summaryrefslogtreecommitdiff
path: root/Master/texmf-dist/doc/generic
diff options
context:
space:
mode:
authorKarl Berry <karl@freefriends.org>2015-02-28 22:49:36 +0000
committerKarl Berry <karl@freefriends.org>2015-02-28 22:49:36 +0000
commitae750b9d9f9b660a211c98ee92e45a5ec9f42dea (patch)
tree21a2f38bae7bb139c78e4634c9fd7562cef14a0e /Master/texmf-dist/doc/generic
parent3b4f0a07480eef603c2582c56ceef707e9849ce6 (diff)
musixtex (28feb15)
git-svn-id: svn://tug.org/texlive/trunk@36401 c570f23f-e606-0410-a88d-b1316a301751
Diffstat (limited to 'Master/texmf-dist/doc/generic')
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/ChangeLog-114.txt (renamed from Master/texmf-dist/doc/generic/musixtex/ChangeLog-T114.txt)0
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/ChangeLog-116.txt33
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc-115.txt9
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc.txt22
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/README56
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/addons/README.underbracket64
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/addons/curly.tex49
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/addons/tuplet.tex147
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/addons/underbracket.sty190
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/examples/kinder.log397
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/examples/kinder.pdfbin0 -> 32823 bytes
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/examples/kinder.tex125
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/examples/quod.tex172
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc.pdfbin1318310 -> 1234863 bytes
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc.sty115
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc.tex9352
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/accidentals.tex73
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex308
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/barnumbering.tex127
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex587
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex426
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/embedding.tex180
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/examples.tex124
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex2150
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex101
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex212
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex135
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/index.tex10
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex823
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex126
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/lyrics.tex407
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex596
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty141
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex103
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex130
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex245
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/repeats.tex178
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/rests.tex114
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/settingup.tex353
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex366
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex566
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/smaller.tex188
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex101
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/staffsize.tex101
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/summary.tex (renamed from Master/texmf-dist/doc/generic/musixtex/reference/musixre1.tex)168
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/texput.log25
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/transposition.tex221
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex283
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdfbin94408 -> 93293 bytes
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/musixtex-install.tex26
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdfbin50935 -> 89340 bytes
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.html84
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.pdfbin0 -> 4074 bytes
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.html167
-rw-r--r--Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdfbin0 -> 4495 bytes
55 files changed, 10273 insertions, 10403 deletions
diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-T114.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-114.txt
index 3e770972089..3e770972089 100644
--- a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-T114.txt
+++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-114.txt
diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-116.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-116.txt
new file mode 100644
index 00000000000..e34646d5583
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-116.txt
@@ -0,0 +1,33 @@
+Changes from MusiXTeX 115 to 116:
+
+ HM corrected the definitions for cautionary small accidentals
+
+ RDT added \check@staff ... \fi to \@qa h, \@mca, \hs, \qqs
+ so that \qa, \ca, \ha, etc. can be "hidden" using \setstaffs{n}{0}
+
+ RDT incorporated tuplet.tex (approved by George Sicherman)
+ and introduced \txtfont to allow changing size or style
+
+ RDT introduced
+ \qqsk, a one-quarter notehead skip
+ \tqu and \tql, synonyms for \tqh and \tqb
+ \ztqu and \ztql, synonyms for \ztqh and \ztqb
+ \hpp, \qpp, \dsp, \qsp, \hsp, \qqsp for pointed rests
+ \nnotes, \nnnotes: abbreviations with \multnoteskip\smallvalue
+ and \multnoteskip\tinyvalue spacing
+
+ RDT incorporated curly.tex (approved by Mthimkhulu Molekwa)
+
+ RDT modernized the treatment of text fonts
+ meterfonts must be bf, even if titling fonts are rm or sc
+ added dynamic-mark macros \sfz \sfzp
+
+ Added to the extension library: musixppff.tex (HM), musixadf (HM),
+ musixplt (RDT), musixec (RDT)
+
+ RDT extended musixtmr
+
+ Stanislav Kneifl fixed a bug in musixps.
+
+
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc-115.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc-115.txt
deleted file mode 100644
index 170d46cd4a8..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc-115.txt
+++ /dev/null
@@ -1,9 +0,0 @@
-Musixdoc: Update links to CTAN in 3.1.
-
-Musixdoc: Set link for musixtex.zip once we decide if it should be 1.15
-
-Musixdoc: Edit 128th beam stuff.
-
-Musixdoc: Add smalltreblelowoct etc.
-
-Musixdoc: Explain where musixflx source and binaries are.
diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc.txt
new file mode 100644
index 00000000000..6d860036e5a
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc.txt
@@ -0,0 +1,22 @@
+2015-02-20 RDT
+
+ Clean up title page and preface(s).
+ Three-pass system material revised.
+ Link to WIMA for installation instructions.
+ Extracting-parts material (DT) restored from T114.
+ Chapter 3 (Acquiring, Installing, and Using MusiXTeX) deleted.
+ musixdoc.sty revamped to allow use of Times or Palatino fonts.
+ musixdoc.tex broken up into separate chapter files for use with includeonly.
+ Many corrections and improvements, too numerous to list.
+
+2011-04
+
+ Musixdoc: Update links to CTAN in 3.1.
+
+ Musixdoc: Set link for musixtex.zip once we decide if it should be 1.15
+
+ Musixdoc: Edit 128th beam stuff.
+
+ Musixdoc: Add smalltreblelowoct etc.
+
+ Musixdoc: Explain where musixflx source and binaries are.
diff --git a/Master/texmf-dist/doc/generic/musixtex/README b/Master/texmf-dist/doc/generic/musixtex/README
index 5aa2df6274f..f14011e0ddb 100644
--- a/Master/texmf-dist/doc/generic/musixtex/README
+++ b/Master/texmf-dist/doc/generic/musixtex/README
@@ -1,12 +1,14 @@
-This is MusiXTeX, version 1.15 (packaged 2013-12-12). MusiXTeX is a
-TeX-based system for typesetting music.
+This is MusiXTeX, version 1.16 (packaged 2015-02-24).
+MusiXTeX is a TeX-based system for typesetting music.
-The main author was Daniel Taupin, who died in a climbing accident in
-2003; other authors credited in the MusiXTeX manual are Andreas Egler
-and Ross Mitchell. MusiXTeX is now being maintained by
+The main author was Daniel Taupin, who died in a climbing
+accident in 2003; other authors credited in the MusiXTeX
+manual are Andreas Egler and Ross Mitchell. MusiXTeX is now
+being maintained by
Don Simons dsimons(at)roadrunner(dot)com
Hiroaki Morimoto CQX05646(at)nifty(dot)com
+Bob Tennent rdt(at)cs(dot)queensu(dot)ca
The package includes
@@ -16,7 +18,9 @@ The package includes
+ musixcrd support for chord symbols, due to Robert Hennig
- + a few small extension packages (curly, tuplet, underbracket)
+ + support for music text in Palatino, Times and EC fonts
+
+ + several other extension packages
+ a script musixflx.lua for the 2nd-pass processing
@@ -27,12 +31,13 @@ The package includes
+ wrapper scripts musixflx.bat and musixtex.bat for use on Windows
-MusiXTeX fonts, including both the original metafont sources and Type
-1 versions by Takanori Uchiyama are in a separate musixtex-fonts
-package, which must be installed before using the MusiXTeX macros.
+MusiXTeX fonts, including both the original metafont sources
+and Type 1 versions by Takanori Uchiyama are in a separate
+musixtex-fonts package, which must be installed before using
+the MusiXTeX macros.
-musixtex-install.{pdf,tex} is a more-detailed version of the following
-instructions:
+musixtex-install.{pdf,tex} is a more-detailed version of the
+following instructions:
To install (on TDS-compliant TeX systems):
@@ -56,27 +61,24 @@ Documentation for the musixflx and musixtex scripts are in
doc/generic/musixtex/scripts
-Check out musixtex-install.pdf for information on the extension
-packages, which are installed under
-
-doc/generic/musixtex/addons
-
-Many users, especially beginners, will find it easier to use the PMX and
-M-Tx pre-processors, which accept a simpler input language than MusiXTeX
-itself. These pre-processor packages may be found at CTAN under support.
-Additional documentation, additional add-on packages, and many examples
-of MusiXTeX typesetting may be found at the Werner Icking Music Archive
-at
+Many users, especially beginners, will find it easier to
+use the PMX and M-Tx pre-processors, which accept a simpler
+input language than MusiXTeX itself. These pre-processor
+packages may be found at CTAN under support. Additional
+documentation, additional add-on packages, and many examples
+of MusiXTeX typesetting may be found at the Werner Icking
+Music Archive at
http://icking-music-archive.org/
-Support for users of MusiXTeX and related software may be obtained via
-the MusiXTeX mail list at
+Support for users of MusiXTeX and related software may be
+obtained via the MusiXTeX mail list at
http://tug.org/mailman/listinfo/tex-music
-MusiXTeX may be freely copied, duplicated and used in conformance to the
-GNU General Public License (Version 2, 1991, see included file gpl.txt).
+MusiXTeX may be freely copied, duplicated and used in
+conformance to the GNU General Public License (Version 2,
+1991, see included file gpl.txt).
-This CTAN distribution is maintained by Bob Tennent
+This distribution is maintained by Bob Tennent
rdt(at)cs(dot)queensu(dot)ca.
diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/README.underbracket b/Master/texmf-dist/doc/generic/musixtex/addons/README.underbracket
deleted file mode 100644
index 4345cb63fdc..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/addons/README.underbracket
+++ /dev/null
@@ -1,64 +0,0 @@
-LaTeX package underbracket
-
-draws brackets to underline (song) text
-
-v1.2 by Bernd Jantzen
-For e-mail contact please use "ctan" before the "@"-sign
-and "bernd-jantzen.de" after it to form my address
-(not given in full clear text here to prevent spam).
-
-This package draws brackets to underline text (especially,
-but not exclusively, syllables of song text).
-It may be combined with musixtex/musixlyr, within the argument of
-the \setlyrics command or outside the music score.
-It provides several macros to define brackets which may e.g. start
-and end centered below syllables.
-Three length variables are provided to allow a fine adjustment
-of the bracket parameters.
-
-This material is subject to the LaTeX Project Public License.
-See http://www.ctan.org/tex-archive/help/Catalogue/licenses.lppl.html
-for the details of that license.
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-Commands:
-
-\underbracket{TEXT}
- draws a bracket underlining TEXT
- the bracket starts below the left end of TEXT
- and stops below the right end of TEXT
-
-\Underbracket{TEXT}
- like \underbracket, but reserves no vertical space below the text
-
-\cunderbracket{LEFT}{TEXT}{RIGHT}
- draws a bracket underlining LEFTTEXTRIGHT
- the bracket starts centered below LEFT and stops centered below RIGHT
-
-\cUnderbracket{LEFT}{TEXT}{RIGHT}
- like cunderbracket, but reserves no vertical space below the text
-
-
-The commands \[c]underbracket do well in normal text which is aligned
-according to the baseline. The vertical space reserved below the text
-guarantees the distance to the next line.
-The commands \[c]Underbracket do well within the \setlyrics command of
-musixlyr where the text is vertically centered between the staves. Vertical
-space reserved below the text would shift the whole text upwards here.
-
-
-Adjustable length parameters:
-(change e.g. with \setlength{\underbracketheight}{4pt})
-
-\underbracketwidth (default 0.3pt):
- linewidth of the bracket
-
-\underbracketheight (default 3pt):
- height of the bracket (length of the vertical lines)
-
-\underbracketsep (default 2pt):
- vertical distance between the lowest part of the text
- and the upper end of the bracket;
- also minimal vertical distance below the bracket
-
diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/curly.tex b/Master/texmf-dist/doc/generic/musixtex/addons/curly.tex
deleted file mode 100644
index 902125486d0..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/addons/curly.tex
+++ /dev/null
@@ -1,49 +0,0 @@
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% This is curly.tex, MusiXTex code for multiple left curly brackets %
-% %
-% submitted by Mthimkhulu Molekwa <eMKay.sa@gmail.com> %
-% to the mutex list on 19 May 1999 %
-% %
-% %
-% usage: %
-% \curlybrackets{<instrument1lower><instrument1upper> %
-% <instrument2lower><instrument2upper> %
-% ... %
-% <instrument_n_lower><instrument_n_upper> %
-% } %
-% %
-% %
-% %
-% This version corrected 07/23/2007 by Rainer Dunker to make it %
-% insensitive to changes in \interstaff by PMX %
-% %
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\ifx\undefined\curlybrackets \else \endinput\fi
-\makeatletter
-
-\let\origin@lwrit@staffs\writ@staffs
-\def\writ@staffs{%
- \origin@lwrit@staffs
- \ifx\br@cks\empty\else\expandafter\@bracks\br@cks\ende\fi}
-
-\let\br@cks\empty
-\def\curlybrackets#1{\def\br@cks{#1}}
-
-\def\@bracks#1#2#3\ende{%
- \ifnum #1<#2 %=========================== inserted by D.S.(?)
- \noinstrum@nt=#1\s@l@ctinstr\b@zi\altitude
- \noinstrum@nt=#2\s@l@ctinstr\b@zii\altitude
- \advance\b@zii-\b@zi
- \C@Inter
- \advance\b@zii\nblines\internote
- \advance\b@zii\nblines\internote
- \advance\b@zii-2\internote
- \n@v\b@zii \sp@pt\tw@ \advance\n@v\@cxxviii
- \divide\b@zii\tw@
- \advance\b@zi\b@zii
- \raise\b@zi\rlap{\mxsps\char\n@v\kern\instrum@in@group}%
- \fi %==================================== inserted by D.S.(?)
- \ifx\empty#3\else\@bracks#3\ende\fi}
-
-\makeatother
-%%%%%%%%%%%%%%%%%%%%%%%%%% End of curly.tex %%%%%%%%%%%%%%%%%%%%%%%%%%
diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/tuplet.tex b/Master/texmf-dist/doc/generic/musixtex/addons/tuplet.tex
deleted file mode 100644
index 0f579a59bd0..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/addons/tuplet.tex
+++ /dev/null
@@ -1,147 +0,0 @@
-%
-% tuplet.tex - conventional tuplet brackets for MusiXTeX.
-% Col. G. L. Sicherman. Last revised 2003-05-17.
-%
-% MusiXTeX is free software, licensed under the GNU General Public
-% License. This file is also free software. You may use it and
-% modify it as you please so long as you leave this message intact.
-%
-% To use this file with MusiXTeX, refer to it in your source code
-% after MusiXTeX:
-%
-% \input musixtex
-% \input tuplet
-%
-% This file uses macros defined in musixtex.tex.
-%
-% Standard MusiXTeX uses \uptrio and \downtrio to print tuplet brackets.
-% This file defines \uptuplet and \downtuplet, with the same arguments:
-%
-% #1 : starting pitch
-% #2 : width of bracket, in (\noteskip)s
-% #3 : slope of bracket, in multiples of 1-1/8 degrees
-%
-% The user defines the text to appear in the opening as \tuplettxt.
-% This is to avoid conflicting with the \txt in standard MusiXTeX.
-%
-% Examples:
-%
-% Draw a triplet bracket over the notes, starting at pitch "p",
-% 1.25\noteskip wide, with a slope up of 3-3/8 degrees:
-%
-% \uptuplet p{1.25}3
-%
-% Draw a sextuplet bracket under the notes, starting at pitch "a",
-% 2.5\noteskip wide, with a slope down of 4-1/2 degrees:
-%
-% \def\tuplettxt{\smallppff 6\/\/}
-% \downtuplet{a}{2.5}{-4}
-%
-% Send comments, complaints, and bouquets to the Colonel at
-% <colonel@monmouth.com>.
-%
-\makeatletter % Names of internal macros contain atpersats.
-
-% Standard MusiXTeX prints a small "3" (or other number) within
-% the bracket. Here we print the "3" in an opening in the bracket,
-% so we need not use a small font.
-%
-% The double italic correction compensates for centering the number
-% on the bracket line.
-
-\def\tuplettxt{\smallppff3\/\/}
-
-%%% The rest is adapted from standard MusixTeX.
-
-\newdimen\y@vii % x of right end of left part of bracket.
-\newdimen\y@viii % x of left end of right part of bracket.
-\newdimen\y@ix
-\newbox\tuptxtb@x
-
-% v@rline #1=height[dimen] #2=length[dimen] #3=slope (1\eqiv 1.125degree)
-% (comments and ideas from Ian Collier) (from -20 upto 20 )
-% This macro is used by some of the others which follow,
-% using it directly it must be set in zero box
-
-\def\v@rline#1#2#3{\n@v#3\y@i#2%
- \setbox\tuptxtb@x\hbox{\hskip1pt\tuplettxt\hskip1pt}%
- \y@vii=\h@lf\y@i\advance\y@vii-\h@lf\wd\tuptxtb@x%
- \n@ii-\tw@nty \min@n@v\n@ii
- \max@n@v\tw@nty \n@iii\n@v
- \ifnum\n@v<\z@ \n@v-\n@v \advance\n@v\tw@nty \fi % offset to lower linechars
- \advance\n@v\@xxix
- \setbox\ch@box\hbox{\mxsps\char\n@v}%
- \ifdim\y@vii<\wd\ch@box \y@vii\wd\ch@box\fi% At least one whole segment!
- \y@viii=\y@i\advance\y@viii-\y@vii%
- \y@iv\wd\ch@box \y@ii\qu@rt\p@ \y@ii\n@iii\y@ii \y@iii\z@
- \raise#1\internote\hbox{\mxsps\char\n@iv
-%
-% Build bracket with slanted line segments of width 10pt.
-% Left part of bracket:
-%
- \loop\ifdim\y@iv<\y@vii\raise\y@iii\copy\ch@box
- \advance\y@iv\wd\ch@box \advance\y@iii\y@ii \repeat
-%
-% last element
-%
-% \finalheight=2.5\completewidth
-% \finalheight=\n@iii\finalheight
-% \divide\finalheight by 100
-% \advance\overlapwidth by -\completewidth
-% \stepheight=-2.5\overlapwidth
-% \stepheight=\n@iii\stepheight
-% \divide\stepheight by 100
-% \advance\curheight by \stepheight
-% \kern -\overlapwidth \raise\curheight \box\ch@box
-%
- \y@ix=\y@vii\advance\y@ix-\y@iv\hbox to\y@ix{\hss}%
- \y@ix\y@vii\advance\y@ix-\wd\ch@box%
- \y@iii\n@iii\y@ix\y@iii2\h@lf\y@iii\divide\y@iii\@c\raise\y@iii\copy\ch@box%
-%
-% Text:
-%
- \y@v2\h@lf\y@i \y@v\n@iii\y@v \divide\y@v\@c%
- \y@ix=-\y@vii \advance\y@ix\h@lf\y@i \advance\y@ix-\h@lf\wd\tuptxtb@x%
- \hbox to\y@ix{\hss}%
- \y@iii\h@lf\y@v \raise\y@iii\vbox to\z@{%
- \vss{\copy\tuptxtb@x}\vss}
- \y@ix=\y@viii \advance\y@ix-\h@lf\y@i \advance\y@ix-\h@lf\wd\tuptxtb@x
- \hbox to\y@ix{\hss}% To start of right part. No-op unless bracket is short.
-%
-% Right part of bracket:
-%
- \y@iii2\h@lf\y@viii \y@iii\n@iii\y@iii \divide\y@iii\@c%
- \y@iv=\y@viii \advance\y@iv\wd\ch@box%
- \loop\ifdim\y@iv<\y@i\raise\y@iii\copy\ch@box%
- \advance\y@iv\wd\ch@box \advance\y@iii\y@ii \repeat
-%
-% Finish off the right part:
-%
- \y@iii\y@i\advance\y@iii-\wd\ch@box\y@iii2\h@lf\y@iii\y@iii\n@iii\y@iii%
- \y@ix=\y@i\advance\y@ix-\y@iv\hbox to\y@ix{\hss}%
- \divide\y@iii\@c%
- \raise\y@iii\copy\ch@box%
-%
- \raise\y@v\hbox{\mxsps\char\n@iv}}}
-%
-% y@i =complete length
-% y@ii =height of linechar
-% y@iii =current height
-% y@iv =current width
-% y@v =height of ending line
-% y@vii =width of left segment of bracket
-% y@viii=y@vii + width of opening
-% y@ix =adjustment register
-%
-% n@iii=slope
-% n@iv =(number of char for hooks)
-% n@v =slope (number of linechar)
-
-\def\X@bkt#1#2#3{\y@v#2\noteskip \advance\y@v\wn@width
- \inhgetn@i#1\relax \rlap{\kernm\p@ne\qn@width\v@rline\n@i\y@v{#3}}}
-
-\def\uptuplet{\n@iv22\X@bkt}
-\def\downtuplet{\n@iv21\X@bkt}
-
-\makeatother
-\endinput
diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/underbracket.sty b/Master/texmf-dist/doc/generic/musixtex/addons/underbracket.sty
deleted file mode 100644
index 994aee60ba1..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/addons/underbracket.sty
+++ /dev/null
@@ -1,190 +0,0 @@
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%
-% LaTeX package underbracket
-%
-% draws brackets to underline text
-% (especially, but not exclusively, syllables of song text)
-%
-% v1.2 by Bernd Jantzen
-% For e-mail contact please use "ctan" before the "@"-sign
-% and "bernd-jantzen.de" after it to form my address
-% (not given in full clear text here to prevent spam).
-%
-% This package draws brackets to underline text (especially,
-% but not exclusively, syllables of song text).
-% It may be combined with musixtex/musixlyr, within the argument of
-% the \setlyrics command or outside the music score.
-% It provides several macros to define brackets which may e.g. start
-% and end centered below syllables.
-% Three length variables are provided to allow a fine adjustment
-% of the bracket parameters.
-%
-% This material is subject to the LaTeX Project Public License.
-% See http://www.ctan.org/tex-archive/help/Catalogue/licenses.lppl.html
-% for the details of that license.
-%
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%
-% Commands:
-%
-% \underbracket{TEXT}
-% draws a bracket underlining TEXT
-% the bracket starts below the left end of TEXT
-% and stops below the right end of TEXT
-%
-% \Underbracket{TEXT}
-% like \underbracket, but reserves no vertical space below the text
-%
-% \cunderbracket{LEFT}{TEXT}{RIGHT}
-% draws a bracket underlining LEFTTEXTRIGHT
-% the bracket starts centered below LEFT and stops centered below RIGHT
-%
-% \cUnderbracket{LEFT}{TEXT}{RIGHT}
-% like cunderbracket, but reserves no vertical space below the text
-%
-%
-% The commands \[c]underbracket do well in normal text which is aligned
-% according to the baseline. The vertical space reserved below the text
-% guarantees the distance to the next line.
-% The commands \[c]Underbracket do well within the \setlyrics command of
-% musixlyr where the text is vertically centered between the staves. Vertical
-% space reserved below the text would shift the whole text upwards here.
-%
-%
-% Adjustable length parameters:
-% (change e.g. with \setlength{\underbracketheight}{4pt})
-%
-% \underbracketwidth (default 0.3pt):
-% linewidth of the bracket
-%
-% \underbracketheight (default 3pt):
-% height of the bracket (length of the vertical lines)
-%
-% \underbracketsep (default 2pt):
-% vertical distance between the lowest part of the text
-% and the upper end of the bracket;
-% also minimal vertical distance below the bracket
-%
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-\ProvidesPackage{underbracket}[2004/03/24 v1.2 LaTeX package underbracket]
-\NeedsTeXFormat{LaTeX2e}
-
-% declare length variables
-\newlength{\underbracketwidth}
-\newlength{\underbracketheight}
-\newlength{\underbracketsep}
-\newlength{\underbracketlength}
-\newlength{\underbracketdist}
-
-% need calc pages for adding lengts
-\RequirePackage{calc}
-
-% \underbracket{TEXT}
-% draws a bracket underlining TEXT
-% the bracket starts below the left end of TEXT
-% and stops below the right end of TEXT
-%
-\newcommand{\underbracket}[1]{%
- \settodepth{\underbracketdist}{#1}%
- \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}%
- \mbox{%
- \rule[-\underbracketdist-\underbracketsep]{0pt}{\underbracketsep}%
- \makebox[0pt][l]{%
- \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}%
- \settowidth{\underbracketlength}{#1}%
- \makebox[0pt][l]{%
- \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}%
- \mbox{#1}%
- \makebox[0pt][r]{%
- \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}%
- }%
-}
-
-% \Underbracket{TEXT}
-% like \underbracket, but reserves no vertical space below the text
-%
-\newcommand{\Underbracket}[1]{%
- \settodepth{\underbracketdist}{#1}%
- \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}%
- \mbox{%
- \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{%
- \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}%
- \settowidth{\underbracketlength}{#1}%
- \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{%
- \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}}%
- \mbox{#1}%
- \raisebox{0pt}[0pt][0pt]{\makebox[0pt][r]{%
- \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}%
- }%
-}
-
-% \cunderbracket{LEFT}{TEXT}{RIGHT}
-% draws a bracket underlining LEFTTEXTRIGHT
-% the bracket starts centered below LEFT and stops centered below RIGHT
-%
-\newcommand{\cunderbracket}[3]{%
- \settodepth{\underbracketdist}{#1#2#3}%
- \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}%
- \mbox{%
- \rule[-\underbracketdist-\underbracketsep]{0pt}{\underbracketsep}%
- \settowidth{\underbracketlength}{#1}%
- \makebox[0pt][l]{%
- \hspace*{0.5\underbracketlength}%
- \makebox[0pt]{%
- \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}%
- \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}}%
- \mbox{#1}%
- \settowidth{\underbracketlength}{#2}%
- \makebox[0pt][l]{%
- \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}%
- \mbox{#2}%
- \settowidth{\underbracketlength}{#3}%
- \makebox[0pt][l]{%
- \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}%
- \makebox[0pt]{%
- \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}%
- \mbox{#3}%
- }%
-}
-
-% \cUnderbracket{LEFT}{TEXT}{RIGHT}
-% like cunderbracket, but reserves no vertical space below the text
-%
-\newcommand{\cUnderbracket}[3]{%
- \settodepth{\underbracketdist}{#1#2#3}%
- \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}%
- \mbox{%
- \settowidth{\underbracketlength}{#1}%
- \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{%
- \hspace*{0.5\underbracketlength}%
- \makebox[0pt]{%
- \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}%
- \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}}}%
- \mbox{#1}%
- \settowidth{\underbracketlength}{#2}%
- \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{%
- \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}}%
- \mbox{#2}%
- \settowidth{\underbracketlength}{#3}%
- \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{%
- \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}%
- \makebox[0pt]{%
- \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}}%
- \mbox{#3}%
- }%
-}
-
-% adjustable length parameters
-%
-% linewidth of the bracket
-\setlength{\underbracketwidth}{0.3pt}
-%
-% height of the bracket (length of the vertical lines)
-\setlength{\underbracketheight}{3pt}
-%
-% vertical distance between the lowest part of the text
-% and the upper end of the bracket;
-% also minimal vertical distance below the bracket
-\setlength{\underbracketsep}{2pt}
-
diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kinder.log b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.log
new file mode 100644
index 00000000000..4251112e0fb
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.log
@@ -0,0 +1,397 @@
+This is pdfTeX, Version 3.14159265-2.6-1.40.15 (TeX Live 2014) (preloaded format=etex 2015.1.13) 23 FEB 2015 16:40
+entering extended mode
+ restricted \write18 enabled.
+ %&-line parsing enabled.
+**kinder
+(./kinder.tex (/home/rdt/texmf/tex/generic/musixtex/musixtex.tex
+MusiXTeX(c) 1.16 <2015-02-15>
+\n@i=\count27
+\n@ii=\count28
+\n@iii=\count29
+\n@iv=\count30
+\n@v=\count31
+\n@vi=\count32
+\n@vii=\count33
+\n@viii=\count34
+\toks@box=\box16
+\w@rkbox=\box17
+\n@otebox=\box18
+\y@=\dimen16
+\y@i=\dimen17
+\y@ii=\dimen18
+\y@iii=\dimen19
+\y@iv=\dimen20
+\y@v=\dimen21
+\group@no=\count35
+\interinstrument=\dimen22
+\N@s=\count36
+\s@Y=\dimen23
+\lin@pos=\dimen24
+\meet@minus@n@iv=\count37
+\interbeam=\dimen25
+\b@amthick=\dimen26
+\Interligne=\dimen27
+\Internote=\dimen28
+\ch@box=\box19
+\musicsize=\count38
+\qd@skip=\dimen29
+\qn@width=\dimen30
+\wn@width=\dimen31
+\txt@ff=\skip18
+\s@indent=\skip19
+\big@spc=\skip20
+\lthick=\dimen32
+\afterruleskip=\skip21
+\staffbotmarg=\dimen33
+\stafftopmarg=\dimen34
+\line@width=\dimen35
+\interportee=\dimen36
+\noport@@=\count39
+\noinstrum@nt=\count40
+\altportee=\dimen37
+\systemheight=\dimen38
+\altplancher=\dimen39
+\instrum@in@group=\skip22
+\boxitsep=\skip23
+\barsinpi@c@=\count41
+\barno=\count42
+\startbarno=\count43
+\sign@skip=\dimen40
+\maxsign@skip=\dimen41
+\x@skip=\dimen42
+\n@skip=\dimen43
+\beforeruleskip=\skip24
+\widthtyp@=\count44
+\lastbarno=\count45
+\cut@v=\skip25
+\init@volta@pos=\skip26
+\volta@startcor=\skip27
+\volta@endcor=\skip28
+\writ@volta@box=\box20
+\barsinlin@=\count46
+\maxbarsinlin@=\count47
+\lastbarpos=\skip29
+\ut@ref=\count48
+\meterskip=\skip30
+\t@c=\toks13
+\clef@skip=\skip31
+\noteskip=\dimen44
+\transpose=\count49
+\normaltranspose=\count50
+\locx@skip=\dimen45
+\elemskip=\dimen46
+\@l@mskip=\dimen47
+\inh@alt=\count51
+\st@bot=\dimen48
+\st@top=\dimen49
+\stem@skip=\dimen50
+\s@lope=\dimen51
+\y@vi=\dimen52
+\lift@rest=\dimen53
+\accshift=\skip32
+\@icresc=\skip33
+\@itrillei=\skip34
+\@itrilleii=\skip35
+\@itrilleiii=\skip36
+\@itrilleiv=\skip37
+\@itrillev=\skip38
+\@itrillevi=\skip39
+\tr@number=\count52
+\o@swz=\toks14
+\o@number=\count53
+\y@vii=\dimen54
+\y@viii=\dimen55
+\y@ix=\dimen56
+\tuptxtb@x=\box21
+\notes@open=\count54
+\k@ii=\skip40
+\i@ni=\dimen57
+\b@xi=\dimen58
+\b@zi=\dimen59
+\c@xi=\dimen60
+\c@zi=\skip41
+\d@xi=\dimen61
+\d@zi=\skip42
+\e@xi=\dimen62
+\e@zi=\skip43
+\b@pi=\count55
+\b@ni=\count56
+\n@pi=\count57
+\a@si=\count58
+\o@si=\count59
+\a@ci=\toks15
+\o@ci=\toks16
+\m@ti=\toks17
+\k@iii=\skip44
+\i@nii=\dimen63
+\b@xii=\dimen64
+\b@zii=\dimen65
+\c@xii=\dimen66
+\c@zii=\skip45
+\d@xii=\dimen67
+\d@zii=\skip46
+\e@xii=\dimen68
+\e@zii=\skip47
+\b@pii=\count60
+\b@nii=\count61
+\n@pii=\count62
+\a@sii=\count63
+\o@sii=\count64
+\a@cii=\toks18
+\o@cii=\toks19
+\m@tii=\toks20
+\k@iiii=\skip48
+\i@niii=\dimen69
+\b@xiii=\dimen70
+\b@ziii=\dimen71
+\c@xiii=\dimen72
+\c@ziii=\skip49
+\d@xiii=\dimen73
+\d@ziii=\skip50
+\e@xiii=\dimen74
+\e@ziii=\skip51
+\b@piii=\count65
+\b@niii=\count66
+\n@piii=\count67
+\a@siii=\count68
+\o@siii=\count69
+\a@ciii=\toks21
+\o@ciii=\toks22
+\m@tiii=\toks23
+\k@iiv=\skip52
+\i@niv=\dimen75
+\b@xiv=\dimen76
+\b@ziv=\dimen77
+\c@xiv=\dimen78
+\c@ziv=\skip53
+\d@xiv=\dimen79
+\d@ziv=\skip54
+\e@xiv=\dimen80
+\e@ziv=\skip55
+\b@piv=\count70
+\b@niv=\count71
+\n@piv=\count72
+\a@siv=\count73
+\o@siv=\count74
+\a@civ=\toks24
+\o@civ=\toks25
+\m@tiv=\toks26
+\k@iv=\skip56
+\i@nv=\dimen81
+\b@xv=\dimen82
+\b@zv=\dimen83
+\c@xv=\dimen84
+\c@zv=\skip57
+\d@xv=\dimen85
+\d@zv=\skip58
+\e@xv=\dimen86
+\e@zv=\skip59
+\b@pv=\count75
+\b@nv=\count76
+\n@pv=\count77
+\a@sv=\count78
+\o@sv=\count79
+\a@cv=\toks27
+\o@cv=\toks28
+\m@tv=\toks29
+\k@ivi=\skip60
+\i@nvi=\dimen87
+\b@xvi=\dimen88
+\b@zvi=\dimen89
+\c@xvi=\dimen90
+\c@zvi=\skip61
+\d@xvi=\dimen91
+\d@zvi=\skip62
+\e@xvi=\dimen92
+\e@zvi=\skip63
+\b@pvi=\count80
+\b@nvi=\count81
+\n@pvi=\count82
+\a@svi=\count83
+\o@svi=\count84
+\a@cvi=\toks30
+\o@cvi=\toks31
+\m@tvi=\toks32
+maxinstruments=6
+\f@xi=\dimen93
+\f@zi=\skip64
+\f@xii=\dimen94
+\f@zii=\skip65
+\f@xiii=\dimen95
+\f@ziii=\skip66
+\f@xiv=\dimen96
+\f@ziv=\skip67
+\f@xv=\dimen97
+\f@zv=\skip68
+\f@xvi=\dimen98
+\f@zvi=\skip69
+ max128beams=6
+\g@bi=\skip70
+\g@hi=\skip71
+\g@bii=\skip72
+\g@hii=\skip73
+\g@biii=\skip74
+\g@hiii=\skip75
+ maxgroups=3
+\s@xi=\dimen99
+\s@si=\toks33
+\s@Yi=\dimen100
+\s@ai=\skip76
+\s@yi=\count85
+\s@Ni=\count86
+\s@zi=\count87
+\s@di=\toks34
+\s@xii=\dimen101
+\s@sii=\toks35
+\s@Yii=\dimen102
+\s@aii=\skip77
+\s@yii=\count88
+\s@Nii=\count89
+\s@zii=\count90
+\s@dii=\toks36
+\s@xiii=\dimen103
+\s@siii=\toks37
+\s@Yiii=\dimen104
+\s@aiii=\skip78
+\s@yiii=\count91
+\s@Niii=\count92
+\s@ziii=\count93
+\s@diii=\toks38
+\s@xiv=\dimen105
+\s@siv=\toks39
+\s@Yiv=\dimen106
+\s@aiv=\skip79
+\s@yiv=\count94
+\s@Niv=\count95
+\s@ziv=\count96
+\s@div=\toks40
+\s@xv=\dimen107
+\s@sv=\toks41
+\s@Yv=\dimen108
+\s@av=\skip80
+\s@yv=\count97
+\s@Nv=\count98
+\s@zv=\count99
+\s@dv=\toks42
+\s@xvi=\dimen109
+\s@svi=\toks43
+\s@Yvi=\dimen110
+\s@avi=\skip81
+\s@yvi=\count100
+\s@Nvi=\count101
+\s@zvi=\count102
+\s@dvi=\toks44
+ maxslurs=6
+\tr@xi=\skip82
+\tr@swi=\toks45
+\tr@yi=\skip83
+\tr@xii=\skip84
+\tr@swii=\toks46
+\tr@yii=\skip85
+\tr@xiii=\skip86
+\tr@swiii=\toks47
+\tr@yiii=\skip87
+\tr@xiv=\skip88
+\tr@swiv=\toks48
+\tr@yiv=\skip89
+\tr@xv=\skip90
+\tr@swv=\toks49
+\tr@yv=\skip91
+\tr@xvi=\skip92
+\tr@swvi=\toks50
+\tr@yvi=\skip93
+ maxtrills=6
+\o@xi=\skip94
+\o@yi=\skip95
+\o@swi=\toks51
+\o@xii=\skip96
+\o@yii=\skip97
+\o@swii=\toks52
+\o@xiii=\skip98
+\o@yiii=\skip99
+\o@swiii=\toks53
+\o@xiv=\skip100
+\o@yiv=\skip101
+\o@swiv=\toks54
+\o@xv=\skip102
+\o@yv=\skip103
+\o@swv=\toks55
+\o@xvi=\skip104
+\o@yvi=\skip105
+\o@swvi=\toks56
+
+maxoctlines=6
+\outmux=\write0
+\mulooseness=\count103
+\linegoal=\count104
+\l@eftrightbox=\box22
+\inmux=\read1
+) (/home/rdt/texmf/tex/generic/musixtex/musixplt.tex
+MusiXplt <2015/02/15>
+) (/usr/local/texlive/2014/texmf-dist/tex/latex/soul/soul.sty
+\SOUL@word=\toks57
+\SOUL@lasttoken=\toks58
+\SOUL@cmds=\toks59
+\SOUL@buffer=\toks60
+\SOUL@token=\toks61
+\SOUL@spaceskip=\skip106
+\SOUL@ttwidth=\dimen111
+\SOUL@uldp=\dimen112
+\SOUL@ulht=\dimen113
+)
+(/home/rdt/texmf/tex/generic/musixtex/musixps.tex
+MusiXPS PostScript slurs, ties and crescendos 0.93 (17.2.2015)
+\slur@hgtii=\dimen114
+\slur@hgtiii=\dimen115
+\slur@hgtiv=\dimen116
+\slur@hgtv=\dimen117
+\slur@hgtvi=\dimen118
+\slur@hgtvii=\dimen119
+\slur@hgtviii=\dimen120
+\slur@hgtix=\dimen121
+\tie@alt=\dimen122
+\tie@hgt=\dimen123
+\tie@alti=\dimen124
+\tie@hgti=\dimen125
+\tie@altii=\dimen126
+\tie@hgtii=\dimen127
+\tie@altiii=\dimen128
+\tie@hgtiii=\dimen129
+\tie@altiv=\dimen130
+\tie@hgtiv=\dimen131
+\tie@altv=\dimen132
+\tie@hgtv=\dimen133
+\tie@altvi=\dimen134
+\tie@hgtvi=\dimen135
+\tie@altvii=\dimen136
+\tie@hgtvii=\dimen137
+\tie@altviii=\dimen138
+\tie@hgtviii=\dimen139
+\tie@altix=\dimen140
+\tie@hgtix=\dimen141
+\cresc@alt=\dimen142
+\cresc@alti=\dimen143
+\cresc@altii=\dimen144
+\cresc@altiii=\dimen145
+\cresc@altiv=\dimen146
+\cresc@altv=\dimen147
+\cresc@altvi=\dimen148
+\cresc@altvii=\dimen149
+\cresc@altviii=\dimen150
+\cresc@altix=\dimen151
+\pss@rega=\count105
+\pss@regb=\count106
+\pst@rega=\count107
+\pst@regb=\count108
+\psc@rega=\count109
+\psc@regb=\count110
+) (/home/rdt/texmf/tex/generic/musixtex/musixsty.tex
+MusiXtextSTYle T.94 <11 May 1999>
+\footmarkcount=\count111
+\theslant=\dimen152
+) (kinder.mx2)
+\startmuflex launched by \startpiece
+< 1> bar 1 bar 2 bar 3 bar 4 bar 5 bar 6 < 2> bar 7 bar 8 bar 9 bar 10 bar 11
+bar 12 bar 13 bar 14 < 3> bar 15 bar 16 bar 17 bar 18 bar 19 bar 20 bar 21
+bar 22 [1] )
+Output written on kinder.dvi (1 page, 18024 bytes).
diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kinder.pdf b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.pdf
new file mode 100644
index 00000000000..6ffece26547
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.pdf
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kinder.tex b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.tex
new file mode 100644
index 00000000000..d5869d25aba
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.tex
@@ -0,0 +1,125 @@
+\input musixtex
+\input musixplt
+\input soul.sty % comment out this line and the next line if soul.sty not available
+\sodef{\so}{}{0.15em}{0.5em}{0.5em}
+\smallmusicsize
+\geometricskipscale
+\input musixps
+\nohalfties
+\def\pstiehgt{0.5}
+\def\psslurhgt{1}
+\def\qqsk{\off{0.25\elemskip}}
+\input musixsty
+\setclef1\bass\setbassclefsymbol1\bassoct
+\setclef4\treble\settrebleclefsymbol4\trebleoct
+\setname1{Bass Recorder}
+\setname2{Tenor Recorder}
+\setname3{Treble Recorder}
+\setname4{Descant Recorder}
+\advance\parindent by 18ex
+\fulltitle{\BIgfont\so{Von fremden Ländern und Menschen}}
+\subtitle{From {\rm Kinderszenen} (Scenes from Childhood), Opus~15 No.1}
+\othermention{Arranged for Recorders by R. D. Tennent}
+\author{Robert Schumann {\sc (1810--1856)}}
+\hsize=7.275in
+\vsize=9.5in
+\hoffset=8.5in\advance\hoffset-\hsize\divide\hoffset2\advance\hoffset-1.0in
+\voffset=11in\advance\voffset-\vsize\divide\voffset2\advance\voffset-1.0in
+\def\outmorceau{\shipout\vbox{\vbox to \vsize{\vss\pagecontents\vss}\line{%
+\hss\rm \copyright\ R.D. Tennent {\sc 2014}.\quad Licensed under a Creative Commons Attribution--Share Alike license.\hss}}}
+\maketitle
+\generalsignature{1}
+\relativeaccid
+\instrumentnumber4
+\songbottom{1}\songtop{4}
+\setmeter1{{\meterfrac24}}
+\setmeter2{{\meterfrac24}}
+\setmeter3{{\meterfrac68}}
+\setmeter4{{\meterfrac24}}
+\stafftopmarg=7.0\Interligne%
+\staffbotmarg=7.0\Interligne%
+\setinterinstrument1{2.5\internote}
+\startbarno=1
+\nobarnumbers
+\def\raisebarno{8\internote}%
+\def\shiftbarno{-1.0\Interligne}%
+\startpiece\addspace\afterruleskip%
+\systemnumbers
+\znotes\zcharnote{e}{\ppff \kern-3ex mezzo staccato}&&&\en
+\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en
+\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en
+\bar%2
+\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en
+\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en
+\bar%3
+\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en
+\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en
+\bar%4
+\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en
+\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en
+\bar%5
+\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en
+\notes\qa{I}&\itied1g\qa g&\ds\ibl1k5\qb1{k}\tqb1n&\qa n\sk\sk\en
+\bar%6
+\notes\qa J&\ttie1\qa g&\ds\ibl1l5\qb1{l}\tqb1n&\ibl2l{-2}\qb2{.l}\sk\hroff{\tbbl2\tqb2k}\en
+\notes\qa L&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\qa j\sk\sk\tfslur1o\en
+\bar%7
+\notes\qa K&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\isluru1o\qa h\en
+\notes\qa{K}&\qa f&\ds\ibl1j5\qb1{j}\tqb1m&\qa k\en
+\bar%8
+\notes\qa G&\qa d&\ds\ibl1i5\qb1{i}\tqb1n&\tfslur1k\ha i\en
+\notes\qp&\qa g&\ds\ibl1i5\qb1{i}\tqb1n&\en
+\setmeter3{{\meterfrac24}}%
+\setmeter2{{\meterfrac68}}%
+\setleftrightrepeat%9
+\changecontext%
+\notes\zcharnote{A}{\ppff tenuto}\qa L&\ds\ibl1i5\qb1{i}\tqb1l&\qa n&\isluru1j\qa i\en
+\notes\qa H&\ds\ibl1h5\qb1{h}\tqb1l&\qa o&\qa j\en
+\bar%10
+\notes\ibu0K{-2}\qb0{.K}\sk\hroff{\tbbu0\tqh0J}&\ds\ibl1h{5}\qb1{h}\tqb1k&\qa m&\qa h\en
+\notes\qa I&\ds\ibl1g5\qb1{g}\tqb1k&\qa n&\tslur1j\qa i\en
+\bar%11
+\notes\qa J&\ds\ibu1h5\qb1{g}\tqh1j&\qa l&\isluru1n\qa g\en
+\notes\off{6pt}{\smallnotesize\zqu M}\qu F&\ds\ibu1h5\qb1{f}\tqh1j&\qa l&\qa h\sk\sk\en
+\bar%12
+\notes\ibu0I{-2}\qb0{.I}\sk\hroff{\tbbu0\tqh0H}&\ds\ibu1g5\qb1{f}\tqh1{i}&\qa{^k}&\qa f\en
+\notes\qa G&\ds\ibu1g5\qb1{g}\tqh1i&\qa{=k}&\tfslur1n\qa g\en
+\setmeter3{{\meterfrac24}}%
+\setmeter4{{\meterfrac68}}%
+\changecontext%13
+\znotes&&&\zcharnote{s}{\ppff ritardando}\en
+\notes\qa J&\qa c&\ds\ibu1h5\qb1{g}\tqh1j&\isluru1m\qa e\en
+\notes\qa J&\qa d&\ds\ibu1i5\qb1{h}\tqh1k&\qa f\en
+\bar%14
+\notes\ibu0I{-2}\qb0{.I}\sk\hroff{\tbbu0\tqh0H}&\fermataup l\ha d&\ds\ibl1g5\qb1{g}\tqb1k&\ibu2g1\qb2{.g}\sk\hroff{\tbbu2\tqh2h}\hqsk\en
+\notes\fermataup N\qa G&&\ds\ibl1h{5}\qb1{h}\fermataup l\tqb1k&\ibl2i1\fermataup l\qb2{.i}\sk\tfslur1n\qqsk\roff{\tbbl2\tqb2j}\hqsk\en
+\bar%15
+\znotes&&&\zcharnote{t}{\kern-2ex\ppff a tempo}\en
+\notes\zcharnote{e}{\ppff \kern-3.0ex mezzo staccato}\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1m\qa k\en
+\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en
+\bar%16
+\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en
+\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en
+\bar%17
+\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en
+\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en
+\bar%18
+\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en
+\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en
+\bar%19
+\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en
+\notes\qa{I}&\itied1g\qa g&\ds\ibl1k5\qb1{k}\tqb1n&\qa n\sk\sk\en
+\bar%20
+\notes\qa J&\ttie1\qa g&\ds\ibl1l5\qb1{l}\tqb1n&\ibl2l{-2}\qb2{.l}\sk\hroff{\tbbl2\tqb2k}\en
+\notes\qa L&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\qa j\en
+\bar%21
+\notes\qa K&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\qa h\en
+\notes\qa{K}&\qa f&\ds\ibl1j5\qb1{j}\tqb1m&\qa k\en
+\bar%22
+\notes\ha G&\ha d&\ds\ibl1i5\qb1{i}\tqb1n&\thslur1k\ha i\en
+\notes&&\ds\ibl1i5\qb1{i}\tqb1n&\en
+\mulooseness0%
+\setrightrepeat%
+\endpiece
+\eject
+\end
diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex b/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex
index 8b3b39ad134..b73720fa6ae 100644
--- a/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex
@@ -1,10 +1,9 @@
\input musixtex.tex
\input musixsty.tex
-% (c) Copyright R. D. Tennent 2010
-% Licensed under a Creative Commons Attribution--Share Alike license.
-
-\def\tr#1{\zcharnote{#1}{\ppff tr}}%
-\def\pince#1{\shake{#1}}%
+\input musixps
+\nohalfties
+\def\pstiehgt{0.5}
+\def\psslurhgt{0.5}
\vsize9.75in
\voffset-0.5in
\hsize7.0in
@@ -12,30 +11,14 @@
\smallmusicsize
\bigaccid
\advance\parindent by 10pt
-\def\writebarno{\llap{\ninebf\the\barno\barnoadd}}%
-\def\raisebarno{4\internote}%
-\def\shiftbarno{1.5\Interligne}%
+\def\raisebarno{7\internote}%
\nobarnumbers
+\relativeaccid
\geometricskipscale
-\def\omit#1{}%
-
-\def\tql#1#2{\tbl{#1}\qb{#1}{#2}}
-\def\tqu#1#2{\tbu{#1}\qb{#1}{#2}}
-\def\nbbqu#1#2{\nbbu{#1}\qb{#1}{#2}}
-\def\nbbql#1#2{\nbbl{#1}\qb{#1}{#2}}
-
-\def\nqql#1#2{\roffset{0.25}{\tbbl{#1}\tbbl{#1}\qb{#1}{#2}}}
-\def\nqqu#1#2{\roffset{0.25}{\tbbu{#1}\tbbu{#1}\qb{#1}{#2}}}
-\def\tqql#1#2{\roffset{0.25}{\tbbl{#1}\tbl{#1}\qb{#1}{#2}}}
-\def\tqqu#1#2{\roffset{0.25}{\tbbu{#1}\tbu{#1}\qb{#1}{#2}}}
-\def\tqqql#1#2{\roffset{0.25}{\tbbbl{#1}\tbl{#1}\qb{#1}{#2}}}
-\def\tqqqu#1#2{\roffset{0.25}{\tbbbu{#1}\tbu{#1}\qb{#1}{#2}}}
-
\instrumentnumber4
\setclef1\bass\setbassclefsymbol1\bassoct
\setclef4\treble\settrebleclefsymbol4\trebleoct
-\catcodesmusic
\generalsignature{+1}
\generalmeter\meterC
\setname1{B}
@@ -47,142 +30,133 @@
\fulltitle{Quodlibet}
\subtitle{Variation 30 of the Goldberg Variations for Clavier}
\title{Quodlibet}
-\author{J. S. Bach (1685-1750)}
+\author{J. S. Bach (1685--1750)}
\shortauthor{J. S. Bach}
\othermention{Arranged for Recorders by R. D. Tennent}
\maketitle
\startbarno=0
\nobarnumbers
-\stafftopmarg=4.0\Interligne%
-\staffbotmarg=4.0\Interligne%
-%\setinterinstrument3{2.5\internote}%
+\stafftopmarg=3.0\Interligne%
+\staffbotmarg=3.0\Interligne%
\startpiece\addspace\afterruleskip%
\systemnumbers%
\Notes\ds&\cu d&\ds&\ds\en
\bar%1
-\Notes\hl N&\ibu1g2\qb1{ghi}\tqu1j&&\hpause\en
-\Notes\hl M&\ibl1k{-2}\qb1k\en
-\notes&\nbbl1\qb1j\tql1i&&\qp\en
+\Notes\hl N&\ibu1g2\qb1{ghi}\tqh1j&&\hpause\en
+\Notes\hl M&\ibl1k{-2}\qb1k&&\en
+\notes&\nbbl1\qb1j\tqb1i&&\qp\en
\Notes&\ibu1h0\qb1h&&\ds\en
-\notes&\nbbu1\qb1g\tqu1h&&\cu d\en
-\def\atnextbar{\znotes&&\centerpause&&\en}%
+\notes&\nbbu1\qb1g\tqh1h&&\cu d\en
+\def\atnextbar{\znotes&&\centerpause&\en}%
\bar%2
-\Notes\hl L&\ibu1i{-2}\qb1i\tqu1h&\ql n&\ibu3g2\qb3{gh}\en
-\Notes&\itied1g\qu g&\ql n&\qb3i\tqu3j\en
+\Notes\hl L&\ibu1i{-2}\qb1i\tqh1h&\ql n&\ibu3g2\qb3{gh}\en
+\Notes&\itied1g\qu g&\ql n&\qb3i\tqh3j\en
\Notes\ql{.K}&\ttie1\qu g&\ql o&\ibl3k{-2}\qb3k\en
-\notes&&&\nbbl3\qb3j\tql3i\en
-\Notes&\ibu1f0\pince{n}\qb1f&\cl o&\cu h\en
-\notes\cu J&\nbbu1\qb1e\tqu1f&\ds&\ds\en
+\notes&&&\nbbl3\qb3j\tqb3i\en
+\Notes&\ibu1f0\shake{n}\qb1f&\cl o&\cu h\en
+\notes\cu J&\nbbu1\qb1e\tqh1f&\ds&\ds\en
\bar%3
\Notes\hu I&\qu g&\ibl2n{-1}\qb2{no}&\ql k\en
-\Notes&\ds\cl k&\qb2{n}\tql2{=m}&\ql k\en
+\Notes&\ds\cl k&\qb2{n}\tqb2{=m}&\ql k\en
\Notes\hu J&\ibu1j{-2}\qb1{ji}&\ibl2j{0}\qb2{lk}&\ql l\en
-\Notes&\qb1h\tqu1g&\qb2j\tql2p&\ql l\en
+\Notes&\qb1h\tqh1g&\qb2j\tqb2p&\ql l\en
\bar%4
-\Notes\hl K&\itied1f\pince{n}\qu f&\ibl2o{-1}\qb2{on}&\ibl3k{-1}\qb3{kl}\en
+\Notes\hl K&\itied1f\shake{n}\qu f&\ibl2o{-1}\qb2{on}&\ibl3k{-1}\qb3{kl}\en
\notes&\ttie1\ibbu1e{-2}\qb1f\tbbu1\qb1e&\qb2o&\qb3k\en
%\vnotes1.5\elemskip&\nbbbu1\qb1e\tbbu1\qb1f&&\en
-\Notes&\itied1d\tqu1d&\tql2m&\tql3j\en
-\Notes\qu G&\ttie1\qu d&\ibl2n{-2}\qb2n\tql2m&\ibu3h{-1}\pince{p}\qb3i\tqu3h\en
+\Notes&\itied1d\tqh1d&\tqb2m&\tqb3j\en
+\Notes\qu G&\ttie1\qu d&\ibl2n{-2}\qb2n\tqb2m&\ibu3h{-1}\shake{p}\qb3i\tqh3h\en
\Notes\ds&\qp&\ibl2n{-5}\qb2n&\qu g\en
-\notes\ibbl0b{-1}\qb0b\tql0a&&\tql2k&\en
+\notes\ibbl0b{-1}\qb0b\tqb0a&&\tqb2k&\en
\bar%5
\Notes\ibl0M0\qb0N&\ql n&\ibl2n2\qb2n&\hpause\en
-\notes\nbbl0\qb0M\tql0N&&\qb2o&\en
+\notes\nbbl0\qb0M\tqb0N&&\qb2o&\en
\Notes\ibl0K0\qb0L&\ql n&\qb2p&\en
-\notes\nbbl0\qb0K\tql0L&&\tql2q&\en
+\notes\nbbl0\qb0K\tqb0L&&\tqb2q&\en
\Notes\ql{.M}&\ql o&\ibl2r{-2}\qb2r&\qp\en
-\notes&&\nbbl2\qb2q\tql2p&\en
-\Notes\sk\cu I&\ql o&\ibl2o6\qb2o\itieu2r\tql2r&\ds\cl k\en
+\notes&&\nbbl2\qb2q\tqb2p&\en
+\Notes\sk\cu I&\ql o&\ibl2o6\qb2o\itieu2r\tqb2r&\ds\cl k\en
\bar%6
-\Notes\ql{.L}&\ibl1n{-1}\qb1{no}&\ttie2\ibl2r{-2}\qb2r\tql2q&\ibl3n{-2}\qb3{nm}\en
+\Notes\ql{.L}&\ibl1n{-1}\qb1{no}&\ttie2\ibl2r{-2}\qb2r\tqb2q&\ibl3n{-2}\qb3{nm}\en
\Notes&\qb1n&\ql p&\qb3l\en
-\notes\ibbl0M2\qb0M\tql0N&\tql1m&&\tql3k\en
-\Notes\itieu0a\ql a&\ibl1l{-2}\qb1l&\ql{.o}&\pince{n}\ibl3i0\qb3{^j}\en
-\notes&\tql1k&&\nbbl3\qb3i\tql3j\en
+\notes\ibbl0M2\qb0M\tqb0N&\tqb1m&&\tqb3k\en
+\Notes\itieu0a\ql a&\ibl1l{-2}\qb1l&\ql{.o}&\shake{n}\ibl3i0\qb3{^j}\en
+\notes&\tqb1k&&\nbbl3\qb3i\tqb3j\en
\notes\ttie0\ibbl0a{-2}\qb0{aN}&\cl{^j}&&\cu h\en
-\notes\qb0M\tql0L&\ds&\ibbl2i2\qb2i\qsk\tql2{^j}&\ds\en
+\notes\qb0M\tqb0L&\ds&\ibbl2i2\qb2i\qsk\tqb2{^j}&\ds\en
\bar%7
\Notes\ql M&\ibu1g0\qb1{fg}&\ibl2k0\qb2{kl}&\qu h\en
-\Notes\ql K&\qb1h\tqu1f&\qb2m\tql2k&\qu h\en
+\Notes\ql K&\qb1h\tqh1f&\qb2m\tqb2k&\qu h\en
\Notes\ql N&\ibu1g{-2}\qb1{gf}&\ibl2i4\qb2{ik}&\ql i\en
-\Notes\qu G&\qb1e\tqu1d&\qb2n\tql2m&\ql i\en
+\Notes\qu G&\qb1e\tqh1d&\qb2n\tqb2m&\ql i\en
\bar%8
-\Notes\qu{.H}&\ibu1c4\qb1{^cd}&\ibl2l{-1}\qb2{.l}\tqql2k\isluru2j&\ibu3i{-1}\qb3{hi}\en
-\notes&\qb1e&\tslur2j\ibbl2j0\qb2k\hqsk\tbbl2\qb2{^j}&\qb3h\en
-\Notes\cu{^J}&\itied1h\tqu1h&\itieu2l\tql2l&\tqu3g\en
-\notes\ql K&\ttie1\ibu1h{-1}\qb1h&\ttie2\ibbl2l{-1}\qb2{lk}&\ibu3f{-1}\qb3f\en
-\notes&\tqu1g&\qb2l\tql2j&\tqu3e\en
+\Notes\qu{.H}&\ibu1c4\qb1{^cd}&\ibl2l{-1}\qb2{.l}\roff{\itieu2k\tbbl2\tqb2k}\qsk&\ibu3i{-1}\qb3{hi}\en
+\notes&\qb1e&\ttie2\ibbl2j0\qb2k\hqsk\tbbl2\qb2{^j}&\qb3h\en
+\Notes\cu{^J}&\itied1h\tqh1h&\itieu2l\tqb2l&\tqh3g\en
+\notes\ql K&\ttie1\ibu1h{-2}\qb1h&\ttie2\ibbl2l{-1}\qb2{lk}&\ibu3f{-1}\qb3f\en
+\notes&\tqh1g&\qb2l\tqb2j&\tqh3e\en
\Notes\cl K&\cu f&\cl k&\cu d\en
-%\nobarnumbers%
-%\setrightrepeat%
-%\alaligne%
\advance\barno by -1%
-%\leftrepeat%
-%\systemnumbers%
\leftrightrepeat
-%\advance\barno by -1%
\Notes\ds&\cl m&\ds&\cl o\en
\bar%9
-%\notes&&&\lcharnote q{\ninebf \the\barno}\enotes
-\Notes\ql d\sk\ql c&\ibl1k0\qb1{kmk}\tql1{m}&\ql o\sk\ql o&\ibl3m0\qb3{mom}\tql3o\en
+\Notes\ql d\sk\ql c&\ibl1k0\qb1{kmk}\tqb1{m}&\ql o\sk\ql o&\ibl3m0\qb3{mom}\tqb3o\en
\Notes\ql b&\ibl1k0\qb1n&\ql p&\ibl3k2\qb3k\en
-\notes&\qb1k&&\nbbl3\qb3l\tql3m\en
-\Notes\ql N&\qb1k\tql1n&\ql p&\ibl3n{-4}\qb3n\tql3l\en
+\notes&\qb1k&&\nbbl3\qb3l\tqb3m\en
+\Notes\ql N&\qb1k\tqb1n&\ql p&\ibl3n{-4}\qb3n\tqb3l\en
\bar%10
-\Notes\ibl0b{-1}\qb0{cbc}\tql0a&\cl l\ds\qp&\ibl2o{-1}\qb2{opo}\tql2n&\ibl3o{-2}\qb3{onm}\tql3l\en
-\Notes\ql{.b}&\ql m&\ibl2m{-2}\qb2m&\ibl3j0\qb3{^k}\en
-\notes&&\tql2l&\nbbl3\qb3{^j}\tql3k\en
-\Notes\sk\cl a&\ql m&\cl{^k}\ds&\ibl3i8\qb3i\tql3p\en
+\Notes\ibl0b{-1}\qb0{cbc}\tqb0a&\cl l\ds\qp&\ibl2o{-1}\qb2{opo}\tqb2n&\ibl3o{-2}\qb3{onm}\tqb3l\en
+\Notes\ql{.b}&\ql m&\ibl2m{-2}\qb2m&\ibl3j0\shake n\qb3{^k}\en
+\notes&&\tqb2l&\nbbl3\qb3{^j}\tqb3k\en
+\Notes\sk\cl a&\ql m&\cl{^k}\ds&\ibl3i8\qb3i\tqb3{p}\en
\bar%11
-\Notes\ql{N}\sk\ql{N}&\ibl1l0\qb1{nln}\tql1l&\ql p\sk\ql p&\ibl3m0\qb3{lpl}\tql3p\en
-\notes\ql{.a}&\ibl1m{-1}\qb1{m*n}&\ql q&\ibbl3k2\qb3{^klm}\tql3n\en
+\Notes\ql{N}\sk\ql{N}&\ibl1l0\qb1{nln}\tqb1l&\ql p\sk\ql p&\ibl3m0\qb3{lpl}\tqb3{p}\en
+\notes\ql{.a}&\ibl1m{-1}\qb1{m*n}&\ql q&\ibbl3k2\qb3{^klm}\tqb3n\en
\Notes&\qb1m&\ql q&\ibl3o{-2}\qb3o\en
-\notes\cl{^a}&\tql1l&&\nbbl3\qb3n\tql3m\en
+\notes\cl{^a}&\tqb1l&&\nbbl3\qb3n\qsk\tqb3{m}\en
\bar%12
\Notes\ql b&\ibl1k2\qb1{^k}&\ibl2o{-1}\qb2p&\ibl3n{-2}\qb3n\en
-\notes&\nbbl1\qb1l\tql1m&\qb2q&\nbbl3\qb3m\tql3l\qsk\en
+\notes&\nbbl1\qb1l\tqb1m&\qb2q&\nbbl3\qb3m\tqb3l\qsk\en
\notes\qu I&\itied1i\qu i&\qb2p&\ibbl3k0\qb3{^kl}\en
-\notes&&\tql2o&\qb3m\tql3k\en
+\notes&&\tqb2o&\qb3m\tqb3k\en
\Notes\ql{.L}&\ttie1\ibu1i0\qb1i&\ibl2n0\qb2n&\itieu3l\hl l\en
-\notes&\nbbu1\qb1h\tqu1i&\nbbl2\qb2m\tql2n&\en
+\notes&\nbbu1\qb1h\tqh1i&\nbbl2\qb2m\tqb2n&\en
\Notes&\ibu1g2\qb1g&\cl l&\en
-\notes\cl{=K}&\nbbu1\qb1h\tqu1i&\ds&\en
+\notes\cl{=K}&\nbbu1\qb1h\tqh1i&\ds&\en
\bar%13
-\notes\qu J&\ibl1j2\qb1j\sk\qb1k&\hpause&\ttie3\ibbl3k1\isluru3l\qb3l\tslur3k\qb3k\isluru3m\qb3m\tslur3l\tql3l\en
-\notes\ql c&\qb1l\sk\tql1m&&\ibbl3m1\isluru3n\qb3n\tbbl3\tslur3m\qb3m\tql3o\en
-\notes\ql{.b}&\ibl1n{-1}\qb1n\sk\nbbl1\qb1m\tql1l&\ql n&\ql{.k}\en
-\Notes&\cl k&\ibl2k{-4}\qb2n&\en
-\notes\ibbu0J{-2}\qb0J\tqu0I&\ds&\tql2g&\ibbl3j2\qb3j\tql3k\en
+\notes\qu J&\ibl1j2\qb1j\sk\qb1k&\hpause&\ttie3\ibbl3k1\slur lku1\qb3l\qb3k\slur mlu1\qb3m\tqb3l\en
+\notes\ql c&\qb1l\sk\tqb1m&&\ibbl3m1\isluru3n\qb3n\tbbl3\tslur3m\qb3m\tqb3o\en
+\notes\ql{.b}&\ibl1n{-1}\qb1n\sk\nbbl1\qb1m\tqb1l&\ql n&\ql{.k}\en
+\Notes&\cl k&\ibl2i{-5}\qb2n&\en
+\notes\ibbu0J{-2}\qb0J\tqh0I&\ds&\tqb2g&\ibbl3j2\qb3j\tqb3k\en
\bar%14
\Notes\qu{.H}&\ds&\ibl2j1\qb2{.j}&\ibl3l2\qb3l\en
-\notes&\cu h&\qsk\tqql2k&\nbbl3\qb3m\tql3n\en
+\notes&\cu h&\sk\tbbl2\tqb2k&\nbbl3\qb3m\tqb3n\en
\Notes&\ibu1e0\qb1e&\ibl2j{-2}\qb2j&\ibl3o{-2}\qb3o\en
-\notes\ibbu0I2\qb0I\tqu0J&\nbbu1\qb1d\tqu1e&\tql2i&\tql3n\en
-\notes\ql{.K}&\ibu1g1\qb1f&\ibu2h1\qb2h&\ibbl3l{-2}\pince{o}\qb3m\tbbl3\qb3l\en
-%\vnotes1.4\elemskip&&&\nbbbl3\qb3l\tbbl3\qb3m\en
-\Notes&\itied1g\tqu1g&\tqu2i&\tql3k\en
+\notes\ibbu0I2\qb0I\tqh0J&\nbbu1\qb1d\tqh1e&\tqb2{i}&\tqb3n\en
+\notes\ql{.K}&\ibu1g1\qb1f&\ibu2h1\qb2h&\ibbl3m{-2}\shake{o}\qb3m\en
+\notes&&&\tbbl3\qb3l\en
+\Notes&\itied1g\tqh1g&\tqh2i&\tqb3k\en
\Notes&\ttie1\ibu1g{-1}\qb1g&\ibl2j2\qb2j&\ibu3i{-6}\qb3j\en
-\notes\ibbu0J2\qb0J\tqu0K&\tqu1f&\tql2k&\tqu3d\en
+\notes\ibbu0J2\qb0J\tqh0K&\tqh1f&\tqb2k&\tqh3d\en
\bar%15
\Notes\ibu0I0\qb0G&\qu d&\ibu2i0\qb2i&\ibl3i0\qb3i\en
-\notes\qb0H&&\nbbu2\qb2h\tqu2i&\qb3j\en
+\notes\qb0H&&\nbbu2\qb2h\tqh2i&\qb3j\en
\Notes\qb0I&\qu d&\cu g&\qb3k\en
-\Notes\tqu0G&&\ds&\tql3i\en
+\Notes\tqh0G&&\ds&\tqb3i\en
\Notes\qu{.J}&\qu e&\ds&\ibu3j{-2}\qb3j\en
-\notes&&\ibbl2l{-2}\qb2l\tql2k&\qb3i\en
+\notes&&\ibbl2l{-2}\qb2l\tqb2k&\qb3i\en
\Notes&\qu e&\ibl2j4\qb2j&\qb3h\en
-\Notes\cu{^J}&&\tql2l&\tqu3g\en
+\Notes\cu{^J}&&\tqb2l&\tqh3g\en
\bar%16
\notes\ql K&\ibu1g{1}\qb1d&\ibbl2h1\qb2{hk}&\ibu3f2\qb3f\en
-\notes&\qb1e&\qb2j\tql2i&\tqu3g\en
+\notes&\qb1e&\qb2j\tqb2i&\tqh3g\en
\notes\ql K&\qb1d&\ibbl2j0\qb2j\tbbl2\qb2h&\ibu3h{-4}\qb3h\en
-\Notes&\tqu1j&\itieu2k\tql2k&\tqu3f\en
+\Notes&\tqh1j&\itieu2k\tqb2k&\tqh3f\en
\Notes\ql N&\ibu1i{-2}\qb1i&\ttie2\ibl2j0\qb2k&\qu g\en
-\notes&\tqu1h&\nbbl2\qb2j\tql2k&\en
+\notes&\tqh1h&\nbbl2\qb2j\tqb2k&\en
\Notes\cu G&\cu g&\cl i&\cu g\en
\setrightrepeat
-%\mulooseness=+1%
\endpiece%
\eject
\end
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf b/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf
index 261f496bf4b..d4e05e0bd4b 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.sty b/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty
deleted file mode 100644
index 22586249cd3..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty
+++ /dev/null
@@ -1,115 +0,0 @@
-%
-% This file is part of MusiXTeX
-%
-% MusiXTeX is free software; you can redistribute it and/or modify
-% it under the terms of the GNU General Public License as published by
-% the Free Software Foundation; either version 2, or (at your option)
-% any later version.
-%
-% MusiXTeX is distributed in the hope that it will be useful,
-% but WITHOUT ANY WARRANTY; without even the implied warranty of
-% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
-% GNU General Public License for more details.
-%
-% You should have received a copy of the GNU General Public License
-% along with MusiXTeX; see the file COPYING. If not, write to
-% the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
-% Boston, MA 02111-1307, USA.
-%
-% american people perhaps may want to change the paper size
-%
-% LaTeX2e compliant (6 Oct 2009)
-
-%\textheight= 50\baselineskip
-\textheight= 297mm \advance\textheight-2in %
-\textwidth= 210mm \advance\textwidth-1.8in %
-%
-% Allow dvips -tletter and it still fits.
-%\voffset-5mm\hoffset-.1in
-\voffset1mm\hoffset-.1in
-
-\input musixtex
-\input musixbm
-\input musixcho
-\input musixdat
-\input musixext
-\input musixgre
-\input musixgui
-\input musixlit
-\input musixltx
-\input musixper
-%\input musixmad% removed because inessential (6 June 2008)
-
-% we don't need margin
-\oddsidemargin\z@ \evensidemargin\z@
-\marginparwidth\z@ \marginparsep\z@ \marginparpush\z@
-
-\topmargin-15pt \headheight12pt
-\headsep25pt \footskip25pt
-\columnsep10pt \columnseprule\z@ \parskip\smallskipamount
-
-\nobarnumbers
-
-% for usage of notes inside text
-\let\nblines\z@
-
-\long\def\theindex{\chapter{Index}\parindent\z@
- \parskip\z@ plus.3\p@\relax \let\item\@idxitem \columnseprule\z@
- \columnsep35\p@ \begin{multicols}{2}}
-
-\def\endtheindex{\end{multicols}}
-
-% saves paper
-\def\@listI{\leftmargin\leftmargini \parsep 4.5\p@ plus2\p@ minus\p@
-\topsep 1\p@ plus2\p@ minus1\p@
-\itemsep 4.5\p@ plus2\p@ minus\p@}
-
-% more place for digits in \tableofcontents
-\def\l@subsection{\@dottedtocline{2}{3.8em}{3.4em}}%original 2 3.8 3.2
-
-\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\ttfamily}
-\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX}
-\def\Bslash{\ttfamily \char'134}
-\def\|{\texttt{\char'174}}
-\def\LBR{\texttt{\char'173}}
-\def\RBR{\texttt{\char'175}}
-\def\keyindex#1{\leavevmode
- \hbox{\Bslash #1}\index{#1@{\protect\Bslash #1}}}
-\def\zkeyindex#1{\index{#1@{\protect\Bslash #1}}}
-\def\ixem#1{#1\index{#1}}
-\def\itxem#1{\textsl{#1}\index{#1}}
-\def\ttxem#1{\texttt{#1}\index{#1@\texttt{#1}}}
-\def\ixtt#1{\index{#1@\texttt{#1}}}
-\def\ital#1{\textsl{#1\/}}
-
-\newfont{\mflogo}{logo10 scaled 1200}
-\def\MF{{\mflogo METAFONT}}
-\def\unix{\textsc{unix}}
-
-\iflongDCfontnames
- \font\tentt=\fontid tt1000
-\else\iflongECfontnames
- \font\tentt=\fontid tt1000
-\else
- \font\tentt=\fontid tt10
-\fi\fi
-% It's under construction
-\tolerance10000\hbadness10000
-
-\def\printindex{\@input{\jobname.ind}}
-
-\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}%
-
-\def\_{\protect\underscoreSymbol}
-
-\def\remark{\par\noindent\slshape REMARK:}
-\def\endremark{\leavevmode\/}
-
-\def\important{\par\noindent\slshape IMPORTANT:}
-\def\endimportant{\leavevmode\/}
-
-\def\caution{\par\noindent\slshape CAUTION:}
-\def\endcaution{\leavevmode\/}
-
-\def\st@ffs{1}
-\endinput
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex
deleted file mode 100644
index 57279defdf3..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex
+++ /dev/null
@@ -1,9352 +0,0 @@
-%
-% This file is part of MusiXTeX
-%
-% MusiXTeX is free software; you can redistribute it and/or modify
-% it under the terms of the GNU General Public License as published by
-% the Free Software Foundation; either version 2, or (at your option)
-% any later version.
-%
-% MusiXTeX is distributed in the hope that it will be useful,
-% but WITHOUT ANY WARRANTY; without even the implied warranty of
-% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
-% GNU General Public License for more details.
-%
-% You should have received a copy of the GNU General Public License
-% along with MusiXTeX; see the file COPYING. If not, write to
-% the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
-% Boston, MA 02111-1307, USA.
-%
-%
-% musixdoc.tex : the document
-%
-\documentclass[twoside,11pt,a4paper]{report}
-\usepackage{multicol}
-\usepackage{musixdoc}
-\usepackage{etex}
-\usepackage[dvips,bookmarks=true,bookmarksnumbered=true,bookmarksopen=false,colorlinks=true,pdfborder={0 0 0},pdfstartview={FitH},pdfmenubar=false]{hyperref}
-\usepackage{url}
-\usepackage{indentfirst}
-\usepackage[ansinew]{inputenc}
-\makeatletter
-\def\notesintext#1{% no staff lines, no clefs
- {\let\extractline\relax
- \setlines10\smallmusicsize \nobarnumbers \nostartrule
- \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt
- \startextract\addspace{-\afterruleskip}#1\zendextract}}
-\makeatother
-\def\musicintext#1#2{% normal
- {\let\extractline\relax
- \smallmusicsize \nobarnumbers
- \staffbotmarg0pt \setclef1{#1}
- \startextract\addspace{-\afterruleskip}#2\endextract}}
-% macro adapted to insert music without clef:
-\def\musicintextnoclef#1{% no clef small
- {\let\extractline\relax
- \smallmusicsize \nobarnumbers
- \staffbotmarg0pt \setclefsymbol1\empty
- \startextract\addspace{-\afterruleskip}#1\endextract}}
-\def\musicintextnoclefn#1{% no clef normal
- {\let\extractline\relax
- \nobarnumbers
- \staffbotmarg0pt \setclefsymbol1\empty
- \startextract\addspace{-\afterruleskip}#1\endextract}}
-
-\def\musictex{Music\TeX{}}
-\def\onen{{\tt\char123}$n${\tt\char125}}
-\def\pitchp{{\tt\char123}$p${\tt\char125}}
-\def\itbrace#1{{\tt\char123}$#1${\tt\char125}}
-\def\nochange{(\ital{NOT to be changed})}
-
-\ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi
-\ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi
-
-\startmuflex\makeindex
-
-\begin{document}
-
-%\changebarsep 10 pt
-\title{\Huge\bf\musixtex\raise1.5ex\hbox{\large\copyright}\\[\bigskipamount]
-\LARGE\bf Using \TeX{} to write polyphonic\\or
-instrumental music\\\Large\sl Version 1.15~-- April, 2011}
-\author{\Large\rm Daniel \sc Taupin\\\large\sl
- Laboratoire de Physique des Solides\\\normalsize\sl
- (associ\'e au CNRS)\\\normalsize\sl
- b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\\medskip
- \\\Large\rm Ross \sc Mitchell\\\large\sl
- CSIRO Division of Atmospheric Research,\\\normalsize\sl
- Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip
- \\\Large\rm Andreas \sc Egler\\\large\sl
- (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum}
-\date{}
- \maketitle
-\clearpage
- %\check
-
-\pagenumbering{roman}\setcounter{page}{2}
-
-%\thispagestyle{empty}
-
-\null
-\vfill
-
-\begin{flushright}\it
- If you are not familiar with \TeX{} at all\\
-I would recommend to find another software\\
-package to do musical typesetting.\\
-Setting up \TeX{} and \musixtex\\
-on your machine and mastering it\\
-is an awesome job which gobbles up\\
-a lot of your time and disk space.\\[\medskipamount]
-But, once you master it...\\[\smallskipamount]
-Hans {\sc Kuykens}
-\end{flushright}
-
-\begin{center}
-\musixtex{} may be freely copied, duplicated and used in conformance to
-the GNU General Public License (Version 2, 1991, see included file {\tt
-copying})\footnote{Thanks to Free Software Foundation for advising us. See
-\href{http://www.gnu.org}{\underline{\tt http://www.gnu.org}}}.
-
-You may take it or parts of it to include in other packages, but no packages
-called \musixtex{} without specific suffix may be distributed under the name
-\musixtex{} if different from the original distribution (except obvious bug
-corrections).
-
- Adaptations for specific implementations (e.g. fonts) should be provided as
-separate additional \TeX\ or \LaTeX\ files which override original definitions.
- \end{center}
-
-\clearpage
-
-\chapter*{Preface to Version T.113}
-%\thispagestyle{empty}
-
-The main author of \musixtex{}, Daniel Taupin, died all too early in a 2003
-climbing accident. The \musixtex\ community was shocked by this tragic and unexpected
-event. You may read some tributes to Daniel Taupin which are archived at the
-\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}.
-
-Now, almost two years after his death, we would like to help keep his excellent
-work alive and current by assembling a new release. This new version corrects various
-minor bugs without adding any new functionality. At the same time it incorporates directly
-into the distribution some additional packages:
-\begin{itemize}\setlength{\itemsep}{0ex}
-\item Type 1 (postscript) versions of all the \musixtex{} fonts, created by
-Takanori Uchiyama;
-\item Postscript Slur Package K (Ver 0.92, 12~May~02) by Stanislav Kneifl;
-\item musixlyr (Ver 2.1c, 12 June 03) a \musixtex{} extension package for lyrics
-handling, by Rainer Dunker.
-\end{itemize}
-We would like to thank the authors of these packages for generously agreeing to allow their
-contributions to be included in the main \musixtex{} package.
-
-We have left the remainder of this manual largely as Daniel Taupin left it,
-except we have updated various references and provided dynamic links to
-archived versions where possible.
-
-This documentation is rather technical and is probably not the best way to
-begin typesetting music. If you are a beginner, you should visit the
-software section of the
-\href{http://icking-music-archive.org/software/indexmt6.html}
-{\underline{Werner Icking Music Archive}}.
-In particular, we recommend
-\href{http://icking-music-archive.org/software/pmx/pmxccn.pdf}
-{\underline{Cornelius Noack's tutorial}}. It contains helpful information for
-getting started with \musixtex, as well as a tutorial for \textbf{PMX}, a
-preprocessor for \musixtex\ with a much simpler input language, and a brief
-introduction to \textbf{M-Tx}, a preprocessor for \textbf{PMX}~which eases
-the inclusion of lyrics.
-
-\bigskip
-
-\begin{flushright}
-In the name of the community, Olivier Vogel,
-July 30, 2005
-\end{flushright}
-
-%\clearpage
-
-\chapter*{Preface to Version T.114}
-%\thispagestyle{empty}
-
-In order to expedite the release of version T.113 of \musixtex, only the most
-essential modifications were made to the manual. With version T.114 the manual
-has been extensively edited from cover to cover. Some material has been
-rearranged, and references to \musictex, the immediate predecessor to
-\musixtex, have been removed. The software itself remains
-very stable. Only the slightest changes have been made since version T.113.
-
-It remains true that this is the definitive reference to all features of
-\musixtex, but also that it is not the best place for a novice user to start.
-The \href{http://icking-music-archive.org/software/indexmt6.html}
-{\underline{Werner Icking Music Archive}}\ contains excellent and detailed
-instructions for installing \musixtex{} and the strongly recommended
-preprocessors \textbf{PMX}
-(for instrumental music) and \textbf{M-Tx} (for vocal) under
-\href{http://icking-music-archive.org/software/musixtex/musixtex-for-unix.html}
-{\underline{Linux/\unix}} or
-\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf}
-{\underline{Windows 2000}}. Once the software is installed, most common
-music typesetting tasks can be accomplished entirely by using one of these
-preprocessors to generate the \musixtex\ input file, relieving the user of
-learning any of the commands or syntax of \musixtex\ itself. It is only
-for out-of-the-ordinary constructions that one must learn these details, so he
-may insert the necessary \musixtex\ commands into the preprocessor's input file
-as so called inline \TeX.
-\href{http://icking-music-archive.org/software/pmx/pmxccn.pdf}
-{\underline{Cornelius Noack's tutorial}} is an important resource which,
-in addition to gently introducing the
-novice to \textbf{PMX} and \textbf{M-Tx}, gives further details on installing
-Postscript slur facilities.
-
-\begin{flushright}
-Don Simons, Andre van Ryckeghem, Cornelius Noack, August 30, 2005
-\end{flushright}
-
-\chapter*{Preface to Version 1.15}
-
-From the time of \musixtex's predecessor \musictex\ until the
-previous version of \musixtex~(T.114),
-the maximum numbers of simultaneous appearances of certain basic musical
-elements were limited:
-12 instruments, 12 or 6 beams depending on the type,
-12 font-based slurs%
-\footnote{\texttt{musixps.tex} by Stanislav Kneifl provides different limits.}%
-, and 6 trills or octave lines,
-even with \texttt{musixmad.tex}.
-For some purposes these limits are too tight, and because of them,
-developers of open-source GUI music editors may deem \musixtex{}
-unworthy of support in their software. Without such support or enhanced capacity,
-\musixtex{} risks consignment to the junk heap of obsolete software.
-
-It has been the \musixtex{} community's long-cherished desire to have a
-new official version with greater capacity. However, for quite some time
-the limits were due not only to the design of
-\musixtex{} itself but also to limitations in older versions of \TeX\ on the maximum
-numbers of available registers---256 each
-for counts (\texttt{\string\count}), dimensions (\texttt{\string\dimen}),
-skips (\texttt{\string\skip}), and tokens (\texttt{\string\toks}).
-
-But now, an extended variation of
-\TeX{}---$\varepsilon$\hbox{-}\nobreak\TeX---is available.\footnote{
-$\varepsilon$\hbox{-}\nobreak\TeX{} (e-\TeX) is a trademark
-of the NTS group.}
-One of $\varepsilon$\hbox{-}\nobreak\TeX's features is that it can handle
-32768 registers. Furthermore,
- \LaTeXe\ and other well-known extension packages require the
-$\varepsilon$\hbox{-}\nobreak\TeX{} engine,
-so it has spread widely among many \TeX\ users.
-In fact, the current executable file called \texttt{latex}
-relies on the $\varepsilon$\hbox{-}\nobreak\TeX{} engine.
-Many other advanced branches based on $\varepsilon$\hbox{-}\nobreak\TeX{}
-are also available.
-
-Here we provide the new \musixtex{} 1.15 as the solution for typesetting larger
-musical scores,
-taking advantage of $\varepsilon$\hbox{-}\nobreak\TeX's 32768-register capacity.
-We have made the new version 1.15 as compatible as possible with
-earlier versions of \musixtex, existing scores, extension packages,
-and Prof.~Knuth's original (non~$\varepsilon$\hbox{-}\nobreak) \TeX.
-With it, you can use many more instruments and other musical elements within the capacity of
-$\varepsilon$\hbox{-}\nobreak\TeX{} or even with original \TeX.
-Also, as of version 2.6, the preprocessor \textbf{PMX} has been enhanced to
-allow up to 24 lines of music, and requires both \musixtex{} 1.15 and
-$\varepsilon$\hbox{-}\nobreak\TeX.\footnote{This should pose no problems for
-users, owing
-to the free availability of all the software, and to capacities of all modern
-computer hardware.}
-Unfortunately, we have found a few rarely used old extensions
-not compatible with 1.15;
-we will provide information for adapting them to the new version.
-
-We hope the new version 1.15 will keep \musixtex{} relevant well into the twenty-first century.
-
-
-\begin{flushright}
-Hiroaki Morimoto, Andre van Ryckeghem, Don Simons, April 2011
-\end{flushright}
-
-\clearpage
-
-%\pagenumbering{roman}
-\renewcommand{\baselinestretch}{.8}\footnotesize\normalsize
-\tableofcontents \setcounter{secnumdepth}3
-\renewcommand{\baselinestretch}{1}\footnotesize\normalsize
-
-%avrb page 4 was on top
-\clearpage
-%avre
-
-\setcounter{page}{1}
-\pagenumbering{arabic}
-\renewcommand{\thepage}{\arabic{page}}
-
-\pagestyle{headings}
-
-
-
-\chapter{Introduction to \musixtex}
-
-This chapter is not a tutorial on the use of \musixtex, but instead serves as
-an overview of some of its capabilities, quirks, and history.
-
-\musixtex\ is a set of macros and fonts which enables music typesetting
-within the \TeX\ system. It requires as a prerequisite a working
-installation of \TeX\footnote{See section \ref{installation}~for guidance on
-installing \TeX.}.
-\musixtex\ might be regarded as the digital equivalent of a box of type. It
-contains symbols for staves, notes, chords, beams, slurs and ornaments,
-ready to be arranged to form a sheet of music. But it must be told how to position
-those symbols on the page. This could be done by the typesetter
-himself, if he elects to proceed by entering \musixtex\ commands manually
-into an input file. However most users will find it far less taxing to let
-such decisions be made largely by the preprocessor
-\href{http://icking-music-archive.org/software/indexmt6.html#pmx}
-{\underline{\textbf{PMX}}}, which in addition uses a much simpler input
-language than \musixtex.
-
-Lyrics can also be handled by \musixtex. There is a set of primitive
-commands for this which are described later. But there is also a far
-more adaptable set of macros contained in the extension file
-\verb|musixlyr.tex|, and there is the preprocessor
-\href{http://icking-music-archive.org/software/indexmt6.html#mtx}
-{\underline{\textbf{M-Tx}}}\ which provides easy, transparent access to
-these macros.
-
-Most users of \TeX\ are familiar with \LaTeX, a set of \TeX\ macros
-which eases document layout. In fact many may only use \LaTeX.
-Until recently, \LaTeX\ and \musixtex\ coexisted only grudgingly, owing
-primarily to the limited availabily of storage registers. But with modern
-versions of \TeX\ and with the use of e\LaTeX, only a modest increase in
-complexity is incurred with the addition of musical excerpts to a \LaTeX\
-document. Still, fortunately, for typesetting a musical score there is
-rarely if ever any advantage to using \LaTeX. Only if one wanted to create a
-text document with embedded musical examples would there be much use for it.
-Even in that case there is a perfectly fine way to avoid using \musixtex\
-directly in the document file, namely, by using \musixtex\ to create
-\verb|eps| files for
-each of the examples, then embedding references to those in the file for
-the book. But for anyone who still wants to use both together, there is
-no better example than this manual, as generated with the files
-\verb|musixdoc.tex| and \verb|musixdoc.sty|. A few further details about such
-nonstandard applications are given in section \ref{excerpts}.
-
-\section{Primary features of \musixtex}
- \subsection{Music typesetting is two-dimensional} Written music is not
-usually a linear sequence of symbols like a literary text. Rather,
-except for unaccompanied single-note instruments like clarinets,
-trumpets and human voices, it has the form of a two-dimensional matrix.
- Thus, a logical way of coding music consists
-in horizontally accumulating a set of \ital{vertical combs} with
-\ital{horizontal teeth} as depicted in Table~\ref{readtable}.
-\def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}}
- \begin{table}
- \begin{center}
-%avrb
- \small
- %avre
- \begin{tabular}{|ll|ll|}\hboxit{note sequence one}
- &\hboxit{note seq.\ four}
- &\hboxit{note seq.\ seven}
- &\hboxit{note seq.\ ten}\\\hboxit{note sequence two}
- &\hboxit{note seq.\ five}
- &\hboxit{note seq.\ eight}
- &\hboxit{note seq.\ eleven}\\\hboxit{note sequence three}
- &\hboxit{note seq.\ six}
- &\hboxit{note seq.\ nine}
- &\hboxit{note seq.\ twelve}\\
- \end{tabular}
- \end{center}
- \caption{A logical way of coding music}\label{readtable}
- \end{table}
-Accordingly, in \musixtex\ the fundamental macro used to represent
-one of those vertical combs (or one of the columns in Table~\ref{readtable})
-is of the form
-\begin{center}
-\verb|\notes ... & ... & ... \enotes|\footnote{The abbreviation
-\keyindex{en} can be used in place of \keyindex{enotes}.}
-\end{center}\index{"&@{\tt\char'046}}
-\noindent where the character \verb|&| is used to separate the notes to be
-typeset on respective staves of the various instruments, starting from the
-bottom.
-
-In the case of an instrument whose score has to be written with
-several staves, they are separated by the
-character \|\index{\tt\char'174@{\tt\char'174}}.
-
-Thus, a score written for a keyboard instrument and
-a single-line instrument (e.g., piano and violin)
-will be coded as follows:
-\begin{center}
-\verb=\notes ... | ... & ...\enotes=
-\end{center}
-\noindent for each column of simultaneous \ital{groups of notes}.
-Each of those groups, represented by a single box in Table~\ref{readtable}\
-and by a sequence of three dots in the the two example macros above, may contain
-not only chord notes to be played simultaneously, but short sequences of
-consecutive
-notes or chords. As we'll soon see, this implies the need for two fundamentally different
-kinds of elemental macros in \musixtex, those that are automatically followed
-by some amount of space (called \ital{spacing macros}, and those that are not.
-The former type, for example,
-would be used to represent all the notes and rests in a single-line score.
-The latter would be used for example for chord notes and ornaments.
-
-\subsection{Horizontal spacing}
-Deciding upon the proper horizontal spacing of notes is a very complicated matter
-that we will not address in any detail here. Obviously short-duration notes
-should be closer together than longer ones. Almost as obviously, the spacing
-cannot be linearly proportional to the duration; otherwise for example a whole
-note would occupy 32 times as much horizontal space as a thirty-second note. And
-in polyphonic scores the spacing in one staff is often influenced by the notes
-in another. This is a decision that the typesetter or preprocessor
-must make. Once the decision is made, \musixtex\ can provide the desired spacing.
-The main mechanism is through a set of macros described in
-section~\ref{newspacings}. At this point we shall only mention that to control
-spacing, one of those
-macros will be selected to replace the symbol \verb|\notes| in the two examples
-above, and it will imply that whenever a spacing macro in encountered within
-a group of notes, a
-certain specific amount of horizontal space will be inserted.
-
- \subsection{Music tokens}
-The tokens provided by \musixtex\ include
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item note symbols without stems;
- \item note symbols with stems, and flags for eighth notes and
-shorter;
- \item beam beginnings and endings;
- \item beginnings and endings of ties and slurs;
- \item accidentals;
- \item ornaments: arpeggios, trills, mordents, turns, staccatos,
-pizzicatos, fermatas, etc.;
- \item bar lines;
- \item meters, key signatures, clefs.
-\end{itemize}
-
-\smallskip
-
- Thus for example, \verb|\wh a| produces a whole note at nominal frequency 222.5~Hz,
-\verb|\wh h| produces one an octave higher, \verb|\qu c|
-produces an up-stemmed quarter note C (250~Hz), and \verb|\cl J| produces a down-stemmed C
-eighth note an octave lower.
-
- To generate chords with solid note heads, the macro \keyindex{zq}
-can be used. It produces a solid note head at the specified pitch,
-the vertical position of which
-is memorized and recalled whenever the next stemmed note (possibly with a flag) is
-coded. The stem length is automatically adjusted to link all simultaneous notes. Thus, the
-C-major chord
-
-\begin{music}\nostartrule
-\startextract\NOtes\zq{ceg}\qu j\en\zendextract
-\end{music}
- \noindent is coded \verb|\zq c\zq e\zq g\qu j| or more concisely,
-\verb|\zq{ceg}\qu j|. Here the \verb|u| in the spacing note macro
-\verb|\qu| is what causes the upstem.
-
- \subsection{Beams}
-Each beam \index{beams} is generated by a pair of macros. The first defines
-the beginning horizontal position (implicitly the current position), altitude,
-direction (upper or lower), multiplicity (number of lateral bars), slope and
-reference number. This latter feature is needed so independent beams
-can overlap. The second macro of the pair specifies the termination
-location (again implicitly) and the reference number.
-
- \subsection{Setting anything on the score}
-A general macro (\keyindex{zcharnote}) provides a means of
-putting any sequence of symbols (possibly contained in an \verb|\hbox{...}|) at any
-pitch of any staff of any instrument. This allows any symbol defined in a font
-(letters, math symbols, etc.) to be placed in the score at a position keyed
-to the music both in time (horizontally) and pitch (vertically) on the staff,
-\section{A simple example}
- Before going into more detail, we give below an example of the two first
-bars of the sonata in C-major KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc
-Mozart, W.A.}}:
-
-\begin{music}
-\parindent11mm
-\setname1{Piano}
-\setstaffs12
-\generalmeter{\meterfrac44}
-\startextract
-\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
-\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en
-\bar
-\Notes\ibu0f0\qb0{dgf}|\qlp i\en
-\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en
-\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
-\zendextract
-\end{music}
- The coding is as follows:
-\begin{quote}\begin{verbatim}
-\begin{music}\nostartrule
-\parindent10mm
-\instrumentnumber{1} % a single instrument
-\setname1{Piano} % whose name is Piano
-\setstaffs1{2} % with two staffs
-\generalmeter{\meterfrac44}% 4/4 meter chosen
-\startextract % starting real score
-\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
-\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en
-\bar
-\Notes\ibu0f0\qb0{dgf}|\qlp i\en
-\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en
-\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
-\zendextract % terminate excerpt
-\end{music}
- \end{verbatim}\end{quote}
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item \verb|\ibu0f0| begins an upper beam, aligned on the
-\ital{f}, reference number 0, slope 0
- \item \verb|\tbu0| terminates this beam before writing
-the second \ital{g} by means of \verb|\qb0g|
- \item \verb|\qb..| indicates a note belonging to a beam.
- \item \verb|\sk| sets a space between the two quarters in the right
-hand, so that the second one is aligned with the third eighth in the left hand.
- \item\verb|\qlp| is a dotted quarter note.
- \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C}
-(\verb|j| at this pitch) with slope 15\%.
-\end{itemize}
-
-\section{The three pass system}\label{threepass}
-\TeX's line-breaking procedure implicitly assumes
-that a normal line of text will contain many words, so that inter-word
-glue need not stretch or shrink too much to justify the line.
-One might at first consider extending this to music, treating each bar like a
-word with no stretchable internal space. But typically this would lead to unsightly
-gaps before each bar rule, simply because the number of bars per line
-is normally many fewer than the number of words in a line of text.
-\musixtex\ needs a more sophisticated horizontal spacing algorithm
-than is used in \TeX.
-
-To understand how \musixtex\ solves this problem, we have to
-recognize two different kinds of horizontal space, \ital{hard}\ and
-\ital{scalable}. Hard space is fixed and always represents the same
-physical distance.
-Examples of hard space are the widths of bar rules, clefs,
-and key signatures. Scalable space can be stretched as needed. It
-is what is normally used for the space after notes or rests. At the
-outset it is only defined in a relative sense. In other words,
-scalable spaces are defined as multiples of \verb|\elemskip|, an
-initially undefined elemental spacing unit. For example, in \textbf{PMX}\
-all sixteenth notes
-are typically assigned a scalable width of 1.41\verb|\elemskip|.
-One main job of \musixtex\ is to compute the physical value of
-\verb|\elemskip|, often expressed in points (72nds of an inch).
-The correct value is that which makes all the scalable space on
-a line just fill up what's not occupied by hard space. Obviously
-it may vary from line to line.
-
-To this end a three pass system was developed. To start the
-first pass on the file \verb|jobname.tex|, you would enter\footnote{
-In many cases it will suffice to run {\tt tex}, but with \musixtex~1.15,
-it is possible to create a file requiring the enhanced capacity of
-{\tt etex}. Since {\tt etex} can handle any file {\tt tex} can, it's best
-always to use {\tt etex}.}
-\verb|etex jobname|.
-Information about each bar is written to
-an external file named \verb|jobname.mx1|.
-This file begins with a header containing parameters
-such as line width and paragraph indentation. Then the hard and
-scalable space is listed for each bar.
-\index{scalable width}\index{hard width}
-
-The second pass, which is started with \verb|musixflx jobname|,
-determines optimal values of the elemental spacing unit \verb|\elemskip|
-for each line, so as to properly fill each line, and to spread
-the piece nicely over an integral number of full lines. This routine was written
-in FORTRAN and now converted to C rather than \TeX, the main reason
-being the lack of an array handling capability in \TeX.
-
-\verb|musixflx| reads in the file \verb|jobname.mx1|, and writes its
-output to \verb|jobname.mx2|. The latter file contains a single entry for
-each line of music in the reformatted output. The key piece of information
-is the revised value of \keyindex{elemskip} for each line.
-
-Next, the file is \TeX-ed again, by entering \verb|etex jobname|. On this third pass,
-the \verb|jobname.mx2| file is read in, and the information
-is used to physically define the final score and embed the
-page descriptions into a \verb|dvi|\ file.
-
-You may wonder how the same command can
-cause something different to happen the second time it is issued. The explanation
-is that \musixtex\ checks for the presence of \verb|jobname.mx2|. If it's
-not present, the first pass is executed; if it is, the third pass. Obviously if
-you've made some corrections that affect any horizontal spacing, you must remember
-to delete the old \verb|jobname.mx2| and then rerun all three passes, or
-build or use a batch script that does so.
-
-Here's an example. Here, no value for \verb|\elemskip| is explicitly specified,
-so \musixtex\ assign a single, default value. After the first pass you might get
-the following output:
-
-\begin{music}
-\hsize=100mm
-\generalmeter{\meterfrac24}%
-\parindent 0pt
-\setsign1{-3}
-\startpiece\bigaccid
-\NOtes\qu{ce}\enotes
-\bar
-\NOtes\qu{gh}\enotes
-\bar
-\NOtes\qu{=b}\enotes
-\Notes\ds\cu g\enotes
-\bar
-\NOtes\qu{^f=f}\enotes
-\raggedstoppiece\contpiece% this is cheated, the problem was to get
-% pass 1 and pass 3 at the same time
-\NOtes\qu{=e}\itied0e\qu{_e}\enotes
-\bar
-\Notes\ttie0\Qqbu ed{_d}c\enotes
-\bar
-\Notes\ibu0b{-2}\qb0{=b}\enotes
-\notes\nbbu0\qb0{=a}\tqh0N\enotes
-\Notes\Dqbu cf\enotes
-\raggedstoppiece\contpiece
-\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes
-\bar
-\NOtes\qu c\qp\enotes
-\setdoubleBAR\raggedstoppiece
-\end{music}
-
-\noindent Note that the space after every quarter note is the same, and
-that lines are not justified.
-After running \verb|musixflx| and \TeX-ing the second time you'll
-get:
-
-\begin{music}
-\hsize=100mm
-\generalmeter{\meterfrac24}%
-\parindent 0pt
-\generalsignature{-3}
-\startpiece\bigaccid
-\NOtes\qu{ce}\enotes
-\bar
-\NOtes\qu{gh}\enotes
-\bar
-\NOtes\qu{=b}\enotes
-\Notes\ds\cu g\enotes
-\bar
-\NOtes\qu{^f=f}\enotes
-\bar
-\NOtes\qu{=e}\itied0e\qu{_e}\enotes
-\bar
-\Notes\ttie0\Qqbu ed{_d}c\enotes
-\bar
-\Notes\ibu0b{-2}\qb0{=b}\enotes
-\notes\nbbu0\qb0{=a}\tqh0N\enotes
-\Notes\Dqbu cf\enotes
-\bar
-\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes
-\bar
-\NOtes\qu c\qp\enotes
-\Endpiece
-\end{music}
-
-\noindent Now \musixtex\ has determined a number of lines
-(which is different from the original number), the lines are justified,
-and if you look carefully you
-can see that the space after quarters in the first line
-is smaller than in the second. This example was coded as:
-\begin{verbatim}
-\hsize=100mm
-\generalmeter{\meterfrac24}%
-\parindent 0pt
-\generalsignature{-3}
-\startpiece\bigaccid
-\NOtes\qu{ce}\en\bar
-\NOtes\qu{gh}\en\bar
-\NOtes\qu{=b}\en
-\Notes\ds\cu g\en\bar
-\NOtes\qu{^f=f}\en\bar
-\NOtes\qu{=e}\itied0e\qu{_e}\en\bar
-\Notes\ttie0\Qqbu ed{_d}c\en\bar
-\Notes\ibu0b{-2}\qb0{=b}\enotes
-\notes\nbbu0\qb0{=a}\tqh0N\enotes
-\Notes\Dqbu cf\en\bar
-\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar
-\NOtes\qu c\qp\en\Endpiece
-\end{verbatim}
-
-One benefit of the 3-pass system is the quick and easy
-alteration to the layout which can be achieved
-by changing only one parameter, namely \keyindex{mulooseness}. This value
-acts analogously to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you
-state \verb|\looseness=-1| somewhere inside any paragraph, then
-\TeX\ will try to make the paragraph one line shorter than it normally would.
-With \verb|\mulooseness|, \musixtex\ does the same, but for \ital{systems}
-and \ital{sections} rather than lines and paragraphs. A system is just a group of
-staves treated as a unit, and in this discussion is analogous to a line of text.
-What is a \ital{section}? It's any chunk of coding not containing a
-forced system break, System breaks can be forced with
-\keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece},
-\keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne}
-\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage}. If none
-of these is present, the section comprises the whole piece.
-Somewhere\footnote{Advisably, at the beginning or
-at the end of the section, for the sake of clarity.}
-before the end of the section, you can change the value of
-\keyindex{mulooseness} to something different from the default of 0, and
-\musixtex\ will typeset that section with a different number of systems.
-
-To give an easy example, changing the last line in the previous example to:
-\begin{verbatim}
-\NOtes\qu c\qp\en\mulooseness=1\Endpiece
-\end{verbatim}
-yields:
-
-\begin{music}
-\hsize=100mm
-\generalmeter{\meterfrac24}%
-\parindent 0pt
-\generalsignature{-3}
-\startpiece\bigaccid
-\NOtes\qu{ce}\enotes
-\bar
-\NOtes\qu{gh}\enotes
-\bar
-\NOtes\qu{=b}\enotes
-\Notes\ds\cu g\enotes
-\bar
-\NOtes\qu{^f=f}\enotes
-\bar
-\NOtes\qu{=e}\itied0e\qu{_e}\enotes
-\bar
-\Notes\ttie0\Qqbu ed{_d}c\enotes
-\bar
-\Notes\ibu0b{-2}\qb0{=b}\enotes
-\notes\nbbu0\qb0{=a}\tqh0N\enotes
-\Notes\Dqbu cf\enotes
-\bar
-\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes
-\bar
-\NOtes\qu c\qp\enotes
-\mulooseness1\Endpiece
-\end{music}
-
-\noindent On the other hand,
-\begin{verbatim}
-\NOtes\qu c\qp\en\mulooseness=-1\Endpiece
-\end{verbatim}
-yields
-
-\begin{music}
-\hsize=100mm
-\generalmeter{\meterfrac24}%
-\parindent 0pt
-\generalsignature{-3}
-\startpiece\bigaccid
-\NOtes\qu{ce}\enotes
-\bar
-\NOtes\qu{gh}\enotes
-\bar
-\NOtes\qu{=b}\enotes
-\Notes\ds\cu g\enotes
-\bar
-\NOtes\qu{^f=f}\enotes
-\bar
-\NOtes\qu{=e}\itied0e\qu{_e}\enotes
-\bar
-\Notes\ttie0\Qqbu ed{_d}c\enotes
-\bar
-\Notes\ibu0b{-2}\qb0{=b}\enotes
-\notes\nbbu0\qb0{=a}\tqh0N\enotes
-\Notes\Dqbu cf\enotes
-\bar
-\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes
-\bar
-\NOtes\qu c\qp\enotes
-\mulooseness-1\Endpiece
-\end{music}
-
-\noindent which is tighter than you would ever want, but serves to further
-demonstrate the use of \keyindex{mulooseness}.
-
-If you want to build up a \musixtex\ input file
-manually (which in fact very few users will ever need to do, considering the
-availability of \textbf{PMX}), here is a roadmap for one way to proceed:
-\begin{enumerate}
- \item Enter the data one \verb|\notes| group at a time, taking care to select the
-relative horizontal spacing for each group (via the macros discussed in section~\ref{newspacings})
-so as to maintain a consistent relationship between scalable space and note durations.
-This will be discussed in a great deal more detail in Chapter 2.
- \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX.
- \item Look at the output and decide if you want to have more or fewer
-systems, e.g.~to fill the page or to get an even number of
-pages.\index{musixflx@{\tt musixflx}}
- \item If you want to change the number of systems in a section, adjust
-\keyindex{mulooseness} accordingly. Keep in mind that each section cannot have fewer
-systems than bars.
-\item Delete \verb|jobname.mx2| and repeat the process\\
-\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX.
-
-\end{enumerate}
-
-There is an alternate way to proceed if you know at the outset
-how many systems
-you want in a section. You can specify it directly by assigning a
-positive number to \keyindex{linegoal} somewhere within the
-section (\verb|\linegoal| requires
-version 0.83 or later of \verb|musixflx|).
-\keyindex{mulooseness} must be zero
-for \keyindex{linegoal} to work. Both are automatically reset to
-zero after processing the end of a section e.g. as defined by
-\keyindex{stoppiece}.
-
-Finally, for large scores (more than 4 pages or so), having
-only one section and an overall value of \verb|\mulooseness| becomes
-impractical since one wants not only to have nicely spaced systems, but also
-completely filled pages without empty top and
-bottom margins on the last page. It is then wise to force the total number of
-pages and possibly the line breaks in each page, which can be done using
-\keyindex{alapage} and/or \keyindex{alaligne}\footnote{This is the technique
-always used by \textbf{PMX} in constructing a \musixtex\ input file.}.
-%avrb
-%, or more automatically by
-%means of the \keyindex{autolines} command borrowed from \musictex\ and
-%implemented in the additional {\ttxem{musixcpt.tex}} file
-%avre
-
-There is another advantage to \musixtex's way of using scalable space and
-the three pass system. In
-\TeX nical terms it eliminates the need for \ital{glue}, and enables
-every horizontal position in a line to be computed. This in turn enables certain
-variable length symbols such as slurs to be specified by macros entered at
-their beginning and ending points, rather than having to estimate the
-length of the symbol and enter it at the starting point.
-
- \subsection{External executable \texttt{musixflx}}
-One issue that compromises portability between computers is the
-need for the executable {\tt musixflx}\index{musixflx@{\tt
-musixflx}}.
-%avrb
-To address this, the C source and compiled versions for various OS's are included in
-\verb|musixtex.zip| and are available from the
-\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}.
-%avre
-
-On most computers, the executable is invoked by typing the name of the program
-and the name of the file to be acted upon. \ital{i.e.}
-
-\verb|musixflx jobname.mx1|
-
-Optionally, you can add a letter to indicate one of the debug modes, which are:
-\begin{quote}
-\verb|d | for debug information to screen\\
-\verb|f | for debug information to file \verb|jobname.mxl|\\
-\verb|s | to get the computed lines immediately on screen
-\end{quote}
-To allow for ease of use with a batch file, \verb|musixflx| can either be fed
-with \verb|jobname.mx1|, \verb|jobname.tex| or only
-\verb|jobname|, any one of which will open \verb|jobname.mx1|.
-
- \subsection{Unrecorded spaces: the novice's bugaboo}
-
-Because of the way \musixtex\ accounts for hard and scalable space and avoids
-using glue, it is absolutely essential that every horizontal space be
-properly entered into the input file. The most common error in this regard
-is including a blank space in the midst \ital{or at the end} of an input line.
-Such a blank space, or for that matter any stray character not entered with
-an appropriate \musixtex\ macro, will not be properly
-recognized and recorded by \musixtex, but it will still be treated like
-ordinary text by \TeX. The symptoms of such a transgression will be an
-{\bf Overfull hbox} warning during the third pass, and the appearance of
-either excessive blank horizontal space or thick black vertical lines in
-the page image.
-
-\medskip
-\centerline{\boxit{Considerable discipline is needed to avoid this problem!}}
-
-The best technique for avoiding such unpleasantness is to avoid entering
-any nonessential blanks within input lines, and to end every
-input line with either \verb|%|\index{%@{\tt\char37}} or
-\keyindex{relax}, unless it already ends with a control sequence
-ending in a letter.
-
-There are other ways to enter unrecorded space which should be
-avoided. Between \verb|\startpiece| and \verb|\stoppiece| or
-\verb|\endpiece|, never use \verb|\hskip| or \verb|\kern| except
-within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|,
-\verb|\zcharnote|, \verb|\uptext|, etc., and never assign hard
-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}.
-
-Here is a checklist of tips related to spacing issues. Because the
-foregoing several paragraphs are so important, some of their content
-is repeated in the list.
-
-\begin{enumerate}
- \item
-Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|,
-end every input line with a either \verb|%| or a command with no arguments
-(including \verb|\relax|).
- \item \verb|\off| must only be used with scalable values, e.g.
-\verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip|, and
- \verb|\beforeruleskip|.
- \item Remember that \verb|\qsk| and \verb|\hqsk| are scalable, i.e. \verb|\qsk|
- doesn't necessarily mean exactly one note head width (it depends on \verb|\elemskip|).
- \item Lyrics and any other non-\musixtex\ text must be put in zero boxes
-such as
- \verb|\zcharnote|, \verb|\zchar|, \verb|\rlap|, \verb|\lrlap|, \verb|\llap|,
-\verb|\uptext|, or \verb|\zsong|. Additional specific capabilities for entering
-lyrics are provided by
- \verb|\hardlyrics|, \verb|\hsong|, and---most significantly---the
-text-emplacement macros defined in \verb|musixlyr.tex| (see \ref{lyrics},
-p.~\pageref{lyrics}).
- \item
-Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|,
-don't assign hard values to \verb|\noteskip|, \verb|\beforeruleskip|,
-or \verb|\afterruleskip|.
-\end{enumerate}
-
-\section{Further highlights}
- %\check
- \subsection{Key signatures}
-\begin{sloppypar}
-A single key signature can be assigned~to~all~instruments,~for~example~by
-\keyindex{generalsignature}\verb|{-2}|
-which sets two flats on each staff. \keyindex{generalsignature}
-can be overridden for selected instruments, for example by
-\keyindex{setsign}\verb|2{1}| which puts one sharp on each staff
-of instrument number 2. Of course, the current signature as well
-as meters and clefs may change at any time.\end{sloppypar}
-\subsection{Transposition}
-With some extra attention, a score can be input in such a way that it is
-fairly easily transposed. There is an internal register
-called \keyindex{transpose}, the default value of which is zero, but which may be
-set to any reasonable positive or negative value. It defines a number of pitch
-steps (lines or spaces on a staff) by which all pitched symbols with be offset, provided
-they have been entered with letter values to represent their pitch.
-However,
-it will neither change the local accidentals nor the key signature.
-
-For
-example, suppose a piece were originally input in F major, and it contained a
-B natural, and you wanted to transpose it to G. If you simply set
-\verb|\transpose| to 1 with no other special considerations, then
-the key signature would not change, and
-the B natural would appear as a C natural, whereas it should be a C sharp.
-So first you must explicitly change the key signature. Then, to
-solve the problem with accidentals, you should declare
-\verb|\relativeaccid|, which will cause the actual appearance of any
-accidental to depend on the pitch of
-the accidental as well as the current key signature. But the use of this
-facility requires the typesetter to have entered the original set of accidentals
-according to a nonstandard convention wherein an accidental does not
-specifically refer to the black or white keys on a piano, but to the
-amount by which the pitch is altered up or down from what it would naturally
-have been, taking the key signature into account.\index{relative accidentals} This
-is discussed in more detail in section~\ref{transposeaccids}. Now, finally, you
-can enter \verb|\transpose=1| with more or less the desired effect.
-
-More or less, because there is also an issue with stem
-and beam directions. Normally a typesetter would want full control over them,
-and would exercise that control by entering them with macros that explicitly
-assign the direction. Naturally the assigned directions would persist
-even after changing \verb|\transpose|. With respect to stems of unbeamed notes,
-this matter can also be addressed at
-the input level, by using special macros for notes that leave the
-decision about stem directions up to \musixtex. These macros do the right
-thing in the face of transposition. They are discussed in
-section~\ref{autostemdirections}. Unfortunately there is no corresponding
-such facility for beams, so the typesetter will have to edit the transposed
-score to adjust beam directions as required\footnote{\textbf{PMX}
-will automatically adjust both stem and beam directions when transposing, which
-is yet another reason to use it. However
-if a piece is to be transposed, the typesetter must still explicitly activate relative accidentals
-and enter accidentals according to the relative accidental convention.}.
-
- %\check
- \subsection{Extracting parts from a score} Another question is:
-\ital{``Can I write a full score and then extract separate scores for
-each individual instrument?''}
-
-The answer is yes, but only with a great deal of special attention---so much,
-in fact, that we shall strongly recommend that if you want
-to do this, you should use \textbf{PMX}, which makes the process
-very easy. If for some reason you choose to ignore this advice, you may
-refer to the details that were provided in Section 1.4.3 of
-an earlier version of this manual,
-\href{http://icking-music-archive.org/software/musixtex/musixdoc-T112.pdf}
-{\underline{musixdoc-T112.pdf}}.
-
-%After assigning symbolic numbers to instruments,
-%there are macros (see \ref{instrum-inhibit}) that permit
-% \begin{itemize}\setlength{\itemsep}{0ex}
-% \item choosing which instrument the following source code is attached to,
-% \item choosing which staff of an instrument the following source code is
-%attached to,
-% \item hiding one or several instruments by zeroing out their staff sizes and staff
-%numbers.
-% \end{itemize}
-
- %\check
- \subsection{Staff and note sizes}
- Although the standard staff size is 20pt, \musixtex\ allows scores with
-sizes of 16, 24, or 29pt. Furthermore, any instrument may be assigned its own special staff
-size (usually smaller than the overall staff size), and there are special macros
-(e.g. \verb|\smallnotesize|, \verb|\tinynotesize|) that cause notes, beams, and
-accidentals all to take a different size.
-
-\subsection{Add-in macro libraries}
-During the early stages of \musixtex's development, common versions of \TeX\ itself were
-very limited in capacity, especially in terms of the numbers of registers that could
-be defined for use in macros. For this historical reason, many important enhancements
-to \musixtex\ are available only via add-in libraries. The user can thus pick and choose
-which to include for any particular compilation. Most of these are included in
-\verb|musixtex.zip|, and their uses are discussed in this manual. The
-libraries have names like \verb|blabla.tex|, and are activated by including a line
-like \verb|\input blabla|\ within the the input file. The most common such files
-are \ttxem{musixadd.tex} and \ttxem{musixmad.tex} which respectively increase the
-number of instruments from the default 6 to 9 or 12 as well as increasing available numbers
-of other features; \verb|musixps.tex| which enables Type K postscript slurs; and
-\verb|musixlyr.tex| which greatly eases typesetting lyrics. In fact the latter two,
-while now included in \verb|musixtex.zip|, are not documented in this manual but
-in separate files inside \verb|musixtex.zip|, namely \verb|musixps.tex| itself and
-\verb|mxlyrdoc.pdf| respectively.
-
-\section{Where to get the software and help using it}
-The home base for all matters related to \musixtex\ is the
-Werner Icking Music Archive, at
-\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}.
-The most up-to-date versions of \musixtex\ and friends are located in the
-\href{http://icking-music-archive.org/software/indexmt6.html}{\underline{software}}
-section of the archive. Assuming you already have \TeX\ and only want to install
-\musixtex, the file you need to download will be named
-\href{http://icking-music-archive.org/software/musixtex/musixtex.zip}
-{\underline{\texttt{musixtex.zip}}} . Further details about
-the installation process are given in section \ref{installation}.
-
-There is a
-\href{http://tug.org/mailman/listinfo/tex-music}{\underline{mailing list}},
-hosted by TUG, the \TeX\ Users Group, where you will always find
-someone willing to answer questions and help solve problems.
-
- \section{A very brief history of \musixtex}
-The idea of using \TeX\ to typeset music appears to have originated
-around 1987 with the master's thesis of Andrea
-{\sc Steinbach} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer
-A., \ital{Automatisierter Notensatz mit \TeX}, master's thesis,
-Rheinische Friedrich-Wilhelms Universit\"at,
-Bonn, Germany, 1987}. They called their package
-\mutex\index{mutex@\protect\mutex}. It was limited to a single staff.
-It introduced two key concepts: (1) using
-a large number of font characters to construct beams and slurs, and (2) using
-\TeX\ glue to help control horizontal spacing and justification.
-
-The next major step came around 1991 when Daniel {\sc Taupin} created \musictex.
-Its major enhancement was to allow multiple staves. But this came at a
-price: some flexibility was lost in controlling horizontal spacing and
-a great deal of trial and error became necessary to avoid excessive or
-insufficient gaps before and after bar lines.
-
-\musictex\ was a single-pass system. To remedy its shortcomings it became clear
-that a multi-pass system would be required. Around 1997 Dr. Taupin along with Ross {\sc Mitchell}
-and Andreas {\sc Egler} created the first version of \musixtex. At last a fully
-automatic procedure was coded so as to provide pleasing horizontal spacing in
-multi-staff scores.
-
-Significant enhancements to \musixtex, which have already been mentioned, have been provided
-by Stanislav {\sc Kneifl} (Type K postscript slurs) and
-Rainer {\sc Dunker} (Lyrics handling via \verb|musixlyr.tex|).
-
-Since Dr. Taupin passed away in 2003, \musixtex\ has been maintained by a
-varying cast including Olivier {\sc Vogel}, Hiroaki {\sc Morimoto},
-Bob {\sc Tennent}, Andre {\sc Van Ryckeghem},
-Cornelius {\sc Noack}, and Don {\sc Simons}.
-
-No discussion of the history of \musixtex\ would be complete without mentioning
-the contributions of Werner {\sc Icking}. From the early days of \mutex\ until
-his untimely death in 2001, he served this line of software as its most prominent
-proponent, beta tester, web site and mailing list editor, consultant,
-problem solver, and inspiration for
-many third-party enhancements including \textbf{PMX}. In fact he founded the
-mailing list and the archive that now is named in his honor. The web site is
-currently edited by Christian {\sc Mondrup}, the software page by Don {\sc Simons},
-and the mailing list by Maurizio {\sc Codogno}.
-
-
- %\check
-\chapter{Elements of \musixtex}
-\section{Setting up the input file}
-\subsection{What makes a \TeX\ file a \musixtex\ file?}
-A \musixtex\ input file is a special kind of \TeX\ input file. What makes it
-special is that it must contain the command
-\verb|\input musixtex|
-before any reference to \musixtex\ macros. After that might follow
-\verb|\input musixadd| or \verb|\input musixmad| if you want to have
-respectively up to nine or twelve instruments or simultaneous beams,
-ties, or slurs.\ixtt{musixtex.tex}\ixtt{musixadd.tex}\ixtt{musixmad.tex}
-If you want to have greater numbers of these elements, you can assign them
-directly by including one or more of these commands:
-\verb|\setmaxinstruments|,
-\verb|\setmaxcxxviiibeams|,
-\verb|\setmaxcclvibeams|,
-\verb|\setmaxgroups|,
-\verb|\setmaxslurs|,
-\verb|\setmaxtrills|,
-\verb|\setmaxoctlines|.
-
-Since it is still a \TeX\ file, after that, if you wished to,
-you could write a whole non-musical book
-using normal \TeX\ commands provided that you did not
-use \verb|&| as a tab character like in plain \TeX\ (In \TeX\ lingo,
-its \keyindex{catcode} has been changed).
-
- \subsection{Cautions for the non \TeX pert}
-When \TeX\ reads anything, it inputs one \ital{token} at a time. A token
-may be either a \ital{command} or a character. A command (or \ital{macro},
-or \ital{control sequence}) is a
-\ital{backslash} (``{\Bslash}'') immediately followed by sequence of
-letters with no intervening spaces. For practical purposes, any single symbol (letter, digit,
-special character, or space) that is not part of a command counts as a character
-and therefore as a token.
-
-Each command expects a specific number of parameters.
-The tokens ``\verb|{|'' and ``\verb|}|'' are very special, in that (1) they
-must occur in matched pairs, and (2) any matched pair together with
-the stuff inside counts as a single parameter.
-If the first
-parameter expected is a single letter, it must either be
-separated from the command by a space or
-enclosed in braces (otherwise it would be interpreted as part of the command).
-For example the command \verb|\ibu| expects three parameters, so the
-following are all OK: \verb|\ibu123|, \verb|\ibu1A3|, \verb|\ibu1{`A}3|,
-\verb|\ibu{1}{2}{3}|, \verb|\ibu1{-2}3|, or \verb|\ibu1{23}4|, but
-\verb|\ibu1234| is not OK; the first three digits are taken as parameters,
-leaving the ``4'' with no purpose other than to cause some of the dreaded
-unrecorded space that we have already mentioned.
-
-In the rest of this manual, when describing commands we will write
-things like \verb|\qb{|$n$\verb|}{|$p$\verb|}|. It should be understood that
-when $n$ and $p$ are replaced by their literal values, the braces may
-or may not be necessary. In particular, if both are single digits, no
-braces are needed; but if $n$ has two digits, or if $p$ has more than
-one character, they must be surrounded by braces.
-
-Spaces (blank characters) in the input file must be handled very carefully.
-They are ignored at the beginning of a line, enabling logical
-indentation schemes to help make the file human-readable. There are also a few
-other places within lines where blank spaces are OK (such as mentioned in the prior paragraph),
-but in general is it safest to avoid
-any unnecessary blanks between the beginning and end of an input line.
-At the end of a line, the truth is that a command with no parameters, such as
-\verb|\bar| or \verb|\enotes| will cause no trouble. However if a command with
-one or more parameters is the last item in an input line, it will cause
-unrecorded space. The way around this is to end the line with either ``\verb|%|''
-or \verb|\relax|.
-
- \subsection{Usual setup commands}\label{whatspecify}
-
- The first decision is what size type to use. \musixtex\ offers four sizes:
-``small'' (16-pt-high staves), ``normal'' (20pt),\index{sizes} ``large''
-(24pt), and ``Large'' (29pt). The default is
-\keyindex{normalmusicsize}. If you want a different size, then you have to
-enter \keyindex{smallmusicsize}, \keyindex{largemusicsize}, or
-\keyindex{Largemusicsize}. Each of these commands defines not only the
-desired staff size but many other related sizes such as note heads, ornaments,
-stem lengths, etc.
-
- The command \keyindex{instrumentnumber}\onen~defines the
-number of instruments to be $n$. If not entered, the default is 1. This number is used in loops
-that build staves,
-set key signatures, set meters, etc., so if it differs from 1 it must be explicitly
-defined before any further commands.
-
-An instrument may have one or more staves (e.g.~a piano would normally have 2 staves).
-The differences between one
-instrument of several staves and several instruments with one staff each are as follows:
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item Different instruments may have different \itxem{key signatures}, while different
-staves of an instrument will all have the same key signature.
- \item A \itxem{beam} may include notes in different
-staves of the same instrument.
- \item A \itxem{chord} may extend across several staves of the same
-instrument.
- \item If an instrument has more than one staff, they will be linked together
-with a big, curly brace at the beginning of each line.
-\end{itemize}
-The default number of staves per instrument is 1. If it is different, then it
-must be specified by \keyindex{setstaffs}\verb|{|$n$\verb|}{|$p$\verb|}|
-where $p$ is the number of staves and $n$ is the
-number of the instrument. In \musixtex, instruments are numbered
-\ital{starting with the lowest}.
-So for example \verb|setstaffs32|
-assigns two staves to the third instrument from the bottom.
-
- The default clef for every staff is the \ital{treble} clef. To assign
-any other clef, the command is
-\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}|
-where $n$ is the number of the instrument, $s_1$ is a digit specifying the
-clef for the first (lowest) staff, $s_2$ for the second staff, and so forth.
-Note that like
-instruments, staves of a given instrument are numbered starting with
-the lowest. The parameters $s_2$, $s_3$ and $s_4$ can be omitted, in which case
-any unspecified staves will be assigned a treble clef.
-
-The digits $s$ can range from 0 to 9, with the following meanings:
-$s=0$ signifies treble or G clef.
-$s=1$ to $4$ mean C-clef, respectively on the first (lowest) through fourth staff line.
-$1$ is also called \ital{soprano}, $3$ \ital{alto} and $4$ \ital{tenor}.
-$s=5$ to $s=7$ mean F-clef, respectively on the third through fifth staff line. $5$ is
-also called \ital{baritone} and $6$ is the normal \ital{bass}.
- $s=8$ is not used.
-$s=9$ represents a G clef on the first line, also called \ital{French violin} clef.
-
-The three tokens \verb|\treble|, \verb|\alto|, and \verb|\bass| can be used instead
-of a digit for $s$, but only if there would have been but one digit in the string.
-So for example the clefs for a standard piano score
-could be specified by
-\keyindex{setclef}\verb|1{\bass}|.
-
-Treble and bass clefs with the digit 8 above or below are also possible; see
-section~\ref{treblelowoct}.
-
-To set a common key signature for all instruments, use
- \keyindex{generalsignature}\verb|{|$s$\verb|}|,
-where $s>0$ is the number of \itxem{sharps} in the
-signature and $s<0$ the number of \itxem{flats}\footnote{We once saw a
-score in G-minor where the signature consisted of two flats (B and E) plus
-one sharp (F). This is not directly supported by \musixtex.}. To override
-the common key signature for instrument $n$, use
-\keyindex{setsign}\verb|{|$n$\verb|}{|$s$\verb|}|. Note that differing
-key signatures cannot be assigned to different staves of the same instrument.
-
-A common \itxem{meter} for all staves can be specified by
- \keyindex{generalmeter}\verb|{|$m$\verb|}|,\label{generalmeter}
-where $m$ describes the appearance of the meter indication, and can take several
-different forms. If the meter is a \ital{fraction} (e.g.~3/4) the command is
- \verb|\generalmeter{|\keyindex{meterfrac}\verb|{3}{4}}|.
-Other possible tokens~$m$ are \keyindex{meterC},
-\keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve} and
-\keyindex{meterplus}. These are illustrated in the following example:
-
- %\check
-\begin{music}
-\generalmeter\meterC
-\nostartrule
-\parindent0pt\startpiece
-\NOtes\qa{cegj}\enotes
-\generalmeter\allabreve\changecontext
-\NOTes\ha{ce}\enotes
-\generalmeter\reverseC\changecontext
-\NOTEs\zbreve g\enotes
-\generalmeter\reverseallabreve\changecontext
-\NOTEs\zwq g\enotes
-\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext
-\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes\setemptybar
-\endpiece
-\end{music}
-\noindent which was coded as:
-\begin{quote}\begin{verbatim}
-\generalmeter\meterC
-\nostartrule
-\parindent0pt\startpiece
-\NOtes\qa{cegj}\enotes
-\generalmeter\allabreve\changecontext
-\NOTes\ha{ce}\enotes
-\generalmeter\reverseC\changecontext
-\NOTEs\zbreve g\enotes
-\generalmeter\reverseallabreve\changecontext
-\NOTEs\zwq g\enotes
-\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext
-\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes\setemptybar
-\endpiece
-\end{verbatim}\end{quote}
-
-To override the common meter for any staff, use
-\keyindex{setmeter}\verb|{|$n$\verb|}{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}|.\linebreak
-This works just like \verb|\setclef|. For example,
-\verb|setmeter3{{\meterfrac{12}8}\allabreve}|
-sets the meter to 12/8 for the first staff of the third instrument, and
-\ital{alla breve} for the second staff.
-
-To insert extra space before the meter is
-written, use \keyindex{meterskip}$d$ where $d$ is any hard \TeX\
-%dimension\footnote{{\Bslash\tt meterskip} is not a macro but a
-dimension\footnote{{\tt\Bslash meterskip} is not a macro but a
-dimension register. Whatever follows it
-must be a \TeX\ dimension and {\it it must not be enclosed in braces}.}.
-The assignment must occur outside \verb|\startpiece...\endpiece| and will be
-reset to zero after first meter is posted.
-
-To set an \itxem{instrument name}, use
-\keyindex{setname}\verb|{|$n$\verb|}{|\ital{name of the instrument}\verb|}|.
-This will place the name in the space to the left of the
-first staff or group of staves for instrument $n$. To specify the amount of space
-available, use \verb|\parindent|$d$ where $d$ is any hard \TeX\ dimension.
- \subsection{Groupings of instruments}\label{curlybrackets}
-By default, all staves in a system will be joined
-at the left by a thin, vertical rule. In addition, if an instrument has more than
-one staff, they will be joined by a big, curly brace. Now we introduce a way
-to delineate groups of instruments or choirs with a square brace containing two parallel
-vertical rules, the left one thick and the right one thin. This is commonly used
-to group together the voices in a choir.
-
-If there is only one choir, this can be done with
- \begin{quote}
-\keyindex{songtop}\onen\\
-\keyindex{songbottom}\verb|{|$m$\verb|}|
-\end{quote}
-\noindent where $m$ and $n$ are the instrument numbers of the first
-and last voices. An example is shown in section~\ref{song}.
-
-If there is more than one choir to be set off with
-square braces, each one can be specified with
- \begin{quote}
-\keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\
-\keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}|
-\end{quote}
-\noindent where $m$ and $n$ are the instrument numbers of the first
-and last voices of group number $g$. \musixtex{} allows up to three
-groups, numbered from 1 to 3. The command \verb|\songtop| is equivalent
-to \verb|\grouptop 1|; \verb|\songbottom| is equivalent to
-\verb|\groupbottom 1|.
-
-With \ttxem{musixadd.tex} or \ttxem{musixmad.tex}, the allowable number of
-groups is increased to four.
-Alternatively, you can specify the allowable number of groups to $m$ by
-\keyindex{setmaxgroups}\verb|{|$m$\verb|}|%
-\footnote{Using $m>4$ may require e-\TeX.}.
-\label{musixmad_setmaxgroups}
-
-If any of the instruments grouped this way has more than one staff, the
-heavy curly brace will be shifted to the left of the square brace.
-
-Previously defined square braces can be removed by declaring
-\verb|\songtop| less than \verb|\songbottom|. The same applies to
-\verb|\grouptop| and \verb|\groupbottom| for the same group number.
-
- An alternate command allows you to specify all choirs at once:
-\begin{quote}
- \keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}%
- \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|%
- {\it lower\_3\/}\verb|}{|{\it upper\_3\/}\verb|}}|
-\end{quote}
-\noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument
-numbers that denote the span of bracket number $n$. For
-setting fewer than three brackets, just omit all unneeded
-\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs.
-For example,
- \verb|\instrumentnumber{5}\akkoladen{{1}{2}{3}{5}}|
-\noindent yields the first example below, with five single-staff instruments
-divided into two groups.
-
-The second example has 2 instruments, the first (lower) with two staves and the
-second with three. Each instrument is set off by default with a curly bracket.
-
-If for some reason you want more than one \ital{instrument}\ grouped
-within a curly
-bracket, then you can use the extension file
-%\ttxem{curly.tex}\footnote{Submitted
-\href{http://icking-music-archive.org/software/musixtex/add-ons/curly.tex}
-{\underline{\ttxem{curly.tex}}}\footnote{Submitted
-by Mthimkhulu {\sc Molekwa} to the mutex list}, which defines the command
-
- \keyindex{curlybrackets}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}%
- \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}...|
-
-\noindent to be used as illustrated in the third example below.\\
-\begin{minipage}[t]{50mm}
-\begin{music}
- % just to avoid wasting space ...
- \sepbarrules
- \smallmusicsize
-\setsize1\smallvalue\setsize2\smallvalue
-\setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue
- \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}}
- \startextract\notes\en\bar\notes\en\zendextract
-\end{music}
-\begin{quote}is coded as:
-\begin{verbatim}
- \sepbarrules
- \smallmusicsize
- \setsize1\smallvalue
- \setsize2\smallvalue
- \setsize3\smallvalue
- \setsize4\smallvalue
- \setsize5\smallvalue
- \instrumentnumber{5}
- \akkoladen{{1}{2}{3}{5}}
- \startextract
- \notes\en\bar\notes\en
- \zendextract
-\end{verbatim}\end{quote}
-\end{minipage}
-\begin{minipage}[t]{50mm}
-\begin{music}
- \sepbarrules
- \smallmusicsize
-\setsize1\smallvalue\setsize2\smallvalue
- \instrumentnumber2 \setstaffs12\setstaffs23
- \startextract \notes\en\bar\notes\en\zendextract
-\end{music}
-\begin{quote}is coded as:
-\begin{verbatim}
- \sepbarrules
- \smallmusicsize
- \setsize1\smallvalue
- \setsize2\smallvalue
- \instrumentnumber2
- \setstaffs12
- \setstaffs23
- \startextract
- \notes\en\bar\notes\en
- \zendextract
-\end{verbatim}\end{quote}
-\end{minipage}
-\begin{minipage}[t]{50mm}
-\begin{music}
- \input curly
- \sepbarrules
- \smallmusicsize
- \setsize1\smallvalue\setsize2\smallvalue
- \smallmusicsize
- \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue
- \instrumentnumber5 %\setstaffs12\setstaffs23
- \curlybrackets{1235}
- \startextract \notes\en\bar\notes\en\zendextract
-\end{music}
-\begin{quote}is coded as:
-\begin{verbatim}
- \input curly
- \sepbarrules
- \instrumentnumber5
- \smallmusicsize
- \setsize1\smallvalue
- \setsize2\smallvalue
- \setsize3\smallvalue
- \setsize4\smallvalue
- \setsize5\smallvalue
- \curlybrackets{1235}
- \startextract
- \notes\en\bar\notes\en
- \zendextract
-\end{verbatim}\end{quote}
-\end{minipage}
-
-
-
-
-\section{Preparing to enter notes}
- \subsection{After the setup, what next?}
-
-The command \keyindex{startmuflex} initiates the serious business of
-\musixtex. On the first \TeX\ pass it
-opens \ital{jobname}{\tt .mx1} for writing bar-by-bar tabulations of all
-hard and scalable space to be fed to \verb|musixflx| on the second pass.
-\verb|musixflx| generates \ital{jobname}{\tt .mx2} which defines the
-number of bars in each system and the factors relating scalable space
-to hard space in each system. On the third pass both files will be opened
-and read to define the final spacing. These files should be closed before
-leaving \TeX, preferably before
-\keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\
-closes all open files on its own when terminating the program, but it is still
-cleaner to do this explicitly.
-
-After \verb|\startmuflex|, the command \keyindex{startpiece} will initiate
-the first system, containing all instruments you have previously defined.
-The indentation will be \keyindex{parindent}, so if you want nonzero
-indentation, this register should be set to the desired hard dimension
-before issuing \verb|\startpiece|.
-
- \subsection{Horizontal spacing commands}\label{newspacings}
-\subsubsection{Basic note spacing}
-\musixtex\ provides a set of macros each of which defines a particular
-increment of scalable spacing. The default set is tabulated below:
-
-\begin{center}
-\tinynotesize
-\renewcommand{\arraystretch}{1.5}% I hate LaTeX
-\begin{tabular}{|l|l|l@{~~~~}l|}
-\multicolumn{1}{c}{usage}&
-\multicolumn{1}{c}{spacing}&
-\multicolumn{2}{c}{suggested use for}\\\hline
-\keyindex{znotes}\verb| ... & ... & ... \enotes|&(non spacing)
- &&specials\\
-\keyindex{notes}\verb| ... & ... & ... \enotes|&\verb=2=\keyindex{elemskip}
- &\ccu1&16th\\
-\keyindex{notesp}\verb| ... & ... & ... \enotes|&\verb=2.5\elemskip=
- &\pt1\ccu1&dotted 16th, 8th triplet\\
-\keyindex{Notes}\verb| ... & ... & ... \enotes|&\verb=3\elemskip=
- &\cu1&8th\\
-\keyindex{Notesp}\verb| ... & ... & ... \enotes|&\verb=3.5\elemskip=
- &\cup1&dotted 8th, quarter triplet\\
-\keyindex{NOtes}\verb| ... & ... & ... \enotes|&\verb=4\elemskip=
- &\qu1&quarter\\
-\keyindex{NOtesp}\verb| ... & ... & ... \enotes|&\verb=4.5\elemskip=
- &\qup1&dotted quarter, half triplet\\
-\keyindex{NOTes}\verb| ... & ... & ... \enotes|&\verb=5\elemskip=
- &\hu1&half\\
-\keyindex{NOTesp}\verb| ... & ... & ... \enotes|&\verb=5.5\elemskip=
- &\hup1&dotted half\\
-\keyindex{NOTEs}\verb| ... & ... & ... \enotes|&\verb=6\elemskip=
- &\wh1&whole\\\hline
-\end{tabular}\end{center}
-\smallskip
-
-\noindent What each of these macros actually does is to set an
-internal dimension register \keyindex{noteskip} to the given multiple
-of the fundamental spacing unit \keyindex{elemskip}
-(which has dimensions of length, usually given in points).
-Normally, every \itxem{spacing note} (e.g.,
-\keyindex{qu},
-\keyindex{qb}, \keyindex{hl}) will then be followed by a spacing of
-width \keyindex{noteskip}. By selecting a particular note spacing macro
-from the above table, the typesetter can thus control the relative spacing
-between notes.
-
-The actual spacing will therefore be determined by the value of
-\verb|\elemskip|. On the first pass, \TeX\ will set a default value for
-\verb|\elemskip| based on the declared music size, or the user can
-set it to any hard dimension he chooses. However, the value on the
-first pass doesn't matter as much as you might think (more about that later).
-On the second pass,
-\verb|musixflx| determines where the system breaks will come,
-and then computes the final value of \verb|\elemskip| for each system.
-
-If the arthmetic progression of note spacings in the above table does not
-meet your wishes, you may activate an alternate set with
-the command \keyindex{geometricskipscale}. As implied by the name, this
-is a geometric progression, where {\Bslash Notes} is
-$\sqrt{2}$ times wider than {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$
-times wider than {\Bslash Notes}, and so forth.
-Then the factors in the middle column
-of the above table will be replaced by the sequence
-2.00, 2.38, 2.83, 3.36, 4.00, 4.76, 5.66, 6.72, and 8.00. Two additional
-macros, \verb|\NOTEsp| and \verb|\NOTES|, will be defined corresponding to
-factors 9.52 and 11.32. The original arithmetic progression can be
-restored by \keyindex{arithmeticskipscale}.
-
-If neither of the predefined progressions satisfies you, you may define
-your own, using the more general macro \verb|\vnotes| in the same manner
-that \musixtex\ uses it for the predefined progressions. So for example
-\verb|\def\NOtes{\vnotes5.34\elemskip}| will redefine \verb|\NOtes| in
-the obvious way, and the extension to the other spacing macros should
-likewise be obvious.
-
-In addition, inside any pair \verb|\notes...\enotes| there are two
-equivalent ways to
-locally redefine \verb|\noteskip| to another scalable value, namely by
-issuing a command like
-\verb|\noteskip=2.4\noteskip| or \keyindex{multnoteskip}\verb|{2.4}|, which
-have the expected effect until the notes group is terminated or
-\verb|\noteskip| is further redefined.
-
-Finally, by issuing a command like
-\keyindex{scale}\verb|{2.4}| outside any notes group, you can scale all subsequent
-\verb|\noteskip|s by any desired factor.
-
-These facilities may be useful, for example,
-to control spacing when there are three equal duration notes in one staff against two
- in another.
-
-%\subsubsection{\Bslash{\tt elemskip}, \Bslash{\tt beforeruleskip} and
-%\Bslash{\tt afterruleskip}}
-%
-% avr wants to call these "commands", but das doesn't.
-%\subsubsection{Commands {\Bslash\texttt{elemskip}},
-%{\Bslash\texttt{beforeruleskip}}
-%and {\Bslash\texttt{afterruleskip}}}
-\subsubsection{{\Bslash\texttt{elemskip}},
-{\Bslash\texttt{beforeruleskip}}
-and {\Bslash\texttt{afterruleskip}}}
-
-We've just seen how \verb|\elemskip| is used to scale the spacings between notes.
-There are two other spacing units that share some behavior with \verb|\elemskip|.
-\verb|\beforeruleskip| is the horizontal space that is automatically inserted
-\ital{before} every bar line, while \verb|\afterruleskip| goes \ital{after}
-every bar line. (In
-practice \verb|\beforeruleskip| is almost aways set to \verb|0pt| because there
-will typically already be a space of \verb|1\noteskip| before every barline.)
-On the first pass, just as with \verb|\elemskip|, \musixtex\ assigns them default
-values according to the following table:
-
-%\begin{quote}\begin{tabular}{lrrr}\hline
-%\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip}
-% &\keyindex{beforeruleskip}\\\hline
-%\keyindex{normalmusicsize}&6pt&8pt&0pt\\
-%\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline
-%\end{tabular}\end{quote}
-
-\begin{center}\begin{tabular}{lrrr}\hline
-\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip}
- &\keyindex{beforeruleskip}\\\hline
-\keyindex{normalmusicsize}&6pt&8pt&0pt\\
-\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline
-\end{tabular}\end{center}
-
-\noindent In the second pass, \verb|musixflx| assigns new values to each
-of these dimensions, a different set for each line or system. It does this
-in such a way that available scalable horizontal space in each system is
-exactly filled up.
-
-The values that are assigned to these dimensions on the first pass, whether by
-default or explicitly by the user or in some combination, only matter insofar
-as their relative sizes. That's why we earlier stated that the first-pass value
-of \verb|\elemskip| didn't matter as much as you might think. For both music sizes
-in the table above, it appears that by default \verb|\afterruleskip| is
-\verb|1.3333\elemskip|\footnote{Editor's note: It is a mystery why the authors
-%of \musixtex\ didn't simply define \Bslash{\tt beforeruleskip} and \Bslash{\tt afterruleskip} as
-%specific multiples of \Bslash{\tt elemskip}}.
-of \musixtex\ didn't simply define \Bslash\texttt{beforeruleskip} and \Bslash\texttt{afterruleskip} as
-specific multiples of \Bslash\texttt{elemskip}}.
-
-Note that if you do want to change any of these
-values, you have to do so \ital{after} setting the
-music size and before \verb|\startpiece|.
-
-Here is an example that illustrates the various dimensions under discussion:\\
- %\check
-\begin{music}\nostartrule
-\afterruleskip7pt
-\beforeruleskip2pt
-\parindent0pt
-\setclefsymbol1\empty
-% special problems afford special solutions
-\makeatletter\global\clef@skip\z@ \makeatother
-\startpiece
-\zchar{16}{\hbox to\afterruleskip{\downbracefill}}%
-\zchar{19}{\hbox to\afterruleskip{\hss a\hss}}%
-\addspace\afterruleskip
-\zchar{16}{\hbox to2\elemskip{\downbracefill}}%
-\zchar{19}{\hbox to2\elemskip{\hss b\hss}}%
-\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
-\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
-\notes\qa l\en
-\znotes\en
-\zchar{16}{\hbox to4\elemskip{\downbracefill}}%
-\zchar{19}{\hbox to4\elemskip{\hss c\hss}}%
-\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}%
- \hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
-\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}%
- \hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
-\NOtes\qa l\en
-\znotes\en
-\zchar{16}{\hbox to\beforeruleskip{\downbracefill}}%
-\zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}%
-\setemptybar\endpiece
-\end{music}
-\begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l}
-a&\keyindex{afterruleskip}\\
-b&\keyindex{notes}\verb| = \vnotes 2\elemskip|\\
-c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\
-d&\keyindex{beforeruleskip}\\
-e&\keyindex{elemskip}
-\end{tabular}\end{quote}
-
-\subsection{Moving from one staff or instrument to another}
- \label{movingtostaffs}
-
-When entering notes inside \verb|\notes ... \enotes|, the usual way to suspend
-input for one instrument and start the next (higher) is with the character
-``\verb|&|''\index{"&@{\tt\char'046}}. If the instrument has more than one
-staff, to switch to the next (higher) one you can use the character
-``\verb+|+''\index{\tt\char'174@{\tt\char'174}}.
-
-There are some alternate navigation commands that may be useful in
- special situations. Due to ``catcode
-problems'' (see section~\ref{catcodeprobs}) it may sometimes be necessary
-to use the more explicit commands
-\keyindex{nextinstrument} and \keyindex{nextstaff}, which have the same
-meanings as ``\verb|&|'' and ``\verb+|+'' respectively. To switch to the previous
-(next lower) staff of the same instrument, use \keyindex{prevstaff}. This might
-be useful if a beam starts in a higher staff than where it ends. More
-generally, to switch to an arbitrary instrument $n$, use
-\keyindex{selectinstrument}\onen, and to switch to an arbitrary staff $n$
-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{current} staff.
-
-
- %\check
-\section{Note pitch specification}\label{pitchspec}
-Note pitches can be specified either by letters or numbers. If no transposition
-or octaviation is in effect, letters ranging
-from \verb|a| to \verb|z| represent notes starting with the A below
-middle C. Upper case letters from \verb|A| to \verb|N| represent pitches
-two octaves lower than their lower case counterparts. Any letter can be used in
-any clef, but some users may
-prefer to use the lower case letters in treble clef, and the upper case ones
-in bass clef.
-
-Alternatively, a one- or two-digit, positive or negative integer can always be used.
-The number represents
-the vertical position on the staff, with \verb|0| for the lowest line and
-\verb|1| for the space right above, \ital{regardless of the clef}.
-Unlike with letters, the
-associated pitch will depend on the clef, and notes entered this way are
-immune to transposition and octaviation.
-
-Notes lower than \verb|A| and higher than \verb|z| can be entered, with
-either numbers as just described, or with octaviation as will be explained in
-section~\ref{octaviation}.
-
- \section{Writing notes}\label{autostemdirections}
-There are two major kinds of note macros, those that include a space (of
-length \keyindex{noteskip}) after
-the printed symbol, and those that don't cause any space. A single-line melody would be
-written using the first type. All notes of a chord except the last would
-use the second.
-
-Another distinction concerns stemmed notes. Some macros explicitly set the
-stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of
-the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies
-\ital{automatic} stem direction selection. In this case notes below the middle
-staff line will get up stems, otherwise down.
-
- \subsection{Normal (unbeamed) spacing notes}\label{NormalNotes}
-In the following, \verb|{|$p$\verb|}| signifies a pitch specification as
-described in sections~\ref{pitchspec} and \ref{octaviation}. However it
-is understood that if the pitch is a single character, the brackets are
-not neecessary, provided that if it is a letter, a space separates the
-macro from the letter.
-
-
-\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
- \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) .
- \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) .
- \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem
-direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} .
- \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) .
- \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss})
-(also used as alternate representation of a \ital{breve}).
- \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note
-(\hbox to8pt{\zwqq1\hss}) (also used as alternate
-representation of a \ital{longa}).
- \item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note.
- \item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up.
- \item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down.
- \item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction
- \item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up.
- \item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down.
- \item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction.
- \item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}''
-within this macro name stands for the equivalent British term ``crotchet''} with stem up.
- \item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down.
- \item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction.
- \item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up.
- \item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down.
- \item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction.
- \item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]32nd note with stem up.
- \item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]32nd note with stem down.
- \item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]32nd note with automatic stem direction.
- \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]64th note with stem up.
- \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]64th note with stem down.
- \item[\keyindex{cccca}{\tt\char123}$p${\tt\char125} :]64th note with automatic stem direction.
- \item[\keyindex{cccccu}{\tt\char123}$p${\tt\char125} :]128nd note with stem up.
- \item[\keyindex{cccccl}{\tt\char123}$p${\tt\char125} :]128nd note with stem down.
- \item[\keyindex{ccccca}{\tt\char123}$p${\tt\char125} :]128nd note with automatic stem direction.
-\end{description}\end{quote}
- As an example, the sequence
-
- %\check
-\begin{music}\nostartrule
-\startextract
-\Notes\cu c\cl j\enotes\bar
-\Notes\ccu c\ccl j\enotes\bar
-\Notes\cccu c\cccl j\enotes\bar
-\Notes\ccccu c\ccccl j\enotes\bar
-\Notes\cccccu c\cccccl j\enotes
-\zendextract
-\end{music}
- \noindent was coded as
-\begin{quote}\begin{verbatim}
-\Notes\cu c\cl j\enotes\bar
-\Notes\ccu c\ccl j\enotes\bar
-\Notes\cccu c\cccl j\enotes\bar
-\Notes\ccccu c\ccccl j\enotes\bar
-\Notes\cccccu c\cccccl j\enotes
-\end{verbatim}\end{quote}
-
- \subsection{Non-spacing note heads}
-These macros are used to create chords. Any number of them can be entered
-in sequence, followed by a spacing note. All of the note heads will be
-joined to the spacing note and the stem length will automatically be adjusted
-as needed.
-
-\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
- \item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head.
- \item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head.
-\end{description}\end{quote}
-%das ???
-% \begin{remark} Notes of duration longer than whole notes are
-%always non-spacing. This saves one useless definition, since these notes are
-%always longer than other simultaneous ones. If needed they can be followed by
-%\keyindex{sk} to force spacing.
-%\end{remark}
-
- \subsection{Shifted non-spacing note heads}
-These symbols are used mainly
-in chords containing an interval of a \ital{second}. They provide note
-heads shifted either to the left or right of the default position by
-the width of one note head.
-
-\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
-\item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right.
-\item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left.
-\item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not
-have realized that half and whole note heads have different shapes}.
-\item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left.
-\item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right.
-\item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left.
-\end{description}\end{quote}
-
- \subsection{Non-spacing notes}
-These macros provide normal notes, with stems if applicable, but without any
-following space.
-\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
- \item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like
-\verb|\hu| for chord building, i.e., it will join together any immediately
-preceding non-spacing note heads.
- \item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like
-\keyindex{hl} for chord building.
- \item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like
-\verb|\qu| for chord building.
- \item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts
-like \verb|\ql| for chord building.
- \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu},
- \keyindex{zccccu}, \keyindex{zcccccu}
-:]eighth, ..., note with stem up but no spacing. They act like
-\verb|\cu| for chord building.
- \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl},
- \keyindex{zccccl}, \keyindex{zcccccl}
-:]eighth, ..., note with stem down but no spacing. They act
-like \verb|\cl| for chord building.
- \item[\keyindex{zqb}\pitchp~:]note belonging to a beam but no spacing. (DAS: put this later!)
- \item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql},
- \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|,
- but the note is shifted one note width to the right; others analogous.
- \item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql},
- \keyindex{lcu}, \keyindex{lcl} :]same
- as above, but the note is shifted one note width to the left.
- \item[\keyindex{zw}\pitchp~:]whole note with no following space.
- \item[\keyindex{zwq}\pitchp~:]arbitrary duration note
- (\hbox to8pt{\zwq1\hss}) with no following space.
- \item[\keyindex{zbreve}\pitchp~:]breve
- (\hbox to8pt{\zbreve1\hss}) with no following space.
- \item[\keyindex{zlonga}\pitchp~:]longa
- (\hbox to8pt{\zlonga1\hss}) with no following space.
- \item[\keyindex{zmaxima}\pitchp~:]maxima
- (\hbox to16pt{\zmaxima1\hss}) with no following space.
-\end{description}\end{quote}
- %\check
-
-\subsection{Spacing note heads}
-
-Although not needed in normal music scores, these may be useful in
-very special cases.
-
-\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
-\item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head.
-\item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head.
-\end{description}\end{quote}
-
-\noindent As an example, the sequence
-
-\begin{music}\nostartrule
- \startextract
-\notes\nq c\nq j\enotes\barre
-\Notes\nh c\nh j\enotes\barre
-\notes\nq {cdef}\enotes
-\zendextract
-\end{music}
-
-\noindent was coded as
-
-\begin{quote}\begin{verbatim}
-\notes\nq c\nq j\enotes\barre
-\Notes\nh c\nh j\enotes\barre
-\notes\nq {cdef}\enotes
-\end{verbatim}\end{quote}
-
-Non spacing variants are also provided, namely
-\keyindex{znh} and \keyindex{znq}.
-% DAS: why???
-
- \subsection{Dotted notes}\label{dots}
-
-By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the
-macros just introduced provide one or two dots after the notehead:
-\keyindex{whp}\pitchp, \keyindex{whpp},
-\keyindex{zwp}, \keyindex{zwpp},
-\keyindex{hup}, \keyindex{hupp},
-\keyindex{hlp}, \keyindex{hlpp},
-\keyindex{zhp}, \keyindex{zhpp},
-\keyindex{qup}, \keyindex{qupp},
-\keyindex{qlp}, \keyindex{qlpp},
-\keyindex{zqp}, \keyindex{zqpp},
-\keyindex{cup}, \keyindex{cupp},
-\keyindex{clp}, \keyindex{clpp},
-\keyindex{qbp} and \keyindex{qbpp}.
-Naturally, the ones that start with ``\verb|z|'' are used in chords.
-The dot(s) will be raised if the note is on a line.
-
-A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125},
-\keyindex{ppt}, or \keyindex{pppt} right
-before any note macro to place one to three dots after the normal note
-head at pitch $p$. Again they will be raised if on a line. In fact this is the only
-way to get a triple-dotted note.
-For example a
-quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots
-as \keyindex{ppt}\verb| h\qu h| and with three as
-\keyindex{pppt}\verb| h\qu h|.
-
-Yet another method for posting a dot is to insert a \ital{period} before
-the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to
-either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when
-using \ital{collective coding}, which will be discussed in the next
-section.
-
-Non-spacing dotted notes can be produced using
-\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp},
-\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp},
-and similarly with two \verb|p|'s for
-double-dotted notes.
-
-As a matter of style, if two voices share one staff, the dots in
-the lower voice should be lowered if the note is on a line. For
-this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and
-\keyindex{lppt}{\tt\char123}$p${\tt\char125}.
-
-\subsection{Sequences of equally spaced notes; collective coding}
-\label{CollectiveCoding}
-
-It isn't necessary to write a separate macro
-sequence \verb|\notes...\enotes| for every individual column of notes.
-Rather, a single such macro can contain all the notes in all staves
-over an extended horizontal range, as long as all spacings are equal or
-multiples of a unique value of \keyindex{noteskip}.
-The notes in each staff could be entered one after another as normal
-spacing notes as already described in section~\ref{NormalNotes}. Then
-each spacing note will cause the insertion point to advance horizontally by the
-operative value of \verb|\noteskip| defined by the choice of
-\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences
-non-spacing chord notes can be entered right before their associated
-spacing note. If you need to skip forward by one \verb|\noteskip|, for
-example after a quarter note when there are two eighth notes in
-another staff, you can use \keyindex{sk}.
-
-If there are only spacing notes in such a sequence, a further
-simplification is available, called \ital{collective coding}. For instance
-\verb|\qu{cdefghij}| writes the C major scale in quarters with
-up stems. Similarly \verb|\cl{abcdef^gh}| writes the
-\ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents
-a sharp). If necessary a void can be inserted in a collective coding sequence
-by using~\verb|*|\index{*}. Not all note generating macros can be
-used to perform collective coding, but most of them can.
-
-\section{Beams}
-\subsection{Starting a beam}
-
-Each beam must be declared with a macro issued before the first spacing
-note under the beam is coded. Two distinct kinds of macros are provided
-for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary
-slope and starting height chosen by the user, while the second kind, a
-``semi-automatic'' beam,
-\ital{computes}~the slope and, in addition, adjusts the starting height in some
-cases.
-
-\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}}
-
-The basic form of the macros for starting fixed-slope beams is exemplified
-by the one for a single upper beam, \keyindex{ibu}\nps. Here
-$n$ is the reference number of the beam, $p$ the starting ``pitch'', and
-$s$ the slope.
-
-The reference number is assigned by the user.
-It is needed because more than one beam may be open at
-a time, and it tells \musixtex\ to which beam subsequent beamed notes and
-other beam specification commands are assigned.
-By default, the reference number must be in the range [0-5],
-but the range for 8th to 128th beams will be expanded to [0-8] or [0-11]
-if \verb|musixadd| or \verb|musixmad| respectively has been \verb|\input|.
-
-Alternatively, you can specify the number of 8th to 64th beams
-directly\footnote{8th to 64th beams are so basic that the maximum
-number of these beams are related with the maximum number of instruments
-by this command.
-Using $m>12$ may require e-\TeX.}
-with \keyindex{setmaxinstruments}\verb|{|$m$\verb|}|
-within the range $7<m\leq 100$; the corresponding reference number may then be
-in the range from 0 to $(m-1)$.
-\label{musixmad_setmaxinstruments_ccxviiibeams}
-For 128th beams, use \keyindex{setmaxcxxviiibeams}\verb|{|$m$\verb|}|.
-
-For 256th notes, which can only appear in beams, see section \ref{musixbbm}.
-
-The ``pitch'' parameter $p$ is a pitch that is three
-staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above}
-the bar for a lower beam); in many (but not all)
-cases it should be input as the actual pitch of the first note. The slope $s$
-is an integer in the range [-9,9]. When multipled
-by 5\%~it gives the actual slope of the heavy bar. Typically a slope of 2 or 3
-is OK for ascending scales, and 6 to 9 for ascending arpeggios.
-
-The full set of fixed-slope beam initiation macros is as follows:
-\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
-
- \item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}.
- \item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}.
- \item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}.
- \item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}.
- \item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}.
- \item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}.
- \item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}.
- \item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}.
-\end{description}\end{quote}
-
-A semi-automatic beam is initiated with a command that has \ital{four}
-parameters, the beam number, the first and last pitches, and the total
-horizontal extent in
-\verb|\noteskip|s, based on the value in effect at the start. For example,
-if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to
-build an upper beam (beam number 2) horizontally extending \verb|3\noteskip|,
-the first note of which is a \verb|g| and the last note a \verb|j|.
-Knowing these parameters it will choose the highest slope number that
-corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt
-g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as
-for fixed-slope beams. However, if there is no sufficiently steep beam
-slope available, then \musixtex\ will raise (or lower) the starting point.
-
- Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu},
-\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl},
-\keyindex{Ibbbl} and \keyindex{Ibbbbl}.
-
-\subsection{Adding notes to a beam}
-
-Spacing notes belonging to beams are coded with the macro
-\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is
-the beam number and $p$ the pitch of the note. \musixtex\ adjusts the
-length of the note stem to link to the beam.
-
-Chord notes within a beam are entered before the main note with the
-non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again,
-the stem length will be automatically adjusted as required.
-
-There are also special macros for semi-automatic beams with
-two, three, or four notes:
-\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl},
-\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl},
-\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}.
- %\check
-For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|,
-except that the special macros don't require a beam number.
-Their use is illustrated in the following example:
-
-\medskip
-\begin{music}\nostartrule
-\parindent0pt\startpiece
-\Notes\Dqbu gh\Dqbl jh\en
-\notes\Dqbbu fg\Dqbbl hk\en\bar
-\Notes\Tqbu ghi\Tqbl mmj\en
-\notes\Tqbbu fgj\Tqbbl njh\en\bar
-\Notes\Qqbu ghjh\Qqbl jifh\en
-\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece
-\end{music}
-\noindent This was coded as\footnote{Editor's note: Most music
-typesetting books recommend beam slopes that are \ital{less} than
-the slope between the starting and ending note; these macros cannot
-provide that.}:
-\begin{quote}\begin{verbatim}
-\Notes\Dqbu gh\Dqbl jh\en
-\notes\Dqbbu fg\Dqbbl hk\en\bar
-\Notes\Tqbu ghi\Tqbl mmj\en
-\notes\Tqbbu fgj\Tqbbl njh\en\bar
-\Notes\Qqbu ghjh\Qqbl jifh\en
-\notes\Qqbbu fgge\Qqbbl jhgi\en
-\end{verbatim}\end{quote}
- %\check
-
- \subsection{Ending a beam}
- The termination of a given
-beam must be declared \ital{before} coding the last spacing note
-connected to that beam. The macros for doing that are
-\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and
-\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for
-beams of any
-multiplicity. So for example an upper triple beam with
-32nd notes is initiated by
-\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|.
-
- Since beams usually finish with a \verb|\qb| for the last note, the
-following shortcut macros have been provided:
-
-\def\enpee{{\tt{\char123$n$\char125\char123$p$\char125}}}
-\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
- \item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee~.
- \item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee~.
- \item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~,
-i.e., no spacing afterwards.
- \item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~,
-i.e., no spacing afterwards.
-\end{description}\end{quote}
-
-\subsection{Changing multiplicity after the beam starts}
-Multiplicity (the number of heavy bars) can be increased at any position after
-the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of
-upper beam
-number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to
-increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The
-commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same
-for lower beams.
-Thus, the
-sequence
-
-\begin{music}\nostartrule
-\startextract
-\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes
-\zendextract
-\end{music}
-\noindent has been coded as
-\begin{quote}\begin{verbatim}
-\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes
-\end{verbatim}\end{quote}
-
-To decrease multiplicity to one, use \keyindex{tbbu}\onen~or
-\keyindex{tbbl}\onen. To decrease to two or three use
-\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example,
-
-\begin{music}\nostartrule
-\startextract
-\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes
-\zendextract
-\end{music}
-\noindent has been coded as
-
-\begin{quote}\begin{verbatim}
-\startextract
-\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes
-\zendextract
-\end{verbatim}\end{quote}
-
-Although at first it may seem counterintuitive,
-the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts
-may also be invoked when the multiplicity is one. In this case
-a second, third, or fourth heavy bar will be opened one note width \ital{before}
-the current stem, and immediately closed \ital{at} the stem.
-Thus the following sequences
-
-\begin{music}\nostartrule
-\let\extractline\hbox
-\hbox to \hsize{%
-\hss
- \startextract
- \Notes\ibu0e0\qbp0e\tbbu0\tbu0\qb0e\en
- \zendextract
-\hss\hss
- \startextract
- \Notes\ibu0e0\qbpp0e\tbbbu0\tbbu0\tbu0\qb0e\en
- \zendextract
-\hss}
-\end{music}
-\noindent are coded
-\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim}
-\Notes\ibu0e0\qbp0e%
- \tbbu0\tbu0\qb0e\en
-\end{verbatim}\end{minipage}\hfill
-\begin{minipage}{.4\textwidth}\begin{verbatim}
-\Notes\ibu0e0\qbpp0e%
- \tbbbu0\tbbu0\tbu0\qb0e\en
-\end{verbatim}\end{minipage}\hfill
-
-\medskip
-
-
-The symmetrical pattern is also possible. For example:
-
-\begin{music}\nostartrule
-\startextract
-\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes
-\zendextract
-\end{music}
-\noindent has been coded as:
-\begin{quote}\begin{verbatim}
-\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes
-\end{verbatim}\end{quote}
-
-The constructions in this section illustrate some general
-properties of
-beam initiation and termination commands: To mate properly with the
-expected stems, the starting position of the heavy bar(s) (for initiation commands)
-and the ending position (for terminations) will be at
-different horizontal locations
-depending on whether they are for upper or lower beams: The position for
-upper beam commands is one note head width to the right of those for
-lower beams. In fact this is the \ital{only} difference between upper
-and lower termination commands. Both types will operate on whatever kind of
-beam is open and has the same beam number.
-
-Recognizing this principle, in the example just given it was necessary to
-shift the double termination to the right by one note head width, using the
-command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for
-any \musixtex\ macro.
-
-Here is another, slightly more complicated example which also uses
-\verb|\roff|:
-
-\begin{music}\nostartrule
-\startextract
-\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
-\notesp\tbbu0\qbp0f\en
-\Notes\tbu0\qb0f\en
-\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
-\Notes\qb0f\en
-\notes\tbbbu0\tbbu0\tbu0\qb0f\en
-\zendextract
-\end{music}
-\noindent has been coded as:
-\begin{quote}\begin{verbatim}
-\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
-\notesp\tbbu0\qbp0f\en
-\Notes\tbu0\qb0f\en
-\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
-\Notes\qb0f\en
-\notes\tbbbu0\tbbu0\tbu0\qb0f\en
-\end{verbatim}\end{quote}
-
-\noindent Note that the first beam opening command used a pitch one step
-below the note. This makes the stem shorter by one pitch unit, since it is always
-the \ital{closest} heavy bar that is separated from the given pitch by
-three staff spaces.
-
-We close this section with an example showing how to
-open a beam of one sense, increase multiplicity, then terminate with
-opposite sense:
-
-\begin{music}\nostartrule
-\startextract
-\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes
-\zendextract
-\end{music}
-\noindent which has been coded as
-\begin{quote}\begin{verbatim}
-\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes
-\end{verbatim}\end{quote}
-
- \begin{remark} One may save some typing by defining personalized
-\TeX\ macros to
-perform any oft repeated sequence of commands. For example,
-one could define a set of four sixteenths by the macro:
-
-\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}|
-
-\noindent where the first argument is the slope and the other four
-arguments are the pitches of the four successive sixteenths.
-\end{remark}
-
- %\check
- \subsection{Shorthand beam notations for repeated notes}\index{repeated patterns}
-Sometimes you may want to indicate repeated short notes with open note heads joined
-by a beam. Here's an example of how to do that
-using the \keyindex{hb} macro:
-
-\begin{music}\nostartrule
-\startextract
-\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes
-\Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes
-\zendextract
-\end{music}
-\noindent which has been coded as:
-\begin{quote}\begin{verbatim}
-\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes
-\Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes
-\end{verbatim}\end{quote}
-
-It is also possible to dispense with the stems:
-
-\begin{music}\nostartrule
-\startextract
-\Notes\ibbl0j3\wh j\tbl0\wh l\enotes
-\Notes\ibbu0g3\wh g\tbu0\wh i\enotes
-\zendextract
-\end{music}
-\noindent which was coded as
-\begin{quote}\begin{verbatim}
-\Notes\ibbl0j3\wh j\tbl0\wh l\enotes
-\Notes\ibbu0g3\wh g\tbu0\wh i\enotes
-\end{verbatim}\end{quote}
-\noindent A different look could be obtained as follows:
-
-\begin{music}\nostartrule
-\startextract
-\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes
-\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace
-\zendextract
-\end{music}
-\noindent which was coded as:
-\begin{quote}\begin{verbatim}
-\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes
-\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace
-\end{verbatim}\end{quote}
-
-Yet another way to indicate repeated notes is given in the
-following example:
-
- \begin{music}\nostartrule
-\startextract
-\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
- \ibu0j0\qb0{jjj}\tbu0\qb0j\en
-\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h%
- \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar
-\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
- \ibbu0i0\qb0{jjj}\tbu0\qb0j%
- \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
- \ibbu0i0\qb0{jjj}\tbu0\qb0j\en
-\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h%
- \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en
-\zendextract
- \end{music}
- \noindent whose coding (due to Werner {\sc Icking}) is
-
-\begin{quote}\begin{verbatim}
-\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
- \ibu0j0\qb0{jjj}\tbu0\qb0j\en
-\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h%
- \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar
-\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
- \ibbu0i0\qb0{jjj}\tbu0\qb0j%
- \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
- \ibbu0i0\qb0{jjj}\tbu0\qb0j\en
-\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h%
- \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en
-\end{verbatim}\end{quote}
-
- \subsection{Beams that cross line breaks}
-
-Although careful typesetting can usually avoid it, occasionally
-a beam may need to cross a line break. If so, it must be manually terminated at
-the end of one line and continued in the next. This
-can be done by shifting beam terminations and initiations
-using \keyindex{roff} and/or
-\keyindex{loff}, or by inserting a spacing command such as
-\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf
-Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip
-
-\begin{music}
-\parindent0pt
-\def\rqs{\lower\Interligne\rlap\qs}
-\def\snotes{\vnotes1\elemskip}
-\setstaffs1{2}
-\generalsignature{2}
-\setclef1{\bass}
-\interstaff{12}
-\startpiece
-%%% bar 1
-\addspace\afterruleskip
-\snotes|\tinynotesize\ibsluru0n\ibbu0m5\qb0{=m}\tqh0n\en
-\qspace
-\Notes\zchar{-7}\sPed\loffset{.3}{\fl E}\zq E\qu{_I}%
- |\zql g\ibu2l0\busf2\qb2{=m}\en
-\Notes|\tubslur0o\qb2{_l}\en
-\Notes\loffset{.3}{\fl L}\zq L\ibl0L0\qb0{_b}%
- |\ibl1h0\zqb1g\bupz2\qb2l\en
-\Notes\zq L\tqb0b|\tbl1\zqb1g\bupz2\tqh2l\en
-\NOtes\zq L\ql b|\zql g\qu l\en
-\notes\zchar{-7}\sPed\zchar{-7}{\eightit ~~~sempre}%
- \zchar{14}{\pp\eightit~sempre}\zq I\ibbu1J0\qb1L|\qs\en
-\notes\qs|\zq N\ibbu3d0\qb3{_d}\en
-\notes\qb1E|\rqs\en
-\notes\qs|\fl e\zq N\rq e\qb3d\en
-%%% bar 2
-\bar
-\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\rqs\en
-\qspace
-\notes\qs|\lfl d\zq d\zq {=f}\qb3N\en
-\notes\tqh1{_E}|\rqs\en
-\notes\qs|\zq d\zq g\tqh3N\en
-\notes\zq I\ibbu0J0\qb0L|\rqs\en
-\notes\qs|\zq d\ibbu1d0\qb1N\en
-\notes\qb0E|\rqs\en
-\notes\qs|\fl e\rq e\zq d\qb1N\en
-\notes\zq I\qb0L|\rqs\en
-\notes\qs|\zq f\zq d\qb1N\en
-\notes\tqh0E|\rqs\en
-\notes\qs|\zq g\zq d\tqh1N\en
-\notes\zq I\ibbu0J0\qb0L|\rqs\en
-\notes\qs|\zq d\ibbu1d0\qb1N\en
-\notes\qb0E|\rqs\en
-\notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
-\endpiece
-\end{music}
-\noindent The prolongation of the two upper beam at the end is
-illustrated in the code fragment
-\begin{quote}\begin{verbatim}
-\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
-\end{verbatim}\end{quote}
- %\check
-
- \subsection{Beams with notes on several different staves}
-
-Here's a simple example from {\sc Brahms}'s
-Intermezzo op.~118,1 provided by
-Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip
-
-\begin{music}
-\interstaff{12}
-\setstaffs1{2}
-\setclef1\bass
-\generalmeter\allabreve
-\startextract
-\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes
-\bar
-\nspace
-\Notes\ibu0L2\qb0{CEJLcL}%
- \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes
-\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes
-\bar
-\Notes\ttie1\zh{.L.a}\hl{.e}%
- \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes
-\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes
-\endextract
-\end{music}
- %\check
-\noindent The coding is
-\begin{verbatim}
-\interstaff{13}
-\instrumentnumber{1}
-\setstaffs1{2}
-\setclef1\bass
-\generalmeter\allabreve
-\startextract
-\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes
-\bar
-\nspace
-\Notes\ibu0a1\qb0{CEJLcL}%
- \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes
-\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes
-\bar
-\Notes\ttie1\zh{.L.a}\hl{.e}%
- \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes
-\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes
-\endextract
-\end{verbatim}
-
-\noindent (This example also shows that there is no problem in extending
-a beam across a bar line.)
-
-The general features that enable this type of coding as well as the
-more complex example to follow are
- \begin{itemize}\setlength{\itemsep}{0ex}
-% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl},
-%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm
-%define beams whose initial vertical position and slope are fixed
-%relative
-%to the staff where they begin, but notes in other staves can still be
-%connected to them using \Bslash{\tt qb}\onen.
-%
-% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate
-%beam $n$ at the specified position, but \musixtex\ remembers the beam
-%parameters until a new beam with the same number is defined.
-%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
-%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still
-%generate notes connected to the phantom extension of this beam,
-%\ital{provided they are issued in a different staff}. If the command
-%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after
-% the beam had ended, an error would result.
-%
- \item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}},
-{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}}
-define beams whose initial vertical position and slope are fixed
-relative
-to the staff where they begin, but notes in other staves can still be
-connected to them using {\Bslash\texttt{qb}\onen}.
-
- \item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen}
-terminate
-beam $n$ at the specified position, but \musixtex\ remembers the beam
-parameters until a new beam with the same number is defined.
-Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
-\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still
-generate notes connected to the phantom extension of this beam,
-\ital{provided they are issued in a different staff}. If the command
-\verb|\qb|\enpee\rm~were issued on the same staff as the beam after
- the beam had ended, an error would result.
-
-
-
-
-
- \item If the beam is initiated on one staff,
-notes in a lower staff can be connected to it, but only \ital{after} the beam
-has been defined. This may require using the command \keyindex{prevstaff}
-to go back one staff, as described in section
-\ref{movingtostaffs}.
-
- \end{itemize}
-
- Here is an example:
-
- \begin{music}
- \setstaffs13
- \setclef1{6000}
- \startextract
- \notes
- \nextstaff\Ibbbu0Ae7\prevstaff
- \qb0{AEH^JLa}\relax\nextstaff
- \qb0{******^c}\tqh0e\relax
- |\zq{h^jl}\ql o\enotes
- \notes
- \nextstaff
- \Ibbbu0hH6\qb0{hec}\prevstaff
- \qb0{***aLJ}\tqh0H\relax\nextstaff
- |\zq{h^jl}\ql o\enotes \nspace
- \zendextract
- \end{music}
-
- \noindent which is coded as:
-
- \begin{quote}
- \begin{verbatim}
- \setstaffs13
- \setclef1{6000}
- \startextract
- \notes
- \nextstaff\Ibbbu0Ae7\prevstaff
- \qb0{AEH^JLa}\relax\nextstaff
- \qb0{******^c}\tqh0e\relax
- |\zq{h^jl}\ql o\enotes
- \notes
- \nextstaff
- \Ibbbu0hH6\qb0{hec}\prevstaff
- \qb0{***aLJ}\tqh0H\relax\nextstaff
- |\zq{h^jl}\ql o\enotes \nspace
- \zendextract
- \end{verbatim}
- \end{quote}
-
-In this example we not only see multiple uses of \keyindex{nextstaff} and
-\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes
-(see section \ref{CollectiveCoding}).
-
-\section{Rests}
- \subsection{Ordinary rests}
- A separate macro is defined for each kind of ordinary rest. They cause
-a space after the symbol, just like spacing note commands, but they have
-no parameters. A whole rest is coded as
-\keyindex{pause}, dotted whole rest \keyindex{pausep},
-half rest \keyindex{hpause}, dotted half rest \keyindex{hpausep},
-quarter rest \keyindex{qp} or \keyindex{soupir},
-eighth rest \keyindex{ds}, sixteenth rest \keyindex{qs},
-32nd rest \keyindex{hs}, and 64th rest \keyindex{qqs}.
-
- Longer rests, normally interpreted as lasting
-two or four bars respectively, can be coded as \keyindex{PAuse}
-and \keyindex{PAUSe}, which yield:
-
-\begin{music}\nostartrule
-\generalmeter{\meterfrac44}
-\startextract
-\def\atnextbar{\znotes\centerbar\PAuse\en}%
-\NOTEs\en\bar
-\def\atnextbar{\znotes\centerbar\PAUSe\en}%
-\NOTEs\en\zendextract
-\end{music}
- %\check
-
-
- \subsection{Raising rests}\index{raising rests}
-All the
-previous rests except \keyindex{pausep} and
-\keyindex{hpausep} are \ital{hboxes}, which means that
-they can be vertically offset if needed using the
-standard \TeX\ command \keyindex{raise}. For example:
-
- \begin{quote}
- \begin{verbatim}
- \raise 2\Interligne\qp
- \raise 3mm\qq
- \end{verbatim}
- \end{quote}
-
-\noindent where \keyindex{Interligne} is the distance from one staff line to the
-next.
-
-In addition, two macros are available to put a whole or
-half rest above or below the staff. 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
-as non-spacing is not obvious}, are
- \begin{itemize}\setlength{\itemsep}{0ex}
- \item \keyindex{liftpause}~$n$ to get a
- \hbox to10pt{\liftpause{-2}\hss}
- raised from original position by $n$ staff line intervals,
- \item \keyindex{lifthpause}~$n$ to get
- \hbox to10pt{\lifthpause{-1}\hss} raised the same way.
- \item \keyindex{liftpausep}~$n$ to get a
- \hbox to10pt{\liftpausep{-2}\hss}
- raised from original position by $n$ staff line intervals,
- \item \keyindex{lifthpausep}~$n$ to get
- \hbox to10pt{\lifthpausep{-1}\hss} raised the same way.
- \end{itemize}
- %\check
-
- \subsection{Bar centered rests}\label{barcentered}
-Sometimes it is necessary to place a rest (or any other symbol) exactly in the middle
-of a bar. This can be done with combinations of the commands
-\keyindex{atnextbar},
-\keyindex{centerbar},
-\keyindex{centerPAUSe},
-\keyindex{centerPAuse},
-\keyindex{centerpause},
-\keyindex{centerhpause},
-as demonstrated in the following example:
-
-\begin{music}
-\generalmeter\meterC
-\setclef1\bass
-\setstaffs1{2}
-\parindent0pt
-\startpiece\addspace\afterruleskip
-\NOtes|\qa{cegj}\en
-\def\atnextbar{\znotes\centerpause\en}\bar
-\NOtes|\qa{jgec}\en
-\def\atnextbar{\znotes\centerpause\en}\bar
-\Notes\ca{`jihgfedc}\en
-\def\atnextbar{\znotes|\centerpause\en}\bar
-\NOTes\ha{Nc}\en
-\def\atnextbar{\znotes|\centerpause\en}\bar
-\addspace{10\elemskip}%
-\def\atnextbar{\znotes\centerbar\duevolte|\centerbar\duevolte\en}\endpiece
-\end{music}
-\noindent with the coding
-\begin{verbatim}
-\generalmeter\meterC
-\setclef1\bass
-\setstaffs1{2}
-\parindent0pt
-\startpiece\addspace\afterruleskip
-\NOtes|\qa{cegj}\en
-\def\atnextbar{\znotes\centerpause\en}\bar
-\NOtes|\qa{jgec}\en
-\def\atnextbar{\znotes\centerpause\en}\bar
-\Notes\ca{`jihgfedc}\en
-\def\atnextbar{\znotes|\centerpause\en}\bar
-\NOTes\ha{Nc}\en
-\def\atnextbar{\znotes|\centerpause\en}\bar
-\addspace{10\elemskip}%
-\def\atnextbar{\znotes\centerbar{\duevolte}|\centerbar{\duevolte}\en}\endpiece
-\end{verbatim}
- %\check
-
-\section{Skipping spaces and shifting symbols}\label{spacing}
-We've already mentioned that when coding a sequence of notes inside a
-particular pair \verb|\notes...\enotes|, the command \keyindex{sk} can
-be used to skip horizontally by one \keyindex{noteskip}. This would be
-used for example to align the third note in one staff with the second note
-in another. Skipping in this manner is logically equivalent to inserting
-blank space; as such, the space must be recorded by \musixtex. This command
-and the others discussed here will
-do just that, so that \verb|musixflx| can properly account for
-the added space.
-
-To skip by one \verb|noteskip| while in a collective coding sequence,
-you may simply insert an asterisk (``\verb|*|''\index{*}). This would have
-the same effect as stopping the sequence, entering {\Bslash sk}, then
-restarting. For example,
-
-\begin{music}
-\setstaffs12
-\startextract
-\Notes\hu{e*f*g}|\qu{gghhii}\en
-\zendextract
-\end{music}
-\noindent was coded as
-\verb|\Notes\hu{e*f*g}|{\tt |}\verb|\qu{gghhii}\en|
-
-To skip forward
-by one half of a \verb|\noteskip|, use \keyindex{hsk}.
-To insert spacing of approximately one note head width, you can use
-\keyindex{qsk}, or for half of that, \keyindex{hqsk}. To skip backward
-by one \verb|\noteskip|, use \keyindex{bsk}. More generally,
-to skip an arbitrary distance, use \keyindex{off}\verb|{|$D$\verb|}|
-where $D$ is any \itxem{scalable dimension}, e.g.~\verb|\noteskip| or
-\verb|\elemskip|. Indeed, if you look in the
-\musixtex\ source, you will see that \verb|\off| is the basic control
-sequence used to define all the other skip commands.
-
-The foregoing commands only work \ital{inside} a \verb|\notes...\enotes| group.
-A different set of commands must be used to insert space \ital{outside}
-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...\enotes|
-group, use \keyindex{hardspace}\verb|{|$d$\verb|}{|\dots\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},
-\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and
-their multiples. Finally, to insert
-scalable spacing outside
-a \verb|\notes...\enotes| group, use
-\keyindex{addspace}\verb|{|$D$\verb|}|. The argument may be negative, in
-which case the normal spacing will be reduced. For example, after
-\keyindex{changecontext}, many users prefer to reduce the space with
-a command like
-\verb|addspace{-|\keyindex{afterruleskip}\verb|}|.
-
-There is yet another set of commands for simply shifting a note, symbol, or sequence
-inside \verb|\notes...\enotes|
-without adding or subtracting any space. To shift by one note head width,
-you may write \keyindex{roff}\verb|{|\ital{any macro}\verb|}|
-or \keyindex{loff}\verb|{|\dots\verb|}| for a right or left shift respectively.
- To shift by half of a note head width, use
-\keyindex{hroff}\verb|{|\dots\verb|}| or
-\keyindex{hloff}\verb|{|\dots\verb|}|.
-For example, to get
- %\check
-
-\begin{music}\nostartrule
-\startextract
-\Notes\roff{\zwh g}\qu g\qu h\qu i\enotes
-\zendextract
-\end{music}
-\noindent you would code:
-
- %\check
-
-\begin{quote}\begin{verbatim}
-\Notes\roff{\zwh g}\qu g\qu h\qu i\enotes
-\end{verbatim}\end{quote}
-
-\noindent To shift notes or symbols by an arbitrary amount, use
-\keyindex{roffset}\verb|{|$N$\verb|}{|\dots\verb|}| or
-\keyindex{loffset}\verb|{|$N$\verb|}{|\dots\verb|}|, where
-$N$ is the distance to be shifted in note head widths. For example
-
-\begin{music}\nostartrule
-\startextract
-\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes
-\zendextract
-\end{music}
-\noindent was coded as
-
-\begin{quote}\begin{verbatim}
-\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes
-\end{verbatim}\end{quote}
-
-An important feature of these shift commands is that the offset,
-whether implicit or explicit, is \ital{not} added to
-the total spacing amount, but any spacing due to the included commands is.
-
-
-\section{Accidentals}
-
-Accidentals can be introduced in two ways.
-
- The first way, using explicit macros, consists for
-example in coding \keyindex{fl}\pitchp~to put a \ital{flat} at the
-pitch $p$, presumably right before a note at the same pitch. This is a
-non-spacing command and will automatically place the accidental an
-appropriate distance to the left of the anticipated note head.
-Naturals, sharps, double flats and double sharps are coded \keyindex{na}\pitchp,
-\keyindex{sh}\pitchp, \keyindex{dfl}\pitchp~and \keyindex{dsh}\pitchp~respectively.
-
-The alternate macros \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh},
-\keyindex{ldfl} and \keyindex{ldsh}
-place the same accidentals, but shifted one note head width
-to the left. These can be used if a note head has been shifted to the left, or
-to avoid collision with other accidentals
-in a chord. If you want to shift an accidental by some other amount for
-more precise positioning, you could use \keyindex{loffset} with the normal
-accidental macro as the second parameter.
-
- The second way of coding accidentals is to modify the parameter of a
-note command. Just put the symbol
-\verb|^| for a sharp, \verb|_| for a flat, \verb|=|~for a natural,
-\verb|>| for a double sharp, or \verb|<| for a double
-flat, right before the letter or number representing the pitch.
-For example, \verb|\qb{^g}| yields a
-$G\sharp$. This may be used effectively in collective coding, e.g.
-\verb|\qu{ac^d}|.
-
- There are two sizes of accidentals. By default they will be large unless there
-is not enough space between notes, in which case they will be made small. Either
-size can be forced locally by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or
-\keyindex{smallfl}, \keyindex{smallsh}, etc. If you want all accidentals to
-be large, then declare \keyindex{bigaccid} near the top of the input file. For
-exclusively small ones use \keyindex{smallaccid}. \keyindex{varaccid} will restore
-variable sizes.
-
- For editorial purposes, small accidentals can be placed \ital{above} note
-heads. This is done using \keyindex{uppersh}\pitchp, \keyindex{upperna}\pitchp, or
-\keyindex{upperfl}\pitchp:
-
-\begin{music}\nostartrule
-\startextract
-\NOtes\uppersh l\qa l\enotes
-\NOtes\upperna m\qa m\enotes
-\NOtes\upperfl l\qa l\enotes
-\zendextract
-\end{music}
- It also possible to introduce \ital{\ixem{cautionary accidental}s},
-i.e.\ small accidentals enclosed in parentheses. This done by preceding
-the name of the accidental keyword with ``\verb|c|'',\label{cautionary}
- e.g.~\keyindex{cfl}\pitchp~for a cautionary flat.
- Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl},
-\keyindex{cna},
-\keyindex{cdfl} and \keyindex{cdsh}, which give
-
-\begin{music}\nostartrule
-\startextract
-\NOtes\csh g\qa g\enotes
-\NOtes\cfl h\qa h\enotes
-\NOtes\cna i\qa i\enotes
-\NOtes\cdfl j\qa j\enotes
-\NOtes\cdsh k\qa k\enotes
-\zendextract
-\end{music}
-\noindent
-
-The distance between all notes and accidentals is controlled by
-\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension}, where
-positive values shift to the left and negative to right, with a
-default value of \verb|0pt|.
-
- \section{Transposition and octaviation}\label{octaviation}
-Two different subjects are discussed in this section. First, there
-are commands that cause notes to be printed at different pitches than
-entered. We shall refer to this as \ital{logical} transposition.
-Second, there are notations for octaviation that do
-not otherwise alter the appearance of the score, which we'll call
-\ital{octaviation lines}.
-
-\subsection{Logical transposition and octaviation}
-
-Logical transposition is controlled by an integer-valued \TeX\ register
-\keyindex{transpose}. Its default value is 0. If you enter
-\verb|\transpose=|$n$, then all subsequent pitches specified by
-letters will be transposed by $n$ positions. Normally this method would be
-used to transpose an entire piece. Pitches specified with
-numbers will not be affected, so if you think you will ever want to
-transpose a piece, you should enter all note pitches with letters.
-
-One way to transpose up or down by one octave would be to set
-\keyindex{transpose} to 7 or $-7$. For example, to make a quarter note
-octave as a chord, you could define a macro as
-\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}|.
-Note that because \verb|\transpose| is altered inside a pair of braces, the
-effect of the alteration is only local and does not reach outside the braces.
-
- Another more convenient way to transpose locally up or down by one octave
-makes use respectively of the characters
-\verb|'| (\itxem{acute accent}) and \verb|`| (\itxem{grave accent}),
-placed immediately before the letter specifying the pitch. So
-for example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and
-\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. These characters have
-cumulative effects but in a somewhat restricted sense. They will alter the value of
-\verb|\transpose|, but only until changing to a different staff or
-instrument or encountering \verb|\enotes|, at which time it will be reset to the
-value it had before the accents were used. (That value is stored in
-another register called \keyindex{normaltranspose}). Thus for example
-\verb|\qu{''A'A}| and \verb|\qu{''A}\qu{'A}|
-are both equivalent to \verb|\qu{ah}|.
-
-At any point it is possible to reset the \verb|\transpose| register
-explicitly to the value it had
-when entering \verb|\notes|, by prefacing a pitch indication with
-``\verb|!|''. Thus \verb|\qu{!a'a}| always
-gives the note \verb|a| and its upper octave \verb|h|, shifted by the
-value of {\Bslash transpose} at the beginning of the current
-\verb|\notes...\enotes| group, regardless of the number of grave and
-acute accents occurring previously within that group.
-
- \subsection{Behavior of accidentals under logical transposition}\label{transposeaccids}
- The above processes indeed change the vertical position of the note heads
-and associated symbols (e.g.~stems and beams), but they don't take
-care of the necessary changes of accidentals when transposing. For example,
-suppose an F$\sharp$ occurs in the key of C major. If the piece is
-transposed up three steps to the key of F, the F$\sharp$ should logically
-become a
-B$\natural$. But if all you do is set \verb|\transpose=3|, the note will
-be typeset as a B$\sharp$. In other words, \musixtex\ will interpret the~\verb|\sh|
-or~\verb|^| to mean ``print a $\sharp$''.
-
-Naturally there is a solution, but it requires the typesetter to plan
-ahead: To force accidentals to behave well under transposition, they
-must be entered according to the \ital{relative
-accidental convention}. To alert \musixtex\ that you are using this
-convention to enter notes, you must issue the command
-\keyindex{relativeaccid}. Once you have done this, the meaning of
-accidental macros and characters (accents) in the input file is changed.
-Under the convention, when for example a
-\verb|\sh| is entered, it indicates a note that is supposed to sound
-\ital{one half step higher than what it would normally be under the
-current key signature}. Flats and naturals on entry similarly indicate
-notes one half step lower or at the same pitch as what the key signature
-dictates. \musixtex\ will take account of the key signature, and print
-the correct symbol according to the modern notational convention,
-provided you have explicitly entered the transposed key signature using
-for example \verb|\generalsignature|.
-
-Many people have a difficult time understanding how this works, so
-here are two simple examples in great detail. Consider the case already mentioned
-of the F$\sharp$ in the key of C major. With
-\verb|\relativeaccid| in effect, it should still be entered as \verb|\sh f|, and
-with no transposition it will still appear as F$\sharp$. With
-\verb|\transpose=3| and \verb|\generalsignature{-1}| it will appear
-(correctly) as B$\natural$. Conversely, suppose you want to enter a
-B$\natural$ when originally in the key of F. With \verb|\relativeaccid| in effect, it
-should be entered as \verb|\sh i|. (That's the part that people
-have the most trouble with: ``If I want a natural, why do I have to enter a sharp?'' Answer:
-``Go back and re-read the previous paragraph very carefully.'') With no transposition, it will be
-printed as B$\natural$. Now to transpose this to C major, set
-\verb|\transpose=-3| and \verb|\generalsignature0|, and it will appear
-as F$\sharp$.
-
-If you have invoked \verb|\relativeaccid| and then
-later for some reason wish to revert to the ordinary convention,
-enter \keyindex{absoluteaccid}.
-
-\subsection{Octaviation lines}
-The first kind of notation for octave transposition covers a
-horizontal range that must be specified at the outset. The sequence
-
-\medskip
-\begin{music}\nostartrule
-\startextract
-\NOTEs\octfinup{10}{3.5}\ql{!'a}\ql b\ql c\ql d\en
-\zendextract
-\end{music}
-\noindent can be coded as
-\verb|\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en|.
-\zkeyindex{octfinup}
-Here, the dashed line is at staff level 10 and extends 3.5\verb|\noteskip|.
-Conversely, lower octaviation can be coded. For example
-
-\begin{music}\nostartrule
-\startextract
-\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en
-\zendextract
-\end{music}
-\noindent is coded as
-\verb|\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en|.
-\zkeyindex{octfindown}
- To change the text that is part of these notations, redefine one of
-the macros \keyindex{octnumberup} or \keyindex{octnumberdown}. The reason for
-the distinction between up and down is that, traditionally, upper octaviation
-only uses the figure
-``8'' to denote its beginning, while lower octaviation uses a more
-elaborate indication such as \hbox{\ppffsixteen8$^{va}$ \it bassa}. Thus
-
-\bigskip
-\begin{music}\nostartrule
-\startextract
-\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en
-\zendextract
-\end{music}
-\noindent is coded
-
-\noindent\verb|\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en|
-
-\noindent while
-
-\begin{music}
-\startextract
-\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}\octfindown{-5}{2.5}\ql l\ql
-k\ql j\en
-\endextract
-\end{music}
-\noindent is coded as
-\begin{quote}\begin{verbatim}
-\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}%
- \octfindown{-5}{2.5}\ql l\ql k\ql j\en
-\end{verbatim}\end{quote}
-
-The foregoing constructions have the drawbacks that (a) the span must be
-indicated ahead of time and (b) they cannot extend across a line break.
-Both restrictions are removed with the use of the alternate macros \keyindex{Ioctfinup},
-\keyindex{Ioctfindown} and
-\keyindex{Toctfin}.
-
-{\Bslash Ioctfinup}~$np$ indicates an upward octave transposition line with reference number
-$n$ and with dashed line at pitch $p$.
-By default $n$ must be in the range [0-5], but
-you can specify a larger maximum number
-directly with \keyindex{setmaxoctlines}\verb|{|$m$\verb|}|
-where $7<m\leq 100$\footnote{This may require e-\TeX.}; the
-reference number will be in the range between 0 and $(m-1)$.
-\label{musixmad_setmaxoctlines}
-
-Usually $p$ will be numeric and $>9$,
-but it can also be a letter.
-{\Bslash Ioctfindown}~$np$ starts a lower octave transposition line at pitch $p$
-(usually $p<-1$). Both extend until terminated with {\Bslash Toctfin}. The
-difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is
-the relative position of the figure ``8'' with respect to the dashed line, and
-the sense of the terminating hook As shorthand, \keyindex{ioctfinup} is equivalent to
-\verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to
-\verb|\Ioctfindown 0|.
-
-For example,
-
-\medskip
- \begin{music}\nostartrule
-\instrumentnumber{1}
-\setstaffs12
-\setclef1{6000}
-%
-\startextract
-\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\enotes
-\bar
-\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\enotes
-\bar
-\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes
-\bar
-\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes
-\zendextract
-\end{music}
-\noindent is coded as
-\begin{quote}\begin{verbatim}
-\begin{music}\nostartrule
-\instrumentnumber{1}
-\setstaffs12
-\setclef1{6000}
-%
-\startextract
-\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\enotes
-\bar
-\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\enotes
-\bar
-\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes
-\bar
-\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes
-\zendextract
-\end{music}
-\end{verbatim}\end{quote}
- %\check
-
- The elevation of octaviation lines may be changed in midstream using
-\keyindex{Liftoctline}~$n$$p$, where $n$ is the reference number of the
- octave line, and $p$ a (possibly negative) number of
-\keyindex{internote}s (staff pitch positions) by which elevation of the dashed line should be changed.
-This may be useful when octaviation lines extend over several systems and the
-elevation needs to be changed in a systems after the one where it was initiated.
-
-
-\section{Slurs and ties}
-Two fundamentally different implementations of slurs, ties, and hairpins are
-available. (The hairpins ``go along for the ride'' with slurs and ties.) First, there are the
-original \ital{font-based} versions. These are constructed with traditional
-\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files.
-Second, it is now possible
-to generate these shapes directly with postscript, dispensing altogether with
-the font characters\footnote{Please do not be confused by the availability of
-postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts).
-Once installed in a \TeX\ system,
-their function and use are 100\% transparently identical with bitmapped versions
-of the slur fonts. On the other
-hand, postscript slurs are functionally distinct from font-based slurs, and only
- share some of the same syntax.}. We shall first describe the font-based versions,
-then Type K postscript slurs, which are one of two available postscript slur
-options\footnote{An
-alternate approach to postscript slurs, called {\it Type M} after its developer
-Hiroaki {\sc Morimoto}, is available from the
-\href{http://icking-music-archive.org/software/indexmt6.html}
-{\underline{Icking Music Archive}}.}. If you plan to use Type K postscript slurs,
-you may skip directly to section~\ref{PostscriptSlurs}.
-
- \subsection{Font-based slurs}
-
-Font-based slurs and ties provided by \musixtex\ can be divided into two categories:
-\label{simpleslur}
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item Those where the complete slur symbol is composed of a single
- character from one of the slur fonts, and
- \item those where the slur symbol is composed of three distinct
- characters, to form the beginning, middle and end of the slur.
-\end{itemize}
-
-The former are called \ital{simple slurs} and the latter,
-\ital{compound slurs}. In many cases the distinction between the two is
-invisible to the user, in that many of the macros described below will
-automatically select between the two types. However, there are other macros
-that allow simple slurs to be forced.
-
-The next few subsections describe the usual method of slur coding, where the
-choice between simple or compound slurs is made automatically.
-In this case, slurs are initiated and terminated by separate macros,
-similar to beams.
-
- \subsubsection{Font-based slur initiation}
-A slur must be initiated \ital{before}
-the spacing note on which the slur begins, and terminated \ital{before} the
-note on which it ends.
-
-The basic slur initiation macro is
-\keyindex{isluru}\enpee, which initiates an upper slur, with reference
-number $n$, beginning on a note at pitch $p$. The starting point of the slur is
-centered above a virtual quarter note head at pitch
-$p$\footnote{The slur will start in the same place regardless of whether there is
-{\it actually} a note at pitch $p$.}.
-Similarly, \keyindex{islurd}\enpee\ initiates a lower slur.
-These slurs are terminated by coding
-\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the
-termination pitch.
-
-As with beams, the reference number $n$ by default can take values from 0 to 5, or
-up to 8 or 11 respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included.
-You can also specify the maximum number
-directly with \keyindex{setmaxslurs}\verb|{|$m$\verb|}| where
-$7<m\leq 100$%
-\footnote{This may require e-\TeX.};
-the reference number $n$ will be in the range between 0 and $(m-1)$.
-\label{musixmad_setmaxslurs}
-
-To illustrate with an elementary example, the following passage
-
-\begin{music}\nostartrule
-\startextract
-\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
-\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
-\bar
-\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
-\NOTes\hu g\en
-\zendextract
-\end{music}
-
-\noindent was coded as:
-\begin{quote}\begin{verbatim}
-\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
-\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
-\bar
-\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
-\NOTes\hu g\en
-\end{verbatim}\end{quote}
-
-Other macros are provided to change the starting and ending point of the slur
-in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\
-initiates a ``short'' upper slur suitable for linking notes involved in chords.
-The
-starting point is shifted to the right, and is vertically aligned with the
-center of a virtual quarter note head at pitch $p$. If a lower short slur
-is wanted, one should use \keyindex{isslurd}\enpee.
-
-Sometimes, busy scores call for slurs which are vertically aligned with the
-ends of note stems rather than note heads. These ``beam'' slurs---so called
-because the slur is written at usual beam height---are provided by the
-macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros
-initiate slurs raised or lowered by the current stem height to accommodate
-stems or beams above or below.
- %\check
-
- \subsubsection{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
-are summarized in the following table:
-\begin{center}
- \begin{tabular}{ll}
- Initiation & Termination \\
- \hline
- \keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\
- \keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\
- \keyindex{ibsluru} & \keyindex{tbsluru}\\
- \keyindex{ibslurd} & \keyindex{tbslurd}\\
- \hline
- \end{tabular} \end{center}
-
-\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|.
-
- \subsubsection{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:
-(1) There cannot be any pitch difference between start and end, and (2) the
-positions of both the beginning and end of a tie relative to the note heads
-are slightly different from those of an ordinary slur\footnote{Editor's note: In
-fact, it appears that the default positioning of the ends of ties is exactly
-the same as that of short slurs.}.
-Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of
-reference number $n$ at pitch $p$.
-Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of
-reference number $n$ at pitch $p$. The starting position of the tie is the same
-as \verb|\issluru| and
-\verb|\isslurd| respectively. The tie is terminated by coding
-\keyindex{ttie}\onen. Note that no pitch parameter is required.
-
-There are also \ital{short ties}, which bear the same relation to ordinary
-ties as short slurs to ordinary slurs. They are intended to be used between chords.
-They are initiated with
-\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is
-not clear why this command uses ``{\tt l}'' when all other similar ones use
-``{\tt d}''.}, and terminated with \keyindex{tten}\onen.
-
-The following example illustrates the differences in positioning of the various
-slur and tie options:
-
-\begin{music}\nostartrule
-\startextract
-\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
-\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
-\itenl0g\qu g\tten0\qu g\en
-\zendextract
-\end{music}
-\noindent It was coded as
-\begin{quote}\begin{verbatim}
-\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
-\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
-\itenl0g\qu g\tten0\qu g\en
-\end{verbatim}\end{quote}
-
-\noindent Here are some more general examples of font-based slurs and ties
-discussed so far:
-
-\begin{music}\nostartrule
-\startextract
-\NOTes\isluru0g\hl g\tslur0h\hl h\en
-\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
-\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
-\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
-\zendextract
-\end{music}
-\noindent This was coded as:
-\begin{quote}\begin{verbatim}
-\NOTes\isluru0g\hl g\tslur0h\hl h\en
-\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
-\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
-\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
-\end{verbatim}\end{quote}
-
-\subsubsection{Dotted slurs}
-
-Any font-based slur may be made dotted by specifying \keyindex{dotted}
-just before it is initiated:
-
-\begin{music}\nostartrule
-\startextract
-\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
-\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
-\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
-\NOTes\hu g\en
-\zendextract
-\end{music}
-
-\noindent This was coded as:
-\begin{quote}\begin{verbatim}
-\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
-\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
-\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
-\NOTes\hu g\en
-\end{verbatim}\end{quote}
-
- \subsubsection{Modifying font-based slur properties}
-Several macros are provided to modify the shape of slurs already initiated.
-These macros must be coded right before the slur \ital{termination}. Invoking
-any of the macros described in this section will force the slur to be compound.
-
-By default, the midpoint of a font-based slur is three \verb|\internote|s
-above or below a line between its ends. This can be changed using the macro
-\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For
-example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to
-rise to a maximum height of \verb|6\internote| above the starting position.
-For example,
-
-\begin{music}\nostartrule
-\startextract
-\NOtes\multnoteskip8\isluru0g\ql g\en
-\notes\tslur0g\ql g\en
-\zendextract
-\startextract
-\NOtes\multnoteskip8\isluru0g\ql g\en
-\notes\midslur7\tslur0g\ql g\en
-\zendextract
-\startextract
-\NOtes\multnoteskip8\isluru2g\ql g\en
-\notes\midslur{11}\tslur2g\ql g\en
-\zendextract
-\end{music}
-\noindent was coded as
-\begin{quote}\begin{verbatim}
-\NOtes\multnoteskip8\isluru0g\ql g\en
-\notes\tslur0g\ql g\en
-\NOtes\multnoteskip8\isluru0g\ql g\en
-\notes\midslur7\tslur0g\ql g\en
-\NOtes\multnoteskip8\isluru2g\ql g\en
-\notes\midslur{11}\tslur2g\ql g\en
-\end{verbatim}\end{quote}
-
-The macro \keyindex{curve}$hij$ allows more precise control over the shape
-of a slur or tie. The first parameter $h$
-is the vertical deviation and it works exactly like the sole parameter of
-\verb|\midslur| described above. The second and
-third parameters $i$ and $j$ set the initial and final gradient respectively.
-They are defined as the horizontal distance required to attain maximum
-vertical deviation. Thus smaller numbers for $i$
-and $j$ lead to more extreme gradients.
-The default setting is \verb|\curve344|. Hence, coding \verb|\curve322|
-doubles the initial and final gradient relative to the default.
-As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before
-the slur termination. The example below illustrates the use of \verb|\curve|.
-
-\begin{music}\nostartrule
-\startextract
-\NOtes\multnoteskip8\itieu0g\ql g\en
-\notes\ttie0\ql g\en
-\zendextract
-\startextract
-\NOtes\multnoteskip8\itieu1g\ql g\en
-\notes\curve 322\ttie1\ql g\en
-\zendextract
-\startextract
-\NOtes\multnoteskip8\itieu2g\ql g\en
-\notes\curve 111\ttie2\ql g\en
-\zendextract
-\end{music}
-\noindent This was coded as
-\begin{quote}\begin{verbatim}
-\NOtes\multnoteskip8\itieu0g\ql g\en
-\notes\ttie0\ql g\en
-\zendextract
-\startextract
-\NOtes\multnoteskip8\itieu1g\ql g\en
-\notes\curve 322\ttie1\ql g\en
-\zendextract
-\startextract
-\NOtes\multnoteskip8\itieu2g\ql g\en
-\notes\curve 111\ttie2\ql g\en
-\end{verbatim}\end{quote}
-
-Two macros are provided to control the behaviour of slurs which extend across
-line breaks. Normally, the part of the slur before the line break is
-treated as a tie. This can be changed using \keyindex{breakslur}\enpee,
-which sets the termination height of
-the broken slur at the line break to pitch $p$, for slur number $n$.
-
-After the line break, the slur is normally resumed at the initial pitch
-reference, i.e., the one coded in \verb|\islur|. To change this, the macro
-\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used.
-Here $n$ is again the slur reference
-number and $h$ is the change in height relative to the initialization height.
-This macro is normally used following line breaks, in which case it is best
-coded using the \verb|\atnextline| macro. For example, coding
-\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero
-by \verb|6\internote| relative to its initialization height.
-
-The following example illustrates the use of the macros for broken slurs:
-
-\begin{minipage}[t]{75mm}
-Default, without adjustments:\\
-\begin{music}
-\hsize=50mm
-\generalmeter{\meterfrac24}%
-\parindent 0pt\staffbotmarg0pt%
-%
-%\interstaff{14\internote}%
-%
-\startpiece\bigaccid
-\Notes\ibsluru1b\qu b\qu g\en\bar
-\Notes\qu{'c!}\tslur1f\qu f\en
-\mulooseness1\Endpiece
-\end{music}
-\begin{verbatim}
-\Notes\ibsluru1b\qu b\qu g\en\bar
-\Notes\qu{'c!}\tslur1f\qu f\en
-\end{verbatim}
-\end{minipage}%
-\begin{minipage}[t]{75mm}
-With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\
-\begin{music}
-\hsize=50mm
-\generalmeter{\meterfrac24}%
-\parindent 0pt\staffbotmarg0pt%
-%
-%\interstaff{14\internote}%
-%
-\startpiece\bigaccid
-\def\atnextline{\Liftslur17}%
-\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar
-\Notes\qu{'c!}\tslur1f\qu f\en
-\mulooseness1\Endpiece
-\end{music}
-\begin{verbatim}
-\def\atnextline{\Liftslur17}%
-\Notes\ibsluru1b\qu b\qu g%
-\breakslur1g\en\bar
-\Notes\qu{'c!}\tslur1f\qu f\en
-\end{verbatim}
-\end{minipage}\medskip
-
-Occasionally in keyboard works one needs to begin a slur in one
-staff but end it in another. This can be done using the macro
-\keyindex{invertslur}\onen\ which is best described by
-reference to the example
-shown below.
-
-% Finding the final pitch is try and error, sorry, no way out.
-
-\begin{music}
-\setstaffs1{2}
-\setclef1\bass\interstaff{10.5}
-\startextract
-\NOtes\multnoteskip5\isluru0a\ql a\en
-\notes\invertslur0\curve311\tslur0j|\qu d\en
-\NOtes\multnoteskip{10}\isluru0a\ql a\en
-\notes\invertslur0\curve333\tslur0j|\qu d\en
-\zendextract
-\end{music}
-\noindent This was coded as
-\begin{quote}\begin{verbatim}
-\NOtes\multnoteskip5\isluru0a\ql a\en
-\notes\invertslur0\curve311\tslur0g|\qu d\en
-\NOtes\multnoteskip{10}\isluru0a\ql a\en
-\notes\invertslur0\curve333\tslur0g|\qu d\en
-\end{verbatim}\end{quote}
-
-\noindent Slur inversion as just described takes effect where the slope is zero; therefore it
-only works with ascending slurs that were started with \verb|\isluru|, and with
-descending slurs started with \verb|\islurd|. Otherwise no horizontal place
-can be found and the result is erratic.
-
-A different approach removes this restriction. The idea is to stop the slur at a
-the desired inversion point and restart it in the other sense at the
-same place. The commands to do this are as follows:
- \begin{itemize}\setlength{\itemsep}{0ex}
- \item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$,
-not above or below the virtual note head.
- \item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position,
-not above a virtual note head.
- \item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position,
-not below a virtual note head.
- \end{itemize}
-
-\noindent The vertical position may have to be adjusted to minimize any discontinuity
-in the slope. For example, the following pattern
-
- \begin{music}\nostartrule
-\setclef1\treble
-\startextract
-\NOTes\multnoteskip 3\isluru0a\ql a\en
-\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en
-\Notes\tslur0h\qu h\en
-\NOTes\multnoteskip 3\islurd0a\ql a\en
-\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en
-\Notes\tslur0h\qu h\en
-\zendextract
-\end{music}
-\noindent was coded as
-\begin{quote}\begin{verbatim}
-\begin{music}\nostartrule
-\NOTes\multnoteskip 3\isluru0a\ql a\en
-\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en
-\Notes\tslur0h\qu h\en
-\NOTes\multnoteskip 3\islurd0a\ql a\en
-\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en
-\Notes\tslur0h\qu h\en
-\end{music}
-\end{verbatim}\end{quote}
-
-\ital{Simple} slurs and ties have advantages in some cases: (1) They will
-always have the best possible shape, and (2) if \verb|\noteskip| doesn't
-change from start to finish, they are easier to code. But they have drawbacks
-as well: (1) They are limited in length to 68pt
-for slurs and 220pt for
-ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they
-may not extend across a line break.
-Despite all these limitations, simple slurs are extremely useful in many
-applications where the slurs are short and contained within a bar.
-
-Simple slurs must be coded {\em before} the note on which the slur begins.
-The primary macro is
-\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$
-where $p_1$ and $p_2$ are respectively the initial and final pitches,
-$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length,
-in {\tt noteskip}s.
-Thus, thirds slured in pairs can be coded
-
- %\check
-
-\begin{quote}\begin{verbatim}
-\NOtes\slur ced1\qu{ce}\en
-\NOtes\slur dfd1\qu{df}\en
-\NOtes\slur egd1\qu{eg}\en
-\NOtes\slur{'e}cu1\ql{ec}\en
-\NOtes\slur{'d}bu1\ql{db}\en
-\NOtes\slur{'c}au1\ql{ca}\en
-\end{verbatim}\end{quote}
-which yields
-
-\begin{music}\nostartrule
-\startextract
-\NOtes\slur ced1\qu{ce}\en
-\NOtes\slur dfd1\qu{df}\en
-\NOtes\slur egd1\qu{eg}\en
-\NOtes\slur{'e}cu1\ql{ec}\en
-\NOtes\slur{'d}bu1\ql{db}\en
-\NOtes\slur{'c}au1\ql{ca}\en
-\zendextract
-\end{music}
-%%
-
-There are similar commands to force simple versions of the other
-variants of font-based slurs and ties. Simple ties may be set using
-\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed).
-Simple short slurs and short ties can be forced with the macros
-\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and
-\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally,
-simple beam slurs can be forced with
-\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$.
-
- \subsubsection{Limitations of font-based slurs}
- The change in altitude between slur initiation and slur termination is limited to
-16\verb|\Internote|. Thus unexpected vertical gaps can appear, as seen in
-
- \begin{music}\nostartrule
-\instrumentnumber{1}
-\generalmeter{\meterfrac34}
-\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes
- \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\zendextract
-
-\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes
- \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\zendextract
- \end{music}
- \noindent whose coding was
- \begin{quote}\begin{verbatim}
-\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes
- \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes
-\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes
- \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes
- \end{music}
- \end{verbatim}\end{quote}
-
-Furthermore, if the slope becomes too steep, even worse results can occur, such as
-
- \begin{music}\nostartrule
-\instrumentnumber{1}
-\generalmeter{\meterfrac34}
-\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes
- \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes
- \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes
- \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes
- \zendextract
- \end{music}
-
-Another limitation of font-based slurs crops up when one attempts to
-generate bitmapped versions for high-resolution printers: the characters
-for long ties can exceed \MF's maximum capacity.
-
- \subsection{Type K postscript slurs}\label{PostscriptSlurs}
-All of the aforementioned limitations of font-based slurs can be circumvented
-by using Type~K postscript slurs\footnote{``K'' stands for Stanislav Kneifl,
-the developer of the Type K postscript slur package.}. As well as slurs, the package includes
-ties and crescendos (see section \ref{sec:crescnd}).
-Its use is very similar to font-based slurs, and in fact identical if only
-the elementary slur and tie initiation and termination macros are used.
-
-In order to use Type K postscript slurs, you must first place \texttt{musixps.tex}
-anywhere \TeX\ can find it. You must also place \texttt{psslurs.pro}
-somewhere that \texttt{dvips} can find it.
-
-The \index{mxsk font}\texttt{mxsk} font is required for ``half ties,'' which
-are special symbols that are used by default for the second portion of a tie
-that crosses a line break. If you like
-this treatment you must install the font in your \TeX\ system. However, perfectly
-acceptable line-breaking ties will appear if you invoke \keyindex{nohalfties},
-and then you will not have to install this font.
-
-Once the software mentioned in the prior two paragraphs is emplaced and the
-\TeX\ filename database is refreshed, the Type K package can be
-invoked by including the command \verb|\input musixps|
-near the beginning of your source file.
-The resulting dvi file should then be converted into postscript using \textbf{dvips}.
-If desired, a PDF file can then be generated with \textbf{ps2pdf}, \textbf{ghostscript},
-or \textbf{Adobe Acrobat} (see chapter \ref{installation} for more information on this).
-
-Two minor inconveniences with Type K postscript slurs are that (1) they won't appear
-in any standard dvi previewer, and (2) they won't appear in PDF files generated with
-\textbf{pdftex}. The former limitation can be circumvented by using a postscript
-viewer such as \textbf{GSview}. The latter simply requires that you create an intermediate
-postscript file with \textbf{dvips}, then make the PDF with any of the software
-mentioned above.
-
-\subsubsection{Initiating and terminating type K postscript slurs}
-
-Basic usage of type K slurs is the same as for font-based slurs. To initiate one,
-use for example \verb|\isluru0g| to start an upper slur with ID 0 above a virtual note
-at pitch level {\tt g}. To terminate one, use a command like
-\verb|\tslur0i| which terminates the slur with ID 0 on a
-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.
-
-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},
-\keyindex{irslurd}, \keyindex{trslur} or \keyindex{tlslur}.
-
-You can control the shape of Type K slurs with variants of
-the termination command. To make the slur a bit flatter than default use
-\keyindex{tfslur}0f; a bit higher, \keyindex{thslur}0f; higher still,
-\keyindex{tHslur}0f; or
-even higher, \keyindex{tHHslur}0f. These commands have an effect like
-\keyindex{midslur} does for font-based slurs.
-
-All combinations of the shifting and curvature variants are allowed,
-e.g.\ \verb|\trHHslur|.
-
-The following examples demonstrate how much better the type K slurs perform
-in the extreme situations of the prior two typeset examples. The coding is
-exactly the same as above except that \verb|\input musixps| has been added:
-\begin{quote}\begin{verbatim}
-\begin{music}\nostartrule
-\input musixps
-\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes
-....
-\end{verbatim}\end{quote}
-
-%\begin{center}
-%\includegraphics[scale=1]{./mxdexamples/pslurvgap.eps}
-%\end{center}
-
-\begin{music}\nostartrule
-\input musixps
-\instrumentnumber{1}
-\generalmeter{\meterfrac34}
-\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes
- \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\zendextract
-
-\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes
- \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\zendextract
-% \end{music}
-
-%\begin{music}\nostartrule
-%\input smallmusixpsx
-%\instrumentnumber{1}
-%\generalmeter{\meterfrac34}
-\startextract
-\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes\bar
-\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes
-\NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes\bar
-\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes
-\zendextract
- \end{music}
-
-
-For maximal control over type K slurs, you can use one of the commands
-\keyindex{iSlur}~$npvh$ and
-\keyindex{tSlur}~$npvhca$, where the characters in
-$npvhca$ respectively stand for ID number, height, vertical offset, horizontal offset,
-curvature, and angularity.
-All offsets are in \verb|internote|, and the slur direction is determined
-by the sign of the vertical offset. See the comments in \verb|musixps.tex|
-for precise definitions of the other parameters. Examples of permissible forms for
-these commands are
-\verb|iSlur0c11| and \verb|tSlur0{!d}11{.2}0|.
-
-The next example shows how you can use \verb|iSlur| in difficult
-circumstances:
-
-\begin{music}\nostartrule
-\input musixps
-\nobarnumbers
-\generalsignature1%
-\generalmeter{\meterfrac{2}{4}}%
-\nostartrule
-\startextract
-\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
-\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar
-%
-\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlfslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
-\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar
-%
-\NOtes\zchar{-8}{\Bslash iSlur...\Bslash tSlur}\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar
-\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en
-\zendextract
- \end{music}
-\noindent with this coding:
-
-\begin{quote}\begin{verbatim}
-\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
-\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar
-%
-\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
-\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar
-%
-\NOtes\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar
-\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en
-\end{verbatim}\end{quote}
-
-
-The ID number for a slur, tie or crescendo should
-normally range from 0 to 9. If it is bigger
-than nine but less than 15,
-the object can cross a line break but not a page break. If bigger than
-14 but less than $2^{31}$, it can't be broken at all,
- nor can a slur termination be positioned at a beam with
- e.g.~\verb|\tbsluru{17684}{16}|; however \verb|\ibsluru{152867}{16}| is OK.
-
-It's also OK to have opened simultaneously a slur, tie and crescendo all
-with the same ID, or a slur, tie and decrescendo, but not a crescendo and
-decrescendo.
-
-\def\emen{{\tt\char123}$n${\tt\char125\char123}$m${\tt\char125}}
-
-\subsubsection{Type K postscript beam slurs}
-Type K beam slurs are defined differently than the font-based ones:
-They require as parameters both a slur ID number $n$ and a beam ID number $m$,
-but that's all. The commands are
-\keyindex{iBsluru}\emen, \keyindex{iBslurd}\emen, and
-\keyindex{tBslur}\emen.
-They must be placed \ital{after} the beam initiation or termination command.
-Type K slurs may start on one beam and end on another.
-For example,
-
-\begin{quote}\begin{verbatim}
-\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
- \slurtext{6}\tBslur00\qb0e\en
-\end{verbatim}\end{quote}
-
-\noindent produces
-%\begin{center}
-%\includegraphics[scale=1]{./mxdexamples/psbeamslur.eps}
-%\end{center}
-
-\begin{music}\nostartrule\input musixps\startextract
-\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
- \slurtext{6}\tBslur00\qb0e\en
-\zendextract\end{music}
-
-The above example also illustrates the use of the macro
-\keyindex{slurtext}. It has just one parameter---some text to be
-printed---and it centers it just above or below the midpoint of
-the next slur that is closed.
-This works only for non-breaking slurs; if the slur is broken,
-the text
-disappears\footnote{If you insist on viewing files with a dvi viewer despite the
-fact that Type K slurs will not be visible, you may also find that
-figures emplaced with \keyindex{slurtext} will appear at the end of the
-slur rather than the middle.}.
-%The placing of the slur text is done with a very dirty postscript
-%hack, so I am not really sure that everything you want to typeset
-%will be placed at the correct position (if you are interested, see
-%the end of psslurs.pro for details). If you find something that won't
-%work, let me know.
-
-% DAS: why do we need this ???
-%\paragraph{General coding for postscript slurs and ties of type K.}
-%This can be done by:
-%\begin{quote}\begin{verbatim}
-%\i[h.shift]slur[u|d]{slur ID}{note height}
-%\t[h.shift][slur height]slur{slur ID}{note height}
-%\iBslur[u|d]{slur ID}{beam ID}
-%\tB[slur.height]slur{slur ID}{beam ID}
-%\end{verbatim}\end{quote}
-%\noindent where h.shift can be 'l', 'r' or nothing
-%and slur.height can be 'f', nothing, 'h', 'H' or 'HH'
-%
-%Example: \keyindex{tlfslur} means 'terminate left flat slur'.
-%
-%
-%There are also simple slurs with same invocation and parameters as the
-%original ones.
-
-\subsubsection{Type K postscript ties}
-All of the foregoing Type K slur commands
-except the shape-changing ones
-have counterparts for ties. Simply
-replace ``\verb|slur|'' with ``\verb|tie|'', and for terminations omit
-the pitch parameter. Type K ties not only are positioned differently by
-default, but they also have different shapes than slurs. If you want to change
-the shape of a tie, redefine \verb|\pstiehgt| from its default of 0.7.
-
-\subsubsection{Dotted type K slurs and ties.}%please check the capital D(otted)
-A slur or tie can be made dotted simply by entering \keyindex{dotted} anywhere before
-the beginning of the slur or tie. Only the first slur or tie following this
-command will be affected. On the other hand, if you enter \keyindex{Dotted}, then ALL
-slurs and ties from this point forward will be dotted until you say
-\keyindex{Solid}. Furthermore, inside \verb|\Dotted...\Solid| you can make any individual
-slur or tie solid saying \verb|\solid| before its beginning.
-
-\subsubsection{Avoiding collisions of Type K slurs and ties with staff lines.}
-In postscript it is possible to do some computations which would be very hard
-to implement directly in TeX. Type K slurs can use this facility to check whether
-the curve of a slur or tie is anywhere nearly tangent to any staff line, and if
-so, to adjust
-the altitude of the curve to avoid the collision. By default this feature is turned
-on.
-You can disable it either
-globally (\keyindex{Nosluradjust}, \keyindex{Notieadjust}) or locally
-(\keyindex{nosluradjust}, \keyindex{notieadjust}), and you can also turn it
-back on globally (\keyindex{Sluradjust},
-\keyindex{Tieadjust}) or locally (\keyindex{sluradjust}, \keyindex{tieadjust}).
-Here ``locally''
-means that the command will only affect the next slur or tie to be opened.
-
-
-\subsubsection{Line breaking slurs and ties}
-Tyle K slurs and ties (and crescendos) going across line breaks are handled
-automatically. In fact they can go over more lines than two (this is
-true also for ties, though it would be somewhat strange).
-
-There is a switch \verb|\ifslopebrkslurs| that controls the default
-height of the end point
-of the first segment of all broken slurs. By default the height will be
-the same as the beginning. To have it raised by \verb|3\internote|, simply
-issue the command \keyindex{slopebrkslurstrue}. To revert to the default,
-use \keyindex{slopebrkslursfalse}.
-
-To locally override the default height of the end of the first segment,
-use the command \keyindex{breakslur}\enpee,
-which sets the height for slur number $n$ to pitch $p$, just like with
-font-based slurs.
-
-You can raise or lower the starting point of the second segment of a broken slur
-with the command \keyindex{liftslur}\verb|{|$n$\verb|}{|$h$\verb|}|, with
-parameters slur ID and relative offset in
-\verb|\internote|s measured from the slur beginning. Its effect is
-the same as \keyindex{Liftslur} for font-based slurs, except it is not
-necessary to code
-it within \verb|\atnextstaff{}|, just anywhere inside the slur.
-
-As already mentioned, anything with ID$<$10 is broken fully automatically, but
-you should be careful about slurs, ties and crescendos with 10$\le$ID$<$15.
-These cannot cross page breaks, although they can cross line breaks.
-
-If the second segment of a broken tie is less than 15pt long, then by
-default it will have a special shape which begins horizontally. These shapes are
-called \ital{half ties} and are contained in the font \index{mxsk font}\verb|mxsk|.
-Of course if they are to be used, the font files must be integrated into the
-\TeX\ installation. Their use can be turned off with \keyindex{nohalfties}
-and back on with \keyindex{halfties}.
-
-%\paragraph{Backwards compatibility.}
-%There are several ``aliases'' which allow to use the old, bitmapped slur
-%commands for PS slurs without any change. There are however a few differences:
-%the \keyindex{invertslur} is not implemented yet and
-%the \keyindex{curve} and \keyindex{midslur} macros have no effect.
-
-%\paragraph{Memory requirements.}
-\subsubsection{A few final technical details}
-Each \verb|\i...| and \verb|\t...|
-produces a \verb|\special| command, which must be stored in TeX's main memory.
-Therefore, if too many slurs occur in one page, some memory problems could
-occur. The only solutions are to use Big\TeX\ (if you aren't already), or to use
-font-based slurs.
-
-Type K slurs need the postscript header file
-\index{psslurs.pro}\texttt{psslurs.pro} to be included in the
-output postscript file. This is made to happen by the \TeX\ command
-\verb|\special{header=psslurs.pro}|, which is automatically
-included when you \verb|\input musixps|. So normally this is not
-of concern. However if you wish to extract a subset of pages from
-the master \verb|dvi| file using \index{dvidvi}\texttt{dvidvi}, then
-you have three options: (1)~include the first page in the subset,
-(2)~manually issue the
-\verb|\special| command in the \TeX\ source for the first page of the subset, or
-(3)~use the option \texttt{-h psslurs.pro} when you run \texttt{dvips}.
-
-
-\section{Bar Lines}
- \subsection{Single, double, and invisible bar lines}\label{doublebars}
-The usual macro to typeset a single bar line is \keyindex{bar}.
-There is a possibility of
-confusion with a command in \TeX's math mode that has exactly the same name.
-However, there will generally be no problem, because inside
-\verb|\startpiece...\endpiece|,
-\verb|\bar| will take the musical meaning, while outside, it will have the
-mathematical one.
-If for some reason you need the math \verb|\bar| inside, you can use
-\verb|\endcatcodesmusic...\bar...\catcodesmusic|.
-
-To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You could
-also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or
-\keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced
-by a double bar.
-
-There is no specific command to print a thin-thick double bar line, but
-\keyindex{setdoubleBAR} will cause one in the same cases where
-\verb|\setdoublebar| would cause a thin-thin double bar line.
-
-To make the next bar line invisible, use \keyindex{setemptybar} before
-\verb|\bar|.
-
-You can suppress the beginning vertical rule with saying \keyindex{nostartrule}
-and restore the default with \keyindex{startrule} after that.
-
-\subsection{Simple discoutinuous bar lines}
-Normally, bars (as well as double bars, final bars and repeat bars) are
-drawn continuously from the bottom of the lowest staff of the
-lowest instrument to the top of the highest staff of the uppermost
-instrument. However, if desired, they can be made discontinuous between
-instruments by saying \keyindex{sepbarrules}. An example of this is given in
-%avrb
-%{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the
-%avre
-\texttt{avemaria.tex} in section \ref{avemaria}\label{avemaria2}.
-
-Continuous bar lines can be restored with \keyindex{stdbarrules}. In
-the extension library are some more types of bar rules, mainly for very old
-music, see section \ref{otherbars}.
-
-% DAS. Andre, are there some other kinds of bars in an addon?
-
-\subsection{Elementary asynchronous bar lines}
-
- Situations may arise where the bar lines in different instruments are not
-aligned with one another. To set this up, first say \verb|\sepbarrules|.
-Then use a combination of the following five commands:
-
-\begin{itemize}\setlength{\itemsep}{0ex}
-\item\keyindex{hidebarrule}\onen~hides the bar rule for instrument $n$, until
-this is changed by \verb|\showbarrule|\onen.
-\item\keyindex{showbarrule}\onen~stops hiding the bar rule for instrument $n$,
-until this is changed by \verb|\hidebarrule|\onen.
-\item\keyindex{Hidebarrule}\onen~hides the bar rule for instrument $n$, only
-for the next bar.
-\item\keyindex{Showbarrule}\onen~shows the bar rule for instrument
-$n$ once only,
-and then resets it \verb|Hidebarrule|.
-%
-% DAS ???
-% and then resets it to \verb|hidebarrule|.
-%
-\item\keyindex{showallbarrules} resets all defined instruments to
-\verb|\showbarrule|\onen. This command is automatically inserted with double
-bars, final bars and repeats.
-\end{itemize}
-
-Thus, this example
-
-\begin{music}
-\instrumentnumber3
-\setmeter3{{\meterfrac{3}{4}}}
-\setmeter2{{\meterfrac{2}{4}}}
-\setmeter1{{\meterfrac{3}{8}}}
-\nobarnumbers
-\sepbarrules
-
-\startextract
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\hidebarrule2\hidebarrule3\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\showbarrule2\bar
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\hidebarrule2\showbarrule3\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\showbarrule2\hidebarrule3\bar
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\hidebarrule2\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\setdoublebar
-\bar\hidebarrule3
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\Hidebarrule2\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\bar
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\message{Showbarrule3 coming}%
-\Hidebarrule2\Showbarrule3\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\bar
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\Hidebarrule2\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\setrightrepeat
-\endextract
-\end{music}
-
-\noindent was obtained with the following coding:
-\begin{quote}\begin{verbatim}
-\instrumentnumber3
-\setmeter3{{\meterfrac{3}{4}}}
-\setmeter2{{\meterfrac{2}{4}}}
-\setmeter1{{\meterfrac{3}{8}}}
-\nobarnumbers
-\sepbarrules
-
-\startextract
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\hidebarrule2\hidebarrule3\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\showbarrule2\bar
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\hidebarrule2\showbarrule3\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\showbarrule2\hidebarrule3\bar
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\hidebarrule2\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\setdoublebar
-\bar\hidebarrule3
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\Hidebarrule2\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\bar
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\message{Showbarrule3 coming}%
-\Hidebarrule2\Showbarrule3\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\bar
-\NOtes\pt f\qa f&\qa f&\qa f\en
-\Hidebarrule2\bar
-\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
-\setrightrepeat
-\zendextract
-\end{verbatim}\end{quote}
-
-\subsection{Dotted, dashed, and more general asynchronous and discontinuous bar lines}\label{musixdbr}
-
-The extension
-package \href{http://icking-music-archive.org/software/musixtex/add-ons/musixdbr.tex}
-{\underline{\ttxem{musixdbr.tex}}} by Rainer {\sc Dunker} provides commands for
-dashed, dotted, and arbitrarily discontinuous bar lines. It supports
-individual bar line settings for each instrument, multi-staff instruments,
-different sizes of staves, and even different numbers of lines per staff,
-
-To use the package, you must \verb|\input musixdbr| after \verb|musixtex|, and
-execute the macro \keyindex{indivbarrules} which activates individual bar line
-processing. Then the following commands are available:
-
-\begin{itemize}\setlength{\itemsep}{0ex}
-
-\item \keyindex{sepbarrule}\onen~separates bar lines of instrument $n$ from those of instrument $n-1$
-
-\item \keyindex{condashbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
- with a dashed line
-
-\item \keyindex{condotbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
- with a dotted line
-
-\item \keyindex{conbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
-
-\item \keyindex{hidebarrule}\onen~hides bar lines of instrument $n$
-
-\item \keyindex{showdashbarrule}\onen~dashes bar lines of instrument $n$
-
-\item \keyindex{showdotbarrule}\onen~dots bar lines of instrument $n$
-
-\item \keyindex{showbarrule}\onen~shows bar lines of instrument $n$
-
-\item \keyindex{sepmultibarrule}\onen~separates bar lines within multistaff instrument $n$
-
-\item \keyindex{condashmultibarrule}\onen~dashes bar lines between staves of multistaff instrument $n$
-
-\item \keyindex{condotmultibarrule}\onen~dots bar lines between staves of multistaff instrument $n$
-
-\item \keyindex{conmultibarrule}\onen~ shows bar lines between staves of multistaff instrument $n$
-
-\item \keyindex{allbarrules}[\ital{any of the above commands, without numerical parameter}] sets bar
-line style for all instruments together.
-
-\end{itemize}
-
-Dashing and dotting style may be changed by redefining the macros
-\verb|\barlinedash| or \verb|\barlinedots| respectively (see original definitions in \verb|musixdbr.tex|).
-
-Here is an example of the use of these macros:
-
-\begin{music}
-\input musixdbr
-
-\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14\setsize2\tinyvalue
-\indivbarrules
-\parindent0pt\startextract
-%\startpiece
-%\scale{2}
- % normal barlines
- \bar
- % separate instrument 2 from 1
- \sepbarrule2
- \notes\en\bar
- % barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showbarrule
- \NOTes\en\bar
- % barlines between staves
- \allbarrules\conbarrule
- \allbarrules\conmultibarrule
- \allbarrules\hidebarrule
- \NOTes\en\bar
- % dashed barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showdashbarrule
- \NOTes\en\bar
- % dashed barlines between staves
- \allbarrules\condashbarrule
- \allbarrules\condashmultibarrule
- \allbarrules\hidebarrule
- \NOTes\en\bar
- % dotted barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showdotbarrule
- \NOTes\en\bar
- % dotted barlines between staves
- \allbarrules\condotbarrule
- \allbarrules\condotmultibarrule
- \allbarrules\hidebarrule
- \NOTes\en\bar
- % a wild mixture of all
- \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
- \condashbarrule2\conbarrule3\condotbarrule4%
- \condashmultibarrule2\sepmultibarrule3%
- \NOTes\en\bar
- % conventional ending
- \allbarrules\showbarrule
- \allbarrules\conbarrule
- \allbarrules\conmultibarrule
- \NOTes\en\setdoubleBAR\endextract
-\end{music}
-
-This is the code:
-
-\begin{quote}\begin{verbatim}
-\input musixdbr
-\instrumentnumber4\setstaffs23\setstaffs32\setlines14\setsize2\tinyvalue
-\indivbarrules\parindent0pt\startextract
- % normal barlines
- \bar
- % separate instrument 2 from 1
- \sepbarrule2
- \notes\en\bar
- % barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showbarrule
- \NOTes\en\bar
- % barlines between staves
- \allbarrules\conbarrule
- \allbarrules\conmultibarrule
- \allbarrules\hidebarrule
- \NOTes\en\bar
- % dashed barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showdashbarrule
- \NOTes\en\bar
- % dashed barlines between staves
- \allbarrules\condashbarrule
- \allbarrules\condashmultibarrule
- \allbarrules\hidebarrule
- \NOTes\en\bar
- % dotted barlines on staves
- \allbarrules\sepbarrule
- \allbarrules\sepmultibarrule
- \allbarrules\showdotbarrule
- \NOTes\en\bar
- % dotted barlines between staves
- \allbarrules\condotbarrule
- \allbarrules\condotmultibarrule
- \allbarrules\hidebarrule
- \NOTes\en\bar
- % a wild mixture of all
- \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
- \condashbarrule2\conbarrule3\condotbarrule4%
- \condashmultibarrule2\sepmultibarrule3%
- \NOTes\en\bar
- % conventional ending
- \allbarrules\showbarrule
- \allbarrules\conbarrule
- \allbarrules\conmultibarrule
- \NOTes\en\setdoubleBAR\zendextract
-\end{verbatim}\end{quote}
-
-\section{Bar numbering}
-The current bar number is stored in a count register call \keyindex{barno}.
-When \verb|\startpiece| is encountered, \verb|\barno| is set equal to
-another count register called \verb|\startbarno|, whose default value is one.
-Therefore, if you want the first bar to have a number $n$ different from 1, you
-may either say \verb|\startbarno=|$n$ before \verb|\startpiece|, or say
-\verb|\barno=|$n$ afterwards, but before the first bar line. You may also alter the bar
-number at any time, either by explicitly resetting \verb|\barno|, or by
-incrementing it with a command like \verb|\advance\barno-1|.
-
-\musixtex\ supports two distinct modes for printing bar numbers. In \ital{periodic}
-bar numbering, the bar number is
-placed above the top staff with a user-selectable frequency. In
-\ital{system} bar numbering, the
-number will appear at the beginning of each system.
-
-\subsection{Periodic bar numbering}
-In a normal piece, periodic bar number printing is turned on by default, with a frequency
-of one. In an extract, the default is to not print bar numbers.
-To turn off bar numbering say \keyindex{nobarnumbers}. To reinstate periodic
-bar numbering, or to initiate it in an extract, say \keyindex{barnumbers}.
-To change to a
-different frequency $n$, say \verb|\def|\keyindex{freqbarno}\verb|{|$n$\verb|}|.
-
-The appearance and positioning of the bar number is controlled by the
-token \keyindex{writethebarno}, which by default is defined as\\
-\verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}|
-where the font is defined as \verb|\def\fontbarno{\it}|. You can change
-either of these as desired, for example
-
- \medskip
-\begin{music}\barnumbers
-\parindent0pt\startpiece
-\Notes\Dqbu gh\Dqbl jh\en
-\notes\Dqbbu fg\Dqbbl hk\en\bar
-\Notes\Tqbu ghi\Tqbl mmj\en
-\def\fontbarno{\bf}%
-\notes\Tqbbu fgj\Tqbbl njh\en\bar
-\Notes\Qqbu ghjh\Qqbl jifh\en\bar
-\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece
-\end{music}
-\noindent which was coded as
-\begin{quote}\begin{verbatim}\barnumbers
-\Notes\Dqbu gh\Dqbl jh\en
-\notes\Dqbbu fg\Dqbbl hk\en\bar
-\Notes\Tqbu ghi\Tqbl mmj\en
-\def\fontbarno{\bf}%
-\notes\Tqbbu fgj\Tqbbl njh\en\bar
-\Notes\Qqbu ghjh\Qqbl jifh\en\bar
-\notes\Qqbbu fgge\Qqbbl jhgi\en
-\end{verbatim}\end{quote}
-
-\subsection{System bar numbering}
-To have a bar number printed just above the beginning of each system, use
-\keyindex{systemnumbers}. The distance above the staff is controlled
-by \verb|\raisebarno|, which by default is \verb|4\internote| (to fit
-above a treble clef). This can be redefined with the command\\
-\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}|.
-The horizontal position similarly is defined by \keyindex{shiftbarno}
-which by default is \verb|0pt|.
-
-The number normally is enclosed in a
-box. If you don't like that, you may redefine the macro \verb|\writebarno|
-which by default is defined as\\
-\verb|\def|\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}|.\\
-This uses the utility \musixtex\ macro \keyindex{boxit} which will enclose
-any text string in a box.
-
-Here are some possible alternate formats for system bar numbers:
-
-\medskip
-\begin{music}\nostartrule
-\def\fontbarno{\it}%
-\let\extractline\hbox
-\startbarno=36
-\hbox to \hsize{%
-\hss
- \raise20pt\hbox{(a) }%
- \systemnumbers\startextract
- \Notes\wh g\en
- \zendextract
-\hss
- \def\writebarno{\tenrm\the\barno\barnoadd}%
- \def\raisebarno{2\internote}%
- \def\shiftbarno{2.5\Interligne}%
- \raise20pt\hbox{(b) }%
- \systemnumbers\startextract
- \Notes\wh g\en
- \zendextract
-\hss
- \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
- \def\raisebarno{2\internote}%
- \def\shiftbarno{1.3\Interligne}%
- \raise20pt\hbox{(c) }%
- \systemnumbers\startextract
- \Notes\wh g\en
- \zendextract
-\hss}
-\end{music}
-\noindent This was coded as
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item[(a)] (default)
- \item[(b)]
- \begin{verbatim}
-\def\writebarno{\tenrm\the\barno\barnoadd}%
-\def\raisebarno{2\internote}%
-\def\shiftbarno{2.5\Interligne}%
- \end{verbatim}
- \item[(c)]
- \begin{verbatim}
-\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
-\def\raisebarno{2\internote}%
-\def\shiftbarno{1.3\Interligne}%
- \end{verbatim}
-\end{itemize}
-
-If the previous line does not stop with a bar rule, then the next
-printed system bar number will immediately be followed by the contents
-of the token \keyindex{writezbarno}, whose
-default setting is the lower case character `\verb|a|'. You might want to
-change this to `\verb|+|', in which case you should say
-\verb|\def\writezbarno{+}|.
-
-%DAS: Who cares ???
-%\noindent Besides, you can suppress the messages of bar numbers on
-%\verb|stdout| (normally screen) with \keyindex{nobarmessage}. In the same way,
-%you can suppress the messages abour new lines (new systems) with
-%\keyindex{nolinemessages}.
- %\check
-
-\section{Managing the layout of your score}
-\subsection{Line and page breaking}\label{linebreak}
-If every bar ends with \verb|\bar| and no other line- or page-breaking commands
-are used, then the external program \verb|musixflx| will decide where to insert
-line and page breaks. Line breaks will only come at bar lines. The total
-number of lines will depend on the initial value of \verb|\elemskip|, which by
-default is 6 pt in \verb|\normalmusicsize|.
-
-You can force a line or page break by replacing \keyindex{bar} with
-\keyindex{alaligne} or \keyindex{alapage} respectively. On the other hand,
-to forbid line-breaking at a particular bar, replace \verb|\bar|
-with \keyindex{xbar}. To force a line or page break where there is
-no bar line, use \keyindex{zalaligne} or \keyindex{zalapage}. To mark any
-mid-bar location as an optional line-breaking point, use \keyindex{zbar}.
-
-The heavy final double bar of a piece is one of the consequences of
-\keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate
-the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}.
-To terminate it with no bar line at all, code \keyindex{zstoppiece}.
-
-Once you have stopped the score by any of these means, you may want to restart
-it, and there are several ways to do so. If you don't need to change the key
-signature, meter, or clef,
-you can use \keyindex{contpiece} for no indentation, or \keyindex{Contpiece}
-to indent by \keyindex{parindent}. If you do want to change some score
-attribute that takes up space, for example
-with \keyindex{generalsignature} after \verb|\stoppiece|, then to restart you
-must use \keyindex{startpiece}. However, if you don't want \verb|\barno| reset
-to 1, you must save its new starting value to \verb|\startbarno|. You may also
-wish to modify instrument names or \verb|\parindent| before restarting.
-
-Recall that thin-thin or thin-thick double bars or blank bar lines can be
-inserted without stopping by using the commands described in section
-\ref{doublebars}. Those commands can also be used before \verb|\stoppiece|,
-\verb|\alaligne|, or \verb|\alapage|
-
-\subsection{Page layout}
-Blank space above and below each staff is controlled by the dimension
-registers \keyindex{stafftopmarg} and \keyindex{staffbotmarg}. For more
-info see section \ref{LayoutParameters}.
-
-The macro \keyindex{raggedbottom} will remove all vertical glue and
-compact everything toward the top of page.
-In contrast, the macro \keyindex{normalbottom} will restore default
-behavior, in which vertical space between the systems is distributed
-so that the first staff
-on the page is all the way at the top and the last staff all the way at
-the bottom.
-
-The macro \keyindex{musicparskip} will allow the existing space between
-systems to increase by up to \verb|5\Interligne|.
-
-The following values of page layout parameters will allow the maximum material
-to fit on each page, provided the printer allows the margins that are implied.
-
-\begin{center}
-\begin{tabular}{|l|l|l|}\hline
-\multicolumn{1}{|c|}{A4}&\multicolumn{1}{|c|}{letter}&\multicolumn{1}{|c|}{A4 or letter}\\\hline
-\multicolumn{3}{|c|}{\tt\Bslash parindent= 0pt}\\\hline
-\multicolumn{3}{|c|}{\tt\Bslash hoffset= -15.4mm}\\\hline
-\multicolumn{3}{|c|}{\tt\Bslash voffset= -10mm}\\\hline
-\verb+\hsize= 190mm+&\verb+\hsize= 196mm+&\verb+\hsize= 190mm+\\\hline
-\verb+\vsize= 260mm+&\verb+\vsize= 247mm+&\verb+\vsize= 247mm+\\\hline
-\end{tabular}
-\end{center}
-%avre
-\zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset}
-\zkeyindex{hsize}\zkeyindex{vsize}
-
-
-\subsection{Page numbering, headers and footers}\index{page
-number}\index{footnote}
-
-There are no special page numbering facilities in \musixtex; you must rely on
-macros from plain \TeX. There is a count register in \TeX\ called
-\verb|\pageno|. It is always initialized to \verb|1| and incremented by one
-at every page break. By saying \keyindex{pageno}$=n$, it can be reset to any
-value at any time, and will continue to be incremented from the new value.
-
-By default, \TeX\ will place a page number on
-every page, centered at the bottom. Unfortunately, this is not the preferred
-location according to any standard practice. To suppress this default
-behavior, say \keyindex{nopagenumbers}.
-
-One way to initiate page numbering in a more acceptable location is to take
-advantage of the facts that (a) \TeX\ prints the contents of the control sequences
-\keyindex{headline} and \keyindex{footline} at the top and bottom
-respectively of every page, and (b) the value of \verb|\pageno| can be printed by
-saying \keyindex{folio}. Therefore, for example, the following sequence of
-commands, issued anywhere before the end of the first page, will cause page
-numbers and any desired text to be printed at the top of every page,
-alternating between placement of the number at the left and right margins, and
-alternating between the two different text strings (the capitalized text in
-the example):
-
-\begin{quote}\begin{verbatim}
-\nopagenumbers
-\headline={\ifodd\pageno\rightheadline\else\leftheadline\fi}%
-\def\rightheadline{\tenrm\hfil RIGHT RUNNING HEAD\hfil\folio}%
-\def\leftheadline{\tenrm\folio\hfil LEFT RUNNING HEAD\hfil}%
-\voffset=2\baselineskip
-\end{verbatim}\end{quote}
-
-\subsection{Controlling the total number of systems and pages}\index{page and line
-layout (global)}
-
-Once all the notes are entered into a \musixtex\ score, it would be convenient
-if there were a simple sequence of commands to
-cause a specified number of systems to be uniformly distributed over a
-specified number of pages. Unfortunately that's not directly
-possible\footnote{It \textit{is} possible in \textbf{PMX}.}.
-Rather, some trial and error will usually be required to achieve the desired final
-layout. To this end, some combination of the following strategies may be used:
-
- \begin{enumerate}\setlength{\itemsep}{0ex}
- \item Assign a value to the count register \keyindex{linegoal} representing
-the total number of systems. The count register \keyindex{mulooseness} must be 0 if using
-\verb|\linegoal|.
- \item Explicitly force line and page breaking as desired, using
-the macros \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|
-or \verb|\zalapage|.
- \item Adjust both \keyindex{mulooseness} and the initial value of
-\keyindex{elemskip}: increasing \verb|\mulooseness| from its default of 0 will
-increase the total number of systems, while changing the initial value of
-\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) may change the
-total number of systems accordingly.
- \end{enumerate}
- %\check
-
-\section{Changing clefs, key signatures, and meters}
-
-\subsection{Introduction}\label{contextintro}
-
-To define clefs, key signatures, or meters at the start of a piece,
-or to change one or more of these attributes\footnote{In this section,
-\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere
-else in a score,
-\musixtex\ requires two steps. The first step is to \ital{set} the new values of
-the attributes.
-Most of the commands for this have the form \verb|\set|...~. They will be
-described in the following subsections.
-
-But this alone will
-not cause anything to be changed or printed. The second step is to activate the
-change. This is done by issuing one of the
-following commands (outside \verb|\notes|$\dots$\verb|\en|):
-\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|,
-\verb|\Contpiece|,
-\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|,
-\verb|\changecontext|,
-\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|,
-\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform
-other functions as well, and some may be used even when no attributes
-change. Features unrelated to changing attributes are detailed elsewhere.
-The first 11 will activate all pending new attributes.
-If more than one type is activated by a single command in this manner,
-then regardless of the order
-they were set, they will always appear in the following order: clef, key signature,
-meter.
-The last three commands in the above list obviously activate only
-the specific type of attribute referred to in the name of the command.
-
-The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext|
-will respectively insert a single, double, or invisible bar
-line before printing the attributes.
-
-\subsection{Key Signatures}
-
-We've already seen in section \ref{whatspecify} how to set key
-signatures for all instruments with \keyindex{generalsignature}, or for
-specific instruments with \keyindex{setsign}. As just noted, these commands only
-prepare for the insertion of the signatures into the score; it is
-really \verb|\startpiece| that puts them in place at the beginning of the
-score.
-
-The commands \verb|\generalsignature| and \verb|\setsign| also serve to set
-new key signature(s) anywhere in score. The change can then be activated with one of
-the 11 general commands listed above, or with \keyindex{changesignature} if
-in the middle of a bar.
-While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar
-line, the differences are that the latter increments the bar number counter and
-inserts a horizontal space of \verb|\afterruleskip| after the new signature(s).
-All of these options will repost signatures that have not been changed.
-
-Normally, changing a signature from flats to sharps or vice-versa, or
-reducing the number of sharps or flats, will produce the appropriate set of
-naturals to indicate what has been suppressed. This standard feature can be
-temporarily inhibited by the command \keyindex{ignorenats} issued right before
-the change-activating command.
-
-Here is an example showing various possibilities for changing key signatures.
-Note the comments between the code lines.
-
-\begin{quote}\begin{verbatim}
-\instrumentnumber2\setstaffs22%
-\setclef1{\bass}\generalsignature2%
-\startextract
-\Notes\qu K&\qu d|\qu e\en
-% Signature change in a single instrument with two staves.
-% Naturals appear by default, indicating cancelled sharps.
-\setsign20\changesignature
-\Notes\qu J&\qu d|\qu e\en
-% When changing signature in the middle of a bar and no naturals
-% are posted, the new signature can be confused with a simple accidental.
-\setsign11\ignorenats\changesignature
-\Notes\qu M&\qu d|\qu e\en
-% New signatures after a double bar line
-\generalsignature{-2}\Changecontext%
-\Notes\qu K&\qu d|\qu e\en%
-\Notes\qu K&\qu d|\qu e\en%
-% New signatures after an invisible bar line. Note the
-% difference in spacing compared with beat 3 of the prior measure
-\generalsignature{1}\zchangecontext%
-\Notes\qu K&\qu d|\qu e\en%
-\end{verbatim}\end{quote}
-
-\begin{music}
-\instrumentnumber2\setstaffs22%
-\setclef1{\bass}\generalsignature2%
-\startextract
-\Notes\qu K&\qu d|\qu e\en
-% Signature changing in a single instrument with 2 staves
-% Naturals are allowed to shown there are no more sharps
-\setsign20\changesignature
-\Notes\qu J&\qu d|\qu e\en
-% Signature changing in a single staff without naturals
-% if there is no bar line, the signatures are confusing:
-% it is not clear if they are for a single note or not
-\setsign11\ignorenats\changesignature
-\Notes\qu M&\qu d|\qu e\en
-% New signatures after a double bar line
-\generalsignature{-2}\Changecontext%
-\Notes\qu K&\qu d|\qu e\en%
-\Notes\qu K&\qu d|\qu e\en%
-% New signatures after an invisible bar line
-% see the difference in space comparing beat 2
-\generalsignature{1}\zchangecontext%
-\Notes\qu K&\qu d|\qu e\en%
-\endextract
-\end{music}
-
-
-\subsection{Clefs}\label{treblelowoct}
-
-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):
-%avrb
-\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}}
-
-\begin{center}\vskip-1ex\footnotesize%\small
-\begin{tabular}{||c|c|c|c|c||}\hline\hline
-&&&&\\
-\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\
-\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+
-&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline
-\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2
-&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline
-%\end{tabular}
-&&&&\\
-%\begin{tabular}{ccccc}
-&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\
-\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+
-&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline
-\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7
-&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline
-%This one uses \setclefsymbol1\empty :
-%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline
-\end{tabular}
-\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later}
-\end{center}
-%avre
-
-Just as with key signatures, these commands only \ital{prepare} for clef changes.
-To \ital{activate} them, any of the first 11 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
-\keyindex{changeclefs}. It can be used anywhere outside
-\verb+\notes...\enotes+ to activate a clef change and insert an amount of
-horizontal space to accommodate the new clef symbol(s), without printing a
-bar line. Sometimes no added
-space is required, in which case \keyindex{zchangeclefs} should be used.
-
-Here are some examples of clef changes:
-
-\begin{quote}\begin{verbatim}
-\instrumentnumber2\setstaffs22%
-\setclef1{\bass}\generalsignature2%
-\startextract
-% Change in one staff only, with added space
-\setclef1\treble\changeclefs%
-\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
-% Combined with signature change, also no extra space needed
-% twice the same clef in staff 2 - with the help of a blank clef
-\setclef28\zchangeclefs\setclef2\treble%
-\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
-\ignorenats\changesignature%
-\Notes\qu K&\cu{de}|\qu e\en%
-% clef change before barline
-\setclef1\treble\zchangeclefs\bar%
-\Notes\qu k&\cu{de}|\qu e\en%
-% clef change after barline
-\setclef1\bass\bar\changeclefs%
-\Notes\qu K&\cu{de}|\qu e\en%
-% clef change after barline with changecontext
-\setclef1\treble\changecontext%
-\Notes\cu k&\cu d|\qu e\en%
-% twice the same clef
-\setclef18\zchangeclefs\setclef1\treble\changeclefs%
-\Notes\cu k&\cu e |\en%
-\zendextract
-\end{verbatim}\end{quote}
-\begin{music}
-\instrumentnumber2\setstaffs22%
-\setclef1{\bass}\generalsignature2%
-\startextract
-% Change in one staff only, with added space
-\setclef1\treble\changeclefs%
-\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
-% Combined with signature change, also no extra space needed
-% twice the same clef in staff 2 - with the help of a blank clef
-\setclef28\zchangeclefs\setclef2\treble%
-\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
-\ignorenats\changesignature%
-\Notes\qu K&\cu{de}|\qu e\en%
-% clef change before barline
-\setclef1\treble\zchangeclefs\bar%
-\Notes\qu k&\cu{de}|\qu e\en%
-% clef change after barline
-\setclef1\bass\bar\changeclefs%
-\Notes\qu K&\cu{de}|\qu e\en%
-% clef change after barline with changecontext
-\setclef1\treble\changecontext%
-\Notes\cu k&\cu d|\qu e\en%
-% twice the same clef
-\setclef18\zchangeclefs\setclef1\treble\changeclefs%
-\Notes\cu k&\cu e |\en%
-\endextract
-\end{music}
-
-\noindent Of course the examples in the last two bars are contrary
-to accepted practice.
-
-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,
-\musixtex\ automatically adjusts vertical positions of noteheads consistent
-with the new clef.
-
-There is an additional group of macros for setting new clefs which does not share
-either of these features. In other words, they will always print full sized symbols, and they
-won't change the vertical positions of noteheads from what they would have been
-before the new symbol was printed. We could call this process ``clef symbol substitution'',
-because all it does is print a different symbol (or no symbol at all) in place of
-the underlying clef which was set in the normal way.
-
-You'll need to use clef symbol substitution if you want to have a so-called
-\index{octave clefs}\label{octclef}octave treble clef or octave bass
-clef, i.e., one containing a numeral 8 above or
-below the normal symbol. The syntax for setting upper
-octaviation
-is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\
-or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation
-it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or
-\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to
-\ital{replace} normal bass or treble clefs with a different symbol, they
-require that the normal clefs be set first. For example
-
-\noindent\begin{minipage}{80mm}
-\begin{music}\nostartrule
- \parindent 19mm
- \instrumentnumber{4}
- \generalmeter{\empty}
- \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble
- \setbassclefsymbol1\basslowoct
- \setbassclefsymbol2\bassoct
- \settrebleclefsymbol3\treblelowoct
- \settrebleclefsymbol4\trebleoct
-\startextract
-\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\enotes
-\zendextract
-\end{music}
-\end{minipage}
-\begin{minipage}{50mm}
-\begin{verbatim}
-\parindent 19mm
-\instrumentnumber{4}
-\generalmeter{\empty}
-\setclef1\bass \setclef2\bass
-\setclef3\treble \setclef4\treble
-\setbassclefsymbol1\basslowoct
-\setbassclefsymbol2\bassoct
-\settrebleclefsymbol3\treblelowoct
-\settrebleclefsymbol4\trebleoct
-\startextract
-\Notes\qu{`abcdefghi}&\qu{`abcdefghi}%
-&\qu{abcdefghi}&\qu{abcdefghi}&\enotes
-\zendextract
-\end{verbatim}
-\end{minipage}
-
-\index{clefs (empty)}
-Another application of clef symbol substitution is to cause no clef to be
-printed, as for example might be desired in percussion music, This
-can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which
-once activated would replace \ital{all} clef symbols in the first (lowest)
-staff of instrument $n$ with blanks.
-
-Normal symbols for those clefs that have been substituted can be restored by
-\keyindex{resetclefsymbols}.
-
-Four other small clef symbols are available: \verb|\smalltrebleoct|,
-\verb|\smalltreblelowoct|, \verb|\smallbassoct|, and \verb|\smallbasslowoct|.
-They look just like the corresponding normal-sized symbols, and are useful by
-clef symbol substitution for clef changes after the beginning of a piece, as
-demonstrated in the following example.
-
-The various clef symbol substitution commands can only be used to substitute for
-\texttt{treble}, \texttt{alto}, or \texttt{bass} clefs.
-
-In the following example, (1) is two normal clef changes. At (2) the clef is first changed
-back to treble and then the \verb|\treblelowoct| symbol is substituted by using
-\verb|\settrebleclefsymbol|.
-When changing the clef away from treble and then back as at (3), the substitution
-symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution.
-If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see
-in the three clefs after (5) in comparison with (2). These also illustrate the use of the small
-octave clef symbol. Obviously the second clef after (5) is
-nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7).
-
-\begin{music}
-\instrumentnumber1\setclef1\bass
-\startpiece
-\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs
-\notes\qu i\en\setclef1\bass\changeclefs\bar
-\notes\zchar{-5}{2}\qu J\en
-\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs
-\notes\qu i\en\setclef1\bass\changeclefs\bar
-\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs
-\notes\qu i\en\setclef1\bass\changeclefs\bar
-\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
-\notes\qu i\en\setclef1\bass\changeclefs\doublebar
-\notes\zchar{-5}{5}\qu J\en
-\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
-\notes\qu i\en\setclef1\bass\changeclefs\bar
-\notes\qu I\en\setclef1\treble\changeclefs
-\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
-\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
-\notes\qu i\en
-\endpiece
-\end{music}
-
-\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
-\notes\qu i\en\setclef1\bass\changeclefs\bar
-\notes\zchar{-5}{2}\qu J\en
-\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs
-\notes\qu i\en\setclef1\bass\changeclefs\bar
-\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs
-\notes\qu i\en\setclef1\bass\changeclefs\bar
-\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
-\notes\qu i\en\setclef1\bass\changeclefs\doublebar
-\notes\zchar{-5}{5}\qu J\en
-\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
-\notes\qu i\en\setclef1\bass\changeclefs\bar
-\notes\qu I\en\setclef1\treble\changeclefs
-\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
-\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
-\notes\qu i\en
-\endpiece
-\end{verbatim}\end{quote}
-
-\subsection{Meter changes}
-
-As mentioned in section \ref{generalmeter}, a common \itxem{meter} for all
-staves can be specified by \keyindex{generalmeter}\verb|{|$m$\verb|}|,
-where $m$ denotes the meter. On the other hand, meter changes in specific
-staves are implemented with
-\keyindex{setmeter}\onen\verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}|,
-where $n$ is the number of the instrument, $m1$ specifies the meter
-of the first (lowest) staff, $m2$ the second staff, and so forth. (Only enter
-as many $m$'s as necessary.)
-
-Since meter changes are meaningful only across bars, there is no special command to
-activate a new meter; rather, they are activated with the general commands
-\keyindex{changecontext}, etc., listed in section \ref{contextintro}.
-
-The next example shows a few methods to get a meter change, in all staves or
-in a single staff.
-
-\begin{quote}\begin{verbatim}
-\instrumentnumber2\setstaffs22%
-\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
-\setclef1{\bass}\generalsignature2%
-\startextract
-\setmeter1{{\meterfrac{2}{4}}}%
-\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}%
-{\meterfrac{3}{4}}}\changecontext
-\Notes\qu K&\cu{de}|\qu e\en
-% bar 11
-% Meters, clefs, and key signatures.
-% All 3 clefs after bar (probably bad form) if no changeclefs
-\setmeter1{{\meterfrac{2}{8}}}%
-\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}%
-\setsign2{-1}%
-% How to force showing the bass clef?
-\setclef1\bass\setclef2{23}%
-\Changecontext
-\Notes\qu K&\cu{de}|\qu e\en
-% bar 12
-% Meters, clefs, and key signatures, with clef before the bar.
-% Maybe not best form if signatures are involved
-\setmeter1{{\meterfrac{2}{4}}}%
-\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}%
-\setsign2{-1}%
-\setclef1\treble\zchangeclefs\changecontext
-\Notes\qu k&\cu{de}|\qu e\en
-\end{verbatim}\end{quote}
-\begin{music}
-\instrumentnumber2\setstaffs22%
-\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
-\setclef1{\bass}\generalsignature2%
-\startextract
-\setmeter1{{\meterfrac{2}{4}}}%
-% How big the '2' must be?
-\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}%
-{\meterfrac{3}{4}}}\changecontext
-\Notes\qu K&\cu{de}|\qu e\en
-% bar 11
-% Meter Clefs and Key Signatures
-% all 3 clefs after bar if no changeclefs
-\setmeter1{{\meterfrac{2}{8}}}%
-\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}%
-\setsign2{-1}%
-% How to force showing the bass clef?
-\setclef1\bass\setclef2{23}%
-\Changecontext
-\Notes\qu K&\cu{de}|\qu e\en
-% bar 12
-% Meter Clefs Keys Signatures all 3 with clef before the bar
-% probably not if signatures are involved
-\setmeter1{{\meterfrac{2}{4}}}%
-\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}%
-\setsign2{-1}%
-\setclef1\treble\zchangeclefs\changecontext
-\Notes\qu k&\cu{de}|\qu e\en
-\endextract
-\end{music}
-
-\section{Repeats}
-
-To replace a bar line with a left, right, or left-right repeat, use one of the
-commands \keyindex{leftrepeat}, \keyindex{rightrepeat} or
-\keyindex{leftrightrepeat} in place of \verb|\bar|. If a \verb|\leftrepeat|
-happens to come at the end of a system, it will automatically be moved to the
-start of the next system. If a \verb|\leftrightrepeat| happens to come at the
-end if a system, \musixtex\ will automatically post a right repeat at the end
-of the system and a left repeat at the beginning of the next.
-
-For example,
-
-\begin{music}\nostartrule
-\startextract
-\NOTes\ha g\enotes
-\leftrepeat
-\NOTes\ha h\enotes
-\leftrightrepeat
-\NOTes\ha i\enotes
-\rightrepeat
-\NOTEs\wh j\enotes
-\zendextract
-\end{music}
- \noindent has been coded as:
-\begin{quote}\begin{verbatim}
-\NOTes\ha g\enotes
-\leftrepeat
-\NOTes\ha h\enotes
-\leftrightrepeat
-\NOTes\ha i\enotes
-\rightrepeat
-\NOTEs\wh j\enotes
-\end{verbatim}\end{quote}
-
-To insert a right repeat at a forced line break or at the end of a piece, use
-\verb|\setrightrepeat| \textit{before}\ \verb|\alaligne| or \verb|\endpiece|.
-In contrast, to insert a left repeat at a forced line break or at the
-beginning of a piece, simply use \verb|\leftrepeat| immediately \textit{after}
-\verb|\startpiece| or \verb|\alaligne|. To insert a left-right repeat at a
-forced line break, use \verb|\setrightrepeat\alaligne\leftrepeat|.
-
-In fact it is possible to use \keyindex{setleftrepeat},
-\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before any
-\keyindex{bar}, \keyindex{stoppiece} or \keyindex{changecontext}. But
-be aware that while \verb|\setleftrepeat| behaves properly if the
-bar is at the end of a system, \verb|\setleftrightrepeat| does not, placing
-the symbol only at the end of the system.
-
- \subsection{First and second endings (Voltas)}\index{volta}
-
-All volta commands must be entered right before the bar line command
-(or repeat, etc.) where they are to take effect. There are three
-commands that suffice to set all voltas. To start one, use
-\keyindex{Setvolta}\verb|{|\textit{text}\verb|}|; to terminate it
-with or without a vertical line, use \keyindex{endvolta} or
-\keyindex{endvoltabox} respectively. The text by default will be followed
-by a period. There are also various alternate
-commands (e.g., \verb|\setendvoltabox| is equivalent to \verb|endvoltabox|).
-Some such alternate forms are used in the following example, but the first three
-mentioned above are all that are required:
-
-\medskip \begin{music}
- \parindent0pt
- \startpiece
- \addspace\afterruleskip
- \NOTEs\wh a\en\bar
- \NOTEs\wh b\en\setvoltabox{1.-3}\bar
- \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat
- \NOTEs\wh d\en\doublebar
- \NOTEs\wh e\en\bar
- \NOTEs\wh f\en\leftrepeat
- \NOTEs\wh g\en\bar
- \NOTEs\wh h\en\Setvolta1\bar
- \NOTEs\wh i\en\bar
- \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat
- \NOTEs\wh i\en\bar
- \NOTEs\wh h\en\setendvoltabox
- \Endpiece
- \end{music}
- \noindent This was coded as
- \begin{quote}\begin{verbatim}
- \startpiece \addspace\afterruleskip
- \NOTEs\wh a\en\bar
- \NOTEs\wh b\en\setvoltabox{1.-3}\bar
- \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat
- \NOTEs\wh d\en\doublebar
- \NOTEs\wh e\en\bar
- \NOTEs\wh f\en\leftrepeat
- \NOTEs\wh g\en\bar
- \NOTEs\wh h\en\Setvolta1\bar
- \NOTEs\wh i\en\bar
- \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat
- \NOTEs\wh i\en\bar
- \NOTEs\wh h\en\setendvoltabox
- \Endpiece
-\end{verbatim}\end{quote}
- \zkeyindex{leftrepeat}\zkeyindex{rightrepeat}
-
-If the volta only spans one measure and ends without a vertical segment,
-it can be specified simply by saying
-\keyindex{setvolta}\verb|{|\textit{text}\verb|}| before the bar line command
-that starts it, and it will automatically terminate at the
-second bar line command:
-
-\medskip \begin{music}
- \parindent0pt \startpiece \addspace\afterruleskip
- \NOTEs\wh a\en\bar
- \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat
- \NOTEs\wh d\en\bar
- \NOTEs\wh e\en\Endpiece
-\end{music}
-\noindent which was coded as:
- \begin{quote}\begin{verbatim}
- \parindent0pt \startpiece \addspace\afterruleskip
- \NOTEs\wh a\en\bar
- \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat
- \NOTEs\wh d\en\bar
- \NOTEs\wh e\en\Endpiece
-\end{verbatim}\end{quote}
-
-The height above the top staff line of the horizontal line in a volta symbol
-is determined by the token \keyindex{raisevolta} which is 4\verb|\internote| by
-default. You can change this to any desired dimension.
-
-The period after the text can be
-removed by saying \verb|\def|\keyindex{voltadot}\verb|{}|
-and restored by \verb|\def|\keyindex{voltadot}\verb|{.}|\ .
-
- \subsection{Special symbols for repeating long sections}
-
-Four special symbols and corresponding macros are available, namely
-\keyindex{coda}~$p$, \keyindex{Coda}~$p$,
-and \keyindex{segno}~$p$, where $p$ specifies the pitch; and \keyindex{Segno}
-with no argument. Their behavior is illustrated in this example:
-
-\begin{music}
-\startextract
-\NOtes\segno n\enotes
-\bar
-\NOtes\coda n\enotes
-\NOtes\Segno\enotes
-\bar
-\NOtes\Coda n\enotes
-\endextract
-\end{music}
-\noindent which has been coded:
-\begin{quote}\begin{verbatim}
-\NOtes\segno m\enotes\bar
-\NOtes\coda m\enotes
-\NOtes\Segno\enotes\bar
-\NOtes\Coda m\enotes
-\end{verbatim}\end{quote}
-
-\subsection{Repeating a single bar}
- The special symbol for a single bar repeat is generated by \keyindex{duevolte}, as shown
-in the following example:
-
-\begin{music}
-\generalmeter\meterC
-\setclef1\bass\setstaffs1{2}
-\startextract
-\NOtes\sk\sk\pause|\qa{cegj}\en
-\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en
-\endextract
-\end{music}
-\noindent whose coding is:
-\begin{quote}\begin{verbatim}
-\generalmeter\meterC
-\setclef1\bass\setstaffs1{2}
-\startextract
-\NOtes\sk\sk\pause|\qa{cegj}\en
-\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en
-\endextract
-\end{verbatim}\end{quote}
-
-\noindent This is often used with \verb|\centerbar| to more easily center the
-symbol between bar lines, as shown in the example in section \ref{barcentered}.
-
-\section{Font selection and text placement}
-
-\subsection{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},
-\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,
-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.
-When \musixtex\ is started, the default font for ordinary text is
-ten point Roman, equivalent to \verb|\normtype\rm|.
-
-Another group of fonts, in bold extended italic style, is predefined in point sizes
-10, 12, 14, and 17 for dynamic markings. The appropriate font for the current
-staff size may be selected simply by using \keyindex{ppff} as a
-font specification. Macros \verb|\smalldyn|, \verb|\normdyn|, or \verb|\meddyn| may be
-used to redefine \verb|\ppff| to represent one of the smallest three.
-
-All predefined fonts are summarized in the following table. The second column gives an
-explicit control sequence that can alternatively be used locally as a font specification.
-
-\begin{center}
- \begin{tabular}{lll}
- \hline
- Size and style & Font specification & Example \\
- \hline
- \verb|\smalltype| & \verb|\eightrm| & {\smalltype small Roman} \\
- \verb|\smalltype\bf| & \verb|\eightbf| & {\smalltype\bf small bold} \\
- \verb|\smalltype\it| & \verb|\eightit| & {\smalltype\it small italic} \\
- \verb|\Smalltype| & \verb|\ninerm| & {\Smalltype Small Roman} \\
- \verb|\Smalltype\bf| & \verb|\ninebf| & {\Smalltype\bf Small bold} \\
- \verb|\Smalltype\it| & \verb|\nineit| & {\Smalltype\it Small italic} \\
- \verb|\normtype| & \verb|\tenrm| & {\normtype normal Roman} \\
- \verb|\normtype\bf| & \verb|\tenbf| & {\normtype\bf normal bold} \\
- \verb|\normtype\it| & \verb|\tenit| & {\normtype\it normal italic}\\
- \verb|\medtype| & \verb|\twelverm| & {\medtype medium Roman} \\
- \verb|\medtype\bf| & \verb|\twelvebf| & {\medtype\bf medium bold} \\
- \verb|\medtype\it| & \verb|\twelveit| & {\medtype\it medium italic}\\
- \verb|\bigtype| & \verb|\bigfont| & {\bigtype big bold} \\
- \verb|\Bigtype| & \verb|\Bigfont| & {\Bigtype Big bold} \\
- \verb|\BIgtype| & \verb|\BIgfont| & {\BIgtype BIg bold} \\
- \verb|\BIGtype| & \verb|\BIGfont| & {\BIGtype BIG bold} \\
- \verb|\smalldyn| & \verb|\ppffsixteen| & {\ppffsixteen pp ff diminuendo}\\
- \verb|\normdyn| & \verb|\ppfftwenty| & {\ppfftwenty pp ff crescendo}\\
- \verb|\meddyn| & \verb|\ppfftwentyfour| & {\ppfftwentyfour pp ff crescendo}\\[.4ex]
- ~ & \verb|\ppfftwentynine| & {\ppfftwentynine pp ff diminuendo}\\[.4ex]
- \hline
- \end{tabular}
-\end{center}
-
-\subsection{User-defined text fonts}
-
-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
-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
-in any \TeX\ document, e.g. by coding \verb|\font blafont=bla10| and then
-\verb|\zchar{10}{\blafont Text in user-defined font}|.
-
-You might also wish to replace once and for all the typefaces invoked by the
-commands described in the previous section. Again, before doing this, you must
-follow steps (a-c) of the previous paragraph for all fonts in questions.
-\label{musixtmr}
-You can use the standard bitmapped fonts which are converted to
-postscript by e.g.\ \verb|dvips|, but you also may replace them
-by native postscript fonts.
-
-As an example, you can replace the standard \verb|musixtex| fonts by
-the Times series of fonts as follows:
-
-\begin{verbatim}
-% 8pt roman, bold, and italic
-\font\eightrm=ptmr7t at 8pt
-\font\eightbf=ptmb7t at 8pt
-\font\eightit=ptmri7t at 8pt
-% 9pt
-\font\ninerm=ptmr7t at 9pt
-\font\ninebf=ptmb7t at 9pt
-\font\nineit=ptmri7t at 9pt
-% 10pt
-\font\tenrm=ptmr7t
-\font\tenbf=ptmb7t
-\font\tenit=ptmri7t
-% 12pt
-\font\twelverm=ptmr7t scaled \magstep 1
-\font\twelvebf=ptmb7t scaled \magstep 1
-\font\twelveit=ptmri7t scaled \magstep 1
-% Large fonts for titles : normal shaped Times-Roman fonts are applied
-\font\bigfont=ptmr7t scaled \magstep2 % 14pt
-\font\Bigfont=ptmr7t scaled \magstep3 % 17pt
-\font\BIgfont=ptmr7t scaled \magstep4 % 20pt
-\font\BIGfont=ptmr7t scaled \magstep5 % 25pt
-%
-\normtype
-\end{verbatim}
-The above definitions are made available in a file
-\verb|musixtmr.tex|\footnote{by Hiroaki {\sc Morimoto}}, to be used as
-\begin{quote}\begin{verbatim}
-\input musixtex
-\input musixps
-\input musixtmr
-...
-\end{verbatim}\end{quote}
-
-\font\tnormtype=ptmr7t
-\font\tnormtypebf=ptmb7t
-\font\tnormtypeit=ptmri7t
-\font\tbigtype=ptmr7t scaled \magstep2
-\font\tBIgtype=ptmr7t scaled \magstep4
-
-\noindent Here's a comparison of some of the Computer Modern Roman and Times Roman fonts:
-\begin{center}
- \begin{tabular}{ll}
- \hline
- {\normtype normal (10pt) cm Roman} & {\tnormtype normal Times Roman} \\
- {\normtype\bf normal cm bold} & {\tnormtypebf normal Times bold} \\
- {\normtype\it normal cm italic} & {\tnormtypeit normal Times italic}\\
- {\bigtype cm big} & {\tbigtype Times big} \\
- {\BIgtype cm BIg } & {\tBIgtype Times BIg bold} \\
- \hline
- \end{tabular}
-\end{center}
-
-\subsection{Text placement}\label{textplacement}
-Special macros are provided to allow precise placement of any \TeX\ text, vertically
-relative to the staff, and horizontally relative to any note in
-the staff.
-
-The macros in the first group will vertically position the text with the
-baseline at any specified pitch or staff line. They must be used
-inside \verb|\notes...\enotes|. They will not insert any additional
-horizontal space. They have the forms
-\keyindex{zcharnote}\pitchp\verb|{|\ital{text}\verb|}|, \keyindex{lcharnote}\pitchp\verb|{|\ital{text}\verb|}|,
-and \keyindex{ccharnote}\pitchp\verb|{|\ital{text}\verb|}|,
-where \ital{p} is the pitch. With the first one, text will spill to the right
-from the current insertion point, with the second it will spill to the left, and with the
-third it will be centered horizontally.
-
-There are similar macros \keyindex{zchar}\pitchp\verb|{|\ital{text}\verb|}|,
-\keyindex{lchar}\pitchp\verb|{|\ital{text}\verb|}|, and \keyindex{cchar}\pitchp\verb|{|\ital{text}\verb|}|,
-which differ from the previous three in that the pitch \ital{must} be given with
-a number (representing the number of staff positions up from the lowest line),
-and that the number need not be an integer.
-
-To vertically position any text midway between two consecutive staves, use
-\keyindex{zmidstaff}\verb|{|{\it text}\verb|}|, \keyindex{lmidstaff}\verb|{|{\it text}\verb|}|,
-or \keyindex{cmidstaff}\verb|{|{\it text}\verb|}| at the appropriate point in the lower staff.
-
-The macros \keyindex{uptext}\verb|{|\ital{text}\verb|}| and
-\keyindex{Uptext}\verb|{|\ital{text}\verb|}| are simply shorthands for
-\verb|\zchar{10}{|\ital{text}\verb|}| and \verb|\zchar{14}{|\ital{text}\verb|}| respectively.
-
-The text items handled by all of the above macros can include any appropriate
-string of \TeX\
-control sequences, including font definitions, \verb|\hbox|'es, etc.
-
-Material posted with any of the macros described in this section will not
-create any additional horizontal or vertical space within the current system,
-and will overwrite anything in the current system that gets in the way. It is
-the typesetter's responsibility to ensure there is adequate white space
-within the current system to accommodate any text emplaced with
-these macros. On the other hand, if text is emplaced far above or below a
-system, \musixtex\ will usually insert additional vertical space if needed.
-
-\subsection{Rehearsal marks}
-
-Rehearsal marks are usually
-boxed or circled uppercase letters or digits. They can be defined using the macros
-\keyindex{boxit}\verb|{|\ital{text}\verb|}| or
-\keyindex{circleit}\verb|{|\ital{text}\verb|}|. For boxed text,
-the margin between the text and box is controlled by the dimension
-register \keyindex{boxitsep}, which can be reset to any \TeX\ dimension if the
-default value of \verb|3pt| is unsatisfactory. To emplace the mark, use \verb|\Uptext| or
-any of the other macros defined in the previous section.
-
-
-\section{Miscellaneous other notations}
-%avre
- \subsection{Metronomic indications}
-%Metronomic indication deserves a special macro. The mention:
-%
-%\medskip
-%\centerline{\def\nbinstruments{0}\metron{\hup}{60}}
-%
-%\smallskip\noindent
-%is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in
-%\keyindex{Uptext} which is in turn embedded within \verb|\notes...\enotes|).
-%
-% On the other hand, music writers sometimes want to specify that the duration
-%of a previous note is equal to a distinct furthernote. Thus
-%
-% \smallskip
-%\centerline{\def\nbinstruments{0}\metronequiv{\qup}{\qu}}
-%
-%\smallskip\noindent
-%is coded by \keyindex{metronequiv}\verb|{\qup}{\qu}|.
-
-By way of example, the notations~~~{\def\nbinstruments{0}
-\metron{\hup}{60}}~~~and~~~{\def\nbinstruments{0}\metronequiv{\qup}{\qu}}~~~are
-respectively coded as
-\keyindex{metron}\verb|{\hup}{60}| and \keyindex{metronequiv}\verb|{\qup}{\qu}|,
-which are normally emplaced using \keyindex{Uptext}.
-
-Also, you can set a smaller metronomic indication like~~~{\def\nbinstruments{0}
-\metron{\smallnotesize\lqu}{ca. 72}}~~~ or ~~~{\def\nbinstruments{0}
-\metron{\tinynotesize\lqu}{ca. 72}}~~~ by writing
-\verb|\metron{\smallnotesize\lqu}{ca. 72}| or \verb|\metron{\tinynotesize\lqu}{ca. 72}|.
-
-
- \subsection{Accents}
-
-You may use\footnote{Note from the editor: the reason the names of some of
-these macros don't seem to be constructed to suggest the terms used in the
-descriptions is that whoever originally defined the macros had in mind terms
-that did not agree with normal English usage.}
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item \keyindex{upz}\pitchp~(upper \itxem{staccato}) to put a dot above a note
-head at pitch $p$,
- \item \keyindex{lpz}\pitchp~(lower \ital{staccato}) to put a dot below a note
-head at pitch $p$,
- \item \keyindex{usf}\pitchp~(upper \itxem{sforzando}) to put a $>$ accent above
-a note head at pitch $p$,
- \item \keyindex{lsf}\pitchp~(lower \itxem{sforzando}) to put a $>$ accent below
-a note head at pitch $p$,
- \item \keyindex{ust}\pitchp~(upper \itxem{tenuto}) to put a
-hyphen above a note head at pitch $p$,
- \item \keyindex{lst}\pitchp~(lower \ital{tenuto}) to put a
-hyphen below a note head at pitch $p$,
- \item \keyindex{uppz}\pitchp~(upper \itxem{staccatissimo}) to put a solid vertical
-wedge above a note head at pitch $p$,
- \item \keyindex{lppz}\pitchp~(lower \ital{staccatissimo}) to put an inverted
-solid vertical wedge below a note head at pitch $p$,
- \item \keyindex{usfz}\pitchp~(upper \itxem{forzato}) to put a
-``dunce cap'' above a note head at pitch $p$,
- \item \keyindex{lsfz}\pitchp~(lower \ital{forzato}) to put an inverted
-``dunce cap'' below a note head at pitch $p$,
- \item \keyindex{upzst}\pitchp~(upper \itxem{staccato/tenuto}) to put a
-dot and a hyphen above a note head at pitch $p$,
- \item \keyindex{lpzst}\pitchp~(lower \ital{staccato/tenuto}) to put a
-dot and a hyphen below a note head at pitch $p$,
- \item \keyindex{flageolett}\pitchp~to put a
-small circle above a note head at pitch $p$.
-\end{itemize}
-These marks are horizontally centered relative to solid note heads. To
-compensate for the fact that whole notes are wider, you should use
-\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents
-and other items (e.g.~\verb|\Fermataup|) above a whole note.
-
-There are also variants of the most common accents\footnote{Thanks to Klaus
-{\sc Bechert}'s corrections.} which will be automatically positioned
-above or below a beam. They are spelled like the corresponding normal
-accent, but preceded with the letter \verb|b|, and their argument, instead of
-the pitch, is the beam reference number . Thus
-
-\medskip
-\begin{music}\nostartrule
-\startextract
-\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h%
- \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en
-\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j%
- \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en
-\zendextract
-\end{music}
-\noindent was coded as
-\begin{quote}\begin{verbatim} \startextract
-\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h%
- \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en
-\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j%
- \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en
-\zendextract
-\end{verbatim}\end{quote}
-\zkeyindex{busfz}
-\zkeyindex{bupz}
-\zkeyindex{bust}
-\zkeyindex{buppz}
-\zkeyindex{busf}
-\zkeyindex{butext}
-\zkeyindex{blsfz}
-\zkeyindex{blpz}
-\zkeyindex{blst}
-\zkeyindex{blppz}
-\zkeyindex{blsf}
-\zkeyindex{bltext}
-
-The macros \verb|\bltext| and \verb|\butext| are detailed in the next section,
-where the mystery of why they produce the number 3 is resolved.
-
-
-\subsection{Numbers and brackets for xtuplets}\label{tuplet}
-
-The following table lists all the special macros that place a number indicating
-an xtuplet. Some also place a bracket above or below the notes, and are
-intended for use with unbeamed notes.
-In the table, $p$ is a pitch, $k$ is a number, $n$ is a beam number,
-$w$ is a bracket width in \verb|\internote|s, and $s$ is the bracket slope as
-a multiple of 1.125 degrees. The macro \verb|\txt| contains a default number
-and its font, which will be emplaced by the first and third through sixth macros,
-and is initially defined as \verb|\def\txt{\eightit 3}|. The macro
-\verb|\tuplettxt| serves the same role for the last two macros. The first four
-are to be used with beamed xtuplets. As indicated in the
-last column, the last four produce a sloping bracket and are to be used with
-unbeamed xtuplets. The last two require the extension file
-\verb|tuplet.tex| to be input right after \verb|\input musixtex|.
-
-
-\begin{center}
- \begin{tabular}{lclcc}
- \hline
- ~ & Number & ~ & Needs & ~ \\
- Macro and arguments & printed & Where invoked & \verb|tuplet.tex|? & Bracket \\
- \hline
- \verb|\triolet|\pitchp & \verb|\txt| & before beam & no & none \\
- \verb|\xtuplet|\itbrace{k}\pitchp & $k$ & before beam & no & none \\
- \verb|\butext|\itbrace{n} & \verb|\txt| & before note at number & no & none \\
- \verb|\bltext|\itbrace{n} & \verb|\txt| & before note at number & no & none \\
- \verb|\uptrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & no & solid \\
- \verb|\downtrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & no & solid \\
- \verb|\uptuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & yes & with gap \\
- \verb|\downtuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & yes & with gap \\
- \hline
- \end{tabular}
-\end{center}
-\medskip
-
-Here are some examples of the first six macros in the table:\\
-\vskip-3pt
-\begin{music}
-\parindent0mm
-\generalmeter{\meterfrac24}
-\startpiece
-\addspace\afterruleskip
-\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar
-\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en
-\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar
-\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar
-\Notesp\uptrio o16\ql l\en\notesp\cl n\en
-%avrb
-\Notesp\downtrio O16\qu e\en\notesp\cu g\en
-%avre
-\endpiece
-whose coding is
-\begin{quote}\begin{verbatim}
-\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar
-\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en
-\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar
-\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar
-\Notesp\uptrio o16\ql l\en\notesp\cl n\en
-\Notesp\downtrio O16\qu e\en\notesp\cu g\en
-\end{verbatim}\end{quote}
-\end{music}
-\zkeyindex{xtuplet}\zkeyindex{triolet}
-
-\medskip
-Next are examples using the macros from \verb|\tuplet.tex|. Comparison of the
-coding with the printed result reveals that (a) a redefinition of
-\verb|\tuplettxt| inside a notes group only applies inside that group and
-leaves the default definition intact (bar 2),
-(b) the default definition is
-\verb|\def\tuplettxt{\ppffsixteen3}|, a 10-pt bold extended italic numeral 3
-which may be larger and heavier than desired (first set, bar 3) (c) to get the
-number properly centered in the gap, you must include some extra spaces after
-the number in the definition of \verb|\tuplettxt|, and (d) as you can see in
-the last bar, if the span becomes to small, the macros still won't provide
-enough room for the number in the gap; in this case it would be better to
-use to the macros without gaps.
-
-% Examples:
-%
-% Draw a triplet bracket over the notes, starting at pitch "p",
-% 1.25\noteskip wide, with a slope up of 3-3/8 degrees:
-%
-% \uptuplet p{1.25}3
-%
-% Draw a sextuplet bracket under the notes, starting at pitch "a",
-% 2.5\noteskip wide, with a slope down of 4-1/2 degrees:
-%
-% \def\tuplettxt{\smallppff 6\/\/}
-% \downtuplet{a}{2.5}{-4}
-
-\begin{music}
-\input tuplet
-\parindent0mm
-\generalmeter{\meterfrac24}
-%\startpiece
-\startextract
-\addspace\afterruleskip
-\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en
-\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar
-\notesp\def\tuplettxt{\eightit 5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar
-\Notesp\uptuplet o16\ql l\en\notesp\cl n\en
-\def\tuplettxt{\eightit 3\/\/}
-\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar
-\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en
-\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en
-%\endpiece
-\endextract
-\end{music}
-
-\noindent with coding
-
-\begin{quote}\begin{verbatim}
-\input tuplet
-\parindent0mm\generalmeter{\meterfrac24}
-\startextract\addspace\afterruleskip
-\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en
-\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar
-\notesp\def\tuplettxt{\eightit 5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar
-\Notesp\uptuplet o16\ql l\en\notesp\cl n\en
-\def\tuplettxt{\eightit 3\/\/}
-\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar
-\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en
-\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en
-\endextract
-\end{verbatim}\end{quote}
-
- \subsection{Ornaments}
-
- \subsubsection{Arpeggios}
-\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro
-\keyindex{arpeggio}\pitchp\itbrace{m}
-where $p$ is the pitch of
-the base of the arpeggio symbol and $m$ is its height in units of
-\verb|\interligne|, the distance from one staff line to the next. It should be
-issued before the affected chord. It is
-automatically positioned to the left of the chord, but inserts no spacing.
-Its variant \keyindex{larpeggio} sets the arpeggio symbol roughly
-one note head width to the left of the default position, and is intended to
-avoid collision with single accidentals on chord notes.
-
- \subsubsection{Arbitrary length trills}
- There are two styles of arbitrary length trills\index{trills}, each with two
-variants.
-For a trill with preassigned length, use \keyindex{trille}\pitchp\itbrace{l}
-for \hbox to 1cm{\noteskip1cm\trille11\hss} or
-\keyindex{Trille}\pitchp\itbrace{l} for~~\hbox to
-2cm{\noteskip1cm\Trille12\hss}, where $p$ is the pitch and $l$ the length in
-current \verb|\noteskips|.
-
-To let \musixtex\ compute the length of the trill, or if it extends across a
-system break, you can use \keyindex{Itrille}$n$\pitchp\ to start a plain
-trill, where $n$ is a trill reference number between 0 and 5; then
-\keyindex{Ttrille}$n$ to terminate it. To get the {\it tr} at the
-beginning, use \keyindex{ITrille}$n$\pitchp\ to start the trill and
-\verb|\Ttrille|$n$ to close it.
-
-As with other elements, you can specify the maximum number
-directly with \keyindex{setmaxtrills}\verb|{|$m$\verb|}| where $7<m\leq 100$%
-\footnote{This may require e-\TeX.};
-the reference number $n$ will be in the range between 0 and $(m-1)$.
-\label{musixmad_setmaxtrills}
-
-
-For example:
-
-\medskip
- \begin{music}
-\instrumentnumber{1}
-\setstaffs12
-\setclef1{6000}
-%
-\startextract
-\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\enotes
-\bar
-\notes\Itrille 2A\itenu2E\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\enotes
-\bar
-\Notes\tten2\itenu2E\whp E|\ql{nmlkji}\enotes
-\bar
-\Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\enotes
-\endextract
-\end{music}
-whose coding is
-\begin{quote}\begin{verbatim}
-\begin{music}\nostartrule
-\instrumentnumber{1}
-\setstaffs12
-\setclef1{6000}
-%
-\startextract
-\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\enotes
-\bar
-\notes\Itrille 2A\itenu1e\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\enotes
-\bar
-\Notes\tten1\itenu1E\whp E|\ql{nmlkji}\Toctfin1\enotes
-\bar
-\Notes\tten1\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\enotes
-\endextract
-\end{verbatim}\end{quote}
-
- \subsubsection{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,
-
-\begin{music}
-\setclef1\bass
-\setstaffs1{2}
-\startextract
-\NOtes\PED\wh J|\qu h\enotes
-\NOtes|\qu g\enotes
-\NOtes|\hu k\enotes
-\Notes\DEP\enotes
-\bar
-\NOtes\sPED\wh J|\qu h\enotes
-\NOtes|\qu g\enotes
-\NOtes|\hu k\enotes
-\Notes\sDEP\enotes
-\endextract
-\end{music}
- \noindent was coded as \begin{quote}\begin{verbatim}
- \NOtes\PED\wh J|\qu h\enotes
- \NOtes|\qu g\enotes
- \NOtes|\hu k\enotes
- \Notes\DEP\enotes \bar
- \NOtes\sPED\wh J|\qu h\enotes
- \NOtes|\qu g\enotes
- \NOtes|\hu k\enotes
- \Notes\sDEP\enotes
- \end{verbatim}\end{quote}
-
- 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}|.
-To locally change the vertical position of a pedal symbol, use one of the more
-fundamental
-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}|.
-
- \subsubsection{Other ornaments}\index{ornaments}
-
-The argument $p$ in the following macros for ordinary ornaments is the
-pitch at which the ornament itself appears. They are all nonspacing macros.
-You may use
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item \keyindex{mordent}\pitchp\ for \hbox to .75em{\mordent 0\hss},
- \item \keyindex{Mordent}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss},
- \item \keyindex{shake}\pitchp\ for \hbox to .75em{\shake 0\hss},
- \item \keyindex{Shake}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss},
- \item \keyindex{Shakel}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss},
- \item \keyindex{Shakesw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss},
- \item \keyindex{Shakene}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss},
- \item \keyindex{Shakenw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss},
- \item \keyindex{turn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\turn 0\hss},
- \item \keyindex{backturn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}.
- \end{itemize}
-
-In the following macros for fermatas, the argument $p$ is the pitch of the
-notehead on which the fermata rests, assuming no additional vertical
-adjustments are needed for stems or intervening staff lines. They are all
-nonspacing macros. You may use
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item \keyindex{fermataup}\pitchp\ for
-\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermataup1\en}},
-\end{itemize}
-\begin{itemize}\setlength{\itemsep}{3ex}
- \item \keyindex{fermatadown}\pitchp\ for
-\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermatadown2\en}},
- \item \keyindex{Fermataup}\pitchp\ for
-\raisebox{-1ex}[-1ex][0ex]{\musicintextnoclef{\notes\Fermataup 7\zwh{'c}\en}}~,
-centered over a whole note,
- \item \keyindex{Fermatadown}\pitchp\ for
-\raisebox{-1ex}[0ex][0ex]{\musicintextnoclef{\notes\Fermatadown1\zwh{'c}\en}}~,
-centered under a whole note.
- \end{itemize}
-\bigskip
-
-A \itxem{breath} mark
-\raisebox{-5ex}[0ex][0ex]{\notesintext{\notes\zbreath\en}}
-can be put just above the staff with \keyindex{zbreath}. This is a nonspacing
-macro. On the other hand, \keyindex{cbreath} will cause a space of one
-\verb|\noteskip| and place the comma midway through the space.
-
-The \keyindex{caesura} command inserts a slash \verb|0.5\noteskip| before
-the place it is entered, while adding no space:
-
-\begin{music}\nostartrule
-\startextract
-\NOTes\zhu j\hl{^e}\caesura\en
-\Notes\zcu j\cl e\en
-\zendextract
-\end{music}
-
-\subsection{Alphabetic dynamic marks}
- Conventional dynamic symbols
-\pppp, \ppp, \pp,
-\p,
-\mezzopiano,
-\mf,
-\f,
-\fp,
-\sF,
-\ff,
-\fff\ and
-\ffff\ can be posted using the macros
-\keyindex{pppp},
-\keyindex{ppp},
-\keyindex{pp},
-\keyindex{p},
-\keyindex{mp},
-\keyindex{mf},
-\keyindex{f},
-\keyindex{fp},
-\keyindex{sF},
-\keyindex{ff},
-\keyindex{fff},
-\keyindex{ffff} respectively as the second argument of \verb|\zcharnote| or
-\verb|\ccharnote|.
-
-\subsection{Hairpins (crescendos and decrescendos)}\label{sec:crescnd}
-
-The syntax and properties of hairpins will differ depending on whether or not you
-have input \verb|musixps.tex|, which activates not only type K postscript slurs and
-ties but hairpins as well. The font-based variety are always horizontal,
-are limited in length, and cannot span system breaks. Using the postscript variety
-removes all these restrictions, but they will not be visible in DVI previewers.
-
-\subsubsection{Font-based hairpins}
-
-There are two categories of font-based hairpins. The first type requires only
-one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or
-\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{}
-dimension, either a fixed one---for example in points---or a scalable one
-expressed either explicitly or implicitly as some number of
-\verb|\noteskip|s. These should be used as arguments to
-\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to
-post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm.
-
-The second type of font-based hairpin requires two commands, one to start it
-and another to end it. The starting macro is \keyindex{icresc}. It has no
-arguments. Only one invocation suffices to start any number and combination of
-crescendos and diminuendos. The ending macros are \keyindex{tcresc} or
-\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc,
-which will set the altitude. For example,
-
-\begin{music}
-\parindent0pt
-\generalmeter{\meterfrac{12}8}
-\setstaffs1{2}
-\startextract
-\Notes\cmidstaff\ppp|\ca c\en
-\Notes\icresc|\ca{defgh'abcde}\en
-\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en
-\endextract
-\end{music}
-\noindent which was coded as
-\begin{quote}\begin{verbatim}
-\Notes\cmidstaff\ppp|\ca c\en
-\Notes\icresc|\ca{defgh'abcde}\en
-\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en
-\end{verbatim}\end{quote}
-\medskip\noindent while
-\begin{music}
-\parindent0pt
-\generalmeter{\meterfrac{12}8}
-\setstaffs1{2}
-\startextract
-\Notes\cmidstaff\ppp|\ca c\en
-\Notes\icresc|\ca{defgh'abcde}\en
-\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en
-\endextract
-\end{music}
-\noindent was coded as
-\begin{quote}\begin{verbatim}
-\Notes\cmidstaff\ppp|\ca c\en
-\Notes\icresc|\ca{defgh'abcde}\en
-\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en
-\end{verbatim}\end{quote}
-
-\subsubsection{Postscript hairpins}
-As already noted, these require that you have input \verb|musixps.tex|.
-Once having done that, you should not try to use font-based hairpins
-because the syntax is incompatible.
-
-Again,
-there are two different types. The first type is normally initiated with either
-\keyindex{icresc}\onen~or \keyindex{idecresc}\onen, and terminated with
-\keyindex{tcresc}\onen, where $n$ is a hairpin index,
-which is virtually unlimited but certain restrictions apply if it exceeds 14.
-The altitude is set by the value of \keyindex{setcrescheight}, which by default
-is -5 and which must be expressed numerically. Note that
-\keyindex{tcresc}~is the same as \keyindex{tdecresc}.
-
-You can shift the starting or ending point horizontally by replacing the
-foregoing macros with
-\keyindex{ilcresc}, \keyindex{ildecresc},
-\keyindex{ircresc}, \keyindex{irdecresc},
-\keyindex{tlcresc}, \keyindex{tldecresc},
-\keyindex{trcresc}, \keyindex{trdecresc},
-for example to make space for an alphabetic dynamic mark.
-
-The second form of postscript hairpin macros allows individual and arbitrary
-specification of the altitude and horizontal offset. The syntax is
-\keyindex{Icresc}\itbrace{n}\itbrace{h}\itbrace{s}, where $h$ is the
-altitude---which must be numerical---and $s$ is the horizontal offset
-in \verb|\internote|. Similar syntax obtains for \keyindex{Idecresc}\
-and \keyindex{Tcresc}.
-
-These hairpins may span several lines. If one of them spans three systems
-then the height of the middle section can be adjusted with
-\keyindex{liftcresc}\itbrace{n}\itbrace{h}. The height of the first and last
-parts of a broken crescendo will be defined by the height parameter in
-\keyindex{Icresc}~or \keyindex{Tcresc}.
-
-There are numerous other nuances and shorthand macros that are described
-in the comments in \verb|musixps.tex|.
-
-As an example of a postscript hairpin,
-\begin{music}\nostartrule
-%\input smallmusixpsx
-\input musixps
-\generalmeter{\meterfrac{12}8}
-\startextract
-\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en
-\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en
-\zendextract
-\end{music}
-\noindent was coded as
-\begin{quote}\begin{verbatim}
-\input musixps
-\generalmeter{\meterfrac{12}8}
-\startextract
-\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en
-\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en
-\zendextract
-\end{verbatim}\end{quote}
-
- \subsection{Length of note stems}
-
-The default length of note stems is the distance of one octave, i.e.
-\verb|7\internote| or 4.66 \keyindex{interbeam}. The default may be changed
-with the macro \keyindex{stemlength}\itbrace{b}\ where $b$ is the length in
-\verb|\interbeam|s.
-
-The command \keyindex{stemcut} causes stems that extend outside the staff
-to be shortened depending on the pitch of the notes. It is the default
-behavior. To suppress this adjustment, issue the command
-\keyindex{nostemcut}.
-
-Normally, down stems never end above the middle line of the staff and up stems
-never below that line. The command \keyindex{stdstemfalse} will inhibit this
-adjustment, but only for the next stem generated. There is no command to globally
-suppress this behavior.
-
- \subsection{Brackets, parentheses, and oblique lines}\label{brapar}
-
-Several varieties of brackets, parentheses and oblique lines are provided for
-use within a score.
- \begin{itemize}\setlength{\itemsep}{0ex}
- \item \keyindex{lpar}\verb|{|$p$\verb|}| and
-\keyindex{rpar}\verb|{|$p$\verb|}| yield left and right
-parentheses at pitch $p$. They could be used to enclose notes or to build
-\ital{cautionary} accidentals, although the latter are more easily
-obtained with predefined macros (see \ref{cautionary}).
-
-%avrb
-For example,
-
-\begin{tabular}{ll}
-\raisebox{-1.5ex}[0ex][0ex]{\musicintextnoclefn{\notes\bsk\lpar{g}\rpar{g}\hu{g}\sk%
-\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}\loffset{.4}{\sh g}\hu{g}\en}}
-&\begin{tabular}{ll}
-&\verb+\notes\lpar{g}\rpar{g}\hu{g}\sk%+\\
-is coded as&\verb+\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}%+\\
-&\verb+\loffset{.4}{\sh g}\hu{g}\en}+
-\end{tabular}
-\end{tabular}
-%avre
-
- \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| posts a
-square bracket to the left of a chord, vertically spanning $n$
-\verb|internote|s.
- \item \keyindex{doublethumb}\verb|{|$p$\verb|}| indicates a bracket as
-above spanning 2\verb|\internote|s.
- \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
-\keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|
-draw a sloped bracket starting at the current position at pitch $p$,
-with horizontal extent $n$ \verb|noteskip|s and slope $s$ in multiples of
-1-1/8 degree.
- \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
-\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| are like
-\verb|\ovbkt| but with freely definable \keyindex{txt} centered inside.
-
- \item \keyindex{varline}\itbrace{h}\itbrace{\ell}\itbrace{s}\ builds an
-oblique line starting at the current horizontal position. It must be used
-inside a zero box, such as for example as the second argument of
-\verb|\zcharnote|. $h$ is the height of the starting point, $\ell$ is the
-length, and $s$ is the slope. It is used in the definitions of some of
-the foregoing macros, and could be used, for example, to construct various
-obscure baroque ornaments made up of diagonal lines.
-
-\end{itemize}
-
-For example,
-
-\begin{music}
-\setstaffs1{2}
-\setclef1\bass
-\startextract
-\NOtes\bracket C8\zq C\qu J\en
-\NOtes|\doublethumb g\rq h\qu g\en
-\NOtes\lpar c\rpar c\qu c\en
-\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en
-\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en
-\endextract
-\end{music}
-\noindent is coded as
-\begin{quote}\begin{verbatim}
-\begin{music}
-\setstaffs1{2}
-\setclef1{\bass}
-\startextract
-\NOtes\bracket C8\zq C\qu J\en
-\NOtes|\doublethumb g\rq h\qu g\en
-\NOtes\lpar c\rpar c\qu c\en
-\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en
-\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en
-\zendextract
-\end{music}
-\end{verbatim}\end{quote}
-
- \subsection{Forcing activity at the beginning of systems}
-A macro named \keyindex{everystaff} is executed each time a new system
-begins. It is normally void, but it can be defined (simply by \verb|\def|%
-\keyindex{everystaff}\verb|{...}|) to cause \musixtex\ to post anything
-reasonable at the beginning of each system. For it to affect the first system
-in a score, it must be defined \ital{before}
-\verb|\startpiece|.
-
-If a macro named \keyindex{atnextline} is defined at any point in a score,
-it will be executed just once, viz., at the next computed or forced system
-break. More
-precisely, it is executed after the break and before the next system begins.
-Thus it is suitable for redefining layout parameters.
-
- \index{octave treble clef}In some scores, tenor parts are not coded using the
-\ital{bass} clef, but using rather the \ital{octave treble clef}, which is
-subscripted by a numeral {\tt8}.
-This clef is supported by the clef substitution command
-\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}, as already
-explained in section \ref{treblelowoct}. However, if for some reason you
-aren't happy with the height of the ``8'', it can be posted on selected
-staves at the beginning of every system using \keyindex{everystaff} and
-\keyindex{zcharnote} as follows:
-
-\begin{music}
-\instrumentnumber{4}
-\setclef1\bass
-\def\everystaff{%
- \znotes&\zchar{-6}{\eightrm\kern-2\Interligne8}%
- &\zchar{-6}{\eightrm\kern-2\Interligne8}\en}%
-\startextract
-\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en
-\zendextract
-\end{music}
-\noindent The coding is
-\begin{quote}\begin{verbatim}
-\instrumentnumber{4}
-\setclef1\bass
-\def\everystaff{%
- \znotes&\zchar{-6}{\eightrm \kern -2\Interligne 8}%
- &\zchar{-6}{\eightrm \kern -2\Interligne 8}\en}%
-\startextract
-\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en
-\endextract
-\end{verbatim}\end{quote}
-
-\section{Smaller notes in normal-sized staves}
-Here we describe how to reduce the size of note symbols without changing the
-size of the staff itself. Changing overall staff size will be treated in
-section \ref{staffspacing}.
-
-\subsection{Arbitrary sequences of notes}
-Written-out ornaments and \itxem{cadenzas} are usually typeset with
-smaller notes and spacing than normal. The smaller \ital{size} can be
-initiated anywhere inside a \verb|\notes| group by stating
-\keyindex{smallnotesize} or \keyindex{tinynotesize}. Normal note size is then
-restored by \keyindex{normalnotesize} or simply by terminating the
-\verb|notes| group and starting another. Smaller \ital{spacing} must also be
-explicitly indicated, usually by redefining \verb|\noteskip| in some way.
-
-As an example, this excerpt, from the beginning
-of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc
-Haydn, J.}},
-
-\begin{music}
-\instrumentnumber{2}
-\generalmeter{\meterfrac44}
-\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}
-\setstaffs2{2}
-\setclef1\bass
-\setclef2\bass
-\startbarno0
-\startextract
-\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en
-% mesure 1
-\bar
-\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en
-\notes&\qbl0c0|\multnoteskip\tinyvalue\tinynotesize
- \Ibbu1ki2\qb1{kj}\tqh1i\hqsk\en
-\Notes&\qb0e\tbl0\qb0c|\qu j\en
-\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en
-% mesure 2
-\bar
-\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0%
- \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en
-\notes&|\sk\ccu h\en
-\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g%
- \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en
-\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en
-\endextract
-\end{music}
-\noindent can be coded as
-\begin{quote}\begin{verbatim}
-\instrumentnumber{2}
-\generalmeter{\meterfrac44}
-\setstaffs2{2}
-\setclef2{\bass}
-\setclef1{\bass}
-\startbarno=0
-\startextract
-\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en
-% mesure 1
-\bar
-\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en
-\notes&\ibl0c0\qb0c|\multnoteskip\tinyvalue\tinynotesize
- \Ibbu1ki2\qb1{kj}\tqh1i\en
-\Notes&\qb0e\tbl0\qb0c|\qu j\en
-\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en
-% mesure 2
-\bar\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0%
- \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en
-\notes&|\sk\ccu h\en
-\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g%
- \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en
-\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en
-\endextract
-\end{verbatim}\end{quote}
-
- \subsection{Grace notes}
-Grace notes are a special case of small and tiny notes, namely single-stemmed
-eighth notes with a diagonal slash through the flag. To enable this, there
-are the macros \keyindex{grcu}\pitchp\ and \keyindex{grcl}\pitchp, which by
-themselves would
-produce normal-sized eighth notes with a slash. They should be used along
-with the note size reduction macros and spacing reduction macros just
-discussed. In addition, chordal grace notes can be built as in the following
-example:
-
-\begin{music}\nostartrule
-\startextract
-\NOTes\hu h\enotes
-\notes\multnoteskip\smallvalue\smallnotesize\grcu j\enotes
-\NOTes\hu i\enotes
-\bar
-\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes
-\NOTEs\wh i\enotes
-\zendextract
-\end{music}
-\noindent which was coded as
-\begin{quote}\begin{verbatim}
-\startextract
-\NOTes\hu h\enotes
-\notes\multnoteskip\smallvalue\smallnotesize\grcu j\enotes
-\NOTes\hu i\enotes
-\bar
-\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes
-\NOTEs\wh i\enotes
-\zendextract
-\end{verbatim}\end{quote}
-
- \subsection[Ossia]{Ossia\texorpdfstring{\protect\footnote{(Italian O sia) Or else}}{}}
-This clever example had been provided by Olivier Vogel:\label{ossia}
-
-%\begin{center}
-%\includegraphics[scale=1]{./mxdexamples/ossiavogel.eps}
-%\end{center}
-
-\begin{music}
-%\startextract
-%\hsize70mm
-\let\extractline\hbox
-\hbox to \hsize{\hss
-\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
-\off{-#1\elemskip}}%
-\newbox\ornamentbox
-\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm%
-\makeatletter
-\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty\global\clef@skip0pt%
-\makeatother
-%\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty%
-%\startpiece
-%\addspace{2pt}%
-\startextract
-\addspace{-2pt}%
-\let\notest\notes\def\notes{\vnotes2.1\elemskip}%
-\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en%
-\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en%
-\notes\ibl2{'c}1\usf e\qb2c\en%
-\notes\tbl2\qb2{'d}\en
-\let\notes\notest%
-%\zstoppiece%
-\endextract
-}\hss}
-%\setbox\ornamentbox=\hbox to 0pt{Hello}
-%
-%
-%\normalmusicsize\nopagenumbers
-%\def\nbinstruments{1}%
-\setstaffs12\setclef1{60}%
-\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}%
-%\parindent 0pt%
-%\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
-%\startpiece\addspace\afterruleskip%
-\startextract\addspace\afterruleskip%
-\NOtes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|%
-\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en%
-\NOtes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F%
-\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk%
-\cl d\en%
-%\endpiece
-\endextract
-\hss}
-%\vfill\eject\endmuflex
-\end{music}
-
-
-The code is:
-\begin{quote}\begin{verbatim}
-\hsize70mm%
-\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
-\off{-#1\elemskip}}%
-\newbox\ornamentbox
-\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm%
-\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty%
-\startpiece\addspace{2pt}%
-\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en%
-\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en%
-\notes\ibl2{'c}1\usf e\qb2c\en%
-\notes\tbl2\qb2{'d}\en%
-\zstoppiece%
-}\hss}
-\normalmusicsize\nopagenumbers
-\def\nbinstruments{1}%
-\setstaffs12\setclef1{60}%
-\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}%
-\parindent 0pt%
-\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
-\startpiece\addspace\afterruleskip%
-\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|%
-\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en%
-\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F%
-\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk%
-\cl d\en%
-\end{verbatim}\end{quote}
-
-%
-% Why is this here?? DAS 4/30/06
-%
-% \subsection{Other note shapes}\label{othernotes}
-% The classical note heads
-%given above --- namely \raise.5ex\hbox{\musixchar7}~~, \raise.5ex
-%\hbox{\musixchar8}~~ and \raise.5ex\hbox{\musixchar9}~~~
-%--- can be replaced with less classical note heads, for example to code
-%special \itxem{violin harmonic notes} or \itxem{percussion music}. See an
-%example in \ref{abnormalscores}.
-%
-% At present time, alternate available note heads can be found in the
-%extension library, see \ref{diam}, \ref{perc}, \ref{gregnotes} and \ref{litu}.
-
-\section{Staff size} \index{staff size}\label{staffspacing}
-In contrast with the prior section, here we describe how to change the sizes
-of everything...staff, notes, and all other symbols. In
-section~\ref{whatspecify} we saw how to set the size for all instruments at
-the start of a score. Any one of the same macros---\verb|\normalmusicsize|,
-\verb|\smallmusicsize|, \verb|\largemusicsize|, or
-\verb|\Largemusicsize|---can be used to change the size of all instruments
-midway through a score, but in this case it must come between
-\verb|\stoppiece| and \verb|\startpiece|.
-
-Once the overall staff size is set, you can alter the size of any desired
-instrument with the macro \keyindex{setsize}\itbrace{n}\itbrace{s}, where
-$n$ is the instrument number and $s$ is a factor by which the size is to be
-changed from the prevailing overall size. There are five predefined macros
-that should be used for the size factor $s$. Their names and respective values
-are \keyindex{normalvalue}~(1.0), \keyindex{smallvalue}~(0.80),
-\keyindex{tinyvalue}~(0.64), \keyindex{largevalue}~(1.2), and
-\keyindex{Largevalue}~(1.44). \musixtex\ should not crash if you use an
-explicit number different from any of these, but the result may be
-less than satisfactory.
-
-Once again, if used at the beginning of a piece, the \verb|\setsize| macro
-must precede \verb|\startpiece| (not \verb|\contpiece|), and if used after
-the beginning, must be preceded by \verb|\stoppiece|.
-
-As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc
-Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of
-J. S. Bach's \ital{Well Tempered Clavier}, as transcribed for
-organ, violin and voice by Markus {\sc Veittes}:\label{avemaria}
-
-\begin{music}
-\def\oct{\advance\transpose by 7}
-\def\liftqs#1{\raise#1\Interligne\qs}
-\parindent0pt
-\sepbarrules
-\instrumentnumber{3}
-\generalmeter{\meterC}
-\setinterinstrument2{3\Interligne}
-\setsize3\tinyvalue
-\setsize2\tinyvalue
-\setclef1\bass
-\setstaffs1{2}
-\startpiece\addspace\afterruleskip
-%Takt 9
-\notes\zhl c\liftqs6\qupp e|\ds&\oct
- \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\enotes
-\notes|\ibbl0j3\qb0h\tqb0l\enotes
-\notes|\ibbl1k0\qb1{ohl}\tqb1o\enotes
-\notes\zhl c\liftqs6\qupp e|\ds&\oct
- \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\enotes
-\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\enotes
-\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\enotes
-\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\enotes
-\bar
-%Takt 10
-\notes\zhl c\liftqs6\qupp d|\ds&\oct
- \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\enotes
-\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\enotes
-\notes|\ibbu2i0\qb2k\qb2f\enotes
-\notes|\qb2h\tqh2k&\oct\cl e&\tubslur4f\cu e\enotes
-\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\enotes
-\notes|\ibbu1g3\qb1f\tqh1h\enotes
-\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\enotes
-\endpiece
-\end{music}
- This example was coded as:
-\begin{quote}\begin{verbatim}
-\def\oct{\advance\transpose by 7}
-\def\liftqs#1{\raise#1\Interligne\qs}
-\parindent0pt
-\sepbarrules
-\instrumentnumber{3}
-\generalmeter{\meterC}
-\setinterinstrument2{3\Interligne}
-\setsize3\tinyvalue
-\setsize2\tinyvalue
-\setclef1\bass
-\setstaffs1{2}
-\startpiece\addspace\afterruleskip
-%Takt 9
-\notes\zhl c\liftqs6\qupp e|\ds&\oct
- \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\enotes
-\notes|\ibbl0j3\qb0h\tqb0l\enotes
-\notes|\ibbl1k0\qb1{ohl}\tqb1o\enotes
-\notes\zhl c\liftqs6\qupp e|\ds&\oct
- \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\enotes
-\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\enotes
-\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\enotes
-\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\enotes
-\bar
-%Takt 10
-\notes\zhl c\liftqs6\qupp d|\ds&\oct
- \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\enotes
-\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\enotes
-\notes|\ibbu2i0\qb2k\qb2f\enotes
-\notes|\qb2h\tqh2k&\oct\cl e&\curve222\tubslur4f\cu e\enotes
-\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\enotes
-\notes|\ibbu1g3\qb1f\tqh1h\enotes
-\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\enotes
-\endpiece
-\end{verbatim}\end{quote}
-
-\section{Layout parameters}\label{LayoutParameters}
- Most layout parameters are set by \musixtex\ to reasonable default values.
-However, some projects will require altering one or more of them. In this
-section we discuss the most important parameters and how to change them.
-
- \subsection{List of layout parameters}
- In the following, the indication ``\nochange'' does not mean that this
-parameter cannot be changed at all, but that it should not be modified
-directly, e.g.\ by saying something like \verb|\Interligne=14pt|. In other
-words, changes in these parameters must be accomplished only by more
-comprehensive macros which not only revise them but at the same time perform
-other necessary related changes. Even though you cannot \ital{change} these,
-you may \ital{refer} to them in your coding if that proves useful.
-
-\begin{description}\setlength{\itemsep}{0ex}
- \item[\keyindex{Interligne} :]vertical distance between the bottoms of
-consecutive staff lines of the current instrument, taking no account of a
-possible alteration by \keyindex{setsize} \nochange.
- \item[\keyindex{internote} :]vertical spacing between notes one scale
-step apart in the current instrument, taking account of a possible alteration
-by \keyindex{setsize} \nochange.
- \item[\keyindex{Internote} :]vertical spacing between notes one scale
-step apart in any instrument whose \keyindex{setsize} has the default
-value \keyindex{normalvalue} (1.0), equal to \verb|0.5\Interligne| \nochange
-\item[\keyindex{staffbotmarg} :]margin below the first (lowest) staff of the
-first (lowest) instrument. Changes are recognized at the next system.
-Default is \verb|3\Interligne|.
- \item[\keyindex{stafftopmarg} :]margin above the last (uppermost) staff of
-last (uppermost) instrument. Changes are recognized at the next system.
-Default is \verb|3\Interligne|.
- \item[\keyindex{interbeam} :]vertical distance between beams. \nochange.
-\item[\keyindex{interstaff} :]a very important macro with a single numerical
-argument representing the factor that multiplies \verb|2\internote| to give the
-distance between the bottom of one staff and the bottom of the next one. In
-fact the macro redefines the parameter \verb|\interfacteur|.
-\item[\keyindex{interportee} :]distance between the bottom of one staff and
-the bottom of the next one. It is always reset to
-\verb|2|\keyindex{interfacteur}\verb|\internote| at the next system.
-Therefore, trying to change \verb|\interportee| will have no effect. Change
-\verb|\interstaff| instead. Further, note that \verb|\interstaff| applies to all the
-instruments, but each distinct instrument may have a different
-\verb|\internote| (see \ref{staffspacing}).
-
-\item[\keyindex{interinstrument} :]additional vertical distance between
-two consecutive instruments. This means that the distance between the lowest
-line of the previous instrument and the lowest line of the top staff of the current
-instrument is \keyindex{interportee+\Bslash interinstrument}. The
-default value of \verb|\interinstrument| is zero, but sometimes you
-may want additional space between distinct instruments. This is a general
-dimension register. As usual in \TeX, it can be set using a command such as
-\verb|\interinstrument=10pt| or \verb|\interinstrument=6\internote|. Its
-value can be overridden for the space above any particular instrument
-with the macro \keyindex{setinterinstrument}\itbrace{n}\itbrace{s}, where
-$n$ is the instrument and $s$ is the replacement value of the space to
-be added. The \verb|\setinterinstrument| macro may be useful in some vocal
-scores to provide vertical space for lyrics. Note that
-after you have used \keyindex{setinterinstrument},
-you cannot reset the distances for that instrument with
-\keyindex{interinstrument}; you must subsequently use
-\keyindex{setinterinstrument} for that purpose.
-
- \item[\keyindex{systemheight} :]distance from the bottom of the
-lowest staff to the top of the highest one. This is the length of any
-vertical lines such as repeats that span the full height of a system.
-\nochange.
-\end{description}
-
- In addition, when handling notes of a given staff of a given instrument, the
-following dimensions are available (note these are not true registers, but
-\ital{equivalenced symbols} through a \verb|\def|):
-
-\begin{description}\setlength{\itemsep}{0ex}
- \item[\keyindex{altplancher} :]altitude of the lowest line of the lowest
-instrument \nochange.
- \item[\keyindex{altitude} :]altitude of the lowest line of the lowest
-staff of the current instrument \nochange.
- \item[\keyindex{altportee} :]altitude of the lowest line of the current
-staff \nochange.
-
- %??? Next perhaps will change to steps of \verb|\internote|.
-
- \item[\keyindex{stemfactor} :]parameter defining the length of stems on
-half, quarter, and beamed eighth notes, in units of \verb|\interbeam|.
-Normally a stem has the length of one octave,
-i.e. 3.5\keyindex{Interligne}. However, this is not correct for small or tiny
-note sizes. Therefore, stem length is defined as a multiple of the
-dimension \keyindex{interbeam}, which is chosen because it is automatically
-redefined as a
-different multiple of \keyindex{Interligne} whenever note size is changed. For
-example, with \verb|\normalmusicsize| when \verb|\setsize| is
-\verb|\normalvalue|, \verb|\interbeam| is 0.75 \keyindex{Interligne}. This
-legislates a default value for \keyindex{stemfactor} of 4.66 (=3.5/0.75).
-To change stem length, it is easiest to use e.g.
-\keyindex{stemlength}\verb|{3.5}|, which simply redefines \verb|\stemfactor|.
-Subsequently, \verb|\stemfactor| will not automatically be reset to the default,
-but keep in mind that if it is changed
-inside a notes group, the change will only be effective within that notes group.
-\end{description}
-
- \subsection{A convenient macro for changing layout parameters in mid-score}
-Of the parameters just described that can be changed, many should only be
-changed between the end of one system and the beginning of the next. The
-command sequence \verb|\def\atnextline{|\ital{any control sequence}\verb|}|
-may be useful for this purpose. It will cause \ital{any control sequence} to
-be inserted right before the next new line is begun, provided the line break
-is not initiated by a \verb|\startpiece|. Thus this will work with
-automatically generated line breaks, with those forced by \verb|\alaligne|, and
-with those forced by explicit use of \verb|\endpiece| or \verb|\stoppiece|
-followed by \verb|\contpiece|. (Note, however, that in the latter case it
-would be just as convenient to enter the parameter changes explicitly as well.)
-The control sequence will only be executed once,
-after which \verb|\atnextline| is redefined as \verb|\empty|.
-
- \subsection{Changing the number of lines per staff}\label{stafflinenumber}
-Naturally, the default number of lines per staff is five. But you may want a
-different number in some or all staves, for example for gregorian music,
-percussion music, guitar tablature, or early baroque keyboard music. To do so,
-use the command \keyindex{setlines}\itbrace{n}\itbrace{m}~where $n$ is the
-instrument number and $m$ is the number of lines.
-
- \subsection{Resetting normal layout parameters}
-The general size can only be changed with one of the commands
-\keyindex{smallmusicsize},
-\keyindex{normalmusicsize}, \keyindex{largemusicsize}, or
-\keyindex{Largemusicsize}. Beyond that, the command
-\keyindex{resetlayout} will reset the following key layout parameters
-to their default values: \keyindex{staffbotmarg} (3\verb|\Interligne|),
-\keyindex{stafftopmarg} (3\verb|\Interligne|), \keyindex{interstaff} (9),
- number of lines per staff for all instruments (5); and will reset all clef
-symbols to standard clef symbols.
-
-% The whole subsection on excerpts should go with "MusiXTeX and LaTeX", currently 2.25
-% \subsection{Typesetting one-line excerpts rather than large scores}\label{excerpts}
-
-% All the old lyrics stuff should be deleted, with a reference to some older version of
-% musixdoc.
-
-\section{Lyrics}\index{lyrics}\label{lyrics}
-\musixtex{} itself doesn't manage lyrics very well. You should use
-\verb+musixlyr+ instead, a \musixtex\ extension package for lyrics handling by Rainer Dunker.
-The \TeX~source and
-\href{http://icking-music-archive.org/software/musixtex/add-ons/mxlyrdoc.pdf}
-{\underline{documentation}}~are included in the \musixtex~distribution.
-
-But first we recall briefly the older methods, which may still be useful when
-only a small number of words are involved.
-
-\subsection{Native lyrics method: placing single words}
-\subsubsection{Native \musixtex\ commands for lyrics}
- \begin{enumerate}\setlength{\itemsep}{0ex}
- \item An obvious solution consists in using the commandc
-\keyindex{zcharnote} (expanded to the right),
-\keyindex{lcharnote} (expanded to the left),
-\keyindex{ccharnote} (centered), to post the text at any position (computed in
-\verb|\internote|s) with respect to the lower line of the current staff.
-The pitch should be usually negative to have the text below the staff.
-
-Example:\quad
-\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\zcharnote{N}{Word}\wh g\sk\en}}
-\quad is coded by \quad
-\verb|\zcharnote{N}{Word}\wh g|~.
-
-\item The vertical position can also be given with a number in the commands
-\keyindex{zchar} (expanded to the right),
-\keyindex{lchar} (expanded to the left),
-\keyindex{cchar} (centered). The number is internally multiplied by \verb|\internote|~.
-
-Example:\quad
-\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\cchar{-4}{Word}\wh g\sk\en}}
-\quad is coded by \quad
-\verb|\cchar{-5}{Word}\wh g|~.
-
-\item Of easier use are the commands \keyindex{zsong} (right of the note),
-\keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics
-at the lower staff line \ital{minus} the previous
-\keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These
-commands only have one argument, namely the lyrics text:
-%\begin{center}
-\keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad
-\keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad
-\keyindex{csong}\verb|{|\ital{text}\verb|}|
-%\end{center}
- Depending on the values of the inter-instrument spacings and margins, the
-resulting vertical position might be inappropriate. Then it can be changed for
-any specific $n$-th instrument until further change using
-\begin{quote}
-\keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}|
-\end{quote}
-As an example, the following French song\\
- \begin{music}
- \generalsignature{1}
- \startextract
- \geometricskipscale
- \NOtes\zsong{Au }\qu g\en
- \NOtes\zsong{clair }\qu g\en
- \NOtes\zsong{de }\qu g\en
- \NOtes\zsong{la }\qu h\en
- \bar
- \NOTes\zsong{lu- }\hu i\en
- \NOTes\zsong{ne, }\hu h\en
- \bar
- \NOtes\zsong{mon }\qu g\en
- \NOtes\zsong{a- }\qu i\en
- \NOtes\zsong{mi }\qu h\en
- \NOtes\zsong{Pier- }\qu h\en
- \bar
- \NOTes\zsong{rot, }\wh g\sk\en
- \endextract
- \end{music}
-
-\noindent was coded as:
-\begin{quote}\begin{verbatim}
- \generalsignature{1}
- \startextract
- \geometricskipscale
- \NOtes\zsong{Au }\qu g\zsong{clair }\qu g\en
- \NOtes\zsong{de }\qu g\zsong{la }\qu h\en\bar
- \NOTes\zsong{lu- }\hu i\zsong{ne, }\hu h\en\bar
- \NOtes\zsong{mon }\qu g\zsong{a- }\qu i\en
- \NOtes\zsong{mi }\qu h\zsong{Pier- }\qu h\en\bar
- \NOTes\zsong{rot, }\wh g\sk\en
- \zendextract
-\end{verbatim}\end{quote}
-\end{enumerate}
-
-\subsubsection{Adapting note spacing for lyrics}
-
-The command \keyindex{hardlyrics}\verb|{longword}| provides a spacing that is equal to the length
-of the text argument \verb|{longword}|. In the same time the argument \verb|{longword}|
-is saved in \keyindex{thelyrics}
-
-As an example \quad
-\raisebox{0ex}[5ex][4ex]%
-{\musicintextnoclefn{\staffbotmarg2\Interligne%
-\hardlyrics{clair}\notes\hsong{\thelyrics}\wh g\en\notes\wh{gg}\en}}
-\quad is coded by:
-\begin{tabular}{l}
-\verb|\hardlyrics{clair}%|\\
-\verb|\notes\hsong{\thelyrics}\wh g\en|\\
-\verb|\notes\wh{gg}\en|\\
-\end{tabular}
-
-All notes with long lyrics need such a treatment. The commands only carry out on
-\verb|\notes| (not on \verb|\Notes|, \verb|\NOtes|...).
-
-If you want to go back to the normal placing on an easy way, you simply can replace
-'\verb|\hardlyrics|' by '\verb|\softlyrics|'.
-
- A complete score is given in example {\tt glorias.tex}\label{glorias} and in
-{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the
-organ accompaniment.
-
-Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed
-length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is
-\verb|3\noteskip|. These are useful when the text is set below (or above) a
-collective coding of two or three notes.
-
-\subsection{Musixlyr}\label{musixlyr}
-
-Lyrics are best handled by the \texttt{musixlyr}\index{musixlyr} package by Rainer Dunker.
-The package can be used by inserting a file in your source code:
-\begin{quote}\begin{verbatim}
-\input musixtex
-\input musixlyr
-...
-\end{verbatim}\end{quote}
-
-The manual, the input file and a few examples are in \verb|musixtex.zip|, or they
-may be downloaded
-\href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip}
-{\underline{for Windows}} or \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.tgz}
-{\underline{for \unix}}. Look at the manual for a detailed description. Here is an overview
-of the commands and an example of use.\pagebreak
-
-\def\keyexample#1{\keyindex{#1}}
-
-\noindent\begin{tabbing}
-\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
-Example\> Explanation
-\end{tabbing}
-\vspace{-1ex}
-\hrule
-\vspace{-2ex}
-\begin{tabbing}
-\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
-\keyexample{setlyrics}\verb|{sopr}{the ly_-ric words_}|\> defining the lyrics text\\
-\keyexample{copylyrics}\verb|{sopr}{alto}|\> alto has same lyrics as soprano\\
-\keyexample{appendlyrics}\verb|{alto}{more words}|\> alto lyrics is longer\\
-\keyexample{assignlyrics}\verb|2{sopr,alto}|\>soprano and alto lyrics at staff 2\\
-\keyexample{assignlyricsmulti}\verb|{1}{2}{alto}|\>assign alto lyrics to staff 2 of instrument 1\\
-\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\>assigning without staff number\\
-\keyexample{auxlyr}\verb|\assignlyrics{2}{sopr}|\> assign soprano above staff 2\\[.8ex]
-\keyexample{lyrrule}\verb|\qu c|...\keyexample{lyrruleend}\verb|\qu c|\>make a melisma by hand\\
-\keyexample{beginmel}\verb|\qu c|...\keyexample{endmel}\verb|\qu c|\>melisma, same as word extension underline\\[.8ex]
-\keyexample{lyr}\verb|\qu c|\>force a syllable from lyrics text at this note or rest\\
-\keyexample{lyric}\verb|{word}\qu c|\>insert syllable 'word' at this note\\
-\verb|\loffset{2}{|\keyexample{lyric*}\verb|{1.}}\qu c|\>combine '1.' with regular syllable\\
-\keyexample{lyrich}\verb|{syl}\qu c|\>same as \verb|\lyric|, but with hyphenation\\
-\keyexample{lyrich*}\verb|{}\qu c|\>same as \verb|\lyric*|, but with hyphenation\\
-\keyexample{lyricsoff}...\keyexample{lyricson}\>stop lyrics, then start again\\
-\keyexample{nolyr}\verb|\qu c|\>no syllable at this note\\[.8ex]
-\keyexample{llabel}\verb|{labelname}name|\>labelling a ``go to'' target in text\\
-\keyexample{golyr}\verb|{labelname}\qu c|\>perform a jump, in music code\\[.8ex]
-\keyexample{lyrpt}\verb|,\qu c|\>add a comma to the syllable under this note\\
-\keyexample{lyrnop}\verb|\qu c|\>remove last character in syllable\\
-\keyexample{lclyr}\verb|\qu c|\>make first character lower case\\
-\keyexample{llyr}\verb|\qu c|\>left justified syllable\\
-\keyexample{leftlyrtrue}\verb|\qu c|...\keyexample{leftlyrfalse}\verb|\qu c|\>start and stop left justification as the default\\
-\keyexample{lyroffset}\verb|{-4}\qu c|\>shift syllable 1 notehead to the left\\[.8ex]
-\keyexample{minlyrspace}\verb|{3pt}\qu c|\>define minimum space between the words\\
-\keyexample{forcelyrhyphenstrue}\verb|\qu c|\>always use a hyphen from now on\\
-\keyexample{forcelyrhyphensfalse}\verb|\qu c|\>remove hyphen and make one word if necessary \\
-\keyexample{showlyrshifttrue}\verb|\qu c|\>show the lyric shift\\[.8ex]
-\keyexample{lyrraise}\verb|{1}{a 2\Interligne}|\>raise lyrics below staff 1 by \verb|2\Interligne|\\
-\keyexample{lyrraisemulti}\verb|{1}{2}{a 2\Interligne}|\>raise alto lyrics above staff 2 of instrument 1\\
-\keyexample{lyrraisehere}\verb|{b 2\Interligne}\qu c|\>raise lyrics below this staff by \verb|2\Interligne|\\[.8ex]
-\keyexample{minlyrrulelength}\verb|{2mm}|\>melismas shorter than 2mm are not shown \\
-\keyexample{minmulthyphens}\verb|{15mm}|\>distance between hyphens in 'hyphen melisma'\\
-\verb|\def|\keyexample{lyrhyphenchar}\verb|{-}|\>chose a hyphen character\\
-\verb|\setlyrics{|\keyexample{lyrlayout}\verb|{\it}..}|\>apply italics to all lyrics lines\\
-\keyexample{verses}\verb|{,\beginmel}\qu c|\>initiate melisma at second verse\\[.8ex]
-\verb|\small|\keyexample{setlyrstrut}\>adapt the vertical distance between lyrics lines\\
-\keyexample{lyrstrutbox}\verb|{10pt}|\> (re)define the distance between the lyrics lines\\[.8ex]
-\keyexample{lyrmodealter}\verb|2|\>attach lyrics of staff 2 to the upper voice\\
-\keyexample{lyrmodealtermulti}\verb|{1}{2}|\>attach lyrics of instr.\ 1 staff 2 to the upper voice\\
-\keyexample{lyrmodealterhere}\verb|\qu c|\>attach lyrics of this staff to the upper voice\\
-\keyexample{lyrmodenormal}\verb|2|\>restore the default behaviour\\
-\keyexample{lyrmodenormalmulti}\verb|{1}{2}|\>restore the default behaviour at staff 2 of instr.\ 1\\
-\keyexample{lyrmodenormalhere}\verb|\qu c|\>restore the default behaviour of this staff\\[.8ex]
-\keyexample{lyrlink}\>linking 2 words with a '$_{_\smile}$'\\
-\keyexample{lowlyrlink}\>same as \verb|\lyrlink| but a little bit lower\\[.8ex]
-\keyexample{resetlyrics}\>set word pointer to the first word in all lyrics lines\\[.8ex]
-\keyexample{enableauxlyrics}\>don't use this anymore\\
-\keyexample{setsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraise}{1}{b 2\Interligne}|\\
-\keyexample{auxsetsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraisemulti}{1}{b 2\Interligne}|\\
-\keyexample{oldlyrlinestart}\>don't let the lyrics extent to the left margin\\
-\end{tabbing}
-
-As a further illustration of the use of the commands, have a look at the following
-example\footnote{The example is taken from the musixlyr manual.}:
-
-\medskip\medskip
-%\oneversespace
-\begin{music}
-\input musixlyr
- \resetlyrics \small
-\lyrmodealter0
- \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}}
- \copylyrics{soprano}{alto} \assignlyrics1{alto}
-
- \generalsignature{-2}
- \advance\stafftopmarg1\Interligne
- \advance\staffbotmarg2\Interligne
-
- \startextract\addspace\afterruleskip
- \NOtes\zqu g\ql e\en
- \bar
- \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en
- \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
- \Notes\tqb0e\en
- \Notes\endmel\tbslurd0e\ql c\en
- \notes\ibbu0h{-1}\qb0h\tqh0g\en
- \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en
- \bar
- \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes
- \lyr\wh b\en % must be given manually.
- \endextract
- \lyrmodenormal0
-\end{music}
-\medskip
-
-%\oneversespace
-
-which was coded as:
-\begin{quote}
-\begin{verbatim}
-% define lyrics above the staff
-\setlyrics{soprano}{bring her die Gans,}
-% lyric beneath the staff are the same
-\copylyrics{soprano}{alto}
-% assign alto lyrics below staff 1 on the notes with stem down
-\assignlyrics1{alto}
-% assign soprano lyrics above staff 1 on the notes with stem up
-\auxlyr{\assignlyrics1{soprano}}
-% attach both lyrics to the upper voice
-\lyrmodealter0
-\generalsignature{-2}
-% make place for the lyrics
-\advance\stafftopmarg1\Interligne\advance\staffbotmarg2\Interligne
-\startextract\addspace\afterruleskip
-\NOtes\zqu g\ql e\en\bar
-% start melisma in lower lyrics
-\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en
-% start melisma in upper lyrics
-\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\tqb0e\en
-% end melisma in lower lyrics
-\Notes\endmel\tbslurd0e\ql c\en
-\notes\ibbu0h{-1}\qb0h\tqh0g\en
-% start melisma in upper lyrics
-\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en\bar
-% The lyrics of the whole notes (without stem) must be given manually.
-\NOTEs\auxlyr\lyr\zwh i\lyr\wh b\en
-\endextract
-\lyrmodenormal0
-\end{verbatim}\end{quote}
-
- \subsection{Getting enough vertical space for lyrics}
- Since songs are
-usually equivalent to a one-staff instrument (possibly with several voices)
-the recommended solution consists in adjusting the distance between
-instruments using either \keyindex{interinstrument}\verb|=|\ital{any
-\TeX-dimension} to give more place below all instruments or using
-\keyindex{setinterinstrument} to make more space above. Note that {\Bslash
-setinterinstrument} defines spacing above and not below an instrument. Since
-lyrics are usually set below the staff, the first argument of a
-\verb|\setinterinstrument| should be the song instrument number \ital{minus
-one}.
-
- In the case of a single staff tune, or if the song instrument is the lowest
-one, then additional place can be provided using \keyindex{staffbotmarg}.
-
-\subsection{Fine tuning the placement of the lyrics}
- When not using \verb|\hardlyrics|, on short notes, sometimes
- the lyrics are shifted away from the notes or they collide with other words.
- This are a few approaches to get around this:
-\begin{enumerate}\setlength{\itemsep}{0ex}
-\item Making more music lines for the notes to go further apart. This could be done with
-\verb|\mulooseness|.
-\item Stretch a bar with short notes in it by i.e.\ replacing \verb|\notes| by \verb|\NOTes|.
-\item Insert space between the notes by using \verb|\sk|, \verb|\hsk|, \verb|\qsk|...
-\item Stretch a bar with short notes in it by using the command \keyindex{scale}:
-\begin{verbatim}
-\scale{1.6}\notes..\en\scale{1}%
-\end{verbatim}
-This method can be used in \textbf{PMX} but only with care, because it changes horizontal spacing
-in a way that \textbf{PMX} will not be aware of. It will not move bars to the next line, but
-will shorten the other bars on the line.
-
-As an example, the lyrics of this music line are better placed by using \verb|\scale| in
-the first bar and moving to the left the word 'mon'. Note that the hyphen is removed
-when there is no place for it:
-
- \begin{music}
- \input musixlyr
- \resetlyrics
- \setlyrics{v1}{Au clair de la lu-ne, mon a-mi Pier-rot,}%
- \assignlyrics1{}\assignlyrics1{v1}%
- \staffbotmarg2\Interligne\generalsignature{1}%
- \startextract
- \geometricskipscale
- \notes\qu{gggh}\en\bar
- \Notes\hu{ih}\en\bar
- \notes\qu{gihh}\en\bar
- \Notes\wh g\en
- \endextract
-% \end{music}
-%%%%% combined for saving registers %%%%%
-% \begin{music}\nostartrule
-% \input musixlyr
- \resetlyrics
- \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}%
- \assignlyrics1{}\assignlyrics1{v1}%
- \staffbotmarg2\Interligne\generalsignature{1}%
- \startextract \geometricskipscale
- \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}%
- \Notes\hu{ih}\en\bar
- \notes\qu{gihh}\en\bar
- \Notes\wh g\en
- \endextract
- \end{music}
-
-\medskip
-The code of the second music line is (\verb|\assignlyrics1{}| is only needed because
-lyrics are assigned before this in this manual):
-\begin{quote}\begin{verbatim}
- \begin{music}
- \input musixlyr
- \resetlyrics
- \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}%
- \assignlyrics1{}\assignlyrics1{v1}%
- \staffbotmarg2\Interligne\generalsignature{1}%
- \startextract \geometricskipscale
- \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}%
- \Notes\hu{ih}\en\bar
- \notes\qu{gihh}\en\bar
- \Notes\wh g\en
- \endextract
- \end{music}
-\end{verbatim}\end{quote}
-
-\item Moving a word in any direction
-
-\noindent\begin{tabular}{ll}
-\multicolumn{2}{l}{\Bslash setlyrics\{alto\}\{\Bslash kernm3ex1.$\sim\sim$firstsyllable...\}}\\
-& left moving for numbering verses\\
-\verb|\setlyrics{alto}{...\kern1exword...}| &right moving a single word\\
-\verb|\setlyrics{alto}{...\lower2pt\hbox{word}...}|& lowering a single word\\
-\verb|\setlyrics{alto}{...\raise2pt\hbox{word}...}|& raising a single word\\
-\multicolumn{2}{l}{\Bslash def\Bslash strut\{\Bslash vbox to 2\Bslash Interligne\{\}\}%
-\Bslash setlyrics\{alto\}\{\Bslash lyrlayout\{\Bslash strut\}...\}} \\
-& controlling distance between verses\\
-\verb|\lyrlayout{\vphantom{Mp(\lowlyrlink}|& minimum distance between verses\\
-\multicolumn{2}{l}{\Bslash setbox\Bslash lyrstrutbox=\Bslash hbox\{\Bslash vphantom\{yM\Bslash lyrlink\}\}}\\
-& redefining default lyrstrut
-\end{tabular}
-
-\item Placing of accents can be made easier as shows this example:
-\begin{center}
-\begin{minipage}{50mm}
-\begin{music}\nostartrule
-\input musixlyr
-\catcode`\ä\active \defä{\"a}
-\catcode`\ö\active \defö{\"o}
-\catcode`\å\active \letå\aa
-\setlyrics1{å ä ö}
-\assignlyrics1{}\assignlyrics11
-\startextract
- \setsongraise1{1ex}\NOtes\qa{ggg}\en
-\zendextract
-\end{music}
-\end{minipage}%
-\begin{minipage}{80mm}
-\verb|\catcode`\|\"a\verb|\active \def|\"a\verb|{\"a}|\\
-\verb|\catcode`\|\"o\verb|\active \def|\"o\verb|{\"o}|\\
-\verb|\catcode`\|\aa\verb|\active \let|\aa\verb|\aa|\\
-\verb|\setlyrics1{|\aa\ \"a\ \"o\verb|} \assignlyrics1{}|\\
-\verb|\assignlyrics11|\\
-\verb|\startextract|\\
-\verb|\NOtes\qa{ggg}\en|\\
-\verb|\zendextract|\\
-\end{minipage}
-\end{center}
-\item Using an 8-bit encoded characterset\label{8bit}
-
-This can be achieved
-by putting
-\verb+\input plainenc\relax\inputencoding{cp850}+
-at the beginning of the file.
-
-Here you must adapt the character
-set to your region.
-To do this, if necessary, replace \verb+cp850+ by
-\verb+cp1250+ (Czech, Croation region),
-\verb+cp1251+ (Russian, Bulgarian region),
-\verb+cp1252+ (most other European regions),
-\verb+cp1253+ (Greek region)
-or check your \TeX distribution for the right file.
-
-This is the coding for the previous example by using an 8-bit characterset:
-
-\begin{center}
-\begin{minipage}{25mm}
-\begin{music}\nostartrule
-% this manual is in latex, the 8bit is taken by
-% \usepackage[ansinew]{inputenc}
-%
-%\input plainenc\relax\inputencoding{cp850}
-\input musixtex
-\input musixlyr
-\setlyrics1{á ä ö}\assignlyrics1{}\assignlyrics11%
-\startextract%
-\znotes\zcharnote{12}{Poème naïf}\en%
-\Notes\qa{ggg}\en%
-\zendextract%
-\end{music}
-\end{minipage}
-~~~~~~
-\begin{minipage}{100mm}% program to run apart from musixdoc
-\verb+\input plainenc\relax\inputencoding{cp850}+\\
-\verb+\input musixtex+\\
-\verb+\input musixlyr+\\
-\verb+\startpiece%+\\
-\verb+\znotes\zcharnote{16}{Poème naïf}\en%+\\
-\verb+\setlyrics1{á ä ö}\assignlyrics11%+\\
-\verb+\Notes\qa{ggg}\en%+\\
-\verb+\Endpiece\vfill\eject \bye+
-\end{minipage}
-\end{center}
-
-\end{enumerate}
-
-\section{Embedding musical excerpts in text documents}
-
-Here we discuss the options for including music in text documents. The first
-decision is whether or not to use \LaTeX\footnote{We'll assume a user wanting
-to embed a musical excerpt in a \LaTeX\ document is already familiar with the
-fundamentals of \LaTeX. For more information about it, see for example the manual
-\ital{\LaTeX: A Document Preparation System} by Leslie {\sc Lamport}}.
-Because \LaTeX\ so effectively simplifies
-production of text-based \TeX\ documents, most users take that path, and most of the
-descriptions given here will assume that's the case\footnote{Please do not be confused;
-while \LaTeX\ is recommended for text-based documents containing musical
-exceprts, its use is definitely discouraged for ordinary self-contained musical scores
-of any sort.}.
-
-If for some reason you choose not to use \LaTeX\ to emplace musical excerpts,
-the basic approach is simply to set off the musical
-parts between \verb|\startpiece| or \verb|\contpiece| and \verb|\stoppiece| or
-\verb|\endpiece|, or between \verb|\startextract| and \verb|\zendextract|. But
-some details in what follows will also apply with no \LaTeX.
-
-There are two basic approaches to embedding musical excerpts in \LaTeX\
-documents. The first method is to directly include the \musixtex\ code in
-the \LaTeX\ source file. That will be the subject of the next subsection. The
-other is to create an EPS (encapsulated Postscript) file containing only the
-excerpt, and then ``paste'' it into the \LaTeX\ file. That will be covered in
-subsection \ref{embedeps}.
-
-The advantages of using the direct method are that all of the source code for
-all excerpts can be kept in the same file as the text, and that there is no
-limit on the length of the excerpt.
-The advantage of the EPS method is that you don't have to burden the \LaTeX\
-source with any of the \musixtex\ paraphernalia. That in turn permits use of
-primitive versions of the \TeX\ compiler that may not have the capacity
-to handle the direct method (due to the number of registers consumed by \LaTeX\
-and \musixtex). The disadvantages are that you must create and keep
-track of a separate \TeX\ and EPS file for every excerpt, and that the excerpt
-must not span any page breaks. On balance, the
-direct method is probably to be preferred.
-
-\subsection{Directly embedding excerpts in \LaTeX\ documents}\label{excerpts}
-
-To use the direct method, you should include ``\verb|musixtex|'' as one of the
-arguments of the \keyindex{documentstyle} command. This will cause the file
-\ttxem{musixtex.sty} to be loaded, so naturally you must make that file
-available in a place where \TeX\ can find it. That file simply inputs two
-other files, \verb|musixtex.tex| and \ttxem{musixltx.tex}, which again must
-obviously be available to \TeX.
-
-Now you are in position to directly embed an excerpt by inserting code at the
-appropriate place in the source file. The most common type of excerpt is
-one that occupies less than a full line and is to be horizontally centered. In
-that case, the extract should begin with the command \keyindex{begin\LBR music\RBR},
-followed by any preliminary commands. Then, instead of \verb|\startpiece|,
-use \keyindex{startextract}. Now comes the normal \musixtex\ coding. Finally,
-end the extract with \keyindex{endextract} instead of \verb|\endpiece|
-or \verb|\stoppiece|, followed by \keyindex{end\LBR music\RBR}.
-
-To terminate an extract without any bar line, use \keyindex{zendextract}
-instead of \verb|\endextract|.
-
-To create a left-justified excerpt, use the sequence
-\keyindex{let\Bslash extractline\Bslash leftline}.
-
-If several extracts are to be placed on the same line, you can
-redefine \keyindex{extractline} as demonstrated in the following
-example\footnote{The macro {\tt\Bslash extractline} is defined once and for all in
-{\tt musixtex.tex} as {\tt\Bslash centerline}. You might think that the suggested
-coding would permanently redefine {\tt\Bslash extractline}, thereby upsetting the
-normal function of {\tt\Bslash startextract ... \Bslash endextract} for subsequent use.
-But it doesn't, because any actions within
-\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, not
-global.}:
-
-% DAS temp (where is the reference???)
-%An example of this is given at \ref{extractline} on page \pageref{extractline}.
-% end DAS temp
-\begin{quote}\begin{verbatim}
-\begin{music}\nostartrule
-\let\extractline\hbox
-\hbox to \hsize{%
-\hss\startextract ... \zendextract\hss%
-\hss\startextract ... \zendextract\hss}
-\end{music}
-\end{verbatim}\end{quote}
-
-An even shorter type of extract is one that is embedded \ital{within} a line of text.
-To insert \musixtex\ symbols within a line of text, you could begin by defining
-\keyindex{notesintext} as follows\footnote{provided by Rainer {\sc Dunker}}:
-
-\begin{quote}\begin{verbatim}\begin{music}\nostartrule
-\makeatletter
-\def\notesintext#1{%
- {\let\extractline\relax
- \setlines10\smallmusicsize \nobarnumbers \nostartrule
- \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt
- \startextract\addspace{-\afterruleskip}#1\zendextract}}
-\makeatother
-\end{music}\end{verbatim}\end{quote}
-
-Then, for example, the code
-
-\begin{verbatim}
-Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}}
-not \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}
-\end{verbatim}
-
-\noindent would produce: ``Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} not
-\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}~''.
-
-\noindent The \verb|\raisebox| voids the vertical space that is introduced by the notes.
-
-Finally, you may want to insert an extract containing more than one line
-of music. Once having mastered \musixtex, this is the easiest of all: Between
-\verb|\begin{music}\nostartrule| and \verb|\end{music}|, use \ital{exactly} the same
-coding you would to make an ordinary score.
-
-The best way to learn how to apply these methods is to study
-\verb|musixdoc.tex|, the source file for this document\footnote{Do note,
-however, that {\tt musixdoc.tex} includes {\tt musixdoc} but not {\tt musixtex}
-as an argument of {\tt\Bslash documentstyle}. The former performs the functions
-of the latter as well as numerous tasks peculiar to this particular document.}.
-
-%DAS I don't think this section is worth including.
-
-% \subsection{Wide music in \LaTeX}\label{musixblx}
-% Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the
-%page size in a way which is not supposed to be changed within a given document.
-%This means that text horizontal and vertical sizes are somewhat frozen so that
-%one can hardly insert pieces of music of page size different from the size
-%specified by the \LaTeX{} \itxem{style}.
-%Although a \ttxem{musixblx.tex} has been provided, which makes the
-%\ital{environment} \verb|bigmusic| available.
-%\zkeyindex{begin\LBR bigmusic\RBR}
-%The main drawback is an unpredictable behaviour of top and bottom
-%printouts, especially page numberings.
-%
-% If the whole of a document has wide pages, it can be handled with the
-%\ttxem{a4wide} style option, or any derivate of it.
-
-\subsection{Embedding musical excerpts as encapsulated postscript files}
-\label{embedeps}
-To use this method of including excerpts, you first must create a separate
-\musixtex\ input file for each excerpt. Process each such file with
-\TeX\ and \verb|musixflx| to generate a \verb|.dvi| file. Generate
-a postscript file from each \verb|.dvi| using \verb|dvips|. Then
-convert each postscript file to an \verb|.eps| file. One way to do that is
-with \textbf{ghostscript} and---if you are using Windows---\textbf{GSview}.
-In general this is possible only for single-page postScript files.
-
-To set up your \LaTeX\ document for including \verb|.eps| files, you must post
-the command \verb|\usepackage[dvips]{graphicx}| in the preamble of the
-document. Now, you may include each \texttt{.eps} file at the appropriate place
-in the {\LaTeX} document with a command
-like \keyindex{includegraphics}\verb|{sample.eps}|.
-
-\subsection{Issues concerning \texorpdfstring{{\Bslash catcodes}}{catcodes}}
-\label{catcodeprobs}
-
-\musixtex\ uses the following symbols differently from plain \TeX: \verb|>|,
- \verb|<|, \verb&|&, \verb|&|, \verb|!|, \verb|*|, \verb|.|, and \verb|:|\ .\\
-The symbols are given their special meanings by executing the macro
-\keyindex{catcodesmusic}, and are restored to their plain \TeX\ meanings with
-\keyindex{endcatcodesmusic}. When setting either a self-contained score or
-a musical extract, you normally need not worry
-about this at all, because \verb|\startpiece| or \verb|\startextract| executes
-\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\endextract| executes
-\verb|\endcatcodesmusic|. But there are some special situations where you
-might need to use these catcode-modifying macros explicitly. One is if you
-were to define a personalized macro outside
-\verb|\startpiece ... \endpiece|, but which incorporated any of the
-symbols with their \musixtex\ meanings. Another would be if you wished to have
-access to facilities enabled by alternate style files such as
-{\tt\ixem{french.sty}} which change \keyindex{catcode}s themselves. In
-such cases, provided you have input \verb|musixtex.tex|, you can always
-invoke \keyindex{catcodesmusic} to set the \keyindex{catcode}s at their
-\musixtex\ values, and \keyindex{endcatcodesmusic} to restore them to their
-prior values.
-
-\section{Extension Library}
-All following files are invoked by saying \keyindex{input} \ital{filename}\ .
-Most of them are fully compatible with \musixtex\ in that they do not redefine
-any existing macros but rather provide additional functionality. In future
-versions of \musixtex\ we may very well incorporate many of them directly into
-\verb|musixtex.tex|, but for now we leave them separate.
-
- \subsection{curly}
-Allows you to group more than 1 instrument with curly
-brackets (see \ref{curlybrackets}).
-
- \subsection{musixadd}\ixtt{musixadd.tex}
-Increases the number of instruments, slurs and beams from six to nine.
-
-
- \subsection{musixbm}
-This file does nothing; it is retained only for compatibility with
-\musixtex{} T.110 or earlier.
-Since version T.111, \verb|musixtex.tex| itself contains all the functions
-of the older \texttt{musixbm}, namely
-commands for 128th notes, either with flags or with beams:
-\keyindex{ibbbbbu},
-\keyindex{ibbbbbl},
-\keyindex{nbbbbbu},
-\keyindex{nbbbbbl},
-\keyindex{tbbbbbu},
-\keyindex{tbbbbbl},
-\keyindex{Ibbbbbu},
-\keyindex{Ibbbbbl},
-\keyindex{cccccu},
-\keyindex{cccccl},
-\keyindex{ccccca},
-\keyindex{zcccccu} and
-\keyindex{zcccccl}.
-
-
- \subsection{musixbbm}\label{musixbbm}
- Provides 256th notes, but only for use within beams, via the commands
-\keyindex{ibbbbbbu},
-\keyindex{ibbbbbbl},
-\keyindex{nbbbbbbu},
-\keyindex{nbbbbbbl},
-\keyindex{tbbbbbbu},
-\keyindex{tbbbbbbl},
-\keyindex{Ibbbbbbu} and
-\keyindex{Ibbbbbbl}.
-
-By default \texttt{musixbbm} provides six 256th beams with
-reference number 0 to 5.
-You can specify a larger maximum number
-directly with \keyindex{setmaxcclvibeams}\verb|{|$m$\verb|}| within the
-range\footnote{This may require e-\TeX.} $7\leq m\leq 100$.
-
-\subsection{musixcho}\label{song}
- Enables certain macros intended for choral music\footnote{Remember
-that we now recommend using \texttt{musixlyr} for any except the
-simplest lyrics. The extension \texttt{musixcho} is only for those
-diehards who choose to ignore this advice}. Provides the following commands:
-\keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight},
-\keyindex{Dtx} and \keyindex{Drtx} for two-line text, \keyindex{Ttx} and
-\keyindex{Trtx} for three-line text, \keyindex{Qtx} and \keyindex{Qrtx} for
-four-line text. To eliminate zigzagging lyrics lines, all multiple line texts
-are automatically vertically justified with the macro \keyindex{ChroirStrut},
-defined as \verb|\vphantom{\^Wgjpqy}|.
-
-The macros \keyindex{tx}\verb|{|$text$\verb|}|,
-\keyindex{rtx}\verb|{|$text$\verb|}| cause song text to be left-justified
-on the insertion point rather then centered.
- \keyindex{hf}\verb|{|$m$\verb|}| sets a text
-continuation rule of length $m$ \verb|\noteskip|.
-
-Consult the source file {\tt musixdoc.tex} to see the coding of the following
-example:
-
-\begin{music}
-\tenrm
-\parindent11.5mm
-\braceheight5.4\Interligne\relax
-%\rightline{Arr.: H.~W.~Eichholz}
-\instrumentnumber2
-\generalsignature{-2}
-\generalmeter{\meterfrac22}
-\setclef1\bass
-\relativeaccid
-\setinterinstrument1{11\Interligne}
-\songtop2
-\songbottom1
-\setname2{\vbox{\hsize\parindent\centerline{Sopran}\centerline{Alt}}}
-\setname1{\vbox{\hsize\parindent\centerline{Tenor}\centerline{Bass}}}
-\sepbarrules\nobarnumbers
-\beforeruleskip-2pt
-\startpiece
-%% bar 1
-\znotes&\rlap{\kernm2em\Qrtx 1.|2.|3.|4.*}\en
-\NOTes\sslur ILd1\sslur bNu1\zhl I\hu b%
- &\Qtx\ixhf{Oh}|No|No|There'll*\issluru0f\sslur dad1\zhup f\hl d\en
-\Notes\zhl L\hu N&\Qtx ~|more|more|~be*\hl{^c}\en
-\NOtes&\tsslur0g\qu g\en
-%%% bar 2
-\bar
-\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql d\en
-\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en
-%%% bar 3
-\bar
-\nspace
-\NOTes\sslur JMd1\sslur bau1\zhl J\hu b%
- &\Qtx\ixhf{oh}|no|no|there'll*\issluru0j\sslur edd1\zhup j\hl{^e}\en
-\Notes\zhl M\hu a&\Qtx~|more|more|~be*\hl{=e}\en
-\NOtes&\tsslur0k\qu k\en
-%%% bar 4
-\bar
-\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu j\ql d\en
-\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en
-%%% bar 5
-\bar
-\NOTesp\sslur IJd1\sslur bau1\lpt I\zhl I\hup b%
- &\Qtx\ixhf{oh}|no|no|~there'll*\isslurd0f\issluru1j\zhup k\hlp f\en
-\NOtes\zql J\qu a&\Qtx~|more|more|~be*\tsslur1f\zqu f\roff{\tsslur0e\ql e}\en
-%%% bar 6
-\bar
-\NOtes\zql K\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql f\en
-\NOtes\zql J\qu b&\zqu i\ql e\en
-\NOtes\zql I\qu b&\rlap{\kernm2\Internote\bigrbrace}\rtx~~~over*\zqu i\ql d\en
-\NOtes\zql G\qu b&\zqu k\ql f\en
-%%% bar 7
-\bar
-\nspace
-\NOTes\zhl J\hu b\caesura&\tx ~me,*\zhu j\hl{^e}\caesura\en
-\Notes\zcl J\cu b&\rtx ~over*\zcu j\cl e\en
-\NOtesp\zqlp J\qup b&\zqup k\lpt e\ql e\en
-\endpiece
-\end{music}
-
-\subsection{musixcpt}
-
-Empowers \musixtex\ to run files created under
-Musi\textbf{c}TeX, the predecessor of \musixtex, such as some of the examples
-provided by Dani\"el {\sc Taupin}. It is not needed for any files created
-under \musixtex, and is included mainly for historical completeness.
-
-\subsection{musixdat}
-Enables the command \keyindex{today}, which sets the current date in one of
-several possible languages. The language is selected by an optional
- preparatory command \verb|\date...|.
-The default is \keyindex{dateUSenglish}, but this can changed, either at the
-end of \ttxem{musixdat.tex} for a permanant change, or right before issuing
-\verb|\today|. Available choices and sample results are summarized below:
-\smallskip
-\begin{quote}\begin{tabular}{ll}\hline
-\verb|\dateUSenglish|&\dateUSenglish\today\\
-\verb|\dateaustrian|&\dateaustrian\today\\
-\verb|\dateenglish|&\dateenglish\today\\
-\verb|\datefrench|&\datefrench\today\\
-\verb|\dategerman|&\dategerman\today\\\hline
-\end{tabular}\end{quote}
-
-\subsection{musixdbr}
-Enables dashed and dotted bar lines (see \ref{musixdbr}).
-
-\subsection{musixdia}\label{diam}
-Enables notes with diamond-shaped heads as follows:
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item Solid note heads (\raise.5ex\hbox to .6em{\musixchar37}) are obtained
-using the macros
- \keyindex{yqu}, \keyindex{yqup},
-\keyindex{yqupp}, \keyindex{yql}, \keyindex{yqlp}, \keyindex{yqlpp},
-\keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp}, \keyindex{yqb},
-\keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu},
-\keyindex{ycl}, \keyindex{yccl}, \keyindex{ycccl}, \keyindex{yccccl},
-\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}.
-(Think of d{\it y}\kern.5pt amond). A solid diamond with no stem is obtained
-with \keyindex{ynq} (spacing) or \keyindex{yznq} (non-spacing).
- \item Open note heads (\raise.5ex\hbox to .6em{\musixchar38}) are obtained
-using the macros
-\keyindex{dqu}, \keyindex{dqup},
-\keyindex{dqupp}, \keyindex{dql}, \keyindex{dqlp}, \keyindex{dqlpp},
-\keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp}, \keyindex{dqb},
-\keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu},
-\keyindex{dcl}, \keyindex{dccl}, \keyindex{dcccl}, \keyindex{dccccl},
-\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}.
-(Think of {\it d}\kern.5pt iamond).
-An open diamond with no stem is obtained
-with \keyindex{dnq} (spacing) or \keyindex{dznq} (non-spacing).
- \end{itemize}
-
-One use of these note heads is for a string part with \itxem{harmonic notes}.
-%(see \ref{othernotes})
-% DAS removed description which was misplaced in the samll=notes section 2.18 4/30/06
-For example,
-
-\begin{music}
-\parindent0pt
-\generalsignature{-2}
-\generalmeter\allabreve
-\startextract
-\NOTes\dzq o\zh d\hu h\enotes
-\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes
-\bar
-\NOTes\dzq g\hu k\enotes
-\NOTes\hpause\enotes
-\bar
-\NOTes\dzq o\zh d\hl h\enotes
-\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes
-\bar
-\NOTes\dzq g\hu k\enotes
-\NOTes\hpause\enotes
-\endextract
-\end{music}
-\noindent was coded as follows:
-\begin{quote}\begin{verbatim}
-\generalsignature{-2}
-\generalmeter\allabreve
-\startextract
-\NOTes\dzq o\zh d\hu h\enotes
-\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes
-\bar
-\NOTes\dzq g\hu k\enotes
-\NOTes\hpause\enotes
-\bar
-\NOTes\dzq o\zh d\hl h\enotes
-\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes
-\bar
-\NOTes\dzq g\hu k\enotes
-\NOTes\hpause\enotes
-\endextract
-\end{verbatim}\end{quote}
-
-Another use is for percussion parts. In fact the file \verb|musixdia.tex|
-is automatically loaded if you input {\tt musixper.tex} (see \ref{perc}).
-
- \subsection{musixeng}
- This package is provided for music typesetters who are allergic to the default
-rest names, which are
-taken from French, German or Italian. It does not provide new features, only
-new command names:
-\medskip
- \begin{quote}\begin{tabular}{ll}\hline
-\ital{original}&\ital{alternate}\\\hline
-\keyindex{PAUSe}&\keyindex{Qwr}\\
-\keyindex{PAuse}&\keyindex{Dwr}\\
-\keyindex{liftpause}&\keyindex{liftwr}\\
-\keyindex{pausep}&\keyindex{wrp}\\
-\keyindex{pause}&\keyindex{wr}\\
-\keyindex{lifthpause}&\keyindex{lifthr}\\
-\keyindex{hpausep}&\keyindex{hrp}\\
-\keyindex{hpause}&\keyindex{hr}\\
-\keyindex{qp}&\keyindex{qr}\\
-\keyindex{ds}&\keyindex{er}\\
-\keyindex{qs}&\keyindex{eer}\\
-\keyindex{hs}&\keyindex{eeer}\\
-\keyindex{qqs}&\keyindex{eeeer}\\\hline
-\end{tabular}\end{quote}
-
-\subsection{musixext}
-Defines the following two specific macros:
-
-\keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~, which provides a glissando
-starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with
-slope {\it s} (ranging from -8 to 8).
-
-\keyindex{raggedstoppiece}~, which inhibits right-justification of the last
-line of a score.
-
- \subsection{musixf{}l{}l}
- \input musixfll
- Enables modification of \ixem{ledger lines}. Ledger lines normally exceed the
-width of a note head by 25 percent in each direction. If the space between
-notes is insufficient, the ledger lines of
-consecutive notes may meet, creating visual ambiguities. Therefore,
-\musixtex{} shortens the
-ledger lines if notes are set so close together that the ledger lines may
-meet. But because \musixtex{} does not know whether consecutive notes need
-ledger lines, this automatic shortening may be superfluous. The extension
-file \ttxem{musixfll.tex} allows this feature to be switched off and on.
-Upon inputting \verb|musixfll.tex|, the automatic shortening of ledger lines
-is switched off. From then on, it may be switched on again using
-\keyindex{autoledgerlines} and switched off again using
-\keyindex{longledgerlines}. Both macros have global effect.
-
- The following example shows that narrowly set scales look better with
-\keyindex{autoledgerlines} (the default behavior), while single notes
-requiring ledger lines look better with \keyindex{longledgerlines}.
-\medskip
-\begin{music}
-\startextract
-\notes\multnoteskip{0.7}\Uptext{autoledgerlines}\autoledgerlines
- \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b%
- \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b%
- \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a%
- \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en
- \bar
-\notes\multnoteskip{0.7}\Uptext{longledgerlines}\longledgerlines
- \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b%
- \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b%
- \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a%
- \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en
-\endextract
-\autoledgerlines
-\end{music}
-
- \subsection{musixgre}\label{gregnotes}\index{gregorian chant}
-
-% \subsection{Gregorian chant: staffs and clefs}
-Gregorian chant is often coded using four line staffs
-(see
-%sections \ref{gregorian} and
-section \ref{stafflinenumber}) and using special notes called
-\itxem{neumes} (which are described later in this section). It also requires
-special clefs. One way to substitute them for the modern ones is for example
-with commands like
-
-\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef|
-
-\noindent or
-
-\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| ,
-
-\noindent which will cause instrument number 3 to display the selected gregorian
-clef. The standard clefs can be restored for every instrument with
-\keyindex{resetclefsymbols}. Note that when using this method you must
-specify whether to substitute for the bass or alto clef
-symbol (there is no treble clef in gregorian
-chant). The reason is that \musixtex\ selects and
-raises the F and C clefs differently, according to the arguments of the
-\keyindex{setclef} command. Therefore, if one had substituted any F clef
-symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear
-on the staff, but it would be set at the position of an alto clef, thus
-seriously misleading the musician.
-
-Another method of clef substitution employs \keyindex{setclefsymbol} (see
-section \ref{treblelowoct}), which substitutes the clef given by
-the second argument \ital{for all clef symbols} of the instrument given by the first,
-regardless of the actual musical meaning of the new clef symbol. This method is
-generally appropriate only if you want to change the clef symbol(s) of
-an instrument for the whole of the score.
-
- As an example, the same gregorian scale has been written with a gregorian C
-clef on all four lines of the staff:
-
- \begin{music}\nostartrule
- \parindent 19mm
- \instrumentnumber{4}
- \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line}
- \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4}
- \sepbarrules
- \generalmeter{\empty}
- \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000}
- \setaltoclefsymbol1\gregorianCclef
- \setaltoclefsymbol2\gregorianCclef
- \setaltoclefsymbol3\gregorianCclef
- \setaltoclefsymbol4\gregorianCclef
-\startextract
-\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes
-\zendextract
-\end{music}
-
- The coding was:
- \begin{verbatim}
- \instrumentnumber{4}
- \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line}
- \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4}
- \sepbarrules
- \generalmeter{\empty}
- \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000}
- \setaltoclefsymbol1\gregorianCclef
- \setaltoclefsymbol2\gregorianCclef
- \setaltoclefsymbol3\gregorianCclef
- \setaltoclefsymbol4\gregorianCclef
-\startextract
-\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes
-\zendextract
- \end{verbatim}
-
-All of the special gregorian symbols available in \musixtex\ are described
-in the following subsections.
-
-\subsubsection{Clefs}
-
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item Gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~=
- \keyindex{gregorianCclef}, normally activated for instrument $n$ with the
-command
- \keyindex{setaltoclefsymbol}\itbrace{n}\keyindex{gregorianCclef}
-\item Gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~=
-\keyindex{gregorianFclef}, normally activated with the command
-\keyindex{setbassclefsymbol}\itbrace{n}\keyindex{gregorianFclef}
- \end{itemize}
-
- \subsubsection{Elementary symbols}
-
-
- \begin{itemize}\setlength{\itemsep}{0ex}
-
- \item Diamond shaped \itxem{punctum} (This has a different shape compared to the
-percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ =
-\keyindex{diapunc}\pitchp\ .
- \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ =
-\keyindex{squ}\pitchp\ or \keyindex{punctum}\pitchp\ .
- \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise
-2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}\pitchp\ .
- \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ =
-\keyindex{rsqu}\pitchp\ or \keyindex{virga}\pitchp\ .
- \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ =
-\keyindex{apostropha}\pitchp\ .
- \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ =
-\keyindex{oriscus}\pitchp\ .
-
- \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ =
-\keyindex{quilisma}\pitchp\ .
- \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise
-2.5pt\hbox{\xgregchar9}~ =
-\keyindex{punctumauctup}\pitchp\ .
- \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise
-2.5pt\hbox{\xgregchar8}~ =
-\keyindex{punctumauctdown}\pitchp\ .
- \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}:
-\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}\pitchp\ .
- \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise
-2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}\pitchp\ .
- \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise
-2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}\pitchp\ .
-
-\end{itemize}
- All non-\ital{liquescens} symbols have non-spacing variants, namely
-\keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu},
-\keyindex{zapostropha} and \keyindex{zoriscus}.
-
-\subsubsection{Plain complex neumes}
-Other \itxem{neumes} can be obtained by combining two or more of these
-symbols. Since \itxem{neumes} have a special note head width, an additional
-shifting macro is provided, namely \keyindex{groff}. It is similar to
-\verb|\roff|, but the offset is smaller. For use with comples neumes, another
-shifting macro is provided, namely \keyindex{dgroff}, which causes an
-offset twice the offset of \verb|\groff|.
-
- Since most of these symbols depend on relative pitches of their components,
-we cannot provide all possible compact combinations as single symbols. The ones
-that are available in \verb|musixgre| are described below. In the following,
-$p_1$, $p_2$, $p_3$, and $p_4$ represent pitches specified as usual. Please refer to
-the source file \verb|musixtex.tex| if you wish to see the coding of those
-examples for which it is not quoted here.
-
-\def\twop{\itbrace{p_1}\itbrace{p_2}}
-\def\threep{\twop\itbrace{p_3}}
-\def\fourp{\threep\itbrace{p_4}}
-
-\begin{description}\setlength{\itemsep}{0ex}
- \item[\keyindex{bivirga}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \setsize1{\Largevalue}
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \bivirga ab\enotes
- \notes \bivirga cc\enotes
- \zendextract
- \end{music}
-
- This example was coded as:
- \begin{quote}\begin{verbatim}
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \bivirga ab\enotes
- \notes \bivirga cc\enotes
- \zendextract
- \end{verbatim}\end{quote}
-
- \item[\keyindex{trivirga}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \setsize1{\Largevalue}
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \Notes \trivirga abc\enotes
- \Notes \trivirga cca\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{bistropha}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \setsize1{\Largevalue}
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \bistropha ab\enotes
- \notes \bistropha cc\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{tristropha}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \setsize1{\Largevalue}
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \Notes \tristropha abc\enotes
- \Notes \tristropha cca\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{clivis}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \setsize1{\Largevalue}
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \clivis ba\enotes
- \notes \clivis ca\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{lclivis}\twop], for example:
-
- \begin{music}\nostartrule
- \setsize1{\Largevalue}
- \elemskip 10pt
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \lclivis ba\enotes
- \notes \lclivis ca\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{podatus}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \podatus ab\enotes
- \notes \podatus ac\enotes
- \notes \podatus cf\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{podatusinitiodebilis}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \podatusinitiodebilis ab\enotes
- \notes \podatusinitiodebilis ac\enotes
- \notes \podatusinitiodebilis cf\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{lpodatus}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \setsize1{\Largevalue}
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \lpodatus ab\enotes
- \notes \lpodatus ce\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{pesquassus}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \pesquassus ab\enotes
- \notes \pesquassus ae\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{quilismapes}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \quilismapes ab\enotes
- \notes \quilismapes ae\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{torculus}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \torculus aba\enotes
- \notes \torculus cfd\enotes
- \notes \torculus afc\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{torculusinitiodebilis}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \torculusinitiodebilis aba\enotes
- \notes \torculusinitiodebilis cfd\enotes
- \notes \torculusinitiodebilis afc\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{Porrectus}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \Porrectus bab\enotes
- \notes \Porrectus bac\enotes
- \notes \Porrectus bNd\enotes
- \notes \Porrectus bMe\enotes
- \notes \Porrectus bLe\enotes
- \zendextract
- \end{music}
-\noindent coded:
- \begin{quote}\begin{verbatim}
- \notes \Porrectus bab\enotes
- \notes \Porrectus bac\enotes
- \notes \Porrectus bNd\enotes
- \notes \Porrectus bMe\enotes
- \notes \Porrectus bLe\enotes
- \end{verbatim}\end{quote}
-
- \verb|\Porrectus| exists in four different shapes, depending on the
-difference between first and second argument. The constraint is that
- $$ p_1-4 \leq p_2 \leq p_1-1 $$ otherwise a diagnostic occurs. Note also that
-\keyindex{bporrectus} provides the first curved part of the \verb|porrectus|
-command, if you should need it. It has two arguments, the starting pitch and the lower
-pitch.
-
- \item[\keyindex{Porrectusflexus}\fourp], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \Porrectusflexus bacN\enotes
- \notes \Porrectusflexus bNdb\enotes
- \notes \Porrectusflexus bMeb\enotes
- \notes \Porrectusflexus bLea\enotes
- \zendextract
- \end{music}
-\noindent coded:
- \begin{quote}\begin{verbatim}
- \notes \Porrectusflexus bacN\enotes
- \notes \Porrectusflexus bNdb\enotes
- \notes \Porrectusflexus bMeb\enotes
- \notes \Porrectusflexus bLea\enotes
- \end{verbatim}\end{quote}
-
-
- \item[\keyindex{climacus}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \Notes \climacus cbN\enotes
- \Notes \climacus cba\enotes
- \Notes \climacus dbN\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{climacusresupinus}\fourp], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \Notes \climacusresupinus cbNa\enotes
- \Notes \climacusresupinus cbab\enotes
- \Notes \climacusresupinus dbNb\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{lclimacus}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \setsize1{\Largevalue}
-\instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \lclimacus cbN\enotes
- \notes \lclimacus cfd\enotes
- \notes \lclimacus afc\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{scandicus}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \scandicus abe\enotes
- \notes \scandicus ceg\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{salicus}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \Notes \salicus abe\enotes
- \Notes \salicus ceg\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{salicusflexus}\fourp], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \Notes \salicusflexus abec\enotes
- \Notes \salicusflexus cegd\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{trigonus}\threep],
-%DAS ????????????
-%for example\footnote{The second example is in principle irrelevant,
-%but it shows the possibilities, in case of.}:
-for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \Notes \trigonus aaN\enotes
- \Notes \trigonus cef\enotes
- \zendextract
- \end{music}
-
-\end{description}
-
-\subsubsection{Liquescens complex neumes}\index{liquescens neumes}
-\begin{description}\setlength{\itemsep}{0ex}
- \item[\keyindex{clivisauctup}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \setsize1{\Largevalue}
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \clivisauctup ba\enotes
- \notes \clivisauctup ca\enotes
- \zendextract
- \end{music}
- \item[\keyindex{clivisauctdown}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \setsize1{\Largevalue}
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \clivisauctdown ba\enotes
- \notes \clivisauctdown ca\enotes
- \zendextract
- \end{music}
- \item[\keyindex{podatusauctup}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \podatusauctup ab\enotes
- \notes \podatusauctup ac\enotes
- \notes \podatusauctup cf\enotes
- \zendextract
- \end{music}
- \item[\keyindex{podatusauctdown}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \podatusauctdown ab\enotes
- \notes \podatusauctdown ac\enotes
- \notes \podatusauctdown cf\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{pesquassusauctdown}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \pesquassusauctdown ab\enotes
- \notes \pesquassusauctdown ae\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{quilismapesauctdown}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \quilismapesauctdown ab\enotes
- \notes \quilismapesauctdown ae\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{torculusauctdown}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \torculusauctdown aba\enotes
- \notes \torculusauctdown cfd\enotes
- \notes \torculusauctdown afc\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{Porrectusauctdown}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \Porrectusauctdown bac\enotes
- \notes \Porrectusauctdown bNd\enotes
- \notes \Porrectusauctdown bMe\enotes
- \notes \Porrectusauctdown bLe\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{climacusauctdown}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \Notes \climacusauctdown cbN\enotes
- \Notes \climacusauctdown caM\enotes
- \Notes \climacusauctdown aNM\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{scandicusauctdown}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \scandicusauctdown abe\enotes
- \notes \scandicusauctdown ceg\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{salicusauctdown}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \Notes \salicusauctdown abe\enotes
- \Notes \salicusauctdown ceg\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{clivisdeminut}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \setsize1{\Largevalue}
- \instrumentnumber 1
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \clivisdeminut ba\enotes
- \notes \clivisdeminut ca\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{podatusdeminut}\twop], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \podatusdeminut ab\enotes
- \notes \podatusdeminut ac\enotes
- \notes \podatusdeminut cf\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{torculusdeminut}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \torculusdeminut aba\enotes
- \notes \torculusdeminut cfd\enotes
- \notes \torculusdeminut afc\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{torculusdebilis}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \torculusdebilis aba\enotes
- \notes \torculusdebilis cfd\enotes
- \notes \torculusdebilis afc\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{Porrectusdeminut}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \Porrectusdeminut bac\enotes
- \notes \Porrectusdeminut bNd\enotes
- \notes \Porrectusdeminut bMe\enotes
- \notes \Porrectusdeminut bLe\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{climacusdeminut}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \Notes \climacusdeminut cbN\enotes
- \Notes \climacusdeminut caM\enotes
- \Notes \climacusdeminut aML\enotes
- \zendextract
- \end{music}
-
- \item[\keyindex{scandicusdeminut}\threep], for example:
-
- \begin{music}\nostartrule
- \elemskip 10pt
- \instrumentnumber 1
- \setsize1{\Largevalue}
- \setstaffs 1 1
- \setlines 1 4
- \setclef 1{3000}
- \setaltoclefsymbol 1 \gregorianCclef
- \startextract
- \notes \scandicusdeminut abe\enotes
- \notes \scandicusdeminut ceg\enotes
- \zendextract
- \end{music}
-\end{description}
-
-\subsection{musixgui}\ixtt{musixgui.tex} Provides macros for
-typesetting modern style \itxem{guitar tablatures}. For example:
-
-\begin{music}
-\hsize130mm
-\tenrm
-\parindent0pt
-\generalmeter{\meterfrac34}
-\generalsignature1
-\startbarno0
-\def\txh{-6.5}
-\def\tx#1*{\zchar\txh{\lrlap{\kern3\Internote#1}}}
-\def\rtx#1*{\zchar\txh{\kern-3\Internote#1}}
-\stafftopmarg10\Interligne
-\raiseguitar{20}
-\nostartrule
-\startpiece
-\addspace{.5\afterruleskip}%
-\NOtes\tx We*\qa d\en
-\bar
-\NOtes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx wish*\qa g\en
-\Notes\tx you*\ca g\en
-\Notes\tx a*\ca h\en
-\Notes\zchar\txh{merry}\ca g\en
-\Notes\ca f\en
-\bar
-\NOtes\guitar C5o-----\gbarre4\gdot26\gdot36\gdot45\rtx christmas,*\qa e\en
-\NOtes\qa e\en
-\NOtes\guitar {e/H}5o-----\gbarre3\gdot35\gdot45\gdot54\tx we*\qa e\en
-\bar
-\NOtes\guitar {A$\!^7$}5o-----\gbarre1\gdot23\gdot42\tx wish*\qa h\en
-\Notes\tx you*\ca h\en
-\Notes\tx a*\ca i\en
-\Notes\zchar\txh{merry}\ca h\en
-\Notes\ca g\en
-\bar
-\NOtes\guitar D{}xxo---\gdot42\gdot53\gdot62\rtx christmas,*\qa f\en
-\NOtes\qa d\en
-\zbar
-\NOtes\guitar{D/c}{}xo----\gdot23\gdot42\gdot53\gdot62\tx we*\qa d\en
-\bar
-\NOtes\guitar{B$^7$}{}xo----\gdot22\gdot31\gdot42\gdot62\tx wish*\qa i\en
-\Notes\tx you*\ca i\en
-\Notes\tx a*\ca j\en
-\Notes\tx ~mer-*\ca i\en
-\Notes\tx ry*\ca h\en
-\bar
-\NOtes\guitar e{}xxo---\gdot32\tx ~christ-*\qa g\en
-\NOtes\tx mas*\qa e\en
-\Notes\guitar {G/d}{}xxo---\gdot63\tx and*\ca d\en
-\Notes\tx a*\ca d\en
-\bar
-\NOtes\guitar{C$^6$}{}xo----\gdot23\gdot32\gdot42\gdot51\tx ~~hap~-*\qa e\en
-\NOtes\tx py*\qa h\en
-\NOtes\guitar{D$^7$}{}xo---x\gdot25\gdot34\gdot45\gdot45\gdot53\tx new*\qa f\en
-\bar
-\NOTes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx ~year.*\ha g\en
-\setdoublebar\endpiece
-\end{music}
-
-\medskip
-The macro \keyindex{guitar} sets the grid, chord name, barre type,
-and on-off indicators for the strings. For example, the first
-chord in above example was coded as
-
-\verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44|
-
-\noindent where the first argument is the text to be placed above the grid, the
-second is empty (relative barre), and the next six characters indicate if the string
-is played or not with either \verb|x|, \verb|o| or \verb|-|. The dots are set with
-\keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The
-rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the position of the barre.
-
-The whole symbol may be vertically shifted with
-\keyindex{raiseguitar}\onen, where $n$ is a number
-in units of \keyindex{internote}. When using guitar tablatures, it might be
-useful to reserve additional
-space above the chord by advancing \keyindex{stafftopmarg} to
-something like \verb|stafftopmarg=10\Interligne|.
-
-For frequently used chords, it might be useful to define your own
-macros, e.g.
-
-\verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%|
-
- \subsection{musixlit}\label{litu}\label{otherbars}
- Provides a notation style intermediate between gregorian and baroque, for
-example
-
-\makeatletter
-\catcodesmusic
-%\def\vnotes#1\elemskip{\noteskip#1\@l@mskip \multnoteskip\scal@noteskip
-% \not@s}
-
-%\def\not@s{\def|{\nextstaff}\def&{\nextinstrument}\normaltranspose\transpose
-% \check@nopen\notes@open\@ne
-% \kern\n@skip\advance\x@skip\n@skip \locx@skip\x@skip
-% \n@skip\noteskip \noinstrum@nt\z@ \begininstrument}
-
-%\def\en{\@ndstaff\notes@open\z@
-% \ifx\@ne\V@sw \widthtyp@\z@\t@rmskip \let\V@sw\empty \fi}
-
-\def\double#1{\roffset{1.2}{\advancefalse#1}#1}
-\makeatother
-
- % Don't know if this example correct ??? But looks nice...
-\begin{music}
-\parindent0pt
-\instrumentnumber{2}
-\interstaff{11}
-\generalsignature2
-\setclefsymbol2\oldGclef
-\setstaffs1{2}
-\setclef1\bass
-\setinterinstrument1{-\Interligne}
-\startpiece
-\shortbarrules
-\addspace\afterruleskip
-\hardlyrics{Il nous a sign\'es de son
- }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics*\Hpause h1\en
-\qspace\qspace
-\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\double{\cnql i}\en
-\bar
-\hardlyrics{Et nous avons \'e-
- }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics~-*\Hpause h1\en
-\qspace\qspace
-\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\double{\cnql i}\en
-\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cnqu g\en
-\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cnqu f\en
-\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\double{\cnqu h}\en
-\bar
-\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cnqu h\en
-\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cnql k\en
-\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\double{\cnql j}\en
-\bar
-\NOTEs\zhl K\hu a|\zhl f\hu k&\tx ~~ia !*\cnhl k\en
-\sepbarrules
-\endpiece
-
-\startpiece
-\interbarrules
-\addspace\afterruleskip
-\hardlyrics{Il nous a sign\'es de son
- }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics*\Hlonga h1\en
-\qspace\qspace
-\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\chl i\en
-\bar
-\hardlyrics{Et nous avons \'e
- }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics~-*\Hlonga h1\en
-\qspace\qspace
-\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\chl i\en
-\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cqu g\en
-\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cqu f\en
-\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\chu h\en
-\bar
-\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cqu h\en
-\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cql k\en
-\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\chl j\en
-\bar
-\NOTEs\zbreve K\breve a|\zbreve f\breve k&\tx ~~ia !*\zbreve k\en
-\sepbarrules
-\endpiece
-\end{music}
-
- This package provides:
- \begin{itemize}\setlength{\itemsep}{0ex}
- \item\keyindex{oldGclef} which replaces the ordinary G clef with an old one,
-using (for instrument 2 as an example):
- \verb|\settrebleclefsymbol2\oldGclef|
-
- \item\keyindex{cqu} $p$ provides a square headed quarter note with stem up at
-pitch $p$.
-
- \item\keyindex{cql} $p$ provides a square headed quarter note with stem down at
-pitch $p$.
-
- \item\keyindex{chu} $p$ provides a square headed half note with stem up at
-pitch $p$.
-
- \item\keyindex{chl} $p$ provides a square headed half note with stem down at
-pitch $p$.
-
- \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square
-headed
-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{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.
-
- \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...
- \end{itemize}
-
- \subsection{musixlyr} \ixtt{musixlyr.tex}
- Enables the recommended method for adding lyrics to a score (see \ref{musixlyr}).
-
- \subsection{musixmad} \ixtt{musixmad.tex} Increases the number of
-instruments, slurs and beams up to twelve. When using this extension, it is
-not necessary to explicitly input \verb|musixadd.tex|.
-
-If you need greater numbers of these elements, see sections
-\ref{musixmad_setmaxgroups},
-\ref{musixmad_setmaxinstruments_ccxviiibeams},
-\ref{musixmad_setmaxoctlines},
-\ref{musixmad_setmaxslurs}, and
-\ref{musixmad_setmaxtrills}.
-
-
-\subsection{musixper}\label{perc}
-
-Provides special symbols intended for percussion parts. Included are a
-\ital{drum clef}---comprising two vertical parallel lines---and notes with
-various specially shaped heads. The note symbols that are available are as
-follows:
-
- \begin{itemize}\setlength{\itemsep}{0ex}
- \item The \raise.5ex\hbox{\musixchar113}~{}~symbol which is obtained using the
-\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a
-``\verb|dc|'' (think of {\it d}iagonal {\it c}ross).
-Available are
-\keyindex{dcqu},
-\keyindex{dcql},
-\keyindex{dcqb},
-\keyindex{dczq},
-\keyindex{dccu},
-\keyindex{dcccu},
-\keyindex{dccl} and
-\keyindex{dcccl}.
-
- \item The \raise.5ex\hbox{\musixchar112}~{}~symbol which is obtained using the
-\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a
-``\verb|dh|''
-(think of {\it d}iagonal cross {\it h}alf open).
-Available are
-\keyindex{dhqu},
-\keyindex{dhql},
-\keyindex{dhqb},
-\keyindex{dhzq},
-\keyindex{dhcu},
-\keyindex{dhccu},
-\keyindex{dhcl} and
-\keyindex{dhccl}.
-
- \item The \raise.5ex\hbox{\musixchar111}~{}~symbol which is obtained using the
-\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a
-``\verb|do|''
-(think of {\it d}iagonal cross {\it o}pen).
-Available are
-\keyindex{doqu},
-\keyindex{doql},
-\keyindex{doqb},
-\keyindex{dozq},
-\keyindex{docu},
-\keyindex{doccu},
-\keyindex{docl} and
-\keyindex{doccl}.
-
- \item The \raise.5ex\hbox{\musixchar114}~{}~symbol which is obtained using the
-\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
-``\verb|x|'' (e.g.\ for spoken text of songs).
-Available are
-\keyindex{xqu},
-\keyindex{xql},
-\keyindex{xqb},
-\keyindex{xzq},
-\keyindex{xcu},
-\keyindex{xccu},
-\keyindex{xcl} and
-\keyindex{xccl}.
-
- \item The \raise.5ex\hbox{\musixchar115}~{}~symbol which is obtained using the
-\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
-``\verb|ox|'' .
-Available are
-\keyindex{oxqu},
-\keyindex{oxql},
-\keyindex{oxqb},
-\keyindex{oxzq},
-\keyindex{oxcu},
-\keyindex{oxccu},
-\keyindex{oxcl} and
-\keyindex{oxccl}.
-
- \item The \raise.5ex\hbox{\musixchar118}~{}~symbol which is obtained using the
-\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
-``\verb|ro|'' (think of {\it r}h{\it o}mbus).
-Available are
-\keyindex{roqu},
-\keyindex{roql},
-\keyindex{roqb},
-\keyindex{rozq},
-\keyindex{rocu},
-\keyindex{roccu},
-\keyindex{rocl} and
-\keyindex{roccl}.
-
- \item The \raise.5ex\hbox{\musixchar116}~{}~symbol which is obtained using the
-\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
-``\verb|tg|'' (think of {\it t}rian{\it g}le).
-Available are
-\keyindex{tgqu},
-\keyindex{tgql},
-\keyindex{tgqb},
-\keyindex{tgzq},
-\keyindex{tgcu},
-\keyindex{tgccu},
-\keyindex{tgcl} and
-\keyindex{tgccl}.
-
- \item The \raise.5ex\hbox to 1em{\musixchar117\hfil}~{}~symbol which is obtained
-using the
-\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded by
-``\verb|k|'' .
-Available are
-\keyindex{kqu},
-\keyindex{kql},
-\keyindex{kqb},
-\keyindex{kzq},
-\keyindex{kcu},
-\keyindex{kccu},
-\keyindex{kcl} and
-\keyindex{kccl}.
- \end{itemize}
-
-The diamond shaped noteheads described in section \ref{diam} are also
-available, because \verb|musixper.tex| inputs \verb|musixdia.tex|.
-
-If any of the foregoing notes need to be dotted, you must use the explicit
-dotting macros \verb|\pt|, \verb|\ppt|, or \verb|\pppt| as described in
-section \ref{dots}.
-
-Since the usage of these note symbols is
-not standardized, it would be wise to include in the score a explanation
-of which symbol corresponds to which specific percussion instrument.
-
-A special \itxem{drum clef}---comprising two heavy vertical bars---can
-be made to replace the normal clef for the $n$-th intrument by saying
-\keyindex{setclefsymbol}\onen\keyindex{drumclef} .
-To cause this to appear at the right vertical position, the instrument should
-previously have been assigned a treble clef (or not explicitly assigned any
-clef, thereby giving it a treble clef by default).
-
-Percussion music might be written on a staff with either one or five lines.
-If there are several different percussions instruments it may be useful to
-use a five-line staff with a drum clef, and differentiate the instruments
-by the type of the note heads and the apparent
-pitch of the note on the staff. Here is an example of the
-latter\footnote{provided by Agusti {\sc Mart\'in Domingo}}:
-
-\medskip
-\begin{music}
-\generalmeter{\meterfrac44}
-\setclefsymbol1\drumclef
-\parindent0pt\startpiece
-\leftrepeat
-\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes
-\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes
-\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes
-\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes
-\bar
-\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes
-\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes
-\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes
-\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes
-\bar
-\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes
-\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes
-\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes
-\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes
-\setrightrepeat\endpiece
-\end{music}
-\noindent Its coding is
- \begin{quote}\begin{verbatim}
-\begin{music}
-\instrumentnumber{1}
-\generalmeter{\meterfrac44}
-\setclefsymbol1\drumclef
-\parindent0pt\startpiece
-\leftrepeat
-\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes
-\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes
-\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes
-\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes
-\bar
-\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes
-\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes
-\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes
-\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes
-\bar
-\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes
-\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes
-\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes
-\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes
-\setrightrepeat\endpiece
-\end{music}
- \end{verbatim}\end{quote}
-
-Here is an example of a single-line percussion staff using
-diamond-shaped note heads:
-
-\begin{music}
-\parindent 19mm
-\instrumentnumber{3}
-\setname1{keyboard} \setname2{drum} \setname3{monks}
-\setlines2{1}
-\setlines3{4}
-\setinterinstrument1{-2\Interligne}% less vertical space above
-\setinterinstrument2{-2\Interligne}% and below the percussion
-\sepbarrules
-\setsign1{-1} % one flat at keyboard
-\generalmeter{\meterfrac24}
-\setmeter3\empty
-\setclef3\alto
-\setclef1\bass
-\setstaffs12 % 2 staffs at keyboard
-\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3
-\setclefsymbol2\drumclef % cancel G clef at instrument 2
-\startextract
-\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar
-\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes
-\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\enotes\bar
-\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes
-\endextract
-\end{music}
-\noindent which is coded as follows:
-
-\begin{verbatim}
-\parindent 19mm
-\instrumentnumber{3}
-\setname1{keyboard} \setname2{drum} \setname3{monks}
-\setlines2{1}
-\setlines3{4}
-\setinterinstrument1{-2\Interligne}% less vertical space above
-\setinterinstrument2{-2\Interligne}% and below the percussion
-\sepbarrules
-\setsign1{-1} % one flat at keyboard
-\generalmeter{\meterfrac24}
-\setmeter3{\empty}
-\setclef3{\alto}
-\setclef1{\bass}
-\setstaffs1{2} % 2 staffs at keyboard
-\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3
-\setclefsymbol2{\drumclef} % cancel G clef at instrument 2
-\startextract
-\end{verbatim}
-
-% (DAS) Sorry, guys, I couldn't figure out how to get the |'s to work in this
-% verbatim.
-%
-\vskip-11pt
-\def\Vert{{\tt\char'174}}
-\noindent\verb|\Notes\hu F|\Vert\verb|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar|\\
-\verb|\NOtes\qu I|\Vert\verb|\zq N\qu d&\qp&\diapunc f\enotes|\\
-\verb|\NOtes\qu J|\Vert\verb|\zq a\qu e&\ynq4&\diapunc f\enotes\bar|\\
-\verb|\notes\hu G|\Vert\verb|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes|\\
-\verb|\endextract|
-
- \subsection{musixpoi}
- Adds definitions of less common singly and doubly dotted notes.
-Available are
-\keyindex{ccup},
-\keyindex{zccup},
-\keyindex{cclp},
-\keyindex{zcclp},
-\keyindex{ccupp},
-\keyindex{zccupp},
-\keyindex{cclpp},
-\keyindex{zcclpp},
-\keyindex{cccup},
-\keyindex{zcccup},
-\keyindex{ccclp},
-\keyindex{zccclp},
-\keyindex{cccupp},
-\keyindex{zcccupp},
-\keyindex{ccclpp},
-\keyindex{zccclpp},
-\keyindex{ccccup},
-\keyindex{zccccup},
-\keyindex{cccclp},
-\keyindex{zcccclp},
-\keyindex{ccccupp},
-\keyindex{zccccupp},
-\keyindex{cccclpp} and
-\keyindex{zcccclpp}.
-
- %\check
- \subsection{musixps}\label{musixps}\index{musixps@{\tt musixps.tex}}
- Activates type K postscript slurs, ties, and hairpins (see \ref{PostscriptSlurs}).
-
- \subsection{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}}
- Provides bowing and other symbols for \itxem{string instruments}\footnote{provided
-by Werner {\sc Icking}}. The symbol can be posted at the desired position using
- \verb|\zcharnote|\pitchp\verb|{|$command$\verb|}|. The available symbols and
-their meanings are as follows:
-
-{\input musixstr
-\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
-
- \item[\hbox to 1em{\AB}~: \keyindex{AB} or \keyindex{downbow}] down-bow
-
- \item[\hbox to 1em{\AUF}~: \keyindex{AUF} or \keyindex{upbow}] up-bow
-
- \item[\hbox to 1em{\SP}~: \keyindex{SP}] at the top of bow
-
- \item[\hbox to 1em{\FR}~: \keyindex{FR}] at the nut of bow
-
- \item[\GB\ or \Gb~: \keyindex{GB} or \keyindex{Gb}] whole bow
-
- \item[\UH\ or \Uh~: \keyindex{UH} or \keyindex{Uh}] lower half of bow
-
- \item[\OH\ or \Oh~: \keyindex{OH} or \keyindex{Oh}] upper half of bow
-
- \item[\MI\ or \Mi~: \keyindex{MI} or \keyindex{Mi}] middle of bow
-
- \item[\UD\ or \Ud~: \keyindex{UD} or \keyindex{Ud}] lower third of bow
-
- \item[\OD\ or \Od~: \keyindex{OD} or \keyindex{Od}] upper third of bow
-
- \item[\Pizz~: \keyindex{Pizz}] left hand pizzicato or trill
-
- \end{description}\end{quote}
- }
- %\check
- \subsection{musixsty}\index{musixsty@{\tt musixsty.tex}}
-
- Provides certain text-handling facilities for titles, footnotes, and other
-items not related to lyrics. It should not be used with \LaTeX. It includes
- \begin{itemize}\setlength{\itemsep}{0ex}
- \item definitions for commonly used fonts such as \verb|\tenrm|,
-\verb|\eightrm|, etc.;
- \item definitions of \keyindex{hsize}, \keyindex{vsize},
-\keyindex{hoffset}, \keyindex{voffset} suitable for A4 paper; those using
-other sizes may wish to modify it once and for all;
- \item a set of text size commands:
-
- \begin{description}\setlength{\itemsep}{0ex}
- \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm},
-\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 8 point font size;
- \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm},
-\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 10 point font size;
- \item[\keyindex{twlpoint}] to get 12 point font size;
- \item[\keyindex{frtpoint}] to get 14.4 point font size;
- \item[\keyindex{svtpoint}] to get 17.28 point font size;
- \item[\keyindex{twtypoint}] to get 20.74 point font size;
- \item[\keyindex{twfvpoint}] to get 24.88 point font size;
- \end{description}
- \item commands for creating titles:
- \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{author} or
-\keyindex{fullauthor} to be put at the right of the first page, below the
-title of the piece; the calling sequence is, for example
-
- \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}|
-
- \noindent where the \verb|\\| causes the author's name to be displayed on
-two lines;
-
- \item \keyindex{shortauthor} to be put at the bottom of each page;
- \item \keyindex{fulltitle} which is the main title of the piece;
- \item \keyindex{subtitle} is displayed below the main title of the piece;
- \item \keyindex{shorttitle} or \keyindex{title}
- which is the title repeated at the bottom of each page;
- \item \keyindex{othermention} which is displayed on the left of the page,
-vertically aligned with author's name. It may contain \verb|\\| to display it on
-several lines;
- \item \keyindex{maketitle} which displays all the previous stuff;
- \end{itemize}
-
- \item commands for making \itxem{footnotes}:
- \begin{itemize}\setlength{\itemsep}{0ex}
- \item The normal Plain-\TeX\ \keyindex{footnote} command, which has two
-arguments---not just one as in \LaTeX\protect\index{LATEX@\LaTeX}---namely
-the label of the footnote, which can be any sequence of characters, and
-the text of the footnote. This command does not work inside
-boxes, so it cannot be issued within music;
-
- \item The \keyindex{Footnote} command, which counts the footnotes and uses a
-number as the label of the footnote (equivalent to \LaTeX's \verb|\footnote|
-command). The same restriction as with \verb|\footnote| applies concerning
-its use within the music coding;
-
- \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which
-places a footnote at the bottom of the current page, but does not put
-the footnote label at the place the command is entered in the main text. This
-also may not be used within music, but if a footnote is needed whose reference
-lies inside the music, it can be entered in two steps:
- \begin{enumerate}
- \item manually insert the reference inside the music, using e.g. \verb|zcharnote|;
- \item post the footnote itself with \verb|\vfootnote| outside the music,
-either before \keyindex{startpiece} or between \keyindex{stoppiece} and
-\keyindex{contpiece} or equivalent commands.
- \end{enumerate}
-
- \end{itemize}
-
- \end{itemize}
-
- \subsection{musixtmr}\index{musixtmr@{\tt musixtmr.tex}}
- Replaces the standard \texttt{musixtex} fonts by the Times series fonts,
- as default (see \ref{musixtmr}).
-
- \subsection{musixtri}\index{musixtri@{\tt musixtri.tex}}
-Provides triply dotted note symbols.
-Available are:
-\keyindex{lpppt},
-\keyindex{whppp},
-\keyindex{zwppp},
-\keyindex{huppp},
-\keyindex{hlppp},
-\keyindex{zhppp},
-\keyindex{zhuppp},
-\keyindex{zhlppp},
-\keyindex{quppp},
-\keyindex{qlppp},
-\keyindex{zquppp},
-\keyindex{zqlppp},
-\keyindex{zqppp},
-\keyindex{cuppp},
-\keyindex{zcuppp},
-\keyindex{clppp},
-\keyindex{zclppp},
-\keyindex{qbppp} and
-\keyindex{zqbppp}.
-
- \subsection{tuplet}\index{tuplet@{\tt tuplet.tex}}
- Causes the figure in xtuplets to be printed within a small gap in the bracket
-(see \ref{tuplet}).
-
-% DAS Discussed elsewhere
-%\section{The \TeX-music Mailing List}
-%
-%If you decide to learn to use \musixtex, you are likely to wish that there were
-%someone to answer your questions. That is exactly what you'll find on the \TeX-music
-%mailing list: experts from all over the world with lots of experience with
-%\musixtex{} and related software, who are glad to answer questions and help solve
-%problems. You can find out more about the list and sign up at
-%\href{http://icking-music-archive.org/mailman/listinfo/tex-music}
-%{\underline{\tt http://icking-music-archive.org/mailman/listinfo/tex-music}}.
-
-
-\chapter{Acquiring, Installing, and Using \musixtex}\label{installation}
-
-This chapter will assume that \TeX\
-is installed. Most \unix\ or Linux systems come with \TeX\ already installed.
-If using MS Windows, you'll need to have manually installed some version of
-\TeX. MiK\TeX\ is the most common variant by far and therefore will be assumed. If
-you need to install MiK\TeX, you can get the software from
-\href{http://www.miktex.org/}{\underline{\texttt{http://www.miktex.org}}}
-or from CTAN.
-% DAS Out of date!
-%The Werner Icking Archive contains excellent
-%\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf}%
-%{\underline{instructions for installing MiK\TeX}}%
-%\footnote{Thanks to Eva {\sc Jaksch}}.
-
-\section{Where to get \musixtex: the Werner Icking Archive}\label{getstuff}
-
-As already mentioned, the home base for all matters related to \musixtex\ is
-the Werner Icking Music Archive, at
-\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}.
-The most up-to-date versions of \musixtex\ and friends are located in the
-\href{http://icking-music-archive.org/software/indexmt6.html}{\underline{software}}
-section of the archive. The stable distribution of \musixtex\ will be contained in
-\href{http://icking-music-archive.org/software/musixtex/musixtex.zip}
-{\underline{\verb|musixtex.zip|}}. This will serve any operating system, but
-has detailed Windows-specific installation instructions and batch scripts that simplify
-installing and running the software.
-There is a somewhat differently organized distribution on the CTAN servers at\\
-\href{http://www.ctan.org/tex-archive/macros/musixtex/}
-{\underline{http://www.ctan.org/tex-archive/macros/musixtex/}}
-with FTP link\\
-\href{ftp://ftp.ctan.org/tex-archive/macros/musixtex/}
-{\underline{ftp://ftp.ctan.org/tex-archive/macros/musixtex/}}.
-This one is "TDS compliant," which means that it adheres to a recently announced
-standard directory structure for \TeX\ systems. It is accompanied by
-installation instructions for \unix\ and other OS's, but does not contain any
-installation scripts.
-
-\subsection{End of line characters in text files}
-The files in the Werner Icking Archive and in \verb|musixtex.zip|
-have been contributed by such a wide
-range of authors that there is no common standard for the line endings in text files.
-But the key text files serve as input to programs such as \TeX\ and \MF\
-which are insensitive to this. If you use a PC and run into problems using any of
-these text files, you might be able to solve them with the program
-\verb|flip.exe| which comes with the \musixtex\ distribution. Run it from a
-command window by typing \verb|flip -m| $<$filename$>$, and it will
-convert line endings from the \unix\ to MS-DOS convention.
-
-\subsection{Pre-installed \musixtex}
-Many versions of \TeX\ include \musixtex\ as a package. The included version is likely
-to be out of date and probably should not be used. When an archived version is
-downloaded and properly installed, it will supersede the pre-installed version.
-
-\section{Installing \musixtex}
-Installation of the \TeX~ and
-\musixtex~ software is very system dependent and will not be detailed here. The
-distribution
-\href{http://icking-music-archive.org/software/musixtex/musixtex.zip}
-{\underline{\verb|musixtex.zip|}}
-is Windows-centric but does include all the \musixtex\ files
-needed for any OS. For Windows installation, the distribution includes very detailed
-instructions in
-\href{http://icking-music-archive.org/software/musixtex/musixtex.zip}
-{\underline{\verb|mxinsuse.pdf|}}
-and a batch file {\tt instmus.bat} which greatly
-simplifies the installation process.
-Users of other OS's may refer to
-\href{http://icking-music-archive.org/software/musixtex/mxinsuse.pdf}
-{\underline{\verb|mxinsuse.pdf|}}
-or to
-%DAS Out of date!
-%either
-%\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf}
-%{\underline{Windows}}\ or
-\href{http://icking-music-archive.org/software/musixtex/musixtex-for-unix.html}
-{\underline{HOWTO file for \unix}} in the archive.
-
-Whatever your OS or installation method, there are really just a few
-fundamental tasks you must accomplish for a usable install:
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item \musixtex\ comprises some \TeX\ source files (\verb|.tex|, \verb|.sty|),
-font files, and the executable \verb|musixflx|. The \TeX\ sources and font
-files must be placed in locations where \TeX\ can find them;
- \item \TeX\ must be advised of the locations of those files;
- \item If you are installing any postscript fonts, you'll have to add a map
-file somewhere in the \TeX\ file structure, and locate and modify a configuration
-file such as \verb|config.ps| to record the addition of the map file.
- \item \verb|musixflx| must be placed in a folder that is in your search path,
-so it can be executed from your working directory.
-\end{itemize}
-
-
-\section{Running \musixtex}
-
-As first stated in Section~\ref{threepass}, to compile a score, you must run
-in sequence \verb|etex|, \verb|musixflx|,
-and \verb|etex| again. This will produce a \verb|.dvi| file. From this point
-forward, this file can be processed like the device-independent output file
-for any \TeX\ document. The most common approach and the only one to
-be discussed here is to next generate a postscript file. This is accomplished
-by running \verb|dvips|, which is included in every \TeX\ system. To view the
-postscript, most users run {\tt GSview} or {\tt ghostscript}, which must
-be separately downloaded and installed. Finally, you may produce a PDF file
-also using GSview, and view that with Acrobat Reader or {\tt GSview}.
-
-You also can view the \verb|.dvi| file directly using a DVI viewer such as Yap,
-but if you are using type K postscript slurs, DVI viewers will not display them.
-
-Rather than executing all the foregoing programs separately, most users will
-find it more convenient to use either a batch file or a shell. The distribution
-\verb|musixtex.zip| includes various batch files for compiling and viewing
-\musixtex\ files in Windows. Their use is discussed in detail in
-\href{http://icking-music-archive.org/software/musixtex/mxinsuse.pdf}
-{\underline{\verb|mxinsuse.pdf|}}.
-
-\chapter{\musixtex\ examples}
-
-The file \verb|musixdoc.tex|, the source for this manual, contains many useful
-examples. In the manual, many examples are accompanied by a display of the code
-that produced them, while for a few only an image of the extract is included and you'll
-have to look in \verb|musixdoc.tex| to see the coding.
-
-Other useful examples cannot be embedded in the source, either because they are
-meant to be in \TeX, not \LaTeX, or because they are simply to large. For
-these the source files also are provided separately.
-
-When compiling or viewing any of the examples, you should keep in mind that
-most DVI previewers and laser printers have
-their origin one inch below and one inch to the right of the upper right corner
-of the paper, while the musical examples have their upper left
-corner just one centimeter to the right and below the top left corner of the page.
-Therefore, special parameters may have to be given to the DVI transcription
-programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\
-commands have been included within the \TeX\ source.
-
-\section{Small examples}
-
-\begin{itemize}\setlength{\itemsep}{0ex}
-
-\item{\tt ossiaexa.tex}~: This is a stand-alone example of the use of ossia,
-provided by Olivier Vogel (section \ref{ossia} on page \pageref{ossia}).
-
-\item{\tt 8bitchar.tex}~: Using 8bit characters. Here, the European
-character set is used. See section \ref{8bit} on page \pageref{8bit} for other sets.
-
-\end{itemize}
-
-\section{Full examples}
-The small examples above and the longer ones mentioned below are included in
-the folder
-\verb|MUSIXTEXdistribution\doc\musixtex\manualexa| of \verb|musixtex115.zip|.
-Many others are available in
-\href{http://icking-music-archive.org/software/musixtex/musixexa.zip}
-{\underline{\texttt{musixexa.zip}}} or
-\href{http://icking-music-archive.org/software/musixtex/musixexa-T112.tar.gz}
-{\underline{\texttt{musixexa-T112.tar.gz}}}. Some of them require the
-presence of \verb|musixcpt.tex| which makes examples created in
-Music\TeX\ compatible with \musixtex. Here we only mention a few of
-special interest.
-
-\subsection{Examples mentioned in the manual}
-
-\begin{itemize}\setlength{\itemsep}{0ex}
- \item{\tt avemaria.tex}~: the ``M\'editation'' (alias ``Ave Maria'') by
-Charles {\sc Gounod} for organ and violin or voice.\index{Gounod, C.@{\sc Gounod, C.}}
-To run this five-page example you'll also need \texttt{avemariax.tex}.
-It demonstrates the use of separated bar rules (section \ref{avemaria2})
-and the use of staves of different sizes (section \ref{avemaria}).
-Also, an additional instrument is created for lyrics. This was a common
-practice before the \texttt{musixlyr} package was created by Rainer Dunker.
-
- \item{\tt glorias.tex}~: a local melody for the French version of
-\ital{Gloria in excelsis Deo}, a three-page piece demonstrating the use of the hardlyrics
-commands (section \ref{glorias}). {\tt gloriab.tex} is the same piece, but with organ accompaniment.
-
-\end{itemize}
-
-\subsection{Other examples, provided by the authors of \musixtex }
-
-\begin{itemize}\setlength{\itemsep}{0ex}
-
- \item{\tt traeumer.tex}~: the famous ``Tr\"aumerei'' by
-Robert {\sc Schumann}\index{Schumann, R.@{\sc Schumann, R.}} for piano, in genuine
-\musixtex\ but with some
-additions to perform ascending bitmapped \itxem{crescendos}.
-There are also S-shaped slurs between 2 staves.
-
- \item{\tt parnasum.tex}~: the first page of ``Doctor gradus ad
-Parnassum'' by Claude {\sc Debussy}\index{Debussy,
-C.@{\sc Debussy, C.}} for piano.
-It contains a rather complex example of a new command \verb+\Special+
-to create staff-jumping doubly beamed notes.
-\end{itemize}
-
-\subsection{Additional documentation}
-
-\begin{itemize}\setlength{\itemsep}{0ex}
-
- \item{\tt sottieng}~: Notation mistakes, provided by Jean-Pierre Coulon.
-
-\end{itemize}
-
-\section{Compiling musixdoc.tex}
-
-This manual is an excellent example of a primarily text document with embedded
-musical excerpts. For this reason it is a \LaTeX\ document and must be compiled
-with \verb|latex| rather than \verb|etex|. Those wishing to combine text and
-musical excerpts should carefully study how it is done here.
-
-Before compiling or recompiling \verb|musixdoc.tex|, you should remove all the auxilliary
-files {\tt musixdoc.[mx1\|\allowbreak mx2\|\allowbreak aux\|\allowbreak toc\|\allowbreak ind\|\allowbreak idx\|\allowbreak ilg\|\allowbreak out]}
-if they are present. Then the following command sequence will produce \verb|musixdoc.ps|:
-\begin{quote}\begin{verbatim}
-latex musixdoc
-musixflx musixdoc
-latex musixdoc
-makeindex -l musixdoc
-latex musixdoc
-latex musixdoc
-dvips -e0 -t a4 -P pdf -G0 musixdoc
-\end{verbatim}\end{quote}
-
-The initial three steps \verb|latex|\allowbreak$\to$\allowbreak\verb|musixflx|\allowbreak$\to$\allowbreak\verb|latex| build up the basic appearance of the document including many musical examples.
-\verb|makeindex| produces the database for the index.
-After that, \verb|latex| must be run at least twice to complete cross referencing.
-Finally, \verb|dvips| converts the \verb|.dvi| file into \verb|.ps| (making PostScript type K slurs
-visible).
-To produce \verb|musixdoc.pdf|, open \verb|musixdoc.ps| in \texttt{GSview}. Go to
-{\tt File\|Convert}, select \verb|pdfwrite| at 600 dpi resolution, and click
-\verb|OK|.
-
-If you use an older version of \LaTeX\ which doesn't automatically
-invoke $\varepsilon$\hbox{-}\nobreak\TeX, you will encounter the
-error ``{\tt !~No room for new \string\count}''.
-This is because \verb|musixdoc.tex| invokes \verb|musixtex.tex|, which together with \LaTeX\
-requires more storage registers than available in \TeX.
-You may be able get around this by using the command
-\verb|elatex| instead of \verb|latex|;
-however, it is strongly recommended to upgrade your \TeX\ system to a more recent
-version in which \verb|latex| automatically invokes $\varepsilon$\hbox{-}\nobreak\TeX.
-
-\clearpage
-{\parindent0pt
-\hoffset-15.4mm
-\voffset-42mm
-\hsize190mm
-\vsize285mm
-\parskip0pt plus 2pt
-% not fine, not clean, but works
-% !!! don't look at this !!!
-%>>>
-\makeatletter
-\textheight\vsize
-\@colht\vsize
-\@colroom\vsize
-\makeatother
-%<<<
-\let\MYTEMP\addcontentsline
-\def\addcontentsline#1#2#3{}
-\chapter{}
-\let\addcontentsline\MYTEMP
-\addcontentsline{toc}{chapter}{%
- \protect\numberline\thechapter{Summary of denotations}}
-\vglue-20mm
-\centerline{\bigfont Pitches}
-\medskip
-\tentt
-\def\bs{\tentt\char92}
-\setclef1\bass
-\afterruleskip2pt
-\startpiece
-%
-% Pitches
-%
-\addspace\afterruleskip
-\notes\wh{`ABCDEFG}\wh{!ABCDEFG}\wh{HIJKLMNabcde}\off{-26\noteskip}%
- \zchar{14}{\llap`A}\sk
- \zchar{14}{\llap`B}\sk
- \zchar{14}{\llap`C}\sk
- \zchar{14}{\llap`D}\sk
- \zchar{14}{\llap`E}\sk
- \zchar{14}{\llap`F}\sk
- \zchar{14}{\llap`G}\sk
- \zchar{14}A\sk
- \zchar{14}B\sk
- \zchar{14}C\sk
- \zchar{14}D\sk
- \zchar{14}E\sk
- \zchar{14}F\sk
- \zchar{14}G\sk
- \zchar{-5}{\llap'A}\zchar{14}H\sk
- \zchar{-5}{\llap'B}\zchar{14}I\sk
- \zchar{-5}{\llap'C}\zchar{14}J\sk
- \zchar{-5}{\llap'D}\zchar{14}K\sk
- \zchar{-5}{\llap'E}\zchar{14}L\sk
- \zchar{-5}{\llap'F}\zchar{14}M\sk
- \zchar{-5}{\llap'G}\zchar{14}N\sk
- \zchar{14}a\sk
- \zchar{14}b\sk
- \zchar{14}c\sk
- \zchar{14}d\sk
- \zchar{14}e\sk\en
-\stoppiece\vskip-3\Interligne\setclef1\treble\contpiece
-\notes\wh{abcdefg}\wh{hijklmno}\wh{pqrstuvwxyz}\off{-26\noteskip}%
- \zchar{-8}a\sk
- \zchar{-8}b\sk
- \zchar{-8}c\sk
- \zchar{-8}d\sk
- \zchar{-8}e\sk
- \zchar{-8}f\sk
- \zchar{-8}g\sk
- \zchar{-8}h\zchar{-4}{\llap'a}\sk
- \zchar{-8}i\zchar{-4}{\llap'b}\sk
- \zchar{-8}j\zchar{-4}{\llap'c}\sk
- \zchar{-8}k\zchar{-4}{\llap'd}\sk
- \zchar{-8}l\zchar{-4}{\llap'e}\sk
- \zchar{-8}m\zchar{-4}{\llap'f}\sk
- \zchar{-8}n\zchar{-4}{\llap'g}\sk
- \zchar{-8}o\zchar{-4}{\llap{'\kern-2pt'}a}\sk
- \zchar{-8}p\zchar{-4}{\llap{'\kern-2pt'}b}\sk
- \zchar{-8}q\zchar{-4}{\llap{'\kern-2pt'}c}\sk
- \zchar{-8}r\zchar{-4}{\llap{'\kern-2pt'}d}\sk
- \zchar{-8}s\zchar{-4}{\llap{'\kern-2pt'}e}\sk
- \zchar{-8}t\zchar{-4}{\llap{'\kern-2pt'}f}\sk
- \zchar{-8}u\zchar{-4}{\llap{'\kern-2pt'}g}\sk
- \zchar{-8}v\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}a}\sk
- \zchar{-8}w\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}b}\sk
- \zchar{-8}x\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}c}\sk
- \zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk
- \zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en
-\stoppiece
-\medskip
-\centerline{\bigfont Notes, Accidentals, Accents, Clefs and Rests}
-\medskip
-%
-% Notes& Accidentals
-%
-\contpiece
-\Notes
- \zchar{-4}{Accidentals:}%
- \zchar9{\bs maxima}\maxima i\relax
- \zchar{12}{\bs longa}\longa i%
- \zchar9{\bs breve}\breve i%
- \zchar{12}{\bs wq}\wq i%
- \zchar{12}{\bs wqq}\wqq i%
- \zchar{12}{\bs wh}\wh i%
- \zchar{12}{\bs hu}\zchar{-4}>\hu{>f}%
- \zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l%
- \zchar{12}{\bs qu}\zchar{-4}\^\qu{^f}%
- \zchar{12}{\bs ql}\loff{\zchar{-4}{\bs csh}}\csh l\ql l%
- \zchar{12}{\bs cu}\zchar{-4}=\cu{=f}%
- \zchar{12}{\bs cl}\loff{\zchar{-4}{\bs cna}}\cna l\cl l%
- \zchar{12}{\bs ccu}\zchar{-4}\_\ccu{_f}%
- \zchar{12}{\bs ccl}\loff{\zchar{-4}{\bs cfl}}\cfl l\ccl l%
- \zchar{12}{\bs cccu}\zchar{-4}<\cccu{<f}%
- \zchar{12}{\bs cccl}\loff{\zchar{-4}{\bs cdfl}}\cdfl l\cccl l%
-\multnoteskip{1.2}%
- \zchar{12}{\bs ccccu}\ccccu f%
- \zchar{12}{\bs ccccl}\ccccl l%
-\multnoteskip{.8}%
- \zchar{12}{\bs grcu}\grcu f%
- \zchar{12}{\bs grcl}\grcl l\en
-\stoppiece
-%
-% various note heads
-%
-\contpiece
-\Notes
-\multnoteskip{1.1}%
- \zchar{10}{\bs dqu$^{123}$}%
- \zchar{-3}{\eightrm 1 musixdia.tex~~2 musixper.tex~~3 musixgre.tex%
- ~~4 musixlit.tex~~5 musixext.tex}\dqu g%
- \zchar{10}{\bs yqu$^{123}$}\yqu g%
-\multnoteskip{.9}%
- \zchar{10}{\bs dcqu$^2$}\dcqu g%
- \zchar{10}{\bs dhqu$^2$}\dhqu g%
- \zchar{10}{\bs doqu$^2$}\doqu g%
- \zchar{10}{\bs xqu$^2$}\xqu g%
- \zchar{10}{\bs oxqu$^2$}\oxqu g%
- \zchar{10}{\bs roqu$^2$}\roqu g%
- \zchar{10}{\bs tgqu$^2$}\tgqu f%
- \zchar{10}{\bs kqu$^2$}\kqu f%
- \zchar{10}{\bs squ$^3$}\squ g%
- \zchar{10}{\bs lsqu$^3$}\lsqu j%
- \zchar{10}{\bs rsqu$^3$}\rsqu k%
- \zchar{10}{\bs cqu$^4$}\cqu g%
- \zchar{10}{\bs cql$^4$}\cql k%
- \zchar{10}{\bs chu$^4$}\chu g%
- \zchar{10}{\bs chl$^4$}\chl k\en
-%
-% Pointed Notes and Accents
-%
-\stoppiece
-\medskip
-\contpiece
-\Notes
- \zchar{-5}{\eightrm Accent on beam with prefix {\tt b} and beam reference
-number instead of the pitch}%
- \zchar{13}{\bs lpz}\lpz f\qu f%
- \zchar{13}{\bs upz}\upz l\ql l%
- \zchar{13}{\bs lsf}\lsf f\qu f%
- \zchar{13}{\bs usf}\usf l\ql l%
- \zchar{13}{\bs lst}\lst f\qu f%
- \zchar{13}{\bs ust}\ust l\ql l%
- \zchar{13}{\bs lppz}\lppz f\qu f%
- \zchar{13}{\bs uppz}\uppz l\ql l%
- \zchar{13}{\bs lsfz}\lsfz f\qu f%
- \zchar{13}{\bs usfz}\usfz l\ql l%
- \zchar{13}{\bs lpzst}\lpzst f\qu f%
- \zchar{13}{\bs upzst}\upzst l\ql l%
- \zchar{16}{\bs downbow}\zchar9\downbow\ql l%
- \zchar{13}{\bs upbow}\zchar9\upbow\ql l%
- \zchar{16}{\bs flageolett}\flageolett l\ql l%
- \zchar{13}{\bs whp}\whp i%
- \zchar{13}{\bs qupp}\qupp h\en
-\stoppiece
-\medskip
-%
-% clefs
-%
-\setclefsymbol1\empty
-%\setlines 11\relax
-\nostartrule\contpiece
-\NOtes
- \zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk
- \zchar9{\bs altoclef}\zchar0\altoclef\sk
- \zchar{13}{\bs bassclef}\zchar0\bassclef\sk
- \zchar9{\bs smalltrebleclef}\zchar0\smalltrebleclef\sk
- \zchar{13}{\bs smallaltoclef}\zchar0\smallaltoclef\sk
- \zchar9{\bs smallbassclef}\zchar0\smallbassclef\sk
- \zchar{13}{\bs drumclef$^2$}\zchar0\drumclef\sk
- \zchar9{\bs gregorianCclef$^3$}\zchar0\gregorianCclef\sk
- \zchar{13}{\bs gregorianFclef$^3$}\zchar0\gregorianFclef\sk
- \zchar9{\bs oldGclef$^4$}\zchar0\oldGclef\sk\en
-\zstoppiece\smallskip
-%
-% Rests
-%
-\setlines 15\relax
-\resetclefsymbols\startrule\contpiece
-\NOtes
-\multnoteskip{.5}%
- \zchar{13}{\bs qqs}\qqs
- \zchar{13}{\bs hs}\hs
- \zchar{13}{\bs qs}\qs
- \zchar{13}{\bs ds}\ds
- \zchar{13}{\bs qp}\qp
-\multnoteskip2%
- \zchar{13}{\bs hpause}\hpause
- \zchar{13}{\bs hpausep}\hpausep
- \zchar{9}{\bs lifthpause}\roff{\lifthpause5}\sk
- \zchar{13}{\bs pause}\pause
- \zchar{13}{\bs pausep}\pausep
- \zchar{9}{\bs liftpause}\roff{\liftpause4}\sk
- \zchar{13}{\bs PAuse}\PAuse
- \zchar{13}{\bs PAUSe}\PAUSe
- \zchar{13}{\bs Hpause$^4$}\Hpause i{.8}\sk\en
-\stoppiece\vskip-2\Interligne
-%
-\centerline{\bigfont Other Symbols}
-\medskip
-%
-% more Symbols
-%
-\contpiece
-\NOtes
- \zchar{14}{\bs Trille}\zchar{-4}{\bs allabreve}\Trille n1%
- \zchar0\allabreve\sk
- \zchar{14}{\bs trille}\zchar{-4}{\bs meterC}\trille n1\zchar0\meterC\sk
- \zchar{14}{\bs shake}\zchar{-4}{\bs reverseC}\shake n\zchar0\reverseC\sk
- \zchar{14}{\bs Shake}\zchar{-4}{\bs reverseallabreve}\Shake n%
- \zchar0\reverseallabreve\sk
- \zchar{14}{\bs mordent}\mordent n\sk
- \zchar{14}{\bs Mordent}\Mordent n\zchar{-4}{\bs meterplus}%
- \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\sk
-\multnoteskip{.66}%
- \zchar{14}{\bs turn}\turn n\sk
-\multnoteskip{1.25}%
- \zchar{14}{\bs backturn}\backturn n\zchar{-4}{\bs duevolte}\duevolte\sk
- \zchar{14}{\bs Shakel}\Shakel n\sk
- \zchar{14}{\bs Shakesw}\Shakesw n\zchar{-4}{\bs l[r]par}%
- \lpar f\rpar f{\stemlength4\qu f}%
- \zchar{14}{\bs Shakene}\Shakene n\sk
- \zchar{14}{\bs Shakenw}\Shakenw n\sk\en
-\stoppiece
-\medskip
-%
-% again
-%
-\contpiece
-\NOtes\zchar9{\bs metron}\zchar{13}{\metron\qu{99}}\sk\en
-\setvoltabox1\bar
-\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en
-\setvolta2\setendvolta\rightrepeat
-\NOtes\loff{\zchar{17}{\bs setvolta}}\en
-\doublebar
-\notes\zchar{17}{\kern-\afterruleskip\bs coda}\coda n\en\bar
-\notes\zchar{17}{\kern-\afterruleskip\bs Coda}\Coda n\en
-\NOtes
- \zchar{17}{\bs segno}\segno n\sk
- \zchar{17}{\kern-2\afterruleskip\bs Segno}\Segno\hsk
- \zchar{17}{\bs caesura}\sk\caesura
- \zchar{17}{\bs cbreath}\cbreath\sk
-\multnoteskip{.66}%
- \zchar{17}{\bs PED}\PED\sk
- \zchar{17}{\bs sPED}\sPED\sk
- \zchar{17}{\bs DEP}\DEP\sk
- \zchar{17}{\bs sDEP}\sDEP\sk\en
-\stoppiece
-\medskip
-%
-% and again ...
-%
-\contpiece
-\Notes
- \zchar{17}{\bs fermataup}\fermataup l%
- \zchar{-8}{\bs fermatadown}\fermatadown f{\stemlength3\ql i}%
- \zchar{13}{\bs Fermataup}\Fermataup l%
- \zchar{-4}{\kern8pt\bs Fermatadown}\Fermatadown f\wh i%
- \loff{\zchar{17}{\bs arpeggio d5}}\arpeggio d5\sk
-\multnoteskip{.66}%
- \loff{\zchar{13}{\bs bracket}}\bracket e{10}\zq n\ql e\en
-\notes\stemlength3%
- \zchar{17}{\bs uptrio}\uptrio{11}16\ql l\ql n\bsk\bsk
- \zchar{-8}{\bs downtrio}\downtrio{-5}17\qu c\qu e\en
-\Notes
- \zchar{17}{\bs octfinup}\octfinup n{.8}%
- \zchar{-4}{\bs octfindown}\octfindown K{.8}\sk\hsk
- \zchar{17}{\bs slide$^5$}%
- \slide i58\slide i57\slide i56\slide i55\slide i54%
- \slide i53\slide i52\slide i51\slide i5{-1}%
- \slide i5{-2}\slide i5{-3}\slide i5{-4}\slide i5{-5}%
- \slide i5{-6}\slide i5{-7}\slide i5{-8}\sk\en
-\leftrepeat
-\Notes
- \loffset2{\zchar{-4}{\bs leftrepeat}}%
- \boxitsep=2pt\zchar{17}{\bs boxit A}\zchar9{\boxit A}\en
-\leftrightrepeat
-\Notes
- \loffset2{\zchar{-8}{\bs leftrightrepeat}}%
- \zchar{17}{\bs circleit B}\uptext{\circleit B}\en
-\rightrepeat
-\NOtes
- \loffset2{\zchar{-4}{\bs rightrepeat}}\en
-\endpiece\advance\textheight-40mm\eject%
-\endmuflex
-}
-
-%\makeatletter
-%\renewenvironment{theindex}{\newpage
-% \addcontentsline{toc}{chapter}{Index}%
-% \pagestyle{plain}
-% \let\item\@idxitem
-% \parskip\z@ \@plus .3\p@\relax
-% \begin{multicols}{2}[{\Huge\bfseries Index} ]
-% \par\bigskip}%
-%{\end{multicols}}%
-%\makeatother
-%\printindex
-
-\makeatletter
-\renewenvironment{theindex}{\newpage
- \setcounter{secnumdepth}{-1}
- \chapter[Index]{}\vspace*{-3cm}
-% \addcontentsline{toc}{chapter}{Index}
- \pagestyle{plain}
- \let\item\@idxitem
- \parskip\z@ \@plus .3\p@\relax
- \begin{multicols}{3}[{\Huge\bfseries Index} ]
- \par\bigskip}%
-{\end{multicols}}%
-\makeatother
- \printindex
-
-\end{document}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/accidentals.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/accidentals.tex
new file mode 100644
index 00000000000..4d9e575b7d6
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/accidentals.tex
@@ -0,0 +1,73 @@
+\chapter{Accidentals}
+\vspace*{-3ex}
+Accidentals can be introduced in two ways.
+ The first way, using explicit macros, consists for
+example in coding \keyindex{fl}\pitchp~to put a \ital{flat} at the
+pitch $p$, presumably right before a note at the same pitch. This is a
+non-spacing command and will automatically place the accidental an
+appropriate distance to the left of the anticipated note head.
+Naturals, sharps, double flats and double sharps are coded \keyindex{na}\pitchp,
+\keyindex{sh}\pitchp, \keyindex{dfl}\pitchp~and \keyindex{dsh}\pitchp~respectively.
+
+The alternate macros \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh},
+\keyindex{ldfl} and \keyindex{ldsh}
+place the same accidentals, but shifted one note head width
+to the left. These can be used if a note head has been shifted to the left, or
+to avoid collision with other accidentals
+in a chord. If you want to shift an accidental by some other amount for
+more precise positioning, you could use \keyindex{loffset} with the normal
+accidental macro as the second parameter.
+
+ The second way of coding accidentals is to modify the parameter of a
+note command. Just put the symbol
+\verb|^| for a sharp, \verb|_| for a flat, \verb|=|~for a natural,
+\verb|>| for a double sharp, or \verb|<| for a double
+flat, right before the letter or number representing the pitch.
+For example, \verb|\qb{^g}| yields a
+$G\sharp$. This may be used effectively in collective coding, e.g.
+\verb|\qu{ac^d}|.
+
+ There are two sizes of accidentals. By default they will be large unless there
+is not enough space between notes, in which case they will be made small. Either
+size can be forced locally by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or
+\keyindex{smallfl}, \keyindex{smallsh}, etc. If you want all accidentals to
+be large, then declare \keyindex{bigaccid} near the top of the input file. For
+exclusively small ones use \keyindex{smallaccid}; \keyindex{varaccid} will restore
+variable sizes.
+
+ For editorial purposes, small accidentals can be placed \ital{above} note
+heads. This is done using \keyindex{uppersh}\pitchp, \keyindex{upperna}\pitchp, or
+\keyindex{upperfl}\pitchp:
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\uppersh l\qa l\en
+\NOtes\upperna m\qa m\en
+\NOtes\upperfl l\qa l\en
+\zendextract
+\end{music}
+
+\vspace*{-2ex}
+It also possible to introduce \ital{\ixem{cautionary accidental}s},
+i.e.,~small accidentals enclosed in parentheses. This done by preceding
+the name of the accidental keyword with ``\verb|c|'',\label{cautionary}
+e.g.,~\keyindex{cfl}\pitchp~for a cautionary flat.
+ Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl},
+\keyindex{cna},
+\keyindex{cdfl} and \keyindex{cdsh}, which give
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\csh g\qa g\en
+\NOtes\cfl h\qa h\en
+\NOtes\cna i\qa i\en
+\NOtes\cdfl j\qa j\en
+\NOtes\cdsh k\qa k\en
+\zendextract
+\end{music}
+
+\vspace*{-2ex}
+\noindent The distance between notes and accidentals is controlled by
+\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension}, where
+positive values shift to the left and negative to right, with a
+default of~\verb|0pt|.
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex
new file mode 100644
index 00000000000..0303b7a9a44
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex
@@ -0,0 +1,308 @@
+\chapter{Bar Lines}
+ \section{Single, double, and invisible bar lines}\label{doublebars}
+The usual macro to typeset a single bar line is \keyindex{bar}.
+There is a possibility of
+confusion with a command in \TeX's math mode that has exactly the same name.
+However, there will generally be no problem, because inside
+\verb|\startpiece...\endpiece|,
+\verb|\bar| will take the musical meaning, while outside, it will have the
+mathematical one.
+If for some reason you need the math \verb|\bar| inside, you can use
+\verb|\endcatcodesmusic...\bar...\catcodesmusic|.
+
+To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You could
+also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or
+\keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced
+by a double bar.
+
+There is no specific command to print a thin-thick double bar line, but
+\keyindex{setdoubleBAR} will cause one in the same cases where
+\verb|\setdoublebar| would cause a thin-thin double bar line.
+
+To make the next bar line invisible, use \keyindex{setemptybar} before
+\verb|\bar|.
+
+You can suppress the beginning vertical rule with saying \keyindex{nostartrule}
+and restore the default with \keyindex{startrule} after that. Note that
+it is conventional practice to omit beginning rules for single-staff music.
+
+\section{Simple discontinuous bar lines}
+Normally, bars (as well as double bars, final bars and repeat bars) are
+drawn continuously from the bottom of the lowest staff of the
+lowest instrument to the top of the highest staff of the uppermost
+instrument. However, if desired, they can be made discontinuous between
+instruments by saying \keyindex{sepbarrules}. An example of this is given in
+%avrb
+%{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the
+%avre
+\texttt{avemaria.tex} in Section~\ref{avemaria}\label{avemaria2}.
+
+Continuous bar lines can be restored with \keyindex{stdbarrules}. In
+the extension library are some more types of bar rules, mainly for very old
+music, see Section~\ref{otherbars}.
+
+% DAS. Andre, are there some other kinds of bars in an addon?
+
+\section{Elementary asynchronous bar lines}
+
+ Situations may arise where the bar lines in different instruments are not
+aligned with one another. To set this up, first say \verb|\sepbarrules|.
+Then use a combination of the following five commands:
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+\item\keyindex{hidebarrule}\onen~hides the bar rule for instrument $n$, until
+this is changed by \verb|\showbarrule|\onen.
+\item\keyindex{showbarrule}\onen~stops hiding the bar rule for instrument $n$,
+until this is changed by \verb|\hidebarrule|\onen.
+\item\keyindex{Hidebarrule}\onen~hides the bar rule for instrument $n$, only
+for the next bar.
+\item\keyindex{Showbarrule}\onen~shows the bar rule for instrument
+$n$ once only,
+and then resets it.
+%
+% DAS ???
+% and then resets it to \verb|hidebarrule|.
+%
+\item\keyindex{showallbarrules} resets all defined instruments to
+\verb|\showbarrule|\onen. This command is automatically inserted with double
+bars, final bars and repeats.
+\end{itemize}
+
+Thus, this example
+
+\begin{music}
+\instrumentnumber3
+\setmeter3{{\meterfrac{3}{4}}}
+\setmeter2{{\meterfrac{2}{4}}}
+\setmeter1{{\meterfrac{3}{8}}}
+\nobarnumbers
+\sepbarrules
+
+\startextract
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\hidebarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\hidebarrule3\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setdoublebar
+\bar\hidebarrule3
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\message{Showbarrule3 coming}%
+\Hidebarrule2\Showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setrightrepeat
+\endextract
+\end{music}
+
+\noindent was obtained with the following coding:
+\begin{quote}\begin{verbatim}
+\instrumentnumber3
+\setmeter3{{\meterfrac{3}{4}}}
+\setmeter2{{\meterfrac{2}{4}}}
+\setmeter1{{\meterfrac{3}{8}}}
+\nobarnumbers
+\sepbarrules
+
+\startextract
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\hidebarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\showbarrule2\hidebarrule3\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setdoublebar
+\bar\hidebarrule3
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\message{Showbarrule3 coming}%
+\Hidebarrule2\Showbarrule3\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\bar
+\NOtes\pt f\qa f&\qa f&\qa f\en
+\Hidebarrule2\bar
+\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en
+\setrightrepeat
+\zendextract
+\end{verbatim}\end{quote}
+
+\section{Dotted, dashed, asynchronous and discontinuous bar lines}\label{musixdbr}
+
+The extension
+package \href{http://icking-music-archive.org/software/musixtex/add-ons/musixdbr.tex}
+{\underline{\ttxem{musixdbr.tex}}} by Rainer {\sc Dunker} provides commands for
+dashed, dotted, and arbitrarily discontinuous bar lines. It supports
+individual bar line settings for each instrument, multi-staff instruments,
+different sizes of staves, and even different numbers of lines per staff,
+
+To use the package, you must \verb|\input musixdbr| after \verb|musixtex|, and
+execute the macro \keyindex{indivbarrules} which activates individual bar line
+processing. Then the following commands are available:
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+\item \keyindex{sepbarrule}\onen~separates bar lines of instrument $n$ from those of instrument $n-1$
+
+\item \keyindex{condashbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
+ with a dashed line
+
+\item \keyindex{condotbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
+ with a dotted line
+
+\item \keyindex{conbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$
+
+\item \keyindex{hidebarrule}\onen~hides bar lines of instrument $n$
+
+\item \keyindex{showdashbarrule}\onen~dashes bar lines of instrument $n$
+
+\item \keyindex{showdotbarrule}\onen~dots bar lines of instrument $n$
+
+\item \keyindex{showbarrule}\onen~shows bar lines of instrument $n$
+
+\item \keyindex{sepmultibarrule}\onen~separates bar lines within multistaff instrument $n$
+
+\item \keyindex{condashmultibarrule}\onen~dashes bar lines between staves of multistaff instrument $n$
+
+\item \keyindex{condotmultibarrule}\onen~dots bar lines between staves of multistaff instrument $n$
+
+\item \keyindex{conmultibarrule}\onen~ shows bar lines between staves of multistaff instrument $n$
+
+\item \keyindex{allbarrules}[\ital{any of the above commands, without numerical parameter}] sets bar
+line style for all instruments together.
+
+\end{itemize}
+
+Dashing and dotting style may be changed by redefining the macros
+\verb|\barlinedash| or \verb|\barlinedots| respectively (see original definitions in \verb|musixdbr.tex|).
+
+Here is an example of the use of these macros:
+
+\begin{music}
+\input musixdbr
+
+\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14\setsize2\tinyvalue
+\indivbarrules
+\parindent0pt\startextract
+%\startpiece
+%\scale{2}
+ % normal barlines
+ \bar
+ % separate instrument 2 from 1
+ \sepbarrule2
+ \notes\en\bar
+ % barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showbarrule
+ \NOTes\en\bar
+ % barlines between staves
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dashed barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdashbarrule
+ \NOTes\en\bar
+ % dashed barlines between staves
+ \allbarrules\condashbarrule
+ \allbarrules\condashmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dotted barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdotbarrule
+ \NOTes\en\bar
+ % dotted barlines between staves
+ \allbarrules\condotbarrule
+ \allbarrules\condotmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % a wild mixture of all
+ \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
+ \condashbarrule2\conbarrule3\condotbarrule4%
+ \condashmultibarrule2\sepmultibarrule3%
+ \NOTes\en\bar
+ % conventional ending
+ \allbarrules\showbarrule
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \NOTes\en\setdoubleBAR\endextract
+\end{music}
+
+This is the code:
+
+\begin{quote}\begin{verbatim}
+\input musixdbr
+\instrumentnumber4\setstaffs23\setstaffs32\setlines14\setsize2\tinyvalue
+\indivbarrules\parindent0pt\startextract
+ % normal barlines
+ \bar
+ % separate instrument 2 from 1
+ \sepbarrule2
+ \notes\en\bar
+ % barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showbarrule
+ \NOTes\en\bar
+ % barlines between staves
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dashed barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdashbarrule
+ \NOTes\en\bar
+ % dashed barlines between staves
+ \allbarrules\condashbarrule
+ \allbarrules\condashmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % dotted barlines on staves
+ \allbarrules\sepbarrule
+ \allbarrules\sepmultibarrule
+ \allbarrules\showdotbarrule
+ \NOTes\en\bar
+ % dotted barlines between staves
+ \allbarrules\condotbarrule
+ \allbarrules\condotmultibarrule
+ \allbarrules\hidebarrule
+ \NOTes\en\bar
+ % a wild mixture of all
+ \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4%
+ \condashbarrule2\conbarrule3\condotbarrule4%
+ \condashmultibarrule2\sepmultibarrule3%
+ \NOTes\en\bar
+ % conventional ending
+ \allbarrules\showbarrule
+ \allbarrules\conbarrule
+ \allbarrules\conmultibarrule
+ \NOTes\en\setdoubleBAR\zendextract
+\end{verbatim}\end{quote}
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/barnumbering.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/barnumbering.tex
new file mode 100644
index 00000000000..9ad9d5c79cc
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/barnumbering.tex
@@ -0,0 +1,127 @@
+\chapter{Bar Numbering}
+The current bar number is stored in a count register call \keyindex{barno}.
+When \verb|\startpiece| is encountered, \verb|\barno| is set equal to
+another count register called \verb|\startbarno|, whose default value is one.
+Therefore, if you want the first bar to have a number $n$ different from~$1$, you
+may either say \verb|\startbarno=|$n$ before \verb|\startpiece|, or say
+\verb|\barno=|$n$ afterwards, but before the first bar line. You may also alter the bar
+number at any time, either by explicitly resetting \verb|\barno|, or by
+incrementing it with a command like \verb|\advance\barno-1|.
+
+\musixtex\ supports two distinct modes for printing bar numbers. In \ital{periodic}
+bar numbering, the bar number is
+placed above the top staff with a user-selectable frequency. In
+\ital{system} bar numbering, the
+number will appear at the beginning of each system.
+
+\section{Periodic bar numbering}
+In a normal piece, periodic bar number printing is turned on by default, with a frequency
+of one. In an extract, the default is to not print bar numbers.
+To turn off bar numbering say \keyindex{nobarnumbers}. To reinstate periodic
+bar numbering, or to initiate it in an extract, say \keyindex{barnumbers}.
+To change to a
+different frequency $n$, say \verb|\def|\keyindex{freqbarno}\verb|{|$n$\verb|}|.
+
+The appearance and positioning of the bar number is controlled by the
+token \keyindex{writethebarno}, which by default is defined as\\
+\verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}|
+where the font is defined as \verb|\def\fontbarno{\it}|. You can change
+either of these as desired, for example
+
+ \medskip
+\begin{music}\barnumbers
+\parindent0pt\startpiece
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\def\fontbarno{\bf}%
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en\bar
+\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece
+\end{music}
+\noindent which was coded as
+\begin{quote}\begin{verbatim}\barnumbers
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\def\fontbarno{\bf}%
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en\bar
+\notes\Qqbbu fgge\Qqbbl jhgi\en
+\end{verbatim}\end{quote}
+
+\section{System bar numbering}
+To have a bar number printed just above the beginning of each system, use
+\keyindex{systemnumbers}. The distance above the staff is controlled
+by \verb|\raisebarno|, which by default is \verb|4\internote| (to fit
+above a treble clef). This can be redefined with the command
+\begin{quote}
+\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}|
+\end{quote}
+Similarly, the horizontal position is defined by \keyindex{shiftbarno}
+which by default is \verb|0pt|.
+
+The number normally is enclosed in a
+box. If you don't like that, you may redefine the macro \verb|\writebarno|
+which by default is defined as
+\begin{quote}
+\verb|\def|\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}|
+\end{quote}
+This uses the utility \musixtex\ macro \keyindex{boxit} which will enclose
+any text string in a box.
+
+Here are some possible alternate formats for system bar numbers:
+
+\medskip
+\begin{music}\nostartrule
+\def\fontbarno{\it}%
+\let\extractline\hbox
+\startbarno=36
+\hbox to \hsize{%
+\hss
+ \raise20pt\hbox{(a) }%
+ \systemnumbers\startextract
+ \Notes\wh g\en
+ \zendextract
+\hss
+ \def\writebarno{\tenrm\the\barno\barnoadd}%
+ \def\raisebarno{2\internote}%
+ \def\shiftbarno{2.5\Interligne}%
+ \raise20pt\hbox{(b) }%
+ \systemnumbers\startextract
+ \Notes\wh g\en
+ \zendextract
+\hss
+ \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
+ \def\raisebarno{2\internote}%
+ \def\shiftbarno{1.3\Interligne}%
+ \raise20pt\hbox{(c) }%
+ \systemnumbers\startextract
+ \Notes\wh g\en
+ \zendextract
+\hss}
+\end{music}
+\noindent These were coded as
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item[(a)] (default)
+ \item[(b)]
+ \begin{verbatim}
+\def\writebarno{\tenrm\the\barno\barnoadd}%
+\def\raisebarno{2\internote}%
+\def\shiftbarno{2.5\Interligne}%
+ \end{verbatim}
+ \item[(c)]
+ \begin{verbatim}
+\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
+\def\raisebarno{2\internote}%
+\def\shiftbarno{1.3\Interligne}%
+ \end{verbatim}
+\end{itemize}
+
+If the previous line does not stop with a bar rule, then the next
+printed system bar number will immediately be followed by the contents
+of the token \keyindex{writezbarno}, whose
+default setting is the lower case character `\verb|a|'. You might want to
+change this to `\verb|+|', in which case you should say
+\verb|\def\writezbarno{+}|.
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex
new file mode 100644
index 00000000000..348955fb88a
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex
@@ -0,0 +1,587 @@
+\chapter{Beams}
+\section{Starting a beam}
+
+Each beam must be declared with a macro issued before the first spacing
+note under the beam is coded. Two distinct kinds of macros are provided
+for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary
+slope and starting height chosen by the user, while the second kind, a
+``semi-automatic'' beam,
+\ital{computes}~the slope and, in addition, adjusts the starting height in some
+cases.
+
+\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}}
+
+The basic form of the macros for starting fixed-slope beams is exemplified
+by the one for a single upper beam, \keyindex{ibu}\nps. Here
+$n$ is the reference number of the beam, $p$ the starting ``pitch'', and
+$s$ the slope.
+
+The reference number is assigned by the user.
+It is needed because more than one beam may be open at
+a time, and it tells \musixtex\ to which beam subsequent beamed notes and
+other beam specification commands are assigned.
+By default, the reference number must be in the range [$0,5$],
+but the range for 8th to 128th beams will be expanded to [$0,8$] or [$0,11$]
+if \verb|musixadd| or \verb|musixmad| respectively has been \verb|\input|.
+
+Alternatively, you can specify the number of $8$th to $64$th beams
+directly\footnote{$8$th to $64$th beams are so basic that the maximum
+number of these beams is related to the maximum number of instruments
+by this command.
+Using $m>12$ may require e-\TeX.}
+with \keyindex{setmaxinstruments}\verb|{|$m$\verb|}|
+within the range $7<m\leq 100$; the corresponding reference number may then be
+in the range from 0 to $(m-1)$.
+\label{musixmad_setmaxinstruments_ccxviiibeams}
+For $128$th beams, use \keyindex{setmaxcxxviiibeams}\verb|{|$m$\verb|}|.
+For $256$th notes, which can only appear in beams, see Section~\ref{musixbbm}.
+
+The ``pitch'' parameter $p$ is a pitch that is three
+staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above}
+the bar for a lower beam); in many (but not all)
+cases it should be input as the actual pitch of the first note. The slope $s$
+is an integer in the range [$-9,9$]. When multipled
+by $5$\%~it gives the actual slope of the heavy bar. Typically a slope of $2$ or $3$
+is okay for ascending scales, and $6$ to $9$ for ascending arpeggios.
+
+The full set of fixed-slope beam initiation macros is as follows:
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+
+ \item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}.
+ \item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}.
+ \item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}.
+ \item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}.
+ \item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}.
+ \item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}.
+ \item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}.
+ \item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}.
+\end{description}\end{quote}
+
+A semi-automatic beam is initiated with a command that has \ital{four}
+parameters, the beam number, the first and last pitches, and the total
+horizontal extent in
+\verb|\noteskip|s, based on the value in effect at the start. For example,
+if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to
+build an upper beam (beam number $2$) horizontally extending \verb|3\noteskip|,
+the first note of which is a \verb|g| and the last note a \verb|j|.
+Knowing these parameters it will choose the highest slope number that
+corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt
+g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as
+for fixed-slope beams. However, if there is no sufficiently steep beam
+slope available, then \musixtex\ will raise (or lower) the starting point.
+
+ Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu},
+\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl},
+\keyindex{Ibbbl} and \keyindex{Ibbbbl}.
+
+\section{Adding notes to a beam}
+
+Spacing notes belonging to beams are coded with the macro
+\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is
+the beam number and $p$ the pitch of the note. \musixtex\ adjusts the
+length of the note stem to link to the beam.
+
+Chord notes within a beam are entered before the main note with the
+non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again,
+the stem length will be automatically adjusted as required.
+
+There are also special macros for semi-automatic beams with
+two, three, or four notes:
+\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl},
+\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl},
+\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}.
+ %\check
+For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|,
+except that the special macros don't require a beam number.
+Their use is illustrated in the following example:
+
+\medskip
+\begin{music}\nostartrule
+\parindent0pt\startpiece
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en
+\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece
+\end{music}
+\noindent This was coded as\footnote{Editor's note: Most music
+typesetting books recommend beam slopes that are \ital{less} than
+the slope between the starting and ending note; these macros cannot
+provide that.}:
+\begin{quote}\begin{verbatim}
+\Notes\Dqbu gh\Dqbl jh\en
+\notes\Dqbbu fg\Dqbbl hk\en\bar
+\Notes\Tqbu ghi\Tqbl mmj\en
+\notes\Tqbbu fgj\Tqbbl njh\en\bar
+\Notes\Qqbu ghjh\Qqbl jifh\en
+\notes\Qqbbu fgge\Qqbbl jhgi\en
+\end{verbatim}\end{quote}
+ %\check
+
+ \section{Ending a beam}
+ The termination of a given
+beam must be declared \ital{before} coding the last spacing note
+connected to that beam. The macros for doing that are
+\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and
+\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for
+beams of any
+multiplicity. So for example an upper triple beam with
+32nd notes is initiated by
+\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|.
+
+ Since beams usually finish with a \verb|\qb| for the last note, the
+following shortcut macros have been provided:
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee~.
+ \item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee~.
+ \item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~,
+i.e., no spacing afterwards.
+ \item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~,
+i.e., no spacing afterwards.
+\end{description}\end{quote}
+The following
+synonyms may be used:
+\begin{quote}\begin{tabular}{lcl}
+\keyindex{tql} & for & \keyindex{tqb}\\
+\keyindex{tqu} & for & \keyindex{tqh}\\
+\keyindex{ztql} & for & \keyindex{ztqb}\\
+\keyindex{ztqu} & for & \keyindex{ztqh}\\
+\end{tabular}\end{quote}
+
+
+\section{Changing multiplicity after the beam starts}
+Multiplicity (the number of heavy bars) can be increased at any position after
+the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of
+upper beam
+number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to
+increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The
+commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same
+for lower beams.
+Thus, the
+sequence
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en
+\zendextract
+\end{music}
+\noindent has been coded as
+\begin{quote}\begin{verbatim}
+\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en
+\end{verbatim}\end{quote}
+
+To decrease multiplicity to one, use \keyindex{tbbu}\onen~or
+\keyindex{tbbl}\onen. To decrease to two or three use
+\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example,
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en
+\zendextract
+\end{music}
+\noindent has been coded as
+
+\begin{quote}\begin{verbatim}
+\startextract
+\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en
+\zendextract
+\end{verbatim}\end{quote}
+
+Although at first it may seem counterintuitive,
+the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts
+may also be invoked when the multiplicity is one. In this case
+a second, third, or fourth heavy bar will be opened one note width \ital{before}
+the current stem, and immediately closed \ital{at} the stem.
+Thus the following sequences
+
+\begin{music}\nostartrule
+\let\extractline\hbox
+\hbox to \hsize{%
+\hss
+ \startextract
+ \Notes\ibu0e0\qbp0e\tbbu0\tbu0\qb0e\en
+ \zendextract
+\hss\hss
+ \startextract
+ \Notes\ibu0e0\qbpp0e\tbbbu0\tbbu0\tbu0\qb0e\en
+ \zendextract
+\hss}
+\end{music}
+\noindent are coded
+\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim}
+\Notes\ibu0e0\qbp0e%
+ \tbbu0\tbu0\qb0e\en
+\end{verbatim}\end{minipage}\hfill
+\begin{minipage}{.4\textwidth}\begin{verbatim}
+\Notes\ibu0e0\qbpp0e%
+ \tbbbu0\tbbu0\tbu0\qb0e\en
+\end{verbatim}\end{minipage}\hfill
+
+\medskip
+
+
+The symmetrical pattern is also possible. For example:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en
+\zendextract
+\end{music}
+\noindent has been coded as:
+\begin{quote}\begin{verbatim}
+\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en
+\end{verbatim}\end{quote}
+
+The constructions in this section illustrate some general
+properties of
+beam initiation and termination commands: To mate properly with the
+expected stems, the starting position of the heavy bar(s) (for initiation commands)
+and the ending position (for terminations) will be at
+different horizontal locations
+depending on whether they are for upper or lower beams: The position for
+upper beam commands is one note head width to the right of those for
+lower beams. In fact this is the \ital{only} difference between upper
+and lower termination commands. Both types will operate on whatever kind of
+beam is open and has the same beam number.
+
+Recognizing this principle, in the example just given it was necessary to
+shift the double termination to the right by one note head width, using the
+command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for
+any \musixtex\ macro.
+
+Here is another, slightly more complicated example which also uses
+\verb|\roff|:
+
+\begin{music}\nostartrule
+\startextract
+\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
+\notesp\tbbu0\qbp0f\en
+\Notes\tbu0\qb0f\en
+\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
+\Notes\qb0f\en
+\notes\tbbbu0\tbbu0\tbu0\qb0f\en
+\zendextract
+\end{music}
+\noindent has been coded as:
+\begin{quote}\begin{verbatim}
+\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en
+\notesp\tbbu0\qbp0f\en
+\Notes\tbu0\qb0f\en
+\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en
+\Notes\qb0f\en
+\notes\tbbbu0\tbbu0\tbu0\qb0f\en
+\end{verbatim}\end{quote}
+
+\noindent Note that the first beam opening command used a pitch one step
+below the note. This makes the stem shorter by one pitch unit, since it is always
+the \ital{closest} heavy bar that is separated from the given pitch by
+three staff spaces.
+
+We close this section with an example showing how to
+open a beam of one sense, increase multiplicity, then terminate with
+opposite sense:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en
+\zendextract
+\end{music}
+\noindent which has been coded as
+\begin{quote}\begin{verbatim}
+\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en
+\end{verbatim}\end{quote}
+
+One may save some typing by defining personalized
+\TeX\ macros to
+perform any oft-repeated sequence of commands. For example,
+one could define a set of four sixteenths by the macro:
+
+\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}|
+
+\noindent where the first argument is the slope and the other four
+arguments are the pitches of the four successive sixteenths.
+
+ %\check
+ \section{Shorthand beam notations for repeated notes}\index{repeated patterns}
+Sometimes you may want to indicate repeated short notes with open note heads joined
+by a beam. Here's an example of how to do that
+using the \keyindex{hb} macro:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibbl0j0\hb0j\tbl0\hb0j\en
+\Notes\ibbu0g0\hb0g\tbu0\hb0g\en
+\zendextract
+\end{music}
+\noindent which has been coded as:
+\begin{quote}\begin{verbatim}
+\Notes\ibbl0j0\hb0j\tbl0\hb0j\en
+\Notes\ibbu0g0\hb0g\tbu0\hb0g\en
+\end{verbatim}\end{quote}
+
+It is also possible to dispense with the stems:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\ibbl0j3\wh j\tbl0\wh l\en
+\Notes\ibbu0g3\wh g\tbu0\wh i\en
+\zendextract
+\end{music}
+\noindent which was coded as
+\begin{quote}\begin{verbatim}
+\Notes\ibbl0j3\wh j\tbl0\wh l\en
+\Notes\ibbu0g3\wh g\tbu0\wh i\en
+\end{verbatim}\end{quote}
+\noindent A different look could be obtained as follows:
+
+\begin{music}\nostartrule
+\startextract
+\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\en
+\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\en\qspace
+\zendextract
+\end{music}
+\noindent which was coded as:
+\begin{quote}\begin{verbatim}
+\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\en
+\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\en\qspace
+\end{verbatim}\end{quote}
+
+Yet another way to indicate repeated notes is given in the
+following example:
+
+ \begin{music}\nostartrule
+\startextract
+\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+ \ibu0j0\qb0{jjj}\tbu0\qb0j\en
+\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h%
+ \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar
+\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+ \ibbu0i0\qb0{jjj}\tbu0\qb0j%
+ \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+ \ibbu0i0\qb0{jjj}\tbu0\qb0j\en
+\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h%
+ \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en
+\zendextract
+ \end{music}
+ \noindent whose coding (due to Werner {\sc Icking}) is
+
+\begin{quote}\begin{verbatim}
+\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+ \ibu0j0\qb0{jjj}\tbu0\qb0j\en
+\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h%
+ \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar
+\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+ \ibbu0i0\qb0{jjj}\tbu0\qb0j%
+ \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk
+ \ibbu0i0\qb0{jjj}\tbu0\qb0j\en
+\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h%
+ \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en
+\end{verbatim}\end{quote}
+
+ \section{Beams that cross line breaks}
+
+Although careful typesetting can usually avoid it, occasionally
+a beam may need to cross a line break. If so, it must be manually terminated at
+the end of one line and continued in the next. This
+can be done by shifting beam terminations and initiations
+using \keyindex{roff} and/or
+\keyindex{loff}, or by inserting a spacing command such as
+\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf
+Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip
+
+\begin{music}
+\parindent0pt
+\def\rqs{\lower\Interligne\rlap\qs}
+\def\snotes{\vnotes1\elemskip}
+\setstaffs1{2}
+\generalsignature{2}
+\setclef1{\bass}
+\interstaff{12}
+\startpiece
+%%% bar 1
+\addspace\afterruleskip
+\snotes|\tinynotesize\ibsluru0n\ibbu0m5\qb0{=m}\tqh0n\en
+\qspace
+\Notes\zchar{-7}\sPed\loffset{.3}{\fl E}\zq E\qu{_I}%
+ |\zql g\ibu2l0\busf2\qb2{=m}\en
+\Notes|\tubslur0o\qb2{_l}\en
+\Notes\loffset{.3}{\fl L}\zq L\ibl0L0\qb0{_b}%
+ |\ibl1h0\zqb1g\bupz2\qb2l\en
+\Notes\zq L\tqb0b|\tbl1\zqb1g\bupz2\tqh2l\en
+\NOtes\zq L\ql b|\zql g\qu l\en
+\notes\zchar{-7}\sPed\zchar{-7}{\eightit ~~~sempre}%
+ \zchar{14}{\pp\eightit~sempre}\zq I\ibbu1J0\qb1L|\qs\en
+\notes\qs|\zq N\ibbu3d0\qb3{_d}\en
+\notes\qb1E|\rqs\en
+\notes\qs|\fl e\zq N\rq e\qb3d\en
+%%% bar 2
+\bar
+\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\rqs\en
+\qspace
+\notes\qs|\lfl d\zq d\zq {=f}\qb3N\en
+\notes\tqh1{_E}|\rqs\en
+\notes\qs|\zq d\zq g\tqh3N\en
+\notes\zq I\ibbu0J0\qb0L|\rqs\en
+\notes\qs|\zq d\ibbu1d0\qb1N\en
+\notes\qb0E|\rqs\en
+\notes\qs|\fl e\rq e\zq d\qb1N\en
+\notes\zq I\qb0L|\rqs\en
+\notes\qs|\zq f\zq d\qb1N\en
+\notes\tqh0E|\rqs\en
+\notes\qs|\zq g\zq d\tqh1N\en
+\notes\zq I\ibbu0J0\qb0L|\rqs\en
+\notes\qs|\zq d\ibbu1d0\qb1N\en
+\notes\qb0E|\rqs\en
+\notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
+\endpiece
+\end{music}
+\noindent The prolongation of the two upper beams at the end is
+illustrated in the code fragment
+\begin{quote}\begin{verbatim}
+\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en
+\end{verbatim}\end{quote}
+ %\check
+
+ \section{Beams with notes on several different staves}
+
+Here's a simple example from {\sc Brahms}'s
+Intermezzo Op.~118, provided by
+Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip
+
+\begin{music}
+\interstaff{12}
+\setstaffs1{2}
+\setclef1\bass
+\generalmeter\allabreve
+\startextract
+\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en
+\bar
+\nspace
+\Notes\ibu0L2\qb0{CEJLcL}%
+ \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en
+\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en
+\bar
+\Notes\ttie1\zh{.L.a}\hl{.e}%
+ \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en
+\NOtes\qp\nextstaff\zq{q}\ql{j}\en
+\endextract
+\end{music}
+ %\check
+\noindent The coding is
+\begin{verbatim}
+\interstaff{13}
+\instrumentnumber{1}
+\setstaffs1{2}
+\setclef1\bass
+\generalmeter\allabreve
+\startextract
+\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en
+\bar
+\nspace
+\Notes\ibu0a1\qb0{CEJLcL}%
+ \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en
+\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en
+\bar
+\Notes\ttie1\zh{.L.a}\hl{.e}%
+ \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en
+\NOtes\qp\nextstaff\zq{q}\ql{j}\en
+\endextract
+\end{verbatim}
+
+\noindent (This example also shows that there is no problem in extending
+a beam across a bar line.)
+
+The general features that enable this type of coding as well as the
+more complex example to follow are
+ \begin{itemize}\setlength{\itemsep}{0ex}
+% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl},
+%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm
+%define beams whose initial vertical position and slope are fixed
+%relative
+%to the staff where they begin, but notes in other staves can still be
+%connected to them using \Bslash{\tt qb}\onen.
+%
+% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate
+%beam $n$ at the specified position, but \musixtex\ remembers the beam
+%parameters until a new beam with the same number is defined.
+%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
+%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still
+%generate notes connected to the phantom extension of this beam,
+%\ital{provided they are issued in a different staff}. If the command
+%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after
+% the beam had ended, an error would result.
+%
+ \item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}},
+{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}}
+define beams whose initial vertical position and slope are fixed
+relative
+to the staff where they begin, but notes in other staves can still be
+connected to them using {\Bslash\texttt{qb}\onen}.
+
+ \item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen}
+terminate
+beam $n$ at the specified position, but \musixtex\ remembers the beam
+parameters until a new beam with the same number is defined.
+Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or
+\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still
+generate notes connected to the phantom extension of this beam,
+\ital{provided they are issued in a different staff}. If the command
+\verb|\qb|\enpee\ were issued on the same staff as the beam after
+ the beam had ended, an error would result.
+
+
+
+
+
+ \item If the beam is initiated on one staff,
+notes in a lower staff can be connected to it, but only \ital{after} the beam
+has been defined. This may require using the command \keyindex{prevstaff}
+to go back one staff, as described in Section~\ref{movingtostaffs}.
+
+ \end{itemize}
+
+ Here is an example:
+
+ \begin{music}
+ \setstaffs13
+ \setclef1{6000}
+ \startextract
+ \notesp
+ \nextstaff\Ibbbu0Af7\prevstaff
+ \qb0{AEH^JLa}\relax\nextstaff
+ \qb0{******^c}\tqh0e\relax
+ |\zq{h^jl}\ql o\en
+ \notesp
+ \nextstaff
+ \Ibbbu0hG6\qb0{hec}\prevstaff
+ \qb0{***aLJ}\tqh0H\relax\nextstaff
+ |\zq{h^jl}\ql o\en \nspace
+ \zendextract
+ \end{music}
+
+ \noindent which is coded as:
+
+ \begin{quote}
+ \begin{verbatim}
+ \setstaffs13
+ \setclef1{6000}
+ \startextract
+ \notesp
+ \nextstaff\Ibbbu0Af7\prevstaff
+ \qb0{AEH^JLa}\relax\nextstaff
+ \qb0{******^c}\tqh0e\relax
+ |\zq{h^jl}\ql o\en
+ \notesp
+ \nextstaff
+ \Ibbbu0hG6\qb0{hec}\prevstaff
+ \qb0{***aLJ}\tqh0H\relax\nextstaff
+ |\zq{h^jl}\ql o\en \nspace
+ \zendextract
+ \end{verbatim}
+ \end{quote}
+In this example we see not only multiple uses of \keyindex{nextstaff} and
+\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes
+(see Section~\ref{CollectiveCoding}).
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex
new file mode 100644
index 00000000000..eef0b1296f7
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex
@@ -0,0 +1,426 @@
+\chapter{Changing Clefs, Keys and Meters}
+
+\section{Introduction}\label{contextintro}
+
+To define clefs, key signatures, or meters at the start of a piece,
+or to change one or more of these attributes\footnote{In this section,
+\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere
+else in a score,
+\musixtex\ requires two steps. The first step is to \ital{set} the new values of
+the attributes.
+Most of the commands for this have the form \verb|\set|...~. They will be
+described in the following subsections.
+
+But this alone will
+not cause anything to be changed or printed. The second step is to activate the
+change. This is done by issuing one of the
+following commands (outside \verb|\notes|$\dots$\verb|\en|):
+\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|,
+\verb|\Contpiece|,
+\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|,
+\verb|\changecontext|,
+\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|,
+\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform
+other functions as well, and some may be used even when no attributes
+change. Features unrelated to changing attributes are detailed elsewhere.
+The first eleven will activate all pending new attributes.
+If more than one type is activated by a single command in this manner,
+then regardless of the order
+they were set, they will always appear in the following order: clef, key signature,
+meter.
+The last three commands in the above list obviously activate only
+the specific type of attribute referred to in the name of the command.
+
+The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext|
+will respectively insert a single, double, or invisible bar
+line before printing the attributes.
+
+\section{Key Signatures}
+
+We've already seen in Section~\ref{whatspecify} how to set key
+signatures for all instruments with \keyindex{generalsignature}, or for
+specific instruments with \keyindex{setsign}. As just noted, these commands only
+prepare for the insertion of the signatures into the score; it is
+really \verb|\startpiece| that puts them in place at the beginning of the
+score.
+
+The commands \verb|\generalsignature| and \verb|\setsign| also serve to set
+new key signature(s) anywhere in score. The change can then be activated with one of
+the eleven general commands listed above, or with \keyindex{changesignature} if
+in the middle of a bar.
+While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar
+line, the differences are that the latter increments the bar number counter and
+inserts a horizontal space of \verb|\afterruleskip| after the new signature(s).
+All of these options will repost signatures that have not been changed.
+
+Normally, changing a signature from flats to sharps or vice-versa, or
+reducing the number of sharps or flats, will produce the appropriate set of
+naturals to indicate what has been suppressed. This standard feature can be
+temporarily inhibited by the command \keyindex{ignorenats} issued right before
+the change-activating command.
+
+Here is an example showing various possibilities for changing key signatures.
+Note the comments between the code lines.
+
+\begin{quote}\begin{verbatim}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\Notes\qu K&\qu d|\qu e\en
+% Signature change in a single instrument with two staves.
+% Naturals appear by default, indicating cancelled sharps.
+\setsign20\changesignature
+\Notes\qu J&\qu d|\qu e\en
+% When changing signature in the middle of a bar and no naturals
+% are posted, the new signature can be confused with a simple accidental.
+\setsign11\ignorenats\changesignature
+\Notes\qu M&\qu d|\qu e\en
+% New signatures after a double bar line
+\generalsignature{-2}\Changecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\Notes\qu K&\qu d|\qu e\en%
+% New signatures after an invisible bar line. Note the
+% difference in spacing compared with beat 3 of the prior measure
+\generalsignature{1}\zchangecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\end{verbatim}\end{quote}
+
+\begin{music}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\Notes\qu K&\qu d|\qu e\en
+% Signature changing in a single instrument with 2 staves
+% Naturals are allowed to shown there are no more sharps
+\setsign20\changesignature
+\Notes\qu J&\qu d|\qu e\en
+% Signature changing in a single staff without naturals
+% if there is no bar line, the signatures are confusing:
+% it is not clear if they are for a single note or not
+\setsign11\ignorenats\changesignature
+\Notes\qu M&\qu d|\qu e\en
+% New signatures after a double bar line
+\generalsignature{-2}\Changecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\Notes\qu K&\qu d|\qu e\en%
+% New signatures after an invisible bar line
+% see the difference in space comparing beat 2
+\generalsignature{1}\zchangecontext%
+\Notes\qu K&\qu d|\qu e\en%
+\endextract
+\end{music}
+
+
+\section{Clefs}\label{treblelowoct}
+
+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):
+%avrb
+\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}}
+
+\begin{center}\vskip-1ex\footnotesize%\small
+\begin{tabular}{||c|c|c|c|c||}\hline\hline
+&&&&\\
+\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\
+\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+
+&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline
+\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2
+&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline
+%\end{tabular}
+&&&&\\
+%\begin{tabular}{ccccc}
+&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\
+\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+
+&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline
+\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7
+&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline
+%This one uses \setclefsymbol1\empty :
+%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline
+\end{tabular}
+\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later}
+\end{center}
+%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
+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
+\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
+bar line. Sometimes no added
+space is required, in which case \keyindex{zchangeclefs} should be used.
+
+Here are some examples of clef changes:
+
+\begin{quote}\begin{verbatim}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+% Change in one staff only, with added space
+\setclef1\treble\changeclefs%
+\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
+% Combined with signature change, also no extra space needed
+% twice the same clef in staff 2 - with the help of a blank clef
+\setclef28\zchangeclefs\setclef2\treble%
+\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
+\ignorenats\changesignature%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change before barline
+\setclef1\treble\zchangeclefs\bar%
+\Notes\qu k&\cu{de}|\qu e\en%
+% clef change after barline
+\setclef1\bass\bar\changeclefs%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change after barline with changecontext
+\setclef1\treble\changecontext%
+\Notes\cu k&\cu d|\qu e\en%
+% twice the same clef
+\setclef18\zchangeclefs\setclef1\treble\changeclefs%
+\Notes\cu k&\cu e |\en%
+\zendextract
+\end{verbatim}\end{quote}
+\begin{music}
+\instrumentnumber2\setstaffs22%
+\setclef1{\bass}\generalsignature2%
+\startextract
+% Change in one staff only, with added space
+\setclef1\treble\changeclefs%
+\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en%
+% Combined with signature change, also no extra space needed
+% twice the same clef in staff 2 - with the help of a blank clef
+\setclef28\zchangeclefs\setclef2\treble%
+\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}%
+\ignorenats\changesignature%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change before barline
+\setclef1\treble\zchangeclefs\bar%
+\Notes\qu k&\cu{de}|\qu e\en%
+% clef change after barline
+\setclef1\bass\bar\changeclefs%
+\Notes\qu K&\cu{de}|\qu e\en%
+% clef change after barline with changecontext
+\setclef1\treble\changecontext%
+\Notes\cu k&\cu d|\qu e\en%
+% twice the same clef
+\setclef18\zchangeclefs\setclef1\treble\changeclefs%
+\Notes\cu k&\cu e |\en%
+\endextract
+\end{music}
+
+\noindent Of course the examples in the last two bars are contrary
+to accepted practice.
+
+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,
+\musixtex\ automatically adjusts vertical positions of noteheads consistent
+with the new clef.
+
+There is an additional group of macros for setting new clefs which does not share
+either of these features. In other words, they will always print full sized symbols, and they
+won't change the vertical positions of noteheads from what they would have been
+before the new symbol was printed. We could call this process ``clef symbol substitution'',
+because all it does is print a different symbol (or no symbol at all) in place of
+the underlying clef which was set in the normal way.
+
+You'll need to use clef symbol substitution if you want to have a so-called
+\index{octave clefs}\label{octclef}octave treble clef or octave bass
+clef, i.e., one containing a numeral 8 above or
+below the normal symbol. The syntax for setting upper
+octaviation
+is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\
+or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation
+it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or
+\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to
+\ital{replace} normal bass or treble clefs with a different symbol, they
+require that the normal clefs be set first. For example
+
+\noindent\begin{minipage}{80mm}
+\begin{music}\nostartrule
+ \parindent 19mm
+ \instrumentnumber{4}
+ \generalmeter{\empty}
+ \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble
+ \setbassclefsymbol1\basslowoct
+ \setbassclefsymbol2\bassoct
+ \settrebleclefsymbol3\treblelowoct
+ \settrebleclefsymbol4\trebleoct
+\startextract
+\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\en
+\zendextract
+\end{music}
+\end{minipage}
+\begin{minipage}{50mm}
+\begin{verbatim}
+\parindent 19mm
+\instrumentnumber{4}
+\generalmeter{\empty}
+\setclef1\bass \setclef2\bass
+\setclef3\treble \setclef4\treble
+\setbassclefsymbol1\basslowoct
+\setbassclefsymbol2\bassoct
+\settrebleclefsymbol3\treblelowoct
+\settrebleclefsymbol4\trebleoct
+\startextract
+\Notes\qu{`abcdefghi}&\qu{`abcdefghi}%
+&\qu{abcdefghi}&\qu{abcdefghi}&\en
+\zendextract
+\end{verbatim}
+\end{minipage}
+
+\index{clefs (empty)}
+Another application of clef symbol substitution is to cause no clef to be
+printed, as for example might be desired in percussion music, This
+can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which
+once activated would replace \ital{all} clef symbols in the first (lowest)
+staff of instrument $n$ with blanks.
+
+Normal symbols for those clefs that have been substituted can be restored by
+\keyindex{resetclefsymbols}.
+
+Four other small clef symbols are available: \verb|\smalltrebleoct|,
+\verb|\smalltreblelowoct|, \verb|\smallbassoct|, and \verb|\smallbasslowoct|.
+They look just like the corresponding normal-sized symbols, and are useful by
+clef symbol substitution for clef changes after the beginning of a piece, as
+demonstrated in the following example.
+
+The various clef symbol substitution commands can only be used to substitute for
+\texttt{treble}, \texttt{alto}, or \texttt{bass} clefs.
+
+In the following example, (1) is two normal clef changes. At (2) the clef is first changed
+back to treble and then the \verb|\treblelowoct| symbol is substituted by using
+\verb|\settrebleclefsymbol|.
+When changing the clef away from treble and then back as at (3), the substitution
+symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution.
+If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see
+in the three clefs after (5) in comparison with (2). These also illustrate the use of the small
+octave clef symbol. Obviously the second clef after (5) is
+nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7).
+
+\begin{music}
+\instrumentnumber1\setclef1\bass
+\startpiece
+\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{2}\qu J\en
+\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\doublebar
+\notes\zchar{-5}{5}\qu J\en
+\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\qu I\en\setclef1\treble\changeclefs
+\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
+\notes\qu i\en
+\endpiece
+\end{music}
+
+\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
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{2}\qu J\en
+\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\doublebar
+\notes\zchar{-5}{5}\qu J\en
+\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
+\notes\qu i\en\setclef1\bass\changeclefs\bar
+\notes\qu I\en\setclef1\treble\changeclefs
+\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
+\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
+\notes\qu i\en
+\endpiece
+\end{verbatim}\end{quote}
+
+\section{Meter changes}
+
+As mentioned in Section~\ref{generalmeter}, a common \itxem{meter} for all
+staves can be specified by \keyindex{generalmeter}\verb|{|$m$\verb|}|,
+where $m$ denotes the meter. On the other hand, meter changes in specific
+staves are implemented with
+\keyindex{setmeter}\onen\verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}|,
+where $n$ is the number of the instrument, $m1$ specifies the meter
+of the first (lowest) staff, $m2$ the second staff, and so forth. (Only enter
+as many $m$'s as necessary.)
+
+Since meter changes are meaningful only across bars, there is no special command to
+activate a new meter; rather, they are activated with the general commands
+\keyindex{changecontext}, etc., listed in Section~\ref{contextintro}.
+
+The next example shows a few methods to get a meter change, in all staves or
+in a single staff.
+
+\begin{small}
+\begin{quote}\begin{verbatim}
+\instrumentnumber2\setstaffs22%
+\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\setmeter1{{\meterfrac{2}{4}}}%
+\setmeter2{{\lower2pt\hbox{\meterfrac{\meterlargefont 2}{}}}%
+{\meterfrac{3}{4}}}\changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 11
+% Meters, clefs, and key signatures.
+% All 3 clefs after bar (probably bad form) if no changeclefs
+\setmeter1{{\meterfrac{2}{8}}}%
+\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}%
+\setsign2{-1}%
+% How to force showing the bass clef?
+\setclef1\bass\setclef2{23}%
+\Changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 12
+% Meters, clefs, and key signatures, with clef before the bar.
+% Maybe not best form if signatures are involved
+\setmeter1{{\meterfrac{2}{4}}}%
+\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}%
+\setsign2{-1}%
+\setclef1\treble\zchangeclefs\changecontext
+\Notes\qu k&\cu{de}|\qu e\en
+\end{verbatim}\end{quote}
+\end{small}
+\begin{music}
+\instrumentnumber2\setstaffs22%
+\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}%
+\setclef1{\bass}\generalsignature2%
+\startextract
+\setmeter1{{\meterfrac{2}{4}}}%
+% How big the '2' must be?
+\setmeter2{{\lower2pt\hbox{\meterfrac{\meterlargefont 2}{}}}%
+{\meterfrac{3}{4}}}\changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 11
+% Meter Clefs and Key Signatures
+% all 3 clefs after bar if no changeclefs
+\setmeter1{{\meterfrac{2}{8}}}%
+\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}%
+\setsign2{-1}%
+% How to force showing the bass clef?
+\setclef1\bass\setclef2{23}%
+\Changecontext
+\Notes\qu K&\cu{de}|\qu e\en
+% bar 12
+% Meter Clefs Keys Signatures all 3 with clef before the bar
+% probably not if signatures are involved
+\setmeter1{{\meterfrac{2}{4}}}%
+\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}%
+\setsign2{-1}%
+\setclef1\treble\zchangeclefs\changecontext
+\Notes\qu k&\cu{de}|\qu e\en
+\endextract
+\end{music}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/embedding.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/embedding.tex
new file mode 100644
index 00000000000..519eb93220f
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/embedding.tex
@@ -0,0 +1,180 @@
+\chapter{Embedding Musical Excerpts in Text Documents}
+
+Here we discuss the options for including music in text documents. The first
+decision is whether or not to use \LaTeX\footnote{We'll assume a user wanting
+to embed a musical excerpt in a \LaTeX\ document is already familiar with the
+fundamentals of \LaTeX. For more information about it, see for example the manual
+\ital{\LaTeX: A Document Preparation System} by Leslie {\sc Lamport}}.
+Because \LaTeX\ so effectively simplifies
+production of text-based \TeX\ documents, most users take that path, and most of the
+descriptions given here will assume that's the case\footnote{Please do not be confused;
+while \LaTeX\ is recommended for text-based documents containing musical
+excerpts, its use is definitely discouraged for ordinary self-contained musical scores
+of any sort.}.
+
+If for some reason you choose not to use \LaTeX\ for musical excerpts,
+the basic approach is simply to set off the musical
+parts between \verb|\startpiece| or \verb|\contpiece| and \verb|\stoppiece| or
+\verb|\endpiece|, or between \verb|\startextract| and \verb|\zendextract|. But
+some details in what follows will also apply without \LaTeX.
+
+There are two basic approaches to embedding musical excerpts in \LaTeX\
+documents. The first method is to directly include the \musixtex\ code in
+the \LaTeX\ source file. That will be the subject of the next subsection. The
+other is to create an EPS (encapsulated Postscript) or PDF file containing only the
+excerpt, and then ``paste'' it into the \LaTeX\ file. That will be covered in
+Section~\ref{embedeps}.
+
+The advantages of using the direct method are that all of the source code for
+all excerpts can be kept in the same file as the text, and that there is no
+limit on the length of the excerpt.
+The advantage of the EPS/PDF method is that you don't have to burden the \LaTeX\
+source with any of the \musixtex\ paraphernalia. That in turn permits use of
+primitive versions of the \TeX\ compiler that may not have the capacity
+to handle the direct method (due to the number of registers consumed by \LaTeX\
+and \musixtex). The disadvantages are that you must create and keep
+track of a separate \TeX\ and EPS/PDF file for every excerpt, and that the excerpt
+must not span any page breaks. On balance, the
+direct method is probably to be preferred.
+
+\section{Directly embedding excerpts in \LaTeX\ documents}\label{excerpts}
+
+To use the direct method, add \verb|\usepackage{musixtex}| to the preamble.
+This will cause the file
+\ttxem{musixtex.sty} to be loaded, so naturally you must make that file
+available in a place where \TeX\ can find it. That file simply inputs two
+other files, \verb|musixtex.tex| and \ttxem{musixltx.tex}, which again must
+obviously be available to \TeX.
+
+Now you are in position to directly embed an excerpt by inserting code at the
+appropriate place in the source file. The most common type of excerpt is
+one that occupies less than a full line and is to be horizontally centered. In
+that case, the extract should begin with the command \keyindex{begin\LBR music\RBR},
+followed by any preliminary commands. Then, instead of \verb|\startpiece|,
+use \keyindex{startextract}. Now comes the normal \musixtex\ coding. Finally,
+end the extract with \keyindex{endextract} instead of \verb|\endpiece|
+or \verb|\stoppiece|, followed by \keyindex{end\LBR music\RBR}.
+
+To terminate an extract without any bar line, use \keyindex{zendextract}
+instead of \verb|\endextract|.
+To create a left-justified excerpt, use the sequence
+\begin{quote}
+\verb|\let\extractline\leftline|.
+\end{quote}
+If several extracts are to be placed on the same line, you can
+redefine \keyindex{extractline} as demonstrated in the following
+example\footnote{The macro {\tt\Bslash extractline} is defined once and for all in
+{\tt musixtex.tex} as {\tt\Bslash centerline}. You might think that the suggested
+coding would permanently redefine {\tt\Bslash extractline}, thereby upsetting the
+normal function of {\tt\Bslash startextract ... \Bslash endextract} for subsequent use.
+But it doesn't, because any actions within
+\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, not
+global.}:
+
+% DAS temp (where is the reference???)
+%An example of this is given at \ref{extractline} on page \pageref{extractline}.
+% end DAS temp
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\let\extractline\hbox
+\hbox to \hsize{%
+\hss\startextract ... \zendextract\hss%
+\hss\startextract ... \zendextract\hss}
+\end{music}
+\end{verbatim}\end{quote}
+
+An even shorter type of extract is one that is embedded \ital{within} a line of text.
+To insert \musixtex\ symbols within a line of text, you could begin by defining
+\keyindex{notesintext} as follows\footnote{provided by Rainer {\sc Dunker}}:
+
+\begin{quote}\begin{verbatim}\begin{music}\nostartrule
+\makeatletter
+\def\notesintext#1{%
+ {\let\extractline\relax
+ \setlines10\smallmusicsize \nobarnumbers \nostartrule
+ \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt
+ \startextract\addspace{-\afterruleskip}#1\zendextract}}
+\makeatother
+\end{music}\end{verbatim}\end{quote}
+
+Then, for example, the code
+
+\begin{verbatim}
+Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}}
+not \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}
+\end{verbatim}
+
+\noindent would produce: ``Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} not
+\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}~''.
+
+\noindent The \verb|\raisebox| voids the vertical space that is introduced by the notes.
+
+Finally, you may want to insert an extract containing more than one line
+of music. This is the easiest of all: between
+\verb|\begin{music}| and \verb|\end{music}|, use \ital{exactly} the same
+coding you would to make an ordinary score.
+
+\enlargethispage*{4ex}
+The best way to learn how to apply these methods is to study
+the source files for this document\footnote{Do note,
+however, that {\tt musixdoc.tex} loads a \texttt{musixdoc.sty} package
+in its preamble, not just \texttt{musixtex.sty}; the former performs the functions of \texttt{musixtex.sty}
+as well as numerous tasks peculiar to this particular document.}.
+
+%DAS I don't think this section is worth including.
+
+% \section{Wide music in \LaTeX}\label{musixblx}
+% Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the
+%page size in a way which is not supposed to be changed within a given document.
+%This means that text horizontal and vertical sizes are somewhat frozen so that
+%one can hardly insert pieces of music of page size different from the size
+%specified by the \LaTeX{} \itxem{style}.
+%Although a \ttxem{musixblx.tex} has been provided, which makes the
+%\ital{environment} \verb|bigmusic| available.
+%\zkeyindex{begin\LBR bigmusic\RBR}
+%The main drawback is an unpredictable behaviour of top and bottom
+%printouts, especially page numberings.
+%
+% If the whole of a document has wide pages, it can be handled with the
+%\ttxem{a4wide} style option, or any derivate of it.
+
+\section{Embedding musical excerpts as PDF or EPS files}
+\label{embedeps}
+To use this method of including excerpts, you first must create a separate
+\musixtex\ input file for each excerpt. Process each such file with
+\TeX\ and \verb|musixflx| to generate a \verb|.dvi| file. Generate
+a Postscript file from each \verb|.dvi| using \verb|dvips|. Then
+convert each Postscript file to a \verb|.pdf| or \verb|.eps| file using
+\verb\ps2pdf\ or \verb\ps2eps\;
+if you are using Windows, {GSview} can be used for either. Note that
+conversion to EPS (Encapsulated Postscript) is possible only for \emph{single-page} Postscript files.
+
+To set up your \LaTeX\ document for including \verb|.pdf| or \verb|.eps| files, you must post
+the command \verb|\usepackage{graphicx}| in the preamble of the
+document. Now, you may include each \texttt{sample.pdf} or \texttt{sample.eps} file at the appropriate place
+in the {\LaTeX} document with a command
+like \keyindex{includegraphics}\verb|{sample}|. If an embedded file is a PDF (rather than an EPS),
+the document must be processed with \verb|pdflatex| (rather than \verb|latex|).
+
+\section{Issues concerning \texorpdfstring{{\Bslash catcodes}}{catcodes}}
+\label{catcodeprobs}
+
+\musixtex\ uses the following symbols differently from plain \TeX: \verb|>|,
+ \verb|<|, \verb&|&, \verb|&|, \verb|!|, \verb|*|, \verb|.|, and \verb|:|\ .\\
+The symbols are given their special meanings by executing the macro
+\keyindex{catcodesmusic}, and are restored to their plain \TeX\ meanings with
+\keyindex{endcatcodesmusic}. When setting either a self-contained score or
+a musical extract, you normally need not worry
+about this at all, because \verb|\startpiece| or \verb|\startextract| executes
+\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\endextract| executes
+\verb|\endcatcodesmusic|. But there are some special situations where you
+might need to use these catcode-modifying macros explicitly. One is if you
+were to define a personalized macro outside
+\verb|\startpiece ... \endpiece|, but which incorporated any of the
+symbols with their \musixtex\ meanings. Another would be if you wished to have
+access to facilities enabled by alternate style files such as
+{\tt\ixem{french.sty}} which change \keyindex{catcode}s themselves. In
+such cases, provided you have input \verb|musixtex.tex|, you can always
+invoke \keyindex{catcodesmusic} to set the \keyindex{catcode}s at their
+\musixtex\ values, and \keyindex{endcatcodesmusic} to restore them to their
+prior values.
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/examples.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/examples.tex
new file mode 100644
index 00000000000..d0aeb1e6cdb
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/examples.tex
@@ -0,0 +1,124 @@
+\chapter{\musixtex\ Examples}
+
+The file \verb|musixdoc.tex|, the source for this manual, contains many useful
+examples. In the manual, many examples are accompanied by a display of the code
+that produced them, while for a few only an image of the extract is included and you'll
+have to look in the \verb|musixdoc| source files to see the coding.
+
+Other useful examples cannot be embedded in the source, either because they are
+meant to be in \TeX, not \LaTeX, or because they are simply too large. For
+these the source files also are provided separately.
+
+When compiling or viewing any of the examples, you should keep in mind that
+most DVI previewers and laser printers have
+their origin one inch below and one inch to the right of the upper right corner
+of the paper, while the musical examples have their upper left
+corner just one centimeter to the right and below the top left corner of the page.
+Therefore, special parameters may have to be given to the DVI transcription
+programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\
+commands have been included within the \TeX\ source.
+
+\section{Small examples}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+\item{\tt ossiaexa.tex}~: This is a stand-alone example of the use of ossia,
+provided by Olivier Vogel (Section~\ref{ossia} on page \pageref{ossia}).
+
+\item{\tt 8bitchar.tex}~: Using 8bit characters.
+
+\end{itemize}
+
+\section{Full examples}
+The small examples above and the longer ones mentioned below are included in
+the documentation folder of the \musixtex\ package.
+Some of them require
+\verb|musixcpt.tex| which makes examples created in
+Music\TeX\ compatible with \musixtex. Here we mention a few of
+special interest.
+
+\subsection{Examples mentioned in the manual}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item{\tt avemaria.tex}~: the ``M\'editation'' (alias ``Ave Maria'') by
+Charles {\sc Gounod} for organ and violin or voice.\index{Gounod, C.@{\sc Gounod, C.}}
+To run this five-page example you'll also need \texttt{avemariax.tex}.
+It demonstrates the use of separated bar rules (Section~\ref{avemaria2})
+and the use of staves of different sizes (Section~\ref{avemaria}).
+Also, an additional instrument is created for lyrics. This was a common
+practice before the \texttt{musixlyr} package was created by Rainer Dunker.
+
+ \item{\tt glorias.tex}~: a local melody for the French version of
+\ital{Gloria in excelsis Deo}, a three-page piece demonstrating the use of the hardlyrics
+commands (Section~\ref{glorias}). {\tt gloriab.tex} is the same piece, but with organ accompaniment.
+
+\end{itemize}
+
+\subsection{Other examples, provided by the authors of \musixtex }
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+ \item{\tt traeumer.tex}~: the famous ``Tr\"aumerei'' by
+Robert {\sc Schumann}\index{Schumann, R.@{\sc Schumann, R.}} for piano, in genuine
+\musixtex\ but with some
+additions to perform ascending bitmapped \itxem{crescendos}.
+There are also S-shaped slurs between 2 staves.
+
+ \item{\tt parnasum.tex}~: the first page of ``Doctor gradus ad
+Parnassum'' by Claude {\sc Debussy}\index{Debussy,
+C.@{\sc Debussy, C.}} for piano.
+It contains a rather complex example of a new command \verb+\Special+
+to create staff-jumping doubly beamed notes.
+\end{itemize}
+
+\subsection{Additional documentation}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+
+ \item{\tt sottieng}~: Notation mistakes, provided by Jean-Pierre Coulon.
+
+\end{itemize}
+
+\section{Compiling \texttt{musixdoc.tex}}
+
+This manual is an excellent example of a primarily text document with embedded
+musical excerpts. For this reason, it is a \LaTeX\ document and must be compiled
+with \verb|latex| rather than \verb|etex|. Those wishing to combine text and
+musical excerpts should carefully study how it is done here.
+
+Before compiling or recompiling \verb|musixdoc.tex|, you should remove all the auxiliary
+files {\tt musixdoc.[mx1\|\allowbreak mx2\|\allowbreak aux\|\allowbreak toc\|\allowbreak ind\|\allowbreak idx\|\allowbreak ilg\|\allowbreak out]}
+if they are present. Then the following command sequence will produce \verb|musixdoc.ps|:
+\begin{quote}\begin{verbatim}
+latex musixdoc
+musixflx musixdoc
+latex musixdoc
+makeindex musixdoc
+latex musixdoc
+latex musixdoc
+dvips -e0 musixdoc
+\end{verbatim}\end{quote}
+The initial three steps \verb|latex|\allowbreak$\to$\allowbreak\verb|musixflx|\allowbreak$\to$\allowbreak\verb|latex| build up the basic appearance of the document including musical examples.
+The \verb|makeindex| step produces the database for the index.
+After that, \verb|latex| must be run at least twice to complete cross referencing.
+Finally, \verb|dvips| converts the \verb|.dvi| file into \verb|.ps|.
+To produce \verb|musixdoc.pdf|, use \verb|ps2pdf| or the Distiller component of Adobe Acrobat, or open \verb|musixdoc.ps| in \texttt{GSview}, go to
+{\tt File\|Convert}, select \verb|pdfwrite| at 600 dpi resolution, and click
+\verb|OK|.
+Or if you have the \verb|musixtex| script, just run
+\begin{quote}
+\verb|musixtex -l -x musixdoc|
+\end{quote}
+where the \verb|-l| option is to use \verb|latex| as the processing engine
+and \verb|-x| is to create a new index database.
+
+%If you use an older version of \LaTeX\ which doesn't automatically
+%invoke $\varepsilon$\hbox{-}\nobreak\TeX, you will encounter the
+%error ``{\tt !~No room for new \string\count}''.
+%This is because \verb|musixdoc.tex| invokes \verb|musixtex.tex|, which together with \LaTeX\
+%requires more storage registers than available in \TeX.
+%You may be able get around this by using the command
+%\verb|elatex| instead of \verb|latex|;
+%however, it is strongly recommended to upgrade your \TeX\ system to a more recent
+%version in which \verb|latex| automatically invokes $\varepsilon$\hbox{-}\nobreak\TeX.
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex
new file mode 100644
index 00000000000..9c64ef2c4c2
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex
@@ -0,0 +1,2150 @@
+\chapter{Extension Library}
+All of the following files are invoked by saying \keyindex{input} \ital{filename}\ .
+Most of them are fully compatible with \musixtex\ in that they do not redefine
+any existing macros but rather provide additional functionality. In future
+versions of \musixtex\ we may very well incorporate many of them directly into
+\verb|musixtex.tex|, but for now we leave them separate.
+
+ \section{musixadd}\ixtt{musixadd.tex}
+Increases the number of instruments, slurs and beams from six to nine.
+
+ \section{musixadf}
+\input musixadf
+This file and the associated fonts (by Hiroaki \textsc{Morimoto})
+define some additional and alternative musical accents, as follows.
+\begin{description}
+\item[small swells, larger sforzatos:]
+\ \\\begin{music}
+\nostartrule
+\startextract
+\NOTes
+ \ccharnote{-8}{\Bslash ulsw}\ulsw l\ql l%
+ \ccharnote{13}{\Bslash llsw}\llsw f\qu f%
+\en\bar
+\NOtes
+ \ccharnote{-8}{\Bslash uSfz}\uSfz l\ql l%
+ \ccharnote{13}{\Bslash lSfz}\lSfz f\qu f\qsk%
+\en
+\endextract
+\end{music}
+\item[breaths:]
+\ \\
+\begin{music}
+\nostartrule
+\startextract
+\NOTes
+ \zcharnote{-8}{\Bslash cuBreath}\cuBreath \qu f%
+ \zcharnote{13}{\Bslash clBreath}\clBreath \qu f%
+\en\bar
+\NOtes
+ \ccharnote{-8}{\Bslash zuBreath}\zuBreath \qu f%
+ \ccharnote{13}{\Bslash zlBreath}\zlBreath \qu f%
+\en
+\endextract
+\end{music}
+\item[coda with serifs, upright segno:]
+\ \\
+\begin{music}
+\nostartrule
+\startextract
+\NOTes
+ \sk
+ \ccharnote{-4}{\Bslash scoda}\scoda n\sk\sk%
+ \ccharnote{-4}{\Bslash upsegno}\upsegno n\sk%
+\en
+\endextract
+\end{music}
+\end{description}
+The following commands will replace the default specified accents by the new ones
+defined in \texttt{musixadf.tex}:
+ \verb|\replacesforzato|,
+ \verb|\replacecoda|,
+ \verb|\replacesegno|.
+
+ \section{musixbm}
+This file does nothing; it is retained only for compatibility with
+\musixtex{} T.110 or earlier.
+Since version T.111, \verb|musixtex.tex| itself contains all the functions
+of the older \texttt{musixbm}, namely
+commands for 128th notes, either with flags or with beams:
+\keyindex{ibbbbbu},
+\keyindex{ibbbbbl},
+\keyindex{nbbbbbu},
+\keyindex{nbbbbbl},
+\keyindex{tbbbbbu},
+\keyindex{tbbbbbl},
+\keyindex{Ibbbbbu},
+\keyindex{Ibbbbbl},
+\keyindex{cccccu},
+\keyindex{cccccl},
+\keyindex{ccccca},
+\keyindex{zcccccu} and
+\keyindex{zcccccl}.
+
+
+ \section{musixbbm}\label{musixbbm}
+ Provides $256$th notes, but only for use within beams, via the commands
+\keyindex{ibbbbbbu},
+\keyindex{ibbbbbbl},
+\keyindex{nbbbbbbu},
+\keyindex{nbbbbbbl},
+\keyindex{tbbbbbbu},
+\keyindex{tbbbbbbl},
+\keyindex{Ibbbbbbu} and
+\keyindex{Ibbbbbbl}.
+
+By default \texttt{musixbbm} provides six $256$th beams with
+reference number $0$ to $5$.
+You can specify a larger maximum number
+directly with \keyindex{setmaxcclvibeams}\verb|{|$m$\verb|}| within the
+range\footnote{This may require e-\TeX.} $7\leq m\leq 100$.
+
+\section{musixcho}\label{song}
+ Enables certain macros intended for choral music\footnote{Remember
+that we now recommend using \texttt{musixlyr} for any except the
+simplest lyrics. The extension \texttt{musixcho} is only for those
+diehards who choose to ignore this advice}. Provides the following commands:
+\keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight},
+\keyindex{Dtx} and \keyindex{Drtx} for two-line text, \keyindex{Ttx} and
+\keyindex{Trtx} for three-line text, \keyindex{Qtx} and \keyindex{Qrtx} for
+four-line text. To eliminate zigzagging lyrics lines, all multiple line texts
+are automatically vertically justified with the macro \keyindex{ChroirStrut},
+defined as \verb|\vphantom{\^Wgjpqy}|.
+
+The macros \keyindex{tx}\verb|{|$text$\verb|}|,
+\keyindex{rtx}\verb|{|$text$\verb|}| cause song text to be left-justified
+on the insertion point rather then centered.
+ \keyindex{hf}\verb|{|$m$\verb|}| sets a text
+continuation rule of length $m$ \verb|\noteskip|.
+
+Consult the source file {\tt musixdoc.tex} to see the coding of the following
+example:
+
+\begin{music}
+\ninerm
+\parindent9mm
+\braceheight5.4\Interligne\relax
+%\rightline{Arr.: H.~W.~Eichholz}
+\instrumentnumber2
+\generalsignature{-2}
+\generalmeter{\meterfrac22}
+\setclef1\bass
+\relativeaccid
+\setinterinstrument1{11\Interligne}
+\songtop2
+\songbottom1
+\setname2{\vbox{\hsize\parindent\centerline{Sop}\centerline{Alt}}}
+\setname1{\vbox{\hsize\parindent\centerline{Ten}\centerline{Bass}}}
+\sepbarrules\nobarnumbers
+\beforeruleskip-2pt
+\startpiece
+%% bar 1
+\znotes&\rlap{\kernm2em\Qrtx 1.|2.|3.|4.*}\en
+\NOTes\sslur ILd1\sslur bNu1\zhl I\hu b%
+ &\Qtx\ixhf{Oh}|No|No|There'll*\issluru0f\sslur dad1\zhup f\hl d\en
+\Notes\zhl L\hu N&\Qtx ~|more|more|~be*\hl{^c}\en
+\NOtes&\tsslur0g\qu g\en
+%%% bar 2
+\bar
+\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql d\en
+\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en
+%%% bar 3
+\bar
+\nspace
+\NOTes\sslur JMd1\sslur bau1\zhl J\hu b%
+ &\Qtx\ixhf{oh}|no|no|there'll*\issluru0j\sslur edd1\zhup j\hl{^e}\en
+\Notes\zhl M\hu a&\Qtx~|more|more|~be*\hl{=e}\en
+\NOtes&\tsslur0k\qu k\en
+%%% bar 4
+\bar
+\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu j\ql d\en
+\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en
+%%% bar 5
+\bar
+\NOTesp\sslur IJd1\sslur bau1\lpt I\zhl I\hup b%
+ &\Qtx\ixhf{oh}|no|no|~there'll*\isslurd0f\issluru1j\zhup k\hlp f\en
+\NOtes\zql J\qu a&\Qtx~|more|more|~be*\tsslur1f\zqu f\roff{\tsslur0e\ql e}\en
+%%% bar 6
+\bar
+\NOtes\zql K\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql f\en
+\NOtes\zql J\qu b&\zqu i\ql e\en
+\NOtes\zql I\qu b&\rlap{\kernm1\Internote\bigrbrace}\rtx~~~~over*\zqu i\ql d\en
+\NOtes\zql G\qu b&\zqu k\ql f\en
+%%% bar 7
+\bar
+\nspace
+\NOTes\zhl J\hu b\caesura&\tx ~me,*\zhu j\hl{^e}\caesura\en
+\Notes\zcl J\cu b&\rtx ~over*\zcu j\cl e\en
+\NOtesp\zqlp J\qup b&\zqup k\lpt e\ql e\en
+\endpiece
+\end{music}
+
+\section{musixcpt}
+
+Empowers \musixtex\ to run files created under
+Musi\textbf{c}TeX, the predecessor of \musixtex, such as some of the examples
+provided by Daniel {\sc Taupin}. It is not needed for any files created
+under \musixtex, and is included mainly for historical completeness.
+
+\section{musixdat}
+Enables the command \keyindex{today}, which sets the current date in one of
+several possible languages. The language is selected by an optional
+ preparatory command \verb|\date...|.
+The default is \keyindex{dateUSenglish}, but this can changed, either at the
+end of \ttxem{musixdat.tex} for a permanant change, or right before issuing
+\verb|\today|. Available choices and sample results are summarized below:
+\smallskip
+\begin{quote}\begin{tabular}{ll}\hline
+\verb|\dateUSenglish|&\dateUSenglish\today\\
+\verb|\dateaustrian|&\dateaustrian\today\\
+\verb|\dateenglish|&\dateenglish\today\\
+\verb|\datefrench|&\datefrench\today\\
+\verb|\dategerman|&\dategerman\today\\\hline
+\end{tabular}\end{quote}
+
+\section{musixdbr}
+Enables dashed and dotted bar lines (see Section~\ref{musixdbr}).
+
+\section{musixdia}\label{diam}
+Enables notes with diamond-shaped heads as follows:
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Solid note heads (\raise.5ex\hbox to .6em{\musixchar37}) are obtained
+using the macros
+ \keyindex{yqu}, \keyindex{yqup},
+\keyindex{yqupp}, \keyindex{yql}, \keyindex{yqlp}, \keyindex{yqlpp},
+\keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp}, \keyindex{yqb},
+\keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu},
+\keyindex{ycl}, \keyindex{yccl}, \keyindex{ycccl}, \keyindex{yccccl},
+\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}.
+(Think of d{\it y}\kern.5pt amond). A solid diamond with no stem is obtained
+with \keyindex{ynq} (spacing) or \keyindex{yznq} (non-spacing).
+ \item Open note heads (\raise.5ex\hbox to .6em{\musixchar38}) are obtained
+using the macros
+\keyindex{dqu}, \keyindex{dqup},
+\keyindex{dqupp}, \keyindex{dql}, \keyindex{dqlp}, \keyindex{dqlpp},
+\keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp}, \keyindex{dqb},
+\keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu},
+\keyindex{dcl}, \keyindex{dccl}, \keyindex{dcccl}, \keyindex{dccccl},
+\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}.
+(Think of {\it d}\kern.5pt iamond).
+An open diamond with no stem is obtained
+with \keyindex{dnq} (spacing) or \keyindex{dznq} (non-spacing).
+ \end{itemize}
+
+One use of these note heads is for a string part with \itxem{harmonic notes}.
+%(see \ref{othernotes})
+% DAS removed description which was misplaced in the samll=notes section 2.18 4/30/06
+For example,
+
+\begin{music}
+\parindent0pt
+\generalsignature{-2}
+\generalmeter\allabreve
+\startextract
+\NOTes\dzq o\zh d\hu h\en
+\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\bar
+\NOTes\dzq o\zh d\hl h\en
+\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\endextract
+\end{music}
+\noindent was coded as follows:
+\begin{quote}\begin{verbatim}
+\generalsignature{-2}
+\generalmeter\allabreve
+\startextract
+\NOTes\dzq o\zh d\hu h\en
+\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\bar
+\NOTes\dzq o\zh d\hl h\en
+\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\en
+\bar
+\NOTes\dzq g\hu k\en
+\NOTes\hpause\en
+\endextract
+\end{verbatim}\end{quote}
+
+Another use is for percussion parts. In fact the file \verb|musixdia.tex|
+is automatically loaded if you input {\tt musixper.tex} (see Section~\ref{perc}).
+
+\section{musixec}\label{ecfonts}
+ This package will replace the \texttt{OT1}-encoded Computer Modern fonts
+by \texttt{T1}-encoded EC versions.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixec
+...
+\end{verbatim}\end{quote}
+
+
+ \section{musixeng}
+ This package is provided for music typesetters who are allergic to the default
+rest names, which are
+taken from French, German or Italian. It does not provide new features, only
+new command names:
+\medskip
+ \begin{quote}\begin{tabular}{ll}\hline
+\ital{original}&\ital{alternate}\\\hline
+\keyindex{PAUSe}&\keyindex{Qwr}\\
+\keyindex{PAuse}&\keyindex{Dwr}\\
+\keyindex{liftpause}&\keyindex{liftwr}\\
+\keyindex{pausep}&\keyindex{wrp}\\
+\keyindex{pause}&\keyindex{wr}\\
+\keyindex{lifthpause}&\keyindex{lifthr}\\
+\keyindex{hpausep}&\keyindex{hrp}\\
+\keyindex{hpause}&\keyindex{hr}\\
+\keyindex{qp}&\keyindex{qr}\\
+\keyindex{ds}&\keyindex{er}\\
+\keyindex{qs}&\keyindex{eer}\\
+\keyindex{hs}&\keyindex{eeer}\\
+\keyindex{qqs}&\keyindex{eeeer}\\\hline
+\end{tabular}\end{quote}
+
+\section{musixext}
+Defines the following two specific macros:
+
+\keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~, which provides a glissando
+starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with
+slope {\it s} (ranging from $-8$ to $8$).
+
+\keyindex{raggedstoppiece}~, which inhibits right-justification of the last
+line of a score.
+
+ \section{musixf{}l{}l}
+ \input musixfll
+ Enables modification of \ixem{ledger lines}. Ledger lines normally exceed the
+width of a note head by $25$ percent in each direction. If the space between
+notes is insufficient, the ledger lines of
+consecutive notes may meet, creating visual ambiguities. Therefore,
+\musixtex{} shortens the
+ledger lines if notes are set so close together that the ledger lines may
+meet. But because \musixtex{} does not know whether consecutive notes need
+ledger lines, this automatic shortening may be superfluous. The extension
+file \ttxem{musixfll.tex} allows this feature to be switched off and on.
+Upon inputting \verb|musixfll.tex|, the automatic shortening of ledger lines
+is switched off. From then on, it may be switched on again using
+\keyindex{autoledgerlines} and switched off again using
+\keyindex{longledgerlines}. Both macros have global effect.
+
+ The following example shows that narrowly set scales look better with
+\keyindex{autoledgerlines} (the default behavior), whereas single notes
+requiring ledger lines look better with \keyindex{longledgerlines}.
+
+\medskip
+\begin{music}
+\nostartrule
+\startextract
+\notes\multnoteskip{0.7}\Uptext{autoledgerlines}\autoledgerlines
+ \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b%
+ \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b%
+ \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a%
+ \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en
+\endextract
+\medskip
+\startextract
+\notes\multnoteskip{0.7}\Uptext{longledgerlines}\longledgerlines
+ \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b%
+ \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b%
+ \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a%
+ \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en
+\endextract
+\autoledgerlines
+\end{music}
+
+ \section{musixgre}\label{gregnotes}\index{gregorian chant}
+
+% \section{Gregorian chant: staffs and clefs}
+Gregorian chant is often coded using four line staffs
+(see
+%sections \ref{gregorian} and
+Section~\ref{stafflinenumber}) and using special notes called
+\itxem{neumes} (which are described later in this section). It also requires
+special clefs. One way to substitute them for the modern ones is for example
+with commands like
+
+\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef|
+
+\noindent or
+
+\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| ,
+
+\noindent which will cause instrument number~$3$ to display the selected gregorian
+clef. The standard clefs can be restored for every instrument with
+\keyindex{resetclefsymbols}. Note that when using this method you must
+specify whether to substitute for the bass or alto clef
+symbol (there is no treble clef in gregorian
+chant). The reason is that \musixtex\ selects and
+raises the F and C clefs differently, according to the arguments of the
+\keyindex{setclef} command. Therefore, if one had substituted any F clef
+symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear
+on the staff, but it would be set at the position of an alto clef, thus
+seriously misleading the musician.
+
+Another method of clef substitution employs \keyindex{setclefsymbol} (see
+Section~ \ref{treblelowoct}), which substitutes the clef given by
+the second argument \ital{for all clef symbols} of the instrument given by the first,
+regardless of the actual musical meaning of the new clef symbol. This method is
+generally appropriate only if you want to change the clef symbol(s) of
+an instrument for the whole of the score.
+
+ As an example, the same gregorian scale has been written with a gregorian C
+clef on all four lines of the staff:
+
+ \begin{music}\nostartrule
+ \parindent 19mm
+ \instrumentnumber{4}
+ \setname1{1st line} \setname2{2nd line}
+ \setname3{3rd line} \setname4{4th line}
+ \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4}
+ \sepbarrules
+ \generalmeter{\empty}
+ \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000}
+ \setaltoclefsymbol1\gregorianCclef
+ \setaltoclefsymbol2\gregorianCclef
+ \setaltoclefsymbol3\gregorianCclef
+ \setaltoclefsymbol4\gregorianCclef
+\startextract
+\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\en
+\zendextract
+\end{music}
+
+ The coding was:
+ \begin{verbatim}
+ \instrumentnumber{4}
+ \setname1{1st line} \setname2{2nd line}
+ \setname3{3rd line} \setname4{4th line}
+ \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4}
+ \sepbarrules
+ \generalmeter{\empty}
+ \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000}
+ \setaltoclefsymbol1\gregorianCclef
+ \setaltoclefsymbol2\gregorianCclef
+ \setaltoclefsymbol3\gregorianCclef
+ \setaltoclefsymbol4\gregorianCclef
+\startextract
+\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\en
+\zendextract
+ \end{verbatim}
+
+All of the special gregorian symbols available in \musixtex\ are described
+in the following subsections.
+
+\subsection{Clefs}
+
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~=
+ \keyindex{gregorianCclef}, normally activated for instrument $n$ with the
+command
+ \keyindex{setaltoclefsymbol}\itbrace{n}\keyindex{gregorianCclef}
+\item Gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~=
+\keyindex{gregorianFclef}, normally activated with the command
+\keyindex{setbassclefsymbol}\itbrace{n}\keyindex{gregorianFclef}
+ \end{itemize}
+
+ \subsection{Elementary symbols}
+
+
+ \begin{itemize}\setlength{\itemsep}{0ex}
+
+ \item Diamond shaped \itxem{punctum} (This has a different shape compared to the
+percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ =
+\keyindex{diapunc}\pitchp\ .
+ \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ =
+\keyindex{squ}\pitchp\ or \keyindex{punctum}\pitchp\ .
+ \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise
+2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}\pitchp\ .
+ \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ =
+\keyindex{rsqu}\pitchp\ or \keyindex{virga}\pitchp\ .
+ \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ =
+\keyindex{apostropha}\pitchp\ .
+ \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ =
+\keyindex{oriscus}\pitchp\ .
+
+ \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ =
+\keyindex{quilisma}\pitchp\ .
+ \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise
+2.5pt\hbox{\xgregchar9}~ =
+\keyindex{punctumauctup}\pitchp\ .
+ \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise
+2.5pt\hbox{\xgregchar8}~ =
+\keyindex{punctumauctdown}\pitchp\ .
+ \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}:
+\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}\pitchp\ .
+ \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise
+2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}\pitchp\ .
+ \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise
+2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}\pitchp\ .
+
+\end{itemize}
+ All non-\ital{liquescens} symbols have non-spacing variants, namely
+\keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu},
+\keyindex{zapostropha} and \keyindex{zoriscus}.
+
+\subsection{Plain complex neumes}
+Other \itxem{neumes} can be obtained by combining two or more of these
+symbols. Since \itxem{neumes} have a special note head width, an additional
+shifting macro is provided, namely \keyindex{groff}. It is similar to
+\verb|\roff|, but the offset is smaller. For use with comples neumes, another
+shifting macro is provided, namely \keyindex{dgroff}, which causes an
+offset twice the offset of \verb|\groff|.
+
+ Since most of these symbols depend on relative pitches of their components,
+we cannot provide all possible compact combinations as single symbols. The ones
+that are available in \verb|musixgre| are described below. In the following,
+$p_1$, $p_2$, $p_3$, and $p_4$ represent pitches specified as usual. Please refer to
+the source file \verb|musixtex.tex| if you wish to see the coding of those
+examples for which it is not quoted here.
+
+\def\twop{\itbrace{p_1}\itbrace{p_2}}
+\def\threep{\twop\itbrace{p_3}}
+\def\fourp{\threep\itbrace{p_4}}
+
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{bivirga}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \bivirga ab\en
+ \notes \bivirga cc\en
+ \zendextract
+ \end{music}
+
+ This example was coded as:
+ \begin{quote}\begin{verbatim}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \bivirga ab\en
+ \notes \bivirga cc\en
+ \zendextract
+ \end{verbatim}\end{quote}
+
+ \item[\keyindex{trivirga}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \trivirga abc\en
+ \Notes \trivirga cca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{bistropha}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \bistropha ab\en
+ \notes \bistropha cc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{tristropha}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \tristropha abc\en
+ \Notes \tristropha cca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{clivis}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivis ba\en
+ \notes \clivis ca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{lclivis}\twop], for example:
+
+ \begin{music}\nostartrule
+ \setsize1{\Largevalue}
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \lclivis ba\en
+ \notes \lclivis ca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{podatus}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatus ab\en
+ \notes \podatus ac\en
+ \notes \podatus cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{podatusinitiodebilis}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusinitiodebilis ab\en
+ \notes \podatusinitiodebilis ac\en
+ \notes \podatusinitiodebilis cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{lpodatus}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \lpodatus ab\en
+ \notes \lpodatus ce\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{pesquassus}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \pesquassus ab\en
+ \notes \pesquassus ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{quilismapes}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \quilismapes ab\en
+ \notes \quilismapes ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculus aba\en
+ \notes \torculus cfd\en
+ \notes \torculus afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusinitiodebilis}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusinitiodebilis aba\en
+ \notes \torculusinitiodebilis cfd\en
+ \notes \torculusinitiodebilis afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{Porrectus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectus bab\en
+ \notes \Porrectus bac\en
+ \notes \Porrectus bNd\en
+ \notes \Porrectus bMe\en
+ \notes \Porrectus bLe\en
+ \zendextract
+ \end{music}
+\noindent coded:
+ \begin{quote}\begin{verbatim}
+ \notes \Porrectus bab\en
+ \notes \Porrectus bac\en
+ \notes \Porrectus bNd\en
+ \notes \Porrectus bMe\en
+ \notes \Porrectus bLe\en
+ \end{verbatim}\end{quote}
+
+ \verb|\Porrectus| exists in four different shapes, depending on the
+difference between first and second argument. The constraint is that
+ $$ p_1-4 \leq p_2 \leq p_1-1 $$ otherwise a diagnostic occurs. Note also that
+\keyindex{bporrectus} provides the first curved part of the \verb|porrectus|
+command, if you should need it. It has two arguments, the starting pitch and the lower
+pitch.
+
+ \item[\keyindex{Porrectusflexus}\fourp], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectusflexus bacN\en
+ \notes \Porrectusflexus bNdb\en
+ \notes \Porrectusflexus bMeb\en
+ \notes \Porrectusflexus bLea\en
+ \zendextract
+ \end{music}
+\noindent coded:
+ \begin{quote}\begin{verbatim}
+ \notes \Porrectusflexus bacN\en
+ \notes \Porrectusflexus bNdb\en
+ \notes \Porrectusflexus bMeb\en
+ \notes \Porrectusflexus bLea\en
+ \end{verbatim}\end{quote}
+
+
+ \item[\keyindex{climacus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacus cbN\en
+ \Notes \climacus cba\en
+ \Notes \climacus dbN\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{climacusresupinus}\fourp], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacusresupinus cbNa\en
+ \Notes \climacusresupinus cbab\en
+ \Notes \climacusresupinus dbNb\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{lclimacus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+\instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \lclimacus cbN\en
+ \notes \lclimacus cfd\en
+ \notes \lclimacus afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{scandicus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \scandicus abe\en
+ \notes \scandicus ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{salicus}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \salicus abe\en
+ \Notes \salicus ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{salicusflexus}\fourp], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \salicusflexus abec\en
+ \Notes \salicusflexus cegd\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{trigonus}\threep],
+%DAS ????????????
+%for example\footnote{The second example is in principle irrelevant,
+%but it shows the possibilities, in case of.}:
+for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \trigonus aaN\en
+ \Notes \trigonus cef\en
+ \zendextract
+ \end{music}
+
+\end{description}
+
+\subsection{Liquescens complex neumes}\index{liquescens neumes}
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{clivisauctup}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivisauctup ba\en
+ \notes \clivisauctup ca\en
+ \zendextract
+ \end{music}
+ \item[\keyindex{clivisauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivisauctdown ba\en
+ \notes \clivisauctdown ca\en
+ \zendextract
+ \end{music}
+ \item[\keyindex{podatusauctup}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusauctup ab\en
+ \notes \podatusauctup ac\en
+ \notes \podatusauctup cf\en
+ \zendextract
+ \end{music}
+ \item[\keyindex{podatusauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusauctdown ab\en
+ \notes \podatusauctdown ac\en
+ \notes \podatusauctdown cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{pesquassusauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \pesquassusauctdown ab\en
+ \notes \pesquassusauctdown ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{quilismapesauctdown}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \quilismapesauctdown ab\en
+ \notes \quilismapesauctdown ae\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusauctdown aba\en
+ \notes \torculusauctdown cfd\en
+ \notes \torculusauctdown afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{Porrectusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectusauctdown bac\en
+ \notes \Porrectusauctdown bNd\en
+ \notes \Porrectusauctdown bMe\en
+ \notes \Porrectusauctdown bLe\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{climacusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacusauctdown cbN\en
+ \Notes \climacusauctdown caM\en
+ \Notes \climacusauctdown aNM\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{scandicusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \scandicusauctdown abe\en
+ \notes \scandicusauctdown ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{salicusauctdown}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \salicusauctdown abe\en
+ \Notes \salicusauctdown ceg\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{clivisdeminut}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \setsize1{\Largevalue}
+ \instrumentnumber 1
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \clivisdeminut ba\en
+ \notes \clivisdeminut ca\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{podatusdeminut}\twop], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \podatusdeminut ab\en
+ \notes \podatusdeminut ac\en
+ \notes \podatusdeminut cf\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusdeminut aba\en
+ \notes \torculusdeminut cfd\en
+ \notes \torculusdeminut afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{torculusdebilis}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \torculusdebilis aba\en
+ \notes \torculusdebilis cfd\en
+ \notes \torculusdebilis afc\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{Porrectusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \Porrectusdeminut bac\en
+ \notes \Porrectusdeminut bNd\en
+ \notes \Porrectusdeminut bMe\en
+ \notes \Porrectusdeminut bLe\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{climacusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \Notes \climacusdeminut cbN\en
+ \Notes \climacusdeminut caM\en
+ \Notes \climacusdeminut aML\en
+ \zendextract
+ \end{music}
+
+ \item[\keyindex{scandicusdeminut}\threep], for example:
+
+ \begin{music}\nostartrule
+ \elemskip 10pt
+ \instrumentnumber 1
+ \setsize1{\Largevalue}
+ \setstaffs 1 1
+ \setlines 1 4
+ \setclef 1{3000}
+ \setaltoclefsymbol 1 \gregorianCclef
+ \startextract
+ \notes \scandicusdeminut abe\en
+ \notes \scandicusdeminut ceg\en
+ \zendextract
+ \end{music}
+\end{description}
+
+\section{musixgui}\ixtt{musixgui.tex} Provides macros for
+typesetting modern style \itxem{guitar chords}. For example:
+
+\begin{music}
+\hsize130mm
+\tenrm
+\parindent0pt
+\generalmeter{\meterfrac34}
+\generalsignature1
+\startbarno0
+\def\txh{-6.5}
+\def\tx#1*{\zchar\txh{\lrlap{\kern3\Internote#1}}}
+\def\rtx#1*{\zchar\txh{\kern-3\Internote#1}}
+\stafftopmarg10\Interligne
+\raiseguitar{20}
+\nostartrule
+\startpiece
+\addspace{.5\afterruleskip}%
+\NOtes\tx We*\qa d\en
+\bar
+\NOtes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx wish*\qa g\en
+\Notes\tx you*\ca g\en
+\Notes\tx a*\ca h\en
+\Notes\zchar\txh{merry}\ca g\en
+\Notes\ca f\en
+\bar
+\NOtes\guitar C5o-----\gbarre4\gdot26\gdot36\gdot45\rtx christmas,*\qa e\en
+\NOtes\qa e\en
+\NOtes\guitar {e/H}5o-----\gbarre3\gdot35\gdot45\gdot54\tx we*\qa e\en
+\bar
+\NOtes\guitar {A$\!^7$}5o-----\gbarre1\gdot23\gdot42\tx wish*\qa h\en
+\Notes\tx you*\ca h\en
+\Notes\tx a*\ca i\en
+\Notes\zchar\txh{merry}\ca h\en
+\Notes\ca g\en
+\bar
+\NOtes\guitar D{}xxo---\gdot42\gdot53\gdot62\rtx christmas,*\qa f\en
+\NOtes\qa d\en
+\zbar
+\NOtes\guitar{D/c}{}xo----\gdot23\gdot42\gdot53\gdot62\tx we*\qa d\en
+\bar
+\NOtes\guitar{B$^7$}{}xo----\gdot22\gdot31\gdot42\gdot62\tx wish*\qa i\en
+\Notes\tx you*\ca i\en
+\Notes\tx a*\ca j\en
+\Notes\tx ~mer-*\ca i\en
+\Notes\tx ry*\ca h\en
+\bar
+\NOtes\guitar e{}xxo---\gdot32\tx ~christ-*\qa g\en
+\NOtes\tx mas*\qa e\en
+\Notes\guitar {G/d}{}xxo---\gdot63\tx and*\ca d\en
+\Notes\tx a*\ca d\en
+\bar
+\NOtes\guitar{C$^6$}{}xo----\gdot23\gdot32\gdot42\gdot51\tx ~~hap~-*\qa e\en
+\NOtes\tx py*\qa h\en
+\NOtes\guitar{D$^7$}{}xo---x\gdot25\gdot34\gdot45\gdot45\gdot53\tx new*\qa f\en
+\bar
+\NOTes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx ~year.*\ha g\en
+\setdoublebar\endpiece
+\end{music}
+
+\medskip
+The macro \keyindex{guitar} sets the grid, chord name, barre type,
+and on-off indicators for the strings. For example, the first
+chord in above example was coded as
+
+\verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44|
+
+\noindent where the first argument is the text to be placed above the grid, the
+second is empty (relative barre), and the next six characters indicate if the string
+is played or not with either \verb|x|, \verb|o| or \verb|-|. The dots are set with
+\keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The
+rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the position of the barre.
+
+The whole symbol may be vertically shifted with
+\keyindex{raiseguitar}\onen, where $n$ is a number
+in units of \keyindex{internote}. When using guitar chords, it might be
+useful to reserve additional
+space above the chord by advancing \keyindex{stafftopmarg} to
+something like \verb|stafftopmarg=10\Interligne|.
+
+For frequently used chords, it might be useful to define your own
+macros, e.g.
+
+\verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%|
+
+\section{musixhv}\label{helvetica}
+
+
+Replaces the default Computer Modern text fonts by Helvetica (sans serif) fonts;
+see Section~\ref{UserFonts}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixhv
+...
+\end{verbatim}\end{quote}
+
+The usual ``small'' type commands are supported:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{smalltype} & 8pt \\
+\keyindex{Smalltype} & 9pt \\
+\keyindex{normtype}& 10pt \\
+\keyindex{medtype} & 12pt \\
+\end{tabular}
+\end{quote}
+For all of these, the following variants are supported:
+\begin{quote}
+\begin{tabular}{ll}
+\verb|\rm| & ``Roman'' (sans serif) \\
+\verb|\bf| & bold \\
+\verb|\it| & ``italic'' (oblique) \\
+\verb|\bi| & ``bold-italic'' (bold-oblique) \\
+\verb|\sc| & small capitals\\
+\end{tabular}
+\end{quote}
+The ``big'' type commands are as follows:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{bigtype} & 14pt\\
+\keyindex{Bigtype} & 17pt\\
+\keyindex{BIgtype}& 20pt\\
+\keyindex{BIGtype} & 25pt\\
+\end{tabular}
+\end{quote}
+The default variant for all of these is 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|
+command in the \verb\soul\ package.
+
+
+The following bold-oblique fonts for dynamic marks are defined:
+\begin{quote}\begin{tabular}{lr}
+\keyindex{ppffsixteen} & 10pt\\
+\keyindex{ppfftwenty} & 12pt \\
+\keyindex{ppfftwentyfour} & 14pt \\
+\keyindex{ppfftwentynine} & 17pt \\
+\keyindex{tinyppff} & 8pt \\
+\keyindex{smallppff} & 10pt \\
+\keyindex{normppff} & 12pt \\
+\keyindex{medppff} & 14pt \\
+\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
+
+\makeatletter
+\catcodesmusic
+%\def\vnotes#1\elemskip{\noteskip#1\@l@mskip \multnoteskip\scal@noteskip
+% \not@s}
+
+%\def\not@s{\def|{\nextstaff}\def&{\nextinstrument}\normaltranspose\transpose
+% \check@nopen\notes@open\@ne
+% \kern\n@skip\advance\x@skip\n@skip \locx@skip\x@skip
+% \n@skip\noteskip \noinstrum@nt\z@ \begininstrument}
+
+%\def\en{\@ndstaff\notes@open\z@
+% \ifx\@ne\V@sw \widthtyp@\z@\t@rmskip \let\V@sw\empty \fi}
+
+\def\double#1{\roffset{1.2}{\advancefalse#1}#1}
+\makeatother
+
+ % Don't know if this example correct ??? But looks nice...
+\begin{music}
+\ninerm
+\parindent0pt
+\instrumentnumber{2}
+\interstaff{11}
+\generalsignature2
+\setclefsymbol2\oldGclef
+\setstaffs1{2}
+\setclef1\bass
+\setinterinstrument1{-\Interligne}
+\startpiece
+\shortbarrules
+\addspace\afterruleskip
+\hardlyrics{Il nous a sign\'es de son
+ }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics*\Hpause h1\en
+\qspace\qspace
+\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\double{\cnql i}\en
+\bar
+\hardlyrics{Et nous avons \'e-
+ }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics~-*\Hpause h1\en
+\qspace\qspace
+\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\double{\cnql i}\en
+\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cnqu g\en
+\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cnqu f\en
+\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\double{\cnqu h}\en
+\bar
+\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cnqu h\en
+\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cnql k\en
+\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\double{\cnql j}\en
+\bar
+\NOTEs\zhl K\hu a|\zhl f\hu k&\tx ~~ia !*\cnhl k\en
+\sepbarrules
+\endpiece
+
+\startpiece
+\interbarrules
+\addspace\afterruleskip
+\hardlyrics{Il nous a sign\'es de son
+ }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics*\Hlonga h1\en
+\qspace\qspace
+\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\chl i\en
+\bar
+\hardlyrics{Et nous avons \'e
+ }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics~-*\Hlonga h1\en
+\qspace\qspace
+\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\chl i\en
+\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cqu g\en
+\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cqu f\en
+\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\chu h\en
+\bar
+\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cqu h\en
+\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cql k\en
+\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\chl j\en
+\bar
+\NOTEs\zbreve K\breve a|\zbreve f\breve k&\tx ~~ia !*\zbreve k\en
+\sepbarrules
+\endpiece
+\end{music}
+\endcatcodesmusic
+
+ This package provides:
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item\keyindex{oldGclef} which replaces the ordinary G clef with an old one,
+using (for instrument 2 as an example):
+ \verb|\settrebleclefsymbol2\oldGclef|
+
+ \item\keyindex{cqu} $p$ provides a square headed quarter note with stem up at
+pitch $p$.
+
+ \item\keyindex{cql} $p$ provides a square headed quarter note with stem down at
+pitch $p$.
+
+ \item\keyindex{chu} $p$ provides a square headed half note with stem up at
+pitch $p$.
+
+ \item\keyindex{chl} $p$ provides a square headed half note with stem down at
+pitch $p$.
+
+ \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square
+headed
+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{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.
+
+ \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...
+ \end{itemize}
+
+ \section{musixlyr} \ixtt{musixlyr.tex}
+ Enables the recommended method for adding lyrics to a score (see Section~\ref{musixlyr}).
+
+ \section{musixmad} \ixtt{musixmad.tex} Increases the number of
+instruments, slurs and beams up to twelve. When using this extension, it is
+not necessary to explicitly input \verb|musixadd.tex|.
+If you need greater numbers of these elements, see Sections~\ref{musixmad_setmaxgroups},
+\ref{musixmad_setmaxinstruments_ccxviiibeams},
+\ref{musixmad_setmaxoctlines},
+\ref{musixmad_setmaxslurs} and
+\ref{musixmad_setmaxtrills}.
+
+\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}.
+The \verb\musixtnt\ package is distributed separately from \verb\musixtex\.
+
+In general the effect of \verb|\TransformNotes(|\textit{input}\verb|}{|\textit{output}\verb|}|
+is that subsequent notes commands in the source will expect their arguments
+to match the \textit{input} pattern but
+the notes will be typeset according to the \textit{output} pattern.
+
+For example,
+\begin{verbatim}
+ \TransformNotes{#2&#3&#4&#5}{#2&#3&#5}
+\end{verbatim}
+would be appropriate for a four-instrument score (arguments \verb|#2|, \verb|#3|, \verb|#4|, and \verb|#5|, separated by three
+\verb\&\s, but the third instrument (\verb|#4|) will be discarded.
+
+The instrument/staff numbers in the first argument must start at $2$ and increase
+consecutively, using \verb|&| (or \| for multi-staff instruments) as a separator.
+The reason that the segment identifiers start at $2$ is that the first argument for \keyindex{vnotes}
+is a spacing parameter.
+
+It is
+essential that every \verb|\znotes|, \verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc.\@ command in
+the score match the pattern of the first argument to \keyindex{TransformNotes} exactly; for example,
+too few (or too many)
+note segments will result in unintentionally discarded material and possibly compilation failure.
+Similarly, it is not possible to use \keyindex{nextinstrument}, \keyindex{nextstaff}, \keyindex{selectinstrument} or \keyindex{selectstaff}, or to hide the \verb|&| (or \|) tokens inside
+a user-defined macro.
+An auxiliary program \verb|msxlint| distributed in the \verb\musixtnt\ package can be used to detect such incompatibilities.
+
+\keyindex{TransformNotes} may be used anywhere between \keyindex{startpiece}
+and the command that ends the piece.
+
+\subsection{Extracting single-instrument parts from multi-instrument scores}
+
+To extract
+a single-instrument part from a (copy of a) multi-instrument \musixtex\ score:
+\begin{itemize}
+\item Set \verb|\nbinstrument| to 1; for example, with command \verb|\instrumentnumber1|.
+\item Use \keyindex{TransformNotes} to discard all but one of the note segments in notes
+commands.
+For example, the following line placed after
+\verb|\startpiece| (but before any note commands) would be appropriate for a
+four-instrument score and will result in a single-instrument part for the second of
+these:
+\begin{verbatim}
+ \TransformNotes{#2&#3&#4&#5}{#3}
+\end{verbatim}
+\end{itemize}
+Caveats:
+\begin{itemize}
+\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 ensuring that tempo and roadmap markings (\textbf{D.C.}, \textbf{Fine}, etc.) are in
+ the appropriate instrument segment;
+\end{itemize}
+\item
+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\fixprt\
+automates this process (for single-staff instruments only).
+\end{itemize}
+
+\subsection{Other applications}
+
+The \keyindex{TransformNotes} macro may be used for other purposes. Here are some examples:
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2&#3}{#2&\transpose+7#3}|
+\end{list}
+will begin transposing\index{transpose@{\Bslash transpose}} just the second instrument (argument \verb|#3|).
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2|\|\verb|#3&#4}{#2|\|\verb|#3&\tinynotesize#4}|
+\end{list}
+will begin typesetting the notes of the second instrument (\verb|#4|) in tiny size.
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2&#3}{#3&#2}|
+\end{list}
+will switch the order of the two instruments.
+\begin{list}{}{}\item
+ \verb|\TransformNotes{#2&#3}{#2&#3}|
+\end{list}
+will restore normal two-instrument processing.
+
+
+The \keyindex{TransformNotes} macro is currently not compatible with the
+\texttt{musixlyr} extension
+package for lyrics described in Section~\ref{musixlyr}. For extracting or omitting parts
+in scores with lyrics, use the techniques described in Chapter~\ref{parts}.
+
+
+\section{musixper}\label{perc}
+
+Provides special symbols intended for percussion parts. Included are a
+\ital{drum clef}---comprising two vertical parallel lines---and notes with
+various specially shaped heads. The note symbols that are available are as
+follows:
+
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item The \raise.5ex\hbox{\musixchar113}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a
+``\verb|dc|'' (think of {\it d}iagonal {\it c}ross).
+Available are
+\keyindex{dcqu},
+\keyindex{dcql},
+\keyindex{dcqb},
+\keyindex{dczq},
+\keyindex{dccu},
+\keyindex{dcccu},
+\keyindex{dccl} and
+\keyindex{dcccl}.
+
+ \item The \raise.5ex\hbox{\musixchar112}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a
+``\verb|dh|''
+(think of {\it d}iagonal cross {\it h}alf open).
+Available are
+\keyindex{dhqu},
+\keyindex{dhql},
+\keyindex{dhqb},
+\keyindex{dhzq},
+\keyindex{dhcu},
+\keyindex{dhccu},
+\keyindex{dhcl} and
+\keyindex{dhccl}.
+
+ \item The \raise.5ex\hbox{\musixchar111}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a
+``\verb|do|''
+(think of {\it d}iagonal cross {\it o}pen).
+Available are
+\keyindex{doqu},
+\keyindex{doql},
+\keyindex{doqb},
+\keyindex{dozq},
+\keyindex{docu},
+\keyindex{doccu},
+\keyindex{docl} and
+\keyindex{doccl}.
+
+ \item The \raise.5ex\hbox{\musixchar114}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|x|'' (e.g.\ for spoken text of songs).
+Available are
+\keyindex{xqu},
+\keyindex{xql},
+\keyindex{xqb},
+\keyindex{xzq},
+\keyindex{xcu},
+\keyindex{xccu},
+\keyindex{xcl} and
+\keyindex{xccl}.
+
+ \item The \raise.5ex\hbox{\musixchar115}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|ox|'' .
+Available are
+\keyindex{oxqu},
+\keyindex{oxql},
+\keyindex{oxqb},
+\keyindex{oxzq},
+\keyindex{oxcu},
+\keyindex{oxccu},
+\keyindex{oxcl} and
+\keyindex{oxccl}.
+
+ \item The \raise.5ex\hbox{\musixchar118}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|ro|'' (think of {\it r}h{\it o}mbus).
+Available are
+\keyindex{roqu},
+\keyindex{roql},
+\keyindex{roqb},
+\keyindex{rozq},
+\keyindex{rocu},
+\keyindex{roccu},
+\keyindex{rocl} and
+\keyindex{roccl}.
+
+ \item The \raise.5ex\hbox{\musixchar116}~{}~symbol which is obtained using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by
+``\verb|tg|'' (think of {\it t}rian{\it g}le).
+Available are
+\keyindex{tgqu},
+\keyindex{tgql},
+\keyindex{tgqb},
+\keyindex{tgzq},
+\keyindex{tgcu},
+\keyindex{tgccu},
+\keyindex{tgcl} and
+\keyindex{tgccl}.
+
+ \item The \raise.5ex\hbox to 1em{\musixchar117\hfil}~{}~symbol which is obtained
+using the
+\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded by
+``\verb|k|'' .
+Available are
+\keyindex{kqu},
+\keyindex{kql},
+\keyindex{kqb},
+\keyindex{kzq},
+\keyindex{kcu},
+\keyindex{kccu},
+\keyindex{kcl} and
+\keyindex{kccl}.
+ \end{itemize}
+
+The diamond shaped noteheads described in Section~\ref{diam} are also
+available, because \verb|musixper.tex| inputs \verb|musixdia.tex|.
+
+If any of the foregoing notes need to be dotted, you must use the explicit
+dotting macros \verb|\pt|, \verb|\ppt|, or \verb|\pppt| as described in
+Section~\ref{dots}.
+
+Since the usage of these note symbols is
+not standardized, it would be wise to include in the score a explanation
+of which symbol corresponds to which specific percussion instrument.
+
+A special \itxem{drum clef}---comprising two heavy vertical bars---can
+be made to replace the normal clef for the $n$-th intrument by saying
+\keyindex{setclefsymbol}\onen\keyindex{drumclef} .
+To cause this to appear at the right vertical position, the instrument should
+previously have been assigned a treble clef (or not explicitly assigned any
+clef, thereby giving it a treble clef by default).
+
+Percussion music might be written on a staff with either one or five lines.
+If there are several different percussions instruments it may be useful to
+use a five-line staff with a drum clef, and differentiate the instruments
+by the type of the note heads and the apparent
+pitch of the note on the staff. Here is an example of the
+latter\footnote{provided by Agusti {\sc Mart\'in Domingo}}:
+
+\medskip
+\begin{music}
+\generalmeter{\meterfrac44}
+\setclefsymbol1\drumclef
+\parindent0pt\startpiece
+\leftrepeat
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\setrightrepeat\endpiece
+\end{music}
+\noindent Its coding is
+ \begin{quote}\begin{verbatim}
+\begin{music}
+\instrumentnumber{1}
+\generalmeter{\meterfrac44}
+\setclefsymbol1\drumclef
+\parindent0pt\startpiece
+\leftrepeat
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en
+\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en
+\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en
+\bar
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en
+\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en
+\setrightrepeat\endpiece
+\end{music}
+ \end{verbatim}\end{quote}
+
+Here is an example of a single-line percussion staff using
+diamond-shaped note heads:
+
+\begin{music}
+\parindent 19mm
+\instrumentnumber{3}
+\setname1{keyboard} \setname2{drum} \setname3{monks}
+\setlines2{1}
+\setlines3{4}
+\setinterinstrument1{-2\Interligne}% less vertical space above
+\setinterinstrument2{-2\Interligne}% and below the percussion
+\sepbarrules
+\setsign1{-1} % one flat at keyboard
+\generalmeter{\meterfrac24}
+\setmeter3\empty
+\setclef3\alto
+\setclef1\bass
+\setstaffs12 % 2 staffs at keyboard
+\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3
+\setclefsymbol2\drumclef % cancel G clef at instrument 2
+\startextract
+\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\en\bar
+\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\en
+\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\en\bar
+\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\en
+\endextract
+\end{music}
+\noindent which is coded as follows:
+
+\begin{verbatim}
+\parindent 19mm
+\instrumentnumber{3}
+\setname1{keyboard} \setname2{drum} \setname3{monks}
+\setlines2{1}
+\setlines3{4}
+\setinterinstrument1{-2\Interligne}% less vertical space above
+\setinterinstrument2{-2\Interligne}% and below the percussion
+\sepbarrules
+\setsign1{-1} % one flat at keyboard
+\generalmeter{\meterfrac24}
+\setmeter3{\empty}
+\setclef3{\alto}
+\setclef1{\bass}
+\setstaffs1{2} % 2 staffs at keyboard
+\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3
+\setclefsymbol2{\drumclef} % cancel G clef at instrument 2
+\startextract
+\end{verbatim}
+
+% (DAS) Sorry, guys, I couldn't figure out how to get the |'s to work in this
+% verbatim.
+%
+\vskip-11pt
+\def\Vert{{\tt\char'174}}
+\noindent\verb|\Notes\hu F|\Vert\verb|\zh c\hu h&\dnq4&\squ{acd}\en\bar|\\
+\verb|\NOtes\qu I|\Vert\verb|\zq N\qu d&\qp&\diapunc f\en|\\
+\verb|\NOtes\qu J|\Vert\verb|\zq a\qu e&\ynq4&\diapunc f\en\bar|\\
+\verb|\notes\hu G|\Vert\verb|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\en|\\
+\verb|\endextract|
+
+ \section{musixplt}\index{musixplt@{\tt musixplt.tex}}\label{palatino}
+Replaces the default Computer Modern text fonts by Palatino fonts;
+see Section~\ref{UserFonts}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixplt
+...
+\end{verbatim}\end{quote}
+
+The usual ``small'' type commands are supported:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{smalltype} & 8pt \\
+\keyindex{Smalltype} & 9pt \\
+\keyindex{normtype}& 10pt \\
+\keyindex{medtype} & 12pt \\
+\end{tabular}
+\end{quote}
+For all of these, the following variants are supported:
+\begin{quote}
+\begin{tabular}{ll}
+\verb|\rm| & Roman \\
+\verb|\bf| & bold \\
+\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:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{bigtype} & 14pt\\
+\keyindex{Bigtype} & 17pt\\
+\keyindex{BIgtype}& 20pt\\
+\keyindex{BIGtype} & 25pt\\
+\end{tabular}
+\end{quote}
+The default variant for all of these is 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|
+command in the \verb\soul\ package.
+
+
+The following bold-italic fonts for dynamic marks are defined:
+\begin{quote}\begin{tabular}{lr}
+\keyindex{ppffsixteen} & 10pt\\
+\keyindex{ppfftwenty} & 12pt \\
+\keyindex{ppfftwentyfour} & 14pt \\
+\keyindex{ppfftwentynine} & 17pt \\
+\keyindex{tinyppff} & 8pt \\
+\keyindex{smallppff} & 10pt \\
+\keyindex{normppff} & 12pt \\
+\keyindex{medppff} & 14pt \\
+\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
+\keyindex{ccup},
+\keyindex{zccup},
+\keyindex{cclp},
+\keyindex{zcclp},
+\keyindex{ccupp},
+\keyindex{zccupp},
+\keyindex{cclpp},
+\keyindex{zcclpp},
+\keyindex{cccup},
+\keyindex{zcccup},
+\keyindex{ccclp},
+\keyindex{zccclp},
+\keyindex{cccupp},
+\keyindex{zcccupp},
+\keyindex{ccclpp},
+\keyindex{zccclpp},
+\keyindex{ccccup},
+\keyindex{zccccup},
+\keyindex{cccclp},
+\keyindex{zcccclp},
+\keyindex{ccccupp},
+\keyindex{zccccupp},
+\keyindex{cccclpp} and
+\keyindex{zcccclpp}.
+
+ \section{musixppff}\label{musixppff}\index{musixppff@{\tt musixppff.tex}}
+
+This replaces the default definitions used for dynamic marks to use a ``mini-font''
+\verb\xppff10\ designed by Hiroaki \textsc{Morimoto}. It is used as follows:
+
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixppff
+...
+\end{verbatim}\end{quote}
+\noindent The new dynamic marks are as follows:
+\font\xppff=xppff10
+\begin{quote}
+\xppff
+pppp\ ppp\ pp\ p\ mp\ mf\ f\ fp\ sf\ ff\ fff\ ffff\ sfz\ sfzp
+\end{quote}
+Note that the \verb|xppff10| font has defined glyphs only for the following five characters: f, m, p, s and~z;
+use \keyindex{ppff} etc.\@
+for other bold-italic text in music.
+
+ \section{musixps}\label{musixps}\index{musixps@{\tt musixps.tex}}
+ Activates type K Postscript slurs, ties, and hairpins; see Chapter~\ref{PostscriptSlurs}.
+
+ \section{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}}
+ Provides bowing and other symbols for \itxem{string instruments}\footnote{provided
+by Werner {\sc Icking}}. The symbol can be posted at the desired position using
+ \verb|\zcharnote|\pitchp\verb|{|$command$\verb|}|. The available symbols and
+their meanings are as follows:
+
+{\input musixstr
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+
+ \item[\hbox to 1em{\AB}~: \keyindex{AB} or \keyindex{downbow}] down-bow
+
+ \item[\hbox to 1em{\AUF}~: \keyindex{AUF} or \keyindex{upbow}] up-bow
+
+ \item[\hbox to 1em{\SP}~: \keyindex{SP}] at the top of bow
+
+ \item[\hbox to 1em{\FR}~: \keyindex{FR}] at the nut of bow
+
+ \item[\GB\ or \Gb~: \keyindex{GB} or \keyindex{Gb}] whole bow
+
+ \item[\UH\ or \Uh~: \keyindex{UH} or \keyindex{Uh}] lower half of bow
+
+ \item[\OH\ or \Oh~: \keyindex{OH} or \keyindex{Oh}] upper half of bow
+
+ \item[\MI\ or \Mi~: \keyindex{MI} or \keyindex{Mi}] middle of bow
+
+ \item[\UD\ or \Ud~: \keyindex{UD} or \keyindex{Ud}] lower third of bow
+
+ \item[\OD\ or \Od~: \keyindex{OD} or \keyindex{Od}] upper third of bow
+
+ \item[\Pizz~: \keyindex{Pizz}] left hand pizzicato or trill
+
+ \end{description}\end{quote}
+ }
+
+ %\check
+ \section{musixsty}\index{musixsty@{\tt musixsty.tex}}
+
+ Provides certain text-handling facilities for titles, footnotes, and other
+items not related to lyrics. It should not be used with \LaTeX. It includes
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item definitions of \keyindex{hsize}, \keyindex{vsize},
+\keyindex{hoffset}, \keyindex{voffset} suitable for A$4$ paper; those using
+other sizes may wish to modify it once and for all;
+ \item a set of text size commands:
+
+ \begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm},
+\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to $8$ point font size;
+ \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm},
+\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to $10$ point font size;
+ \item[\keyindex{twlpoint}] (or \keyindex{twelvepoint}) to get $12$ point font size;
+ \item[\keyindex{frtpoint}] to get $14.4$ point font size;
+ \item[\keyindex{svtpoint}] to get $17.28$ point font size;
+ \item[\keyindex{twtypoint}] to get $20.74$ point font size;
+ \item[\keyindex{twfvpoint}] to get $24.88$ point font size;
+ \end{description}
+ \item commands for creating titles:
+ \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{author} or
+\keyindex{fullauthor} to be put at the right of the first page, below the
+title of the piece; the calling sequence is, for example
+
+ \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}|
+
+ \noindent where the \verb|\\| causes the author's name to be displayed on
+two lines;
+
+ \item \keyindex{shortauthor} to be put at the bottom of each page;
+ \item \keyindex{fulltitle} which is the main title of the piece;
+ \item \keyindex{subtitle} is displayed below the main title of the piece;
+ \item \keyindex{shorttitle} or \keyindex{title}
+ which is the title repeated at the bottom of each page;
+ \item \keyindex{othermention} which is displayed on the left of the page,
+vertically aligned with author's name. It may contain \verb|\\| to display it on
+several lines;
+ \item \keyindex{maketitle} which displays all the previous stuff;
+ \end{itemize}
+
+ \item commands for making \itxem{footnotes}:
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item The normal Plain-\TeX\ \keyindex{footnote} command, which has two
+arguments---not just one as in \LaTeX\protect\index{LATEX@\LaTeX}---namely
+the label of the footnote, which can be any sequence of characters, and
+the text of the footnote. This command does not work inside
+boxes, so it cannot be issued within music;
+
+ \item The \keyindex{Footnote} command, which counts the footnotes and uses a
+number as the label of the footnote (equivalent to \LaTeX's \verb|\footnote|
+command). The same restriction as with \verb|\footnote| applies concerning
+its use within the music coding;
+
+ \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which
+places a footnote at the bottom of the current page, but does not put
+the footnote label at the place the command is entered in the main text. This
+also may not be used within music, but if a footnote is needed whose reference
+lies inside the music, it can be entered in two steps:
+ \begin{enumerate}
+ \item manually insert the reference inside the music, using e.g., \verb|zcharnote|;
+ \item post the footnote itself with \verb|\vfootnote| outside the music,
+either before \keyindex{startpiece} or between \keyindex{stoppiece} and
+\keyindex{contpiece} or equivalent commands.
+ \end{enumerate}
+
+ \end{itemize}
+
+ \end{itemize}
+
+ \section{musixtmr}\index{musixtmr@{\tt musixtmr.tex}}\label{times}
+ Replaces the default Computer Modern text fonts by Times fonts;
+ see Section~\ref{UserFonts}.
+Use as follows:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixtmr
+...
+\end{verbatim}\end{quote}
+
+The usual ``small'' type commands are supported:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{smalltype} & $8$pt \\
+\keyindex{Smalltype} & $9$pt \\
+\keyindex{normtype}& $10$pt \\
+\keyindex{medtype} & $12$pt \\
+\end{tabular}
+\end{quote}
+For all of these, the following variants are supported:
+\begin{quote}
+\begin{tabular}{ll}
+\verb|\rm| & Roman \\
+\verb|\bf| & bold \\
+\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:
+\begin{quote}
+\begin{tabular}{lr}
+\keyindex{bigtype} & $14$pt\\
+\keyindex{Bigtype} & $17$pt\\
+\keyindex{BIgtype}& $20$pt\\
+\keyindex{BIGtype} & $25$pt\\
+\end{tabular}
+\end{quote}
+The default variant for all of them is Roman;
+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|
+command in the \verb\soul\ package.
+
+
+The following bold-italic fonts for dynamic marks are defined:
+\begin{quote}\begin{tabular}{lr}
+\keyindex{ppffsixteen} & 10pt\\
+\keyindex{ppfftwenty} & 12pt \\
+\keyindex{ppfftwentyfour} & 14pt \\
+\keyindex{ppfftwentynine} & 17pt \\
+\keyindex{tinyppff} & 8pt \\
+\keyindex{smallppff} & 10pt \\
+\keyindex{normppff} & 12pt \\
+\keyindex{medppff} & 14pt \\
+\end{tabular}\end{quote}
+
+The default font for typesetting \keyindex{txt} and \keyindex{tuplettxt}
+arguments
+is \keyindex{eightit} (\verb|8pt| italic).
+
+ \section{musixtri}\index{musixtri@{\tt musixtri.tex}}
+Provides triply dotted note symbols.
+Available are:
+\keyindex{lpppt},
+\keyindex{whppp},
+\keyindex{zwppp},
+\keyindex{huppp},
+\keyindex{hlppp},
+\keyindex{zhppp},
+\keyindex{zhuppp},
+\keyindex{zhlppp},
+\keyindex{quppp},
+\keyindex{qlppp},
+\keyindex{zquppp},
+\keyindex{zqlppp},
+\keyindex{zqppp},
+\keyindex{cuppp},
+\keyindex{zcuppp},
+\keyindex{clppp},
+\keyindex{zclppp},
+\keyindex{qbppp} and
+\keyindex{zqbppp}.
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex
new file mode 100644
index 00000000000..e2d8c297fe3
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex
@@ -0,0 +1,101 @@
+\chapter{Extracting Parts from a Multi-Instrument Score}\label{parts}
+From the typesetting viewpoint, the major characteristic of orchestral and
+chamber music is that the scores not only have several instruments, but
+variants of the same basic score are needed in which one of the instruments is
+highlighted while some others are typeset in smaller notes or are
+omitted.
+Of course, it must be possible to permute the highlighted instruments and
+the small-type instruments or
+omitted instruments, depending on the instrument to which the
+version of the score is dedicated.
+
+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}
+ To make a ``selectable'' orchestral score you must prepare the master score
+(i.e., the score with all instruments typed) as follows:
+
+ \begin{enumerate}
+ \item Avoid referring to instrument numbers with roman
+numerals. For example use \verb|\setclefs|~$n$ instead of
+\verb|\cleftoksiii=| .
+ \item Introduce symbolic names for the instruments; for example, define:
+ \begin{verbatim}
+ \def\Piano{1}%
+ \def\Flute{2}%
+ \def\Oboe{3}%
+ \def\Soprano{4}%
+ \end{verbatim}
+and code, for example
+ \smallskip
+
+ \verb|\setstaffs\Piano2| rather than \verb|\setstaffs12|.
+
+ \item If, initially, the Piano is the instrument number 1, replace all
+\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc., with
+\verb|\notes\selectinstrument\Piano|, \verb|\Notes\selectinstrument\Piano|,
+\verb|\NOtes\selectinstrument\Piano|, etc.
+
+ \item Instead of using \verb|&| or \verb|\nextinstrument| to move to
+instrument $n+1$, use \verb|\selectinstrument\Flute| and similar instead.
+ \end{enumerate}
+For example,
+\begin{verbatim}
+ \Notes\selectinstrument\Piano ... | ...
+ \selectinstrument\Flute ...
+ \selectinstrument\Oboe ...
+ \selectinstrument\Soprano ... \en
+\end{verbatim}
+With this coding, difficult things such as putting the Flute above the Oboe
+are done easily: just say \verb|\def\Flute{3}| and \verb|\def\Oboe{2}|.
+
+ \section{Selecting, hiding or putting instruments in the background}
+
+ To put, for example, the Flute and the Oboe in the background, i.e., typesetting
+them in small notes, state at the beginning:
+ \begin{quote}
+ \verb|\setsize\Flute\tinyvalue\setsize\Oboe\tinyvalue|
+ \end{quote}
+where the value \keyindex{tinyvalue} for \keyindex{setsize} corresponds to notes and staffs
+of size \keyindex{tinynotesize}.
+ If, instead of putting an instrument in the background, one wants to omit it,
+this is done by:
+ \begin{quote}
+ \verb|\setstaffs\Flute{0}\setstaffs\Oboe{0}|
+ \end{quote}
+since nothing is typeset for
+instruments having \emph{zero} staffs (not to be confused with one-line staffs such
+as percussions).
+
+ \section{Recommendations}
+ \begin{itemize}
+ \item When hiding instruments, reduce
+\keyindex{instrumentnumber} by the number of hidden instruments; otherwise
+bars and leading braces will enclose the position of these dummy arguments,
+which would be ugly.
+
+ \item Exchange the actual instrument numbers so that hidden instruments have
+numbers \emph{greater} than the value of \verb|\instrumentnumber|.
+ Hidden instruments with numbers
+less than \verb|\instrumentnumber| will cause an excess of vertical
+space at their phantom positions; this is not
+recommended.
+
+ \item In hidden instruments, rests no longer behave like \verb|\hbox{...}| and
+\verb|raise|-ing them will result in an error.
+
+ \item In hidden instruments, explicit \verb|\hbox|es will remain as empty
+boxes, thus causing abnormal vertical spacings between instruments. Therefore,
+anything suspect should be made conditional with:
+
+\begin{quote}
+\keyindex{ifactiveinstrument}\ \textit{code to be omitted if instrument is hidden}\ \verb|\fi|
+\end{quote}
+Most \musixtex{} commands become properly hidden if requested. But
+problematic
+parts of code can nonetheless be protected with \verb|\ifactiveinstrument|.
+
+ \end{itemize}
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex
new file mode 100644
index 00000000000..2a3a0037cd5
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex
@@ -0,0 +1,212 @@
+\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},
+\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,
+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.
+When \musixtex\ is started, the default font for ordinary text is
+ten point Roman, equivalent to \verb|\normtype\rm|.
+
+Another group of fonts, in bold extended italic style, is predefined in point sizes
+$10$, $12$, $14$, and $17$ for dynamic markings. The appropriate font for the current
+staff size may be selected simply by using \keyindex{ppff} as a
+font specification. Macros \verb|\smalldyn|, \verb|\normdyn|, or \verb|\meddyn| may be
+used to redefine \verb|\ppff| to represent one of the smallest three.
+
+
+All predefined fonts are summarized in Table~\ref{predefinedfonts}. The second column gives an
+explicit control sequence that can alternatively be used locally as a font specification.
+\font\csmalltype=cmr8
+\font\csmalltypebf=cmbx8
+\font\csmalltypeit=cmti8
+\font\cSmalltype=cmr9
+\font\cSmalltypebf=cmbx9
+\font\cSmalltypeit=cmti9
+\font\cnormtype=cmr10
+\font\cnormtypebf=cmbx10
+\font\cnormtypeit=cmti10
+\font\cmedtype=cmr12
+\font\cmedtypebf=cmbx12
+\font\cmedtypeit=cmti12
+\font\cbigtype=cmbx12 scaled \magstep1
+\font\cBigtype=cmbx12 scaled \magstep2
+\font\cBIgtype=cmbx12 scaled \magstep3
+\font\cBIGtype=cmbx12 scaled \magstep4
+\font\cppffsixteen=cmbxti10
+\font\cppfftwenty=cmbxti10 scaled \magstep1
+\font\cppfftwentyfour=cmbxti10 scaled \magstep2
+\font\cppfftwentynine=cmbxti10 scaled \magstep3
+\font\cbigtype=cmbx12 scaled \magstep1
+\font\cBigtype=cmbx12 scaled \magstep2
+\font\cBIgtype=cmbx12 scaled \magstep3
+\font\cBIGfont=cmbx12 scaled \magstep4
+\begin{table}
+\begin{center}
+ \begin{tabular}{lll}
+ \hline
+ Size and style & Font specification & Example \\
+ \hline
+ \verb|\smalltype| & \verb|\eightrm| & {\csmalltype small Roman} \\
+ \verb|\smalltype\bf| & \verb|\eightbf| & {\csmalltypebf small bold} \\
+ \verb|\smalltype\it| & \verb|\eightit| & {\csmalltypeit small italic} \\
+ \verb|\Smalltype| & \verb|\ninerm| & {\cSmalltype Small Roman} \\
+ \verb|\Smalltype\bf| & \verb|\ninebf| & {\cSmalltypebf Small bold} \\
+ \verb|\Smalltype\it| & \verb|\nineit| & {\cSmalltypeit Small italic} \\
+ \verb|\normtype| & \verb|\tenrm| & {\cnormtype normal Roman} \\
+ \verb|\normtype\bf| & \verb|\tenbf| & {\cnormtypebf normal bold} \\
+ \verb|\normtype\it| & \verb|\tenit| & {\cnormtypeit normal italic}\\
+ \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|\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]
+ \hline
+ \end{tabular}
+\end{center}
+\caption{Predefined fonts}
+\label{predefinedfonts}
+\end{table}
+
+\section{User-defined text fonts}
+
+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
+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
+in any \TeX\ document, e.g., by coding \verb|\font blafont=bla10| and then
+\verb|\zchar{10}{\blafont Text in user-defined font}|.
+
+You might also wish to replace once and for all the typefaces invoked by the
+commands described in the previous section. Again, before doing this, you must
+follow steps (a-c) of the previous paragraph for all fonts in questions.
+\label{UserFonts}
+You can use the standard bitmapped fonts which are converted to
+Postscript by e.g.,~\verb|dvips|, but you also may replace them
+by native Postscript fonts.
+
+The extension library
+\verb|musixtmr.tex|\footnote{by Hiroaki {\sc Morimoto}}
+replaces the default Computer Modern text fonts by
+the Times series of fonts; see Section~\ref{times}.
+Other extension libraries, \verb|musixplt.tex| and \verb|musixhv.tex|, replace the default text fonts by
+Palatino and Helvetica fonts, respectively; see Sections~\ref{palatino} and \ref{helvetica}.
+\font\tnormtype=ptmr7t
+\font\tnormtypebf=ptmb7t
+\font\tnormtypeit=ptmri7t
+\font\tbigtype=ptmr7t scaled \magstep2
+\font\tBigtype=ptmr7t scaled \magstep3
+\font\pnormtype=pplr8r
+\font\pnormtypebf=pplb8r
+\font\pnormtypeit=pplri8r
+\font\pbigtype=pplrc8r at 14pt
+\font\pBigtype=pplrc8r at 17pt
+\font\hnormtype=phvr8r at 10pt
+\font\hnormtypebf=phvb8r at 10pt
+\font\hnormtypeit=phvro8r at 10pt
+\font\hbigtype=phvr8r at 14pt
+\font\hBigtype=phvr8r at 17pt
+Here is a comparison of some Times,
+Palatino and Helvetica fonts:
+\begin{center}
+ \begin{tabular}{lll}
+ \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 } \\
+ {\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}.
+
+\section{Text placement}\label{textplacement}
+Special macros are provided to allow precise placement of any \TeX\ text, vertically
+relative to the staff, and horizontally relative to any note in
+the staff.
+
+The macros in the first group will vertically position the text with the
+baseline at any specified pitch or staff line. They must be used
+inside \verb|\notes...\en|. They will not insert any additional
+horizontal space. They have the forms
+\keyindex{zcharnote}\pitchp\verb|{|\ital{text}\verb|}|, \keyindex{lcharnote}\pitchp\verb|{|\ital{text}\verb|}|,
+and \keyindex{ccharnote}\pitchp\verb|{|\ital{text}\verb|}|,
+where \ital{p} is the pitch. With the first one, text will spill to the right
+from the current insertion point, with the second it will spill to the left, and with the
+third it will be centered horizontally.
+The following abbreviations are available:
+\begin{quote}
+\begin{tabular}{lcl}
+\keyindex{zcn}& for&\verb|\zcharnote| \\
+\keyindex{lcn}& for&\verb|\lcharnote| \\
+\keyindex{ccn}& for&\verb|\ccharnote| \\
+\end{tabular}
+\end{quote}
+
+There are similar macros \keyindex{zchar}\pitchp\verb|{|\ital{text}\verb|}|,
+\keyindex{lchar}\pitchp\verb|{|\ital{text}\verb|}|, and \keyindex{cchar}\pitchp\verb|{|\ital{text}\verb|}|,
+which differ from the previous three in that the pitch \ital{must} be given with
+a number (representing the number of staff positions up from the lowest line),
+and that the number need not be an integer.
+
+To vertically position any text midway between two consecutive staves, use
+\keyindex{zmidstaff}\verb|{|{\it text}\verb|}|, \keyindex{lmidstaff}\verb|{|{\it text}\verb|}|,
+or \keyindex{cmidstaff}\verb|{|{\it text}\verb|}| at the appropriate point in the lower staff.
+
+The macros \keyindex{uptext}\verb|{|\ital{text}\verb|}| and
+\keyindex{Uptext}\verb|{|\ital{text}\verb|}|
+are simply shorthands for
+\verb|\zchar{10}{|\ital{text}\verb|}| and
+\verb|\zchar{14}{|\ital{text}\verb|}|,
+respectively.
+
+The text items handled by all of the above macros can include any appropriate
+string of \TeX\
+control sequences, including font definitions, \verb|\hbox|'es, etc.
+
+Material posted with any of the macros described in this section will not
+create any additional horizontal or vertical space within the current system,
+and will overwrite anything in the current system that gets in the way. It is
+the typesetter's responsibility to ensure there is adequate white space
+within the current system to accommodate any text placed with
+these macros. On the other hand, if text is placed far above or below a
+system, \musixtex\ will usually insert additional vertical space if needed.
+
+\section{Rehearsal marks}
+
+Rehearsal marks are usually
+boxed or circled uppercase letters or digits. They can be defined using the macros
+\keyindex{boxit}\verb|{|\ital{text}\verb|}| or
+\keyindex{circleit}\verb|{|\ital{text}\verb|}|. For boxed text,
+the margin between the text and box is controlled by the dimension
+register \keyindex{boxitsep}, which can be reset to any \TeX\ dimension if the
+default value of \verb|3pt| is unsatisfactory. To place the mark, use \verb|\Uptext| or
+any of the other macros defined in the previous section.
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex
new file mode 100644
index 00000000000..c0f52919c24
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex
@@ -0,0 +1,135 @@
+\title{\Huge\bfseries\musixtex\\[\bigskipamount]
+\LARGE\bfseries Using \TeX{} to write polyphonic\\or
+instrumental music\\\Large\itshape Version 1.16}
+
+
+%\author{\Large\rm Daniel \sc Taupin\\\large\sl
+% Laboratoire de Physique des Solides\\\normalsize\sl
+% (associ\'e au CNRS)\\\normalsize\sl
+% b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\\medskip
+% \\\Large\rm Ross \sc Mitchell\\\large\sl
+% CSIRO Division of Atmospheric Research,\\\normalsize\sl
+% Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip
+% \\\Large\rm Andreas \sc Egler\\\large\sl
+% (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum}
+\date{\today}
+\maketitle
+\vfill
+\thispagestyle{empty}
+\begin{flushright}\it
+If you are not familiar with \TeX{} at all, I would recommend\\
+to find another software package to do musical typesetting.\\
+Setting up \TeX{} and \musixtex\ on your machine and mastering it is\\
+an awesome job which gobbles up a lot of your time and disk space.\\[\medskipamount]
+But, once you master it\ldots\\[\smallskipamount]
+Hans {\sc Kuykens} (ca.~1995)
+
+\vspace*{4ex}
+In my humble opinion, that whole statement is obsolete.\\[\smallskipamount]
+Christof\/ {\sc Biericher} (2006)
+\end{flushright}
+
+\clearpage
+
+\pagenumbering{roman}\setcounter{page}{2}
+
+
+\vspace*{20ex}
+\begin{quote}
+\musixtex{} may be freely copied, duplicated and used in conformance to
+the GNU General Public License (Version 2, 1991, see included file {\tt
+copying})\footnote{Thanks to the Free Software Foundation for advice. See
+\href{http://www.gnu.org}{\underline{\tt http://www.gnu.org}}}.
+
+You may take it or parts of it to include in other packages, but no packages
+called \musixtex{} without specific suffix may be distributed under the name
+\musixtex{} if different from the original distribution (except obvious bug
+corrections).
+
+ Adaptations for specific implementations (e.g., fonts) should be provided as
+separate additional \TeX\ or \LaTeX\ files which override original definitions.
+ \end{quote}
+
+\clearpage
+
+\chapter*{Preface}
+\addcontentsline{toc}{chapter}{Preface}
+\musixtex\ was developed by Daniel Taupin, Ross Mitchell and Andreas
+Egler,
+building
+on earlier work by Andrea Steinbach and Angelika Schofer.
+Unfortunately, Daniel Taupin, the main developer, died all too early in a 2003
+climbing accident. The \musixtex\ community was shocked by this tragic and unexpected
+event. You may read tributes to Daniel Taupin that are archived at the
+\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}.
+
+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.
+The current version~1.16 (February~2015) incorporates some minor
+corrections in cautionary accidentals and ``hiding'' staffs. The package
+includes
+new extension libraries for use of Palatino text fonts, the EC variants
+of Computer Modern fonts, additional accents and improved dynamic marks.
+This manual is the definitive reference to all features of
+\musixtex\ version~1.16.
+
+Novice users should not start here.
+Most
+music typesetting tasks can be accomplished entirely by using the \textbf{PMX}
+(for instrumental music) or \mbox{\textbf{M-Tx}} (for vocal music)
+preprocessors to generate the \musixtex\ input file, relieving the user of
+learning any of the commands or syntax of \musixtex\ itself. It is only
+for out-of-the-ordinary constructions that one must learn these details in order
+to insert the necessary \musixtex\ commands into the preprocessor's input file
+as so-called inline \TeX.
+
+The \href{http://icking-music-archive.org/software/indexmt6.html}
+{\underline{Werner Icking Music Archive}}\ (WIMA) contains excellent and detailed
+instructions for installing \TeX, \musixtex{} and the strongly recommended
+preprocessors \textbf{PMX}
+and \mbox{\textbf{M-Tx}} on
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00022000000000000000}
+{\underline{Linux/\unix}},
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00021000000000000000}
+{\underline{Windows}} and
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00023000000000000000}
+{\underline{Mac OS}}.
+See
+\href{http://icking-music-archive.org/software/htdocs/Introduction.html#SECTION00012000000000000000}
+{\underline{this}}
+page at WIMA for documentation of
+\textbf{PMX} and \mbox{\textbf{M-Tx}}.
+
+\begin{flushright}
+Oliver Vogel\\ Don Simons\\ Andre van Ryckeghem\\ Cornelius Noack\\
+Hiroaki Morimoto\\
+Bob Tennent\\ \today
+\end{flushright}
+
+\clearpage
+
+\makeatletter
+\renewcommand\tableofcontents{%
+ \if@twocolumn
+ \@restonecoltrue\onecolumn
+ \else
+ \@restonecolfalse
+ \fi
+ \chapter*{\contentsname
+ \@mkboth{%
+ \contentsname}{\contentsname}}%
+ \addcontentsline{toc}{chapter}{Contents} % added by RDT
+ \@starttoc{toc}%
+ \if@restonecol\twocolumn\fi
+ }
+\makeatother
+
+
+%\begin{small}
+\tableofcontents
+%\end{small}
+
+\clearpage
+\setcounter{page}{1}
+\pagenumbering{arabic}
+\renewcommand{\thepage}{\arabic{page}}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/index.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/index.tex
new file mode 100644
index 00000000000..c56508b6d8f
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/index.tex
@@ -0,0 +1,10 @@
+\makeatletter
+\renewenvironment{theindex}
+ {\pagestyle{plain}\parindent\z@
+ \parskip\z@ \@plus .3\p@\relax
+ \let\item\@idxitem}
+ {\thispagestyle{plain}}
+\makeatother
+\begin{multicols}{3}[\chapter*{Index}\addcontentsline{toc}{chapter}{Index}]
+ \printindex
+\end{multicols}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex
new file mode 100644
index 00000000000..d54dbf23351
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex
@@ -0,0 +1,823 @@
+\chapter{Introduction to \musixtex}
+
+This chapter is not a tutorial on the use of \musixtex, but instead serves as
+an overview of some of its capabilities, quirks, and history.
+
+\musixtex\ is a set of macros and fonts which enables music typesetting
+within the \TeX\ system. It requires as a prerequisite a working
+installation of \TeX.
+\musixtex\ might be regarded as the digital equivalent of a box of type. It
+contains symbols for staves, notes, chords, beams, slurs and ornaments,
+ready to be arranged to form a sheet of music. But it must be told how to position
+those symbols on the page. This could be done by the typesetter
+himself, if he or she elects to proceed by entering \musixtex\ commands manually
+into an input file. However most users will find it far less taxing to let
+such decisions be made largely by the preprocessor
+\href{http://icking-music-archive.org/software/indexmt6.html#pmx}
+{\underline{\textbf{PMX}}}, which in addition uses a much simpler input
+language than \musixtex.
+
+Lyrics can also be handled by \musixtex. There is a set of primitive
+commands for this which are described later. But there is also a far
+more adaptable set of macros contained in the extension file
+\verb|musixlyr.tex|, and there is the preprocessor
+\href{http://icking-music-archive.org/software/indexmt6.html#mtx}
+{\underline{\mbox{\textbf{M-Tx}}}}\ which provides easy, transparent access to
+these macros.
+
+Most users of \TeX\ are familiar with \LaTeX, a set of \TeX\ macros
+which eases document layout. In fact many may only use \LaTeX.
+Until recently, \LaTeX\ and \musixtex\ coexisted only grudgingly, owing
+primarily to the limited availabily of storage registers. But with modern
+versions of \TeX\ and with the use of e\LaTeX, only a modest increase in
+complexity is incurred with the addition of musical excerpts to a \LaTeX\
+document. Still, fortunately, for typesetting a musical score there is
+rarely if ever any advantage to using \LaTeX. Only if one wanted to create a
+text document with embedded musical examples would there be much use for it.
+Even in that case there is a perfectly fine way to avoid using \musixtex\
+directly in the document file, namely, by using \musixtex\ to create
+\verb|pdf| or \verb|eps| files for
+each of the examples, and then embedding references to those in the file for
+the larger document. But for anyone who still wants to use both together, there is
+no better example than this manual, as generated with the files
+\verb|musixdoc.tex| and \verb|musixdoc.sty|. A few further details about such
+nonstandard applications are given in Section~\ref{excerpts}.
+
+\section{Primary features of \musixtex}
+ \subsection{Music typesetting is two-dimensional} Written music is not
+usually a linear sequence of symbols like a literary text. Rather,
+except for unaccompanied single-note instruments like clarinets,
+trumpets and human voices, it has the form of a two-dimensional matrix.
+ Thus, a logical way of coding music consists
+in horizontally accumulating a set of \ital{vertical combs} with
+\ital{horizontal teeth} as depicted in Table~\ref{readtable}.
+%\def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}}
+ \begin{table}
+ \begin{center}
+ \small
+ \renewcommand{\arraystretch}{1.4}
+ \setlength{\arrayrulewidth}{1.5pt}
+ \setlength{\tabcolsep}{2ex}
+ \begin{tabular}{|ll|ll|}\fbox{note sequence one}
+ &\fbox{note seq.\ four}
+ &\fbox{note seq.\ seven}
+ &\fbox{note seq.\ ten}\\\fbox{note sequence two}
+ &\fbox{note seq.\ five}
+ &\fbox{note seq.\ eight}
+ &\fbox{note seq.\ eleven}\\\fbox{note sequence three}
+ &\fbox{note seq.\ six}
+ &\fbox{note seq.\ nine}
+ &\fbox{note seq.\ twelve}\\
+ \end{tabular}
+ \end{center}
+ \caption{A logical way of coding music}\label{readtable}
+ \end{table}
+Accordingly, in \musixtex\ the fundamental macro used to represent
+one of those vertical combs (or one of the columns in Table~\ref{readtable})
+is of the form
+\begin{center}
+\verb|\notes ... & ... & ... \en|\footnote{The command
+\keyindex{en} is an abbreviation for the command \keyindex{enotes}, which may also be used.}
+\end{center}\index{"&@{\tt\char'046}}
+\noindent where the character \verb|&| is used to separate the notes to be
+typeset on respective staves of the various instruments, starting from the
+bottom.
+
+In the case of an instrument whose score has to be written with
+several staves, they are separated by the
+character \|\index{\tt\char'174@{\tt\char'174}}.
+
+Thus, a score written for a keyboard instrument and
+a single-line instrument (e.g., piano and violin)
+will be coded as follows:
+\begin{center}
+\verb=\notes ... | ... & ...\en=
+\end{center}
+\noindent for each column of simultaneous \ital{groups of notes}.
+Each of those groups, represented by a single box in Table~\ref{readtable}\
+and by a sequence of three dots in the the two example macros above, may contain
+not only chord notes to be played simultaneously, but short sequences of
+consecutive
+notes or chords. As we'll soon see, this implies the need for two fundamentally different
+kinds of basic macros in \musixtex: those whose tokens are automatically followed
+by some amount of space (called \ital{spacing} macros), and those that are not.
+The former type, for example,
+would be used to produce the notes and rests in a single-line score;
+the latter would be used, for example, for chord notes and ornaments.
+
+\subsection{Horizontal spacing}
+Deciding upon the proper horizontal spacing of notes is a very complicated matter
+that we will not address in any detail here. Obviously short-duration notes
+should be closer together than longer ones. Almost as obviously, the spacing
+cannot be linearly proportional to the duration; otherwise for example a whole
+note would occupy 32 times as much horizontal space as a thirty-second note. And
+in polyphonic scores the spacing in one staff is often influenced by the notes
+in another. This is a decision that the typesetter or preprocessor
+must make. Once the decision is made, \musixtex\ can provide the desired spacing.
+The main mechanism is through a set of macros described in
+Section~\ref{newspacings}. At this point we shall only mention that to control
+spacing, one of those
+macros will be selected to replace the symbol \verb|\notes| in the two examples
+above, and it will imply that whenever a spacing macro in encountered within
+a group of notes, a
+certain specific amount of horizontal space will be inserted.
+
+ \subsection{Music tokens}
+The tokens provided by \musixtex\ include
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item note symbols without stems;
+ \item note symbols with stems, and flags for eighth notes and
+shorter;
+ \item beam beginnings and endings;
+ \item beginnings and endings of ties and slurs;
+ \item accidentals;
+ \item ornaments: arpeggios, trills, mordents, turns, staccatos,
+pizzicatos, fermatas, etc.;
+ \item bar lines;
+ \item meters, key signatures, clefs.
+\end{itemize}
+For example, \verb|\wh a| produces a whole note at nominal frequency 222.5~Hz,
+\verb|\wh h| produces one an octave higher, \verb|\qu c|
+produces an up-stemmed quarter note C (250~Hz), and \verb|\cl J| produces a down-stemmed C
+eighth note an octave lower.
+
+ To generate chords with solid note heads, the non-spacing macro \keyindex{zq}
+can be used. It produces a solid note head at the specified pitch,
+the vertical position of which
+is memorized and recalled whenever the next stemmed note (possibly with a flag) is
+coded. The stem length is automatically adjusted to link all simultaneous notes. Thus, the
+\mbox{C-major} chord
+
+\begin{music}\nostartrule
+\startextract\NOtes\zq{ceg}\qu j\en\zendextract
+\end{music}
+ \noindent is coded \verb|\zq c\zq e\zq g\qu j| or more concisely,
+\verb|\zq{ceg}\qu j|; the \verb|u| in the spacing note macro
+\verb|\qu| is what generates the upstem.
+
+ \subsection{Beams}
+Each beam \index{beams} is generated by a pair of macros. The first defines
+the beginning horizontal position (implicitly the current position), altitude,
+direction (upper or lower), multiplicity (number of lateral bars), slope and
+reference number. This latter feature is needed so independent beams
+can overlap. The second macro of the pair specifies the termination
+location (again implicitly) and the reference number.
+
+ \subsection{Setting anything on the score}
+A general macro (\keyindex{zcharnote}) provides a means of
+putting any sequence of symbols (possibly contained in an \verb|\hbox{...}|) at any
+pitch of any staff of any instrument. This allows any symbol defined in a font
+(letters, math symbols, etc.) to be placed in the score at a position keyed
+to the music both in time (horizontally) and pitch (vertically) on the staff,
+\section{A simple example}
+ Before going into more detail, we give below an example of the two first
+bars of the sonata in \mbox{C-major} KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc
+Mozart, W.A.}}:
+
+\begin{music}
+\parindent11mm
+\setname1{Piano}
+\setstaffs12
+\generalmeter{\meterfrac44}
+\startextract
+\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en
+\bar
+\Notes\ibu0f0\qb0{dgf}|\qlp i\en
+\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en
+\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+\zendextract
+\end{music}
+ The coding is as follows:
+\begin{quote}\begin{verbatim}
+\begin{music}
+ \parindent10mm
+ \instrumentnumber{1} % a single instrument
+ \setname1{Piano} % whose name is Piano
+ \setstaffs1{2} % with two staffs
+ \generalmeter{\meterfrac44} % 4/4 meter chosen
+ \startextract % starting real score
+ \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+ \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en
+ \bar
+ \Notes\ibu0f0\qb0{dgf}|\qlp i\en
+ \notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en
+ \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en
+ \zendextract % terminate excerpt
+\end{music}
+ \end{verbatim}\end{quote}
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \verb|\ibu0f0| begins an upper beam, aligned on the
+\ital{f}, reference number 0, slope 0
+ \item \verb|\tbu0| terminates this beam before writing
+the second \ital{g} by means of \verb|\qb0g|
+ \item \verb|\qb..| indicates a note belonging to a beam.
+ \item \verb|\sk| sets a space between the two quarters in the right
+hand, so that the second one is aligned with the third eighth in the left hand.
+ \item\verb|\qlp| is a dotted quarter note.
+ \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C}
+(\verb|j| at this pitch) with slope 15\%.
+\end{itemize}
+
+\section{The three pass system}\label{threepass}
+\subsection{Introduction}
+\TeX's line-breaking procedure implicitly assumes
+that a normal line of text will contain many words, so that inter-word
+glue need not stretch or shrink too much to justify the line.
+One might at first consider extending this to music, treating each bar like a
+word with no stretchable internal space. But typically this would lead to unsightly
+gaps before each bar rule, simply because the number of bars per line
+is normally many fewer than the number of words in a line of text.
+\musixtex\ needs a more sophisticated horizontal spacing algorithm
+than is used in \TeX.
+
+To understand how \musixtex\ solves this problem, we have to
+recognize two different kinds of horizontal space, \ital{hard}\ and
+\ital{scalable}. Hard space is fixed and always represents the same
+physical distance.
+Examples of hard space are the widths of bar rules, clefs,
+and key signatures. Scalable space can be stretched as needed. It
+is what is normally used for the space after notes or rests. At the
+outset it is only defined in a relative sense. In other words,
+scalable spaces are defined as multiples of \verb|\elemskip|, an
+initially undefined basic spacing unit. For example, in \textbf{PMX}\
+all sixteenth notes
+are typically assigned a scalable width of \verb|1.41\elemskip|.
+One main job of \musixtex\ is to compute the physical value of
+\verb|\elemskip|, often expressed in points (72nds of an inch).
+The correct value is that which makes all the scalable space on
+a line just fill up what's not occupied by hard space. Obviously
+it may vary from line to line.
+
+To this end a three pass system was developed. To start the
+first pass on the file \verb|jobname.tex|, you would enter\footnote{
+In many cases it will suffice to run {\tt tex}, but with \musixtex~1.15,
+it is possible to create a file requiring the enhanced capacity of
+{\tt etex}. Since {\tt etex} can handle any file {\tt tex} can, it's best
+always to use {\tt etex}.}
+\verb|etex jobname|.
+Information about each bar is written to
+an external file named \verb|jobname.mx1|.
+This file begins with a header containing parameters
+such as line width and paragraph indentation. Then the hard and
+scalable space is listed for each bar.
+\index{scalable width}\index{hard width}
+
+The second pass, which is started with \verb|musixflx jobname|,
+determines optimal values of the basic spacing unit \verb|\elemskip|
+for each line, so as to properly fill each line, and to spread
+the piece nicely over an integral number of full lines. This routine was originally written
+in \textsc{fortran} rather than \TeX, the main reason
+being the lack of an array handling capability in \TeX; the current version
+of \verb|musixflx| is a \textsc{lua} script, which may be executed without
+compilation in any standard \TeX\ system.
+
+\verb|musixflx| reads in the file \verb|jobname.mx1|, and writes its
+output to \verb|jobname.mx2|. The latter file contains a single entry for
+each line of music in the reformatted output. The key piece of information
+is the revised value of \keyindex{elemskip} for each line.
+
+Next, the file is \TeX-ed again, by entering \verb|etex jobname|. On this third pass,
+the \verb|jobname.mx2| file is read in, and the information
+is used to physically define the final score and embed the
+page descriptions into a \verb|dvi|\ file.
+
+You may wonder how the same command can
+cause something different to happen the second time it is issued. The explanation
+is that \musixtex\ checks for the presence of \verb|jobname.mx2|. If it's
+not present, the first pass is executed; if it is, the third pass. Obviously if
+you've made some corrections that affect any horizontal spacing, you must remember
+to delete the old \verb|jobname.mx2| and then rerun all three passes, or
+build or use a script that does so.
+
+\subsection{An example}
+
+Here's an example. Here, no value for \verb|\elemskip| is explicitly specified,
+so \musixtex\ assigns a single, default value. After the first pass you might get
+the following output:
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\setsign1{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\raggedstoppiece\contpiece% this is cheated, the problem was to get
+% pass 1 and pass 3 at the same time
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\raggedstoppiece\contpiece
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\setdoubleBAR\raggedstoppiece
+\end{music}
+
+\noindent Note that the space after every quarter note is the same, and
+that lines are not justified.
+After running \verb|musixflx| and \TeX-ing the second time you'll
+get:
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\Endpiece
+\end{music}
+
+\noindent Now \musixtex\ has determined a number of lines
+(which is different from the original number), the lines are justified,
+and if you look carefully you
+can see that the space after quarters in the first line
+is smaller than in the second. This example was coded as:
+\begin{verbatim}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en\bar
+\NOtes\qu{gh}\en\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en\bar
+\NOtes\qu{^f=f}\en\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en\bar
+\Notes\ttie0\Qqbu ed{_d}c\en\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar
+\NOtes\qu c\qp\en\Endpiece
+\end{verbatim}
+
+\subsection{Adjusting the layout}
+
+One benefit of the 3-pass system is the quick and easy
+alteration to the layout which can be achieved
+by changing only one parameter, namely \keyindex{mulooseness}. This value
+acts analogously to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you
+state \verb|\looseness=-1| somewhere inside any paragraph, then
+\TeX\ will try to make the paragraph one line shorter than it normally would.
+With \verb|\mulooseness|, \musixtex\ does the same, but for \ital{systems}
+and \ital{sections} rather than lines and paragraphs. A system is just a group of
+staves treated as a unit, and in this discussion is analogous to a line of text.
+What is a \ital{section}? It's any chunk of coding not containing a
+forced system break, System breaks can be forced with
+\keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece},
+\keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne}
+\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage}. If none
+of these is present, the section comprises the whole piece.
+Somewhere\footnote{Advisably, at the beginning or
+at the end of the section, for the sake of clarity.}
+before the end of the section, you can change the value of
+\keyindex{mulooseness} to something different from the default of 0, and
+\musixtex\ will typeset that section with a different number of systems.
+
+To give an easy example, changing the last line in the previous example to:
+\begin{verbatim}
+\NOtes\qu c\qp\en\mulooseness=1\Endpiece
+\end{verbatim}
+yields:
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\mulooseness1\Endpiece
+\end{music}
+
+\noindent On the other hand,
+\begin{verbatim}
+\NOtes\qu c\qp\en\mulooseness=-1\Endpiece
+\end{verbatim}
+yields
+
+\begin{music}
+\hsize=100mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt
+\generalsignature{-3}
+\nostartrule
+\startpiece\bigaccid
+\NOtes\qu{ce}\en
+\bar
+\NOtes\qu{gh}\en
+\bar
+\NOtes\qu{=b}\en
+\Notes\ds\cu g\en
+\bar
+\NOtes\qu{^f=f}\en
+\bar
+\NOtes\qu{=e}\itied0e\qu{_e}\en
+\bar
+\Notes\ttie0\Qqbu ed{_d}c\en
+\bar
+\Notes\ibu0b{-2}\qb0{=b}\en
+\notes\nbbu0\qb0{=a}\tqh0N\en
+\Notes\Dqbu cf\en
+\bar
+\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en
+\bar
+\NOtes\qu c\qp\en
+\mulooseness-1\Endpiece
+\end{music}
+
+\noindent which is tighter than you would ever want, but serves to further
+demonstrate the use of \keyindex{mulooseness}.
+
+If you want to build up a \musixtex\ input file
+manually (which in fact very few users will ever need to do, considering the
+availability of \textbf{PMX}), here is a roadmap for one way to proceed:
+\begin{enumerate}
+ \item Enter the data one \verb|\notes| group at a time, taking care to select the
+relative horizontal spacing for each group (via the macros discussed in Section~\ref{newspacings})
+so as to maintain a consistent relationship between scalable space and note durations.
+This will be discussed in a great deal more detail in Chapter~\ref{preparing}.
+ \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX.
+ \item Look at the output and decide if you want to have more or fewer
+systems, e.g.,~to fill the page or to get an even number of
+pages.\index{musixflx@{\tt musixflx}}
+ \item If you want to change the number of systems in a section, adjust
+\keyindex{mulooseness} accordingly. Keep in mind that each section cannot have fewer
+systems than bars.
+\item Delete \verb|jobname.mx2| and repeat the process\\
+\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX.
+
+\end{enumerate}
+
+There is an alternate way to proceed if you know at the outset
+how many systems
+you want in a section. You can specify it directly by assigning a
+positive number to \keyindex{linegoal} somewhere within the
+section (\verb|\linegoal| requires
+version 0.83 or later of \verb|musixflx|).
+\keyindex{mulooseness} must be zero
+for \keyindex{linegoal} to work. Both are automatically reset to
+zero after processing the end of a section e.g., as defined by
+\keyindex{stoppiece}.
+
+Finally, for large scores (more than 4 pages or so), having
+only one section and an overall value of \verb|\mulooseness| becomes
+impractical since one wants not only to have nicely spaced systems, but also
+completely filled pages without empty top and
+bottom margins on the last page. It is then wise to force the total number of
+pages and possibly the line breaks in each page, which can be done using
+\keyindex{alapage} and/or \keyindex{alaligne}\footnote{This is the technique
+always used by \textbf{PMX} in constructing a \musixtex\ input file.}.
+%avrb
+%, or more automatically by
+%means of the \keyindex{autolines} command borrowed from \musictex\ and
+%implemented in the additional {\ttxem{musixcpt.tex}} file
+%avre
+
+There is another advantage to \musixtex's way of using scalable space and
+the three pass system. In
+\TeX nical terms it eliminates the need for \ital{glue}, and enables
+every horizontal position in a line to be computed. This in turn enables certain
+variable length symbols such as slurs to be specified by macros entered at
+their beginning and ending points, rather than having to estimate the
+length of the symbol and enter it at the starting point.
+
+ \subsection{Using \texttt{musixflx}}
+
+On most systems, \verb|musixflx| can be invoked by typing the name of the program
+and the name of the file to be acted upon; i.e.,
+\begin{quote}
+\verb|musixflx jobname.mx1|
+\end{quote}
+Optionally, you can add a letter to indicate one of the debug modes, which are:
+\begin{quote}
+\verb|d | for debug information to screen\\
+\verb|f | for debug information to file \verb|jobname.mxl|\\
+\verb|s | to get the computed lines immediately on screen
+\end{quote}
+To allow for ease of use with scripts, \verb|musixflx| can be fed
+with either \verb|jobname.mx1|, \verb|jobname.tex| or only
+\verb|jobname|, any one of which will open \verb|jobname.mx1|.
+
+ \subsection{Unrecorded spaces: the novice's bugaboo}
+
+Because of the way \musixtex\ accounts for hard and scalable space and avoids
+using glue, it is absolutely essential that every horizontal space be
+properly entered into the input file. The most common error in this regard
+is including a blank space in the midst \ital{or at the end} of an input line.
+Such a blank space, or for that matter any stray character not entered with
+an appropriate \musixtex\ macro, will not be properly
+recognized and recorded by \musixtex, but it will still be treated like
+ordinary text by \TeX. The symptoms of such a transgression will be an
+{\bf Overfull hbox} warning during the third pass, and the appearance of
+either excessive blank horizontal space or thick black vertical lines in
+the page image.
+
+\medskip
+\centerline{\fbox{Considerable discipline is needed to avoid this problem!}}
+\smallskip
+
+The best technique for avoiding such unpleasantness is to avoid entering
+any nonessential blanks within input lines, and to end every
+input line with either \verb|%|\index{%@{\tt\char37}} or
+\keyindex{relax}, unless it already ends with a control sequence
+ending in a letter.
+
+There are other ways to enter unrecorded space which should be
+avoided. Between \verb|\startpiece| and \verb|\stoppiece| or
+\verb|\endpiece|, never use \verb|\hskip| or \verb|\kern| except
+within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|,
+\verb|\zcharnote|, \verb|\uptext|, etc., and never assign hard
+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}.
+
+Here is a checklist of tips related to spacing issues. Because the
+foregoing several paragraphs are so important, some of their content
+is repeated in the list.
+
+\begin{enumerate}
+ \item
+Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|,
+end every input line with a either \verb|%| or a command with no arguments
+(including \verb|\relax| and \verb|\en|).
+ \item \verb|\off| must only be used with scalable values, e.g.,
+\verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip|, and
+ \verb|\beforeruleskip|.
+ \item Remember that \verb|\qqsk|, \verb|\qsk| and \verb|\hqsk| are scalable, i.e., \verb|\qsk|
+ doesn't necessarily mean exactly one note head width (it depends on \verb|\elemskip|).
+ \item Lyrics and any other non-\musixtex\ text must be put in zero-width boxes
+such as
+ \verb|\zcharnote|, \verb|\zchar|, \verb|\rlap|, \verb|\lrlap|, \verb|\llap|,
+\verb|\uptext|, or \verb|\zsong|. Additional specific capabilities for entering
+lyrics are provided by
+ \verb|\hardlyrics|, \verb|\hsong|, and---most significantly---the
+text-placement macros defined in \verb|musixlyr.tex| (see Chapter~\ref{lyrics},
+p.~\pageref{lyrics}).
+ \item
+Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|,
+don't assign hard values to \verb|\noteskip|, \verb|\beforeruleskip|,
+or \verb|\afterruleskip|.
+\end{enumerate}
+
+
+\section{Further highlights}
+ %\check
+ \subsection{Key signatures}
+\begin{sloppypar}
+A single key signature can be assigned~to~all~instruments,~for~example~by
+\keyindex{generalsignature}\verb|{-2}|
+which sets two flats on each staff. \keyindex{generalsignature}
+can be overridden for selected instruments, for example by
+\keyindex{setsign}\verb|2{1}| which puts one sharp on each staff
+of instrument number 2. Of course, the current signature as well
+as meters and clefs may change at any time.\end{sloppypar}
+\subsection{Transposition}
+With some extra attention, a score can be input in such a way that it is
+fairly easily transposed. There is an internal register
+called \keyindex{transpose}, the default value of which is zero, but which may be
+set to any reasonable positive or negative value. It defines a number of pitch
+steps (lines or spaces on a staff) by which all pitched symbols with be offset, provided
+they have been entered with letter values to represent their pitch.
+However,
+it will neither change the local accidentals nor the key signature.
+
+For
+example, suppose a piece were originally input in F major, and it contained a
+B natural, and you wanted to transpose it to G. If you simply set
+\verb|\transpose| to 1 with no other special considerations, then
+the key signature would not change, and
+the B~natural would appear as a C~natural, whereas it should be a C~sharp.
+So first you must explicitly change the key signature. Then, to
+solve the problem with accidentals, you should declare
+\verb|\relativeaccid|, which will cause the actual appearance of any
+accidental to depend on the pitch of
+the accidental as well as the current key signature. But the use of this
+facility requires the typesetter to have entered the original set of accidentals
+according to a nonstandard convention wherein an accidental does not
+specifically refer to the black or white keys on a piano, but to the
+amount by which the pitch is altered up or down from what it would naturally
+have been, taking the key signature into account.\index{relative accidentals} This
+is discussed in more detail in Section~\ref{transposeaccids}. Now, finally, you
+can enter \verb|\transpose=1| with more or less the desired effect.
+
+More or less, because there is also an issue with stem
+and beam directions. Normally a typesetter would want full control over them,
+and would exercise that control by entering them with macros that explicitly
+assign the direction. Naturally the assigned directions would persist
+even after changing \verb|\transpose|. With respect to stems of unbeamed notes,
+this matter can also be addressed at
+the input level, by using special macros for notes that leave the
+decision about stem directions up to \musixtex. These macros do the right
+thing in the face of transposition. They are discussed in
+Chapter~\ref{autostemdirections}. Unfortunately there is no corresponding
+such facility for beams, so the typesetter will have to edit the transposed
+score to adjust beam directions as required\footnote{\textbf{PMX}
+will automatically adjust both stem and beam directions when transposing, which
+is yet another reason to use it. However
+if a piece is to be transposed, the typesetter must still explicitly activate relative accidentals
+and enter accidentals according to the relative-accidental convention.}.
+
+ %\check
+ \subsection{Extracting parts from a score}
+It is possible to extract separate scores for
+each individual instrument of a multi-instrument score.
+If you use \textbf{PMX}, it is very easy;
+see the documentation for \textbf{PMX}.
+If you use \musixtex\ without a preprocessor,
+see Chapter~\ref{parts}.
+
+%After assigning symbolic numbers to instruments,
+%there are macros (see \ref{instrum-inhibit}) that permit
+% \begin{itemize}\setlength{\itemsep}{0ex}
+% \item choosing which instrument the following source code is attached to,
+% \item choosing which staff of an instrument the following source code is
+%attached to,
+% \item hiding one or several instruments by zeroing out their staff sizes and staff
+%numbers.
+% \end{itemize}
+
+ %\check
+ \subsection{Staff and note sizes}
+ Although the standard staff size is 20pt, \musixtex\ allows scores with
+sizes of 16, 24, or 29pt. Furthermore, any instrument may be assigned its own special staff
+size (usually smaller than the overall staff size), and there are special macros
+(e.g., \verb|\smallnotesize|, \verb|\tinynotesize|) that cause notes, beams, and
+accidentals all to take a different size.
+
+\subsection{Add-in macro libraries}
+During the early stages of \musixtex's development, common versions of \TeX\ itself were
+very limited in capacity, especially in terms of the numbers of registers that could
+be defined for use in macros. For this historical reason, many important enhancements
+to \musixtex\ are available only via add-in libraries. The user can thus pick and choose
+which to include for any particular compilation. Most of these are included in
+a \musixtex\ distribution, and their uses are discussed in this manual. The
+libraries have names like \verb|blabla.tex|, and are activated by including a line
+like \verb|\input blabla|\ within the the input file. The most common such files
+are \ttxem{musixadd.tex} and \ttxem{musixmad.tex} which respectively increase the
+number of instruments from the default 6 to 9 or 12 as well as increasing available numbers
+of other features; \verb|musixps.tex| which enables Type~K Postscript slurs; and
+\verb|musixlyr.tex| which greatly eases typesetting lyrics. In fact the latter two,
+while now included in \musixtex\ distributions, are not documented in this manual but
+in separate files, namely \verb|musixps.tex| itself and
+\verb|mxlyrdoc.pdf| respectively.
+
+
+\section{Installing and Using \musixtex}\label{using}
+
+As stated in the preface,
+the \href{http://icking-music-archive.org/software/indexmt6.html}
+{\underline{Werner Icking Music Archive}}\ (WIMA) contains excellent and detailed
+instructions for installing \TeX, \musixtex{} and the strongly recommended
+preprocessors \textbf{PMX}
+(for instrumental music) and \mbox{\textbf{M-Tx}} (for vocal music) under
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00022000000000000000}
+{\underline{Linux/\unix}},
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00021000000000000000}
+{\underline{Windows}} and
+\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00023000000000000000}
+{\underline{Mac OS}}.
+
+As stated in Section~\ref{threepass}, to compile a \musixtex-formatted score, you must run
+in sequence \verb|etex|, \verb|musixflx|,
+and \verb|etex| again. This will produce a \verb|.dvi| file. From this point
+forward, this file can be processed like the device-independent output file
+for any \TeX\ document. The most common approach and the only one to
+be discussed here is to next generate a Postscript file. This is accomplished
+by running \verb|dvips|, which is included in every \TeX\ system. To view the
+Postscript, most users run {\tt GSview} or {\tt gv}, a front-end to {\tt ghostscript}, which must
+be separately downloaded and installed. Finally, you may produce a PDF file
+using \verb|ps2pdf| or GSview, and view that with any PDF viewer, such as
+the Adobe Reader or {\tt GSview}.
+
+You also can view the \verb|.dvi| file directly using a DVI viewer such as Yap or \verb|xdvi|,
+but, if you are using type K Postscript slurs, some DVI viewers will not display them.
+
+Rather than executing all the foregoing programs separately, most users will
+find it more convenient to use the \verb|musixtex| script that comes in most
+distributions of \musixtex. For example,
+
+\verb|musixtex jobname|
+
+\noindent will run the three passes described in Section~\ref{threepass},
+convert the result to PDF and delete intermediate files.
+There are many options available to
+change the behavior; run
+
+\verb|musixtex --help|
+
+\noindent to get a summary.
+
+
+\section{Where to get help using \musixtex}
+
+The home base for all matters related to \musixtex\ is the
+Werner Icking Music Archive, at
+\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}.
+There is a
+\href{http://tug.org/mailman/listinfo/tex-music}{\underline{mailing list}},
+hosted by TUG, the \TeX\ Users Group, where you will always find
+someone willing to answer questions and help solve problems.
+
+ \section{A very brief history of \musixtex}
+The idea of using \TeX\ to typeset music appears to have originated
+around 1987 with the master's thesis of Andrea
+{\sc Steinbach} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer
+A., \ital{Automatisierter Notensatz mit \TeX}, master's thesis,
+Rheinische Friedrich-Wilhelms Universit\"at,
+Bonn, Germany, 1987}. They called their package
+\mutex\index{mutex@\protect\mutex}. It was limited to a single staff.
+It introduced two key concepts: (1) using
+a large number of font characters to construct beams and slurs, and (2) using
+\TeX\ glue to help control horizontal spacing and justification.
+
+The next major step came around 1991 when Daniel {\sc Taupin} created \musictex.
+Its major enhancement was to allow multiple staves. But this came at a
+price: some flexibility was lost in controlling horizontal spacing and
+a great deal of trial and error became necessary to avoid excessive or
+insufficient gaps before and after bar lines.
+
+\musictex\ was a single-pass system. To remedy its shortcomings it became clear
+that a multi-pass system would be required. Around 1997 Dr.~Taupin along with Ross {\sc Mitchell}
+and Andreas {\sc Egler} created the first version of \musixtex. At last a fully
+automatic procedure was coded so as to provide pleasing horizontal spacing in
+multi-staff scores.
+
+Significant enhancements to \musixtex, which have already been mentioned, have been provided
+by Stanislav {\sc Kneifl} (Type~K Postscript slurs) and
+Rainer {\sc Dunker} (Lyrics handling via \verb|musixlyr.tex|).
+
+Since Dr.~Taupin passed away in 2003, \musixtex\ has been maintained by a
+varying cast including Olivier {\sc Vogel}, Hiroaki {\sc Morimoto},
+Bob {\sc Tennent}, Andre {\sc Van Ryckeghem},
+Cornelius {\sc Noack}, and Don {\sc Simons}.
+
+No discussion of the history of \musixtex\ would be complete without mentioning
+the contributions of Werner {\sc Icking}. From the early days of \mutex\ until
+his untimely death in 2001, he served this line of software as its most prominent
+proponent, beta tester, web site and mailing list editor, consultant,
+problem solver, and inspiration for
+many third-party enhancements including \textbf{PMX}. In fact he founded the
+mailing list and the archive that now is named in his honor. The web site is
+currently edited by Christian {\sc Mondrup}, the software page by Bob {\sc Tennent},
+and the mailing list by Maurizio {\sc Codogno}.
+
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex
new file mode 100644
index 00000000000..2c72dc1ed49
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex
@@ -0,0 +1,126 @@
+\chapter{Managing the Layout of your Score}
+\section{Line and page breaking}\label{linebreak}
+If every bar ends with \verb|\bar| and no other line- or page-breaking commands
+are used, then the external program \verb|musixflx| will decide where to insert
+line and page breaks. Line breaks will only come at bar lines. The total
+number of lines will depend on the initial value of \verb|\elemskip|, which by
+default is \verb|6pt| in \verb|\normalmusicsize|.
+
+You can force a line or page break by replacing \keyindex{bar} with
+\keyindex{alaligne} or \keyindex{alapage} respectively. On the other hand,
+to forbid line-breaking at a particular bar, replace \verb|\bar|
+with \keyindex{xbar}. To force a line or page break where there is
+no bar line, use \keyindex{zalaligne} or \keyindex{zalapage}. To mark any
+mid-bar location as an optional line-breaking point, use \keyindex{zbar}.
+
+The heavy final double bar of a piece is one of the consequences of
+\keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate
+the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}.
+To terminate it with no bar line at all, code \keyindex{zstoppiece}.
+
+Once you have stopped the score by any of these means, you may want to restart
+it, and there are several ways to do so. If you don't need to change the key
+signature, meter, or clef,
+you can use \keyindex{contpiece} for no indentation, or \keyindex{Contpiece}
+to indent by \keyindex{parindent}. If you do want to change some score
+attribute that takes up space, for example
+with \keyindex{generalsignature} after \verb|\stoppiece|, then to restart you
+must use \keyindex{startpiece}. However, if you don't want \verb|\barno| reset
+to 1, you must save its new starting value to \verb|\startbarno|. You may also
+wish to modify instrument names or \verb|\parindent| before restarting.
+
+Recall that thin-thin or thin-thick double bars or blank bar lines can be
+inserted without stopping by using the commands described in Section~\ref{doublebars}.
+Those commands can also be used before \verb|\stoppiece|,
+\verb|\alaligne|, or \verb|\alapage|
+
+\section{Page layout}
+Blank space above and below each staff is controlled by the dimension
+registers \keyindex{stafftopmarg} and \keyindex{staffbotmarg}. For more
+info see Chapter~\ref{LayoutParameters}.
+
+The macro \keyindex{raggedbottom} will remove all vertical glue and
+compact everything toward the top of page.
+In contrast, the macro \keyindex{normalbottom} will restore default
+behavior, in which vertical space between the systems is distributed
+so that the first staff
+on the page is all the way at the top and the last staff all the way at
+the bottom.
+
+The macro \keyindex{musicparskip} will allow the existing space between
+systems to increase by up to \verb|5\Interligne|.
+
+The following values of page layout parameters will allow the maximum material
+to fit on each page, provided the printer allows the margins that are implied.
+
+\begin{center}
+\begin{tabular}{|l|l|l|}\hline
+\multicolumn{1}{|c|}{A4}&\multicolumn{1}{|c|}{letter}&\multicolumn{1}{|c|}{A4 or letter}\\\hline
+\multicolumn{3}{|c|}{\tt\Bslash parindent= 0pt}\\\hline
+\multicolumn{3}{|c|}{\tt\Bslash hoffset= -15.4mm}\\\hline
+\multicolumn{3}{|c|}{\tt\Bslash voffset= -10mm}\\\hline
+\verb+\hsize= 190mm+&\verb+\hsize= 196mm+&\verb+\hsize= 190mm+\\\hline
+\verb+\vsize= 260mm+&\verb+\vsize= 247mm+&\verb+\vsize= 247mm+\\\hline
+\end{tabular}
+\end{center}
+%avre
+\zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset}
+\zkeyindex{hsize}\zkeyindex{vsize}
+
+
+\section{Page numbering, headers and footers}\index{page
+number}\index{footnote}
+
+There are no special page numbering facilities in \musixtex; you must rely on
+macros from plain \TeX. There is a count register in \TeX\ called
+\verb|\pageno|. It is always initialized to $1$ and incremented by one
+at every page break. By saying \keyindex{pageno}\verb|=|$n$, it can be reset to any
+value at any time, and will continue to be incremented from the new value.
+
+By default, \TeX\ will place a page number on
+every page, centered at the bottom. Unfortunately, this is not the preferred
+location according to any standard practice. To suppress this default
+behavior, say \keyindex{nopagenumbers}.
+
+One way to initiate page numbering in a more acceptable location is to take
+advantage of the facts that (a) \TeX\ prints the contents of the control sequences
+\keyindex{headline} and \keyindex{footline} at the top and bottom
+respectively of every page, and (b) the value of \verb|\pageno| can be printed by
+saying \keyindex{folio}. Therefore, for example, the following sequence of
+commands, issued anywhere before the end of the first page, will cause page
+numbers and any desired text to be printed at the top of every page,
+alternating between placement of the number at the left and right margins, and
+alternating between the two different text strings (the capitalized text in
+the example):
+
+\begin{quote}\begin{verbatim}
+\nopagenumbers
+\headline={\ifodd\pageno\rightheadline\else\leftheadline\fi}%
+\def\rightheadline{\tenrm\hfil RIGHT RUNNING HEAD\hfil\folio}%
+\def\leftheadline{\tenrm\folio\hfil LEFT RUNNING HEAD\hfil}%
+\voffset=2\baselineskip
+\end{verbatim}\end{quote}
+
+\section{Controlling the total number of systems and pages}\index{page/line layout}
+
+Once all the notes are entered into a \musixtex\ score, it would be convenient
+if there were a simple sequence of commands to
+cause a specified number of systems to be uniformly distributed over a
+specified number of pages. Unfortunately that's not directly
+possible\footnote{It \textit{is} possible in \textbf{PMX}.}.
+Rather, some trial and error will usually be required to achieve the desired final
+layout. To this end, some combination of the following strategies may be used:
+
+ \begin{enumerate}\setlength{\itemsep}{0ex}
+ \item Assign a value to the count register \keyindex{linegoal} representing
+the total number of systems. The count register \keyindex{mulooseness} must be $0$ if using
+\verb|\linegoal|.
+ \item Explicitly force line and page breaking as desired, using
+the macros \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|
+or \verb|\zalapage|.
+ \item Adjust both \keyindex{mulooseness} and the initial value of
+\keyindex{elemskip}: increasing \verb|\mulooseness| from its default of 0 will
+increase the total number of systems, while changing the initial value of
+\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) may change the
+total number of systems accordingly.
+ \end{enumerate}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/lyrics.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/lyrics.tex
new file mode 100644
index 00000000000..41d52fa221d
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/lyrics.tex
@@ -0,0 +1,407 @@
+\chapter{Lyrics}\index{lyrics}\label{lyrics}
+\musixtex{} itself doesn't manage lyrics very well. You should use
+\verb+musixlyr+ instead, a \musixtex\ extension package for lyrics handling by Rainer Dunker.
+The \TeX~source and
+\href{http://icking-music-archive.org/software/musixtex/add-ons/mxlyrdoc.pdf}
+{\underline{documentation}}~are included in the \musixtex~distribution.
+
+But first we recall briefly the older methods, which may still be useful when
+only a small number of words are involved.
+
+\section{Native lyrics method: placing single words}
+\subsection{Native \musixtex\ commands for lyrics}
+ \begin{enumerate}\setlength{\itemsep}{0ex}
+ \item An obvious solution is to use the commands
+\keyindex{zcharnote} (expanded to the right),
+\keyindex{lcharnote} (expanded to the left),
+\keyindex{ccharnote} (centered), to post the text at any position (computed in
+\verb|\internote|s) with respect to the lower line of the current staff.
+The pitch should be usually negative, to have the text below the staff.
+
+Example:\quad
+\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\zcharnote{N}{Word}\wh g\sk\en}}
+\quad is coded by \quad
+\verb|\zcharnote{N}{Word}\wh g|~.
+
+\item The vertical position can also be given with a number in the commands
+\keyindex{zchar} (expanded to the right),
+\keyindex{lchar} (expanded to the left),
+\keyindex{cchar} (centered). The number is internally multiplied by \verb|\internote|~.
+
+Example:\quad
+\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\cchar{-4}{Word}\wh g\sk\en}}
+\quad is coded by \quad
+\verb|\cchar{-5}{Word}\wh g|~.
+
+\item Of easier use are the commands \keyindex{zsong} (right of the note),
+\keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics
+at the lower staff line \ital{minus} the previous
+\keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These
+commands only have one argument, namely the lyrics text:
+%\begin{center}
+\keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad
+\keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad
+\keyindex{csong}\verb|{|\ital{text}\verb|}|
+%\end{center}
+ Depending on the values of the inter-instrument spacings and margins, the
+resulting vertical position might be inappropriate. Then it can be changed for
+any specific $n$-th instrument until further change using
+\begin{quote}
+\keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}|
+\end{quote}
+As an example, the following French song\\
+ \begin{music}
+ \generalsignature{1}
+ \startextract
+ \geometricskipscale
+ \NOtes\zsong{Au }\qu g\en
+ \NOtes\zsong{clair }\qu g\en
+ \NOtes\zsong{de }\qu g\en
+ \NOtes\zsong{la }\qu h\en
+ \bar
+ \NOTes\zsong{lu- }\hu i\en
+ \NOTes\zsong{ne, }\hu h\en
+ \bar
+ \NOtes\zsong{mon }\qu g\en
+ \NOtes\zsong{a- }\qu i\en
+ \NOtes\zsong{mi }\qu h\en
+ \NOtes\zsong{Pier- }\qu h\en
+ \bar
+ \NOTes\zsong{rot, }\wh g\sk\en
+ \endextract
+ \end{music}
+
+\noindent was coded as:
+\begin{quote}\begin{verbatim}
+ \generalsignature{1}
+ \startextract
+ \geometricskipscale
+ \NOtes\zsong{Au }\qu g\zsong{clair }\qu g\en
+ \NOtes\zsong{de }\qu g\zsong{la }\qu h\en\bar
+ \NOTes\zsong{lu- }\hu i\zsong{ne, }\hu h\en\bar
+ \NOtes\zsong{mon }\qu g\zsong{a- }\qu i\en
+ \NOtes\zsong{mi }\qu h\zsong{Pier- }\qu h\en\bar
+ \NOTes\zsong{rot, }\wh g\sk\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{enumerate}
+
+\subsection{Adapting note spacing for lyrics}
+
+The command \keyindex{hardlyrics}\verb|{longword}| provides a spacing that is equal to the length
+of the text argument \verb|{longword}|. In the same time the argument \verb|{longword}|
+is saved in \keyindex{thelyrics}
+
+As an example \quad
+\raisebox{0ex}[5ex][4ex]%
+{\musicintextnoclefn{\staffbotmarg2\Interligne%
+\hardlyrics{clair}\notes\hsong{\thelyrics}\wh g\en\notes\wh{gg}\en}}
+\quad is coded by:
+\begin{tabular}{l}
+\verb|\hardlyrics{clair}%|\\
+\verb|\notes\hsong{\thelyrics}\wh g\en|\\
+\verb|\notes\wh{gg}\en|\\
+\end{tabular}
+
+All notes with long lyrics need such a treatment. The commands only carry out on
+\verb|\notes| (not on \verb|\Notes|, \verb|\NOtes|...).
+
+If you want to go back to the normal placing on an easy way, you simply can replace
+'\verb|\hardlyrics|' by '\verb|\softlyrics|'.
+
+ A complete score is given in example {\tt glorias.tex}\label{glorias} and in
+{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the
+organ accompaniment.
+
+Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed
+length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is
+\verb|3\noteskip|. These are useful when the text is set below (or above) a
+collective coding of two or three notes.
+
+\section{Musixlyr}\label{musixlyr}
+
+Lyrics are best handled by the \texttt{musixlyr}\index{musixlyr} package by Rainer Dunker.
+The package can be used by inserting a line in your source code:
+\begin{quote}\begin{verbatim}
+\input musixtex
+\input musixlyr
+...
+\end{verbatim}\end{quote}
+
+The manual, the input file and a few examples are in \musixtex\ distributions, or they
+may be downloaded
+\href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip}
+{\underline{for Windows}} or \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.tgz}
+{\underline{for \unix}}. Look at the manual for a detailed description. Here is an overview
+of the commands and an example of use.\pagebreak
+
+\def\keyexample#1{\keyindex{#1}}
+
+\noindent\begin{small}\begin{tabbing}
+\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
+Example\> Explanation
+\end{tabbing}
+\vspace{-1ex}
+\hrule
+\vspace{-2ex}
+\begin{tabbing}
+\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
+\keyexample{setlyrics}\verb|{sopr}{the ly_-ric words_}|\> defining the lyrics text\\
+\keyexample{copylyrics}\verb|{sopr}{alto}|\> alto has same lyrics as soprano\\
+\keyexample{appendlyrics}\verb|{alto}{more words}|\> alto lyrics is longer\\
+\keyexample{assignlyrics}\verb|2{sopr,alto}|\>soprano and alto lyrics at staff $2$\\
+\keyexample{assignlyricsmulti}\verb|{1}{2}{alto}|\>assign alto lyrics to staff $2$ of instrument $1$\\
+\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\>assigning without staff number\\
+\keyexample{auxlyr}\verb|\assignlyrics{2}{sopr}|\> assign soprano above staff $2$\\[.8ex]
+\keyexample{lyrrule}\verb|\qu c|...\keyexample{lyrruleend}\verb|\qu c|\>make a melisma by hand\\
+\keyexample{beginmel}\verb|\qu c|...\keyexample{endmel}\verb|\qu c|\>melisma, same as word extension underline\\[.8ex]
+\keyexample{lyr}\verb|\qu c|\>force a syllable from lyrics text at this note or rest\\
+\keyexample{lyric}\verb|{word}\qu c|\>insert syllable 'word' at this note\\
+\verb|\loffset{2}{|\keyexample{lyric*}\verb|{1.}}\qu c|\>combine \verb|1.| with regular syllable\\
+\keyexample{lyrich}\verb|{syl}\qu c|\>same as \verb|\lyric|, but with hyphenation\\
+\keyexample{lyrich*}\verb|{}\qu c|\>same as \verb|\lyric*|, but with hyphenation\\
+\keyexample{lyricsoff}...\keyexample{lyricson}\>stop lyrics, then start again\\
+\keyexample{nolyr}\verb|\qu c|\>no syllable at this note\\[.8ex]
+\keyexample{llabel}\verb|{labelname}name|\>labelling a ``go to'' target in text\\
+\keyexample{golyr}\verb|{labelname}\qu c|\>perform a jump, in music code\\[.8ex]
+\keyexample{lyrpt}\verb|,\qu c|\>add a comma to the syllable under this note\\
+\keyexample{lyrnop}\verb|\qu c|\>remove last character in syllable\\
+\keyexample{lclyr}\verb|\qu c|\>make first character lower case\\
+\keyexample{llyr}\verb|\qu c|\>left justified syllable\\
+\keyexample{leftlyrtrue}\verb|\qu c|...\keyexample{leftlyrfalse}\verb|\qu c|\>start and stop left justification as the default\\
+\keyexample{lyroffset}\verb|{-4}\qu c|\>shift syllable $1$ notehead to the left\\[.8ex]
+\keyexample{minlyrspace}\verb|{3pt}\qu c|\>define minimum space between the words\\
+\keyexample{forcelyrhyphenstrue}\verb|\qu c|\>always use a hyphen from now on\\
+\keyexample{forcelyrhyphensfalse}\verb|\qu c|\>remove hyphen and make one word if necessary \\
+\keyexample{showlyrshifttrue}\verb|\qu c|\>show the lyric shift\\[.8ex]
+\keyexample{lyrraise}\verb|{1}{a 2\Interligne}|\>raise lyrics below staff $1$ by \verb|2\Interligne|\\
+\keyexample{lyrraisemulti}\verb|{1}{2}{a 2\Interligne}|\>raise alto lyrics above staff $2$ of instrument $1$\\
+\keyexample{lyrraisehere}\verb|{b 2\Interligne}\qu c|\>raise lyrics below this staff by \verb|2\Interligne|\\[.8ex]
+\keyexample{minlyrrulelength}\verb|{2mm}|\>melismas shorter than $2$mm are not shown \\
+\keyexample{minmulthyphens}\verb|{15mm}|\>distance between hyphens in 'hyphen melisma'\\
+\verb|\def|\keyexample{lyrhyphenchar}\verb|{-}|\>chose a hyphen character\\
+\verb|\setlyrics{|\keyexample{lyrlayout}\verb|{\it}..}|\>apply italics to all lyrics lines\\
+\keyexample{verses}\verb|{,\beginmel}\qu c|\>initiate melisma at second verse\\[.8ex]
+\verb|\small|\keyexample{setlyrstrut}\>adapt the vertical distance between lyrics lines\\
+\keyexample{lyrstrutbox}\verb|{10pt}|\> (re)define the distance between the lyrics lines\\[.8ex]
+\keyexample{lyrmodealter}\verb|2|\>attach lyrics of staff $2$ to the upper voice\\
+\keyexample{lyrmodealtermulti}\verb|{1}{2}|\>attach lyrics of instr.\ $1$ staff $2$ to the upper voice\\
+\keyexample{lyrmodealterhere}\verb|\qu c|\>attach lyrics of this staff to the upper voice\\
+\keyexample{lyrmodenormal}\verb|2|\>restore the default behaviour\\
+\keyexample{lyrmodenormalmulti}\verb|{1}{2}|\>restore the default behaviour at staff $2$ of instr.\ $1$\\
+\keyexample{lyrmodenormalhere}\verb|\qu c|\>restore the default behaviour of this staff\\[.8ex]
+\keyexample{lyrlink}\>linking two words with a '$_{_\smile}$'\\
+\keyexample{lowlyrlink}\>same as \verb|\lyrlink| but a little bit lower\\[.8ex]
+\keyexample{resetlyrics}\>set word pointer to the first word in all lyrics lines\\[.8ex]
+\keyexample{enableauxlyrics}\>don't use this anymore\\
+\keyexample{setsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraise}{1}{b 2\Interligne}|\\
+\keyexample{auxsetsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraisemulti}{1}{b 2\Interligne}|\\
+\keyexample{oldlyrlinestart}\>don't let the lyrics extend to the left margin\\
+\end{tabbing}\end{small}
+
+As a further illustration of the use of the commands, have a look at the following
+example\footnote{The example is taken from the \texttt{musixlyr} manual.}:
+
+\medskip\medskip
+%\oneversespace
+\begin{music}
+\input musixlyr
+ \resetlyrics \small
+\lyrmodealter0
+ \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}}
+ \copylyrics{soprano}{alto} \assignlyrics1{alto}
+
+ \generalsignature{-2}
+ \advance\stafftopmarg1\Interligne
+ \advance\staffbotmarg2\Interligne
+
+ \startextract\addspace\afterruleskip
+ \NOtes\zqu g\ql e\en
+ \bar
+ \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en
+ \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en
+ \Notes\tqb0e\en
+ \Notes\endmel\tbslurd0e\ql c\en
+ \notes\ibbu0h{-1}\qb0h\tqh0g\en
+ \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en
+ \bar
+ \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes
+ \lyr\wh b\en % must be given manually.
+ \endextract
+ \lyrmodenormal0
+\end{music}
+\medskip
+
+%\oneversespace
+
+which was coded as:
+\begin{quote}
+\begin{verbatim}
+% define lyrics above the staff
+\setlyrics{soprano}{bring her die Gans,}
+% lyric beneath the staff are the same
+\copylyrics{soprano}{alto}
+% assign alto lyrics below staff 1 on the notes with stem down
+\assignlyrics1{alto}
+% assign soprano lyrics above staff 1 on the notes with stem up
+\auxlyr{\assignlyrics1{soprano}}
+% attach both lyrics to the upper voice
+\lyrmodealter0
+\generalsignature{-2}
+% make place for the lyrics
+\advance\stafftopmarg1\Interligne\advance\staffbotmarg2\Interligne
+\startextract\addspace\afterruleskip
+\NOtes\zqu g\ql e\en\bar
+% start melisma in lower lyrics
+\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en
+% start melisma in upper lyrics
+\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\tqb0e\en
+% end melisma in lower lyrics
+\Notes\endmel\tbslurd0e\ql c\en
+\notes\ibbu0h{-1}\qb0h\tqh0g\en
+% start melisma in upper lyrics
+\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en\bar
+% The lyrics of the whole notes (without stem) must be given manually.
+\NOTEs\auxlyr\lyr\zwh i\lyr\wh b\en
+\endextract
+\lyrmodenormal0
+\end{verbatim}\end{quote}
+
+ \section{Getting enough vertical space for lyrics}
+ Since songs are
+usually equivalent to a one-staff instrument (possibly with several voices)
+the recommended solution consists in adjusting the distance between
+instruments using either \keyindex{interinstrument}\verb|=|\ital{any
+\TeX-dimension} to give more place below all instruments or using
+\keyindex{setinterinstrument} to make more space above. Note that {\Bslash
+setinterinstrument} defines spacing above and not below an instrument. Since
+lyrics are usually set below the staff, the first argument of a
+\verb|\setinterinstrument| should be the song instrument number \ital{minus
+one}.
+
+ In the case of a single staff tune, or if the song instrument is the lowest
+one, then additional place can be provided using \keyindex{staffbotmarg}.
+
+\section{Fine tuning the placement of the lyrics}
+ When not using \verb|\hardlyrics|, on short notes, sometimes
+ the lyrics are shifted away from the notes or they collide with other words.
+ This are a few approaches to get around this:
+\begin{enumerate}\setlength{\itemsep}{0ex}
+\item Making more music lines for the notes to go further apart. This could be done with
+\verb|\mulooseness|.
+\item Stretch a bar with short notes in it by i.e.,~replacing \verb|\notes| by \verb|\NOTes|.
+\item Insert space between the notes by using \verb|\sk|, \verb|\hsk|, \verb|\qsk|, \verb|\qqsk|, ...
+\item Stretch a bar with short notes in it by using the command \keyindex{scale}:
+\begin{verbatim}
+\scale{1.6}\notes..\en\scale{1}%
+\end{verbatim}
+This method can be used in \textbf{PMX} but only with care, because it changes horizontal spacing
+in a way that \textbf{PMX} will not be aware of. It will not move bars to the next line, but
+will shorten the other bars on the line.
+
+As an example, the lyrics of this music line are better placed by using \verb|\scale| in
+the first bar and moving to the left the word 'mon'. Note that the hyphen is removed
+when there is no place for it:
+
+ \begin{music}
+ \input musixlyr
+ \resetlyrics
+ \setlyrics{v1}{Au clair de la lu-ne, mon a-mi Pier-rot,}%
+ \assignlyrics1{}\assignlyrics1{v1}%
+ \staffbotmarg2\Interligne\generalsignature{1}%
+ \startextract
+ \geometricskipscale
+ \notes\qu{gggh}\en\bar
+ \Notes\hu{ih}\en\bar
+ \notes\qu{gihh}\en\bar
+ \Notes\wh g\en
+ \endextract
+% \end{music}
+%%%%% combined for saving registers %%%%%
+% \begin{music}\nostartrule
+% \input musixlyr
+ \resetlyrics
+ \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}%
+ \assignlyrics1{}\assignlyrics1{v1}%
+ \staffbotmarg2\Interligne\generalsignature{1}%
+ \startextract \geometricskipscale
+ \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}%
+ \Notes\hu{ih}\en\bar
+ \notes\qu{gihh}\en\bar
+ \Notes\wh g\en
+ \endextract
+ \end{music}
+
+\medskip
+The code of the second music line is (\verb|\assignlyrics1{}| is only needed because
+lyrics are assigned before this in this manual):
+\begin{quote}\begin{verbatim}
+ \begin{music}
+ \input musixlyr
+ \resetlyrics
+ \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}%
+ \assignlyrics1{}\assignlyrics1{v1}%
+ \staffbotmarg2\Interligne\generalsignature{1}%
+ \startextract \geometricskipscale
+ \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}%
+ \Notes\hu{ih}\en\bar
+ \notes\qu{gihh}\en\bar
+ \Notes\wh g\en
+ \endextract
+ \end{music}
+\end{verbatim}\end{quote}
+
+\item Moving a word in any direction
+
+\begin{small}
+\noindent\begin{tabular}{ll}
+\multicolumn{2}{l}{\Bslash setlyrics\{alto\}\{\Bslash kernm3ex1.$\sim\sim$firstsyllable...\}}\\
+& left-move verse number\\
+\verb|\setlyrics{alto}{...\kern1exword...}| &right-move a single word\\
+\verb|\setlyrics{alto}{...\lower2pt\hbox{word}...}|& lower a single word\\
+\verb|\setlyrics{alto}{...\raise2pt\hbox{word}...}|& raise a single word\\
+\multicolumn{2}{l}{\Bslash def\Bslash strut\{\Bslash vbox to 2\Bslash Interligne\{\}\}%
+\Bslash setlyrics\{alto\}\{\Bslash lyrlayout\{\Bslash strut\}...\}} \\
+& control distance between verses\\
+\verb|\lyrlayout{\vphantom{Mp(\lowlyrlink}|& minimum distance between verses\\
+\multicolumn{2}{l}{\Bslash setbox\Bslash lyrstrutbox=\Bslash hbox\{\Bslash vphantom\{yM\Bslash lyrlink\}\}}\\
+& redefine default lyrstrut
+\end{tabular}
+\end{small}
+
+\item Placing of accents can be made easier as shows this example:
+\begin{center}
+\begin{minipage}{50mm}
+\begin{music}\nostartrule
+\input musixlyr
+\catcode`\ä\active \defä{\"a}
+\catcode`\ö\active \defö{\"o}
+\catcode`\å\active \letå\aa
+\setlyrics1{å ä ö}
+\assignlyrics1{}\assignlyrics11
+\startextract
+ \setsongraise1{1ex}\NOtes\qa{ggg}\en
+\zendextract
+\end{music}
+\end{minipage}%
+\begin{minipage}{80mm}
+\verb|\catcode`\|\"a\verb|\active \def|\"a\verb|{\"a}|\\
+\verb|\catcode`\|\"o\verb|\active \def|\"o\verb|{\"o}|\\
+\verb|\catcode`\|\aa\verb|\active \let|\aa\verb|\aa|\\
+\verb|\setlyrics1{|\aa\ \"a\ \"o\verb|} \assignlyrics1{}|\\
+\verb|\assignlyrics11|\\
+\verb|\startextract|\\
+\verb|\NOtes\qa{ggg}\en|\\
+\verb|\zendextract|\\
+\end{minipage}
+\end{center}
+\item Using an 8-bit encoded characterset.\label{8bit}
+If you use default (Computer Modern) fonts, you will want to switch to
+the EC variants
+by putting
+%\verb+\input plainenc\relax\inputencoding{cp850}+ % doesn't work!
+\verb+\input musixec+
+after \verb+\input musixtex+ in your source file.
+
+\end{enumerate}
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex
new file mode 100644
index 00000000000..aed55abdcfc
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex
@@ -0,0 +1,596 @@
+\chapter{Miscellaneous Other Notations}
+%avre
+ \section{Metronomic indications}
+%Metronomic indication deserves a special macro. The mention:
+%
+%\medskip
+%\centerline{\def\nbinstruments{0}\metron{\hup}{60}}
+%
+%\smallskip\noindent
+%is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in
+%\keyindex{Uptext} which is in turn embedded within \verb|\notes...\en|).
+%
+% On the other hand, music writers sometimes want to specify that the duration
+%of a previous note is equal to a distinct furthernote. Thus
+%
+% \smallskip
+%\centerline{\def\nbinstruments{0}\metronequiv{\qup}{\qu}}
+%
+%\smallskip\noindent
+%is coded by \keyindex{metronequiv}\verb|{\qup}{\qu}|.
+
+By way of example, the notations
+\begin{quote}
+\def\nbinstruments{0}
+\metron{\hup}{60}
+\quad and\quad
+\def\nbinstruments{0}\metronequiv{\qup}{\qu}
+\end{quote}
+are
+respectively coded as
+\keyindex{metron}\verb|{\hup}{60}| and \keyindex{metronequiv}\verb|{\qup}{\qu}|,
+which are normally placed using \keyindex{Uptext}.
+Also, you can set a smaller metronomic indication like
+\begin{quote}
+ \def\nbinstruments{0}\metron{\smallnotesize\lqu}{ca.~72}
+\quad or \quad
+\def\nbinstruments{0}\metron{\tinynotesize\lqu}{ca.~72}
+\end{quote}
+by writing
+\begin{quote}
+\verb|\metron{\smallnotesize\lqu}{ca.~72}|
+\end{quote}
+or
+\begin{quote}
+\verb|\metron{\tinynotesize\lqu}{ca.~72}|
+\end{quote}
+
+
+ \section{Accents}
+
+You may use\footnote{Note from the editor: the reason the names of some of
+these macros don't seem to be constructed to suggest the terms used in the
+descriptions is that whoever originally defined the macros had in mind terms
+that did not agree with normal English usage.}
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{upz}\pitchp~(upper \itxem{staccato}) to put a dot above a note
+head at pitch $p$,
+ \item \keyindex{lpz}\pitchp~(lower \ital{staccato}) to put a dot below a note
+head at pitch $p$,
+ \item \keyindex{usf}\pitchp~(upper \itxem{sforzando}) to put a $>$ accent above
+a note head at pitch $p$,
+ \item \keyindex{lsf}\pitchp~(lower \itxem{sforzando}) to put a $>$ accent below
+a note head at pitch $p$,
+ \item \keyindex{ust}\pitchp~(upper \itxem{tenuto}) to put a
+hyphen above a note head at pitch $p$,
+ \item \keyindex{lst}\pitchp~(lower \ital{tenuto}) to put a
+hyphen below a note head at pitch $p$,
+ \item \keyindex{uppz}\pitchp~(upper \itxem{staccatissimo}) to put a solid vertical
+wedge above a note head at pitch $p$,
+ \item \keyindex{lppz}\pitchp~(lower \ital{staccatissimo}) to put an inverted
+solid vertical wedge below a note head at pitch $p$,
+ \item \keyindex{usfz}\pitchp~(upper \itxem{forzato}) to put a
+``dunce cap'' above a note head at pitch $p$,
+ \item \keyindex{lsfz}\pitchp~(lower \ital{forzato}) to put an inverted
+``dunce cap'' below a note head at pitch $p$,
+ \item \keyindex{upzst}\pitchp~(upper \itxem{staccato/tenuto}) to put a
+dot and a hyphen above a note head at pitch $p$,
+ \item \keyindex{lpzst}\pitchp~(lower \ital{staccato/tenuto}) to put a
+dot and a hyphen below a note head at pitch $p$,
+ \item \keyindex{flageolett}\pitchp~to put a
+small circle above a note head at pitch $p$.
+\end{itemize}
+These marks are horizontally centered relative to solid note heads. To
+compensate for the fact that whole notes are wider, you should use
+\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents
+and other items (e.g.,~\verb|\Fermataup|) above a whole note.
+
+There are also variants of the most common accents\footnote{Thanks to Klaus
+{\sc Bechert}'s corrections.} which will be automatically positioned
+above or below a beam. They are spelled like the corresponding normal
+accent, but preceded with the letter \verb|b|, and their argument, instead of
+the pitch, is the beam reference number . Thus
+
+\medskip
+\begin{music}\nostartrule
+\startextract
+\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h%
+ \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en
+\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j%
+ \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim} \startextract
+\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h%
+ \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en
+\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j%
+ \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en
+\zendextract
+\end{verbatim}\end{quote}
+\zkeyindex{busfz}
+\zkeyindex{bupz}
+\zkeyindex{bust}
+\zkeyindex{buppz}
+\zkeyindex{busf}
+\zkeyindex{butext}
+\zkeyindex{blsfz}
+\zkeyindex{blpz}
+\zkeyindex{blst}
+\zkeyindex{blppz}
+\zkeyindex{blsf}
+\zkeyindex{bltext}
+
+The macros \verb|\bltext| and \verb|\butext| are detailed in the next section,
+where the mystery of why they produce the number~$3$ is resolved.
+
+
+\section{Numbers and brackets for xtuplets}\label{tuplet}
+
+The following table lists all the special macros that place a number indicating
+an xtuplet. Some also place a bracket above or below the notes, and are
+intended for use with unbeamed notes.
+In the table, $p$ is a pitch, $k$ is a number, $n$ is a beam number,
+$w$ is a bracket width in \verb|\internote|s, and $s$ is the bracket slope as
+a multiple of $1.125$~degrees. The macro \verb|\txt| contains a default number
+which will be placed by the first and third through sixth macros,
+and is initially defined as \verb|\def\txt{3}|.
+The macro
+\verb|\tuplettxt| serves the same role for the last two macros.
+The font used is
+\verb|\txtfont| which is by default \verb|\eightit| but may be re-defined.
+The first four
+are to be used with beamed xtuplets. As indicated in the
+last column, the last four produce a sloping bracket and are to be used with
+unbeamed xtuplets.
+
+
+\begin{center}
+ \begin{tabular}{lclcc}
+ \hline
+ ~ & Number & ~ & Needs & ~ \\
+ Macro and arguments & printed & Where invoked & Bracket \\
+ \hline
+ \verb|\triolet|\pitchp & \verb|\txt| & before beam & none \\
+ \verb|\xtuplet|\itbrace{k}\pitchp & $k$ & before beam & none \\
+ \verb|\butext|\itbrace{n} & \verb|\txt| & before note at number & none \\
+ \verb|\bltext|\itbrace{n} & \verb|\txt| & before note at number & none \\
+ \verb|\uptrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & solid \\
+ \verb|\downtrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & solid \\
+ \verb|\uptuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & with gap \\
+ \verb|\downtuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & with gap \\
+ \hline
+ \end{tabular}
+\end{center}
+\medskip
+
+Here are some examples of the first six macros in the table:\\
+\vskip-3pt
+\begin{music}
+\parindent0mm
+\generalmeter{\meterfrac24}
+\nostartrule
+\startpiece
+\addspace\afterruleskip
+\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar
+\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en
+\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar
+\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar
+\Notesp\uptrio o16\ql l\en\notesp\cl n\en
+%avrb
+\Notesp\downtrio O16\qu e\en\notesp\cu g\en
+%avre
+\endpiece
+\end{music}
+whose coding is
+\begin{quote}\begin{verbatim}
+\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar
+\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en
+\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar
+\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar
+\Notesp\uptrio o16\ql l\en\notesp\cl n\en
+\Notesp\downtrio O16\qu e\en\notesp\cu g\en
+\end{verbatim}\end{quote}
+\zkeyindex{xtuplet}\zkeyindex{triolet}
+
+\medskip
+Next are examples using \keyindex{uptuplet} and \keyindex{downtuplet}.
+A re-definition of \verb|\tuplettxt| inside a notes group only applies
+inside that group and leaves the default definition intact.
+To get the
+number properly centered in the gap, you must include some extra space after
+the number in the definition of \verb|\tuplettxt|. As you can see in
+the last bar, if the span becomes too small, the macros still won't provide
+enough room for the number in the gap; in this case it would be better to
+use the macros without gaps.
+
+% Examples:
+%
+% Draw a triplet bracket over the notes, starting at pitch "p",
+% 1.25\noteskip wide, with a slope up of 3-3/8 degrees:
+%
+% \uptuplet p{1.25}3
+%
+% Draw a sextuplet bracket under the notes, starting at pitch "a",
+% 2.5\noteskip wide, with a slope down of 4-1/2 degrees:
+%
+% \def\tuplettxt{\smallppff 6\/\/}
+% \downtuplet{a}{2.5}{-4}
+
+\begin{music}
+%\input tuplet
+\parindent0mm
+\generalmeter{\meterfrac24}
+%\startpiece
+\nostartrule
+\startextract
+\addspace\afterruleskip
+\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en
+\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar
+\notesp\def\tuplettxt{5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar
+\Notesp\uptuplet o16\ql l\en\notesp\cl n\en
+\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar
+\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en
+\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en
+%\endpiece
+\endextract
+\end{music}
+
+\noindent with coding
+
+\begin{quote}\begin{verbatim}
+\parindent0mm
+\generalmeter{\meterfrac24}
+\startextract
+\addspace\afterruleskip
+\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en
+\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar
+\notesp\def\tuplettxt{5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar
+\Notesp\uptuplet o16\ql l\en\notesp\cl n\en
+\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar
+\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en
+\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en
+\end{verbatim}\end{quote}
+
+ \section{Ornaments}
+
+ \subsection{Arpeggios}
+\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro
+\keyindex{arpeggio}\pitchp\itbrace{m}
+where $p$ is the pitch of
+the base of the arpeggio symbol and $m$ is its height in units of
+\verb|\interligne|, the distance from one staff line to the next. It should be
+issued before the affected chord. It is
+automatically positioned to the left of the chord, but inserts no spacing.
+Its variant \keyindex{larpeggio} sets the arpeggio symbol roughly
+one note head width to the left of the default position, and is intended to
+avoid collision with single accidentals on chord notes.
+
+ \subsection{Arbitrary length trills}
+ There are two styles of arbitrary length trills\index{trills}, each with two
+variants.
+For a trill with preassigned length, use \keyindex{trille}\pitchp\itbrace{l}
+for \hbox to 1cm{\noteskip1cm\trille11\hss} or
+\keyindex{Trille}\pitchp\itbrace{l} for~~\hbox to
+2cm{\noteskip1cm\Trille12\hss}, where $p$ is the pitch and $l$ the length in
+current \verb|\noteskips|.
+
+To let \musixtex\ compute the length of the trill, or if it extends across a
+system break, you can use \keyindex{Itrille}$n$\pitchp\ to start a plain
+trill, where $n$ is a trill reference number between 0 and 5; then
+\keyindex{Ttrille}$n$ to terminate it. To get the {\it tr} at the
+beginning, use \keyindex{ITrille}$n$\pitchp\ to start the trill and
+\verb|\Ttrille|$n$ to close it.
+
+\begin{sloppypar}
+As with other elements, you can specify the maximum number
+directly with \keyindex{setmaxtrills}\verb|{|$m$\verb|}|, where $7<m\leq 100$%
+\footnote{This may require e-\TeX.};
+the reference number $n$ will be in the range between $0$ and $m-1$.
+\label{musixmad_setmaxtrills}
+\end{sloppypar}
+
+
+For example:
+
+\medskip
+ \begin{music}
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\en
+\bar
+\notes\Itrille 2A\itenu2E\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\en
+\bar
+\Notes\tten2\itenu2E\whp E|\ql{nmlkji}\en
+\bar
+\Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\en
+\endextract
+\end{music}
+whose coding is
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\en
+\bar
+\notes\Itrille 2A\itenu1e\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\en
+\bar
+\Notes\tten1\itenu1E\whp E|\ql{nmlkji}\Toctfin1\en
+\bar
+\Notes\tten1\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\en
+\endextract
+\end{verbatim}\end{quote}
+
+ \subsection{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,
+
+\begin{music}
+\setclef1\bass
+\setstaffs1{2}
+\startextract
+\NOtes\PED\wh J|\qu h\en
+\NOtes|\qu g\en
+\NOtes|\hu k\en
+\Notes\DEP\en
+\bar
+\NOtes\sPED\wh J|\qu h\en
+\NOtes|\qu g\en
+\NOtes|\hu k\en
+\Notes\sDEP\en
+\endextract
+\end{music}
+ \noindent was coded as \begin{quote}\begin{verbatim}
+ \NOtes\PED\wh J|\qu h\en
+ \NOtes|\qu g\en
+ \NOtes|\hu k\en
+ \Notes\DEP\en \bar
+ \NOtes\sPED\wh J|\qu h\en
+ \NOtes|\qu g\en
+ \NOtes|\hu k\en
+ \Notes\sDEP\en
+ \end{verbatim}\end{quote}
+
+ 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}|.
+To locally change the vertical position of a pedal symbol, use one of the more
+fundamental
+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}|.
+
+ \subsection{Other ornaments}\index{ornaments}
+
+The argument $p$ in the following macros for ordinary ornaments is the
+pitch at which the ornament itself appears. They are all nonspacing macros.
+You may use
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{mordent}\pitchp\ for \hbox to .75em{\mordent 0\hss},
+ \item \keyindex{Mordent}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss},
+ \item \keyindex{shake}\pitchp\ for \hbox to .75em{\shake 0\hss},
+ \item \keyindex{Shake}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss},
+ \item \keyindex{Shakel}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss},
+ \item \keyindex{Shakesw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss},
+ \item \keyindex{Shakene}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss},
+ \item \keyindex{Shakenw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss},
+ \item \keyindex{turn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\turn 0\hss},
+ \item \keyindex{backturn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}.
+ \end{itemize}
+
+In the following macros for fermatas, the argument $p$ is the pitch of the
+notehead on which the fermata rests, assuming no additional vertical
+adjustments are needed for stems or intervening staff lines. They are all
+nonspacing macros. You may use
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{fermataup}\pitchp\ for
+\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermataup1\en}},
+\end{itemize}
+\begin{itemize}\setlength{\itemsep}{3ex}
+ \item \keyindex{fermatadown}\pitchp\ for
+\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermatadown2\en}},
+ \item \keyindex{Fermataup}\pitchp\ for
+\raisebox{-1ex}[-1ex][0ex]{\musicintextnoclef{\notes\Fermataup 7\zwh{'c}\en}}~,
+centered over a whole note,
+ \item \keyindex{Fermatadown}\pitchp\ for
+\raisebox{-1ex}[0ex][0ex]{\musicintextnoclef{\notes\Fermatadown1\zwh{'c}\en}}~,
+centered under a whole note.
+ \end{itemize}
+\bigskip
+
+A \itxem{breath} mark
+\raisebox{-5ex}[0ex][0ex]{\notesintext{\notes\zbreath\en}}
+can be put just above the staff with \keyindex{zbreath}. This is a nonspacing
+macro. On the other hand, \keyindex{cbreath} will cause a space of one
+\verb|\noteskip| and place the comma midway through the space.
+
+The \keyindex{caesura} command inserts a slash \verb|0.5\noteskip| before
+the place it is entered, while adding no space:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\zhu j\hl{^e}\caesura\en
+\Notes\zcu j\cl e\en
+\zendextract
+\end{music}
+
+\section{Alphabetic dynamic marks}
+ Conventional dynamic symbols
+\pppp, \ppp, \pp,
+\p,
+\mezzopiano,
+\mf,
+\f,
+\fp,
+\sF,
+\ff,
+\fff,
+\ffff,
+\sfz\ and
+\sfzp\ can be posted using the macros
+\keyindex{pppp},
+\keyindex{ppp},
+\keyindex{pp},
+\keyindex{p},
+\keyindex{mp},
+\keyindex{mf},
+\keyindex{f},
+\keyindex{fp},
+\keyindex{sF},
+\keyindex{ff},
+\keyindex{fff},
+\keyindex{ffff},
+\keyindex{sfz} and
+\keyindex{sfzp}, respectively, as the second argument of \verb|\zcharnote| or
+\verb|\ccharnote|.
+See also Section~\ref{musixppff} for an alternative set of dynamic marks.
+
+
+ \section{Length of note stems}
+
+The default length of note stems is the distance of one octave, i.e.,~\verb|7\internote| or \texttt{4.66}\keyindex{interbeam}. The default may be changed
+with the macro \keyindex{stemlength}\itbrace{b}\ where $b$ is the length in
+\verb|\interbeam|s.
+
+The command \keyindex{stemcut} causes stems that extend outside the staff
+to be shortened depending on the pitch of the notes. It is the default
+behavior. To suppress this adjustment, issue the command
+\keyindex{nostemcut}.
+
+Normally, down stems never end above the middle line of the staff and up stems
+never below that line. The command \keyindex{stdstemfalse} will inhibit this
+adjustment, but only for the next stem generated. There is no command to globally
+suppress this behavior.
+
+ \section{Brackets, parentheses, and oblique lines}\label{brapar}
+
+Several varieties of brackets, parentheses and oblique lines are provided for
+use within a score.
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{lpar}\verb|{|$p$\verb|}| and
+\keyindex{rpar}\verb|{|$p$\verb|}| yield left and right
+parentheses at pitch $p$. They could be used to enclose notes or to build
+\ital{cautionary} accidentals, although the latter are more easily
+obtained with predefined macros (see Chapter~\ref{cautionary}).
+
+%avrb
+For example,
+
+\begin{tabular}{ll}
+\raisebox{-1.5ex}[0ex][0ex]{\musicintextnoclefn{\notes\bsk\lpar{g}\rpar{g}\hu{g}\sk%
+\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}\loffset{.4}{\sh g}\hu{g}\en}}
+&\begin{tabular}{ll}
+&\verb+\notes\lpar{g}\rpar{g}\hu{g}\sk%+\\
+is coded as&\verb+\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}%+\\
+&\verb+\loffset{.4}{\sh g}\hu{g}\en}+
+\end{tabular}
+\end{tabular}
+%avre
+
+ \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| posts a
+square bracket to the left of a chord, vertically spanning $n$
+\verb|internote|s.
+ \item \keyindex{doublethumb}\verb|{|$p$\verb|}| indicates a bracket as
+above spanning 2\verb|\internote|s.
+ \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
+\keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|
+draw a sloped bracket starting at the current position at pitch $p$,
+with horizontal extent $n$ \verb|noteskip|s and slope $s$ in multiples of
+$1.125$~degrees.
+ \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
+\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| are like
+\verb|\ovbkt| but with freely definable \keyindex{txt} centered inside.
+
+ \item \keyindex{varline}\itbrace{h}\itbrace{\ell}\itbrace{s}\ builds an
+oblique line starting at the current horizontal position. It must be used
+inside a zero-width box, such as for example as the second argument of
+\verb|\zcharnote|. $h$ is the height of the starting point, $\ell$ is the
+length, and $s$ is the slope. It is used in the definitions of some of
+the foregoing macros, and could be used, for example, to construct various
+obscure baroque ornaments made up of diagonal lines.
+
+\end{itemize}
+
+For example,
+
+\begin{music}
+\setstaffs1{2}
+\setclef1\bass
+\startextract
+\NOtes\bracket C8\zq C\qu J\en
+\NOtes|\doublethumb g\rq h\qu g\en
+\NOtes\lpar c\rpar c\qu c\en
+\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en
+\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en
+\endextract
+\end{music}
+\noindent is coded as
+\begin{quote}\begin{verbatim}
+\begin{music}
+\setstaffs1{2}
+\setclef1{\bass}
+\startextract
+\NOtes\bracket C8\zq C\qu J\en
+\NOtes|\doublethumb g\rq h\qu g\en
+\NOtes\lpar c\rpar c\qu c\en
+\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en
+\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en
+\zendextract
+\end{music}
+\end{verbatim}\end{quote}
+
+ \section{Forcing activity at the beginning of systems}
+A macro named \keyindex{everystaff} is executed each time a new system
+begins. It is normally void, but it can be defined (simply by \verb|\def|%
+\keyindex{everystaff}\verb|{...}|) to cause \musixtex\ to post anything
+reasonable at the beginning of each system. For it to affect the first system
+in a score, it must be defined \ital{before}
+\verb|\startpiece|.
+
+If a macro named \keyindex{atnextline} is defined at any point in a score,
+it will be executed just once, viz., at the next computed or forced system
+break. More
+precisely, it is executed after the break and before the next system begins.
+Thus it is suitable for redefining layout parameters.
+
+ \index{octave treble clef}In some scores, tenor parts are not coded using the
+\ital{bass} clef, but using rather the \ital{octave treble clef}, which is
+subscripted by a numeral {\tt8}.
+This clef is supported by the clef substitution command
+\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}, as already
+explained in Section~\ref{treblelowoct}. However, if for some reason you
+aren't happy with the height of the ``8'', it can be posted on selected
+staves at the beginning of every system using \keyindex{everystaff} and
+\keyindex{zcharnote} as follows:
+
+\begin{music}
+\instrumentnumber{4}
+\setclef1\bass
+\def\everystaff{%
+ \znotes&\zchar{-6}{\eightrm\kern-2\Interligne8}%
+ &\zchar{-6}{\eightrm\kern-2\Interligne8}\en}%
+\startextract
+\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en
+\zendextract
+\end{music}
+\noindent The coding is
+\begin{quote}\begin{verbatim}
+\instrumentnumber{4}
+\setclef1\bass
+\def\everystaff{%
+ \znotes&\zchar{-6}{\eightrm \kern -2\Interligne 8}%
+ &\zchar{-6}{\eightrm \kern -2\Interligne 8}\en}%
+\startextract
+\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en
+\endextract
+\end{verbatim}\end{quote}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty
new file mode 100644
index 00000000000..2f8a4666f73
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty
@@ -0,0 +1,141 @@
+%
+% This file is part of MusiXTeX
+%
+% MusiXTeX is free software; you can redistribute it and/or modify
+% it under the terms of the GNU General Public License as published by
+% the Free Software Foundation; either version 2, or (at your option)
+% any later version.
+%
+% MusiXTeX is distributed in the hope that it will be useful,
+% but WITHOUT ANY WARRANTY; without even the implied warranty of
+% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
+% GNU General Public License for more details.
+%
+% You should have received a copy of the GNU General Public License
+% along with MusiXTeX; see the file COPYING. If not, write to
+% the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
+% Boston, MA 02111-1307, USA.
+%
+%
+
+\usepackage[papersize={210mm,11in},margin=1.125in]{geometry} % a4 width, letter-paper height
+\pagestyle{headings}
+\usepackage{makeidx}
+\usepackage{multicol}
+\usepackage{etex}
+
+%\usepackage{indentfirst}
+
+\usepackage{mflogo}
+
+%\usepackage[ansinew]{inputenc}
+
+% default is Computer Modern OT1 encoding
+\usepackage[T1]{fontenc} % for CM, \input musixec after musixtex
+\usepackage[osf]{mathpazo} % Palatino text, with old-style figures; use $n$ for lining figures
+%\usepackage{mathptmx} % Times text
+%\usepackage{helvet}\renewcommand{\familydefault}{\sfdefault} % Helvetica text
+
+
+\usepackage{textcomp}
+
+\input musixtex
+\input musixbm
+\input musixcho
+\input musixdat
+\input musixext
+\input musixgre
+\input musixgui
+\input musixlit
+\input musixltx
+\input musixper
+
+%%% \input musixps deferred to Section 10.2
+
+%\input musixec % EC (Computer Modern) text in music
+\input musixplt % Palatino text in music
+%\input musixtmr % Times text in music
+%\input musixhv % Helvetica text in music
+
+\usepackage{paralist}
+\setlength{\pltopsep}{1pt plus 2pt minus 1pt}
+\setlength{\plitemsep}{4.5pt plus 2pt minus 1pt}
+\renewenvironment{enumerate}{\begin{compactenum}}{\end{compactenum}}
+\renewenvironment{itemize}{\begin{compactitem}}{\end{compactitem}}
+\renewenvironment{description}{\begin{compactdesc}}{\end{compactdesc}}
+
+\setcounter{tocdepth}{1}
+\setcounter{secnumdepth}{2}
+
+% more place for section numbers in \tableofcontents
+\usepackage{tocloft}
+\setlength{\cftsecnumwidth}{3.0em}
+
+\renewcommand{\chaptermark}[1]{\markboth{\itshape Chapter \thechapter. #1}{}}
+\renewcommand{\sectionmark}[1]{\markright{\itshape\thesection. #1}}
+
+\usepackage[colorlinks=true]{hyperref}
+
+\nobarnumbers
+
+\def\st@ffs{1}
+
+% for usage of notes inside text
+\let\nblines\z@
+
+\def\notesintext#1{% no staff lines, no clefs
+ {\let\extractline\relax
+ \setlines10\smallmusicsize \nobarnumbers \nostartrule
+ \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt
+ \startextract\addspace{-\afterruleskip}#1\zendextract}}
+\def\musicintext#1#2{% normal
+ {\let\extractline\relax
+ \smallmusicsize \nobarnumbers
+ \staffbotmarg0pt \setclef1{#1}
+ \startextract\addspace{-\afterruleskip}#2\endextract}}
+% macro adapted to insert music without clef:
+\def\musicintextnoclef#1{% no clef small
+ {\let\extractline\relax
+ \smallmusicsize \nobarnumbers
+ \staffbotmarg0pt \setclefsymbol1\empty
+ \startextract\addspace{-\afterruleskip}#1\endextract}}
+\def\musicintextnoclefn#1{% no clef normal
+ {\let\extractline\relax
+ \nobarnumbers
+ \staffbotmarg0pt \setclefsymbol1\empty
+ \startextract\addspace{-\afterruleskip}#1\endextract}}
+
+\def\musictex{Music\TeX{}}
+\def\onen{{\ttfamily\char123}$n${\ttfamily\char125}}
+\def\pitchp{{\ttfamily\char123}$p${\ttfamily\char125}}
+\def\itbrace#1{{\ttfamily\char123}$#1${\ttfamily\char125}}
+\def\nochange{{\ital{NOT to be changed}}}
+
+\ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi
+\ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi
+\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\ttfamily}
+\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX}
+\def\Bslash{\ttfamily\char'134}
+\def\|{\texttt{\char'174}}
+\def\LBR{\texttt{\char'173}}
+\def\RBR{\texttt{\char'175}}
+\def\keyindex#1{\leavevmode
+ \hbox{{\Bslash #1}}\index{#1@{\protect\small\protect\Bslash #1}}}
+\def\zkeyindex#1{\index{#1@{\protect\small\protect\Bslash #1}}}
+\def\ixem#1{#1\index{#1}}
+\def\itxem#1{\textit{#1}\index{#1}}
+\def\ttxem#1{\texttt{#1}\index{#1@\texttt{#1}}}
+\def\ixtt#1{\index{#1@\texttt{#1}}}
+\def\ital#1{\textit{#1\/}}
+\def\enpee{{\ttfamily{\char123$n$\char125\char123$p$\char125}}}
+
+\def\unix{\textsc{unix}}
+
+\sloppy
+
+
+\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}%
+\def\_{\protect\underscoreSymbol}
+
+
+\endinput
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex
new file mode 100644
index 00000000000..8ac69a73f42
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex
@@ -0,0 +1,103 @@
+%
+% This file is part of MusiXTeX
+%
+% MusiXTeX is free software; you can redistribute it and/or modify
+% it under the terms of the GNU General Public License as published by
+% the Free Software Foundation; either version 2, or (at your option)
+% any later version.
+%
+% MusiXTeX is distributed in the hope that it will be useful,
+% but WITHOUT ANY WARRANTY; without even the implied warranty of
+% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
+% GNU General Public License for more details.
+%
+% You should have received a copy of the GNU General Public License
+% along with MusiXTeX; see the file COPYING. If not, write to
+% the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
+% Boston, MA 02111-1307, USA.
+%
+%
+% musixdoc.tex : the document
+%
+\documentclass[twoside,11pt,notitlepage]{report}
+
+\usepackage{musixdoc}
+
+%\includeonly{extensions}
+
+%\includeonly{
+%frontmatter,
+%introduction,
+%settingup,
+%preparing,
+%writingnotes,
+%beams,
+%rests,
+%spacing,
+%accidentals,
+%transposition,
+%slurstiesfont,
+%slurstiesTypeK,
+%barlines,
+%barnumbering,
+%layout,
+%changing,
+%repeats,
+%fonts,
+%miscellaneous,
+%smaller,
+%staffsize,
+%parameters,
+%extracting,
+%lyrics,
+%embedding,
+%extensions,
+%examples,
+%summary,
+%index
+%}
+
+\startmuflex
+
+\makeindex
+
+\begin{document}
+
+\include{frontmatter}
+
+\setcounter{page}{1}
+\pagenumbering{arabic}
+\renewcommand{\thepage}{\arabic{page}}
+
+\include{introduction}
+\include{settingup}
+\include{preparing}
+\include{writingnotes}
+\include{beams}
+\include{rests}
+\include{spacing}
+\include{accidentals}
+\include{transposition}
+\include{slurstiesfont}
+\include{slurstiesTypeK}
+\include{barlines}
+\include{barnumbering}
+\include{layout}
+\include{changing}
+\include{repeats}
+\include{fonts}
+\include{miscellaneous}
+\include{smaller}
+\include{staffsize}
+\include{parameters}
+\include{extracting}
+\include{lyrics}
+\include{embedding}
+\include{extensions}
+\include{examples}
+
+\include{summary}
+
+\include{index}
+
+\end{document}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex
new file mode 100644
index 00000000000..0acb3b56aa9
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex
@@ -0,0 +1,130 @@
+\chapter{Layout Parameters}\label{LayoutParameters}
+ Most layout parameters are set by \musixtex\ to reasonable default values.
+However, some projects will require altering one or more of them. In this
+section we discuss the most important parameters and how to change them.
+
+ \section{List of layout parameters}
+ In the following, the indication ``\nochange'' does not mean that this
+parameter cannot be changed at all, but that it should not be modified
+directly, e.g,.~by saying something like \verb|\Interligne=14pt|. In other
+words, changes in these parameters must be accomplished only by more
+comprehensive macros which not only revise them but at the same time perform
+other necessary related changes. Even though you cannot \ital{change} these,
+you may \ital{refer} to them in your coding if that proves useful.
+
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{Interligne} :]vertical distance between the bottoms of
+consecutive staff lines of the current instrument, taking no account of a
+possible alteration by \keyindex{setsize}; \nochange.
+ \item[\keyindex{internote} :]vertical spacing between notes one scale
+step apart in the current instrument, taking account of a possible alteration
+by \keyindex{setsize}; \nochange.
+ \item[\keyindex{Internote} :]vertical spacing between notes one scale
+step apart in any instrument whose \keyindex{setsize} has the default
+value \keyindex{normalvalue} ($1.0$), equal to \verb|0.5\Interligne|; \nochange.
+\item[\keyindex{staffbotmarg} :]margin below the first (lowest) staff of the
+first (lowest) instrument. Changes are recognized at the next system.
+Default is \verb|3\Interligne|.
+ \item[\keyindex{stafftopmarg} :]margin above the last (uppermost) staff of
+last (uppermost) instrument. Changes are recognized at the next system.
+Default is \verb|3\Interligne|.
+ \item[\keyindex{interbeam} :]vertical distance between beams; \nochange.
+\item[\keyindex{interstaff} :]a very important macro with a single numerical
+argument representing the factor that multiplies \verb|2\internote| to give the
+distance between the bottom of one staff and the bottom of the next one. In
+fact the macro redefines the parameter \verb|\interfacteur|.
+\item[\keyindex{interportee} :]distance between the bottom of one staff and
+the bottom of the next one. It is always reset to
+\verb|2|\keyindex{interfacteur}\verb|\internote| at the next system.
+Therefore, trying to change \verb|\interportee| will have no effect. Change
+\verb|\interstaff| instead. Further, note that \verb|\interstaff| applies to all the
+instruments, but each distinct instrument may have a different
+\verb|\internote| (see Chapter~\ref{staffspacing}).
+
+\item[\keyindex{interinstrument} :]additional vertical distance between
+two consecutive instruments. This means that the distance between the lowest
+line of the previous instrument and the lowest line of the top staff of the current
+instrument is \verb|\interportee+\interinstrument|. The
+default value of \verb|\interinstrument| is zero, but sometimes you
+may want additional space between distinct instruments. This is a general
+dimension register. As usual in \TeX, it can be set using a command such as
+\verb|\interinstrument=10pt| or \verb|\interinstrument=6\internote|. Its
+value can be overridden for the space above any particular instrument
+with the macro \keyindex{setinterinstrument}\itbrace{n}\itbrace{s}, where
+$n$ is the instrument and $s$ is the replacement value of the space to
+be added. The \verb|\setinterinstrument| macro may be useful in some vocal
+scores to provide vertical space for lyrics. Note that
+after you have used \keyindex{setinterinstrument},
+you cannot reset the distances for that instrument with
+\keyindex{interinstrument}; you must subsequently use
+\keyindex{setinterinstrument} for that purpose.
+
+ \item[\keyindex{systemheight} :]distance from the bottom of the
+lowest staff to the top of the highest one. This is the length of any
+vertical lines such as repeats that span the full height of a system;
+\nochange.
+\end{description}
+
+ In addition, when handling notes of a given staff of a given instrument, the
+following dimensions are available (note these are not true registers, but
+\ital{equivalenced symbols} through a \verb|\def|):
+
+\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{altplancher} :]altitude of the lowest line of the lowest
+instrument; \nochange.
+ \item[\keyindex{altitude} :]altitude of the lowest line of the lowest
+staff of the current instrument; \nochange.
+ \item[\keyindex{altportee} :]altitude of the lowest line of the current
+staff; \nochange.
+
+ %??? Next perhaps will change to steps of \verb|\internote|.
+
+ \item[\keyindex{stemfactor} :]parameter defining the length of stems on
+half, quarter, and beamed eighth notes, in units of \verb|\interbeam|.
+Normally a stem has the length of one octave,
+i.e.,~\verb|3.5|\keyindex{Interligne}. However, this is not correct for small or tiny
+note sizes. Therefore, stem length is defined as a multiple of the
+dimension \keyindex{interbeam}, which is chosen because it is automatically
+redefined as a
+different multiple of \keyindex{Interligne} whenever note size is changed. For
+example, with \verb|\normalmusicsize| when \verb|\setsize| is
+\verb|\normalvalue|, \verb|\interbeam| is \verb|0.75|\keyindex{Interligne}. This
+legislates a default value for \keyindex{stemfactor} of $4.66$ ($=3.5/0.75$).
+To change stem length, it is easiest to use e.g.,~\keyindex{stemlength}\verb|{3.5}|, which simply redefines \verb|\stemfactor|.
+Subsequently, \verb|\stemfactor| will not automatically be reset to the default,
+but keep in mind that if it is changed
+inside a notes group, the change will only be effective within that notes group.
+\end{description}
+
+ \section{A convenient macro for changing layout parameters}
+Of the parameters just described that can be changed, many should only be
+changed between the end of one system and the beginning of the next. The
+command sequence \verb|\def\atnextline{|\ital{any control sequence}\verb|}|
+may be useful for this purpose. It will cause \ital{any control sequence} to
+be inserted right before the next new line is begun, provided the line break
+is not initiated by a \verb|\startpiece|. Thus this will work with
+automatically generated line breaks, with those forced by \verb|\alaligne|, and
+with those forced by explicit use of \verb|\endpiece| or \verb|\stoppiece|
+followed by \verb|\contpiece|. (Note, however, that in the latter case it
+would be just as convenient to enter the parameter changes explicitly as well.)
+The control sequence will only be executed once,
+after which \verb|\atnextline| is redefined as \verb|\empty|.
+
+ \section{Changing the number of lines per staff}\label{stafflinenumber}
+Naturally, the default number of lines per staff is five. But you may want a
+different number in some or all staves, for example for gregorian music,
+percussion music, guitar tablature, or early baroque keyboard music. To do so,
+use the command \keyindex{setlines}\itbrace{n}\itbrace{m}~where $n$ is the
+instrument number and $m$ is the number of lines.
+
+ \section{Resetting normal layout parameters}
+The general size can only be changed with one of the commands
+\keyindex{smallmusicsize},
+\keyindex{normalmusicsize}, \keyindex{largemusicsize}, or
+\keyindex{Largemusicsize}. Beyond that, the command
+\keyindex{resetlayout} will reset the following key layout parameters
+to their default values: \keyindex{staffbotmarg} (\verb|3\Interligne|),
+\keyindex{stafftopmarg} (\verb|3\Interligne|), \keyindex{interstaff} ($9$),
+ number of lines per staff for all instruments ($5$); and will reset all clef
+symbols to standard clef symbols.
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex
new file mode 100644
index 00000000000..aed7e821fcc
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex
@@ -0,0 +1,245 @@
+\chapter{Preparing to Enter Notes}\label{preparing}
+ \section{After the setup, what next?}
+
+The command \keyindex{startmuflex} initiates the serious business of
+\musixtex. On the first \TeX\ pass it
+opens \ital{jobname}{\tt .mx1} for writing bar-by-bar tabulations of all
+hard and scalable space to be fed to \verb|musixflx| on the second pass.
+\verb|musixflx| generates \ital{jobname}{\tt .mx2} which defines the
+number of bars in each system and the factors relating scalable space
+to hard space in each system. On the third pass both files will be opened
+and read to define the final spacing. These files should be closed before
+leaving \TeX, preferably before
+\keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\
+closes all open files on its own when terminating the program, but it is still
+cleaner to do this explicitly.
+
+After \verb|\startmuflex|, the command \keyindex{startpiece} will initiate
+the first system, containing all instruments you have previously defined.
+The indentation will be \keyindex{parindent}, so if you want nonzero
+indentation, this register should be set to the desired hard dimension
+before issuing \verb|\startpiece|.
+
+ \section{Horizontal spacing commands}\label{newspacings}
+\subsection{Basic note spacing}
+\musixtex\ provides a set of macros each of which defines a particular
+increment of scalable spacing. The default set is tabulated in
+Figure~\ref{spacingtable}.
+\begin{table}
+\begin{small}
+\begin{center}
+\tinynotesize
+\renewcommand{\arraystretch}{1.5}% I hate LaTeX (attributed to Daniel Taupin)
+\begin{tabular}{|l|l|l@{~~~~}l|}
+\multicolumn{1}{c}{Usage}&
+\multicolumn{1}{c}{spacing}&
+\multicolumn{2}{c}{Suggested use}\\\hline
+\keyindex{znotes}\verb| ... & ... & ... \en|&(non spacing)
+ &&specials\\
+\keyindex{notes}\verb| ... & ... & ... \en|&\verb=2=\keyindex{elemskip}
+ &\ccu1&16th\\
+\keyindex{notesp}\verb| ... & ... & ... \en|&\verb=2.5\elemskip=
+ &\pt1\ccu1&dotted 16th, 8th triplet\\
+\keyindex{Notes}\verb| ... & ... & ... \en|&\verb=3\elemskip=
+ &\cu1&8th\\
+\keyindex{Notesp}\verb| ... & ... & ... \en|&\verb=3.5\elemskip=
+ &\cup1&dotted 8th, quarter triplet\\
+\keyindex{NOtes}\verb| ... & ... & ... \en|&\verb=4\elemskip=
+ &\qu1&quarter\\
+\keyindex{NOtesp}\verb| ... & ... & ... \en|&\verb=4.5\elemskip=
+ &\qup1&dotted quarter, half triplet\\
+\keyindex{NOTes}\verb| ... & ... & ... \en|&\verb=5\elemskip=
+ &\hu1&half\\
+\keyindex{NOTesp}\verb| ... & ... & ... \en|&\verb=5.5\elemskip=
+ &\hup1&dotted half\\
+\keyindex{NOTEs}\verb| ... & ... & ... \en|&\verb=6\elemskip=
+ &\wh1&whole\\\hline
+\end{tabular}\end{center}
+\end{small}
+\caption{Spacing Commands}
+\label{spacingtable}
+\end{table}
+What each of these macros actually does is to set an
+internal dimension register \keyindex{noteskip} to the given multiple
+of the fundamental spacing unit \keyindex{elemskip}
+(which has dimensions of length, usually given in points).
+Normally, every \itxem{spacing note} (e.g.,
+\keyindex{qu},
+\keyindex{qb}, \keyindex{hl}) will then be followed by a spacing of
+width \keyindex{noteskip}. By selecting a particular note spacing macro
+from the above table, the typesetter can thus control the relative spacing
+between notes.
+
+The actual spacing will therefore be determined by the value of
+\verb|\elemskip|. On the first pass, \TeX\ will set a default value for
+\verb|\elemskip| based on the declared music size, or the user can
+set it to any hard dimension he chooses. However, the value on the
+first pass doesn't matter as much as you might think (more about that later).
+On the second pass,
+\verb|musixflx| determines where the system breaks will come,
+and then computes the final value of \verb|\elemskip| for each system.
+
+If the arithmetic progression of note spacings in the above table does not
+meet your wishes, you may activate an alternate set with
+the command \keyindex{geometricskipscale}. As implied by the name, this
+is a geometric progression, where {\Bslash Notes} is
+$\sqrt{2}$ times wider than {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$
+times wider than {\Bslash Notes}, and so forth.
+Then the factors in the middle column
+of the above table will be replaced by the sequence
+$2.00$, $2.38$, $2.83$, $3.36$, $4.00$, $4.76$, $5.66$, $6.72$, and $8.00$. Two additional
+macros, \verb|\NOTEsp| and \verb|\NOTES|, will be defined corresponding to
+factors $9.52$ and $11.32$. The original arithmetic progression can be
+restored by \keyindex{arithmeticskipscale}.
+
+If neither of the predefined progressions satisfies you, you may define
+your own, using the more general macro \verb|\vnotes| in the same manner
+that \musixtex\ uses it for the predefined progressions. So for example
+\verb|\def\NOtes{\vnotes5.34\elemskip}| will redefine \verb|\NOtes| in
+the obvious way, and the extension to the other spacing macros should
+likewise be obvious.
+
+In addition, inside any pair \verb|\notes...\en| there are two
+equivalent ways to
+locally redefine \verb|\noteskip| to another scalable value, namely by
+issuing a command like
+\verb|\noteskip=2.4\noteskip| or \keyindex{multnoteskip}\verb|{2.4}|, which
+have the expected effect until the notes group is terminated or
+\verb|\noteskip| is further redefined.
+The following abbreviations may be useful:
+\begin{quote}
+ \keyindex{nnotes} for \verb|\notes\multnoteskip\smallvalue|\quad (i.e.,~\verb|1.6\elemskip|)\\
+ \keyindex{nnnotes} for \verb|\notes\multnoteskip\tinyvalue|\quad (i.e.,~\verb|1.28\elemskip|)
+\end{quote}
+Finally, by issuing a command like
+\keyindex{scale}\verb|{2.4}| outside any notes group, you can scale all subsequent
+\verb|\noteskip|s by any desired factor.
+
+These facilities may be useful, for example,
+to control spacing when there are three equal duration notes in one staff against two
+ in another.
+
+
+%\subsection{\Bslash{\tt elemskip}, \Bslash{\tt beforeruleskip} and
+%\Bslash{\tt afterruleskip}}
+%
+% avr wants to call these "commands", but das doesn't.
+%\subsection{Commands {\Bslash\texttt{elemskip}},
+%{\Bslash\texttt{beforeruleskip}}
+%and {\Bslash\texttt{afterruleskip}}}
+%\subsection{{\Bslash\texttt{elemskip}},
+%{\Bslash\texttt{beforeruleskip}}
+%and {\Bslash\texttt{afterruleskip}}}
+
+\subsection{Before and after rule skips}
+
+
+We've just seen how \verb|\elemskip| is used to scale the spacings between notes.
+There are two other spacing units that share some behavior with \verb|\elemskip|:
+\verb|\beforeruleskip| is the horizontal space that is automatically inserted
+\ital{before} every bar line, while \verb|\afterruleskip| goes \ital{after}
+every bar line. (In
+practice \verb|\beforeruleskip| is almost aways set to \verb|0pt| because there
+will typically already be a space of \verb|1\noteskip| before every barline.)
+On the first pass, just as with \verb|\elemskip|, \musixtex\ assigns them default
+values according to the following table:
+
+%\begin{quote}\begin{tabular}{lrrr}\hline
+%\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip}
+% &\keyindex{beforeruleskip}\\\hline
+%\keyindex{normalmusicsize}&6pt&8pt&0pt\\
+%\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline
+%\end{tabular}\end{quote}
+
+\begin{center}\begin{tabular}{lrrr}\hline
+\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip}
+ &\keyindex{beforeruleskip}\\\hline
+\keyindex{normalmusicsize}&{\tt 6pt}&{\tt 8pt}&{\tt 0pt}\\
+\keyindex{smallmusicsize}&{\tt 4.8pt}&{\tt 6pt}&{\tt 0pt}\\\hline
+\end{tabular}\end{center}
+
+\noindent In the second pass, \verb|musixflx| assigns new values to each
+of these dimensions, a different set for each line or system. It does this
+in such a way that available scalable horizontal space in each system is
+exactly filled up.
+
+The values that are assigned to these dimensions on the first pass, whether by
+default or explicitly by the user or in some combination, only matter insofar
+as their relative sizes. That's why we earlier stated that the first-pass value
+of \verb|\elemskip| didn't matter as much as you might think. For both music sizes
+in the table above, it appears that by default \verb|\afterruleskip| is
+\verb|1.3333\elemskip|\footnote{Editor's note: It is a mystery why the authors
+%of \musixtex\ didn't simply define \Bslash{\tt beforeruleskip} and \Bslash{\tt afterruleskip} as
+%specific multiples of \Bslash{\tt elemskip}}.
+of \musixtex\ didn't simply define \Bslash\texttt{beforeruleskip} and \Bslash\texttt{afterruleskip} as
+specific multiples of \Bslash\texttt{elemskip}}.
+
+Note that if you do want to change any of these
+values, you have to do so \ital{after} setting the
+music size and before \verb|\startpiece|.
+
+Here is an example that illustrates the various dimensions under discussion:\\
+ %\check
+\begin{music}\nostartrule
+\afterruleskip7pt
+\beforeruleskip2pt
+\parindent0pt
+\setclefsymbol1\empty
+% special problems afford special solutions
+\makeatletter\global\clef@skip\z@ \makeatother
+\startpiece
+\zchar{16}{\hbox to\afterruleskip{\downbracefill}}%
+\zchar{19}{\hbox to\afterruleskip{\hss a\hss}}%
+\addspace\afterruleskip
+\zchar{16}{\hbox to2\elemskip{\downbracefill}}%
+\zchar{19}{\hbox to2\elemskip{\hss b\hss}}%
+\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
+\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
+\notes\qa l\en
+\znotes\en
+\zchar{16}{\hbox to4\elemskip{\downbracefill}}%
+\zchar{19}{\hbox to4\elemskip{\hss c\hss}}%
+\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}%
+ \hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
+\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}%
+ \hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
+\NOtes\qa l\en
+\znotes\en
+\zchar{16}{\hbox to\beforeruleskip{\downbracefill}}%
+\zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}%
+\setemptybar\endpiece
+\end{music}
+\begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l}
+a&\keyindex{afterruleskip}\\
+b&\keyindex{notes}\verb| = \vnotes 2\elemskip|\\
+c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\
+d&\keyindex{beforeruleskip}\\
+e&\keyindex{elemskip}
+\end{tabular}\end{quote}
+
+\section{Moving from one staff or instrument to another}
+ \label{movingtostaffs}
+
+When entering notes inside \verb|\notes ... \en|, the usual way to suspend
+input for one instrument and start the next (higher) is with the character
+``\verb|&|''\index{"&@{\tt\char'046}}. If the instrument has more than one
+staff, to switch to the next (higher) one you can use the character
+``\verb+|+''\index{\tt\char'174@{\tt\char'174}}.
+
+There are some alternate navigation commands that may be useful in
+ special situations. Due to ``catcode
+problems'' (see Section~\ref{catcodeprobs}) it may sometimes be necessary
+to use the more explicit commands
+\keyindex{nextinstrument} and \keyindex{nextstaff}, which have the same
+meanings as ``\verb|&|'' and ``\verb+|+'' respectively. To switch to the previous
+(next lower) staff of the same instrument, use \keyindex{prevstaff}. This might
+be useful if a beam starts in a higher staff than where it ends. More
+generally, to switch to an arbitrary instrument $n$, use
+\keyindex{selectinstrument}\onen, and to switch to an arbitrary staff $n$
+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{current} staff.
+
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/repeats.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/repeats.tex
new file mode 100644
index 00000000000..ceb45bfc856
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/repeats.tex
@@ -0,0 +1,178 @@
+\chapter{Repeats}
+
+To replace a bar line with a left, right, or left-right repeat, use one of the
+commands \keyindex{leftrepeat}, \keyindex{rightrepeat} or
+\keyindex{leftrightrepeat} in place of \verb|\bar|. If a \verb|\leftrepeat|
+happens to come at the end of a system, it will automatically be moved to the
+start of the next system. If a \verb|\leftrightrepeat| happens to come at the
+end if a system, \musixtex\ will automatically post a right repeat at the end
+of the system and a left repeat at the beginning of the next.
+
+For example,
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\ha g\en
+\leftrepeat
+\NOTes\ha h\en
+\leftrightrepeat
+\NOTes\ha i\en
+\rightrepeat
+\NOTEs\wh j\en
+\zendextract
+\end{music}
+ \noindent has been coded as:
+\begin{quote}\begin{verbatim}
+\NOTes\ha g\en
+\leftrepeat
+\NOTes\ha h\en
+\leftrightrepeat
+\NOTes\ha i\en
+\rightrepeat
+\NOTEs\wh j\en
+\end{verbatim}\end{quote}
+
+To insert a right repeat at a forced line break or at the end of a piece, use
+\verb|\setrightrepeat| \textit{before}\ \verb|\alaligne| or \verb|\endpiece|.
+In contrast, to insert a left repeat at a forced line break or at the
+beginning of a piece, simply use \verb|\leftrepeat| immediately \textit{after}
+\verb|\startpiece| or \verb|\alaligne|. To insert a left-right repeat at a
+forced line break, use \verb|\setrightrepeat\alaligne\leftrepeat|.
+
+In fact it is possible to use \keyindex{setleftrepeat},
+\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before any
+\keyindex{bar}, \keyindex{stoppiece} or \keyindex{changecontext}. But
+be aware that while \verb|\setleftrepeat| behaves properly if the
+bar is at the end of a system, \verb|\setleftrightrepeat| does not, placing
+the symbol only at the end of the system.
+
+ \section{First and second endings (Voltas)}\index{volta}
+
+All volta commands must be entered right before the bar line command
+(or repeat, etc.) where they are to take effect. There are three
+commands that suffice to set all voltas. To start one, use
+\keyindex{Setvolta}\verb|{|\textit{text}\verb|}|; to terminate it
+with or without a vertical line, use \keyindex{endvolta} or
+\keyindex{endvoltabox} respectively. The text by default will be followed
+by a period. There are also various alternate
+commands (e.g., \verb|\setendvoltabox| is equivalent to \verb|\endvoltabox|).
+Some such alternate forms are used in the following example, but the first three
+mentioned above are all that are required:
+
+\medskip \begin{music}
+ \parindent0pt
+ \startpiece
+ \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvoltabox{1.-3}\bar
+ \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat
+ \NOTEs\wh d\en\doublebar
+ \NOTEs\wh e\en\bar
+ \NOTEs\wh f\en\leftrepeat
+ \NOTEs\wh g\en\bar
+ \NOTEs\wh h\en\Setvolta1\bar
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh h\en\setendvoltabox
+ \Endpiece
+ \end{music}
+ \noindent This was coded as
+ \begin{quote}\begin{verbatim}
+ \startpiece \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvoltabox{1.-3}\bar
+ \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat
+ \NOTEs\wh d\en\doublebar
+ \NOTEs\wh e\en\bar
+ \NOTEs\wh f\en\leftrepeat
+ \NOTEs\wh g\en\bar
+ \NOTEs\wh h\en\Setvolta1\bar
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat
+ \NOTEs\wh i\en\bar
+ \NOTEs\wh h\en\setendvoltabox
+ \Endpiece
+\end{verbatim}\end{quote}
+ \zkeyindex{leftrepeat}\zkeyindex{rightrepeat}
+
+If the volta only spans one measure and ends without a vertical segment,
+it can be specified simply by saying
+\keyindex{setvolta}\verb|{|\textit{text}\verb|}| before the bar line command
+that starts it, and it will automatically terminate at the
+second bar line command:
+
+\medskip \begin{music}
+ \parindent0pt \startpiece \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat
+ \NOTEs\wh d\en\bar
+ \NOTEs\wh e\en\Endpiece
+\end{music}
+\noindent which was coded as:
+ \begin{quote}\begin{verbatim}
+ \parindent0pt \startpiece \addspace\afterruleskip
+ \NOTEs\wh a\en\bar
+ \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat
+ \NOTEs\wh d\en\bar
+ \NOTEs\wh e\en\Endpiece
+\end{verbatim}\end{quote}
+
+The height above the top staff line of the horizontal line in a volta symbol
+is determined by the token \keyindex{raisevolta} which is \verb|4\internote| by
+default. You can change this to any desired dimension.
+
+The period after the text can be
+removed by saying \verb|\def|\keyindex{voltadot}\verb|{}|
+and restored by \verb|\def|\keyindex{voltadot}\verb|{.}|\ .
+
+ \section{Special symbols for repeating long sections}
+
+Four special symbols and corresponding macros are available, namely
+\keyindex{coda}~$p$, \keyindex{Coda}~$p$,
+and \keyindex{segno}~$p$, where $p$ specifies the pitch; and \keyindex{Segno}
+with no argument. Their behavior is illustrated in this example:
+
+\begin{music}
+\startextract
+\NOtes\segno n\en
+\bar
+\NOtes\coda n\en
+\NOtes\Segno\en
+\bar
+\NOtes\Coda n\en
+\endextract
+\end{music}
+\noindent which has been coded:
+\begin{quote}\begin{verbatim}
+\NOtes\segno m\en\bar
+\NOtes\coda m\en
+\NOtes\Segno\en\bar
+\NOtes\Coda m\en
+\end{verbatim}\end{quote}
+
+\section{Repeating a single bar}
+ The special symbol for a single bar repeat is generated by \keyindex{duevolte}, as shown
+in the following example:
+
+\begin{music}
+\generalmeter\meterC
+\setclef1\bass\setstaffs1{2}
+\startextract
+\NOtes\sk\sk\pause|\qa{cegj}\en
+\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en
+\endextract
+\end{music}
+\noindent whose coding is:
+\begin{quote}\begin{verbatim}
+\generalmeter\meterC
+\setclef1\bass\setstaffs1{2}
+\startextract
+\NOtes\sk\sk\pause|\qa{cegj}\en
+\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en
+\endextract
+\end{verbatim}\end{quote}
+
+\noindent This is often used with \verb|\centerbar| to more easily center the
+symbol between bar lines, as shown in the example in Section~\ref{barcentered}.
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/rests.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/rests.tex
new file mode 100644
index 00000000000..e908e09e955
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/rests.tex
@@ -0,0 +1,114 @@
+\chapter{Rests}
+ \section{Ordinary rests}
+ A separate macro is defined for each kind of ordinary rest. They cause
+a space after the symbol, just like spacing note commands, but they have
+no parameters. A whole rest is coded as
+\keyindex{pause},
+half rest \keyindex{hpause} or \keyindex{hp},
+quarter rest \keyindex{qp} or \keyindex{soupir},
+eighth rest \keyindex{ds}, sixteenth rest \keyindex{qs},
+$32$nd~rest \keyindex{hs}, and $64$th rest \keyindex{qqs}.
+Dotted rests may be obtained by
+using
+\keyindex{hpausep} or \keyindex{hpp}, \keyindex{qpp}, \keyindex{dsp}, \keyindex{qsp},
+\keyindex{hsp} and \keyindex{qqsp}.
+
+ Longer rests, normally interpreted as lasting
+two or four bars respectively, can be coded as \keyindex{PAuse}
+and \keyindex{PAUSe}, which yield:
+
+\begin{music}\nostartrule
+\generalmeter{\meterfrac44}
+\startextract
+\def\atnextbar{\znotes\centerbar\PAuse\en}%
+\NOTEs\en\bar
+\def\atnextbar{\znotes\centerbar\PAUSe\en}%
+\NOTEs\en
+\endextract
+\end{music}
+ %\check
+
+
+ \section{Raising rests}\index{raising rests}
+All the
+previous rests except \keyindex{pausep} and
+\keyindex{hpausep} are \ital{hboxes}, which means that
+they can be vertically offset if needed using the
+standard \TeX\ command \keyindex{raise}. For example:
+
+ \begin{quote}
+ \begin{verbatim}
+ \raise 2\Interligne\qp
+ \raise 3mm\qqs
+ \end{verbatim}
+ \end{quote}
+
+\noindent where \keyindex{Interligne} is the distance from one staff line to the
+next.
+
+In addition, two macros are available to put a whole or
+half rest above or below the staff. 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
+as non-spacing is not obvious}, are
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{liftpause}~$n$ to get a
+ \hbox to10pt{\liftpause{-2}\hss}
+ raised from original position by $n$ staff line intervals,
+ \item \keyindex{lifthpause}~$n$ to get
+ \hbox to10pt{\lifthpause{-1}\hss} raised the same way.
+ \item \keyindex{liftpausep}~$n$ to get a
+ \hbox to10pt{\liftpausep{-2}\hss}
+ raised from original position by $n$ staff line intervals,
+ \item \keyindex{lifthpausep}~$n$ to get
+ \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 any other symbol) exactly in the middle
+of a bar. This can be done with combinations of the commands
+\keyindex{atnextbar},
+\keyindex{centerbar},
+\keyindex{centerPAUSe},
+\keyindex{centerPAuse},
+\keyindex{centerpause},
+\keyindex{centerhpause},
+as demonstrated in the following example:
+
+\begin{music}
+\generalmeter\meterC
+\setclef1\bass
+\setstaffs1{2}
+\parindent0pt
+\startpiece\addspace\afterruleskip
+\NOtes|\qa{cegj}\en
+\def\atnextbar{\znotes\centerpause\en}\bar
+\NOtes|\qa{jgec}\en
+\def\atnextbar{\znotes\centerpause\en}\bar
+\Notes\ca{`jihgfedc}\en
+\def\atnextbar{\znotes|\centerpause\en}\bar
+\NOTes\ha{Nc}\en
+\def\atnextbar{\znotes|\centerpause\en}\bar
+\addspace{10\elemskip}%
+\def\atnextbar{\znotes\centerbar\duevolte|\centerbar\duevolte\en}\endpiece
+\end{music}
+\noindent with the coding
+\begin{verbatim}
+\generalmeter\meterC
+\setclef1\bass
+\setstaffs1{2}
+\parindent0pt
+\startpiece\addspace\afterruleskip
+\NOtes|\qa{cegj}\en
+\def\atnextbar{\znotes\centerpause\en}\bar
+\NOtes|\qa{jgec}\en
+\def\atnextbar{\znotes\centerpause\en}\bar
+\Notes\ca{`jihgfedc}\en
+\def\atnextbar{\znotes|\centerpause\en}\bar
+\NOTes\ha{Nc}\en
+\def\atnextbar{\znotes|\centerpause\en}\bar
+\addspace{10\elemskip}%
+\def\atnextbar{\znotes\centerbar{\duevolte}|\centerbar{\duevolte}\en}\endpiece
+\end{verbatim}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/settingup.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/settingup.tex
new file mode 100644
index 00000000000..3f5b1943df5
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/settingup.tex
@@ -0,0 +1,353 @@
+\chapter{Setting up the Input File}
+\section{What makes a \TeX\ file a \musixtex\ file?}
+A \musixtex\ input file is a special kind of \TeX\ input file. What makes it
+special is that it must contain the command
+\verb|\input musixtex|
+before any reference to \musixtex\ macros. After that might follow
+\verb|\input musixadd| or \verb|\input musixmad| if you want to have
+respectively up to nine or twelve instruments or simultaneous beams,
+ties, or slurs.\ixtt{musixtex.tex}\ixtt{musixadd.tex}\ixtt{musixmad.tex}
+If you want to have greater numbers of these elements, you can assign them
+directly by including one or more of these commands:
+\verb|\setmaxinstruments|,
+\verb|\setmaxcxxviiibeams|,
+\verb|\setmaxcclvibeams|,
+\verb|\setmaxgroups|,
+\verb|\setmaxslurs|,
+\verb|\setmaxtrills|,
+\verb|\setmaxoctlines|.
+
+Since it is still a \TeX\ file, after that, if you wished to,
+you could write a whole non-musical book
+using normal \TeX\ commands provided that you did not
+use \verb|&| as a tab character like in plain \TeX; in \TeX\ lingo,
+its \keyindex{catcode} has been changed.
+
+ \section{Cautions for the non \TeX pert}
+When \TeX\ reads anything, it inputs one \ital{token} at a time. A token
+may be either a \ital{command} or a character. A command (or \ital{macro},
+or \ital{control sequence}) is a
+\ital{backslash} (``{\Bslash}'') immediately followed by sequence of
+letters with no intervening spaces. For practical purposes, any single symbol (letter, digit,
+special character, or space) that is not part of a command counts as a character
+and therefore as a token.
+
+Each command expects a specific number of parameters.
+The tokens ``\verb|{|'' and ``\verb|}|'' are very special, in that (1) they
+must occur in matched pairs, and (2) any matched pair together with
+the stuff inside counts as a single parameter.
+If the first
+parameter expected is a single letter, it must either be
+separated from the command by a space or
+enclosed in braces (otherwise it would be interpreted as part of the command).
+For example the command \verb|\ibu| expects three parameters, so the
+following are all OK: \verb|\ibu123|, \verb|\ibu1A3|, \verb|\ibu1{`A}3|,
+\verb|\ibu{1}{2}{3}|, \verb|\ibu1{-2}3|, or \verb|\ibu1{23}4|, but
+\verb|\ibu1234| is not OK; the first three digits are taken as parameters,
+leaving the ``4'' with no purpose other than to cause some of the dreaded
+unrecorded space that we have already mentioned.
+
+In the rest of this manual, when describing commands we will write
+things like \verb|\qb{|$n$\verb|}{|$p$\verb|}|. It should be understood that
+when $n$ and $p$ are replaced by their literal values, the braces may
+or may not be necessary. In particular, if both are single digits, no
+braces are needed; but if $n$ has two digits, or if $p$ has more than
+one character, they must be surrounded by braces.
+
+Spaces (blank characters) in the input file must be handled very carefully.
+They are ignored at the beginning of a line, enabling logical
+indentation schemes to help make the file human-readable. There are also a few
+other places within lines where blank spaces are OK (such as mentioned in the prior paragraph),
+but in general is it safest to avoid
+any unnecessary blanks between the beginning and end of an input line.
+At the end of a line, the truth is that a command with no parameters, such as
+\verb|\bar| or \verb|\en| will cause no trouble. However if a command with
+one or more parameters is the last item in an input line, it will cause
+unrecorded space. The way around this is to end the line with either ``\verb|%|''
+or \verb|\relax|.
+
+ \section{Usual setup commands}\label{whatspecify}
+
+\subsection{Music size}
+
+ The first decision is what size type to use. \musixtex\ offers four sizes:
+``small'' \mbox{(\texttt{16pt}-high staves),} ``normal'' (\texttt{20pt}),\index{sizes} ``large''
+(\texttt{24pt}), and ``Large'' (\texttt{29pt}). The default is
+\keyindex{normalmusicsize}. If you want a different size, then you have to
+enter \keyindex{smallmusicsize}, \keyindex{largemusicsize}, or
+\keyindex{Largemusicsize}. Each of these commands defines not only the
+desired staff size but many other related sizes such as note heads, ornaments,
+stem lengths, etc.
+
+\subsection{Number of instruments}
+
+ The command \keyindex{instrumentnumber}\onen~defines the
+number of instruments to be $n$. If not entered, the default is $1$. This number is used in loops
+that build staves,
+set key signatures, set meters, etc., so if it differs from $1$ it must be explicitly
+defined before any further commands.
+
+\subsection{Number of staves per instrument}
+
+An instrument may have one or more staves (e.g.,~a piano would normally have 2 staves).
+The differences between one
+instrument of several staves and several instruments with one staff each are as follows:
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Different instruments may have different \itxem{key signatures}, while different
+staves of an instrument will all have the same key signature.
+ \item A \itxem{beam} may include notes in different
+staves of the same instrument.
+ \item A \itxem{chord} may extend across several staves of the same
+instrument.
+ \item If an instrument has more than one staff, they will be linked together
+with a big, curly brace at the beginning of each line.
+\end{itemize}
+The default number of staves per instrument is $1$. If it is different, then it
+must be specified by \keyindex{setstaffs}\verb|{|$n$\verb|}{|$p$\verb|}|
+where $p$ is the number of staves and $n$ is the
+number of the instrument. In \musixtex, instruments are numbered
+\ital{starting with the lowest}.
+So for example \verb|setstaffs32|
+assigns two staves to the third instrument from the bottom.
+
+\subsection{Clefs for each staff}
+
+ The default clef for every staff is the \ital{treble} clef. To assign
+any other clef, the command is
+\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}|
+where $n$ is the number of the instrument, $s_1$ is a digit specifying the
+clef for the first (lowest) staff, $s_2$ for the second staff, and so forth.
+Note that like
+instruments, staves of a given instrument are numbered starting with
+the lowest. The parameters $s_2$, $s_3$ and $s_4$ can be omitted, in which case
+any unspecified staves will be assigned a treble clef.
+
+The digits $s$ can range from $0$ to $9$, with the following meanings:
+$s=0$ signifies treble or G clef.
+$s=1$ to $4$ mean C-clef, respectively on the first (lowest) through fourth staff line.
+$1$ is also called \ital{soprano}, $3$ \ital{alto} and $4$ \ital{tenor}.
+$s=5$ to $s=7$ mean F-clef, respectively on the third through fifth staff line. $5$ is
+also called \ital{baritone} and $6$ is the normal \ital{bass}.
+ $s=8$ is not used.
+$s=9$ represents a G clef on the first line, also called \ital{French violin} clef.
+
+The three tokens \verb|\treble|, \verb|\alto|, and \verb|\bass| can be used instead
+of a digit for $s$, but only if there would have been but one digit in the string.
+So for example the clefs for a standard piano score
+could be specified by
+\keyindex{setclef}\verb|1{\bass}|.
+
+Treble and bass clefs with the digit $8$ above or below are also possible; see
+Section~\ref{treblelowoct}.
+
+\subsection{Key signatures}
+
+To set a common key signature for all instruments, use
+ \keyindex{generalsignature}\verb|{|$s$\verb|}|,
+where $s>0$ is the number of \itxem{sharps} in the
+signature and $s<0$ the number of \itxem{flats}\footnote{We once saw a
+score in G-minor where the signature consisted of two flats (B and E) plus
+one sharp (F). This is not directly supported by \musixtex.}. To override
+the common key signature for instrument $n$, use
+\keyindex{setsign}\verb|{|$n$\verb|}{|$s$\verb|}|. Note that differing
+key signatures cannot be assigned to different staves of the same instrument.
+
+\subsection{Meters}
+
+A common \itxem{meter} for all staves can be specified by
+ \keyindex{generalmeter}\verb|{|$m$\verb|}|,\label{generalmeter}
+where $m$ describes the appearance of the meter indication, and can take several
+different forms. If the meter is a \ital{fraction} (e.g.,~$3/4$) the command is
+ \verb|\generalmeter{|\keyindex{meterfrac}\verb|{3}{4}}|.
+Other possible tokens~$m$ are \keyindex{meterC},
+\keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve} and
+\keyindex{meterplus}. These are illustrated in the following example:
+
+ %\check
+\begin{music}
+\generalmeter\meterC
+\nostartrule
+\parindent0pt\startpiece
+\NOtes\qa{cegj}\en
+\generalmeter\allabreve\changecontext
+\NOTes\ha{ce}\en
+\generalmeter\reverseC\changecontext
+\NOTEs\zbreve g\en
+\generalmeter\reverseallabreve\changecontext
+\NOTEs\zwq g\en
+\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext
+\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\en\setemptybar
+\endpiece
+\end{music}
+\noindent which was coded as:
+\begin{quote}\begin{verbatim}
+\generalmeter\meterC
+\nostartrule
+\parindent0pt\startpiece
+\NOtes\qa{cegj}\en
+\generalmeter\allabreve\changecontext
+\NOTes\ha{ce}\en
+\generalmeter\reverseC\changecontext
+\NOTEs\zbreve g\en
+\generalmeter\reverseallabreve\changecontext
+\NOTEs\zwq g\en
+\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext
+\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\en\setemptybar
+\endpiece
+\end{verbatim}\end{quote}
+
+To override the common meter for any staff, use
+\keyindex{setmeter}\verb|{|$n$\verb|}{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}|.\linebreak
+This works just like \verb|\setclef|. For example,
+\verb|setmeter3{{\meterfrac{12}8}\allabreve}|
+sets the meter to 12/8 for the first staff of the third instrument, and
+\ital{alla breve} for the second staff.
+
+To insert extra space before the meter is
+written, use \keyindex{meterskip}$d$ where $d$ is any hard \TeX\
+%dimension\footnote{{\Bslash\tt meterskip} is not a macro but a
+dimension\footnote{{\tt\Bslash meterskip} is not a macro but a
+dimension register. Whatever follows it
+must be a \TeX\ dimension and {\it it must not be enclosed in braces}.}.
+The assignment must occur outside \verb|\startpiece...\endpiece| and will be
+reset to zero after first meter is posted.
+
+\subsection{Instrument names}
+
+To set an \itxem{instrument name}, use
+\keyindex{setname}\verb|{|$n$\verb|}{|\ital{name of the instrument}\verb|}|.
+This will place the name in the space to the left of the
+first staff or group of staves for instrument $n$. To specify the amount of space
+available, use \verb|\parindent|$d$ where $d$ is any hard \TeX\ dimension.
+ \section{Groupings of instruments}\label{curlybrackets}
+By default, all staves in a system will be joined
+at the left by a thin, vertical rule. In addition, if an instrument has more than
+one staff, they will be joined by a big, curly brace. Now we introduce a way
+to delineate groups of instruments or choirs with a square brace containing two parallel
+vertical rules, the left one thick and the right one thin. This is commonly used
+to group together the voices in a choir.
+
+If there is only one choir, this can be done with
+ \begin{quote}
+\keyindex{songtop}\onen\\
+\keyindex{songbottom}\verb|{|$m$\verb|}|
+\end{quote}
+\noindent where $m$ and $n$ are the instrument numbers of the first
+and last voices. An example is shown in Section~\ref{song}.
+
+If there is more than one choir to be set off with
+square braces, each one can be specified with
+ \begin{quote}
+\keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\
+\keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}|
+\end{quote}
+\noindent where $m$ and $n$ are the instrument numbers of the first
+and last voices of group number~$g$. \musixtex{} allows up to three
+groups, numbered from $1$ to $3$. The command \verb|\songtop| is equivalent
+to \verb|\grouptop 1|; \verb|\songbottom| is equivalent to
+\verb|\groupbottom 1|.
+
+With \ttxem{musixadd.tex} or \ttxem{musixmad.tex}, the allowable number of
+groups is increased to four.
+Alternatively, you can specify the allowable number of groups to $m$ by
+\keyindex{setmaxgroups}\verb|{|$m$\verb|}|%
+\footnote{Using $m>4$ may require e-\TeX.}.
+\label{musixmad_setmaxgroups}
+
+If any of the instruments grouped this way has more than one staff, the
+heavy curly brace will be shifted to the left of the square brace.
+
+Previously defined square braces can be removed by declaring
+\verb|\songtop| less than \verb|\songbottom|. The same applies to
+\verb|\grouptop| and \verb|\groupbottom| for the same group number.
+
+ An alternate command allows you to specify all choirs at once:
+\begin{quote}
+ \keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}%
+ \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|%
+ {\it lower\_3\/}\verb|}{|{\it upper\_3\/}\verb|}}|
+\end{quote}
+\noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument
+numbers that denote the span of bracket number $n$. For
+setting fewer than three brackets, just omit all unneeded
+\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs.
+
+For example,
+ \verb|\instrumentnumber{5}\akkoladen{{1}{2}{3}{5}}|
+\noindent yields the first example below, with five single-staff instruments
+divided into two groups.
+The second example has two instruments, the first (lower) with two staves and the
+second with three. Each instrument is set off by default with a curly bracket.
+
+If for some reason you want more than one \ital{instrument}\ grouped
+within a curly
+bracket, then you can use the
+command
+
+ \keyindex{curlybrackets}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}%
+ \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}...|
+
+\noindent to be used as illustrated in the third example below.\\
+\begin{small}
+\begin{minipage}[t]{29ex}
+\begin{music}
+ % just to avoid wasting space ...
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}}
+ \startextract\notes\en\bar\notes\en\zendextract
+\end{music}
+\begin{quote}is coded as:
+\begin{verbatim}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber{5}
+ \akkoladen{{1}{2}{3}{5}}
+ \startextract
+ \notes\en\bar\notes\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{minipage}
+\begin{minipage}[t]{27ex}
+\begin{music}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber2 \setstaffs12\setstaffs23
+ \startextract \notes\en\bar\notes\en\zendextract
+\end{music}
+\begin{quote}is coded as:
+\begin{verbatim}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber2
+ \setstaffs12
+ \setstaffs23
+ \startextract
+ \notes\en\bar\notes\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{minipage}
+\begin{minipage}[t]{27ex}
+\begin{music}
+ \sepbarrules
+ \smallmusicsize
+ \instrumentnumber5 %\setstaffs12\setstaffs23
+ \curlybrackets{1235}
+ \startextract \notes\en\bar\notes\en\zendextract
+\end{music}
+\begin{quote}is coded as:
+\begin{verbatim}
+ \sepbarrules
+ \instrumentnumber5
+ \smallmusicsize
+ \curlybrackets{1235}
+ \startextract
+ \notes\en\bar\notes\en
+ \zendextract
+\end{verbatim}\end{quote}
+\end{minipage}
+\end{small}
+
+
+
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex
new file mode 100644
index 00000000000..bd44a61f63d
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex
@@ -0,0 +1,366 @@
+ \chapter{Postscript Slurs, Ties and Hairpins}\label{PostscriptSlurs}
+
+\input musixps
+
+
+All of the aforementioned limitations of font-based slurs can be circumvented
+by using type~K Postscript slurs\footnote{``K'' stands for Stanislav Kneifl,
+the developer of the type~K Postscript slur package.}. As well as slurs, the package includes
+ties and crescendos.
+Its use is very similar to font-based slurs, and in fact identical if only
+the elementary slur and tie initiation and termination macros are used.
+
+In order to use type~K Postscript slurs, ties and hairpins, you must first place \texttt{musixps.tex}
+anywhere \TeX\ can find it. You must also place \texttt{psslurs.pro}
+somewhere that \texttt{dvips} can find it.
+
+The \index{mxsk font}\texttt{mxsk} font is required for ``half ties,'' which
+are special symbols that are used by default for the second portion of a tie
+that crosses a line break. If you like
+this treatment you must install the font in your \TeX\ system. However, perfectly
+acceptable line-breaking ties will appear if you invoke \keyindex{nohalfties},
+and then you will not have to install this font.
+
+Once the software mentioned in the prior two paragraphs is installed and the
+\TeX\ filename database is refreshed, the type~K package can be
+invoked by including the command \verb|\input musixps|
+near the beginning of your source file.
+The resulting dvi file should then be converted into Postscript using \textbf{dvips}.
+If desired, a PDF file can then be generated with \textbf{ps2pdf}, \textbf{ghostscript},
+or \textbf{Adobe Acrobat} (see Section~\ref{using} for more information on this).
+
+Two minor inconveniences with type~K Postscript slurs are that (1) they won't appear
+in many dvi previewers, and (2) they won't appear in PDF files generated with
+\textbf{pdftex} or \textbf{dvipdfm}. The former limitation can be circumvented by using a Postscript
+viewer such as \textbf{GSview}. The latter simply requires that you create an intermediate
+Postscript file with \textbf{dvips}, then make the PDF with any of the software
+mentioned above.
+
+
+\section{Initiating and terminating type K Postscript slurs}
+
+Basic usage of type K slurs is the same as for font-based slurs. To initiate one,
+use for example \verb|\isluru0g| to start an upper slur with ID 0 above a virtual note
+at pitch level {\tt g}. To terminate one, use a command like
+\verb|\tslur0i| which terminates the slur with ID 0 on a
+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.
+
+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},
+\keyindex{irslurd}, \keyindex{trslur} or \keyindex{tlslur}.
+
+You can control the shape of type~K slurs with variants of
+the termination command. To make the slur a bit flatter than default use
+\keyindex{tfslur}0f; a bit higher, \keyindex{thslur}0f; higher still,
+\keyindex{tHslur}0f; or
+even higher, \keyindex{tHHslur}0f. These commands have an effect like
+\keyindex{midslur} does for font-based slurs.
+
+All combinations of the shifting and curvature variants are allowed,
+e.g.\ \verb|\trHHslur|.
+
+
+The following examples demonstrate how much better the type K slurs perform
+in the extreme situations of the prior two typeset examples. The coding is
+exactly the same as above except that \verb|\input musixps| has been added:
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\input musixps
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+....
+\end{verbatim}\end{quote}
+
+\begin{music}\nostartrule
+\instrumentnumber{1}
+\generalmeter{\meterfrac34}
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract
+
+\startextract
+\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en\bar
+\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en
+\NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en\bar
+\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en
+\zendextract
+\end{music}
+
+
+
+
+For maximal control over type K slurs, you can use one of the commands
+\keyindex{iSlur}~$npvh$ and
+\keyindex{tSlur}~$npvhca$, where the characters in
+$npvhca$ respectively stand for ID number, height, vertical offset, horizontal offset,
+curvature, and angularity.
+All offsets are in \verb|internote|, and the slur direction is determined
+by the sign of the vertical offset. See the comments in \verb|musixps.tex|
+for precise definitions of the other parameters. Examples of permissible forms for
+these commands are
+\verb|iSlur0c11| and \verb|tSlur0{!d}11{.2}0|.
+
+The next example shows how you can use \verb|iSlur| in difficult
+circumstances:
+
+
+\begin{music}\nostartrule
+\nobarnumbers
+\generalsignature1%
+\generalmeter{\meterfrac{2}{4}}%
+\nostartrule
+\startextract
+\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlfslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\zchar{-8}{\Bslash iSlur...\Bslash tSlur}\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en
+\zendextract
+\end{music}
+\noindent with this coding:
+
+\begin{quote}\begin{verbatim}
+\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar
+%
+\NOtes\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar
+\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en
+\end{verbatim}\end{quote}
+
+
+The ID number for a slur, tie or crescendo should
+normally range from $0$ to $9$. If it is bigger
+than nine but less than $15$,
+the object can cross a line break but not a page break. If bigger than
+14 but less than $2^{31}$, it can't be broken at all,
+ nor can a slur termination be positioned at a beam with
+ e.g., \verb|\tbsluru{17684}{16}|; however \verb|\ibsluru{152867}{16}| is okay.
+
+It's also okay to have opened simultaneously a slur, tie and crescendo all
+with the same ID, or a slur, tie and decrescendo, but not a crescendo and
+decrescendo.
+
+\def\emen{{\tt\char123}$n${\tt\char125\char123}$m${\tt\char125}}
+
+`
+\section{Type~K Postscript beam slurs}
+Type~K beam slurs are defined differently than the font-based ones:
+They require as parameters both a slur ID number $n$ and a beam ID number $m$,
+but that's all. The commands are
+\keyindex{iBsluru}\emen, \keyindex{iBslurd}\emen, and
+\keyindex{tBslur}\emen.
+They must be placed \ital{after} the beam initiation or termination command.
+Type~K slurs may start on one beam and end on another.
+For example,
+
+\begin{quote}\begin{verbatim}
+\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
+ \slurtext{6}\tBslur00\qb0e\en
+\end{verbatim}\end{quote}
+
+\noindent produces
+%\begin{center}
+%\includegraphics[scale=1]{./mxdexamples/psbeamslur.eps}
+%\end{center}
+
+\begin{music}\nostartrule\startextract
+\Notes\ibu0g2\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0%
+ \slurtext{6}\tBslur00\qb0e\en
+\zendextract
+\end{music}
+
+This example also illustrates the use of the macro
+\keyindex{slurtext}. It has just one parameter---some text to be
+printed---and it centers it just above or below the midpoint of
+the next slur that is closed.
+This works only for non-breaking slurs; if the slur is broken,
+the text
+disappears\footnote{If you insist on viewing files with a dvi viewer that
+doesn't display
+type~K slurs, you may also find that
+figures placed with \keyindex{slurtext} will appear at the end of the
+slur rather than the middle.}.
+%The placing of the slur text is done with a very dirty Postscript
+%hack, so I am not really sure that everything you want to typeset
+%will be placed at the correct position (if you are interested, see
+%the end of psslurs.pro for details). If you find something that won't
+%work, let me know.
+
+% DAS: why do we need this ???
+%\paragraph{General coding for Postscript slurs and ties of type K.}
+%This can be done by:
+%\begin{quote}\begin{verbatim}
+%\i[h.shift]slur[u|d]{slur ID}{note height}
+%\t[h.shift][slur height]slur{slur ID}{note height}
+%\iBslur[u|d]{slur ID}{beam ID}
+%\tB[slur.height]slur{slur ID}{beam ID}
+%\end{verbatim}\end{quote}
+%\noindent where h.shift can be 'l', 'r' or nothing
+%and slur.height can be 'f', nothing, 'h', 'H' or 'HH'
+%
+%Example: \keyindex{tlfslur} means 'terminate left flat slur'.
+%
+%
+%There are also simple slurs with same invocation and parameters as the
+%original ones.
+
+\section{Type~K Postscript ties}
+All of the foregoing Type~K slur commands
+except the shape-changing ones
+have counterparts for ties. Simply
+replace ``\verb|slur|'' with ``\verb|tie|'', and for terminations omit
+the pitch parameter. Type~K ties not only are positioned differently by
+default, but they also have different shapes than slurs. If you want to change
+the shape of a tie, redefine \verb|\pstiehgt| from its default of $0.7$.
+
+\section{Dotted type K slurs and ties.}%please check the capital D(otted)
+A slur or tie can be made dotted simply by entering \keyindex{dotted} anywhere before
+the beginning of the slur or tie. Only the first slur or tie following this
+command will be affected. On the other hand, if you enter \keyindex{Dotted}, then \emph{all}
+slurs and ties from this point forward will be dotted until you say
+\keyindex{Solid}. Furthermore, inside \verb|\Dotted...\Solid| you can make any individual
+slur or tie solid saying \verb|\solid| before its beginning.
+
+\section{Avoiding collisions with staff lines.}
+In Postscript it is possible to do computations that would be very hard
+to implement directly in TeX. Type~K slurs can use this facility to check whether
+the curve of a slur or tie is anywhere nearly tangent to any staff line, and if
+so, to adjust
+the altitude of the curve to avoid the collision. By default this feature is turned
+on.
+You can disable it either
+globally (\keyindex{Nosluradjust}, \keyindex{Notieadjust}) or locally
+(\keyindex{nosluradjust}, \keyindex{notieadjust}), and you can also turn it
+back on globally (\keyindex{Sluradjust},
+\keyindex{Tieadjust}) or locally (\keyindex{sluradjust}, \keyindex{tieadjust}).
+Here ``locally''
+means that the command will only affect the next slur or tie to be opened.
+
+\section{Type K Postscript hairpins}\label{kcresc}
+
+There are two different types. The first type is normally initiated with either
+\keyindex{icresc}\onen~or \keyindex{idecresc}\onen, and terminated with
+\keyindex{tcresc}\onen, where $n$ is a hairpin index,
+which is virtually unlimited but certain restrictions apply if it exceeds $14$.
+The altitude is set by the value of \keyindex{setcrescheight}, which by default
+is $-5$ and which must be expressed numerically. Note that
+\keyindex{tcresc}~is the same as \keyindex{tdecresc}.
+
+You can shift the starting or ending point horizontally by replacing the
+foregoing macros with
+\keyindex{ilcresc}, \keyindex{ildecresc},
+\keyindex{ircresc}, \keyindex{irdecresc},
+\keyindex{tlcresc}, \keyindex{tldecresc},
+\keyindex{trcresc}, \keyindex{trdecresc},
+for example to make space for an alphabetic dynamic mark.
+
+The second form of Postscript hairpin macros allows individual and arbitrary
+specification of the altitude and horizontal offset. The syntax is
+\keyindex{Icresc}\itbrace{n}\itbrace{h}\itbrace{s}, where $h$ is the
+altitude---which must be numerical---and $s$ is the horizontal offset
+in \verb|\internote|. Similar syntax obtains for \keyindex{Idecresc}\
+and \keyindex{Tcresc}.
+
+These hairpins may span several lines. If one of them spans three systems
+then the height of the middle section can be adjusted with
+\keyindex{liftcresc}\itbrace{n}\itbrace{h}. The height of the first and last
+parts of a broken crescendo will be defined by the height parameter in
+\keyindex{Icresc}~or \keyindex{Tcresc}.
+
+There are numerous other nuances and shorthand macros that are described
+in the comments in \verb|musixps.tex|.
+
+As an example of a Postscript hairpin,
+
+\begin{music}\nostartrule
+\generalmeter{\meterfrac{12}8}
+\startextract
+\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en
+\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en
+\zendextract
+\end{music}
+
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\input musixps
+\generalmeter{\meterfrac{12}8}
+\startextract
+\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en
+\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en
+\zendextract
+\end{verbatim}\end{quote}
+
+
+\section{Line-breaking slurs, ties and hairpins}
+Tyle K slurs, ties and crescendos going across line breaks are handled
+automatically. In fact they can go over more lines than two (this is
+true also for ties, though it would be somewhat strange).
+
+There is a switch \verb|\ifslopebrkslurs| that controls the default
+height of the end point
+of the first segment of all broken slurs. By default the height will be
+the same as the beginning. To have it raised by \verb|3\internote|, simply
+issue the command \keyindex{slopebrkslurstrue}. To revert to the default,
+use \keyindex{slopebrkslursfalse}.
+
+To locally override the default height of the end of the first segment,
+use the command \keyindex{breakslur}\enpee,
+which sets the height for slur number $n$ to pitch $p$, just like with
+font-based slurs.
+
+You can raise or lower the starting point of the second segment of a broken slur
+with the command \keyindex{liftslur}\verb|{|$n$\verb|}{|$h$\verb|}|, with
+parameters slur ID and relative offset in
+\verb|\internote|s measured from the slur beginning. Its effect is
+the same as \keyindex{Liftslur} for font-based slurs, except it is not
+necessary to code
+it within \verb|\atnextstaff{}|, just anywhere inside the slur.
+
+As already mentioned, anything with $\mathrm{ID}<10$ is broken fully automatically, but
+you should be careful about slurs, ties and crescendos with $10\le\mathrm{ID}<15$.
+These cannot cross page breaks, although they can cross line breaks.
+
+If the second segment of a broken tie is less than 15pt long, then by
+default it will have a special shape which begins horizontally. These shapes are
+called \ital{half ties} and are contained in the font \index{mxsk font}\verb|mxsk|.
+Of course if they are to be used, the font files must be integrated into the
+\TeX\ installation. Their use can be turned off with \keyindex{nohalfties}
+and back on with \keyindex{halfties}.
+
+%\paragraph{Backwards compatibility.}
+%There are several ``aliases'' which allow to use the old, bitmapped slur
+%commands for PS slurs without any change. There are however a few differences:
+%the \keyindex{invertslur} is not implemented yet and
+%the \keyindex{curve} and \keyindex{midslur} macros have no effect.
+
+%\paragraph{Memory requirements.}
+\enlargethispage*{4ex}
+\section{A few final technical details}
+Each \verb|\i...| and \verb|\t...|
+produces a \verb|\special| command, which must be stored in TeX's main memory.
+Therefore, if too many slurs occur in one page, some memory problems could
+occur. The only solution is to use font-based slurs.
+%The only solutions are to use Big\TeX\
+%BigTex? it is apparently the mascot for the Texas State Fair
+
+Type~K slurs need the Postscript header file
+\index{psslurs.pro}\texttt{psslurs.pro} to be included in the
+output Postscript file. This is made to happen by the \TeX\ command
+\verb|\special{header=psslurs.pro}|, which is automatically
+included when you \verb|\input musixps|. So normally this is not
+of concern. However if you wish to extract a subset of pages from
+the master \verb|dvi| file using \index{dvidvi}\texttt{dvidvi}, then
+you have three options: (1)~include the first page in the subset,
+(2)~manually issue the
+\verb|\special| command in the \TeX\ source for the first page of the subset, or
+(3)~use the option \texttt{-h psslurs.pro} when you run \texttt{dvips}.
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex
new file mode 100644
index 00000000000..233db6e0360
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex
@@ -0,0 +1,566 @@
+\chapter{Font-based Slurs, Ties and Hairpins}
+Two fundamentally different implementations of slurs, ties, and hairpins are
+available. First, there are the
+original \ital{font-based} versions. These are constructed with traditional
+\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files.
+Second, it is now possible
+to generate these shapes directly with Postscript, dispensing altogether with
+the font characters\footnote{Please do not be confused by the availability of
+Postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts).
+Once installed in a \TeX\ system,
+their function and use are 100\% transparently identical with bitmapped versions
+of the slur fonts. On the other
+hand, Postscript slurs are functionally distinct from font-based slurs, and only
+ share some of the same syntax.}. We shall first describe the font-based versions,
+then Type~K Postscript slurs, which are one of two available Postscript slur
+options\footnote{An
+alternate approach to Postscript slurs, called {\it Type~M} after its developer
+Hiroaki {\sc Morimoto}, is available from the
+\href{http://icking-music-archive.org/software/indexmt6.html}
+{\underline{Icking Music Archive}}.}. If you plan to use Type~K Postscript slurs,
+you may skip directly to Chapter~\ref{PostscriptSlurs}.
+
+Font-based slurs and ties provided by \musixtex\ can be divided into two categories:
+\label{simpleslur}
+\begin{itemize}\setlength{\itemsep}{0ex}
+ \item Those where the complete slur symbol is composed of a single
+ character from one of the slur fonts, and
+ \item those where the slur symbol is composed of three distinct
+ characters, to form the beginning, middle and end of the slur.
+\end{itemize}
+The former are called \ital{simple slurs} and the latter,
+\ital{compound slurs}. In many cases the distinction between the two is
+invisible to the user, in that many of the macros described below will
+automatically select between the two types. However, there are other macros
+that allow simple slurs to be forced.
+
+The next few sections describe the usual method of slur coding, where the
+choice between simple or compound slurs is made automatically.
+In this case, slurs are initiated and terminated by separate macros,
+similar to beams.
+
+ \section{Font-based slur initiation}
+A slur must be initiated \ital{before}
+the spacing note on which the slur begins, and terminated \ital{before} the
+note on which it ends.
+
+The basic slur initiation macro is
+\keyindex{isluru}\enpee, which initiates an upper slur, with reference
+number $n$, beginning on a note at pitch $p$. The starting point of the slur is
+centered above a virtual quarter note head at pitch~$p$\footnote{The slur will start in the same place regardless of whether there is
+{\it actually} a note at pitch $p$.}.
+Similarly, \keyindex{islurd}\enpee\ initiates a lower slur.
+These slurs are terminated by coding
+\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the
+termination pitch.
+
+As with beams, the reference number $n$ by default can take values from $0$ to $5$, or
+up to $8$ or $11$ respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included.
+You can also specify the maximum number
+directly with \keyindex{setmaxslurs}\verb|{|$m$\verb|}| where
+$7<m\leq 100$%
+\footnote{This may require e-\TeX.};
+the reference number $n$ will be in the range between $0$ and $m-1$.
+\label{musixmad_setmaxslurs}
+
+To illustrate with an elementary example, the following passage
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
+\bar
+\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
+\NOTes\hu g\en
+\zendextract
+\end{music}
+
+\noindent was coded as:
+\begin{quote}\begin{verbatim}
+\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en
+\bar
+\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en
+\NOTes\hu g\en
+\end{verbatim}\end{quote}
+
+Other macros are provided to change the horizontal starting and ending points of the slur
+in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\
+initiates a ``short'' upper slur suitable for linking notes involved in chords.
+The
+starting point is shifted to the right, and is vertically aligned with the
+center of a virtual quarter note head at pitch~$p$. If a lower short slur
+is wanted, one should use \keyindex{isslurd}\enpee.
+
+Sometimes, busy scores call for slurs which are vertically aligned with the
+ends of note stems rather than note heads. These ``beam'' slurs---so called
+because the slur is written at usual beam height---are provided by the
+macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros
+initiate slurs raised or lowered by the current stem height to accommodate
+stems or beams above or below.
+ %\check
+
+ \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
+are summarized in the following table:
+\begin{center}
+ \begin{tabular}{ll}
+ Initiation & Termination \\
+ \hline
+ \keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\
+ \keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\
+ \keyindex{ibsluru} & \keyindex{tbsluru}\\
+ \keyindex{ibslurd} & \keyindex{tbslurd}\\
+ \hline
+ \end{tabular} \end{center}
+
+\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|.
+
+ \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:
+(1) There cannot be any pitch difference between start and end, and (2) the
+positions of both the beginning and end of a tie relative to the note heads
+are slightly different from those of an ordinary slur\footnote{Editor's note: In
+fact, it appears that the default positioning of the ends of ties is exactly
+the same as that of short slurs.}.
+Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of
+reference number $n$ at pitch $p$.
+Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of
+reference number $n$ at pitch $p$. The starting position of the tie is the same
+as \verb|\issluru| and
+\verb|\isslurd| respectively. The tie is terminated by coding
+\keyindex{ttie}\onen. Note that no pitch parameter is required.
+
+There are also \ital{short ties}, which bear the same relation to ordinary
+ties as short slurs to ordinary slurs. They are intended to be used between chords.
+They are initiated with
+\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is
+not clear why this command uses ``{\tt l}'' when all other similar ones use
+``{\tt d}''.}, and terminated with \keyindex{tten}\onen.
+
+The following example illustrates the differences in positioning of the various
+slur and tie options:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
+\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
+\itenl0g\qu g\tten0\qu g\en
+\zendextract
+\end{music}
+\noindent It was coded as
+\begin{quote}\begin{verbatim}
+\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g%
+\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g%
+\itenl0g\qu g\tten0\qu g\en
+\end{verbatim}\end{quote}
+
+\noindent Here are some more general examples of font-based slurs and ties
+discussed so far:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\isluru0g\hl g\tslur0h\hl h\en
+\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
+\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
+\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
+\zendextract
+\end{music}
+\noindent This was coded as:
+\begin{quote}\begin{verbatim}
+\NOTes\isluru0g\hl g\tslur0h\hl h\en
+\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en
+\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en
+\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en
+\end{verbatim}\end{quote}
+
+\section{Dotted slurs}
+
+Any font-based slur may be made dotted by specifying \keyindex{dotted}
+just before it is initiated:
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
+\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
+\NOTes\hu g\en
+\zendextract
+\end{music}
+
+\noindent This was coded as:
+\begin{quote}\begin{verbatim}
+\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en
+\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar
+\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en
+\NOTes\hu g\en
+\end{verbatim}\end{quote}
+
+ \section{Modifying font-based slur properties}
+Several macros are provided to modify the shape of slurs already initiated.
+These macros must be coded right before the slur \ital{termination}. Invoking
+any of the macros described in this section will force the slur to be compound.
+
+By default, the midpoint of a font-based slur is three \verb|\internote|s
+above or below a line between its ends. This can be changed using the macro
+\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For
+example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to
+rise to a maximum height of \verb|6\internote| above the starting position.
+For example,
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\multnoteskip8\isluru0g\ql g\en
+\notes\tslur0g\ql g\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\isluru0g\ql g\en
+\notes\midslur7\tslur0g\ql g\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\isluru2g\ql g\en
+\notes\midslur{11}\tslur2g\ql g\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip8\isluru0g\ql g\en
+\notes\tslur0g\ql g\en
+\NOtes\multnoteskip8\isluru0g\ql g\en
+\notes\midslur7\tslur0g\ql g\en
+\NOtes\multnoteskip8\isluru2g\ql g\en
+\notes\midslur{11}\tslur2g\ql g\en
+\end{verbatim}\end{quote}
+
+The macro \keyindex{curve}$hij$ allows more precise control over the shape
+of a slur or tie. The first parameter $h$
+is the vertical deviation and it works exactly like the sole parameter of
+\verb|\midslur| described above. The second and
+third parameters $i$ and $j$ set the initial and final gradient respectively.
+They are defined as the horizontal distance required to attain maximum
+vertical deviation. Thus smaller numbers for $i$
+and $j$ lead to more extreme gradients.
+The default setting is \verb|\curve344|. Hence, coding \verb|\curve322|
+doubles the initial and final gradient relative to the default.
+As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before
+the slur termination. The example below illustrates the use of \verb|\curve|.
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\multnoteskip8\itieu0g\ql g\en
+\notes\ttie0\ql g\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\itieu1g\ql g\en
+\notes\curve 322\ttie1\ql g\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\itieu2g\ql g\en
+\notes\curve 111\ttie2\ql g\en
+\zendextract
+\end{music}
+\noindent This was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip8\itieu0g\ql g\en
+\notes\ttie0\ql g\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\itieu1g\ql g\en
+\notes\curve 322\ttie1\ql g\en
+\zendextract
+\startextract
+\NOtes\multnoteskip8\itieu2g\ql g\en
+\notes\curve 111\ttie2\ql g\en
+\end{verbatim}\end{quote}
+
+Two macros are provided to control the behaviour of slurs which extend across
+line breaks. Normally, the part of the slur before the line break is
+treated as a tie. This can be changed using \keyindex{breakslur}\enpee,
+which sets the termination height of
+the broken slur at the line break to pitch $p$, for slur number $n$.
+
+After the line break, the slur is normally resumed at the initial pitch
+reference, i.e., the one coded in \verb|\islur|. To change this, the macro
+\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used.
+Here $n$ is again the slur reference
+number and $h$ is the change in height relative to the initialization height.
+This macro is normally used following line breaks, in which case it is best
+coded using the \verb|\atnextline| macro. For example, coding
+\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero
+by \verb|6\internote| relative to its initialization height.
+
+The following example illustrates the use of the macros for broken slurs:
+\medskip
+
+\begin{minipage}[t]{85mm}
+Default, without adjustments:
+
+\begin{music}
+\hsize=50mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt\staffbotmarg0pt%
+%
+%\interstaff{14\internote}%
+%
+\nostartrule
+\startpiece\bigaccid
+\Notes\ibsluru1b\qu b\qu g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\mulooseness1\Endpiece
+\end{music}
+\begin{verbatim}
+\Notes\ibsluru1b\qu b\qu g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\end{verbatim}
+\end{minipage}%
+\begin{minipage}[t]{75mm}
+With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\
+\begin{music}
+\hsize=50mm
+\generalmeter{\meterfrac24}%
+\parindent 0pt\staffbotmarg0pt%
+%
+%\interstaff{14\internote}%
+%
+\nostartrule
+\startpiece\bigaccid
+\def\atnextline{\Liftslur17}%
+\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\mulooseness1\Endpiece
+\end{music}
+\begin{verbatim}
+\def\atnextline{\Liftslur17}%
+\Notes\ibsluru1b\qu b\qu g%
+\breakslur1g\en\bar
+\Notes\qu{'c!}\tslur1f\qu f\en
+\end{verbatim}
+\end{minipage}\medskip
+
+Occasionally in keyboard works one needs to begin a slur in one
+staff but end it in another. This can be done using the macro
+\keyindex{invertslur}\onen\ which is best described by
+reference to the example
+shown below.
+
+% Finding the final pitch is try and error, sorry, no way out.
+
+\begin{music}
+\setstaffs1{2}
+\setclef1\bass\interstaff{10.5}
+\startextract
+\NOtes\multnoteskip5\isluru0a\ql a\en
+\notes\invertslur0\curve311\tslur0j|\qu d\en
+\NOtes\multnoteskip{10}\isluru0a\ql a\en
+\notes\invertslur0\curve333\tslur0j|\qu d\en
+\zendextract
+\end{music}
+\noindent This was coded as
+\begin{quote}\begin{verbatim}
+\NOtes\multnoteskip5\isluru0a\ql a\en
+\notes\invertslur0\curve311\tslur0g|\qu d\en
+\NOtes\multnoteskip{10}\isluru0a\ql a\en
+\notes\invertslur0\curve333\tslur0g|\qu d\en
+\end{verbatim}\end{quote}
+
+\noindent Slur inversion as just described takes effect where the slope is zero; therefore it
+only works with ascending slurs that were started with \verb|\isluru|, and with
+descending slurs started with \verb|\islurd|. Otherwise no horizontal place
+can be found and the result is erratic.
+
+A different approach removes this restriction. The idea is to stop the slur at
+the desired inversion point and restart it in the other sense at the
+same place. The commands to do this are as follows:
+ \begin{itemize}\setlength{\itemsep}{0ex}
+ \item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$,
+not above or below the virtual note head.
+ \item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position,
+not above a virtual note head.
+ \item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position,
+not below a virtual note head.
+ \end{itemize}
+
+\noindent The vertical position may have to be adjusted to minimize any discontinuity
+in the slope. For example, the following pattern
+
+ \begin{music}\nostartrule
+\setclef1\treble
+\startextract
+\NOTes\multnoteskip 3\isluru0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\NOTes\multnoteskip 3\islurd0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\zendextract
+\end{music}
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\NOTes\multnoteskip 3\isluru0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\NOTes\multnoteskip 3\islurd0a\ql a\en
+\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en
+\Notes\tslur0h\qu h\en
+\end{music}
+\end{verbatim}\end{quote}
+
+\section{Simple slurs}
+
+\ital{Simple} slurs and ties have advantages in some cases: (1) They will
+always have the best possible shape, and (2) if \verb|\noteskip| doesn't
+change from start to finish, they are easier to code. But they have drawbacks
+as well: (1) They are limited in length to 68pt
+for slurs and 220pt for
+ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they
+may not extend across a line break.
+Despite all these limitations, simple slurs are extremely useful in many
+applications where the slurs are short and contained within a bar.
+
+Simple slurs must be coded {\em before} the note on which the slur begins.
+The primary macro is
+\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$
+where $p_1$ and $p_2$ are respectively the initial and final pitches,
+$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length,
+in {\tt noteskip}s.
+Thus, thirds slured in pairs can be coded
+
+ %\check
+
+\begin{quote}\begin{verbatim}
+\NOtes\slur ced1\qu{ce}\en
+\NOtes\slur dfd1\qu{df}\en
+\NOtes\slur egd1\qu{eg}\en
+\NOtes\slur{'e}cu1\ql{ec}\en
+\NOtes\slur{'d}bu1\ql{db}\en
+\NOtes\slur{'c}au1\ql{ca}\en
+\end{verbatim}\end{quote}
+which yields
+
+\begin{music}\nostartrule
+\startextract
+\NOtes\slur ced1\qu{ce}\en
+\NOtes\slur dfd1\qu{df}\en
+\NOtes\slur egd1\qu{eg}\en
+\NOtes\slur{'e}cu1\ql{ec}\en
+\NOtes\slur{'d}bu1\ql{db}\en
+\NOtes\slur{'c}au1\ql{ca}\en
+\zendextract
+\end{music}
+%%
+
+There are similar commands to force simple versions of the other
+variants of font-based slurs and ties. Simple ties may be set using
+\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed).
+Simple short slurs and short ties can be forced with the macros
+\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and
+\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally,
+simple beam slurs can be forced with
+\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$.
+
+
+\section{Font-based hairpins (crescendos and decrescendos)}\label{sec:crescnd}
+
+There are two categories of font-based hairpins. The first type requires only
+one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or
+\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{}
+dimension, either a fixed one---for example in points---or a scalable one
+expressed either explicitly or implicitly as some number of
+\verb|\noteskip|s. These should be used as arguments to
+\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to
+post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm.
+
+The second type of font-based hairpin requires two commands, one to start it
+and another to end it. The starting macro is \keyindex{icresc}. It has no
+arguments. Only one invocation suffices to start any number and combination of
+crescendos and diminuendos. The ending macros are \keyindex{tcresc} or
+\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc,
+which will set the altitude. For example,
+
+\begin{music}
+\parindent0pt
+\generalmeter{\meterfrac{12}8}
+\setstaffs1{2}
+\startextract
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en
+\endextract
+\end{music}
+
+\noindent which was coded as
+\begin{quote}\begin{verbatim}
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en
+\end{verbatim}\end{quote}
+\medskip
+
+\noindent while
+
+\begin{music}
+\parindent0pt
+\generalmeter{\meterfrac{12}8}
+\setstaffs1{2}
+\startextract
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en
+\endextract
+\end{music}
+
+\noindent was coded as
+\begin{quote}\begin{verbatim}
+\Notes\cmidstaff\ppp|\ca c\en
+\Notes\icresc|\ca{defgh'abcde}\en
+\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en
+\end{verbatim}\end{quote}
+
+ \section{Limitations of font-based slurs}
+ The change in altitude between slur initiation and slur termination is limited to
+\verb|16\Internote|. Thus unexpected vertical gaps can appear, as seen in
+
+ \begin{music}\nostartrule
+\instrumentnumber{1}
+\generalmeter{\meterfrac34}
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract
+
+\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract
+ \end{music}
+ \noindent whose coding was
+ \begin{quote}\begin{verbatim}
+\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en
+\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en
+ \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en
+ \end{music}
+ \end{verbatim}\end{quote}
+
+Furthermore, if the slope becomes too steep, even worse results can occur, such as
+
+\medskip
+ \begin{music}\nostartrule
+\instrumentnumber{1}
+\generalmeter{\meterfrac34}
+\startextract\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en
+ \bar\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en
+ \NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en
+ \bar\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en
+ \zendextract
+ \end{music}
+
+Another limitation of font-based slurs crops up when one attempts to
+generate bitmapped versions for high-resolution printers: the characters
+for long ties can exceed \MF's maximum capacity.
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/smaller.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/smaller.tex
new file mode 100644
index 00000000000..b90bcbc741f
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/smaller.tex
@@ -0,0 +1,188 @@
+\chapter{Smaller Notes in Normal-Sized Staves}
+Here we describe how to reduce the size of note symbols without changing the
+size of the staff itself. Changing overall staff size will be treated in
+Chapter~\ref{staffspacing}.
+
+\section{Arbitrary sequences of notes}
+Written-out ornaments and \itxem{cadenzas} are usually typeset with
+smaller notes and spacing than normal. The smaller \ital{size} can be
+initiated anywhere inside a \verb|\notes| group by stating
+\keyindex{smallnotesize} or \keyindex{tinynotesize}. Normal note size is then
+restored by \keyindex{normalnotesize} or simply by terminating the
+\verb|notes| group and starting another. Smaller \ital{spacing} must also be
+explicitly indicated, usually by redefining \verb|\noteskip| in some way.
+
+As an example, this excerpt, from the beginning
+of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc
+Haydn, J.}},
+
+\begin{music}
+\instrumentnumber{2}
+\generalmeter{\meterfrac44}
+\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}
+\setstaffs2{2}
+\setclef1\bass
+\setclef2\bass
+\startbarno0
+\startextract
+\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en
+% mesure 1
+\bar
+\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en
+\notes&\qbl0c0|\multnoteskip\tinyvalue\tinynotesize
+ \Ibbu1ki2\qb1{kj}\tqh1i\hqsk\en
+\Notes&\qb0e\tbl0\qb0c|\qu j\en
+\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en
+% mesure 2
+\bar
+\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0%
+ \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en
+\notes&|\sk\ccu h\en
+\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g%
+ \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en
+\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en
+\endextract
+\end{music}
+\noindent can be coded as
+\begin{quote}\begin{verbatim}
+\instrumentnumber{2}
+\generalmeter{\meterfrac44}
+\setstaffs2{2}
+\setclef2{\bass}
+\setclef1{\bass}
+\startbarno=0
+\startextract
+\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en
+% mesure 1
+\bar
+\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en
+\notes&\ibl0c0\qb0c|\multnoteskip\tinyvalue\tinynotesize
+ \Ibbu1ki2\qb1{kj}\tqh1i\en
+\Notes&\qb0e\tbl0\qb0c|\qu j\en
+\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en
+% mesure 2
+\bar\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0%
+ \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en
+\notes&|\sk\ccu h\en
+\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g%
+ \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en
+\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en
+\endextract
+\end{verbatim}\end{quote}
+
+ \section{Grace notes}
+Grace notes are a special case of small and tiny notes, namely single-stemmed
+eighth notes with a diagonal slash through the flag. To enable this, there
+are the macros \keyindex{grcu}\pitchp\ and \keyindex{grcl}\pitchp, which by
+themselves would
+produce normal-sized eighth notes with a slash. They should be used along
+with the note size reduction macros and spacing reduction macros just
+discussed. In addition, chordal grace notes can be built as in the following
+example:
+
+\begin{music}\nostartrule
+\startextract
+\NOTes\hu h\en
+\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en
+\NOTes\hu i\en
+\bar
+\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\en
+\NOTEs\wh i\en
+\zendextract
+\end{music}
+\noindent which was coded as
+\begin{quote}\begin{verbatim}
+\startextract
+\NOTes\hu h\en
+\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en
+\NOTes\hu i\en
+\bar
+\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\en
+\NOTEs\wh i\en
+\zendextract
+\end{verbatim}\end{quote}
+
+ \section[Ossia]{Ossia\texorpdfstring{\protect\footnote{Italian \textit{o sia} (or else)}}{}}
+This clever example had been provided by Olivier Vogel:\label{ossia}
+
+%\begin{center}
+%\includegraphics[scale=1]{./mxdexamples/ossiavogel.eps}
+%\end{center}
+
+\begin{music}
+%\startextract
+%\hsize70mm
+\let\extractline\hbox
+\hbox to \hsize{\hss
+\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
+\off{-#1\elemskip}}%
+\newbox\ornamentbox
+\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm%
+\makeatletter
+\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty\global\clef@skip0pt%
+\makeatother
+%\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty%
+%\startpiece
+%\addspace{2pt}%
+\startextract
+\addspace{-2pt}%
+\let\notest\notes\def\notes{\vnotes2.1\elemskip}%
+\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en%
+\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en%
+\notes\ibl2{'c}1\usf e\qb2c\en%
+\notes\tbl2\qb2{'d}\en
+\let\notes\notest%
+%\zstoppiece%
+\endextract
+}\hss}
+%\setbox\ornamentbox=\hbox to 0pt{Hello}
+%
+%
+%\normalmusicsize\nopagenumbers
+%\def\nbinstruments{1}%
+\setstaffs12\setclef1{60}%
+\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}%
+%\parindent 0pt%
+%\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
+%\startpiece\addspace\afterruleskip%
+\startextract\addspace\afterruleskip%
+\NOtes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|%
+\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en%
+\NOtes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F%
+\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk%
+\cl d\en%
+%\endpiece
+\endextract
+\hss}
+%\vfill\eject\endmuflex
+\end{music}
+
+
+The code is:
+\begin{quote}\begin{verbatim}
+\hsize70mm%
+\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}%
+\off{-#1\elemskip}}%
+\newbox\ornamentbox
+\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm%
+\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty%
+\startpiece\addspace{2pt}%
+\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en%
+\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en%
+\notes\ibl2{'c}1\usf e\qb2c\en%
+\notes\tbl2\qb2{'d}\en%
+\zstoppiece%
+}\hss}
+\normalmusicsize\nopagenumbers
+\def\nbinstruments{1}%
+\setstaffs12\setclef1{60}%
+\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}%
+\parindent 0pt%
+\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
+\startpiece\addspace\afterruleskip%
+\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|%
+\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en%
+\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F%
+\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk%
+\cl d\en%
+\end{verbatim}\end{quote}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex
new file mode 100644
index 00000000000..98c04a9b928
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex
@@ -0,0 +1,101 @@
+\chapter{Skipping Spaces and Shifting Symbols}\label{spacing}
+We've already mentioned that when coding a sequence of notes inside a
+particular pair \verb|\notes...\en|, the command \keyindex{sk} can
+be used to skip horizontally by one \keyindex{noteskip}. This would be
+used for example to align the third note in one staff with the second note
+in another. Skipping in this manner is logically equivalent to inserting
+blank space; as such, the space must be recorded by \musixtex. This command
+and the others discussed here will
+do just that, so that \verb|musixflx| can properly account for
+the added space.
+
+To skip by one \verb|noteskip| while in a collective coding sequence,
+you may simply insert an asterisk (``\verb|*|''\index{*}). This would have
+the same effect as stopping the sequence, entering {\Bslash sk}, then
+restarting. For example,
+
+\begin{music}
+\setstaffs12
+\startextract
+\Notes\hu{e*f*g}|\qu{gghhii}\en
+\zendextract
+\end{music}
+\noindent was coded as
+\verb|\Notes\hu{e*f*g}|{\tt |}\verb|\qu{gghhii}\en|
+
+To skip forward
+by one half of a \verb|\noteskip|, use \keyindex{hsk}.
+To insert spacing of approximately one note head width, you can use
+\keyindex{qsk}, or for half or one-quarter of that, \keyindex{hqsk}
+or \keyindex{qqsk}, respectively. To skip backward
+by one \verb|\noteskip|, use \keyindex{bsk}. More generally,
+to skip an arbitrary distance, use \keyindex{off}\verb|{|$D$\verb|}|
+where $D$ is any \itxem{scalable dimension}, e.g.,~\verb|\noteskip| or
+\verb|\elemskip|. Indeed, if you look in the
+\musixtex\ source, you will see that \verb|\off| is the basic control
+sequence used to define all the other skip commands.
+
+The foregoing commands only work \ital{inside} a \verb|\notes...\en| group.
+A different set of commands must be used to insert space \ital{outside}
+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
+$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},
+\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and
+their multiples. Finally, to insert
+scalable spacing outside
+a \verb|\notes...\en| group, use
+\keyindex{addspace}\verb|{|$D$\verb|}|. The argument may be negative, in
+which case the normal spacing will be reduced. For example, after
+\keyindex{changecontext}, many users prefer to reduce the space with
+a command like
+\verb|addspace{-|\keyindex{afterruleskip}\verb|}|.
+
+There is yet another set of commands for simply shifting a note, symbol, or sequence
+inside \verb|\notes...\en|
+without adding or subtracting any space. To shift by one note head width,
+you may write \keyindex{roff}\verb|{|\ital{any macro}\verb|}|
+or \keyindex{loff}\verb|{|\dots\verb|}| for a right or left shift respectively.
+ To shift by half of a note head width, use
+\keyindex{hroff}\verb|{|\dots\verb|}| or
+\keyindex{hloff}\verb|{|\dots\verb|}|.
+For example, to get
+ %\check
+
+\begin{music}\nostartrule
+\startextract
+\Notes\roff{\zwh g}\qu g\qu h\qu i\en
+\zendextract
+\end{music}
+\noindent you would code:
+
+ %\check
+
+\begin{quote}\begin{verbatim}
+\Notes\roff{\zwh g}\qu g\qu h\qu i\en
+\end{verbatim}\end{quote}
+
+\noindent To shift notes or symbols by an arbitrary amount, use
+\keyindex{roffset}\verb|{|$N$\verb|}{|\dots\verb|}| or
+\keyindex{loffset}\verb|{|$N$\verb|}{|\dots\verb|}|, where
+$N$ is the distance to be shifted in note head widths. For example
+
+\begin{music}\nostartrule
+\startextract
+\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\en
+\zendextract
+\end{music}
+\noindent was coded as
+
+\begin{quote}\begin{verbatim}
+\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\en
+\end{verbatim}\end{quote}
+
+An important feature of these shift commands is that the offset,
+whether implicit or explicit, is \ital{not} added to
+the total spacing amount, but any spacing due to the included commands is.
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/staffsize.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/staffsize.tex
new file mode 100644
index 00000000000..28270673309
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/staffsize.tex
@@ -0,0 +1,101 @@
+\chapter{Staff Size} \index{staff size}\label{staffspacing}
+In contrast with the prior section, here we describe how to change the sizes
+of everything...staff, notes, and all other symbols. In
+Section~\ref{whatspecify} we saw how to set the size for all instruments at
+the start of a score. Any one of the same macros---\verb|\normalmusicsize|,
+\verb|\smallmusicsize|, \verb|\largemusicsize|, or
+\verb|\Largemusicsize|---can be used to change the size of all instruments
+midway through a score, but in this case it must come between
+\verb|\stoppiece| and \verb|\startpiece|.
+
+Once the overall staff size is set, you can alter the size of any desired
+instrument with the macro \keyindex{setsize}\itbrace{n}\itbrace{s}, where
+$n$ is the instrument number and $s$ is a factor by which the size is to be
+changed from the prevailing overall size. There are five predefined macros
+that should be used for the size factor $s$. Their names and respective values
+are \keyindex{normalvalue}~($1.0$), \keyindex{smallvalue}~($0.80$),
+\keyindex{tinyvalue}~($0.64$), \keyindex{largevalue}~($1.2$), and
+\keyindex{Largevalue}~($1.44$). \musixtex\ should not crash if you use an
+explicit number different from any of these, but the result may be
+less than satisfactory.
+
+Once again, if used at the beginning of a piece, the \verb|\setsize| macro
+must precede \verb|\startpiece| (not \verb|\contpiece|), and if used after
+the beginning, must be preceded by \verb|\stoppiece|.
+
+As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc
+Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of
+J. S. Bach's \ital{Well Tempered Clavier}, as transcribed for
+organ, violin and voice by Markus {\sc Veittes}:\label{avemaria}
+
+\begin{music}
+\def\oct{\advance\transpose by 7}
+\def\liftqs#1{\raise#1\Interligne\qs}
+\parindent0pt
+\sepbarrules
+\instrumentnumber{3}
+\generalmeter{\meterC}
+\setinterinstrument2{3\Interligne}
+\setsize3\tinyvalue
+\setsize2\tinyvalue
+\setclef1\bass
+\setstaffs1{2}
+\startpiece\addspace\afterruleskip
+%Takt 9
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\en
+\notes|\ibbl0j3\qb0h\tqb0l\en
+\notes|\ibbl1k0\qb1{ohl}\tqb1o\en
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\en
+\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\en
+\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\en
+\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\en
+\bar
+%Takt 10
+\notes\zhl c\liftqs6\qupp d|\ds&\oct
+ \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\en
+\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\en
+\notes|\ibbu2i0\qb2k\qb2f\en
+\notes|\qb2h\tqh2k&\oct\cl e&\tubslur4f\cu e\en
+\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\en
+\notes|\ibbu1g3\qb1f\tqh1h\en
+\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\en
+\endpiece
+\end{music}
+ This example was coded as:
+\begin{quote}\begin{verbatim}
+\def\oct{\advance\transpose by 7}
+\def\liftqs#1{\raise#1\Interligne\qs}
+\parindent0pt
+\sepbarrules
+\instrumentnumber{3}
+\generalmeter{\meterC}
+\setinterinstrument2{3\Interligne}
+\setsize3\tinyvalue
+\setsize2\tinyvalue
+\setclef1\bass
+\setstaffs1{2}
+\startpiece\addspace\afterruleskip
+%Takt 9
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\en
+\notes|\ibbl0j3\qb0h\tqb0l\en
+\notes|\ibbl1k0\qb1{ohl}\tqb1o\en
+\notes\zhl c\liftqs6\qupp e|\ds&\oct
+ \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\en
+\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\en
+\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\en
+\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\en
+\bar
+%Takt 10
+\notes\zhl c\liftqs6\qupp d|\ds&\oct
+ \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\en
+\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\en
+\notes|\ibbu2i0\qb2k\qb2f\en
+\notes|\qb2h\tqh2k&\oct\cl e&\curve222\tubslur4f\cu e\en
+\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\en
+\notes|\ibbu1g3\qb1f\tqh1h\en
+\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\en
+\endpiece
+\end{verbatim}\end{quote}
diff --git a/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/summary.tex
index f600a9d0523..72f754f0e86 100644
--- a/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/summary.tex
@@ -1,34 +1,26 @@
-%format musix
-
-% version compatible with T103 12 Aug. 2001 D. Taupin
-
-%II 59.9
-
-\input musixtex
-%\input musixcpt
-\input musixhou
-\input musixper
-\input musixlit
-\input musixgre
-\input musixext
-
-\parindent 0mm
-\nopagenumbers\nobarnumbers
-
-\ifx\MusiXTeX\indefined\def\MusiXTeX{MusiX\TeX}\fi
-%\centerline{\cmbxbig\MusiXTeX---Reference}\medskip
-\centerline{\Bigfont\MusiXTeX---Reference}\medskip
-\centerline{\bigfont Pitches}\medskip
-\tt
-\def\bs{\char92}
-\setclef1{6000}
+\newgeometry{margin=0.5in}
+\makeatletter
+\let\chapterheadorig\@makeschapterhead
+\def\@makeschapterhead#1{}
+\chapter*{}
+\addcontentsline{toc}{chapter}{Summary of Denotations}
+\def\@makeschapterhead#1{\chapterheadorig}
+\makeatother
+\parskip0pt plus 2pt
+\parindent0pt
+\thispagestyle{empty}
+\centerline{\frtbf Pitches}
+\smallskip
+\setclef1\bass
\afterruleskip2pt
-\startmuflex\startpiece
+\newcommand{\bs}{\ttfamily\footnotesize\char92}
+\begin{footnotesize}\ttfamily
+\nostartrule\startpiece%
%
% Pitches
%
\addspace\afterruleskip
-\notes\wh{`ABCDEFG!ABCDEFGHIJKLMNabcde}\off{-26\noteskip}%
+\notes\wh{`ABCDEFG}\wh{!ABCDEFG}\wh{HIJKLMNabcde}\off{-26\noteskip}%
\zchar{14}{\llap`A}\sk
\zchar{14}{\llap`B}\sk
\zchar{14}{\llap`C}\sk
@@ -55,8 +47,8 @@
\zchar{14}c\sk
\zchar{14}d\sk
\zchar{14}e\sk\en
-\stoppiece\vskip-3\Interligne\setclef1{0000}\contpiece
-\notes\wh{abcdefghijklmnopqrstuvwxyz}\off{-26\noteskip}%
+\stoppiece\vskip-7\Interligne\setclef1\treble\contpiece
+\notes\wh{abcdefg}\wh{hijklmno}\wh{pqrstuvwxyz}\off{-26\noteskip}%
\zchar{-8}a\sk
\zchar{-8}b\sk
\zchar{-8}c\sk
@@ -84,18 +76,19 @@
\zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk
\zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en
\stoppiece
-\medskip\centerline{\bigfont Notes, Accidentals, Accents, Clefs and Rests}
-\medskip
+\smallskip
+\centerline{\frtbf Notes and Accidentals}
%
% Notes& Accidentals
%
\contpiece
\Notes
- \zchar{-4}{Accidentals:}%
- \zchar9{\bs zmaxima}\zmaxima i\sk
- \zchar{12}{\bs zlonga}\zlonga i\sk
- \zchar9{\bs zbreve}\zbreve i\sk
- \zchar{12}{\bs zwq}\zwq i\sk
+ \zchar{-4}{\eightrm Accidentals:}%
+ \zchar9{\bs maxima}\maxima i\relax
+ \zchar{12}{\bs longa}\longa i%
+ \zchar9{\bs breve}\breve i%
+ \zchar{12}{\bs wq}\wq i%
+ \zchar{12}{\bs wqq}\wqq i%
\zchar{12}{\bs wh}\wh i%
\zchar{12}{\bs hu}\zchar{-4}>\hu{>f}%
\zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l%
@@ -113,16 +106,14 @@
\multnoteskip{.8}%
\zchar{12}{\bs grcu}\grcu f%
\zchar{12}{\bs grcl}\grcl l\en
-\stoppiece\medskip
+\stoppiece
%
-% various noteheads
+% various note heads
%
\contpiece
\Notes
\multnoteskip{1.1}%
- \zchar{10}{\bs dqu$^{123}$}%
- \zchar{-3}{\eightrm 1 musixdia.tex~~2 musixper.tex~~3 musixgre.tex%
- ~~4 musixlit.tex~~5 musixext.tex}\dqu g%
+ \zchar{10}{\bs dqu$^{123}$}\dqu g%
\zchar{10}{\bs yqu$^{123}$}\yqu g%
\multnoteskip{.9}%
\zchar{10}{\bs dcqu$^2$}\dcqu g%
@@ -143,10 +134,13 @@
%
% Pointed Notes and Accents
%
-\stoppiece\medskip\contpiece
+\stoppiece
+\vspace*{-2ex}
+\centerline{\frtbf Pointed Notes and Accents}
+\contpiece
\Notes
- \zchar{-5}{\eightrm Accent on beam with prefix {\it b} and beamrefnumber
- instead pitch}%
+ \zchar{-5}{\eightrm Accent on beam with prefix {\tt b} and beam reference
+number instead of the pitch}%
\zchar{13}{\bs lpz}\lpz f\qu f%
\zchar{13}{\bs upz}\upz l\ql l%
\zchar{13}{\bs lsf}\lsf f\qu f%
@@ -164,11 +158,14 @@
\zchar{16}{\bs flageolett}\flageolett l\ql l%
\zchar{13}{\bs whp}\whp i%
\zchar{13}{\bs qupp}\qupp h\en
-\stoppiece\medskip
+\stoppiece
+\centerline{\frtbf Clefs}
%
% clefs
%
-\let\clefdesoli\empty \nostartrule \contpiece
+\setclefsymbol1\empty
+%\setlines 11\relax
+\nostartrule\contpiece
\NOtes
\zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk
\zchar9{\bs altoclef}\zchar0\altoclef\sk
@@ -180,21 +177,29 @@
\zchar9{\bs gregorianCclef$^3$}\zchar0\gregorianCclef\sk
\zchar{13}{\bs gregorianFclef$^3$}\zchar0\gregorianFclef\sk
\zchar9{\bs oldGclef$^4$}\zchar0\oldGclef\sk\en
-\zstoppiece\smallskip
+\zstoppiece
%
% Rests
%
-\let\clefdesoli\trebleclef \startrule\contpiece
-\NOtes
-\multnoteskip{.5}%
- \zchar{13}{\bs qqs}\qqs
+\centerline{\frtbf Rests}
+\setlines 15\relax
+\nostartrule
+\resetclefsymbols\contpiece
+\Notes
+\multnoteskip{0.8}%
+ \zchar{13}{\bs qqs}\qqs\qsk
\zchar{13}{\bs hs}\hs
\zchar{13}{\bs qs}\qs
\zchar{13}{\bs ds}\ds
\zchar{13}{\bs qp}\qp
-\multnoteskip2%
- \zchar{13}{\bs hpause}\hpause
- \zchar{13}{\bs hpausep}\hpausep
+ \zchar{13}{\bs hp}\hp
+ \zchar{13}{\bs qqsp}\qqsp\qsk
+ \zchar{13}{\bs hsp}\hsp
+ \zchar{13}{\bs qsp}\qsp
+ \zchar{13}{\bs dsp}\dsp
+ \zchar{13}{\bs qpp}\qpp
+ \zchar{13}{\bs hpp}\hpp
+\multnoteskip{1.5}%
\zchar{9}{\bs lifthpause}\roff{\lifthpause5}\sk
\zchar{13}{\bs pause}\pause
\zchar{13}{\bs pausep}\pausep
@@ -202,30 +207,35 @@
\zchar{13}{\bs PAuse}\PAuse
\zchar{13}{\bs PAUSe}\PAUSe
\zchar{13}{\bs Hpause$^4$}\Hpause i{.8}\sk\en
-\stoppiece\centerline{\bigfont Other Symbols}\medskip
+\stoppiece\vskip-2\Interligne
%
-% Other Symbols
+\smallskip
+\centerline{\frtbf Miscellaneous Symbols}
%
+% more Symbols
+%
+\nostartrule
\contpiece
\NOtes
\zchar{14}{\bs Trille}\zchar{-4}{\bs allabreve}\Trille n1%
- \zchar0\allabreve\sk
- \zchar{14}{\bs trille}\zchar{-4}{\bs meterC}\trille n1\zchar0\meterC\sk
+ \zchar0\allabreve\sk
+ \zchar{14}{\bs trille}\zchar{-8}{\bs meterC}\trille n1\zchar0\meterC\sk
\zchar{14}{\bs shake}\zchar{-4}{\bs reverseC}\shake n\zchar0\reverseC\sk
- \zchar{14}{\bs Shake}\zchar{-4}{\bs meterplus}\Shake n%
- \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\off{.66\noteskip}%
+ \zchar{14}{\bs Shake}\zchar{-8}{\bs reverseallabreve}\Shake n%
+ \zchar0\reverseallabreve\sk
\zchar{14}{\bs mordent}\mordent n\sk
- \zchar{14}{\bs Mordent}\zchar{-4}{\bs duevolte}\Mordent n\duevolte\sk
+ \zchar{14}{\bs Mordent}\Mordent n\zchar{-4}{\bs meterplus}%
+ \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\sk
\multnoteskip{.66}%
\zchar{14}{\bs turn}\turn n\sk
-\multnoteskip{1.25}%
- \zchar{14}{\bs backturn}\zchar{-4}{\bs l[r]par}\backturn n%
- \lpar f\rpar f{\stemlength4\qu f}%
+\multnoteskip{1.5}%
+ \zchar{18}{\bs backturn}\backturn n\zchar{-4}{\bs duevolte}\duevolte\sk
\zchar{14}{\bs Shakel}\Shakel n\sk
- \zchar{14}{\bs Shakesw}\Shakesw n\sk
+ \zchar{18}{\bs Shakesw}\Shakesw n\zchar{-4}{\bs l[r]par}%
+ \lpar f\rpar f{\stemlength4\qu f}%
\zchar{14}{\bs Shakene}\Shakene n\sk
- \zchar{14}{\bs Shakenw}\Shakenw n\sk\en
-\stoppiece\medskip
+ \zchar{18}{\bs Shakenw}\Shakenw n\sk\en
+\stoppiece
%
% again
%
@@ -234,26 +244,28 @@
\setvoltabox1\bar
\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en
\setvolta2\setendvolta\rightrepeat
-\NOtes\loff{\zchar{17}{\bs setvolta}}\loff{\zchar{20}{\bs setendvolta}}\en
+\NOtes\loff{\zchar{17}{\bs setvolta}}\en
\doublebar
\notes\zchar{17}{\kern-\afterruleskip\bs coda}\coda n\en\bar
\notes\zchar{17}{\kern-\afterruleskip\bs Coda}\Coda n\en
\NOtes
\zchar{17}{\bs segno}\segno n\sk
- \zchar{17}{\kern-3\Interligne\bs Segno}\Segno\hsk
- \zchar{17}{\bs caesura}\sk\caesura
- \zchar{17}{\bs cbreath}\cbreath\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{17}{\bs PED}\PED\sk
- \zchar{17}{\bs sPED}\sPED\sk
- \zchar{17}{\bs DEP}\DEP\sk
- \zchar{17}{\bs sDEP}\sDEP\sk\en
-\stoppiece\medskip
+ \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
+\stoppiece
%
% and again ...
%
\contpiece
\Notes
+ \zchar{-14}{\eightrm $^1$musixdia.tex\quad$^2$musixper.tex\quad$^3$musixgre.tex%
+ \quad$^4$musixlit.tex\quad$^5$musixext.tex}%
\zchar{17}{\bs fermataup}\fermataup l%
\zchar{-8}{\bs fermatadown}\fermatadown f{\stemlength3\ql i}%
\zchar{13}{\bs Fermataup}\Fermataup l%
@@ -283,4 +295,8 @@
\rightrepeat
\NOtes
\loffset2{\zchar{-4}{\bs rightrepeat}}\en
-\endpiece\endmuflex\vfill\eject\end
+\endpiece\advance\textheight-40mm\eject%
+\endmuflex
+\end{footnotesize}
+\restoregeometry
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/texput.log b/Master/texmf-dist/doc/generic/musixtex/musixdoc/texput.log
new file mode 100644
index 00000000000..e219b01db63
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/texput.log
@@ -0,0 +1,25 @@
+This is XeTeX, Version 3.14159265-2.6-0.99991 (TeX Live 2014) (preloaded format=xelatex 2014.10.14) 25 FEB 2015 09:14
+entering extended mode
+ restricted \write18 enabled.
+ %&-line parsing enabled.
+**\end
+
+*\end
+! TeX capacity exceeded, sorry [input stack size=5000].
+\end #1->\csname end#1
+ \endcsname \@checkend {#1}\expandafter \endgroup \if@e...
+<*> \end
+
+If you really absolutely need more capacity,
+you can ask a wizard to enlarge me.
+
+
+Here is how much of TeX's memory you used:
+ 1 string out of 493724
+ 10 string characters out of 6145898
+ 54450 words of memory out of 5000000
+ 3432 multiletter control sequences out of 15000+600000
+ 3640 words of font info for 14 fonts, out of 8000000 for 9000
+ 1328 hyphenation exceptions out of 8191
+ 5000i,0n,5000p,10b,8s stack positions out of 5000i,500n,10000p,200000b,80000s
+No pages of output.
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/transposition.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/transposition.tex
new file mode 100644
index 00000000000..0303abac690
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/transposition.tex
@@ -0,0 +1,221 @@
+ \chapter{Transposition and Octaviation}\label{octaviation}
+Two different subjects are discussed in this section. First, there
+are commands that cause notes to be printed at different pitches than
+entered. We shall refer to this as \ital{logical} transposition.
+Second, there are notations for octaviation that do
+not otherwise alter the appearance of the score, which we'll call
+\ital{octaviation lines}.
+
+\section{Logical transposition and octaviation}
+
+Logical transposition is controlled by an integer-valued \TeX\ register
+\keyindex{transpose}. Its default value is 0. If you enter
+\verb|\transpose=|$n$, then all subsequent pitches specified by
+letters will be transposed by $n$ positions. Normally this method would be
+used to transpose an entire piece. Pitches specified with
+numbers will not be affected, so if you think you will ever want to
+transpose a piece, you should enter all note pitches with letters.
+
+One way to transpose up or down by one octave would be to set
+\keyindex{transpose} to $7$ or $-7$. For example, to make a quarter note
+octave as a chord, you could define a macro as
+\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}|.
+Note that because \verb|\transpose| is altered inside a pair of braces, the
+effect of the alteration is only local and does not reach outside the braces.
+
+ Another more convenient way to transpose locally up or down by one octave
+makes use respectively of the characters
+\verb|'| (close-quote, interpreted as an \itxem{acute accent}) and \verb|`| (open-quote, interpreted as
+a \itxem{grave accent}),
+placed immediately before the letter specifying the pitch. So
+for example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and
+\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. These characters have
+cumulative effects but in a somewhat restricted sense. They will alter the value of
+\verb|\transpose|, but only until changing to a different staff or
+instrument or encountering \verb|\en|, at which time it will be reset to the
+value it had before the accents were used. (That value is stored in
+another register called \keyindex{normaltranspose}). Thus for example
+\verb|\qu{''A'A}| and \verb|\qu{''A}\qu{'A}|
+are both equivalent to \verb|\qu{ah}|.
+
+At any point it is possible to reset the \verb|\transpose| register
+explicitly to the value it had
+when entering \verb|\notes|, by prefacing a pitch indication with
+``\verb|!|''. Thus \verb|\qu{!a'a}| always
+gives the note \verb|a| and its upper octave \verb|h|, shifted by the
+value of {\Bslash transpose} at the beginning of the current
+\verb|\notes...\en| group, regardless of the number of grave and
+acute accents occurring previously within that group.
+
+ \section{Behavior of accidentals under logical transposition}\label{transposeaccids}
+ The above processes indeed change the vertical position of the note heads
+and associated symbols (e.g., stems and beams), but they don't take
+care of the necessary changes of accidentals when transposing. For example,
+suppose an F$\sharp$ occurs in the key of C major. If the piece is
+transposed up three steps to the key of F, the F$\sharp$ should logically
+become a
+B$\natural$. But if all you do is set \verb|\transpose=3|, the note will
+be typeset as a B$\sharp$. In other words, \musixtex\ will interpret the~\verb|\sh|
+or~\verb|^| to mean ``print a $\sharp$''.
+
+Naturally there is a solution, but it requires the typesetter to plan
+ahead: To force accidentals to behave well under transposition, they
+must be entered according to the \ital{relative
+accidental convention}. To alert \musixtex\ that you are using this
+convention to enter notes, you must issue the command
+\keyindex{relativeaccid}. Once you have done this, the meaning of
+accidental macros and characters (accents) in the input file is changed.
+Under the convention, when for example a
+\verb|\sh| is entered, it indicates a note that is supposed to sound
+\ital{one half step higher than what it would normally be under the
+current key signature}. Flats and naturals on entry similarly indicate
+notes one half step lower or at the same pitch as what the key signature
+dictates. \musixtex\ will take account of the key signature, and print
+the correct symbol according to the modern notational convention,
+provided you have explicitly entered the transposed key signature using
+for example \verb|\generalsignature|.
+
+Many people have a difficult time understanding how this works, so
+here are two simple examples in great detail. Consider the case already mentioned
+of the F$\sharp$ in the key of C major. With
+\verb|\relativeaccid| in effect, it should still be entered as \verb|\sh f|, and
+with no transposition it will still appear as F$\sharp$. With
+\verb|\transpose=3| and \verb|\generalsignature{-1}| it will appear
+(correctly) as B$\natural$. Conversely, suppose you want to enter a
+B$\natural$ when originally in the key of F. With \verb|\relativeaccid| in effect, it
+should be entered as \verb|\sh i|. (That's the part that people
+have the most trouble with: ``If I want a natural, why do I have to enter a sharp?'' Answer:
+``Go back and re-read the previous paragraph very carefully.'') With no transposition, it will be
+printed as B$\natural$. Now to transpose this to C major, set
+\verb|\transpose=-3| and \verb|\generalsignature0|, and it will appear
+as F$\sharp$.
+
+If you have invoked \verb|\relativeaccid| and then
+later for some reason wish to revert to the ordinary convention,
+enter \keyindex{absoluteaccid}.
+
+\section{Octaviation lines}
+The first kind of notation for octave transposition covers a
+horizontal range that must be specified at the outset. The sequence
+
+\medskip
+\begin{music}\nostartrule
+\startextract
+\NOTEs\octfinup{10}{3.5}\ql{!'a}\ql b\ql c\ql d\en
+\zendextract
+\end{music}
+\noindent can be coded as
+\verb|\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en|.
+\zkeyindex{octfinup}
+Here, the dashed line is at staff level 10 and extends \verb|3.5\noteskip|.
+Conversely, lower octaviation can be coded. For example
+
+\begin{music}\nostartrule
+\startextract
+\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en
+\zendextract
+\end{music}
+\noindent is coded as
+\verb|\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en|.
+\zkeyindex{octfindown}
+ To change the text that is part of these notations, redefine one of
+the macros \keyindex{octnumberup} or \keyindex{octnumberdown}. The reason for
+the distinction between up and down is that, traditionally, upper octaviation
+only uses the figure
+``8'' to denote its beginning, while lower octaviation uses a more
+elaborate indication such as \hbox{\ppffsixteen8$^{va}$\kern 0.2em\eightit bassa}. Thus
+
+\bigskip
+\begin{music}\nostartrule
+\startextract
+\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en
+\zendextract
+\end{music}
+\noindent is coded
+
+\noindent\verb|\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en|
+
+\noindent while
+
+\begin{music}
+\startextract
+\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}\octfindown{-5}{2.5}\ql l\ql
+k\ql j\en
+\endextract
+\end{music}
+\noindent is coded as
+\begin{quote}\begin{verbatim}
+\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}%
+ \octfindown{-5}{2.5}\ql l\ql k\ql j\en
+\end{verbatim}\end{quote}
+
+The foregoing constructions have the drawbacks that (a) the span must be
+indicated ahead of time and (b) they cannot extend across a line break.
+Both restrictions are removed with the use of the alternate macros \keyindex{Ioctfinup},
+\keyindex{Ioctfindown} and
+\keyindex{Toctfin}.
+
+{\Bslash Ioctfinup}~$np$ indicates an upward octave transposition line with reference number
+$n$ and with dashed line at pitch $p$.
+By default $n$ must be in the range $[0,5]$, but
+you can specify a larger maximum number
+directly with \keyindex{setmaxoctlines}\verb|{|$m$\verb|}|
+where $7<m\leq 100$\footnote{This may require e-\TeX.}; the
+reference number will be in the range between $0$ and $m-1$.
+\label{musixmad_setmaxoctlines}
+
+Usually $p$ will be numeric and $>9$,
+but it can also be a letter.
+{\Bslash Ioctfindown}~$np$ starts a lower octave transposition line at pitch $p$
+(usually $p<-1$). Both extend until terminated with {\Bslash Toctfin}. The
+difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is
+the relative position of the figure ``8'' with respect to the dashed line, and
+the sense of the terminating hook As shorthand, \keyindex{ioctfinup} is equivalent to
+\verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to
+\verb|\Ioctfindown 0|.
+
+For example,
+
+\medskip
+ \begin{music}\nostartrule
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\en
+\bar
+\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\en
+\bar
+\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\en
+\bar
+\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\en
+\zendextract
+\end{music}
+\noindent is coded as
+\begin{quote}\begin{verbatim}
+\begin{music}\nostartrule
+\instrumentnumber{1}
+\setstaffs12
+\setclef1{6000}
+%
+\startextract
+\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\en
+\bar
+\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\en
+\bar
+\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\en
+\bar
+\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\en
+\zendextract
+\end{music}
+\end{verbatim}\end{quote}
+ %\check
+
+ The elevation of octaviation lines may be changed in midstream using
+\keyindex{Liftoctline}~$n$$p$, where $n$ is the reference number of the
+ octave line, and $p$ a (possibly negative) number of
+\keyindex{internote}s (staff pitch positions) by which elevation of the dashed line should be changed.
+This may be useful when octaviation lines extend over several systems and the
+elevation needs to be changed in systems after the one where it was initiated.
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex
new file mode 100644
index 00000000000..7c52700cb7c
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex
@@ -0,0 +1,283 @@
+ \chapter{Writing Notes}\label{autostemdirections}
+There are two major kinds of note macros, those that include a space (of
+length \keyindex{noteskip}) after
+the printed symbol, and those that don't cause any space. A single-line melody would be
+written using the first type. All notes of a chord except the last would
+use the second.
+
+Another distinction concerns stemmed notes. Some macros explicitly set the
+stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of
+the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies
+\ital{automatic} stem direction selection. In this case notes below the middle
+staff line will get up stems, otherwise down.
+
+Note pitches can be specified either by letters or numbers. If no transposition
+or octaviation is in effect, letters ranging
+from \verb|a| to \verb|z| represent notes starting with the A below
+middle C. Upper case letters from \verb|A| to \verb|N| represent pitches
+two octaves lower than their lower case counterparts. Any letter can be used in
+any clef, but some users may
+prefer to use the lower case letters in treble clef, and the upper case ones
+in bass clef.
+
+Alternatively, a one- or two-digit, positive or negative integer can always be used.
+The number represents
+the vertical position on the staff, with \verb|0| for the lowest line and
+\verb|1| for the space right above, \ital{regardless of the clef}.
+Unlike with letters, the
+associated pitch will depend on the clef, and notes entered this way are
+immune to transposition and octaviation.
+
+Notes lower than \verb|A| and higher than \verb|z| can be entered, with
+either numbers as just described, or with octaviation as will be explained in
+Chapter~\ref{octaviation}.
+
+ \section{Normal (unbeamed) spacing notes}\label{NormalNotes}
+In the following, \verb|{|$p$\verb|}| signifies a pitch specification as
+described above. However it
+is understood that if the pitch is a single character, the brackets are
+not necessary, provided that if it is a letter, a space separates the
+macro from the letter.
+
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) .
+ \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) .
+ \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} .
+ \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) .
+ \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss})
+(also used as alternate representation of a \ital{breve}).
+ \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note
+(\hbox to8pt{\zwqq1\hss}) (also used as alternate
+representation of a \ital{longa}).
+ \item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note.
+ \item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up.
+ \item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down.
+ \item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction
+ \item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up.
+ \item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down.
+ \item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction.
+ \item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}''
+within this macro name stands for the equivalent British term ``crotchet''} with stem up.
+ \item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down.
+ \item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction.
+ \item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up.
+ \item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down.
+ \item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction.
+ \item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem up.
+ \item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem down.
+ \item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]$32$nd note with automatic stem direction.
+ \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]$64$th note with stem up.
+ \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]$64$th note with stem down.
+ \item[\keyindex{cccca}{\tt\char123}$p${\tt\char125} :]$64$th note with automatic stem direction.
+ \item[\keyindex{cccccu}{\tt\char123}$p${\tt\char125} :]$128$th note with stem up.
+ \item[\keyindex{cccccl}{\tt\char123}$p${\tt\char125} :]$128$th note with stem down.
+ \item[\keyindex{ccccca}{\tt\char123}$p${\tt\char125} :]$128$th note with automatic stem direction.
+\end{description}\end{quote}
+ As an example, the sequence
+
+ %\check
+\begin{music}\nostartrule
+\startextract
+\Notes\cu c\cl j\en\bar
+\Notes\ccu c\ccl j\en\bar
+\Notes\cccu c\cccl j\en\bar
+\Notes\ccccu c\ccccl j\en\bar
+\Notes\cccccu c\cccccl j\en
+\zendextract
+\end{music}
+ \noindent was coded as
+\begin{quote}\begin{verbatim}
+\Notes\cu c\cl j\en\bar
+\Notes\ccu c\ccl j\en\bar
+\Notes\cccu c\cccl j\en\bar
+\Notes\ccccu c\ccccl j\en\bar
+\Notes\cccccu c\cccccl j\en
+\end{verbatim}\end{quote}
+
+
+
+For \keyindex{breve} there is a possibility of
+confusion with a command in \TeX's math mode that has exactly the same name.
+However, there will generally be no problem, because inside
+\verb|\startpiece...\endpiece|,
+\verb|\breve| will take the musical meaning, while outside, it will have the
+mathematical one.
+If for some reason you need the math \verb|\breve| inside, you can use
+\verb|\endcatcodesmusic...\breve...\catcodesmusic|.
+
+ \section{Non-spacing note heads}
+These macros are used to create chords. Any number of them can be entered
+in sequence, followed by a spacing note. All of the note heads will be
+joined to the spacing note and the stem length will automatically be adjusted
+as needed.
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head.
+ \item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head.
+\end{description}\end{quote}
+%das ???
+% \begin{remark} Notes of duration longer than whole notes are
+%always non-spacing. This saves one useless definition, since these notes are
+%always longer than other simultaneous ones. If needed they can be followed by
+%\keyindex{sk} to force spacing.
+%\end{remark}
+
+ \section{Shifted non-spacing note heads}
+These symbols are used mainly
+in chords containing an interval of a \ital{second}. They provide note
+heads shifted either to the left or right of the default position by
+the width of one note head.
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+\item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right.
+\item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left.
+\item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not
+have realized that half and whole note heads have different shapes}.
+\item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left.
+\item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right.
+\item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left.
+\end{description}\end{quote}
+
+ \section{Non-spacing notes}
+These macros provide normal notes, with stems if applicable, but without any
+following space.
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+ \item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like
+\verb|\hu| for chord building, i.e., it will join together any immediately
+preceding non-spacing note heads.
+ \item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like
+\keyindex{hl} for chord building.
+ \item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like
+\verb|\qu| for chord building.
+ \item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts
+like \verb|\ql| for chord building.
+ \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu},
+ \keyindex{zccccu}, \keyindex{zcccccu}
+:]eighth, ..., note with stem up but no spacing. They act like
+\verb|\cu| for chord building.
+ \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl},
+ \keyindex{zccccl}, \keyindex{zcccccl}
+:]eighth, ..., note with stem down but no spacing. They act
+like \verb|\cl| for chord building.
+ \item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql},
+ \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|,
+ but the note is shifted one note width to the right; others analogous.
+ \item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql},
+ \keyindex{lcu}, \keyindex{lcl} :]same
+ as above, but the note is shifted one note width to the left.
+ \item[\keyindex{zw}\pitchp~:]whole note with no following space.
+ \item[\keyindex{zwq}\pitchp~:]arbitrary duration note
+ (\hbox to8pt{\zwq1\hss}) with no following space.
+ \item[\keyindex{zbreve}\pitchp~:]breve
+ (\hbox to8pt{\zbreve1\hss}) with no following space.
+ \item[\keyindex{zlonga}\pitchp~:]longa
+ (\hbox to8pt{\zlonga1\hss}) with no following space.
+ \item[\keyindex{zmaxima}\pitchp~:]maxima
+ (\hbox to16pt{\zmaxima1\hss}) with no following space.
+\end{description}\end{quote}
+ %\check
+
+\section{Spacing note heads}
+
+Although not needed in normal music scores, these may be useful in
+very special cases.
+
+\begin{quote}\begin{description}\setlength{\itemsep}{0ex}
+\item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head.
+\item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head.
+\end{description}\end{quote}
+
+\noindent As an example, the sequence
+
+\begin{music}\nostartrule
+ \startextract
+\notes\nq c\nq j\en\barre
+\Notes\nh c\nh j\en\barre
+\notes\nq {cdef}\en
+\zendextract
+\end{music}
+
+\noindent was coded as
+
+\begin{quote}\begin{verbatim}
+\notes\nq c\nq j\en\barre
+\Notes\nh c\nh j\en\barre
+\notes\nq {cdef}\en
+\end{verbatim}\end{quote}
+
+Non spacing variants are also provided, namely
+\keyindex{znh} and \keyindex{znq}.
+% DAS: why???
+
+ \section{Dotted notes}\label{dots}
+
+By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the
+macros just introduced provide one or two dots after the notehead:
+\keyindex{whp}\pitchp, \keyindex{whpp},
+\keyindex{zwp}, \keyindex{zwpp},
+\keyindex{hup}, \keyindex{hupp},
+\keyindex{hlp}, \keyindex{hlpp},
+\keyindex{zhp}, \keyindex{zhpp},
+\keyindex{qup}, \keyindex{qupp},
+\keyindex{qlp}, \keyindex{qlpp},
+\keyindex{zqp}, \keyindex{zqpp},
+\keyindex{cup}, \keyindex{cupp},
+\keyindex{clp}, \keyindex{clpp},
+\keyindex{qbp} and \keyindex{qbpp}.
+Naturally, the ones that start with ``\verb|z|'' are used in chords.
+The dot(s) will be raised if the note is on a line.
+
+A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125},
+\keyindex{ppt}, or \keyindex{pppt} right
+before any note macro to place one to three dots after the normal note
+head at pitch $p$. Again they will be raised if on a line. In fact this is the only
+way to get a triple-dotted note.
+For example a
+quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots
+as \keyindex{ppt}\verb| h\qu h| and with three as
+\keyindex{pppt}\verb| h\qu h|.
+
+Yet another method for posting a dot is to insert a \ital{period} before
+the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to
+either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when
+using \ital{collective coding}, which will be discussed in the next
+section.
+
+Non-spacing dotted notes can be produced using
+\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp},
+\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp},
+and similarly with two \verb|p|'s for
+double-dotted notes.
+
+As a matter of style, if two voices share one staff, the dots in
+the lower voice should be lowered if the note is on a line. For
+this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and
+\keyindex{lppt}{\tt\char123}$p${\tt\char125}.
+
+\section{Sequences of equally spaced notes; collective coding}
+\label{CollectiveCoding}
+
+It isn't necessary to write a separate macro
+sequence \verb|\notes...\en| for every individual column of notes.
+Rather, a single such macro can contain all the notes in all staves
+over an extended horizontal range, as long as all spacings are equal or
+multiples of a unique value of \keyindex{noteskip}.
+The notes in each staff could be entered one after another as normal
+spacing notes as already described in Section~\ref{NormalNotes}. Then
+each spacing note will cause the insertion point to advance horizontally by the
+operative value of \verb|\noteskip| defined by the choice of
+\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences
+non-spacing chord notes can be entered right before their associated
+spacing note. If you need to skip forward by one \verb|\noteskip|, for
+example after a quarter note when there are two eighth notes in
+another staff, you can use \keyindex{sk}.
+
+If there are only spacing notes in such a sequence, a further
+simplification is available, called \ital{collective coding}. For instance
+\verb|\qu{cdefghij}| writes the C major scale in quarters with
+up stems. Similarly \verb|\cl{abcdef^gh}| writes the
+\ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents
+a sharp). If necessary a void can be inserted in a collective coding sequence
+by using~\verb|*|\index{*}. Not all note-generating macros can be
+used to perform collective coding, but most of them can.
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf b/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf
index 666a5a2aa47..ecbd089a5c5 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf
+++ b/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixtex-install.tex b/Master/texmf-dist/doc/generic/musixtex/musixtex-install.tex
index d962dbdfe3d..458d118f6d8 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixtex-install.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixtex-install.tex
@@ -8,7 +8,7 @@
\newcommand{\myurl}[1]{\textcolor{blue}{\underline{\textcolor{black}{\url{#1}}}}}
\newcommand{\musixflxVersion}{0.83.3}
\begin{document}
-\title{Installation of the CTAN MusiXTeX Distribution}
+\title{Installation of MusiXTeX}
\author{Bob Tennent\\
\small\url{rdt@cs.queensu.ca}}
\date{\today}
@@ -37,7 +37,7 @@ and installing files\footnote{%
In this distribution of MusiXTeX, most of the files to be installed
(including macros, scripts, and documentation) are in a zipped TEXMF hierarchy
\begin{list}{}{}\item
-\texttt{tex-archive/install/macros/musixtex.tds.zip}
+\myurl{http://mirror.ctan.org/install/macros/musixtex.tds.zip}
\end{list}
at CTAN. Simply download and unzip this archive in the root folder/directory of whichever TEXMF tree
you decide is most appropriate, likely a ``local'' or ``personal'' one.
@@ -134,28 +134,6 @@ then click on + to add a new processing tool as follows:
If necessary, add the path to the directory/folder containing the \verb\musixtex\
script to the list of Paths for TeX and related programs.
-\section{Addons}
-
-Unzipping \verb\musixtex-texmf.zip\ will install into
-\verb\doc/generic/musixtex/addons/\
-several small packages which extend the capabilities of
-MusiXTeX:
-\begin{center}
-\begin{tabular}{lll}
-\verb\curly.tex\ & multiple left curly brackets & by Mthimkhulu Molekwa \\
-\verb\tuplet.tex\ & conventional tuplet brackets & by Col. G. L. Sicherman\\
-\verb\underbracket.sty\ & brackets to underline text& by Bernd Jantzen\\
-\end{tabular}
-\end{center}
-Check out the
-documentation in \verb\musixdoc.pdf\ and in the comments of
-the files.
-If you want to use any of these packages, you'll have to copy them
-to a place where TeX can find them, such as your working directory
-or the \verb\tex/generic/musixtex\ sub-directory of the TEXMF tree
-where \verb\musixtex-texmf.zip\ was installed.
-
-
\section{Discussion}
Many users, especially beginners, will find it easier to use the PMX and
M-Tx pre-processors, which accept a simpler input language than MusiXTeX
diff --git a/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf b/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf
index 6c418f505fc..d3b7fa02210 100644
--- a/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf
+++ b/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.html b/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.html
deleted file mode 100644
index 6d7c8612268..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.html
+++ /dev/null
@@ -1,84 +0,0 @@
-Content-type: text/html
-
-<HTML><HEAD><TITLE>Manpage of MUSIXFLX</TITLE>
-</HEAD><BODY>
-<H1>MUSIXFLX</H1>
-Section: (1)<BR>Updated: 2011-04-21<BR><A HREF="#index">Index</A>
-<A HREF="http://localhost/cgi-bin/man/man2html">Return to Main Contents</A><HR>
-
-<P>
-<A NAME="lbAB">&nbsp;</A>
-<H2>NAME</H2>
-
-musixflx - process mx1 files (the second pass of 3-pass MusiXTeX typesetting)
-<P>
-<A NAME="lbAC">&nbsp;</A>
-<H2>SYNOPSIS</H2>
-
-[ texlua ]
-<B>musixflx[.lua]</B>
-
-<I>jobname </I>
-
-[ .mx1 | .tex ]
-[
-<I>debugmode </I>
-
-]
-<P>
-where
-<I>debugmode </I>
-
-can be
-<BR>
-
-<TT>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</TT>d<TT>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</TT>output debugging information to the screen<BR>
-<BR>
-
-<TT>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</TT>m<TT>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</TT>output line numbers to the screen<BR>
-<BR>
-
-<TT>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</TT>f<TT>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</TT>output debugging information to jobname.mxl (not mx1)<BR>
-<BR>
-
-<TT>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</TT>s<TT>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</TT>output computed lines to the screen<BR>
-<P>
-To allow for ease of use with a batch file, <B> musixflx.lua</B>
-can be fed with either <I> jobname.mx1</I>, <I> jobname.tex</I>,
-or just <I> jobname</I>, any of which open <I> jobname.mx1</I>
-and create <I> jobname.mx2</I>.
-<P>
-<A NAME="lbAD">&nbsp;</A>
-<H2>SEE ALSO</H2>
-
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+musixtex">musixtex</A></B>(1)
-
-<BR>
-
-musixdoc.pdf
-<P>
-<A NAME="lbAE">&nbsp;</A>
-<H2>AUTHOR </H2>
-
-This manual page was written by Andreas Tille
-&lt;<A HREF="mailto:tille@debian.org">tille@debian.org</A>&gt; for the Debian GNU/Linux system (but may be used
-by others). Corrections to the synopsis were pointed out by Peter
-Breitenlohner &lt;<A HREF="mailto:peb@mppmu.mpg.de">peb@mppmu.mpg.de</A>&gt; and implemented by Bob Tennent
-&lt;<A HREF="mailto:rdt@cs.queensu.ca">rdt@cs.queensu.ca</A>&gt;.
-<P>
-
-<HR>
-<A NAME="index">&nbsp;</A><H2>Index</H2>
-<DL>
-<DT><A HREF="#lbAB">NAME</A><DD>
-<DT><A HREF="#lbAC">SYNOPSIS</A><DD>
-<DT><A HREF="#lbAD">SEE ALSO</A><DD>
-<DT><A HREF="#lbAE">AUTHOR </A><DD>
-</DL>
-<HR>
-This document was created by
-<A HREF="http://localhost/cgi-bin/man/man2html">man2html</A>,
-using the manual pages.<BR>
-Time: 08:30:52 GMT, September 14, 2012
-</BODY>
-</HTML>
diff --git a/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.pdf b/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.pdf
new file mode 100644
index 00000000000..e93d61b18f1
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.pdf
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.html b/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.html
deleted file mode 100644
index 810cb76fb9a..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.html
+++ /dev/null
@@ -1,167 +0,0 @@
-Content-type: text/html
-
-<HTML><HEAD><TITLE>Manpage of MUSIXTEX</TITLE>
-</HEAD><BODY>
-<H1>MUSIXTEX</H1>
-Section: (1)<BR>Updated: 2013-12-11<BR><A HREF="#index">Index</A>
-<A HREF="http://localhost/cgi-bin/man/man2html">Return to Main Contents</A><HR>
-
-<P>
-<A NAME="lbAB">&nbsp;</A>
-<H2>NAME</H2>
-
-musixtex - processes MusiXTeX files, deleting intermediate files
-<P>
-<A NAME="lbAC">&nbsp;</A>
-<H2>SYNOPSIS</H2>
-
-[ texlua ]
-<B>musixtex[.lua]</B>
-
-{
-<I>option</I>
-
-|
-<I>jobname</I>
-
-[ .tex ]
-} ...
-<DL COMPACT>
-<DT>The default effect is to process each file using <DD>
-<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+etex">etex</A></B>(1)
-
-<DD>
-(first pass)
-<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+musixflx">musixflx</A></B>(1)
-
-<DD>
-(second pass)
-<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+etex">etex</A></B>(1)
-
-<DD>
-(third pass)
-<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvips">dvips</A></B>(1)
-
-<DD>
-(dvi to Postscript)
-<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+ps2pdf">ps2pdf</A></B>(1)
-
-<DD>
-(Postscript to Portable Document Format)
-<DT>followed by removal of intermediate files.<DD>
-<P>
-</DL>
-<A NAME="lbAD">&nbsp;</A>
-<H2>OPTIONS</H2>
-
-<DL COMPACT>
-<DT><B>-v </B>
-
-<DD>
-output program name and version number, and quit
-<DT><B>-h</B>
-
-<DD>
-output usage summary and quit
-<DT><B>-l </B>
-
-<DD>
-changes the TeX processor to
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+latex">latex</A></B>(1)
-
-or
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdflatex">pdflatex</A></B>(1)
-
-<DT><B>-p </B>
-
-<DD>
-changes the TeX processor to
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdfetex">pdfetex</A></B>(1)
-
-or
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdflatex">pdflatex</A></B>(1)
-
-(and doesn't run
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvips">dvips</A></B>(1)
-
-and
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+ps2pdf">ps2pdf</A></B>(1)
-
-or
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvipdfm">dvipdfm</A></B>(1)
-
-)
-<DT><B>-d </B>
-
-<DD>
-changes the dvi processor to
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvipdfm">dvipdfm</A></B>(1)
-
-<DT><B>-s </B>
-
-<DD>
-stops processing at the dvi file
-<DT><B>-i</B>
-
-<DD>
-retain intermediate files
-<DT><B>-1</B>
-
-<DD>
-one-pass [pdf][la]tex processing
-<DT><B>-F fmt</B>
-
-<DD>
-use fmt as the TeX processor
-<DT><B>-f</B>
-
-<DD>
-default processing
-<DT>Options affect processing of all succeeding MusiXTeX files unless changed by another option.<DD>
-<P>
-</DL>
-<A NAME="lbAE">&nbsp;</A>
-<H2>SEE ALSO</H2>
-
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+etex">etex</A></B>(1),
-
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+latex">latex</A></B>(1),
-
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdfetex">pdfetex</A></B>(1),
-
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdflatex">pdflatex</A></B>(1),
-
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+musixflx">musixflx</A></B>(1),
-
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvipdfm">dvipdfm</A></B>(1),
-
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvips">dvips</A></B>(1),
-
-<B><A HREF="http://localhost/cgi-bin/man/man2html?1+ps2pdf">ps2pdf</A></B>(1).
-
-<BR>
-
-musixdoc.pdf
-<P>
-<A NAME="lbAF">&nbsp;</A>
-<H2>AUTHOR </H2>
-
-This manual page was written by Bob Tennent &lt;<A HREF="mailto:rdt@cs.queensu.ca">rdt@cs.queensu.ca</A>&gt;.
-<P>
-
-<HR>
-<A NAME="index">&nbsp;</A><H2>Index</H2>
-<DL>
-<DT><A HREF="#lbAB">NAME</A><DD>
-<DT><A HREF="#lbAC">SYNOPSIS</A><DD>
-<DT><A HREF="#lbAD">OPTIONS</A><DD>
-<DT><A HREF="#lbAE">SEE ALSO</A><DD>
-<DT><A HREF="#lbAF">AUTHOR </A><DD>
-</DL>
-<HR>
-This document was created by
-<A HREF="http://localhost/cgi-bin/man/man2html">man2html</A>,
-using the manual pages.<BR>
-Time: 22:15:29 GMT, December 11, 2013
-</BODY>
-</HTML>
diff --git a/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf b/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf
new file mode 100644
index 00000000000..e00737625fe
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf
Binary files differ