diff options
| author | Karl Berry <karl@freefriends.org> | 2015-12-21 23:51:40 +0000 |
|---|---|---|
| committer | Karl Berry <karl@freefriends.org> | 2015-12-21 23:51:40 +0000 |
| commit | b4ba8cda8d4066ac257e687beffc7dddd8d022bc (patch) | |
| tree | 1a9188b7906cdcef067d7cf97cdc9cc97b80ebda | |
| parent | c5e89419297f1c23c42a0c11bab9fb3c12b97f91 (diff) | |
revert m-tx to 0.60; 0.61 requires updates to the prepmx executable, which will not happen until TL16
git-svn-id: svn://tug.org/texlive/trunk@39166 c570f23f-e606-0410-a88d-b1316a301751
76 files changed, 3960 insertions, 122 deletions
diff --git a/Master/bin/alpha-linux/m-tx b/Master/bin/alpha-linux/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/alpha-linux/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/amd64-freebsd/m-tx b/Master/bin/amd64-freebsd/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/amd64-freebsd/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/amd64-netbsd/m-tx b/Master/bin/amd64-netbsd/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/amd64-netbsd/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/armel-linux/m-tx b/Master/bin/armel-linux/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/armel-linux/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/armhf-linux/m-tx b/Master/bin/armhf-linux/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/armhf-linux/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/i386-cygwin/m-tx b/Master/bin/i386-cygwin/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/i386-cygwin/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/i386-freebsd/m-tx b/Master/bin/i386-freebsd/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/i386-freebsd/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/i386-linux/m-tx b/Master/bin/i386-linux/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/i386-linux/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/i386-netbsd/m-tx b/Master/bin/i386-netbsd/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/i386-netbsd/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/i386-solaris/m-tx b/Master/bin/i386-solaris/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/i386-solaris/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/mipsel-linux/m-tx b/Master/bin/mipsel-linux/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/mipsel-linux/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/powerpc-linux/m-tx b/Master/bin/powerpc-linux/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/powerpc-linux/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/sparc-solaris/m-tx b/Master/bin/sparc-solaris/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/sparc-solaris/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/universal-darwin/m-tx b/Master/bin/universal-darwin/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/universal-darwin/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/win32/m-tx.exe b/Master/bin/win32/m-tx.exe Binary files differnew file mode 100755 index 00000000000..5777d90a17a --- /dev/null +++ b/Master/bin/win32/m-tx.exe diff --git a/Master/bin/x86_64-cygwin/m-tx b/Master/bin/x86_64-cygwin/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/x86_64-cygwin/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/x86_64-darwin/m-tx b/Master/bin/x86_64-darwin/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/x86_64-darwin/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/x86_64-linux/m-tx b/Master/bin/x86_64-linux/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/x86_64-linux/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/bin/x86_64-solaris/m-tx b/Master/bin/x86_64-solaris/m-tx new file mode 120000 index 00000000000..cb99ed8f557 --- /dev/null +++ b/Master/bin/x86_64-solaris/m-tx @@ -0,0 +1 @@ +../../texmf-dist/scripts/m-tx/m-tx.lua
\ No newline at end of file diff --git a/Master/texmf-dist/doc/generic/m-tx/README b/Master/texmf-dist/doc/generic/m-tx/README new file mode 100644 index 00000000000..661754100f6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/README @@ -0,0 +1,51 @@ +This is M-Tx (Music-from-TeXt), version 0.60d (2013-12-24). + +M-Tx is a preprocessor for PMX that facilitates inputting lyrics. It +builds the PMX input file based on a language very similar to PMX. M-Tx +includes most of PMX's functionality, but it also permits in-line PMX +commands to give access to virtually all of PMX. + +The author of M-Tx is Dirk Laurie (dpl@sun.ac.za). + +To install (on TDS-compliant TeX systems): + + + unzip tex-archive/install/m-tx.tds.zip at the root of a texmf tree and, + if necessary, update the filename database; e.g., texhash texmf. + Documentation for M-Tx is installed under doc/generic/tmx. You must use + an unzipping program that converts text files to the text-file format of + your platform, such as "unzip -a ... " on Linux. + + + *either* copy the executables appropriate for your + platform (Windows, OSX) to a folder on the executable PATH + and ensure it has execute permission + + + *or* on any Unix-like system with gcc and standard development tools + installed: unpack mtx-0.60d.tar.gz (anywhere), move to the resulting + mtx-0.60d directory, and do + + ./configure [--prefix=$HOME] + make (or make -f Makefile.orig if you have fpc installed) + make install (as root, if necessary) + + Then install a symbolic link m-tx in any directory on the executable + PATH to scripts/m-tx/m-tx.lua + +Documentation for M-Tx and the wrapper script is installed under + +doc/generic/m-tx + +Many examples of M-Tx and MusiXTeX typesetting may be found at the Werner +Icking Music Archive at + +http://icking-music-archive.org/ + +Support for users of MusiXTeX and related software may be obtained via +the MusiXTeX mail list at + +http://tug.org/mailman/listinfo/tex-music + +M-Tx may be freely copied, duplicated and used in conformance to the +GNU General Public License (Version 2, 1991, see included file gpl.txt). + +This CTAN distribution is maintained by Bob Tennent (rdt@cs.queensu.ca). +Dec. 12th, 2013 diff --git a/Master/texmf-dist/doc/generic/m-tx/m-tx.html b/Master/texmf-dist/doc/generic/m-tx/m-tx.html new file mode 100644 index 00000000000..ec976065e2e --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/m-tx.html @@ -0,0 +1,191 @@ +Content-type: text/html + +<HTML><HEAD><TITLE>Manpage of m-tx</TITLE> +</HEAD><BODY> +<H1>m-tx</H1> +Section: (1)<BR>Updated: 2013-12-11<BR><A HREF="#index">Index</A> +<A HREF="http://localhost/cgi-bin/man/man2html">Return to Main Contents</A><HR> + +<P> +<A NAME="lbAB"> </A> +<H2>NAME</H2> + +m-tx - This script processes mtx files then deletes intermediate files +<P> +<A NAME="lbAC"> </A> +<H2>SYNOPSIS</H2> + +[ texlua ] +<B>m-tx[.lua]</B> + +{ +<I>option</I> + +| +<I>jobname</I> + +[ .mtx ] +} ... +<DL COMPACT> +<DT>The default effect is to process each file using <DD> +<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+prepmx">prepmx</A></B>(1) + +<DD> +(pre-pre-processing pass) +<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+pmxab">pmxab</A></B>(1) + +<DD> +(pre-processing pass) +<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+etex">etex</A></B>(1) + +<DD> +(first pass) +<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+musixflx">musixflx</A></B>(1) + +<DD> +(second pass) +<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+etex">etex</A></B>(1) + +<DD> +(third pass) +<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvips">dvips</A></B>(1) + +<DD> +(dvi to Postscript) +<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+ps2pdf">ps2pdf</A></B>(1) + +<DD> +(Postscript to Portable Document Format) +<DT>followed by removal of intermediate files.<DD> +<P> +</DL> +<A NAME="lbAD"> </A> +<H2>OPTIONS</H2> + +<DL COMPACT> +<DT><B>-v </B> + +<DD> +output program name and version number, and quit +<DT><B>-h</B> + +<DD> +output usage summary and quit +<DT><B>-l </B> + +<DD> +changes the TeX processor to +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+latex">latex</A></B>(1) + +or +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdflatex">pdflatex</A></B>(1) + +<DT><B>-p </B> + +<DD> +changes the TeX processor to +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdfetex">pdfetex</A></B>(1) + +or +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdflatex">pdflatex</A></B>(1) + +(and doesn't run +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvips">dvips</A></B>(1) + +and +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+ps2pdf">ps2pdf</A></B>(1) + +or +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvipdfm">dvipdfm</A></B>(1) + +) +<DT><B>-d </B> + +<DD> +changes the dvi processor to +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvipdfm">dvipdfm</A></B>(1) + +<DT><B>-c</B> + +<DD> +use pmxchords before pmx +<DT><B>-F fmt</B> + +<DD> +uses fmt as the TeX processor +<DT><B>-s </B> + +<DD> +stops processing at the dvi file +<DT><B>-t</B> + +<DD> +stops processing at the tex (and midi) files +<DT><B>-m</B> + +<DD> +stops processing at the pmx file +<DT><B>-i</B> + +<DD> +retain intermediate files +<DT><B>-f</B> + +<DD> +default processing +<DT>Options affect processing of all succeeding mtx files unless changed by another option.<DD> +<P> +</DL> +<A NAME="lbAE"> </A> +<H2>SEE ALSO</H2> + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+prepmx">prepmx</A></B>(1) + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pmxab">pmxab</A></B>(1) + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+scor2prt">scor2prt</A></B>(1) + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+etex">etex</A></B>(1), + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+latex">latex</A></B>(1), + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdfetex">pdfetex</A></B>(1), + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdflatex">pdflatex</A></B>(1), + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+musixflx">musixflx</A></B>(1), + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvipdfm">dvipdfm</A></B>(1), + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pmxchords">pmxchords</A></B>(1), + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvips">dvips</A></B>(1), + +<B><A HREF="http://localhost/cgi-bin/man/man2html?1+ps2pdf">ps2pdf</A></B>(1). + +<BR> + +mtx260.pdf +<P> +<A NAME="lbAF"> </A> +<H2>AUTHOR </H2> + +This manual page was written by Bob Tennent <<A HREF="mailto:rdt@cs.queensu.ca">rdt@cs.queensu.ca</A>>. +<P> + +<HR> +<A NAME="index"> </A><H2>Index</H2> +<DL> +<DT><A HREF="#lbAB">NAME</A><DD> +<DT><A HREF="#lbAC">SYNOPSIS</A><DD> +<DT><A HREF="#lbAD">OPTIONS</A><DD> +<DT><A HREF="#lbAE">SEE ALSO</A><DD> +<DT><A HREF="#lbAF">AUTHOR </A><DD> +</DL> +<HR> +This document was created by +<A HREF="http://localhost/cgi-bin/man/man2html">man2html</A>, +using the manual pages.<BR> +Time: 22:12:01 GMT, December 11, 2013 +</BODY> +</HTML> diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx-install.pdf b/Master/texmf-dist/doc/generic/m-tx/mtx-install.pdf Binary files differindex 05310c3e74e..92b9d756b99 100644 --- a/Master/texmf-dist/doc/generic/m-tx/mtx-install.pdf +++ b/Master/texmf-dist/doc/generic/m-tx/mtx-install.pdf diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx-install.tex b/Master/texmf-dist/doc/generic/m-tx/mtx-install.tex index 5e391dee3da..08649ab19b3 100644 --- a/Master/texmf-dist/doc/generic/m-tx/mtx-install.tex +++ b/Master/texmf-dist/doc/generic/m-tx/mtx-install.tex @@ -5,7 +5,7 @@ \RequirePackage{hyperref} \usepackage{xcolor} \newcommand{\myurl}[1]{\textcolor{blue}{\underline{\textcolor{black}{\url{#1}}}}} -\newcommand{\mtxVersion}{0.61} +\newcommand{\mtxVersion}{0.60d} \begin{document} \title{Installation of the CTAN M-Tx Distribution} \author{Bob Tennent\\ @@ -35,8 +35,8 @@ and installing files\footnote{% \section{Installing \texttt{m-tx.tds.zip}} In this distribution of M-Tx, many of the files to be installed -(including macros and documentation are in -\myurl{http://mirror.ctan.org/install/m-tx.tds.zip}. The file +(including macros, documentation, and a wrapper script \verb\m-tx.lua\) are in +\texttt{tex-archive/install/m-tx.tds.zip} at CTAN. The file \verb|mt-x.tds.zip| is a zipped TEXMF hierarchy; simply download it and unzip in the root folder/directory of whichever TEXMF tree you decide is most appropriate, likely a ``local'' or ``personal'' one. @@ -65,8 +65,8 @@ the one essential file that can't be installed in a TEXMF tree: the \texttt{prep On Windows systems, one can install \texttt{prepmx.exe} -in the \texttt{Windows/32bit} or \texttt{Windows/64bit} sub-directory; these are pre-compiled -executables and should be copied to any +in the \texttt{Windows} sub-directory; this is a pre-compiled +executable and should be copied to any folder on the PATH of executables. This might entail creating a suitable folder and adding that folder to the PATH as follows: @@ -126,16 +126,39 @@ This step should be executed as root if you need super-user privileges. You should now have an executable \verb\prepmx\ in your PATH. -\section{Usage} - -To process an M-Tx source file, use the \verb|musixtex| script -which is included in the \verb|musixtex| package. -If applied to a file with \verb|.mtx| extension, it will by default execute \verb|prepmx| followed by -\verb|pmxab|, followed -by \verb|etex|, \verb|musixflx|, and \verb|etex| again, followed by -conversion to PDF using \verb|dvips| and \verb|ps2pdf|. +\section{The Processing Script} + +The Lua script \verb\.../scripts/m-tx/m-tx.lua\ +is simply a convenient wrapper that +by default runs the following processes in order (and then deletes intermediate files): +\begin{itemize}\topsep=0pt\itemsep=0pt +\item \verb\prepmx\ (pre-pre-processing pass) +\item \verb\pmxab\ (pre-processing pass) +\item \verb\etex\ (1st pass) +\item \verb\musixflx\ (2nd pass) +\item \verb\etex\ (3rd pass) +\item \verb\dvips\ (to convert \verb\dvi\ output to Postscript) +\item \verb\ps2pdf\ (to convert \verb\ps\ output to Portable Document Format) +\end{itemize}% There are many options to vary the default behaviour. +On a Unix-like system (with \texttt{luatex} installed), you can put a +symbolic link to \texttt{m-tx.lua} in any directory on the executable PATH as follows: +\begin{list}{}{} +\item \verb\ln -s <path to m-tx.lua> m-tx\ +\end{list} +On Windows, install +the batch script +\begin{list}{}{} +\item \verb|Windows\m-tx.bat| +\end{list} +to a folder +on the executable PATH. + +Documentation for the \verb\m-tx\ script is in the +\verb\doc/generic/m-tx/scripts\ directory. + + \section{Discussion} Other pre-processor packages, additional documentation, additional diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060.pdf b/Master/texmf-dist/doc/generic/m-tx/mtx060.pdf Binary files differnew file mode 100644 index 00000000000..317c1daddd9 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060.pdf diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/Makefile b/Master/texmf-dist/doc/generic/m-tx/mtx060/Makefile new file mode 100644 index 00000000000..c99862d03d0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/Makefile @@ -0,0 +1,113 @@ +PREPMX = ./prepmx +include make-target + +sources = mtxdoc.tex mtxdoc.sty mtxlatex.sty mozart0.mtx mozart.mtx\ + netfirst.mtx meter.mtx notes.tex lyrics.tex mtxindex.tex\ + dertod.mtx volta.mtx title.mtx title1.mtx psalm42.mtx netsoos1.mtb \ + netsoos2.mtb borup.mtx melisma1.mtb dwoman.mtb \ + melisma2.mtb melisma3.mtb melisma4.mtb melisma5.mtb melisma6.mtb \ + dwoman.mta melisma.mta netsoos.mta kroonhom.mtx loofnou.mtx \ + viva.mtx dona.mtx sanctus.mtx halleluja.ltx kanons.ltx chord.mtx \ + macro.mtx + +examples = mozart0.tex mozart.tex netfirst.tex meter.tex \ + dertod.tex volta.tex title.tex title1.tex psalm42.tex netsoos1.tex \ + netsoos2.tex borup.tex melisma1.tex dwoman.tex \ + melisma2.tex melisma3.tex melisma4.tex melisma5.tex melisma6.tex \ + chord.tex macro.tex + +halleluja_pieces = kroonhom.tex loofnou.tex + +kanons_pieces = viva.tex dona.tex sanctus.tex + +%.tex: %.mtx + $(PREPMX) $* + pmxab $* + rm $*.pml $*.pmx pmxaerr.dat + +DOC: mtx.$(target) + +mtxdoc.$(target): mtxdoc.tex mtxdoc.sty $(examples) + touch mtxdoc.mx1 + rm *.mx? + - $(latex) mtxdoc + musixflx mtxdoc + makeindex mtxdoc + - $(latex) mtxdoc + - $(latex) mtxindex + rm mtxdoc.log mtxdoc.idx mtxdoc.ilg mtxindex.log mtxindex.aux + +%.mtx: %.mta %.mtb + cat $*.mta $*.mtb > $*.mtx + +melisma%.mtx: melisma.mta melisma%.mtb + cat melisma.mta melisma$*.mtb > melisma$*.mtx + +netsoos%.mtx: netsoos.mta netsoos%.mtb + cat netsoos.mta netsoos$*.mtb > netsoos$*.mtx + +once: mtxdoc.tex mtxdoc.sty $(examples) + - $(latex) mtxdoc + +index: mtxdoc.idx mtxindex.tex + makeindex mtxdoc + $(latex) mtxindex + +%.$(target): %.ltx + - rm $*.mx?; $(latex) $*.ltx; musixflx $*; $(latex) $*.ltx + +kanons.$(target): kanons.ltx $(kanons_pieces) + +halleluja.$(target): halleluja.ltx $(halleluja_pieces) + +all: mtxdoc.$(target) kanons.$(target) halleluja.$(target) mtxindex.$(target) + +config: + @echo "Configuring mtxdoc Version `./docversion`" + @echo "Looking for prepmx ... `which prepmx`" + ln -sf `which prepmx` . + @echo "Looking for pmxab ... `which pmxab`" + @echo "Looking for musixflx ... `which musixflx`" + @echo "Looking for musixtex ... `kpsewhich musixtex.tex`" + @echo "Looking for musixlyr ... `kpsewhich musixlyr.tex`" + @echo "Looking for $(latex) ... `which $(latex)`" + @echo "Looking for $(concat) ... `which $(concat)`" + +pdftarget: + ln -sf make-pdf make-target + + +dvitarget: + ln -sf make-dvi make-target + +paperus: + echo \\def\\paperUS{} > mypaper.tex + +papera4: + echo \\def\\paperA4{} > mypaper.tex + +mtxdocus.$(target): paperus mtxdoc.$(target) + mv mtxdoc.$(target) mtxdocus.$(target) + +mtxdoca4.$(target): papera4 mtxdoc.$(target) + mv mtxdoc.$(target) mtxdoca4.$(target) + +ps: mtxdoc.ps halleluja.ps kanons.ps mtxindex.ps + +pdf: mtxdoc.pdf halleluja.pdf kanons.pdf mtxindex.pdf + +mtx.pdf: mtxdoc.pdf mtxindex.pdf + ./pdfcat -a -o mtx.pdf -i "mtxdoc.pdf mtxindex.pdf" + +mtx.dvi: mtxdoc.dvi mtxindex.dvi + dviconcat -o mtx.dvi mtxdoc.dvi mtxindex.dvi + +support = docversion Makefile make-dvi make-pdf make-target pdfcat + +Dzip: + - @zip -ju mtxD`./docversion` $(sources) $(support) README + +bare: + rm $(examples) $(halleluja_pieces) $(kanons_pieces) *.dvi *.lj *.ps *.pdf\ + netsoos?.mtx melisma?.mtx *.mx? *.ind *.ilg *.toc *.aux *.log + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/README.M-Txdoc b/Master/texmf-dist/doc/generic/m-tx/mtx060/README.M-Txdoc new file mode 100644 index 00000000000..f8d3d306fe5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/README.M-Txdoc @@ -0,0 +1,73 @@ + M-Tx Documentation Package + +This is the development version of the M-Tx documentation. It contains +all the sources for generating the Users's Manual (mtxdoc.?), its index +(mtxindex.?), and two sample music documents (halleluja.?, kanons.?), where +'?' might be 'dvi', 'ps', 'pdf' or 'lj'. + +On a GNU system (e.g. Linux; or Cygwin running under Windows) you need +to change to some empty directory and unzip a file with a name of the +form mtxD????.zip (use GNU unzip with the -a option, or some other +unzipper that can convert text files to your operating system format). +You need to have MusiXTEX, PMX, musixlyr and M-Tx already installed. + +Now decide whether you will need: + .ps, .pdf, .dvi or .lj files (go to 1); + only .ps or .pdf files (goto 2). + + + 1. If you want .dvi or .lj files + +This option allows you to make any of the four file formats. Type + + make dvitarget && make config + +to configure the option. Make sure that everything looked for was found. +You can then choose between: + + make Makes mtx.dvi (and mtxdoc.dvi, mtxindex.dvi on the way there) + make all Make .dvi files. + make ps Make .dvi and .ps files + make pdf Make .dvi, .ps and .pdf files + make ?.lj Make the specified .lj file + + + 2. If you want only .ps or .pdf files + +You need to have pdflatex installed (any good TeX distribution has it). Type + + make pdftarget && make config + +to configure the option. Make sure that everything looked for was found. +You can then choose between: + + make Makes mtx.pdf (and mtxdoc.pdf, mtxindex.pdf on the way there) + make all Make .pdf files. + make ps Make .pdf and .ps files + +You don't have the option of making .dvi or .lj files. + + +Dirk Laurie <dlaurie@na-net.ornl.gov> + + +FAQ - Frequently Asked Questions + +1. I get "make: ./prepmx: Command not found". + + A: You have omitted the "make config" step. + +2. I have configured, but the make still fails. + + A: Look at the screen output from "make config". Make sure that + there is a file name after each "...". + +3. Is there any difference between the .pdf and .ps files made by the + two options? + + A: Yes. If you go by the second route, slurs tend to look smoother + and certain additional slur shapes are possible; see the PMX manual. + Also, the two versions look a little different on a low-resolution + monitor, but apart from slurs, should be virtually indistinguishable + when printed. + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/borup.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/borup.mtx new file mode 100644 index 00000000000..0f00f9712a5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/borup.mtx @@ -0,0 +1,20 @@ +Meter: 3/4 +Title: Song of May +Flats: 1 +Style: Singer +Systems: 2 +Space: 10 + +%% \\let\endpiecesav\endpiece\ +%% \\def\endpiece{\endpiecesav\input lyrics \input notes}\ +( d4 e ) g | ( d e ) g | ( f e ) f | d2 r4 | +L: In ver-na-lis tem-po-ris +L: Dum re-ces-sum fri-go-ris + +( f g ) a | ( a g ) f | g2d | g2 r4 :|: g2 d4+ | d2 d4 | ( d c ) b | a2 r4 | +L: or-tu lae-ta-bun-do, ter-rae, ma-ris, ne-mo-ris +L: nun-ti-at hi-run-do, vi-gor re-dit cor-po-ris, + +g2 a4 | ( b a ) g | ( f e ) f | d2 r4 | ( f g ) a | ( a g ) f | g2d | g2 r4 :| +L: de-cus ad-est de-fo-ris re-no-va-to mun-do, +L: ce-dit do-lor pec-to-ris tem-po-re iu-cun-do. diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/chord.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/chord.mtx new file mode 100644 index 00000000000..a5b0ca6a798 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/chord.mtx @@ -0,0 +1,10 @@ +Style: Organ +Meter: C +Flats: 1 + +{ cs0 c }{ c }{ c } +C: {e{g{b {e{g{b {e{g{b egb +{ cs0 c }{ c }{ c } +C: {e{g{b {e{g{b {e{g{b egb +{ cs0- c }{ c }{ c } +C: {b+ {b+ {b+ b+ diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dertod.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/dertod.mtx new file mode 100644 index 00000000000..26cbd7b43e8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/dertod.mtx @@ -0,0 +1,9 @@ +Style: PianoBass +PianoBass: Voices RH LH; Clefs F F; Continuo +Meter: C/ +Flats: 1 + + f2 g4 e | f2 a4 a | a2 f4 e | f2 f4 e | f2 g4 e | f2 a4 a | a2 f4 e | +C: ad bd gd+ ad gle+ f+ gle+ ad acs ad d+ gd+ ad bd gd+ ad gle+ f+ gle+ ad acs + d2 d4 d | d2 d4 a | a2 a4 a | a2 d4 d | d2 d4 d | d2 d4 a | a2 a4 a | +C: d- d- d- d- d- d a- a- a- d- d- d- d- d- d- d- d- d a- a- a- diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/docversion b/Master/texmf-dist/doc/generic/m-tx/mtx060/docversion new file mode 100755 index 00000000000..22dbcf815ec --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/docversion @@ -0,0 +1 @@ +grep 'def\\versionname' mtxdoc.tex | sed -e "s/.*{\(.*\)\.\(.*\)}.*/\1\2/" diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dona.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/dona.mtx new file mode 100644 index 00000000000..2921ad5a387 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/dona.mtx @@ -0,0 +1,19 @@ +Title: Dona Nobis Pacem +Flats: 1 +Meter: 3/4 +Style: Singer +Bars/line: 8 +Size: 20 + +U: !bf 1 +@+3 [ f8 c ] a2+ [ g8 c- ] b2+ ( a4 g ) f f e2 ( d4+ c8 b ) [ a g ] ( c4.b ) a ( a8 g f4 e ) f2d +L: Do-na no-bis pa-cem, pa-cem, do-na no-bis pa-cem, + +U: 2 +c2d+ cd ( c4 b ) a a g2 d4+ d2 c4 c2 ( c8 b a4 g )+5 f2d +L: do-na no-bis pa-cem, do-na no-bis pa-cem, + +U: 3 +@=+1 f2d ed ( f4d g8 ) [ a b ] c4 c2- b4+ b2 a4 a2 ( e8 g c4 c- ) f2d +L: do-na no-bis pa-cem, do-na no-bis pa-cem. + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mta b/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mta new file mode 100644 index 00000000000..77f00c576b4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mta @@ -0,0 +1,4 @@ +Style: Singer +Meter: 3/4 + +%% w80m diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mtb new file mode 100644 index 00000000000..c9003cbf5bf --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mtb @@ -0,0 +1,3 @@ +e f g ( a2d a ) (" g8 f ) (" e4 e ) +L: She is a dan-ge-rous wo-man +L: You'll get a bro--ken heart_ diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/halleluja.ltx b/Master/texmf-dist/doc/generic/m-tx/mtx060/halleluja.ltx new file mode 100644 index 00000000000..4b09e89f67b --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/halleluja.ltx @@ -0,0 +1,75 @@ +\documentclass[a4paper]{article} +\usepackage{etex} +\usepackage{mtxlatex,times} +\mtxlatex +\pagestyle{headings} +\title{ {\Huge Halleluja!\\ [2ex]} + {\Large\textit{Anthems for unaccompanied church choir (SATB)}\\ [5ex]}} +\author{\Large Edited by Dirk Laurie} +\date{} +\let\Writebarno\writebarno +\begin{document} + \maketitle + \thispagestyle{empty} + \tableofcontents + \section*{} % Foreword +The scores in this booklet were edited from nearly illegible photocopies +of crudely duplicated manuscripts, themselves made by inexpert copyists +from unknown originals in the days before photo-copying machines existed. +Any remaining errors are the responsibility of the editor. + +Unfortunately the available sources did not specify who the composers +and lyrics writers of these anthems are. +\pagebreak + +\def\writebarno{\vbox to 24pt{}{\Writebarno}} +\begin{Score} {Kroon Hom!} {kroonhom} \end{Score} +\def\writebarno{\vbox to 16pt{}{\Writebarno}} +\begin{Score} {Loof nou die Heer} {loofnou} \end{Score} + + \section*{Technical notes} +The score was typeset by the editor using his own \MTx\ typesetting program, +which in turn relies on the programs \PMX\ by Don Simons, \texttt{musixlyr.tex} +by Rainer Dunker, MusiX\TeX\ by Daniel +Taupin \textit{et al.}, \LaTeX\ by Leslie Lamport and \TeX\ by Donald Knuth. + + \section*{The lyrics} +Here is a literal translation of the words of the first anthem. +\begin{verse} + \begin{center} Crown Him! \end{center} +Crown Him! Crown Him! Crown Him! \\ +Around the throne of God on high rejoices a crowd of people, +a crowd redeemed of sin and guilt. \\ +And crown Him as your Lord. \\ +Bring praise and thanks and glorify his Name and crown Him as your Lord. \\ +The promise of the Second Coming and the Advocacy of the Spirit causes men and +the Creation to wait hopefully for eternal freedom. \\ +One day corn and chaff will be separated. \\ +He will lead us in freedom. \\ +Throw all your sorrows before Him and crown Him as your Lord. \\ +Let every person, every nation on this earth praise Thee. \\ +Unto Him eternal praise and glory and crown Him as your Lord. \\ +O ye that are chosen, come and assemble before his feet. \\ +Join everyone in eternal song and crown Him as your Lord. \\ +Amen. +\end{verse} + +The second anthem is a translation of Psalm 150. Rather than +an attempt at rendering that version into English, here are the +relevant verses from the Authorised Version (King James Bible). +\begin{verse} + Praise ye the \textsc{Lord}. Praise God in his sanctuary: praise +him in the firmament of his power. \\ + Praise him for his mighty acts: praise him according to his excellent +greatness. \\ + Praise him with the sound of the trumpet: praise him with the psaltery +and harp. \\ + Praise him with the timbrel and dance: praise hom with stringed instruments +and organs. \\ + Praise him upon the loud cymbals: praise him upon the high sounding +cymbals. \\ + Let every thing that hath breath praise the \textsc{Lord}. + Praise ye the \textsc{Lord}. +\end{verse} +\end{document} + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/kanons.ltx b/Master/texmf-dist/doc/generic/m-tx/mtx060/kanons.ltx new file mode 100644 index 00000000000..973ce3f982e --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/kanons.ltx @@ -0,0 +1,13 @@ +\documentclass{article} +\usepackage{etex} +\usepackage{mtxlatex,charter} +\mtxlatex +\pagestyle{empty} +\renewcommand{\writebarno}{\rule{0pt}{12pt}} +\begin{document} + \begin{excerpts} +\input{dona.tex} \vskip 8mm +\input{sanctus.tex} \vskip 8mm +\input{viva.tex} \newpage + \end{excerpts} +\end{document} diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/kroonhom.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/kroonhom.mtx new file mode 100644 index 00000000000..3908d39d43c --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/kroonhom.mtx @@ -0,0 +1,144 @@ +Title: Kroon Hom! +Flats: 2 +Style: SATB +Pages: 3 +Systems: 14 +Space: 0 4 +% %\font\tensf=cmss10 \tensf + +%% h280m w193m +% 0 +f | b2 r4 b | d2 r4 d | { f0 | f2 } r4 || f- | fd f8 [ g a ] [ b c ] | +L: Kroon Hom, kroon Hom, kroon Hom! Rond-om die troon van +f | d2 r4 f | g2 r4 g | (-4 b2 a4 g | a2 )-4 r4 || c- | dd d8 e4 e | +f | b2 r4 d | d2 r4 d | (+2 d2 c4 b | c2 )+2 r4 || f- | bd b8 b4 b | +f | b2- r4 b+ | b2 r4 b | { f0 | f2 } r4 || a- | b2 e4 g | + +% 5 +d4 d d e | d [ c8 b ] c4d b8 | b2d b4 | +L: God om-hoog juig steeds 'n men-se-skaar, 'n +f fs g g | f f fd f8 | f2d b4 | +b c b c | b b a a | b0 | +b a g c- | f f f e | (-6 d f8 e d c )-6 d4 | + +% 10 +[ a8 g ] [ a b ] c4 c | [ b8 a ] [ b c ] d4 [ c8 b ] | [ a b ] c4 a g | +L: skaar ver-los van sond' en skuld. En kroon Hom as u +f f f fs | g g g g | f f f e | +c2 a4 d | c2 b4 c | c a c b | +@-6 e2 e4 d | g2d e4n | f2 c | +L: skaar los van sond', en kroon Hom + +% 13 +f2d |: f4 | [ b8 c ] [ d c ] b4 f | g2d g4 | [ c8 d ] [ e d ] c4 g | a2d f4 | +L: Heer, en kroon hom as u Heer, en kroon Hom as u Heer. Bring +c2d |: [ f8 e ] | [ d e ] [ f e ] d4 d | e2d f4r | [ e8 f ] [ g f ] e4 e | f2d f4 | +a2d |: f4 | f b f b | b2d b4n | c c g c | c2d a4 | +fd |: f4 | b2d- b4 | [ e8 f ] [ g f ] e4 d | c2d c4 | [ f8 g ] [ a g ] [ f g ] [ f e ] | +L: Heer, en kroon, en kroon Hom as u Heer, kroon Hom as Heer. Bring + +% 18-19 +b c d e | fd b8- a4 g | fd f8 [ a g ] [ f e ] | +L: lof en dank en prys sy Naam en kroon Hom as u +g a b b | bd f8 f4 cs | dd d8 e4 c | +b f+ f e | bd b8 b4 b | bd b8 [ c b ] a4 | +d4 f b g | dd d8 e4 en | fd f8 f4 [ f8 fs ] | + +% 20-23 +d2d f4 | (+6 g c8 b a4 d8 c | b4 e d )+5 c | +L: Heer. En kroon Hom +b2d f4+ | (-2 e g f a | b c b )-2 g | +b2d b4 | (+6 b e8 d c4 f8 e | d4 f2 )+4 e4 | +g4 g- (-8 g8+ f e d | e d c4 f8 e d4 | g a b )-6 e- | +L: ~ En kroon Hom + +% 24- +%%L5 +b2 a | bd :| d4 | dd d8 c4 b a g fsd d8 g4 a b c d2d r4 +L: as u Heer. Be-lof-te van die We-der-koms en Voor-spraak van die Gees +f2 f | fd :| f4s | g4d g8 g4 g en e dd d8 | d4 d d g | f2sd r4 +d2 ( c4 e ) | d2d :| d4 | b b c c cs c d [ a8 fs ] | g4 fs g g | a2d r4 +f2 f2 zf- | b2d :| d4 | g g e g a a d- d | b a g e+ | d2d r4 + +d c8 b a4 g c f- en d [ c8 f ] [ g a ] g4d f8 f2d r4 +g g8 g f4 en f c c cr c c end c8 c2d r4 +L: laat mens (en) skep-ping hoop-vol wag om e-wig vry te wees. +b c c c c f- g g f en c+ b a2d r4 +g en f [ c8 b ] a4 a c b a b c c f2d r4 + +fs8 f4 f8 g4 g a a8 a b4 b c8 c4 c8 b4 c d2d d4 dd d8 d c b af +d8 d4 d8 d4 d d d8 d d4 f f8 f4 f8 f4 f f2d f4s g4d g8 f e d f +L: Een-maal word kaf en ko-ring ge-skei. Hy sal ons in vre-de lei. Werp al jou sor-ge voor Hom +a4 a g2 fs g4 b a a b a b2d a4 b b ad b8 | +d c b2 a g4 d+ f e d c b2d d4 g g b- b | +L: Een-maal kom Hy weer, hy sal in vre-de lei. Werp al jou sor-ge + +g2d g4 ad g8 fs4 g a2d of f4 +e2d e4 en e d d d2d f4 +L: neer, (en) kroon Hom as u Heer. En +b0 | a4 a a g fs2d fn4 +e0 | cs4 c [ d8 cn ] b4 a2d ofd f4+ + +[ b8 c ] [ d c ] b4 f g2d g4 [ c8 d ] [ e d ] c4 g a2d f4 +[ d8 e ] [ f e ] d4 d e2d f4r [ e8 f ] [ g f ] e4 en f2d f4 +L: kroon Hom as u Heer, en kroon Hom as u Heer. Bring +f b f b b2d bn4 c c g c c2d a4 +b2d- b4 [ e8 f ] [ g f ] e4 d c2d c4 [ f8 g ] [ a g ] [ f g ] [ f e ] | +L: kroon, en kroon Hom as u Heer, kroon Hom as Heer. Bring + +b c d e fd b8- a4 g fd f8 [ a g ] [ f e ] +f a b b bd f8 f4 cs dd d8 e4 c +L: lof en dank en prys sy Naam en kroon Hom as u +b f+ f e bd b8 b4 b bd b8 [ c b ] a4 +d4 f b g | dd d8 e4 en | fd f8 f4 [ f8 fs ] + +d2d f4 (+8 g c8 b a4 d8 c b4 e d )+6 c b2 c +L: Heer. En kroon Hom as u +b2d f+4 g [ c8 b ] a4 [ d8 c ] b4 e d f- f2 en +b2d f4 g [ c8 b ] a4 [ d8 c ] b4 e d c d2 ( c4 b ) +g2d f4 (-2 g c8 b a4 d8 c b4 e d )-6 a g2 c- + +fd- f4 fd f8 [ g a ] [ b c ] d4 d d e d [ c8 b ] c4d b8 +fd c4 dd d8 e4 e f fs g g f f f f +L: Heer. Laat al-le men-se, el-ke volk op hier-die aard U +a2d f4 b b b b b c b c b b a a +f2d a4- b b e g b a g c- f f f e + +b2d b4 [ a8 g ] [ a b ] c4 c +f2d f4 f f f fs +L: loof. Aan Hom die eew'-ge +b2d b4 c c a d +( d f8 e d c )-6 d4 e e e d + +[ b8 a ] [ b c ] d4 b [ a8 b ] c4 a g +g g g g f f f en +L: lof en eer, en kroon Hom as u +d d b c c a c b +g2d en4 f2 c +L: lof, en kroon Hom + +f2d g4 [ a8 b ] [ c d ] e4 en f2d of f4- +c2d f4r [ f8 g ] [ a b ] a4 b a2d d4- +L: Heer. En kroon Hom as u Heer. O +a2d b4 f+ f f c c2d b4 +f2d g4 [ c8 d ] [ c b ] c4 c f2d- ofd b4- + +b b b c d [ c8 b ] c4 f- g f8 e d4 f +f g f f f en f f e b8 b b4 c +L: die wat uit-ver-ko-re is, kom skaar jul-le voor sy +b b b a b b a b b b8 g f4 a +d e d f b g f d e d8 e f4 f + +b2d f4 b b b c d [ c8 b ] c4 f- b2 b d d +d2d d4 f f f f f en f [ f8 ef ] [ d e f g ] f2 ( g4d a8 ) b2 +L: voet. Voeg al-mal saam in eew'-ge sang, en kroon Hom, kroon Hom, +b2d b4 b b b a b g a a b2d [ d8 c ] [ b c d c ] [ b c d e ] +b2d- b4 d e d f b- c f f [ b8- c d e ] [ d f b a ] [ g a b a ] [ g a b c ] + +f f d e d c b0 b b of +@+2 b2 b b g b f f0 g f +L: kroon Hom, kroon Hom, as u Heer! A-men. +f2 d f e [ f8 d c b ] a2 d0 e d +%[ d b a g ] [ f e d c ] [ b c d b ] [ e b d e ] f2 f zf- b0 e b ofd +[ d b a g ] [ f e d c ] [ b c d b ] [ e b d e ] f2 f zf- b0 e b ofd + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/loofnou.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/loofnou.mtx new file mode 100644 index 00000000000..be0289f32c1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/loofnou.mtx @@ -0,0 +1,104 @@ +Title: Loof nou die Heer +Composer: Psalm 150 +Style: SATB +Pages: 2 +Systems: 10 +Space: 2 + +%% h280m w193m +g e8.g c2 | c4 b8.a g2 | +e c8.e e2 | a4 g8.f e2 | +L: Loof nou die Heer, loof nou die Heer, +c+ g8.c c2 | c4 c8.c c2 | +c c8.c c2 | f4 f8.f c2 | + +g8 g c d e.e e4 | e8 e d c d.d d4 | +e8 e g g g.g g4 | g8 g g fs g.g g4 | +L: loof Hom in Sy hei-lig-dom, loof Hom in Sy hei-lig-dom, +c8 c c b c.c c4 | c8 c d c b.b b4 | +c8 c e g c.c c4 | c8 c b a g.g g4 | + +d8 d c b c4 g8 g | b4 a g g of | +g8 g g f e4 g8 g | g4 fs g fne | +L: loof Hom in die uit-span-sel van Sy sterk-te. +b8 b c g g4 e+8 e | d4 c b b | +g8 f e d c4 c8 c | d4 d g g ofd | + +g8 g e g c.c c4 | c8 c b a g.g g4 | +e8 e c e e.e e4 | a8 a g f e.e e4 | +L: Loof Hom om Sy mo-\"end-heid, loof Hom om Sy mo-\"end-heid, +c8 c g c g.g [ g8 c ] | c8 c c c c.c c4 | +c-8 c c c c.c c4 | f8 g a br c.c- c4 | + +U: | ~ ~ ~ ~ !bf ~~~~~~Fine +c8 c d d e c a d | c8 c b b c2 of |] +g8 g g g g g f a | g8 g f f e2 |] +L: loof Hom na die groot-heid, na die groot-heid van Sy krag. +c8 c b b c c c f | e8 e d d c2 |] +e8 e g g c e- f d | g8 g g g c-2 ofd |] + + r0 | r0 | e8.e e e d4 b8 g | a0e | +d8.d d d d4 d8 d | b+2 g | g8.g g g g4 g8 g | (-6 g4 f8s e f2 )-6 | +L: Loof Hom met die klank van ba-sui-ne, loof Hom met die luit en die harp; + r0+4 | r0+4 | c8.c c c d4 d8 cs | d0 | +d8.d d d d4 d8 d | b+2 g | c8.c c c b4 g8 e | d0 | + +b8.b b b c4 d8 d | e2 g | d8 cs d g- b4 a8.g | g0e +g8.g g g g4 g8 g | g2 g | g8 g g g g4 fs8.g | ( g2 fn ) +L: Loof Hom met die klank van ba-sui-ne, loof Hom met die luit en die harp; +d8.d d d c4 b8 b | c2 as | b8 as b cs d4 c8.b | b0 +g8.g g fn e4 d8 d | c2 cs | d8 e d e d4 d8.g | g0 + +%% L6P2 +Space: 3 +|: g8.g g g g4 g8 g | g8 e+ c a g2 | +|: e8.e e e f4r f8r fr | e8 g e ds e2 | +L: loof hom met die trom-mel, die trom-mel en die fluit. +|: c8.c c c b4 b8 b | c8 c g fs g2 | +|: c-8.c c c d4 d8 d | c8 c c c c2 | + +@+8 (+8 g8 a b d f4- )+8 f | (+9 e8 g c g e4 )+7 e | +LS: Loof Hom, loof Hom +d4 f d2 | c4 e c2 | +L: Loof die Heer, loof die Heer; +b4 b b2 | g4 g g2 | +g4+ g g2 | c-4 c c2 | + +g8.g g g g4 g8 g | g8 e+ c a g2 | +e8.e e e f4r f8r fr | e8 g e ds e2 | +L: loof hom met die trom-mel, die trom-mel en die fluit. +c8.c c c b4 b8 b | c8 c g fs g2 | +c8.c c c d4 d8 d | c8 c c c c2 | + +f8 g b d f d b g | c2 c :| +f8 fr f f f f f fr | ( e4 ds ) e2 :| +L: Loof die Heer met sna-re-spel en or-rel. +b8 b b b b b b b | ( c4 a ) g2 :| +g8+ g g g g g g g | c-2 c :| + +r0 | r0 | c4 c8 d e e d c | d2 d | +r0 | r0 | e4 g8 g g g g fs | g2 g | +@^-3 a4 a8.a c.c a4 | e2 e2 | g4 c8 b c c b c | (+6 c4 b8 a )+6 b2 | +L: Loof Hom met sim-bel-spel, loof Hom, loof Hom met klin-ken-de sim-ba-le. +a+4 a8.a c.c a4 | e2 e2 | c4 e8 g c c g a | g2 g | + +e4 d8.d c4 b8.b | a4 g8.g f2 | +g4 f8.f e4 g8.g | f4 e8.e d2 | +L: Al-les wat a-dem, kom loof, loof die Heer; +c4 b8.b c4 c8.c | c4 a8.a b2 | +c4 g8.g a4 e8.e | f4 cs8.c d2 | + +f+4 e8.e d4 c8.c | b4 a8.a g2 | +g4 g8.g a4 a8.a | g4 fs8.f g2 | +L: al-les wat a-dem, kom loof, loof die Heer; +b4 c8.c c4 d8.d | d4 c8.c b2 | +d4 e8.e f4 fs8.f | g4 d8.d ( g4 fn ) | + +U: | | | ~~D.C.~al~Fine +g+4 f8.f e4 d8.d | c4 b8.b a4 of f+8.f | e4 [ c8.e ] g4 b- | c0 :| +g4 g8.g g4 f8.f | e4 g8.g f4 a8.a | g4 g g g | e0 :| +L: al-les wat a-dem, kom loof, loof die Heer; Hal-le-lu-ja, loof die Heer. +c4 c8.c c4 c8.c | c4 c8.c c4 c8.c | c4 [ e8.c ] b4 d | c0 :| +e d8.d c4 g+8.g | a4 e8.e f4 ofd d8.d | g4 g g g | c-0 :| + + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/lyrics.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/lyrics.tex new file mode 100644 index 00000000000..d9ee84a1ee5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/lyrics.tex @@ -0,0 +1,14 @@ +% -------- file lyrics.tex --------------------------------------- +\vskip 8 mm +\halign{\hskip 35 mm # \hfill & \hskip 25 mm \it # \hfill \cr +In vernalis temporis & In the time when \cr +ortu laetabundo, & spring rises joyfully, \cr +dum recessum frigoris & the end of frost \cr +nuntiat hirundo, & is heralded by the swallow, \cr +terrae, maris, nemoris & earth, sea and grove \cr +decus adest deforis & is full of beauty \cr +renovato mundo, & like a renewed world, \cr +vigor redit corporis, & the body regains strength, \cr +cedit dolor pectoris & the sorrow of the heart ends \cr +tempore iucundo. & in this playful time \cr +} diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/macro.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/macro.mtx new file mode 100644 index 00000000000..f75ac802447 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/macro.mtx @@ -0,0 +1,15 @@ +Style: Woodwind Violins +Woodwind: Voices FlObCl; Clefs G +Violins: Voices Violini; Clefs G +Flats: 1 +Meter: C +Enable: countMacro + +MS1 c8+ za zf zc M [u MP1 MP1 MP1 MP1 ] [u MP1 MP1 MP1 MP1 ] +r2 r4 r8 b1n d + +[u MP1 MP1 MP1 MP1 ] [u MP1 MP1 MP1 MP1 ] +c8 b1n d c8 b1 d c4.a + +[u MR3 c8+ zb zg ze zc M MP3 MP3 MP3 ] [u MP1 MP1 MP1 MP1 ] +a1 g g a b8 g1 a1 f4d r8 diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-dvi b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-dvi new file mode 100644 index 00000000000..ea88e471c27 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-dvi @@ -0,0 +1,16 @@ +target = dvi +latex = latex +concat = dviconcat + +%.lj: %.dvi + dvicopy $* xxx + dvilj -e$*.lj xxx + rm xxx.dvi + +%.pdf: %.ps + ps2pdf $*.ps + +%.ps: %.dvi + dvips -D 600 $* -o $*.ps + + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-pdf b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-pdf new file mode 100644 index 00000000000..355b8e48682 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-pdf @@ -0,0 +1,6 @@ +target = pdf +latex = pdflatex +concat = gs + +%.ps: %.pdf + pdf2ps $*.pdf $*.ps diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-target b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-target new file mode 100644 index 00000000000..355b8e48682 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-target @@ -0,0 +1,6 @@ +target = pdf +latex = pdflatex +concat = gs + +%.ps: %.pdf + pdf2ps $*.pdf $*.ps diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma.mta b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma.mta new file mode 100644 index 00000000000..273f446bcc8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma.mta @@ -0,0 +1,5 @@ +Style: Singer +Meter: C +Start: @+2 + +%% w2i diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma1.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma1.mtb new file mode 100644 index 00000000000..3f36f53124b --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma1.mtb @@ -0,0 +1,2 @@ +( c8 d1 e1 d8 e1 f1 ) e2 | +L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma2.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma2.mtb new file mode 100644 index 00000000000..d35cbcc5288 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma2.mtb @@ -0,0 +1,2 @@ +[ c8 d1 e1 d8 e1 f1 ] e2 | +L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma3.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma3.mtb new file mode 100644 index 00000000000..70973365b6c --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma3.mtb @@ -0,0 +1,2 @@ +( [ c8 d1 e1 d8 e1 f1 ] ) e2 | +L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma4.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma4.mtb new file mode 100644 index 00000000000..73a6efb78ee --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma4.mtb @@ -0,0 +1,3 @@ +%% \\let\BM\beginmel\let\EM\endmel\ +[[ \BM\ c8 d1 e1 ] [[ d8 e1 \EM\ f1 ] e2 | +L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma5.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma5.mtb new file mode 100644 index 00000000000..4d6dafa134c --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma5.mtb @@ -0,0 +1,2 @@ +[ c8 d1 e1 ] [ \nolyr\ d8 e1 f1 ] e2 | +L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma6.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma6.mtb new file mode 100644 index 00000000000..85a0e3a162f --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma6.mtb @@ -0,0 +1,3 @@ +@-3 (" [ c8 \lyr\ d1 e1 ] [ d8 e1 f1 ] ) e2 | +L: Hal-le-lu-ja +L: A---men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/meter.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/meter.mtx new file mode 100644 index 00000000000..7223d511c32 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/meter.mtx @@ -0,0 +1,10 @@ +Style: Piano +Meter: m3406 +%% \def\upiii#1{\raise3\internote\hbox{{#1}}} +%% \def\chacarera{\meterfrac34\upiii{\Big(}\meterfrac68\upiii{\Big)}} +%% \let\oldmeterC=\meterC \let\meterC=\chacarera + +%% w100m +a-2d o> a8 r r a r r a2d o> | +C: dfsa cea cea dfsa +d-2d o>-15 a4 a { [h d8 {u d+ ] d2d } zd- } | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart.mtx new file mode 100644 index 00000000000..88a4123c24d --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart.mtx @@ -0,0 +1,7 @@ +Title: Riff in C +Composer: W. A. Mozart (1756--1791) +Style: piano + +%% w120m +c2+ e4 g | b4d- c1 d c2 | +c8 g+ e g c- g+ e g | d g f g c- g+ e g | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart0.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart0.mtx new file mode 100644 index 00000000000..b6538192716 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart0.mtx @@ -0,0 +1,2 @@ +c2+ e4 g | b4d- c1 d c2 | +c8 g+ e g c- g+ e g | d g f g c- g+ e g | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.sty b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.sty new file mode 100644 index 00000000000..521d823bfd0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.sty @@ -0,0 +1,108 @@ +% mtxdoc.sty: macro package for writing documents with music examples +% Some comments on usage appear at the bottom + +% Thanks to Daniel Taupin whose 'musixdoc.sty' is the source +% for some of these + +% Fonts and mark-up + +\newfont{\mflogo}{logo10 scaled 1200} +\font\tentt=\fontid tt10 +\def\ital#1{{\sl #1\/}} +\def\textbs#1{\textbf{\textsl{#1}}} + +% Characters + +\def\Bslash{\tt\char'134} +\def\lquote{{\tt\char'140}} +\def\rquote{{\tt\char'047}} +\def\squote{{\tt\char'015}} +\def\dquote{{\tt\char'042}} +\def\|{{\tt\char'174}} +\def\LBR{{\tt\char'173}} +\def\RBR{{\tt\char'175}} +\def\snake{{\tt\char'176}} +\def\atsign{{\tt\char'100}} +\def\less{{\tt\char'074}} +\def\more{{\tt\char'076}} +\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}% + +% Logos + +\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX} +\def\MF{{\mflogo METAFONT}} +\def\unix{{\sc unix}} +\def\ABC{\textbf{\texttt{ABC2M\TeX}}} + +% Making an index + +\long\def\theindex{\renewcommand{\thesection}{}\section{Index}\parindent\z@ + \parskip\z@ plus.3\p@\relax \let\item\@idxitem \columnseprule\z@ + \columnsep35\p@ \begin{multicols}{2}} +\def\endtheindex{\end{multicols}} +\def\keyindex#1{\leavevmode + \hbox{{\color{red}\Bslash #1}}\index{#1@{\protect\Bslash #1}}} +\def\zkeyindex#1{\index{#1@{\color{red}\protect\Bslash #1}}} +\def\indexed#1{{\color{green}#1}} +\def\ixem#1{\indexed{#1}\index{#1}} +\def\itxem#1{\indexed{\ital{#1}}\index{#1}} +\def\ttxem#1{\indexed{\tt #1}\index{#1@{\tt #1}}} +\newcommand{\ttxi}[1]{\item{\ttxem{#1}}} +\def\ibxem#1{\indexed{\bf#1}\index{#1}} +\def\dotxem#1{\indexed{\tt .#1}\index{#1@{\tt .#1}}} +\def\mark#1{\underline{\ttxem{#1}}} +\def\printindex{\@input{\jobname.ind}} + +% Version highlighting + +\def\current{ \version} +\def\newfrom{0.0} +\def\NEW#1{\ifdim#1 pt<\newfrom pt\else% +\index{NEW!\textsf{#1}}\marginpar{\fbox{\textsf{#1}}}\fi} + +% Paper size + +% A4 +\newcommand{\paperAfour}{ +\immediate\typeout{A4 paper size} +\global\textheight 240mm +\global\textwidth 160mm +\global\topmargin -16mm +\global\oddsidemargin 0mm} +% US Letter +\newcommand{\paperUS}{ +\immediate\typeout{US paper size} +\textheight 9.2in +\textwidth 6.5in +\topmargin -0.84in +\oddsidemargin 0mm +} + +% If there is no file 'mypaper.tex' then \paperA4 is the default paper size. +% Historically 'mypaper.tex' was used to select paper size only. +% It can of course contain any TeX macros suitable for the preamble. +\newread\mypaper +\openin\mypaper mypaper.tex\relax +\ifeof\mypaper\paperAfour\else\input mypaper.tex\fi\closein\mypaper + +\endinput + +======================================================================= + +The macros \example and \fullExample are designed to let the +music appear side by side with some verbatim code. + +\fullExample{basename} takes the input from file basename.tex and + puts the source from file basename.mtx next to it. The right-hand + minipage is centered because the source is expected to be taller than + the music. + +\example{basename} takes the input from file basename.tex and + puts the source from file basename.mtb next to it. In the + case of the M-Tx manual, basename.mtb is part of basename,mtx, + but of course one could put anything in the file. The right-hand + minipage is bottom=aligned ed because the source is expected to be + not taller than the music. + +There are some small differences in dimensions between the two macros, +which are intended to make them look just right when used together. diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.tex new file mode 100644 index 00000000000..ff9ce04d016 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.tex @@ -0,0 +1,2108 @@ +\documentclass[11pt]{article} +\usepackage{etex} +\usepackage{a4wide,color,mtxlatex,mtxdoc} +% You might like to put \paperUS here +\usepackage{verbatim,charter} +% \renewcommand{\ttdefault}{cmtt} +% Some such font packages override cmtt with wider fonts like 'courier', +% and then 80-character lines don't fit +\mtxlatex +\newcommand{\delete}[1]{\relax} +\newcommand{\archiveSite}{ + \texttt{http://icking-music-archive.sunsite.dk/mailinglist/archive} +} +\newcommand{\mailingList}{ +\texttt{tex-music@sunsite.dk} +} + +\def\versionname{0.60} +\def\version{0.60} +\def\newfrom{0.60} +\date{16 March 2005} +\title{\Huge \textbf{\MTx: Music from Text \\ \LARGE Version\current} \\ + User's Guide \vfill} +\author{\LARGE Dirk Laurie\\ \texttt{dlaurie@na-net.ornl.gov} } + +\makeindex +\begin{document} + +\vfill +\maketitle +\vfill +\begin{center} + \framebox[5in]{\parbox{3.6in}{ + \begin{mus} \input title.tex \bigskip \end{mus} + }} +\end{center} +\vfill\vfill\vfill +\thispagestyle{empty} + +\pagebreak +\pagenumbering{roman} +\tableofcontents +\pagebreak +\pagenumbering{arabic} +\section{Music from Text} + Written music has a distinctive appearance, very unlike written text. +But if we want to enlist the aid of the computer to print our scores, we +either need a sophisticated graphical interface\footnote{One such is +\texttt{noteedit} by J\"org Anders obtainable from the Archive --- +see Section \ref{Archive}.}, or we must describe +music in terms of what we are able to type. Text input is not going to +look much like printed music, but we would like it to resemble printed +music closely enough that we can see the correspondence. + +\MTx~is a language for typed music aimed at people who are not experts. +Later in this document a full description of \MTx~is given, but to start +with, here is a sample of what \MTx~input looks like. +\verbatiminput{mozart0.mtx} +Before showing you how it comes out, let's observe and discuss it. +There are two lines of input, which means that there are two voices +of music, one for each line. (Line boundaries are important in \MTx.) +The lines read from top to bottom as printed music reads from top to +bottom. + +Each voice contains a number of `words' separated by blanks. In this +example, each \ixem{word} stands for either a note or a bar line. Bars are +also important in \MTx, although the example is simple enough that I +could have omitted them. For greater readability, I have typed extra +blanks so that notes and bars that are aligned in the printed version +also line up here, but that is not necessary. What is necessary, +though, is that each line ends at the end of a complete bar. + +The \ixem{notes} are written in the \PMX\ language designed by Don Simons. +Each note starts with one of the letters \texttt{a} to \texttt{g}, which mean +exactly what you think. Lower case is easier than capitals, because it is +quicker to type. Some notes have suffixes after them. A digit indicates the +duration (1/\mark2, 1/\mark4, 1/\mark8, 1/\mark16, 1/\mark32, 1/\mark64).\footnote{Yes, it is more +logical to think \texttt{1} should mean a whole note, but we don't want to +type two digits for something so common as a semiquaver. A whole +note is denoted by \ttxem{0}, which looks a bit like a printed semibreve.} +When a note has +no digit, it means that the \ixem{duration} is the same as that of the +previous note in the same voice. Some note names have a \ttxem{+} or +\ttxem{-} after them, which means that it is not the nearest note of that +name, but that there is a \ixem{jump} of at least a fifth up or down from the +previous note. One note is dotted, \index{notes!dotted} which is indicated +with a \ttxem{d}. It cannot be confused with a note name, because it is not +the first letter of its word. A double-dotted note\NEW{0.51} +would have \texttt{dd}. + +The first note in each voice of the piece doesn't have a previous note. +Since you haven't specified anything else, it is assumed that the top +line is in the treble clef and its notes come in the \ixem{octave} running from +middle C upwards; and the bottom line is in the bass clef and its notes +come in the octave just below the one for the treble clef. The first +note of the top voice is the C above middle C, so we need a \texttt{+} +for it. \NEW{0.30} If ever again you prefer the initial octave of a voice to wherever +the previous note puts you, use a \ttxem{=} after the note name. This +can be combined with \ttxem{+} or \ttxem{-}. + +Here is the printed version of the above excerpt. + +\vskip-5mm\hskip -18mm +\begin{mus} +\input mozart0.tex +\end{mus} + +Do you think this looks good? Much better than handwritten? You are +right, but look at the following version: + +\begin{center} +\begin{mus} +\input mozart.tex +\end{mus} +\end{center} + +There is a \ixem{heading}, the notes are not stretched out so much, and the two +staves of the piano are grouped together. To achieve this, the input looks +as follows: +\verbatiminput{mozart.mtx} +The notes are exactly the same as before, but there is an introductory +paragraph, or \ixem{preamble}, that specifies what to do with them. A +\ixem{paragraph} in \MTx~is a group of consecutive lines set apart by +one or more blank lines. Most of the paragraphs contain notes, but the +printed music will not necessarily be broken at the same places as +the paragraphs. + +Only in the simplest cases (every music line in the paragraph starts with +what might be a note) are you allowed to omit the preamble. + +The preamble lines in this example are self-explanatory. The one +mysterious line is the one starting with \ttxem{\%\%}at the top of +the music paragraph. The present +implementation of \MTx~acts as a front end to the \PMX\ program. +Things that +can be done easily in \PMX\ are not re-invented, but instead the \ttxem{\%\%} +facility is provided to pass information directly to \PMX. The \PMX\ command +\texttt{w120m} means `width 120 millimetres'. A short tutorial on \PMX\ +appears in Appendix \ref{pmx}. + +A few words on technical terms, to make sure that we know what we are +talking about: +\begin{itemize} + \item A \ibxem{line} is a text line of typed music. + \item A \ibxem{word} is a string of consecutive non-blank characters, +separated by blanks from other words on the same line. + \item A \ibxem{stave} is the familiar group of five closely spaced +parallel lines on which music is written. + \item A \ibxem{voice} is a melodic strand of music, of which there +may be either one or two per stave.\footnote{Experienced \PMX\ users +please note: the \PMX\ manual uses `voice' as a synonym for `stave', +and `line of music' for what I call a `voice'.} + \item An \ibxem{instrument} corresponds either to a single stave or to a +group of two or more adjacent staves linked together with a brace +\verb'{', usually representing a single instrument like a piano. + \item A \ibxem{system} is a group of staves for the various +voices that are heard at the same time. +\end{itemize} + + + +\subsection{Lyrics} + +I wrote the \MTx\ converter because \ixem{lyrics} are not part of the \PMX\ +design. It used to be\footnote{Rainer Dunker's \texttt{musixlyr} package, +on which \MTx\ depends, can now be used directly with \PMX.} +a major effort to obtain pretty output like the +following: +\vskip 12pt \hskip -20mm +\begin{mus} +\small +\input netfirst.tex +\end{mus} + +The lyrics are in \ixem{Afrikaans}, which maybe looks incomprehensible, but +knowing as much as you do already, it +should be quite easy to understand the following input: +\verbatiminput{netfirst.mtx} +There are a few new things: \ttxem{Style}\texttt{: }\ttxem{SATB} to +indicate four-voice choral music on two staves, \ttxem{Sharps} for the key +signature (of course there is \ttxem{Flats} available too), \ttxem{Meter} +for the time signature, and \ttxem{Space}\texttt{:~9} to +indicate that there should be nine interlines of extra space between the +staves.\footnote{One \ixem{interline} is the distance between two lines in +a stave. The normal distance between staves is five interlines, but +sometimes extra space on a page is distributed between the staves: you may +need to experiment.} If there are more than two staves, you can prescribe +a different extra distance for each on the \texttt{Space} line. This is +the one preamble command that may also appear later in a music paragraph. + +Among the notes, you notice suffixes \ttxem{s} and \ttxem{n} for +`\mark sharp' and `\mark natural', and \ttxem{r} for `displace +notehead to the \mark right'. + +But the main novelty is the lines of lyrics. The rule is: each lyrics +line is identified by the \ixem{label} \ttxem{L:}, followed by lyrics of the +verse in question. Syllables are indicated by hyphens, and you don't +use bar lines on lyrics lines. If more than one note belongs to a +\ixem{syllable}, you need not worry, as long as the notes in question have been +slurred or beamed together --- each lyrics line is synchronized to the +immediately preceding voice. There may be a set of lyrics lines for +each stave in the score: if a stave has two voices, only one of +them can have lyrics specified by \texttt{L:} --- see Section +\ref{More lyrics} for a feature that allows both voices to have lyrics. + +Note the \ixem{verse numbers}. The rule is: +if you code a number followed by a point and a blank at the +start of a lyrics line, this number will not be treated as a syllable but +will be printed to the left of the first lyrics syllable: the position of that +syllable will be the same as if the number was not there. This may not be +just what you want: see the \musixlyr\ reference manual (Section +\ref{help}) for commands that can modify this behaviour. + +\subsection{Bars and meter changes} + +The notation for bars is taken from Chris Walshaw's \ABC\ music +language, with one small modification. +\vskip 1ex +\begin{tabular}{ll} +\ttxem{\|} & Normal bar line \\ +\ttxem{\|]} & Thin-thick double bar line (as at the end of a piece) \\ +\ttxem{\|\|} & Thin-thin double bar line (to separate sections) \\ +\ttxem{:\|} & Left repeat \\ +\ttxem{\|:} & Right repeat \\ +\ttxem{:\|:} & Left-right repeat +\end{tabular} +\vskip 1ex + +Bar lines make life easier, but are normally optional. Only the +normal bar line actually implies a bar separation: the double line and +\ixem{repeat} signs may appear in mid-bar. The fancy bars must appear +in the bottom voice and are optional elsewhere. + \begin{itemize} + \item If you do put them in, \MTx\ will check that there are no shorter +bars than the currently defined one. If a too-short bar occurs at the end of +the final paragraph, \MTx\ assumes you know what you are doing, and +automatically redefines the meter without printing a new time signature. If +it appears elsewhere, it is an error. + \item If your piece starts with a \ixem{pickup}, it is defined by a bar +line at the end of ``bar 0'', i.e.~the incomplete bar containing the pickup. +Even when there is a repeat sign after the pickup, so that you don't actually +see a bar line in the printed music, you still need a bar line before the +repeat sign, otherwise \MTx\ cannot know where the pickup stops. The bar line +defining the pickup is compulsory in the first voice found, and optional but +recommended in the others. When there is a pickup, the meter is not +redefined. + \item If you do not explicitly end the piece with +one of the other types of bar line, a thin-thick bar line is +automatically provided: you don't need to code it. + \item \PMX\ allows you to put two voices on a single stave by +giving the notes of the lower voice first, followed by \ttxem{//} and the +notes of the upper voice. This construct works in \MTx\ too when only +one voice for the stave was specified in the style, but for just +one bar at a time; such a bar \emph{must} be terminated by a bar line. +Use it only for very short stretches. You will probably need to +set the octave in the first note using \verb"=". + \item If you are using \PMX\ features that are not recognized by \MTx\ but +simply passed through, you may need a bar line to tell \MTx\ to which bar +they belong. + \end{itemize} + +Apart from the final `blind' meter change that is automatically made if +required, you can also define other meter changes. \index{blind!meter~change} +The rules are: + \begin{itemize} + \item The \ixem{meter change} may only occur at the \emph{very} beginning +of a bar after +a full bar of the meter previously in effect, and must be made in all +voices. In particular, any key change, volta indication etc.\ must come +\emph{after} the meter change; also, the bar following the pickup may +not contain a meter change but must have the length specified in the +preamble. + \item The normal meter change word looks like a fraction, +e.g.~\ttxem{3/4}. This always gives a visible meter change. + \item If the printed meter symbol looks different from the logical one (you +want a big `C' instead of `4 over 4', for instance), you may use a \PMX\ +formatted meter change word. \NEW{0.30} +E.g.~\ttxem{m3/4/0/0} gives a blind meter change +--- one that takes effect but is not printed. See the \PMX\ manual. +This is also legal in the preamble \ttxem{Meter:} command. +You may not introduce a meter change directly to \PMX\ via a \verb"%%" +command --- \MTx\ must know about it too. + \end{itemize} + +\subsection{Beams and \ixem{slurs}} \label{beamslur} + +Thanks to \PMX, \ixem{beams} in instrumental voices are automatic. \MTx~does, +however recognize that it is customary in vocal music to use beams only +when the notes in question are sung to the same single syllable. So if you +select a style like \ttxem{SATB} or \ttxem{Singer} that involves +voices, notes will normally appear unbeamed, except those that appear +under slurs. To override this, you need to use the \PMX\ ``forced beam'' +feature, e.g. \verb"[ c d ]", or disable the +\ttxem{unbeamVocal} feature (Section \ref{customize}). \index{beam!forced} +See Section \ref{beam&slur} on how to +fine-tune beams, and Appendix \ref{melisma} for some examples involving +lyrics. + +The slur notation is similar to forced beams, but uses parentheses. +Look at the second system of the same song: + +\hskip -20mm +\begin{mus} +\small +\input netsoos1.tex +\end{mus} +Omitting the preamble and \PMX\ lines, this is coded +as:\footnote{The coding is for this +morsel only, not an extract out of the coding for the whole piece. The +octave of the first note here is the default, not deduced from a +previous note.} +\verbatiminput{netsoos1.mtb} +Apart from \ttxem{f} for `\mark flat' you should notice the left +parenthesis \ttxem{(} to start a slur and the right parenthesis +\ttxem{)} to close it. So +\MTx\ knows that e.g.~the \texttt{c} in the top voice falls under the +slur, and does not use up a syllable of lyrics. The default direction +\index{slur!direction} +of a slur is up for the upper and down for the lower voice in a stave, +but you can override that: see Section \ref{beam&slur}. + +You are allowed to have a slur under another slur, \index{slur!nested} +e.g.~\verb"( c8 d e ( f g ) f d b ) c2". + +Occasionally a slur ends at a note and the next one starts +immediately. \NEW{0.30} For such a slur continuation \index{slur!continuation} +you code \ttxem{)(} as a single word after the note. + +If you want a tie rather than a slur, \NEW{0.55} +use braces \ixem{\LBR} \ixem{\RBR} instead of parentheses. +A continuation tie is of course \ixem{\RBR\LBR}. + +In obscure situations you may want absolute control over slur stops and +starts. To do this, put an identifier, which must be a non-zero digit +or a capital letter, immediately after the slur parenthesis or brace, +before any adjustments. Of course, any labelled slur of either kind +that you open must be closed again by its exact partner. If you really +must have interlocking slurs, \verb"(1 c8 d e (2 g g )1 f d b )2 c2" +is the way to get them. \delete{Labelling slurs in this way is also the only way +of getting more than two leves of slurs.} + +It may happen that you do not wish \MTx\ to put more than one note to a +syllable even though the notes are under a beam or slur. +For example, you +may wish to use \ixem{phrase marks} that only look like slurs, or you may be +writing music that has so many consecutive short notes that the beat +becomes difficult to follow without beams. \NEW{0.30}The way to do +this is to double the first symbol of the word starting the forced beam +or slur. E.g. \verb"{{+10" \index{\LBR\LBR} or \ttxem{((} may be used +to start a phrasing slur, and \ttxem{[[} may be used to start a forced +beam \index{beam!forced} that will still keep one note to a syllable. +The terminator for the beam or slur should not be doubled. A variation +of this feature occurs mainly when you have multi-verse lyrics and +\NEW{0.43} there should be a slur in one verse but not in another. +Start the slur with \ttxem{(\dquote} or \ttxem{\LBR\dquote} to get +the same effect as +\verb'((' or \verb'{{', except that the slur symbol itself is no longer +solid, but broken like a dotted line. \index{slur!broken} +\NEW{0.54} Synchronize lyrics by using void syllables and extension rules, e.g. + +\bigskip +\example{dwoman}{mtb}{80mm}{\fill}{72mm}{-10mm}{c}{5mm} +\bigskip + +The trailing underscore on ``heart'' takes the place of a +syllable of lyrics, and on a longer note would +produces a lyrics rule that extends to the end of the melisma. +You can use as many underscores as required; for very long melismas, +you can code e.g.\ \verb"Ah_6" instead of \verb"Ah______". + +The converse of this situation is that you want \MTx\ to +make a melisma, but you don't want a visible slur. \NEW{0.42} +Code +the slur beginning as \ttxem{(\snake} or \ttxem{\LBR\snake} and +the slur end as \ttxem{)\snake} +or \ttxem{\RBR\snake}. This gives a ``blind'' slur: invisible, but having the +same effect on lyrics as a normal slur. \index{blind!slur} Blind slurs +should not have any other tuning marks. + +\subsection{More complicated lyrics} \label{More lyrics} + +Lines of lyrics that start with \ttxem{L:} are set in the middle +between two staves (or below the bottom stave) and are aligned with the +notes of the voice under which they appear in the input file (in this +case, the alto). Such lines are referred to as \emph{normal} lyrics +lines. \index{lyrics!normal} + +Sometimes different words apply to different voices, as in the last line +of the song: + +\hskip -20mm +\begin{mus} +\small +\input netsoos2.tex +\end{mus} +\vskip 12pt +This is coded as: +\verbatiminput{netsoos2.mtb} +Some interesting \PMX\ features in this piece are \ttxem{of} for +`\mark ornament: \mark fermata' and \NEW{0.43} +\ttxem{rp+6} (\mark rest: +\mark pause) for a full-bar rest moved up six interlines. +For the meaning of the \verb'@...' words, see the next section. + +The label \ttxem{LT:} (\mark Lyrics: \mark Tenor) marks the line as +belonging to a particular voice. Such a line is referred to as an +\emph{auxiliary} \index{lyrics!auxiliary} +lyrics line, and may only appear on a stave that +already has a normal lyrics line. Labels for voices are defined in the +\ttxem{Style}, or may simply be numbers: the voices are numbered +1,2,\ldots\ from the top line downwards. Auxiliary lyrics for the top voice +on a stave (soprano and tenor) will be set above the stave, and those +for the bottom voice (alto and bass) below. Their input lines may appear +anywhere in the paragraph, since the labels show where they go. + +You can also use voice \ixem{labels} without a leading \texttt{L} to identify +the voice lines. This is necessary if some voice is omitted from the +paragraph (\MTx\ will fill its stave with rests) or if you prefer to +have the voices in a different order (e.g.~bottom-up) than top-down. +You need only label a voice line if it does not belong to the voice +immediately following the previous one. + +\subsection{Preamble commands} + +Here is a complete list of built-in \ixem{preamble} commands, with examples and +explanations. Case in preamble commands is immaterial: all command and +style names are translated to uppercase internally. +\vskip 1ex +\begin{tabular}{ll} +\verb"Part: Recorder" & Part name (set flush left above title) \\ +\verb"Title: Clarinet Quintet" & Title of piece. \\ +\verb"Composer: Mozart" & Name of composer (set flush right below title) \\ +\verb"Poet: Rellstab" & Name of poet (set flush left below title) \\ +\verb"Meter: C/" & \textit{Alla breve} meter: another notation for \verb"2/2". \\ +\verb"Flats: 3" & Key signature has three flats. \\ +\verb"Sharps: 2" & Key signature has two sharps. \\ +\verb"Space: 6 0 3" & Extra interlines of space below staves. \\ +\verb"PMX: h10i" & \PMX\ command in preamble. Rather like \verb"%%" feature.\\ +\verb"Options: x" & Forces the \texttt x option to be in effect, despite the command line. \\ +\verb"Enable: pedanticWarnings" & Enables the \texttt{pedanticWarnings} feature. \\ +\verb"Disable: unbeamVocal" & Disables the \texttt{unbeamVocal} feature. \\ +\verb"Pages: 2" & Set the piece over two pages. \\ +\verb"Systems: 11" & Use a total of eleven systems. \\ +\verb"Bars/line: 4" & Try to use on the average four bars to a line. \\ +\verb"Size: 16" & Size of music in points: default is 20. \\ +\verb"Style: Singer Piano" & + The piece is for a singer with piano accompaniment. \\ +\verb"Name: Dietrich Gerald" & Names of instruments, performers etc. \\ +\verb"Indent: 0.10" & Indent first system by 10\% of the music width. \\ +\verb"Start: @+1;@-3" & Put specified items at the start of voice lines\\ +\verb"Octave: 4 4 3 3" & Specify \indexed{initial octaves} for each stave +\end{tabular} \NEW{0.54} +\vskip 1ex +The \ttxem{Bars/line} command should only be used when you do not yet +know what \ttxem{Pages} and \ttxem{Systems} should be. + +The style line may contain several style elements (instruments etc.). +\index{style!elements} +At present, \MTx\ knows the following style elements: +\begin{verbatim} +SATB: Voices S,A T,B; Choral; Clefs G F +SATB4: Voices S A T B; Choral; Clefs G G G8 F +SINGER: Voices S; Vocal; Clefs G +PIANO: Voices RH LH; Continuo; Clefs G F +ORGAN: Voices RH LH Ped; Continuo; Clefs G F F +SOLO: Voices V; Clefs G +DUET: Voices V1 Vc; Clefs G F +TRIO: Voices V1 Va Vc; Clefs G C F +QUARTET: Voices V1 V2 Va Vc; Clefs G G C F +QUINTET: Voices V1 V2 Va Vc1 Vc2; Clefs G G C F F +SEXTET: Voices V1 V2 Va1 Va2 Vc1 Vc2; Clefs G G C C F F +SEPTET: Voices V1 V2 Va1 Va2 Vc1 Vc2 Cb; Clefs G G C C F F F +\end{verbatim} +\ttxem{Voices} gives the labels of the voices, later used to identify +lyrics lines and out-of-sequence music lines. You should not use labels +like \texttt{L}, \texttt{U}, \texttt{C}, \texttt{1} or \texttt{L1} +that conflict with \MTx's use of labelled lines for chords, lyrics etc. +Labels separated by +blanks belong to voices on different staves; labels separated by a comma, +to voices on the same stave. \ttxem{Clefs} define the clefs, one for each +stave. You can use any PMX-supported clef symbol in addition to G and F +--- see Appendix \ref{ornaments}. +The symbol \verb'8' or \verb'G8' indicates music written in the treble clef +\NEW{0.49} but sounding an octave lower, as is usual for the tenor voice in +choral music. + +\ttxem{Vocal} means that the voices will be treated as vocal for the +purpose of beams and lyrics, and \ttxem{Continuo} means that the staves +belong to +a single instrument, and will be grouped together by a \ixem{brace}. +You may not have too many voices or staves --- see Appendix \ref{limits}. + +\ttxem{Choral} means that the voices form a choir. This implies that each +voice is vocal, and their staves will be grouped together by a bracket. +You can get the \ixem{bracket} for instrumental voices too, by using +\ttxem{Group} instead of \texttt{Choral}. + +You may define your own style elements, \index{style!elements} +e.g.: \\ + +\texttt{Honky-Tonk: Voices R L; Clefs G F; Continuo} \\ + +The whole preamble is read, and new style elements saved, before any of the +commands is interpreted. So it does not matter in which order the commands +come. The preamble may be spread over more than one paragraph. \NEW{0.49} +But if you issue a command more than once, only the last instance counts. + +The \ttxem{Start} command is mildly convenient when you are experimenting with +fine-tuning, since it allows small additions affecting the beginning of +each voice to be collected in one place. It comes into its own when +combined with the multi-score option (see Section \ref{multiscore}). +\NEW{0.42} Items for each voice are separated by semicolons and may contain +blanks. These are prepended to the corresponding line of the first +paragraph, so the \emph{combined} length of the starting item and the +line in question should not be too long (see Section \ref{limits}). + +You don't normally need to specify \NEW{0.54} \ttxem{Octave}, +\index{octave@octave!defining initial} +since most of the time the octave implied by the clef is correct. + +\subsection{Customizing \MTx} \NEW{0.55} \label{customize} + +You have a lot of control over how \MTx\ does its translation. The old way +of customizing \MTx\ was by compiler options and the \ttxem{Options:} +preamble command. That method uses one-character switches, which is +only slightly mnemonic and anyway the letters get used up. +The new way is to use the \ttxem{Enable:} and \ttxem{Disable:} +preamble commands to select the features you want. + + Here is a list of switchable \MTx\ features that are +enabled by default: + +\begin{description} + \ttxi{splitShortcut} Separate 2:1 and 3:1 shortcuts into two words, and + explicitly code their durations. + \ttxi{newWordShortcut} Allow 2:1 and 3:1 shortcuts to be entered as + separate words. + \ttxi{multiFile} Take \texttt{Include:} lines into account, otherwise + ignore them. + \ttxi{doChords} Take \texttt{C:} lines into account, otherwise ignore them. + \ttxi{doUptext} Take \texttt{U:} lines into account, otherwise ignore them. + \ttxi{doLyrics} Take \texttt{L:} lines and inline lyrics changes into + account, otherwise ignore them. + \ttxi{unbeamVocal} Unbeam non-melismatic notes in vocal lines. + \ttxi{hideBlindSlurs} Hide \verb"{~" and \verb"(~" slurs. + \ttxi{interpretSlurs} Translate slur signs to PMX \texttt{s} and \texttt{t} + slurs. + \ttxi{uptextOnRests} Synchronize uptext with notes and rests, not only with + notes. +\end{description} + +Here is a list of switchable \MTx\ features that are +disabled by default: + +\begin{description} + \ttxi{solfaNoteNames} Use \ixem{tonic sol-fa} + note names \texttt{d r m f s l t} (for \emph{do, re, mi, fa, sol, la, ti}). + This will be translated to the usual note names \texttt{c d e f g a b} + in C major. Use the \PMX\ transposition feature to obtain the desired + key. Only the basic note names are supported: you should not use the + sol-fa chromatic note names (e.g.\ \emph{re, ma,}) but the basic sol-fa + note names with \PMX\ accidentals (e.g.\ \texttt{ds}, \texttt{rf}). + + This feature conflicts in some cases with other uses of these letters. + To retain the standard meaning in sol-fa mode, precede the word with a + \verb'"', e.g.\ use \verb'"r' for a rest since \verb'r' translates to + a \verb'd'. + + \ttxi{pedanticWarnings} Suppress pedantic warnings, i.e.\ cases where +you omitted something but the default action is probably what you want. + \ttxi{ignoreErrors} Do not stop on the first error. +(Errors are messages clearly marked with \ttxem{ERROR} --- +any other message printed is informative or a warning only.) + + \ttxi{instrumentNames} Indent first system and print default + instrument names. + \ttxi{beVerbose} Verbose progress report. Default behaviour is +to print out errors, warnings, and very little more. + \ttxi{debugMode} Give messages that may be helpful in finding bugs +in the \texttt{prepmx} program. +\end{description} + +You can put as many features as you like on the \texttt{Enable:} +and \texttt{Disable:} lines, just separate them by spaces. You can +also have as many \texttt{Enable:} and \texttt{Disable:} lines as you want. +For example, to imitate the way \MTx\ 0.54c did things, put +\begin{verbatim} +Enable: interpretSlurs +Disable: newWordShortcut multiFile +\end{verbatim} + +\section{Fine-tuning the printed output} + +The decisions made by \PMX\ represent a good compromise in the majority +of cases, but sometimes the first printout is disappointing. You can +influence the details of the layout in various ways. You will probably +need to look at the first draft, make fine-tuning changes, look at the +second draft, \dots several times, if you are a real perfectionist. + +\subsection{General vertical and horizontal spacing} + +It is best to use \ttxem{Bars/line} in the preamble for the first draft. +You can then decide how many systems in total are required for proper +horizontal spacing, and over how many pages they need to be spread for +proper vertical spacing. On the later drafts you will therefore use +\ttxem{Pages} and \ttxem{Systems} in the preamble. + +There are \PMX\ commands to put line and page breaks where you like --- +see Appendix \ref{pmx}. + +You can use \ttxem{Space} to control the vertical space between the +staves. There may be a number for every stave: the last number is +interpreted as extra space below the bottom stave. You will probably +need to specify it if you have lyrics or very low notes down there. +This command can be issued in any music paragraph, not only in +the preamble. It will take effect at the start of the next system. +See Appendix \ref{voltas} for an example of how this command interacts +with lyrics adjustments. + +You can specify different sizes for the instruments, +e.g.\verb" "\ttxem{Size:}\verb" 13 16 " \NEW{0.30} +might be appropriate for the main score +of a violin sonata, with the notes of the violin smaller than those +of the piano. Valid sizes are 13, 16, 20, 24 and 29. +Size is a delicate issue: see Appendix \ref{sizes}. + +You should be aware of what the \PMX\ manual calls a ``benign bug''. +Pages more than approximately half full get filled out by distributing +the vertical space among the staves. This means that the appearance of +the score may drastically change when you add one more stave. For this +reason it is best to leave space adjustments till last, when you already +know what values to give for \ttxem{Systems} and \ttxem{Pages}. + +Occasionally \PMX\ underestimates +the total height of a page and you end up with one system less than +you wanted, which then appears by itself on a page of its own. This +is particularly likely if you asked for extra space between the +staves, or are using different-sized staves. A dirty +trick that fixes this problem is to specify a little more height +directly to MusiX\TeX\ than you told \PMX: see Appendix \ref{pmx}. + +\subsection{Lyrics placement} \label{fine-tune-lyrics} + +Sometimes the default position for placing lyrics causes ugly clashes +with note stems, beams, slurs etc. +You can move lyrics up or down by +inserting a word starting with \ixem{\atsign} in the music line to which that +lyrics line is attached. For example, \verb"@-2" (`at minus two') +indicates that the lyrics should be moved down two internotes. One +\ixem{internote} is the vertical distance between e.g. a B and a C, i.e.~half +of one interline. The change takes effect at the start of the bar +in which it appears, and remains in effect until further modified +by another shift. Each voice has its own associated shifts: one for +normal lyrics and a different one for auxiliary lyrics. +\index{lyrics!auxiliary} + +You can also say \verb'@^-2' (``put the lyrics above the stave at +two internotes below the default position'') or \verb'@v' (``put the +lyrics below the stave at the default position''). These commands +discard any shift that may have been in effect for that set of lyrics before. + +Be warned that the default position itself is not fixed relative to the +stave but depends on the general vertical layout. So if you change a +layout parameter after having placed the lyrics `perfectly', they may +need a further adjustment. + +\NEW{0.30}Occasionally you need a syllable spanning two words. +You can code a \ixem{hard blank} to string the words together, +e.g. \verb'Egit-to~ad I-si-de', but it also looks good to use an +underscore which will be translated to a link, \index{lyrics!link} +e.g. \verb'Egit-to_ad I-si-de' will become: Egit-to\lyrlink ad I-si-de. +If the link gets in the way of letters with descenders, you can lower +it, e.g. \verb'pretty\_and smart' becomes: pretty\lowlyrlink and smart. + +\subsection{Beam and slur placement} \label{beam&slur} + +The decisions made by \PMX\ in choosing the height and direction of +beams and slurs may differ from what you would like. The slur start +character may have the suffixes \mark up, \mark down or \mark lower (the +last two mean the same) to control the direction of the slur, and a +suffix \verb"+#" or \verb"-#" to raise or lower the start of the slur by +\verb"#" internotes. The slur end character may also have an adjustment +suffix. Remember to fine-tune both end points when you wish to move the +whole slur up or down! + +It is also possible to fine-tune the horizontal position. The most common case +occurs when two notes on the same pitch are linked by a\NEW{0.51} tie. In +that case \verb"{"\ldots\verb"}" give a neater result than \verb"("\ldots\verb")". +See the \PMX\ user's manual for details on other horizontal adjustments. + +In the case of a slur continuation you should code the height adjustment +\emph{between} the two parentheses, e.g.~\ttxem{)-3(}. You must not have two +adjustments. + +Fine-tuning beams is all done on the beam start character. It may have +the suffixes \mark upper or \mark lower for direction, and up to +three \verb"+#" or \verb"-#" suffixes. The first raises or lowers the +beam by so many internotes, the second makes the beam more or less +steep, and the third also raises or lowers the beam, but this time in +units of beam thickness. + +\subsection{Instrument names} \NEW{0.40} \label{stavename} + +Some scores have indications like \textbf{Violin} to the left of the +first system. The easiest way to do this is to enable the \ttxem{instrumentNames} feature, +which uses the line labels as names, but you may not like the result. + +To do it yourself, use the \ttxem{Name:} command in the preamble, +e.g. +\verb"Name: Violin Piano". +The names can be any valid \TeX\ expressions that have no spaces, such as +\verb"{\it{French~Horn}}". +Remember, it's one name per instrument, not one name per stave. If you +have too few names, the remaining instruments will not be named. +You can +also use a single hard space (\verb"~") when some instrument in the middle +should not have a name. + +You will probably also need the \ttxem{Indent:} command to specify the +indentation required to provide space for the names. +E.g.\ \verb"Indent: 0.12" says the indentation should be 12\% of the music +width. + + +\section{Shortcuts} + +This section introduces \ixem{shortcuts} for things that are perfectly +possible in other ways, but a little clumsy. + + +\subsection{Chords} \label{chords} + +An isolated \ixem{chord} in the middle of a melodic line is best treated +by the \PMX\ construction of chordal notes with the \ttxem{z} prefix, e.g. +\verb"c ze zg zc" +for a C major chord. Sometimes a whole string of successive chords appears, +as in the introduction to Schubert's song \textit{Der Tod und das M\"adchen.} +You can see that the coding for this can become quite cumbersome. +Therefore \MTx\ allows you to put the chordal notes on a second line, +as shown below. + +\hskip -18mm +\begin{mus} +\input dertod.tex +\end{mus} +\vskip 12pt +\verbatiminput{dertod.mtx} +\begin{itemize} + \item There is a basic melodic line, with a separate line for the chordal +notes, labelled like a lyrics line, but with \ttxem{C} instead of \verb'L'. +\index{line!melodic} + \item For each chord there is one word on the \indexed{chord line}. +\index{line!chord} \index{chord} If the +chord contains more than one \indexed{chordal note}, \index{note!chordal} +the notes follow with no spaces +in between. The notation is the usual \PMX\ notation, with two changes: +fla\mark t and notehead \mark left. These changes are used only on chord +lines, and are unavoidable because \ttxem{e} and \ttxem{f} are needed for +note names. + \item The note chosen as melodic note \index{note!melodic} +on the main music line must not +be a shifted note (i.e. one with displaced notehead): +all shifted notes must be on the chord line. + \item The stem direction of the chord is what that of the melodic +note would have been in the absence of chordal notes. + \item Pitch on the melodic line (i.e.~the choice of the closest note +with the given name) is not affected by the chordal notes. Each chord has +its own local frame of reference, starting anew from its melodic note. This +differs from the \PMX\ \texttt{z\dots} notation, where the pitch of each +note is determined by the previous note, whether chordal or not. +\index{pitch!of chordal note} + \item Sometimes in the middle of a chordal passage there might be an +isolated melodic note that does not have any chordal notes. To indicate this, +the chord line must contain a \ixem{spacer}, which is a one-character word +containing just a tilde (\ttxem{\snake}). + \item Sometimes you only need a few isolated chords. A one-character +word consisting of a bar symbol +\ttxem{\|} on a chord line indicates that no more chords appear in the +current bar even though one or more melodic notes are still left. +In that case you do not need a \ttxem{\snake} for the `missing' chords. +Don't use bar symbols on a chord line just to separate bars when there +are no missing chords. + +Two or more consecutive such words indicate one or more bars with no chords. +If the very first word on a chord line is a bar symbol, the first bar has no +chords. + \item You can get an \ixem{arpeggio} sign (wavy line) in front of the whole chord +including the melodic note by starting the chord word with a question mark, +e.g. \verb'?ad' instead of \verb'ad' in the first chord above would have put +an arpeggio sign in front of all three notes. For more complicated +arpeggio constructions, you need to put \ttxem{?} signs on the music lines +themselves: consult the \PMX~manual. + +\item You can tie notes in chords. \NEW{0.60} The notation is more compact +than ties in the music line itself: put a \verb'{' before each note that should +be tied, no blanks, but don't put anything to close the tie. It is an error +if you open a tie and there is no note at that pitch in the next chord. +All the notes in that chord that close ties should appear before +all the notes that open ties, e.g.\ \verb"{c c{e" is OK but +\verb"{c {ec" is not. + + +\hskip -18mm +\begin{mus} +\input chord.tex +\end{mus} +\vskip 12pt +\verbatiminput{chord.mtx} + + +\end{itemize} + +\subsection{Expression marks and other annotations} + +Annotations and interpretation marks ({\ppff p}, {\ppff f}, \textit{rit.}, +\textit{cresc.} and so on) are inserted using lines like lyrics lines, but +with \ttxem{U} (for \mark Uptext) instead of \verb'L'. +Note, though, that uptext lines are synchronized with rests as well as +notes, whereas lyrics are synchronized with notes only. + +The normal position +for an \ixem{uptext} line is \emph{above} the music line to which it applies: +if it appears anywhere else, the \ixem{label} must include the voice name or +number. I'll speak of an \emph{uptext voice} \index{uptext!voice} to refer to +the totality of uptext lines (no more than one per paragraph) +associated with a particular voice. + \begin{itemize} + \item Spacers \ttxem{\snake} and bar symbols \ttxem{\|} work for uptext in +exactly the same way as for chords --- see Section \ref{chords}. +\index{spacer} + \item Vertical adjustment signs starting with \ixem{\atsign} +like {\verb"@^"} \verb"@v" \verb"@=4" +\verb"@+4" \verb"@-4" may appear +in uptext lines, and have the same effect on the position of the uptext as in +the fine-tuning of lyrics --- see Section \ref{fine-tune-lyrics}. The only +difference is that these signs appear in the uptext line itself, whereas the +lyrics adjustments appear in the corresponding music line. A line starting +\verb"U: @v " is actually a downtext line! Each uptext voice retains its own +adjustments which remain in effect even after the paragraph in which they +appear. + + \item Uptext lines may also have horizontal adjustment signs, namely +\ixem{\atsign\less} and \ixem{\atsign\more}. There are three possible +positions for aligning uptext to a note: left, right and centre. The +default position is to align to the right, but the horizontal adjustment +shifts the position in the indicated direction, e.g. one \verb"@<" causes +centred uptext and another \verb"@<" causes uptext extending to the left of the +note. Yet a third \verb"@<" will be ignored. Here, too, each uptext +voice retains its own adjustments which remain in effect even after the +paragraph in which they appear. + + \item Uptext lines are useful for indicating \ixem{guitar chords}. +To make this +easier, the sharp character \ttxem{\#} may be used on an uptext line as a +normal text character (usually in \TeX\ you need \verb'\#' to get it) +and the \ttxem{\%} character is used to indicate a +\indexed{\mtxFlat}. \index{\Flat@\mtxFlat} + \item The preprocessor tries to guess whether the word is a dynamic +indication like {\ppff mp}, {\ppff sf}, {\ppff rfz} etc.\ and will use the +MusiX\TeX\ \keyindex{ppff} font for it. The current algorithm is highly +unsophisticated: if all the letters in a word come from the list +\verb'fmprsz' it is diagnosed as a dynamic indication. + \item A more permanent \indexed{font} \index{uptext!font} +change is indicated by a word like \verb"!bf" or \verb"!it" (no +backslash --- the \texttt{prepmx} program will put it in). +Every word of that uptext voice (except \verb"\ppff" words) will be set in the +indicated font. Each uptext voice retains its own font which remains in +effect even after the paragraph in which it appears. + \item You can indicate \ixem{crescendo} and +\ixem{decrescendo} signs in uptext by two methods: + \begin{enumerate} + \item Put \verb'<' or \verb'>' +where the sign starts, and \verb'<.' or \verb'>.' where it ends. +This feature gives unpredictable results when you try to use it +in more than one voice at the same time. + \item +Put e.g.~\verb"<18" or \verb">7" where the sign starts. +\NEW{0.42} The number gives the length of the crescendo in elementary +skip units or +``elemskips''.\footnote{It is quite technical to define precisely how +long an \ixem{elemskip} is. The important thing about them is that they +stretch or shrink with spacing of the notes, so that if say a half-note +is followed by two elemskips in one place, it will be followed by two +elemskips everywhere.} + \end{enumerate} + +\end{itemize} + +\subsection{Lyrics paragraphs} + +You may prefer to have all the lyrics for a particular voice together +in one paragraph. To do this, the first line of the paragraph consists +of a name for the group of lyrics in braces, e.g.~\verb'{verse1}'. + +When you later wish to use these lyrics, you put a list of names on a lyrics +line where you would normally have put the lyrics, e.g. +\verb'L: {verse1,verse2}' replaces: +\begin{verbatim} +L: Lyr-ics for the first verse +L: Lyr-ics for the second verse +\end{verbatim} +You do not repeat this instruction in the next paragraph, but if the voice +concerned no longer has lyrics attached to it, you should indicate that by a +blank lyrics line, i.e.~\verb'L:' by itself. + +A particular lyrics paragraph name should not be used in more than one +place. If two voices have exactly the same lyrics, you need only one lyrics +paragraph, but more than one name. E.g.~\verb'{soprano}={bass}' makes two +identical sets of lyrics, one to be used by \verb'L: {soprano}' and the +other by \verb'L: {bass}'. + +One useful property of lyrics paragraphs is to allow you to +switch lyrics in the middle of a line instead of between music paragraphs. +\NEW{0.40} +This is only allowed if the voice in question already possesses lyrics: +it cannot be used to replace the \texttt{L:} line. E.g. + \verb"a b {chorus} c d" +means that starting at the note \texttt{c} lyrics will be taken +from the lyrics paragraph labelled \verb"{chorus}", and + \verb"a b {} c d" +means that lyrics are switched off at that point. + +\subsection{Long/short note combinations} \label{longshort} + +Passages containing dotted notes \index{notes!dotted} +require duration changes for every note: + +\verb"c8d g1 c8d g1 c8d g1 c8d g1 c4" \\ +There is a shorthand notation for this, namely: + +\verb"c8.g c.d c.g c.d c" \\ +The first note in a dotted group may have an explicit duration, which then +becomes the default duration, but the second must not. There is a similar +shortcut\NEW{0.51} \verb"c..d" for double-dotted notes. + +When the dotted note appears not in a group but on its own, as in triple and +compound time (3/4, 12/8 etc.), you must use a \ttxem{d} to indicate the +dot, not a period. + +Similarly, in compound meter passages containing long and short notes +require frequent duration changes: +\verb"6/8 c8 g1 c8 d1 c8 g1 c8 d1 c8d" +The shorthand notation for this reads: +\verb"6/8 c8,g c,d c,g c,d cd" + +\subsection{Barless music} \NEW{0.40} + +Many old hymn tunes do not fit into the modern pattern of regular bars. +You could get this effect by carefully counting the length of each music +line and issuing your own blind meter \index{blind!meter~change} +change instructions. + +Instead, specify in the preamble that you have zero beats per bar. +E.g.~\verb"Meter: 0/4" means that each paragraph of music +should be treated as a single bar, and that the basic counting unit is +a quarter-note. You need not issue any other meter change instructions. +\MTx\ will check that each of the lines in the paragraph have the same total +duration, which must a multiple of the specified counting unit. + +\subsection{Sticky ornaments and suffixes} + +You may need to mark a whole run of notes as staccato. To do so, +put \verb'o.:' instead of \verb'o.' after the first staccato note and +\verb'o:' after the last one. This method also works with tenuto +and all the other \ixem{ornaments} in \ref{ornaments}. +The stickyness of ornaments lasts only till the end of the bar. + +On notes and rests there are many possible suffixes, some of which you have +already encountered and some of which are given in Appendix \ref{pmx}. There +are situations where you might wish to have several consecutive notes or rests +with the same attribute. The method is similar: put a colon (\texttt{:}) +after the letter involved on the first note of such a sequence, leave out the +letter on all the notes except the last,\NEW{0.50} on which you again put the +letter. For example, in \verb'12/8' meter you might have a passage moving at +four beats to the bar, normally coded \verb"c4d cd ed ed gd gd c2d", which +becomes \verb"c4d: c e e g g c2d" when you use this shortcut. The stickyness +of note and rest suffixes lasts until cancelled. + +Each voice is treated on its own, and notes and rests are considered +independently, so if you make the \verb'd' sticky on a note it will not affect +rests. My favourite application of this feature occurs in homophonic music +with two voices per stave: I prefer to have only one rest per stave rather two +rests, one on top of the other, and so I make all the rests in one of the +voices blank by marking the first rest of that voice. + +\subsection{Multi-bar rests} \label{rests} + +\NEW{0.40}It may happen that all the instruments in your score +simultaneously have a rest of two or more bars. In that case a succession +of empty bars may be difficult to count, and the conventional notation +is to put all the rests in a single bar, with the total number of +bars printed above them. The word for a \mark multi-bar rest is e.g.\ +\texttt{rm8} for a rest of eight bars. You code this for one voice only, +and there may be no other notes or rests on that line. The same rest +will be printed on all staves. + + +You can tune the appearance of the rest by appending a signed integer +to the word, e.g.\ \texttt{rm19+18}. \NEW{0.41}Roughly speaking, +this moves the front end of the rest to the right by 18 points. Since +multibar rests can have several shapes and may even contain as many as +three separate symbols (in the case of \texttt{rm7}) it is difficult to +describe precisely what happens and you are advised to experiment. + +\subsection{Skipping and including portions of a score} \label{multiscore} + +To read in another file at the start of a paragraph, \NEW{0.55} +use the \ttxem"Include:" directive, e.g.\ \verb"Include: mylayout.mti". +The effect is exactly the same as if those lines had been part of the original +input file. The file thus included may also contain "Include:" +directives; there is no restriction on the number of levels. You may +re-include a file that was included before, but you may not include any +file that has already been included but has not yet been fully read. + +You may have various reasons for wanting \MTx\ to omit one or more lines of +your score. There are several ways to do so, of which the simplest is the +comment symbol \verb'%' that you have met before, which skips that one line. + +A line starting with \ttxem{SUSPEND} all in capitals, at the start of a +paragraph, tells \MTx\ to discard all following paragraphs until a line +starting with \ttxem{RESUME} all in capitals is found at the start of a +paragraph. The material in between must still be organized into paragraphs +that are not too large (see Appendix \ref{limits}) but need not in any other +way conform to \MTx\ input rules. + +A line starting with \ttxem{Only:} defines a subset of line numbers, +e.g.~\verb"Only: 1,3-7,9" defines the set \{1,3,4,5,6,7,9\}. \NEW{0.43} Only +the corresponding lines from all non-lyrics paragraphs after the paragraph +containing the \texttt{Only} are processed until another \texttt{Only} is +found. Any paragraph containing an \texttt{Only} is always fully taken into +account: it is not subjected to the masking action of any \texttt{Only}. +\emph{WARNING: this feature is deprecated and may behave +differently in future versions.} + +You can also conditionally ignore portions of the score depending on a +compiler variable. \NEW{0.42} The compiler options \texttt{0} to \texttt{9} +identify ten special cases of a score. Together with the basic unnumbered +version of the score, you can therefore have up to eleven versions. A line +starting with \ttxem{Case:} at the start of a paragraph gives a list of those +cases that include the paragraph in question, e.g. \verb"Case: 137" +identifies a paragraph that is only included when one of the options +\texttt{1}, \texttt{3} or \texttt{7} was selected, either as a command option +or on and \texttt{Options:} line. + +All paragraphs headed by \texttt{Case:} occurring \emph{before} the first +music paragraph are treated as extensions of the preamble. The very first +music paragraph may therefore not start with \texttt{Case:}. + +For example, the score \texttt{cervus.mtx} of Palestrina's four-part +setting of Psalm 42 (see the \texttt{source} directory in the \MTx\ +distribution) is set up to give by default a score for the conductor with all +voices in 16-point type. When one of the \texttt{1}, \texttt{2}, \texttt{3} +or \texttt{4} options is specified, you get a score with one voice in 20-point +type and the others in 13-point. When the \texttt{0} option is given, +20-point is used throughout and the score is spread over three pages. + +%A combination of \texttt{Case} and \texttt{Only} allows you to make parts from +%a score in a flexible way, e.g.~only the chorus parts, or both flutes +%together, etc. The \texttt{Case} command can never be masked out by a +%previous \texttt{Only.} + +\subsection{Macros} \NEW{0.60} + +\MTx\ offers limited support for the \PMX\ macro feature, which is +a shorthand notation for pieces of text that appear often in your input. +In \PMX, you define macro number $i$ by \texttt{MS}$i$ and end it by \texttt{M}, +each a separate word, where $i$ is a number from 1 to 20. +Everything in between (which may not contain +any word starting with \texttt{M}) is not acted on, but only stored, +but when you later ``play'' the macro by the single word \texttt{MP}$i,$ +the effect is the same as if you had typed the text you defined earlier. +In other words, a \PMX\ macro works as a purely literal text insertion. +You can also start a macro definition by \texttt{MR}$i:$ this has the effect +of immediately playing the macro, not just storing it. + +The default behaviour in \MTx\ is to pass along such \texttt{M}-words +without looking at them, which in expert hands can be quite effective, +but for the rest of us is simply a disaster. +The problem is that in that case \MTx\ does not know that notes +are being inserted, let alone what their duration is. It is in the +position of a musician who has lost count. + +\MTx\ offers two solutions to this problem, either of +which you can \texttt{Enable} in the preamble. In both cases, macros +may only appear on music lines. +\begin{description} + \ttxi{expandMacro} All macros are fully expanded at the \MTx\ level. +The \PMX\ file will not contain any macros. If you use this feature, +you can have macros numbered from 1 to 99, and macro definitions +may contain plays of other macros. Error messages apply to the expanded +text and may be difficult to understand. + \ttxi{countMacro} \texttt{M}-words are still passed along, +but when a macro is defined, \MTx\ determines its duration +and counts correctly when it is played. +\end{description} + +If you have enabled \texttt{countMacro}, there is one unavoidable +restriction: a macro definition or play may not spill over into +the next bar. Hence the total duration of a macro may not be more +than what remains of the current bar. + +A word of caution: because you cannot see the macro +definition when you play it, it is easy to lose track of duration and octave. +It is therefore just sound common sense +to set duration and octave at the first note in the macro definition, +and at the first note after the macro play, to avoid mistakes. + +\hskip -18mm +\begin{mus} +\input macro.tex +\end{mus} +\vskip 12pt +\verbatiminput{macro.mtx} + +If you used \texttt{expandMacro} instead, the first music line +could have read \\ +\verb" MS1 c8=+ za zf zc M MR2 [u MP1 MP1 MP1 MP1 ] M MP2" \\ +in which case the first line of the second bar would only be \verb"MP2 MP2". +This is shorter for you to code, and in this case it works. +It is not always feasible to use macros within macros: +\texttt{expandMacro} works +by actually inserting the strings into \MTx\ input lines, which +may not be longer than 255 characters. Too many macro expansions, +and you hit your head against the ceiling. + + +\section{Acknowledgments} I still have the +\texttt{.tex} and \texttt{.dvi} files of my first attempt at setting music +(Bach, no less) with the \mutex\ package of Andrea Steinbach and Angelika +Schofer. The first phrase goes: \begin{verbatim} +\4\,\F\~\B\.\c\|\2\A\.\|\4\B\,\E\E\| \2\group{\\\E\\\d}{\\0\\{-1}}\lslur12\go\| +\end{verbatim} +In \MTx\ that would be + +\verb"f bd c8 | a2d | b4 e- e | ( e2 d4 )" \\ +A tantalizing glimpse of a preprocessor appeared in the \mutex\ +documentation, but the software for it was never released. + +None of this would have been possible without the late Daniel Taupin, +who was the first to emphasize that printed music has a fundamentally +two-dimensional layout, and whose MusiX\TeX\ package is the engine that +actually performs the typesetting. + +I made a previous attempt to implement something like \MTx\ as a direct +preprocessor to Music\TeX\ (Daniel's first package). My lack of +expertise caused that project to die. The appearance in January 1997 of +\PMX\ 1.1 inspired me to resurrect the idea --- thanks to Don Simons. +Don has also made some comments which helped me to improve the \MTx\ +input language. Some \MTx\ features that are implemented by using \TeX\ directly, +such as multi-bar rests in scores with more than one stave, make use of +MusiXTeX code written by Don. + +Since version 0.21, \MTx\ uses Rainer Dunker's \ttxem{musixlyr} package. +This gives much neater horizontal spacing of lyrics than the manual system +used in previous versions, and virtually eliminates the need for +horizontal tuning. + +Chris Walshaw's \ABC\ provided the repeat notation. + +The layout of \MTx\ bears some resemblance to a language developed by +Miguel Filgueras, not yet publicly available in software, although I did +not consciously borrow his ideas. + +I had some enlightening e-mail correspondence with the developers of +MPP, Jan Nieuwenhuizen and Han-Wen Nienhuys. +This package (no longer being maintained, unfortunately: the authors are +working on something altogether grander called LilyPond) was the first +music package which made me believe that one could write good-looking +scores in a reasonable amount of time. + +Eric Petersen, Reenen Laurie, Kestell Laurie and Joel Hunsberger found +several bugs in earlier versions of \MTx. Christian Mondrup did this for +\MTx\ 0.50 and later. +The subscribers to the discussion list \mailingList\ --- +too many to name --- found many more and contributed to the development by +requesting new features. Details of these contribution are given in the +\ttxem{Corrections} file distributed with the \texttt{prepmx} code. + +The success of public domain music publishing owes an incalculable debt +to the late Werner Icking. He maintained an online archive for music +software and sheet music, set +standards for music typesetting, tested software packages, gave +genuinely expert advice to would-be experts, and encouraged newbies +with patience and understanding. When he died unexpectedly at a +comparatively young age, each of the small but globewide community of users +of MusiX\TeX\ lost a personal friend and mentor. His music archive +as it was at the time of his death can still be accessed at +\texttt{ftp://ftp.gmd.de/music} or \texttt{http://www.gmd.de/Music}. + +Werner's work is still being carried on, but it requires three people +to fill his shoes. Maurizio Codogno is the mailing list administrator, +Christian Mondrup the maintainer of the software archive, and Don Simons +the maintainer of the sheet music archive. + +My wife, Trienke, has had to suffer many effectively husbandless evenings +and weekends while I hammered the program and documentation into good enough +shape to be able to offer it around. + +\appendix +\setcounter{page}{1} +\renewcommand{\thepage}{A-\arabic{page}} + +\section{Where to find help} \label{help} + + \MTx\ is the tip of an iceberg. Things can go wrong at many levels. +Fortunately, here are many ways to get information and help. +\begin{itemize} + \item Consult the Table of Contents and \emph{index} in search of + a likely-looking topic. + \item The annotated examples might be useful. + \item There is a file \texttt{FAQ} in the distribution that contains + the sort of questions that new users often ask. + \item The packages on which \MTx\ relies all have their own reference + manuals. Look for the following files: + \begin{description} + \item{\PMX:~} \texttt{pmx230.pdf}, \texttt{ref230.pdf} + (these names will obviously be different + if your \PMX\ is not Version 2.30); + \item{\musixlyr:~} \texttt{musixlyr.pdf}; + \item{MusiX\TeX:~} \texttt{musixdoc.dvi}. + \end{description} + \item Consult the mailing list archive at + \begin{quote}\archiveSite \end{quote} + \item Join the \ixem{mailing list} by sending an e-mail message to + \begin{quote}\mailingList\end{quote} +with the word \texttt{subscribe} +as subject --- no message body needed. +\end{itemize} + +\section{A short \PMX\ tutorial} \label{pmx} + + This section describes the parts of \ibxem{PMX} that you are likely to need +when coding scores in \MTx. I have left out or simplified features +that are not +necessary or too advanced. In most cases, you can still use them, as +\MTx\ simply passes through anything that it does not recognize. + + \PMX\ resembles English in that it is made up of \ixem{word}s, which are +strings of non-blank characters separated by blanks. Each word, though, +has the character of an acronym, in that its letters each stand for +something longer, and in fact Don Simons designed the notation so that +you can actually say out loud what the acronym stands for. + + \textsl{In the following, the symbol \ttxem{\#} stands for some number.} + + \subsection{Words that contribute to the count} + + Each bar of music has a certain \ixem{duration}, which is is the total of the +notes and rests in it. The word for a note that contributes to the +count starts with \texttt{a} to \texttt{g}, which indicates \ixem{pitch}; and +the word for a \ixem{rest} starts with \ttxem{r}. + + A note may have a number of \ixem{suffix}es, which may come in any order. +The duration is indicated by a digit: from short to long, these are +6 (1/\mark64-th note), 3, 1, 8, 4, 2, 0, (whole note), 9 (double note, +also known as `breve'). +Moving a +note an \ixem{octave}\footnote{The \ttxem{=} suffix is not part of \PMX. +Instead, \PMX\ offers the ability to specify octaves by numbers. \emph{This +feature is not supported by \MTx.}} + up or down is indicated by \ttxem{+} and \ttxem{-}, +repeated if necessary. +The other suffixes are the following marked letters: \mark dotted, +\mark flat, \mark sharp, \mark natural, stem \mark upper, +stem \mark lower, offset to the \mark right, offset to the +l\mark eft, \mark apart (not attached to a beam). + +You can fine-tune \index{dot!fine-tuning} dot position,\NEW{0.52} e.g.\ +\verb"gd-2" puts the dot two internotes lower than it would normally go, +and \verb"gd-0+1" puts it one notehead to the right. + +You can also fine-tune\NEW{0.52} accidental position in a similar way. For +accidentals (but not for dots) you are allowed to write \verb"gs>1" +instead of \verb"gs-0+1". + + A rest may also have suffixes: duration and \mark dot as for notes, +\mark pause (duration is the whole bar), \mark blank (rest is +counted but not printed). +It can be moved up and down by \ttxem{+} and +\ttxem{-} followed by a number, e.g. \texttt{r0-4} is a whole-note rest +moved down four internotes. The other rest suffixes mentioned +in Section \ref{rests} are not yet (version 1.3.8) part of \PMX, +except \texttt{m}, which is allowed in a score for a single one-stave +instrument. \NEW{0.43} Also the `blind' and adjustment suffixes on the pause +\texttt{rp} are legal in \MTx, but not yet in \PMX. + + The duration of a note may be influenced in various ways by a previous +note: if unspecified, it is the same as the previous note; or the note +may be part of a chord, a multiplet, or a grace note group. + + \subsection{Words excluded from the count} + +Except for the first note of a chord or multiplet, the following words +for notes are excluded from the count, and should not have a duration +suffix. + +\paragraph*{Chords:} Each note in a chord except the first has the +prefix \ttxem{z}. It is excluded from the count, and suffixes +\ttxem{a} \ttxem{d} \ttxem{l} \ttxem{u} may only appear on the first, +non-\texttt{z} note. +The ``melodic note'' of Section \ref{chords} becomes the first note +of the chord when the \MTx\ code is translated to \PMX. + +\paragraph*{Multiplets:} A normal note may have an extra suffix, after +all the others, of the form \verb"x#" \index{\texttt{x}} +or \verb"x#n", where \ttxem{\#} +stands for a number. This means that the note is the first of a +multiplet (or $x$-tuplet) with \verb"#" equal notes in the time of one. +Only the duration coded on this first note is included in the count. The +appearance of the first note will not be the normal one for its +specified duration: it will look like all the others. +E.g.~\verb"g4x3 a b" defines a \ixem{triplet} of total duration a quarter-note +looking like three eighth-notes. The \ttxem{n} means that the number +\verb"#" is not to be printed. + +\paragraph*{Grace notes:} A normal note may have a prefix group starting +with \verb"G#" or \ttxem{G}. This indicates that the note is the first +of a grace note \index{note!grace} +group with \verb"#" notes, to be set in a tiny font. +All the notes in the group, even the first, are excluded from the +count. + +\subsection{Words for other things than notes} \label{ornaments} + +Other things than notes go into a music score: ornaments, +clefs, +expression markings, changes in key and time signature, etc. +\PMX\ contains support for many of these. Here I mention only a small +selection: see the \PMX\ manual for items you need but which are not +described here. A word for each such feature has its characteristic +first letter followed by a selection of \ixem{suffix}es that qualify it. + +\begin{description} + \item{Ornament:} An \ixem{ornament} is set off-stave in line with its note, +and its word, starting with \ttxem{o}, comes directly after that of its +note. The more commonly needed suffixes are +\texttt{u} (dot for +pizzicato), \texttt{p} (\mark prime for sharp pizzicato), +\mark fermata above, \textbf{fd} (\mark fermata \mark down). +The suffixes \texttt{.} (staccato) and +\texttt{-} (tenuto) differ from the others by being set close to the +note, not off-stave. +There are several more in \PMX\ and many others in MusiX\TeX. + \item{Clef change:} You get a small \ixem{clef} at the point where +the clef change occurs and a big one at the start of the next line. +The clef change word begins with \ttxem{C}. The suffix \verb"#" places +middle C on line \verb"#" of the stave, where \ttxem{1} is the bottom +line and \ttxem{5} the top. An appropriate clef is selected +automatically, e.g. \ttxem{C0} is the G-clef (treble) and \ttxem{C6} is +the F-clef (bass). + \item{Voltas:} \index{volta} These are the labels to mark sections of the score +that are not played at every repeat. You put \ttxem{V}\textbf{1} to indicate +that a bracket containing the number 1 should appear above the bar +in question. Since \PMX\ wants all such indications in the bottom +voice only, they are deleted by the \MTx\ preprocessor if found +elsewhere. See Appendix \ref{voltas}. + \item{Key change:} Put \verb'K+0-2' in a music line where a \ixem{key} change +to two flats should occur. As with voltas, this indication is deleted +if not in the bottom voice. +\end{description} + +\subsection{Useful things to put on \ttxem{\%\%} lines} +\label{usefulPMX} + +Most of the following commands should appear in the first music paragraph +or on a \ttxem{PMX} preamble command line. +Some of them are actually raw \ixem{MusiX\TeX} --- +consult the MusiX\TeX\ manual for other interesting commands. +\verb"%%" lines in the preamble are treated a little differently -- see +Appendix \ref{expert}. +\begin{description} + \item{Line, page and movement breaks:} +Put \ttxem{\%\%L}\texttt{6} above a paragraph +to make the 6th system start there, and \verb'%%L6P2' to put that +paragraph at the top of page 2. You can't ask for a \ixem{page break} +without a \ixem{line break}. Use this feature only when necessary. +Put \verb'L10M+10i0.1' to make a new movement start at the 6th system, +with 10 internotes of extra space between movements and an indentation +of $0.1=10\%$ of the width. + \item{\verb"h260m"} Height is 260 millimetres. + \item{\verb"w8i"} Width is 8 inches. + \item{\verb"\\vsize 270mm\"} Height given to MusiX\TeX\ is 270 millimetres. + \item{\verb"Ar"} Use relative \ixem{accidentals}. This requires a different + way of coding flats and sharps ---think of \verb's' as meaning + `sharpened' instead of `sharp'. E.g.~if the key signature has one or + more flats, then \verb'bs' means a B natural, \verb'bn' a B flat, and + \verb'bf' a B double flat. If you need to \ixem{transpose} music often, + it is a good idea to acquire the habit of using relative accidentals + always. If you don't, only pieces in C major or A minor can be + transposed without trouble. + \item{\verb"As"} Always use small \ixem{accidentals}. Normally \PMX\ +uses big accidentals and only switches to smaller ones if there is a +reason to do so. You can also force all big accidentals by \verb"Ab." + \item{\verb"Ar K+1-3"} Use relative accidentals and transpose the + piece up one internote, to a key with three flats. You can only + \ixem{transpose} correctly when using relative accidentals! + \item{\verb"\\stdbarrules\"} This will cause bar lines to be + drawn solidly \index{bar lines!solid} + from the top to the bottom of each system, maybe + cutting through lyrics in the process. + \item{Midi commands} \PMX\ can make MIDI files. For example, if you put +\begin{verbatim} +PMX: Ii55:55:55:55t96b56:72:48:80v127:100:73:46 +\end{verbatim} +in your preamble, a MIDI file will be generated in which all four +instruments +are played on MIDI instrument number 54 (if you use the default +instruments together with \texttt{Timidity++}, this means `voices') +at a tempo of 96 quarter-notes to a minute, with MIDI balances +of 56, 72, 48 and 80 (centre is 64) and MIDI velocities +of 127, 100, 73 and 46 respectively. More details appear in the +\PMX\ manual. +\end{description} + +\section{How to get and use \MTx} + +\textit{Sorry, this section assumes that you have some knowledge of +computers! Get a \TeX-pert to help you if necessary.} + +\subsection{Installation} \label{Archive} + +The primary official source for all the software you need is +the MusiX\TeX\ \ixem{Archive} at +\begin{quote} \archiveSite \end{quote} in the +\texttt{/music/musixtex/} directory +and its subdirectories. +Copies spread from there to other official CTAN (Comprehensive \TeX\ +Archive Network) sites. +\MTx\ is in the \texttt{software/mtx} subdirectory. +You might find there a binary package suitable for your system; +if so, you can ignore the part of this section that discusses compilation. + +\begin{quote} +Read the \ttxem{README} file that comes with the \MTx\ zip file. +\end{quote} + +If you are still reading on despite the previous line, here is a +general description --- but the most recent stuff, the real nitty-gritty, +is in the \texttt{README} file. + +To use \MTx, you need a working \ibxem{PMX} installation (version +2.502 or later, +although many scores will work with earlier versions) which +is in the \texttt{software/pmx} subdirectory of the Archive. +\PMX\ itself is a +preprocessor to Daniel Taupin's \ixem{MusiX\TeX} (Version T.112 was used +to prepare this manual), which is in the MusiX\TeX\ Archive directory itself. +All of these depend on Donald Knuth's \TeX\ typesetting package. +If your system does not already have \TeX, put pressure on your system +administrator. + +You will need Rainer Dunker's \ttxem{musixlyr} extension package (version +2.0c or later). This package is available with full documentation in the +\texttt{add-ons} subdirectory of the Archive, and you should read +that documentation if you need more lyrics features than +those accessible from \MTx. + +My \MTx\ translator was originally written in Turbo Pascal, but I use +the Free Pascal compiler, available for many systems, for current development +work. +For the sake of those users whose systems do not yet run Free Pascal, +but have a C compiler that accepts ANSI C source code, +the Pascal source distribution provides the possiblity of making a C translation, +using Dave Gillespie's Pascal-to-C converter \texttt{p2c} +and a bit of post-translation hacking. + +Once you have all the software, make an \MTx\ file with extension +\dotxem{mtx} using your normal text editor. It must be an \ixem{editor} that +respects the line boundaries and empty lines that you type in: in other +words, something fairly primitive, not an upmarket word processor. Run +the program \ttxem{prepmx} with argument \texttt{basename} when +your file is called \texttt{basename.mtx}. The output +will be a file \texttt{basename.pmx} which then goes through \PMX\ +and \TeX. The error detection capabilities of \texttt{prepmx} are +reasonable but not extensive: much is passed through unexamined to \PMX. + +\subsection{The \texttt{prepmx} command line} \label{commandline} +You could also supply other arguments on the \ixem{command line}. +A complicated command line in Unix (replace \verb'/' by \verb'\' +in DOS) might be +\begin{verbatim} +prepmx -bvn mysong /home/dirk/texinput /home/dirk/mtx/mystyles.txt +\end{verbatim} + +This line contains switches (recognized by the leading hyphen), +a basename, the directory where +the final \dotxem{tex} file will be put (if you omit it, files go in the +current directory), and the file where I keep my +own styles (if omitted, the file \ttxem{mtxstyle.txt} in the current directory +is used, if there is one). Instead of putting the switches as here on the +command line, you can specify them +in a preamble \ttxem{Options:} line, which takes precedence over the command +line. + +\begin{description} \index{command line!switch} + \item {\ttxem{-b}} \quad Disable \texttt{unbeamVocal}. + \item {\ttxem{-c}} \quad Disable \texttt{doChords}. + \item {\ttxem{-D}} \quad Enable \texttt{debugMode}. + \item {\ttxem{-f}} \quad Enable \texttt{solfaNoteNames}. + \item {\ttxem{-i}} \quad Enable \texttt{ignoreErrors}. + \item {\ttxem{-m}} \quad Disable \texttt{doLyrics}. + \item {\ttxem{-n}} \quad Enable \texttt{instrumentNames}. + \item {\ttxem{-t}} \quad Disable \texttt{doUptext}. + \item {\ttxem{-u}} \quad Disable \texttt{uptextOnRests}. + \item {\ttxem{-v}} \quad Enable \texttt{beVerbose}. + \item {\ttxem{-w}} \quad Enable \texttt{pedanticWarnings}. + \item {\ttxem{-0}, \ttxem{-1}, \dots, \ttxem{-9}} \quad Select specified +case of multiple score. See Section \ref{multiscore}. +\end{description} + +The \texttt{prepmx} program exits with \ixem{return code} 0 if no error was +found, and return code $n$ if an error was found while processing line $n$ of +the input. \NEW{0.40}Return code 10000 means that the input file was +empty or could not be opened, or that an invalid option was encountered. +In the latter case, a list of available features is displayed --- +this is a quick way of obtaining such a list. + +In some cases, the actual error may be on +another line, e.g.\ when it is found that music lines have a different +duration, the first line processed may be in error, but the discrepancy +is only found later. + + +\subsection{Bugs, restrictions and incompatibilities} \label{limits} + +The status of bugs changes too quickly for this document. Please +consult the files supplied with the package, in particular +\texttt{README}, \texttt{Corrections} and \texttt{Bugs}. + +In \MTx\current\ a paragraph may not be more than 100 lines long, +an input line +(including those in lyrics paragraphs) not more than 255 characters, +a lyrics +line in a music paragraph not more than 128 characters, and you may define a +maximum of 12 extra style elements of your own, whether in the preamble or in +the \ttxem{mtxstyle.txt} file. It is possible to change these easily: see +\texttt{README}. + +\NEW{0.42} You can have up to 15 voices, using up to 15 +staves. For each two-voice stave, the number of staves you can have goes +down by 1. + +Other limitations are described in the \PMX\ documentation. + +\subsubsection{Compatibility} + +In \MTx\ 0.55 a small but wide-ranging change has been made in \verb"mtx.tex" +which affects the \verb"\musixlyr" interface and vertical spacing. The net +result is that new scores will need much less tweaking with \texttt{Space:} +and \verb"@". On the other hand, old scores that have laboriously been +manipulated into correctness will now look wrong unless you put an old copy +of \verb"mtx.tex" where it will be found first, preferably in the same +directory as the \MTx\ score. + +\MTx\ 0.55 takes advantage of the new slur syntax of \PMX\ 2.502. +In some cases the slurs will look a little different, because \verb"{"...\verb"}" +now generates ties. + +Scores made using \MTx\ 0.52 and later should still compile under +\MTx\current. Older scores may need to be revised. + +Some command line options allowed in \MTx\ 0.52 have been removed. + +The \MTx\ 0.52 documentation stated falsely: +\begin{quote} \small + The default duration at the completion of a line is that of the +last note appearing at that stage, which in the case of an expanded +group is the shorter note. Since this is opposite to what happens +during the line itself, a line ending with a +group should have an explicit duration code for the first note +on the next line for that voice. +\end{quote} +Actually, duration is taken from what you code, +so e.g.\ \texttt{c4.d} will leave the duration code as \texttt{4}. +Of course, explicitly coding the duration can never hurt. + +\subsubsection{Unsupported features of Musix\TeX\ and \PMX} + +Unlike MusiX\TeX\ itself, which is stable and nearly complete, +\PMX\ and \MTx\ are both still in a stage of growth. Their authors +are reasonable people who subscribe to the discussion list \mailingList\ +and are open to suggestions +made there. If you have any ideas, please email them to the list, +so other users can see them and comment on them. + +The implementation of new features depends on three factors: what I +need in my own scores; what users of \MTx\ have asked me to do; and how +easy and quick it is to do them. But bear in mind that the underlying +philosophy of \MTx\ is to be simple and intuitive: arcane features are +best left to \PMX\ if not MusiX\TeX. I don't mind how sophisticated the +\PMX\ code generated needs to be, but the \MTx\ input language must not +acquire a cluttered and obscure appearance. + +Support or otherwise of Musix\TeX\ and \PMX\ features comes at three +levels: +\begin{enumerate} + \item The most frequently used features are transparently +incorporated into the basic \MTx\ language. + \item The default action of \MTx\ is to pass through unchanged +anything it does not recognize. Most \PMX\ and MusiX\TeX\ features +still work in this case. For example, you can use \verb"\PED\"\NEW{0.51} +in front of a +note to obtain a \ixem{pedal} annotation below the stave, and \verb"\DEP\" +to get the big asterisk for pedal release. This is an example of a ``Type 1 +\TeX\ string'' \index{TeX string@{\TeX\ string}!Type 1} as +described in the \PMX\ manual. + \item When a new \PMX\ feature affects aspects like count +or pitch of which \MTx\ should be aware, it is likely to be +incompatible with the preceding release of \MTx, although I do try +to catch up later. +\end{enumerate} + +Some pertinent aspects: +\begin{enumerate} + \item \MTx\current\ does not recognize the macro features of \PMX. +You should therefore not use macros for notes or anything else that +affects the count, the duration, the current octave and other properties +that are inherited by a note from the next. But there is no harm in +using macros for things like extra space. + \item \MTx\current\ is not aware of movement breaks and the possibility +to change the number of voices. + \end{enumerate} + +\subsection{For \PMX- and MusiX\TeX-perts only} \label{expert} + +You can send commands directly to \ibxem{PMX}. All lines starting with +\ttxem{\%\%} in music paragraphs are collected, stripped of the leading +\verb"%%" and passed otherwise uninterpreted to \PMX\ before anything +else from that paragraph is translated. \NEW{0.41} If such a line +is found in a preamble paragraph, it is treated as a ``Type 4 \TeX\ string'', +\TeX\ string'' \index{TeX string@{\TeX\ string}!Type 4} +which means that it will eventually appear at the top of the \TeX\ file, +after \texttt{musixtex.tex} and \texttt{pmx.tex} have been read in. +Such lines should \emph{not} end with \verb"\". +An example appears in Appendix \ref{dirty}. +As in \TeX, a line starting with only one \ttxem{\%} is treated as a +\ixem{comment}: such lines do not appear in the \PMX\ file. + +If you ever need to pass through something involving stave or instrument +numbers, remember that \PMX\ and MusiX\TeX\ number these from bottom to +top, not from top to bottom, and that the ``first voice'' in \PMX\ is the +\emph{bottom stave} to \MTx. + +Apart from the conversion of lyrics and chord lines into \PMX\ commands +(which is the main job of \MTx) the notes are modified in various ways. +\begin{itemize} + \item Octave is inserted into the first note of each voice, depending +on the \NEW{0.54} \texttt{Octave} command, or if none is supplied, +on the clef. +Absolute \ixem{octave} numbers are not recognized by \MTx\ and +may cause unexpected side effects. You can get something like absolute +octave numbers by combining \verb"=" with \verb"-" or \verb"-". This +may cause an irritating but harmless error message about backward +incompatibiliy at the PMX stage. + \item If a line is vocal, an \ttxem{a} is inserted into quavers and +shorter notes when not under slurs, to protect them from being beamed. + \item Duration codes are inserted into all notes and rests before any +serious processing is done. + \item Long/short note groups are expanded into separate notes. +Although \PMX\ allows these shortcuts, lyrics +cannot be properly synchronized unless the groups are expanded. + \item \PMX\ syntax allows great freedom in the order in which +different parts of a node are coded. \MTx\ is not aware of +all the subtleties, but extracts only those parts of which it needs to +be aware, and reassembles the note afterwards. + \item Labels in the range + \texttt{I} to \texttt{T} are inserted into unlabelled slurs and ties. \NEW{0.55} + You should therefore avoid those labels for slurs that you label yourself. + \item Chord lines are expanded into standard \PMX\ code and inserted +into the main line for each voice. + \end{itemize} + +Other ways in which an \MTx\ score differs from a native \PMX\ score in +more than layout are: a bar line is \emph{required} for a \ixem{pickup}; +\ixem{repeat} bars +are coded by the \ABC\ symbols instead of \ttxem{Rl} etc.; you don't +need to insert a meter change for an incomplete \ixem{final bar}: +\MTx\ does it. + +All the ability of \PMX\ to pass through \TeX\ (including MusiX\TeX) +commands is still there. You might for example like to read the +\ttxem{musixlyr} documentation for a large variety of ways to +fine-tune horizontal lyrics placement, but I can promise that you hardly +ever will need to do horizontal tuning except to align multi-verse lyrics as +in Section \ref{fine-tune-lyrics}. + + +\pagebreak +\section{Annotated examples} + \subsection{Voltas} \label{voltas} + \hskip -12mm +\begin{mus} + \input volta.tex +\end{mus} +\verbatiminput{volta.mtx} +The main rule is: put every \ttxem{V} command in the \emph{bottom} voice +at the start of a measure, +after the bar line (if any) but before the first note, and don't try +to use more than one at a time: the new volta automatically closes the +old one. Volta signs in other voices are silently ignored. +When reading the \PMX\ manual, remember that \emph{your} last part will +become the first part for \PMX. + +In the above example \texttt{V1} starts a volta box, +but to get the first volta box to be closed at the end, you must later +say \texttt{Vb}. Also, to get the text \texttt{2} into the ``second ending" +box, you add the \texttt{2} +after the \texttt{Vb} to make \verb"Vb2". Finally, to make the second +box open ended, you must enter \texttt{Vx} at the point you want it to be +done. (If you forget to enter the \texttt{Vx} after your last volta box, you +will get a strange unwanted volta box at the end of your piece.) + +This example also illustrates the interplay between \ttxem{Space} +and \ixem{\atsign} required for proper spacing of lyrics when there +is stuff above the staves. +\hfill --- \textsl{Contributed by Joel Hunsberger} + +\subsection{Music size} \label{sizes} + +\verbatiminput{title1.mtx} +\begin{center} +\begin{mus} + \input title1.tex +\end{mus} +\end{center} + +The above does not look quite right, for a complicated reason. +A piece as a whole has a basic music size, and then each stave can have its +own ``local'' size. The local size affects everything on the stave itself, +but not the annotations, ornaments etc. The range of legal basic sizes +is quite small: \PMX\ allows only 16-point and 20-point. +In this example, the basic size is 20-point and the local size 29-point. + +To get the perfectly matched annotations displayed on the title page of this +manual, the +input looks like this: +\verbatiminput{title.mtx} +MusiX\TeX\ has four size commands relative the basic size (called +\verb"\normalsize"). These commands affect all music fonts. They are: + +\hskip 15mm +\begin{tabular}{lrr} +\keyindex{smallmusicsize} & 13pt & 16pt \\ +\keyindex{normalmusicsize} & 16pt & 20pt \\ +\keyindex{largemusicsize} & 20pt & 24pt \\ +\keyindex{Largemusicsize} & 24pt & 29pt +\end{tabular} + +There is no \verb"\tinymusicsize", although several of the music fonts are +individually available in 11-point size. + +\pagebreak \subsection{A psalm tune} +\hskip -20mm \begin{mus} + \input psalm42.tex +\end{mus} +\vskip 12pt +\verbatiminput{psalm42.mtx} +\begin{itemize} + \item \verb"Meter: 0/2" indicates counting in half-notes, but no bar +lines. + \item Line breaks in the \texttt{Title} are made by \verb"\\". +\end{itemize} + +\pagebreak +\subsection{Beams, slurs and melismas} \label{melisma} + +% Macros for music examples + +\example{melisma1}{mtx}{60mm}{4mm}{90mm}{-5mm}{c}{5mm} + +\example{melisma2}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm} + +\example{melisma3}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm} + +\example{melisma4}{mtb}{60mm}{4mm}{90mm}{-15mm}{b}{5mm} + +\example{melisma5}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm} + +\example{melisma6}{mtb}{60mm}{4mm}{90mm}{-15mm}{b}{5mm} + +\bigskip\bigskip + +Some points to note: Example 1 uses a slur with default PMX beaming, +Example 2 uses forced beaming to beam all notes, +Example 3 does both. Examples 4 and 5 violate the \MTx\ convention +that notes sung to a single syllable must be slurred or beamed together, +so we override this in either of two ways using \texttt{musixlyr} +commands. Example 4 uses \verb"\beginmel" and \verb"\endmel" +to force melismas in a situation where \verb"[[" has suppressed them; +this method is good for long melismas +over several beamed components. Example 5 suppresses lyrics where +the beaming would have put them. +Example 6 uses \verb"\lyr" to force lyrics where the beaming +would have suppressed them, and shows the use of empty +syllables to synchronize lyrics and of broken slurs to indicate different +slurring in the two verses. +\hfill --- \textsl{Suggested by Stefan Haller} + +\pagebreak +\subsection{Dirty Tricks} \label{dirty} \NEW{0.41} + +\verbatiminput{meter.mtx} +\begin{center} +\begin{mus} + \input meter.tex +\end{mus} +\end{center} + +These are bars 7--9 of the \emph{Credo} from \emph{Misa Criolla} +by Ariel Ram{\'\i}rez. It is in the \emph{chacarera trunca} meter, which +mixes $\frac34$ and $\frac68$ time. There is no \PMX\ construction for +such \ixem{exotic meters}, so we need to be ingenious. + +We specify the meter as \verb"m3406" +which tells \PMX\ to use $\frac34$ meter but to print the C symbol for common +time. Of course we do not actually want the C symbol, we want something +that looks like $\frac34(\frac68).$ Now all that \PMX\ knows about the C +symbol is that it is called \verb"\meterC" in MusiX\TeX. So we define +\verb"\chacarera" and assign it to +\verb"\meterC" in preamble \verb"%%" commands. These appear in the \TeX\ +file after the command to read in \texttt{musixtex.tex} but before the +commands that actually print something. If later we need the original +\verb"\meterC" it can be restored by \verb"\let\meterC=\oldmeterC". + +The excerpt illustrates some sophisticated \PMX\ features too. +Since the \verb">" ornament on the bottom stave +goes above the stave by default, we +need to move it down explicitly. The beamed eighths look better with +a horizontal beam, which is enforced by \verb"[h." Finally, there is +a tie involving a melodic note with a note in a chord; to allow this, +the chordal note must +come on a music line, not on a \texttt{C:} line. +\pagebreak + +\subsection{Extra text after the piece} \label{extra} \NEW{0.50} + +\verbatiminput{borup.mtx} + + +When typesetting a vocal composition you may sometimes want to put only the +text of the initial stanza into your score and let the remaining part of the +lyrics be printed below the score. You might also want to add some notes or +comments. + +Apparently this is not possible according to the set of commands available +for \MTx\ and \PMX. There is, however, a workaround to do things like +that. The trick is to look for a command \keyindex{Endpiece} or --- as in +this example --- \verb'\setrightrepeat\endpiece' near the bottom of the +MusiX\TeX\ file generated by the \PMX\ preprocessing. You may extend the +actions of \verb'\Endpiece' (or \keyindex{endpiece}) by saving the command +with another name (\verb'\endpiecesav') and redefine \verb'\Endpiece' +to first execute \verb'\endpiecesav' and then request the inclusion of +one or more files containg plain \TeX\ code. The text of the included +file(s) will be typeset on unutilized space on the last page or else on +a new page. + +MusiX\TeX\ commands like these may --- as noted in Appendix \ref{usefulPMX} +--- be put directly into the mtx source file in \verb"%%"-lines at the +head of the first music paragraph. + +In the current example two files have been included. \texttt{lyrics.tex} +contains the original Latin lyrics and an English translation. A \TeX\ +table\footnote{See Michael Doob: A Gentle Introduction to \TeX, section +6.2. The book may be found as \texttt{gentle.tex} in the Documentation +subdirectory of the \TeX\ CTAN mirror archives.} consisting of a template +line followed by item lines for each lyrics line has been used to set +up the text in two columns - one for the lyrics and one in italics for +the translation. Notes on the song is included from \texttt{notes.tex} +and appended below the lyrics. +\hfill --- \textsl{Contributed by Christian Mondrup, following a hint by +Werner Icking} + +\verbatiminput{notes.tex} +\pagebreak + +\verbatiminput{lyrics.tex} + +\hskip -20mm +\begin{mus} + \input borup.tex +\end{mus} + +\pagebreak + +\section{\MTx\ and \LaTeX} \NEW{0.54} + +\textit{This section assumes that you have some knowledge of +\LaTeX.} + +The normal output from \PMX\ is a stand-alone plain \TeX\ file, which +cannot without further ado succesfully be input into \LaTeX. +The file \ttxem{mtxlatex.tex} allows you to prepare music scores using +\LaTeX\ rather than plain \TeX, which is particularly useful when you +need the enhanced font handling features of \LaTeX, and to produce +books combining the outputs of several \PMX\ runs into a single +document, such as a collection of songs, or a mainly text document + (like this one) with many small music excerpts. + +Two points apply to all cases: +\begin{enumerate} + \item Order of inclusion of packages is important. \texttt{mtxlatex} + must be the first package included, before any font packages. + \item It is easy to incur \ttxem{TeX capacity exceeded}. For +example, the index to this manual is a separate document because +package \texttt{multicol} won't load on top of all the others. +If you wish to do large scores, it is probably advisable to change +\texttt{texmf.cnf} so that \verb"save_size = 10000" and run +\texttt{initex}. +\end{enumerate} + +\subsection{Collections of complete pieces} + +Suppose you need to make a document containing several complete +pieces, with +perhaps a title page, a foreword and an afterword, like a typical +published book of piano pieces or songs. +\begin{enumerate} + \item Prepare a \texttt{.tex} file for each separate piece, using the methods +described previously, and be sure that it is fully debugged and looks +the way you want it, using the standard \texttt{tex-musixflx-tex} +compiling cycle. + \item Write a \LaTeX\ file looking something like this: +\verbatiminput{hallelujashort.ltx} + \item Use a \texttt{latex-musixflx-latex} +compiling cycle to make the finished document. + \item If you make small changes in the \LaTeX\ part only, a single +\LaTeX\ pass is sufficient, unless the page numbering has changed. +\end{enumerate} +You can see the finished product in \texttt{halleluja.pdf}. +Some points to note: +\begin{itemize} + \item The package \texttt{mtxlatex} comes with \MTx. +You must put the command \keyindex{mtxlatex} in the preamble. + \item The package \texttt{times} comes with standard distributions. +You could use any \LaTeXe\ font package here. The \texttt{times} +font is quite narrow and therefore useful when the lyrics are crowded. +If you do use a font a package, load it \emph{after} \texttt{mtxlatex}. + \item \verb"\pagestyle{headings}" puts page +numbers and running headings at the top of the page. + \item To change fonts, use pure \LaTeXe\ +\ixem{font change} commands, as above. Don't try to use \verb"\it", \verb"\bf" +etc. Briefly, subject to what fonts you have installed, +you can independently change: + \begin{description} + \item[size] \verb"\tiny", + \verb"\scriptsize", \verb"\footnotesize", \verb"\small", + \verb"\normalsize", \verb"\large", \verb"\Large", \verb"\LARGE", + \verb"\huge", \verb"\Huge"; + \item[shape] \verb"\upshape", \verb"\itshape", \verb"\slshape", + \verb"\scshape"; + \item[family] \verb"\rmfamily", \verb"\sffamily", \verb"\ttfamily"; + \item[series] \verb"\mdseries", \verb"\bfseries". + \end{description} +For a full description, see any good \LaTeXe\ manual. + \item The blank line after \verb"\pagebreak" is essential. + \item The environment \ttxem{Score} is used to include each piece. +It takes two arguments: the first will appear in the list of +contents and as a running page heading; the second is the name +of the \texttt{.tex} file. As usual, the extension \texttt{.tex} +may be omitted. There is also an environment \ttxem{score} +which is less convenient but more flexible: it has no arguments, +reads in nothing, puts nothing in the table of contents, and +does not change the running page heading. Use it when you need +a special lyrics font, e.g. +\begin{verbatim} +\begin{score} \headingandcontents{Loof nou die Heer} + \sffamily \input loofnou +\end{score} +\end{verbatim} +\end{itemize} + +\subsection{Collections of morsels} + +The situation is a little different when the pieces are so short +that more than one of them fit on one page. For these, use the +environment \ttxem{excerpts}, as in the following example: +\verbatiminput{kanons.ltx} +The rest of the procedure is the same as for collections of longer +pieces. +You can see the finished product in \texttt{halleluja.pdf}. +Some points to note: +\begin{itemize} + \item The \texttt{excerpts} environment redefines the heading fonts +to more modest sizes. + \item A page break should be made before quitting the environment. + \item The pieces do not have bar numbers, but space should be reserved +for the numbers that show where the voices enter. This is done +by redefining the \keyindex{writebarno} command. +\end{itemize} + +\subsection{Documents with small music excerpts} + +This manual relies heavily on the \ttxem{mus} environment. +For example, the +musical emblem on the front page was set using the commands +\begin{verbatim} +\begin{center} + \framebox[5in]{\parbox{3.6in}{ + \begin{mus} \input title.tex \bigskip \end{mus} + }} +\end{center} +\end{verbatim} +Some points to note: +\begin{itemize} + \item The excerpts vary in length and some experimentation is +required to get the dimensions and positioning just right. + \item Putting the \texttt{mus} environment inside a \texttt{center} +environment only works when the music line is not longer than the text. +Otherwise, it is useful to use \verb"\hskip", as in the case of the +first example in the manual: +\begin{verbatim} +\hskip -18mm +\begin{mus} +\input mozart0.tex +\end{mus} +\end{verbatim} +For this technique to work properly, it is essential that the above four +lines form a paragraph of their own, i.e.\ they are preceded and +followed by blank lines. +\end{itemize} + +Appendix \ref{melisma} was produced using the command \keyindex{example}. +This is a rather complicated macro with eight parameters, which is +documented at the end of the file \ttxem{mtxlatex.sty}. + +\section{Overriding predefined \TeX\ commands} \NEW{0.54} + +\textit{This section assumes that you are an experienced \TeX\ +user. } + +The logical structure of \TeX\ is such that most of the time, a command used +in a definition need not exist at the time that the definition is made, +as long as it is defined by the time that the definition is used. This +behaviour is known to computer programmers as \emph{run-time binding}. + +We have already met examples of how to exploit this feature in Sections +\ref{dirty} and \ref{extra}, where respectively \verb"\meterC" and +\verb"\Endpiece" were redefined. +The macros of the previous section also work in that way, by locally +(i.e.\ inside the various environments) redefining commands that appear +in the \TeX\ file generated by \PMX. + +The technique is an extremely powerful and flexible one, and in the +hands of an expert can achieve practically any desired result. +Here we can only scratch the surface. One point to note is that +good programming practice requires that you save the current meaning +of the command and restore it later, e.g. +\begin{verbatim} + \let\commandsave\command\def\command{...} + ... + \let\command\commandsave +\end{verbatim} +In \LaTeX, if you redefine a command inside an environment, the saving and +restoring is automatic. + +\subsection{Changing fonts} + +The font used for lyrics is the default text font of the moment, +which usually is ten-point roman. +It can be changed globally, e.g. +\verb"%% \twelverm" in the preamble will change the font to +twelve-point. When using \LaTeX, you can use font-changing commands +inside the environment to change the lyrics font only for that +particular piece. + +The fonts used for titles and other items in headers are respectively +called \keyindex{BIGfont} and \keyindex{Bigfont}. In \verb"mtxlatex.sty" +they are redefined as follows: +\begin{verbatim} +\renewcommand{\BIGfont}{\Huge\bfseries} +\renewcommand{\Bigfont}{\Large} +\end{verbatim} +If you are not using \LaTeX, they can be redefined in two ways: +\begin{itemize} + \item You can simply assign an existing font, e.g.\ to get + somewhat smaller fonts,\\ +\verb" \let\Bigfont\bigfont\let\BIGfont\BIgfont" + \item You can define the font explicitly, e.g.\ \\ +\verb" \font\BIGfont=cmss9 scaled \magstep4" +\end{itemize} + +\subsection{\Large \texttt{mtx.tex}} \label{mtxtex} + +The \MTx\ preprocessor, as far as possible, issues commands starting +with \verb"\mtx" instead of direct \TeX\ commands. The main purpose +for so doing is that the user can modify their effect by redefining +them in the source file. These macros, together with a few others +that make life easier, are collected in the file \ttxem{mtx.tex}. + +Documentation of these commands can be found at the end of the file +\texttt{mtx.tex}. + +%\pagebreak + +%\printindex +\end{document} + +\endinput + +so it is a good idea to use \texttt{musixlyr} commands +for left-alignment (\keyindex{llyr}) and horizontal shift +(\keyindex{lyroffset}) on the corresponding music line, for example: +\begin{verbatim} +\llyr\lyroffset{-2}\ d | g g ( a8 b ) | g4 g ( b8 c ) | d4 d e | c2 +L: 1. A-way in a man-ger, no crib for his bed, +L: 2. The stars in the bright sky looked down where He lay. +\end{verbatim} + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxindex.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxindex.tex new file mode 100644 index 00000000000..5015e7f58fe --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxindex.tex @@ -0,0 +1,18 @@ +\documentclass[11pt]{article} +\input musixtex +\usepackage{a4wide,mtxdoc,multicol,charter} +\def\LBR{{\tt\char'173}} +\def\Bslash{\tt\char'134} +\def\Flat{{\musixfont\char'062}} +\def\Sharp{{\musixfont\char'064}} +\def\mtxSharp{\mbox{\raise1ex\hbox{\Sharp}}} +\def\mtxFlat{\mbox{\raise1ex\hbox{\Flat}}} +\begin{document} +\setcounter{page}{1} +\pagebreak +\renewcommand{\thepage}{I-\arabic{page}} +If you can't find what you need here, also try the Table of Contents. +Other sources of help are listed in Appendix A. + +\input mtxdoc.ind +\end{document} diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxlatex.sty b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxlatex.sty new file mode 100644 index 00000000000..6061de4b40b --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxlatex.sty @@ -0,0 +1,91 @@ +% mtxlatex.sty: Macro package to make music scores using Latex +% or produce LaTeX documents containing music examples +% Dirk Laurie dlaurie@na-net.ornl.gov 2001-12-27 +% Update: see \mtxdate below +% Some comments on usage appear at the bottom + +\ifx\mtxlatex\undefined\else\endinput\fi + +\def\MTx{\mbox{\textbf{\textsl{M-Tx}}}} +\def\PMX{\textbf{PMX}} +\def\musixlyr{\texttt{\textbf{musixlyr}}} + +\input musixtex +\input musixltx + +% Preamble TeX commands for documents that contain .ex files +% generated by M-Tx/PMX + +\def\mtxlatex{ +\input musixmad +\def\mtxversion{mtxLaTeX} +\def\mtxdate{<16 March 2005>} +\input mtx +\renewcommand{\BIGfont}{\Huge\bfseries} +\renewcommand{\Bigfont}{\Large\bfseries} +% Kill the PMX definition of \parskip. +\parskip=0pt plus 1pt +} +% Extra vertical space evenly spread between systems +\renewcommand\alaligne{\stoppiece\vfill\contpiece} +\def\scoreheight{\textheight 260mm} +\def\scorewidth{\textwidth 193mm} + +\newcommand{\startscore}{\let\SmuF\startmuflex\let\EmuF\endmuflex +\scorewidth\scoreheight +\oddsidemargin -15mm\evensidemargin -15mm\topmargin -20mm +\ifx\mysizes\undefined\else\mysizes\fi +\let\startmuflex\relax\let\endmuflex\relax\let\bye\relax% +\let\nopagenumbers\relax\musicparskip} +\newcommand\headingandcontents[1]{\markboth{#1}{#1}\addcontentsline{toc} + {section}{\protect\numberline{}{#1}}} + +% The environment 'Score' is suitable for scores submitted to the +% Werner Icking music archive +\newenvironment{Score}[2]{\headingandcontents{#1} +\startscore\input #2 +}{\markboth{}{}} + +% The environment 'score' requires you to do your own input +\newenvironment{score}{\startscore}{} + +\newenvironment{excerpts}{ +\newlength\keepOSM\setlength\keepOSM\oddsidemargin +\newlength\keepTM\setlength\keepTM\topmargin +\global\setlength\oddsidemargin{-13mm} \global\setlength\topmargin{-20mm} +\let\startmuflex\relax\let\endmuflex\relax +\let\nopagenumbers\relax \let\bye\relax \let\vfill\relax \let\eject\relax +\musicparskip +\renewcommand{\BIGfont}{\Large\bfseries} +\renewcommand{\Bigfont}{\large\bfseries} +}{\global\setlength\oddsidemargin\keepOSM\global\setlength\topmargin\keepTM} + +\newenvironment{mus}% +{\begin{minipage}{260mm}\startscore\musicparskip}% +{\assignlyrics1{}\assignlyrics2{}% +\gdef\mtxTitle{}\end{minipage}} + +\def\example#1#2#3#4#5#6#7#8{ +\noindent\begin{minipage}[t]{#3} +\begin{mus} \vskip #6 +\input{#1.tex} +\end{mus} +\end{minipage}\hskip #4 +\begin{minipage}[#7]{#5} \vskip #8 +\verbatiminput{#1.#2} +\end{minipage}} + +\endinput + +============================================================================ + +\example{basename}{ext} + {musicwidth}{separation}{codewidth} + {musicvskip}{alignment}{codevskip} + +Set music example together with M-Tx (or other) code. + +basename - musicfile is basename.tex +ext - codefile is basename.ext +separation - distance between music and code minipages +alignment - c, t or b (for code minipage) diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netfirst.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/netfirst.mtx new file mode 100644 index 00000000000..8a902b00a1a --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/netfirst.mtx @@ -0,0 +1,15 @@ +Title: Net soos ek is +Composer: Charlotte Elliott +Style: SATB +Sharps: 2 +Meter: 3/4 +Space: 9 + +%% w190m +f f f | e2s e4 | f2 b4 | a2d | g4 g g | f2 f4 | g2 c4n | b2d | +d d d | d2r d4r | d2 d4 | d2d | e4 e e | d2s d4 | e2 f4 | f2d | +L: 1. Net soos ek is, geen hulp na-by, al-leen U bloed ge-stort vir my, +L: 2. Net soos ek is, nooi U vir my, ver-ge-we, rei-nig en be-vry. +L: 3. Net soos ek is, U lief-de teer werp al-le hin-der-pa-le neer. +a a a | g2s g4 | a2 g4 | a2d | b4 b b | c2n c4 | b2 e4 | ds2d | +d d d | d2 d4 | d2 g4 | f2d | e4 e e | a2 a4 | g2 g4 | b2d | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos.mta b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos.mta new file mode 100644 index 00000000000..6e126843cb4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos.mta @@ -0,0 +1,6 @@ +Style: SATB +Sharps: 2 +Meter: 3/4 +Space: 9 + +%% w190m diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos1.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos1.mtb new file mode 100644 index 00000000000..43b015fe49c --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos1.mtb @@ -0,0 +1,7 @@ +b4 b c | d2 a4 | g2 a4 | f2 f4 | e2 a4 | ( d4 c ) b | a2d | +g4 g e | d2 d4 | d2 c4 | d2 d4 | b2 e4 | ( f4 e ) d | c2d | +L: ge-trek tot U deur-boor-de sy, O Lam van God, ek kom. +L: Op U be-lof-te steun ek bly; O Lam van God, ek kom. +L: Dan wy ek my vir e-wig, Heer; O Lam van God, ek kom. +b4 b bf | a2 a4 | b2 a4 | a2 a4 | g2s a4 | a2 g4s | a2d | +e4 e g | f2 f4 | e2 a4- | d2 d4 | d2 c4 | ( b4 e ) e | a2d | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos2.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos2.mtb new file mode 100644 index 00000000000..1d971a9fed0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos2.mtb @@ -0,0 +1,8 @@ +@+5 b4 b b | b2d | a4 a a | a2d | d4 e- f | g2 e4 | d2d of |] +L: Net soos ek is, net soos ek is, O Lam van God, ek kom. + d4s g f | e2d | e4 f e | d2d | d4 dr d | d2 c4 | d2d |] +@^+5 rp+6 | b4 e d | c2d | a4 d c | ( b2d | b2 ) g4 | f2d |] +LT: Net soos ek is, O Lam van God, ek kom. + a4 a a | g2d | g4 g g | f2d | b4- g+ f | e2 a4- | d2d ofd |] +L: Net soos ek is, net soos ek is, O Lam van God, ek kom. + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/notes.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/notes.tex new file mode 100644 index 00000000000..02d08b1b4ff --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/notes.tex @@ -0,0 +1,6 @@ +% ------- file notes.tex ---------------------------------------- +\vskip 10 mm +\noindent Lyrics by Morten B\o{}rup, 1446-1526, headmaster at the +grammar school of Aarhus. The song was published \par +with an anonymous melody in \it Piae Cantiones +\rm by Theodoricus Petri, Greifswald 1582. diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/pdfcat b/Master/texmf-dist/doc/generic/m-tx/mtx060/pdfcat new file mode 100755 index 00000000000..fd773f76903 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/pdfcat @@ -0,0 +1,32 @@ +#!/bin/sh + +# pdfcat.sh +# Thanks to Christian Mondrup for this script + +FILENAME=`basename $0` + +USAGE="Usage: $FILENAME [-a (A4 paper)] -o outputfile -i \"inputfile1 inputfile12 ...\"" + +if [ $# -le 3 ] +then + echo $USAGE + exit 2 +fi + +GSARGS="-q -dNOPAUSE -dBATCH -dSAFER -sDEVICE=pdfwrite" + +while getopts "i:o:a" ARG_STRING +do + case $ARG_STRING in + a) GSARGS="-sPAPERSIZE=a4 $GSARGS" + ;; + i) INPUTFILES=$OPTARG + ;; + o) OUTPUTNAME=$OPTARG + ;; + *) echo $USAGE + exit 2;; + esac +done + +gs $GSARGS -sOutputFile=$OUTPUTNAME $INPUTFILES diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/psalm42.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/psalm42.mtx new file mode 100644 index 00000000000..c5ad930720a --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/psalm42.mtx @@ -0,0 +1,15 @@ +Meter: 0/2 +Style: Singer +Sharps: 1 +Title: Psalm 42\\{\textit{\normalsize Ainsi que la biche r\'ee}} + +@0 g2 a4 b2 a4 g f e2 d2 \caesura\ g2 a4 b2 c4 b2 a g :| +L: Soos 'n hert in dor-re stre-ke, skreeu-end dors na die ge-not +L: van die hel-der wa-ter-be-ke, skreeu my siel na U, o God. + +@+1 b2 b4 d2 c4 b a b2 \caesura\ d2 d4 e2 d4 c b a2 +L: Ja, my siel dors na die Heer, na die Le-wens-bron. Wan-neer + +b2 d4 c2 b4 g a b2 g2 \caesura\ b2 b4 c2 b4 a g f2 g2 +L: sal ek sien in klaar aan-skou-e? Op die Heer is my ver-trou-e. + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/sanctus.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/sanctus.mtx new file mode 100644 index 00000000000..102a400cc80 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/sanctus.mtx @@ -0,0 +1,13 @@ +Title: Sanctus +Composer: Jacobus Clemens non Papa +Flats: 1 +Meter: C +Style: Singer +Systems: 2 +Size: 20 +%% \hidebarrule1 + +U: !bf 1 | | 2 | | 3 | | 4 | | 5 +(~ c4+.b a of g f e d2 )~ { c2 c4 } of (~ c4 f g a g8 f g2 )~ f4 of (~ c+ d c2 b8 a b4 g cd of b8 a4 g2 { f4 f } e )~ fd of (~ g8 a b c4 )~ f2- +L: Sa-nctus, sa-nctus, sa-nctus, sa-nctus. + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/title.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/title.mtx new file mode 100644 index 00000000000..2bee58c2706 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/title.mtx @@ -0,0 +1,8 @@ +Bars/line: 2 +Style: Solo +Meter: m3400 + +%% w3.7i \\Largemusicsize\ +U: @<v-2 ~ ~ ~ ~ sf ~ ~ sf sf +[ c1+ r g g ] ( [ af8 g ] ) r b o. | c o. + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/title1.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/title1.mtx new file mode 100644 index 00000000000..9535e62b47a --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/title1.mtx @@ -0,0 +1,9 @@ +Bars/line: 2 +Style: Solo +Meter: m3400 +Size: 29pt + +%% w3.7i +U: @<v ~ ~ ~ ~ sf ~ ~ sf sf +[ c1+ r g g ] ( [ af8 g ] ) r b o. | c o. + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/viva.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/viva.mtx new file mode 100644 index 00000000000..652203d10b1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/viva.mtx @@ -0,0 +1,11 @@ +Title: Viva la Musica +Composer: M. Pr{\ae}torius +Meter: C +Sharps: 1 +Systems: 1 +Size: 20 +Style: Singer + +U: 1 | | 2 | | 3 +d+.c b a8 g f4 g f2 of b4.c d c8 b a4 g a2 of g4 g2 c4- d e d2 of +L: Vi-va, vi-va la mu-si-ca. Vi-va, vi-va la mu-si-ca. Vi-va la mu-si-ca. diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/volta.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/volta.mtx new file mode 100644 index 00000000000..8052b4ec2c3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/volta.mtx @@ -0,0 +1,21 @@ +Meter: 4/4 +Style: Singer +Bars/Line: 4 +Size: 16 +Space: 6 + +@+4 |: c4 c g+ g | a a g2 | f4 f e e | V1 d d c2 :| +L: Now to learn this vol-ta thing, lead up to the first end-ing. + +Vb2 d4 d c2 |: +L: next end-ing. + +Vx g4+ g f f | +L: Try to write a +L: Try to learn more + +V1 e e d2 :| Vb2 e4 e d2 | +L: sim-ple TeX P-M-X. + +Vx c4 c g+ g | a a g2 | f4 f e e | d d c2 |] +L: Now it's time to end the test, so I wish you all the best! diff --git a/Master/texmf-dist/doc/generic/m-tx/prepmx.html b/Master/texmf-dist/doc/generic/m-tx/prepmx.html new file mode 100644 index 00000000000..494710c31c1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/prepmx.html @@ -0,0 +1,166 @@ +Content-type: text/html + +<HTML><HEAD><TITLE>Manpage of prepmx</TITLE> +</HEAD><BODY> +<H1>prepmx</H1> +Section: prepmx Manual Page (1)<BR>Updated: 01 September 2005<BR><A HREF="#index">Index</A> +<A HREF="http://localhost/cgi-bin/man/man2html">Return to Main Contents</A><HR> + +<A NAME="lbAB"> </A> +<H2>NAME</H2> + +prepmx - preprocessor for PMX, easy music typesetting program +<A NAME="lbAC"> </A> +<H2>SYNOPSIS</H2> + +<B>prepmx</B> + +[<I>options</I>] + +<I>jobname</I> + +[<I>outdir/</I>] + +[<I>stylefile</I>] + +<A NAME="lbAD"> </A> +<H2>DESCRIPTION</H2> + +<B>M-Tx</B> + +is an easy to use preprocessor language for the +<B>PMX</B> + +music typesetting program, aimed at people who are not experts. For an +easy example, have a look at the following example: +<P> +<BR> c2+ e4 g | b4d- c1 d c2 | +<BR> c8 g+ e g c- g+ e g | d g f g c- g+ e g | +<P> +For syntax reference, please look at the M-Tx manual written by Dirk +Laurie, the creator of the M-Tx language and the author of prepmx, its +command line utility. +<P> +<B>prepmx</B> + +processes the file +<I>jobname</I>.mtx + +to generate +<I>jobname</I>.pmx. + +You can then process this file using the `pmx' command. +<B>PMX</B> + +is a preprocessor for MusiXTeX. +<P> +<I>outdir/</I> + +is the directory where `pmx' will put the final .tex file. Note that the +trailing slash is mandatory. You can provide a +<I>stylefile</I> + +for M-Tx. If omitted, the file `mtxstyle.txt' in the current +directory is used, if there is one. +<A NAME="lbAE"> </A> +<H2>OPTIONS</H2> + +Options can also be specified in a `Options:' line in the preamble, +which takes precedence over the command line. +<DL COMPACT> +<DT><B>-b</B> + +<DD> +never unbeam eighth notes and shorter +<DT><B>-c</B> + +<DD> +main music lines only - ignore chords +<DT><B>-D</B> + +<DD> +enable debug mode +<DT><B>-f</B> + +<DD> +use tonic sol-fa note names +<DT><B>-i</B> + +<DD> +ignore errors +<DT><B>-m</B> + +<DD> +music only - ignore lyrics +<DT><B>-n</B> + +<DD> +indent first system and print default instrument names +<DT><B>-t</B> + +<DD> +ignore uptext lines +<DT><B>-u</B> + +<DD> +uptext synchronizes with notes only, not rests +<DT><B>-v</B> + +<DD> +verbose progress report +<DT><B>-w</B> + +<DD> +enable pedantic warnings +<DT><B>-</B><I>n</I> + +<DD> +select specified case of multiple score +</DL> +<A NAME="lbAF"> </A> +<H2>EXIT STATUS</H2> + +If no error was found, +<B>prepmx</B> + +exits with return code 0. In case of an error, the line number of the +processed line is returned. This may not always be the line containing +the actual error. A return status of 10000 means that the input file was +empty or could not be opened. +<A NAME="lbAG"> </A> +<H2>SEE ALSO</H2> + +<B>M-Tx</B> + +User's Guide (mtx060.pdf) +<BR> + +<A HREF="http://localhost/cgi-bin/man/man2html?1+pmx">pmx</A>(1), <A HREF="http://localhost/cgi-bin/man/man2html?1+musixtex">musixtex</A>(1) +<A NAME="lbAH"> </A> +<H2>AUTHORS</H2> + +prepmx was written by Dirk Laurie <<A HREF="mailto:dpl@sun.ac.za">dpl@sun.ac.za</A>>. +This manual page was written by Roland Stigge <<A HREF="mailto:stigge@antcom.de">stigge@antcom.de</A>> for the Debian +project. It was revised and extended by Nis Martensen +<<A HREF="mailto:nis.martensen@web.de">nis.martensen@web.de</A>>, mostly by copying text from Dirk Laurie's M-Tx +User's Guide. +<P> + +<HR> +<A NAME="index"> </A><H2>Index</H2> +<DL> +<DT><A HREF="#lbAB">NAME</A><DD> +<DT><A HREF="#lbAC">SYNOPSIS</A><DD> +<DT><A HREF="#lbAD">DESCRIPTION</A><DD> +<DT><A HREF="#lbAE">OPTIONS</A><DD> +<DT><A HREF="#lbAF">EXIT STATUS</A><DD> +<DT><A HREF="#lbAG">SEE ALSO</A><DD> +<DT><A HREF="#lbAH">AUTHORS</A><DD> +</DL> +<HR> +This document was created by +<A HREF="http://localhost/cgi-bin/man/man2html">man2html</A>, +using the manual pages.<BR> +Time: 08:56:25 GMT, September 14, 2012 +</BODY> +</HTML> diff --git a/Master/texmf-dist/doc/man/man1/m-tx.1 b/Master/texmf-dist/doc/man/man1/m-tx.1 new file mode 100644 index 00000000000..66fae3c6d17 --- /dev/null +++ b/Master/texmf-dist/doc/man/man1/m-tx.1 @@ -0,0 +1,113 @@ +.\" This manpage is licensed under the GNU Public License +.TH m-tx 1 2013-12-11 "m-tx script, version 0.4" "" + +.SH NAME +m-tx \- This script processes mtx files then deletes intermediate files + +.SH SYNOPSIS +[ texlua ] +.B m-tx[.lua] +{ +.IR option +| +.IR jobname +[ .mtx ] +} ... +.TP +The default effect is to process each file using +.TP 12 +.BR prepmx (1) +(pre-pre-processing pass) +.TP +.BR pmxab (1) +(pre-processing pass) +.TP +.BR etex (1) +(first pass) +.TP +.BR musixflx (1) +(second pass) +.TP +.BR etex (1) +(third pass) +.TP +.BR dvips (1) +(dvi to Postscript) +.TP +.BR ps2pdf (1) +(Postscript to Portable Document Format) +.TP +followed by removal of intermediate files. + +.SH OPTIONS +.TP 8 +.B -v +output program name and version number, and quit +.TP +.B -h +output usage summary and quit +.TP +.B -l +changes the TeX processor to +.BR latex (1) +or +.BR pdflatex (1) +.TP +.B -p +changes the TeX processor to +.BR pdfetex (1) +or +.BR pdflatex (1) +(and doesn't run +.BR dvips (1) +and +.BR ps2pdf (1) +or +.BR dvipdfm (1) +) +.TP +.B -d +changes the dvi processor to +.BR dvipdfm (1) +.TP +.B -c +use pmxchords before pmx +.TP +.B -F fmt +uses fmt as the TeX processor +.TP +.B -s +stops processing at the dvi file +.TP +.B -t +stops processing at the tex (and midi) files +.TP +.B -m +stops processing at the pmx file +.TP +.B -i +retain intermediate files +.TP +.B -f +default processing +.TP 0 +Options affect processing of all succeeding mtx files unless changed by another option. + +.SH SEE ALSO +.BR prepmx (1) +.BR pmxab (1) +.BR scor2prt (1) +.BR etex (1), +.BR latex (1), +.BR pdfetex (1), +.BR pdflatex (1), +.BR musixflx (1), +.BR dvipdfm (1), +.BR pmxchords (1), +.BR dvips (1), +.BR ps2pdf (1). +.br +mtx260.pdf + +.SH AUTHOR +This manual page was written by Bob Tennent <rdt@cs.queensu.ca>. diff --git a/Master/texmf-dist/doc/man/man1/m-tx.man1.pdf b/Master/texmf-dist/doc/man/man1/m-tx.man1.pdf Binary files differnew file mode 100644 index 00000000000..01c7102e57f --- /dev/null +++ b/Master/texmf-dist/doc/man/man1/m-tx.man1.pdf diff --git a/Master/texmf-dist/doc/man/man1/prepmx.1 b/Master/texmf-dist/doc/man/man1/prepmx.1 index 226457c532e..299591e2e9d 100644 --- a/Master/texmf-dist/doc/man/man1/prepmx.1 +++ b/Master/texmf-dist/doc/man/man1/prepmx.1 @@ -1,4 +1,4 @@ -.TH prepmx 1 "15 December 2015" "M-Tx Version 0.61" "prepmx Manual Page" +.TH prepmx 1 "01 September 2005" "M-Tx Version 0.60" "prepmx Manual Page" .SH NAME prepmx \- preprocessor for PMX, easy music typesetting program .SH SYNOPSIS @@ -18,18 +18,17 @@ easy example, have a look at the following example: c8 g+ e g c- g+ e g | d g f g c- g+ e g | For syntax reference, please look at the M-Tx manual written by Dirk -Laurie, the creator of the M-Tx language and the author of -.BR prepmx (1), -its command-line utility. +Laurie, the creator of the M-Tx language and the author of prepmx, its +command line utility. .B prepmx processes the file .IR jobname .mtx to generate .IR jobname .pmx. -You can then process this file using the -.BR pmxab (1) -command, which is a preprocessor for MusiXTeX. +You can then process this file using the `pmx' command. +.B PMX +is a preprocessor for MusiXTeX. .I outdir/ is the directory where `pmx' will put the final .tex file. Note that the @@ -42,44 +41,40 @@ Options can also be specified in a `Options:' line in the preamble, which takes precedence over the command line. .TP .B \-b -disable unbeamVocal +never unbeam eighth notes and shorter .TP .B \-c -disable doChords +main music lines only \- ignore chords .TP .B \-D -enable debugMode +enable debug mode .TP .B \-f -enable solfaNoteNames +use tonic sol\-fa note names .TP .B \-i -enable ignoreErrors +ignore errors .TP .B \-m -disable doLyrics +music only \- ignore lyrics .TP .B \-n -enable instrumentNames +indent first system and print default instrument names .TP .B \-t -disable doUptext +ignore uptext lines .TP .B \-u -disable uptextOnRests +uptext synchronizes with notes only, not rests .TP .B \-v -enable beVerbose +verbose progress report .TP .B \-w -enable pedanticWarnings +enable pedantic warnings .TP .BI \- n -select Special Case -.I n -.TP -.B \-H -print enabled status of all options +select specified case of multiple score .SH EXIT STATUS If no error was found, .B prepmx @@ -89,12 +84,12 @@ the actual error. A return status of 10000 means that the input file was empty or could not be opened. .SH SEE ALSO .B M-Tx -User's Guide (mtxdoc.pdf) +User's Guide (mtx060.pdf) .br -pmxab(1), musixtex(1) +pmx(1), musixtex(1) .SH AUTHORS -prepmx was written by Dirk Laurie <dirk.laurie@gmail.com>. This -manual page was written by Roland Stigge <stigge@antcom.de> -for the Debian project. It was revised and extended by -Nis Martensen <nis.martensen@web.de> and Bob Tennent -<rdt@cs.queensu.ca>. +prepmx was written by Dirk Laurie <dpl@sun.ac.za>. +This manual page was written by Roland Stigge <stigge@antcom.de> for the Debian +project. It was revised and extended by Nis Martensen +<nis.martensen@web.de>, mostly by copying text from Dirk Laurie's M-Tx +User's Guide. diff --git a/Master/texmf-dist/doc/man/man1/prepmx.man1.pdf b/Master/texmf-dist/doc/man/man1/prepmx.man1.pdf Binary files differindex e3d478a3b63..910b332a802 100644 --- a/Master/texmf-dist/doc/man/man1/prepmx.man1.pdf +++ b/Master/texmf-dist/doc/man/man1/prepmx.man1.pdf diff --git a/Master/texmf-dist/scripts/m-tx/m-tx.lua b/Master/texmf-dist/scripts/m-tx/m-tx.lua new file mode 100755 index 00000000000..3587a24e2c1 --- /dev/null +++ b/Master/texmf-dist/scripts/m-tx/m-tx.lua @@ -0,0 +1,186 @@ +#!/usr/bin/env texlua + +VERSION = "0.4" + +--[[ + m-tx.lua: processes MusiXTeX files using prepmx and pmxab as pre-processors (and deletes intermediate files) + + (c) Copyright 2011-2012 Bob Tennent rdt@cs.queensu.ca + + This program is free software; you can redistribute it and/or modify it + under the terms of the GNU General Public License as published by the + Free Software Foundation; either version 2 of the License, or (at your + option) any later version. + + This program is distributed in the hope that it will be useful, + but WITHOUT ANY WARRANTY; without even the implied warranty of + MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General + Public License for more details. + + You should have received a copy of the GNU General Public License along + with this program; if not, write to the Free Software Foundation, Inc., + 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA. + +--]] + +--[[ + + ChangeLog: + + version 0.4 2013-12-11 RDT + Add -c option for pmxchords preprocessing of pmx file + Add -F fmt option to use fmt as TeX processor + + version 0.3 2012-04-09 RDT + Change name to m-tx to avoid clash with another program. + + version 0.2 2011-11-28 RDT + Added -i (retain intermediate files) option + + version 0.1.1 2011-07-18 RDT + + Removed a file check that caused it to fail (only on Windows!) + + version 0.1 2011-07-15 RDT + +--]] + +function usage() + print("Usage: [texlua] m-tx.lua { option | basename[.mtx] } ... ") + print("options: -v version") + print(" -h help") + print(" -l latex (or pdflatex)") + print(" -p pdfetex (or pdflatex)") + print(" -d dvipdfm") + print(" -c preprocess pmx file using pmxchords") + print(" -F fmt use fmt as the TeX processor") + print(" -s stop at dvi") + print(" -t stop at tex/mid") + print(" -m stop at pmx") + print(" -i retain intermediate files") + print(" -f restore default processing") +end + +function whoami () + print("This is m-tx.lua version ".. VERSION .. ".") +end + +whoami() +if #arg == 0 then + usage() + os.exit(0) +end + +-- defaults: +prepmx = "prepmx" +pmx = "pmxab" +tex = "etex" +musixflx = "musixflx" +dvi = "dvips" +ps2pdf = "ps2pdf" +intermediate = 1 + +exit_code = 0 +narg = 1 +repeat + this_arg = arg[narg] + if this_arg == "-v" then + os.exit(0) + elseif this_arg == "-h" then + usage() + os.exit(0) + elseif this_arg == "-l" then + if tex == "pdfetex" then + tex = "pdflatex" + else + tex = "latex" + end + elseif this_arg == "-p" then + if tex == "latex" then + tex = "pdflatex" + else + tex = "pdfetex" + end + dvi = ""; ps2pdf = "" + elseif this_arg == "-d" then + dvi = "dvipdfm"; ps2pdf = "" + elseif this_arg == "-c" then + pmx = "pmxchords" + elseif this_arg == "-F" then + narg = narg+1 + tex = arg[narg] + elseif this_arg == "-s" then + dvi = ""; ps2pdf = "" + elseif this_arg == "-i" then + intermediate = 0 + elseif this_arg == "-f" then + pmx = "pmxab"; tex = "etex"; dvi = "dvips"; ps2pdf = "ps2pdf"; intermediate = 1 + elseif this_arg == "-t" then + tex = ""; dvi = ""; ps2pdf = "" + elseif this_arg == "-m" then + pmx = ""; tex = ""; dvi = ""; ps2pdf = "" + else + filename = this_arg + if filename ~= "" and string.sub(filename, -4, -1) == ".mtx" then + filename = string.sub(filename, 1, -5) + end + print("Processing ".. filename .. ".mtx.") + OK = true + if ( os.execute(prepmx .. " " .. filename ) ~= 0 ) then + OK = false + end + if (OK and pmx ~= "") then + os.execute(pmx .. " " .. filename) -- does pmx return an error code? + pmxaerr = io.open("pmxaerr.dat", "r") + if (not pmxaerr) then + print("No log file.") + OK = false + else + linebuf = pmxaerr:read() + err = tonumber(linebuf) + if (err ~= 0) then + OK = false + end + pmxaerr:close() + end + end + os.remove( filename .. ".mx2" ) + if ( OK ) and + (tex == "" or os.execute(tex .. " " .. filename) == 0) and + (tex == "" or os.execute(musixflx .. " " .. filename) == 0) and + (tex == "" or os.execute(tex .. " " .. filename) == 0) and + ((tex ~= "latex" and tex ~= "pdflatex") + or (os.execute(tex .. " " .. filename) == 0)) and + (dvi == "" or (os.execute(dvi .. " " .. filename) == 0)) and + (ps2pdf == "" or (os.execute(ps2pdf .. " " .. filename .. ".ps") == 0) ) + then + if ps2pdf ~= "" then + print(filename .. ".pdf generated by " .. ps2pdf .. ".") + end + if intermediate == 1 then -- clean-up: + os.remove( "pmxaerr.dat" ) + os.remove( filename .. ".mx1" ) + os.remove( filename .. ".mx2" ) + if pmx ~= "" then + os.remove( filename .. ".pmx" ) + end + if dvi ~= "" then + os.remove( filename .. ".dvi" ) + end + if ps2pdf ~= "" then + os.remove( filename .. ".ps" ) + end + end + else + print("M-Tx/pmx/MusiXTeX processing of " .. filename .. ".mtx fails.\n") + exit_code = 2 + --[[ uncomment for debugging + print("tex = ", tex) + print("dvi = ", dvi) + print("ps2pdf = ", ps2pdf) + --]] + end + end --if this_arg == ... + narg = narg+1 +until narg > #arg +os.exit( exit_code ) diff --git a/Master/texmf-dist/tex/generic/m-tx/mtx.tex b/Master/texmf-dist/tex/generic/m-tx/mtx.tex index 93a172f2c5d..a12633d4fff 100644 --- a/Master/texmf-dist/tex/generic/m-tx/mtx.tex +++ b/Master/texmf-dist/tex/generic/m-tx/mtx.tex @@ -1,6 +1,4 @@ -% mtx.tex © 2001–2015 Dirk Laurie License: MIT (see file LICENSE) -% Some code © 2001 André van Ryckeghem License: GPL -% Corrections: see mtxtexdate, below. +% mtx.tex Dirk Laurie 2001-3-11 Corrections: see mtxtexdate, below. % All TeX commands put directly into PMX files by M-Tx are defined below, % except the following: @@ -12,15 +10,13 @@ % It is therefore possible for a TeXpert to tune the performance % of M-Tx without touching the preprocessor. -% Commands borrowed unchanged from André van Ryckeghem's mypmxdef.tex -% have AVR prepended to their names. -% All other commands start with the letters "\mtx" except one: +% The commands all start with the letters "\mtx" except one: % "\:" is a short alias for "\relax" to save space on input line length \ifx\mtxtexversion\undefined\else\endinput\fi -\def\mtxtexversion{0.61} -\def\mtxtexdate{19 November 2015} +\def\mtxtexversion{0.60} +\def\mtxtexdate{16 March 2005} \let\:=\relax \message{mtx.tex \mtxtexversion\space<\mtxtexdate>} \message{M-Tx \mtxversion\space(Music from TeXt) <\mtxdate>} @@ -37,12 +33,12 @@ \ifx\assignlyricshere\undefined\message{Your musixlyr.tex is too old}\fi % M-Tx font definitions -% \mtxeightsf etc: defines \eightsf etc by analogy to \eightrm. -% \mtxEightsf etc: same, but also immediately does \eightsf. -% \mtxPalatino: replaces Computer Modern font definitions of -% \eightrm, \eightit, \eightbf etc by Palatino -% \mtxHelvetica: replaces Computer Modern font definitions of -% \eightsf etc by Helvetica +% Three macros are associated with each lyrics font, e.g. +% \mtxmyfont defines \myfont but does not select it +% \myfont selects it later +% \mtxMyfont (note capital) defines and selects \myfont + +\def\mtxInstrfont{\twelvebf} \def\mtxeightsf{\font\eightsf=cmss8} \def\mtxEightsf{\mtxeightsf\eightsf} @@ -56,42 +52,12 @@ \def\mtxtwelvesf{\font\twelvesf=cmss12} \def\mtxTwelvesf{\mtxtwelvesf\twelvesf} +% Title fonts are immediately selected + \def\mtxBigsf{\font\Bigtype=cmss9 scaled \magstep2} \def\mtxBIGsf{\font\BIGtype=cmss9 scaled \magstep4} -\def\mtxPalatino{ -\font\eightrm=pplr at 8truept -\font\eightbf=pplb at 8truept -\font\eightit=pplri at 8truept - -\font\tenrm=pplr at 10truept -\font\tenbf=pplb at 10truept -\font\tenit=pplri at 10truept - -\font\elevenrm=pplr at 11truept -\font\elevenbf=pplb at 11truept -\font\elevenit=pplri at 11truept - -\font\twelverm=pplr at 12truept -\font\twelvebf=pplb at 12truept -\font\twelveit=pplri at 12truept - -\font\Bigtype=pplb at 17truept -\font\BIGtype=pplb at 25truept -} - -\def\mtxHelvetica{ - \def\mtxeightsf{\font\eightsf=\phvr at 8truept} - \def\mtxtensf{\font\tensf=\phvr at 10truept} - \def\mtxelevensf{\font\elevensf=\phvr at 11truept} - \def\mtxtwelvesf{\font\twelvesf=\phvr at 12truept} -} - -\def\mtxInstrfont{\twelvebf} -\def\mtxAllsf{\mtxeightsf\mtxtensf\mtxElevensf\mtxtwelvesf\mtxBigsf\mtxBIGsf} - -\def\sit\eightit \def\srm\eightrm \def\sbf\eightbf \def\ssf\eightsf -% \def\elevenpt{\def\rm\elevenrm \def\it\elevenit \def\bf\elevenbf} +\def\mtxAllsf{\mtxElevensf\mtxBigsf\mtxBIGsf} % M-Tx music sizes @@ -165,41 +131,9 @@ % \lyr% post the numbers % \en} -% Commands taken from André van Ryckeghem's mypmxdef.tex -% Page layout: Letter/A4, A4 only, Letter/A4 centered, A3 -% Use only with plain TeX: these do not interact seamlessly with -% LaTeX page layout commands! -\def\AVRpagforletaiv{% -\hoffset=-12.4mm\hsize=210mm\advance\hsize-23mm% A4 10mm margin -\voffset-15.4mm\vsize=11in\advance\vsize-20mm\advance\vsize-12pt}% letter 10 mm margin -\def\AVRpagforaiv{% -\hoffset=-12.4mm\hsize=210mm\advance\hsize-23mm% -\voffset=-15.4mm\vsize=297mm\advance\vsize-20mm\advance\vsize-12pt}% -\def\AVRpagforaivc{% -\hoffset=-12.4mm\hsize=210mm\advance\hsize-23mm% -\voffset=-7.4mm\vsize=11in\advance\vsize-20mm\advance\vsize-12pt}% -\def\pagforaiii{% -\hoffset=-5.4mm\hsize=297mm\advance\hsize-37mm% -\voffset=-5.4mm\vsize=420mm\advance\vsize-37mm\advance\vsize-12pt}% - -% Next command adapted from AVR's code. Use thus: -% \footline=\mtxFootLine{P1}{P2}{P3}{P4}{P5} -% The footline on pages 3 and 4 look like this: -% P1 - P2 P3 P4 - P5 3 -% 4 P5 - P4 P3 P2 - P1 -% Each parameter should contain its own font selector, or inherit -% whatever was in effect. -\def\mtxFootline#1#2#3#4#5{\ifodd\pageno% -{{{#1}{\rm~---~}{#2}} \hfill {#3} \hfill {#4}{\rm~---~}{#5}{\rm ~~~ }{\bf \folio }}% -\else -{{\bf \folio}{\rm ~~~ }{#5}{\rm~---~}{#4} \hfill {#3} \hfill {#2}{\rm~---~}{#1}}% -\fi} - % M-Tx default settings \sepbarrules -\mtxPalatino -\elevenrm % this will be the lyrics font unless overridden \immediate\write10{=== end of mtx.tex ===} \endinput diff --git a/Master/tlpkg/tlpsrc/m-tx.tlpsrc b/Master/tlpkg/tlpsrc/m-tx.tlpsrc index 417fa08b9dc..e9e89cf4456 100644 --- a/Master/tlpkg/tlpsrc/m-tx.tlpsrc +++ b/Master/tlpkg/tlpsrc/m-tx.tlpsrc @@ -1,2 +1,4 @@ +binpattern f bin/${ARCH}/m-tx binpattern f bin/${ARCH}/prepmx +docpattern +f texmf-dist/doc/man/man1/m-tx.* docpattern +f texmf-dist/doc/man/man1/prepmx.* |