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authorKarl Berry <karl@freefriends.org>2010-11-20 23:13:29 +0000
committerKarl Berry <karl@freefriends.org>2010-11-20 23:13:29 +0000
commit7cbd6550ac55e762ba01ad62261e56f2e9e24f1d (patch)
tree4280b9d7e47f8cef9116a7d724f02a037fa284e0 /Master/texmf-dist/doc/generic/musictex/extras.tex
parent612e347f3f21bc4531116e898863f1ccc46143b6 (diff)
rm musictex, superseded by musixtex
git-svn-id: svn://tug.org/texlive/trunk@20506 c570f23f-e606-0410-a88d-b1316a301751
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-% A logo
-\def\musictex{\leavevmode\hbox{Music\TeX}}
-
-% Here I define an extra font for the dynamics, at 10pt.
-\font\ppffx=\fonthdg mbxti10
-
-% I like the size of the bold italic to depend on the size of the music, so
-% I define this. It would be better for this to be defined in
-% \computespecifics however.
-\def\ppffs{\ifnum\musicsize=20\ppff\else\ppffx\fi}
-
-% \dyn {pitch}{text} inserts a dynamic
-\def\dyn#1#2{\zcharnote{#1}{{\ppffs #2}}}
-
-% \nobarnumbers prevents bar numbering
-\def\nobarnumbers{\def\wbarno{\relax}}
-
-% \barnumbers restores bar numbering
-\def\barnumbers{\def\wbarno{\w@barno}}
-
-% \tab is defined as a tab character, so that I can still use tabs.
-\catcode`\@=4
-\let\tab=@
-\catcode`\@=11
-
-% The next few sections define some extra macros to produce notes.
-% They are sometimes useful, but you may not want to use them.
-
-\def\nqu#1{\rlap{\qu{#1}}}
-\def\nql#1{\rlap{\ql{#1}}}
-\def\nhu#1{\rlap{\hu{#1}}}
-\def\nhl#1{\rlap{\hl{#1}}}
-\def\nw#1{\rlap{\wh{#1}}}
-\def\nwh#1{\rlap{\wh{#1}}}
-\def\nqup#1{\rlap{\qup{#1}}}
-\def\nqlp#1{\rlap{\qlp{#1}}}
-\def\nhup#1{\rlap{\hup{#1}}}
-\def\nhlp#1{\rlap{\hlp{#1}}}
-\def\ncl#1{\rlap{\cl{#1}}}
-\def\ncu#1{\rlap{\cu{#1}}}
-
-% shifted dotted whole notes
-\def\rwp#1{\kern \wd@skip\zwp{#1}\kern -\wd@skip}
-\def\lwp#1{\kern -\wd@skip\zwp{#1}\kern \wd@skip}
-
-% Half-shifted notes. I sometimes use these for close intervals: for instance
-% \zlqu g\zrql f
-
-\def\zrwh{\zrw}
-\def\zlwh{\zlw}
-\def\zrw#1{\kern .52\wd@skip\nw{#1}\kern -.52\wd@skip}
-\def\zlw#1{\kern -.52\wd@skip\nw{#1}\kern .52\wd@skip}
-\def\zrhu#1{\kern .45\hn@width\nhu{#1}\kern -.45\hn@width}
-\def\zlhu#1{\kern -.45\hn@width\nhu{#1}\kern .45\hn@width}
-\def\zrhl#1{\kern .45\hn@width\nhl{#1}\kern -.45\hn@width}
-\def\zlhl#1{\kern -.45\hn@width\nhl{#1}\kern .45\hn@width}
-\def\zrhup#1{\kern .45\hn@width\nhup{#1}\kern -.45\hn@width}
-\def\zlhup#1{\kern -.45\hn@width\nhup{#1}\kern .45\hn@width}
-\def\zrhlp#1{\kern .45\hn@width\nhlp{#1}\kern -.45\hn@width}
-\def\zlhlp#1{\kern -.45\hn@width\nhlp{#1}\kern .45\hn@width}
-\def\zrqu#1{\kern .45\qd@skip\nqu{#1}\kern -.45\qd@skip}
-\def\zlqu#1{\kern -.45\qd@skip\nqu{#1}\kern .45\qd@skip}
-\def\zrql#1{\kern .45\qd@skip\nql{#1}\kern -.45\qd@skip}
-\def\zlql#1{\kern -.45\qd@skip\nql{#1}\kern .45\qd@skip}
-\def\zrqup#1{\kern .45\qd@skip\nqup{#1}\kern -.45\qd@skip}
-\def\zlqup#1{\kern -.45\qd@skip\nqup{#1}\kern .45\qd@skip}
-\def\zrqlp#1{\kern .45\qd@skip\nqlp{#1}\kern -.45\qd@skip}
-\def\zlqlp#1{\kern -.45\qd@skip\nqlp{#1}\kern .45\qd@skip}
-\def\zrcu#1{\kern .45\qd@skip\zcu{#1}\kern -.45\qd@skip}
-\def\zlcu#1{\kern -.45\qd@skip\zcu{#1}\kern .45\qd@skip}
-\def\zrcl#1{\kern .45\qd@skip\zcl{#1}\kern -.45\qd@skip}
-\def\zlcl#1{\kern -.45\qd@skip\zcl{#1}\kern .45\qd@skip}
-%
-% half left shifted accidentals - for putting before half shifted notes
-%
-\def\hlfl#1{\getn@i{#1}\global\n@raise=\fl@raise
- \pl@llap{\f@lat\kern 0.45\qd@skip}%
-}%
-\def\hldfl#1{\getn@i{#1}\global\n@raise=\fl@raise
- \pl@llap{\df@lat\hskip 0.45\qd@skip}%
-}%
-\def\hlsh#1{\getn@i{#1}\global\n@raise=\sh@raise
- \pl@llap{\s@harp\hskip 0.45\qd@skip}%
-}%
-\def\hldsh#1{\getn@i{#1}\global\n@raise=\z@
- \pl@llap{\ds@harp\hskip 0.45\qd@skip}}%
-\def\hlna#1{\getn@i{#1}\global\n@raise=\na@raise
- \pl@llap{\n@at\hskip 0.45\qd@skip}}%
-%
-% cautionary accidentals
-% A cautionary accidental is a small one surrounded by parentheses, used for
-% reminders. Type the usual accidental name preceded by "c"
-%
-\def\caution#1#2{\kern -.4\qd@skip\zcharnote{#2}{\raise
--.45\Interligne\hbox{\ttyeight\kern -1.4\qd@skip
- \rlap{(}\kern1.2\qd@skip)}}#1#2\kern .4\qd@skip}
-
-\def\cfl{\caution{\smallfl}}
-\def\csh{\caution{\smallsh}}
-\def\cna{\caution{\smallna}}
-\def\cdfl{\caution{\smalldfl}}
-\def\cdsh{\caution{\smalldsh}}
-\def\cFl{\caution{\smallFl}}
-\def\cSh{\caution{\smallSh}}
-\def\cNa{\caution{\smallNa}}
-\def\cdFl{\caution{\smalldFl}}
-\def\cdSh{\caution{\smalldSh}}
-
-% The following macros can be used to surround a note by parentheses. They
-% are also used as ornaments by J.P. Rameau.
-% \lpar p produces a left parenthesis, or "port de voix" at pitch p
-% \rpar p produces a right parenthesis, or "pinc\'e"
-
-\def\lpar#1{\zcharnote #1{\raise -2.5pt\hbox{\tentt\kern -.9\Interligne (}}}
-\def\rpar#1{\zcharnote #1{\raise -2.5pt\hbox{\tentt\kern 1.1\Interligne )}}}
-
-\newdimen\tmp@dimen
-\def\bracketshrink{0.17\Interligne}
-
-% \bracket pn draws a square bracket ( [ ) to bracket an interval of an n-th
-% whose lowest note is p.
-
-\def\bracket#1#2{\tmp@dimen #2\Interligne\advance\tmp@dimen by\Interligne
- \divide\tmp@dimen by2\relax
- \advance\tmp@dimen by-\bracketshrink\advance\tmp@dimen by-\bracketshrink
- \advance\tmp@dimen by-\lthick
- \zcharnote#1{\kern-.75\Interligne\raise-.5\Interligne
- \hbox{\raise\bracketshrink\hbox{\rlap{\vrule height\tmp@dimen}\relax
- \rlap{\vbox{\hrule width .5\Interligne}}\relax
- \raise\tmp@dimen\vbox{\hrule width .5\Interligne}}}}}
-
-\newdimen\tmp@dimenc
-\newdimen\z@iii\newdimen\z@iv\newdimen\z@v
-
-% \oblique {l}{s}{h} draws an oblique line of length l, slope s percent, and
-% height h. This will cause an unrecorded space so it should be used within
-% \rlap. Note that this macro is a hack and probably gobbles up resources!
-% This macro is used by some of the others which follow.
-
-\def\oblique#1#2#3{\relax % length slope height
-\ifnum #2=0\relax\raise #3\vbox{\hrule width #1 height\lthick depth\z@}\relax
-\else\q@antum=25\lthick\divide\q@antum by #2\relax
-\ifdim\q@antum<0pt\relax\multiply\q@antum by -1\fi
-\global\z@iv=0pt\relax
-\loop\ifdim\z@iv<#1\relax
- {\z@v=#1\relax\advance\z@v by -\z@iv\relax\advance\z@v by -\q@antum\relax
- \tmp@dimenc\z@iv\multiply\tmp@dimenc by#2\relax
- \z@iii=#3\relax\advance\z@iii by .01\tmp@dimenc\relax\advance\z@iii by
- -0.5\internote
- \ifnum #2<0\relax\advance\z@iii by \lthick\relax\fi
- \tmp@dimenc\z@v\multiply\tmp@dimenc by#2\relax
- \ifdim\z@v<0pt\relax\advance\z@iii by .01\tmp@dimenc\relax\hskip\z@v\fi
- \advance\z@iii by 0.6\internote\relax
- \raise\z@iii\hbox to \q@antum{\vrule width\q@antum height .5\lthick depth
- .5\lthick}\relax
- \global\advance\z@iv by \q@antum\relax
-}\repeat
-\fi
-}
-
-\newdimen\tmp@dimenb\newcount\tmp@ct
-\def\crescwidth{1.8\Interligne}
-
-% These macros produce variable size crescendo and diminuendo marks.
-% \varcresc{p}{l} produces a crescendo at pitch p, and of length l, causing
-% no space.
-\def\varcresc#1#2{\relax% height (note), length (dimen)
- \tmp@dimenb \crescwidth\tmp@dimen #2\multiply
- \tmp@dimenb by50\divide\tmp@dimenb by\tmp@dimen \tmp@ct\tmp@dimenb
- \ifnum 0=\tmp@ct\relax
- \tmp@ct 1\fi
- \getn@i{#1}\tmp@dimen\n@i\internote
- \rlap{\oblique{#2}{\tmp@ct}{\tmp@dimen}}\relax
- \advance\tmp@dimen by-\lthick
- \rlap{\oblique{#2}{-\tmp@ct}{\tmp@dimen}}}
-
-% \vardim{p}{l} draws a diminuendo at pitch p, and of length l, causing
-% no space.
-\def\vardim#1#2{\tmp@dimenb 1.6\Interligne\tmp@dimen #2\multiply
- \tmp@dimenb by50\divide\tmp@dimenb by\tmp@dimen \tmp@ct\tmp@dimenb
- \ifnum 0=\tmp@ct\relax
- \tmp@ct 1\fi
- \getn@i{#1}\tmp@dimen\n@i\internote
- \tmp@dimenb\crescwidth\divide\tmp@dimenb by2\relax
- \advance\tmp@dimen by\tmp@dimenb
- \rlap{\oblique{#2}{-\tmp@ct}{\tmp@dimen}}\relax
- \advance\tmp@dimen by \lthick
- \tmp@dimenb #2\multiply\tmp@dimenb by\tmp@ct\advance\tmp@dimen
- by-.02\tmp@dimenb
- \rlap{\oblique{#2}{\tmp@ct}{\tmp@dimen}}}
-
-% \overbracket{p}{l}{s} draws a bracket over the music starting at the
-% current position at pitch p, width l and slope s percent, causing no space.
-\def\overbracket#1#2#3{\relax % height (note), length (dimen) slope (%)
- \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax
- \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax
- \raise\n@i\internote\rlap{\vrule width\lthick height \lthick
- depth .8\Interligne}\oblique{#2}{#3}{\n@i\internote}\relax
- \advance\tmp@dimenb by.5\lthick\relax
- \raise\tmp@dimenb\hbox{\vrule width\lthick height \lthick
- depth.8\Interligne}}}
-
-% \ovbkt{p}{n}{s} is the same as \overbracket, except that it draws the
-% bracket to cover n notes (note however that glue inserted by \temps
-% commands will expand the space between the notes but will not affect the
-% bracket).
-% I use this macro to indicate triplets, for instance.
-
-\def\ovbkt#1#2#3{\relax % height (note), length (number of notes) slope (%)
- \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen
- by -\noteskip\advance\tmp@dimen by\lthick \overbracket{#1}{\tmp@dimen}{#3}}
-
-% \underbracket and \unbkt are similar to the above, but produce
-% brackets under the music.
-\def\underbracket#1#2#3{\relax % height (note), length (dimen) slope (%)
- \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax
- \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax
- \raise\n@i\internote\rlap{\vrule width\lthick depth -\lthick
- height \Interligne}\oblique{#2}{#3}{\n@i\internote}\relax
- \advance\tmp@dimenb by.5\lthick\relax
- \raise\tmp@dimenb\hbox{\vrule width\lthick depth -\lthick
- height\Interligne}}}
-\def\unbkt#1#2#3{\relax % height (note), length (number of notes) slope (%)
- \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen
- by -\noteskip\advance\tmp@dimen by\lthick
- \kern-2\lthick\underbracket{#1}{\tmp@dimen}{#3}\kern2\lthick}
-
-% Here are several macros to make use of the alternative note graphics found
-% in the font files. I copied the idea from the usual note macros in
-% MusicTeX.
-
-% \gu produces grace notes (acciacaturas), stems up
-% \gl produces grace notes, stems down
-% \smqu,\smql,\smhu,\smhl,\smwh produce small versions of \qu,\ql,\hu,\hl,\wh
-% respectively.
-
-\def\gu@raise{\lthick}\def\gl@raise{\lthick}\def\br@raise{\lthick}%
-\def\g@u{{\musicxx\char"45}}%
-\def\g@l{{\musicxx\char"46}}%
-\def\gu#1{\getn@i{#1}\def\n@fon{\gu}\global\n@raise=\gu@raise\def\n@sym{\g@u}\g@
-gr}%
-\def\gl#1{\getn@i{#1}\def\n@fon{\gl}\global\n@raise=\gl@raise\def\n@sym{\g@l}\g@
-gr}%
-\def\g@all#1{\ifnum\n@i<100\relax
- \h@lines{#1}\global\stem@skip=\hd@skip
- \def\s@tem{\relax}\pl@note\raise@note{\n@sym\hss}\ss@uite\fi}%
-\def\g@gr{\g@all{1.15\interligne}}%
-\def\sm@qu{{\musicxx\char"25\vrule height 2\Interligne depth\z@}}
-\def\sm@ql{{\vrule depth 2\Interligne height\z@\kern-.5pt\musicxx\char"25}}
-\def\sm@hu{{\musicxx\char"26\vrule height 2\Interligne depth\z@}}
-\def\sm@hl{{\vrule depth 2\Interligne height\z@\kern-.5pt\musicxx\char"26}}
-\def\sm@wh{{\musicxx\char"27}}
-\let\sm@raise\lthick
-\def\g@sm{\g@all{1.1\interligne}}%
-\def\g@smw{\g@all{1.3\interligne}}%
-\def\smqu#1{\getn@i{#1}\def\n@fon{\smqu}\global\n@raise=\sm@raise\def\n@sym{\sm@
-qu}\g@sm}%
-\def\smql#1{\getn@i{#1}\def\n@fon{\smql}\global\n@raise=\sm@raise\def\n@sym{\sm@
-ql}\g@sm}%
-\def\smhu#1{\getn@i{#1}\def\n@fon{\smhu}\global\n@raise=\sm@raise\def\n@sym{\sm@
-hu}\g@sm}%
-\def\smhl#1{\getn@i{#1}\def\n@fon{\smhl}\global\n@raise=\sm@raise\def\n@sym{\sm@
-hl}\g@sm}%
-\def\smwh#1{\getn@i{#1}\def\n@fon{\smwh}\global\n@raise=\sm@raise\def\n@sym{\sm@
-wh}\g@smw}%
-%
-% This skip aligns some ornaments which appear not to be centred precisely
-% on the notes
-\def\o@skp{\hskip-.5\hd@skip}
-
-% \turn p makes a turn symbol at pitch p, causing no space
-% \backturn p makes a backward turn symbol at pitch p, causing no space
-% \ttrill p makes a terminated trill ...
-% \coda p makes a coda ...
-% \segno p makes the special "S" ...
-\def\turn#1{\zcharnote{#1}{\o@skp\musicxx\char"44}}
-\def\backturn#1{\zcharnote{#1}{\o@skp\musicxx\char"43}}
-\def\ttrill#1{\zcharnote{#1}{\o@skp\musicxx\char"58\dimen@4.6pt%
- \advance\dimen@-1.5\internote\tenrm\lower\dimen@\hbox{'}}}
-\def\coda#1{\zcharnote{#1}{\o@skp\musicxx\char"55}}
-\def\segno#1{\zcharnote{#1}{\o@skp\musicxx\char"56}}
-
-% J.P. Rameau indicated "arpegements" by drawing oblique strokes through the
-% note stems.
-% \downarpeg p is written just before the note at pitch p with its stem
-% pointing up in order to indicate a descending arpeggio
-% \uparpeg p is written just before the note at pitch p with its stem
-% pointing down in order to indicate an ascending arpeggio
-
-\font\linew=linew10 %would be nice to have slightly shorter lines...
-\def\downarpeg#1{\getn@i{#1}\advance\n@i by3\raise\n@i\internote
- \rlap{\linew\char"61}}
-\def\uparpeg#1{\getn@i{#1}\advance\n@i by-3\raise\n@i\internote
- \rlap{\linew\char"21}}
-
-% \qqs is a demi-semiquaver rest
-\def\qqs{\charnote0{{\musicxx\char"41}}}
-
-% These macros change context while forbidding line breaks
-\def\xchangecontext{{\def\updatecontext{\x@updatecon}\changecontext}}
-\def\xChangecontext{{\def\updatecontext{\x@updatecon}\Changecontext}}
-