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authorKarl Berry <karl@freefriends.org>2015-12-22 23:02:24 +0000
committerKarl Berry <karl@freefriends.org>2015-12-22 23:02:24 +0000
commitcb8a83fc9297e35c683e724630f2b9b0a6bb1ed9 (patch)
tree9f9762bceb16e3d79c67d519d69c6b646f127352
parent07818a063f92aa6840bcbb38ca2ad15fd469121d (diff)
remove files moved up a level in m-tx 0.61
git-svn-id: svn://tug.org/texlive/trunk@39171 c570f23f-e606-0410-a88d-b1316a301751
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/borup.mtx20
-rwxr-xr-xMaster/texmf-dist/doc/generic/m-tx/buildmtxdoc.lua59
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/chord.mtx10
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/dertod.mtx9
-rwxr-xr-xMaster/texmf-dist/doc/generic/m-tx/docversion1
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/dona.mtx19
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/dwoman.mta4
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/dwoman.mtb3
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/halleluja.ltx74
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/halleluja.pdfbin139024 -> 0 bytes
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/hallelujashort.ltx22
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/kanons.ltx12
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/kanons.pdfbin52194 -> 0 bytes
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/kroonhom.mtx144
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/loofnou.mtx105
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/lyrics.tex14
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/macro.mtx15
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/melisma.mta5
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/melisma1.mtb2
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/melisma2.mtb2
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/melisma3.mtb2
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/melisma4.mtb3
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/melisma5.mtb2
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/melisma6.mtb3
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/meter.mtx10
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/mozart.mtx7
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/mozart0.mtx2
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/mtxdoc.ltx2119
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/mtxdoc.pdfbin312153 -> 0 bytes
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/mtxdoc.sty110
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/mtxindex.tex18
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/mtxlatex.sty91
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/netfirst.mtx14
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/netsoos.mta5
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/netsoos1.mtb7
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/netsoos2.mtb8
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/notes.tex6
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/prepmx.pdfbin5314 -> 0 bytes
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/psalm42.mtx15
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/sanctus.mtx13
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/title.mtx9
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/title1.mtx9
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/viva.mtx11
-rw-r--r--Master/texmf-dist/doc/generic/m-tx/volta.mtx21
44 files changed, 0 insertions, 3005 deletions
diff --git a/Master/texmf-dist/doc/generic/m-tx/borup.mtx b/Master/texmf-dist/doc/generic/m-tx/borup.mtx
deleted file mode 100644
index d67cbf24fb6..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/borup.mtx
+++ /dev/null
@@ -1,20 +0,0 @@
-Meter: 3/4
-Title: Song of May
-Flats: 1
-Style: Singer
-Systems: 2
-Space: 10
-TeX: \let\endpiecesav\endpiece
-TeX: \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/buildmtxdoc.lua b/Master/texmf-dist/doc/generic/m-tx/buildmtxdoc.lua
deleted file mode 100755
index 6d4cb2b6e35..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/buildmtxdoc.lua
+++ /dev/null
@@ -1,59 +0,0 @@
-#! /usr/bin/texlua
--- buildmtxdoc.lua © Dirk Laurie 2015 MIT license
--- Build M-Tx documentation from scratch.
-
-local project = {halleluja = "-t kroonhom loofnou -f -q -p halleluja";
-kanons = "-t viva dona sanctus -f -q -p kanons";
-mtxdoc = "-t borup chord dertod dwoman macro"..
-" melisma1 melisma2 melisma3 melisma4 melisma5 melisma6"..
-" meter mozart mozart0 netfirst netsoos1 netsoos2 psalm42 title title1 volta"..
-" -f -x -q -p mtxdoc"}
-
-local sys = function(...)
- print(...)
- return(os.execute(...))
-end
-
-local cat = function(target,...)
- local result = io.open(target,'w')
- for k=1,select('#',...) do
- for line in io.open((select(k,...))):lines() do
- result:write(line,"\n")
- end
- end
- result:close()
-end
-
-local make_examples = function()
- cat("dwoman.mtx","dwoman.mta","dwoman.mtb")
- for k=1,2 do
- mtxname = ("netsoos%d.mtx"):format(k)
- cat(mtxname,"netsoos.mta",("netsoos%d.mtb"):format(k))
- end
- for k=1,6 do
- mtxname = ("melisma%d.mtx"):format(k)
- cat(mtxname,"melisma.mta",("melisma%d.mtb"):format(k))
- end
-end
-
-local build_project = function(target)
- if target == "mtxdoc" then
- make_examples()
- end
- sys("musixtex -q "..project[target])
-end
-
--- Main program
-
-if type(arg)~='table' or not arg[1] then build_project"mtxdoc"
-elseif project[arg[1]] then build_project(arg[1])
-else print[[
-This is buildmtxdoc version 0.1.
-Usage: [texlua] buildmtx.lua [project]
-Projects:
- mtxdoc
- halleluja
- kanons
-
-If no project is specified, "mtxdoc" is built.]]
-end
diff --git a/Master/texmf-dist/doc/generic/m-tx/chord.mtx b/Master/texmf-dist/doc/generic/m-tx/chord.mtx
deleted file mode 100644
index a5b0ca6a798..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/chord.mtx
+++ /dev/null
@@ -1,10 +0,0 @@
-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/dertod.mtx b/Master/texmf-dist/doc/generic/m-tx/dertod.mtx
deleted file mode 100644
index 26cbd7b43e8..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/dertod.mtx
+++ /dev/null
@@ -1,9 +0,0 @@
-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/docversion b/Master/texmf-dist/doc/generic/m-tx/docversion
deleted file mode 100755
index 62807fd0a93..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/docversion
+++ /dev/null
@@ -1 +0,0 @@
-grep 'def\\versionname' mtxdoc.ltx | sed -e "s/.*{\(.*\)\.\(.*\)}.*/\1\2/"
diff --git a/Master/texmf-dist/doc/generic/m-tx/dona.mtx b/Master/texmf-dist/doc/generic/m-tx/dona.mtx
deleted file mode 100644
index 2921ad5a387..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/dona.mtx
+++ /dev/null
@@ -1,19 +0,0 @@
-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/dwoman.mta b/Master/texmf-dist/doc/generic/m-tx/dwoman.mta
deleted file mode 100644
index 77f00c576b4..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/dwoman.mta
+++ /dev/null
@@ -1,4 +0,0 @@
-Style: Singer
-Meter: 3/4
-
-%% w80m
diff --git a/Master/texmf-dist/doc/generic/m-tx/dwoman.mtb b/Master/texmf-dist/doc/generic/m-tx/dwoman.mtb
deleted file mode 100644
index c9003cbf5bf..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/dwoman.mtb
+++ /dev/null
@@ -1,3 +0,0 @@
-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/halleluja.ltx b/Master/texmf-dist/doc/generic/m-tx/halleluja.ltx
deleted file mode 100644
index 86a8538e3e6..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/halleluja.ltx
+++ /dev/null
@@ -1,74 +0,0 @@
-\documentclass[a4paper]{article}
-\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/halleluja.pdf b/Master/texmf-dist/doc/generic/m-tx/halleluja.pdf
deleted file mode 100644
index df6c1c28990..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/halleluja.pdf
+++ /dev/null
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/m-tx/hallelujashort.ltx b/Master/texmf-dist/doc/generic/m-tx/hallelujashort.ltx
deleted file mode 100644
index 344df1490ae..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/hallelujashort.ltx
+++ /dev/null
@@ -1,22 +0,0 @@
-\documentclass[a4paper]{article}
-\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
-\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}
-
-\end{document}
-
diff --git a/Master/texmf-dist/doc/generic/m-tx/kanons.ltx b/Master/texmf-dist/doc/generic/m-tx/kanons.ltx
deleted file mode 100644
index 2ea3440009c..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/kanons.ltx
+++ /dev/null
@@ -1,12 +0,0 @@
-\documentclass{article}
-\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/kanons.pdf b/Master/texmf-dist/doc/generic/m-tx/kanons.pdf
deleted file mode 100644
index ae063fba427..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/kanons.pdf
+++ /dev/null
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/m-tx/kroonhom.mtx b/Master/texmf-dist/doc/generic/m-tx/kroonhom.mtx
deleted file mode 100644
index cca8c4e84e0..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/kroonhom.mtx
+++ /dev/null
@@ -1,144 +0,0 @@
-Title: Kroon Hom!
-Flats: 2
-Style: SATB
-Pages: 3
-Systems: 14
-Space: 0 4
-Height: 280mm
-Width: 193mm
-
-% 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/loofnou.mtx b/Master/texmf-dist/doc/generic/m-tx/loofnou.mtx
deleted file mode 100644
index 18fb5ca410d..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/loofnou.mtx
+++ /dev/null
@@ -1,105 +0,0 @@
-Title: Loof nou die Heer
-Composer: Psalm 150
-Style: SATB
-Pages: 2
-Systems: 10
-Space: 2
-Height: 280mm
-Width: 193mm
-
-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/lyrics.tex b/Master/texmf-dist/doc/generic/m-tx/lyrics.tex
deleted file mode 100644
index d9ee84a1ee5..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/lyrics.tex
+++ /dev/null
@@ -1,14 +0,0 @@
-% -------- 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/macro.mtx b/Master/texmf-dist/doc/generic/m-tx/macro.mtx
deleted file mode 100644
index f75ac802447..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/macro.mtx
+++ /dev/null
@@ -1,15 +0,0 @@
-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/melisma.mta b/Master/texmf-dist/doc/generic/m-tx/melisma.mta
deleted file mode 100644
index 755806431ce..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/melisma.mta
+++ /dev/null
@@ -1,5 +0,0 @@
-Style: Singer
-Meter: C
-Start: @+2
-Width: 2in
-
diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma1.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma1.mtb
deleted file mode 100644
index 3f36f53124b..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/melisma1.mtb
+++ /dev/null
@@ -1,2 +0,0 @@
-( c8 d1 e1 d8 e1 f1 ) e2 |
-L: A-men
diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma2.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma2.mtb
deleted file mode 100644
index d35cbcc5288..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/melisma2.mtb
+++ /dev/null
@@ -1,2 +0,0 @@
-[ c8 d1 e1 d8 e1 f1 ] e2 |
-L: A-men
diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma3.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma3.mtb
deleted file mode 100644
index 70973365b6c..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/melisma3.mtb
+++ /dev/null
@@ -1,2 +0,0 @@
-( [ c8 d1 e1 d8 e1 f1 ] ) e2 |
-L: A-men
diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma4.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma4.mtb
deleted file mode 100644
index 73a6efb78ee..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/melisma4.mtb
+++ /dev/null
@@ -1,3 +0,0 @@
-%% \\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/melisma5.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma5.mtb
deleted file mode 100644
index 4d6dafa134c..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/melisma5.mtb
+++ /dev/null
@@ -1,2 +0,0 @@
-[ c8 d1 e1 ] [ \nolyr\ d8 e1 f1 ] e2 |
-L: A-men
diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma6.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma6.mtb
deleted file mode 100644
index 85a0e3a162f..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/melisma6.mtb
+++ /dev/null
@@ -1,3 +0,0 @@
-@-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/meter.mtx b/Master/texmf-dist/doc/generic/m-tx/meter.mtx
deleted file mode 100644
index 5a9c887bc1c..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/meter.mtx
+++ /dev/null
@@ -1,10 +0,0 @@
-Style: Piano
-Meter: m3406
-Width: 100m
-TeX: \def\upiii#1{\raise3\internote\hbox{{#1}}}
-TeX: \def\chacarera{\meterfrac34\upiii{\Big(}\meterfrac68\upiii{\Big)}}
-TeX: \let\oldmeterC=\meterC \let\meterC=\chacarera
-
-a-2d o> a8 r r a r r a2d o> |
-C: dfsa cea cea dfsa
-d-2d o>-15 a4 a { [h d8 {1 d+ ] d2d }1 zd- } |
diff --git a/Master/texmf-dist/doc/generic/m-tx/mozart.mtx b/Master/texmf-dist/doc/generic/m-tx/mozart.mtx
deleted file mode 100644
index f16b5eb4b36..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/mozart.mtx
+++ /dev/null
@@ -1,7 +0,0 @@
-Title: Riff in C
-Composer: W. A. Mozart (1756--1791)
-Style: piano
-Width: 120mm
-
-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/mozart0.mtx b/Master/texmf-dist/doc/generic/m-tx/mozart0.mtx
deleted file mode 100644
index b6538192716..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/mozart0.mtx
+++ /dev/null
@@ -1,2 +0,0 @@
-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/mtxdoc.ltx b/Master/texmf-dist/doc/generic/m-tx/mtxdoc.ltx
deleted file mode 100644
index d84e3bd15ff..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/mtxdoc.ltx
+++ /dev/null
@@ -1,2119 +0,0 @@
-\documentclass[11pt]{article}
-% mtxlatex and mtxdoc must be loaded before any font-defining packages
-% like charter, bookman etc
-\usepackage{color,mtxlatex,mtxdoc,multicol}
-\paperAfour
-% 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.org}
-}
-\newcommand{\scoreSite}{
- \texttt{http://imslp.org}
-}
-\newcommand{\mailingList}{
-\texttt{tex-music@tug.org}
-}
-\newcommand{\repository}{
-\texttt{https://github.com/dlaurie/M-Tx}
-}
-
-\def\versionname{0.61}
-\def\version{0.61}
-\def\newfrom{0.61}
-\date{11 December 2015}
-\title{\Huge \textbf{\MTx: Music from Text \\ \LARGE Version\current} \\
- User's Guide \vfill}
-\author{\LARGE Dirk Laurie\\ \texttt{dirk.laurie@gmail.com} }
-
-\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, 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, I hope.
-
-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{I.e.. before Rainer Dunker's \texttt{musixlyr} package, on which \MTx\ depends, became \PMX-aware.}
-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.
-
- \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, 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 levels 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: Ar" & \PMX\ command in preamble.\\
-\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"Width: 190mm" & Width of line in \texttt{mm} (or \texttt{in} or
-\texttt{pt}). Default is \texttt{190mm}.\\
-\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 \\
-\verb"TeX: \elevensf" & Type 2 TeX code (see Appendix \ref{expert})\\
-\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.
-
-\ttxem{TeX} \NEW{0.61} should be used for last-minute overrides
-of commands that come from system \TeX\ files like \verb`mtx.tex`
-and \verb`pmx.tex`.
-
-\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.
- \ttxi{checkAssertions} Interpret certain comments as assertions (see Section
- \ref{debugging-aids}.
-\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 checkAssertions
-\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
-or even be omitted from 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{Debugging aids} \NEW{0.61} \label{debugging-aids}
-
-The very compactness of \PMX\ music notation works against you
-when debugging. One music paragraph looks very much like another.
-Notes inherit pitch and duration from context, and when there is
-a mistake, it is not easy to see where in a long music line that
-context comes from.
-
-Octave mistakes have a way of accumulating, but only show up when
-you see a typeset score full of leger lines way above or below the
-stave.
-
-Left to itself, \MTx\ can and does check that all music lines end
-at a bar ending, and that lines from the same paragraph have the
-same length. But it cannot tell that which of two lines is wrong,
-only that they are different.
-
-Many programmers use commenta lines \verb`% -- Bar 40 --` to help
-them keep track of where they are in a score. This practice has
-now been formalized as a debugging aid.
-
-Certain comments can be recognized by \MTx\ as assertions, allowing
-additional correctness checks can be made. Apart from the comment
-sign, they look like preamble commands, but are normally placed in
-the music paragraph to which they apply.
-
-\begin{tabular}{ll}
-
-\verb"% Range: S=4d-5d, A=3b-4g" & Requests range checking for the specified voices. \\
-\verb"% Bar: 30-31" & If only one bar, give just one number.
-
-\end{tabular}
-
-The format used here for \ttxem{Range} checking puts the octave
- before the note, e.g. \verb`4f`, to avoid confusion with \verb`f4`
-in which the digit indicates duration. The error messages
-use the same notation.
-
-Either of these comments may also appear in a preamble paragraph,
-in which case they apply to the entire score.
-% {-- Maybe later --} The first number in such a global \verb`Bar`
-% is used to initialize the printed bar count.
-
-\subsection{Error messages}
-
-Most error messages will give a line number and say approximately
-where the error was found. In that case, the original line is printed
-with a marker at that point. Also printed is what has happened to that
-line in the meantime, mostly explicit duration indications on every
-note.
-
-If there is no line number (this mostly happens in the preamble)
-the message in most cases deals with something that you should have
-supplied.
-
-Sometimes 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 the one that is wrong, but the discrepancy is only
-found later.
-
-Error messages generated by assertions can be a lot more informative
-than others, and you are urged to exploit these. To find out what life
-would have been like without them, you can always issue
-`Disable: checkAssertions` in the preamble.
-
-\section{Acknowledgments}
-
-% In DPL-DOS/huis.tgz
-
-I still have the
-\texttt{.tex} and \texttt{.dvi} files of my first attempt (in October 1992)
-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 Filgueiras, published in 1998 in \textit{Software Practice and
-Experience}, although I did not consciously borrow his ideas. I have
-been unable to find an implementation on the Internet.
-
-I had some enlightening e-mail correspondence with the developers of
-MPP, Jan Nieuwenhuizen and Han-Wen Nienhuys.
-This package (no longer maintained, unfortunately) 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: the software archive
-and mailing list URLs are listed in Appendix A, while
-the scores have been merged into the Petrucci Music Library (\scoreSite).
-
-My wife, Trienke, 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{pmx270.pdf}, \texttt{ref270.pdf}
- (these names will obviously be different
- if your \PMX\ is not Version 2.70);
- \item{\musixlyr:~} \texttt{musixlyr.pdf};
- \item{MusiX\TeX:~} \texttt{musixdoc.dvi}.
- \end{description}
- \item The archive site at \begin{quote}\archiveSite \end{quote}
- hosts not only the mailing list archive but also several tutorials
- in various languages on MusiX\TeX\ and \PMX.
- \item Join the \ixem{mailing list} by filling in the form
-at \\
-\texttt{http://tug.org/mailman/listinfo/tex-music}.
-\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}
-
-You have three ways of passing information directly to PMX.
-
-\begin{enumerate}
- \item The \ttxem{PMX} preamble command.
- \item A line starting with \ttxem{\%\%}. The rest of the line is
-treated as \PMX.
- \item Inside music lines. Anything not recognized is passed through.
-\end{enumerate}
-
-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. Note that \PMX's height and width
-have one-letter units, not two-letter like \TeX\ itself and \MTx.
- \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: Ii55:55t96b56:72v127:100
-\end{verbatim}
-in the preamble of \texttt`netsoos.mtx`, a MIDI file will be generated
-in which both instruments (Soprano/Alto and Tenor/Bass) are played on
-MIDI instrument number 54 (on my system this means `voices') at a tempo
-of 96 quarter-notes to a minute, with MIDI balances of 56 and 72 (centre
-is 64) and MIDI velocities of 127 and 100 respectively. More details
-appear in the \PMX\ manual.
-\end{description}
-
-One thing that you must only pass to PMX by the third method — embedded
-in a music line — is a meter change, otherwise \MTx\ does not know about
-it and will continue to count bars by the old meter.
-
-\section{How to get and use \MTx}
-
-There are such excellent tutorials available at \archiveSite\ that
-this section is unnecessary. In every subsection, only a few random
-remarks are left. You can safely skip it all. Just visit the website.
-
-\subsection{Installation and running} \label{Archive}
-
-On a Debian system (which also includes Ubuntu) you can simply
-install the \verb`m-tx` package with all its dependencies (which,
-if you do not yet have \TeX, is staggeringly much).
-
-If you need to compile from source, grab it from \repository\ and
-look for a file whose name starts with \verb`README`. You will
-need a Free Pascal compiler.
-
-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.
-
-Thanks to Bob Tennent, all the intermediate steps that you used to
-need are now unnecessary. There will be an executable file called
-\verb`m-tx` on your system so that simply invoking
-\begin{verbatim}
- m-tx jobname
-\end{verbatim}
-will take you all the way from \verb`jobname.mtx` to \verb`jobname.pdf`.
-
-You can do the seven steps separately. The first of them is running
-\verb`prepmx jobname`. After that, the command you will need is
-\verb`pmx2pdf jobname`, also courtesy of Bob Tennent.
-
-There are several options available for the first step, which can be
-displayed by running \verb`prepmx -h`.
-
-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.
-
-\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.txt}, \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 if you compile
-from source: they are clearly recognizable in \texttt{globals.pas}.
-
-\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}
-
-\MTx\ 0.61 accepts all scores that were valid under \MTx\ 0.60.
-Older scores may need tweaking.
-
-\subsubsection{Unsupported features of Musix\TeX\ and \PMX}
-
-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 PMX 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
-HIESA
-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}
-
-PMX has four mechanisms for incorporating raw \TeX. Apart from putting
-them inside music lines as in \PMX, they are supported in \MTx\ as follows.
-
-1. A Type 1 \TeX\ string appears on a music line, terminated
-by a backslash. It takes effect at the next note.
-
-2. A Type 2 \TeX\ string appears in a \ttxem{TeX} command in the preamble.
-The rest of the line will be taken to be \TeX\ and must not end in a
-backslash. There may be several \ttxem{TeX} commands. They take effect
-just before the real typesetting takes place, after all other definitions
-have been processed, and can be used to override just about anything.
-
-3. A Type 3 \TeX\ string appears on a \verb"%%" line in a paragraph, e.g.
-\begin{verbatim}
-%% \\\def\foo{bar}\
-\end{verbatim}
-It takes effect at the start of paragraph, irrespective of where in
-the paragraph it appeared. Note the trailing backslash.
-
-4. A Type 4 \TeX\ string appears on a \verb"%%" line in the preamble.
-\index{TeX string@{\TeX\ string}!Type 4}
-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.
-
-\begin{quote} \emph{Order of inclusion of packages is important.
- \emph{\texttt{mtxlatex}}
- must be the first package included, before any font packages.}
-\end{quote}
-
-\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 Write a \LaTeX\ file, say \texttt{halleluja.ltx},
-looking something like this:
-\verbatiminput{hallelujashort.ltx}
-By the way, this code contains another dirty trick: vertical space
-between systems is tweaked by embedding the bar number in a vertical box.
- \item Use the script \texttt{musixtex.lua} that, thanks to Bob Tennent,
-forms part of modern \TeX\ distributions\footnote{You need at least Version
-0.15. If your distribution is not recent enough, download the latest version
-from \texttt{http://icking-music-archive.org/software/musixtex/musixtex.lua}}
-to build everything in one go. In this case you need to say:
-\begin{verbatim}
- musixtex kroonhom loofnou halleluja.ltx
-\end{verbatim}
-It is important to put the main file last, so that the \TeX\ files
-are built before the main file is processed.
- \item If you make small changes in the \LaTeX\ part only, a single
-\LaTeX\ pass is sufficient, unless the page numbering has changed.
-You achieve this with the \texttt{-1} option of \texttt{musixtex.lua}.
-\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 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{kanons.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{\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}.
-
-\subsection{Changing fonts}
-
-The font used for lyrics is the default text font of the moment,
-which usually is eleven-point roman.
-It can be changed globally, e.g.
-\verb"TeX: \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}
-
-The macros \keyindex{mtxPalatino} and \keyindex{mtxHelvetica} defined in
-\texttt{mtx.tex}, based on work by Andr\'e van Ryckeghem, replace
-Computer Modern in all the font definitions by Palatino and Helvetica
-respectively.
-
-\pagebreak
-
-\def\Flat{{\musixfont\char'062}}
-\def\Sharp{{\musixfont\char'064}}
-\def\mtxSharp{\mbox{\raise1ex\hbox{\Sharp}}}
-\def\mtxFlat{\mbox{\raise1ex\hbox{\Flat}}}
-
-\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/mtxdoc.pdf b/Master/texmf-dist/doc/generic/m-tx/mtxdoc.pdf
deleted file mode 100644
index 4c93913a6c3..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/mtxdoc.pdf
+++ /dev/null
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtxdoc.sty b/Master/texmf-dist/doc/generic/m-tx/mtxdoc.sty
deleted file mode 100644
index e4e0cbab27f..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/mtxdoc.sty
+++ /dev/null
@@ -1,110 +0,0 @@
-% 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
-
-\definecolor{Green}{rgb}{0,0.5,0.1}
-\definecolor{Red}{rgb}{0.5,0,0.1}
-\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/mtxindex.tex b/Master/texmf-dist/doc/generic/m-tx/mtxindex.tex
deleted file mode 100644
index 5015e7f58fe..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/mtxindex.tex
+++ /dev/null
@@ -1,18 +0,0 @@
-\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/mtxlatex.sty b/Master/texmf-dist/doc/generic/m-tx/mtxlatex.sty
deleted file mode 100644
index cc682ab1a27..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/mtxlatex.sty
+++ /dev/null
@@ -1,91 +0,0 @@
-% 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
-\usepackage{etex}
-\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 270mm}
-\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/netfirst.mtx b/Master/texmf-dist/doc/generic/m-tx/netfirst.mtx
deleted file mode 100644
index 101bbac4df1..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/netfirst.mtx
+++ /dev/null
@@ -1,14 +0,0 @@
-Title: Net soos ek is
-Composer: Charlotte Elliott
-Style: SATB
-Sharps: 2
-Meter: 3/4
-Space: 9
-
-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/netsoos.mta b/Master/texmf-dist/doc/generic/m-tx/netsoos.mta
deleted file mode 100644
index ed0612e80fa..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/netsoos.mta
+++ /dev/null
@@ -1,5 +0,0 @@
-Style: SATB
-Sharps: 2
-Meter: 3/4
-Space: 9
-
diff --git a/Master/texmf-dist/doc/generic/m-tx/netsoos1.mtb b/Master/texmf-dist/doc/generic/m-tx/netsoos1.mtb
deleted file mode 100644
index 43b015fe49c..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/netsoos1.mtb
+++ /dev/null
@@ -1,7 +0,0 @@
-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/netsoos2.mtb b/Master/texmf-dist/doc/generic/m-tx/netsoos2.mtb
deleted file mode 100644
index 1d971a9fed0..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/netsoos2.mtb
+++ /dev/null
@@ -1,8 +0,0 @@
-@+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/notes.tex b/Master/texmf-dist/doc/generic/m-tx/notes.tex
deleted file mode 100644
index 02d08b1b4ff..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/notes.tex
+++ /dev/null
@@ -1,6 +0,0 @@
-% ------- 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/prepmx.pdf b/Master/texmf-dist/doc/generic/m-tx/prepmx.pdf
deleted file mode 100644
index 7f1420b5d07..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/prepmx.pdf
+++ /dev/null
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/m-tx/psalm42.mtx b/Master/texmf-dist/doc/generic/m-tx/psalm42.mtx
deleted file mode 100644
index c5ad930720a..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/psalm42.mtx
+++ /dev/null
@@ -1,15 +0,0 @@
-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/sanctus.mtx b/Master/texmf-dist/doc/generic/m-tx/sanctus.mtx
deleted file mode 100644
index 2aea4ad3112..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/sanctus.mtx
+++ /dev/null
@@ -1,13 +0,0 @@
-Title: Sanctus
-Composer: Jacobus Clemens non Papa
-Flats: 1
-Meter: C
-Style: Singer
-Systems: 2
-Size: 20
-TeX: \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/title.mtx b/Master/texmf-dist/doc/generic/m-tx/title.mtx
deleted file mode 100644
index da0236b8ab8..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/title.mtx
+++ /dev/null
@@ -1,9 +0,0 @@
-Bars/line: 2
-Style: Solo
-Meter: m3400
-Width: 3.7in
-TeX: \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/title1.mtx b/Master/texmf-dist/doc/generic/m-tx/title1.mtx
deleted file mode 100644
index 6ef0af7db87..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/title1.mtx
+++ /dev/null
@@ -1,9 +0,0 @@
-Bars/line: 2
-Style: Solo
-Meter: m3400
-Size: 29pt
-Width: 3.7in
-
-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/viva.mtx b/Master/texmf-dist/doc/generic/m-tx/viva.mtx
deleted file mode 100644
index 652203d10b1..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/viva.mtx
+++ /dev/null
@@ -1,11 +0,0 @@
-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/volta.mtx b/Master/texmf-dist/doc/generic/m-tx/volta.mtx
deleted file mode 100644
index 8052b4ec2c3..00000000000
--- a/Master/texmf-dist/doc/generic/m-tx/volta.mtx
+++ /dev/null
@@ -1,21 +0,0 @@
-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!