b/macros/musixtex/doc/ChangeLog-133.txt @@ -0,0 +1,8 @@ + +Changes from MusiXTeX 132 to 133: + + * \tabfnt etc. now uses (Helvetica) bold for tablature notes + * replace ledger lines by slashes (/) for tablature notes below the staff + * new commands \tzqu, \tzcup, etc. for stems without noteheads, for use in + tablature + diff --git a/macros/musixtex/doc/musixdoc.pdf b/macros/musixtex/doc/musixdoc.pdf index ec5eac0642..d3410b5dde 100644 Binary files a/macros/musixtex/doc/musixdoc.pdf and b/macros/musixtex/doc/musixdoc.pdf differ diff --git a/macros/musixtex/doc/musixdoc/examples.tex b/macros/musixtex/doc/musixdoc/examples.tex index d0aeb1e6cd..6ca863122c 100644 --- a/macros/musixtex/doc/musixdoc/examples.tex +++ b/macros/musixtex/doc/musixdoc/examples.tex @@ -79,14 +79,14 @@ to create staff-jumping doubly beamed notes. \end{itemize} -\section{Compiling \texttt{musixdoc.tex}} +\section{Compiling \texttt{musixdoc.ltx}} This manual is an excellent example of a primarily text document with embedded musical excerpts. For this reason, it is a \LaTeX\ document and must be compiled with \verb|latex| rather than \verb|etex|. Those wishing to combine text and musical excerpts should carefully study how it is done here. -Before compiling or recompiling \verb|musixdoc.tex|, you should remove all the auxiliary +Before compiling or recompiling \verb|musixdoc.ltx|, you should remove all the auxiliary files {\tt musixdoc.[mx1\|\allowbreak mx2\|\allowbreak aux\|\allowbreak toc\|\allowbreak ind\|\allowbreak idx\|\allowbreak ilg\|\allowbreak out]} if they are present. Then the following command sequence will produce \verb|musixdoc.ps|: \begin{quote}\begin{verbatim} @@ -101,16 +101,17 @@ dvips -e0 musixdoc The initial three steps \verb|latex|\allowbreak$\to$\allowbreak\verb|musixflx|\allowbreak$\to$\allowbreak\verb|latex| build up the basic appearance of the document including musical examples. The \verb|makeindex| step produces the database for the index. After that, \verb|latex| must be run at least twice to complete cross referencing. -Finally, \verb|dvips| converts the \verb|.dvi| file into \verb|.ps|. +Finally, \verb|dvips| converts the \verb|.dvi| file into \verb|.ps|; +the \texttt{-e0} option prevents \texttt{dvips} from making pixel adjustments +intended for letters in words. To produce \verb|musixdoc.pdf|, use \verb|ps2pdf| or the Distiller component of Adobe Acrobat, or open \verb|musixdoc.ps| in \texttt{GSview}, go to {\tt File\|Convert}, select \verb|pdfwrite| at 600 dpi resolution, and click \verb|OK|. -Or if you have the \verb|musixtex| script, just run -\begin{quote} -\verb|musixtex -l -x musixdoc| -\end{quote} -where the \verb|-l| option is to use \verb|latex| as the processing engine -and \verb|-x| is to create a new index database. + +Alternatively, if you have the \verb|musixtex| script, just run +\verb|musixtex -x musixdoc| +(where +the \verb|-x| option is only needed to create a new index database). %If you use an older version of \LaTeX\ which doesn't automatically %invoke $\varepsilon$\hbox{-}\nobreak\TeX, you will encounter the diff --git a/macros/musixtex/doc/musixdoc/extensions.tex b/macros/musixtex/doc/musixdoc/extensions.tex index c31772897e..3871f73268 100644 --- a/macros/musixtex/doc/musixdoc/extensions.tex +++ b/macros/musixtex/doc/musixdoc/extensions.tex @@ -2179,14 +2179,15 @@ Available are: \section{musixvbm}\ixtt{musixvbm.tex} \label{musixvbm} By default, \texttt{musixtex} produces beams using special fonts. Unfortunately, long beams may have -unsightly discontinuities (gaps or bumps). The \texttt{musixvbm} add-on -by Hiroaki \textsc{Morimoto} produces smooth vectorized beams. -Compare +unsightly minor discontinuities (gaps or bumps). The \texttt{musixvbm} add-on +by Hiroaki \textsc{Morimoto} produces smooth vectorized beams; simply input +\texttt{musixvbm} in the preamble of your score (after inputting \texttt{musixtex}). +For example, compare \medskip \begin{music} \let\extractline\hbox -\vectorizedbeamfalse +\vectorizedbeamfalse % disable vectorized beams \nostartrule \setclef1{\bass} \hbox to \hsize{% @@ -2197,7 +2198,7 @@ Compare \hss \raise20pt\hbox{ and } \hss -\vectorizedbeamtrue +\vectorizedbeamtrue % re-enable vectorized beams \startextract \nnotes\ibbl0G1\qb0{GJKLMLMLMLMLMLMK}\tqb0L\en \zendextract @@ -2206,8 +2207,10 @@ Compare \medskip \noindent with various magnifications. The output on the left shows a font-based beam; the one -on the right (like all the other beams in this report) shows the same beam with -\texttt{musixvbm} activated. +on the right +shows the same beam with +\texttt{musixvbm} activated. +All the other beams in this report are vectorized. The only known disadvantage with use of \texttt{musixvbm} is that many \texttt{dvi} viewers @@ -2221,7 +2224,7 @@ output generated using \texttt{dvips} and \texttt{ps2pdf} (or using or by processing the score using \texttt{pdfetex}) should be satisfactory. If Postscript hairpins -as described in Section~\ref{PostscriptSlurs} are not being used, +(as described in Section~\ref{PostscriptSlurs}) are not being used, the \texttt{musixvbm} add-on also vectorizes crescendos and decrescendos. diff --git a/macros/musixtex/doc/musixdoc/frontmatter.tex b/macros/musixtex/doc/musixdoc/frontmatter.tex index 3eedf3665c..bd14bf64bd 100644 --- a/macros/musixtex/doc/musixdoc/frontmatter.tex +++ b/macros/musixtex/doc/musixdoc/frontmatter.tex @@ -1,6 +1,6 @@ \title{\Huge\bfseries\musixtex\\[\bigskipamount] \LARGE\bfseries Using \TeX{} to write polyphonic\\or -instrumental music\\\Large\itshape Version 1.32a} +instrumental music\\\Large\itshape Version 1.33} \author{} diff --git a/macros/musixtex/doc/musixdoc/introduction.tex b/macros/musixtex/doc/musixdoc/introduction.tex index e396c200f7..cb6d87fb0f 100644 --- a/macros/musixtex/doc/musixdoc/introduction.tex +++ b/macros/musixtex/doc/musixdoc/introduction.tex @@ -742,22 +742,21 @@ and \verb|etex| again. This will produce a \verb|.dvi| file. From this point forward, this file can be processed like the device-independent output file for any \TeX\ document. The most common approach and the only one to be discussed here is to next generate a Postscript file. This is accomplished -by running \verb|dvips|, which is included in every \TeX\ system. To view the +by running \verb|dvips|, which is included in every \TeX\ system; to prevent +inappropriate adjustments that \verb|dvips| makes by default, it is recommended to +add the option \verb|-e0|. To view the Postscript, most users run {\tt GSview} or {\tt gv}, a front-end to {\tt ghostscript}, which must be separately downloaded and installed. Finally, you may produce a PDF file using \verb|ps2pdf| or GSview, and view that with any PDF viewer, such as the Adobe Reader or {\tt GSview}. You also can view the \verb|.dvi| file directly using a DVI viewer such as Yap or \verb|xdvi|, -but, if you are using type K Postscript slurs, some DVI viewers will not display them. +but, if you are using type K Postscript slurs or vectorized beams, some DVI viewers will not display them. Rather than executing all the foregoing programs separately, most users will find it more convenient to use the \verb|musixtex| script that comes in most -distributions of \musixtex. For example, - -\verb|musixtex jobname| - -\noindent will run the three passes described in Section~\ref{threepass}, +distributions of \musixtex. For example, \verb|musixtex jobname| +will by default run the three passes described in Section~\ref{threepass}, convert the result to PDF and delete intermediate files. There are many options available to change the behavior; run diff --git a/macros/musixtex/doc/musixdoc/miscellaneous.tex b/macros/musixtex/doc/musixdoc/miscellaneous.tex index a9e8fad4bb..3375bd121b 100644 --- a/macros/musixtex/doc/musixdoc/miscellaneous.tex +++ b/macros/musixtex/doc/musixdoc/miscellaneous.tex @@ -844,7 +844,7 @@ are as follows: \item \keyindex{tab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}| puts $p$ on string $n$ (counting from top to bottom); $p$ is centered, using \verb|\ccharnote|. -Ledger lines are added for $n$ less than $1$ or greater than the current number of staff lines. +Ledger lines are replaced by slashes (/) for $n$ greater than the number of staff lines. \item \keyindex{ltab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}| uses \verb|\zcharnote| so $p$ spills to the right and @@ -858,7 +858,7 @@ is a non-spacing \verb|\ltab| and \keyindex{zrtab}\verb|{|$n$\verb|}|\verb|{|$p$\verb|}| is a non-spacing \verb|\rtab|. \end{itemize} -A size-dependent font \keyindex{tabfnt} is used for tab characters; Helvetica is the default font family. +A size-dependent font \keyindex{tabfnt} is used for tab characters; Helvetica bold is the default font family. The default tablature style is to place the fingering notations \emph{on} the staff line; Postscript specials are used to ``blank'' staff lines below @@ -868,7 +868,9 @@ the command \keyindex{tabstylespacetrue}. A size-dependent font \keyindex{tabstringfnt} is defined to allow string names to be listed using \verb|\setname|. -Here is an example of a guitar tablature (6th string lowered to D): +Here is an example +for baroque lute +(from \emph{Ciaccona} in D~minor by J.S.~Bach): \begin{music} \input musixps @@ -876,137 +878,225 @@ Here is an example of a guitar tablature (6th string lowered to D): \instrumentnumber{2} \songbottom1\songtop2 \generalmeter{\meterfrac34} -\generalsignature{-1} -\setlines16 -\setclefsymbol1\tabclef\setclefsymbol2\treblelowoct -\setsize1\largevalue -\setsign10 +\interinstrument=5\internote \nobarnumbers -\interinstrument=4\internote +\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10 +\setsign2{-1}\setclefsymbol2\treblelowoct \parindent=2ex -\setname1{\tabstringfnt\baselineskip=1.5\internote% - \vbox{\hbox to\parindent{\hss E \hss}% - \hbox to\parindent{\hss B \hss}% - \hbox to\parindent{\hss G \hss}% - \hbox to\parindent{\hss D \hss}% - \hbox to\parindent{\hss A \hss}% - \hbox to\parindent{\hss D \hss}% -}} +\setname1{\tabstringfnt\baselineskip=1.2\internote% +\vbox{% +\hbox to\parindent{\hss F\hss}% +\hbox to\parindent{\hss D\hss}% +\hbox to\parindent{\hss A\hss}% +\hbox to\parindent{\hss F\hss}% +\hbox to\parindent{\hss D\hss}% +\hbox to\parindent{\hss A\hss}}} \startextract -\NOtesp\zltab55\zltab43\ltab32&\zh{d}\zhl{f}\qu{.h}\en -\Notes\ltab32&\cu{h}\en +\scale{0.88} +\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en +\Notes\ltab30&\cu{h}\en \bar% -\NOtes\zltab55\zltab45\zltab33\ltab10&\zq d\zql g\zq i\qu l\en -\NOtesp\zltab54\zltab45\zltab32\ltab10&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en -\Notes\ltab10&\cu{l}\en +\NOtes\zltab50\zltab42\zltab31\ltab22&\zql d\zqu g\zq i\qu l\en +\NOtesp\zltab64\zltab55\zltab30\ltab22&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en +\Notes\ltab22&\cu{l}\en \bar% -\NOtes\zltab40\zltab32\zltab23\ltab11&\zq d\zq h\zq k\qu{m}\en -\NOtes\zltab51\zltab43\zltab33\ltab23&\zhl b\zh f\zq{.i}\qu{.k}\en -\Notes\ltab35&\cu j\en +\NOtes\zltab50\zltab40\zltab30\ltab10&\zql d\zq f\zq h\qu{m}\en +\NOtes\zltab61\zltab40\ltab20&\zhl b\zh f\qu{.k}\en +\Notes\ltab33&\cu j\en \bar% -\NOtes\zltab65\zltab45\ltab33&\zql N\zq g\qu i\en -\NOtes\zltab50\zltab43\ltab32&\zql a\zq f\qu h\en -\notes\zltab54\ltab45\ilsluru04\ltab43\ltab42\tlslur04\ltab43% -&\zql{^c}\ibbu0g{-1}\qb0{g}\slur eed2\qb0{fe}\tqu0f\en +\NOtes\zltab70\zltab55\ltab45&\zql N\zq g\qu i\en +\NOtes\zltab60\zltab53\ltab44&\zql a\zq f\qu h\en +\notes\zltab64\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53% +&\zql{^c}\ibbu0g{-1}\qb0g\slur eed2\qb0{fe}\tqu0f\en +\bar% +\notes\ztab{10}0\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50% +&\zql K\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en +\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en +\Notes\ltab30&\cu{h}\en \bar% -\notes\zltab60\zltab50\ltab45\ilsluru04\ltab42\ltab43\tlslur04\ltab40% -&\zq K\zql a\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en -\znotes&\lcn{14}{J.S. Bach}\en \zendextract \end{music} - \noindent The coding is \begin{footnotesize} \begin{quote}\begin{verbatim} \instrumentnumber{2} \songbottom1\songtop2 -\setclefsymbol2\treblelowoct \generalmeter{\meterfrac34} -\generalsignature{-1} -\setlines16\setclefsymbol1\tabclef\setsize1\largevalue\setsign10 -\nobarnumbers \interinstrument=4\internote +\nobarnumbers +\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10 +\setsign2{-1}\setclefsymbol2\treblelowoct \parindent=2ex -\setname1{\tabstringfnt\baselineskip=1.5\internote% - \vbox{\hbox to\parindent{\hss E\hss}% - \hbox to\parindent{\hss B\hss}% - \hbox to\parindent{\hss G\hss}% - \hbox to\parindent{\hss D\hss}% - \hbox to\parindent{\hss A\hss}% - \hbox to\parindent{\hss D\hss}}} +\setname1{\tabstringfnt\baselineskip=1.2\internote% +\vbox{% +\hbox to\parindent{\hss F\hss}% +\hbox to\parindent{\hss D\hss}% +\hbox to\parindent{\hss A\hss}% +\hbox to\parindent{\hss F\hss}% +\hbox to\parindent{\hss D\hss}% +\hbox to\parindent{\hss A\hss}}} \startextract -\NOtesp\zltab55\zltab43\ltab32&\zh{d}\zhl{f}\qu{.h}\en -\Notes\ltab32&\cu{h}\en +\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en +\Notes\ltab30&\cu{h}\en \bar% -\NOtes\zltab55\zltab45\zltab33\ltab10&\zq d\zql g\zq i\qu l\en -\NOtesp\zltab54\zltab45\zltab32\ltab10&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en -\Notes\ltab10&\cu{l}\en +\NOtes\zltab50\zltab42\zltab31\ltab22&\zql d\zqu g\zq i\qu l\en +\NOtesp\zltab64\zltab55\zltab30\ltab22&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en +\Notes\ltab22&\cu{l}\en \bar% -\NOtes\zltab40\zltab32\zltab23\ltab11&\zq d\zq h\zq k\qu{m}\en -\NOtes\zltab51\zltab43\zltab33\ltab23&\zhl b\zh f\zq{.i}\qu{.k}\en -\Notes\ltab35&\cu j\en +\NOtes\zltab50\zltab40\zltab30\ltab10&\zql d\zq f\zq h\qu{m}\en +\NOtes\zltab61\zltab40\ltab20&\zhl b\zh f\qu{.k}\en +\Notes\ltab33&\cu j\en \bar% -\NOtes\zltab65\zltab45\ltab33&\zql N\zq g\qu i\en -\NOtes\zltab50\zltab43\ltab32&\zql a\zq f\qu h\en -\notes\zltab54\ltab45\ilsluru04\ltab43\ltab42\tlslur04\ltab43% -&\zql{^c}\ibbu0g{-1}\qb0{g}\slur eed2\qb0{fe}\tqu0f\en +\NOtes\zltab70\zltab55\ltab45&\zql N\zq g\qu i\en +\NOtes\zltab60\zltab53\ltab44&\zql a\zq f\qu h\en +\notes\zltab64\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53% +&\zql{^c}\ibbu0g{-1}\qb0g\slur eed2\qb0{fe}\tqu0f\en +\bar% +\notes\ztab{10}0\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50% +&\zql K\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en +\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en +\Notes\ltab30&\cu{h}\en \bar% -\notes\zltab60\zltab50\ltab45\ilsluru04\ltab42\ltab43\tlslur04\ltab40% -&\zq K\zql a\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en -\znotes&\lcn{14}{J.S. Bach}\en \zendextract \end{verbatim}\end{quote} \end{footnotesize} \clearpage +\par\noindent Here is the same example with \verb|\tabstylespacetrue|: \begin{music} \input musixps \def\psslurhgt{0.5} +\tabstylespacetrue \instrumentnumber{2} \songbottom1\songtop2 \generalmeter{\meterfrac34} +\interinstrument=4\internote +\nobarnumbers +\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10 +\setsign2{-1}\setclefsymbol2\treblelowoct +\parindent=2ex +\setname1{\tabstringfnt\baselineskip=1.2\internote% +\vbox{% +\hbox to\parindent{\hss F\hss}% +\hbox to\parindent{\hss D\hss}% +\hbox to\parindent{\hss A\hss}% +\hbox to\parindent{\hss F\hss}% +\hbox to\parindent{\hss D\hss}% +\hbox to\parindent{\hss A\hss}}} +\startextract +\scale{0.88} +\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en +\Notes\ltab30&\cu{h}\en +\bar% +\NOtes\zltab50\zltab42\zltab31\ltab22&\zql d\zqu g\zq i\qu l\en +\NOtesp\zltab64\zltab55\zltab30\ltab22&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en +\Notes\ltab22&\cu{l}\en +\bar% +\NOtes\zltab50\zltab40\zltab30\ltab10&\zql d\zq f\zq h\qu{m}\en +\NOtes\zltab61\zltab40\ltab20&\zhl b\zh f\qu{.k}\en +\Notes\ltab33&\cu j\en +\bar% +\NOtes\zltab70\zltab55\ltab45&\zql N\zq g\qu i\en +\NOtes\zltab60\zltab53\ltab44&\zql a\zq f\qu h\en +\notes\zltab64\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53% +&\zql{^c}\ibbu0g{-1}\qb0g\slur eed2\qb0{fe}\tqu0f\en +\bar% +\notes\ztab{10}0\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50% +&\zql K\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en +\NOtesp\zltab50\zltab40\ltab30&\zhl{d}\zhu{f}\qu{.h}\en +\Notes\ltab30&\cu{h}\en +\bar% +\zendextract +\end{music} +\medskip + +\noindent +In pure tablature, note durations are typically specified by stems without noteheads immediately +above the staff, as in: +\medskip + +\begin{music} +\input musixps +\def\psslurhgt{0.5} +\instrumentnumber{1} +\generalmeter{\meterfrac34} \generalsignature{-1} -\setlines16 -\setclefsymbol1\tabclef\setclefsymbol2\treblelowoct -\tabstylespacetrue -\setsize1\largevalue -\setsign10 +\setlines16\setclefsymbol1\tabclef\setsize1{1.2}\setsign10 \nobarnumbers -\interinstrument=4\internote \parindent=2ex -\setname1{\tabstringfnt\baselineskip=1.5\internote% - \vbox{\hbox to\parindent{\hss E \hss}% - \hbox to\parindent{\hss B \hss}% - \hbox to\parindent{\hss G \hss}% - \hbox to\parindent{\hss D \hss}% - \hbox to\parindent{\hss A \hss}% - \hbox to\parindent{\hss D \hss}% -}} +\setname1{\tabstringfnt\baselineskip=1.2\internote% +\vbox{\hbox to\parindent{\hss F\hss}% +\hbox to\parindent{\hss D\hss}% +\hbox to\parindent{\hss A\hss}% +\hbox to\parindent{\hss F\hss}% +\hbox to\parindent{\hss D\hss}% +\hbox to\parindent{\hss A\hss}}} +\nostartrule \startextract -\NOtesp\zltab55\zltab43\ltab32&\zh{d}\zhl{f}\qu{.h}\en -\Notes\ltab32&\cu{h}\en +\scale{0.88} +\NOtesp\zltab50\zltab40\tzqup\ltab30\en +\Notes\tzcu\ltab30\en \bar% -\NOtes\zltab55\zltab45\zltab33\ltab10&\zq d\zql g\zq i\qu l\en -\NOtesp\zltab54\zltab45\zltab32\ltab10&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en -\Notes\ltab10&\cu{l}\en +\NOtes\zltab50\zltab42\zltab31\tzqu\ltab22\en +\NOtesp\zltab64\zltab35\zltab30\tzqup\ltab22\en +\Notes\tzcu\ltab22\en \bar% -\NOtes\zltab40\zltab32\zltab23\ltab11&\zq d\zq h\zq k\qu{m}\en -\NOtes\zltab51\zltab43\zltab33\ltab23&\zhl b\zh f\zq{.i}\qu{.k}\en -\Notes\ltab35&\cu j\en +\NOtes\zltab50\zltab30\zltab20\tzqu\ltab10\en +\NOtes\zltab61\zltab40\tzqup\ltab20\en +\Notes\tzcu\ltab33\en \bar% -\NOtes\zltab65\zltab45\ltab33&\zql N\zq g\qu i\en -\NOtes\zltab50\zltab43\ltab32&\zql a\zq f\qu h\en -\notes\zltab54\ltab45\ilsluru05\ltab43\ltab42\tlslur05\ltab43% -&\zql{^c}\ibbu0g{-1}\qb0{g}\slur eed2\qb0{fe}\tqu0f\en +\NOtes\zltab70\zltab55\tzqu\ltab45\en +\NOtes\zltab60\zltab53\ltab44\en +\notes\zltab64\tzccu\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53\en +\bar% +\notes\ztab{10}0\tzccu\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50\en +\NOtesp\zltab50\zltab40\tzqup\ltab30\en +\Notes\tzcu\ltab30\en \bar% -\notes\zltab60\zltab50\ltab45\ilsluru05\ltab42\ltab43\tlslur05\ltab40% -&\zq K\zql a\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en -\znotes&\lcn{14}{J.S. Bach}\en \zendextract \end{music} +\medskip +\noindent +Note that this notation does not +specify the duration of \emph{every} note. + +\smallskip + +A stem (without a notehead) is generated immediately above the staff using one of the commands +\keyindex{tzqu}, \keyindex{tzqup}, \keyindex{tzcu}, \keyindex{tzcup}, \keyindex{tzccu}, \ldots\ +\emph{before} a spacing command. Coding +for the notes in the example above is as follows: +\begin{footnotesize} +\begin{quote}\begin{verbatim} +\startextract +\scale{0.88} +\NOtesp\zltab50\zltab40\tzqup\ltab30\en +\Notes\tzcu\ltab30\en +\bar% +\NOtes\zltab50\zltab42\zltab31\tzqu\ltab22\en +\NOtesp\zltab64\zltab35\zltab30\tzqup\ltab22\en +\Notes\tzcu\ltab22\en +\bar% +\NOtes\zltab50\zltab30\zltab20\tzqu\ltab10\en +\NOtes\zltab61\zltab40\tzqup\ltab20\en +\Notes\tzcu\ltab33\en +\bar% +\NOtes\zltab70\zltab55\tzqu\ltab45\en +\NOtes\zltab60\zltab53\ltab44\en +\notes\zltab64\tzccu\ltab42\ilsluru03\ltab53\ltab52\tlslur03\ltab53\en +\bar% +\notes\ztab{10}0\tzccu\ltab42\ilsluru03\ltab52\ltab53\tlslur03\ltab50\en +\NOtesp\zltab50\zltab40\tzqup\ltab30\en +\Notes\tzcu\ltab30\en +\bar% +\zendextract +\end{verbatim}\end{quote} +\end{footnotesize} + +\medskip Tablature support in \musixtex\ has been adapted from \verb|tabdefs.tex| by R.J.~Gelten, which is available \href{http://icking-music-archive.org/software/musixtex/add-ons/tabdefs.tex} diff --git a/macros/musixtex/doc/musixdoc/musixdoc.sty b/macros/musixtex/doc/musixdoc/musixdoc.sty index d06328eb8e..d07d8ddcd4 100644 --- a/macros/musixtex/doc/musixdoc/musixdoc.sty +++ b/macros/musixtex/doc/musixdoc/musixdoc.sty @@ -22,7 +22,7 @@ \pagestyle{headings} \usepackage{makeidx} \usepackage{multicol} -\usepackage{etex} +%\usepackage{etex} \usepackage{amssymb} diff --git a/macros/musixtex/doc/scripts/musixtex.pdf b/macros/musixtex/doc/scripts/musixtex.pdf index 30246ff59f..8df9e182dc 100644 Binary files a/macros/musixtex/doc/scripts/musixtex.pdf and b/macros/musixtex/doc/scripts/musixtex.pdf differ -- cgit v1.2.3