From 3e43bc594a14e8c4fc21d6a71f22a23dd78fe252 Mon Sep 17 00:00:00 2001 From: Norbert Preining Date: Sat, 21 Mar 2020 03:01:37 +0000 Subject: CTAN sync 202003210301 --- macros/musixtex/README | 2 +- macros/musixtex/doc/ChangeLog-130.txt | 5 + macros/musixtex/doc/musixdoc.pdf | Bin 1332076 -> 1373998 bytes macros/musixtex/doc/musixdoc/barlines.tex | 2 +- macros/musixtex/doc/musixdoc/beams.tex | 4 + macros/musixtex/doc/musixdoc/frontmatter.tex | 4 +- macros/musixtex/doc/musixdoc/layout.tex | 5 +- macros/musixtex/doc/musixdoc/miscellaneous.tex | 64 +- macros/musixtex/doc/musixdoc/parameters.tex | 80 ++ macros/musixtex/doc/musixdoc/slurstiesTypeK.tex | 6 +- macros/musixtex/doc/musixdoc/writingnotes.tex | 31 +- macros/musixtex/doc/notationMistakes/coulhack.tex | 70 ++ macros/musixtex/doc/notationMistakes/sottieng.pdf | Bin 0 -> 126207 bytes macros/musixtex/doc/notationMistakes/sottieng.tex | 1075 ++++++++++++++++++++ macros/musixtex/doc/notationMistakes/sottiger.pdf | Bin 0 -> 132877 bytes macros/musixtex/doc/notationMistakes/sottiger.tex | 1103 +++++++++++++++++++++ macros/musixtex/doc/notationMistakes/sottigra.pdf | Bin 0 -> 191646 bytes macros/musixtex/doc/notationMistakes/sottigra.tex | 1086 ++++++++++++++++++++ macros/musixtex/doc/notationmistakes/coulhack.tex | 70 -- macros/musixtex/doc/notationmistakes/sottieng.pdf | Bin 126207 -> 0 bytes macros/musixtex/doc/notationmistakes/sottieng.tex | 1075 -------------------- macros/musixtex/doc/notationmistakes/sottiger.pdf | Bin 132877 -> 0 bytes macros/musixtex/doc/notationmistakes/sottiger.tex | 1103 --------------------- macros/musixtex/doc/notationmistakes/sottigra.pdf | Bin 191646 -> 0 bytes macros/musixtex/doc/notationmistakes/sottigra.tex | 1086 -------------------- macros/musixtex/doc/scripts/musixtex.1 | 13 +- macros/musixtex/doc/scripts/musixtex.pdf | Bin 7305 -> 23215 bytes macros/musixtex/scripts/musixtex.lua | 20 +- macros/musixtex/tex/musixps.tex | 11 +- macros/musixtex/tex/musixtex.tex | 43 +- macros/musixtex/windows/musixflx.bat | 12 +- macros/musixtex/windows/musixtex.bat | 12 +- 32 files changed, 3591 insertions(+), 3391 deletions(-) create mode 100644 macros/musixtex/doc/ChangeLog-130.txt create mode 100644 macros/musixtex/doc/notationMistakes/coulhack.tex create mode 100644 macros/musixtex/doc/notationMistakes/sottieng.pdf create mode 100644 macros/musixtex/doc/notationMistakes/sottieng.tex create mode 100644 macros/musixtex/doc/notationMistakes/sottiger.pdf create mode 100644 macros/musixtex/doc/notationMistakes/sottiger.tex create mode 100644 macros/musixtex/doc/notationMistakes/sottigra.pdf create mode 100644 macros/musixtex/doc/notationMistakes/sottigra.tex delete mode 100644 macros/musixtex/doc/notationmistakes/coulhack.tex delete mode 100644 macros/musixtex/doc/notationmistakes/sottieng.pdf delete mode 100644 macros/musixtex/doc/notationmistakes/sottieng.tex delete mode 100644 macros/musixtex/doc/notationmistakes/sottiger.pdf delete mode 100644 macros/musixtex/doc/notationmistakes/sottiger.tex delete mode 100644 macros/musixtex/doc/notationmistakes/sottigra.pdf delete mode 100644 macros/musixtex/doc/notationmistakes/sottigra.tex (limited to 'macros/musixtex') diff --git a/macros/musixtex/README b/macros/musixtex/README index aebd633e31..3e87b0e509 100644 --- a/macros/musixtex/README +++ b/macros/musixtex/README @@ -1,4 +1,4 @@ -This is MusiXTeX, version 1.29 (2018-08-04). +This is MusiXTeX, version 1.30 (2020-03-20). MusiXTeX is a TeX-based system for typesetting music. The main author was Daniel Taupin, who died in a climbing diff --git a/macros/musixtex/doc/ChangeLog-130.txt b/macros/musixtex/doc/ChangeLog-130.txt new file mode 100644 index 0000000000..69dae51de7 --- /dev/null +++ b/macros/musixtex/doc/ChangeLog-130.txt @@ -0,0 +1,5 @@ + +Changes from MusiXTeX 129 to 130: + + * defined \zdoublebar for use within a bar + * defined \hbp and \hbpp diff --git a/macros/musixtex/doc/musixdoc.pdf b/macros/musixtex/doc/musixdoc.pdf index d2b3b793db..073774546f 100644 Binary files a/macros/musixtex/doc/musixdoc.pdf and b/macros/musixtex/doc/musixdoc.pdf differ diff --git a/macros/musixtex/doc/musixdoc/barlines.tex b/macros/musixtex/doc/musixdoc/barlines.tex index 0303b7a9a4..92cd5624c7 100644 --- a/macros/musixtex/doc/musixdoc/barlines.tex +++ b/macros/musixtex/doc/musixdoc/barlines.tex @@ -14,10 +14,10 @@ To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or \keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced by a double bar. - There is no specific command to print a thin-thick double bar line, but \keyindex{setdoubleBAR} will cause one in the same cases where \verb|\setdoublebar| would cause a thin-thin double bar line. +To typeset a double-bar line in the middle of a bar, use \keyindex{zdoublebar}. To make the next bar line invisible, use \keyindex{setemptybar} before \verb|\bar|. diff --git a/macros/musixtex/doc/musixdoc/beams.tex b/macros/musixtex/doc/musixdoc/beams.tex index 354906640e..2805e0aff6 100644 --- a/macros/musixtex/doc/musixdoc/beams.tex +++ b/macros/musixtex/doc/musixdoc/beams.tex @@ -340,6 +340,10 @@ using the \keyindex{hb} macro: \Notes\ibbl0j0\hb0j\tbl0\hb0j\en \Notes\ibbl0h4\hb0h\tbl0\hb0j\en \end{verbatim}\end{quote}\noindent +There are also dotted and double-dotted versions \keyindex{hbp} and +\keyindex{hbpp}. + + A different look could be obtained as follows: \begin{music}\nostartrule diff --git a/macros/musixtex/doc/musixdoc/frontmatter.tex b/macros/musixtex/doc/musixdoc/frontmatter.tex index 42d4e645c0..64be0c29fe 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 1.29} +instrumental music\\\Large\itshape Version 1.30} \author{} @@ -68,7 +68,7 @@ Since then, the only significant update to \musixtex\ has been in version 1.15 ( takes advantage of the greater capacity of the e\TeX\ version of \TeX. This manual is the definitive reference to all features of -\musixtex\ version~1.29. +\musixtex\ version~1.30. Novice users need not start here. Most diff --git a/macros/musixtex/doc/musixdoc/layout.tex b/macros/musixtex/doc/musixdoc/layout.tex index 10d8bbc3cf..5d2b353b79 100644 --- a/macros/musixtex/doc/musixdoc/layout.tex +++ b/macros/musixtex/doc/musixdoc/layout.tex @@ -16,9 +16,10 @@ mid-bar location as an optional line-breaking point, use \keyindex{zbar}. The heavy final double bar of a piece is one of the consequences of \keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}. -If you want to suppress right-justification of the last line of a score, -use \keyindex{raggedstoppiece}. To terminate it with no bar line at all, code \keyindex{zstoppiece}. +If you want to suppress right-justification of the last line of a score, +use \keyindex{raggedstoppiece}; the bar line can be suppressed by +using \keyindex{setemptybar}. Once you have stopped the score by any of these means, you may want to restart it, and there are several ways to do so. If you don't need to change the key diff --git a/macros/musixtex/doc/musixdoc/miscellaneous.tex b/macros/musixtex/doc/musixdoc/miscellaneous.tex index 50be2c0344..f212b769d7 100644 --- a/macros/musixtex/doc/musixdoc/miscellaneous.tex +++ b/macros/musixtex/doc/musixdoc/miscellaneous.tex @@ -81,9 +81,14 @@ small circle above a note head at pitch $p$. \end{itemize} These marks are horizontally centered relative to solid note heads. To -compensate for the fact that whole notes are wider, you should use -\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents -and other items (e.g.,~\verb|\Fermataup|) above a whole note. +compensate for the fact that whole notes are wider, you may use +\begin{quote} +\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| +\end{quote} +to center accents +(and other items) above or below a whole note. For example, +\keyindex{Fermataup}\pitchp~(described in Section~{\ref{ornaments}}) is +\emph{defined} as \keyindex{wholeshift}\verb|{|\keyindex{fermataup}\pitchp\verb|}|. There are also variants of the most common accents\footnote{Thanks to Klaus {\sc Bechert}'s corrections.} which will be automatically positioned @@ -139,6 +144,7 @@ The macro \verb|\tuplettxt| serves the same role for the last two macros. The font used is defined by \verb|\txtfont| and is, by default, \verb|\eightit| (in normal music size) but may be re-defined. +\zkeyindex{txtfont} The first four commands in the table are normally used with beamed xtuplets. As indicated in the @@ -273,6 +279,7 @@ it is possible to define \verb|\txt| or \end{verbatim}\end{quote} \section{Ornaments} +\label{ornaments} \subsection{Simple ornaments}\index{ornaments} @@ -302,7 +309,7 @@ compensate for the fact that whole notes are wider, you may use \keyindex{wholeshift}\verb|{|\mbox{\ital{Any nonspacing macro}}\verb|}| \end{quote} to center any of these ornaments -above a whole note. +above (or below) a whole note. In the following macros for fermatas, the argument $p$ is the pitch of the @@ -951,6 +958,55 @@ The coding is \zendextract \end{verbatim}\end{quote} \end{footnotesize} + +\clearpage + +Here is the same example with \verb|\tabstylespacetrue|: +\begin{music} +\input musixps +\def\psslurhgt{0.5} +\instrumentnumber{2} +\songbottom1\songtop2 +\generalmeter{\meterfrac34} +\generalsignature{-1} +\setlines16 +\setclefsymbol1\tabclef\setclefsymbol2\treblelowoct +\tabstylespacetrue +\setsize1\largevalue +\setsign10 +\nobarnumbers +\interinstrument=4\internote +\parindent=2ex +\setname1{\tabstringfnt\baselineskip=1.5\internote% + \vbox{\hbox to\parindent{\hss E \hss}% + \hbox to\parindent{\hss B \hss}% + \hbox to\parindent{\hss G \hss}% + \hbox to\parindent{\hss D \hss}% + \hbox to\parindent{\hss A \hss}% + \hbox to\parindent{\hss D \hss}% +}} +\startextract +\NOtesp\zltab55\zltab43\ltab32&\zh{d}\zhl{f}\qu{.h}\en +\Notes\ltab32&\cu{h}\en +\bar% +\NOtes\zltab55\zltab45\zltab33\ltab10&\zq d\zql g\zq i\qu l\en +\NOtesp\zltab54\zltab45\zltab32\ltab10&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en +\Notes\ltab10&\cu{l}\en +\bar% +\NOtes\zltab40\zltab32\zltab23\ltab11&\zq d\zq h\zq k\qu{m}\en +\NOtes\zltab51\zltab43\zltab33\ltab23&\zhl b\zh f\zq{.i}\qu{.k}\en +\Notes\ltab35&\cu j\en +\bar% +\NOtes\zltab65\zltab45\ltab33&\zql N\zq g\qu i\en +\NOtes\zltab50\zltab43\ltab32&\zql a\zq f\qu h\en +\notes\zltab54\ltab45\ilsluru05\ltab43\ltab42\tlslur05\ltab43% +&\zql{^c}\ibbu0g{-1}\qb0{g}\slur eed2\qb0{fe}\tqu0f\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} 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/parameters.tex b/macros/musixtex/doc/musixdoc/parameters.tex index 6cdd48b62f..8ecffdad46 100644 --- a/macros/musixtex/doc/musixdoc/parameters.tex +++ b/macros/musixtex/doc/musixdoc/parameters.tex @@ -138,3 +138,83 @@ to their default values: \keyindex{staffbotmarg} (\verb|3\Interligne|), number of lines per staff for all instruments ($5$); and will reset all clef symbols to standard clef symbols. + \section{Split and Shortened Systems} +It is sometimes desirable to typeset a ``shortened'' system or to split +a system into left and right segments, as in the following (extracted from a +Geminiani \emph{concerto grosso}): + +\begin{music} +\smallmusicsize +\setclef1\bass +\setclef5\treble\settrebleclefsymbol5\trebleoct +\generalsignature{-2} +\instrumentnumber5 +\songbottom{1}\songtop{5} +\setinterinstrument4{1\internote} +\nobarnumbers +\generalmeter{\meterfrac38} +\hbox to\hsize\bgroup\vbox\bgroup\hsize=1.7in +\startpiece\addspace\afterruleskip +\Notes\qa G\sk&\ibu1i{-1}\qb1i\qb1{.g}&\ca d\qa g&\ca n\itieu3n\qa n&\ca g\ds\en +\notes\ds\sk&\sk\tbbu1\tqu1g&\sk\sk&\sk\sk\ttie3&\ds\sk\en +\znotes&&&&\lcn{q}{\bf D.S. al\kern3ex}\coda p\en +\setdoublebar\endpiece +\egroup\hfill\vbox\bgroup\hsize=3.7in +\generalmeter{\allabreve} +\startpiece\addspace\afterruleskip +\znotes&&&&\coda o\en +\NOtes\qa{.G}&\qa{.k}&\qa{.d}&\qa n&\qa g\en +\notes\sk\sk\qs\cca N&\sk\sk\qs\cca i&\sk\sk\qs\cca k&\qs\ibbl3p{-2}\qb3{p}\qb3{o}\tql3n&\qp\sk\sk\sk\en +\NOtes\qa{.M}&\qa{.h}&\qa{.k}&\qa o&\ha k\en +\Notes\sk&\sk&\sk&\itieu3r\qa r&\sk\en +\notes\qs\cca M&\qs\cca h&\qs\cca k&\sk\sk&\sk\sk\en +\bar +\NOtes\wh L\sk&\qa{g}\qa{g}&\ha{l}\sk&\ttie3\ha r\sk&\ha{g}\sk\en +\NOTes\sk&\ha j&\ha{n}&\tr s\ha q&\ha{n}\en +\bar +\nspace +\NOtesp\ha{.K}&\ha{.h}&\ha{.k}&\ha{.r}&\ha{.^m}\en +\setdoublebar\endpiece +\egroup\egroup +\end{music} + +This was coded as follows: +\begin{footnotesize} +\begin{quote}\begin{verbatim} +\setclef1\bass\setclef5\treble\settrebleclefsymbol5\trebleoct +\generalsignature{-2} +\instrumentnumber5\songbottom{1}\songtop{5} +\nobarnumbers +\generalmeter{\meterfrac38} +\hbox to\hsize\bgroup\vbox\bgroup\hsize=1.7in % specify length of left segment +\startpiece\addspace\afterruleskip +\Notes\qa G\sk&\ibu1i{-1}\qb1i\qb1{.g} + &\ca d\qa g&\ca n\itieu3n\qa n&\ca g\ds\en +\notes\ds\sk&\sk\tbbu1\tqu1g + &\sk\sk&\sk\sk\ttie3&\ds\sk\en +\znotes&&&&\lcn{q}{\bf D.S. al\kern3ex}\coda p\en +\setdoublebar\endpiece +\egroup\hfill\vbox\bgroup\hsize=3.7in % specify length of right segment +\generalmeter{\allabreve} +\startpiece\addspace\afterruleskip +\znotes&&&&\coda o\en +\NOtes\qa{.G}&\qa{.k}&\qa{.d}&\qa n&\qa g\en +\notes\sk\sk\qs\cca N&\sk\sk\qs\cca i + &\sk\sk\qs\cca k + &\qs\ibbl3p{-2}\qb3{p}\qb3{o}\tql3n + &\qp\sk\sk\sk\en +\NOtes\qa{.M}&\qa{.h}&\qa{.k}&\qa o&\ha k\en +\Notes\sk&\sk&\sk&\itieu3r\qa r&\sk\en +\notes\qs\cca M&\qs\cca h&\qs\cca k + &\sk\sk&\sk\sk\en +\bar +\NOtes\wh L\sk&\qa{g}\qa{g}&\ha{l}\sk + &\ttie3\ha r\sk&\ha{g}\sk\en +\NOTes\sk&\ha j&\ha{n}&\tr s\ha q&\ha{n}\en +\bar +\nspace +\NOtesp\ha{.K}&\ha{.h}&\ha{.k}&\ha{.r}&\ha{.^m}\en +\setdoublebar\endpiece +\egroup\egroup % close open \bgroups +\end{verbatim}\end{quote} +\end{footnotesize} diff --git a/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex b/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex index b7bfca7d64..c387eb2b68 100644 --- a/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex +++ b/macros/musixtex/doc/musixdoc/slurstiesTypeK.tex @@ -61,7 +61,11 @@ or right by substituting one of the commands \keyindex{ilsluru}, For shifts farther to the left, use \keyindex{iLsluru}, \keyindex{iLslurd} -or \keyindex{tLslur}. +or \keyindex{tLslur}; +for shifts farther to the right, use +\keyindex{iRsluru}, +\keyindex{iRslurd} +or \keyindex{tRslur}. You can control the shape of type~K slurs with variants of diff --git a/macros/musixtex/doc/musixdoc/writingnotes.tex b/macros/musixtex/doc/musixdoc/writingnotes.tex index 7bd5c83375..bc8b3cd4d7 100644 --- a/macros/musixtex/doc/musixdoc/writingnotes.tex +++ b/macros/musixtex/doc/musixdoc/writingnotes.tex @@ -44,7 +44,7 @@ macro from the letter. \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) . \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) . \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} . - \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) . + \item[\keyindex{maxima}{\tt\char123}$p${\tt\char125} :]maxima (\hbox to16pt{\zmaxima1\hss}) . \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss}) (also used as alternate representation of a \ital{breve}). \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note @@ -214,7 +214,7 @@ Non spacing variants are also provided, namely By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the macros just introduced provide one or two dots after the notehead: -\keyindex{whp}\pitchp, \keyindex{whpp}, +\keyindex{whp}, \keyindex{whpp}, \keyindex{zwp}, \keyindex{zwpp}, \keyindex{hup}, \keyindex{hupp}, \keyindex{hlp}, \keyindex{hlpp}, @@ -226,12 +226,14 @@ macros just introduced provide one or two dots after the notehead: \keyindex{zqp}, \keyindex{zqpp}, \keyindex{cup}, \keyindex{cupp}, \keyindex{clp}, \keyindex{clpp}, -\keyindex{qbp} and \keyindex{qbpp}. -Naturally, the ones that start with ``\verb|z|'' are used in chords. +\keyindex{qbp} and \keyindex{qbpp}, all followed by a pitch argument. +The ones that start with ``\verb|z|'' are used in chords. The dot(s) will be raised if the note is on a line. -A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125}, -\keyindex{ppt}, or \keyindex{pppt} right +A more explicit way uses one of the macros +\keyindex{pt}{\tt\char123}$p${\tt\char125}, +\keyindex{ppt}{\tt\char123}$p${\tt\char125}, or +\keyindex{pppt}{\tt\char123}$p${\tt\char125} right before any note macro to place one to three dots after the normal note head at pitch $p$. Again they will be raised if on a line. In fact this is the only way to get a triple-dotted note. @@ -239,6 +241,10 @@ For example a quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots as \keyindex{ppt}\verb| h\qu h| and with three as \keyindex{pppt}\verb| h\qu h|. +As a matter of style, if two voices share one staff, the dots in +the lower voice should be \emph{lowered} if the note is on a line. For +this you can use \keyindex{lpt}, +\keyindex{lppt} and \keyindex{lpppt}. Yet another method for posting a dot is to insert a \ital{period} before the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to @@ -248,14 +254,17 @@ section. Non-spacing dotted notes can be produced using \keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp}, -\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, +\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, followed by a pitch, +and similarly with two \verb|p|'s for +double-dotted notes. +The following provide dotted chord notes shifted left or right: +\keyindex{lhp}, +\keyindex{rhp}, +\keyindex{lqp}, +\keyindex{rqp}, and similarly with two \verb|p|'s for double-dotted notes. -As a matter of style, if two voices share one staff, the dots in -the lower voice should be lowered if the note is on a line. For -this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and -\keyindex{lppt}{\tt\char123}$p${\tt\char125}. \section{Sequences of equally spaced notes; collective coding} \label{CollectiveCoding} diff --git a/macros/musixtex/doc/notationMistakes/coulhack.tex b/macros/musixtex/doc/notationMistakes/coulhack.tex new file mode 100644 index 0000000000..1f797876cd --- /dev/null +++ b/macros/musixtex/doc/notationMistakes/coulhack.tex @@ -0,0 +1,70 @@ +% thicker ledger lines +\def\myhlthick{1.5\lthick} +\makeatletter +\def\h@linei{% + \y@ii\n@v\internote + \y@iii\y@ii + \advance\y@ii\myhlthick + \advance\y@iii-\myhlthick + \y@vi\noteskip % noteskip +%-\ifnum\y@vi=\z@ \y@vi\maxdimen\fi % (or maxdimen if noteskip = 0) + \advance\y@vi-\y@v % - notewidth + \y@vi0.7\y@vi % this may be eaten =: additional length + \y@iv\h@lf\qn@width\ifnum\y@vi>\y@iv \y@vi\y@iv\fi % not more than 0.5 qn@width + \y@iv0.2\qn@width \ifnum\y@vi<\y@iv \y@vi\y@iv\fi % not less than 0.2 qn@width + \y@iv\y@v % notewidth + \advance\y@iv\y@vi % + additional length =: total length + \kernm\h@lf\y@vi % center the ledger line +%-\message{noteskip = \the\noteskip, length = \the\y@iv, notewidth = \the\y@v}% + \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv + \kernm\y@iv\kern\h@lf\y@vi} + +% same adapted from MUSIXFLL.TEX + +\ifx\undefined\longledgerlines \else \endinput \fi + +\immediate\write10{MusiXFormerLedgerLines T.74\space<06 April 1997>}% + +%\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 + +\let\h@lineick\h@linei +\def\h@lineidt{% + \y@ii\n@v\internote + \y@iii\y@ii + \advance\y@ii\myhlthick + \advance\y@iii-\myhlthick + \y@iv\y@v + \advance\y@iv\h@lf\qn@width + \kernm.25\qn@width + \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv + \kernm\y@iv\kern.25\qn@width} +\def\longledgerlines{\global\let\h@linei\h@lineidt} +\def\autoledgerlines{\global\let\h@linei\h@lineick} +\longledgerlines +%\catcode`\@=\catcodeat + +% space between signatures and first note at each system: + +\def\contpiece{\noindent \piece@conta \writ@staffs \piece@beginc +% \Writ@meters \wbarno@x \hardspace{10pt}\addspace\afterruleskip + \Writ@meters \wbarno@x \hardspace{.3\elemskip}\addspace\afterruleskip} +% ^^^^^^^^^^^^^^^^^^^^^^^ + +% missing pixels at some beam ends: +\def\beamst@m{% queue de note vers une poutre + \getcurpos \advance\y@v-\b@x + \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z + \ifdim\y@ii>\st@top % la poutre est au-dessus + \stem@skip\qd@skip \comp@slope\stem@skip \advance\y@ii\s@lope + \advance\y@ii .25\interbeam% hack + \ifnum\b@n>\z@ \advance\y@ii\b@n\interbeam \advance\y@ii-\interbeam \fi + \st@top\y@ii % a mettre a jour avec la pente ulterieurement + \else + \advance\y@ii-.25\interbeam% hack + \stem@skip\z@ + \ifdim\y@ii<\st@bot + \ifnum\b@n<\z@ \advance\y@ii\b@n\interbeam \advance\y@ii\interbeam \fi + \st@bot\y@ii \fi \fi + \C@stem} + +\makeatother diff --git a/macros/musixtex/doc/notationMistakes/sottieng.pdf b/macros/musixtex/doc/notationMistakes/sottieng.pdf new file mode 100644 index 0000000000..ab29004645 Binary files /dev/null and b/macros/musixtex/doc/notationMistakes/sottieng.pdf differ diff --git a/macros/musixtex/doc/notationMistakes/sottieng.tex b/macros/musixtex/doc/notationMistakes/sottieng.tex new file mode 100644 index 0000000000..1ce95adb9a --- /dev/null +++ b/macros/musixtex/doc/notationMistakes/sottieng.tex @@ -0,0 +1,1075 @@ +\documentclass[12pt,twoside]{article} +\usepackage{a4} +\usepackage{musixtex} +\usepackage[english]{babel} +\usepackage{randtext} +\input coulhack +\raggedbottom +\setlength{\textwidth}{18cm} \setlength{\textheight}{26cm} +\setlength{\oddsidemargin}{0pt}\setlength{\evensidemargin}{0pt} +\setlength{\parindent}{0cm}\setlength{\parskip}{.5cm} +\setlength{\marginparwidth}{1in} \setlength{\marginparsep}{0pt} +\setlength{\hoffset}{-1cm} +\setlength{\voffset}{-2.5cm} +%\setlength{\headsep}{2cm} +\setlength{\itemsep}{0cm} + +\newcommand{\milieu}[1]{\begin{center}{#1}\end{center}} +\newcommand{\pruneau}{$\bullet$~} +\newcommand{\subsec}{\vspace{-1cm}\subsection{~}\vspace{-.5cm}} +% \today should work the same in theory +\def\mytoday{\ifcase\month\or + January\or February\or March\or April\or May\or June\or + July\or August\or September\or October\or November\or December\fi + \space\number\day, \number\year} + +\def\notess{\vnotes2.4\elemskip} +\def\notesss{\vnotes1.7\elemskip} +\def\notesm{\vnotes1.5\elemskip} +\def\appog{\multnoteskip\tinyvalue\tinynotesize} +\newcommand{\zcn}[2]{\zcharnote{#1}{#2}} +\newcommand{\lcn}[2]{\lcharnote{#1}{#2}} +\newcommand{\ccn}[2]{\ccharnote{#1}{#2}} +\newcommand{\nxst}{\nextstaff} +\def\hhqsk{\off{.7\elemskip}} + +\newcommand{\twoextr}[2] +%{\begin{music}\let\extractline\hbox +{\let\extractline\hbox +\hbox to \hsize{ +\hfill +\startextract #1 +\zendextract\hfill +\startextract #2 +\zendextract +\hfill} + +%\let\extractline\centerline\end{music}} +\let\extractline\centerline} + +\accshift=0mm +\geometricskipscale +\nostartrule +\nobarmessages\nobarnumbers +\let\extractline\centerline + +\begin{document} +\milieu{\ppfftwentynine Repository of music-notation mistakes} +\milieu{\medtype or} +\milieu{\ppfftwentyfour Essay on the true art of music engraving} +\milieu{\Huge Jean-Pierre Coulon} +%\centerline{\tt +%\kern3.5em{obs-nice}\kern-4.5em{@}\kern-3.5em{coulon}\kern4.5em{.fr}} + +\centerline{\tt \randomize{coulon@obs-nice.fr}} + + +\milieu{\mytoday} +%\milieu{\today} + +\milieu{\large intended for:} +\begin{itemize} +\item users of music-typesetting software packages, +\item developers of such packages, +\item traditional music-engravers, +\item sheet-music collectors, +\item those keen on problems of \textit{semantics}, \textit{semiology}, +\textit{philology} , etc. +\end{itemize} + +{\footnotesize NB: These examples are certainly musically worthless: +do not read them with your instrument :-)\\ +To limit myself to the essential, and lacking sufficient expertise, +I do not deal with any of these neighboring, exciting topics: + +\pruneau music theory, harmony, composition, etc.\\ +\pruneau comparative test of various typesetting packages,\\ +\pruneau how to interpret the quoted symbols according to epochs,\\ +\pruneau copyright issues,\\ +\pruneau percussion notation, and plucked-string instrument tablatures,\\ +\pruneau very-early-music notation, and avant-garde music +notation.\\ +\textit{ I apologize to readers of some countries for having adhered +to the U.S. terminology} + +} + + +\section{General issues} +\subsec +When simultaneous notes are present on the same staff, two notations +are posssible: chord notation, or multiple-voice, a.k.a. \textit{polyphonic} +notation. + +\twoextr +{\NOtes\qu c\zq c\qu e\en +\Notes\ibu0e2\zq c\qb0e\zq d\tqh0f\en} +{\NOtes\zql c\qp\zql c\qu e\en +\Notes\ibl0c2\ibu1e2\zqb0c\qb1e\tbl0\zqb0d\tqh1f\en} + +Of course, if parts have distinct rythms, the polyphonic notation is +required. + +\eject\milieu{\ppfftwenty from here:} +{\ppfftwentyfour This side: incorrect. \hfill This side: correct. } + +\subsec +Do your best to place \textit{page-turns} at places +acceptable for the musician, otherwise he will either +require a ``page-turner'', or labor to arrange +chunks of photocopies. Since modern musical scores are smaller +than before, this demands more efforts from the music engraver. + +{\footnotesize The actual print size, i.e. omitting margins, +of most scores from former epochs, almost matched the usual format +of most of modern scores including the margins. + +} + +An easy solution consists in using a small engraving size. +It is better to use a bigger size, at the price of more effort +to manage the spacing rationally. +These two excerpts require the same horizontal space, but that on the +right is easier to read: + +\bigaccid +\begin{music}\let\extractline\hbox +\hbox to \hsize{ +\hfill +\smallmusicsize +\setclef1{\treble} +\startextract% +\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en +\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en +\bar% +\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en +\zendextract\hfill +\normalmusicsize +\startextract% +\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en +\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en +\bar% +\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en +\zendextract +\hfill} +\let\extractline\centerline\end{music} + +Moreover, you also have to vary the distances between the staves +of systems, to avoid wasting some vertical space +(see my edition of Dussek's piano Sonata op.35-3). + + + + +\subsec +Choose horizontal spacings that increase according to note durations, +but not proportional to these durations. Personally I am happy with a +spacing ratio +of \hbox{$\sqrt{2}\approx 1.414$} to represent a duration-ratio of 2, +but this is not an absolute rule, especially if thirty-second or +sixty-fourth notes are present, because this would bring them +too close to each other. +Do not change the spacing of a specific duration within a line without +a good reason. + +\nostartrule +\setclef1\treble +\hsize82.1mm +\startpiece +\NOTEs\hu c\sk\en +\NOTEs\qu c\en +\NOtes\cu c\en +\notes\ibbu0c0\qb0c\en +\notes\qb0{cc}\tqh0c\en +\setemptybar +\endpiece + +\hsize18cm + +\setclef1\treble +\twoextr +{\notes\hu c\en +\NOtes\qu c\en +\NOTes\cu c\en +\notes\ibbu0c0\qb0c\en +\Notes\qb0{cc}\tqh0c\en} +{\NOTes\hu c\en +\NOtes\qu c\en +\Notes\cu c\en +\notes\ibbu0c0\qb0{cc}\en +\notes\qb0c\tqh0c\en} + +{\footnotesize If a system has several staves, the part +with the \textbf{shortest} durations governs the overall spacing. +Lyrics, if any, may demand still wider spacings. + +} + +\subsec +Here is a good reason to modify tight note spacing: avoiding clashes: + +\twoextr +{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en} +{\notesss\ccu c\hqsk\ibbl0k2\qb0{jklm}\hqsk\tqb0{^n}\en}k + +\subsec +If no other simultaneous part prevents it, note stems should also be +taken into account for the spacing: + +\largemusicsize +\twoextr +{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en} +{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en} + + +\subsec +Never displace the vertical alignment to accommodate accidentals: + +\setstaffs1{2}\setclef1\bass\startrule\bigaccid +\twoextr{ +\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en +\bar% +\NOtes\ql M\nxst\hhqsk\qu{^h}\en} +{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en +\bar% +\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en} + +\nostartrule + + + +\subsec +Write an interval of a \textit{second} in a chord with the lower note +\textbf{left}. On the other hand, in polyphonic writing, +it should be put \textbf{right}. + +\largemusicsize\setstaffs1{1}\setclef1{\treble} +\twoextr +{\NOtes\rq b\zq{ce}\qu g\en +\NOtes\rq b\zq{^ce}\qu g\en +\NOtes\rq c\rq e\rq g\qu b\en +\doublebar% +\NOtes\zql b\roffset{.9}{\qu c}\en +\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en +\notes\tbl1\zqb1a\qb0c\tqh0d\en} +{\NOtes\rq c\zq{be}\qu g\en +\NOtes\sh c\rq c\zq{be}\qu g\en +\NOtes\rq c\zq{be}\qu g\en +\doublebar% +\NOtes\zqu c\roffset{.9}{\ql b}\en +\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en +\notes\tbl1\zqb1a\qb0c\tqh0d\en} + +{\footnotesize +I omit cases of voice crossing. +Do not be perturbed by an accidental associated with the +upper note. Do not perturb notes aside this second. + +} + + +\subsec +In polyphonic writing, notes should be shifted just enough to +distinguish them, anyway less than the spacing for a second: + +\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble +\twoextr +{\NOtes\zql c\roff{\zqu e}\qu g\en +\NOtes\zql c\zqu e\qu g\en +\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en +\NOtes\zqlp c\roff{\zqup f}\qup h\en} +{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en +\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en +\NOtes\zql c\roff{\zqu f}\qu g\en +\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en} + +{\footnotesize Note the case of dotted notes: the augmentation dots +must be aligned vertically.} + +\subsec +Sometimes augmentations dots must be placed so as to avoid any +ambiguity: + +\twoextr +{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en +\notes\tbbu0\tqh0h\en +\NOtes\zqlp g\qu i\en +\Notes\qu j\cl f\en +\Notes\zql e\qu k\en} +{\Notesp\loffset{.3}{\ibu0h0\zqb0h}% +\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en +%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en +\notes\tbbu0\tqh0h\en +\NOtes\pt f\zql g\qu i\en +\Notes\qu j\cl f\en +\Notes\zql e\qu k\en} + + + + +\subsec +In a two-part polyphonic notation, upper-part note stems should be +upwards, even if the other part has a rest: + +\normalmusicsize\setclef1{\bass} +\twoextr +{\NOTesp\zw H\hup a\en +\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en} +{\NOTesp\zw H\hup a\en +\Notes\qu N\liftpause{-2}\qu{MKLM}\en} + +{\footnotesize(same for the lower part.)} + + +\subsec +Some linkings of notes or rests may be correct +according to music theory, +but impede sight reading: + +\normalmusicsize +\generalmeter{\meterfrac44}\setclef1\treble +\twoextr +{\notes\cu c\en +\bar% +\notes\cu d\en +\Notes\qp\en +\notes\ibu0f2\qb0{efgh}\tqh0i\en +\bar +\znotes\en} +%\notes\cl j\en} +{\notes\cu c\en +\bar% +\notes\cu d\ds\ds\cu e\en +\notes\ibu0g2\qb0{fgh}\tqh0i\en +\bar +\znotes\en} + +In other words, rests should not act as syncopated notes. In a ternary +beat, separate a rest that affects the second and third time values. +Beams do not demand so much care. + +{\footnotesize Some will argue that in early music, flag/beam notation +expresses some degree of articulation. But the rule above almost always +coincides with some \textit{reasonable} articulation. + +} + + +\section{Beaming} +\subsec +Beams should have an appropriate slope. In the past, one would avoid +too weak a slope, because the printing ink would maliciously attempt +to fill the tiny angle between these beams and the staff lines. +For a scale or an arpeggio, this slope cannot be steeper than that +formed by the notes, nor horizontal. A compromise must be found. +Here is an example, with its solution, by two distinguished publishers: + +\generalmeter{\empty} +\setstaffs1{1}\setclef1{\treble} +\twoextr{ +\notes\ibbu0a6\qb0{cdefg}\tqh0h\en +\notes\ibbu0g0\qb0{cdefg}\tqh0h\en} +{\notes\zcn q{\smalltype Peters end 19$^{th}$C.}\ibbu0a4\qb0{cdefg}\tqh0h\en +\notes\zcn q{\smalltype Henle end 20$^{th}$C.}\ibbu0e1\qb0{cdefg}\tqh0h\en +\notes\zcn q{recommended}\ibbu0d2\qb0{cdefg}\tqh0h\en} + +\footnotesize{If you want to imitate some French publishers :} + +\startextract% +\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en +\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en +\zendextract + +\subsec +Beam placement should be adapted to the context. This placement varies +depending on whether this group of notes is isolated or in a series: + +\startextract +\NOTes\hu c\hu d\en +\bar +\NOtes\qu f\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\NOtes\qu{cd}\en +\bar% +\NOtes\qp\en +\NOTes\hu f\en +\zendextract + +\twoextr +{\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en} +{\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en} + +\subsec +Avoid Z-like beams, as found in former editions: + +\normalmusicsize +\setclef1\bass +\twoextr +{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en +\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} +{\Notes\ibl0H2\qb0G\en +\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en +\doublebar% +\Notes\cu G\en +\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} + + +\subsec +Beams should never cross ledger lines: + +\setclef1{\treble} +\twoextr +{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en} +{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en} + +\subsec +Do not affect beam placement to place rests at their usual height. +Rather move the rests: + +\twoextr +{\Notes\ibl0k1\qb0n\ds\tqb0o\en +\Notes\ibl0l0\qb0o\ds\tqb0o\en} +{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en +\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en} + + +\section{Ties and slurs} +\subsec +When \textbf{slurred} notes are intended, the slur takes off and lands +above or below the \textbf{centers} of note heads. But for \textbf{tied} +notes, +the same sign takes off and lands vertically aligned with the boundary +of the note head, and not higher than this head. +One breaks from the first rule to +avoid colliding the note stems. + + +\largemusicsize +\twoextr +{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en +\bar% +\NOtesp\tslur0f\roff{\itied0f}\qup f\en +\NOtes\ttie0\qu f\en} +{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en +\bar% +\NOtesp\ttie0\itied0f\qup f\en +\NOtes\ttie0\qu f\en} + +{\footnotesize Note that the tie becomes ``quieter''.} + + +\subsec +Meanwhile avoid ``acrobatics'' to strictly abide these rules: + +\largemusicsize +\twoextr +{\NOtes\islurd0c\qu c\tsslur0j\ql j\en +\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en} +{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en +\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en} + + +\subsec +During some epochs a single tie was supposed to refer to \textbf{all} +notes of a particular chord. Particular cases have become so frequent, +that it is better to note all ties explicitly. + +\largemusicsize +\twoextr +{\NOtes\itieu0g\zq{ce}\qu g\en +\bar% +\NOtes\ttie0\zq{ce}\qu g\en} +{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en +\bar% +\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en} + +\subsec +Associations of ties and slurs with dots and ornaments: + +\twoextr +{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en +\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en} +{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en +\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en} + +\newpage +\subsec +Associations of ties and slurs: + +\twoextr +{\NOtes\itied0d\qu d\en +\bar +\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en +\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en +\bar +\NOtes\ttie0\qu f\en} +{\NOtes\islurd1d\itied0d\qu d\en +\bar +\NOtes\ttie0\qu d\tslur1c\qu c\en +\NOtes\islurd1e\qu e\itied0f\qu f\en +\bar +\NOtes\tslur1f\ttie0\qu f\en} + +{\footnotesize Bowed-instruments players will find this obvious.} + + + +\subsec +The dotted slur is the best way to emphasize an \textit{editorial slur}: + +\setclef1{\treble} +\twoextr +{\NOtes\islurd0c\qu c\tslur0d\qu d\en +\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e% +\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en +\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en} +{\NOtes\islurd0c\qu c\tslur0d\qu d\en +\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en +\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en} + + +\section{Accidentals} +\subsec +When a note with an accidental expands over several measure, +do not repeat the accidental on the next measures, except if there is +a line-break or a page-break: + +\twoextr +{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en +\bar% +\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en} +{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en +\bar% +\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en} + +\subsec + +When an accidental affects \textit{small notes}, and is desired +to also affect subsequent notes, it must be repeated. + +\twoextr +{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en +\NOTes\wh c\en} +{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en +\NOTes\qsk\wh{^c}\en} + +\subsec +When a note with a single sharp comes after the same note with a +double sharp, you no longer put a natural sign before the single +sharp, unless you want to mimic 19th engraving style. Same for flats: + +\twoextr +{\NOtes\qu{>c}\lna c\qu{^c}\qu{c}\qu{^c}\qu{c}\lna c\qu{^c}\qu{c}\qu{^c}\qu{>, soit de faire de laborieux montages +de morceaux de photocopies. Compte tenu du fait que les partitions +des temps modernes sont plus petites qu'autrefois, ceci impose un +effort suppl\'ementaire de la part du graveur. + +{\footnotesize La zone effectivement imprim\'ee, c'est-\`a-dire sans tenir +compte des marges, de la plupart des +partitions anciennes, correspondait presque au +format habituel des partitions de notre temps, marges comprises. + +} + +Un solution de facilit\'e consiste \`a utiliser une petite taille de gravure. +Il vaut mieux utiliser une gravure de taille sup\'erieure, au prix +d'un effort plus important pour g\'erer les espacements rationnellement. +Ces deux extraits prennent le m\^eme espace horizontal, mais celui de +droite est plus lisible : + +\bigaccid +\begin{music}\let\extractline\hbox +\hbox to \hsize{ +\hfill +\smallmusicsize +\setclef1\treble +\startextract% +\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en +\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en +\bar% +\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en +\zendextract\hfill +\normalmusicsize +\startextract% +\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en +\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en +\bar% +\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en +\zendextract +\hfill} +\let\extractline\centerline\end{music} + +De plus, il faut parfois varier \'egalement la distance entre les +port\'ees d'un m\^eme syst\`eme, afin de ne pas gaspiller d'espace vertical +(voir mon \'edition de la Sonate op.35-3 de Dussek). + +\subsec +Choisir des espacements horizontaux croissants en fonction des valeurs +de notes, mais cependant pas proportionnels \`a ces valeurs. Personnellement, +je suis satisfait avec le rapport \hbox{$\sqrt{2}\approx 1.414$} +correspondant aux valeurs de notes de rapport 2, mais ce n'est pas une +r\`egle absolue, surtout s'il y a des triples ou quadruples croches, qui +peuvent alors \^etre trop serr\'ees. +Ne pas changer d'espacement au cours d'une ligne sans +raison valable. + +\nostartrule +\setclef1\treble +\hsize82.1mm +\startpiece +\NOTEs\hu c\sk\en +\NOTEs\qu c\en +\NOtes\cu c\en +\notes\ibbu0c0\qb0c\en +\notes\qb0{cc}\tqh0c\en +\setemptybar +\endpiece + +\hsize18cm +\twoextr +{\notes\hu c\en +\NOtes\qu c\en +\NOTes\cu c\en +\notes\ibbu0c0\qb0c\en +\Notes\qb0{cc}\tqh0c\en} +{\NOTes\hu c\en +\NOtes\qu c\en +\Notes\cu c\en +\notes\ibbu0c0\qb0{cc}\en +\notes\qb0c\tqh0c\en} + +{\footnotesize S'il y a plusieurs port\'ees par syst\`eme, c'est la +partie comportant les notes les plus \textbf{br\`eves} +qui impose l'espacement de l'ensemble. S'il y a des paroles, elles +peuvent imposer un espacement encore plus grand. + +} + +\subsec +Voici une raison valable de changer d'espacement pour les notes +serr\'ees : \'eviter les collisions : + +\twoextr +{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en} +{\notesss\ccu c\hqsk\ibbl0k2\qb0j\qb0{klm}\hqsk\tqb0{^n}\en} + +\newpage + +\subsec +Si aucune autre partie simultan\'ee ne l'interdit, il faut aussi +tenir compte des queues de notes pour les espacements : + +\largemusicsize +\twoextr +{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en} +{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en} + +\subsec +Ne jamais compromettre l'aplomb entre parties sous pr\'etexte de loger +les alt\'erations : + +\setstaffs1{2}\setclef1\bass\startrule\bigaccid +\twoextr{ +\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en +\bar% +\NOtes\ql M\nxst\hhqsk\qu{^h}\en} +{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en +\bar% +\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en} +\nostartrule + + +\subsec +Pour noter un intervalle de seconde dans un accord, on met la note +inf\'erieure \`a gauche. Par contre, dans une \'ecriture polyphonique, +elle se met \`a droite. + +\largemusicsize\setstaffs1{1}\setclef1\treble +\twoextr +{\NOtes\rq b\zq{ce}\qu g\en +\NOtes\rq b\zq{^ce}\qu g\en +\NOtes\rq c\rq e\rq g\qu b\en +\doublebar% +\NOtes\zql b\roffset{.9}{\qu c}\en +\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en +\notes\tbl1\zqb1a\qb0c\tqh0d\en} +{\NOtes\rq c\zq{be}\qu g\en +\NOtes\sh c\rq c\zq{be}\qu g\en +\NOtes\rq c\zq{be}\qu g\en +\doublebar% +\NOtes\zqu c\roffset{.9}{\ql b}\en +\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en +\notes\tbl1\zqb1a\qb0c\tqh0d\en} + +{\footnotesize +Je fais l'impasse sur les cas de \textit{croisements de voix}. +Ne pas se laisser influencer par une alt\'eration concernant +la note sup\'erieure. +Ne pas perturber les notes \'etrang\`eres +\`a cette seconde. + +} + +\subsec +Pour les \'ecritures polyphoniques, on d\'ecale les notes juste ce qu'il +faut pour pouvoir les distinguer, en tout cas moins que pour un intervalle +de seconde : + +\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble +\twoextr +{\NOtes\zql c\roff{\zqu e}\qu g\en +\NOtes\zql c\zqu e\qu g\en +\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en +\NOtes\zqlp c\roff{\zqup f}\qup h\en} +{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en +\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en +\NOtes\zql c\roff{\zqu f}\qu g\en +\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en} + +{\footnotesize Noter le cas des notes point\'ees.} + +\subsec +Il faut parfois adapter la place du point pour \'eviter les ambigu\"it\'es : + +\twoextr +{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en +\notes\tbbu0\tqh0h\en +\NOtes\zqlp g\qu i\en +\Notes\qu j\cl f\en +\Notes\zql e\qu k\en} +{\Notesp\loffset{.3}{\ibu0h0\zqb0h}% +\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en +%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en +\notes\tbbu0\tqh0h\en +\NOtes\pt f\zql g\qu i\en +\Notes\qu j\cl f\en +\Notes\zql e\qu k\en} + + +\newpage + +\subsec +Dans une notation polyphonique \`a deux parties, on met les queues +des notes de la partie sup\'erieure vers le haut, m\^eme si l'autre partie +comporte un silence : + +\normalmusicsize\setclef1{\bass} +\twoextr +{\NOTesp\zw H\hup a\en +\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en} +{\NOTesp\zw H\hup a\en +\Notes\qu N\liftpause{-2}\qu{MKLM}\en} + +{\footnotesize(et inversement pour la partie du bas.)} + + +\subsec +Certains regroupements de notes ou de silences peuvent \^etre +\textit{solf\'egiquement corrects}, mais rendent le d\'echiffrage difficile : + +\normalmusicsize\setclef1\treble +\generalmeter{\meterfrac44} +\twoextr +{\notes\cu c\en +\bar% +\notes\cu d\en +\Notes\qp\en +\notes\ibu0f2\qb0{efgh}\tqh0i\en +\bar +\znotes\en} +%\notes\cl j\en} +{\notes\cu c\en +\bar% +\notes\cu d\ds\ds\cu e\en +\notes\ibu0g2\qb0{fgh}\tqh0i\en +\bar +\znotes\en} + + +Autrement dit, ne pas faire jouer le r\^ole de syncopes \`a des silences. +Dans une mesure ternaire, s\'eparer un silence qui concerne les deuxi\`eme +et troisi\`eme unit\'es de valeur. +Pour les barres des croches, on peut \^etre un peu plus souple. + +{\footnotesize Certains objecteront qu'en musique ancienne, la notation +des croches en crochets ou en barre exprime un degr\'e d'articulation +souhait\'e. Mais la r\`egle ci-dessus recoupe presque toujours une +articulation << raisonnable >>. + +} + + +\section{Croches en barres} +\subsec +Il faut donner aux << barres >> ou << ligatures >> +des croches une pente appropri\'ee. Autrefois, +on \'evitait de trop faibles pentes, parce que l'encre d'imprimerie +avait une f\^acheuse tendance \`a combler un angle trop petit entre ces +barres et les lignes de la port\'ee. Pour une gamme ou un arp\`ege, cette +pente ne peut pas \^etre sup\'erieure \`a celle form\'ee par les notes, ni +horizontale. Il faut t\^acher de trouver un compromis. Voici un exemple, +avec sa r\'eponse, par deux illustres \'editeurs : + +\generalmeter{\empty} +\setstaffs1{1}\setclef1\treble +\twoextr{ +\notes\ibbu0a6\qb0{cdefg}\tqh0h\en +\notes\ibbu0g0\qb0{cdefg}\tqh0h\en} +{\notes\zcn q{Peters \smalltype fin XIX$^e$}\ibbu0a4\qb0{cdefg}\tqh0h\en +\notes\zcn q{Henle \smalltype fin XX$^e$}\ibbu0e1\qb0{cdefg}\tqh0h\en +\notes\zcn q{conseill\'e}\ibbu0d2\qb0{cdefg}\tqh0h\en} + +\footnotesize{Si vous voulez imiter certains \'editeurs fran\c{c}ais :} + +\startextract% +\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en +\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en +\zendextract + +\newpage + +\subsec +Le placement des barres doit \^etre adapt\'e au contexte. Ce +placement est diff\'erent selon qu'on a un groupe de croches isol\'ees ou +un passage de croches semblables : + +\startextract +\NOTes\hu c\hu d\en +\bar +\NOtes\qu f\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\NOtes\qu{cd}\en +\bar% +\NOtes\qp\en +\NOTes\hu f\en +\zendextract + +\twoextr +{\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en} +{\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en} + + + + +\subsec +\'Eviter les barres de croches en forme de Z, qu'on trouve dans les +\'editions d'autrefois : + +\normalmusicsize +\setclef1\bass +\twoextr +{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en +\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} +{\Notes\ibl0H2\qb0G\en +\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en +\doublebar% +\Notes\cu G\en +\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} + + +\subsec +On ne fait jamais interf\'erer les barres de croches avec les lignes +suppl\'ementaires : + +\setclef1\treble +\twoextr +{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en} +{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en} + +\subsec +Ne pas affecter le placement des barres pour placer les silences +\`a leur hauteur normale. Au contraire, d\'eplacer les silences : + +\twoextr +{\Notes\ibl0k1\qb0n\ds\tqb0o\en +\Notes\ibl0l0\qb0o\ds\tqb0o\en} +{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en +\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en} + + + +\section{Tenues et liaisons} +\subsec +Quand on veut exprimer des notes \textbf{li\'ees}, le signe de liaison +d\'emarre et atterrit au dessus du \textbf{centre} des notes. Par contre, +pour exprimer des notes \textbf{tenues}, ce m\^eme signe d\'emarre et +atterrit \`a la verticale de la limite de la t\^ete de la note, et pas +plus haut que celle-ci. On d\'eroge +\`a la premi\`ere r\`egle pour \'eviter des collisions avec les queues des +notes : + + +\largemusicsize +\twoextr +{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en +\bar% +\NOtesp\tslur0f\roff{\itied0f}\qup f\en +\NOtes\ttie0\qu f\en} +{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en +\bar% +\NOtesp\ttie0\itied0f\qup f\en +\NOtes\ttie0\qu f\en} +{\footnotesize A noter que la tenue en devient plus discr\`ete.} + +\subsec +Ne pas faire quand m\^eme trop d' << acrobaties >> pour suivre ces r\`egles +\`a la lettre : + +\twoextr +{\NOtes\islurd0c\qu c\tsslur0j\ql j\en +\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en} +{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en +\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en} + + +\subsec +A certaines \'epoques, on estimait qu'une seule tenue concernait +\textbf{toutes} les notes d'un m\^eme accord. Les cas particuliers sont +devenus si nombreux, qu'il vaut mieux noter explicitement toutes +les tenues : + +\largemusicsize +\twoextr +{\NOtes\itieu0g\zq{ce}\qu g\en +\bar% +\NOtes\ttie0\zq{ce}\qu g\en} +{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en +\bar% +\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en} + +\subsec +Cohabitation de liaisons et tenues avec des notes piqu\'ees et des +ornements : + +\twoextr +{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en +\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en} +{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en +\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en} + +\subsec +Cohabitation entre liaisons et tenues : + +\twoextr +{\NOtes\itied0d\qu d\en +\bar +\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en +\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en +\bar +\NOtes\ttie0\qu f\en} +{\NOtes\islurd1d\itied0d\qu d\en +\bar +\NOtes\ttie0\qu d\tslur1c\qu c\en +\NOtes\islurd1e\qu e\itied0f\qu f\en +\bar +\NOtes\tslur1f\ttie0\qu f\en} + +{\footnotesize Les instrumentistes \`a archet trouveront ceci \'evident.} + +\subsec +Lorsqu'on veut ajouter une liaison en temps qu'\'editeur, le pointill\'e +est la meilleure mani\`ere de signaler cette intervention : + +\setclef1\treble +\twoextr +{\NOtes\islurd0c\qu c\tslur0d\qu d\en +\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e% +\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en +\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en} +{\NOtes\islurd0c\qu c\tslur0d\qu d\en +\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en +\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en} + + + +\section{Alt\'erations} +\subsec +Quand une note tenue alt\'er\'ee s'\'etend sur plusieurs mesures, on +ne r\'ep\`ete pas les alt\'erations aux mesures suivantes, sauf en cas de +saut de ligne ou de page. + +\twoextr +{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en +\bar% +\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en} +{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en +\bar% +\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en} + + +\subsec +Quand une alt\'eration concerne de \textit{petites notes}, et qu'on +estime qu'elle doit s'appliquer aux notes normales qui suivent, il +faut r\'ep\'eter cette alt\'eration. + +\twoextr +{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en +\NOTes\wh c\en} +{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en +\NOTes\qsk\wh{^c}\en} + +\newpage + +\subsec +Quand une note affect\'ee d'un simple di\`ese succ\`ede \`a la m\^eme note +affect\'ee d'un double di\`ese dans la m\^eme mesure, on ne met plus de b\'ecarre +avant le simple di\`ese, +\`a moins de vouloir imiter le style de gravure du 19$^e$ si\`ecle. De m\^eme pour les +b\'emols : + +\twoextr +{\NOtes\qu{>c}\lna c\qu{^c}\qu{c}\qu{^c}\qu{> \textbf(c). +\end{itemize} + +On met une alt\'eration \'editoriale quand on estime que la source +avec laquelle on travaille est erron\'ee. On la note par une alt\'eration +de petite taille, plac\'ee au dessus de la note si la place le permet, +sinon au dessous. Si la note +est au milieu d'un accord, on la place \`a gauche de la note. + +{\footnotesize Le chiffrage de la \textit{basse continue} fait aussi +usage de petites alt\'erations au dessus des notes. Mais en g\'en\'eral, la +confusion est peu vraisemblable. + +} + +On met une alt\'eration de pr\'ecaution quand les r\`egles du solf\`ege voudraient +qu'elle s'applique, mais on craint qu'elle n'\'echappe au musicien, comme +par exemple, \`a la fin d'une mesure tr\`es riche en notes. Elle se note +entre parenth\`eses. + +Une alt\'eration << cadeau de la maison >> est une alt\'eration superflue +au regard du solf\`ege, et qui confirme l'effet de la barre de +mesure sur les alt\'erations pr\'ec\'edentes. L'habitude est de la noter +normalement : + +\twoextr +{\NOtes\qu{^c}\qu d\cfl e\qu e\qu{^c}\en +\bar% +\NOtes\cna c\qu c\en} +{\NOtes\qu{^c}\qu d\ccn q{(e)}\upperfl L\qu e\ccn q{(p)}\csh c\qu c\en +\bar% +\NOtes\ccn q{(c)}\qu{=c}\en} + + +{\footnotesize Pour certaines \oe uvres contemporaines complexes, il +est pr\'ef\'erable de noter \textbf{toutes} les alt\'erations.} + +\subsec Autrefois, pour certains copistes, il allait de soi que quand la +premi\`ere note d'une mesure est la m\^eme que celle alt\'er\'ee de la +mesure pr\'ec\'edente, l'alt\'eration continue \`a s'appliquer : + +\setstaffs12\setclef1{\bass\treble} +\startrule +\interstaff{11} + +\startextract +\NOtesp\zhl K\hu a|\zh{^f}\zhl d\qup j\en +\notesp|\triolet r\ibbu3i{-1}\qb3j\en +\notes|\qb3{_i}\tqh3h\en +\NOtesp\pt F\zql G\qu N|\zqp g\zqlp d\qup i\en +\notes\ibbl0H1\triolet C\zcu N\qb0G|\zq g\zcl d\cu i\en +\notesp\qb0H\en +\notes\tqb0{_I}\en +\bar +\NOtes\zhl J\qu N|\pt b\zql c\loffset{.25}{\zql e}\qu i\en +\Notes\qu M|\zhl f\ibu3h{-1}\qbp3h\en +\notes|\cl c\en +\notes|\tbbu3\tqh3g\en +\NOtes\zhl C\qu N|\pt b\zql c\qu g\en +\zendextract + +La correction est donc \'evidente, et ne justifie donc pas une alt\'eration +\'editoriale : + +\smallmusicsize +\twoextr +{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en +\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en +\notes\nextstaff\qb3{_i}\tqh3h\en +\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en +\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en +\notesp\qb0H\en +\notes\tqb0{_I}\en +\bar% +\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\upperfl n\qu i\en +\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en +\notes\nextstaff\cl c\en +\notes\nextstaff\tbbu3\tqh3g\en +\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en} +{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en +\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en +\notes\nextstaff\qb3{_i}\tqh3h\en +\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en +\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en +\notesp\qb0H\en +\notes\tqb0{_I}\en +\bar% +\nspace% +\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\qu{_i}\en +\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en +\notes\nextstaff\cl c\en +\notes\nextstaff\tbbu3\tqh3g\en +\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en} + +{\footnotesize (\`a plus forte raison une alt\`eration de +pr\'ecaution. Vos comp\'etances de musicologue sont d\'ej\`a +reconnues \`a ce stade !)} + +\subsec +Dans une \'edition ancienne, certaines alt\'erations peuvent sembler superflues +selon nos r\`egles modernes, comme le \textit{do} di\`ese \`a la fin de +cette mesure : + +\nostartrule +\setstaffs11 +\largemusicsize +\setclef1{\bass} +\startextract +\bar% +\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en +\NOtes\zq b\qu d\zq{^c}\qu e\en +\bar% +\zendextract + + Le raisonnement suivant est donc \`a proscrire : +<<\textit{si cette alt\'eration est pr\'esente, c'est qu'il +y a une bonne raison, mais il se trouve que cette alt\'eration est erron\'ee. +En effet, si le compositeur avait voulu un} do \textit{di\`ese +\`a la fin de la mesure, il n'aurait rien mis. +Je me charge donc de faire la correction qui s'impose.}>> + + +\twoextr{ +\bar% +\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en +\NOtes\zq b\qu d\zq{=c}\qu e\en +\bar% +} +{\bar% +\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en +\NOtes\zq b\qu d\zq c\qu e\en +\bar% +} + +{\footnotesize Si ces noires en tierces avaient \'et\'e not\'ees de mani\`ere +polyphonique, tout s'expliquerait. Je pourrais citer d'autres malentendus +semblables, \`a propos du cas des alt\'erations \`a l'octave, +que nous avons vu plus haut. + +} + + +\section{Num\'eros de mesures} + +\subsec +On ne note jamais les silences initiaux communs \`a toutes les +parties, surtout s'il y a une reprise partant de la premi\`ere note : + +\normalmusicsize\nostartrule\setclef1\treble +\generalmeter{\meterfrac34} + +\twoextr +{\NOtes\hpause\en +\Notes\qu c\en +\bar% +\Notes\qu{def}\en +\bar% +\Notes\qu{hi}\en +\rightrepeat +\Notes\ql j\en +\bar +\Notes\ql k\en} +{\Notes\qu c\en +\bar% +\Notes\qu{def}\en +\bar% +\Notes\qu{hi}\en +\rightrepeat +\Notes\ql j\en +\bar +\Notes\ql k\en} + + +\subsec +On n'indique jamais le num\'ero de la toute premi\`ere mesure +d'un morceau. Si cette premi\`ere mesure est en \textit{lev\'ee}, le +num\'ero de cette mesure est \textbf{z\'ero}. + +\normalmusicsize\nostartrule\setclef1\treble +\generalmeter{\meterfrac34} + +\twoextr +{\Notes\loffset{8}{\zcharnote o{\eightbf 1}}\qu c\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{def}\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en} +{\Notes\qu c\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 1}}\qu{def}\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{hi}\ql j\en} + +{\footnotesize En pratique, des num\'eros pour la premi\`ere mesure +de chaque syst\`eme sont suffisants. + +} + +\subsec +Quand il y a une double barre de reprise au cours d'une mesure, cette double barre +ne compte pas pour la num\'erotation des mesures. + +\twoextr +{\Notes\qu{cde}\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en +\leftrightrepeat% +\Notes\qu f\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 4}}\qu{hi}\ql j\en +\bar} +{\Notes\qu{cde}\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en +\leftrightrepeat% +\Notes\qu f\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en +\bar} + + +\subsec +Quand il y a des mesures \textit{premi\`ere fois-deuxi\`eme fois}, seuls les +num\'eros de mesure de la \textit{premi\`ere fois} comptent. Si n\'ecessaire, +on distingue les mesures de m\^emes num\'eros par les indices \textit{a} +et \textit{b}. + +\generalmeter{\null}\setclef1\treble\normalmusicsize +\twoextr{ +\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en\bar +\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en +\Setvolta1\bar +\Notes\hu e\en +\bar +\Notes\loffset{2}{\zcharnote o{\eightbf 33}}\hu f\en +\setvolta2\endvoltabox\rightrepeat +\Notes\hu g\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hu h\en +\bar% +\Notes\hu i\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 37}}\hl j\en} +{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en +\bar +\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en +\Setvolta1\bar% +\Notes\hu e\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 33a}}\hu f\en +\setvolta2\endvoltabox\rightrepeat +\Notes\hu g\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 33b}}\hu h\en +\bar% +\Notes\hu i\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hl j\en} + + +{\footnotesize En effet, de nombreux mouvements rapides, comportent +des barres de reprise au cours d'une mesure (comme l'Allegretto de la +sonate \textit{Clair de lune}). On aurait aussi bien pu noter cette +reprise sous la forme \textit{premi\`ere fois-deuxi\`eme fois} pour +cette mesure. Il faut donc +que ces deux formulations conduisent \`a la m\^eme num\'erotation des +mesures. + +} + +\section{Questions diverses} + +\subsec +Quand on note la partie d'un instrument n'exigeant qu'une port\'ee, on ne +met pas de barres verticales en d\'ebut de port\'ees, contrairement \`a +une partition de << conducteur >>. + +\setclef1\alto +\startrule\largemusicsize +\begin{music}\let\extractline\hbox +\hbox to \hsize{ +\hfill +\startextract +\NOtes\qu{abc}\en +\zendextract\hfill\nostartrule +\startextract +\NOtes\qu{abc}\en +\zendextract +\hfill} + +\let\extractline\centerline\end{music} + + +\subsec +Autrefois, certaines notes piqu\'ees \'etaient not\'ees avec un petit triangle +au lieu du point moderne. Si dans une \oe uvre, ces \textbf{deux} notations +se pr\'esentent, elles repr\'esentent \'egalement deux degr\'es dans le caract\`ere +piqu\'e. Il faut donc respecter la notation originale. Si par contre, seuls +les petits triangles existent, il faut les restituer par de simples +points : + +\largemusicsize\setstaffs1{1}\setclef1\treble\nostartrule +\twoextr{ +\Notes\ibu0d1\lppz c\qb0c\lppz d\qb0d\lppz e\qb0e\lppz f\tqh0f\en} +{\Notes\ibu0d1\lpz c\qb0c\lpz d\qb0d\lpz e\qb0e\lpz f\tqh0f\en} + +\subsec +De tels signes se placent toujours \`a la verticale des t\^etes de notes, +et non pas \`a la verticale des hampes, m\^eme si la polyphonie exige +un placement cot\'e hampes : + +\twoextr +{\NOtes\zhl c\hroff{\upz l}\qu e\hroff{\uppz k}\qu f\en +\Notes\zql b\ibu0g0\hroff{\upz m}\qb0g\hroff{\upz m}\tqh0g\en} +{\NOtes\zhl c\upz l\qu e\uppz k\qu f\en +\Notes\zql b\ibu0g0\upz m\qb0g\upz m\tqh0g\en} + + +\subsec +Les appoggiatures, ou \textit{petites notes}, se notent \textbf{apr\`es} +la barre de mesure. Ceci quelle que soit leur interpr\'etation rythmique +suppos\'ee : + +\twoextr +{\NOtes\qu N\en +\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en +\bar +\NOtes\hu g\en} +{\NOtes\qu N\en +\bar +\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en +\NOtes\hu g\en} + +\subsec +On \'ecrit l'indication g\'en\'erale de mouvement en caract\`eres normaux, +et les indications interm\'ediaires en italique : + +\setclef1\treble +\twoextr +{\NOtes\zcn o{\medtype\it allegro}\qu{de}\zcn N{Cres}\qu{fg}\en} +{\NOtes\zcn o{\medtype Allegro}\qu{de}\zcn N{\medtype\it cresc.}\qu{fg}\en} + +{\footnotesize Notez aussi l'usage de majuscules, et le point d'abbr\'eviation.} + + +\subsec +Autrefois on indiquait \textbf{loco} (du latin : \textit{au lieu} + pour attirer l'attention sur +la fin d'un signe d'octaviation (\textit{8}\raisebox{2mm}{- - - - -}). +Maintenant que ces octaviations sont +devenues habituelles, ce \textbf{loco} est bien inutile. + +\section{Quelques conseils moraux, quand vous gravez une partition} + +\subsec +Quand vous faites un certain choix dans une mani\`ere de noter, +conservez-le d'un bout \`a l'autre du morceau, au lieu d'alterner +\`a votre guise avec une autre mani\`ere, m\^eme si cette premi\`ere +mani\`ere est contestable d'apr\`es ce que nous avons vu. + +\subsec +En typographie musicale, +les erreurs de hauteur d'une tierce sont beaucoup plus fr\'equentes +que les erreurs d'une seconde, pour des raisons \'evidentes de +perception visuelle. Soyez donc compr\'ehensif envers les auteurs de votre +source. + +\subsec +Que faire, quand vous pensez en avoir termin\'e avec votre \'edition, +apr\`es tous ces conseils ? +Bien s–r, vous vous pr\'ecipitez sur votre instrument, et vous jouez +le morceau avec cette \'edition. + +Mais comme ce morceau vous est familier, vous risquez fort, +emport\'e par votre enthousiasme, +de laisser \'echapper un certain nombre d'erreurs. +Abandonnez donc l'instrument, +posez votre \'edition et sa source sur une table, et prenez un crayon. +Comparez-les mesure par mesure, et s'il y a plusieurs port\'ees, une +seule port\'ee \`a la fois. Terminez par les indications diverses (tempo, +interpr\'etation, p\'edale pour le piano, etc.) qui sont communes \`a +ces plusieurs port\'ees. + +Ceci n'est pas encore suffisant. En effet, un bon musicien, tel que vous, +poss\`ede la capacit\'e de corriger certaines erreurs (notamment d'alt\'erations) +en jouant, sans s'en rendre compte. Le test pr\'ec\'edent ne mettra donc +pas ces erreurs \`a jour, les deux versions comportant la m\^eme erreur. + +Si votre logiciel est apte \`a traduire votre morceau au format MIDI, +le fichier produit pourra vous aider. Sinon, il faudra soumettre votre +\'edition \`a un musicien moins exp\'eriment\'e que vous, qui n'aurait pas encore +pris ces habitudes de corrections spontan\'ees. + +\subsec +\textbf{N'oubliez jamais ceci : faire une \'edition correcte est aussi +difficile que jouer correctement un instrument.} +\end{document} + diff --git a/macros/musixtex/doc/notationmistakes/coulhack.tex b/macros/musixtex/doc/notationmistakes/coulhack.tex deleted file mode 100644 index 1f797876cd..0000000000 --- a/macros/musixtex/doc/notationmistakes/coulhack.tex +++ /dev/null @@ -1,70 +0,0 @@ -% thicker ledger lines -\def\myhlthick{1.5\lthick} -\makeatletter -\def\h@linei{% - \y@ii\n@v\internote - \y@iii\y@ii - \advance\y@ii\myhlthick - \advance\y@iii-\myhlthick - \y@vi\noteskip % noteskip -%-\ifnum\y@vi=\z@ \y@vi\maxdimen\fi % (or maxdimen if noteskip = 0) - \advance\y@vi-\y@v % - notewidth - \y@vi0.7\y@vi % this may be eaten =: additional length - \y@iv\h@lf\qn@width\ifnum\y@vi>\y@iv \y@vi\y@iv\fi % not more than 0.5 qn@width - \y@iv0.2\qn@width \ifnum\y@vi<\y@iv \y@vi\y@iv\fi % not less than 0.2 qn@width - \y@iv\y@v % notewidth - \advance\y@iv\y@vi % + additional length =: total length - \kernm\h@lf\y@vi % center the ledger line -%-\message{noteskip = \the\noteskip, length = \the\y@iv, notewidth = \the\y@v}% - \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv - \kernm\y@iv\kern\h@lf\y@vi} - -% same adapted from MUSIXFLL.TEX - -\ifx\undefined\longledgerlines \else \endinput \fi - -\immediate\write10{MusiXFormerLedgerLines T.74\space<06 April 1997>}% - -%\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 - -\let\h@lineick\h@linei -\def\h@lineidt{% - \y@ii\n@v\internote - \y@iii\y@ii - \advance\y@ii\myhlthick - \advance\y@iii-\myhlthick - \y@iv\y@v - \advance\y@iv\h@lf\qn@width - \kernm.25\qn@width - \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv - \kernm\y@iv\kern.25\qn@width} -\def\longledgerlines{\global\let\h@linei\h@lineidt} -\def\autoledgerlines{\global\let\h@linei\h@lineick} -\longledgerlines -%\catcode`\@=\catcodeat - -% space between signatures and first note at each system: - -\def\contpiece{\noindent \piece@conta \writ@staffs \piece@beginc -% \Writ@meters \wbarno@x \hardspace{10pt}\addspace\afterruleskip - \Writ@meters \wbarno@x \hardspace{.3\elemskip}\addspace\afterruleskip} -% ^^^^^^^^^^^^^^^^^^^^^^^ - -% missing pixels at some beam ends: -\def\beamst@m{% queue de note vers une poutre - \getcurpos \advance\y@v-\b@x - \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z - \ifdim\y@ii>\st@top % la poutre est au-dessus - \stem@skip\qd@skip \comp@slope\stem@skip \advance\y@ii\s@lope - \advance\y@ii .25\interbeam% hack - \ifnum\b@n>\z@ \advance\y@ii\b@n\interbeam \advance\y@ii-\interbeam \fi - \st@top\y@ii % a mettre a jour avec la pente ulterieurement - \else - \advance\y@ii-.25\interbeam% hack - \stem@skip\z@ - \ifdim\y@ii<\st@bot - \ifnum\b@n<\z@ \advance\y@ii\b@n\interbeam \advance\y@ii\interbeam \fi - \st@bot\y@ii \fi \fi - \C@stem} - -\makeatother diff --git a/macros/musixtex/doc/notationmistakes/sottieng.pdf b/macros/musixtex/doc/notationmistakes/sottieng.pdf deleted file mode 100644 index ab29004645..0000000000 Binary files a/macros/musixtex/doc/notationmistakes/sottieng.pdf and /dev/null differ diff --git a/macros/musixtex/doc/notationmistakes/sottieng.tex b/macros/musixtex/doc/notationmistakes/sottieng.tex deleted file mode 100644 index 1ce95adb9a..0000000000 --- a/macros/musixtex/doc/notationmistakes/sottieng.tex +++ /dev/null @@ -1,1075 +0,0 @@ -\documentclass[12pt,twoside]{article} -\usepackage{a4} -\usepackage{musixtex} -\usepackage[english]{babel} -\usepackage{randtext} -\input coulhack -\raggedbottom -\setlength{\textwidth}{18cm} \setlength{\textheight}{26cm} -\setlength{\oddsidemargin}{0pt}\setlength{\evensidemargin}{0pt} -\setlength{\parindent}{0cm}\setlength{\parskip}{.5cm} -\setlength{\marginparwidth}{1in} \setlength{\marginparsep}{0pt} -\setlength{\hoffset}{-1cm} -\setlength{\voffset}{-2.5cm} -%\setlength{\headsep}{2cm} -\setlength{\itemsep}{0cm} - -\newcommand{\milieu}[1]{\begin{center}{#1}\end{center}} -\newcommand{\pruneau}{$\bullet$~} -\newcommand{\subsec}{\vspace{-1cm}\subsection{~}\vspace{-.5cm}} -% \today should work the same in theory -\def\mytoday{\ifcase\month\or - January\or February\or March\or April\or May\or June\or - July\or August\or September\or October\or November\or December\fi - \space\number\day, \number\year} - -\def\notess{\vnotes2.4\elemskip} -\def\notesss{\vnotes1.7\elemskip} -\def\notesm{\vnotes1.5\elemskip} -\def\appog{\multnoteskip\tinyvalue\tinynotesize} -\newcommand{\zcn}[2]{\zcharnote{#1}{#2}} -\newcommand{\lcn}[2]{\lcharnote{#1}{#2}} -\newcommand{\ccn}[2]{\ccharnote{#1}{#2}} -\newcommand{\nxst}{\nextstaff} -\def\hhqsk{\off{.7\elemskip}} - -\newcommand{\twoextr}[2] -%{\begin{music}\let\extractline\hbox -{\let\extractline\hbox -\hbox to \hsize{ -\hfill -\startextract #1 -\zendextract\hfill -\startextract #2 -\zendextract -\hfill} - -%\let\extractline\centerline\end{music}} -\let\extractline\centerline} - -\accshift=0mm -\geometricskipscale -\nostartrule -\nobarmessages\nobarnumbers -\let\extractline\centerline - -\begin{document} -\milieu{\ppfftwentynine Repository of music-notation mistakes} -\milieu{\medtype or} -\milieu{\ppfftwentyfour Essay on the true art of music engraving} -\milieu{\Huge Jean-Pierre Coulon} -%\centerline{\tt -%\kern3.5em{obs-nice}\kern-4.5em{@}\kern-3.5em{coulon}\kern4.5em{.fr}} - -\centerline{\tt \randomize{coulon@obs-nice.fr}} - - -\milieu{\mytoday} -%\milieu{\today} - -\milieu{\large intended for:} -\begin{itemize} -\item users of music-typesetting software packages, -\item developers of such packages, -\item traditional music-engravers, -\item sheet-music collectors, -\item those keen on problems of \textit{semantics}, \textit{semiology}, -\textit{philology} , etc. -\end{itemize} - -{\footnotesize NB: These examples are certainly musically worthless: -do not read them with your instrument :-)\\ -To limit myself to the essential, and lacking sufficient expertise, -I do not deal with any of these neighboring, exciting topics: - -\pruneau music theory, harmony, composition, etc.\\ -\pruneau comparative test of various typesetting packages,\\ -\pruneau how to interpret the quoted symbols according to epochs,\\ -\pruneau copyright issues,\\ -\pruneau percussion notation, and plucked-string instrument tablatures,\\ -\pruneau very-early-music notation, and avant-garde music -notation.\\ -\textit{ I apologize to readers of some countries for having adhered -to the U.S. terminology} - -} - - -\section{General issues} -\subsec -When simultaneous notes are present on the same staff, two notations -are posssible: chord notation, or multiple-voice, a.k.a. \textit{polyphonic} -notation. - -\twoextr -{\NOtes\qu c\zq c\qu e\en -\Notes\ibu0e2\zq c\qb0e\zq d\tqh0f\en} -{\NOtes\zql c\qp\zql c\qu e\en -\Notes\ibl0c2\ibu1e2\zqb0c\qb1e\tbl0\zqb0d\tqh1f\en} - -Of course, if parts have distinct rythms, the polyphonic notation is -required. - -\eject\milieu{\ppfftwenty from here:} -{\ppfftwentyfour This side: incorrect. \hfill This side: correct. } - -\subsec -Do your best to place \textit{page-turns} at places -acceptable for the musician, otherwise he will either -require a ``page-turner'', or labor to arrange -chunks of photocopies. Since modern musical scores are smaller -than before, this demands more efforts from the music engraver. - -{\footnotesize The actual print size, i.e. omitting margins, -of most scores from former epochs, almost matched the usual format -of most of modern scores including the margins. - -} - -An easy solution consists in using a small engraving size. -It is better to use a bigger size, at the price of more effort -to manage the spacing rationally. -These two excerpts require the same horizontal space, but that on the -right is easier to read: - -\bigaccid -\begin{music}\let\extractline\hbox -\hbox to \hsize{ -\hfill -\smallmusicsize -\setclef1{\treble} -\startextract% -\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en -\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en -\bar% -\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en -\zendextract\hfill -\normalmusicsize -\startextract% -\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en -\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en -\bar% -\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en -\zendextract -\hfill} -\let\extractline\centerline\end{music} - -Moreover, you also have to vary the distances between the staves -of systems, to avoid wasting some vertical space -(see my edition of Dussek's piano Sonata op.35-3). - - - - -\subsec -Choose horizontal spacings that increase according to note durations, -but not proportional to these durations. Personally I am happy with a -spacing ratio -of \hbox{$\sqrt{2}\approx 1.414$} to represent a duration-ratio of 2, -but this is not an absolute rule, especially if thirty-second or -sixty-fourth notes are present, because this would bring them -too close to each other. -Do not change the spacing of a specific duration within a line without -a good reason. - -\nostartrule -\setclef1\treble -\hsize82.1mm -\startpiece -\NOTEs\hu c\sk\en -\NOTEs\qu c\en -\NOtes\cu c\en -\notes\ibbu0c0\qb0c\en -\notes\qb0{cc}\tqh0c\en -\setemptybar -\endpiece - -\hsize18cm - -\setclef1\treble -\twoextr -{\notes\hu c\en -\NOtes\qu c\en -\NOTes\cu c\en -\notes\ibbu0c0\qb0c\en -\Notes\qb0{cc}\tqh0c\en} -{\NOTes\hu c\en -\NOtes\qu c\en -\Notes\cu c\en -\notes\ibbu0c0\qb0{cc}\en -\notes\qb0c\tqh0c\en} - -{\footnotesize If a system has several staves, the part -with the \textbf{shortest} durations governs the overall spacing. -Lyrics, if any, may demand still wider spacings. - -} - -\subsec -Here is a good reason to modify tight note spacing: avoiding clashes: - -\twoextr -{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en} -{\notesss\ccu c\hqsk\ibbl0k2\qb0{jklm}\hqsk\tqb0{^n}\en}k - -\subsec -If no other simultaneous part prevents it, note stems should also be -taken into account for the spacing: - -\largemusicsize -\twoextr -{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en} -{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en} - - -\subsec -Never displace the vertical alignment to accommodate accidentals: - -\setstaffs1{2}\setclef1\bass\startrule\bigaccid -\twoextr{ -\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en -\bar% -\NOtes\ql M\nxst\hhqsk\qu{^h}\en} -{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en -\bar% -\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en} - -\nostartrule - - - -\subsec -Write an interval of a \textit{second} in a chord with the lower note -\textbf{left}. On the other hand, in polyphonic writing, -it should be put \textbf{right}. - -\largemusicsize\setstaffs1{1}\setclef1{\treble} -\twoextr -{\NOtes\rq b\zq{ce}\qu g\en -\NOtes\rq b\zq{^ce}\qu g\en -\NOtes\rq c\rq e\rq g\qu b\en -\doublebar% -\NOtes\zql b\roffset{.9}{\qu c}\en -\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en -\notes\tbl1\zqb1a\qb0c\tqh0d\en} -{\NOtes\rq c\zq{be}\qu g\en -\NOtes\sh c\rq c\zq{be}\qu g\en -\NOtes\rq c\zq{be}\qu g\en -\doublebar% -\NOtes\zqu c\roffset{.9}{\ql b}\en -\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en -\notes\tbl1\zqb1a\qb0c\tqh0d\en} - -{\footnotesize -I omit cases of voice crossing. -Do not be perturbed by an accidental associated with the -upper note. Do not perturb notes aside this second. - -} - - -\subsec -In polyphonic writing, notes should be shifted just enough to -distinguish them, anyway less than the spacing for a second: - -\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble -\twoextr -{\NOtes\zql c\roff{\zqu e}\qu g\en -\NOtes\zql c\zqu e\qu g\en -\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en -\NOtes\zqlp c\roff{\zqup f}\qup h\en} -{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en -\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en -\NOtes\zql c\roff{\zqu f}\qu g\en -\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en} - -{\footnotesize Note the case of dotted notes: the augmentation dots -must be aligned vertically.} - -\subsec -Sometimes augmentations dots must be placed so as to avoid any -ambiguity: - -\twoextr -{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en -\notes\tbbu0\tqh0h\en -\NOtes\zqlp g\qu i\en -\Notes\qu j\cl f\en -\Notes\zql e\qu k\en} -{\Notesp\loffset{.3}{\ibu0h0\zqb0h}% -\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en -%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en -\notes\tbbu0\tqh0h\en -\NOtes\pt f\zql g\qu i\en -\Notes\qu j\cl f\en -\Notes\zql e\qu k\en} - - - - -\subsec -In a two-part polyphonic notation, upper-part note stems should be -upwards, even if the other part has a rest: - -\normalmusicsize\setclef1{\bass} -\twoextr -{\NOTesp\zw H\hup a\en -\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en} -{\NOTesp\zw H\hup a\en -\Notes\qu N\liftpause{-2}\qu{MKLM}\en} - -{\footnotesize(same for the lower part.)} - - -\subsec -Some linkings of notes or rests may be correct -according to music theory, -but impede sight reading: - -\normalmusicsize -\generalmeter{\meterfrac44}\setclef1\treble -\twoextr -{\notes\cu c\en -\bar% -\notes\cu d\en -\Notes\qp\en -\notes\ibu0f2\qb0{efgh}\tqh0i\en -\bar -\znotes\en} -%\notes\cl j\en} -{\notes\cu c\en -\bar% -\notes\cu d\ds\ds\cu e\en -\notes\ibu0g2\qb0{fgh}\tqh0i\en -\bar -\znotes\en} - -In other words, rests should not act as syncopated notes. In a ternary -beat, separate a rest that affects the second and third time values. -Beams do not demand so much care. - -{\footnotesize Some will argue that in early music, flag/beam notation -expresses some degree of articulation. But the rule above almost always -coincides with some \textit{reasonable} articulation. - -} - - -\section{Beaming} -\subsec -Beams should have an appropriate slope. In the past, one would avoid -too weak a slope, because the printing ink would maliciously attempt -to fill the tiny angle between these beams and the staff lines. -For a scale or an arpeggio, this slope cannot be steeper than that -formed by the notes, nor horizontal. A compromise must be found. -Here is an example, with its solution, by two distinguished publishers: - -\generalmeter{\empty} -\setstaffs1{1}\setclef1{\treble} -\twoextr{ -\notes\ibbu0a6\qb0{cdefg}\tqh0h\en -\notes\ibbu0g0\qb0{cdefg}\tqh0h\en} -{\notes\zcn q{\smalltype Peters end 19$^{th}$C.}\ibbu0a4\qb0{cdefg}\tqh0h\en -\notes\zcn q{\smalltype Henle end 20$^{th}$C.}\ibbu0e1\qb0{cdefg}\tqh0h\en -\notes\zcn q{recommended}\ibbu0d2\qb0{cdefg}\tqh0h\en} - -\footnotesize{If you want to imitate some French publishers :} - -\startextract% -\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en -\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en -\zendextract - -\subsec -Beam placement should be adapted to the context. This placement varies -depending on whether this group of notes is isolated or in a series: - -\startextract -\NOTes\hu c\hu d\en -\bar -\NOtes\qu f\en -\notes\ibbu0f4\qb0{ceg}\tqh0j\en -\NOtes\qu{cd}\en -\bar% -\NOtes\qp\en -\NOTes\hu f\en -\zendextract - -\twoextr -{\notes\ibbu0f4\qb0{ceg}\tqh0j\en -\notes\ibbu0f4\qb0{ceg}\tqh0j\en -\notes\ibbu0f4\qb0{ceg}\tqh0j\en -\notes\ibbu0f4\qb0{ceg}\tqh0j\en} -{\notes\ibbu0h1\qb0{ceg}\tqh0j\en -\notes\ibbu0h1\qb0{ceg}\tqh0j\en -\notes\ibbu0h1\qb0{ceg}\tqh0j\en -\notes\ibbu0h1\qb0{ceg}\tqh0j\en} - -\subsec -Avoid Z-like beams, as found in former editions: - -\normalmusicsize -\setclef1\bass -\twoextr -{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en -\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} -{\Notes\ibl0H2\qb0G\en -\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en -\doublebar% -\Notes\cu G\en -\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} - - -\subsec -Beams should never cross ledger lines: - -\setclef1{\treble} -\twoextr -{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en} -{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en} - -\subsec -Do not affect beam placement to place rests at their usual height. -Rather move the rests: - -\twoextr -{\Notes\ibl0k1\qb0n\ds\tqb0o\en -\Notes\ibl0l0\qb0o\ds\tqb0o\en} -{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en -\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en} - - -\section{Ties and slurs} -\subsec -When \textbf{slurred} notes are intended, the slur takes off and lands -above or below the \textbf{centers} of note heads. But for \textbf{tied} -notes, -the same sign takes off and lands vertically aligned with the boundary -of the note head, and not higher than this head. -One breaks from the first rule to -avoid colliding the note stems. - - -\largemusicsize -\twoextr -{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en -\bar% -\NOtesp\tslur0f\roff{\itied0f}\qup f\en -\NOtes\ttie0\qu f\en} -{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en -\bar% -\NOtesp\ttie0\itied0f\qup f\en -\NOtes\ttie0\qu f\en} - -{\footnotesize Note that the tie becomes ``quieter''.} - - -\subsec -Meanwhile avoid ``acrobatics'' to strictly abide these rules: - -\largemusicsize -\twoextr -{\NOtes\islurd0c\qu c\tsslur0j\ql j\en -\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en} -{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en -\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en} - - -\subsec -During some epochs a single tie was supposed to refer to \textbf{all} -notes of a particular chord. Particular cases have become so frequent, -that it is better to note all ties explicitly. - -\largemusicsize -\twoextr -{\NOtes\itieu0g\zq{ce}\qu g\en -\bar% -\NOtes\ttie0\zq{ce}\qu g\en} -{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en -\bar% -\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en} - -\subsec -Associations of ties and slurs with dots and ornaments: - -\twoextr -{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en -\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en} -{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en -\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en} - -\newpage -\subsec -Associations of ties and slurs: - -\twoextr -{\NOtes\itied0d\qu d\en -\bar -\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en -\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en -\bar -\NOtes\ttie0\qu f\en} -{\NOtes\islurd1d\itied0d\qu d\en -\bar -\NOtes\ttie0\qu d\tslur1c\qu c\en -\NOtes\islurd1e\qu e\itied0f\qu f\en -\bar -\NOtes\tslur1f\ttie0\qu f\en} - -{\footnotesize Bowed-instruments players will find this obvious.} - - - -\subsec -The dotted slur is the best way to emphasize an \textit{editorial slur}: - -\setclef1{\treble} -\twoextr -{\NOtes\islurd0c\qu c\tslur0d\qu d\en -\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e% -\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en -\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en} -{\NOtes\islurd0c\qu c\tslur0d\qu d\en -\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en -\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en} - - -\section{Accidentals} -\subsec -When a note with an accidental expands over several measure, -do not repeat the accidental on the next measures, except if there is -a line-break or a page-break: - -\twoextr -{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en -\bar% -\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en} -{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en -\bar% -\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en} - -\subsec - -When an accidental affects \textit{small notes}, and is desired -to also affect subsequent notes, it must be repeated. - -\twoextr -{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en -\NOTes\wh c\en} -{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en -\NOTes\qsk\wh{^c}\en} - -\subsec -When a note with a single sharp comes after the same note with a -double sharp, you no longer put a natural sign before the single -sharp, unless you want to mimic 19th engraving style. Same for flats: - -\twoextr -{\NOtes\qu{>c}\lna c\qu{^c}\qu{c}\qu{^c}\qu{c}\lna c\qu{^c}\qu{c}\qu{^c}\qu{>, soit de faire de laborieux montages -de morceaux de photocopies. Compte tenu du fait que les partitions -des temps modernes sont plus petites qu'autrefois, ceci impose un -effort suppl\'ementaire de la part du graveur. - -{\footnotesize La zone effectivement imprim\'ee, c'est-\`a-dire sans tenir -compte des marges, de la plupart des -partitions anciennes, correspondait presque au -format habituel des partitions de notre temps, marges comprises. - -} - -Un solution de facilit\'e consiste \`a utiliser une petite taille de gravure. -Il vaut mieux utiliser une gravure de taille sup\'erieure, au prix -d'un effort plus important pour g\'erer les espacements rationnellement. -Ces deux extraits prennent le m\^eme espace horizontal, mais celui de -droite est plus lisible : - -\bigaccid -\begin{music}\let\extractline\hbox -\hbox to \hsize{ -\hfill -\smallmusicsize -\setclef1\treble -\startextract% -\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en -\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en -\bar% -\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en -\zendextract\hfill -\normalmusicsize -\startextract% -\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en -\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en -\bar% -\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en -\zendextract -\hfill} -\let\extractline\centerline\end{music} - -De plus, il faut parfois varier \'egalement la distance entre les -port\'ees d'un m\^eme syst\`eme, afin de ne pas gaspiller d'espace vertical -(voir mon \'edition de la Sonate op.35-3 de Dussek). - -\subsec -Choisir des espacements horizontaux croissants en fonction des valeurs -de notes, mais cependant pas proportionnels \`a ces valeurs. Personnellement, -je suis satisfait avec le rapport \hbox{$\sqrt{2}\approx 1.414$} -correspondant aux valeurs de notes de rapport 2, mais ce n'est pas une -r\`egle absolue, surtout s'il y a des triples ou quadruples croches, qui -peuvent alors \^etre trop serr\'ees. -Ne pas changer d'espacement au cours d'une ligne sans -raison valable. - -\nostartrule -\setclef1\treble -\hsize82.1mm -\startpiece -\NOTEs\hu c\sk\en -\NOTEs\qu c\en -\NOtes\cu c\en -\notes\ibbu0c0\qb0c\en -\notes\qb0{cc}\tqh0c\en -\setemptybar -\endpiece - -\hsize18cm -\twoextr -{\notes\hu c\en -\NOtes\qu c\en -\NOTes\cu c\en -\notes\ibbu0c0\qb0c\en -\Notes\qb0{cc}\tqh0c\en} -{\NOTes\hu c\en -\NOtes\qu c\en -\Notes\cu c\en -\notes\ibbu0c0\qb0{cc}\en -\notes\qb0c\tqh0c\en} - -{\footnotesize S'il y a plusieurs port\'ees par syst\`eme, c'est la -partie comportant les notes les plus \textbf{br\`eves} -qui impose l'espacement de l'ensemble. S'il y a des paroles, elles -peuvent imposer un espacement encore plus grand. - -} - -\subsec -Voici une raison valable de changer d'espacement pour les notes -serr\'ees : \'eviter les collisions : - -\twoextr -{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en} -{\notesss\ccu c\hqsk\ibbl0k2\qb0j\qb0{klm}\hqsk\tqb0{^n}\en} - -\newpage - -\subsec -Si aucune autre partie simultan\'ee ne l'interdit, il faut aussi -tenir compte des queues de notes pour les espacements : - -\largemusicsize -\twoextr -{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en} -{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en} - -\subsec -Ne jamais compromettre l'aplomb entre parties sous pr\'etexte de loger -les alt\'erations : - -\setstaffs1{2}\setclef1\bass\startrule\bigaccid -\twoextr{ -\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en -\bar% -\NOtes\ql M\nxst\hhqsk\qu{^h}\en} -{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en -\bar% -\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en} -\nostartrule - - -\subsec -Pour noter un intervalle de seconde dans un accord, on met la note -inf\'erieure \`a gauche. Par contre, dans une \'ecriture polyphonique, -elle se met \`a droite. - -\largemusicsize\setstaffs1{1}\setclef1\treble -\twoextr -{\NOtes\rq b\zq{ce}\qu g\en -\NOtes\rq b\zq{^ce}\qu g\en -\NOtes\rq c\rq e\rq g\qu b\en -\doublebar% -\NOtes\zql b\roffset{.9}{\qu c}\en -\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en -\notes\tbl1\zqb1a\qb0c\tqh0d\en} -{\NOtes\rq c\zq{be}\qu g\en -\NOtes\sh c\rq c\zq{be}\qu g\en -\NOtes\rq c\zq{be}\qu g\en -\doublebar% -\NOtes\zqu c\roffset{.9}{\ql b}\en -\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en -\notes\tbl1\zqb1a\qb0c\tqh0d\en} - -{\footnotesize -Je fais l'impasse sur les cas de \textit{croisements de voix}. -Ne pas se laisser influencer par une alt\'eration concernant -la note sup\'erieure. -Ne pas perturber les notes \'etrang\`eres -\`a cette seconde. - -} - -\subsec -Pour les \'ecritures polyphoniques, on d\'ecale les notes juste ce qu'il -faut pour pouvoir les distinguer, en tout cas moins que pour un intervalle -de seconde : - -\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble -\twoextr -{\NOtes\zql c\roff{\zqu e}\qu g\en -\NOtes\zql c\zqu e\qu g\en -\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en -\NOtes\zqlp c\roff{\zqup f}\qup h\en} -{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en -\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en -\NOtes\zql c\roff{\zqu f}\qu g\en -\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en} - -{\footnotesize Noter le cas des notes point\'ees.} - -\subsec -Il faut parfois adapter la place du point pour \'eviter les ambigu\"it\'es : - -\twoextr -{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en -\notes\tbbu0\tqh0h\en -\NOtes\zqlp g\qu i\en -\Notes\qu j\cl f\en -\Notes\zql e\qu k\en} -{\Notesp\loffset{.3}{\ibu0h0\zqb0h}% -\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en -%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en -\notes\tbbu0\tqh0h\en -\NOtes\pt f\zql g\qu i\en -\Notes\qu j\cl f\en -\Notes\zql e\qu k\en} - - -\newpage - -\subsec -Dans une notation polyphonique \`a deux parties, on met les queues -des notes de la partie sup\'erieure vers le haut, m\^eme si l'autre partie -comporte un silence : - -\normalmusicsize\setclef1{\bass} -\twoextr -{\NOTesp\zw H\hup a\en -\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en} -{\NOTesp\zw H\hup a\en -\Notes\qu N\liftpause{-2}\qu{MKLM}\en} - -{\footnotesize(et inversement pour la partie du bas.)} - - -\subsec -Certains regroupements de notes ou de silences peuvent \^etre -\textit{solf\'egiquement corrects}, mais rendent le d\'echiffrage difficile : - -\normalmusicsize\setclef1\treble -\generalmeter{\meterfrac44} -\twoextr -{\notes\cu c\en -\bar% -\notes\cu d\en -\Notes\qp\en -\notes\ibu0f2\qb0{efgh}\tqh0i\en -\bar -\znotes\en} -%\notes\cl j\en} -{\notes\cu c\en -\bar% -\notes\cu d\ds\ds\cu e\en -\notes\ibu0g2\qb0{fgh}\tqh0i\en -\bar -\znotes\en} - - -Autrement dit, ne pas faire jouer le r\^ole de syncopes \`a des silences. -Dans une mesure ternaire, s\'eparer un silence qui concerne les deuxi\`eme -et troisi\`eme unit\'es de valeur. -Pour les barres des croches, on peut \^etre un peu plus souple. - -{\footnotesize Certains objecteront qu'en musique ancienne, la notation -des croches en crochets ou en barre exprime un degr\'e d'articulation -souhait\'e. Mais la r\`egle ci-dessus recoupe presque toujours une -articulation << raisonnable >>. - -} - - -\section{Croches en barres} -\subsec -Il faut donner aux << barres >> ou << ligatures >> -des croches une pente appropri\'ee. Autrefois, -on \'evitait de trop faibles pentes, parce que l'encre d'imprimerie -avait une f\^acheuse tendance \`a combler un angle trop petit entre ces -barres et les lignes de la port\'ee. Pour une gamme ou un arp\`ege, cette -pente ne peut pas \^etre sup\'erieure \`a celle form\'ee par les notes, ni -horizontale. Il faut t\^acher de trouver un compromis. Voici un exemple, -avec sa r\'eponse, par deux illustres \'editeurs : - -\generalmeter{\empty} -\setstaffs1{1}\setclef1\treble -\twoextr{ -\notes\ibbu0a6\qb0{cdefg}\tqh0h\en -\notes\ibbu0g0\qb0{cdefg}\tqh0h\en} -{\notes\zcn q{Peters \smalltype fin XIX$^e$}\ibbu0a4\qb0{cdefg}\tqh0h\en -\notes\zcn q{Henle \smalltype fin XX$^e$}\ibbu0e1\qb0{cdefg}\tqh0h\en -\notes\zcn q{conseill\'e}\ibbu0d2\qb0{cdefg}\tqh0h\en} - -\footnotesize{Si vous voulez imiter certains \'editeurs fran\c{c}ais :} - -\startextract% -\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en -\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en -\zendextract - -\newpage - -\subsec -Le placement des barres doit \^etre adapt\'e au contexte. Ce -placement est diff\'erent selon qu'on a un groupe de croches isol\'ees ou -un passage de croches semblables : - -\startextract -\NOTes\hu c\hu d\en -\bar -\NOtes\qu f\en -\notes\ibbu0f4\qb0{ceg}\tqh0j\en -\NOtes\qu{cd}\en -\bar% -\NOtes\qp\en -\NOTes\hu f\en -\zendextract - -\twoextr -{\notes\ibbu0f4\qb0{ceg}\tqh0j\en -\notes\ibbu0f4\qb0{ceg}\tqh0j\en -\notes\ibbu0f4\qb0{ceg}\tqh0j\en -\notes\ibbu0f4\qb0{ceg}\tqh0j\en} -{\notes\ibbu0h1\qb0{ceg}\tqh0j\en -\notes\ibbu0h1\qb0{ceg}\tqh0j\en -\notes\ibbu0h1\qb0{ceg}\tqh0j\en -\notes\ibbu0h1\qb0{ceg}\tqh0j\en} - - - - -\subsec -\'Eviter les barres de croches en forme de Z, qu'on trouve dans les -\'editions d'autrefois : - -\normalmusicsize -\setclef1\bass -\twoextr -{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en -\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} -{\Notes\ibl0H2\qb0G\en -\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en -\doublebar% -\Notes\cu G\en -\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} - - -\subsec -On ne fait jamais interf\'erer les barres de croches avec les lignes -suppl\'ementaires : - -\setclef1\treble -\twoextr -{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en} -{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en} - -\subsec -Ne pas affecter le placement des barres pour placer les silences -\`a leur hauteur normale. Au contraire, d\'eplacer les silences : - -\twoextr -{\Notes\ibl0k1\qb0n\ds\tqb0o\en -\Notes\ibl0l0\qb0o\ds\tqb0o\en} -{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en -\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en} - - - -\section{Tenues et liaisons} -\subsec -Quand on veut exprimer des notes \textbf{li\'ees}, le signe de liaison -d\'emarre et atterrit au dessus du \textbf{centre} des notes. Par contre, -pour exprimer des notes \textbf{tenues}, ce m\^eme signe d\'emarre et -atterrit \`a la verticale de la limite de la t\^ete de la note, et pas -plus haut que celle-ci. On d\'eroge -\`a la premi\`ere r\`egle pour \'eviter des collisions avec les queues des -notes : - - -\largemusicsize -\twoextr -{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en -\bar% -\NOtesp\tslur0f\roff{\itied0f}\qup f\en -\NOtes\ttie0\qu f\en} -{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en -\bar% -\NOtesp\ttie0\itied0f\qup f\en -\NOtes\ttie0\qu f\en} -{\footnotesize A noter que la tenue en devient plus discr\`ete.} - -\subsec -Ne pas faire quand m\^eme trop d' << acrobaties >> pour suivre ces r\`egles -\`a la lettre : - -\twoextr -{\NOtes\islurd0c\qu c\tsslur0j\ql j\en -\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en} -{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en -\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en} - - -\subsec -A certaines \'epoques, on estimait qu'une seule tenue concernait -\textbf{toutes} les notes d'un m\^eme accord. Les cas particuliers sont -devenus si nombreux, qu'il vaut mieux noter explicitement toutes -les tenues : - -\largemusicsize -\twoextr -{\NOtes\itieu0g\zq{ce}\qu g\en -\bar% -\NOtes\ttie0\zq{ce}\qu g\en} -{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en -\bar% -\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en} - -\subsec -Cohabitation de liaisons et tenues avec des notes piqu\'ees et des -ornements : - -\twoextr -{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en -\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en} -{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en -\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en} - -\subsec -Cohabitation entre liaisons et tenues : - -\twoextr -{\NOtes\itied0d\qu d\en -\bar -\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en -\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en -\bar -\NOtes\ttie0\qu f\en} -{\NOtes\islurd1d\itied0d\qu d\en -\bar -\NOtes\ttie0\qu d\tslur1c\qu c\en -\NOtes\islurd1e\qu e\itied0f\qu f\en -\bar -\NOtes\tslur1f\ttie0\qu f\en} - -{\footnotesize Les instrumentistes \`a archet trouveront ceci \'evident.} - -\subsec -Lorsqu'on veut ajouter une liaison en temps qu'\'editeur, le pointill\'e -est la meilleure mani\`ere de signaler cette intervention : - -\setclef1\treble -\twoextr -{\NOtes\islurd0c\qu c\tslur0d\qu d\en -\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e% -\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en -\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en} -{\NOtes\islurd0c\qu c\tslur0d\qu d\en -\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en -\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en} - - - -\section{Alt\'erations} -\subsec -Quand une note tenue alt\'er\'ee s'\'etend sur plusieurs mesures, on -ne r\'ep\`ete pas les alt\'erations aux mesures suivantes, sauf en cas de -saut de ligne ou de page. - -\twoextr -{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en -\bar% -\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en} -{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en -\bar% -\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en} - - -\subsec -Quand une alt\'eration concerne de \textit{petites notes}, et qu'on -estime qu'elle doit s'appliquer aux notes normales qui suivent, il -faut r\'ep\'eter cette alt\'eration. - -\twoextr -{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en -\NOTes\wh c\en} -{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en -\NOTes\qsk\wh{^c}\en} - -\newpage - -\subsec -Quand une note affect\'ee d'un simple di\`ese succ\`ede \`a la m\^eme note -affect\'ee d'un double di\`ese dans la m\^eme mesure, on ne met plus de b\'ecarre -avant le simple di\`ese, -\`a moins de vouloir imiter le style de gravure du 19$^e$ si\`ecle. De m\^eme pour les -b\'emols : - -\twoextr -{\NOtes\qu{>c}\lna c\qu{^c}\qu{c}\qu{^c}\qu{> \textbf(c). -\end{itemize} - -On met une alt\'eration \'editoriale quand on estime que la source -avec laquelle on travaille est erron\'ee. On la note par une alt\'eration -de petite taille, plac\'ee au dessus de la note si la place le permet, -sinon au dessous. Si la note -est au milieu d'un accord, on la place \`a gauche de la note. - -{\footnotesize Le chiffrage de la \textit{basse continue} fait aussi -usage de petites alt\'erations au dessus des notes. Mais en g\'en\'eral, la -confusion est peu vraisemblable. - -} - -On met une alt\'eration de pr\'ecaution quand les r\`egles du solf\`ege voudraient -qu'elle s'applique, mais on craint qu'elle n'\'echappe au musicien, comme -par exemple, \`a la fin d'une mesure tr\`es riche en notes. Elle se note -entre parenth\`eses. - -Une alt\'eration << cadeau de la maison >> est une alt\'eration superflue -au regard du solf\`ege, et qui confirme l'effet de la barre de -mesure sur les alt\'erations pr\'ec\'edentes. L'habitude est de la noter -normalement : - -\twoextr -{\NOtes\qu{^c}\qu d\cfl e\qu e\qu{^c}\en -\bar% -\NOtes\cna c\qu c\en} -{\NOtes\qu{^c}\qu d\ccn q{(e)}\upperfl L\qu e\ccn q{(p)}\csh c\qu c\en -\bar% -\NOtes\ccn q{(c)}\qu{=c}\en} - - -{\footnotesize Pour certaines \oe uvres contemporaines complexes, il -est pr\'ef\'erable de noter \textbf{toutes} les alt\'erations.} - -\subsec Autrefois, pour certains copistes, il allait de soi que quand la -premi\`ere note d'une mesure est la m\^eme que celle alt\'er\'ee de la -mesure pr\'ec\'edente, l'alt\'eration continue \`a s'appliquer : - -\setstaffs12\setclef1{\bass\treble} -\startrule -\interstaff{11} - -\startextract -\NOtesp\zhl K\hu a|\zh{^f}\zhl d\qup j\en -\notesp|\triolet r\ibbu3i{-1}\qb3j\en -\notes|\qb3{_i}\tqh3h\en -\NOtesp\pt F\zql G\qu N|\zqp g\zqlp d\qup i\en -\notes\ibbl0H1\triolet C\zcu N\qb0G|\zq g\zcl d\cu i\en -\notesp\qb0H\en -\notes\tqb0{_I}\en -\bar -\NOtes\zhl J\qu N|\pt b\zql c\loffset{.25}{\zql e}\qu i\en -\Notes\qu M|\zhl f\ibu3h{-1}\qbp3h\en -\notes|\cl c\en -\notes|\tbbu3\tqh3g\en -\NOtes\zhl C\qu N|\pt b\zql c\qu g\en -\zendextract - -La correction est donc \'evidente, et ne justifie donc pas une alt\'eration -\'editoriale : - -\smallmusicsize -\twoextr -{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en -\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en -\notes\nextstaff\qb3{_i}\tqh3h\en -\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en -\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en -\notesp\qb0H\en -\notes\tqb0{_I}\en -\bar% -\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\upperfl n\qu i\en -\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en -\notes\nextstaff\cl c\en -\notes\nextstaff\tbbu3\tqh3g\en -\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en} -{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en -\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en -\notes\nextstaff\qb3{_i}\tqh3h\en -\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en -\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en -\notesp\qb0H\en -\notes\tqb0{_I}\en -\bar% -\nspace% -\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\qu{_i}\en -\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en -\notes\nextstaff\cl c\en -\notes\nextstaff\tbbu3\tqh3g\en -\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en} - -{\footnotesize (\`a plus forte raison une alt\`eration de -pr\'ecaution. Vos comp\'etances de musicologue sont d\'ej\`a -reconnues \`a ce stade !)} - -\subsec -Dans une \'edition ancienne, certaines alt\'erations peuvent sembler superflues -selon nos r\`egles modernes, comme le \textit{do} di\`ese \`a la fin de -cette mesure : - -\nostartrule -\setstaffs11 -\largemusicsize -\setclef1{\bass} -\startextract -\bar% -\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en -\NOtes\zq b\qu d\zq{^c}\qu e\en -\bar% -\zendextract - - Le raisonnement suivant est donc \`a proscrire : -<<\textit{si cette alt\'eration est pr\'esente, c'est qu'il -y a une bonne raison, mais il se trouve que cette alt\'eration est erron\'ee. -En effet, si le compositeur avait voulu un} do \textit{di\`ese -\`a la fin de la mesure, il n'aurait rien mis. -Je me charge donc de faire la correction qui s'impose.}>> - - -\twoextr{ -\bar% -\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en -\NOtes\zq b\qu d\zq{=c}\qu e\en -\bar% -} -{\bar% -\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en -\NOtes\zq b\qu d\zq c\qu e\en -\bar% -} - -{\footnotesize Si ces noires en tierces avaient \'et\'e not\'ees de mani\`ere -polyphonique, tout s'expliquerait. Je pourrais citer d'autres malentendus -semblables, \`a propos du cas des alt\'erations \`a l'octave, -que nous avons vu plus haut. - -} - - -\section{Num\'eros de mesures} - -\subsec -On ne note jamais les silences initiaux communs \`a toutes les -parties, surtout s'il y a une reprise partant de la premi\`ere note : - -\normalmusicsize\nostartrule\setclef1\treble -\generalmeter{\meterfrac34} - -\twoextr -{\NOtes\hpause\en -\Notes\qu c\en -\bar% -\Notes\qu{def}\en -\bar% -\Notes\qu{hi}\en -\rightrepeat -\Notes\ql j\en -\bar -\Notes\ql k\en} -{\Notes\qu c\en -\bar% -\Notes\qu{def}\en -\bar% -\Notes\qu{hi}\en -\rightrepeat -\Notes\ql j\en -\bar -\Notes\ql k\en} - - -\subsec -On n'indique jamais le num\'ero de la toute premi\`ere mesure -d'un morceau. Si cette premi\`ere mesure est en \textit{lev\'ee}, le -num\'ero de cette mesure est \textbf{z\'ero}. - -\normalmusicsize\nostartrule\setclef1\treble -\generalmeter{\meterfrac34} - -\twoextr -{\Notes\loffset{8}{\zcharnote o{\eightbf 1}}\qu c\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{def}\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en} -{\Notes\qu c\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 1}}\qu{def}\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{hi}\ql j\en} - -{\footnotesize En pratique, des num\'eros pour la premi\`ere mesure -de chaque syst\`eme sont suffisants. - -} - -\subsec -Quand il y a une double barre de reprise au cours d'une mesure, cette double barre -ne compte pas pour la num\'erotation des mesures. - -\twoextr -{\Notes\qu{cde}\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en -\leftrightrepeat% -\Notes\qu f\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 4}}\qu{hi}\ql j\en -\bar} -{\Notes\qu{cde}\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en -\leftrightrepeat% -\Notes\qu f\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en -\bar} - - -\subsec -Quand il y a des mesures \textit{premi\`ere fois-deuxi\`eme fois}, seuls les -num\'eros de mesure de la \textit{premi\`ere fois} comptent. Si n\'ecessaire, -on distingue les mesures de m\^emes num\'eros par les indices \textit{a} -et \textit{b}. - -\generalmeter{\null}\setclef1\treble\normalmusicsize -\twoextr{ -\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en\bar -\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en -\Setvolta1\bar -\Notes\hu e\en -\bar -\Notes\loffset{2}{\zcharnote o{\eightbf 33}}\hu f\en -\setvolta2\endvoltabox\rightrepeat -\Notes\hu g\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hu h\en -\bar% -\Notes\hu i\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 37}}\hl j\en} -{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en -\bar -\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en -\Setvolta1\bar% -\Notes\hu e\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 33a}}\hu f\en -\setvolta2\endvoltabox\rightrepeat -\Notes\hu g\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 33b}}\hu h\en -\bar% -\Notes\hu i\en -\bar% -\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hl j\en} - - -{\footnotesize En effet, de nombreux mouvements rapides, comportent -des barres de reprise au cours d'une mesure (comme l'Allegretto de la -sonate \textit{Clair de lune}). On aurait aussi bien pu noter cette -reprise sous la forme \textit{premi\`ere fois-deuxi\`eme fois} pour -cette mesure. Il faut donc -que ces deux formulations conduisent \`a la m\^eme num\'erotation des -mesures. - -} - -\section{Questions diverses} - -\subsec -Quand on note la partie d'un instrument n'exigeant qu'une port\'ee, on ne -met pas de barres verticales en d\'ebut de port\'ees, contrairement \`a -une partition de << conducteur >>. - -\setclef1\alto -\startrule\largemusicsize -\begin{music}\let\extractline\hbox -\hbox to \hsize{ -\hfill -\startextract -\NOtes\qu{abc}\en -\zendextract\hfill\nostartrule -\startextract -\NOtes\qu{abc}\en -\zendextract -\hfill} - -\let\extractline\centerline\end{music} - - -\subsec -Autrefois, certaines notes piqu\'ees \'etaient not\'ees avec un petit triangle -au lieu du point moderne. Si dans une \oe uvre, ces \textbf{deux} notations -se pr\'esentent, elles repr\'esentent \'egalement deux degr\'es dans le caract\`ere -piqu\'e. Il faut donc respecter la notation originale. Si par contre, seuls -les petits triangles existent, il faut les restituer par de simples -points : - -\largemusicsize\setstaffs1{1}\setclef1\treble\nostartrule -\twoextr{ -\Notes\ibu0d1\lppz c\qb0c\lppz d\qb0d\lppz e\qb0e\lppz f\tqh0f\en} -{\Notes\ibu0d1\lpz c\qb0c\lpz d\qb0d\lpz e\qb0e\lpz f\tqh0f\en} - -\subsec -De tels signes se placent toujours \`a la verticale des t\^etes de notes, -et non pas \`a la verticale des hampes, m\^eme si la polyphonie exige -un placement cot\'e hampes : - -\twoextr -{\NOtes\zhl c\hroff{\upz l}\qu e\hroff{\uppz k}\qu f\en -\Notes\zql b\ibu0g0\hroff{\upz m}\qb0g\hroff{\upz m}\tqh0g\en} -{\NOtes\zhl c\upz l\qu e\uppz k\qu f\en -\Notes\zql b\ibu0g0\upz m\qb0g\upz m\tqh0g\en} - - -\subsec -Les appoggiatures, ou \textit{petites notes}, se notent \textbf{apr\`es} -la barre de mesure. Ceci quelle que soit leur interpr\'etation rythmique -suppos\'ee : - -\twoextr -{\NOtes\qu N\en -\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en -\bar -\NOtes\hu g\en} -{\NOtes\qu N\en -\bar -\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en -\NOtes\hu g\en} - -\subsec -On \'ecrit l'indication g\'en\'erale de mouvement en caract\`eres normaux, -et les indications interm\'ediaires en italique : - -\setclef1\treble -\twoextr -{\NOtes\zcn o{\medtype\it allegro}\qu{de}\zcn N{Cres}\qu{fg}\en} -{\NOtes\zcn o{\medtype Allegro}\qu{de}\zcn N{\medtype\it cresc.}\qu{fg}\en} - -{\footnotesize Notez aussi l'usage de majuscules, et le point d'abbr\'eviation.} - - -\subsec -Autrefois on indiquait \textbf{loco} (du latin : \textit{au lieu} - pour attirer l'attention sur -la fin d'un signe d'octaviation (\textit{8}\raisebox{2mm}{- - - - -}). -Maintenant que ces octaviations sont -devenues habituelles, ce \textbf{loco} est bien inutile. - -\section{Quelques conseils moraux, quand vous gravez une partition} - -\subsec -Quand vous faites un certain choix dans une mani\`ere de noter, -conservez-le d'un bout \`a l'autre du morceau, au lieu d'alterner -\`a votre guise avec une autre mani\`ere, m\^eme si cette premi\`ere -mani\`ere est contestable d'apr\`es ce que nous avons vu. - -\subsec -En typographie musicale, -les erreurs de hauteur d'une tierce sont beaucoup plus fr\'equentes -que les erreurs d'une seconde, pour des raisons \'evidentes de -perception visuelle. Soyez donc compr\'ehensif envers les auteurs de votre -source. - -\subsec -Que faire, quand vous pensez en avoir termin\'e avec votre \'edition, -apr\`es tous ces conseils ? -Bien s–r, vous vous pr\'ecipitez sur votre instrument, et vous jouez -le morceau avec cette \'edition. - -Mais comme ce morceau vous est familier, vous risquez fort, -emport\'e par votre enthousiasme, -de laisser \'echapper un certain nombre d'erreurs. -Abandonnez donc l'instrument, -posez votre \'edition et sa source sur une table, et prenez un crayon. -Comparez-les mesure par mesure, et s'il y a plusieurs port\'ees, une -seule port\'ee \`a la fois. Terminez par les indications diverses (tempo, -interpr\'etation, p\'edale pour le piano, etc.) qui sont communes \`a -ces plusieurs port\'ees. - -Ceci n'est pas encore suffisant. En effet, un bon musicien, tel que vous, -poss\`ede la capacit\'e de corriger certaines erreurs (notamment d'alt\'erations) -en jouant, sans s'en rendre compte. Le test pr\'ec\'edent ne mettra donc -pas ces erreurs \`a jour, les deux versions comportant la m\^eme erreur. - -Si votre logiciel est apte \`a traduire votre morceau au format MIDI, -le fichier produit pourra vous aider. Sinon, il faudra soumettre votre -\'edition \`a un musicien moins exp\'eriment\'e que vous, qui n'aurait pas encore -pris ces habitudes de corrections spontan\'ees. - -\subsec -\textbf{N'oubliez jamais ceci : faire une \'edition correcte est aussi -difficile que jouer correctement un instrument.} -\end{document} - diff --git a/macros/musixtex/doc/scripts/musixtex.1 b/macros/musixtex/doc/scripts/musixtex.1 index 5c3b84ca2c..839d07a882 100644 --- a/macros/musixtex/doc/scripts/musixtex.1 +++ b/macros/musixtex/doc/scripts/musixtex.1 @@ -1,5 +1,5 @@ .\" This manpage is licensed under the GNU Public License -.TH MUSIXTEX 1 2018-07-27 "musixtex version 0.21" "" +.TH MUSIXTEX 1 2020-03-20 "musixtex version 0.22" "" .SH NAME musixtex \- processes MusiXTeX files, using pre-processors prepmx, pmxab and autosp as necessary, @@ -67,10 +67,10 @@ or in that order, and process it as above. .SH OPTIONS .TP 10 -.B -v +.B -v, -version, --version output program name and version number, and quit .TP -.B -h +.B -h, -help, --help output usage summary and quit .TP .B -l @@ -118,12 +118,16 @@ use .B mtxx as the mtx preprocessor; e.g., -M "prepmx -i". .TP +.B -X pmxx +use +.B pmxx +as the pmx preprocessor; e.g., -X "./pmxab", +.TP .B -A aspcx use .B aspcx as the aspc preprocessor; e.g., -A "autosp -l". .TP -.TP .B -t stop processing at the tex/mid files .TP @@ -153,7 +157,6 @@ quiet mode (only musixtex's own messages); other messages are diverted to a temp If an error occurs at the TeX stage, processing halts immediately and the tail of the log file is sent to stderr. Version information is copied from the temporary file to the log file. - .TP 0 Options affect processing of all succeeding MusiXTeX files unless changed by another option. Option flags cannot be combined; e.g., use \fB -l -x \fP rather than \fB -lx\fP. diff --git a/macros/musixtex/doc/scripts/musixtex.pdf b/macros/musixtex/doc/scripts/musixtex.pdf index e8caf62c92..ec49d4a3d6 100644 Binary files a/macros/musixtex/doc/scripts/musixtex.pdf and b/macros/musixtex/doc/scripts/musixtex.pdf differ diff --git a/macros/musixtex/scripts/musixtex.lua b/macros/musixtex/scripts/musixtex.lua index f591940b20..5f600b9955 100755 --- a/macros/musixtex/scripts/musixtex.lua +++ b/macros/musixtex/scripts/musixtex.lua @@ -1,12 +1,12 @@ #!/usr/bin/env texlua -VERSION = "0.21" +VERSION = "0.22" --[[ musixtex.lua: processes MusiXTeX files using prepmx and/or pmxab and/or autosp as pre-processors (and deletes intermediate files) - (c) Copyright 2011-2018 Bob Tennent rdt@cs.queensu.ca + (c) Copyright 2011-2020 Bob Tennent rdt@cs.queensu.ca and Dirk Laurie dirk.laurie@gmail.com This program is free software; you can redistribute it and/or modify it @@ -29,6 +29,10 @@ VERSION = "0.21" ChangeLog: + version 0.22 2020-03-20 RDT + add -X option + add -version, --version, -help, --help options + version 0.21 2018-07-27 RDT add -P option. @@ -134,8 +138,8 @@ Usage: [texlua] musixtex.lua { option | basename[.mtx | .pmx | .aspc | .tex | . The normal route after preprocessing goes tex-dvi-ps-pdf, but shorter routes are also available, see the options. The default processing route for .tex files is etex-musixflx-etex. -Options: -v version - -h help +Options: -v, --version version + -h, --help help -l latex source -p direct tex-pdf (pdftex etc) -F fmt use fmt as the TeX processor @@ -146,6 +150,7 @@ Options: -v version -m stop at pmx -M prepmxx use prepmxx as the mtx preprocessor -A autospx use autospx as the aspc preprocessor + -X pmxabx use pmxabx as the pmx preprocessor -t stop at tex/mid -s stop at dvi -g stop at ps @@ -289,9 +294,9 @@ function report_error(filename) end function process_option(this_arg) - if this_arg == "-v" then + if this_arg == "-v" or this_arg == "-version" or this_arg == "--version" then os.exit(0) - elseif this_arg == "-h" then + elseif this_arg == "-h" or this_arg == "-help" or this_arg == "--help" then usage() os.exit(0) elseif this_arg == "-l" then @@ -345,6 +350,9 @@ function process_option(this_arg) elseif this_arg == "-P" then narg = narg+1 ps2pdf = arg[narg] + elseif this_arg == "-X" then + narg = narg+1 + pmx = arg[narg] else print("! Unknown option "..this_arg.." ignored") end diff --git a/macros/musixtex/tex/musixps.tex b/macros/musixtex/tex/musixps.tex index e2033e2b07..6e877494e7 100644 --- a/macros/musixtex/tex/musixps.tex +++ b/macros/musixtex/tex/musixps.tex @@ -1,5 +1,6 @@ %% PostScript slurs, ties and crescendos % Coded by Stanislav Kneifl +% RDT added \psRslurskip \iRslur \tRslur \psRtieskip \tRtie \psLtieskip \tLtie 2019/06/17 \ifx\undefined\startpiece\errmessage{Input musixtex.tex before musixps.tex}\fi \ifx\undefined\liftcresc\else\endinput\fi @@ -26,6 +27,7 @@ \def\psbslurraise{2} % vert. offset for slurs on beams \def\psLslurskip{-0.2} % horiz. offset of slurs shifted more to the left +\def\psRslurskip{4} % horiz. offset of slurs shifted more to the right \def\pslslurskip{0.4} % horiz. offset of slurs shifted to the left \def\psislurskip{1.4} % horiz. offset of the slur beginnings \def\pstslurskip{1.2} % horiz. offset of the slur endings @@ -48,6 +50,8 @@ \def\psttieskip{0.3} % horiz. offset of the tie endings \def\psltieskip{-0.2} % horiz. offset of ties shifted to the left \def\psrtieskip{3} % horiz. offset of ties shifted to the right +\def\psLtieskip{-0.4} % horiz. offset of ties shifted more to the left +\def\psRtieskip{4} % horiz. offset of ties shifted more to the right \def\pstiehgt{0.7} % height coeficient of the ties \def\pstiemaxhgt{30} % maximal height if the ties @@ -554,7 +558,9 @@ \def\ilsluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\pslslurskip}} \def\ilslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\pslslurskip}} \def\iLsluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\psLslurskip}} -\def\iLslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psLslurskip}} +\def\iLsluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\psLslurskip}} +\def\iRslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psRslurskip}} +\def\iRslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psRslurskip}} \def\tfslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\psfslurhgt}{\psslurangul}} \def\tslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\psslurhgt}{\psslurangul}} @@ -576,6 +582,7 @@ \def\tLfslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psfslurhgt}{\psslurangul}} \def\tLslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psslurhgt}{\psslurangul}} +\def\tRslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psRslurskip}{\psslurhgt}{\psslurangul}} \def\tLhslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\pshslurhgt}{\psslurangul}} \def\tLHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psHslurhgt}{\psHslurangul}} \def\tLHHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psHHslurhgt}{\psHHslurangul}} @@ -599,6 +606,8 @@ \def\ttie#1{\tTie{#1}{\psttieskip}} \def\tltie#1{\tTie{#1}{\psltieskip}} \def\trtie#1{\tTie{#1}{\psrtieskip}} +\def\tLtie#1{\tTie{#1}{\psLtieskip}} +\def\tRtie#1{\tTie{#1}{\psRtieskip}} \def\icresc#1{\Icresc{#1}{\d@nh}{0}} \def\idecresc#1{\Idecresc{#1}{\d@nh}{0}} diff --git a/macros/musixtex/tex/musixtex.tex b/macros/musixtex/tex/musixtex.tex index 55382f5dfe..b11caaa6b5 100644 --- a/macros/musixtex/tex/musixtex.tex +++ b/macros/musixtex/tex/musixtex.tex @@ -25,16 +25,20 @@ \def\mufl@x{0.83}% \def\mxmajorvernumber{1} -\def\mxminorvernumber{29} +\def\mxminorvernumber{30} \def\mxvernumber{\mxmajorvernumber\mxminorvernumber}% make it possible to compare with \ifnum -\def\mxversuffix{}% +\def\mxversuffix{beta}% \edef\mxversion{\mxmajorvernumber.\mxminorvernumber\mxversuffix} -\def\mxdate{2018-08-04} +\def\mxdate{2018-08-09} \immediate\write16{MusiXTeX(c) \mxversion\space<\mxdate>}% \everyjob{\immediate\write16{MusiXTeX(c) \mxversion\space<\mxdate>}}% +% version 1.30 +% defined \zdoublebar for use within a bar +% defined \hbp and \hbpp + % version 1.29 % defined \tabfnt, \tabcleffnt, \tabstringfnt, \tab etc. to support tablature @@ -2284,6 +2288,7 @@ % if you need a line which appears ragged \def\raggedstoppiece{\ifx\ragg@d\empty \fil@{r}\fi % version 1.18 RDT (from musixext) \check@nopen\n@wbar\hfill\z@suspend\@nds@ction} +\def\zendpiece{\setemptybar\raggedstoppiece} \def\Stoppiece{\setdoubleBAR\stoppiece} \let\Endpiece\Stoppiece @@ -2580,14 +2585,13 @@ \fi} \def\zzleftrightrepeat{% % RDT 1.28 - \advance\barno\m@ne - \setrightrepeat - \stoppiece - \let\z@sw\@ne - \contpiece - \addspace{\h@lf\afterruleskip}% - \kernm\afterruleskip\l@eftrepeat\kern\afterruleskip - \advance\lastbarpos\afterruleskip \b@rrul@ +\advance\barno\m@ne% +\setrightrepeat% +\stoppiece% +\let\z@sw\@ne% +\contpiece% +\advance\barno\m@ne% +\leftrepeat% % RDT revised 1.30 } \def\zleftrightrepeat@II{% % RDT 1.28 @@ -2603,6 +2607,9 @@ \let\leftrightrepeat\leftrightrepeat@II \let\zleftrightrepeat\zleftrightrepeat@II % RDT 1.28 + +\def\zdoublebar{\advance\barno\m@ne\doublebar} % RDT 1.30 + \def\alapage{\stoppiece\eject\contpiece} \def\zalapage{\zstoppiece\eject\contpiece} @@ -3657,6 +3664,8 @@ \def\hlpp{\h@symbol\@qlpp} \def\hb{\h@symbol\@qb} +\def\hbp{\h@symbol\@qbp} +\def\hbpp{\h@symbol\@qbpp} \def\zh{\h@symbol\@zq} \def\zhp{\h@symbol\@zqp} @@ -4156,6 +4165,18 @@ \def\lppt{\g@pt\m@ne\@ne} \def\lpppt{\g@pt\m@ne\tw@} + +% Shifted, pointed chord notes +% +\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}}} + \def\g@pt#1#2#3{\check@staff \inhgetn@i#3\relax \relax % two \relax since the first one \ifnum\n@i<\@c % in swallowed by \inhgetn@i diff --git a/macros/musixtex/windows/musixflx.bat b/macros/musixtex/windows/musixflx.bat index 1f0d4a8f99..684441ebb3 100644 --- a/macros/musixtex/windows/musixflx.bat +++ b/macros/musixtex/windows/musixflx.bat @@ -1,6 +1,6 @@ -:: wrapper script to call musixflx.lua -:: Usage: musixflx basename[.mx1 | .tex] [debug mode] -:: Suggested by Tomasz Luczak (Tomek) t34www@googlemail.com - -@for /f "delims=" %%I in ('kpsewhich --format=texmfscripts %~n0.lua') do texlua "%%I" %* -:end +:: wrapper script to call musixflx.lua +:: Usage: musixflx basename[.mx1 | .tex] [debug mode] +:: Suggested by Tomasz Luczak (Tomek) t34www@googlemail.com + +@for /f "delims=" %%I in ('kpsewhich --format=texmfscripts %~n0.lua') do texlua "%%I" %* +:end diff --git a/macros/musixtex/windows/musixtex.bat b/macros/musixtex/windows/musixtex.bat index c9bf9af63f..249ae595c4 100644 --- a/macros/musixtex/windows/musixtex.bat +++ b/macros/musixtex/windows/musixtex.bat @@ -1,6 +1,6 @@ -:: wrapper script to call musixtex.lua -:: Usage: musixtex [options] basename[.tex] -:: Suggested by Tomasz Luczak (Tomek) t34www@googlemail.com - -@for /f "delims=" %%I in ('kpsewhich --format=texmfscripts %~n0.lua') do texlua "%%I" %* -:end +:: wrapper script to call musixtex.lua +:: Usage: musixtex [options] basename[.tex|.ltx|.mtx|.pmx|.aspc] +:: Suggested by Tomasz Luczak (Tomek) t34www@googlemail.com + +@for /f "delims=" %%I in ('kpsewhich --format=texmfscripts %~n0.lua') do texlua "%%I" %* +:end -- cgit v1.2.3