\def\ks#1{\noindent\hbox{{\tt \char\hex5C}\bf#1}} \def\bs{\noindent\hbox{{\tt \char\hex5C}}}%Backslash \def\lk{\hbox{{\tt\char\hex7B}}}%linke Klammer auf \def\strich{{\hbox{\tt \char\hex7C}}} \def\dpkt{{\hbox{\tt \char\hex3A}}}%Doppelpunkt \def\gleich{{\hbox{\tt \char\hex3D}}}% \def\slash{\noindent{\hbox{\tt \char\hex2F}}} \def\blank{{\hbox{\tt \char\hex20}}} % \verbatimon \normalbaselines \openup\jot \heading{Anhang A:\quad Beispiele} Abschlie\3end sollen vier Musikst"ucke angef"ugt werden, die mit dem entwickelten Format gesetzt wurden. Sie sollen zus"atzlich zu den im Text angegebenen Beispielen die vorgestellten Verfahren verdeutlichen. Zum Vergleich ist die Codierung des ersten, dritten und vierten Beispiels hinzugef"ugt. Das erste Beispiel wurde von D. Byrd \lit{\byrd} in der Beschreibung als Test seines Notensatzsystems verwendet. % Mit dem ersten und zweiten Beispiel sollen die verschiedenen im Format zur Verf"ugung gestellten Auschlu\3schemata (|\hsmall|, |\small|, |\universal|, |\wide| und |\loose|) verdeutlicht werden. Als drittes Beispiel wurde ein zweistimmiges St"uck ausgew"ahlt. Das vierte ist ein Beispiel f"ur ein Musikst"uck, das mit Text unterlegt wurde. Beim Satz der Beispiele zeigte sich, da\3 es notwendig ist, das Ausschlu\3schema abh"angig vom Charakter des Musikst"uckes und von der gew"unschten Zeilenl"ange auszuw"ahlen. Die schon in Kapitel 9 angedeutete Problematik, da\3 innerhalb gr"o\3erer Nachbarschaften nicht umbrochen werden kann und der Ausschlu\3 an dieser Stelle nicht mehr variabel ist, wird am Beispiel von D. Byrd deutlich. Bei der gew"ahlten Zeilenl"ange und dem Ausschlu\3 |\small| steht f"ur die letzte Zeile nicht gen"ugend Satzmaterial zur Verf"ugung. Sie wird also nicht zufriedenstellend ausgeschlossen. W"ahlt man als Ausschlu\3 |\wide|, so wird das St"uck weiter ausgeschlossen und die dritte Zeile kann gef"ullt werden. Dabei wurde es jedoch notwendig, einen Takt in der Taktmitte zu teilen. Umgekehrt konnten f"ur das zweite Beispiel mit engem und universellem Ausschlu\3 (|\hsmall| und |\universal|) gute Ergebnisse, jedoch beim lockeren Ausschlu\3 (|\loose|) kein zufriedenstellendes Ergebnis erzielt werden. Dies ist u.a. auch darauf zur"uckzuf"uhren, da\3 beim lockeren Ausschlu\3 die Takte sehr breit werden. Die Forderung, da\3 nur nach einem Taktstrich umbrochen werden darf, f"uhrt hier zus"atzlich noch zu einer "ubervollen Zeile. F"ur das dritte und vierte Beipiel wurde jeweils der universelle Ausschu\3 verwendet. \vskip2cm \vfill\supereject %fuer die Beispiele \headings wieder zulassen! \catcode`@=11 \def\headings{\par\hbox to \hsize{\hss\title@\hss}% \hbox to \hsize {\poet@\hss\comp@}% \def\comp@{\hbox{}}\def\poet@{\hbox{}}\def\title@{\hbox{}}} \catcode`@ = 12 {\bf Beispiel 1 \rm (Ausschlu\3: Gomberg ``eng''(\verbatimon |\small|) und ``weit'' (|\wide|))\Parsep } \vskip1cm \let \baselines = \baselinesb \parindent 40pt \small \title{\bf String Quartett}% \composer{ Donald Byrd, 1968}% \voice{Violin 1}% \beginsong\vio\C\^n{moderato}{\vrule height 7\nhh width0pt \gluebrule}% \meter9/8% \pg\|% \group{\\{\_v{\mezzopiano}{\v3\.1}}\\{\_v{{\it cant.}}{\h7\.1}}} {\\{3}\\{7}}\uslur13\go\|% \group{\\{\a8\.1}\\{\b4\a4\.1}\\{\b6\v6\.1}} {\\{8}\\{4}\\{6}}\lbeam12\uslur13\go \group{\\{\a3}\\{\a4}\\{\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go\|% \group{\\{\n6\v6\.1}\\{\x4\v4\.1}}{\\{6}\\{4}}\uslur12\go \group{\\{\a3}\\{\b4\a4}\\{\n5\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go \|\meter6/8\v6\.1\group{\\{\v{10}\.1}\\{\|\meter9/8}% \\{\_v{\crescendo}{\v{10}\.1}}}{\\{10}\\{8}\\{10}}\uslur13\go \group{\\{\v9\.1}\\{\v{13}\.1}}{\\{9}\\{13}}\uslur12\go\|% \group{\\{\b{14}\a{14}\.1}\\{\b{11}\a{11}\.1}}{\\{14}\\{11}}% \lbeam12\uslur12\go \group{\\{\v{15}\.1}\\{\a{15}}}{\\{15}\\{15}}\uslur12\go \n{14}\v{14}\|% \group{\\{\_v{\diminuendo}{\b{14}\v{14}\.1}}% \\{\b{10}\v{10}\.1}\\{\v{12}\.1}}{\\{14}\\{10}\\{12}}\uslur13\go\|% {\tenuto\v{11}\.1}% \group{\\{\h7\.1}\\{\|\meter6/8}\\{\h7\.1}\\{\|}\\{\v7\.1}} {\\{7}\\{8}\\{7}\\{8}\\{7}}\uslur13\uslur35\go \group{\\{\_v{\piano}{\b7\v7\.1}}\\{\|\meter9/8}% \\{\v{10}\.1}}{\\{7}\\{8}\\{10}}\uslur13\go \pv\.1\|\pg\|\meter6/8% \group{\\{\_v{\crescendo}{\a8}}\\{\b{11}\a{11}}\\{\a{13}}} {\\{8}\\{11}\\{13}}\lbeam13\uslur13\go \x{12}\v{12}\.1\|% {\def\beamlist{\\{1-4,}\\{1-4,}}% \group{\\{\s{10}}\\{\b{11}\s{11}}\\{\n{12}\s{12}}\\{\s{13}}} {\\{10}\\{11}\\{12}\\{13}}\lbeam14\uslur14\go}% {\def\beamlist{\\{1-4,}\\{1-4,}}% \group{\\{\x{13}\s{13}}\\{\s{14}}\\{\x{15}\s{15}}\\{\x{16}\s{16}}} {\\{13}\\{14}\\{15}\\{16}}\lbeam14\uslur14\go}% \|\_v{{\it f}}{\a{17}}\pa\pa\pv\.1\=\endsong \par \Parsep\Parsep \parindent 0pt Die Eingabe zu diesem St"uck sieht wie folgt aus: \vskip1cm %%%%%%%%%%%%% %%% byrd%%% %%%%%%%%%%%%% {\bf!!} \ks{title}\{String Quartett\} \ks{composer}\{Donald Byrd, 1968\}\ks{voice}\{Violin 1\}\par {\ks{treble}}\ks{text}\{\ks{\os{ }c} moderato\} \ks{meter}\{{\bf9}\slash{\bf8}\}\par {\bf 1p\strich\ks{slur}\{4.`a\{\ks{\us v}\ks{mezzopiano}\} 2.{`}{`}e\ks{text}\{\ks{\us v} cant\}\}}\strich \par {\ks{slur}}{\bf \{\ks{beam}\{8.{`}{`}f b.`h\} b4{`}{`}.d\}} \ks{slur}{\bf \{\ks{beam}\{8`a h {`}{`}c\}\}}\strich\par {\bf{\ks{slur}}\{4n.d x`.h\}\ks{slur}\{\ks{beam}\{8`a bh n{`}{`}c\}\}} \strich\par {\bf{\ks{meter}}\{6\slash8\} 4.d \ks{slur}\{{`}{`}.a\strich \ks{meter}\{9/8\} {`}{`}.a\{\ks{\us v}\ks{crescendo}\}\} \ks{slur}\{.f {`}{`}{`}.d\}}\strich\par {\bf{\ks{slur}}\{\ks{beam}\{8.be b{`}{`}.h\}\} \ks{slur}\{4{`}{`}{`}.f 8f\} 4ne}\strich\par {\bf{\ks{slur}}\{b.e\{\ks{\us v}\ks{diminuendo}\} b.{`}{`}a .{`}{`}{`}c\}}\strich\par {\ks{tenuto}\bf.{`}{`}h \ks{noaccent} \ks{group} \{2.e \strich\ks{meter}\{6\slash 8\} .e\strich 4.e\}\par \ks{glsur}\{1-4,4-6\}\ks{slur}\{b.e\{\ks{\us v}\ks{piano}\} \strich\ks{meter}\{9\slash 8\} .a\} 4.p}\strich\par {\bf 1p\strich \ks{meter}\{6\slash 8\}\ks{slur} \{\ks{beam}\{8f\{\ks{\us v}\ks{crescendo}\}bh {`}{`}{`}d\}\} 4x .c}\strich\par {\bf{\ks{slur}}\{\ks{beam}\{{`}{`}6a bh n{`}{`}{`}c d\}\} \ks{slur}\{\ks{beam}\{6xd e xf xg\}\}}\strich\par {\bf 8a\{\ks{\us v}\ks{forte}\} p p 4.p \gleich !!}\Parsep\Parsep %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \vfill\break Verwendet man weiten Ausschlu\3 (|\wide|), so erh"alt man: \vskip1cm \parindent=40pt {\wide \title{\bf String Quartett}% \composer{Donald Byrd, 1968}% \voice{Violin 1}% \beginsong\vio\C\^n{moderato}{\vrule height7\nhh width0pt\gluebrule}% \meter9/8% \pg\|% \group{\\{\_v{\mezzopiano}{\v3\.1}}\\{\_v{{\it cant.}}{\h7\.1}}} {\\{3}\\{7}}\uslur13\go\|% \group{\\{\a8\.1}\\{\b4\a4\.1}\\{\b6\v6\.1}} {\\{8}\\{4}\\{6}}\lbeam12\uslur13\go \group{\\{\a3}\\{\a4}\\{\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go\|% \group{\\{\n6\v6\.1}\\{\x4\v4\.1}}{\\{6}\\{4}}\uslur12\go \group{\\{\a3}\\{\b4\a4}\\{\n5\a5}}{\\{3}\\{4}\\{5}}\lbeam13\uslur13\go \|\meter6/8\v6\.1\group{\\{\v{10}\.1}\\{\|\meter9/8}% \\{\_v{\crescendo}{\v{10}\.1}}}{\\{10}\\{8}\\{10}}\uslur13\go \group{\\{\v9\.1}\\{\v{13}\.1}}{\\{9}\\{13}}\uslur12\go\|% \group{\\{\b{14}\a{14}\.1}\\{\b{11}\a{11}\.1}}{\\{14}\\{11}}% \lbeam12\uslur12\go \group{\\{\v{15}\.1}\\{\a{15}}}{\\{15}\\{15}}\uslur12\go \n{14}\v{14}\|% \group{\\{\_v{\diminuendo}{\b{14}\v{14}\.1}}% \\{\b{10}\v{10}\.1}\\{\v{12}\.1}}{\\{14}\\{10}\\{12}}\uslur13\go\|% {\tenuto\v{11}\.1}% \group{\\{\h7\.1}\\{\|\meter6/8}\\{\h7\.1}\\{\|}\\{\v7\.1}} {\\{7}\\{8}\\{7}\\{8}\\{7}}\uslur13\uslur35\go\+% \group{\\{\_v{\piano}{\b7\v7\.1}}\\{\|\meter9/8}% \\{\v{10}\.1}}{\\{7}\\{8}\\{10}}\uslur13\go \pv\.1\|\pg\|\meter6/8% \group{\\{\_v{\crescendo}{\a8}}\\{\b{11}\a{11}}\\{\a{13}}} {\\{8}\\{11}\\{13}}\lbeam13\uslur13\go \x{12}\v{12}\.1\|% {\def\beamlist{\\{1-4,}\\{1-4,}}% \group{\\{\s{10}}\\{\b{11}\s{11}}\\{\n{12}\s{12}}\\{\s{13}}} {\\{10}\\{11}\\{12}\\{13}}\lbeam14\uslur14\go}% {\def\beamlist{\\{1-4,}\\{1-4,}}% \group{\\{\x{13}\s{13}}\\{\s{14}}\\{\x{15}\s{15}}\\{\x{16}\s{16}}} {\\{13}\\{14}\\{15}\\{16}}\lbeam14\uslur14\go}% \|\_v{{\it f}}{\a{17}}\pa\pa\pv\.1\=\endsong} \par \vfill \eject %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \parindent0pt {\bf Beispiel 2 \rm (Ausschlu\3: Hader (\verbatimon |\hsmall|), Gomberg ``universell'' (|\universal|)) und Gomberg ``locker'' (|\loose|)).} \vskip2cm \verbatimon \hbox to \hsize{\hfill\bf Ausschlu\3: Hader (|\hsmall|)\hfill} \Parsep \hsmall\parindent0pt \poet{\rm Allegro}\composer{Georg Friedrich H\"andel} \beginsong\vio\C% {\music\mC}%\meter4/4% \a7\|\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}% \lbeam14\go%\uslur14\go \group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go \pa\a7\|% \group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}\lbeam14\go \group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go\pa\a7\|% \group{\\{\a{10}}\\{\a3}\\{\a6}\\{\a8}}{\\{10}\\{3}\\{6}\\{8}}\lbeam14% \go\v4\pa\a6\|% \group{\\{\a{9}}\\{\a2}\\{\a5}\\{\a7}}{\\{9}\\{2}\\{5}\\{7}}% \lbeam14\go\v3\pa\a5\|% \group{\\{\a{8}}\\{\a6}\\{\a{11}}\\{\a{13}}}{\\{8}\\{6}\\{11}\\{13}}% \lbeam14\go\x9\v9\pa\a9\|% \group{\\{\a{11}}\\{\a4}\\{\a{6}}\\{\a{4}}}{\\{11}\\{4}\\{6}\\{4}}% \lbeam14\go\v8\pa\a4\|% \group{\\{\a{6}}\\{\a8}\\{\x9\a{9}}\\{\a{11}}}{\\{6}\\{8}\\{9}\\{11}}% \lbeam14\go\v{13}\pa\x9\a9\|% \group{\\{\a{10}}\\{\a7}\\{\a{11}}\\{\a7}}{\\{10}\\{7}\\{11}\\{7}}% \lbeam14\go \group{\\{\a{12}}\\{\a{7}}}{\\{12}\\{7}}\lbeam12\go \group{\\{\v8}\\{\|}\\{\a{8}}\\{\a{7}}\\{\a{10}}\\{\a6}% \\{\a{6}}\\{\a7}\\{\a{5}}\\{\a4}} {\\{8}\\{8}\\{8}\\{7}\\{10}\\{6}\\{6}\\{7}\\{5}\\{4}}% \lbeam36\lbeam7{10}\uslur13\uslur67\go\|% \def\beamlist{\\{1-4,}\\{-2,-5,}}% \group{\\{\a{5}\.1}\\{\s6}\\{\a{4}\.1}\\{\s{3}}}% {\\{5}\\{6}\\{4}\\{3}}% \lbeam16\go\v3\pa\a{11}\|% \def\beamlist{\\{1-3,}\\{2-3,}}% \group{\\{\a{12}}\\{\s{11}}\\{\s{10}}}{\\{12}\\{11}\\{10}}% \lbeam13\go \def\beamlist{\\{1-2,}}% \group{\\{\a{9}}\\{\a{8}}}{\\{9}\\{8}}% \lbeam12\go\v7\pa\a{8}\|% \def\beamlist{\\{1-3,}\\{2-3,}}% \group{\\{\a{9}}\\{\s{10}}\\{\s{9}}}{\\{9}\\{10}\\{9}}% \lbeam13\go \def\beamlist{\\{1-4,}\\{1-4,}}% \group{\\{\s{8}}\\{\s{7}}\\{\s6}\\{\s5}}{\\{8}\\{7}\\{6}\\{5}}% \lbeam14\go\v4\pa\a{2}\|% \def\beamlist{\\{1-\the\N,}}% \group{\\{\a{5}}\\{\a7}\\{\a9}\\{\b4\a4}}{\\{5}\\{7}\\{9}\\{4}}% \lbeam14\go\v3\pa\a3\|% \group{\\{\a{6}}\\{\x8\a8}\\{\a{10}}\\{\a5}}{\\{6}\\{8}\\{10}\\{5}}% \lbeam14\go\n4\v4\pa\a4\|% \group{\\{\a{7}}\\{\x9\a{9}}\\{\a{11}}\\{\a{6}}}{\\{7}\\{9}\\{11}\\{6}}% \lbeam14\go\v5\pa\a{12}\|% \group{\\{\a{12}}\\{\a{10}}\\{\a{8}}\\{\a{10}}}{\\{12}\\{10}\\{8}\\{10}}% \lbeam14\go\v4\pa\a{13}\|% \def\beamlist{\\{1-3,}\\{2-3,}}% \group{\\{\a{11}}\\{\s{10}}\\{\s{9}}}{\\{11}\\{10}\\{9}}% \lbeam13\go \group{\\{\a{10}}\\{\a{11}}}{\\{10}\\{11}}% \def\beamlist{\\{1-2,}}% \lbeam12\go\v{12}\pa\a{9}\|% \group{\\{\a{12}}\\{\a{9}}}{\\{12}\\{9}}% \def\beamlist{\\{1-2,}}% \lbeam12\go \group{\\{\tr\a{7}\noaccent \.1}\\{\z{6}}\\{\z{5}}}{\\{7}\\{6}\\{5}}% \def\beamlist{\\{1-3,}\\{2-3,}\\{2-3,}}% \lbeam14\go \def\beamlist{\\{1-4,}}% \group{\\{\a{8}}\\{\a{9}}\\{\a{7}}\\{\a{6}}}{\\{8}\\{9}\\{7}\\{6}}% \lbeam14\go\|\v7% \def\beamlist{\\{1-2,}\\{-2,}}% \group{\\{\a{6}\.1}\\{\s{5}}}{\\{6}\\{5}}% \lbeam13\go\v5\.1\=% % \endsong \Parsep\Parsep {\eightrm Aus: Helmut M\"onkemeyer, Handleitung f"ur das Spiel der Blockfl\"ote, Teil I, Edition Moeck Nr. 2033, Moeck Verlag, Celle. } \vfill\supereject %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \hbox to \hsize{\hfill\bf Ausschlu\3: Hader (|\universal|)\hfill} \universal \poet{\rm Allegro}\composer{ Georg Friedrich H\"andel}% \beginsong\vio\C% {\music\mC}%\meter4/4% \a7\|\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}% \lbeam14\go%\uslur14\go \group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go \pa\a7\|% \group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}\lbeam14\go \group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go\pa\a7\|% \group{\\{\a{10}}\\{\a3}\\{\a6}\\{\a8}}{\\{10}\\{3}\\{6}\\{8}}\lbeam14% \go\v4\pa\a6\|% \group{\\{\a{9}}\\{\a2}\\{\a5}\\{\a7}}{\\{9}\\{2}\\{5}\\{7}}% \lbeam14\go\v3\pa\a5\|% \group{\\{\a{8}}\\{\a6}\\{\a{11}}\\{\a{13}}}{\\{8}\\{6}\\{11}\\{13}}% \lbeam14\go\x9\v9\pa\a9\|% \group{\\{\a{11}}\\{\a4}\\{\a{6}}\\{\a{4}}}{\\{11}\\{4}\\{6}\\{4}}% \lbeam14\go\v8\pa\a4\|% \group{\\{\a{6}}\\{\a8}\\{\x9\a{9}}\\{\a{11}}}{\\{6}\\{8}\\{9}\\{11}}% \lbeam14\go\v{13}\pa\x9\a9\|% \group{\\{\a{10}}\\{\a7}\\{\a{11}}\\{\a7}}{\\{10}\\{7}\\{11}\\{7}}% \lbeam14\go \group{\\{\a{12}}\\{\a{7}}}{\\{12}\\{7}}\lbeam12\go \group{\\{\v8}\\{\|}\\{\a{8}}\\{\a{7}}\\{\a{10}}\\{\a6}% \\{\a{6}}\\{\a7}\\{\a{5}}\\{\a4}} {\\{8}\\{8}\\{8}\\{7}\\{10}\\{6}\\{6}\\{7}\\{5}\\{4}}% \lbeam36\lbeam7{10}\uslur13\uslur67\go\|% \def\beamlist{\\{1-4,}\\{-2,-5,}}% \group{\\{\a{5}\.1}\\{\s6}\\{\a{4}\.1}\\{\s{3}}}% {\\{5}\\{6}\\{4}\\{3}}% \lbeam16\go\v3\pa\a{11}\|% \def\beamlist{\\{1-3,}\\{2-3,}}% \group{\\{\a{12}}\\{\s{11}}\\{\s{10}}}{\\{12}\\{11}\\{10}}% \lbeam13\go \def\beamlist{\\{1-2,}}% \group{\\{\a{9}}\\{\a{8}}}{\\{9}\\{8}}% \lbeam12\go\v7\pa\a{8}\|% \def\beamlist{\\{1-3,}\\{2-3,}}% \group{\\{\a{9}}\\{\s{10}}\\{\s{9}}}{\\{9}\\{10}\\{9}}% \lbeam13\go \def\beamlist{\\{1-4,}\\{1-4,}}% \group{\\{\s{8}}\\{\s{7}}\\{\s6}\\{\s5}}{\\{8}\\{7}\\{6}\\{5}}% \lbeam14\go\v4\pa\a{2}\|% \def\beamlist{\\{1-\the\N,}}% \group{\\{\a{5}}\\{\a7}\\{\a9}\\{\b4\a4}}{\\{5}\\{7}\\{9}\\{4}}% \lbeam14\go\v3\pa\a3\|% \group{\\{\a{6}}\\{\x8\a8}\\{\a{10}}\\{\a5}}{\\{6}\\{8}\\{10}\\{5}}% \lbeam14\go\n4\v4\pa\a4\|% \group{\\{\a{7}}\\{\x9\a{9}}\\{\a{11}}\\{\a{6}}}{\\{7}\\{9}\\{11}\\{6}}% \lbeam14\go\v5\pa\a{12}\|% \group{\\{\a{12}}\\{\a{10}}\\{\a{8}}\\{\a{10}}}{\\{12}\\{10}\\{8}\\{10}}% \lbeam14\go\v4\pa\a{13}\|% \def\beamlist{\\{1-3,}\\{2-3,}}% \group{\\{\a{11}}\\{\s{10}}\\{\s{9}}}{\\{11}\\{10}\\{9}}% \lbeam13\go \group{\\{\a{10}}\\{\a{11}}}{\\{10}\\{11}}% \def\beamlist{\\{1-2,}}% \lbeam12\go\v{12}\pa\a{9}\|% \group{\\{\a{12}}\\{\a{9}}}{\\{12}\\{9}}% \def\beamlist{\\{1-2,}}% \lbeam12\go \group{\\{\tr\a{7}\noaccent \.1}\\{\z{6}}\\{\z{5}}}{\\{7}\\{6}\\{5}}% \def\beamlist{\\{1-3,}\\{2-3,}\\{2-3,}}% \lbeam14\go \def\beamlist{\\{1-4,}}% \group{\\{\a{8}}\\{\a{9}}\\{\a{7}}\\{\a{6}}}{\\{8}\\{9}\\{7}\\{6}}% \lbeam14\go\|\v7% \def\beamlist{\\{1-2,}\\{-2,}}% \group{\\{\a{6}\.1}\\{\s{5}}}{\\{6}\\{5}}% \lbeam13\go\v5\.1\=% % \endsong \Parsep\Parsep\vfill\supereject \advance \hsize+0.7cm %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \loose \hbox to \hsize{\hfill\bf Ausschlu\3: Hader (|\loose|)\hfill} \poet{\rm Allegro}\composer{ Georg Friedrich H\"andel}% \beginsong\vio\C% {\music\mC}%\meter4/4% \a7\|\group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}% \lbeam14\go%\uslur14\go \group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go \pa\a7\|% \group{\\{\a5}\\{\a3}\\{\a5}\\{\a7}}{\\{5}\\{3}\\{5}\\{7}}\lbeam14\go \group{\\{\a5}\\{\a{3}}}{\\{5}\\{3}}\lbeam12\go\pa\a7\|% \group{\\{\a{10}}\\{\a3}\\{\a6}\\{\a8}}{\\{10}\\{3}\\{6}\\{8}}\lbeam14% \go\v4\pa\a6\|% \group{\\{\a{9}}\\{\a2}\\{\a5}\\{\a7}}{\\{9}\\{2}\\{5}\\{7}}% \lbeam14\go\v3\pa\a5\|% \group{\\{\a{8}}\\{\a6}\\{\a{11}}\\{\a{13}}}{\\{8}\\{6}\\{11}\\{13}}% \lbeam14\go\x9\v9\pa\a9\|% \group{\\{\a{11}}\\{\a4}\\{\a{6}}\\{\a{4}}}{\\{11}\\{4}\\{6}\\{4}}% \lbeam14\go\v8\pa\a4\|% \group{\\{\a{6}}\\{\a8}\\{\x9\a{9}}\\{\a{11}}}{\\{6}\\{8}\\{9}\\{11}}% \lbeam14\go\v{13}\pa\x9\a9\|% \group{\\{\a{10}}\\{\a7}\\{\a{11}}\\{\a7}}{\\{10}\\{7}\\{11}\\{7}}% \lbeam14\go \group{\\{\a{12}}\\{\a{7}}}{\\{12}\\{7}}\lbeam12\go \group{\\{\v8}\\{\|}\\{\a{8}}\\{\a{7}}\\{\a{10}}\\{\a6}% \\{\a{6}}\\{\a7}\\{\a{5}}\\{\a4}} {\\{8}\\{8}\\{8}\\{7}\\{10}\\{6}\\{6}\\{7}\\{5}\\{4}}% \lbeam36\lbeam7{10}\uslur13\uslur67\go\|% \def\beamlist{\\{1-4,}\\{-2,-5,}}% \group{\\{\a{5}\.1}\\{\s6}\\{\a{4}\.1}\\{\s{3}}}% {\\{5}\\{6}\\{4}\\{3}}% \lbeam16\go\v3\pa\a{11}\|% \def\beamlist{\\{1-3,}\\{2-3,}}% \group{\\{\a{12}}\\{\s{11}}\\{\s{10}}}{\\{12}\\{11}\\{10}}% \lbeam13\go \def\beamlist{\\{1-2,}}% \group{\\{\a{9}}\\{\a{8}}}{\\{9}\\{8}}% \lbeam12\go\v7\pa\a{8}\|% \def\beamlist{\\{1-3,}\\{2-3,}}% \group{\\{\a{9}}\\{\s{10}}\\{\s{9}}}{\\{9}\\{10}\\{9}}% \lbeam13\go \def\beamlist{\\{1-4,}\\{1-4,}}% \group{\\{\s{8}}\\{\s{7}}\\{\s6}\\{\s5}}{\\{8}\\{7}\\{6}\\{5}}% \lbeam14\go\v4\pa\a{2}\|% \def\beamlist{\\{1-\the\N,}}% \group{\\{\a{5}}\\{\a7}\\{\a9}\\{\b4\a4}}{\\{5}\\{7}\\{9}\\{4}}% \lbeam14\go\v3\pa\a3\|% \group{\\{\a{6}}\\{\x8\a8}\\{\a{10}}\\{\a5}}{\\{6}\\{8}\\{10}\\{5}}% \lbeam14\go\n4\v4\pa\a4\|% \group{\\{\a{7}}\\{\x9\a{9}}\\{\a{11}}\\{\a{6}}}{\\{7}\\{9}\\{11}\\{6}}% \lbeam14\go\v5\pa\a{12}\|% \group{\\{\a{12}}\\{\a{10}}\\{\a{8}}\\{\a{10}}}{\\{12}\\{10}\\{8}\\{10}}% \lbeam14\go\v4\pa\a{13}\|% \def\beamlist{\\{1-3,}\\{2-3,}}% \group{\\{\a{11}}\\{\s{10}}\\{\s{9}}}{\\{11}\\{10}\\{9}}% \lbeam13\go \group{\\{\a{10}}\\{\a{11}}}{\\{10}\\{11}}% \def\beamlist{\\{1-2,}}% \lbeam12\go\v{12}\pa\a{9}\|% \group{\\{\a{12}}\\{\a{9}}}{\\{12}\\{9}}% \def\beamlist{\\{1-2,}}% \lbeam12\go \group{\\{\tr\a{7}\noaccent \.1}\\{\z{6}}\\{\z{5}}}{\\{7}\\{6}\\{5}}% \def\beamlist{\\{1-3,}\\{2-3,}\\{2-3,}}% \lbeam14\go \def\beamlist{\\{1-4,}}% \group{\\{\a{8}}\\{\a{9}}\\{\a{7}}\\{\a{6}}}{\\{8}\\{9}\\{7}\\{6}}% \lbeam14\go\|\v7% \def\beamlist{\\{1-2,}\\{-2,}}% \group{\\{\a{6}\.1}\\{\s{5}}}{\\{6}\\{5}}% \lbeam13\go\v5\.1\=% % \endsong \vfill\supereject \advance \hsize-0.4cm {\bf Beispiel 3 \rm(zweistimmiger Satz in einem System)} \vskip0.5cm \universal \title{\vbox{\hbox to 0pt{\hss 6 Suiten f"ur Cello Solo\hss} \hbox to 0pt{\hss Suite II Menuet I\hss}}} \poet{\vtop{\hbox to 0pt{F"ur Viola "ubertragen \hss} \hbox to 0pt{von Franz Schmidtner\hss}}} \composer{Johann Sebastian Bach} \parindent 20pt \beginsong\alto\F\meter3/4% \rchord \h5\h7\h9\endchord\v{10}\|% \two{\group{\\{\a{10}}\\{\a9}\\{\a{10}}\\{\a8}}{\\{10}\\{9}\\{10}\\{8}}% \ubeam14\uslur12\go}{\rchord \a4\a6\endchord}% \v9\|\rchord\v3\v5\endchord\v8% \group{\\{\a7}\\{\a6}}{\\{7}\\{6}}\lbeam12\go\|% \two{\group{\\{\a7}\\{\a6}\\{\a5}\\{\x4\a4}\\{\n3\a3}\\{\a2}} {\\{7}\\{6}\\{5}\\{4}\\{3}\\{2}}\ubeam16\uslur13\go}% {\a2}\|\rchord \h5\h7\h9\endchord\v{10}\|% \two{\group{\\{\a{10}}\\{\a9}\\{\tenuto\a{10}}\\{\tenuto\a8\noaccent}} {\\{10}\\{9}\\{10}\\{8}}\ubeam14\uslur12\go}{\a6}% \v{11}\|\rchord\v7\v9\endchord\rchord\v3\v7\v{12}\endchord \rchord\v1\v8\v{13}\endchord\|\rchord\h2\.1\h6\.1\x{11}\h{11}\.1\endchord \leftrightrepeat \rchord\h9\h{13}\endchord {\def\beamlist{\\{1-3,}\\{2-3,}}% \group{\\{\a{12}}\\{\s{13}}\\{\s{14}}}{\\{12}\\{13}\\{14}}\lbeam13% \uslur13\go}\| \two{\group{\\{\a{13}}\\{\a{12}}\\{\x{11}\a{11}}\\{\a{13}}\\{\a9}\\{\a8}} {\\{13}\\{12}\\{11}\\{13}\\{9}\\{8}}\ubeam16\uslur15\go}{\a8}\|% \two{\group{\\{\v9}\\{\v{12}}}{\\{9}\\{12}}\uslur12\go}{\h7}% \x{11}\two{\v{11}}{\v6}\|% \two{\group{\\{\a{15}}\\{\a{14}}\\{\a{13}}\\{\a{14}}\\{\a{12}}% \\{\n{11}\a{11}}} {\\{15}\\{14}\\{13}\\{14}\\{12}\\{11}}\ubeam16\uslur15\go}{\a5}\|% \two{\h{10}}{\group{\\{\v8}\\{\v7}}{\\{8}\\{7}}\lslur12\go}% \two{\v{11}}{\v6}\|% \two{\group{\\{\a9}\\{\a8}\\{\a9}\\{\a7}}{\\{9}\\{8}\\{9}\\{7}}\ubeam14% \go}{\a7}% \rchord\v{12}\v6\v3\endchord\|\rchord\v{11}\v7\v2\endchord \group{\\{\a{10}}\\{\a9}\\{\a8}\\{\a9}}{\\{10}\\{9}\\{8}\\{9}}\lbeam14\go \|\group{\\{\a7}\\{\a6}\\{\a7}\\{\a9}\\{\a8}\\{\a{10}}} {\\{7}\\{6}\\{7}\\{9}\\{8}\\{10}}\lbeam16\go\|% \x7\two{\tr\h9\noaccent}{\h7}% \two{\v{10}}{\pv}\|\b6% \two{\group{\\{\a8}\\{\a7}\\{\a8}\\{\a6}} {\\{8}\\{7}\\{8}\\{6}}\ubeam14\uslur12\go}{\a6}% \x7\tr\v7\noaccent\|\rchord\v{12}\v8\v3\endchord\rchord\v{11}\v8\v4\endchord \two{\group{\\{\a{10}}\\{\a9}}{\\{10}\\{9}}\ubeam12\uslur12\go}{\v5}\|% \group{\\{\rchord\a{11}\a5\a1\endchord }\\{\a{10}}\\{\a9}\\{\a{10}}\\{\a8}\\{\a{10}}} {\\{1}\\{10}\\{9}\\{10}\\{8}\\{10}}\lbeam16\go\|% \two{\group{\\{\v{12}}\\{\x{11}\v{11}}} {\\{12}\\{11}}\uslur12\go}{\v8\pv}\n7% \two{\v{12}}{\v7}\|\x4% \two{\group{\\{\a8}\\{\a7}\\{\a8}\\{\a6}} {\\{8}\\{7}\\{8}\\{6}}\ubeam14\uslur12\go}{\a4}% \two{\v7}{\v5}\|% \group{\\{\a1}\\{\a8}}{\\{1}\\{8}}\lbeam12\go\two{\tr\v6\.1}{\v2\.1}% \two{\a5}{\raise-1.5\nhh\hbox{\pa}}\|\lchord\h5\.1\h2\.1\h{-2}\.1\endchord \rightrepeat \endsong \parindent0pt \vskip-1cm {\eightrm Aus: Johann Sebastian Bach, Sechs Suiten, f"ur Viola bearbeitet von Franz Schmidtner, Musikverlag Hans Sikorski, Hamburg. } \vskip0.5cm F"ur dieses Musikst"uck lautet die Eingabe: \vskip0.5cm %%%%%%%%%%%%%%%%%% %%%%% bach %%%%%%% %%%%%%%%%%%%%%%%%% {\bf !!} \ks{title}\{6 Suiten f"ur Cello Solo \bs{atop} Suite II Menuet I\}\par \ks{composer}\{Johann Sebastian Bach\} \ks{poet}\{F"ur Viola "ubertragen \bs{atop} von Franz Schmidtner\}\par \ks{alto}\ks{F}\ks{meter}\{{\bf3}\slash {\bf4}\}\ks{two} \par{\bf \{\ \ \ \ks{chord}\{2`d f a\} 4h\strich \ks{chord}\{'8c `e\}\slash\ \slash\ \slash\ 4a\strich \par \ks{chord}\{4,h `d\} g\ks{beam}\{8f e\}\strich ,8a \slash\ \slash\ \slash\ \slash\ \slash\ \strich \ks{chord}\{`2d f a\} 4h\strich 8e \slash\ \slash\ \slash\ {`}{`}4c \strich\par \ks{chord}\{4`f a\}\ks{chord}\{,h `f {`}{`}d\} \ks{chord}\{,g `g {`}{`}e\}\strich \par\ks{chord}\{2.,a .`e .x{`}{`}c\} \dpkt\strich\strich\dpkt \par\ks{chord}\{2`a {`}{`}e\}\ks{slur}\{\ks{beam}\{8d 6e f\}\}\strich 8`g\slash\ \slash\ \slash\ \slash\ \slash\ \strich 2f \slash\ 4e\strich 8d \slash\ \slash\ \slash\ \slash\ \slash\strich \ks{slur}\{4g f\}e\strich\par 8f\slash\ \slash\ \slash\ \ks{chord}\{4,h `e {`}{`}d\}\strich\ks{chord}\{4,a `f {`}{`}c\} \ks{beam}\{8`h a g a\}\strich\par \ks{beam}\{8f e f a g h\}\strich 2xf 4p \strich b8e \slash\ \slash\ \slash\ 4xf \ks{tr}\strich\ks{chord}\{4,h `g {`}{`}d\} \ks{chord}\{4`c g {`}{`}c\} `d\slash\ \strich \par\ks{beam}\{\ks{chord}\{,8g `d {`}{`}c\} 8`h a h g h\}\strich 4g p nf\strich 8xc \slash\ \slash\ \slash\ 4d\strich \par\ks{beam}\{8,g `g\} 4.,a 8p\strich \ \slash\ \dpkt\strich\strich\ \ \}\par \{\ \ \slash\ \slash\ \strich \ks{beam}\{\ks{slur}\{8{`}h a\} h g\}\slash\ \strich \slash\ \slash\ \slash\ \slash\ \strich \ks{beam}\{\ks{slur}\{'8f e d\}xc ,nh a\}\strich \slash\ \slash\ \strich\par\ks{beam}\{\ks{slur}\{8h a\}\ks{tenuto} h f \ks{noaccent}\ \slash\ \}\strich \slash\ \slash\ \slash\ \strich \slash\ \dpkt\strich\strich\dpkt\par \slash\ \slash\ \slash\ \slash\ \strich \ks{beam}\{\ks{slur}\{8{`}{`}e d xc e `a\}g\}\strich \ks{slur}\{`4a {`}{`}d\}xc\strich \ks{beam}\{\ks{slur}\{8{`}{`}g f e f d \}nc\}\strich\par `2h\slash\ {`}{`}4c\strich \ks{beam}\{8`a g a f\}\slash\ \strich \slash\ \slash\ \slash\ \slash\ \slash\strich \slash\ \slash\ \slash\ \slash\ \slash\ \slash\strich\par 2`a \ks{tr} 4h\strich \ks{beam}\{\ks{slur}\{8g f\} g e\}\slash\strich \slash\ \slash\ \ks{beam}\{\ks{slur}\{8h a\}\}\strich \slash\ \slash\ \slash\ \slash\ \slash\ \slash\ \strich\par \ks{slur}\{{`}{`}4d `a\} {`}{`}d\strich \ks{beam}\{\ks{slur}\{8`g f\} g e\} 4f\strich \slash\ \slash\ 4.e \ks{tr} 8d\strich \ks{chord}\{2.,d .a `.d\} \dpkt\strich\strich \ \ \} }{\bf!!} \vfill\eject \advance \hsize-0.3cm {\bf Beispiel 4 \rm(Textunterlage)} \vskip2cm \title{Lobe den Herren} \composer{Hugo Distler} \def\@#1#2{{$\hbox{#1\hfill}\atop\hbox{#2\hfill}$}} \def\lv{{\leaders\hrule \hskip1cm plus 1fill}} \parindent 40pt \voice{Sopran}% \universal \beginsong\vio\G\^r{{\rm Schnell}}{\vrule height 7\nhh width0pt% \gluebrule}\meter3/4% \^{\mezzoforte}\_{\@{Lo-}{Mei-}}{\v2}% \_{\@{be}{ne}}{\v2}% \_{\@{den}{ge - }}{\v6}\|% \_{\@{Her-}{lie - }}{\v4\.1}\_{\@{ren, }{be - }}{\a3}% \_l{\@{den}{te }}{\v2}\|% \_l{\@{m"ach - }{See - }}{\v1}\_{\@{ti - }{le, }}{\v0}% \_{\@{gen }{das }}{\v{-1}}\|% \_{\@{K"o - }{ist }}{\h0}% \group{\\{\_n{\@{nig \lv }{mein \lv }}{\v1}}\\{\|\meter2/4}\\{\v1}} {\\{1}\\{0}\\{1}}\lslur13\go\_{\@{der }{Be- }}{\v2}\|\meter4/4% \_{\@{Eh - }{geh - }}{\h3}\_{\@{ren!}{ren.}}{\h2}\rightrepeat\meter3/4% %Ende Wiederholung \_{Kom-}\^{\forte}{\v6}\_{met}{\v6}\_{zu}{\v6}\|% \_{Hauf!}{\h7\.1}\caesura\|\_l{Psal - }{\v4}\_{ter}{\a5}% \_l{und }{\a5}% \group{\\{\_n{Har\hskip40pt - \hskip40pt -\hskip 40pt - \hskip40pt }{\v6}}\\{\|}\\{\a6}\\{\a7}\\{\a6}\\{\a4}\\{\v6}% \\{\|}\\{\a6}\\{\a7}\\{\v6\.1}\\{\a7}\\{\|}\\{\v6\.1}} {\\{6}\\{8}\\{6}\\{7}\\{6}\\{4}\\{6}\\{8}\\{6}\\{7}\\{6}\\{7}\\{8}\\{6}}% \lbeam36\lbeam9{10}\uslur13\uslur79\uslur1{14}\go \_{fe,}{\a5}\_l{wacht}{\v4}\|% \^{\piano}\_{auf, }{\h3}\group{\\{\_n{wacht}{\caesura\a4}}\\{\a2}} {\\{4}\\{2}}\ubeam12\go\|\^{\dec}\_{auf,}{\h3}% \group{\\{\_n{wacht}\^{zart}{\caesura\a4}}\\{\a2}} {\\{4}\\{2}}\ubeam12\go\|\^{\dec}\_{auf,}{\h6\.1}\caesura\|% \^{\forte}\_{las-}{\v{-1}}\_{set}{\v0\.1}\_{den}{\a1}\|% \meter4/4\_{Lob - }{\h2}\_{ge - }{\v3}\_{sang}{\v4}\|\meter7/4% \group{\\{\_n{h"o \hskip20pt - \hskip20pt - \hskip20pt - }{\h5}}\\{\v4\.1}\\{\a3}\\{\v2}\\{\h3}} {\\{5}\\{4}\\{3}\\{2}\\{9}}\uslur15\go \|\meter3/4\_{ren!}{\h2\.1}\=\endsong \parindent=0pt \eightrm Aus: R. Baum,``Geselliges Chorbuch I'' B"arenreiter-Verlag, Kassel und Basel. \vskip1cm \rm Auch zu diesem St"uck sei die Eingabe aufgef"uhrt: \vskip1cm %%%%%%%%%%%%%%%% %%%%%% distler% %%%%%%%%%%%%%%%% {\bf !!}\ks{title}\{Lobe den Herren\} \ks{composer}\{Hugo Distler\} \par \ks{voice}\{Sopran\} \ks{treble}\ks{signature}\{{`}{`}xf\} \ks{text}\{\ks{\os{ }l} Schnell\} \ks{meter}\{{\bf3}\slash {\bf4}\}\ks{vocal} \par {\bf\{\ \ \ 4g\ks{mezzoforte} g {`}{`}d\strich `h. 8a 4g\strich f e d \strich 2e \ks{slur}\{4f\strich\ks{meter}\{2\slash 4\} f\} 4g\strich \par\ks{meter}\{4\slash 4\} 2a 2g\dpkt\strich\strich \ks{meter}\{3\slash 4\} 4{`}{`}d d d \strich 2.e 0p\strich \par `4h 8{`}{`}c c \ks{group}\{4d\strich 8d e d `h 4{`}{`}d\strich 8d e 4.d 8e\strich 4.d\} \ks{gslur}\{1-3, 1-13\}\par \ks{gbeam}\{3-6, 9-10\} 8c 4`h\strich 2a \ks{piano} 0p\ks{beam}\{8h g\}\strich\par 2a \ks{decr} 0p %ks{beam}\{8h g\}\strich\par 2a \ks{decr} 0p \ks{beam}\{8h \ks{text}\{{\rm zart}\}g\}\strich {`}{`}2.d\ks{decr} 0p\strich \par `4d\ks{forte} .e 8f\strich \ks{meter}\{4\slash 4\} 2g 4a h\strich \par \ks{meter}\{7\slash 4\}\ks{slur}\{`{}`2c `4.h 8a 4g 2a\}\strich \ks{meter}\{3\slash 4\} 2.g \gleich\ \ \ \} } \par \{\ \ \ \{Lo-\bs{atop} Mei-\} \{be\bs{atop} ne\} \{den\bs{atop} ge-\} \{Her-\bs{atop} lie-\} \{ren,\bs{atop} be-\}\par \{den \bs{atop} te\} \{m"ach-\bs{atop} See-\} \{ti-\bs{atop} le,\} \{gen\bs{atop} das\} \par \{K"o-\bs{atop} ist\} \{nig--\bs{atop} mein--\} \slash\ \{der\bs{atop} Be-\} \{Eh-\bs{atop} geh-\} \{ren!\bs{atop} ren.\} \par Kom- met zu Hauf! Psal- ter und Har- \slash\ \slash\ \slash\ \slash\ \slash\ \slash\ \slash\ \slash\ \slash\ \slash\ fe, \par wacht auf, wacht \slash\ auf, wacht\ \slash\ auf, \par las- set den Lob- ge- sang h"o- \slash\ \slash\ \slash\ \slash\ ren!\ \ \ \}{\bf!!} \vfill\eject \verbatimoff