\chapter{Writing Notes}\label{autostemdirections} There are two major kinds of note macros, those that include a space (of length \keyindex{noteskip}) after the printed symbol, and those that don't cause any space. A single-line melody would be written using the first type. All notes of a chord except the last would use the second. Another distinction concerns stemmed notes. Some macros explicitly set the stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies \ital{automatic} stem direction selection. In this case notes below the middle staff line will get up stems, otherwise down. Note pitches can be specified either by letters or numbers. If no transposition or octaviation is in effect, letters ranging from \verb|a| to \verb|z| represent notes starting with the A below middle C. Upper case letters from \verb|A| to \verb|N| represent pitches two octaves lower than their lower case counterparts. Any letter can be used in any clef, but some users may prefer to use the lower case letters in treble clef, and the upper case ones in bass clef. Alternatively, a one- or two-digit, positive or negative integer can always be used. The number represents the vertical position on the staff, with \verb|0| for the lowest line and \verb|1| for the space right above, \ital{regardless of the clef}. Unlike with letters, the associated pitch will depend on the clef, and notes entered this way are immune to transposition and octaviation. Notes lower than \verb|A| and higher than \verb|z| can be entered, with either numbers as just described, or with octaviation as will be explained in Chapter~\ref{octaviation}. \section{Normal (unbeamed) spacing notes}\label{NormalNotes} In the following, \verb|{|$p$\verb|}| signifies a pitch specification as described above. However it is understood that if the pitch is a single character, the brackets are not necessary, provided that if it is a letter, a space separates the macro from the letter. \begin{quote}\begin{description}\setlength{\itemsep}{0ex} \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{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 (\hbox to8pt{\zwqq1\hss}) (also used as alternate representation of a \ital{longa}). \item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note. \item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up. \item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down. \item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction \item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up. \item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down. \item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction. \item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}'' within this macro name stands for the equivalent British term ``crotchet''} with stem up. \item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down. \item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction. \item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up. \item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down. \item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction. \item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem up. \item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem down. \item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]$32$nd note with automatic stem direction. \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]$64$th note with stem up. \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]$64$th note with stem down. \item[\keyindex{cccca}{\tt\char123}$p${\tt\char125} :]$64$th note with automatic stem direction. \item[\keyindex{cccccu}{\tt\char123}$p${\tt\char125} :]$128$th note with stem up. \item[\keyindex{cccccl}{\tt\char123}$p${\tt\char125} :]$128$th note with stem down. \item[\keyindex{ccccca}{\tt\char123}$p${\tt\char125} :]$128$th note with automatic stem direction. \end{description}\end{quote} As an example, the sequence %\check \begin{music}\nostartrule \startextract \Notes\cu c\cl j\en\bar \Notes\ccu c\ccl j\en\bar \Notes\cccu c\cccl j\en\bar \Notes\ccccu c\ccccl j\en\bar \Notes\cccccu c\cccccl j\en \zendextract \end{music} \noindent was coded as \begin{quote}\begin{verbatim} \Notes\cu c\cl j\en\bar \Notes\ccu c\ccl j\en\bar \Notes\cccu c\cccl j\en\bar \Notes\ccccu c\ccccl j\en\bar \Notes\cccccu c\cccccl j\en \end{verbatim}\end{quote} For \keyindex{breve} there is a possibility of confusion with a command in \TeX's math mode that has exactly the same name. However, there will generally be no problem, because inside \verb|\startpiece...\endpiece|, \verb|\breve| will take the musical meaning, while outside, it will have the mathematical one. If for some reason you need the math \verb|\breve| inside, you can use \verb|\endcatcodesmusic...\breve...\catcodesmusic|. \section{Non-spacing note heads} These macros are used to create chords. Any number of them can be entered in sequence, followed by a spacing note. All of the note heads will be joined to the spacing note and the stem length will automatically be adjusted as needed. \begin{quote}\begin{description}\setlength{\itemsep}{0ex} \item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head. \item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head. \end{description}\end{quote} %das ??? % \begin{remark} Notes of duration longer than whole notes are %always non-spacing. This saves one useless definition, since these notes are %always longer than other simultaneous ones. If needed they can be followed by %\keyindex{sk} to force spacing. %\end{remark} \section{Shifted non-spacing note heads} These symbols are used mainly in chords containing an interval of a \ital{second}. They provide note heads shifted either to the left or right of the default position by the width of one note head. \begin{quote}\begin{description}\setlength{\itemsep}{0ex} \item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right. \item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left. \item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not have realized that half and whole note heads have different shapes}. \item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left. \item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right. \item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left. \end{description}\end{quote} \section{Non-spacing notes} These macros provide normal notes, with stems if applicable, but without any following space. \begin{quote}\begin{description}\setlength{\itemsep}{0ex} \item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like \verb|\hu| for chord building, i.e., it will join together any immediately preceding non-spacing note heads. \item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like \keyindex{hl} for chord building. \item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like \verb|\qu| for chord building. \item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts like \verb|\ql| for chord building. \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu}, \keyindex{zccccu}, \keyindex{zcccccu} :]eighth, ..., note with stem up but no spacing. They act like \verb|\cu| for chord building. \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl}, \keyindex{zccccl}, \keyindex{zcccccl} :]eighth, ..., note with stem down but no spacing. They act like \verb|\cl| for chord building. \item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql}, \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|, but the note is shifted one note width to the right; others analogous. \item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql}, \keyindex{lcu}, \keyindex{lcl} :]same as above, but the note is shifted one note width to the left. \item[\keyindex{zw}\pitchp~:]whole note with no following space. \item[\keyindex{zwq}\pitchp~:]arbitrary duration note (\hbox to8pt{\zwq1\hss}) with no following space. \item[\keyindex{zbreve}\pitchp~:]breve (\hbox to8pt{\zbreve1\hss}) with no following space. \item[\keyindex{zlonga}\pitchp~:]longa (\hbox to8pt{\zlonga1\hss}) with no following space. \item[\keyindex{zmaxima}\pitchp~:]maxima (\hbox to16pt{\zmaxima1\hss}) with no following space. \end{description}\end{quote} %\check \section{Spacing note heads} Although not needed in normal music scores, these may be useful in very special cases. \begin{quote}\begin{description}\setlength{\itemsep}{0ex} \item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head. \item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head. \end{description}\end{quote} \noindent As an example, the sequence \begin{music}\nostartrule \startextract \notes\nq c\nq j\en\barre \Notes\nh c\nh j\en\barre \notes\nq {cdef}\en \zendextract \end{music} \noindent was coded as \begin{quote}\begin{verbatim} \notes\nq c\nq j\en\barre \Notes\nh c\nh j\en\barre \notes\nq {cdef}\en \end{verbatim}\end{quote} Non spacing variants are also provided, namely \keyindex{znh} and \keyindex{znq}. % DAS: why??? \section{Dotted notes}\label{dots} 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}, \keyindex{whpp}, \keyindex{zwp}, \keyindex{zwpp}, \keyindex{hup}, \keyindex{hupp}, \keyindex{hlp}, \keyindex{hlpp}, \keyindex{hap}, \keyindex{happ}, \keyindex{zhp}, \keyindex{zhpp}, \keyindex{qup}, \keyindex{qupp}, \keyindex{qlp}, \keyindex{qlpp}, \keyindex{qap}, \keyindex{qapp}, \keyindex{zqp}, \keyindex{zqpp}, \keyindex{cup}, \keyindex{cupp}, \keyindex{clp}, \keyindex{clpp}, \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}{\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. 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 either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when using \ital{collective coding}, which will be discussed in the next section. Non-spacing dotted notes can be produced using \keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp}, \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. \section{Sequences of equally spaced notes; collective coding} \label{CollectiveCoding} It isn't necessary to write a separate macro sequence \verb|\notes...\en| for every individual column of notes. Rather, a single such macro can contain all the notes in all staves over an extended horizontal range, as long as all spacings are equal or multiples of a unique value of \keyindex{noteskip}. The notes in each staff could be entered one after another as normal spacing notes as already described in Section~\ref{NormalNotes}. Then each spacing note will cause the insertion point to advance horizontally by the operative value of \verb|\noteskip| defined by the choice of \verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences non-spacing chord notes can be entered right before their associated spacing note. If you need to skip forward by one \verb|\noteskip|, for example after a quarter note when there are two eighth notes in another staff, you can use \keyindex{sk}. If there are only spacing notes in such a sequence, a further simplification is available, called \ital{collective coding}. For instance \verb|\qu{cdefghij}| writes the C major scale in quarters with up stems. Similarly \verb|\cl{abcdef^gh}| writes the \ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents a sharp). If necessary a void can be inserted in a collective coding sequence by using~\verb|*|\index{*}. Not all note-generating macros can be used to perform collective coding, but most of them can.