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authorKarl Berry <karl@freefriends.org>2012-05-13 23:29:48 +0000
committerKarl Berry <karl@freefriends.org>2012-05-13 23:29:48 +0000
commit11b3c97585e0452103301352db8c4a79a317b11d (patch)
tree87371fa2183d1d06a502a500822c6f642b804746 /Master/texmf-dist/doc/generic
parent5e5a3249f60d40777380ce9a574ba915d1c0a25e (diff)
ctan:support/m-tx/m-tx.texmf.zip
git-svn-id: svn://tug.org/texlive/trunk@26336 c570f23f-e606-0410-a88d-b1316a301751
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-rw-r--r--Master/texmf-dist/doc/generic/pmx/examples/barsant.pmx68
-rw-r--r--Master/texmf-dist/doc/generic/pmx/examples/dyntest.pmx122
-rw-r--r--Master/texmf-dist/doc/generic/pmx/examples/most.pmx83
-rw-r--r--Master/texmf-dist/doc/generic/pmx/examples/mwalmnd.pmx130
-rw-r--r--Master/texmf-dist/doc/generic/pmx/file600.eps2327
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmx.1101
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmx.pdfbin0 -> 4342 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmx260.pdfbin0 -> 284725 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmx260.tex2230
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxab.124
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxab.pdfbin0 -> 4027 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/README20
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/addresses.txt9
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/call_addr.txt84
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/cmondrup.eps54
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/cmondrup.pngbin0 -> 323 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/dlaurie.eps47
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/dlaurie.pngbin0 -> 315 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/dsimons.eps46
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/dsimons.pngbin0 -> 343 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/hmorimoto.eps48
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/hmorimoto.pngbin0 -> 342 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/jpcoulon.eps54
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/jpcoulon.pngbin0 -> 308 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/lcataldi.eps44
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/lcataldi.pngbin0 -> 358 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/mcodogno.eps46
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/mcodogno.pngbin0 -> 351 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/musiclist.eps55
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/musiclist.pdfbin0 -> 1452 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/musiclist.pngbin0 -> 408 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/noack.eps48
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/noack.pngbin0 -> 316 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/ovogel.eps48
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/ovogel.pngbin0 -> 333 bytes
-rwxr-xr-xMaster/texmf-dist/doc/generic/pmx/pmxccn/addresses/png2eps.bat19
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/rdunker.eps45
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/rdunker.pngbin0 -> 297 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/skneifl.eps39
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/skneifl.pngbin0 -> 363 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/texmusiclist.eps56
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/texmusiclist.pngbin0 -> 408 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/14.eps411
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-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/19.eps696
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/20.eps212
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-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/21m.eps398
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/21n.eps395
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/22.eps477
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/22k.eps609
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/22m.eps516
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/22n.eps490
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/27.eps283
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/27a.eps250
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-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/bars.eps716
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beams.eps947
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beethoven0.eps907
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beethoven1.eps993
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/bloch.eps856
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/bruckner.eps563
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini1.eps2030
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-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini3.eps2057
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-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/chordslur.eps288
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/clefchg.eps730
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/clefchg2.eps719
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/clefnot.eps764
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/cslurs1k.eps741
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/cslurs1m.eps648
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/cslurs1n.eps645
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/cslurs2k.eps748
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/cslurs2m.eps531
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/cslurs2n.eps550
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/debussy.eps1079
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/diabolca.eps734
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/diabolica.eps1147
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dottedslur.eps596
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dufay.eps1201
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/grace.eps758
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/haydn.eps1378
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/inlinesample.eps383
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpbeam.eps724
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpslur.eps948
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/keychg.eps715
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs1.eps707
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs2.eps727
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurtweaks.eps747
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/macro.eps589
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/meter.eps779
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/midi.eps626
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/midi.midbin0 -> 311 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/midibaroque.eps809
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/mozart.eps505
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/mtrauermus.eps1815
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/notepara.eps557
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/noteparb.eps460
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/noteparc.eps442
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/ornament.eps1502
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/pathetique.eps941
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/pickups.eps804
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/pitch.eps708
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/poppea.eps886
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/reloctav.eps725
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/rests.eps873
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/samp-eps.zipbin0 -> 681726 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/slurs1.eps621
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/slurs2.eps619
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/transpose.eps596
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/transpose1.eps592
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/transpose2.eps593
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-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/triplerest.eps373
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-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/vivaldi1.eps992
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-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/volta.eps862
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-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/eps/xtupletsSich.eps1148
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/pmxccn.pdfbin0 -> 1177301 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/pmxccn/pmxccn.tex7966
-rw-r--r--Master/texmf-dist/doc/generic/pmx/ref260.pdfbin0 -> 65538 bytes
-rw-r--r--Master/texmf-dist/doc/generic/pmx/ref260.tex456
-rw-r--r--Master/texmf-dist/doc/generic/pmx/scor2prt.118
-rw-r--r--Master/texmf-dist/doc/generic/pmx/scor2prt.pdf110
142 files changed, 85908 insertions, 0 deletions
diff --git a/Master/texmf-dist/doc/generic/pmx/examples/barsant.pmx b/Master/texmf-dist/doc/generic/pmx/examples/barsant.pmx
new file mode 100644
index 00000000000..f10fd67b064
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/examples/barsant.pmx
@@ -0,0 +1,68 @@
+%----------------%
+%
+% barsant.pmx Revised 29 June 2002
+%
+%----------------%
+%
+% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
+ 2 2 4 4 0 6 0 0
+%
+% npages,nsyst,musicsize,fracindent
+ 1 7 20 0.07
+Basso
+Recorder
+bt
+./
+Abep
+Iiharet60
+Tc
+Francesco Barsanti (1690-1772)
+%%
+AeI1.1
+%2S9
+% Bar 1-4
+h
+Adagio
+c43 r8 f 65 f 42 e 6 r c | [ b 6 c ] d 7 b 65 c4 r8 c 65 t |
+ \global\figdrop5\Figu{-1}{\fsmsh}\Figu{0}{4}\Figu{4}{2}\
+ c t bf4 65 x1842 a8 65 t a t #42 g 6 r g 65 t |
+ g t #42 f4 \global\figdrop8\ 65 x1842 \Figu06\ e8 d 54 dd1+ 3 c3 b8 6 g 7 /
+g85 Gf ed1 d3 [ c3 a8+ gd1x5n s+1 f e d c s+1 ] Gc b8 s c s r e |
+ [ d35 s c d s e op ] e s d e s f op [ f s e f s g ] g f e f
+ Gf ed1 d3 c8 r ad1+ g3 |
+ [ fs15 dd+ ] [ c3 \nbbbbl2\ bf1x3 s+2 a g ] s+2 Gfn [ e1 cd+ ] [ b3
+ \nbbbbl2\ a1x3 g f ] Ge ds8 ot e r ed1 dn3 |
+ [ cs15 ad+ ] [ g3 \nbbbbl2\ f1x3 s+2 e d s+2 ]
+ Gcn b1 c8 g1+ g3 s f e f s f8 op r1 f ed d3 /
+% Bar 5-6
+[ c84 f- 7 ] g 4 g- 3 c ed1 f3 gd1 f3 ed1 d3 | cs4 5 r8 c 65 d4 r8 fd1 e3 /
+[ e65 g c e s e1 s ] d6 c b a g f e d dd8 ot c1 c4 r8 ed1 f3 |
+ g85 gx3 s+1 fs g s+1 bf8 [ a3 s g fn e s ] [ f1 s d cs s d op ]
+ d s e f s gs op /
+% Bar 7-8
+ds43 5 r8 d 65 e # ed1 fs3 gs8 e 7 | a4 r8 a 6 g4 7 r8 g 6 /
+a85 ax3n+0+.7 s+2 gs a s+2 c8 bd1 ot a3 g1 Gfs ed8 r1 b+ bd ot a6 s b s |
+ c86x3 s+2 b a s+2 ax3 s+2 g f s+2 fx3 s+1 e f s+1 c+
+ bx3 s+2 a g s+2 gx3 s+2 f e s+2 ex3nf+0+.7 s+2 ds e s+2 b+ /
+% Bar 9-10
+f43 7 r8 d 65 e4 gs- 65 | a r r gs+ 65 /
+a85x3 s+2 g f s+2 fx3 s+2 e d s+2 dx3nf+0+.7 s+2 cs d s+2 a+
+ gs1 b d8 r1 d cd b3 s+0-.3 |
+ [ c1 s a s bf s gs s ] a s fs s gn s e s
+ [ fn s ds s e s cs s ] dn s f s e d s /
+% Bar 11-12
+[ a83 d- 7 ] e 4 e- #3 a ad1+ b3 c8 gs 65 | a4 # cs- 65 d8 dd1 e3 f8 d /
+c15 s+2 gs+ a s+1 d- Gc bd8 ot a1 a4 r8 ed1+ d3 |
+ cs1 e g bf [ a3 cs e1 s ] e6 s d s cn bf a g f e s
+ Ge fd1 e3 d8 ot r8 dd1 cn3 /
+% Bar 13-14
+g43 b- 65 [-1+1 c8 cd1 d3 ] ef8 b 6 | c4 -3 bf n42 af 6 an #6 /
+b14 d f a [ g3 b d1 t ] [+1 d6 t c b a g f e d ]
+ Gd ed1 ot d3 c8 r1 d dd ot c6 s d s |
+ ef1 c cd ot b6 s c s en1 c cd ot b6 s c s
+ f1 c cd ot b6 s c s fs1 c cd ot b6 s c s /
+% Bar 15-end
+b82 6 gd1 a3 b8 g 7 c4 -3 r | r2 r8 f e s 6 d s 6 | [-1 c f 7 g 4 g- 3 ] c2 /
+g45 r1 af gd f3 ef1 bn+ s c s an s [ bf s g s af s fs s ] |
+ g s e s f s d s [ ef s c s df s bn s ] c8 s a op g op f+ s |
+ [ e s a- dd ot c1 ] c2 /
diff --git a/Master/texmf-dist/doc/generic/pmx/examples/dyntest.pmx b/Master/texmf-dist/doc/generic/pmx/examples/dyntest.pmx
new file mode 100644
index 00000000000..a06a033d6a6
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/examples/dyntest.pmx
@@ -0,0 +1,122 @@
+1 1 4 4 4 4 0 1
+2 21 20 .05
+
+t
+./
+\\nobarnumbers\
+Ap
+Tt
+Default Positions of Dynamic Marks
+Tc
+Dr. Don
+g44 Dp g- Dp g+ zb Dp b- zg Dp /
+g45 Dp g-l Dp g+ zb Dp b-l zg Dp /
+g44 Df g- Df g+ zb Df b- zg Df /
+g45 Df g-l Df g+ zb Df b-l zg Df /
+L2
+g84 Dp g- Dp g+ zb Dp b- zg Dp g85 Dp g-l Dp g+ zb Dp b-l zg Dp /
+g84 Df g- Df g+ zb Df b- zg Df g85 Df g-l Df g+ zb Df b-l zg Df /
+L3
+[u g83 Dp a Dp b Dp c Dp d Dp e Dp f Dp g Dp ] //
+g05 /
+ g83 Dp a Dp b Dp c Dp d Dp e Dp f Dp g Dp //
+g05 /
+[l+1+1 g84 Dp a Dp b Dp c Dp d Dp e Dp f Dp g Dp ] //
+g05 /
+L4
+g43 Dp g Dppp g Dmp g Dmf | g Dfp g Dsfz g Df g Dfff /
+b44 Dp b Dppp b Dmp b Dmf | b Dfp b Dsfz b Df b Dfff /
+%
+L5
+g44 D< g- D< g+ zb D< b- zg D< /
+g45 D< g-l D< g+ zb D< b-l zg D< /
+g44 D> g- D> g+ zb D> b- zg D> /
+g45 D> g-l D> g+ zb D> b-l zg D> /
+L6
+g84 D< g- D< g+ zb D< b- zg D< g85 D< g-l D< g+ zb D< b-l zg D< /
+g84 D> g- D> g+ zb D> b- zg D> g85 D> g-l D> g+ zb D> b-l zg D> /
+L7
+[u g83 D< a D< b D< c D< d D< e D< f D< g D< ] //
+g05 /
+ g83 D< a D< b D< c D< d D< e D< f D< g D< //
+g05 /
+%
+g84 D< a D< b D< c D< d D< e D< f D< g D< /
+[l g84 D< a D< b D< c D< d D< e D< f D< g D< ] /
+%
+[u g83 D< a+ D< b- D< c+ D< d- D< e+ D< f- D< g+ D< ] //
+g05 /
+[u g84 D< a- D< b+ D< c- D< d+ D< e- D< f+ D< g- D< ] //
+g05 /
+L10
+g04 D> |
+ g4 D> Dpppp D>
+ g D> Dppp D>
+ g D> Dpp D>
+ g D> Dp D>
+ g4 D> Dffff D>
+ g D> Dfff D>
+ g D> Dff D>
+ g D> Df D>
+g0 D> /
+L11
+g04 D> |
+ g4 D> Dpppp D>
+ g D> Dppp D>
+ g D> Dpp D>
+ g D> Dp D> |
+g04 D> /
+L12
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diff --git a/Master/texmf-dist/doc/generic/pmx/examples/most.pmx b/Master/texmf-dist/doc/generic/pmx/examples/most.pmx
new file mode 100644
index 00000000000..81101f82115
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/examples/most.pmx
@@ -0,0 +1,83 @@
+%-----------
+%
+% most.pmx
+%
+% revised 19 February 2001
+%
+%-----------
+ 1 1 4 4 4 4 .000 -3
+ 1 10 20 .05000
+
+t
+./
+\\font\ref=cmtt10\def\zt#1#2{\zcharnote{#1}{\ref#2}}\def\bs{$\backslash$}\
+Tc
+Dr. Don
+Tt12
+Most of the PMX commands
+Aa1br
+\zt{18}{\kern-30pt Aa1br csd84}\zt{28}{Tc}\zt{25}{Dr. Don}\
+ csd84 \zt{18}{a+1la}\ a+1la
+\zt{18}{g4r}\ g4r
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+% Bar 2
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+\zt{11}{rm2}\ rm2 | \zt{11}{Gxf- g2}\ Gxf- g2 \zt{11}{Glm0sf g2}\ Glm0sf g2
+| \zt{10}{rp}\ rp /
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+\zt{14}{c o+}\ c o+ \zt{14}{c oTt.5}\ c oTt.5 \zt{14}{c oT}\ c oT
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+Hello
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+V1 \zt{16}{V1 cd24}\ cd24 /
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diff --git a/Master/texmf-dist/doc/generic/pmx/examples/mwalmnd.pmx b/Master/texmf-dist/doc/generic/pmx/examples/mwalmnd.pmx
new file mode 100644
index 00000000000..5185ac523c5
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/examples/mwalmnd.pmx
@@ -0,0 +1,130 @@
+%
+% Modified 15 Feb 2004 to use Postscript tlurs
+%
+ 2 1 1 8 0 6 0 1
+ 1 6 20 .05
+
+bt
+./
+It78MR1
+%
+% The following meter change is only needed due to bug in midi-macro
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+Abe
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+Tt-6
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+%
+% Bar 0
+%
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+%
+% p55 Bar 1-2
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+%\zcharnote{16}{\bigfont\kern-96pt Matthias Weckmann (1624-1676)}\
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+%
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+%
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+%
+% p55v Bar 10-12
+%
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+%
+% Bar 16-18
+%
+IM
+V1
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+ gs1 f e d r8 a+ t a t a gs1 a3 b ad1 ot gs3 /
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+% Bar 20-22
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+%
+% Bar 23
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+
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new file mode 100644
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+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDkPq#H!GJcC<$JcC<$JcFs6J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDkPq#H!GJcC<$JcC<$JcFs6J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDkPq#H!GJcC<$JcC<$JcFs6J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDhOqZ)3IJcC<$JcC<$JcFp5J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDhOqZ)3IJcC<$JcC<$JcFp5J,~>
+JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcC<$JcDhOqZ)3IJcC<$JcC<$JcFp5J,~>
+%%EndData
+showpage
+%%Trailer
+end
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmx.1 b/Master/texmf-dist/doc/generic/pmx/pmx.1
new file mode 100644
index 00000000000..5d699c826b3
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmx.1
@@ -0,0 +1,101 @@
+.\" This manpage is licensed under the GNU Public License
+.TH pmx 1 2011-11-28 "pmx script, version 0.2" ""
+
+.SH NAME
+pmx \- This script processes pmx files and then deletes intermediate files
+
+.SH SYNOPSIS
+[ texlua ]
+.B pmx[.lua]
+{
+.IR option
+|
+.IR jobname
+[ .pmx ]
+} ...
+.TP
+The default effect is to process each file using
+.TP 12
+.BR pmxab (1)
+(pre-processing pass)
+.TP
+.BR etex (1)
+(first pass)
+.TP
+.BR musixflx (1)
+(second pass)
+.TP
+.BR etex (1)
+(third pass)
+.TP
+.BR dvips (1)
+(dvi to Postscript)
+.TP
+.BR ps2pdf (1)
+(Postscript to Portable Document Format)
+.TP
+followed by removal of intermediate files.
+
+.SH OPTIONS
+.TP 8
+.B -v
+output program name and version number, and quit
+.TP
+.B -h
+output usage summary and quit
+.TP
+.B -l
+changes the TeX processor to
+.BR latex (1)
+or
+.BR pdflatex (1)
+.TP
+.B -p
+changes the TeX processor to
+.BR pdfetex (1)
+or
+.BR pdflatex (1)
+(and doesn't run
+.BR dvips (1)
+and
+.BR ps2pdf (1)
+or
+.BR dvipdfm (1)
+)
+.TP
+.B -d
+changes the dvi processor to
+.BR dvipdfm (1)
+.TP
+.B -s
+stops processing at the dvi file
+.TP
+.B -t
+stops processing at the tex (and midi) files
+.TP
+.B -i
+retain intermediate files
+.TP
+.B -f
+default processing
+.TP 0
+Options affect processing of all succeeding PMX files unless changed by another option.
+
+.SH SEE ALSO
+.BR pmxab (1)
+.BR scor2prt (1)
+.BR etex (1),
+.BR latex (1),
+.BR pdfetex (1),
+.BR pdflatex (1),
+.BR musixflx (1),
+.BR dvipdfm (1),
+.BR dvips (1),
+.BR ps2pdf (1).
+.br
+pmx260.pdf
+.br
+pmxccn.pdf
+
+.SH AUTHOR
+This manual page was written by Bob Tennent <rdt@cs.queensu.ca>.
diff --git a/Master/texmf-dist/doc/generic/pmx/pmx.pdf b/Master/texmf-dist/doc/generic/pmx/pmx.pdf
new file mode 100644
index 00000000000..8e25dd30c83
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmx.pdf
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/pmx/pmx260.pdf b/Master/texmf-dist/doc/generic/pmx/pmx260.pdf
new file mode 100644
index 00000000000..732af94c3a8
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmx260.pdf
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/pmx/pmx260.tex b/Master/texmf-dist/doc/generic/pmx/pmx260.tex
new file mode 100644
index 00000000000..193257243b9
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmx260.tex
@@ -0,0 +1,2230 @@
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%
+% pmx260.tex 21 Feb 2010
+%
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%
+% To do for next version
+%
+% Describe IT, MIDI transposition
+%
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%\documentstyle[11pt]{article}
+\documentclass[11pt]{article}
+%
+\let\reft\ref
+% \usepackage[ten]{vrsion}
+% \usepackage[T1]{fontenc}
+% \usepackage[cp437]{inputenc}
+% \usepackage[english]{babel}
+% \usepackage{amsmath,index}
+% \usepackage[dvips]{graphicx}
+% \usepackage[dvips]{hyperref}
+ \usepackage[dvips,colorlinks=true,linkcolor=blue]{hyperref}
+ \usepackage[dvips]{graphicx}
+%
+\def\MusiXTeX{MusiX\TeX}
+\def\bs{{\tt\char'134}}
+%\newcommand\PMXX{{\bfx PMX}}
+\newcommand\PMXX{\textbf{PMX}}
+\newcommand\PMX{\PMXX~}
+\newcommand\IMA{\href{http://Icking-Music-Archive.org}{\underline{Icking Music Archive}}}
+%\newcommand{\dotPMX}{\textbf .pmx}
+% Use \bfx for program names only. Use \bf for single embedded letters
+\font\bfx=cmb10 scaled\magstephalf
+\font\bfi=cmbxti10 scaled\magstephalf
+\font\specfig=cmrj
+%\setcounter{secnumdepth}1
+\setcounter{secnumdepth}3
+\setcounter{tocdepth}3
+\def\Bslash{\tt\char'134}
+\def\|{{\tt\char'174}}
+\def\LBR{{\tt\char'173}}
+\def\RBR{{\tt\char'175}}
+\textheight= 9.5in \voffset-.8in%
+\textwidth= 6.5in \hoffset-1.0in
+\def\newfrom{2.49} % changed every now and then
+\def\NEW#1{\ifdim#1 pt<\newfrom pt\else%
+\marginpar{\fbox{#1}}\fi}
+
+\hoffset-54pt
+
+\let\rulet\rule\def\rule#1#2{\if#1<#2\rulet{.05in}{#2}\else\relet{#1}{.05in}\fi}
+
+\begin{document}
+
+\raggedright
+\parindent24pt
+
+\title{
+ \Huge\bf
+ PMX~--~a Preprocessor for \MusiXTeX{}\\
+ \null\vskip-15pt
+ \Large\sl
+ Version 2.6~--~July 2010\\
+ \author{\Large\rm Don \sc Simons\\
+ \large\sl
+ Dr. Don's PC and Harpsichord Emporium\\
+ \normalsize\sl
+ Redondo Beach, California, USA.\\
+% To make the bitmapped eps: (1) TeX file with cmtt scaled 2500,
+% (2) dvips -> gsview -> pdf.
+% (3) gwin32 -sDEVICE=pnggray -sOutputFile=file.png -r100 -dEPSCrop -dbatch -q
+% -dNOPAUSE -dTextAlphaBits=4 file.eps -c quit
+% (4) file.png -> GIMP (crop out blank space) -> save as .eps.
+ \includegraphics[scale=0.4]{file600.eps}}}
+\date{}
+
+\maketitle
+
+\section*{Preface}
+Compared to prior releases, version 2.60 of PMX has been expanded
+to take advantage of the increased capacity of \MusiXTeX~T.115. To directly
+process
+\TeX~files created by \PMX2.60, a decision was made to require both
+\MusiXTeX~T.115 and e-\TeX. Free versions of both are readily available on the internet,
+and together they can process any earlier \PMX source file.
+
+\setcounter{page}1
+\tableofcontents
+%\setcounter{secnumdepth}1
+\pagestyle{headings}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\def\boxitsep{10pt}
+\let\hrt\hrule\def\hrule{\hrt height2pt}
+\let\vrt\vrule\def\vrule{\vrt width2pt}
+\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern\boxitsep\vbox{%
+\kern\boxitsep\hbox{#1}\kern\boxitsep}\kern\boxitsep\vrule}\hrule}}
+\font\ded=cmssdc10 scaled \magstep3
+\bigskip
+\setbox4=\vbox{
+ \hsize3in\noindent\strut
+ \centerline{\ded Dedication}
+\vskip 3pt
+The \MusiXTeX~community was stunned by the sudden death of Werner Icking on
+\break February 8, 2001. He had been a benevolent patriarch, touching many
+of us not only
+with his technical savvy and gentle guidance, but also his genuine kindness
+and generosity. His spirit runs deep through all of \PMX. His encouragement
+fueled its development from the very beginning up to its current state. Most
+of the enhancements have been his proposals, including one he made on what
+turned out to be his last day. Werner, my friend, I dedicate this work to
+you and your memory.
+}
+\vfill
+$$\boxit{\box4}$$
+\let\hrule\hrt\let\vrule\vrt
+\vfill
+\eject
+
+\section{Introduction}
+%\setcounter{secnumdepth}1
+
+ \PMX is a preprocessor for \MusiXTeX{}. To use it to its full
+benefit you should have installed \MusiXTeX~Version 2.15 \NEW{2.6} or higher, and
+any available version of \TeX~that includes e-\TeX. The goal of \PMX is to
+facilitate the efficient typesetting of scores and parts
+that have an almost professional appearance. It can do {\it all} the work
+involved in setting up {\tt \bs notes-\bs enotes} groupings,
+selecting groups of
+notes to be beamed, defining beam heights and slopes, spreading the
+entire piece evenly over specified numbers of systems and pages, and inserting
+extra spaces where needed to make room for accidentals, flags, dots,
+and new clefs. The input language for \PMX is much simpler than
+\MusiXTeX. You can enter note values and rests from 64ths to double
+whole notes ({\it breves}), ornaments, slurs, and limited text strings. Every
+voice in every bar must have exactly the correct number of beats in
+the current meter, but you may change the meter at the beginning of any
+measure, with or without printing the new time signature. Before making a
+\TeX{} file, \PMX checks these timings and other aspects of the input.
+\PMX has special features for dealing with baroque chamber music, including
+the ability
+to notate figured bass below the bottom staff in each system. If \PMX hasn't
+yet learned to do something you want to do, you can usually work around the
+problem by inserting literal \TeX\ strings in the \PMX input file.
+
+ You can automatically create parts from a score using {\bfx scor2prt}.
+This auxiliary program generates a set of {\tt .pmx} input files, one for
+each part, from a single {\tt .pmx} file for the score.
+You can control the appearance of the
+parts with special commands in the main file, thereby making it
+possible to include within a single input file all the information
+that defines the score and the individual parts.
+
+The native language of \PMX is FORTRAN and its home port is DOS. The basic
+distribution contains the FORTRAN sources, and binaries that will run in a DOS
+\NEW{2.0} window on a PC with WINDOWS95 or higher. Availability of
+ready-made distributions for other operating systems depends on volunteer
+efforts; they will be posted as submitted to the software section
+of the
+\href{http://icking-music-archive.org/software/indexmt6.html}
+{\underline{Werner Icking Archive}}.
+
+\subsection{Conventions for This Manual}
+
+ Hey, this is boring stuff, but if you take a minute to understand
+the typographic conventions and a little jargon,
+it may avoid some confusion down the road.
+
+ The typewriter typeface always indicates verbatim text as it would
+be input to a computer. This includes file names, \MusiXTeX{} tokens, and
+\PMX commands, e.g., {\tt barsant.pmx, \bs internote, c44}.
+
+ Bold is used for program names (e.g., {\bfx pmxab}), or when applied
+to a single letter, to relate a \PMX command to its meaning (e.g., ``{\tt e}
+signifies a l{\bf e}ft shift'').
+
+ When\NEW{2.5}~viewing the PDF version of this document on a computer
+screen, clickable internal hyperlinks are colored blue, and clickable external
+links are underlined and colored cyan.
+
+ Italics may mean several different things depending on the context:
+simple emphasis, or the first appearance of {\it jargon}
+(buzz-words that need to be explicitly defined), or finally
+to represent input variables for which some verbatim text would need to be
+substituted. In the latter case the variable will be surrounded by
+square brackets, e.g., [{\it basename}], but the brackets are not to be
+included with the substituted text.
+
+ Speaking of jargon, there are several special words that have very
+specific meanings here: A {\it staff} is one set of 5 lines (plural
+{\it staves}), a {\it system} is a group of staves, and {\it voice} refers to
+one of the one or two
+simultaneous allowable sequences of notes in a staff. Note that this
+is a change \NEW{2.5}from versions prior to 2.5, where {\it voice} was used
+interchangeably with staff.
+
+A \PMX {\it command} is a string of characters with no spaces between them.
+The first character determines the type of command. Any other characters
+are parameters that may be either required or optional. Sometimes we loosely
+use the word {\it command} to refer just to the initial character.
+
+\subsection{Setup}
+
+ This section describes the setup for the DOS version or for those
+compiling the FORTRAN source.
+
+ After decompressing the distribution file {\tt pmx260.zip},
+you should have these
+files: \NEW{2.6} {\tt pmx260.for}, {\tt scor2prt.for}, two
+DOS executables {\tt pmxab.exe} and {\tt scor2prt.exe}, several sample
+{\tt .pmx} files,
+{\tt pmx.tex}, {\tt ref260.tex} (\TeX\ source for a command summary),
+{\tt pmx260.tex }(\TeX\ source for this file),
+PDF images of the latter two files. and {\tt pmx24-26.html} showing
+changes from version 2.40 to 2.60.
+If necessary, compile the FORTRAN programs.
+I have tried to keep the source code as generic as possible, but minor
+modifications may be needed for FORTRAN-to-C translation and/or other
+compilers.
+
+ Once you have assembled a full set of files, put the executables
+somewhere in the path or in your working directory, {\tt pmx.tex} into the
+texinput directory, and the sample {\tt .pmx} files in your working
+directory (the one from which you will run \PMXX).
+
+\subsection{Basic Operation, by Example}
+
+Edit the 15th line of {\tt barsant.pmx} to contain the path to the
+directory where you want \PMX to write the {\tt .tex} file. For example,
+if you want this to be the same as the working directory, type {\tt .\bs}~for DOS,
+or {\tt ./} for UNIX.
+
+Execute \PMX by typing {\tt pmxab barsant} . \NEW{2.0} Alternatively, you may
+just type {\tt pmxab <return>} and you will be prompted
+for a jobname. {\bfx pmxab} will always generate two files in the working
+directory: {\tt barsant.pml}
+is a log file, and {\tt pmxaerr.dat} contains a single integer, 0 if
+the run was successful, otherwise the line number in the {\tt .pmx} file of the
+fatal error (useful for batch processing). Also, on successful completion,
+{\tt barsant.tex} will be placed in the path specified in the setup.
+
+Now you are right where you would be after
+entering, debugging, and rough-editing the {\tt .tex} file manually. To see
+the results, process {\tt barsant.tex} just as you would for any \MusiXTeX{}
+file, running all three passes, and view the {\tt .dvi} file. To make
+separate parts, run {\bfx scor2prt} by typing {\tt scor2prt barsant} .\NEW{2.0}
+The program will create a new {\tt .pmx} file for each instrument, in this
+case {\tt barsant1.pmx} and {\tt barsant2.pmx}.
+You may then process these
+files like you did the original one to create separate parts.
+
+\section{Elements of PMX}
+\def\l@subsection{\@dottedtocline{2}{5em}{20em}}%original 2 3.8 3.2
+%\setcounter{secnumdepth}2
+
+\subsection{Setup Data in the Input File} \label{setupdata}
+
+ To see how the input file is put together, we'll look at
+{\tt barsant.pmx}. For reference, here are are the first few lines:
+\begin{verbatim}
+%----------------%
+%
+% barsant.pmx Revised 29 June 2002
+%
+%----------------%
+%
+% nv,noinst,mtrnuml,mtrdenl,mtrnmp,mtrdnp,xmtrnum0,isig,
+ 2 2 4 4 0 6 0 0
+%
+% npages,nsyst,musicsize,fracindent
+ 1 7 20 0.07
+Basso
+Recorder
+bt
+./
+\end{verbatim}
+The lines
+with {\tt \%} in column 1 are comments.
+Some special handling of comment lines will be
+discussed in the section on creating parts from a score in
+section~\ref{scor2prt}.
+
+The rest of the lines in this example are the {\it setup data}.
+Starting in the first non-comment line above,
+
+{\tt nv} (integer$\leq$24) \NEW{2.6} is the total number of
+sta{\bf v}es per system. Each staff may contain either one or two voices,
+but the total number of voices at any one time may not exceed 24.
+
+{\tt noinst} (integer$\leq${\tt nv}) is number of {\it instruments}. Each
+instrument has a unique name (see below), and any instrument
+with more than one staff will have its staves joined with a curly bracket.
+Usually there is only one staff per instrument and {\tt noinst=nv}. There
+are two ways to assign more than one staff to one or more instruments.
+If only the first (lowest) instrument has more than one staff, such as in
+a score for piano and a solo instrument, simply make
+{\tt noinst$<$nv} and any difference will show up in instrument 1, the bottom
+one in each system.
+\NEW{1.4} For a
+more general distribution of staves among instruments,
+put a minus sign in front of {\tt noinst},
+and follow {\tt noinst} with the number of staves in each instrument in
+succession, separated by spaces. These numbers must add up to {\tt nv} or your
+computer will explode. For a typical example of keyboard music, see
+{\tt mwalmnd.pmx}, in which {\tt nv=2} and {\tt noinst=1}, producing two
+staves per system with a curly bracket at the left.
+
+The number of instruments can be changed as well after the start of the
+score, but only to a number less than the original one. See
+section~\ref{movbrk} to learn how to start with a smaller
+number of instruments and later increase it.
+
+{\tt mtrnuml} is the {\it logical} numerator of the meter, or the number of
+beats per measure; {\tt mtrdenl} the denominator. Please note the special
+considerations in the paragraph after the next. If {\tt mtrnuml} is
+divisible by 2 or 3, beam grouping will be automatic; otherwise you will
+have to force all beams using {\tt [}$\dots${\tt ]} as described in
+section~\ref{beams}.
+
+{\tt mtrnmp} and {\tt mtrdnp} are the {\it printed} numerator and denominator.
+These determine the appearance of the meter in the printed output but
+have no effect on the internal timing analysis. If {\tt mtrnmp$>$0} then it
+and {\tt mtrdnp} are printed literally as the numerator and denominator
+of the time signature. Please note the special considerations in the following
+paragraph. If
+{\tt mtrnmp$<$0}, then the numerator is abs({\tt mtrnmp}) and the
+entire time signature will be printed with a vertical slash through
+it. If {\tt mtrnmp}=0, then {\tt mtrdnp} determines the printed meter
+as follows:
+
+\medskip
+
+\begin{tabular}{ll}
+\tt 0 & No meter is printed ({\it blind} meter change)\\
+\tt 1, 2, 3, or 4 & A single digit, between the 2nd and 4th lines\\
+\tt 5 & Cut time (alla breve)\\
+\tt 6 & Common time\\
+\tt 7 & Numeral 3 with a vertical slash\\
+\end{tabular}
+
+\medskip
+
+There are special considerations for n/16 and n/1 time signatures (where the
+latter "1" normally means a whole note). To get
+n/1 time, use {\tt 0} (zero) for {\tt mtrdenl} and {\tt 1} for {\tt mtrdnp}. To
+remember this rule, recall that the printed denominator is taken literally,
+while the logical denominator can always be represented
+by the same single digit used for the corresponding time value when entering
+ordinary notes (see section~\ref{notes}). So
+for n/16 time, use {\tt 1} for {\tt mtrdenl} and {\tt 16} for {\tt mtrdnp}.
+
+If the first bar is a partial bar containing a pickup, {\tt xmtrnum0} is
+the number of beats in it; otherwise set it to 0. It need not be an
+integer. The first bar is the {\it only} bar that can have a different
+number of beats than the current value of {\tt mtrnuml} (Later we'll see how
+to change the meter).
+
+{\tt isig} is the key signature, positive integer for sharps, negative for
+flats.
+
+If {\tt npages}$>$0, it is the number of pages and {\tt nsyst} is the total
+number of systems in the entire piece. \PMX will spread the entire
+piece horizontally over this number of systems, and vertically over
+{\tt npages} pages. For proper vertical spacing there should be from
+about 9 to 16 staves per page. If you specify too many staves for the number
+pages, one or more staves may spill over onto an extra sheet. If this
+happens it will only become obvious when you preview the {\tt .dvi} file.
+One solution is to use the global option {\tt Ae}
+(see section~\ref{AeDirective}); another is to increase {\tt npages} or
+decrease {\tt nsyst}.
+
+If {\tt npages} is set to 0, then {\tt nsyst} is interpreted as the average
+number of measures per system. This is useful while building up a
+file a little at a time. \PMX will calculate how many systems to use, and
+spread them over an appropriate number of pages.
+
+{\tt musicsize} is 16, 20, 24, or 29, the height of a staff in points, with
+20 considered the default\NEW{2.6}.
+
+{\tt fracindent} is the indentation of the first system from the left
+margin, expressed as a decimal fraction of the total line width.
+
+Next come the names of the {\tt noinst} instruments as you want them to
+appear within the indentation in the first system, one per line,
+starting with the {\it bottom} instrument. If you've set {\tt fracindent}=0
+and don't
+want instrument names to appear, you must still leave {\tt noinst}
+blank lines here. Next comes a single string of {\tt nv}
+letters or numbers for the clefs, again starting with the bottom staff:
+\label{ClefCodes}
+{\tt b,~r,~n,~a,~m,~s,~t,~f} or digits 0-7 respectively for {\bf b}ass,
+ba{\bf r}itone, te{\bf n}or, {\bf a}lto, {\bf m}ezzo-soprano, {\bf s}oprano,
+{\bf t}reble, or \NEW{2.2} {\bf F}rench violin clef.
+The last line of setup data contains the path to the directory
+where you want the {\tt tex} file to go when \PMX creates it. The one
+in {\tt barsant.pmx}~,
+{\tt ./}~, represents the current directory in UNIX and some versions of DOS.
+The path must terminate with {\tt /} or {\tt \bs}~.
+
+\subsection{Structure of the Body of the Input File} \label{structure}
+
+ The rest of the {\tt .pmx} file is the {\it body} of the input.
+The basic unit of input from here on is called an {\it input block} or
+just {\it block}, each one representing an integral number of bars. If there
+is a pickup bar defined by {\tt xmtrnum0} $>$ 0,
+it must be included in the first block {\it together with at least one full bar}.
+If you wish to put a pickup in a separate block, for example at the start
+of a new movement, set the initial logical
+meter to fit the pickup bar, then after the pickup bar do a blind meter change
+as described in section~\ref{MeterChange}).
+
+There will usually be
+4 to 8 bars in a block. 15 is the most allowed. It is good practice
+to separate the blocks with comment lines that state which bars are
+represented, as I've done in {\tt barsant.pmx}.
+It is also advisable, although not required, to separate the bars with
+the command {\tt |}. Its main functions
+are to provide visual separation in the input file, and to help isolate input
+errors: if you put one anywhere except
+at a bar-end, {\bfx pmxab} will stop and show you where it detected the
+timing error. Otherwise, with several minor exceptions,
+{\tt |} has no effect.
+
+At the start of each block there may be a few special commands
+(described starting in section~\ref{pmxcmds}).
+Next come the input data for the selected number
+of bars of the first (lowest in the system) voice in the first staff, followed by
+either {\tt /} to move to the next staff, or {\tt //} to move to the next voice
+on the same staff. Each new voice must start on a new line
+in the input file, i.e., there should be no further data on the same input line
+after {\tt /} or {\tt // }.
+ Continue entering other voices, each with
+{\it exactly} the same number of bars as the first,
+terminated by {\tt /} or {\tt //}, until
+ the last (topmost in the system) ends with a {\tt /} and the block is
+finished. Within
+a block every voice must have the same number of bars, but every block
+needn't have the same number of bars as other blocks. The number of
+voices in a staff can only be 1 or 2, and cannot change within a block, but
+may vary from block to block.
+
+ The data for each voice in each staff are a sequence of commands
+containing one or more adjacent characters. Commands are separated from each
+other by spaces. The line-terminating commands {\tt /} and {\tt //} should also
+naturally be preceded by a space.
+
+\subsubsection{Notes} \label{notes}
+
+ Commands for notes always start with a lower-case letter and, as
+with all commands, end at
+the first space. The first letter is the note name ({\tt a-g}). The
+rest of the characters can be in any order with only a few
+restrictions. The first digit defines the {\it basic time value} of the
+note: {\tt 9, 0, 2, 4, 8, 1, 3} or {\tt 6} respectively for double-whole,
+whole, half, quarter,
+eighth, sixteenth, thirty-second, and sixty-fourth notes. The second
+digit sets the octave (for reference, octave 4 runs from middle C to
+the B above). Certain letters may appear after the initial one: {\tt d}
+for {\bf d}ot; {\tt dd} for \NEW{1.4} double dot;
+{\tt f, n,} or {\tt s} for {\bf f}lat, {\bf n}atural,
+or {\bf s}harp (repeat the letter
+immediately for a double); {\tt u} or {\tt l}, which force the stem
+direction of any un-beamed note; {\tt e} or {\tt r} to shift the notehead
+l{\bf e}ft
+or {\bf r}ight by its own width; and {\tt a} (for {\bf a}lone) which inhibits
+beaming for this note (or, if the first note of an xtuplet, for the
+entire xtuplet). \NEW{2.4}A single accidental may be followed by {\tt c} to
+make it {\bf c}autionary, i.e., surround it with parentheses.
+Alternatively, it may also be followed by {\tt i} to
+suppress typesetting \NEW{2.3} but still have
+the M{\bf I}DI processor honor the accidental. Other characters allowed in note
+commands are {\tt +}, {\tt -}, {\tt .}(period), {\tt ,}(comma), {\tt x}, and
+several special characters following {\tt x}, all to be described below.
+Between the first letter and the end or {\tt x} if present,
+non-digits can be in any order with respect to each other and to the digits,
+with minor exceptions involving shifting dots and accidentals.
+
+To move
+a dot from its default location, simply follow the {\tt d}
+with one or two decimal numbers, each predeced by
+{\tt +} or {\tt -}.
+The first is the
+vertical shift in \bs{\tt internote}s, the second, the horizontal shift in
+notehead widths.
+
+\label{AccidentalPosition}
+Accidentals \NEW{1.4} can be shifted too. One way is to enter
+{\tt +} or {\tt -} right after the accidental character,
+then an integer
+for the vertical shift, then another {\tt +} or {\tt -} followed by the
+horizontal shift in notehead widths. If you use this method, you {\it must}
+enter both numbers. Or, to just shift horizontally, use
+{\tt <} or {\tt >} followed by the shift in notehead widths. When shifting
+a sharp to avoid another sharp, a left shift of 0.85 is usually best. When
+shifting a flat to avoid a flat above it, a left shift of 0.3 is suggested.
+In chords where all the notes are in the same \NEW{2.4}voice,
+\PMX will automatically shift accidentals if required. This will be disabled
+for the current chord
+if any user-defined accidental shifts are entered, unless {\tt A} is entered
+along with the shift, e.g., {\tt zcsA<.5} . In that case the user-defined
+shift will be added to the PMX-computed one.
+\NEW{2.4} Another option that affects accidental positioning in
+chords is {\tt Ao},
+entered in the main note command of a chord. It will force the accidentals
+in that chord will be posted in the order
+they come in the source file (starting with the main note), each one as far
+to the right as it will go without crashing into a notehead, stem, or
+another accidental.
+
+
+ Dots and accidentals always have to be entered when and if a note
+calls for them. i.e., they are never carried over from previous notes.
+On the other hand, the octave only needs to be entered if the note is
+more than a fourth away from the most recent note in the same voice.
+This feature lets you go for long stretches in a voice before needing
+to enter the octave. An alternate way to jump more than a fourth but
+less than a twelfth is to type {\tt +} or {\tt -}. In other words, these
+mean to put the note an octave higher or lower than it
+otherwise would have gone. Two {\tt +}'s will raise the pitch two octaves
+above what it otherwise would have been, and so forth.
+The basic time
+value is also carried over from the past if it is not re-entered,
+except for the first note or rest in each voice in an input block,
+for which it {\it must} be entered.
+Therefore, when the melody jumps more than a 4th, using {\tt +} or {\tt -} is
+often more convenient than using a digit. This is because in order to
+use the digit, you must first enter the basic time value whether it
+changes or not.
+
+ For example {\tt c44 d e f g a b c c0-} is an ascending quarter-note
+scale starting on middle C, followed by an octave jump down to a
+whole note middle C.
+
+ Explicit octave \NEW{2.1} numbers can be combined with one or
+more {\tt +} or {\tt -} . In earlier versions, {\tt +} or {\tt -} was
+ignored if an octave number was specified. This is a slight backward
+incompatibility; \PMX prints a warning when it happens.
+
+Stem length \NEW{2.4} can be shortened by {\it x} \bs{\tt internote} with
+the option {\tt S}{\it x}~. {\it x} is restricted to the range (.5,4.0).
+The shortening can be made ``sticky'' by following the number {\it x} with
+{\tt :} . Stickiness is terminated by {\tt S:} .
+
+The first note command in each voice in a block must
+contain at a minimum the note name or {\tt r} for a rest (see below),
+and a basic time value. For notes, it is good practice and can simplify
+editing
+if in addition an explicit octave is set here. However if it is not,
+\PMX will make some assumptions. At \NEW{2.4} the start of the first
+input block the pitch will be set as if the prior note were middle C.
+In later blocks \PMX will use the
+obvious inheritance rules from the end of the prior block.
+However, if the number of voices in a staff
+has changed from the prior block, it is safest to reset the octave at the
+start of a new block. Duration is never inherited and must be set at the
+start of each input block.
+
+ Dots can be a little tricky, because even though they affect the
+actual time value, they don't affect the basic time value, and it is only the
+latter that is ``sticky". Therefore, if a note is dotted, you always have to
+enter a {\tt d} (or a period, see next paragraph) somewhere within the
+command, after
+the note name, even if the actual time value and octave are the same
+as the prior note. But the {\it basic} time value need not be re-entered if
+it hasn't changed (unless the note is more than a fourth from the
+prior note {\it and} you have for some strange reason elected to indicate the
+octave with a number rather than {\tt +} or {\tt -} ). So for example,
+consecutive dotted half notes, each within a fourth of the previous
+one, could be most cleanly entered as {\tt cd24 ed gd ed}, whereas {\tt cd24 e}
+would represent a dotted half note followed by a plain half note
+(since the basic time value--as defined by the first digit--was a half
+note all along).
+
+ There are two special shortcut rhythmic notations. For normal dotted
+rhythms (3:1 ratio), if you
+include a period ({\tt .}) in the note command, it will
+(a) assign a dot to the note just entered, (b) terminate that note,
+(c) prepare to
+receive the next note name {\it without any space}, and (d)~automatically
+assign a time value to the second note equal to one-third of the first one.
+No time value may be entered for the second note, but octave and accidental
+data may. Ornaments and slurs (see below) following this command will apply
+to the second member. If you need to follow the main note
+with some modifying
+\NEW{2.3}
+command, you can still use the shortcut ({\tt .}) after that command and a
+space.
+The main advantage of this shortcut comes if you want to
+follow one dotted pair with another of the same rhythm; then you
+needn't enter any explicit time value for {\it either} member of the second pair.
+This is possible because after using the shortcut,
+the basic (inheritable) duration is set to that of the
+{\it first} note in the pair, without the dot.
+
+ For paired notes with 2:1 rhythmic ratios, the character {\tt ,}~(comma)
+behaves similarly to the {\tt .}~(period) for 3:1 rhythms.
+
+ Xtuplets can have from 2 to 24 notes or\NEW{1.4} rests. Normally they
+all have the same duration, but there are several options---described
+below---to change this. The command for the first note of an xtuplet begins
+exactly like a
+note or rest command, with the name of the first note in the xtuplet, or
+{\tt r} if it starts with a {\bf r}est (see next subsection), and an optional
+time value.
+However, the actual time value (including a dot if present and a basic
+duration that may have been inherited from the prior note) now represents the
+{\it total} duration of the xtuplet. Next (with no space, as usual) comes
+{\tt x} followed by a one- or two-digit integer for the number of notes in
+the xtuplet. The only options allowed immediately following the number are
+{\tt d} and {\tt n} . \NEW{2.4}{\tt d} signifies that the {\it first} note
+of the xtuplet should have a dot and the second, and extra flag.
+{\tt n} controls the printing of the {\bf n}umber and bracket.
+If {\tt n} is followed by a blank, then no number will be
+printed. On the other hand,
+an \NEW{2.3}{\it unsigned} integer here is taken as a substitute number to
+be printed instead of the natural one.
+If one or two {\it signed} decimal numbers follow {\tt n}
+(each starting with {\tt +} or {\tt -}), the first
+is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift
+in notehead widths. Another suboption to {\tt n} is {\tt f},
+to {\bf f}lip the number vertically from its default position. A \NEW{2.5}final
+suboption to {\tt n} is {\tt s} followed by a signed integer. It applies only
+to non-beamed xtuplets, for which it tweaks the slope of the bracket above or
+below the xtuplet. For non-beamed xtuplets, you can further change the
+appearance of the bracket and number as explain in section~\ref{ATDirective}.
+
+The second through last notes of the xtuplet are each then
+represented by a separate command containing a subset of the characters
+permitted for ordinary notes or rests: note name or {\tt r} (the only required
+character), accidental, and octave change character ({\tt +} or {\tt -}).
+\NEW{1.4} The octave may be given explicitly instead, and any integer will be
+interpreted as such, as no time values or dots are permitted.
+
+The last note of an xtuplet may not be a\NEW{1.4} rest.
+
+To double\NEW{2.3} the duration of any note in an xtuplet, add the
+character {\tt D} to the command for that note. This will decrease the expected
+number of notes in the xtuplet by one. To add a dot to the doubled note
+(as Bach sometimes did), use {\tt F} instead of {\tt D}.
+\NEW{2.4}To add a dot to one
+note and an extra flag to the next, include {\tt d} in the note command,
+{\it after} the {\tt x} if it's the first note of the xtuplet as noted above.
+
+As an example, an ascending quarter-note triplet scale would be
+notated\hfil\break {\tt~c44x3~d~e~f4x3~g~a~b4x3~c~d~\dots}
+
+\subsubsection{Rests}
+
+ The command for a rest starts with {\tt r}.
+Then for a normal rest, in either order come a digit for the basic time value
+(using same codes as for notes, optional if unchanged from previous value),
+a {\tt d} if the rest is dotted, and a second {\tt d} if double dotted.
+\NEW{2.0} The basic time value of a rest
+affects future notes and rests the same as if it had come from a note,
+i.e., it applies until another value is entered with a subsequent note
+or rest in the same voice. The command {\tt rp} represents a
+full-bar rest notated with a {\bfi p}{\it ause} character (whole rest)
+regardless of
+the time signature; in this case no other duration information is
+needed or allowed. {\tt rb}, followed if necessary by a duration
+specifier, denotes a {\bfi b}{\it lank} rest, one that occupies space and time
+but is invisible. This is most often used when there are
+two voices in a staff and one drops out for some of the duration
+of the current input block. (See {\tt mwalmnd.pmx} for examples).
+\NEW{1.4} The
+option {\tt o} (for {\bf o}ff-center) suppresses centering a full bar rest. If
+you don't exercise this option, then
+{\it all} full-bar rests will be horizontally centered between bar
+lines, including pauses ({\tt rp}) as well as normal rests that fill the bar.
+\label{MultibarRest}{\tt rm} followed immediately by an integer will generate a
+{\bfi m}{\it ulti-bar}
+rest, a special combination of characters between two bar lines with an integer
+above representing two or more bars of rest.
+This command will generally only be used in separate parts
+after having been automatically generated by {\bfx scor2prt}. However, it
+\NEW{2.4}may be used in a multi-line score, provided it is entered for the same
+number of bars in every staff.
+
+ The default vertical position of a rest depends on whether there
+are one or two voices in the staff.
+For one voice it is just the \MusiXTeX{} default
+(approximately centered on the middle line). On the other hand, in
+the lower voice in
+a two-voice staff, the rest is lowered {\tt 4\bs internote}, while
+in the upper voice it is raised {\tt 2\bs internote}. The \PMX default can be
+manually overridden by appending {\tt +}~or~{\tt -} and an integer
+representing the offset from the {\it middle} line of the staff
+(not from the \PMX default if there are two voices in the staff!).
+So for example, in a single staff
+in 3/4 meter, two voices, each with a half note followed by its own
+quarter rest would be either
+\begin{verbatim}
+c24 r4 //
+c25 r4 /
+\end{verbatim}
+or equivalently
+\begin{verbatim}
+c24 r4-4 //
+c25 r4+2 /
+\end{verbatim}
+while
+\begin{verbatim}
+c24 r4+0 //
+c25 r4b /
+\end{verbatim}
+would produce two notes followed by a single, vertically centered rest.
+
+\subsubsection{Chords}
+
+ Chordal notes, which always share a stem and the same time value as the
+prior note, are symbolized with {\tt z} followed by a note name and
+optionally an accidental, {\tt +} or {\tt -} as octave indicator, and {\tt e}
+or {\tt r} for a l{\bf e}ft or {\bf r}ight shift by one notehead width.
+No basic time value is allowed. If the main note
+is dotted, then the chordal note will appear with a dot regardless of whether
+a {\tt d} is entered. The only time a {\tt d} is required in a chordal note
+command is if the dot's position is to be adjusted; in this case the
+{\tt d} is required, followed by one or two decimal numbers, each preceded by
+{\tt +} or {\tt -}. The first is the vertical shift in \bs{\tt internote}s;
+the second, the horizontal shift in notehead widths.
+Any number of chordal notes can follow a
+single main note. The stem direction of a chord is controlled by the main
+note, but may be manually overridden with {\tt u} or {\tt l} in the main note
+command.
+
+ When chordal notes are beamed together, the default height and angle of
+the beam will be determined by the main note on each stem (the one without
+{\tt z}). If a beam joining chordal notes looks bad, you can usually
+fix it either by changing which note acts as the main one,
+or by fine-tuning the beam parameters as described
+in section~\ref{beams}.
+
+\PMX uses a complex algorithm to automatically position accidentals in chords.
+If you are unhappy with the result, you can manually tweak the horizontal
+positions as described in section~\ref{AccidentalPosition}.
+
+\subsubsection{Grace notes}\label{graces}
+
+ A grace note command starts with a {\tt G}. It is entered in its natural
+order, normally before the main note, but sometimes after. After {\tt G} and
+before the note name, comes any
+combination of the following options: a single digit representing the number of
+notes in the grace (default is 1), {\tt m} and a digit for
+{\bfi m}{\it ultiplicity}
+(number of flags or beams, default is 1, 0 is allowed),
+{\tt s} for {\bf s}lur (joining all notes of the
+grace to the main note; no other {\bf s} is needed on the main note),
+{\tt x} for a slash (only for single graces),
+{\tt l} or {\tt u} to force the direction of the stem(s),
+{\tt X} followed by a decimal number {\it x} to insert a gap of {\it x}
+notehead widths between a normal grace and its main note\NEW{2.6},
+{\tt A} (for
+{\bf A}fter) or {\tt W} (for {\bf W}ay-after) to associate
+the grace note with the {\it prior} note. Next comes the only
+required character, the
+first note name. No time value can be entered, but if needed, the
+octave or an accidental can be given as in a normal note. Second and
+later notes must follow immediately in sequence, set apart by spaces, likewise
+without any time value, and without any intervening commands.
+
+ Normal or after-graces will be placed {\it immediately} before or after
+the main note; way-after's, as far to right as possible before the next note
+or bar line. If either type of after-grace is slurred, the slur will start
+on the main note and end on the last one in the grace.
+
+
+\subsubsection{Ornaments}
+
+ Commands for ornaments are entered {\it after} their associated
+note command. The ornaments now available are shake ({\tt ot}), {\bf m}ordent
+({\tt om}), ``x"- or ``+"-shaped ornament symbols ({\tt ox, o+}), pizzicato
+({\tt ou}), strong {\bf p}izzicato ({\tt op}), left parenthesis before
+\NEW{1.4}
+notehead ({\tt o(}), right parenthesis after notehead ({\tt o)}),
+upper {\bf f}ermata ({\tt of}), {\bf d}own {\bf f}ermata ({\tt ofd}),
+staccato ({\tt o.}), tenuto ({\tt o\_}), se{\bf g}no
+({\tt og}), arbitrary-length wavy-line {\bf t}rill with {\it tr} ({\tt oT}),
+arbitrary-length wavy-line
+trill without {\it tr} ({\tt oTt}), sforzando ({\tt o>}),
+duncecap ({\tt o}\hbox to 6pt{\tt\^~}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and
+{\bf b}reath ({\tt ob}).
+All except the parentheses, staccato,
+tenuto, and down fermata will normally
+appear above the staff; the parentheses appear at the level of the note
+head, and staccato and tenuto just above or below depending on the
+stem direction. The only difference between staccato and
+pizzicato is the vertical positioning of the dot.
+
+The trill and segno command may have additional optional
+characters. Either trill command may include a decimal number
+to specify the length of the printed symbol in current \bs{\tt noteskip}s; the
+default is 1. Thus {\tt oT0} represents {\it tr} with no wavy line.
+A segno can only appear in the first (lowest) staff. It
+may be immediately followed by a positive or negative
+integer, which indicates a number of points that it will be offset
+horizontally; and it will appear above every system.
+
+ Once the ornament type has been specified, most of them can be raised
+or lowered from their default position by appending
+a signed integer to the command, representing the vertical offset
+in \bs{\tt internote}s. \NEW{2.4}Caesura and breath may have in addition a signed
+number giving horizontal shift from default in notehead widths. These two
+ornaments also differ from the others in their default horizontal position,
+which is 0.5\bs{\tt noteskip} past the note.
+
+ An ornament can be automatically repeated on a series of consecutive notes,
+provided the notes are all in the same voice and the same input block.
+To activate this feature, terminate
+the first ornament command with~{\tt:}~. Then every note in that voice will
+have the same ornament until a note is followed by the repeat terminator
+{\tt o:} .
+
+\subsubsection{Editorial accidentals}
+
+ To place a small sharp, flat, natural, or question mark above the staff,
+after the affected note enter {\tt oe} followed by {\tt s, f, n} or {\tt ?}.
+\NEW{2.2} You may also put a question mark right after the accidental.
+
+\subsubsection{Slurs} \label{slurs}
+
+ By default \PMX will use \MusiXTeX's built-in font-based slurs.
+But through user intervention it is possible to use either one of
+\NEW{2.4}two different types of postscript slurs. {\it Type K} slurs,
+developed by Stanislav Kneifl, are directly supported by \PMX and will
+be the focus of any future \PMX enhancements.
+They are activated and several global
+defaults set with options to the {\tt A} command as described in
+section~\ref{ApDirective}. If these are used, so will an alternate
+set of hairpins (see section~\ref{dynamics}).
+The other postscript slur option is Hiroaki Morimoto's {\it Type M} slurs.
+These
+are not directly supported by \PMXX, but are supposed to be fully
+compatible with the default font-based slurs. To use them, one would
+use the in-line \TeX~command \bs\bs{\tt input musixpss}\bs~, and be sure
+{\it not} to enter {\tt Ap} . From \PMXX's standpoint they are no different
+from font-based slurs.
+
+There are some advanced options available only
+with Type K postscript slurs, and a few obsolete ones only with font-based.
+At this point the main
+difference in functionality between the two is that with postscript, \PMX
+provides support for
+true ties, which are shaped and positioned slightly differently from
+slurs. Future enhancements
+will probably only work with Type K postscript slurs. Some users do still
+prefer
+font-based, possibly because Type K postscript slurs are not visible in some
+DVI viewers.
+New users should experiment with the various types of slurs and decide for
+themselves.
+
+ The normal commands for slurs are {\tt (} placed with a space
+before a note, and {\tt )} placed after. The command {\tt s} is equivalent to
+{\it both} of them (!), except that it always follows the affected note.
+With font-based slurs, {\tt t} is equivalent to {\tt s} but
+with several minor differences to be explained later. With postscript slurs,
+{\tt t} signals to use a true tie.
+The commands {\tt s} and {\tt t} are {\it toggles}, turning
+a slur or tie off if it's already on and starting one otherwise.
+
+A \NEW{2.5} slur or tie may end on a rest, but not start on one. The default
+ending height in this case will be the same as the starting height, and it
+may be tweaked as described below.
+
+ The first character is optionally followed by
+a single-character ID code ({\tt 0-9} or {\tt A-Z} , then by other
+options described below. ID codes are only needed if two or more slurs are
+open at the same time within one voice, such as when several chord
+notes are tied. Using ID codes in such cases tells \PMX which open slur to
+close. ID codes cannot be used with font-based {\tt t} slurs.
+
+The rules for finding the default direction and position of the a slur
+are complex; many factors enter into defining visually pleasing values. But
+there's no need for gory details here; the result will usually satisfy, and if
+not, all can easily be tweaked. Default direction can be
+overridden with {\tt u} ({\bf u}pper), {\tt l} ({\bf l}ower),
+or equivalently {\tt d} ({\bf d}own).
+Starting or ending position can be shifted from its default by
+entering one or two explicitly signed numbers. The first, which must be
+an integer, represents the vertical shift in \bs{\tt internote}s; the second,
+which may be decimal, the horizontal offset in notehead widths.
+
+The shape of the slur may be altered as well\NEW{2.1}. This paragraph
+deals with font-based slurs, for which the shapes may be less
+than fully satisfying due to fundamental limitations of \MusiXTeX.
+At the slur termination only, one or three
+more parameters may follow the two just described. The first, a signed,
+nonzero
+integer, is a vertical adjustment to the mid-height of the slur in
+\bs{\tt internote}s. The next two, integers between 1 and 7 following a
+``{\tt :}", are alterations to the starting and ending slopes.
+These numbers are
+passed directly as arguments of the \MusiXTeX{} macros \bs{\tt midslur}
+(if only
+one is given) or \bs{\tt curve} (if there are three).
+
+For \NEW{2.4}Type-K slurs,
+the shape may be changed locally by including {\tt f} in either the
+slur's starting or ending command to flatten it a bit, or {\tt h},
+{\tt H}, or {\tt HH} to
+increase its curvature and raise or lower its middle by increasing degrees.
+The default \NEW{2.5}curvature can be altered from normal
+with new suboptions
+to {\tt Ap} as described in section~\ref{ApDirective}. Local
+curvature tweaks will take precedence over the global default. A special
+option {\tt n} to the slur command can be used to locally restore the normal
+curvature if the default curvature has been globally changed.
+
+Another option peculiar to Type-K slurs and ties is to locally
+override the global
+setting for automatic height adjustment (to avoid tangencies with staff
+lines). The global defaults may be changed with the {\tt A} command as
+described in section~\ref{ApDirective}. To
+override the global setting for the current slur or tie only, use
+the option {\tt p} in the command that starts the slur or tie,
+followed by {\tt +} or {\tt -} (to turn adjustment
+on or off), followed by {\tt s} or {\tt t} (for slur or tie).
+
+A dotted \NEW{1.41} slur is activated by including the option {\tt b} (for
+{\bf b}roken) in the command that starts the slur.
+
+Slurs involving grace notes are specified within the command for the grace
+(see section~\ref{graces}).
+
+For font-based slurs, the unique aspect of {\tt t} slurs is that if one
+starts or ends on the same
+note as an {\tt s} slur, the former will be moved away from the notehead to
+avoid a collision. {\it This only works if neither slur has an ID code.}
+This feature is only retained for backward compatibility.
+
+The available options should cover most circumstances, but if not,
+the \TeX\ macros \bs{\tt isu} etc, defined in {\tt pmx.tex}, can be entered
+as in-line \TeX\ commands (see section~\ref{LitTeX}).
+These commands have three arguments:
+slur number, vertical position (pitch, or offset from bottom staff line in
+\bs{\tt internote}s), and horizontal offset in
+notehead widths. When using these commands, you must choose an explicit
+slur number. Use one large enough to avoid
+conflicts with \PMXX 's automatic slurs, which are numbered from \NEW{2.4}
+0 upward.
+Also, remember that non-spacing in-line \TeX\ commands such as this one must
+come {\it before} the note they apply to, in contrast with the \PMX
+slur toggles which may come after.
+
+\subsubsection{Ties}
+
+With font-based slurs, in \PMX the only difference between ties and slurs
+is the default positioning.
+Ordinary slur ends are centered horizontally above or below the notehead,
+while tie ends are shifted inboard and closer to the midheight of the
+notehead. To specify a font-based tie in \PMXX, use a slur command and
+include the option {\tt t}
+in it, somewhere after the initial {\tt ( , ) , s } or {\tt t} .
+
+\NEW{2.4} With postscript slurs, ties---indicated with {\tt t} or
+{\tt st}---will have similar differences
+in endpoint positions,
+but in addition will have a different shape (somewhat flatter) and will
+always end at the same height they start. There is also an option to the
+{\tt A} command that affects ties across line breaks
+(see section~\ref{ApDirective}). By default the
+second part of such ties will be drawn as a complete tie symbol. However,
+if you want them to be a {\it half tie}---a special shape that is horizontal
+at its left end---use the command {\tt Ap+h} at the start of the file.
+
+In addition to the notation options just mentioned, ties may also be
+indicated with the character {\tt\{} before the starting note and {\tt\}} after
+the ending note\NEW{2.6}.
+
+\subsubsection{Line-breaking Type K slurs and ties} \NEW{2.5} \label{lbslurs}
+
+No special action is required if a slur or tie happens to cross a line break.
+However, some special, manual adjustments are available for Type K postscript
+slurs in these cases. The global option {\tt Apl} by itself adjusts several
+parameters as described in section~\ref{ApDirective}. Further, if {\tt Apl}
+has been issued,
+then case-by-case adjustments for line-breaking Type K slurs and ties are
+available as suboptions to the
+slur commands. To tweak the horizontal and vertical positions of the end of
+the first segment, enter the suboption {\tt s} in the command that starts
+the line-breaking slur or tie, followed by two signed numbers representing
+respectively the vertical shift
+in \bs{\tt internote}s and the the horizontal shift in notehead widths. To
+tweak the position of the start of the second segment, follow the above by
+another {\tt s} and two more signed numbers. The usual curvature options
+{\tt h}, {\tt H}, {\tt HH}, and {\tt f}, if included in
+the starting command for a line-breaking slur, will apply only to the first
+segment, and if in the closing command, to the second segment. If the tweaked
+slur or tie does not happen to come at a linebreak,
+the special position tweaks (after {\tt s} ) will all be ignored, and the
+curvature tweaks on the closing note will take precedence as they normally
+would.
+
+\subsubsection{Dynamics} \label{dynamics}
+
+\NEW{2.3}
+After the affected note, enter {\tt D} followed by one of the
+following {\tt pppp, ppp, pp, p, ffff, fff, ff, f, mf, mp, fp, sfz,
+"[{\it any text}]", >,}
+or {\tt <} . The last two are diminuendo and crescendo, and they are toggles,
+i.e., the first one of each starts the symbol and the next one ends it.
+The one surrounded by double quotes is an arbitrary text string.
+With any dynamic mark, you can also
+enter position shifts, vertical as a signed integer representing
+the number of {\tt \bs internote}s, then horizontal as a signed number representing
+number of notehead widths. There can only be one of the letter-groups on each
+note, but there may also be {\tt D<} and/or {\tt D>} on the same note. These must be
+entered as separate {\tt D...} commands, and must come in the right order, e.g.,
+
+\medskip
+[{\it some notes}] {\tt D<} [{\it more notes}] {\tt D< Dffff D>}
+[{\it more notes}] {\tt D>}
+\medskip
+
+Hairpins must be contained completely within the same input block.
+
+There are numerous context-sensistive automagic adjustments to the positions
+of all the dynamic symbols. If you don't like the result you can adjust the
+position as just described.
+
+Due to \MusiXTeX's limitations,
+there are some restrictions on hairpins when using font-based slurs.
+They cannot be longer than 68mm, they cannot wrap over a system break, and they
+must be horizontal. Finally,
+only certain specific lengths are available so some horizontal position
+tweaking may be needed, especially when letter-groups and
+hairpins are combined.
+These restrictions are all removed when using postscript slurs.
+
+\subsubsection{Beams} \label{beams}
+
+ For the most part, \PMX automatically takes care of the details of
+defining beams: selecting which notes are beamed together, and setting
+the angle, direction, height, and {\it multiplicity} (the number of bars
+along the top or bottom). However, one may define a {\it forced}
+beam---which overrides \PMXX 's selection of which notes are beamed
+together---by
+surrounding the included notes with {\tt [} and {\tt ]}, being certain to
+separate these commands and their options from the included note commands with
+spaces. One may also wish to edit certain features of a beam even when
+\PMXX 's grouping decision
+would otherwise be acceptable; here again the beamed notes must be set
+apart with {\tt [} and {\tt ]}.
+
+The {\tt [} may optionally be followed
+immediately by several options.
+
+{\tt u} or {\tt l} will override
+\PMXX 's selection of the direction of the beam, while {\tt f} will
+{\bf f}lip it from whatever \PMX decided.
+
+{\tt j} {\bf j}oins the beam
+grouping to a prior one started in another system (see below).
+
+One, two, or three consecutive integers, each preceded with {\tt +}
+or {\tt -} , will affect the beam's appearance. The first integer is
+an adjustment to the starting level (in \bs{\tt internote}s) and may range
+from -30 to 30; the second is a slope adjustment with the same
+permissible range; the third is an alternate adjustment to the
+starting level (in beam thicknesses) and may only range from 1 to 3,
+always acting to increase the stem length. The latter may be used to
+align consecutive horizontal beams which have internal multiplicity
+changes. For example, in 2/4 time, {\tt c84~c1~c~c~c~c8} would cause two
+beams but the
+first one would be lower than the second; {\tt [+0+0+1~c84~c1~c~]~c~c~c8}
+would align the tops of the beams with each other. Due to the
+complexity of \PMXX 's beam analysis procedures, these editing commands
+may sometimes produce unexpected results, and some iteration may be
+required to get exactly what you want. For example,
+{\tt [+0+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}
+will not produce two aligned beams as desired, because
+when \PMX analyzes the first beam, it automatically raises the starting
+level a bit for another reason, namely, to avoid too short a stem on
+the 64th notes at the end of that beam. In this case,
+the user could counteract \PMXX 's internal adjustment by using
+{\tt [-1+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}.
+
+The character {\tt m} followed by a digit 1-4 forces the {\bf m}ultiplicity
+of the
+beam, the number of stem-joining bars.
+
+The option {\tt h} forces the beam to be {\bf h}orizontal.
+
+ By default, xtuplets are set apart with their own beam. To beam
+an xtuplet together with other non-xtuplets, just include it with the
+other notes in a forced beam.
+
+ Rests may also be included within forced beams, provided they are
+shorter than quarter rests, and of course that they come {\it between} the first
+and last notes under the beam.
+
+It's \NEW{2.5} now easy to define a repeating forced beam pattern.
+If the option {\tt :}~(colon) is included in the starting command {\tt [}~for
+a forced beam, then henceforth beams of the same duration will be forced in
+that voice, until stopped. They will be stopped at either the next regular
+forced beam, or the end of the input block for that voice, whichever comes
+first.
+
+ Some users may wish to define beamed groupings with subgroups
+joined by a single beam. The command {\tt ][}, standing alone between two
+note commands in a forced beam, causes the multiplicity to decrease to
+unity and immediately increase to its natural value for the next note.
+For example, {\tt [~c14~c~c~c~][~c~c~c~c~]} will generate two doubly-beamed
+groups connected by a single beam.
+
+Related \NEW{2.3} to this is a {\it single-slope beam group}, which is the
+same as described
+in the previous paragraph except that the beam disappears between segments.
+Segments should be separated by {\tt ]-[} standing alone between two notes
+inside the forced beam.
+
+ If there are large jumps in pitch between notes in a beam within
+a single staff, as a matter of taste you may wish
+to start the beam for example as an upper one and end it as a
+lower. \PMX will never do this automatically, but you can accomplish
+it by forcing the beam with appropriately modified up/down-ness, starting level,
+and slope. If you use this technique, there are two details to note: (1)~if
+there are any intermediate multiplicity changes, they will only be handled
+properly if the initially specified up-down-ness is consistent with the
+vertical position
+of the intermediate notes involved, and (2)~for proper appearance in crowded
+scores you may wish
+to insert hardspace or shifts as described in
+section~\ref{hardspace}. Some examples are included in {\tt most.pmx}.
+
+ Beams cannot normally jump staves. But if that is desired, start
+the beam normally in one staff, and terminate the part of the beam in that
+staff with {\tt ...~]j} . Then resume the beam in the new, adjacent staff with
+{\tt [j~...} . For staff-jumping beams, it's OK to have just a single note
+inside one or both of the members. Some adjustment of the beam height and
+slope may be required. Sometimes the ending section's up-downness must be
+overridden; you will know this is so if the ending is shifted horizontally
+from its proper position. Each voice must still have the right number
+of beats, so you will probably need to fill time with blank rests after the
+first member of the beam and before the second.
+In \NEW{2.1} version 2.1 we have removed certain restrictions on the
+multiplicity and jump direction for staff-jumping beams. However, there can
+still only be one staff-jumping beam open at a time.
+
+\subsubsection{Clefs}
+
+ A clef change is signaled by {\tt C} followed by a single lower-case
+letter using the code specified in
+section~\ref{ClefCodes}. Numbers may also be used as
+defined in the \MusiXTeX{} documentation. If clefs come out at the wrong
+vertical position, refer to the note in {\tt pmx.tex}.
+
+\subsubsection{Arpeggios}
+
+To set an arpeggio (a vertical wavy line), simply place the command {\tt ?}
+after the commands for both the first and last note. To shift the symbol to
+the left by {\it x} notehead widths, use the option {\tt -}[{\it x}]\NEW{2.6} .
+
+\subsection{Commands That Affect All Voices} \label{pmxcmds}
+
+ Most commands that affect all the voices can only appear in the first
+(lowest) voice in the first (lowest) staff. Most such commands will
+automatically be
+transferred from score to parts when separate parts are generated by
+{\bfx scor2prt} (see section~\ref{scor2prt}).
+
+\subsubsection{Repeats, double bars, forced single bars}
+
+ Repeat signs, double bars, and other bar-ending options are signaled
+by {\tt R} followed by
+{\tt l, r, lr, d, D, dl, b} or {\tt z} for
+{\bf l}eft repeat, {\bf r}ight repeat, {\bf l}eft-{\bf r}ight repeat,
+thin-thin {\bf d}ouble
+bar, thin-thick {\bf D}ouble bar, thin-thin {\bf d}ouble bar followed by
+{\bf l}eft repeat, single {\bf b}ar, or blank (invisible) barline\NEW{2.4}.
+Some of these have peculiarities.
+{\tt Rb} forces a single bar before a movement break (see section~\ref{movbrk}),
+where otherwise by default there is a double bar. That can be useful for
+example if you
+change the number of instruments (via an option in the movement-break command)
+in the middle of a movement. {\tt Rz} will cause a blank barline at the end
+of the current system, not necessarily the current bar. It can be used
+together with blind meter changes if you want to split a bar across a
+system break.
+If {\tt Rlr} falls at a system break, \PMX will automatically split it in
+two. The command {\tt Rdl} will likewise be split at a system break, but if
+not at a system break, the {\tt d} will be ignored.
+
+These commands must be in the
+first voice. It is best only to place them before the first note in an
+input block or if necessary after the last one; otherwise {\bfx scor2prt}
+may behave erratically.
+Using two separate {\tt R} commands in succession will cause
+unpredictable results.
+
+
+\subsubsection{Voltas (first and second endings)}
+
+ Beginnings and ends of first and second endings are signaled by
+{\tt V} (for {\bfi v}{\it olta}).
+If it's the {\it end} of the volta, enter {\tt b} (for
+{\bfi b}{\it ox}) or {\tt x} for {\it no bo}{\bfi x}.
+If it's the {\it start} of a volta, you can
+optionally enter any text at all that doesn't include a space and doesn't
+start with {\tt b} or {\tt x} (most
+commonly {\tt 1} or {\tt 2}). A period will automatically be
+appended to the text. If one volta ends and another starts right
+away, only a single {\tt V} is needed. Voltas must only be entered in the
+first voice. If separate parts are to be created from a score using
+{\bfx scor2prt}, then only a single volta may appear in any given input
+block, and it must be at the beginning of the block.
+
+\subsubsection{Meter changes}\label{MeterChange}
+
+ Meter can only be changed at the beginning of an input block.
+A {\bfi m}{\it eter change} command starts with the letter {\tt m}.
+There are two different ways to complete the command.
+
+{\bfx Method 1.} Enter 4 numbers
+with no intervening spaces. The four numbers are {\tt mtrnuml},
+{\tt mtrdenl}, {\tt mtrnmp}, {\tt mtrdnp} as defined in section~\ref{setupdata},
+with the following exceptions for this method only:
+You must use {\tt o} to represent
+the number 1; if you enter the digit {\tt 1} then \PMX will interpret that
+digit and the next as a 2-digit integer, between 10 and 19 inclusive.
+19 is the largest number that can be entered with this method. Note that
+{\tt mtrdenl=0} still represents a whole note.
+
+{\bfx Method 2.} \NEW{1.4} Enter the four numbers verbatim in the order just
+listed, but separate them with slashes ({\it /}).
+
+\subsubsection{Transposition and key changes}
+
+ To transpose an entire score, at the beginning of the first block
+enter {\tt K} (for {\bfi K}{\it ey}) followed by two explicitly signed digits.
+The
+first is the distance to transpose (in \bs{\tt internote}s); the second is the
+new key signature.
+When transposing, you should always use relative
+accidentals, activated by the separate command {\tt Ar} at the start of the first
+input block (see section~\ref{ArDirective}). For
+example, to transpose a piece in C major to E major you would enter
+{\tt Ar K+2+4} at the beginning of the first block.
+
+To \NEW{2.4}transpose by a half step to a key with the same
+letter name, use {\tt K-0+[{\it n}]}~.
+(Using {\tt -0} instead of {\tt +0} eliminates confusion with a simple key
+change, see the next paragraph.)
+
+ A key change can be signalled at any time in the first voice, and will
+affect all staves. Use the command {\tt K} with {\tt +0} as the first
+argument and the new key signature as the second.
+
+\subsubsection{Text}
+
+ The commands {\tt h} or {\tt l}, when placed in the first
+column of an input line and followed by a blank or, for {\tt h} only, by
+a signed integer,
+stand for {\bfi h}{\it eader} and {\bfi l}{\it ower text}. They will put a
+text string
+above or below the {\it top} staff in the {\it first} bar of the block where
+they are entered. The text string must be on a line of its own,
+immediately following the command. The integer is a vertical shift in
+\bs{\tt internote}s.
+
+ A {\it title block} with up to three elements can be defined at the
+beginning of the first input block. {\tt Tt} signals that the text
+{\it on the following line} is to be set as a {\bf t}itle for the whole piece,
+and it will be centered. {\tt Tc} similarly indicates a {\bf c}omposer's name,
+to be set below the title and right justified. {\tt Ti} likewise stands for
+an {\bf i}nstrument name, which will be set above the title, left-justified.
+The text for any of these commands can be split over two or more lines
+by including \bs\bs~at the location of the line break.
+
+{\tt Ti} will automatically be invoked by {\bfx scor2prt} when it generates
+parts from a score.
+
+Extra vertical space can be added between the title
+block and the top system by appending to {\tt Tt} a one- or two-digit
+number representing the space in \bs{\tt internote}s. This only works if
+{\tt Tt} is the {\it final} title block element entered.
+
+The {\tt D} command can be used to enter arbitrary text as described in
+section~\ref{dynamics}.
+
+\subsubsection{Page numbering, centered header text}
+
+ If you want pages to be numbered at the top left or right, place
+the command {\tt P} anywhere within the \PMX code that represents the first
+page to be numbered (usually the first or second).
+{\tt P} can be followed optionally by the starting
+page number and/or by {\tt l} or {\tt r}, the latter overriding the default
+locations of odds on the right and evens on the left. \NEW{2.0}
+There is also a special option {\tt c} for {\bf c}entered header text.
+It must be the {\it last}
+option in the {\tt P} command. It will define text to be printed at the top of
+every page {\it after the first}. If a blank follows {\tt c}, the default
+header text will
+be the instrument name entered with the command {\tt Ti} . If any non-blank
+character except {\tt "} follows {\tt c}, the header text will start with that
+character and end at the next blank. If {\tt "} follows {\tt c}, the
+header text will be everything between that and the next {\tt "} (this
+permits headers containing spaces). The {\tt P} command and its options
+will be ignored when making parts from a score (since page numbering
+will usually be different in the score than in the parts), but page
+numbering (and centered headers) for parts can be still be initiated
+independently, for example with {\tt \%!P2} or {\tt \%1P2r} (see
+section~\ref{scor2prt}).
+
+\subsubsection{Overriding certain defaults, or getting the most from \PMXX}
+
+Understanding this section is important if you want to get the most out
+of \PMXX. In many
+cases the switches described here represent subtle but significant
+improvements that have come along since \PMX was initially developed. Rather
+than changing the defaults, they are treated as optional in order not to
+upset the layout of older scores. For example, virtually every new score I
+create begins with at least {\tt Abple}.
+
+As you may have guessed, it is the command {\tt A} that can be used to
+override a grab-bag of default settings. The available options affect sizes
+and interpretation of accidentals,
+dot positions, space before the first note of every bar, space between staves,
+slur package selection, vertical positioning of Type K postscript
+slurs, line-breaking Type-K slurs, curvature of Type-K slurs,
+naming of parts, vertical positioning of rests in 2-voice staves\NEW{2.6},
+brackets for non-beamed xtuplets, and inputting so-called
+{\it normal include} files.
+
+{\tt b} makes all accidentals
+{\bf b}ig, {\tt s} makes them all {\bf s}mall. By default, big ones are used
+unless unaltered spacing doesn't provide enough space. Thus the default
+behavior may cause a mixture of big and small accidentals, and in fact is not
+recommended.
+
+\label{ArDirective}
+If transposing, then the {\bf r}elative accidental convention should be used,
+indicated by {\tt r}. The default is the normal, absolute convention.
+
+If there are staves with two voices, {\tt d} causes dots in the
+lower one to appear on or {\it below} center, in contrast with the default.
+
+Use {\tt a} followed by a
+decimal number to override the default setting for \bs{\tt afterruleskip},
+the space before the first note in a bar. The default in \PMX is
+{\tt 1}\bs{\tt elemskip}, 20 percent smaller than \MusiXTeX{}'s.
+
+If \PMXX's vertical spacing between staves within a system is not pleasing, use {\tt I} or
+{\tt i} , followed by a decimal number, to apply a scale factor to
+\bs{\tt interstaff} . {\tt I}
+affects all pages, {\tt i} only the current one. Shrinking the space between
+staves within each system will cause the space between systems to increase, and
+conversely. These options have no effect if there is only one staff per system.
+
+\label{AeDirective}\MusiXTeX~normally draws a virtual box around each system
+and inserts equal vertical space between boxes. \NEW{2.3}
+When objects protrude above the top staff in a system or
+below the bottom one, this can lead to unequal spacing between the top staff
+line in one system and the next. If you prefer that the vertical spacing
+between the staves of consecutive systems be constant for the whole page,
+use the {\tt e} option of the {\tt A} command. One side benefit of {\tt Ae}
+is that it will prevent systems from spilling over onto extra pages,
+regardless of how many systems are put on the page. When using this option,
+you may occasionally want to force more vertical space between certain systems.
+There is a \TeX~macro
+{\tt \bs spread} that can be inserted anywhere in the system before the
+desired wider gap. It has one argument, the desired extra space in
+{\tt\bs internote}s.
+
+Another \NEW{2.4}\ command affecting vertical spacing is the {\tt v}
+option of the {\tt A} command (for
+{\bf v}shrink or {\bf v}ertical shrinkage). \PMX normally spreads staves
+vertically over a full page, unless the white space becomes excessive,
+in which case it groups all staves near the top of the page. Entering
+{\tt Av} will suppress this grouping near the top, and ensure that
+systems will always be spread vertically regardless of how much white
+space is left. It is a toggle; the second time it is issued, the
+behavior reverts to the default.
+
+In \PMX it's not yet possible to specify a smaller font for selected staves.
+But it can be done with the \TeX~command
+{\tt \bs setsize}{\it n}{\tt \bs smallvalue} (using in-line \TeX, see
+\NEW{2.3}
+section~\ref{LitTeX}). If you do this, then you ought to
+use the {\tt S} option to the {\tt A} command. It is followed by exactly
+{\tt nv}
+characters which are either {\tt -} or {\tt 0} depending on whether the
+corresponding staff is normal or small. This alerts \PMX to modify some
+horizontal spacing decisions to account for the smaller font size.
+
+The \label{ApDirective}\NEW{2.4} command {\tt Ap} activates Type K
+{\bf p}ostscript slurs. To use this
+you must have {\tt musixps.tex} somewhere that \TeX~can find it, and
+{\tt psslurs.pro} somewhere that {\bfx dvips} can find it. These files are
+available from the
+\href{http://Icking-Music-Archive.org}{\underline{Icking Music Archive}}.
+Several suboptions affecting Type K
+postscript slurs are described in the remainder of this subsection. First,
+by default these slurs and ties will not have their vertical positioning tweaked
+to avoid tangencies with staff lines. To activate this type of adjustment,
+use one of the suboptions {\tt +s} or {\tt +t} for
+slurs or ties respectively.
+(For example, {\tt Ap+s}). Be
+warned that this may alter the endpoint positions from what one would normally
+expect. To deactivate the adjustment, use the same command but with {\tt -} .
+A third suboption of {\tt Ap} affects line-breaking slurs. Normally a full tie
+is drawn at the start of the second line.
+However, the suboption {\tt Ap+h} causes the use of
+{\it{\bfi h}alfties} for the second part, which are flattened at their
+left-hand end, and require the
+special font {\tt mxsk} provided with the Type K postscript slur distribution.
+It may be cancelled with {\tt Ap-h} .
+
+The \NEW{2.5} suboption {\tt l} (e.g. {\tt Apl}~) activates some other tweaks
+and tweaking capabilities for line-breaking Type K slurs and ties. It
+automatically tweaks the
+horizontal positions of the end point of the first segment and the start of the
+second, uses a normal tie character for both segments of a tie, and enables
+further tweaking of the horizontal and vertical positions of internal endpoints
+on a case-by-case basis, using options in the initial slur or tie command (see
+section~\ref{lbslurs}).
+
+Another pair of \NEW{2.5}suboptions to {\tt Ap} affects the default curvature of
+Type-K postscript slurs. {\tt Ap+c} and {\tt Ap-c} will respectively increase or
+decrease the default curvature of all slurs to the next level in the sequence
+{\tt f, n, h, H, HH} . (Here {\tt n} stands for {\bf n}ormal.) Several levels
+may be traversed by repeating the suboption, e.g., {\tt Ap+c+c} increases the
+default curvature by two levels. If you try to
+go outside the allowable range, a warning will be issued, the curvature will be
+set to
+{\tt f} or {\tt HH} , and processing will continue. See section~\ref{slurs} for
+further details.
+
+If \NEW{2.5} your score contains Type K slurs and if you use a program such as
+{\bf dviselec} to extract single pages
+from a {\tt .dvi} file, you should use the suboption {\tt h} (e.g.
+{\tt Aph}~) . This will cause the header file {\tt psslurs.pro} to be written
+into the postscript file at the top of of every page.
+
+The\NEW{2.6} option {\tt AK} activates special rules for vertical positioning of rests in
+two-voice staves. By way of background, without this option, rests in two-voice
+staves have default positions based on a simple rule that is not
+context-sensitive: those in the lower voice (the one before {\tt//}) are
+4\bs{\tt internote}s below their single-voice default positions, and those in
+the upper line are 2\bs{\tt internote}s above the single-voice default. In contrast, the
+option {\tt AK} invokes a set of context-sensitive rules to set the default
+position. The baseline rule is to align the rest in a horizontal line with the
+next following note in the same bar. If there is no following note in the bar,
+then it is aligned with the next prior note. If there are simulataneous rests
+in both voices, the old rule is applied. When the {\tt AK} option is in force,
+it only affects places where there are two voices in a staff. It may be toggled
+on and off at the beginning of any input block, using just {\tt AK}. When the
+option is in effect, any user-defined tweaks on the height of a rest will
+supersede the option for that particular rest, i.e., the tweak will be applied
+relative to the single-voice default position. When {\tt AK} is in effect, the
+option {\tt L} in a rest command will cause the vertical position of that rest
+to be based on the {\it preceding} note, rather than the following one as is
+the default.
+
+The \label{ANDirective}\NEW{2.5}option {\tt N} to the {\tt A} command allows
+you to specify
+arbitrary names for the instrument of any or all part files generated by
+{\bf scor2prt}. Follow it with the part number and the the new name in double
+quotes.
+
+Non-beamed \label{ATDirective}\NEW{2.5}xtuplets will normally be printed with
+a bracket above or below, and
+a number above or below that. If you would like this number instead to be
+positioned within a gap in the bracket itself, enter {\tt AT} .You must have
+{\tt tuplet.tex} available to your \TeX~processor. The file can be found in
+the Icking Archive.
+
+\PMX commands \NEW{2.5}in an external file can be included at the start of any input
+block by designating the file as a {\it normal include} file, using the
+command {\tt AR}[{\it filename}] . See section~\ref{ARDirective} for details.
+
+\subsubsection{Extra hardspace, horizontal shifts} \label{hardspace}
+
+ Despite the author's best intentions to relieve you of the chore
+of adjusting {\it any} horizontal spacing by hand, there may be some occasions
+where you
+will want to do it. A command starting with {\tt X} initiates one of two
+types of horizontal adjustment: A {\it shift} moves one or more
+characters but does not affect any other spacing anywhere; a
+{\it hardspace} inserts a fixed amount of space at a particular time and
+affects the horizontal positions of everything in all staves in the system.
+If the command includes {\tt S}, it is a {\bfi s}{\it ingle} shift and affects
+only the next note or rest. If it includes a {\tt :} it either starts or
+terminates a {\it group} shift.
+All {\tt X} commands except group shift terminations
+must include a decimal number for the size of the offset in notehead widths.
+If the number is immediately followed by
+{\tt p}, then the number represents points, otherwise, notehead widths.
+If there is no such number but there is a {\tt :} the command
+signals a group shift termination.
+Group-shift commands must occur in
+start/terminate pairs, and group shifts cannot extend across a bar line.
+
+An {\tt X} command containing neither {\tt S} nor {\tt :} is
+automatically a hardspace.
+
+Because horizontal spacing in parts will usually differ from that in the
+score, by default the hardspace command will {\it not} be copied into parts
+by {\bfx scor2prt}; however the shift commands will be copied.
+These behaviors can be overridden using the methods to be described in
+section~\ref{scor2prt}, Alternatively, \NEW{1.42} to help keep \PMX score
+files neat
+and readable, the character {\tt B} can be used within the {\tt X} command
+to signify that it applies to {\bf b}oth score and part, or {\tt P} for
+{\bf p}art only.
+
+\subsubsection{Minimum spacing between notes in crowded systems}
+
+ \PMX does some special, complex analysis to adjust horizontal spacing
+in crowded systems. By default, the minimum space between consecutive
+noteheads is 0.3 notehead widths. If you want to change 0.3 to some
+other fraction, enter {\tt W. }(decimal point is required) followed by
+{\tt 1}-{\tt 9} to represent the number
+of tenths of a notehead width to be used as the minimum spacing.
+
+\subsubsection{Page size}
+
+ The default page size is 740 by 524 pt (10.3 by 7.3 in). To change
+the height or width, use the special commands {\tt h}[{\it n}][{\it u}] or
+{\tt w}[{\it n}][{\it u}] at
+the beginning of the first input block. Here {\it n} is a decimal number
+for the new dimension and {\it u} defines the units; {\tt i} for inches, {\tt m} for
+millimeters, and {\tt p} or nothing for points. This command can be used
+together with {\tt \%\%} or {\tt \%!}
+(see section~\ref{scor2prt}) to give the parts made by
+{\bfx scor2prt} different page sizes than the parent score.
+
+\subsubsection{Line, page, and movement breaks} \label{movbrk}
+
+ It is possible to force line, page, or movement breaks anywhere.
+For a line break, just enter {\tt L}[{\it n}] at
+the start of an input block (in the first voice only), and the {\it n}-th
+system will start there. To start page {\it m} at line {\it n}, enter
+{\tt L}[{\it n}]{\tt P}[{\it m}]. You can't force a page break without
+first forcing a line break.
+
+ To force a movement break, you must first force a line break as above,
+then enter {\tt M}. If a page break also occurs here, the {\tt P} must precede
+the {\tt M}. Options following {\tt M} are {\tt +}[{\it integer}] to insert
+vertical space in \bs{\tt internote}s before the break,
+{\tt i}[{\it decimal number}] to reset the first-line indentation as a fraction
+of the line width, and {\tt c}\NEW{1.41} to {\bf c}ontinue bar numbering rather
+than resetting the bar number to 0. \NEW{1.4}Also, to change the {\bf n}umber
+of instruments,
+enter {\tt n}[{\it integer}], then the number of each instrument in their new
+order, then a clef-designating character for each staff of each instrument.
+(An instrument's number is simply its position in the original sequence.)
+There can never be more than the original number of instruments. In this
+instance, \NEW{2.5}two-digit instrument numbers must be preceded with
+{\tt :} (colon). If you want to start with some number of instruments and
+later increase it, you'll need to insert
+a dummy page at the beginning with the full set of instruments, then start the
+second page with a movement break and decrease the number there.
+
+Another\NEW{1.4} option after {\tt M} is {\tt r+} or {\tt r-}, which either
+forces or
+suppresses {\bf r}eprinting the instrument names. The default is to print
+them if the number of instruments changes, but otherwise not.
+
+ Immediately after a movement break, any desired meter changes,
+key changes, or text can be entered in the normal way.
+
+\subsubsection{Fractional bars}
+
+ Often if a piece starts with a pickup, the last bar may not be
+complete. In such cases, it is usually possible to
+place the last bar in an input block by itself, headed by a {\it blind} meter
+change.
+For example, if the meter had been 4/4 and there was a quarter note
+pickup, leaving 3 beats in the last bar, the last bar might be coded
+{\tt m3400 cd24 /}.
+
+\subsubsection{Stem direction of bass notes}
+
+ By default \PMX makes stems go up for middle-line D's in bass
+clef, but down for notes on the middle line of all other clefs. If
+you want middle-line bass-clef notes also to have downward stems by default,
+enter a {\tt B} near the beginning of the file.
+
+\subsection{Putting {\TeX} Commands into the {\PMX}File } \label{LitTeX}
+
+ There are five ways to enter \TeX ~commands into the {\tt .pmx} file.
+Four of
+them are {\it in-line}, where the commands are entered directly; the fifth
+is by way of an external file.
+
+ The four categories of in-line \TeX~strings
+differ mainly in where they will appear in the {\tt .tex} file.
+(A \TeX\ {\it string} consists of a starting character, a sequence of
+\TeX~commands, and a terminal character).
+In the {\tt .pmx} file,
+only type 4 \TeX~strings may wrap over line breaks. All in-line \TeX\ must
+adhere to the 128-character limit per line, but each line can have more than
+one \TeX\ command.
+Type 1 begins with a single \bs\ and will appear in the {\tt .tex} file
+right before the \TeX
+~command for the next note or rest in the {\tt .pmx} file. Starting with
+version 2.1, \NEW{2.1} multiple
+type 1 strings associated with the same note or rest are allowed, although
+the total length may not exceed 128 characters (so there is generally no
+reason not to combine all \TeX\ commands for a single note into a single
+type 1 string).
+
+A type 2 string begins with \bs\bs\
+and will appear at the top of the {\tt .tex} file, right before
+\bs{\tt startmuflex}, regardless of where it appears in the {\tt .pmx} file.
+A type 3 string starts with \bs\bs\bs\ and will appear right before the
+{\tt\bs xbar}
+or {\tt \bs alaligne} at the beginning of the current input block, before the
+first barline of the block. While individual type 2 and 3 strings may not wrap
+over line breaks in the {\tt .pmx} file, strings of like type on consecutive
+lines will appear together in the {\tt .tex} file.
+Types 1, 2, and 3 strings must end with \bs\ (backslash-space).
+This means that they may not contain
+the \TeX\ macro \bs\ (backslash-space). Finally, each type 2 or 3 string
+should be isolated on a line of its own, and should be started in column 1.
+
+Type four permits multiple
+lines of arbitrary text to be entered at the top of the {\tt .pmx} file;
+they will be transferred literally to the top of the {\tt .tex} file. Type
+four is initiated with {\tt ---} alone as the top line of the {\tt .pmx}
+file. Then follows any text on any number of lines, until the next line
+starting with {\tt ---} terminates the block to be transferred.
+
+The only other distinction among the types of in-line \TeX\ strings arises when
+{\bfx scor2prt} is used to make separate parts
+(see section~\ref{scor2prt}):
+types 2-4 will be copied into all parts, while type 1 only goes into its
+original part.
+
+If you should want to enter a type-1 (note-based) string longer than
+128 characters, you could use a series of type-2 or -3 strings to define
+a \TeX\ macro containing the desired commands.
+
+ \PMX provides one further option for entering an unlimited set of
+\TeX ~commands
+just before \bs{\tt startmuflex}, and before any Type 2 in-line \TeX ~strings.
+Simply put the commands into a text file named [{\it basename}]{\tt .mod}
+in the texinput directory. It will then automatically be
+entered with an \bs{\tt input} command. This feature is retained mainly for
+backward compatibility; it has been essentially replaced by the various options
+for in-line \TeX ~strings.
+
+\subsection{Figured Bass}
+
+ Figure commands are entered {\it after} their associated note commands.
+They only work in the first (lowest) voice, and in any one other voice\NEW{2.6}.
+Enter the characters as
+they would appear from top to bottom, and as you might pronounce them,
+e.g., {\tt 64} or {\tt 73}. Flats here are {\tt -} (minus), sharps are
+{\tt \#}, and
+naturals {\tt n}, {\it before} the number (if there is a number) (notice
+the characters are different here than in notes).
+So for example {\it sharp third} is {\tt \#3}, just a sharp is {\tt \#}, {\it six (over)
+flat five} is {\tt 6-5}, and {\it sharp six (over) 4} is {\tt \#64}.
+In addition to the symbols just described, the following special symbols
+are available: {\specfig 2}, {\specfig 4}, {\specfig 5}, {\specfig 6}, {\specfig 9} .
+\NEW{2.6}To use them, you must have the font
+\href{http://www.icking-music-archive.org/software/musixtex/add-ons/figbas.zip}{\underline{\tt cmrj}}
+in your \TeX~system, and then just put an {\tt s} after the number.
+
+The program
+positions all the figures for each system below the lowest staff of that
+system, with their tops aligned, and just low enough to clear the
+lowest beam, notehead, or stem that could interfere. If you want a figure to
+align horizontally in the second tier, insert the placeholder figure
+{\tt\_} (underscore) before the one you want lowered. This is equivalent to
+lowering the figure stack by 4 \bs{\tt internote}s.
+\NEW{2.6}If you want to {\it raise} the entire stack by an integral number of
+\bs{\tt internote}s, append {\tt +} and the number. This can be combined with
+the placeholder figure {\tt\_} to provide full control over the vertical
+position of the stack.
+
+ Sometimes you may need to enter a figure when there's no bass
+note sounding. To do this, just after the most recent bass note enter
+{\tt x}, followed by a two single digits (the first is a repeat count; the
+second a time value, i.e., {\tt 2,4,8,1,} or {\tt 3}), immediately followed by a figure symbol
+as defined in the previous paragraph. This will
+offset the figure from the associated note by the specified time
+value. For example, if the lowest voice contained {\tt c03 x3465}, there
+would be a whole-note c, and 3 quarter notes later a figure 65 below
+the staff.
+
+ There is also a {\it continuation} command, a zero followed immediately
+by another \NEW{2.4}
+unsigned number. This produces a horizontal line under the bass note, starting
+just to the left and extending to the right by the given number of
+\bs{\tt noteskip}s. The height and length of the line are set by the current
+note's level and \bs{\tt noteskip} respectively. These \NEW{2.4} can be mixed in with
+other figures to produce vertical stacks. If another figure follows in the
+same command, use {\tt:} as a separator.
+If \bs{\tt noteskip} changes or a note drops
+below the starting level before the line ends, it is possible to trick
+\PMX by entering separate {\tt 0}[{\it n}] commands under each consecutive note; \PMX
+will automagically join them together at the same height
+(thanks to Werner Icking for this idea).
+
+ If there are figured bass commands in a {\tt .pmx} file but
+you want them to be ignored, then enter the command {\tt F} at the
+beginning of the body of the file. This feature would most often be
+used in the form {\tt \%1F}
+(see section~\ref{scor2prt}), which makes a
+separate bass part with no figures.
+
+ Figured bass commands will not be altered in any way under
+transposition. There is no universal set of interpretations of figured bass
+symbols, so no automatic transposition is possible.
+
+\subsection{Macros}
+
+ A \PMX macro is a single command that stands literally for any
+any string of characters that may occur in the input file (sorry, no
+variables). It may be useful if you need to repeat the same string later.
+There is no practical length limit.
+
+To
+{\bfi r}{\it ecord} a macro, type {\tt MR}{\it n} where {\it n} is between
+1 and 20.
+Everything you then type will be processed normally as well as stored,
+until you enter the command {\tt M}. The next time you need to enter the same
+string, just type {\tt MP}{\it n} to {\bf p}lay back the macro.
+
+To just {\bf s}{\it ave} a macro without having \PMX process it as you
+enter it, start it with {\tt MS}{\it n}.
+
+Macros can be redefined at will. \PMX will print a warning whenever this
+occurs.
+
+If you use macros and want to make separate parts, some care is necessary.
+{\bfx Scor2prt} will only transfer {\tt MR} macros into the part where they
+originated, but will transfer {\tt MS} macros into all parts.
+
+\subsection{Include Files}\NEW{2.5}\label{ARDirective}
+{\it Include} files are separate text files
+ containing arbitrary (but contextually appropriate) sequences of
+ valid \PMX commands. By using the techniques described in this section,
+ the commands in an include file can be inserted at any desired
+ place in the virtual \PMX file that the code processes.
+ They will always be syntax-checked.
+
+There are two types of include files, {\it global} and
+ {\it normal}. There can only be one global include file and it must be named
+ {\tt pmx.mod}. If activated, its contents will always be inserted right after
+ the setup data.
+ To activate it, two conditions must be met: (1) an environment variable
+ {\tt PMXMODDIR} must be defined to contain a valid path, ending with {\tt /} or
+ \bs~; (2) a file named {\tt pmx.mod} must be present in the directory so defined.
+ If {\tt PMXMODDIR} is not set, or if it is defined but there is no file
+ {\tt pmx.mod}, then processing will proceed as usual.
+
+ Normal include files
+ can have any name and do not require any environment variable to be set.
+ They are activated by the PMX command {\tt AR[{\it filename}]} , placed in the
+ .pmx file
+ at the location where the included lines are to go. It will generally
+ only make sense to place this command at the beginning of an input block.
+ \PMX will first check
+ for the file as pointed to by [{\it filename}], which may contain a complete
+ or partial pathname preceding the actual file name. If [{\it filename}] is not
+ found, then \PMX will look for {\tt \%PMXMODDIR[{\it filename}]}, i.e., it will check
+ the directory defined by {\tt PMXMODDIR} if {\tt PMXMODDIR} has been set. However,
+ it is not necessary to define {\tt PMXMODDIR} to use a
+ normal include file. There may be any number of normal include files. The same
+ file may be used multiple times. Include files cannot contain references to
+ other include files via the {\tt AR} command; if you try to do that
+ your computer will
+ explode. The following information regarding all activated include
+ files will be printed both to the screen and to the .pml file: notice of
+ opening or closing, echo of the contents, error messages pertaining to syntax
+ errors in the included \PMX commands, and an error message if \PMX cannot find
+ a referenced normal include file. In the latter two cases \PMX will stop.
+
+\subsection{Batch Processing}
+
+Due \NEW{2.0} to the number of different programs that must be run in sequence
+to produce a printed sheet of music with the \MusiXTeX{} system, most users
+prefer to use a batch file to control the process. Since batch commands are
+platform-dependent we will not provide examples here, but will mention
+several \PMX features that can facilitate batch processing.
+
+First, whenever {\bfx pmxab} terminates due to a syntax
+error, the exit code is set to 1. There are various ways of detecting this
+with batch commands, then acting accordingly.
+\NEW{1.4} Second, {\bfx pmxab} always writes a file
+{\tt pmxaerr.dat} containing a single number: 0 if it exited normally,
+otherwise the line number in the {\tt .pmx} file where the syntax
+error was. With advanced batch programming techniques, this file can be
+opened and read, and if there was an input error, a text editor can be
+opened and the input point placed on the line with the error.
+
+There have been several requests to allow \PMX to keep running even
+after it detects an input error.
+This has not been done because in most cases, any error messages after
+the first one would be meaningless, or worse, uncorrected errors could
+cause crashes. In any event, all the output from {\bfx pmxab} will be
+stored in the log file [{\it jobname}]{\tt.pml}.
+
+\subsection{Lyrics}
+
+ \PMX has no special provisions for lyrics. One way to include them
+is by using the macro package {\tt musixlyr.tex} developed
+by Rainer Dunker. It introduces lyrics into \TeX\ more easily than with
+\MusiXTeX's own facilities. The macros could be
+entered as in-line \TeX\ directly into the {\tt .pmx} file, but most would
+prefer the convenient interface to {\tt musixlyr} via the
+program {\bfx M-Tx} developed by Dirk Laurie. It is a pre-preprocessor which
+produces a {\tt .pmx} file containing the proper in-line \TeX\ commands.
+Its input language is similar (but not identical) to \PMX and includes most
+\PMX functionality as a subset. Both {\bfx M-Tx} and {\tt musixlyr.tex} are
+available from the \IMA{}.
+
+%\setcounter{secnumdepth}1
+\section{Making Parts from a Score} \label{scor2prt}
+
+ Separate parts can be made by running {\bfx scor2prt} and entering the
+basename when prompted. The program will create {\tt noinst} separate
+{\tt .pmx} files, one for each instrument. By default the files will be named
+[{\it basename}][{\it n}]{\tt .pmx}, where [{\it n}]
+is the sequential position of the instrument. If desired, part file names can
+be customized with {\tt AN} as described in section~\ref{ANDirective}.
+
+ In this section we describe how to control the layout of the
+parts separately from that of the score, but by using commands
+that are placed in the {\tt .pmx} file for the score. This eliminates the
+need for ever editing the {\tt .pmx} files for the parts separately. You
+can make all corrections in the file for the score, and then re-run
+scor2prt.
+
+ Normally all lines starting with {\tt \%} in the parent {\tt .pmx} are
+transferred into all the parts. However, if a line has {\tt \%\%} in
+columns 1-2, both it {\it and the following line} will be ignored when
+making parts. If the ignored line contains only {\tt h}~, {\tt l}~,
+ {\tt Tc}~, {\tt Ti}~, or {\tt Tc} to start,
+then one additional line will be ignored.
+
+ Conversely, if a line begins with {\tt \%!} then it will be ignored as
+usual in creating the parent {\tt .tex} file, but after stripping the first
+2 characters the rest will be put in the {\tt .pmx} file for {\it all} the
+parts.
+
+To enter a line into the score file that is only to be transferred to one part,
+begin the line with \NEW{2.6} {\tt\%}{\it h}, where {\it h} is an {\it extended
+hexadecimal digit} representing the part number from 1 to 24
+({\tt1,2,...,9,a,b,c,...,n,o}). The first
+two characters will then be stripped and the rest transferred to the desired part.
+For example, to force a line break to system 15 and a page
+break to page 2 in part 11 only, enter {\tt \%bL15P2}. The use of the extended hex
+digits {\tt a-o} creates a potential incompatibility with prior versions.
+To minimize this, the
+character after ``{\tt\%}" will {\it only} be interpreted as a part number if
+it represents a number less than or equal to {\tt noinst}; otherwise the entire
+line will be treated as an ordinary comment and transferred to all parts as
+a comment.
+
+ Although only permitted in the first voice in the score, the
+following commands with all their options will automatically be copied
+into all parts (unless the preceding line has {\tt \%\%}):
+ {\tt m, V, R, A, h, w, K}. Literal \TeX\ strings of types 2-4 will also be
+copied into all parts, while type 1 will only go into its original part.
+
+User-defined hardspaces ({\tt X} without {\tt :}) are handled specially. By
+default they are not copied into parts. There are two ways to circumvent this.
+One way to insert hardspace {\it x} into part
+{\it n} is to place in the score, on a line of its own, the command
+{\tt\%}[{\it n}]{\tt X}[{\it x}] . The \NEW{1.42} other way is with options
+in the {\tt X} command in the score: {\tt B} causes the hardspace to be
+used in {\bf b}oth score and parts; {\tt P} puts it into the {\bf p}art but not
+the score.
+
+Lateral shifts ({\tt X}[$\dots$]{\tt :}) will be handled normally,
+staying with their original voice.
+
+ By default the total number of systems in each part will be the
+same as in the score. If you want to override this, there is a command
+{\tt S}[{\it n}] (where {\it n} is the desired number of systems), which
+can only appear at
+the beginning of the first input block. This can be used after {\tt \%!}
+to affect all the parts, or after {\tt \%}[{\it h}] to affect just part {\it h}.
+ {\bfx Scor2prt} will also
+compute how many pages it thinks each part should have, and enter that
+in the startup data for that part. If you wish to override that, then
+in the {\tt .pmx} file for the score, insert for example {\tt \%3S14P2} to
+force the third part to have 14 systems and 2 pages (you cannot override the
+number of pages without first overriding the number of systems).
+
+ A \NEW{2.0} musicsize of 20 is the default in all parts. This may be
+overridden with the option {\tt m} in the command {\tt S}; e.g.,
+{\tt \%2S15m16} .
+
+ As already noted, a {\tt P} command for page numbering in the parent
+file is ignored when making parts. To initiate page numbering in the
+parts, use for example {\tt \%!P} anywhere within the \PMX code representing
+the first page of the parts (from \TeX 's standpoint the command must occur
+between the beginning and end of the page on which the numbering is to begin).
+It \NEW{2.0} will often be useful in this case to use the option {\tt c} ,
+which by default causes the instrument name to be centered in small type at
+the top of every page after the first.
+
+Note the distinctions among the various usages of {\tt P}: as an option with
+{\tt S}, it sets the total number of pages in a part; as an option with
+{\tt L}, it forces a page break; and as a command on its own, it controls page
+numbering and centered headings.
+
+MIDI \NEW{2.2} commands, i.e., those starting with {\tt I}, will never be
+copied into parts, unless they are in a special comment line as just described.
+
+ One function of {\bfx scor2prt} is to condense consecutive bars of rest
+into a single group of special printed characters with a number above it.
+The command {\tt rm} defines such a {\bf m}ulti-bar {\bf r}est as described
+in section~\ref{MultibarRest}.
+{\bfx Scor2prt} will automatically insert {\tt rm} commands into the
+{\tt .pmx} files
+for the parts where appropriate. However, for this feature to work,
+the {\it first} full-bar rest in the sequence {\it must} have its duration
+explicitly defined in the parent {\tt .pmx} file, either with a digit or
+with {\tt p}. I.e., the feature will not work if the first rest in the
+sequence inherits its duration from the previous note.
+
+Using the special \PMX commands listed in this section,
+augmented where needed with literal \TeX ~commands, it is possible to store
+{\it all} the information for both the score and the parts in a single
+{\tt .pmx} file. This greatly simplifies the editing process, since
+both the score and the part can be corrected at once, and parts need not be
+re-edited each time they are regenerated from the score.
+
+\section{Making MIDI Files}\NEW{2.2}
+
+\PMX has an elementary capability to create MIDI files. It is intended mainly
+to aid in editing scores, so it does not have advanced facilities one would
+want for making musically satisfying sound files.
+
+As \NEW{2.6} of version 2.6, \PMX can only generate MIDI files for scores with
+15 or fewer voices.
+
+Entering the command {\tt I} before any notes have been entered
+will cause a MIDI file [{\it jobname}]{\tt.mid} to be
+generated in the current directory. Options may follow, without spaces. They
+are defined in the following paragraphs. Multiple
+options can be combined in one {\tt I} command.
+{\tt I} commands can appear later in the file as well, but only at the start
+of an input block. Sometimes the order of the
+options matters, determining for example whether or not a user-defined pause
+is included inside a macro block.
+
+{\tt t}{\it x} sets the tempo to {\it x} quarter notes per minute.
+Default is 96. You can change tempos as often as you like, but only at the
+start of an input block (as with all MIDI commands).
+
+{\tt i}{\it i1i2...in} assigns MIDI instruments {\it i1,i2,...,in} to the
+respective \PMX instruments. The default is harpsichord, of course. If
+you use this option, you must specify {\it all} instruments.
+Each {\it in} is either
+a 2-letter abbreviation or an integer between 1 and 255. Acceptable
+abbreviations are listed below. Numbers and pairs of letters may be mixed,
+but consecutive pairs of numbers must be separated by {\tt :} (colon) .
+This option can only be exercised once per file.
+Also, the number of instruments cannot change during a piece.
+
+{\tt v}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} velocities
+to each instrument. The colons are required. Values may range from 1 to 127.
+The default is 127.
+
+{\tt b}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} balances to
+each instrument. The colons are required. Values may range from 1 to 128.
+The default value is 64, which represents the center. Smaller numbers favor
+the left stereo channel; larger ones the right.
+
+{\tt M} initiates a macro operation. This is used for repeats, da capo's, etc.
+Macros must have ID numbers between 1 and 20. Operations are start record
+macro {\it i}: {\tt MR}{\it i} ; end recording: {\tt M} ; and playback (insert)
+macro {\it i}: {\tt MP}{\it i} . Only one macro can be active at a time,
+recording or playing but not both. If you try nesting or overlapping macros,
+your computer will become psychotic.
+
+{\tt p}{\it x} inserts a pause of {\it x} quarter notes. Decimals are
+allowed, but will be rounded to the nearest sixteenth note.
+
+{\tt g}{\it i} sets the MIDI gap to {\it i} MIDI clock tics. This is a silence
+inserted at the end of every note, while decreasing the sounding duration
+by the same amount. The default is 10, which is 2/3 of a 64th note.
+
+{\tt T} allows transposing any instrument by an integral number of octaves.
+It must be followed by exactly {\tt noinst} signed integers, each of which
+is an exact multiple of 12.
+
+ The module does not recognize graces, ornaments, repeats, voltas, or
+segnos. The only ties that are recognized are those using {\tt s} or {\tt (}
+alone, with no explicit ID number. Key signatures,
+time signatures (meter) and instrument names will be written into the MIDI file,
+the latter as track names. This will have no effect whatsoever on audible
+output but will affect on-screen appearance of some MIDI file players
+and editors. Location of the \PMX key-change and meter-change commands
+relative to MIDI macro delimiters in the source will affect (in the obvious
+way) how these data are passed to such programs.
+
+The MIDI file generator does not yet support changing the number of
+instruments in midstream. Doing so will cause unpredictable results.
+
+ The instruments are a subset of ``The General MIDI Instrument
+Specification." Of course how they sound depends on your hardware and software.
+Instruments not listed below can still be used but must be specified by number.
+The numbers listed here are from the 1-128 range; when passed to the MIDI file
+they are reduced by one.
+
+%\def\toc#1#2{\hbox to 3.1in{{#2}\leaderfill{#1}}}
+\def\tentry#1#2#3{\hbox to 2in{
+\hbox to .24in{\tt #1\hfill}\hbox to 1.7in{#2 (#3)\hfill}\hss}}
+
+\null
+\hbox to 6.5in{\vbox to 1.7in{
+\tentry{pi}{Acoustic Grand Piano}{1}
+\tentry{rh}{Rhodes Piano}{5}
+\tentry{ha}{Harpsichord}{7}
+\tentry{ct}{Clavinet}{8}
+\tentry{ma}{Marimba}{13}
+\tentry{or}{Church Organ}{20}
+\tentry{gu}{Acoustic Nylon Guitar}{25}
+\tentry{ab}{Acoustic Bass}{33}
+\tentry{vl}{Violin}{41}
+}\hss\vbox to 1.7in{
+\tentry{va}{Viola}{42}
+\tentry{vc}{Cello}{43}
+\tentry{cb}{Contrabass}{44}
+\tentry{vo}{Synth Voice}{55}
+\tentry{tr}{Trumpet}{57}
+\tentry{tb}{Trombone}{58}
+\tentry{tu}{Tuba}{59}
+\tentry{fr}{French Horn}{61}
+\tentry{so}{Soprano Sax}{65}
+}\hss\vbox to 1.7in{
+\tentry{al}{Alto Sax}{66}
+\tentry{te}{Tenor Sax}{67}
+\tentry{bs}{Baritone Sax}{68}
+\tentry{ob}{Oboe}{69}
+\tentry{ba}{Bassoon}{71}
+\tentry{cl}{Clarinet}{72}
+\tentry{fl}{Flute}{74}
+\tentry{re}{Recorder}{75}
+}}
+
+\section{Limits}
+
+For simplicity in writing the program, \PMX has numerous variables with
+fixed dimensions. In most cases there are no checks against these limits
+(hey, I've got more important things to program), so
+occasionally there may be hangups due to exceeding a dimension.
+Any of these can potentially be increased by making a request via the
+mailing list. However, before making such a
+request, try working around the problem by
+breaking the input into smaller blocks.
+
+\subsection{Limits on quantities that a user can control}
+
+(The user can control the {\it number} of these items, but cannot control
+the {\it limit on the maximum number} of them.)
+
+%\ \ \ \ \ 128 characters per input line.
+128 characters per input line.
+
+24 \NEW{2.6} staves.
+
+2 voices per staff.
+
+24 \NEW{2.6} voices per system.
+
+125 systems.
+
+600 bars.
+
+40 forced line breaks.
+
+10 forced page breaks.
+
+18 key changes.
+
+20 pages.
+
+600 \NEW{2.6} notes per input block.
+
+15 bars per input block.
+
+101 slurs per input block.
+
+74 figures (figured bass) per input block.
+
+37 grace note groups per input block.
+
+74 notes in grace note groups per input block.
+
+52 literal \TeX\ strings per input block.
+
+6 voltas per input block.
+
+24 \NEW{2.6} trills per input block.
+
+62 chordal notes (non-spacing) per input block.
+
+8 beams per voice per bar.
+
+40 \NEW{2.5}forced beams per voice per input block.
+
+10 clef changes per voice per input block.
+
+24 notes per beam.
+
+24 notes per xtuplet.
+
+41 text-dynamic strings per input block.\NEW{2.5}
+
+
+\subsection{Limits not under immediate user control}
+
+% Need all the spaces because this damn format insists on left-justifying
+% first line of *first* paragraph in a section..
+%
+\ \ \ \ \ \kern-1pt2000 \bs{\tt notes} groups.
+
+20 \bs{\tt notes} groups per bar.
+
+20 inserted standard anti-collision spaces (not xtuplet or end-of-bar) per bar.
+
+20 inserted anti-collision spaces within xtuplets per bar.
+
+19 inserted anti-collision end-of-bar hardspaces per system.
+
+83 inserted anti-collision end-of-bar hardspaces.
+
+400 inserted standard anti-collision spaces per system.
+
+100 inserted anti-collision spaces within xtuplets per system.
+
+1000 inserted standard anti-collision spaces.
+
+200 inserted anti-collision spaces within xtuplets.
+
+24576 \NEW{2.2} bytes of MIDI output data per voice.
+
+\section{Closing Notes}
+
+\subsection{About the Example Files}
+
+{\tt most.pmx} contains examples of most of the \PMX commands, and a few
+programming tricks, including examples in the last line of beam groups whose
+notes vary widely in pitch. The printed
+output displays the \PMX commands near to the resulting typeset characters.
+It is more
+useful to look at the printed output rather than the source file, since the
+file is littered with in-line \TeX ~needed to output the text strings
+representing the \PMX commands.
+{\bfx WARNING:} Do not try to play this music; it could be hazardous.
+
+{\tt barsant.pmx} contains the first movement of a recorder sonata by the
+Italian Francesco Barsanti (1690-1772). It demonstrates many of \PMXX 's
+strong points in a ``battlefield'' situation: figured
+bass, complex beaming patterns, xtuplets, and
+automatically adjusted horizontal and vertical spacing in crowded scores.
+In fact,
+this single-page score is at the limit of vertical crowding. To get the
+final result, it uses the
+option {\tt Ae} for equal space betweem systems, and the space between systems
+was increased ({\tt AI1.1}) from the default. This is a
+good score to try making parts with {\bfx scor2prt}. A special command
+{\tt \%2S9} is used to increase the number of systems in the recorder part.
+
+{\tt mwalmnd.pmx} is an Allemand for harpsichord by the German
+Matthias Weckmann
+(1616-1674). It uses many techniques peculiar to keyboard scores, most notably
+two voices per staff.
+
+\subsection{A Benign Bug}
+
+ When \TeX 'ing the output of \PMX you will usually get an {\tt Underfull
+\bs vbox} message at the end of each page. This is due to my using
+\bs{\tt eject} at the end of every page, which automatically spaces the
+systems vertically without having to fiddle with \bs{\tt staffbotmarg}. As far
+as I know, the
+warning is benign, and may be ignored.
+
+\subsection{Where to Get {\PMX}} \label{where}
+
+The main home of \PMX on the internet is the software section of the
+\IMA, specifically at
+\href{http://icking-music-archive.org/software/indexmt6.html#pmx}
+{\underline{\tt http://icking-music-archive.org/software/indexmt6.html\#pmx}} .
+The \PMX distributions on this server are mirrored on the CTAN sites,
+for example \href{http://www.ctan.org}{\underline{\tt http://www.ctan.org}}.
+These sites also contain all the \TeX{} and \MusiXTeX{} files as well.
+
+\PMX is coded in FORTRAN and developed in a DOS/Windows environment. The basic
+distribution will contain the FORTRAN source and DOS/Windows binary
+(i.e., it runs in a DOS window, but some flavor of Windows must be
+present). Users of other OS's have several options. They may compile the
+original source if they have access to a compiler, or they may check the
+archive for other distributions. The most recent
+available versions for Linux, Unix, and Mac will be posted in the archive, but
+as of this writing they are all out of date. New versions will be
+posted when and if volunteers provide them.
+
+Most of the supporting software mentioned here---except \TeX{} itself---is
+available
+from the \IMA. This includes \MusiXTeX, Dirk Laurie's
+lyrics pre-preprocessor {\bfx M-Tx}, and packages for both type K and type M
+postscript slurs.
+
+\subsection{Acknowledgments}
+
+ To Daniel Taupin, Ross Mitchell, and Andreas Egler for creating
+\MusiXTeX{}; to Olivier Clary for suggesting a crucial modification in
+the note-entry scheme;
+to my colleague John DiPol (a non-musician!) for the idea of using binary masks
+to define beam groupings;
+to Joel Hunsberger for unraveling some deep \MusiXTeX~tangles;
+to Dirk Laurie
+for making \PMX accessible to vocal music by creating {\bfx M-Tx};
+to Stanislav Kneifl and Hiroaki Morimoto for developing the postscript
+slur packages; to
+Christian Mondrup, Andre Van Ryckeghem, Christof Biebricher, Joerg Anders,
+Olivier Vogel, and other denizens of the TeX-music mailing list
+for first-class bug-finding and support in responding to queries about
+\PMX on the mailing list; and to Luigi Cataldi, Olivier Vogel, Christof
+Biebricher, and Cornelius Noack for producing translated and enhanced
+\PMX tutorials.
+Finally, I want to mention again the invaluable contributions by
+Werner Icking: his exhaustive beta testing,
+uncanny bug-finding, continuing encouragement, and promotion
+of \PMX right up until his sudden and premature departure from this
+earthly realm.
+
+\end{document}
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxab.1 b/Master/texmf-dist/doc/generic/pmx/pmxab.1
new file mode 100644
index 00000000000..eddb52d8bd3
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxab.1
@@ -0,0 +1,24 @@
+.TH pmxab 1 "12 July 2011" "Version 2.6.03" "PMX Manual Page"
+.SH NAME
+pmxab \- a MusiXTeX preprocessor
+.SH SYNOPSIS
+.B pmxab
+.RI basename [.pmx]
+
+.SH DESCRIPTION
+pmxab is a preprocessor for MusiXTeX.
+It's usually invoked by its frontend pmx(1).
+To use it to its full benefit you should have installed MusiXTeX Version 1.15
+or higher, and TeX itself.
+The goal of PMX is to faciliate the efficient typesetting of scores and parts
+that have an almost professional appearance. To learn more about typesetting
+with PMX, please read the PMX Manual.
+
+When invoked directly, pmxab produces tex output utilizing the MusiXTeX
+macro set.
+.SH SEE ALSO
+pmx(1), scor2prt(1), musixtex(1)
+.SH AUTHORS
+PMX was written by Don Simons <dsimons@roadrunner.com>.
+This manual page was written by Roland Stigge <stigge@antcom.de> for the Debian
+project and revised by Bob Tennent <rdt@cs.queensu.ca>.
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxab.pdf b/Master/texmf-dist/doc/generic/pmx/pmxab.pdf
new file mode 100644
index 00000000000..a015970497a
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxab.pdf
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/README b/Master/texmf-dist/doc/generic/pmx/pmxccn/README
new file mode 100644
index 00000000000..c00826b3135
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/README
@@ -0,0 +1,20 @@
+pmxccn is a tutorial for PMX in LaTeX; it describes and
+explains PMX up to version 2.603 included.
+
+The zipped package includes the main program and 2 subfolders:
+
+\eps : containing music examples referrred to by
+ the main program,
+\addresses : names of persons cited in the program
+ (in graphical form to avoid abuse).
+
+Unzip pmxccn.zip in whatever folder you want (preserving
+the folder structure), and run
+ latex pmxccn.tex
+
+LEGAL NOTICE: This software is subject to the usual
+ GNU/LLPL licence conditions.
+
+
+Thu 2011 Jul 14 /16:25 /ccn .
+
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/addresses.txt b/Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/addresses.txt
new file mode 100644
index 00000000000..6860b5ee1d3
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/addresses.txt
@@ -0,0 +1,9 @@
+ dlaurie@na-net.ornl.gov,
++ CQX05646@nifty.com,
++ Jean-Pierre.COULON@obs-nice.fr, RICHTIG: COULON@obs-nice.fr
++ oliviervogel@freesurf.ch,
++ rainer.dunker@web.de,
++ stanislav@kneifl.net,
+- omaupunto@tin.it
+
+
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/call_addr.txt b/Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/call_addr.txt
new file mode 100644
index 00000000000..1a7cf5220c3
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/addresses/call_addr.txt
@@ -0,0 +1,84 @@
+From MAILER-DAEMON@itp.uni-bremen.de Wed Nov 28 17:07:17 2007
+Date: Wed, 28 Nov 2007 17:07:09 +0100 (CET)
+From: Mail Delivery System <MAILER-DAEMON@itp.uni-bremen.de>
+To: noack@itp.uni-bremen.de
+Subject: Undelivered Mail Returned to Sender
+
+This is the mail system at host mail1.itp.uni-bremen.de.
+
+I'm sorry to have to inform you that your message could not
+be delivered to one or more recipients. It's attached below.
+
+For further assistance, please send mail to postmaster.
+
+If you do so, please include this problem report. You can
+delete your own text from the attached returned message.
+
+ The mail system
+
+<omaupunto@tin.it>: host smtp.tin.it[62.211.72.32] said: 550 RCPT
+ TO:<omaupunto@tin.it> User unknown (in reply to RCPT TO command)
+
+ [ Part 2: "Delivery report" ]
+
+Reporting-MTA: dns; mail1.itp.uni-bremen.de
+X-Postfix-Queue-ID: 33A89C0002
+X-Postfix-Sender: rfc822; noack@itp.uni-bremen.de
+Arrival-Date: Wed, 28 Nov 2007 17:06:52 +0100 (CET)
+
+Final-Recipient: rfc822; omaupunto@tin.it
+Original-Recipient: rfc822;omaupunto@tin.it
+Action: failed
+Status: 5.0.0
+Remote-MTA: dns; smtp.tin.it
+Diagnostic-Code: smtp; 550 RCPT TO:<omaupunto@tin.it> User unknown
+
+
+ [ Part 3: "Undelivered Message" ]
+
+Date: Wed, 28 Nov 2007 17:12:48 +0100
+From: Cornelius C. Noack <noack@itp.uni-bremen.de>
+To: dlaurie@na-net.ornl.gov, CQX05646@nifty.ne.jp, Jean-Pierre.COULON@obs-nice.fr, oliviervogel@freesurf.ch, rainer.dunker@web.de, standa@hiero.cz, omaupunto@tin.it
+Subject: address verification for PMX tutorial update
+
+Hello dear friends of PMX,
+
+as you know, I wrote a PMX tutorial over 5 years ago --
+it was badly in need of an update.
+
+I now have just finished editing an updated version.
+Before I upload that new updated version to WIMA, I want to
+verify that all Email addresses given there are also up
+to date.
+
+As you may have noticed, all your addresses in the old
+version are in a graphic format, to increase the difficulties
+for automatic crawlers misusing them. This will, of course,
+remain so in the new version. So you need not be excessively
+wary of misuse.
+
+If you send me a reply to this mail from the address under
+which you want to be cited in the new PMX tutorial, you
+dont need to include any text.
+
+If, however, you want your Email address to be expunged from
+the tutorial (even though it will be in graphic form only),
+please be kind enough to request that expressly (I hope you
+wont).
+
+Thanks for your good -- and hopefully continuing --
+work for PMX !
+
+ccn.
+--
+.................................................................
+
+ Prof.Dr. Cornelius C. Noack Phones:
+ Inst. f. Theor. Physik FB 1 office : +49 (421) 218-2427
+ Universit"at Bremen secretary: -2422
+ Otto-Hahn-Allee Fax : -4869
+ D - 28334 Bremen home : +49 (421) 34 22 36
+ Fax: 346 7872
+ E-mail: noack at itp.uni-bremen.de or ccnoack at mailaps.org
+ WWW-page: www.itp.uni-bremen.de/~noack
+.................................................................
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/21k.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/21k.eps
new file mode 100644
index 00000000000..e1f5a32bb15
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/21k.eps
@@ -0,0 +1,615 @@
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips 5.83 Copyright 1998 Radical Eye Software
+%%Title: 21k.dvi
+%%CreationDate: Sat Jan 25 23:11:38 2003
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 717 312 801
+%%DocumentFonts: TeXMUSIX16-Regular
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\$USER\EMTEX\EMTEX\BIN\dvips.EXE 21k.dvi
+%+ -pj:C:\temp\dv1.mfj
+%DVIPSParameters: dpi=300, compressed
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+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
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+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
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+ /V {gsave newpath transform round exch round exch itransform
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+/M { mul } def
+/A { add } def
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+/P { pop } def
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+/R { roll } def
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+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
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+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
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+ s aa mul 0 lt {
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+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
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+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
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+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
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+ 3 VS
+ drawseg
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+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
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+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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new file mode 100644
index 00000000000..7303d2256fe
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+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
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+ 3 VS
+ drawseg
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+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
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+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
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+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
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+
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+%!PS-AdobeFont-1.0: TeXMUSIX16-Regular 001.000
+%%CreationDate: 01-07-25 at 04.07
+%%VMusage: 1024 36138
+% Generated by Fontographer 4.1.4
+% converted using TeXtrace 0.45 and modified by T. Uchiyama
+% ADL: 701 299 0
+%%EndComments
+FontDirectory/TeXMUSIX16-Regular known{/TeXMUSIX16-Regular findfont dup/UniqueID known{dup
+/UniqueID get 0 eq exch/FontType get 1 eq and}{pop false}ifelse
+{save true}{false}ifelse}{false}ifelse
+20 dict begin
+/FontInfo 16 dict dup begin
+/version (001.000) readonly def
+/FullName (TeXMUSIX16-Regular) readonly def
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+/Weight (Regular) readonly def
+/ItalicAngle 0 def
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+/Notice (converted using TeXtrace 0.45 and modified by T. Uchiyama) readonly def
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+end readonly def
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+0 1 255 {1 index exch /.notdef put} for
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+dup 8 /breve put
+dup 24 /perthousand put
+dup 25 /dotlessi put
+dup 40 /parenleft put
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+dup 52 /four put
+dup 54 /six put
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+dup 83 /S put
+dup 132 /Dcaron put
+dup 148 /Tcaron put
+dup 149 /Tcedilla put
+dup 200 /Egrave put
+dup 201 /Eacute put
+readonly def
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+/FontMatrix[0.001 0 0 0.001 0 0]readonly def
+%/UniqueID 0 def
+/FontBBox{-620 -2059 4000 2062}readonly def
+currentdict end
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+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3638 1659 a eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
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new file mode 100644
index 00000000000..023d172a7b9
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/JChrBach.eps
@@ -0,0 +1,807 @@
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+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
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+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
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+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
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+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
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+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
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+% => beta < abs(s)
+ beta s abs lt {
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+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
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+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
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+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
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+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
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+
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+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
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+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
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+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+ /ax1 exch def
+} def
+
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+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
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+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
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+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
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+ 1 setlinecap
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+ x1 y1 4 AR add lineto stroke
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+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
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+
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+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
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+
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+ gsave
+ GDAR ceiling setlinewidth
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+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
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+ stroke
+ grestore
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+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3987 353 a eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/MIDI.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/MIDI.eps
new file mode 100644
index 00000000000..e857872fe77
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/MIDI.eps
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+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: MIDI.dvi
+%%CreationDate: Sat Oct 25 18:08:55 2003
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 734 538 786
+%%DocumentFonts: TeXMUSIX16-Regular CMBX12 CMTI10 CMTT10 CMR10
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE MIDI.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2003.10.25:1808
+%%BeginProcSet: texc.pro
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+mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0
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+%%CreationDate: 1992 Feb 19 19:54:52
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+%%CreationDate: 1992 Apr 26 10:42:42
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+%!PS-AdobeFont-1.1: CMTI10 1.00B
+%%CreationDate: 1992 Feb 19 19:56:16
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.00B) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMTI10) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
+/ItalicAngle -14.04 def
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+end readonly def
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+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 50 /two put
+dup 51 /three put
+dup 52 /four put
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+readonly def
+/FontBBox{-163 -250 1146 969}readonly def
+/UniqueID 5000828 def
+currentdict end
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro 0 0
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+98 4 135 v 3402 98 V 3405 262 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3405 262 a eop end
+%%Trailer
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/agon.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/agon.eps
new file mode 100644
index 00000000000..164f166e798
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/agon.eps
@@ -0,0 +1,1397 @@
+%% LaTeX2e file `eps/agon.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: agon.dvi
+%%CreationDate: Wed Jan 21 13:49:58 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 23 423 552 782
+%%DocumentFonts: TeXMUSIXSPX-Regular TeXMUSIX20-Regular CMR10
+%%+ TeXMUSIX16-Regular CMBX12 CMBX10 CMBXTI10 CMTI8
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE agon.dvi
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
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+% this dictionary is for \setslurtext, overriding some dvips's definitions
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+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
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+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
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+ e x2 mul maxe gt { /e maxe x2 div def } if
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+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
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+ s aa mul 0 lt {
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+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
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+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
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+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
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+% [1 sx 0 1 0 0] concat
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+ drawseg
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+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
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+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
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+ y1 s cos mul x1 s sin mul sub
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+ end
+
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+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
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+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
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+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
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+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
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+ stroke
+ grestore
+} def
+
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+
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+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
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+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
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+ lineto
+ stroke
+ grestore
+} def
+
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+
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
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+%!PS-AdobeFont-1.1: CMBX12 1.0
+%%CreationDate: 1991 Aug 20 16:34:54
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+503 y(\311)1309 507 y(\311)p 1438 520 4 117 v 1439 403
+a(\007)p 1561 455 4 135 v 1664 420 4 117 v 1626 420 a(\010)1626
+403 y(\000)p 1928 455 4 135 v 1941 455 20 135 v eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/bars.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/bars.eps
new file mode 100644
index 00000000000..2ba98355761
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/bars.eps
@@ -0,0 +1,716 @@
+%% LaTeX2e file `eps/bars.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
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+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: bars.dvi
+%%CreationDate: Wed Jan 21 13:50:47 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 547 313 782
+%%DocumentFonts: TeXMUSIX16-Regular CMTT10
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE bars.dvi
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+
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+%
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+%
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+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
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+ /aa b aa mul def % aa=aa*b
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+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
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+ }
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+ } if
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+
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+ s rotate
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+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
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+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
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+ /shift 0 def
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+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
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+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
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+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
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+
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+ drawseg
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+
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index 00000000000..dbdb012806d
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+round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0
+rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B
+/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}
+B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p
+-3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{
+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+rf end
+%%EndProlog
+%%BeginSetup
+%%Feature: *Resolution 600dpi
+TeXDict begin
+%%PaperSize: A4
+ end
+%%EndSetup
+%%Page: 1 1
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+-69 60 4 v 1091 96 4 183 v 1092 -87 a(\007)870 104 y(\220)939
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+1312 146 a(\007)p 1422 53 4 107 v 1423 -54 a(\007)p 1523
+-69 60 4 v 1533 64 4 151 v 1534 -87 a(\007)1352 21 y(\312)1381
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+245 y(\242)3245 225 y(\242)p 3508 146 4 200 v 3509 -54
+a(\007)p 3618 98 4 135 v 3635 98 V 3638 262 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3638 262
+a -364 583 4002 4 v -364 617 V -364 650 V -364 683 V
+-364 716 V -364 681 a Fd(G)-254 648 y(2)-221 598 y(2)-98
+499 y Fc(c)-138 698 y Fd(4)p -59 698 4 183 v 1 w(\007)p
+5 749 60 4 v 53 747 4 233 v 15 747 a(\007)p 166 698 4
+183 v 128 698 a(\007)p -59 598 341 16 v -59 573 V -59
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+v 1 w(\007)p 570 550 60 4 v 580 706 4 158 v 581 549 a(\007)p
+354 714 343 16 v 693 706 4 75 v 694 632 a(\007)p 806
+748 4 100 v 807 648 a(\007)p 919 731 4 166 v 920 565
+a(\007)p 1022 550 60 4 v 1032 714 4 182 v 1033 532 a(\007)806
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+3393 532 a(\007)p 3166 847 343 16 v 3166 872 V 3505 864
+4 299 v 3506 565 a(\007)p 3618 716 4 135 v 3635 716 V
+3638 881 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3638 881 a -364 1148 4002 4 v -364 1181 V
+-364 1214 V -364 1247 V -364 1280 V -364 1245 a Fd(G)-254
+1212 y(2)-221 1162 y(2)52 1445 y Fb(3)-103 1129 y Fc(e)-123
+1262 y Fd(4)p -83 1403 4 142 v 1 w(\007)p 62 1314 60
+4 v 72 1388 4 76 v 73 1312 a(\007)p 226 1372 4 144 v
+227 1229 a(\007)p 381 1357 4 162 v 382 1196 a(\007)475
+1146 y(4)p 515 1344 4 198 v 1 w(\007)p 638 1114 60 4
+v 648 1330 4 218 v 649 1113 a(\007)381 1332 y(\212)520
+1318 y(\212)-83 1403 y(\213)254 1370 y(\213)p 782 1317
+4 122 v 783 1196 a(\007)p 916 1312 4 100 v 917 1212 a(\007)p
+1049 1299 4 170 v 1050 1129 a(\007)p 1173 1114 60 4 v
+1183 1285 4 190 v 1184 1096 a(\007)916 1287 y(\212)1055
+1273 y(\212)916 1312 y(\212)1055 1298 y(\212)p 1317 1272
+4 143 v 1318 1129 a(\007)p 1441 1314 60 4 v 1451 1428
+4 100 v 1452 1328 a(\007)p 1584 1395 4 266 v 1585 1129
+a(\007)p 1708 1114 60 4 v 1718 1361 4 266 v 1719 1096
+a(\007)1451 1403 y(\234)1590 1368 y(\234)1451 1428 y(\234)1590
+1393 y(\234)p 1852 1328 4 199 v 1853 1129 a(\007)p 1985
+1280 4 135 v 2002 1280 V 2048 1211 a Fa(3)2048 1278 y(4)2232
+1113 y Fc(f)p 2222 1314 60 4 v 2270 1312 4 125 v 2232
+1312 a Fd(\007)2232 1295 y(\000)p 2455 1314 60 4 v 2503
+1312 4 125 v 2465 1312 a(\007)p 2550 1314 60 4 v 2599
+1312 4 125 v 96 w(\007)p 2600 1270 69 16 v 2505 1245
+164 16 v 2505 1220 V 2271 1195 397 16 v 2619 1314 60
+4 v 2668 1312 4 125 v 69 w(\007)p 2732 1195 2 16 v 2732
+1170 V 2732 1146 V 2684 1314 60 4 v 2732 1312 4 200 v
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+4 200 v 2927 1312 a(\007)p 3012 1314 60 4 v 3061 1312
+4 200 v 96 w(\007)p 3062 1195 69 16 v 2967 1170 164 16
+v 2967 1146 V 2732 1121 397 16 v 3081 1314 60 4 v 3130
+1312 4 200 v 69 w(\007)p 3194 1212 2 16 v 3194 1187 V
+3194 1162 V 3146 1314 60 4 v 3194 1312 4 183 v 64 w(\007)3156
+1295 y(\000)p 3378 1314 60 4 v 3426 1312 4 183 v 3388
+1312 a(\007)p 3474 1314 60 4 v 3523 1312 4 183 v 97 w(\007)p
+3524 1212 69 16 v 3429 1187 164 16 v 3429 1162 V 3194
+1137 397 16 v 3543 1314 60 4 v 3592 1312 4 183 v 69 w(\007)p
+3618 1280 4 135 v 3635 1280 V 3638 1445 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3638 1445 a
+eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beethoven0.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beethoven0.eps
new file mode 100644
index 00000000000..c9877ac750f
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beethoven0.eps
@@ -0,0 +1,907 @@
+%% LaTeX2e file `eps/beethoven0.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: beethoven0.dvi
+%%CreationDate: Wed Feb 18 00:00:51 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 698 510 798
+%%DocumentFonts: TeXMUSIXSPX-Regular CMR10 TeXMUSIX16-Regular CMBX12
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE beethoven0.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2004.02.18:0000
+%%BeginProcSet: texc.pro
+%!
+/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S
+N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72
+mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0
+0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{
+landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize
+mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[
+matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round
+exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{
+statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0]
+N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin
+/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array
+/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2
+array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N
+df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A
+definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get
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+B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr
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+0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx
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+get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse}
+ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp
+fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17
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+1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop}
+forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn
+/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put
+}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{
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+SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{
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+(NeXT)(LaserWriter 16/600)]{A length product length le{A length product
+exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false}
+ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot}
+imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{
+BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch
+round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0
+rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B
+/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}
+B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p
+-3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{
+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
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+%%CreationDate: 1992 Feb 19 19:54:52
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch
+round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0
+rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B
+/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}
+B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p
+-3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{
+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
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new file mode 100644
index 00000000000..1cd1807e12c
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/bloch.eps
@@ -0,0 +1,856 @@
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+%%Title: bloch.dvi
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+% Also any bug reports and comments are welcomed.
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+ /aa b aa mul def % aa=aa*b
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+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
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+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
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+ }
+ {
+ /ax1 b def
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+
+ gsave
+ x1 y1 translate
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+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
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+ sub
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+ grestore
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+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
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+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
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+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
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+ gsave
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+ drawseg
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+ drawseg
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+ end
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+ % but for almost all cases this will be sufficient. If you find
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+
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+
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+
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+181 V eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
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new file mode 100644
index 00000000000..d9192f6b4a9
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini1.eps
@@ -0,0 +1,2030 @@
+%% LaTeX2e file `eps/caccini1.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
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+%%BoundingBox: 21 93 556 793
+% EPSF created by ps2eps 1.39
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: imp.dvi
+%%CreationDate: Fri Sep 13 09:08:44 2002
+%%PageOrder: Ascend
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+%DVIPSSource: TeX output 2002.09.13:0818
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+%
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+% Stanislav Kneifl.
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+ /x1 ED % x coordinate of the beginning of the slur
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+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
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+ b m gt {/b m def} if % b=min(b,m)
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+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+% align the slur to the staff lines
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+ aa 0 gt { /shift shift neg def } if
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+% and finally draw it...
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+ grestore
+ % now some \slurtext code...
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+% differenced line
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+% sloped line
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+% free line (init & terminate)
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+end
+%!
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+1 startangle endangle arc savematrix setmatrix}N end
+%!PS-AdobeFont-1.1: CMR9 1.0
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.0) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMR9) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
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+/PaintType 0 def
+/FontType 1 def
+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
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+readonly def
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+%!PS-AdobeFont-1.1: CMMI10 1.100
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
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+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
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+dup 51 /threeoldstyle put
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+dup 53 /fiveoldstyle put
+dup 54 /sixoldstyle put
+dup 55 /sevenoldstyle put
+dup 56 /eightoldstyle put
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.00B) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
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+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
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+dup 18 /grave put
+dup 19 /acute put
+dup 39 /quoteright put
+dup 40 /parenleft put
+dup 41 /parenright put
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+dup 116 /t put
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+readonly def
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+currentdict end
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+%!PS-AdobeFont-1.1: CMB10 1.0
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+15 615 v -105 w Fg(\010)p 5814 15962 254 15 v 5857 16315
+15 360 v 5858 15955 a Ff(\010)7280 16026 y(6)p 7406 15962
+254 15 v 7449 16359 15 334 v 1 w(\010)p 5982 15962 296
+15 v 5983 16103 V 6026 16166 a(\011)6026 15885 y(\011)4382
+14558 y Fc(-)944 b(-)472 b(li)6024 13671 y Fg(\011)p
+8872 17572 15 703 v 8872 16869 15 1617 v 8872 13846 15
+703 v 9242 17308 a(\011)p 9200 15962 296 15 v 9201 16103
+V 9244 16166 a Ff(\011)p 9202 15962 V 9245 15955 a(\011)9242
+15815 y(\011)6898 14558 y Fc(-)1340 b(-)671 b(ce.)9242
+13671 y Fg(\011)p 11257 17572 15 703 v 11257 16869 15
+1617 v 11257 13846 15 703 v 11831 17308 15 615 v 11628
+17308 a(\010)11627 15815 y Ff(\010)p 11585 15962 254
+15 v 11628 16315 15 501 v 11629 15955 a(\010)p 11789
+15674 15 492 v 11628 15674 a(\010)11483 14558 y Fc(T)-29
+b(al)p 11627 14021 15 615 v 11628 13407 a Fg(\007)12491
+14558 y Fc(c)-10 b(he)p 12838 13671 15 572 v 12839 13671
+a Fg(\()-204 b(\007)13169 14558 y Fc(non)p 13550 13671
+V 13551 13671 a Fg(\()g(\007)14090 18011 y(Z)p 14262
+17572 15 615 v 14059 17572 a(\010)p 14016 15962 254 15
+v -1547 x Ff(\010)p 14059 16359 15 474 v 14060 15885
+a(\010)p 14220 15674 15 492 v 14059 15674 a(\010)13914
+14558 y Fc(sp)10 b(e)p 14058 14109 15 615 v 14059 13495
+a Fg(\007)14681 14558 y Fc(-)268 b(ro)p 15066 14198 15
+616 v 15067 13583 a Fg(\007)p 15568 14198 15 703 v 15569
+13495 a(\007)p 16069 14198 15 791 v 16070 13407 a(\007)p
+15450 14558 1333 15 v 15066 14108 1520 85 v 15066 14240
+V 16571 14198 15 703 v 16572 13495 a(\007)p 17073 17572
+V 17073 16869 15 1617 v 17073 13846 15 703 v 17087 17572
+a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 17087 17572 a -1540 22572 18628 15 v -1540 22748 V
+-1540 22924 V -1540 23100 V -1540 23275 V -1540 20956
+V -1540 21096 V -1540 21237 V -1540 21377 V -1540 21518
+V -1540 18847 V -1540 19023 V -1540 19198 V -1540 19374
+V -1540 19550 V -1540 23275 15 4436 v -1716 18532 a Fb(11)-1540
+22126 y Fi(\240)-1540 22741 y Fg(I)-1487 21370 y Ff(G)-1540
+19367 y Fg(G)-960 23093 y(2)-957 21230 y Ff(2)-960 19191
+y Fg(2)-381 23708 y(Z)p -413 23531 15 615 v -412 22917
+a(\010)-413 21581 y Ff(\010)p -455 21659 254 15 v -454
+21799 V -411 22125 15 545 v -410 21792 a(\010)p -251
+21441 15 492 v -412 21441 a(\010\000)-551 20255 y Fc(pi)10
+b(\022)-185 b(u)p -209 19279 15 615 v -412 19279 a Fg(\007\000)620
+20255 y Fc(n)-10 b(\023)-166 b(e)p 894 19631 15 572 v
+895 19631 a Fg(\()-204 b(\007)p 1532 23093 15 615 v 1329
+23093 a(\007)p 1286 21659 254 15 v -1371 x Ff(\010)p
+1329 22055 15 474 v 1330 21581 a(\010)1189 20255 y Fc(pi)10
+b(\022)-185 b(u)p 1532 19455 15 615 v 1329 19455 a Fg(\007)2262
+23708 y(Z)p 2434 23268 V 2231 23268 a(\007)p 2392 21370
+15 492 v -1898 x Ff(\007)2230 20255 y Fc(mi)p 2434 19543
+15 791 v 2231 19543 a Fg(\007)p 2884 19455 15 703 v 2681
+19455 a(\007)p 3333 19367 15 616 v 3130 19367 a(\007)p
+2692 20255 1099 15 v 2434 18926 1356 85 v 2434 18794
+V 3783 19455 15 703 v 3580 19455 a(\007)p 4029 23268
+V 4029 22565 15 1617 v 4029 19543 15 703 v 4362 23795
+a Fa(11)4653 23233 y
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (0.99998pt) GD N /S0brk
+S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir
+-1 N /S0dash 0 N /S0adj 1 N end
+ 4653 23233 a 4565 23180 15 615 v
+4362 23180 a Fg(\010)p 4319 21659 254 15 v 4320 21799
+V 4363 22125 15 334 v 4364 21792 a Ff(\010)4364 21862
+y(\000)4362 21511 y(\011)p 4692 21581 15 492 v 4531 21581
+a(\010)4369 20255 y Fc(li)4362 19543 y Fg(\011)5637 23795
+y Fb(])p Fa(10)5574 23093 y
+ slur@Dict begin (2.5pt) GD S0hgt (5.0pt) GD 1.6 (2.5pt) GD M S0dir
+M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 5574 23093 a 5574 23093 a
+ end
+5574 23093 a 5929 23233 a
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (0.99998pt) GD N /S0brk
+S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir
+-1 N /S0dash 0 N /S0adj 1 N end
+ 5929 23233 a 5841 23180 15
+615 v 5638 23180 a Fg(\007)6571 23795 y Fc(7)6476 23093
+y
+ slur@Dict begin (2.5pt) GD S0hgt (5.0pt) GD 1.6 (2.5pt) GD M S0dir
+M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 6476 23093 a 6476 23093 a
+ end
+ 6476 23093 a 6743 23180 15
+615 v 6540 23180 a Fg(\007)p 6497 21659 254 15 v 6498
+21799 V 6541 22196 15 334 v 6542 21862 a Ff(\007)5468
+21652 y(4)p 5595 21659 254 15 v 5800 21652 15 492 v 2
+w(\010)p 7442 23268 15 703 v 7442 22565 15 1617 v 7442
+19543 15 703 v 7806 23708 a Fg(\\)p 7775 23531 15 615
+v 7776 22917 a(\010)7775 21581 y Ff(\010)7606 21933 y(4)p
+7732 21659 254 15 v 7733 21799 V 7734 21940 V 7777 22266
+15 685 v 3 w(\010)p 7936 21581 15 492 v 7775 21581 a(\010)5024
+20255 y Fc(-)920 b(-)g(-)460 b(ce.)p 7978 19631 15 615
+v 7775 19631 a Fg(\010)p 9050 23531 V 9051 22917 a(\010)p
+9008 21659 254 15 v 9009 21799 V 9052 21792 a Ff(\010)p
+9052 22125 15 545 v 9053 21581 a(\010)8881 21441 y(4)p
+9212 21441 15 492 v 1 w(\010)9050 19543 y Fg(>)9741 19455
+y(4)9786 20255 y Fc(P)-10 b(as)p 10156 19455 15 572 v
+10157 19455 a Fg(\()-204 b(\007)10375 20255 y Fc(-)46
+b(so)p 10794 19455 V 10795 19455 a Fg(\()-204 b(\007)p
+11228 23268 15 703 v 11228 22565 15 1617 v 11228 19543
+15 703 v 11764 23268 15 615 v 11561 23268 a(\010)11561
+21581 y Ff(\010)p 11518 21659 254 15 v 11561 22055 15
+474 v 11562 21722 a(\010)p 11722 21370 15 492 v 11561
+21370 a(\007)11344 20255 y Fc(nem)p 11764 19367 15 615
+v 11561 19367 a Fg(\007)p 13942 23005 V 13739 23005 a(\010)p
+13696 21659 254 15 v 13697 21799 V 13740 21862 a Ff(\010)p
+13698 21659 V 13741 22196 15 545 v 13742 21652 a(\010)12294
+21441 y(6)p 12625 21441 15 492 v 1 w(\007)p 13900 21511
+V 13739 21511 a(\010)12078 20255 y Fc(-)90 b(bi)12461
+20415 y Fb(^)12695 20255 y Fc(e)p 12667 19631 15 572
+v 12668 19631 a Fg(\()-204 b(\007)12957 20255 y Fc(pro)p
+13304 19631 V 13305 19631 a Fg(\()g(\007)13543 20255
+y Fc(-)78 b(cel)p 13942 19543 V 13739 19543 a Fg(\007)p
+14580 19455 15 484 v 14377 19455 a(\007)p 14581 19146
+457 85 v 13943 19014 1095 85 v 15029 19543 15 572 v 14826
+19543 a(\007)p 15479 19455 15 616 v 15276 19455 a(\007)p
+15928 19543 15 703 v 15725 19543 a(\007)p 16378 19631
+15 791 v 16175 19631 a(\007)p 15479 19014 1356 85 v 15479
+18882 V 16828 19543 15 703 v 16625 19543 a(\007)p 17073
+23268 V 17073 22565 15 1617 v 17073 19543 15 703 v 14824
+20255 a Fc(-)1353 b(-)17087 23268 y
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 17087 23268 a eop
+end
+userdict /end-hook known{end-hook}if
+%%Trailer
+cleartomark
+countdictstack
+exch sub { end } repeat
+restore
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini2.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini2.eps
new file mode 100644
index 00000000000..a036462b807
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini2.eps
@@ -0,0 +1,2098 @@
+%% LaTeX2e file `eps/caccini2.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-2.0 EPSF-2.0
+%%BoundingBox: 21 94 556 785
+% EPSF created by ps2eps 1.39
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: imp.dvi
+%%CreationDate: Fri Sep 13 09:08:44 2002
+%%PageOrder: Ascend
+%%DocumentFonts: TeXMUSIXSPX-Regular CMTI10 TeXMUSIX20-Regular
+%%+ TeXMUSIX16-Regular CMB10 CMR12 CMR10 CMMI10 CMR9
+%%DocumentPaperSizes: a4
+%%EndComments
+%%BeginProlog
+save
+countdictstack
+mark
+newpath
+/showpage {} def
+/setpagedevice {pop} def%%EndProlog
+%%Page 1 1
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\TEXMF\MIKTEX\BIN\DVIPS.EXE -Ptype1 imp
+%DVIPSParameters: dpi=2540, compressed
+%DVIPSSource: TeX output 2002.09.13:0818
+%!
+/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S
+N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72
+mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0
+0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{
+landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize
+mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[
+matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round
+exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{
+statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0]
+N/FBB[0 0 0 0]N/nn 0 N/IEn 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin
+/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array
+/BitMaps X/BuildChar{CharBuilder}N/Encoding IEn N end A{/foo setfont}2
+array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N
+df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A
+definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get
+}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub}
+B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr
+1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3
+1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx
+0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx
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+gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B
+/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{
+/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{
+A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy
+get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse}
+ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp
+fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17
+{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add
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+1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop}
+forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn
+/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put
+}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{
+bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A
+mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{
+SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{
+userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X
+1000 div/DVImag X/IEn 256 array N 2 string 0 1 255{IEn S A 360 add 36 4
+index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N
+/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/V{}B/RV/v{
+/Ry X/Rx X V}B statusdict begin/product where{pop false[(Display)(NeXT)
+(LaserWriter 16/600)]{A length product length le{A length product exch 0
+exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false}ifelse
+end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot}imagemask
+grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{BDot}
+imagemask grestore}}ifelse B/QV{gsave newpath transform round exch round
+exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 rlineto
+fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B/M{S p
+delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}B/g{0 M}
+B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p -3 w}B/n{
+p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{0 S
+rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+/slur@Dict 200 dict def
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+% align the slur to the staff lines
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+ aa 0 gt { /shift shift neg def } if
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+% and finally draw it...
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+ grestore
+ % now some \slurtext code...
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
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+11 dict begin
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+%!PS-AdobeFont-1.1: CMR10 1.00B
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.00B) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMR10) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+end readonly def
+/FontName /CMR10 def
+/PaintType 0 def
+/FontType 1 def
+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 18 /grave put
+dup 19 /acute put
+dup 39 /quoteright put
+dup 40 /parenleft put
+dup 41 /parenright put
+dup 44 /comma put
+dup 45 /hyphen put
+dup 46 /period put
+dup 48 /zero put
+dup 49 /one put
+dup 53 /five put
+dup 54 /six put
+dup 55 /seven put
+dup 56 /eight put
+dup 58 /colon put
+dup 65 /A put
+dup 80 /P put
+dup 81 /Q put
+dup 84 /T put
+dup 97 /a put
+dup 98 /b put
+dup 99 /c put
+dup 100 /d put
+dup 101 /e put
+dup 102 /f put
+dup 103 /g put
+dup 104 /h put
+dup 105 /i put
+dup 108 /l put
+dup 109 /m put
+dup 110 /n put
+dup 111 /o put
+dup 112 /p put
+dup 113 /q put
+dup 114 /r put
+dup 115 /s put
+dup 116 /t put
+dup 117 /u put
+dup 123 /endash put
+readonly def
+/FontBBox{-251 -250 1009 969}readonly def
+/UniqueID 5000793 def
+currentdict end
+currentfile eexec
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+% Generated by Fontographer 4.1.4
+% converted using TeXtrace 0.45 and modified by T. Uchiyama
+% ADL: 502 498 0
+FontDirectory/TeXMUSIXSPX-Regular known{/TeXMUSIXSPX-Regular findfont dup/UniqueID known{dup
+/UniqueID get 0 eq exch/FontType get 1 eq and}{pop false}ifelse
+{save true}{false}ifelse}{false}ifelse
+20 dict begin
+/FontInfo 16 dict dup begin
+/version (001.000) readonly def
+/FullName (TeXMUSIXSPX-Regular) readonly def
+/FamilyName (TeXMUSIXSPX) readonly def
+/Weight (Regular) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+/UnderlinePosition -300.3 def
+/UnderlineThickness 150.15 def
+/Notice (converted using TeXtrace 0.45 and modified by T. Uchiyama) readonly def
+/em 1000 def
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+end readonly def
+/FontName /TeXMUSIXSPX-Regular def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
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+readonly def
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+%/UniqueID 0 def
+/FontBBox{-810 -5754 9613 5760}readonly def
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+15 474 v 9282 15354 a(\010)p 9440 15213 15 492 v 9279
+15213 a(\007)9115 13957 y Fc(que)p 9482 12982 15 615
+v 9279 12982 a Fg(\007)p 10593 17059 V 10390 17059 a(\007)p
+10551 15143 15 492 v -1916 x Ff(\007)9902 13957 y Fc(-)250
+b(sto)p 10593 13069 15 572 v 10594 13069 a Fg(\()-204
+b(\007)10918 13957 y Fc(m'ac)p 11377 13157 V 11378 13157
+a Fg(\()g(\007)p 11958 16971 15 703 v 11958 16268 15
+1617 v 11958 13245 15 703 v 12569 16707 15 615 v 12366
+16707 a(\010)p 12323 15361 254 15 v -1353 x Ff(\010)p
+12324 15361 V 12325 15502 V 12368 15898 15 545 v 12369
+15565 a(\010)p 12526 15213 15 492 v 12365 15213 a(\010)11914
+13957 y Fc(-)273 b(co)p 12569 13069 15 615 v 12366 13069
+a Fg(\010)p 14138 17059 V 13935 17059 a(\010)p 13892
+15361 254 15 v 13893 15502 V 13936 15495 a Ff(\010)p
+13894 15361 V 13937 15828 15 474 v 13938 15354 a(\010)p
+14096 15143 15 492 v 13935 15143 a(\010)13177 13957 y
+Fc(-)540 b(ra:)p 14138 13157 15 572 v 14139 13157 a Fg(\()-204
+b(\007)14468 13957 y Fc(c)-10 b(h'al)p 14923 13157 V
+14924 13157 a Fg(\()-204 b(\007)15243 13957 y Fc(-)63
+b(tri)p 15708 13157 V 15709 13157 a Fg(\()-204 b(\007)16228
+13957 y Fc(ca)p 16492 13245 V 16493 13245 a Fg(\()g(\007)p
+17073 16971 15 703 v 17073 16268 15 1617 v 17073 13245
+15 703 v 16765 13957 a Fc(-)17087 16971 y
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 17087 16971
+a -1540 22801 18628 15 v -1540 22977 V -1540 23152 V
+-1540 23328 V -1540 23504 V -1540 21184 V -1540 21325
+V -1540 21465 V -1540 21606 V -1540 21746 V -1540 19075
+V -1540 19251 V -1540 19427 V -1540 19603 V -1540 19778
+V -1540 23504 15 4436 v -1716 18761 a Fb(26)-1540 22355
+y Fi(\240)-1540 22970 y Fg(I)-1487 21599 y Ff(G)-1540
+19596 y Fg(G)-960 23321 y(2)-957 21458 y Ff(2)-960 19420
+y Fg(2)p -177 23321 15 615 v -380 23321 a(\007)-381 21810
+y Ff(\010)p -423 21887 254 15 v -380 22284 15 474 v -379
+21950 a(\010)p -219 21669 15 492 v -380 21669 a(\010)-588
+20483 y Fc(deo,)p -177 19859 15 615 v -380 19859 a Fg(\010)p
+816 23321 15 572 v 613 23321 a(\007)817 22750 y(\303)963
+22757 y(\303)p 1518 23409 15 624 v 1315 23409 a(\007)2048
+23760 y(Z)p 2220 23497 15 615 v 2017 23497 a(\010)p 1974
+21887 254 15 v -1547 x Ff(\010)p 2017 22284 15 474 v
+2018 21810 a(\010)p 2178 21599 15 492 v 2017 21599 a(\010)2016
+19771 y Fg(?)2467 20483 y Fc(c)-10 b(h'al)p 2718 19991
+15 572 v 2719 19991 a Fg(-)2719 19420 y(\007)3201 20483
+y Fc(-)21 b(tri)p 3420 19991 V 3421 19991 a Fg(-)3421
+19420 y(\007)4061 20483 y Fc(ca)p 4325 19508 V 4326 19508
+a Fg(\()-204 b(\007)p 4823 23497 15 703 v 4823 22794
+15 1617 v 4823 19771 15 703 v 5392 23233 15 615 v 5189
+23233 a(\010)5188 21739 y Ff(\010)p 5146 21887 254 15
+v 5189 22240 15 501 v 5190 21880 a(\010)p 5350 21599
+15 492 v 5189 21599 a(\007)p 6753 21669 V 6592 21669
+a(\007)4653 20483 y Fc(-)260 b(deo)p 5392 19596 15 572
+v 5393 19596 a Fg(\()-204 b(\007)5761 20483 y Fc(dal)p
+6094 19771 V 6095 19771 a Fg(\()g(\007)6512 20483 y Fc(pa)p
+6796 19771 V 6797 19771 a Fg(\()g(\007)7004 20483 y Fc(-)121
+b(ra)p 7497 19683 V 7498 19683 a Fg(\()-204 b(\007)p
+8199 23233 15 615 v 7996 23233 a(\007)p 7953 21887 254
+15 v 7954 22028 V 7997 22091 a Ff(\010)p 7955 21887 V
+7998 22424 15 545 v 7999 21880 a(\010)p 8157 21739 15
+492 v 7996 21739 a(\007)7696 20483 y Fc(-)141 b(di)p
+8199 19596 15 615 v 7996 19596 a Fg(\007)8988 23848 y
+Fa(11)p 9192 23233 V 8989 23233 a Fg(\007)9222 21557
+y
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (5.20001pt) GD N /S0brk
+S0hgt (2.0pt) GD 1 1 M M A N /S0lift 0 N /S0alt (50.0pt) GDAR N /S0dir
+1 N /S0dash 0 N /S0adj 1 N end
+ 9222 21557 a 9150 21669 15 492 v 8989 21669 a Ff(\007)8559
+20483 y Fc(-)312 b(so)9186 20644 y Fb(^)9420 20483 y
+Fc(an)p 9192 19683 15 791 v 8989 19683 a Fg(\007)p 9687
+19596 15 753 v 9484 19596 a(\007)p 10182 19508 15 714
+v 9979 19508 a(\007)9192 19024 y(\212)9560 18988 y(\212)9192
+18893 y(\212)9560 18856 y(\212)p 10677 19420 15 676 v
+10474 19420 a(\007)p 10968 23497 15 703 v 10968 22794
+15 1617 v 10968 19771 15 703 v 11332 23848 a Fa(11)11624
+23286 y
+ slur@Dict begin CP /S1y1 ED /S1x1 ED /S1hgt (5.99998pt) GD N /S1brk
+S1hgt (2.5pt) GD 1 -1 M M A N /S1lift 0 N /S1alt (0.0pt) GDAR N /S1dir
+-1 N /S1dash 0 N /S1adj 1 N end
+ 11624 23286 a 11536 23233 15 615 v 11333 23233
+a Fg(\010)p 11290 21887 254 15 v -1353 x Ff(\010)p 11291
+21887 V 11292 22028 V 11335 22424 15 545 v 11336 22091
+a(\010)11417 21669 y
+ slur@Dict begin (2.0pt) GD S0hgt (2.0pt) GD 1.6 (2.0pt) GD M S0dir
+M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 11417 21669 a 11417 21669 a
+ end
+ 11417
+21669 a 11494 21669 15 492 v -84 w Ff(\010)10473 20483
+y Fc(-)682 b(co)11332 19596 y Fg(\011)12736 23848 y Fa(10)12673
+23145 y
+ slur@Dict begin (2.5pt) GD S1hgt (10.0pt) GD 1.6 (2.5pt) GD M S1dir
+M A S1x1 S1y1 CP (4.00002pt) GDAR S1dir M SB 0.7 S1dir M 0.17 40 S1dash
+S1adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 12673 23145 a 12673 23145 a
+ end
+ 12673 23145 a 13028
+23286 a
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (5.99998pt) GD N /S0brk
+S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir
+-1 N /S0dash 0 N /S0adj 1 N end
+ 13028 23286 a 12940 23233 15 615 v 12737 23233
+a Fg(\007)13761 23848 y Fc(7)13666 23145 y
+ slur@Dict begin (2.5pt) GD S0hgt (10.0pt) GD 1.6 (2.5pt) GD M S0dir
+M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 13666 23145
+a 13666 23145 a
+ end
+ 13666 23145 a 13933 23233 15 615 v 13730
+23233 a Fg(\007)p 12694 21887 254 15 v 12695 22028 V
+12738 22091 a Ff(\010)p 12738 22424 15 685 v 12739 21739
+a(\010)p 12863 21887 254 15 v 13068 21880 15 492 v 12907
+21880 a(\007)p 13687 21887 254 15 v 13892 21950 15 493
+v 13731 21950 a(\007)p 14722 23497 15 703 v 14722 22794
+15 1617 v 14722 19771 15 703 v 15087 23585 a Fg(\011)p
+15045 21887 296 15 v 15046 22028 V 15089 22021 a Ff(\011)15087
+21669 y(\011)12109 20483 y Fc(-)1011 b(-)g(-)505 b(ra.)15087
+19683 y Fg(\011)p 17073 23497 15 703 v 17073 22794 15
+1617 v 17073 19771 15 703 v 17087 23497 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 17087 23497
+a eop end
+userdict /end-hook known{end-hook}if
+%%Trailer
+cleartomark
+countdictstack
+exch sub { end } repeat
+restore
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini3.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini3.eps
new file mode 100644
index 00000000000..cd112da32f5
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini3.eps
@@ -0,0 +1,2057 @@
+%% LaTeX2e file `eps/caccini3.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-2.0 EPSF-2.0
+%%BoundingBox: 21 94 556 785
+% EPSF created by ps2eps 1.39
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: imp.dvi
+%%CreationDate: Fri Sep 13 09:08:44 2002
+%%PageOrder: Ascend
+%%DocumentFonts: TeXMUSIXSPX-Regular CMTI10 TeXMUSIX20-Regular
+%%+ TeXMUSIX16-Regular CMB10 CMR12 CMR10 CMMI10 CMR9
+%%DocumentPaperSizes: a4
+%%EndComments
+%%BeginProlog
+save
+countdictstack
+mark
+newpath
+/showpage {} def
+/setpagedevice {pop} def%%EndProlog
+%%Page 1 1
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\TEXMF\MIKTEX\BIN\DVIPS.EXE -Ptype1 imp
+%DVIPSParameters: dpi=2540, compressed
+%DVIPSSource: TeX output 2002.09.13:0818
+%!
+/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S
+N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72
+mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0
+0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{
+landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize
+mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[
+matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round
+exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{
+statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0]
+N/FBB[0 0 0 0]N/nn 0 N/IEn 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin
+/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array
+/BitMaps X/BuildChar{CharBuilder}N/Encoding IEn N end A{/foo setfont}2
+array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N
+df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A
+definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get
+}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub}
+B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr
+1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3
+1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx
+0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx
+sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{
+rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp
+gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B
+/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{
+/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{
+A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy
+get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse}
+ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp
+fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17
+{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add
+chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{
+1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop}
+forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn
+/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put
+}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{
+bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A
+mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{
+SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{
+userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X
+1000 div/DVImag X/IEn 256 array N 2 string 0 1 255{IEn S A 360 add 36 4
+index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N
+/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/V{}B/RV/v{
+/Ry X/Rx X V}B statusdict begin/product where{pop false[(Display)(NeXT)
+(LaserWriter 16/600)]{A length product length le{A length product exch 0
+exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false}ifelse
+end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot}imagemask
+grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{BDot}
+imagemask grestore}}ifelse B/QV{gsave newpath transform round exch round
+exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 rlineto
+fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B/M{S p
+delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}B/g{0 M}
+B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p -3 w}B/n{
+p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{0 S
+rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+/slur@Dict 200 dict def
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+% align the slur to the staff lines
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+ aa 0 gt { /shift shift neg def } if
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+% and finally draw it...
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+ grestore
+ % now some \slurtext code...
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+% differenced line
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+dup 53 /fiveoldstyle put
+dup 54 /sixoldstyle put
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+%!PS-AdobeFont-1.1: CMR10 1.00B
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
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+/FullName (CMR10) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+end readonly def
+/FontName /CMR10 def
+/PaintType 0 def
+/FontType 1 def
+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 18 /grave put
+dup 19 /acute put
+dup 39 /quoteright put
+dup 40 /parenleft put
+dup 41 /parenright put
+dup 44 /comma put
+dup 45 /hyphen put
+dup 46 /period put
+dup 48 /zero put
+dup 49 /one put
+dup 53 /five put
+dup 54 /six put
+dup 55 /seven put
+dup 56 /eight put
+dup 58 /colon put
+dup 65 /A put
+dup 80 /P put
+dup 81 /Q put
+dup 84 /T put
+dup 97 /a put
+dup 98 /b put
+dup 99 /c put
+dup 100 /d put
+dup 101 /e put
+dup 102 /f put
+dup 103 /g put
+dup 104 /h put
+dup 105 /i put
+dup 108 /l put
+dup 109 /m put
+dup 110 /n put
+dup 111 /o put
+dup 112 /p put
+dup 113 /q put
+dup 114 /r put
+dup 115 /s put
+dup 116 /t put
+dup 117 /u put
+dup 123 /endash put
+readonly def
+/FontBBox{-251 -250 1009 969}readonly def
+/UniqueID 5000793 def
+currentdict end
+currentfile eexec
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+% Generated by Fontographer 4.1.4
+% converted using TeXtrace 0.45 and modified by T. Uchiyama
+% ADL: 502 498 0
+FontDirectory/TeXMUSIXSPX-Regular known{/TeXMUSIXSPX-Regular findfont dup/UniqueID known{dup
+/UniqueID get 0 eq exch/FontType get 1 eq and}{pop false}ifelse
+{save true}{false}ifelse}{false}ifelse
+20 dict begin
+/FontInfo 16 dict dup begin
+/version (001.000) readonly def
+/FullName (TeXMUSIXSPX-Regular) readonly def
+/FamilyName (TeXMUSIXSPX) readonly def
+/Weight (Regular) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+/UnderlinePosition -300.3 def
+/UnderlineThickness 150.15 def
+/Notice (converted using TeXtrace 0.45 and modified by T. Uchiyama) readonly def
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+end readonly def
+/FontName /TeXMUSIXSPX-Regular def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
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+readonly def
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+%/UniqueID 0 def
+/FontBBox{-810 -5754 9613 5760}readonly def
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+15 703 v 8099 14204 a Fc(-)1257 b(-)g(-)f(-)h(-)g(-)g(-)17087
+17217 y
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 17087 17217 a -1540 22801 18628 15 v -1540 22977
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+23848 a Fa(11)10159 23286 y
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+10029 21669 15 492 v 9868 21669 a(\010)9867 19596 y Fg(\011)11591
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+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 11528 23145 a 11528 23145
+a
+ end
+ 11528 23145 a 11883 23286 a
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (5.99998pt) GD N /S0brk
+S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir
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+ 11883 23286 a 11795 23233
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+16915 23497 15 703 v 16915 22794 15 1617 v 16915 19771
+15 703 v 16982 23497 106 703 v 16982 22794 106 1617 v
+16982 19771 106 703 v 17087 23497 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 17087 23497 a eop
+end
+userdict /end-hook known{end-hook}if
+%%Trailer
+cleartomark
+countdictstack
+exch sub { end } repeat
+restore
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/chords.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/chords.eps
new file mode 100644
index 00000000000..05abb30922f
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/chords.eps
@@ -0,0 +1,710 @@
+%% LaTeX2e file `eps/chords.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: chords.dvi
+%%CreationDate: Sun Sep 28 15:39:31 2003
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 20 706 453 793
+%%DocumentFonts: TeXMUSIXSPX-Regular TeXMUSIX16-Regular
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE chords.dvi
+%DVIPSParameters: dpi=600, compressed
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
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+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
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+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
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+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
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+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
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+ drawseg
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+ drawseg
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+ drawseg
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+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
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+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+ /ax1 exch def
+} def
+
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+ 1 setlinejoin
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+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
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+ gsave
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+ stroke
+ grestore
+} def
+
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+
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+ gsave
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+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
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+ stroke
+ grestore
+} def
+
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+
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+ stroke
+ grestore
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+%%EndFont
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+@start /Fa 172[66 8[93 106 93 21[40 39[0 0 0 0 7[{}9
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+3[37 1[37 12[62 35[42 50[{}8 83.022 /CMR10 rf end
+%%EndProlog
+%%BeginSetup
+%%Feature: *Resolution 600dpi
+TeXDict begin
+%%PaperSize: A4
+ end
+%%EndSetup
+%%Page: 1 1
+TeXDict begin 1 0 bop 342 -35 2823 4 v 342 -2 V 342 31
+V 342 64 V 342 98 V -291 58 a Fb(2)27 b(Violoncelli)342
+-4 y Fa(I)451 63 y(2)485 13 y(2)518 79 y(2)561 29 y(S)p
+786 46 4 117 v 748 46 a(\007)748 112 y(\011)940 63 y(H)p
+1071 46 V -17 x(\007)p 1356 13 4 110 v 1318 13 a(\007)p
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+4 135 v 1992 156 4 110 v 1993 46 a(\010)2184 63 y(H)p
+2315 96 4 117 v 33 x(\007)p 2600 46 V 2562 46 a(\007)p
+2885 96 V 2847 96 a(\007)2562 129 y(\012)p 3131 98 4
+135 v 3145 98 20 135 v 3165 262 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3165 262 a eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/clefnot.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/clefnot.eps
new file mode 100644
index 00000000000..22977d579e0
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/clefnot.eps
@@ -0,0 +1,764 @@
+%% LaTeX2e file `eps/clefnot.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: clefnot.dvi
+%%CreationDate: Wed Jan 21 13:53:18 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 740 483 782
+%%DocumentFonts: TeXMUSIX16-Regular CMTT10
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE clefnot.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2004.01.21:1353
+%%BeginProcSet: texc.pro
+%!
+/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S
+N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72
+mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0
+0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{
+landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize
+mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[
+matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round
+exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{
+statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0]
+N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin
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+definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
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+ 1 setlinejoin
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+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
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+%%CreationDate: 1992 Apr 26 10:42:42
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new file mode 100644
index 00000000000..9de66bfc8ef
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/cslurs1k.eps
@@ -0,0 +1,741 @@
+%% LaTeX2e file `eps/cslurs1k.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
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+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: cslurs1k.dvi
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+%%Pages: 1
+%%PageOrder: Ascend
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+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE cslurs1k.dvi
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+ /x1 ED % x coordinate of the beginning of the slur
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+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
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+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
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+%%CreationDate: 1992 Feb 19 19:54:52
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
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+%%EndFont
+%%BeginFont: TeXXSLU16-Regular
+%!PS-AdobeFont-1.0: TeXXSLU16-Regular 001.000
+%%CreationDate: 01-07-22 at 23.16
+%%VMusage: 1024 39962
+% Generated by Fontographer 4.1.4
+% converted using TeXtrace 0.45 and modified by T. Uchiyama
+% ADL: 998 2 0
+%%EndComments
+FontDirectory/TeXXSLU16-Regular known{/TeXXSLU16-Regular findfont dup/UniqueID known{dup
+/UniqueID get 0 eq exch/FontType get 1 eq and}{pop false}ifelse
+{save true}{false}ifelse}{false}ifelse
+20 dict begin
+/FontInfo 16 dict dup begin
+/version (001.000) readonly def
+/FullName (TeXXSLU16-Regular) readonly def
+/FamilyName (TeXXSLU16) readonly def
+/Weight (Regular) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+/UnderlinePosition -200 def
+/UnderlineThickness 100 def
+/Notice (converted using TeXtrace 0.45 and modified by T. Uchiyama) readonly def
+/em 1000 def
+/ascent 998 def
+/descent 2 def
+end readonly def
+/FontName /TeXXSLU16-Regular def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 165 /ecaron put
+readonly def
+/PaintType 0 def
+/FontType 1 def
+/StrokeWidth 0 def
+/FontMatrix[0.001 0 0 0.001 0 0]readonly def
+%/UniqueID 0 def
+/FontBBox{-2126 -345 2126 1062}readonly def
+currentdict end
+currentfile eexec
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+%%Trailer
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/cslurs2k.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/cslurs2k.eps
new file mode 100644
index 00000000000..9ddd2c41872
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/cslurs2k.eps
@@ -0,0 +1,748 @@
+%% LaTeX2e file `eps/cslurs2k.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: cslurs2k.dvi
+%%CreationDate: Wed Jan 21 13:55:16 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 718 312 801
+%%DocumentFonts: TeXMUSIX16-Regular CMR10
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE cslurs2k.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2004.01.21:1355
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+% This file can be used instead of psslurs.pro, it is only commented
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+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
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+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
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+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
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+ rlineto rulex neg 0 rlineto fill grestore} def
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+
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+% get dimen adjusted to Resolution
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+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
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+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
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+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
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+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
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+
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+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
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+ 3 VS
+ drawseg
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+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
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+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
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+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
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+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
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+ /x1 ED
+ gsave
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+ 1 setlinecap
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+ stroke
+ grestore
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+
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+
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+ stroke
+ grestore
+} def
+
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+
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+ stroke
+ grestore
+} def
+
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+
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+ stroke
+ grestore
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+
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+%!PS-AdobeFont-1.1: CMR10 1.00B
+%%CreationDate: 1992 Feb 19 19:54:52
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.00B) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMR10) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
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+/isFixedPitch false def
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+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
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new file mode 100644
index 00000000000..524b53cb89c
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/diabolica.eps
@@ -0,0 +1,1147 @@
+%% LaTeX2e file `eps/diabolica.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: diabolica.dvi
+%%CreationDate: Wed Jan 21 13:56:46 2004
+%%Pages: 1
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+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE diabolica.dvi
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+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
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+
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+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
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+ rlineto rulex neg 0 rlineto fill grestore} def
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+
+TeXDict begin
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+% get dimen adjusted to Resolution
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+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
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+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
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+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+%!PS-AdobeFont-1.1: CMBXTI10 1.0
+%%CreationDate: 1991 Aug 18 17:46:30
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+/FullName (CMBXTI10) readonly def
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+/ItalicAngle -14.04 def
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+/FontName /CMBXTI10 def
+/PaintType 0 def
+/FontType 1 def
+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 112 /p put
+readonly def
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+/UniqueID 5000771 def
+currentdict end
+currentfile eexec
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+%!PS-AdobeFont-1.0: TeXMUSIXSPX-Regular 001.000
+%%CreationDate: 01-07-22 at 22.39
+%%VMusage: 1024 69400
+% Generated by Fontographer 4.1.4
+% converted using TeXtrace 0.45 and modified by T. Uchiyama
+% ADL: 502 498 0
+%%EndComments
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+/UniqueID get 0 eq exch/FontType get 1 eq and}{pop false}ifelse
+{save true}{false}ifelse}{false}ifelse
+20 dict begin
+/FontInfo 16 dict dup begin
+/version (001.000) readonly def
+/FullName (TeXMUSIXSPX-Regular) readonly def
+/FamilyName (TeXMUSIXSPX) readonly def
+/Weight (Regular) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+/UnderlinePosition -300.3 def
+/UnderlineThickness 150.15 def
+/Notice (converted using TeXtrace 0.45 and modified by T. Uchiyama) readonly def
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+end readonly def
+/FontName /TeXMUSIXSPX-Regular def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
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+readonly def
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+/FontMatrix[0.001 0 0 0.001 0 0]readonly def
+%/UniqueID 0 def
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+75 y(Ob)r(o)r(e)68 677 y Fc(I)68 411 y(G)68 79 y(G)247
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+636 395 4 117 v 598 395 a(\007)-3 -153 y Fa(Allegro)212
+229 y Fb(p)p 247 162 V 248 46 a Fc(\007)248 29 y(\000)621
+3 y
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+1 N /S0dash 0 N /S0adj 0 N end
+ 621 3 a 558 29 a Fc(4)p 598 137 4 108 v 1 w(\007)735
+13 y
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+ 735 13 a 735 13 a
+ end
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+134 y(\202)p 715 131 4 119 v 716 13 a(\007)p 832 778
+4 799 v 895 793 4 117 v 896 677 a(\007)1152 684 y
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+1 N /S0dash 0 N /S0adj 0 N end
+ 1152
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+ slur@Dict begin (2.0pt) GD S0hgt (12.0pt) GD 1.6 (2.0pt) GD M S0dir
+M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+
+1266 677 a 1266 677 a
+ end
+ 1266 677 a -60 w Fc(4)1130 818
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+y(4)934 320 y(\332)985 333 y(\332)p 1002 479 60 4 v 1050
+477 4 129 v 1012 477 a(\007)1129 445 y(>)918 106 y
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+-1 N /S0dash 0 N /S0adj 0 N end
+ 918
+106 a 855 79 a Fc(4)p 933 79 4 117 v(\007)895 63 y(\000)1266
+79 y
+ slur@Dict begin (2.0pt) GD S0hgt (4.0pt) GD 1.6 (2.0pt) GD M S0dir
+M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 1266 79 a 1266 79 a
+ end
+ 1266 79 a 1246 63 a Fc(\031)p
+1284 63 4 108 v 39 w(\()-39 b(\007)p 1363 778 4 799 v
+1489 787 a
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (-1.20001pt) GD N /S0brk
+S0hgt (2.0pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (20.0pt) GDAR N /S0dir
+-1 N /S0dash 0 N /S0adj 0 N end
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+1426 112 V -382 x(\007\000)1592 727 y(\031)1552 710 y(4)p
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+1747 694 4 98 v 1709 694 a(\007)1709 112 y(?)p 1826 778
+4 799 v 1869 793 a
+ slur@Dict begin (2.0pt) GD S0hgt (-2.0pt) GD 1.6 (2.0pt) GD M S0dir
+M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 1869 793 a 1869 793 a
+ end
+ 1869 793 a 1888
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+y(\033)g(4)p 1927 96 V(\007)2054 777 y(>)235 b(>)2054
+445 y(>)g(?)2077 19 y
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (11.20001pt) GD N /S0brk
+S0hgt (2.0pt) GD 1 1 M M A N /S0lift 0 N /S0alt (100.0pt) GDAR N /S0dir
+1 N /S0dash 0 N /S0adj 0 N end
+ 2077 19 a 2014 46 a Fc(2)p 2054
+154 4 108 v 2055 154 a(-)2055 46 y(\007)2191 96 y
+ slur@Dict begin (2.0pt) GD S0hgt (2.0pt) GD 1.6 (2.0pt) GD M S0dir
+M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 2191
+96 a 2191 96 a
+ end
+ 2191 96 a -20 w Fc(\031)p 2210 79 4 108
+v 2211 79 a(\()-39 b(\007)2312 -14 y
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (15.20001pt) GD N /S0brk
+S0hgt (2.0pt) GD 1 1 M M A N /S0lift 0 N /S0alt (100.0pt) GDAR N /S0dir
+1 N /S0dash 0 N /S0adj 0 N end
+ 2312 -14 a 2289
+129 4 117 v 2290 13 a Fc(\007)2290 -4 y(\000)2488 777
+y(>)2366 378 y(2)p 2406 494 V 1 w(\007)2711 770 y
+ slur@Dict begin CP /S1y1 ED /S1x1 ED /S1hgt (0.79999pt) GD N /S1brk
+S1hgt (2.0pt) GD 1 -1 M M A N /S1lift 0 N /S1alt (20.0pt) GDAR N /S1dir
+-1 N /S1dash 0 N /S1adj 0 N end
+ 2711
+770 a 2648 743 a Fc(6)p 2726 743 4 108 v(\007)2825 727
+y
+ slur@Dict begin (2.0pt) GD S1hgt (6.0pt) GD 1.6 (2.0pt) GD M S1dir
+M A S1x1 S1y1 CP (3.20001pt) GDAR S1dir M SB 1 S1dir M 0.17 40 S1dash
+S1adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 2825 727 a 2825 727 a
+ end
+ 2825 727 a -60 w Fc(4)2727 636
+y(\202)2779 633 y(\202)p 2843 727 4 98 v 2805 727 a(\007)2571
+445 y(?)77 b(2)p 2726 445 4 117 v(\007)2591 13 y
+ slur@Dict begin (2.0pt) GD S0hgt (12.0pt) GD 1.6 (2.0pt) GD M S0dir
+M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 2591
+13 a 2591 13 a
+ end
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+4 117 v 3281 777 a(\010)3280 328 y(\036)p 3319 428 V
+3281 428 a(\010)3280 212 y
+ slur@Dict begin CP /C3y1 ED /C3x1 ED /C3alt (88.0pt) GD N /C3dir 0
+N end
+ 3280 212 a -216 x Fc(\036)p
+3280 146 4 117 v 3281 29 a(\010)3515 777 y(>)3515 445
+y(>)3515 112 y(?)3632 96 y(\031)p 3670 96 4 108 v 39
+w(\()g(\007)p 3787 727 4 117 v 3749 727 a(\010)3749 411
+y(\010)3709 445 y(2)p 3787 445 4 150 v(\010)3749 212
+y
+ slur@Dict begin C3x1 C3y1 CP 4 C3dir R DC end
+ 3749 212 a -216 x Fc(\036)p 3749 162 4 117 v 3750 46
+a(\010)p 3983 778 4 799 v 3987 943 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3987 943 a eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dottedslur.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dottedslur.eps
new file mode 100644
index 00000000000..b3d32775f33
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dottedslur.eps
@@ -0,0 +1,596 @@
+%% LaTeX2e file `eps/dottedslur.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: slurs.dvi
+%%CreationDate: Sun Sep 28 16:03:13 2003
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 751 312 783
+%%DocumentFonts: TeXMUSIX16-Regular
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE slurs.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2003.09.28:1603
+%%BeginProcSet: texc.pro
+%!
+/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S
+N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72
+mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0
+0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{
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+mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[
+matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round
+exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{
+statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0]
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+definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
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+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
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+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
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+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
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+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
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+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
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+
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+ drawseg
+ -2 VS
+ drawseg
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+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
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+
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+ y1 s cos mul x1 s sin mul sub
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+ end
+
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+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+} def
+
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+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
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+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
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+ grestore
+} def
+
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+
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+ stroke
+ grestore
+} def
+
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+
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+
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dufay.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dufay.eps
new file mode 100644
index 00000000000..b0782a6cf41
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dufay.eps
@@ -0,0 +1,1201 @@
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+definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get
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+%!
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+index/UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll
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+exch def dict begin Encoding{exch dup type/integertype ne{pop pop 1 sub
+dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def}
+ifelse}forall Metrics/Metrics currentdict end def[2 index currentdict
+end definefont 3 -1 roll makefont/setfont cvx]cvx def}def/ObliqueSlant{
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+roll mul exch}def/ReEncodeFont{CharStrings rcheck{/Encoding false def
+dup[exch{dup CharStrings exch known not{pop/.notdef/Encoding true def}
+if}forall Encoding{]exch pop}{cleartomark}ifelse}if/Encoding exch def}
+def end
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+% Generated by Fontographer 4.1.4
+% converted using TeXtrace 0.45 and modified by T. Uchiyama
+% ADL: 505 495 0
+FontDirectory/TeXXSLZ20-Regular known{/TeXXSLZ20-Regular findfont dup/UniqueID known{dup
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+{save true}{false}ifelse}{false}ifelse
+20 dict begin
+/FontInfo 16 dict dup begin
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+/ItalicAngle 0 def
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+/Notice (converted using TeXtrace 0.45 and modified by T. Uchiyama) readonly def
+/em 1000 def
+/ascent 505 def
+/descent 495 def
+end readonly def
+/FontName /TeXXSLZ20-Regular def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 65 /A put
+readonly def
+/PaintType 0 def
+/FontType 1 def
+/StrokeWidth 0 def
+/FontMatrix[0.001 0 0 0.001 0 0]readonly def
+%/UniqueID 0 def
+/FontBBox{-5505 -461 5505 467}readonly def
+currentdict end
+currentfile eexec
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+cleartomark{restore}if
+%!PS-AdobeFont-1.1: CMMI10 1.100
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.100) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMMI10) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
+/ItalicAngle -14.04 def
+/isFixedPitch false def
+end readonly def
+/FontName /CMMI10 def
+/PaintType 0 def
+/FontType 1 def
+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 49 /oneoldstyle put
+dup 50 /twooldstyle put
+dup 51 /threeoldstyle put
+dup 53 /fiveoldstyle put
+dup 55 /sevenoldstyle put
+dup 57 /nineoldstyle put
+readonly def
+/FontBBox{-32 -250 1048 750}readonly def
+/UniqueID 5087385 def
+currentdict end
+currentfile eexec
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+cleartomark
+%!PS-AdobeFont-1.1: CMR12 1.0
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.0) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMR12) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+end readonly def
+/FontName /CMR12 def
+/PaintType 0 def
+/FontType 1 def
+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 40 /parenleft put
+dup 41 /parenright put
+dup 48 /zero put
+dup 49 /one put
+dup 52 /four put
+dup 55 /seven put
+dup 63 /question put
+dup 68 /D put
+dup 71 /G put
+dup 97 /a put
+dup 101 /e put
+dup 102 /f put
+dup 105 /i put
+dup 108 /l put
+dup 109 /m put
+dup 117 /u put
+dup 121 /y put
+dup 123 /endash put
+readonly def
+/FontBBox{-34 -251 988 750}readonly def
+/UniqueID 5000794 def
+currentdict end
+currentfile eexec
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/grace.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/grace.eps
new file mode 100644
index 00000000000..0ea3e9502b3
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/grace.eps
@@ -0,0 +1,758 @@
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+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
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+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: grace.dvi
+%%CreationDate: Sun Sep 28 15:50:01 2003
+%%Pages: 1
+%%PageOrder: Ascend
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+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE grace.dvi
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+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
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+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
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+ }
+ {
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+ } if
+
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+
+ gsave
+ x1 y1 translate
+ s rotate
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+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
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+ pop
+ grestore
+
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+ /shift 0 def
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+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
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+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
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+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
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+ drawseg
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+
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+ /ax1 exch def
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+ grestore
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+
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+ /x2 ED
+ /y1 ED
+ /x1 ED
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+ 1 setlinecap
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+ stroke
+ grestore
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+ grestore
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+ grestore
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+%%EndFont
+%%BeginFont: CMR10
+%!PS-AdobeFont-1.1: CMR10 1.00B
+%%CreationDate: 1992 Feb 19 19:54:52
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.00B) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMR10) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+end readonly def
+/FontName /CMR10 def
+/PaintType 0 def
+/FontType 1 def
+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 73 /I put
+dup 86 /V put
+dup 97 /a put
+dup 99 /c put
+dup 101 /e put
+dup 105 /i put
+dup 108 /l put
+dup 110 /n put
+dup 111 /o put
+readonly def
+/FontBBox{-251 -250 1009 969}readonly def
+/UniqueID 5000793 def
+currentdict end
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index 00000000000..2662f8781db
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpbeam.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpbeam.eps
new file mode 100644
index 00000000000..c522bb73a97
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpbeam.eps
@@ -0,0 +1,724 @@
+%% LaTeX2e file `eps/jumpbeam.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: jumpbeam.dvi
+%%CreationDate: Sun Sep 28 15:50:20 2003
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 20 699 453 793
+%%DocumentFonts: TeXMUSIXSPX-Regular TeXMUSIX16-Regular
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE jumpbeam.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2003.09.28:1550
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
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+% get dimen adjusted to Resolution
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+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
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+/ED { exch def } bind def
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+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
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+/drawseg { 0 0 moveto
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+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+S0hgt (2.0pt) GD 1 1 M M A N /S0lift 0 N /S0alt (48.0pt) GDAR N /S0dir
+1 N /S0dash 0 N /S0adj 0 N end
+ -44 -113 a -77 -52 60 4 v -77 -85
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+4 152 v 824 428 a(\007)p 995 347 60 4 v 1043 345 4 78
+v 1005 345 a(\007)p 1224 428 4 170 v 1186 428 a(\007)p
+1404 461 4 212 v 1366 461 a(\007)1590 400 y
+ slur@Dict begin /S-1alt (0.0pt) GDAR N CP /T1y1 ED /T1x1 ED /T1hgt
+(13.4pt) GD N /T1dir -1 N /T1dash 0 N /T1adj 0 N end
+ 1590 400
+a 1585 378 4 138 v 1547 378 a Fa(\007)242 46 y(2\010)282
+63 y(\000)242 -70 y(2)p 272 -52 60 4 v 282 162 4 233
+v 1 w(\010\000)1386 -54 y
+ slur@Dict begin (2.0pt) GD S0hgt (20.0pt) GD 1.6 (2.0pt) GD M S0dir
+M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 1386 -54 a 1386 -54 a
+ end
+ 1386
+-54 a 1366 63 a Fa(\007)p 1356 -52 60 4 v 1366 172 4
+227 v 1367 -54 a(\007)322 -4 y(\011)p 1728 513 4 534
+v 1814 511 a
+ slur@Dict begin (2.0pt) GD T1hgt DP T1x1 T1y1 CP P T1y1 0.7 T1dir
+M 0.14 30 T1dash T1adj 40 DS end
+ 1814 511 a 1821 428 a Fa(\010\000)p 1811
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+112 y(?)2906 511 y(>)2906 29 y(\007)p 2896 -52 60 4 v
+2896 -85 V 2906 146 4 233 v 2907 -87 a(\007)p 3161 513
+4 534 v 3165 511 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3165 511 a eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpslur.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpslur.eps
new file mode 100644
index 00000000000..14b3e5a62c7
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpslur.eps
@@ -0,0 +1,948 @@
+%% LaTeX2e file `eps/jumpslur.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: jumpslur.dvi
+%%CreationDate: Wed Jan 21 13:58:18 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 698 510 782
+%%DocumentFonts: TeXMUSIXSPX-Regular CMR10 TeXMUSIX16-Regular CMTI10
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE jumpslur.dvi
+%DVIPSParameters: dpi=600, compressed
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
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+
+TeXDict begin
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+% get dimen adjusted to Resolution
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+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
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+/M { mul } def
+/A { add } def
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+/P { pop } def
+/DP { dup } def
+/R { roll } def
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+/drawseg { 0 0 moveto
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+ x2 0 curveto } def
+
+/DS {
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+ /ifadjust ED
+ /ifdash ED
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+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
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+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
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+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
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+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
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+ 3 VS
+ drawseg
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+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
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+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
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+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
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+%!PS-AdobeFont-1.1: CMR10 1.00B
+%%CreationDate: 1992 Feb 19 19:54:52
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
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+/Weight (Medium) readonly def
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+dup 97 /a put
+dup 105 /i put
+dup 110 /n put
+dup 111 /o put
+readonly def
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+currentdict end
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+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
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+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
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+ 3 VS
+ drawseg
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+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+ /ax1 exch def
+} def
+
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+ 1 setlinejoin
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+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
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+ /y1 ED
+ /x1 ED
+ gsave
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+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
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+
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+ gsave
+ GDAR ceiling setlinewidth
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+ stroke
+ grestore
+} def
+
+% sloped line
+
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+ gsave
+ GDAR ceiling setlinewidth
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+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
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+ stroke
+ grestore
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+
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs1.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs1.eps
new file mode 100644
index 00000000000..51ca3beb4e4
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs1.eps
@@ -0,0 +1,707 @@
+%% LaTeX2e file `eps/kslurs1.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: kslurs1.dvi
+%%CreationDate: Wed Jan 21 13:59:24 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 735 312 782
+%%DocumentFonts: TeXMUSIX16-Regular CMTT10
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE kslurs1.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2004.01.21:1359
+%%BeginProcSet: texc.pro
+%!
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+%%EndProcSet
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+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
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+ } if
+
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+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
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+ 0 setlinejoin
+ ifdash 1 eq
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+ drawseg
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+ end
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+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+%%Feature: *Resolution 600dpi
+TeXDict begin
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+ end
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+TeXDict begin 1 0 bop -364 -35 2350 4 v -364 -2 V -364
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+S0hgt (2.0pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (20.0pt) GDAR N /S0dir
+-1 N /S0dash 0 N /S0adj 0 N end
+ -155
+122 a -178 279 a Fa(\()131 b(\))p -140 96 4 117 v -178
+96 a Fb(\007)30 63 y
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+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 30 63 a 30 63 a
+ end
+ 30 63 a 49 63 4
+117 v -19 w Fb(\007)p 198 98 4 135 v 291 122 a
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (-3.20001pt) GD N /S0brk
+S0hgt (2.0pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (20.0pt) GDAR N /S0dir
+-1 N /S0dash 0 N /S0adj 0 N end
+ 291 122
+a 268 279 a Fa(\(f)43 b(\))p 306 96 4 117 v 268 96 a
+Fb(\007)476 63 y
+ slur@Dict begin (2.0pt) GD S0hgt (4.0pt) GD 1.6 (2.0pt) GD M S0dir
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+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 476 63 a 476 63 a
+ end
+ 476 63 a 495 63 4
+117 v -19 w Fb(\007)p 644 98 4 135 v 737 122 a
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (-3.20001pt) GD N /S0brk
+S0hgt (2.0pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (20.0pt) GDAR N /S0dir
+-1 N /S0dash 0 N /S0adj 0 N end
+ 737 122
+a 714 279 a Fa(\(h)g(\))p 752 96 4 117 v 714 96 a Fb(\007)922
+63 y
+ slur@Dict begin (2.0pt) GD S0hgt (4.0pt) GD 1.6 (2.0pt) GD M S0dir
+M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1.6 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 922 63 a 922 63 a
+ end
+ 922 63 a 941 63 4 117 v -19 w
+Fb(\007)p 1090 98 4 135 v 1183 122 a
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (-3.20001pt) GD N /S0brk
+S0hgt (2.0pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (20.0pt) GDAR N /S0dir
+-1 N /S0dash 0 N /S0adj 0 N end
+ 1183 122 a 1160
+279 a Fa(\(hh)g(\))p 1198 96 4 117 v 1160 96 a Fb(\007)1368
+63 y
+ slur@Dict begin (2.0pt) GD S0hgt (4.0pt) GD 1.6 (2.0pt) GD M S0dir
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+ 1368 63 a 1368 63 a
+ end
+ 1368 63 a 1387 63 4 117 v -19
+w Fb(\007)p 1536 98 4 135 v 1629 122 a
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (-3.20001pt) GD N /S0brk
+S0hgt (2.0pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (20.0pt) GDAR N /S0dir
+-1 N /S0dash 0 N /S0adj 0 N end
+ 1629 122 a 1606
+279 a Fa(\(HH)g(\))p 1644 96 4 117 v 1606 96 a Fb(\007)1814
+63 y
+ slur@Dict begin (2.0pt) GD S0hgt (4.0pt) GD 1.6 (2.0pt) GD M S0dir
+M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 2.8 S0dir M 0.13 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 1814 63 a 1814 63 a
+ end
+ 1814 63 a 1833 63 4 117 v -19
+w Fb(\007)p 1982 98 4 135 v 1986 262 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 1986 262 a eop
+end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs2.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs2.eps
new file mode 100644
index 00000000000..6a6b22473ed
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs2.eps
@@ -0,0 +1,727 @@
+%% LaTeX2e file `eps/kslurs2.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: kslurs2.dvi
+%%CreationDate: Wed Jan 21 13:59:47 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 734 312 782
+%%DocumentFonts: TeXMUSIX16-Regular CMTT10
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE kslurs2.dvi
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurtweaks.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurtweaks.eps
new file mode 100644
index 00000000000..cbe2741c41f
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurtweaks.eps
@@ -0,0 +1,747 @@
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+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
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+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: kslurtweaks.dvi
+%%CreationDate: Wed Jan 21 14:00:21 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 736 440 782
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+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE kslurtweaks.dvi
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+%
+% VERSION: 1.0
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+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
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+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
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+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
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+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
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+ s aa mul 0 lt {
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+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
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+ } ifelse
+ } if
+
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+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
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+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
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+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
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+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
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+ 0 setlinejoin
+ ifdash 1 eq
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+ drawseg
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+ x2 80 AR gt {
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+ drawseg
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+ stroke
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+ grestore
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+
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+ y1 s cos mul x1 s sin mul sub
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+ end
+
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+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+ /ax1 exch def
+} def
+
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+ grestore
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+
+% half crescendos
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+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
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+ 1 setlinecap
+ 1 setlinejoin
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+
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+
+/DLN {
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+ stroke
+ grestore
+} def
+
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+
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+ stroke
+ grestore
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+
+% free line (init & terminate)
+
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+ GDAR ceiling setlinewidth
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+ lineto
+ stroke
+ grestore
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/meter.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/meter.eps
new file mode 100644
index 00000000000..b579b328a3e
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/meter.eps
@@ -0,0 +1,779 @@
+%% LaTeX2e file `eps/meter.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
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+%%Title: meter.dvi
+%%CreationDate: Wed Jan 21 14:00:52 2004
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+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE meter.dvi
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+% change and see what happens, but I think the slurs should be almost
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+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
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+ /ay2 aa def
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+ } if
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+ x1 y1 translate
+ s rotate
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+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
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+ pop
+ grestore
+
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+ /shift 0 def
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+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
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+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
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+ ifadjust 0 eq {
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+ /ax1 exch def
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+ grestore
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+
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+ /x2 ED
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+ /x1 ED
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+ grestore
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+ stroke
+ grestore
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+ stroke
+ grestore
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+%%EndFont
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+@start /Fa 192[39 63[{}1 83.022 /CMR10 rf /Fb 144[44
+44 4[44 2[44 44 1[44 44 34[44 63[{}8 83.022 /CMTT10 rf
+/Fc 202[42 42 42 42 50[{}4 83.022 /CMTI10 rf /Fd 203[56
+52[{}1 99.6264 /CMBX12 rf /Fe 161[30 3[30 9[0 8[106 18[40
+42[0 0 0 7[{}8 132.835 /TeXMUSIX16-Regular rf end
+%%EndProlog
+%%BeginSetup
+%%Feature: *Resolution 600dpi
+TeXDict begin
+%%PaperSize: A4
+ end
+%%EndSetup
+%%Page: 1 1
+TeXDict begin 1 0 bop -364 -35 4235 4 v -364 -2 V -364
+31 V -364 64 V -364 98 V -364 63 a Fe(G)-230 28 y Fd(4)-230
+95 y(4)-105 13 y Fe(4)p -65 129 4 117 v 1 w(\007)p 149
+129 V 214 w(\007)p 363 129 V 214 w(\010)p 665 98 4 135
+v 666 -70 a Fc(2)p 744 129 4 117 v 745 13 a Fe(\007)918
+212 y Fb(cni)918 279 y(oen)970 -87 y Fe(^)p 958 129 V
+959 13 a(\007)p 1172 129 V 214 w(\010)p 1474 98 4 135
+v 1475 -70 a Fc(3)p 1591 63 4 117 v 1553 63 a Fe(\007)p
+1805 46 V 1767 46 a(\007)1941 229 y Fb(oef?)1973 -70
+y Fe(Z)2003 -57 y Fa(?)p 1981 146 V 1982 29 a Fe(\007)p
+2195 129 V 2196 13 a(\007)p 2409 98 4 135 v 2410 -70
+a Fc(4)p 2526 63 4 117 v 2488 63 a Fe(\007)p 2740 46
+V 2702 46 a(\007)2876 229 y Fb(bfi)2876 295 y(oef)2928
+-70 y Fe(Z)p 2916 146 V 2917 29 a(\007)p 3130 129 V 3131
+13 a(\007)p 3344 98 4 135 v 3344 -70 a Fc(5)3428 -20
+y Fe(P)3423 79 y(\011)p 3850 98 V 3867 98 V eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/midi.mid b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/midi.mid
new file mode 100644
index 00000000000..722f945bafa
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/midi.mid
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/midibaroque.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/midibaroque.eps
new file mode 100644
index 00000000000..41e3b46b9dc
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/midibaroque.eps
@@ -0,0 +1,809 @@
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.96 Copyright 2007 Radical Eye Software
+%%Title: midibaroque.dvi
+%%CreationDate: Wed Nov 14 21:20:39 2007
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 73 746 483 786
+%%DocumentFonts: TeXMUSIX16-Regular CMTT10 CMTI10
+%%DocumentPaperSizes: a4
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\.user\Programme\MikTeX_2.6\miktex\bin\dvips.exe
+%+ midibaroque.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2007.11.14:2120
+%%BeginProcSet: texc.pro 0 0
+%!
+/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S
+N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72
+mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0
+0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{
+landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize
+mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[
+matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round
+exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{
+statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0]
+N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin
+/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array
+/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2
+array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N
+df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A
+definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get
+}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub}
+B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr
+1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3
+1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx
+0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx
+sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{
+rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp
+gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B
+/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{
+/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{
+A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy
+get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse}
+ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp
+fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17
+{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add
+chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{
+1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop}
+forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn
+/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put
+}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{
+bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A
+mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{
+SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{
+userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X
+1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4
+index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N
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+/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display)
+(NeXT)(LaserWriter 16/600)]{A length product length le{A length product
+exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false}
+ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot}
+imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{
+BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch
+round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0
+rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B
+/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}
+B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p
+-3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{
+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro 0 0
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/mtrauermus.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/mtrauermus.eps
new file mode 100644
index 00000000000..73c75da128e
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/mtrauermus.eps
@@ -0,0 +1,1815 @@
+%% LaTeX2e file `eps/mtrauermus.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: Mtrauermus.dvi
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+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE Mtrauermus.dvi
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+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
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+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
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+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
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+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
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+ }
+ {
+ /ax1 b def
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+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
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+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
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+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
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+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
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+ 0 setlinejoin
+ ifdash 1 eq
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+ drawseg
+ } if
+ x2 80 AR gt {
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+ drawseg
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+ stroke
+
+ grestore
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+ % now some \slurtext code...
+
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+ end
+
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+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
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+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
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+ 1 setlinejoin
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+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
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+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
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+ x1 y1 4 AR sub moveto
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+ stroke
+ grestore
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+
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+
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+ GDAR ceiling setlinewidth
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+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
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+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
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+
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+
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+%%CreationDate: 1991 Aug 20 16:36:07
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
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+%%CreationDate: 1992 Apr 26 10:42:42
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index 00000000000..7d4b01f88a8
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+%%CreationDate: 1991 Aug 20 16:34:54
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
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+currentdict end
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+%!PS-AdobeFont-1.1: CMTT10 1.00B
+%%CreationDate: 1992 Apr 26 10:42:42
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
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+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
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+/isFixedPitch true def
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+/UniqueID 5000832 def
+currentdict end
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+%!PS-AdobeFont-1.0: TeXMUSIX16-Regular 001.000
+%%CreationDate: 01-07-25 at 04.07
+%%VMusage: 1024 36138
+% Generated by Fontographer 4.1.4
+% converted using TeXtrace 0.45 and modified by T. Uchiyama
+% ADL: 701 299 0
+%%EndComments
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+{save true}{false}ifelse}{false}ifelse
+20 dict begin
+/FontInfo 16 dict dup begin
+/version (001.000) readonly def
+/FullName (TeXMUSIX16-Regular) readonly def
+/FamilyName (TeXMUSIX16) readonly def
+/Weight (Regular) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+/UnderlinePosition -100 def
+/UnderlineThickness 50 def
+/Notice (converted using TeXtrace 0.45 and modified by T. Uchiyama) readonly def
+/em 1000 def
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+end readonly def
+/FontName /TeXMUSIX16-Regular def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 0 /grave put
+dup 1 /acute put
+dup 7 /caron put
+dup 45 /hyphen put
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+w(\010)2960 245 y Fa(bf<.4)2924 29 y Fb(2)p 2980 146
+V 17 w(\010)2557 -137 y Fa(e2s)2517 -20 y Fb(4)p 2595
+-20 4 98 v(\010)2980 -137 y Fa(df)2940 -4 y Fb(2)p 3018
+-4 4 104 v(\010)p 3402 98 4 135 v eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/ornament.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/ornament.eps
new file mode 100644
index 00000000000..8e3e28ffd4f
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/ornament.eps
@@ -0,0 +1,1502 @@
+%% LaTeX2e file `eps/ornament.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: ornament.dvi
+%%CreationDate: Wed Jan 21 14:02:42 2004
+%%Pages: 1
+%%PageOrder: Ascend
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+%%+ TeXMUSIX11-Regular CMR10 TeXMUSIX13-Regular
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE ornament.dvi
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+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
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+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
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+
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+ x1 y1 translate
+ s rotate
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+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
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+ pop
+ grestore
+
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+ /shift 0 def
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+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
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+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
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+
+ ifadjust 0 eq {
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+
+
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+%!PS-AdobeFont-1.1: CMTI10 1.00B
+%%CreationDate: 1992 Feb 19 19:56:16
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+%!PS-AdobeFont-1.1: CMBX12 1.0
+%%CreationDate: 1991 Aug 20 16:34:54
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
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+%%CreationDate: 01-07-25 at 04.07
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+% Generated by Fontographer 4.1.4
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+% ADL: 701 299 0
+%%EndComments
+FontDirectory/TeXMUSIX16-Regular known{/TeXMUSIX16-Regular findfont dup/UniqueID known{dup
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+{save true}{false}ifelse}{false}ifelse
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+/Notice (converted using TeXtrace 0.45 and modified by T. Uchiyama) readonly def
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/pathetique.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/pathetique.eps
new file mode 100644
index 00000000000..54f77e223ab
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/pathetique.eps
@@ -0,0 +1,941 @@
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+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
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+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: pathetique.dvi
+%%CreationDate: Wed Jan 21 14:03:07 2004
+%%Pages: 1
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+%%DocumentFonts: TeXMUSIX16-Regular CMTI10 CMBXTI10
+%%EndComments
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+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE pathetique.dvi
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+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
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+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
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+ /V {gsave newpath transform round exch round exch itransform
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+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
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+/R { roll } def
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+ /aa exch neg def % what to multiply the height with
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+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
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+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
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+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
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+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
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+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: pickups.dvi
+%%CreationDate: Wed Jan 21 14:03:34 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 685 483 782
+%%DocumentFonts: TeXMUSIX16-Regular CMBX12 CMTT10
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE pickups.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2004.01.21:1403
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
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+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
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+/ED { exch def } bind def
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+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
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+ x2 0 curveto } def
+
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+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
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+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
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+ drawseg
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+ drawseg
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+ drawseg
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+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
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+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
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+ /y1 ay1 ay2 add 2 div def
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+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
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+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+ /ay1 exch def
+ /ax1 exch def
+} def
+
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+ /x2 ED
+ /y1 ED
+ /x1 ED
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+ 1 setlinejoin
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+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
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+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
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+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
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+
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+ gsave
+ GDAR ceiling setlinewidth
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+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
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+y(4)-57 702 y Fa(0.5)p -19 602 4 108 v -18 602 a Fc(\()g(\007)p
+56 621 4 135 v 148 602 4 117 v 167 w(\007)p 291 602 V
+143 w(\007)p 434 602 V 143 w(\007)p 576 602 V 142 w(\007)p
+681 621 4 135 v 697 621 V 730 551 a Fb(4)730 618 y(4)870
+702 y Fa(0.25)p 908 602 4 108 v 909 602 a Fc(\))g(\007)p
+959 621 4 135 v 1051 602 4 117 v 143 w(\007)p 1194 602
+V 143 w(\007)p 1337 602 V 143 w(\007)p 1479 602 V 142
+w(\007)p 1584 621 4 135 v 1601 621 V 1633 551 a Fb(4)1633
+618 y(4)1773 702 y Fa(0.125)p 1811 602 4 133 v 1812 602
+a Fc(*)g(\007)p 1861 621 4 135 v 1953 602 4 117 v 142
+w(\007)p 2096 602 V 143 w(\007)p 2238 602 V 142 w(\007)p
+2381 602 V 143 w(\007)p 2486 621 4 135 v 2502 621 V 2535
+551 a Fb(4)2535 618 y(4)2675 702 y Fa(0.0625)p 2713 602
+4 158 v 2714 602 a Fc(+)g(\007)p 2761 621 4 135 v 2853
+602 4 117 v 140 w(\007)p 2995 602 V 142 w(\007)p 3138
+602 V 143 w(\007)p 3281 602 V 143 w(\007)p 3385 621 4
+135 v 3402 621 V 3405 785 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3405 785 a eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/pitch.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/pitch.eps
new file mode 100644
index 00000000000..2ddbd03d481
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/pitch.eps
@@ -0,0 +1,708 @@
+%% LaTeX2e file `eps/pitch.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: pitch.dvi
+%%CreationDate: Wed Jan 21 14:04:11 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 724 510 798
+%%DocumentFonts: TeXMUSIX16-Regular CMTT10
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE pitch.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2004.01.21:1404
+%%BeginProcSet: texc.pro
+%!
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
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+% get dimen adjusted to Resolution
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+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
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+/ED { exch def } bind def
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+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
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+/drawseg { 0 0 moveto
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+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
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+/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put
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+mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{
+SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{
+userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X
+1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4
+index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N
+/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X
+/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display)
+(NeXT)(LaserWriter 16/600)]{A length product length le{A length product
+exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false}
+ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot}
+imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{
+BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch
+round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0
+rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B
+/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}
+B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p
+-3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{
+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
+%%BeginProcSet: texps.pro
+%!
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+
+%%EndProcSet
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+%!PS-AdobeFont-1.1: CMBX8 1.0
+%%CreationDate: 1991 Aug 20 16:36:07
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+3135 675 V 3097 675 a Fd(\010)3097 658 y(\000)p 3518
+743 4 135 v 3522 907 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3522 907 a -364 1255 3886 4 v
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+3097 1253 a Fd(\010)3097 1237 y(\000)3387 1453 y(\\)p
+3518 1388 4 135 v 3522 1552 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3522 1552 a -364 1900 3886
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+2147 336 5 v 3204 2048 4 117 v 3166 2048 a(\010\000)p
+3502 2033 4 135 v 3518 2033 V 3522 2197 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3522 2197 a
+eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/reloctav.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/reloctav.eps
new file mode 100644
index 00000000000..eca6ee6fdbf
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/reloctav.eps
@@ -0,0 +1,725 @@
+%% LaTeX2e file `eps/reloctav.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: reloctav.dvi
+%%CreationDate: Wed Jan 21 14:05:08 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 733 483 786
+%%DocumentFonts: TeXMUSIX16-Regular CMTT10
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE reloctav.dvi
+%DVIPSParameters: dpi=600, compressed
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
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+% get dimen adjusted to Resolution
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+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
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+/ED { exch def } bind def
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+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
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+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/rests.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/rests.eps
new file mode 100644
index 00000000000..e37e303171f
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/rests.eps
@@ -0,0 +1,873 @@
+%% LaTeX2e file `eps/rests.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: rests.dvi
+%%CreationDate: Wed Jan 21 16:06:19 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 667 510 782
+%%DocumentFonts: TeXMUSIX16-Regular CMTT10 CMBX12
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE rests.dvi
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+%%BeginProcSet: psslurs.pro
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+%
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+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
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+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
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+ }
+ {
+ /ax1 b def
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+ } ifelse
+ } if
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+
+ gsave
+ x1 y1 translate
+ s rotate
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+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
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+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
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+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
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+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
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+ drawseg
+ } if
+ x2 80 AR gt {
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+ drawseg
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+ grestore
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+ end
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+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+ /ay1 exch def
+ /ax1 exch def
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+
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+ /x2 ED
+ /y1 ED
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+ grestore
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+
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+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
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+ 1 setlinejoin
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+
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+ stroke
+ grestore
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+
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+ stroke
+ grestore
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+
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+ stroke
+ grestore
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
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+%!PS-AdobeFont-1.0: TeXMUSIX16-Regular 001.000
+%%CreationDate: 01-07-25 at 04.07
+%%VMusage: 1024 36138
+% Generated by Fontographer 4.1.4
+% converted using TeXtrace 0.45 and modified by T. Uchiyama
+% ADL: 701 299 0
+%%EndComments
+FontDirectory/TeXMUSIX16-Regular known{/TeXMUSIX16-Regular findfont dup/UniqueID known{dup
+/UniqueID get 0 eq exch/FontType get 1 eq and}{pop false}ifelse
+{save true}{false}ifelse}{false}ifelse
+20 dict begin
+/FontInfo 16 dict dup begin
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+/FamilyName (TeXMUSIX16) readonly def
+/Weight (Regular) readonly def
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+/Notice (converted using TeXtrace 0.45 and modified by T. Uchiyama) readonly def
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+dup 62 /greater put
+dup 63 /question put
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+currentdict end
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+rf end
+%%EndProlog
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+TeXDict begin
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+ end
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+TeXDict begin 1 0 bop -364 -35 4002 4 v -364 -2 V -364
+31 V -364 64 V -364 98 V -364 63 a Fc(G)-136 179 y Fb(r0)p
+479 98 4 135 v 117 -4 a Fc(=)591 179 y Fb(r2)591 29 y
+Fc(<)1025 179 y Fb(r4)1025 96 y Fc(>)1332 179 y Fb(r8)1332
+96 y Fc(?)1550 179 y Fb(r1)1550 96 y Fc(@)1703 179 y
+Fb(r3)1703 96 y Fc(A)1811 179 y Fb(r6)1811 96 y Fc(B)1888
+229 y Fb(rb)p 1966 98 V 2077 179 a(r4+3)2077 46 y Fc(>)2385
+262 y Fb(r8-6)2385 195 y Fc(?)2602 179 y Fb(r)2602 96
+y Fc(?)2819 179 y Fb(r)2819 13 y Fc(\000)2819 96 y(?)3085
+179 y Fb(.r)3085 96 y Fc(@)3238 179 y Fb(rdd)3238 13
+y Fc(\001)3238 96 y(?)3526 179 y Fb(r3)3526 96 y Fc(A)p
+3635 98 V 3638 262 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3638 262 a -364 519 4002 4 v -364
+552 V -364 585 V -364 618 V -364 652 V -364 617 a Fc(G)-141
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+1825 652 V 1231 608 5 50 v 1236 592 491 17 v 1425 500
+a Fa(15)p 1727 608 5 50 v 1932 720 4 104 v 1933 617 a
+Fc(\010)1933 600 y(\000)p 1970 567 4 110 v 1932 567 a(\010\000)2438
+766 y Fb(r4)2438 716 y Fc(>)2438 849 y Fb(r4)2438 617
+y Fc(>)p 2730 652 4 135 v 2836 720 4 104 v 399 w(\010)2837
+600 y(\000)p 2875 567 4 110 v -33 x(\010\000)3342 733
+y Fb(r4+0)3342 650 y Fc(>)3342 816 y Fb(r4b)p 3635 652
+4 135 v 3638 816 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3638 816 a eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/samp-eps.zip b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/samp-eps.zip
new file mode 100644
index 00000000000..3c999b39851
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/samp-eps.zip
Binary files differ
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/slurs1.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/slurs1.eps
new file mode 100644
index 00000000000..6f1007568a6
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/slurs1.eps
@@ -0,0 +1,621 @@
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips 5.83 Copyright 1998 Radical Eye Software
+%%Title: slurs1.dvi
+%%CreationDate: Sun Feb 16 23:12:52 2003
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 732 312 782
+%%DocumentFonts: TeXMUSIX16-Regular
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\$USER\EMTEX\EMTEX\BIN\dvips.EXE slurs1
+%+ -pj:C:\temp\dv1.mfj
+%DVIPSParameters: dpi=300, compressed
+%DVIPSSource: TeX output 2003.02.16:2312
+%%BeginProcSet: texc.pro
+%!
+/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S
+N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72
+mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0
+0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{
+landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize
+mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[
+matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round
+exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{
+statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0]
+N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin
+/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array
+/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2
+array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N
+df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A
+definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get
+}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub}
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+1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx
+0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx
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+get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse}
+ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp
+fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17
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+1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop}
+forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn
+/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put
+}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{
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+userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X
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+index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N
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+(NeXT)(LaserWriter 16/600)]{A length product length le{A length product
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+rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B
+/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}
+B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p
+-3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{
+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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new file mode 100644
index 00000000000..a62b86eb439
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/transpose.eps
@@ -0,0 +1,596 @@
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+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
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+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
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+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
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+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
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+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
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+ s aa mul 0 lt {
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+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
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+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
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+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
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+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
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+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
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+ s rotate
+% [1 sx 0 1 0 0] concat
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+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
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+ 3 VS
+ drawseg
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+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
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+ % now some \slurtext code...
+
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+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
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+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
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+/R { roll } def
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+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
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+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
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+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
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+% => beta < abs(s)
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+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
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+ gsave
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+ linew 4 mul setlinewidth
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+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
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+ drawseg
+ } if
+ x2 80 AR gt {
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+ drawseg
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+ stroke
+
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+
+ % now some \slurtext code...
+
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+ end
+
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+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+ grestore
+} def
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/transpose2.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/transpose2.eps
new file mode 100644
index 00000000000..a87d4300e23
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/transpose2.eps
@@ -0,0 +1,593 @@
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+%%Title: transpose2.dvi
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+@start /Fa 59[266 133 62[266 133 59[106 16[40 1[40 42[0
+1[0 7[{}9 132.835 /TeXMUSIX16-Regular rf end
+%%EndProlog
+%%BeginSetup
+%%Feature: *Resolution 600dpi
+TeXDict begin
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+ end
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+-61 y(\304)p 2570 96 4 144 v 2532 96 a(\007)p 2683 98
+4 135 v 2794 112 a(\011)p 3402 98 V 3405 262 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3405 262
+a eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/transpose3.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/transpose3.eps
new file mode 100644
index 00000000000..c077a04ee62
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/transpose3.eps
@@ -0,0 +1,593 @@
+%% LaTeX2e file `eps/transpose3.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: transpose3.dvi
+%%CreationDate: Sun Sep 28 16:03:34 2003
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 73 751 483 784
+%%DocumentFonts: TeXMUSIX16-Regular
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE transpose3.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2003.09.28:1603
+%%BeginProcSet: texc.pro
+%!
+/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S
+N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72
+mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0
+0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{
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+mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[
+matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round
+exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{
+statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0]
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+imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{
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+rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B
+/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
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index 00000000000..62b6b307385
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
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+%%CreationDate: 1992 Feb 19 19:54:52
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
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+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
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+/Weight (Medium) readonly def
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+end readonly def
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+/PaintType 0 def
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+%%VMusage: 1024 36138
+% Generated by Fontographer 4.1.4
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+54 y
+ slur@Dict begin (2.0pt) GD S0hgt (14.0pt) GD 1.6 (2.0pt) GD M S0dir
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+ 3738 54 a 3738 54 a
+ end
+ 3738 54 a 3730 253 a Fc(dim.)p
+3749 170 4 117 v 3750 54 a Ff(\007)p 3867 172 4 135 v
+3870 336 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3870 336 a eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/tristans.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/tristans.eps
new file mode 100644
index 00000000000..c72c1b9ec74
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/tristans.eps
@@ -0,0 +1,1204 @@
+%% LaTeX2e file `eps/tristans.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: tristans.dvi
+%%CreationDate: Wed Jan 21 14:06:26 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 79 733 542 801
+%%DocumentFonts: TeXMUSIX16-Regular CMR10 CMBXTI10 CMTI10 CMTI8
+%%+ TeXMUSIX11-Regular
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE tristans.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2004.01.21:1406
+%%BeginProcSet: texc.pro
+%!
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
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+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
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+ /x2 ED
+ /y1 ED
+ /x1 ED
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+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
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+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
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+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
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+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
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+11 dict begin
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro 0 0
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
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+/FontInfo 7 dict dup begin
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+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMR10) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+end readonly def
+/FontName /CMR10 def
+/PaintType 0 def
+/FontType 1 def
+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 44 /comma put
+dup 79 /O put
+dup 97 /a put
+dup 98 /b put
+dup 99 /c put
+dup 100 /d put
+dup 101 /e put
+dup 103 /g put
+dup 105 /i put
+dup 108 /l put
+dup 110 /n put
+dup 111 /o put
+dup 115 /s put
+dup 116 /t put
+readonly def
+/FontBBox{-251 -250 1009 969}readonly def
+currentdict end
+currentfile eexec
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+cleartomark
+%%EndFont
+%%BeginFont: TeXMUSIX16-Regular
+%!PS-AdobeFont-1.0: TeXMUSIX16-Regular 001.000
+%%CreationDate: 01-07-25 at 04.07
+%%VMusage: 1024 36138
+% Generated by Fontographer 4.1.4
+% converted using TeXtrace 0.45 and modified by T. Uchiyama
+% ADL: 701 299 0
+%%EndComments
+FontDirectory/TeXMUSIX16-Regular known{/TeXMUSIX16-Regular findfont dup/UniqueID known{dup
+/UniqueID get 0 eq exch/FontType get 1 eq and}{pop false}ifelse
+{save true}{false}ifelse}{false}ifelse
+20 dict begin
+/FontInfo 16 dict dup begin
+/version (001.000) readonly def
+/FullName (TeXMUSIX16-Regular) readonly def
+/FamilyName (TeXMUSIX16) readonly def
+/Weight (Regular) readonly def
+/ItalicAngle 0 def
+/isFixedPitch false def
+/UnderlinePosition -100 def
+/UnderlineThickness 50 def
+/Notice (converted using TeXtrace 0.45 and modified by T. Uchiyama) readonly def
+/em 1000 def
+/ascent 701 def
+/descent 299 def
+end readonly def
+/FontName /TeXMUSIX16-Regular def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 0 /grave put
+dup 7 /caron put
+dup 8 /breve put
+dup 24 /perthousand put
+dup 25 /dotlessi put
+dup 45 /hyphen put
+dup 50 /two put
+dup 52 /four put
+dup 54 /six put
+dup 71 /G put
+dup 148 /Tcaron put
+dup 195 /Atilde put
+dup 201 /Eacute put
+readonly def
+/PaintType 0 def
+/FontType 1 def
+/StrokeWidth 0 def
+/FontMatrix[0.001 0 0 0.001 0 0]readonly def
+%/UniqueID 0 def
+/FontBBox{-620 -2059 4000 2062}readonly def
+currentdict end
+currentfile eexec
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+ 3738 54 a
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+ end
+ 3738 54 a 3730 253 a Fc(dim.)p 3749 170 4 117
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+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 3870
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+%%Trailer
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+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/trists.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/trists.eps
new file mode 100644
index 00000000000..e8342a5345b
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/trists.eps
@@ -0,0 +1,1198 @@
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.96dev Copyright 2007 Radical Eye Software
+%%Title: tristan_sound.dvi
+%%CreationDate: Wed Jun 29 22:50:24 2011
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 79 733 542 800
+%%DocumentFonts: TeXMUSIX16-Regular CMR10 CMBXTI10 CMTI10 CMTI8
+%%+ TeXMUSIX11-Regular
+%%DocumentPaperSizes: a4
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: C:\Programme\MikTeX_2.7\miktex\bin\dvips.exe
+%+ tristan_sound.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2011.06.29:2250
+%%BeginProcSet: texc.pro 0 0
+%!
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+mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0
+0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro 0 0
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
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+0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx
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+ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp
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+/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put
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+rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B
+/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}
+B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p
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+0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
+%%EndProcSet
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+
+%%EndProcSet
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+%!PS-AdobeFont-1.1: CMBX12 1.0
+%%CreationDate: 1991 Aug 20 16:34:54
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
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+/FontInfo 7 dict dup begin
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+dup 103 /g put
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+dup 111 /o put
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+%%CreationDate: 1992 Feb 19 19:54:06
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.00B) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
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+/isFixedPitch false def
+end readonly def
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+sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{
+rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp
+gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B
+/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{
+/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{
+A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy
+get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse}
+ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp
+fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17
+{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add
+chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{
+1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop}
+forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn
+/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put
+}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{
+bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A
+mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{
+SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{
+userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X
+1000 div/DVImag X/IEn 256 array N 2 string 0 1 255{IEn S A 360 add 36 4
+index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N
+/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/V{}B/RV/v{
+/Ry X/Rx X V}B statusdict begin/product where{pop false[(Display)(NeXT)
+(LaserWriter 16/600)]{A length product length le{A length product exch 0
+exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false}ifelse
+end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot}imagemask
+grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{BDot}
+imagemask grestore}}ifelse B/QV{gsave newpath transform round exch round
+exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 rlineto
+fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B/M{S p
+delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}B/g{0 M}
+B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p -3 w}B/n{
+p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{0 S
+rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+/slur@Dict 200 dict def
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+% align the slur to the staff lines
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+ aa 0 gt { /shift shift neg def } if
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+% and finally draw it...
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+ grestore
+ % now some \slurtext code...
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+% crescendos
+/DC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth % line thickness: this results
+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+% differenced line
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+% sloped line
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+% free line (init & terminate)
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+end
+%!
+TeXDict begin/rf{findfont dup length 1 add dict begin{1 index/FID ne 2
+index/UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll
+exec 0 exch 5 -1 roll VResolution Resolution div mul neg 0 0]/Metrics
+exch def dict begin Encoding{exch dup type/integertype ne{pop pop 1 sub
+dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def}
+ifelse}forall Metrics/Metrics currentdict end def[2 index currentdict
+end definefont 3 -1 roll makefont/setfont cvx]cvx def}def/ObliqueSlant{
+dup sin S cos div neg}B/SlantFont{4 index mul add}def/ExtendFont{3 -1
+roll mul exch}def/ReEncodeFont{CharStrings rcheck{/Encoding false def
+dup[exch{dup CharStrings exch known not{pop/.notdef/Encoding true def}
+if}forall Encoding{]exch pop}{cleartomark}ifelse}if/Encoding exch def}
+def end
+%!
+TeXDict begin/SDict 200 dict N SDict begin/@SpecialDefaults{/hs 612 N
+/vs 792 N/ho 0 N/vo 0 N/hsc 1 N/vsc 1 N/ang 0 N/CLIP 0 N/rwiSeen false N
+/rhiSeen false N/letter{}N/note{}N/a4{}N/legal{}N}B/@scaleunit 100 N
+/@hscale{@scaleunit div/hsc X}B/@vscale{@scaleunit div/vsc X}B/@hsize{
+/hs X/CLIP 1 N}B/@vsize{/vs X/CLIP 1 N}B/@clip{/CLIP 2 N}B/@hoffset{/ho
+X}B/@voffset{/vo X}B/@angle{/ang X}B/@rwi{10 div/rwi X/rwiSeen true N}B
+/@rhi{10 div/rhi X/rhiSeen true N}B/@llx{/llx X}B/@lly{/lly X}B/@urx{
+/urx X}B/@ury{/ury X}B/magscale true def end/@MacSetUp{userdict/md known
+{userdict/md get type/dicttype eq{userdict begin md length 10 add md
+maxlength ge{/md md dup length 20 add dict copy def}if end md begin
+/letter{}N/note{}N/legal{}N/od{txpose 1 0 mtx defaultmatrix dtransform S
+atan/pa X newpath clippath mark{transform{itransform moveto}}{transform{
+itransform lineto}}{6 -2 roll transform 6 -2 roll transform 6 -2 roll
+transform{itransform 6 2 roll itransform 6 2 roll itransform 6 2 roll
+curveto}}{{closepath}}pathforall newpath counttomark array astore/gc xdf
+pop ct 39 0 put 10 fz 0 fs 2 F/|______Courier fnt invertflag{PaintBlack}
+if}N/txpose{pxs pys scale ppr aload pop por{noflips{pop S neg S TR pop 1
+-1 scale}if xflip yflip and{pop S neg S TR 180 rotate 1 -1 scale ppr 3
+get ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg TR}if xflip
+yflip not and{pop S neg S TR pop 180 rotate ppr 3 get ppr 1 get neg sub
+neg 0 TR}if yflip xflip not and{ppr 1 get neg ppr 0 get neg TR}if}{
+noflips{TR pop pop 270 rotate 1 -1 scale}if xflip yflip and{TR pop pop
+90 rotate 1 -1 scale ppr 3 get ppr 1 get neg sub neg ppr 2 get ppr 0 get
+neg sub neg TR}if xflip yflip not and{TR pop pop 90 rotate ppr 3 get ppr
+1 get neg sub neg 0 TR}if yflip xflip not and{TR pop pop 270 rotate ppr
+2 get ppr 0 get neg sub neg 0 S TR}if}ifelse scaleby96{ppr aload pop 4
+-1 roll add 2 div 3 1 roll add 2 div 2 copy TR .96 dup scale neg S neg S
+TR}if}N/cp{pop pop showpage pm restore}N end}if}if}N/normalscale{
+Resolution 72 div VResolution 72 div neg scale magscale{DVImag dup scale
+}if 0 setgray}N/psfts{S 65781.76 div N}N/startTexFig{/psf$SavedState
+save N userdict maxlength dict begin/magscale true def normalscale
+currentpoint TR/psf$ury psfts/psf$urx psfts/psf$lly psfts/psf$llx psfts
+/psf$y psfts/psf$x psfts currentpoint/psf$cy X/psf$cx X/psf$sx psf$x
+psf$urx psf$llx sub div N/psf$sy psf$y psf$ury psf$lly sub div N psf$sx
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+roll moveto 6 -1 roll S lineto S lineto S lineto closepath clip newpath
+moveto}N/endTexFig{end psf$SavedState restore}N/@beginspecial{SDict
+begin/SpecialSave save N gsave normalscale currentpoint TR
+@SpecialDefaults count/ocount X/dcount countdictstack N}N/@setspecial{
+CLIP 1 eq{newpath 0 0 moveto hs 0 rlineto 0 vs rlineto hs neg 0 rlineto
+closepath clip}if ho vo TR hsc vsc scale ang rotate rwiSeen{rwi urx llx
+sub div rhiSeen{rhi ury lly sub div}{dup}ifelse scale llx neg lly neg TR
+}{rhiSeen{rhi ury lly sub div dup scale llx neg lly neg TR}if}ifelse
+CLIP 2 eq{newpath llx lly moveto urx lly lineto urx ury lineto llx ury
+lineto closepath clip}if/showpage{}N/erasepage{}N/copypage{}N newpath}N
+/@endspecial{count ocount sub{pop}repeat countdictstack dcount sub{end}
+repeat grestore SpecialSave restore end}N/@defspecial{SDict begin}N
+/@fedspecial{end}B/li{lineto}B/rl{rlineto}B/rc{rcurveto}B/np{/SaveX
+currentpoint/SaveY X N 1 setlinecap newpath}N/st{stroke SaveX SaveY
+moveto}N/fil{fill SaveX SaveY moveto}N/ellipse{/endangle X/startangle X
+/yrad X/xrad X/savematrix matrix currentmatrix N TR xrad yrad scale 0 0
+1 startangle endangle arc savematrix setmatrix}N end
+%!PS-AdobeFont-1.1: CMTI10 1.00B
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.00B) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMTI10) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
+/ItalicAngle -14.04 def
+/isFixedPitch false def
+end readonly def
+/FontName /CMTI10 def
+/PaintType 0 def
+/FontType 1 def
+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
+0 1 255 {1 index exch /.notdef put} for
+dup 44 /comma put
+dup 46 /period put
+dup 65 /A put
+dup 66 /B put
+dup 67 /C put
+dup 68 /D put
+dup 70 /F put
+dup 72 /H put
+dup 73 /I put
+dup 74 /J put
+dup 77 /M put
+dup 80 /P put
+dup 81 /Q put
+dup 82 /R put
+dup 83 /S put
+dup 86 /V put
+dup 97 /a put
+dup 99 /c put
+dup 100 /d put
+dup 101 /e put
+dup 102 /f put
+dup 103 /g put
+dup 104 /h put
+dup 105 /i put
+dup 108 /l put
+dup 109 /m put
+dup 110 /n put
+dup 111 /o put
+dup 112 /p put
+dup 114 /r put
+dup 115 /s put
+dup 116 /t put
+dup 117 /u put
+dup 118 /v put
+dup 120 /x put
+readonly def
+/FontBBox{-163 -250 1146 969}readonly def
+/UniqueID 5000828 def
+currentdict end
+currentfile eexec
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+11 dict begin
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+%!PS-AdobeFont-1.1: CMR12 1.0
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
+/version (1.0) readonly def
+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMR12) readonly def
+/FamilyName (Computer Modern) readonly def
+/Weight (Medium) readonly def
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+/isFixedPitch false def
+end readonly def
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+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/Encoding 256 array
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+dup 40 /parenleft put
+dup 41 /parenright put
+dup 44 /comma put
+dup 49 /one put
+dup 50 /two put
+dup 52 /four put
+dup 54 /six put
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+dup 105 /i put
+dup 108 /l put
+dup 110 /n put
+dup 111 /o put
+dup 116 /t put
+dup 118 /v put
+dup 123 /endash put
+readonly def
+/FontBBox{-34 -251 988 750}readonly def
+/UniqueID 5000794 def
+currentdict end
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+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
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+%!PS-AdobeFont-1.1: CMBX12 1.0
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+%!PS-AdobeFont-1.1: CMTI8 1.0
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
+/FontInfo 7 dict dup begin
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+/FullName (CMTI8) readonly def
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+/Weight (Medium) readonly def
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+currentdict end
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+a
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+b(\007)p 11570 19466 15 570 v 11570 17217 V 11570 14968
+V 11570 12718 V 11926 18855 a
+ slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (17.20001pt) GD N /S0brk
+S0hgt (2.0pt) GD 1 1 M M A N /S0lift 0 N /S0alt (48.0pt) GDAR N /S0dir
+1 N /S0dash 0 N /S0adj 0 N end
+ 11926 18855 a 11525 19972
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+20667 y(vi)p 11827 19459 15 492 v 11828 18967 a Fj(\007\000)11926
+16676 y
+ slur@Dict begin CP /S1y1 ED /S1x1 ED /S1hgt (15.20001pt) GD N /S1brk
+S1hgt (2.0pt) GD 1 1 M M A N /S1lift 0 N /S1alt (112.0pt) GDAR N /S1dir
+1 N /S1dash 0 N /S1adj 0 N end
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+13722 12360 15 525 v 13561 12360 a(\007)p 13903 19466
+15 570 v 13903 17217 V 13903 14968 V 13903 12718 V 14245
+18967 a
+ slur@Dict begin (2.0pt) GD S0hgt (14.0pt) GD 1.6 (2.0pt) GD M S0dir
+M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash
+S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 14245 18967 a 14245 18967 a
+ end
+ 14245 18967 a 14160
+19424 15 457 v 14161 19424 a Fj(-)14161 18967 y(\007)14245
+16788 y
+ slur@Dict begin (2.0pt) GD S1hgt (12.0pt) GD 1.6 (2.0pt) GD M S1dir
+M A S1x1 S1y1 CP (3.20001pt) GDAR S1dir M SB 1 S1dir M 0.17 40 S1dash
+S1adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def
+ 14245 16788 a 14245 16788 a
+ end
+ 14245 16788 a 14160
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+b(-)h(-)514 b(de.)12636 18488 y(-)1094 b(-)g(-)547 b(v)-9
+b(e.)p 15810 17280 V 15811 16788 a Fj(\007)15811 16718
+y(\000)15810 14398 y(P)12690 15543 y Fd(-)1076 b(-)g(-)538
+b(ta.)12793 15891 y(-)1027 b(-)h(-)514 b(de.)12636 16239
+y(-)1094 b(-)g(-)547 b(v)-9 b(e.)p 15971 14820 V 15810
+14820 a Fj(\007)15810 14750 y(\000)15810 12149 y(P)12690
+13294 y Fd(-)1076 b(-)g(-)538 b(ta.)12793 13642 y(-)1027
+b(-)h(-)514 b(de.)12636 13990 y(-)1094 b(-)g(-)547 b(v)-9
+b(e.)p 15971 12571 V 15810 12571 a Fj(\007)15810 12500
+y(\000)16652 19178 y(7)16652 16929 y(7)16652 14679 y(7)16652
+12430 y(7)p 16736 19466 15 570 v 16736 17217 V 16736
+14968 V 16736 12718 V 16792 19466 85 570 v 16792 17217
+V 16792 14968 V 16792 12718 V 16876 21146 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 16876 21146
+a -340 22568 a Fa(Mundi)125 b(R)-18 b(e)g(ctor)125 b(de)g(Caelo)g(mic)
+-18 b(anti)250 b(In)125 b(Judita)e(tuae)i(le)-18 b(gi)124
+b(dic)-18 b(ata)1799 b(R)-18 b(e)g(di,)125 b(r)-18 b(e)g(di)125
+b(iam)g(Victrix)h(pugnando)-340 22990 y(A)-9 b(udi)125
+b(pr)-18 b(e)g(c)g(es)124 b(et)i(suscip)-18 b(e)123 b(vota)956
+b(Flammas)126 b(dulcis)e(tui)g(amoris)i(ac)-18 b(c)g(ende)249
+b(In)125 b(cilicio)e(in)j(pr)-18 b(e)g(c)g(e)124 b(rivive)-340
+23412 y(Quae)h(de)g(c)-18 b(or)g(de)125 b(pr)-18 b(o)125
+b(te)g(dimic)-18 b(anti)314 b(F)-27 b(eritatis)124 b(sic)h(hostis)f
+(domata)1580 b(De)125 b(Holoferne)f(sic)h(ho)-18 b(die)124
+b(triumphando)-340 23833 y(Sunt)g(pietatis)g(in)h(sinu)f(devota.)727
+b(In)125 b(Bethuliae)e(sp)-18 b(em)126 b(p)-18 b(acis)124
+b(intende.)639 b(Pia)125 b(Juditha)f(p)-18 b(er)125 b(sae)-18
+b(cula)123 b(vive.)p eop end
+userdict /end-hook known{end-hook}if
+%%Trailer
+cleartomark
+countdictstack
+exch sub { end } repeat
+restore
+%%EOF
diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/volta.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/volta.eps
new file mode 100644
index 00000000000..464fd402fe5
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/volta.eps
@@ -0,0 +1,862 @@
+%% LaTeX2e file `eps/volta.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: volta.dvi
+%%CreationDate: Wed Jan 21 14:07:02 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 599 496 792
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
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+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
+ temp@xx@dict begin
+ /dir exch def
+ /ay1 exch def
+ /ax1 exch def
+} def
+
+% crescendos
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+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
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+ 1 setlinecap % to exactly 2 pixels in 300 dpi
+ 1 setlinejoin
+ x2 y2 10 AR add moveto % the 10's specify wideness of the
+ x1 y1 lineto % open end of the crescendo,
+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
+/DHC {
+ /y2 ED
+ /x2 ED
+ /y1 ED
+ /x1 ED
+ gsave
+ 1 AR ceiling setlinewidth
+ 1 setlinecap
+ 1 setlinejoin
+ x2 y2 11 AR add moveto
+ x1 y1 4 AR add lineto stroke
+ x1 y1 4 AR sub moveto
+ x2 y2 11 AR sub lineto
+ stroke
+ grestore
+} def
+
+% differenced line
+
+/DLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch GDAR neg rlineto
+ stroke
+ grestore
+} def
+
+% sloped line
+
+/DSLN {
+ gsave
+ GDAR ceiling setlinewidth
+ GDAR exch 1.125 mul neg rotate 0 rlineto
+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
+/DFLN {
+ gsave
+ GDAR ceiling setlinewidth
+ CP moveto
+ lineto
+ stroke
+ grestore
+} def
+
+end
+
+
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+{save true}{false}ifelse}{false}ifelse
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+dup 8 /breve put
+dup 55 /seven put
+dup 71 /G put
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+readonly def
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diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/xtuplets.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/xtuplets.eps
new file mode 100644
index 00000000000..7be7bb7d1f7
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/xtuplets.eps
@@ -0,0 +1,1142 @@
+%% LaTeX2e file `eps/xtuplets.eps'
+%% generated by the `filecontents' environment
+%% from source `pmxccn' on 2011/07/14.
+%%
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software
+%%Title: xtuplets.dvi
+%%CreationDate: Fri Apr 30 23:03:32 2004
+%%Pages: 1
+%%PageOrder: Ascend
+%%BoundingBox: 28 658 567 798
+%%DocumentFonts: TeXMUSIX16-Regular CMTI8 CMTT10 TeXMUSIXSPX-Regular
+%%+ CMBX12
+%%EndComments
+%DVIPSWebPage: (www.radicaleye.com)
+%DVIPSCommandLine: D:\MikTeX\texmf\miktex\bin\dvips.exe xtuplets.dvi
+%DVIPSParameters: dpi=600, compressed
+%DVIPSSource: TeX output 2004.04.30:2303
+%%BeginProcSet: texc.pro
+%!
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+
+%%EndProcSet
+%%BeginProcSet: psslurs.pro
+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
+ drawseg
+ 1 VS
+ drawseg
+ -2 VS
+ drawseg
+ x2 20 AR gt {
+ 3 VS
+ drawseg
+ } if
+ x2 50 AR gt {
+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
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+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+ /ay1 exch def
+ /ax1 exch def
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+ x2 y2 10 AR sub lineto % similarly the 11's below
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+ grestore
+} def
+
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+ /x1 ED
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+ 1 setlinecap
+ 1 setlinejoin
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+ grestore
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+
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+ grestore
+} def
+
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+
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+ grestore
+} def
+
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+
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+ lineto
+ stroke
+ grestore
+} def
+
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+%%CreationDate: 1991 Aug 18 21:07:42
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+%!PS-AdobeFont-1.0: TeXMUSIX16-Regular 001.000
+%%CreationDate: 01-07-25 at 04.07
+%%VMusage: 1024 36138
+% Generated by Fontographer 4.1.4
+% converted using TeXtrace 0.45 and modified by T. Uchiyama
+% ADL: 701 299 0
+%%EndComments
+FontDirectory/TeXMUSIX16-Regular known{/TeXMUSIX16-Regular findfont dup/UniqueID known{dup
+/UniqueID get 0 eq exch/FontType get 1 eq and}{pop false}ifelse
+{save true}{false}ifelse}{false}ifelse
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+% This file can be used instead of psslurs.pro, it is only commented
+% and indented.
+%
+% VERSION: 1.0
+%
+% WARNING! This is a heavy magic! If you want something more understandable,
+% you will have to write it yourself (if it is possible in a stack-oriented
+% language that PostScript is). There are some constants you can
+% change and see what happens, but I think the slurs should be almost
+% always satisfiable. When not, let me know at:
+% standa@hiero.cz
+% Also any bug reports and comments are welcomed.
+%
+% Stanislav Kneifl.
+
+/slur@Dict 200 dict def
+
+% this dictionary is for \setslurtext, overriding some dvips's definitions
+/temp@xx@dict 4 dict def temp@xx@dict begin
+ /a { moveto ax1 ay1 rmoveto } def
+ /V {gsave newpath transform round exch round exch itransform
+ exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg
+ rlineto rulex neg 0 rlineto fill grestore} def
+end
+
+TeXDict begin
+% get dimen from TeX's string ("125pt" -> 125 PS points)
+/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def
+% get dimen adjusted to Resolution
+/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def
+% Adjust to Resolution
+/AR { Resolution mul 300 div } def
+% the distances in dvips's PostScript are resolution dependant!
+end
+
+slur@Dict begin
+/CP /currentpoint load def
+/ED { exch def } bind def
+/AR { Resolution mul 300 div } def % stands for Adjust to Resolution,
+/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def
+/y { 3 2 roll ax1 ay1 rmoveto show moveto } def
+/M { mul } def
+/A { add } def
+/SB { sub } def
+/P { pop } def
+/DP { dup } def
+/R { roll } def
+
+/drawseg { 0 0 moveto
+ ax1 ay1
+ ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add
+ ax1 ax2 add 2 div ay1 ay2 add 2 div curveto
+ ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add
+ ax2 ay2
+ x2 0 curveto } def
+
+/DS {
+ AR /maxe ED
+ /ifadjust ED
+ /ifdash ED
+ AR /m ED % max height of the slur
+ /e ED % "angularity" of the slur; 0.1 = very angular,
+ % 0.3 = very round
+ /aa exch neg def % what to multiply the height with
+ % AFTER the max height checking
+ /y2 ED % y coordinate of the end of the slur
+ /x2 ED % x coordinate of the end of the slur
+ /y1 ED % y coordinate of the beginning of the slur
+ /x1 ED % x coordinate of the beginning of the slur
+ /yr2 ED
+ /yr1 ED
+ /internote ED
+ /x2 x2 x1 sub def % x2=x2-x1
+ /y2 y2 y1 sub def % y2=y2-y1
+ /sx y2 x2 div def
+ /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2)
+ b 3 AR lt {/b 3 AR def} if % b=max(b,3)
+ b m gt {/b m def} if % b=min(b,m)
+ /aa b aa mul def % aa=aa*b
+ /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur
+ /aa aa s cos div def % aa=aa/cos(s) height of the slur
+ /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s)
+ % is the length of the slur
+ e x2 mul maxe gt { /e maxe x2 div def } if
+ /beta e x2 mul aa neg atan def
+ beta 90 gt {/beta 180 beta sub def} if
+ /ax1 e x2 mul def % control points
+ /ay1 aa def
+ /ax2 1 e sub x2 mul def
+ /ay2 aa def
+
+% check if the starting and endin vector stay in desired quadrants
+% => beta < abs(s)
+ beta s abs lt {
+ /b aa abs s abs 2 add sin mul s abs 2 add cos div def
+ s aa mul 0 lt {
+ s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+% (values to play with)
+ /ax2 x2 b sub def
+ }
+ {
+ /ax1 b def
+ s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if
+% ^^^^ ^^^ ^^^
+ } ifelse
+ } if
+
+% align the slur to the staff lines
+
+ gsave
+ x1 y1 translate
+ s rotate
+% [1 0 sx 1 0 0] concat
+ drawseg
+ gsave
+ initmatrix
+ flattenpath
+ pathbbox
+ exch pop
+ sub
+ /slh ED % in slh we have the height of the whole slur
+ pop
+ grestore
+
+ /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def
+ /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def
+% check if the slur gets too close to staff line
+ /shift 0 def
+ slh 4.45 lt slh -0.5 gt and {
+ /slh slh dup truncate sub def
+ slh 0 lt { /slh 1 slh add def } if
+ aa 0 gt { /slh 1 slh sub def } if
+
+ % slh now contains the position ot the slur top/bottom in the space
+ % between the nearest staff lines (from <0,1>), regardless direction
+
+ % slur is too low:
+ slh 0.45 lt { /shift 0.45 slh sub def } if
+ % slur is too high, but we can be shift it down:
+ slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if
+ % slur is too high, must be shifted up:
+ slh 0.85 ge { /shift 1.45 slh sub def } if
+ } if
+
+ aa 0 gt { /shift shift neg def } if
+
+ ifadjust 0 eq {
+ /shift 0 def
+ } if
+
+
+% and finally draw it...
+
+ grestore
+ gsave
+ /linew internote 0.06 mul AR def
+ linew 4 mul setlinewidth
+ 1 setlinecap
+ 0 setlinejoin
+ ifdash 1 eq
+ { [internote 8 mul AR internote 5 mul AR] 0 setdash } if
+ x1 y1 shift neg 2 mul internote mul 4 AR mul add translate
+ s rotate
+% [1 sx 0 1 0 0] concat
+
+% uncomment this to see the control points
+% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke
+% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth
+
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+ 1 VS
+ drawseg
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+ drawseg
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+ 3 VS
+ drawseg
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+ -4 VS
+ drawseg
+ } if
+ x2 80 AR gt {
+ 5 VS
+ drawseg
+ } if
+ stroke
+
+ grestore
+
+ % now some \slurtext code...
+
+ /x1 ax1 ax2 add 2 div def % middle of the slur
+ /y1 ay1 ay2 add 2 div def
+ x1 s cos mul y1 s sin mul add neg
+ y1 s cos mul x1 s sin mul sub
+ aa 0 lt {1} {0} ifelse
+ end
+
+ % this is a hack to place the slurtext in the middle of the slur.
+ % From unknown reasons simple 'ax1 ay1 translate' did not work,
+ % so we have to overlay some definitions with our own, namely
+ % 'a', which is originally 'moveto' and 'V' for drawing rules.
+ % maybe there are some other operations that should be redefined,
+ % but for almost all cases this will be sufficient. If you find
+ % anything that won't be typeset at the correct position, let me know...
+
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+ x2 y2 10 AR sub lineto % similarly the 11's below
+ stroke
+ grestore
+} def
+
+% half crescendos
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+ /x1 ED
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+ grestore
+} def
+
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+
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+ stroke
+ grestore
+} def
+
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+
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+ stroke
+ grestore
+} def
+
+% free line (init & terminate)
+
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+%%CreationDate: 1991 Aug 18 21:07:42
+% Copyright (C) 1997 American Mathematical Society. All Rights Reserved.
+11 dict begin
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+/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def
+/FullName (CMTI8) readonly def
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+602 y(\007)p 1257 752 4 117 v 1258 636 a(\007)p 1473
+737 4 135 v 1518 668 a Fa(6)1518 734 y(8)1697 436 y Fb(\026D)1722
+448 y(D)1814 524 y Fd(2)1867 517 y Fb(D)1893 529 y(D)1976
+569 y(\026)1602 918 y Fc(cd4+x2)p 1691 571 60 4 v 1691
+538 V 1701 669 4 133 v 1702 536 a Fe(\007)p 1930 768
+4 117 v 1931 652 a(\007)2159 818 y Fc(fd4-x4n)p 2197
+719 4 125 v 2159 719 a Fe(\007)p 2358 702 4 116 v 2320
+702 a(\007)p 2520 685 4 108 v 2482 685 a(\007)2197 594
+y(\204)2418 583 y(\204)p 2681 669 4 99 v 2643 669 a(\007)p
+2805 737 4 135 v 2901 760 4 108 v 2902 652 a(\007)p 3088
+760 V 187 w(\007)p 2901 768 377 16 v 3275 760 4 108 v
+187 w(\007)3724 552 y Fd(4)3462 818 y Fc(fd4-x4n4)p 3500
+719 4 125 v 3462 719 a Fe(\007)p 3661 702 4 116 v 3623
+702 a(\007)p 3823 685 4 108 v 3785 685 a(\007)3500 594
+y(\204)3721 583 y(\204)p 3984 669 4 99 v 3946 669 a(\007)p
+4108 737 4 135 v 4111 901 a
+ slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end
+ 4111 901 a eop end
+%%Trailer
+
+userdict /end-hook known{end-hook}if
+%%EOF
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@@ -0,0 +1,7966 @@
+% %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% %
+% %
+% How to compile pmxccn, using the packed source pmxccn.tex %
+% ========================================================= %
+% %
+% The following instructions presuppose that you have a modern %
+% (and up-to-date) LaTeX installation (MikTeX or teTeX, say). %
+% %
+% Then go through the following steps: %
+% %
+% 1. in your working directory (that is the one to which you have %
+% unzipped pmxccntex.zip, and which now should contain %
+% pmxccn.tex and this readme), create 2 subdirectories: %
+% %
+% a) addresses/ %
+% b) eps/ %
+% %
+% (unfortunately, LaTeX is does not do this on its own) %
+% %
+% 2. latex the soucce file pmxccn, i.e. run %
+% %
+% latex pmxccn %
+% %
+% two times (to get the references and Table of Contents etc. %
+% right). %
+% %
+% The only LaTeX errors you might encounter would be errors %
+% regarding missing LaTeX packages. If you are currently %
+% connected to the Internet, MikTeX/teTeX should download and %
+% install these missing packages on-the-fly %
+% %
+% 3. run %
+% %
+% LEGAL NOTICE: This software is subject to the usual GNU/LLPL licence %
+% conditions. %
+% %
+% Fri 2005 Jan 14 /23:35 /ccn %
+% %
+% %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% %
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% PMX tutorial by ccn / LaTex header file starts here:
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% ------------------------------------------------------
+%
+ % This version dated Sun 2011 May 29 /15:34 /ccn
+%
+% ------------------------------------------------------
+
+\documentclass[11pt,twoside]{report}
+% \usepackage[ten]{vrsion}
+ \usepackage[cp437]{inputenc}
+ \usepackage[english]{babel}
+ \usepackage{amsmath,index}
+ \usepackage[dvips]{graphicx}
+ \usepackage[dvips]{hyperref}
+
+ \newfont{\hv}{phvbo at 14pt}
+
+ \textheight 600pt \textwidth 450pt
+ \topmargin -10mm \headsep 10mm
+ \oddsidemargin 4mm \evensidemargin 0mm
+ \marginparwidth 3em
+ \fboxrule 2pt % standard in LaTeX article style is 0.4pt
+ \fboxsep 9pt % standard in LaTeX article style is 3pt
+ \hfuzz 2pt
+
+ \setcounter{secnumdepth}{3}
+ \setcounter{tocdepth}{3}
+
+\renewcommand{\thechapter}{\Alph{chapter}}
+\renewcommand{\thesection}{\thechapter~\arabic{section}}
+
+\newcommand{\MusiXTeX}{MusiX\TeX}
+\newcommand{\MiKTeX}{MiK\TeX}
+\newcommand{\PMX}{\textbf{PMX}}
+\newcommand{\MTX}{\textbf{M-Tx}}
+\newcommand{\bs}{\ensuremath\backslash}
+\newcommand{\Example}{\noindent {\large \textbf{Example :} }
+ }
+\newcommand{\Examples}{\noindent {\large \textbf{Examples :} }
+ }
+\newcommand{\Note}[1]{\begin{center} \fbox{\begin{minipage}{370pt}
+ #1 \end{minipage} } \end{center}
+ }
+
+% \newcommand{\Note}[1]{\medskip\noindent\fbox{\begin{minipage}{390pt}
+% #1 \end{minipage} }
+% }
+
+\newcommand{\versionline}[1]{[\, Version \quad 2.61
+ \quad May 2011]
+ }
+% \keepversion
+
+\makeindex
+\newindex{myindex}{idx}{ind}{Index}
+\begin{document}
+ \shortindexingon
+
+ \pagestyle{headings}
+ \pagenumbering{Roman}
+
+\begin{titlepage}
+\vspace*{4cm}
+\begin{center}
+ {\Huge \textbf{Typesetting music with {\PMX} } \\[3ex] }
+ by \\[4ex]
+ {\LARGE Cornelius C.\ Noack} \\[1ex]
+ \hspace*{1em}\raisebox{-0.75ex}{%
+ \includegraphics{addresses/noack}}
+
+\vspace{2cm}
+ {\Large --- Version 2.61 / May 2011} \\
+ {\large ({\PMX} features up to version 2.603 included)}
+\end{center}
+
+\end{titlepage}
+
+% \newpage
+% \vspace*{\fill}
+\begin{center}
+ {\Large Acknowledgement} \\[3ex]
+
+ \begin{minipage}{360pt}
+ This tutorial owes its very existence to the work by \emph{Luigi
+ Cataldi}, who a few years ago produced a wonderful manual for
+ {\PMX} in Italian. Luigi's manual features many examples which
+ help greatly in understanding some of the arguably arcane {\PMX}
+ notation.
+
+ \medskip
+_{manual!Cataldi's Italian {\PMX} manual} _{Cataldi, Luigi}
+ Even though the Cataldi manual is, as Don Simons has aptly
+ remarked, ``written in the language of music'', it nevertheless
+ seemed useful to have access to it for non-Italian speakers, so
+ Don asked around for help on a `retranslation'.
+
+ \medskip
+_{manual!Don Simons' manual for {\PMX}, Version 2.40} _{Simons, Don}
+ In fact, that is what the present tutorial started out with:
+ essentially a retranslation of the {\PMX} part of Luigis manual
+ back into English, using, where that seemed feasible, Don's
+ original {\PMX} manual. I had been thinking for some time of
+ producing some examples (and an index) for the updated ({\PMX}
+ 2.40) version of that manual, and now, taking Luigis italian
+ version as a basis, it seemed an easy thing to do.
+
+ \medskip
+ Of course, as such projects go: soon after the first version had
+ appeared in 2002, it tended to get out of hand --- Don Simons
+ actively produced one new beta version of {\PMX} after the
+ other, and I simply could not keep up with his pace.
+
+ \smallskip
+ So alas: 5 long years went by before the first update of
+ the tutorial -- reflecting all {\PMX} changes from Version 2.40
+ to Version 2.514 , in one giant step! -- had become possible.
+
+ But, incessantly, as the development of modern {\TeX} and
+ {\LaTeX} has moved on in an accelerating pace, and so have
+ {\MusiXTeX} and {\PMX}. This tutorial was also bound to
+ follow suite. So now the current status of {\PMX}
+ (\texttt{2.603}) and this tutorial are closely synchronized for
+ the first time.
+
+ \bigskip
+ After thanking Luigi, in particular for his kind permission to
+ use his version of the manual and its examples liberally, it
+ behooves me to thank Don even more, not only for originating and
+ continuously maintaining and improving {\PMX}; his suggestions
+ and continuous assistance in my work on this tutorial throughout
+ the years were invaluable, as was his conscientious reading and
+ improving, from the first draft to the present version. Many
+ friends (too numerous to mention all of them) kept me busy
+ trying to keep up with their productive suggestions and
+ clarifications on the
+ \href{mailto:tex-music@tug.org}{{\TeX}-music users' list}
+ during the past years.
+
+ \vspace*{\fill}
+ \begin{flushright}
+ {\hv In memoriam Daniel Taupin}
+ \end{flushright}
+
+ \end{minipage}
+\end{center}
+\vspace*{\fill}
+
+\newpage\tableofcontents
+\listoftables
+\listoffigures
+\cleardoublepage
+
+\pagenumbering{arabic}
+\setcounter{page}{1}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% PMX tutorial by ccn / chapter A starts here:
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\chapter{Introduction} \label{sec:introduction}
+\pagestyle{headings}
+
+\section*{How to use this tutorial}
+\addcontentsline{toc}{section}{How to use this tutorial}
+_{tutorial}
+
+The purpose and function of this tutorial is, actually, twofold: for the
+novice with {\PMX}, it should be a readable guide to finding out what
+{\PMX} does (and what it doesn't), how it is sensibly used, and what to
+do when you run into difficulties. For the seasoned user, on the other
+hand, it should serve as an extended {\PMX} manual,
+\begin{enumerate}
+ \item giving a reasonably accurate account of \emph{all} the
+ available features in an order which should make it not too
+ tedious to find an answer to whatever question one might have,
+ \item indicating some of the more common uses of straight {\MusiXTeX}
+ commands to do things not available in {\PMX} directly.
+\end{enumerate}
+
+\medskip
+As a consequence of this twofold purpose, the two types of readers
+should have two very different approaches:
+\begin{description}
+ \item[The novice] should, after reading Section~\ref{sec:TeXetc},
+ turn right to Section~\ref{sec:concepts} and \ref{sec:notes}.
+ After that you should get your fingers dirty as quickly as
+ possible: keep your first own {\PMX} file \verb#my_opus.pmx# as
+ simple as possible, and proudly produce your first print,
+ following the instructions given in Section~\ref{sec:running}.
+ From thereon follow your interests!
+ \item[The seasoned user] will usually need the tutorial mainly to find
+ out the exact usage of some commands he unforgiveably forgot
+ about, retrieve some rarely used procedure, or find some clever
+ gimmick that he never was aware of. Those people will first scan
+ the whole tutorial quickly in a matter of minutes to see what's
+ there and gloat about what's missing, and later on rely on the
+ index -- or look into authoritative source, the
+ \href{http://icking-music-archive.org/software/pmx/pmx260.pdf}{PMX
+ manual} by Don Simons.
+\end{description}
+
+_{Quick Reference Table}
+Of course, once you have gotten acquainted well enough with {\PMX}, all
+you'll ever need is Don Simons' ``Quick Reference Table''\,%
+\footnote{The Quick Reference Table is found in the software section of
+ the \textbf{W}erner \textbf{I}cking \textbf{M}usic
+ \textbf{A}rchive as
+ \href{http://icking-music-archive.org/software/pmx/ref260.pdf}%
+ {\texttt{ref260.pdf}}\,.
+ }.
+That summarizes the {\PMX} symbols with all their options and always
+reflects the latest version. Errors found in the
+Quick Reference Table should be reported to Don Simons directly, whereas
+all complaints (outright errors, awkward formulations, missed
+subtleties) should be sent solely to the author.
+
+\bigskip
+_{\PMX}
+This tutorial refers to {\PMX} 2.603 , as of Dec 11, 2010. For details
+on the differences with previous versions consult the ``list of
+changes'' of {\PMX} in the software section of the WIMA
+(``\textbf{W}erner \textbf{I}cking \textbf{M}usic \textbf{A}rchive'').
+
+\section{ {\TeX}, {\MusiXTeX}, {\PMX}, {\MTX} } \label{sec:TeXetc}
+_{\TeX} _{\MusiXTeX} _{\PMX} _{\MTX}
+
+
+{\MusiXTeX} is undoubtedly one of the best programs for typesetting
+musical scores: it produces ready-to-print output in PostScript and PDF
+format, it is stable, is continually updated, and is in the public
+domain and thus \emph{totally free}.
+
+Nevertheless its use seems to be limited, with few exceptions, to
+musicians coming from the world of science. {\MusiXTeX} does not `look
+and feel' very intuitive, and it sometimes requires a familiarity with
+terms that may seem elementary to software programmers but are tough
+going for straight musicians. Furthermore, it is not WYSIWYG software
+(\textbf{W}hat \textbf{Y}ou \textbf{S}ee \textbf{I}s \textbf{W}hat
+\textbf{Y}ou \textbf{G}et). This means that while writing the music you
+cannot immediately see the score as it will look when printed, because
+you do not write the music graphically as you do by hand, but rather in
+terms of a list of symbols that represent it. The system is not
+interactive; rather, the process of producing a musical score consists
+of several steps: \label{p:intoduction}
+
+\begin{enumerate}
+ \item One writes the symbols in a special version of the {\TeX}
+ language to a normal text file, using any text editor (such as
+ \textbf{Emacs}, \textbf{Edit} or \textbf{Notepad}),
+ \item this text file is compiled with {\TeX} to produce a
+ \texttt{.dvi} output file. This \texttt{.dvi} file is machine
+ readable and usually can be previewed on the screen,
+ \item another program, e.g.~\texttt{dvips}, produces a PostScript
+ file from the \texttt{.dvi} file, which again can be previewed
+ on the screen or sent directly to a suitable printer.
+\end{enumerate}
+
+This symbolic and non-graphical nature of the program may discourage
+many people, but it is in many ways an advantage. Being
+fully aware of the symbolic character of the typesetting process while
+working on your input lets you concentrate much better on the final
+typographic output and keeps you from being distracted by the temptation
+to play games with interactiveness.
+
+{\MusiXTeX} is a collection of `macro's that permits producing musical
+scores with the help of {\TeX}, the prestigious electronic typesetting
+program written by Donald Knuth, which is mainly used in scientific
+typesetting. In providing {\TeX}, Knuth not only put it in the public
+domain (to be freely distributed), but stipulated that any application
+that uses {\TeX} should also be in the public domain and freely
+available, without charge or royalty.
+_{Knuth, Donald E.}
+
+_{{\TeX}}
+Before {\TeX} can be used, it has to be properly installed on the
+computer system at hand. Installing {\TeX} from scratch is not an easy
+task; consult Chapter \ref{sec:installation} for the details.
+
+Even after everything is properly installed and running, coding a
+musical score in the {\MusiXTeX} language still remains a tedious
+process. Fortunately, there exist two preprocessors, {\PMX} and {\MTX},
+which dramatically simplify the input process; in fact they provide what
+must be among the simplest possible systems of electronically encoding
+musical scores.
+
+_{\MusiXTeX} _{\PMX} _{\MTX}
+The first two bars of Mozarts \emph{piano sonata KV 545} illuminate the
+difference in coding with either {\MusiXTeX}, {\PMX} or {\MTX}. The
+codes given below for the three systems of software all produce the
+(identical) output, shown in figure~\ref{fig:mozart}:
+
+\begin{figure}[!htb]
+ \begin{center}
+ \raisebox{-0.75ex}{%
+ \includegraphics[scale=.82]{eps/mozart.eps}
+ }
+ \end{center}
+ \caption{\textbf{W.A.\ Mozart}, \emph{Sonata K545}, bars 1--2}
+ \label{fig:mozart}
+\end{figure}
+
+\bigskip\bigskip\noindent
+_{\MusiXTeX}
+{\MusiXTeX} :
+
+{\small
+\begin{verbatim}
+\input musixtex
+\parindent10mm
+\setname1{Piano}
+\setstaffs12
+\generalmeter{\meterfrac44}
+\nobarnumbers
+\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
+\endextract
+\end
+\end{verbatim}
+}
+
+\bigskip\noindent
+_{\PMX}
+{\PMX} :
+
+{\small
+\begin{verbatim}
+2 1 4 4 4 4 0 0
+1 1 20 0.12
+Piano
+tt
+./
+% Bars 1-2
+c8 g+ e g c- g+ e g | d g f g c- g+ e g Rb /
+c2+ e4 g | bd4- c1 d c2 /
+\end{verbatim}
+}
+
+
+\bigskip\noindent
+_{\MTX}
+{\MTX} :
+
+{\small
+\begin{verbatim}
+Style: piano
+Piano: Voices MD MS; Clefs G G; Continuo
+Name: Piano
+Meter: 4/4
+
+%% w120m
+c2+ e4 g | b4d- c1 d c2 |
+c8+ g+ e g c- g+ e g | d g f g c- g+ e g |
+\end{verbatim}
+}
+
+\bigskip
+Not only is the {\MusiXTeX} much longer, it undoubtedly is less
+intuitive and more complicated than the other two.
+
+\bigskip
+In the present tutorial we shall describe in detail the usage of {\PMX}
+and, in a very cursory way, that of {\MTX}.
+
+_{\MusiXTeX} _{\PMX} _{\MTX}
+In the remaining part of this introduction, we treat questions of
+installation of the entire system of {\MusiXTeX} and {\PMX}. The
+whole installation procedure may seem a formidable task to non-experts.
+But don't despair: your efforts will be rewarded by the best and
+simplest system of musical typesetting available. And, to paraphrase a
+famous {\TeX} error message: ``If in serious trouble, ask a wizard for
+help''. Such wizards are literally at your fingertips; just sign up and
+post your problem to the mailing list at ^{WIMA} (the \textbf{W}erner
+\textbf{I}cking \textbf{M}usic \textbf{A}rchive):
+\raisebox{-0.75ex}{%
+ \includegraphics[scale=0.6]{addresses/texmusiclist}
+ },
+and someone is bound to be in the mood to answer.
+
+\section{Installation} \label{sec:installation}
+_{Installation}
+
+Recently, there has been a number of major improvements in the basic
+{\MusiXTeX} software (increasing, e.g., the maximum number of
+instruments allowed), and subsequently {\PMX} has also undergone major
+improvements. As a consequence, {\PMX} now is really tuned
+to \texttt{\MusiXTeX-T115}: with {\PMX}\texttt{(2.603)} you can make
+full use of all the new features of {\MusiXTeX-T115}.
+
+\medskip
+The installation instructions given here refer explicitly to installing
+{\MusiXTeX} and {\PMX} under Windows XP; they assume that you have
+MiKTeX\,%
+\footnote{MikTeX is a {\TeX} data-base system for Microsoft Windows
+ users.
+ }
+installed (version 2.6 or higher).
+
+For Unix, good instructions can be found in the software section of
+WIMA: \\ \quad \href{http://icking-music-archive.org%
+ /software/musixtex/musixtex-for-unix.html}%
+ {\texttt{http://icking-music-archive.org%
+ /software/musixtex/musixtex-for-unix.html}}~. \hspace*{\fill}
+
+
+\pagebreak
+\subsection*{Installation of \MusiXTeX\texttt{-T 115}
+ and {\PMX} \texttt{2.603} }
+
+\subsubsection*{\MusiXTeX}
+
+A comprehensive -- and very readable -- installation instruction manual
+for {\MusiXTeX}\texttt{-T 115} has recently been given by Andre van
+Ryckeghem and Don Simons. To obtain it, download the
+\href{http://icking-music-archive.org/software/pmxtricks/mxinsuse.pdf}%
+ {PDF file} from the WIMA software page.
+
+If you are not really an expert for installing high-level software under
+the Windows XP system, you are probably well advised to simply follow
+the instructions in the installation manual more or less by the letter,
+using the default choices of folders.
+
+But in any case, it is wise to first read this manual (it's only 6
+pages) before starting to apply it.
+
+\medskip
+One point, pointed out explicitly in the {\MusiXTeX} installation
+manual, is of particular importance: when updating your MiKTeX
+installation, files that are not standard parts of the MiKTeX data base
+tend to get lost or overwritten. In order to avoid this once and for
+all, it is convenient have an extra folder for your `private' files in a
+subdirectory of the MiKTeX ROOT directory (usually named
+\verb#localmiktex#). Explicitly, if your MiKTeX directory is, e.g., \\
+\verb#C:programs\miktex 2.7# \;, followed by
+\verb#...\miktex\...#,\,
+you should have an additional directory structure
+\texttt{C:}{\bs}\texttt{programs}{\bs}\texttt{miktex 2.7}%
+ {\bs}\texttt{localmiktex}%
+ {\bs}\texttt{...}{\bs}\texttt{miktex}{\bs}\texttt{...} \\
+and check that in the MiKTeX `settings -- root' window these folders
+are listed as
+
+\begin{center}
+\begin{tabular}{|ll|} \hline
+path & Descriptions \\ & \\
+\texttt{C:}{\bs}\texttt{programs}{\bs}\texttt{miktex 2.7} & Install \\
+\texttt{C:}{\bs}\texttt{programs}{\bs}\texttt{miktex 2.7}%
+ {\bs}\texttt{localmiktex} & \\ \hline
+\end{tabular}
+\end{center}
+Then all files in the \texttt{localmiktex} folder and all its subfolders
+will never be updated or purged by MiKTeX .
+
+\medskip
+Another way to installing {\MusiXTeX} -- designed specifically to
+produce a TDS compliant structure
+\footnote{`TDS' stands for a `TeX Directory Structure', which is a
+ standard way of organizing all the TeX-related files on a
+ computer system.
+ }
+of the data base in Windows XP -- has been described by Bob Tennent; all
+the info is contained in
+ \href{http://www.ctan.org/tex-archive/macros/musixtex/musixtex-texmf.zip}%
+ {musixtex-texmf}, available at \texttt{CTAN}.
+
+\medskip
+At the same link you will also find a README with a terse, but clear
+instruction how to proceed. There is just one important item to amend:
+in the README it says: "unzip musixtex-texmf.zip at the root of a texmf
+tree \dots" ; but, for the reason pointed out above, it is much safer to
+unzip it in the \verb#localmiktex# folder of the MiKTeX structure.
+
+\medskip
+In all other respects, these 2 ways to installing {\MusiXTeX} will
+produce identical results; so which of the two you want to employ is
+just a matter of personal taste.
+
+\pagebreak\noindent
+To test the {\MusiXTeX} installation, download
+\href{http://icking-music-archive.org/software/pmxtricks/sample.zip}{sample.zip}
+from WIMA to some temporary folder and unzip it, obtaining the 3 files
+\verb#sample.tex#~, \verb#sample.pmx#~, and \verb#pmxrun.bat#~. Then run \\
+\hspace*{10ex}
+\verb#etex sample.tex# \\
+in a command line.
+
+\Note{Make sure that when using basic {\TeX} you \emph{always} run
+ \texttt{etex.exe} (`extended {\TeX}') and \emph{not}
+ \texttt{tex.exe} !! Although {\MiKTeX} now uses extended {\TeX} by
+ default, the 2 commands \texttt{tex.exe} and \texttt{etex.exe}
+ still differ; and {\MusiXTeX} 115, as well as {\PMX} 2.6, will not
+ run properly under ordinary \texttt{tex.exe} .
+ }
+
+\subsubsection*{\PMX}
+
+\noindent
+Compared to {\MusiXTeX}, installing {\PMX} 2.603 is a cinch. All you
+need to do is
+\begin{enumerate}
+ \item downkoad
+ \href{http://icking-music-archive.org/software/pmx/pmx2603.zip}%
+ {pmx 2.603.zip} and unzip it,
+ \item copy \verb#pmxab.exe# and \verb#scor2prt.exe# to
+ \verb#...\localmixtex\miktex\bin# ,
+ \item copy \verb#pmx.tex# to
+ \verb#...\localmixtex\tex# ,
+ \item run the {\MiKTeX} FNDB
+ (`\texttt{F}ile \texttt{N}ame \texttt{D}ata \texttt{B}ase') .
+\end{enumerate}
+
+\medskip\noindent
+To test the installation, run \\
+ \hspace*{10ex} \texttt{runpmx sample.pmx} \\
+in a command line.
+
+
+\section{Authors of the Software} \label{sec:authors}
+_{authors}
+
+\begin{description}
+ \item[{\MusiXTeX}:] \emph{Daniel Taupin}
+_{Taupin, Daniel}
+
+ \href{http://icking-music-archive.org/software/indexmt6.html}%
+ {\MusiXTeX} evolved from Music{\TeX} by
+ \emph{Daniel Taupin}, a physicist in the Laboratoire de Phisique
+ des Solides in Orsay, \emph{Ross Mitchell} (CSIRO Division of
+ Atmospheric Research, Private Bag No.1, Mordialloc, Victoria
+ 3195, Australia) and \emph{Andreas Egler} (Ruhr--Uni--Bochum,
+ Ursulastr. 32, D-44793 Bochum).
+
+ {\MusiXTeX} had been maintained actively and conscientiously by
+ Daniel Taupin until his untimely death in 2001 --- he died
+ accidentally while climbing in the Alps. He is remembered with a
+ \href{http://icking-music-archive.org/Memorial/Taupin%
+ /Statements.html}{Memorial} on the web page of the Werner Icking
+ Music Archive.
+
+ After Taupins death, {\MusiXTeX} seemed quite stable and could
+ thus, for all practical purposes, be considered `frozen' for a
+ long time.
+
+ However, nothing as lively as {\MusiXTeX} can really remain
+ \marginpar{redo after release of T 115 !}
+ literally frozen forever. A number of improvements have
+ been continuously added by a group of {\MusiXTeX}perts, and,
+ finally, Hiroaki Morimoto has kindly provided a new version
+ of {\MusiXTeX} which corrects known bugs. Then a new and
+ \emph{strongly enhanced version} of the {\MusiXTeX} manual was
+ prepared by a group led by Don Simons, which has now been
+ officially released: {\MusiXTeX}-\texttt{T 114} . It is located
+ at Werner Icking Music Archive (dubbed `WIMA') as
+
+ \href{http://icking-music-archive.org/software/musixtex/%
+ musixtex-t114.zip}{\texttt{musiXtex-t114.zip}}\,.
+
+ \medskip
+ Quite recently, Hiroaki Morimoto went even further in enhancing
+ {\MusiXTeX}: his newest version, {\MusiXTeX} \texttt{T 115} ,
+ now allows up to 24 instruments! While still a beta version as
+ of this writing, it is likely to be released officially soon,
+ and the present version of {\PMX}, version {\PMX} \texttt{2.603}
+ -- and this tutorial -- is already based on {\MusiXTeX} \texttt{T
+ 115} .
+
+
+ \bigskip
+ Finally, here is a list of the authors of essential parts of
+ {\PMX} and related software:
+
+ \item[{\PMX}:]
+ \emph{Don Simons}
+_{Simons, Don} _{\PMX!author}
+
+ E-mail: \raisebox{-1.0ex}{%
+ \includegraphics[scale=0.7]{addresses/dsimons}
+ }
+
+ \item[{\MTX}:]
+ \emph{Dirk Laurie}
+_{Laurie, Dirk}
+
+ E-mail: \raisebox{-1.0ex}{%
+ \includegraphics[scale=0.75]{addresses/dlaurie}
+ }
+
+ \item[Musixlyr and Musixser:]
+ \emph{Rainer Dunker}
+_{Dunker, Rainer}
+
+ E-mail: \raisebox{-1.0ex}{%
+ \includegraphics[scale=0.72]{addresses/rdunker}
+ }
+
+ \item[PostScript slur package K:]
+ \emph{Stanislav Kneifl}
+_{Kneifl, Stanislav}
+
+ E-mail: \raisebox{-1.0ex}{%
+ \includegraphics[scale=0.7]{addresses/skneifl}
+ }
+
+ \item[PostScript slur package M:]
+ \emph{Hiroaki Morimoto}
+_{Morimoto, Hiroaki}
+
+ E-mail: \raisebox{-1.0ex}{%
+ \includegraphics[scale=0.7]{addresses/hmorimoto}
+ }
+\end{description}
+
+\section{The Werner Icking Music Archive} \label{sec:Icking}
+_{WIMA} _{Werner Icking Music Archive|see{WIMA}} _{Icking, Werner}
+
+\textbf{Werner Icking} (June 25, 1943 -- February 8, 2001) was the
+founder of the \emph{GMD Music Archive}, which contained downloadable
+scores, various {\MusiXTeX} programs, a discussion list, and various
+other musical resources in the public domain. His contributions to the
+development and promulgation of this software were peerless. His
+editions of music (in particular the edition of the complete `Urtext' of
+J.S.\ Bach's pieces for violin and violoncello solo) are examples of
+sophisticated technique, artistic sensibilty and philological
+meticulousness. Everybody, whether expert programmer or complete novice,
+would always find valid and unselfish advice from him, which invariably
+ended with the motto ``\emph{hope this hilft}''. In time a small, but
+regular group of faithfuls gathered around this site, from all over the
+world, who never had met Werner in person, but nevertheless came to see
+a friend in him, mainly through frequent email exchanges.
+
+Werner died suddenly on February 8, 2001, while bicycling home from
+work, as was his regular habit. That very day he had performed
+maintenance work for the site and replied to messages on its discussion
+list, of which he had been the main administrator. The community of
+users of the archive decided not to disband, but to continue Werner's
+work. Starting with the contents of the GMD Archive, a new site was
+created, and dedicated to Werner's memory. It's official name is the
+\emph{Werner Icking Music Archive}.
+
+After some difficult times, it is now hosted by \quad
+ \href{http://www.pait.dk}{\texttt{PALDAM IT}} ;
+its URL is \\
+\hspace*{\fill} \href{http://icking-music-archive.org}%
+ {\texttt{http://icking-music-archive.org}}\,. \hspace*{\fill} \\
+Its chief administrator is Christian Mondrup,
+_{Mondrup, Christian}
+who more than any other provided reasoned guidance and continuity during
+the difficult transition.
+
+\bigskip
+The archive houses four main categories of information:
+
+ \label{p:Icking}
+\begin{description}
+ \item[Archive of sheet music]: Contains hundreds of royalty-free
+ scores in PDF, many with their source code in {\MusiXTeX},
+ {\PMX}, or {\MTX}. It is maintained by \emph{Christian Mondrup},
+ who is also the main administrator of the Werner Icking Music
+ Archive \\
+ E-mail:
+ \raisebox{-1.0ex}{%
+ \includegraphics[scale=0.72]{addresses/cmondrup}
+ } .
+_{Mondrup, Christian}
+ \item[{\MusiXTeX} and related software]: Contains {\MusiXTeX} and
+ related software, as well as user manuals and various add-ons. It
+ is maintained by \emph{Don Simons} \\
+ E-mail:
+ \raisebox{-1.0ex}{%
+ \includegraphics[scale=0.72]{addresses/dsimons}
+ } .
+_{Simons, Don}
+ \item[{\TeX}-music list]:
+_{{\TeX}-music users' list}
+ This discussion list is invaluable to novices, advanced users and
+ developers. Themes focus on technical problems of typesetting
+ using {\MusiXTeX} and related software, but often drift into
+ other musical subjects of historic or esthetic interest. It is
+ not moderated, but you need to subscribe in order to participate.
+ For information on how to subscribe, visit~
+ \href{http://icking-music-archive.org/mailman/listinfo/tex-music}%
+ {\texttt{http://icking-music-archive.org/mailman/listinfo/tex-music\/}}~.
+ Its administrator is \emph{Maurizio Codogno} (E-mail
+ \raisebox{-1.2ex}{%
+ \includegraphics[scale=0.80]{addresses/mcodogno}
+ }$\!\!$).
+_{Codogno, Maurizio}
+ \item [Links to other sources of information regarding music:] There
+ are links to search facilities about composers/works/editions, a
+ multi-lingual glossary of musical terms, and some lists of
+ composers' works. This is maintained by \emph{Jean-Pierre
+ Coulon}:
+
+ \hspace*{10em}
+ E-mail: \raisebox{-1.0ex}{\includegraphics[scale=0.72]%
+ {addresses/jpcoulon}
+ }
+_{Coulon,Jean-Pierre}
+\end{description}
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% PMX tutorial by ccn / chapter B starts here:
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\chapter{A {\PMX} Tutorial} \label{sec:GuidePMX}
+\section*{Conventions for this tutorial} \label{sec:conventions}
+\addcontentsline{toc}{section}{Conventions for this tutorial}
+_{tutorial!conventions of this tutorial}
+
+\renewcommand{\thefootnote}{\fnsymbol{footnote}}
+\hspace*{\fill}\begin{minipage}[b]{200pt}
+ ``Hey, this is boring stuff, but if you take a
+ minute to understand the typographic conventions
+ and a little jargon, it may avoid some confusion
+ down the road.''\,%
+ \footnotemark[2]
+ \end{minipage}
+\footnotetext[2]{Quoted literally from the original introduction to
+ {\PMX} by its author, Don Simons. }
+\renewcommand{\thefootnote}{\arabic{footnote}}
+
+\paragraph{Typographical conventions:}
+\begin{itemize}
+ \item The \texttt{typewriter} typeface always indicates verbatim text
+ \emph{exactly as you would input it to the computer}. This
+ includes file names, {\MusiXTeX} tokens, and {\PMX} commands,
+ e.g., \verb#barsant.pmx, \internote, c44# .
+ \item \textbf{bold} typeface is used for two purposes: first, for
+ program names (e.g.~\textbf{pmxab}), and second, when applied
+ to a single letter within a normal word, to emphasize the
+ mnemonics of a {\PMX} command (e.g.~\texttt{lr} signifies a
+ ``\textbf{l}eft-\textbf{r}ight repeat'').
+ \item When used in commands, \emph{italics} represent input
+ variables for which the user would substitute the appropriate
+ actual value. To make this notation quite clear -- and distinct
+ from the general use of italics for emphasis -- , the variable
+ will be surrounded by square brackets in such cases (e.g.\
+ \texttt{L[}$n$\texttt{]P[}$m$\texttt{]M} ), but \emph{the
+ brackets are not to be included with the verbatim text}.
+\end{itemize}
+
+\paragraph{Musical terms:} \text{} \\
+The language of music is Italian, and so the radical solution of
+terminological problems would be to use the Italian names throughout.
+This would, however, defeat the whole purpose of this tutorial, so some
+compromises need to be made, and some terms, which may be used
+differently by different people, need to be clearly defined. So in this
+tutorial
+\begin{itemize}
+ \item
+_{staves}
+ a \emph{staff} (plural \emph{staves}) means the set of 5
+ horizontal lines in which music is usually notated, aptly
+ called a \emph{pentagramma} in Italian\,%
+ \footnote{Note that one-line staves, used for percussion
+ instruments (drums, triangles etc.), are presently
+ not implemented in {\PMX}.
+ }.
+ \item a \emph{system} means a coherent set of staves to be played
+ simultaneously.
+ \item
+_{voice}
+ a \emph{voice} means a line of music that is a musical entity
+ of its own, such as a melody. In polyphonic music, there is
+ often more than one voice to a staff, e.g.~a 4-voice Bach
+ choral is often written with the 2 top voices (soprano, alto)
+ in one staff, the bottom ones (tenor, basso) in the other\,%
+ \footnote{ {\PMX} allows 1 or 2 voices in one staff. }.
+\end{itemize}
+
+\paragraph{technical terms:} \text{} \\
+\begin{itemize}
+ \item a \emph{system} means a coherent set of staves to be played
+ simultaneously.
+ \item a \emph{block} is the series of PMX commands WITHIN ONE SYSTEM,
+ formally >ended be a / (slash), which then must be the LAST
+ CHARACTER on this input line\,%
+ \footnote{This often precludes even \TeX\ comments (started
+ with a \%) on the same line, after the slash!
+
+ \PMX\ does not check for compliance with this rule,
+ but nevertheless it is good practice to adhere to it.
+ Otherwise you a liable to encounter weird errors
+ which may be difficult to trace.
+ }.
+\end{itemize}
+
+
+\section{Running {\PMX}} \label{sec:running}
+_{\PMX!running {\PMX}}
+
+As stated in the introduction (cf.~Section~\ref{sec:introduction}),
+{\PMX} is a \emph{preprocessor} to {\MusiXTeX}. That means that with
+{\PMX} the sequence of steps from the input to the printed paper is one
+step longer:
+\begin{enumerate} \setcounter{enumi}{-1}
+ \item The user writes \emph{the symbols of the {\PMX} language} to a
+ normal text file, using any text editor. The name of this file,
+ ( say, \verb#my_opus.pmx#) \emph{must have the suffix}
+ \texttt{pmx},
+ \item the file \verb#my_opus.pmx# is run through the {\PMX} processor,
+ \textbf{pmxab}.
+_{\textbf{pmxab}}
+ This produces the output file \verb#my_opus.tex#, \\[2ex]
+ \fbox{\begin{minipage}{390pt}
+ Note that in {\PMX} (like in Unix, but unlike Windows)
+ spaces within a file name are \emph{not allowed}! If in
+ the above example, the input file name were \texttt{my
+ opus.pmx} instead of \texttt{my\underline{\;}opus.pmx}, an
+ unpredictable error, with confusing error messages, would
+ occur.
+ \end{minipage}
+ }
+
+ \item the file \verb#my_opus.tex# is then processed with {\TeX} to
+ produce a \texttt{.dvi} output file\,%
+ \footnote{This step is a bit more complicated than it sounds
+ because it actually is a 3 pass system: it consists of
+ (i) running {\TeX}, (ii) running ^{\textbf{musixflx}},
+ and (iii) running {\TeX} again (details on the
+ rationale behind this are described in the {\MusiXTeX}
+ manual by Daniel Taupin).
+_{Taupin, Daniel}
+ }.
+ This \texttt{.dvi} file is machine readable and (usually) can be
+ previewed on the screen,
+ \item another program, e.g.~\texttt{dvips}, produces a PostScript file
+ from the \texttt{.dvi} file, which again can be previewed on the
+ screen, or sent directly to a suitable printer.
+\end{enumerate}
+Usually this whole process is automated to some degree by the use of a
+so-called `script' or `batch' file, or with the help of some more
+elaborate system of interconnecting software (most of these tuned to the
+needs of the general {\TeX} community).
+_{\PMX!running {\PMX}}
+
+\medskip
+There are too many variants of this kind of supporting software -- public
+domain or commercial -- to discuss here, and personal preferences or
+dispositions are too varied. If you are at a loss on what to use, send a
+message to the {\TeX}-music list (cf.~p.\pageref{p:Icking}), and you
+can trust that you get all the individual help you need.
+_{{\TeX}-music users' list}
+
+\begin{table}[!htbp]
+ \begin{center}
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+:::::::::::::::::::::::: runpmx.bat ::::::::::::::::::::::::
+Call C:\Programme\MikTeX_2.7\localmiktex\miktex\bin\pmxab %1.pmx
+if errorlevel 1 goto pmxerr
+if exist %1.pml del %1.pml
+if exist %1.mx2 del %1.mx2
+if exist %1.mx1 del %1.mx1
+if exist pmxaerr.dat del pmxaerr.dat
+::
+Call C:\Programme\MikTeX_2.7\miktex\bin\etex.exe %1.tex
+if errorlevel 1 goto texerr
+::
+Call C:\Programme\MikTeX_2.7\localmiktex\miktex\bin\musixflx.exe %1.mx1
+::
+Call C:\Programme\MikTeX_2.7\miktex\bin\etex.exe %1.tex
+if errorlevel 1 goto texerr
+if exist %1.log del %1.log
+::
+Call C:\Programme\MikTeX_2.7\miktex\bin\dvips.exe %1.dvi
+if errorlevel 1 goto dvierr
+if exist %1.log del %1.log
+::
+Call C:\Programme\GhostScript\Ghostgum\gsview\gsview32.exe %1.ps
+::
+goto :end
+:::::::::::::::::::
+:: error exits :
+::
+:pmxerr
+echo.
+echo PMX has found errors when processing %1.pmx !
+echo.
+pause
+goto :end
+::
+:texerr
+echo.
+echo TeX has found errors when processing %1.tex !
+echo check %1.log for details.
+echo.
+pause
+goto :end
+::
+:dvierr
+echo.
+echo *** dvips had errors ! ***
+echo.
+pause
+
+::
+:end
+:::::::::::::::::::: end of runpmx.bat ::::::::::::::::::::
+\end{verbatim}
+\end{minipage}
+ \end{center}
+ \caption{An example of a batch file for running {\PMX}}
+ \label{tab:runpmx}
+\end{table}
+
+\pagebreak
+To illustrate the above process, however, an example for a typical
+`batch' file, for a standard \textbf{Windows} system, is given in
+Table~\ref{tab:runpmx}. This assumes that you have
+installed
+\begin{enumerate}
+ \item a ^{\MiKTeX} system,
+ \item a {\MusiXTeX} system,
+ \item a \texttt{dvips} system,
+\end{enumerate}
+all installed in the standard way, and that you have produced the {\PMX}
+input file \verb#my_opus.pmx#, using your favorite ASCII text editor.
+
+You would then run
+\begin{center}
+ \verb#runpmx my_opus#
+\end{center}
+on a command line, and would see a Ghostview window opening, from which
+you could print your opus (or do with it whatever you like).
+
+\bigskip
+You perhaps will want to write your own batch program\,%
+\footnote{The \texttt{runpmx.bat} given in Table \ref{tab:runpmx} is
+ identical with the \texttt{runpmx.bat} used in the installation
+ guide (Section \ref{sec:installation}).
+
+ When adapting this to your needs or writing your own batch
+ file altogether, you should make sure that you use
+ \texttt{etex.exe} in the 3 calls of {\TeX}.
+ {\MusiXTeX}-\texttt{T115} and {\PMX} texttt{2.603} both
+ require e{\TeX} (extended {\TeX})!
+ }, to suit your personal requirements. Some further remarks on
+how \textbf{pmxab}
+_{\textbf{pmxab}} operates may prove helpful for that.
+
+\medskip
+First, whenever \textbf{pmxab}
+_{\textbf{pmxab}}
+terminates due to a syntax error, the exit code is set 1 (0 when there
+are no errors). There are various ways of detecting this with batch
+commands, and then acting accordingly.
+
+\medskip
+Second, \textbf{pmxab}
+_{\textbf{pmxab}}
+always writes a file \texttt{pmxaerr.dat}
+_{\texttt{pmxaerr.dat}}
+containing a single number: 0 if it exited normally, otherwise the line
+number in the \texttt{.pmx} file where the syntax error was. With
+advanced batch programming techniques, this file can be opened and read,
+and if there was an input error, a text editor can be opened and the
+input point placed on the line with the error.
+
+\bigskip
+There have been several requests to allow {\PMX} to keep running even
+after it detects an input error. This has not been done because in most
+cases, any error messages after the first one would be meaningless, or
+worse, uncorrected errors could cause crashes. In any event, all the
+output from \textbf{pmxab}
+_{\textbf{pmxab}}
+will be stored in the log file [\emph{filename}]\texttt{.pml}.
+
+\subsection{Concatenating several files} \label{sec:concatfiles}
+_{\PMX!concatenating several files}
+
+Sometimes one wants to split the work on a score into several smaller
+parts, not only when otherwise you would exceed some {\PMX} numerical
+limit (cf.~Section~\ref{sec:limits}), but simply for practical reasons.
+Logically, one should distinguish two separate cases:
+\begin{enumerate}
+ \item Within \emph{one and the same {\PMX} program}, there might be
+ parts that recur identically in several regions of the full code,
+ and one would not want to retype these over and over again (both
+ for efficiency and for clarity reasons). In such cases, you
+ would want to have a command similar to the \verb#\input# of
+ {\TeX}, {\LaTeX} and many other programming languages.
+
+ In {\PMX}, such an `\verb#\input#' command has the form
+ \verb#AR[#\emph{file name}\verb#]#, where \emph{file name} is
+ the name of the (ASCII) file you want to include, and
+ \verb#AR[#\emph{file name}\verb#]# will insert this file
+ at exactly that point in your {\PMX} program where the
+ \verb#AR[#\emph{file name}\verb#]# is.\,%
+
+ \begin{quote}
+ A possible use for this procedure, i.e.\ using the \texttt{AR}
+ command, could be to save typing when you want to include your
+ favorite option defaults that in fact you use in almost every
+ piece of music you write with {\PMX}.
+
+ But a simple ``cut \& paste'' is arguably a quite practical
+ and more straightforward way of achieving this goal; moreover,
+ if you want to be fancy about it, {\PMX} has a much more
+ sophisticated tool to offer for that purpose\,%
+ \footnote{In fact, there is yet another fancy tool,
+ i.e.\ including a `global' file with the specific
+ name \texttt{pmx.mod} , useful for special purposes.
+ For details on this, refer to the {\PMX} manual.
+ },
+ viz.\ a macro (cf.\ Sec.~\ref{sec:macros}).
+ \end{quote}
+
+ \item Sometimes may have reason to make several
+ completely independent {\PMX} files, producing their output
+ separately. In the end, you would want to concatenate these
+ pieces again. This can be easily done:
+
+ \medskip
+ Suppose you have coded the three movements of a piano sonata in
+ three separate {\PMX} files: \verb#son1.pmx#, \verb#son2.pmx#
+ and \verb#son3.pmx#. To create one single file from these,
+ proceed as follows:
+ \begin{enumerate}
+ \item Process the three files \verb#.pmx# separately,
+ obtaining the three files \verb#son1.tex#,
+ \verb#son2.tex# and \verb#son3.tex# ,
+ \item Create a {\TeX} file \texttt{son.tex} consisting of the
+ following lines:
+ \begin{verbatim}
+ \input musixtex
+ \startmuflex
+ \let\startmuflex\empty
+ \let\endmuflexsav\endmuflex
+ \let\endmuflex\endinput
+ \input son1
+ \input son2
+ \input son3
+ \endmuflexsav
+ \bye
+ \end{verbatim}
+ \item Process the file \verb#son.tex# , in the usual three
+ passes ({\TeX}~$\Longrightarrow$ \texttt{musixflx}
+ $\Longrightarrow$ {\TeX}). The resulting file
+ \verb#son.dvi# then contains the full score of the
+ entire sonata.
+ \end{enumerate}
+\end{enumerate}
+
+\medskip
+Alternatively, you can concatenate the files using {\LaTeX}, or more
+specifically, the \textbf{mtxlatex} package. For details on this
+see Section~\ref{sec:LaTeX}.
+_{\LaTeX} _{\textbf{mtxlatex}|see{\LaTeX}} _{\LaTeX!interface with \PMX}
+
+\vfill\begin{figure}[!htbp]
+ \begin{center}
+ \raisebox{-0.75ex}{%
+ \includegraphics[scale=.82]{eps/Haydn.eps}
+ }
+ \end{center}
+ \caption{\textbf{F.J.\ Haydn},
+ \emph{quartet Op.76, no.2}, bars 1--4
+ }
+ \label{fig:Haydn}
+\end{figure}
+\label{p:Haydn}
+
+\begin{table}[!htb]
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+F.J.\ Haydn, Quartet op.76, no.2, bars 1--4
+PREAMBLE:
+nstaves ninstr mtrnuml mtrdenl mtrnump mtrdenp
+ 4 4 4 4 0 6
+npickup nkeys
+ 0 -1
+npages nsystems musicsize fracindent
+ 1 1 16 .08
+Violoncello
+Viola
+Violin II
+Violin I
+batt
+./
+% BODY:
+% HEADER:
+Tc
+F.J. Haydn
+Tt
+String Quartet op. 76, No.2
+h
+Allegro
+Abep
+w170m
+% begin of music input -
+% bar 1
+d82 Df o. d+ o. d o. d o. r d o. d o. d o. /
+f83 Df o. f o. f o. f o. r f o. f o. f o. /
+r8 a83 Df o. a o. a o. r a o. a o. a o. /
+a24 Df d- /
+
+% bar 2
+r8 d o. d o. d o. r e o. e o. e o. /
+r8 g o. g o. g o. r g o. g o. g o. /
+r8 b o. b o. b o. r cs o. c o. c o. /
+e2 a- /
+
+% bars 3-4
+f8 s e f cs s d4 a | b2 s a4 s o. r Rb /
+a2 t a4 t .cs- | d8 s e f d s e4 o. r /
+d8 s cs d e s e s d c s a1+ s g s | f s g f e s d8 o. d o. cs4 r /
+d8 s cs d e s g s f e s a | d4- zd+ cn1 s b a gs s a4 o. r /
+% end of PMX source file
+\end{verbatim}
+\end{minipage}
+ \caption{{\PMX} source for excerpt of F.J.\ Haydn quartet}
+ \label{tab:Haydn}
+\end{table}
+
+\section{Preliminary Concepts} \label{sec:concepts}
+
+_{comments}
+The {\PMX} code of a musical score consists of two parts, the
+\emph{preamble} and the \emph{body}. Lines with a \% in column 1 are
+comment lines (as in {\TeX}); they are disregarded by the program\,%
+\footnote{Note, however, the additional conventions of
+ the \textbf{scor2prt} program (see Chapter \ref{sec:scor2prt},
+ pp.\ \pageref{p:scor2prt}).
+ }.
+
+\medskip
+The \emph{preamble} contains the general specifications for a score,
+some musical (e.g., number of instruments, meter, key signature), and
+some typographical (e.g., number of pages, number of staves per page).
+
+\medskip
+The coding for the music itself is given in the \emph{body}, which in
+turn usually has a \emph{header}. As an example, consider the first few
+bars of Haydns \emph{quartet Op.76, no.2} . The music shown in
+Fig.~\ref{fig:Haydn} is obtained from the {\PMX} source code given in
+Table~\pageref{tab:Haydn}.
+
+\section{Preamble} \label{sec:preamble}
+_{preamble}
+
+The \emph{preamble} consists of one or several lines of numbers,
+followed by lines with typographical data relevant for the whole score.
+The preamble ends with a line giving the name of the directory to which
+_{\textbf{pmxab}}
+\textbf{pmxab} is to write its output \texttt{.tex} file.
+
+\subsection{Numerical input} \label{sec:numinput}
+
+The first line(s) of the preamble must contain 12 numerical
+parameters, separated by one or more spaces (`white space'). In {\PMX},
+as in {\TeX}, a line feed is equivalent to a white space, so the
+following 3 forms of the beginning numerical input are all equivalent:
+
+{\small
+\begin{verbatim}
+4 4 4 4 0 6 0 -1
+1 1 16 .08
+\end{verbatim}
+}
+
+\vspace*{-1.5ex}
+\qquad --- or ---
+
+\vspace*{-1.5ex}
+{\small
+\begin{verbatim}
+4 4 4 4 0 6 0 -1 1 1 16 .08
+\end{verbatim}
+}
+
+\vspace*{-1.5ex}
+\qquad --- or ---
+
+\vspace*{-1.5ex}
+{\small
+\begin{verbatim}
+4
+4
+4
+4
+0
+6
+0
+-1
+1
+1
+16
+.08
+\end{verbatim}
+}
+
+\medskip\noindent
+For the purpose of this tutorial, the 12 s are named\,%
+\footnote{Their names are written in typewriter typeface here because in
+ a way they \emph{are} input and, as some of the examples show,
+ used as such, albeit only in comment lines. But these names
+ themselves never occur in {\PMX} commands. (See, however,
+ the footnote on p.\pageref{p:errormsg}).
+ }.
+\begin{center}
+ \parbox{6cm}{\texttt{nstaves}, \texttt{ninstr}, \\[1ex]
+ \texttt{mtrnuml}, \texttt{mtrdenl}, \\
+ \texttt{mtrnump}, \texttt{mtrdenp}, \\[1ex]
+ \texttt{npickup}, \\
+ \texttt{nkeys}, \\[1ex]
+ \texttt{npages}, \texttt{nsystems}, \\
+ \texttt{musicsize}, \texttt{fracindent}
+ }
+\end{center}
+
+Their significance is as follows:
+
+\begin{itemize}
+\item
+_{voice!several voices in one staff} _{\texttt{nstaves}}
+ \texttt{nstaves}, an integer $\leq 24$, is the total number of
+ staves per system. Each staff may contain either one or two voices
+ (lines of music). The number of voices in a staff may change as
+ the piece progresses, but the total number of voices at any one
+ time cannot exceed 24. So if, e.g., there are 24 staves, there can
+ only be one voice per staff.
+
+_{\texttt{ninstr}}
+ \texttt{ninstr}, an integer $\leq$
+ \texttt{nstaves}, is the number of \emph{instruments}. Each
+ instrument has a unique name (cf.\ p.~\pageref{p:names}), and any
+ instrument with more than one staff will have its staves joined
+ with a curly bracket. Often there is only one staff per
+ instrument, and \texttt{ninstr $=$ nstaves} in that case. There
+ are two ways to assign more than one staff to one or more
+ instruments:
+
+ \begin{itemize}
+ \item if only the first, i.e.\ the \emph{lowest}, instrument has
+ more than one staff, such as in a score for piano and a
+ one-staff solo instrument, simply make \texttt{ninstr $<$
+ nstaves}, and any difference will show up in instrument 1,
+ the bottom one in each system,
+ \item When you need a more general assignment of staves to
+ instruments, put a minus sign in front of \texttt{ninstr},
+ and follow \texttt{ninstr} with the number of staves in each
+ instrument in succession, in sequence from the bottom one up
+ (the same order as the instrument names,
+ cf.~p.\pageref{p:names}), separated by spaces. These numbers
+ \emph{must} add up to \texttt{nstaves}: in a way, they are
+ simply a partition of the numerical parameter
+ \texttt{ninstr} .
+ \end{itemize}
+
+ \Example
+ The preamble of the first example (Fig.~\ref{fig:diabolica})
+ simply has \texttt{nstaves} $=3$ and \texttt{noinst}
+ $=2$ : \begin{figure}[!htb]
+ \begin{center}
+ \raisebox{-0.75ex}{%
+ \includegraphics[scale=.82]{eps/diabolica.eps}
+ }
+ \end{center}
+ \caption{\textbf{C.C.\ Noack}, \emph{sonata diabolica, first
+ movement}, bars 12--17
+ } \label{fig:diabolica}
+ \end{figure}
+ while the Stravinsky excerpt of Fig.~\ref{fig:agon} was obtained\,%
+ \footnote{In the \PMX\ text with which Fig.~\ref{fig:agon} was
+ produced, an additional \MusiXTeX\ command was used to
+ gather the strings in a group in the usual way. This
+ ``inline use'' of \TeX\ commands will be explained in
+ detail in Section~\ref{sec:inlineTeX} .
+ }
+ with \texttt{nstaves} $=9$ and \texttt{noinst} replaced by
+ \[ -7 \; 1 \; 1 \; 1 \; 1 \; 2 \; 2 \; 1 \;\;\; . \]
+ This tells \PMX\ that there are 7 instruments in all, with 1 staff
+ each for the four strings, 2 each for the piano and the harp, and
+ 1 for the trombone. Note that these numbers -- 8 in all in this
+ case -- count as \emph{one parameter}, i.e.\ the 12 numerical
+ parameters of the preamble are made up of 19 numbers in this case:
+ \begin{center}
+ \begin{tabular}{l@{\quad:\quad}l}
+9 & (\texttt{nstaves}) \\
+-7 1 1 1 1 2 2 1 & (\texttt{ninst}) \\
+4 \quad 8 & (\texttt{mtrnuml, mtrdenl} \\
+4 \quad 8 & (\texttt{mtrnump, mtrdenp}) \\
+2 \quad 0 & (\texttt{npickup}, \texttt{nkeys}) \\
+0 \quad 2 \qquad 16 \qquad 0.14
+& (\texttt{npages, nsystems, musicsize, fracindent})
+ \end{tabular}
+ \end{center}
+\end{itemize}
+
+\begin{itemize}
+\item _{meter}
+ The following 4 numbers serve to define the meter of the piece.
+ The first pair,
+_{\texttt{mtrnuml}}
+ \texttt{mtrnuml} and
+_{\texttt{mtrdenl}}
+ \texttt{mtrdenl}, are the \emph{logical} values which {\PMX} uses
+ to calculate the length of a bar: \texttt{mtrnuml} is the logical
+ numerator of the meter, i.e.\ the number of beats per measure,
+ \texttt{mtrdenl} the denominator. \label{p:meterdefs}
+
+_{meter!printed}
+ The second pair,
+_{\texttt{mtrnump}}
+ \texttt{mtrnump} and
+_{\texttt{mtrdenp}}
+ \texttt{mtrdenp}, determines the appearance of
+ the meter in the printed output, but has no effect on the internal
+ timing analysis of {\PMX}:
+ \begin{itemize}
+ \item if \texttt{mtrnump} $>0$, then it and
+ \texttt{mtrdenp} are printed literally as the
+ numerator and denominator of the time signature. For
+ example, \texttt{4 4 4 4} prints a standard
+ 4 quarters meter,
+ \item if \texttt{mtrnump} $<0$, then the numerator actually
+ used by \PMX\ will still be the positive value of
+ \texttt{mtrnump}, but the entire time signature will be
+ printed with a vertical slash through it,
+ \item if \texttt{mtrnump}=0, then \texttt{mtrdenp}
+ determines the printed meter as given in
+ Table~\ref{tab:meter} and shown in Fig.~\ref{fig:meter}.
+ \end{itemize}
+
+\medskip
+There are special rules for n/16 and n/1 time signatures (where the
+latter "1" normally means a semibreve or whole note). To get n/1 time,
+\label{p:meterdefs0}
+use \texttt{mtrdenl} $=0$ (zero) and \texttt{mtrdenp} $=1$\,%
+\footnote{To remember this rule, recall that the printed denominator
+ is taken literally, while the logical denominator represents
+ the same time value that is denoted when entering ordinary
+ notes (see section~\ref{sec:notes} below): there \texttt{0}
+ stands for a whole note.
+ The special rule for n/16 time is due to programming
+ convenience.
+ }.
+For n/16 time, it is \texttt{mtrdenl} $=1$ and \texttt{mtrdenp}
+$=16$. So the choice [\texttt{3 0 3 1}] for the 4 meter
+parameters, for example, will give a 3/1 time, both in the {\PMX}
+internal computations and in the printed output, while a 5/16 time is
+indicated by [\texttt{5 1 5 16}].
+\end{itemize}
+
+\medskip
+\begin{figure}[!htbp]
+ \begin{center}
+ \raisebox{-0.75ex}{%
+ \includegraphics[scale=.82]{eps/agon.eps}
+ }
+ \end{center}
+
+ \vspace*{-4ex}
+ \caption{\textbf{I.\ Stravinsky}, \emph{agon, first movement},
+ bars 1--2 } \label{fig:agon}
+\end{figure}
+
+\begin{table}[!htb]
+\noindent
+-------------------------------------------------
+ \begin{center}
+_{\PMX!options!meter options}
+_{meter!blind}
+ \begin{tabular}{|l|l|}
+ \hline
+ \texttt{0} & no meter is printed (`blind' meter) \\
+ \texttt{1, 2, 3 or 4} & a single digit, between
+ the 2nd and 4th lines of each staff\\
+ \texttt{5} & cut time (alla breve) \\
+ \texttt{6} & common time \\
+ \texttt{7} & numeral 3 with a vertical slash
+ \\ \hline
+ \end{tabular}
+ \caption{Meter options for \texttt{mtrdenp} $=0$ }
+ \label{tab:meter}
+ \end{center}
+\end{table}
+
+\begin{figure}[!htb]
+ \begin{center}
+ \raisebox{-0.75ex}{%
+ \includegraphics[scale=.82]{eps/meter.eps}
+ }
+
+ \vspace*{-4ex}
+ \end{center}
+ \caption{Result of meter options for \texttt{mtrdenp} $=0$
+ } \label{fig:meter}
+\end{figure}
+
+\begin{itemize}
+\item
+_{pickup bar}
+The $7^{\text{th}}$ parameter,
+_{\texttt{npickup}}
+\texttt{npickup}, is the number of beats in a pickup bar if one is
+present. If there is no pickup bar, set \texttt{npickup} $=0$.
+\texttt{npickup} need not be an integer. Cf.~Fig.~\ref{fig:pickups} for
+examples of pickup bars.
+_{pickup bar}
+
+A pickup bar is the \emph{only} bar that can have a different number of
+beats than the current value of \texttt{mtrnuml}. It must be followed
+with the first regular bar \emph{in the same block}, i.e.\ the pickup
+note(s) \emph{must not be followed} by a \texttt{|}, \texttt{/} or
+\texttt{//}.
+_{pickup bar}
+
+We shall later describe a {\PMX} command to change the meter, and
+explain how to use it for pickups to later sections or movements
+(cf.~section~\ref{sec:meterchg}).
+\end{itemize}
+
+\begin{figure}[!htb]
+ \begin{center}
+ \raisebox{-0.75ex}{%
+ \includegraphics[scale=.82]{eps/pickups.eps}
+ }
+ \end{center}
+ \caption[Examples of pickups in 4/4]%
+ {Examples of pickups in 4/4 (the values of \texttt{npickup}
+ are given under the staff).
+ } \label{fig:pickups}
+
+\end{figure}
+
+\begin{itemize}
+\item
+_{key signature} _{signature|see{key signature}} _{\texttt{nkeys}}
+ \texttt{nkeys} is the key signature, positive integer for sharps,
+ negative for flats.
+\end{itemize}
+
+\medskip
+The last four numerical parameters concern the layout:
+\begin{itemize}
+\item If
+_{\texttt{npages}}
+ \texttt{npages} $>0$, it is the number of
+ pages, and
+_{\texttt{nsystems}}
+ \texttt{nsystems} is then the
+ total number of systems in the entire piece. {\PMX} will spread
+ the entire piece horizontally over this number of systems, and
+ vertically over \texttt{npages} pages. For proper vertical spacing
+ there should be from about 9 to 16 staves per page. If you specify
+ too many staves for a given number of pages, one or more staves
+ may spill over onto an extra page, but you will not see this until
+ you preview the \texttt{.dvi} file. Possible remedies are to
+ increase \texttt{npages}, decrease \texttt{nsystems}, or use the
+ \texttt{Ae} command, to be described later (cf.~section
+ \ref{sec:A}).
+
+ \label{p:preamble}
+\item If \texttt{npages} $=0$, \texttt{nsystems} is interpreted as the
+ average number of bars per system. This is useful while building
+ up a file a little at a time. {\PMX} will decide how many pages to
+ use.
+\item
+_{staves!size} _{\texttt{musicsize}}
+ \texttt{musicsize} is the height of a staff,
+ in points. The only values allowed are: 16, 20, 24 or 29 .
+\item
+_{indenting first system}
+ Finally,
+_{\texttt{fracindent}}
+ \texttt{fracindent} is the
+ indentation of the first system from the left margin, expressed as
+ a decimal fraction of the total line width.
+
+ \smallskip
+ Note that although logically \texttt{fracindent} could have any
+ value between $0$ and $1$ , you should never use a value
+ seriously over $.5$. It is not only esthetically rather
+ unpleasing, but may cause some unexpected havoc for {\MusiXTeX}.
+\end{itemize}
+
+\begin{table}[!htb]
+ \begin{center}
+_{preamble!numerical parameters}
+\begin{tabular}{|l@{ : \quad}r@{\qquad\qquad}l|}
+\hline
+\texttt{nstaves} & 4 & (4 staves) \\
+\texttt{ninstr} & 4 & (4 instruments) \\
+\texttt{mtrnuml} & 4 & (4 beats \dots \\
+\texttt{mtrdenl} & 4 & \quad \dots of quarters) \\
+\texttt{mtrnump} & 0 & (option for \dots \\
+\texttt{nmtrdenp} & 6 & \quad \dots common time) \\
+\texttt{npickup} & 0 & (no pickup bar) \\
+\texttt{nkeys} & -1 & (key: d minor) \\
+\texttt{npages} & 1 & (1 page) \\
+\texttt{nsystems} & 1 & (1 system) \\
+\texttt{musicsize} & 16 & (16 pt staff) \\
+\texttt{fracindent} & .085 & (indentation of 1st system) \\ \hline
+\end{tabular}
+\caption{Example of preamble parameters for the F.J.\ Haydn
+ quartet in Fig.~\ref{fig:Haydn}, p.~\pageref{p:Haydn}
+ } \label{tab:Haydnparams}
+\end{center}
+\end{table}
+
+\medskip \label{p:names}
+_{instruments} _{instruments!names}
+In the next part of the preamble the names of the \emph{ninstr}
+intruments are given, as you want them to appear within the indentation
+in the first system, one per line, \emph{starting with the bottom}
+instrument. If you don't want instrument names to appear, you must still
+leave \texttt{ninstr} blank lines here.
+
+\label{p:clefs}
+_{clefs} _{clefs!exotic}
+Next, on a new line, comes a single string of \emph{nstaves} letters or
+numbers for the clefs, again starting with the bottom staff. The choices
+are\,%
+\footnote{There are several more exotic clefs, available only in
+ straight {\MusiXTeX} (cf.~Section \ref{sec:inlineTeX} on
+ ``Inline {\TeX}'', and the {\MusiXTeX} manual, Section~2.21).
+ }:
+\verb|b, r, n, a, m, s, t, f| , which stand for
+\textbf{b}ass, ba\textbf{r}itone, te\textbf{n}or, \textbf{a}lto,
+\textbf{m}ezzosoprano, \textbf{s}oprano, \textbf{t}reble, or
+\textbf{f}rench violin clef, respectively. Instead of these mnemonic
+abbreviations, you can use the digits 0--7, according to the notation
+\texttt{0} (treble), \texttt{1} (soprano), \texttt{2} (mezzosoprano),
+\texttt{3} (alto), \texttt{4} (tenor), \texttt{5} (bariton), \texttt{6}
+(bass) and \texttt{7} (french violin)\,%
+\footnote{This rather unmnemonic notation has been retained in {\PMX}
+ for compatibility with {\MusiXTeX}.
+ }.
+These two clef codes are summarized in Fig.~\ref{fig:clefnot}.
+\begin{figure}[!htb] \begin{center}
+_{clefs!symbols} _{clef codes|see{clefs, symbols}}
+ \raisebox{-0.75ex}{%
+ \includegraphics[scale=.82]{eps/clefnot.eps}
+ }
+ \end{center}
+ \caption{Notation of the clefs}
+ \label{fig:clefnot}
+\end{figure}
+
+\bigskip
+_{preamble!end of} _{working directory|see{directory}}
+_{current directory|see{directory}} _{path name|see{directory}}
+The preamble ends with a line that contains the path name of the
+^{directory} to which you want the files (the \verb#.tex# file, in
+particular) to be written when
+_{\textbf{pmxab}}
+\textbf{pmxab} processes your source text. Usually you will want that to
+be the current directory: in UNIX this is denoted by \verb#./#~, in DOS
+(most versions, including Windows) it is \verb#.\#\qquad. In any case,
+the path -- and thus the whole preamble -- must terminate with \verb#/#
+or \verb#\#~~.
+
+\addcontentsline{toc}{section}{Body of the Input File}
+_{body of Input File}
+
+\bigskip
+The rest of the {\PMX} input file is called the \emph{body}. It usually
+begins with a number of global options, each on a line by itself,
+called the \emph{header} (which can be empty).
+\label{p:header}
+_{header} _{\PMX!options!general}
+
+\medskip
+_{input block} _{block|see{input block}}
+Following the header, the input of the actual music begins. The basic
+unit is called a \emph{block}, each one consisting of from 1 to 15
+complete bars. The input data for all bars in a block are entered for
+each staff in turn, starting with the first (i.e.\ the \emph{lowest})
+staff. The sequence of staves (and thus of the instruments) corresponds
+to that in the preamble: the first is the bottom one of the system as it
+appears in the final score, and the last is the top one. The input for
+each staff ends with a \verb#/# (slash). The data for one staff need not
+be contained on a single input line, but may spread over as many as
+needed, with any number of blank lines and comment lines between them\,%
+\footnote{Remember that in {\PMX}, as in {\TeX}, a line feed is
+ equivalent to a space, and a sequence of many spaces is
+ equivalent to one space.
+ },
+but after the end of one staff (i.e.\ after the slash), you \emph{must}
+start the coding for the next staff on a new input line. A \emph{block}
+ends with the slash of the last staff of the last instrument (the top
+staff in the score).
+_{input block!ending}
+
+\medskip
+Though you can put up to 15 bars in one block, many users of {\PMX} have
+the habit of systematically writing one bar per block only. Sometimes,
+however, for reasons of context, {\PMX} \emph{requires} a set of bars to
+be in one and the same block (cf.~Section~\ref{sec:dynamics}). If you
+do put more that one bar in a block, it is advisable (although not
+required) to separate the bars with a \verb#|# (`vertical stroke'). The
+main function of this is to provide visual separation in the input file,
+and to help isolate input errors: if you put a \verb#|# anywhere except
+at a bar end, the {\PMX} processor will stop and show you where it
+detected the timing error. Otherwise (with a few minor
+exceptions%
+\footnote{For such an exception cf.\ the note on p.\pageref{p:repeats}.
+ })
+\verb#|# has no effect.
+_{bar lines!in source}
+
+It is also good practice to separate the blocks with comment lines that
+state which bars are represented, as has been done in the input source
+for Fig.~\ref{fig:Haydn} (p.\pageref{p:Haydn}).
+
+_{pickup bar}
+If there is a pickup bar (\verb#npickup# $>0$), it must be in a block
+with the first full bar\,%
+\footnote{If, for some reason, you do need to put the pickup in a
+ separate block, set the initial logical meter to fit the
+ pickup bar, then after the pickup bar do a blind meter change,
+ as described in section~\ref{sec:meterchg}.
+ }.
+
+_{voice!several voices in one staff}
+When there are 2 voices in a staff (e.g.~for an organ or other
+polyphonic instrument, or in a choir or symphonic score), these are
+entered consecutively in the coding for that staff, again starting with
+the lower voice, and this voice is ended with a \verb#//# (`double
+slash'). Here again, after the double slash, you \emph{must} start the
+second voice on a separate input line. The coding for this staff is then
+again concluded by a single slash.
+
+\medskip
+The two bars from \emph{Pellas et Melisande} by Debussy in
+Fig.~\ref{fig:debussy} are an example. The bottom staff, that for the
+trumpet, has only one voice, while the top staff (for the flutes) has 2,
+thus giving a total of 3 voices.
+
+\begin{figure}[!htbp]
+ \begin{center}
+ \raisebox{-0.75ex}{%
+ \includegraphics[scale=.82]{eps/debussy.eps}
+ } \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+%----------------%
+% C. Debussy, Pellas et Melisande, p.149
+%----------------%
+%
+2 2
+12 8 12 8
+0 6
+1 1 16 .07
+%
+Trumpet
+Flutes
+tt
+./
+It60itrfl
+h-4
+Lento
+Abepl
+\\nobarnumbers\
+%
+% %%%%%%%%%%%%%%%%%%%%%%%%% Bar 1 %%%%%%%%%%%%%%%%%%%%%%%%%
+cd4 D"con sord."+17 sf dd fd dd sf /
+r8+0 fr sfu+0+1 e sf+0 t ed4 t r8+0
+br+ sfu+0+1 a sf+0 r+0 gr sfu+0+1 f sf+0 //
+rb8 g4+ t gd t rb8 c4 rb8 a4 /
+
+% %%%%%%%%%%%%%%%%%%%%%%%%% Bar 2 %%%%%%%%%%%%%%%%%%%%%%%%%
+cd4 sf dd fd ad sf Rb /
+r8+0 fr sfu+0+1 e sf+0 t ed4 t r8+0 br+ sfu+0+1 a sf+0 t ad4 t //
+rb8 g4 t gd t rb8 c4 t cd t /
+
+% %%%%%%%%%%%%%%%%%%%%%%%%% end of file %%%%%%%%%%%%%%%%%%%
+\end{verbatim}
+\end{minipage}
+ \end{center}
+
+
+ \caption{\textbf{C.\ Debussy}, \emph{Pellas et Melisande} (excerpt) }
+ \label{fig:debussy}
+\end{figure}
+
+\medskip
+_{voice!several voices in one staff}
+The number of voices in a staff (1 or 2) is determined solely by whether
+the first sequence of symbols for that staff ends with \verb#/# or
+\verb#//#. Therefore the number of voices in any given staff can vary
+from block to block, but not within a block. In other words, if you need
+to change the number of voices in a staff, you must start a new block.
+
+\medskip
+_{\PMX!symbols}
+Finally, a general characteristic of {\PMX} coding should be noted: all
+data comprises sequences of \emph{symbols}, each one containing one or
+more adjacent characters. These symbols -- including the
+voice-terminating symbols \verb#/# and \verb#//# -- are \emph{always}
+separated from each other by at least one space or line feed. Whenever
+there are several characters strung together without spaces, they are
+considered \emph{one single} {\PMX} symbol. This concept has already
+been illustrated in prior examples. The construction of the symbols will
+be explained in much more detail in the remainder of this chapter.
+
+\section{Commands for the Individual Staves}
+ \label{sec:body}
+_{\PMX!commands for individual staves}
+
+\subsection{Notes} \label{sec:notes}
+_{notes}
+
+The most important input item is of course a single note. Its two
+main features are its \emph{pitch} and its \emph{duration}.
+
+\emph{The pitch} is primarily -- i.e.\ up to octaviation --indicated by
+_{notes!pitch}
+the note \emph{name} in \emph{lower case} letters: \texttt{c, d, e, f,
+g, a, b} (do, re, mi, fa, sol, la, si). If the note is to have an
+accidental, the note name is followed \emph{without a space} by
+\texttt{s, f} or \texttt{n} for a \textbf{s}harp, \textbf{f}lat or
+\textbf{n}atural; \texttt{ss}/\texttt{ff} for a double sharp/double
+flat.
+
+_{accidentals} _{notes!duration}
+
+The \emph{basic duration}, i.e.\ the duration exclusive of a possible
+dot, is indicated by the first unsigned digit following the note name,
+again with no space: \texttt{9, 0, 2, 4, 8, 1, 3, 6} respectively for
+double-whole (^{breve}), whole (^{semibreve}), half, quarter, eighth
+(quaver), sixteenth (semiquaver), thirty-second, and sixty-fourth notes.
+For a consecutive sequence of notes of equal duration, this needs to be
+given explicitly only for the first note of the sequence. Subsequent,
+consecutive notes with no explicit duration will `\emph{inherit}' their
+basic durations from the most recent note with an explicit duration.
+_{eighths} _{sixteenths}
+
+A \emph{dotted/doubly dotted note} is indicated by the letter
+\texttt{d}/\texttt{dd} just about anywhere\,%
+\footnote{The only restriction on the position of \texttt{d} within the
+ note symbol occurs if the dot is to be shifted
+ (cf.~p.\pageref{p:dotshift}).
+ }
+in the note symbol, after the note name, of course.
+
+It is important to note that, in contrast to the basic duration, a
+dot is never inherited by a subsequent note.
+_{notes!duration!not inherited for dotted note} _{dotted notes|see{notes}}
+
+\medskip
+The \emph{pitch} of a note is, of course, not determined by the note
+name alone; the actual octave needs to be specified as well. For this,
+there are three possibilities:
+\begin{description}
+ \item[explicit octaves:] \text{} \\
+_{notes!pitch!explicit octave}
+ A second unsigned digit\,%
+ \footnote{In contrast to the letters for accidentals and dots
+ and other letters to be explained in
+ Section~\ref{sec:otherparams}, the 2 digits for
+ duration and pitch, if present, must always be given
+ in this order. Specifically, if by omitting the
+ duration digit you use the inherited duration, you
+ can no longer specify the octave explicitly by an
+ unsigned digit.
+ }
+ indicates the octave to which the note belongs. For reference,
+ octave 4 runs from middle C to the B above. The lowest note on
+ an 88-key piano is the A in octave~0, while its highest note is
+ the C in octave~8 (cf.~also Fig.~\ref{fig:pitch}).
+
+ \begin{figure}[!htb] \begin{center}
+ \includegraphics[scale=.82]{eps/pitch.eps}
+ \end{center}
+ \caption{{\PMX} notation for pitch
+ (second digit of note symbol)}
+ \label{fig:pitch}
+ \end{figure}
+
+ \item[inherited pitch:] \text{} \\
+_{notes!pitch!inherited}
+ For a note without any explicit octave or relative pitch
+ indication, the octave is assigned by {\PMX} such that the note
+ is placed in the octave that makes it nearest to the most
+ recent note \emph{in the same voice}, i.e. the pitch is
+ `inherited'. Thus for jumps of less than a fourth up or down,
+ you only need to enter the note name to fully specify the
+ pitch. This feature often lets you go for long stretches in a
+ voice before needing to enter the octave. For jumps of a fifth
+ or more, you need to specify the octave either explicitly as
+ described above, or relatively as described below.
+
+ \item[relative pitch:]
+_{notes!pitch!relative}
+ \text{} \label{p:relativepitch} \\
+ A \texttt{+} or \texttt{-} (if not part of one of the signed
+ numerical suboptions to be discussed later) indicates that a
+ note is to be an octave higher or lower than it would otherwise
+ be. Two consecutive \texttt{+}'s will raise the pitch two
+ octaves, and so forth\,%
+ \footnote{Two consecutive \texttt{+}'s can be abbreviated by
+ one \texttt{++} .
+ }.
+
+ As an example of all this, compare Fig.~\ref{fig:reloctav} with the
+ {\PMX} notations given under the staff\,%
+ \footnote{The same result would be obtained with the full, absolute
+ notation \texttt{c84 d84 e84 c85 b84 a84 g84 g83 | c26 g23
+ | c04}; but this is obviously much more verbose.
+
+_{notes!pitch!explicit octave}
+ Explicit octave numbers can be combined with one or more
+ \texttt{+} or \texttt{-}, although this is not
+ recommended.
+ }.
+
+ \begin{figure}[!htb]
+ \begin{center} \includegraphics[scale=.82]{eps/reloctav.eps}
+ \end{center} \caption{Relative Octave Notations}
+ \label{fig:reloctav}
+ \end{figure}
+\end{description}
+
+_{notes!pitch!explicit octave}
+The first note of each line of music in a block must contain at a
+minimum the note name and a basic duration value. It is good
+practice and can simplify editing if in addition an explicit octave is
+set there. However if it is not, {\PMX} will make some assumptions: at
+the start of the first input block the pitch will be set as if there
+were a prior note of middle C. In later blocks {\PMX} will use the
+obvious inheritance rules from the end of the prior block\,%
+\footnote{However, if the number of voices in a staff has changed from
+ the prior block, it is safest to reset the octave at the start
+ of a new block. Duration is never inherited across block ends,
+ and thus must be reset at the start of each input block.
+_{notes!duration!not inherited across blocks} _{voice!several voices in one staff}
+ }.
+
+\subsection{Dotted Notes} \label{sec:dotnotes}
+_{notes!dotted note}
+
+Inheritance of dotted notes is a little tricky. As was noted above, the
+dot itself is never inherited; you always have to use a \texttt{d} in
+the note symbol, even if the actual duration and octave are the same as
+the prior note. But the \emph{basic} digit of duration need not be
+reentered if it hasn't changed\,%
+\footnote{There is an exception to this: if you decide to indicate the
+ octave with an explicit digit (`absolute octave'), you must
+ then enter the duration explicitly as well.
+ }.
+So for example, consecutive dotted half notes, each within a fourth of
+the previous one, could be most cleanly entered as \texttt{cd24 ed gd
+ed}, whereas \texttt{cd24 e} would represent a dotted half note followed
+by a plain half note, since the basic digit of duration was for a half
+note all along.
+
+\subsection{Stems} \label{sec:stems}
+_{stems} _{stems!direction forced} _{stems!length}
+
+{\PMX} usually determines the correct stem length and direction
+(\emph{up} or \emph{down}) of a note automatically. This can, however,
+be changed by the user, as needed:
+\begin{itemize}
+_{stems!options}
+ \item the stem direction is forced to go \emph{up} with the letter
+ \texttt{u} (`\textbf{u}p') anywhere after the note name, or
+ \emph{down} with \texttt{l} (`\textbf{l}ower'),
+ \item the stem length of non-beamed notes can be shortened by adding
+ the option \texttt{S}, followed by a decimal number between .5
+ and 4.0 , representing the shortening in units of
+ \texttt{\bs{}internote}\,%
+ \footnote{1 unit of \texttt{\bs{}internote} is roughly half the
+ distance between staff lines.
+ }.
+ The shortening can be made ``sticky'', i.e.\ applied to all
+ following notes by adding a colon (\texttt{:}) after the
+ number. Stickiness is terminated by \texttt{S:} .
+
+\end{itemize}
+
+\subsection{Other Note Parameters} \label{sec:otherparams}
+_{\PMX!options} _{\PMX!options!notes}
+Here are some more options that can be appended to a note symbol (as usual
+without spaces):
+
+\begin{description}
+ \item[Inhibited beaming (\textbf{a})] \text{} \\
+_{beaming!inhibited}
+ Joining the note stems with beams is usually done automatically by
+ {\PMX}\,%
+ \footnote{For details of this cf.\ Section~\ref{sec:beams}.
+ }.
+ Sometimes, however, you may want to inhibit this explicitly for a
+ single note; this is achieved by the letter \texttt{a} (for
+ \texttt{a}lone).
+ \item[Horizontal shift (\textbf{e,r})] \text{} \\
+_{notes!horizontal shift}
+ Sometimes you want to shift the horizontal position of a note, for
+ example to avoid overlap with a note in another voice of the same
+ staff. The letters \texttt{e} and \texttt{r} do that: \texttt{e}
+ shifts the note to the l\texttt{e}ft by its own width (a `notehead
+ width'), while \texttt{r} shifts it to the \texttt{r}ight. An
+ example of this can be seen in Fig.~\ref{fig:debussy}.
+ \item[Shift of accidentals (\texttt{<} / \texttt{>})]
+ \text{} \label{p:accidentals} \\
+_{accidentals!position shift}
+ Accidentals can be shifted too. One way is to enter \texttt{+} or
+ \texttt{-} immediately after the accidental character, then an
+ \emph{integer} for the vertical shift in units of
+ \texttt{\bs{}internote}, then another \texttt{+} or \texttt{-} ,
+ followed by the horizontal shift, given as a decimal fraction of a
+ notehead width. If you use this method, you \emph{must enter both
+ numbers}. Alternatively -- if you need only an horizontal shift --,
+ you can simply use \texttt{<} or \texttt{>}, followed by the shift,
+ in notehead widths. When shifting a sharp to avoid another sharp, a
+ left shift of $0.85$ is usually best. When shifting a flat to avoid
+ a flat above it, a left shift of $0.3$ is suggested.
+ \label{shifts}
+ \item[Shift of the dot in dotted notes] \text{} \label{p:dotshift} \\
+ The dot in dotted notes can be shifted analogously to the first
+ method for accidentals, using signed numbers, except that the first
+ (vertical) shift may be a decimal fraction.
+ \item[Shorthand for dotted notes]
+_{dotted notes!shorthand} _{shorthand!for dotted notes}
+ \text{} \\ There are two special shorthand notations for dotted
+ rhythms. For normal dotted rhythms ($3:1$ ratio), if you include a
+ period (\texttt{.}) in the note symbol, {\PMX} will
+ \begin{itemize}
+ \item assign a dot to the note just entered,
+ \item terminate that note,
+ \item prepare to receive the next note name \emph{without any
+ space}, and
+ \item automatically assign a time value to the second note equal
+ to one-third of the first one.
+ \end{itemize}
+ No time value may be entered for the second note, but octave and
+ accidental parameters may. Ornaments and slurs
+ (cf.~Sections~\ref{sec:ornaments} and \ref{sec:psslurs}) following
+ this symbol will apply to the second member. If you need to follow
+ the main note with some modifying command, you can still use the
+ shorthand (\texttt{.}) after that command and a space. The main
+ advantage of this shorthand comes if you want to follow one dotted
+ pair with another of the same rhythm; then you needn't enter any
+ explicit duration value for \emph{either} member of the second
+ pair. This is because after using the shorthand, the basic
+ inherited duration value is set to that of the \emph{first} note in
+ the pair; remember that the basic duration does not include the
+ dot!
+
+ For paired notes with 2:1 rhythmic ratios, the symbol \texttt{,}
+ (comma) behaves similarly to the \texttt{.} (period) for 3:1
+ rhythms as just described.
+
+ \Note{If you use this shorthand for dotted pairs, either embedded
+ in a single symbol or to start a separate symbol for the
+ second member, then you \emph{cannot shift the dot position}.
+ If you do need to shift the dot, you should not use the
+ shorthand notation.
+_{dotted notes!shorthand}
+ }
+\end{description}
+\bigskip
+For reference, all the letter-type note parameters are listed in
+Table~\ref{tab:noteparameters}. Examples demonstrating the
+use of most of them are given in Fig.~\ref{fig:notepars} .
+
+\begin{table}[!htb]
+ \begin{center}
+_{\PMX!options!notes} _{accidentals} _{accidentals!cautionary}
+_{notes!parameters} _{accidentals!MIDI}
+ \begin{tabular}{|l@{\hbox{\quad}}c@{\quad --- }l|}
+ \hline
+ \multicolumn{3}{|l|}{\textbf{Accidentals:}} \\
+ & s & \textbf{s}harp \\
+ & f & \textbf{f}lat \\
+ & n & \textbf{n}atural \\
+ & ss & double \textbf{s}harp \\
+ & ff & double \textbf{f}lat \\
+ & sc, ssc, fc, ffc, nc
+ & cautionary accidental (accidental in parenthesis) \\
+ & si, fi, ni & \parbox[t]{300pt}{M\textbf{i}DI accidental {\\}
+ [\,does do not appear in the printed score
+ ---
+ cf.~Section~\ref{sec:MIDIaccidentals}\,]
+ } \\[1ex]
+ \multicolumn{3}{|l|}{\textbf{Dotted Notes:}} \\
+ & d & single \textbf{d}ot \\
+ & dd & \textbf{d}ouble \textbf{d}ot \\
+ & . & shorthand for $3:1$ rythm \\
+ & , & shorthand for $2:1$ rythm \\
+ \multicolumn{3}{|l|}{\textbf{Stems:}} \\
+ & u & force the stem \textbf{u}p \\
+ & l & force the stem down (\textbf{l}ower) \\
+ \multicolumn{3}{|l|}{\textbf{Shifts of Position:}} \\
+ & e & shift the notehead l\textbf{e}ft
+ by the notehead width \\
+ & r & shift the notehead \textbf{r}ight
+ by the notehead width \\
+ & \texttt{<} & left shift of accidental \\
+ & \texttt{>} & right shift of accidental \\
+ & +, - & general shift of accidental \\
+ \multicolumn{3}{|l|}{\textbf{Beam Inhibit:}} \\
+ & a & \textbf{a}lone (cf.~Section~\ref{sec:beams}) \\
+ \multicolumn{3}{|l|}{\textbf{Xtuplets:}} \\
+ & x & (\textbf{x}tuplet) (cf.Section~\ref{sec:xtuplets}) \\
+ \hline
+ \end{tabular}
+ \end{center}
+ \caption{Use of Note Parameters as shown in Fig.~\ref{fig:notepars} .}
+ \label{tab:noteparameters}
+\end{table}
+
+\begin{figure}[!htb]
+ \begin{center}
+
+ \includegraphics[scale=.82]{eps/notepara.eps} \\[2ex]
+ \includegraphics[scale=.82]{eps/noteparb.eps} \\
+ \small{ (Notations for Dotted Notes) } \\[2ex]
+ \includegraphics[scale=.82]{eps/noteparc.eps} \\
+ \small{ (Position Shifts of Accidentals) } \\[2ex]
+ \end{center}
+ \caption{Use of Note Parameters} \label{fig:notepars}
+\end{figure}
+
+\pagebreak
+\subsection{Rests} \label{sec:rests}
+_{rest} _{pause|see{rest}}
+
+Rests are denoted by the letter \texttt{r} in place of a note name.
+Rests have duration digits just like notes, but obviously no second
+digit for giving an octave. As inheritance goes, an \texttt{r} behaves
+just like a note: it can inherit its duration from the prior note or
+rest, and notes as well as rests can inherit their duration from prior
+rests.
+
+\medskip
+Any rest or sequence of rests that occupies a full bar will by default
+be horizontally centered in the bar.
+
+\medskip
+There are a few special notations for rests:
+\begin{itemize}
+ \item \texttt{rp} (`\textbf{r}est \textbf{p}ause') denotes a full-bar
+ rest (whole rest), regardless of what the meter signature for
+ the bar may be,
+ \item \texttt{rpo} (`\textbf{r}est \textbf{p}ause
+ \textbf{o}ff-center'). The option \textbf{o} suppresses the
+ centering of a pause,
+ \item
+_{rest!blank rest}
+ \texttt{b} (`\textbf{b}lank') denotes a blank rest, i.e. one
+ that \emph{does not appear in print}. Logically, it has a
+ duration that is determined, as usual, either by an explicit
+ duration specifier or by inheritance. Blank rests are most
+ commonly used when there are two voices in a staff,
+ and one drops out for some part of the current input bar\,%
+ \footnote{Another interesting application is when you have two
+ homophonic voices in one staff and, for simplicity's
+ sake you want to write only one rest for both voices
+ (cf.~the last 2 bars in Fig.~\ref{fig:rests}) .
+ },
+ \item
+_{rest!multibar rest} _{\textbf{scor2prt}!multibar rest}
+ \texttt{rm} (`rest \texttt{m}ulti-bar') followed -- without
+ space! -- by an integer $n$ generates the multi-bar rest symbol
+ with the number $n$ above it, signifying a rest for $n$ full
+ bars\,%
+ \footnote{This is used in particular when the parts for
+ individual instruments are generated from a full
+ score, as is done automatically by \textbf{scor2prt};
+ cf.\ Section~\ref{sec:scor2prt}).
+ }.
+\end{itemize}
+\noindent
+\hspace*{2em}\fbox{\begin{minipage}{390pt}
+ Note that that there can be \emph{only one instance} of a multibar
+ rest in a given input block!
+ \end{minipage}
+ }
+
+\medskip\noindent
+The default vertical position of a rest depends on whether there are one
+or two voices in the staff. For one voice it is just the {\MusiXTeX}
+default: approximately centered on the middle line. On the other hand,
+in the lower voice in a two-voice staff, the rest is lowered
+by \verb#4\internote#, while in the upper line it is raised
+by \verb#2\internote#. The default can be manually overridden by appending
+\verb#+# or \verb#-# and an integer for the offset (in
+\verb#\internotes#) from the \emph{middle} line of the staff. Note that
+this means that, if in the case of 2 voices in a staff you want to have
+the rest centered on the middle line, you need to code it as \verb#r+0#
+--- see the last bar in Fig.~\ref{fig:rests}~.
+
+\medskip
+Some samples of rests are given in Fig.~\ref{fig:rests}.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/rests.eps}
+ \end{center}
+\caption{Rests}
+\label{fig:rests}
+\end{figure}
+
+\pagebreak
+\subsection{Xtuplets} \label{sec:xtuplets}
+_{xtuplet}
+
+{\PMX} insists very strictly on checking that the sum of durations of
+all notes or rests in a bar add up to the total required by the bar's
+meter. Thus, it cannot deal easily with modern extensively\,%
+^{polyrhythmic scores}, percussion in particular \label{p:polyrhythms}
+\footnote{But such problems occur occasionally even in classical music.
+ Thus, a real challenge to any {\PMX} expert is to code the
+ (in)famous third movement of Mozart's Oboe Quartet KV 370,
+ where suddenly the oboe changes to an alla breve (4/4), while
+ the strings continue on in a 6/8 meter!
+ }.
+The only polyrhythmic feature built into {\PMX} are the traditional
+xtuplets: doublets, triplets etc.\ , together with their usual notation.
+
+\medskip
+Xtuplets (duplets, triplets, etc.) can have from 2 to 24 notes or
+rests\,%
+\footnote{The default maximum of $24$ can be changed.
+ Cf.~\ref{sec:limits} .
+ }.
+By default all notes in an xtuplet have the same duration; but some can
+be dotted or have twice the basic duration
+(cf.\ p.~\pageref{p:xtupletdoubling}). The notation is as follows:
+\begin{enumerate}
+ \item The symbol for the first note of an xtuplet begins exactly like
+ a note symbol, with the name of the first note in the xtuplet,
+ or an \texttt{r} if the xtuplet starts with a \textbf{r}est --,
+ followed, as the case may be, by an accidental, a \texttt{d} or
+ \texttt{dd}, a \texttt{+},\texttt{-} or explicit octave, and an
+ optional duration digit. However, this duration, whether given
+ explicitly or inherited from a previous note or augmented by a
+ dot, is not the duration of the first note, but represents the
+ \emph{total} duration of the \emph{whole xtuplet}.
+
+ \item If the xtuplet is to be \emph{unbeamed}, add an
+ `\texttt{a}' (`alone') right after the first note.
+ \item Next -- with no space, as usual -- comes \texttt{x} (for
+ `\textbf{x}tuplet'), followed by a one- or two-digit integer,
+ for the number of notes in the xtuplet . If the first note is to
+ be dotted, add the usual \texttt{d}, if it is to have twice the
+ basic duration, add a \texttt{D} or \texttt{F} (cf.\
+ page~\pageref{p:xtupletdoubling} for more detail on this). The
+ only options allowed after this begin with the letter \texttt{n}
+ and control the printed appearance of the xtuplet:
+ \begin{itemize}
+ \item If \texttt{n} is omitted, the xtuplet is printed in the
+ standard way, i.e.\ with the xtuplet $3$ printed over (or
+ under, as the stemming may dictate) for, say, a triplet.
+ Note also that by default {\PMX} prints a bracket only
+ if the xtuplet notes are unbeamed; otherwise just the
+ xtuplet number is printed.
+ \item If \texttt{n} is followed by an \emph{unsigned} integer,
+ this integer is taken as the number to be printed
+ instead of the natural (default) one.
+ \item If \texttt{n} is followed by the letter \texttt{f}
+ (\textbf{f}lip), the xtuplet number is \textbf{f}lippped
+ vertically from its default position. \item The position
+ of the xtuplet number can be adjusted in the usual way
+ with one or two \emph{signed decimal numbers} following
+ \texttt{n}: the first is a vertical shift in units of
+ \texttt{\bs{}internote}, the (optional) second a
+ horizontal shift, in notehead widths.
+ \item If \texttt{n} is given, but followed by a space, thus
+ ending the first-note symbol, \emph{no number} at all
+ will be printed.
+ \item
+_{xtuplet!tweaking the bracket slope}
+ For a \emph{non-beamed xtuplet only} a suboption
+ \texttt{s} can be added to the \texttt{n} option by
+ which the slope of the bracket can be adjusted ; i.e.\
+ you can use \texttt{ns}[\emph{n}], where \emph{n} is
+ an \emph{signed} integer (except zero): a positive
+ integer will lift the end of the bracket upwards, while
+ a negative one will move it downwards.
+
+ Note that this suboption will operate in a more
+ elegant way for Sicherman-type xtuplets\,%
+_{Sicherman-type xtuplets!see xtuplets}
+_{xtuplets!ajusting slope with Sicherman xtuplets}
+ \footnote{For Sichermann xtuplets cf.\ the next page.
+ }
+ only: when the Sichermann option \textbf{AT} is
+ \emph{not in effect}, the bracket number (the 3 in a
+ triplet, e.g.) will \emph{not} follow the slope
+ adjustment and might have to be tweaked separately.
+ \end{itemize}
+ \item The second through last notes of the xtuplet are then each
+ given by a separate note symbol, containing the meaningful
+ subset of the parameters permitted for notes or rests:
+ \begin{enumerate}
+ \item the note name as the first character. This is the only
+ required character. It can be an \texttt{r} (for a
+_{xtuplet!rest in xtuplet} _{rest!in xtuplet}
+ rest), except that the \emph{last note of an xtuplet
+ cannot be a rest}\,%
+ \footnote{Cf.\ however, Sec.\
+ \ref{sec:Xtuplets ending with a rest}
+ },
+ \item an accidental,
+ \item an octave change (\texttt{+} or \texttt{-}). The octave
+ may also given explicitly; this is the only digit
+ allowed,
+ \item a \texttt{d} (\textbf{d}ot). The next note after the
+ dotted one is automatically shortened to half the
+ normal value,
+ \item
+_{xtuplet!doubled note}
+ \label{p:xtupletdoubling}
+ the character \texttt{D} in the note symbol for any
+ note in an xtuplet doubles the duration of this note.
+ As this accounts for two notes of the xtuplet, it will
+ decrease the expected number of notes in the xtuplet by
+ one. If used for the first note of an xtuplet,
+ \texttt{D} goes \emph{before} an optional \texttt{n}
+ parameter, \item
+_{xtuplet!doubled note in Bach notation}
+ the character \texttt{F} is the same as \texttt{D},
+ except that in the printed output the doubled note will
+ appear dotted (a notation Bach sometimes used). As with
+ \texttt{D}, an \texttt{F} for the first note goes
+ \emph{before} an optional \texttt{n} .
+ \item grace notes are allowed in xtuplets.
+_{grace notes!in xtuplet}
+ \end{enumerate}
+ No explicit duration is allowed in symbols for the
+ second through last members of the xtuplet, the
+ duration having been determined by the first note.
+\end{enumerate}
+
+\medskip
+_{xtuplet!inhibited beaming} _{beaming!in xtuplet}
+Beaming of xtuplets is done automatically. If it is to be inhibited, add
+the \textbf{a}lone option to the first-note symbol
+(cf.~Section~\ref{sec:otherparams}).
+
+\medskip
+Fig.~\ref{fig:xtuplets} displays some examples of xtuplets, with the {\PMX}
+coding given below the staff:
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]%
+ {eps/xtuplets.eps} \\[2ex]
+ \end{center}
+ \caption{Xtuplets}
+ \label{fig:xtuplets}
+\end{figure}
+
+\bigskip
+As was remarked at the end of Section~\ref{sec:preamble}, the
+individual symbols of {\PMX} generally consist of one or several
+characters strung together without spaces. In that sense, each note of
+an xtuplet is considered to be \emph{a separate} {\PMX} symbol; so these
+are separated by spaces as usual.
+
+\bigskip\bigskip
+_{xtuplet!non-standard bracket}
+\label{p:sicherman}
+A special, non-standard bracket can be printed for \emph{non-beamed xtuplets
+only} with an addition to {\PMX} designed by Col.\ G.L.\ Sicherman. This
+prints the xtuplet number not above or below the bracket, but in line
+with it, as shown in Fig.~\ref{fig:xtupletsSich}. To invoke this, simply
+add the option \texttt{AT} as a separate {\PMX} symbol anywhere in the
+body of the source file: this will switch from standard to Sicherman
+brackets \emph{for all xtuplets in the score}.
+_{Sicherman, Col.\ G.L.}
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/xtupletsSich.eps} \\[2ex]
+ \end{center}
+ \caption{Xtuplets with Sicherman brackets}
+ \label{fig:xtupletsSich}
+\end{figure}
+
+\medskip
+If you want to use this for specific xtuplets only or otherwise
+customize your use of the option, you will have to use inline {\TeX}
+commands, following instructions given in \verb#tuplet.tex# as comments.
+
+\Note{To use the Sichermann option, the file
+ \href{http://icking-music-archive.org/software/musixtex/%
+ add-ons/tuplet.tex}{\texttt{tuplet.tex} }
+ (available from the software section of the WIMA) must be
+ installed in your {\TeX} system!
+ }
+
+\subsection{Chords}
+\label{sec:chords}
+
+_{notes!chordal} _{chords}
+\emph{Chordal notes} are notes that share a common stem and have the
+same duration. They are coded in {\PMX} as follows:
+\begin{itemize}
+ \item
+_{chords!main note}
+ One of the notes in the chord is chosen to be the first note,
+ the ``main'' note, of the chord. It can be any note in the
+ chord; usually it is simplest
+ \footnote{Sometimes, however, careful choice of the main note
+ can make an important difference. For example, if the
+ chord is beamed with other notes, the default height
+ and angle of the beam will be determined by the main
+ note of each chord. If a beam joining chords looks
+ bad, you can often fix it by changing which note acts
+ as the main one [\,of course there are other ways to
+ fine-tune beam parameters, as will be described in
+ detail in Section~\ref{sec:beams}\,].
+
+ So wise use of this freedom of choice is definitely
+ called for! For further details, consult
+ Section~\ref{sec:arpeggio} .
+ }
+ to start either from the bottom up or the top down.
+
+ The main note is written as usual and as described in
+ Section~\ref{sec:notes} .
+ \item All other chordal notes are denoted by separate symbols
+ starting with \texttt{z} followed by a note name. The note name
+ can optionally be followed by an accidental and an octave
+ indicator (\texttt{+} or \texttt{-}), but no absolute octave is
+ allowed. And no duration value is allowed either, as this is
+ logically determined by the first note.
+
+ If the main note is dotted, the dot is obviously `inherited'
+ for all other notes as well, so writing another \texttt{d}
+ would be redundant. But if you want to shift the dot of a
+ chordal note, you \emph{must add} a \texttt{d}, followed by the
+ shift parameters, as described on p.\pageref{shifts}.
+ \item Normally {\PMX} will automatically set notes in a chord so that
+ collisions are avoided (in a second, e.g.). If you don't like
+ the result, you can shift the note by one notehead width to the
+ \textbf{r}ight with \texttt{r}, or to the l\textbf{e}ft
+ with \texttt{e} .
+ \item The position of accidentals will also be adjusted automatically
+ by {\PMX} so as to avoid collisions. But, as with single notes,
+ you can shift accidentals of chord notes manually\,%
+ \footnote{Note that if, in addition, you use a \texttt{+} or
+ \texttt{-} to denote a relative octave
+ (cf.~p.\pageref{p:relativepitch}), this sign must
+ come \emph{after} the shift parameter for the
+ accidental.
+ },
+ using the parameters described on p.\pageref{p:accidentals}.
+
+ If you manually shift \emph{any}\ accidental in a chord, then
+ automatic shifting will be disabled for \emph{all}\ the
+ accidentals in a chord, \emph{unless}\ you preface the shift
+ parameter with \textbf{A} (e.g.~\texttt{zcsA<.5}), in which
+ case the manual shift will be \textbf{a}dded to that applied
+ automatically by {\PMX}.
+ \item
+_{chords!position of accidentals}
+ \label{p:chordsoption}
+ Another option that affects accidental positioning in chords is
+ \texttt{Ao}~, entered in the main note symbol of a chord. It will
+ force the accidentals in that chord to be posted in the order they
+ come in the source (starting with the main note), each one as
+ far to the right as it will go without crashing into a notehead,
+ stem, or another accidental.
+\end{itemize}
+
+_{chords!stem length and direction} _{stems!direction forced}
+The stem length and direction of a chord are controlled by the first
+note, but may be manually overridden with \text{u} (\textbf{u}p) or
+\texttt{l} (\textbf{l}ower) in the first note symbol.
+
+\medskip
+As decribed above, every chord note has its own note symbol. This means,
+as always: no space within a note symbol, but at least one space
+between the note symbols of a chord.
+
+\subsubsection{Arpeggio} \label{sec:arpeggio}
+_{chords!arpeggio} _{arpeggio|see{chords}}
+
+An \textbf{arpeggio} is, of course, simply a special form of a chord,
+denoted by a vertical wavy line in front of the chord proper. To write
+that in {\PMX}, place the symbol \texttt{?} after the symbols, with a
+space as usual, for both the first and last note of the chord.
+
+When doing that, you should remain aware of the fact that the wavy line
+is generally understood as being played from the bottom up: lowest note
+first, highest last.
+
+\medskip
+So far, so easy. There are, however, a few special cases to note:
+\begin{enumerate}
+ \item In an arpeggio, the wavy line often turns out to be crowded to
+ the chord itself; this happens in particular when some of the
+ chord notes have accidentals. In such cases one would want to
+ move the arpeggio line away from the chord itself a bit, i.e.\
+ to the left.
+_{arpeggio!moving arpeggio line to the left}
+
+ This is easily achieved by adding a \texttt{-} and an (unsigned)
+ decimal number, without spaces, to one of the \texttt{?}
+ designating the arpeggio --- it doesn't matter which one.
+ \item Sometimes the composer may want to have the arpeggio played in a
+ more virtuose way (on string instruments, in particular): the
+ first 2 -- or even 3! -- of the chord notes simultaneously, as a
+ double (or triple) stop, then the other chord notes as a true
+ arpeggio.
+
+ \medskip
+ This can be done easily in {\PMX}: simply place the first
+ \texttt{?} not after the starting chord note, but later, after
+ one of the \verb#z...# notes.
+
+ In this case is is even more important to remember the standard meaning
+ of the wavy line in musical language that was just
+ pointed out! So in general, it is best to stick with the order of
+ the chord notes ``bottom to top'' unless you really know what
+ you are doing.
+ \item In piano music, it is quite common that an arpeggio is meant to
+ go across the chords of both hands. This also is easily
+_{arpeggio!across staves}
+ implemented in {\PMX}\,%
+ \footnote{To my knowledge, this feature of {\PMX} (available
+ from Version 2.503 on) has not been explicitly
+ documented in the official {\PMX} documentation.
+ I am very grateful to Andr van Ryckeghem for drawing
+ our attention to this feature in one of his
+ contibutions to the WIMA ``Tips \& Tricks'' WEB page.
+ }:
+ simply place the first \texttt{?} at the start of the left-hand
+ chord and the second one \emph{at the end of the
+ right-hand chord} --- as common sense would suggest!
+\end{enumerate}
+
+\bigskip\noindent
+To see all this in examples, look at how the chords in
+Fig.~\ref{fig:chords} were coded. When comparing this figure with its
+code it should become obvious that care is called for when
+producing chords with accidentals, and arpeggios in particular: some of
+the chords in bars 1 and 2 look ugly, to say the least, and the arpeggio
+line in bar 3 as well as the first one in bar 4 seem to be downright
+violations of the standards of good typesetting practice.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/chords.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+% bars 1-3:
+e22f zgn zb zef |
+dn2- zbn+ zen |
+dn4- zbn<1.5+ zen dn- zbnA<1.5+ zen X4 /
+b24 zdf zef zgn |
+bn2- ? zen zgs |
+bn4- zen<1.5 zgs ? bn- zen<1.5 zgs X4 /
+
+% bar 4:
+f8- ? za zc zf gd4f- zb zdf zgfd+0.5+2 /
+cd4- zef zf za ? d8f- zgf zb zdf /
+
+% bar 5:
+c4sAo ? zgs zes zbn ? X2 bn4 zes ? zgs zcs ?-2.9 Rb /
+es2-u zgs zcs /
+\end{verbatim}
+\end{minipage}
+ \end{center}
+ \caption{Chords}
+ \label{fig:chords}
+\end{figure}
+
+\subsection{Grace notes} \label{sec:graces}
+_{grace notes} _{notes!grace notes}
+
+A grace note symbol starts with a \texttt{G}. It is entered in its
+natural order, i.e.\ before the main note symbol for a normal grace,
+behind the main note symbol for an after-grace . After
+\texttt{G} comes any combination of the following options:
+
+\begin{itemize}
+ \item A single digit representing the number of notes\,%
+ \footnote{The \emph{maximum} number of notes in a grace is not
+ fixed, but depends on circumstances
+ (cf.~Section~\ref{sec:limits}); but up to 16 is
+ usually safe.
+ }
+ in the grace. The default is 1 .
+ \item \texttt{m} (for \texttt{m}ultiplicity) and a digit,
+ representing the number of flags or beams. The default is 1; 0 is
+ allowed.
+ \item
+_{slurs!in grace notes} _{grace notes!slurs|see{slurs, in grace notes}}
+ \texttt{s} (for \texttt{s}lur): this joins all notes of the
+ grace to the main note. No \texttt{s} is needed in the main
+ note symbol.
+ \item \texttt{x} for a slash (only for single graces),
+ \item \texttt{l} or \texttt{u} to force the direction of the stem(s)
+ as desired.
+\end{itemize}
+Next comes the only required character, the first grace-note name. No
+time value must be entered, but, if needed, an octave (relative or
+explicit) or an accidental can be given as in a normal note. Second and
+later notes must follow immediately in sequence, set apart by spaces,
+likewise without any time value, and without any intervening symbols.
+
+\medskip
+_{grace notes!`after'-grace}
+`After'-graces (graces coming \emph{after} a main note) are entered
+similarily to normal graces, with the same parameters as above; but in
+addtion to the other parameters either an \texttt{A} (for
+\textbf{A}fter) or \texttt{W} (for \textbf{W}ay-after) is entered,
+before the grace note(s).
+
+After-grace symbols associate the grace note(s) with the \emph{prior}
+main note and are therefore entered \emph{after} the main note symbol.
+
+\medskip
+By default, {\PMX} will place graces or after-graces \emph{immediately}
+before or after the main note, way-afters as far to the right as
+possible before the next note or bar line. If either type of
+after-grace is slurred, the slur will start on the main note and end on
+the last one in the grace.
+
+_{grace notes!added space}
+For a grace (\emph{not for an `after'-grace}), you can, if necessary,
+add some space between the grace and the main note by inserting an
+\texttt{X} followed by a unsigned decimal in the grace symbol\,%
+\footnote{It doesn't matter where you insert this shift symbol, as long
+ as it makes syntactical sense; to state this more simply: the
+ \texttt{X}[\emph{n}] may \emph{not be inserted before a
+ number} and \emph{not after the leading note} of the grace.
+
+ \noindent
+ This added space for a grace is indeed essentially a hard
+ space, so that
+_{spacing!hard space in grace}
+ its name,
+ \texttt{X} , is quite appropriate. And, as with almost all
+ such cases, it is wise to keep in mind that `hard spaces' are
+ what their name implies: a hard -- or brutal, if you will --
+ last resort if nothing else seems to help. Used unwisely,
+ adding a hard space to a grace is liable to produce rather
+ ugly results, as is exemplified in Fig.~\ref{fig:grace}.
+ }.
+
+\medskip
+Examples for grace notes are displayed in Fig.~\ref{fig:grace}.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/grace.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+w150m
+Abepl
+\\nobarnumbers\
+%
+% Bar 1
+G3sm2g++ a b c4 f- G2slAe d c GsX1xb+ c /
+% Bar 2
+Ga- g4 Gfs- g c G13sm3X3d e f g a b c d e f g a b c /
+% Bar 3
+c2- G3slWb a b c2 of Rb /
+%
+\end{verbatim}
+\end{minipage}
+ \end{center}
+ \caption{Grace Notes} \label{fig:grace}
+\noindent
+------------------------------------------------------------------------------------
+\end{figure}
+
+\subsection{Ornaments} \label{sec:ornaments}
+_{ornaments}
+
+Symbols for ornaments are entered \emph{after} their associated note
+symbol, separated, as usual, by a space\,%
+\footnote{The ornament, although associated with a specific note, is
+ considered a separate \PMX\ symbol.
+ }.
+
+The ornaments available in \PMX\ are listed in Table~\ref{tab:Ornamenti}
+and are illustrated in Fig.~\ref{fig:ornament}.
+
+\begin{table}[htbp]
+_{breath} _{caesura} _{fermata} _{mordent} _{ornaments} _{pizzicato}
+_{segno} _{shake} _{staccato} _{trill} _{accidentals!editorial}
+_{accidentals!dubious} _{notes!dubious}
+\begin{center}
+\begin{tabular}{|p{5.0cm}|p{4.0cm\tt}|}
+ \hline
+ staccato & o. \\ \hline
+ tenuto & o\_ \\ \hline
+ accent & o> \\ \hline
+ sforzando & o\^\ \\ \hline
+ pizzicato & ou \\ \hline
+ spiccato & op \\ \hline
+ $\times$ & ox \\ \hline
+ $+$ & o+ \\ \hline
+ caesura${\,}^\dag$ & oc \\ \hline
+ breath${\,}^\dag$ & ob \\ \hline
+ upper fermata & of \\ \hline
+ lower fermata & ofd \\ \hline
+ shake & ot \\ \hline
+ mordent & om \\ \hline
+ mordent [right parenthesis before notehead]
+ & o) \\ \hline
+ appogiatura [left parenthesis before notehead]
+ & o( \\ \hline
+ trill${\,}^\dag$ & oT\emph{x} \\ \hline
+ implicit trill${\,}^\dag$ & oTt\emph{x} \\ \hline
+ segno${\,}^\dag$ & og\emph{x} \\ \hline
+\end{tabular}
+
+ \smallskip
+ \begin{tabular}{|p{5.0cm}|p{4.0cm\tt}|}
+ \multicolumn{2}{c}{editorial marks:} \\ \hline
+ editorial accidentals & oes oef oen \\ \hline
+ dubious accidental & oes? oef? oen? \\ \hline
+ dubious note & oe? \\ \hline
+ \end{tabular}
+
+ \smallskip
+ \begin{tabular}{p{5.0cm}p{4.0cm\tt}}
+ ornament repetition${\,}^\dag$
+ & : \\
+ \end{tabular}
+ \end{center}
+ ${}^\dag$ See explanation in main text
+ \caption{Ornaments} \label{tab:Ornamenti}
+ \end{table}
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/ornament.eps}
+ \end{center}
+ \caption{Ornaments}
+ \label{fig:ornament}
+\end{figure}
+
+All except the staccato, tenuto, down fermata and parentheses will
+appear above the staff; staccato\,%
+\footnote{In fact, the only difference between staccato and pizzicato is
+ the vertical positioning of the dot.
+ }
+and tenuto appear just above or below the note head, depending on the
+stem direction, the parentheses at the level of the note head, of
+course.
+
+\medskip
+The trill and segno symbol are special in that they may have additional
+optional characters. Either trill symbol may include a decimal number to
+specify the length of the wavy line indicating the duration of trilling,
+in \verb#\noteskip#s . The default is 1 . Thus \texttt{oT0} will be a
+\emph{tr} without any wavy line, and \texttt{oTt2} is a wavy line
+of 2 \verb#\noteskip#s without any \emph{tr} symbol starting the wavy
+line.
+
+\medskip
+A segno may only be entered in the first (lowest) voice. It may be
+immediately followed by a positive or negative integer, which indicates
+a number of points that it will be offset horizontally; and it will
+appear above every staff of the system.
+
+\bigskip
+_{ornaments!repeated}
+Once the ornament type has been specified, most ornaments can be raised
+or lowered from their default position by appending a signed integer to
+the symbol, giving the vertical offset in \verb#\internote#s. Caesura
+and breath may in addition have a signed number, giving the horizontal
+shift from default in notehead widths. These two ornaments also differ
+from the others in their default horizontal position, which is $0.5$
+\verb#noteskip# past the note.
+
+\medskip
+An ornament can be automatically repeated on a series of consecutive
+notes, provided the notes are all in the same input block. To activate
+this feature, terminate the first ornament symbol with \texttt{:} . Then
+every note in that voice will have the same ornament until a
+note is followed by the repeat terminator \texttt{o:} .
+
+\subsection{Beams} \label{sec:beams}
+_{beaming}
+
+_{beaming!forced} _{beaming!inhibited}
+For the most part, \PMX\ automatically takes care of the details of
+defining beams: selecting which notes are beamed together, and setting
+the angle, direction, height, and \emph{multiplicity} (the number of
+bars along the top or bottom). However, one may define a \emph{forced}
+beam -- which overrides {\PMX}'s selection of which notes are beamed
+together -- by surrounding the included notes with \texttt{[} and
+\texttt{]}, being certain to separate these beam symbols: \texttt{[} and
+\texttt{]} and their options, from the included note symbols with
+spaces. Conversely, if {\PMX}'s selection is to beam notes, and you want
+to inhibit this for a single note, add the option \texttt{a} to the note
+symbol (cf.~Section~\ref{sec:otherparams}).
+
+\bigskip
+One may also wish to edit certain features of a beam even when {\PMX}'s
+grouping decision would otherwise be acceptable; this is done by adding
+some parameters to \texttt{[} and \texttt{]} :
+
+_{beaming!parameters}
+\medskip
+The \texttt{[} can be followed, without space, by one or several of the
+following options:
+
+\begin{itemize}
+ \item \texttt{u}, \texttt{l} or \texttt{f} will override {\PMX}'s
+ selection of the direction of the beam:
+ \begin{itemize}
+ \item \texttt{u} makes the beam go \emph{above} the noteheads
+ (\textbf{u}pper beam),
+ \item \texttt{l} makes the beam go \emph{below} the noteheads
+ (\textbf{l}ower beam), while
+ \item \texttt{f} will \textbf{f}lip the beam from whatever
+ \PMX\ would do automatically;
+ \end{itemize}
+ \item \texttt{h} forces the beam to be \textbf{h}orizontal;
+ \item \texttt{m} followed by a single digit (1, 2, 3 or 4) forces the
+ \textbf{m}ultiplicity of the beam;
+ \item\texttt{j} \textbf{j}oins a beam grouping to a prior one started
+ in another staff (cf.\ p.~\pageref{p:jumpbeam}).
+\end{itemize}
+
+The beam symbol constructed so far can be followed, without space, by
+one, two or three consecutive integers, each preceded with \texttt{+} or
+\texttt{-} :
+
+\vspace*{-2ex}
+ \begin{enumerate}
+ \item first is an adjustment of the starting height, which
+ thus determines the stem length of the first beamed
+ note. It is given in \verb#\internote#s and may range
+ from -30 to 30,
+ \item the second is a slope adjustment (again in the range
+ from -30 to 30),
+ \item The third is an additional adjustment to the starting
+ height, given in units of the beam thickness. It may
+ range from 1 to 3 only. It always acts to
+ \emph{increases} the stem length. This would only be
+ used in rare cases, e.g.~to align consecutive
+ horizontal beams which have internal multiplicity
+ changes. An example is shown in Fig.~\ref{fig:beams}, bar
+ \emph{f}.
+ \end{enumerate}
+Note that for technical reasons all three integers must always be given
+\emph{with a sign} (even the last one, although it always is positive).
+Note also that, since the meaning of these numbers is interpreted by
+\PMX\ in their sequence, if you need only the second or only the third
+number you \emph{must not omit} the preceding number(s), but rather give
+explicit \texttt{0}'s for them.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/beams.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+% Bar a:
+f1s c f a c fs a c- b g+ b g [l+12-8 b-- g1++ b g ] Rd /
+% Bar b:
+[l f1s- c f a ] [u c fs a c- ] [f b g+ b g ] [ b-- g1++ b g ] Rd /
+% Bar c:
+[m4 f1s- c f a ] [m1 c fs a c- ] b g+ b g [h b-- g1++ b g ] Rd /
+% Bar d:
+[ f1s- c f a ][ c fs a c- ] [ b g+ b g ]-[ b-- g1++ b g ] Rd /
+% Bar e:
+[ fs-4x3nf c a+ c1 fs a c- ] b g+ b g b-- g1++ b g Rd /
+% Bar f:
+m3434
+cd84 c3 c6 c [+0+0+3 cd8 c3 c6 c ] [-1+0+3 cd8 c3 c6 c ] Rd /
+%
+\end{verbatim}
+\end{minipage}
+ \end{center}
+
+ \vspace*{-4ex}
+ \caption{Beams}
+ \label{fig:beams}
+\end{figure}
+
+\bigskip
+Here are some further possibilities regarding beaming:
+\begin{itemize}
+ \item
+_{xtuplet!beamed with other notes} _{beaming!in xtuplet}
+ By default, xtuplets (cf.~Section~\ref{sec:xtuplets}) are set
+ apart with their own beam. To beam an xtuplet together with
+ other non-xtuplets, just include it with the other notes in a
+ forced beam.
+ \item
+_{beaming!rest within beamed notes} _{rest!in beam}
+ Rests may also be included within forced beams, provided they
+ are shorter than quarter rests, and of course that they come
+ \emph{between} the first and last notes under the beam.
+ \item
+_{beaming!beamed groupings}
+ Sometimes one may wish to define beamed groupings with subgroups
+ joined by a single beam. The symbol \texttt{][} , standing alone
+ between two note symbols inside a forced beam, causes the
+ multiplicity to decrease to unity and immediately increase to
+ its natural value for the next note. An example of this, as well
+ as the beaming together with an xtuplet, can be seen in bar 2 of
+ the trombone voice of Fig.~\ref{fig:agon}~: the two
+ doubly-beamed groups connected by a single beam are generated by
+ \texttt{[ c15 c c ][ c c cx3 c c ]} .
+ \item
+_{beaming!single-slope beam}
+ Related to this is a
+ \emph{single-slope beam group}, which is the same as described
+ in the previous item except that there is no connecting beam
+ between the beamed subgroups. For this option, the beamed
+ subgroups are separated by \texttt{]-[} standing alone between
+ two notes inside the forced beam.
+ \item
+_{beaming!large jumps} _{beaming!up/down beams}
+ If there are large jumps in pitch between
+ notes in a beam within a single staff, as a matter of taste you
+ may wish to start the beam for example as an upper one and end
+ it as a lower. {\PMX} will never do this automatically, but you
+ can accomplish it by forcing the beam with appropriately
+ modified up/down-ness, starting level, and slope. If you use
+ this technique, there are two details to note:
+ \begin{enumerate}
+ \item if there are any intermediate multiplicity changes,
+ they will only be handled properly if the initially
+ specified up-down-ness is consistent with the vertical
+ position of the intermediate notes involved\,%
+ \footnote{This is due to a fundamental technical
+ limitation of \MusiXTeX.
+ },
+ \item for proper appearance in crowded scores you may wish to
+ insert hardspace or shifts as described in
+ Section~\ref{sec:spacing}.
+ \end{enumerate}
+ \pagebreak
+ \item
+_{beaming!staff-jumping} \label{p:jumpbeam}
+ Beams cannot normally jump staves. But if that is desired, start
+ the beam normally in one voice, and terminate the part of the
+ beam in that voice with \texttt{]j} . Then resume the beam in
+ the other voice on a neighboring staff with \texttt{[j}, ending
+ that part with the normal \texttt{]} . For staff-jumping beams,
+ it's OK to have just a single note inside one or both of the
+ partial beams. Each voice must, however, still have the right
+ number of beats, so you will probably need to adjust the
+ durations with blank rests after the first members of the beam
+ and before the second.
+
+ \smallskip
+ With staff-jumping beams, some adjustment of the beam height and
+ slope will usually be required. Also, sometimes the up/down-ness
+ of the ending section must be overridden; you will know that
+ this is necessary if on your first try the ending is shifted
+ horizontally from the desired position. These editing commands
+ may sometimes produce unexpected results, and some iteration may
+ be required to get exactly what you want.
+
+ \medskip
+ An example of a staff-jumping beam is seen in
+ Fig.~\ref{fig:jumpbeam}.
+
+ \item
+_{beaming!automatic forced beams} \label{p:autoforcedbeam}
+ If the option : (colon) is appended to the starting symbol
+ \texttt{[} for a forced beam, then henceforth beams of the same
+ length will be force-beamed similarly in that line of music
+ until the end of the input block. Within an input block, the
+ automatic forced beaming can also be stopped explicitly by
+ starting a new regular forced beam.
+
+ \begin{quote} But remember that {\PMX} is actually quite good at
+ beaming notes in the manner a human musician would normally
+ expect; so it will be necessary to use this facility only in
+ the special cases when you want (or need) beaming different
+ from what {\PMX} provides on its own. In such cases, consider
+ this beaming automatism as a kind of shorthand; as such, it
+ will be really worth your while only when you want to repeat
+ the same `non-orthodox' beaming an appreciable number of
+ times. \end{quote} Regarding automatic forced beaming, you
+ should also be aware of the following features:
+
+ \begin{enumerate} \item As with regular beams, you can have
+ notes of different durations beamed together in an
+ automatic forced beam. The rule in that case is: in th e
+ beams following the initial one, the next sequence(s) of
+ notes with the \emph{same total duration time} as that of
+ the notes beamed together initially will then be beamed
+ together automatically. As usual, notes given without
+ duration will `inherit' their durations from the most
+ recent note with an explicit duration. All this is best
+ seen in the following example:
+ \begin{center}
+ \includegraphics[scale=.82]{eps/autobeam} \qquad ,
+ \end{center} which is coded as follows:
+ \begin{verbatim}
+ d85 e b a1 b c1 b a8
+ [ d85 e ] b a1 b c1 b a8
+ [: d85 e ] b a1 b c1 b a8
+ d85 e b a1 b c1 b a8 /
+ g2d /
+ \end{verbatim}
+
+ Note how the automatic beaming ends at the end of the
+ first input block. Leaving out the slash at the end of
+ the fourth line would create havoc, because a full note
+ cannot be beamed. But no slash is needed
+ between the code for the first three bars.
+
+ \item {\PMX} will never produce beams across bar
+_{beams!forced across bar lines}
+ lines. However, a somewhat fortuitous exception of this
+ general feature of {\PMX} are staff-jumping beams, and a
+ specific example of this can be seen in
+ Fig.~\ref{fig:jumpbeam}. This is \emph{not an intended
+ feature}, and its intentional use is not encouraged.
+
+ \medskip
+ A fortiori {\PMX} does not allow automatic
+ \emph{forced-beaming} across bar lines. Any attempt to
+ try that will always result in a {\PMX} error stop.
+ Thus, if your automatic forced-beam pattern would cause
+ a beam to cross a bar line, you have to terminate the
+ automatic beaming properly before the end of the bar, or
+ {\PMX} will stop with an error.
+ \end{enumerate}
+\end{itemize}
+
+\begin{figure}[!htb]
+\begin{center}
+ \includegraphics[scale=.82]{eps/jumpbeam.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{360pt}
+\small
+\begin{verbatim}
+r4 | [ c8-- e c+ e c+ e- c a+ ]j stl | ald2 st ze ze+ r4 Rb /
+c4+ zc+ su | bdf2 zbf- a4+ s za- | [ju c8- a+ c e ] c+ r+0 c4 zc- //
+rb4 | er0+ | rb0 /
+%
+\end{verbatim}
+\end{minipage}
+\end{center}
+\caption{An extraordinary staff-jumping beam} \label{fig:jumpbeam}
+\end{figure}
+
+\bigskip
+Some further examples of beaming and their {\PMX} coding are given in
+Fig.~\ref{fig:beams}.
+
+\subsection{Slurs and Ties} \label{sec:psslurs}
+_{slurs} _{ties|see{psslurs}}
+
+\subsubsection*{Pick a package} \label{sec:postscriptpackages}
+\addcontentsline{toc}{subsubsection}{Pick a package}
+_{dynamic marks!hairpin!length limit} _{hairpins|see{dynamic marks}}
+
+By default \PMX\ will use \MusiXTeX's built-in, font-based slurs and
+hairpins (crescendi and diminuendi, see Section~\ref{sec:dynamics},
+p.~\pageref{p:dynamics} ff). To use these, you don't have to install any
+more software. But they do have drawbacks: the fonts used by {MusixTeX}
+for font-based slurs come in fixed sizes and shapes and are therefore
+often not flexible enough in complicated situations. In contrast, slurs
+and hairpins produced with the help of the PostScript language overcome
+many of the shortcomings of their font-based counterparts.
+
+_{slurs!PostScript} _{PostScript!slurs, ties and hairpins}
+There are two independent ``third-party'' packages that provide
+{\MusiXTeX} and {\PMX} users with PostScript-based slurs, ties, and
+hairpins:
+\begin{description}
+ \item[\emph{Type K} --] \label{sec:pss-K}
+_{Kneifl, Stanislav}
+ This package was written by \textbf{Stanislav Kneifl}. It is
+ directly supported by \PMX\ and will be the focus of any future
+ \PMX\ enhancements. Detailed instructions for its use are given
+ in the corresponding paragraph below.
+ \item[\emph{Type M} --]
+_{Morimoto, Hiroaki}
+ This package, by \textbf{Hiroaki Morimoto}, is somewhat more
+ flexible when used directly in {\MusiXTeX}, but it requires
+ the \textbf{Metapost} package to be installed in the {\TeX}
+ installation. These are not directly supported by {\PMX}, but
+ are advertised to be fully compatible with {\MusiXTeX}'s
+ default font-based slurs. From {\PMX}'s standpoint they are not
+ different from font-based slurs, and the same options and
+ features that apply to font-based slurs should apply as well to
+ these.
+\end{description}
+
+Both PostScript slur packages provide excellent slurs, ties and
+crescendi. \label{p:usepsslurs} In fact, for simple slurs, you can
+hardly discern the differences between the three possibilities, as can
+be seen in Fig.~\ref{fig:psslurs1} --- although type M slurs are generally
+somewhat flatter, indeed. On the other hand, for steep and long slurs,
+the difference is appreciable, as can be seen in the example of
+Fig.~\ref{fig:psslurs2}.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/cslurs1n.eps}
+
+ \includegraphics[scale=.82]{eps/cslurs1k.eps}
+
+ \includegraphics[scale=.82]{eps/cslurs1m.eps}
+ \end{center}
+ \caption{Three realizations of simple slurs}
+ \label{fig:psslurs1}
+\end{figure}
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/cslurs2n.eps}
+
+ \includegraphics[scale=.82]{eps/cslurs2k.eps}
+
+ \includegraphics[scale=.82]{eps/cslurs2m.eps}
+ \end{center}
+ \caption{Three realizations of exotic slurs}
+ \label{fig:psslurs2}
+\end{figure}
+
+\bigskip
+Here are some additional factors to consider when deciding which type of
+slurs and hairpins to use with {\PMX}:
+\begin{itemize}
+ \item True ties, which are shaped differently from slurs, are only
+ available with Type K\,%
+ \footnote{In {\MusiXTeX}, font-based
+ true ties are actually available; but they were never
+ incorporated in {\PMX}, now being superceded by type K
+ slurs.
+ }. In all cases, the starting and ending
+ positions are different for ties and slurs\,%
+ \footnote{The ends of an ordinary slur are centered horizontally
+ above or below the notehead, while tie ends are
+ shifted inboard and closer to the midheight of the
+ notehead.
+ }.
+ \item Font-based hairpins cannot wrap over a line break, but the
+ PostScript ones can.
+ \item Font-based hairpins cannot be longer than 68 mm.
+ \item With either postscript package, the resulting markings do not
+ show up on the screen if you view the score with one of the
+ commonly used DVI viewers such as \textbf{XDVI} or \textbf{YAP}.
+ To see them, you have to first produce a PostScript file from
+ the \texttt{dvi} file (using, for example, \textbf{dvips}), which
+ you can then view on the screen and print on your printer using
+ \textbf{Ghostview} or some other such program. But if you use
+ Type 1 PostScript fonts, as was recommended in
+ Section~\ref{sec:psslurs}, you will have all this software at
+ hand anyway!
+_{PostScript!fonts}
+\end{itemize}
+
+Detailed instructions for installing the Type K or Type M packages are
+given in Section~\ref{sec:pss-K} .
+
+\subsubsection{General slur usage}
+_{slurs!general usage}
+
+This subsection explains commands that apply to all types of slurs,
+followed by separate subsections describing operational features
+specific to either font-based or Type K slurs, and finally a subsection
+on the use of Type M slurs.
+
+\medskip
+Here are the {\PMX} symbols that normally define slurs or ties, except
+for slurs to or from graces\,%
+\footnote{Recall that the slurring of grace notes is defined
+ entirely within the the grace symbol, as described in
+ Section~\ref{sec:graces}.
+ }:
+\begin{itemize}
+ \item An opening parenthesis, `\texttt{(}', begins a slur, and a
+ closing parenthesis, `\texttt{)}', ends it; similarly, an
+ opening brace, `\verb#{#', begins a tie, and a closing brace,
+ `\verb#}#', ends it. The opening parenthesis/brace is placed
+ \emph{before} the first note, and the closing parenthesis/brace
+ \emph{after} the last note of the slur or tie. As always, these
+ symbols (including options, see below) are separated from notes
+ and other symbols by spaces.
+ \footnote{Braces -- and similarly the tie toggles described
+ subsequently -- , although legal with all types of
+ slur, are really useful only with Type-K slurs, since
+ only with these they will produce a true tie.
+ }
+ \item Alternatively to parentheses, you can use the letter
+ \texttt{s} (for \textbf{s}lur) both to begin \emph{and}
+ end a slur; but these come \emph{after} both the
+ beginning \emph{and} ending note. This is thus a
+ \emph{toggle}, turning a slur off if it's on, and
+ starting a new one otherwise.
+
+ For ties (instead of slurs), use the letter
+ \texttt{t} (for \textbf{t}ie), also a toggle.
+ \label{p:tslur}
+\end{itemize}
+
+Note that slurs or ties may end on a rest\,%
+\footnote{If you happen to think that this would be musically
+ meaningless, you are wrong. Just watch a really good pianist
+ (or conductor, for that matter) ending a piece, say in pp. It
+ ain't over until the fat lady has really finished singing:
+ until she is really \emph{completely} \emph{done} with taking
+ her hands off the keyboard! In other words: she visibly (and
+ audibly!!) plays the slur over the final rest.
+ },
+but they may \emph{not start} on one.
+_{slur!ending on rest} _{tie!ending on rest}
+The default ending height of the
+tie (or slur) in that case will be that of the note on which it started
+(in other words, it will be horizontal); but you can vary that
+explicitly in the usual way.
+
+\bigskip
+Often you need to open a slur or tie while another one is already open
+\emph{in the same voice}, e.g., with tied chords, or if a second slur
+connects a subgroup of notes within a longer slur. In such cases, {\PMX}
+needs to be told which slur is which. For this purpose, the slur opening
+character [ \texttt{s}, \texttt{t}, \texttt{(} ] can
+optionally be followed by a single-character ID code [ \texttt{0-9},
+\texttt{A-Z} ] to identify that particular slur. To close that slur,
+insert the ID code right after the corresponding \emph{closing}
+character [ \texttt{s}, \texttt{t}, \texttt{)} ]. If an ID code is
+used, it \emph{must} be the second character in the symbol. You cannot
+use any ID that is already in use on a slur or tie for a new slur or
+tie. See Fig.~\ref{fig:bloch} for an example\,%
+\footnote{The example uses Type K slurs.
+ }.
+
+\begin{figure}[!htb]
+\begin{center}
+ \includegraphics[scale=.82]{eps/bloch.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+Ap
+% Bar 25:
+(A e4x3n g bff cf4x3n b g )A (B e4x3n bf e /
+f8+ (C zf+ e- ze+ c4nc- zcnc+ (Dtl b- D< (Et zb+ /
+% Bar 26:
+g4x3n an g e4x3n b e g4x3n a g )Bh Rb /
+b4- )Dt D< zb+ )Et )C dd4- D< (F+1 zd+ o_ e8- D< ze+ )F /
+%
+\end{verbatim}
+\end{minipage}
+\end{center}
+
+ \vspace*{-3ex}
+\caption{\textbf{E.\ Bloch}, \emph{Waves} (\emph{Poems of the Sea} I),
+ bars 25,26
+ } \label{fig:bloch}
+\end{figure}
+
+\bigskip
+Normally, you can leave further details of slur appearance to {\PMX};
+the result will usually satisfy. If not, you can change some features
+manually by additional options which go right after the initial character
+and any ID code, as usual \emph{without} a space,:
+
+\begin{itemize}
+_{slurs!additional options}
+ \item The default vertical position above or below the note heads
+ can be overridden with
+ \begin{itemize}
+ \item \texttt{u} (\textbf{u}pper),
+ \item \texttt{l} (\textbf{l}ower) or, equivalently,
+ \texttt{d} (\textbf{d}own).
+ \end{itemize}
+ \item The starting or ending point can be shifted from its
+ default by entering one or two explicitly signed numbers: the
+ first, which must be an integer, gives the vertical shift, in
+ \verb#\internote#s; the second, which may be decimal, the
+ horizontal offset, in notehead widths.
+ \item A dotted slur is obtained by adding the option \texttt{b} (for
+ \textbf{b}roken) in the symbol that starts the slur
+ (cf.~Fig.~\ref{fig:dottedslur}).
+\end{itemize}
+\begin{figure}[!htb]
+\begin{center}
+ \includegraphics[scale=.82]{eps/dottedslur.eps} \\[2ex]
+\begin{minipage}{380pt}
+ \small
+ \begin{verbatim}
+ ( g44 c ) (b [ e8 d c b ] ) | (u a4 f ) g2 Rb /
+ \end{verbatim}
+\end{minipage}
+\end{center}
+
+ \vspace*{-3ex}
+ \caption{A dotted slur} \label{fig:dottedslur}
+\end{figure}
+
+\paragraph{Slurs for staff-jumping beams} \text{} \\[-2ex]
+_{slurs!with staff-jumping beam}
+
+Often -- in piano music in particular -- when you have a staff-jumping beam
+(cf.~p.\pageref{p:jumpbeam}), you may want to join the two parts by a
+slur as well. {\PMX} will, however, get very confused if you try to put
+the beginning slur symbol in one staff and the corresponding ending
+symbol in a different staff; both slur symbols \emph{must always be in
+the same staff}. The solution is to put the ending slur symbol after
+the invisible rest; but do so carefully: even though the invisible rests are
+indeed invisible, {\PMX} accounts for the horizontal space it would need
+for visible rests, and that determines the length of the slur. So if you
+want to avoid awkwardly adjusting the length of the slur by hand, you
+should subdivide the invisible rest appropriately so that one part of it
+will be at the note of the other staff where you want the slur to end.
+The vertical position of the slur end will have to be done manually.
+Fig.~\ref{fig:jumpslur} shows an example.
+
+\begin{figure}[!htb]
+\begin{center}
+ \includegraphics[scale=.82]{eps/jumpslur.eps} \\[2ex]
+\begin{minipage}{380pt}
+ \small
+ \begin{verbatim}
+r4b [j b1 a g f ] r4b [j c14 b a g ] | Rb /
+( [ f1 e d D"what you want"-22 c ]j r1b r1b r1b r1b )-15
+( [ g14 f e D"what you don't want"-22 d ]j r4b )-15 | /
+ \end{verbatim}
+\end{minipage}
+\end{center}
+ \caption{Placing the slur ending with a staff-jumping beam}
+ \label{fig:jumpslur}
+\end{figure}
+
+\subsubsection{Invoking and using Type K slurs} \label{sec:pss-typeK}
+_{slurs!Type K usage} _{PostScript!slurs, ties and hairpins}
+
+To activate the Type K package, all you need to do is to add a line in
+the header of the {\PMX} source after the preamble, containing the
+symbol \texttt{Ap}\,%
+\footnote{For further details on the use of \texttt{A} see
+ Section~\ref{sec:A} .
+ }.
+
+\bigskip
+For type K slurs, some optional parameters can be used in the slur
+symbol to change the shape of the slur:
+\begin{itemize}
+_{slurs!additional options}
+ \item an \texttt{f} (for \textbf{f}latter) will flatten the slur a
+ bit, while
+ \item \texttt{h, H} or \texttt{HH} (for \textbf{h}igher) will
+ increase the slur's curvature by increasing degrees, thereby
+ raising (or lowering) its middle.
+\end{itemize}
+These parameters can be used in either the starting or the ending slur
+symbol. They \emph{do not work with ties}, i.e.\ with symbol \texttt{t},
+and {\PMX} will complain if you try that. Examples are given in
+Fig.~\ref{fig:kslurs}.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/kslurs1.eps}
+
+ \includegraphics[scale=.82]{eps/kslurs2.eps}
+ \end{center}
+ \caption{Shape variations in type K slurs}
+ \label{fig:kslurs}
+\end{figure}
+
+\medskip
+The Type K package contains {\TeX} macros that activate or deactivate an
+automatic vertical adjustment of slurs or ties to avoid tangencies with
+staff lines. In {\PMX} these adjustments are switched off by default,
+because they may alter the endpoint positions from what you would
+normally expect. However, if you wish to use them, they may be switched
+on or off globally at the start of any input block, and locally with
+options to individual slur or tie commands.
+
+To activate these adjustments globally (or deactivate, if previously
+activated), at the beginning of any input block enter \texttt{Ap+s} (or
+\texttt{Ap-s}) for slurs, and \texttt{Ap+t} or (\texttt{Ap-t}) for ties.
+To activate them for one-time use only, simply include \texttt{p+t} or
+\texttt{p+s} as an option in the symbol for the affected slur or tie. No
+deactivation is then needed.
+
+You can also sequentially increase (\texttt{Ap+c}) or decrease
+(\texttt{Ap-c}) the default curvature of slurs or ties (again at the
+beginning of any input block), so that the result is cumulative. But
+after the cumulative change has reached ``HH'' or ``ff'', it will remain
+there, and nothing more will happen.
+
+An example is given in Fig.~\ref{fig:kslurtweaks}. The distinctions are
+fairly subtle; but some would see the adjusted markings as more pleasing
+since on close inspection they clearly avoid tangencies with staff
+lines.
+
+\begin{figure}[!htb]
+\begin{center}
+ \includegraphics[scale=1.0]{eps/kslurtweaks.eps} \\[2ex]
+\begin{minipage}{380pt}
+ \small
+ \begin{verbatim}
+ Ap
+ a44 s bu s | b s c s /
+ Ap+s
+ a4 s bu s | b s c s /
+ %
+ a4 t a t | b t b t /
+ Ap+t
+ a4 t a t | b t b t /
+ \end{verbatim}
+\end{minipage}
+\end{center}
+ \caption{Vertical tweaks of slurs and ties} \label{fig:kslurtweaks}
+\end{figure}
+
+\paragraph{Line-break tie options} \text{} \\
+_{line break!tie options} _{slurs!across line break}
+There are two options that only affect ties that span line breaks:
+\begin{enumerate}
+ \item by default a full tie is drawn at the beginning of the second
+ line in such cases. There is a global option, \texttt{Ap+h},
+ which tells {\PMX} to use \emph{half ties} -- which are
+ flattened at their left-hand ends -- on the second line, but
+ \emph{only} in cases where the second tie segment is shorter
+ than 15 pt. This option may be cancelled with \texttt{Ap-h} ,
+ \item the second option -- which should not be used together with the
+ first one! -- affects \emph{both} the first and second segments
+ of linebreak slurs and ties. It is the global option
+ ~\texttt{Apl}. It alters two defaults to give what some might
+ consider an improved appearance: first, it causes the first
+ segment to be drawn as a normal tie, whereas by default it has
+ a different shape than a normal tie; second, it moves the
+ starting point of the second segment a bit to the left.
+
+ \medskip
+ The \texttt{Apl} option has been enhanced since {\PMX}
+ version 2.411; the main new feature is that it now
+ works for slurs as well as for ties. Other
+ enhancements are more subtle; read the description of
+ these in the announcement text for version 2.411, given
+ here:
+ \begin{quotation}
+ ``\texttt{Apl} in the preamble now activates
+ special treatment of line-break slurs and ties
+ (before, \texttt{Apl} only affected ties.).
+
+ ``Specifically, it enables tweaking the ending
+ position of the first segment (seg 1), the
+ starting position of the second (seg 2), and the
+ curvature of either, or both. [You must have
+ musixps.tex available to {\TeX}!] With
+ \texttt{Apl} every slur/tie at a line break is
+ automagically broken into two separate ones (no
+ additional PMX slur start or ending commands are
+ required). Vertical/horizontal tweaks to the
+ start of the seg 1 and the end of seg 2 are
+ handled as before. Vertical/horizontal tweaks
+ for the end of the seg 1 and start of seg 2 are
+ entered as options in the otherwise normal
+ command that starts the slur/tie. The option for
+ the end of seg 1 starts with "s" (for sever or
+ split), then the usual one or two signed
+ numbers, then a second "s" and one or two more
+ signed numbers for the start of seg 2.
+
+ ``The usual curvature options \texttt{h},
+ \texttt{H}, \texttt{HH}, \texttt{f}, if included
+ in the starting command for a linebreak slur,
+ will apply to seg~1, and if in the closing
+ command, to seg~2. Of course, if the slur/tie
+ does not come at a linebreak, the special
+ position tweaks (those after the "s" option)
+ will all be ignored, and the curvature tweaks on
+ the closing note take precedence (as before).''
+ \end{quotation}
+\end{enumerate}
+\Note{Without either of these options, the second segment sometimes
+ becomes too short to be clearly visible.
+ }
+
+\bigskip
+The global options mentioned (and in fact any of the other global
+options to be described later) can be combined into a single symbol,
+e.g., \texttt{Ap+sl}.
+
+\subsubsection{Use of Type M Slurs and Ties} \label{p:useMslurs}
+_{slurs!Type M usage} _{PostScript!slurs, ties and hairpins}
+
+In contrast to the type K slurs, type M slurs are not explicitly
+supported by {\PMX}; as a consequence, you have to do some things
+manually. But it's not difficult:
+\begin{itemize}
+ \item
+_{\textbf{musixpss}}
+ The first step is to insert into the header of your {\PMX}
+ source file the following line \\
+ \text{\hspace*{10em}} \verb#\\input musixpss\relax\# \qquad .
+ \item
+To process a {\PMX} file with type M slurs, three extra steps are
+needed to produce a printed musical score. Here is the full sequence of
+processing steps, for a file named \verb#my_opus#:
+
+\begin{center}
+\begin{tabular}{r@{\qquad}ll@{\qquad\qquad}l}
+ & command & & resulting new file(s) \\ \hline
+ & & & \\
+ 0. & text editor & & \verb#my_opus.pmx# \\
+ 1. & \verb#pmx# & \verb#my_opus# & \verb#my_opus.tex# \\
+ 2a. & \verb#tex# & \verb#my_opus#
+ & \verb#my_opus.mx1, my_opus.slu# \\
+ 2b. & \verb#musixflx# & \verb#my_opus# & \verb#my_opus.mx2# \\
+ 2c. & \verb#tex# & \verb#my_opus# & \verb#my_opus.dvi# \\
+ $\to$ 3a.
+ & \verb#musixpss# & \verb#my_opus# & \\
+ $\to$ 3b.
+ & \verb#mpost# & \verb#my_opus#
+ & \verb#my_opus.mp, my_opus.1, #\dots \\
+ $\to$ 3c.
+ & \verb#tex# & \verb#my_opus# & \verb#my_opus.dvi# \\
+ 4a. & \verb#dvips# & \verb#my_opus# & \verb#my_opus.ps# \\
+ 4b. & \verb#gsview# & \verb#my_opus#
+ & \emph{screen view and printed output} \qquad . \\
+\end{tabular} \end{center}
+\end{itemize}
+
+\subsubsection{Special considerations for font-based slurs}
+_{slurs!font-based}
+
+You should study this section if you choose not to use Type K PostScript
+slurs.
+
+\medskip
+The slur command \texttt{t} (cf.~p.\pageref{p:tslur}) has been retained
+for backward compatibility with earlier {\PMX} versions. As already
+mentioned, with font-based slurs it does \emph{not} provide a true tie
+at all, and it doesn't alter the positions of the endpoints either; in
+fact, it differs from \texttt{s} or \texttt{(} only in the following
+ways:
+\begin{itemize}
+ \item ID codes cannot be used with font-based \texttt{t}-slurs.
+ \item If a \texttt{t}-slur starts or ends on the same note as an
+ \texttt{s}-slur, the former will be moved away from the
+ notehead to avoid a collision. This only works if neither
+ slur has an ID code.
+\end{itemize}
+The shape of font-based slurs can be changed with options to the
+\texttt{s} or \texttt{)} command as follows:
+\begin{itemize}
+ \item at the slur termination only, you must first enter two signed
+ numbers that define a position shift as described earlier. Enter
+ a zero for either or both if you don't want the shift,
+ \item next, enter a signed, nonzero integer which specifies a vertical
+ adjustment to the mid-height of the slur in \verb#\internote#s,
+ \item if you want to alter the starting or ending slope, enter a
+ \texttt{:} (colon), then
+ \begin{enumerate}
+ \item a signed integer for the alteration to the starting
+ slope, then
+ \item a signed integer for the alteration to the ending
+ slope.
+ \end{enumerate}
+\end{itemize}
+These numbers are passed directly as arguments of the {\MusiXTeX} macros
+\verb#\midslur# (if only one is given) or \verb#\curve# (if there are
+three).
+
+\bigskip
+If you want to \emph{simulate a tie} with font-based slurs -- {PMX} does
+not proved true ties with font-based slurs! -- include the option
+\texttt{t} in both the starting and ending command for the slur\,%
+\footnote{For reasons of backward compatibility, it is legal
+ to specify a tie with the symbol \texttt{st} or \texttt{(t}
+ even when PostScript ties are activated. In that case, these
+ symbols are fully equivalent to simply using \texttt{t} .
+ }.
+This will draw a slur with altered endpoint positions.
+
+\subsection{Dynamic Marks} \label{sec:dynamics}
+_{dynamic marks} _{D symbol@\texttt{D} symbol}
+
+{\PMX} has a very simple tool for inserting virtually any dynamic mark
+in a score. Its \texttt{D}ynamics symbol is a \texttt{D}, followed one
+of 3 types of parameters, optionally followed by position shifts:
+\begin{enumerate}
+ \item \textbf{A standard dynamic mark :} this can be any one of the
+ following:
+ \texttt{pppp, ppp, pp, p, mp, mf, f, ff, fff, ffff, sfz, fp}.
+ \item
+_{dynamic marks!hairpin} _{crescendo|see{dynamic marks}}
+_{decrescendo|see{dynamic marks}}
+ \textbf{A crescendo/diminuendo :} \texttt{<} or \texttt{>}.
+ These crescendo/decrescendo marks -- aptly named ``hairpins''--
+ are \emph{toggles}, i.e.\ the first \texttt{D<} starts the
+ crescendo, and the next \texttt{D<} ends it; similarily for
+ \texttt{D>}.
+ \item
+_{dynamic marks!textual}
+ \textbf{Arbitrary text :} \texttt{"\dots\"}, where \, \dots \,
+ stands for any text string, e.g.~\texttt{D"}molto
+ espressivo\texttt{"}.The text will be set in italics unless
+ another \TeX-style font specification is included.
+\end{enumerate}
+
+All dynamics symbols go \emph{after} the note to which they refer (so
+e.g.~\texttt{g Dpp} will write a pianissimo g). Hairpin marks
+must be contained \emph{completely within the same input block}\,%
+ \footnote{If need be (e.g.\ for crescendi/decrescendi across bar
+ lines), you can adjust the position and length of a
+ crescendo/decrescendo by adding position shifts as
+ described.
+ }
+
+\Note{Since all dynamic marks go \emph{after} a note, a fortiori they
+ should \emph{never come at the very beginning of an input block}.
+ This is important to keep in mind because \PMX\ does not
+ necessarily give an error message, but can produce rather strange
+ results, often at remote places in your score (what Knuth calls `a
+ weird error'), so the true source of the error may be hard to
+ detect. You can usually get a hint that something went wrong if
+ \PMX\ has produced a backup file of your source --- without any
+ apparent reason!
+ }
+
+\medskip
+The default position of any dynamic mark or text entered with the
+\texttt{D} symbol is just below the notehead, stem end, or bottom staff
+line, whichever of these is lowest. There are numerous context-sensitive
+automagic adjustments to the positions of all the dynamics symbols. If
+you don't like the result you can add position shifts to the dynamics
+symbol: a signed integer for a vertical shift (in \verb#\internote#s),
+then -- optionally -- another signed number for a horizontal shift (in
+notehead widths).
+
+\medskip
+
+There can be a combination of dynamic marks at a single note\,%
+\footnote{It doesn't make sense, of course, to have 2 different standard
+ dynamic marks on the same note, and {\PMX} will complain if
+ you try that.
+ }.
+Since these are distinct {\PMX} symbols, they must be separated by
+spaces and must come in the right order, e.g.\
+\begin{center}
+[\emph{some notes}] \texttt{D<} [\emph{more notes}] \texttt{D< Dffff D>}
+[\emph{more notes}] \texttt{D>}
+\end{center}
+
+\bigskip
+If you aren't using PostScript slurs, there are some restrictions on
+hairpins which are due to {\MusiXTeX}'s use of font-based hairpins: they
+cannot be longer than 68mm, they cannot wrap over a system break, and
+they must be horizontal. Finally, only certain specific lengths are
+available, so some horizontal position tweaking may be needed,
+especially when standard dynamic marks and hairpins are combined.
+These restrictions don't apply when using one of the PostScript slur
+packages; PostScript hairpins will then be used without any further
+ \label{p:dynamics}
+intervention\,%
+\footnote{For details on invoking PostScript slurs, ties and hairpins
+ cf.\ Section~\ref{sec:psslurs} ff.
+ }.
+Fig.~\ref{fig:dynamics} (a fragment from the \emph{Pathetique} by
+Tschaikowsky) shows some examples\,%
+\footnote{Fig.~\ref{fig:dynamics} was obtained using the PostScript slur
+ package type K.
+_{PostScript}
+ }.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/pathetique.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+% Bar 1
+r2 D"Adagio"+16 r4 e8-- Dpp-1 D< s f D< D>-1 s /
+% Bar 2
+g4 D>-1 s f2 s D<-1 f8 s D<-1 Dp-1 g s D>-2 /
+% Bar 3
+a4 s D>-2 D<-2 g2 s D<-2 g8 s Dmp-1 D<-1 a s /
+% Bars 3-4
+b4 D<-1 D>-1 asd2 D>-1 D<-1 /
+% Bars 5-6
+b0 st D<-1 Dsfz-1 D>-1 | b8 st D>-1 Dp-1 r r4 r2 Rb /
+%
+\end{verbatim}
+\end{minipage}
+ \end{center}
+ \caption{Dynamic marks} \label{fig:dynamics}
+\end{figure}
+
+\subsection{Clef Changes} \label{sec:clefs}
+_{clefs!change} _{C symbol@\texttt{C} symbol}
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/clefchg.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+2 1 4 4 0 6 0 3
+1 1 20 0
+
+bt
+./
+Ap
+w180m
+%
+a12 sh c e a e a c e sh
+Ct f s g a f g a b g s Rd /
+a25 sh f4 d sh /
+%
+\end{verbatim}
+\end{minipage}
+ \end{center}
+ \caption{A clef change} \label{fig:clefchange}
+\end{figure}
+
+As was noted in Section~\ref{sec:preamble}, the clef for each instrument
+is given in the preamble (cf.~p.~\pageref{p:clefs}). A clef change in
+mid-stream, however -- frequently occurring in piano music --, is
+signaled by a \texttt{C} followed by a single lower-case letter, as
+illustrated in Fig.~\ref{fig:clefchange}.
+
+\bigskip
+_{clefs!change with two voices in a staff}
+When there are two voices in a staff, the clef change command must be
+given in the \emph{first (lower) voice}; if it is entered in the second
+voice, {PMX} will \emph{silently disregard} the clef change completely.
+The clef change holds for all voices in a staff, of course.
+
+\medskip
+A logical effect is worth mentioning: when, before the clef
+change, there is a note the duration of which extends beyond
+the point of the clef change, its clef does not change.
+Fig.~\ref{fig:clefchgtwo} shows an example of such a situation.
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/clefchg2.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+c43u Ct a44u cu au //
+f02 /
+Cb rb4 Ct e4u au eu //
+c23l r2-6 /
+%
+\end{verbatim}
+\end{minipage}
+ \end{center}
+ \caption{A clef change in a staff with 2 voices}
+ \label{fig:clefchgtwo}
+\end{figure}
+
+
+\subsection{Octaviation} \label{sec:octaviation}
+_{octaviation}
+
+When in a voice the pitch of a number of notes extends far beyond the
+staff, resulting in an excessive number of ledger lines, readability is
+usually improved by using an `octaviation' notation: an
+horizontal line above the staff, starting with an ``\emph{8}'' or
+``\emph{8va}'', indicates that the notes under this line are to be
+played an octave higher than printed, and similarily ``\emph{8 bassa}''
+or ``\emph{8va bassa}'' indicate an octave lower.
+
+\medskip
+In the present version, {\PMX} does not provide a notation for this, so
+you will have to take recourse to inline {\TeX} coding. For an example
+see Section~\ref{sec:tricks}.
+
+
+\subsection{Figured bass (basso continuo)} \label{sec:bassocontinuo}
+_{figured bass} _{basso continuo|see{figured bass}}
+
+{\PMX} lets you introduce the basso continuo notation (`figured bass')
+very simply, as illustrated in the example of Fig.~\ref{fig:poppea}, which
+is the basso continuo of an excerpt of the famous aria ``\emph{Pur ti
+miro}'' that concludes the Monteverdi opera \emph{L'Incoronazione di
+Poppea}. Here are the rules:
+
+\begin{itemize}
+ \item Figure symbols are entered -- as plain numbers\,%
+ \footnote{As of {\PMX} version 2.520, the numbers usually
+ needed in figured notation, namely 2, 4, 5, 6 and 9,
+ are available in a different graphic design with
+ perhaps a more baroque-like look.
+
+ If you want to use these, add an `\texttt{s}' after
+ the {\PMX} string of every figure which you want to
+ appear in that form.
+
+ Note that for this to work properly, you must have
+ the special fonts for these numbers installed. You
+ will find \texttt{figbas.zip}, which provides these
+ fonts, in the
+ \href{http://icking-music-archive.org/software/%
+ musixtex/add-ons/figbas.zip}{WIMA} software page.
+ \texttt{figbas.zip} contains 2 files that can be of
+ help with the installation: \texttt{README} and
+ \texttt{test.tex} .
+ } --
+ \emph{after} their associated note symbols, with
+ a space, as usual. As of {\PMX} version 2.517, they are allowed
+ in two staves, the first (lowest) staff and any other one.
+ Enter the characters as they would appear from \emph{top to
+ bottom}, e.g.\ \verb%64% [\,6 over 4\,], or \verb%642% [\,6
+ over 4 over 2\,].
+ \item Accidentals that modify a number \emph{must} be entered
+ \emph{before} the number. Note that the characters that
+ signify accidentals are different here than for notes: flats
+ are written as `\verb#-#' (minus), sharps as \verb&#& , and
+ naturals as \verb%n% . For example, \emph{sharp third} is
+ \verb&#3& (or simply \verb&#&, in the standard shorthand),
+ \emph{six} (over) \emph{flat five} is \verb%6-5%, and
+ \emph{sharp six} (over) \emph{4} is \verb&#64& .
+ \item For each staff with figures, {\PMX} positions all the figures
+ within each system below the staff with their tops at the same
+ level. If you want to change this vertical position default,
+ you have two possibilities:
+ \begin{description}
+ \item[to lower a figure symbol:] prefix the figure symbol
+ -- \emph{no space!} -- with one or several `\verb#_#'
+ (underscore). Each underscore will lower the figure symbol
+ by 4 lengths of \verb#\internote# ,
+ \item[to raise a figure symbol :] \emph{append} the figure
+ symbol -- \emph{again no space} -- with a `\verb#+#' (plus)
+ followed by an integral number for the number of
+ \verb#\internote# lengths by which to raise the figure.
+ \end{description}
+ The two options can be combined to provide full control over
+ the vertical position of the figure symbol.
+ \item If you want a figure symbol to align horizontally in
+ the second tier, insert a `\verb&_&' (underscore) as placeholder
+ for the top tier, before the one you want to go on the second
+ tier (cf\ the sharp in bar 16 of Fig.~\ref{fig:poppea}).
+ \item Sometimes you may need to enter a figure when there's no bass
+ note sounding. To do this, \emph{precede} the figure symbol
+ with three additional characters, \verb%x%[\emph{n}][\emph{m}].
+ Here \emph{n} is a single-digit repeat count, and \emph{m} is a
+ single-digit duration time value, i.e., \verb#0,2,4,8,1# or
+ \verb#3# . This will offset the figure from the associated note
+ by the specified duration value. For example, if the lowest
+ voice contained \verb%c03 x3465%, there would be a whole-note
+ c, and 3 quarter notes later a figure 65 below the staff
+ (cf.~Fig.~\ref{fig:poppea}, bars 2, 4, 6, 8, 10 and 14).
+ \item
+_{figured bass!continuation}
+ There is also a \emph{continuation} symbol, viz.\ a \verb&0&
+ (zero) followed immediately by an unsigned number. This
+ produces a horizontal line under the bass note, starting just
+ to the left and extending to the right by the given number of
+ \verb&\noteskip&'s (cf.~Fig.~\ref{fig:poppea}, bars
+ 9, 11, 16 and 17). The height and length of the line are set by
+ the current note's level and \bs\texttt{noteskip}
+ respectively\,%
+ \footnote{If \bs\texttt{noteskip} changes, or if an unfigured
+ note drops below the starting level before the line
+ ends, it is possible to trick {\PMX} by entering
+ separate \texttt{0}[\emph{n}] symbols under each
+ consecutive note: {\PMX} will automagically join them
+ together at the lower height (thanks to Werner Icking
+ for this idea).
+
+ For an explanation of the special {\PMX} coding in
+ Bar 16 of Fig.~\ref{fig:poppea} see
+ Section~\ref{sec:tricks} .
+ }.
+ These can be mixed in with other figures to produce vertical
+ stacks. If another figure follows in the same symbol, use
+ {\tt:} as a separator. For example, a continuation line over a
+ 3 would be coded as \texttt{01:3} .
+\end{itemize}
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/poppea.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+% bars 1-4
+gd2 fd 6 | ed 5 x126 dd 4 x123 | gd fd 6 | ed 6 dd 4 x123 | /
+
+% bars 5-8
+gd2 fd 6 | ed 64 x123 dd | gd fd 6 | ed 64 x123 dd | /
+
+% bars 9-12
+gd2 02 fd | ed 6 dd 7 | gd fd 6 | gd ad 4 x12# | /
+
+% bars 13-15
+dd- gd | gd 03 fd | ed dd 4 x12# | /
+
+% batt. 16-17
+cd- dd 64 x145 x12_00.2 x12_# | gd fd 01 Rd /
+%
+\end{verbatim}
+\end{minipage}
+ \end{center}
+ \caption{Figured bass in \textbf{C.\ Monteverdi},
+ \emph{L'Incoronazione di Poppea},
+ aria ``\emph{Pur ti miro}''
+ } \label{fig:poppea}
+\end{figure}
+
+
+_{F symbol@\texttt{F} symbol} _{\textbf{scor2prt}}
+If there are figured bass commands in a {\PMX} file, but you want them
+all to be ignored, then enter the symbol \texttt{F} in the header. This
+feature is most useful in the form \texttt{\%1F}
+(cf.~Sec.~\ref{sec:scor2prt}, which makes a separate bass part with
+no figures, e.g.~for a violoncello part.
+
+\bigskip
+Figured bass symbols will not be altered in any way under transposition
+by {\PMX} (cf.~Sect. \ref{sec:transpositions}). There is no universal
+set of interpretations of figured bass symbols, so no automatic
+transposition is possible.
+_{transposition!not with figured bass}
+
+\medskip
+_{figured bass!2-digit figures}
+{\PMX} does not admit 2-digit basso continuo figures. This is the
+notation of some old editions; if you want to use it, you will have to
+resort to inline {\TeX} coding (cf.~Section~\ref{sec:inlineTeX}).
+There is an example for this in the Caccini aria in the Appendix
+(Sec.~\ref{sec:Caccini}).
+
+\section{Commands That Affect All Voices} \label{sec:pmxcmds}
+_{\PMX!commands for all voices}
+
+Unless indicated otherwise, the commands dealt with in this section
+affect all staves in a score. They must be entered only \emph{in the
+first (lowest) voice in the first (lowest) staff}.
+
+\medskip
+_{\textbf{scor2prt}}
+Such commands will automatically be transferred from score to parts when
+separate parts are generated by \textbf{scor2prt}
+(cf.~Section~\ref{sec:scor2prt}).
+
+\subsection{Single bars, Double bars, Repeats etc.} \label{sec:bars}
+_{bar lines} _{bar lines!single, double, repeat} _{repeats|see{bars}}
+_{R symbol@\texttt{R} symbol}
+
+In keeping with general typesetting practice, {\PMX} will by default
+produce
+\begin{itemize}
+ \item a single bar line at the beginning of each system after the
+ first, unless there is only one staff per system,
+ \item a single bar line at the end of each bar except the last one in
+ a movement or the entire score,
+ \item the common ending bar line (thin-thick double bar line) as the
+ last bar line of a movement or the entire score.
+\end{itemize}
+
+_{\textbf{scor2prt}} _{\textbf{scor2prt}!placement of bar symbols}
+The user can, however, override these defaults -- except the first one
+-- by a bar symbol, viz.\ an \texttt{R} followed by one of the
+parameters given in Table~\ref{tab:bars}. If you are going to make parts
+from your score (cf.~Section~\ref{sec:scor2prt}), you \emph{must} place
+bar symbols either before the first note in an input block or after the
+last one; otherwise \textbf{scor2prt} may behave erratically. Using two
+bar symbols in succession doesn't make sense and will produce
+unpredictable results.
+\footnote{If you are using \texttt{|} marks at the end of bars, a repeat
+ must always go \emph{before} the \texttt{|}, or the next line
+ must follow in the same input block. In other words: while
+ \texttt{Rr | /} will not result in an error, it will produce a
+ thin bar line only. \label{p:repeats}
+
+ \smallskip
+ There is a simple consequence: avoid using \texttt{|}
+ altogether, at least in connection with \texttt{R} symbols.
+ }
+
+
+\begin{table}
+\begin{center}
+\begin{tabular}{|c|@{\quad}p{250pt}|}
+ \hline
+\texttt{b} & thin (single \texttt{b}ar) line \\
+\texttt{d} & thin-thin \textbf{d}ouble bar line \\
+\texttt{D} & thin-thick \textbf{D}ouble bar line \\
+\texttt{z} & invisible bar \\ \hline
+\texttt{l} & \textbf{l}eft repeat \\
+\texttt{r} & \textbf{r}ight repeat \\
+\texttt{lr} & \textbf{l}eft-\textbf{r}ight repeat \\
+\texttt{dl} & thin-thin \textbf{d}ouble bar
+ followed by \textbf{l}eft repeat \\ \hline
+\end{tabular}
+\end{center}
+\caption{Parameters of the bar symbol \texttt{R}} \label{tab:bars}
+\end{table}
+
+\medskip
+Here are further comments on some particular bar symbols:
+\begin{itemize}
+ \item \texttt{Rb} forces a single bar before a movement break, where
+ the default would be a double bar. This can be useful, for
+ example if you change the number of instruments, which {\PMX}
+ will allow only at a movement break, but you don't want it to
+ \emph{look} like a movement break.
+ \item \texttt{Rz} will cause an invisible bar line at the end of the
+ current system. It can be used together with blind meter
+ changes (cf.~Section~\ref{sec:meterchg}) when you want to split a
+ bar across a system break.
+ \item if a left-right repeat (\texttt{Rlr}) comes at a system break,
+ {\PMX} will automatically split it in two.
+ \item \texttt{Rdl} is the same as a left repeat
+ (\texttt{Rl}) except at a system break: there the first system
+ is ended with two thin lines, and the left repeat sign goes to
+ the beginning of the next system.
+
+ \medskip
+ \item Finally, a general remark is in order regarding the \texttt{R}
+_{R symbol!placement at begin of block}
+ symbols that designate repeats, double bars etc.\
+ (\texttt{Rl,Rr,Rlr,Rd, RD,Rdl,Rb,Rz}). To avoid conflicts with
+ \textbf{scor2part}, you should \emph{always}
+ place any \texttt{R} command before the first note in an
+ input block. This is always possible except at the very end of
+ the whole piece. Otherwise, there is always a following input
+ block where the command can (and should) be placed.
+\end{itemize}
+
+\medskip\noindent
+Fig.~\ref{fig:bars} gives some examples.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/bars.eps}
+ \end{center}
+ \caption{Single bars, double bars, repeats}
+ \label{fig:bars}
+\end{figure}
+
+\Note{On some special occasions, you may want dashed or dotted barlines
+ instead of the regular ones. For this and similar purposes, there
+ is a very good and easy-to-use package by Rainer Dunker:
+ \texttt{musixdbr.tex}, included in the {\MusiXTeX} distribution.
+_{Dunker, Rainer} _{bar lines!dotted, dashed}
+ }
+
+\subsection{Volta} \label{sec:volta}
+_{volte} _{dacapo|see{volte}} _{repeats|see{volte}} _{V
+symbol@\texttt{V} symbol}
+
+The two versions of the ending of a repeated section of music, called
+`volte' in musical parlance\,%
+\footnote{The term `volta' is, of course, Italian, and `volte' is the
+ Italian plural of `volta'.
+ },
+are denoted by a symbol starting with a \texttt{V} (for \textbf{V}olta)
+in {\PMX}. {\PMX} needs to know where each volta starts and ends, how
+the ends are shaped, and what text is to be included under each volta. A
+string parameter to the \texttt{V} is used to convey this information:
+\begin{itemize}
+ \item to signal the \emph{start} of the first volta, add a text
+ string (usually just a \texttt{1}) that doesn't start with
+ one of the characters \texttt{b}~, \texttt{x}~, or any literal
+ spaces\,%
+ \footnote{Actually you can include a space by using the {\TeX}
+ space symbol \~\ instead of a blank.
+ _{\TeX!space symbol}
+ }.
+ {\PMX} will print append a period to the text string,
+ \item to signal the \emph{end} of a volta and the start of the
+ second volta, use a \texttt{V} with a text string that
+ \emph{does} start with either the character \texttt{b}~ or
+ \texttt{x}~. If \texttt{b}~ is present, a volta symbol ending
+ with a vertical stroke will be printed (\textbf{b}ox), while
+ \texttt{x}~ will print the ending \emph{without} a vertical
+ stroke (no bo\textbf{x})\,%
+ \footnote{Note that the characters \texttt{b}~ or \texttt{x}~
+ can appear anywhere in the text string and will
+ \emph{not appear in print}.
+ }.
+
+ Often composers will write out only the first ending of a
+ repeated section of music, and simply continue play, dropping
+ the first ending after the repeat. With {\PMX}, the notation is
+ analogous: simply end the first volta, with either \texttt{Vb}
+ or \texttt{Vx}, without adding a second volta.
+
+ On the other hand, if one volta starts where another one ends,
+ the symbols ending the first and starting the second volta can
+ be combined into one, e.g.~\texttt{Vb2}~.
+\end{itemize}
+
+\medskip
+Other rules governing volte are:
+\begin{itemize}
+ \item Volte should be placed at the beginnimg of an input block, in
+ the first (lowest) voice of the first (lowest) staff, before
+ the first note if it's the start of a volta, or after the last
+ note if it's the end of a volta.
+ \item
+_{volte!with \textbf{scor2prt}}
+ If you will be making parts from the score using
+ \textbf{scor2prt}, then to ensure that the volte are properly
+ transferred to the parts, you must only include one volta
+ symbol \texttt{V} in each input block, and it must come at the
+ beginning of the block.
+ \item If a score ends while a volta is still open, {\PMX} will close
+ it with a box.
+\end{itemize}
+
+\bigskip
+Examples of volta usage can be seen in Fig.~\ref{fig:volta}.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/volta.eps}
+ \end{center}
+ \caption{Volte}
+ \label{fig:volta}
+\end{figure}
+
+\subsection{Meter Changes} \label{sec:meterchg}
+_{meter!change} _{polyrhythmic scores}
+
+The meter of a piece can only be changed at the beginning of an input
+block, and thus naturally only at the beginning of a new bar, just
+before the beginning of the first (lowest) voice of the first (lowest)
+staff. As with the initial meter specified in the preamble, any new
+meter applies to all instruments and voices\,%
+\footnote{As was pointed out before (cf.~p.\pageref{p:polyrhythms}),
+ this limits the use of {\PMX} for modern polyrhythmic music.
+ But you can always try to play with tricks \dots
+ }.
+
+A \texttt{m}eter change symbol starts with the letter \texttt{m}. There
+are two different ways to complete the symbol:
+\begin{itemize}
+ \item enter the 4 meter-defining numbers \texttt{mtrnuml},
+ \texttt{mtrdenl}, \texttt{mtrnump}, \texttt{mtrdenp} for the
+ new meter\,%
+ \footnote{For the meaning of these numbers
+ cf.~p.\pageref{p:meterdefs} .
+ },
+ \emph{separated by slashes} \texttt{/} .
+ \item same as above, but enter the 4 numbers consecutively
+ \emph{without spaces}. In this case, it is necessary to
+ distinguish between one single 2-digit number and two
+ consecutive 1-digit numbers. For this -- and for this case only
+ -- the following convention is adopted:
+
+ \vspace{-1.5ex}\noindent
+ \begin{itemize}
+ \item the number 1 is represented by the letter \texttt{o},
+ \item consecutive digits \texttt{10},\dots \texttt{19} stand
+ for exactly that: the 2-digit numbers 10 through 19.
+ \end{itemize}
+
+ \vspace{-1.5ex}\noindent
+ Thus, 19 is the largest number that can be entered with this
+ method.
+\end{itemize}
+_{meter!blind change}
+Note that \texttt{mtrdenl=0} still represents a whole note
+(semibreve), as explained on p.\pageref{p:meterdefs0}, and a `blind'
+meter is given by \texttt{mtrnump=mtrdenp=0}, as explained in
+Table~\ref{tab:meter}.
+
+\medskip _{pickup bar}
+The most common application of a `blind' meter change occurs when a
+piece --- often one starting with a pickup --- has an incomplete final
+bar. In such cases place the last bar in an input block by itself,
+headed by a `blind' meter change. For example, if the meter had been 4/4
+and there was a quarter note pickup, leaving 3 beats in the last bar,
+the last bar might be coded \verb#m3400 cd24 of /#.
+
+Another useful application is for the pickup bar in the second or later
+movements, following a {\PMX} movement break symbol. Since there is
+no special provision for pickups in this case like there is at the
+beginning of a piece, _{movement breaks}
+\begin{enumerate}
+ \item the pickup bar should be in a block by itself, starting with a
+ meter change symbol with a logical meter representing the
+ pickup bar and a printed meter as appropriate, and
+ \item the next bar should start a new block and begin with a blind
+ meter change symbol with a logical meter representing the true
+ meter.
+\end{enumerate}
+
+
+\subsection{Key Changes} \label{sec:keychg}
+_{key change} _{K symbol@\texttt{K} symbol}
+
+A key change can be signalled at any time\,%.
+\footnote{Only one key change is allowed in each input block.
+ }.
+It must be entered in the first voice, but will affect all voices. Use
+the command \texttt{K+0}, followed by the new key signature: positive
+integer for sharps, negative for flats (cf.~Section~\ref{sec:numinput})
+.
+
+\medskip
+Some examples are given in Fig.~\ref{fig:keychg}.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/keychg.eps}
+ \end{center}
+ \caption{Some key changes}
+ \label{fig:keychg}
+\end{figure}
+
+\subsection{Transpositions} \label{sec:transpositions}
+_{transposition} _{K symbol@\texttt{K} symbol}
+
+\begin{figure}[!htb]
+ \begin{center}
+ no transposition: \\
+ \begin{small}
+ \verb#d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /#
+ \end{small} \\
+ \includegraphics[scale=.82]{eps/transpose.eps} \\
+ transposition by one tone up: \\
+ \begin{small}
+ \verb#K+1+1 d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /#
+ \end{small} \\
+ \includegraphics[scale=.82]{eps/transpose1.eps} \\
+ transposition by a half tone up: \\
+ \begin{small}
+ \verb#K-0+6 d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /#
+ \end{small} \\
+ \includegraphics[scale=.82]{eps/transpose2.eps} \\
+ transposition by a half tone down: \\
+ \begin{small}
+ \verb#K-1+4 d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /#
+ \end{small} \\
+ \includegraphics[scale=.82]{eps/transpose3.eps} \\
+ \end{center}
+ \caption{Some transpositions of a d minor scale}
+ \label{fig:transpose}
+\end{figure}
+
+To transpose an entire score to a different key from the one in which
+the data have been entered, use the symbol \texttt{K} (for
+\textbf{K}ey), followed by two explicitly signed digits: (1) the
+distance to transpose by, in units of \verb#\internote# (i.e.\ the
+vertical offset on the staff), and (2) the new key signature. This
+symbol must be entered at the beginning of the piece, in the header
+(cf.~p.\pageref{p:header}).
+
+There is one case that requires special handling, viz., when transposing
+by a half step, but the vertical position doesn't change, e.g.\ from D
+flat to D. In this case the shift parameter (the first parameter of
+\texttt{K}) is \emph{always} \texttt{-0} \emph{regardless} of whether
+the transposition is up or down a half step\,%
+\footnote{This artifact is needed to differentiate a half-note
+ transposition from a mere key change without
+ transposition (cf.~Section~\ref{sec:keychg}) .
+ };
+the direction of the transposition will be determined by the new key
+signature, the second parameter. An example is given in
+Fig.~\ref{fig:transpose}.
+
+\medskip
+_{accidentals!relative}
+When transposing, one should always use relative accidentals, activated
+by the symbol \texttt{Ar} in the header (cf.~Section~\ref{sec:A} for a
+detailed explanation of this notation).
+
+Of course, if you have just one transposing instrument, or a choir of
+same-type instruments, you can use the transposition mechanism effected
+by the \texttt{K}ey symbol to easily obtain both the original score and
+its actual sound. For an example of this use of the transposition
+mechanism see Fig.~\ref{fig:tristan}.
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/tristano.eps} \\
+ Standard notation in the original score \\[3ex]
+ \includegraphics[scale=.82]{eps/tristans.eps} \\
+ Actual sound (transposed with \texttt{K-4-4})
+ \end{center}
+ \caption{\textbf{R.\ Wagner}, \emph{Tristan und Isolde},
+ beginning of third act}
+ \label{fig:tristan}
+\end{figure}
+
+_{wind instruments|see{instruments,transposing}}
+\Note{The transposition of an an entire score must not be confused with
+ the standard notation for `transposing' instruments, such as
+ clarinets (in B, A etc.), oboe d'amore (which is in A), oboe da
+ caccia (in F), or horns. {\PMX} does not provide a notation for
+ this directly if transposing instruments appear together with
+ non-transposing instruments in the same score, but it is easy to
+ do it with some inline {\MusiXTeX}\,\footnotemark\
+ (for details on this particular problem see the example of
+ Mozart's \emph{Mauerische Trauermusik} in
+ Section~\ref{sec:mtrauer}).
+ }
+\footnotetext{_{Vogel, Olivier} I am grateful to Olivier Vogel for
+ pointing this out to me.
+ }
+
+\subsection{Titles, and text above and below a system}
+ \label{sec:titles} _{titles}
+_{text!above/below system} _{T symbol@\texttt{T} symbol}
+
+A \emph{title block} with up to three elements can be defined in the
+header (cf.~p.\pageref{p:header}):
+\begin{itemize}
+\item \texttt{Ti}: an \textbf{i}nstrument name. It is set \emph{above}
+ the title, and left-justified,
+\item \texttt{Tc}: the \textbf{c}omposer's name. It is set \emph{below}
+ the title and right-justified,
+\item \texttt{Tt}: a \textbf{t}itle for the whole piece. It is centered
+ on the page.
+\end{itemize}
+
+Each of these commands is to be followed by a text string, \emph{on a
+separate line}. This text must be fully contained in one line of {\PMX}
+coding; but the text for the \textbf{t}itle can be spread out over
+several lines in print by using the standard {\TeX} line break symbol
+\verb#\\# . _{\TeX!line break symbol}
+
+\medskip
+Extra vertical space can be added between the whole title block and the
+top system by appending to \texttt{Tt} (without space) a one- or
+two-digit number representing this space, in units of
+\verb#\internote#\,%
+\footnote{{\PMX} does this together with the adjustment of other
+ vertical spaces when fixing the general page layout. In some
+ rare cases, the result may not be quite what you expect, in
+ particular when you haven't used the \texttt{Ae} option to
+ equalize inter-system spacing
+ (cf.~section~\ref{sec:options}). In such cases you might want
+ to use inline {\TeX} --- take a look at the example in
+ Section~\ref{sec:shiftname} for how this can be done.
+ }.
+This works only if \texttt{Tt} is the \emph{final} title block element
+entered. Thus, although the 3 parts of a title block can be given in any
+order, it is good practice to use the sequence \texttt{Ti} ---
+\texttt{Tc} --- \texttt{Tt}.
+
+_{titles!with \textbf{scor2prt}} _{\textbf{scor2prt}!use of Ti}
+\Note{When you want to generate parts from a score with
+ \textbf{scor2prt} (cf.~Section~\ref{sec:scor2prt}), you should
+ \emph{omit} \texttt{Ti} with an associated \textbf{i}nstrument
+ name, because each separate instrument usually has a different
+ name. Rather, \textbf{scor2prt} will automatically supply the
+ appropriate instrument names, printing the name of each instrument
+ at the upper left of the first page of each part; the names used
+ here are the ones specified in the preamble of the {\PMX} file for
+ the score\,%
+ {\footnotemark}.
+
+ If you do have \texttt{Ti} together with an \textbf{i}nstrument
+ name in the main score, \textbf{scor2prt} will print that name
+ identically to all the parts --- which is usually not what you
+ want!
+ }
+\footnotetext{\textbf{scor2prt} does this by inserting into the part
+ \texttt{.pmx} file a \texttt{Ti} and the appropriate
+ instrument name as taken from the preamble of the main
+ score. Knowing this may be useful if you want to
+ manipulate this process, e.g.~to change the vertical
+ shifting of a particular instrument name
+ (cf.~Section~\ref{sec:shiftname} for details).
+ _{\textbf{scor2prt}!adjusting instrument name}
+ }
+
+\bigskip _{h symbol@\texttt{h} symbol} _{l symbol@\texttt{l} symbol}
+The symbols \texttt{h} (for \textbf{h}eader)\,%
+\footnote{This usage of the \textbf{h} symbol is not to be confused with
+ that for the page size (see Section~\ref{sec:pagesize})!
+ Although both can occur together in the header, they are in
+ fact, different {\PMX} symbols, distinguished by their
+ differing syntax.
+ }
+and \texttt{l} (for \textbf{l}ower) can be used to introduce text
+either above or below a system. These symbols must be placed in the
+first column of an input line (not necessarily the beginning of a
+block), and followed by a blank or -- for \texttt{h} only -- a signed
+integer. In the latter case, this integer is a vertical shift, in units
+of \verb#\internote#.
+
+The text string, which again must lie on a line of its own immediately
+following the symbol, will be printed above or below the \emph{top}
+staff in the \emph{first} bar of the block where it is entered.
+Figs.~\ref{fig:vivaldi1} and \ref{fig:Haydn} show examples.
+
+\subsection{Page numbering and page headers} \label{sec:pagenumbers}
+
+\subsubsection{Page numbering}
+_{page!numbering} _{P symbol@\texttt{P} symbol}
+
+By default, {\PMX} does \emph{not} number the pages of a score, even
+when it has more than one page. You can, however, switch on page
+numbering by using the symbol \texttt{P} (for \textbf{P}age). Placed at
+the beginning of an input block anywhere within the {\PMX} body of
+input, and followed optionally by a page number and/or by \texttt{l}
+(for \textbf{l}eft) or \texttt{r} (for \textbf{r}ight), this will
+\begin{enumerate}
+ \item start page numbering at the current page\,%
+ \footnote{The `current page' is the page where {\PMX} puts
+ the music currently processed at the point where it
+ encounters the symbol \texttt{P}.
+ }
+ with the number given as optional argument. Further page
+ numbers are then incremented automatically starting with this
+ number. If \texttt{P} has no number argument, the default is
+ page 1 . Thus, \texttt{P} and \texttt{P1} are equivalent),
+ \item put the page numbers to the top \textbf{l}eft or \texttt{r}ight
+ of the first of the pages to be numbered, after which the
+ number positions will alternate. If no \textbf{l} or \textbf{r}
+ is given, {\PMX} puts the page numbers on the right on
+ odd-numbered pages, on the left of even pages.
+\end{enumerate}
+You can have as many \texttt{P} symbols in a score as you like; but
+there is no command to switch off page numbering again once it has been
+switched on.
+
+\subsubsection{page headers}
+_{page!headers}
+
+There is one more option, \texttt{c} (for \textbf{c}entered header),
+available with the \texttt{P} symbol. This option defines a text string
+to be printed at the top of every page \emph{after the first}. The
+notation is as follows:
+\begin{itemize}
+ \item The normal usage is \texttt{Pc"}$[$\emph{text
+ string}$]$\verb#"#. The text string enclosed in the quotation
+ marks must be a single line of text. It may contain blanks, but
+ \emph{no} \verb#\\#). If the string consists of blanks only,
+ that is what will be printed: a blank page header.
+ \item If the text string does not contain any blanks, you may omit
+ the quotation marks, but you must then start the text
+ immediately after the \texttt{c} \emph{with no space}.
+ \item If there is a blank after \texttt{Pc}, \emph{no quotation marks,
+ and no further text}, the text printed as the header will be
+ the instrument name entered with the symbol \texttt{Ti}, as
+ described on p.\ref{sec:titles}.
+\end{itemize}
+\texttt{c} must be the \emph{last} option in the \texttt{P} symbol.
+
+_{P symbol@\texttt{P} symbol} _{\textbf{scor2prt}}
+\Note{The \texttt{P} symbol and all its options will be ignored when
+ making parts from a score using \textbf{scor2prt}, since page
+ numbering will usually be different in the score from that in the
+ parts. Page numbering -- and centered headers -- for parts can,
+ however, be initiated independently with another mechanism. For
+ the details on this, refer to Section~\ref{sec:scor2prt}.
+ }
+
+\clearpage
+\begin{figure}[!htb]
+ \begin{center}
+
+ \vspace*{20ex}
+ \includegraphics[scale=.82]{eps/vivaldi1.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+ 1 1 3 4 0 3 0 -1
+ 1 1 16 0.0
+
+t
+./
+% begin header:
+Ti11
+Oboe I
+Tc
+Antonio Vivaldi (1678-1741)
+Tt
+Concerto in d minor \\ RV535
+w150m
+% end header.
+% Bar 1-4
+h-2
+~~~Largo
+
+d45 a44 r4 | g44 f44 r4 | g45 a45 b45 | cs45 d45 r4 /
+% Bar 5-7
+fs45 g45 a45 | b45 r4 r4 | cs45 d45 e45 /
+% Bar 8
+l
+(continued)
+f45 r4 r4 Rb /
+%
+\end{verbatim}
+\end{minipage}
+ \end{center}
+ \caption{Titles, and text above and below a system}
+ \label{fig:vivaldi1}
+\end{figure}
+
+\clearpage
+\subsection{Layout: line, page, and movement breaks}
+ \label{sec:breaks}
+_{layout} _{layout!manual line/page breaks}
+_{\texttt{npages}} _{\texttt{nsystems}}
+
+The parameters \verb#npages# and \verb#nsystems# of the preamble
+(cf.~Section~\ref{sec:preamble}) determine the layout of the score,
+either by fixing the total number of pages and systems, or by setting
+the average number of bars per system. With no further instructions,
+{\PMX} will attempt to distribute all the music evenly over the total
+number of systems, and then spread the systems evenly over the specified
+number of pages, either specified or determined by default (with
+\verb#npages=0#).
+
+You can change the average `crowdedness' by changing the preamble
+parameters. Once this is satisfactory, you can exercise finer, more
+local control by forcing, i.e.\ manually inserting, line or page breaks
+at exactly the places you want them to be. You may also want movement
+breaks, and {\PMX} has a convenient way of doing that, in the process
+dealing easily with such `housecleaning' chores as indenting the first
+system of the new movement, reprinting the time signature, resetting the
+bar number counter, and other details to be discussed below.
+_{bar numbering} _{indenting first system}
+
+\medskip
+It is worthwhile, however, to quote Leslie Lamport at this point:
+_{Lamport, Leslie}
+\begin{quote}
+ ``Don't worry about line and page breaks until you prepare the
+ absolutely final version'' \\
+ From: Leslie Lamport, {\LaTeX}, \emph{user's Guide and Reference
+ Manual} .
+\end{quote}
+
+This is especially true for a {\PMX}-generated score. Until the final
+edit, you should always use \texttt{npages=0}. Once you specify any
+forced line break, you can no longer use \texttt{npages=0}, and you will
+have to specify values for \texttt{npages} \emph{and}
+\texttt{nsystems}~. And because --- as we'll soon explain --- a movement
+break is a sub-option of the linebreak command, you cannot set movement
+breaks either until the final edit.
+
+But unless your score is just a few pages long, you probably will want
+to set some line, page, or movement breaks in the end. When you are
+ready, always first pick some reasonable values for \texttt{npages} and
+\texttt{nsystems}---perhaps the numbers that finally came out when you
+used \texttt{npages=0} during the main input process. Then one way to
+proceed is to start at the beginning, forcing breaks where desired. The
+most common places would be at movement breaks, and at places associated
+with volte or repeats. Recompile and view the result after each new
+line break is inserted. You may need to adjust the total number of
+systems or even pages depending on how crowded is the remainder of the
+score, after the last forced line break.
+
+The other way to proceed is to begin by inserting any obvious page
+breaks, especially if you are laying out a booklet with facing pages and
+want page turns to come in musically convenient places.
+
+\bigskip\noindent
+Here are the rules for inserting forced line, page, and movement breaks:
+\begin{itemize}
+\item _{line break}
+ Line breaks can only come at the start of an input block. To force
+ a line break at the start of the $n^\text{th}$ system, enter
+ \texttt{L}$[n]$~. $n$ must obviously be greater than 1 and less
+ than or equal to the value of \texttt{nsystems} as specified in
+ the preamble.
+\item _{page!breaks}
+ Page breaks can only come where there is already a line break. To
+ force a page break at the start of the $m^\text{th}$ page and the
+ $n^\text{th}$ system, enter \texttt{L[}$n$\texttt{]P}$m$~. $m$
+ must obviously be greater than 1 and less than or equal to the
+ total number of pages.
+
+\item _{movement breaks}
+ Movement breaks can only come where there is already a line break.
+ To force a movement break at the start of the $n^\text{th}$
+ system, enter \texttt{L[}\emph{n}\texttt{]M}~. If in addition you
+ want a page break at that point, use
+ \texttt{L[}$n$\texttt{]P[}$m$\texttt{]M}~.
+
+ \medskip
+ The movement break symbol \texttt{M} has several optional
+ parameters. They can be used in any combination and should follow
+ with no spaces.
+
+ \begin{itemize}
+ \item \texttt{M+[}$k$\texttt{]} adds $k$ \verb#\internote#
+ units of vertical space between movements. \item
+ \texttt{Mi[}$.x$\texttt{]} resets the first-line
+ indentation of the new movement to
+ \texttt{fracindent=}\,$.x$~, where $.x$ is some
+ decimal number (cf.~Sec. \ref{sec:preamble}).
+
+ \Note{You must write the fracindent number exactly in
+ the form $.x$ , i.e.\ \emph{without} the leading
+ $0$~. If, e.g.\ , you write $0.2$ instead of
+ $.2$~, {\PMX} will complain with an error message,
+ asking for a decimal number!
+ }
+
+ \item Beginning a new movement break, the bar number is reset
+ to zero by default, whereas \\
+ \texttt{Mc} \textbf{c}ontinues bar numbering.
+ \item \texttt{M[}$n$\texttt{]} changes the \textbf{n}umber of
+ instruments to $n$~. $n$ must not exceed \texttt{ninstr}
+ as set in the preamble. If $n$ exceeds 9, it must be
+ \emph{preceded} with \texttt{:} (colon). This should be
+ followed (without blanks) by a sequence of $n$ instrument
+ numbers in bottom-up order, again preceded with
+ \texttt{:} if bigger than 9, then a sequence of clef
+ symbols, one for each staff of each instrument starting
+ from the bottom. An instrument's numeral is simply its
+ position in the original sequence (in the preamble);
+ these numerals can be permuted as desired, but the
+ sequence of clef symbols should, of course, match the new
+ sequence of instruments.
+ \item \texttt{Mr+}/\texttt{Mr-} \textbf{r}eprints/suppresses
+ reprinting the instrument names at the beginning of the
+ new movement. The default is to print them only if the
+ number of instruments changes.
+ \end{itemize}
+\end{itemize}
+
+_{instruments!numbers increased/decreased}
+It should be emphasized here that the number of instruments in a new
+movement can never exceed the original number of instruments, although
+it is permissible to increase it after it has been decreased, as long as
+it doesn't exceed the original number; in other words, and to give an
+example: a sequence {quartet --- solo --- duet, e.g., is possible,
+while the reverse sequence is not. There are two ways to circumvent this
+restriction:
+\begin{enumerate}
+\item start the score with a dummy page --- to be discarded
+ later --- containing the maximum number of instruments. On the
+ second page, start a new movement with the desired number and
+ sequence of instruments for the first movement,
+\item _{\PMX!concatenating several files}
+ make separate {\PMX} files and concatenate them afterwards
+ (cf.~Section~\ref{sec:concatfiles} or \ref{sec:LaTeX} on how to
+ do this).
+\end{enumerate}
+
+\medskip
+Immediately after a movement break, any desired meter changes, key
+changes, or text can be entered as already described in
+Sections \ref{sec:meterchg}, \ref{sec:keychg} and \ref{sec:titles}
+(p.\pageref{sec:meterchg} ff.).
+
+\bigskip
+The effect of movement breaks is illustrated in the
+example~\ref{sec:Dufay} in the appendix.
+
+\subsection{Bar Numbering} \label{sec:barnumbers}
+_{bar numbering} _{inline \TeX!bar numbering}
+
+By default {\PMX} places a bar number above the first bar of the top
+staff in every system, and there is no provision in {\PMX} to change
+this default. But it is easy to change this by using a straight
+{\MusiXTeX} command:
+\begin{itemize}
+ \item if you want no printed bar numbers at all, add a line in the
+ header containing \\ \verb#\\nobarnumbers\#
+ \item if you want bar numbers printed over every bar, add a line
+ containing \\ \verb#\\barnumbers\#
+\end{itemize}
+in the header or at the beginning of an input block.
+
+This is an example of a \textbf{type 2} inline {\TeX} command,
+cf.~Section~\ref{sec:inlineTeX}. As is explained there in detail, {\PMX}
+will place a \textbf{type 2} inline {\TeX} command at the beginning of
+the \verb#.tex# file produced, regardless of where in the \verb#.pmx#
+file the command appears. This means that you cannot change this type of
+bar numbering in mid-stream.
+
+If you do want to change the bar numbering somewhere in the middle of a
+score, use a \textbf{type 3} inline {\TeX} command: if, from the
+current point in the score, you want
+\begin{itemize}
+ \item no printed bar numbers, add a line with \\
+ \verb#\\\nobarnumbers\#
+ \item bar numbers printed over every bar, add \\
+ \verb#\\\barnumbers\#
+ \item bar numbers above the first bar of every system (the {\PMX}
+ default), add \\ \verb#\\\systemnumbers\#
+\end{itemize}
+at the beginning of the current input block.
+
+\medskip
+_{Bar number count adjustment}
+Furthermore, you might want to change the number itself. This occurs most
+frequently when you have a pickup bar at the beginning of a repeat; some
+-- including some commercial publishers -- do not include this pickup
+bar in the number count, wheras {\PMX} does so by default. To adjust
+this, use the \textbf{type 3} inline {\TeX} command
+\verb#\\\advance\barno-1\relax\# .
+
+\bigskip
+{\MusiXTeX} provides still more elaborate bar numbering schemes, such as
+a number over every $n^{\text{th}}$ bar. For details refer to the
+{\MusiXTeX} manual.
+
+\section{Some general options and technical adjustments}
+ \label{sec:options} _{\PMX!options!general}
+ _{layout!general options}
+
+\subsection{Global options} \label{sec:A}
+_{\PMX!options!global}_{A symbol@\texttt{A} symbol}
+
+{\PMX} has many layout parameters with default settings. Some of these
+can be changed by the user; for that purpose there are several symbols,
+all beginning with \texttt{A}. Many of these are usually included in the
+^{header}, but some may be entered at the beginning of any input block.
+Table~\ref{tab:A} lists these options alphabetically; the following
+subsections, grouped by types of settings, describe them in detail. When
+using several of these commands, it is not necessary to enter them all
+on separate lines; rather, you can concatenate them, in any order, with
+just a single \texttt{A}, e.g.~\texttt{AdI2.3p+hlbr} .
+
+\begin{table}[!ht]
+\begin{center}
+_{\PMX!options!global} _{A symbol} _{global options |see{@\texttt{A} symbol}}
+\begin{tabular}{|l|l|}
+\hline
+\texttt{Aa}$[x]$ & sets space before first note in a bar \\
+\texttt{Ab} & makes accidentals \textbf{b}ig \\
+\texttt{Ad} & puts \textbf{d}ots in lower voices
+ \emph{below} the line \\
+\texttt{Ae} & \textbf{e}qualizes inter-system spacing \\
+\texttt{AI}$[x]$ & changes default \textbf{I}nterstaff spacing
+ \emph{for the whole score} \\
+\texttt{Ai}$[x]$ & changes default \textbf{i}nterstaff spacing
+ \emph{for the current page only} \\
+\texttt{AK} & adjusts rest heights in 2-voice staves
+ depending on context \\
+\texttt{AN}$[i]$``\emph{name}''
+ & sets filenames generated by \textbf{scor2prt}
+ (cf.~Section~\ref{sec:scor2prt}) \\
+\texttt{Ap}[\emph{further suboptions}]
+ & enables PostScript type K slurs \\
+ (cf.~Section~\ref{sec:chords}) \\
+\texttt{Ar} & switches accidentals to
+ \textbf{r}\emph{elative} \\
+\verb#AR[#\emph{file}\verb#]#
+ & inserts a text file in the {\PMX} source file
+ (cf.\ Secion \ref{sec:concatfiles}) \\
+\texttt{AS}[\emph{ns}]
+ & enables {\PMX} \textbf{S}pacing algorithms
+ to small-font staves \\
+\texttt{As} & makes accidentals \textbf{s}mall \\
+\texttt{AT} & activates special xtuplet brackets
+ (cf.~Section~\ref{sec:xtuplets}) \\
+\texttt{Av} & spreads systems \textbf{v}ertically over all
+ of an unfilled page when `on' \\
+\hline
+\end{tabular}
+\end{center}
+ \caption{Symbols beginning with an \texttt{A} (global options)}
+ \label{tab:A}
+\end{table}
+
+\subsubsection{Accidentals}
+By default, big accidentals are used unless regular spacing doesn't
+provide enough room. Thus the default behavior may cause a mixture
+of big and small accidentals, and in fact is not recommended. Rather,
+the user is advised to make his choice:
+\begin{itemize}
+ \item _{accidentals!big}
+ \texttt{Ab} makes all accidentals \textbf{b}ig; this is
+ usually preferred,
+ \item _{accidentals!small}
+ \texttt{As} makes all accidentals \textbf{s}mall.
+\end{itemize}
+
+\medskip _{accidentals!absolute}
+As was mentioned earlier (cf.~Section~\ref{sec:transpositions}), {\PMX}
+by default uses the so-called `absolute' notation for inputting
+accidentals, i.e.\ the notation explained in
+Table~\ref{tab:noteparameters}.
+In this notation, there is an obvious one-to-one correspondence between
+accented characters in the {\PMX} source file (\texttt{s, f, n, ss, ff})
+and the printed characters. This has a disadvantage, but it only
+surfaces if you write the {\PMX} file in one key and later transpose it
+using the \texttt{K} option described in
+Section~\ref{sec:transpositions}. For example, suppose the original key
+is F, with 1 $\flat$ in the signature, and you enter \texttt{bn}. Now if
+you transpose to the key of C with \texttt{K-3+0}~, that note will be
+printed explicitly as F natural, while it should be F sharp.
+
+\medskip _{accidentals!relative} _{key signature}
+The remedy for such problems is to use another notation, aptly named
+`relative' accidental notation, used by some musicians and some
+publishers in some countries. In this notation, a sharp, flat, or
+natural sign denotes an alteration by a half-tone up, down, or none
+\emph{relative to the note which would otherwise be indicated based
+on the signature of the piece}. For example, in D~major, with 2
+$\sharp$s in the signature, an F natural would be denoted not as
+\texttt{fn} but rather as \texttt{ff}, while in d~minor, with one
+$\flat$ in the signature, a B natural would be input not as
+\texttt{bn} but rather as \texttt{bs}. Similarly, $\natural$s
+accidentals refer to the notes prescribed by the signature; e.g., in
+G~Major (1 $\sharp$ in the key) a \texttt{gn} sounds as a \emph{g},
+while \texttt{fn} sounds as an F sharp.
+
+\medskip _{transposition}
+For automatic transpositions to function properly, it is necessary
+that the {\PMX} source for the score to be transposed use the
+\emph{relative accidental notation}. This is effected by \texttt{Ar}
+:
+\begin{itemize}
+ \item \texttt{Ar} directs {\PMX} to interpret accidentals
+ in \textbf{r}\emph{elative} notation\,%
+ \footnote{Note that this makes logical sense only if used in
+ the header, and accordingly there is no way to
+ `undo' this decision further down in a score.
+ }.
+\end{itemize}
+
+\subsubsection{Layout details} _{layout}
+When the note head of a dotted note is \emph{on} the line (e.g.\
+for a \emph{g} in a violin clef), it is customary to place the
+dot slightly \emph{above} the line. In staves with two voices,
+there is an alternate custom, viz., to place the dot \emph{above}
+the line in the \emph{upper} voice and \emph{below} the line in
+the \emph{lower} voice. {\PMX}'s default is the first possiblity;
+dots for both voices \emph{above} the line, but it can be
+overridden:
+
+\begin{itemize}
+_{layout!dotted note in 2-voice staff}
+_{notes!dotted note!dots in 2-voice staff}
+_{voice!several voices in one staff}
+
+ \item \texttt{Ad} causes the \textbf{d}ot -- for notes that are
+ \emph{on} a line -- in the lower voice
+ of any two-voice staff to be placed \emph{below} the
+ line.
+\end{itemize}
+
+\noindent
+By default {\PMX} inserts a horizontal gap of \verb#1\elemskip#
+between a bar line and the first note in the bar. This can be
+changed globally:
+\begin{itemize}
+ \item \texttt{Aa}$[x]$ sets the space before the first note in
+ every bar to to $x$ units of \verb#\elemskip# .
+\end{itemize}
+
+\noindent
+In {\PMX} it's not yet possible to specify a smaller font for selected
+staves. But it can be done using an inline {\TeX} command (For details,
+cf.~Section~\ref{sec:inlineTeX} and Section~\ref{sec:varstaves}). If you
+do this, then you ought to use the \texttt{AS} option:
+
+\begin{itemize} _{staves!varying size} _{\texttt{musicsize}}
+ \item \texttt{AS}[\emph{ns}] . The additional sequence of
+ \emph{ns} is mandatory here. It consists of exactly as
+ many characters \texttt{-} (minus) or \texttt{0} (zero)
+ as there are staves in the score (\texttt{nstaves},
+ cf.~Section~\ref{sec:preamble}): \texttt{0} if the font
+ size of this staff is normal, \texttt{-} if it is
+ small\,%
+ \footnote{The sequence of staves is from bottom to top, as
+ described in the preamble. Cf.~p.\pageref{p:header}.
+ }.
+ This tells {\PMX} to modify some horizontal spacing decisions
+ to account for the smaller font size.
+\end{itemize}
+
+\subsubsection{Vertical spacing} _{spacing} _{spacing!vertical}
+\begin{enumerate}
+ \item[a)] Spacing of staves within a system: \text{} \\
+ If there is more than one staff in a system, {\PMX} computes the
+ vertical spacing between the staves automatically. However, the
+ algorithm isn't fully robust, and the result may not be pleasing.
+ To change the spacing between the staves within a system, you can
+ apply a scale factor $x$ to the default, either for the entire
+ score, or for the current page only:
+ \begin{itemize}
+ \item \texttt{AI}$[x]$ multiplies the default
+ \textbf{I}nterstaff spacing, \verb#\interstaff#, by the
+ decimal number $x$ \emph{for the entire score}. This
+ option should be placed in the header.
+ \item \texttt{Ai}$[x]$ multiplies the default
+ \textbf{i}nterstaff spacing by the
+ decimal number $x$ \emph{for the current page only}.
+ This option can be placed at the beginning of any input
+ block (including the first), and overrides
+ \texttt{AI}$[x]$ .
+ \end{itemize}
+ Note that if there is more than one system on a page, decreasing
+ the interstaff spacing will increase the space between systems,
+ and vice-versa.
+
+ \item[b)] Spacing of systems on a page: \text{} \\
+ {\MusiXTeX} normally draws a virtual box around each system and
+ inserts equal vertical space between these boxes. When objects
+ protrude above the top staff in a system -- such as the note
+ \texttt{c46} in the violin clef -- or below the bottom one, this
+ can lead to unequal spacing between the bottom staff line of one
+ system and the top staff line of the next. You may prefer that
+ this vertical spacing be constant for the whole page:
+ \begin{itemize}
+ \item \texttt{Ae} ensures that the spacing between the bottom
+ staff line of one system and the top staff line of the
+ next is constant for any one page\,%
+ \footnote{It is generally advised to use the \texttt{Ae}
+ option by default, unless one has a specific
+ reason not to. When using this option, you may
+ Nevertheless, in certain cases you may want to
+ force more vertical space between certain systems.
+ There is a {\TeX} macro, called
+ _{\bs\texttt{spread}$[x]$}
+ \bs\texttt{spread}$[x]$, that can be inserted
+ anywhere in the system before the desired wider
+ gap. Its argument $x$ is the desired extra space,
+ in units of \bs\texttt{internote}
+ (cf.~Section~\ref{sec:inlineTeX}).
+ _{layout!\bs\texttt{spread}$[x]$}
+ _{\MusiXTeX!\bs\texttt{spread}$[x]$}
+ }.
+ \end{itemize}
+
+ \item[c)] Sparsely filled pages: \text{} \\
+ Sometimes it may happen that a page contains just a few staves
+ altogether, and then the white space between staves on such a
+ page becomes excessive. In such cases -- specifically, if
+ \verb#\interstaff# $>$ \verb#20\internote# -- {\PMX} will, instead
+ of the equal spacing described above, group all systems near the
+ top of the page. This can, however, be changed by the user:
+ \begin{itemize}
+ \item \texttt{Av} will suppress the grouping near the top,
+ and ensure that systems will always be spread vertically
+ regardless of how much white space is left between systems.
+ \end{itemize}
+ Note that \texttt{Av} acts as a toggle; the second time it is
+ issued, the behavior will revert to the default.
+ \item[d)] Vertical position of rests in 2-voice staves:
+ \begin{itemize}
+ \item \texttt{AK} activates special rules for vertical positioning
+ of rests in two-voice staves.
+
+ This general option is rather subtle; its explanation by Don
+ Simons follows:
+ \begin{quote}
+ ``Without this option, rests in two-voice staves have
+ default positions based on a simple rule that is not
+ context-sensitive: those in the lower voice (the one
+ before //\,) are 4 \verb#\internote# heights below their
+ single-voice default positions, and those in the upper
+ voice are 2 \verb#\internote# heights above the
+ single-voice default.
+
+ ``The \texttt{AK} option invokes a set of context-sensitive
+ _{rest!alignment in 2-voice staves}
+ rules to set the default position. The baseline rule is
+ to align the rest in a horizontal line with the next
+ following note in the same bar. If there is no following
+ note in the bar, then the rest is aligned with the last
+ note before the rest.
+
+ \medskip
+ ``If there are simultaneous rests in both voices, the old
+ rule is applied.
+
+ \medskip
+ ``The \texttt{AK} option is a toggle: it may be used at the
+ start of any input block to turn these special rules on
+ (if previously off) or off (if previously on).
+
+ \medskip
+ ``When the \texttt{AK} option is on, it only affects
+ places where there are two voices in a staff.
+
+ \medskip
+ ``Any user-defined tweaks on the height of a rest will
+ supersede the option for that particular rest, i.e.\ the
+ tweak will be applied relative to the single-voice
+ default position.''
+ \end{quote}
+
+ Sometimes you may want the rest to be aligned with the
+ \emph{previous} note (the one \emph{to the left} of the
+ rest), rather than the following note (the one to the right
+ of the rest).
+
+ This can be achieved simply by appending an \texttt{L} (for
+ `\textbf{L}eft') to the rest symbol, i.e.\ by writing
+ `\texttt{rL}' .
+ \end{itemize}
+\end{enumerate}
+
+\subsubsection{PostScript type K slurs, ties and hairpins}
+ \label{sec:usepsslurs}
+_{PostScript!slurs, ties and hairpins}
+
+The use of PostScript slurs, ties and hairpins circumvents most of the
+shortcomings of the font-based counterparts. Of the two available
+packages, only the type K slurs are explicitly supported by {\PMX}.
+There is an option, \texttt{Ap}, to enable the use of this package.
+
+\begin{itemize}
+ \item \texttt{Ap} activate Type K PostScript slurs, ties and hairpins.
+
+ \texttt{Ap} may also be entered at the beginning of any input block
+ to activate certain suboptions controlling shapes and positions of
+ the slurs and ties that are to be used. The first few of these
+ options affect vertical positioning. When Type K PostScript slurs
+ are activated with \texttt{Ap}~, slurs and ties will by default
+ \emph{not} have their verticAl positions tweaked to avoid
+ tangencies with staff lines.
+
+ To control this type of adjustment, use one of the following
+ suboptions to \texttt{Ap}~:
+\begin{enumerate}
+ \item
+ \begin{itemize}
+ \item \texttt{+s} activates automatic slur height adjustment,
+ \item \texttt{+t} activates automatic tie height adjustment,
+ \item \texttt{-s}/\texttt{-t} deactivate the corresponding
+ height adjustment.
+ \end{itemize}
+
+ \item
+ A second suboption, \texttt{+c}/\texttt{-c}, will increase or
+ decrease the default curvature of the Type K slurs. The result of
+ such commands is cumulative, and more than one suboption
+ \texttt{+c} or \texttt{-c} may be used in a single command. If
+ the cumulative change goes above \texttt{HH} or below
+ \texttt{f}, a warning will be issued, the default will be set to
+ \texttt{HH} or \texttt{f}, and processing will continue.
+
+ Local curvature options in individual slur commands (cf.\
+ Sec.~\ref{sec:usepsslurs}) will take precedence over the global
+ default, but will \emph{not change the default}.
+ \begin{quote}
+ A special local option, \texttt{n} (`\textbf{n}ormal'), is of the
+ `undo' type: it will cause that par\-ti\-cu\-lar slur, no matter
+ what the global default happens to be, to have the normal
+ curvature, i.e.\ between \texttt{f} and \texttt{h}.
+ \end{quote}
+ \item
+ A third suboption, \texttt{l}, changes the appearance of slurs
+ and ties that extend across line breaks:
+ \begin{itemize} _{slurs!across line break}
+ \item Every slur/tie at a line break is automagically broken into
+ two separate ones; no additional {\PMX} slur start or ending
+ commands are required. Vertical and horizontal tweaks for
+ the end of the first segment and Start of the second segment
+ are entered as options in the normal command that starts the
+ slur/tie:
+ \begin{enumerate}
+ \item the option for the end of segment 1 starts with
+ \texttt{s} (for \textbf{s}ever or \textbf{s}plit),
+ then the usual one or two signed numbers, then a
+ second \texttt{s} and one or two more signed numbers
+ for the start of segment 2,
+ \item the usual curvature options \texttt{h, H, HH , f},
+ if included in the starting command for a line-break
+ slur, will apply to segment 1, and to segment 2 if
+ in the closing command. If the slur/tie does not
+ come at a line break, the special position tweaks
+ (those after the \texttt{s} option) will all be
+ ignored, and the curvature tweaks on the closing
+ note take precedence.
+ \end{enumerate}
+\end{itemize}
+\end{enumerate}
+
+ _{global options|see{\PMX!options!global}}
+ _{general options|see{\PMX!options!general}}
+ The \texttt{l} option can also be invoked globally
+ (i.e.\ for the entire score) by specifying \texttt{Apl},
+ instead of only \texttt{Ap}, in the header
+ (recommended).
+\end{itemize}
+
+The third suboption concerns only line-break ties (it does not
+affect slurs):
+\begin{itemize}
+ \item \texttt{+h}/\texttt{-h} activates/deactivates the use
+ of special \textbf{h}alf-ties for the second segment of
+ line-break ties after the line break. These are
+ horizontal at their left end, and are only used if the
+ required segment is shorter than 15 pt.
+\end{itemize}
+Note that this option is somewhat incompatible with the
+\texttt{l} option, and they should not be used simultaneously.
+
+
+
+\subsection{Page Size} \label{sec:pagesize} \label{p:pagesize}
+ _{page!size} _{h symbol@\texttt{h} symbol}
+ _{W symbol@\texttt{W} symbol}
+The default page size\,%
+\footnote{This means the \emph{extent of the print} on the page. The
+ -- empty -- top, bottom, left and right margins depend on the
+ paper/printer used; they can not be altered within {\PMX}.
+ }
+is 740\,pt $\times$ 524\,pt (10.3\," $\times$ 7.3\,", or 261\,mm
+$\times$ 185\,mm). To change the height or width, use the special
+symbols \texttt{h}[\emph{n}][\emph{u}] or \texttt{w}[\emph{n}][\emph{u}]
+in the header. Here \emph{n} is a decimal number for the new size, and
+\emph{u} defines the units: \texttt{i} for inches. \texttt{m} for
+millimeters, and \texttt{p} for points. if no unit name \emph{u} is
+given, \PMX} uses points as the default.
+
+This command can be used together with \texttt{\%\%} or \texttt{\%!}
+(see Section~\ref{sec:scor2prt}) to give the parts made by
+\textbf{scor2prt} different page sizes than the parent score.
+
+\medskip
+\Note{This usage of the \textbf{h} symbol is not to be confused with
+ that for a line of text above a system (see
+ Section~\ref{sec:titles})! Although both can occur together in the
+ header, they are in fact, different {\PMX} symbols, distinguished
+ by their differing syntax.
+ }
+
+\subsection{Stem direction of bass notes} \label{sec:stemdirs}
+ _{stems!direction of bass notes} _{B symbol@\texttt{B} symbol}
+By default {\PMX} makes stems go \emph{up} for middle-line D's in bass
+clef, but \emph{down} for notes on the middle line of all other clefs.
+If you want middle-line bass-clef notes also to have downward stems by
+default, enter the symbol \texttt{B} in the header.
+
+\subsection{Horizontal Spacing} \label{sec:spacing}
+ _{spacing!horizontal}
+
+\subsection*{Minimum Spacing between Notes}
+
+_{W symbol@\texttt{W} symbol} _{spacing!minimum between notes}
+{\PMX} does some special, complex analysis to adjust horizontal spacing
+in crowded systems. By default, the minimum space between consecutive
+noteheads is 0.3 notehead widths. If you want to change this value to
+some other fraction, enter \texttt{W.}$[n]$, where $n$ is a single digit
+between \texttt{1} and \texttt{9}, giving the minimum spacing, in tenths
+of a notehead width. This adjustment is very rarely used.
+
+\subsubsection*{Extra Horizontal Shifts and hardspace}
+ _{spacing!hard space} _{hard space|see{spacing}}
+
+{\PMX} will usually provide satisfactory horizontal spacing. However,
+there may be some occasions where you will want to adjust it manually. A
+symbol starting with {\tt X} controls one of two available types of
+horizontal adjustment:
+\begin{enumerate}
+ \item a \emph{shift} moves one or more characters in the current voice
+ but does not affect any other spacing anywhere,
+ \item a \emph{hardspace}, by contrast, is a fixed amount of space
+ inserted at a particular time. The horizontal positions of
+ everything in all staves in the system will be adjusted to
+ accommodate the added space while maintaining vertical
+ alignment.
+\end{enumerate}
+Here are the syntactic possibilities:
+\begin{itemize} _{X symbol}
+ \item \texttt{XS}$[x]$ (for \textbf{S}hift). This command shifts the
+ the next character; $x$ is a decimal number, giving the amount
+ of shift, in units of a notehead width.
+ \item \texttt{X:[}$x$\texttt{]} or \texttt{X[}$x$\texttt{]:}
+ initiates a ``group shift'', which operates like
+ \texttt{XS[}$x$\texttt{]}, except that everything from the
+ insertion point onward in the current voice is shifted until a
+ termination symbol (``shift end'') is encountered.
+ \item \texttt{X:} ends a ``group shift''.
+ \item \texttt{X}$[x]$ (without any \texttt{S} or \texttt{:}) is a
+ so-called \emph{hard space}. It inserts the specified space,
+ given in units of notehead widths, at the present point in
+ \emph{all staves} of the system. If $x$ is negative, space will
+ be removed.
+\end{itemize}
+
+_{X symbol!with \textbf{scor2prt}}
+Because horizontal spacing in parts will usually differ from that in the
+score, \textbf{scor2prt} (cf.~Section~\ref{sec:scor2prt}) will by default
+copy \emph{only} the shift commands \texttt{XS}$[x]$, \texttt{X:}$[x]$
+and \texttt{X:} into the parts, but \emph{not} the hardspace command
+\texttt{X}$[x]$ .
+
+
+\medskip
+This behavior can be overridden using the methods described in
+section~\ref{sec:scor2prt}. There is, however, an alternative method that
+helps to keep {\PMX} score files neat and readable: add the suboption
+\texttt{B} or \texttt{P} (without space, as usual) to the \texttt{X}
+symbol:
+\begin{itemize}
+ \item \texttt{B} (for \textbf{B}oth): with this option, the spacing
+ symbol is to be applied to \textbf{b}oth score and part,
+ \item \texttt{P} (for \textbf{P}art): with this option, the spacing
+ symbol is to be applied to the \textbf{p}arts only.
+\end{itemize}
+
+\section{Macros} \label{sec:macros} _{\PMX!macros} _{M symbol@\texttt{M} symbol}
+
+A {\PMX} macro is a single symbol that stands literally for any
+any string of characters that may occur in the input file\,%
+\footnote{Note to seasoned programmers: {\PMX} macros are not really
+ macros in the usual sense, but merely string abbreviations;
+ they \emph{do not allow} for variables.
+ _{\PMX!macros!no variables}
+ }.
+Macros may be useful to save tedious typing and disk space, and make
+{\PMX} source text more readable if you need to repeat the same string
+many times in a score.
+
+\medskip
+You may define up to 20 macros in any single {\PMX} input file. There is
+no practical limit to the length of the character string that a
+macro represents, but of course it must respect the {\PMX} rules on the
+length of input lines and what must go on separate lines.
+
+\medskip
+Macros only exist within the {\PMX} input file where they are defined;
+you can define a completely new set of macros in another {\PMX} input
+file. Conversely, if you want to re-use the macros of file
+\texttt{myopus1.pmx} in \texttt{myopus2.pmx}, you need to copy them
+explicitly from one file to the other.
+
+\medskip
+There are two distinct ways to define and record a new macro or
+redefine an existing one:
+
+\begin{enumerate}
+ \item to \textbf{R}\emph{ecord} a \textbf{M}acro: type
+ \texttt{MR}$[n]$, followed by a space, as usual. $n$, the
+ ``name'' of the macro, is an integer between 1 and 20.
+ Everything you type after this will be processed normally, at
+ that point in the input file, as well as stored, until you end
+ the macro by entering the symbol \texttt{M},
+ \item to \textbf{S}\emph{ave} a \textbf{M}acro: type
+ \texttt{MS}$[n]$. Everything you type after this will be
+ recorded (saved) as you enter it, \emph{without processing}
+ the {\PMX} code. When saving macros, it is usually best to put
+ them in the header, for readability's sake.
+\end{enumerate}
+
+Whenever you would otherwise need to re-enter the same character string,
+you can simply \texttt{P}lay back the macro by typing \texttt{MP}$[n]$~.
+
+\medskip
+Macros can be redefined at will; {\PMX} will issue a warning whenever
+this occurs.
+
+\bigskip _{\textbf{scor2prt}!macros} When you use
+macros and want to make separate parts
+(cf.~Section~\ref{sec:scor2prt}), some care is necessary:
+\textbf{scor2prt} will transfer a \texttt{MR} macro only into the part
+where it originated, but will transfer \texttt{MS} macros into all
+parts.
+
+\medskip
+So if you want to make macro 1, which you will use in several or all
+parts and then use it immediately in the part in which you write it,
+dont use simply \verb#MR1#, but rather
+\begin {verbatim}
+ MS1
+ MP1
+\end{verbatim}
+
+\bigskip
+Fig.~\ref{fig:macro} contains an example of the use of macros.
+
+\bigskip
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/macro.eps} \\[2ex]
+------------------------------------------
+
+\begin{minipage}{300pt}
+\small
+\begin{verbatim}
+% macro 2 saved:
+MS2 e4 f g2 o_ | M
+% Bar 1 (macro 1 recorded and processed):
+Rl MR1 c45 d e c | M
+% Bar 2 (macro 1 played):
+MP1
+% Bar 3 (macro 2 played):
+MP2
+% macro 4 saved:
+MS4 c4 g c2 o_ M
+% Bar 4 (macro 2 played):
+MP2
+% Bar 5 (macro 3 recorded and processed):
+MR3 g85 a g f e4 c | M
+% Bar 6 (macro 3 played):
+MP3
+% Bar 7 (macro 4 played):
+MP4 |
+% Bar 8 (macro 4 played):
+MP4 Rr /
+%
+\end{verbatim}
+
+\vspace*{2ex}
+\end{minipage}
+ \end{center}
+ \caption{``\emph{Frre Jacques}'' (usage of macros)}
+ \label{fig:macro}
+\end{figure}
+
+\section{Inline {\TeX} commands} \label{sec:inlineTeX}
+ _{inline \TeX}
+
+It may be worthwhile to reiterate at this point the very different
+intentions of the software ingredients which make up the {\PMX} tool. It
+is, in fact, a hierarchy:
+\begin{enumerate}
+ \item _{\TeX} _{Knuth, Donald E.}
+ At the base of it all is {\TeX}. {\TeX} (written by Donald
+ E.\ Knuth) is a general and extremely powerful tool for
+ typesetting high-quality documents on a computer that are ready
+ for printing\,%
+ \footnote{``Its emphasis is on art and technology, as in the
+ underlying Greek word.'' (quote from the introduction
+ of \emph{the {\TeX}book}, the authoritative book on
+ {\TeX}, by Donald E.\ Knuth. _{Knuth, Donald E.}
+ }.
+ But {\TeX} is much more than that: it is a full-grown and
+ powerful computer programming language with which -- if you are
+ a {\TeX}pert -- you can do almost anything.
+
+ \medskip
+ There is, however, a price to pay for this power: while you
+ don't have to be a professional computer programmer to use
+ {\TeX}, a pretty good familiarity with the basics of
+ programming is unavoidable.
+ \item _{\MusiXTeX} _{Taupin, Daniel}
+ {\MusiXTeX} (written essentially by Daniel Taupin) is a
+ `macro' for {\TeX}\,%
+ \footnote{To be precise, {\MusiXTeX} consists of a very
+ extensive set of {\TeX} `macros' and music
+ typesetting fonts.
+ }.
+ That alleviates most of the {\TeX} programming tasks for the
+ special purpose of typesetting music. Thus, while it helps to
+ have a programming background, such a background is not
+ absolutely essentially for someone who just wants to write a
+ few simple music scores.
+ \item _{\PMX} _{Simons, Don}
+ {\PMX}, the `preprocessor' for {\MusiXTeX} written by Don
+ Simons and described in detail in this tutorial, is yet another
+ level of abstraction on the long way from the musical ideas
+ that make up a score to getting ink on the paper at certain
+ points. The whole purpose of {\PMX} is to make typesetting of
+ music with {\MusiXTeX}/{\TeX} accessible to people with
+ essentially \emph{no} prowess in computer programming.
+\end{enumerate}
+As a consequence of this hierarchy, {\PMX} is vastly simpler to use than
+{\MusiXTeX}, which in turn is simpler than straight {\TeX}. But the
+converse of this is also true: there are elements in {\MusiXTeX} that
+are not directly accessible with the {\PMX} language, just as you cannot
+unleash the full power of {\TeX} with {\MusiXTeX} alone.
+So to allow the user full access to `lower-level' {\MusiXTeX} or {\TeX} --
+while maintaining its higher-level notational simplicity -- {\PMX}
+supports the inclusion of {\TeX} commands either directly in the
+{\PMX} input file or via an external file.
+
+\subsection{Including {\TeX} Commands in the \texttt{.pmx} source file}
+ _{inline \TeX!in \texttt{.pmx} source}
+The normal way for a {\PMX} user to insert user-defined {\TeX} code is
+to enter it directly in the \texttt{.pmx} input file; this is what is
+referred to as ``\,inline {\TeX}\,'' in this tutorial. There are four ways
+to do that; these differ mainly in where the {\TeX} code will appear in
+the {\PMX} output \texttt{.tex} file. The first 3 of these have \bs\ ,
+\bs\bs\ or \bs\bs\bs\ (1, 2 or 3 backslashes) as a starting symbol, then
+comes a sequence of {\TeX} commands, then another \bs\ (backslash) as a
+terminating symbol, followed by the usual space\,%
+\footnote{This means that type 1, 2, and 3 {\TeX} strings may \emph{not}
+ contain the \TeX\ macro `\bs\,\,\,' \,(backslash-space). If
+ you really need that, replace it by \bs\texttt{relax }.
+ }.
+All three of these must be contained fully in \emph{one line of input},
+limited by default to 128 characters (cf.~Section~\ref{sec:limits}); but
+this one line can contain any number of concatenated {\TeX} commands.
+
+\medskip
+The above description needs clarification on a subtle point: the
+starting symbols \bs\ , \bs\bs\ or \bs\bs\bs\ \, are \emph{not} really
+{\PMX} symbols in the sense used throughout this tutorial, in that there
+would be `white space' after them, but the {\TeX} command(s) follow them
+\emph{without a blank}. This has to do with the fact that all {\TeX}
+commands -- called `control sequences' -- start out with a \bs\ . And
+thus the last of the starting backslashes (the only one for type 1,
+the second one for type 2, the third one for type 3) counts as the
+{\TeX} control character of the following {\TeX} command. For example,
+if you wanted to define a new {\TeX} command \verb#\Myspace# as a type 1
+inline command, you would write
+\begin{center} \verb#\def\Myspace\hskip{10mm}\ # \end{center}
+whereas if it is to be a type 3 inline command, it would read
+\begin{center} \verb#\\\def\Myspace\hskip{10mm}\ # \end{center}
+in other words: the starting symbol itself also provides the first \bs\
+of the {\TeX} command (control sequence).
+
+This convention can also be seen clearly in the examples given below.
+
+\bigskip
+Here are the characteristics of the first three types:
+\begin{description} _{inline \TeX!Type 1/2/3/4}
+ \item[Type 1 ( \bs\ \dots \bs\ ) : ]
+ a Type 1 string usually serves to define or execute a command
+ that is only needed locally for the current line of music, right
+ after the place where it is entered in the \texttt{.pmx} file.
+ {\PMX} inserts it in the resulting \texttt{.tex} file right
+ before the {\MusiXTeX} command for the next note or rest.
+ Multiple type 1 strings associated with the same note or rest
+ are allowed, although the total length may not exceed 128
+ characters. So there is generally no reason not to combine all
+ {\TeX} commands for a single note into a single type 1 string.
+
+ \Note{If an inline {\TeX} string contains a new {\TeX}
+ definition, this definition is in general \emph{not}
+ local; depending on circumstances, it can remain valid
+ throughout the score and for \emph{all instruments} unless
+ redefined somewhere\,! This is true for all types of
+ inline {\TeX}, Type 3 in particular. So be careful!
+ }
+ \item[Type 2 ( \bs\bs\ \dots \bs\ ) : ] a Type 2 string usually serves
+ to define or execute a command that is needed throughout the
+ entire score. It will appear near the top of the \texttt{.tex}
+ file, right before the \bs\texttt{startmuflex}, regardless of
+ where it appears in the \texttt{.pmx} file.
+ \item[Type 3 ( \bs\bs\bs\ \dots \bs\ ) : ] Type 3 strings will appear
+ in the \texttt{.tex} file right before the \bs\texttt{xbar} or
+ \bs\texttt{alaligne} of the current input block, i.e.\ before
+ its first bar line. Thus a Type 3 string is typically used when
+ you want to redefine a previously defined {\TeX} command, to be
+ valid from a certain point on, but not before.
+ \item[Type 4 : ] \label{sec:inlinetypefour}
+ The fourth way of inserting inline {\TeX} in a \texttt{.pmx}
+ file is different from the first three in several ways:
+ \begin{itemize}
+ \item it is started by the character sequence \verb#---#
+ (triple dashes), on a line by itself, as the very first
+ line of the \texttt{.pmx} file,
+ \item it is terminated by the next appearance of the same
+ character sequence, \verb#---# (triple dashes), on a
+ separate line,
+ \item it can contain any number of lines with {\TeX} code,
+ although every single of these lines is again
+ restricted to a total of 128 characters,
+ \item the lines of {\TeX} code between the opening and
+ terminating triple dashes will be copied
+ \emph{literally} to the very top of the \texttt{.tex}
+ file.
+ \end{itemize}
+ So Type 4 can also be (ab)used to copy comment lines
+ literally from the \texttt{.pmx} file to the \texttt{.tex} file.
+ This is convenient for documentation purposes.
+\end{description}
+
+\medskip _{inline \TeX!handled by \textbf{scor2prt}}
+Another difference of practical importance is the way in which
+\textbf{scor2prt} handles these type of inline {\TeX} when making
+separate parts (cf.~Section~\ref{sec:scor2prt}): types 2-4 will be
+copied into all parts, while type 1 only goes into the part in which it
+appears in the original \texttt{.pmx} file.
+
+\bigskip\bigskip
+To understand better the differences between these 4 types on inline
+{\TeX}, it may be useful to study the basic structure of the {\TeX} file
+\texttt{inlinesample.tex}, given in Table~\ref{tab:inlinesample.tex},
+produced from the {\PMX} input file \texttt{inlinesample.pmx}, given in
+Fig.~\ref{fig:inlinesample.pmx}. In doing so, you may want to look at
+the box on p.~\pageref{p:inlinesample.txt}.
+
+\begin{figure}[!ht]
+ \begin{center}
+ _{\MusiXTeX!\bs\texttt{PED}} _{\MusiXTeX!\bs\texttt{DEP}}
+ \includegraphics[scale=.82]{eps/inlinesample.eps} \\[2ex]
+ ------------------------------------------
+ \begin{minipage}{380pt}
+ \small
+ \begin{verbatim}
+% beginning of inlinesample.pmx
+---
+% This sample demonstrates the use of all 4 types of inline TeX
+---
+% PREAMBLE:
+%
+1 1
+1 2 0 0
+0 0
+1 2 16 .0
+%
+
+t
+./
+% BODY:
+% HEADER:
+w80m
+\\nobarnumbers\
+% begin of music input:
+g24 | /
+\\\systemnumbers\
+\zcharnote{-2}{\PED}\ a D"\DEP"+3+15 | /
+\\\barnumbers\ c Rb /
+% end of inlinesample.pmx
+ \end{verbatim}
+ \end{minipage} \\[2ex]
+ \end{center}
+ \caption{A sample for the use of inline {\TeX} }
+ \label{fig:inlinesample.pmx}
+\end{figure}
+
+\clearpage
+\begin{table}[!ht]
+ \begin{center}
+ \begin{minipage}{400pt}
+ \small
+ \begin{verbatim}
+ %%%%%%%%%%%%%%%%%
+ %
+ % inlinesample.tex
+ %
+ %%%%%%%%%%%%%%%%
+ 6 % This sample demonstrates the use of all 4 types of inline TeX
+ 7 \input musixtex
+ 8 \input pmx
+ 9 \input musixmad
+ \smallmusicsize%
+ \nopagenumbers
+ \tracingstats=2\relax
+ \hsize=227pt
+ \vsize740pt
+ \def\nbinstruments{1}
+ \setstaffs11
+ \setclef10
+ \setname1{ }
+ \generalsignature{ 0}%
+ \parindent 0pt
+ \elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
+ \stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
+23 \nostartrule
+24 \readmod{inlinesample}
+25 \nobarnumbers%
+ \startmuflex\startpiece\addspace\afterruleskip%
+ % BODY:
+ % begin of music input:
+ \znotes\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
+ % Bar count 1
+31 \pnotes{4.00}\hu g\en%
+32 \systemnumbers%
+ % Bar count 2
+34 \alaligne
+35 \pnotes{4.00}\zcharnote{-2}{\PED}\txtdyn{-2}{15.0}{\normtype\it \DEP}%
+ \hu{'a}\en%
+37 \barnumbers%
+ % Bar count 3
+39 \xbar
+ \pnotes{4.00}\hl{'c}\en%
+ \endpiece
+ \vfill\eject\endmuflex
+ \bye
+ \end{verbatim}
+ \end{minipage}
+ \end{center}
+ \caption{\texttt{inlinesample.tex}, as produced from
+ \texttt{inlinesample.pmx}
+ }
+ \label{tab:inlinesample.tex}
+\end{table}
+
+\clearpage
+% _{inline \TeX!in external file}
+\begin{table}[!ht]
+\begin{center} _{inline \TeX!placement in \texttt{.tex} file}
+\fbox{
+\begin{minipage}{350pt}
+Here is a short survey of what happens in the file
+\texttt{inlinesample.tex} (cf.~Table~\ref{tab:inlinesample.tex}),
+produced from \texttt{inlinesample.pmx}
+(cf.~Fig.~\ref{fig:inlinesample.pmx}):
+
+\begin{itemize}
+ \item first, after the file name comment, which is inserted
+ automatically by _{\textbf{pmxab}} \textbf{pmxab}, the Type 4
+ string (the comment line on the top of the \texttt{.pmx} file)
+ is inserted [line 6],
+ \item then the files \texttt{musixtex.tex, pmx.tex} and
+ \texttt{musicmad.tex} are always read in [lines [7,8,9]. This
+ means that the \texttt{.tex} that {\PMX} produces has
+ \emph{access to all the {\TeX} macros} defined in these files,
+ and therefore you can use all of these in your inline {\TeX}
+ commands,
+ \item next, up to and including \bs\texttt{nostartrule} [line 23],
+ there are a lot of settings, the details of which need not
+ concern us here,
+
+ \medskip
+ The following {\TeX} macro [line 24],
+ \bs\texttt{readmod{sample}} , tells {\TeX} to read in the file
+ \texttt{inlinesample.mod} (if it exists). The file
+ \texttt{inlinesample.mod} may contain any valid {\TeX} code of
+ your choosing (cf.~Section~\ref{sec:external} for details on
+ this),
+ \item next [line 25] is the Type 2 string
+ ``\bs\bs\texttt{nobarnumbers}\bs''. Type 2 strings are
+ \emph{always} inserted at this point of the \texttt{.tex} file,
+ \item \bs\texttt{startmuflex} [line 26] -- never mind what exactly it
+ does -- is the actual beginning of the musical code,
+ \item several lines down [line 31] there is an item
+ \bs\texttt{hu g} : this is the half-note $g$ of the first
+ bar,
+ \item [line 32] contains the Type 3 string
+ ``\bs\texttt{systemnumbers}\bs''. This changes the bar
+ numbering scheme to the {\PMX} default
+ (cf.~Section~\ref{sec:barnumbers}). {\PMX} inserted this Type
+ 3 string right before the next \bs\texttt{alaligne} [line 34],
+ \item [line 35] contains the Type 1 string
+ ``\bs\texttt{zcharnote{-2}}\bs\texttt{PED}\bs'', which prints
+ the {\MusiXTeX} pedal\,%
+ \footnote{The `end of pedal' symbol \bs\texttt{DEP} is coded
+ here in an alternative (perhaps simpler) way by using
+ a {\PMX} dynamics textual symbol
+ (cf.~Section~\ref{sec:dynamics}).
+ _{dynamic marks!textual}
+ },
+ \item [line 37] contains another Type 3 string
+ ``\bs\texttt{barnumbers}\bs'', before the code for bar 3 ,
+ inserted right before \bs\texttt{xbar} in line 39 (coding the
+ bar line). This changes the bar numbering scheme once again.
+\end{itemize}
+\end{minipage}
+ }
+\end{center} \label{p:inlinesample.txt}
+\end{table}
+
+\bigskip
+\subsection{Denoting pitch in inline {\TeX} }
+_{inline \TeX!pitch given as a number}
+_{pitch!in inline \TeX!}
+
+When using inline {\TeX}, you should be aware of a subtle aspect, which
+can be a hazard:
+
+\smallskip
+In {\MusiXTeX}, you can always refer to a pitch with a number, rather
+than a letter, and that number denotes exactly the position on whatever
+staff you are using, counting from the bottom line as $0$ .
+
+When you use this for a pitch, it will not be transposable, nor will it
+respect (or indeed affect!) the memory \PMX\ keeps on the pitch: remember
+that {\PMX} doesn't interpret any inline {\TeX} .
+
+You should keep this in mind when designating a pitch within an inline
+{\TeX} command.
+
+\bigskip\noindent
+We close this section with two practical examples and a final remark:
+\begin{itemize}
+ \item _{\textbf{musixpss}}
+ As was stated in Section~\ref{p:useMslurs}, when using Type
+ M slurs you need to insert the line
+ \begin{center}
+ \bs\bs\texttt{input~musixpss{\bs}relax}\bs\
+ \end{center}
+ into the header of the \texttt{.pmx} file. This tells {\PMX} to
+ read in the file \texttt{musixpss.tex}, which contains the
+ macros for Type M slurs.
+
+ \medskip
+ This is the case of a type 2 inline {\TeX} string, and thus
+ the input command is added to the \texttt{.tex} file right
+ before \bs\texttt{startmuflex} (which is where it belongs).
+ \item _{clefs!exotic} _{clefs!octave clefs} _{clefs!symbols}
+ _{clefs!empty} _{octaviation!of clefs}
+ Sometimes one needs clefs other than those defined in {\PMX}
+ (cf.~Section~\ref{sec:numinput}). Some special clef symbols
+ (among them no clef at all) are defined in {\MusiXTeX} and can
+ be invoked by the command \bs\texttt{setclefsymbol} (cf.~the
+ {\MusiXTeX} manual, Sec.~2.21.2). The most common of these are
+ octave treble and octave bass clefs, in which a small $8$ is
+ attached to either the top or the bottom of the clef symbol. To
+ get a higher octave treble key for instrument number $2$, for
+ example\,%
+ \footnote{Matters are more complicated for instruments with
+ more than 1 staff, such as piano or organ, because
+ the number in the command refers to the number of the
+ \emph{instrument}, not the staff. Cf.~the
+ {\MusiXTeX} manual, Sec.~2.27.10 for details.
+ },
+ just add the following type 2 inline {\MusiXTeX} command
+ \begin{center}
+ \bs\bs\texttt{setclefsymbol}\{\texttt{2}\}
+ \qquad \bs\texttt{trebleoct}\bs \qquad.
+ \end{center}
+ The other 3 octave clef symbols are \bs\texttt{treblelowoct},
+ \bs\texttt{bassoct},\bs\texttt{basslowoct}, for lower octave
+ treble, higher octave bass and lower octave bass clefs, resp.
+
+\end{itemize}
+More examples can be seen in Section~\ref{sec:tricks} and in some of the
+scores of the appendix.
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%%%%%%%% Temp %%%%%%%%%%%%%%%%%%%%%%% Fri 2010 Dec 17 /15:6 /ccn
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\subsection{Putting {\TeX} Commands in an external file}
+ \label{sec:external} _{inline \TeX!in external file}
+
+_{directory}
+{\PMX} provides one further option for entering an unlimited set of
+{\TeX} commands, read into the {.tex} file by \verb#\readmod# just
+before the \bs\texttt{startmuflex} line. command, and before any Type 2
+inline {\TeX} strings. Simply put the commands into a text file named
+[\emph{filename}]\texttt{.mod} in the current directory\,%
+\footnote{This feature is retained mainly for backward compatibility
+ with previous versions of {\PMX}; it has now been essentially
+ replaced by the 4 options for inline {\TeX} strings described
+ above.
+ }.
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% PMX tutorial by ccn / chapter C starts here:
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\chapter{Special Features} \label{sec:specials}
+
+\section{Making Parts from a Score}
+ \label{sec:scor2prt} \label{p:scor2prt} _{\textbf{scor2prt}}
+
+Separate parts can be made from a score with the tool \textbf{scor2prt}
+(included in the standard {\PMX} distribution). Suppose you want to
+produce the parts to the ``Mauerische Trauermusik''
+(Fig.~\ref{fig:mtrauermus}), and the \texttt{.pmx} file of that score is
+called \verb#mtrauermus.pmx#. All you to need to do is to run
+\begin{center}\begin{verbatim}
+ scor2prt mtrauermus
+\end{verbatim}\end{center}
+from the command line (if you omit the file name, you will be prompted
+for one). The program will then create the following \texttt{.pmx}
+files, one for each instrument\,%
+\footnote{As is explained in Section~\ref{sec:mtrauer}, this particular
+ {\PMX} source has defined both the oboes and the violins as
+ one two-staves instrument each, so that there is a total of
+ only 8 `instruments'.
+ }:
+
+\medskip
+\hspace*{2.5em}
+\begin{minipage}{20em} %
+ \texttt{mtrauermus1.pmx} \qquad [\,Violoncello\,] \\
+ \texttt{mtrauermus2.pmx} \qquad [\,Viola\,] \\
+ \texttt{mtrauermus3.pmx} \qquad [\,Violins\,] \\
+ \texttt{mtrauermus4.pmx} \qquad [\,French Horn II, in C\,] \\
+ \texttt{mtrauermus5.pmx} \qquad [\,French Horn I, in E $\flat$\,] \\
+ \texttt{mtrauermus6.pmx} \qquad [\,Basset Horn I, in F\,] \\
+ \texttt{mtrauermus7.pmx} \qquad [\,Clarinet in F\,] \\
+ \texttt{mtrauermus8.pmx} \qquad [\,Oboes\,]
+\end{minipage}
+
+\medskip
+To obtain the parts, you then need to run each of these files through
+{\PMX}, in the usual way.
+
+As can be seen in the example, the parts files will be named
+[\emph{yourscorename}][\emph{n}]\texttt{.pmx}, where [\emph{n}] is the
+number of the instrument, by default; but the names of the files
+created by \textbf{scor2prt} can be changed from within the {\PMX} file
+for the whole score, the ``parent file''. For example, to cause the
+file for instrument 3 to be named \texttt{mviolins.pmx}, include the
+command \texttt{AN3"mviolins"} in the header of the parent file
+(cf.~Table~\ref{tab:A}).
+
+\bigskip
+In the remainder of this section we describe how to control the layout
+of the parts separately from that of the score by using commands that
+are placed in the parent file. This eliminates the need for editing the
+\texttt{.pmx} files for the parts separately. You can accomplish all
+the editing in the parent file, and then re-run \textbf{scor2prt} as
+required. Thus both the score and the parts can be corrected together,
+and the parts need not be re-edited each time they are re-generated from
+the score.
+
+\subsection{Usage}
+_{\textbf{scor2prt}!usage} _{comments!usage with \textbf{scor2prt}}
+
+Since comment lines are by definition disregarded by {\TeX} and by the
+{\PMX} program itself (\textbf{pmxab}, to be exact), they can, with a
+slight extension of their syntax, be used to transfer information
+\emph{meant for the parts only}\,%
+\footnote{This is quite a useful method, employed in a similar way by
+ other programs, such as the PostScript language.
+ _{PostScript}
+ }.
+The following rules are used for this by the \verb#scor2prt# program:
+\begin{itemize}
+ \item If a line has \texttt{\%} in columns 1 and a space in column 2,
+ it is considered a regular comment and transferred as such to
+ all parts.
+ \item If a line has \texttt{\%\%} in columns 1-2, both it \emph{and
+ the following line} will be ignored when making parts. If the
+ ignored line (the second line) has \texttt{h}, \texttt{l}, or
+ \texttt{T} in its first column, then \emph{one additional line}
+ will be ignored (cf.~\ref{sec:titles} for the rationale behind
+ this rule).
+ \item If a line has \texttt{\%!} in columns 1-2, these first 2
+ characters will be stripped, and the rest of the line will be
+ put in the \texttt{.pmx} files for \emph{all} the parts.
+ \item If a line has \texttt{\%}[\emph{h}] in columns 1-2, where
+ \emph{h} is the hexadecimal digit representing the instrument
+ number (\texttt{1, 2,..., 9, a, b, c}), the first two
+ characters will be stripped and the rest of the line
+ transferred to the part for instrument \emph{h} \emph{only} .
+
+ \smallskip
+ A good example for this usage is the page break(s) in a longer
+ score, where the appropriate page numbers for the parts will be
+ different from those in the full score.
+ For example, to force a line break to system 15 and a page
+ break to page 2 in \emph{part 11 only}, enter
+ \texttt{\%bL15P2}.
+
+ _{\textbf{scor2prt}!HEX digit usage incompatible with
+ previous {\PMX} versions}
+
+ \Note{The use of the hexadecimal digits \texttt{a-c} in this
+ rule creates a potential incompatibility with previous
+ versions of {\PMX}. To minimize this, the character after
+ ``{\tt\%}" will \emph{only} be interpreted as a part
+ number if it represents a number less than or equal
+ \texttt{noinst}, as given in the parent file; otherwise
+ the entire line will be treated as an ordinary comment,
+ and transferred to all parts.
+ }
+
+ \item In addition to all entries in the header except \texttt{I}
+ options (cf.\ Sec.~\ref{sec:MIDI}, p.~\pageref{sec:MIDI}), the
+ following {\PMX} symbols \emph{with all their options} will
+ automatically be copied to \emph{all parts} (unless the
+ previous line starts with \texttt{\%\%}, of course):
+
+ \begin{center}\begin{tabular}{l@{\qquad}l} \texttt{R} & (bar
+ symbol) \\ \texttt{V} & (volta) \\ \texttt{K} & (key
+ change or transposition) \\ \texttt{A} & (global options)
+ \\ \end{tabular}\end{center} This is true for
+ \texttt{R,V,K}, in spite of the fact that they can be
+ entered in the \emph{first} voice of the score only!
+ \end{itemize}
+
+\subsection{The \texttt{S} symbol} \label{sec:Ssymbol}
+ _{S symbol@\texttt{S} symbol}
+
+\begin{itemize}
+ \item \texttt{S}[\emph{n}]:
+
+ By default the total number of systems in each part will be the
+ same as in the score. If you want to override this, you can do
+ that with \texttt{S}[\emph{n}], where \emph{n} is
+ the desired number of systems. \texttt{S}[\emph{n}], if used,
+ must appear in the header of the parent file. Legally, you
+ could use \texttt{S}[\emph{n}] to reset the number of systems
+ for the parent file itself, which you had just defined in the
+ preamble. That, of course, does not make much sense, but in
+ the form \\
+ \text{\quad}\texttt{\%!S}[\emph{n}] \\
+ or \\
+ \text{\quad}\texttt{\%}[\emph{k}]\texttt{S}[\emph{n}] \\[1ex]
+ it does, because then it does \emph{not} affect the full
+ score, \emph{but all parts}, or part k only, resp. \\
+ \texttt{barsant.pmx}, one of the examples given in Section
+ \ref{sec:donsexamples}, includes a demonstration of this.
+ \item \texttt{S}[\emph{n}]\texttt{P}[\emph{m}]:
+
+ \textbf{scor2prt} will also compute how many pages it thinks
+ each part should have, and enter that into the preamble for
+ that part. If you wish to override that, then insert into the
+ parent file \texttt{\%3S14P2} for example, which would force
+ the third part to have 14 systems and 2 pages. You cannot
+ override the number of pages without first overriding the
+ number of systems.
+
+ \item \texttt{S}[\emph{n}]\texttt{m}[\emph{k}]:
+
+ A musicsize of 20 is the default in all parts. This may be
+ overridden with the option \texttt{m} in the symbol \texttt{S}:
+ e.g., \texttt{\%2S15m16}. Again, you must specify the number of
+ systems before setting the musicsize.
+\end{itemize}
+
+\Note{Keep in mind the distinction among the various usages of
+ \texttt{P}:
+ \begin{itemize}
+ \item as an option with \texttt{S}, it sets the total number of
+ pages in a part,
+ \item as an option with \texttt{L}, it forces a page break,
+ \item as a {\PMX} command on its own, it controls page
+ numbering and centered headings.
+ \end{itemize} _{P symbol@\texttt{P} symbol}
+ }
+\subsection{Other usage rules}
+ _{\textbf{scor2prt}!usage}
+\begin{itemize}
+
+ \item Inline {\TeX} strings of Type 2-4 will be copied to all parts,
+ while a type 1 inline {\TeX} string will only go into the part
+ in which it occurs in the parent file.
+ \item _{spacing!hard space use with \textbf{scor2prt}}
+ User-defined hardspaces (\texttt{X} without \texttt{:}) are by
+ default not copied to parts. There are two ways to change this
+ default: _{X symbol}
+ \begin{enumerate}
+ \item use the options of the \texttt{X} command
+ (cf.~Section~\ref{sec:spacing}): \texttt{B} causes
+ the hardspace to be used in \textbf{b}oth score and
+ parts; \texttt{P} puts it into the \textbf{p}arts, but
+ not the score,
+ \item to insert \emph{x} notehead widths of hardspace into
+ part \emph{n}, place the symbol
+ {\tt\%}[\emph{n}]\texttt{X}[\emph{x}], on a line of
+ its own, in the parent file.
+ \end{enumerate}
+ _{page!numbering!with \textbf{scor2prt}}
+ _{\textbf{scor2prt}! page numbering}
+ \item As was already noted (cf.~Section~\ref{sec:pagenumbers}), a
+ \texttt{P} symbol for page numbering in the parent file is
+ ignored when making parts. To initiate page numbering in the
+ parts, use, for example, \texttt{\%!P} , with appropriate
+ options added, anywhere within the {\PMX} code representing the
+ first page of the parts\,%
+ \footnote{From \TeX 's standpoint the command must occur
+ between the beginning and end of the page on which
+ the numbering is to begin.
+ }.
+ It will often be useful in this case to use the option
+ \texttt{c} , which by default causes the instrument name to be
+ centered in small type at the top of every page after the
+ first.
+ \item _{MIDI!with \textbf{scor2prt}} \label{p:MIDI}
+ MIDI commands, i.e., those starting with \texttt{I}, will never
+ be copied into parts, unless they are in a special comment line
+ as just described.
+ \item _{rest!multibar rest}
+ One function of \textbf{scor2prt} is to condense consecutive
+ bars of rest into a single group of special printed characters
+ with a number above it. Thus \textbf{scor2prt} will automatically
+ insert \texttt{rm} symbols (cf.\ Sec.~\ref{sec:rests}) into the
+ \texttt{.pmx} files for the parts where appropriate. However,
+ for this feature to work, the \emph{first} full-bar rest in the
+ sequence \emph{must} have its duration explicitly defined in
+ the parent file, either with a digit or with \texttt{p}. In
+ other words, the feature will not work if the first rest in the
+ sequence inherits its duration from the previous note.
+\end{itemize}
+
+\bigskip
+\Note{In standard {\TeX} the rule for comments is: a \% character
+ \emph{and all text that follows it on the same line} is treated as
+ a comment, i.e.\ it is totally ignored by the program. As a
+ consequence of this rule, many users of {\TeX} have a habit of
+ adding comments at the end of short lines of text, instead of
+ writing a whole comment line, starting with a \% in column 1 .
+ This is fine as far as {\PMX} is concerned; but
+ _{\textbf{scor2prt}} \textbf{scor2prt} redefines this rule a bit
+ and in general \emph{will misinterpret comments added in the same
+ line after} some legal {\PMX} code. _{comments!usage with
+ \textbf{scor2prt}}
+
+ \medskip
+ \emph{So when you intend to make parts using} \textbf{scor2prt},
+ it is good practice to restrict true comments to lines with \%
+ \emph{in column} 1, \emph{followed by at least one blank}.
+ }
+
+\section{Making MIDI Files} \label{sec:MIDI}
+_{MIDI}
+
+Some users of {\PMX} and {\MusiXTeX} may never have heard of MIDI and
+may therefore be a bit bewildered by this section. So here is a quick
+introduction:
+\begin{quotation}
+ MIDI stands for ``\textbf{M}usical \textbf{I}nstruments
+ \textbf{D}igital \textbf{I}nterface''. It is essentially a standard,
+ consisting of a language and its hardware implementation, designed
+ to produce digitally coded music with a device like a synthesizer or
+ a multi-media computer. If your computer is equipped with the
+ appropriate hardware and software (which is standard on PC's these
+ days), you can listen to the music encoded in a MIDI file on your
+ computer just as you can read the text encoded in a text file\,%
+ \footnote{If you are interested in details on MIDI in general, a good
+ place to start is the home page of the ``MIDI
+ Manufacturer's Association'':
+ \href{http://www.midi.org/about-midi/aboutmidi3.shtml}%
+ {\texttt{http://www.midi.org/about-midi/aboutmidi3.shtml}%
+ }~.
+ }.
+\end{quotation}
+
+\bigskip
+This section describes how to produce such MIDI files when writing a
+piece of music with {\PMX}. When using this facility, you should be
+aware both of the general restrictions of MIDI and the special ones that
+{\PMX} imposes:
+
+\begin{itemize}
+ \item First of all, you should not expect the MIDI files that {\PMX}
+ produces to be anything that resembles a performance of the
+ piece by real, human musicians. While MIDI does make different
+ shades of sound for the different instruments, the lack of any
+ kind of expressivity (rhythmic accentuation, dynamics, vibrato,
+ intonation etc.) does not really do justice to the musical
+ character of acoustic instruments.
+
+ \medskip
+ So the MIDI file can be hardly more than an acoustic check on
+ whether the notes produced are indeed what you had intended.
+ But for that purpose it can be of great help in coding a score
+ with {\PMX}, so it is generally advisable to produce the MIDI
+ files.
+ \item _{grace notes!not in MIDI} _{ornaments!not in MIDI}
+ _{repeats!not in MIDI} _{volte!not in MIDI}
+ _{volte!not in MIDI} _{slurs!in MIDI}
+ \label{p:midi}
+ The MIDI module of {\PMX} does not recognize graces, ornaments,
+ repeats, volte, or segnos. The only ties that are recognized
+ are those using \texttt{s}, \texttt{t} or \texttt{(} \,; alone,
+ with no explicit ID number.
+ \item _{transposition!not with MIDI} _{octaviation!not with MIDI}
+ Neither can the module reproduce music in which notes sound
+ differently from what is written in the score. This pertains
+ boths to transposing wind instruments and octaviation notation
+ (cf.~Sections \ref{sec:mtrauer}, \ref{sec:clefoctaviation}).
+ \item the MIDI file generator does not support changing the number of
+ instruments in midstream. You will not see an error message,
+ but the results will be unpredictable.
+\end{itemize}
+
+The MIDI file is produced by {\PMX} concurrently with the {\MusiXTeX}
+output. To start this, enter the symbol \texttt{I}, together with any
+options (as described below), usually in the header of the input file;
+but \texttt{I} symbols can appear later in the file as well, but only at
+the \emph{start of an input block}.
+_{I symbol@\texttt{I} symbol}
+
+If the name of the {\PMX} source file is, say, \texttt{Mymusic.pmx}, the
+MIDI symbol \texttt{I} will cause a file \texttt{Mymusic.mid} to be
+written in the directory given in the preamble. If \texttt{I} is used
+without any options, {\PMX} will use default values for several of the
+parameters; these default values are indicated below.
+
+\medskip
+Usually, however, you will want to specify some options. They follow the
+MIDI symbol \texttt{I} immediately, without a space. Sometimes the order
+of the options matters, so it is generally advisable to adhere to the
+order in which they are given here:
+
+\begin{enumerate} _{MIDI!parameters}
+ \item \texttt{t}[\emph{x}] sets the tempo to \emph{x}
+ quarter notes per minute. Default is 96. You can change the
+ tempo as often as you like, but only at the start of an input
+ block (as with all MIDI commands).
+ \item _{instruments!names!in MIDI}
+ \texttt{i}[\emph{i1i2...in}] assigns MIDI instrument names
+ \emph{i1,i2,...,in} to the staves of the respective {\PMX}
+ instruments. The default is harpsichord, of course.
+
+ If you use this option, you must specify \emph{all} instruments.
+ Each \emph{i} is either an integer between 1 and 255 or a
+ 2-letter mnemonic. The instrument mnemonics allowed with {\PMX}
+ are listed in Table~\ref{tab:MIDIinstr}. Numbers and mnemonics
+ may be mixed, but consecutive pairs of numbers must be separated
+ by \texttt{:} (colon)\,%
+ \footnote{Otherwise the assignment could be ambiguous!}.
+ Care is needed with multi-staff instruments: there must be one
+ instrument name \emph{per staff}; so for a sonata for violin and
+ piano, e.g., the instrument names entry would be
+ \texttt{ipipivl}, not \texttt{ipivl} !
+ \item \texttt{v}[\emph{i1}]:[\emph{i2}]:[...]:\emph{in}] assigns the
+ relative MIDI volume to each instrument. Each \emph{i} is an
+ integer between 1 and 127; the colons are required. The volume
+ parameter \texttt{v} must either be given with exactly as many
+ parameters as there are instruments, or none at all. The default
+ (no parameters given) is 127.
+ \item \texttt{b}[\emph{m1}]:[\emph{m2}]:[...]:\emph{mn}] assigns the
+ MIDI stereo balances to each instrument. The numbers \emph{m}
+ may vary between 1 and 128; otherwise their usage is similar to
+ that for the volume. The default value is 64, which represents
+ the center; smaller numbers favor the left stereo channel,
+ larger ones the right.
+ \item \texttt{p}[\emph{x}] inserts a pause of \emph{x} quarter notes
+ -- for all instruments! -- at the beginning of the first bar of
+ the input block in which the MIDI symbol appears. Decimals are
+ allowed, but will be rounded to the nearest sixteenth note.
+ \item \texttt{g}[\emph{i}] sets the MIDI gap to \emph{i} MIDI clock
+ tics: this is a silence inserted at the end of every note,
+ while decreasing the sounding duration by the same amount. The
+ default is 10, which corresponds to 2/3 of a 64th note.
+\end{enumerate}
+
+_{MIDI!file players and editors}
+Key signatures, time signatures (meter) and instrument names will be
+written into the MIDI file, the latter as track names. This will have
+no effect whatsoever on audible output, but will affect on-screen
+appearance with some MIDI file players and editors.
+
+\medskip
+The instruments given in Table~\ref{tab:MIDIinstr} are a subset of
+``The General MIDI Instrument Specification''. Of course how they sound
+depends on your hardware and software. Instruments not listed below can
+still be used but must be specified by number
+(cf.~Table~\ref{tab:MIDIspecif}).
+
+\newcommand{\T}[1]{\texttt{#1}}
+\begin{table}[!htb] _{MIDI!instrument mnemonic names}
+\begin{tabular}{ll@{\qquad}ll@{\qquad}ll}
+\T{pi} & Acoustic Grand Piano & \T{vl} & Violin & \T{re} & Recorder \\
+\T{rh} & Rhodes Piano & \T{va} & Viola & \T{fl} & Flute \\
+\T{ha} & Harpsichord & \T{vc} & Cello & \T{ob} & Oboe \\
+\T{ct} & Clavinet & \T{cb} & Contrabass & \T{cl} & Clarinet \\
+\T{or} & Church Organ & \T{ab} & Acoustic Bass & \T{ba} & Bassoon \\
+\T{so} & Soprano Sax & \T{tr} & Trumpet & \T{ma} & Marimba \\
+\T{al} & Alto Sax & \T{fr} & French Horn & \T{gu} & Acoustic Nylon Guitar \\
+\T{te} & Tenor Sax & \T{tb} & Trombone & \T{vo} & Synth Voice \\
+\T{bs} & Baritone Sax & \T{tu} & Tuba & &
+\end{tabular}
+ \caption{Mnemonics for instruments acceptable in {\PMX} }
+ \label{tab:MIDIinstr}
+\end{table}
+
+\subsection{MIDI macros \protect\footnotemark}
+\footnotetext{{\PMX} normally does not allow tempo changes in MIDI macros.
+ As of version 2.511, this restriction no longer holds; but it
+ is designated as ``experimental''. So if you use it, be
+ prepared for surprises! Naturally, Don Simons will certainly
+ be interested to hear of your experiments.
+ }
+
+\texttt{IM} initiates a MIDI macro operation. Although the syntax of a
+{\PMX} MIDI macro is analogous to that of regular {\PMX} macros
+(decribed in Section~\ref{sec:macros}), its function is different:
+\begin{enumerate}
+ \item a MIDI macro cannot be saved (i.e.\ recorded without playing ---
+ there is no command \texttt{IMS[}\emph{i}\texttt{]}),
+ \item the code sandwiched between \texttt{IMR[}\emph{i}\texttt{]}
+ (``start \textbf{r}ecord \textbf{M}IDI macro'') and \texttt{IM}
+ (``end \textbf{M}IDI macro'') will be recorded as with a regular
+ macro, but
+ \item \texttt{IMP[}\emph{i}\texttt{]} (``\textbf{P}layback of
+ \textbf{M}IDI macro \emph{i}'') will \emph{not insert anything
+ in the written score}, it will merely replay in the MIDI output
+ the number of bars defined by the macro.
+\end{enumerate}
+MIDI macros are needed for repeats or dacapos, as the {\PMX} coding for
+these features of a score merely provides the appropriate notation on
+paper, nothing else. MIDI Macros must have ID numbers between 1 and 20.
+Only one macro may be active at a time, recording or playing, but not
+both. Never try nesting or overlapping macros!
+
+\subsection{MIDI only accidentals} \label{sec:MIDIaccidentals}
+_{MIDI!accidentals} _{accidentals!MIDI}
+
+\begin{table}[!hbp]
+\begin{center} _{MIDI!General Instrument Specification}
+ {\scriptsize
+ \begin{tabular}{|ll|ll|ll|}
+ \hline
+ \bfseries 1-8 & \bfseries PIANO & \bfseries 9-16 & \bfseries CHROMAT. PERC. &
+ \bfseries 17-24 & \bfseries ORGAN \\
+ \hline
+ 1 & Acoustic Grand Piano & 9 & Celesta & 17 & Drawbar Organ \\
+ 2 & Bright Acoustic Piano & 10 & Glockenspiel & 18 & Percussive Organ \\
+ 3 & Electric Grand Piano & 11 & Music Box & 19 & Rock Organ \\
+ 4 & Honky-tonk Piano & 12 & Vibraphone & 20 & Church Organ \\
+ 5 & Electric Piano 1 & 13 & Marimba & 21 & Reed Organ \\
+ 6 & Electric Piano 2 & 14 & Xylophone & 22 & Accordian \\
+ 7 & Harpsichord & 15 & Tubular Bells & 23 & Harmonica \\
+ 8 & Clavinet & 16 & Dulcimer & 24 & Tango Organ \\
+ \hline
+ \bfseries 25-32 & \bfseries GUITAR & \bfseries 33-40 &
+ \bfseries BASS & \bfseries 41-48 & \bfseries STRINGS \\
+ \hline
+ 25 & Acoustic Guitar (nylon) & 33 & Acoustic Bass & 41 & Violin \\
+ 26 & Acoustic Guitar (steel) & 34 & Electric Bass (finger) & 42 & Viola \\
+ 27 & Electric Guitar (jazz) & 35 & Electric Bass (pick) & 43 & Cello \\
+ 28 & Electric Guitar (clean) & 36 & Fretless Bass & 44 & Contrabass \\
+ 29 & Electric Guitar (muted) & 37 & Slap Bass 1 & 45 & Tremelo Strings \\
+ 30 & Overdriven Guitar & 38 & Slap Bass 2 & 46 & Pizzicato Strings \\
+ 31 & Distortion Guitar & 39 & Synth Bass 1 & 47 & Orchestral Strings \\
+ 32 & Guitar Harmonics & 40 & Synth Bass 2 & 48 & Timpani \\
+ \hline
+ \bfseries 49-56 & \bfseries ENSEMBLE & \bfseries 57-64 &
+ \bfseries BRASS & \bfseries 65-72 & \bfseries REED \\
+ \hline
+ 49 & String Ensemble 1 & 57 & Trumpet & 65 & Soprano Sax \\
+ 50 & String Ensemble 2 & 58 & Trombone & 66 & Alto Sax \\
+ 51 & Synth Strings 1 & 59 & Tuba & 67 & Tenor Sax \\
+ 52 & Synth Strings 2 & 60 & Muted Trumpet & 68 & Baritone Sax \\
+ 53 & Choir Aahs & 61 & French Horn & 69 & Oboe \\
+ 54 & Voice Oohs & 62 & Brass Section & 70 & English Horn \\
+ 55 & Synth Voice & 63 & Synth Brass 1 & 71 & Bassoon \\
+ 56 & Orchestra Hit & 64 & Synth Brass 2 & 72 & Clarinet \\
+ \hline
+ \bfseries 73-80 & \bfseries PIPE & \bfseries 81-88 &
+ \bfseries SYNTH LEAD & \bfseries 89-96 & \bfseries SYNTH PAD \\
+ \hline
+ 73 & Piccolo & 81 & Lead 1 (square) & 89 & Pad 1 (new age) \\
+ 74 & Flute & 82 & Lead 2 (sawtooth) & 90 & Pad 2 (warm) \\
+ 75 & Recorder & 82 & Lead 3 (calliope) & 91 & Pad 3 (polysynth) \\
+ 76 & Pan Flute & 83 & Lead 4 (chiff) & 92 & Pad 4 (choir) \\
+ 77 & Blown Bottle & 84 & Lead 5 (charang) & 93 & Pad 5 (bowed) \\
+ 78 & Shakuhachi & 85 & Lead 6 (voice) & 94 & Pad 6 (metallic) \\
+ 79 & Whistle & 86 & Lead 7 (fifths) & 95 & Pad 7 (halo) \\
+ 80 & Ocarina & 87 & Lead 8 (bass+lead) & 96 & Pad 8 (sweep) \\
+ \hline
+ \bfseries 97-104 & \bfseries SYNTH EFFECTS & \bfseries 105-112 &
+ \bfseries ETHNIC & \bfseries 113-124 & \bfseries PERCUSSIVE \\
+ \hline
+ 97 & FX 1 (rain) & 105 & Sitar & 113 & Tinkle Bell \\
+ 98 & FX 2 (soundtrack) & 106 & Banjo & 114 & Agogo \\
+ 99 & FX 3 (crystal) & 107 & Shamisen & 115 & Steel Drums \\
+ 100 & FX 4 (atmosphere) & 108 & Koto & 116 & Woodblock \\
+ 101 & FX 5 (brightness) & 109 & Kalimba & 117 & Taiko Drum \\
+ 102 & FX 6 (goblins) & 110 & Bagpipe & 118 & Melodic Drum \\
+ 103 & FX 7 (echoes) & 111 & Fiddle & 119 & Synth Drum \\
+ 104 & FX 8 (sci-fi) & 112 & Shanai &120 & Reverse Cymbal \\
+ \hline
+ \bfseries 121-128 & \bfseries SOUND EFFECTS & & & & \\
+ \hline
+ 121 & Guitar Fret Noise & & & & \\
+ 122 & Breath Noise & & & & \\
+ 123 & Seashore & & & & \\
+ 124 & Bird Tweet & & & & \\
+ 125 & Telephone Ring & & & & \\
+ 126 & Helicopter & & & & \\
+ 127 & Applause & & & & \\
+ 128 & Gunshot & & & & \\
+ \hline
+ \end{tabular}
+ }
+ \caption{The General MIDI Instrument Specification}
+ \label{tab:MIDIspecif}
+\end{center}
+\end{table}
+
+In rare cases a special notation for accidentals is needed to guarantee
+that the MIDI output corresponds exactly to what is intended in the
+score. Cases in point are:
+\begin{description}
+ \item[Repeated notes with accidentals:] the generally accepted rules
+ of musical orthography, at least for tonal music, say that when
+ two identical notes with accidentals occur in the same bar (and
+ in the same voice, of course), only the first one is written with
+ an explicit accidental; for the following notes the accidentals are
+ implied (`inherited', in {\PMX} parlance).
+
+ This rule is less clear when there is a bar line between two
+ successive notes. Some composers -- in particular in the baroque
+ era, where this notation is almost the default -- will assume the
+ first note in the new bar to have `inherited' the accidental
+ along with it, while others would insist on repeating the
+ accidental, and still others would put a cautionary accidental
+ over the first note of the new bar. {\PMX} takes the first
+ position, and MIDI files generated by {\PMX} will reflect this
+ attitude.
+
+ {\PMX} users with a different attitude could thus find their
+ intention misrepresented in the MIDI output.
+
+ \item[Editorial/dubious accidentals:] in editing an historical piece,
+ a conscientious editor will provide information about
+ dubious points, but she nevertheless, in creating a MIDI file,
+ might want to assert her own position.
+\end{description}
+For these and similar applications {\PMX} provides the \emph{MIDI only
+accidentals}. These are written and used like normal accidentals,
+except with an `\texttt{i}' added . Such accidentals are
+effective \emph{only in the MIDI output}; they are disregarded in the
+printed score.
+
+This is particularly useful when you want to override the MIDI
+``baroque default'' described above. To understand the ``baroque
+default'' clearly, consider the example given in
+Fig.\ref{fig:MIDIbaroquedefault} , where the {\PMX} coding is given
+directly below the system:
+
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/MIDIbaroque.eps}
+ \caption{The ``baroque default'', and overriding it with MIDI
+ only accidentals}
+ \label{fig:MIDIbaroquedefault}
+ \end{center}
+\end{figure}
+\noindent
+Now compare the printed score with the MIDI version -- provided
+\href{http://www.itp.uni-bremen.de/~noack/MIDI.mid}{here} for your
+convenience --, and you can hear the differences explicitly\,%
+\footnote{It is also instructive to note the MIDI implementation of
+ slurs and ties generated by {\PMX} here (Cf.\ the list of MIDI
+ restrictions on p.\pageref{p:midi}).
+ }.
+
+\medskip
+Another example for the use of MIDI only accidentals is given in
+Fig.\ref{fig:MIDIaccidentals}:
+\begin{figure}[!htb]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/MIDI.eps}
+ \end{center}
+ \caption{Further use of MIDI only accidentals}
+ \label{fig:MIDIaccidentals}
+\end{figure}
+\begin{itemize}
+ \item MIDI plays the first $C$ in bar 2 as a $C\sharp$. The editorial
+ $\natural$ over the second $C$, however, suggests that
+ $C\natural$ was intended (at least from here on), so the MIDI
+ accidental \texttt{in} is appended to that $C$,
+ \item the final $F$ (in bar 5) suggested to the editor that we are
+ moving towards F major here, and thus the $B$ in bar 3 should
+ actually have been a $B\flat$. By bar 4 the assumption is
+ confirmed, and so he changes the `dubious' accidental to an
+ editorial one, and the MIDI only accidental \texttt{fi} is appended
+ to that $B$.
+\end{itemize}
+
+\section{Lyrics} \label{sec:lyrics}
+_{\texttt{musixlyr.tex}} _{\textbf{musixlyr}}
+_{lyrics|see{\textbf{musixlyr}}}
+
+{\PMX} has no special provisions for lyrics. One way to include them is
+by using the macro package \texttt{musixlyr.tex} developed by Rainer
+Dunker. It introduces lyrics into {\TeX} more easily than with
+{\MusiXTeX}'s own facilities. The macros could be entered as inline
+{\TeX} directly into the \texttt{.pmx} file, but most would prefer the
+convenient interface to \textbf{musixlyr} via the program {\MTX}
+developed by Dirk Laurie (cf.~Section~\ref{sec:MTX}).
+_{\MTX} _{Laurie, Dirk} _{Dunker, Rainer}
+
+_{accented letters in lyrics}
+
+If you have foreign-language lyrics, you may run into the problem of
+accented letters. Straight {\TeX} does not provide these directly, as
+the modern font encoding schemes used by {\LaTeX} do.
+_{Vogel, Olivier}
+However, Olivier Vogel has developped a method with which to use these
+encoding schemes with {\MTX}/{PMX}/{\MusiXTeX}. For details you should
+look at his contribution on this in the
+\href{http://icking-music-archive.org/software/pmxtricks/tricks.html}%
+ {Tricks and Tricks}
+section in the WIMA, or contact Olivier directly: \quad
+\raisebox{-0.8ex}{\includegraphics[scale=0.6]{addresses/ovogel} }
+
+\section{{\PMX} and {\LaTeX} } \label{sec:LaTeX}
+_{\LaTeX}
+
+{\LaTeX} (``A Document Preparation System''), although written for a
+very different purpose, has a lot in common with
+{\PMX}: it is a (huge) set of {\TeX} macros that allows to solve
+complicated layout problems without the need to dive into the --
+sometimes arcane -- depths of {\TeX} itself. So {\LaTeX} simplifies the
+use of {\TeX} for the non-{\TeX}pert in much the same way that {\PMX}
+does for {\MusiXTeX}.
+
+\medskip
+So it would certainly be wonderful to have the best of two worlds: merge
+{\LaTeX} and {\PMX}. The problems with that (or merging {\LaTeX} and
+{\MusiXTeX}, for that matter) are threefold:
+\begin{enumerate}
+ \item {\PMX} deals with many of the layout aspects of a musical score
+ on its own (such as width of systems, line breaks, page breaks
+ etc.), and with techniques that are not really compatible with
+ those of {\LaTeX}.
+ \item {\MusiXTeX} / {\PMX} and {\LaTeX} make heavy use of
+ {\TeX}'s ressources, both in memory and registers, and together
+ they may strain these ressources beyond their usual limit.
+ \item both {\MusiXTeX} / {\PMX} and {\LaTeX} use many special
+ command definitions, often enough incompatible with one another.
+\end{enumerate}
+
+While with modern implementations of ressources are no longer a serious
+problem, the incompatibility problems are, and their resolution would be
+a major programming task. So there have, to this day, not been any
+serious efforts to provide a truly merged version of {\LaTeX} with
+{\PMX}.
+
+\bigskip
+There are, however, several methods to use {\LaTeX} and {\PMX} in
+(partial) ``coexistence'':
+\begin{enumerate}
+ \item _{\LaTeX!with short musical scores} _{short scores}
+ The best way to include short scores, of less than one printed
+ page, in a {\LaTeX} document is to
+ \begin{enumerate}
+ \item _{PostScript}
+ produce the musical score with {\PMX} -- {\MusiXTeX}
+ -- \textbf{dvips} in the way described in this tutorial.
+ The end product is a PostScript file,
+ \item _{encapsulated PostScript file}
+ _{\texttt{.eps} file|see{encapsulated PostScript file}}
+ make an \texttt{.eps} (``encapsulated PostScript'')\,%
+ \footnote{In general, this is possible for
+ single-page PostScript files only.
+ }
+ file from the \texttt{.ps} with one of the standard
+ tools, e.g.~\textbf{ghostview},
+ \item include this \texttt{.eps} file in the {\LaTeX}
+ document with the {\LaTeX} \bs\texttt{includegraphics}
+ command, e.g. \\[-1ex]
+ \hspace*{\fill}\verb#\includegraphics[scale=0.58]{sample.eps}#
+ \hspace*{\fill} .
+ \end{enumerate}
+ This is the method with which the present tutorial was produced.
+ \item _{\textbf{musixltx}} _{\LaTeX!\textbf{musixltx}}
+ use the {\LaTeX} package \textbf{musixltx}, together with
+ {\MusiXTeX}\,%
+ \footnote{\textbf{musixltx} is part of the standard
+ distribution of the {\MusiXTeX} package.
+ }.
+ The {\MusiXTeX} code is then sandwiched between the start and
+ end of a specific environment:
+ \begin{center} \vspace*{-2ex}
+ \verb#\begin{music}# \dots \verb#\end{music}# .
+ \end{center}\noindent
+ For more detail on this method see the {\MusiXTeX} manual by
+ Daniel Taupin. _{Taupin, Daniel}
+
+ \medskip
+ But be aware of the fact that the \texttt{.tex} files produced
+ by {\PMX} contain a number of incompatibilities with {\LaTeX}.
+ So if you want to use the \textbf{musixltx} package together
+ with {\PMX}, you may have to comment out a few lines in the
+ \texttt{.tex} file --- by hand, unfortunately. For that reason,
+ the \textbf{musixltx} package usually works well with {\PMX}
+ only in rather simple cases. An example of how to proceed can
+ be found in the WIMA: \\
+ \hspace*{\fill}
+ \href{http://icking-music-archive.org%
+ /software/musixtex/add-ons/pmx-l2e.tex}%
+ {\texttt{http://icking-music-archive.org/%
+ /software/musixtex/add-ons/pmx-l2e.tex}}
+ \hspace*{\fill} \\
+ \item _{\LaTeX!\textbf{mtxlatex}} _{\LaTeX!e\TeX}
+ _{\LaTeX!interface with \PMX} _{Laurie, Dirk} _{\MTX}
+ Dirk Laurie, the author of {\MTX}, has developped a
+ {\LaTeX} package, \textbf{mtxlatex}. It is is part of the
+ \href{http://icking-music-archive.org/software/mtx/mtx060.pdf}%
+ {{\MTX} 0.60b distribution}, available from the WIMA, and can be
+ considered a successor to the \textbf{musixltx} package
+ described above. An outstanding feature of this package is that
+ it interfaces quite well with {\PMX}; so this is usually the
+ method of choice in cases where you want to include longer
+ music scores in a long text such as a book. Detailed
+ instructions on how to use this package are contained in the
+ {\MTX} manual.
+
+ When
+ using \textbf{mtxlatex}, be sure to
+ include the \textbf{mtxlatex} package as the
+ \emph{first} package in the {\LaTeX} source file.
+\end{enumerate}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% PMX tutorial by ccn / chapter D starts here:
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\chapter{Limitations, error messages, and bugs}
+\section{Limitations} \label{sec:limits}
+_{limitations}
+
+For simplicity in writing the program, {\PMX} has numerous variables
+with fixed dimensions. In most cases there are no checks against these
+limits, so occasionally there may be hangups due to exceeding a
+dimension.
+
+\medskip
+The limits of the variables given in Tables~\ref{tab:softlimits} and
+\ref{tab:hardlimits} fall in two distinct classes, named ``soft'' and
+``hard'' limits to distinguish them:
+\begin{enumerate}
+ \item soft limits can be increased fairly easily: all it takes (sic!)
+ is to change the dimensions in the FORTRAN source of
+ _{\texttt{pmxab.exe}} \texttt{pmxab.exe} (the {\PMX} program)
+ accordingly, and recompile,
+ \item hard limits, on the other hand, could only be increased with
+ more or less elaborate reprogramming
+ \footnote{Often these hard limits are a consequence of
+ features of {\MusiXTeX} and thus cannot be changed
+ without changes in {\MusiXTeX}.
+
+ Note, however, that this character count
+ \emph{includes all empty spaces before the final
+ character} (such as \texttt{/}) at the end of an
+ input line. If -- for better readability, e.g.\ --
+ you are in the habit of aligning these end-of line
+ characters, being more stingy on the resulting blanc
+ characters often helps to stay within the limit.
+ }
+ (or at least recompiling the source code), so for all practical
+ purposes they are unchangeable.
+
+\end{enumerate}
+In both cases, however, it will usually be possible to work within
+existing limits by breaking the input into smaller blocks. Consider that
+solution before asking Don Simons for changes to the {\PMX} source code,
+or attempting such changes yourself! _{Simons, Don}
+
+\begin{table}[!htb]
+\begin{center}
+_{limitations!soft limits}
+\begin{tabular}{l@{\quad:\quad}r}
+characters per input line & 128 \\
+staves & 24 \\
+voices per staff & 2 \\
+voices per system & 24 \\
+systems & 125 \\
+bars & 600 \\
+forced line breaks & 40 \\
+forced page breaks & 10 \\
+key changes & 18 \\
+pages & 20 \\
+notes per input block & 600 \\
+bars per input block & 15 \\
+slurs per input block & 101 \\
+figures (figured bass) per input block & 74 \\
+grace note groups per input block & 37 \\
+notes in grace note groups per input block & 74 \\
+inline {\TeX} strings per input block & 52 \\
+volte per input block & 6 \\
+trills per input block & 24 \\
+chordal notes (non-spacing) per input block & 62 \\
+beams per voice per bar & 8 \\
+forced beams per voice per input block & 40 \\
+clef changes per voice per input block & 10 \\
+notes per beam & 24 \\
+notes per xtuplet & 24 \\[-3ex]
+\end{tabular}
+\end{center}
+ \caption{Numerical limits of {\PMX} variables (soft limits)}
+ \label{tab:softlimits}
+\end{table}
+
+\vfill
+\begin{table}[!htbp]
+
+\noindent
+-------------------------------------------------
+\begin{center}
+_{limitations!hard limits}
+\begin{tabular}{l@{\quad:\quad}r}
+total number of characters in source file & 65~536 ($2^{16}$) \\
+\bs{\tt notes} groups (total) & 2000 \\
+\bs{\tt notes} groups per bar & 20 \\
+inserted standard anti-collision spaces
+ (not xtuplet or end-of-bar) per bar & 20 \\
+inserted anti-collision spaces within xtuplets per bar & 20 \\
+inserted anti-collision end-of-bar hardspaces per system & 19 \\
+inserted anti-collision end-of-bar hardspaces (total) & 83 \\
+inserted standard anti-collision spaces per system & 400 \\
+inserted anti-collision spaces within xtuplets per system & 100 \\
+inserted standard anti-collision spaces & 1000 \\
+inserted anti-collision spaces within xtuplets & 200 \\
+bytes of MIDI output data per line of music & 24576
+\\[-3ex] \end{tabular} \end{center} \caption{Numerical limits of {\PMX}
+variables (hard limits)} \label{tab:hardlimits} \end{table}
+
+\section{{\PMX}'s error messages} \label{sec:errormsg}
+_{error messages}
+
+When run on, say, \verb#my_opus.pmx#, {\PMX} will always generate two
+files in the working directory, \verb#my_opus.pml# and
+_{\texttt{pmxaerr.dat}} \texttt{pmxaerr.dat}. \verb#my_opus.pml# is a
+log file, and \verb#pmxaerr.dat# contains a single integer: 0 if the run
+was successful, otherwise the line number in the source file
+\verb#my_opus.pmx# of the fatal error (useful for batch processing).
+Also, on successful completion, \verb#my_opus..tex# will be placed in
+the path specified in the preamble.
+
+\medskip
+Usually, when there is an error, {\PMX} will give you a pretty good
+explanation\,%
+\footnote{Note that sometimes an error message will use a name for a
+ preamble numerical parameter that differs from that used in
+ this tutorial --- but it usually is easily recognized.
+ \label{p:errormsg}
+ }.
+There are some cases, however, in which the error message will be issued
+not by {\PMX}, but by the FORTRAN compiler directly, and it may look
+very cryptic to you. An infamous example is:
+\begin{center} \vspace*{-1ex} \begin{verbatim}
+ forrtl: severe (24): end-of-file during read, unit 10
+\end{verbatim} \vspace*{-1ex} \end{center}
+Such messages are almost always caused by an extra line in your source
+file that shouldn't be there, so experiment with deleting lines towards
+the end of your file!
+
+\section{Bugs}
+_{bugs}
+
+As was mentioned before, {\PMX} is continuously maintained and improved
+by Don Simons, and there is a very active group of {\PMX} users. Thus
+there is no serious bug known (as of Version 2.514) that hasn't been
+fixed. _{Simons, Don}
+
+\medskip
+If you think you have discovered a new bug, don't hesitate to send a
+message to the TeX-music users' list:
+ \raisebox{-1.0ex}{%
+ \includegraphics[scale=0.72]{addresses/texmusiclist}
+ }$\!\!$%
+\footnote{Almost all reported ``bugs'' turn out to be misunderstandings.
+ So if you state politely that you \emph{think} you may have
+ found a bug, and ask for help, you will avoid irate replies of
+ the ``RTFM'' species.
+ }.
+The same is true if you have a problem with {\PMX} that you simply cannot
+solve by yourself, even though you suspect that it's \emph{not} a bug:
+don't hesitate to ask!
+
+\subsection{A Benign Bug} \label{sec:bug}
+When {\TeX}ing the output of {\PMX} you will usually get an
+\texttt{Underfull \bs vbox} message at the end of each page. This is
+due to {\PMX} inserting \verb#\eject# at the end of every page, which
+automatically spaces the systems vertically without having to fiddle
+with \verb#\staffbotmarg#. As far as is known, the warning is benign,
+and may be ignored.
+
+\vfill
+\vspace*{\fill}
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% PMX tutorial by ccn / chapter E starts here:
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\chapter{Tricks of the Trade} \label{sec:tricks}
+
+\section{Simple tricks}
+
+\subsection{Special coding in L'Incoronazione di Poppea}
+_{figured bass!continuation}
+
+Bar 17 in Fig.~\ref{fig:poppea} requires an explanation: the
+continuation figure appears under the \verb#5#, but the these two
+figures are coded as \verb#x145 x12\_00.2# . Why not \verb#x14500.2# ,
+giving them both the same horizontal offset? That is because the
+continuation figure always starts 0.3 \verb#\noteskip#s to the
+\emph{left} of the associated note's position. This works well in most
+normal situations. But here \verb#\noteskip# is large,based on the
+dotted half, while the desired length is short, so in fact the left
+offset of the starting point is even larger than the desired length.
+Consequently the entry point of the continuation figure has to be offset
+by a half note to make it appear offset by a quarter note.
+
+\subsection{Text after final system}
+ _{text!after final system}
+Suppose you want to add some text, Or any other {\TeX} material,
+after the final system of a score. How can you include that in the
+{\PMX} file?\,%
+\footnote{This question was posted to the {\TeX}-music list by Herrmann
+ Hinsch. _{Hinsch, Herrmann}
+ }
+
+The answer, given by Christian Mondrup, is instructive:
+\begin{enumerate} _{Mondrup, Christian}
+ \item Write the text to a separate file, say
+ \verb#Myendnotes.tex# ,
+ \item Insert
+ \begin{center}\begin{verbatim}
+ \let\Endpiecesav\Endpiece
+ \def\Endpiece{\Endpiecesav\input Myendnotes}
+ \end{verbatim}\end{center}
+\end{enumerate}
+in the header of the {\PMX} source file, i.e.\ as a Type 4 inline {\TeX}
+command (cf.\ Sec.~\ref{sec:inlinetypefour}). You can see that the
+redefinition of {\TeX} commands, if done carefully, can be a rather
+powerful tool.
+
+\medskip _{\LaTeX!interface with \PMX} _{\textbf{mtxlatex}}
+Another solution to this problem is to use the {\LaTeX}/{\PMX}
+interface \textbf{mtxlatex} (cf.~\ref{sec:LaTeX}); this may be
+simpler in cases involving more complicated layout.
+
+\begin{figure}[!htbp]
+ \begin{center}
+ \includegraphics[scale=.82]{eps/mtrauermus.eps} \\[2ex]
+ \end{center}
+ \caption{\textbf{W.A.\ Mozart}, \emph{Mauerische Trauermusik} KV
+ 477, bars 1 -- 9
+ }
+ \label{fig:mtrauermus}
+\end{figure}
+
+\begin{table}[!htbp]
+ \begin{center}
+\begin{minipage}{400pt}
+\small
+\begin{verbatim}
+---
+% Mozart, Mauerische Trauermusik KV 477, bars 1 -- 9
+---
+10 -8 1 1 2 1 1 1 1 2
+4 4 5 0
+0 -3
+1 1 16 0.22
+Violoncello
+Viola
+Violini
+Corno II in Do
+Corno I in Mi $\flat$
+Corno di Bassetto in Fa
+Clarinetto in Fa
+Oboi
+battttbttt
+./
+AbeplI.8
+w190m
+h250m
+Tc
+W.A. Mozart
+Tt20
+Mauerische Trauermusik \\ KV 477
+h
+Adagio
+%%
+\\setsign{4}{0}\setsign{5}{0}\setsign{6}{-2}\setsign{7}{-1}\
+% standard musixTeX commands to set the signatures of the transposing winds
+%
+\\groupbottom{1}{1}\grouptop{1}{3}\
+\\groupbottom{2}{4}\grouptop{2}{6}\
+\\groupbottom{3}{7}\grouptop{3}{8}\
+% standard musixTeX commands to group instruments together
+\end{verbatim}
+\end{minipage}
+ \end{center}
+ \caption{{\PMX} code of the \emph{Mauerische Trauermusik}, ,
+ bars 1 -- 9
+ }
+ \label{tab:mtrauermus}
+\end{table}
+
+\subsection{Transposing wind instruments} \label{sec:mtrauer}
+_{transposition}
+
+Fig.~\ref{fig:mtrauermus} contains the first few bars of Mozart's
+``Mauerische Trauermusik KV 477. Two features of this score are
+remarkable from the point of view of {\PMX} coding (given in Table
+\ref{tab:mtrauermus}):
+\begin{enumerate}
+ \item[a)] _{instruments!transposing}
+ the Mauerische Trauermusik is a piece for 10 instruments\,%
+ \footnote{You may have seen (or heard) this piece before with a
+ total of 13 instruments: 2 more Corni di bassettto and a
+ Gran Fagotto. These were in fact added to the score
+ later on by Mozart himself; the score given here
+ reflects the orchestra of the first performance (on 17
+ Nov. 1785).
+ },
+ 4 of which are ``transposing wind instruments'' : a clarinet in
+ B~$\flat$, a corno di bassetto in F, and two horns in C~.
+ Consequently the parts for these instruments must be written with
+ a key signature different from the rest of the orchestra (this is
+ true also for the 2 horns, even though the piece is in C minor:
+ horn parts are invariably written \emph{without any signature}).
+ {\PMX} has no mechanism to do that, so once again you have to
+ resort to inline {\TeX},
+ \item[b)] as is usual with orchestral music, similar instruments are
+ grouped together by accolades (square brackets). How do you do
+ that in {\PMX}?
+\end{enumerate}
+
+\bigskip
+The example exhibits both features. The header contains the following
+Type 2 inline {\TeX} commands:
+\begin{enumerate}
+ \item[a)] _{\MusiXTeX!\bs\texttt{setsign}}
+ \begin{verbatim}
+\\setsign{4}{0}\setsign{5}{0}\setsign{6}{-2}\setsign{7}{-1}\
+ \end{verbatim}
+ \verb#\setsign{n}{m}# sets the ^{key signature} of instrument $n$
+ to $m$ sharps (or flats if $m<0$). So this sets the signatures for
+ the transposing wind instruments. The {\PMX} notation of the notes
+ is then, of course, as they are written, not as they sound, and it
+ is the composers's responsibilty, as usual, to get all the
+ accidentals right.
+
+\bigskip\bigskip
+\Note{As just explained, this use of \bs\texttt{setsign\{n\}\{m\}} is a
+ purely notational device. A seasoned orchestra conductor, when
+ seeing the notation (name of instrument, together with the key
+ signature), \emph{might mentally} `hear' the sound of a clarinet
+ in B\,$\flat$ a full note lower than what he sees written in the
+ score; but {\PMX} does \emph{not} know about this when producing a
+ MIDI file from that score\,\footnotemark.
+
+ _{`transposing' instruments!not in MIDI}
+ The upshot of this is: when you have transposing instruments coded
+ with \bs\texttt{setsign\{n\}\{m\}} in {\PMX}, don't produce a MIDI
+ file; it would be \emph{meaningless}\,\footnotemark.
+ } \label{p:mtrauer}
+\addtocounter{footnote}{-1}
+\footnotetext{This is to be clearly distinguished from a difference in
+ clefs: the note on the middle line of a staff with a
+ violin clef \emph{is} a \texttt{b}, whereas with a bass
+ clef it \emph{is} a \texttt{d}, and a MIDI file produced
+ by {\PMX} will reflect that correctly.
+ }
+
+\addtocounter{footnote}{+1}
+\footnotetext{_{MIDI!Jazz sequencer} _{Mondrup, Christian} If you insist
+ on MIDI, their is some extra work to be done to the
+ \texttt{.tex} output file of {\PMX}. Describing this is
+ beyond the scope of this tutorial; you may find help with
+ the freely available ``MIDI Jazz sequencer'' available
+ from \\[-2ex]
+ \hspace*{\fill}
+ \href{http://www.jazzware.com/cgi-bin/Zope.cgi/jazzware}%
+ {\texttt{http://www.jazzware.com/cgi-bin/Zope.cgi%
+ /jazzware}}~.
+ \hspace*{\fill}
+ }
+
+ \item[b)] _{\MusiXTeX!\bs\texttt{groupbottom}, \bs\texttt{grouptop}}
+ \begin{verbatim}
+\\groupbottom{1}{1}\grouptop{1}{3}\
+\\groupbottom{2}{4}\grouptop{2}{6}\
+\\groupbottom{3}{7}\grouptop{3}{8}\
+ \end{verbatim}
+
+ These commands gather together 3 groups of instruments
+ in the usual way: group 1 is the 4 strings\,%
+ \footnote{Note that the two violins as well as the two oboes are
+ coded in this {\PMX} source as one two-stave instrument
+ each, so that they are accoladed with curly brackets.
+ Thus, from the {\PMX} point of view, the whole score
+ logically comprises 8 instruments!
+ },
+ group 2 the 2 horns and the basset horn, group 3 the clarinet and
+ the 2 oboes.
+\end{enumerate}
+
+
+\subsection{Clef octaviation} \label{sec:clefoctaviation}
+_{octaviation}
+
+As was noted in Section~\ref{sec:octaviation}, {\PMX} does not
+presently provide a notation for octaviation; but native {\MusiXTeX}
+does; cf.~the {\MusiXTeX} manual, Sec.~2.11 for details.
+
+\medskip
+Consider, for example, bar 155 of the $2^\text{nd}$ movement of
+Beethovens piana sonata op.\ 111 :
+
+\begin{center}
+\includegraphics[scale=.82]{eps/beethoven0.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{360pt}
+\small
+\begin{verbatim}
+\\interstaff{13}\
+w170m
+Abepl
+%
+[ e83d ze+ e8- ze+ sl c1- zc+ sl ] c8d-l zc+ | Rb /
+[l c15x3n g+ c b1-x3n g+ b c1-x3n g+ c ]
+[l gs1x3n b gs+ g1-x3n b e a1-x3n e+ a ]
+[l a-1x3n e+ a g1-x3n e+ g a1-x3n e+ a ] | /
+%
+\end{verbatim}
+\end{minipage}
+\end{center}
+In most editions, you will find the figures in the right hand in the
+second and third three beats written in octaviation notation:
+\begin{center}
+\includegraphics[scale=.82]{eps/beethoven1.eps} \\[2ex]
+\end{center}
+which is clearly easier to read. This octaviated version was produced by
+the following {\PMX} code:
+\begin{center}
+\begin{minipage}{360pt}
+\small
+\begin{verbatim}
+\\interstaff{13}\
+w170m
+Abepl
+\\def\octnumber{8$^{va}$}\
+%
+[ e83d ze+ e8- ze+ sfu c1- zc+ sfu ] c8d-l zc+ | Rb /
+[l c15x3n g+ c b1-x3n g+ b c1-x3n g+ c ]
+\Ioctfinup1d\ [l g-s1x3n b gs+ g1-x3n b e a1-x3n e+ a ]
+[l a-1x3n e+ a g1-x3n e+ g a1-x3n e+ a ] \toctfin1\ | /
+%
+\end{verbatim}
+\end{minipage}
+\end{center}
+
+The octaviation is started with the Type 1 inline {\TeX} symbol
+\verb#\Ioctfinup1d\# and ended with \verb#\toctfin1\# ; the
+transposition downward is, of course, generated in the standard {\PMX}
+way by writing \verb#g-s1x3n# instead of \verb#gs1x3n# . By default,
+{\MusiXTeX} will start the octaviation symbol with a simple \texttt{8};
+this is changed to 8$^{va}$ by the Type 2 inline {\TeX} symbol given in
+the preamble.
+
+\medskip
+\Note{When using this octaviation notation in a score, do not try to
+ produce a MIDI file for that score: it will come out faulty
+ (cf.~the Note on p.\pageref{p:mtrauer}).
+ }
+
+\section{More tricks}
+The above examples are actually rather simple cases of the use of inline
+{\TeX}, not really ``tricks''~; they have been included here for you to
+`warm up' to doing such things yourself. But there are many
+further-reaching tricks to overcome shortcomings of {\PMX} ---
+some truly ingenious. Here are a few of general interest:
+
+\subsection{Changing vertical positioning of instrument name}
+\label{sec:shiftname} _{\textbf{scor2prt}!use of Ti}
+_{\textbf{scor2prt}!adjusting instrument name}
+
+When making parts from a score with \textbf{scor2prt}, you will
+sometimes find the adjustment of the vertical position of the instrument
+name not to your liking. In particular, if you have a tempo indicated in
+a line of text above the first system (e.g.~``allegro''), you may find
+that the instrument name of some (but not all) parts collides with the
+tempo indication. How can you fix that?
+
+\medskip _{\textbf{scor2prt}!usage} _{Van Ryckeghem, Andre}
+ _{instruments!names} _{comments!usage with \textbf{scor2prt}}
+A practical solution of this problem has been given recently by Andre
+Van Ryckeghem. It is quite instructive to see in this example how
+the mechanism of handing over commands to \textbf{scor2prt} operates:
+
+Suppose that you are writing a string quartet, and the relevant part of
+the preamble and header in the score are:
+\begin{small}\begin{verbatim}
+...
+Violoncello
+Viola
+Violine II
+Violin I
+batt
+./
+h
+Allegro
+Abpl
+...
+\end{verbatim}\end{small}
+
+After running \textbf{scor2prt}, you find that the allegro command is
+positioned the way you want it, but the cello name collides fully, and
+the Violino II slightly, with the ``allegro''. Therefore you want to
+raise the cello by \texttt{3ex}, the Violin II by \texttt{1.5ex} . To do
+so, replace the above part of the preamble and header in the score by
+\begin{small}\begin{verbatim}
+ ...
+ %% Violoncello
+ %1 \raise+3ex \hbox{Violoncello}
+ Viola
+ %%
+ Violin II
+ %3 \raise+1.5ex \hbox{Violin II}
+ Violin I
+ batt
+ ./
+ h
+ Allegro
+ Abpl
+ ...
+\end{verbatim}\end{small}
+All the comment lines are disregarded in compiling the score; but in the
+\texttt{.pmx} file for the cello, you will find
+\begin{small}\begin{verbatim}
+ Ti
+ \raise+3ex \hbox{Violoncello}
+ b
+ ./
+ h
+ Allegro
+ Abpl
+ ...
+\end{verbatim}
+and in the part for the second Violin
+\begin{verbatim}
+ Ti
+ \raise+1.5ex \hbox{Violin II}
+ t
+ ./
+ h
+ Allegro
+ Abpl
+ ...
+\end{verbatim}\end{small}
+which does what you want.
+
+\vspace*{3cm}
+\subsection{Xtuplets ending with a rest}
+ \label{sec:Xtuplets ending with a rest}
+ _{xtuplets!ending with a rest}
+
+ As was pointed out in Section~\ref{sec:xtuplets}, \PMX\ does not
+ allow a rest as the last note in an xtuplet.
+
+ \medskip
+ Can one find a way to circumvent this restriction? A pedestrian,
+ awkward way around might be this: remembering that \PMX\ is a
+ preprocessor for MusixTeX, and in a second pass \TeX\ processes the
+ \PMX\ output, one could simply enter some arbitrary note in place of
+ the desired rest, run \PMX\ , and then in the resulting \TeX\ file
+ replace the arbitrary note \emph{manually} by the appropriate
+ MusixTeX rest symbol \emph{before} running the file through \TeX\ for
+ the the 2nd pass.
+
+ This semi-solution however, has two major drawbacks:
+ \begin{enumerate}
+ \item it takes a certain amount of aquaintance with basic MusixTeX,
+ so this is not for everyone;
+ \item more dangerously, this hack goes away if and when you
+ rerun \PMX\ ! So if you are still in the middle of a
+ development, you may find yourself redoing the hack over and
+ over, which could quickly become a real nuisance.
+ \end{enumerate}
+
+ Luckily, for xtuplets with stand-alone notes there now exists a real
+ solution: an ingenious, generally usable inline {\TeX} method --
+ developped by Don Simons -- solves the problem completely for
+ unbeamed xtuplets. Here is a simple example with two such triplets:
+ \begin{center}
+ \includegraphics[scale=.82]{eps/triplerest.eps} \end{center}
+ \newpage And this is the \PMX\ source text that creates these staves:
+
+------------------------------------
+\begin{verbatim}
+2 2
+2 4 0 0
+0 0
+0 3 20 0.12
+
+
+tt
+./
+w100m
+\\def\qpforqu{\let\qut\qu\def\qu##1{\qp\zcharnote{##1}{~}\let\qu\qut}}\
+\\def\dsforcu{\let\cut\cu\def\cu##1{\ds\zcharnote{##1}{~}\let\cu\cut}}\
+
+e4ax3 \dsforcu\ e \dsforcu\ e e4ax3 \qpforqu\ eD /
+e4ax3 e e e4ax3 eD /
+\end{verbatim}
+------------------------------------
+
+As you can see, there are two inline commands of type 2, which are
+therefore effective throughout the file (from where they are first
+entered), then followed by two standard \PMX\ lines; the lower one (the
+top staff) of these has the standard triplets, as demonstration, while
+the upper one (bottom staff) shows the corresponding triplets with ending
+rests.
+
+The two inline \TeX\ commands produce the type of rest: \verb#\dsforcu#
+stands for a quarter rest, and \verb#\qpforqu# for a half rest. Note
+that these inline \TeX\ commands not only provide the correct graphics,
+but \PMX\ considers them to have the corresponding duration values! So
+if you use wrong ones, \PMX\ will complain in the usual way.
+
+\medskip
+Explaining the inline {\TeX} commands in detail would go beyond the
+scope of this tutorial. But if you know some of the MusixTeX
+terminology, you will recognize that these commands conform to the
+MusixTeX names for quarter and half notes etc.\,%
+\footnote{This knowledge may be useful if you want to produce more
+ complicated xtuplets with ending rests than the simple
+ examples given here. The new MusixTeX-T114 manual may be
+ helpful in such cases. If that doesn't help: consult a
+ {MusiXTeX}pert!
+ }
+
+The inline commands are then each followed by a dummy note. Usually it
+is a good (and safe) habit to use the same note name as the last real
+note in the xtuplet; but any {\PMX} note name is valid; variations can
+produce surprising, but possibly useful grahical results. So if you feel
+up to it, you can play with such variations!
+
+\subsection{Shorthand notation for consecutive quavers}
+ _{Van Ryckeghem, Andre} _{shorthand!for quavers} _{eighths}
+ _{quavers|see{eighths}}
+ _{shorthand!for quavers|see also tremolo}
+ Often, in accompanying voices, in particular, there are several
+ repeated quavers (eighth notes), e.g.~4 quavers to a half note. There
+ is a commonly used shorthand notation for this that helps
+ sight-reading enormously: a half-note, with a line through its stem,
+ indicating the quavers.
+
+ Fig.~\ref{fig:JChrBach} shows the beginning of the cello part of a
+ Joh.\ Chr.\ Bach quartet. In this example an inline {\MusiXTeX} macro
+ (devised by Andre Van Ryckeghem) provides this shorthand.
+
+\begin{figure}[!htb]
+ \begin{center}
+\includegraphics[scale=.82]{eps/JChrBach.eps} \\[2ex]
+ ------------------------------------------
+\begin{minipage}{380pt}
+\small
+\begin{verbatim}
+%----------------%
+%
+% JCBach.pmx
+%
+%----------------%
+%
+---
+\let\husav\hu\
+\let\hlsav\hl\
+\def\FE{\def\hl##1{\let\hu\husav\let\hl\hlsav%
+ \relax{\advance\transpose2\loffset{0.5}%
+ {\ibl0{##1}9}\roffset{0.5}{\tbl0}}\ha{##1}}%
+ \def\hu##1{\let\hu\husav\let\hl\hlsav%
+ \relax{\advance\transpose-3\loffset{0.5}%
+ {\ibu0{##1}9}\roffset{0.5}{\tbu0}}\ha{##1}}%
+ }
+---
+%
+1 1 4 4 0 6 1.00 -2
+0 8 16 0.1
+%
+Violoncello
+b
+./
+Abpl
+r4 | b83 Dmf b b b \FE\ b2 | \FE\ a2 a8 a b b |
+\FE\ e2- e8 e f f | \FE\ b2- Dp \FE\ b2 |
+\FE\ b2 \FE\ b2 | \FE\ b2 Df b8 [ b Dp b b ] |
+\FE\ b2 \FE\ b2 Rd /
+\end{verbatim}
+\end{minipage}
+ \end{center}
+ \caption{\textbf{J.Chr.\ Bach}, Quartet in B Major
+ (beginning of cello voice)}
+ \label{fig:JChrBach}
+\end{figure}
+
+ \medskip _{semiquavers|see{sixteenths}} _{sixteenths}
+ _{shorthand!for semiquavers}
+ If you want such a shorthand for semiquavers (sixteenth notes), you
+ need to consult the {\MusiXTeX} manual: you will find that all you
+ need to do is to replace \bs\texttt{ibl0} and \bs\texttt{ibl0} by
+ \bs\texttt{ibbl0} and \bs\texttt{ibbl0} , resp.
+
+
+\subsection{Varying the stave sizes} \label{sec:varstaves}
+_{figured bass!varying staves sizes} _{\texttt{curly.tex}}
+_{staves!varying size}
+
+In modern editions of works with basso continuo e.g., the implementation
+of the bass, as suggested by the editor, is often given in a staff using
+a smaller size. {\MusiXTeX} does not support such a possibility.
+
+\medskip _{Molekwa, Mthimkhulu}
+Fortunately, Mthimkhulu Molekwa has written two macros that provide
+alternative solutions of this problem that are often sufficient. The
+first, \verb#musixbar.tex#, which is included in {\MusiXTeX},
+allows you to easily define a set of staves (the two bottom ones, in the
+case of a basso continuo) that have common bar lines joining these
+staves \emph{and only these}\,%
+\footnote{Normally, {\MusiXTeX} will draw common bar lines for
+ \emph{all} staves or for \emph{none}.
+ }.
+
+\medskip
+The second macro, named \verb#curly.tex#\,%
+\footnote{\texttt{curly.tex}, if not included in your {\MusiXTeX}
+ installation, is available in the ``add-ons'' software
+ section of the WIMA.
+ },
+provides a brace as an accolade of a set of staves\,% to be grouped
+to\-gether\,%
+\footnote{{\MusiXTeX} provides only the choir-type square accolades. For
+ the practical usage of \texttt{curly.tex} see the Caccini
+ example in the appendix, Fig.~\ref{fig:caccini}.
+ }.
+
+\medskip
+Suppose we want to set a sonata for violin and basso continuo with
+{\PMX}. There will be three staves: at the bottom the basso continuo
+proper, then immediately above it, and grouped together with a brace
+accolade (in a smaller size), its implementation, and above these the
+violin staff.
+
+To get this, do the following:
+
+\begin{itemize}
+ \item indicate in the preamble the number of instruments,
+ \emph{three} in this case!
+ \item add a Type 4) {\TeX} inline command at the beginning of
+ the file, invoking the macros
+ \verb#musixbar.tex# and \verb#curly.tex#, e.g.\,%
+\footnote{The {\MusiXTeX} command
+ \texttt{$\backslash$sepbarrules$\backslash$} sets the vertical
+ bar to be discontinous, i.e.\ \emph{not} extend across
+ different staves.
+ }
+
+ \vspace*{-2ex}
+ {\small
+ \begin{verbatim}
+ ---
+ \let\:=\relax\input musixtex\:\sepbarrules\input pmx
+ \input musixbar\input curly
+ ---
+ \end{verbatim}
+ }
+
+ \vspace*{-5ex}
+ \item insert the following {\TeX} inline commands in the header of
+ the {\PMX} input file:
+
+ {\small
+ \begin{verbatim}
+ \\\indivbarrules\sepbarrule3\
+ \\setsize2\smallvalue\curlybrackets{{1}{2}}\
+ \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{9}\
+ \end{verbatim}
+ }
+
+
+ \vspace*{-3ex}
+ The command \verb#\interstaffsav{9}\# determines the extension
+ of the brace (and can be adjusted). The command
+ \verb#\\\indivbarrules\sepbarrule3\# says that the third staff,
+ that for the violin, has its own discontinuous bar line, not
+ joined with the other two.
+
+ The second line contains two commands:
+ \verb#\\setsize2\smallvalue# sets the size of staff 2 to be
+ smaller, and \verb#\curlybrackets{{1}{2}}\# says which staves
+ are to be accoladed, i.e.\ joined by the brace.
+\end{itemize}
+The file \verb#curly.tex# must, of course, be in a directory where
+{\PMX} and {\TeX} can find it, viz.\ either in the current directory or
+in one in which the other {\MusiXTeX} files are stored.
+
+\subsection{Stuff in front of the clefs of the first system}
+ _{inline \TeX!special trick} _{Vogel, Olivier}
+ _{\textbf{musixlyr}} _{\MusiXTeX!\bs\texttt{setclefsymbol}}
+And finally, to show you what is possible, here is a special example of
+using inline {\TeX}: it was contributed to the {\MusiXTeX} users' list
+by Olivier Vogel. Here is the literal text of his contribution,
+with the result shown in Fig.~\ref{fig:bruckner}:
+
+\medskip
+\begin{center}\begin{minipage}{380pt}
+Dear all,
+
+\medskip\noindent
+I've got a score of ``\emph{Locus iste}'' by Bruckner, which begins with
+the indication of the range of voices. I tried to reproduce the result,
+and share with you my solution, since it seems to me to be an
+interesting trick.
+\begin{small}\begin{verbatim}
+---
+\input musixtex
+\input musixlyr
+\setlyrics{soprano}{%
+Lo-cus i-ste a De-o fa-ctus est lo-cus i-ste a De-o %
+fa-ctus est, a De-o, De-o fa-ctus est in-ae-sti-ma-bi-le}
+\copylyrics{soprano}{alto}
+\copylyrics{soprano}{tenor}
+\copylyrics{soprano}{basse}
+---
+4 4 4 4 0 6 0 0 1 2 20 0.04
+
+bttt
+./
+B
+Abd
+h180m
+%1-2
+\\staffbotmarg3\Interligne\
+\\setclefsymbol{2}{\treblelowoct}\
+\\groupbottom{1}{1}\grouptop{1}{4}\
+\\sepbarrules\
+\\startmuflex\indent\hskip-\parindent\hbox{\vbox{\hsize=\parindent\
+\\setclefsymbol{1}{\empty}\setclefsymbol{2}{\empty}\
+\\setclefsymbol{3}{\empty}\setclefsymbol{4}{\empty}\
+\\grouptop{1}{0}\nostartrule\generalmeter{}\parindent=0pt\
+\\startpiece\hardspace{2pt}\notes\zq{F}\nq{''C}&\zq{c}\nq{'e}&\
+\\zq{N}\nq{'b}&\zq{b}\nq{'g}\en\zstoppiece}}\
+\\\assignlyrics{1}{basse}\assignlyrics{2}{tenor}\
+\\\assignlyrics{3}{alto}\assignlyrics{4}{soprano}\
+...
+\end{verbatim}\end{small}
+(The regular {\PMX} encoding of the music follows).
+\end{minipage}\end{center}
+
+\begin{figure}[!htb]
+ \begin{center}
+\includegraphics[scale=.82]{eps/bruckner.eps} \\[2ex]
+ \end{center}
+ \caption{\textbf{A.\ Bruckner}, \emph{Locus iste} }
+ \label{fig:bruckner}
+\end{figure}
+
+\pagebreak
+
+\vspace*{10ex}
+If you encounter a tricky {\PMX} problem that you think is of general
+interest, so that it may have been solved by someone else already,
+a good place to search is the
+\href{http://icking-music-archive.org/software/pmxtricks/tricks.html}%
+ { {\PMX} `Tips and Tricks'} section of the WIMA.
+
+\medskip
+And if you have found a nice trick yourself, don't hesitate to
+share it via the TeX-music users' list. Perhaps it can be included in
+`Tips and Tricks' !
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% PMX tutorial by ccn / chapter F starts here:
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\chapter{An Extension of {\PMX}: {\MTX}} \label{sec:MTX}
+_{\MTX} _{Laurie, Dirk}
+
+Although {\PMX} is already vastly simpler to use than {\MusiXTeX},
+anything can be improved. So Dirk Laurie
+_{Laurie, Dirk}
+set out to simplify {\PMX} even further, and thus created {\MTX}.
+
+\medskip
+{\MTX} is actually a preprocessor to {\PMX}. Its input is a file with
+extension \verb#.mtx# , for example ~\verb#mymadrigal.mtx# , its output
+has the extension \verb#.pmx# , \verb#mymadrigal.pmx#. Its input
+language is similar, but not identical, to that of {\PMX} and includes
+most of the functionality of {\PMX} as a subset.
+
+\medskip _{\textbf{musixlyr}}
+The major purpose of {\MTX} is to facilitate the introduction of lyrics
+in a musical score of a song, cantata or opera. {\MTX} does this in
+conjunction with the \textbf{musixlyr} package by Rainer Dunker; so if
+you want to use {\MTX}, you ought to have \textbf{musixlyr} installed as
+well. _{Dunker, Rainer}
+
+\bigskip _{Laurie, Dirk}
+Laurie's Work on {\MTX} had essentially been ended in November 1998 with
+the `final' version 0.52. But, as many such projects, {\MTX} continued
+to evolve; presently, the `official' version is 0,60, dated March 2005,
+and the current patch is 0.60c , dated 22 November 2007 !
+
+\bigskip
+Since there is a full
+\href{http://icking-music-archive.org/software/mtx/mtx060.pdf}%
+ {manual on {\MTX}}
+available in WIMA, these few remarks may suffice here.
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% PMX tutorial by ccn / Appendix starts here:
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% \renewcommand{\thechapter}{}
+
+\chapter{Appendix: Examples} \label{sec:examples}
+
+\section{Dons Example Files} \label{sec:donsexamples}
+
+The `official' distribution files for {\PMX},
+which are available from WIMA
+\href{http://icking-music-archive.org/software/pmx/pmx2514.zip}%
+ {[(pmx2514.zip)]},
+, contain 3 instructive examples (not reproduced here):
+
+\begin{description}
+ \item[\texttt{most.pmx}] contains examples of most
+ of the {\PMX} commands, and a few programming tricks, including
+ examples in the last line of beam groups whose notes vary
+ widely in pitch. The printed output displays the {\PMX}
+ commands near to the resulting typeset characters. It is more
+ useful to look at the printed output rather than the source
+ file, since the file is littered with Inline \TeX ~needed to
+ output the text strings representing the {\PMX} commands.
+ \textbf{WARNING:} Do not try to play this music; it could be
+ hazardous.
+ \item[\texttt{barsant.pmx}]
+ _{\PMX!options!global} _{S symbol@\texttt{S} symbol}
+ contains the first movement of a recorder sonata by the Italian
+ Francesco Barsanti (1690-1772). It demonstrates many of
+ {\PMX}'s strong points in a `battlefield situation': figured
+ bass, complex beaming patterns, xtuplets, and automatically
+ adjusted horizontal and vertical spacing in crowded scores. In
+ fact, this single-page score is at the limit of vertical
+ crowding. It uses the global option \texttt{Ae} for equal space
+ betweem systems. The space between systems was increased (using
+ the option \texttt{AI1.1}) to give a more pleasing appearance.
+ This is a good score to try making parts with
+ \textbf{scor2prt}. The special command \texttt{\%2S9} is used
+ to increase the number of systems in the recorder part (as
+ explained in Section \ref{sec:Ssymbol}).
+
+ \item[\texttt{mwalmnd.pmx}] is an Allemand for harpsichord by the
+ German Matthias Weckmann (1616-1674). It uses many techniques
+ peculiar to keyboard scores.
+\end{description}
+
+
+\section{Full-score examples} \label{sec:fullexamples}
+
+_{Cataldi, Luigi}
+In this appendix you will find the {\PMX} code (by Luigi Cataldi) of
+a full piece, together with the actual score which was generated from it
+(Section~\ref{sec:Dufay}), as well as two extended {\MTX} examples (also
+coded by Luigi Cataldi).
+
+\medskip
+The {\PMX} code for the Dufay Kyrie contains a few inline {\TeX}
+commands; this is done intentionally so you again can get a feel of the
+usage of inline {\TeX}; to understand them fully, however, you will have
+to consult the {\MusiXTeX} documentation.Similarily, you can get an idea
+from the Vivaldi and Caccini example what {\MTX} is all about. For a
+full understanding, you again need to look at the {\MTX} documentation.
+
+\subsection{Dufay, \emph{Kyrie} ({\PMX} code) :}
+ \label{sec:Dufay} \label{p:Dufay} _{\PMX!full-score example}
+
+\begin{center} \begin{small}
+\begin{verbatim}
+%----------------%
+%
+% Dufay, Kyrie
+%
+%----------------%
+%
+---
+\font\tit = cmcsc10 scaled \magstep 5
+\font\dat = cmr12
+\def\comp{\rightline{\medtype Guillaume Dufay}}
+\def\data{\rightline{\medtype (1400?--1474)}}
+---
+2 1 3 4 3 4 0 0
+1 6 20 0
+
+bt
+./
+Abe
+\\def\writebarno{\ifnum\barno>1\lrlap{\oldstyle\the\barno\barnoadd}\fi}%\
+\\def\shiftbarno{0\Interligne}\
+Tt
+{\tit Kyrie}
+Tc
+\vbox{\comp\data}
+It92iororb60:68
+% 1-6
+h-4
+Kyrie
+dd23 | a23 bf4 | c24 d4 | ad23 | dd24 | a23 d44 //
+a23 d4 | c2 d4 | e2 d4 | csd2 | f2 f4 | e2 f4 /
+a24 a4 | e2 d4 | g2 f4 | e2 r4 | ad4 g8 a b | cd45 a84 b c85 /
+
+% 7-9
+c24 bf43 | ad2 | g2 d4 //
+e24 d4 | e d8 c4 bf8 | d4 r+7 d /
+a84 bf a g g f | ad2 | bf2 a4 /
+
+% 10-12
+e2 d4 | g4 bf a | gd2 Rd //
+g8- f g e f4 | r8+8 [ d+ d cs c bn ] | dd2 /
+g2 a4 | g2 fs4 | gd2 /
+\end{verbatim}
+
+\pagebreak
+\begin{verbatim}
+% 13-18
+L3Mc+4
+h-5
+Christe
+dd23 | fd2 | gd2 | d2 d4 | e2 d4 | g2 a4 //
+dd24 | c2 f8 e | d4 c bf | ad2 | g2 f4 | r8+7 [ d+ c b c d ] /
+ad24 s | ad2 s | r8 [ bf b a b g ] | fsd2 | g2 a4 | d- e f /
+
+% 19-24
+bf23 a4 | gd2 | d24 c4 | bf43 a g | d f e | dd2 Rd //
+g4-r d+ c | d2 r4 | f2 e4 | d c b | a2 gs4 | ad2 /
+g24 f4 | g r g | a bf a | g8 f4 e8 g d | f e c d cs b | dd2 /
+
+% 25-28
+L5Mc+4
+h-5
+Kyrie
+d23 g4 | d r8 d e f | g4 f ef | d r+0 r+0 //
+d24 ef4 | d2 c4 | bf2 c4 | dd2 /
+a24 g4 | f2 g4 | bf a g | fsd2 /
+
+% 29-32
+g2 a4 | g2 f4 | g2 a4 | d2- d4 //
+d2 cs4 | d2 a4 | bf2 c4 | ad2 /
+r8 [ g g fs f e ] | g4 f8 g a bf | g4 f e | d r r /
+
+% 33-36
+g43 f g | a f e | d d+ c | d f e //
+bf4 a g | fr a8 g4 f8 | a4 bf8r g4 a8 | d4-r d8+r c4 bf8 /
+e84 d4 c8 bf4 | a8 c4 d8 c4 | d8 f4 g8 e4 | f8 d4 a8+ g4 /
+
+% 37-39
+d2 c4 | dd2 | gd2- //
+d2 e4 | fd2 of-2 | dd2 of-2 /
+a4 b c | ad2 of | gd2 of /
+%
+%----------------%
+%
+% end of Dufay, Kyrie
+%
+%----------------%
+\end{verbatim}
+\end{small} \end{center}
+
+\begin{figure}[!htbp]
+ \begin{center}
+\includegraphics[scale=.73]{eps/dufay.eps}
+ \end{center}
+ \caption{\textbf{G.\ Dufay}, \emph{Kyrie}
+ (generated by {\PMX})}
+ \label{fig:dufay}
+\end{figure}
+
+\pagebreak
+\subsection{Vivaldi, \emph{Mundi Rector} ({\MTX} code) :}
+\label{sec:Vivaldi} _{\MTX!full-score examples}
+
+\vspace*{8ex}
+\begin{center} \begin{small}
+\begin{verbatim}
+%----------------%
+%
+% Vivaldi, Mundi Rector
+%
+%----------------%
+%
+Title: \vbox{\titA\titB}
+Composer: \vbox{\comp\data}
+Flats: 2
+Meter: 3/8
+Pages: 1
+Systems: 2
+Style: SATB4
+Size: 16
+Space: 6 6 6 12
+
+%%\font\rxii = cmr12
+%%\font\tixii = cmti12
+%%\def\titA{\centerline{Mundi rector}}
+%%\def\titB{\centerline{\rxii {\tixii Juditha Triumphans}, I, 27}}
+%%\def\comp{\rightline{\medtype Antonio Vivaldi}}
+%%\def\data{\rightline{\rxii (1678--1741)}}
+%%\let\endpiecesav\endpiece\
+%%\def\endpiece{\endpiecesav\input judt}\
+%%\font\rix = cmr9
+%%\rix
+
+{sopA}={altoA}={tenorA}={basA}
+Mun-di Rec-tor de Cae-lo mi-can-ti
+Au-di pre-ces, au-di pre-ces, et su-sci-pe vo-ta
+Quae de cor-de pro te di-mi-can-ti
+Sunt pie-ta-tis in si-nu de-vo-ta.
+
+{sopB}={altoB}={tenorB}={basB}
+In Ju-di-ta tuae le-gi di-ca-ta
+Flam-mas dul-cis, flam-mas dul-cis, tui_a-mo-ris-ac-cen-de
+Fe-ri-ta-tis sic hos-tis do-ma-ta
+In Be-thu-liae spem pa-cis in-ten-de.
+
+{sopC}={altoC}={tenorC}={basC}
+Re-di, re-di iam Vic-trix pu-gnan-do
+In ci-li-cio, in ci-li-cio in pre-ce ri-vi-ve
+De Ho-lo-fer-ne sic ho-die trium-phan-do
+Pia_Ju-di-tha per sae-cu-la vi-ve.
+\end{verbatim}
+
+\newpage
+\begin{verbatim}
+%%Abp
+%%B
+%%\def\writebarno{\ifnum\barno>1\lrlap{\oldstyle\the\barno\barnoadd}\fi}%
+%%\def\shiftbarno{0\Interligne}
+%%It58ibaclobobb60:70
+% 13
+%%h-4
+%%{\ppff ~~~Allegro}
+r8 d+ e | e d d | [ c1 b ] c8 a | b g4
+L: {sopA,sopB,sopC}
+r8 g g | g g g | fs f f | d d4
+L: {altoA,altoB,altoC}
+r8 b c | c b b | a a c | b b4
+L: {tenorA,tenorB,tenorC}
+@+13 r8 g g | g g g | a d- d | g g4
+L: {basA,basB,basC}
+
+%17-20
+r8 b b | [ b1 a ] b4 | r8 c c | [ c1 b ] c8 e
+r8 f f | [ g1 f ] g4 | r8 g g | [ a1 g ] a8 c
+r8 d d | b b4 | r8 g g | c c e
+r8 d d | e e4 | r8 en e | f f f
+
+%21-24
+d8 e c | (~ [ b1 a b c d e ] | [ f b- ] c4 oT0 )~ | bd4 :|:
+b8 c a | (~ [ bd8 a1 b c ] | d b a4 oT0 )~ | bd4 :|:
+f8 g f | ( fd4 | fd4 ) | fd4 :|:
+b8 e- f | (~ ( bd4- | b8 ) f4+ )~ | bd4- :|:
+
+%25-28
+%%L2
+r8 bn b | [ c1 bn ] c8 g | d+ d d | [ e1 d ] c4 |
+r8 g g | g g g | g g g | g g4 |
+r8 d d | e e e | d d d | c c4 |
+r8 g+ g | c- c c | bn b b | c e4 |
+
+%29-31
+c8 b4 | b8 a c | b c a |
+a8 g4 | g8 fs a | g a fs |
+fs8 d4 | eN8 FS F | D EF D |
+D8 D4 | CS8 D D | G C- D |
+
+%32-34
+(~ [ G1 FS G A B C ] | [ D G- ] A4 OT0 )~ | GD4 OF :|
+(~ [ GD8 FS1 G A ] | [ B G ] FS4 OT0 )~ | GD4 OF :|
+( DD4 | DD ) | DD OF :|
+{~ ( GD4 | G8 ) D4 }~ | GD- OF :|
+\END{VERBATIM}
+
+\NEWPAGE
+\BEGIN{VERBATIM}
+%%%%%%%%%%%%%%% TEXT WRITTEN TO A SEPARATE FILE
+%%%%%%%%%%%%%%% JUDT.TEX
+\FONT\BIG = CMCSC10 SCALED \MAGSTEP 5
+\LEFTSKIP = 3 CM
+\FONT\LYR = CMTI10
+\LYR
+
+\DEF\LYROFFS{5MM}
+
+\VSKIP 10 MM
+\HALIGN{\HSKIP 12MM # \HFILL & # \HFILL & # \HFILL & # \HFILL \CR
+
+MUNDI RECTOR DE CAELO MICANTI
+& IN JUDITA TUAE LEGI DICATA
+& REDI, REDI IAM VICTRIX PUGNANDO \CR
+
+AUDI PRECES ET SUSCIPE VOTA
+& FLAMMAS DULCIS TUI AMORIS ACCENDE
+& IN CILICIO IN PRECE RIVIVE \CR
+
+QUAE DE CORDE PRO TE DIMICANTI
+& FERITATIS SIC HOSTIS DOMATA
+& DE HOLOFERNE SIC HODIE TRIUMPHANDO \CR
+
+SUNT PIETATIS IN SINU DEVOTA.
+& IN BETHULIAE SPEM PACIS INTENDE.
+& PIA JUDITHA PER SAECULA VIVE. \CR
+\END
+%
+%----------------%
+%
+% end of Vivaldi, Mundi Rector
+%
+%----------------%
+\end{verbatim}
+\end{small} \end{center}
+\pagebreak
+
+\begin{figure}[!htbp]
+ \begin{center}
+\includegraphics[scale=.73]{eps/vivaldi2.eps}
+ \end{center}
+ \caption{\textbf{A.\ Vivaldi}, \emph{Mundi Rector}
+ (generated by {\MTX}/{\PMX})}
+ \label{fig:vivaldi2}
+\end{figure}
+\pagebreak
+
+\subsection{Caccini, \emph{Amor l'ali m'impenna} ({\MTX} code)}
+\label{sec:Caccini} _{\MTX!full-score examples}
+
+\begin{center} \begin{small}
+\begin{verbatim}
+%----------------%
+%
+% Caccini, Amor l'ali m'impenna
+%
+%----------------%
+%
+Title: {\tit {Amor l'ali m'impenna}}
+Composer: \vbox{\compA\compB}
+Meter: C
+Style: Singer Cont Bass
+Singer: Voices Sop; Vocal; Clefs G
+Cont: Voices RH1,RH2; Clefs G
+Bass: Voices B; Clefs F
+Flats: 1
+Systems: 12
+Pages: 3
+Space: 4 1
+Size: 20
+Indent: 0.10
+Name: {\it{Soprano}} ~ {\it{Continuo}}
+
+%%\input musixbar\input curly
+%%\font\data = cmr10
+%%\font\tit = cmb10 scaled \magstep 4
+%%\font\rxii = cmr12
+%\font\mov = cmmib10 scaled \magstep 1
+%%\font\num = cmr9
+%%\def\compA{\rightline{\rxii Giulio Caccini}}
+%%\def\compB{\rightline{\data (1550--1618)}}
+%%\def\writebarno{\ifnum\barno>1\lrlap{\oldstyle\the\barno\barnoadd}\fi}%
+%%\def\shiftbarno{0\Interligne}
+
+{Aria}
+A-mor l'a-li m'im-pen-na.
+A-mor dol-ce, a-mor ca-ro,_a-mor fe-li-ce.
+Tal che non spe-ro pi{\`u} n{\'e} pi{\`u} mi li-ce.
+Pas-so nem-bi_e pro-cel-le,
+pas-so'l ciel e le stel-le,
+del pia-cer que-st'{\`e}'l re-gno.
+Ah, mia for-tu-na non se l'ab-bia a sde-gno.
+Que-sto, que-sto m'ac-co-ra:
+ch'al-tri ca-deo,
+ch'al-tri ca-deo dal pa-ra-di-so_an-co-ra.
+Ah, mia for-tu-na non se l'ab-bia a sde-gno.
+Que-sto, que-sto m'ac-co-ra:
+ch'al-tri ca-deo,
+ch'al-tri ca-deo dal pa-ra-di-so_an-co-ra.
+
+%%w187m
+%%h251m
+%%Ab
+%%B
+%%It86ivchaobb58:70:64
+%% \\setsize2\smallvalue\curlybrackets{{1}{2}}\
+%%\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{9}\
+%%\\\indivbarrules\sepbarrule3\
+% Bar 1
+@+2 f0
+L: {Aria}
+f0
+c0 za
+f0
+
+% Bar 2
+f2 ( f2
+f2 f4 e
+a2 zd c zf-
+d2 - a2 6
+
+% Bar 3
+f4 ) f8 g8 (~ [ a1 b1 c1 b1 ] [ a8 g8 ]
+d4.e f.e
+b2 zf f zc+
+b2 a2 6
+
+% Bar 4
+[ fd8 g1 ] [ f8 g8 ] [ a1 ( g g8 ) ] [ a1 ( f f8 ) ] )~
+d0e
+cd2 zf- g4 zbn
+d2 7 ( d4 7 d4 #6 )
+
+% Bar 5
+g2 r4 g8 g8
+e2 g
+c2 zg e+ zc
+c2 c2
+
+% Bar 6
+b2 g4 d8 d8
+b4 zd- a+ zc- g2+
+g2e+ d zb
+g2 - g2
+
+% Bar 7
+f4 [ f1 e1 f1 g1 ] a4 [ e1 d1 e1 f1 ]
+fd2 za- g4 ze+
+de2 c
+d2+ - a4 c4
+
+% Bar 8
+g0
+d0 zg-
+ce2 bn
+\zcharnote{-6}{\num 11}\ ( g2 \zcharnote{-6}{\num 10}\ g )
+
+% Bar 9
+g0
+e0+
+c0 zg
+c0
+
+% Bar 10
+c4 g8 g8 b4 [ a1 b1 c1 b1 ]
+g2 g
+c2 ze d zb
+c2 g2 -
+
+% Bar 11
+ad4 d8- f4 [ e1 f1 g1 f1 ]
+f2.g
+a2 zd d zb
+d2+ - b4 g4 -
+
+% Bar 12
+e0
+\zw e\ dr2 cs
+a2d-2 g4
+%%%%%% The two following lines must actually be written in one line!
+\zcharnote{-6}{\num 11}\ (5t a2 \zcharnote{-6}{\num $\sharp $10}\
+(6t a4 )5t a 7 )6t
+
+% Bar 13
+d2 r4 fs8 f8
+d2 fs
+fs2 zd+ d za
+d2 # d2
+
+% Bar 14
+g4 d8 d8 (~ [ e8 f1 e1 ] [ f1 e1 d1 e1 ] )~
+g4 fn e2
+b2 zd c zg
+g2- c2
+
+% Bar 15
+f2 r4 fs8 f8
+f2 fs
+a2 zc d za
+f2 d2
+
+% Bar 16
+g4 d8 d8 [ e8 f8 fd8 e1 ]
+g4 fn e2
+b2 zd c zg
+g2- c2
+
+% Bar 17
+f4 f8 g8 a2
+f2 f
+a2 zc c za
+f2 f4 e8 d8
+
+% Bar 18
+cd8 c1 (~ [ b1 a1 g1 f1 ] g2 )~
+e4 ( f f ) e
+g2 zc c zg
+%%%%%% The two following lines must actually be written in one line!
+( c4 \zcharnote{-6}{\num 11}\ c4 )
+\zcharnote{-6}{\num 11}\ c4 \zcharnote{-6}{\num 10}\ c4
+
+% Bar 19
+f0
+f0
+a0 zc
+f0-
+
+% Bar 20
+ad2 g8 f8
+f4 ( c c ) bn
+a4 g ( f f )
+f4+ e4 ( d4 d )
+
+% Bar 21
+e8 d8 e8 f8 g2
+c2 r8+0 e d c
+g2 ze rb
+( c2 c8 ) c8 b8 a8
+
+% Bar 22
+g4 d4 d2
+bnr4 ( c c ) b
+g0 zd+
+%%%%%% The two following lines must actually be written in one line!
+\zcharnote{-6}{\num $\sharp $10}\ ( g4 \zcharnote{-6}{\num 11}\ g )
+( \zcharnote{-6}{\num 11}\ g4 \zcharnote{-6}{\num $\sharp $10}\ g )
+
+% Bar 23
+c0
+e0
+c0 zg
+c0
+
+% Bar 24
+gd4+ e8 a4 g8 f8
+e2 e4 f
+g2 zc c za
+c2 a4 f4
+
+% Bar 25
+g2 f8 f8 f8 e8
+e2 f
+g2 zc c za
+c2+ f2-
+
+% Bar 26
+d2 r8 b8+ b a
+f2 g
+b2 zd d zb
+b4 b8 a8 g2 -
+
+% Bar 27
+g8 e8 e8 f8 g4 [ f1 g1 a1 b1 ]
+g4 f e ( f
+c2 ze c zg
+c2 c4 \zcharnote{-4}{\num 11}\ c4
+
+% Bar 28
+g0
+f2 ) cr4 b
+g2 zc e zg-
+%%%%%% The two following lines must actually be written in one line!
+\zcharnote{-4}{\num 11}\ (5t c2
+(6t \zcharnote{-4}{\num 10}\ c4 )5t c 7 )6t
+
+% Bar 29
+f0
+f0+
+a0
+f0-
+
+% Bar 30
+ad2 g8 f8
+f4 ( c c ) bn
+a4 g ( f f )
+f4+ e4 ( d 7 d #6 )
+
+% Bar 31
+e8 d8 e8 f8 g2
+c2 r8+0 e d c
+g2 ze rb
+( c2 c8 ) c8 b8 a8
+
+% Bar 32
+gd8 (~ g1 [ f1 e1 d1 c1 ] )~ d2
+bnr4 ( c c ) b
+g0 zd+
+%%%%%% The two following lines must actually be written in one line!
+\zcharnote{-6}{\num $\sharp $10}\ ( g4 \zcharnote{-6}{\num 11}\ g )
+( \zcharnote{-6}{\num 11}\ g \zcharnote{-6}{\num $\sharp $10}\ g )
+
+% Bar 33
+c0
+e0
+c0 zg
+c0
+
+% Bar 34
+gd4+ e8 a4 g8 f8
+e2 e4 f
+g2 zc c za
+c2 a4 f4
+
+% Bar 35
+g2 f8 f8 f8 e8
+e2 f
+g2 zc c za
+c2+ f2-
+
+% Bar 36
+d2 r8 b8+ b a
+f2 g
+b2 zd d zb
+b4 b8 a g2 -
+
+% Bar 37
+g2 r8 c8 c8 b8
+g2 a4 b
+c2 ze c4 zf d zg
+c4 c8 b8 a4 6 g4
+
+% Bar 38
+a4 b4 ( c2
+a2 a
+f2 c
+f2 a4 6 b4
+
+% Bar 39
+[ c8 ) (~ b1 a1 ] [ g1 f1 e1 d1 ] [ e1 d1 c1 d1 ] [ e1 f1 g1 a1 ]
+g0
+c0 ze
+c0
+
+% Bar 40
+[ g1 c1- d1 e1 ] [ f1 g1 a1 b1 ] [ c1 b1 a g1 ] [ a1 g1 a1 f1 ]
+e0
+c0 zg
+c0
+
+% Bar 41
+g0 )~
+f2 e
+\zw N\ ce2d+0+1 b4
+%%%%%% The two following lines must actually be written in one line!
+\zcharnote{-4}{\num 11}\
+(1t c2 (2t \zcharnote{-4}{\num 10}\ c4 )1t c 7 )2t
+
+% Bar 42
+f0
+f0
+a0
+f0-
+%
+%----------------%
+%
+% end Caccini, Amor l'ali m'impenna
+%
+%----------------%
+\end{verbatim}
+\end{small} \end{center}
+
+\begin{figure}[!htb]
+ \begin{center}
+\includegraphics[scale=.75]{eps/caccini1.eps}
+ \end{center}
+\end{figure}
+\begin{figure}[!htb]
+ \begin{center}
+\includegraphics[scale=.75]{eps/caccini2.eps}
+ \end{center}
+\end{figure}
+\begin{figure}[!htbp]
+ \begin{center}
+\includegraphics[scale=.75]{eps/caccini3.eps}
+ \end{center}
+ \caption{\textbf{G.\ Caccini}, \emph{Amor l'ali m'impenna}
+ (generated by {\MTX}/{\PMX})}
+ \label{fig:caccini}
+\end{figure}
+
+\addcontentsline{toc}{chapter}{Index}
+
+\renewcommand{\seename}{$\;\Rightarrow\;$}
+\printindex
+
+\end{document}
+
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% End of PMX tutorial by ccn / Mon 2003 Sep 22 /19:15 /ccn
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%)))
+
+
diff --git a/Master/texmf-dist/doc/generic/pmx/ref260.pdf b/Master/texmf-dist/doc/generic/pmx/ref260.pdf
new file mode 100644
index 00000000000..7273f7fc68c
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/ref260.pdf
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diff --git a/Master/texmf-dist/doc/generic/pmx/ref260.tex b/Master/texmf-dist/doc/generic/pmx/ref260.tex
new file mode 100644
index 00000000000..32fa9bdfdce
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/ref260.tex
@@ -0,0 +1,456 @@
+%%%%%%%%%%%%%%%%%
+%%
+%% ref20.tex (latex2e?)
+%%
+%%%%%%%%%%%%%%%%%
+\ifx\documentstyle\undefined
+% \documentstyle[11pt,multicol]{article}
+ \documentstyle[12pt,multicol]{article}
+\else
+% \documentclass[11pt]{article}
+ \documentclass[12pt]{article}
+ \usepackage{multicol}
+\fi
+
+\pagestyle{empty}
+
+% A4 horizontal 210mm, letter vertical 11in:
+\setlength{\textwidth}{21cm}\addtolength{\textwidth}{-2cm}
+\setlength{\textheight}{11in}\addtolength{\textheight}{-2cm}
+\addtolength{\topmargin}{-3.5cm}
+\addtolength{\oddsidemargin}{-3.4cm}
+\addtolength{\evensidemargin}{-3.4cm}
+\setlength\columnsep{2mm}
+
+\hoffset22.5pt
+
+\message{h=\the\textheight, w=\the\textwidth, s=\the\columnsep}
+
+\begin{document}
+
+{\footnotesize\small
+
+\def\bs{{\tt\char'134}}
+\def\bsn{\bs}
+\def\dhline{\hline\hline}
+\def\newcol{
+\hline
+\end{tabular}
+
+\begintab
+\hline
+}
+%\let\blank\ \def\ {\blank\blank}
+
+\centerline{QUICK REFERENCE TABLE FOR {\bf PMX},
+Version 2.6,
+July 2010~~~
+\hfill by Don Simons (dsimons@roadrunner.com)}
+
+%\begin{multicols}{2}
+\null
+
+ This table defines PMX command syntax. Each command starts with a
+single character from a non-indented line, followed by characters from
+subsequent indented lines, with no internal spaces. When characters
+on the same line are separated by commas, only one can be used, unless
+otherwise noted. Characters enclosed in brackets {\tt [~]} are optional,
+but if one is used and the following line is indented and unbracketed,
+then one character must be used from the unbracketed group. Several
+characters, chosen from different lines that are indented the same
+amount, may be used in sequence. {\it d1, d2} are single digits, so
+for example {\it d1}{\tt[}{\it d2}{\tt]} is a one- or two-digit integer.
+{\it i} is any non-negative integer.
+{\it x} is any non-negative decimal number.
+
+%\end{multicols}
+
+\begin{multicols}{2}
+\begin{center}
+%\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}}
+\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}}
+\begintab
+\hline
+a,b,c,d,e,f,g & Note name.\\
+\ [0,2,4,8,1,\break\rightline{3,6,9]} & If first digit, duration.
+ Must include if duration not yet set in current input block.\\
+\ [1,2,3,4,5,\break\rightline{6,7]} & If second digit, Octave number.
+ Must include if octave not yet set in current input block.\\
+\ [d] & Dot.\\
+ \ \ [+.- {\it x}] & Vertical shift, \bsn{}internotes.\\
+\ \ \ [+.- {\it x}] & Horiz. shift, notehead widths.\\
+\ \ [d] & Double dot.\\
+\ [f,s,n] & Accidental. Repeat for double.\\
+\ \ [+,- {\it i} +,- {\it x}] & Vertical shift, \bsn{}internotes;
+ horiz. shift, notehead widths.\\
+\ \ [<,> {\it x}] & Horiz. shift, notehead widths.\\
+\ \ [i] & MIDI-only accidental.\\
+\ \ [c] & Cautionary accidental.\\
+\ [+,-] & Shift octave from default (default is within a 4th).\\
+\ [u,l] & Force stem direction.\\
+\ [a] & Prohibit beaming this note. If first note of xtuplet, prohibit
+ beaming the xtuplet.\\
+\ [r] & Right offset by one notehead.\\
+\ [e] & Left offset by one notehead.\\
+\ [.] & Dot shortcut: {\tt a8.b} = {\tt ad8 b1} \\
+\ [,] & 2:1 shortcut: {\tt a8,b} = {\tt a8 b1} \\
+\ [D] & In xtuplet note only, double duration. Reduce number of
+ notes in xtup by 1.\\
+\ [F] & As above, and add dot.\\
+\ [S{\it x}] & Shrink stem length by {\it x} \bs{\tt internote}.\\
+\ \ [:] & Make it sticky.\\
+\ [S:] & Shrink this stem, then turn off stem shrinkage.\\
+\ [Ao] & In main chord note, post accidentals in order entered.\\
+\newcol
+~ & Note options, continued\\
+\ [x{\it i}] & An {\it i}-tuplet starts here.
+ Duration (already set) refers to total for xtuplet.
+ Next $i-1$ notes or rests are in
+ xtuplet. They must have no duration number; may have
+ octave number or {\tt d} for dot.\\
+\ \ [d] & Dot first xtup note, halve next.\\
+\ \ [n] & Fine-tune printed number. \\
+\ \ \ (\it{blank}) & Don't print number. \\
+\ \ \ [f] & Flip vertical location. \\
+\ \ \ [{\it i}] & Replacement printed number. \\
+\ \ \ [+,- {\it i}] & Vertical shift, \bsn{}internotes.\\
+\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
+\ \ \ [s] & Fine tune slope of bracket for non-beamed xtuplet.\\
+\ \ \ \ +,- {\it i} & Slope adjustment.\\
+\dhline
+z & Chordal note. No duration allowed.\\
+\ a,b,c,d,e,f,g & Note name.\\
+\ \ [f,s,n] & Flat, sharp, natural. Repeat for double flat or sharp.
+ Shift options same as on main note.\\
+\ \ \ [A] & (Preceding a shift) Apply shift relative to PMX-computed one.\\
+\ \ [+,-] & Up or down one octave.
+ may use several in succession.\\
+\ \ [r,e] & Right or left offset by one notehead.\\
+\ \ [d] & Dot. Permitted but not required, unless dot is to
+ be shifted. \\
+\ \ \ [+,- {\it x}] & Vertical shift, \bsn{}internotes.\\
+\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
+\newcol
+r & Rest.\\
+\ [0,2,4,8,1,\break\rightline{3,6,9]} & Duration.
+ Must include if duration not yet set in current input block.\\
+\ [d] & Dot.\\
+\ [p] & Full-bar rest using 'Pause' symbol (no digit).\\
+\ [m{\it i}] & Multi-bar rest of {\it i} bars.\\
+\ [b] & Blank rest, not printed (this line of music
+ drops from sight).\\
+\ [o] & Suppress centering full-bar rest.\\
+\ [+,- {\it i}] & Raise/lower rest from middle line, \bsn{}internotes.\\
+\ [L] & With AK, align rest with note to left. \\
+\ [x{\it i}] & Start xtup. After above options. See description for
+ main note.\\
+\dhline
+o & Ornament. Symbol comes after note.\\
+%\ t,m,x,+,u,p,\break\rightline{),-,>,\raise1pt\hbox{\^\ }.}
+\ t,m,x,+,u,p,\break\rightline{(,),\_,.,>,\^\ }
+ & Shake, mordent, ``x", ``+", pizz., strong pizz., ``(" before
+ notehead,
+ ``)" after notehead, tenuto, stacc., sfz, duncecap\\
+\ c,b & Caesura, breath.\\
+\ \ [+,- {\it i}] & Vertical shift, \bs{\tt internote}.\\
+\ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
+\ f & Fermata. Default is up.\\
+\ \ [d] & Convert to down fermata. \\
+\ T,Tt & Trill ({\it tr}) with or without wavy line.\\
+\ \ [{\it x}] & Length to end of wavy line, \bsn{}noteskips.
+ Default is one \bsn{}noteskip.
+ Use {\tt oT0} for {\it tr} .\\
+\ g & Segno. Voice \#1 only.\\
+\ \ [[-]{\it d1}[{\it d1}]] & Offset of segno symbol in points.\\
+\ e & Editorial accidental. \\
+\ \ s,f,n & Sharp, flat, natural. \\
+\ \ \ [?] & Editorial accidental is dubious. \\
+\ \ ? & Text is dubious. \\
+\ [+,- {\it i}] & (After~setting~ornament~type)\break Raise/lower by
+ {\it i} \bsn{}internotes from default.\\
+\ [:] & Repeat toggle. Must come last. First instance, after setting
+ ornament type, gives all later notes same ornament, until
+ {\tt o:} shuts it off. \\
+\newcol
+G & Grace note group.\\
+\ [{\it i}] & Number of notes in group. Not needed if 1.
+ If {\tt>}1, next $i-1$ notes are in grace.\\
+\ [s] & Slur to/from main note.\\
+\ [m {\it d1}] & Multiplicity (number of flags or beams). Default is 1.\\
+\ [x] & Slash. Single grace only. \\
+\ [l,u] & Forced stem direction.\\
+\ [A,W] & Put grace just after main note, or shifted as far
+ right as possible.\\
+\ [X{\it x}] & Gap to main note, notehead widths. \\
+\ ({\it first note}) & Must follow the above options, with no space.
+ Use same symbols as normal note.\\
+\dhline
+s,t,) & Slur toggle. Place after note. If {\tt Ap} is on, {\tt t} causes
+ true tie.\\
+( & Placed before note, same as {\tt s} placed after. \\
+\ [{\it c}] & Optional ID code, {\tt 1-9} or {\tt A-Z} . Must be first
+ after {\tt s,t,(,)} .\\
+\ [u,d,l] & Force slur direction. Only allowed at slur start.\\
+\ [t] & Position slur end as tie rather than slur. With postscript
+ slurs, print a true tie.\\
+\ [b] & Dotted slur.\\
+\ [+,- {\it i}] & Raise/lower start/end of slur, \bsn{}internotes.\\
+\ \ [+,- {\it x}] & Horizontal shift start/end of slur, notehead widths. \\
+\ \ \ [+,- {\it i}] & Mid-height alteration, nonzero, only on termination.\\
+\ \ \ \ [:{\it d1d2}] & Alter starting and ending slope, 1-7.\\
+\ [f,n,h,H,HH] & Flatten, normalize, or increase curvature. For font-based slurs, only allowed
+ on termination. For Type K linebreak slurs, applies to first segment if on start,
+ second if on end.\\
+\ [s +,- {\it i}] & On start of a line-breaking type K slur or tie, vertical adjustment
+ of end of first segment.\\
+\ \ +,- {\it x} & Horizontal tweak of end of first segment.\\
+\ \ \ [+,- {\it i}] & Vertical adjustment of start of second segment.\\
+\ \ \ \ +,- {\it x} & Horizontal tweak of start of second segment.\\
+\ [p] & Local change in postscript slur or tie adjustment.\\
+\ \ +,- & Turn on or off automatic adjustment.\\
+\ \ \ s,t & Adjust slur or tie.\\
+\newcol
+A & Miscellaneous controls.
+ Only at start of first block except {\tt i} , {\tt I}\\
+\ [i,I {\it x}] & Factor on \bs{\tt interstaff}\\
+\ [d] & Lower dots in lower voice of 2 on a staff\\
+\ [a{\it x}] & Change afterruleskip to {\it x} \bs{\tt elemskip}s. Default
+ is 1.\\
+\ [b,s] & Force big or small accidentals.\\
+\ [r] & Relative accidentals. Must be set if transposing.\\
+\ [e] & Equalize inter-system spacing.\\
+\ [S] & Tweak accidental spacing for staves made small with in-line
+ TeX.\\
+\ \ -,0;...;-,0 & A string of yes-or-no specifiers, one for each staff.\\
+\ [v] & Toggles vshrink (initially on), which collapses pages vertically
+ when computed \bs{\tt interstaff} exceeds 20.\\
+\ [N] & User-defined part file name.\\
+\ \ {\it i}"{\it name}" & Name to use in part {\it i}.\\
+\ [T] & Use Col. S's broken brackets for non-beamed xtups.\\
+\ [p] & Activate postscript slurs.\\
+\ \ l & Activate special adjustments for line-breaking slurs and ties.\\
+\ \ h & Input Type K postscript header at start of every page, so pages can be
+ separated e.g. with dviselec.\\
+\ \ [+,-] & Turn on or off global slur or tie adjustments, or halfties.\\
+\ \ \ s,t,h,c & Switch slur, tie, halftie, or ratchet curvature.\\
+\ [R] & Read in normal include file.\\
+\ \ {\it filename} & File name, may include path.\\
+\ [K] & Activate special rules for rest positions in 2-staff keyboard scores.\\
+\dhline
+B & Toggles default stem direction for middle line of bass clef.
+ (intial direction is up).\\
+\dhline
+C & Clef change.\\
+\hbox{\ t,s,m,a,n,r,}\hbox{\ b,f or 0-7} & New clef. ({\bf t}reble, {\bf s}oprano,
+ {\bf m}ezzo-soprano, {\bf a}lto, te{\bf n}or, ba{\bf r}itone,
+ {\bf b}ass, {\bf F}rench violin).\\
+\dhline
+D & Dynamics.\\
+\ p,pp,...,ffff & Pre-defined standard dynamics.\\
+\ "{\it text}" & Any text string.\\
+\ <.> & Hairpin toggles.\\
+\ \ [+,- {\it n }] & Vertical shift from default, \bs{\tt internote}s.\\
+\ \ \ [+,- {\it n }] & Horizontal shift from default, notehead widths.\\
+\newcol
+F & Cancels figures in bass line
+ (use with {\tt \%1} in score file
+ to make a bass part with no figures).\\
+\dhline
+h,w & If followed by number, page height or width.
+ Only at start of first input block.\\
+\ {\it x} & Page height or width.\\
+\ \ [i,m,p] & Inches, mm, points. Default is points.\\
+\dhline
+h & If followed by blank or {\tt [+,-]}, heading.
+ Next input line will print above top staff.\\
+\ [+,- {\it i}] & Alter height from default, \bs{\tt internote} \\
+\dhline
+I & MIDI controls. Only at start of an input block.\\
+\ [t{\it x}] & Set tempo to {\it x} beats per minute.\\
+\ [p{\it x}] & Insert a pause of {\it x} quarter notes.\\
+\ [i{\it i1i2...in}] & Specify {\tt noinst} MIDI instruments. {\it i1,i2...in}
+ are integers between 1 and 128 or 2-letter abbreviations.
+ Consecutive integers must be separated with {\tt ":"}.\\
+\ [v{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} velocities
+ (volumes), 1$\leq${\it i}$\leq$128. \\
+\ [b{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} balances
+ 1$\leq${\it i}$\leq$128, 64=center. \\
+\ [T] & MIDI-only transposition.\\
+\ \ +,- {\it i1} +,- {\it i2} ... +,- {\it in} & Amounts of transpositions, multiples
+ of 12 only, {\tt noinst} values.\\
+\ [g{\it i}] & Internote gap in midi tics. Default = 10\\
+\ [MR{\it i}] & Start recording macro {\it i}.\\
+\ [M] & Stop recording.\\
+\ [MP{\it i}] & Playback (insert) macro {\it i}.\\
+\dhline
+K & Key signature change and/or transposition.\\
+\ +,- {\it i} & Amount of transposition in \bsn{}internotes. Use {\tt-0} to transpose
+ by 1/2 step to same-name key.\\
+\ \ +,- {\it i} & New key signature.\\
+\dhline
+l & Next input line is a text string
+ to appear below top staff.\\
+\newcol
+L{\it i} & Force a line break at line {\it i}. Voice \#1 only. Start of
+ block only.\\
+\ [P{\it i}] & Force a page break at page {\it i}.\\
+\ [M] & Movement break. Must follow {\tt P} if present. \\
+\ \ [+{\it i}] & Extra vertical space, \bs{\tt internote}. \\
+\ \ [i{\it x}] & New indent, decimal fraction of line width.\\
+\ \ [c] & Continue bar numbering, do not reset.\\
+\ \ [r +,-] & Force or suppress reprinting instrument names.\\
+\ \ [n{\it i}] & Change to {\it i} instruments.\\
+\ \ \ {\it d1d2...di} & Numbers of instruments. Precede 2-digit numbers with {\tt :}\\
+\ \ \ \ {\it c1c2...ck} & Clef symbols. Enter one for
+ every staff in new lineup.\\
+\dhline
+m & Meter change. Voice \#1 only. Start of input block only.\\
+\ o,{\it d1}[{\it d2}] & True numerator of meter.
+ Use {\tt o} if full value is exactly 1.
+ If {\it d1}=1, numerator is 10+{\it d2}.\\
+\ \ {\it d1}[{\it d2}] & True denominator.\\
+\ \ \ o,{\it d1}[{\it d2}] & Printed numerator of meter. Use {\tt o} as above.\\
+\ \ \ \ {\it d1}[{\it d2}] & Printed denominator.\\
+\ {\it d1}[{\it d2}]/ & (Alternate syntax) true numer-ator \\
+\ \ {\it d1}[{\it d2}]/ & true denominator \\
+\ \ \ {\it d1}[{\it d2}]/ & printed numerator \\
+\ \ \ \ {\it d1}[{\it d2}] & printed denominator \\
+\dhline
+M & Macro. If alone, ends recording or saving.\\
+\ [R,S,P] & Record (store and execute), save (store but do not execute),
+ or playback. \\
+\ \ {\it i} & Macro ID number, from 1 to 20. \\
+\dhline
+P & Start page numbering in this page. Voice \#1 only.
+ Start of input block only.\\
+\ [{\it i}] & Starting page number. Default is 1.\\
+\ [r,l] & Margin for starting page number. Default is 'r'.\\
+\ [c] & Centered header on each page. Must be last option in symbol.
+ Default text is instrument name \\
+\ \ [{\it text}] & Text with no blanks \\
+\ \ ["{\it text}"] & Text with blanks \\
+\newcol
+R & Repeat or doublebar. Voice \#1 only.
+ Doublebars at start of bar only.\\
+\ l,r,lr,d,D,dl & Left repeat, right repeat, l-r rpt, doublebar, doubleBAR,
+ doublebar-left repeat.\\
+\ z & Blank barline at next system break.\\
+\ b & Single bar (end of movement or piece).\\
+\dhline
+S{\it i} & Reset total number of systems to {\it i}.
+ Only at start of first input block.
+ Only useful with \bs{\tt \%}{\it j} for automatically
+ generated parts.\\
+\ [P{\it i}] & Force total number of pages to be {\it i}.\\
+\ [m{\it i}] & Change musicsize to {\it i}.\\
+\dhline
+T & Title string. Only at start of first input block.\\
+\ t[{\it d1}[{\it d2}]],i,c & Title of piece (centered), instrument (left
+ justified), or composer (right justified). Following line
+ is the text.
+ {\tt Tt} may be followed by a number (\bsn{}internotes) to add
+ vertical space below entire title block.
+ {\tt Tt} must come after {\tt Ti} and {\tt Tc} for this to work.\\
+{\it text}\bs\bs{\it text} & Make a line break in the title string.\\
+\dhline
+V & Toggle for Volta. Voice \#1 only. Start of bar only.
+ For scor2prt, only allowed one per input block,
+ and it must come at start of block.\\
+\ [{\it text}] & Text for start of volta. May not be ``b" or ``x".\\
+\ b,x & At end of volta, boxed end or horizontal (no box).\\
+\dhline
+W & Set new minimum horizontal space between noteheads.\\
+\ . & Decimal point (required).\\
+\ \ {\it d1} & Tenths of notehead width. Default is 3.\\
+\dhline
+x & Floating figure (offset to right).\\
+\ {\it d1} & Number of note-length units of offset.\\
+\ \ {\it d2} & Note-length unit. Same code as for note durations.\\
+\ \ \ 2,3,\dots,9,\break\rightline{\#,-,n,0{\it d1}}
+ & Characters for floating figure,
+ arranged as in normal figure.\\
+\newcol
+X & Shift or insert hardspace. \\
+\ [-]{\it x} & Distance. Default units are notehead widths.\\
+\ \ [{\tt p}] & Units are points.\\
+\ [:] & Begin shift (if number\break also present), end shift
+ (if no number),\\
+\ [S] & Single-note shift ({\tt S}). \\
+\ [P] & Use only in part, not score. \\
+\ [B] & Use in both score and part. \\
+\dhline
+2,3,\dots,9,\#,-,n & Normal figure.
+ Combine characters as needed. See manual.\\
+0 {\rm (zero)} & Continuation figure.\\
+\ {\it x} & Length in \bsn{}internotes.\\
+\_ {\rm (underscore)} & Placeholder figure, to lower the next one. \\
+\ [+{\it i}] & In any figure, raise by {\it i}~\bs internotes. \\
+\ [s] & (With 2,4,5,6,9) add slash. Must have font cmrj. \\
+\dhline
+[ & Start a forced beam.\\
+\ [j] & Continue an existing staff-\break jumping beam.\\
+\ [u,l] & Direction of forced beam.\\
+\ [f] & Flip beam direction.\\
+\ [m {\it d1}] & Forced multiplicity. {\it d1} = 1 - 4. \\
+\ [h] & Force horizontal beam (zero slope).\\
+\ [:] & After this forced beam, continue forced beaming over the
+ same interval until next explicit forced beam or end of
+ input block.\\
+\ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\
+\ \ [+,- {\it i}] & Change slope from default.\\
+\ \ \ [+,- {\it i}] & Distance to raise or lower beam, beam thk's.\\
+\dhline
+] & End forced beam.\\
+\ [j] & Keep beam open, prepare to jump to other staff \\
+\dhline
+][ & Between two notes in a forced beam,
+ decrease multiplicity to 1, then immediately increase.
+ Treated as a single symbol, set off by spaces.\\
+\dhline
+]-[ & Between two notes in forced beam, end one segment and
+ start next of a single-slope beam group\\
+\dhline
+( & Placed before a note, equivalent to {\tt s} after note. \\
+) & Equivalent to {\tt s} . \\
+\dhline
+\{ & Placed before a note, equivalent to {\tt t} after note. \\
+\} & Equivalent to {\tt t} . \\
+\newcol
+? & Arpeggio start/stop. Comes after note. \\
+\ [-{\it x}] & Shift left by {\it x} notehead widths. \\
+\dhline
+\bs,\bs\bs,\bs\bs\bs & Start a literal \TeX~string before
+ next note, before \bsn{}startmuflex, or before
+ first \bsn{}notes group of current input block.\\
+\ {\it Text}\bs & TeX string and terminator.
+ May have more than one TeX command, strung end-to-end.\\
+--- (\rm 3 minus's) & Toggle for multiline \TeX\ block. Must start on first
+ line. All lines until next {\tt ---} will be copied verbatim
+ to top of \TeX\ file.\\
+\dhline
+[|] & Bar line. Only used for checking, except required after
+ end-of-bar inserted hardspace.\\
+\dhline
+/ & Terminate input for a staff in this input block.\\
+\dhline
+// & Terminate first line of music on this staff for this input
+ block, start a second line of music on same staff.\\
+\dhline
+\% & Comment line.\\
+\ [{\it h}]{\it text} & Scor2prt will put {\it text}
+ into the part whose hexadecimal number is {\it h}.\\
+\ [!]{\it text} & {\it text}
+ will be put in all parts by scor2prt.\\
+\ [\%] & Following line will be ignored by scor2prt.\\
+\dhline
+.\break\null\ {\it note command} & Detatched dot-form shortcut.\break Note will have
+ 1/3 duration of prior note. See note name command.\\
+\dhline
+,\break\null\ {\it note command} & Detatched 2:1 shortcut. Note will have
+ 1/2 duration of prior note. See note name command.\\
+\hline
+\end{tabular}
+\end{center}
+\end{multicols}
+}
+\end{document}
diff --git a/Master/texmf-dist/doc/generic/pmx/scor2prt.1 b/Master/texmf-dist/doc/generic/pmx/scor2prt.1
new file mode 100644
index 00000000000..4e38a161cb0
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/pmx/scor2prt.1
@@ -0,0 +1,18 @@
+.TH scor2prt 1 "5 March 2012" "Version 2.6.17" "scor2prt Manual Page"
+.SH NAME
+scor2prt \- source-parts separation program for pmx, a MusiXTeX preprocessor
+.SH SYNOPSIS
+.B scor2prt
+.RI basename [.pmx]
+.SH DESCRIPTION
+scor2prt is part of pmx(1), a preprocessor for MusiXTeX. It can automatically
+create parts from a score by generating a set of .pmx files, one for each part,
+from a single .pmx file for the score. The appearance of the parts can be
+controlled by special commands in the main file. Read the PMX Manual for more
+information about that.
+.SH SEE ALSO
+pmx(1), pmxab(1), musixtex(1), PMX Manual
+.SH AUTHORS
+PMX was written by Don Simons <dsimons@roadrunner.com>.
+This manual page was written by Roland Stigge <stigge@antcom.de> for the Debian
+project and revised by Bob Tennent <rdt@cs.queensu.ca>.
diff --git a/Master/texmf-dist/doc/generic/pmx/scor2prt.pdf b/Master/texmf-dist/doc/generic/pmx/scor2prt.pdf
new file mode 100644
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