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authorKarl Berry <karl@freefriends.org>2016-04-07 17:14:54 +0000
committerKarl Berry <karl@freefriends.org>2016-04-07 17:14:54 +0000
commit4fc0fce826bc3e62885c787654e6a39740d0f31d (patch)
tree4208a8aa428963af55b95e74fca6c17418a9f800 /Master/texmf-dist/doc/generic/musixtex
parent09272d5b17e3f64de89b93da1b07432bbde91f7e (diff)
musixtex 1.22 (25feb16)
git-svn-id: svn://tug.org/texlive/trunk@40306 c570f23f-e606-0410-a88d-b1316a301751
Diffstat (limited to 'Master/texmf-dist/doc/generic/musixtex')
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/ChangeLog-121.txt16
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/ChangeLog-122.txt8
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/README2
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/examples/pedal.tex24
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc.pdfbin1252604 -> 1280018 bytes
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex82
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex62
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex2
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex81
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex10
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex2
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex113
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty3
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex2
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex9
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/restsdoc.tex113
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex7
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex29
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex2
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/summary.tex16
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdfbin93367 -> 30982 bytes
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdfbin81896 -> 85655 bytes
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdfbin6895 -> 6975 bytes
23 files changed, 461 insertions, 122 deletions
diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-121.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-121.txt
new file mode 100644
index 00000000000..2a2464441b7
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-121.txt
@@ -0,0 +1,16 @@
+Changes from MusiXTeX 120 to 121:
+
+ + adjusted the offsets and/or vertical positions for some tremolos
+
+ + moved \lastbarpos\lin@pos after calls to \Writ@meters
+ to correct \centerbar positioning
+
+ + copied the definition of \Hpause from musixlit.tex
+
+ + introduced \Changeclefs, \cHpause and \centerHpause
+
+ + replaced \smalltype\it by \txtfont in octave clef commands
+
+ + moved definitions of \txtfont into \comput@fonts
+
+ + added support for piano-pedal bracket notation
diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-122.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-122.txt
new file mode 100644
index 00000000000..87a76a65d34
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-122.txt
@@ -0,0 +1,8 @@
+
+Changes from MusiXTeX 121 to 122:
+
+ + bi and sc font definitions added; sl and tt definitions for musixsty moved
+ + explicit font choices for \txtfont replaced by generic commands
+ \smalltype\it etc.
+ + \pdlud \halfwidthbigwedge and \raise height font-dependent
+ + \zbreath and \cbreath use BIGtype rather than BIGfont
diff --git a/Master/texmf-dist/doc/generic/musixtex/README b/Master/texmf-dist/doc/generic/musixtex/README
index c3ef5af699b..b95ea1f8894 100644
--- a/Master/texmf-dist/doc/generic/musixtex/README
+++ b/Master/texmf-dist/doc/generic/musixtex/README
@@ -1,4 +1,4 @@
-This is MusiXTeX, version 1.20-2015-12-13.
+This is MusiXTeX, version 1.22 (2016-02-25).
MusiXTeX is a TeX-based system for typesetting music.
The main author was Daniel Taupin, who died in a climbing
diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pedal.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pedal.tex
new file mode 100644
index 00000000000..e6667335157
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/examples/pedal.tex
@@ -0,0 +1,24 @@
+\input musixtex
+%\largemusicsize
+\setstaffs12
+\setclef1{\bass}
+\def\raiseped{-8}
+\nobarnumbers
+\startpiece\addspace\afterruleskip%
+\NOtes\qa H\qa I\pdld\qa J\qa K|\wh l\en
+\NOtes\pdlu\qa L\qa M|\wh l\en
+\bar%
+\NOtes\pdld\qa J\qa K\pdlud\qa L\qa M\pdlu\qa N|\wh l\en
+\bar%
+\NOtes\pdld\qa J\qa K|\wh l\en
+\NOtes\qa L\qa M|\wh l\en
+\bar%
+\NOtes\qa J\qa K\qa L\pdlu\qa M|\wh l\en
+\NOtes\pdld\qa J\qa K\qa L\pdlu\qa M|\wh l\en
+\bar%
+\NOtes\qa J\qa K\qa L\qa M|\wh l\en
+\NOtes\pdld\qa J\pdlud\qa K\pdlud\qa L\pdlu\qa M|\wh l\en
+\bar%
+\Notes\pdld\qa J\sk\qa K\sk\pdlud\qa L\sk\pdlu\qa M|\ibu1e2\qb1{efghij}\tqu1k\en
+\stoppiece
+\end
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf b/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf
index 9e880520bb4..8f1ceea39a9 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex
index eef0b1296f7..24b329a5f2d 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex
@@ -111,7 +111,7 @@ Note the comments between the code lines.
\end{music}
-\section{Clefs}\label{treblelowoct}
+\section{Clefs}\label{treblelowoct}\label{ClefChanges}
Macros that define clefs have already been discussed in Section~\ref{whatspecify}. By way of review, here are all of the possible clefs
(applied to the lowest staff):
@@ -142,10 +142,10 @@ Macros that define clefs have already been discussed in Section~\ref{whatspecify
%avre
Just as with key signatures, these commands only \ital{prepare} for clef changes.
-To \ital{activate} them, any of the first eleven commands listed in Section~\ref{contextintro} could be used. However, one should keep in mind that
+To \ital{activate} them, any of the first eleven commands listed in Section~\ref{contextintro} could be used. However, one should keep in mind that,
according to modern conventions, a clef change at a bar line is posted
-before the bar line, while for example \verb|\changecontext| would post it
-after the bar line. In part for this reason, we have the special command
+\emph{before} the bar line, whereas, for example, \verb|\changecontext|, would post it
+\emph{after} the bar line. In part for this reason, we have the special command
\keyindex{changeclefs}. It can be used anywhere outside
\verb+\notes...\en+ to activate a clef change and insert an amount of
horizontal space to accommodate the new clef symbol(s), without printing a
@@ -212,6 +212,51 @@ Here are some examples of clef changes:
\noindent Of course the examples in the last two bars are contrary
to accepted practice.
+If \keyindex{atnextbar} is being used to center material and new clefs before
+the bar line should be
+excluded from the ``notes'' region within which material is centered,
+you may use the command \keyindex{Changeclefs}, as in the following:
+
+\begin{music}
+\nobarnumbers
+\nostartrule
+\generalmeter{\meterC}
+\startextract%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{11}\en}%
+\setclef1\bass\Changeclefs%
+\setleftrepeat%
+\generalmeter{\allabreve}%
+\changecontext%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{12}\en}%
+\setclef1\treble\Changeclefs%
+\setrightrepeat\bar%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{13}\en}%
+\endextract
+\end{music}\noindent
+which was coded as
+\begin{quote}
+\begin{verbatim}
+\generalmeter{\meterC}
+\startextract%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{11}\en}%
+\setclef1\bass\Changeclefs%
+\setleftrepeat%
+\generalmeter{\allabreve}%
+\changecontext%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{12}\en}%
+\setclef1\treble\Changeclefs%
+\setrightrepeat\bar%
+\NOTEs\en
+\def\atnextbar{\znotes\centerHpause{13}\en}%
+\endextract
+\end{verbatim}
+\end{quote}
+
Clef changes initiated with the \verb|\setclef| command have several features
in common. When activated after the beginning of the piece, the printed symbol
is smaller than the normal one used at the beginning of the piece. Also,
@@ -324,7 +369,6 @@ nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7).
\noindent This is the code:
\begin{quote}\begin{verbatim}
-\begin{music}\nostartrule
\instrumentnumber1\setclef1\bass
\startpiece
\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs
@@ -424,3 +468,31 @@ in a single staff.
\Notes\qu k&\cu{de}|\qu e\en
\endextract
\end{music}
+
+\section{Changes at the end of a system}
+It is conventional music-typesetting practice to indicate changes of clef, time signature,
+and key signature that apply to the start of a \emph{new} system
+also at the end of the previous system, as in the following:
+
+\begin{music}
+\nobarnumbers
+\setstaffs12
+\setclef{1}{\bass}
+\generalmeter{\meterfrac44}
+\generalsignature{+2}
+\startextract%
+\Notes\wh K|\qa{fghi}\en
+\setclef{1}{66}\changeclefs%
+\generalmeter{\meterfrac34}%
+\generalsignature{-1}%
+\Changecontext%
+\zendextract%
+\generalsignature{-1}
+\setclef{1}{66}
+\generalmeter{\meterfrac34}
+\startextract%
+\NOtes\ha{.K}|\qa{Mad}\en%
+\bar%
+\Notes\ha{.K}|\qa{Mad}\en%
+\endextract%
+\end{music}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex
index fbe5991497d..a0eaf645f58 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex
@@ -283,8 +283,22 @@ Use as follows:
\begin{quote}\begin{verbatim}
\input musixtex
\input musixec
+[\input musixsty]
...
\end{verbatim}\end{quote}
+For example,
+
+\begin{music}
+\input musixec
+é è â ç ü ñ\\
+\end{music}
+ \noindent may be coded as
+\begin{quote}
+\begin{verbatim}
+\input musixec
+é è â ç ü ñ\\
+\end{verbatim}
+\end{quote}
\section{musixeng}
@@ -1323,6 +1337,7 @@ Use as follows:
The usual ``small'' type commands are supported:
\begin{quote}
\begin{tabular}{lr}
+\keyindex{tinytype} & 7pt \\
\keyindex{smalltype} & 8pt \\
\keyindex{Smalltype} & 9pt \\
\keyindex{normtype}& 10pt \\
@@ -1334,8 +1349,8 @@ For all of these, the following variants are supported:
\begin{tabular}{ll}
\verb|\rm| & ``Roman'' (sans serif) \\
\verb|\bf| & bold \\
-\verb|\it| & ``italic'' (oblique) \\
-\verb|\bi| & ``bold-italic'' (bold-oblique) \\
+\verb|\it| & ``italic'' (actually oblique) \\
+\verb|\bi| & ``bold-italic'' (actually bold-oblique) \\
\verb|\sc| & small capitals\\
\end{tabular}
\end{quote}
@@ -1364,10 +1379,6 @@ The following bold-oblique fonts for dynamic marks are defined:
\keyindex{ppfftwentynine} & 17pt \\
\end{tabular}\end{quote}
-The default font for typesetting \keyindex{txt} and \keyindex{tuplettxt}
-arguments
-is \keyindex{eightit} (\verb\8pt\~oblique).
-
\section{musixlit}\label{litu}\label{otherbars}
Provides a notation style intermediate between gregorian and baroque, for
example
@@ -1474,21 +1485,24 @@ quarter note at pitch $p$.
\item\keyindex{cnhu} $p$ and \keyindex{cnhl} $p$ provide a stemless square
headed half note at pitch $p$.
- \item\keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch
-$p$ and of length $n$ \keyindex{noteskip}. However, in the first of the above
-example, this feature has been used to denote an arbitrary length note rather
-than a rest!
+%\item\keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch
+%$p$ and of length $n$ \keyindex{noteskip}. However, in the first of the above
+%example, this feature has been used to denote an arbitrary length note rather
+%than a rest!
\item\keyindex{Hlonga} $p$ $n$ provides an arbitrary length note at pitch
$p$ and of length $n$ \keyindex{noteskip}.
This feature has been used to denote an arbitrary length note in the second of
-the above examples.
+the above examples;
+in the first example, \keyindex{Hpause}
+was used to denote an arbitrary length note rather
+than a rest.
\item\keyindex{shortbarrules} has been used to provide bar rules shorter than
the staff vertical width.
\item\keyindex{interbarrules} has been used to provide bars between the
-staffs, rather that over them. This is an arbitrary question of taste...
+staffs, rather that over them. This is an arbitrary question of taste\ldots
\end{itemize}
\section{musixlyr} \ixtt{musixlyr.tex}
@@ -1766,6 +1780,7 @@ Use as follows:
The usual ``small'' type commands are supported:
\begin{quote}
\begin{tabular}{lr}
+\keyindex{tinytype} & 7pt \\
\keyindex{smalltype} & 8pt \\
\keyindex{Smalltype} & 9pt \\
\keyindex{normtype}& 10pt \\
@@ -1780,7 +1795,6 @@ For all of these, the following variants are supported:
\verb|\it| & italic \\
\verb|\bi| & bold italic \\
\verb|\sc| & small capitals (and old-style figures)\\
-\verb|\sl| & oblique \\
\end{tabular}
\end{quote}
The ``big'' type commands are as follows:
@@ -1792,7 +1806,8 @@ The ``big'' type commands are as follows:
\keyindex{BIGtype} & 25pt\\
\end{tabular}
\end{quote}
-The default variant for all of these is small-caps;
+The default variant for the ``small'' types is Roman and for
+the ``big'' ones, small-caps;
however, \keyindex{font} commands are defined
for all the usual variants at all of these sizes.
To letter-space a title, use the \verb|\so|
@@ -1808,10 +1823,6 @@ The following bold-italic fonts for dynamic marks are defined:
\keyindex{ppfftwentynine} & 17pt \\
\end{tabular}\end{quote}
-The default font for typesetting \keyindex{txt} and \keyindex{tuplettxt}
-arguments
-is \keyindex{eightit} (\verb\8pt\~italic).
-
\section{musixpoi}
Adds definitions of less common singly and doubly dotted notes.
Available are
@@ -1983,6 +1994,7 @@ Use as follows:
The usual ``small'' type commands are supported:
\begin{quote}
\begin{tabular}{lr}
+\keyindex{tinytype} & $7$pt \\
\keyindex{smalltype} & $8$pt \\
\keyindex{Smalltype} & $9$pt \\
\keyindex{normtype}& $10$pt \\
@@ -1997,7 +2009,6 @@ For all of these, the following variants are supported:
\verb|\it| & italic \\
\verb|\bi| & bold italic \\
\verb|\sc| & small capitals \\
-\verb|\sl| & oblique \\
\end{tabular}
\end{quote}
The ``big'' type commands are as follows:
@@ -2025,10 +2036,6 @@ The following bold-italic fonts for dynamic marks are defined:
\keyindex{ppfftwentynine} & 17pt \\
\end{tabular}\end{quote}
-The default font for typesetting \keyindex{txt} and \keyindex{tuplettxt}
-arguments
-is \keyindex{eightit} (\verb|8pt| italic).
-
\section{musixtnt}\label{musixtnt}
This package (tnt = Transform Notes) provides a macro \keyindex{TransformNotes} which makes
possible several ``transformations'' of the effect of notes commands such as \keyindex{notes}.
@@ -2084,8 +2091,9 @@ Caveats:
\item
Some additional revisions to the source for the part might be necessary:
\begin{itemize}
-\item adjusting \verb|\setname1|, \verb|\setclef1|, \verb|\setsign1|,
-\verb|\setmeter1| and \verb|\setstaffs1| commands, as necessary;
+\item adjusting \verb|\setname|, \verb|\setclef|, \verb|\setsign|,
+\verb|\setmeter| and \verb|\setstaffs| commands, as necessary; see
+Section~\ref{CodingRules} for coding techniques that will make this easier.
\item ensuring that tempo and roadmap markings (\textbf{D.C.}, \textbf{Fine}, etc.) are in
the appropriate instrument segment;
@@ -2094,8 +2102,8 @@ Some additional revisions to the source for the part might be necessary:
When the extracted part score is compiled and viewed, it may be seen
that horizontal-spacing commands designed for \emph{multiple} instruments can produce bad
spacing when used for a \emph{single} instrument. Bad spacing can be corrected manually but
-this is very tedious; an auxiliary program called \verb\fixmsxpart\
-automates this process (for single-staff instruments only).
+this is very tedious; an auxiliary program called \verb\autosp\
+can be used to automate this process; see Section~\ref{autosp}.
\end{itemize}
\subsection{Other applications}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex
index e2d8c297fe3..2039733fd05 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex
@@ -13,7 +13,7 @@ The following is the most general approach to part extraction when
using \musixtex\ without \textbf{PMX} or \textbf{M-Tx} pre-processors. A
simpler approach which will work for most purposes is described in Section~\ref{musixtnt}.
-\section{Coding rules}
+\section{Coding rules}\label{CodingRules}
To make a ``selectable'' orchestral score you must prepare the master score
(i.e., the score with all instruments typed) as follows:
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex
index a9ee236baac..2326b86c95f 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex
@@ -1,26 +1,28 @@
\chapter{Font Selection and Text Placement}
\section{Predefined text fonts}
-While any \TeX\ font can be used by \musixtex, there are certain styles and
-sizes that can be selected using shortcut commands.
-For ordinary text the shortcuts cover fonts of eight different
-sizes and three styles. The sizes in points are $8$, $9$, $10$, $12$, $14$, $17$, $20$, and $25$;
-the styles are from the standard Computer Modern family: Roman, bold and italic. The
-four smallest sizes are each available in all three styles, while the larger
-sizes, which are intended for titles, are available only in bold style.
-The size selection macros from smallest to biggest are \keyindex{smalltype},
+While any font with support for \TeX\ can be used by \musixtex, certain styles and
+sizes can be selected using shortcut commands.
+For ordinary text, the shortcuts cover fonts of nine different
+sizes and six styles. The sizes in points are $7$, $8$, $9$, $10$, $12$, $14$, $17$, $20$, and $25$;
+the styles are from the standard Computer Modern family: Roman, bold, italic, bold italic
+and small capitals.
+The size selection macros from smallest to biggest are
+\keyindex{tinytype},
+\keyindex{smalltype},
\keyindex{Smalltype},
\keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype},
\keyindex{Bigtype},
-\keyindex{BIgtype} and \keyindex{BIGtype}. Following size selection, the
-style may be selected or changed using \keyindex{rm} (Roman), \keyindex{bf}
-(bold) or \keyindex{it} (italic). If no style is explicitly selected, Roman style
-will be used for the sizes \verb|\medtype| or smaller. For the larger sizes,
-only bold style is provided and no style selection is required. Thus, for example,
+\keyindex{BIgtype} and \keyindex{BIGtype}.
+The style may be selected or changed using \keyindex{rm} (Roman), \keyindex{bf}
+(bold), \keyindex{it} (italic), \keyindex{bi} (bold italic) or
+\keyindex{sc} (small-capitals). If no style is explicitly selected, Roman style
+will be used for the sizes \verb|\medtype| or smaller; for the larger sizes,
+bold style is the default. Thus, for example,
eight point italic is selected with \verb|\smalltype\it|, while
twelve point Roman is selected using \verb|\medtype\rm| or simply
\verb|\medtype|. To change between styles while maintaining the same size,
-code \verb|\rm|, \verb|\it| or \verb|\bf| as in Plain \TeX.
+code \verb|\rm|, \verb|\it|, \verb|\bf|, \verb|\bi| or \verb|\sc|, as in Plain \TeX.
When \musixtex\ is started, the default font for ordinary text is
ten point Roman, equivalent to \verb|\normtype\rm|.
@@ -31,8 +33,11 @@ font specification. Macros \keyindex{tinydyn}, \keyindex{smalldyn}, \keyindex{no
used to redefine \verb|\ppff| to represent one of the smallest four.
-All predefined fonts are summarized in Table~\ref{predefinedfonts}. The second column gives an
+A selection of predefined fonts is summarized in Table~\ref{predefinedfonts}. The second column gives an
explicit control sequence that can alternatively be used locally as a font specification.
+\font\ctinytype=cmr7
+\font\ctinytypebf=cmbx7
+\font\ctinytypeit=cmti7
\font\csmalltype=cmr8
\font\csmalltypebf=cmbx8
\font\csmalltypeit=cmti8
@@ -42,9 +47,13 @@ explicit control sequence that can alternatively be used locally as a font speci
\font\cnormtype=cmr10
\font\cnormtypebf=cmbx10
\font\cnormtypeit=cmti10
+\font\cnormtypebi=cmbxti10
+\font\cnormtypesc=cmcsc10
\font\cmedtype=cmr12
\font\cmedtypebf=cmbx12
\font\cmedtypeit=cmti12
+\font\cmedtypebi=cmbxti10 scaled \magstep1
+\font\cmedtypesc=cmcsc10 scaled \magstep1
\font\cbigtype=cmbx12 scaled \magstep1
\font\cBigtype=cmbx12 scaled \magstep2
\font\cBIgtype=cmbx12 scaled \magstep3
@@ -60,10 +69,14 @@ explicit control sequence that can alternatively be used locally as a font speci
\font\cBIGfont=cmbx12 scaled \magstep4
\begin{table}
\begin{center}
+\renewcommand{\arraystretch}{1.15}
\begin{tabular}{lll}
\hline
Size and style & Font specification & Example \\
\hline
+ \verb|\tinytype| & \verb|\sevenrm| & {\ctinytype tiny Roman} \\
+ \verb|\tinytype\bf| & \verb|\sevenbf| & {\ctinytypebf tiny bold} \\
+ \verb|\tinytype\it| & \verb|\sevenit| & {\ctinytypeit tiny italic} \\
\verb|\smalltype| & \verb|\eightrm| & {\csmalltype small Roman} \\
\verb|\smalltype\bf| & \verb|\eightbf| & {\csmalltypebf small bold} \\
\verb|\smalltype\it| & \verb|\eightit| & {\csmalltypeit small italic} \\
@@ -73,22 +86,26 @@ explicit control sequence that can alternatively be used locally as a font speci
\verb|\normtype| & \verb|\tenrm| & {\cnormtype normal Roman} \\
\verb|\normtype\bf| & \verb|\tenbf| & {\cnormtypebf normal bold} \\
\verb|\normtype\it| & \verb|\tenit| & {\cnormtypeit normal italic}\\
+ \verb|\normtype\bi| & \verb|\tenbi| & {\cnormtypebi normal bold italic}\\
+ \verb|\normtype\sc| & \verb|\tensc| & {\cnormtypesc normal small capitals}\\
\verb|\medtype| & \verb|\twelverm| & {\cmedtype medium Roman} \\
\verb|\medtype\bf| & \verb|\twelvebf| & {\cmedtypebf medium bold} \\
\verb|\medtype\it| & \verb|\twelveit| & {\cmedtypeit medium italic}\\
- \verb|\bigtype| & \verb|\bigfont| & {\cbigtype big bold} \\
- \verb|\Bigtype| & \verb|\Bigfont| & {\cBigtype Big bold} \\
- \verb|\BIgtype| & \verb|\BIgfont| & {\cBIgtype BIg bold} \\
- \verb|\BIGtype| & \verb|\BIGfont| & {\cBIGtype BIG bold} \\
- \verb|\tinydyn| & \verb|\ppfftwelve| & {\cppfftwelve pp ff diminuendo}\\
- \verb|\smalldyn| & \verb|\ppffsixteen| & {\cppffsixteen pp ff diminuendo}\\
- \verb|\normdyn| & \verb|\ppfftwenty| & {\cppfftwenty pp ff crescendo}\\
- \verb|\meddyn| & \verb|\ppfftwentyfour| & {\cppfftwentyfour pp ff crescendo}\\[.4ex]
- ~ & \verb|\ppfftwentynine| & {\cppfftwentynine pp ff diminuendo}\\[.4ex]
+ \verb|\medtype\bi| & \verb|\twelvebi| & {\cmedtypebi medium bold italic}\\
+ \verb|\medtype\sc| & \verb|\twelvesc| & {\cmedtypesc medium small capitals}\\
+ \verb|\bigtype| & \verb|\frtbf| & {\cbigtype big bold} \\[.4ex]
+ \verb|\Bigtype| & \verb|\svtbf| & {\cBigtype Big bold} \\[.4ex]
+ \verb|\BIgtype| & \verb|\twtybf| & {\cBIgtype BIg bold} \\[.4ex]
+ \verb|\BIGtype| & \verb|\twfvbf| & {\cBIGtype BIG bold} \\
+ ~ & \verb|\ppfftwelve| & {\cppfftwelve pp ff diminuendo}\\
+ ~ & \verb|\ppffsixteen| & {\cppffsixteen pp ff diminuendo}\\
+ ~ & \verb|\ppfftwenty| & {\cppfftwenty pp ff diminuendo}\\
+ ~ & \verb|\ppfftwentyfour| & {\cppfftwentyfour pp ff diminuendo}\\[.4ex]
+ ~ & \verb|\ppfftwentynine| & {\cppfftwentynine pp ff diminuendo}\\[.4ex]
\hline
\end{tabular}
\end{center}
-\caption{Predefined fonts}
+\caption{Various predefined fonts}
\label{predefinedfonts}
\end{table}
@@ -96,10 +113,10 @@ explicit control sequence that can alternatively be used locally as a font speci
Since \musixtex\ is a superset of \TeX, you are free to use the standard \TeX\
machinery for defining and using any special font you desire. You must first
-of course ensure that (a) all the necessary font files (e.g., \verb|bla10.tfm|,
-\verb|bla10.pfb|, or equivalents) are installed in the right places in your system, (b) all
+of course ensure that (a)~all the necessary font files (e.g., \verb|bla10.tfm|,
+\verb|bla10.pfb|, or equivalents) are installed in the right places in your system, (b)~all
configuration files (e.g., \verb|config.ps| or equivalent) have been updated, and
-(c) the \TeX\ system has been ``rehashed''. Then you can use the font just as
+(c)~the \TeX\ file-name database has been updated, as required by your \TeX\ system. Then you can use the font just as
in any \TeX\ document, e.g., by coding \verb|\font blafont=bla10| and then
\verb|\zchar{10}{\blafont Text in user-defined font}|.
@@ -139,16 +156,16 @@ Palatino and Helvetica fonts:
\hline
{\tnormtype normal Times Roman} & {\pnormtype normal Palatino Roman} &{\hnormtype normal Helvetica Roman} \\
{\tnormtypebf normal Times bold} & {\pnormtypebf normal Palatino bold}& {\hnormtypebf normal Helvetica bold} \\
- {\tnormtypeit normal Times italic} & {\pnormtypeit normal Palatino italic } & {\hnormtypeit normal Helvetica italic }\\
- {\tbigtype Times big} & {\pbigtype Palatino big } & {\hbigtype Helvetica big } \\
+ {\tnormtypeit normal Times italic} & {\pnormtypeit normal Palatino italic } & {\hnormtypeit normal Helvetica italic }\\[.4ex]
+ {\tbigtype Times big} & {\pbigtype Palatino big } & {\hbigtype Helvetica big } \\[.4ex]
{\tBigtype Times Big } & {\pBigtype Palatino Big } & {\hBigtype Helvetica Big } \\
\hline
\end{tabular}
\end{center}
For users who prefer to stick with the default Computer Modern
-family but want to use the EC variants, the extension library
-\verb|musixec.tex| is available; see Section~\ref{ecfonts}.
+family but want to use the T$1$-encoded EC variants, the extension library
+\verb|musixec.tex| is available; see Section~\ref{ecfonts}\@.
\section{Text placement}\label{textplacement}
Special macros are provided to allow precise placement of any \TeX\ text, vertically
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex
index 5b2b0852366..759a438edca 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex
@@ -1,6 +1,6 @@
\title{\Huge\bfseries\musixtex\\[\bigskipamount]
\LARGE\bfseries Using \TeX{} to write polyphonic\\or
-instrumental music\\\Large\itshape Version 1.20}
+instrumental music\\\Large\itshape Version 1.22}
%\author{\Large\rm Daniel \sc Taupin\\\large\sl
@@ -26,7 +26,7 @@ Hans {\sc Kuykens} (ca.~1995)
\vspace*{4ex}
In my humble opinion, that whole statement is obsolete.\\[\smallskipamount]
-Christof\/ {\sc Biericher} (2006)
+Christof\/ {\sc Biebricher} (2006)
\end{flushright}
\clearpage
@@ -65,11 +65,9 @@ event. You may read tributes to Daniel Taupin that are archived at the
Since then, the only significant update to \musixtex\ has been in version 1.15 (April 2011) which
takes advantage of the greater capacity of the e\TeX\ version of \TeX.
-In the current version~1.20 (December~2015),
-new commands for tremolos HAVE BEEN added and discussion
-of non-spacing rests has been added to this manual, which
+This manual
is the definitive reference to all features of
-\musixtex\ version~1.20.
+\musixtex\ version~1.22.
Novice users need not start here.
Most
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex
index 3407902e615..74dfd8712a3 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex
@@ -588,7 +588,7 @@ within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|,
values to scalable dimensions like \verb|\noteskip|,
\verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip|\footnote{Note that {\Bslash hardspace} does not fall in this
category; it is specifically designed to enter hard space in a way
-the \musixtex\ can properly record it}.
+that \musixtex\ can properly record it}.
Here is a checklist of tips related to spacing issues. Because the
foregoing several paragraphs are so important, some of their content
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex
index 3ef4e25ff00..4d136bd7ef2 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex
@@ -467,8 +467,8 @@ if it is necessary to raise or lower the tremolo indication.
%must be alphabetic and not numeric,
%because transposition is used to adjust the vertical position of the mini-beams.
- \subsection{Piano pedal commands}
-The macro \keyindex{PED} inserts a piano pedal command below the staff;
+ \section{Piano pedal commands}
+The macro \keyindex{PED} inserts a piano-pedal command below the staff;
\keyindex{DEP}, a pedal release. Alternate symbols, the first of which
occupies less space, are invoked with \keyindex{sPED} and \keyindex{sDEP}.
For example,
@@ -498,8 +498,7 @@ For example,
\NOtes|\hu k\en
\Notes\sDEP\en
\end{verbatim}\end{quote}
-
- The vertical position of
+The vertical position of
\keyindex{PED}, \keyindex{sPED}, \keyindex{DEP} and \keyindex{sDEP} can be
globally changed by redefining its elevation, which has the default
definition \verb|\def|\keyindex{raiseped}\verb|{-5}|.
@@ -509,6 +508,112 @@ macros \keyindex{Ped}, \keyindex{sPed}, \keyindex{Dep} and \keyindex{sDep}
in combination with \keyindex{zchar} or \keyindex{zcharnote}.
Since the \hbox to .7cm{ \Ped\hss} symbol is rather wide, it might collide
with adjacent bass notes. To shift it horizontally, you could use \verb|\loff{\PED}|.
+\vfill
+
+The following excerpt from \textit{Liebestr\"aume} by Franz Liszt illustrates
+a more modern approach to specifying piano-pedal usage:
+
+\begin{music}
+\smallmusicsize
+\relativeaccid
+\parindent=0pt
+\generalmeter{\meterfrac64}\generalsignature{-4}
+\nobarnumbers
+\setstaffs12\setclef1{\bass}
+\def\raiseped{-11}
+\def\qpl{\raise-2\Interligne\qp}
+\def\qpu{\raise2\Interligne\qp}
+\def\hppl{\lifthpausep{-2}}
+\startpiece\addspace\afterruleskip%
+\NOtes\zqu L\qpl|\qp\en
+\bar%
+\Notes\loff{\pdld}\ql H\sk\qpl\sk\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\Notes\zhu{.c}\hppl|%
+ \ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql G\sk\qpl\sk\qpl|%
+ \itied1c\zhl{.c}\ds\ibu1i0\qb1{^eiji}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \ttie1\zhl{c}\ds\ibu1i0\qb1{eiji}\tqu1e\en
+\stoppiece%
+\def\raiseped{-15}
+\contpiece%%
+\Notes\pdlud\ql F\sk\qpl\sk\zqu c\qpl|%
+ \zhl{c}\ds\ibu1i0\qb1{=e^hjh}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \zhl{d}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql B\sk\qpl\sk\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{^d^hjh}\tqu1d\en
+\Notes\zqu{M}\hppl\sk\qpu\sk\qu M|%
+ \ds\ibu1i0\qb1{dhjh}\tqu1d\en
+\bar%
+\Notes\zmidstaff{$\cdots$}\sk\pdlu\sk|\en
+\endpiece%
+\end{music}
+\pagebreak
+This has been coded using the following commands:
+\begin{quote}
+\begin{tabular}{lll}
+\keyindex{pdld}& pedal down & \huge$\llcorner$\\
+\keyindex{pdlu}& pedal up & \huge$\lrcorner$\\
+\keyindex{pdlud} & pedal up and immediately down & \_\raisebox{2pt}{$\!\bigwedge\!$}\_
+\end{tabular}
+\end{quote}
+The elevation is determined by the value of \keyindex{raiseped}.
+Here is how the excerpt may be coded:
+\begin{quote}
+\begin{footnotesize}
+\begin{verbatim}
+\smallmusicsize\relativeaccid\nobarnumbers
+\generalmeter{\meterfrac64}
+\generalsignature{-4}
+\setstaffs12\setclef1{\bass}
+\def\raiseped{-11}
+\def\qpl{\raise-2\Interligne\qp}
+\def\qpu{\raise2\Interligne\qp}
+\def\hppl{\lifthpausep{-2}}
+\startpiece\addspace\afterruleskip%
+\NOtes\zqu L\qpl|\qp\en
+\bar%
+\Notes\loff{\pdld}\ql H\sk\qpl\sk\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\Notes\zhu{.c}\hppl|%
+ \ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql G\sk\qpl\sk\qpl|%
+ \itied1c\zhl{.c}\ds\ibu1i0\qb1{^eiji}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \tltie1\zhl{c}\ds\ibu1i0\qb1{eiji}\tqu1e\en
+\stoppiece%
+\def\raiseped{-15}
+\contpiece%
+\Notes\pdlud\ql F\sk\qpl\sk\zqu c\qpl|%
+ \zhl{.c}\ds\ibu1i0\qb1{=e^hjh}\tqu1e\en
+\Notes\hppl\sk\sk\sk\qu c|%
+ \zhl{d}\ds\ibu1i0\qb1{ehjh}\tqu1e\en
+\bar%
+\Notes\pdlud\ql B\sk\qpl\sk\qpl|%
+ \zhl{c}\ds\ibu1i0\qb1{^d^hjh}\tqu1d\en
+\Notes\zqu{M}\hppl\sk\qpu\sk\qu M|%
+ \ds\ibu1i0\qb1{dhjh}\tqu1d\en
+\bar%
+\Notes\zmidstaff{$\cdots$}\sk\pdlu\sk|\en
+\endpiece
+\end{verbatim}
+\end{footnotesize}
+\end{quote}
+
+\noindent
+The following ``mixed'' patterns are also supported:
+\begin{quote}
+\begin{verbatim}
+\PED ... [\pdlud].. ... \pdlu
+
+\sPED ... [\pdlud].. ... \pdlu
+\end{verbatim}
+\end{quote}
\section{Alphabetic dynamic marks}
Conventional dynamic symbols
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty
index 2f8a4666f73..5239ab9e08c 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty
@@ -23,6 +23,9 @@
\usepackage{makeidx}
\usepackage{multicol}
\usepackage{etex}
+\usepackage{amssymb}
+
+\newcommand{\comment}[1]{}
%\usepackage{indentfirst}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex
index ff989080738..c48e40b7739 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex
@@ -24,7 +24,7 @@
\usepackage{musixdoc}
-%\includeonly{
+%\includeonly{%
%frontmatter,
%introduction,
%settingup,
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex
index 32fa770934e..3693223ac4c 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex
@@ -241,11 +241,11 @@ generally, to switch to an arbitrary instrument $n$, use
of the current instrument, use \keyindex{selectstaff}\verb|{|$n$\verb|}|. In the
latter case if $n$ exceeds the number of staves defined for the instrument, you
will receive an error message. You can enter part of a successive voice on
-\ital{same} staff by using \verb|\selectstaff{|$n$\verb|}| with $n$ for
+the \ital{same} staff by using \verb|\selectstaff{|$n$\verb|}| with $n$ for
the \ital{current} staff.
-\section{Automatic Note Spacing}
+\section{Automatic note spacing}
\label{autosp}
A preprocessor called \texttt{autosp} automates the generation
@@ -264,6 +264,11 @@ For example, from the input
\begin{verbatim}
\Notes\qa J\sk\qa K\sk&\ca l\qa m\sk\ca n\en
\end{verbatim}
+As an option, \emph{all} note-spacing commands (except \verb|\znotes|
+and \verb|\vnotes|) will be processed similarly; this is useful for correcting
+the spacing in single-instrument parts extracted from a multi-instrument score;
+see Section~\ref{musixtnt}.
+
The \texttt{autosp} package can be found at
the \href{http://icking-music-archive.org/software/autosp/autosp.zip}
{\underline{Werner Icking Music Archive}}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/restsdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/restsdoc.tex
index 8f99ebd9cf5..1e3a33431c4 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/restsdoc.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/restsdoc.tex
@@ -33,12 +33,24 @@ and \keyindex{PAUSe}, which yield:
\endextract
\end{music}
%\check
+\noindent
+The command \keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch
+$p$ and of length $n$ \keyindex{noteskip}. For example,
+\verb|\NOTes\Hpause4{0.83}\en|
+produces
+
+\begin{music}
+\nostartrule
+\startextract
+\NOTes\Hpause4{0.83}\en
+\endextract
+\end{music}
\section{Raising rests and non-spacing rests}\index{raising rests}
All the
-previous rests except \keyindex{pausep} and
-\keyindex{hpausep} are \ital{hboxes}, which means that
+previous rests (except \keyindex{pausep},
+\keyindex{hpausep} and \keyindex{Hpause}) are \ital{hboxes}, which means that
they can be vertically offset if needed using the
standard \TeX\ command \keyindex{raise}. For example:
@@ -65,8 +77,8 @@ for which the coding is
\notes\raise-4\Interligne\rlap\ds\qb0f\tqu0g\en
\end{verbatim}
-In addition, two macros are available to put a whole or
-half rest above or below the staff. The ordinary \verb|\pause| or
+In addition, four special macros are available to raise or lower a whole or
+half rest. The ordinary \verb|\pause| or
\verb|\hpause| cannot be used outside the staff because a short horizontal line
must be added to distinguish between the whole and the half rest. The commands,
which are non-spacing\footnote{Editor's note: The reason for having defined these
@@ -84,91 +96,136 @@ as non-spacing is not obvious}, are
\hbox to10pt{\lifthpausep{-1}\hss} raised the same way.
\end{itemize}
%\check
-
\section{Bar-centered rests}\label{barcentered}
Sometimes it is necessary to place a rest (or some other symbols) exactly in the middle
-of a bar. This can usually be done with combinations of the commands
+of the notes region of a bar
+(i.e., excluding any initial clef and key or time signatures).
+This can usually be done with combinations of the commands
\keyindex{atnextbar},
\keyindex{centerbar},
\keyindex{cPAUSe},
\keyindex{cPAuse},
\keyindex{cpause},
\keyindex{chpause},
+\keyindex{cHpause} $n$,
as demonstrated in the following example:
\begin{music}
\generalmeter\meterC
+\generalsignature{3}
\setclef1\bass
\setstaffs1{2}
\parindent0pt
\startextract
\NOtes|\qa{cegj}\en
-\def\atnextbar{\znotes\centerbar{\cpause}|\en}\bar
+\def\atnextbar{\znotes\centerbar{\cpause}|\en}%
+\generalsignature{-3}\changecontext
\NOTes\ha{Nc}|\en
-\def\atnextbar{\znotes|\centerbar{\cpause}\en}\bar
+\def\atnextbar{\znotes|\centerbar{\cpause}\en}%
+\setclef1\alto\changeclefs%
+\generalmeter{\meterfrac21}\changecontext%
+\NOTEs\wh d\pause|\en
+\def\atnextbar{\znotes|\centerbar{\cPAuse}\en}%
+\bar
\NOTEs|\en
-\def\atnextbar{\znotes\centerbar{\cPAuse}|\centerbar{\cPAuse}\en}%
+\def\atnextbar{\znotes\centerbar{\cHpause{12}}|\centerbar{\cHpause{12}}\en}%
\endextract
\end{music}
\noindent with the coding
\begin{verbatim}
\generalmeter\meterC
+\generalsignature{3}
\setclef1\bass
\setstaffs1{2}
\parindent0pt
\startextract
\NOtes|\qa{cegj}\en
-\def\atnextbar{\znotes\centerbar{\cpause}|\en}\bar
+\def\atnextbar{\znotes\centerbar{\cpause}|\en}%
+\generalsignature{-3}\changecontext
\NOTes\ha{Nc}|\en
-\def\atnextbar{\znotes|\centerbar{\cpause}\en}\bar
+\def\atnextbar{\znotes|\centerbar{\cpause}\en}%
+\setclef1\alto\changeclefs%
+\generalmeter{\meterfrac21}\changecontext%
+\NOTEs\wh d\pause|\en
+\def\atnextbar{\znotes|\centerbar{\cPAuse}\en}%
+\bar
\NOTEs|\en
-\def\atnextbar{\znotes\centerbar{\cPAuse}|\centerbar{\cPAuse}\en}%
+\def\atnextbar{\znotes\centerbar{\cHpause{12}}|\centerbar{\cHpause{12}}\en}%
\endextract
-\end{verbatim}
+\end{verbatim}\noindent
+
The following abbreviations are provided:
\begin{quote}
\begin{tabular}{lcl}
\keyindex{centerpause}& for & \verb|\centerbar{\cpause}|\\
\keyindex{centerhpause}& for & \verb|\centerbar{\chpause}|\\
\keyindex{centerPAuse}& for & \verb|\centerbar{\cPAuse}|\\
-\keyindex{centerPAUSe}& for & \verb|\centerbar{\cPAUSe}|
+\keyindex{centerPAUSe}& for & \verb|\centerbar{\cPAUSe}|\\
+\keyindex{centerHpause} $n$ & for & \verb|\centerbar{\cHpause| $n$\verb|}|
\end{tabular}
\end{quote}
Material other than these rests may be used as arguments to
\verb|\centerbar|, as in:\\
\begin{music}
+\nostartrule
\generalmeter\meterC
\parindent0pt
\startextract
+\NOTEs\sk\hqsk\en\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont7}}%
+\centerbar{\cPAUSe\off{2\elemskip}\cPAuse\off{2\elemskip}\cpause}\en}\bar
\NOtes\ql{ghij}\en
\def\atnextbar{\znotes\centerbar{\liftpause2}\en}\bar
\NOTes\en
\def\atnextbar{\znotes\centerbar{\duevolte}\en}\bar
\NOTes\en
-\def\atnextbar{\znotes\loffset{0.6}{\centerbar{\Fermataup l\wh j}}\en}\bar
-\NOTEs\en\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont7}}%
-\centerbar{\cPAUSe\off{2.5\elemskip}\cPAuse\off{2.5\elemskip}\cpause}\en}\bar
-\NOTEs\Hpause4{0.83}\en
-\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont10}}\en}\endextract
+\def\atnextbar{\znotes\loffset{0.7}{\centerbar{\Fermataup l\wh j}}\en}
+\endextract
\end{music}
\noindent for which the coding is:
-\pagebreak%
\begin{verbatim}
\generalmeter\meterC
\parindent0pt
\startextract
+\NOTEs\en\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont7}}%
+\centerbar{\cPAUSe\off{2\elemskip}\cPAuse\off{2\elemskip}\cpause}\en}\bar
\NOtes\ql{ghij}\en
\def\atnextbar{\znotes\centerbar{\liftpause2}\en}\bar
\NOTes\en
\def\atnextbar{\znotes\centerbar{\duevolte}\en}\bar
\NOTes\en
-\def\atnextbar{\znotes\loffset{0.6}{\centerbar{\Fermataup l\wh j}}\en}\bar
-\NOTEs\en\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont7}}%
-\centerbar{\cPAUSe\off{2.5\elemskip}\cPAuse\off{2.5\elemskip}\cpause}\en}\bar
-\NOTEs\Hpause4{0.83}\en
-\def\atnextbar{\znotes\centerbar{\ccn{9}{\meterfont10}}\en}\endextract
+\def\atnextbar{\znotes\loffset{0.7}{\centerbar{\Fermataup l\wh j}}\en}
+\endextract
\end{verbatim}
-Note that, for the off-center command
-\verb|\wh|\ldots,
-it has been necessary to use \keyindex{loffset} to correct the centering.
+In the last measure,
+it has been necessary to use \keyindex{loffset} to correct the centering of
+the off-center command
+\verb|\wh|\ldots.
+%To get proper positioning of \keyindex{centerbar} material before
+%a clef change, you may use an invisible bar line as in
+%\begin{quote}
+%\begin{verbatim}
+%\setclef1\bass
+%\startextract%
+%\NOTEs\Hpause4{0.83}\en
+%\def\atnextbar{\znotes\centerbar{\ccn9{\meterfont{4}}}\en}%
+%\qspace\setemptybar\bar% invisible bar line
+%\setclef1\alto\zchangeclefs\bar%
+%\NOtes\qa{abcd}\en
+%\endextract
+%\end{verbatim}
+%\end{quote}
+%which produces
+%
+%\begin{music}
+%\nostartrule
+%\nobarnumbers
+%\setclef1\bass
+%\startextract%
+%\NOTEs\Hpause4{0.83}\en
+%\def\atnextbar{\znotes\centerbar{\ccn9{\meterfont{4}}}\en}%
+%%\qspace\setemptybar\bar% invisible bar line
+%\setclef1\alto\changeclefs\bar%
+%\NOtes\qa{abcd}\en
+%\endextract
+%\end{music}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex
index bd44a61f63d..fa1300c5ffe 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex
@@ -47,6 +47,13 @@ virtual note at pitch level {\tt i}.
Both types of commands are non-spacing and must precede the first or last
note under the slur.
+Termination macros are not restricted to being used
+with their initiation counterpart. For example, a slur
+beginning as a ``beam'' slur may be terminated as a
+normal slur, or \emph{vice versa}. These would be achieved by using macro pairs
+\verb|\ibslur...\tslur...| or \verb|\islur...\tbslur...|, respectively.
+Unlike font-based slurs, adjusting the vertical positioning of the slur termination should not be necessary.
+
You can shift the starting or ending point slightly to the left
or right by substituting one of the commands \keyindex{ilsluru},
\keyindex{ilslurd}, \keyindex{irsluru},
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex
index 233db6e0360..1a671d44a2b 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex
@@ -103,7 +103,7 @@ stems or beams above or below.
\section{Font-based slur termination}
Font-based slurs that are not forced to be simple must be terminated by an explicit
command right before the last note under the slur. There are termination
-commands analogous to each of the initiation commands alread presented. They
+commands analogous to each of the initiation commands already presented. They
are summarized in the following table:
\begin{center}
\begin{tabular}{ll}
@@ -118,12 +118,29 @@ are summarized in the following table:
\noindent All of these command have two parameters, $n$ and $p$.
-These specific termination macros are not restricted to being used with their
-initiation counterpart. A slur
-started in one sense can be terminated in another. For example, a slur beginning
-as a ``beam'' slur may be terminated as a normal slur. This would be achieved
-using the macro pair \verb|\ibslur...\tslur|.
+These specific termination macros are not restricted to
+being used with their initiation counterpart. A slur started
+in one sense can be terminated in another. For example, a
+slur beginning as a ``beam'' slur may be terminated as a
+normal slur, or \emph{vice versa}. These would be achieved using macro pairs
+\verb|\ibslur...\tslur...| or \verb|\islur...\tbslur...|, respectively; however, it may be necessary
+to adjust the vertical position of the slur termination. For example,
+\begin{music}
+\startextract
+\Notes\ibsluru1g\qa g\ha l\sk\tslur1e\zq g\zq i\qu k\en
+\Notes\islurd1h\qu h\ha f\sk\tbslurd1c\zq h\zq j\ql l\en
+\endextract
+\end{music}\noindent
+has been coded as follows:
+\begin{quote}
+\begin{verbatim}
+\startextract
+\Notes\ibsluru1g\qa g\ha l\sk\tslur1e\zq g\zq i\qu k\en
+\Notes\islurd1h\qu h\ha f\sk\tbslurd1c\zq h\zq j\ql l\en
+\endextract
+\end{verbatim}
+\end{quote}
\section{Font-based ties} Font-based ties will have the same shapes as
ordinary font-based slurs of the same length between notes of equal pitch,
but there are two important distinctions:
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex
index 98c04a9b928..3e7fdfd9258 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex
@@ -41,7 +41,7 @@ such a group. \keyindex{nspace} produces an
additional spacing of half a note head width;
\keyindex{qspace}, one note head width. These are ``hard'' spacings. To
insert an arbitrary amount of hard space outside a \verb|\notes...\en|
-group, use \keyindex{hardspace}\verb|{|$d$\verb|}{|\dots\verb|}| where
+group, use \keyindex{hardspace}\verb|{|$d$\verb|}| where
$d$ is any fixed dimension\label{hardspace}. The foregoing three commands are the only
space-generating commands that insert hard space; all the others insert
scalable spacing: \keyindex{elemskip},
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/summary.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/summary.tex
index 2b0dcabada5..d3f70a4bf95 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/summary.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/summary.tex
@@ -246,7 +246,7 @@ number instead of the pitch}%
% again
%
\contpiece
-\NOtes\zchar9{\bs metron}\zchar{13}{\metron\qu{99}}\sk\en
+\NOtes\zchar9{\bs metron}\zchar{13}{\small\metron\qu{99}}\sk\en
\setvoltabox1\bar
\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en
\setvolta2\setendvolta\rightrepeat
@@ -258,12 +258,14 @@ number instead of the pitch}%
\zchar{17}{\bs segno}\segno n\sk
\zchar{17}{\kern-2\afterruleskip\bs Segno}\Segno\hsk
\zchar{-4}{\bs caesura}\sk\caesura
- \zchar{-4}{\bs cbreath}\cbreath\sk
-\multnoteskip{.66}%
- \zchar{9}{\bs PED}\PED\sk
- \zchar{9}{\bs sPED}\sPED\sk
- \zchar{9}{\bs DEP}\DEP\sk
- \zchar{9}{\bs sDEP}\sDEP\sk\en
+ \zchar{-4}{\bs cbreath}\cbreath\qsk
+ \zchar{9}{\bs PED}\PED\hsk
+ \zchar{9}{\bs sPED}\sPED\hsk\qqsk
+ \zchar{9}{\bs pdld}\pdld\hsk\qsk
+ \zchar{9}{\bs pdlud}\pdlud\hsk\qsk
+ \zchar{9}{\bs pdlu}\pdlu\hsk\qqsk
+ \zchar{9}{\bs DEP}\DEP\hsk
+ \zchar{9}{\bs sDEP}\sDEP\hsk\en
\stoppiece
%
% and again ...
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf b/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf
index 716a4bf6b35..92362a1b78c 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf
+++ b/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf
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diff --git a/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf b/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf
index 0ba557279d9..551dda083c3 100644
--- a/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf
+++ b/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf
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diff --git a/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf b/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf
index 5b7df7315df..9eb9c1da3f4 100644
--- a/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf
+++ b/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf
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