diff options
| author | Karl Berry <karl@freefriends.org> | 2015-02-28 22:49:36 +0000 |
|---|---|---|
| committer | Karl Berry <karl@freefriends.org> | 2015-02-28 22:49:36 +0000 |
| commit | ae750b9d9f9b660a211c98ee92e45a5ec9f42dea (patch) | |
| tree | 21a2f38bae7bb139c78e4634c9fd7562cef14a0e /Master/texmf-dist/doc/generic | |
| parent | 3b4f0a07480eef603c2582c56ceef707e9849ce6 (diff) | |
musixtex (28feb15)
git-svn-id: svn://tug.org/texlive/trunk@36401 c570f23f-e606-0410-a88d-b1316a301751
Diffstat (limited to 'Master/texmf-dist/doc/generic')
55 files changed, 10273 insertions, 10403 deletions
diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-T114.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-114.txt index 3e770972089..3e770972089 100644 --- a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-T114.txt +++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-114.txt diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-116.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-116.txt new file mode 100644 index 00000000000..e34646d5583 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-116.txt @@ -0,0 +1,33 @@ +Changes from MusiXTeX 115 to 116: + + HM corrected the definitions for cautionary small accidentals + + RDT added \check@staff ... \fi to \@qa h, \@mca, \hs, \qqs + so that \qa, \ca, \ha, etc. can be "hidden" using \setstaffs{n}{0} + + RDT incorporated tuplet.tex (approved by George Sicherman) + and introduced \txtfont to allow changing size or style + + RDT introduced + \qqsk, a one-quarter notehead skip + \tqu and \tql, synonyms for \tqh and \tqb + \ztqu and \ztql, synonyms for \ztqh and \ztqb + \hpp, \qpp, \dsp, \qsp, \hsp, \qqsp for pointed rests + \nnotes, \nnnotes: abbreviations with \multnoteskip\smallvalue + and \multnoteskip\tinyvalue spacing + + RDT incorporated curly.tex (approved by Mthimkhulu Molekwa) + + RDT modernized the treatment of text fonts + meterfonts must be bf, even if titling fonts are rm or sc + added dynamic-mark macros \sfz \sfzp + + Added to the extension library: musixppff.tex (HM), musixadf (HM), + musixplt (RDT), musixec (RDT) + + RDT extended musixtmr + + Stanislav Kneifl fixed a bug in musixps. + + + diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc-115.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc-115.txt deleted file mode 100644 index 170d46cd4a8..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc-115.txt +++ /dev/null @@ -1,9 +0,0 @@ -Musixdoc: Update links to CTAN in 3.1. - -Musixdoc: Set link for musixtex.zip once we decide if it should be 1.15 - -Musixdoc: Edit 128th beam stuff. - -Musixdoc: Add smalltreblelowoct etc. - -Musixdoc: Explain where musixflx source and binaries are. diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc.txt new file mode 100644 index 00000000000..6d860036e5a --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc.txt @@ -0,0 +1,22 @@ +2015-02-20 RDT + + Clean up title page and preface(s). + Three-pass system material revised. + Link to WIMA for installation instructions. + Extracting-parts material (DT) restored from T114. + Chapter 3 (Acquiring, Installing, and Using MusiXTeX) deleted. + musixdoc.sty revamped to allow use of Times or Palatino fonts. + musixdoc.tex broken up into separate chapter files for use with includeonly. + Many corrections and improvements, too numerous to list. + +2011-04 + + Musixdoc: Update links to CTAN in 3.1. + + Musixdoc: Set link for musixtex.zip once we decide if it should be 1.15 + + Musixdoc: Edit 128th beam stuff. + + Musixdoc: Add smalltreblelowoct etc. + + Musixdoc: Explain where musixflx source and binaries are. diff --git a/Master/texmf-dist/doc/generic/musixtex/README b/Master/texmf-dist/doc/generic/musixtex/README index 5aa2df6274f..f14011e0ddb 100644 --- a/Master/texmf-dist/doc/generic/musixtex/README +++ b/Master/texmf-dist/doc/generic/musixtex/README @@ -1,12 +1,14 @@ -This is MusiXTeX, version 1.15 (packaged 2013-12-12). MusiXTeX is a -TeX-based system for typesetting music. +This is MusiXTeX, version 1.16 (packaged 2015-02-24). +MusiXTeX is a TeX-based system for typesetting music. -The main author was Daniel Taupin, who died in a climbing accident in -2003; other authors credited in the MusiXTeX manual are Andreas Egler -and Ross Mitchell. MusiXTeX is now being maintained by +The main author was Daniel Taupin, who died in a climbing +accident in 2003; other authors credited in the MusiXTeX +manual are Andreas Egler and Ross Mitchell. MusiXTeX is now +being maintained by Don Simons dsimons(at)roadrunner(dot)com Hiroaki Morimoto CQX05646(at)nifty(dot)com +Bob Tennent rdt(at)cs(dot)queensu(dot)ca The package includes @@ -16,7 +18,9 @@ The package includes + musixcrd support for chord symbols, due to Robert Hennig - + a few small extension packages (curly, tuplet, underbracket) + + support for music text in Palatino, Times and EC fonts + + + several other extension packages + a script musixflx.lua for the 2nd-pass processing @@ -27,12 +31,13 @@ The package includes + wrapper scripts musixflx.bat and musixtex.bat for use on Windows -MusiXTeX fonts, including both the original metafont sources and Type -1 versions by Takanori Uchiyama are in a separate musixtex-fonts -package, which must be installed before using the MusiXTeX macros. +MusiXTeX fonts, including both the original metafont sources +and Type 1 versions by Takanori Uchiyama are in a separate +musixtex-fonts package, which must be installed before using +the MusiXTeX macros. -musixtex-install.{pdf,tex} is a more-detailed version of the following -instructions: +musixtex-install.{pdf,tex} is a more-detailed version of the +following instructions: To install (on TDS-compliant TeX systems): @@ -56,27 +61,24 @@ Documentation for the musixflx and musixtex scripts are in doc/generic/musixtex/scripts -Check out musixtex-install.pdf for information on the extension -packages, which are installed under - -doc/generic/musixtex/addons - -Many users, especially beginners, will find it easier to use the PMX and -M-Tx pre-processors, which accept a simpler input language than MusiXTeX -itself. These pre-processor packages may be found at CTAN under support. -Additional documentation, additional add-on packages, and many examples -of MusiXTeX typesetting may be found at the Werner Icking Music Archive -at +Many users, especially beginners, will find it easier to +use the PMX and M-Tx pre-processors, which accept a simpler +input language than MusiXTeX itself. These pre-processor +packages may be found at CTAN under support. Additional +documentation, additional add-on packages, and many examples +of MusiXTeX typesetting may be found at the Werner Icking +Music Archive at http://icking-music-archive.org/ -Support for users of MusiXTeX and related software may be obtained via -the MusiXTeX mail list at +Support for users of MusiXTeX and related software may be +obtained via the MusiXTeX mail list at http://tug.org/mailman/listinfo/tex-music -MusiXTeX may be freely copied, duplicated and used in conformance to the -GNU General Public License (Version 2, 1991, see included file gpl.txt). +MusiXTeX may be freely copied, duplicated and used in +conformance to the GNU General Public License (Version 2, +1991, see included file gpl.txt). -This CTAN distribution is maintained by Bob Tennent +This distribution is maintained by Bob Tennent rdt(at)cs(dot)queensu(dot)ca. diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/README.underbracket b/Master/texmf-dist/doc/generic/musixtex/addons/README.underbracket deleted file mode 100644 index 4345cb63fdc..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/addons/README.underbracket +++ /dev/null @@ -1,64 +0,0 @@ -LaTeX package underbracket - -draws brackets to underline (song) text - -v1.2 by Bernd Jantzen -For e-mail contact please use "ctan" before the "@"-sign -and "bernd-jantzen.de" after it to form my address -(not given in full clear text here to prevent spam). - -This package draws brackets to underline text (especially, -but not exclusively, syllables of song text). -It may be combined with musixtex/musixlyr, within the argument of -the \setlyrics command or outside the music score. -It provides several macros to define brackets which may e.g. start -and end centered below syllables. -Three length variables are provided to allow a fine adjustment -of the bracket parameters. - -This material is subject to the LaTeX Project Public License. -See http://www.ctan.org/tex-archive/help/Catalogue/licenses.lppl.html -for the details of that license. - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -Commands: - -\underbracket{TEXT} - draws a bracket underlining TEXT - the bracket starts below the left end of TEXT - and stops below the right end of TEXT - -\Underbracket{TEXT} - like \underbracket, but reserves no vertical space below the text - -\cunderbracket{LEFT}{TEXT}{RIGHT} - draws a bracket underlining LEFTTEXTRIGHT - the bracket starts centered below LEFT and stops centered below RIGHT - -\cUnderbracket{LEFT}{TEXT}{RIGHT} - like cunderbracket, but reserves no vertical space below the text - - -The commands \[c]underbracket do well in normal text which is aligned -according to the baseline. The vertical space reserved below the text -guarantees the distance to the next line. -The commands \[c]Underbracket do well within the \setlyrics command of -musixlyr where the text is vertically centered between the staves. Vertical -space reserved below the text would shift the whole text upwards here. - - -Adjustable length parameters: -(change e.g. with \setlength{\underbracketheight}{4pt}) - -\underbracketwidth (default 0.3pt): - linewidth of the bracket - -\underbracketheight (default 3pt): - height of the bracket (length of the vertical lines) - -\underbracketsep (default 2pt): - vertical distance between the lowest part of the text - and the upper end of the bracket; - also minimal vertical distance below the bracket - diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/curly.tex b/Master/texmf-dist/doc/generic/musixtex/addons/curly.tex deleted file mode 100644 index 902125486d0..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/addons/curly.tex +++ /dev/null @@ -1,49 +0,0 @@ -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% This is curly.tex, MusiXTex code for multiple left curly brackets % -% % -% submitted by Mthimkhulu Molekwa <eMKay.sa@gmail.com> % -% to the mutex list on 19 May 1999 % -% % -% % -% usage: % -% \curlybrackets{<instrument1lower><instrument1upper> % -% <instrument2lower><instrument2upper> % -% ... % -% <instrument_n_lower><instrument_n_upper> % -% } % -% % -% % -% % -% This version corrected 07/23/2007 by Rainer Dunker to make it % -% insensitive to changes in \interstaff by PMX % -% % -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\ifx\undefined\curlybrackets \else \endinput\fi -\makeatletter - -\let\origin@lwrit@staffs\writ@staffs -\def\writ@staffs{% - \origin@lwrit@staffs - \ifx\br@cks\empty\else\expandafter\@bracks\br@cks\ende\fi} - -\let\br@cks\empty -\def\curlybrackets#1{\def\br@cks{#1}} - -\def\@bracks#1#2#3\ende{% - \ifnum #1<#2 %=========================== inserted by D.S.(?) - \noinstrum@nt=#1\s@l@ctinstr\b@zi\altitude - \noinstrum@nt=#2\s@l@ctinstr\b@zii\altitude - \advance\b@zii-\b@zi - \C@Inter - \advance\b@zii\nblines\internote - \advance\b@zii\nblines\internote - \advance\b@zii-2\internote - \n@v\b@zii \sp@pt\tw@ \advance\n@v\@cxxviii - \divide\b@zii\tw@ - \advance\b@zi\b@zii - \raise\b@zi\rlap{\mxsps\char\n@v\kern\instrum@in@group}% - \fi %==================================== inserted by D.S.(?) - \ifx\empty#3\else\@bracks#3\ende\fi} - -\makeatother -%%%%%%%%%%%%%%%%%%%%%%%%%% End of curly.tex %%%%%%%%%%%%%%%%%%%%%%%%%% diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/tuplet.tex b/Master/texmf-dist/doc/generic/musixtex/addons/tuplet.tex deleted file mode 100644 index 0f579a59bd0..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/addons/tuplet.tex +++ /dev/null @@ -1,147 +0,0 @@ -% -% tuplet.tex - conventional tuplet brackets for MusiXTeX. -% Col. G. L. Sicherman. Last revised 2003-05-17. -% -% MusiXTeX is free software, licensed under the GNU General Public -% License. This file is also free software. You may use it and -% modify it as you please so long as you leave this message intact. -% -% To use this file with MusiXTeX, refer to it in your source code -% after MusiXTeX: -% -% \input musixtex -% \input tuplet -% -% This file uses macros defined in musixtex.tex. -% -% Standard MusiXTeX uses \uptrio and \downtrio to print tuplet brackets. -% This file defines \uptuplet and \downtuplet, with the same arguments: -% -% #1 : starting pitch -% #2 : width of bracket, in (\noteskip)s -% #3 : slope of bracket, in multiples of 1-1/8 degrees -% -% The user defines the text to appear in the opening as \tuplettxt. -% This is to avoid conflicting with the \txt in standard MusiXTeX. -% -% Examples: -% -% Draw a triplet bracket over the notes, starting at pitch "p", -% 1.25\noteskip wide, with a slope up of 3-3/8 degrees: -% -% \uptuplet p{1.25}3 -% -% Draw a sextuplet bracket under the notes, starting at pitch "a", -% 2.5\noteskip wide, with a slope down of 4-1/2 degrees: -% -% \def\tuplettxt{\smallppff 6\/\/} -% \downtuplet{a}{2.5}{-4} -% -% Send comments, complaints, and bouquets to the Colonel at -% <colonel@monmouth.com>. -% -\makeatletter % Names of internal macros contain atpersats. - -% Standard MusiXTeX prints a small "3" (or other number) within -% the bracket. Here we print the "3" in an opening in the bracket, -% so we need not use a small font. -% -% The double italic correction compensates for centering the number -% on the bracket line. - -\def\tuplettxt{\smallppff3\/\/} - -%%% The rest is adapted from standard MusixTeX. - -\newdimen\y@vii % x of right end of left part of bracket. -\newdimen\y@viii % x of left end of right part of bracket. -\newdimen\y@ix -\newbox\tuptxtb@x - -% v@rline #1=height[dimen] #2=length[dimen] #3=slope (1\eqiv 1.125degree) -% (comments and ideas from Ian Collier) (from -20 upto 20 ) -% This macro is used by some of the others which follow, -% using it directly it must be set in zero box - -\def\v@rline#1#2#3{\n@v#3\y@i#2% - \setbox\tuptxtb@x\hbox{\hskip1pt\tuplettxt\hskip1pt}% - \y@vii=\h@lf\y@i\advance\y@vii-\h@lf\wd\tuptxtb@x% - \n@ii-\tw@nty \min@n@v\n@ii - \max@n@v\tw@nty \n@iii\n@v - \ifnum\n@v<\z@ \n@v-\n@v \advance\n@v\tw@nty \fi % offset to lower linechars - \advance\n@v\@xxix - \setbox\ch@box\hbox{\mxsps\char\n@v}% - \ifdim\y@vii<\wd\ch@box \y@vii\wd\ch@box\fi% At least one whole segment! - \y@viii=\y@i\advance\y@viii-\y@vii% - \y@iv\wd\ch@box \y@ii\qu@rt\p@ \y@ii\n@iii\y@ii \y@iii\z@ - \raise#1\internote\hbox{\mxsps\char\n@iv -% -% Build bracket with slanted line segments of width 10pt. -% Left part of bracket: -% - \loop\ifdim\y@iv<\y@vii\raise\y@iii\copy\ch@box - \advance\y@iv\wd\ch@box \advance\y@iii\y@ii \repeat -% -% last element -% -% \finalheight=2.5\completewidth -% \finalheight=\n@iii\finalheight -% \divide\finalheight by 100 -% \advance\overlapwidth by -\completewidth -% \stepheight=-2.5\overlapwidth -% \stepheight=\n@iii\stepheight -% \divide\stepheight by 100 -% \advance\curheight by \stepheight -% \kern -\overlapwidth \raise\curheight \box\ch@box -% - \y@ix=\y@vii\advance\y@ix-\y@iv\hbox to\y@ix{\hss}% - \y@ix\y@vii\advance\y@ix-\wd\ch@box% - \y@iii\n@iii\y@ix\y@iii2\h@lf\y@iii\divide\y@iii\@c\raise\y@iii\copy\ch@box% -% -% Text: -% - \y@v2\h@lf\y@i \y@v\n@iii\y@v \divide\y@v\@c% - \y@ix=-\y@vii \advance\y@ix\h@lf\y@i \advance\y@ix-\h@lf\wd\tuptxtb@x% - \hbox to\y@ix{\hss}% - \y@iii\h@lf\y@v \raise\y@iii\vbox to\z@{% - \vss{\copy\tuptxtb@x}\vss} - \y@ix=\y@viii \advance\y@ix-\h@lf\y@i \advance\y@ix-\h@lf\wd\tuptxtb@x - \hbox to\y@ix{\hss}% To start of right part. No-op unless bracket is short. -% -% Right part of bracket: -% - \y@iii2\h@lf\y@viii \y@iii\n@iii\y@iii \divide\y@iii\@c% - \y@iv=\y@viii \advance\y@iv\wd\ch@box% - \loop\ifdim\y@iv<\y@i\raise\y@iii\copy\ch@box% - \advance\y@iv\wd\ch@box \advance\y@iii\y@ii \repeat -% -% Finish off the right part: -% - \y@iii\y@i\advance\y@iii-\wd\ch@box\y@iii2\h@lf\y@iii\y@iii\n@iii\y@iii% - \y@ix=\y@i\advance\y@ix-\y@iv\hbox to\y@ix{\hss}% - \divide\y@iii\@c% - \raise\y@iii\copy\ch@box% -% - \raise\y@v\hbox{\mxsps\char\n@iv}}} -% -% y@i =complete length -% y@ii =height of linechar -% y@iii =current height -% y@iv =current width -% y@v =height of ending line -% y@vii =width of left segment of bracket -% y@viii=y@vii + width of opening -% y@ix =adjustment register -% -% n@iii=slope -% n@iv =(number of char for hooks) -% n@v =slope (number of linechar) - -\def\X@bkt#1#2#3{\y@v#2\noteskip \advance\y@v\wn@width - \inhgetn@i#1\relax \rlap{\kernm\p@ne\qn@width\v@rline\n@i\y@v{#3}}} - -\def\uptuplet{\n@iv22\X@bkt} -\def\downtuplet{\n@iv21\X@bkt} - -\makeatother -\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/underbracket.sty b/Master/texmf-dist/doc/generic/musixtex/addons/underbracket.sty deleted file mode 100644 index 994aee60ba1..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/addons/underbracket.sty +++ /dev/null @@ -1,190 +0,0 @@ -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% -% LaTeX package underbracket -% -% draws brackets to underline text -% (especially, but not exclusively, syllables of song text) -% -% v1.2 by Bernd Jantzen -% For e-mail contact please use "ctan" before the "@"-sign -% and "bernd-jantzen.de" after it to form my address -% (not given in full clear text here to prevent spam). -% -% This package draws brackets to underline text (especially, -% but not exclusively, syllables of song text). -% It may be combined with musixtex/musixlyr, within the argument of -% the \setlyrics command or outside the music score. -% It provides several macros to define brackets which may e.g. start -% and end centered below syllables. -% Three length variables are provided to allow a fine adjustment -% of the bracket parameters. -% -% This material is subject to the LaTeX Project Public License. -% See http://www.ctan.org/tex-archive/help/Catalogue/licenses.lppl.html -% for the details of that license. -% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% -% Commands: -% -% \underbracket{TEXT} -% draws a bracket underlining TEXT -% the bracket starts below the left end of TEXT -% and stops below the right end of TEXT -% -% \Underbracket{TEXT} -% like \underbracket, but reserves no vertical space below the text -% -% \cunderbracket{LEFT}{TEXT}{RIGHT} -% draws a bracket underlining LEFTTEXTRIGHT -% the bracket starts centered below LEFT and stops centered below RIGHT -% -% \cUnderbracket{LEFT}{TEXT}{RIGHT} -% like cunderbracket, but reserves no vertical space below the text -% -% -% The commands \[c]underbracket do well in normal text which is aligned -% according to the baseline. The vertical space reserved below the text -% guarantees the distance to the next line. -% The commands \[c]Underbracket do well within the \setlyrics command of -% musixlyr where the text is vertically centered between the staves. Vertical -% space reserved below the text would shift the whole text upwards here. -% -% -% Adjustable length parameters: -% (change e.g. with \setlength{\underbracketheight}{4pt}) -% -% \underbracketwidth (default 0.3pt): -% linewidth of the bracket -% -% \underbracketheight (default 3pt): -% height of the bracket (length of the vertical lines) -% -% \underbracketsep (default 2pt): -% vertical distance between the lowest part of the text -% and the upper end of the bracket; -% also minimal vertical distance below the bracket -% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\ProvidesPackage{underbracket}[2004/03/24 v1.2 LaTeX package underbracket] -\NeedsTeXFormat{LaTeX2e} - -% declare length variables -\newlength{\underbracketwidth} -\newlength{\underbracketheight} -\newlength{\underbracketsep} -\newlength{\underbracketlength} -\newlength{\underbracketdist} - -% need calc pages for adding lengts -\RequirePackage{calc} - -% \underbracket{TEXT} -% draws a bracket underlining TEXT -% the bracket starts below the left end of TEXT -% and stops below the right end of TEXT -% -\newcommand{\underbracket}[1]{% - \settodepth{\underbracketdist}{#1}% - \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}% - \mbox{% - \rule[-\underbracketdist-\underbracketsep]{0pt}{\underbracketsep}% - \makebox[0pt][l]{% - \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}% - \settowidth{\underbracketlength}{#1}% - \makebox[0pt][l]{% - \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}% - \mbox{#1}% - \makebox[0pt][r]{% - \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}% - }% -} - -% \Underbracket{TEXT} -% like \underbracket, but reserves no vertical space below the text -% -\newcommand{\Underbracket}[1]{% - \settodepth{\underbracketdist}{#1}% - \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}% - \mbox{% - \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{% - \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}% - \settowidth{\underbracketlength}{#1}% - \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{% - \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}}% - \mbox{#1}% - \raisebox{0pt}[0pt][0pt]{\makebox[0pt][r]{% - \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}% - }% -} - -% \cunderbracket{LEFT}{TEXT}{RIGHT} -% draws a bracket underlining LEFTTEXTRIGHT -% the bracket starts centered below LEFT and stops centered below RIGHT -% -\newcommand{\cunderbracket}[3]{% - \settodepth{\underbracketdist}{#1#2#3}% - \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}% - \mbox{% - \rule[-\underbracketdist-\underbracketsep]{0pt}{\underbracketsep}% - \settowidth{\underbracketlength}{#1}% - \makebox[0pt][l]{% - \hspace*{0.5\underbracketlength}% - \makebox[0pt]{% - \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}% - \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}}% - \mbox{#1}% - \settowidth{\underbracketlength}{#2}% - \makebox[0pt][l]{% - \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}% - \mbox{#2}% - \settowidth{\underbracketlength}{#3}% - \makebox[0pt][l]{% - \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}% - \makebox[0pt]{% - \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}% - \mbox{#3}% - }% -} - -% \cUnderbracket{LEFT}{TEXT}{RIGHT} -% like cunderbracket, but reserves no vertical space below the text -% -\newcommand{\cUnderbracket}[3]{% - \settodepth{\underbracketdist}{#1#2#3}% - \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}% - \mbox{% - \settowidth{\underbracketlength}{#1}% - \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{% - \hspace*{0.5\underbracketlength}% - \makebox[0pt]{% - \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}% - \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}}}% - \mbox{#1}% - \settowidth{\underbracketlength}{#2}% - \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{% - \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}}% - \mbox{#2}% - \settowidth{\underbracketlength}{#3}% - \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{% - \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}% - \makebox[0pt]{% - \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}}% - \mbox{#3}% - }% -} - -% adjustable length parameters -% -% linewidth of the bracket -\setlength{\underbracketwidth}{0.3pt} -% -% height of the bracket (length of the vertical lines) -\setlength{\underbracketheight}{3pt} -% -% vertical distance between the lowest part of the text -% and the upper end of the bracket; -% also minimal vertical distance below the bracket -\setlength{\underbracketsep}{2pt} - diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kinder.log b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.log new file mode 100644 index 00000000000..4251112e0fb --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.log @@ -0,0 +1,397 @@ +This is pdfTeX, Version 3.14159265-2.6-1.40.15 (TeX Live 2014) (preloaded format=etex 2015.1.13) 23 FEB 2015 16:40 +entering extended mode + restricted \write18 enabled. + %&-line parsing enabled. +**kinder +(./kinder.tex (/home/rdt/texmf/tex/generic/musixtex/musixtex.tex +MusiXTeX(c) 1.16 <2015-02-15> +\n@i=\count27 +\n@ii=\count28 +\n@iii=\count29 +\n@iv=\count30 +\n@v=\count31 +\n@vi=\count32 +\n@vii=\count33 +\n@viii=\count34 +\toks@box=\box16 +\w@rkbox=\box17 +\n@otebox=\box18 +\y@=\dimen16 +\y@i=\dimen17 +\y@ii=\dimen18 +\y@iii=\dimen19 +\y@iv=\dimen20 +\y@v=\dimen21 +\group@no=\count35 +\interinstrument=\dimen22 +\N@s=\count36 +\s@Y=\dimen23 +\lin@pos=\dimen24 +\meet@minus@n@iv=\count37 +\interbeam=\dimen25 +\b@amthick=\dimen26 +\Interligne=\dimen27 +\Internote=\dimen28 +\ch@box=\box19 +\musicsize=\count38 +\qd@skip=\dimen29 +\qn@width=\dimen30 +\wn@width=\dimen31 +\txt@ff=\skip18 +\s@indent=\skip19 +\big@spc=\skip20 +\lthick=\dimen32 +\afterruleskip=\skip21 +\staffbotmarg=\dimen33 +\stafftopmarg=\dimen34 +\line@width=\dimen35 +\interportee=\dimen36 +\noport@@=\count39 +\noinstrum@nt=\count40 +\altportee=\dimen37 +\systemheight=\dimen38 +\altplancher=\dimen39 +\instrum@in@group=\skip22 +\boxitsep=\skip23 +\barsinpi@c@=\count41 +\barno=\count42 +\startbarno=\count43 +\sign@skip=\dimen40 +\maxsign@skip=\dimen41 +\x@skip=\dimen42 +\n@skip=\dimen43 +\beforeruleskip=\skip24 +\widthtyp@=\count44 +\lastbarno=\count45 +\cut@v=\skip25 +\init@volta@pos=\skip26 +\volta@startcor=\skip27 +\volta@endcor=\skip28 +\writ@volta@box=\box20 +\barsinlin@=\count46 +\maxbarsinlin@=\count47 +\lastbarpos=\skip29 +\ut@ref=\count48 +\meterskip=\skip30 +\t@c=\toks13 +\clef@skip=\skip31 +\noteskip=\dimen44 +\transpose=\count49 +\normaltranspose=\count50 +\locx@skip=\dimen45 +\elemskip=\dimen46 +\@l@mskip=\dimen47 +\inh@alt=\count51 +\st@bot=\dimen48 +\st@top=\dimen49 +\stem@skip=\dimen50 +\s@lope=\dimen51 +\y@vi=\dimen52 +\lift@rest=\dimen53 +\accshift=\skip32 +\@icresc=\skip33 +\@itrillei=\skip34 +\@itrilleii=\skip35 +\@itrilleiii=\skip36 +\@itrilleiv=\skip37 +\@itrillev=\skip38 +\@itrillevi=\skip39 +\tr@number=\count52 +\o@swz=\toks14 +\o@number=\count53 +\y@vii=\dimen54 +\y@viii=\dimen55 +\y@ix=\dimen56 +\tuptxtb@x=\box21 +\notes@open=\count54 +\k@ii=\skip40 +\i@ni=\dimen57 +\b@xi=\dimen58 +\b@zi=\dimen59 +\c@xi=\dimen60 +\c@zi=\skip41 +\d@xi=\dimen61 +\d@zi=\skip42 +\e@xi=\dimen62 +\e@zi=\skip43 +\b@pi=\count55 +\b@ni=\count56 +\n@pi=\count57 +\a@si=\count58 +\o@si=\count59 +\a@ci=\toks15 +\o@ci=\toks16 +\m@ti=\toks17 +\k@iii=\skip44 +\i@nii=\dimen63 +\b@xii=\dimen64 +\b@zii=\dimen65 +\c@xii=\dimen66 +\c@zii=\skip45 +\d@xii=\dimen67 +\d@zii=\skip46 +\e@xii=\dimen68 +\e@zii=\skip47 +\b@pii=\count60 +\b@nii=\count61 +\n@pii=\count62 +\a@sii=\count63 +\o@sii=\count64 +\a@cii=\toks18 +\o@cii=\toks19 +\m@tii=\toks20 +\k@iiii=\skip48 +\i@niii=\dimen69 +\b@xiii=\dimen70 +\b@ziii=\dimen71 +\c@xiii=\dimen72 +\c@ziii=\skip49 +\d@xiii=\dimen73 +\d@ziii=\skip50 +\e@xiii=\dimen74 +\e@ziii=\skip51 +\b@piii=\count65 +\b@niii=\count66 +\n@piii=\count67 +\a@siii=\count68 +\o@siii=\count69 +\a@ciii=\toks21 +\o@ciii=\toks22 +\m@tiii=\toks23 +\k@iiv=\skip52 +\i@niv=\dimen75 +\b@xiv=\dimen76 +\b@ziv=\dimen77 +\c@xiv=\dimen78 +\c@ziv=\skip53 +\d@xiv=\dimen79 +\d@ziv=\skip54 +\e@xiv=\dimen80 +\e@ziv=\skip55 +\b@piv=\count70 +\b@niv=\count71 +\n@piv=\count72 +\a@siv=\count73 +\o@siv=\count74 +\a@civ=\toks24 +\o@civ=\toks25 +\m@tiv=\toks26 +\k@iv=\skip56 +\i@nv=\dimen81 +\b@xv=\dimen82 +\b@zv=\dimen83 +\c@xv=\dimen84 +\c@zv=\skip57 +\d@xv=\dimen85 +\d@zv=\skip58 +\e@xv=\dimen86 +\e@zv=\skip59 +\b@pv=\count75 +\b@nv=\count76 +\n@pv=\count77 +\a@sv=\count78 +\o@sv=\count79 +\a@cv=\toks27 +\o@cv=\toks28 +\m@tv=\toks29 +\k@ivi=\skip60 +\i@nvi=\dimen87 +\b@xvi=\dimen88 +\b@zvi=\dimen89 +\c@xvi=\dimen90 +\c@zvi=\skip61 +\d@xvi=\dimen91 +\d@zvi=\skip62 +\e@xvi=\dimen92 +\e@zvi=\skip63 +\b@pvi=\count80 +\b@nvi=\count81 +\n@pvi=\count82 +\a@svi=\count83 +\o@svi=\count84 +\a@cvi=\toks30 +\o@cvi=\toks31 +\m@tvi=\toks32 +maxinstruments=6 +\f@xi=\dimen93 +\f@zi=\skip64 +\f@xii=\dimen94 +\f@zii=\skip65 +\f@xiii=\dimen95 +\f@ziii=\skip66 +\f@xiv=\dimen96 +\f@ziv=\skip67 +\f@xv=\dimen97 +\f@zv=\skip68 +\f@xvi=\dimen98 +\f@zvi=\skip69 + max128beams=6 +\g@bi=\skip70 +\g@hi=\skip71 +\g@bii=\skip72 +\g@hii=\skip73 +\g@biii=\skip74 +\g@hiii=\skip75 + maxgroups=3 +\s@xi=\dimen99 +\s@si=\toks33 +\s@Yi=\dimen100 +\s@ai=\skip76 +\s@yi=\count85 +\s@Ni=\count86 +\s@zi=\count87 +\s@di=\toks34 +\s@xii=\dimen101 +\s@sii=\toks35 +\s@Yii=\dimen102 +\s@aii=\skip77 +\s@yii=\count88 +\s@Nii=\count89 +\s@zii=\count90 +\s@dii=\toks36 +\s@xiii=\dimen103 +\s@siii=\toks37 +\s@Yiii=\dimen104 +\s@aiii=\skip78 +\s@yiii=\count91 +\s@Niii=\count92 +\s@ziii=\count93 +\s@diii=\toks38 +\s@xiv=\dimen105 +\s@siv=\toks39 +\s@Yiv=\dimen106 +\s@aiv=\skip79 +\s@yiv=\count94 +\s@Niv=\count95 +\s@ziv=\count96 +\s@div=\toks40 +\s@xv=\dimen107 +\s@sv=\toks41 +\s@Yv=\dimen108 +\s@av=\skip80 +\s@yv=\count97 +\s@Nv=\count98 +\s@zv=\count99 +\s@dv=\toks42 +\s@xvi=\dimen109 +\s@svi=\toks43 +\s@Yvi=\dimen110 +\s@avi=\skip81 +\s@yvi=\count100 +\s@Nvi=\count101 +\s@zvi=\count102 +\s@dvi=\toks44 + maxslurs=6 +\tr@xi=\skip82 +\tr@swi=\toks45 +\tr@yi=\skip83 +\tr@xii=\skip84 +\tr@swii=\toks46 +\tr@yii=\skip85 +\tr@xiii=\skip86 +\tr@swiii=\toks47 +\tr@yiii=\skip87 +\tr@xiv=\skip88 +\tr@swiv=\toks48 +\tr@yiv=\skip89 +\tr@xv=\skip90 +\tr@swv=\toks49 +\tr@yv=\skip91 +\tr@xvi=\skip92 +\tr@swvi=\toks50 +\tr@yvi=\skip93 + maxtrills=6 +\o@xi=\skip94 +\o@yi=\skip95 +\o@swi=\toks51 +\o@xii=\skip96 +\o@yii=\skip97 +\o@swii=\toks52 +\o@xiii=\skip98 +\o@yiii=\skip99 +\o@swiii=\toks53 +\o@xiv=\skip100 +\o@yiv=\skip101 +\o@swiv=\toks54 +\o@xv=\skip102 +\o@yv=\skip103 +\o@swv=\toks55 +\o@xvi=\skip104 +\o@yvi=\skip105 +\o@swvi=\toks56 + +maxoctlines=6 +\outmux=\write0 +\mulooseness=\count103 +\linegoal=\count104 +\l@eftrightbox=\box22 +\inmux=\read1 +) (/home/rdt/texmf/tex/generic/musixtex/musixplt.tex +MusiXplt <2015/02/15> +) (/usr/local/texlive/2014/texmf-dist/tex/latex/soul/soul.sty +\SOUL@word=\toks57 +\SOUL@lasttoken=\toks58 +\SOUL@cmds=\toks59 +\SOUL@buffer=\toks60 +\SOUL@token=\toks61 +\SOUL@spaceskip=\skip106 +\SOUL@ttwidth=\dimen111 +\SOUL@uldp=\dimen112 +\SOUL@ulht=\dimen113 +) +(/home/rdt/texmf/tex/generic/musixtex/musixps.tex +MusiXPS PostScript slurs, ties and crescendos 0.93 (17.2.2015) +\slur@hgtii=\dimen114 +\slur@hgtiii=\dimen115 +\slur@hgtiv=\dimen116 +\slur@hgtv=\dimen117 +\slur@hgtvi=\dimen118 +\slur@hgtvii=\dimen119 +\slur@hgtviii=\dimen120 +\slur@hgtix=\dimen121 +\tie@alt=\dimen122 +\tie@hgt=\dimen123 +\tie@alti=\dimen124 +\tie@hgti=\dimen125 +\tie@altii=\dimen126 +\tie@hgtii=\dimen127 +\tie@altiii=\dimen128 +\tie@hgtiii=\dimen129 +\tie@altiv=\dimen130 +\tie@hgtiv=\dimen131 +\tie@altv=\dimen132 +\tie@hgtv=\dimen133 +\tie@altvi=\dimen134 +\tie@hgtvi=\dimen135 +\tie@altvii=\dimen136 +\tie@hgtvii=\dimen137 +\tie@altviii=\dimen138 +\tie@hgtviii=\dimen139 +\tie@altix=\dimen140 +\tie@hgtix=\dimen141 +\cresc@alt=\dimen142 +\cresc@alti=\dimen143 +\cresc@altii=\dimen144 +\cresc@altiii=\dimen145 +\cresc@altiv=\dimen146 +\cresc@altv=\dimen147 +\cresc@altvi=\dimen148 +\cresc@altvii=\dimen149 +\cresc@altviii=\dimen150 +\cresc@altix=\dimen151 +\pss@rega=\count105 +\pss@regb=\count106 +\pst@rega=\count107 +\pst@regb=\count108 +\psc@rega=\count109 +\psc@regb=\count110 +) (/home/rdt/texmf/tex/generic/musixtex/musixsty.tex +MusiXtextSTYle T.94 <11 May 1999> +\footmarkcount=\count111 +\theslant=\dimen152 +) (kinder.mx2) +\startmuflex launched by \startpiece +< 1> bar 1 bar 2 bar 3 bar 4 bar 5 bar 6 < 2> bar 7 bar 8 bar 9 bar 10 bar 11 +bar 12 bar 13 bar 14 < 3> bar 15 bar 16 bar 17 bar 18 bar 19 bar 20 bar 21 +bar 22 [1] ) +Output written on kinder.dvi (1 page, 18024 bytes). diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kinder.pdf b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.pdf Binary files differnew file mode 100644 index 00000000000..6ffece26547 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.pdf diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kinder.tex b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.tex new file mode 100644 index 00000000000..d5869d25aba --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/kinder.tex @@ -0,0 +1,125 @@ +\input musixtex +\input musixplt +\input soul.sty % comment out this line and the next line if soul.sty not available +\sodef{\so}{}{0.15em}{0.5em}{0.5em} +\smallmusicsize +\geometricskipscale +\input musixps +\nohalfties +\def\pstiehgt{0.5} +\def\psslurhgt{1} +\def\qqsk{\off{0.25\elemskip}} +\input musixsty +\setclef1\bass\setbassclefsymbol1\bassoct +\setclef4\treble\settrebleclefsymbol4\trebleoct +\setname1{Bass Recorder} +\setname2{Tenor Recorder} +\setname3{Treble Recorder} +\setname4{Descant Recorder} +\advance\parindent by 18ex +\fulltitle{\BIgfont\so{Von fremden Ländern und Menschen}} +\subtitle{From {\rm Kinderszenen} (Scenes from Childhood), Opus~15 No.1} +\othermention{Arranged for Recorders by R. D. Tennent} +\author{Robert Schumann {\sc (1810--1856)}} +\hsize=7.275in +\vsize=9.5in +\hoffset=8.5in\advance\hoffset-\hsize\divide\hoffset2\advance\hoffset-1.0in +\voffset=11in\advance\voffset-\vsize\divide\voffset2\advance\voffset-1.0in +\def\outmorceau{\shipout\vbox{\vbox to \vsize{\vss\pagecontents\vss}\line{% +\hss\rm \copyright\ R.D. Tennent {\sc 2014}.\quad Licensed under a Creative Commons Attribution--Share Alike license.\hss}}} +\maketitle +\generalsignature{1} +\relativeaccid +\instrumentnumber4 +\songbottom{1}\songtop{4} +\setmeter1{{\meterfrac24}} +\setmeter2{{\meterfrac24}} +\setmeter3{{\meterfrac68}} +\setmeter4{{\meterfrac24}} +\stafftopmarg=7.0\Interligne% +\staffbotmarg=7.0\Interligne% +\setinterinstrument1{2.5\internote} +\startbarno=1 +\nobarnumbers +\def\raisebarno{8\internote}% +\def\shiftbarno{-1.0\Interligne}% +\startpiece\addspace\afterruleskip% +\systemnumbers +\znotes\zcharnote{e}{\ppff \kern-3ex mezzo staccato}&&&\en +\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en +\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en +\bar%2 +\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en +\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en +\bar%3 +\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en +\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en +\bar%4 +\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en +\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en +\bar%5 +\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en +\notes\qa{I}&\itied1g\qa g&\ds\ibl1k5\qb1{k}\tqb1n&\qa n\sk\sk\en +\bar%6 +\notes\qa J&\ttie1\qa g&\ds\ibl1l5\qb1{l}\tqb1n&\ibl2l{-2}\qb2{.l}\sk\hroff{\tbbl2\tqb2k}\en +\notes\qa L&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\qa j\sk\sk\tfslur1o\en +\bar%7 +\notes\qa K&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\isluru1o\qa h\en +\notes\qa{K}&\qa f&\ds\ibl1j5\qb1{j}\tqb1m&\qa k\en +\bar%8 +\notes\qa G&\qa d&\ds\ibl1i5\qb1{i}\tqb1n&\tfslur1k\ha i\en +\notes\qp&\qa g&\ds\ibl1i5\qb1{i}\tqb1n&\en +\setmeter3{{\meterfrac24}}% +\setmeter2{{\meterfrac68}}% +\setleftrightrepeat%9 +\changecontext% +\notes\zcharnote{A}{\ppff tenuto}\qa L&\ds\ibl1i5\qb1{i}\tqb1l&\qa n&\isluru1j\qa i\en +\notes\qa H&\ds\ibl1h5\qb1{h}\tqb1l&\qa o&\qa j\en +\bar%10 +\notes\ibu0K{-2}\qb0{.K}\sk\hroff{\tbbu0\tqh0J}&\ds\ibl1h{5}\qb1{h}\tqb1k&\qa m&\qa h\en +\notes\qa I&\ds\ibl1g5\qb1{g}\tqb1k&\qa n&\tslur1j\qa i\en +\bar%11 +\notes\qa J&\ds\ibu1h5\qb1{g}\tqh1j&\qa l&\isluru1n\qa g\en +\notes\off{6pt}{\smallnotesize\zqu M}\qu F&\ds\ibu1h5\qb1{f}\tqh1j&\qa l&\qa h\sk\sk\en +\bar%12 +\notes\ibu0I{-2}\qb0{.I}\sk\hroff{\tbbu0\tqh0H}&\ds\ibu1g5\qb1{f}\tqh1{i}&\qa{^k}&\qa f\en +\notes\qa G&\ds\ibu1g5\qb1{g}\tqh1i&\qa{=k}&\tfslur1n\qa g\en +\setmeter3{{\meterfrac24}}% +\setmeter4{{\meterfrac68}}% +\changecontext%13 +\znotes&&&\zcharnote{s}{\ppff ritardando}\en +\notes\qa J&\qa c&\ds\ibu1h5\qb1{g}\tqh1j&\isluru1m\qa e\en +\notes\qa J&\qa d&\ds\ibu1i5\qb1{h}\tqh1k&\qa f\en +\bar%14 +\notes\ibu0I{-2}\qb0{.I}\sk\hroff{\tbbu0\tqh0H}&\fermataup l\ha d&\ds\ibl1g5\qb1{g}\tqb1k&\ibu2g1\qb2{.g}\sk\hroff{\tbbu2\tqh2h}\hqsk\en +\notes\fermataup N\qa G&&\ds\ibl1h{5}\qb1{h}\fermataup l\tqb1k&\ibl2i1\fermataup l\qb2{.i}\sk\tfslur1n\qqsk\roff{\tbbl2\tqb2j}\hqsk\en +\bar%15 +\znotes&&&\zcharnote{t}{\kern-2ex\ppff a tempo}\en +\notes\zcharnote{e}{\ppff \kern-3.0ex mezzo staccato}\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1m\qa k\en +\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en +\bar%16 +\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en +\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en +\bar%17 +\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en +\notes\qa{^J}&\qa{_i}&\ds\ibl1l5\qb1{l}\tqb1n&\qa n\en +\bar%18 +\notes\qa K&\qa h&\ds\ibl1k5\qb1{k}\tqb1m&\ibl2m{-2}\qb2{.m}\sk\hroff{\tbbl2\tqb2l}\en +\notes\qa M&\qa j&\ds\ibl1k5\qb1{k}\tqb1o&\tslur1l\qa k\en +\bar%19 +\notes\qa N&\qa i&\ds\ibl1k5\qb1{k}\tqb1n&\isluru1k\qa i\en +\notes\qa{I}&\itied1g\qa g&\ds\ibl1k5\qb1{k}\tqb1n&\qa n\sk\sk\en +\bar%20 +\notes\qa J&\ttie1\qa g&\ds\ibl1l5\qb1{l}\tqb1n&\ibl2l{-2}\qb2{.l}\sk\hroff{\tbbl2\tqb2k}\en +\notes\qa L&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\qa j\en +\bar%21 +\notes\qa K&\qa g&\ds\ibl1j{5}\qb1{j}\tqb1n&\qa h\en +\notes\qa{K}&\qa f&\ds\ibl1j5\qb1{j}\tqb1m&\qa k\en +\bar%22 +\notes\ha G&\ha d&\ds\ibl1i5\qb1{i}\tqb1n&\thslur1k\ha i\en +\notes&&\ds\ibl1i5\qb1{i}\tqb1n&\en +\mulooseness0% +\setrightrepeat% +\endpiece +\eject +\end diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex b/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex index 8b3b39ad134..b73720fa6ae 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex @@ -1,10 +1,9 @@ \input musixtex.tex \input musixsty.tex -% (c) Copyright R. D. Tennent 2010 -% Licensed under a Creative Commons Attribution--Share Alike license. - -\def\tr#1{\zcharnote{#1}{\ppff tr}}% -\def\pince#1{\shake{#1}}% +\input musixps +\nohalfties +\def\pstiehgt{0.5} +\def\psslurhgt{0.5} \vsize9.75in \voffset-0.5in \hsize7.0in @@ -12,30 +11,14 @@ \smallmusicsize \bigaccid \advance\parindent by 10pt -\def\writebarno{\llap{\ninebf\the\barno\barnoadd}}% -\def\raisebarno{4\internote}% -\def\shiftbarno{1.5\Interligne}% +\def\raisebarno{7\internote}% \nobarnumbers +\relativeaccid \geometricskipscale -\def\omit#1{}% - -\def\tql#1#2{\tbl{#1}\qb{#1}{#2}} -\def\tqu#1#2{\tbu{#1}\qb{#1}{#2}} -\def\nbbqu#1#2{\nbbu{#1}\qb{#1}{#2}} -\def\nbbql#1#2{\nbbl{#1}\qb{#1}{#2}} - -\def\nqql#1#2{\roffset{0.25}{\tbbl{#1}\tbbl{#1}\qb{#1}{#2}}} -\def\nqqu#1#2{\roffset{0.25}{\tbbu{#1}\tbbu{#1}\qb{#1}{#2}}} -\def\tqql#1#2{\roffset{0.25}{\tbbl{#1}\tbl{#1}\qb{#1}{#2}}} -\def\tqqu#1#2{\roffset{0.25}{\tbbu{#1}\tbu{#1}\qb{#1}{#2}}} -\def\tqqql#1#2{\roffset{0.25}{\tbbbl{#1}\tbl{#1}\qb{#1}{#2}}} -\def\tqqqu#1#2{\roffset{0.25}{\tbbbu{#1}\tbu{#1}\qb{#1}{#2}}} - \instrumentnumber4 \setclef1\bass\setbassclefsymbol1\bassoct \setclef4\treble\settrebleclefsymbol4\trebleoct -\catcodesmusic \generalsignature{+1} \generalmeter\meterC \setname1{B} @@ -47,142 +30,133 @@ \fulltitle{Quodlibet} \subtitle{Variation 30 of the Goldberg Variations for Clavier} \title{Quodlibet} -\author{J. S. Bach (1685-1750)} +\author{J. S. Bach (1685--1750)} \shortauthor{J. S. Bach} \othermention{Arranged for Recorders by R. D. Tennent} \maketitle \startbarno=0 \nobarnumbers -\stafftopmarg=4.0\Interligne% -\staffbotmarg=4.0\Interligne% -%\setinterinstrument3{2.5\internote}% +\stafftopmarg=3.0\Interligne% +\staffbotmarg=3.0\Interligne% \startpiece\addspace\afterruleskip% \systemnumbers% \Notes\ds&\cu d&\ds&\ds\en \bar%1 -\Notes\hl N&\ibu1g2\qb1{ghi}\tqu1j&&\hpause\en -\Notes\hl M&\ibl1k{-2}\qb1k\en -\notes&\nbbl1\qb1j\tql1i&&\qp\en +\Notes\hl N&\ibu1g2\qb1{ghi}\tqh1j&&\hpause\en +\Notes\hl M&\ibl1k{-2}\qb1k&&\en +\notes&\nbbl1\qb1j\tqb1i&&\qp\en \Notes&\ibu1h0\qb1h&&\ds\en -\notes&\nbbu1\qb1g\tqu1h&&\cu d\en -\def\atnextbar{\znotes&&\centerpause&&\en}% +\notes&\nbbu1\qb1g\tqh1h&&\cu d\en +\def\atnextbar{\znotes&&\centerpause&\en}% \bar%2 -\Notes\hl L&\ibu1i{-2}\qb1i\tqu1h&\ql n&\ibu3g2\qb3{gh}\en -\Notes&\itied1g\qu g&\ql n&\qb3i\tqu3j\en +\Notes\hl L&\ibu1i{-2}\qb1i\tqh1h&\ql n&\ibu3g2\qb3{gh}\en +\Notes&\itied1g\qu g&\ql n&\qb3i\tqh3j\en \Notes\ql{.K}&\ttie1\qu g&\ql o&\ibl3k{-2}\qb3k\en -\notes&&&\nbbl3\qb3j\tql3i\en -\Notes&\ibu1f0\pince{n}\qb1f&\cl o&\cu h\en -\notes\cu J&\nbbu1\qb1e\tqu1f&\ds&\ds\en +\notes&&&\nbbl3\qb3j\tqb3i\en +\Notes&\ibu1f0\shake{n}\qb1f&\cl o&\cu h\en +\notes\cu J&\nbbu1\qb1e\tqh1f&\ds&\ds\en \bar%3 \Notes\hu I&\qu g&\ibl2n{-1}\qb2{no}&\ql k\en -\Notes&\ds\cl k&\qb2{n}\tql2{=m}&\ql k\en +\Notes&\ds\cl k&\qb2{n}\tqb2{=m}&\ql k\en \Notes\hu J&\ibu1j{-2}\qb1{ji}&\ibl2j{0}\qb2{lk}&\ql l\en -\Notes&\qb1h\tqu1g&\qb2j\tql2p&\ql l\en +\Notes&\qb1h\tqh1g&\qb2j\tqb2p&\ql l\en \bar%4 -\Notes\hl K&\itied1f\pince{n}\qu f&\ibl2o{-1}\qb2{on}&\ibl3k{-1}\qb3{kl}\en +\Notes\hl K&\itied1f\shake{n}\qu f&\ibl2o{-1}\qb2{on}&\ibl3k{-1}\qb3{kl}\en \notes&\ttie1\ibbu1e{-2}\qb1f\tbbu1\qb1e&\qb2o&\qb3k\en %\vnotes1.5\elemskip&\nbbbu1\qb1e\tbbu1\qb1f&&\en -\Notes&\itied1d\tqu1d&\tql2m&\tql3j\en -\Notes\qu G&\ttie1\qu d&\ibl2n{-2}\qb2n\tql2m&\ibu3h{-1}\pince{p}\qb3i\tqu3h\en +\Notes&\itied1d\tqh1d&\tqb2m&\tqb3j\en +\Notes\qu G&\ttie1\qu d&\ibl2n{-2}\qb2n\tqb2m&\ibu3h{-1}\shake{p}\qb3i\tqh3h\en \Notes\ds&\qp&\ibl2n{-5}\qb2n&\qu g\en -\notes\ibbl0b{-1}\qb0b\tql0a&&\tql2k&\en +\notes\ibbl0b{-1}\qb0b\tqb0a&&\tqb2k&\en \bar%5 \Notes\ibl0M0\qb0N&\ql n&\ibl2n2\qb2n&\hpause\en -\notes\nbbl0\qb0M\tql0N&&\qb2o&\en +\notes\nbbl0\qb0M\tqb0N&&\qb2o&\en \Notes\ibl0K0\qb0L&\ql n&\qb2p&\en -\notes\nbbl0\qb0K\tql0L&&\tql2q&\en +\notes\nbbl0\qb0K\tqb0L&&\tqb2q&\en \Notes\ql{.M}&\ql o&\ibl2r{-2}\qb2r&\qp\en -\notes&&\nbbl2\qb2q\tql2p&\en -\Notes\sk\cu I&\ql o&\ibl2o6\qb2o\itieu2r\tql2r&\ds\cl k\en +\notes&&\nbbl2\qb2q\tqb2p&\en +\Notes\sk\cu I&\ql o&\ibl2o6\qb2o\itieu2r\tqb2r&\ds\cl k\en \bar%6 -\Notes\ql{.L}&\ibl1n{-1}\qb1{no}&\ttie2\ibl2r{-2}\qb2r\tql2q&\ibl3n{-2}\qb3{nm}\en +\Notes\ql{.L}&\ibl1n{-1}\qb1{no}&\ttie2\ibl2r{-2}\qb2r\tqb2q&\ibl3n{-2}\qb3{nm}\en \Notes&\qb1n&\ql p&\qb3l\en -\notes\ibbl0M2\qb0M\tql0N&\tql1m&&\tql3k\en -\Notes\itieu0a\ql a&\ibl1l{-2}\qb1l&\ql{.o}&\pince{n}\ibl3i0\qb3{^j}\en -\notes&\tql1k&&\nbbl3\qb3i\tql3j\en +\notes\ibbl0M2\qb0M\tqb0N&\tqb1m&&\tqb3k\en +\Notes\itieu0a\ql a&\ibl1l{-2}\qb1l&\ql{.o}&\shake{n}\ibl3i0\qb3{^j}\en +\notes&\tqb1k&&\nbbl3\qb3i\tqb3j\en \notes\ttie0\ibbl0a{-2}\qb0{aN}&\cl{^j}&&\cu h\en -\notes\qb0M\tql0L&\ds&\ibbl2i2\qb2i\qsk\tql2{^j}&\ds\en +\notes\qb0M\tqb0L&\ds&\ibbl2i2\qb2i\qsk\tqb2{^j}&\ds\en \bar%7 \Notes\ql M&\ibu1g0\qb1{fg}&\ibl2k0\qb2{kl}&\qu h\en -\Notes\ql K&\qb1h\tqu1f&\qb2m\tql2k&\qu h\en +\Notes\ql K&\qb1h\tqh1f&\qb2m\tqb2k&\qu h\en \Notes\ql N&\ibu1g{-2}\qb1{gf}&\ibl2i4\qb2{ik}&\ql i\en -\Notes\qu G&\qb1e\tqu1d&\qb2n\tql2m&\ql i\en +\Notes\qu G&\qb1e\tqh1d&\qb2n\tqb2m&\ql i\en \bar%8 -\Notes\qu{.H}&\ibu1c4\qb1{^cd}&\ibl2l{-1}\qb2{.l}\tqql2k\isluru2j&\ibu3i{-1}\qb3{hi}\en -\notes&\qb1e&\tslur2j\ibbl2j0\qb2k\hqsk\tbbl2\qb2{^j}&\qb3h\en -\Notes\cu{^J}&\itied1h\tqu1h&\itieu2l\tql2l&\tqu3g\en -\notes\ql K&\ttie1\ibu1h{-1}\qb1h&\ttie2\ibbl2l{-1}\qb2{lk}&\ibu3f{-1}\qb3f\en -\notes&\tqu1g&\qb2l\tql2j&\tqu3e\en +\Notes\qu{.H}&\ibu1c4\qb1{^cd}&\ibl2l{-1}\qb2{.l}\roff{\itieu2k\tbbl2\tqb2k}\qsk&\ibu3i{-1}\qb3{hi}\en +\notes&\qb1e&\ttie2\ibbl2j0\qb2k\hqsk\tbbl2\qb2{^j}&\qb3h\en +\Notes\cu{^J}&\itied1h\tqh1h&\itieu2l\tqb2l&\tqh3g\en +\notes\ql K&\ttie1\ibu1h{-2}\qb1h&\ttie2\ibbl2l{-1}\qb2{lk}&\ibu3f{-1}\qb3f\en +\notes&\tqh1g&\qb2l\tqb2j&\tqh3e\en \Notes\cl K&\cu f&\cl k&\cu d\en -%\nobarnumbers% -%\setrightrepeat% -%\alaligne% \advance\barno by -1% -%\leftrepeat% -%\systemnumbers% \leftrightrepeat -%\advance\barno by -1% \Notes\ds&\cl m&\ds&\cl o\en \bar%9 -%\notes&&&\lcharnote q{\ninebf \the\barno}\enotes -\Notes\ql d\sk\ql c&\ibl1k0\qb1{kmk}\tql1{m}&\ql o\sk\ql o&\ibl3m0\qb3{mom}\tql3o\en +\Notes\ql d\sk\ql c&\ibl1k0\qb1{kmk}\tqb1{m}&\ql o\sk\ql o&\ibl3m0\qb3{mom}\tqb3o\en \Notes\ql b&\ibl1k0\qb1n&\ql p&\ibl3k2\qb3k\en -\notes&\qb1k&&\nbbl3\qb3l\tql3m\en -\Notes\ql N&\qb1k\tql1n&\ql p&\ibl3n{-4}\qb3n\tql3l\en +\notes&\qb1k&&\nbbl3\qb3l\tqb3m\en +\Notes\ql N&\qb1k\tqb1n&\ql p&\ibl3n{-4}\qb3n\tqb3l\en \bar%10 -\Notes\ibl0b{-1}\qb0{cbc}\tql0a&\cl l\ds\qp&\ibl2o{-1}\qb2{opo}\tql2n&\ibl3o{-2}\qb3{onm}\tql3l\en -\Notes\ql{.b}&\ql m&\ibl2m{-2}\qb2m&\ibl3j0\qb3{^k}\en -\notes&&\tql2l&\nbbl3\qb3{^j}\tql3k\en -\Notes\sk\cl a&\ql m&\cl{^k}\ds&\ibl3i8\qb3i\tql3p\en +\Notes\ibl0b{-1}\qb0{cbc}\tqb0a&\cl l\ds\qp&\ibl2o{-1}\qb2{opo}\tqb2n&\ibl3o{-2}\qb3{onm}\tqb3l\en +\Notes\ql{.b}&\ql m&\ibl2m{-2}\qb2m&\ibl3j0\shake n\qb3{^k}\en +\notes&&\tqb2l&\nbbl3\qb3{^j}\tqb3k\en +\Notes\sk\cl a&\ql m&\cl{^k}\ds&\ibl3i8\qb3i\tqb3{p}\en \bar%11 -\Notes\ql{N}\sk\ql{N}&\ibl1l0\qb1{nln}\tql1l&\ql p\sk\ql p&\ibl3m0\qb3{lpl}\tql3p\en -\notes\ql{.a}&\ibl1m{-1}\qb1{m*n}&\ql q&\ibbl3k2\qb3{^klm}\tql3n\en +\Notes\ql{N}\sk\ql{N}&\ibl1l0\qb1{nln}\tqb1l&\ql p\sk\ql p&\ibl3m0\qb3{lpl}\tqb3{p}\en +\notes\ql{.a}&\ibl1m{-1}\qb1{m*n}&\ql q&\ibbl3k2\qb3{^klm}\tqb3n\en \Notes&\qb1m&\ql q&\ibl3o{-2}\qb3o\en -\notes\cl{^a}&\tql1l&&\nbbl3\qb3n\tql3m\en +\notes\cl{^a}&\tqb1l&&\nbbl3\qb3n\qsk\tqb3{m}\en \bar%12 \Notes\ql b&\ibl1k2\qb1{^k}&\ibl2o{-1}\qb2p&\ibl3n{-2}\qb3n\en -\notes&\nbbl1\qb1l\tql1m&\qb2q&\nbbl3\qb3m\tql3l\qsk\en +\notes&\nbbl1\qb1l\tqb1m&\qb2q&\nbbl3\qb3m\tqb3l\qsk\en \notes\qu I&\itied1i\qu i&\qb2p&\ibbl3k0\qb3{^kl}\en -\notes&&\tql2o&\qb3m\tql3k\en +\notes&&\tqb2o&\qb3m\tqb3k\en \Notes\ql{.L}&\ttie1\ibu1i0\qb1i&\ibl2n0\qb2n&\itieu3l\hl l\en -\notes&\nbbu1\qb1h\tqu1i&\nbbl2\qb2m\tql2n&\en +\notes&\nbbu1\qb1h\tqh1i&\nbbl2\qb2m\tqb2n&\en \Notes&\ibu1g2\qb1g&\cl l&\en -\notes\cl{=K}&\nbbu1\qb1h\tqu1i&\ds&\en +\notes\cl{=K}&\nbbu1\qb1h\tqh1i&\ds&\en \bar%13 -\notes\qu J&\ibl1j2\qb1j\sk\qb1k&\hpause&\ttie3\ibbl3k1\isluru3l\qb3l\tslur3k\qb3k\isluru3m\qb3m\tslur3l\tql3l\en -\notes\ql c&\qb1l\sk\tql1m&&\ibbl3m1\isluru3n\qb3n\tbbl3\tslur3m\qb3m\tql3o\en -\notes\ql{.b}&\ibl1n{-1}\qb1n\sk\nbbl1\qb1m\tql1l&\ql n&\ql{.k}\en -\Notes&\cl k&\ibl2k{-4}\qb2n&\en -\notes\ibbu0J{-2}\qb0J\tqu0I&\ds&\tql2g&\ibbl3j2\qb3j\tql3k\en +\notes\qu J&\ibl1j2\qb1j\sk\qb1k&\hpause&\ttie3\ibbl3k1\slur lku1\qb3l\qb3k\slur mlu1\qb3m\tqb3l\en +\notes\ql c&\qb1l\sk\tqb1m&&\ibbl3m1\isluru3n\qb3n\tbbl3\tslur3m\qb3m\tqb3o\en +\notes\ql{.b}&\ibl1n{-1}\qb1n\sk\nbbl1\qb1m\tqb1l&\ql n&\ql{.k}\en +\Notes&\cl k&\ibl2i{-5}\qb2n&\en +\notes\ibbu0J{-2}\qb0J\tqh0I&\ds&\tqb2g&\ibbl3j2\qb3j\tqb3k\en \bar%14 \Notes\qu{.H}&\ds&\ibl2j1\qb2{.j}&\ibl3l2\qb3l\en -\notes&\cu h&\qsk\tqql2k&\nbbl3\qb3m\tql3n\en +\notes&\cu h&\sk\tbbl2\tqb2k&\nbbl3\qb3m\tqb3n\en \Notes&\ibu1e0\qb1e&\ibl2j{-2}\qb2j&\ibl3o{-2}\qb3o\en -\notes\ibbu0I2\qb0I\tqu0J&\nbbu1\qb1d\tqu1e&\tql2i&\tql3n\en -\notes\ql{.K}&\ibu1g1\qb1f&\ibu2h1\qb2h&\ibbl3l{-2}\pince{o}\qb3m\tbbl3\qb3l\en -%\vnotes1.4\elemskip&&&\nbbbl3\qb3l\tbbl3\qb3m\en -\Notes&\itied1g\tqu1g&\tqu2i&\tql3k\en +\notes\ibbu0I2\qb0I\tqh0J&\nbbu1\qb1d\tqh1e&\tqb2{i}&\tqb3n\en +\notes\ql{.K}&\ibu1g1\qb1f&\ibu2h1\qb2h&\ibbl3m{-2}\shake{o}\qb3m\en +\notes&&&\tbbl3\qb3l\en +\Notes&\itied1g\tqh1g&\tqh2i&\tqb3k\en \Notes&\ttie1\ibu1g{-1}\qb1g&\ibl2j2\qb2j&\ibu3i{-6}\qb3j\en -\notes\ibbu0J2\qb0J\tqu0K&\tqu1f&\tql2k&\tqu3d\en +\notes\ibbu0J2\qb0J\tqh0K&\tqh1f&\tqb2k&\tqh3d\en \bar%15 \Notes\ibu0I0\qb0G&\qu d&\ibu2i0\qb2i&\ibl3i0\qb3i\en -\notes\qb0H&&\nbbu2\qb2h\tqu2i&\qb3j\en +\notes\qb0H&&\nbbu2\qb2h\tqh2i&\qb3j\en \Notes\qb0I&\qu d&\cu g&\qb3k\en -\Notes\tqu0G&&\ds&\tql3i\en +\Notes\tqh0G&&\ds&\tqb3i\en \Notes\qu{.J}&\qu e&\ds&\ibu3j{-2}\qb3j\en -\notes&&\ibbl2l{-2}\qb2l\tql2k&\qb3i\en +\notes&&\ibbl2l{-2}\qb2l\tqb2k&\qb3i\en \Notes&\qu e&\ibl2j4\qb2j&\qb3h\en -\Notes\cu{^J}&&\tql2l&\tqu3g\en +\Notes\cu{^J}&&\tqb2l&\tqh3g\en \bar%16 \notes\ql K&\ibu1g{1}\qb1d&\ibbl2h1\qb2{hk}&\ibu3f2\qb3f\en -\notes&\qb1e&\qb2j\tql2i&\tqu3g\en +\notes&\qb1e&\qb2j\tqb2i&\tqh3g\en \notes\ql K&\qb1d&\ibbl2j0\qb2j\tbbl2\qb2h&\ibu3h{-4}\qb3h\en -\Notes&\tqu1j&\itieu2k\tql2k&\tqu3f\en +\Notes&\tqh1j&\itieu2k\tqb2k&\tqh3f\en \Notes\ql N&\ibu1i{-2}\qb1i&\ttie2\ibl2j0\qb2k&\qu g\en -\notes&\tqu1h&\nbbl2\qb2j\tql2k&\en +\notes&\tqh1h&\nbbl2\qb2j\tqb2k&\en \Notes\cu G&\cu g&\cl i&\cu g\en \setrightrepeat -%\mulooseness=+1% \endpiece% \eject \end diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf b/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf Binary files differindex 261f496bf4b..d4e05e0bd4b 100644 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty b/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty deleted file mode 100644 index 22586249cd3..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty +++ /dev/null @@ -1,115 +0,0 @@ -% -% This file is part of MusiXTeX -% -% MusiXTeX is free software; you can redistribute it and/or modify -% it under the terms of the GNU General Public License as published by -% the Free Software Foundation; either version 2, or (at your option) -% any later version. -% -% MusiXTeX is distributed in the hope that it will be useful, -% but WITHOUT ANY WARRANTY; without even the implied warranty of -% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the -% GNU General Public License for more details. -% -% You should have received a copy of the GNU General Public License -% along with MusiXTeX; see the file COPYING. If not, write to -% the Free Software Foundation, Inc., 59 Temple Place - Suite 330, -% Boston, MA 02111-1307, USA. -% -% american people perhaps may want to change the paper size -% -% LaTeX2e compliant (6 Oct 2009) - -%\textheight= 50\baselineskip -\textheight= 297mm \advance\textheight-2in % -\textwidth= 210mm \advance\textwidth-1.8in % -% -% Allow dvips -tletter and it still fits. -%\voffset-5mm\hoffset-.1in -\voffset1mm\hoffset-.1in - -\input musixtex -\input musixbm -\input musixcho -\input musixdat -\input musixext -\input musixgre -\input musixgui -\input musixlit -\input musixltx -\input musixper -%\input musixmad% removed because inessential (6 June 2008) - -% we don't need margin -\oddsidemargin\z@ \evensidemargin\z@ -\marginparwidth\z@ \marginparsep\z@ \marginparpush\z@ - -\topmargin-15pt \headheight12pt -\headsep25pt \footskip25pt -\columnsep10pt \columnseprule\z@ \parskip\smallskipamount - -\nobarnumbers - -% for usage of notes inside text -\let\nblines\z@ - -\long\def\theindex{\chapter{Index}\parindent\z@ - \parskip\z@ plus.3\p@\relax \let\item\@idxitem \columnseprule\z@ - \columnsep35\p@ \begin{multicols}{2}} - -\def\endtheindex{\end{multicols}} - -% saves paper -\def\@listI{\leftmargin\leftmargini \parsep 4.5\p@ plus2\p@ minus\p@ -\topsep 1\p@ plus2\p@ minus1\p@ -\itemsep 4.5\p@ plus2\p@ minus\p@} - -% more place for digits in \tableofcontents -\def\l@subsection{\@dottedtocline{2}{3.8em}{3.4em}}%original 2 3.8 3.2 - -\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\ttfamily} -\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX} -\def\Bslash{\ttfamily \char'134} -\def\|{\texttt{\char'174}} -\def\LBR{\texttt{\char'173}} -\def\RBR{\texttt{\char'175}} -\def\keyindex#1{\leavevmode - \hbox{\Bslash #1}\index{#1@{\protect\Bslash #1}}} -\def\zkeyindex#1{\index{#1@{\protect\Bslash #1}}} -\def\ixem#1{#1\index{#1}} -\def\itxem#1{\textsl{#1}\index{#1}} -\def\ttxem#1{\texttt{#1}\index{#1@\texttt{#1}}} -\def\ixtt#1{\index{#1@\texttt{#1}}} -\def\ital#1{\textsl{#1\/}} - -\newfont{\mflogo}{logo10 scaled 1200} -\def\MF{{\mflogo METAFONT}} -\def\unix{\textsc{unix}} - -\iflongDCfontnames - \font\tentt=\fontid tt1000 -\else\iflongECfontnames - \font\tentt=\fontid tt1000 -\else - \font\tentt=\fontid tt10 -\fi\fi -% It's under construction -\tolerance10000\hbadness10000 - -\def\printindex{\@input{\jobname.ind}} - -\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}% - -\def\_{\protect\underscoreSymbol} - -\def\remark{\par\noindent\slshape REMARK:} -\def\endremark{\leavevmode\/} - -\def\important{\par\noindent\slshape IMPORTANT:} -\def\endimportant{\leavevmode\/} - -\def\caution{\par\noindent\slshape CAUTION:} -\def\endcaution{\leavevmode\/} - -\def\st@ffs{1} -\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex deleted file mode 100644 index 57279defdf3..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex +++ /dev/null @@ -1,9352 +0,0 @@ -% -% This file is part of MusiXTeX -% -% MusiXTeX is free software; you can redistribute it and/or modify -% it under the terms of the GNU General Public License as published by -% the Free Software Foundation; either version 2, or (at your option) -% any later version. -% -% MusiXTeX is distributed in the hope that it will be useful, -% but WITHOUT ANY WARRANTY; without even the implied warranty of -% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the -% GNU General Public License for more details. -% -% You should have received a copy of the GNU General Public License -% along with MusiXTeX; see the file COPYING. If not, write to -% the Free Software Foundation, Inc., 59 Temple Place - Suite 330, -% Boston, MA 02111-1307, USA. -% -% -% musixdoc.tex : the document -% -\documentclass[twoside,11pt,a4paper]{report} -\usepackage{multicol} -\usepackage{musixdoc} -\usepackage{etex} -\usepackage[dvips,bookmarks=true,bookmarksnumbered=true,bookmarksopen=false,colorlinks=true,pdfborder={0 0 0},pdfstartview={FitH},pdfmenubar=false]{hyperref} -\usepackage{url} -\usepackage{indentfirst} -\usepackage[ansinew]{inputenc} -\makeatletter -\def\notesintext#1{% no staff lines, no clefs - {\let\extractline\relax - \setlines10\smallmusicsize \nobarnumbers \nostartrule - \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt - \startextract\addspace{-\afterruleskip}#1\zendextract}} -\makeatother -\def\musicintext#1#2{% normal - {\let\extractline\relax - \smallmusicsize \nobarnumbers - \staffbotmarg0pt \setclef1{#1} - \startextract\addspace{-\afterruleskip}#2\endextract}} -% macro adapted to insert music without clef: -\def\musicintextnoclef#1{% no clef small - {\let\extractline\relax - \smallmusicsize \nobarnumbers - \staffbotmarg0pt \setclefsymbol1\empty - \startextract\addspace{-\afterruleskip}#1\endextract}} -\def\musicintextnoclefn#1{% no clef normal - {\let\extractline\relax - \nobarnumbers - \staffbotmarg0pt \setclefsymbol1\empty - \startextract\addspace{-\afterruleskip}#1\endextract}} - -\def\musictex{Music\TeX{}} -\def\onen{{\tt\char123}$n${\tt\char125}} -\def\pitchp{{\tt\char123}$p${\tt\char125}} -\def\itbrace#1{{\tt\char123}$#1${\tt\char125}} -\def\nochange{(\ital{NOT to be changed})} - -\ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi -\ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi - -\startmuflex\makeindex - -\begin{document} - -%\changebarsep 10 pt -\title{\Huge\bf\musixtex\raise1.5ex\hbox{\large\copyright}\\[\bigskipamount] -\LARGE\bf Using \TeX{} to write polyphonic\\or -instrumental music\\\Large\sl Version 1.15~-- April, 2011} -\author{\Large\rm Daniel \sc Taupin\\\large\sl - Laboratoire de Physique des Solides\\\normalsize\sl - (associ\'e au CNRS)\\\normalsize\sl - b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\\medskip - \\\Large\rm Ross \sc Mitchell\\\large\sl - CSIRO Division of Atmospheric Research,\\\normalsize\sl - Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip - \\\Large\rm Andreas \sc Egler\\\large\sl - (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum} -\date{} - \maketitle -\clearpage - %\check - -\pagenumbering{roman}\setcounter{page}{2} - -%\thispagestyle{empty} - -\null -\vfill - -\begin{flushright}\it - If you are not familiar with \TeX{} at all\\ -I would recommend to find another software\\ -package to do musical typesetting.\\ -Setting up \TeX{} and \musixtex\\ -on your machine and mastering it\\ -is an awesome job which gobbles up\\ -a lot of your time and disk space.\\[\medskipamount] -But, once you master it...\\[\smallskipamount] -Hans {\sc Kuykens} -\end{flushright} - -\begin{center} -\musixtex{} may be freely copied, duplicated and used in conformance to -the GNU General Public License (Version 2, 1991, see included file {\tt -copying})\footnote{Thanks to Free Software Foundation for advising us. See -\href{http://www.gnu.org}{\underline{\tt http://www.gnu.org}}}. - -You may take it or parts of it to include in other packages, but no packages -called \musixtex{} without specific suffix may be distributed under the name -\musixtex{} if different from the original distribution (except obvious bug -corrections). - - Adaptations for specific implementations (e.g. fonts) should be provided as -separate additional \TeX\ or \LaTeX\ files which override original definitions. - \end{center} - -\clearpage - -\chapter*{Preface to Version T.113} -%\thispagestyle{empty} - -The main author of \musixtex{}, Daniel Taupin, died all too early in a 2003 -climbing accident. The \musixtex\ community was shocked by this tragic and unexpected -event. You may read some tributes to Daniel Taupin which are archived at the -\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. - -Now, almost two years after his death, we would like to help keep his excellent -work alive and current by assembling a new release. This new version corrects various -minor bugs without adding any new functionality. At the same time it incorporates directly -into the distribution some additional packages: -\begin{itemize}\setlength{\itemsep}{0ex} -\item Type 1 (postscript) versions of all the \musixtex{} fonts, created by -Takanori Uchiyama; -\item Postscript Slur Package K (Ver 0.92, 12~May~02) by Stanislav Kneifl; -\item musixlyr (Ver 2.1c, 12 June 03) a \musixtex{} extension package for lyrics -handling, by Rainer Dunker. -\end{itemize} -We would like to thank the authors of these packages for generously agreeing to allow their -contributions to be included in the main \musixtex{} package. - -We have left the remainder of this manual largely as Daniel Taupin left it, -except we have updated various references and provided dynamic links to -archived versions where possible. - -This documentation is rather technical and is probably not the best way to -begin typesetting music. If you are a beginner, you should visit the -software section of the -\href{http://icking-music-archive.org/software/indexmt6.html} -{\underline{Werner Icking Music Archive}}. -In particular, we recommend -\href{http://icking-music-archive.org/software/pmx/pmxccn.pdf} -{\underline{Cornelius Noack's tutorial}}. It contains helpful information for -getting started with \musixtex, as well as a tutorial for \textbf{PMX}, a -preprocessor for \musixtex\ with a much simpler input language, and a brief -introduction to \textbf{M-Tx}, a preprocessor for \textbf{PMX}~which eases -the inclusion of lyrics. - -\bigskip - -\begin{flushright} -In the name of the community, Olivier Vogel, -July 30, 2005 -\end{flushright} - -%\clearpage - -\chapter*{Preface to Version T.114} -%\thispagestyle{empty} - -In order to expedite the release of version T.113 of \musixtex, only the most -essential modifications were made to the manual. With version T.114 the manual -has been extensively edited from cover to cover. Some material has been -rearranged, and references to \musictex, the immediate predecessor to -\musixtex, have been removed. The software itself remains -very stable. Only the slightest changes have been made since version T.113. - -It remains true that this is the definitive reference to all features of -\musixtex, but also that it is not the best place for a novice user to start. -The \href{http://icking-music-archive.org/software/indexmt6.html} -{\underline{Werner Icking Music Archive}}\ contains excellent and detailed -instructions for installing \musixtex{} and the strongly recommended -preprocessors \textbf{PMX} -(for instrumental music) and \textbf{M-Tx} (for vocal) under -\href{http://icking-music-archive.org/software/musixtex/musixtex-for-unix.html} -{\underline{Linux/\unix}} or -\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf} -{\underline{Windows 2000}}. Once the software is installed, most common -music typesetting tasks can be accomplished entirely by using one of these -preprocessors to generate the \musixtex\ input file, relieving the user of -learning any of the commands or syntax of \musixtex\ itself. It is only -for out-of-the-ordinary constructions that one must learn these details, so he -may insert the necessary \musixtex\ commands into the preprocessor's input file -as so called inline \TeX. -\href{http://icking-music-archive.org/software/pmx/pmxccn.pdf} -{\underline{Cornelius Noack's tutorial}} is an important resource which, -in addition to gently introducing the -novice to \textbf{PMX} and \textbf{M-Tx}, gives further details on installing -Postscript slur facilities. - -\begin{flushright} -Don Simons, Andre van Ryckeghem, Cornelius Noack, August 30, 2005 -\end{flushright} - -\chapter*{Preface to Version 1.15} - -From the time of \musixtex's predecessor \musictex\ until the -previous version of \musixtex~(T.114), -the maximum numbers of simultaneous appearances of certain basic musical -elements were limited: -12 instruments, 12 or 6 beams depending on the type, -12 font-based slurs% -\footnote{\texttt{musixps.tex} by Stanislav Kneifl provides different limits.}% -, and 6 trills or octave lines, -even with \texttt{musixmad.tex}. -For some purposes these limits are too tight, and because of them, -developers of open-source GUI music editors may deem \musixtex{} -unworthy of support in their software. Without such support or enhanced capacity, -\musixtex{} risks consignment to the junk heap of obsolete software. - -It has been the \musixtex{} community's long-cherished desire to have a -new official version with greater capacity. However, for quite some time -the limits were due not only to the design of -\musixtex{} itself but also to limitations in older versions of \TeX\ on the maximum -numbers of available registers---256 each -for counts (\texttt{\string\count}), dimensions (\texttt{\string\dimen}), -skips (\texttt{\string\skip}), and tokens (\texttt{\string\toks}). - -But now, an extended variation of -\TeX{}---$\varepsilon$\hbox{-}\nobreak\TeX---is available.\footnote{ -$\varepsilon$\hbox{-}\nobreak\TeX{} (e-\TeX) is a trademark -of the NTS group.} -One of $\varepsilon$\hbox{-}\nobreak\TeX's features is that it can handle -32768 registers. Furthermore, - \LaTeXe\ and other well-known extension packages require the -$\varepsilon$\hbox{-}\nobreak\TeX{} engine, -so it has spread widely among many \TeX\ users. -In fact, the current executable file called \texttt{latex} -relies on the $\varepsilon$\hbox{-}\nobreak\TeX{} engine. -Many other advanced branches based on $\varepsilon$\hbox{-}\nobreak\TeX{} -are also available. - -Here we provide the new \musixtex{} 1.15 as the solution for typesetting larger -musical scores, -taking advantage of $\varepsilon$\hbox{-}\nobreak\TeX's 32768-register capacity. -We have made the new version 1.15 as compatible as possible with -earlier versions of \musixtex, existing scores, extension packages, -and Prof.~Knuth's original (non~$\varepsilon$\hbox{-}\nobreak) \TeX. -With it, you can use many more instruments and other musical elements within the capacity of -$\varepsilon$\hbox{-}\nobreak\TeX{} or even with original \TeX. -Also, as of version 2.6, the preprocessor \textbf{PMX} has been enhanced to -allow up to 24 lines of music, and requires both \musixtex{} 1.15 and -$\varepsilon$\hbox{-}\nobreak\TeX.\footnote{This should pose no problems for -users, owing -to the free availability of all the software, and to capacities of all modern -computer hardware.} -Unfortunately, we have found a few rarely used old extensions -not compatible with 1.15; -we will provide information for adapting them to the new version. - -We hope the new version 1.15 will keep \musixtex{} relevant well into the twenty-first century. - - -\begin{flushright} -Hiroaki Morimoto, Andre van Ryckeghem, Don Simons, April 2011 -\end{flushright} - -\clearpage - -%\pagenumbering{roman} -\renewcommand{\baselinestretch}{.8}\footnotesize\normalsize -\tableofcontents \setcounter{secnumdepth}3 -\renewcommand{\baselinestretch}{1}\footnotesize\normalsize - -%avrb page 4 was on top -\clearpage -%avre - -\setcounter{page}{1} -\pagenumbering{arabic} -\renewcommand{\thepage}{\arabic{page}} - -\pagestyle{headings} - - - -\chapter{Introduction to \musixtex} - -This chapter is not a tutorial on the use of \musixtex, but instead serves as -an overview of some of its capabilities, quirks, and history. - -\musixtex\ is a set of macros and fonts which enables music typesetting -within the \TeX\ system. It requires as a prerequisite a working -installation of \TeX\footnote{See section \ref{installation}~for guidance on -installing \TeX.}. -\musixtex\ might be regarded as the digital equivalent of a box of type. It -contains symbols for staves, notes, chords, beams, slurs and ornaments, -ready to be arranged to form a sheet of music. But it must be told how to position -those symbols on the page. This could be done by the typesetter -himself, if he elects to proceed by entering \musixtex\ commands manually -into an input file. However most users will find it far less taxing to let -such decisions be made largely by the preprocessor -\href{http://icking-music-archive.org/software/indexmt6.html#pmx} -{\underline{\textbf{PMX}}}, which in addition uses a much simpler input -language than \musixtex. - -Lyrics can also be handled by \musixtex. There is a set of primitive -commands for this which are described later. But there is also a far -more adaptable set of macros contained in the extension file -\verb|musixlyr.tex|, and there is the preprocessor -\href{http://icking-music-archive.org/software/indexmt6.html#mtx} -{\underline{\textbf{M-Tx}}}\ which provides easy, transparent access to -these macros. - -Most users of \TeX\ are familiar with \LaTeX, a set of \TeX\ macros -which eases document layout. In fact many may only use \LaTeX. -Until recently, \LaTeX\ and \musixtex\ coexisted only grudgingly, owing -primarily to the limited availabily of storage registers. But with modern -versions of \TeX\ and with the use of e\LaTeX, only a modest increase in -complexity is incurred with the addition of musical excerpts to a \LaTeX\ -document. Still, fortunately, for typesetting a musical score there is -rarely if ever any advantage to using \LaTeX. Only if one wanted to create a -text document with embedded musical examples would there be much use for it. -Even in that case there is a perfectly fine way to avoid using \musixtex\ -directly in the document file, namely, by using \musixtex\ to create -\verb|eps| files for -each of the examples, then embedding references to those in the file for -the book. But for anyone who still wants to use both together, there is -no better example than this manual, as generated with the files -\verb|musixdoc.tex| and \verb|musixdoc.sty|. A few further details about such -nonstandard applications are given in section \ref{excerpts}. - -\section{Primary features of \musixtex} - \subsection{Music typesetting is two-dimensional} Written music is not -usually a linear sequence of symbols like a literary text. Rather, -except for unaccompanied single-note instruments like clarinets, -trumpets and human voices, it has the form of a two-dimensional matrix. - Thus, a logical way of coding music consists -in horizontally accumulating a set of \ital{vertical combs} with -\ital{horizontal teeth} as depicted in Table~\ref{readtable}. -\def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}} - \begin{table} - \begin{center} -%avrb - \small - %avre - \begin{tabular}{|ll|ll|}\hboxit{note sequence one} - &\hboxit{note seq.\ four} - &\hboxit{note seq.\ seven} - &\hboxit{note seq.\ ten}\\\hboxit{note sequence two} - &\hboxit{note seq.\ five} - &\hboxit{note seq.\ eight} - &\hboxit{note seq.\ eleven}\\\hboxit{note sequence three} - &\hboxit{note seq.\ six} - &\hboxit{note seq.\ nine} - &\hboxit{note seq.\ twelve}\\ - \end{tabular} - \end{center} - \caption{A logical way of coding music}\label{readtable} - \end{table} -Accordingly, in \musixtex\ the fundamental macro used to represent -one of those vertical combs (or one of the columns in Table~\ref{readtable}) -is of the form -\begin{center} -\verb|\notes ... & ... & ... \enotes|\footnote{The abbreviation -\keyindex{en} can be used in place of \keyindex{enotes}.} -\end{center}\index{"&@{\tt\char'046}} -\noindent where the character \verb|&| is used to separate the notes to be -typeset on respective staves of the various instruments, starting from the -bottom. - -In the case of an instrument whose score has to be written with -several staves, they are separated by the -character \|\index{\tt\char'174@{\tt\char'174}}. - -Thus, a score written for a keyboard instrument and -a single-line instrument (e.g., piano and violin) -will be coded as follows: -\begin{center} -\verb=\notes ... | ... & ...\enotes= -\end{center} -\noindent for each column of simultaneous \ital{groups of notes}. -Each of those groups, represented by a single box in Table~\ref{readtable}\ -and by a sequence of three dots in the the two example macros above, may contain -not only chord notes to be played simultaneously, but short sequences of -consecutive -notes or chords. As we'll soon see, this implies the need for two fundamentally different -kinds of elemental macros in \musixtex, those that are automatically followed -by some amount of space (called \ital{spacing macros}, and those that are not. -The former type, for example, -would be used to represent all the notes and rests in a single-line score. -The latter would be used for example for chord notes and ornaments. - -\subsection{Horizontal spacing} -Deciding upon the proper horizontal spacing of notes is a very complicated matter -that we will not address in any detail here. Obviously short-duration notes -should be closer together than longer ones. Almost as obviously, the spacing -cannot be linearly proportional to the duration; otherwise for example a whole -note would occupy 32 times as much horizontal space as a thirty-second note. And -in polyphonic scores the spacing in one staff is often influenced by the notes -in another. This is a decision that the typesetter or preprocessor -must make. Once the decision is made, \musixtex\ can provide the desired spacing. -The main mechanism is through a set of macros described in -section~\ref{newspacings}. At this point we shall only mention that to control -spacing, one of those -macros will be selected to replace the symbol \verb|\notes| in the two examples -above, and it will imply that whenever a spacing macro in encountered within -a group of notes, a -certain specific amount of horizontal space will be inserted. - - \subsection{Music tokens} -The tokens provided by \musixtex\ include -\begin{itemize}\setlength{\itemsep}{0ex} - \item note symbols without stems; - \item note symbols with stems, and flags for eighth notes and -shorter; - \item beam beginnings and endings; - \item beginnings and endings of ties and slurs; - \item accidentals; - \item ornaments: arpeggios, trills, mordents, turns, staccatos, -pizzicatos, fermatas, etc.; - \item bar lines; - \item meters, key signatures, clefs. -\end{itemize} - -\smallskip - - Thus for example, \verb|\wh a| produces a whole note at nominal frequency 222.5~Hz, -\verb|\wh h| produces one an octave higher, \verb|\qu c| -produces an up-stemmed quarter note C (250~Hz), and \verb|\cl J| produces a down-stemmed C -eighth note an octave lower. - - To generate chords with solid note heads, the macro \keyindex{zq} -can be used. It produces a solid note head at the specified pitch, -the vertical position of which -is memorized and recalled whenever the next stemmed note (possibly with a flag) is -coded. The stem length is automatically adjusted to link all simultaneous notes. Thus, the -C-major chord - -\begin{music}\nostartrule -\startextract\NOtes\zq{ceg}\qu j\en\zendextract -\end{music} - \noindent is coded \verb|\zq c\zq e\zq g\qu j| or more concisely, -\verb|\zq{ceg}\qu j|. Here the \verb|u| in the spacing note macro -\verb|\qu| is what causes the upstem. - - \subsection{Beams} -Each beam \index{beams} is generated by a pair of macros. The first defines -the beginning horizontal position (implicitly the current position), altitude, -direction (upper or lower), multiplicity (number of lateral bars), slope and -reference number. This latter feature is needed so independent beams -can overlap. The second macro of the pair specifies the termination -location (again implicitly) and the reference number. - - \subsection{Setting anything on the score} -A general macro (\keyindex{zcharnote}) provides a means of -putting any sequence of symbols (possibly contained in an \verb|\hbox{...}|) at any -pitch of any staff of any instrument. This allows any symbol defined in a font -(letters, math symbols, etc.) to be placed in the score at a position keyed -to the music both in time (horizontally) and pitch (vertically) on the staff, -\section{A simple example} - Before going into more detail, we give below an example of the two first -bars of the sonata in C-major KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc -Mozart, W.A.}}: - -\begin{music} -\parindent11mm -\setname1{Piano} -\setstaffs12 -\generalmeter{\meterfrac44} -\startextract -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en -\bar -\Notes\ibu0f0\qb0{dgf}|\qlp i\en -\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\zendextract -\end{music} - The coding is as follows: -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\parindent10mm -\instrumentnumber{1} % a single instrument -\setname1{Piano} % whose name is Piano -\setstaffs1{2} % with two staffs -\generalmeter{\meterfrac44}% 4/4 meter chosen -\startextract % starting real score -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en -\bar -\Notes\ibu0f0\qb0{dgf}|\qlp i\en -\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\zendextract % terminate excerpt -\end{music} - \end{verbatim}\end{quote} -\begin{itemize}\setlength{\itemsep}{0ex} - \item \verb|\ibu0f0| begins an upper beam, aligned on the -\ital{f}, reference number 0, slope 0 - \item \verb|\tbu0| terminates this beam before writing -the second \ital{g} by means of \verb|\qb0g| - \item \verb|\qb..| indicates a note belonging to a beam. - \item \verb|\sk| sets a space between the two quarters in the right -hand, so that the second one is aligned with the third eighth in the left hand. - \item\verb|\qlp| is a dotted quarter note. - \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C} -(\verb|j| at this pitch) with slope 15\%. -\end{itemize} - -\section{The three pass system}\label{threepass} -\TeX's line-breaking procedure implicitly assumes -that a normal line of text will contain many words, so that inter-word -glue need not stretch or shrink too much to justify the line. -One might at first consider extending this to music, treating each bar like a -word with no stretchable internal space. But typically this would lead to unsightly -gaps before each bar rule, simply because the number of bars per line -is normally many fewer than the number of words in a line of text. -\musixtex\ needs a more sophisticated horizontal spacing algorithm -than is used in \TeX. - -To understand how \musixtex\ solves this problem, we have to -recognize two different kinds of horizontal space, \ital{hard}\ and -\ital{scalable}. Hard space is fixed and always represents the same -physical distance. -Examples of hard space are the widths of bar rules, clefs, -and key signatures. Scalable space can be stretched as needed. It -is what is normally used for the space after notes or rests. At the -outset it is only defined in a relative sense. In other words, -scalable spaces are defined as multiples of \verb|\elemskip|, an -initially undefined elemental spacing unit. For example, in \textbf{PMX}\ -all sixteenth notes -are typically assigned a scalable width of 1.41\verb|\elemskip|. -One main job of \musixtex\ is to compute the physical value of -\verb|\elemskip|, often expressed in points (72nds of an inch). -The correct value is that which makes all the scalable space on -a line just fill up what's not occupied by hard space. Obviously -it may vary from line to line. - -To this end a three pass system was developed. To start the -first pass on the file \verb|jobname.tex|, you would enter\footnote{ -In many cases it will suffice to run {\tt tex}, but with \musixtex~1.15, -it is possible to create a file requiring the enhanced capacity of -{\tt etex}. Since {\tt etex} can handle any file {\tt tex} can, it's best -always to use {\tt etex}.} -\verb|etex jobname|. -Information about each bar is written to -an external file named \verb|jobname.mx1|. -This file begins with a header containing parameters -such as line width and paragraph indentation. Then the hard and -scalable space is listed for each bar. -\index{scalable width}\index{hard width} - -The second pass, which is started with \verb|musixflx jobname|, -determines optimal values of the elemental spacing unit \verb|\elemskip| -for each line, so as to properly fill each line, and to spread -the piece nicely over an integral number of full lines. This routine was written -in FORTRAN and now converted to C rather than \TeX, the main reason -being the lack of an array handling capability in \TeX. - -\verb|musixflx| reads in the file \verb|jobname.mx1|, and writes its -output to \verb|jobname.mx2|. The latter file contains a single entry for -each line of music in the reformatted output. The key piece of information -is the revised value of \keyindex{elemskip} for each line. - -Next, the file is \TeX-ed again, by entering \verb|etex jobname|. On this third pass, -the \verb|jobname.mx2| file is read in, and the information -is used to physically define the final score and embed the -page descriptions into a \verb|dvi|\ file. - -You may wonder how the same command can -cause something different to happen the second time it is issued. The explanation -is that \musixtex\ checks for the presence of \verb|jobname.mx2|. If it's -not present, the first pass is executed; if it is, the third pass. Obviously if -you've made some corrections that affect any horizontal spacing, you must remember -to delete the old \verb|jobname.mx2| and then rerun all three passes, or -build or use a batch script that does so. - -Here's an example. Here, no value for \verb|\elemskip| is explicitly specified, -so \musixtex\ assign a single, default value. After the first pass you might get -the following output: - -\begin{music} -\hsize=100mm -\generalmeter{\meterfrac24}% -\parindent 0pt -\setsign1{-3} -\startpiece\bigaccid -\NOtes\qu{ce}\enotes -\bar -\NOtes\qu{gh}\enotes -\bar -\NOtes\qu{=b}\enotes -\Notes\ds\cu g\enotes -\bar -\NOtes\qu{^f=f}\enotes -\raggedstoppiece\contpiece% this is cheated, the problem was to get -% pass 1 and pass 3 at the same time -\NOtes\qu{=e}\itied0e\qu{_e}\enotes -\bar -\Notes\ttie0\Qqbu ed{_d}c\enotes -\bar -\Notes\ibu0b{-2}\qb0{=b}\enotes -\notes\nbbu0\qb0{=a}\tqh0N\enotes -\Notes\Dqbu cf\enotes -\raggedstoppiece\contpiece -\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes -\bar -\NOtes\qu c\qp\enotes -\setdoubleBAR\raggedstoppiece -\end{music} - -\noindent Note that the space after every quarter note is the same, and -that lines are not justified. -After running \verb|musixflx| and \TeX-ing the second time you'll -get: - -\begin{music} -\hsize=100mm -\generalmeter{\meterfrac24}% -\parindent 0pt -\generalsignature{-3} -\startpiece\bigaccid -\NOtes\qu{ce}\enotes -\bar -\NOtes\qu{gh}\enotes -\bar -\NOtes\qu{=b}\enotes -\Notes\ds\cu g\enotes -\bar -\NOtes\qu{^f=f}\enotes -\bar -\NOtes\qu{=e}\itied0e\qu{_e}\enotes -\bar -\Notes\ttie0\Qqbu ed{_d}c\enotes -\bar -\Notes\ibu0b{-2}\qb0{=b}\enotes -\notes\nbbu0\qb0{=a}\tqh0N\enotes -\Notes\Dqbu cf\enotes -\bar -\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes -\bar -\NOtes\qu c\qp\enotes -\Endpiece -\end{music} - -\noindent Now \musixtex\ has determined a number of lines -(which is different from the original number), the lines are justified, -and if you look carefully you -can see that the space after quarters in the first line -is smaller than in the second. This example was coded as: -\begin{verbatim} -\hsize=100mm -\generalmeter{\meterfrac24}% -\parindent 0pt -\generalsignature{-3} -\startpiece\bigaccid -\NOtes\qu{ce}\en\bar -\NOtes\qu{gh}\en\bar -\NOtes\qu{=b}\en -\Notes\ds\cu g\en\bar -\NOtes\qu{^f=f}\en\bar -\NOtes\qu{=e}\itied0e\qu{_e}\en\bar -\Notes\ttie0\Qqbu ed{_d}c\en\bar -\Notes\ibu0b{-2}\qb0{=b}\enotes -\notes\nbbu0\qb0{=a}\tqh0N\enotes -\Notes\Dqbu cf\en\bar -\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar -\NOtes\qu c\qp\en\Endpiece -\end{verbatim} - -One benefit of the 3-pass system is the quick and easy -alteration to the layout which can be achieved -by changing only one parameter, namely \keyindex{mulooseness}. This value -acts analogously to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you -state \verb|\looseness=-1| somewhere inside any paragraph, then -\TeX\ will try to make the paragraph one line shorter than it normally would. -With \verb|\mulooseness|, \musixtex\ does the same, but for \ital{systems} -and \ital{sections} rather than lines and paragraphs. A system is just a group of -staves treated as a unit, and in this discussion is analogous to a line of text. -What is a \ital{section}? It's any chunk of coding not containing a -forced system break, System breaks can be forced with -\keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece}, -\keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne} -\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage}. If none -of these is present, the section comprises the whole piece. -Somewhere\footnote{Advisably, at the beginning or -at the end of the section, for the sake of clarity.} -before the end of the section, you can change the value of -\keyindex{mulooseness} to something different from the default of 0, and -\musixtex\ will typeset that section with a different number of systems. - -To give an easy example, changing the last line in the previous example to: -\begin{verbatim} -\NOtes\qu c\qp\en\mulooseness=1\Endpiece -\end{verbatim} -yields: - -\begin{music} -\hsize=100mm -\generalmeter{\meterfrac24}% -\parindent 0pt -\generalsignature{-3} -\startpiece\bigaccid -\NOtes\qu{ce}\enotes -\bar -\NOtes\qu{gh}\enotes -\bar -\NOtes\qu{=b}\enotes -\Notes\ds\cu g\enotes -\bar -\NOtes\qu{^f=f}\enotes -\bar -\NOtes\qu{=e}\itied0e\qu{_e}\enotes -\bar -\Notes\ttie0\Qqbu ed{_d}c\enotes -\bar -\Notes\ibu0b{-2}\qb0{=b}\enotes -\notes\nbbu0\qb0{=a}\tqh0N\enotes -\Notes\Dqbu cf\enotes -\bar -\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes -\bar -\NOtes\qu c\qp\enotes -\mulooseness1\Endpiece -\end{music} - -\noindent On the other hand, -\begin{verbatim} -\NOtes\qu c\qp\en\mulooseness=-1\Endpiece -\end{verbatim} -yields - -\begin{music} -\hsize=100mm -\generalmeter{\meterfrac24}% -\parindent 0pt -\generalsignature{-3} -\startpiece\bigaccid -\NOtes\qu{ce}\enotes -\bar -\NOtes\qu{gh}\enotes -\bar -\NOtes\qu{=b}\enotes -\Notes\ds\cu g\enotes -\bar -\NOtes\qu{^f=f}\enotes -\bar -\NOtes\qu{=e}\itied0e\qu{_e}\enotes -\bar -\Notes\ttie0\Qqbu ed{_d}c\enotes -\bar -\Notes\ibu0b{-2}\qb0{=b}\enotes -\notes\nbbu0\qb0{=a}\tqh0N\enotes -\Notes\Dqbu cf\enotes -\bar -\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes -\bar -\NOtes\qu c\qp\enotes -\mulooseness-1\Endpiece -\end{music} - -\noindent which is tighter than you would ever want, but serves to further -demonstrate the use of \keyindex{mulooseness}. - -If you want to build up a \musixtex\ input file -manually (which in fact very few users will ever need to do, considering the -availability of \textbf{PMX}), here is a roadmap for one way to proceed: -\begin{enumerate} - \item Enter the data one \verb|\notes| group at a time, taking care to select the -relative horizontal spacing for each group (via the macros discussed in section~\ref{newspacings}) -so as to maintain a consistent relationship between scalable space and note durations. -This will be discussed in a great deal more detail in Chapter 2. - \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX. - \item Look at the output and decide if you want to have more or fewer -systems, e.g.~to fill the page or to get an even number of -pages.\index{musixflx@{\tt musixflx}} - \item If you want to change the number of systems in a section, adjust -\keyindex{mulooseness} accordingly. Keep in mind that each section cannot have fewer -systems than bars. -\item Delete \verb|jobname.mx2| and repeat the process\\ -\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX. - -\end{enumerate} - -There is an alternate way to proceed if you know at the outset -how many systems -you want in a section. You can specify it directly by assigning a -positive number to \keyindex{linegoal} somewhere within the -section (\verb|\linegoal| requires -version 0.83 or later of \verb|musixflx|). -\keyindex{mulooseness} must be zero -for \keyindex{linegoal} to work. Both are automatically reset to -zero after processing the end of a section e.g. as defined by -\keyindex{stoppiece}. - -Finally, for large scores (more than 4 pages or so), having -only one section and an overall value of \verb|\mulooseness| becomes -impractical since one wants not only to have nicely spaced systems, but also -completely filled pages without empty top and -bottom margins on the last page. It is then wise to force the total number of -pages and possibly the line breaks in each page, which can be done using -\keyindex{alapage} and/or \keyindex{alaligne}\footnote{This is the technique -always used by \textbf{PMX} in constructing a \musixtex\ input file.}. -%avrb -%, or more automatically by -%means of the \keyindex{autolines} command borrowed from \musictex\ and -%implemented in the additional {\ttxem{musixcpt.tex}} file -%avre - -There is another advantage to \musixtex's way of using scalable space and -the three pass system. In -\TeX nical terms it eliminates the need for \ital{glue}, and enables -every horizontal position in a line to be computed. This in turn enables certain -variable length symbols such as slurs to be specified by macros entered at -their beginning and ending points, rather than having to estimate the -length of the symbol and enter it at the starting point. - - \subsection{External executable \texttt{musixflx}} -One issue that compromises portability between computers is the -need for the executable {\tt musixflx}\index{musixflx@{\tt -musixflx}}. -%avrb -To address this, the C source and compiled versions for various OS's are included in -\verb|musixtex.zip| and are available from the -\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. -%avre - -On most computers, the executable is invoked by typing the name of the program -and the name of the file to be acted upon. \ital{i.e.} - -\verb|musixflx jobname.mx1| - -Optionally, you can add a letter to indicate one of the debug modes, which are: -\begin{quote} -\verb|d | for debug information to screen\\ -\verb|f | for debug information to file \verb|jobname.mxl|\\ -\verb|s | to get the computed lines immediately on screen -\end{quote} -To allow for ease of use with a batch file, \verb|musixflx| can either be fed -with \verb|jobname.mx1|, \verb|jobname.tex| or only -\verb|jobname|, any one of which will open \verb|jobname.mx1|. - - \subsection{Unrecorded spaces: the novice's bugaboo} - -Because of the way \musixtex\ accounts for hard and scalable space and avoids -using glue, it is absolutely essential that every horizontal space be -properly entered into the input file. The most common error in this regard -is including a blank space in the midst \ital{or at the end} of an input line. -Such a blank space, or for that matter any stray character not entered with -an appropriate \musixtex\ macro, will not be properly -recognized and recorded by \musixtex, but it will still be treated like -ordinary text by \TeX. The symptoms of such a transgression will be an -{\bf Overfull hbox} warning during the third pass, and the appearance of -either excessive blank horizontal space or thick black vertical lines in -the page image. - -\medskip -\centerline{\boxit{Considerable discipline is needed to avoid this problem!}} - -The best technique for avoiding such unpleasantness is to avoid entering -any nonessential blanks within input lines, and to end every -input line with either \verb|%|\index{%@{\tt\char37}} or -\keyindex{relax}, unless it already ends with a control sequence -ending in a letter. - -There are other ways to enter unrecorded space which should be -avoided. Between \verb|\startpiece| and \verb|\stoppiece| or -\verb|\endpiece|, never use \verb|\hskip| or \verb|\kern| except -within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|, -\verb|\zcharnote|, \verb|\uptext|, etc., and never assign hard -values to scalable dimensions like \verb|\noteskip|, -\verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip| -\footnote{Note that {\Bslash hardspace} does not fall in this -category; it is specifically designed to enter hard space in a way -the \musixtex\ can properly record it}. - -Here is a checklist of tips related to spacing issues. Because the -foregoing several paragraphs are so important, some of their content -is repeated in the list. - -\begin{enumerate} - \item -Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|, -end every input line with a either \verb|%| or a command with no arguments -(including \verb|\relax|). - \item \verb|\off| must only be used with scalable values, e.g. -\verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip|, and - \verb|\beforeruleskip|. - \item Remember that \verb|\qsk| and \verb|\hqsk| are scalable, i.e. \verb|\qsk| - doesn't necessarily mean exactly one note head width (it depends on \verb|\elemskip|). - \item Lyrics and any other non-\musixtex\ text must be put in zero boxes -such as - \verb|\zcharnote|, \verb|\zchar|, \verb|\rlap|, \verb|\lrlap|, \verb|\llap|, -\verb|\uptext|, or \verb|\zsong|. Additional specific capabilities for entering -lyrics are provided by - \verb|\hardlyrics|, \verb|\hsong|, and---most significantly---the -text-emplacement macros defined in \verb|musixlyr.tex| (see \ref{lyrics}, -p.~\pageref{lyrics}). - \item -Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|, -don't assign hard values to \verb|\noteskip|, \verb|\beforeruleskip|, -or \verb|\afterruleskip|. -\end{enumerate} - -\section{Further highlights} - %\check - \subsection{Key signatures} -\begin{sloppypar} -A single key signature can be assigned~to~all~instruments,~for~example~by -\keyindex{generalsignature}\verb|{-2}| -which sets two flats on each staff. \keyindex{generalsignature} -can be overridden for selected instruments, for example by -\keyindex{setsign}\verb|2{1}| which puts one sharp on each staff -of instrument number 2. Of course, the current signature as well -as meters and clefs may change at any time.\end{sloppypar} -\subsection{Transposition} -With some extra attention, a score can be input in such a way that it is -fairly easily transposed. There is an internal register -called \keyindex{transpose}, the default value of which is zero, but which may be -set to any reasonable positive or negative value. It defines a number of pitch -steps (lines or spaces on a staff) by which all pitched symbols with be offset, provided -they have been entered with letter values to represent their pitch. -However, -it will neither change the local accidentals nor the key signature. - -For -example, suppose a piece were originally input in F major, and it contained a -B natural, and you wanted to transpose it to G. If you simply set -\verb|\transpose| to 1 with no other special considerations, then -the key signature would not change, and -the B natural would appear as a C natural, whereas it should be a C sharp. -So first you must explicitly change the key signature. Then, to -solve the problem with accidentals, you should declare -\verb|\relativeaccid|, which will cause the actual appearance of any -accidental to depend on the pitch of -the accidental as well as the current key signature. But the use of this -facility requires the typesetter to have entered the original set of accidentals -according to a nonstandard convention wherein an accidental does not -specifically refer to the black or white keys on a piano, but to the -amount by which the pitch is altered up or down from what it would naturally -have been, taking the key signature into account.\index{relative accidentals} This -is discussed in more detail in section~\ref{transposeaccids}. Now, finally, you -can enter \verb|\transpose=1| with more or less the desired effect. - -More or less, because there is also an issue with stem -and beam directions. Normally a typesetter would want full control over them, -and would exercise that control by entering them with macros that explicitly -assign the direction. Naturally the assigned directions would persist -even after changing \verb|\transpose|. With respect to stems of unbeamed notes, -this matter can also be addressed at -the input level, by using special macros for notes that leave the -decision about stem directions up to \musixtex. These macros do the right -thing in the face of transposition. They are discussed in -section~\ref{autostemdirections}. Unfortunately there is no corresponding -such facility for beams, so the typesetter will have to edit the transposed -score to adjust beam directions as required\footnote{\textbf{PMX} -will automatically adjust both stem and beam directions when transposing, which -is yet another reason to use it. However -if a piece is to be transposed, the typesetter must still explicitly activate relative accidentals -and enter accidentals according to the relative accidental convention.}. - - %\check - \subsection{Extracting parts from a score} Another question is: -\ital{``Can I write a full score and then extract separate scores for -each individual instrument?''} - -The answer is yes, but only with a great deal of special attention---so much, -in fact, that we shall strongly recommend that if you want -to do this, you should use \textbf{PMX}, which makes the process -very easy. If for some reason you choose to ignore this advice, you may -refer to the details that were provided in Section 1.4.3 of -an earlier version of this manual, -\href{http://icking-music-archive.org/software/musixtex/musixdoc-T112.pdf} -{\underline{musixdoc-T112.pdf}}. - -%After assigning symbolic numbers to instruments, -%there are macros (see \ref{instrum-inhibit}) that permit -% \begin{itemize}\setlength{\itemsep}{0ex} -% \item choosing which instrument the following source code is attached to, -% \item choosing which staff of an instrument the following source code is -%attached to, -% \item hiding one or several instruments by zeroing out their staff sizes and staff -%numbers. -% \end{itemize} - - %\check - \subsection{Staff and note sizes} - Although the standard staff size is 20pt, \musixtex\ allows scores with -sizes of 16, 24, or 29pt. Furthermore, any instrument may be assigned its own special staff -size (usually smaller than the overall staff size), and there are special macros -(e.g. \verb|\smallnotesize|, \verb|\tinynotesize|) that cause notes, beams, and -accidentals all to take a different size. - -\subsection{Add-in macro libraries} -During the early stages of \musixtex's development, common versions of \TeX\ itself were -very limited in capacity, especially in terms of the numbers of registers that could -be defined for use in macros. For this historical reason, many important enhancements -to \musixtex\ are available only via add-in libraries. The user can thus pick and choose -which to include for any particular compilation. Most of these are included in -\verb|musixtex.zip|, and their uses are discussed in this manual. The -libraries have names like \verb|blabla.tex|, and are activated by including a line -like \verb|\input blabla|\ within the the input file. The most common such files -are \ttxem{musixadd.tex} and \ttxem{musixmad.tex} which respectively increase the -number of instruments from the default 6 to 9 or 12 as well as increasing available numbers -of other features; \verb|musixps.tex| which enables Type K postscript slurs; and -\verb|musixlyr.tex| which greatly eases typesetting lyrics. In fact the latter two, -while now included in \verb|musixtex.zip|, are not documented in this manual but -in separate files inside \verb|musixtex.zip|, namely \verb|musixps.tex| itself and -\verb|mxlyrdoc.pdf| respectively. - -\section{Where to get the software and help using it} -The home base for all matters related to \musixtex\ is the -Werner Icking Music Archive, at -\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}. -The most up-to-date versions of \musixtex\ and friends are located in the -\href{http://icking-music-archive.org/software/indexmt6.html}{\underline{software}} -section of the archive. Assuming you already have \TeX\ and only want to install -\musixtex, the file you need to download will be named -\href{http://icking-music-archive.org/software/musixtex/musixtex.zip} -{\underline{\texttt{musixtex.zip}}} . Further details about -the installation process are given in section \ref{installation}. - -There is a -\href{http://tug.org/mailman/listinfo/tex-music}{\underline{mailing list}}, -hosted by TUG, the \TeX\ Users Group, where you will always find -someone willing to answer questions and help solve problems. - - \section{A very brief history of \musixtex} -The idea of using \TeX\ to typeset music appears to have originated -around 1987 with the master's thesis of Andrea -{\sc Steinbach} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer -A., \ital{Automatisierter Notensatz mit \TeX}, master's thesis, -Rheinische Friedrich-Wilhelms Universit\"at, -Bonn, Germany, 1987}. They called their package -\mutex\index{mutex@\protect\mutex}. It was limited to a single staff. -It introduced two key concepts: (1) using -a large number of font characters to construct beams and slurs, and (2) using -\TeX\ glue to help control horizontal spacing and justification. - -The next major step came around 1991 when Daniel {\sc Taupin} created \musictex. -Its major enhancement was to allow multiple staves. But this came at a -price: some flexibility was lost in controlling horizontal spacing and -a great deal of trial and error became necessary to avoid excessive or -insufficient gaps before and after bar lines. - -\musictex\ was a single-pass system. To remedy its shortcomings it became clear -that a multi-pass system would be required. Around 1997 Dr. Taupin along with Ross {\sc Mitchell} -and Andreas {\sc Egler} created the first version of \musixtex. At last a fully -automatic procedure was coded so as to provide pleasing horizontal spacing in -multi-staff scores. - -Significant enhancements to \musixtex, which have already been mentioned, have been provided -by Stanislav {\sc Kneifl} (Type K postscript slurs) and -Rainer {\sc Dunker} (Lyrics handling via \verb|musixlyr.tex|). - -Since Dr. Taupin passed away in 2003, \musixtex\ has been maintained by a -varying cast including Olivier {\sc Vogel}, Hiroaki {\sc Morimoto}, -Bob {\sc Tennent}, Andre {\sc Van Ryckeghem}, -Cornelius {\sc Noack}, and Don {\sc Simons}. - -No discussion of the history of \musixtex\ would be complete without mentioning -the contributions of Werner {\sc Icking}. From the early days of \mutex\ until -his untimely death in 2001, he served this line of software as its most prominent -proponent, beta tester, web site and mailing list editor, consultant, -problem solver, and inspiration for -many third-party enhancements including \textbf{PMX}. In fact he founded the -mailing list and the archive that now is named in his honor. The web site is -currently edited by Christian {\sc Mondrup}, the software page by Don {\sc Simons}, -and the mailing list by Maurizio {\sc Codogno}. - - - %\check -\chapter{Elements of \musixtex} -\section{Setting up the input file} -\subsection{What makes a \TeX\ file a \musixtex\ file?} -A \musixtex\ input file is a special kind of \TeX\ input file. What makes it -special is that it must contain the command -\verb|\input musixtex| -before any reference to \musixtex\ macros. After that might follow -\verb|\input musixadd| or \verb|\input musixmad| if you want to have -respectively up to nine or twelve instruments or simultaneous beams, -ties, or slurs.\ixtt{musixtex.tex}\ixtt{musixadd.tex}\ixtt{musixmad.tex} -If you want to have greater numbers of these elements, you can assign them -directly by including one or more of these commands: -\verb|\setmaxinstruments|, -\verb|\setmaxcxxviiibeams|, -\verb|\setmaxcclvibeams|, -\verb|\setmaxgroups|, -\verb|\setmaxslurs|, -\verb|\setmaxtrills|, -\verb|\setmaxoctlines|. - -Since it is still a \TeX\ file, after that, if you wished to, -you could write a whole non-musical book -using normal \TeX\ commands provided that you did not -use \verb|&| as a tab character like in plain \TeX\ (In \TeX\ lingo, -its \keyindex{catcode} has been changed). - - \subsection{Cautions for the non \TeX pert} -When \TeX\ reads anything, it inputs one \ital{token} at a time. A token -may be either a \ital{command} or a character. A command (or \ital{macro}, -or \ital{control sequence}) is a -\ital{backslash} (``{\Bslash}'') immediately followed by sequence of -letters with no intervening spaces. For practical purposes, any single symbol (letter, digit, -special character, or space) that is not part of a command counts as a character -and therefore as a token. - -Each command expects a specific number of parameters. -The tokens ``\verb|{|'' and ``\verb|}|'' are very special, in that (1) they -must occur in matched pairs, and (2) any matched pair together with -the stuff inside counts as a single parameter. -If the first -parameter expected is a single letter, it must either be -separated from the command by a space or -enclosed in braces (otherwise it would be interpreted as part of the command). -For example the command \verb|\ibu| expects three parameters, so the -following are all OK: \verb|\ibu123|, \verb|\ibu1A3|, \verb|\ibu1{`A}3|, -\verb|\ibu{1}{2}{3}|, \verb|\ibu1{-2}3|, or \verb|\ibu1{23}4|, but -\verb|\ibu1234| is not OK; the first three digits are taken as parameters, -leaving the ``4'' with no purpose other than to cause some of the dreaded -unrecorded space that we have already mentioned. - -In the rest of this manual, when describing commands we will write -things like \verb|\qb{|$n$\verb|}{|$p$\verb|}|. It should be understood that -when $n$ and $p$ are replaced by their literal values, the braces may -or may not be necessary. In particular, if both are single digits, no -braces are needed; but if $n$ has two digits, or if $p$ has more than -one character, they must be surrounded by braces. - -Spaces (blank characters) in the input file must be handled very carefully. -They are ignored at the beginning of a line, enabling logical -indentation schemes to help make the file human-readable. There are also a few -other places within lines where blank spaces are OK (such as mentioned in the prior paragraph), -but in general is it safest to avoid -any unnecessary blanks between the beginning and end of an input line. -At the end of a line, the truth is that a command with no parameters, such as -\verb|\bar| or \verb|\enotes| will cause no trouble. However if a command with -one or more parameters is the last item in an input line, it will cause -unrecorded space. The way around this is to end the line with either ``\verb|%|'' -or \verb|\relax|. - - \subsection{Usual setup commands}\label{whatspecify} - - The first decision is what size type to use. \musixtex\ offers four sizes: -``small'' (16-pt-high staves), ``normal'' (20pt),\index{sizes} ``large'' -(24pt), and ``Large'' (29pt). The default is -\keyindex{normalmusicsize}. If you want a different size, then you have to -enter \keyindex{smallmusicsize}, \keyindex{largemusicsize}, or -\keyindex{Largemusicsize}. Each of these commands defines not only the -desired staff size but many other related sizes such as note heads, ornaments, -stem lengths, etc. - - The command \keyindex{instrumentnumber}\onen~defines the -number of instruments to be $n$. If not entered, the default is 1. This number is used in loops -that build staves, -set key signatures, set meters, etc., so if it differs from 1 it must be explicitly -defined before any further commands. - -An instrument may have one or more staves (e.g.~a piano would normally have 2 staves). -The differences between one -instrument of several staves and several instruments with one staff each are as follows: -\begin{itemize}\setlength{\itemsep}{0ex} - \item Different instruments may have different \itxem{key signatures}, while different -staves of an instrument will all have the same key signature. - \item A \itxem{beam} may include notes in different -staves of the same instrument. - \item A \itxem{chord} may extend across several staves of the same -instrument. - \item If an instrument has more than one staff, they will be linked together -with a big, curly brace at the beginning of each line. -\end{itemize} -The default number of staves per instrument is 1. If it is different, then it -must be specified by \keyindex{setstaffs}\verb|{|$n$\verb|}{|$p$\verb|}| -where $p$ is the number of staves and $n$ is the -number of the instrument. In \musixtex, instruments are numbered -\ital{starting with the lowest}. -So for example \verb|setstaffs32| -assigns two staves to the third instrument from the bottom. - - The default clef for every staff is the \ital{treble} clef. To assign -any other clef, the command is -\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}| -where $n$ is the number of the instrument, $s_1$ is a digit specifying the -clef for the first (lowest) staff, $s_2$ for the second staff, and so forth. -Note that like -instruments, staves of a given instrument are numbered starting with -the lowest. The parameters $s_2$, $s_3$ and $s_4$ can be omitted, in which case -any unspecified staves will be assigned a treble clef. - -The digits $s$ can range from 0 to 9, with the following meanings: -$s=0$ signifies treble or G clef. -$s=1$ to $4$ mean C-clef, respectively on the first (lowest) through fourth staff line. -$1$ is also called \ital{soprano}, $3$ \ital{alto} and $4$ \ital{tenor}. -$s=5$ to $s=7$ mean F-clef, respectively on the third through fifth staff line. $5$ is -also called \ital{baritone} and $6$ is the normal \ital{bass}. - $s=8$ is not used. -$s=9$ represents a G clef on the first line, also called \ital{French violin} clef. - -The three tokens \verb|\treble|, \verb|\alto|, and \verb|\bass| can be used instead -of a digit for $s$, but only if there would have been but one digit in the string. -So for example the clefs for a standard piano score -could be specified by -\keyindex{setclef}\verb|1{\bass}|. - -Treble and bass clefs with the digit 8 above or below are also possible; see -section~\ref{treblelowoct}. - -To set a common key signature for all instruments, use - \keyindex{generalsignature}\verb|{|$s$\verb|}|, -where $s>0$ is the number of \itxem{sharps} in the -signature and $s<0$ the number of \itxem{flats}\footnote{We once saw a -score in G-minor where the signature consisted of two flats (B and E) plus -one sharp (F). This is not directly supported by \musixtex.}. To override -the common key signature for instrument $n$, use -\keyindex{setsign}\verb|{|$n$\verb|}{|$s$\verb|}|. Note that differing -key signatures cannot be assigned to different staves of the same instrument. - -A common \itxem{meter} for all staves can be specified by - \keyindex{generalmeter}\verb|{|$m$\verb|}|,\label{generalmeter} -where $m$ describes the appearance of the meter indication, and can take several -different forms. If the meter is a \ital{fraction} (e.g.~3/4) the command is - \verb|\generalmeter{|\keyindex{meterfrac}\verb|{3}{4}}|. -Other possible tokens~$m$ are \keyindex{meterC}, -\keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve} and -\keyindex{meterplus}. These are illustrated in the following example: - - %\check -\begin{music} -\generalmeter\meterC -\nostartrule -\parindent0pt\startpiece -\NOtes\qa{cegj}\enotes -\generalmeter\allabreve\changecontext -\NOTes\ha{ce}\enotes -\generalmeter\reverseC\changecontext -\NOTEs\zbreve g\enotes -\generalmeter\reverseallabreve\changecontext -\NOTEs\zwq g\enotes -\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext -\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes\setemptybar -\endpiece -\end{music} -\noindent which was coded as: -\begin{quote}\begin{verbatim} -\generalmeter\meterC -\nostartrule -\parindent0pt\startpiece -\NOtes\qa{cegj}\enotes -\generalmeter\allabreve\changecontext -\NOTes\ha{ce}\enotes -\generalmeter\reverseC\changecontext -\NOTEs\zbreve g\enotes -\generalmeter\reverseallabreve\changecontext -\NOTEs\zwq g\enotes -\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext -\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes\setemptybar -\endpiece -\end{verbatim}\end{quote} - -To override the common meter for any staff, use -\keyindex{setmeter}\verb|{|$n$\verb|}{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}|.\linebreak -This works just like \verb|\setclef|. For example, -\verb|setmeter3{{\meterfrac{12}8}\allabreve}| -sets the meter to 12/8 for the first staff of the third instrument, and -\ital{alla breve} for the second staff. - -To insert extra space before the meter is -written, use \keyindex{meterskip}$d$ where $d$ is any hard \TeX\ -%dimension\footnote{{\Bslash\tt meterskip} is not a macro but a -dimension\footnote{{\tt\Bslash meterskip} is not a macro but a -dimension register. Whatever follows it -must be a \TeX\ dimension and {\it it must not be enclosed in braces}.}. -The assignment must occur outside \verb|\startpiece...\endpiece| and will be -reset to zero after first meter is posted. - -To set an \itxem{instrument name}, use -\keyindex{setname}\verb|{|$n$\verb|}{|\ital{name of the instrument}\verb|}|. -This will place the name in the space to the left of the -first staff or group of staves for instrument $n$. To specify the amount of space -available, use \verb|\parindent|$d$ where $d$ is any hard \TeX\ dimension. - \subsection{Groupings of instruments}\label{curlybrackets} -By default, all staves in a system will be joined -at the left by a thin, vertical rule. In addition, if an instrument has more than -one staff, they will be joined by a big, curly brace. Now we introduce a way -to delineate groups of instruments or choirs with a square brace containing two parallel -vertical rules, the left one thick and the right one thin. This is commonly used -to group together the voices in a choir. - -If there is only one choir, this can be done with - \begin{quote} -\keyindex{songtop}\onen\\ -\keyindex{songbottom}\verb|{|$m$\verb|}| -\end{quote} -\noindent where $m$ and $n$ are the instrument numbers of the first -and last voices. An example is shown in section~\ref{song}. - -If there is more than one choir to be set off with -square braces, each one can be specified with - \begin{quote} -\keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\ -\keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}| -\end{quote} -\noindent where $m$ and $n$ are the instrument numbers of the first -and last voices of group number $g$. \musixtex{} allows up to three -groups, numbered from 1 to 3. The command \verb|\songtop| is equivalent -to \verb|\grouptop 1|; \verb|\songbottom| is equivalent to -\verb|\groupbottom 1|. - -With \ttxem{musixadd.tex} or \ttxem{musixmad.tex}, the allowable number of -groups is increased to four. -Alternatively, you can specify the allowable number of groups to $m$ by -\keyindex{setmaxgroups}\verb|{|$m$\verb|}|% -\footnote{Using $m>4$ may require e-\TeX.}. -\label{musixmad_setmaxgroups} - -If any of the instruments grouped this way has more than one staff, the -heavy curly brace will be shifted to the left of the square brace. - -Previously defined square braces can be removed by declaring -\verb|\songtop| less than \verb|\songbottom|. The same applies to -\verb|\grouptop| and \verb|\groupbottom| for the same group number. - - An alternate command allows you to specify all choirs at once: -\begin{quote} - \keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% - \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|% - {\it lower\_3\/}\verb|}{|{\it upper\_3\/}\verb|}}| -\end{quote} -\noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument -numbers that denote the span of bracket number $n$. For -setting fewer than three brackets, just omit all unneeded -\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs. -For example, - \verb|\instrumentnumber{5}\akkoladen{{1}{2}{3}{5}}| -\noindent yields the first example below, with five single-staff instruments -divided into two groups. - -The second example has 2 instruments, the first (lower) with two staves and the -second with three. Each instrument is set off by default with a curly bracket. - -If for some reason you want more than one \ital{instrument}\ grouped -within a curly -bracket, then you can use the extension file -%\ttxem{curly.tex}\footnote{Submitted -\href{http://icking-music-archive.org/software/musixtex/add-ons/curly.tex} -{\underline{\ttxem{curly.tex}}}\footnote{Submitted -by Mthimkhulu {\sc Molekwa} to the mutex list}, which defines the command - - \keyindex{curlybrackets}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% - \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}...| - -\noindent to be used as illustrated in the third example below.\\ -\begin{minipage}[t]{50mm} -\begin{music} - % just to avoid wasting space ... - \sepbarrules - \smallmusicsize -\setsize1\smallvalue\setsize2\smallvalue -\setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue - \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} - \startextract\notes\en\bar\notes\en\zendextract -\end{music} -\begin{quote}is coded as: -\begin{verbatim} - \sepbarrules - \smallmusicsize - \setsize1\smallvalue - \setsize2\smallvalue - \setsize3\smallvalue - \setsize4\smallvalue - \setsize5\smallvalue - \instrumentnumber{5} - \akkoladen{{1}{2}{3}{5}} - \startextract - \notes\en\bar\notes\en - \zendextract -\end{verbatim}\end{quote} -\end{minipage} -\begin{minipage}[t]{50mm} -\begin{music} - \sepbarrules - \smallmusicsize -\setsize1\smallvalue\setsize2\smallvalue - \instrumentnumber2 \setstaffs12\setstaffs23 - \startextract \notes\en\bar\notes\en\zendextract -\end{music} -\begin{quote}is coded as: -\begin{verbatim} - \sepbarrules - \smallmusicsize - \setsize1\smallvalue - \setsize2\smallvalue - \instrumentnumber2 - \setstaffs12 - \setstaffs23 - \startextract - \notes\en\bar\notes\en - \zendextract -\end{verbatim}\end{quote} -\end{minipage} -\begin{minipage}[t]{50mm} -\begin{music} - \input curly - \sepbarrules - \smallmusicsize - \setsize1\smallvalue\setsize2\smallvalue - \smallmusicsize - \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue - \instrumentnumber5 %\setstaffs12\setstaffs23 - \curlybrackets{1235} - \startextract \notes\en\bar\notes\en\zendextract -\end{music} -\begin{quote}is coded as: -\begin{verbatim} - \input curly - \sepbarrules - \instrumentnumber5 - \smallmusicsize - \setsize1\smallvalue - \setsize2\smallvalue - \setsize3\smallvalue - \setsize4\smallvalue - \setsize5\smallvalue - \curlybrackets{1235} - \startextract - \notes\en\bar\notes\en - \zendextract -\end{verbatim}\end{quote} -\end{minipage} - - - - -\section{Preparing to enter notes} - \subsection{After the setup, what next?} - -The command \keyindex{startmuflex} initiates the serious business of -\musixtex. On the first \TeX\ pass it -opens \ital{jobname}{\tt .mx1} for writing bar-by-bar tabulations of all -hard and scalable space to be fed to \verb|musixflx| on the second pass. -\verb|musixflx| generates \ital{jobname}{\tt .mx2} which defines the -number of bars in each system and the factors relating scalable space -to hard space in each system. On the third pass both files will be opened -and read to define the final spacing. These files should be closed before -leaving \TeX, preferably before -\keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\ -closes all open files on its own when terminating the program, but it is still -cleaner to do this explicitly. - -After \verb|\startmuflex|, the command \keyindex{startpiece} will initiate -the first system, containing all instruments you have previously defined. -The indentation will be \keyindex{parindent}, so if you want nonzero -indentation, this register should be set to the desired hard dimension -before issuing \verb|\startpiece|. - - \subsection{Horizontal spacing commands}\label{newspacings} -\subsubsection{Basic note spacing} -\musixtex\ provides a set of macros each of which defines a particular -increment of scalable spacing. The default set is tabulated below: - -\begin{center} -\tinynotesize -\renewcommand{\arraystretch}{1.5}% I hate LaTeX -\begin{tabular}{|l|l|l@{~~~~}l|} -\multicolumn{1}{c}{usage}& -\multicolumn{1}{c}{spacing}& -\multicolumn{2}{c}{suggested use for}\\\hline -\keyindex{znotes}\verb| ... & ... & ... \enotes|&(non spacing) - &&specials\\ -\keyindex{notes}\verb| ... & ... & ... \enotes|&\verb=2=\keyindex{elemskip} - &\ccu1&16th\\ -\keyindex{notesp}\verb| ... & ... & ... \enotes|&\verb=2.5\elemskip= - &\pt1\ccu1&dotted 16th, 8th triplet\\ -\keyindex{Notes}\verb| ... & ... & ... \enotes|&\verb=3\elemskip= - &\cu1&8th\\ -\keyindex{Notesp}\verb| ... & ... & ... \enotes|&\verb=3.5\elemskip= - &\cup1&dotted 8th, quarter triplet\\ -\keyindex{NOtes}\verb| ... & ... & ... \enotes|&\verb=4\elemskip= - &\qu1&quarter\\ -\keyindex{NOtesp}\verb| ... & ... & ... \enotes|&\verb=4.5\elemskip= - &\qup1&dotted quarter, half triplet\\ -\keyindex{NOTes}\verb| ... & ... & ... \enotes|&\verb=5\elemskip= - &\hu1&half\\ -\keyindex{NOTesp}\verb| ... & ... & ... \enotes|&\verb=5.5\elemskip= - &\hup1&dotted half\\ -\keyindex{NOTEs}\verb| ... & ... & ... \enotes|&\verb=6\elemskip= - &\wh1&whole\\\hline -\end{tabular}\end{center} -\smallskip - -\noindent What each of these macros actually does is to set an -internal dimension register \keyindex{noteskip} to the given multiple -of the fundamental spacing unit \keyindex{elemskip} -(which has dimensions of length, usually given in points). -Normally, every \itxem{spacing note} (e.g., -\keyindex{qu}, -\keyindex{qb}, \keyindex{hl}) will then be followed by a spacing of -width \keyindex{noteskip}. By selecting a particular note spacing macro -from the above table, the typesetter can thus control the relative spacing -between notes. - -The actual spacing will therefore be determined by the value of -\verb|\elemskip|. On the first pass, \TeX\ will set a default value for -\verb|\elemskip| based on the declared music size, or the user can -set it to any hard dimension he chooses. However, the value on the -first pass doesn't matter as much as you might think (more about that later). -On the second pass, -\verb|musixflx| determines where the system breaks will come, -and then computes the final value of \verb|\elemskip| for each system. - -If the arthmetic progression of note spacings in the above table does not -meet your wishes, you may activate an alternate set with -the command \keyindex{geometricskipscale}. As implied by the name, this -is a geometric progression, where {\Bslash Notes} is -$\sqrt{2}$ times wider than {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$ -times wider than {\Bslash Notes}, and so forth. -Then the factors in the middle column -of the above table will be replaced by the sequence -2.00, 2.38, 2.83, 3.36, 4.00, 4.76, 5.66, 6.72, and 8.00. Two additional -macros, \verb|\NOTEsp| and \verb|\NOTES|, will be defined corresponding to -factors 9.52 and 11.32. The original arithmetic progression can be -restored by \keyindex{arithmeticskipscale}. - -If neither of the predefined progressions satisfies you, you may define -your own, using the more general macro \verb|\vnotes| in the same manner -that \musixtex\ uses it for the predefined progressions. So for example -\verb|\def\NOtes{\vnotes5.34\elemskip}| will redefine \verb|\NOtes| in -the obvious way, and the extension to the other spacing macros should -likewise be obvious. - -In addition, inside any pair \verb|\notes...\enotes| there are two -equivalent ways to -locally redefine \verb|\noteskip| to another scalable value, namely by -issuing a command like -\verb|\noteskip=2.4\noteskip| or \keyindex{multnoteskip}\verb|{2.4}|, which -have the expected effect until the notes group is terminated or -\verb|\noteskip| is further redefined. - -Finally, by issuing a command like -\keyindex{scale}\verb|{2.4}| outside any notes group, you can scale all subsequent -\verb|\noteskip|s by any desired factor. - -These facilities may be useful, for example, -to control spacing when there are three equal duration notes in one staff against two - in another. - -%\subsubsection{\Bslash{\tt elemskip}, \Bslash{\tt beforeruleskip} and -%\Bslash{\tt afterruleskip}} -% -% avr wants to call these "commands", but das doesn't. -%\subsubsection{Commands {\Bslash\texttt{elemskip}}, -%{\Bslash\texttt{beforeruleskip}} -%and {\Bslash\texttt{afterruleskip}}} -\subsubsection{{\Bslash\texttt{elemskip}}, -{\Bslash\texttt{beforeruleskip}} -and {\Bslash\texttt{afterruleskip}}} - -We've just seen how \verb|\elemskip| is used to scale the spacings between notes. -There are two other spacing units that share some behavior with \verb|\elemskip|. -\verb|\beforeruleskip| is the horizontal space that is automatically inserted -\ital{before} every bar line, while \verb|\afterruleskip| goes \ital{after} -every bar line. (In -practice \verb|\beforeruleskip| is almost aways set to \verb|0pt| because there -will typically already be a space of \verb|1\noteskip| before every barline.) -On the first pass, just as with \verb|\elemskip|, \musixtex\ assigns them default -values according to the following table: - -%\begin{quote}\begin{tabular}{lrrr}\hline -%\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} -% &\keyindex{beforeruleskip}\\\hline -%\keyindex{normalmusicsize}&6pt&8pt&0pt\\ -%\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline -%\end{tabular}\end{quote} - -\begin{center}\begin{tabular}{lrrr}\hline -\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} - &\keyindex{beforeruleskip}\\\hline -\keyindex{normalmusicsize}&6pt&8pt&0pt\\ -\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline -\end{tabular}\end{center} - -\noindent In the second pass, \verb|musixflx| assigns new values to each -of these dimensions, a different set for each line or system. It does this -in such a way that available scalable horizontal space in each system is -exactly filled up. - -The values that are assigned to these dimensions on the first pass, whether by -default or explicitly by the user or in some combination, only matter insofar -as their relative sizes. That's why we earlier stated that the first-pass value -of \verb|\elemskip| didn't matter as much as you might think. For both music sizes -in the table above, it appears that by default \verb|\afterruleskip| is -\verb|1.3333\elemskip|\footnote{Editor's note: It is a mystery why the authors -%of \musixtex\ didn't simply define \Bslash{\tt beforeruleskip} and \Bslash{\tt afterruleskip} as -%specific multiples of \Bslash{\tt elemskip}}. -of \musixtex\ didn't simply define \Bslash\texttt{beforeruleskip} and \Bslash\texttt{afterruleskip} as -specific multiples of \Bslash\texttt{elemskip}}. - -Note that if you do want to change any of these -values, you have to do so \ital{after} setting the -music size and before \verb|\startpiece|. - -Here is an example that illustrates the various dimensions under discussion:\\ - %\check -\begin{music}\nostartrule -\afterruleskip7pt -\beforeruleskip2pt -\parindent0pt -\setclefsymbol1\empty -% special problems afford special solutions -\makeatletter\global\clef@skip\z@ \makeatother -\startpiece -\zchar{16}{\hbox to\afterruleskip{\downbracefill}}% -\zchar{19}{\hbox to\afterruleskip{\hss a\hss}}% -\addspace\afterruleskip -\zchar{16}{\hbox to2\elemskip{\downbracefill}}% -\zchar{19}{\hbox to2\elemskip{\hss b\hss}}% -\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}% -\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}% -\notes\qa l\en -\znotes\en -\zchar{16}{\hbox to4\elemskip{\downbracefill}}% -\zchar{19}{\hbox to4\elemskip{\hss c\hss}}% -\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}% - \hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}% -\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}% - \hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}% -\NOtes\qa l\en -\znotes\en -\zchar{16}{\hbox to\beforeruleskip{\downbracefill}}% -\zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}% -\setemptybar\endpiece -\end{music} -\begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l} -a&\keyindex{afterruleskip}\\ -b&\keyindex{notes}\verb| = \vnotes 2\elemskip|\\ -c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\ -d&\keyindex{beforeruleskip}\\ -e&\keyindex{elemskip} -\end{tabular}\end{quote} - -\subsection{Moving from one staff or instrument to another} - \label{movingtostaffs} - -When entering notes inside \verb|\notes ... \enotes|, the usual way to suspend -input for one instrument and start the next (higher) is with the character -``\verb|&|''\index{"&@{\tt\char'046}}. If the instrument has more than one -staff, to switch to the next (higher) one you can use the character -``\verb+|+''\index{\tt\char'174@{\tt\char'174}}. - -There are some alternate navigation commands that may be useful in - special situations. Due to ``catcode -problems'' (see section~\ref{catcodeprobs}) it may sometimes be necessary -to use the more explicit commands -\keyindex{nextinstrument} and \keyindex{nextstaff}, which have the same -meanings as ``\verb|&|'' and ``\verb+|+'' respectively. To switch to the previous -(next lower) staff of the same instrument, use \keyindex{prevstaff}. This might -be useful if a beam starts in a higher staff than where it ends. More -generally, to switch to an arbitrary instrument $n$, use -\keyindex{selectinstrument}\onen, and to switch to an arbitrary staff $n$ -of the current instrument, use \keyindex{selectstaff}\verb|{|$n$\verb|}|. In the -latter case if $n$ exceeds the number of staves defined for the instrument, you -will receive an error message. You can enter part of a successive voice on -\ital{same} staff by using \verb|\selectstaff{|$n$\verb|}| with $n$ for -the \ital{current} staff. - - - %\check -\section{Note pitch specification}\label{pitchspec} -Note pitches can be specified either by letters or numbers. If no transposition -or octaviation is in effect, letters ranging -from \verb|a| to \verb|z| represent notes starting with the A below -middle C. Upper case letters from \verb|A| to \verb|N| represent pitches -two octaves lower than their lower case counterparts. Any letter can be used in -any clef, but some users may -prefer to use the lower case letters in treble clef, and the upper case ones -in bass clef. - -Alternatively, a one- or two-digit, positive or negative integer can always be used. -The number represents -the vertical position on the staff, with \verb|0| for the lowest line and -\verb|1| for the space right above, \ital{regardless of the clef}. -Unlike with letters, the -associated pitch will depend on the clef, and notes entered this way are -immune to transposition and octaviation. - -Notes lower than \verb|A| and higher than \verb|z| can be entered, with -either numbers as just described, or with octaviation as will be explained in -section~\ref{octaviation}. - - \section{Writing notes}\label{autostemdirections} -There are two major kinds of note macros, those that include a space (of -length \keyindex{noteskip}) after -the printed symbol, and those that don't cause any space. A single-line melody would be -written using the first type. All notes of a chord except the last would -use the second. - -Another distinction concerns stemmed notes. Some macros explicitly set the -stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of -the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies -\ital{automatic} stem direction selection. In this case notes below the middle -staff line will get up stems, otherwise down. - - \subsection{Normal (unbeamed) spacing notes}\label{NormalNotes} -In the following, \verb|{|$p$\verb|}| signifies a pitch specification as -described in sections~\ref{pitchspec} and \ref{octaviation}. However it -is understood that if the pitch is a single character, the brackets are -not neecessary, provided that if it is a letter, a space separates the -macro from the letter. - - -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) . - \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) . - \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem -direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} . - \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) . - \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss}) -(also used as alternate representation of a \ital{breve}). - \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note -(\hbox to8pt{\zwqq1\hss}) (also used as alternate -representation of a \ital{longa}). - \item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note. - \item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up. - \item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down. - \item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction - \item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up. - \item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down. - \item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction. - \item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}'' -within this macro name stands for the equivalent British term ``crotchet''} with stem up. - \item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down. - \item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction. - \item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up. - \item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down. - \item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction. - \item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]32nd note with stem up. - \item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]32nd note with stem down. - \item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]32nd note with automatic stem direction. - \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]64th note with stem up. - \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]64th note with stem down. - \item[\keyindex{cccca}{\tt\char123}$p${\tt\char125} :]64th note with automatic stem direction. - \item[\keyindex{cccccu}{\tt\char123}$p${\tt\char125} :]128nd note with stem up. - \item[\keyindex{cccccl}{\tt\char123}$p${\tt\char125} :]128nd note with stem down. - \item[\keyindex{ccccca}{\tt\char123}$p${\tt\char125} :]128nd note with automatic stem direction. -\end{description}\end{quote} - As an example, the sequence - - %\check -\begin{music}\nostartrule -\startextract -\Notes\cu c\cl j\enotes\bar -\Notes\ccu c\ccl j\enotes\bar -\Notes\cccu c\cccl j\enotes\bar -\Notes\ccccu c\ccccl j\enotes\bar -\Notes\cccccu c\cccccl j\enotes -\zendextract -\end{music} - \noindent was coded as -\begin{quote}\begin{verbatim} -\Notes\cu c\cl j\enotes\bar -\Notes\ccu c\ccl j\enotes\bar -\Notes\cccu c\cccl j\enotes\bar -\Notes\ccccu c\ccccl j\enotes\bar -\Notes\cccccu c\cccccl j\enotes -\end{verbatim}\end{quote} - - \subsection{Non-spacing note heads} -These macros are used to create chords. Any number of them can be entered -in sequence, followed by a spacing note. All of the note heads will be -joined to the spacing note and the stem length will automatically be adjusted -as needed. - -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head. - \item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head. -\end{description}\end{quote} -%das ??? -% \begin{remark} Notes of duration longer than whole notes are -%always non-spacing. This saves one useless definition, since these notes are -%always longer than other simultaneous ones. If needed they can be followed by -%\keyindex{sk} to force spacing. -%\end{remark} - - \subsection{Shifted non-spacing note heads} -These symbols are used mainly -in chords containing an interval of a \ital{second}. They provide note -heads shifted either to the left or right of the default position by -the width of one note head. - -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} -\item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right. -\item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left. -\item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not -have realized that half and whole note heads have different shapes}. -\item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left. -\item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right. -\item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left. -\end{description}\end{quote} - - \subsection{Non-spacing notes} -These macros provide normal notes, with stems if applicable, but without any -following space. -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like -\verb|\hu| for chord building, i.e., it will join together any immediately -preceding non-spacing note heads. - \item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like -\keyindex{hl} for chord building. - \item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like -\verb|\qu| for chord building. - \item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts -like \verb|\ql| for chord building. - \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu}, - \keyindex{zccccu}, \keyindex{zcccccu} -:]eighth, ..., note with stem up but no spacing. They act like -\verb|\cu| for chord building. - \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl}, - \keyindex{zccccl}, \keyindex{zcccccl} -:]eighth, ..., note with stem down but no spacing. They act -like \verb|\cl| for chord building. - \item[\keyindex{zqb}\pitchp~:]note belonging to a beam but no spacing. (DAS: put this later!) - \item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql}, - \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|, - but the note is shifted one note width to the right; others analogous. - \item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql}, - \keyindex{lcu}, \keyindex{lcl} :]same - as above, but the note is shifted one note width to the left. - \item[\keyindex{zw}\pitchp~:]whole note with no following space. - \item[\keyindex{zwq}\pitchp~:]arbitrary duration note - (\hbox to8pt{\zwq1\hss}) with no following space. - \item[\keyindex{zbreve}\pitchp~:]breve - (\hbox to8pt{\zbreve1\hss}) with no following space. - \item[\keyindex{zlonga}\pitchp~:]longa - (\hbox to8pt{\zlonga1\hss}) with no following space. - \item[\keyindex{zmaxima}\pitchp~:]maxima - (\hbox to16pt{\zmaxima1\hss}) with no following space. -\end{description}\end{quote} - %\check - -\subsection{Spacing note heads} - -Although not needed in normal music scores, these may be useful in -very special cases. - -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} -\item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head. -\item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head. -\end{description}\end{quote} - -\noindent As an example, the sequence - -\begin{music}\nostartrule - \startextract -\notes\nq c\nq j\enotes\barre -\Notes\nh c\nh j\enotes\barre -\notes\nq {cdef}\enotes -\zendextract -\end{music} - -\noindent was coded as - -\begin{quote}\begin{verbatim} -\notes\nq c\nq j\enotes\barre -\Notes\nh c\nh j\enotes\barre -\notes\nq {cdef}\enotes -\end{verbatim}\end{quote} - -Non spacing variants are also provided, namely -\keyindex{znh} and \keyindex{znq}. -% DAS: why??? - - \subsection{Dotted notes}\label{dots} - -By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the -macros just introduced provide one or two dots after the notehead: -\keyindex{whp}\pitchp, \keyindex{whpp}, -\keyindex{zwp}, \keyindex{zwpp}, -\keyindex{hup}, \keyindex{hupp}, -\keyindex{hlp}, \keyindex{hlpp}, -\keyindex{zhp}, \keyindex{zhpp}, -\keyindex{qup}, \keyindex{qupp}, -\keyindex{qlp}, \keyindex{qlpp}, -\keyindex{zqp}, \keyindex{zqpp}, -\keyindex{cup}, \keyindex{cupp}, -\keyindex{clp}, \keyindex{clpp}, -\keyindex{qbp} and \keyindex{qbpp}. -Naturally, the ones that start with ``\verb|z|'' are used in chords. -The dot(s) will be raised if the note is on a line. - -A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125}, -\keyindex{ppt}, or \keyindex{pppt} right -before any note macro to place one to three dots after the normal note -head at pitch $p$. Again they will be raised if on a line. In fact this is the only -way to get a triple-dotted note. -For example a -quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots -as \keyindex{ppt}\verb| h\qu h| and with three as -\keyindex{pppt}\verb| h\qu h|. - -Yet another method for posting a dot is to insert a \ital{period} before -the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to -either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when -using \ital{collective coding}, which will be discussed in the next -section. - -Non-spacing dotted notes can be produced using -\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp}, -\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, -and similarly with two \verb|p|'s for -double-dotted notes. - -As a matter of style, if two voices share one staff, the dots in -the lower voice should be lowered if the note is on a line. For -this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and -\keyindex{lppt}{\tt\char123}$p${\tt\char125}. - -\subsection{Sequences of equally spaced notes; collective coding} -\label{CollectiveCoding} - -It isn't necessary to write a separate macro -sequence \verb|\notes...\enotes| for every individual column of notes. -Rather, a single such macro can contain all the notes in all staves -over an extended horizontal range, as long as all spacings are equal or -multiples of a unique value of \keyindex{noteskip}. -The notes in each staff could be entered one after another as normal -spacing notes as already described in section~\ref{NormalNotes}. Then -each spacing note will cause the insertion point to advance horizontally by the -operative value of \verb|\noteskip| defined by the choice of -\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences -non-spacing chord notes can be entered right before their associated -spacing note. If you need to skip forward by one \verb|\noteskip|, for -example after a quarter note when there are two eighth notes in -another staff, you can use \keyindex{sk}. - -If there are only spacing notes in such a sequence, a further -simplification is available, called \ital{collective coding}. For instance -\verb|\qu{cdefghij}| writes the C major scale in quarters with -up stems. Similarly \verb|\cl{abcdef^gh}| writes the -\ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents -a sharp). If necessary a void can be inserted in a collective coding sequence -by using~\verb|*|\index{*}. Not all note generating macros can be -used to perform collective coding, but most of them can. - -\section{Beams} -\subsection{Starting a beam} - -Each beam must be declared with a macro issued before the first spacing -note under the beam is coded. Two distinct kinds of macros are provided -for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary -slope and starting height chosen by the user, while the second kind, a -``semi-automatic'' beam, -\ital{computes}~the slope and, in addition, adjusts the starting height in some -cases. - -\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}} - -The basic form of the macros for starting fixed-slope beams is exemplified -by the one for a single upper beam, \keyindex{ibu}\nps. Here -$n$ is the reference number of the beam, $p$ the starting ``pitch'', and -$s$ the slope. - -The reference number is assigned by the user. -It is needed because more than one beam may be open at -a time, and it tells \musixtex\ to which beam subsequent beamed notes and -other beam specification commands are assigned. -By default, the reference number must be in the range [0-5], -but the range for 8th to 128th beams will be expanded to [0-8] or [0-11] -if \verb|musixadd| or \verb|musixmad| respectively has been \verb|\input|. - -Alternatively, you can specify the number of 8th to 64th beams -directly\footnote{8th to 64th beams are so basic that the maximum -number of these beams are related with the maximum number of instruments -by this command. -Using $m>12$ may require e-\TeX.} -with \keyindex{setmaxinstruments}\verb|{|$m$\verb|}| -within the range $7<m\leq 100$; the corresponding reference number may then be -in the range from 0 to $(m-1)$. -\label{musixmad_setmaxinstruments_ccxviiibeams} -For 128th beams, use \keyindex{setmaxcxxviiibeams}\verb|{|$m$\verb|}|. - -For 256th notes, which can only appear in beams, see section \ref{musixbbm}. - -The ``pitch'' parameter $p$ is a pitch that is three -staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above} -the bar for a lower beam); in many (but not all) -cases it should be input as the actual pitch of the first note. The slope $s$ -is an integer in the range [-9,9]. When multipled -by 5\%~it gives the actual slope of the heavy bar. Typically a slope of 2 or 3 -is OK for ascending scales, and 6 to 9 for ascending arpeggios. - -The full set of fixed-slope beam initiation macros is as follows: -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - - \item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}. - \item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}. - \item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}. - \item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}. - \item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}. - \item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}. - \item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}. - \item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}. -\end{description}\end{quote} - -A semi-automatic beam is initiated with a command that has \ital{four} -parameters, the beam number, the first and last pitches, and the total -horizontal extent in -\verb|\noteskip|s, based on the value in effect at the start. For example, -if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to -build an upper beam (beam number 2) horizontally extending \verb|3\noteskip|, -the first note of which is a \verb|g| and the last note a \verb|j|. -Knowing these parameters it will choose the highest slope number that -corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt -g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as -for fixed-slope beams. However, if there is no sufficiently steep beam -slope available, then \musixtex\ will raise (or lower) the starting point. - - Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu}, -\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl}, -\keyindex{Ibbbl} and \keyindex{Ibbbbl}. - -\subsection{Adding notes to a beam} - -Spacing notes belonging to beams are coded with the macro -\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is -the beam number and $p$ the pitch of the note. \musixtex\ adjusts the -length of the note stem to link to the beam. - -Chord notes within a beam are entered before the main note with the -non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again, -the stem length will be automatically adjusted as required. - -There are also special macros for semi-automatic beams with -two, three, or four notes: -\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl}, -\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl}, -\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}. - %\check -For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|, -except that the special macros don't require a beam number. -Their use is illustrated in the following example: - -\medskip -\begin{music}\nostartrule -\parindent0pt\startpiece -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en -\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece -\end{music} -\noindent This was coded as\footnote{Editor's note: Most music -typesetting books recommend beam slopes that are \ital{less} than -the slope between the starting and ending note; these macros cannot -provide that.}: -\begin{quote}\begin{verbatim} -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en -\notes\Qqbbu fgge\Qqbbl jhgi\en -\end{verbatim}\end{quote} - %\check - - \subsection{Ending a beam} - The termination of a given -beam must be declared \ital{before} coding the last spacing note -connected to that beam. The macros for doing that are -\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and -\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for -beams of any -multiplicity. So for example an upper triple beam with -32nd notes is initiated by -\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|. - - Since beams usually finish with a \verb|\qb| for the last note, the -following shortcut macros have been provided: - -\def\enpee{{\tt{\char123$n$\char125\char123$p$\char125}}} -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - \item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee~. - \item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee~. - \item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~, -i.e., no spacing afterwards. - \item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~, -i.e., no spacing afterwards. -\end{description}\end{quote} - -\subsection{Changing multiplicity after the beam starts} -Multiplicity (the number of heavy bars) can be increased at any position after -the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of -upper beam -number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to -increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The -commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same -for lower beams. -Thus, the -sequence - -\begin{music}\nostartrule -\startextract -\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes -\zendextract -\end{music} -\noindent has been coded as -\begin{quote}\begin{verbatim} -\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes -\end{verbatim}\end{quote} - -To decrease multiplicity to one, use \keyindex{tbbu}\onen~or -\keyindex{tbbl}\onen. To decrease to two or three use -\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example, - -\begin{music}\nostartrule -\startextract -\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes -\zendextract -\end{music} -\noindent has been coded as - -\begin{quote}\begin{verbatim} -\startextract -\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes -\zendextract -\end{verbatim}\end{quote} - -Although at first it may seem counterintuitive, -the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts -may also be invoked when the multiplicity is one. In this case -a second, third, or fourth heavy bar will be opened one note width \ital{before} -the current stem, and immediately closed \ital{at} the stem. -Thus the following sequences - -\begin{music}\nostartrule -\let\extractline\hbox -\hbox to \hsize{% -\hss - \startextract - \Notes\ibu0e0\qbp0e\tbbu0\tbu0\qb0e\en - \zendextract -\hss\hss - \startextract - \Notes\ibu0e0\qbpp0e\tbbbu0\tbbu0\tbu0\qb0e\en - \zendextract -\hss} -\end{music} -\noindent are coded -\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim} -\Notes\ibu0e0\qbp0e% - \tbbu0\tbu0\qb0e\en -\end{verbatim}\end{minipage}\hfill -\begin{minipage}{.4\textwidth}\begin{verbatim} -\Notes\ibu0e0\qbpp0e% - \tbbbu0\tbbu0\tbu0\qb0e\en -\end{verbatim}\end{minipage}\hfill - -\medskip - - -The symmetrical pattern is also possible. For example: - -\begin{music}\nostartrule -\startextract -\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes -\zendextract -\end{music} -\noindent has been coded as: -\begin{quote}\begin{verbatim} -\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes -\end{verbatim}\end{quote} - -The constructions in this section illustrate some general -properties of -beam initiation and termination commands: To mate properly with the -expected stems, the starting position of the heavy bar(s) (for initiation commands) -and the ending position (for terminations) will be at -different horizontal locations -depending on whether they are for upper or lower beams: The position for -upper beam commands is one note head width to the right of those for -lower beams. In fact this is the \ital{only} difference between upper -and lower termination commands. Both types will operate on whatever kind of -beam is open and has the same beam number. - -Recognizing this principle, in the example just given it was necessary to -shift the double termination to the right by one note head width, using the -command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for -any \musixtex\ macro. - -Here is another, slightly more complicated example which also uses -\verb|\roff|: - -\begin{music}\nostartrule -\startextract -\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en -\notesp\tbbu0\qbp0f\en -\Notes\tbu0\qb0f\en -\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en -\Notes\qb0f\en -\notes\tbbbu0\tbbu0\tbu0\qb0f\en -\zendextract -\end{music} -\noindent has been coded as: -\begin{quote}\begin{verbatim} -\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en -\notesp\tbbu0\qbp0f\en -\Notes\tbu0\qb0f\en -\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en -\Notes\qb0f\en -\notes\tbbbu0\tbbu0\tbu0\qb0f\en -\end{verbatim}\end{quote} - -\noindent Note that the first beam opening command used a pitch one step -below the note. This makes the stem shorter by one pitch unit, since it is always -the \ital{closest} heavy bar that is separated from the given pitch by -three staff spaces. - -We close this section with an example showing how to -open a beam of one sense, increase multiplicity, then terminate with -opposite sense: - -\begin{music}\nostartrule -\startextract -\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes -\zendextract -\end{music} -\noindent which has been coded as -\begin{quote}\begin{verbatim} -\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes -\end{verbatim}\end{quote} - - \begin{remark} One may save some typing by defining personalized -\TeX\ macros to -perform any oft repeated sequence of commands. For example, -one could define a set of four sixteenths by the macro: - -\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}| - -\noindent where the first argument is the slope and the other four -arguments are the pitches of the four successive sixteenths. -\end{remark} - - %\check - \subsection{Shorthand beam notations for repeated notes}\index{repeated patterns} -Sometimes you may want to indicate repeated short notes with open note heads joined -by a beam. Here's an example of how to do that -using the \keyindex{hb} macro: - -\begin{music}\nostartrule -\startextract -\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes -\Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes -\zendextract -\end{music} -\noindent which has been coded as: -\begin{quote}\begin{verbatim} -\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes -\Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes -\end{verbatim}\end{quote} - -It is also possible to dispense with the stems: - -\begin{music}\nostartrule -\startextract -\Notes\ibbl0j3\wh j\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\wh i\enotes -\zendextract -\end{music} -\noindent which was coded as -\begin{quote}\begin{verbatim} -\Notes\ibbl0j3\wh j\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\wh i\enotes -\end{verbatim}\end{quote} -\noindent A different look could be obtained as follows: - -\begin{music}\nostartrule -\startextract -\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace -\zendextract -\end{music} -\noindent which was coded as: -\begin{quote}\begin{verbatim} -\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace -\end{verbatim}\end{quote} - -Yet another way to indicate repeated notes is given in the -following example: - - \begin{music}\nostartrule -\startextract -\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibu0j0\qb0{jjj}\tbu0\qb0j\en -\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h% - \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar -\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibbu0i0\qb0{jjj}\tbu0\qb0j% - \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibbu0i0\qb0{jjj}\tbu0\qb0j\en -\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% - \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en -\zendextract - \end{music} - \noindent whose coding (due to Werner {\sc Icking}) is - -\begin{quote}\begin{verbatim} -\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibu0j0\qb0{jjj}\tbu0\qb0j\en -\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h% - \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar -\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibbu0i0\qb0{jjj}\tbu0\qb0j% - \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibbu0i0\qb0{jjj}\tbu0\qb0j\en -\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% - \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en -\end{verbatim}\end{quote} - - \subsection{Beams that cross line breaks} - -Although careful typesetting can usually avoid it, occasionally -a beam may need to cross a line break. If so, it must be manually terminated at -the end of one line and continued in the next. This -can be done by shifting beam terminations and initiations -using \keyindex{roff} and/or -\keyindex{loff}, or by inserting a spacing command such as -\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf -Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip - -\begin{music} -\parindent0pt -\def\rqs{\lower\Interligne\rlap\qs} -\def\snotes{\vnotes1\elemskip} -\setstaffs1{2} -\generalsignature{2} -\setclef1{\bass} -\interstaff{12} -\startpiece -%%% bar 1 -\addspace\afterruleskip -\snotes|\tinynotesize\ibsluru0n\ibbu0m5\qb0{=m}\tqh0n\en -\qspace -\Notes\zchar{-7}\sPed\loffset{.3}{\fl E}\zq E\qu{_I}% - |\zql g\ibu2l0\busf2\qb2{=m}\en -\Notes|\tubslur0o\qb2{_l}\en -\Notes\loffset{.3}{\fl L}\zq L\ibl0L0\qb0{_b}% - |\ibl1h0\zqb1g\bupz2\qb2l\en -\Notes\zq L\tqb0b|\tbl1\zqb1g\bupz2\tqh2l\en -\NOtes\zq L\ql b|\zql g\qu l\en -\notes\zchar{-7}\sPed\zchar{-7}{\eightit ~~~sempre}% - \zchar{14}{\pp\eightit~sempre}\zq I\ibbu1J0\qb1L|\qs\en -\notes\qs|\zq N\ibbu3d0\qb3{_d}\en -\notes\qb1E|\rqs\en -\notes\qs|\fl e\zq N\rq e\qb3d\en -%%% bar 2 -\bar -\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\rqs\en -\qspace -\notes\qs|\lfl d\zq d\zq {=f}\qb3N\en -\notes\tqh1{_E}|\rqs\en -\notes\qs|\zq d\zq g\tqh3N\en -\notes\zq I\ibbu0J0\qb0L|\rqs\en -\notes\qs|\zq d\ibbu1d0\qb1N\en -\notes\qb0E|\rqs\en -\notes\qs|\fl e\rq e\zq d\qb1N\en -\notes\zq I\qb0L|\rqs\en -\notes\qs|\zq f\zq d\qb1N\en -\notes\tqh0E|\rqs\en -\notes\qs|\zq g\zq d\tqh1N\en -\notes\zq I\ibbu0J0\qb0L|\rqs\en -\notes\qs|\zq d\ibbu1d0\qb1N\en -\notes\qb0E|\rqs\en -\notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en -\endpiece -\end{music} -\noindent The prolongation of the two upper beam at the end is -illustrated in the code fragment -\begin{quote}\begin{verbatim} -\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en -\end{verbatim}\end{quote} - %\check - - \subsection{Beams with notes on several different staves} - -Here's a simple example from {\sc Brahms}'s -Intermezzo op.~118,1 provided by -Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip - -\begin{music} -\interstaff{12} -\setstaffs1{2} -\setclef1\bass -\generalmeter\allabreve -\startextract -\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes -\bar -\nspace -\Notes\ibu0L2\qb0{CEJLcL}% - \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes -\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes -\bar -\Notes\ttie1\zh{.L.a}\hl{.e}% - \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes -\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes -\endextract -\end{music} - %\check -\noindent The coding is -\begin{verbatim} -\interstaff{13} -\instrumentnumber{1} -\setstaffs1{2} -\setclef1\bass -\generalmeter\allabreve -\startextract -\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes -\bar -\nspace -\Notes\ibu0a1\qb0{CEJLcL}% - \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes -\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes -\bar -\Notes\ttie1\zh{.L.a}\hl{.e}% - \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes -\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes -\endextract -\end{verbatim} - -\noindent (This example also shows that there is no problem in extending -a beam across a bar line.) - -The general features that enable this type of coding as well as the -more complex example to follow are - \begin{itemize}\setlength{\itemsep}{0ex} -% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl}, -%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm -%define beams whose initial vertical position and slope are fixed -%relative -%to the staff where they begin, but notes in other staves can still be -%connected to them using \Bslash{\tt qb}\onen. -% -% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate -%beam $n$ at the specified position, but \musixtex\ remembers the beam -%parameters until a new beam with the same number is defined. -%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or -%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still -%generate notes connected to the phantom extension of this beam, -%\ital{provided they are issued in a different staff}. If the command -%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after -% the beam had ended, an error would result. -% - \item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}}, -{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}} -define beams whose initial vertical position and slope are fixed -relative -to the staff where they begin, but notes in other staves can still be -connected to them using {\Bslash\texttt{qb}\onen}. - - \item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen} -terminate -beam $n$ at the specified position, but \musixtex\ remembers the beam -parameters until a new beam with the same number is defined. -Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or -\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still -generate notes connected to the phantom extension of this beam, -\ital{provided they are issued in a different staff}. If the command -\verb|\qb|\enpee\rm~were issued on the same staff as the beam after - the beam had ended, an error would result. - - - - - - \item If the beam is initiated on one staff, -notes in a lower staff can be connected to it, but only \ital{after} the beam -has been defined. This may require using the command \keyindex{prevstaff} -to go back one staff, as described in section -\ref{movingtostaffs}. - - \end{itemize} - - Here is an example: - - \begin{music} - \setstaffs13 - \setclef1{6000} - \startextract - \notes - \nextstaff\Ibbbu0Ae7\prevstaff - \qb0{AEH^JLa}\relax\nextstaff - \qb0{******^c}\tqh0e\relax - |\zq{h^jl}\ql o\enotes - \notes - \nextstaff - \Ibbbu0hH6\qb0{hec}\prevstaff - \qb0{***aLJ}\tqh0H\relax\nextstaff - |\zq{h^jl}\ql o\enotes \nspace - \zendextract - \end{music} - - \noindent which is coded as: - - \begin{quote} - \begin{verbatim} - \setstaffs13 - \setclef1{6000} - \startextract - \notes - \nextstaff\Ibbbu0Ae7\prevstaff - \qb0{AEH^JLa}\relax\nextstaff - \qb0{******^c}\tqh0e\relax - |\zq{h^jl}\ql o\enotes - \notes - \nextstaff - \Ibbbu0hH6\qb0{hec}\prevstaff - \qb0{***aLJ}\tqh0H\relax\nextstaff - |\zq{h^jl}\ql o\enotes \nspace - \zendextract - \end{verbatim} - \end{quote} - -In this example we not only see multiple uses of \keyindex{nextstaff} and -\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes -(see section \ref{CollectiveCoding}). - -\section{Rests} - \subsection{Ordinary rests} - A separate macro is defined for each kind of ordinary rest. They cause -a space after the symbol, just like spacing note commands, but they have -no parameters. A whole rest is coded as -\keyindex{pause}, dotted whole rest \keyindex{pausep}, -half rest \keyindex{hpause}, dotted half rest \keyindex{hpausep}, -quarter rest \keyindex{qp} or \keyindex{soupir}, -eighth rest \keyindex{ds}, sixteenth rest \keyindex{qs}, -32nd rest \keyindex{hs}, and 64th rest \keyindex{qqs}. - - Longer rests, normally interpreted as lasting -two or four bars respectively, can be coded as \keyindex{PAuse} -and \keyindex{PAUSe}, which yield: - -\begin{music}\nostartrule -\generalmeter{\meterfrac44} -\startextract -\def\atnextbar{\znotes\centerbar\PAuse\en}% -\NOTEs\en\bar -\def\atnextbar{\znotes\centerbar\PAUSe\en}% -\NOTEs\en\zendextract -\end{music} - %\check - - - \subsection{Raising rests}\index{raising rests} -All the -previous rests except \keyindex{pausep} and -\keyindex{hpausep} are \ital{hboxes}, which means that -they can be vertically offset if needed using the -standard \TeX\ command \keyindex{raise}. For example: - - \begin{quote} - \begin{verbatim} - \raise 2\Interligne\qp - \raise 3mm\qq - \end{verbatim} - \end{quote} - -\noindent where \keyindex{Interligne} is the distance from one staff line to the -next. - -In addition, two macros are available to put a whole or -half rest above or below the staff. The ordinary \verb|\pause| or -\verb|\hpause| cannot be used outside the staff because a short horizontal line -must be added to distinguish between the whole and the half rest. The commands, -which are non-spacing\footnote{Editor's note: The reason for having defined these -as non-spacing is not obvious}, are - \begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{liftpause}~$n$ to get a - \hbox to10pt{\liftpause{-2}\hss} - raised from original position by $n$ staff line intervals, - \item \keyindex{lifthpause}~$n$ to get - \hbox to10pt{\lifthpause{-1}\hss} raised the same way. - \item \keyindex{liftpausep}~$n$ to get a - \hbox to10pt{\liftpausep{-2}\hss} - raised from original position by $n$ staff line intervals, - \item \keyindex{lifthpausep}~$n$ to get - \hbox to10pt{\lifthpausep{-1}\hss} raised the same way. - \end{itemize} - %\check - - \subsection{Bar centered rests}\label{barcentered} -Sometimes it is necessary to place a rest (or any other symbol) exactly in the middle -of a bar. This can be done with combinations of the commands -\keyindex{atnextbar}, -\keyindex{centerbar}, -\keyindex{centerPAUSe}, -\keyindex{centerPAuse}, -\keyindex{centerpause}, -\keyindex{centerhpause}, -as demonstrated in the following example: - -\begin{music} -\generalmeter\meterC -\setclef1\bass -\setstaffs1{2} -\parindent0pt -\startpiece\addspace\afterruleskip -\NOtes|\qa{cegj}\en -\def\atnextbar{\znotes\centerpause\en}\bar -\NOtes|\qa{jgec}\en -\def\atnextbar{\znotes\centerpause\en}\bar -\Notes\ca{`jihgfedc}\en -\def\atnextbar{\znotes|\centerpause\en}\bar -\NOTes\ha{Nc}\en -\def\atnextbar{\znotes|\centerpause\en}\bar -\addspace{10\elemskip}% -\def\atnextbar{\znotes\centerbar\duevolte|\centerbar\duevolte\en}\endpiece -\end{music} -\noindent with the coding -\begin{verbatim} -\generalmeter\meterC -\setclef1\bass -\setstaffs1{2} -\parindent0pt -\startpiece\addspace\afterruleskip -\NOtes|\qa{cegj}\en -\def\atnextbar{\znotes\centerpause\en}\bar -\NOtes|\qa{jgec}\en -\def\atnextbar{\znotes\centerpause\en}\bar -\Notes\ca{`jihgfedc}\en -\def\atnextbar{\znotes|\centerpause\en}\bar -\NOTes\ha{Nc}\en -\def\atnextbar{\znotes|\centerpause\en}\bar -\addspace{10\elemskip}% -\def\atnextbar{\znotes\centerbar{\duevolte}|\centerbar{\duevolte}\en}\endpiece -\end{verbatim} - %\check - -\section{Skipping spaces and shifting symbols}\label{spacing} -We've already mentioned that when coding a sequence of notes inside a -particular pair \verb|\notes...\enotes|, the command \keyindex{sk} can -be used to skip horizontally by one \keyindex{noteskip}. This would be -used for example to align the third note in one staff with the second note -in another. Skipping in this manner is logically equivalent to inserting -blank space; as such, the space must be recorded by \musixtex. This command -and the others discussed here will -do just that, so that \verb|musixflx| can properly account for -the added space. - -To skip by one \verb|noteskip| while in a collective coding sequence, -you may simply insert an asterisk (``\verb|*|''\index{*}). This would have -the same effect as stopping the sequence, entering {\Bslash sk}, then -restarting. For example, - -\begin{music} -\setstaffs12 -\startextract -\Notes\hu{e*f*g}|\qu{gghhii}\en -\zendextract -\end{music} -\noindent was coded as -\verb|\Notes\hu{e*f*g}|{\tt |}\verb|\qu{gghhii}\en| - -To skip forward -by one half of a \verb|\noteskip|, use \keyindex{hsk}. -To insert spacing of approximately one note head width, you can use -\keyindex{qsk}, or for half of that, \keyindex{hqsk}. To skip backward -by one \verb|\noteskip|, use \keyindex{bsk}. More generally, -to skip an arbitrary distance, use \keyindex{off}\verb|{|$D$\verb|}| -where $D$ is any \itxem{scalable dimension}, e.g.~\verb|\noteskip| or -\verb|\elemskip|. Indeed, if you look in the -\musixtex\ source, you will see that \verb|\off| is the basic control -sequence used to define all the other skip commands. - -The foregoing commands only work \ital{inside} a \verb|\notes...\enotes| group. -A different set of commands must be used to insert space \ital{outside} -such a group. \keyindex{nspace} produces an -additional spacing of half a note head width; -\keyindex{qspace}, one note head width. These are ``hard'' spacings. To -insert an arbitrary amount of hard space outside a \verb|\notes...\enotes| -group, use \keyindex{hardspace}\verb|{|$d$\verb|}{|\dots\verb|}| where -$d$ is any fixed dimension\label{hardspace}. The foregoing three commands are the only -space-generating commands that insert hard space; all the others insert -scalable spacing: \keyindex{elemskip}, -\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and -their multiples. Finally, to insert -scalable spacing outside -a \verb|\notes...\enotes| group, use -\keyindex{addspace}\verb|{|$D$\verb|}|. The argument may be negative, in -which case the normal spacing will be reduced. For example, after -\keyindex{changecontext}, many users prefer to reduce the space with -a command like -\verb|addspace{-|\keyindex{afterruleskip}\verb|}|. - -There is yet another set of commands for simply shifting a note, symbol, or sequence -inside \verb|\notes...\enotes| -without adding or subtracting any space. To shift by one note head width, -you may write \keyindex{roff}\verb|{|\ital{any macro}\verb|}| -or \keyindex{loff}\verb|{|\dots\verb|}| for a right or left shift respectively. - To shift by half of a note head width, use -\keyindex{hroff}\verb|{|\dots\verb|}| or -\keyindex{hloff}\verb|{|\dots\verb|}|. -For example, to get - %\check - -\begin{music}\nostartrule -\startextract -\Notes\roff{\zwh g}\qu g\qu h\qu i\enotes -\zendextract -\end{music} -\noindent you would code: - - %\check - -\begin{quote}\begin{verbatim} -\Notes\roff{\zwh g}\qu g\qu h\qu i\enotes -\end{verbatim}\end{quote} - -\noindent To shift notes or symbols by an arbitrary amount, use -\keyindex{roffset}\verb|{|$N$\verb|}{|\dots\verb|}| or -\keyindex{loffset}\verb|{|$N$\verb|}{|\dots\verb|}|, where -$N$ is the distance to be shifted in note head widths. For example - -\begin{music}\nostartrule -\startextract -\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes -\zendextract -\end{music} -\noindent was coded as - -\begin{quote}\begin{verbatim} -\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes -\end{verbatim}\end{quote} - -An important feature of these shift commands is that the offset, -whether implicit or explicit, is \ital{not} added to -the total spacing amount, but any spacing due to the included commands is. - - -\section{Accidentals} - -Accidentals can be introduced in two ways. - - The first way, using explicit macros, consists for -example in coding \keyindex{fl}\pitchp~to put a \ital{flat} at the -pitch $p$, presumably right before a note at the same pitch. This is a -non-spacing command and will automatically place the accidental an -appropriate distance to the left of the anticipated note head. -Naturals, sharps, double flats and double sharps are coded \keyindex{na}\pitchp, -\keyindex{sh}\pitchp, \keyindex{dfl}\pitchp~and \keyindex{dsh}\pitchp~respectively. - -The alternate macros \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh}, -\keyindex{ldfl} and \keyindex{ldsh} -place the same accidentals, but shifted one note head width -to the left. These can be used if a note head has been shifted to the left, or -to avoid collision with other accidentals -in a chord. If you want to shift an accidental by some other amount for -more precise positioning, you could use \keyindex{loffset} with the normal -accidental macro as the second parameter. - - The second way of coding accidentals is to modify the parameter of a -note command. Just put the symbol -\verb|^| for a sharp, \verb|_| for a flat, \verb|=|~for a natural, -\verb|>| for a double sharp, or \verb|<| for a double -flat, right before the letter or number representing the pitch. -For example, \verb|\qb{^g}| yields a -$G\sharp$. This may be used effectively in collective coding, e.g. -\verb|\qu{ac^d}|. - - There are two sizes of accidentals. By default they will be large unless there -is not enough space between notes, in which case they will be made small. Either -size can be forced locally by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or -\keyindex{smallfl}, \keyindex{smallsh}, etc. If you want all accidentals to -be large, then declare \keyindex{bigaccid} near the top of the input file. For -exclusively small ones use \keyindex{smallaccid}. \keyindex{varaccid} will restore -variable sizes. - - For editorial purposes, small accidentals can be placed \ital{above} note -heads. This is done using \keyindex{uppersh}\pitchp, \keyindex{upperna}\pitchp, or -\keyindex{upperfl}\pitchp: - -\begin{music}\nostartrule -\startextract -\NOtes\uppersh l\qa l\enotes -\NOtes\upperna m\qa m\enotes -\NOtes\upperfl l\qa l\enotes -\zendextract -\end{music} - It also possible to introduce \ital{\ixem{cautionary accidental}s}, -i.e.\ small accidentals enclosed in parentheses. This done by preceding -the name of the accidental keyword with ``\verb|c|'',\label{cautionary} - e.g.~\keyindex{cfl}\pitchp~for a cautionary flat. - Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl}, -\keyindex{cna}, -\keyindex{cdfl} and \keyindex{cdsh}, which give - -\begin{music}\nostartrule -\startextract -\NOtes\csh g\qa g\enotes -\NOtes\cfl h\qa h\enotes -\NOtes\cna i\qa i\enotes -\NOtes\cdfl j\qa j\enotes -\NOtes\cdsh k\qa k\enotes -\zendextract -\end{music} -\noindent - -The distance between all notes and accidentals is controlled by -\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension}, where -positive values shift to the left and negative to right, with a -default value of \verb|0pt|. - - \section{Transposition and octaviation}\label{octaviation} -Two different subjects are discussed in this section. First, there -are commands that cause notes to be printed at different pitches than -entered. We shall refer to this as \ital{logical} transposition. -Second, there are notations for octaviation that do -not otherwise alter the appearance of the score, which we'll call -\ital{octaviation lines}. - -\subsection{Logical transposition and octaviation} - -Logical transposition is controlled by an integer-valued \TeX\ register -\keyindex{transpose}. Its default value is 0. If you enter -\verb|\transpose=|$n$, then all subsequent pitches specified by -letters will be transposed by $n$ positions. Normally this method would be -used to transpose an entire piece. Pitches specified with -numbers will not be affected, so if you think you will ever want to -transpose a piece, you should enter all note pitches with letters. - -One way to transpose up or down by one octave would be to set -\keyindex{transpose} to 7 or $-7$. For example, to make a quarter note -octave as a chord, you could define a macro as -\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}|. -Note that because \verb|\transpose| is altered inside a pair of braces, the -effect of the alteration is only local and does not reach outside the braces. - - Another more convenient way to transpose locally up or down by one octave -makes use respectively of the characters -\verb|'| (\itxem{acute accent}) and \verb|`| (\itxem{grave accent}), -placed immediately before the letter specifying the pitch. So -for example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and -\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. These characters have -cumulative effects but in a somewhat restricted sense. They will alter the value of -\verb|\transpose|, but only until changing to a different staff or -instrument or encountering \verb|\enotes|, at which time it will be reset to the -value it had before the accents were used. (That value is stored in -another register called \keyindex{normaltranspose}). Thus for example -\verb|\qu{''A'A}| and \verb|\qu{''A}\qu{'A}| -are both equivalent to \verb|\qu{ah}|. - -At any point it is possible to reset the \verb|\transpose| register -explicitly to the value it had -when entering \verb|\notes|, by prefacing a pitch indication with -``\verb|!|''. Thus \verb|\qu{!a'a}| always -gives the note \verb|a| and its upper octave \verb|h|, shifted by the -value of {\Bslash transpose} at the beginning of the current -\verb|\notes...\enotes| group, regardless of the number of grave and -acute accents occurring previously within that group. - - \subsection{Behavior of accidentals under logical transposition}\label{transposeaccids} - The above processes indeed change the vertical position of the note heads -and associated symbols (e.g.~stems and beams), but they don't take -care of the necessary changes of accidentals when transposing. For example, -suppose an F$\sharp$ occurs in the key of C major. If the piece is -transposed up three steps to the key of F, the F$\sharp$ should logically -become a -B$\natural$. But if all you do is set \verb|\transpose=3|, the note will -be typeset as a B$\sharp$. In other words, \musixtex\ will interpret the~\verb|\sh| -or~\verb|^| to mean ``print a $\sharp$''. - -Naturally there is a solution, but it requires the typesetter to plan -ahead: To force accidentals to behave well under transposition, they -must be entered according to the \ital{relative -accidental convention}. To alert \musixtex\ that you are using this -convention to enter notes, you must issue the command -\keyindex{relativeaccid}. Once you have done this, the meaning of -accidental macros and characters (accents) in the input file is changed. -Under the convention, when for example a -\verb|\sh| is entered, it indicates a note that is supposed to sound -\ital{one half step higher than what it would normally be under the -current key signature}. Flats and naturals on entry similarly indicate -notes one half step lower or at the same pitch as what the key signature -dictates. \musixtex\ will take account of the key signature, and print -the correct symbol according to the modern notational convention, -provided you have explicitly entered the transposed key signature using -for example \verb|\generalsignature|. - -Many people have a difficult time understanding how this works, so -here are two simple examples in great detail. Consider the case already mentioned -of the F$\sharp$ in the key of C major. With -\verb|\relativeaccid| in effect, it should still be entered as \verb|\sh f|, and -with no transposition it will still appear as F$\sharp$. With -\verb|\transpose=3| and \verb|\generalsignature{-1}| it will appear -(correctly) as B$\natural$. Conversely, suppose you want to enter a -B$\natural$ when originally in the key of F. With \verb|\relativeaccid| in effect, it -should be entered as \verb|\sh i|. (That's the part that people -have the most trouble with: ``If I want a natural, why do I have to enter a sharp?'' Answer: -``Go back and re-read the previous paragraph very carefully.'') With no transposition, it will be -printed as B$\natural$. Now to transpose this to C major, set -\verb|\transpose=-3| and \verb|\generalsignature0|, and it will appear -as F$\sharp$. - -If you have invoked \verb|\relativeaccid| and then -later for some reason wish to revert to the ordinary convention, -enter \keyindex{absoluteaccid}. - -\subsection{Octaviation lines} -The first kind of notation for octave transposition covers a -horizontal range that must be specified at the outset. The sequence - -\medskip -\begin{music}\nostartrule -\startextract -\NOTEs\octfinup{10}{3.5}\ql{!'a}\ql b\ql c\ql d\en -\zendextract -\end{music} -\noindent can be coded as -\verb|\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en|. -\zkeyindex{octfinup} -Here, the dashed line is at staff level 10 and extends 3.5\verb|\noteskip|. -Conversely, lower octaviation can be coded. For example - -\begin{music}\nostartrule -\startextract -\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en -\zendextract -\end{music} -\noindent is coded as -\verb|\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en|. -\zkeyindex{octfindown} - To change the text that is part of these notations, redefine one of -the macros \keyindex{octnumberup} or \keyindex{octnumberdown}. The reason for -the distinction between up and down is that, traditionally, upper octaviation -only uses the figure -``8'' to denote its beginning, while lower octaviation uses a more -elaborate indication such as \hbox{\ppffsixteen8$^{va}$ \it bassa}. Thus - -\bigskip -\begin{music}\nostartrule -\startextract -\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en -\zendextract -\end{music} -\noindent is coded - -\noindent\verb|\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en| - -\noindent while - -\begin{music} -\startextract -\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}\octfindown{-5}{2.5}\ql l\ql -k\ql j\en -\endextract -\end{music} -\noindent is coded as -\begin{quote}\begin{verbatim} -\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}% - \octfindown{-5}{2.5}\ql l\ql k\ql j\en -\end{verbatim}\end{quote} - -The foregoing constructions have the drawbacks that (a) the span must be -indicated ahead of time and (b) they cannot extend across a line break. -Both restrictions are removed with the use of the alternate macros \keyindex{Ioctfinup}, -\keyindex{Ioctfindown} and -\keyindex{Toctfin}. - -{\Bslash Ioctfinup}~$np$ indicates an upward octave transposition line with reference number -$n$ and with dashed line at pitch $p$. -By default $n$ must be in the range [0-5], but -you can specify a larger maximum number -directly with \keyindex{setmaxoctlines}\verb|{|$m$\verb|}| -where $7<m\leq 100$\footnote{This may require e-\TeX.}; the -reference number will be in the range between 0 and $(m-1)$. -\label{musixmad_setmaxoctlines} - -Usually $p$ will be numeric and $>9$, -but it can also be a letter. -{\Bslash Ioctfindown}~$np$ starts a lower octave transposition line at pitch $p$ -(usually $p<-1$). Both extend until terminated with {\Bslash Toctfin}. The -difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is -the relative position of the figure ``8'' with respect to the dashed line, and -the sense of the terminating hook As shorthand, \keyindex{ioctfinup} is equivalent to -\verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to -\verb|\Ioctfindown 0|. - -For example, - -\medskip - \begin{music}\nostartrule -\instrumentnumber{1} -\setstaffs12 -\setclef1{6000} -% -\startextract -\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\enotes -\bar -\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\enotes -\bar -\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes -\bar -\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes -\zendextract -\end{music} -\noindent is coded as -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\instrumentnumber{1} -\setstaffs12 -\setclef1{6000} -% -\startextract -\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\enotes -\bar -\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\enotes -\bar -\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes -\bar -\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes -\zendextract -\end{music} -\end{verbatim}\end{quote} - %\check - - The elevation of octaviation lines may be changed in midstream using -\keyindex{Liftoctline}~$n$$p$, where $n$ is the reference number of the - octave line, and $p$ a (possibly negative) number of -\keyindex{internote}s (staff pitch positions) by which elevation of the dashed line should be changed. -This may be useful when octaviation lines extend over several systems and the -elevation needs to be changed in a systems after the one where it was initiated. - - -\section{Slurs and ties} -Two fundamentally different implementations of slurs, ties, and hairpins are -available. (The hairpins ``go along for the ride'' with slurs and ties.) First, there are the -original \ital{font-based} versions. These are constructed with traditional -\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files. -Second, it is now possible -to generate these shapes directly with postscript, dispensing altogether with -the font characters\footnote{Please do not be confused by the availability of -postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts). -Once installed in a \TeX\ system, -their function and use are 100\% transparently identical with bitmapped versions -of the slur fonts. On the other -hand, postscript slurs are functionally distinct from font-based slurs, and only - share some of the same syntax.}. We shall first describe the font-based versions, -then Type K postscript slurs, which are one of two available postscript slur -options\footnote{An -alternate approach to postscript slurs, called {\it Type M} after its developer -Hiroaki {\sc Morimoto}, is available from the -\href{http://icking-music-archive.org/software/indexmt6.html} -{\underline{Icking Music Archive}}.}. If you plan to use Type K postscript slurs, -you may skip directly to section~\ref{PostscriptSlurs}. - - \subsection{Font-based slurs} - -Font-based slurs and ties provided by \musixtex\ can be divided into two categories: -\label{simpleslur} -\begin{itemize}\setlength{\itemsep}{0ex} - \item Those where the complete slur symbol is composed of a single - character from one of the slur fonts, and - \item those where the slur symbol is composed of three distinct - characters, to form the beginning, middle and end of the slur. -\end{itemize} - -The former are called \ital{simple slurs} and the latter, -\ital{compound slurs}. In many cases the distinction between the two is -invisible to the user, in that many of the macros described below will -automatically select between the two types. However, there are other macros -that allow simple slurs to be forced. - -The next few subsections describe the usual method of slur coding, where the -choice between simple or compound slurs is made automatically. -In this case, slurs are initiated and terminated by separate macros, -similar to beams. - - \subsubsection{Font-based slur initiation} -A slur must be initiated \ital{before} -the spacing note on which the slur begins, and terminated \ital{before} the -note on which it ends. - -The basic slur initiation macro is -\keyindex{isluru}\enpee, which initiates an upper slur, with reference -number $n$, beginning on a note at pitch $p$. The starting point of the slur is -centered above a virtual quarter note head at pitch -$p$\footnote{The slur will start in the same place regardless of whether there is -{\it actually} a note at pitch $p$.}. -Similarly, \keyindex{islurd}\enpee\ initiates a lower slur. -These slurs are terminated by coding -\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the -termination pitch. - -As with beams, the reference number $n$ by default can take values from 0 to 5, or -up to 8 or 11 respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included. -You can also specify the maximum number -directly with \keyindex{setmaxslurs}\verb|{|$m$\verb|}| where -$7<m\leq 100$% -\footnote{This may require e-\TeX.}; -the reference number $n$ will be in the range between 0 and $(m-1)$. -\label{musixmad_setmaxslurs} - -To illustrate with an elementary example, the following passage - -\begin{music}\nostartrule -\startextract -\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en -\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en -\bar -\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en -\NOTes\hu g\en -\zendextract -\end{music} - -\noindent was coded as: -\begin{quote}\begin{verbatim} -\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en -\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en -\bar -\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en -\NOTes\hu g\en -\end{verbatim}\end{quote} - -Other macros are provided to change the starting and ending point of the slur -in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\ -initiates a ``short'' upper slur suitable for linking notes involved in chords. -The -starting point is shifted to the right, and is vertically aligned with the -center of a virtual quarter note head at pitch $p$. If a lower short slur -is wanted, one should use \keyindex{isslurd}\enpee. - -Sometimes, busy scores call for slurs which are vertically aligned with the -ends of note stems rather than note heads. These ``beam'' slurs---so called -because the slur is written at usual beam height---are provided by the -macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros -initiate slurs raised or lowered by the current stem height to accommodate -stems or beams above or below. - %\check - - \subsubsection{Font-based slur termination} -Font-based slurs that are not forced to be simple must be terminated by an explicit -command right before the last note under the slur. There are termination -commands analogous to each of the initiation commands alread presented. They -are summarized in the following table: -\begin{center} - \begin{tabular}{ll} - Initiation & Termination \\ - \hline - \keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\ - \keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\ - \keyindex{ibsluru} & \keyindex{tbsluru}\\ - \keyindex{ibslurd} & \keyindex{tbslurd}\\ - \hline - \end{tabular} \end{center} - -\noindent All of these command have two parameters, $n$ and $p$. - -These specific termination macros are not restricted to being used with their -initiation counterpart. A slur -started in one sense can be terminated in another. For example, a slur beginning -as a ``beam'' slur may be terminated as a normal slur. This would be achieved -using the macro pair \verb|\ibslur...\tslur|. - - \subsubsection{Font-based ties} Font-based ties will have the same shapes as -ordinary font-based slurs of the same length between notes of equal pitch, -but there are two important distinctions: -(1) There cannot be any pitch difference between start and end, and (2) the -positions of both the beginning and end of a tie relative to the note heads -are slightly different from those of an ordinary slur\footnote{Editor's note: In -fact, it appears that the default positioning of the ends of ties is exactly -the same as that of short slurs.}. -Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of -reference number $n$ at pitch $p$. -Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of -reference number $n$ at pitch $p$. The starting position of the tie is the same -as \verb|\issluru| and -\verb|\isslurd| respectively. The tie is terminated by coding -\keyindex{ttie}\onen. Note that no pitch parameter is required. - -There are also \ital{short ties}, which bear the same relation to ordinary -ties as short slurs to ordinary slurs. They are intended to be used between chords. -They are initiated with -\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is -not clear why this command uses ``{\tt l}'' when all other similar ones use -``{\tt d}''.}, and terminated with \keyindex{tten}\onen. - -The following example illustrates the differences in positioning of the various -slur and tie options: - -\begin{music}\nostartrule -\startextract -\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% -\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% -\itenl0g\qu g\tten0\qu g\en -\zendextract -\end{music} -\noindent It was coded as -\begin{quote}\begin{verbatim} -\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% -\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% -\itenl0g\qu g\tten0\qu g\en -\end{verbatim}\end{quote} - -\noindent Here are some more general examples of font-based slurs and ties -discussed so far: - -\begin{music}\nostartrule -\startextract -\NOTes\isluru0g\hl g\tslur0h\hl h\en -\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en -\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en -\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en -\zendextract -\end{music} -\noindent This was coded as: -\begin{quote}\begin{verbatim} -\NOTes\isluru0g\hl g\tslur0h\hl h\en -\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en -\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en -\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en -\end{verbatim}\end{quote} - -\subsubsection{Dotted slurs} - -Any font-based slur may be made dotted by specifying \keyindex{dotted} -just before it is initiated: - -\begin{music}\nostartrule -\startextract -\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en -\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar -\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en -\NOTes\hu g\en -\zendextract -\end{music} - -\noindent This was coded as: -\begin{quote}\begin{verbatim} -\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en -\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar -\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en -\NOTes\hu g\en -\end{verbatim}\end{quote} - - \subsubsection{Modifying font-based slur properties} -Several macros are provided to modify the shape of slurs already initiated. -These macros must be coded right before the slur \ital{termination}. Invoking -any of the macros described in this section will force the slur to be compound. - -By default, the midpoint of a font-based slur is three \verb|\internote|s -above or below a line between its ends. This can be changed using the macro -\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For -example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to -rise to a maximum height of \verb|6\internote| above the starting position. -For example, - -\begin{music}\nostartrule -\startextract -\NOtes\multnoteskip8\isluru0g\ql g\en -\notes\tslur0g\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\isluru0g\ql g\en -\notes\midslur7\tslur0g\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\isluru2g\ql g\en -\notes\midslur{11}\tslur2g\ql g\en -\zendextract -\end{music} -\noindent was coded as -\begin{quote}\begin{verbatim} -\NOtes\multnoteskip8\isluru0g\ql g\en -\notes\tslur0g\ql g\en -\NOtes\multnoteskip8\isluru0g\ql g\en -\notes\midslur7\tslur0g\ql g\en -\NOtes\multnoteskip8\isluru2g\ql g\en -\notes\midslur{11}\tslur2g\ql g\en -\end{verbatim}\end{quote} - -The macro \keyindex{curve}$hij$ allows more precise control over the shape -of a slur or tie. The first parameter $h$ -is the vertical deviation and it works exactly like the sole parameter of -\verb|\midslur| described above. The second and -third parameters $i$ and $j$ set the initial and final gradient respectively. -They are defined as the horizontal distance required to attain maximum -vertical deviation. Thus smaller numbers for $i$ -and $j$ lead to more extreme gradients. -The default setting is \verb|\curve344|. Hence, coding \verb|\curve322| -doubles the initial and final gradient relative to the default. -As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before -the slur termination. The example below illustrates the use of \verb|\curve|. - -\begin{music}\nostartrule -\startextract -\NOtes\multnoteskip8\itieu0g\ql g\en -\notes\ttie0\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\itieu1g\ql g\en -\notes\curve 322\ttie1\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\itieu2g\ql g\en -\notes\curve 111\ttie2\ql g\en -\zendextract -\end{music} -\noindent This was coded as -\begin{quote}\begin{verbatim} -\NOtes\multnoteskip8\itieu0g\ql g\en -\notes\ttie0\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\itieu1g\ql g\en -\notes\curve 322\ttie1\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\itieu2g\ql g\en -\notes\curve 111\ttie2\ql g\en -\end{verbatim}\end{quote} - -Two macros are provided to control the behaviour of slurs which extend across -line breaks. Normally, the part of the slur before the line break is -treated as a tie. This can be changed using \keyindex{breakslur}\enpee, -which sets the termination height of -the broken slur at the line break to pitch $p$, for slur number $n$. - -After the line break, the slur is normally resumed at the initial pitch -reference, i.e., the one coded in \verb|\islur|. To change this, the macro -\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used. -Here $n$ is again the slur reference -number and $h$ is the change in height relative to the initialization height. -This macro is normally used following line breaks, in which case it is best -coded using the \verb|\atnextline| macro. For example, coding -\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero -by \verb|6\internote| relative to its initialization height. - -The following example illustrates the use of the macros for broken slurs: - -\begin{minipage}[t]{75mm} -Default, without adjustments:\\ -\begin{music} -\hsize=50mm -\generalmeter{\meterfrac24}% -\parindent 0pt\staffbotmarg0pt% -% -%\interstaff{14\internote}% -% -\startpiece\bigaccid -\Notes\ibsluru1b\qu b\qu g\en\bar -\Notes\qu{'c!}\tslur1f\qu f\en -\mulooseness1\Endpiece -\end{music} -\begin{verbatim} -\Notes\ibsluru1b\qu b\qu g\en\bar -\Notes\qu{'c!}\tslur1f\qu f\en -\end{verbatim} -\end{minipage}% -\begin{minipage}[t]{75mm} -With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\ -\begin{music} -\hsize=50mm -\generalmeter{\meterfrac24}% -\parindent 0pt\staffbotmarg0pt% -% -%\interstaff{14\internote}% -% -\startpiece\bigaccid -\def\atnextline{\Liftslur17}% -\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar -\Notes\qu{'c!}\tslur1f\qu f\en -\mulooseness1\Endpiece -\end{music} -\begin{verbatim} -\def\atnextline{\Liftslur17}% -\Notes\ibsluru1b\qu b\qu g% -\breakslur1g\en\bar -\Notes\qu{'c!}\tslur1f\qu f\en -\end{verbatim} -\end{minipage}\medskip - -Occasionally in keyboard works one needs to begin a slur in one -staff but end it in another. This can be done using the macro -\keyindex{invertslur}\onen\ which is best described by -reference to the example -shown below. - -% Finding the final pitch is try and error, sorry, no way out. - -\begin{music} -\setstaffs1{2} -\setclef1\bass\interstaff{10.5} -\startextract -\NOtes\multnoteskip5\isluru0a\ql a\en -\notes\invertslur0\curve311\tslur0j|\qu d\en -\NOtes\multnoteskip{10}\isluru0a\ql a\en -\notes\invertslur0\curve333\tslur0j|\qu d\en -\zendextract -\end{music} -\noindent This was coded as -\begin{quote}\begin{verbatim} -\NOtes\multnoteskip5\isluru0a\ql a\en -\notes\invertslur0\curve311\tslur0g|\qu d\en -\NOtes\multnoteskip{10}\isluru0a\ql a\en -\notes\invertslur0\curve333\tslur0g|\qu d\en -\end{verbatim}\end{quote} - -\noindent Slur inversion as just described takes effect where the slope is zero; therefore it -only works with ascending slurs that were started with \verb|\isluru|, and with -descending slurs started with \verb|\islurd|. Otherwise no horizontal place -can be found and the result is erratic. - -A different approach removes this restriction. The idea is to stop the slur at a -the desired inversion point and restart it in the other sense at the -same place. The commands to do this are as follows: - \begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$, -not above or below the virtual note head. - \item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position, -not above a virtual note head. - \item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position, -not below a virtual note head. - \end{itemize} - -\noindent The vertical position may have to be adjusted to minimize any discontinuity -in the slope. For example, the following pattern - - \begin{music}\nostartrule -\setclef1\treble -\startextract -\NOTes\multnoteskip 3\isluru0a\ql a\en -\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en -\Notes\tslur0h\qu h\en -\NOTes\multnoteskip 3\islurd0a\ql a\en -\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en -\Notes\tslur0h\qu h\en -\zendextract -\end{music} -\noindent was coded as -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\NOTes\multnoteskip 3\isluru0a\ql a\en -\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en -\Notes\tslur0h\qu h\en -\NOTes\multnoteskip 3\islurd0a\ql a\en -\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en -\Notes\tslur0h\qu h\en -\end{music} -\end{verbatim}\end{quote} - -\ital{Simple} slurs and ties have advantages in some cases: (1) They will -always have the best possible shape, and (2) if \verb|\noteskip| doesn't -change from start to finish, they are easier to code. But they have drawbacks -as well: (1) They are limited in length to 68pt -for slurs and 220pt for -ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they -may not extend across a line break. -Despite all these limitations, simple slurs are extremely useful in many -applications where the slurs are short and contained within a bar. - -Simple slurs must be coded {\em before} the note on which the slur begins. -The primary macro is -\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ -where $p_1$ and $p_2$ are respectively the initial and final pitches, -$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length, -in {\tt noteskip}s. -Thus, thirds slured in pairs can be coded - - %\check - -\begin{quote}\begin{verbatim} -\NOtes\slur ced1\qu{ce}\en -\NOtes\slur dfd1\qu{df}\en -\NOtes\slur egd1\qu{eg}\en -\NOtes\slur{'e}cu1\ql{ec}\en -\NOtes\slur{'d}bu1\ql{db}\en -\NOtes\slur{'c}au1\ql{ca}\en -\end{verbatim}\end{quote} -which yields - -\begin{music}\nostartrule -\startextract -\NOtes\slur ced1\qu{ce}\en -\NOtes\slur dfd1\qu{df}\en -\NOtes\slur egd1\qu{eg}\en -\NOtes\slur{'e}cu1\ql{ec}\en -\NOtes\slur{'d}bu1\ql{db}\en -\NOtes\slur{'c}au1\ql{ca}\en -\zendextract -\end{music} -%% - -There are similar commands to force simple versions of the other -variants of font-based slurs and ties. Simple ties may be set using -\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed). -Simple short slurs and short ties can be forced with the macros -\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and -\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally, -simple beam slurs can be forced with -\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$. - - \subsubsection{Limitations of font-based slurs} - The change in altitude between slur initiation and slur termination is limited to -16\verb|\Internote|. Thus unexpected vertical gaps can appear, as seen in - - \begin{music}\nostartrule -\instrumentnumber{1} -\generalmeter{\meterfrac34} -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\zendextract - -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\zendextract - \end{music} - \noindent whose coding was - \begin{quote}\begin{verbatim} -\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes -\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes - \end{music} - \end{verbatim}\end{quote} - -Furthermore, if the slope becomes too steep, even worse results can occur, such as - - \begin{music}\nostartrule -\instrumentnumber{1} -\generalmeter{\meterfrac34} -\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes - \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes - \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes - \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes - \zendextract - \end{music} - -Another limitation of font-based slurs crops up when one attempts to -generate bitmapped versions for high-resolution printers: the characters -for long ties can exceed \MF's maximum capacity. - - \subsection{Type K postscript slurs}\label{PostscriptSlurs} -All of the aforementioned limitations of font-based slurs can be circumvented -by using Type~K postscript slurs\footnote{``K'' stands for Stanislav Kneifl, -the developer of the Type K postscript slur package.}. As well as slurs, the package includes -ties and crescendos (see section \ref{sec:crescnd}). -Its use is very similar to font-based slurs, and in fact identical if only -the elementary slur and tie initiation and termination macros are used. - -In order to use Type K postscript slurs, you must first place \texttt{musixps.tex} -anywhere \TeX\ can find it. You must also place \texttt{psslurs.pro} -somewhere that \texttt{dvips} can find it. - -The \index{mxsk font}\texttt{mxsk} font is required for ``half ties,'' which -are special symbols that are used by default for the second portion of a tie -that crosses a line break. If you like -this treatment you must install the font in your \TeX\ system. However, perfectly -acceptable line-breaking ties will appear if you invoke \keyindex{nohalfties}, -and then you will not have to install this font. - -Once the software mentioned in the prior two paragraphs is emplaced and the -\TeX\ filename database is refreshed, the Type K package can be -invoked by including the command \verb|\input musixps| -near the beginning of your source file. -The resulting dvi file should then be converted into postscript using \textbf{dvips}. -If desired, a PDF file can then be generated with \textbf{ps2pdf}, \textbf{ghostscript}, -or \textbf{Adobe Acrobat} (see chapter \ref{installation} for more information on this). - -Two minor inconveniences with Type K postscript slurs are that (1) they won't appear -in any standard dvi previewer, and (2) they won't appear in PDF files generated with -\textbf{pdftex}. The former limitation can be circumvented by using a postscript -viewer such as \textbf{GSview}. The latter simply requires that you create an intermediate -postscript file with \textbf{dvips}, then make the PDF with any of the software -mentioned above. - -\subsubsection{Initiating and terminating type K postscript slurs} - -Basic usage of type K slurs is the same as for font-based slurs. To initiate one, -use for example \verb|\isluru0g| to start an upper slur with ID 0 above a virtual note -at pitch level {\tt g}. To terminate one, use a command like -\verb|\tslur0i| which terminates the slur with ID 0 on a -virtual note at pitch level {\tt i}. -Both types of commands are non-spacing and must precede the first or last -note under the slur. - -You can shift the starting or ending point slightly to the left -or right by substituting one of the commands \keyindex{ilsluru}, -\keyindex{ilslurd}, \keyindex{irsluru}, -\keyindex{irslurd}, \keyindex{trslur} or \keyindex{tlslur}. - -You can control the shape of Type K slurs with variants of -the termination command. To make the slur a bit flatter than default use -\keyindex{tfslur}0f; a bit higher, \keyindex{thslur}0f; higher still, -\keyindex{tHslur}0f; or -even higher, \keyindex{tHHslur}0f. These commands have an effect like -\keyindex{midslur} does for font-based slurs. - -All combinations of the shifting and curvature variants are allowed, -e.g.\ \verb|\trHHslur|. - -The following examples demonstrate how much better the type K slurs perform -in the extreme situations of the prior two typeset examples. The coding is -exactly the same as above except that \verb|\input musixps| has been added: -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\input musixps -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes -.... -\end{verbatim}\end{quote} - -%\begin{center} -%\includegraphics[scale=1]{./mxdexamples/pslurvgap.eps} -%\end{center} - -\begin{music}\nostartrule -\input musixps -\instrumentnumber{1} -\generalmeter{\meterfrac34} -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\zendextract - -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\zendextract -% \end{music} - -%\begin{music}\nostartrule -%\input smallmusixpsx -%\instrumentnumber{1} -%\generalmeter{\meterfrac34} -\startextract -\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes\bar -\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes -\NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes\bar -\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes -\zendextract - \end{music} - - -For maximal control over type K slurs, you can use one of the commands -\keyindex{iSlur}~$npvh$ and -\keyindex{tSlur}~$npvhca$, where the characters in -$npvhca$ respectively stand for ID number, height, vertical offset, horizontal offset, -curvature, and angularity. -All offsets are in \verb|internote|, and the slur direction is determined -by the sign of the vertical offset. See the comments in \verb|musixps.tex| -for precise definitions of the other parameters. Examples of permissible forms for -these commands are -\verb|iSlur0c11| and \verb|tSlur0{!d}11{.2}0|. - -The next example shows how you can use \verb|iSlur| in difficult -circumstances: - -\begin{music}\nostartrule -\input musixps -\nobarnumbers -\generalsignature1% -\generalmeter{\meterfrac{2}{4}}% -\nostartrule -\startextract -\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar -% -\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlfslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar -% -\NOtes\zchar{-8}{\Bslash iSlur...\Bslash tSlur}\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en -\zendextract - \end{music} -\noindent with this coding: - -\begin{quote}\begin{verbatim} -\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar -% -\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar -% -\NOtes\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en -\end{verbatim}\end{quote} - - -The ID number for a slur, tie or crescendo should -normally range from 0 to 9. If it is bigger -than nine but less than 15, -the object can cross a line break but not a page break. If bigger than -14 but less than $2^{31}$, it can't be broken at all, - nor can a slur termination be positioned at a beam with - e.g.~\verb|\tbsluru{17684}{16}|; however \verb|\ibsluru{152867}{16}| is OK. - -It's also OK to have opened simultaneously a slur, tie and crescendo all -with the same ID, or a slur, tie and decrescendo, but not a crescendo and -decrescendo. - -\def\emen{{\tt\char123}$n${\tt\char125\char123}$m${\tt\char125}} - -\subsubsection{Type K postscript beam slurs} -Type K beam slurs are defined differently than the font-based ones: -They require as parameters both a slur ID number $n$ and a beam ID number $m$, -but that's all. The commands are -\keyindex{iBsluru}\emen, \keyindex{iBslurd}\emen, and -\keyindex{tBslur}\emen. -They must be placed \ital{after} the beam initiation or termination command. -Type K slurs may start on one beam and end on another. -For example, - -\begin{quote}\begin{verbatim} -\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% - \slurtext{6}\tBslur00\qb0e\en -\end{verbatim}\end{quote} - -\noindent produces -%\begin{center} -%\includegraphics[scale=1]{./mxdexamples/psbeamslur.eps} -%\end{center} - -\begin{music}\nostartrule\input musixps\startextract -\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% - \slurtext{6}\tBslur00\qb0e\en -\zendextract\end{music} - -The above example also illustrates the use of the macro -\keyindex{slurtext}. It has just one parameter---some text to be -printed---and it centers it just above or below the midpoint of -the next slur that is closed. -This works only for non-breaking slurs; if the slur is broken, -the text -disappears\footnote{If you insist on viewing files with a dvi viewer despite the -fact that Type K slurs will not be visible, you may also find that -figures emplaced with \keyindex{slurtext} will appear at the end of the -slur rather than the middle.}. -%The placing of the slur text is done with a very dirty postscript -%hack, so I am not really sure that everything you want to typeset -%will be placed at the correct position (if you are interested, see -%the end of psslurs.pro for details). If you find something that won't -%work, let me know. - -% DAS: why do we need this ??? -%\paragraph{General coding for postscript slurs and ties of type K.} -%This can be done by: -%\begin{quote}\begin{verbatim} -%\i[h.shift]slur[u|d]{slur ID}{note height} -%\t[h.shift][slur height]slur{slur ID}{note height} -%\iBslur[u|d]{slur ID}{beam ID} -%\tB[slur.height]slur{slur ID}{beam ID} -%\end{verbatim}\end{quote} -%\noindent where h.shift can be 'l', 'r' or nothing -%and slur.height can be 'f', nothing, 'h', 'H' or 'HH' -% -%Example: \keyindex{tlfslur} means 'terminate left flat slur'. -% -% -%There are also simple slurs with same invocation and parameters as the -%original ones. - -\subsubsection{Type K postscript ties} -All of the foregoing Type K slur commands -except the shape-changing ones -have counterparts for ties. Simply -replace ``\verb|slur|'' with ``\verb|tie|'', and for terminations omit -the pitch parameter. Type K ties not only are positioned differently by -default, but they also have different shapes than slurs. If you want to change -the shape of a tie, redefine \verb|\pstiehgt| from its default of 0.7. - -\subsubsection{Dotted type K slurs and ties.}%please check the capital D(otted) -A slur or tie can be made dotted simply by entering \keyindex{dotted} anywhere before -the beginning of the slur or tie. Only the first slur or tie following this -command will be affected. On the other hand, if you enter \keyindex{Dotted}, then ALL -slurs and ties from this point forward will be dotted until you say -\keyindex{Solid}. Furthermore, inside \verb|\Dotted...\Solid| you can make any individual -slur or tie solid saying \verb|\solid| before its beginning. - -\subsubsection{Avoiding collisions of Type K slurs and ties with staff lines.} -In postscript it is possible to do some computations which would be very hard -to implement directly in TeX. Type K slurs can use this facility to check whether -the curve of a slur or tie is anywhere nearly tangent to any staff line, and if -so, to adjust -the altitude of the curve to avoid the collision. By default this feature is turned -on. -You can disable it either -globally (\keyindex{Nosluradjust}, \keyindex{Notieadjust}) or locally -(\keyindex{nosluradjust}, \keyindex{notieadjust}), and you can also turn it -back on globally (\keyindex{Sluradjust}, -\keyindex{Tieadjust}) or locally (\keyindex{sluradjust}, \keyindex{tieadjust}). -Here ``locally'' -means that the command will only affect the next slur or tie to be opened. - - -\subsubsection{Line breaking slurs and ties} -Tyle K slurs and ties (and crescendos) going across line breaks are handled -automatically. In fact they can go over more lines than two (this is -true also for ties, though it would be somewhat strange). - -There is a switch \verb|\ifslopebrkslurs| that controls the default -height of the end point -of the first segment of all broken slurs. By default the height will be -the same as the beginning. To have it raised by \verb|3\internote|, simply -issue the command \keyindex{slopebrkslurstrue}. To revert to the default, -use \keyindex{slopebrkslursfalse}. - -To locally override the default height of the end of the first segment, -use the command \keyindex{breakslur}\enpee, -which sets the height for slur number $n$ to pitch $p$, just like with -font-based slurs. - -You can raise or lower the starting point of the second segment of a broken slur -with the command \keyindex{liftslur}\verb|{|$n$\verb|}{|$h$\verb|}|, with -parameters slur ID and relative offset in -\verb|\internote|s measured from the slur beginning. Its effect is -the same as \keyindex{Liftslur} for font-based slurs, except it is not -necessary to code -it within \verb|\atnextstaff{}|, just anywhere inside the slur. - -As already mentioned, anything with ID$<$10 is broken fully automatically, but -you should be careful about slurs, ties and crescendos with 10$\le$ID$<$15. -These cannot cross page breaks, although they can cross line breaks. - -If the second segment of a broken tie is less than 15pt long, then by -default it will have a special shape which begins horizontally. These shapes are -called \ital{half ties} and are contained in the font \index{mxsk font}\verb|mxsk|. -Of course if they are to be used, the font files must be integrated into the -\TeX\ installation. Their use can be turned off with \keyindex{nohalfties} -and back on with \keyindex{halfties}. - -%\paragraph{Backwards compatibility.} -%There are several ``aliases'' which allow to use the old, bitmapped slur -%commands for PS slurs without any change. There are however a few differences: -%the \keyindex{invertslur} is not implemented yet and -%the \keyindex{curve} and \keyindex{midslur} macros have no effect. - -%\paragraph{Memory requirements.} -\subsubsection{A few final technical details} -Each \verb|\i...| and \verb|\t...| -produces a \verb|\special| command, which must be stored in TeX's main memory. -Therefore, if too many slurs occur in one page, some memory problems could -occur. The only solutions are to use Big\TeX\ (if you aren't already), or to use -font-based slurs. - -Type K slurs need the postscript header file -\index{psslurs.pro}\texttt{psslurs.pro} to be included in the -output postscript file. This is made to happen by the \TeX\ command -\verb|\special{header=psslurs.pro}|, which is automatically -included when you \verb|\input musixps|. So normally this is not -of concern. However if you wish to extract a subset of pages from -the master \verb|dvi| file using \index{dvidvi}\texttt{dvidvi}, then -you have three options: (1)~include the first page in the subset, -(2)~manually issue the -\verb|\special| command in the \TeX\ source for the first page of the subset, or -(3)~use the option \texttt{-h psslurs.pro} when you run \texttt{dvips}. - - -\section{Bar Lines} - \subsection{Single, double, and invisible bar lines}\label{doublebars} -The usual macro to typeset a single bar line is \keyindex{bar}. -There is a possibility of -confusion with a command in \TeX's math mode that has exactly the same name. -However, there will generally be no problem, because inside -\verb|\startpiece...\endpiece|, -\verb|\bar| will take the musical meaning, while outside, it will have the -mathematical one. -If for some reason you need the math \verb|\bar| inside, you can use -\verb|\endcatcodesmusic...\bar...\catcodesmusic|. - -To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You could -also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or -\keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced -by a double bar. - -There is no specific command to print a thin-thick double bar line, but -\keyindex{setdoubleBAR} will cause one in the same cases where -\verb|\setdoublebar| would cause a thin-thin double bar line. - -To make the next bar line invisible, use \keyindex{setemptybar} before -\verb|\bar|. - -You can suppress the beginning vertical rule with saying \keyindex{nostartrule} -and restore the default with \keyindex{startrule} after that. - -\subsection{Simple discoutinuous bar lines} -Normally, bars (as well as double bars, final bars and repeat bars) are -drawn continuously from the bottom of the lowest staff of the -lowest instrument to the top of the highest staff of the uppermost -instrument. However, if desired, they can be made discontinuous between -instruments by saying \keyindex{sepbarrules}. An example of this is given in -%avrb -%{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the -%avre -\texttt{avemaria.tex} in section \ref{avemaria}\label{avemaria2}. - -Continuous bar lines can be restored with \keyindex{stdbarrules}. In -the extension library are some more types of bar rules, mainly for very old -music, see section \ref{otherbars}. - -% DAS. Andre, are there some other kinds of bars in an addon? - -\subsection{Elementary asynchronous bar lines} - - Situations may arise where the bar lines in different instruments are not -aligned with one another. To set this up, first say \verb|\sepbarrules|. -Then use a combination of the following five commands: - -\begin{itemize}\setlength{\itemsep}{0ex} -\item\keyindex{hidebarrule}\onen~hides the bar rule for instrument $n$, until -this is changed by \verb|\showbarrule|\onen. -\item\keyindex{showbarrule}\onen~stops hiding the bar rule for instrument $n$, -until this is changed by \verb|\hidebarrule|\onen. -\item\keyindex{Hidebarrule}\onen~hides the bar rule for instrument $n$, only -for the next bar. -\item\keyindex{Showbarrule}\onen~shows the bar rule for instrument -$n$ once only, -and then resets it \verb|Hidebarrule|. -% -% DAS ??? -% and then resets it to \verb|hidebarrule|. -% -\item\keyindex{showallbarrules} resets all defined instruments to -\verb|\showbarrule|\onen. This command is automatically inserted with double -bars, final bars and repeats. -\end{itemize} - -Thus, this example - -\begin{music} -\instrumentnumber3 -\setmeter3{{\meterfrac{3}{4}}} -\setmeter2{{\meterfrac{2}{4}}} -\setmeter1{{\meterfrac{3}{8}}} -\nobarnumbers -\sepbarrules - -\startextract -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\hidebarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\showbarrule2\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\showbarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\showbarrule2\hidebarrule3\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\setdoublebar -\bar\hidebarrule3 -\NOtes\pt f\qa f&\qa f&\qa f\en -\Hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\message{Showbarrule3 coming}% -\Hidebarrule2\Showbarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\Hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\setrightrepeat -\endextract -\end{music} - -\noindent was obtained with the following coding: -\begin{quote}\begin{verbatim} -\instrumentnumber3 -\setmeter3{{\meterfrac{3}{4}}} -\setmeter2{{\meterfrac{2}{4}}} -\setmeter1{{\meterfrac{3}{8}}} -\nobarnumbers -\sepbarrules - -\startextract -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\hidebarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\showbarrule2\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\showbarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\showbarrule2\hidebarrule3\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\setdoublebar -\bar\hidebarrule3 -\NOtes\pt f\qa f&\qa f&\qa f\en -\Hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\message{Showbarrule3 coming}% -\Hidebarrule2\Showbarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\Hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\setrightrepeat -\zendextract -\end{verbatim}\end{quote} - -\subsection{Dotted, dashed, and more general asynchronous and discontinuous bar lines}\label{musixdbr} - -The extension -package \href{http://icking-music-archive.org/software/musixtex/add-ons/musixdbr.tex} -{\underline{\ttxem{musixdbr.tex}}} by Rainer {\sc Dunker} provides commands for -dashed, dotted, and arbitrarily discontinuous bar lines. It supports -individual bar line settings for each instrument, multi-staff instruments, -different sizes of staves, and even different numbers of lines per staff, - -To use the package, you must \verb|\input musixdbr| after \verb|musixtex|, and -execute the macro \keyindex{indivbarrules} which activates individual bar line -processing. Then the following commands are available: - -\begin{itemize}\setlength{\itemsep}{0ex} - -\item \keyindex{sepbarrule}\onen~separates bar lines of instrument $n$ from those of instrument $n-1$ - -\item \keyindex{condashbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ - with a dashed line - -\item \keyindex{condotbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ - with a dotted line - -\item \keyindex{conbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ - -\item \keyindex{hidebarrule}\onen~hides bar lines of instrument $n$ - -\item \keyindex{showdashbarrule}\onen~dashes bar lines of instrument $n$ - -\item \keyindex{showdotbarrule}\onen~dots bar lines of instrument $n$ - -\item \keyindex{showbarrule}\onen~shows bar lines of instrument $n$ - -\item \keyindex{sepmultibarrule}\onen~separates bar lines within multistaff instrument $n$ - -\item \keyindex{condashmultibarrule}\onen~dashes bar lines between staves of multistaff instrument $n$ - -\item \keyindex{condotmultibarrule}\onen~dots bar lines between staves of multistaff instrument $n$ - -\item \keyindex{conmultibarrule}\onen~ shows bar lines between staves of multistaff instrument $n$ - -\item \keyindex{allbarrules}[\ital{any of the above commands, without numerical parameter}] sets bar -line style for all instruments together. - -\end{itemize} - -Dashing and dotting style may be changed by redefining the macros -\verb|\barlinedash| or \verb|\barlinedots| respectively (see original definitions in \verb|musixdbr.tex|). - -Here is an example of the use of these macros: - -\begin{music} -\input musixdbr - -\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14\setsize2\tinyvalue -\indivbarrules -\parindent0pt\startextract -%\startpiece -%\scale{2} - % normal barlines - \bar - % separate instrument 2 from 1 - \sepbarrule2 - \notes\en\bar - % barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showbarrule - \NOTes\en\bar - % barlines between staves - \allbarrules\conbarrule - \allbarrules\conmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % dashed barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showdashbarrule - \NOTes\en\bar - % dashed barlines between staves - \allbarrules\condashbarrule - \allbarrules\condashmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % dotted barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showdotbarrule - \NOTes\en\bar - % dotted barlines between staves - \allbarrules\condotbarrule - \allbarrules\condotmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % a wild mixture of all - \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% - \condashbarrule2\conbarrule3\condotbarrule4% - \condashmultibarrule2\sepmultibarrule3% - \NOTes\en\bar - % conventional ending - \allbarrules\showbarrule - \allbarrules\conbarrule - \allbarrules\conmultibarrule - \NOTes\en\setdoubleBAR\endextract -\end{music} - -This is the code: - -\begin{quote}\begin{verbatim} -\input musixdbr -\instrumentnumber4\setstaffs23\setstaffs32\setlines14\setsize2\tinyvalue -\indivbarrules\parindent0pt\startextract - % normal barlines - \bar - % separate instrument 2 from 1 - \sepbarrule2 - \notes\en\bar - % barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showbarrule - \NOTes\en\bar - % barlines between staves - \allbarrules\conbarrule - \allbarrules\conmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % dashed barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showdashbarrule - \NOTes\en\bar - % dashed barlines between staves - \allbarrules\condashbarrule - \allbarrules\condashmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % dotted barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showdotbarrule - \NOTes\en\bar - % dotted barlines between staves - \allbarrules\condotbarrule - \allbarrules\condotmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % a wild mixture of all - \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% - \condashbarrule2\conbarrule3\condotbarrule4% - \condashmultibarrule2\sepmultibarrule3% - \NOTes\en\bar - % conventional ending - \allbarrules\showbarrule - \allbarrules\conbarrule - \allbarrules\conmultibarrule - \NOTes\en\setdoubleBAR\zendextract -\end{verbatim}\end{quote} - -\section{Bar numbering} -The current bar number is stored in a count register call \keyindex{barno}. -When \verb|\startpiece| is encountered, \verb|\barno| is set equal to -another count register called \verb|\startbarno|, whose default value is one. -Therefore, if you want the first bar to have a number $n$ different from 1, you -may either say \verb|\startbarno=|$n$ before \verb|\startpiece|, or say -\verb|\barno=|$n$ afterwards, but before the first bar line. You may also alter the bar -number at any time, either by explicitly resetting \verb|\barno|, or by -incrementing it with a command like \verb|\advance\barno-1|. - -\musixtex\ supports two distinct modes for printing bar numbers. In \ital{periodic} -bar numbering, the bar number is -placed above the top staff with a user-selectable frequency. In -\ital{system} bar numbering, the -number will appear at the beginning of each system. - -\subsection{Periodic bar numbering} -In a normal piece, periodic bar number printing is turned on by default, with a frequency -of one. In an extract, the default is to not print bar numbers. -To turn off bar numbering say \keyindex{nobarnumbers}. To reinstate periodic -bar numbering, or to initiate it in an extract, say \keyindex{barnumbers}. -To change to a -different frequency $n$, say \verb|\def|\keyindex{freqbarno}\verb|{|$n$\verb|}|. - -The appearance and positioning of the bar number is controlled by the -token \keyindex{writethebarno}, which by default is defined as\\ -\verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}| -where the font is defined as \verb|\def\fontbarno{\it}|. You can change -either of these as desired, for example - - \medskip -\begin{music}\barnumbers -\parindent0pt\startpiece -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\def\fontbarno{\bf}% -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en\bar -\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece -\end{music} -\noindent which was coded as -\begin{quote}\begin{verbatim}\barnumbers -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\def\fontbarno{\bf}% -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en\bar -\notes\Qqbbu fgge\Qqbbl jhgi\en -\end{verbatim}\end{quote} - -\subsection{System bar numbering} -To have a bar number printed just above the beginning of each system, use -\keyindex{systemnumbers}. The distance above the staff is controlled -by \verb|\raisebarno|, which by default is \verb|4\internote| (to fit -above a treble clef). This can be redefined with the command\\ -\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}|. -The horizontal position similarly is defined by \keyindex{shiftbarno} -which by default is \verb|0pt|. - -The number normally is enclosed in a -box. If you don't like that, you may redefine the macro \verb|\writebarno| -which by default is defined as\\ -\verb|\def|\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}|.\\ -This uses the utility \musixtex\ macro \keyindex{boxit} which will enclose -any text string in a box. - -Here are some possible alternate formats for system bar numbers: - -\medskip -\begin{music}\nostartrule -\def\fontbarno{\it}% -\let\extractline\hbox -\startbarno=36 -\hbox to \hsize{% -\hss - \raise20pt\hbox{(a) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss - \def\writebarno{\tenrm\the\barno\barnoadd}% - \def\raisebarno{2\internote}% - \def\shiftbarno{2.5\Interligne}% - \raise20pt\hbox{(b) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss - \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% - \def\raisebarno{2\internote}% - \def\shiftbarno{1.3\Interligne}% - \raise20pt\hbox{(c) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss} -\end{music} -\noindent This was coded as -\begin{itemize}\setlength{\itemsep}{0ex} - \item[(a)] (default) - \item[(b)] - \begin{verbatim} -\def\writebarno{\tenrm\the\barno\barnoadd}% -\def\raisebarno{2\internote}% -\def\shiftbarno{2.5\Interligne}% - \end{verbatim} - \item[(c)] - \begin{verbatim} -\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% -\def\raisebarno{2\internote}% -\def\shiftbarno{1.3\Interligne}% - \end{verbatim} -\end{itemize} - -If the previous line does not stop with a bar rule, then the next -printed system bar number will immediately be followed by the contents -of the token \keyindex{writezbarno}, whose -default setting is the lower case character `\verb|a|'. You might want to -change this to `\verb|+|', in which case you should say -\verb|\def\writezbarno{+}|. - -%DAS: Who cares ??? -%\noindent Besides, you can suppress the messages of bar numbers on -%\verb|stdout| (normally screen) with \keyindex{nobarmessage}. In the same way, -%you can suppress the messages abour new lines (new systems) with -%\keyindex{nolinemessages}. - %\check - -\section{Managing the layout of your score} -\subsection{Line and page breaking}\label{linebreak} -If every bar ends with \verb|\bar| and no other line- or page-breaking commands -are used, then the external program \verb|musixflx| will decide where to insert -line and page breaks. Line breaks will only come at bar lines. The total -number of lines will depend on the initial value of \verb|\elemskip|, which by -default is 6 pt in \verb|\normalmusicsize|. - -You can force a line or page break by replacing \keyindex{bar} with -\keyindex{alaligne} or \keyindex{alapage} respectively. On the other hand, -to forbid line-breaking at a particular bar, replace \verb|\bar| -with \keyindex{xbar}. To force a line or page break where there is -no bar line, use \keyindex{zalaligne} or \keyindex{zalapage}. To mark any -mid-bar location as an optional line-breaking point, use \keyindex{zbar}. - -The heavy final double bar of a piece is one of the consequences of -\keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate -the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}. -To terminate it with no bar line at all, code \keyindex{zstoppiece}. - -Once you have stopped the score by any of these means, you may want to restart -it, and there are several ways to do so. If you don't need to change the key -signature, meter, or clef, -you can use \keyindex{contpiece} for no indentation, or \keyindex{Contpiece} -to indent by \keyindex{parindent}. If you do want to change some score -attribute that takes up space, for example -with \keyindex{generalsignature} after \verb|\stoppiece|, then to restart you -must use \keyindex{startpiece}. However, if you don't want \verb|\barno| reset -to 1, you must save its new starting value to \verb|\startbarno|. You may also -wish to modify instrument names or \verb|\parindent| before restarting. - -Recall that thin-thin or thin-thick double bars or blank bar lines can be -inserted without stopping by using the commands described in section -\ref{doublebars}. Those commands can also be used before \verb|\stoppiece|, -\verb|\alaligne|, or \verb|\alapage| - -\subsection{Page layout} -Blank space above and below each staff is controlled by the dimension -registers \keyindex{stafftopmarg} and \keyindex{staffbotmarg}. For more -info see section \ref{LayoutParameters}. - -The macro \keyindex{raggedbottom} will remove all vertical glue and -compact everything toward the top of page. -In contrast, the macro \keyindex{normalbottom} will restore default -behavior, in which vertical space between the systems is distributed -so that the first staff -on the page is all the way at the top and the last staff all the way at -the bottom. - -The macro \keyindex{musicparskip} will allow the existing space between -systems to increase by up to \verb|5\Interligne|. - -The following values of page layout parameters will allow the maximum material -to fit on each page, provided the printer allows the margins that are implied. - -\begin{center} -\begin{tabular}{|l|l|l|}\hline -\multicolumn{1}{|c|}{A4}&\multicolumn{1}{|c|}{letter}&\multicolumn{1}{|c|}{A4 or letter}\\\hline -\multicolumn{3}{|c|}{\tt\Bslash parindent= 0pt}\\\hline -\multicolumn{3}{|c|}{\tt\Bslash hoffset= -15.4mm}\\\hline -\multicolumn{3}{|c|}{\tt\Bslash voffset= -10mm}\\\hline -\verb+\hsize= 190mm+&\verb+\hsize= 196mm+&\verb+\hsize= 190mm+\\\hline -\verb+\vsize= 260mm+&\verb+\vsize= 247mm+&\verb+\vsize= 247mm+\\\hline -\end{tabular} -\end{center} -%avre -\zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset} -\zkeyindex{hsize}\zkeyindex{vsize} - - -\subsection{Page numbering, headers and footers}\index{page -number}\index{footnote} - -There are no special page numbering facilities in \musixtex; you must rely on -macros from plain \TeX. There is a count register in \TeX\ called -\verb|\pageno|. It is always initialized to \verb|1| and incremented by one -at every page break. By saying \keyindex{pageno}$=n$, it can be reset to any -value at any time, and will continue to be incremented from the new value. - -By default, \TeX\ will place a page number on -every page, centered at the bottom. Unfortunately, this is not the preferred -location according to any standard practice. To suppress this default -behavior, say \keyindex{nopagenumbers}. - -One way to initiate page numbering in a more acceptable location is to take -advantage of the facts that (a) \TeX\ prints the contents of the control sequences -\keyindex{headline} and \keyindex{footline} at the top and bottom -respectively of every page, and (b) the value of \verb|\pageno| can be printed by -saying \keyindex{folio}. Therefore, for example, the following sequence of -commands, issued anywhere before the end of the first page, will cause page -numbers and any desired text to be printed at the top of every page, -alternating between placement of the number at the left and right margins, and -alternating between the two different text strings (the capitalized text in -the example): - -\begin{quote}\begin{verbatim} -\nopagenumbers -\headline={\ifodd\pageno\rightheadline\else\leftheadline\fi}% -\def\rightheadline{\tenrm\hfil RIGHT RUNNING HEAD\hfil\folio}% -\def\leftheadline{\tenrm\folio\hfil LEFT RUNNING HEAD\hfil}% -\voffset=2\baselineskip -\end{verbatim}\end{quote} - -\subsection{Controlling the total number of systems and pages}\index{page and line -layout (global)} - -Once all the notes are entered into a \musixtex\ score, it would be convenient -if there were a simple sequence of commands to -cause a specified number of systems to be uniformly distributed over a -specified number of pages. Unfortunately that's not directly -possible\footnote{It \textit{is} possible in \textbf{PMX}.}. -Rather, some trial and error will usually be required to achieve the desired final -layout. To this end, some combination of the following strategies may be used: - - \begin{enumerate}\setlength{\itemsep}{0ex} - \item Assign a value to the count register \keyindex{linegoal} representing -the total number of systems. The count register \keyindex{mulooseness} must be 0 if using -\verb|\linegoal|. - \item Explicitly force line and page breaking as desired, using -the macros \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne| -or \verb|\zalapage|. - \item Adjust both \keyindex{mulooseness} and the initial value of -\keyindex{elemskip}: increasing \verb|\mulooseness| from its default of 0 will -increase the total number of systems, while changing the initial value of -\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) may change the -total number of systems accordingly. - \end{enumerate} - %\check - -\section{Changing clefs, key signatures, and meters} - -\subsection{Introduction}\label{contextintro} - -To define clefs, key signatures, or meters at the start of a piece, -or to change one or more of these attributes\footnote{In this section, -\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere -else in a score, -\musixtex\ requires two steps. The first step is to \ital{set} the new values of -the attributes. -Most of the commands for this have the form \verb|\set|...~. They will be -described in the following subsections. - -But this alone will -not cause anything to be changed or printed. The second step is to activate the -change. This is done by issuing one of the -following commands (outside \verb|\notes|$\dots$\verb|\en|): -\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|, -\verb|\Contpiece|, -\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|, -\verb|\changecontext|, -\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|, -\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform -other functions as well, and some may be used even when no attributes -change. Features unrelated to changing attributes are detailed elsewhere. -The first 11 will activate all pending new attributes. -If more than one type is activated by a single command in this manner, -then regardless of the order -they were set, they will always appear in the following order: clef, key signature, -meter. -The last three commands in the above list obviously activate only -the specific type of attribute referred to in the name of the command. - -The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext| -will respectively insert a single, double, or invisible bar -line before printing the attributes. - -\subsection{Key Signatures} - -We've already seen in section \ref{whatspecify} how to set key -signatures for all instruments with \keyindex{generalsignature}, or for -specific instruments with \keyindex{setsign}. As just noted, these commands only -prepare for the insertion of the signatures into the score; it is -really \verb|\startpiece| that puts them in place at the beginning of the -score. - -The commands \verb|\generalsignature| and \verb|\setsign| also serve to set -new key signature(s) anywhere in score. The change can then be activated with one of -the 11 general commands listed above, or with \keyindex{changesignature} if -in the middle of a bar. -While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar -line, the differences are that the latter increments the bar number counter and -inserts a horizontal space of \verb|\afterruleskip| after the new signature(s). -All of these options will repost signatures that have not been changed. - -Normally, changing a signature from flats to sharps or vice-versa, or -reducing the number of sharps or flats, will produce the appropriate set of -naturals to indicate what has been suppressed. This standard feature can be -temporarily inhibited by the command \keyindex{ignorenats} issued right before -the change-activating command. - -Here is an example showing various possibilities for changing key signatures. -Note the comments between the code lines. - -\begin{quote}\begin{verbatim} -\instrumentnumber2\setstaffs22% -\setclef1{\bass}\generalsignature2% -\startextract -\Notes\qu K&\qu d|\qu e\en -% Signature change in a single instrument with two staves. -% Naturals appear by default, indicating cancelled sharps. -\setsign20\changesignature -\Notes\qu J&\qu d|\qu e\en -% When changing signature in the middle of a bar and no naturals -% are posted, the new signature can be confused with a simple accidental. -\setsign11\ignorenats\changesignature -\Notes\qu M&\qu d|\qu e\en -% New signatures after a double bar line -\generalsignature{-2}\Changecontext% -\Notes\qu K&\qu d|\qu e\en% -\Notes\qu K&\qu d|\qu e\en% -% New signatures after an invisible bar line. Note the -% difference in spacing compared with beat 3 of the prior measure -\generalsignature{1}\zchangecontext% -\Notes\qu K&\qu d|\qu e\en% -\end{verbatim}\end{quote} - -\begin{music} -\instrumentnumber2\setstaffs22% -\setclef1{\bass}\generalsignature2% -\startextract -\Notes\qu K&\qu d|\qu e\en -% Signature changing in a single instrument with 2 staves -% Naturals are allowed to shown there are no more sharps -\setsign20\changesignature -\Notes\qu J&\qu d|\qu e\en -% Signature changing in a single staff without naturals -% if there is no bar line, the signatures are confusing: -% it is not clear if they are for a single note or not -\setsign11\ignorenats\changesignature -\Notes\qu M&\qu d|\qu e\en -% New signatures after a double bar line -\generalsignature{-2}\Changecontext% -\Notes\qu K&\qu d|\qu e\en% -\Notes\qu K&\qu d|\qu e\en% -% New signatures after an invisible bar line -% see the difference in space comparing beat 2 -\generalsignature{1}\zchangecontext% -\Notes\qu K&\qu d|\qu e\en% -\endextract -\end{music} - - -\subsection{Clefs}\label{treblelowoct} - -Macros that define clefs have already been discussed in section -\ref{whatspecify}. By way of review, here are all of the possible clefs -(applied to the lowest staff): -%avrb -\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}} - -\begin{center}\vskip-1ex\footnotesize%\small -\begin{tabular}{||c|c|c|c|c||}\hline\hline -&&&&\\ -\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\ -\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+ -&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline -\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2 -&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline -%\end{tabular} -&&&&\\ -%\begin{tabular}{ccccc} -&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\ -\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+ -&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline -\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7 -&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline -%This one uses \setclefsymbol1\empty : -%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline -\end{tabular} -\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later} -\end{center} -%avre - -Just as with key signatures, these commands only \ital{prepare} for clef changes. -To \ital{activate} them, any of the first 11 commands listed in section -\ref{contextintro} could be used. However, one should keep in mind that -according to modern conventions, a clef change at a bar line is posted -before the bar line, while for example \verb|\changecontext| would post it -after the bar line. In part for this reason, we have the special command -\keyindex{changeclefs}. It can be used anywhere outside -\verb+\notes...\enotes+ to activate a clef change and insert an amount of -horizontal space to accommodate the new clef symbol(s), without printing a -bar line. Sometimes no added -space is required, in which case \keyindex{zchangeclefs} should be used. - -Here are some examples of clef changes: - -\begin{quote}\begin{verbatim} -\instrumentnumber2\setstaffs22% -\setclef1{\bass}\generalsignature2% -\startextract -% Change in one staff only, with added space -\setclef1\treble\changeclefs% -\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en% -% Combined with signature change, also no extra space needed -% twice the same clef in staff 2 - with the help of a blank clef -\setclef28\zchangeclefs\setclef2\treble% -\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% -\ignorenats\changesignature% -\Notes\qu K&\cu{de}|\qu e\en% -% clef change before barline -\setclef1\treble\zchangeclefs\bar% -\Notes\qu k&\cu{de}|\qu e\en% -% clef change after barline -\setclef1\bass\bar\changeclefs% -\Notes\qu K&\cu{de}|\qu e\en% -% clef change after barline with changecontext -\setclef1\treble\changecontext% -\Notes\cu k&\cu d|\qu e\en% -% twice the same clef -\setclef18\zchangeclefs\setclef1\treble\changeclefs% -\Notes\cu k&\cu e |\en% -\zendextract -\end{verbatim}\end{quote} -\begin{music} -\instrumentnumber2\setstaffs22% -\setclef1{\bass}\generalsignature2% -\startextract -% Change in one staff only, with added space -\setclef1\treble\changeclefs% -\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en% -% Combined with signature change, also no extra space needed -% twice the same clef in staff 2 - with the help of a blank clef -\setclef28\zchangeclefs\setclef2\treble% -\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% -\ignorenats\changesignature% -\Notes\qu K&\cu{de}|\qu e\en% -% clef change before barline -\setclef1\treble\zchangeclefs\bar% -\Notes\qu k&\cu{de}|\qu e\en% -% clef change after barline -\setclef1\bass\bar\changeclefs% -\Notes\qu K&\cu{de}|\qu e\en% -% clef change after barline with changecontext -\setclef1\treble\changecontext% -\Notes\cu k&\cu d|\qu e\en% -% twice the same clef -\setclef18\zchangeclefs\setclef1\treble\changeclefs% -\Notes\cu k&\cu e |\en% -\endextract -\end{music} - -\noindent Of course the examples in the last two bars are contrary -to accepted practice. - -Clef changes initiated with the \verb|\setclef| command have several features -in common. When activated after the beginning of the piece, the printed symbol -is smaller than the normal one used at the beginning of the piece. Also, -\musixtex\ automatically adjusts vertical positions of noteheads consistent -with the new clef. - -There is an additional group of macros for setting new clefs which does not share -either of these features. In other words, they will always print full sized symbols, and they -won't change the vertical positions of noteheads from what they would have been -before the new symbol was printed. We could call this process ``clef symbol substitution'', -because all it does is print a different symbol (or no symbol at all) in place of -the underlying clef which was set in the normal way. - -You'll need to use clef symbol substitution if you want to have a so-called -\index{octave clefs}\label{octclef}octave treble clef or octave bass -clef, i.e., one containing a numeral 8 above or -below the normal symbol. The syntax for setting upper -octaviation -is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\ -or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation -it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or -\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to -\ital{replace} normal bass or treble clefs with a different symbol, they -require that the normal clefs be set first. For example - -\noindent\begin{minipage}{80mm} -\begin{music}\nostartrule - \parindent 19mm - \instrumentnumber{4} - \generalmeter{\empty} - \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble - \setbassclefsymbol1\basslowoct - \setbassclefsymbol2\bassoct - \settrebleclefsymbol3\treblelowoct - \settrebleclefsymbol4\trebleoct -\startextract -\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\enotes -\zendextract -\end{music} -\end{minipage} -\begin{minipage}{50mm} -\begin{verbatim} -\parindent 19mm -\instrumentnumber{4} -\generalmeter{\empty} -\setclef1\bass \setclef2\bass -\setclef3\treble \setclef4\treble -\setbassclefsymbol1\basslowoct -\setbassclefsymbol2\bassoct -\settrebleclefsymbol3\treblelowoct -\settrebleclefsymbol4\trebleoct -\startextract -\Notes\qu{`abcdefghi}&\qu{`abcdefghi}% -&\qu{abcdefghi}&\qu{abcdefghi}&\enotes -\zendextract -\end{verbatim} -\end{minipage} - -\index{clefs (empty)} -Another application of clef symbol substitution is to cause no clef to be -printed, as for example might be desired in percussion music, This -can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which -once activated would replace \ital{all} clef symbols in the first (lowest) -staff of instrument $n$ with blanks. - -Normal symbols for those clefs that have been substituted can be restored by -\keyindex{resetclefsymbols}. - -Four other small clef symbols are available: \verb|\smalltrebleoct|, -\verb|\smalltreblelowoct|, \verb|\smallbassoct|, and \verb|\smallbasslowoct|. -They look just like the corresponding normal-sized symbols, and are useful by -clef symbol substitution for clef changes after the beginning of a piece, as -demonstrated in the following example. - -The various clef symbol substitution commands can only be used to substitute for -\texttt{treble}, \texttt{alto}, or \texttt{bass} clefs. - -In the following example, (1) is two normal clef changes. At (2) the clef is first changed -back to treble and then the \verb|\treblelowoct| symbol is substituted by using -\verb|\settrebleclefsymbol|. -When changing the clef away from treble and then back as at (3), the substitution -symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution. -If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see -in the three clefs after (5) in comparison with (2). These also illustrate the use of the small -octave clef symbol. Obviously the second clef after (5) is -nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7). - -\begin{music} -\instrumentnumber1\setclef1\bass -\startpiece -\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{2}\qu J\en -\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\doublebar -\notes\zchar{-5}{5}\qu J\en -\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\qu I\en\setclef1\treble\changeclefs -\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs -\notes\qu i\en -\endpiece -\end{music} - -\noindent This is the code: - -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\instrumentnumber1\setclef1\bass -\startpiece -\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{2}\qu J\en -\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\doublebar -\notes\zchar{-5}{5}\qu J\en -\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\qu I\en\setclef1\treble\changeclefs -\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs -\notes\qu i\en -\endpiece -\end{verbatim}\end{quote} - -\subsection{Meter changes} - -As mentioned in section \ref{generalmeter}, a common \itxem{meter} for all -staves can be specified by \keyindex{generalmeter}\verb|{|$m$\verb|}|, -where $m$ denotes the meter. On the other hand, meter changes in specific -staves are implemented with -\keyindex{setmeter}\onen\verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}|, -where $n$ is the number of the instrument, $m1$ specifies the meter -of the first (lowest) staff, $m2$ the second staff, and so forth. (Only enter -as many $m$'s as necessary.) - -Since meter changes are meaningful only across bars, there is no special command to -activate a new meter; rather, they are activated with the general commands -\keyindex{changecontext}, etc., listed in section \ref{contextintro}. - -The next example shows a few methods to get a meter change, in all staves or -in a single staff. - -\begin{quote}\begin{verbatim} -\instrumentnumber2\setstaffs22% -\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% -\setclef1{\bass}\generalsignature2% -\startextract -\setmeter1{{\meterfrac{2}{4}}}% -\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}% -{\meterfrac{3}{4}}}\changecontext -\Notes\qu K&\cu{de}|\qu e\en -% bar 11 -% Meters, clefs, and key signatures. -% All 3 clefs after bar (probably bad form) if no changeclefs -\setmeter1{{\meterfrac{2}{8}}}% -\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% -\setsign2{-1}% -% How to force showing the bass clef? -\setclef1\bass\setclef2{23}% -\Changecontext -\Notes\qu K&\cu{de}|\qu e\en -% bar 12 -% Meters, clefs, and key signatures, with clef before the bar. -% Maybe not best form if signatures are involved -\setmeter1{{\meterfrac{2}{4}}}% -\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% -\setsign2{-1}% -\setclef1\treble\zchangeclefs\changecontext -\Notes\qu k&\cu{de}|\qu e\en -\end{verbatim}\end{quote} -\begin{music} -\instrumentnumber2\setstaffs22% -\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% -\setclef1{\bass}\generalsignature2% -\startextract -\setmeter1{{\meterfrac{2}{4}}}% -% How big the '2' must be? -\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}% -{\meterfrac{3}{4}}}\changecontext -\Notes\qu K&\cu{de}|\qu e\en -% bar 11 -% Meter Clefs and Key Signatures -% all 3 clefs after bar if no changeclefs -\setmeter1{{\meterfrac{2}{8}}}% -\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% -\setsign2{-1}% -% How to force showing the bass clef? -\setclef1\bass\setclef2{23}% -\Changecontext -\Notes\qu K&\cu{de}|\qu e\en -% bar 12 -% Meter Clefs Keys Signatures all 3 with clef before the bar -% probably not if signatures are involved -\setmeter1{{\meterfrac{2}{4}}}% -\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% -\setsign2{-1}% -\setclef1\treble\zchangeclefs\changecontext -\Notes\qu k&\cu{de}|\qu e\en -\endextract -\end{music} - -\section{Repeats} - -To replace a bar line with a left, right, or left-right repeat, use one of the -commands \keyindex{leftrepeat}, \keyindex{rightrepeat} or -\keyindex{leftrightrepeat} in place of \verb|\bar|. If a \verb|\leftrepeat| -happens to come at the end of a system, it will automatically be moved to the -start of the next system. If a \verb|\leftrightrepeat| happens to come at the -end if a system, \musixtex\ will automatically post a right repeat at the end -of the system and a left repeat at the beginning of the next. - -For example, - -\begin{music}\nostartrule -\startextract -\NOTes\ha g\enotes -\leftrepeat -\NOTes\ha h\enotes -\leftrightrepeat -\NOTes\ha i\enotes -\rightrepeat -\NOTEs\wh j\enotes -\zendextract -\end{music} - \noindent has been coded as: -\begin{quote}\begin{verbatim} -\NOTes\ha g\enotes -\leftrepeat -\NOTes\ha h\enotes -\leftrightrepeat -\NOTes\ha i\enotes -\rightrepeat -\NOTEs\wh j\enotes -\end{verbatim}\end{quote} - -To insert a right repeat at a forced line break or at the end of a piece, use -\verb|\setrightrepeat| \textit{before}\ \verb|\alaligne| or \verb|\endpiece|. -In contrast, to insert a left repeat at a forced line break or at the -beginning of a piece, simply use \verb|\leftrepeat| immediately \textit{after} -\verb|\startpiece| or \verb|\alaligne|. To insert a left-right repeat at a -forced line break, use \verb|\setrightrepeat\alaligne\leftrepeat|. - -In fact it is possible to use \keyindex{setleftrepeat}, -\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before any -\keyindex{bar}, \keyindex{stoppiece} or \keyindex{changecontext}. But -be aware that while \verb|\setleftrepeat| behaves properly if the -bar is at the end of a system, \verb|\setleftrightrepeat| does not, placing -the symbol only at the end of the system. - - \subsection{First and second endings (Voltas)}\index{volta} - -All volta commands must be entered right before the bar line command -(or repeat, etc.) where they are to take effect. There are three -commands that suffice to set all voltas. To start one, use -\keyindex{Setvolta}\verb|{|\textit{text}\verb|}|; to terminate it -with or without a vertical line, use \keyindex{endvolta} or -\keyindex{endvoltabox} respectively. The text by default will be followed -by a period. There are also various alternate -commands (e.g., \verb|\setendvoltabox| is equivalent to \verb|endvoltabox|). -Some such alternate forms are used in the following example, but the first three -mentioned above are all that are required: - -\medskip \begin{music} - \parindent0pt - \startpiece - \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvoltabox{1.-3}\bar - \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat - \NOTEs\wh d\en\doublebar - \NOTEs\wh e\en\bar - \NOTEs\wh f\en\leftrepeat - \NOTEs\wh g\en\bar - \NOTEs\wh h\en\Setvolta1\bar - \NOTEs\wh i\en\bar - \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat - \NOTEs\wh i\en\bar - \NOTEs\wh h\en\setendvoltabox - \Endpiece - \end{music} - \noindent This was coded as - \begin{quote}\begin{verbatim} - \startpiece \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvoltabox{1.-3}\bar - \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat - \NOTEs\wh d\en\doublebar - \NOTEs\wh e\en\bar - \NOTEs\wh f\en\leftrepeat - \NOTEs\wh g\en\bar - \NOTEs\wh h\en\Setvolta1\bar - \NOTEs\wh i\en\bar - \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat - \NOTEs\wh i\en\bar - \NOTEs\wh h\en\setendvoltabox - \Endpiece -\end{verbatim}\end{quote} - \zkeyindex{leftrepeat}\zkeyindex{rightrepeat} - -If the volta only spans one measure and ends without a vertical segment, -it can be specified simply by saying -\keyindex{setvolta}\verb|{|\textit{text}\verb|}| before the bar line command -that starts it, and it will automatically terminate at the -second bar line command: - -\medskip \begin{music} - \parindent0pt \startpiece \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat - \NOTEs\wh d\en\bar - \NOTEs\wh e\en\Endpiece -\end{music} -\noindent which was coded as: - \begin{quote}\begin{verbatim} - \parindent0pt \startpiece \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat - \NOTEs\wh d\en\bar - \NOTEs\wh e\en\Endpiece -\end{verbatim}\end{quote} - -The height above the top staff line of the horizontal line in a volta symbol -is determined by the token \keyindex{raisevolta} which is 4\verb|\internote| by -default. You can change this to any desired dimension. - -The period after the text can be -removed by saying \verb|\def|\keyindex{voltadot}\verb|{}| -and restored by \verb|\def|\keyindex{voltadot}\verb|{.}|\ . - - \subsection{Special symbols for repeating long sections} - -Four special symbols and corresponding macros are available, namely -\keyindex{coda}~$p$, \keyindex{Coda}~$p$, -and \keyindex{segno}~$p$, where $p$ specifies the pitch; and \keyindex{Segno} -with no argument. Their behavior is illustrated in this example: - -\begin{music} -\startextract -\NOtes\segno n\enotes -\bar -\NOtes\coda n\enotes -\NOtes\Segno\enotes -\bar -\NOtes\Coda n\enotes -\endextract -\end{music} -\noindent which has been coded: -\begin{quote}\begin{verbatim} -\NOtes\segno m\enotes\bar -\NOtes\coda m\enotes -\NOtes\Segno\enotes\bar -\NOtes\Coda m\enotes -\end{verbatim}\end{quote} - -\subsection{Repeating a single bar} - The special symbol for a single bar repeat is generated by \keyindex{duevolte}, as shown -in the following example: - -\begin{music} -\generalmeter\meterC -\setclef1\bass\setstaffs1{2} -\startextract -\NOtes\sk\sk\pause|\qa{cegj}\en -\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en -\endextract -\end{music} -\noindent whose coding is: -\begin{quote}\begin{verbatim} -\generalmeter\meterC -\setclef1\bass\setstaffs1{2} -\startextract -\NOtes\sk\sk\pause|\qa{cegj}\en -\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en -\endextract -\end{verbatim}\end{quote} - -\noindent This is often used with \verb|\centerbar| to more easily center the -symbol between bar lines, as shown in the example in section \ref{barcentered}. - -\section{Font selection and text placement} - -\subsection{Predefined text fonts} -While any \TeX\ font can be used by \musixtex, there are certain styles and -sizes that can be selected using shortcut commands. -For ordinary text the shortcuts cover fonts of eight different -sizes and three styles. The sizes in points are 8, 9, 10, 12, 14, 17, 20, and 25; -the styles are from the standard Computer Modern family: Roman, bold and italic. The -four smallest sizes are each available in all three styles, while the larger -sizes, which are intended for titles, are available only in bold style. -The size selection macros from smallest to biggest are \keyindex{smalltype}, -\keyindex{Smalltype}, -\keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype}, -\keyindex{Bigtype} , -\keyindex{BIgtype} and \keyindex{BIGtype}. Following size selection, the -style may be selected or changed using \keyindex{rm} (Roman), \keyindex{bf} -(bold) or \keyindex{it} (italic). If no style is explicitly selected, Roman style -will be used for the sizes \verb|\medtype| or smaller. For the larger sizes, -only bold style is provided and no style selection is required. Thus, for example, -eight point italic is selected with \verb|\smalltype\it|, while -twelve point Roman is selected using \verb|\medtype\rm| or simply -\verb|\medtype|. To change between styles while maintaining the same size, -code \verb|\rm|, \verb|\it| or \verb|\bf| as in Plain \TeX. -When \musixtex\ is started, the default font for ordinary text is -ten point Roman, equivalent to \verb|\normtype\rm|. - -Another group of fonts, in bold extended italic style, is predefined in point sizes -10, 12, 14, and 17 for dynamic markings. The appropriate font for the current -staff size may be selected simply by using \keyindex{ppff} as a -font specification. Macros \verb|\smalldyn|, \verb|\normdyn|, or \verb|\meddyn| may be -used to redefine \verb|\ppff| to represent one of the smallest three. - -All predefined fonts are summarized in the following table. The second column gives an -explicit control sequence that can alternatively be used locally as a font specification. - -\begin{center} - \begin{tabular}{lll} - \hline - Size and style & Font specification & Example \\ - \hline - \verb|\smalltype| & \verb|\eightrm| & {\smalltype small Roman} \\ - \verb|\smalltype\bf| & \verb|\eightbf| & {\smalltype\bf small bold} \\ - \verb|\smalltype\it| & \verb|\eightit| & {\smalltype\it small italic} \\ - \verb|\Smalltype| & \verb|\ninerm| & {\Smalltype Small Roman} \\ - \verb|\Smalltype\bf| & \verb|\ninebf| & {\Smalltype\bf Small bold} \\ - \verb|\Smalltype\it| & \verb|\nineit| & {\Smalltype\it Small italic} \\ - \verb|\normtype| & \verb|\tenrm| & {\normtype normal Roman} \\ - \verb|\normtype\bf| & \verb|\tenbf| & {\normtype\bf normal bold} \\ - \verb|\normtype\it| & \verb|\tenit| & {\normtype\it normal italic}\\ - \verb|\medtype| & \verb|\twelverm| & {\medtype medium Roman} \\ - \verb|\medtype\bf| & \verb|\twelvebf| & {\medtype\bf medium bold} \\ - \verb|\medtype\it| & \verb|\twelveit| & {\medtype\it medium italic}\\ - \verb|\bigtype| & \verb|\bigfont| & {\bigtype big bold} \\ - \verb|\Bigtype| & \verb|\Bigfont| & {\Bigtype Big bold} \\ - \verb|\BIgtype| & \verb|\BIgfont| & {\BIgtype BIg bold} \\ - \verb|\BIGtype| & \verb|\BIGfont| & {\BIGtype BIG bold} \\ - \verb|\smalldyn| & \verb|\ppffsixteen| & {\ppffsixteen pp ff diminuendo}\\ - \verb|\normdyn| & \verb|\ppfftwenty| & {\ppfftwenty pp ff crescendo}\\ - \verb|\meddyn| & \verb|\ppfftwentyfour| & {\ppfftwentyfour pp ff crescendo}\\[.4ex] - ~ & \verb|\ppfftwentynine| & {\ppfftwentynine pp ff diminuendo}\\[.4ex] - \hline - \end{tabular} -\end{center} - -\subsection{User-defined text fonts} - -Since \musixtex\ is a superset of \TeX, you are free to use the standard \TeX\ -machinery for defining and using any special font you desire. You must first -of course ensure that (a) all the necessary font files (e.g., \verb|bla10.tfm|, -\verb|bla10.pfb|, or equivalents) are installed in the right places in your system, (b) all -configuration files (e.g., \verb|config.ps| or equivalent) have been updated, and -(c) the \TeX\ system has been ``rehashed''. Then you can use the font just as -in any \TeX\ document, e.g. by coding \verb|\font blafont=bla10| and then -\verb|\zchar{10}{\blafont Text in user-defined font}|. - -You might also wish to replace once and for all the typefaces invoked by the -commands described in the previous section. Again, before doing this, you must -follow steps (a-c) of the previous paragraph for all fonts in questions. -\label{musixtmr} -You can use the standard bitmapped fonts which are converted to -postscript by e.g.\ \verb|dvips|, but you also may replace them -by native postscript fonts. - -As an example, you can replace the standard \verb|musixtex| fonts by -the Times series of fonts as follows: - -\begin{verbatim} -% 8pt roman, bold, and italic -\font\eightrm=ptmr7t at 8pt -\font\eightbf=ptmb7t at 8pt -\font\eightit=ptmri7t at 8pt -% 9pt -\font\ninerm=ptmr7t at 9pt -\font\ninebf=ptmb7t at 9pt -\font\nineit=ptmri7t at 9pt -% 10pt -\font\tenrm=ptmr7t -\font\tenbf=ptmb7t -\font\tenit=ptmri7t -% 12pt -\font\twelverm=ptmr7t scaled \magstep 1 -\font\twelvebf=ptmb7t scaled \magstep 1 -\font\twelveit=ptmri7t scaled \magstep 1 -% Large fonts for titles : normal shaped Times-Roman fonts are applied -\font\bigfont=ptmr7t scaled \magstep2 % 14pt -\font\Bigfont=ptmr7t scaled \magstep3 % 17pt -\font\BIgfont=ptmr7t scaled \magstep4 % 20pt -\font\BIGfont=ptmr7t scaled \magstep5 % 25pt -% -\normtype -\end{verbatim} -The above definitions are made available in a file -\verb|musixtmr.tex|\footnote{by Hiroaki {\sc Morimoto}}, to be used as -\begin{quote}\begin{verbatim} -\input musixtex -\input musixps -\input musixtmr -... -\end{verbatim}\end{quote} - -\font\tnormtype=ptmr7t -\font\tnormtypebf=ptmb7t -\font\tnormtypeit=ptmri7t -\font\tbigtype=ptmr7t scaled \magstep2 -\font\tBIgtype=ptmr7t scaled \magstep4 - -\noindent Here's a comparison of some of the Computer Modern Roman and Times Roman fonts: -\begin{center} - \begin{tabular}{ll} - \hline - {\normtype normal (10pt) cm Roman} & {\tnormtype normal Times Roman} \\ - {\normtype\bf normal cm bold} & {\tnormtypebf normal Times bold} \\ - {\normtype\it normal cm italic} & {\tnormtypeit normal Times italic}\\ - {\bigtype cm big} & {\tbigtype Times big} \\ - {\BIgtype cm BIg } & {\tBIgtype Times BIg bold} \\ - \hline - \end{tabular} -\end{center} - -\subsection{Text placement}\label{textplacement} -Special macros are provided to allow precise placement of any \TeX\ text, vertically -relative to the staff, and horizontally relative to any note in -the staff. - -The macros in the first group will vertically position the text with the -baseline at any specified pitch or staff line. They must be used -inside \verb|\notes...\enotes|. They will not insert any additional -horizontal space. They have the forms -\keyindex{zcharnote}\pitchp\verb|{|\ital{text}\verb|}|, \keyindex{lcharnote}\pitchp\verb|{|\ital{text}\verb|}|, -and \keyindex{ccharnote}\pitchp\verb|{|\ital{text}\verb|}|, -where \ital{p} is the pitch. With the first one, text will spill to the right -from the current insertion point, with the second it will spill to the left, and with the -third it will be centered horizontally. - -There are similar macros \keyindex{zchar}\pitchp\verb|{|\ital{text}\verb|}|, -\keyindex{lchar}\pitchp\verb|{|\ital{text}\verb|}|, and \keyindex{cchar}\pitchp\verb|{|\ital{text}\verb|}|, -which differ from the previous three in that the pitch \ital{must} be given with -a number (representing the number of staff positions up from the lowest line), -and that the number need not be an integer. - -To vertically position any text midway between two consecutive staves, use -\keyindex{zmidstaff}\verb|{|{\it text}\verb|}|, \keyindex{lmidstaff}\verb|{|{\it text}\verb|}|, -or \keyindex{cmidstaff}\verb|{|{\it text}\verb|}| at the appropriate point in the lower staff. - -The macros \keyindex{uptext}\verb|{|\ital{text}\verb|}| and -\keyindex{Uptext}\verb|{|\ital{text}\verb|}| are simply shorthands for -\verb|\zchar{10}{|\ital{text}\verb|}| and \verb|\zchar{14}{|\ital{text}\verb|}| respectively. - -The text items handled by all of the above macros can include any appropriate -string of \TeX\ -control sequences, including font definitions, \verb|\hbox|'es, etc. - -Material posted with any of the macros described in this section will not -create any additional horizontal or vertical space within the current system, -and will overwrite anything in the current system that gets in the way. It is -the typesetter's responsibility to ensure there is adequate white space -within the current system to accommodate any text emplaced with -these macros. On the other hand, if text is emplaced far above or below a -system, \musixtex\ will usually insert additional vertical space if needed. - -\subsection{Rehearsal marks} - -Rehearsal marks are usually -boxed or circled uppercase letters or digits. They can be defined using the macros -\keyindex{boxit}\verb|{|\ital{text}\verb|}| or -\keyindex{circleit}\verb|{|\ital{text}\verb|}|. For boxed text, -the margin between the text and box is controlled by the dimension -register \keyindex{boxitsep}, which can be reset to any \TeX\ dimension if the -default value of \verb|3pt| is unsatisfactory. To emplace the mark, use \verb|\Uptext| or -any of the other macros defined in the previous section. - - -\section{Miscellaneous other notations} -%avre - \subsection{Metronomic indications} -%Metronomic indication deserves a special macro. The mention: -% -%\medskip -%\centerline{\def\nbinstruments{0}\metron{\hup}{60}} -% -%\smallskip\noindent -%is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in -%\keyindex{Uptext} which is in turn embedded within \verb|\notes...\enotes|). -% -% On the other hand, music writers sometimes want to specify that the duration -%of a previous note is equal to a distinct furthernote. Thus -% -% \smallskip -%\centerline{\def\nbinstruments{0}\metronequiv{\qup}{\qu}} -% -%\smallskip\noindent -%is coded by \keyindex{metronequiv}\verb|{\qup}{\qu}|. - -By way of example, the notations~~~{\def\nbinstruments{0} -\metron{\hup}{60}}~~~and~~~{\def\nbinstruments{0}\metronequiv{\qup}{\qu}}~~~are -respectively coded as -\keyindex{metron}\verb|{\hup}{60}| and \keyindex{metronequiv}\verb|{\qup}{\qu}|, -which are normally emplaced using \keyindex{Uptext}. - -Also, you can set a smaller metronomic indication like~~~{\def\nbinstruments{0} -\metron{\smallnotesize\lqu}{ca. 72}}~~~ or ~~~{\def\nbinstruments{0} -\metron{\tinynotesize\lqu}{ca. 72}}~~~ by writing -\verb|\metron{\smallnotesize\lqu}{ca. 72}| or \verb|\metron{\tinynotesize\lqu}{ca. 72}|. - - - \subsection{Accents} - -You may use\footnote{Note from the editor: the reason the names of some of -these macros don't seem to be constructed to suggest the terms used in the -descriptions is that whoever originally defined the macros had in mind terms -that did not agree with normal English usage.} -\begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{upz}\pitchp~(upper \itxem{staccato}) to put a dot above a note -head at pitch $p$, - \item \keyindex{lpz}\pitchp~(lower \ital{staccato}) to put a dot below a note -head at pitch $p$, - \item \keyindex{usf}\pitchp~(upper \itxem{sforzando}) to put a $>$ accent above -a note head at pitch $p$, - \item \keyindex{lsf}\pitchp~(lower \itxem{sforzando}) to put a $>$ accent below -a note head at pitch $p$, - \item \keyindex{ust}\pitchp~(upper \itxem{tenuto}) to put a -hyphen above a note head at pitch $p$, - \item \keyindex{lst}\pitchp~(lower \ital{tenuto}) to put a -hyphen below a note head at pitch $p$, - \item \keyindex{uppz}\pitchp~(upper \itxem{staccatissimo}) to put a solid vertical -wedge above a note head at pitch $p$, - \item \keyindex{lppz}\pitchp~(lower \ital{staccatissimo}) to put an inverted -solid vertical wedge below a note head at pitch $p$, - \item \keyindex{usfz}\pitchp~(upper \itxem{forzato}) to put a -``dunce cap'' above a note head at pitch $p$, - \item \keyindex{lsfz}\pitchp~(lower \ital{forzato}) to put an inverted -``dunce cap'' below a note head at pitch $p$, - \item \keyindex{upzst}\pitchp~(upper \itxem{staccato/tenuto}) to put a -dot and a hyphen above a note head at pitch $p$, - \item \keyindex{lpzst}\pitchp~(lower \ital{staccato/tenuto}) to put a -dot and a hyphen below a note head at pitch $p$, - \item \keyindex{flageolett}\pitchp~to put a -small circle above a note head at pitch $p$. -\end{itemize} -These marks are horizontally centered relative to solid note heads. To -compensate for the fact that whole notes are wider, you should use -\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents -and other items (e.g.~\verb|\Fermataup|) above a whole note. - -There are also variants of the most common accents\footnote{Thanks to Klaus -{\sc Bechert}'s corrections.} which will be automatically positioned -above or below a beam. They are spelled like the corresponding normal -accent, but preceded with the letter \verb|b|, and their argument, instead of -the pitch, is the beam reference number . Thus - -\medskip -\begin{music}\nostartrule -\startextract -\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% - \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en -\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% - \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en -\zendextract -\end{music} -\noindent was coded as -\begin{quote}\begin{verbatim} \startextract -\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% - \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en -\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% - \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en -\zendextract -\end{verbatim}\end{quote} -\zkeyindex{busfz} -\zkeyindex{bupz} -\zkeyindex{bust} -\zkeyindex{buppz} -\zkeyindex{busf} -\zkeyindex{butext} -\zkeyindex{blsfz} -\zkeyindex{blpz} -\zkeyindex{blst} -\zkeyindex{blppz} -\zkeyindex{blsf} -\zkeyindex{bltext} - -The macros \verb|\bltext| and \verb|\butext| are detailed in the next section, -where the mystery of why they produce the number 3 is resolved. - - -\subsection{Numbers and brackets for xtuplets}\label{tuplet} - -The following table lists all the special macros that place a number indicating -an xtuplet. Some also place a bracket above or below the notes, and are -intended for use with unbeamed notes. -In the table, $p$ is a pitch, $k$ is a number, $n$ is a beam number, -$w$ is a bracket width in \verb|\internote|s, and $s$ is the bracket slope as -a multiple of 1.125 degrees. The macro \verb|\txt| contains a default number -and its font, which will be emplaced by the first and third through sixth macros, -and is initially defined as \verb|\def\txt{\eightit 3}|. The macro -\verb|\tuplettxt| serves the same role for the last two macros. The first four -are to be used with beamed xtuplets. As indicated in the -last column, the last four produce a sloping bracket and are to be used with -unbeamed xtuplets. The last two require the extension file -\verb|tuplet.tex| to be input right after \verb|\input musixtex|. - - -\begin{center} - \begin{tabular}{lclcc} - \hline - ~ & Number & ~ & Needs & ~ \\ - Macro and arguments & printed & Where invoked & \verb|tuplet.tex|? & Bracket \\ - \hline - \verb|\triolet|\pitchp & \verb|\txt| & before beam & no & none \\ - \verb|\xtuplet|\itbrace{k}\pitchp & $k$ & before beam & no & none \\ - \verb|\butext|\itbrace{n} & \verb|\txt| & before note at number & no & none \\ - \verb|\bltext|\itbrace{n} & \verb|\txt| & before note at number & no & none \\ - \verb|\uptrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & no & solid \\ - \verb|\downtrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & no & solid \\ - \verb|\uptuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & yes & with gap \\ - \verb|\downtuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & yes & with gap \\ - \hline - \end{tabular} -\end{center} -\medskip - -Here are some examples of the first six macros in the table:\\ -\vskip-3pt -\begin{music} -\parindent0mm -\generalmeter{\meterfrac24} -\startpiece -\addspace\afterruleskip -\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar -\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en -\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar -\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar -\Notesp\uptrio o16\ql l\en\notesp\cl n\en -%avrb -\Notesp\downtrio O16\qu e\en\notesp\cu g\en -%avre -\endpiece -whose coding is -\begin{quote}\begin{verbatim} -\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar -\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en -\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar -\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar -\Notesp\uptrio o16\ql l\en\notesp\cl n\en -\Notesp\downtrio O16\qu e\en\notesp\cu g\en -\end{verbatim}\end{quote} -\end{music} -\zkeyindex{xtuplet}\zkeyindex{triolet} - -\medskip -Next are examples using the macros from \verb|\tuplet.tex|. Comparison of the -coding with the printed result reveals that (a) a redefinition of -\verb|\tuplettxt| inside a notes group only applies inside that group and -leaves the default definition intact (bar 2), -(b) the default definition is -\verb|\def\tuplettxt{\ppffsixteen3}|, a 10-pt bold extended italic numeral 3 -which may be larger and heavier than desired (first set, bar 3) (c) to get the -number properly centered in the gap, you must include some extra spaces after -the number in the definition of \verb|\tuplettxt|, and (d) as you can see in -the last bar, if the span becomes to small, the macros still won't provide -enough room for the number in the gap; in this case it would be better to -use to the macros without gaps. - -% Examples: -% -% Draw a triplet bracket over the notes, starting at pitch "p", -% 1.25\noteskip wide, with a slope up of 3-3/8 degrees: -% -% \uptuplet p{1.25}3 -% -% Draw a sextuplet bracket under the notes, starting at pitch "a", -% 2.5\noteskip wide, with a slope down of 4-1/2 degrees: -% -% \def\tuplettxt{\smallppff 6\/\/} -% \downtuplet{a}{2.5}{-4} - -\begin{music} -\input tuplet -\parindent0mm -\generalmeter{\meterfrac24} -%\startpiece -\startextract -\addspace\afterruleskip -\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en -\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar -\notesp\def\tuplettxt{\eightit 5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar -\Notesp\uptuplet o16\ql l\en\notesp\cl n\en -\def\tuplettxt{\eightit 3\/\/} -\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar -\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en -\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en -%\endpiece -\endextract -\end{music} - -\noindent with coding - -\begin{quote}\begin{verbatim} -\input tuplet -\parindent0mm\generalmeter{\meterfrac24} -\startextract\addspace\afterruleskip -\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en -\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar -\notesp\def\tuplettxt{\eightit 5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar -\Notesp\uptuplet o16\ql l\en\notesp\cl n\en -\def\tuplettxt{\eightit 3\/\/} -\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar -\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en -\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en -\endextract -\end{verbatim}\end{quote} - - \subsection{Ornaments} - - \subsubsection{Arpeggios} -\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro -\keyindex{arpeggio}\pitchp\itbrace{m} -where $p$ is the pitch of -the base of the arpeggio symbol and $m$ is its height in units of -\verb|\interligne|, the distance from one staff line to the next. It should be -issued before the affected chord. It is -automatically positioned to the left of the chord, but inserts no spacing. -Its variant \keyindex{larpeggio} sets the arpeggio symbol roughly -one note head width to the left of the default position, and is intended to -avoid collision with single accidentals on chord notes. - - \subsubsection{Arbitrary length trills} - There are two styles of arbitrary length trills\index{trills}, each with two -variants. -For a trill with preassigned length, use \keyindex{trille}\pitchp\itbrace{l} -for \hbox to 1cm{\noteskip1cm\trille11\hss} or -\keyindex{Trille}\pitchp\itbrace{l} for~~\hbox to -2cm{\noteskip1cm\Trille12\hss}, where $p$ is the pitch and $l$ the length in -current \verb|\noteskips|. - -To let \musixtex\ compute the length of the trill, or if it extends across a -system break, you can use \keyindex{Itrille}$n$\pitchp\ to start a plain -trill, where $n$ is a trill reference number between 0 and 5; then -\keyindex{Ttrille}$n$ to terminate it. To get the {\it tr} at the -beginning, use \keyindex{ITrille}$n$\pitchp\ to start the trill and -\verb|\Ttrille|$n$ to close it. - -As with other elements, you can specify the maximum number -directly with \keyindex{setmaxtrills}\verb|{|$m$\verb|}| where $7<m\leq 100$% -\footnote{This may require e-\TeX.}; -the reference number $n$ will be in the range between 0 and $(m-1)$. -\label{musixmad_setmaxtrills} - - -For example: - -\medskip - \begin{music} -\instrumentnumber{1} -\setstaffs12 -\setclef1{6000} -% -\startextract -\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\enotes -\bar -\notes\Itrille 2A\itenu2E\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\enotes -\bar -\Notes\tten2\itenu2E\whp E|\ql{nmlkji}\enotes -\bar -\Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\enotes -\endextract -\end{music} -whose coding is -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\instrumentnumber{1} -\setstaffs12 -\setclef1{6000} -% -\startextract -\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\enotes -\bar -\notes\Itrille 2A\itenu1e\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\enotes -\bar -\Notes\tten1\itenu1E\whp E|\ql{nmlkji}\Toctfin1\enotes -\bar -\Notes\tten1\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\enotes -\endextract -\end{verbatim}\end{quote} - - \subsubsection{Piano pedal commands} -The macro \keyindex{PED} inserts a piano pedal command below the staff; -\keyindex{DEP}, a pedal release. Alternate symbols, the first of which -occupies less space, are invoked with \keyindex{sPED} and \keyindex{sDEP}. -For example, - -\begin{music} -\setclef1\bass -\setstaffs1{2} -\startextract -\NOtes\PED\wh J|\qu h\enotes -\NOtes|\qu g\enotes -\NOtes|\hu k\enotes -\Notes\DEP\enotes -\bar -\NOtes\sPED\wh J|\qu h\enotes -\NOtes|\qu g\enotes -\NOtes|\hu k\enotes -\Notes\sDEP\enotes -\endextract -\end{music} - \noindent was coded as \begin{quote}\begin{verbatim} - \NOtes\PED\wh J|\qu h\enotes - \NOtes|\qu g\enotes - \NOtes|\hu k\enotes - \Notes\DEP\enotes \bar - \NOtes\sPED\wh J|\qu h\enotes - \NOtes|\qu g\enotes - \NOtes|\hu k\enotes - \Notes\sDEP\enotes - \end{verbatim}\end{quote} - - The vertical position of -\keyindex{PED}, \keyindex{sPED}, \keyindex{DEP} and \keyindex{sDEP} can be -globally changed by redefining its elevation, which has the default -definition \verb|\def|\keyindex{raiseped}\verb|{-5}|. -To locally change the vertical position of a pedal symbol, use one of the more -fundamental -macros \keyindex{Ped}, \keyindex{sPed}, \keyindex{Dep} and \keyindex{sDep} -in combination with \keyindex{zchar} or \keyindex{zcharnote}. -Since the \hbox to .7cm{ \Ped\hss} symbol is rather wide, it might collide -with adjacent bass notes. To shift it horizontally, you could use \verb|\loff{\PED}|. - - \subsubsection{Other ornaments}\index{ornaments} - -The argument $p$ in the following macros for ordinary ornaments is the -pitch at which the ornament itself appears. They are all nonspacing macros. -You may use -\begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{mordent}\pitchp\ for \hbox to .75em{\mordent 0\hss}, - \item \keyindex{Mordent}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}, - \item \keyindex{shake}\pitchp\ for \hbox to .75em{\shake 0\hss}, - \item \keyindex{Shake}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}, - \item \keyindex{Shakel}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}, - \item \keyindex{Shakesw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}, - \item \keyindex{Shakene}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}, - \item \keyindex{Shakenw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}, - \item \keyindex{turn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}, - \item \keyindex{backturn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}. - \end{itemize} - -In the following macros for fermatas, the argument $p$ is the pitch of the -notehead on which the fermata rests, assuming no additional vertical -adjustments are needed for stems or intervening staff lines. They are all -nonspacing macros. You may use -\begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{fermataup}\pitchp\ for -\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermataup1\en}}, -\end{itemize} -\begin{itemize}\setlength{\itemsep}{3ex} - \item \keyindex{fermatadown}\pitchp\ for -\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermatadown2\en}}, - \item \keyindex{Fermataup}\pitchp\ for -\raisebox{-1ex}[-1ex][0ex]{\musicintextnoclef{\notes\Fermataup 7\zwh{'c}\en}}~, -centered over a whole note, - \item \keyindex{Fermatadown}\pitchp\ for -\raisebox{-1ex}[0ex][0ex]{\musicintextnoclef{\notes\Fermatadown1\zwh{'c}\en}}~, -centered under a whole note. - \end{itemize} -\bigskip - -A \itxem{breath} mark -\raisebox{-5ex}[0ex][0ex]{\notesintext{\notes\zbreath\en}} -can be put just above the staff with \keyindex{zbreath}. This is a nonspacing -macro. On the other hand, \keyindex{cbreath} will cause a space of one -\verb|\noteskip| and place the comma midway through the space. - -The \keyindex{caesura} command inserts a slash \verb|0.5\noteskip| before -the place it is entered, while adding no space: - -\begin{music}\nostartrule -\startextract -\NOTes\zhu j\hl{^e}\caesura\en -\Notes\zcu j\cl e\en -\zendextract -\end{music} - -\subsection{Alphabetic dynamic marks} - Conventional dynamic symbols -\pppp, \ppp, \pp, -\p, -\mezzopiano, -\mf, -\f, -\fp, -\sF, -\ff, -\fff\ and -\ffff\ can be posted using the macros -\keyindex{pppp}, -\keyindex{ppp}, -\keyindex{pp}, -\keyindex{p}, -\keyindex{mp}, -\keyindex{mf}, -\keyindex{f}, -\keyindex{fp}, -\keyindex{sF}, -\keyindex{ff}, -\keyindex{fff}, -\keyindex{ffff} respectively as the second argument of \verb|\zcharnote| or -\verb|\ccharnote|. - -\subsection{Hairpins (crescendos and decrescendos)}\label{sec:crescnd} - -The syntax and properties of hairpins will differ depending on whether or not you -have input \verb|musixps.tex|, which activates not only type K postscript slurs and -ties but hairpins as well. The font-based variety are always horizontal, -are limited in length, and cannot span system breaks. Using the postscript variety -removes all these restrictions, but they will not be visible in DVI previewers. - -\subsubsection{Font-based hairpins} - -There are two categories of font-based hairpins. The first type requires only -one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or -\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{} -dimension, either a fixed one---for example in points---or a scalable one -expressed either explicitly or implicitly as some number of -\verb|\noteskip|s. These should be used as arguments to -\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to -post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm. - -The second type of font-based hairpin requires two commands, one to start it -and another to end it. The starting macro is \keyindex{icresc}. It has no -arguments. Only one invocation suffices to start any number and combination of -crescendos and diminuendos. The ending macros are \keyindex{tcresc} or -\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc, -which will set the altitude. For example, - -\begin{music} -\parindent0pt -\generalmeter{\meterfrac{12}8} -\setstaffs1{2} -\startextract -\Notes\cmidstaff\ppp|\ca c\en -\Notes\icresc|\ca{defgh'abcde}\en -\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en -\endextract -\end{music} -\noindent which was coded as -\begin{quote}\begin{verbatim} -\Notes\cmidstaff\ppp|\ca c\en -\Notes\icresc|\ca{defgh'abcde}\en -\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en -\end{verbatim}\end{quote} -\medskip\noindent while -\begin{music} -\parindent0pt -\generalmeter{\meterfrac{12}8} -\setstaffs1{2} -\startextract -\Notes\cmidstaff\ppp|\ca c\en -\Notes\icresc|\ca{defgh'abcde}\en -\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en -\endextract -\end{music} -\noindent was coded as -\begin{quote}\begin{verbatim} -\Notes\cmidstaff\ppp|\ca c\en -\Notes\icresc|\ca{defgh'abcde}\en -\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en -\end{verbatim}\end{quote} - -\subsubsection{Postscript hairpins} -As already noted, these require that you have input \verb|musixps.tex|. -Once having done that, you should not try to use font-based hairpins -because the syntax is incompatible. - -Again, -there are two different types. The first type is normally initiated with either -\keyindex{icresc}\onen~or \keyindex{idecresc}\onen, and terminated with -\keyindex{tcresc}\onen, where $n$ is a hairpin index, -which is virtually unlimited but certain restrictions apply if it exceeds 14. -The altitude is set by the value of \keyindex{setcrescheight}, which by default -is -5 and which must be expressed numerically. Note that -\keyindex{tcresc}~is the same as \keyindex{tdecresc}. - -You can shift the starting or ending point horizontally by replacing the -foregoing macros with -\keyindex{ilcresc}, \keyindex{ildecresc}, -\keyindex{ircresc}, \keyindex{irdecresc}, -\keyindex{tlcresc}, \keyindex{tldecresc}, -\keyindex{trcresc}, \keyindex{trdecresc}, -for example to make space for an alphabetic dynamic mark. - -The second form of postscript hairpin macros allows individual and arbitrary -specification of the altitude and horizontal offset. The syntax is -\keyindex{Icresc}\itbrace{n}\itbrace{h}\itbrace{s}, where $h$ is the -altitude---which must be numerical---and $s$ is the horizontal offset -in \verb|\internote|. Similar syntax obtains for \keyindex{Idecresc}\ -and \keyindex{Tcresc}. - -These hairpins may span several lines. If one of them spans three systems -then the height of the middle section can be adjusted with -\keyindex{liftcresc}\itbrace{n}\itbrace{h}. The height of the first and last -parts of a broken crescendo will be defined by the height parameter in -\keyindex{Icresc}~or \keyindex{Tcresc}. - -There are numerous other nuances and shorthand macros that are described -in the comments in \verb|musixps.tex|. - -As an example of a postscript hairpin, -\begin{music}\nostartrule -%\input smallmusixpsx -\input musixps -\generalmeter{\meterfrac{12}8} -\startextract -\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en -\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en -\zendextract -\end{music} -\noindent was coded as -\begin{quote}\begin{verbatim} -\input musixps -\generalmeter{\meterfrac{12}8} -\startextract -\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en -\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en -\zendextract -\end{verbatim}\end{quote} - - \subsection{Length of note stems} - -The default length of note stems is the distance of one octave, i.e. -\verb|7\internote| or 4.66 \keyindex{interbeam}. The default may be changed -with the macro \keyindex{stemlength}\itbrace{b}\ where $b$ is the length in -\verb|\interbeam|s. - -The command \keyindex{stemcut} causes stems that extend outside the staff -to be shortened depending on the pitch of the notes. It is the default -behavior. To suppress this adjustment, issue the command -\keyindex{nostemcut}. - -Normally, down stems never end above the middle line of the staff and up stems -never below that line. The command \keyindex{stdstemfalse} will inhibit this -adjustment, but only for the next stem generated. There is no command to globally -suppress this behavior. - - \subsection{Brackets, parentheses, and oblique lines}\label{brapar} - -Several varieties of brackets, parentheses and oblique lines are provided for -use within a score. - \begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{lpar}\verb|{|$p$\verb|}| and -\keyindex{rpar}\verb|{|$p$\verb|}| yield left and right -parentheses at pitch $p$. They could be used to enclose notes or to build -\ital{cautionary} accidentals, although the latter are more easily -obtained with predefined macros (see \ref{cautionary}). - -%avrb -For example, - -\begin{tabular}{ll} -\raisebox{-1.5ex}[0ex][0ex]{\musicintextnoclefn{\notes\bsk\lpar{g}\rpar{g}\hu{g}\sk% -\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}\loffset{.4}{\sh g}\hu{g}\en}} -&\begin{tabular}{ll} -&\verb+\notes\lpar{g}\rpar{g}\hu{g}\sk%+\\ -is coded as&\verb+\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}%+\\ -&\verb+\loffset{.4}{\sh g}\hu{g}\en}+ -\end{tabular} -\end{tabular} -%avre - - \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| posts a -square bracket to the left of a chord, vertically spanning $n$ -\verb|internote|s. - \item \keyindex{doublethumb}\verb|{|$p$\verb|}| indicates a bracket as -above spanning 2\verb|\internote|s. - \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and -\keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| -draw a sloped bracket starting at the current position at pitch $p$, -with horizontal extent $n$ \verb|noteskip|s and slope $s$ in multiples of -1-1/8 degree. - \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and -\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| are like -\verb|\ovbkt| but with freely definable \keyindex{txt} centered inside. - - \item \keyindex{varline}\itbrace{h}\itbrace{\ell}\itbrace{s}\ builds an -oblique line starting at the current horizontal position. It must be used -inside a zero box, such as for example as the second argument of -\verb|\zcharnote|. $h$ is the height of the starting point, $\ell$ is the -length, and $s$ is the slope. It is used in the definitions of some of -the foregoing macros, and could be used, for example, to construct various -obscure baroque ornaments made up of diagonal lines. - -\end{itemize} - -For example, - -\begin{music} -\setstaffs1{2} -\setclef1\bass -\startextract -\NOtes\bracket C8\zq C\qu J\en -\NOtes|\doublethumb g\rq h\qu g\en -\NOtes\lpar c\rpar c\qu c\en -\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en -\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en -\endextract -\end{music} -\noindent is coded as -\begin{quote}\begin{verbatim} -\begin{music} -\setstaffs1{2} -\setclef1{\bass} -\startextract -\NOtes\bracket C8\zq C\qu J\en -\NOtes|\doublethumb g\rq h\qu g\en -\NOtes\lpar c\rpar c\qu c\en -\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en -\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en -\zendextract -\end{music} -\end{verbatim}\end{quote} - - \subsection{Forcing activity at the beginning of systems} -A macro named \keyindex{everystaff} is executed each time a new system -begins. It is normally void, but it can be defined (simply by \verb|\def|% -\keyindex{everystaff}\verb|{...}|) to cause \musixtex\ to post anything -reasonable at the beginning of each system. For it to affect the first system -in a score, it must be defined \ital{before} -\verb|\startpiece|. - -If a macro named \keyindex{atnextline} is defined at any point in a score, -it will be executed just once, viz., at the next computed or forced system -break. More -precisely, it is executed after the break and before the next system begins. -Thus it is suitable for redefining layout parameters. - - \index{octave treble clef}In some scores, tenor parts are not coded using the -\ital{bass} clef, but using rather the \ital{octave treble clef}, which is -subscripted by a numeral {\tt8}. -This clef is supported by the clef substitution command -\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}, as already -explained in section \ref{treblelowoct}. However, if for some reason you -aren't happy with the height of the ``8'', it can be posted on selected -staves at the beginning of every system using \keyindex{everystaff} and -\keyindex{zcharnote} as follows: - -\begin{music} -\instrumentnumber{4} -\setclef1\bass -\def\everystaff{% - \znotes&\zchar{-6}{\eightrm\kern-2\Interligne8}% - &\zchar{-6}{\eightrm\kern-2\Interligne8}\en}% -\startextract -\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en -\zendextract -\end{music} -\noindent The coding is -\begin{quote}\begin{verbatim} -\instrumentnumber{4} -\setclef1\bass -\def\everystaff{% - \znotes&\zchar{-6}{\eightrm \kern -2\Interligne 8}% - &\zchar{-6}{\eightrm \kern -2\Interligne 8}\en}% -\startextract -\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en -\endextract -\end{verbatim}\end{quote} - -\section{Smaller notes in normal-sized staves} -Here we describe how to reduce the size of note symbols without changing the -size of the staff itself. Changing overall staff size will be treated in -section \ref{staffspacing}. - -\subsection{Arbitrary sequences of notes} -Written-out ornaments and \itxem{cadenzas} are usually typeset with -smaller notes and spacing than normal. The smaller \ital{size} can be -initiated anywhere inside a \verb|\notes| group by stating -\keyindex{smallnotesize} or \keyindex{tinynotesize}. Normal note size is then -restored by \keyindex{normalnotesize} or simply by terminating the -\verb|notes| group and starting another. Smaller \ital{spacing} must also be -explicitly indicated, usually by redefining \verb|\noteskip| in some way. - -As an example, this excerpt, from the beginning -of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc -Haydn, J.}}, - -\begin{music} -\instrumentnumber{2} -\generalmeter{\meterfrac44} -\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}} -\setstaffs2{2} -\setclef1\bass -\setclef2\bass -\startbarno0 -\startextract -\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en -% mesure 1 -\bar -\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en -\notes&\qbl0c0|\multnoteskip\tinyvalue\tinynotesize - \Ibbu1ki2\qb1{kj}\tqh1i\hqsk\en -\Notes&\qb0e\tbl0\qb0c|\qu j\en -\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en -% mesure 2 -\bar -\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0% - \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en -\notes&|\sk\ccu h\en -\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g% - \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en -\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en -\endextract -\end{music} -\noindent can be coded as -\begin{quote}\begin{verbatim} -\instrumentnumber{2} -\generalmeter{\meterfrac44} -\setstaffs2{2} -\setclef2{\bass} -\setclef1{\bass} -\startbarno=0 -\startextract -\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en -% mesure 1 -\bar -\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en -\notes&\ibl0c0\qb0c|\multnoteskip\tinyvalue\tinynotesize - \Ibbu1ki2\qb1{kj}\tqh1i\en -\Notes&\qb0e\tbl0\qb0c|\qu j\en -\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en -% mesure 2 -\bar\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0% - \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en -\notes&|\sk\ccu h\en -\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g% - \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en -\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en -\endextract -\end{verbatim}\end{quote} - - \subsection{Grace notes} -Grace notes are a special case of small and tiny notes, namely single-stemmed -eighth notes with a diagonal slash through the flag. To enable this, there -are the macros \keyindex{grcu}\pitchp\ and \keyindex{grcl}\pitchp, which by -themselves would -produce normal-sized eighth notes with a slash. They should be used along -with the note size reduction macros and spacing reduction macros just -discussed. In addition, chordal grace notes can be built as in the following -example: - -\begin{music}\nostartrule -\startextract -\NOTes\hu h\enotes -\notes\multnoteskip\smallvalue\smallnotesize\grcu j\enotes -\NOTes\hu i\enotes -\bar -\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes -\NOTEs\wh i\enotes -\zendextract -\end{music} -\noindent which was coded as -\begin{quote}\begin{verbatim} -\startextract -\NOTes\hu h\enotes -\notes\multnoteskip\smallvalue\smallnotesize\grcu j\enotes -\NOTes\hu i\enotes -\bar -\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes -\NOTEs\wh i\enotes -\zendextract -\end{verbatim}\end{quote} - - \subsection[Ossia]{Ossia\texorpdfstring{\protect\footnote{(Italian O sia) Or else}}{}} -This clever example had been provided by Olivier Vogel:\label{ossia} - -%\begin{center} -%\includegraphics[scale=1]{./mxdexamples/ossiavogel.eps} -%\end{center} - -\begin{music} -%\startextract -%\hsize70mm -\let\extractline\hbox -\hbox to \hsize{\hss -\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% -\off{-#1\elemskip}}% -\newbox\ornamentbox -\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% -\makeatletter -\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty\global\clef@skip0pt% -\makeatother -%\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% -%\startpiece -%\addspace{2pt}% -\startextract -\addspace{-2pt}% -\let\notest\notes\def\notes{\vnotes2.1\elemskip}% -\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% -\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% -\notes\ibl2{'c}1\usf e\qb2c\en% -\notes\tbl2\qb2{'d}\en -\let\notes\notest% -%\zstoppiece% -\endextract -}\hss} -%\setbox\ornamentbox=\hbox to 0pt{Hello} -% -% -%\normalmusicsize\nopagenumbers -%\def\nbinstruments{1}% -\setstaffs12\setclef1{60}% -\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% -%\parindent 0pt% -%\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax -%\startpiece\addspace\afterruleskip% -\startextract\addspace\afterruleskip% -\NOtes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% -\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% -\NOtes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% -\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% -\cl d\en% -%\endpiece -\endextract -\hss} -%\vfill\eject\endmuflex -\end{music} - - -The code is: -\begin{quote}\begin{verbatim} -\hsize70mm% -\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% -\off{-#1\elemskip}}% -\newbox\ornamentbox -\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% -\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% -\startpiece\addspace{2pt}% -\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% -\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% -\notes\ibl2{'c}1\usf e\qb2c\en% -\notes\tbl2\qb2{'d}\en% -\zstoppiece% -}\hss} -\normalmusicsize\nopagenumbers -\def\nbinstruments{1}% -\setstaffs12\setclef1{60}% -\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% -\parindent 0pt% -\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax -\startpiece\addspace\afterruleskip% -\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% -\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% -\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% -\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% -\cl d\en% -\end{verbatim}\end{quote} - -% -% Why is this here?? DAS 4/30/06 -% -% \subsection{Other note shapes}\label{othernotes} -% The classical note heads -%given above --- namely \raise.5ex\hbox{\musixchar7}~~, \raise.5ex -%\hbox{\musixchar8}~~ and \raise.5ex\hbox{\musixchar9}~~~ -%--- can be replaced with less classical note heads, for example to code -%special \itxem{violin harmonic notes} or \itxem{percussion music}. See an -%example in \ref{abnormalscores}. -% -% At present time, alternate available note heads can be found in the -%extension library, see \ref{diam}, \ref{perc}, \ref{gregnotes} and \ref{litu}. - -\section{Staff size} \index{staff size}\label{staffspacing} -In contrast with the prior section, here we describe how to change the sizes -of everything...staff, notes, and all other symbols. In -section~\ref{whatspecify} we saw how to set the size for all instruments at -the start of a score. Any one of the same macros---\verb|\normalmusicsize|, -\verb|\smallmusicsize|, \verb|\largemusicsize|, or -\verb|\Largemusicsize|---can be used to change the size of all instruments -midway through a score, but in this case it must come between -\verb|\stoppiece| and \verb|\startpiece|. - -Once the overall staff size is set, you can alter the size of any desired -instrument with the macro \keyindex{setsize}\itbrace{n}\itbrace{s}, where -$n$ is the instrument number and $s$ is a factor by which the size is to be -changed from the prevailing overall size. There are five predefined macros -that should be used for the size factor $s$. Their names and respective values -are \keyindex{normalvalue}~(1.0), \keyindex{smallvalue}~(0.80), -\keyindex{tinyvalue}~(0.64), \keyindex{largevalue}~(1.2), and -\keyindex{Largevalue}~(1.44). \musixtex\ should not crash if you use an -explicit number different from any of these, but the result may be -less than satisfactory. - -Once again, if used at the beginning of a piece, the \verb|\setsize| macro -must precede \verb|\startpiece| (not \verb|\contpiece|), and if used after -the beginning, must be preceded by \verb|\stoppiece|. - -As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc -Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of -J. S. Bach's \ital{Well Tempered Clavier}, as transcribed for -organ, violin and voice by Markus {\sc Veittes}:\label{avemaria} - -\begin{music} -\def\oct{\advance\transpose by 7} -\def\liftqs#1{\raise#1\Interligne\qs} -\parindent0pt -\sepbarrules -\instrumentnumber{3} -\generalmeter{\meterC} -\setinterinstrument2{3\Interligne} -\setsize3\tinyvalue -\setsize2\tinyvalue -\setclef1\bass -\setstaffs1{2} -\startpiece\addspace\afterruleskip -%Takt 9 -\notes\zhl c\liftqs6\qupp e|\ds&\oct - \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\enotes -\notes|\ibbl0j3\qb0h\tqb0l\enotes -\notes|\ibbl1k0\qb1{ohl}\tqb1o\enotes -\notes\zhl c\liftqs6\qupp e|\ds&\oct - \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\enotes -\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\enotes -\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\enotes -\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\enotes -\bar -%Takt 10 -\notes\zhl c\liftqs6\qupp d|\ds&\oct - \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\enotes -\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\enotes -\notes|\ibbu2i0\qb2k\qb2f\enotes -\notes|\qb2h\tqh2k&\oct\cl e&\tubslur4f\cu e\enotes -\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\enotes -\notes|\ibbu1g3\qb1f\tqh1h\enotes -\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\enotes -\endpiece -\end{music} - This example was coded as: -\begin{quote}\begin{verbatim} -\def\oct{\advance\transpose by 7} -\def\liftqs#1{\raise#1\Interligne\qs} -\parindent0pt -\sepbarrules -\instrumentnumber{3} -\generalmeter{\meterC} -\setinterinstrument2{3\Interligne} -\setsize3\tinyvalue -\setsize2\tinyvalue -\setclef1\bass -\setstaffs1{2} -\startpiece\addspace\afterruleskip -%Takt 9 -\notes\zhl c\liftqs6\qupp e|\ds&\oct - \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\enotes -\notes|\ibbl0j3\qb0h\tqb0l\enotes -\notes|\ibbl1k0\qb1{ohl}\tqb1o\enotes -\notes\zhl c\liftqs6\qupp e|\ds&\oct - \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\enotes -\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\enotes -\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\enotes -\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\enotes -\bar -%Takt 10 -\notes\zhl c\liftqs6\qupp d|\ds&\oct - \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\enotes -\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\enotes -\notes|\ibbu2i0\qb2k\qb2f\enotes -\notes|\qb2h\tqh2k&\oct\cl e&\curve222\tubslur4f\cu e\enotes -\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\enotes -\notes|\ibbu1g3\qb1f\tqh1h\enotes -\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\enotes -\endpiece -\end{verbatim}\end{quote} - -\section{Layout parameters}\label{LayoutParameters} - Most layout parameters are set by \musixtex\ to reasonable default values. -However, some projects will require altering one or more of them. In this -section we discuss the most important parameters and how to change them. - - \subsection{List of layout parameters} - In the following, the indication ``\nochange'' does not mean that this -parameter cannot be changed at all, but that it should not be modified -directly, e.g.\ by saying something like \verb|\Interligne=14pt|. In other -words, changes in these parameters must be accomplished only by more -comprehensive macros which not only revise them but at the same time perform -other necessary related changes. Even though you cannot \ital{change} these, -you may \ital{refer} to them in your coding if that proves useful. - -\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{Interligne} :]vertical distance between the bottoms of -consecutive staff lines of the current instrument, taking no account of a -possible alteration by \keyindex{setsize} \nochange. - \item[\keyindex{internote} :]vertical spacing between notes one scale -step apart in the current instrument, taking account of a possible alteration -by \keyindex{setsize} \nochange. - \item[\keyindex{Internote} :]vertical spacing between notes one scale -step apart in any instrument whose \keyindex{setsize} has the default -value \keyindex{normalvalue} (1.0), equal to \verb|0.5\Interligne| \nochange -\item[\keyindex{staffbotmarg} :]margin below the first (lowest) staff of the -first (lowest) instrument. Changes are recognized at the next system. -Default is \verb|3\Interligne|. - \item[\keyindex{stafftopmarg} :]margin above the last (uppermost) staff of -last (uppermost) instrument. Changes are recognized at the next system. -Default is \verb|3\Interligne|. - \item[\keyindex{interbeam} :]vertical distance between beams. \nochange. -\item[\keyindex{interstaff} :]a very important macro with a single numerical -argument representing the factor that multiplies \verb|2\internote| to give the -distance between the bottom of one staff and the bottom of the next one. In -fact the macro redefines the parameter \verb|\interfacteur|. -\item[\keyindex{interportee} :]distance between the bottom of one staff and -the bottom of the next one. It is always reset to -\verb|2|\keyindex{interfacteur}\verb|\internote| at the next system. -Therefore, trying to change \verb|\interportee| will have no effect. Change -\verb|\interstaff| instead. Further, note that \verb|\interstaff| applies to all the -instruments, but each distinct instrument may have a different -\verb|\internote| (see \ref{staffspacing}). - -\item[\keyindex{interinstrument} :]additional vertical distance between -two consecutive instruments. This means that the distance between the lowest -line of the previous instrument and the lowest line of the top staff of the current -instrument is \keyindex{interportee+\Bslash interinstrument}. The -default value of \verb|\interinstrument| is zero, but sometimes you -may want additional space between distinct instruments. This is a general -dimension register. As usual in \TeX, it can be set using a command such as -\verb|\interinstrument=10pt| or \verb|\interinstrument=6\internote|. Its -value can be overridden for the space above any particular instrument -with the macro \keyindex{setinterinstrument}\itbrace{n}\itbrace{s}, where -$n$ is the instrument and $s$ is the replacement value of the space to -be added. The \verb|\setinterinstrument| macro may be useful in some vocal -scores to provide vertical space for lyrics. Note that -after you have used \keyindex{setinterinstrument}, -you cannot reset the distances for that instrument with -\keyindex{interinstrument}; you must subsequently use -\keyindex{setinterinstrument} for that purpose. - - \item[\keyindex{systemheight} :]distance from the bottom of the -lowest staff to the top of the highest one. This is the length of any -vertical lines such as repeats that span the full height of a system. -\nochange. -\end{description} - - In addition, when handling notes of a given staff of a given instrument, the -following dimensions are available (note these are not true registers, but -\ital{equivalenced symbols} through a \verb|\def|): - -\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{altplancher} :]altitude of the lowest line of the lowest -instrument \nochange. - \item[\keyindex{altitude} :]altitude of the lowest line of the lowest -staff of the current instrument \nochange. - \item[\keyindex{altportee} :]altitude of the lowest line of the current -staff \nochange. - - %??? Next perhaps will change to steps of \verb|\internote|. - - \item[\keyindex{stemfactor} :]parameter defining the length of stems on -half, quarter, and beamed eighth notes, in units of \verb|\interbeam|. -Normally a stem has the length of one octave, -i.e. 3.5\keyindex{Interligne}. However, this is not correct for small or tiny -note sizes. Therefore, stem length is defined as a multiple of the -dimension \keyindex{interbeam}, which is chosen because it is automatically -redefined as a -different multiple of \keyindex{Interligne} whenever note size is changed. For -example, with \verb|\normalmusicsize| when \verb|\setsize| is -\verb|\normalvalue|, \verb|\interbeam| is 0.75 \keyindex{Interligne}. This -legislates a default value for \keyindex{stemfactor} of 4.66 (=3.5/0.75). -To change stem length, it is easiest to use e.g. -\keyindex{stemlength}\verb|{3.5}|, which simply redefines \verb|\stemfactor|. -Subsequently, \verb|\stemfactor| will not automatically be reset to the default, -but keep in mind that if it is changed -inside a notes group, the change will only be effective within that notes group. -\end{description} - - \subsection{A convenient macro for changing layout parameters in mid-score} -Of the parameters just described that can be changed, many should only be -changed between the end of one system and the beginning of the next. The -command sequence \verb|\def\atnextline{|\ital{any control sequence}\verb|}| -may be useful for this purpose. It will cause \ital{any control sequence} to -be inserted right before the next new line is begun, provided the line break -is not initiated by a \verb|\startpiece|. Thus this will work with -automatically generated line breaks, with those forced by \verb|\alaligne|, and -with those forced by explicit use of \verb|\endpiece| or \verb|\stoppiece| -followed by \verb|\contpiece|. (Note, however, that in the latter case it -would be just as convenient to enter the parameter changes explicitly as well.) -The control sequence will only be executed once, -after which \verb|\atnextline| is redefined as \verb|\empty|. - - \subsection{Changing the number of lines per staff}\label{stafflinenumber} -Naturally, the default number of lines per staff is five. But you may want a -different number in some or all staves, for example for gregorian music, -percussion music, guitar tablature, or early baroque keyboard music. To do so, -use the command \keyindex{setlines}\itbrace{n}\itbrace{m}~where $n$ is the -instrument number and $m$ is the number of lines. - - \subsection{Resetting normal layout parameters} -The general size can only be changed with one of the commands -\keyindex{smallmusicsize}, -\keyindex{normalmusicsize}, \keyindex{largemusicsize}, or -\keyindex{Largemusicsize}. Beyond that, the command -\keyindex{resetlayout} will reset the following key layout parameters -to their default values: \keyindex{staffbotmarg} (3\verb|\Interligne|), -\keyindex{stafftopmarg} (3\verb|\Interligne|), \keyindex{interstaff} (9), - number of lines per staff for all instruments (5); and will reset all clef -symbols to standard clef symbols. - -% The whole subsection on excerpts should go with "MusiXTeX and LaTeX", currently 2.25 -% \subsection{Typesetting one-line excerpts rather than large scores}\label{excerpts} - -% All the old lyrics stuff should be deleted, with a reference to some older version of -% musixdoc. - -\section{Lyrics}\index{lyrics}\label{lyrics} -\musixtex{} itself doesn't manage lyrics very well. You should use -\verb+musixlyr+ instead, a \musixtex\ extension package for lyrics handling by Rainer Dunker. -The \TeX~source and -\href{http://icking-music-archive.org/software/musixtex/add-ons/mxlyrdoc.pdf} -{\underline{documentation}}~are included in the \musixtex~distribution. - -But first we recall briefly the older methods, which may still be useful when -only a small number of words are involved. - -\subsection{Native lyrics method: placing single words} -\subsubsection{Native \musixtex\ commands for lyrics} - \begin{enumerate}\setlength{\itemsep}{0ex} - \item An obvious solution consists in using the commandc -\keyindex{zcharnote} (expanded to the right), -\keyindex{lcharnote} (expanded to the left), -\keyindex{ccharnote} (centered), to post the text at any position (computed in -\verb|\internote|s) with respect to the lower line of the current staff. -The pitch should be usually negative to have the text below the staff. - -Example:\quad -\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\zcharnote{N}{Word}\wh g\sk\en}} -\quad is coded by \quad -\verb|\zcharnote{N}{Word}\wh g|~. - -\item The vertical position can also be given with a number in the commands -\keyindex{zchar} (expanded to the right), -\keyindex{lchar} (expanded to the left), -\keyindex{cchar} (centered). The number is internally multiplied by \verb|\internote|~. - -Example:\quad -\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\cchar{-4}{Word}\wh g\sk\en}} -\quad is coded by \quad -\verb|\cchar{-5}{Word}\wh g|~. - -\item Of easier use are the commands \keyindex{zsong} (right of the note), -\keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics -at the lower staff line \ital{minus} the previous -\keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These -commands only have one argument, namely the lyrics text: -%\begin{center} -\keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad -\keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad -\keyindex{csong}\verb|{|\ital{text}\verb|}| -%\end{center} - Depending on the values of the inter-instrument spacings and margins, the -resulting vertical position might be inappropriate. Then it can be changed for -any specific $n$-th instrument until further change using -\begin{quote} -\keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}| -\end{quote} -As an example, the following French song\\ - \begin{music} - \generalsignature{1} - \startextract - \geometricskipscale - \NOtes\zsong{Au }\qu g\en - \NOtes\zsong{clair }\qu g\en - \NOtes\zsong{de }\qu g\en - \NOtes\zsong{la }\qu h\en - \bar - \NOTes\zsong{lu- }\hu i\en - \NOTes\zsong{ne, }\hu h\en - \bar - \NOtes\zsong{mon }\qu g\en - \NOtes\zsong{a- }\qu i\en - \NOtes\zsong{mi }\qu h\en - \NOtes\zsong{Pier- }\qu h\en - \bar - \NOTes\zsong{rot, }\wh g\sk\en - \endextract - \end{music} - -\noindent was coded as: -\begin{quote}\begin{verbatim} - \generalsignature{1} - \startextract - \geometricskipscale - \NOtes\zsong{Au }\qu g\zsong{clair }\qu g\en - \NOtes\zsong{de }\qu g\zsong{la }\qu h\en\bar - \NOTes\zsong{lu- }\hu i\zsong{ne, }\hu h\en\bar - \NOtes\zsong{mon }\qu g\zsong{a- }\qu i\en - \NOtes\zsong{mi }\qu h\zsong{Pier- }\qu h\en\bar - \NOTes\zsong{rot, }\wh g\sk\en - \zendextract -\end{verbatim}\end{quote} -\end{enumerate} - -\subsubsection{Adapting note spacing for lyrics} - -The command \keyindex{hardlyrics}\verb|{longword}| provides a spacing that is equal to the length -of the text argument \verb|{longword}|. In the same time the argument \verb|{longword}| -is saved in \keyindex{thelyrics} - -As an example \quad -\raisebox{0ex}[5ex][4ex]% -{\musicintextnoclefn{\staffbotmarg2\Interligne% -\hardlyrics{clair}\notes\hsong{\thelyrics}\wh g\en\notes\wh{gg}\en}} -\quad is coded by: -\begin{tabular}{l} -\verb|\hardlyrics{clair}%|\\ -\verb|\notes\hsong{\thelyrics}\wh g\en|\\ -\verb|\notes\wh{gg}\en|\\ -\end{tabular} - -All notes with long lyrics need such a treatment. The commands only carry out on -\verb|\notes| (not on \verb|\Notes|, \verb|\NOtes|...). - -If you want to go back to the normal placing on an easy way, you simply can replace -'\verb|\hardlyrics|' by '\verb|\softlyrics|'. - - A complete score is given in example {\tt glorias.tex}\label{glorias} and in -{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the -organ accompaniment. - -Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed -length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is -\verb|3\noteskip|. These are useful when the text is set below (or above) a -collective coding of two or three notes. - -\subsection{Musixlyr}\label{musixlyr} - -Lyrics are best handled by the \texttt{musixlyr}\index{musixlyr} package by Rainer Dunker. -The package can be used by inserting a file in your source code: -\begin{quote}\begin{verbatim} -\input musixtex -\input musixlyr -... -\end{verbatim}\end{quote} - -The manual, the input file and a few examples are in \verb|musixtex.zip|, or they -may be downloaded -\href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip} -{\underline{for Windows}} or \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.tgz} -{\underline{for \unix}}. Look at the manual for a detailed description. Here is an overview -of the commands and an example of use.\pagebreak - -\def\keyexample#1{\keyindex{#1}} - -\noindent\begin{tabbing} -\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill -Example\> Explanation -\end{tabbing} -\vspace{-1ex} -\hrule -\vspace{-2ex} -\begin{tabbing} -\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill -\keyexample{setlyrics}\verb|{sopr}{the ly_-ric words_}|\> defining the lyrics text\\ -\keyexample{copylyrics}\verb|{sopr}{alto}|\> alto has same lyrics as soprano\\ -\keyexample{appendlyrics}\verb|{alto}{more words}|\> alto lyrics is longer\\ -\keyexample{assignlyrics}\verb|2{sopr,alto}|\>soprano and alto lyrics at staff 2\\ -\keyexample{assignlyricsmulti}\verb|{1}{2}{alto}|\>assign alto lyrics to staff 2 of instrument 1\\ -\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\>assigning without staff number\\ -\keyexample{auxlyr}\verb|\assignlyrics{2}{sopr}|\> assign soprano above staff 2\\[.8ex] -\keyexample{lyrrule}\verb|\qu c|...\keyexample{lyrruleend}\verb|\qu c|\>make a melisma by hand\\ -\keyexample{beginmel}\verb|\qu c|...\keyexample{endmel}\verb|\qu c|\>melisma, same as word extension underline\\[.8ex] -\keyexample{lyr}\verb|\qu c|\>force a syllable from lyrics text at this note or rest\\ -\keyexample{lyric}\verb|{word}\qu c|\>insert syllable 'word' at this note\\ -\verb|\loffset{2}{|\keyexample{lyric*}\verb|{1.}}\qu c|\>combine '1.' with regular syllable\\ -\keyexample{lyrich}\verb|{syl}\qu c|\>same as \verb|\lyric|, but with hyphenation\\ -\keyexample{lyrich*}\verb|{}\qu c|\>same as \verb|\lyric*|, but with hyphenation\\ -\keyexample{lyricsoff}...\keyexample{lyricson}\>stop lyrics, then start again\\ -\keyexample{nolyr}\verb|\qu c|\>no syllable at this note\\[.8ex] -\keyexample{llabel}\verb|{labelname}name|\>labelling a ``go to'' target in text\\ -\keyexample{golyr}\verb|{labelname}\qu c|\>perform a jump, in music code\\[.8ex] -\keyexample{lyrpt}\verb|,\qu c|\>add a comma to the syllable under this note\\ -\keyexample{lyrnop}\verb|\qu c|\>remove last character in syllable\\ -\keyexample{lclyr}\verb|\qu c|\>make first character lower case\\ -\keyexample{llyr}\verb|\qu c|\>left justified syllable\\ -\keyexample{leftlyrtrue}\verb|\qu c|...\keyexample{leftlyrfalse}\verb|\qu c|\>start and stop left justification as the default\\ -\keyexample{lyroffset}\verb|{-4}\qu c|\>shift syllable 1 notehead to the left\\[.8ex] -\keyexample{minlyrspace}\verb|{3pt}\qu c|\>define minimum space between the words\\ -\keyexample{forcelyrhyphenstrue}\verb|\qu c|\>always use a hyphen from now on\\ -\keyexample{forcelyrhyphensfalse}\verb|\qu c|\>remove hyphen and make one word if necessary \\ -\keyexample{showlyrshifttrue}\verb|\qu c|\>show the lyric shift\\[.8ex] -\keyexample{lyrraise}\verb|{1}{a 2\Interligne}|\>raise lyrics below staff 1 by \verb|2\Interligne|\\ -\keyexample{lyrraisemulti}\verb|{1}{2}{a 2\Interligne}|\>raise alto lyrics above staff 2 of instrument 1\\ -\keyexample{lyrraisehere}\verb|{b 2\Interligne}\qu c|\>raise lyrics below this staff by \verb|2\Interligne|\\[.8ex] -\keyexample{minlyrrulelength}\verb|{2mm}|\>melismas shorter than 2mm are not shown \\ -\keyexample{minmulthyphens}\verb|{15mm}|\>distance between hyphens in 'hyphen melisma'\\ -\verb|\def|\keyexample{lyrhyphenchar}\verb|{-}|\>chose a hyphen character\\ -\verb|\setlyrics{|\keyexample{lyrlayout}\verb|{\it}..}|\>apply italics to all lyrics lines\\ -\keyexample{verses}\verb|{,\beginmel}\qu c|\>initiate melisma at second verse\\[.8ex] -\verb|\small|\keyexample{setlyrstrut}\>adapt the vertical distance between lyrics lines\\ -\keyexample{lyrstrutbox}\verb|{10pt}|\> (re)define the distance between the lyrics lines\\[.8ex] -\keyexample{lyrmodealter}\verb|2|\>attach lyrics of staff 2 to the upper voice\\ -\keyexample{lyrmodealtermulti}\verb|{1}{2}|\>attach lyrics of instr.\ 1 staff 2 to the upper voice\\ -\keyexample{lyrmodealterhere}\verb|\qu c|\>attach lyrics of this staff to the upper voice\\ -\keyexample{lyrmodenormal}\verb|2|\>restore the default behaviour\\ -\keyexample{lyrmodenormalmulti}\verb|{1}{2}|\>restore the default behaviour at staff 2 of instr.\ 1\\ -\keyexample{lyrmodenormalhere}\verb|\qu c|\>restore the default behaviour of this staff\\[.8ex] -\keyexample{lyrlink}\>linking 2 words with a '$_{_\smile}$'\\ -\keyexample{lowlyrlink}\>same as \verb|\lyrlink| but a little bit lower\\[.8ex] -\keyexample{resetlyrics}\>set word pointer to the first word in all lyrics lines\\[.8ex] -\keyexample{enableauxlyrics}\>don't use this anymore\\ -\keyexample{setsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraise}{1}{b 2\Interligne}|\\ -\keyexample{auxsetsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraisemulti}{1}{b 2\Interligne}|\\ -\keyexample{oldlyrlinestart}\>don't let the lyrics extent to the left margin\\ -\end{tabbing} - -As a further illustration of the use of the commands, have a look at the following -example\footnote{The example is taken from the musixlyr manual.}: - -\medskip\medskip -%\oneversespace -\begin{music} -\input musixlyr - \resetlyrics \small -\lyrmodealter0 - \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}} - \copylyrics{soprano}{alto} \assignlyrics1{alto} - - \generalsignature{-2} - \advance\stafftopmarg1\Interligne - \advance\staffbotmarg2\Interligne - - \startextract\addspace\afterruleskip - \NOtes\zqu g\ql e\en - \bar - \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en - \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en - \Notes\tqb0e\en - \Notes\endmel\tbslurd0e\ql c\en - \notes\ibbu0h{-1}\qb0h\tqh0g\en - \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en - \bar - \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes - \lyr\wh b\en % must be given manually. - \endextract - \lyrmodenormal0 -\end{music} -\medskip - -%\oneversespace - -which was coded as: -\begin{quote} -\begin{verbatim} -% define lyrics above the staff -\setlyrics{soprano}{bring her die Gans,} -% lyric beneath the staff are the same -\copylyrics{soprano}{alto} -% assign alto lyrics below staff 1 on the notes with stem down -\assignlyrics1{alto} -% assign soprano lyrics above staff 1 on the notes with stem up -\auxlyr{\assignlyrics1{soprano}} -% attach both lyrics to the upper voice -\lyrmodealter0 -\generalsignature{-2} -% make place for the lyrics -\advance\stafftopmarg1\Interligne\advance\staffbotmarg2\Interligne -\startextract\addspace\afterruleskip -\NOtes\zqu g\ql e\en\bar -% start melisma in lower lyrics -\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en -% start melisma in upper lyrics -\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\tqb0e\en -% end melisma in lower lyrics -\Notes\endmel\tbslurd0e\ql c\en -\notes\ibbu0h{-1}\qb0h\tqh0g\en -% start melisma in upper lyrics -\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en\bar -% The lyrics of the whole notes (without stem) must be given manually. -\NOTEs\auxlyr\lyr\zwh i\lyr\wh b\en -\endextract -\lyrmodenormal0 -\end{verbatim}\end{quote} - - \subsection{Getting enough vertical space for lyrics} - Since songs are -usually equivalent to a one-staff instrument (possibly with several voices) -the recommended solution consists in adjusting the distance between -instruments using either \keyindex{interinstrument}\verb|=|\ital{any -\TeX-dimension} to give more place below all instruments or using -\keyindex{setinterinstrument} to make more space above. Note that {\Bslash -setinterinstrument} defines spacing above and not below an instrument. Since -lyrics are usually set below the staff, the first argument of a -\verb|\setinterinstrument| should be the song instrument number \ital{minus -one}. - - In the case of a single staff tune, or if the song instrument is the lowest -one, then additional place can be provided using \keyindex{staffbotmarg}. - -\subsection{Fine tuning the placement of the lyrics} - When not using \verb|\hardlyrics|, on short notes, sometimes - the lyrics are shifted away from the notes or they collide with other words. - This are a few approaches to get around this: -\begin{enumerate}\setlength{\itemsep}{0ex} -\item Making more music lines for the notes to go further apart. This could be done with -\verb|\mulooseness|. -\item Stretch a bar with short notes in it by i.e.\ replacing \verb|\notes| by \verb|\NOTes|. -\item Insert space between the notes by using \verb|\sk|, \verb|\hsk|, \verb|\qsk|... -\item Stretch a bar with short notes in it by using the command \keyindex{scale}: -\begin{verbatim} -\scale{1.6}\notes..\en\scale{1}% -\end{verbatim} -This method can be used in \textbf{PMX} but only with care, because it changes horizontal spacing -in a way that \textbf{PMX} will not be aware of. It will not move bars to the next line, but -will shorten the other bars on the line. - -As an example, the lyrics of this music line are better placed by using \verb|\scale| in -the first bar and moving to the left the word 'mon'. Note that the hyphen is removed -when there is no place for it: - - \begin{music} - \input musixlyr - \resetlyrics - \setlyrics{v1}{Au clair de la lu-ne, mon a-mi Pier-rot,}% - \assignlyrics1{}\assignlyrics1{v1}% - \staffbotmarg2\Interligne\generalsignature{1}% - \startextract - \geometricskipscale - \notes\qu{gggh}\en\bar - \Notes\hu{ih}\en\bar - \notes\qu{gihh}\en\bar - \Notes\wh g\en - \endextract -% \end{music} -%%%%% combined for saving registers %%%%% -% \begin{music}\nostartrule -% \input musixlyr - \resetlyrics - \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}% - \assignlyrics1{}\assignlyrics1{v1}% - \staffbotmarg2\Interligne\generalsignature{1}% - \startextract \geometricskipscale - \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}% - \Notes\hu{ih}\en\bar - \notes\qu{gihh}\en\bar - \Notes\wh g\en - \endextract - \end{music} - -\medskip -The code of the second music line is (\verb|\assignlyrics1{}| is only needed because -lyrics are assigned before this in this manual): -\begin{quote}\begin{verbatim} - \begin{music} - \input musixlyr - \resetlyrics - \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}% - \assignlyrics1{}\assignlyrics1{v1}% - \staffbotmarg2\Interligne\generalsignature{1}% - \startextract \geometricskipscale - \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}% - \Notes\hu{ih}\en\bar - \notes\qu{gihh}\en\bar - \Notes\wh g\en - \endextract - \end{music} -\end{verbatim}\end{quote} - -\item Moving a word in any direction - -\noindent\begin{tabular}{ll} -\multicolumn{2}{l}{\Bslash setlyrics\{alto\}\{\Bslash kernm3ex1.$\sim\sim$firstsyllable...\}}\\ -& left moving for numbering verses\\ -\verb|\setlyrics{alto}{...\kern1exword...}| &right moving a single word\\ -\verb|\setlyrics{alto}{...\lower2pt\hbox{word}...}|& lowering a single word\\ -\verb|\setlyrics{alto}{...\raise2pt\hbox{word}...}|& raising a single word\\ -\multicolumn{2}{l}{\Bslash def\Bslash strut\{\Bslash vbox to 2\Bslash Interligne\{\}\}% -\Bslash setlyrics\{alto\}\{\Bslash lyrlayout\{\Bslash strut\}...\}} \\ -& controlling distance between verses\\ -\verb|\lyrlayout{\vphantom{Mp(\lowlyrlink}|& minimum distance between verses\\ -\multicolumn{2}{l}{\Bslash setbox\Bslash lyrstrutbox=\Bslash hbox\{\Bslash vphantom\{yM\Bslash lyrlink\}\}}\\ -& redefining default lyrstrut -\end{tabular} - -\item Placing of accents can be made easier as shows this example: -\begin{center} -\begin{minipage}{50mm} -\begin{music}\nostartrule -\input musixlyr -\catcode`\ä\active \defä{\"a} -\catcode`\ö\active \defö{\"o} -\catcode`\å\active \letå\aa -\setlyrics1{å ä ö} -\assignlyrics1{}\assignlyrics11 -\startextract - \setsongraise1{1ex}\NOtes\qa{ggg}\en -\zendextract -\end{music} -\end{minipage}% -\begin{minipage}{80mm} -\verb|\catcode`\|\"a\verb|\active \def|\"a\verb|{\"a}|\\ -\verb|\catcode`\|\"o\verb|\active \def|\"o\verb|{\"o}|\\ -\verb|\catcode`\|\aa\verb|\active \let|\aa\verb|\aa|\\ -\verb|\setlyrics1{|\aa\ \"a\ \"o\verb|} \assignlyrics1{}|\\ -\verb|\assignlyrics11|\\ -\verb|\startextract|\\ -\verb|\NOtes\qa{ggg}\en|\\ -\verb|\zendextract|\\ -\end{minipage} -\end{center} -\item Using an 8-bit encoded characterset\label{8bit} - -This can be achieved -by putting -\verb+\input plainenc\relax\inputencoding{cp850}+ -at the beginning of the file. - -Here you must adapt the character -set to your region. -To do this, if necessary, replace \verb+cp850+ by -\verb+cp1250+ (Czech, Croation region), -\verb+cp1251+ (Russian, Bulgarian region), -\verb+cp1252+ (most other European regions), -\verb+cp1253+ (Greek region) -or check your \TeX distribution for the right file. - -This is the coding for the previous example by using an 8-bit characterset: - -\begin{center} -\begin{minipage}{25mm} -\begin{music}\nostartrule -% this manual is in latex, the 8bit is taken by -% \usepackage[ansinew]{inputenc} -% -%\input plainenc\relax\inputencoding{cp850} -\input musixtex -\input musixlyr -\setlyrics1{á ä ö}\assignlyrics1{}\assignlyrics11% -\startextract% -\znotes\zcharnote{12}{Poème naïf}\en% -\Notes\qa{ggg}\en% -\zendextract% -\end{music} -\end{minipage} -~~~~~~ -\begin{minipage}{100mm}% program to run apart from musixdoc -\verb+\input plainenc\relax\inputencoding{cp850}+\\ -\verb+\input musixtex+\\ -\verb+\input musixlyr+\\ -\verb+\startpiece%+\\ -\verb+\znotes\zcharnote{16}{Poème naïf}\en%+\\ -\verb+\setlyrics1{á ä ö}\assignlyrics11%+\\ -\verb+\Notes\qa{ggg}\en%+\\ -\verb+\Endpiece\vfill\eject \bye+ -\end{minipage} -\end{center} - -\end{enumerate} - -\section{Embedding musical excerpts in text documents} - -Here we discuss the options for including music in text documents. The first -decision is whether or not to use \LaTeX\footnote{We'll assume a user wanting -to embed a musical excerpt in a \LaTeX\ document is already familiar with the -fundamentals of \LaTeX. For more information about it, see for example the manual -\ital{\LaTeX: A Document Preparation System} by Leslie {\sc Lamport}}. -Because \LaTeX\ so effectively simplifies -production of text-based \TeX\ documents, most users take that path, and most of the -descriptions given here will assume that's the case\footnote{Please do not be confused; -while \LaTeX\ is recommended for text-based documents containing musical -exceprts, its use is definitely discouraged for ordinary self-contained musical scores -of any sort.}. - -If for some reason you choose not to use \LaTeX\ to emplace musical excerpts, -the basic approach is simply to set off the musical -parts between \verb|\startpiece| or \verb|\contpiece| and \verb|\stoppiece| or -\verb|\endpiece|, or between \verb|\startextract| and \verb|\zendextract|. But -some details in what follows will also apply with no \LaTeX. - -There are two basic approaches to embedding musical excerpts in \LaTeX\ -documents. The first method is to directly include the \musixtex\ code in -the \LaTeX\ source file. That will be the subject of the next subsection. The -other is to create an EPS (encapsulated Postscript) file containing only the -excerpt, and then ``paste'' it into the \LaTeX\ file. That will be covered in -subsection \ref{embedeps}. - -The advantages of using the direct method are that all of the source code for -all excerpts can be kept in the same file as the text, and that there is no -limit on the length of the excerpt. -The advantage of the EPS method is that you don't have to burden the \LaTeX\ -source with any of the \musixtex\ paraphernalia. That in turn permits use of -primitive versions of the \TeX\ compiler that may not have the capacity -to handle the direct method (due to the number of registers consumed by \LaTeX\ -and \musixtex). The disadvantages are that you must create and keep -track of a separate \TeX\ and EPS file for every excerpt, and that the excerpt -must not span any page breaks. On balance, the -direct method is probably to be preferred. - -\subsection{Directly embedding excerpts in \LaTeX\ documents}\label{excerpts} - -To use the direct method, you should include ``\verb|musixtex|'' as one of the -arguments of the \keyindex{documentstyle} command. This will cause the file -\ttxem{musixtex.sty} to be loaded, so naturally you must make that file -available in a place where \TeX\ can find it. That file simply inputs two -other files, \verb|musixtex.tex| and \ttxem{musixltx.tex}, which again must -obviously be available to \TeX. - -Now you are in position to directly embed an excerpt by inserting code at the -appropriate place in the source file. The most common type of excerpt is -one that occupies less than a full line and is to be horizontally centered. In -that case, the extract should begin with the command \keyindex{begin\LBR music\RBR}, -followed by any preliminary commands. Then, instead of \verb|\startpiece|, -use \keyindex{startextract}. Now comes the normal \musixtex\ coding. Finally, -end the extract with \keyindex{endextract} instead of \verb|\endpiece| -or \verb|\stoppiece|, followed by \keyindex{end\LBR music\RBR}. - -To terminate an extract without any bar line, use \keyindex{zendextract} -instead of \verb|\endextract|. - -To create a left-justified excerpt, use the sequence -\keyindex{let\Bslash extractline\Bslash leftline}. - -If several extracts are to be placed on the same line, you can -redefine \keyindex{extractline} as demonstrated in the following -example\footnote{The macro {\tt\Bslash extractline} is defined once and for all in -{\tt musixtex.tex} as {\tt\Bslash centerline}. You might think that the suggested -coding would permanently redefine {\tt\Bslash extractline}, thereby upsetting the -normal function of {\tt\Bslash startextract ... \Bslash endextract} for subsequent use. -But it doesn't, because any actions within -\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, not -global.}: - -% DAS temp (where is the reference???) -%An example of this is given at \ref{extractline} on page \pageref{extractline}. -% end DAS temp -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\let\extractline\hbox -\hbox to \hsize{% -\hss\startextract ... \zendextract\hss% -\hss\startextract ... \zendextract\hss} -\end{music} -\end{verbatim}\end{quote} - -An even shorter type of extract is one that is embedded \ital{within} a line of text. -To insert \musixtex\ symbols within a line of text, you could begin by defining -\keyindex{notesintext} as follows\footnote{provided by Rainer {\sc Dunker}}: - -\begin{quote}\begin{verbatim}\begin{music}\nostartrule -\makeatletter -\def\notesintext#1{% - {\let\extractline\relax - \setlines10\smallmusicsize \nobarnumbers \nostartrule - \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt - \startextract\addspace{-\afterruleskip}#1\zendextract}} -\makeatother -\end{music}\end{verbatim}\end{quote} - -Then, for example, the code - -\begin{verbatim} -Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} -not \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}} -\end{verbatim} - -\noindent would produce: ``Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} not -\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}~''. - -\noindent The \verb|\raisebox| voids the vertical space that is introduced by the notes. - -Finally, you may want to insert an extract containing more than one line -of music. Once having mastered \musixtex, this is the easiest of all: Between -\verb|\begin{music}\nostartrule| and \verb|\end{music}|, use \ital{exactly} the same -coding you would to make an ordinary score. - -The best way to learn how to apply these methods is to study -\verb|musixdoc.tex|, the source file for this document\footnote{Do note, -however, that {\tt musixdoc.tex} includes {\tt musixdoc} but not {\tt musixtex} -as an argument of {\tt\Bslash documentstyle}. The former performs the functions -of the latter as well as numerous tasks peculiar to this particular document.}. - -%DAS I don't think this section is worth including. - -% \subsection{Wide music in \LaTeX}\label{musixblx} -% Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the -%page size in a way which is not supposed to be changed within a given document. -%This means that text horizontal and vertical sizes are somewhat frozen so that -%one can hardly insert pieces of music of page size different from the size -%specified by the \LaTeX{} \itxem{style}. -%Although a \ttxem{musixblx.tex} has been provided, which makes the -%\ital{environment} \verb|bigmusic| available. -%\zkeyindex{begin\LBR bigmusic\RBR} -%The main drawback is an unpredictable behaviour of top and bottom -%printouts, especially page numberings. -% -% If the whole of a document has wide pages, it can be handled with the -%\ttxem{a4wide} style option, or any derivate of it. - -\subsection{Embedding musical excerpts as encapsulated postscript files} -\label{embedeps} -To use this method of including excerpts, you first must create a separate -\musixtex\ input file for each excerpt. Process each such file with -\TeX\ and \verb|musixflx| to generate a \verb|.dvi| file. Generate -a postscript file from each \verb|.dvi| using \verb|dvips|. Then -convert each postscript file to an \verb|.eps| file. One way to do that is -with \textbf{ghostscript} and---if you are using Windows---\textbf{GSview}. -In general this is possible only for single-page postScript files. - -To set up your \LaTeX\ document for including \verb|.eps| files, you must post -the command \verb|\usepackage[dvips]{graphicx}| in the preamble of the -document. Now, you may include each \texttt{.eps} file at the appropriate place -in the {\LaTeX} document with a command -like \keyindex{includegraphics}\verb|{sample.eps}|. - -\subsection{Issues concerning \texorpdfstring{{\Bslash catcodes}}{catcodes}} -\label{catcodeprobs} - -\musixtex\ uses the following symbols differently from plain \TeX: \verb|>|, - \verb|<|, \verb&|&, \verb|&|, \verb|!|, \verb|*|, \verb|.|, and \verb|:|\ .\\ -The symbols are given their special meanings by executing the macro -\keyindex{catcodesmusic}, and are restored to their plain \TeX\ meanings with -\keyindex{endcatcodesmusic}. When setting either a self-contained score or -a musical extract, you normally need not worry -about this at all, because \verb|\startpiece| or \verb|\startextract| executes -\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\endextract| executes -\verb|\endcatcodesmusic|. But there are some special situations where you -might need to use these catcode-modifying macros explicitly. One is if you -were to define a personalized macro outside -\verb|\startpiece ... \endpiece|, but which incorporated any of the -symbols with their \musixtex\ meanings. Another would be if you wished to have -access to facilities enabled by alternate style files such as -{\tt\ixem{french.sty}} which change \keyindex{catcode}s themselves. In -such cases, provided you have input \verb|musixtex.tex|, you can always -invoke \keyindex{catcodesmusic} to set the \keyindex{catcode}s at their -\musixtex\ values, and \keyindex{endcatcodesmusic} to restore them to their -prior values. - -\section{Extension Library} -All following files are invoked by saying \keyindex{input} \ital{filename}\ . -Most of them are fully compatible with \musixtex\ in that they do not redefine -any existing macros but rather provide additional functionality. In future -versions of \musixtex\ we may very well incorporate many of them directly into -\verb|musixtex.tex|, but for now we leave them separate. - - \subsection{curly} -Allows you to group more than 1 instrument with curly -brackets (see \ref{curlybrackets}). - - \subsection{musixadd}\ixtt{musixadd.tex} -Increases the number of instruments, slurs and beams from six to nine. - - - \subsection{musixbm} -This file does nothing; it is retained only for compatibility with -\musixtex{} T.110 or earlier. -Since version T.111, \verb|musixtex.tex| itself contains all the functions -of the older \texttt{musixbm}, namely -commands for 128th notes, either with flags or with beams: -\keyindex{ibbbbbu}, -\keyindex{ibbbbbl}, -\keyindex{nbbbbbu}, -\keyindex{nbbbbbl}, -\keyindex{tbbbbbu}, -\keyindex{tbbbbbl}, -\keyindex{Ibbbbbu}, -\keyindex{Ibbbbbl}, -\keyindex{cccccu}, -\keyindex{cccccl}, -\keyindex{ccccca}, -\keyindex{zcccccu} and -\keyindex{zcccccl}. - - - \subsection{musixbbm}\label{musixbbm} - Provides 256th notes, but only for use within beams, via the commands -\keyindex{ibbbbbbu}, -\keyindex{ibbbbbbl}, -\keyindex{nbbbbbbu}, -\keyindex{nbbbbbbl}, -\keyindex{tbbbbbbu}, -\keyindex{tbbbbbbl}, -\keyindex{Ibbbbbbu} and -\keyindex{Ibbbbbbl}. - -By default \texttt{musixbbm} provides six 256th beams with -reference number 0 to 5. -You can specify a larger maximum number -directly with \keyindex{setmaxcclvibeams}\verb|{|$m$\verb|}| within the -range\footnote{This may require e-\TeX.} $7\leq m\leq 100$. - -\subsection{musixcho}\label{song} - Enables certain macros intended for choral music\footnote{Remember -that we now recommend using \texttt{musixlyr} for any except the -simplest lyrics. The extension \texttt{musixcho} is only for those -diehards who choose to ignore this advice}. Provides the following commands: -\keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight}, -\keyindex{Dtx} and \keyindex{Drtx} for two-line text, \keyindex{Ttx} and -\keyindex{Trtx} for three-line text, \keyindex{Qtx} and \keyindex{Qrtx} for -four-line text. To eliminate zigzagging lyrics lines, all multiple line texts -are automatically vertically justified with the macro \keyindex{ChroirStrut}, -defined as \verb|\vphantom{\^Wgjpqy}|. - -The macros \keyindex{tx}\verb|{|$text$\verb|}|, -\keyindex{rtx}\verb|{|$text$\verb|}| cause song text to be left-justified -on the insertion point rather then centered. - \keyindex{hf}\verb|{|$m$\verb|}| sets a text -continuation rule of length $m$ \verb|\noteskip|. - -Consult the source file {\tt musixdoc.tex} to see the coding of the following -example: - -\begin{music} -\tenrm -\parindent11.5mm -\braceheight5.4\Interligne\relax -%\rightline{Arr.: H.~W.~Eichholz} -\instrumentnumber2 -\generalsignature{-2} -\generalmeter{\meterfrac22} -\setclef1\bass -\relativeaccid -\setinterinstrument1{11\Interligne} -\songtop2 -\songbottom1 -\setname2{\vbox{\hsize\parindent\centerline{Sopran}\centerline{Alt}}} -\setname1{\vbox{\hsize\parindent\centerline{Tenor}\centerline{Bass}}} -\sepbarrules\nobarnumbers -\beforeruleskip-2pt -\startpiece -%% bar 1 -\znotes&\rlap{\kernm2em\Qrtx 1.|2.|3.|4.*}\en -\NOTes\sslur ILd1\sslur bNu1\zhl I\hu b% - &\Qtx\ixhf{Oh}|No|No|There'll*\issluru0f\sslur dad1\zhup f\hl d\en -\Notes\zhl L\hu N&\Qtx ~|more|more|~be*\hl{^c}\en -\NOtes&\tsslur0g\qu g\en -%%% bar 2 -\bar -\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql d\en -\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en -%%% bar 3 -\bar -\nspace -\NOTes\sslur JMd1\sslur bau1\zhl J\hu b% - &\Qtx\ixhf{oh}|no|no|there'll*\issluru0j\sslur edd1\zhup j\hl{^e}\en -\Notes\zhl M\hu a&\Qtx~|more|more|~be*\hl{=e}\en -\NOtes&\tsslur0k\qu k\en -%%% bar 4 -\bar -\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu j\ql d\en -\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en -%%% bar 5 -\bar -\NOTesp\sslur IJd1\sslur bau1\lpt I\zhl I\hup b% - &\Qtx\ixhf{oh}|no|no|~there'll*\isslurd0f\issluru1j\zhup k\hlp f\en -\NOtes\zql J\qu a&\Qtx~|more|more|~be*\tsslur1f\zqu f\roff{\tsslur0e\ql e}\en -%%% bar 6 -\bar -\NOtes\zql K\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql f\en -\NOtes\zql J\qu b&\zqu i\ql e\en -\NOtes\zql I\qu b&\rlap{\kernm2\Internote\bigrbrace}\rtx~~~over*\zqu i\ql d\en -\NOtes\zql G\qu b&\zqu k\ql f\en -%%% bar 7 -\bar -\nspace -\NOTes\zhl J\hu b\caesura&\tx ~me,*\zhu j\hl{^e}\caesura\en -\Notes\zcl J\cu b&\rtx ~over*\zcu j\cl e\en -\NOtesp\zqlp J\qup b&\zqup k\lpt e\ql e\en -\endpiece -\end{music} - -\subsection{musixcpt} - -Empowers \musixtex\ to run files created under -Musi\textbf{c}TeX, the predecessor of \musixtex, such as some of the examples -provided by Dani\"el {\sc Taupin}. It is not needed for any files created -under \musixtex, and is included mainly for historical completeness. - -\subsection{musixdat} -Enables the command \keyindex{today}, which sets the current date in one of -several possible languages. The language is selected by an optional - preparatory command \verb|\date...|. -The default is \keyindex{dateUSenglish}, but this can changed, either at the -end of \ttxem{musixdat.tex} for a permanant change, or right before issuing -\verb|\today|. Available choices and sample results are summarized below: -\smallskip -\begin{quote}\begin{tabular}{ll}\hline -\verb|\dateUSenglish|&\dateUSenglish\today\\ -\verb|\dateaustrian|&\dateaustrian\today\\ -\verb|\dateenglish|&\dateenglish\today\\ -\verb|\datefrench|&\datefrench\today\\ -\verb|\dategerman|&\dategerman\today\\\hline -\end{tabular}\end{quote} - -\subsection{musixdbr} -Enables dashed and dotted bar lines (see \ref{musixdbr}). - -\subsection{musixdia}\label{diam} -Enables notes with diamond-shaped heads as follows: -\begin{itemize}\setlength{\itemsep}{0ex} - \item Solid note heads (\raise.5ex\hbox to .6em{\musixchar37}) are obtained -using the macros - \keyindex{yqu}, \keyindex{yqup}, -\keyindex{yqupp}, \keyindex{yql}, \keyindex{yqlp}, \keyindex{yqlpp}, -\keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp}, \keyindex{yqb}, -\keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu}, -\keyindex{ycl}, \keyindex{yccl}, \keyindex{ycccl}, \keyindex{yccccl}, -\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}. -(Think of d{\it y}\kern.5pt amond). A solid diamond with no stem is obtained -with \keyindex{ynq} (spacing) or \keyindex{yznq} (non-spacing). - \item Open note heads (\raise.5ex\hbox to .6em{\musixchar38}) are obtained -using the macros -\keyindex{dqu}, \keyindex{dqup}, -\keyindex{dqupp}, \keyindex{dql}, \keyindex{dqlp}, \keyindex{dqlpp}, -\keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp}, \keyindex{dqb}, -\keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu}, -\keyindex{dcl}, \keyindex{dccl}, \keyindex{dcccl}, \keyindex{dccccl}, -\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}. -(Think of {\it d}\kern.5pt iamond). -An open diamond with no stem is obtained -with \keyindex{dnq} (spacing) or \keyindex{dznq} (non-spacing). - \end{itemize} - -One use of these note heads is for a string part with \itxem{harmonic notes}. -%(see \ref{othernotes}) -% DAS removed description which was misplaced in the samll=notes section 2.18 4/30/06 -For example, - -\begin{music} -\parindent0pt -\generalsignature{-2} -\generalmeter\allabreve -\startextract -\NOTes\dzq o\zh d\hu h\enotes -\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\bar -\NOTes\dzq o\zh d\hl h\enotes -\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\endextract -\end{music} -\noindent was coded as follows: -\begin{quote}\begin{verbatim} -\generalsignature{-2} -\generalmeter\allabreve -\startextract -\NOTes\dzq o\zh d\hu h\enotes -\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\bar -\NOTes\dzq o\zh d\hl h\enotes -\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\endextract -\end{verbatim}\end{quote} - -Another use is for percussion parts. In fact the file \verb|musixdia.tex| -is automatically loaded if you input {\tt musixper.tex} (see \ref{perc}). - - \subsection{musixeng} - This package is provided for music typesetters who are allergic to the default -rest names, which are -taken from French, German or Italian. It does not provide new features, only -new command names: -\medskip - \begin{quote}\begin{tabular}{ll}\hline -\ital{original}&\ital{alternate}\\\hline -\keyindex{PAUSe}&\keyindex{Qwr}\\ -\keyindex{PAuse}&\keyindex{Dwr}\\ -\keyindex{liftpause}&\keyindex{liftwr}\\ -\keyindex{pausep}&\keyindex{wrp}\\ -\keyindex{pause}&\keyindex{wr}\\ -\keyindex{lifthpause}&\keyindex{lifthr}\\ -\keyindex{hpausep}&\keyindex{hrp}\\ -\keyindex{hpause}&\keyindex{hr}\\ -\keyindex{qp}&\keyindex{qr}\\ -\keyindex{ds}&\keyindex{er}\\ -\keyindex{qs}&\keyindex{eer}\\ -\keyindex{hs}&\keyindex{eeer}\\ -\keyindex{qqs}&\keyindex{eeeer}\\\hline -\end{tabular}\end{quote} - -\subsection{musixext} -Defines the following two specific macros: - -\keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~, which provides a glissando -starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with -slope {\it s} (ranging from -8 to 8). - -\keyindex{raggedstoppiece}~, which inhibits right-justification of the last -line of a score. - - \subsection{musixf{}l{}l} - \input musixfll - Enables modification of \ixem{ledger lines}. Ledger lines normally exceed the -width of a note head by 25 percent in each direction. If the space between -notes is insufficient, the ledger lines of -consecutive notes may meet, creating visual ambiguities. Therefore, -\musixtex{} shortens the -ledger lines if notes are set so close together that the ledger lines may -meet. But because \musixtex{} does not know whether consecutive notes need -ledger lines, this automatic shortening may be superfluous. The extension -file \ttxem{musixfll.tex} allows this feature to be switched off and on. -Upon inputting \verb|musixfll.tex|, the automatic shortening of ledger lines -is switched off. From then on, it may be switched on again using -\keyindex{autoledgerlines} and switched off again using -\keyindex{longledgerlines}. Both macros have global effect. - - The following example shows that narrowly set scales look better with -\keyindex{autoledgerlines} (the default behavior), while single notes -requiring ledger lines look better with \keyindex{longledgerlines}. -\medskip -\begin{music} -\startextract -\notes\multnoteskip{0.7}\Uptext{autoledgerlines}\autoledgerlines - \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% - \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% - \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% - \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en - \bar -\notes\multnoteskip{0.7}\Uptext{longledgerlines}\longledgerlines - \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% - \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% - \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% - \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en -\endextract -\autoledgerlines -\end{music} - - \subsection{musixgre}\label{gregnotes}\index{gregorian chant} - -% \subsection{Gregorian chant: staffs and clefs} -Gregorian chant is often coded using four line staffs -(see -%sections \ref{gregorian} and -section \ref{stafflinenumber}) and using special notes called -\itxem{neumes} (which are described later in this section). It also requires -special clefs. One way to substitute them for the modern ones is for example -with commands like - -\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef| - -\noindent or - -\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| , - -\noindent which will cause instrument number 3 to display the selected gregorian -clef. The standard clefs can be restored for every instrument with -\keyindex{resetclefsymbols}. Note that when using this method you must -specify whether to substitute for the bass or alto clef -symbol (there is no treble clef in gregorian -chant). The reason is that \musixtex\ selects and -raises the F and C clefs differently, according to the arguments of the -\keyindex{setclef} command. Therefore, if one had substituted any F clef -symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear -on the staff, but it would be set at the position of an alto clef, thus -seriously misleading the musician. - -Another method of clef substitution employs \keyindex{setclefsymbol} (see -section \ref{treblelowoct}), which substitutes the clef given by -the second argument \ital{for all clef symbols} of the instrument given by the first, -regardless of the actual musical meaning of the new clef symbol. This method is -generally appropriate only if you want to change the clef symbol(s) of -an instrument for the whole of the score. - - As an example, the same gregorian scale has been written with a gregorian C -clef on all four lines of the staff: - - \begin{music}\nostartrule - \parindent 19mm - \instrumentnumber{4} - \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} - \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} - \sepbarrules - \generalmeter{\empty} - \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} - \setaltoclefsymbol1\gregorianCclef - \setaltoclefsymbol2\gregorianCclef - \setaltoclefsymbol3\gregorianCclef - \setaltoclefsymbol4\gregorianCclef -\startextract -\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes -\zendextract -\end{music} - - The coding was: - \begin{verbatim} - \instrumentnumber{4} - \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} - \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} - \sepbarrules - \generalmeter{\empty} - \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} - \setaltoclefsymbol1\gregorianCclef - \setaltoclefsymbol2\gregorianCclef - \setaltoclefsymbol3\gregorianCclef - \setaltoclefsymbol4\gregorianCclef -\startextract -\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes -\zendextract - \end{verbatim} - -All of the special gregorian symbols available in \musixtex\ are described -in the following subsections. - -\subsubsection{Clefs} - -\begin{itemize}\setlength{\itemsep}{0ex} - \item Gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~= - \keyindex{gregorianCclef}, normally activated for instrument $n$ with the -command - \keyindex{setaltoclefsymbol}\itbrace{n}\keyindex{gregorianCclef} -\item Gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~= -\keyindex{gregorianFclef}, normally activated with the command -\keyindex{setbassclefsymbol}\itbrace{n}\keyindex{gregorianFclef} - \end{itemize} - - \subsubsection{Elementary symbols} - - - \begin{itemize}\setlength{\itemsep}{0ex} - - \item Diamond shaped \itxem{punctum} (This has a different shape compared to the -percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ = -\keyindex{diapunc}\pitchp\ . - \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ = -\keyindex{squ}\pitchp\ or \keyindex{punctum}\pitchp\ . - \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise -2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}\pitchp\ . - \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ = -\keyindex{rsqu}\pitchp\ or \keyindex{virga}\pitchp\ . - \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ = -\keyindex{apostropha}\pitchp\ . - \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ = -\keyindex{oriscus}\pitchp\ . - - \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ = -\keyindex{quilisma}\pitchp\ . - \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise -2.5pt\hbox{\xgregchar9}~ = -\keyindex{punctumauctup}\pitchp\ . - \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise -2.5pt\hbox{\xgregchar8}~ = -\keyindex{punctumauctdown}\pitchp\ . - \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}: -\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}\pitchp\ . - \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise -2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}\pitchp\ . - \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise -2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}\pitchp\ . - -\end{itemize} - All non-\ital{liquescens} symbols have non-spacing variants, namely -\keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu}, -\keyindex{zapostropha} and \keyindex{zoriscus}. - -\subsubsection{Plain complex neumes} -Other \itxem{neumes} can be obtained by combining two or more of these -symbols. Since \itxem{neumes} have a special note head width, an additional -shifting macro is provided, namely \keyindex{groff}. It is similar to -\verb|\roff|, but the offset is smaller. For use with comples neumes, another -shifting macro is provided, namely \keyindex{dgroff}, which causes an -offset twice the offset of \verb|\groff|. - - Since most of these symbols depend on relative pitches of their components, -we cannot provide all possible compact combinations as single symbols. The ones -that are available in \verb|musixgre| are described below. In the following, -$p_1$, $p_2$, $p_3$, and $p_4$ represent pitches specified as usual. Please refer to -the source file \verb|musixtex.tex| if you wish to see the coding of those -examples for which it is not quoted here. - -\def\twop{\itbrace{p_1}\itbrace{p_2}} -\def\threep{\twop\itbrace{p_3}} -\def\fourp{\threep\itbrace{p_4}} - -\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{bivirga}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \bivirga ab\enotes - \notes \bivirga cc\enotes - \zendextract - \end{music} - - This example was coded as: - \begin{quote}\begin{verbatim} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \bivirga ab\enotes - \notes \bivirga cc\enotes - \zendextract - \end{verbatim}\end{quote} - - \item[\keyindex{trivirga}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \trivirga abc\enotes - \Notes \trivirga cca\enotes - \zendextract - \end{music} - - \item[\keyindex{bistropha}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \bistropha ab\enotes - \notes \bistropha cc\enotes - \zendextract - \end{music} - - \item[\keyindex{tristropha}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \tristropha abc\enotes - \Notes \tristropha cca\enotes - \zendextract - \end{music} - - \item[\keyindex{clivis}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \clivis ba\enotes - \notes \clivis ca\enotes - \zendextract - \end{music} - - \item[\keyindex{lclivis}\twop], for example: - - \begin{music}\nostartrule - \setsize1{\Largevalue} - \elemskip 10pt - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \lclivis ba\enotes - \notes \lclivis ca\enotes - \zendextract - \end{music} - - \item[\keyindex{podatus}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \podatus ab\enotes - \notes \podatus ac\enotes - \notes \podatus cf\enotes - \zendextract - \end{music} - - \item[\keyindex{podatusinitiodebilis}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \podatusinitiodebilis ab\enotes - \notes \podatusinitiodebilis ac\enotes - \notes \podatusinitiodebilis cf\enotes - \zendextract - \end{music} - - \item[\keyindex{lpodatus}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \lpodatus ab\enotes - \notes \lpodatus ce\enotes - \zendextract - \end{music} - - \item[\keyindex{pesquassus}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \pesquassus ab\enotes - \notes \pesquassus ae\enotes - \zendextract - \end{music} - - \item[\keyindex{quilismapes}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \quilismapes ab\enotes - \notes \quilismapes ae\enotes - \zendextract - \end{music} - - \item[\keyindex{torculus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \torculus aba\enotes - \notes \torculus cfd\enotes - \notes \torculus afc\enotes - \zendextract - \end{music} - - \item[\keyindex{torculusinitiodebilis}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \torculusinitiodebilis aba\enotes - \notes \torculusinitiodebilis cfd\enotes - \notes \torculusinitiodebilis afc\enotes - \zendextract - \end{music} - - \item[\keyindex{Porrectus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \Porrectus bab\enotes - \notes \Porrectus bac\enotes - \notes \Porrectus bNd\enotes - \notes \Porrectus bMe\enotes - \notes \Porrectus bLe\enotes - \zendextract - \end{music} -\noindent coded: - \begin{quote}\begin{verbatim} - \notes \Porrectus bab\enotes - \notes \Porrectus bac\enotes - \notes \Porrectus bNd\enotes - \notes \Porrectus bMe\enotes - \notes \Porrectus bLe\enotes - \end{verbatim}\end{quote} - - \verb|\Porrectus| exists in four different shapes, depending on the -difference between first and second argument. The constraint is that - $$ p_1-4 \leq p_2 \leq p_1-1 $$ otherwise a diagnostic occurs. Note also that -\keyindex{bporrectus} provides the first curved part of the \verb|porrectus| -command, if you should need it. It has two arguments, the starting pitch and the lower -pitch. - - \item[\keyindex{Porrectusflexus}\fourp], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \Porrectusflexus bacN\enotes - \notes \Porrectusflexus bNdb\enotes - \notes \Porrectusflexus bMeb\enotes - \notes \Porrectusflexus bLea\enotes - \zendextract - \end{music} -\noindent coded: - \begin{quote}\begin{verbatim} - \notes \Porrectusflexus bacN\enotes - \notes \Porrectusflexus bNdb\enotes - \notes \Porrectusflexus bMeb\enotes - \notes \Porrectusflexus bLea\enotes - \end{verbatim}\end{quote} - - - \item[\keyindex{climacus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \climacus cbN\enotes - \Notes \climacus cba\enotes - \Notes \climacus dbN\enotes - \zendextract - \end{music} - - \item[\keyindex{climacusresupinus}\fourp], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \climacusresupinus cbNa\enotes - \Notes \climacusresupinus cbab\enotes - \Notes \climacusresupinus dbNb\enotes - \zendextract - \end{music} - - \item[\keyindex{lclimacus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} -\instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \lclimacus cbN\enotes - \notes \lclimacus cfd\enotes - \notes \lclimacus afc\enotes - \zendextract - \end{music} - - \item[\keyindex{scandicus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \scandicus abe\enotes - \notes \scandicus ceg\enotes - \zendextract - \end{music} - - \item[\keyindex{salicus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \salicus abe\enotes - \Notes \salicus ceg\enotes - \zendextract - \end{music} - - \item[\keyindex{salicusflexus}\fourp], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \salicusflexus abec\enotes - \Notes \salicusflexus cegd\enotes - \zendextract - \end{music} - - \item[\keyindex{trigonus}\threep], -%DAS ???????????? -%for example\footnote{The second example is in principle irrelevant, -%but it shows the possibilities, in case of.}: -for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \trigonus aaN\enotes - \Notes \trigonus cef\enotes - \zendextract - \end{music} - -\end{description} - -\subsubsection{Liquescens complex neumes}\index{liquescens neumes} -\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{clivisauctup}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \clivisauctup ba\enotes - \notes \clivisauctup ca\enotes - \zendextract - \end{music} - \item[\keyindex{clivisauctdown}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \clivisauctdown ba\enotes - \notes \clivisauctdown ca\enotes - \zendextract - \end{music} - \item[\keyindex{podatusauctup}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \podatusauctup ab\enotes - \notes \podatusauctup ac\enotes - \notes \podatusauctup cf\enotes - \zendextract - \end{music} - \item[\keyindex{podatusauctdown}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \podatusauctdown ab\enotes - \notes \podatusauctdown ac\enotes - \notes \podatusauctdown cf\enotes - \zendextract - \end{music} - - \item[\keyindex{pesquassusauctdown}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \pesquassusauctdown ab\enotes - \notes \pesquassusauctdown ae\enotes - \zendextract - \end{music} - - \item[\keyindex{quilismapesauctdown}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \quilismapesauctdown ab\enotes - \notes \quilismapesauctdown ae\enotes - \zendextract - \end{music} - - \item[\keyindex{torculusauctdown}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \torculusauctdown aba\enotes - \notes \torculusauctdown cfd\enotes - \notes \torculusauctdown afc\enotes - \zendextract - \end{music} - - \item[\keyindex{Porrectusauctdown}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \Porrectusauctdown bac\enotes - \notes \Porrectusauctdown bNd\enotes - \notes \Porrectusauctdown bMe\enotes - \notes \Porrectusauctdown bLe\enotes - \zendextract - \end{music} - - \item[\keyindex{climacusauctdown}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \climacusauctdown cbN\enotes - \Notes \climacusauctdown caM\enotes - \Notes \climacusauctdown aNM\enotes - \zendextract - \end{music} - - \item[\keyindex{scandicusauctdown}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \scandicusauctdown abe\enotes - \notes \scandicusauctdown ceg\enotes - \zendextract - \end{music} - - \item[\keyindex{salicusauctdown}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \salicusauctdown abe\enotes - \Notes \salicusauctdown ceg\enotes - \zendextract - \end{music} - - \item[\keyindex{clivisdeminut}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \clivisdeminut ba\enotes - \notes \clivisdeminut ca\enotes - \zendextract - \end{music} - - \item[\keyindex{podatusdeminut}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \podatusdeminut ab\enotes - \notes \podatusdeminut ac\enotes - \notes \podatusdeminut cf\enotes - \zendextract - \end{music} - - \item[\keyindex{torculusdeminut}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \torculusdeminut aba\enotes - \notes \torculusdeminut cfd\enotes - \notes \torculusdeminut afc\enotes - \zendextract - \end{music} - - \item[\keyindex{torculusdebilis}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \torculusdebilis aba\enotes - \notes \torculusdebilis cfd\enotes - \notes \torculusdebilis afc\enotes - \zendextract - \end{music} - - \item[\keyindex{Porrectusdeminut}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \Porrectusdeminut bac\enotes - \notes \Porrectusdeminut bNd\enotes - \notes \Porrectusdeminut bMe\enotes - \notes \Porrectusdeminut bLe\enotes - \zendextract - \end{music} - - \item[\keyindex{climacusdeminut}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \climacusdeminut cbN\enotes - \Notes \climacusdeminut caM\enotes - \Notes \climacusdeminut aML\enotes - \zendextract - \end{music} - - \item[\keyindex{scandicusdeminut}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \scandicusdeminut abe\enotes - \notes \scandicusdeminut ceg\enotes - \zendextract - \end{music} -\end{description} - -\subsection{musixgui}\ixtt{musixgui.tex} Provides macros for -typesetting modern style \itxem{guitar tablatures}. For example: - -\begin{music} -\hsize130mm -\tenrm -\parindent0pt -\generalmeter{\meterfrac34} -\generalsignature1 -\startbarno0 -\def\txh{-6.5} -\def\tx#1*{\zchar\txh{\lrlap{\kern3\Internote#1}}} -\def\rtx#1*{\zchar\txh{\kern-3\Internote#1}} -\stafftopmarg10\Interligne -\raiseguitar{20} -\nostartrule -\startpiece -\addspace{.5\afterruleskip}% -\NOtes\tx We*\qa d\en -\bar -\NOtes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx wish*\qa g\en -\Notes\tx you*\ca g\en -\Notes\tx a*\ca h\en -\Notes\zchar\txh{merry}\ca g\en -\Notes\ca f\en -\bar -\NOtes\guitar C5o-----\gbarre4\gdot26\gdot36\gdot45\rtx christmas,*\qa e\en -\NOtes\qa e\en -\NOtes\guitar {e/H}5o-----\gbarre3\gdot35\gdot45\gdot54\tx we*\qa e\en -\bar -\NOtes\guitar {A$\!^7$}5o-----\gbarre1\gdot23\gdot42\tx wish*\qa h\en -\Notes\tx you*\ca h\en -\Notes\tx a*\ca i\en -\Notes\zchar\txh{merry}\ca h\en -\Notes\ca g\en -\bar -\NOtes\guitar D{}xxo---\gdot42\gdot53\gdot62\rtx christmas,*\qa f\en -\NOtes\qa d\en -\zbar -\NOtes\guitar{D/c}{}xo----\gdot23\gdot42\gdot53\gdot62\tx we*\qa d\en -\bar -\NOtes\guitar{B$^7$}{}xo----\gdot22\gdot31\gdot42\gdot62\tx wish*\qa i\en -\Notes\tx you*\ca i\en -\Notes\tx a*\ca j\en -\Notes\tx ~mer-*\ca i\en -\Notes\tx ry*\ca h\en -\bar -\NOtes\guitar e{}xxo---\gdot32\tx ~christ-*\qa g\en -\NOtes\tx mas*\qa e\en -\Notes\guitar {G/d}{}xxo---\gdot63\tx and*\ca d\en -\Notes\tx a*\ca d\en -\bar -\NOtes\guitar{C$^6$}{}xo----\gdot23\gdot32\gdot42\gdot51\tx ~~hap~-*\qa e\en -\NOtes\tx py*\qa h\en -\NOtes\guitar{D$^7$}{}xo---x\gdot25\gdot34\gdot45\gdot45\gdot53\tx new*\qa f\en -\bar -\NOTes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx ~year.*\ha g\en -\setdoublebar\endpiece -\end{music} - -\medskip -The macro \keyindex{guitar} sets the grid, chord name, barre type, -and on-off indicators for the strings. For example, the first -chord in above example was coded as - -\verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44| - -\noindent where the first argument is the text to be placed above the grid, the -second is empty (relative barre), and the next six characters indicate if the string -is played or not with either \verb|x|, \verb|o| or \verb|-|. The dots are set with -\keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The -rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the position of the barre. - -The whole symbol may be vertically shifted with -\keyindex{raiseguitar}\onen, where $n$ is a number -in units of \keyindex{internote}. When using guitar tablatures, it might be -useful to reserve additional -space above the chord by advancing \keyindex{stafftopmarg} to -something like \verb|stafftopmarg=10\Interligne|. - -For frequently used chords, it might be useful to define your own -macros, e.g. - -\verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%| - - \subsection{musixlit}\label{litu}\label{otherbars} - Provides a notation style intermediate between gregorian and baroque, for -example - -\makeatletter -\catcodesmusic -%\def\vnotes#1\elemskip{\noteskip#1\@l@mskip \multnoteskip\scal@noteskip -% \not@s} - -%\def\not@s{\def|{\nextstaff}\def&{\nextinstrument}\normaltranspose\transpose -% \check@nopen\notes@open\@ne -% \kern\n@skip\advance\x@skip\n@skip \locx@skip\x@skip -% \n@skip\noteskip \noinstrum@nt\z@ \begininstrument} - -%\def\en{\@ndstaff\notes@open\z@ -% \ifx\@ne\V@sw \widthtyp@\z@\t@rmskip \let\V@sw\empty \fi} - -\def\double#1{\roffset{1.2}{\advancefalse#1}#1} -\makeatother - - % Don't know if this example correct ??? But looks nice... -\begin{music} -\parindent0pt -\instrumentnumber{2} -\interstaff{11} -\generalsignature2 -\setclefsymbol2\oldGclef -\setstaffs1{2} -\setclef1\bass -\setinterinstrument1{-\Interligne} -\startpiece -\shortbarrules -\addspace\afterruleskip -\hardlyrics{Il nous a sign\'es de son - }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics*\Hpause h1\en -\qspace\qspace -\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\double{\cnql i}\en -\bar -\hardlyrics{Et nous avons \'e- - }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics~-*\Hpause h1\en -\qspace\qspace -\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\double{\cnql i}\en -\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cnqu g\en -\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cnqu f\en -\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\double{\cnqu h}\en -\bar -\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cnqu h\en -\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cnql k\en -\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\double{\cnql j}\en -\bar -\NOTEs\zhl K\hu a|\zhl f\hu k&\tx ~~ia !*\cnhl k\en -\sepbarrules -\endpiece - -\startpiece -\interbarrules -\addspace\afterruleskip -\hardlyrics{Il nous a sign\'es de son - }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics*\Hlonga h1\en -\qspace\qspace -\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\chl i\en -\bar -\hardlyrics{Et nous avons \'e - }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics~-*\Hlonga h1\en -\qspace\qspace -\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\chl i\en -\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cqu g\en -\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cqu f\en -\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\chu h\en -\bar -\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cqu h\en -\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cql k\en -\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\chl j\en -\bar -\NOTEs\zbreve K\breve a|\zbreve f\breve k&\tx ~~ia !*\zbreve k\en -\sepbarrules -\endpiece -\end{music} - - This package provides: - \begin{itemize}\setlength{\itemsep}{0ex} - \item\keyindex{oldGclef} which replaces the ordinary G clef with an old one, -using (for instrument 2 as an example): - \verb|\settrebleclefsymbol2\oldGclef| - - \item\keyindex{cqu} $p$ provides a square headed quarter note with stem up at -pitch $p$. - - \item\keyindex{cql} $p$ provides a square headed quarter note with stem down at -pitch $p$. - - \item\keyindex{chu} $p$ provides a square headed half note with stem up at -pitch $p$. - - \item\keyindex{chl} $p$ provides a square headed half note with stem down at -pitch $p$. - - \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square -headed -quarter note at pitch $p$. - - \item\keyindex{cnhu} $p$ and \keyindex{cnhl} $p$ provide a stemless square -headed half note at pitch $p$. - - \item\keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch -$p$ and of length $n$ \keyindex{noteskip}. However, in the first of the above -example, this feature has been used to denote an arbitrary length note rather -than a rest! - - \item\keyindex{Hlonga} $p$ $n$ provides an arbitrary length note at pitch -$p$ and of length $n$ \keyindex{noteskip}. -This feature has been used to denote an arbitrary length note in the second of -the above examples. - - \item\keyindex{shortbarrules} has been used to provide bar rules shorter than -the staff vertical width. - - \item\keyindex{interbarrules} has been used to provide bars between the -staffs, rather that over them. This is an arbitrary question of taste... - \end{itemize} - - \subsection{musixlyr} \ixtt{musixlyr.tex} - Enables the recommended method for adding lyrics to a score (see \ref{musixlyr}). - - \subsection{musixmad} \ixtt{musixmad.tex} Increases the number of -instruments, slurs and beams up to twelve. When using this extension, it is -not necessary to explicitly input \verb|musixadd.tex|. - -If you need greater numbers of these elements, see sections -\ref{musixmad_setmaxgroups}, -\ref{musixmad_setmaxinstruments_ccxviiibeams}, -\ref{musixmad_setmaxoctlines}, -\ref{musixmad_setmaxslurs}, and -\ref{musixmad_setmaxtrills}. - - -\subsection{musixper}\label{perc} - -Provides special symbols intended for percussion parts. Included are a -\ital{drum clef}---comprising two vertical parallel lines---and notes with -various specially shaped heads. The note symbols that are available are as -follows: - - \begin{itemize}\setlength{\itemsep}{0ex} - \item The \raise.5ex\hbox{\musixchar113}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|dc|'' (think of {\it d}iagonal {\it c}ross). -Available are -\keyindex{dcqu}, -\keyindex{dcql}, -\keyindex{dcqb}, -\keyindex{dczq}, -\keyindex{dccu}, -\keyindex{dcccu}, -\keyindex{dccl} and -\keyindex{dcccl}. - - \item The \raise.5ex\hbox{\musixchar112}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|dh|'' -(think of {\it d}iagonal cross {\it h}alf open). -Available are -\keyindex{dhqu}, -\keyindex{dhql}, -\keyindex{dhqb}, -\keyindex{dhzq}, -\keyindex{dhcu}, -\keyindex{dhccu}, -\keyindex{dhcl} and -\keyindex{dhccl}. - - \item The \raise.5ex\hbox{\musixchar111}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|do|'' -(think of {\it d}iagonal cross {\it o}pen). -Available are -\keyindex{doqu}, -\keyindex{doql}, -\keyindex{doqb}, -\keyindex{dozq}, -\keyindex{docu}, -\keyindex{doccu}, -\keyindex{docl} and -\keyindex{doccl}. - - \item The \raise.5ex\hbox{\musixchar114}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by -``\verb|x|'' (e.g.\ for spoken text of songs). -Available are -\keyindex{xqu}, -\keyindex{xql}, -\keyindex{xqb}, -\keyindex{xzq}, -\keyindex{xcu}, -\keyindex{xccu}, -\keyindex{xcl} and -\keyindex{xccl}. - - \item The \raise.5ex\hbox{\musixchar115}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by -``\verb|ox|'' . -Available are -\keyindex{oxqu}, -\keyindex{oxql}, -\keyindex{oxqb}, -\keyindex{oxzq}, -\keyindex{oxcu}, -\keyindex{oxccu}, -\keyindex{oxcl} and -\keyindex{oxccl}. - - \item The \raise.5ex\hbox{\musixchar118}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by -``\verb|ro|'' (think of {\it r}h{\it o}mbus). -Available are -\keyindex{roqu}, -\keyindex{roql}, -\keyindex{roqb}, -\keyindex{rozq}, -\keyindex{rocu}, -\keyindex{roccu}, -\keyindex{rocl} and -\keyindex{roccl}. - - \item The \raise.5ex\hbox{\musixchar116}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by -``\verb|tg|'' (think of {\it t}rian{\it g}le). -Available are -\keyindex{tgqu}, -\keyindex{tgql}, -\keyindex{tgqb}, -\keyindex{tgzq}, -\keyindex{tgcu}, -\keyindex{tgccu}, -\keyindex{tgcl} and -\keyindex{tgccl}. - - \item The \raise.5ex\hbox to 1em{\musixchar117\hfil}~{}~symbol which is obtained -using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded by -``\verb|k|'' . -Available are -\keyindex{kqu}, -\keyindex{kql}, -\keyindex{kqb}, -\keyindex{kzq}, -\keyindex{kcu}, -\keyindex{kccu}, -\keyindex{kcl} and -\keyindex{kccl}. - \end{itemize} - -The diamond shaped noteheads described in section \ref{diam} are also -available, because \verb|musixper.tex| inputs \verb|musixdia.tex|. - -If any of the foregoing notes need to be dotted, you must use the explicit -dotting macros \verb|\pt|, \verb|\ppt|, or \verb|\pppt| as described in -section \ref{dots}. - -Since the usage of these note symbols is -not standardized, it would be wise to include in the score a explanation -of which symbol corresponds to which specific percussion instrument. - -A special \itxem{drum clef}---comprising two heavy vertical bars---can -be made to replace the normal clef for the $n$-th intrument by saying -\keyindex{setclefsymbol}\onen\keyindex{drumclef} . -To cause this to appear at the right vertical position, the instrument should -previously have been assigned a treble clef (or not explicitly assigned any -clef, thereby giving it a treble clef by default). - -Percussion music might be written on a staff with either one or five lines. -If there are several different percussions instruments it may be useful to -use a five-line staff with a drum clef, and differentiate the instruments -by the type of the note heads and the apparent -pitch of the note on the staff. Here is an example of the -latter\footnote{provided by Agusti {\sc Mart\'in Domingo}}: - -\medskip -\begin{music} -\generalmeter{\meterfrac44} -\setclefsymbol1\drumclef -\parindent0pt\startpiece -\leftrepeat -\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\bar -\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\bar -\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\setrightrepeat\endpiece -\end{music} -\noindent Its coding is - \begin{quote}\begin{verbatim} -\begin{music} -\instrumentnumber{1} -\generalmeter{\meterfrac44} -\setclefsymbol1\drumclef -\parindent0pt\startpiece -\leftrepeat -\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\bar -\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\bar -\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\setrightrepeat\endpiece -\end{music} - \end{verbatim}\end{quote} - -Here is an example of a single-line percussion staff using -diamond-shaped note heads: - -\begin{music} -\parindent 19mm -\instrumentnumber{3} -\setname1{keyboard} \setname2{drum} \setname3{monks} -\setlines2{1} -\setlines3{4} -\setinterinstrument1{-2\Interligne}% less vertical space above -\setinterinstrument2{-2\Interligne}% and below the percussion -\sepbarrules -\setsign1{-1} % one flat at keyboard -\generalmeter{\meterfrac24} -\setmeter3\empty -\setclef3\alto -\setclef1\bass -\setstaffs12 % 2 staffs at keyboard -\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3 -\setclefsymbol2\drumclef % cancel G clef at instrument 2 -\startextract -\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar -\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes -\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\enotes\bar -\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes -\endextract -\end{music} -\noindent which is coded as follows: - -\begin{verbatim} -\parindent 19mm -\instrumentnumber{3} -\setname1{keyboard} \setname2{drum} \setname3{monks} -\setlines2{1} -\setlines3{4} -\setinterinstrument1{-2\Interligne}% less vertical space above -\setinterinstrument2{-2\Interligne}% and below the percussion -\sepbarrules -\setsign1{-1} % one flat at keyboard -\generalmeter{\meterfrac24} -\setmeter3{\empty} -\setclef3{\alto} -\setclef1{\bass} -\setstaffs1{2} % 2 staffs at keyboard -\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3 -\setclefsymbol2{\drumclef} % cancel G clef at instrument 2 -\startextract -\end{verbatim} - -% (DAS) Sorry, guys, I couldn't figure out how to get the |'s to work in this -% verbatim. -% -\vskip-11pt -\def\Vert{{\tt\char'174}} -\noindent\verb|\Notes\hu F|\Vert\verb|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar|\\ -\verb|\NOtes\qu I|\Vert\verb|\zq N\qu d&\qp&\diapunc f\enotes|\\ -\verb|\NOtes\qu J|\Vert\verb|\zq a\qu e&\ynq4&\diapunc f\enotes\bar|\\ -\verb|\notes\hu G|\Vert\verb|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes|\\ -\verb|\endextract| - - \subsection{musixpoi} - Adds definitions of less common singly and doubly dotted notes. -Available are -\keyindex{ccup}, -\keyindex{zccup}, -\keyindex{cclp}, -\keyindex{zcclp}, -\keyindex{ccupp}, -\keyindex{zccupp}, -\keyindex{cclpp}, -\keyindex{zcclpp}, -\keyindex{cccup}, -\keyindex{zcccup}, -\keyindex{ccclp}, -\keyindex{zccclp}, -\keyindex{cccupp}, -\keyindex{zcccupp}, -\keyindex{ccclpp}, -\keyindex{zccclpp}, -\keyindex{ccccup}, -\keyindex{zccccup}, -\keyindex{cccclp}, -\keyindex{zcccclp}, -\keyindex{ccccupp}, -\keyindex{zccccupp}, -\keyindex{cccclpp} and -\keyindex{zcccclpp}. - - %\check - \subsection{musixps}\label{musixps}\index{musixps@{\tt musixps.tex}} - Activates type K postscript slurs, ties, and hairpins (see \ref{PostscriptSlurs}). - - \subsection{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}} - Provides bowing and other symbols for \itxem{string instruments}\footnote{provided -by Werner {\sc Icking}}. The symbol can be posted at the desired position using - \verb|\zcharnote|\pitchp\verb|{|$command$\verb|}|. The available symbols and -their meanings are as follows: - -{\input musixstr -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - - \item[\hbox to 1em{\AB}~: \keyindex{AB} or \keyindex{downbow}] down-bow - - \item[\hbox to 1em{\AUF}~: \keyindex{AUF} or \keyindex{upbow}] up-bow - - \item[\hbox to 1em{\SP}~: \keyindex{SP}] at the top of bow - - \item[\hbox to 1em{\FR}~: \keyindex{FR}] at the nut of bow - - \item[\GB\ or \Gb~: \keyindex{GB} or \keyindex{Gb}] whole bow - - \item[\UH\ or \Uh~: \keyindex{UH} or \keyindex{Uh}] lower half of bow - - \item[\OH\ or \Oh~: \keyindex{OH} or \keyindex{Oh}] upper half of bow - - \item[\MI\ or \Mi~: \keyindex{MI} or \keyindex{Mi}] middle of bow - - \item[\UD\ or \Ud~: \keyindex{UD} or \keyindex{Ud}] lower third of bow - - \item[\OD\ or \Od~: \keyindex{OD} or \keyindex{Od}] upper third of bow - - \item[\Pizz~: \keyindex{Pizz}] left hand pizzicato or trill - - \end{description}\end{quote} - } - %\check - \subsection{musixsty}\index{musixsty@{\tt musixsty.tex}} - - Provides certain text-handling facilities for titles, footnotes, and other -items not related to lyrics. It should not be used with \LaTeX. It includes - \begin{itemize}\setlength{\itemsep}{0ex} - \item definitions for commonly used fonts such as \verb|\tenrm|, -\verb|\eightrm|, etc.; - \item definitions of \keyindex{hsize}, \keyindex{vsize}, -\keyindex{hoffset}, \keyindex{voffset} suitable for A4 paper; those using -other sizes may wish to modify it once and for all; - \item a set of text size commands: - - \begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm}, -\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 8 point font size; - \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm}, -\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 10 point font size; - \item[\keyindex{twlpoint}] to get 12 point font size; - \item[\keyindex{frtpoint}] to get 14.4 point font size; - \item[\keyindex{svtpoint}] to get 17.28 point font size; - \item[\keyindex{twtypoint}] to get 20.74 point font size; - \item[\keyindex{twfvpoint}] to get 24.88 point font size; - \end{description} - \item commands for creating titles: - \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{author} or -\keyindex{fullauthor} to be put at the right of the first page, below the -title of the piece; the calling sequence is, for example - - \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}| - - \noindent where the \verb|\\| causes the author's name to be displayed on -two lines; - - \item \keyindex{shortauthor} to be put at the bottom of each page; - \item \keyindex{fulltitle} which is the main title of the piece; - \item \keyindex{subtitle} is displayed below the main title of the piece; - \item \keyindex{shorttitle} or \keyindex{title} - which is the title repeated at the bottom of each page; - \item \keyindex{othermention} which is displayed on the left of the page, -vertically aligned with author's name. It may contain \verb|\\| to display it on -several lines; - \item \keyindex{maketitle} which displays all the previous stuff; - \end{itemize} - - \item commands for making \itxem{footnotes}: - \begin{itemize}\setlength{\itemsep}{0ex} - \item The normal Plain-\TeX\ \keyindex{footnote} command, which has two -arguments---not just one as in \LaTeX\protect\index{LATEX@\LaTeX}---namely -the label of the footnote, which can be any sequence of characters, and -the text of the footnote. This command does not work inside -boxes, so it cannot be issued within music; - - \item The \keyindex{Footnote} command, which counts the footnotes and uses a -number as the label of the footnote (equivalent to \LaTeX's \verb|\footnote| -command). The same restriction as with \verb|\footnote| applies concerning -its use within the music coding; - - \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which -places a footnote at the bottom of the current page, but does not put -the footnote label at the place the command is entered in the main text. This -also may not be used within music, but if a footnote is needed whose reference -lies inside the music, it can be entered in two steps: - \begin{enumerate} - \item manually insert the reference inside the music, using e.g. \verb|zcharnote|; - \item post the footnote itself with \verb|\vfootnote| outside the music, -either before \keyindex{startpiece} or between \keyindex{stoppiece} and -\keyindex{contpiece} or equivalent commands. - \end{enumerate} - - \end{itemize} - - \end{itemize} - - \subsection{musixtmr}\index{musixtmr@{\tt musixtmr.tex}} - Replaces the standard \texttt{musixtex} fonts by the Times series fonts, - as default (see \ref{musixtmr}). - - \subsection{musixtri}\index{musixtri@{\tt musixtri.tex}} -Provides triply dotted note symbols. -Available are: -\keyindex{lpppt}, -\keyindex{whppp}, -\keyindex{zwppp}, -\keyindex{huppp}, -\keyindex{hlppp}, -\keyindex{zhppp}, -\keyindex{zhuppp}, -\keyindex{zhlppp}, -\keyindex{quppp}, -\keyindex{qlppp}, -\keyindex{zquppp}, -\keyindex{zqlppp}, -\keyindex{zqppp}, -\keyindex{cuppp}, -\keyindex{zcuppp}, -\keyindex{clppp}, -\keyindex{zclppp}, -\keyindex{qbppp} and -\keyindex{zqbppp}. - - \subsection{tuplet}\index{tuplet@{\tt tuplet.tex}} - Causes the figure in xtuplets to be printed within a small gap in the bracket -(see \ref{tuplet}). - -% DAS Discussed elsewhere -%\section{The \TeX-music Mailing List} -% -%If you decide to learn to use \musixtex, you are likely to wish that there were -%someone to answer your questions. That is exactly what you'll find on the \TeX-music -%mailing list: experts from all over the world with lots of experience with -%\musixtex{} and related software, who are glad to answer questions and help solve -%problems. You can find out more about the list and sign up at -%\href{http://icking-music-archive.org/mailman/listinfo/tex-music} -%{\underline{\tt http://icking-music-archive.org/mailman/listinfo/tex-music}}. - - -\chapter{Acquiring, Installing, and Using \musixtex}\label{installation} - -This chapter will assume that \TeX\ -is installed. Most \unix\ or Linux systems come with \TeX\ already installed. -If using MS Windows, you'll need to have manually installed some version of -\TeX. MiK\TeX\ is the most common variant by far and therefore will be assumed. If -you need to install MiK\TeX, you can get the software from -\href{http://www.miktex.org/}{\underline{\texttt{http://www.miktex.org}}} -or from CTAN. -% DAS Out of date! -%The Werner Icking Archive contains excellent -%\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf}% -%{\underline{instructions for installing MiK\TeX}}% -%\footnote{Thanks to Eva {\sc Jaksch}}. - -\section{Where to get \musixtex: the Werner Icking Archive}\label{getstuff} - -As already mentioned, the home base for all matters related to \musixtex\ is -the Werner Icking Music Archive, at -\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}. -The most up-to-date versions of \musixtex\ and friends are located in the -\href{http://icking-music-archive.org/software/indexmt6.html}{\underline{software}} -section of the archive. The stable distribution of \musixtex\ will be contained in -\href{http://icking-music-archive.org/software/musixtex/musixtex.zip} -{\underline{\verb|musixtex.zip|}}. This will serve any operating system, but -has detailed Windows-specific installation instructions and batch scripts that simplify -installing and running the software. -There is a somewhat differently organized distribution on the CTAN servers at\\ -\href{http://www.ctan.org/tex-archive/macros/musixtex/} -{\underline{http://www.ctan.org/tex-archive/macros/musixtex/}} -with FTP link\\ -\href{ftp://ftp.ctan.org/tex-archive/macros/musixtex/} -{\underline{ftp://ftp.ctan.org/tex-archive/macros/musixtex/}}. -This one is "TDS compliant," which means that it adheres to a recently announced -standard directory structure for \TeX\ systems. It is accompanied by -installation instructions for \unix\ and other OS's, but does not contain any -installation scripts. - -\subsection{End of line characters in text files} -The files in the Werner Icking Archive and in \verb|musixtex.zip| -have been contributed by such a wide -range of authors that there is no common standard for the line endings in text files. -But the key text files serve as input to programs such as \TeX\ and \MF\ -which are insensitive to this. If you use a PC and run into problems using any of -these text files, you might be able to solve them with the program -\verb|flip.exe| which comes with the \musixtex\ distribution. Run it from a -command window by typing \verb|flip -m| $<$filename$>$, and it will -convert line endings from the \unix\ to MS-DOS convention. - -\subsection{Pre-installed \musixtex} -Many versions of \TeX\ include \musixtex\ as a package. The included version is likely -to be out of date and probably should not be used. When an archived version is -downloaded and properly installed, it will supersede the pre-installed version. - -\section{Installing \musixtex} -Installation of the \TeX~ and -\musixtex~ software is very system dependent and will not be detailed here. The -distribution -\href{http://icking-music-archive.org/software/musixtex/musixtex.zip} -{\underline{\verb|musixtex.zip|}} -is Windows-centric but does include all the \musixtex\ files -needed for any OS. For Windows installation, the distribution includes very detailed -instructions in -\href{http://icking-music-archive.org/software/musixtex/musixtex.zip} -{\underline{\verb|mxinsuse.pdf|}} -and a batch file {\tt instmus.bat} which greatly -simplifies the installation process. -Users of other OS's may refer to -\href{http://icking-music-archive.org/software/musixtex/mxinsuse.pdf} -{\underline{\verb|mxinsuse.pdf|}} -or to -%DAS Out of date! -%either -%\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf} -%{\underline{Windows}}\ or -\href{http://icking-music-archive.org/software/musixtex/musixtex-for-unix.html} -{\underline{HOWTO file for \unix}} in the archive. - -Whatever your OS or installation method, there are really just a few -fundamental tasks you must accomplish for a usable install: -\begin{itemize}\setlength{\itemsep}{0ex} - \item \musixtex\ comprises some \TeX\ source files (\verb|.tex|, \verb|.sty|), -font files, and the executable \verb|musixflx|. The \TeX\ sources and font -files must be placed in locations where \TeX\ can find them; - \item \TeX\ must be advised of the locations of those files; - \item If you are installing any postscript fonts, you'll have to add a map -file somewhere in the \TeX\ file structure, and locate and modify a configuration -file such as \verb|config.ps| to record the addition of the map file. - \item \verb|musixflx| must be placed in a folder that is in your search path, -so it can be executed from your working directory. -\end{itemize} - - -\section{Running \musixtex} - -As first stated in Section~\ref{threepass}, to compile a score, you must run -in sequence \verb|etex|, \verb|musixflx|, -and \verb|etex| again. This will produce a \verb|.dvi| file. From this point -forward, this file can be processed like the device-independent output file -for any \TeX\ document. The most common approach and the only one to -be discussed here is to next generate a postscript file. This is accomplished -by running \verb|dvips|, which is included in every \TeX\ system. To view the -postscript, most users run {\tt GSview} or {\tt ghostscript}, which must -be separately downloaded and installed. Finally, you may produce a PDF file -also using GSview, and view that with Acrobat Reader or {\tt GSview}. - -You also can view the \verb|.dvi| file directly using a DVI viewer such as Yap, -but if you are using type K postscript slurs, DVI viewers will not display them. - -Rather than executing all the foregoing programs separately, most users will -find it more convenient to use either a batch file or a shell. The distribution -\verb|musixtex.zip| includes various batch files for compiling and viewing -\musixtex\ files in Windows. Their use is discussed in detail in -\href{http://icking-music-archive.org/software/musixtex/mxinsuse.pdf} -{\underline{\verb|mxinsuse.pdf|}}. - -\chapter{\musixtex\ examples} - -The file \verb|musixdoc.tex|, the source for this manual, contains many useful -examples. In the manual, many examples are accompanied by a display of the code -that produced them, while for a few only an image of the extract is included and you'll -have to look in \verb|musixdoc.tex| to see the coding. - -Other useful examples cannot be embedded in the source, either because they are -meant to be in \TeX, not \LaTeX, or because they are simply to large. For -these the source files also are provided separately. - -When compiling or viewing any of the examples, you should keep in mind that -most DVI previewers and laser printers have -their origin one inch below and one inch to the right of the upper right corner -of the paper, while the musical examples have their upper left -corner just one centimeter to the right and below the top left corner of the page. -Therefore, special parameters may have to be given to the DVI transcription -programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\ -commands have been included within the \TeX\ source. - -\section{Small examples} - -\begin{itemize}\setlength{\itemsep}{0ex} - -\item{\tt ossiaexa.tex}~: This is a stand-alone example of the use of ossia, -provided by Olivier Vogel (section \ref{ossia} on page \pageref{ossia}). - -\item{\tt 8bitchar.tex}~: Using 8bit characters. Here, the European -character set is used. See section \ref{8bit} on page \pageref{8bit} for other sets. - -\end{itemize} - -\section{Full examples} -The small examples above and the longer ones mentioned below are included in -the folder -\verb|MUSIXTEXdistribution\doc\musixtex\manualexa| of \verb|musixtex115.zip|. -Many others are available in -\href{http://icking-music-archive.org/software/musixtex/musixexa.zip} -{\underline{\texttt{musixexa.zip}}} or -\href{http://icking-music-archive.org/software/musixtex/musixexa-T112.tar.gz} -{\underline{\texttt{musixexa-T112.tar.gz}}}. Some of them require the -presence of \verb|musixcpt.tex| which makes examples created in -Music\TeX\ compatible with \musixtex. Here we only mention a few of -special interest. - -\subsection{Examples mentioned in the manual} - -\begin{itemize}\setlength{\itemsep}{0ex} - \item{\tt avemaria.tex}~: the ``M\'editation'' (alias ``Ave Maria'') by -Charles {\sc Gounod} for organ and violin or voice.\index{Gounod, C.@{\sc Gounod, C.}} -To run this five-page example you'll also need \texttt{avemariax.tex}. -It demonstrates the use of separated bar rules (section \ref{avemaria2}) -and the use of staves of different sizes (section \ref{avemaria}). -Also, an additional instrument is created for lyrics. This was a common -practice before the \texttt{musixlyr} package was created by Rainer Dunker. - - \item{\tt glorias.tex}~: a local melody for the French version of -\ital{Gloria in excelsis Deo}, a three-page piece demonstrating the use of the hardlyrics -commands (section \ref{glorias}). {\tt gloriab.tex} is the same piece, but with organ accompaniment. - -\end{itemize} - -\subsection{Other examples, provided by the authors of \musixtex } - -\begin{itemize}\setlength{\itemsep}{0ex} - - \item{\tt traeumer.tex}~: the famous ``Tr\"aumerei'' by -Robert {\sc Schumann}\index{Schumann, R.@{\sc Schumann, R.}} for piano, in genuine -\musixtex\ but with some -additions to perform ascending bitmapped \itxem{crescendos}. -There are also S-shaped slurs between 2 staves. - - \item{\tt parnasum.tex}~: the first page of ``Doctor gradus ad -Parnassum'' by Claude {\sc Debussy}\index{Debussy, -C.@{\sc Debussy, C.}} for piano. -It contains a rather complex example of a new command \verb+\Special+ -to create staff-jumping doubly beamed notes. -\end{itemize} - -\subsection{Additional documentation} - -\begin{itemize}\setlength{\itemsep}{0ex} - - \item{\tt sottieng}~: Notation mistakes, provided by Jean-Pierre Coulon. - -\end{itemize} - -\section{Compiling musixdoc.tex} - -This manual is an excellent example of a primarily text document with embedded -musical excerpts. For this reason it is a \LaTeX\ document and must be compiled -with \verb|latex| rather than \verb|etex|. Those wishing to combine text and -musical excerpts should carefully study how it is done here. - -Before compiling or recompiling \verb|musixdoc.tex|, you should remove all the auxilliary -files {\tt musixdoc.[mx1\|\allowbreak mx2\|\allowbreak aux\|\allowbreak toc\|\allowbreak ind\|\allowbreak idx\|\allowbreak ilg\|\allowbreak out]} -if they are present. Then the following command sequence will produce \verb|musixdoc.ps|: -\begin{quote}\begin{verbatim} -latex musixdoc -musixflx musixdoc -latex musixdoc -makeindex -l musixdoc -latex musixdoc -latex musixdoc -dvips -e0 -t a4 -P pdf -G0 musixdoc -\end{verbatim}\end{quote} - -The initial three steps \verb|latex|\allowbreak$\to$\allowbreak\verb|musixflx|\allowbreak$\to$\allowbreak\verb|latex| build up the basic appearance of the document including many musical examples. -\verb|makeindex| produces the database for the index. -After that, \verb|latex| must be run at least twice to complete cross referencing. -Finally, \verb|dvips| converts the \verb|.dvi| file into \verb|.ps| (making PostScript type K slurs -visible). -To produce \verb|musixdoc.pdf|, open \verb|musixdoc.ps| in \texttt{GSview}. Go to -{\tt File\|Convert}, select \verb|pdfwrite| at 600 dpi resolution, and click -\verb|OK|. - -If you use an older version of \LaTeX\ which doesn't automatically -invoke $\varepsilon$\hbox{-}\nobreak\TeX, you will encounter the -error ``{\tt !~No room for new \string\count}''. -This is because \verb|musixdoc.tex| invokes \verb|musixtex.tex|, which together with \LaTeX\ -requires more storage registers than available in \TeX. -You may be able get around this by using the command -\verb|elatex| instead of \verb|latex|; -however, it is strongly recommended to upgrade your \TeX\ system to a more recent -version in which \verb|latex| automatically invokes $\varepsilon$\hbox{-}\nobreak\TeX. - -\clearpage -{\parindent0pt -\hoffset-15.4mm -\voffset-42mm -\hsize190mm -\vsize285mm -\parskip0pt plus 2pt -% not fine, not clean, but works -% !!! don't look at this !!! -%>>> -\makeatletter -\textheight\vsize -\@colht\vsize -\@colroom\vsize -\makeatother -%<<< -\let\MYTEMP\addcontentsline -\def\addcontentsline#1#2#3{} -\chapter{} -\let\addcontentsline\MYTEMP -\addcontentsline{toc}{chapter}{% - \protect\numberline\thechapter{Summary of denotations}} -\vglue-20mm -\centerline{\bigfont Pitches} -\medskip -\tentt -\def\bs{\tentt\char92} -\setclef1\bass -\afterruleskip2pt -\startpiece -% -% Pitches -% -\addspace\afterruleskip -\notes\wh{`ABCDEFG}\wh{!ABCDEFG}\wh{HIJKLMNabcde}\off{-26\noteskip}% - \zchar{14}{\llap`A}\sk - \zchar{14}{\llap`B}\sk - \zchar{14}{\llap`C}\sk - \zchar{14}{\llap`D}\sk - \zchar{14}{\llap`E}\sk - \zchar{14}{\llap`F}\sk - \zchar{14}{\llap`G}\sk - \zchar{14}A\sk - \zchar{14}B\sk - \zchar{14}C\sk - \zchar{14}D\sk - \zchar{14}E\sk - \zchar{14}F\sk - \zchar{14}G\sk - \zchar{-5}{\llap'A}\zchar{14}H\sk - \zchar{-5}{\llap'B}\zchar{14}I\sk - \zchar{-5}{\llap'C}\zchar{14}J\sk - \zchar{-5}{\llap'D}\zchar{14}K\sk - \zchar{-5}{\llap'E}\zchar{14}L\sk - \zchar{-5}{\llap'F}\zchar{14}M\sk - \zchar{-5}{\llap'G}\zchar{14}N\sk - \zchar{14}a\sk - \zchar{14}b\sk - \zchar{14}c\sk - \zchar{14}d\sk - \zchar{14}e\sk\en -\stoppiece\vskip-3\Interligne\setclef1\treble\contpiece -\notes\wh{abcdefg}\wh{hijklmno}\wh{pqrstuvwxyz}\off{-26\noteskip}% - \zchar{-8}a\sk - \zchar{-8}b\sk - \zchar{-8}c\sk - \zchar{-8}d\sk - \zchar{-8}e\sk - \zchar{-8}f\sk - \zchar{-8}g\sk - \zchar{-8}h\zchar{-4}{\llap'a}\sk - \zchar{-8}i\zchar{-4}{\llap'b}\sk - \zchar{-8}j\zchar{-4}{\llap'c}\sk - \zchar{-8}k\zchar{-4}{\llap'd}\sk - \zchar{-8}l\zchar{-4}{\llap'e}\sk - \zchar{-8}m\zchar{-4}{\llap'f}\sk - \zchar{-8}n\zchar{-4}{\llap'g}\sk - \zchar{-8}o\zchar{-4}{\llap{'\kern-2pt'}a}\sk - \zchar{-8}p\zchar{-4}{\llap{'\kern-2pt'}b}\sk - \zchar{-8}q\zchar{-4}{\llap{'\kern-2pt'}c}\sk - \zchar{-8}r\zchar{-4}{\llap{'\kern-2pt'}d}\sk - \zchar{-8}s\zchar{-4}{\llap{'\kern-2pt'}e}\sk - \zchar{-8}t\zchar{-4}{\llap{'\kern-2pt'}f}\sk - \zchar{-8}u\zchar{-4}{\llap{'\kern-2pt'}g}\sk - \zchar{-8}v\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}a}\sk - \zchar{-8}w\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}b}\sk - \zchar{-8}x\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}c}\sk - \zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk - \zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en -\stoppiece -\medskip -\centerline{\bigfont Notes, Accidentals, Accents, Clefs and Rests} -\medskip -% -% Notes& Accidentals -% -\contpiece -\Notes - \zchar{-4}{Accidentals:}% - \zchar9{\bs maxima}\maxima i\relax - \zchar{12}{\bs longa}\longa i% - \zchar9{\bs breve}\breve i% - \zchar{12}{\bs wq}\wq i% - \zchar{12}{\bs wqq}\wqq i% - \zchar{12}{\bs wh}\wh i% - \zchar{12}{\bs hu}\zchar{-4}>\hu{>f}% - \zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l% - \zchar{12}{\bs qu}\zchar{-4}\^\qu{^f}% - \zchar{12}{\bs ql}\loff{\zchar{-4}{\bs csh}}\csh l\ql l% - \zchar{12}{\bs cu}\zchar{-4}=\cu{=f}% - \zchar{12}{\bs cl}\loff{\zchar{-4}{\bs cna}}\cna l\cl l% - \zchar{12}{\bs ccu}\zchar{-4}\_\ccu{_f}% - \zchar{12}{\bs ccl}\loff{\zchar{-4}{\bs cfl}}\cfl l\ccl l% - \zchar{12}{\bs cccu}\zchar{-4}<\cccu{<f}% - \zchar{12}{\bs cccl}\loff{\zchar{-4}{\bs cdfl}}\cdfl l\cccl l% -\multnoteskip{1.2}% - \zchar{12}{\bs ccccu}\ccccu f% - \zchar{12}{\bs ccccl}\ccccl l% -\multnoteskip{.8}% - \zchar{12}{\bs grcu}\grcu f% - \zchar{12}{\bs grcl}\grcl l\en -\stoppiece -% -% various note heads -% -\contpiece -\Notes -\multnoteskip{1.1}% - \zchar{10}{\bs dqu$^{123}$}% - \zchar{-3}{\eightrm 1 musixdia.tex~~2 musixper.tex~~3 musixgre.tex% - ~~4 musixlit.tex~~5 musixext.tex}\dqu g% - \zchar{10}{\bs yqu$^{123}$}\yqu g% -\multnoteskip{.9}% - \zchar{10}{\bs dcqu$^2$}\dcqu g% - \zchar{10}{\bs dhqu$^2$}\dhqu g% - \zchar{10}{\bs doqu$^2$}\doqu g% - \zchar{10}{\bs xqu$^2$}\xqu g% - \zchar{10}{\bs oxqu$^2$}\oxqu g% - \zchar{10}{\bs roqu$^2$}\roqu g% - \zchar{10}{\bs tgqu$^2$}\tgqu f% - \zchar{10}{\bs kqu$^2$}\kqu f% - \zchar{10}{\bs squ$^3$}\squ g% - \zchar{10}{\bs lsqu$^3$}\lsqu j% - \zchar{10}{\bs rsqu$^3$}\rsqu k% - \zchar{10}{\bs cqu$^4$}\cqu g% - \zchar{10}{\bs cql$^4$}\cql k% - \zchar{10}{\bs chu$^4$}\chu g% - \zchar{10}{\bs chl$^4$}\chl k\en -% -% Pointed Notes and Accents -% -\stoppiece -\medskip -\contpiece -\Notes - \zchar{-5}{\eightrm Accent on beam with prefix {\tt b} and beam reference -number instead of the pitch}% - \zchar{13}{\bs lpz}\lpz f\qu f% - \zchar{13}{\bs upz}\upz l\ql l% - \zchar{13}{\bs lsf}\lsf f\qu f% - \zchar{13}{\bs usf}\usf l\ql l% - \zchar{13}{\bs lst}\lst f\qu f% - \zchar{13}{\bs ust}\ust l\ql l% - \zchar{13}{\bs lppz}\lppz f\qu f% - \zchar{13}{\bs uppz}\uppz l\ql l% - \zchar{13}{\bs lsfz}\lsfz f\qu f% - \zchar{13}{\bs usfz}\usfz l\ql l% - \zchar{13}{\bs lpzst}\lpzst f\qu f% - \zchar{13}{\bs upzst}\upzst l\ql l% - \zchar{16}{\bs downbow}\zchar9\downbow\ql l% - \zchar{13}{\bs upbow}\zchar9\upbow\ql l% - \zchar{16}{\bs flageolett}\flageolett l\ql l% - \zchar{13}{\bs whp}\whp i% - \zchar{13}{\bs qupp}\qupp h\en -\stoppiece -\medskip -% -% clefs -% -\setclefsymbol1\empty -%\setlines 11\relax -\nostartrule\contpiece -\NOtes - \zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk - \zchar9{\bs altoclef}\zchar0\altoclef\sk - \zchar{13}{\bs bassclef}\zchar0\bassclef\sk - \zchar9{\bs smalltrebleclef}\zchar0\smalltrebleclef\sk - \zchar{13}{\bs smallaltoclef}\zchar0\smallaltoclef\sk - \zchar9{\bs smallbassclef}\zchar0\smallbassclef\sk - \zchar{13}{\bs drumclef$^2$}\zchar0\drumclef\sk - \zchar9{\bs gregorianCclef$^3$}\zchar0\gregorianCclef\sk - \zchar{13}{\bs gregorianFclef$^3$}\zchar0\gregorianFclef\sk - \zchar9{\bs oldGclef$^4$}\zchar0\oldGclef\sk\en -\zstoppiece\smallskip -% -% Rests -% -\setlines 15\relax -\resetclefsymbols\startrule\contpiece -\NOtes -\multnoteskip{.5}% - \zchar{13}{\bs qqs}\qqs - \zchar{13}{\bs hs}\hs - \zchar{13}{\bs qs}\qs - \zchar{13}{\bs ds}\ds - \zchar{13}{\bs qp}\qp -\multnoteskip2% - \zchar{13}{\bs hpause}\hpause - \zchar{13}{\bs hpausep}\hpausep - \zchar{9}{\bs lifthpause}\roff{\lifthpause5}\sk - \zchar{13}{\bs pause}\pause - \zchar{13}{\bs pausep}\pausep - \zchar{9}{\bs liftpause}\roff{\liftpause4}\sk - \zchar{13}{\bs PAuse}\PAuse - \zchar{13}{\bs PAUSe}\PAUSe - \zchar{13}{\bs Hpause$^4$}\Hpause i{.8}\sk\en -\stoppiece\vskip-2\Interligne -% -\centerline{\bigfont Other Symbols} -\medskip -% -% more Symbols -% -\contpiece -\NOtes - \zchar{14}{\bs Trille}\zchar{-4}{\bs allabreve}\Trille n1% - \zchar0\allabreve\sk - \zchar{14}{\bs trille}\zchar{-4}{\bs meterC}\trille n1\zchar0\meterC\sk - \zchar{14}{\bs shake}\zchar{-4}{\bs reverseC}\shake n\zchar0\reverseC\sk - \zchar{14}{\bs Shake}\zchar{-4}{\bs reverseallabreve}\Shake n% - \zchar0\reverseallabreve\sk - \zchar{14}{\bs mordent}\mordent n\sk - \zchar{14}{\bs Mordent}\Mordent n\zchar{-4}{\bs meterplus}% - \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\sk -\multnoteskip{.66}% - \zchar{14}{\bs turn}\turn n\sk -\multnoteskip{1.25}% - \zchar{14}{\bs backturn}\backturn n\zchar{-4}{\bs duevolte}\duevolte\sk - \zchar{14}{\bs Shakel}\Shakel n\sk - \zchar{14}{\bs Shakesw}\Shakesw n\zchar{-4}{\bs l[r]par}% - \lpar f\rpar f{\stemlength4\qu f}% - \zchar{14}{\bs Shakene}\Shakene n\sk - \zchar{14}{\bs Shakenw}\Shakenw n\sk\en -\stoppiece -\medskip -% -% again -% -\contpiece -\NOtes\zchar9{\bs metron}\zchar{13}{\metron\qu{99}}\sk\en -\setvoltabox1\bar -\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en -\setvolta2\setendvolta\rightrepeat -\NOtes\loff{\zchar{17}{\bs setvolta}}\en -\doublebar -\notes\zchar{17}{\kern-\afterruleskip\bs coda}\coda n\en\bar -\notes\zchar{17}{\kern-\afterruleskip\bs Coda}\Coda n\en -\NOtes - \zchar{17}{\bs segno}\segno n\sk - \zchar{17}{\kern-2\afterruleskip\bs Segno}\Segno\hsk - \zchar{17}{\bs caesura}\sk\caesura - \zchar{17}{\bs cbreath}\cbreath\sk -\multnoteskip{.66}% - \zchar{17}{\bs PED}\PED\sk - \zchar{17}{\bs sPED}\sPED\sk - \zchar{17}{\bs DEP}\DEP\sk - \zchar{17}{\bs sDEP}\sDEP\sk\en -\stoppiece -\medskip -% -% and again ... -% -\contpiece -\Notes - \zchar{17}{\bs fermataup}\fermataup l% - \zchar{-8}{\bs fermatadown}\fermatadown f{\stemlength3\ql i}% - \zchar{13}{\bs Fermataup}\Fermataup l% - \zchar{-4}{\kern8pt\bs Fermatadown}\Fermatadown f\wh i% - \loff{\zchar{17}{\bs arpeggio d5}}\arpeggio d5\sk -\multnoteskip{.66}% - \loff{\zchar{13}{\bs bracket}}\bracket e{10}\zq n\ql e\en -\notes\stemlength3% - \zchar{17}{\bs uptrio}\uptrio{11}16\ql l\ql n\bsk\bsk - \zchar{-8}{\bs downtrio}\downtrio{-5}17\qu c\qu e\en -\Notes - \zchar{17}{\bs octfinup}\octfinup n{.8}% - \zchar{-4}{\bs octfindown}\octfindown K{.8}\sk\hsk - \zchar{17}{\bs slide$^5$}% - \slide i58\slide i57\slide i56\slide i55\slide i54% - \slide i53\slide i52\slide i51\slide i5{-1}% - \slide i5{-2}\slide i5{-3}\slide i5{-4}\slide i5{-5}% - \slide i5{-6}\slide i5{-7}\slide i5{-8}\sk\en -\leftrepeat -\Notes - \loffset2{\zchar{-4}{\bs leftrepeat}}% - \boxitsep=2pt\zchar{17}{\bs boxit A}\zchar9{\boxit A}\en -\leftrightrepeat -\Notes - \loffset2{\zchar{-8}{\bs leftrightrepeat}}% - \zchar{17}{\bs circleit B}\uptext{\circleit B}\en -\rightrepeat -\NOtes - \loffset2{\zchar{-4}{\bs rightrepeat}}\en -\endpiece\advance\textheight-40mm\eject% -\endmuflex -} - -%\makeatletter -%\renewenvironment{theindex}{\newpage -% \addcontentsline{toc}{chapter}{Index}% -% \pagestyle{plain} -% \let\item\@idxitem -% \parskip\z@ \@plus .3\p@\relax -% \begin{multicols}{2}[{\Huge\bfseries Index} ] -% \par\bigskip}% -%{\end{multicols}}% -%\makeatother -%\printindex - -\makeatletter -\renewenvironment{theindex}{\newpage - \setcounter{secnumdepth}{-1} - \chapter[Index]{}\vspace*{-3cm} -% \addcontentsline{toc}{chapter}{Index} - \pagestyle{plain} - \let\item\@idxitem - \parskip\z@ \@plus .3\p@\relax - \begin{multicols}{3}[{\Huge\bfseries Index} ] - \par\bigskip}% -{\end{multicols}}% -\makeatother - \printindex - -\end{document} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/accidentals.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/accidentals.tex new file mode 100644 index 00000000000..4d9e575b7d6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/accidentals.tex @@ -0,0 +1,73 @@ +\chapter{Accidentals} +\vspace*{-3ex} +Accidentals can be introduced in two ways. + The first way, using explicit macros, consists for +example in coding \keyindex{fl}\pitchp~to put a \ital{flat} at the +pitch $p$, presumably right before a note at the same pitch. This is a +non-spacing command and will automatically place the accidental an +appropriate distance to the left of the anticipated note head. +Naturals, sharps, double flats and double sharps are coded \keyindex{na}\pitchp, +\keyindex{sh}\pitchp, \keyindex{dfl}\pitchp~and \keyindex{dsh}\pitchp~respectively. + +The alternate macros \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh}, +\keyindex{ldfl} and \keyindex{ldsh} +place the same accidentals, but shifted one note head width +to the left. These can be used if a note head has been shifted to the left, or +to avoid collision with other accidentals +in a chord. If you want to shift an accidental by some other amount for +more precise positioning, you could use \keyindex{loffset} with the normal +accidental macro as the second parameter. + + The second way of coding accidentals is to modify the parameter of a +note command. Just put the symbol +\verb|^| for a sharp, \verb|_| for a flat, \verb|=|~for a natural, +\verb|>| for a double sharp, or \verb|<| for a double +flat, right before the letter or number representing the pitch. +For example, \verb|\qb{^g}| yields a +$G\sharp$. This may be used effectively in collective coding, e.g. +\verb|\qu{ac^d}|. + + There are two sizes of accidentals. By default they will be large unless there +is not enough space between notes, in which case they will be made small. Either +size can be forced locally by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or +\keyindex{smallfl}, \keyindex{smallsh}, etc. If you want all accidentals to +be large, then declare \keyindex{bigaccid} near the top of the input file. For +exclusively small ones use \keyindex{smallaccid}; \keyindex{varaccid} will restore +variable sizes. + + For editorial purposes, small accidentals can be placed \ital{above} note +heads. This is done using \keyindex{uppersh}\pitchp, \keyindex{upperna}\pitchp, or +\keyindex{upperfl}\pitchp: + +\begin{music}\nostartrule +\startextract +\NOtes\uppersh l\qa l\en +\NOtes\upperna m\qa m\en +\NOtes\upperfl l\qa l\en +\zendextract +\end{music} + +\vspace*{-2ex} +It also possible to introduce \ital{\ixem{cautionary accidental}s}, +i.e.,~small accidentals enclosed in parentheses. This done by preceding +the name of the accidental keyword with ``\verb|c|'',\label{cautionary} +e.g.,~\keyindex{cfl}\pitchp~for a cautionary flat. + Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl}, +\keyindex{cna}, +\keyindex{cdfl} and \keyindex{cdsh}, which give + +\begin{music}\nostartrule +\startextract +\NOtes\csh g\qa g\en +\NOtes\cfl h\qa h\en +\NOtes\cna i\qa i\en +\NOtes\cdfl j\qa j\en +\NOtes\cdsh k\qa k\en +\zendextract +\end{music} + +\vspace*{-2ex} +\noindent The distance between notes and accidentals is controlled by +\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension}, where +positive values shift to the left and negative to right, with a +default of~\verb|0pt|. diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex new file mode 100644 index 00000000000..0303b7a9a44 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex @@ -0,0 +1,308 @@ +\chapter{Bar Lines} + \section{Single, double, and invisible bar lines}\label{doublebars} +The usual macro to typeset a single bar line is \keyindex{bar}. +There is a possibility of +confusion with a command in \TeX's math mode that has exactly the same name. +However, there will generally be no problem, because inside +\verb|\startpiece...\endpiece|, +\verb|\bar| will take the musical meaning, while outside, it will have the +mathematical one. +If for some reason you need the math \verb|\bar| inside, you can use +\verb|\endcatcodesmusic...\bar...\catcodesmusic|. + +To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You could +also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or +\keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced +by a double bar. + +There is no specific command to print a thin-thick double bar line, but +\keyindex{setdoubleBAR} will cause one in the same cases where +\verb|\setdoublebar| would cause a thin-thin double bar line. + +To make the next bar line invisible, use \keyindex{setemptybar} before +\verb|\bar|. + +You can suppress the beginning vertical rule with saying \keyindex{nostartrule} +and restore the default with \keyindex{startrule} after that. Note that +it is conventional practice to omit beginning rules for single-staff music. + +\section{Simple discontinuous bar lines} +Normally, bars (as well as double bars, final bars and repeat bars) are +drawn continuously from the bottom of the lowest staff of the +lowest instrument to the top of the highest staff of the uppermost +instrument. However, if desired, they can be made discontinuous between +instruments by saying \keyindex{sepbarrules}. An example of this is given in +%avrb +%{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the +%avre +\texttt{avemaria.tex} in Section~\ref{avemaria}\label{avemaria2}. + +Continuous bar lines can be restored with \keyindex{stdbarrules}. In +the extension library are some more types of bar rules, mainly for very old +music, see Section~\ref{otherbars}. + +% DAS. Andre, are there some other kinds of bars in an addon? + +\section{Elementary asynchronous bar lines} + + Situations may arise where the bar lines in different instruments are not +aligned with one another. To set this up, first say \verb|\sepbarrules|. +Then use a combination of the following five commands: + +\begin{itemize}\setlength{\itemsep}{0ex} +\item\keyindex{hidebarrule}\onen~hides the bar rule for instrument $n$, until +this is changed by \verb|\showbarrule|\onen. +\item\keyindex{showbarrule}\onen~stops hiding the bar rule for instrument $n$, +until this is changed by \verb|\hidebarrule|\onen. +\item\keyindex{Hidebarrule}\onen~hides the bar rule for instrument $n$, only +for the next bar. +\item\keyindex{Showbarrule}\onen~shows the bar rule for instrument +$n$ once only, +and then resets it. +% +% DAS ??? +% and then resets it to \verb|hidebarrule|. +% +\item\keyindex{showallbarrules} resets all defined instruments to +\verb|\showbarrule|\onen. This command is automatically inserted with double +bars, final bars and repeats. +\end{itemize} + +Thus, this example + +\begin{music} +\instrumentnumber3 +\setmeter3{{\meterfrac{3}{4}}} +\setmeter2{{\meterfrac{2}{4}}} +\setmeter1{{\meterfrac{3}{8}}} +\nobarnumbers +\sepbarrules + +\startextract +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\hidebarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\showbarrule2\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\showbarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\showbarrule2\hidebarrule3\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\setdoublebar +\bar\hidebarrule3 +\NOtes\pt f\qa f&\qa f&\qa f\en +\Hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\message{Showbarrule3 coming}% +\Hidebarrule2\Showbarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\Hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\setrightrepeat +\endextract +\end{music} + +\noindent was obtained with the following coding: +\begin{quote}\begin{verbatim} +\instrumentnumber3 +\setmeter3{{\meterfrac{3}{4}}} +\setmeter2{{\meterfrac{2}{4}}} +\setmeter1{{\meterfrac{3}{8}}} +\nobarnumbers +\sepbarrules + +\startextract +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\hidebarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\showbarrule2\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\showbarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\showbarrule2\hidebarrule3\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\setdoublebar +\bar\hidebarrule3 +\NOtes\pt f\qa f&\qa f&\qa f\en +\Hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\message{Showbarrule3 coming}% +\Hidebarrule2\Showbarrule3\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\bar +\NOtes\pt f\qa f&\qa f&\qa f\en +\Hidebarrule2\bar +\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en +\setrightrepeat +\zendextract +\end{verbatim}\end{quote} + +\section{Dotted, dashed, asynchronous and discontinuous bar lines}\label{musixdbr} + +The extension +package \href{http://icking-music-archive.org/software/musixtex/add-ons/musixdbr.tex} +{\underline{\ttxem{musixdbr.tex}}} by Rainer {\sc Dunker} provides commands for +dashed, dotted, and arbitrarily discontinuous bar lines. It supports +individual bar line settings for each instrument, multi-staff instruments, +different sizes of staves, and even different numbers of lines per staff, + +To use the package, you must \verb|\input musixdbr| after \verb|musixtex|, and +execute the macro \keyindex{indivbarrules} which activates individual bar line +processing. Then the following commands are available: + +\begin{itemize}\setlength{\itemsep}{0ex} + +\item \keyindex{sepbarrule}\onen~separates bar lines of instrument $n$ from those of instrument $n-1$ + +\item \keyindex{condashbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ + with a dashed line + +\item \keyindex{condotbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ + with a dotted line + +\item \keyindex{conbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ + +\item \keyindex{hidebarrule}\onen~hides bar lines of instrument $n$ + +\item \keyindex{showdashbarrule}\onen~dashes bar lines of instrument $n$ + +\item \keyindex{showdotbarrule}\onen~dots bar lines of instrument $n$ + +\item \keyindex{showbarrule}\onen~shows bar lines of instrument $n$ + +\item \keyindex{sepmultibarrule}\onen~separates bar lines within multistaff instrument $n$ + +\item \keyindex{condashmultibarrule}\onen~dashes bar lines between staves of multistaff instrument $n$ + +\item \keyindex{condotmultibarrule}\onen~dots bar lines between staves of multistaff instrument $n$ + +\item \keyindex{conmultibarrule}\onen~ shows bar lines between staves of multistaff instrument $n$ + +\item \keyindex{allbarrules}[\ital{any of the above commands, without numerical parameter}] sets bar +line style for all instruments together. + +\end{itemize} + +Dashing and dotting style may be changed by redefining the macros +\verb|\barlinedash| or \verb|\barlinedots| respectively (see original definitions in \verb|musixdbr.tex|). + +Here is an example of the use of these macros: + +\begin{music} +\input musixdbr + +\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14\setsize2\tinyvalue +\indivbarrules +\parindent0pt\startextract +%\startpiece +%\scale{2} + % normal barlines + \bar + % separate instrument 2 from 1 + \sepbarrule2 + \notes\en\bar + % barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showbarrule + \NOTes\en\bar + % barlines between staves + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dashed barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdashbarrule + \NOTes\en\bar + % dashed barlines between staves + \allbarrules\condashbarrule + \allbarrules\condashmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dotted barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdotbarrule + \NOTes\en\bar + % dotted barlines between staves + \allbarrules\condotbarrule + \allbarrules\condotmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % a wild mixture of all + \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% + \condashbarrule2\conbarrule3\condotbarrule4% + \condashmultibarrule2\sepmultibarrule3% + \NOTes\en\bar + % conventional ending + \allbarrules\showbarrule + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \NOTes\en\setdoubleBAR\endextract +\end{music} + +This is the code: + +\begin{quote}\begin{verbatim} +\input musixdbr +\instrumentnumber4\setstaffs23\setstaffs32\setlines14\setsize2\tinyvalue +\indivbarrules\parindent0pt\startextract + % normal barlines + \bar + % separate instrument 2 from 1 + \sepbarrule2 + \notes\en\bar + % barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showbarrule + \NOTes\en\bar + % barlines between staves + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dashed barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdashbarrule + \NOTes\en\bar + % dashed barlines between staves + \allbarrules\condashbarrule + \allbarrules\condashmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dotted barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdotbarrule + \NOTes\en\bar + % dotted barlines between staves + \allbarrules\condotbarrule + \allbarrules\condotmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % a wild mixture of all + \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% + \condashbarrule2\conbarrule3\condotbarrule4% + \condashmultibarrule2\sepmultibarrule3% + \NOTes\en\bar + % conventional ending + \allbarrules\showbarrule + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \NOTes\en\setdoubleBAR\zendextract +\end{verbatim}\end{quote} + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/barnumbering.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/barnumbering.tex new file mode 100644 index 00000000000..9ad9d5c79cc --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/barnumbering.tex @@ -0,0 +1,127 @@ +\chapter{Bar Numbering} +The current bar number is stored in a count register call \keyindex{barno}. +When \verb|\startpiece| is encountered, \verb|\barno| is set equal to +another count register called \verb|\startbarno|, whose default value is one. +Therefore, if you want the first bar to have a number $n$ different from~$1$, you +may either say \verb|\startbarno=|$n$ before \verb|\startpiece|, or say +\verb|\barno=|$n$ afterwards, but before the first bar line. You may also alter the bar +number at any time, either by explicitly resetting \verb|\barno|, or by +incrementing it with a command like \verb|\advance\barno-1|. + +\musixtex\ supports two distinct modes for printing bar numbers. In \ital{periodic} +bar numbering, the bar number is +placed above the top staff with a user-selectable frequency. In +\ital{system} bar numbering, the +number will appear at the beginning of each system. + +\section{Periodic bar numbering} +In a normal piece, periodic bar number printing is turned on by default, with a frequency +of one. In an extract, the default is to not print bar numbers. +To turn off bar numbering say \keyindex{nobarnumbers}. To reinstate periodic +bar numbering, or to initiate it in an extract, say \keyindex{barnumbers}. +To change to a +different frequency $n$, say \verb|\def|\keyindex{freqbarno}\verb|{|$n$\verb|}|. + +The appearance and positioning of the bar number is controlled by the +token \keyindex{writethebarno}, which by default is defined as\\ +\verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}| +where the font is defined as \verb|\def\fontbarno{\it}|. You can change +either of these as desired, for example + + \medskip +\begin{music}\barnumbers +\parindent0pt\startpiece +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\def\fontbarno{\bf}% +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en\bar +\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece +\end{music} +\noindent which was coded as +\begin{quote}\begin{verbatim}\barnumbers +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\def\fontbarno{\bf}% +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en\bar +\notes\Qqbbu fgge\Qqbbl jhgi\en +\end{verbatim}\end{quote} + +\section{System bar numbering} +To have a bar number printed just above the beginning of each system, use +\keyindex{systemnumbers}. The distance above the staff is controlled +by \verb|\raisebarno|, which by default is \verb|4\internote| (to fit +above a treble clef). This can be redefined with the command +\begin{quote} +\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}| +\end{quote} +Similarly, the horizontal position is defined by \keyindex{shiftbarno} +which by default is \verb|0pt|. + +The number normally is enclosed in a +box. If you don't like that, you may redefine the macro \verb|\writebarno| +which by default is defined as +\begin{quote} +\verb|\def|\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}| +\end{quote} +This uses the utility \musixtex\ macro \keyindex{boxit} which will enclose +any text string in a box. + +Here are some possible alternate formats for system bar numbers: + +\medskip +\begin{music}\nostartrule +\def\fontbarno{\it}% +\let\extractline\hbox +\startbarno=36 +\hbox to \hsize{% +\hss + \raise20pt\hbox{(a) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss + \def\writebarno{\tenrm\the\barno\barnoadd}% + \def\raisebarno{2\internote}% + \def\shiftbarno{2.5\Interligne}% + \raise20pt\hbox{(b) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss + \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% + \def\raisebarno{2\internote}% + \def\shiftbarno{1.3\Interligne}% + \raise20pt\hbox{(c) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss} +\end{music} +\noindent These were coded as +\begin{itemize}\setlength{\itemsep}{0ex} + \item[(a)] (default) + \item[(b)] + \begin{verbatim} +\def\writebarno{\tenrm\the\barno\barnoadd}% +\def\raisebarno{2\internote}% +\def\shiftbarno{2.5\Interligne}% + \end{verbatim} + \item[(c)] + \begin{verbatim} +\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% +\def\raisebarno{2\internote}% +\def\shiftbarno{1.3\Interligne}% + \end{verbatim} +\end{itemize} + +If the previous line does not stop with a bar rule, then the next +printed system bar number will immediately be followed by the contents +of the token \keyindex{writezbarno}, whose +default setting is the lower case character `\verb|a|'. You might want to +change this to `\verb|+|', in which case you should say +\verb|\def\writezbarno{+}|. + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex new file mode 100644 index 00000000000..348955fb88a --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex @@ -0,0 +1,587 @@ +\chapter{Beams} +\section{Starting a beam} + +Each beam must be declared with a macro issued before the first spacing +note under the beam is coded. Two distinct kinds of macros are provided +for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary +slope and starting height chosen by the user, while the second kind, a +``semi-automatic'' beam, +\ital{computes}~the slope and, in addition, adjusts the starting height in some +cases. + +\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}} + +The basic form of the macros for starting fixed-slope beams is exemplified +by the one for a single upper beam, \keyindex{ibu}\nps. Here +$n$ is the reference number of the beam, $p$ the starting ``pitch'', and +$s$ the slope. + +The reference number is assigned by the user. +It is needed because more than one beam may be open at +a time, and it tells \musixtex\ to which beam subsequent beamed notes and +other beam specification commands are assigned. +By default, the reference number must be in the range [$0,5$], +but the range for 8th to 128th beams will be expanded to [$0,8$] or [$0,11$] +if \verb|musixadd| or \verb|musixmad| respectively has been \verb|\input|. + +Alternatively, you can specify the number of $8$th to $64$th beams +directly\footnote{$8$th to $64$th beams are so basic that the maximum +number of these beams is related to the maximum number of instruments +by this command. +Using $m>12$ may require e-\TeX.} +with \keyindex{setmaxinstruments}\verb|{|$m$\verb|}| +within the range $7<m\leq 100$; the corresponding reference number may then be +in the range from 0 to $(m-1)$. +\label{musixmad_setmaxinstruments_ccxviiibeams} +For $128$th beams, use \keyindex{setmaxcxxviiibeams}\verb|{|$m$\verb|}|. +For $256$th notes, which can only appear in beams, see Section~\ref{musixbbm}. + +The ``pitch'' parameter $p$ is a pitch that is three +staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above} +the bar for a lower beam); in many (but not all) +cases it should be input as the actual pitch of the first note. The slope $s$ +is an integer in the range [$-9,9$]. When multipled +by $5$\%~it gives the actual slope of the heavy bar. Typically a slope of $2$ or $3$ +is okay for ascending scales, and $6$ to $9$ for ascending arpeggios. + +The full set of fixed-slope beam initiation macros is as follows: +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + + \item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}. + \item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}. + \item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}. + \item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}. + \item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}. + \item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}. + \item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}. + \item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}. +\end{description}\end{quote} + +A semi-automatic beam is initiated with a command that has \ital{four} +parameters, the beam number, the first and last pitches, and the total +horizontal extent in +\verb|\noteskip|s, based on the value in effect at the start. For example, +if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to +build an upper beam (beam number $2$) horizontally extending \verb|3\noteskip|, +the first note of which is a \verb|g| and the last note a \verb|j|. +Knowing these parameters it will choose the highest slope number that +corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt +g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as +for fixed-slope beams. However, if there is no sufficiently steep beam +slope available, then \musixtex\ will raise (or lower) the starting point. + + Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu}, +\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl}, +\keyindex{Ibbbl} and \keyindex{Ibbbbl}. + +\section{Adding notes to a beam} + +Spacing notes belonging to beams are coded with the macro +\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is +the beam number and $p$ the pitch of the note. \musixtex\ adjusts the +length of the note stem to link to the beam. + +Chord notes within a beam are entered before the main note with the +non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again, +the stem length will be automatically adjusted as required. + +There are also special macros for semi-automatic beams with +two, three, or four notes: +\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl}, +\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl}, +\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}. + %\check +For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|, +except that the special macros don't require a beam number. +Their use is illustrated in the following example: + +\medskip +\begin{music}\nostartrule +\parindent0pt\startpiece +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en +\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece +\end{music} +\noindent This was coded as\footnote{Editor's note: Most music +typesetting books recommend beam slopes that are \ital{less} than +the slope between the starting and ending note; these macros cannot +provide that.}: +\begin{quote}\begin{verbatim} +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en +\notes\Qqbbu fgge\Qqbbl jhgi\en +\end{verbatim}\end{quote} + %\check + + \section{Ending a beam} + The termination of a given +beam must be declared \ital{before} coding the last spacing note +connected to that beam. The macros for doing that are +\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and +\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for +beams of any +multiplicity. So for example an upper triple beam with +32nd notes is initiated by +\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|. + + Since beams usually finish with a \verb|\qb| for the last note, the +following shortcut macros have been provided: + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee~. + \item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee~. + \item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~, +i.e., no spacing afterwards. + \item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~, +i.e., no spacing afterwards. +\end{description}\end{quote} +The following +synonyms may be used: +\begin{quote}\begin{tabular}{lcl} +\keyindex{tql} & for & \keyindex{tqb}\\ +\keyindex{tqu} & for & \keyindex{tqh}\\ +\keyindex{ztql} & for & \keyindex{ztqb}\\ +\keyindex{ztqu} & for & \keyindex{ztqh}\\ +\end{tabular}\end{quote} + + +\section{Changing multiplicity after the beam starts} +Multiplicity (the number of heavy bars) can be increased at any position after +the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of +upper beam +number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to +increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The +commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same +for lower beams. +Thus, the +sequence + +\begin{music}\nostartrule +\startextract +\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en +\zendextract +\end{music} +\noindent has been coded as +\begin{quote}\begin{verbatim} +\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en +\end{verbatim}\end{quote} + +To decrease multiplicity to one, use \keyindex{tbbu}\onen~or +\keyindex{tbbl}\onen. To decrease to two or three use +\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example, + +\begin{music}\nostartrule +\startextract +\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en +\zendextract +\end{music} +\noindent has been coded as + +\begin{quote}\begin{verbatim} +\startextract +\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en +\zendextract +\end{verbatim}\end{quote} + +Although at first it may seem counterintuitive, +the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts +may also be invoked when the multiplicity is one. In this case +a second, third, or fourth heavy bar will be opened one note width \ital{before} +the current stem, and immediately closed \ital{at} the stem. +Thus the following sequences + +\begin{music}\nostartrule +\let\extractline\hbox +\hbox to \hsize{% +\hss + \startextract + \Notes\ibu0e0\qbp0e\tbbu0\tbu0\qb0e\en + \zendextract +\hss\hss + \startextract + \Notes\ibu0e0\qbpp0e\tbbbu0\tbbu0\tbu0\qb0e\en + \zendextract +\hss} +\end{music} +\noindent are coded +\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim} +\Notes\ibu0e0\qbp0e% + \tbbu0\tbu0\qb0e\en +\end{verbatim}\end{minipage}\hfill +\begin{minipage}{.4\textwidth}\begin{verbatim} +\Notes\ibu0e0\qbpp0e% + \tbbbu0\tbbu0\tbu0\qb0e\en +\end{verbatim}\end{minipage}\hfill + +\medskip + + +The symmetrical pattern is also possible. For example: + +\begin{music}\nostartrule +\startextract +\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en +\zendextract +\end{music} +\noindent has been coded as: +\begin{quote}\begin{verbatim} +\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en +\end{verbatim}\end{quote} + +The constructions in this section illustrate some general +properties of +beam initiation and termination commands: To mate properly with the +expected stems, the starting position of the heavy bar(s) (for initiation commands) +and the ending position (for terminations) will be at +different horizontal locations +depending on whether they are for upper or lower beams: The position for +upper beam commands is one note head width to the right of those for +lower beams. In fact this is the \ital{only} difference between upper +and lower termination commands. Both types will operate on whatever kind of +beam is open and has the same beam number. + +Recognizing this principle, in the example just given it was necessary to +shift the double termination to the right by one note head width, using the +command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for +any \musixtex\ macro. + +Here is another, slightly more complicated example which also uses +\verb|\roff|: + +\begin{music}\nostartrule +\startextract +\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en +\notesp\tbbu0\qbp0f\en +\Notes\tbu0\qb0f\en +\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en +\Notes\qb0f\en +\notes\tbbbu0\tbbu0\tbu0\qb0f\en +\zendextract +\end{music} +\noindent has been coded as: +\begin{quote}\begin{verbatim} +\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en +\notesp\tbbu0\qbp0f\en +\Notes\tbu0\qb0f\en +\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en +\Notes\qb0f\en +\notes\tbbbu0\tbbu0\tbu0\qb0f\en +\end{verbatim}\end{quote} + +\noindent Note that the first beam opening command used a pitch one step +below the note. This makes the stem shorter by one pitch unit, since it is always +the \ital{closest} heavy bar that is separated from the given pitch by +three staff spaces. + +We close this section with an example showing how to +open a beam of one sense, increase multiplicity, then terminate with +opposite sense: + +\begin{music}\nostartrule +\startextract +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en +\zendextract +\end{music} +\noindent which has been coded as +\begin{quote}\begin{verbatim} +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en +\end{verbatim}\end{quote} + +One may save some typing by defining personalized +\TeX\ macros to +perform any oft-repeated sequence of commands. For example, +one could define a set of four sixteenths by the macro: + +\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}| + +\noindent where the first argument is the slope and the other four +arguments are the pitches of the four successive sixteenths. + + %\check + \section{Shorthand beam notations for repeated notes}\index{repeated patterns} +Sometimes you may want to indicate repeated short notes with open note heads joined +by a beam. Here's an example of how to do that +using the \keyindex{hb} macro: + +\begin{music}\nostartrule +\startextract +\Notes\ibbl0j0\hb0j\tbl0\hb0j\en +\Notes\ibbu0g0\hb0g\tbu0\hb0g\en +\zendextract +\end{music} +\noindent which has been coded as: +\begin{quote}\begin{verbatim} +\Notes\ibbl0j0\hb0j\tbl0\hb0j\en +\Notes\ibbu0g0\hb0g\tbu0\hb0g\en +\end{verbatim}\end{quote} + +It is also possible to dispense with the stems: + +\begin{music}\nostartrule +\startextract +\Notes\ibbl0j3\wh j\tbl0\wh l\en +\Notes\ibbu0g3\wh g\tbu0\wh i\en +\zendextract +\end{music} +\noindent which was coded as +\begin{quote}\begin{verbatim} +\Notes\ibbl0j3\wh j\tbl0\wh l\en +\Notes\ibbu0g3\wh g\tbu0\wh i\en +\end{verbatim}\end{quote} +\noindent A different look could be obtained as follows: + +\begin{music}\nostartrule +\startextract +\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\en +\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\en\qspace +\zendextract +\end{music} +\noindent which was coded as: +\begin{quote}\begin{verbatim} +\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\en +\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\en\qspace +\end{verbatim}\end{quote} + +Yet another way to indicate repeated notes is given in the +following example: + + \begin{music}\nostartrule +\startextract +\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibu0j0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar +\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j% + \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en +\zendextract + \end{music} + \noindent whose coding (due to Werner {\sc Icking}) is + +\begin{quote}\begin{verbatim} +\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibu0j0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar +\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j% + \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en +\end{verbatim}\end{quote} + + \section{Beams that cross line breaks} + +Although careful typesetting can usually avoid it, occasionally +a beam may need to cross a line break. If so, it must be manually terminated at +the end of one line and continued in the next. This +can be done by shifting beam terminations and initiations +using \keyindex{roff} and/or +\keyindex{loff}, or by inserting a spacing command such as +\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf +Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip + +\begin{music} +\parindent0pt +\def\rqs{\lower\Interligne\rlap\qs} +\def\snotes{\vnotes1\elemskip} +\setstaffs1{2} +\generalsignature{2} +\setclef1{\bass} +\interstaff{12} +\startpiece +%%% bar 1 +\addspace\afterruleskip +\snotes|\tinynotesize\ibsluru0n\ibbu0m5\qb0{=m}\tqh0n\en +\qspace +\Notes\zchar{-7}\sPed\loffset{.3}{\fl E}\zq E\qu{_I}% + |\zql g\ibu2l0\busf2\qb2{=m}\en +\Notes|\tubslur0o\qb2{_l}\en +\Notes\loffset{.3}{\fl L}\zq L\ibl0L0\qb0{_b}% + |\ibl1h0\zqb1g\bupz2\qb2l\en +\Notes\zq L\tqb0b|\tbl1\zqb1g\bupz2\tqh2l\en +\NOtes\zq L\ql b|\zql g\qu l\en +\notes\zchar{-7}\sPed\zchar{-7}{\eightit ~~~sempre}% + \zchar{14}{\pp\eightit~sempre}\zq I\ibbu1J0\qb1L|\qs\en +\notes\qs|\zq N\ibbu3d0\qb3{_d}\en +\notes\qb1E|\rqs\en +\notes\qs|\fl e\zq N\rq e\qb3d\en +%%% bar 2 +\bar +\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\rqs\en +\qspace +\notes\qs|\lfl d\zq d\zq {=f}\qb3N\en +\notes\tqh1{_E}|\rqs\en +\notes\qs|\zq d\zq g\tqh3N\en +\notes\zq I\ibbu0J0\qb0L|\rqs\en +\notes\qs|\zq d\ibbu1d0\qb1N\en +\notes\qb0E|\rqs\en +\notes\qs|\fl e\rq e\zq d\qb1N\en +\notes\zq I\qb0L|\rqs\en +\notes\qs|\zq f\zq d\qb1N\en +\notes\tqh0E|\rqs\en +\notes\qs|\zq g\zq d\tqh1N\en +\notes\zq I\ibbu0J0\qb0L|\rqs\en +\notes\qs|\zq d\ibbu1d0\qb1N\en +\notes\qb0E|\rqs\en +\notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en +\endpiece +\end{music} +\noindent The prolongation of the two upper beams at the end is +illustrated in the code fragment +\begin{quote}\begin{verbatim} +\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en +\end{verbatim}\end{quote} + %\check + + \section{Beams with notes on several different staves} + +Here's a simple example from {\sc Brahms}'s +Intermezzo Op.~118, provided by +Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip + +\begin{music} +\interstaff{12} +\setstaffs1{2} +\setclef1\bass +\generalmeter\allabreve +\startextract +\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en +\bar +\nspace +\Notes\ibu0L2\qb0{CEJLcL}% + \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en +\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en +\bar +\Notes\ttie1\zh{.L.a}\hl{.e}% + \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en +\NOtes\qp\nextstaff\zq{q}\ql{j}\en +\endextract +\end{music} + %\check +\noindent The coding is +\begin{verbatim} +\interstaff{13} +\instrumentnumber{1} +\setstaffs1{2} +\setclef1\bass +\generalmeter\allabreve +\startextract +\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en +\bar +\nspace +\Notes\ibu0a1\qb0{CEJLcL}% + \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en +\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en +\bar +\Notes\ttie1\zh{.L.a}\hl{.e}% + \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en +\NOtes\qp\nextstaff\zq{q}\ql{j}\en +\endextract +\end{verbatim} + +\noindent (This example also shows that there is no problem in extending +a beam across a bar line.) + +The general features that enable this type of coding as well as the +more complex example to follow are + \begin{itemize}\setlength{\itemsep}{0ex} +% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl}, +%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm +%define beams whose initial vertical position and slope are fixed +%relative +%to the staff where they begin, but notes in other staves can still be +%connected to them using \Bslash{\tt qb}\onen. +% +% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate +%beam $n$ at the specified position, but \musixtex\ remembers the beam +%parameters until a new beam with the same number is defined. +%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or +%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still +%generate notes connected to the phantom extension of this beam, +%\ital{provided they are issued in a different staff}. If the command +%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after +% the beam had ended, an error would result. +% + \item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}}, +{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}} +define beams whose initial vertical position and slope are fixed +relative +to the staff where they begin, but notes in other staves can still be +connected to them using {\Bslash\texttt{qb}\onen}. + + \item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen} +terminate +beam $n$ at the specified position, but \musixtex\ remembers the beam +parameters until a new beam with the same number is defined. +Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or +\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still +generate notes connected to the phantom extension of this beam, +\ital{provided they are issued in a different staff}. If the command +\verb|\qb|\enpee\ were issued on the same staff as the beam after + the beam had ended, an error would result. + + + + + + \item If the beam is initiated on one staff, +notes in a lower staff can be connected to it, but only \ital{after} the beam +has been defined. This may require using the command \keyindex{prevstaff} +to go back one staff, as described in Section~\ref{movingtostaffs}. + + \end{itemize} + + Here is an example: + + \begin{music} + \setstaffs13 + \setclef1{6000} + \startextract + \notesp + \nextstaff\Ibbbu0Af7\prevstaff + \qb0{AEH^JLa}\relax\nextstaff + \qb0{******^c}\tqh0e\relax + |\zq{h^jl}\ql o\en + \notesp + \nextstaff + \Ibbbu0hG6\qb0{hec}\prevstaff + \qb0{***aLJ}\tqh0H\relax\nextstaff + |\zq{h^jl}\ql o\en \nspace + \zendextract + \end{music} + + \noindent which is coded as: + + \begin{quote} + \begin{verbatim} + \setstaffs13 + \setclef1{6000} + \startextract + \notesp + \nextstaff\Ibbbu0Af7\prevstaff + \qb0{AEH^JLa}\relax\nextstaff + \qb0{******^c}\tqh0e\relax + |\zq{h^jl}\ql o\en + \notesp + \nextstaff + \Ibbbu0hG6\qb0{hec}\prevstaff + \qb0{***aLJ}\tqh0H\relax\nextstaff + |\zq{h^jl}\ql o\en \nspace + \zendextract + \end{verbatim} + \end{quote} +In this example we see not only multiple uses of \keyindex{nextstaff} and +\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes +(see Section~\ref{CollectiveCoding}). + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex new file mode 100644 index 00000000000..eef0b1296f7 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/changing.tex @@ -0,0 +1,426 @@ +\chapter{Changing Clefs, Keys and Meters} + +\section{Introduction}\label{contextintro} + +To define clefs, key signatures, or meters at the start of a piece, +or to change one or more of these attributes\footnote{In this section, +\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere +else in a score, +\musixtex\ requires two steps. The first step is to \ital{set} the new values of +the attributes. +Most of the commands for this have the form \verb|\set|...~. They will be +described in the following subsections. + +But this alone will +not cause anything to be changed or printed. The second step is to activate the +change. This is done by issuing one of the +following commands (outside \verb|\notes|$\dots$\verb|\en|): +\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|, +\verb|\Contpiece|, +\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|, +\verb|\changecontext|, +\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|, +\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform +other functions as well, and some may be used even when no attributes +change. Features unrelated to changing attributes are detailed elsewhere. +The first eleven will activate all pending new attributes. +If more than one type is activated by a single command in this manner, +then regardless of the order +they were set, they will always appear in the following order: clef, key signature, +meter. +The last three commands in the above list obviously activate only +the specific type of attribute referred to in the name of the command. + +The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext| +will respectively insert a single, double, or invisible bar +line before printing the attributes. + +\section{Key Signatures} + +We've already seen in Section~\ref{whatspecify} how to set key +signatures for all instruments with \keyindex{generalsignature}, or for +specific instruments with \keyindex{setsign}. As just noted, these commands only +prepare for the insertion of the signatures into the score; it is +really \verb|\startpiece| that puts them in place at the beginning of the +score. + +The commands \verb|\generalsignature| and \verb|\setsign| also serve to set +new key signature(s) anywhere in score. The change can then be activated with one of +the eleven general commands listed above, or with \keyindex{changesignature} if +in the middle of a bar. +While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar +line, the differences are that the latter increments the bar number counter and +inserts a horizontal space of \verb|\afterruleskip| after the new signature(s). +All of these options will repost signatures that have not been changed. + +Normally, changing a signature from flats to sharps or vice-versa, or +reducing the number of sharps or flats, will produce the appropriate set of +naturals to indicate what has been suppressed. This standard feature can be +temporarily inhibited by the command \keyindex{ignorenats} issued right before +the change-activating command. + +Here is an example showing various possibilities for changing key signatures. +Note the comments between the code lines. + +\begin{quote}\begin{verbatim} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +\Notes\qu K&\qu d|\qu e\en +% Signature change in a single instrument with two staves. +% Naturals appear by default, indicating cancelled sharps. +\setsign20\changesignature +\Notes\qu J&\qu d|\qu e\en +% When changing signature in the middle of a bar and no naturals +% are posted, the new signature can be confused with a simple accidental. +\setsign11\ignorenats\changesignature +\Notes\qu M&\qu d|\qu e\en +% New signatures after a double bar line +\generalsignature{-2}\Changecontext% +\Notes\qu K&\qu d|\qu e\en% +\Notes\qu K&\qu d|\qu e\en% +% New signatures after an invisible bar line. Note the +% difference in spacing compared with beat 3 of the prior measure +\generalsignature{1}\zchangecontext% +\Notes\qu K&\qu d|\qu e\en% +\end{verbatim}\end{quote} + +\begin{music} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +\Notes\qu K&\qu d|\qu e\en +% Signature changing in a single instrument with 2 staves +% Naturals are allowed to shown there are no more sharps +\setsign20\changesignature +\Notes\qu J&\qu d|\qu e\en +% Signature changing in a single staff without naturals +% if there is no bar line, the signatures are confusing: +% it is not clear if they are for a single note or not +\setsign11\ignorenats\changesignature +\Notes\qu M&\qu d|\qu e\en +% New signatures after a double bar line +\generalsignature{-2}\Changecontext% +\Notes\qu K&\qu d|\qu e\en% +\Notes\qu K&\qu d|\qu e\en% +% New signatures after an invisible bar line +% see the difference in space comparing beat 2 +\generalsignature{1}\zchangecontext% +\Notes\qu K&\qu d|\qu e\en% +\endextract +\end{music} + + +\section{Clefs}\label{treblelowoct} + +Macros that define clefs have already been discussed in Section~\ref{whatspecify}. By way of review, here are all of the possible clefs +(applied to the lowest staff): +%avrb +\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}} + +\begin{center}\vskip-1ex\footnotesize%\small +\begin{tabular}{||c|c|c|c|c||}\hline\hline +&&&&\\ +\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\ +\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+ +&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline +\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2 +&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline +%\end{tabular} +&&&&\\ +%\begin{tabular}{ccccc} +&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\ +\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+ +&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline +\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7 +&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline +%This one uses \setclefsymbol1\empty : +%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline +\end{tabular} +\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later} +\end{center} +%avre + +Just as with key signatures, these commands only \ital{prepare} for clef changes. +To \ital{activate} them, any of the first eleven commands listed in Section~\ref{contextintro} could be used. However, one should keep in mind that +according to modern conventions, a clef change at a bar line is posted +before the bar line, while for example \verb|\changecontext| would post it +after the bar line. In part for this reason, we have the special command +\keyindex{changeclefs}. It can be used anywhere outside +\verb+\notes...\en+ to activate a clef change and insert an amount of +horizontal space to accommodate the new clef symbol(s), without printing a +bar line. Sometimes no added +space is required, in which case \keyindex{zchangeclefs} should be used. + +Here are some examples of clef changes: + +\begin{quote}\begin{verbatim} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +% Change in one staff only, with added space +\setclef1\treble\changeclefs% +\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en% +% Combined with signature change, also no extra space needed +% twice the same clef in staff 2 - with the help of a blank clef +\setclef28\zchangeclefs\setclef2\treble% +\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% +\ignorenats\changesignature% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change before barline +\setclef1\treble\zchangeclefs\bar% +\Notes\qu k&\cu{de}|\qu e\en% +% clef change after barline +\setclef1\bass\bar\changeclefs% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change after barline with changecontext +\setclef1\treble\changecontext% +\Notes\cu k&\cu d|\qu e\en% +% twice the same clef +\setclef18\zchangeclefs\setclef1\treble\changeclefs% +\Notes\cu k&\cu e |\en% +\zendextract +\end{verbatim}\end{quote} +\begin{music} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +% Change in one staff only, with added space +\setclef1\treble\changeclefs% +\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en% +% Combined with signature change, also no extra space needed +% twice the same clef in staff 2 - with the help of a blank clef +\setclef28\zchangeclefs\setclef2\treble% +\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% +\ignorenats\changesignature% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change before barline +\setclef1\treble\zchangeclefs\bar% +\Notes\qu k&\cu{de}|\qu e\en% +% clef change after barline +\setclef1\bass\bar\changeclefs% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change after barline with changecontext +\setclef1\treble\changecontext% +\Notes\cu k&\cu d|\qu e\en% +% twice the same clef +\setclef18\zchangeclefs\setclef1\treble\changeclefs% +\Notes\cu k&\cu e |\en% +\endextract +\end{music} + +\noindent Of course the examples in the last two bars are contrary +to accepted practice. + +Clef changes initiated with the \verb|\setclef| command have several features +in common. When activated after the beginning of the piece, the printed symbol +is smaller than the normal one used at the beginning of the piece. Also, +\musixtex\ automatically adjusts vertical positions of noteheads consistent +with the new clef. + +There is an additional group of macros for setting new clefs which does not share +either of these features. In other words, they will always print full sized symbols, and they +won't change the vertical positions of noteheads from what they would have been +before the new symbol was printed. We could call this process ``clef symbol substitution'', +because all it does is print a different symbol (or no symbol at all) in place of +the underlying clef which was set in the normal way. + +You'll need to use clef symbol substitution if you want to have a so-called +\index{octave clefs}\label{octclef}octave treble clef or octave bass +clef, i.e., one containing a numeral 8 above or +below the normal symbol. The syntax for setting upper +octaviation +is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\ +or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation +it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or +\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to +\ital{replace} normal bass or treble clefs with a different symbol, they +require that the normal clefs be set first. For example + +\noindent\begin{minipage}{80mm} +\begin{music}\nostartrule + \parindent 19mm + \instrumentnumber{4} + \generalmeter{\empty} + \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble + \setbassclefsymbol1\basslowoct + \setbassclefsymbol2\bassoct + \settrebleclefsymbol3\treblelowoct + \settrebleclefsymbol4\trebleoct +\startextract +\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\en +\zendextract +\end{music} +\end{minipage} +\begin{minipage}{50mm} +\begin{verbatim} +\parindent 19mm +\instrumentnumber{4} +\generalmeter{\empty} +\setclef1\bass \setclef2\bass +\setclef3\treble \setclef4\treble +\setbassclefsymbol1\basslowoct +\setbassclefsymbol2\bassoct +\settrebleclefsymbol3\treblelowoct +\settrebleclefsymbol4\trebleoct +\startextract +\Notes\qu{`abcdefghi}&\qu{`abcdefghi}% +&\qu{abcdefghi}&\qu{abcdefghi}&\en +\zendextract +\end{verbatim} +\end{minipage} + +\index{clefs (empty)} +Another application of clef symbol substitution is to cause no clef to be +printed, as for example might be desired in percussion music, This +can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which +once activated would replace \ital{all} clef symbols in the first (lowest) +staff of instrument $n$ with blanks. + +Normal symbols for those clefs that have been substituted can be restored by +\keyindex{resetclefsymbols}. + +Four other small clef symbols are available: \verb|\smalltrebleoct|, +\verb|\smalltreblelowoct|, \verb|\smallbassoct|, and \verb|\smallbasslowoct|. +They look just like the corresponding normal-sized symbols, and are useful by +clef symbol substitution for clef changes after the beginning of a piece, as +demonstrated in the following example. + +The various clef symbol substitution commands can only be used to substitute for +\texttt{treble}, \texttt{alto}, or \texttt{bass} clefs. + +In the following example, (1) is two normal clef changes. At (2) the clef is first changed +back to treble and then the \verb|\treblelowoct| symbol is substituted by using +\verb|\settrebleclefsymbol|. +When changing the clef away from treble and then back as at (3), the substitution +symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution. +If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see +in the three clefs after (5) in comparison with (2). These also illustrate the use of the small +octave clef symbol. Obviously the second clef after (5) is +nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7). + +\begin{music} +\instrumentnumber1\setclef1\bass +\startpiece +\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{2}\qu J\en +\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\doublebar +\notes\zchar{-5}{5}\qu J\en +\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\qu I\en\setclef1\treble\changeclefs +\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs +\notes\qu i\en +\endpiece +\end{music} + +\noindent This is the code: + +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\instrumentnumber1\setclef1\bass +\startpiece +\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{2}\qu J\en +\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\doublebar +\notes\zchar{-5}{5}\qu J\en +\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\qu I\en\setclef1\treble\changeclefs +\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs +\notes\qu i\en +\endpiece +\end{verbatim}\end{quote} + +\section{Meter changes} + +As mentioned in Section~\ref{generalmeter}, a common \itxem{meter} for all +staves can be specified by \keyindex{generalmeter}\verb|{|$m$\verb|}|, +where $m$ denotes the meter. On the other hand, meter changes in specific +staves are implemented with +\keyindex{setmeter}\onen\verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}|, +where $n$ is the number of the instrument, $m1$ specifies the meter +of the first (lowest) staff, $m2$ the second staff, and so forth. (Only enter +as many $m$'s as necessary.) + +Since meter changes are meaningful only across bars, there is no special command to +activate a new meter; rather, they are activated with the general commands +\keyindex{changecontext}, etc., listed in Section~\ref{contextintro}. + +The next example shows a few methods to get a meter change, in all staves or +in a single staff. + +\begin{small} +\begin{quote}\begin{verbatim} +\instrumentnumber2\setstaffs22% +\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% +\setclef1{\bass}\generalsignature2% +\startextract +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\lower2pt\hbox{\meterfrac{\meterlargefont 2}{}}}% +{\meterfrac{3}{4}}}\changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 11 +% Meters, clefs, and key signatures. +% All 3 clefs after bar (probably bad form) if no changeclefs +\setmeter1{{\meterfrac{2}{8}}}% +\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% +\setsign2{-1}% +% How to force showing the bass clef? +\setclef1\bass\setclef2{23}% +\Changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 12 +% Meters, clefs, and key signatures, with clef before the bar. +% Maybe not best form if signatures are involved +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% +\setsign2{-1}% +\setclef1\treble\zchangeclefs\changecontext +\Notes\qu k&\cu{de}|\qu e\en +\end{verbatim}\end{quote} +\end{small} +\begin{music} +\instrumentnumber2\setstaffs22% +\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% +\setclef1{\bass}\generalsignature2% +\startextract +\setmeter1{{\meterfrac{2}{4}}}% +% How big the '2' must be? +\setmeter2{{\lower2pt\hbox{\meterfrac{\meterlargefont 2}{}}}% +{\meterfrac{3}{4}}}\changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 11 +% Meter Clefs and Key Signatures +% all 3 clefs after bar if no changeclefs +\setmeter1{{\meterfrac{2}{8}}}% +\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% +\setsign2{-1}% +% How to force showing the bass clef? +\setclef1\bass\setclef2{23}% +\Changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 12 +% Meter Clefs Keys Signatures all 3 with clef before the bar +% probably not if signatures are involved +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% +\setsign2{-1}% +\setclef1\treble\zchangeclefs\changecontext +\Notes\qu k&\cu{de}|\qu e\en +\endextract +\end{music} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/embedding.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/embedding.tex new file mode 100644 index 00000000000..519eb93220f --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/embedding.tex @@ -0,0 +1,180 @@ +\chapter{Embedding Musical Excerpts in Text Documents} + +Here we discuss the options for including music in text documents. The first +decision is whether or not to use \LaTeX\footnote{We'll assume a user wanting +to embed a musical excerpt in a \LaTeX\ document is already familiar with the +fundamentals of \LaTeX. For more information about it, see for example the manual +\ital{\LaTeX: A Document Preparation System} by Leslie {\sc Lamport}}. +Because \LaTeX\ so effectively simplifies +production of text-based \TeX\ documents, most users take that path, and most of the +descriptions given here will assume that's the case\footnote{Please do not be confused; +while \LaTeX\ is recommended for text-based documents containing musical +excerpts, its use is definitely discouraged for ordinary self-contained musical scores +of any sort.}. + +If for some reason you choose not to use \LaTeX\ for musical excerpts, +the basic approach is simply to set off the musical +parts between \verb|\startpiece| or \verb|\contpiece| and \verb|\stoppiece| or +\verb|\endpiece|, or between \verb|\startextract| and \verb|\zendextract|. But +some details in what follows will also apply without \LaTeX. + +There are two basic approaches to embedding musical excerpts in \LaTeX\ +documents. The first method is to directly include the \musixtex\ code in +the \LaTeX\ source file. That will be the subject of the next subsection. The +other is to create an EPS (encapsulated Postscript) or PDF file containing only the +excerpt, and then ``paste'' it into the \LaTeX\ file. That will be covered in +Section~\ref{embedeps}. + +The advantages of using the direct method are that all of the source code for +all excerpts can be kept in the same file as the text, and that there is no +limit on the length of the excerpt. +The advantage of the EPS/PDF method is that you don't have to burden the \LaTeX\ +source with any of the \musixtex\ paraphernalia. That in turn permits use of +primitive versions of the \TeX\ compiler that may not have the capacity +to handle the direct method (due to the number of registers consumed by \LaTeX\ +and \musixtex). The disadvantages are that you must create and keep +track of a separate \TeX\ and EPS/PDF file for every excerpt, and that the excerpt +must not span any page breaks. On balance, the +direct method is probably to be preferred. + +\section{Directly embedding excerpts in \LaTeX\ documents}\label{excerpts} + +To use the direct method, add \verb|\usepackage{musixtex}| to the preamble. +This will cause the file +\ttxem{musixtex.sty} to be loaded, so naturally you must make that file +available in a place where \TeX\ can find it. That file simply inputs two +other files, \verb|musixtex.tex| and \ttxem{musixltx.tex}, which again must +obviously be available to \TeX. + +Now you are in position to directly embed an excerpt by inserting code at the +appropriate place in the source file. The most common type of excerpt is +one that occupies less than a full line and is to be horizontally centered. In +that case, the extract should begin with the command \keyindex{begin\LBR music\RBR}, +followed by any preliminary commands. Then, instead of \verb|\startpiece|, +use \keyindex{startextract}. Now comes the normal \musixtex\ coding. Finally, +end the extract with \keyindex{endextract} instead of \verb|\endpiece| +or \verb|\stoppiece|, followed by \keyindex{end\LBR music\RBR}. + +To terminate an extract without any bar line, use \keyindex{zendextract} +instead of \verb|\endextract|. +To create a left-justified excerpt, use the sequence +\begin{quote} +\verb|\let\extractline\leftline|. +\end{quote} +If several extracts are to be placed on the same line, you can +redefine \keyindex{extractline} as demonstrated in the following +example\footnote{The macro {\tt\Bslash extractline} is defined once and for all in +{\tt musixtex.tex} as {\tt\Bslash centerline}. You might think that the suggested +coding would permanently redefine {\tt\Bslash extractline}, thereby upsetting the +normal function of {\tt\Bslash startextract ... \Bslash endextract} for subsequent use. +But it doesn't, because any actions within +\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, not +global.}: + +% DAS temp (where is the reference???) +%An example of this is given at \ref{extractline} on page \pageref{extractline}. +% end DAS temp +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\let\extractline\hbox +\hbox to \hsize{% +\hss\startextract ... \zendextract\hss% +\hss\startextract ... \zendextract\hss} +\end{music} +\end{verbatim}\end{quote} + +An even shorter type of extract is one that is embedded \ital{within} a line of text. +To insert \musixtex\ symbols within a line of text, you could begin by defining +\keyindex{notesintext} as follows\footnote{provided by Rainer {\sc Dunker}}: + +\begin{quote}\begin{verbatim}\begin{music}\nostartrule +\makeatletter +\def\notesintext#1{% + {\let\extractline\relax + \setlines10\smallmusicsize \nobarnumbers \nostartrule + \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt + \startextract\addspace{-\afterruleskip}#1\zendextract}} +\makeatother +\end{music}\end{verbatim}\end{quote} + +Then, for example, the code + +\begin{verbatim} +Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} +not \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}} +\end{verbatim} + +\noindent would produce: ``Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} not +\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}~''. + +\noindent The \verb|\raisebox| voids the vertical space that is introduced by the notes. + +Finally, you may want to insert an extract containing more than one line +of music. This is the easiest of all: between +\verb|\begin{music}| and \verb|\end{music}|, use \ital{exactly} the same +coding you would to make an ordinary score. + +\enlargethispage*{4ex} +The best way to learn how to apply these methods is to study +the source files for this document\footnote{Do note, +however, that {\tt musixdoc.tex} loads a \texttt{musixdoc.sty} package +in its preamble, not just \texttt{musixtex.sty}; the former performs the functions of \texttt{musixtex.sty} +as well as numerous tasks peculiar to this particular document.}. + +%DAS I don't think this section is worth including. + +% \section{Wide music in \LaTeX}\label{musixblx} +% Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the +%page size in a way which is not supposed to be changed within a given document. +%This means that text horizontal and vertical sizes are somewhat frozen so that +%one can hardly insert pieces of music of page size different from the size +%specified by the \LaTeX{} \itxem{style}. +%Although a \ttxem{musixblx.tex} has been provided, which makes the +%\ital{environment} \verb|bigmusic| available. +%\zkeyindex{begin\LBR bigmusic\RBR} +%The main drawback is an unpredictable behaviour of top and bottom +%printouts, especially page numberings. +% +% If the whole of a document has wide pages, it can be handled with the +%\ttxem{a4wide} style option, or any derivate of it. + +\section{Embedding musical excerpts as PDF or EPS files} +\label{embedeps} +To use this method of including excerpts, you first must create a separate +\musixtex\ input file for each excerpt. Process each such file with +\TeX\ and \verb|musixflx| to generate a \verb|.dvi| file. Generate +a Postscript file from each \verb|.dvi| using \verb|dvips|. Then +convert each Postscript file to a \verb|.pdf| or \verb|.eps| file using +\verb\ps2pdf\ or \verb\ps2eps\; +if you are using Windows, {GSview} can be used for either. Note that +conversion to EPS (Encapsulated Postscript) is possible only for \emph{single-page} Postscript files. + +To set up your \LaTeX\ document for including \verb|.pdf| or \verb|.eps| files, you must post +the command \verb|\usepackage{graphicx}| in the preamble of the +document. Now, you may include each \texttt{sample.pdf} or \texttt{sample.eps} file at the appropriate place +in the {\LaTeX} document with a command +like \keyindex{includegraphics}\verb|{sample}|. If an embedded file is a PDF (rather than an EPS), +the document must be processed with \verb|pdflatex| (rather than \verb|latex|). + +\section{Issues concerning \texorpdfstring{{\Bslash catcodes}}{catcodes}} +\label{catcodeprobs} + +\musixtex\ uses the following symbols differently from plain \TeX: \verb|>|, + \verb|<|, \verb&|&, \verb|&|, \verb|!|, \verb|*|, \verb|.|, and \verb|:|\ .\\ +The symbols are given their special meanings by executing the macro +\keyindex{catcodesmusic}, and are restored to their plain \TeX\ meanings with +\keyindex{endcatcodesmusic}. When setting either a self-contained score or +a musical extract, you normally need not worry +about this at all, because \verb|\startpiece| or \verb|\startextract| executes +\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\endextract| executes +\verb|\endcatcodesmusic|. But there are some special situations where you +might need to use these catcode-modifying macros explicitly. One is if you +were to define a personalized macro outside +\verb|\startpiece ... \endpiece|, but which incorporated any of the +symbols with their \musixtex\ meanings. Another would be if you wished to have +access to facilities enabled by alternate style files such as +{\tt\ixem{french.sty}} which change \keyindex{catcode}s themselves. In +such cases, provided you have input \verb|musixtex.tex|, you can always +invoke \keyindex{catcodesmusic} to set the \keyindex{catcode}s at their +\musixtex\ values, and \keyindex{endcatcodesmusic} to restore them to their +prior values. diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/examples.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/examples.tex new file mode 100644 index 00000000000..d0aeb1e6cdb --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/examples.tex @@ -0,0 +1,124 @@ +\chapter{\musixtex\ Examples} + +The file \verb|musixdoc.tex|, the source for this manual, contains many useful +examples. In the manual, many examples are accompanied by a display of the code +that produced them, while for a few only an image of the extract is included and you'll +have to look in the \verb|musixdoc| source files to see the coding. + +Other useful examples cannot be embedded in the source, either because they are +meant to be in \TeX, not \LaTeX, or because they are simply too large. For +these the source files also are provided separately. + +When compiling or viewing any of the examples, you should keep in mind that +most DVI previewers and laser printers have +their origin one inch below and one inch to the right of the upper right corner +of the paper, while the musical examples have their upper left +corner just one centimeter to the right and below the top left corner of the page. +Therefore, special parameters may have to be given to the DVI transcription +programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\ +commands have been included within the \TeX\ source. + +\section{Small examples} + +\begin{itemize}\setlength{\itemsep}{0ex} + +\item{\tt ossiaexa.tex}~: This is a stand-alone example of the use of ossia, +provided by Olivier Vogel (Section~\ref{ossia} on page \pageref{ossia}). + +\item{\tt 8bitchar.tex}~: Using 8bit characters. + +\end{itemize} + +\section{Full examples} +The small examples above and the longer ones mentioned below are included in +the documentation folder of the \musixtex\ package. +Some of them require +\verb|musixcpt.tex| which makes examples created in +Music\TeX\ compatible with \musixtex. Here we mention a few of +special interest. + +\subsection{Examples mentioned in the manual} + +\begin{itemize}\setlength{\itemsep}{0ex} + \item{\tt avemaria.tex}~: the ``M\'editation'' (alias ``Ave Maria'') by +Charles {\sc Gounod} for organ and violin or voice.\index{Gounod, C.@{\sc Gounod, C.}} +To run this five-page example you'll also need \texttt{avemariax.tex}. +It demonstrates the use of separated bar rules (Section~\ref{avemaria2}) +and the use of staves of different sizes (Section~\ref{avemaria}). +Also, an additional instrument is created for lyrics. This was a common +practice before the \texttt{musixlyr} package was created by Rainer Dunker. + + \item{\tt glorias.tex}~: a local melody for the French version of +\ital{Gloria in excelsis Deo}, a three-page piece demonstrating the use of the hardlyrics +commands (Section~\ref{glorias}). {\tt gloriab.tex} is the same piece, but with organ accompaniment. + +\end{itemize} + +\subsection{Other examples, provided by the authors of \musixtex } + +\begin{itemize}\setlength{\itemsep}{0ex} + + \item{\tt traeumer.tex}~: the famous ``Tr\"aumerei'' by +Robert {\sc Schumann}\index{Schumann, R.@{\sc Schumann, R.}} for piano, in genuine +\musixtex\ but with some +additions to perform ascending bitmapped \itxem{crescendos}. +There are also S-shaped slurs between 2 staves. + + \item{\tt parnasum.tex}~: the first page of ``Doctor gradus ad +Parnassum'' by Claude {\sc Debussy}\index{Debussy, +C.@{\sc Debussy, C.}} for piano. +It contains a rather complex example of a new command \verb+\Special+ +to create staff-jumping doubly beamed notes. +\end{itemize} + +\subsection{Additional documentation} + +\begin{itemize}\setlength{\itemsep}{0ex} + + \item{\tt sottieng}~: Notation mistakes, provided by Jean-Pierre Coulon. + +\end{itemize} + +\section{Compiling \texttt{musixdoc.tex}} + +This manual is an excellent example of a primarily text document with embedded +musical excerpts. For this reason, it is a \LaTeX\ document and must be compiled +with \verb|latex| rather than \verb|etex|. Those wishing to combine text and +musical excerpts should carefully study how it is done here. + +Before compiling or recompiling \verb|musixdoc.tex|, you should remove all the auxiliary +files {\tt musixdoc.[mx1\|\allowbreak mx2\|\allowbreak aux\|\allowbreak toc\|\allowbreak ind\|\allowbreak idx\|\allowbreak ilg\|\allowbreak out]} +if they are present. Then the following command sequence will produce \verb|musixdoc.ps|: +\begin{quote}\begin{verbatim} +latex musixdoc +musixflx musixdoc +latex musixdoc +makeindex musixdoc +latex musixdoc +latex musixdoc +dvips -e0 musixdoc +\end{verbatim}\end{quote} +The initial three steps \verb|latex|\allowbreak$\to$\allowbreak\verb|musixflx|\allowbreak$\to$\allowbreak\verb|latex| build up the basic appearance of the document including musical examples. +The \verb|makeindex| step produces the database for the index. +After that, \verb|latex| must be run at least twice to complete cross referencing. +Finally, \verb|dvips| converts the \verb|.dvi| file into \verb|.ps|. +To produce \verb|musixdoc.pdf|, use \verb|ps2pdf| or the Distiller component of Adobe Acrobat, or open \verb|musixdoc.ps| in \texttt{GSview}, go to +{\tt File\|Convert}, select \verb|pdfwrite| at 600 dpi resolution, and click +\verb|OK|. +Or if you have the \verb|musixtex| script, just run +\begin{quote} +\verb|musixtex -l -x musixdoc| +\end{quote} +where the \verb|-l| option is to use \verb|latex| as the processing engine +and \verb|-x| is to create a new index database. + +%If you use an older version of \LaTeX\ which doesn't automatically +%invoke $\varepsilon$\hbox{-}\nobreak\TeX, you will encounter the +%error ``{\tt !~No room for new \string\count}''. +%This is because \verb|musixdoc.tex| invokes \verb|musixtex.tex|, which together with \LaTeX\ +%requires more storage registers than available in \TeX. +%You may be able get around this by using the command +%\verb|elatex| instead of \verb|latex|; +%however, it is strongly recommended to upgrade your \TeX\ system to a more recent +%version in which \verb|latex| automatically invokes $\varepsilon$\hbox{-}\nobreak\TeX. + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex new file mode 100644 index 00000000000..9c64ef2c4c2 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extensions.tex @@ -0,0 +1,2150 @@ +\chapter{Extension Library} +All of the following files are invoked by saying \keyindex{input} \ital{filename}\ . +Most of them are fully compatible with \musixtex\ in that they do not redefine +any existing macros but rather provide additional functionality. In future +versions of \musixtex\ we may very well incorporate many of them directly into +\verb|musixtex.tex|, but for now we leave them separate. + + \section{musixadd}\ixtt{musixadd.tex} +Increases the number of instruments, slurs and beams from six to nine. + + \section{musixadf} +\input musixadf +This file and the associated fonts (by Hiroaki \textsc{Morimoto}) +define some additional and alternative musical accents, as follows. +\begin{description} +\item[small swells, larger sforzatos:] +\ \\\begin{music} +\nostartrule +\startextract +\NOTes + \ccharnote{-8}{\Bslash ulsw}\ulsw l\ql l% + \ccharnote{13}{\Bslash llsw}\llsw f\qu f% +\en\bar +\NOtes + \ccharnote{-8}{\Bslash uSfz}\uSfz l\ql l% + \ccharnote{13}{\Bslash lSfz}\lSfz f\qu f\qsk% +\en +\endextract +\end{music} +\item[breaths:] +\ \\ +\begin{music} +\nostartrule +\startextract +\NOTes + \zcharnote{-8}{\Bslash cuBreath}\cuBreath \qu f% + \zcharnote{13}{\Bslash clBreath}\clBreath \qu f% +\en\bar +\NOtes + \ccharnote{-8}{\Bslash zuBreath}\zuBreath \qu f% + \ccharnote{13}{\Bslash zlBreath}\zlBreath \qu f% +\en +\endextract +\end{music} +\item[coda with serifs, upright segno:] +\ \\ +\begin{music} +\nostartrule +\startextract +\NOTes + \sk + \ccharnote{-4}{\Bslash scoda}\scoda n\sk\sk% + \ccharnote{-4}{\Bslash upsegno}\upsegno n\sk% +\en +\endextract +\end{music} +\end{description} +The following commands will replace the default specified accents by the new ones +defined in \texttt{musixadf.tex}: + \verb|\replacesforzato|, + \verb|\replacecoda|, + \verb|\replacesegno|. + + \section{musixbm} +This file does nothing; it is retained only for compatibility with +\musixtex{} T.110 or earlier. +Since version T.111, \verb|musixtex.tex| itself contains all the functions +of the older \texttt{musixbm}, namely +commands for 128th notes, either with flags or with beams: +\keyindex{ibbbbbu}, +\keyindex{ibbbbbl}, +\keyindex{nbbbbbu}, +\keyindex{nbbbbbl}, +\keyindex{tbbbbbu}, +\keyindex{tbbbbbl}, +\keyindex{Ibbbbbu}, +\keyindex{Ibbbbbl}, +\keyindex{cccccu}, +\keyindex{cccccl}, +\keyindex{ccccca}, +\keyindex{zcccccu} and +\keyindex{zcccccl}. + + + \section{musixbbm}\label{musixbbm} + Provides $256$th notes, but only for use within beams, via the commands +\keyindex{ibbbbbbu}, +\keyindex{ibbbbbbl}, +\keyindex{nbbbbbbu}, +\keyindex{nbbbbbbl}, +\keyindex{tbbbbbbu}, +\keyindex{tbbbbbbl}, +\keyindex{Ibbbbbbu} and +\keyindex{Ibbbbbbl}. + +By default \texttt{musixbbm} provides six $256$th beams with +reference number $0$ to $5$. +You can specify a larger maximum number +directly with \keyindex{setmaxcclvibeams}\verb|{|$m$\verb|}| within the +range\footnote{This may require e-\TeX.} $7\leq m\leq 100$. + +\section{musixcho}\label{song} + Enables certain macros intended for choral music\footnote{Remember +that we now recommend using \texttt{musixlyr} for any except the +simplest lyrics. The extension \texttt{musixcho} is only for those +diehards who choose to ignore this advice}. Provides the following commands: +\keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight}, +\keyindex{Dtx} and \keyindex{Drtx} for two-line text, \keyindex{Ttx} and +\keyindex{Trtx} for three-line text, \keyindex{Qtx} and \keyindex{Qrtx} for +four-line text. To eliminate zigzagging lyrics lines, all multiple line texts +are automatically vertically justified with the macro \keyindex{ChroirStrut}, +defined as \verb|\vphantom{\^Wgjpqy}|. + +The macros \keyindex{tx}\verb|{|$text$\verb|}|, +\keyindex{rtx}\verb|{|$text$\verb|}| cause song text to be left-justified +on the insertion point rather then centered. + \keyindex{hf}\verb|{|$m$\verb|}| sets a text +continuation rule of length $m$ \verb|\noteskip|. + +Consult the source file {\tt musixdoc.tex} to see the coding of the following +example: + +\begin{music} +\ninerm +\parindent9mm +\braceheight5.4\Interligne\relax +%\rightline{Arr.: H.~W.~Eichholz} +\instrumentnumber2 +\generalsignature{-2} +\generalmeter{\meterfrac22} +\setclef1\bass +\relativeaccid +\setinterinstrument1{11\Interligne} +\songtop2 +\songbottom1 +\setname2{\vbox{\hsize\parindent\centerline{Sop}\centerline{Alt}}} +\setname1{\vbox{\hsize\parindent\centerline{Ten}\centerline{Bass}}} +\sepbarrules\nobarnumbers +\beforeruleskip-2pt +\startpiece +%% bar 1 +\znotes&\rlap{\kernm2em\Qrtx 1.|2.|3.|4.*}\en +\NOTes\sslur ILd1\sslur bNu1\zhl I\hu b% + &\Qtx\ixhf{Oh}|No|No|There'll*\issluru0f\sslur dad1\zhup f\hl d\en +\Notes\zhl L\hu N&\Qtx ~|more|more|~be*\hl{^c}\en +\NOtes&\tsslur0g\qu g\en +%%% bar 2 +\bar +\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql d\en +\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en +%%% bar 3 +\bar +\nspace +\NOTes\sslur JMd1\sslur bau1\zhl J\hu b% + &\Qtx\ixhf{oh}|no|no|there'll*\issluru0j\sslur edd1\zhup j\hl{^e}\en +\Notes\zhl M\hu a&\Qtx~|more|more|~be*\hl{=e}\en +\NOtes&\tsslur0k\qu k\en +%%% bar 4 +\bar +\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu j\ql d\en +\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en +%%% bar 5 +\bar +\NOTesp\sslur IJd1\sslur bau1\lpt I\zhl I\hup b% + &\Qtx\ixhf{oh}|no|no|~there'll*\isslurd0f\issluru1j\zhup k\hlp f\en +\NOtes\zql J\qu a&\Qtx~|more|more|~be*\tsslur1f\zqu f\roff{\tsslur0e\ql e}\en +%%% bar 6 +\bar +\NOtes\zql K\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql f\en +\NOtes\zql J\qu b&\zqu i\ql e\en +\NOtes\zql I\qu b&\rlap{\kernm1\Internote\bigrbrace}\rtx~~~~over*\zqu i\ql d\en +\NOtes\zql G\qu b&\zqu k\ql f\en +%%% bar 7 +\bar +\nspace +\NOTes\zhl J\hu b\caesura&\tx ~me,*\zhu j\hl{^e}\caesura\en +\Notes\zcl J\cu b&\rtx ~over*\zcu j\cl e\en +\NOtesp\zqlp J\qup b&\zqup k\lpt e\ql e\en +\endpiece +\end{music} + +\section{musixcpt} + +Empowers \musixtex\ to run files created under +Musi\textbf{c}TeX, the predecessor of \musixtex, such as some of the examples +provided by Daniel {\sc Taupin}. It is not needed for any files created +under \musixtex, and is included mainly for historical completeness. + +\section{musixdat} +Enables the command \keyindex{today}, which sets the current date in one of +several possible languages. The language is selected by an optional + preparatory command \verb|\date...|. +The default is \keyindex{dateUSenglish}, but this can changed, either at the +end of \ttxem{musixdat.tex} for a permanant change, or right before issuing +\verb|\today|. Available choices and sample results are summarized below: +\smallskip +\begin{quote}\begin{tabular}{ll}\hline +\verb|\dateUSenglish|&\dateUSenglish\today\\ +\verb|\dateaustrian|&\dateaustrian\today\\ +\verb|\dateenglish|&\dateenglish\today\\ +\verb|\datefrench|&\datefrench\today\\ +\verb|\dategerman|&\dategerman\today\\\hline +\end{tabular}\end{quote} + +\section{musixdbr} +Enables dashed and dotted bar lines (see Section~\ref{musixdbr}). + +\section{musixdia}\label{diam} +Enables notes with diamond-shaped heads as follows: +\begin{itemize}\setlength{\itemsep}{0ex} + \item Solid note heads (\raise.5ex\hbox to .6em{\musixchar37}) are obtained +using the macros + \keyindex{yqu}, \keyindex{yqup}, +\keyindex{yqupp}, \keyindex{yql}, \keyindex{yqlp}, \keyindex{yqlpp}, +\keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp}, \keyindex{yqb}, +\keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu}, +\keyindex{ycl}, \keyindex{yccl}, \keyindex{ycccl}, \keyindex{yccccl}, +\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}. +(Think of d{\it y}\kern.5pt amond). A solid diamond with no stem is obtained +with \keyindex{ynq} (spacing) or \keyindex{yznq} (non-spacing). + \item Open note heads (\raise.5ex\hbox to .6em{\musixchar38}) are obtained +using the macros +\keyindex{dqu}, \keyindex{dqup}, +\keyindex{dqupp}, \keyindex{dql}, \keyindex{dqlp}, \keyindex{dqlpp}, +\keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp}, \keyindex{dqb}, +\keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu}, +\keyindex{dcl}, \keyindex{dccl}, \keyindex{dcccl}, \keyindex{dccccl}, +\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}. +(Think of {\it d}\kern.5pt iamond). +An open diamond with no stem is obtained +with \keyindex{dnq} (spacing) or \keyindex{dznq} (non-spacing). + \end{itemize} + +One use of these note heads is for a string part with \itxem{harmonic notes}. +%(see \ref{othernotes}) +% DAS removed description which was misplaced in the samll=notes section 2.18 4/30/06 +For example, + +\begin{music} +\parindent0pt +\generalsignature{-2} +\generalmeter\allabreve +\startextract +\NOTes\dzq o\zh d\hu h\en +\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\en +\bar +\NOTes\dzq g\hu k\en +\NOTes\hpause\en +\bar +\NOTes\dzq o\zh d\hl h\en +\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\en +\bar +\NOTes\dzq g\hu k\en +\NOTes\hpause\en +\endextract +\end{music} +\noindent was coded as follows: +\begin{quote}\begin{verbatim} +\generalsignature{-2} +\generalmeter\allabreve +\startextract +\NOTes\dzq o\zh d\hu h\en +\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\en +\bar +\NOTes\dzq g\hu k\en +\NOTes\hpause\en +\bar +\NOTes\dzq o\zh d\hl h\en +\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\en +\bar +\NOTes\dzq g\hu k\en +\NOTes\hpause\en +\endextract +\end{verbatim}\end{quote} + +Another use is for percussion parts. In fact the file \verb|musixdia.tex| +is automatically loaded if you input {\tt musixper.tex} (see Section~\ref{perc}). + +\section{musixec}\label{ecfonts} + This package will replace the \texttt{OT1}-encoded Computer Modern fonts +by \texttt{T1}-encoded EC versions. +Use as follows: +\begin{quote}\begin{verbatim} +\input musixtex +\input musixec +... +\end{verbatim}\end{quote} + + + \section{musixeng} + This package is provided for music typesetters who are allergic to the default +rest names, which are +taken from French, German or Italian. It does not provide new features, only +new command names: +\medskip + \begin{quote}\begin{tabular}{ll}\hline +\ital{original}&\ital{alternate}\\\hline +\keyindex{PAUSe}&\keyindex{Qwr}\\ +\keyindex{PAuse}&\keyindex{Dwr}\\ +\keyindex{liftpause}&\keyindex{liftwr}\\ +\keyindex{pausep}&\keyindex{wrp}\\ +\keyindex{pause}&\keyindex{wr}\\ +\keyindex{lifthpause}&\keyindex{lifthr}\\ +\keyindex{hpausep}&\keyindex{hrp}\\ +\keyindex{hpause}&\keyindex{hr}\\ +\keyindex{qp}&\keyindex{qr}\\ +\keyindex{ds}&\keyindex{er}\\ +\keyindex{qs}&\keyindex{eer}\\ +\keyindex{hs}&\keyindex{eeer}\\ +\keyindex{qqs}&\keyindex{eeeer}\\\hline +\end{tabular}\end{quote} + +\section{musixext} +Defines the following two specific macros: + +\keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~, which provides a glissando +starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with +slope {\it s} (ranging from $-8$ to $8$). + +\keyindex{raggedstoppiece}~, which inhibits right-justification of the last +line of a score. + + \section{musixf{}l{}l} + \input musixfll + Enables modification of \ixem{ledger lines}. Ledger lines normally exceed the +width of a note head by $25$ percent in each direction. If the space between +notes is insufficient, the ledger lines of +consecutive notes may meet, creating visual ambiguities. Therefore, +\musixtex{} shortens the +ledger lines if notes are set so close together that the ledger lines may +meet. But because \musixtex{} does not know whether consecutive notes need +ledger lines, this automatic shortening may be superfluous. The extension +file \ttxem{musixfll.tex} allows this feature to be switched off and on. +Upon inputting \verb|musixfll.tex|, the automatic shortening of ledger lines +is switched off. From then on, it may be switched on again using +\keyindex{autoledgerlines} and switched off again using +\keyindex{longledgerlines}. Both macros have global effect. + + The following example shows that narrowly set scales look better with +\keyindex{autoledgerlines} (the default behavior), whereas single notes +requiring ledger lines look better with \keyindex{longledgerlines}. + +\medskip +\begin{music} +\nostartrule +\startextract +\notes\multnoteskip{0.7}\Uptext{autoledgerlines}\autoledgerlines + \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% + \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% + \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% + \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en +\endextract +\medskip +\startextract +\notes\multnoteskip{0.7}\Uptext{longledgerlines}\longledgerlines + \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% + \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% + \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% + \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en +\endextract +\autoledgerlines +\end{music} + + \section{musixgre}\label{gregnotes}\index{gregorian chant} + +% \section{Gregorian chant: staffs and clefs} +Gregorian chant is often coded using four line staffs +(see +%sections \ref{gregorian} and +Section~\ref{stafflinenumber}) and using special notes called +\itxem{neumes} (which are described later in this section). It also requires +special clefs. One way to substitute them for the modern ones is for example +with commands like + +\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef| + +\noindent or + +\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| , + +\noindent which will cause instrument number~$3$ to display the selected gregorian +clef. The standard clefs can be restored for every instrument with +\keyindex{resetclefsymbols}. Note that when using this method you must +specify whether to substitute for the bass or alto clef +symbol (there is no treble clef in gregorian +chant). The reason is that \musixtex\ selects and +raises the F and C clefs differently, according to the arguments of the +\keyindex{setclef} command. Therefore, if one had substituted any F clef +symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear +on the staff, but it would be set at the position of an alto clef, thus +seriously misleading the musician. + +Another method of clef substitution employs \keyindex{setclefsymbol} (see +Section~ \ref{treblelowoct}), which substitutes the clef given by +the second argument \ital{for all clef symbols} of the instrument given by the first, +regardless of the actual musical meaning of the new clef symbol. This method is +generally appropriate only if you want to change the clef symbol(s) of +an instrument for the whole of the score. + + As an example, the same gregorian scale has been written with a gregorian C +clef on all four lines of the staff: + + \begin{music}\nostartrule + \parindent 19mm + \instrumentnumber{4} + \setname1{1st line} \setname2{2nd line} + \setname3{3rd line} \setname4{4th line} + \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} + \sepbarrules + \generalmeter{\empty} + \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} + \setaltoclefsymbol1\gregorianCclef + \setaltoclefsymbol2\gregorianCclef + \setaltoclefsymbol3\gregorianCclef + \setaltoclefsymbol4\gregorianCclef +\startextract +\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\en +\zendextract +\end{music} + + The coding was: + \begin{verbatim} + \instrumentnumber{4} + \setname1{1st line} \setname2{2nd line} + \setname3{3rd line} \setname4{4th line} + \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} + \sepbarrules + \generalmeter{\empty} + \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} + \setaltoclefsymbol1\gregorianCclef + \setaltoclefsymbol2\gregorianCclef + \setaltoclefsymbol3\gregorianCclef + \setaltoclefsymbol4\gregorianCclef +\startextract +\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\en +\zendextract + \end{verbatim} + +All of the special gregorian symbols available in \musixtex\ are described +in the following subsections. + +\subsection{Clefs} + +\begin{itemize}\setlength{\itemsep}{0ex} + \item Gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~= + \keyindex{gregorianCclef}, normally activated for instrument $n$ with the +command + \keyindex{setaltoclefsymbol}\itbrace{n}\keyindex{gregorianCclef} +\item Gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~= +\keyindex{gregorianFclef}, normally activated with the command +\keyindex{setbassclefsymbol}\itbrace{n}\keyindex{gregorianFclef} + \end{itemize} + + \subsection{Elementary symbols} + + + \begin{itemize}\setlength{\itemsep}{0ex} + + \item Diamond shaped \itxem{punctum} (This has a different shape compared to the +percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ = +\keyindex{diapunc}\pitchp\ . + \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ = +\keyindex{squ}\pitchp\ or \keyindex{punctum}\pitchp\ . + \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise +2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}\pitchp\ . + \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ = +\keyindex{rsqu}\pitchp\ or \keyindex{virga}\pitchp\ . + \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ = +\keyindex{apostropha}\pitchp\ . + \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ = +\keyindex{oriscus}\pitchp\ . + + \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ = +\keyindex{quilisma}\pitchp\ . + \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise +2.5pt\hbox{\xgregchar9}~ = +\keyindex{punctumauctup}\pitchp\ . + \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise +2.5pt\hbox{\xgregchar8}~ = +\keyindex{punctumauctdown}\pitchp\ . + \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}: +\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}\pitchp\ . + \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise +2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}\pitchp\ . + \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise +2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}\pitchp\ . + +\end{itemize} + All non-\ital{liquescens} symbols have non-spacing variants, namely +\keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu}, +\keyindex{zapostropha} and \keyindex{zoriscus}. + +\subsection{Plain complex neumes} +Other \itxem{neumes} can be obtained by combining two or more of these +symbols. Since \itxem{neumes} have a special note head width, an additional +shifting macro is provided, namely \keyindex{groff}. It is similar to +\verb|\roff|, but the offset is smaller. For use with comples neumes, another +shifting macro is provided, namely \keyindex{dgroff}, which causes an +offset twice the offset of \verb|\groff|. + + Since most of these symbols depend on relative pitches of their components, +we cannot provide all possible compact combinations as single symbols. The ones +that are available in \verb|musixgre| are described below. In the following, +$p_1$, $p_2$, $p_3$, and $p_4$ represent pitches specified as usual. Please refer to +the source file \verb|musixtex.tex| if you wish to see the coding of those +examples for which it is not quoted here. + +\def\twop{\itbrace{p_1}\itbrace{p_2}} +\def\threep{\twop\itbrace{p_3}} +\def\fourp{\threep\itbrace{p_4}} + +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{bivirga}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \bivirga ab\en + \notes \bivirga cc\en + \zendextract + \end{music} + + This example was coded as: + \begin{quote}\begin{verbatim} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \bivirga ab\en + \notes \bivirga cc\en + \zendextract + \end{verbatim}\end{quote} + + \item[\keyindex{trivirga}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \trivirga abc\en + \Notes \trivirga cca\en + \zendextract + \end{music} + + \item[\keyindex{bistropha}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \bistropha ab\en + \notes \bistropha cc\en + \zendextract + \end{music} + + \item[\keyindex{tristropha}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \tristropha abc\en + \Notes \tristropha cca\en + \zendextract + \end{music} + + \item[\keyindex{clivis}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \clivis ba\en + \notes \clivis ca\en + \zendextract + \end{music} + + \item[\keyindex{lclivis}\twop], for example: + + \begin{music}\nostartrule + \setsize1{\Largevalue} + \elemskip 10pt + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \lclivis ba\en + \notes \lclivis ca\en + \zendextract + \end{music} + + \item[\keyindex{podatus}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \podatus ab\en + \notes \podatus ac\en + \notes \podatus cf\en + \zendextract + \end{music} + + \item[\keyindex{podatusinitiodebilis}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \podatusinitiodebilis ab\en + \notes \podatusinitiodebilis ac\en + \notes \podatusinitiodebilis cf\en + \zendextract + \end{music} + + \item[\keyindex{lpodatus}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \lpodatus ab\en + \notes \lpodatus ce\en + \zendextract + \end{music} + + \item[\keyindex{pesquassus}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \pesquassus ab\en + \notes \pesquassus ae\en + \zendextract + \end{music} + + \item[\keyindex{quilismapes}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \quilismapes ab\en + \notes \quilismapes ae\en + \zendextract + \end{music} + + \item[\keyindex{torculus}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \torculus aba\en + \notes \torculus cfd\en + \notes \torculus afc\en + \zendextract + \end{music} + + \item[\keyindex{torculusinitiodebilis}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \torculusinitiodebilis aba\en + \notes \torculusinitiodebilis cfd\en + \notes \torculusinitiodebilis afc\en + \zendextract + \end{music} + + \item[\keyindex{Porrectus}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \Porrectus bab\en + \notes \Porrectus bac\en + \notes \Porrectus bNd\en + \notes \Porrectus bMe\en + \notes \Porrectus bLe\en + \zendextract + \end{music} +\noindent coded: + \begin{quote}\begin{verbatim} + \notes \Porrectus bab\en + \notes \Porrectus bac\en + \notes \Porrectus bNd\en + \notes \Porrectus bMe\en + \notes \Porrectus bLe\en + \end{verbatim}\end{quote} + + \verb|\Porrectus| exists in four different shapes, depending on the +difference between first and second argument. The constraint is that + $$ p_1-4 \leq p_2 \leq p_1-1 $$ otherwise a diagnostic occurs. Note also that +\keyindex{bporrectus} provides the first curved part of the \verb|porrectus| +command, if you should need it. It has two arguments, the starting pitch and the lower +pitch. + + \item[\keyindex{Porrectusflexus}\fourp], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \Porrectusflexus bacN\en + \notes \Porrectusflexus bNdb\en + \notes \Porrectusflexus bMeb\en + \notes \Porrectusflexus bLea\en + \zendextract + \end{music} +\noindent coded: + \begin{quote}\begin{verbatim} + \notes \Porrectusflexus bacN\en + \notes \Porrectusflexus bNdb\en + \notes \Porrectusflexus bMeb\en + \notes \Porrectusflexus bLea\en + \end{verbatim}\end{quote} + + + \item[\keyindex{climacus}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \climacus cbN\en + \Notes \climacus cba\en + \Notes \climacus dbN\en + \zendextract + \end{music} + + \item[\keyindex{climacusresupinus}\fourp], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \climacusresupinus cbNa\en + \Notes \climacusresupinus cbab\en + \Notes \climacusresupinus dbNb\en + \zendextract + \end{music} + + \item[\keyindex{lclimacus}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \setsize1{\Largevalue} +\instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \lclimacus cbN\en + \notes \lclimacus cfd\en + \notes \lclimacus afc\en + \zendextract + \end{music} + + \item[\keyindex{scandicus}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \scandicus abe\en + \notes \scandicus ceg\en + \zendextract + \end{music} + + \item[\keyindex{salicus}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \salicus abe\en + \Notes \salicus ceg\en + \zendextract + \end{music} + + \item[\keyindex{salicusflexus}\fourp], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \salicusflexus abec\en + \Notes \salicusflexus cegd\en + \zendextract + \end{music} + + \item[\keyindex{trigonus}\threep], +%DAS ???????????? +%for example\footnote{The second example is in principle irrelevant, +%but it shows the possibilities, in case of.}: +for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \trigonus aaN\en + \Notes \trigonus cef\en + \zendextract + \end{music} + +\end{description} + +\subsection{Liquescens complex neumes}\index{liquescens neumes} +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{clivisauctup}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \clivisauctup ba\en + \notes \clivisauctup ca\en + \zendextract + \end{music} + \item[\keyindex{clivisauctdown}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \clivisauctdown ba\en + \notes \clivisauctdown ca\en + \zendextract + \end{music} + \item[\keyindex{podatusauctup}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \podatusauctup ab\en + \notes \podatusauctup ac\en + \notes \podatusauctup cf\en + \zendextract + \end{music} + \item[\keyindex{podatusauctdown}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \podatusauctdown ab\en + \notes \podatusauctdown ac\en + \notes \podatusauctdown cf\en + \zendextract + \end{music} + + \item[\keyindex{pesquassusauctdown}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \pesquassusauctdown ab\en + \notes \pesquassusauctdown ae\en + \zendextract + \end{music} + + \item[\keyindex{quilismapesauctdown}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \quilismapesauctdown ab\en + \notes \quilismapesauctdown ae\en + \zendextract + \end{music} + + \item[\keyindex{torculusauctdown}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \torculusauctdown aba\en + \notes \torculusauctdown cfd\en + \notes \torculusauctdown afc\en + \zendextract + \end{music} + + \item[\keyindex{Porrectusauctdown}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \Porrectusauctdown bac\en + \notes \Porrectusauctdown bNd\en + \notes \Porrectusauctdown bMe\en + \notes \Porrectusauctdown bLe\en + \zendextract + \end{music} + + \item[\keyindex{climacusauctdown}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \climacusauctdown cbN\en + \Notes \climacusauctdown caM\en + \Notes \climacusauctdown aNM\en + \zendextract + \end{music} + + \item[\keyindex{scandicusauctdown}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \scandicusauctdown abe\en + \notes \scandicusauctdown ceg\en + \zendextract + \end{music} + + \item[\keyindex{salicusauctdown}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \salicusauctdown abe\en + \Notes \salicusauctdown ceg\en + \zendextract + \end{music} + + \item[\keyindex{clivisdeminut}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \setsize1{\Largevalue} + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \clivisdeminut ba\en + \notes \clivisdeminut ca\en + \zendextract + \end{music} + + \item[\keyindex{podatusdeminut}\twop], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \podatusdeminut ab\en + \notes \podatusdeminut ac\en + \notes \podatusdeminut cf\en + \zendextract + \end{music} + + \item[\keyindex{torculusdeminut}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \torculusdeminut aba\en + \notes \torculusdeminut cfd\en + \notes \torculusdeminut afc\en + \zendextract + \end{music} + + \item[\keyindex{torculusdebilis}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \torculusdebilis aba\en + \notes \torculusdebilis cfd\en + \notes \torculusdebilis afc\en + \zendextract + \end{music} + + \item[\keyindex{Porrectusdeminut}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \Porrectusdeminut bac\en + \notes \Porrectusdeminut bNd\en + \notes \Porrectusdeminut bMe\en + \notes \Porrectusdeminut bLe\en + \zendextract + \end{music} + + \item[\keyindex{climacusdeminut}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \Notes \climacusdeminut cbN\en + \Notes \climacusdeminut caM\en + \Notes \climacusdeminut aML\en + \zendextract + \end{music} + + \item[\keyindex{scandicusdeminut}\threep], for example: + + \begin{music}\nostartrule + \elemskip 10pt + \instrumentnumber 1 + \setsize1{\Largevalue} + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \scandicusdeminut abe\en + \notes \scandicusdeminut ceg\en + \zendextract + \end{music} +\end{description} + +\section{musixgui}\ixtt{musixgui.tex} Provides macros for +typesetting modern style \itxem{guitar chords}. For example: + +\begin{music} +\hsize130mm +\tenrm +\parindent0pt +\generalmeter{\meterfrac34} +\generalsignature1 +\startbarno0 +\def\txh{-6.5} +\def\tx#1*{\zchar\txh{\lrlap{\kern3\Internote#1}}} +\def\rtx#1*{\zchar\txh{\kern-3\Internote#1}} +\stafftopmarg10\Interligne +\raiseguitar{20} +\nostartrule +\startpiece +\addspace{.5\afterruleskip}% +\NOtes\tx We*\qa d\en +\bar +\NOtes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx wish*\qa g\en +\Notes\tx you*\ca g\en +\Notes\tx a*\ca h\en +\Notes\zchar\txh{merry}\ca g\en +\Notes\ca f\en +\bar +\NOtes\guitar C5o-----\gbarre4\gdot26\gdot36\gdot45\rtx christmas,*\qa e\en +\NOtes\qa e\en +\NOtes\guitar {e/H}5o-----\gbarre3\gdot35\gdot45\gdot54\tx we*\qa e\en +\bar +\NOtes\guitar {A$\!^7$}5o-----\gbarre1\gdot23\gdot42\tx wish*\qa h\en +\Notes\tx you*\ca h\en +\Notes\tx a*\ca i\en +\Notes\zchar\txh{merry}\ca h\en +\Notes\ca g\en +\bar +\NOtes\guitar D{}xxo---\gdot42\gdot53\gdot62\rtx christmas,*\qa f\en +\NOtes\qa d\en +\zbar +\NOtes\guitar{D/c}{}xo----\gdot23\gdot42\gdot53\gdot62\tx we*\qa d\en +\bar +\NOtes\guitar{B$^7$}{}xo----\gdot22\gdot31\gdot42\gdot62\tx wish*\qa i\en +\Notes\tx you*\ca i\en +\Notes\tx a*\ca j\en +\Notes\tx ~mer-*\ca i\en +\Notes\tx ry*\ca h\en +\bar +\NOtes\guitar e{}xxo---\gdot32\tx ~christ-*\qa g\en +\NOtes\tx mas*\qa e\en +\Notes\guitar {G/d}{}xxo---\gdot63\tx and*\ca d\en +\Notes\tx a*\ca d\en +\bar +\NOtes\guitar{C$^6$}{}xo----\gdot23\gdot32\gdot42\gdot51\tx ~~hap~-*\qa e\en +\NOtes\tx py*\qa h\en +\NOtes\guitar{D$^7$}{}xo---x\gdot25\gdot34\gdot45\gdot45\gdot53\tx new*\qa f\en +\bar +\NOTes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx ~year.*\ha g\en +\setdoublebar\endpiece +\end{music} + +\medskip +The macro \keyindex{guitar} sets the grid, chord name, barre type, +and on-off indicators for the strings. For example, the first +chord in above example was coded as + +\verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44| + +\noindent where the first argument is the text to be placed above the grid, the +second is empty (relative barre), and the next six characters indicate if the string +is played or not with either \verb|x|, \verb|o| or \verb|-|. The dots are set with +\keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The +rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the position of the barre. + +The whole symbol may be vertically shifted with +\keyindex{raiseguitar}\onen, where $n$ is a number +in units of \keyindex{internote}. When using guitar chords, it might be +useful to reserve additional +space above the chord by advancing \keyindex{stafftopmarg} to +something like \verb|stafftopmarg=10\Interligne|. + +For frequently used chords, it might be useful to define your own +macros, e.g. + +\verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%| + +\section{musixhv}\label{helvetica} + + +Replaces the default Computer Modern text fonts by Helvetica (sans serif) fonts; +see Section~\ref{UserFonts}. +Use as follows: +\begin{quote}\begin{verbatim} +\input musixtex +\input musixhv +... +\end{verbatim}\end{quote} + +The usual ``small'' type commands are supported: +\begin{quote} +\begin{tabular}{lr} +\keyindex{smalltype} & 8pt \\ +\keyindex{Smalltype} & 9pt \\ +\keyindex{normtype}& 10pt \\ +\keyindex{medtype} & 12pt \\ +\end{tabular} +\end{quote} +For all of these, the following variants are supported: +\begin{quote} +\begin{tabular}{ll} +\verb|\rm| & ``Roman'' (sans serif) \\ +\verb|\bf| & bold \\ +\verb|\it| & ``italic'' (oblique) \\ +\verb|\bi| & ``bold-italic'' (bold-oblique) \\ +\verb|\sc| & small capitals\\ +\end{tabular} +\end{quote} +The ``big'' type commands are as follows: +\begin{quote} +\begin{tabular}{lr} +\keyindex{bigtype} & 14pt\\ +\keyindex{Bigtype} & 17pt\\ +\keyindex{BIgtype}& 20pt\\ +\keyindex{BIGtype} & 25pt\\ +\end{tabular} +\end{quote} +The default variant for all of these is small-caps; +however, \keyindex{font} commands are defined +for all the usual variants at all of these sizes. +To letter-space a title, use the \verb|\so| +command in the \verb\soul\ package. + + +The following bold-oblique fonts for dynamic marks are defined: +\begin{quote}\begin{tabular}{lr} +\keyindex{ppffsixteen} & 10pt\\ +\keyindex{ppfftwenty} & 12pt \\ +\keyindex{ppfftwentyfour} & 14pt \\ +\keyindex{ppfftwentynine} & 17pt \\ +\keyindex{tinyppff} & 8pt \\ +\keyindex{smallppff} & 10pt \\ +\keyindex{normppff} & 12pt \\ +\keyindex{medppff} & 14pt \\ +\end{tabular}\end{quote} + +The default font for typesetting \keyindex{txt} and \keyindex{tuplettxt} +arguments +is \keyindex{eightit} (\verb\8pt\~oblique). + + \section{musixlit}\label{litu}\label{otherbars} + Provides a notation style intermediate between gregorian and baroque, for +example + +\makeatletter +\catcodesmusic +%\def\vnotes#1\elemskip{\noteskip#1\@l@mskip \multnoteskip\scal@noteskip +% \not@s} + +%\def\not@s{\def|{\nextstaff}\def&{\nextinstrument}\normaltranspose\transpose +% \check@nopen\notes@open\@ne +% \kern\n@skip\advance\x@skip\n@skip \locx@skip\x@skip +% \n@skip\noteskip \noinstrum@nt\z@ \begininstrument} + +%\def\en{\@ndstaff\notes@open\z@ +% \ifx\@ne\V@sw \widthtyp@\z@\t@rmskip \let\V@sw\empty \fi} + +\def\double#1{\roffset{1.2}{\advancefalse#1}#1} +\makeatother + + % Don't know if this example correct ??? But looks nice... +\begin{music} +\ninerm +\parindent0pt +\instrumentnumber{2} +\interstaff{11} +\generalsignature2 +\setclefsymbol2\oldGclef +\setstaffs1{2} +\setclef1\bass +\setinterinstrument1{-\Interligne} +\startpiece +\shortbarrules +\addspace\afterruleskip +\hardlyrics{Il nous a sign\'es de son + }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics*\Hpause h1\en +\qspace\qspace +\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\double{\cnql i}\en +\bar +\hardlyrics{Et nous avons \'e- + }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics~-*\Hpause h1\en +\qspace\qspace +\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\double{\cnql i}\en +\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cnqu g\en +\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cnqu f\en +\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\double{\cnqu h}\en +\bar +\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cnqu h\en +\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cnql k\en +\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\double{\cnql j}\en +\bar +\NOTEs\zhl K\hu a|\zhl f\hu k&\tx ~~ia !*\cnhl k\en +\sepbarrules +\endpiece + +\startpiece +\interbarrules +\addspace\afterruleskip +\hardlyrics{Il nous a sign\'es de son + }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics*\Hlonga h1\en +\qspace\qspace +\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\chl i\en +\bar +\hardlyrics{Et nous avons \'e + }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics~-*\Hlonga h1\en +\qspace\qspace +\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\chl i\en +\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cqu g\en +\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cqu f\en +\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\chu h\en +\bar +\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cqu h\en +\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cql k\en +\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\chl j\en +\bar +\NOTEs\zbreve K\breve a|\zbreve f\breve k&\tx ~~ia !*\zbreve k\en +\sepbarrules +\endpiece +\end{music} +\endcatcodesmusic + + This package provides: + \begin{itemize}\setlength{\itemsep}{0ex} + \item\keyindex{oldGclef} which replaces the ordinary G clef with an old one, +using (for instrument 2 as an example): + \verb|\settrebleclefsymbol2\oldGclef| + + \item\keyindex{cqu} $p$ provides a square headed quarter note with stem up at +pitch $p$. + + \item\keyindex{cql} $p$ provides a square headed quarter note with stem down at +pitch $p$. + + \item\keyindex{chu} $p$ provides a square headed half note with stem up at +pitch $p$. + + \item\keyindex{chl} $p$ provides a square headed half note with stem down at +pitch $p$. + + \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square +headed +quarter note at pitch $p$. + + \item\keyindex{cnhu} $p$ and \keyindex{cnhl} $p$ provide a stemless square +headed half note at pitch $p$. + + \item\keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch +$p$ and of length $n$ \keyindex{noteskip}. However, in the first of the above +example, this feature has been used to denote an arbitrary length note rather +than a rest! + + \item\keyindex{Hlonga} $p$ $n$ provides an arbitrary length note at pitch +$p$ and of length $n$ \keyindex{noteskip}. +This feature has been used to denote an arbitrary length note in the second of +the above examples. + + \item\keyindex{shortbarrules} has been used to provide bar rules shorter than +the staff vertical width. + + \item\keyindex{interbarrules} has been used to provide bars between the +staffs, rather that over them. This is an arbitrary question of taste... + \end{itemize} + + \section{musixlyr} \ixtt{musixlyr.tex} + Enables the recommended method for adding lyrics to a score (see Section~\ref{musixlyr}). + + \section{musixmad} \ixtt{musixmad.tex} Increases the number of +instruments, slurs and beams up to twelve. When using this extension, it is +not necessary to explicitly input \verb|musixadd.tex|. +If you need greater numbers of these elements, see Sections~\ref{musixmad_setmaxgroups}, +\ref{musixmad_setmaxinstruments_ccxviiibeams}, +\ref{musixmad_setmaxoctlines}, +\ref{musixmad_setmaxslurs} and +\ref{musixmad_setmaxtrills}. + +\section{musixtnt}\label{musixtnt} +This package (tnt = Transform Notes) provides a macro \keyindex{TransformNotes} which makes +possible several ``transformations'' of the effect of notes commands such as \keyindex{notes}. +The \verb\musixtnt\ package is distributed separately from \verb\musixtex\. + +In general the effect of \verb|\TransformNotes(|\textit{input}\verb|}{|\textit{output}\verb|}| +is that subsequent notes commands in the source will expect their arguments +to match the \textit{input} pattern but +the notes will be typeset according to the \textit{output} pattern. + +For example, +\begin{verbatim} + \TransformNotes{#2}{#2} +\end{verbatim} +would be appropriate for a four-instrument score (arguments \verb|#2|, \verb|#3|, \verb|#4|, and \verb|#5|, separated by three +\verb\&\s, but the third instrument (\verb|#4|) will be discarded. + +The instrument/staff numbers in the first argument must start at $2$ and increase +consecutively, using \verb|&| (or \| for multi-staff instruments) as a separator. +The reason that the segment identifiers start at $2$ is that the first argument for \keyindex{vnotes} +is a spacing parameter. + +It is +essential that every \verb|\znotes|, \verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc.\@ command in +the score match the pattern of the first argument to \keyindex{TransformNotes} exactly; for example, +too few (or too many) +note segments will result in unintentionally discarded material and possibly compilation failure. +Similarly, it is not possible to use \keyindex{nextinstrument}, \keyindex{nextstaff}, \keyindex{selectinstrument} or \keyindex{selectstaff}, or to hide the \verb|&| (or \|) tokens inside +a user-defined macro. +An auxiliary program \verb|msxlint| distributed in the \verb\musixtnt\ package can be used to detect such incompatibilities. + +\keyindex{TransformNotes} may be used anywhere between \keyindex{startpiece} +and the command that ends the piece. + +\subsection{Extracting single-instrument parts from multi-instrument scores} + +To extract +a single-instrument part from a (copy of a) multi-instrument \musixtex\ score: +\begin{itemize} +\item Set \verb|\nbinstrument| to 1; for example, with command \verb|\instrumentnumber1|. +\item Use \keyindex{TransformNotes} to discard all but one of the note segments in notes +commands. +For example, the following line placed after +\verb|\startpiece| (but before any note commands) would be appropriate for a +four-instrument score and will result in a single-instrument part for the second of +these: +\begin{verbatim} + \TransformNotes{#2}{#3} +\end{verbatim} +\end{itemize} +Caveats: +\begin{itemize} +\item +Some additional revisions to the source for the part might be necessary: +\begin{itemize} +\item adjusting \verb|\setname1|, \verb|\setclef1|, \verb|\setsign1|, +\verb|\setmeter1| and \verb|\setstaffs1| commands, as necessary; + +\item ensuring that tempo and roadmap markings (\textbf{D.C.}, \textbf{Fine}, etc.) are in + the appropriate instrument segment; +\end{itemize} +\item +When the extracted part score is compiled and viewed, it may be seen +that horizontal-spacing commands designed for \emph{multiple} instruments can produce bad +spacing when used for a \emph{single} instrument. Bad spacing can be corrected manually but +this is very tedious; an auxiliary program called \verb\fixprt\ +automates this process (for single-staff instruments only). +\end{itemize} + +\subsection{Other applications} + +The \keyindex{TransformNotes} macro may be used for other purposes. Here are some examples: +\begin{list}{}{}\item + \verb|\TransformNotes{#2}{#2&\transpose+7#3}| +\end{list} +will begin transposing\index{transpose@{\Bslash transpose}} just the second instrument (argument \verb|#3|). +\begin{list}{}{}\item + \verb|\TransformNotes{#2|\|\verb|#3}{#2|\|\verb|#3&\tinynotesize#4}| +\end{list} +will begin typesetting the notes of the second instrument (\verb|#4|) in tiny size. +\begin{list}{}{}\item + \verb|\TransformNotes{#2}{#3}| +\end{list} +will switch the order of the two instruments. +\begin{list}{}{}\item + \verb|\TransformNotes{#2}{#2}| +\end{list} +will restore normal two-instrument processing. + + +The \keyindex{TransformNotes} macro is currently not compatible with the +\texttt{musixlyr} extension +package for lyrics described in Section~\ref{musixlyr}. For extracting or omitting parts +in scores with lyrics, use the techniques described in Chapter~\ref{parts}. + + +\section{musixper}\label{perc} + +Provides special symbols intended for percussion parts. Included are a +\ital{drum clef}---comprising two vertical parallel lines---and notes with +various specially shaped heads. The note symbols that are available are as +follows: + + \begin{itemize}\setlength{\itemsep}{0ex} + \item The \raise.5ex\hbox{\musixchar113}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a +``\verb|dc|'' (think of {\it d}iagonal {\it c}ross). +Available are +\keyindex{dcqu}, +\keyindex{dcql}, +\keyindex{dcqb}, +\keyindex{dczq}, +\keyindex{dccu}, +\keyindex{dcccu}, +\keyindex{dccl} and +\keyindex{dcccl}. + + \item The \raise.5ex\hbox{\musixchar112}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a +``\verb|dh|'' +(think of {\it d}iagonal cross {\it h}alf open). +Available are +\keyindex{dhqu}, +\keyindex{dhql}, +\keyindex{dhqb}, +\keyindex{dhzq}, +\keyindex{dhcu}, +\keyindex{dhccu}, +\keyindex{dhcl} and +\keyindex{dhccl}. + + \item The \raise.5ex\hbox{\musixchar111}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceded by a +``\verb|do|'' +(think of {\it d}iagonal cross {\it o}pen). +Available are +\keyindex{doqu}, +\keyindex{doql}, +\keyindex{doqb}, +\keyindex{dozq}, +\keyindex{docu}, +\keyindex{doccu}, +\keyindex{docl} and +\keyindex{doccl}. + + \item The \raise.5ex\hbox{\musixchar114}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|x|'' (e.g.\ for spoken text of songs). +Available are +\keyindex{xqu}, +\keyindex{xql}, +\keyindex{xqb}, +\keyindex{xzq}, +\keyindex{xcu}, +\keyindex{xccu}, +\keyindex{xcl} and +\keyindex{xccl}. + + \item The \raise.5ex\hbox{\musixchar115}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|ox|'' . +Available are +\keyindex{oxqu}, +\keyindex{oxql}, +\keyindex{oxqb}, +\keyindex{oxzq}, +\keyindex{oxcu}, +\keyindex{oxccu}, +\keyindex{oxcl} and +\keyindex{oxccl}. + + \item The \raise.5ex\hbox{\musixchar118}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|ro|'' (think of {\it r}h{\it o}mbus). +Available are +\keyindex{roqu}, +\keyindex{roql}, +\keyindex{roqb}, +\keyindex{rozq}, +\keyindex{rocu}, +\keyindex{roccu}, +\keyindex{rocl} and +\keyindex{roccl}. + + \item The \raise.5ex\hbox{\musixchar116}~{}~symbol which is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|tg|'' (think of {\it t}rian{\it g}le). +Available are +\keyindex{tgqu}, +\keyindex{tgql}, +\keyindex{tgqb}, +\keyindex{tgzq}, +\keyindex{tgcu}, +\keyindex{tgccu}, +\keyindex{tgcl} and +\keyindex{tgccl}. + + \item The \raise.5ex\hbox to 1em{\musixchar117\hfil}~{}~symbol which is obtained +using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded by +``\verb|k|'' . +Available are +\keyindex{kqu}, +\keyindex{kql}, +\keyindex{kqb}, +\keyindex{kzq}, +\keyindex{kcu}, +\keyindex{kccu}, +\keyindex{kcl} and +\keyindex{kccl}. + \end{itemize} + +The diamond shaped noteheads described in Section~\ref{diam} are also +available, because \verb|musixper.tex| inputs \verb|musixdia.tex|. + +If any of the foregoing notes need to be dotted, you must use the explicit +dotting macros \verb|\pt|, \verb|\ppt|, or \verb|\pppt| as described in +Section~\ref{dots}. + +Since the usage of these note symbols is +not standardized, it would be wise to include in the score a explanation +of which symbol corresponds to which specific percussion instrument. + +A special \itxem{drum clef}---comprising two heavy vertical bars---can +be made to replace the normal clef for the $n$-th intrument by saying +\keyindex{setclefsymbol}\onen\keyindex{drumclef} . +To cause this to appear at the right vertical position, the instrument should +previously have been assigned a treble clef (or not explicitly assigned any +clef, thereby giving it a treble clef by default). + +Percussion music might be written on a staff with either one or five lines. +If there are several different percussions instruments it may be useful to +use a five-line staff with a drum clef, and differentiate the instruments +by the type of the note heads and the apparent +pitch of the note on the staff. Here is an example of the +latter\footnote{provided by Agusti {\sc Mart\'in Domingo}}: + +\medskip +\begin{music} +\generalmeter{\meterfrac44} +\setclefsymbol1\drumclef +\parindent0pt\startpiece +\leftrepeat +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en +\bar +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en +\bar +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en +\setrightrepeat\endpiece +\end{music} +\noindent Its coding is + \begin{quote}\begin{verbatim} +\begin{music} +\instrumentnumber{1} +\generalmeter{\meterfrac44} +\setclefsymbol1\drumclef +\parindent0pt\startpiece +\leftrepeat +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\en +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\en +\bar +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\en +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\en +\bar +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\en +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\en +\setrightrepeat\endpiece +\end{music} + \end{verbatim}\end{quote} + +Here is an example of a single-line percussion staff using +diamond-shaped note heads: + +\begin{music} +\parindent 19mm +\instrumentnumber{3} +\setname1{keyboard} \setname2{drum} \setname3{monks} +\setlines2{1} +\setlines3{4} +\setinterinstrument1{-2\Interligne}% less vertical space above +\setinterinstrument2{-2\Interligne}% and below the percussion +\sepbarrules +\setsign1{-1} % one flat at keyboard +\generalmeter{\meterfrac24} +\setmeter3\empty +\setclef3\alto +\setclef1\bass +\setstaffs12 % 2 staffs at keyboard +\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3 +\setclefsymbol2\drumclef % cancel G clef at instrument 2 +\startextract +\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\en\bar +\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\en +\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\en\bar +\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\en +\endextract +\end{music} +\noindent which is coded as follows: + +\begin{verbatim} +\parindent 19mm +\instrumentnumber{3} +\setname1{keyboard} \setname2{drum} \setname3{monks} +\setlines2{1} +\setlines3{4} +\setinterinstrument1{-2\Interligne}% less vertical space above +\setinterinstrument2{-2\Interligne}% and below the percussion +\sepbarrules +\setsign1{-1} % one flat at keyboard +\generalmeter{\meterfrac24} +\setmeter3{\empty} +\setclef3{\alto} +\setclef1{\bass} +\setstaffs1{2} % 2 staffs at keyboard +\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3 +\setclefsymbol2{\drumclef} % cancel G clef at instrument 2 +\startextract +\end{verbatim} + +% (DAS) Sorry, guys, I couldn't figure out how to get the |'s to work in this +% verbatim. +% +\vskip-11pt +\def\Vert{{\tt\char'174}} +\noindent\verb|\Notes\hu F|\Vert\verb|\zh c\hu h&\dnq4&\squ{acd}\en\bar|\\ +\verb|\NOtes\qu I|\Vert\verb|\zq N\qu d&\qp&\diapunc f\en|\\ +\verb|\NOtes\qu J|\Vert\verb|\zq a\qu e&\ynq4&\diapunc f\en\bar|\\ +\verb|\notes\hu G|\Vert\verb|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\en|\\ +\verb|\endextract| + + \section{musixplt}\index{musixplt@{\tt musixplt.tex}}\label{palatino} +Replaces the default Computer Modern text fonts by Palatino fonts; +see Section~\ref{UserFonts}. +Use as follows: +\begin{quote}\begin{verbatim} +\input musixtex +\input musixplt +... +\end{verbatim}\end{quote} + +The usual ``small'' type commands are supported: +\begin{quote} +\begin{tabular}{lr} +\keyindex{smalltype} & 8pt \\ +\keyindex{Smalltype} & 9pt \\ +\keyindex{normtype}& 10pt \\ +\keyindex{medtype} & 12pt \\ +\end{tabular} +\end{quote} +For all of these, the following variants are supported: +\begin{quote} +\begin{tabular}{ll} +\verb|\rm| & Roman \\ +\verb|\bf| & bold \\ +\verb|\it| & italic \\ +\verb|\bi| & bold italic \\ +\verb|\sc| & small capitals (and old-style figures)\\ +\verb|\sl| & oblique \\ +\end{tabular} +\end{quote} +The ``big'' type commands are as follows: +\begin{quote} +\begin{tabular}{lr} +\keyindex{bigtype} & 14pt\\ +\keyindex{Bigtype} & 17pt\\ +\keyindex{BIgtype}& 20pt\\ +\keyindex{BIGtype} & 25pt\\ +\end{tabular} +\end{quote} +The default variant for all of these is small-caps; +however, \keyindex{font} commands are defined +for all the usual variants at all of these sizes. +To letter-space a title, use the \verb|\so| +command in the \verb\soul\ package. + + +The following bold-italic fonts for dynamic marks are defined: +\begin{quote}\begin{tabular}{lr} +\keyindex{ppffsixteen} & 10pt\\ +\keyindex{ppfftwenty} & 12pt \\ +\keyindex{ppfftwentyfour} & 14pt \\ +\keyindex{ppfftwentynine} & 17pt \\ +\keyindex{tinyppff} & 8pt \\ +\keyindex{smallppff} & 10pt \\ +\keyindex{normppff} & 12pt \\ +\keyindex{medppff} & 14pt \\ +\end{tabular}\end{quote} + +The default font for typesetting \keyindex{txt} and \keyindex{tuplettxt} +arguments +is \keyindex{eightit} (\verb\8pt\~italic). + + \section{musixpoi} + Adds definitions of less common singly and doubly dotted notes. +Available are +\keyindex{ccup}, +\keyindex{zccup}, +\keyindex{cclp}, +\keyindex{zcclp}, +\keyindex{ccupp}, +\keyindex{zccupp}, +\keyindex{cclpp}, +\keyindex{zcclpp}, +\keyindex{cccup}, +\keyindex{zcccup}, +\keyindex{ccclp}, +\keyindex{zccclp}, +\keyindex{cccupp}, +\keyindex{zcccupp}, +\keyindex{ccclpp}, +\keyindex{zccclpp}, +\keyindex{ccccup}, +\keyindex{zccccup}, +\keyindex{cccclp}, +\keyindex{zcccclp}, +\keyindex{ccccupp}, +\keyindex{zccccupp}, +\keyindex{cccclpp} and +\keyindex{zcccclpp}. + + \section{musixppff}\label{musixppff}\index{musixppff@{\tt musixppff.tex}} + +This replaces the default definitions used for dynamic marks to use a ``mini-font'' +\verb\xppff10\ designed by Hiroaki \textsc{Morimoto}. It is used as follows: + +\begin{quote}\begin{verbatim} +\input musixtex +\input musixppff +... +\end{verbatim}\end{quote} +\noindent The new dynamic marks are as follows: +\font\xppff=xppff10 +\begin{quote} +\xppff +pppp\ ppp\ pp\ p\ mp\ mf\ f\ fp\ sf\ ff\ fff\ ffff\ sfz\ sfzp +\end{quote} +Note that the \verb|xppff10| font has defined glyphs only for the following five characters: f, m, p, s and~z; +use \keyindex{ppff} etc.\@ +for other bold-italic text in music. + + \section{musixps}\label{musixps}\index{musixps@{\tt musixps.tex}} + Activates type K Postscript slurs, ties, and hairpins; see Chapter~\ref{PostscriptSlurs}. + + \section{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}} + Provides bowing and other symbols for \itxem{string instruments}\footnote{provided +by Werner {\sc Icking}}. The symbol can be posted at the desired position using + \verb|\zcharnote|\pitchp\verb|{|$command$\verb|}|. The available symbols and +their meanings are as follows: + +{\input musixstr +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + + \item[\hbox to 1em{\AB}~: \keyindex{AB} or \keyindex{downbow}] down-bow + + \item[\hbox to 1em{\AUF}~: \keyindex{AUF} or \keyindex{upbow}] up-bow + + \item[\hbox to 1em{\SP}~: \keyindex{SP}] at the top of bow + + \item[\hbox to 1em{\FR}~: \keyindex{FR}] at the nut of bow + + \item[\GB\ or \Gb~: \keyindex{GB} or \keyindex{Gb}] whole bow + + \item[\UH\ or \Uh~: \keyindex{UH} or \keyindex{Uh}] lower half of bow + + \item[\OH\ or \Oh~: \keyindex{OH} or \keyindex{Oh}] upper half of bow + + \item[\MI\ or \Mi~: \keyindex{MI} or \keyindex{Mi}] middle of bow + + \item[\UD\ or \Ud~: \keyindex{UD} or \keyindex{Ud}] lower third of bow + + \item[\OD\ or \Od~: \keyindex{OD} or \keyindex{Od}] upper third of bow + + \item[\Pizz~: \keyindex{Pizz}] left hand pizzicato or trill + + \end{description}\end{quote} + } + + %\check + \section{musixsty}\index{musixsty@{\tt musixsty.tex}} + + Provides certain text-handling facilities for titles, footnotes, and other +items not related to lyrics. It should not be used with \LaTeX. It includes + \begin{itemize}\setlength{\itemsep}{0ex} + \item definitions of \keyindex{hsize}, \keyindex{vsize}, +\keyindex{hoffset}, \keyindex{voffset} suitable for A$4$ paper; those using +other sizes may wish to modify it once and for all; + \item a set of text size commands: + + \begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm}, +\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to $8$ point font size; + \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm}, +\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to $10$ point font size; + \item[\keyindex{twlpoint}] (or \keyindex{twelvepoint}) to get $12$ point font size; + \item[\keyindex{frtpoint}] to get $14.4$ point font size; + \item[\keyindex{svtpoint}] to get $17.28$ point font size; + \item[\keyindex{twtypoint}] to get $20.74$ point font size; + \item[\keyindex{twfvpoint}] to get $24.88$ point font size; + \end{description} + \item commands for creating titles: + \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{author} or +\keyindex{fullauthor} to be put at the right of the first page, below the +title of the piece; the calling sequence is, for example + + \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}| + + \noindent where the \verb|\\| causes the author's name to be displayed on +two lines; + + \item \keyindex{shortauthor} to be put at the bottom of each page; + \item \keyindex{fulltitle} which is the main title of the piece; + \item \keyindex{subtitle} is displayed below the main title of the piece; + \item \keyindex{shorttitle} or \keyindex{title} + which is the title repeated at the bottom of each page; + \item \keyindex{othermention} which is displayed on the left of the page, +vertically aligned with author's name. It may contain \verb|\\| to display it on +several lines; + \item \keyindex{maketitle} which displays all the previous stuff; + \end{itemize} + + \item commands for making \itxem{footnotes}: + \begin{itemize}\setlength{\itemsep}{0ex} + \item The normal Plain-\TeX\ \keyindex{footnote} command, which has two +arguments---not just one as in \LaTeX\protect\index{LATEX@\LaTeX}---namely +the label of the footnote, which can be any sequence of characters, and +the text of the footnote. This command does not work inside +boxes, so it cannot be issued within music; + + \item The \keyindex{Footnote} command, which counts the footnotes and uses a +number as the label of the footnote (equivalent to \LaTeX's \verb|\footnote| +command). The same restriction as with \verb|\footnote| applies concerning +its use within the music coding; + + \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which +places a footnote at the bottom of the current page, but does not put +the footnote label at the place the command is entered in the main text. This +also may not be used within music, but if a footnote is needed whose reference +lies inside the music, it can be entered in two steps: + \begin{enumerate} + \item manually insert the reference inside the music, using e.g., \verb|zcharnote|; + \item post the footnote itself with \verb|\vfootnote| outside the music, +either before \keyindex{startpiece} or between \keyindex{stoppiece} and +\keyindex{contpiece} or equivalent commands. + \end{enumerate} + + \end{itemize} + + \end{itemize} + + \section{musixtmr}\index{musixtmr@{\tt musixtmr.tex}}\label{times} + Replaces the default Computer Modern text fonts by Times fonts; + see Section~\ref{UserFonts}. +Use as follows: +\begin{quote}\begin{verbatim} +\input musixtex +\input musixtmr +... +\end{verbatim}\end{quote} + +The usual ``small'' type commands are supported: +\begin{quote} +\begin{tabular}{lr} +\keyindex{smalltype} & $8$pt \\ +\keyindex{Smalltype} & $9$pt \\ +\keyindex{normtype}& $10$pt \\ +\keyindex{medtype} & $12$pt \\ +\end{tabular} +\end{quote} +For all of these, the following variants are supported: +\begin{quote} +\begin{tabular}{ll} +\verb|\rm| & Roman \\ +\verb|\bf| & bold \\ +\verb|\it| & italic \\ +\verb|\bi| & bold italic \\ +\verb|\sc| & small capitals \\ +\verb|\sl| & oblique \\ +\end{tabular} +\end{quote} +The ``big'' type commands are as follows: +\begin{quote} +\begin{tabular}{lr} +\keyindex{bigtype} & $14$pt\\ +\keyindex{Bigtype} & $17$pt\\ +\keyindex{BIgtype}& $20$pt\\ +\keyindex{BIGtype} & $25$pt\\ +\end{tabular} +\end{quote} +The default variant for all of them is Roman; +however, \keyindex{font} commands are defined +for all the usual variants at all of these sizes. +To letter-space a title, use the \verb|\so| +command in the \verb\soul\ package. + + +The following bold-italic fonts for dynamic marks are defined: +\begin{quote}\begin{tabular}{lr} +\keyindex{ppffsixteen} & 10pt\\ +\keyindex{ppfftwenty} & 12pt \\ +\keyindex{ppfftwentyfour} & 14pt \\ +\keyindex{ppfftwentynine} & 17pt \\ +\keyindex{tinyppff} & 8pt \\ +\keyindex{smallppff} & 10pt \\ +\keyindex{normppff} & 12pt \\ +\keyindex{medppff} & 14pt \\ +\end{tabular}\end{quote} + +The default font for typesetting \keyindex{txt} and \keyindex{tuplettxt} +arguments +is \keyindex{eightit} (\verb|8pt| italic). + + \section{musixtri}\index{musixtri@{\tt musixtri.tex}} +Provides triply dotted note symbols. +Available are: +\keyindex{lpppt}, +\keyindex{whppp}, +\keyindex{zwppp}, +\keyindex{huppp}, +\keyindex{hlppp}, +\keyindex{zhppp}, +\keyindex{zhuppp}, +\keyindex{zhlppp}, +\keyindex{quppp}, +\keyindex{qlppp}, +\keyindex{zquppp}, +\keyindex{zqlppp}, +\keyindex{zqppp}, +\keyindex{cuppp}, +\keyindex{zcuppp}, +\keyindex{clppp}, +\keyindex{zclppp}, +\keyindex{qbppp} and +\keyindex{zqbppp}. + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex new file mode 100644 index 00000000000..e2d8c297fe3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/extracting.tex @@ -0,0 +1,101 @@ +\chapter{Extracting Parts from a Multi-Instrument Score}\label{parts} +From the typesetting viewpoint, the major characteristic of orchestral and +chamber music is that the scores not only have several instruments, but +variants of the same basic score are needed in which one of the instruments is +highlighted while some others are typeset in smaller notes or are +omitted. +Of course, it must be possible to permute the highlighted instruments and +the small-type instruments or +omitted instruments, depending on the instrument to which the +version of the score is dedicated. + +The following is the most general approach to part extraction when +using \musixtex\ without \textbf{PMX} or \textbf{M-Tx} pre-processors. A +simpler approach which will work for most purposes is described in Section~\ref{musixtnt}. + +\section{Coding rules} + To make a ``selectable'' orchestral score you must prepare the master score +(i.e., the score with all instruments typed) as follows: + + \begin{enumerate} + \item Avoid referring to instrument numbers with roman +numerals. For example use \verb|\setclefs|~$n$ instead of +\verb|\cleftoksiii=| . + \item Introduce symbolic names for the instruments; for example, define: + \begin{verbatim} + \def\Piano{1}% + \def\Flute{2}% + \def\Oboe{3}% + \def\Soprano{4}% + \end{verbatim} +and code, for example + \smallskip + + \verb|\setstaffs\Piano2| rather than \verb|\setstaffs12|. + + \item If, initially, the Piano is the instrument number 1, replace all +\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc., with +\verb|\notes\selectinstrument\Piano|, \verb|\Notes\selectinstrument\Piano|, +\verb|\NOtes\selectinstrument\Piano|, etc. + + \item Instead of using \verb|&| or \verb|\nextinstrument| to move to +instrument $n+1$, use \verb|\selectinstrument\Flute| and similar instead. + \end{enumerate} +For example, +\begin{verbatim} + \Notes\selectinstrument\Piano ... | ... + \selectinstrument\Flute ... + \selectinstrument\Oboe ... + \selectinstrument\Soprano ... \en +\end{verbatim} +With this coding, difficult things such as putting the Flute above the Oboe +are done easily: just say \verb|\def\Flute{3}| and \verb|\def\Oboe{2}|. + + \section{Selecting, hiding or putting instruments in the background} + + To put, for example, the Flute and the Oboe in the background, i.e., typesetting +them in small notes, state at the beginning: + \begin{quote} + \verb|\setsize\Flute\tinyvalue\setsize\Oboe\tinyvalue| + \end{quote} +where the value \keyindex{tinyvalue} for \keyindex{setsize} corresponds to notes and staffs +of size \keyindex{tinynotesize}. + If, instead of putting an instrument in the background, one wants to omit it, +this is done by: + \begin{quote} + \verb|\setstaffs\Flute{0}\setstaffs\Oboe{0}| + \end{quote} +since nothing is typeset for +instruments having \emph{zero} staffs (not to be confused with one-line staffs such +as percussions). + + \section{Recommendations} + \begin{itemize} + \item When hiding instruments, reduce +\keyindex{instrumentnumber} by the number of hidden instruments; otherwise +bars and leading braces will enclose the position of these dummy arguments, +which would be ugly. + + \item Exchange the actual instrument numbers so that hidden instruments have +numbers \emph{greater} than the value of \verb|\instrumentnumber|. + Hidden instruments with numbers +less than \verb|\instrumentnumber| will cause an excess of vertical +space at their phantom positions; this is not +recommended. + + \item In hidden instruments, rests no longer behave like \verb|\hbox{...}| and +\verb|raise|-ing them will result in an error. + + \item In hidden instruments, explicit \verb|\hbox|es will remain as empty +boxes, thus causing abnormal vertical spacings between instruments. Therefore, +anything suspect should be made conditional with: + +\begin{quote} +\keyindex{ifactiveinstrument}\ \textit{code to be omitted if instrument is hidden}\ \verb|\fi| +\end{quote} +Most \musixtex{} commands become properly hidden if requested. But +problematic +parts of code can nonetheless be protected with \verb|\ifactiveinstrument|. + + \end{itemize} + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex new file mode 100644 index 00000000000..2a3a0037cd5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/fonts.tex @@ -0,0 +1,212 @@ +\chapter{Font Selection and Text Placement} + +\section{Predefined text fonts} +While any \TeX\ font can be used by \musixtex, there are certain styles and +sizes that can be selected using shortcut commands. +For ordinary text the shortcuts cover fonts of eight different +sizes and three styles. The sizes in points are $8$, $9$, $10$, $12$, $14$, $17$, $20$, and $25$; +the styles are from the standard Computer Modern family: Roman, bold and italic. The +four smallest sizes are each available in all three styles, while the larger +sizes, which are intended for titles, are available only in bold style. +The size selection macros from smallest to biggest are \keyindex{smalltype}, +\keyindex{Smalltype}, +\keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype}, +\keyindex{Bigtype} , +\keyindex{BIgtype} and \keyindex{BIGtype}. Following size selection, the +style may be selected or changed using \keyindex{rm} (Roman), \keyindex{bf} +(bold) or \keyindex{it} (italic). If no style is explicitly selected, Roman style +will be used for the sizes \verb|\medtype| or smaller. For the larger sizes, +only bold style is provided and no style selection is required. Thus, for example, +eight point italic is selected with \verb|\smalltype\it|, while +twelve point Roman is selected using \verb|\medtype\rm| or simply +\verb|\medtype|. To change between styles while maintaining the same size, +code \verb|\rm|, \verb|\it| or \verb|\bf| as in Plain \TeX. +When \musixtex\ is started, the default font for ordinary text is +ten point Roman, equivalent to \verb|\normtype\rm|. + +Another group of fonts, in bold extended italic style, is predefined in point sizes +$10$, $12$, $14$, and $17$ for dynamic markings. The appropriate font for the current +staff size may be selected simply by using \keyindex{ppff} as a +font specification. Macros \verb|\smalldyn|, \verb|\normdyn|, or \verb|\meddyn| may be +used to redefine \verb|\ppff| to represent one of the smallest three. + + +All predefined fonts are summarized in Table~\ref{predefinedfonts}. The second column gives an +explicit control sequence that can alternatively be used locally as a font specification. +\font\csmalltype=cmr8 +\font\csmalltypebf=cmbx8 +\font\csmalltypeit=cmti8 +\font\cSmalltype=cmr9 +\font\cSmalltypebf=cmbx9 +\font\cSmalltypeit=cmti9 +\font\cnormtype=cmr10 +\font\cnormtypebf=cmbx10 +\font\cnormtypeit=cmti10 +\font\cmedtype=cmr12 +\font\cmedtypebf=cmbx12 +\font\cmedtypeit=cmti12 +\font\cbigtype=cmbx12 scaled \magstep1 +\font\cBigtype=cmbx12 scaled \magstep2 +\font\cBIgtype=cmbx12 scaled \magstep3 +\font\cBIGtype=cmbx12 scaled \magstep4 +\font\cppffsixteen=cmbxti10 +\font\cppfftwenty=cmbxti10 scaled \magstep1 +\font\cppfftwentyfour=cmbxti10 scaled \magstep2 +\font\cppfftwentynine=cmbxti10 scaled \magstep3 +\font\cbigtype=cmbx12 scaled \magstep1 +\font\cBigtype=cmbx12 scaled \magstep2 +\font\cBIgtype=cmbx12 scaled \magstep3 +\font\cBIGfont=cmbx12 scaled \magstep4 +\begin{table} +\begin{center} + \begin{tabular}{lll} + \hline + Size and style & Font specification & Example \\ + \hline + \verb|\smalltype| & \verb|\eightrm| & {\csmalltype small Roman} \\ + \verb|\smalltype\bf| & \verb|\eightbf| & {\csmalltypebf small bold} \\ + \verb|\smalltype\it| & \verb|\eightit| & {\csmalltypeit small italic} \\ + \verb|\Smalltype| & \verb|\ninerm| & {\cSmalltype Small Roman} \\ + \verb|\Smalltype\bf| & \verb|\ninebf| & {\cSmalltypebf Small bold} \\ + \verb|\Smalltype\it| & \verb|\nineit| & {\cSmalltypeit Small italic} \\ + \verb|\normtype| & \verb|\tenrm| & {\cnormtype normal Roman} \\ + \verb|\normtype\bf| & \verb|\tenbf| & {\cnormtypebf normal bold} \\ + \verb|\normtype\it| & \verb|\tenit| & {\cnormtypeit normal italic}\\ + \verb|\medtype| & \verb|\twelverm| & {\cmedtype medium Roman} \\ + \verb|\medtype\bf| & \verb|\twelvebf| & {\cmedtypebf medium bold} \\ + \verb|\medtype\it| & \verb|\twelveit| & {\cmedtypeit medium italic}\\ + \verb|\bigtype| & \verb|\bigfont| & {\cbigtype big bold} \\ + \verb|\Bigtype| & \verb|\Bigfont| & {\cBigtype Big bold} \\ + \verb|\BIgtype| & \verb|\BIgfont| & {\cBIgtype BIg bold} \\ + \verb|\BIGtype| & \verb|\BIGfont| & {\cBIGtype BIG bold} \\ + \verb|\smalldyn| & \verb|\ppffsixteen| & {\cppffsixteen pp ff diminuendo}\\ + \verb|\normdyn| & \verb|\ppfftwenty| & {\cppfftwenty pp ff crescendo}\\ + \verb|\meddyn| & \verb|\ppfftwentyfour| & {\cppfftwentyfour pp ff crescendo}\\[.4ex] + ~ & \verb|\ppfftwentynine| & {\cppfftwentynine pp ff diminuendo}\\[.4ex] + \hline + \end{tabular} +\end{center} +\caption{Predefined fonts} +\label{predefinedfonts} +\end{table} + +\section{User-defined text fonts} + +Since \musixtex\ is a superset of \TeX, you are free to use the standard \TeX\ +machinery for defining and using any special font you desire. You must first +of course ensure that (a) all the necessary font files (e.g., \verb|bla10.tfm|, +\verb|bla10.pfb|, or equivalents) are installed in the right places in your system, (b) all +configuration files (e.g., \verb|config.ps| or equivalent) have been updated, and +(c) the \TeX\ system has been ``rehashed''. Then you can use the font just as +in any \TeX\ document, e.g., by coding \verb|\font blafont=bla10| and then +\verb|\zchar{10}{\blafont Text in user-defined font}|. + +You might also wish to replace once and for all the typefaces invoked by the +commands described in the previous section. Again, before doing this, you must +follow steps (a-c) of the previous paragraph for all fonts in questions. +\label{UserFonts} +You can use the standard bitmapped fonts which are converted to +Postscript by e.g.,~\verb|dvips|, but you also may replace them +by native Postscript fonts. + +The extension library +\verb|musixtmr.tex|\footnote{by Hiroaki {\sc Morimoto}} +replaces the default Computer Modern text fonts by +the Times series of fonts; see Section~\ref{times}. +Other extension libraries, \verb|musixplt.tex| and \verb|musixhv.tex|, replace the default text fonts by +Palatino and Helvetica fonts, respectively; see Sections~\ref{palatino} and \ref{helvetica}. +\font\tnormtype=ptmr7t +\font\tnormtypebf=ptmb7t +\font\tnormtypeit=ptmri7t +\font\tbigtype=ptmr7t scaled \magstep2 +\font\tBigtype=ptmr7t scaled \magstep3 +\font\pnormtype=pplr8r +\font\pnormtypebf=pplb8r +\font\pnormtypeit=pplri8r +\font\pbigtype=pplrc8r at 14pt +\font\pBigtype=pplrc8r at 17pt +\font\hnormtype=phvr8r at 10pt +\font\hnormtypebf=phvb8r at 10pt +\font\hnormtypeit=phvro8r at 10pt +\font\hbigtype=phvr8r at 14pt +\font\hBigtype=phvr8r at 17pt +Here is a comparison of some Times, +Palatino and Helvetica fonts: +\begin{center} + \begin{tabular}{lll} + \hline + {\tnormtype normal Times Roman} & {\pnormtype normal Palatino Roman} &{\hnormtype normal Helvetica Roman} \\ + {\tnormtypebf normal Times bold} & {\pnormtypebf normal Palatino bold}& {\hnormtypebf normal Helvetica bold} \\ + {\tnormtypeit normal Times italic} & {\pnormtypeit normal Palatino italic } & {\hnormtypeit normal Helvetica italic }\\ + {\tbigtype Times big} & {\pbigtype Palatino big } & {\hbigtype Helvetica big } \\ + {\tBigtype Times Big } & {\pBigtype Palatino Big } & {\hBigtype Helvetica Big } \\ + \hline + \end{tabular} +\end{center} + +For users who prefer to stick with the default Computer Modern +family but want to use the EC variants, the extension library +\verb|musixec.tex| is available; see Section~\ref{ecfonts}. + +\section{Text placement}\label{textplacement} +Special macros are provided to allow precise placement of any \TeX\ text, vertically +relative to the staff, and horizontally relative to any note in +the staff. + +The macros in the first group will vertically position the text with the +baseline at any specified pitch or staff line. They must be used +inside \verb|\notes...\en|. They will not insert any additional +horizontal space. They have the forms +\keyindex{zcharnote}\pitchp\verb|{|\ital{text}\verb|}|, \keyindex{lcharnote}\pitchp\verb|{|\ital{text}\verb|}|, +and \keyindex{ccharnote}\pitchp\verb|{|\ital{text}\verb|}|, +where \ital{p} is the pitch. With the first one, text will spill to the right +from the current insertion point, with the second it will spill to the left, and with the +third it will be centered horizontally. +The following abbreviations are available: +\begin{quote} +\begin{tabular}{lcl} +\keyindex{zcn}& for&\verb|\zcharnote| \\ +\keyindex{lcn}& for&\verb|\lcharnote| \\ +\keyindex{ccn}& for&\verb|\ccharnote| \\ +\end{tabular} +\end{quote} + +There are similar macros \keyindex{zchar}\pitchp\verb|{|\ital{text}\verb|}|, +\keyindex{lchar}\pitchp\verb|{|\ital{text}\verb|}|, and \keyindex{cchar}\pitchp\verb|{|\ital{text}\verb|}|, +which differ from the previous three in that the pitch \ital{must} be given with +a number (representing the number of staff positions up from the lowest line), +and that the number need not be an integer. + +To vertically position any text midway between two consecutive staves, use +\keyindex{zmidstaff}\verb|{|{\it text}\verb|}|, \keyindex{lmidstaff}\verb|{|{\it text}\verb|}|, +or \keyindex{cmidstaff}\verb|{|{\it text}\verb|}| at the appropriate point in the lower staff. + +The macros \keyindex{uptext}\verb|{|\ital{text}\verb|}| and +\keyindex{Uptext}\verb|{|\ital{text}\verb|}| +are simply shorthands for +\verb|\zchar{10}{|\ital{text}\verb|}| and +\verb|\zchar{14}{|\ital{text}\verb|}|, +respectively. + +The text items handled by all of the above macros can include any appropriate +string of \TeX\ +control sequences, including font definitions, \verb|\hbox|'es, etc. + +Material posted with any of the macros described in this section will not +create any additional horizontal or vertical space within the current system, +and will overwrite anything in the current system that gets in the way. It is +the typesetter's responsibility to ensure there is adequate white space +within the current system to accommodate any text placed with +these macros. On the other hand, if text is placed far above or below a +system, \musixtex\ will usually insert additional vertical space if needed. + +\section{Rehearsal marks} + +Rehearsal marks are usually +boxed or circled uppercase letters or digits. They can be defined using the macros +\keyindex{boxit}\verb|{|\ital{text}\verb|}| or +\keyindex{circleit}\verb|{|\ital{text}\verb|}|. For boxed text, +the margin between the text and box is controlled by the dimension +register \keyindex{boxitsep}, which can be reset to any \TeX\ dimension if the +default value of \verb|3pt| is unsatisfactory. To place the mark, use \verb|\Uptext| or +any of the other macros defined in the previous section. diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex new file mode 100644 index 00000000000..c0f52919c24 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex @@ -0,0 +1,135 @@ +\title{\Huge\bfseries\musixtex\\[\bigskipamount] +\LARGE\bfseries Using \TeX{} to write polyphonic\\or +instrumental music\\\Large\itshape Version 1.16} + + +%\author{\Large\rm Daniel \sc Taupin\\\large\sl +% Laboratoire de Physique des Solides\\\normalsize\sl +% (associ\'e au CNRS)\\\normalsize\sl +% b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\\medskip +% \\\Large\rm Ross \sc Mitchell\\\large\sl +% CSIRO Division of Atmospheric Research,\\\normalsize\sl +% Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip +% \\\Large\rm Andreas \sc Egler\\\large\sl +% (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum} +\date{\today} +\maketitle +\vfill +\thispagestyle{empty} +\begin{flushright}\it +If you are not familiar with \TeX{} at all, I would recommend\\ +to find another software package to do musical typesetting.\\ +Setting up \TeX{} and \musixtex\ on your machine and mastering it is\\ +an awesome job which gobbles up a lot of your time and disk space.\\[\medskipamount] +But, once you master it\ldots\\[\smallskipamount] +Hans {\sc Kuykens} (ca.~1995) + +\vspace*{4ex} +In my humble opinion, that whole statement is obsolete.\\[\smallskipamount] +Christof\/ {\sc Biericher} (2006) +\end{flushright} + +\clearpage + +\pagenumbering{roman}\setcounter{page}{2} + + +\vspace*{20ex} +\begin{quote} +\musixtex{} may be freely copied, duplicated and used in conformance to +the GNU General Public License (Version 2, 1991, see included file {\tt +copying})\footnote{Thanks to the Free Software Foundation for advice. See +\href{http://www.gnu.org}{\underline{\tt http://www.gnu.org}}}. + +You may take it or parts of it to include in other packages, but no packages +called \musixtex{} without specific suffix may be distributed under the name +\musixtex{} if different from the original distribution (except obvious bug +corrections). + + Adaptations for specific implementations (e.g., fonts) should be provided as +separate additional \TeX\ or \LaTeX\ files which override original definitions. + \end{quote} + +\clearpage + +\chapter*{Preface} +\addcontentsline{toc}{chapter}{Preface} +\musixtex\ was developed by Daniel Taupin, Ross Mitchell and Andreas +Egler, +building +on earlier work by Andrea Steinbach and Angelika Schofer. +Unfortunately, Daniel Taupin, the main developer, died all too early in a 2003 +climbing accident. The \musixtex\ community was shocked by this tragic and unexpected +event. You may read tributes to Daniel Taupin that are archived at the +\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. + +Since then, the only significant update to \musixtex\ has been in version 1.15 (April 2011) which +takes advantage of the greater capacity of the e\TeX\ version of \TeX. +The current version~1.16 (February~2015) incorporates some minor +corrections in cautionary accidentals and ``hiding'' staffs. The package +includes +new extension libraries for use of Palatino text fonts, the EC variants +of Computer Modern fonts, additional accents and improved dynamic marks. +This manual is the definitive reference to all features of +\musixtex\ version~1.16. + +Novice users should not start here. +Most +music typesetting tasks can be accomplished entirely by using the \textbf{PMX} +(for instrumental music) or \mbox{\textbf{M-Tx}} (for vocal music) +preprocessors to generate the \musixtex\ input file, relieving the user of +learning any of the commands or syntax of \musixtex\ itself. It is only +for out-of-the-ordinary constructions that one must learn these details in order +to insert the necessary \musixtex\ commands into the preprocessor's input file +as so-called inline \TeX. + +The \href{http://icking-music-archive.org/software/indexmt6.html} +{\underline{Werner Icking Music Archive}}\ (WIMA) contains excellent and detailed +instructions for installing \TeX, \musixtex{} and the strongly recommended +preprocessors \textbf{PMX} +and \mbox{\textbf{M-Tx}} on +\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00022000000000000000} +{\underline{Linux/\unix}}, +\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00021000000000000000} +{\underline{Windows}} and +\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00023000000000000000} +{\underline{Mac OS}}. +See +\href{http://icking-music-archive.org/software/htdocs/Introduction.html#SECTION00012000000000000000} +{\underline{this}} +page at WIMA for documentation of +\textbf{PMX} and \mbox{\textbf{M-Tx}}. + +\begin{flushright} +Oliver Vogel\\ Don Simons\\ Andre van Ryckeghem\\ Cornelius Noack\\ +Hiroaki Morimoto\\ +Bob Tennent\\ \today +\end{flushright} + +\clearpage + +\makeatletter +\renewcommand\tableofcontents{% + \if@twocolumn + \@restonecoltrue\onecolumn + \else + \@restonecolfalse + \fi + \chapter*{\contentsname + \@mkboth{% + \contentsname}{\contentsname}}% + \addcontentsline{toc}{chapter}{Contents} % added by RDT + \@starttoc{toc}% + \if@restonecol\twocolumn\fi + } +\makeatother + + +%\begin{small} +\tableofcontents +%\end{small} + +\clearpage +\setcounter{page}{1} +\pagenumbering{arabic} +\renewcommand{\thepage}{\arabic{page}} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/index.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/index.tex new file mode 100644 index 00000000000..c56508b6d8f --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/index.tex @@ -0,0 +1,10 @@ +\makeatletter +\renewenvironment{theindex} + {\pagestyle{plain}\parindent\z@ + \parskip\z@ \@plus .3\p@\relax + \let\item\@idxitem} + {\thispagestyle{plain}} +\makeatother +\begin{multicols}{3}[\chapter*{Index}\addcontentsline{toc}{chapter}{Index}] + \printindex +\end{multicols} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex new file mode 100644 index 00000000000..d54dbf23351 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/introduction.tex @@ -0,0 +1,823 @@ +\chapter{Introduction to \musixtex} + +This chapter is not a tutorial on the use of \musixtex, but instead serves as +an overview of some of its capabilities, quirks, and history. + +\musixtex\ is a set of macros and fonts which enables music typesetting +within the \TeX\ system. It requires as a prerequisite a working +installation of \TeX. +\musixtex\ might be regarded as the digital equivalent of a box of type. It +contains symbols for staves, notes, chords, beams, slurs and ornaments, +ready to be arranged to form a sheet of music. But it must be told how to position +those symbols on the page. This could be done by the typesetter +himself, if he or she elects to proceed by entering \musixtex\ commands manually +into an input file. However most users will find it far less taxing to let +such decisions be made largely by the preprocessor +\href{http://icking-music-archive.org/software/indexmt6.html#pmx} +{\underline{\textbf{PMX}}}, which in addition uses a much simpler input +language than \musixtex. + +Lyrics can also be handled by \musixtex. There is a set of primitive +commands for this which are described later. But there is also a far +more adaptable set of macros contained in the extension file +\verb|musixlyr.tex|, and there is the preprocessor +\href{http://icking-music-archive.org/software/indexmt6.html#mtx} +{\underline{\mbox{\textbf{M-Tx}}}}\ which provides easy, transparent access to +these macros. + +Most users of \TeX\ are familiar with \LaTeX, a set of \TeX\ macros +which eases document layout. In fact many may only use \LaTeX. +Until recently, \LaTeX\ and \musixtex\ coexisted only grudgingly, owing +primarily to the limited availabily of storage registers. But with modern +versions of \TeX\ and with the use of e\LaTeX, only a modest increase in +complexity is incurred with the addition of musical excerpts to a \LaTeX\ +document. Still, fortunately, for typesetting a musical score there is +rarely if ever any advantage to using \LaTeX. Only if one wanted to create a +text document with embedded musical examples would there be much use for it. +Even in that case there is a perfectly fine way to avoid using \musixtex\ +directly in the document file, namely, by using \musixtex\ to create +\verb|pdf| or \verb|eps| files for +each of the examples, and then embedding references to those in the file for +the larger document. But for anyone who still wants to use both together, there is +no better example than this manual, as generated with the files +\verb|musixdoc.tex| and \verb|musixdoc.sty|. A few further details about such +nonstandard applications are given in Section~\ref{excerpts}. + +\section{Primary features of \musixtex} + \subsection{Music typesetting is two-dimensional} Written music is not +usually a linear sequence of symbols like a literary text. Rather, +except for unaccompanied single-note instruments like clarinets, +trumpets and human voices, it has the form of a two-dimensional matrix. + Thus, a logical way of coding music consists +in horizontally accumulating a set of \ital{vertical combs} with +\ital{horizontal teeth} as depicted in Table~\ref{readtable}. +%\def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}} + \begin{table} + \begin{center} + \small + \renewcommand{\arraystretch}{1.4} + \setlength{\arrayrulewidth}{1.5pt} + \setlength{\tabcolsep}{2ex} + \begin{tabular}{|ll|ll|}\fbox{note sequence one} + &\fbox{note seq.\ four} + &\fbox{note seq.\ seven} + &\fbox{note seq.\ ten}\\\fbox{note sequence two} + &\fbox{note seq.\ five} + &\fbox{note seq.\ eight} + &\fbox{note seq.\ eleven}\\\fbox{note sequence three} + &\fbox{note seq.\ six} + &\fbox{note seq.\ nine} + &\fbox{note seq.\ twelve}\\ + \end{tabular} + \end{center} + \caption{A logical way of coding music}\label{readtable} + \end{table} +Accordingly, in \musixtex\ the fundamental macro used to represent +one of those vertical combs (or one of the columns in Table~\ref{readtable}) +is of the form +\begin{center} +\verb|\notes ... & ... & ... \en|\footnote{The command +\keyindex{en} is an abbreviation for the command \keyindex{enotes}, which may also be used.} +\end{center}\index{"&@{\tt\char'046}} +\noindent where the character \verb|&| is used to separate the notes to be +typeset on respective staves of the various instruments, starting from the +bottom. + +In the case of an instrument whose score has to be written with +several staves, they are separated by the +character \|\index{\tt\char'174@{\tt\char'174}}. + +Thus, a score written for a keyboard instrument and +a single-line instrument (e.g., piano and violin) +will be coded as follows: +\begin{center} +\verb=\notes ... | ... & ...\en= +\end{center} +\noindent for each column of simultaneous \ital{groups of notes}. +Each of those groups, represented by a single box in Table~\ref{readtable}\ +and by a sequence of three dots in the the two example macros above, may contain +not only chord notes to be played simultaneously, but short sequences of +consecutive +notes or chords. As we'll soon see, this implies the need for two fundamentally different +kinds of basic macros in \musixtex: those whose tokens are automatically followed +by some amount of space (called \ital{spacing} macros), and those that are not. +The former type, for example, +would be used to produce the notes and rests in a single-line score; +the latter would be used, for example, for chord notes and ornaments. + +\subsection{Horizontal spacing} +Deciding upon the proper horizontal spacing of notes is a very complicated matter +that we will not address in any detail here. Obviously short-duration notes +should be closer together than longer ones. Almost as obviously, the spacing +cannot be linearly proportional to the duration; otherwise for example a whole +note would occupy 32 times as much horizontal space as a thirty-second note. And +in polyphonic scores the spacing in one staff is often influenced by the notes +in another. This is a decision that the typesetter or preprocessor +must make. Once the decision is made, \musixtex\ can provide the desired spacing. +The main mechanism is through a set of macros described in +Section~\ref{newspacings}. At this point we shall only mention that to control +spacing, one of those +macros will be selected to replace the symbol \verb|\notes| in the two examples +above, and it will imply that whenever a spacing macro in encountered within +a group of notes, a +certain specific amount of horizontal space will be inserted. + + \subsection{Music tokens} +The tokens provided by \musixtex\ include +\begin{itemize}\setlength{\itemsep}{0ex} + \item note symbols without stems; + \item note symbols with stems, and flags for eighth notes and +shorter; + \item beam beginnings and endings; + \item beginnings and endings of ties and slurs; + \item accidentals; + \item ornaments: arpeggios, trills, mordents, turns, staccatos, +pizzicatos, fermatas, etc.; + \item bar lines; + \item meters, key signatures, clefs. +\end{itemize} +For example, \verb|\wh a| produces a whole note at nominal frequency 222.5~Hz, +\verb|\wh h| produces one an octave higher, \verb|\qu c| +produces an up-stemmed quarter note C (250~Hz), and \verb|\cl J| produces a down-stemmed C +eighth note an octave lower. + + To generate chords with solid note heads, the non-spacing macro \keyindex{zq} +can be used. It produces a solid note head at the specified pitch, +the vertical position of which +is memorized and recalled whenever the next stemmed note (possibly with a flag) is +coded. The stem length is automatically adjusted to link all simultaneous notes. Thus, the +\mbox{C-major} chord + +\begin{music}\nostartrule +\startextract\NOtes\zq{ceg}\qu j\en\zendextract +\end{music} + \noindent is coded \verb|\zq c\zq e\zq g\qu j| or more concisely, +\verb|\zq{ceg}\qu j|; the \verb|u| in the spacing note macro +\verb|\qu| is what generates the upstem. + + \subsection{Beams} +Each beam \index{beams} is generated by a pair of macros. The first defines +the beginning horizontal position (implicitly the current position), altitude, +direction (upper or lower), multiplicity (number of lateral bars), slope and +reference number. This latter feature is needed so independent beams +can overlap. The second macro of the pair specifies the termination +location (again implicitly) and the reference number. + + \subsection{Setting anything on the score} +A general macro (\keyindex{zcharnote}) provides a means of +putting any sequence of symbols (possibly contained in an \verb|\hbox{...}|) at any +pitch of any staff of any instrument. This allows any symbol defined in a font +(letters, math symbols, etc.) to be placed in the score at a position keyed +to the music both in time (horizontally) and pitch (vertically) on the staff, +\section{A simple example} + Before going into more detail, we give below an example of the two first +bars of the sonata in \mbox{C-major} KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc +Mozart, W.A.}}: + +\begin{music} +\parindent11mm +\setname1{Piano} +\setstaffs12 +\generalmeter{\meterfrac44} +\startextract +\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en +\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en +\bar +\Notes\ibu0f0\qb0{dgf}|\qlp i\en +\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en +\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en +\zendextract +\end{music} + The coding is as follows: +\begin{quote}\begin{verbatim} +\begin{music} + \parindent10mm + \instrumentnumber{1} % a single instrument + \setname1{Piano} % whose name is Piano + \setstaffs1{2} % with two staffs + \generalmeter{\meterfrac44} % 4/4 meter chosen + \startextract % starting real score + \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en + \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en + \bar + \Notes\ibu0f0\qb0{dgf}|\qlp i\en + \notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en + \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en + \zendextract % terminate excerpt +\end{music} + \end{verbatim}\end{quote} +\begin{itemize}\setlength{\itemsep}{0ex} + \item \verb|\ibu0f0| begins an upper beam, aligned on the +\ital{f}, reference number 0, slope 0 + \item \verb|\tbu0| terminates this beam before writing +the second \ital{g} by means of \verb|\qb0g| + \item \verb|\qb..| indicates a note belonging to a beam. + \item \verb|\sk| sets a space between the two quarters in the right +hand, so that the second one is aligned with the third eighth in the left hand. + \item\verb|\qlp| is a dotted quarter note. + \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C} +(\verb|j| at this pitch) with slope 15\%. +\end{itemize} + +\section{The three pass system}\label{threepass} +\subsection{Introduction} +\TeX's line-breaking procedure implicitly assumes +that a normal line of text will contain many words, so that inter-word +glue need not stretch or shrink too much to justify the line. +One might at first consider extending this to music, treating each bar like a +word with no stretchable internal space. But typically this would lead to unsightly +gaps before each bar rule, simply because the number of bars per line +is normally many fewer than the number of words in a line of text. +\musixtex\ needs a more sophisticated horizontal spacing algorithm +than is used in \TeX. + +To understand how \musixtex\ solves this problem, we have to +recognize two different kinds of horizontal space, \ital{hard}\ and +\ital{scalable}. Hard space is fixed and always represents the same +physical distance. +Examples of hard space are the widths of bar rules, clefs, +and key signatures. Scalable space can be stretched as needed. It +is what is normally used for the space after notes or rests. At the +outset it is only defined in a relative sense. In other words, +scalable spaces are defined as multiples of \verb|\elemskip|, an +initially undefined basic spacing unit. For example, in \textbf{PMX}\ +all sixteenth notes +are typically assigned a scalable width of \verb|1.41\elemskip|. +One main job of \musixtex\ is to compute the physical value of +\verb|\elemskip|, often expressed in points (72nds of an inch). +The correct value is that which makes all the scalable space on +a line just fill up what's not occupied by hard space. Obviously +it may vary from line to line. + +To this end a three pass system was developed. To start the +first pass on the file \verb|jobname.tex|, you would enter\footnote{ +In many cases it will suffice to run {\tt tex}, but with \musixtex~1.15, +it is possible to create a file requiring the enhanced capacity of +{\tt etex}. Since {\tt etex} can handle any file {\tt tex} can, it's best +always to use {\tt etex}.} +\verb|etex jobname|. +Information about each bar is written to +an external file named \verb|jobname.mx1|. +This file begins with a header containing parameters +such as line width and paragraph indentation. Then the hard and +scalable space is listed for each bar. +\index{scalable width}\index{hard width} + +The second pass, which is started with \verb|musixflx jobname|, +determines optimal values of the basic spacing unit \verb|\elemskip| +for each line, so as to properly fill each line, and to spread +the piece nicely over an integral number of full lines. This routine was originally written +in \textsc{fortran} rather than \TeX, the main reason +being the lack of an array handling capability in \TeX; the current version +of \verb|musixflx| is a \textsc{lua} script, which may be executed without +compilation in any standard \TeX\ system. + +\verb|musixflx| reads in the file \verb|jobname.mx1|, and writes its +output to \verb|jobname.mx2|. The latter file contains a single entry for +each line of music in the reformatted output. The key piece of information +is the revised value of \keyindex{elemskip} for each line. + +Next, the file is \TeX-ed again, by entering \verb|etex jobname|. On this third pass, +the \verb|jobname.mx2| file is read in, and the information +is used to physically define the final score and embed the +page descriptions into a \verb|dvi|\ file. + +You may wonder how the same command can +cause something different to happen the second time it is issued. The explanation +is that \musixtex\ checks for the presence of \verb|jobname.mx2|. If it's +not present, the first pass is executed; if it is, the third pass. Obviously if +you've made some corrections that affect any horizontal spacing, you must remember +to delete the old \verb|jobname.mx2| and then rerun all three passes, or +build or use a script that does so. + +\subsection{An example} + +Here's an example. Here, no value for \verb|\elemskip| is explicitly specified, +so \musixtex\ assigns a single, default value. After the first pass you might get +the following output: + +\begin{music} +\hsize=100mm +\generalmeter{\meterfrac24}% +\parindent 0pt +\setsign1{-3} +\nostartrule +\startpiece\bigaccid +\NOtes\qu{ce}\en +\bar +\NOtes\qu{gh}\en +\bar +\NOtes\qu{=b}\en +\Notes\ds\cu g\en +\bar +\NOtes\qu{^f=f}\en +\raggedstoppiece\contpiece% this is cheated, the problem was to get +% pass 1 and pass 3 at the same time +\NOtes\qu{=e}\itied0e\qu{_e}\en +\bar +\Notes\ttie0\Qqbu ed{_d}c\en +\bar +\Notes\ibu0b{-2}\qb0{=b}\en +\notes\nbbu0\qb0{=a}\tqh0N\en +\Notes\Dqbu cf\en +\raggedstoppiece\contpiece +\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en +\bar +\NOtes\qu c\qp\en +\setdoubleBAR\raggedstoppiece +\end{music} + +\noindent Note that the space after every quarter note is the same, and +that lines are not justified. +After running \verb|musixflx| and \TeX-ing the second time you'll +get: + +\begin{music} +\hsize=100mm +\generalmeter{\meterfrac24}% +\parindent 0pt +\generalsignature{-3} +\nostartrule +\startpiece\bigaccid +\NOtes\qu{ce}\en +\bar +\NOtes\qu{gh}\en +\bar +\NOtes\qu{=b}\en +\Notes\ds\cu g\en +\bar +\NOtes\qu{^f=f}\en +\bar +\NOtes\qu{=e}\itied0e\qu{_e}\en +\bar +\Notes\ttie0\Qqbu ed{_d}c\en +\bar +\Notes\ibu0b{-2}\qb0{=b}\en +\notes\nbbu0\qb0{=a}\tqh0N\en +\Notes\Dqbu cf\en +\bar +\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en +\bar +\NOtes\qu c\qp\en +\Endpiece +\end{music} + +\noindent Now \musixtex\ has determined a number of lines +(which is different from the original number), the lines are justified, +and if you look carefully you +can see that the space after quarters in the first line +is smaller than in the second. This example was coded as: +\begin{verbatim} +\hsize=100mm +\generalmeter{\meterfrac24}% +\parindent 0pt +\generalsignature{-3} +\nostartrule +\startpiece\bigaccid +\NOtes\qu{ce}\en\bar +\NOtes\qu{gh}\en\bar +\NOtes\qu{=b}\en +\Notes\ds\cu g\en\bar +\NOtes\qu{^f=f}\en\bar +\NOtes\qu{=e}\itied0e\qu{_e}\en\bar +\Notes\ttie0\Qqbu ed{_d}c\en\bar +\Notes\ibu0b{-2}\qb0{=b}\en +\notes\nbbu0\qb0{=a}\tqh0N\en +\Notes\Dqbu cf\en\bar +\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar +\NOtes\qu c\qp\en\Endpiece +\end{verbatim} + +\subsection{Adjusting the layout} + +One benefit of the 3-pass system is the quick and easy +alteration to the layout which can be achieved +by changing only one parameter, namely \keyindex{mulooseness}. This value +acts analogously to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you +state \verb|\looseness=-1| somewhere inside any paragraph, then +\TeX\ will try to make the paragraph one line shorter than it normally would. +With \verb|\mulooseness|, \musixtex\ does the same, but for \ital{systems} +and \ital{sections} rather than lines and paragraphs. A system is just a group of +staves treated as a unit, and in this discussion is analogous to a line of text. +What is a \ital{section}? It's any chunk of coding not containing a +forced system break, System breaks can be forced with +\keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece}, +\keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne} +\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage}. If none +of these is present, the section comprises the whole piece. +Somewhere\footnote{Advisably, at the beginning or +at the end of the section, for the sake of clarity.} +before the end of the section, you can change the value of +\keyindex{mulooseness} to something different from the default of 0, and +\musixtex\ will typeset that section with a different number of systems. + +To give an easy example, changing the last line in the previous example to: +\begin{verbatim} +\NOtes\qu c\qp\en\mulooseness=1\Endpiece +\end{verbatim} +yields: + +\begin{music} +\hsize=100mm +\generalmeter{\meterfrac24}% +\parindent 0pt +\generalsignature{-3} +\nostartrule +\startpiece\bigaccid +\NOtes\qu{ce}\en +\bar +\NOtes\qu{gh}\en +\bar +\NOtes\qu{=b}\en +\Notes\ds\cu g\en +\bar +\NOtes\qu{^f=f}\en +\bar +\NOtes\qu{=e}\itied0e\qu{_e}\en +\bar +\Notes\ttie0\Qqbu ed{_d}c\en +\bar +\Notes\ibu0b{-2}\qb0{=b}\en +\notes\nbbu0\qb0{=a}\tqh0N\en +\Notes\Dqbu cf\en +\bar +\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en +\bar +\NOtes\qu c\qp\en +\mulooseness1\Endpiece +\end{music} + +\noindent On the other hand, +\begin{verbatim} +\NOtes\qu c\qp\en\mulooseness=-1\Endpiece +\end{verbatim} +yields + +\begin{music} +\hsize=100mm +\generalmeter{\meterfrac24}% +\parindent 0pt +\generalsignature{-3} +\nostartrule +\startpiece\bigaccid +\NOtes\qu{ce}\en +\bar +\NOtes\qu{gh}\en +\bar +\NOtes\qu{=b}\en +\Notes\ds\cu g\en +\bar +\NOtes\qu{^f=f}\en +\bar +\NOtes\qu{=e}\itied0e\qu{_e}\en +\bar +\Notes\ttie0\Qqbu ed{_d}c\en +\bar +\Notes\ibu0b{-2}\qb0{=b}\en +\notes\nbbu0\qb0{=a}\tqh0N\en +\Notes\Dqbu cf\en +\bar +\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en +\bar +\NOtes\qu c\qp\en +\mulooseness-1\Endpiece +\end{music} + +\noindent which is tighter than you would ever want, but serves to further +demonstrate the use of \keyindex{mulooseness}. + +If you want to build up a \musixtex\ input file +manually (which in fact very few users will ever need to do, considering the +availability of \textbf{PMX}), here is a roadmap for one way to proceed: +\begin{enumerate} + \item Enter the data one \verb|\notes| group at a time, taking care to select the +relative horizontal spacing for each group (via the macros discussed in Section~\ref{newspacings}) +so as to maintain a consistent relationship between scalable space and note durations. +This will be discussed in a great deal more detail in Chapter~\ref{preparing}. + \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX. + \item Look at the output and decide if you want to have more or fewer +systems, e.g.,~to fill the page or to get an even number of +pages.\index{musixflx@{\tt musixflx}} + \item If you want to change the number of systems in a section, adjust +\keyindex{mulooseness} accordingly. Keep in mind that each section cannot have fewer +systems than bars. +\item Delete \verb|jobname.mx2| and repeat the process\\ +\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX. + +\end{enumerate} + +There is an alternate way to proceed if you know at the outset +how many systems +you want in a section. You can specify it directly by assigning a +positive number to \keyindex{linegoal} somewhere within the +section (\verb|\linegoal| requires +version 0.83 or later of \verb|musixflx|). +\keyindex{mulooseness} must be zero +for \keyindex{linegoal} to work. Both are automatically reset to +zero after processing the end of a section e.g., as defined by +\keyindex{stoppiece}. + +Finally, for large scores (more than 4 pages or so), having +only one section and an overall value of \verb|\mulooseness| becomes +impractical since one wants not only to have nicely spaced systems, but also +completely filled pages without empty top and +bottom margins on the last page. It is then wise to force the total number of +pages and possibly the line breaks in each page, which can be done using +\keyindex{alapage} and/or \keyindex{alaligne}\footnote{This is the technique +always used by \textbf{PMX} in constructing a \musixtex\ input file.}. +%avrb +%, or more automatically by +%means of the \keyindex{autolines} command borrowed from \musictex\ and +%implemented in the additional {\ttxem{musixcpt.tex}} file +%avre + +There is another advantage to \musixtex's way of using scalable space and +the three pass system. In +\TeX nical terms it eliminates the need for \ital{glue}, and enables +every horizontal position in a line to be computed. This in turn enables certain +variable length symbols such as slurs to be specified by macros entered at +their beginning and ending points, rather than having to estimate the +length of the symbol and enter it at the starting point. + + \subsection{Using \texttt{musixflx}} + +On most systems, \verb|musixflx| can be invoked by typing the name of the program +and the name of the file to be acted upon; i.e., +\begin{quote} +\verb|musixflx jobname.mx1| +\end{quote} +Optionally, you can add a letter to indicate one of the debug modes, which are: +\begin{quote} +\verb|d | for debug information to screen\\ +\verb|f | for debug information to file \verb|jobname.mxl|\\ +\verb|s | to get the computed lines immediately on screen +\end{quote} +To allow for ease of use with scripts, \verb|musixflx| can be fed +with either \verb|jobname.mx1|, \verb|jobname.tex| or only +\verb|jobname|, any one of which will open \verb|jobname.mx1|. + + \subsection{Unrecorded spaces: the novice's bugaboo} + +Because of the way \musixtex\ accounts for hard and scalable space and avoids +using glue, it is absolutely essential that every horizontal space be +properly entered into the input file. The most common error in this regard +is including a blank space in the midst \ital{or at the end} of an input line. +Such a blank space, or for that matter any stray character not entered with +an appropriate \musixtex\ macro, will not be properly +recognized and recorded by \musixtex, but it will still be treated like +ordinary text by \TeX. The symptoms of such a transgression will be an +{\bf Overfull hbox} warning during the third pass, and the appearance of +either excessive blank horizontal space or thick black vertical lines in +the page image. + +\medskip +\centerline{\fbox{Considerable discipline is needed to avoid this problem!}} +\smallskip + +The best technique for avoiding such unpleasantness is to avoid entering +any nonessential blanks within input lines, and to end every +input line with either \verb|%|\index{%@{\tt\char37}} or +\keyindex{relax}, unless it already ends with a control sequence +ending in a letter. + +There are other ways to enter unrecorded space which should be +avoided. Between \verb|\startpiece| and \verb|\stoppiece| or +\verb|\endpiece|, never use \verb|\hskip| or \verb|\kern| except +within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|, +\verb|\zcharnote|, \verb|\uptext|, etc., and never assign hard +values to scalable dimensions like \verb|\noteskip|, +\verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip|\footnote{Note that {\Bslash hardspace} does not fall in this +category; it is specifically designed to enter hard space in a way +the \musixtex\ can properly record it}. + +Here is a checklist of tips related to spacing issues. Because the +foregoing several paragraphs are so important, some of their content +is repeated in the list. + +\begin{enumerate} + \item +Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|, +end every input line with a either \verb|%| or a command with no arguments +(including \verb|\relax| and \verb|\en|). + \item \verb|\off| must only be used with scalable values, e.g., +\verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip|, and + \verb|\beforeruleskip|. + \item Remember that \verb|\qqsk|, \verb|\qsk| and \verb|\hqsk| are scalable, i.e., \verb|\qsk| + doesn't necessarily mean exactly one note head width (it depends on \verb|\elemskip|). + \item Lyrics and any other non-\musixtex\ text must be put in zero-width boxes +such as + \verb|\zcharnote|, \verb|\zchar|, \verb|\rlap|, \verb|\lrlap|, \verb|\llap|, +\verb|\uptext|, or \verb|\zsong|. Additional specific capabilities for entering +lyrics are provided by + \verb|\hardlyrics|, \verb|\hsong|, and---most significantly---the +text-placement macros defined in \verb|musixlyr.tex| (see Chapter~\ref{lyrics}, +p.~\pageref{lyrics}). + \item +Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|, +don't assign hard values to \verb|\noteskip|, \verb|\beforeruleskip|, +or \verb|\afterruleskip|. +\end{enumerate} + + +\section{Further highlights} + %\check + \subsection{Key signatures} +\begin{sloppypar} +A single key signature can be assigned~to~all~instruments,~for~example~by +\keyindex{generalsignature}\verb|{-2}| +which sets two flats on each staff. \keyindex{generalsignature} +can be overridden for selected instruments, for example by +\keyindex{setsign}\verb|2{1}| which puts one sharp on each staff +of instrument number 2. Of course, the current signature as well +as meters and clefs may change at any time.\end{sloppypar} +\subsection{Transposition} +With some extra attention, a score can be input in such a way that it is +fairly easily transposed. There is an internal register +called \keyindex{transpose}, the default value of which is zero, but which may be +set to any reasonable positive or negative value. It defines a number of pitch +steps (lines or spaces on a staff) by which all pitched symbols with be offset, provided +they have been entered with letter values to represent their pitch. +However, +it will neither change the local accidentals nor the key signature. + +For +example, suppose a piece were originally input in F major, and it contained a +B natural, and you wanted to transpose it to G. If you simply set +\verb|\transpose| to 1 with no other special considerations, then +the key signature would not change, and +the B~natural would appear as a C~natural, whereas it should be a C~sharp. +So first you must explicitly change the key signature. Then, to +solve the problem with accidentals, you should declare +\verb|\relativeaccid|, which will cause the actual appearance of any +accidental to depend on the pitch of +the accidental as well as the current key signature. But the use of this +facility requires the typesetter to have entered the original set of accidentals +according to a nonstandard convention wherein an accidental does not +specifically refer to the black or white keys on a piano, but to the +amount by which the pitch is altered up or down from what it would naturally +have been, taking the key signature into account.\index{relative accidentals} This +is discussed in more detail in Section~\ref{transposeaccids}. Now, finally, you +can enter \verb|\transpose=1| with more or less the desired effect. + +More or less, because there is also an issue with stem +and beam directions. Normally a typesetter would want full control over them, +and would exercise that control by entering them with macros that explicitly +assign the direction. Naturally the assigned directions would persist +even after changing \verb|\transpose|. With respect to stems of unbeamed notes, +this matter can also be addressed at +the input level, by using special macros for notes that leave the +decision about stem directions up to \musixtex. These macros do the right +thing in the face of transposition. They are discussed in +Chapter~\ref{autostemdirections}. Unfortunately there is no corresponding +such facility for beams, so the typesetter will have to edit the transposed +score to adjust beam directions as required\footnote{\textbf{PMX} +will automatically adjust both stem and beam directions when transposing, which +is yet another reason to use it. However +if a piece is to be transposed, the typesetter must still explicitly activate relative accidentals +and enter accidentals according to the relative-accidental convention.}. + + %\check + \subsection{Extracting parts from a score} +It is possible to extract separate scores for +each individual instrument of a multi-instrument score. +If you use \textbf{PMX}, it is very easy; +see the documentation for \textbf{PMX}. +If you use \musixtex\ without a preprocessor, +see Chapter~\ref{parts}. + +%After assigning symbolic numbers to instruments, +%there are macros (see \ref{instrum-inhibit}) that permit +% \begin{itemize}\setlength{\itemsep}{0ex} +% \item choosing which instrument the following source code is attached to, +% \item choosing which staff of an instrument the following source code is +%attached to, +% \item hiding one or several instruments by zeroing out their staff sizes and staff +%numbers. +% \end{itemize} + + %\check + \subsection{Staff and note sizes} + Although the standard staff size is 20pt, \musixtex\ allows scores with +sizes of 16, 24, or 29pt. Furthermore, any instrument may be assigned its own special staff +size (usually smaller than the overall staff size), and there are special macros +(e.g., \verb|\smallnotesize|, \verb|\tinynotesize|) that cause notes, beams, and +accidentals all to take a different size. + +\subsection{Add-in macro libraries} +During the early stages of \musixtex's development, common versions of \TeX\ itself were +very limited in capacity, especially in terms of the numbers of registers that could +be defined for use in macros. For this historical reason, many important enhancements +to \musixtex\ are available only via add-in libraries. The user can thus pick and choose +which to include for any particular compilation. Most of these are included in +a \musixtex\ distribution, and their uses are discussed in this manual. The +libraries have names like \verb|blabla.tex|, and are activated by including a line +like \verb|\input blabla|\ within the the input file. The most common such files +are \ttxem{musixadd.tex} and \ttxem{musixmad.tex} which respectively increase the +number of instruments from the default 6 to 9 or 12 as well as increasing available numbers +of other features; \verb|musixps.tex| which enables Type~K Postscript slurs; and +\verb|musixlyr.tex| which greatly eases typesetting lyrics. In fact the latter two, +while now included in \musixtex\ distributions, are not documented in this manual but +in separate files, namely \verb|musixps.tex| itself and +\verb|mxlyrdoc.pdf| respectively. + + +\section{Installing and Using \musixtex}\label{using} + +As stated in the preface, +the \href{http://icking-music-archive.org/software/indexmt6.html} +{\underline{Werner Icking Music Archive}}\ (WIMA) contains excellent and detailed +instructions for installing \TeX, \musixtex{} and the strongly recommended +preprocessors \textbf{PMX} +(for instrumental music) and \mbox{\textbf{M-Tx}} (for vocal music) under +\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00022000000000000000} +{\underline{Linux/\unix}}, +\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00021000000000000000} +{\underline{Windows}} and +\href{http://icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html#SECTION00023000000000000000} +{\underline{Mac OS}}. + +As stated in Section~\ref{threepass}, to compile a \musixtex-formatted score, you must run +in sequence \verb|etex|, \verb|musixflx|, +and \verb|etex| again. This will produce a \verb|.dvi| file. From this point +forward, this file can be processed like the device-independent output file +for any \TeX\ document. The most common approach and the only one to +be discussed here is to next generate a Postscript file. This is accomplished +by running \verb|dvips|, which is included in every \TeX\ system. To view the +Postscript, most users run {\tt GSview} or {\tt gv}, a front-end to {\tt ghostscript}, which must +be separately downloaded and installed. Finally, you may produce a PDF file +using \verb|ps2pdf| or GSview, and view that with any PDF viewer, such as +the Adobe Reader or {\tt GSview}. + +You also can view the \verb|.dvi| file directly using a DVI viewer such as Yap or \verb|xdvi|, +but, if you are using type K Postscript slurs, some DVI viewers will not display them. + +Rather than executing all the foregoing programs separately, most users will +find it more convenient to use the \verb|musixtex| script that comes in most +distributions of \musixtex. For example, + +\verb|musixtex jobname| + +\noindent will run the three passes described in Section~\ref{threepass}, +convert the result to PDF and delete intermediate files. +There are many options available to +change the behavior; run + +\verb|musixtex --help| + +\noindent to get a summary. + + +\section{Where to get help using \musixtex} + +The home base for all matters related to \musixtex\ is the +Werner Icking Music Archive, at +\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}. +There is a +\href{http://tug.org/mailman/listinfo/tex-music}{\underline{mailing list}}, +hosted by TUG, the \TeX\ Users Group, where you will always find +someone willing to answer questions and help solve problems. + + \section{A very brief history of \musixtex} +The idea of using \TeX\ to typeset music appears to have originated +around 1987 with the master's thesis of Andrea +{\sc Steinbach} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer +A., \ital{Automatisierter Notensatz mit \TeX}, master's thesis, +Rheinische Friedrich-Wilhelms Universit\"at, +Bonn, Germany, 1987}. They called their package +\mutex\index{mutex@\protect\mutex}. It was limited to a single staff. +It introduced two key concepts: (1) using +a large number of font characters to construct beams and slurs, and (2) using +\TeX\ glue to help control horizontal spacing and justification. + +The next major step came around 1991 when Daniel {\sc Taupin} created \musictex. +Its major enhancement was to allow multiple staves. But this came at a +price: some flexibility was lost in controlling horizontal spacing and +a great deal of trial and error became necessary to avoid excessive or +insufficient gaps before and after bar lines. + +\musictex\ was a single-pass system. To remedy its shortcomings it became clear +that a multi-pass system would be required. Around 1997 Dr.~Taupin along with Ross {\sc Mitchell} +and Andreas {\sc Egler} created the first version of \musixtex. At last a fully +automatic procedure was coded so as to provide pleasing horizontal spacing in +multi-staff scores. + +Significant enhancements to \musixtex, which have already been mentioned, have been provided +by Stanislav {\sc Kneifl} (Type~K Postscript slurs) and +Rainer {\sc Dunker} (Lyrics handling via \verb|musixlyr.tex|). + +Since Dr.~Taupin passed away in 2003, \musixtex\ has been maintained by a +varying cast including Olivier {\sc Vogel}, Hiroaki {\sc Morimoto}, +Bob {\sc Tennent}, Andre {\sc Van Ryckeghem}, +Cornelius {\sc Noack}, and Don {\sc Simons}. + +No discussion of the history of \musixtex\ would be complete without mentioning +the contributions of Werner {\sc Icking}. From the early days of \mutex\ until +his untimely death in 2001, he served this line of software as its most prominent +proponent, beta tester, web site and mailing list editor, consultant, +problem solver, and inspiration for +many third-party enhancements including \textbf{PMX}. In fact he founded the +mailing list and the archive that now is named in his honor. The web site is +currently edited by Christian {\sc Mondrup}, the software page by Bob {\sc Tennent}, +and the mailing list by Maurizio {\sc Codogno}. + + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex new file mode 100644 index 00000000000..2c72dc1ed49 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex @@ -0,0 +1,126 @@ +\chapter{Managing the Layout of your Score} +\section{Line and page breaking}\label{linebreak} +If every bar ends with \verb|\bar| and no other line- or page-breaking commands +are used, then the external program \verb|musixflx| will decide where to insert +line and page breaks. Line breaks will only come at bar lines. The total +number of lines will depend on the initial value of \verb|\elemskip|, which by +default is \verb|6pt| in \verb|\normalmusicsize|. + +You can force a line or page break by replacing \keyindex{bar} with +\keyindex{alaligne} or \keyindex{alapage} respectively. On the other hand, +to forbid line-breaking at a particular bar, replace \verb|\bar| +with \keyindex{xbar}. To force a line or page break where there is +no bar line, use \keyindex{zalaligne} or \keyindex{zalapage}. To mark any +mid-bar location as an optional line-breaking point, use \keyindex{zbar}. + +The heavy final double bar of a piece is one of the consequences of +\keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate +the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}. +To terminate it with no bar line at all, code \keyindex{zstoppiece}. + +Once you have stopped the score by any of these means, you may want to restart +it, and there are several ways to do so. If you don't need to change the key +signature, meter, or clef, +you can use \keyindex{contpiece} for no indentation, or \keyindex{Contpiece} +to indent by \keyindex{parindent}. If you do want to change some score +attribute that takes up space, for example +with \keyindex{generalsignature} after \verb|\stoppiece|, then to restart you +must use \keyindex{startpiece}. However, if you don't want \verb|\barno| reset +to 1, you must save its new starting value to \verb|\startbarno|. You may also +wish to modify instrument names or \verb|\parindent| before restarting. + +Recall that thin-thin or thin-thick double bars or blank bar lines can be +inserted without stopping by using the commands described in Section~\ref{doublebars}. +Those commands can also be used before \verb|\stoppiece|, +\verb|\alaligne|, or \verb|\alapage| + +\section{Page layout} +Blank space above and below each staff is controlled by the dimension +registers \keyindex{stafftopmarg} and \keyindex{staffbotmarg}. For more +info see Chapter~\ref{LayoutParameters}. + +The macro \keyindex{raggedbottom} will remove all vertical glue and +compact everything toward the top of page. +In contrast, the macro \keyindex{normalbottom} will restore default +behavior, in which vertical space between the systems is distributed +so that the first staff +on the page is all the way at the top and the last staff all the way at +the bottom. + +The macro \keyindex{musicparskip} will allow the existing space between +systems to increase by up to \verb|5\Interligne|. + +The following values of page layout parameters will allow the maximum material +to fit on each page, provided the printer allows the margins that are implied. + +\begin{center} +\begin{tabular}{|l|l|l|}\hline +\multicolumn{1}{|c|}{A4}&\multicolumn{1}{|c|}{letter}&\multicolumn{1}{|c|}{A4 or letter}\\\hline +\multicolumn{3}{|c|}{\tt\Bslash parindent= 0pt}\\\hline +\multicolumn{3}{|c|}{\tt\Bslash hoffset= -15.4mm}\\\hline +\multicolumn{3}{|c|}{\tt\Bslash voffset= -10mm}\\\hline +\verb+\hsize= 190mm+&\verb+\hsize= 196mm+&\verb+\hsize= 190mm+\\\hline +\verb+\vsize= 260mm+&\verb+\vsize= 247mm+&\verb+\vsize= 247mm+\\\hline +\end{tabular} +\end{center} +%avre +\zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset} +\zkeyindex{hsize}\zkeyindex{vsize} + + +\section{Page numbering, headers and footers}\index{page +number}\index{footnote} + +There are no special page numbering facilities in \musixtex; you must rely on +macros from plain \TeX. There is a count register in \TeX\ called +\verb|\pageno|. It is always initialized to $1$ and incremented by one +at every page break. By saying \keyindex{pageno}\verb|=|$n$, it can be reset to any +value at any time, and will continue to be incremented from the new value. + +By default, \TeX\ will place a page number on +every page, centered at the bottom. Unfortunately, this is not the preferred +location according to any standard practice. To suppress this default +behavior, say \keyindex{nopagenumbers}. + +One way to initiate page numbering in a more acceptable location is to take +advantage of the facts that (a) \TeX\ prints the contents of the control sequences +\keyindex{headline} and \keyindex{footline} at the top and bottom +respectively of every page, and (b) the value of \verb|\pageno| can be printed by +saying \keyindex{folio}. Therefore, for example, the following sequence of +commands, issued anywhere before the end of the first page, will cause page +numbers and any desired text to be printed at the top of every page, +alternating between placement of the number at the left and right margins, and +alternating between the two different text strings (the capitalized text in +the example): + +\begin{quote}\begin{verbatim} +\nopagenumbers +\headline={\ifodd\pageno\rightheadline\else\leftheadline\fi}% +\def\rightheadline{\tenrm\hfil RIGHT RUNNING HEAD\hfil\folio}% +\def\leftheadline{\tenrm\folio\hfil LEFT RUNNING HEAD\hfil}% +\voffset=2\baselineskip +\end{verbatim}\end{quote} + +\section{Controlling the total number of systems and pages}\index{page/line layout} + +Once all the notes are entered into a \musixtex\ score, it would be convenient +if there were a simple sequence of commands to +cause a specified number of systems to be uniformly distributed over a +specified number of pages. Unfortunately that's not directly +possible\footnote{It \textit{is} possible in \textbf{PMX}.}. +Rather, some trial and error will usually be required to achieve the desired final +layout. To this end, some combination of the following strategies may be used: + + \begin{enumerate}\setlength{\itemsep}{0ex} + \item Assign a value to the count register \keyindex{linegoal} representing +the total number of systems. The count register \keyindex{mulooseness} must be $0$ if using +\verb|\linegoal|. + \item Explicitly force line and page breaking as desired, using +the macros \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne| +or \verb|\zalapage|. + \item Adjust both \keyindex{mulooseness} and the initial value of +\keyindex{elemskip}: increasing \verb|\mulooseness| from its default of 0 will +increase the total number of systems, while changing the initial value of +\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) may change the +total number of systems accordingly. + \end{enumerate} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/lyrics.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/lyrics.tex new file mode 100644 index 00000000000..41d52fa221d --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/lyrics.tex @@ -0,0 +1,407 @@ +\chapter{Lyrics}\index{lyrics}\label{lyrics} +\musixtex{} itself doesn't manage lyrics very well. You should use +\verb+musixlyr+ instead, a \musixtex\ extension package for lyrics handling by Rainer Dunker. +The \TeX~source and +\href{http://icking-music-archive.org/software/musixtex/add-ons/mxlyrdoc.pdf} +{\underline{documentation}}~are included in the \musixtex~distribution. + +But first we recall briefly the older methods, which may still be useful when +only a small number of words are involved. + +\section{Native lyrics method: placing single words} +\subsection{Native \musixtex\ commands for lyrics} + \begin{enumerate}\setlength{\itemsep}{0ex} + \item An obvious solution is to use the commands +\keyindex{zcharnote} (expanded to the right), +\keyindex{lcharnote} (expanded to the left), +\keyindex{ccharnote} (centered), to post the text at any position (computed in +\verb|\internote|s) with respect to the lower line of the current staff. +The pitch should be usually negative, to have the text below the staff. + +Example:\quad +\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\zcharnote{N}{Word}\wh g\sk\en}} +\quad is coded by \quad +\verb|\zcharnote{N}{Word}\wh g|~. + +\item The vertical position can also be given with a number in the commands +\keyindex{zchar} (expanded to the right), +\keyindex{lchar} (expanded to the left), +\keyindex{cchar} (centered). The number is internally multiplied by \verb|\internote|~. + +Example:\quad +\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\cchar{-4}{Word}\wh g\sk\en}} +\quad is coded by \quad +\verb|\cchar{-5}{Word}\wh g|~. + +\item Of easier use are the commands \keyindex{zsong} (right of the note), +\keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics +at the lower staff line \ital{minus} the previous +\keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These +commands only have one argument, namely the lyrics text: +%\begin{center} +\keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad +\keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad +\keyindex{csong}\verb|{|\ital{text}\verb|}| +%\end{center} + Depending on the values of the inter-instrument spacings and margins, the +resulting vertical position might be inappropriate. Then it can be changed for +any specific $n$-th instrument until further change using +\begin{quote} +\keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}| +\end{quote} +As an example, the following French song\\ + \begin{music} + \generalsignature{1} + \startextract + \geometricskipscale + \NOtes\zsong{Au }\qu g\en + \NOtes\zsong{clair }\qu g\en + \NOtes\zsong{de }\qu g\en + \NOtes\zsong{la }\qu h\en + \bar + \NOTes\zsong{lu- }\hu i\en + \NOTes\zsong{ne, }\hu h\en + \bar + \NOtes\zsong{mon }\qu g\en + \NOtes\zsong{a- }\qu i\en + \NOtes\zsong{mi }\qu h\en + \NOtes\zsong{Pier- }\qu h\en + \bar + \NOTes\zsong{rot, }\wh g\sk\en + \endextract + \end{music} + +\noindent was coded as: +\begin{quote}\begin{verbatim} + \generalsignature{1} + \startextract + \geometricskipscale + \NOtes\zsong{Au }\qu g\zsong{clair }\qu g\en + \NOtes\zsong{de }\qu g\zsong{la }\qu h\en\bar + \NOTes\zsong{lu- }\hu i\zsong{ne, }\hu h\en\bar + \NOtes\zsong{mon }\qu g\zsong{a- }\qu i\en + \NOtes\zsong{mi }\qu h\zsong{Pier- }\qu h\en\bar + \NOTes\zsong{rot, }\wh g\sk\en + \zendextract +\end{verbatim}\end{quote} +\end{enumerate} + +\subsection{Adapting note spacing for lyrics} + +The command \keyindex{hardlyrics}\verb|{longword}| provides a spacing that is equal to the length +of the text argument \verb|{longword}|. In the same time the argument \verb|{longword}| +is saved in \keyindex{thelyrics} + +As an example \quad +\raisebox{0ex}[5ex][4ex]% +{\musicintextnoclefn{\staffbotmarg2\Interligne% +\hardlyrics{clair}\notes\hsong{\thelyrics}\wh g\en\notes\wh{gg}\en}} +\quad is coded by: +\begin{tabular}{l} +\verb|\hardlyrics{clair}%|\\ +\verb|\notes\hsong{\thelyrics}\wh g\en|\\ +\verb|\notes\wh{gg}\en|\\ +\end{tabular} + +All notes with long lyrics need such a treatment. The commands only carry out on +\verb|\notes| (not on \verb|\Notes|, \verb|\NOtes|...). + +If you want to go back to the normal placing on an easy way, you simply can replace +'\verb|\hardlyrics|' by '\verb|\softlyrics|'. + + A complete score is given in example {\tt glorias.tex}\label{glorias} and in +{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the +organ accompaniment. + +Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed +length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is +\verb|3\noteskip|. These are useful when the text is set below (or above) a +collective coding of two or three notes. + +\section{Musixlyr}\label{musixlyr} + +Lyrics are best handled by the \texttt{musixlyr}\index{musixlyr} package by Rainer Dunker. +The package can be used by inserting a line in your source code: +\begin{quote}\begin{verbatim} +\input musixtex +\input musixlyr +... +\end{verbatim}\end{quote} + +The manual, the input file and a few examples are in \musixtex\ distributions, or they +may be downloaded +\href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip} +{\underline{for Windows}} or \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.tgz} +{\underline{for \unix}}. Look at the manual for a detailed description. Here is an overview +of the commands and an example of use.\pagebreak + +\def\keyexample#1{\keyindex{#1}} + +\noindent\begin{small}\begin{tabbing} +\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill +Example\> Explanation +\end{tabbing} +\vspace{-1ex} +\hrule +\vspace{-2ex} +\begin{tabbing} +\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill +\keyexample{setlyrics}\verb|{sopr}{the ly_-ric words_}|\> defining the lyrics text\\ +\keyexample{copylyrics}\verb|{sopr}{alto}|\> alto has same lyrics as soprano\\ +\keyexample{appendlyrics}\verb|{alto}{more words}|\> alto lyrics is longer\\ +\keyexample{assignlyrics}\verb|2{sopr,alto}|\>soprano and alto lyrics at staff $2$\\ +\keyexample{assignlyricsmulti}\verb|{1}{2}{alto}|\>assign alto lyrics to staff $2$ of instrument $1$\\ +\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\>assigning without staff number\\ +\keyexample{auxlyr}\verb|\assignlyrics{2}{sopr}|\> assign soprano above staff $2$\\[.8ex] +\keyexample{lyrrule}\verb|\qu c|...\keyexample{lyrruleend}\verb|\qu c|\>make a melisma by hand\\ +\keyexample{beginmel}\verb|\qu c|...\keyexample{endmel}\verb|\qu c|\>melisma, same as word extension underline\\[.8ex] +\keyexample{lyr}\verb|\qu c|\>force a syllable from lyrics text at this note or rest\\ +\keyexample{lyric}\verb|{word}\qu c|\>insert syllable 'word' at this note\\ +\verb|\loffset{2}{|\keyexample{lyric*}\verb|{1.}}\qu c|\>combine \verb|1.| with regular syllable\\ +\keyexample{lyrich}\verb|{syl}\qu c|\>same as \verb|\lyric|, but with hyphenation\\ +\keyexample{lyrich*}\verb|{}\qu c|\>same as \verb|\lyric*|, but with hyphenation\\ +\keyexample{lyricsoff}...\keyexample{lyricson}\>stop lyrics, then start again\\ +\keyexample{nolyr}\verb|\qu c|\>no syllable at this note\\[.8ex] +\keyexample{llabel}\verb|{labelname}name|\>labelling a ``go to'' target in text\\ +\keyexample{golyr}\verb|{labelname}\qu c|\>perform a jump, in music code\\[.8ex] +\keyexample{lyrpt}\verb|,\qu c|\>add a comma to the syllable under this note\\ +\keyexample{lyrnop}\verb|\qu c|\>remove last character in syllable\\ +\keyexample{lclyr}\verb|\qu c|\>make first character lower case\\ +\keyexample{llyr}\verb|\qu c|\>left justified syllable\\ +\keyexample{leftlyrtrue}\verb|\qu c|...\keyexample{leftlyrfalse}\verb|\qu c|\>start and stop left justification as the default\\ +\keyexample{lyroffset}\verb|{-4}\qu c|\>shift syllable $1$ notehead to the left\\[.8ex] +\keyexample{minlyrspace}\verb|{3pt}\qu c|\>define minimum space between the words\\ +\keyexample{forcelyrhyphenstrue}\verb|\qu c|\>always use a hyphen from now on\\ +\keyexample{forcelyrhyphensfalse}\verb|\qu c|\>remove hyphen and make one word if necessary \\ +\keyexample{showlyrshifttrue}\verb|\qu c|\>show the lyric shift\\[.8ex] +\keyexample{lyrraise}\verb|{1}{a 2\Interligne}|\>raise lyrics below staff $1$ by \verb|2\Interligne|\\ +\keyexample{lyrraisemulti}\verb|{1}{2}{a 2\Interligne}|\>raise alto lyrics above staff $2$ of instrument $1$\\ +\keyexample{lyrraisehere}\verb|{b 2\Interligne}\qu c|\>raise lyrics below this staff by \verb|2\Interligne|\\[.8ex] +\keyexample{minlyrrulelength}\verb|{2mm}|\>melismas shorter than $2$mm are not shown \\ +\keyexample{minmulthyphens}\verb|{15mm}|\>distance between hyphens in 'hyphen melisma'\\ +\verb|\def|\keyexample{lyrhyphenchar}\verb|{-}|\>chose a hyphen character\\ +\verb|\setlyrics{|\keyexample{lyrlayout}\verb|{\it}..}|\>apply italics to all lyrics lines\\ +\keyexample{verses}\verb|{,\beginmel}\qu c|\>initiate melisma at second verse\\[.8ex] +\verb|\small|\keyexample{setlyrstrut}\>adapt the vertical distance between lyrics lines\\ +\keyexample{lyrstrutbox}\verb|{10pt}|\> (re)define the distance between the lyrics lines\\[.8ex] +\keyexample{lyrmodealter}\verb|2|\>attach lyrics of staff $2$ to the upper voice\\ +\keyexample{lyrmodealtermulti}\verb|{1}{2}|\>attach lyrics of instr.\ $1$ staff $2$ to the upper voice\\ +\keyexample{lyrmodealterhere}\verb|\qu c|\>attach lyrics of this staff to the upper voice\\ +\keyexample{lyrmodenormal}\verb|2|\>restore the default behaviour\\ +\keyexample{lyrmodenormalmulti}\verb|{1}{2}|\>restore the default behaviour at staff $2$ of instr.\ $1$\\ +\keyexample{lyrmodenormalhere}\verb|\qu c|\>restore the default behaviour of this staff\\[.8ex] +\keyexample{lyrlink}\>linking two words with a '$_{_\smile}$'\\ +\keyexample{lowlyrlink}\>same as \verb|\lyrlink| but a little bit lower\\[.8ex] +\keyexample{resetlyrics}\>set word pointer to the first word in all lyrics lines\\[.8ex] +\keyexample{enableauxlyrics}\>don't use this anymore\\ +\keyexample{setsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraise}{1}{b 2\Interligne}|\\ +\keyexample{auxsetsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraisemulti}{1}{b 2\Interligne}|\\ +\keyexample{oldlyrlinestart}\>don't let the lyrics extend to the left margin\\ +\end{tabbing}\end{small} + +As a further illustration of the use of the commands, have a look at the following +example\footnote{The example is taken from the \texttt{musixlyr} manual.}: + +\medskip\medskip +%\oneversespace +\begin{music} +\input musixlyr + \resetlyrics \small +\lyrmodealter0 + \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}} + \copylyrics{soprano}{alto} \assignlyrics1{alto} + + \generalsignature{-2} + \advance\stafftopmarg1\Interligne + \advance\staffbotmarg2\Interligne + + \startextract\addspace\afterruleskip + \NOtes\zqu g\ql e\en + \bar + \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en + \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en + \Notes\tqb0e\en + \Notes\endmel\tbslurd0e\ql c\en + \notes\ibbu0h{-1}\qb0h\tqh0g\en + \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en + \bar + \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes + \lyr\wh b\en % must be given manually. + \endextract + \lyrmodenormal0 +\end{music} +\medskip + +%\oneversespace + +which was coded as: +\begin{quote} +\begin{verbatim} +% define lyrics above the staff +\setlyrics{soprano}{bring her die Gans,} +% lyric beneath the staff are the same +\copylyrics{soprano}{alto} +% assign alto lyrics below staff 1 on the notes with stem down +\assignlyrics1{alto} +% assign soprano lyrics above staff 1 on the notes with stem up +\auxlyr{\assignlyrics1{soprano}} +% attach both lyrics to the upper voice +\lyrmodealter0 +\generalsignature{-2} +% make place for the lyrics +\advance\stafftopmarg1\Interligne\advance\staffbotmarg2\Interligne +\startextract\addspace\afterruleskip +\NOtes\zqu g\ql e\en\bar +% start melisma in lower lyrics +\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en +% start melisma in upper lyrics +\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\tqb0e\en +% end melisma in lower lyrics +\Notes\endmel\tbslurd0e\ql c\en +\notes\ibbu0h{-1}\qb0h\tqh0g\en +% start melisma in upper lyrics +\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en\bar +% The lyrics of the whole notes (without stem) must be given manually. +\NOTEs\auxlyr\lyr\zwh i\lyr\wh b\en +\endextract +\lyrmodenormal0 +\end{verbatim}\end{quote} + + \section{Getting enough vertical space for lyrics} + Since songs are +usually equivalent to a one-staff instrument (possibly with several voices) +the recommended solution consists in adjusting the distance between +instruments using either \keyindex{interinstrument}\verb|=|\ital{any +\TeX-dimension} to give more place below all instruments or using +\keyindex{setinterinstrument} to make more space above. Note that {\Bslash +setinterinstrument} defines spacing above and not below an instrument. Since +lyrics are usually set below the staff, the first argument of a +\verb|\setinterinstrument| should be the song instrument number \ital{minus +one}. + + In the case of a single staff tune, or if the song instrument is the lowest +one, then additional place can be provided using \keyindex{staffbotmarg}. + +\section{Fine tuning the placement of the lyrics} + When not using \verb|\hardlyrics|, on short notes, sometimes + the lyrics are shifted away from the notes or they collide with other words. + This are a few approaches to get around this: +\begin{enumerate}\setlength{\itemsep}{0ex} +\item Making more music lines for the notes to go further apart. This could be done with +\verb|\mulooseness|. +\item Stretch a bar with short notes in it by i.e.,~replacing \verb|\notes| by \verb|\NOTes|. +\item Insert space between the notes by using \verb|\sk|, \verb|\hsk|, \verb|\qsk|, \verb|\qqsk|, ... +\item Stretch a bar with short notes in it by using the command \keyindex{scale}: +\begin{verbatim} +\scale{1.6}\notes..\en\scale{1}% +\end{verbatim} +This method can be used in \textbf{PMX} but only with care, because it changes horizontal spacing +in a way that \textbf{PMX} will not be aware of. It will not move bars to the next line, but +will shorten the other bars on the line. + +As an example, the lyrics of this music line are better placed by using \verb|\scale| in +the first bar and moving to the left the word 'mon'. Note that the hyphen is removed +when there is no place for it: + + \begin{music} + \input musixlyr + \resetlyrics + \setlyrics{v1}{Au clair de la lu-ne, mon a-mi Pier-rot,}% + \assignlyrics1{}\assignlyrics1{v1}% + \staffbotmarg2\Interligne\generalsignature{1}% + \startextract + \geometricskipscale + \notes\qu{gggh}\en\bar + \Notes\hu{ih}\en\bar + \notes\qu{gihh}\en\bar + \Notes\wh g\en + \endextract +% \end{music} +%%%%% combined for saving registers %%%%% +% \begin{music}\nostartrule +% \input musixlyr + \resetlyrics + \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}% + \assignlyrics1{}\assignlyrics1{v1}% + \staffbotmarg2\Interligne\generalsignature{1}% + \startextract \geometricskipscale + \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}% + \Notes\hu{ih}\en\bar + \notes\qu{gihh}\en\bar + \Notes\wh g\en + \endextract + \end{music} + +\medskip +The code of the second music line is (\verb|\assignlyrics1{}| is only needed because +lyrics are assigned before this in this manual): +\begin{quote}\begin{verbatim} + \begin{music} + \input musixlyr + \resetlyrics + \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}% + \assignlyrics1{}\assignlyrics1{v1}% + \staffbotmarg2\Interligne\generalsignature{1}% + \startextract \geometricskipscale + \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}% + \Notes\hu{ih}\en\bar + \notes\qu{gihh}\en\bar + \Notes\wh g\en + \endextract + \end{music} +\end{verbatim}\end{quote} + +\item Moving a word in any direction + +\begin{small} +\noindent\begin{tabular}{ll} +\multicolumn{2}{l}{\Bslash setlyrics\{alto\}\{\Bslash kernm3ex1.$\sim\sim$firstsyllable...\}}\\ +& left-move verse number\\ +\verb|\setlyrics{alto}{...\kern1exword...}| &right-move a single word\\ +\verb|\setlyrics{alto}{...\lower2pt\hbox{word}...}|& lower a single word\\ +\verb|\setlyrics{alto}{...\raise2pt\hbox{word}...}|& raise a single word\\ +\multicolumn{2}{l}{\Bslash def\Bslash strut\{\Bslash vbox to 2\Bslash Interligne\{\}\}% +\Bslash setlyrics\{alto\}\{\Bslash lyrlayout\{\Bslash strut\}...\}} \\ +& control distance between verses\\ +\verb|\lyrlayout{\vphantom{Mp(\lowlyrlink}|& minimum distance between verses\\ +\multicolumn{2}{l}{\Bslash setbox\Bslash lyrstrutbox=\Bslash hbox\{\Bslash vphantom\{yM\Bslash lyrlink\}\}}\\ +& redefine default lyrstrut +\end{tabular} +\end{small} + +\item Placing of accents can be made easier as shows this example: +\begin{center} +\begin{minipage}{50mm} +\begin{music}\nostartrule +\input musixlyr +\catcode`\ä\active \defä{\"a} +\catcode`\ö\active \defö{\"o} +\catcode`\å\active \letå\aa +\setlyrics1{å ä ö} +\assignlyrics1{}\assignlyrics11 +\startextract + \setsongraise1{1ex}\NOtes\qa{ggg}\en +\zendextract +\end{music} +\end{minipage}% +\begin{minipage}{80mm} +\verb|\catcode`\|\"a\verb|\active \def|\"a\verb|{\"a}|\\ +\verb|\catcode`\|\"o\verb|\active \def|\"o\verb|{\"o}|\\ +\verb|\catcode`\|\aa\verb|\active \let|\aa\verb|\aa|\\ +\verb|\setlyrics1{|\aa\ \"a\ \"o\verb|} \assignlyrics1{}|\\ +\verb|\assignlyrics11|\\ +\verb|\startextract|\\ +\verb|\NOtes\qa{ggg}\en|\\ +\verb|\zendextract|\\ +\end{minipage} +\end{center} +\item Using an 8-bit encoded characterset.\label{8bit} +If you use default (Computer Modern) fonts, you will want to switch to +the EC variants +by putting +%\verb+\input plainenc\relax\inputencoding{cp850}+ % doesn't work! +\verb+\input musixec+ +after \verb+\input musixtex+ in your source file. + +\end{enumerate} + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex new file mode 100644 index 00000000000..aed55abdcfc --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex @@ -0,0 +1,596 @@ +\chapter{Miscellaneous Other Notations} +%avre + \section{Metronomic indications} +%Metronomic indication deserves a special macro. The mention: +% +%\medskip +%\centerline{\def\nbinstruments{0}\metron{\hup}{60}} +% +%\smallskip\noindent +%is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in +%\keyindex{Uptext} which is in turn embedded within \verb|\notes...\en|). +% +% On the other hand, music writers sometimes want to specify that the duration +%of a previous note is equal to a distinct furthernote. Thus +% +% \smallskip +%\centerline{\def\nbinstruments{0}\metronequiv{\qup}{\qu}} +% +%\smallskip\noindent +%is coded by \keyindex{metronequiv}\verb|{\qup}{\qu}|. + +By way of example, the notations +\begin{quote} +\def\nbinstruments{0} +\metron{\hup}{60} +\quad and\quad +\def\nbinstruments{0}\metronequiv{\qup}{\qu} +\end{quote} +are +respectively coded as +\keyindex{metron}\verb|{\hup}{60}| and \keyindex{metronequiv}\verb|{\qup}{\qu}|, +which are normally placed using \keyindex{Uptext}. +Also, you can set a smaller metronomic indication like +\begin{quote} + \def\nbinstruments{0}\metron{\smallnotesize\lqu}{ca.~72} +\quad or \quad +\def\nbinstruments{0}\metron{\tinynotesize\lqu}{ca.~72} +\end{quote} +by writing +\begin{quote} +\verb|\metron{\smallnotesize\lqu}{ca.~72}| +\end{quote} +or +\begin{quote} +\verb|\metron{\tinynotesize\lqu}{ca.~72}| +\end{quote} + + + \section{Accents} + +You may use\footnote{Note from the editor: the reason the names of some of +these macros don't seem to be constructed to suggest the terms used in the +descriptions is that whoever originally defined the macros had in mind terms +that did not agree with normal English usage.} +\begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{upz}\pitchp~(upper \itxem{staccato}) to put a dot above a note +head at pitch $p$, + \item \keyindex{lpz}\pitchp~(lower \ital{staccato}) to put a dot below a note +head at pitch $p$, + \item \keyindex{usf}\pitchp~(upper \itxem{sforzando}) to put a $>$ accent above +a note head at pitch $p$, + \item \keyindex{lsf}\pitchp~(lower \itxem{sforzando}) to put a $>$ accent below +a note head at pitch $p$, + \item \keyindex{ust}\pitchp~(upper \itxem{tenuto}) to put a +hyphen above a note head at pitch $p$, + \item \keyindex{lst}\pitchp~(lower \ital{tenuto}) to put a +hyphen below a note head at pitch $p$, + \item \keyindex{uppz}\pitchp~(upper \itxem{staccatissimo}) to put a solid vertical +wedge above a note head at pitch $p$, + \item \keyindex{lppz}\pitchp~(lower \ital{staccatissimo}) to put an inverted +solid vertical wedge below a note head at pitch $p$, + \item \keyindex{usfz}\pitchp~(upper \itxem{forzato}) to put a +``dunce cap'' above a note head at pitch $p$, + \item \keyindex{lsfz}\pitchp~(lower \ital{forzato}) to put an inverted +``dunce cap'' below a note head at pitch $p$, + \item \keyindex{upzst}\pitchp~(upper \itxem{staccato/tenuto}) to put a +dot and a hyphen above a note head at pitch $p$, + \item \keyindex{lpzst}\pitchp~(lower \ital{staccato/tenuto}) to put a +dot and a hyphen below a note head at pitch $p$, + \item \keyindex{flageolett}\pitchp~to put a +small circle above a note head at pitch $p$. +\end{itemize} +These marks are horizontally centered relative to solid note heads. To +compensate for the fact that whole notes are wider, you should use +\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents +and other items (e.g.,~\verb|\Fermataup|) above a whole note. + +There are also variants of the most common accents\footnote{Thanks to Klaus +{\sc Bechert}'s corrections.} which will be automatically positioned +above or below a beam. They are spelled like the corresponding normal +accent, but preceded with the letter \verb|b|, and their argument, instead of +the pitch, is the beam reference number . Thus + +\medskip +\begin{music}\nostartrule +\startextract +\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% + \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en +\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% + \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en +\zendextract +\end{music} +\noindent was coded as +\begin{quote}\begin{verbatim} \startextract +\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% + \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en +\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% + \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en +\zendextract +\end{verbatim}\end{quote} +\zkeyindex{busfz} +\zkeyindex{bupz} +\zkeyindex{bust} +\zkeyindex{buppz} +\zkeyindex{busf} +\zkeyindex{butext} +\zkeyindex{blsfz} +\zkeyindex{blpz} +\zkeyindex{blst} +\zkeyindex{blppz} +\zkeyindex{blsf} +\zkeyindex{bltext} + +The macros \verb|\bltext| and \verb|\butext| are detailed in the next section, +where the mystery of why they produce the number~$3$ is resolved. + + +\section{Numbers and brackets for xtuplets}\label{tuplet} + +The following table lists all the special macros that place a number indicating +an xtuplet. Some also place a bracket above or below the notes, and are +intended for use with unbeamed notes. +In the table, $p$ is a pitch, $k$ is a number, $n$ is a beam number, +$w$ is a bracket width in \verb|\internote|s, and $s$ is the bracket slope as +a multiple of $1.125$~degrees. The macro \verb|\txt| contains a default number +which will be placed by the first and third through sixth macros, +and is initially defined as \verb|\def\txt{3}|. +The macro +\verb|\tuplettxt| serves the same role for the last two macros. +The font used is +\verb|\txtfont| which is by default \verb|\eightit| but may be re-defined. +The first four +are to be used with beamed xtuplets. As indicated in the +last column, the last four produce a sloping bracket and are to be used with +unbeamed xtuplets. + + +\begin{center} + \begin{tabular}{lclcc} + \hline + ~ & Number & ~ & Needs & ~ \\ + Macro and arguments & printed & Where invoked & Bracket \\ + \hline + \verb|\triolet|\pitchp & \verb|\txt| & before beam & none \\ + \verb|\xtuplet|\itbrace{k}\pitchp & $k$ & before beam & none \\ + \verb|\butext|\itbrace{n} & \verb|\txt| & before note at number & none \\ + \verb|\bltext|\itbrace{n} & \verb|\txt| & before note at number & none \\ + \verb|\uptrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & solid \\ + \verb|\downtrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & solid \\ + \verb|\uptuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & with gap \\ + \verb|\downtuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & with gap \\ + \hline + \end{tabular} +\end{center} +\medskip + +Here are some examples of the first six macros in the table:\\ +\vskip-3pt +\begin{music} +\parindent0mm +\generalmeter{\meterfrac24} +\nostartrule +\startpiece +\addspace\afterruleskip +\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar +\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en +\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar +\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar +\Notesp\uptrio o16\ql l\en\notesp\cl n\en +%avrb +\Notesp\downtrio O16\qu e\en\notesp\cu g\en +%avre +\endpiece +\end{music} +whose coding is +\begin{quote}\begin{verbatim} +\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar +\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en +\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar +\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar +\Notesp\uptrio o16\ql l\en\notesp\cl n\en +\Notesp\downtrio O16\qu e\en\notesp\cu g\en +\end{verbatim}\end{quote} +\zkeyindex{xtuplet}\zkeyindex{triolet} + +\medskip +Next are examples using \keyindex{uptuplet} and \keyindex{downtuplet}. +A re-definition of \verb|\tuplettxt| inside a notes group only applies +inside that group and leaves the default definition intact. +To get the +number properly centered in the gap, you must include some extra space after +the number in the definition of \verb|\tuplettxt|. As you can see in +the last bar, if the span becomes too small, the macros still won't provide +enough room for the number in the gap; in this case it would be better to +use the macros without gaps. + +% Examples: +% +% Draw a triplet bracket over the notes, starting at pitch "p", +% 1.25\noteskip wide, with a slope up of 3-3/8 degrees: +% +% \uptuplet p{1.25}3 +% +% Draw a sextuplet bracket under the notes, starting at pitch "a", +% 2.5\noteskip wide, with a slope down of 4-1/2 degrees: +% +% \def\tuplettxt{\smallppff 6\/\/} +% \downtuplet{a}{2.5}{-4} + +\begin{music} +%\input tuplet +\parindent0mm +\generalmeter{\meterfrac24} +%\startpiece +\nostartrule +\startextract +\addspace\afterruleskip +\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en +\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar +\notesp\def\tuplettxt{5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar +\Notesp\uptuplet o16\ql l\en\notesp\cl n\en +\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar +\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en +\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en +%\endpiece +\endextract +\end{music} + +\noindent with coding + +\begin{quote}\begin{verbatim} +\parindent0mm +\generalmeter{\meterfrac24} +\startextract +\addspace\afterruleskip +\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en +\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar +\notesp\def\tuplettxt{5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar +\Notesp\uptuplet o16\ql l\en\notesp\cl n\en +\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar +\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en +\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en +\end{verbatim}\end{quote} + + \section{Ornaments} + + \subsection{Arpeggios} +\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro +\keyindex{arpeggio}\pitchp\itbrace{m} +where $p$ is the pitch of +the base of the arpeggio symbol and $m$ is its height in units of +\verb|\interligne|, the distance from one staff line to the next. It should be +issued before the affected chord. It is +automatically positioned to the left of the chord, but inserts no spacing. +Its variant \keyindex{larpeggio} sets the arpeggio symbol roughly +one note head width to the left of the default position, and is intended to +avoid collision with single accidentals on chord notes. + + \subsection{Arbitrary length trills} + There are two styles of arbitrary length trills\index{trills}, each with two +variants. +For a trill with preassigned length, use \keyindex{trille}\pitchp\itbrace{l} +for \hbox to 1cm{\noteskip1cm\trille11\hss} or +\keyindex{Trille}\pitchp\itbrace{l} for~~\hbox to +2cm{\noteskip1cm\Trille12\hss}, where $p$ is the pitch and $l$ the length in +current \verb|\noteskips|. + +To let \musixtex\ compute the length of the trill, or if it extends across a +system break, you can use \keyindex{Itrille}$n$\pitchp\ to start a plain +trill, where $n$ is a trill reference number between 0 and 5; then +\keyindex{Ttrille}$n$ to terminate it. To get the {\it tr} at the +beginning, use \keyindex{ITrille}$n$\pitchp\ to start the trill and +\verb|\Ttrille|$n$ to close it. + +\begin{sloppypar} +As with other elements, you can specify the maximum number +directly with \keyindex{setmaxtrills}\verb|{|$m$\verb|}|, where $7<m\leq 100$% +\footnote{This may require e-\TeX.}; +the reference number $n$ will be in the range between $0$ and $m-1$. +\label{musixmad_setmaxtrills} +\end{sloppypar} + + +For example: + +\medskip + \begin{music} +\instrumentnumber{1} +\setstaffs12 +\setclef1{6000} +% +\startextract +\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\en +\bar +\notes\Itrille 2A\itenu2E\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\en +\bar +\Notes\tten2\itenu2E\whp E|\ql{nmlkji}\en +\bar +\Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\en +\endextract +\end{music} +whose coding is +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\instrumentnumber{1} +\setstaffs12 +\setclef1{6000} +% +\startextract +\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\en +\bar +\notes\Itrille 2A\itenu1e\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\en +\bar +\Notes\tten1\itenu1E\whp E|\ql{nmlkji}\Toctfin1\en +\bar +\Notes\tten1\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\en +\endextract +\end{verbatim}\end{quote} + + \subsection{Piano pedal commands} +The macro \keyindex{PED} inserts a piano pedal command below the staff; +\keyindex{DEP}, a pedal release. Alternate symbols, the first of which +occupies less space, are invoked with \keyindex{sPED} and \keyindex{sDEP}. +For example, + +\begin{music} +\setclef1\bass +\setstaffs1{2} +\startextract +\NOtes\PED\wh J|\qu h\en +\NOtes|\qu g\en +\NOtes|\hu k\en +\Notes\DEP\en +\bar +\NOtes\sPED\wh J|\qu h\en +\NOtes|\qu g\en +\NOtes|\hu k\en +\Notes\sDEP\en +\endextract +\end{music} + \noindent was coded as \begin{quote}\begin{verbatim} + \NOtes\PED\wh J|\qu h\en + \NOtes|\qu g\en + \NOtes|\hu k\en + \Notes\DEP\en \bar + \NOtes\sPED\wh J|\qu h\en + \NOtes|\qu g\en + \NOtes|\hu k\en + \Notes\sDEP\en + \end{verbatim}\end{quote} + + The vertical position of +\keyindex{PED}, \keyindex{sPED}, \keyindex{DEP} and \keyindex{sDEP} can be +globally changed by redefining its elevation, which has the default +definition \verb|\def|\keyindex{raiseped}\verb|{-5}|. +To locally change the vertical position of a pedal symbol, use one of the more +fundamental +macros \keyindex{Ped}, \keyindex{sPed}, \keyindex{Dep} and \keyindex{sDep} +in combination with \keyindex{zchar} or \keyindex{zcharnote}. +Since the \hbox to .7cm{ \Ped\hss} symbol is rather wide, it might collide +with adjacent bass notes. To shift it horizontally, you could use \verb|\loff{\PED}|. + + \subsection{Other ornaments}\index{ornaments} + +The argument $p$ in the following macros for ordinary ornaments is the +pitch at which the ornament itself appears. They are all nonspacing macros. +You may use +\begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{mordent}\pitchp\ for \hbox to .75em{\mordent 0\hss}, + \item \keyindex{Mordent}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}, + \item \keyindex{shake}\pitchp\ for \hbox to .75em{\shake 0\hss}, + \item \keyindex{Shake}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}, + \item \keyindex{Shakel}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}, + \item \keyindex{Shakesw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}, + \item \keyindex{Shakene}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}, + \item \keyindex{Shakenw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}, + \item \keyindex{turn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}, + \item \keyindex{backturn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}. + \end{itemize} + +In the following macros for fermatas, the argument $p$ is the pitch of the +notehead on which the fermata rests, assuming no additional vertical +adjustments are needed for stems or intervening staff lines. They are all +nonspacing macros. You may use +\begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{fermataup}\pitchp\ for +\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermataup1\en}}, +\end{itemize} +\begin{itemize}\setlength{\itemsep}{3ex} + \item \keyindex{fermatadown}\pitchp\ for +\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermatadown2\en}}, + \item \keyindex{Fermataup}\pitchp\ for +\raisebox{-1ex}[-1ex][0ex]{\musicintextnoclef{\notes\Fermataup 7\zwh{'c}\en}}~, +centered over a whole note, + \item \keyindex{Fermatadown}\pitchp\ for +\raisebox{-1ex}[0ex][0ex]{\musicintextnoclef{\notes\Fermatadown1\zwh{'c}\en}}~, +centered under a whole note. + \end{itemize} +\bigskip + +A \itxem{breath} mark +\raisebox{-5ex}[0ex][0ex]{\notesintext{\notes\zbreath\en}} +can be put just above the staff with \keyindex{zbreath}. This is a nonspacing +macro. On the other hand, \keyindex{cbreath} will cause a space of one +\verb|\noteskip| and place the comma midway through the space. + +The \keyindex{caesura} command inserts a slash \verb|0.5\noteskip| before +the place it is entered, while adding no space: + +\begin{music}\nostartrule +\startextract +\NOTes\zhu j\hl{^e}\caesura\en +\Notes\zcu j\cl e\en +\zendextract +\end{music} + +\section{Alphabetic dynamic marks} + Conventional dynamic symbols +\pppp, \ppp, \pp, +\p, +\mezzopiano, +\mf, +\f, +\fp, +\sF, +\ff, +\fff, +\ffff, +\sfz\ and +\sfzp\ can be posted using the macros +\keyindex{pppp}, +\keyindex{ppp}, +\keyindex{pp}, +\keyindex{p}, +\keyindex{mp}, +\keyindex{mf}, +\keyindex{f}, +\keyindex{fp}, +\keyindex{sF}, +\keyindex{ff}, +\keyindex{fff}, +\keyindex{ffff}, +\keyindex{sfz} and +\keyindex{sfzp}, respectively, as the second argument of \verb|\zcharnote| or +\verb|\ccharnote|. +See also Section~\ref{musixppff} for an alternative set of dynamic marks. + + + \section{Length of note stems} + +The default length of note stems is the distance of one octave, i.e.,~\verb|7\internote| or \texttt{4.66}\keyindex{interbeam}. The default may be changed +with the macro \keyindex{stemlength}\itbrace{b}\ where $b$ is the length in +\verb|\interbeam|s. + +The command \keyindex{stemcut} causes stems that extend outside the staff +to be shortened depending on the pitch of the notes. It is the default +behavior. To suppress this adjustment, issue the command +\keyindex{nostemcut}. + +Normally, down stems never end above the middle line of the staff and up stems +never below that line. The command \keyindex{stdstemfalse} will inhibit this +adjustment, but only for the next stem generated. There is no command to globally +suppress this behavior. + + \section{Brackets, parentheses, and oblique lines}\label{brapar} + +Several varieties of brackets, parentheses and oblique lines are provided for +use within a score. + \begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{lpar}\verb|{|$p$\verb|}| and +\keyindex{rpar}\verb|{|$p$\verb|}| yield left and right +parentheses at pitch $p$. They could be used to enclose notes or to build +\ital{cautionary} accidentals, although the latter are more easily +obtained with predefined macros (see Chapter~\ref{cautionary}). + +%avrb +For example, + +\begin{tabular}{ll} +\raisebox{-1.5ex}[0ex][0ex]{\musicintextnoclefn{\notes\bsk\lpar{g}\rpar{g}\hu{g}\sk% +\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}\loffset{.4}{\sh g}\hu{g}\en}} +&\begin{tabular}{ll} +&\verb+\notes\lpar{g}\rpar{g}\hu{g}\sk%+\\ +is coded as&\verb+\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}%+\\ +&\verb+\loffset{.4}{\sh g}\hu{g}\en}+ +\end{tabular} +\end{tabular} +%avre + + \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| posts a +square bracket to the left of a chord, vertically spanning $n$ +\verb|internote|s. + \item \keyindex{doublethumb}\verb|{|$p$\verb|}| indicates a bracket as +above spanning 2\verb|\internote|s. + \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and +\keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| +draw a sloped bracket starting at the current position at pitch $p$, +with horizontal extent $n$ \verb|noteskip|s and slope $s$ in multiples of +$1.125$~degrees. + \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and +\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| are like +\verb|\ovbkt| but with freely definable \keyindex{txt} centered inside. + + \item \keyindex{varline}\itbrace{h}\itbrace{\ell}\itbrace{s}\ builds an +oblique line starting at the current horizontal position. It must be used +inside a zero-width box, such as for example as the second argument of +\verb|\zcharnote|. $h$ is the height of the starting point, $\ell$ is the +length, and $s$ is the slope. It is used in the definitions of some of +the foregoing macros, and could be used, for example, to construct various +obscure baroque ornaments made up of diagonal lines. + +\end{itemize} + +For example, + +\begin{music} +\setstaffs1{2} +\setclef1\bass +\startextract +\NOtes\bracket C8\zq C\qu J\en +\NOtes|\doublethumb g\rq h\qu g\en +\NOtes\lpar c\rpar c\qu c\en +\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en +\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en +\endextract +\end{music} +\noindent is coded as +\begin{quote}\begin{verbatim} +\begin{music} +\setstaffs1{2} +\setclef1{\bass} +\startextract +\NOtes\bracket C8\zq C\qu J\en +\NOtes|\doublethumb g\rq h\qu g\en +\NOtes\lpar c\rpar c\qu c\en +\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en +\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en +\zendextract +\end{music} +\end{verbatim}\end{quote} + + \section{Forcing activity at the beginning of systems} +A macro named \keyindex{everystaff} is executed each time a new system +begins. It is normally void, but it can be defined (simply by \verb|\def|% +\keyindex{everystaff}\verb|{...}|) to cause \musixtex\ to post anything +reasonable at the beginning of each system. For it to affect the first system +in a score, it must be defined \ital{before} +\verb|\startpiece|. + +If a macro named \keyindex{atnextline} is defined at any point in a score, +it will be executed just once, viz., at the next computed or forced system +break. More +precisely, it is executed after the break and before the next system begins. +Thus it is suitable for redefining layout parameters. + + \index{octave treble clef}In some scores, tenor parts are not coded using the +\ital{bass} clef, but using rather the \ital{octave treble clef}, which is +subscripted by a numeral {\tt8}. +This clef is supported by the clef substitution command +\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}, as already +explained in Section~\ref{treblelowoct}. However, if for some reason you +aren't happy with the height of the ``8'', it can be posted on selected +staves at the beginning of every system using \keyindex{everystaff} and +\keyindex{zcharnote} as follows: + +\begin{music} +\instrumentnumber{4} +\setclef1\bass +\def\everystaff{% + \znotes&\zchar{-6}{\eightrm\kern-2\Interligne8}% + &\zchar{-6}{\eightrm\kern-2\Interligne8}\en}% +\startextract +\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en +\zendextract +\end{music} +\noindent The coding is +\begin{quote}\begin{verbatim} +\instrumentnumber{4} +\setclef1\bass +\def\everystaff{% + \znotes&\zchar{-6}{\eightrm \kern -2\Interligne 8}% + &\zchar{-6}{\eightrm \kern -2\Interligne 8}\en}% +\startextract +\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en +\endextract +\end{verbatim}\end{quote} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty new file mode 100644 index 00000000000..2f8a4666f73 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.sty @@ -0,0 +1,141 @@ +% +% This file is part of MusiXTeX +% +% MusiXTeX is free software; you can redistribute it and/or modify +% it under the terms of the GNU General Public License as published by +% the Free Software Foundation; either version 2, or (at your option) +% any later version. +% +% MusiXTeX is distributed in the hope that it will be useful, +% but WITHOUT ANY WARRANTY; without even the implied warranty of +% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +% GNU General Public License for more details. +% +% You should have received a copy of the GNU General Public License +% along with MusiXTeX; see the file COPYING. If not, write to +% the Free Software Foundation, Inc., 59 Temple Place - Suite 330, +% Boston, MA 02111-1307, USA. +% +% + +\usepackage[papersize={210mm,11in},margin=1.125in]{geometry} % a4 width, letter-paper height +\pagestyle{headings} +\usepackage{makeidx} +\usepackage{multicol} +\usepackage{etex} + +%\usepackage{indentfirst} + +\usepackage{mflogo} + +%\usepackage[ansinew]{inputenc} + +% default is Computer Modern OT1 encoding +\usepackage[T1]{fontenc} % for CM, \input musixec after musixtex +\usepackage[osf]{mathpazo} % Palatino text, with old-style figures; use $n$ for lining figures +%\usepackage{mathptmx} % Times text +%\usepackage{helvet}\renewcommand{\familydefault}{\sfdefault} % Helvetica text + + +\usepackage{textcomp} + +\input musixtex +\input musixbm +\input musixcho +\input musixdat +\input musixext +\input musixgre +\input musixgui +\input musixlit +\input musixltx +\input musixper + +%%% \input musixps deferred to Section 10.2 + +%\input musixec % EC (Computer Modern) text in music +\input musixplt % Palatino text in music +%\input musixtmr % Times text in music +%\input musixhv % Helvetica text in music + +\usepackage{paralist} +\setlength{\pltopsep}{1pt plus 2pt minus 1pt} +\setlength{\plitemsep}{4.5pt plus 2pt minus 1pt} +\renewenvironment{enumerate}{\begin{compactenum}}{\end{compactenum}} +\renewenvironment{itemize}{\begin{compactitem}}{\end{compactitem}} +\renewenvironment{description}{\begin{compactdesc}}{\end{compactdesc}} + +\setcounter{tocdepth}{1} +\setcounter{secnumdepth}{2} + +% more place for section numbers in \tableofcontents +\usepackage{tocloft} +\setlength{\cftsecnumwidth}{3.0em} + +\renewcommand{\chaptermark}[1]{\markboth{\itshape Chapter \thechapter. #1}{}} +\renewcommand{\sectionmark}[1]{\markright{\itshape\thesection. #1}} + +\usepackage[colorlinks=true]{hyperref} + +\nobarnumbers + +\def\st@ffs{1} + +% for usage of notes inside text +\let\nblines\z@ + +\def\notesintext#1{% no staff lines, no clefs + {\let\extractline\relax + \setlines10\smallmusicsize \nobarnumbers \nostartrule + \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt + \startextract\addspace{-\afterruleskip}#1\zendextract}} +\def\musicintext#1#2{% normal + {\let\extractline\relax + \smallmusicsize \nobarnumbers + \staffbotmarg0pt \setclef1{#1} + \startextract\addspace{-\afterruleskip}#2\endextract}} +% macro adapted to insert music without clef: +\def\musicintextnoclef#1{% no clef small + {\let\extractline\relax + \smallmusicsize \nobarnumbers + \staffbotmarg0pt \setclefsymbol1\empty + \startextract\addspace{-\afterruleskip}#1\endextract}} +\def\musicintextnoclefn#1{% no clef normal + {\let\extractline\relax + \nobarnumbers + \staffbotmarg0pt \setclefsymbol1\empty + \startextract\addspace{-\afterruleskip}#1\endextract}} + +\def\musictex{Music\TeX{}} +\def\onen{{\ttfamily\char123}$n${\ttfamily\char125}} +\def\pitchp{{\ttfamily\char123}$p${\ttfamily\char125}} +\def\itbrace#1{{\ttfamily\char123}$#1${\ttfamily\char125}} +\def\nochange{{\ital{NOT to be changed}}} + +\ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi +\ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi +\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\ttfamily} +\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX} +\def\Bslash{\ttfamily\char'134} +\def\|{\texttt{\char'174}} +\def\LBR{\texttt{\char'173}} +\def\RBR{\texttt{\char'175}} +\def\keyindex#1{\leavevmode + \hbox{{\Bslash #1}}\index{#1@{\protect\small\protect\Bslash #1}}} +\def\zkeyindex#1{\index{#1@{\protect\small\protect\Bslash #1}}} +\def\ixem#1{#1\index{#1}} +\def\itxem#1{\textit{#1}\index{#1}} +\def\ttxem#1{\texttt{#1}\index{#1@\texttt{#1}}} +\def\ixtt#1{\index{#1@\texttt{#1}}} +\def\ital#1{\textit{#1\/}} +\def\enpee{{\ttfamily{\char123$n$\char125\char123$p$\char125}}} + +\def\unix{\textsc{unix}} + +\sloppy + + +\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}% +\def\_{\protect\underscoreSymbol} + + +\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex new file mode 100644 index 00000000000..8ac69a73f42 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.tex @@ -0,0 +1,103 @@ +% +% This file is part of MusiXTeX +% +% MusiXTeX is free software; you can redistribute it and/or modify +% it under the terms of the GNU General Public License as published by +% the Free Software Foundation; either version 2, or (at your option) +% any later version. +% +% MusiXTeX is distributed in the hope that it will be useful, +% but WITHOUT ANY WARRANTY; without even the implied warranty of +% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +% GNU General Public License for more details. +% +% You should have received a copy of the GNU General Public License +% along with MusiXTeX; see the file COPYING. If not, write to +% the Free Software Foundation, Inc., 59 Temple Place - Suite 330, +% Boston, MA 02111-1307, USA. +% +% +% musixdoc.tex : the document +% +\documentclass[twoside,11pt,notitlepage]{report} + +\usepackage{musixdoc} + +%\includeonly{extensions} + +%\includeonly{ +%frontmatter, +%introduction, +%settingup, +%preparing, +%writingnotes, +%beams, +%rests, +%spacing, +%accidentals, +%transposition, +%slurstiesfont, +%slurstiesTypeK, +%barlines, +%barnumbering, +%layout, +%changing, +%repeats, +%fonts, +%miscellaneous, +%smaller, +%staffsize, +%parameters, +%extracting, +%lyrics, +%embedding, +%extensions, +%examples, +%summary, +%index +%} + +\startmuflex + +\makeindex + +\begin{document} + +\include{frontmatter} + +\setcounter{page}{1} +\pagenumbering{arabic} +\renewcommand{\thepage}{\arabic{page}} + +\include{introduction} +\include{settingup} +\include{preparing} +\include{writingnotes} +\include{beams} +\include{rests} +\include{spacing} +\include{accidentals} +\include{transposition} +\include{slurstiesfont} +\include{slurstiesTypeK} +\include{barlines} +\include{barnumbering} +\include{layout} +\include{changing} +\include{repeats} +\include{fonts} +\include{miscellaneous} +\include{smaller} +\include{staffsize} +\include{parameters} +\include{extracting} +\include{lyrics} +\include{embedding} +\include{extensions} +\include{examples} + +\include{summary} + +\include{index} + +\end{document} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex new file mode 100644 index 00000000000..0acb3b56aa9 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex @@ -0,0 +1,130 @@ +\chapter{Layout Parameters}\label{LayoutParameters} + Most layout parameters are set by \musixtex\ to reasonable default values. +However, some projects will require altering one or more of them. In this +section we discuss the most important parameters and how to change them. + + \section{List of layout parameters} + In the following, the indication ``\nochange'' does not mean that this +parameter cannot be changed at all, but that it should not be modified +directly, e.g,.~by saying something like \verb|\Interligne=14pt|. In other +words, changes in these parameters must be accomplished only by more +comprehensive macros which not only revise them but at the same time perform +other necessary related changes. Even though you cannot \ital{change} these, +you may \ital{refer} to them in your coding if that proves useful. + +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{Interligne} :]vertical distance between the bottoms of +consecutive staff lines of the current instrument, taking no account of a +possible alteration by \keyindex{setsize}; \nochange. + \item[\keyindex{internote} :]vertical spacing between notes one scale +step apart in the current instrument, taking account of a possible alteration +by \keyindex{setsize}; \nochange. + \item[\keyindex{Internote} :]vertical spacing between notes one scale +step apart in any instrument whose \keyindex{setsize} has the default +value \keyindex{normalvalue} ($1.0$), equal to \verb|0.5\Interligne|; \nochange. +\item[\keyindex{staffbotmarg} :]margin below the first (lowest) staff of the +first (lowest) instrument. Changes are recognized at the next system. +Default is \verb|3\Interligne|. + \item[\keyindex{stafftopmarg} :]margin above the last (uppermost) staff of +last (uppermost) instrument. Changes are recognized at the next system. +Default is \verb|3\Interligne|. + \item[\keyindex{interbeam} :]vertical distance between beams; \nochange. +\item[\keyindex{interstaff} :]a very important macro with a single numerical +argument representing the factor that multiplies \verb|2\internote| to give the +distance between the bottom of one staff and the bottom of the next one. In +fact the macro redefines the parameter \verb|\interfacteur|. +\item[\keyindex{interportee} :]distance between the bottom of one staff and +the bottom of the next one. It is always reset to +\verb|2|\keyindex{interfacteur}\verb|\internote| at the next system. +Therefore, trying to change \verb|\interportee| will have no effect. Change +\verb|\interstaff| instead. Further, note that \verb|\interstaff| applies to all the +instruments, but each distinct instrument may have a different +\verb|\internote| (see Chapter~\ref{staffspacing}). + +\item[\keyindex{interinstrument} :]additional vertical distance between +two consecutive instruments. This means that the distance between the lowest +line of the previous instrument and the lowest line of the top staff of the current +instrument is \verb|\interportee+\interinstrument|. The +default value of \verb|\interinstrument| is zero, but sometimes you +may want additional space between distinct instruments. This is a general +dimension register. As usual in \TeX, it can be set using a command such as +\verb|\interinstrument=10pt| or \verb|\interinstrument=6\internote|. Its +value can be overridden for the space above any particular instrument +with the macro \keyindex{setinterinstrument}\itbrace{n}\itbrace{s}, where +$n$ is the instrument and $s$ is the replacement value of the space to +be added. The \verb|\setinterinstrument| macro may be useful in some vocal +scores to provide vertical space for lyrics. Note that +after you have used \keyindex{setinterinstrument}, +you cannot reset the distances for that instrument with +\keyindex{interinstrument}; you must subsequently use +\keyindex{setinterinstrument} for that purpose. + + \item[\keyindex{systemheight} :]distance from the bottom of the +lowest staff to the top of the highest one. This is the length of any +vertical lines such as repeats that span the full height of a system; +\nochange. +\end{description} + + In addition, when handling notes of a given staff of a given instrument, the +following dimensions are available (note these are not true registers, but +\ital{equivalenced symbols} through a \verb|\def|): + +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{altplancher} :]altitude of the lowest line of the lowest +instrument; \nochange. + \item[\keyindex{altitude} :]altitude of the lowest line of the lowest +staff of the current instrument; \nochange. + \item[\keyindex{altportee} :]altitude of the lowest line of the current +staff; \nochange. + + %??? Next perhaps will change to steps of \verb|\internote|. + + \item[\keyindex{stemfactor} :]parameter defining the length of stems on +half, quarter, and beamed eighth notes, in units of \verb|\interbeam|. +Normally a stem has the length of one octave, +i.e.,~\verb|3.5|\keyindex{Interligne}. However, this is not correct for small or tiny +note sizes. Therefore, stem length is defined as a multiple of the +dimension \keyindex{interbeam}, which is chosen because it is automatically +redefined as a +different multiple of \keyindex{Interligne} whenever note size is changed. For +example, with \verb|\normalmusicsize| when \verb|\setsize| is +\verb|\normalvalue|, \verb|\interbeam| is \verb|0.75|\keyindex{Interligne}. This +legislates a default value for \keyindex{stemfactor} of $4.66$ ($=3.5/0.75$). +To change stem length, it is easiest to use e.g.,~\keyindex{stemlength}\verb|{3.5}|, which simply redefines \verb|\stemfactor|. +Subsequently, \verb|\stemfactor| will not automatically be reset to the default, +but keep in mind that if it is changed +inside a notes group, the change will only be effective within that notes group. +\end{description} + + \section{A convenient macro for changing layout parameters} +Of the parameters just described that can be changed, many should only be +changed between the end of one system and the beginning of the next. The +command sequence \verb|\def\atnextline{|\ital{any control sequence}\verb|}| +may be useful for this purpose. It will cause \ital{any control sequence} to +be inserted right before the next new line is begun, provided the line break +is not initiated by a \verb|\startpiece|. Thus this will work with +automatically generated line breaks, with those forced by \verb|\alaligne|, and +with those forced by explicit use of \verb|\endpiece| or \verb|\stoppiece| +followed by \verb|\contpiece|. (Note, however, that in the latter case it +would be just as convenient to enter the parameter changes explicitly as well.) +The control sequence will only be executed once, +after which \verb|\atnextline| is redefined as \verb|\empty|. + + \section{Changing the number of lines per staff}\label{stafflinenumber} +Naturally, the default number of lines per staff is five. But you may want a +different number in some or all staves, for example for gregorian music, +percussion music, guitar tablature, or early baroque keyboard music. To do so, +use the command \keyindex{setlines}\itbrace{n}\itbrace{m}~where $n$ is the +instrument number and $m$ is the number of lines. + + \section{Resetting normal layout parameters} +The general size can only be changed with one of the commands +\keyindex{smallmusicsize}, +\keyindex{normalmusicsize}, \keyindex{largemusicsize}, or +\keyindex{Largemusicsize}. Beyond that, the command +\keyindex{resetlayout} will reset the following key layout parameters +to their default values: \keyindex{staffbotmarg} (\verb|3\Interligne|), +\keyindex{stafftopmarg} (\verb|3\Interligne|), \keyindex{interstaff} ($9$), + number of lines per staff for all instruments ($5$); and will reset all clef +symbols to standard clef symbols. + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex new file mode 100644 index 00000000000..aed7e821fcc --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/preparing.tex @@ -0,0 +1,245 @@ +\chapter{Preparing to Enter Notes}\label{preparing} + \section{After the setup, what next?} + +The command \keyindex{startmuflex} initiates the serious business of +\musixtex. On the first \TeX\ pass it +opens \ital{jobname}{\tt .mx1} for writing bar-by-bar tabulations of all +hard and scalable space to be fed to \verb|musixflx| on the second pass. +\verb|musixflx| generates \ital{jobname}{\tt .mx2} which defines the +number of bars in each system and the factors relating scalable space +to hard space in each system. On the third pass both files will be opened +and read to define the final spacing. These files should be closed before +leaving \TeX, preferably before +\keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\ +closes all open files on its own when terminating the program, but it is still +cleaner to do this explicitly. + +After \verb|\startmuflex|, the command \keyindex{startpiece} will initiate +the first system, containing all instruments you have previously defined. +The indentation will be \keyindex{parindent}, so if you want nonzero +indentation, this register should be set to the desired hard dimension +before issuing \verb|\startpiece|. + + \section{Horizontal spacing commands}\label{newspacings} +\subsection{Basic note spacing} +\musixtex\ provides a set of macros each of which defines a particular +increment of scalable spacing. The default set is tabulated in +Figure~\ref{spacingtable}. +\begin{table} +\begin{small} +\begin{center} +\tinynotesize +\renewcommand{\arraystretch}{1.5}% I hate LaTeX (attributed to Daniel Taupin) +\begin{tabular}{|l|l|l@{~~~~}l|} +\multicolumn{1}{c}{Usage}& +\multicolumn{1}{c}{spacing}& +\multicolumn{2}{c}{Suggested use}\\\hline +\keyindex{znotes}\verb| ... & ... & ... \en|&(non spacing) + &&specials\\ +\keyindex{notes}\verb| ... & ... & ... \en|&\verb=2=\keyindex{elemskip} + &\ccu1&16th\\ +\keyindex{notesp}\verb| ... & ... & ... \en|&\verb=2.5\elemskip= + &\pt1\ccu1&dotted 16th, 8th triplet\\ +\keyindex{Notes}\verb| ... & ... & ... \en|&\verb=3\elemskip= + &\cu1&8th\\ +\keyindex{Notesp}\verb| ... & ... & ... \en|&\verb=3.5\elemskip= + &\cup1&dotted 8th, quarter triplet\\ +\keyindex{NOtes}\verb| ... & ... & ... \en|&\verb=4\elemskip= + &\qu1&quarter\\ +\keyindex{NOtesp}\verb| ... & ... & ... \en|&\verb=4.5\elemskip= + &\qup1&dotted quarter, half triplet\\ +\keyindex{NOTes}\verb| ... & ... & ... \en|&\verb=5\elemskip= + &\hu1&half\\ +\keyindex{NOTesp}\verb| ... & ... & ... \en|&\verb=5.5\elemskip= + &\hup1&dotted half\\ +\keyindex{NOTEs}\verb| ... & ... & ... \en|&\verb=6\elemskip= + &\wh1&whole\\\hline +\end{tabular}\end{center} +\end{small} +\caption{Spacing Commands} +\label{spacingtable} +\end{table} +What each of these macros actually does is to set an +internal dimension register \keyindex{noteskip} to the given multiple +of the fundamental spacing unit \keyindex{elemskip} +(which has dimensions of length, usually given in points). +Normally, every \itxem{spacing note} (e.g., +\keyindex{qu}, +\keyindex{qb}, \keyindex{hl}) will then be followed by a spacing of +width \keyindex{noteskip}. By selecting a particular note spacing macro +from the above table, the typesetter can thus control the relative spacing +between notes. + +The actual spacing will therefore be determined by the value of +\verb|\elemskip|. On the first pass, \TeX\ will set a default value for +\verb|\elemskip| based on the declared music size, or the user can +set it to any hard dimension he chooses. However, the value on the +first pass doesn't matter as much as you might think (more about that later). +On the second pass, +\verb|musixflx| determines where the system breaks will come, +and then computes the final value of \verb|\elemskip| for each system. + +If the arithmetic progression of note spacings in the above table does not +meet your wishes, you may activate an alternate set with +the command \keyindex{geometricskipscale}. As implied by the name, this +is a geometric progression, where {\Bslash Notes} is +$\sqrt{2}$ times wider than {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$ +times wider than {\Bslash Notes}, and so forth. +Then the factors in the middle column +of the above table will be replaced by the sequence +$2.00$, $2.38$, $2.83$, $3.36$, $4.00$, $4.76$, $5.66$, $6.72$, and $8.00$. Two additional +macros, \verb|\NOTEsp| and \verb|\NOTES|, will be defined corresponding to +factors $9.52$ and $11.32$. The original arithmetic progression can be +restored by \keyindex{arithmeticskipscale}. + +If neither of the predefined progressions satisfies you, you may define +your own, using the more general macro \verb|\vnotes| in the same manner +that \musixtex\ uses it for the predefined progressions. So for example +\verb|\def\NOtes{\vnotes5.34\elemskip}| will redefine \verb|\NOtes| in +the obvious way, and the extension to the other spacing macros should +likewise be obvious. + +In addition, inside any pair \verb|\notes...\en| there are two +equivalent ways to +locally redefine \verb|\noteskip| to another scalable value, namely by +issuing a command like +\verb|\noteskip=2.4\noteskip| or \keyindex{multnoteskip}\verb|{2.4}|, which +have the expected effect until the notes group is terminated or +\verb|\noteskip| is further redefined. +The following abbreviations may be useful: +\begin{quote} + \keyindex{nnotes} for \verb|\notes\multnoteskip\smallvalue|\quad (i.e.,~\verb|1.6\elemskip|)\\ + \keyindex{nnnotes} for \verb|\notes\multnoteskip\tinyvalue|\quad (i.e.,~\verb|1.28\elemskip|) +\end{quote} +Finally, by issuing a command like +\keyindex{scale}\verb|{2.4}| outside any notes group, you can scale all subsequent +\verb|\noteskip|s by any desired factor. + +These facilities may be useful, for example, +to control spacing when there are three equal duration notes in one staff against two + in another. + + +%\subsection{\Bslash{\tt elemskip}, \Bslash{\tt beforeruleskip} and +%\Bslash{\tt afterruleskip}} +% +% avr wants to call these "commands", but das doesn't. +%\subsection{Commands {\Bslash\texttt{elemskip}}, +%{\Bslash\texttt{beforeruleskip}} +%and {\Bslash\texttt{afterruleskip}}} +%\subsection{{\Bslash\texttt{elemskip}}, +%{\Bslash\texttt{beforeruleskip}} +%and {\Bslash\texttt{afterruleskip}}} + +\subsection{Before and after rule skips} + + +We've just seen how \verb|\elemskip| is used to scale the spacings between notes. +There are two other spacing units that share some behavior with \verb|\elemskip|: +\verb|\beforeruleskip| is the horizontal space that is automatically inserted +\ital{before} every bar line, while \verb|\afterruleskip| goes \ital{after} +every bar line. (In +practice \verb|\beforeruleskip| is almost aways set to \verb|0pt| because there +will typically already be a space of \verb|1\noteskip| before every barline.) +On the first pass, just as with \verb|\elemskip|, \musixtex\ assigns them default +values according to the following table: + +%\begin{quote}\begin{tabular}{lrrr}\hline +%\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} +% &\keyindex{beforeruleskip}\\\hline +%\keyindex{normalmusicsize}&6pt&8pt&0pt\\ +%\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline +%\end{tabular}\end{quote} + +\begin{center}\begin{tabular}{lrrr}\hline +\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} + &\keyindex{beforeruleskip}\\\hline +\keyindex{normalmusicsize}&{\tt 6pt}&{\tt 8pt}&{\tt 0pt}\\ +\keyindex{smallmusicsize}&{\tt 4.8pt}&{\tt 6pt}&{\tt 0pt}\\\hline +\end{tabular}\end{center} + +\noindent In the second pass, \verb|musixflx| assigns new values to each +of these dimensions, a different set for each line or system. It does this +in such a way that available scalable horizontal space in each system is +exactly filled up. + +The values that are assigned to these dimensions on the first pass, whether by +default or explicitly by the user or in some combination, only matter insofar +as their relative sizes. That's why we earlier stated that the first-pass value +of \verb|\elemskip| didn't matter as much as you might think. For both music sizes +in the table above, it appears that by default \verb|\afterruleskip| is +\verb|1.3333\elemskip|\footnote{Editor's note: It is a mystery why the authors +%of \musixtex\ didn't simply define \Bslash{\tt beforeruleskip} and \Bslash{\tt afterruleskip} as +%specific multiples of \Bslash{\tt elemskip}}. +of \musixtex\ didn't simply define \Bslash\texttt{beforeruleskip} and \Bslash\texttt{afterruleskip} as +specific multiples of \Bslash\texttt{elemskip}}. + +Note that if you do want to change any of these +values, you have to do so \ital{after} setting the +music size and before \verb|\startpiece|. + +Here is an example that illustrates the various dimensions under discussion:\\ + %\check +\begin{music}\nostartrule +\afterruleskip7pt +\beforeruleskip2pt +\parindent0pt +\setclefsymbol1\empty +% special problems afford special solutions +\makeatletter\global\clef@skip\z@ \makeatother +\startpiece +\zchar{16}{\hbox to\afterruleskip{\downbracefill}}% +\zchar{19}{\hbox to\afterruleskip{\hss a\hss}}% +\addspace\afterruleskip +\zchar{16}{\hbox to2\elemskip{\downbracefill}}% +\zchar{19}{\hbox to2\elemskip{\hss b\hss}}% +\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}% +\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}% +\notes\qa l\en +\znotes\en +\zchar{16}{\hbox to4\elemskip{\downbracefill}}% +\zchar{19}{\hbox to4\elemskip{\hss c\hss}}% +\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}% + \hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}% +\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}% + \hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}% +\NOtes\qa l\en +\znotes\en +\zchar{16}{\hbox to\beforeruleskip{\downbracefill}}% +\zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}% +\setemptybar\endpiece +\end{music} +\begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l} +a&\keyindex{afterruleskip}\\ +b&\keyindex{notes}\verb| = \vnotes 2\elemskip|\\ +c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\ +d&\keyindex{beforeruleskip}\\ +e&\keyindex{elemskip} +\end{tabular}\end{quote} + +\section{Moving from one staff or instrument to another} + \label{movingtostaffs} + +When entering notes inside \verb|\notes ... \en|, the usual way to suspend +input for one instrument and start the next (higher) is with the character +``\verb|&|''\index{"&@{\tt\char'046}}. If the instrument has more than one +staff, to switch to the next (higher) one you can use the character +``\verb+|+''\index{\tt\char'174@{\tt\char'174}}. + +There are some alternate navigation commands that may be useful in + special situations. Due to ``catcode +problems'' (see Section~\ref{catcodeprobs}) it may sometimes be necessary +to use the more explicit commands +\keyindex{nextinstrument} and \keyindex{nextstaff}, which have the same +meanings as ``\verb|&|'' and ``\verb+|+'' respectively. To switch to the previous +(next lower) staff of the same instrument, use \keyindex{prevstaff}. This might +be useful if a beam starts in a higher staff than where it ends. More +generally, to switch to an arbitrary instrument $n$, use +\keyindex{selectinstrument}\onen, and to switch to an arbitrary staff $n$ +of the current instrument, use \keyindex{selectstaff}\verb|{|$n$\verb|}|. In the +latter case if $n$ exceeds the number of staves defined for the instrument, you +will receive an error message. You can enter part of a successive voice on +\ital{same} staff by using \verb|\selectstaff{|$n$\verb|}| with $n$ for +the \ital{current} staff. + + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/repeats.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/repeats.tex new file mode 100644 index 00000000000..ceb45bfc856 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/repeats.tex @@ -0,0 +1,178 @@ +\chapter{Repeats} + +To replace a bar line with a left, right, or left-right repeat, use one of the +commands \keyindex{leftrepeat}, \keyindex{rightrepeat} or +\keyindex{leftrightrepeat} in place of \verb|\bar|. If a \verb|\leftrepeat| +happens to come at the end of a system, it will automatically be moved to the +start of the next system. If a \verb|\leftrightrepeat| happens to come at the +end if a system, \musixtex\ will automatically post a right repeat at the end +of the system and a left repeat at the beginning of the next. + +For example, + +\begin{music}\nostartrule +\startextract +\NOTes\ha g\en +\leftrepeat +\NOTes\ha h\en +\leftrightrepeat +\NOTes\ha i\en +\rightrepeat +\NOTEs\wh j\en +\zendextract +\end{music} + \noindent has been coded as: +\begin{quote}\begin{verbatim} +\NOTes\ha g\en +\leftrepeat +\NOTes\ha h\en +\leftrightrepeat +\NOTes\ha i\en +\rightrepeat +\NOTEs\wh j\en +\end{verbatim}\end{quote} + +To insert a right repeat at a forced line break or at the end of a piece, use +\verb|\setrightrepeat| \textit{before}\ \verb|\alaligne| or \verb|\endpiece|. +In contrast, to insert a left repeat at a forced line break or at the +beginning of a piece, simply use \verb|\leftrepeat| immediately \textit{after} +\verb|\startpiece| or \verb|\alaligne|. To insert a left-right repeat at a +forced line break, use \verb|\setrightrepeat\alaligne\leftrepeat|. + +In fact it is possible to use \keyindex{setleftrepeat}, +\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before any +\keyindex{bar}, \keyindex{stoppiece} or \keyindex{changecontext}. But +be aware that while \verb|\setleftrepeat| behaves properly if the +bar is at the end of a system, \verb|\setleftrightrepeat| does not, placing +the symbol only at the end of the system. + + \section{First and second endings (Voltas)}\index{volta} + +All volta commands must be entered right before the bar line command +(or repeat, etc.) where they are to take effect. There are three +commands that suffice to set all voltas. To start one, use +\keyindex{Setvolta}\verb|{|\textit{text}\verb|}|; to terminate it +with or without a vertical line, use \keyindex{endvolta} or +\keyindex{endvoltabox} respectively. The text by default will be followed +by a period. There are also various alternate +commands (e.g., \verb|\setendvoltabox| is equivalent to \verb|\endvoltabox|). +Some such alternate forms are used in the following example, but the first three +mentioned above are all that are required: + +\medskip \begin{music} + \parindent0pt + \startpiece + \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvoltabox{1.-3}\bar + \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat + \NOTEs\wh d\en\doublebar + \NOTEs\wh e\en\bar + \NOTEs\wh f\en\leftrepeat + \NOTEs\wh g\en\bar + \NOTEs\wh h\en\Setvolta1\bar + \NOTEs\wh i\en\bar + \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat + \NOTEs\wh i\en\bar + \NOTEs\wh h\en\setendvoltabox + \Endpiece + \end{music} + \noindent This was coded as + \begin{quote}\begin{verbatim} + \startpiece \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvoltabox{1.-3}\bar + \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat + \NOTEs\wh d\en\doublebar + \NOTEs\wh e\en\bar + \NOTEs\wh f\en\leftrepeat + \NOTEs\wh g\en\bar + \NOTEs\wh h\en\Setvolta1\bar + \NOTEs\wh i\en\bar + \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat + \NOTEs\wh i\en\bar + \NOTEs\wh h\en\setendvoltabox + \Endpiece +\end{verbatim}\end{quote} + \zkeyindex{leftrepeat}\zkeyindex{rightrepeat} + +If the volta only spans one measure and ends without a vertical segment, +it can be specified simply by saying +\keyindex{setvolta}\verb|{|\textit{text}\verb|}| before the bar line command +that starts it, and it will automatically terminate at the +second bar line command: + +\medskip \begin{music} + \parindent0pt \startpiece \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat + \NOTEs\wh d\en\bar + \NOTEs\wh e\en\Endpiece +\end{music} +\noindent which was coded as: + \begin{quote}\begin{verbatim} + \parindent0pt \startpiece \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat + \NOTEs\wh d\en\bar + \NOTEs\wh e\en\Endpiece +\end{verbatim}\end{quote} + +The height above the top staff line of the horizontal line in a volta symbol +is determined by the token \keyindex{raisevolta} which is \verb|4\internote| by +default. You can change this to any desired dimension. + +The period after the text can be +removed by saying \verb|\def|\keyindex{voltadot}\verb|{}| +and restored by \verb|\def|\keyindex{voltadot}\verb|{.}|\ . + + \section{Special symbols for repeating long sections} + +Four special symbols and corresponding macros are available, namely +\keyindex{coda}~$p$, \keyindex{Coda}~$p$, +and \keyindex{segno}~$p$, where $p$ specifies the pitch; and \keyindex{Segno} +with no argument. Their behavior is illustrated in this example: + +\begin{music} +\startextract +\NOtes\segno n\en +\bar +\NOtes\coda n\en +\NOtes\Segno\en +\bar +\NOtes\Coda n\en +\endextract +\end{music} +\noindent which has been coded: +\begin{quote}\begin{verbatim} +\NOtes\segno m\en\bar +\NOtes\coda m\en +\NOtes\Segno\en\bar +\NOtes\Coda m\en +\end{verbatim}\end{quote} + +\section{Repeating a single bar} + The special symbol for a single bar repeat is generated by \keyindex{duevolte}, as shown +in the following example: + +\begin{music} +\generalmeter\meterC +\setclef1\bass\setstaffs1{2} +\startextract +\NOtes\sk\sk\pause|\qa{cegj}\en +\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en +\endextract +\end{music} +\noindent whose coding is: +\begin{quote}\begin{verbatim} +\generalmeter\meterC +\setclef1\bass\setstaffs1{2} +\startextract +\NOtes\sk\sk\pause|\qa{cegj}\en +\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en +\endextract +\end{verbatim}\end{quote} + +\noindent This is often used with \verb|\centerbar| to more easily center the +symbol between bar lines, as shown in the example in Section~\ref{barcentered}. + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/rests.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/rests.tex new file mode 100644 index 00000000000..e908e09e955 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/rests.tex @@ -0,0 +1,114 @@ +\chapter{Rests} + \section{Ordinary rests} + A separate macro is defined for each kind of ordinary rest. They cause +a space after the symbol, just like spacing note commands, but they have +no parameters. A whole rest is coded as +\keyindex{pause}, +half rest \keyindex{hpause} or \keyindex{hp}, +quarter rest \keyindex{qp} or \keyindex{soupir}, +eighth rest \keyindex{ds}, sixteenth rest \keyindex{qs}, +$32$nd~rest \keyindex{hs}, and $64$th rest \keyindex{qqs}. +Dotted rests may be obtained by +using +\keyindex{hpausep} or \keyindex{hpp}, \keyindex{qpp}, \keyindex{dsp}, \keyindex{qsp}, +\keyindex{hsp} and \keyindex{qqsp}. + + Longer rests, normally interpreted as lasting +two or four bars respectively, can be coded as \keyindex{PAuse} +and \keyindex{PAUSe}, which yield: + +\begin{music}\nostartrule +\generalmeter{\meterfrac44} +\startextract +\def\atnextbar{\znotes\centerbar\PAuse\en}% +\NOTEs\en\bar +\def\atnextbar{\znotes\centerbar\PAUSe\en}% +\NOTEs\en +\endextract +\end{music} + %\check + + + \section{Raising rests}\index{raising rests} +All the +previous rests except \keyindex{pausep} and +\keyindex{hpausep} are \ital{hboxes}, which means that +they can be vertically offset if needed using the +standard \TeX\ command \keyindex{raise}. For example: + + \begin{quote} + \begin{verbatim} + \raise 2\Interligne\qp + \raise 3mm\qqs + \end{verbatim} + \end{quote} + +\noindent where \keyindex{Interligne} is the distance from one staff line to the +next. + +In addition, two macros are available to put a whole or +half rest above or below the staff. The ordinary \verb|\pause| or +\verb|\hpause| cannot be used outside the staff because a short horizontal line +must be added to distinguish between the whole and the half rest. The commands, +which are non-spacing\footnote{Editor's note: The reason for having defined these +as non-spacing is not obvious}, are + \begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{liftpause}~$n$ to get a + \hbox to10pt{\liftpause{-2}\hss} + raised from original position by $n$ staff line intervals, + \item \keyindex{lifthpause}~$n$ to get + \hbox to10pt{\lifthpause{-1}\hss} raised the same way. + \item \keyindex{liftpausep}~$n$ to get a + \hbox to10pt{\liftpausep{-2}\hss} + raised from original position by $n$ staff line intervals, + \item \keyindex{lifthpausep}~$n$ to get + \hbox to10pt{\lifthpausep{-1}\hss} raised the same way. + \end{itemize} + %\check + + \section{Bar centered rests}\label{barcentered} +Sometimes it is necessary to place a rest (or any other symbol) exactly in the middle +of a bar. This can be done with combinations of the commands +\keyindex{atnextbar}, +\keyindex{centerbar}, +\keyindex{centerPAUSe}, +\keyindex{centerPAuse}, +\keyindex{centerpause}, +\keyindex{centerhpause}, +as demonstrated in the following example: + +\begin{music} +\generalmeter\meterC +\setclef1\bass +\setstaffs1{2} +\parindent0pt +\startpiece\addspace\afterruleskip +\NOtes|\qa{cegj}\en +\def\atnextbar{\znotes\centerpause\en}\bar +\NOtes|\qa{jgec}\en +\def\atnextbar{\znotes\centerpause\en}\bar +\Notes\ca{`jihgfedc}\en +\def\atnextbar{\znotes|\centerpause\en}\bar +\NOTes\ha{Nc}\en +\def\atnextbar{\znotes|\centerpause\en}\bar +\addspace{10\elemskip}% +\def\atnextbar{\znotes\centerbar\duevolte|\centerbar\duevolte\en}\endpiece +\end{music} +\noindent with the coding +\begin{verbatim} +\generalmeter\meterC +\setclef1\bass +\setstaffs1{2} +\parindent0pt +\startpiece\addspace\afterruleskip +\NOtes|\qa{cegj}\en +\def\atnextbar{\znotes\centerpause\en}\bar +\NOtes|\qa{jgec}\en +\def\atnextbar{\znotes\centerpause\en}\bar +\Notes\ca{`jihgfedc}\en +\def\atnextbar{\znotes|\centerpause\en}\bar +\NOTes\ha{Nc}\en +\def\atnextbar{\znotes|\centerpause\en}\bar +\addspace{10\elemskip}% +\def\atnextbar{\znotes\centerbar{\duevolte}|\centerbar{\duevolte}\en}\endpiece +\end{verbatim} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/settingup.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/settingup.tex new file mode 100644 index 00000000000..3f5b1943df5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/settingup.tex @@ -0,0 +1,353 @@ +\chapter{Setting up the Input File} +\section{What makes a \TeX\ file a \musixtex\ file?} +A \musixtex\ input file is a special kind of \TeX\ input file. What makes it +special is that it must contain the command +\verb|\input musixtex| +before any reference to \musixtex\ macros. After that might follow +\verb|\input musixadd| or \verb|\input musixmad| if you want to have +respectively up to nine or twelve instruments or simultaneous beams, +ties, or slurs.\ixtt{musixtex.tex}\ixtt{musixadd.tex}\ixtt{musixmad.tex} +If you want to have greater numbers of these elements, you can assign them +directly by including one or more of these commands: +\verb|\setmaxinstruments|, +\verb|\setmaxcxxviiibeams|, +\verb|\setmaxcclvibeams|, +\verb|\setmaxgroups|, +\verb|\setmaxslurs|, +\verb|\setmaxtrills|, +\verb|\setmaxoctlines|. + +Since it is still a \TeX\ file, after that, if you wished to, +you could write a whole non-musical book +using normal \TeX\ commands provided that you did not +use \verb|&| as a tab character like in plain \TeX; in \TeX\ lingo, +its \keyindex{catcode} has been changed. + + \section{Cautions for the non \TeX pert} +When \TeX\ reads anything, it inputs one \ital{token} at a time. A token +may be either a \ital{command} or a character. A command (or \ital{macro}, +or \ital{control sequence}) is a +\ital{backslash} (``{\Bslash}'') immediately followed by sequence of +letters with no intervening spaces. For practical purposes, any single symbol (letter, digit, +special character, or space) that is not part of a command counts as a character +and therefore as a token. + +Each command expects a specific number of parameters. +The tokens ``\verb|{|'' and ``\verb|}|'' are very special, in that (1) they +must occur in matched pairs, and (2) any matched pair together with +the stuff inside counts as a single parameter. +If the first +parameter expected is a single letter, it must either be +separated from the command by a space or +enclosed in braces (otherwise it would be interpreted as part of the command). +For example the command \verb|\ibu| expects three parameters, so the +following are all OK: \verb|\ibu123|, \verb|\ibu1A3|, \verb|\ibu1{`A}3|, +\verb|\ibu{1}{2}{3}|, \verb|\ibu1{-2}3|, or \verb|\ibu1{23}4|, but +\verb|\ibu1234| is not OK; the first three digits are taken as parameters, +leaving the ``4'' with no purpose other than to cause some of the dreaded +unrecorded space that we have already mentioned. + +In the rest of this manual, when describing commands we will write +things like \verb|\qb{|$n$\verb|}{|$p$\verb|}|. It should be understood that +when $n$ and $p$ are replaced by their literal values, the braces may +or may not be necessary. In particular, if both are single digits, no +braces are needed; but if $n$ has two digits, or if $p$ has more than +one character, they must be surrounded by braces. + +Spaces (blank characters) in the input file must be handled very carefully. +They are ignored at the beginning of a line, enabling logical +indentation schemes to help make the file human-readable. There are also a few +other places within lines where blank spaces are OK (such as mentioned in the prior paragraph), +but in general is it safest to avoid +any unnecessary blanks between the beginning and end of an input line. +At the end of a line, the truth is that a command with no parameters, such as +\verb|\bar| or \verb|\en| will cause no trouble. However if a command with +one or more parameters is the last item in an input line, it will cause +unrecorded space. The way around this is to end the line with either ``\verb|%|'' +or \verb|\relax|. + + \section{Usual setup commands}\label{whatspecify} + +\subsection{Music size} + + The first decision is what size type to use. \musixtex\ offers four sizes: +``small'' \mbox{(\texttt{16pt}-high staves),} ``normal'' (\texttt{20pt}),\index{sizes} ``large'' +(\texttt{24pt}), and ``Large'' (\texttt{29pt}). The default is +\keyindex{normalmusicsize}. If you want a different size, then you have to +enter \keyindex{smallmusicsize}, \keyindex{largemusicsize}, or +\keyindex{Largemusicsize}. Each of these commands defines not only the +desired staff size but many other related sizes such as note heads, ornaments, +stem lengths, etc. + +\subsection{Number of instruments} + + The command \keyindex{instrumentnumber}\onen~defines the +number of instruments to be $n$. If not entered, the default is $1$. This number is used in loops +that build staves, +set key signatures, set meters, etc., so if it differs from $1$ it must be explicitly +defined before any further commands. + +\subsection{Number of staves per instrument} + +An instrument may have one or more staves (e.g.,~a piano would normally have 2 staves). +The differences between one +instrument of several staves and several instruments with one staff each are as follows: +\begin{itemize}\setlength{\itemsep}{0ex} + \item Different instruments may have different \itxem{key signatures}, while different +staves of an instrument will all have the same key signature. + \item A \itxem{beam} may include notes in different +staves of the same instrument. + \item A \itxem{chord} may extend across several staves of the same +instrument. + \item If an instrument has more than one staff, they will be linked together +with a big, curly brace at the beginning of each line. +\end{itemize} +The default number of staves per instrument is $1$. If it is different, then it +must be specified by \keyindex{setstaffs}\verb|{|$n$\verb|}{|$p$\verb|}| +where $p$ is the number of staves and $n$ is the +number of the instrument. In \musixtex, instruments are numbered +\ital{starting with the lowest}. +So for example \verb|setstaffs32| +assigns two staves to the third instrument from the bottom. + +\subsection{Clefs for each staff} + + The default clef for every staff is the \ital{treble} clef. To assign +any other clef, the command is +\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}| +where $n$ is the number of the instrument, $s_1$ is a digit specifying the +clef for the first (lowest) staff, $s_2$ for the second staff, and so forth. +Note that like +instruments, staves of a given instrument are numbered starting with +the lowest. The parameters $s_2$, $s_3$ and $s_4$ can be omitted, in which case +any unspecified staves will be assigned a treble clef. + +The digits $s$ can range from $0$ to $9$, with the following meanings: +$s=0$ signifies treble or G clef. +$s=1$ to $4$ mean C-clef, respectively on the first (lowest) through fourth staff line. +$1$ is also called \ital{soprano}, $3$ \ital{alto} and $4$ \ital{tenor}. +$s=5$ to $s=7$ mean F-clef, respectively on the third through fifth staff line. $5$ is +also called \ital{baritone} and $6$ is the normal \ital{bass}. + $s=8$ is not used. +$s=9$ represents a G clef on the first line, also called \ital{French violin} clef. + +The three tokens \verb|\treble|, \verb|\alto|, and \verb|\bass| can be used instead +of a digit for $s$, but only if there would have been but one digit in the string. +So for example the clefs for a standard piano score +could be specified by +\keyindex{setclef}\verb|1{\bass}|. + +Treble and bass clefs with the digit $8$ above or below are also possible; see +Section~\ref{treblelowoct}. + +\subsection{Key signatures} + +To set a common key signature for all instruments, use + \keyindex{generalsignature}\verb|{|$s$\verb|}|, +where $s>0$ is the number of \itxem{sharps} in the +signature and $s<0$ the number of \itxem{flats}\footnote{We once saw a +score in G-minor where the signature consisted of two flats (B and E) plus +one sharp (F). This is not directly supported by \musixtex.}. To override +the common key signature for instrument $n$, use +\keyindex{setsign}\verb|{|$n$\verb|}{|$s$\verb|}|. Note that differing +key signatures cannot be assigned to different staves of the same instrument. + +\subsection{Meters} + +A common \itxem{meter} for all staves can be specified by + \keyindex{generalmeter}\verb|{|$m$\verb|}|,\label{generalmeter} +where $m$ describes the appearance of the meter indication, and can take several +different forms. If the meter is a \ital{fraction} (e.g.,~$3/4$) the command is + \verb|\generalmeter{|\keyindex{meterfrac}\verb|{3}{4}}|. +Other possible tokens~$m$ are \keyindex{meterC}, +\keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve} and +\keyindex{meterplus}. These are illustrated in the following example: + + %\check +\begin{music} +\generalmeter\meterC +\nostartrule +\parindent0pt\startpiece +\NOtes\qa{cegj}\en +\generalmeter\allabreve\changecontext +\NOTes\ha{ce}\en +\generalmeter\reverseC\changecontext +\NOTEs\zbreve g\en +\generalmeter\reverseallabreve\changecontext +\NOTEs\zwq g\en +\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext +\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\en\setemptybar +\endpiece +\end{music} +\noindent which was coded as: +\begin{quote}\begin{verbatim} +\generalmeter\meterC +\nostartrule +\parindent0pt\startpiece +\NOtes\qa{cegj}\en +\generalmeter\allabreve\changecontext +\NOTes\ha{ce}\en +\generalmeter\reverseC\changecontext +\NOTEs\zbreve g\en +\generalmeter\reverseallabreve\changecontext +\NOTEs\zwq g\en +\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext +\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\en\setemptybar +\endpiece +\end{verbatim}\end{quote} + +To override the common meter for any staff, use +\keyindex{setmeter}\verb|{|$n$\verb|}{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}|.\linebreak +This works just like \verb|\setclef|. For example, +\verb|setmeter3{{\meterfrac{12}8}\allabreve}| +sets the meter to 12/8 for the first staff of the third instrument, and +\ital{alla breve} for the second staff. + +To insert extra space before the meter is +written, use \keyindex{meterskip}$d$ where $d$ is any hard \TeX\ +%dimension\footnote{{\Bslash\tt meterskip} is not a macro but a +dimension\footnote{{\tt\Bslash meterskip} is not a macro but a +dimension register. Whatever follows it +must be a \TeX\ dimension and {\it it must not be enclosed in braces}.}. +The assignment must occur outside \verb|\startpiece...\endpiece| and will be +reset to zero after first meter is posted. + +\subsection{Instrument names} + +To set an \itxem{instrument name}, use +\keyindex{setname}\verb|{|$n$\verb|}{|\ital{name of the instrument}\verb|}|. +This will place the name in the space to the left of the +first staff or group of staves for instrument $n$. To specify the amount of space +available, use \verb|\parindent|$d$ where $d$ is any hard \TeX\ dimension. + \section{Groupings of instruments}\label{curlybrackets} +By default, all staves in a system will be joined +at the left by a thin, vertical rule. In addition, if an instrument has more than +one staff, they will be joined by a big, curly brace. Now we introduce a way +to delineate groups of instruments or choirs with a square brace containing two parallel +vertical rules, the left one thick and the right one thin. This is commonly used +to group together the voices in a choir. + +If there is only one choir, this can be done with + \begin{quote} +\keyindex{songtop}\onen\\ +\keyindex{songbottom}\verb|{|$m$\verb|}| +\end{quote} +\noindent where $m$ and $n$ are the instrument numbers of the first +and last voices. An example is shown in Section~\ref{song}. + +If there is more than one choir to be set off with +square braces, each one can be specified with + \begin{quote} +\keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\ +\keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}| +\end{quote} +\noindent where $m$ and $n$ are the instrument numbers of the first +and last voices of group number~$g$. \musixtex{} allows up to three +groups, numbered from $1$ to $3$. The command \verb|\songtop| is equivalent +to \verb|\grouptop 1|; \verb|\songbottom| is equivalent to +\verb|\groupbottom 1|. + +With \ttxem{musixadd.tex} or \ttxem{musixmad.tex}, the allowable number of +groups is increased to four. +Alternatively, you can specify the allowable number of groups to $m$ by +\keyindex{setmaxgroups}\verb|{|$m$\verb|}|% +\footnote{Using $m>4$ may require e-\TeX.}. +\label{musixmad_setmaxgroups} + +If any of the instruments grouped this way has more than one staff, the +heavy curly brace will be shifted to the left of the square brace. + +Previously defined square braces can be removed by declaring +\verb|\songtop| less than \verb|\songbottom|. The same applies to +\verb|\grouptop| and \verb|\groupbottom| for the same group number. + + An alternate command allows you to specify all choirs at once: +\begin{quote} + \keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% + \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|% + {\it lower\_3\/}\verb|}{|{\it upper\_3\/}\verb|}}| +\end{quote} +\noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument +numbers that denote the span of bracket number $n$. For +setting fewer than three brackets, just omit all unneeded +\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs. + +For example, + \verb|\instrumentnumber{5}\akkoladen{{1}{2}{3}{5}}| +\noindent yields the first example below, with five single-staff instruments +divided into two groups. +The second example has two instruments, the first (lower) with two staves and the +second with three. Each instrument is set off by default with a curly bracket. + +If for some reason you want more than one \ital{instrument}\ grouped +within a curly +bracket, then you can use the +command + + \keyindex{curlybrackets}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% + \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}...| + +\noindent to be used as illustrated in the third example below.\\ +\begin{small} +\begin{minipage}[t]{29ex} +\begin{music} + % just to avoid wasting space ... + \sepbarrules + \smallmusicsize + \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} + \startextract\notes\en\bar\notes\en\zendextract +\end{music} +\begin{quote}is coded as: +\begin{verbatim} + \sepbarrules + \smallmusicsize + \instrumentnumber{5} + \akkoladen{{1}{2}{3}{5}} + \startextract + \notes\en\bar\notes\en + \zendextract +\end{verbatim}\end{quote} +\end{minipage} +\begin{minipage}[t]{27ex} +\begin{music} + \sepbarrules + \smallmusicsize + \instrumentnumber2 \setstaffs12\setstaffs23 + \startextract \notes\en\bar\notes\en\zendextract +\end{music} +\begin{quote}is coded as: +\begin{verbatim} + \sepbarrules + \smallmusicsize + \instrumentnumber2 + \setstaffs12 + \setstaffs23 + \startextract + \notes\en\bar\notes\en + \zendextract +\end{verbatim}\end{quote} +\end{minipage} +\begin{minipage}[t]{27ex} +\begin{music} + \sepbarrules + \smallmusicsize + \instrumentnumber5 %\setstaffs12\setstaffs23 + \curlybrackets{1235} + \startextract \notes\en\bar\notes\en\zendextract +\end{music} +\begin{quote}is coded as: +\begin{verbatim} + \sepbarrules + \instrumentnumber5 + \smallmusicsize + \curlybrackets{1235} + \startextract + \notes\en\bar\notes\en + \zendextract +\end{verbatim}\end{quote} +\end{minipage} +\end{small} + + + + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex new file mode 100644 index 00000000000..bd44a61f63d --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex @@ -0,0 +1,366 @@ + \chapter{Postscript Slurs, Ties and Hairpins}\label{PostscriptSlurs} + +\input musixps + + +All of the aforementioned limitations of font-based slurs can be circumvented +by using type~K Postscript slurs\footnote{``K'' stands for Stanislav Kneifl, +the developer of the type~K Postscript slur package.}. As well as slurs, the package includes +ties and crescendos. +Its use is very similar to font-based slurs, and in fact identical if only +the elementary slur and tie initiation and termination macros are used. + +In order to use type~K Postscript slurs, ties and hairpins, you must first place \texttt{musixps.tex} +anywhere \TeX\ can find it. You must also place \texttt{psslurs.pro} +somewhere that \texttt{dvips} can find it. + +The \index{mxsk font}\texttt{mxsk} font is required for ``half ties,'' which +are special symbols that are used by default for the second portion of a tie +that crosses a line break. If you like +this treatment you must install the font in your \TeX\ system. However, perfectly +acceptable line-breaking ties will appear if you invoke \keyindex{nohalfties}, +and then you will not have to install this font. + +Once the software mentioned in the prior two paragraphs is installed and the +\TeX\ filename database is refreshed, the type~K package can be +invoked by including the command \verb|\input musixps| +near the beginning of your source file. +The resulting dvi file should then be converted into Postscript using \textbf{dvips}. +If desired, a PDF file can then be generated with \textbf{ps2pdf}, \textbf{ghostscript}, +or \textbf{Adobe Acrobat} (see Section~\ref{using} for more information on this). + +Two minor inconveniences with type~K Postscript slurs are that (1) they won't appear +in many dvi previewers, and (2) they won't appear in PDF files generated with +\textbf{pdftex} or \textbf{dvipdfm}. The former limitation can be circumvented by using a Postscript +viewer such as \textbf{GSview}. The latter simply requires that you create an intermediate +Postscript file with \textbf{dvips}, then make the PDF with any of the software +mentioned above. + + +\section{Initiating and terminating type K Postscript slurs} + +Basic usage of type K slurs is the same as for font-based slurs. To initiate one, +use for example \verb|\isluru0g| to start an upper slur with ID 0 above a virtual note +at pitch level {\tt g}. To terminate one, use a command like +\verb|\tslur0i| which terminates the slur with ID 0 on a +virtual note at pitch level {\tt i}. +Both types of commands are non-spacing and must precede the first or last +note under the slur. + +You can shift the starting or ending point slightly to the left +or right by substituting one of the commands \keyindex{ilsluru}, +\keyindex{ilslurd}, \keyindex{irsluru}, +\keyindex{irslurd}, \keyindex{trslur} or \keyindex{tlslur}. + +You can control the shape of type~K slurs with variants of +the termination command. To make the slur a bit flatter than default use +\keyindex{tfslur}0f; a bit higher, \keyindex{thslur}0f; higher still, +\keyindex{tHslur}0f; or +even higher, \keyindex{tHHslur}0f. These commands have an effect like +\keyindex{midslur} does for font-based slurs. + +All combinations of the shifting and curvature variants are allowed, +e.g.\ \verb|\trHHslur|. + + +The following examples demonstrate how much better the type K slurs perform +in the extreme situations of the prior two typeset examples. The coding is +exactly the same as above except that \verb|\input musixps| has been added: +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\input musixps +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en +.... +\end{verbatim}\end{quote} + +\begin{music}\nostartrule +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract + +\startextract +\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en\bar +\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en +\NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en\bar +\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en +\zendextract +\end{music} + + + + +For maximal control over type K slurs, you can use one of the commands +\keyindex{iSlur}~$npvh$ and +\keyindex{tSlur}~$npvhca$, where the characters in +$npvhca$ respectively stand for ID number, height, vertical offset, horizontal offset, +curvature, and angularity. +All offsets are in \verb|internote|, and the slur direction is determined +by the sign of the vertical offset. See the comments in \verb|musixps.tex| +for precise definitions of the other parameters. Examples of permissible forms for +these commands are +\verb|iSlur0c11| and \verb|tSlur0{!d}11{.2}0|. + +The next example shows how you can use \verb|iSlur| in difficult +circumstances: + + +\begin{music}\nostartrule +\nobarnumbers +\generalsignature1% +\generalmeter{\meterfrac{2}{4}}% +\nostartrule +\startextract +\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar +% +\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlfslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar +% +\NOtes\zchar{-8}{\Bslash iSlur...\Bslash tSlur}\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en +\zendextract +\end{music} +\noindent with this coding: + +\begin{quote}\begin{verbatim} +\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar +% +\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar +% +\NOtes\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en +\end{verbatim}\end{quote} + + +The ID number for a slur, tie or crescendo should +normally range from $0$ to $9$. If it is bigger +than nine but less than $15$, +the object can cross a line break but not a page break. If bigger than +14 but less than $2^{31}$, it can't be broken at all, + nor can a slur termination be positioned at a beam with + e.g., \verb|\tbsluru{17684}{16}|; however \verb|\ibsluru{152867}{16}| is okay. + +It's also okay to have opened simultaneously a slur, tie and crescendo all +with the same ID, or a slur, tie and decrescendo, but not a crescendo and +decrescendo. + +\def\emen{{\tt\char123}$n${\tt\char125\char123}$m${\tt\char125}} + +` +\section{Type~K Postscript beam slurs} +Type~K beam slurs are defined differently than the font-based ones: +They require as parameters both a slur ID number $n$ and a beam ID number $m$, +but that's all. The commands are +\keyindex{iBsluru}\emen, \keyindex{iBslurd}\emen, and +\keyindex{tBslur}\emen. +They must be placed \ital{after} the beam initiation or termination command. +Type~K slurs may start on one beam and end on another. +For example, + +\begin{quote}\begin{verbatim} +\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% + \slurtext{6}\tBslur00\qb0e\en +\end{verbatim}\end{quote} + +\noindent produces +%\begin{center} +%\includegraphics[scale=1]{./mxdexamples/psbeamslur.eps} +%\end{center} + +\begin{music}\nostartrule\startextract +\Notes\ibu0g2\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% + \slurtext{6}\tBslur00\qb0e\en +\zendextract +\end{music} + +This example also illustrates the use of the macro +\keyindex{slurtext}. It has just one parameter---some text to be +printed---and it centers it just above or below the midpoint of +the next slur that is closed. +This works only for non-breaking slurs; if the slur is broken, +the text +disappears\footnote{If you insist on viewing files with a dvi viewer that +doesn't display +type~K slurs, you may also find that +figures placed with \keyindex{slurtext} will appear at the end of the +slur rather than the middle.}. +%The placing of the slur text is done with a very dirty Postscript +%hack, so I am not really sure that everything you want to typeset +%will be placed at the correct position (if you are interested, see +%the end of psslurs.pro for details). If you find something that won't +%work, let me know. + +% DAS: why do we need this ??? +%\paragraph{General coding for Postscript slurs and ties of type K.} +%This can be done by: +%\begin{quote}\begin{verbatim} +%\i[h.shift]slur[u|d]{slur ID}{note height} +%\t[h.shift][slur height]slur{slur ID}{note height} +%\iBslur[u|d]{slur ID}{beam ID} +%\tB[slur.height]slur{slur ID}{beam ID} +%\end{verbatim}\end{quote} +%\noindent where h.shift can be 'l', 'r' or nothing +%and slur.height can be 'f', nothing, 'h', 'H' or 'HH' +% +%Example: \keyindex{tlfslur} means 'terminate left flat slur'. +% +% +%There are also simple slurs with same invocation and parameters as the +%original ones. + +\section{Type~K Postscript ties} +All of the foregoing Type~K slur commands +except the shape-changing ones +have counterparts for ties. Simply +replace ``\verb|slur|'' with ``\verb|tie|'', and for terminations omit +the pitch parameter. Type~K ties not only are positioned differently by +default, but they also have different shapes than slurs. If you want to change +the shape of a tie, redefine \verb|\pstiehgt| from its default of $0.7$. + +\section{Dotted type K slurs and ties.}%please check the capital D(otted) +A slur or tie can be made dotted simply by entering \keyindex{dotted} anywhere before +the beginning of the slur or tie. Only the first slur or tie following this +command will be affected. On the other hand, if you enter \keyindex{Dotted}, then \emph{all} +slurs and ties from this point forward will be dotted until you say +\keyindex{Solid}. Furthermore, inside \verb|\Dotted...\Solid| you can make any individual +slur or tie solid saying \verb|\solid| before its beginning. + +\section{Avoiding collisions with staff lines.} +In Postscript it is possible to do computations that would be very hard +to implement directly in TeX. Type~K slurs can use this facility to check whether +the curve of a slur or tie is anywhere nearly tangent to any staff line, and if +so, to adjust +the altitude of the curve to avoid the collision. By default this feature is turned +on. +You can disable it either +globally (\keyindex{Nosluradjust}, \keyindex{Notieadjust}) or locally +(\keyindex{nosluradjust}, \keyindex{notieadjust}), and you can also turn it +back on globally (\keyindex{Sluradjust}, +\keyindex{Tieadjust}) or locally (\keyindex{sluradjust}, \keyindex{tieadjust}). +Here ``locally'' +means that the command will only affect the next slur or tie to be opened. + +\section{Type K Postscript hairpins}\label{kcresc} + +There are two different types. The first type is normally initiated with either +\keyindex{icresc}\onen~or \keyindex{idecresc}\onen, and terminated with +\keyindex{tcresc}\onen, where $n$ is a hairpin index, +which is virtually unlimited but certain restrictions apply if it exceeds $14$. +The altitude is set by the value of \keyindex{setcrescheight}, which by default +is $-5$ and which must be expressed numerically. Note that +\keyindex{tcresc}~is the same as \keyindex{tdecresc}. + +You can shift the starting or ending point horizontally by replacing the +foregoing macros with +\keyindex{ilcresc}, \keyindex{ildecresc}, +\keyindex{ircresc}, \keyindex{irdecresc}, +\keyindex{tlcresc}, \keyindex{tldecresc}, +\keyindex{trcresc}, \keyindex{trdecresc}, +for example to make space for an alphabetic dynamic mark. + +The second form of Postscript hairpin macros allows individual and arbitrary +specification of the altitude and horizontal offset. The syntax is +\keyindex{Icresc}\itbrace{n}\itbrace{h}\itbrace{s}, where $h$ is the +altitude---which must be numerical---and $s$ is the horizontal offset +in \verb|\internote|. Similar syntax obtains for \keyindex{Idecresc}\ +and \keyindex{Tcresc}. + +These hairpins may span several lines. If one of them spans three systems +then the height of the middle section can be adjusted with +\keyindex{liftcresc}\itbrace{n}\itbrace{h}. The height of the first and last +parts of a broken crescendo will be defined by the height parameter in +\keyindex{Icresc}~or \keyindex{Tcresc}. + +There are numerous other nuances and shorthand macros that are described +in the comments in \verb|musixps.tex|. + +As an example of a Postscript hairpin, + +\begin{music}\nostartrule +\generalmeter{\meterfrac{12}8} +\startextract +\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en +\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en +\zendextract +\end{music} + +\noindent was coded as +\begin{quote}\begin{verbatim} +\input musixps +\generalmeter{\meterfrac{12}8} +\startextract +\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en +\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en +\zendextract +\end{verbatim}\end{quote} + + +\section{Line-breaking slurs, ties and hairpins} +Tyle K slurs, ties and crescendos going across line breaks are handled +automatically. In fact they can go over more lines than two (this is +true also for ties, though it would be somewhat strange). + +There is a switch \verb|\ifslopebrkslurs| that controls the default +height of the end point +of the first segment of all broken slurs. By default the height will be +the same as the beginning. To have it raised by \verb|3\internote|, simply +issue the command \keyindex{slopebrkslurstrue}. To revert to the default, +use \keyindex{slopebrkslursfalse}. + +To locally override the default height of the end of the first segment, +use the command \keyindex{breakslur}\enpee, +which sets the height for slur number $n$ to pitch $p$, just like with +font-based slurs. + +You can raise or lower the starting point of the second segment of a broken slur +with the command \keyindex{liftslur}\verb|{|$n$\verb|}{|$h$\verb|}|, with +parameters slur ID and relative offset in +\verb|\internote|s measured from the slur beginning. Its effect is +the same as \keyindex{Liftslur} for font-based slurs, except it is not +necessary to code +it within \verb|\atnextstaff{}|, just anywhere inside the slur. + +As already mentioned, anything with $\mathrm{ID}<10$ is broken fully automatically, but +you should be careful about slurs, ties and crescendos with $10\le\mathrm{ID}<15$. +These cannot cross page breaks, although they can cross line breaks. + +If the second segment of a broken tie is less than 15pt long, then by +default it will have a special shape which begins horizontally. These shapes are +called \ital{half ties} and are contained in the font \index{mxsk font}\verb|mxsk|. +Of course if they are to be used, the font files must be integrated into the +\TeX\ installation. Their use can be turned off with \keyindex{nohalfties} +and back on with \keyindex{halfties}. + +%\paragraph{Backwards compatibility.} +%There are several ``aliases'' which allow to use the old, bitmapped slur +%commands for PS slurs without any change. There are however a few differences: +%the \keyindex{invertslur} is not implemented yet and +%the \keyindex{curve} and \keyindex{midslur} macros have no effect. + +%\paragraph{Memory requirements.} +\enlargethispage*{4ex} +\section{A few final technical details} +Each \verb|\i...| and \verb|\t...| +produces a \verb|\special| command, which must be stored in TeX's main memory. +Therefore, if too many slurs occur in one page, some memory problems could +occur. The only solution is to use font-based slurs. +%The only solutions are to use Big\TeX\ +%BigTex? it is apparently the mascot for the Texas State Fair + +Type~K slurs need the Postscript header file +\index{psslurs.pro}\texttt{psslurs.pro} to be included in the +output Postscript file. This is made to happen by the \TeX\ command +\verb|\special{header=psslurs.pro}|, which is automatically +included when you \verb|\input musixps|. So normally this is not +of concern. However if you wish to extract a subset of pages from +the master \verb|dvi| file using \index{dvidvi}\texttt{dvidvi}, then +you have three options: (1)~include the first page in the subset, +(2)~manually issue the +\verb|\special| command in the \TeX\ source for the first page of the subset, or +(3)~use the option \texttt{-h psslurs.pro} when you run \texttt{dvips}. + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex new file mode 100644 index 00000000000..233db6e0360 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex @@ -0,0 +1,566 @@ +\chapter{Font-based Slurs, Ties and Hairpins} +Two fundamentally different implementations of slurs, ties, and hairpins are +available. First, there are the +original \ital{font-based} versions. These are constructed with traditional +\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files. +Second, it is now possible +to generate these shapes directly with Postscript, dispensing altogether with +the font characters\footnote{Please do not be confused by the availability of +Postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts). +Once installed in a \TeX\ system, +their function and use are 100\% transparently identical with bitmapped versions +of the slur fonts. On the other +hand, Postscript slurs are functionally distinct from font-based slurs, and only + share some of the same syntax.}. We shall first describe the font-based versions, +then Type~K Postscript slurs, which are one of two available Postscript slur +options\footnote{An +alternate approach to Postscript slurs, called {\it Type~M} after its developer +Hiroaki {\sc Morimoto}, is available from the +\href{http://icking-music-archive.org/software/indexmt6.html} +{\underline{Icking Music Archive}}.}. If you plan to use Type~K Postscript slurs, +you may skip directly to Chapter~\ref{PostscriptSlurs}. + +Font-based slurs and ties provided by \musixtex\ can be divided into two categories: +\label{simpleslur} +\begin{itemize}\setlength{\itemsep}{0ex} + \item Those where the complete slur symbol is composed of a single + character from one of the slur fonts, and + \item those where the slur symbol is composed of three distinct + characters, to form the beginning, middle and end of the slur. +\end{itemize} +The former are called \ital{simple slurs} and the latter, +\ital{compound slurs}. In many cases the distinction between the two is +invisible to the user, in that many of the macros described below will +automatically select between the two types. However, there are other macros +that allow simple slurs to be forced. + +The next few sections describe the usual method of slur coding, where the +choice between simple or compound slurs is made automatically. +In this case, slurs are initiated and terminated by separate macros, +similar to beams. + + \section{Font-based slur initiation} +A slur must be initiated \ital{before} +the spacing note on which the slur begins, and terminated \ital{before} the +note on which it ends. + +The basic slur initiation macro is +\keyindex{isluru}\enpee, which initiates an upper slur, with reference +number $n$, beginning on a note at pitch $p$. The starting point of the slur is +centered above a virtual quarter note head at pitch~$p$\footnote{The slur will start in the same place regardless of whether there is +{\it actually} a note at pitch $p$.}. +Similarly, \keyindex{islurd}\enpee\ initiates a lower slur. +These slurs are terminated by coding +\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the +termination pitch. + +As with beams, the reference number $n$ by default can take values from $0$ to $5$, or +up to $8$ or $11$ respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included. +You can also specify the maximum number +directly with \keyindex{setmaxslurs}\verb|{|$m$\verb|}| where +$7<m\leq 100$% +\footnote{This may require e-\TeX.}; +the reference number $n$ will be in the range between $0$ and $m-1$. +\label{musixmad_setmaxslurs} + +To illustrate with an elementary example, the following passage + +\begin{music}\nostartrule +\startextract +\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en +\bar +\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en +\NOTes\hu g\en +\zendextract +\end{music} + +\noindent was coded as: +\begin{quote}\begin{verbatim} +\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en +\bar +\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en +\NOTes\hu g\en +\end{verbatim}\end{quote} + +Other macros are provided to change the horizontal starting and ending points of the slur +in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\ +initiates a ``short'' upper slur suitable for linking notes involved in chords. +The +starting point is shifted to the right, and is vertically aligned with the +center of a virtual quarter note head at pitch~$p$. If a lower short slur +is wanted, one should use \keyindex{isslurd}\enpee. + +Sometimes, busy scores call for slurs which are vertically aligned with the +ends of note stems rather than note heads. These ``beam'' slurs---so called +because the slur is written at usual beam height---are provided by the +macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros +initiate slurs raised or lowered by the current stem height to accommodate +stems or beams above or below. + %\check + + \section{Font-based slur termination} +Font-based slurs that are not forced to be simple must be terminated by an explicit +command right before the last note under the slur. There are termination +commands analogous to each of the initiation commands alread presented. They +are summarized in the following table: +\begin{center} + \begin{tabular}{ll} + Initiation & Termination \\ + \hline + \keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\ + \keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\ + \keyindex{ibsluru} & \keyindex{tbsluru}\\ + \keyindex{ibslurd} & \keyindex{tbslurd}\\ + \hline + \end{tabular} \end{center} + +\noindent All of these command have two parameters, $n$ and $p$. + +These specific termination macros are not restricted to being used with their +initiation counterpart. A slur +started in one sense can be terminated in another. For example, a slur beginning +as a ``beam'' slur may be terminated as a normal slur. This would be achieved +using the macro pair \verb|\ibslur...\tslur|. + + \section{Font-based ties} Font-based ties will have the same shapes as +ordinary font-based slurs of the same length between notes of equal pitch, +but there are two important distinctions: +(1) There cannot be any pitch difference between start and end, and (2) the +positions of both the beginning and end of a tie relative to the note heads +are slightly different from those of an ordinary slur\footnote{Editor's note: In +fact, it appears that the default positioning of the ends of ties is exactly +the same as that of short slurs.}. +Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of +reference number $n$ at pitch $p$. +Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of +reference number $n$ at pitch $p$. The starting position of the tie is the same +as \verb|\issluru| and +\verb|\isslurd| respectively. The tie is terminated by coding +\keyindex{ttie}\onen. Note that no pitch parameter is required. + +There are also \ital{short ties}, which bear the same relation to ordinary +ties as short slurs to ordinary slurs. They are intended to be used between chords. +They are initiated with +\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is +not clear why this command uses ``{\tt l}'' when all other similar ones use +``{\tt d}''.}, and terminated with \keyindex{tten}\onen. + +The following example illustrates the differences in positioning of the various +slur and tie options: + +\begin{music}\nostartrule +\startextract +\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% +\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% +\itenl0g\qu g\tten0\qu g\en +\zendextract +\end{music} +\noindent It was coded as +\begin{quote}\begin{verbatim} +\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% +\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% +\itenl0g\qu g\tten0\qu g\en +\end{verbatim}\end{quote} + +\noindent Here are some more general examples of font-based slurs and ties +discussed so far: + +\begin{music}\nostartrule +\startextract +\NOTes\isluru0g\hl g\tslur0h\hl h\en +\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en +\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en +\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en +\zendextract +\end{music} +\noindent This was coded as: +\begin{quote}\begin{verbatim} +\NOTes\isluru0g\hl g\tslur0h\hl h\en +\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en +\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en +\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en +\end{verbatim}\end{quote} + +\section{Dotted slurs} + +Any font-based slur may be made dotted by specifying \keyindex{dotted} +just before it is initiated: + +\begin{music}\nostartrule +\startextract +\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar +\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en +\NOTes\hu g\en +\zendextract +\end{music} + +\noindent This was coded as: +\begin{quote}\begin{verbatim} +\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar +\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en +\NOTes\hu g\en +\end{verbatim}\end{quote} + + \section{Modifying font-based slur properties} +Several macros are provided to modify the shape of slurs already initiated. +These macros must be coded right before the slur \ital{termination}. Invoking +any of the macros described in this section will force the slur to be compound. + +By default, the midpoint of a font-based slur is three \verb|\internote|s +above or below a line between its ends. This can be changed using the macro +\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For +example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to +rise to a maximum height of \verb|6\internote| above the starting position. +For example, + +\begin{music}\nostartrule +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\tslur0g\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\midslur7\tslur0g\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\isluru2g\ql g\en +\notes\midslur{11}\tslur2g\ql g\en +\zendextract +\end{music} +\noindent was coded as +\begin{quote}\begin{verbatim} +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\tslur0g\ql g\en +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\midslur7\tslur0g\ql g\en +\NOtes\multnoteskip8\isluru2g\ql g\en +\notes\midslur{11}\tslur2g\ql g\en +\end{verbatim}\end{quote} + +The macro \keyindex{curve}$hij$ allows more precise control over the shape +of a slur or tie. The first parameter $h$ +is the vertical deviation and it works exactly like the sole parameter of +\verb|\midslur| described above. The second and +third parameters $i$ and $j$ set the initial and final gradient respectively. +They are defined as the horizontal distance required to attain maximum +vertical deviation. Thus smaller numbers for $i$ +and $j$ lead to more extreme gradients. +The default setting is \verb|\curve344|. Hence, coding \verb|\curve322| +doubles the initial and final gradient relative to the default. +As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before +the slur termination. The example below illustrates the use of \verb|\curve|. + +\begin{music}\nostartrule +\startextract +\NOtes\multnoteskip8\itieu0g\ql g\en +\notes\ttie0\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\itieu1g\ql g\en +\notes\curve 322\ttie1\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\itieu2g\ql g\en +\notes\curve 111\ttie2\ql g\en +\zendextract +\end{music} +\noindent This was coded as +\begin{quote}\begin{verbatim} +\NOtes\multnoteskip8\itieu0g\ql g\en +\notes\ttie0\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\itieu1g\ql g\en +\notes\curve 322\ttie1\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\itieu2g\ql g\en +\notes\curve 111\ttie2\ql g\en +\end{verbatim}\end{quote} + +Two macros are provided to control the behaviour of slurs which extend across +line breaks. Normally, the part of the slur before the line break is +treated as a tie. This can be changed using \keyindex{breakslur}\enpee, +which sets the termination height of +the broken slur at the line break to pitch $p$, for slur number $n$. + +After the line break, the slur is normally resumed at the initial pitch +reference, i.e., the one coded in \verb|\islur|. To change this, the macro +\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used. +Here $n$ is again the slur reference +number and $h$ is the change in height relative to the initialization height. +This macro is normally used following line breaks, in which case it is best +coded using the \verb|\atnextline| macro. For example, coding +\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero +by \verb|6\internote| relative to its initialization height. + +The following example illustrates the use of the macros for broken slurs: +\medskip + +\begin{minipage}[t]{85mm} +Default, without adjustments: + +\begin{music} +\hsize=50mm +\generalmeter{\meterfrac24}% +\parindent 0pt\staffbotmarg0pt% +% +%\interstaff{14\internote}% +% +\nostartrule +\startpiece\bigaccid +\Notes\ibsluru1b\qu b\qu g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\mulooseness1\Endpiece +\end{music} +\begin{verbatim} +\Notes\ibsluru1b\qu b\qu g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\end{verbatim} +\end{minipage}% +\begin{minipage}[t]{75mm} +With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\ +\begin{music} +\hsize=50mm +\generalmeter{\meterfrac24}% +\parindent 0pt\staffbotmarg0pt% +% +%\interstaff{14\internote}% +% +\nostartrule +\startpiece\bigaccid +\def\atnextline{\Liftslur17}% +\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\mulooseness1\Endpiece +\end{music} +\begin{verbatim} +\def\atnextline{\Liftslur17}% +\Notes\ibsluru1b\qu b\qu g% +\breakslur1g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\end{verbatim} +\end{minipage}\medskip + +Occasionally in keyboard works one needs to begin a slur in one +staff but end it in another. This can be done using the macro +\keyindex{invertslur}\onen\ which is best described by +reference to the example +shown below. + +% Finding the final pitch is try and error, sorry, no way out. + +\begin{music} +\setstaffs1{2} +\setclef1\bass\interstaff{10.5} +\startextract +\NOtes\multnoteskip5\isluru0a\ql a\en +\notes\invertslur0\curve311\tslur0j|\qu d\en +\NOtes\multnoteskip{10}\isluru0a\ql a\en +\notes\invertslur0\curve333\tslur0j|\qu d\en +\zendextract +\end{music} +\noindent This was coded as +\begin{quote}\begin{verbatim} +\NOtes\multnoteskip5\isluru0a\ql a\en +\notes\invertslur0\curve311\tslur0g|\qu d\en +\NOtes\multnoteskip{10}\isluru0a\ql a\en +\notes\invertslur0\curve333\tslur0g|\qu d\en +\end{verbatim}\end{quote} + +\noindent Slur inversion as just described takes effect where the slope is zero; therefore it +only works with ascending slurs that were started with \verb|\isluru|, and with +descending slurs started with \verb|\islurd|. Otherwise no horizontal place +can be found and the result is erratic. + +A different approach removes this restriction. The idea is to stop the slur at +the desired inversion point and restart it in the other sense at the +same place. The commands to do this are as follows: + \begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$, +not above or below the virtual note head. + \item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position, +not above a virtual note head. + \item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position, +not below a virtual note head. + \end{itemize} + +\noindent The vertical position may have to be adjusted to minimize any discontinuity +in the slope. For example, the following pattern + + \begin{music}\nostartrule +\setclef1\treble +\startextract +\NOTes\multnoteskip 3\isluru0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en +\Notes\tslur0h\qu h\en +\NOTes\multnoteskip 3\islurd0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en +\Notes\tslur0h\qu h\en +\zendextract +\end{music} +\noindent was coded as +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\NOTes\multnoteskip 3\isluru0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en +\Notes\tslur0h\qu h\en +\NOTes\multnoteskip 3\islurd0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en +\Notes\tslur0h\qu h\en +\end{music} +\end{verbatim}\end{quote} + +\section{Simple slurs} + +\ital{Simple} slurs and ties have advantages in some cases: (1) They will +always have the best possible shape, and (2) if \verb|\noteskip| doesn't +change from start to finish, they are easier to code. But they have drawbacks +as well: (1) They are limited in length to 68pt +for slurs and 220pt for +ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they +may not extend across a line break. +Despite all these limitations, simple slurs are extremely useful in many +applications where the slurs are short and contained within a bar. + +Simple slurs must be coded {\em before} the note on which the slur begins. +The primary macro is +\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ +where $p_1$ and $p_2$ are respectively the initial and final pitches, +$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length, +in {\tt noteskip}s. +Thus, thirds slured in pairs can be coded + + %\check + +\begin{quote}\begin{verbatim} +\NOtes\slur ced1\qu{ce}\en +\NOtes\slur dfd1\qu{df}\en +\NOtes\slur egd1\qu{eg}\en +\NOtes\slur{'e}cu1\ql{ec}\en +\NOtes\slur{'d}bu1\ql{db}\en +\NOtes\slur{'c}au1\ql{ca}\en +\end{verbatim}\end{quote} +which yields + +\begin{music}\nostartrule +\startextract +\NOtes\slur ced1\qu{ce}\en +\NOtes\slur dfd1\qu{df}\en +\NOtes\slur egd1\qu{eg}\en +\NOtes\slur{'e}cu1\ql{ec}\en +\NOtes\slur{'d}bu1\ql{db}\en +\NOtes\slur{'c}au1\ql{ca}\en +\zendextract +\end{music} +%% + +There are similar commands to force simple versions of the other +variants of font-based slurs and ties. Simple ties may be set using +\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed). +Simple short slurs and short ties can be forced with the macros +\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and +\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally, +simple beam slurs can be forced with +\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$. + + +\section{Font-based hairpins (crescendos and decrescendos)}\label{sec:crescnd} + +There are two categories of font-based hairpins. The first type requires only +one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or +\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{} +dimension, either a fixed one---for example in points---or a scalable one +expressed either explicitly or implicitly as some number of +\verb|\noteskip|s. These should be used as arguments to +\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to +post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm. + +The second type of font-based hairpin requires two commands, one to start it +and another to end it. The starting macro is \keyindex{icresc}. It has no +arguments. Only one invocation suffices to start any number and combination of +crescendos and diminuendos. The ending macros are \keyindex{tcresc} or +\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc, +which will set the altitude. For example, + +\begin{music} +\parindent0pt +\generalmeter{\meterfrac{12}8} +\setstaffs1{2} +\startextract +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en +\endextract +\end{music} + +\noindent which was coded as +\begin{quote}\begin{verbatim} +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en +\end{verbatim}\end{quote} +\medskip + +\noindent while + +\begin{music} +\parindent0pt +\generalmeter{\meterfrac{12}8} +\setstaffs1{2} +\startextract +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en +\endextract +\end{music} + +\noindent was coded as +\begin{quote}\begin{verbatim} +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en +\end{verbatim}\end{quote} + + \section{Limitations of font-based slurs} + The change in altitude between slur initiation and slur termination is limited to +\verb|16\Internote|. Thus unexpected vertical gaps can appear, as seen in + + \begin{music}\nostartrule +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract + +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract + \end{music} + \noindent whose coding was + \begin{quote}\begin{verbatim} +\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en +\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en + \end{music} + \end{verbatim}\end{quote} + +Furthermore, if the slope becomes too steep, even worse results can occur, such as + +\medskip + \begin{music}\nostartrule +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en + \bar\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en + \NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en + \bar\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en + \zendextract + \end{music} + +Another limitation of font-based slurs crops up when one attempts to +generate bitmapped versions for high-resolution printers: the characters +for long ties can exceed \MF's maximum capacity. diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/smaller.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/smaller.tex new file mode 100644 index 00000000000..b90bcbc741f --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/smaller.tex @@ -0,0 +1,188 @@ +\chapter{Smaller Notes in Normal-Sized Staves} +Here we describe how to reduce the size of note symbols without changing the +size of the staff itself. Changing overall staff size will be treated in +Chapter~\ref{staffspacing}. + +\section{Arbitrary sequences of notes} +Written-out ornaments and \itxem{cadenzas} are usually typeset with +smaller notes and spacing than normal. The smaller \ital{size} can be +initiated anywhere inside a \verb|\notes| group by stating +\keyindex{smallnotesize} or \keyindex{tinynotesize}. Normal note size is then +restored by \keyindex{normalnotesize} or simply by terminating the +\verb|notes| group and starting another. Smaller \ital{spacing} must also be +explicitly indicated, usually by redefining \verb|\noteskip| in some way. + +As an example, this excerpt, from the beginning +of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc +Haydn, J.}}, + +\begin{music} +\instrumentnumber{2} +\generalmeter{\meterfrac44} +\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}} +\setstaffs2{2} +\setclef1\bass +\setclef2\bass +\startbarno0 +\startextract +\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en +% mesure 1 +\bar +\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en +\notes&\qbl0c0|\multnoteskip\tinyvalue\tinynotesize + \Ibbu1ki2\qb1{kj}\tqh1i\hqsk\en +\Notes&\qb0e\tbl0\qb0c|\qu j\en +\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en +% mesure 2 +\bar +\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0% + \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en +\notes&|\sk\ccu h\en +\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g% + \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en +\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en +\endextract +\end{music} +\noindent can be coded as +\begin{quote}\begin{verbatim} +\instrumentnumber{2} +\generalmeter{\meterfrac44} +\setstaffs2{2} +\setclef2{\bass} +\setclef1{\bass} +\startbarno=0 +\startextract +\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en +% mesure 1 +\bar +\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en +\notes&\ibl0c0\qb0c|\multnoteskip\tinyvalue\tinynotesize + \Ibbu1ki2\qb1{kj}\tqh1i\en +\Notes&\qb0e\tbl0\qb0c|\qu j\en +\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en +% mesure 2 +\bar\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0% + \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en +\notes&|\sk\ccu h\en +\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g% + \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en +\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en +\endextract +\end{verbatim}\end{quote} + + \section{Grace notes} +Grace notes are a special case of small and tiny notes, namely single-stemmed +eighth notes with a diagonal slash through the flag. To enable this, there +are the macros \keyindex{grcu}\pitchp\ and \keyindex{grcl}\pitchp, which by +themselves would +produce normal-sized eighth notes with a slash. They should be used along +with the note size reduction macros and spacing reduction macros just +discussed. In addition, chordal grace notes can be built as in the following +example: + +\begin{music}\nostartrule +\startextract +\NOTes\hu h\en +\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en +\NOTes\hu i\en +\bar +\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\en +\NOTEs\wh i\en +\zendextract +\end{music} +\noindent which was coded as +\begin{quote}\begin{verbatim} +\startextract +\NOTes\hu h\en +\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en +\NOTes\hu i\en +\bar +\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\en +\NOTEs\wh i\en +\zendextract +\end{verbatim}\end{quote} + + \section[Ossia]{Ossia\texorpdfstring{\protect\footnote{Italian \textit{o sia} (or else)}}{}} +This clever example had been provided by Olivier Vogel:\label{ossia} + +%\begin{center} +%\includegraphics[scale=1]{./mxdexamples/ossiavogel.eps} +%\end{center} + +\begin{music} +%\startextract +%\hsize70mm +\let\extractline\hbox +\hbox to \hsize{\hss +\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% +\off{-#1\elemskip}}% +\newbox\ornamentbox +\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% +\makeatletter +\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty\global\clef@skip0pt% +\makeatother +%\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% +%\startpiece +%\addspace{2pt}% +\startextract +\addspace{-2pt}% +\let\notest\notes\def\notes{\vnotes2.1\elemskip}% +\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% +\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% +\notes\ibl2{'c}1\usf e\qb2c\en% +\notes\tbl2\qb2{'d}\en +\let\notes\notest% +%\zstoppiece% +\endextract +}\hss} +%\setbox\ornamentbox=\hbox to 0pt{Hello} +% +% +%\normalmusicsize\nopagenumbers +%\def\nbinstruments{1}% +\setstaffs12\setclef1{60}% +\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% +%\parindent 0pt% +%\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax +%\startpiece\addspace\afterruleskip% +\startextract\addspace\afterruleskip% +\NOtes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% +\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% +\NOtes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% +\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% +\cl d\en% +%\endpiece +\endextract +\hss} +%\vfill\eject\endmuflex +\end{music} + + +The code is: +\begin{quote}\begin{verbatim} +\hsize70mm% +\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% +\off{-#1\elemskip}}% +\newbox\ornamentbox +\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% +\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% +\startpiece\addspace{2pt}% +\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% +\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% +\notes\ibl2{'c}1\usf e\qb2c\en% +\notes\tbl2\qb2{'d}\en% +\zstoppiece% +}\hss} +\normalmusicsize\nopagenumbers +\def\nbinstruments{1}% +\setstaffs12\setclef1{60}% +\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% +\parindent 0pt% +\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax +\startpiece\addspace\afterruleskip% +\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% +\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% +\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% +\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% +\cl d\en% +\end{verbatim}\end{quote} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex new file mode 100644 index 00000000000..98c04a9b928 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/spacing.tex @@ -0,0 +1,101 @@ +\chapter{Skipping Spaces and Shifting Symbols}\label{spacing} +We've already mentioned that when coding a sequence of notes inside a +particular pair \verb|\notes...\en|, the command \keyindex{sk} can +be used to skip horizontally by one \keyindex{noteskip}. This would be +used for example to align the third note in one staff with the second note +in another. Skipping in this manner is logically equivalent to inserting +blank space; as such, the space must be recorded by \musixtex. This command +and the others discussed here will +do just that, so that \verb|musixflx| can properly account for +the added space. + +To skip by one \verb|noteskip| while in a collective coding sequence, +you may simply insert an asterisk (``\verb|*|''\index{*}). This would have +the same effect as stopping the sequence, entering {\Bslash sk}, then +restarting. For example, + +\begin{music} +\setstaffs12 +\startextract +\Notes\hu{e*f*g}|\qu{gghhii}\en +\zendextract +\end{music} +\noindent was coded as +\verb|\Notes\hu{e*f*g}|{\tt |}\verb|\qu{gghhii}\en| + +To skip forward +by one half of a \verb|\noteskip|, use \keyindex{hsk}. +To insert spacing of approximately one note head width, you can use +\keyindex{qsk}, or for half or one-quarter of that, \keyindex{hqsk} +or \keyindex{qqsk}, respectively. To skip backward +by one \verb|\noteskip|, use \keyindex{bsk}. More generally, +to skip an arbitrary distance, use \keyindex{off}\verb|{|$D$\verb|}| +where $D$ is any \itxem{scalable dimension}, e.g.,~\verb|\noteskip| or +\verb|\elemskip|. Indeed, if you look in the +\musixtex\ source, you will see that \verb|\off| is the basic control +sequence used to define all the other skip commands. + +The foregoing commands only work \ital{inside} a \verb|\notes...\en| group. +A different set of commands must be used to insert space \ital{outside} +such a group. \keyindex{nspace} produces an +additional spacing of half a note head width; +\keyindex{qspace}, one note head width. These are ``hard'' spacings. To +insert an arbitrary amount of hard space outside a \verb|\notes...\en| +group, use \keyindex{hardspace}\verb|{|$d$\verb|}{|\dots\verb|}| where +$d$ is any fixed dimension\label{hardspace}. The foregoing three commands are the only +space-generating commands that insert hard space; all the others insert +scalable spacing: \keyindex{elemskip}, +\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and +their multiples. Finally, to insert +scalable spacing outside +a \verb|\notes...\en| group, use +\keyindex{addspace}\verb|{|$D$\verb|}|. The argument may be negative, in +which case the normal spacing will be reduced. For example, after +\keyindex{changecontext}, many users prefer to reduce the space with +a command like +\verb|addspace{-|\keyindex{afterruleskip}\verb|}|. + +There is yet another set of commands for simply shifting a note, symbol, or sequence +inside \verb|\notes...\en| +without adding or subtracting any space. To shift by one note head width, +you may write \keyindex{roff}\verb|{|\ital{any macro}\verb|}| +or \keyindex{loff}\verb|{|\dots\verb|}| for a right or left shift respectively. + To shift by half of a note head width, use +\keyindex{hroff}\verb|{|\dots\verb|}| or +\keyindex{hloff}\verb|{|\dots\verb|}|. +For example, to get + %\check + +\begin{music}\nostartrule +\startextract +\Notes\roff{\zwh g}\qu g\qu h\qu i\en +\zendextract +\end{music} +\noindent you would code: + + %\check + +\begin{quote}\begin{verbatim} +\Notes\roff{\zwh g}\qu g\qu h\qu i\en +\end{verbatim}\end{quote} + +\noindent To shift notes or symbols by an arbitrary amount, use +\keyindex{roffset}\verb|{|$N$\verb|}{|\dots\verb|}| or +\keyindex{loffset}\verb|{|$N$\verb|}{|\dots\verb|}|, where +$N$ is the distance to be shifted in note head widths. For example + +\begin{music}\nostartrule +\startextract +\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\en +\zendextract +\end{music} +\noindent was coded as + +\begin{quote}\begin{verbatim} +\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\en +\end{verbatim}\end{quote} + +An important feature of these shift commands is that the offset, +whether implicit or explicit, is \ital{not} added to +the total spacing amount, but any spacing due to the included commands is. + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/staffsize.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/staffsize.tex new file mode 100644 index 00000000000..28270673309 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/staffsize.tex @@ -0,0 +1,101 @@ +\chapter{Staff Size} \index{staff size}\label{staffspacing} +In contrast with the prior section, here we describe how to change the sizes +of everything...staff, notes, and all other symbols. In +Section~\ref{whatspecify} we saw how to set the size for all instruments at +the start of a score. Any one of the same macros---\verb|\normalmusicsize|, +\verb|\smallmusicsize|, \verb|\largemusicsize|, or +\verb|\Largemusicsize|---can be used to change the size of all instruments +midway through a score, but in this case it must come between +\verb|\stoppiece| and \verb|\startpiece|. + +Once the overall staff size is set, you can alter the size of any desired +instrument with the macro \keyindex{setsize}\itbrace{n}\itbrace{s}, where +$n$ is the instrument number and $s$ is a factor by which the size is to be +changed from the prevailing overall size. There are five predefined macros +that should be used for the size factor $s$. Their names and respective values +are \keyindex{normalvalue}~($1.0$), \keyindex{smallvalue}~($0.80$), +\keyindex{tinyvalue}~($0.64$), \keyindex{largevalue}~($1.2$), and +\keyindex{Largevalue}~($1.44$). \musixtex\ should not crash if you use an +explicit number different from any of these, but the result may be +less than satisfactory. + +Once again, if used at the beginning of a piece, the \verb|\setsize| macro +must precede \verb|\startpiece| (not \verb|\contpiece|), and if used after +the beginning, must be preceded by \verb|\stoppiece|. + +As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc +Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of +J. S. Bach's \ital{Well Tempered Clavier}, as transcribed for +organ, violin and voice by Markus {\sc Veittes}:\label{avemaria} + +\begin{music} +\def\oct{\advance\transpose by 7} +\def\liftqs#1{\raise#1\Interligne\qs} +\parindent0pt +\sepbarrules +\instrumentnumber{3} +\generalmeter{\meterC} +\setinterinstrument2{3\Interligne} +\setsize3\tinyvalue +\setsize2\tinyvalue +\setclef1\bass +\setstaffs1{2} +\startpiece\addspace\afterruleskip +%Takt 9 +\notes\zhl c\liftqs6\qupp e|\ds&\oct + \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\en +\notes|\ibbl0j3\qb0h\tqb0l\en +\notes|\ibbl1k0\qb1{ohl}\tqb1o\en +\notes\zhl c\liftqs6\qupp e|\ds&\oct + \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\en +\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\en +\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\en +\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\en +\bar +%Takt 10 +\notes\zhl c\liftqs6\qupp d|\ds&\oct + \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\en +\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\en +\notes|\ibbu2i0\qb2k\qb2f\en +\notes|\qb2h\tqh2k&\oct\cl e&\tubslur4f\cu e\en +\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\en +\notes|\ibbu1g3\qb1f\tqh1h\en +\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\en +\endpiece +\end{music} + This example was coded as: +\begin{quote}\begin{verbatim} +\def\oct{\advance\transpose by 7} +\def\liftqs#1{\raise#1\Interligne\qs} +\parindent0pt +\sepbarrules +\instrumentnumber{3} +\generalmeter{\meterC} +\setinterinstrument2{3\Interligne} +\setsize3\tinyvalue +\setsize2\tinyvalue +\setclef1\bass +\setstaffs1{2} +\startpiece\addspace\afterruleskip +%Takt 9 +\notes\zhl c\liftqs6\qupp e|\ds&\oct + \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\en +\notes|\ibbl0j3\qb0h\tqb0l\en +\notes|\ibbl1k0\qb1{ohl}\tqb1o\en +\notes\zhl c\liftqs6\qupp e|\ds&\oct + \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\en +\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\en +\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\en +\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\en +\bar +%Takt 10 +\notes\zhl c\liftqs6\qupp d|\ds&\oct + \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\en +\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\en +\notes|\ibbu2i0\qb2k\qb2f\en +\notes|\qb2h\tqh2k&\oct\cl e&\curve222\tubslur4f\cu e\en +\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\en +\notes|\ibbu1g3\qb1f\tqh1h\en +\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\en +\endpiece +\end{verbatim}\end{quote} diff --git a/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/summary.tex index f600a9d0523..72f754f0e86 100644 --- a/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.tex +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/summary.tex @@ -1,34 +1,26 @@ -%format musix - -% version compatible with T103 12 Aug. 2001 D. Taupin - -%II 59.9 - -\input musixtex -%\input musixcpt -\input musixhou -\input musixper -\input musixlit -\input musixgre -\input musixext - -\parindent 0mm -\nopagenumbers\nobarnumbers - -\ifx\MusiXTeX\indefined\def\MusiXTeX{MusiX\TeX}\fi -%\centerline{\cmbxbig\MusiXTeX---Reference}\medskip -\centerline{\Bigfont\MusiXTeX---Reference}\medskip -\centerline{\bigfont Pitches}\medskip -\tt -\def\bs{\char92} -\setclef1{6000} +\newgeometry{margin=0.5in} +\makeatletter +\let\chapterheadorig\@makeschapterhead +\def\@makeschapterhead#1{} +\chapter*{} +\addcontentsline{toc}{chapter}{Summary of Denotations} +\def\@makeschapterhead#1{\chapterheadorig} +\makeatother +\parskip0pt plus 2pt +\parindent0pt +\thispagestyle{empty} +\centerline{\frtbf Pitches} +\smallskip +\setclef1\bass \afterruleskip2pt -\startmuflex\startpiece +\newcommand{\bs}{\ttfamily\footnotesize\char92} +\begin{footnotesize}\ttfamily +\nostartrule\startpiece% % % Pitches % \addspace\afterruleskip -\notes\wh{`ABCDEFG!ABCDEFGHIJKLMNabcde}\off{-26\noteskip}% +\notes\wh{`ABCDEFG}\wh{!ABCDEFG}\wh{HIJKLMNabcde}\off{-26\noteskip}% \zchar{14}{\llap`A}\sk \zchar{14}{\llap`B}\sk \zchar{14}{\llap`C}\sk @@ -55,8 +47,8 @@ \zchar{14}c\sk \zchar{14}d\sk \zchar{14}e\sk\en -\stoppiece\vskip-3\Interligne\setclef1{0000}\contpiece -\notes\wh{abcdefghijklmnopqrstuvwxyz}\off{-26\noteskip}% +\stoppiece\vskip-7\Interligne\setclef1\treble\contpiece +\notes\wh{abcdefg}\wh{hijklmno}\wh{pqrstuvwxyz}\off{-26\noteskip}% \zchar{-8}a\sk \zchar{-8}b\sk \zchar{-8}c\sk @@ -84,18 +76,19 @@ \zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk \zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en \stoppiece -\medskip\centerline{\bigfont Notes, Accidentals, Accents, Clefs and Rests} -\medskip +\smallskip +\centerline{\frtbf Notes and Accidentals} % % Notes& Accidentals % \contpiece \Notes - \zchar{-4}{Accidentals:}% - \zchar9{\bs zmaxima}\zmaxima i\sk - \zchar{12}{\bs zlonga}\zlonga i\sk - \zchar9{\bs zbreve}\zbreve i\sk - \zchar{12}{\bs zwq}\zwq i\sk + \zchar{-4}{\eightrm Accidentals:}% + \zchar9{\bs maxima}\maxima i\relax + \zchar{12}{\bs longa}\longa i% + \zchar9{\bs breve}\breve i% + \zchar{12}{\bs wq}\wq i% + \zchar{12}{\bs wqq}\wqq i% \zchar{12}{\bs wh}\wh i% \zchar{12}{\bs hu}\zchar{-4}>\hu{>f}% \zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l% @@ -113,16 +106,14 @@ \multnoteskip{.8}% \zchar{12}{\bs grcu}\grcu f% \zchar{12}{\bs grcl}\grcl l\en -\stoppiece\medskip +\stoppiece % -% various noteheads +% various note heads % \contpiece \Notes \multnoteskip{1.1}% - \zchar{10}{\bs dqu$^{123}$}% - \zchar{-3}{\eightrm 1 musixdia.tex~~2 musixper.tex~~3 musixgre.tex% - ~~4 musixlit.tex~~5 musixext.tex}\dqu g% + \zchar{10}{\bs dqu$^{123}$}\dqu g% \zchar{10}{\bs yqu$^{123}$}\yqu g% \multnoteskip{.9}% \zchar{10}{\bs dcqu$^2$}\dcqu g% @@ -143,10 +134,13 @@ % % Pointed Notes and Accents % -\stoppiece\medskip\contpiece +\stoppiece +\vspace*{-2ex} +\centerline{\frtbf Pointed Notes and Accents} +\contpiece \Notes - \zchar{-5}{\eightrm Accent on beam with prefix {\it b} and beamrefnumber - instead pitch}% + \zchar{-5}{\eightrm Accent on beam with prefix {\tt b} and beam reference +number instead of the pitch}% \zchar{13}{\bs lpz}\lpz f\qu f% \zchar{13}{\bs upz}\upz l\ql l% \zchar{13}{\bs lsf}\lsf f\qu f% @@ -164,11 +158,14 @@ \zchar{16}{\bs flageolett}\flageolett l\ql l% \zchar{13}{\bs whp}\whp i% \zchar{13}{\bs qupp}\qupp h\en -\stoppiece\medskip +\stoppiece +\centerline{\frtbf Clefs} % % clefs % -\let\clefdesoli\empty \nostartrule \contpiece +\setclefsymbol1\empty +%\setlines 11\relax +\nostartrule\contpiece \NOtes \zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk \zchar9{\bs altoclef}\zchar0\altoclef\sk @@ -180,21 +177,29 @@ \zchar9{\bs gregorianCclef$^3$}\zchar0\gregorianCclef\sk \zchar{13}{\bs gregorianFclef$^3$}\zchar0\gregorianFclef\sk \zchar9{\bs oldGclef$^4$}\zchar0\oldGclef\sk\en -\zstoppiece\smallskip +\zstoppiece % % Rests % -\let\clefdesoli\trebleclef \startrule\contpiece -\NOtes -\multnoteskip{.5}% - \zchar{13}{\bs qqs}\qqs +\centerline{\frtbf Rests} +\setlines 15\relax +\nostartrule +\resetclefsymbols\contpiece +\Notes +\multnoteskip{0.8}% + \zchar{13}{\bs qqs}\qqs\qsk \zchar{13}{\bs hs}\hs \zchar{13}{\bs qs}\qs \zchar{13}{\bs ds}\ds \zchar{13}{\bs qp}\qp -\multnoteskip2% - \zchar{13}{\bs hpause}\hpause - \zchar{13}{\bs hpausep}\hpausep + \zchar{13}{\bs hp}\hp + \zchar{13}{\bs qqsp}\qqsp\qsk + \zchar{13}{\bs hsp}\hsp + \zchar{13}{\bs qsp}\qsp + \zchar{13}{\bs dsp}\dsp + \zchar{13}{\bs qpp}\qpp + \zchar{13}{\bs hpp}\hpp +\multnoteskip{1.5}% \zchar{9}{\bs lifthpause}\roff{\lifthpause5}\sk \zchar{13}{\bs pause}\pause \zchar{13}{\bs pausep}\pausep @@ -202,30 +207,35 @@ \zchar{13}{\bs PAuse}\PAuse \zchar{13}{\bs PAUSe}\PAUSe \zchar{13}{\bs Hpause$^4$}\Hpause i{.8}\sk\en -\stoppiece\centerline{\bigfont Other Symbols}\medskip +\stoppiece\vskip-2\Interligne % -% Other Symbols +\smallskip +\centerline{\frtbf Miscellaneous Symbols} % +% more Symbols +% +\nostartrule \contpiece \NOtes \zchar{14}{\bs Trille}\zchar{-4}{\bs allabreve}\Trille n1% - \zchar0\allabreve\sk - \zchar{14}{\bs trille}\zchar{-4}{\bs meterC}\trille n1\zchar0\meterC\sk + \zchar0\allabreve\sk + \zchar{14}{\bs trille}\zchar{-8}{\bs meterC}\trille n1\zchar0\meterC\sk \zchar{14}{\bs shake}\zchar{-4}{\bs reverseC}\shake n\zchar0\reverseC\sk - \zchar{14}{\bs Shake}\zchar{-4}{\bs meterplus}\Shake n% - \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\off{.66\noteskip}% + \zchar{14}{\bs Shake}\zchar{-8}{\bs reverseallabreve}\Shake n% + \zchar0\reverseallabreve\sk \zchar{14}{\bs mordent}\mordent n\sk - \zchar{14}{\bs Mordent}\zchar{-4}{\bs duevolte}\Mordent n\duevolte\sk + \zchar{14}{\bs Mordent}\Mordent n\zchar{-4}{\bs meterplus}% + \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\sk \multnoteskip{.66}% \zchar{14}{\bs turn}\turn n\sk -\multnoteskip{1.25}% - \zchar{14}{\bs backturn}\zchar{-4}{\bs l[r]par}\backturn n% - \lpar f\rpar f{\stemlength4\qu f}% +\multnoteskip{1.5}% + \zchar{18}{\bs backturn}\backturn n\zchar{-4}{\bs duevolte}\duevolte\sk \zchar{14}{\bs Shakel}\Shakel n\sk - \zchar{14}{\bs Shakesw}\Shakesw n\sk + \zchar{18}{\bs Shakesw}\Shakesw n\zchar{-4}{\bs l[r]par}% + \lpar f\rpar f{\stemlength4\qu f}% \zchar{14}{\bs Shakene}\Shakene n\sk - \zchar{14}{\bs Shakenw}\Shakenw n\sk\en -\stoppiece\medskip + \zchar{18}{\bs Shakenw}\Shakenw n\sk\en +\stoppiece % % again % @@ -234,26 +244,28 @@ \setvoltabox1\bar \NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en \setvolta2\setendvolta\rightrepeat -\NOtes\loff{\zchar{17}{\bs setvolta}}\loff{\zchar{20}{\bs setendvolta}}\en +\NOtes\loff{\zchar{17}{\bs setvolta}}\en \doublebar \notes\zchar{17}{\kern-\afterruleskip\bs coda}\coda n\en\bar \notes\zchar{17}{\kern-\afterruleskip\bs Coda}\Coda n\en \NOtes \zchar{17}{\bs segno}\segno n\sk - \zchar{17}{\kern-3\Interligne\bs Segno}\Segno\hsk - \zchar{17}{\bs caesura}\sk\caesura - \zchar{17}{\bs cbreath}\cbreath\sk + \zchar{17}{\kern-2\afterruleskip\bs Segno}\Segno\hsk + \zchar{-4}{\bs caesura}\sk\caesura + \zchar{-4}{\bs cbreath}\cbreath\sk \multnoteskip{.66}% - \zchar{17}{\bs PED}\PED\sk - \zchar{17}{\bs sPED}\sPED\sk - \zchar{17}{\bs DEP}\DEP\sk - \zchar{17}{\bs sDEP}\sDEP\sk\en -\stoppiece\medskip + \zchar{9}{\bs PED}\PED\sk + \zchar{9}{\bs sPED}\sPED\sk + \zchar{9}{\bs DEP}\DEP\sk + \zchar{9}{\bs sDEP}\sDEP\sk\en +\stoppiece % % and again ... % \contpiece \Notes + \zchar{-14}{\eightrm $^1$musixdia.tex\quad$^2$musixper.tex\quad$^3$musixgre.tex% + \quad$^4$musixlit.tex\quad$^5$musixext.tex}% \zchar{17}{\bs fermataup}\fermataup l% \zchar{-8}{\bs fermatadown}\fermatadown f{\stemlength3\ql i}% \zchar{13}{\bs Fermataup}\Fermataup l% @@ -283,4 +295,8 @@ \rightrepeat \NOtes \loffset2{\zchar{-4}{\bs rightrepeat}}\en -\endpiece\endmuflex\vfill\eject\end +\endpiece\advance\textheight-40mm\eject% +\endmuflex +\end{footnotesize} +\restoregeometry + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/texput.log b/Master/texmf-dist/doc/generic/musixtex/musixdoc/texput.log new file mode 100644 index 00000000000..e219b01db63 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/texput.log @@ -0,0 +1,25 @@ +This is XeTeX, Version 3.14159265-2.6-0.99991 (TeX Live 2014) (preloaded format=xelatex 2014.10.14) 25 FEB 2015 09:14 +entering extended mode + restricted \write18 enabled. + %&-line parsing enabled. +**\end + +*\end +! TeX capacity exceeded, sorry [input stack size=5000]. +\end #1->\csname end#1 + \endcsname \@checkend {#1}\expandafter \endgroup \if@e... +<*> \end + +If you really absolutely need more capacity, +you can ask a wizard to enlarge me. + + +Here is how much of TeX's memory you used: + 1 string out of 493724 + 10 string characters out of 6145898 + 54450 words of memory out of 5000000 + 3432 multiletter control sequences out of 15000+600000 + 3640 words of font info for 14 fonts, out of 8000000 for 9000 + 1328 hyphenation exceptions out of 8191 + 5000i,0n,5000p,10b,8s stack positions out of 5000i,500n,10000p,200000b,80000s +No pages of output. diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/transposition.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/transposition.tex new file mode 100644 index 00000000000..0303abac690 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/transposition.tex @@ -0,0 +1,221 @@ + \chapter{Transposition and Octaviation}\label{octaviation} +Two different subjects are discussed in this section. First, there +are commands that cause notes to be printed at different pitches than +entered. We shall refer to this as \ital{logical} transposition. +Second, there are notations for octaviation that do +not otherwise alter the appearance of the score, which we'll call +\ital{octaviation lines}. + +\section{Logical transposition and octaviation} + +Logical transposition is controlled by an integer-valued \TeX\ register +\keyindex{transpose}. Its default value is 0. If you enter +\verb|\transpose=|$n$, then all subsequent pitches specified by +letters will be transposed by $n$ positions. Normally this method would be +used to transpose an entire piece. Pitches specified with +numbers will not be affected, so if you think you will ever want to +transpose a piece, you should enter all note pitches with letters. + +One way to transpose up or down by one octave would be to set +\keyindex{transpose} to $7$ or $-7$. For example, to make a quarter note +octave as a chord, you could define a macro as +\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}|. +Note that because \verb|\transpose| is altered inside a pair of braces, the +effect of the alteration is only local and does not reach outside the braces. + + Another more convenient way to transpose locally up or down by one octave +makes use respectively of the characters +\verb|'| (close-quote, interpreted as an \itxem{acute accent}) and \verb|`| (open-quote, interpreted as +a \itxem{grave accent}), +placed immediately before the letter specifying the pitch. So +for example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and +\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. These characters have +cumulative effects but in a somewhat restricted sense. They will alter the value of +\verb|\transpose|, but only until changing to a different staff or +instrument or encountering \verb|\en|, at which time it will be reset to the +value it had before the accents were used. (That value is stored in +another register called \keyindex{normaltranspose}). Thus for example +\verb|\qu{''A'A}| and \verb|\qu{''A}\qu{'A}| +are both equivalent to \verb|\qu{ah}|. + +At any point it is possible to reset the \verb|\transpose| register +explicitly to the value it had +when entering \verb|\notes|, by prefacing a pitch indication with +``\verb|!|''. Thus \verb|\qu{!a'a}| always +gives the note \verb|a| and its upper octave \verb|h|, shifted by the +value of {\Bslash transpose} at the beginning of the current +\verb|\notes...\en| group, regardless of the number of grave and +acute accents occurring previously within that group. + + \section{Behavior of accidentals under logical transposition}\label{transposeaccids} + The above processes indeed change the vertical position of the note heads +and associated symbols (e.g., stems and beams), but they don't take +care of the necessary changes of accidentals when transposing. For example, +suppose an F$\sharp$ occurs in the key of C major. If the piece is +transposed up three steps to the key of F, the F$\sharp$ should logically +become a +B$\natural$. But if all you do is set \verb|\transpose=3|, the note will +be typeset as a B$\sharp$. In other words, \musixtex\ will interpret the~\verb|\sh| +or~\verb|^| to mean ``print a $\sharp$''. + +Naturally there is a solution, but it requires the typesetter to plan +ahead: To force accidentals to behave well under transposition, they +must be entered according to the \ital{relative +accidental convention}. To alert \musixtex\ that you are using this +convention to enter notes, you must issue the command +\keyindex{relativeaccid}. Once you have done this, the meaning of +accidental macros and characters (accents) in the input file is changed. +Under the convention, when for example a +\verb|\sh| is entered, it indicates a note that is supposed to sound +\ital{one half step higher than what it would normally be under the +current key signature}. Flats and naturals on entry similarly indicate +notes one half step lower or at the same pitch as what the key signature +dictates. \musixtex\ will take account of the key signature, and print +the correct symbol according to the modern notational convention, +provided you have explicitly entered the transposed key signature using +for example \verb|\generalsignature|. + +Many people have a difficult time understanding how this works, so +here are two simple examples in great detail. Consider the case already mentioned +of the F$\sharp$ in the key of C major. With +\verb|\relativeaccid| in effect, it should still be entered as \verb|\sh f|, and +with no transposition it will still appear as F$\sharp$. With +\verb|\transpose=3| and \verb|\generalsignature{-1}| it will appear +(correctly) as B$\natural$. Conversely, suppose you want to enter a +B$\natural$ when originally in the key of F. With \verb|\relativeaccid| in effect, it +should be entered as \verb|\sh i|. (That's the part that people +have the most trouble with: ``If I want a natural, why do I have to enter a sharp?'' Answer: +``Go back and re-read the previous paragraph very carefully.'') With no transposition, it will be +printed as B$\natural$. Now to transpose this to C major, set +\verb|\transpose=-3| and \verb|\generalsignature0|, and it will appear +as F$\sharp$. + +If you have invoked \verb|\relativeaccid| and then +later for some reason wish to revert to the ordinary convention, +enter \keyindex{absoluteaccid}. + +\section{Octaviation lines} +The first kind of notation for octave transposition covers a +horizontal range that must be specified at the outset. The sequence + +\medskip +\begin{music}\nostartrule +\startextract +\NOTEs\octfinup{10}{3.5}\ql{!'a}\ql b\ql c\ql d\en +\zendextract +\end{music} +\noindent can be coded as +\verb|\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en|. +\zkeyindex{octfinup} +Here, the dashed line is at staff level 10 and extends \verb|3.5\noteskip|. +Conversely, lower octaviation can be coded. For example + +\begin{music}\nostartrule +\startextract +\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en +\zendextract +\end{music} +\noindent is coded as +\verb|\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en|. +\zkeyindex{octfindown} + To change the text that is part of these notations, redefine one of +the macros \keyindex{octnumberup} or \keyindex{octnumberdown}. The reason for +the distinction between up and down is that, traditionally, upper octaviation +only uses the figure +``8'' to denote its beginning, while lower octaviation uses a more +elaborate indication such as \hbox{\ppffsixteen8$^{va}$\kern 0.2em\eightit bassa}. Thus + +\bigskip +\begin{music}\nostartrule +\startextract +\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en +\zendextract +\end{music} +\noindent is coded + +\noindent\verb|\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en| + +\noindent while + +\begin{music} +\startextract +\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}\octfindown{-5}{2.5}\ql l\ql +k\ql j\en +\endextract +\end{music} +\noindent is coded as +\begin{quote}\begin{verbatim} +\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}% + \octfindown{-5}{2.5}\ql l\ql k\ql j\en +\end{verbatim}\end{quote} + +The foregoing constructions have the drawbacks that (a) the span must be +indicated ahead of time and (b) they cannot extend across a line break. +Both restrictions are removed with the use of the alternate macros \keyindex{Ioctfinup}, +\keyindex{Ioctfindown} and +\keyindex{Toctfin}. + +{\Bslash Ioctfinup}~$np$ indicates an upward octave transposition line with reference number +$n$ and with dashed line at pitch $p$. +By default $n$ must be in the range $[0,5]$, but +you can specify a larger maximum number +directly with \keyindex{setmaxoctlines}\verb|{|$m$\verb|}| +where $7<m\leq 100$\footnote{This may require e-\TeX.}; the +reference number will be in the range between $0$ and $m-1$. +\label{musixmad_setmaxoctlines} + +Usually $p$ will be numeric and $>9$, +but it can also be a letter. +{\Bslash Ioctfindown}~$np$ starts a lower octave transposition line at pitch $p$ +(usually $p<-1$). Both extend until terminated with {\Bslash Toctfin}. The +difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is +the relative position of the figure ``8'' with respect to the dashed line, and +the sense of the terminating hook As shorthand, \keyindex{ioctfinup} is equivalent to +\verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to +\verb|\Ioctfindown 0|. + +For example, + +\medskip + \begin{music}\nostartrule +\instrumentnumber{1} +\setstaffs12 +\setclef1{6000} +% +\startextract +\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\en +\bar +\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\en +\bar +\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\en +\bar +\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\en +\zendextract +\end{music} +\noindent is coded as +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\instrumentnumber{1} +\setstaffs12 +\setclef1{6000} +% +\startextract +\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\en +\bar +\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\en +\bar +\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\en +\bar +\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\en +\zendextract +\end{music} +\end{verbatim}\end{quote} + %\check + + The elevation of octaviation lines may be changed in midstream using +\keyindex{Liftoctline}~$n$$p$, where $n$ is the reference number of the + octave line, and $p$ a (possibly negative) number of +\keyindex{internote}s (staff pitch positions) by which elevation of the dashed line should be changed. +This may be useful when octaviation lines extend over several systems and the +elevation needs to be changed in systems after the one where it was initiated. + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex new file mode 100644 index 00000000000..7c52700cb7c --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex @@ -0,0 +1,283 @@ + \chapter{Writing Notes}\label{autostemdirections} +There are two major kinds of note macros, those that include a space (of +length \keyindex{noteskip}) after +the printed symbol, and those that don't cause any space. A single-line melody would be +written using the first type. All notes of a chord except the last would +use the second. + +Another distinction concerns stemmed notes. Some macros explicitly set the +stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of +the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies +\ital{automatic} stem direction selection. In this case notes below the middle +staff line will get up stems, otherwise down. + +Note pitches can be specified either by letters or numbers. If no transposition +or octaviation is in effect, letters ranging +from \verb|a| to \verb|z| represent notes starting with the A below +middle C. Upper case letters from \verb|A| to \verb|N| represent pitches +two octaves lower than their lower case counterparts. Any letter can be used in +any clef, but some users may +prefer to use the lower case letters in treble clef, and the upper case ones +in bass clef. + +Alternatively, a one- or two-digit, positive or negative integer can always be used. +The number represents +the vertical position on the staff, with \verb|0| for the lowest line and +\verb|1| for the space right above, \ital{regardless of the clef}. +Unlike with letters, the +associated pitch will depend on the clef, and notes entered this way are +immune to transposition and octaviation. + +Notes lower than \verb|A| and higher than \verb|z| can be entered, with +either numbers as just described, or with octaviation as will be explained in +Chapter~\ref{octaviation}. + + \section{Normal (unbeamed) spacing notes}\label{NormalNotes} +In the following, \verb|{|$p$\verb|}| signifies a pitch specification as +described above. However it +is understood that if the pitch is a single character, the brackets are +not necessary, provided that if it is a letter, a space separates the +macro from the letter. + + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) . + \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) . + \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} . + \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) . + \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss}) +(also used as alternate representation of a \ital{breve}). + \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note +(\hbox to8pt{\zwqq1\hss}) (also used as alternate +representation of a \ital{longa}). + \item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note. + \item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up. + \item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down. + \item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction + \item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up. + \item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down. + \item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction. + \item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}'' +within this macro name stands for the equivalent British term ``crotchet''} with stem up. + \item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down. + \item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction. + \item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up. + \item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down. + \item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction. + \item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem up. + \item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]$32$nd note with stem down. + \item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]$32$nd note with automatic stem direction. + \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]$64$th note with stem up. + \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]$64$th note with stem down. + \item[\keyindex{cccca}{\tt\char123}$p${\tt\char125} :]$64$th note with automatic stem direction. + \item[\keyindex{cccccu}{\tt\char123}$p${\tt\char125} :]$128$th note with stem up. + \item[\keyindex{cccccl}{\tt\char123}$p${\tt\char125} :]$128$th note with stem down. + \item[\keyindex{ccccca}{\tt\char123}$p${\tt\char125} :]$128$th note with automatic stem direction. +\end{description}\end{quote} + As an example, the sequence + + %\check +\begin{music}\nostartrule +\startextract +\Notes\cu c\cl j\en\bar +\Notes\ccu c\ccl j\en\bar +\Notes\cccu c\cccl j\en\bar +\Notes\ccccu c\ccccl j\en\bar +\Notes\cccccu c\cccccl j\en +\zendextract +\end{music} + \noindent was coded as +\begin{quote}\begin{verbatim} +\Notes\cu c\cl j\en\bar +\Notes\ccu c\ccl j\en\bar +\Notes\cccu c\cccl j\en\bar +\Notes\ccccu c\ccccl j\en\bar +\Notes\cccccu c\cccccl j\en +\end{verbatim}\end{quote} + + + +For \keyindex{breve} there is a possibility of +confusion with a command in \TeX's math mode that has exactly the same name. +However, there will generally be no problem, because inside +\verb|\startpiece...\endpiece|, +\verb|\breve| will take the musical meaning, while outside, it will have the +mathematical one. +If for some reason you need the math \verb|\breve| inside, you can use +\verb|\endcatcodesmusic...\breve...\catcodesmusic|. + + \section{Non-spacing note heads} +These macros are used to create chords. Any number of them can be entered +in sequence, followed by a spacing note. All of the note heads will be +joined to the spacing note and the stem length will automatically be adjusted +as needed. + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head. + \item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head. +\end{description}\end{quote} +%das ??? +% \begin{remark} Notes of duration longer than whole notes are +%always non-spacing. This saves one useless definition, since these notes are +%always longer than other simultaneous ones. If needed they can be followed by +%\keyindex{sk} to force spacing. +%\end{remark} + + \section{Shifted non-spacing note heads} +These symbols are used mainly +in chords containing an interval of a \ital{second}. They provide note +heads shifted either to the left or right of the default position by +the width of one note head. + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} +\item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right. +\item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left. +\item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not +have realized that half and whole note heads have different shapes}. +\item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left. +\item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right. +\item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left. +\end{description}\end{quote} + + \section{Non-spacing notes} +These macros provide normal notes, with stems if applicable, but without any +following space. +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like +\verb|\hu| for chord building, i.e., it will join together any immediately +preceding non-spacing note heads. + \item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like +\keyindex{hl} for chord building. + \item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like +\verb|\qu| for chord building. + \item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts +like \verb|\ql| for chord building. + \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu}, + \keyindex{zccccu}, \keyindex{zcccccu} +:]eighth, ..., note with stem up but no spacing. They act like +\verb|\cu| for chord building. + \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl}, + \keyindex{zccccl}, \keyindex{zcccccl} +:]eighth, ..., note with stem down but no spacing. They act +like \verb|\cl| for chord building. + \item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql}, + \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|, + but the note is shifted one note width to the right; others analogous. + \item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql}, + \keyindex{lcu}, \keyindex{lcl} :]same + as above, but the note is shifted one note width to the left. + \item[\keyindex{zw}\pitchp~:]whole note with no following space. + \item[\keyindex{zwq}\pitchp~:]arbitrary duration note + (\hbox to8pt{\zwq1\hss}) with no following space. + \item[\keyindex{zbreve}\pitchp~:]breve + (\hbox to8pt{\zbreve1\hss}) with no following space. + \item[\keyindex{zlonga}\pitchp~:]longa + (\hbox to8pt{\zlonga1\hss}) with no following space. + \item[\keyindex{zmaxima}\pitchp~:]maxima + (\hbox to16pt{\zmaxima1\hss}) with no following space. +\end{description}\end{quote} + %\check + +\section{Spacing note heads} + +Although not needed in normal music scores, these may be useful in +very special cases. + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} +\item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head. +\item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head. +\end{description}\end{quote} + +\noindent As an example, the sequence + +\begin{music}\nostartrule + \startextract +\notes\nq c\nq j\en\barre +\Notes\nh c\nh j\en\barre +\notes\nq {cdef}\en +\zendextract +\end{music} + +\noindent was coded as + +\begin{quote}\begin{verbatim} +\notes\nq c\nq j\en\barre +\Notes\nh c\nh j\en\barre +\notes\nq {cdef}\en +\end{verbatim}\end{quote} + +Non spacing variants are also provided, namely +\keyindex{znh} and \keyindex{znq}. +% DAS: why??? + + \section{Dotted notes}\label{dots} + +By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the +macros just introduced provide one or two dots after the notehead: +\keyindex{whp}\pitchp, \keyindex{whpp}, +\keyindex{zwp}, \keyindex{zwpp}, +\keyindex{hup}, \keyindex{hupp}, +\keyindex{hlp}, \keyindex{hlpp}, +\keyindex{zhp}, \keyindex{zhpp}, +\keyindex{qup}, \keyindex{qupp}, +\keyindex{qlp}, \keyindex{qlpp}, +\keyindex{zqp}, \keyindex{zqpp}, +\keyindex{cup}, \keyindex{cupp}, +\keyindex{clp}, \keyindex{clpp}, +\keyindex{qbp} and \keyindex{qbpp}. +Naturally, the ones that start with ``\verb|z|'' are used in chords. +The dot(s) will be raised if the note is on a line. + +A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125}, +\keyindex{ppt}, or \keyindex{pppt} right +before any note macro to place one to three dots after the normal note +head at pitch $p$. Again they will be raised if on a line. In fact this is the only +way to get a triple-dotted note. +For example a +quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots +as \keyindex{ppt}\verb| h\qu h| and with three as +\keyindex{pppt}\verb| h\qu h|. + +Yet another method for posting a dot is to insert a \ital{period} before +the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to +either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when +using \ital{collective coding}, which will be discussed in the next +section. + +Non-spacing dotted notes can be produced using +\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp}, +\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, +and similarly with two \verb|p|'s for +double-dotted notes. + +As a matter of style, if two voices share one staff, the dots in +the lower voice should be lowered if the note is on a line. For +this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and +\keyindex{lppt}{\tt\char123}$p${\tt\char125}. + +\section{Sequences of equally spaced notes; collective coding} +\label{CollectiveCoding} + +It isn't necessary to write a separate macro +sequence \verb|\notes...\en| for every individual column of notes. +Rather, a single such macro can contain all the notes in all staves +over an extended horizontal range, as long as all spacings are equal or +multiples of a unique value of \keyindex{noteskip}. +The notes in each staff could be entered one after another as normal +spacing notes as already described in Section~\ref{NormalNotes}. Then +each spacing note will cause the insertion point to advance horizontally by the +operative value of \verb|\noteskip| defined by the choice of +\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences +non-spacing chord notes can be entered right before their associated +spacing note. If you need to skip forward by one \verb|\noteskip|, for +example after a quarter note when there are two eighth notes in +another staff, you can use \keyindex{sk}. + +If there are only spacing notes in such a sequence, a further +simplification is available, called \ital{collective coding}. For instance +\verb|\qu{cdefghij}| writes the C major scale in quarters with +up stems. Similarly \verb|\cl{abcdef^gh}| writes the +\ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents +a sharp). If necessary a void can be inserted in a collective coding sequence +by using~\verb|*|\index{*}. Not all note-generating macros can be +used to perform collective coding, but most of them can. diff --git a/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf b/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf Binary files differindex 666a5a2aa47..ecbd089a5c5 100644 --- a/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf +++ b/Master/texmf-dist/doc/generic/musixtex/musixtex-install.pdf diff --git a/Master/texmf-dist/doc/generic/musixtex/musixtex-install.tex b/Master/texmf-dist/doc/generic/musixtex/musixtex-install.tex index d962dbdfe3d..458d118f6d8 100644 --- a/Master/texmf-dist/doc/generic/musixtex/musixtex-install.tex +++ b/Master/texmf-dist/doc/generic/musixtex/musixtex-install.tex @@ -8,7 +8,7 @@ \newcommand{\myurl}[1]{\textcolor{blue}{\underline{\textcolor{black}{\url{#1}}}}} \newcommand{\musixflxVersion}{0.83.3} \begin{document} -\title{Installation of the CTAN MusiXTeX Distribution} +\title{Installation of MusiXTeX} \author{Bob Tennent\\ \small\url{rdt@cs.queensu.ca}} \date{\today} @@ -37,7 +37,7 @@ and installing files\footnote{% In this distribution of MusiXTeX, most of the files to be installed (including macros, scripts, and documentation) are in a zipped TEXMF hierarchy \begin{list}{}{}\item -\texttt{tex-archive/install/macros/musixtex.tds.zip} +\myurl{http://mirror.ctan.org/install/macros/musixtex.tds.zip} \end{list} at CTAN. Simply download and unzip this archive in the root folder/directory of whichever TEXMF tree you decide is most appropriate, likely a ``local'' or ``personal'' one. @@ -134,28 +134,6 @@ then click on + to add a new processing tool as follows: If necessary, add the path to the directory/folder containing the \verb\musixtex\ script to the list of Paths for TeX and related programs. -\section{Addons} - -Unzipping \verb\musixtex-texmf.zip\ will install into -\verb\doc/generic/musixtex/addons/\ -several small packages which extend the capabilities of -MusiXTeX: -\begin{center} -\begin{tabular}{lll} -\verb\curly.tex\ & multiple left curly brackets & by Mthimkhulu Molekwa \\ -\verb\tuplet.tex\ & conventional tuplet brackets & by Col. G. L. Sicherman\\ -\verb\underbracket.sty\ & brackets to underline text& by Bernd Jantzen\\ -\end{tabular} -\end{center} -Check out the -documentation in \verb\musixdoc.pdf\ and in the comments of -the files. -If you want to use any of these packages, you'll have to copy them -to a place where TeX can find them, such as your working directory -or the \verb\tex/generic/musixtex\ sub-directory of the TEXMF tree -where \verb\musixtex-texmf.zip\ was installed. - - \section{Discussion} Many users, especially beginners, will find it easier to use the PMX and M-Tx pre-processors, which accept a simpler input language than MusiXTeX diff --git a/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf b/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf Binary files differindex 6c418f505fc..d3b7fa02210 100644 --- a/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf +++ b/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf diff --git a/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.html b/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.html deleted file mode 100644 index 6d7c8612268..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.html +++ /dev/null @@ -1,84 +0,0 @@ -Content-type: text/html - -<HTML><HEAD><TITLE>Manpage of MUSIXFLX</TITLE> -</HEAD><BODY> -<H1>MUSIXFLX</H1> -Section: (1)<BR>Updated: 2011-04-21<BR><A HREF="#index">Index</A> -<A HREF="http://localhost/cgi-bin/man/man2html">Return to Main Contents</A><HR> - -<P> -<A NAME="lbAB"> </A> -<H2>NAME</H2> - -musixflx - process mx1 files (the second pass of 3-pass MusiXTeX typesetting) -<P> -<A NAME="lbAC"> </A> -<H2>SYNOPSIS</H2> - -[ texlua ] -<B>musixflx[.lua]</B> - -<I>jobname </I> - -[ .mx1 | .tex ] -[ -<I>debugmode </I> - -] -<P> -where -<I>debugmode </I> - -can be -<BR> - -<TT> </TT>d<TT> </TT>output debugging information to the screen<BR> -<BR> - -<TT> </TT>m<TT> </TT>output line numbers to the screen<BR> -<BR> - -<TT> </TT>f<TT> </TT>output debugging information to jobname.mxl (not mx1)<BR> -<BR> - -<TT> </TT>s<TT> </TT>output computed lines to the screen<BR> -<P> -To allow for ease of use with a batch file, <B> musixflx.lua</B> -can be fed with either <I> jobname.mx1</I>, <I> jobname.tex</I>, -or just <I> jobname</I>, any of which open <I> jobname.mx1</I> -and create <I> jobname.mx2</I>. -<P> -<A NAME="lbAD"> </A> -<H2>SEE ALSO</H2> - -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+musixtex">musixtex</A></B>(1) - -<BR> - -musixdoc.pdf -<P> -<A NAME="lbAE"> </A> -<H2>AUTHOR </H2> - -This manual page was written by Andreas Tille -<<A HREF="mailto:tille@debian.org">tille@debian.org</A>> for the Debian GNU/Linux system (but may be used -by others). Corrections to the synopsis were pointed out by Peter -Breitenlohner <<A HREF="mailto:peb@mppmu.mpg.de">peb@mppmu.mpg.de</A>> and implemented by Bob Tennent -<<A HREF="mailto:rdt@cs.queensu.ca">rdt@cs.queensu.ca</A>>. -<P> - -<HR> -<A NAME="index"> </A><H2>Index</H2> -<DL> -<DT><A HREF="#lbAB">NAME</A><DD> -<DT><A HREF="#lbAC">SYNOPSIS</A><DD> -<DT><A HREF="#lbAD">SEE ALSO</A><DD> -<DT><A HREF="#lbAE">AUTHOR </A><DD> -</DL> -<HR> -This document was created by -<A HREF="http://localhost/cgi-bin/man/man2html">man2html</A>, -using the manual pages.<BR> -Time: 08:30:52 GMT, September 14, 2012 -</BODY> -</HTML> diff --git a/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.pdf b/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.pdf Binary files differnew file mode 100644 index 00000000000..e93d61b18f1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/scripts/musixflx.pdf diff --git a/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.html b/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.html deleted file mode 100644 index 810cb76fb9a..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.html +++ /dev/null @@ -1,167 +0,0 @@ -Content-type: text/html - -<HTML><HEAD><TITLE>Manpage of MUSIXTEX</TITLE> -</HEAD><BODY> -<H1>MUSIXTEX</H1> -Section: (1)<BR>Updated: 2013-12-11<BR><A HREF="#index">Index</A> -<A HREF="http://localhost/cgi-bin/man/man2html">Return to Main Contents</A><HR> - -<P> -<A NAME="lbAB"> </A> -<H2>NAME</H2> - -musixtex - processes MusiXTeX files, deleting intermediate files -<P> -<A NAME="lbAC"> </A> -<H2>SYNOPSIS</H2> - -[ texlua ] -<B>musixtex[.lua]</B> - -{ -<I>option</I> - -| -<I>jobname</I> - -[ .tex ] -} ... -<DL COMPACT> -<DT>The default effect is to process each file using <DD> -<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+etex">etex</A></B>(1) - -<DD> -(first pass) -<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+musixflx">musixflx</A></B>(1) - -<DD> -(second pass) -<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+etex">etex</A></B>(1) - -<DD> -(third pass) -<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvips">dvips</A></B>(1) - -<DD> -(dvi to Postscript) -<DT><B><A HREF="http://localhost/cgi-bin/man/man2html?1+ps2pdf">ps2pdf</A></B>(1) - -<DD> -(Postscript to Portable Document Format) -<DT>followed by removal of intermediate files.<DD> -<P> -</DL> -<A NAME="lbAD"> </A> -<H2>OPTIONS</H2> - -<DL COMPACT> -<DT><B>-v </B> - -<DD> -output program name and version number, and quit -<DT><B>-h</B> - -<DD> -output usage summary and quit -<DT><B>-l </B> - -<DD> -changes the TeX processor to -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+latex">latex</A></B>(1) - -or -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdflatex">pdflatex</A></B>(1) - -<DT><B>-p </B> - -<DD> -changes the TeX processor to -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdfetex">pdfetex</A></B>(1) - -or -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdflatex">pdflatex</A></B>(1) - -(and doesn't run -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvips">dvips</A></B>(1) - -and -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+ps2pdf">ps2pdf</A></B>(1) - -or -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvipdfm">dvipdfm</A></B>(1) - -) -<DT><B>-d </B> - -<DD> -changes the dvi processor to -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvipdfm">dvipdfm</A></B>(1) - -<DT><B>-s </B> - -<DD> -stops processing at the dvi file -<DT><B>-i</B> - -<DD> -retain intermediate files -<DT><B>-1</B> - -<DD> -one-pass [pdf][la]tex processing -<DT><B>-F fmt</B> - -<DD> -use fmt as the TeX processor -<DT><B>-f</B> - -<DD> -default processing -<DT>Options affect processing of all succeeding MusiXTeX files unless changed by another option.<DD> -<P> -</DL> -<A NAME="lbAE"> </A> -<H2>SEE ALSO</H2> - -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+etex">etex</A></B>(1), - -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+latex">latex</A></B>(1), - -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdfetex">pdfetex</A></B>(1), - -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+pdflatex">pdflatex</A></B>(1), - -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+musixflx">musixflx</A></B>(1), - -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvipdfm">dvipdfm</A></B>(1), - -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+dvips">dvips</A></B>(1), - -<B><A HREF="http://localhost/cgi-bin/man/man2html?1+ps2pdf">ps2pdf</A></B>(1). - -<BR> - -musixdoc.pdf -<P> -<A NAME="lbAF"> </A> -<H2>AUTHOR </H2> - -This manual page was written by Bob Tennent <<A HREF="mailto:rdt@cs.queensu.ca">rdt@cs.queensu.ca</A>>. -<P> - -<HR> -<A NAME="index"> </A><H2>Index</H2> -<DL> -<DT><A HREF="#lbAB">NAME</A><DD> -<DT><A HREF="#lbAC">SYNOPSIS</A><DD> -<DT><A HREF="#lbAD">OPTIONS</A><DD> -<DT><A HREF="#lbAE">SEE ALSO</A><DD> -<DT><A HREF="#lbAF">AUTHOR </A><DD> -</DL> -<HR> -This document was created by -<A HREF="http://localhost/cgi-bin/man/man2html">man2html</A>, -using the manual pages.<BR> -Time: 22:15:29 GMT, December 11, 2013 -</BODY> -</HTML> diff --git a/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf b/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf Binary files differnew file mode 100644 index 00000000000..e00737625fe --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf |