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author | Karl Berry <karl@freefriends.org> | 2010-11-20 23:13:29 +0000 |
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committer | Karl Berry <karl@freefriends.org> | 2010-11-20 23:13:29 +0000 |
commit | 7cbd6550ac55e762ba01ad62261e56f2e9e24f1d (patch) | |
tree | 4280b9d7e47f8cef9116a7d724f02a037fa284e0 /Master/texmf-dist/tex/generic/musictex | |
parent | 612e347f3f21bc4531116e898863f1ccc46143b6 (diff) |
rm musictex, superseded by musixtex
git-svn-id: svn://tug.org/texlive/trunk@20506 c570f23f-e606-0410-a88d-b1316a301751
Diffstat (limited to 'Master/texmf-dist/tex/generic/musictex')
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicadd.tex | 111 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicdoc.tex | 4118 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicext.tex | 225 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicnew.tex | 28 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicnft.tex | 938 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicper.tex | 227 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicpln.tex | 298 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicpos.tex | 43 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicpre.tex | 64 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicref.tex | 88 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicsix.tex | 11 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicsty.tex | 368 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musictex.tex | 2440 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musictrp.tex | 175 | ||||
-rw-r--r-- | Master/texmf-dist/tex/generic/musictex/musicvbm.tex | 94 |
15 files changed, 0 insertions, 9228 deletions
diff --git a/Master/texmf-dist/tex/generic/musictex/musicadd.tex b/Master/texmf-dist/tex/generic/musictex/musicadd.tex deleted file mode 100644 index 5867fb8165a..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicadd.tex +++ /dev/null @@ -1,111 +0,0 @@ -% -% MUSICADD.TEX version 4.81 October 1992 -\message{Version 5.02 -- February 28th, 1994}% -% -\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 -\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12 -\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12 -% -\newcount\t@wvii -\newcount\t@wviii -\newcount\t@wix -\newcount\t@pvii\newcount\t@svii -\newcount\t@pviii\newcount\t@sviii -\newcount\t@pix\newcount\t@six -\newcount\t@px\newcount\t@sx -\newdimen\b@xvii\newdimen\b@zvii -\newdimen\b@xviii\newdimen\b@zviii -\newdimen\b@xix\newdimen\b@zix -\newdimen\b@xx\newdimen\b@zx -\newdimen\bb@xvii\newdimen\bb@zvii -\newdimen\bb@xviii\newdimen\bb@zviii -\newdimen\bb@xix\newdimen\bb@zix -\newdimen\bb@xx\newdimen\bb@zx -\newdimen\bbb@xvii\newdimen\bbb@zvii -\newdimen\bbb@xviii\newdimen\bbb@zviii -\newdimen\bbb@xix\newdimen\bbb@zix -\newdimen\bbb@xx\newdimen\bbb@zx -\newdimen\bbbb@zvii -\newdimen\bbbb@zviii -\newdimen\bbbb@zix -\newdimen\bbbb@zx -\newdimen\bbbbb@zvii -\newdimen\bbbbb@zviii -\newdimen\bbbbb@zix -\newdimen\bbbbb@zx -\newcount\b@pvii\newcount\b@nvii -\newcount\b@pviii\newcount\b@nviii -\newcount\b@pix\newcount\b@nix -\newcount\b@px\newcount\b@nx -\newcount\nbporteesvii -\newcount\nbporteesviii -\newcount\nbporteesix -% -\def\stafflinesnbvii{5} -\def\stafflinesnbviii{5} -\def\stafflinesnbix{5} -% -\def\clefdutvii{\clefdutsymbol} -\def\clefdutviii{\clefdutsymbol} -\def\clefdutix{\clefdutsymbol} -% -\def\clefdefavii{\clefdefasymbol} -\def\clefdefaviii{\clefdefasymbol} -\def\clefdefaix{\clefdefasymbol} -% -\def\clefdesolvii{\clefdesolsymbol}% -\def\clefdesolviii{\clefdesolsymbol}% -\def\clefdesolix{\clefdesolsymbol}% -% -\newcount\signvii -\newcount\signviii -\newcount\signix -% -\newcount\o@signvii -\newcount\o@signviii -\newcount\o@signix -% -\newtoks\cleftoksvii -\newtoks\cleftoksviii -\newtoks\cleftoksix -% -\newtoks\o@cksvii -\newtoks\o@cksviii -\newtoks\o@cksix -% -\newtoks\tempotoksvii -\newtoks\tempotoksviii -\newtoks\tempotoksix -% -\def\instrumentvii{}% -\def\instrumentviii{}% -\def\instrumentix{}% -% -\global\nbporteesvii=1\relax -\global\nbporteesviii=1\relax -\global\nbporteesix=1\relax -% -\global\cleftoksvii={{0}{0}{0}{0}}\relax -\global\cleftoksviii={{0}{0}{0}{0}}\relax -\global\cleftoksix={{0}{0}{0}{0}}\relax -% -\newtoks\metertoksvii -\newtoks\metertoksviii -\newtoks\metertoksix -% -\global\metertoksvii={{0}{0}{0}{0}}\relax -\global\metertoksviii={{0}{0}{0}{0}}\relax -\global\metertoksix={{0}{0}{0}{0}}\relax -% -\def\maxlegatenuti{9} -% -\newdimen\t@xvii\newdimen\t@zvii -\newdimen\t@xviii\newdimen\t@zviii -\newdimen\t@xix\newdimen\t@zix -\newdimen\t@xx\newdimen\t@zx - - -\catcode`\>=\catcode@gt -\catcode`\<=\catcode@lt -\catcode`\@=\catcodeat - diff --git a/Master/texmf-dist/tex/generic/musictex/musicdoc.tex b/Master/texmf-dist/tex/generic/musictex/musicdoc.tex deleted file mode 100644 index 6a8db08dd6f..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicdoc.tex +++ /dev/null @@ -1,4118 +0,0 @@ -\documentstyle[twoside,multicol,musictex,musictrp,musicper,a4report,11pt]{report} - -\def\hboxit#1{\hbox{\vrule\vbox{\hrule\kern3pt - \hbox{\kern3pt\small\it #1\kern3pt}\kern3pt\hrule}\vrule}} -% -\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\tt} -% -\def\text#1{\leavevmode\hbox{\rm #1}}% -%\check -\def\ital#1{{\sl #1\/}}% -\def\mutex{M\raise 2pt\hbox{\kern -1pt u\kern -1pt}\TeX} -\def\bslash{{\tty\char'134}}% -\def\unix{{\sc unix}}% -\def\Bslash{\tty\char'134}% -\def\|{{\tty\char'174}}% -\def\#{{\tty\char'043}}% -\def\{{{\char'173}}% -\def\}{{\char'175}}% -\def\musictex{Music\TeX}% -\def\musixtex{MusiX\TeX}% -\def\musicxx{\musictwenty} -\def\keyindex#1{\leavevmode - \hbox{\tty\bslash #1}\index{#1=\protect\tty\protect\bslash #1}} -\def\zkeyindex#1{\index{#1=\protect\tty\protect\bslash #1}} -\def\ixem#1{#1\index{#1}} -\def\itxem#1{\ital{#1}\index{#1}} -\def\aujourdhui{\today} -% -%\check -\tracingstats=1 -% -%%%% \input musicext : extracting the wanted macro - -\makeatletter - -\def\tmp@dimenb{\y@ii} -\newdimen\tmp@dimen -% \overbracket{p}{l}{s} draws a bracket over the music starting at the -% current position at pitch p, width l and slope s percent, causing no space. -\def\overbracket#1#2#3{\relax % height (note), length (dimen) slope (%) - \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax - \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax - \raise\n@i\internote\rlap{\vrule width\lthick height \lthick - depth .8\Interligne}\oblique{#2}{#3}{\n@i\internote}\relax - \advance\tmp@dimenb by.5\lthick\relax - \raise\tmp@dimenb\hbox{\vrule width\lthick height \lthick - depth.8\Interligne}}} - -% \ovbkt{p}{n}{s} is the same as \overbracket, except that it draws the -% bracket to cover n notes (note however that glue inserted by \temps -% commands will expand the space between the notes but will not affect the -% bracket). -% I use this macro to indicate triplets, for instance. - -\def\ovbkt#1#2#3{\relax % height (note), length (number of notes) slope (%) - \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen - by -\noteskip\advance\tmp@dimen by\lthick \overbracket{#1}{\tmp@dimen}{#3}} - -% \underbracket and \unbkt are similar to the above, but produce -% brackets under the music. -\def\underbracket#1#2#3{\relax % height (note), length (dimen) slope (%) - \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax - \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax - \raise\n@i\internote\rlap{\vrule width\lthick depth -\lthick - height \Interligne}\oblique{#2}{#3}{\n@i\internote}\relax - \advance\tmp@dimenb by.5\lthick\relax - \raise\tmp@dimenb\hbox{\vrule width\lthick depth -\lthick - height\Interligne}}} -\def\unbkt#1#2#3{\relax % height (note), length (number of notes) slope (%) - \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen - by -\noteskip\advance\tmp@dimen by\lthick - \kern-2\lthick\underbracket{#1}{\tmp@dimen}{#3}\kern2\lthick} - - -\newdimen\tmp@dimenc -\newdimen\z@iii\newdimen\z@iv\newdimen\z@v - -% \oblique {l}{s}{h} draws an oblique line of length l, slope s percent, and -% height h. This will cause an unrecorded space so it should be used within -% \rlap. Note that this macro is a hack and probably gobbles up resources! -% This macro is used by some of the others which follow. - -\def\oblique#1#2#3{\relax % length slope height -\ifnum #2=0\relax\raise #3\vbox{\hrule width #1 height\lthick depth\z@}\relax -\else\q@antum=25\lthick\divide\q@antum by #2\relax -\ifdim\q@antum<0pt\relax\multiply\q@antum by -1\fi -\global\z@iv=0pt\relax -\loop\ifdim\z@iv<#1\relax - {\z@v=#1\relax\advance\z@v by -\z@iv\relax\advance\z@v by -\q@antum\relax - \tmp@dimenc\z@iv\multiply\tmp@dimenc by#2\relax - \z@iii=#3\relax\advance\z@iii by .01\tmp@dimenc\relax\advance\z@iii by - -0.5\internote - \ifnum #2<0\relax\advance\z@iii by \lthick\relax\fi - \tmp@dimenc\z@v\multiply\tmp@dimenc by#2\relax - \ifdim\z@v<0pt\relax\advance\z@iii by .01\tmp@dimenc\relax\hskip\z@v\fi - \advance\z@iii by 0.6\internote\relax - \raise\z@iii\hbox to \q@antum{\vrule width\q@antum height .5\lthick depth - .5\lthick}\relax - \global\advance\z@iv by \q@antum\relax -}\repeat -\fi -} - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% end musicext excerpt -\font\musext=musicbrb -\tolerance 10000 -\csname normalshape\endcsname\csname mediumseries\endcsname -\csname pnormalshape\endcsname\csname pmediumseries\endcsname -\makeindex - -\long\def\theindex{\chapter{Index} -\parindent \z@ -\parskip \z@ \@plus .3\p@ \relax \let \item \@idxitem \columnseprule \z@ -\columnsep 35\p@ \begin{multicols}{2} -} - -\def\endtheindex{\end{multicols}} - -% -\begin{document} -\title{\Huge\bf \musictex\\\LARGE\bf Using - \TeX\ to write polyphonic\\or -instrumental music\\\Large\sl Version 5.17 -- \today} -\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} - \date{} -\maketitle -\clearpage -\thispagestyle{empty} -\null -\setcounter{page}0 -\clearpage -\tableofcontents -\setcounter{secnumdepth}3 -\pagestyle{headings} -% -\chapter{What is \musictex\ ?} - \musictex\ is a set of \TeX\ macros to typeset polyphonic, orchestral or -polyphonic music. Therefore, it is mainly supposed to be used to type wide -scores -- just because true musicians seldom like to have to frequently turn -pages -- and this is not really compatible with \LaTeX's standard page -formats, even the {\tty A4.sty} the {\Bslash textheight} and {\Bslash -textwidth} of which are too small for musician needs. - - However, a \LaTeX\ style has been also provided (and it is used for the -typing of the present paper) but this {\tty musictex} style is fit for -musicographic books rather than for normal scores to be actually played. - - It should be emphasized that \musictex\ is not intended to be a -compiler which would translate some \ixem{standard musical -notation}s into \TeX\, nor to decide by itself about aesthetic problems in music typing. -\musictex\ only typesets staves, notes, chords, beams, slurs and ornaments as -requested by the composer. Since it makes very few typesetting decisions, -\musictex\ appears to be a versatile and rather powerful tool. However, due -to the important amount of information to be provided to the typesetting -process, coding \musictex\ might appear to be awfully complicated, just as -the real keyboard or orchestral music. Therefore, it should be interfaced therefore by -some pre-compiler in the case of the composer/typesetter wanting aesthetic -decisions to be automatically made by somebody (or something) else. - -\section{\musictex\ principal features} -\subsection{Music typesetting is two-dimensional} - - Most of the people who just learnt a bit of music at college probably think -that music is a linear sequence of symbols, just as literary texts to be -\TeX-ed. In fact, with the exception of strictly monodic instruments like -most orchestral wind instruments and solo voices, one should be aware that -reading music actually is a matricial operation: the non-soloist musician -successively reads \ital{columns} of simultaneous notes which he actually plays -if he is a pianist, clavichordist or organist, which he actually reads and -watches if he conducts an orchestra, and which he is supposed to check and -partially play when he is a soloist who wants to play in time with the -accompanying instrument or choir. - - In fact, our personal experience of playing piano and organ as well as -sometimes helping as an alternate Kapellmeister leads us to think that actual -music reading and composing is a slightly more complicated intellectual -process: music reading, music composing and music thinking seems to be a -three layer process. The musician usually reads or thinks several consecutive -notes (typically a long \ital{beat} or a group of logically connected notes), then -he goes down to the next instrument or voice and finally assembles the whole -to build a part of music lasting roughly a few seconds. Then he handles the -next \ital{beat} or \ital{bar} of his score. - - Thus, it appears that the humanly logical way of coding music consists -in horizontally accumulating a set of \ital{vertical combs} with -\ital{horizontal teeth} as described in Table \ref{readtable}. - - \begin{table} - \begin{center} - \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 seqence three} - &\hboxit{note seq.\ six} - &\hboxit{note seq.\ nine} - &\hboxit{note seq.\ twelve}\\ - \end{tabular} - \end{center} - \caption{The order in which a musician reads music}\label{readtable} - \end{table} - -This is the reason -why, in {\bf \musictex} the fundamental \ital{macro} is of the form - -\begin{center} -{\Bslash notes \dots\ \& \dots\ \& \dots\ \bslash enotes} -\end{center} - -\noindent where the character {\tty\&} is used to separate the notes to be -typeset on respective staffs of the various instruments, starting from the -bottom. - -In the case of an instrument whose score has to be written with -several staffs, these staffs are separated by the -character \|. Thus, a score written for a keyboard instrument and -a monodic instrument (for example piano and violin) -will be coded as follows: - -\begin{center} -{\Bslash notes \dots\ \| \dots\ \& \dots\ \bslash enotes} -\end{center} -\noindent for each column of simultaneous \ital{groups of notes}. -It is worth emphasizing that we actually said \ital{``groups of notes''}: -this means that in each section of the previous macro, the music typesetter is -welcome to insert, not only chord notes to be played at once, but small -sequences of consecutive notes which build something he understands as a -musical phrase. This is why note typing macros are of two kinds in \musictex, -namely the note macros which are not followed by spacing afterwards, and those -which induce horizontal spacing afterwards. - -\subsection{The spacing of the notes} - -It seems that many books have dealt with this problem. -Although it can lead to interesting algorithms, we think it is -not in practice an important point. - -In fact, each column of notes has not necessarily the same spacing -and, in principle, this \itxem{spacing} should depend on the shortest -duration of the simultaneous notes. But this cannot be established as a rule, -for at least two reasons: - -\begin{enumerate} - \item spacing does not depend only on the local notes, -but also on the context, at least in the same bar. -\item in the case of polyphonic music, exceptions can easily be found. -Here is an example: - - - \begin{music} -\def\nbinstruments{1}\relax -\computewidths -\generalmeter{\meterfrac{4}{4}}\relax -\debutextrait -\normal\elemskip=0.110\hsize -\temps\Notes\qsk\qsk\rlap{\hu j}\ql h\enotes -\temps\Notes\hl g\enotes -\temps\Notes\hu k\enotes -\temps\Notes\ql f\enotes -\finextrait - \end{music} - -%\check - -\noindent where it can be clearly seen that the half notes at beats 2 and 3 -must be spaced as if they were quarter notes since they overlap, which is -obvious only because of the presence of the indication of the \itxem{meter} 4/4. -\end{enumerate} -% - -Therefore, we preferred to provide the composer/typesetter with a -set of macros, the spacing of which increases by a factor of $\sqrt 2$ -(incidentally, this can be adjusted): - -\begin{center} -{\Bslash notes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% -\hbox to 2.5cm{\rm 1 spatial unit\hss}} -\\ -{\Bslash Notes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% -\hbox to 2.5cm{\rm 1.4 spacial unit\hss}} -\\ -{\Bslash NOtes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% -\hbox to 2.5cm{\rm 2 spatial units\hss}} -\\{\Bslash NOTes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% -\hbox to 2.5cm{\rm 2.8 spatial units\hss}} -\\{\Bslash NOTEs \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% -\hbox to 2.5cm{\rm 4 spatial units\hss}} -\\{\Bslash NOTES \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% -\hbox to 2.5cm{\rm 5.6 spatial units\hss}} -\end{center} - -%\check - The size of the spatial unit (\keyindex{elemskip}) can be freely adjusted. -In addition, \musictex\ provides a means of adjusting the note spacing -according to an average number of elementary spaces within a line (macro -\keyindex{autolines}). - -\subsection{Music tokens, rather than a readymade generator} -%\check - -The tokens provided by \musictex\ are: - -\begin{itemize} -\item the note symbols \ital{without stem}; -\item the note symbols \ital{with stems, and hooks for eighth notes and -beyond}; -\item the indications of beam beginnings and beam ends; -\item the indications of beginnings and ends of ties and slurs; -\item the indications of accidentals; -\item the ornaments: arpeggios, trills, mordents, pinc\'es, turns, staccatos -and pizzicatos, fermatas; -\item the bars, the meter and signature changes, etc. -\end{itemize} - - Thus, {\Bslash wh a} produces an \ital{A (of nominal frequency 222.5~Hz, -unless transposed)} of duration being a -\ital{whole note}. In the same way, {\Bslash wh h} produces an \ital{A -(445~Hz)} of duration represented by a \ital{whole note}, {\Bslash qu~c} -produces a \ital{C (250~Hz approx.)} whose value is a \ital{quarter note with -stem up}, {\Bslash cl J} produces a \ital{C (125~Hz approx.)} of -duration equal to an \ital{eighth note with stem down}, etc. - - To generate quarter, eighth, sixteenth, etc. chords, the macro -\keyindex{zq} can be used: it produces a quarter note head the vertical -position of which is -memorized and recalled when another stemmed note (possibly with a hook) is -coded; then the stem is adjusted to link all simultaneous notes. Thus, the -perfect C-major chord, i.e. - -%\check -{\def\nbinstruments{1}\relax -\cleftoksi={{0}{0}{0}{0}}\generalmeter{}\relax -\debutextrait -\normal -\NOTes\qsk\zq c\zq e\zq g\qu j\enotes -\finextrait} - -%\check -\noindent is coded - \hbox{\Bslash zq~c\bslash zq~e\bslash zq~g\bslash qu~j} -or, in a more concise way, \hbox{\Bslash zq\{ceg\}\bslash qu~j} (stem up): -in fact, single notes are treated\dots\ like one-note chords. - -\subsection{Beams} - \ital{Beams}\index{beams} are generated using macros which define their -beginning (at the current horizontal position), together with their altitude, -their direction (upper of lower), their multiplicity, their slope and their -reference number. This latter feature -- the reference number -- appears to -be necessary, since one may want to write beams whose horizontal extents -overlap: therefore, it is necessary to specify which beam the notes hang on -and which beam is terminated at a given position. - -%\check -\subsection{Setting anything on the score} - -A general macro (\keyindex{zcharnote}) provides a means of -putting any sequence of symbols (in fact, some {\Bslash hbox\{...\}}) at any -pitch of any staff of any instrument. Thus, any symbol defined in a font -(letters, math symbols, etc.) can be used to typeset music. - -\section{A simple example} - - Before giving more details, we give below an example of the two first -bars of the sonata in C-major K545 by {\sc\ixem{Mozart}}: - -\begin{music} -\parindent 1cm -\def\nbinstruments{1}\relax -\def\instrumenti{Piano}% -\nbporteesi=2\relax -\generalmeter{\meterfrac{4}{4}}\relax -\debutextrait -\normal -\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes -\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\ql l\sk\ql n\enotes -\barre -\Notes\ibu0f0\qh0{dgf}|\qlp i\enotes -\notes\tbu0\qh0g|\ibbl1j3\qb1j\tbl1\qb1k\enotes -\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes -\finextrait -\end{music} -%\check - - The \ital{coding} is set as follows: - -\begin{quote}\begin{verbatim} -\begin{music} -\parindent 1cm -\def\nbinstruments{1}\relax % a single instrument -\def\instrumenti{Piano}% % whose name is Piano -\nbporteesi=2\relax % with two staffs -\generalmeter{\meterfrac{4}{4}}\relax % 4/4 meter chosen -\debutextrait % starting real score -\normal % normal 12 pt note spacing -\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes -\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\ql l\sk\ql n\enotes -\barre % bar -\Notes\ibu0f0\qh0{dgf}|\qlp i\enotes -\notes\tbu0\qh0g|\ibbl1j3\qb1j\tbl1\qb1k\enotes -\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes -\finextrait % terminate excerpt -\end{music} - \end{verbatim}\end{quote} - -\begin{itemize} -\item {\Bslash ibu0f0} begins an upper beam, aligned on the -\ital{f}, reference number 0, slope 0 -\item {\Bslash tbu0} terminates this beam before writing -the second \ital{g} by means of {\Bslash qh0g} -\item {\Bslash qh..} indicates a note hanging on a beam. - \item {\Bslash sk } sets a space between the two quarters at the right -hand, so that the second is aligned with the third eighth of the left hand. - \item{\Bslash qlp} is a quarter with a point. - \item{\Bslash ibbl1j3} begins -a double beam, aligned on the \ital{C} ({\tty j} at this pitch) -of slope 0.15. -\end{itemize} - -\section{Some highlights} -\subsection{Signatures} - -Signatures can be stated either for all instruments, for example by -\keyindex{generalsignature}{\tty\{-2\}} which sets two flats on each staff, or -separately for each instrument. Thus, the \keyindex{generalsignature} -can be partly overridden by \keyindex{signii}{\tty=1} which puts one -sharp on the staffs of \itxem{instrument number} 2 (ii). Of course, the -current signature may change at any time as well as the meters and clefs. - -\subsection{Transposition} - - An important question is: \ital{``can \musictex\ transpose a score~?''}. -The answer is now 99.5~\% \ital{yes}. If fact, there is an internal register -named \keyindex{transpose} the default value of which is zero, but it may be -set to any reasonable positive of negative value. In that case, it offsets all -symbols pitched with letter symbols by that number of pitch steps. However, -it will neither change the signature nor the local accidentals, and if -- for -example -- you transpose a piece written in $C$ by 1 pitch, \musictex\ will -not know whether you want it in $D\flat$, in $D$ or in $D\sharp$. This might -become tricky if accidentals occur within the piece, which might have to be -converted into flats, naturals, sharps or double sharps, depending on the new -chosen signature. To avoid this trouble, \ital{relative} accidentals -have been implemented, the actual output of which depends on the pitch of -this accidental and of the current signature.\index{relative accidentals} - - -\subsection{Selecting special instrument scores} - -Another question is: \ital{``can I write an orchestral score and extract the -separate scores for individual instruments~?''} The answer is 95~\% -\ital{yes}: in fact, you can define your own macros {\Bslash -mynotes...\bslash enotes}, {\Bslash myNotes...\bslash enotes} with as many -arguments as there are in the orchestral score (hope this is less or equal to -9, but \TeX perts know how to work around) and change its definition -depending on the selected instrument (or insert a test on the value of some -selection register). But the limitation is that the numbering of instruments -may change, so that {\Bslash signiii} may have to become {\Bslash signi} if -instrument $iii$ is alone. But, in turn, this is not a serious problem for -average \TeX\ wizard apprentices. - - \subsection{Variable staff and note sizes} - - Although the staff size is 20 pt as a standard, \musictex\ allors scores of -16 pt staff sizes. In addition, any instrument may have a special staff size -(usually smaller than the overall staff size) and special commands -\verb|\smallnotesize| or \verb|\tinynotesize| enable notes (and also beams or -accidentals) to be of a smaller size, in order to quote optional notes or -\ital{cadenzas}. - - \section{How to get it} - - The whole \itxem{distribution} fits into a single 1.2Mbyte or -1.44Mbyte diskette. It can also be obtained through an \ital{anonymous ftp} -at {\tty rsovax.lps.u-psud.fr} (193.55.39.100), after selecting the -subdirectory {\tty [.musictex]}. All sources (including fonts) are provided, -either separately or ``zipped'' or as VMS ``\ixem{savesets}''. - -%\check -\section{Enhancements} -\subsection{Recent easy enhancements} - -Many enhancements have been asked for, and this is a proof that \musictex\ is -considered as useful by many people. Some of these enhancements which seemed -hard were in fact rather easy to implement, for example small notes to represent -grace notes and cadenzas. But others may induce heavy problems, for example -the need of having \ital{nice} slurs and ties. - -In the same way, we recently introduce Andreas {\sc Egler}'s fonts to have -nicer braces at the left of the score, for example for piano music. - -Besides, we recently found a hard incompatibility of \musictex\ and a genuine -product of the author's native country, namely {\tt french.sty} by Bernard -{\sc Gaulle} which is the \ital{standard} of the French \TeX\ user group, -namely the GUTenberg association. This was partly due to macro name collisions ---- easy to solve --- and to the fact that {\tt french.sty} sets a lot of -characters as \keyindex{active} characters in order to make them handle -correctly the French spacing before and after punctuation marks. This seems to -have been solved in the 4.99 version of \musictex, with the restriction that -French macros cannot be used --- at least easily --- within lyrics. - -Besides, \musictex\ has been adapted --- since version 5.00 --- to score -\ital{gregorian chant} and \ital{percussion music}. - -\subsection{The tie/slur problem} - -While typesetting notes and even beams is a rather simple problem because it -is a \ital{local typesetting}, ties and slurs are much more difficult to handle. - -Of course there is small problem in case of a typesetter wanting a slur or a -tie binding two consecutive notes, not separated by a bar. In practice this -\ital{very restricted} use of slurs or ties can easily be solved by putting -some symbols extracted from the {\tty slur16} or {\tty slurn16}/{\tty slurn20} -fonts somewhere on the staffs using the general use \keyindex{zcharnote} -macro. - - But serious music typesetters or composers know that many ties are supposed -to link notes which are on both sides of a bar, which is a likely place to -insert line breakings, so that the coding of \itxem{ties} must have various -versions and sizes to resist that possible line breaking. What has been said -about ties is still more serious in the case of \itxem{phrasing slurs} which -may extend over several bars, lines and sometimes pages. In this case, their -shape is not only a question of producing a long curved symbol of nice -looking shape, it also has to cope with \itxem{glue}. An then the worst is -that music way of typing does not accept \itxem{ragged lines} but equal -length lines, even for the last line of a music piece. Thus, long distance -slurs and ties need to be cut into separate parts (beginning, continuing(s), -endings) which \TeX\ can only link using \ital{horizontal line overlaps} -or \keyindex{leaders} to insure slur continuity over this unavoidable glue. - - -Therefore and up to now, ties and slurs have been implemented in a way which -may look rather ugly, but we think it is the only way of implementing -\ital{in one pass} ties and slurs which run \ital{across glue}. The principle -is to have tie/slur symbols with a rather long horizontal part. -Then, at each time a glue occurs and at each time a group of notes is coded -while a slur or tie is pending, an \keyindex{hrule} is issued which overlaps -the preceding tie/slur symbol so that the final output seems to contain a -continuous line. Unfortunately, this is possible only in the glue expansion -direction, namely in the horizontal direction. - -Variable size -initial and final curved slur symbols have recently been implemented; -the user has to choose them according -to his intention to have short or long range slur symbols. - -\subsection{\musixtex} - -\ixem{\musixtex} is a new package, heavily derived from \musictex\ by Andreas -{\sc Egler} and Ross {\sc Mitchell}. Its fundamentals are taken from -\musictex, but it works in three passes~:\index{Egler, A.}\index{Mitchell, R.} - \begin{enumerate} - \item The first pass \TeX es the source with a different set of macros, -which generate a special file telling where slurs/ties start and begin. - \item The second pass (a C program) computes the optimal length of the -slurs/recorded. - \item The third pass generates the definitive DVI from the initial source, -owing to information produced by the second pass, name to choose the adequate -slur/tie symbols according to the chosen final note spacing. - \end{enumerate} - We do not decribe \musixtex\ here, but we give some suggestion to make the -same \musictex\ source runable with both \musictex\ and \musixtex. - -\subsection{Enhancement limitations} -Many requested improvements have not been -\ital{yet} implemented for several reasons: - - \begin{itemize} - - \item The author's natural lazyness (!) - - \item More seriously: many of them would require using some more -registers; unfortunately, \TeX\ registers are not numerous (256 of each -kind and the limit of \keyindex{dimen} registers is nearly reached) and we -are afraid many requested new features would make \TeX\ stupidly crash even -when typesetting reasonable scores. - - \item We do not think it is wise to introduce in \musictex\ itself a great -number of macros which would be poorly used by most users: the reason is that -\TeX\ memory is hardly limited and that unused macros may occupy some \TeX\ -storage which could make things crash because of {\tty TeX capacity -exceeded}... - - \end{itemize} - - -\section{Acknowledgements} - -The idea of implementing the present package is due to the previous work -(\mutex)\index{mutex=\protect\mutex} of Andrea {\sc Steinbach} and Angelika -{\sc Schofer}\footnote{Steinbach A. \& Schofer A., \ital{Theses} (1987, 1988), -Rheinische Friedrich-Wilhelms Universit\"at, Bonn, Germany.}. This work -provided the basis of the Metafont codes and some line breaking procedures, -which both are still used here... with 99\% corrections and -updates.\index{Schofer, A.}\index{Steinbach, A.} - -Besides, the original fonts of \musictex, named {\tt musicn20}, {\tt -musicn16}, {\tt musicn13} and {\tt musicn11}, have been recently reviewed -by Andreas {\sc Egler} and the new release --- used in the version 5.00 and -above of \musictex\ --- is called {\tt musikn20}, {\tt musikn16}, {\tt -musikn13} {\tt musikn11} and {\tt musicbrb}.\index{Egler, A.} - - -\chapter{Practical use} -\section{Heading statements} - -Before any reference to \musictex\ macros: - -\medskip{\Bslash input musicnft } - -{\Bslash input musictex} - - \medskip\noindent which may be followed by {\Bslash input musicadd} -in the case you have more than six instruments (voice is two instruments: one -for the music, one for the text) or more than 6 simultaneous beams or ties or -slurs.\index{musicnft.tex}\index{musictex.tex}\index{musicadd.tex} -\index{musicnft.tex} - - \medskip After that, you may write a complete book of \TeX\ provided that -you do not use {\tty \&} as a tabulation character (its \keyindex{catcode} -has been changed) inside the music score and that you do not overwrite -\musictex's definitions. This means that no special macros have been designed -to help you write titles, author names, comments, literature excerpts, etc., -unless you use \LaTeX\ with the {\tt musictex} style. - -\section{Before you begin to write notes} - -You should first specify whether you want to typeset music in size -20pt\index{sizes} per staff or 16pt. This only optional, the default value -being 20pt. If you want the 16pt size, then you have to say: - -\medskip \keyindex{musicsize}{\tty=16} - -\medskip Then, the first compulsory declaration is: - -\medskip {\Bslash def\keyindex{nbinstruments}{\tty\{$n$\}}} - -\medskip \noindent where $n$ is the number of instruments, used by -\musictex\ to performs loops building staffs, setting signatures, meters, -etc. Therefore, it must be defined before any other statements. An instrument -may consist of several staffs, e.g. the piano. The difference between one -instrument of several staffs and several instruments is as follows: - -\begin{itemize} - \item distinct instruments may have distinct \itxem{signatures}, distinct -staffs of a unique instrument share the same signature. - \item \itxem{stems} may be hung to \itxem{beams} belonging to differents -staffs of the same instrument. - \item \itxem{chords} may extend across several staffs of the same -instrument. - \item staffs of a unique \itxem{instrument} are tied together -with a big brace at the beginning of each line. - -\end{itemize} - -\medskip If the number of staffs (in French ``\itxem{port\'ees}'') is not -equal to one, this number must be specified by: - -\medskip -%\check -{\tty\keyindex{nbportees$r$}=$p$\bslash relax} - - \medskip\noindent where $p$ is the number of staffs, and where $r$ is the -roman numeral of the instrument considered (e.g. \keyindex{nbporteesiii} -for the 3rd instrument, starting from the bottom). This value may be zero, in -which case the staff lines are omitted, and this instrument may be used to -code the \itxem{lyrics} of a song, below the actual ``instrument'' -representing the notes of the song. - -\medskip Unless all your instruments only use the \ital{violin} clef, you -have to specifiy all the clefs used for all the instruments. This is done by -coding: - -\medskip{\tty\keyindex{cleftoks$r$}=\{\{$s1$\}\{$s2$\}\{$s3$\}\{$s4$\}\}\%} - -\medskip\noindent where $r$ is the roman numeral of the instrument, $s1$ -specifies the clef of the lower staff, $s2$ the clef of the second staff, -etc. One must always give four values with the above syntax, otherwise\dots\ -$s1=0$ means the \ital{violin} clef (\ixem{clef de sol} in French), $s1=1$ -through $s1=4$ mean the \ital{alto} clef (\ixem{clef d'ut} in French) set on -first (lower) through fourth (next to upper line of the staff), $s1=5$ means -the \ital{bass} clef at third (middle) line, and $s1=6$ means the usual -\ital{bass} clef (\ixem{clef de fa} in French) at the usual fourth line. -\index{violin clef}\index{bass clef}\index{alto clef} As an example, a -standard piano score should include: - -\medskip{\tty\keyindex{cleftoksi}=\{\{6\}\{0\}\{0\}\{0\}\}\%} or {\Bslash -cleftoksi=\{6000\}\%} - -\medskip -If the signature is not void, one should code: - -\medskip{\tty\keyindex{generalsignature}{\tty\{$s$\}}\bslash relax} - -\medskip\noindent where $s>0$ indicates the number of \itxem{sharps} in the -signature and $s<0$ the number of \itxem{flats}\footnote{We have seen once a -score in G-minor where the signature consisted of two flats (B and E) plus -one sharp (F). This is not supported by \musictex.}. - -\medskip If there a \itxem{meter} indication is to be posted, it should be -specified using the macro - -\medskip {\tty\keyindex{generalmeter}\{$m$\}\%} - -\medskip \noindent where $m$ is the description of the meter indication which should -appear on each staff. If it is a \ital{fraction} (e.g. 3/4) on should code - -\medskip{\Bslash generalmeter\{\bslash meterfrac\{3\}\{4\}\}\%} - -\medskip\noindent or, in a simpler way (if the numbers are less than 10): - -\medskip{\Bslash generalmeter\{\bslash meterfrac 34\}\%} - -\medskip\rm Special denotations can be used, such as \keyindex{allabreve} to -get \raise -6pt\hbox{\allabreve} and \keyindex{meterC} to get \raise --6pt\hbox{\meterC}. - -\medskip However, not all music scores have the same meter in each staff. -Especially, some staffs may have \ital{ternary} meters while others have -\ital{binary}. This can be specified by using the \keyindex{generalmeter} macro -to set the meter for most of the scores and overriding it by means of a more -sophisticated command: - - -%\check -\medskip{\Bslash metertoksii=\{\{\bslash -meterfrac\{12\}8\}\{\bslash -allabreve\}\{\}\{\}\}\%} -\zkeyindex{metertoks$i$} - -\medskip \rm\noindent which sets the meter to 12/8 for the first (lower) -staff, and \ital{alla breve} for the second staff of the instrument number 2 -(\ital{ii}). Note that there is room for 4 staffs and that void items must be -specified, otherwise \TeX\ weird errors occur. - -\subsection{Instrument names} If you want the \itxem{name of the instrument}s -(or the \itxem{name of the voice}s) to be displayed in front of their -respective staffs at the beginning, you may code: - -\medskip\Bslash def\bslash instrument$r$\{\ital{name of the instrument}\}\% -\zkeyindex{instrument$r$} - -\medskip \noindent\rm where $r$ is the roman numeral of the instrument -considered. In this case, you should also adjust the \keyindex{parindent} -dimension so that the long name of an instrument does not spill too far into -the left margin. - -\subsection{Polyphonic songs} -Except staffs of a unique instrument tied together with a big brace, staffs -normally begin on the left with a thin vertical rule. However, it is usual to -tie all human voices together with a left heavy and right thin vertical rule. -This can be specified (but only once per system) by specifying - -\medskip{\tty\bslash def\keyindex{lowersonginstrum}\{$m$\}} - -{\tty\bslash def\keyindex{uppersonginstrum}\{$n$\}} - -\medskip\noindent where $m$ and $n$ are the intrument numbers of the first -and last choral voices. An example of using this feature is given in -{\tty PRAETORI} and -- more complicated -- also in {\tty ANGESCAM} -and {\tty ANGESCAO}. - -%\check -\section{Starting your masterpiece} -\subsection{Typing the first system} - -Just code - -\medskip\keyindex{debutmorceau} - -\medskip\noindent which will initiate (with indentation \keyindex{parindent}) -the first set of staffs for all instruments you have previously defined. But -that is not sufficient to begin writing notes and silences. In fact, you also -must choose the spacing of the notes. - -\subsection{Easy selecting note spacing} -The easiest way of getting a reasonable note spacing is done by saying - -\medskip\keyindex{normal} - -\medskip This defines an elementary spacing of {\tty 10pt}. If you say -\keyindex{large}\footnote{To avoid problems with the \LaTeX\ -\index{LaTeX=\protect\LaTeX} -macro of the same name, this macro is only activated under \LaTeX\ when -\keyindex{begin\{music\}} is invoked.} the elementary spacing (\keyindex{elemskip}) is set to {\tty -12pt}. Once this is done, you can select $\sqrt 2$ multiples of this value to -select specific note spacing by initiating your note column with {\Bslash -notes} (spacing {\Bslash elemskip}), {\Bslash Notes} (spacing {\tty -1.4\bslash elemskip}), etc. - -The is also a macro named \keyindex{etroit} which yields -narrower\footnote{\ital{Etroit} means \ital{narrow} in French.} spacings but -not increasing in the same way. - -\medskip In practice, the choice of the macro {\Bslash notes}, {\Bslash -Notes}, {\Bslash NOtes}, etc., to initiate of column of notes sets an -internal dimension register, named \keyindex{noteskip} to the given multiple -of \keyindex{elemskip}. Thus, each \itxem{spacing note} (\keyindex{qu}, -\keyindex{qh}, \keyindex{hl}, etc.) will be followed by a spacing of -\keyindex{noteskip}. Then, the advantage of the definition of {\Bslash -elemskip} is that, whenever it is changed, all subsequent {\Bslash noteskip}s -will be updated proportionally so that a simple change of {\Bslash elemskip} -can expand or shrink all consecutive note spacings as a whole. - -If these values of {\Bslash elemskip} are not -fit to your needs, you can also say - -\medskip{\tty\keyindex{normal}\keyindex{elemskip}=15pt} - -\medskip\noindent or revert to the basic note introducing sequence: - -\medskip{\tty\keyindex{vnotes} $q$ \bslash elemskip -\ital{note specifications} \bslash enotes} - -\medskip\noindent where $q$ is a positive integer or decimal number. - -\medskip Of course, if you are sufficiently skilled with \TeX, you can also -compute \keyindex{elemskip} according to the number of bars you want in a -line and the number of notes in each bar. - - -\medskip However, you may also prefer to ask \musictex\ to compute the size -of \keyindex{elemskip} from the current page width (\keyindex{hsize}) after -assuming a constant number of bars of a constant number of beats within each -line\footnote{This does not meet the requirements of contemporaneous music, -but fits very well to baroque and romantic music.}. In this case, you have -better use the \keyindex{autolines} macro, which is described below (see: -\ref{linepagebreak}, ``Line and page breaking''). - -%\check - \section{Note pitch specification} - - Note pitches are usually specified by letters ranging from {\tty a} to {\tty -z} for those which are usually written under the G-clef ({\tty a} corresponds -to the $A$ of nominal frequency 222.5~Hz; the \ital{G} of the G-clef is denoted -{\tty g}). Lower pitch notes are specified using upper case letters ranging -from {\tty A} to {\tty N} (the \ital{F} of the F-clef is denoted {\tty M}, and -{\tty F} is one octave below). -%\check - -\medskip If necessary, a numeric symbol can be used to place a symbol -independently of the active clef. - -\medskip Besides, notes below {\tty A} (i.e. the $A$ of nominal frequency -55.625~Hz), namely the lowest octave of the modern pianos, can only be coded -using the transposition features (see below: \ital{transposition} and -\ital{octaviation}) or in absolute vertical position using numbers. - -\section{Writing notes} - -There are two major kinds of note macros: \begin{enumerate} \item those -which terminate a note/chord stem and are followed by a horizontal spacing of -value \keyindex{noteskip}, - \item those which initiate or extend a note/chord stem and do not cause -horizontal spacing. -\end{enumerate} - -\medskip The first kind is used to type a melody, the second kind is used to -type chords. -%\check - -\subsection{Single (spacing) notes} - -\begin{quote}\begin{description} -\item[\keyindex{wh}~$p$ : ]whole note at pitch $p$. -\item[\keyindex{hu}~$p$ : ]half note at pitch $p$ with stem up. -\item[\keyindex{hl}~$p$ : ]half note at pitch $p$ with stem down. -\item[\keyindex{qu}~$p$ : ]quarter note at pitch $p$ with stem up. -\item[\keyindex{ql}~$p$ : ]quarter note at pitch $p$ with stem down. -\item[\keyindex{cu}~$p$ : ]eighth note\footnote{The {\Bslash c} of this macro - name is taken from the French word {``croche''} which is by the way one - half of the english {``crotchet''}; {\Bslash cc...}, {\Bslash ccc...} - are standing for {``double croche''}, {``triple croche''}, etc.} - at pitch $p$ with stem up. -\item[\keyindex{cl}~$p$ : ]eighth note at pitch $p$ with stem down. -\item[\keyindex{ccu}~$p$ : ]sixteenth note at pitch $p$ with stem up. -\item[\keyindex{ccl}~$p$ : ]sixteenth note at pitch $p$ with stem down. -\item[\keyindex{cccu}~$p$ : ]32-th note at pitch $p$ with stem up. -\item[\keyindex{cccl}~$p$ : ]32-th note at pitch $p$ with stem down. -\item[\keyindex{ccccu}~$p$ : ]64-th note at pitch $p$ with stem up. -\item[\keyindex{ccccl}~$p$ : ]64-th note at pitch $p$ with stem down. -%\check -\end{description}\end{quote} - -\medskip As an example, the sequence: - -\begin{music}\parindent=0pt\def\nbinstruments{1}\def\instrumenti{} - \generalsignature{0}\savesignature\cleftoksi={{0}{0}{0}{0}} - \debutextrait\normal -\notes\cu c\temps\cl j\enotes\barre -\notes\ccu c\temps\ccl j\enotes\barre -\notes\cccu c\temps\cccl j\enotes\barre -\notes\ccccu c\temps\ccccl j\enotes\finextrait -\end{music} - -\medskip \noindent was coded as: - -%\check -\begin{quote}\begin{verbatim} -\notes\cu c\temps\cl j\enotes\barre -\notes\ccu c\temps\ccl j\enotes\barre -\notes\cccu c\temps\cccl j\enotes\barre -\notes\ccccu c\temps\ccccl j\enotes -\end{verbatim}\end{quote} - -\medskip If these notes are preceded by \ital{non-spacing} notes (i.e. -macros \keyindex{zq} or \keyindex{zh}) their stem is extended up or down so -as to join all notes into a single chord. - \subsection{Non-spacing (chord) notes} - -\begin{quote}\begin{description} -\item[\keyindex{zq}~$p$ : ]quarter (or shorter) note head at pitch $p$ with no -spacing after. -\item[\keyindex{zh}~$p$ : ]half note head at pitch $p$ with no spacing after. -\end{description}\end{quote} - -\medskip It must be pointed out that the pitch $p$ of these notes is -memorized so that the stem of the further spacing note will join them into -a chord. This stem top and bottom pitch is \ital{reset} at each spacing -note. - -\medskip \noindent{\sl 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.} - \subsection{Shifted non-spacing (chord) -heads} These symbols are used mainly in chords where \ital{second} intervals -are present. It is the responsibility of the typist to choose which heads -should be shifted left or right. - -\rm\medskip \par\keyindex{rw}~$p$ : whole note head shifted right by one note -width ($\approx$ 6pt), no spacing. - \par\keyindex{lw}~$p$ : whole note head shifted left by one note -width ($\approx$ 6pt), no spacing. - \par\keyindex{rh}~$p$ : half note head shifted right by one note -width ($\approx$ 6pt), no spacing. - \par\keyindex{lh}~$p$ : half note head shifted left by one note -width ($\approx$ 6pt), no spacing. - \par\keyindex{rq}~$p$ : quarter note head shifted right by one note -width ($\approx$ 6pt), no spacing. - \par\keyindex{lq}~$p$ : quarter note head shifted left by -one note width ($\approx$ 6pt), no spacing. - -\medskip Except that they are shifted left of right, these macros act like -{\Bslash z...} macros for stem building. - -\subsection{Shifted notes} - -\begin{quote}\begin{description} - \item[\keyindex{rqu} : ]acts like {\Bslash qu} but the note head is -shifted one note width. This is used for \itxem{chords} with upper note -on the right side of the stem. - \item[\keyindex{rql} : ]same with stem down. - \item[\keyindex{rhu} : ]same as above for a half note, stem up. - \item[\keyindex{rhl} : ]same with stem down. -\end{description}\end{quote} - -In addition on can use the command \keyindex{roff} to offset any note -character by one quarter note head, e.g.: - - \verb|\roff{\zqup h}| - -\noindent which will post a pointed quarter note with stem up, offset by one -quarter note head with respect to its normal abscissa. \verb|\roff{...}| is -heavily recommended instead of \verb|\qsk| if the score is intended to be run -also with \musixtex. - -\subsection{Non-spacing single notes} - -\begin{quote}\begin{description} - \item[\keyindex{zhu} : ]half note with stem up but no spacing. It acts like -{\Bslash hu} for stem building. - \item[\keyindex{zhl} : ]half note with stem down but no spacing. It acts like -\keyindex{hl} for stem building. - \item[\keyindex{zqu} : ]quarter note with stem up but no spacing. It acts like -{\Bslash qu} for stem building. - \item[\keyindex{zql} : ]quarter note with stem down but no spacing. It acts -like {\Bslash ql} for stem building. - \item[\keyindex{zcu} : ]eighth note with stem up but no spacing. It acts like -{\Bslash cu} for stem building. - \item[\keyindex{zcl} : ]eighth note with stem down but no spacing. It acts -like {\Bslash cl} for stem building. - - -\item[\keyindex{lhu}, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql} : ]same -as above, but the whole of the note is shifted one note width on the left. - \item[\keyindex{zw}~$p$ : ]whole note at pitch $p$ with no spacing after. -\item[\keyindex{zwq}~$p$ : ]arbitrary duration note (\raise -2.5pt\hbox{\musicxx\char 125}) at pitch $p$ with no spacing after. -\item[\keyindex{zbv}~$p$ : ]breve note (\raise -2.5pt\hbox{\musicxx\char 36}) at pitch $p$ with no spacing after. -\item[\keyindex{zsb}~$p$ : ]semi-breve note (\raise -2.5pt\hbox{\musicxx\char 32}) at pitch $p$ with no spacing after. -\end{description}\end{quote} - -\subsection{Single (spacing) stemless notes} - - Although not standard in real music scores, one may need to have stemless -quarter and half noteheads posted in the same way as whole notes. This can be -done with the following commands: - -\begin{quote}\begin{description} -\item[\keyindex{nh}~$p$ : ]half notehead at pitch $p$. -\item[\keyindex{nq}~$p$ : ]quarter notehead at pitch $p$. -\end{description}\end{quote} - -\medskip As an example, the sequence: - -\begin{music}\parindent=0pt\def\nbinstruments{1}\def\instrumenti{} - \generalsignature{0}\savesignature\cleftoksi={{0}{0}{0}{0}} - \debutextrait\normal -\notes\nq c\temps\nq j\enotes\barre -\Notes\nh c\temps\nh j\enotes\barre -\notes\nq {cdef}\enotes\finextrait -\end{music} - -\medskip \noindent was coded as: - -%\check -\begin{quote}\begin{verbatim} -\notes\nq c\temps\nq j\enotes\barre -\Notes\nh c\temps\nh j\enotes\barre -\notes\nq {cdef}\enotes\finextrait -\end{verbatim}\end{quote} - - In case of special need, non spacing variants have been provided, namely -\keyindex{znh} and \keyindex{znq}. - -\subsection{Pointed notes} - One simple way of doing consists in putting \keyindex{pt -$p$} to get a \ital{dot} after the normal note head at pitch $p$. Thus a -quarter note with a point can be coded {\Bslash pt h\bslash qu h}. - - -\medskip A simpler way of doing consists in using compact macros, namely: -\keyindex{qup}, \keyindex{qupp}, \keyindex{quppp}, \keyindex{zqp}, -\keyindex{zhp}, \keyindex{zwp} (these three {\Bslash z...p} are useful in -chords), \keyindex{hup}, \keyindex{whp}, \keyindex{qhp}, \keyindex{qhpp}, -\keyindex{qlp}, \keyindex{qlpp}, etc. - - -\medskip You may also introduce pointed notes, especially in groups by coding -a \ital{period} before (not after) the letter representing the pitch: -{\Bslash qu\{.a.\^{}b.c\}} which is equivalent to: - -\medskip -\begin{quote}\begin{verbatim} -\pt{a}\qu{a}\pt{b}\sh{b}\qu{b}\pt{c}\qu{c} -\end{verbatim}\end{quote} - -Finally, pointed nots can also be produced without spacing aftef, using -\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp}, -\keyindex{zcup}, \keyindex{zclp}, and the same with two {\tty p}'s for -double-pointed notes. - -\section{Beams} - - Beams are not automatically handled, but they must be declared explicitely, -\ital{before} the first spacing note involving them is coded. Two kinds of -macros are provided: - -\begin{enumerate} - -\item fixed slope beams have an arbitrary slope chosen by the user in -the range -45\% to +45\% (by multiples of 5\%); - -\item semi-automatic beams have their slope computed knowing the number -of \keyindex{noteskip} over which they are supposed to extend, and knowing the -initial and final pitch of the notes they are supposed to link. - -\end{enumerate} - -\subsection{Fixed slope beams} - -\begin{quote}\begin{description} -\item[\keyindex{ibu}~$nps$ : ]initiates an \ital{upper beam} 3 horizontal -line spacings above the pitch $p$~; $m$ is its reference number, which must be -in the range [0-5] ([0-9] if {\tty musicadd} file has been {\Bslash -input}); -$s$ is the slope of the beam. - -\end{description}\end{quote} - - $s$ is an integer in the range [-9,9]. -$s=1$ means a slope of 5\%, $s=9$ means a slope of 45\% (the maximum with the -{\tty beamn20} or {\tty beamn16} fonts), $s=-3$ means a slope of -15\%, etc. -With usual spacings a slope of 2 or 3 is fit for ascending scales. A slope of -6 to 9 is fit for ascending arpeggios. - -\begin{quote}\begin{description} - -\item[\keyindex{ibl}~$nps$ : ]initiates a \ital{lower beam} 3 horizontal line -spacings below the pitch $p$. Other parameters as above. - - -\item[\keyindex{ibbu}~$nps$ : ]initiates a \ital{double upper beam} (same -parameter meaning). - \item[\keyindex{ibbl}~$nps$ : ]initiates a \ital{double lower beam} (same -parameter meaning). - \item[\keyindex{ibbbu}~$nps$ : ]initiates a \ital{triple upper beam} (same -parameter meaning). - \item[\keyindex{ibbbl}~$nps$ : ]initiates a \ital{triple lower beam} (same -parameter meaning). - \item[\keyindex{ibbbbu}~$nps$ : ]initiates a \ital{quadruple upper beam} (same -parameter meaning). - \item[\keyindex{ibbbbl}~$nps$ : ]initiates a \ital{quadruple lower beam} (same -parameter meaning). - \item[\keyindex{ibbbbbu}~$nps$ : ]initiates a \ital{quintuple upper beam} (same -parameter meaning). - \item[\keyindex{ibbbbbl}~$nps$ : ]initiates a \ital{quintuple lower beam} (same -parameter meaning). -\end{description}\end{quote} - -\medskip Beam termination is also not automatic. The termination of a given -beam must be explicitely declared \ital{before} coding the last spacing note -connected to that beam. - -\begin{quote}\begin{description} -\item[\keyindex{tbu}~$n$ : ]terminates upper beam number $n$ at current -position. \item[\keyindex{tbl}~$n$ : ]terminates lower beam number $n$ at -current position. -\end{description}\end{quote} - -\medskip\keyindex{tbu} and \keyindex{tbl} terminate beams of any -multiplicity. Therefore 32-th notes hanging on a triple beam are initiated by -\keyindex{ibbbu}~$nps$ and terminated by \keyindex{tbu}~$n$. - -\medskip It is also possible to code beams whose multiplicity is not the same -at the beginning. The multiplicity can be increased at any position. For -instance, \keyindex{nbbu}~$n$ which sets the multiplicity of upper beam -number $n$ to 2 starting at the current position, \keyindex{nbbbu}~$n$ sets -its multiplicity to 3, \keyindex{nbbbbu}~$n$ sets its multiplicity to 4, and -\keyindex{nbbbbbu}~$n$ sets it to 5. \keyindex{nbbl}~$n$ \dots -\keyindex{nbbbbbl}~$n$ perform the same functions for lower beams. - -\medskip Notes hanging or standing on beams are coded in the form -{\Bslash qh$n\,\,p$} and {\Bslash qb$n\,\,p$} where $n$ is the beam number and $p$ -the pitch of the note head. \musictex\ adjusts the length of the note stem to -link the bottom of the chord to an upper beam (normally with \keyindex{qh}) and -the top of the chord to a lower beam (normally with \keyindex{qb}). - -\medskip Note that the difference between upper and lower beams does not -mainly consist in the beam being above or below the note heads; rather, it -specifies whether the abscissa of the beginning and the end of this beam is -aligned on the right (upper beam) or on the left (lower) beam. Thus, the -sequence: - -\begin{music} -\def\nbinstruments{1}\nbporteesi=1\relax -\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures\debutextrait -\large\temps -\notes\ibu0h0\qh0e\nbbu0\qh0e\nbbbu0\qh0e\nbbbu0\relax -\qh0e\nbbbbu0\qh0e\nbbbbbu0\qh0e\tbu0\qh0e\enotes -\finextrait -\end{music} - -%\check -\noindent has been coded as -\begin{quote}\begin{verbatim} -\notes\ibu0h0\qh0e\nbbu0\qh0e\nbbbu0\qh0e\nbbbu0\relax -\qh0e\nbbbbu0\qh0e\nbbbbbu0\qh0e\tbu0\qh0e\enotes -\end{verbatim}\end{quote} -%\check - - \rm It is quite possible to terminate with \keyindex{tbu} a beam initiated -with \keyindex{ibl}. This may give: - - -\begin{music} -\def\nbinstruments{1}\nbporteesi=1\relax -\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures\debutextrait -\large\temps -\notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qh0e\enotes -\finextrait -\end{music} - -%\check -\noindent which has been coded as - -\begin{quote}\begin{verbatim} -\notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qh0e\enotes -\end{verbatim}\end{quote} -%\check - \rm Partial termination of beams is also possible, by using \keyindex{tbbu} -or \keyindex{tbbl}~: these macros terminate the current beam except that of -order 1 (eighths). \keyindex{tbbbu} or \keyindex{tbbbl} terminate the current -beam except those of order 1 and 2, etc. - - -\medskip -The macros \keyindex{tbbu} and \keyindex{tbbl} may also be invoked when only -a single beam is active. Then, a second beam (upper or lower according -the initiating procedure) is opened \ital{one note width before -the current position, and closed immediately}. Thus the following sequence - -\begin{music} -\def\nbinstruments{1}\nbporteesi=1\relax -\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures\debutextrait -\large \temps -\notes\ibu0e0\qh0e\tbbu0\tbu0\qh0e\enotes -\finextrait -\end{music} - -\medskip\noindent is coded: - -\medskip -\begin{quote}\begin{verbatim} -\notes\ibu0e0\qh0e\tbbu0\tbu0\qh0e\enotes -\end{verbatim}\end{quote} - -%\check - -\rm \medskip The same behaviour occurs in the case of \keyindex{tbbbu}, -\keyindex{tbbbl}, \keyindex{tbbbbu}, \keyindex{tbbbbl}, \keyindex{tbbbbbu} -and \keyindex{tbbbbbl}. - -\medskip The symmetrical pattern is also possible. For example: - -\begin{music}\def\nbinstruments{1}\nbporteesi=1\relax -\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures -\debutextrait\normal -\Notes\ibbl0j0\rlap{\qsk\tbbl0}\qb0j\tbl0\qb0j\enotes -\finextrait -\end{music} - -\noindent has been coded as: - -\medskip -\begin{quote}\begin{verbatim} -\Notes\ibbl0j0\rlap{\qsk\tbbl0}\qb0j\tbl0\qb0j\enotes -\end{verbatim}\end{quote} - - -\medskip \noindent{\sl REMARK: these codings may seem complicated. In fact, -it is the responsibility of the user to define macros which perform the most -common sequences in his masterpiece. For example, one could define sets of -four sixteenths by the macro:} - -\medskip{\Bslash def\bslash qqh\#1\#2\#3\#4\#5\{\% - -\bslash ibbl0\#2\#1\bslash qh \#2\bslash qh \#3\bslash tbl0\bslash qh \#4\}} - -\medskip\noindent{\sl -where the first argument is the slope and the other four arguments are the -pitches of the four consecutive sixteenths wanted.} - %\check -\subsection{Repeated pattern beams}\index{repeated patterns} - Note heads hanging on beams are not necessarily quarter (or higher order) -note heads. It is possible to hang half note heads on beams using -\keyindex{hh} and \keyindex{hb} macros, e.g.: - -\begin{music}\def\nbinstruments{1}\nbporteesi=1\relax -\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures -\debutextrait\normal -\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes -\Notes\ibbu0g0\hh0g\tbu0\hh0g\enotes -\finextrait -\end{music} - -\noindent has been coded as: - -\medskip -\begin{quote}\begin{verbatim} -\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes -\Notes\ibbu0g0\hh0g\tbu0\hh0g\enotes -\end{verbatim}\end{quote} - -It is also possible to write - -\begin{music}\def\nbinstruments{1}\nbporteesi=1\relax -\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures -\debutextrait\normal -\Notes\ibbl0j3\wh j\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\wh i\enotes -\finextrait -\end{music} - -\noindent which was coded as: - -\medskip -\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 However, a better look could be obtained in a more sophisticated -way\footnote{You are suggested to make your own macro if you have to type many -of these.}: - -\begin{music}\def\nbinstruments{1}\nbporteesi=1\relax -\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures -\debutextrait\normal -\Notes\zw j\qsk\ibbl0j3\sk\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\qsk\wh i\enotes -\finextrait -\end{music} - -\noindent which was simply coded as: - -\medskip -\begin{quote}\begin{verbatim} -\Notes\zw j\qsk\ibbl0j3\sk\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\qsk\wh i\enotes -\end{verbatim}\end{quote} - - -\subsection{Semi-automatic beams} - In order to avoid tedious checks to adjust the slope (and even the starting -pitch) of beams in music with a lot of steep beams, a set of automatically -slope computing has recently been implemented (file {\tty musicvbm.tex}). If -you say {\Bslash Ibu2gj3} \musictex\ will understand that you want to -build an upper beam (beam number 2) horizontally extending \hbox{3\Bslash -noteskip}, the first note of which is a {\tty g} and the last note is a{\tty j}. -Knowing these parameters it will choose the highest slope number which -corresponds to a slope not more than $(\hbox{\tty j}-\hbox{\tty -g})/(3\keyindex{noteskip})$. Moreover, if there is no sufficiently steep beam -slope available, then it will raise the starting point. - - -\medskip Ten such macros are available: \keyindex{Ibu}, \keyindex{Ibbu}, -\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibbbbbu}, \keyindex{Ibl}, -\keyindex{Ibbl}, \keyindex{Ibbbl}, \keyindex{Ibbbbl} and \keyindex{Ibbbbbl}. -Examples of their use is given in {\tty marcello.tex}. - -\par\penalty -8000 -\rm - \section{Rests} - - Except that difference that they have no specific pitch, rests are coded in a -very simple way. - -\subsection{ordinary rests} - - Full bar rests (also called ``pauses'') are coded as \keyindex{pause}; -smaller rests are \keyindex{hpause} (of duration equal to a \ital{half -note}), \keyindex{soupir} (duration equal to a \ital{quarter note}), -\keyindex{dsoupir} (duration equal to an \ital{eighth note}, also -\keyindex{ds}), \keyindex{quartsoupir} (duration equal to an -\ital{sixteenth note}, also \keyindex{qs}), \keyindex{huitsoupir} (duration -equal to an \ital{thirtysecond note}, also \keyindex{hs}), -\keyindex{seizsoupir} (duration equal to an \ital{sixty fourth note}, also -\keyindex{qqs}). - - Long rests (lasting several bars) can be coded as \keyindex{PAuse} -and \keyindex{PAUSe}, which respectively yield: - - \begin{music} -\def\nbinstruments{1}\relax -\computewidths -\generalmeter{\meterfrac{4}{4}}\relax -\debutextrait -\normal\elemskip=0.115\hsize -\temps\Notes\sk\PAuse\enotes -\barre\Notes\sk\PAUSe\enotes -\finextrait - \end{music} - -\subsection{Lifted rests} - All the previous rests are \ital{hboxes}; this means that they -can be vertically offset to meet polyphonic music requirements using the -standard \TeX\ command \keyindex{raise}. - - In addition, two symbols have been provided to put a \itxem{full rest} or a -\itxem{half rest} above or below the staff. Then the ordinary \verb|\pause| or -\verb|\hpause| cannot be used since there is a need for small horizontal line -to distinguish between the full and the half rest. They are~: - \begin{itemize} - \item \keyindex{expause}~$p$ (spacing) for \hbox to 1.5em{\hss\expause 1\hss} -at pitch position $p$, - \item \keyindex{exhpause}~$p$ (spacing) for \hbox to 1.5em{\hss\exhpause 1\hss}, - \item \keyindex{zexpause}~$p$ (non spacing) for \hbox to 1.5em{\hss\zexpause 1\hss}, - \item \keyindex{zexhpause}~$p$ (non spacing) for \hbox to -1.5em{\hss\zexhpause 1\hss}. - \end{itemize} - - \section{Phantom notes} - -It may be interesting, when coding a sequence of notes within a unique pair -{\Bslash notes...\bslash enotes}, to skip one note place in order -- for -example -- to set the third note of one staff at the same abscissa as that of -the second note of another staff. This can be done by inserting \keyindex{sk} -which causes a spacing of one \keyindex{noteskip}\footnote{Do not use -\keyindex{kern} nor \keyindex{hskip}~: in fact \keyindex{sk} not only causes -a space but also records that space for correct handling of beams.}. - -\medskip If you just want to shift a note or a symbol by one note head width, -you may write \keyindex{qsk}. However, if you want to offset a note by one -note head width in a chord, you have better use the \keyindex{roff} -macro\footnote{The reason for that pertains to \ixem{\musixtex} which might -dilate or shrink the {\bslash \qsk} spacing while the {\bslash roff} offset is -absolute.}. - -\medskip Note that these two latter macros must be used inside a pair {\tty -\bslash notes...\bslash enotes}. If you want to make a spacing of one note -head width outside, write \keyindex{nspace}. Conversely, a more general -spacing is allowed within the {\Bslash notes...\bslash enotes} pairs, namely: - -\medskip{\tty\keyindex{off} $d$} - -\medskip\noindent where $d$ is any \TeX\ valid dimension, for example -{\Bslash noteskip} or {\tty 5\bslash Interligne}. In fact, if you look to the -\musictex\ source, you will find that {\Bslash off} is the basic control -sequence used to define \keyindex{sk}, \keyindex{qsk}, etc. - - -\section{Collective coding: sequences of notes} - - -As seen in the {\sc Mozart} example, it is not necessary to write a macro -sequence {\Bslash notes...\bslash enotes} for each column. If, on all -staffs of all instruments, spacings are equal or multiple of a unique value, -the notes may be concatenated in each staff: each note in each staff makes -the current position horizontally advance by the elementary spacing specified -by the choice of {\Bslash notes}, {\Bslash Notes}, {\Bslash -NOtes}, etc. - -%\check - - - -\medskip The major interest of this feature resides in that fact that -the note macros are able to write several items; for instance -{\Bslash qu\{cdefghij\}} writes the \ital{C-major} scale in quarters with -stem up. In the same way {\Bslash cl\{abcdef\^{ }gh\}} writes the -\ital{A-minor} scale in eighths. Not all note generating macros can be used -to perform collective coding, but most of them can. They are: - -\begin{itemize} \item all the spacing notes: \keyindex{wh}, \keyindex{hu}, -\keyindex{hl}... \keyindex{ccccl} and the beam hooked notes, i.e. -\keyindex{qh}$n$ and \keyindex{qb}$n$. \item all the chord notes with names -of the form {\Bslash z...}. \end{itemize} - - Conversely, shifted notes are not supposed to be used in collective coding, -mainly because they are used in very special cases which do not deserve -wasting memory space to make them collective. - -\medskip If necessary a void space can be inserted in a collective coding by -using {\tty*}\index{*}. - - -%\check -\section{Accidentals} - - -Accidentals can be introduced in two ways. - -\medskip The first way, the \ital{manual} way of coding them, consists for -example in coding {\tty\keyindex{fl} a} to put a \ital{flat} at the pitch $a$, -supposedly before the further note of that pitch. There is no control upon -the fact that a note will be put at this position and at this pitch. -Naturals, sharps, double flats and double sharps are coded \keyindex{na}~$p$, -\keyindex{sh}~$p$, \keyindex{dfl}~$p$ and \keyindex{dsh}~$p$ respectively. - -\medskip -Alternate procedures \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh}, -\keyindex{ldfl} and \keyindex{ldsh} -place the same accidentals, but their abscissa is shifted one note head width -on the left. The purpose of this is to avoid collision of accidentals -in a chord with narrow intervals. - -\medskip -%\check - The second way of coding accidentals consists in putting the symbol {\tty -\^{ }} (sharp), the symbol {\tty\_} (flat), the symbol {\tty=} (natural), the -symbol {\tty>\relax} (double sharp), or the symbol {\tty<\relax} (double -flat) within the coding of the note, e.g.: {\Bslash qh\{\^{ }g\}} yields a -$G\sharp$. This may very well be combined with collective coding, e.g.: -{\Bslash qu\{ac\^{ }d\}}. - - -\medskip Two sizes are available for accidentals. They revert to the small -version when notes are supposed to be too close to each other. These two -sizes can be forces by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or -\keyindex{smallfl}, \keyindex{smallsh}, etc. If one does not want to have any -small accidentals, then one can declare \keyindex{bigaccid} (conversely -\keyindex{smallaccid} or \keyindex{varaccid} -- the latter restoring variable -sizes). - - -\medskip Small accidentals can also be put \ital{above} the note -heads. This is done using \keyindex{uppersh}~$p$, \keyindex{upperna}~$p$ or -\keyindex{upperfl}~$p$: - - \begin{music} -\def\nbinstruments{1}\relax -\computewidths -\debutextrait -\normal -\temps\NOtes\sk\uppersh l\ql l\enotes -\temps\NOtes\upperna m\ql m\enotes -\temps\NOtes\upperfl l\ql l\enotes -\finextrait - \end{music} - - It also possible to introduce \ital{\ixem{cautionary accidental}s} on a -score, i.e.\ small size accidentals between parentheses. This done by preceding -the name of the accidental keyword by a {\tty c}, e.g. -by coding {\tty\keyindex{cfl}}$p$ to get a cautionary flat. - Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl}, \keyindex{cna}, -\keyindex{cdfl} and \keyindex{cdsh}, which give: - - \begin{music} -\def\nbinstruments{1}\relax -\computewidths -\debutextrait -\normal -\temps\NOtes\sk\csh g\qu g\enotes -\temps\NOtes\cfl h\qu h\enotes -\temps\NOtes\cna i\qu i\enotes -\temps\NOtes\cdfl j\qu j\enotes -\temps\NOtes\cdsh k\qu k\enotes -\finextrait - \end{music} - - Since cautionary accidentals are wider -that normal ones, it might be useful to insert some spacing before them, either -using \keyindex{temps} or a \keyindex{sk} within a {\Bslash notes...\bslash -enotes} group. - - - \section{Transposition and octaviation} - - -An important feature is the existence of a special register -\keyindex{transpose} the normal value of which is 0. If you say - -\medskip -{\Bslash transpose=3} - -\medskip\rm\noindent all subsequent pitches specified by -upper or lower case letters will be transposed 3 positions. If you set -\keyindex{transpose} to 7 you may write your music one octave below its final -pitch. Thus, you can define \ital{octaviation} macros like -%\check - -\medskip -\Bslash def\bslash soqu\#1\{\bslash zq\{\#1\}\{\bslash transpose=7\bslash relax -\bslash qu\{\#1\}\}\} - -\medskip\rm\noindent to build quarter note octaves in a single call. Note -that the octaviated note is coded within braces so that the transposition -is only local. -%\check - - -\medskip - \ital{Octaviation}\index{octaviation} can also be performed in is another -way, namely unsing special codes to transpose by multiples of 7 intervals. -For example {\Bslash qu\{'ab\}} is equivalent to {\Bslash qu\{hi\}} and -{\Bslash qu\{\`{}kl\}} is equivalent to {\Bslash qu\{de\}}. It should be -emphasized here that the {\tty'} (\itxem{acute accent}) and the {\tty\`{}} -(\itxem{grave accent}) have cumulative effects, so that {\Bslash qu\{''A'A\}} -is equivalent to {\Bslash qu\{ah\}} and that the {\Bslash transpose} -parameter is only reset to its initial value (not necessarily zero) when -changing staff or instrument (i.e. {\tty \|} or {\tty \&}) or at {\Bslash -enotes}. Since this may be confusing, it is useful to use the {\tty !} prefix -to reset the {\Bslash transpose} register explicitely to the value it had -when entering {\Bslash notes}\footnote{This value is saved in another -register named \keyindex{normaltranspose}.}. Thus {\Bslash qu\{!a'a\}} always -gives the note {\tty a} and its upper octave {\tty h} \ital{shifted by the -value of {\Bslash transpose} at the beginning of the current} \noindent -{\Bslash notes...\bslash enotes} group (or {\Bslash Notes...\bslash enotes}, -etc.) whatever the number of previous grave and acute accents occurring -inbetween. - -\medskip - The above processes indeed change the vertical position of the note heads -and associated symbols (note stems, accents and beams) but they do not -take care of the necessary changes of accidentals when transposing, i.e. the -fact that an $F\sharp$ occurring with a zero signature should become a -$B\natural$ when transposing from the tonality of $C$ major to $F$ major where -the normal $B$ is the $B\flat$. Since the intent of the composer is not -obvious -- he may want to shift a group of notes within the same tonality -or conversely to transpose it in another tonality -- this is not done -automatically. Thus the \keyindex{sh}, \keyindex{fl}, \keyindex{na}, \keyindex{dsh} and -\keyindex{dfl} symbols \ital{are not affected} by a change of the \keyindex{transpose} -register. - - -\medskip - But the composer/typesetter may ask \musictex\ to do that work. In this -case, he should code \keyindex{Sh}, \keyindex{Fl}, \keyindex{Na}, -\keyindex{dSh} and \keyindex{dFl} (or \keyindex{bigSh}, \keyindex{bigFl}, -\keyindex{bigNa}, \keyindex{bigdSh} and \keyindex{bigdFl} or -\keyindex{smallSh}, \keyindex{smallFl}, \keyindex{smallNa}, -\keyindex{smalldSh}, \keyindex{smalldFl}, \keyindex{cSh}, \keyindex{cFl}, -\keyindex{cNa}, \keyindex{cdSh} and \keyindex{cdFl}) instead of the usual -lower case accidental symbols. The symbol \keyindex{Sh} (resp. -\keyindex{bigSh} and \keyindex{smallSh}) means that the corresponding pitch -has to be raised by \ital{one half pitch} with respect to its normal value -\ital{according to the current signature}. Thus {\Bslash Sh b} means a -$B\sharp$ if the signature is zero or positive, and a $B\natural$ if it is -negative. The same logic applies for all accidentals having an upper case -forelast letter. - - -\medskip - Obviously, the computation is done after taking account of the value of -the \keyindex{transpose} register. - - -\medskip The compact codes {\tty \^{}}, {\tty \_}, {\tty =} are normally not -affected by transposition and signatures, but their behaviour can be changed -by saying \keyindex{relativeaccidentals} and reset by -\keyindex{absoluteaccidentals} (the default situation). - -%\check - - -\medskip Although \ital{relative accidental coding} is an easy and safe way -of coding \ital{transposable} scores, care should be exercised in getting rid -of the habit of saying {\Bslash na b} to rise the pitch of a $B$ when the -tonality is $F$ major (i.e. with {\tty\keyindex{sign$n$}=-1} or -{\tty\keyindex{generalsignature}\{-1\}}). An example of sophisticated -transposition is given in the score {\tty souvenir.tex} (which {\Bslash -input}s {\tty souvenix.tex}). It should be noted that \ital{relative accidental -coding} is compatible with \itxem{cautionary accidental} coding: in this -case, one should code \keyindex{cNa}, \keyindex{cSh}, \keyindex{cFl}, -\keyindex{cdSh}, \keyindex{cdFl} respectively. - -\medskip - Besides, the typical piano octave transposition \hbox{\sl 8 - - - - - } can -be obtained by coding: - -%\check -\medskip \keyindex{octfin} $p$ $n$ - -\medskip\noindent which puts the 8 and dotted line symbols at the pitch $p$ -(usually {\tty p} to {\tty r}). The length is $n$\keyindex{noteskip}. This -obviously fit for short octaviation denotations. To transpose a whole line, -use \keyindex{octline}~$p$. Since \keyindex{octfin} terminates with a small -hook down, to indicate clearly where octaviation stops, you may also like to -use \keyindex{octsup} which behaves like \keyindex{octfin} without the final -hook. All this supposes you have an idea of the actual line breaking of your -score in that section, and this is admittedly difficult to handle when octave -transposition is supposed to long a large number of lines. In that latter -case, you can use the {\Bslash def\keyindex{everystaff}\{...\}} to insert -whatever code you like at each new line of score. This has been used to set -octaviation in the score of the \ital{Toccata in F} by Charles-Marie -\index{Widor, C.-M.}{\sc Widor}\footnote{A French organist (1844-1937) and -composer who was in charge of the organ of St-Sulpice in Paris, from 1864 to -1934.}: at each bar (or virtual bar, namely \keyindex{zbarre}), the {\Bslash -everystaff} procedure is updated to produce the convenient code, in case of -the line breaking happening before the next definition. -%\check - - \section{Ties and slurs} - - They have been implemented in a way which may look -rather ugly, but we think it is the only way of implementing \ital{in one -pass} ties and slurs which run \ital{across glue}. - - -\medskip Slurs and ties must be initiated within the pair {\Bslash -notes...\bslash notes} before the spacing note is coded. They must be -terminated also before the last note is coded. - - -\medskip\keyindex{itenu}~$np$ - - -\medskip\noindent\rm (\ital{ten} stands for the Italian word \ital{tenuto}) -initiates an upper tie (convex) at pitch $p$. Just like beams, ties have a -reference number $n$, from 0 to 6 (or 9 if {\tty musicadd} is included). -\keyindex{itenl}~$np$ initiates a lower tie (concave). - - -\medskip The tie of reference number $n$ is terminated by -\keyindex{tten}~$n$. - - -\medskip Slurs are initiated with \keyindex{ilegu}~$np$ and -\keyindex{ilegl}~$np$, where \ital{leg} stands for the Italian word -\ital{legato}, and they are terminated with \keyindex{tleg}~$n$. Except that -slurs start before the note position and stop after, ties and slurs work the -same way with the same syntax. They also share the same registers so that -slurs nesting tied notes should have numbers $n$ distinct from each other. -\subsection{Standard and nicer slurs} - -\medskip Since version 4.7, beginnings and ends of slurs are produced using -a special font ({\tty slurn16} or {\tty slurn20}) rather than using \TeX\ -bracing tokens from {\tty cmex10}. Thus the bending of slurs is now nicer and, -moreover, several slur sizes are available. For example: - -\begin{music} -\def\nbinstruments{1}\relax -\computewidths -\debutextrait -\normal -\temps\NOtes\Ilegu0l\qu g\enotes -\NOtes\qu h\enotes -\NOtes\ql i\enotes -\NOtes\tleg0\ql j\enotes -\finextrait - \end{music} - -\noindent has been coded using \keyindex{Ilegu} rather than \keyindex{ilegu} -(resp.\ using \keyindex{Ilegl} rather than \keyindex{ilegl} if a lower slur -is wanted), namely: - -\begin{quote}\begin{verbatim} -\NOtes\Ilegu0l\qu g\enotes -\NOtes\qu h\enotes -\NOtes\ql i\enotes -\NOtes\tleg0\ql j\enotes -\end{verbatim}\end{quote} - - It should to be noted that, as a standard, \itxem{ties} still use the \TeX\ -bracing symbols; this is mainly done to avoid visibility problems with ties -occurring in the middle of staffs, i.e. in a situation where tie lines could -overlap and be confused with staff lines. But the \musictex\ user can request -using special slur fonts by coding \keyindex{Itenu} or \keyindex{Itenl} -instead of \keyindex{itenu} or \keyindex{itenl}. Even more, big symbol ties -are available using \keyindex{ITenu} or \keyindex{ITenl}. - -\medskip As a standard, only two slur and tie symbol sizes are referred by -\musictex\ macros, but a quick look into {\tty musicnft.tex} show that these -definitions explicitely refer to a character number of the slur font: - -\begin{quote}\begin{verbatim} -\def\ITenu#1{\selecttenue{#1}\I@tenu{70}}% -\def\Ilegu#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width -\I@tenu{70}{#2}}}% -\def\Itenu#1{\selecttenue{#1}\I@tenu{66}}% -\def\ilegu#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width -\I@tenu{66}{#2}}}% -\end{verbatim}\end{quote} - - Then the \musictex\ user can, for his own special needs, define new macros -using other character codes in the range 64--79, knowing that each character -of this range is one point longer than the previous one. - -\subsection{Problem with large slur ends} - -Due to spacing problems, it may happen that the end of an \keyindex{Ilegu} or -\keyindex{Ilegl} makses some ugly overlap between the currrent slur -horizontal rule and the ending symbol itself. This is due to the ending -symbol being so long that it overlaps the end of the horizontal rule. The -easiest way of removing that slight trouble consists in replacing --- for -example --- {\tty\keyindex{tleg}0} with the more sophisticated commands~: - -\medskip\verb|\rlap{\qsk\tleg0}| - -\medskip\noindent which delays the position of the closing slur symbol by a -space equal to the note head width. - -\subsection{Weird slurs and ties} - -In some special cases, usually in romantic music, one may want to invert the -sense of a slur, linking for example a keyboard phrase beginning at the left -hand and ending at the right hand. Thus, the slur of number $n$ (a numeric -vamue, not a roman numeral) can be inverted -by - -\medskip\keyindex{Invertslur} $n$ - -\medskip Besides, for some good reason, one may want to raise a slur at the -next line. This is done by - -\medskip\verb|\def\atnextline{|\keyindex{liftslur} $n$\verb|{| -\ital{dimension} \verb|}}| - -\medskip\noindent which will lift the slur number $n$ by the given amount at -the next line change. Of course, \keyindex{liftslur} could be called in the middle -of a line, but the result would be rather ugly. - -These two features are used at bars number 131--132 of examples {\tty -PACIFIQB} and {\tty PACIFIQN}. - -\subsection{Refined slurs for clever typesetters} - In addition to the previous extension and improvement of existing features, -long nice horizontal slurs are also available, but they can be used only with -two restrictions: - -\begin{itemize} - -\item They are not managed when \itxem{glue} is inserted, especially by -\keyindex{temps} and \keyindex{barre}; - -\item They cannot be cut at line breaking. - -\end{itemize} - - Thus, their use is recommended only for nice slurs extending a few bars and -not supposed to occur across lines. With this restrictions, - -\begin{music} -\def\nbinstruments{1}\relax -\computewidths -\debutextrait -\normal -\temps\NOtes\zcharnote l{\huslur{3.5\noteskip}}\qu g\enotes -\NOtes\qu h\enotes -\NOtes\ql i\enotes -\NOtes\ql j\enotes -\finextrait -\end{music} - -\noindent has been obtained by coding: - -\begin{quote}\begin{verbatim} -\NOtes\zcharnote l{\huslur{3.5\noteskip}}\qu g\enotes -\NOtes\qu h\enotes -\NOtes\ql i\enotes -\NOtes\ql j\enotes -\end{verbatim}\end{quote} - -However, the best solution is now to use \ixem{\musixtex} which systematically -makes beautiful slurs, at the cost of a three pass system instead of one... - -\section{Bars} - -\subsection{Bars and spacing} - - - Ordinary \ital{bars} a coded using the macro \keyindex{barre} (this is a -French word\footnote{Whose advantage is that it differs from {\Bslash -bar} which is already defined in \TeX.}). This macro provides an optional -(discretionary) line or page break\footnote{Unless it is triggered according -to bar counting when \keyindex{autolines} has been invoked.}. It also -provides some \ital{glue} in order to expand the text over an evenly filled -line. - - -\medskip However, since the number of bars in a score line is generally -small, it may be convenient to allow \ital{glue} not only on each sides of -\ital{bars}. This can be done using the macro \keyindex{temps} (the -French word for \ital{beat}). This macro has two effects: - -\begin{enumerate} - \item it inserts some \ital{glue} but prevents line breaking\footnote{This -could unpleasantly occur if you insert a space...}, - \item if some ties or slurs are pending it expands them across the glue by -writing an \keyindex{hrule} which overlaps the unfinished tie and makes it -look prolongated. - \end{enumerate} - - -\medskip - Whatever the care you exercize in adjusting the size of the -\keyindex{elemskip}, you are still likely to find some broken ties (which -indicate excessive glue disassembling the gliding tie \keyindex{hrule}s) or -some unexpected (and unwanted) line breaks or some Over[aw]full -\keyindex{hbox}es. A useful means of estimating the remaining space to be -filled with glue consists in declaring \keyindex{raggedlinestrue}~: after -that, an \keyindex{hfil} will be inserted by \musictex\ before each computed -(when using \keyindex{autolines}) or forced line break. Thus, all the musical -text will be packed on the left of the line and you will clearly see the -amount of remaining space. Then, it will be up to you do decide changing some -spacing parameters. - - -\medskip\noindent{\bf Important: \sl do not use \keyindex{temps} when -\ital{beams} are pending, otherwise their spatial synchronization would fail. - In other words, ties and slurs can jump over glue (because horizontal rules -may overlap and thus have some elasticity) but beams (as well as any oblique -lines) cannot.} - -\subsection{Bar numbering} -\rm Unless otherwise specified, \index{bar numbering}bars are -numbered. This is a good means of finding errors provided that the Music\TeX\ -user has put comments in his source text recording the (expected) bar number. -However, this can look unpleasant for final outputs, since the habit is to -number bars only each other five or ten bars. This is not a serious problem -since the frequency of bar numbering is defined as: - -\medskip{\Bslash def\keyindex{freqbarno}\{1\}} - -\medskip -If you replace the {\tty 1} by {\tty 5}, bar numbering will occur each other five -bars. You can also inhibit any bar number printing by telling: - -\medskip{\Bslash def\bslash wbarno\{\}} - -\medskip\noindent or, in a more clever way: - -\medskip{\Bslash def\bslash freqbarno\{9999\}}. - -\medskip The bar counter is also accessible, its name is \keyindex{barno}. -This has nothing to do the the bar counting invoked by \keyindex{autolines}, -so you can change it without any dramatic consequence. - -\subsection{Full and instrument divided bars} - Normally, bars (as well as double bars, final bars and repeat bars) are -drawn as a continuous line, starting for the bottom of the lower staff of the -lower instrument, and ending at the top of the upper staff of the upper -instrument. However, one may want to have discontinuous bars, that is, one -continuous bar for all the staffs of a unique instrument. This is done by -issuing the command \keyindex{sepbarrules}. An example of this is given in the -{\tty ANGESCAO} (or {\tty ANGESCAM}) example; it has also been used in the -example of section \ref{avemaria}. - - The initial situation can be forced or restored by -\keyindex{stdbarrules}. - -\section{Line and page breaking}\label{linepagebreak} - - -Bars provide a line breaking mechanism which is supposed to enable \TeX\ -to break a full score into lines and pages, with an optimal distribution -of the text into lines and pages. Unfortunately, this does not work -correctly for scores of more that approximately one page. The reason is -that \TeX\ must compile the entire contents of a paragraph, before it -tries to break it into lines and pages. Therefore, one cannot rely on \TeX\ -to make that work which automatically results in the diagnostic {\tty TeX -capacity exceeded, memory...}. -%\check - - -\medskip To circumvent this dramatically restrictive capacity\footnote{\TeX\ -has been designed to type text, not music.} unless you use some -Big\TeX\footnote{Whose drawback is that it is very slow on ordinary PCs.} -another mechanism must be invoked to break lines.\index{Big\protect\TeX} - - -\medskip The first one is the manual one: you replace some of the {\Bslash -barre} macro calls by either \keyindex{alaligne} (equivalent to -\keyindex{break} within text: in fact it contains a \keyindex{break} plus -some (many) other things). In the same way, you can code {\Bslash alapage} to -force an \keyindex{eject} with proper reinitialization of staffs, clefs and -signatures. - - -\medskip The second one is fit for scores with -bars of regular length: after \keyindex{debutmorceau}, you code the -following macro: - - -\medskip\Bslash autolines $tml$ - -\medskip\noindent\rm where $t$ is the number of \ital{elementary spacings} -(the length of {\Bslash notes...\bslash enotes}) in an average bar, $m$ is -the number of bars you wish in a line and $l$ is the number of lines you wish -in a page\footnote{After having coded nearly one hundred of pages of music, I -strongly recommend the use of \keyindex{autolines} except when inserting -short excerpts of less than one line, such as in musicographic books.}. - -\medskip This sets some parameters, namely \keyindex{maxbarsinline} and -\keyindex{maxlinesinpage} which are simply used to count the bars, optionally -perform \keyindex{alaligne} or \keyindex{alapage} instead of the normal -\keyindex{barre}. You may freely alter the values of these parameters, once -they have been established by \keyindex{autolines}. Moreover, you can still -force line breaking of page ejection using {\Bslash alaligne} or -\keyindex{alapage} without problem since these macros actually reset the bar -counters appropriately. - - -\medskip On the other hand, you may want to forbid line breaking at a bar, -then you replace {\Bslash barre} by \keyindex{xbarre}. - - -\medskip Conversely, you may want to -break a line \ital{not at a bar}\footnote{For example, you may prefer to turn -the page at a place where the pianist has one hand free.}. This is allowed by -\keyindex{zbarre} (optional line break) or forced by {\Bslash -zalaligne} or \keyindex{zalapage}. - - -\medskip -The final heavy double bar of a piece is provided by \keyindex{finmorceau}. -If you just want to terminate the text with a simple bar, you say -\keyindex{suspmorceau}. If you want to terminate it without a bar, you code -\keyindex{zsuspmorceau}. Once you have stopped the score by any of these -means, you can restart it using \keyindex{reprmorceau}. - -However, using {\Bslash reprmorceau} after a {\Bslash finmorceau} may have a -little drawback: if {\Bslash finmorceau} occurs at the bottom of a page -defined by \keyindex{autolines}, it does not cause a page break which could -lead to en empty page after the end of the piece but, conversely, this might -cause another trouble if this only was the end of a scora part, not the end of -the whole score. Therefore, an alternate command has been provided, namely -\keyindex{Suspmorceau} which duly performs the page break, in order to be -ready to score another part of a complex peace. Thus, as a rule~: - -\begin{itemize} - \item use \keyindex{finmorceau} at the very end of your score, - \item use \keyindex{Suspmorceau} at the end of the parts of a complex piece. - -\end{itemize} - - -\medskip If you want the next vertical bar to be a double bar, you have to -declare \keyindex{setdoublebar} before the \keyindex{barre} (or the -\keyindex{suspmorceau} or \keyindex{alaligne} or \keyindex{alapage}) to be -marked with a double thin bar. - - -\section{Changing score attributes} - - - As seen before, you can change the -signature of the whole set of instruments by \keyindex{generalsignature}~$n$ -where $n>0$ means a number of sharps, $n<0$ means a number of flats. Or, you -may prefer to change the signature of only one or two instruments by the -statement: - - -\medskip\Bslash sign$r$=$s$ - -\medskip\rm\noindent - %\check - where $r$ is the roman numeral of the instrument considered, and $s$ its -specific signature. Since you may change simultaneously (with respect to the -score) but consecutively (with respect to your code) the signatures of -several instruments, this change takes place only when you say -\keyindex{changesignature} (within a bar) or \keyindex{changecontext} (after -a single vertical rule) or \keyindex{Changecontext} (after a double vertical -rule). -%\check - In the same way, you may want to change the active clefs. -This is done by - -\medskip\tty\keyindex{cleftoks$r$}=\{\{$s1$\}\{$s2$\}\{$s3$\}\{$s4$\}\}\% - -\medskip\rm\noindent where $r$ is the roman numeral of the instrument, $s1$ -specifies the clef of the lower staff, $s2$ the clef of the second staff, -etc. One must always give four values with the above syntax, otherwise\dots\ -$s1=6$ means the \ital{bass} clef (\ixem{clef de fa} in French), $s1=0$ means -the \ital{violin} clef (\ixem{clef de sol} in French), $s1=1$ through $s1=5$ -mean the \ital{alto} clef (\ixem{clef d'ut} in French) set on first (lower) -through fifth (upper line of the staff). \index{violin clef}\index{bass -clef}\index{alto clef} - As seen above in the case of signatures, several clefs may be changed at the -same time; thus all the clef changes become operational only when the macro -\keyindex{changeclefs} is coded. Normal usage consists in issuing this -command before the bar, not after (this helps the music player when the -change happens across a line break). - - The \verb|\changeclefs| command normally takes some horizontal space to put -one of more clef symbols, but it may happen that you have no notes -immediately before on the staff whose clef is changed. In that case, you can -use \keyindex{zchangeclefs} which performs the same posting, overwritten left on -the last part of the score in that staff. Of course it is your responsability -to ensure that no notes will collide with the clef change symbols. - %\check - - Caution should be exercized changing clefs when \itxem{beams} are pending: -in fact the \verb|\changeclefs| and \verb|\zchangeclefs| perturbate the -computation of beams and this command should be invoked only - \begin{itemize} - \item out of {\Bslash notes}, {\Bslash Notes}... --- {\Bslash enotes} pairs; - \item only when no beam is pending\footnote{No problem with slurs and ties.}. -\end{itemize} - -If a clef change has to be typeset when one or several beams are pending, the -operation should be done in a more manual way: -\begin{itemize} - \item say \keyindex{saveclefs} instead of \keyindex{changeclefs}~: -This actually records the \keyindex{cleftoks$r$} statement and no further -{\Bslash changeclefs} will repeat the clef change; the new clef will not -be typeset by \verb|\saveclefs| itself but rather by the next \verb|\notes| or -\verb|\Notes| command; - \item say \verb|\charnote0{\smallclefdesol}| (resp. -\verb|\charnote0{\smallclefdefa}| or \verb|\charnote0{\smallclefdut}|) where -you like it and at the right staff (i.e. within {\Bslash notes}, {\Bslash -Notes}... --- {\Bslash enotes} pairs) to type set the wanted clef symbol. - \end{itemize} - As an example, an excerpt of {\sc Brahms}'s Intermezzo op.~117,1 provided by -Miguel {\sc Filgueiras}:\index{Brahms} - -\begin{music} -\parindent 1cm -\def\nbinstruments{1}\relax -\def\freqbarno{9999}% no bar numbers -\nbporteesi=2\relax -\cleftoksi={6000}% F- and G-clefs -\generalsignature{-3}% 3 flats -\relax -\debutextrait -\normal -\off{1em}\temps\Notes\larpeggio{E}5\zq{EI}\qu{N}\charnote0{\smallclefdesol}\relax -\nextstaff\qsk\ibl0e{-1}\zq{eg}\qb0l\zq{d}\qb0k\enotes -\cleftoksi={0000}\saveclefs\Notes\tbu0\zq{ce}\qh0j\relax -\nextstaff\zq{sn}\cl{l}\enotes -\Notes\zq{be}\qu{i}\nextstaff\zq{sn}\ql{l}\enotes -\cleftoksi={6000}\changeclefs\Notes\zq{E}\cu{I}\relax -\nextstaff\ibbu1h{-1}\zq{ae}\qh1h\tbu1\zq{N}\qh1g\enotes -\finextrait - \end{music} -\noindent which was coded as: - \begin{verbatim} -\begin{music} -\def\nbinstruments{1}\relax -\def\freqbarno{9999}% no bar numbers -\nbporteesi=2\relax -\cleftoksi={6000}\generalsignature{-3}% 3 flats -\debutextrait -\normal -\off{1em}\temps\Notes\larpeggio{E}5\zq{EI}\qu{N}% -\charnote0{\smallclefdesol}\relax -\nextstaff\qsk\ibl0e{-1}\zq{eg}\qb0l\zq{d}\qb0k\enotes -\cleftoksi={0000}\saveclefs\Notes\tbu0\zq{ce}\qh0j\relax -\nextstaff\zq{sn}\cl{l}\enotes -\Notes\zq{be}\qu{i}\nextstaff\zq{sn}\ql{l}\enotes -\cleftoksi={6000}\changeclefs\Notes\zq{E}\cu{I}\relax -\nextstaff\ibbu1h{-1}\zq{ae}\qh1h\tbu1\zq{N}\qh1g\enotes -\finextrait -\end{music} - \end{verbatim} - -\medskip \ital{Meter} changes are implemented the same way: - -\medskip\Bslash metertoks$r$=\{\{$m1$\}\{$m2$\}\{$m3$\}\{$m4$\}\}\% - -\medskip\rm\noindent - where $r$ is the roman numeral of the instrument, $m1$ specifies the meter -of the lower staff, $m2$ the meter of the second staff, etc. One must always -give four values with the above syntax, otherwise\dots\ Since meter changes -are meaningful only across bars, they are actually taken in account with -\keyindex{changecontext} or \keyindex{Changecontext} or \keyindex{alaligne} -or \keyindex{alapage}. - - -\section{Repeats} -%\check - - - To insert a \ital{repeat bar} you can use several sets of procedures. - -\subsection{Elementary and unsafe solutions} The -simplest consists in using the commands \keyindex{leftrepeatsymbol}, -\keyindex{rightrepeatsymbol} and \keyindex{leftrightrepeatsymbol} -- coded -outside the {\Bslash notes...\bslash enotes} pairs -- which will simply -insert these colon adorned double bars at the requested place. For example: - -\begin{music} - \def\nbinstruments{1} - \generalsignature{0}\savesignature - \nbporteesi=1\cleftoksi={{0}{0}{0}{0}}\relax - \debutextrait\normal - \notes\hu g\enotes - \leftrepeatsymbol - \notes\hu h\enotes - \leftrightrepeatsymbol - \notes\hu i\enotes - \rightrepeatsymbol - \Notes\wh j\enotes - \finextrait -\end{music} - - \noindent has been coded as: -%\check - - -\begin{quote}\begin{verbatim} -\notes\hu g\enotes -\leftrepeatsymbol -\notes\hu h\enotes -\leftrightrepeatsymbol -\notes\hu i\enotes -\rightrepeatsymbol -\Notes\wh j\enotes -\end{verbatim}\end{quote} - -\medskip - However, the previous way of coding does not provide for line breaking -at repeat bars, nor does it advance the bar numbering. In fact, this way of -coding if only fit for repeats occurring in the middle of a bar. - - -\medskip A second way of coding consists in saying \keyindex{setleftrepeat}, -\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before a bar -(\keyindex{barre}), \keyindex{suspmorceau} or \keyindex{changecontext}). In -this case, the next single\footnote{\keyindex{setrightrepeat} does not change -the effect of \keyindex{finmorceau}; in that case use -\keyindex{finrightrepeat}.} vertical bar will be replaced with the selected -repeat bar. This meets the traditional music typesetting conventions in the -only case of the \ital{right repeat} but, unfortunately, left and left/right -repeats use to behave in a different manner when in the middle of a line and -at a line break. - - -\subsection{Safe and correct coding} The third coding, namely the correct coding -- i.e. transforming in -the correct manner when occurring at a line break -- is obtained by -substituting the \keyindex{barre} command with \keyindex{leftrepeat}, -\keyindex{rightrepeat} and \keyindex{leftrightrepeat}. -%\check - - -\medskip - Now, if you want to force a new line at a repeat, you should code -respectively: - - -\medskip\keyindex{setrightrepeat}\keyindex{alaligne} - - \keyindex{setrightrepeat}\keyindex{suspmorceau} - - {\Bslash alaligne}\keyindex{leftrepeatsymbol} - - \keyindex{reprmorceau}\keyindex{leftrepeatsymbol} - - \keyindex{debutmorceau}\keyindex{leftrepeatsymbol} - -\medskip\noindent or the combination of two of these in the case of a -left/right repeat. - -\subsection{Specific first and second pass scoring} - -A frequent situation consists in a long repeated score, but the last few bars -are different at first pass and at second pass. This can be specified by -saying \keyindex{setprimavolta} or \keyindex{setsecondavolta}\footnote{From -the Italian \ital{prima volta} meaning ``first time'', and \ital{seconda -volta} meaning ``second time''.} before the next \keyindex{barre} or -\ital{repeat} (usually {\Bslash rightrepeatsymbol}). For example~: - - -\begin{music} - \def\nbinstruments{1} - \generalsignature{0}\savesignature - \nbporteesi=1\cleftoksi={{0}{0}{0}{0}}\relax - \debutextrait\normal - \Notes\qu {ghij}\enotes - \setprimavolta\barre - \Notes\qu {hijk}\enotes - \setsecondavolta\setrightrepeat\barre - \Notes\qu {ijkl}\enotes - \barre - \NOTes\wh j\enotes - \finextrait -\end{music} - - \noindent has been coded as: -\begin{quote}\begin{verbatim} - \def\nbinstruments{1} - \generalsignature{0}\savesignature - \nbporteesi=1\cleftoksi={{0}{0}{0}{0}}\relax - \debutextrait\normal - \Notes\qu {ghij}\enotes - \setprimavolta\barre - \Notes\qu {hijk}\enotes - \setsecondavolta\setrightrepeat\barre - \Notes\qu {ijkl}\enotes - \barre - \NOTes\wh j\enotes - \finextrait -\end{verbatim} \end{quote} - -The ``prima volta'' and ``seconda volta'' symbols are normally set at {\tty -2\bslash Interligne} above the upper line of the staff, and one centimeter -wide. If the music typesetter does not like that, he can issue for example: - -\medskip\keyindex{Setprimavolta}\verb|{4\Interligne}{0.78in}| - -\medskip\noindent where the first argument is the vertical offset, and the -second one is the length of the upper horizontal line. A symmetrical feature is -\keyindex{Setsecondavolta} with also two dimension arguments. - -Note that these special settings are only valid for one usage; after that, -they are reset to the standard values. - -%\check -\subsection{Large scope repeats} Large scope repeats have also been provided -special symbols, namely using \keyindex{coda} and \keyindex{segno}~: - - \begin{music} -\def\nbinstruments{1}\relax -\computewidths -\nbporteesi=1\relax -\debutextrait -\normal -\notes\sk\enotes -\temps\NOtes\coda l\enotes -\temps\NOtes\segno l\enotes -\finextrait - \end{music} - -\medskip\noindent which have been coded: - -\begin{quote}\begin{verbatim} -\NOtes\coda l\enotes -\NOtes\segno l\enotes -\end{verbatim}\end{quote} - -%\check - \section{Miscellaneous} - -\subsection{Putting anything anywhere} - -Special macros are provided to help the composer to set any \TeX\ -text on the staffs. The macro - -\medskip\keyindex{charnote}~$p$\tty\{ {\rm text} \} - -\medskip\rm\noindent -sets the given text with its base line at pitch $p$ of the current staff -(this means it must be coded inside {\Bslash notes...\bslash enotes}). -Whatever the length of the text, the spacing is \keyindex{noteskip}. -If you do not want it to cause spacing, you code \keyindex{zcharnote}. -If you want the possible spilling text to expand on the left rather than on the -right, then you can use \keyindex{lcharnote}. -% - -\medskip -To place some text at the mid-position between the two staffs of -a keyboard instrument, you may code: - -\medskip\tty\keyindex{midtwotext}\{ {\rm text} \}\ \ \% \rm (spacing) - -\medskip\tty\keyindex{zmidtwotext}\{ {\rm text} \}\ \ \% \rm (non spacing) - -\medskip\rm\noindent being however -careful, a) to put it inside {\Bslash notes...\bslash enotes}, b) to code it in the -text of the lower staff. - -\medskip A text to be put above the current staff is introduced by -{\tty\keyindex{uptext}\{...\}}. This may however cause some collision with bar -numbering or notes above the staff; it is then wise to use {\tty -\keyindex{Uptext}\{...\}} which puts the text two pitches higher (recommended -to post the tempo). - -\medskip -The macro \keyindex{zcharnote} is fit for coding special notations like -accents above or below the notes. It behaves like \keyindex{charnote} but -causes no spacing. -\subsection{Metronomic indications} - -Metronomic indication deserves a special macro. The mention: - \par\centerline{\def\nbinstruments{0}\computewidths -\metron{\hup}{60}}\smallskip\noindent - is coded by {\tty\keyindex{metron}\{\bslash hup\}\{60\}} (normally embedded -in \keyindex{Uptext} which is in turn embedded within {\Bslash -notes...\bslash enotes}). - - - -\subsection{Usual ornaments} - -%\check -\ital{Arpeggios} (i.e. \raise -4pt\hbox{\musicxx\char92}\ ) can be coded with - the macro - -\medskip\keyindex{arpeggio} $pm$ - -\medskip\rm\noindent where $p$ is the pitch of -the base of the arpeggio symbol and $m$ is its multiplicity (one period is -equal to one space between staff lines, i.e. 5 points). This macro causes -a space of one note head width. If should be issued before the concerned -chords. Its variant \keyindex{larpeggio} sets the arpeggio symbol slightly -more on the left, in order to avoid collision with accidentals in front of -the chords. - - Note the \keyindex{arpeggio} and \keyindex{larpeggio} make an extra spacing -of width one notehead (i.e; \keyindex{qsk}) so that it is wise to insert a -{\Bslash qsk} in the other staffs before notes which are syncrhonous to the -arpeggiated note. - -\medskip \ital{Trills} can be coded in several ways. \keyindex{trille}~$l$ -(where $l$ is a \TeX\ dimension) yields \hbox{\trille{1cm}} while -\keyindex{Trille}~$l$ (where $l$ is a \TeX\ dimension) yields -\hbox{\Trille{2cm}}. To put these patterns at a given pitch, one may use -\keyindex{xtrille}~$pl$ or \keyindex{xTrille}~$pl$. On the other hand -\keyindex{ntrille}~$pn$ is equivalent to -\keyindex{xtrille}~$p${\tty\{$n$\bslash noteskip\}} and -\keyindex{nTrille}~$pn$ is equivalent to {\tty -\keyindex{xTrille}~$p$\{$n$\bslash noteskip\}} - - -\medskip Other \ital{ornaments} are available: - - \begin{itemize} - \item \keyindex{mordant}~$p$ for \hbox to 1.5em{\mordant 0\hss}, - \item \keyindex{pince}~$p$ for \hbox to 1.5em{\pince 0\hss}, - \item \keyindex{Pince}~$p$ for \hbox to 1.5em{\Pince 0\hss}, - \item \keyindex{Lpince}~$p$ for \hbox to 2em{\hss\Lpince 0\hss} (thanks to A. -{\sc Egler})\index{Egler, A.}, - \item \keyindex{Pincesw}~$p$ for \hbox to 2em{\hss\Pincesw 0\hss}, - \item \keyindex{Pincene}~$p$ for \hbox to 2em{\hss\Pincene 0\hss}, - \item \keyindex{Pincenw}~$p$ for \hbox to 2em{\hss\Pincenw 0\hss}, - \item \keyindex{turn}~$p$ for \hbox to 2.5em{\kern 0.6em\turn 0\hss}, - \item \keyindex{backturn}~$p$ for \hbox to 2.5em{\kern 0.6em\backturn 0\hss}, - \item \keyindex{upz}~$p$ (upper \ital{pizzicato}) to put a dot above a note -head at pitch $p$, - \item \keyindex{lpz}~$p$ (lower \ital{pizzicato}) to put a dot below a note -head at pitch $p$, - \item \keyindex{usf}~$p$ (upper \itxem{sforzando}) to put a $>$ accent above -a note head at pitch $p$, - \item \keyindex{lsf}~$p$ (lower \itxem{pizzicato}) to put a $>$ accent below -a note head at pitch $p$, - \item \keyindex{ust}~$p$ (upper \itxem{staccato} or \itxem{portato}) to put a -hyphen above a note head at pitch $p$, - \item \keyindex{lst}~$p$ (lower \ital{staccato} or \ital{portato}) to put a -hyphen below a note head at pitch $p$, - \item \keyindex{uppz}~$p$ (upper strong \ital{pizzicato}) to put an -apostrophe above a note head at pitch $p$, - \item \keyindex{lppz}~$p$ (lower strong \ital{pizzicato}) to put a reversed -apostrophe below a note head at pitch $p$. - \item \keyindex{pointdorgue}~$p$ puts a \itxem{fermata} (in French ``point -d'orgue'') at pitch $p$. No spacing occurs. - \item \keyindex{pointdurgue}~$p$ puts a reverse \ital{fermata} at the same -place. - \item \keyindex{PED} to insert the piano pedal command below the staff; -pedal release is specified by \keyindex{DEP}; thus the following example - - \begin{music} -\def\nbinstruments{1}\relax -\computewidths -\cleftoksi={{6}{0}{0}{0}}\relax -\nbporteesi=2\relax -\debutextrait -\normal -\temps\NOtes\qsk\PED\wh J|\qsk\qu h\enotes -\temps\NOtes|\qu g\enotes -\temps\NOtes|\hu k\enotes -\temps\Notes\DEP\enotes -\finextrait - \end{music} - - \noindent was coded as: - -\begin{verbatim} -\temps\NOtes\qsk\PED\wh J|\qsk\qu h\enotes -\temps\NOtes|\qu g\enotes -\temps\NOtes|\hu k\enotes -\temps\Notes\DEP\enotes -\end{verbatim} - - \end{itemize} - -%\check - -\subsection{New line synchronization of coding} - - The procedure named \keyindex{everystaff} is executed each time a new system -is typed. It is normally void, but it can be defined (simply by {\Bslash -def\keyindex{everystaff}\{...\}}) to tell \musictex\ to post anything -reasonable at the beginning of each system. It was used in the example -{NWIDOR} to post octaviation dashed lines at the end of the piece. - - -\medskip - The procedure named \keyindex{atnextline}, normally void, is executed at the -next computed (through \keyindex{autolines}) or forced line break (using -\keyindex{alaligne} or \keyindex{alapage}). More precisely, it is executed -after the break and before the next system is typed. Thus it is fit for -posting new definitions of layout parameters, when no system is -pending\footnote{Its logic is similar to plain \TeX's \keyindex{vadjust} -command.}. - - \medskip - \index{tenor violin clef}In some scores, tenor parts are not code using the -\ital{bass} clef, but using rather the \ital{violin clef} subscripted by a -{\tty 8}. This is not directly supported by the \keyindex{cleftoks$r$}{\tty=} -command, but it can be handled using \keyindex{everystaff} and \keyindex{zcharnote}. -As an example the following score - -\begin{music} -\def\nbinstruments{4} -\cleftoksi={6000} -\cleftoksii={0000} -\cleftoksiii={0000} -\cleftoksiv={0000} -\font\eightfig=cmr8 -\def\everystaff{\znotes&\zcharnote{-6}{\eightfig - \kern -1.4\Interligne 8}&\zcharnote{-6}{\eightfig - \kern -1.4\Interligne 8}\enotes} -\debutextrait -\normal -\NOtes\hu{HIJK}&\hu{efgh}&\hl{hijk}&\hl{hmlk}\enotes -\finextrait -\end{music} -\noindent was coded as: - -\begin{quote}\begin{verbatim} -\def\nbinstruments{4} -\cleftoksi={6000} -\cleftoksii={0000} -\cleftoksiii={0000} -\cleftoksiv={0000} -\font\eightfig=cmr8 -\def\everystaff{\znotes&\zcharnote{-6}{\eightfig - \kern -1.4\Interligne 8}&\zcharnote{-6}{\eightfig - \kern -1.4\Interligne 8}\enotes} -\debutextrait -\normal -\NOtes\hu{HIJK}&\hu{efgh}&\hl{hijk}&\hl{hmlk}\enotes -\finextrait -\end{verbatim}\end{quote} - where the \verb|\eightfig| font declaration can obviously be omitted if -the \TeX\ format declares an 8 point roman font. - -%\check - -\subsection{Beams across bars} - -The \keyindex{barre} macro inserts glue and terminates spacing account. Thus -it is not compatible with pending \itxem{beams} and this is the usual way most -composers wrote their scores, at least until the beginning of the XIX-th -century. Unfortunately, later composers ({\sc Brahms}, {\sc Scriabin}, etc.) -wanted to write beams jumping across bars. - -This can be partly handled by \musictex, using the macro -\keyindex{xbeambarre}\footnote{An ugly mixture of French and English which is -therefore not likely to be redefined by somebody else.} which puts a bar line -of global width {\Bslash elemskip} with no glue around. Bar counting is done -for \keyindex{autolines} purpose but no line breaking can occur, which means -that the beams going across line or page breaks are not supported. - -We give an example from {\sc Brahms}'s Intermezzo op.~118,1 provided by -Miguel {\sc Filgueiras}:\index{Brahms} - -\begin{music} -\def\interfacteur{13} -\def\nbinstruments{1} -\nbporteesi=2\relax -\cleftoksi={6000} -\generalmeter{\allabreve} -\debutextrait -\normal -\off{1em}\temps\Notes\qp\nextstaff\Ilegu0r\zq{q}\ql{j}\enotes -\barre -\Notes\qsk\ibu0a1\qh0{CEJLcL}\relax -\nextstaff\qsk\rw{l}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes -\Notes\qh0J\itenl1a\qh0a\nextstaff\tleg0\zq{o}\ql{h}\enotes -\xbeambarre -\Notes\zh{.L.a}\hl{.e}\relax -\nextstaff\tten1\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes -\Notes\qp\nextstaff\zq{q}\ql{j}\enotes -\finextrait - \end{music} -\noindent whose coding is: - -\begin{verbatim} -\begin{music} -\def\interfacteur{13} -\def\nbinstruments{1} -\nbporteesi=2\relax -\cleftoksi={6000} -\generalmeter{\allabreve} -\debutextrait -\normal -\off{1em}\temps\Notes\qp\nextstaff\Ilegu0r\zq{q}\ql{j}\enotes -\barre -\Notes\qsk\ibu0a1\qh0{CEJLcL}\relax -\nextstaff\qsk\rw{l}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes -\Notes\qh0J\itenl1a\qh0a\nextstaff\tleg0\zq{o}\ql{h}\enotes -\xbeambarre -\Notes\zh{.L.a}\hl{.e}\relax -\nextstaff\tten1\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes -\Notes\qp\nextstaff\zq{q}\ql{j}\enotes -\finextrait - \end{music} -\end{verbatim} - -%\check -\section{Small and tiny notes} - -Before entering details, let us point out that we are presently concerned with -typing notes of smaller size than the normal one, without attempting to change -the interval between the five lines building a single staff. Changing staff -line interval will be treated in a further section. - -\subsection{Cadenzas and explicit ornaments} - - Ornaments and \itxem{cadenzas} usually need to be written using smaller -notes\footnote{This is independent of the staff size.}. This can be done -everywhere by stating \keyindex{smallnotesize} or \keyindex{tinynotesize}. -Normal note size is restored by \keyindex{normalnotesize}.\index{ornaments} - - These macros only have a local scope. Thus, if these macros are invoked -outside the {\Bslash notes...\bslash enotes} pair, the change is valid for -the rest of the piece unless explicitely modified but, if they are invoked -inside, their effect is local to the current staff of the current {\Bslash -notes...\bslash enotes} pair. As an example, the following excerpt (beginning -of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.} - -\begin{music} -\def\DS{\hbox{\ds}} -\def\FS{\hbox{\kern 0.3\noteskip\soupir}\kern -0.3\noteskip} -\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}% -\def\qbu#1#2#3{\ibu{#1}{#2}{#3}\qh{#1}{#2}}% -\def\nbinstruments{2}% -\generalmeter{\meterfrac{4}{4}}% -\signaturegenerale{0}% -\nbporteesii=1\relax -\nbporteesii=2\relax -\cleftoksi={{6}{0}{0}{0}} -\cleftoksii={{6}{0}{0}{0}} -\etroit -\debutextrait -\NOTes\soupir&\soupir|\qu g\enotes -% mesure 1 -\advance\barno by -1\relax -\barre\NOtes\itenu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\enotes -\notes&\qbl0c0|\noteskip=0.6\elemskip\tinynotesize -\Ibbu1ki2\qh1{kj}\tqh1i\qsk\enotes -\Notes&\qb0e\tbl0\qb0c|\qu j\enotes -\temps\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\enotes -% mesure 2 -\barre\Notes\tten2\wh J&\ql J\sk\ql L|\ppt g\rlap{\qu g}\qbl1e0\relax - \zq c\qb1e\zq c\qb1e\relax - \zq c\tbl1\rlap{\qb1e}\ \ \ccu h\enotes -\temps\Notes&\ql N\sk\pt L\ibl0L{-4}\qb0L|\ibl1e0\zq c\rlap{\qb1e}\cu g\relax - \zq c\rlap{\qb1e}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes -\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\enotes -\finextrait -\end{music} - -\noindent can be coded as: - -\begin{verbatim} -\def\DS{\hbox{\ds}} -\def\FS{\hbox{\kern 0.3\noteskip\soupir}\kern -0.3\noteskip} -\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}% -\def\qbu#1#2#3{\ibu{#1}{#2}{#3}\qh{#1}{#2}}% -\def\nbinstruments{2}% -\generalmeter{\meterfrac{4}{4}}% -\signaturegenerale{0}% -\nbporteesii=1\relax -\nbporteesii=2\relax -\cleftoksi={{6}{0}{0}{0}} -\cleftoksii={{6}{0}{0}{0}} -\etroit -% -% end of preliminary definitions -% -\debutextrait -\NOTes\soupir&\soupir|\qu g\enotes -% mesure 1 -\advance\barno by -1\relax -\barre\NOtes\itenu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\enotes -\notes&\qbl0c0|\noteskip=0.6\elemskip\tinynotesize -\Ibbu1ki2\qh1{kj}\tqh1i\qsk\enotes -\Notes&\qb0e\tbl0\qb0c|\qu j\enotes -\temps\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\enotes -% mesure 2 -\barre\Notes\tten2\wh J&\ql J\sk\ql L|\ppt g\rlap{\qu g}\qbl1e0\relax - \zq c\qb1e\zq c\qb1e\relax - \zq c\tbl1\rlap{\qb1e}\ \ \ccu h\enotes -\temps\Notes&\ql N\sk\pt L\ibl0L{-4}\qb0L|\ibl1e0\zq c\rlap{\qb1e}\cu g\relax - \zq c\rlap{\qb1e}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes -\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\enotes -\finextrait -\end{verbatim} - - \subsection{Grace notes} - - Grace notes are a special case of small and tiny notes: the difference is -that they are always coded as eighth notes with an oblique bar over the flag. -To perform this, special variants of \keyindex{cu} and \keyindex{cl} have been -provided, namely \keyindex{grcu} and \keyindex{grcl}, with the only difference -that the flag has been slashed. Using this together with the note reduction -macro, grace notes (optionally chord grace notes) can be easily coded: - - \begin{music} - \def\nbinstruments{1} - \nbporteesi=1\relax - \cleftoksi={{0}{0}{0}{0}}\relax - \debutextrait - \normal - \NOtes\qsk\hu h\enotes - \temps\smallnotesize - \notes\grcu j\enotes - \temps\normalnotesize - \NOtes\hu i\enotes - \barre\tinynotesize - \notes\qsk\zq h\grcl j\enotes - \normalnotesize - \NOTEs\wh i\enotes - \finextrait - \end{music} - - The previous example was coded as: - -\begin{quote}\begin{verbatim} -\NOtes\qsk\hu h\enotes -\temps\smallnotesize -\notes\grcu j\enotes -\temps\normalnotesize -\NOtes\hu i\enotes -\barre\tinynotesize -\notes\qsk\zq h\grcl j\enotes -\normalnotesize -\NOTEs\wh i\enotes -\end{verbatim}\end{quote} - -\subsection{Gregorian note shapes}\label{gregnotes} - Provided that four line staffs are used, \itxem{gregorian music} was -frequently quoted using specific \itxem{neumes}, and this way of coding -has been commonly used for the coding of liturgical chant in the Catholic -Church until the middle of the twentieth century. Symbols available in -\musictex\ are~: - -\begin{itemize} - \item Diamond shaped \itxem{punctum}: \raise 2.5pt\hbox{\musicxx\char 0} = -\keyindex{diamg}~$p$~, - \item Square \itxem{punctum}: \raise 2.5pt\hbox{\musicxx\char 1} = -\keyindex{carrg}~$p$~, - \item Left stemmed \itxem{virga}: \raise 2.5pt\hbox{\musicxx\char 2} = -\keyindex{carpg}~$p$~, - \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\musicxx\char 3} = -\keyindex{carqg}~$p$~. \end{itemize} - -They all have a non-spacing variant, which are~: - -\begin{itemize} - \item Non spacing diamond shaped \itxem{punctum}: \raise -2.5pt\hbox{\musicxx\char 0} = \keyindex{zdiamg}~$p$~, - \item Non spacing square \itxem{punctum}: \raise 2.5pt\hbox{\musicxx\char 1} -= \keyindex{zcarrg}~$p$~, - \item Non spacing left stemmed \itxem{virga}: \raise -2.5pt\hbox{\musicxx\char 2} = \keyindex{zcarpg}~$p$~, - \item Non spacing right stemmed \itxem{virga}: \raise -2.5pt\hbox{\musicxx\char 3} = \keyindex{zcarqg}~$p$~. - \end{itemize} - -To memorize these symbols, remember that {\tt carr} comes from the French -word \ital{carr\'e} which means \ital{square}, that the letter {\tt p} has a -tail on the left side and the {\tt q} has a tail on the right side. Other -\itxem{neumes} can ne obtained by combining two or more of these symbols - - -\subsection{Percussion stemless note shapes}\label{percunotes} -Percussion\index{percussion music} music often uses stemless note heads -different from the usual ones. - -\begin{itemize} - \item White diamond or \itxem{rimshot}: \raise 2.5pt\hbox{\musicxx\char 127} = -\keyindex{diamw}~$p$~, - \item The \itxem{shaker}: \raise 2.5pt\hbox{\musicxx\char 79} = -\keyindex{shaker}~$p$~, - \item The {tremolo chord}: \hbox to 2em{\hss\musicxx\char 78\hss} = -\keyindex{tremolord}~$p$~, -\end{itemize} - - -They all have a non-spacing variant\footnote{Stemless, not to be confused with -{\bslash zq} qui extends stems within a chord. For that purpose, see -\ref{genpercus} and \ref{othernotes}.}, which are~: - -\begin{itemize} - \item Non spacing white diamond or \itxem{rimshot}: \raise -2.5pt\hbox{\musicxx\char 127} = \keyindex{zdiamw}~$p$~, - \item Non spacing \itxem{shaker}: \raise 2.5pt\hbox{\musicxx\char 79} = -\keyindex{zshaker}~$p$~, - \item Non spacing {tremolo chord}: \hbox to 2em{\hss\musicxx\char 78\hss} = -\keyindex{ztremolord}~$p$~, -\end{itemize} - - -\subsection{Other note shapes}\label{othernotes} The classical note heads -given above --- namely \raise 0.5ex\hbox{\musicnorfont\char 33}~, \raise -0.5ex\hbox{\musicnorfont\char34} and \raise 0.5ex\hbox{\musicnorfont\char35} ---- 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 are~: - \begin{itemize} - - \item The \raise 0.5ex\hbox{\musicnorfont\char 0} symbol which is obtained using the \verb|\qu|, -\verb|\qh| etc. macros replacing the ``{\tt q}'' letter in the macro name -with a ``{\tt y}'' or writing \keyindex{ycu}, \keyindex{ycl}, -\keyindex{yccu}, \keyindex{ycup} etc. instead of \verb|\cu|, \verb|\cl|, -\verb|\ccu|, \verb|\cup|, etc. - - \item The \raise 0.5ex\hbox{\musicnorfont\char 127} symbol which is obtained -using the \verb|\qu|, \verb|\qh| etc. macros replacing the ``{\tt q}'' letter -in the macro name with a ``{\tt d}'' (think of \ital{diamond}) or writing -\keyindex{dcu}, \keyindex{dcl}, \keyindex{dccu}, \keyindex{dcup}, etc. -instead of \verb|\cu|, \verb|\cl|, \verb|\ccu|, \verb|\cup|, etc. - - - \item The \raise 0.5ex\hbox{\musicnorfont\char 39} symbol which is obtained -using the \verb|\qu|, \verb|\qh| etc. macros replacing the ``{\tt q}'' letter -in the macro name with a ``{\tt k}'' or writing \keyindex{kcu}, -\keyindex{kcl}, \keyindex{kccu}, \keyindex{kcup}, etc. instead of \verb|\cu|, -\verb|\cl|, \verb|\ccu|, \verb|\cup|, etc. - - - \item The \raise 0.5ex\hbox{\musicnorfont\char"35} symbol which is obtained -using the \verb|\qu|, \verb|\qh| etc. macros replacing the ``{\tt q}'' letter -in the macro name with a ``{\tt x}'' or writing \keyindex{xcu}, -\keyindex{xcl}, \keyindex{xccu}, \keyindex{xcup} instead of \verb|\cu|, -\verb|\cl|, \verb|\ccu|, \verb|\cup|, etc. - - - \item The \raise 0.5ex\hbox{\musicnorfont\char38} symbol which is obtained -using the \verb|\qu|, \verb|\qh| etc. macros replacing the ``{\tt q}'' letter -in the macro name with the pair ``{\tt ox}'' or writing \keyindex{oxcu}, -\keyindex{oxcl}, \keyindex{oxccu}, \keyindex{oxcup} instead of \verb|\cu|, -\verb|\cl|, \verb|\ccu|, \verb|\cup|, etc. - - \end{itemize} - %\check -\section{Staff size} \index{staff size} -\subsection{Moving from 20pt to 16pt general staff sizes and conversely} - You also want to write some parts of your score in 20pt -staff size and in 16pt staff size, namely -for distinct parts of pieces. Changing the \ixem{general staff size} -is done by saying: - -\tty\keyindex{musicsize}=16\bslash computespecifics\quad \rm or - -\Bslash musicsize=20\keyindex{computespecifics} - -\rm\noindent respectively. - -\subsection{Changing staff size for certain instruments}\label{staffspace} -Regardless of the general choice of 16pt or 20pt staff sizes, it is now -possible to assign certain instruments -- not sperate staffs belonging to a -same instrument -- to have narrower staff size. This is done by giving a -special definition of \keyindex{staffspacing$r$} where $r$ is the roman -numeral of the instrument considered. For example, if the second instrument -(starting from the system bottom) is required to have 25\% narrower staffs, -one only hase to declare: - -\medskip{\Bslash def\bslash staffspacingii\{0.75\}} - -\medskip\noindent before the starting command {\Bslash debutmorceau}. - -Not only does this statement change the vertical spacing between staff lines, -but is also changes the size of the key, accidental and note symbols to fit -the modified staff line spacing. However, the existence of discrete font -scales for music symbol typing results in some reasonable restrictions of the -values of \keyindex{staffspacing$r$}~: recommended values are approximately -1, 0.8 and 0.64; if different values are chosen, then the symbol size is -taken smaller than the line spacing, which may lead to readable but rather -ugly typesetting. - -As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc -Gounod}\index{Gounod, C.} using the first prelude of Johann-Sebastian Bach's -\ital{Well Tempered Clavier} (transcription for organ, violin and voice, -thanks to Markus {\sc Veittes}):\label{avemaria} - - \begin{music} -\def\nbinstruments{4} -\computewidths -\sepbarrules -\generalmeter{\meterC}\relax -\def\oct{\advance\transpose by 7\relax} -\def\staffspacingii{0.64} -\def\staffspacingiv{0.64} -\cleftoksi{{6}{0}{0}{0}} -\cleftoksii{{0}{0}{0}{0}} -\cleftoksiv{{0}{0}{0}{0}} -\nbporteesi=2\relax -\nbporteesiii=0\relax -\debutextrait -\normal\elemskip=0.02\hsize -%Takt 9 -\Notes\zhl c\raise27pt\qs\qupp e|\ds&\oct - \itenu5h\hl h&gra---&\itenl4h\hu h\enotes -\Notes|\ibbl0j3\qb0h\tqb0l\enotes -\Notes|\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes -\temps\Notes\zhl c\raise27pt\qs\qupp e|\ds&\oct - \tten5\ibl4c0\qb4h&&\tten4\ibu5g{-3}\qh5h\enotes -\Notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&---&\tqh5a\enotes -\Notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\cu b\enotes -\Notes|\qb1l\tqb1o&\oct\tqb4c&a&\cu c\enotes -\barre -%Takt 10 -\Notes\zhl c\raise27pt\qs\qupp d|\ds&\oct - \qlp d&ple---&\Ilegu4k\pt d\qu d\enotes -\Notes|\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes -\Notes|\ibbu2i0\qh2k\qh2f\enotes -\Notes|\qh2h\tqh2k&\oct \cl e&&\tleg4\cu e\enotes -\temps\Notes\zhl c\raise27pt\qs\qupp d|\ds&\oct - \ql d&na,&\qu d\enotes -\Notes|\ibbu1g3\qh1f\tqh1h\enotes -\Notes|\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp\enotes -\finextrait - \end{music} - - This example was coded as: - -\begin{quote}\begin{verbatim} -\def\nbinstruments{4} -\sepbarrules -\generalmeter{\meterC}\relax -\def\oct{\advance\transpose by 7\relax} -\def\staffspacingii{0.64} -\def\staffspacingiv{0.64} -\cleftoksi{{6}{0}{0}{0}} -\cleftoksii{{0}{0}{0}{0}} -\cleftoksiv{{0}{0}{0}{0}} -\nbporteesi=2\relax -\nbporteesiii=0\relax -% -\debutextrait -\normal\elemskip=0.02\hsize -%Takt 9 -\Notes\zhl c\raise27pt\qs\qupp e|\ds&\oct - \itenu5h\hl h&gra---&\itenl4h\hu h\enotes -\Notes|\ibbl0j3\qb0h\tqb0l\enotes -\Notes|\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes -\temps\Notes\zhl c\raise27pt\qs\qupp e|\ds&\oct - \tten5\ibl4c0\qb4h&&\tten4\ibu5g{-3}\qh5h\enotes -\Notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&---&\tqh5a\enotes -\Notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\cu b\enotes -\Notes|\qb1l\tqb1o&\oct\tqb4c&a&\cu c\enotes -\barre -%Takt 10 -\Notes\zhl c\raise27pt\qs\qupp d|\ds&\oct - \qlp d&ple---&\Ilegu4k\pt d\qu d\enotes -\Notes|\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes -\Notes|\ibbu2i0\qh2k\qh2f\enotes -\Notes|\qh2h\tqh2k&\oct \cl e&&\tleg4\cu e\enotes -\temps\Notes\zhl c\raise27pt\qs\qupp d|\ds&\oct - \ql d&na,&\qu d\enotes -\Notes|\ibbu1g3\qh1f\tqh1h\enotes -\Notes|\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp\enotes -\end{verbatim}\end{quote} - - - - %\check - \section{Layout parameters} - - - Most layout parameters are set by \musictex\ to reasonable default values. -However, sophisticated scores\footnote{To our knowledge, the most complicated -scores are those written for the piano, during the romantic and post-romantic -periods.} may need more place below the lowest staff, between staves, etc. -\def\nochange{(\ital{NOT to be changed})} We give below a short list of the -most significant parameters. - -%\check - -\subsection{List of layout parameters} - -{\sl REMARK : the mention ``\nochange'' does not mean that this parameter cannot -be changed, but that it should not be modified directly, e.g.\ by saying -something like {\Bslash interligne=14pt}. In other words, changing these -parameters must be performed using more comprehensive macros which not only -update them but also perform some other compulsory related changes.} - -\begin{description} - - \item[\keyindex{interligne} : ]vertical interval between lines in a staff of -the current instrument, taking account of a possible specification of \keyindex{staffspacing$r$} -(see \ref{staffspace}) -\nochange - \item[\keyindex{Interligne} : ]vertical distance between the base of staff -lines of the current instrument, taking account of a possible specification -of \keyindex{staffspacing$r$} (\keyindex{interligne} is the size of the blank -space between lines; the difference between them is the line thickness -\keyindex{lthick}) \nochange. - \item[\keyindex{internote} : ]the vertical spacing of contiguous notes of -the current instrument, taking account of a possible specification of -\keyindex{staffspacing$r$}, i.e.\ the half of {\Bslash Interligne} \nochange - \item[\keyindex{Internote} : ]the vertical spacing of contiguous notes of -the instrument(s) whose \keyindex{staffspacing$r$} has the \ital{default -value} of one (1.0). Since this dimension is the same, regardless of the -actual value of the staff line spacing of any instrument, only this value -should be used to specify horizontal spacings. It should be used rather than -absolute dimensions in \verb|pt| or \verb|mm|, since \verb|\Internote| is -duly proportional to the general size (\keyindex{musicsize}) but not -dependent on specific changes in \keyindex{staffspacing$r$} \nochange - \item[\keyindex{nullthick} : ]reserved height above base line for zero staff -lines (text of songs) - \item[\keyindex{staffbotmarg} : ]margin below the first staff of the lowest -instrument. If not already assigned a non zero dimension, it is set to -\keyindex{bottomfacteur}\keyindex{Interligne} at the next system. - \item[\keyindex{stafftopmarg} : ]margin above the upper staff of the upper -instrument. - \item[\keyindex{interbeam} : ]vertical distance between beams. - \item[\keyindex{interportee} : ]the distance between the bottom of one staff and -the bottom of the next one. It is set to -2\keyindex{interfacteur}{\Bslash internote} at the next system. - \item[\keyindex{Interportee} : ]the distance between the top of one staff -and the bottom of the next one. Re-computed at the at the next system. - \item[\keyindex{interinstrument} : ]the additional vertical distance between -two different instruments (must be positive, otherwise weird results can -happen). This means that the distance between the upper -staff of the previous instrument and the lowest line of the current -instrument is equal to \keyindex{interportee+\bslash interinstrument}. -This value is normally zero, but it helps putting additional space between -distinct instruments for the sake of clarity. This is a general dimension -which holds for each of the vertical spaces between instruments, except the -upper one, in which case this interval is irrelevant. However, this parameter -can be overridden for the space above a specific instrument. For example (see -the example {\tty angescao.tex}) one can state: - -\medskip -\begin{quote}\begin{verbatim} -\def\interinstrumenti{5pt} -\end{verbatim}\end{quote} - -\medskip -\noindent to force an additional spacing of 5 points above instrument $i$, -whatever the value of \keyindex{interinstrument}. - This feature can usefully be used to have more space before instruments -representing \itxem{voices}, in order to have enough place to put -\itxem{lyrics} without assigning these lyrics a zero staff specific instrument -(useful to avoid having too many declared insruments in a choir score). - \item[\keyindex{systemheight} : ]the distance from the bottom of the -lowest staff to the top of the highest staff of the upper instrument. This is -the height of the vertical bars (single, double, repeats, etc.) \nochange. -\end{description} - - -\medskip - 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 {\Bslash def}): -\begin{itemize} - \item\keyindex{altitude} : the altitude of the lowest line of the lowest -staff of the current instrument \nochange. - \item\keyindex{altportee} : the altitude of the lowest line of the current -staff \nochange. - \item\keyindex{stemfactor} : a parameter defining the size of half, quarter -and hooked eighth notes stems. Normally a stem has the length of one octave, -i.e. 3.5\keyindex{Interligne}. However, this is not valid for small size -notes and, therefore, the stem size is related to the \keyindex{interbeam} -dimensions which, in turn, is \ital{normally} equal to 0.75 -\keyindex{Interligne}. Thus the normal value of \keyindex{stemfactor} is -4.66, but it can be shortened for any purpose by saying, for example: - - \verb|\def\stemfactor{3.5}| - -Normal stem length is restored by calling the macro \keyindex{normalstems}. - -\end{itemize} - -%\check - -\subsection{Changing layout parameters} - - Most of these values can be changed, but only between the end of the -previous system and the beginning of the next one. This can be inserted -between a \keyindex{suspmorceau} (or a \keyindex{finmorceau}) -and a \keyindex{reprmorceau} (or a \keyindex{debutmorceau}), but it is -wiser to say, for example: - -\medskip -\begin{quote}\begin{verbatim} -\def\atnextline{\global\staffbotmarg=5\Interligne} -\end{verbatim}\end{quote} - -\medskip - -When doing so, the \musictex\ user should be aware that this could disturb -pending \ital{slurs} or \ital{ties}, since the altitude of these is stored in -an absolute way, starting from the baseline of the systems. Therefore, -changing the \keyindex{staffbotmarg} dimension can also be made by means of -{\tty\keyindex{advancebottom}\{$<dimension>$\}} which updates all pending slur -and tie altitudes by the given dimension. This has been used in {\tty -pacifiqn} and {\tty pacifiqb}. - -\medskip The user may prefer to redefine {\Bslash -def\keyindex{bottomfacteur}} or {\Bslash def\keyindex{interfacteur}} to a -given integer number, but this can be done only between a -\keyindex{suspmorceau} (or a \keyindex{finmorceau}) and a -\keyindex{reprmorceau} (or a \keyindex{debutmorceau}), but it is wiser to use -\keyindex{atnextline} as previously. - -\medskip It is also wise to use \keyindex{atnextline} to change the the -number of instruments, the staff spacings, the number of staffs at the next -line... provided that the coding of the notes \ital{resists} an unexpected -line change executing the \keyindex{atnextline}. - -\medskip In anycase it is a good idea to look at the procedures -\keyindex{computewidths} and \keyindex{computespecifics} to understant what -they really compute, and also to find the places where they are actually -invoked. - -\subsection{Changing the vertical distance between consecutive systems} - -If this has to be changed only once at the beginning of a piece, the simplest -is to say - -\medskip -\begin{quote}\begin{verbatim} -\def\bottomfacteur{8} -\end{verbatim}\end{quote} - -\medskip\noindent before invoking\keyindex{debutmorceau}. Note that -\keyindex{bottomfacteur} is invoked to compute the dimension register -\keyindex{staffbotmarg} whenever this register contains a zero dimension. -The number (it must be a number) is multiplied by \keyindex{Interligne} and -affected to \keyindex{staffbotmarg}. - -\medskip If this has to be changed several times to meet page layout -requirements with scores sometimes -- but only sometimes -- going very deep -below the lowes staff of the systems, it is wiser to use -\keyindex{advancebottom}, namely: - -\medskip -\begin{quote}\begin{verbatim} -\advancebottom{10pt} -\end{verbatim}\end{quote} - -\medskip\noindent to advance the bottom margin register by that dimension at -the next system line break. - -{\medskip\noindent\sl REMARK : it is also possible to change the system top -margin, i.e.\ \keyindex{stafftopmarg} between systems. Changing top and -bottom margin add together but it may influence the position of the whole in -the pages.} - -\subsection{Changing staff distance within systems} - -This can be done at the beginning by changing the definition of -\keyindex{interfacteur} (it is {\Bslash def}ined to a number) before the -first \keyindex{debutmorceau}. But it is also possible to give a new -dimension to the dimension register \keyindex{interportee} and, optionally, -to the dimension register \keyindex{interinstrument} (see above). - -\subsection{Changing the number of lines in staffs} - -Unless explicitely specified, staffs consist of five lines, in accordance to -the normal way of coding music scores. However, two exceptions might be -preferred when using \musictex~: - -\begin{itemize} - \item \itxem{gregorian music} is often writen using staff of -four lines instead of five, - \item \itxem{percussion music} (e.g. drums, triangle) only needs one line -staffs, since the pitch cannot change. -\end{itemize} - -Therefore, since its version 5.00, \musictex\ allows for choosing the number -of lines of the staffs of an instrument. This is done by defining the macro -\keyindex{stafflinesnb}$r$ --- where $r$ is the roman numeral of the wanted -instrument as usual --- to be the number of lines of the specific staff. -For example~:\label{gregorian} - -\begin{quote} -\noindent\verb|\def\stafflinesii{4}| -\end{quote} -will make the instrument number 2 (i.e. {\tt ii}) to have staffs of four -lines, that is, fit for gregorian music. -%\check - -\subsection{Resetting normal layout parameters} - -Except \keyindex{musicsize} which has to be explicitely changed if needed, all -layour registers are reset to default values by \keyindex{resetfacteurs} which -put zero dimensions into \keyindex{staffbotmarg} and \keyindex{stafftopmarg}, -so that the next \keyindex{debutmorceau} will recompute them, unless they have -been given non zero dimensions inbetween. - -\subsection{Typesetting one-line excerpts rather than larges scores} - -Very often, what is wanted is not to typeset a large comprehensive score of -several lines and pages, but an excerpt of one or two bars, preferably -centered such as the various examples of this manual. This can be done simply -by replacing \keyindex{debutmorceau} with -\keyindex{debutextrait}\footnote{\ital{Extrait} is the French word for -\ital{excerpt}.} and {\Bslash finmorceau} or {\Bslash suspmorceau} with -\keyindex{finextrait}. - - If you want to terminate it without a bar, you code -\keyindex{zfinextrait} which acts like {\Bslash zsuspmorceau}.. - -%\check - - \subsection{Lyrics}\index{lyrics} - - Lyrics can be introduced in several ways~: - \begin{enumerate} - - \item The first one consists in dedicating -one instrument whose \keyindex{nbportees$r$} is zero. Then the text of the -lyrics is just inserted, note by note, by inserting it at the right position -between {\Bslash notes}...{\Bslash enotes}. The drawback is that a four voice -choir needs eight instruments which may lead to troubles if there is also an -orchestra score below the voices. - - \item Therefore, another solution consists in adjusting \keyindex{interinstrument} -and \keyindex{staffbotmarg} to give more place below the song -instruments\footnote{Beware of a shift of one position, since {\Bslash -intersinstrument$r$} indicates the interval \ital{above} the $r$-th -instrument.}. Then the texts of the lyrics are indicated with the song tune -instrument, using \keyindex{zcharnote} with a negative numeric position -value. - - By the way, the {\Bslash zcharnote} may have a {\Bslash vbox} as a second -argument, and this \keyindex{vbox} may contain several {\Bslash hbox}es -describing the text of the different couplets (see example {\tty ANGESCAO}). - - \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} - - \medskip As an example, the following French song - - \begin{music} - \generalsignature{1} - \def\nbinstruments{1} - \debutextrait - \NOtes\zsong{Au }\qu g\enotes - \NOtes\zsong{clair }\qu g\enotes - \NOtes\zsong{de }\qu g\enotes - \NOtes\zsong{la }\qu h\enotes - \barre - \NOTes\zsong{lu- }\hu i\enotes - \NOTes\zsong{ne, }\hu h\enotes - \barre - \NOtes\zsong{mon }\qu g\enotes - \NOtes\zsong{a- }\qu i\enotes - \NOtes\zsong{mi }\qu h\enotes - \NOtes\zsong{Pier- }\qu h\enotes - \barre - \NOTes\zsong{rot, }\wh g\sk\enotes - \finextrait - \end{music} - -\noindent was coded as: - -\begin{quote}\begin{verbatim} - \generalsignature{1} - \def\nbinstruments{1} - \debutextrait - \NOtes\zsong{Au }\qu g\enotes - \NOtes\zsong{clair }\qu g\enotes - \NOtes\zsong{de }\qu g\enotes - \NOtes\zsong{la }\qu h\enotes - \barre - \NOTes\zsong{lu- }\hu i\enotes - \NOTes\zsong{ne, }\hu h\enotes - \barre - \NOtes\zsong{mon }\qu g\enotes - \NOtes\zsong{a- }\qu i\enotes - \NOtes\zsong{mi }\qu h\enotes - \NOtes\zsong{Pier- }\qu h\enotes - \barre - \NOTes\zsong{rot, }\wh g\sk\enotes - \finextrait -\end{verbatim}\end{quote} - - \end{enumerate} - - -%\check - - \section{Other special ornaments} - - Since the first release of \musictex, many users have either asked for -new features of proposed their own procedures to be included in \musictex. -Some of them have been added because of their high utility, some others have -been left aside for several reasons. The major reason for not including many -proposals in the \musictex\ release is that -- at least on many computers and -especially PC's -- the \TeX\ memory is limited to 65~000 ``words''. This is a -very restricted value which causes many trials to exceed the capacity of \TeX\ -(unless using ``big\TeX''). Therefore, only the proposed macros of very -general use can be introduced in the release as a standard and the users are -suggested to take their specific procedures and include them (directly of by -means of an {\Bslash input}) in their own source code. - - This is particularly valid for people who want to typeset \itxem{baroque} -music using the ancient \itxem{ornament codings} rather than the modern -equivalents. As a compromise, some macros kindly provided by Ian {\sc Collier} -in Great Britain have slightly been updated and provided in a separate file -named {\tty musicext.tex}. - - For example, brackets can be produced: - - \begin{music} -\def\nbinstruments{1}\relax -\computewidths -\nbporteesi=1\relax -\debutextrait -\normal -\temps\Notes\ovbkt j3{15}\ql{hij}\enotes -\finextrait - - \end{music} - -%\check - \section{The {\tt musicsty} macros}\label{musicsty} -% non musical procedures used in typesetting the non-musical -% texts together with musictex - This file is made for non \TeX perts and/or lazy score typesetters. It -provides - \begin{itemize} - \item a set of font definitions of common use, such as \verb|\tenrm|, -\verb|\eightrm|, etc., - \item a reasonable setting of \keyindex{hsize}, \keyindex{vsize}, -\keyindex{hoffset}, \keyindex{voffset} dimensions in order to have a good -layout fi for European A4 paper\footnote{People addicted to \itxem{legal} or -other paper sizes should correct it for their own purpose.} - \item a set of text size commands: - - \begin{description} - \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 a set of commands to make easy piece titles~: - \begin{itemize} \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|\\| makes theauthor name displayed on two or -several lines. - - - \item \keyindex{shortauthor} to be put at the bottom of each page, - \item \keyindex{fulltitle} which is the big 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, in -front of the author's name (it may contain several \verb|\\| to display it on -several lines, - \item \keyindex{maketitle} which displays all the previous stuff. - \end{itemize} - - \item Some additional commands to make \itxem{footnotes}. - These commands are - \begin{itemize} - \item The normal Plain-\TeX\ \keyindex{footnote} command which has two -arguments --- not only one as in \LaTeX\index{LaTeX=\protect\LaTeX} --- namely -the label of the footnote, i.e. any sequence of characters and not only -figures, and the text of the footnote. - -\noindent{\sl IMPORTANT: the \verb|\footnote| command does not work inside -boxes\footnote{This is not a \TeX-bug, this is a feature!}, therefore this -command must not be issued within music. But another alternate feature is -provided (see below).} - - \item The \keyindex{Footnote} command, which counts the footnotes and uses a -number as the label of the foot note (equivalent to \LaTeX's \verb|\footnote| -command). The same restriction applies concerning footnotes within the music -coding. - - \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which -makes the footnote itself at the bottom of the current page, but does not put -the footnote label at the place it is referred in the main text. - - Thus, if a footnote is needed whose reference lies inside the music itself, -the music typesetter must perform it in two steps~: - \begin{enumerate} - \item quote the reference inside the music, using \verb|zcharnote| for -example, - \item post the footnote itself, using \verb|\vfootnote| outside the music, -either before \keyindex{debutmorceau} or between \keyindex{suspmorceau} and -\keyindex{reprmorceau} or equivalent commands. - \end{enumerate} - - \end{itemize} - \end{itemize} - - Note that \verb|musicsty| should not be used with \LaTeX. - - -\section{Abnormal music coding} -\subsection{Gregorian chant} -\index{gregorian music}Gregorian chant is often coded using four line staffs -(see section \ref{gregorian}) and using special notes (called \itxem{neumes}) -which are described in section \ref{gregnotes}. But the gregorian chant also -needs a special \itxem{alto clef} which is in fact the ancester of the modern -alto clef. The gregorian \itxem{alto clef} can be invoked instead of the -modern one by re-declaring the \keyindex{clefdut}$r$ macro. Thus - -\begin{quote}\begin{verbatim} -\def\clefdutiv{\gclefdut} -\end{verbatim}\end{quote} -will cause the instrument number 4 (i.e. {\tt iv}) to exhibit a gregorian C -clef whenever the value of \verb|\cleftoskiv| refers to an alto clef. -The modern alto clef can be restored for that instrument by~: - - -\begin{quote}\begin{verbatim} -\def\clefdutiv{\clefdutsymbol} -\end{verbatim}\end{quote} - -\subsection{Music score without clefs or with special clefs}\index{clefs -(empty)} Regardless of the number of lines of the staffs, an instrument may -have no clefs, e.g. for \itxem{percussion music} but also for any weird -purpose. This done by declaring some of the following items~: - -\medskip -\verb|\def|\keyindex{clefdesol}$r$\verb|{\relax}| - -\verb|\def|\keyindex{clefdut}$r$\verb|{\relax}| - -\verb|\def|\keyindex{clefdefa}$r$\verb|{\relax}| - -\medskip - At first sight, it could be thought to be silly to cancel the G clef, the C -clef and/or the F clef to have an empty clef symbol. But the reason is that -the absence of clefs does not mean that notes should not be raised according -to their pitch. Thus, if the user uses the G clef coding of pitches, he is -welcome to use the present feature to cancel the G clef, but if he uses some -alto clef coding, then he should cancel the alto clef symbol. Of course, all -this is irrelevant if the engraver chooses to use numeric coding of note -position like \verb|\qu{10}|. - - Normal symbols for these clefs and for instrument or roman number $r$ can be -restored by~: - - -\medskip -\verb|\def\clefdesol|$r$\verb|{|\keyindex{clefdesolsymbol}\verb|}| - -\verb|\def\clefdefa|$r$\verb|{|\keyindex{clefdefasymbol}\verb|}| - -\verb|\def\clefdut|$r$\verb|{|\keyindex{clefdutsymbol}\verb|}| - -\medskip Besides, a special \itxem{drum clef} (two heavy vertical bars) can -replace any of the standard clefs, for exemple the G clef by saying~: - -\medskip -\verb|\def\clefdesol|$r$\verb|{|\keyindex{drumclefsymbol}\verb|}| - - -\medskip It is to be emphasised that these features are specific to one -instrument --- not one staff of a several staff instrument --- so that some -weird score for \ital{monks}, \ital{drum} and \ital{electronic keyboard} -such as - -\begin{music} -\parindent 19mm -\def\nbinstruments{3} \def\instrumenti{keyboard} -\def\instrumentii{drum} \def\instrumentiii{monks} -\def\stafflinesnbii{1} \def\stafflinesnbiii{4} -\generalsignature{0} \generalmeter{\relax} -\signi=-1\relax % one flat at keyboard -\nbporteesi=2\relax % 2 staffs at keyboard -\cleftoksi={6000}\cleftoksiii={3000}\cleftoksii={1000} -\def\clefdutiii{\gclefdut} % gregorian C clef at instrument iii -\def\clefdutii{\drumclefsymbol} % cancel C clef at instrument ii -\def\interinstrumentii{-4\Interligne} % less spacing above drum -\normal -\debutextrait -\Notes\hu F|\zh c\hu h&\diamw 0&\carrg {acd}\enotes -\NOtes\qu I|\zq N\qu d&\diamg 0&\diamg f\enotes -\NOtes\qu J|\zq a\qu e&\diamg 0&\diamg e\enotes -\notes\hu G|\zh b\hu d&\zshaker 3\diamw {00}&\zcarrg d\carqg g\carrg {hgh}\enotes -\finextrait -\end{music} -\noindent could be coded as follows, regardless this is relevant~: -\begin{verbatim} -\parindent 19mm -\def\nbinstruments{3} \def\instrumenti{keyboard} -\def\instrumentii{drum} \def\instrumentiii{monks} -\def\stafflinesnbii{1} \def\stafflinesnbiii{4} -\generalsignature{0} \generalmeter{\relax} -\signi=-1\relax % one flat at keyboard -\nbporteesi=2\relax % 2 staffs at keyboard -\cleftoksi={6000}\cleftoksiii={3000}\cleftoksii={1000} -\def\clefdutiii{\gclefdut} % gregorian C clef at instrument iii -\def\clefdutii{\drumclefsymbol} % cancel C clef at instrument ii -\def\interinstrumentii{-4\Interligne} % less spacing above drum -\normal -\debutextrait -\Notes\hu F|\zh c\hu h&\diamw 0&\carrg {acd}\enotes -\NOtes\qu I|\zq N\qu d&\diamg 0&\diamg f\enotes -\NOtes\qu J|\zq a\qu e&\diamg 0&\diamg e\enotes -\notes\hu G|\zh b\hu d&\zshaker 3\diamw {00}&\zcarrg d\carqg g\carrg {hgh}\enotes -\finextrait -\end{verbatim} - -In the same way, a possible violin score with \itxem{harmonic notes} (see -\ref{othernotes}) could be~:\label{abnormalscores} - -\begin{music} -\def\freqbarno{9999}% no bar numbers -\def\nbinstruments{1}\nbporteesi=1\relax -\generalsignature{-2}\generalmeter{\allabreve}\cleftoksi={0000} -\normal -\debutextrait -\NOtes\zd o\zh d\hu h\enotes -\Notes\ibu0k0\zq g\yh0k\qh0j\zq e\yh0i\tbu0\qh0j\enotes -\barre -\NOTes\zd g\hu k\enotes -\NOTes\hpause\enotes -\barre -\NOtes\zd o\zh d\hl h\enotes -\Notes\ibl0b0\zq g\yb0k\qb0j\zq e\yb0i\tbl0\qb0j\enotes -\barre -\NOTes\zd g\hu k\enotes -\NOTes\hpause\enotes -\finextrait -\end{music} - -It was coded as follows: -\begin{quote}\begin{verbatim} -\def\nbinstruments{1}\nbporteesi=1\relax -\generalsignature{-2}\generalmeter{\allabreve}\cleftoksi={0000} -\normal -\debutextrait -\NOtes\zd o\zh d\hu h\enotes -\Notes\ibu0k0\zq g\yh0k\qh0j\zq e\yh0i\tbu0\qh0j\enotes -\barre -\NOTes\zd g\hu k\enotes -\NOTes\hpause\enotes -\barre -\NOtes\zd o\zh d\hl h\enotes -\Notes\ibl0b0\zq g\yb0k\qb0j\zq e\yb0i\tbl0\qb0j\enotes -\barre -\NOTes\zd g\hu k\enotes -\NOTes\hpause\enotes -\finextrait -\end{verbatim}\end{quote} - - -\subsection{Usual percussion music} -\label{genpercus} Besides single percussion scores usually -written using one-line staffs, percussion music involving several instruments -is often writen on five-line staffs with a \ital{drum clef}, where the -instruments are distinguished by the type of the note heads and the apparent -pitch of the note on the staff. We give an example --- kindly provided by -Agusti {\sc Mart\'in Domingo}~: - -\medskip -\begin{music} -\def\freqbarno{9999}% no bar numbers -\def\nbinstruments{1}\generalsignature{0}\def\stafflinesbi{5} -\generalmeter{\meterfrac44} -\cleftoksi={0000}\def\clefdesoli{\drumclefsymbol} -\normal -\debutextrait -\leftrepeat -\Notes\zql f\rlap{\soupir}\ibu0m0\xh0{nn}\enotes -\Notes\zk d\zql f\zq j\xh0n\tbu0\xh0n\enotes -\Notes\zql f\rlap{\soupir}\ibu0m0\xh0{nn}\enotes -\Notes\zk d\zql f\zq j\xh0n\tbu0\xh0n\enotes -\barre -\Notes\zql f\rlap{\soupir}\ibu0m0\kh0{nn}\enotes -\Notes\zx d\zql f\zq j\kh0n\tbu0\kh0n\enotes -\Notes\zql f\rlap{\soupir}\ibu0m0\kh0{nn}\enotes -\Notes\zx d\zql f\zq j\kh0n\tbu0\kh0n\enotes -\barre -\Notes\zql f\rlap{\soupir}\ibu0m0\oxh0{nn}\enotes -\Notes\zox d\zql f\zq j\kh0n\tbu0\oxh0n\enotes -\Notes\zql f\rlap{\soupir}\ibu0m0\oxh0{nn}\enotes -\Notes\zox d\zql f\zq j\kh0n\tbu0\oxh0n\enotes -\setrightrepeat\finextrait -\end{music} - Its coding was~: - \begin{quote}\begin{verbatim} -\begin{music} -\def\nbinstruments{1}\generalsignature{0}\def\stafflinesbi{5} -\generalmeter{\meterfrac44} -\cleftoksi={0000}\def\clefdesoli{\drumclefsymbol} -\normal -\debutextrait -\leftrepeat -\Notes\zql f\rlap{\soupir}\ibu0m0\xh0{nn}\enotes -\Notes\zk d\zql f\zq j\xh0n\tbu0\xh0n\enotes -\Notes\zql f\rlap{\soupir}\ibu0m0\xh0{nn}\enotes -\Notes\zk d\zql f\zq j\xh0n\tbu0\xh0n\enotes -\barre -\Notes\zql f\rlap{\soupir}\ibu0m0\kh0{nn}\enotes -\Notes\zx d\zql f\zq j\kh0n\tbu0\kh0n\enotes -\Notes\zql f\rlap{\soupir}\ibu0m0\kh0{nn}\enotes -\Notes\zx d\zql f\zq j\kh0n\tbu0\kh0n\enotes -\barre -\Notes\zql f\rlap{\soupir}\ibu0m0\oxh0{nn}\enotes -\Notes\zox d\zql f\zq j\kh0n\tbu0\oxh0n\enotes -\Notes\zql f\rlap{\soupir}\ibu0m0\oxh0{nn}\enotes -\Notes\zox d\zql f\zq j\kh0n\tbu0\oxh0n\enotes -\setrightrepeat\finextrait -\end{music} - \end{verbatim}\end{quote} - - To use these different note heads, one must - \begin{itemize} - \item either include a specific percussion file namely {\tt -\ixem{musicper.tex}} after the usual \verb|\input musictex| or invoke the -\LaTeX\ style option {\tt\ixem{musicper}}\index{musicper.sty}; - \item use special macro names to replace the usual elliptic back note head -with either a double sharp sign or with a $+$. These macros are~: - \begin{itemize} - \item \keyindex{zx}, \keyindex{xu}, \keyindex{xup}, \keyindex{xupp}, - \keyindex{xl}, \keyindex{xlp}, \keyindex{xlpp}, - \keyindex{xh}, \keyindex{xb}, \keyindex{zx}, - \keyindex{xcu}, \keyindex{xcup}, \keyindex{xcupp}, - \keyindex{xccu}, \keyindex{xcccu}, \keyindex{xccccu}, - \keyindex{xcl}, \keyindex{xclp}, \keyindex{xclpp}, - \keyindex{xccl}, \keyindex{xcccl} and \keyindex{xccccl}, which behave exactly like - \verb|\zq|, \verb|\qu|, \verb|\qup|, \verb|\qupp|, - \verb|\ql|, \verb|\qlp|, \verb|\qlpp|, - \verb|\qh|, \verb|\qb|, \verb|\zq|, - \verb|\cu|, \verb|\cup|, \verb|\cupp|, - \verb|\ccu|, \verb|\cccu|, \verb|\ccccu|, - \verb|\cl|, \verb|\clp|, \verb|\clpp|, - \verb|\ccl|, \verb|\cccl| and \verb|\ccccl|, except that the note head is - \raise 0.6ex\hbox{\musicnorfont\char '65} instead of \raise -0.5ex\hbox{\musicnorfont\char '41}~. - \item \keyindex{zox}, \keyindex{oxu}, \keyindex{oxup}, \keyindex{oxupp}, - \keyindex{oxl}, \keyindex{oxlp}, \keyindex{oxlpp}, - \keyindex{oxh}, \keyindex{oxb}, \keyindex{zx}, - \keyindex{oxcu}, \keyindex{oxcup}, \keyindex{oxcupp}, - \keyindex{oxccu}, \keyindex{oxcccu}, \keyindex{oxccccu}, - \keyindex{oxcl}, \keyindex{oxclp}, \keyindex{oxclpp}, - \keyindex{oxccl}, \keyindex{oxcccl} and \keyindex{oxccccl}, to get a note -head of -\raise 0.6ex\hbox{\musicnorfont\char 38} instead of \raise -0.5ex\hbox{\musicnorfont\char '41}~. - \item \keyindex{zk}, \keyindex{ku}, \keyindex{kup}, \keyindex{kupp}, - \keyindex{kl}, \keyindex{klp}, \keyindex{klpp}, - \keyindex{kh}, \keyindex{kb}, \keyindex{zk}, - \keyindex{kcu}, \keyindex{kcup}, \keyindex{kcupp}, - \keyindex{kccu}, \keyindex{kcccu}, \keyindex{kccccu}, - \keyindex{kcl}, \keyindex{kclp}, \keyindex{kclpp}, - \keyindex{kccl}, \keyindex{kcccl} and \keyindex{kccccl}, to get a -note head of - \raise 0.6ex\hbox{\musicnorfont\char 39} instead of \raise -0.6ex\hbox{\musicnorfont\char '41}~. - \end{itemize} - \end{itemize} - - - \section{Writing your own macros: the {\Bslash catcode} problems} - -As seen before, the \keyindex{catcodes} of the {\tty\|} and {\tty\&} symbols -are modified by \musictex, in the range of the actual scores but no -more\footnote{Since version 4.99.} in -the whole of the \TeX\ source. Thus, if you define your own macros to make -your writing easier, you are likely to invoke the {\tty\|} or {\tty\&} -symbols in a part of text where their \keyindex{catcode}s are not correctly set. -This may result typically in a diagnostic like~: - -\verb|! Misplaced alignment tab character &.| - -\noindent when you attempt, not to define, but to use your macro using the -{\tty\&} symbol to change the instrument. Smart \TeX ers know that the -\keyindex{catcode}s are attached to the characters \ital{when they are input} -and not when they are used; thus you must be sure that {\tty\|} and {\tty\&} -have the correct \musictex\ \keyindex{catcode} when the macro is defined, -which may well occur outside the actual score. - -It is also worth pointing out that the same problem may occur with other -punctuation marks like ``{\tty<\relax}'', ``{\tty>\relax}'', ``\verb|^|, -etc., if their \keyindex{catcode} has been changed by some other set of -macros, like {\tty \ixem{french.sty}}. - - - \section{Musicla\TeX} - -\subsection{The {\tt musictex.sty} style} - - As said before, the amount of memory and registers used by \musictex\ makes -it hardly compatible with \LaTeX. However, Nicolas {\sc -Brouard}\index{Brouard, N.} succeeded in building a {\tty\ixem{musictex.sty}} -which is now included in the distribution. This is not recommended to make -separate music scores. Its purpose is rather to provide a means of inserting -short musical excerpts in books or articles written with \LaTeX. Then, the -\keyindex{documentstyle} command should include {\tty musictex} in the -options. - - -\medskip - The \LaTeX\ style file {\tty \ixem{musictex.sty}} simply \verb|\input|s -the following files (in that very order): \begin{itemize} - \item {\tty musicpre.tex} - \item {\tty musicnft.tex} - \item {\tty musictex.tex} - \item {\tty musicvbm.tex} - \item {\tty musicpos.tex} - \end{itemize} - - - -\medskip - In the case of a \LaTeX\index{LaTeX=\protect\LaTeX} -user wanting to use accidental -transposition facilities, he should invoke {\tty\ixem{musictrp}} in the -options of the \keyindex{documentstyle} command. - - In case of {\tty TeX capacity exceeded...}, use a ``Bigla\TeX'' (after -checking there is no visible error in the source -code).\index{BigLaTeX=Big\LaTeX} - -\subsection{Wide music in \LaTeX} - - 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 \itxem{largemusic} has been -provided, 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 haddled with the {\tty -a4wide}\index{a4wide} style option, or any derivate of it. - -%\check - - \subsection{The {\Bslash catcode} problems} - The {\tty musicpos.tex} file -merely overrides the \keyindex{catcode}s of the {\tty\|} and {\tty\&} symbols -which are modified by \musictex. To have access to these symbols when coding -music, on should then enclose the scores or excerpts within {\Bslash -begin\{music\}} and {\Bslash end\{music\}}. But there is also another -possibility, i.e.\ to say \keyindex{nextinstrument} instead of {\tty -\&}\index{\&} and \keyindex{nextstaff} instead of {\tty\|}.\index{\|} - - Another problem comes from the {\tty \ixem{french.sty}} written by Bernard -{\sc Gaulle}\index{Gaulle, B.} which is the standard of the \ixem{GUTenberg} -French association. This style changes many \keyindex{catcode}s which lead -\musictex\ to fail in many cases. Therefore, since the version 4.99, the -\keyindex{catcode}s of all are forced to the adequate value at -\keyindex{debutmorceau}, \keyindex{debutextrait} and restored at their -original value at \keyindex{finmorceau}, \keyindex{suspmorceau} and -\keyindex{finextrait}. This means that some facilities like the -\itxem{guillemets} or the \itxem{tabulation} character are inhibited within -music scores (possible problem with sophisticated \itxem{lyrics}) but -perfectly available within the normal text. - - Anyway, in case of emergency, one can invoke \keyindex{catcodesmusic} to -establish the \keyindex{catcode}s at their value fit for music, and -\keyindex{endcatcodesmusic} to reset them at their external value, for example -those chosen by {\tty french.sty}. - - \section{Implementation and restrictions} - - The macroinstruction file \musictex\ contains approximately 2500 lines of -code, that is 80~000 bytes approximately. This requires your score to be -compiled by the most extended versions of \TeX\ (65~000 words of working -memory). It is therefore wise to set \hbox{\Bslash tracingsstats} to 2 in -order to have an information about the memory used in each page. In desperate -situations, we recommend using the ``Big\TeX'' processors which, -unfortunately, perform a great deal of disk input/outputs (on PCs with i286 -processors) which make them awfully slow\footnote{Using i386 or i486 -processors, this problem disappears with the specific version of {\tty -emTeX}}.\index{Big\protect\TeX}\index{em\TeX} - -In particular, the number of registers it uses and the amount of memory used -by \LaTeX\ macros makes it doubtfully compatible with \LaTeX, unless using -Big\LaTeX.\index{BigLaTeX=Big\LaTeX} - -Other precautions are necessary: beware of end-of-line spaces; they corrupt -layout and may cause unwanted line breakings after which music symbols seem -to \ital{float} in the air without staffs. To avoid that, it is recommended -to use \keyindex{relax} rather than {\tty\%} at the end of source lines. - -\chapter{Installation} - -\section{Getting the stuff} - -As seen before, all the files are available at \itxem{anonymous ftp} {\tty -rsovax.lps.u-psud.fr} (193.55.39.100) in the directory\footnote{{\sc -unix} addicts whould beware that this primary server is an old MicroVax run -the VMS system. Therefore the brackets in the directory name are compulsory, -not optional.} -{\tty[anonymous.musictex]}, which can more easily be reached -using the simple command - -{\tt cd musictex} - - -This directory normally contains {\tty musictex.zip} which contains -all the distribution for PC (\ixem{MS-DOS}) computers. This is only for -{\tty ftp}-ing convenience since all source files are directly available -in the same directory. In addition a set of examples (i.e. the files -whose name does not begin with ``{\tty music}'') is packed into -{\tty musicexa.zip}, and {\tty recueil.zip} contains the zipped DVIs of a large -subset of the examples. Finally the PK files of specific fonts are provided -in {\tty musicpk.zip}; getting this file is useless if you are able to {\tty -metafont} the files whose {\tty *.mf} are provided in the main package. - -The \ixem{VMS} files are also packed into {\tty musictex.bck}\index{musictex.zip} -\index{musictex.bck}. Notwithstanding the fact that files are packed together -or not, the files provided are of two kinds: -\begin{enumerate} -\item the basic files; -\item the example files. -\end{enumerate} - -All \itxem{basic files} are either of the form {\tty music*.*} (excluding of -course {\tty *.zip} and {\tty *.bck}), {\tty beamn*.*} and {\tty slurn*.*}. Other -files ({\tty *.tex} or {\tty *.dvi}) are example files. - -\ital{Fonts}\index{fonts} are provided as {\tty *.mf} files but also as {\tty -*.tfm} and {\tty *.pk} files for 300~dpi printers or previewers. Additional -values of the \ixem{dpi} parameter are also provided in {\tty musicpk.zip}. -Normally needed fonts are {\tty musikn20}, {\tty musikn16}, {\tty musikn13}, -{\tty musikn11}, {\tty musicbra} or {\tty musicbrb}\footnote{{\tt musicbra} -and {\tt musicbrb} exhibit some drawing differences, but they meet the same -purpose of typing \itxem{piano braces}.}, {\tty beamn20}, {\tty beamn16}, {\tty beamn13}, -{\tty beamn11}, {\tty slurn20} and {\tty slurn16}. - -\section{Installing the fonts} - \textit{All} files with the extension \verb|.tfm|\footnote{\TeX\ font metric -files, needed directly from binary for \TeX ing the examples or the doc.} have -to be copied in the same directory as the other \verb|.tfm|'s. -Then, if you get the error message: - -\verb|! Font ... not loadable: Metric (TFM) file not found.| - -\noindent this means -you did not succeed in installing the \verb|.tfm|'s, or you installed them in -the wrong directory. Then look at your general \TeX\ -documentation\footnote{The specific \TeX\ installation manual, not necessarily -the \TeX book.} and try again. - - -The \verb|.tfm| only contains the width, height and depth of each character -of a font and is the only font file needed for \TeX ing. But, to preview -and/or view you need the pixel fonts, i.e. not the metrics but the exact -drawing of the characters. On most systems they are packed and have either -the extension \verb|.pk| or the extension {\tt.}$<dpi>${\tty pk}, where $dpi$ -is the actual resolution of the font needed in the requested size. This means -that the the given \verb|*.pk| files provided often have to be renamed as -\verb|*.300pk|, especially in \unix\ systems. - - Mostly needed and spreaded are the fonts for \verb|dvi|-driver with -resolution of 300dpi. Using Em\TeX the \verb|.pk|-fonts have to be copied in -\verb|...\pixel.lj\300dpi\|. In \unix\ systems they often have to be renamed -as \verb|*.300pk| and put in a directory --- the name of which can be -provided by your local manual or \TeX-wizard --- of the form -\verb|.../fonts/pk|. - -\section{Building a format}\label{formatbuild} - -Introducing the basically needed files in a \itxem{format} (with -\ixem{INITEX}) is a means of saving computer time and memory. Besides, you -will have a format compatible with \musixtex\ and --- provided you made the -symmetrical format for \musixtex that is, including {\tt musixcpt} in your -\musixtex\ format --- you can compile exactly the same source files with both -\musictex\ and \musixtex, which is a good means of finding whether some -strange behaviour is specific to one implementation or the other, or whether -you made some general mistake. - -\subsection{Starting from nil} -\begin{enumerate} -\item Build up a file called \verb|musictex.ini| with following contents: - -\begin{verbatim} -\input plain % or your local plain-like TeX format -\input musicnft -\input musictex -\input musicvbm -\input musictrp % optionally -\input musicsty % optionally -\def\fmtname{musictex}\def\fmtversion{5.08} -\dump -\end{verbatim} - -\item Make your format with the command - -\smallskip - \verb|initex musictex.ini|\footnote{depends on your implementation. -{\tty initex} may require another form, such as -``\verb|tex386 -i|''.} - -\item Then your format may me invoked for \TeX ing score by something like - - - \verb|tex &musictex| \textit{jobname}\footnote{depends on your -implementation. Very often the formatless \TeX is invoked by \verb|virtex| -rather than \verb|tex| which already invokes a default plain format.}. -\end{enumerate} - -\subsection{Starting from your usual plain format} -\begin{enumerate} - \item First, try to find --- on your favourite system --- whether \verb|tex| is -an executable routine, or a \verb|tex.bat| command in MS-DOS or a {\sl -shell\/} procedure under \unix. - \item If \verb|tex| is a command try to find the ``initex'' local command: -usually it is either \verb|initex| or \verb|tex -i|. - \item Try to find the name of the ``plain \TeX'' format (usually posted -when \TeX ing anything. - \item Then, {\it mutatis mutandis\/}, assuming the ``initex'' command has -the name \verb|initex| and the ``plain \TeX'' format is \verb|plain|, run the -shell command: - - \medskip - \verb|initex \&plain musictex.ins| - - \medskip\noindent which will produce a format file {\tt musictex.fmt} which -you shall put in the same directory as the others formats (hoping you have -the access rights...). Note, in \unix\ systems, the backslash before the -\verb|&| which tells the system to consider this character as a member of the -command, not a batch execution indication. Once this is done, you can -\musictex\ any score you have written using a command such as: - - \medskip - \verb|tex \&musictex my-score.tex| - - \medskip\noindent that is, specifying your new format {\tt musictex.fmt} -instead of the usual {\tt plain.fmt}. - - For MS-DOS/{\tt emTeX} users the format building command is: - - \verb|tex386 -i &plain musictex.ins| - - \noindent (you can change \verb|plain| into \verb|dc-plain| or any other -plain-like format you have) then: - - \verb|copy musictex.fmt \emtex\btexfmts\*.*| - - \noindent and the {\tt musictex.bat} command can be - -% It makes no sense to state -mt20000, perhaps this is useful for MusicTeX, -% (it uses hyphenation to break a line) but not for MusiXTeX (it uses musixflx) -\begin{quote}\begin{verbatim} -if exist %1.tex goto tex -goto end - -:tex -tex386 -mt20000 &musictex %1 %2 %3 %4 %5 %6 %7 %8 %9 - -:end - \end{verbatim}\end{quote} -\end{enumerate} - - - - - \input musicdoc.ind - - -\chapter{Examples} - -\vskip -8mm -Due to compatibility problems with \LaTeX\ (used to produce this notice) -large examples must be \TeX -ed separately, i.e.\ using \TeX\ and not \LaTeX. -Therefore, the Music\TeX\ future user is suggested to produce -some of the following examples and to look carefully at the way some -special features have been coded. - -\medskip When producing this examples, care should be taken about the fact -that many several files are supposed to be included (by means of -\keyindex{input}) in other files. Thus the only good files to be directly -\TeX-ed are those which begin with ``{\Bslash input musicnft}'' or - ``\verb|% \input musixtex|''. This latter command indicates that this -exemple can be run, both with \musictex\ inserting - - \verb|\input musicnft| - - \verb|\input musictex| - - \verb|\input musicvbm| - - \verb|\input musictrp| - - \verb|\input musicsty| - - \noindent at the beginning, or inserting the correcponding files of -MusiX\TeX\ (see corresponding manual). A simplerway of doing consists in having -two formats, one for \musictex\ (see \ref{formatbuild}), one for MusiX\TeX\ -plus its compatibility input files. - -In addition, it must be noted that most DVI previewers and laser printers -have their origin at one inch below and one inch right of the right upper -corner of the paper, while the musical examples have their upper left -significant corner only at one centimeter right and below the left top of the -paper. Therefore, special parameters have to be given to the DVI -transcription programs unless special \keyindex{hoffset} and -\keyindex{voffset} \TeX\ commands are introduced within the source \TeX\ -text. - -\medskip Suggested tests are: - -\begin{itemize} -\item{\tty PACIFIQN} for a long original piano work (11 pages); - {\tty PACIFIQB} is the same in 16~pt staff size; -\item{\tty CARILLON} for a sophisticated piano score (use Big\TeX~!); -\item{\tty PRAETORI} to get an ancient polyphonic song with three - transpositions; -\item{\tty ANGESCAO} if you like Christmas carols with four voices, a - three-staff organ score and the same transposed to meet ordinary - singer's limitations; {\tty ANGESCAM} is the same without organ. See {\tty - angescax.tex} to see how the same source has been used for two distinct -layouts. -\item{\tty HPRELFUG} if you like imitations of J.-S. Bach - (included in {\tty RECUEIL}); -\item{\tty MARCELLX} if you like pre-baroque music (included in {\tty RECUEIL}); -\item{\tty RECUEIL} if you want to get all the organ works\footnote{All -subsets of {\tty RECUEIL} can be \musictex-ed separately.} of the author in a -single book (65 pages); - \item{\tty HWIDOR} and {\tty NWIDOR} to get the Toccata by Charles-Marie -{\sc Widor} in two different sizes; - \item{\tty AVEMARIX} to get the ``M\'editation'' (alias ``Ave Maria'') by -Charles {\sc Gounod} for organ and violin or song.\index{Gounod, C.} and {\tty -AVEMARIO} to get the same for organ solo; - \item{\tty RACINE} to get the ``Cantique de Jean Racine'' by Gabriel {\sc -Faur\'e} in a transcription fit for organ rather than for -piano.\index{Faur\'e, G.} - -\end{itemize}\index{Widor, C.-M.}\index{Gounod, C.} - -\chapter{Summary of denotations} -\section{Pitches} -\begin{music} -\cleftoksi={6000} -\def\lbnt#1{\zcharnote{9}{\tty #1}\wh{!#1}} -\def\LBNT#1{\zcharnote{9}{\tty !\relax #1}\wh{!#1}} -\def\nbinstruments{1}\relax -\debutextrait\autolines{13}{1}{12}\temps\notes\qsk -\LBNT {`A}\LBNT {`B}\relax -\LBNT {`C}\LBNT {`D}\LBNT {`E}\relax -\LBNT {`F}\LBNT {`G}\relax -\lbnt A\lbnt B\lbnt C\lbnt D\lbnt E\lbnt F\enotes\finextrait -\def\lbnt#1{\zcharnote{-5}{\tty #1}\wh{!#1}}\relax -\debutextrait\autolines{13}{1}{12}\temps\notes\qsk -\lbnt G\lbnt H\lbnt I\relax -\lbnt J\lbnt K\lbnt L\lbnt M\lbnt N\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\relax -\enotes\finextrait -\def\nbinstruments{1}\relax -\cleftoksi={0000} -\def\lbnt#1{\zcharnote{10}{\tty #1}\wh{!#1}}\relax -\debutextrait\autolines{13}{1}{12}\temps\notes\qsk -\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\lbnt f\lbnt g\lbnt h\lbnt i\relax -\lbnt j\lbnt k\lbnt l\lbnt m\enotes\finextrait -\def\lbnt#1{\zcharnote{-4}{\tty #1}\wh{!#1}}\relax -\debutextrait\autolines{13}{1}{12}\temps\notes\qsk -\lbnt n\lbnt o\lbnt p\lbnt q\lbnt r\relax -\lbnt s\lbnt t\lbnt u\lbnt v\lbnt w\lbnt x\lbnt y\lbnt z\relax -\enotes -\finextrait -\end{music} -\section{Notes and Rests} -\begin{music} -\def\mcra#1{\zcharnote{10}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}} -\def\Mcra#1{\zcharnote{14}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}} -\def\nbinstruments{1} -\debutextrait\normal\temps\NOTes\sk -\mcra{zbv}\zbv i\sk\mcra{zsb}\zsb i\sk\enotes\Notes\relax -\mcra{wh}\wh i\qsk -\mcra{hu}\hu f\qsk\mcra{hl}\hl l\qsk -\mcra{qu}\qu f\qsk\mcra{ql}\ql l\qsk -\mcra{cu}\cu f\qsk\mcra{cl}\cl l\qsk -\qsk\mcra{ccu}\ccu f\qsk\qsk\mcra{ccl}\ccl l\qsk\relax -\qsk\qsk\mcra{cccu}\cccu d\qsk\qsk\qsk\mcra{cccl}\cccl l\qsk -\qsk\qsk\mcra{ccccu}\ccccu f\qsk\qsk\qsk\mcra{ccccl}\ccccl l\enotes\finextrait -\end{music} -% -\begin{music} -\def\mcra#1{\zcharnote{10}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}} -\def\Mcra#1{\zcharnote{14}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}} -\def\nbinstruments{1} -\debutextrait\normal\temps\NOTes\qsk -\mcra{whp}\whp i\qsk -\mcra{hup}\hup f\qsk\mcra{hlp}\hlp l\qsk -\mcra{qup}\qup f\qsk\mcra{qlp}\qlp l\qsk -\mcra{cup}\cup f\qsk\mcra{clp}\clp l\qsk\enotes -\Notes\qsk\mcra{qh0}\ibu0f0\qh0f\tbu0\sk -\qsk\mcra{qb0}\ibl0l0\qb0l\tbl0\sk\relax -\qsk\mcra{qhp0}\ibu0f0\qhp0f\tbu0\sk -\qsk\mcra{qbp0}\ibl0l0\qbp0l\tbl0\sk\relax -\qsk\mcra{qhpp0}\ibu0f0\qhpp0f\tbu0\sk -\qsk\mcra{qbpp0}\ibl0l0\qbpp0l\tbl0\sk\relax -\enotes -\finextrait -% -\def\mcrb#1#2{\zcharnote{14}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}% -\mcra{#2}}% -\def\Mcrb#1#2{\zcharnote{18}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}% -\Mcra{#2}}% -\def\mcrc#1#2#3{\zcharnote{18}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}% -\mcrb{#2}{#3}}% -\debutextrait\normal\NOTES\qsk\relax -\Mcrb{seizsoupir}{qqs}\qqs\qsk% hemi-demi-semi-quaver rest -\mcrb{huitsoupir}{hs}\hs\qsk% demi-semi-quaver rest -\mcrc{quartsoupir}{qsoupir}{qs}\qs\qsk\qsk% semi-quaver rest -\mcrc{demisoupir}{dsoupir}{ds}\ds\qsk% quaver rest -\enotes\finextrait -\debutextrait\normal\NOTEs -\mcrb{soupir}{qp}\qp\qsk% crotchet rest -\mcra{hpause}\hpause% minim rest -\mcra{pause}\pause% semibreve rest -\mcra{PAuse}\PAuse% ? rest -\enotes\NOTes -\mcra{PAUSe}\PAUSe% ?? rest -\enotes\finextrait -\end{music} -% -\section{Other symbols} - - -\begin{music} -\def\nbinstruments{1}\parindent 0pt -\def\mcra#1{\zcharnote{17}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}} -\def\Mcra#1{\charnote{17}{\hbox to \noteskip{\Bslash #1\hss}}} -\debutextrait\NOTEs -\mcra{nTrille}\nTrille{n}4\sk\qsk -\mcra{ntrille}\ntrille{n}4\sk\sk -\mcra{pince}\pince{n}\sk\mcra{Pince}\Pince{n}\sk\relax -\mcra{mordant}\mordant{n}\sk -\mcra{turn}\turn{n}\sk\mcra{backturn}\backturn{n}\sk -\mcra{coda}\coda{n}\sk\mcra{segno}\segno{n}\sk -\enotes\finextrait -\debutextrait -\def\mcra#1{\zcharnote{10}{\hbox to \noteskip{\Bslash #1\hss}}}\relax -\NOTes\sk\relax -\mcra{dimin}\zcharnote b{\dimin}\sk\sk -\mcra{Dimin}\zcharnote b{\Dimin}\sk\sk\relax -\mcra{DImin}\zcharnote b{\DImin}\sk\sk\sk\relax -\mcra{DIMin}\zcharnote b{\DIMin}\sk\sk\sk\sk\relax -\enotes\finextrait -\debutextrait -\def\mcra#1{\zcharnote{10}{\hbox to \noteskip{\Bslash #1\hss}}}\relax -\NOTes\sk\relax -\mcra{cresc}\zcharnote b{\cresc}\sk\sk\relax -\mcra{Cresc}\zcharnote b{\Cresc}\sk\sk\relax -\mcra{CResc}\zcharnote b{\CResc}\sk\sk\sk\relax -\mcra{CREsc}\zcharnote b{\CREsc}\sk\sk\sk\sk\relax -\enotes\finextrait -\debutextrait -\def\mcra#1{\zcharnote{14}{\hbox to 2\Interligne{\hss\Bslash #1\hss}}}\relax -\NOTEs\sk -\mcra{pointdorgue}\pointdorgue{l}\wh k\sk\relax -\mcra{pointdurgue}\pointdurgue{e}\wh f\sk\enotes -\NOTes -\mcra{PED}\PED\sk\mcra{DEP}\DEP\sk\relax -\enotes\finextrait -\end{music} -\end{document} - - diff --git a/Master/texmf-dist/tex/generic/musictex/musicext.tex b/Master/texmf-dist/tex/generic/musictex/musicext.tex deleted file mode 100644 index 243b1354f17..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicext.tex +++ /dev/null @@ -1,225 +0,0 @@ - - -\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 -\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12 -\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12 - -% \dyn {pitch}{text} inserts a dynamic -\def\dyn#1#2{\zcharnote{#1}{{\ppff #2}}} - -% \nobarnumbers prevents bar numbering -\def\nobarnumbers{\def\wbarno{\relax}} - -% \barnumbers restores bar numbering -\def\barnumbers{\def\wbarno{\w@barno}} - -% \tab is defined as a tab character, so that I can still use tabs. -\catcode`\@=4 -\let\tab=@ -\catcode`\@=11 - -% The next few sections define some extra macros to produce notes. - -% shifted dotted whole notes -\def\rwp#1{\kern \wd@skip\zwp{#1}\kern -\wd@skip} -\def\lwp#1{\kern -\wd@skip\zwp{#1}\kern \wd@skip} - -% Half-shifted notes. I sometimes use these for close intervals: for instance -% \zlqu g\zrql f - -\def\zrwh{\zrw} -\def\zlwh{\zlw} -\def\zrw#1{\kern .52\wd@skip\zw{#1}\kern -.52\wd@skip} -\def\zlw#1{\kern -.52\wd@skip\zw{#1}\kern .52\wd@skip} -\def\zrhu#1{\kern .45\hn@width\zhu{#1}\kern -.45\hn@width} -\def\zlhu#1{\kern -.45\hn@width\zhu{#1}\kern .45\hn@width} -\def\zrhl#1{\kern .45\hn@width\zhl{#1}\kern -.45\hn@width} -\def\zlhl#1{\kern -.45\hn@width\zhl{#1}\kern .45\hn@width} -\def\zrhup#1{\kern .45\hn@width\zhup{#1}\kern -.45\hn@width} -\def\zlhup#1{\kern -.45\hn@width\zhup{#1}\kern .45\hn@width} -\def\zrhlp#1{\kern .45\hn@width\zhlp{#1}\kern -.45\hn@width} -\def\zlhlp#1{\kern -.45\hn@width\zhlp{#1}\kern .45\hn@width} -\def\zrqu#1{\kern .45\qd@skip\zqu{#1}\kern -.45\qd@skip} -\def\zlqu#1{\kern -.45\qd@skip\zqu{#1}\kern .45\qd@skip} -\def\zrql#1{\kern .45\qd@skip\zql{#1}\kern -.45\qd@skip} -\def\zlql#1{\kern -.45\qd@skip\zql{#1}\kern .45\qd@skip} -\def\zrqup#1{\kern .45\qd@skip\zqup{#1}\kern -.45\qd@skip} -\def\zlqup#1{\kern -.45\qd@skip\zqup{#1}\kern .45\qd@skip} -\def\zrqlp#1{\kern .45\qd@skip\zqlp{#1}\kern -.45\qd@skip} -\def\zlqlp#1{\kern -.45\qd@skip\zqlp{#1}\kern .45\qd@skip} -\def\zrcu#1{\kern .45\qd@skip\zcu{#1}\kern -.45\qd@skip} -\def\zlcu#1{\kern -.45\qd@skip\zcu{#1}\kern .45\qd@skip} -\def\zrcl#1{\kern .45\qd@skip\zcl{#1}\kern -.45\qd@skip} -\def\zlcl#1{\kern -.45\qd@skip\zcl{#1}\kern .45\qd@skip} -% -% half left shifted accidentals - for putting before half shifted notes -% -\def\hlfl#1{\getn@i{#1}\global\n@raise=\fl@raise - \pl@llap{\f@lat\kern 0.45\qd@skip}% -}% -\def\hldfl#1{\getn@i{#1}\global\n@raise=\fl@raise - \pl@llap{\df@lat\hskip 0.45\qd@skip}% -}% -\def\hlsh#1{\getn@i{#1}\global\n@raise=\sh@raise - \pl@llap{\s@harp\hskip 0.45\qd@skip}% -}% -\def\hldsh#1{\getn@i{#1}\global\n@raise=\z@ - \pl@llap{\ds@harp\hskip 0.45\qd@skip}}% -\def\hlna#1{\getn@i{#1}\global\n@raise=\na@raise - \pl@llap{\n@at\hskip 0.45\qd@skip}}% - -% -% The following macros can be used to surround a note by parentheses. They -% are also used as ornaments by J.P. Rameau. -% \lpar p produces a left parenthesis, or "port de voix" at pitch p -% \rpar p produces a right parenthesis, or "pinc\'e" - -\def\lpar#1{\zcharnote{#1}{\raise -2.5pt\hbox{\tentt\kern -0.76\wd@skip (}}} -\def\rpar#1{\zcharnote{#1}{\raise -2.5pt\hbox{\tentt\kern 0.76\wd@skip )}}} - - -\newdimen\tmp@dimen -\def\bracketshrink{0.17\Interligne} - -% \bracket pn draws a square bracket ( [ ) to bracket an interval of an n-th -% whose lowest note is p. - -\def\bracket#1#2{\tmp@dimen #2\Interligne\advance\tmp@dimen by\Interligne - \divide\tmp@dimen by2\relax - \advance\tmp@dimen by-\bracketshrink\advance\tmp@dimen by-\bracketshrink - \advance\tmp@dimen by-\lthick - \zcharnote#1{\kern-.75\Interligne\raise-.5\Interligne - \hbox{\raise\bracketshrink\hbox{\rlap{\vrule height\tmp@dimen}\relax - \rlap{\vbox{\hrule width .5\Interligne}}\relax - \raise\tmp@dimen\vbox{\hrule width .5\Interligne}}}}} - -\newdimen\tmp@dimenc -\newdimen\z@iii\newdimen\z@iv\newdimen\z@v - -% \oblique {l}{s}{h} draws an oblique line of length l, slope s percent, and -% height h. This will cause an unrecorded space so it should be used within -% \rlap. Note that this macro is a hack and probably gobbles up resources! -% This macro is used by some of the others which follow. - -\def\oblique#1#2#3{\relax % length slope height -\ifnum #2=0\relax\raise #3\vbox{\hrule width #1 height\lthick depth\z@}\relax -\else\q@antum=25\lthick\divide\q@antum by #2\relax -\ifdim\q@antum<0pt\relax\multiply\q@antum by -1\fi -\global\z@iv=0pt\relax -\loop\ifdim\z@iv<#1\relax - {\z@v=#1\relax\advance\z@v by -\z@iv\relax\advance\z@v by -\q@antum\relax - \tmp@dimenc\z@iv\multiply\tmp@dimenc by#2\relax - \z@iii=#3\relax\advance\z@iii by .01\tmp@dimenc\relax\advance\z@iii by - -0.5\internote - \ifnum #2<0\relax\advance\z@iii by \lthick\relax\fi - \tmp@dimenc\z@v\multiply\tmp@dimenc by#2\relax - \ifdim\z@v<0pt\relax\advance\z@iii by .01\tmp@dimenc\relax\hskip\z@v\fi - \advance\z@iii by 0.6\internote\relax - \raise\z@iii\hbox to \q@antum{\vrule width\q@antum height .5\lthick depth - .5\lthick}\relax - \global\advance\z@iv by \q@antum\relax -}\repeat -\fi -} - -\newdimen\tmp@dimenb\newcount\tmp@ct -\def\crescwidth{1.8\Interligne} - -% These macros produce variable size crescendo and diminuendo marks. -% \varcresc{p}{l} produces a crescendo at pitch p, and of length l, causing -% no space. -\def\varcresc#1#2{\relax% height (note), length (dimen) - \tmp@dimenb \crescwidth\tmp@dimen #2\multiply - \tmp@dimenb by50\divide\tmp@dimenb by\tmp@dimen \tmp@ct\tmp@dimenb - \ifnum 0=\tmp@ct\relax - \tmp@ct 1\fi - \getn@i{#1}\tmp@dimen\n@i\internote - \rlap{\oblique{#2}{\tmp@ct}{\tmp@dimen}}\relax - \advance\tmp@dimen by-\lthick - \rlap{\oblique{#2}{-\tmp@ct}{\tmp@dimen}}} - -% \vardim{p}{l} draws a diminuendo at pitch p, and of length l, causing -% no space. -\def\vardim#1#2{\tmp@dimenb 1.6\Interligne\tmp@dimen #2\multiply - \tmp@dimenb by50\divide\tmp@dimenb by\tmp@dimen \tmp@ct\tmp@dimenb - \ifnum 0=\tmp@ct\relax - \tmp@ct 1\fi - \getn@i{#1}\tmp@dimen\n@i\internote - \tmp@dimenb\crescwidth\divide\tmp@dimenb by2\relax - \advance\tmp@dimen by\tmp@dimenb - \rlap{\oblique{#2}{-\tmp@ct}{\tmp@dimen}}\relax - \advance\tmp@dimen by \lthick - \tmp@dimenb #2\multiply\tmp@dimenb by\tmp@ct\advance\tmp@dimen - by-.02\tmp@dimenb - \rlap{\oblique{#2}{\tmp@ct}{\tmp@dimen}}} - -% \overbracket{p}{l}{s} draws a bracket over the music starting at the -% current position at pitch p, width l and slope s percent, causing no space. -\def\overbracket#1#2#3{\relax % height (note), length (dimen) slope (%) - \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax - \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax - \raise\n@i\internote\rlap{\vrule width\lthick height \lthick - depth .8\Interligne}\oblique{#2}{#3}{\n@i\internote}\relax - \advance\tmp@dimenb by.5\lthick\relax - \raise\tmp@dimenb\hbox{\vrule width\lthick height \lthick - depth.8\Interligne}}} - -% \ovbkt{p}{n}{s} is the same as \overbracket, except that it draws the -% bracket to cover n notes (note however that glue inserted by \temps -% commands will expand the space between the notes but will not affect the -% bracket). -% I use this macro to indicate triplets, for instance. - -\def\ovbkt#1#2#3{\relax % height (note), length (number of notes) slope (%) - \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen - by -\noteskip\advance\tmp@dimen by\lthick \overbracket{#1}{\tmp@dimen}{#3}} - -% \underbracket and \unbkt are similar to the above, but produce -% brackets under the music. -\def\underbracket#1#2#3{\relax % height (note), length (dimen) slope (%) - \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax - \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax - \raise\n@i\internote\rlap{\vrule width\lthick depth -\lthick - height \Interligne}\oblique{#2}{#3}{\n@i\internote}\relax - \advance\tmp@dimenb by.5\lthick\relax - \raise\tmp@dimenb\hbox{\vrule width\lthick depth -\lthick - height\Interligne}}} -\def\unbkt#1#2#3{\relax % height (note), length (number of notes) slope (%) - \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen - by -\noteskip\advance\tmp@dimen by\lthick - \kern-2\lthick\underbracket{#1}{\tmp@dimen}{#3}\kern2\lthick} - -% Here are several macros to make use of the alternative note graphics found -% in the font files. I copied the idea from the usual note macros in -% MusicTeX. - - -% \ttrill p makes a terminated trill ... -\def\ttrill#1{\zcharnote{#1}{\o@skp\musicnorfont\char"58\dimen@4.6pt% - \advance\dimen@-1.5\internote\tenrm\lower\dimen@\hbox{'}}} - -% J.P. Rameau indicated "arpegements" by drawing oblique strokes through the -% note stems. -% \downarpeg p is written just before the note at pitch p with its stem -% pointing up in order to indicate a descending arpeggio -% \uparpeg p is written just before the note at pitch p with its stem -% pointing down in order to indicate an ascending arpeggio - -\font\linew=linew10 %would be nice to have slightly shorter lines... -\def\downarpeg#1{\getn@i{#1}\advance\n@i by3\raise\n@i\internote - \rlap{\linew\char"61}} -\def\uparpeg#1{\getn@i{#1}\advance\n@i by-3\raise\n@i\internote - \rlap{\linew\char"21}} - -% \qqs is a demi-semiquaver rest -\def\qqs{\charnote0{{\musicnorfont\char"41}}} - -% These macros change context while forbidding line breaks -\def\xchangecontext{{\def\updatecontext{\x@updatecon}\changecontext}} -\def\xChangecontext{{\def\updatecontext{\x@updatecon}\Changecontext}} - - -\catcode`\>=\catcode@gt -\catcode`\<=\catcode@lt -\catcode`\@=\catcodeat - diff --git a/Master/texmf-dist/tex/generic/musictex/musicnew.tex b/Master/texmf-dist/tex/generic/musictex/musicnew.tex deleted file mode 100644 index 31281827a1e..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicnew.tex +++ /dev/null @@ -1,28 +0,0 @@ -% - % THIS is MusicTeX -\def\mcversion{5.13} -\message{Version \mcversion\space -- September 9th, 1995}% - -\def\setclef#1{\noinstrument #1\relax\selectinstr \cleftoks} -\let\setclefs\setclef - -\def\setstaffs#1{\noinstrument #1\relax\selectinstr \nbportees} - -\def\setinterinstrument#1#2{\noinstrument #1\relax - \expandafter\def\csname interinstrument\romannumeral\noinstrument\endcsname{#2}} - -\def\hardnotes#1\notes{\termskip\noteskip=#1\relax \n@otes} - -\def\hardlyrics#1\notes{%\termskip - \def\thelyrics{\hbox{#1}}% - \setbox\ch@box\thelyrics \noteskip\wd\ch@box \n@otes} - %\check - -\def\dhsong{\rlap} -\def\thsong{\rlap} -\def\zsong{\rlap} -\def\hsong{\rlap} - -\endinput - - diff --git a/Master/texmf-dist/tex/generic/musictex/musicnft.tex b/Master/texmf-dist/tex/generic/musictex/musicnft.tex deleted file mode 100644 index 0e928c75cf9..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicnft.tex +++ /dev/null @@ -1,938 +0,0 @@ -% -% This is MusicNFT from MusicTeX -\message{Version 5.18 -- August 26th, 1996}% -% -% finding which class of fonts is normally used (cmxxx, dmxxx, dcxxx,...) -\def\wordsplita#1#2#3.XX.{#1}% -\def\wordsplitb#1#2#3.XX.{#2}% -\rm -\edef\fonthdg{\expandafter\wordsplita\fontname\the\font.XX.}% -\edef\fonthdge{\expandafter\wordsplitb\fontname\the\font.XX.}% - % -\font\cmmi=cmmi10 scaled \magstep1 -\font\cmbxbig=\fonthdg\fonthdge bx10 scaled \magstep2 -\font\cmbx=\fonthdg\fonthdge bx10 scaled \magstep1 -\font\cmbxsmall=\fonthdg\fonthdge bx10 -\font\cmbxtiny=\fonthdg\fonthdge bx8 -\font\cmbxmicro=\fonthdg\fonthdge bx7 -\font\moyen=\fonthdg\fonthdge bx10 scaled \magstep1 -\font\cmex=cmex10 -\font\cmsy=cmsy10 scaled \magstep1 -\font\cmr=\fonthdg\fonthdge r10 scaled \magstep1 -\font\ttyeight=\fonthdg\fonthdge tt8 - - -\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 -\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12 -\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12 - -% -\let\@plainwlog=\wlog -\def\wlog#1{}% -% -\font\musictwenty=musikn20 -\fontdimen35\musictwenty=0pt\relax -\font\musicsixteen=musikn16 -\font\slurntwenty=slurn20 -\font\slurnsixteen=slurn16 -\font\musicthirteen=musikn13 -\font\musiceleven=musikn11 -\font\beamtwenty=beamn20 -\fontdimen50\beamtwenty=0pt\relax -\font\beamsixteen=beamn16 -\font\beamthirteen=beamn13 -\font\beameleven=beamn11 -% -\newif\ifcautionacc -\cautionaccfalse -% -\def\q@u{\musicnfont\char33\hss}% -\def\h@a{\musicnfont\char34\hss}% -\def\w@h{\musicnfont\char35\hss}% -\def\d@iamg{\musicnfont\char0\hss}% -\def\d@iamw{\musicnfont\char127\hss}% -\def\s@haker{\musicnfont\char79\hss}% -\def\t@remolord{\musicnfont\char78\hss}% -\def\c@arrg{\musicnfont\char1\hss}% -\def\c@arpg{\musicnfont\char2\hss}% -\def\c@arqg{\musicnfont\char3\hss}% -\def\w@hq{\musicnfont\char 125\hss}% -\def\s@bv{\musicnfont\char36\hss}% -\def\b@rv{\musicnfont\char32\hss}% -\def\c@upchar{39}% offset to upper eighth hook -\def\c@dnchar{44}% offset to upper eighth hook -% - % -% -\def\musicxx{\musicnorfont}% -\def\slurnxx{\slurnorfont}% -\def\slurnfont{\slurnorfont}% -% -\def\set@normalnotesize{\def\beamfont{\beamnorfont}% -\def\musicnfont{\musicnorfont}% -\def\i@nterbeam{0.75\Interligne}% -\def\b@alkthick{0.24\Interligne}} -% -\def\set@smallnotesize{\def\beamfont{\beamsmallfont}% -\def\musicnfont{\musicsmallfont}% -\def\i@nterbeam{0.6\Interligne}% -\def\b@alkthick{0.192\Interligne}} -% -\def\set@tinynotesize{\def\beamfont{\beamtinyfont}% -\def\musicnfont{\musictinyfont}% -\def\i@nterbeam{0.48\Interligne}% -\def\b@alkthick{0.1536\Interligne}} -% -\set@normalnotesize -% -\def\qu@raise{\z@}% -\def\ha@raise{\z@}% -\def\wh@raise{\z@}% -\def\zwq#1{\getn@i{#1}\def\n@fon{\zwq}\def\n@sym{\w@hq}\g@zw}% -\def\zsb#1{\getn@i{#1}\def\n@fon{\zsb}\def\n@sym{\s@bv}\g@zsb}% semi-breve -\def\zbv#1{\getn@i{#1}\def\n@fon{\zbv}\def\n@sym{\b@rv}\g@zbv}% breve -\def\g@zbv{\n@raiseq - \h@lines{\bv@width}\def\s@tem{\resetstem}\plap@symss\fi}% -\def\g@zsb{\n@raiseq - \h@lines{\sb@width}\def\s@tem{\resetstem}\plap@symss\fi}% -% -\newbox\ch@box -\newdimen\lthick -\global\lthick=0.4pt -%\newdimen\qn@width -%\newdimen\hn@width -%\newdimen\wn@width -%\newdimen\sb@width -%\newdimen\bv@width -\newdimen\qd@skip -\newdimen\hd@skip -\newdimen\wd@skip -% -\newcount\musicsize -% -\def\musickeyfont{\ifdim\internote<0.76\Internote\musictinyfont -\else\ifdim\internote<0.95\Internote\musicsmallfont - \else\musicnorfont - \fi -\fi}% -% -\def\meterfont{\ifdim\internote<0.76\Internote\metersmallfont -\else\ifdim\internote<0.95\Internote\meternorfont - \else\meterbigfont - \fi -\fi}% -% -\def\pointfont{\ifdim\internote<0.76\Internote\metertinyfont -\else\ifdim\internote<0.95\Internote\metersmallfont - \else\meternorfont - \fi -\fi}% -% -\def\computespecifics{\ifnum\musicsize=0\relax\musicsize=20\relax\fi -\ifnum\musicsize=20\relax - \def\ppff{\ppfftwenty}% - \def\beamnorfont{\beamtwenty}\def\musicnorfont{\musictwenty}% - \def\beamsmallfont{\beamsixteen}\def\musicsmallfont{\musicsixteen}% - \def\beamtinyfont{\beamthirteen}\def\musictinyfont{\musicthirteen}% - \def\meternorfont{\cmbx}\def\metersmallfont{\cmbxsmall}% - \def\metertinyfont{\cmbxtiny}\def\slurnorfont{\slurntwenty}% - \def\meterbigfont{\cmbxbig}% -\else - \def\ppff{\ppffsixteen}% - \def\beamnorfont{\beamsixteen}\def\musicnorfont{\musicsixteen}% - \def\beamsmallfont{\beamthirteen}\def\musicsmallfont{\musicthirteen}% - \def\beamtinyfont{\beameleven}\def\musictinyfont{\musiceleven}% - \def\meternorfont{\cmbxsmall}\def\metersmallfont{\cmbxtiny}% - \def\metertinyfont{\cmbxmicro}\def\slurnorfont{\slurnsixteen}% - \def\meterbigfont{\cmbx}% -\fi -\Interligne=\musicsize pt\divide\Interligne by 4\relax -\Internote=0.5\Interligne -\interbeam=\i@nterbeam -\computeqn@w}% -% -\def\computeqn@w{% -\setbox\ch@box=\hbox{\w@h}\wn@width=\wd\ch@box -\setbox\ch@box=\hbox{\s@bv}\sb@width=\wd\ch@box -\setbox\ch@box=\hbox{\b@rv}\bv@width=\wd\ch@box -\setbox\ch@box=\hbox{\c@arrg}\gr@width=\wd\ch@box -\setbox\ch@box=\hbox{\h@a}\hn@width=\wd\ch@box -\setbox\ch@box=\hbox{\q@u}\qn@width=\wd\ch@box -\qd@skip=\qn@width\advance\qd@skip by -\hlthick -\hd@skip=\hn@width\advance\hd@skip by -\hlthick -\wd@skip=\wn@width\advance\wd@skip by -\hlthick -}% -\def\normalnotesize{\set@normalnotesize\computespecifics - \def\currentsize{\normalnotesize}} -\def\smallnotesize{\set@smallnotesize\computespecifics - \def\currentsize{\smallnotesize}} -\def\tinynotesize{\set@tinynotesize\computespecifics - \def\currentsize{\tinynotesize}} -% -%\check -% -\def\s@oupir{{\musicnfont\char"3E}}% -% - %\newdimen\c@height -\newcount\c@mult -%\check -\def\d@cr#1{\c@mult=#1\relax % queue de #1 croche(s) vers le haut -\advance\c@mult by \c@upchar\d@crg}% -\def\d@gru{\c@mult=12\relax\d@crg}% queue de croche barree vers le haut -\def\d@crg{\setbox\ch@box=\rlap{\musicnfont\char\c@mult}\c@height=\ht\ch@box -\global\advance\st@top by \c@height -\global\advance\st@top by \internote - \ifdim\st@top>\st@bot - \maxst@top - \global\advance\st@bot by -\altportee - \global\advance\st@top by -\altportee - \kern\stem@skip\vrule height\st@top depth -\st@bot width \lthick - \advance\st@top by -\c@height\raise\st@top\box\ch@box - \kern -\lthick \kern-\stem@skip - \fi\resetstem}% -%\check -\def\p@cr#1{\c@mult=#1\relax % queue de #1 croche(s) vers le bas -\advance\c@mult by \c@dnchar\p@crg}% -\def\p@gru{\c@mult=13\relax\p@crg}% queue de croche barree vers la bas -\def\p@crg{\setbox\ch@box=\rlap{\kern \hlthick\musicnfont - \char\c@mult}\c@height=\ht\ch@box -\global\advance\st@bot by -\internote -\global\advance\st@bot by -\c@height -\ifdim\st@top>\st@bot - \minst@bot - \global\advance\st@bot by -\altportee - \global\advance\st@top by -\altportee - \raise\st@bot\box\ch@box - \vrule height\st@top depth -\st@bot width \lthick - \kern -\lthick -\fi \resetstem}% -% -% grace notes (croches barrees) -\def\grcu#1{\getn@i{#1}\def\n@sym{\q@u}\def\n@fon{\grcu}\n@raiseq - \h@linesqn\global\stem@skip=\qd@skip - \def\s@tem{\d@gru}\pl@symssq\fi}% -\def\grcl#1{\getn@i{#1}\def\n@sym{\q@u}\def\n@fon{\grcl}\n@raiseq - \h@linesqn\def\s@tem{\p@gru}\pl@symssq\fi}% -% -%\check -\def\s@harp{\musicnfont\char"34}\def\sh@raise{\z@}% -\def\f@lat{\musicnfont\char"32}\def\fl@raise{\z@}% -\def\n@at{\musicnfont\char"36}\def\na@raise{\z@}% -\def\ds@harp{\musicnfont\char"35}% -\def\df@lat{\musicnfont\char"33}% -% -\def\smalln@at{\cau@left\musicnfont\char"7C\cau@right}% -\def\smallf@lat{\cau@left\musicnfont\char"78\cau@right}% -\def\smalls@harp{\cau@left\musicnfont\char"7A\cau@right}% -\def\smallds@harp{\cau@left\musicnfont\char"7B\cau@right}% -\def\smalldf@lat{\cau@left\musicnfont\char"79\cau@right}% -\def\cau@left{\ifcautionacc\raise-.45\Interligne - \hbox{\ttyeight(\kern -\lthick}\fi} -\def\cau@right{\ifcautionacc\raise-.45\Interligne - \hbox{\ttyeight\kern -\lthick)\kern -.2\Interligne}\fi\cautionaccfalse} -% -\def\n@rpl@lap{\global\n@raise=\z@\pl@llap}% -\def\bigsh#1{\inhgetn@i{#1}\n@rpl@lap{\s@harp}}% -\def\smallsh#1{\inhgetn@i{#1}\n@rpl@lap{\smalls@harp}}% -\def\csh{\cautionacctrue\smallsh}% -\def\uppersh#1{\zcharnote{#1}{\raise3\internote -\hbox to \qn@width{\hss\smalls@harp\hss}}}% -% -\def\bigdsh#1{\inhgetn@i{#1}\n@rpl@lap{\ds@harp}}% -\def\smalldsh#1{\inhgetn@i{#1}\n@rpl@lap{\smallds@harp}}% -\def\cdsh{\cautionacctrue\smalldsh}% -% -\def\bigna#1{\inhgetn@i{#1}\n@rpl@lap{\n@at}}% -\def\smallna#1{\inhgetn@i{#1}\n@rpl@lap{\smalln@at}}% -\def\cna{\cautionacctrue\smallna}% -\def\upperna#1{\zcharnote{#1}{\raise3\internote -\hbox to \qn@width{\hss\smalln@at\hss}}}% -% -\def\bigfl#1{\inhgetn@i{#1}\n@rpl@lap{\f@lat}}% -\def\smallfl#1{\inhgetn@i{#1}\n@rpl@lap{\smallf@lat}}% -\def\cfl{\cautionacctrue\smallfl}% -\def\upperfl#1{\zcharnote{#1}{\raise3\internote -\hbox to \qn@width{\hss\smallf@lat\hss}}}% -% -\def\bigdfl#1{\inhgetn@i{#1}\n@rpl@lap{\df@lat}}% -\def\smalldfl#1{\inhgetn@i{#1}\n@rpl@lap{\smalldf@lat}}% -\def\cdfl{\cautionacctrue\smalldfl} -% -\def\na#1{\ifdim\small@test\bigna{#1}\else\smallna{#1}\fi}% -\def\fl#1{\ifdim\small@test\bigfl{#1}\else\smallfl{#1}\fi}% -\def\sh#1{\ifdim\small@test\bigsh{#1}\else\smallsh{#1}\fi}% -\def\dfl#1{\ifdim\small@test\bigdfl{#1}\else\smalldfl{#1}\fi}% -\def\dsh#1{\ifdim\small@test\bigdsh{#1}\else\smalldsh{#1}\fi}% -% -%\check -\def\b@adjust{\ifdim\y@ii>2.1\q@antum -\multiply\q@antum by 2\relax\advance\b@char by 1\relax\fi -}% -\newcount\b@char -\def\b@alkdefs{\b@char=0\relax -\ifnum \b@p>0\relax\b@char=\b@p\relax\multiply\b@char by 6\relax - \advance\b@char by -6\relax\ifnum\b@char>54\relax\b@char=54\relax\fi\fi -\ifnum \b@p<0\relax\b@char=-\b@p\relax\multiply\b@char by 6\relax - \advance\b@char by 58\relax\ifnum\b@char>118\relax\b@char=118\relax\fi\fi -\q@antum=60pt\divide\q@antum by 32\relax\b@adjust -\b@adjust -\b@adjust -\b@adjust -\b@adjust -\chardef\b@alk=\b@char}% -%\check -\def\s@lopdefs{\q@antum=60pt\divide\q@antum by 32\relax \def\s@lope{0.0}\relax -\ifnum \b@p=1\relax\def\s@lope{0.05}\fi -\ifnum \b@p>1\relax\b@char=\b@p\relax\multiply\b@char by 5\relax - \ifnum\b@char>50\relax\b@char=50\relax\fi - \edef\s@lope{0.\the\b@char}\fi -\ifnum \b@p=-1\relax\def\s@lope{-0.05}\fi -\ifnum \b@p<-1\relax\b@char=-\b@p\relax\multiply\b@char by 5\relax - \ifnum\b@char>50\relax\b@char=50\relax\fi - \edef\s@lope{-0.\the\b@char}\fi -}% -%\check -\def\p@outre{% \y@ii : longueur, \b@p : pente, \y@i : altitude -\ifnum \b@p=0\relax - \y@iii=\y@i\y@iv=\y@i - \advance\y@iii by -\b@alkthick - \advance\y@iv by \b@alkthick - \vrule height \y@iv depth -\y@iii width \y@ii -% \raise \y@i\hbox{\vrule height \b@alkthick depth \b@alkthick -% width \y@ii} -\else\b@alkdefs\beamfont - \global\y@iv=\z@ - \loop\ifdim\y@iv<\y@ii - {\y@v=\y@ii\advance\y@v by -\y@iv - \advance\y@v by -\q@antum - \y@iii=\y@i - \advance\y@iii by \s@lope\y@iv - \ifdim\y@v<\z@\advance\y@iii by \s@lope\y@v\hskip\y@v\fi - \raise\y@iii\hbox to \q@antum{\b@alk\hss}\global\advance\y@iv by \q@antum - }\repeat -\fi -}% -%\check -\def\clefdefasymbol{\hbox to 3.2\Interligne{\musickeyfont - \kern -0.8\internote\hss\char"49\hss}}% -\def\smallclefdefa{\hbox to 2.8\Interligne{\musickeyfont - \kern -0.64\internote\hss\char"4A\hss}}% -%\check -\def\clefdesolsymbol{\hbox to 3.2\Interligne{\musickeyfont - \kern -1.2\internote\hss\char"47\hss}}% -\def\smallclefdesol{\hbox to 2.8\Interligne{\musickeyfont -\kern -0.96\internote\hss\char"48\hss}}% -%\check -\def\clefdutsymbol{\hbox to 3.2\Interligne{\musickeyfont - \kern -0.8\internote\hss\char"4B\hss}}% -\def\smallclefdut{\hbox to 2.8\Interligne{\musickeyfont - \kern -0.64\internote\hss\char"4C\hss}}% -\def\gclefdut{\hbox to 3.2\Interligne{\musickeyfont - \kern 0.4\internote\hss\char"04\hss}}% -\def\drumclefsymbol{\hbox to 3.2\Interligne{\musickeyfont - \kern 0.4\internote\hss\char"4D\hss}}% -% -\def\allabreve{{\kern \internote\musickeyfont\char"52}}% -\def\meterC{{\kern \internote\musickeyfont\char"53}}% -% -\def\d@soup{\hbox{\kern -0.3\qn@width\musicnfont\char"3F}}% -\def\q@soup{\hbox{\kern -0.3\qn@width\musicnfont\char"40}}% -\def\h@soup{\hbox{\kern -0.3\qn@width\musicnfont\char"41}}% -\def\s@soup{\hbox{\kern -0.3\qn@width\musicnfont\char"42}}% -\def\p@orgue{\hbox{\kern -0.5\hn@width\musicnfont\char"50}}% -\def\p@urgue{\hbox{\kern -0.5\hn@width\musicnfont\char"51}}% -\def\trille#1{\hbox to #1{\leaders\hbox{\musicnfont\char"64}\hfill}}% -\def\Trille#1{\hbox to #1{\it tr\leaders\hbox{\musicnfont\char"64}\hfill}}% -% -% Gregorian notes -% -\def\diamg#1{\getn@i{#1}\def\n@fon{\diamg}\def\n@sym{\d@iamg}\g@diamg}% -\def\zdiamg#1{\getn@i{#1}\def\n@fon{\diamg}\def\n@sym{\d@iamg}\rlap{\g@diamg}}% -\def\diamw#1{\getn@i{#1}\def\n@fon{\diamw}\def\n@sym{\d@iamw}\g@diamg}% -\def\zdiamw#1{\getn@i{#1}\def\n@fon{\diamw}\def\n@sym{\d@iamw}\rlap{\g@diamg}}% -\def\carrg#1{\getn@i{#1}\def\n@fon{\carrg}\def\n@sym{\c@arrg}\g@diamg}% -\def\zcarrg#1{\getn@i{#1}\def\n@fon{\carrg}\def\n@sym{\c@arrg}\rlap{\g@diamg}}% -\def\carqg#1{\getn@i{#1}\def\n@fon{\carqg}\def\n@sym{\c@arqg}\g@diamg}% -\def\zcarqg#1{\getn@i{#1}\def\n@fon{\carqg}\def\n@sym{\c@arqg}\rlap{\g@diamg}}% -\def\carpg#1{\getn@i{#1}\def\n@fon{\carpg}\def\n@sym{\c@arpg}\g@diamg}% -\def\zcarpg#1{\getn@i{#1}\def\n@fon{\carpg}\def\n@sym{\c@arpg}\rlap{\g@diamg}}% -% -\def\g@diamg{\advancetrue\g@diam}% -\def\g@diam{\global\n@raise=\wh@raise\ifnum\n@i<100\relax - \h@lines{\gr@width}\def\s@tem{\resetstem}\pl@symssq\fi}% - %\check -%%%%%%%%%%%%%%%%%%%%%%%%% notes with black diamond heads %%%%%%%%%%%%%%%%%%%% - - %\check -\def\yu{\advancetrue\yu@z}% -\def\yup{\advancetrue\yup@z}% -\def\yupp{\advancetrue\yupp@z}% -\def\yuppp{\advancetrue\yuppp@z}% -\def\yu@z#1{\getn@i{#1}\def\n@fon{\yu}\def\n@sym{\d@iamg}\g@qu}% -\def\yup@z#1{\getn@i{#1}\def\n@fon{\yup}\def\n@sym{\d@iamgp}\g@qu}% -\def\yupp@z#1{\getn@i{#1}\def\n@fon{\yupp}\def\n@sym{\d@iamgpp}\g@qu}% -\def\yuppp@z#1{\getn@i{#1}\def\n@fon{\yuppp}\def\n@sym{\d@iamgppp}\g@qu}% -\def\yl{\advancetrue\yl@z}% -\def\ylp{\advancetrue\ylp@z}% -\def\ylpp{\advancetrue\ylpp@z}% -\def\ylppp{\advancetrue\ylppp@z}% -\def\yl@z#1{\getn@i{#1}\def\n@fon{\yl}\def\n@sym{\d@iamg}\g@ql}% -\def\ylp@z#1{\getn@i{#1}\def\n@fon{\ylp}\def\n@sym{\d@iamgp}\g@ql}% -\def\ylpp@z#1{\getn@i{#1}\def\n@fon{\ylpp}\def\n@sym{\d@iamgpp}\g@ql}% -\def\ylppp@z#1{\getn@i{#1}\def\n@fon{\ylppp}\def\n@sym{\d@iamgppp}\g@ql}% - %\check - % -\def\d@iamgp{\hbox to \qn@width{\d@iamg\hss}\P@t}% -\def\d@iamgpp{\hbox to \qn@width{\d@iamg\hss}\PP@t}% -\def\d@iamgppp{\hbox to \qn@width{\d@iamg\hss}\PPP@t}% -% -\def\yh#1{\selectpoutre{#1}\yh@}% -\def\yb#1{\selectpoutre{#1}\yb@}% -\def\yh@#1{\getn@i{#1}\def\n@fon{\yh@}\def\n@sym{\d@iamg}\g@qh@}% % position -\def\yb@#1{\getn@i{#1}\def\n@fon{\yb@}\def\n@sym{\d@iamg}\g@qb@} % #1 position -% -% x heads without stems -\def\zy#1{\getn@i{#1}\def\n@fon{\zy}\def\n@sym{\d@iamg}\g@zq} -\def\zyp#1{\getn@i{#1}\def\n@fon{\zyp}\def\n@sym{\d@iamgp}\g@zq} -\def\zypp#1{\getn@i{#1}\def\n@fon{\zypp}\def\n@sym{\d@iamgpp}\g@zq} -\def\zyppp#1{\getn@i{#1}\def\n@fon{\zyppp}\def\n@sym{\d@iamgppp}\g@zq} - % - % croches, doubles croches, triples croches, quadruple croches queue en - % haut et en bas pour percussion x - % -\def\ycu{\advancetrue\mycu1}\def\yccu{\advancetrue\mycu2} -\def\ycccu{\advancetrue\mycu3}\def\yccccu{\advancetrue\mycu4}% -\def\ycl{\advancetrue\mycl1}\def\yccl{\advancetrue\mycl2} -\def\ycccl{\advancetrue\mycl3}\def\yccccl{\advancetrue\mycl4}% -% -\def\yclp{\advancetrue\myclp1}\def\ycup{\advancetrue\mycup1}% -\def\yclpp{\advancetrue\myclpp1}\def\ycupp{\advancetrue\mycupp1}% -\def\yclppp{\advancetrue\myclppp1}\def\ycuppp{\advancetrue\mycuppp1}% - % -\def\mycu#1#2{\getn@i{#2}\def\n@sym{\d@iamg}% -\edef\n@fon{\noexpand\mycu #1}\g@cu{#1}} -\def\mycup#1#2{\getn@i{#2}\def\n@sym{\d@iamgp}% -\edef\n@fon{\noexpand\mycup #1}\g@cu{#1}} -\def\mycupp#1#2{\getn@i{#2}\def\n@sym{\d@iamgpp}% -\edef\n@fon{\noexpand\mycupp #1}\g@cu{#1}} -\def\mycuppp#1#2{\getn@i{#2}\def\n@sym{\d@iamgppp}% -\edef\n@fon{\noexpand\mycupp #1}\g@cu{#1}} - % -\def\mycl#1#2{\getn@i{#2}\def\n@sym{\d@iamg}% -\edef\n@fon{\noexpand\mycl #1}\g@cl{#1}} -\def\myclp#1#2{\getn@i{#2}\def\n@sym{\d@iamgp}% -\edef\n@fon{\noexpand\myclp #1}\g@cl{#1}} -\def\myclpp#1#2{\getn@i{#2}\def\n@sym{\d@iamgpp}% -\edef\n@fon{\noexpand\myclpp #1}\g@cl{#1}} -\def\myclppp#1#2{\getn@i{#2}\def\n@sym{\d@iamgppp}% -\edef\n@fon{\noexpand\myclppp #1}\g@cl{#1}} - -%%%%%%%%%%%%%%%%%%%%%%%%% notes with white diamond heads %%%%%%%%%%%%%%%%%%%% - - %\check -\def\du{\advancetrue\du@z}% -\def\dup{\advancetrue\dup@z}% -\def\dupp{\advancetrue\dupp@z}% -\def\duppp{\advancetrue\duppp@z}% -\def\du@z#1{\getn@i{#1}\def\n@fon{\du}\def\n@sym{\d@iamw}\g@qu}% -\def\dup@z#1{\getn@i{#1}\def\n@fon{\dup}\def\n@sym{\d@iamwp}\g@qu}% -\def\dupp@z#1{\getn@i{#1}\def\n@fon{\dupp}\def\n@sym{\d@iamwpp}\g@qu}% -\def\duppp@z#1{\getn@i{#1}\def\n@fon{\duppp}\def\n@sym{\d@iamwppp}\g@qu}% -\def\dl{\advancetrue\dl@z}% -\def\dlp{\advancetrue\dlp@z}% -\def\dlpp{\advancetrue\dlpp@z}% -\def\dlppp{\advancetrue\dlppp@z}% -\def\dl@z#1{\getn@i{#1}\def\n@fon{\dl}\def\n@sym{\d@iamw}\g@ql}% -\def\dlp@z#1{\getn@i{#1}\def\n@fon{\dlp}\def\n@sym{\d@iamwp}\g@ql}% -\def\dlpp@z#1{\getn@i{#1}\def\n@fon{\dlpp}\def\n@sym{\d@iamwpp}\g@ql}% -\def\dlppp@z#1{\getn@i{#1}\def\n@fon{\dlppp}\def\n@sym{\d@iamwppp}\g@ql}% - %\check - % -\def\d@iamwp{\hbox to \qn@width{\d@iamw\hss}\P@t}% -\def\d@iamwpp{\hbox to \qn@width{\d@iamw\hss}\PP@t}% -\def\d@iamwppp{\hbox to \qn@width{\d@iamw\hss}\PPP@t}% -% -\def\dh#1{\selectpoutre{#1}\dh@}% -\def\db#1{\selectpoutre{#1}\db@}% -\def\dh@#1{\getn@i{#1}\def\n@fon{\dh@}\def\n@sym{\d@iamw}\g@qh@}% % position -\def\db@#1{\getn@i{#1}\def\n@fon{\db@}\def\n@sym{\d@iamw}\g@qb@} % #1 position -% -% x heads without stems -\def\zd#1{\getn@i{#1}\def\n@fon{\zd}\def\n@sym{\d@iamw}\g@zq} -\def\zdp#1{\getn@i{#1}\def\n@fon{\zdp}\def\n@sym{\d@iamwp}\g@zq} -\def\zdpp#1{\getn@i{#1}\def\n@fon{\zdpp}\def\n@sym{\d@iamwpp}\g@zq} -\def\zdppp#1{\getn@i{#1}\def\n@fon{\zdppp}\def\n@sym{\d@iamwppp}\g@zq} - % - % croches, doubles croches, triples croches, quadruple croches queue en - % haut et en bas pour percussion x - % -\def\dcu{\advancetrue\mdcu1}\def\dccu{\advancetrue\mdcu2} -\def\dcccu{\advancetrue\mdcu3}\def\dccccu{\advancetrue\mdcu4}% -\def\dcl{\advancetrue\mdcl1}\def\dccl{\advancetrue\mdcl2} -\def\dcccl{\advancetrue\mdcl3}\def\dccccl{\advancetrue\mdcl4}% -% -\def\dclp{\advancetrue\mdclp1}\def\dcup{\advancetrue\mdcup1}% -\def\dclpp{\advancetrue\mdclpp1}\def\dcupp{\advancetrue\mdcupp1}% -\def\dclppp{\advancetrue\mdclppp1}\def\dcuppp{\advancetrue\mdcuppp1}% - % -\def\mdcu#1#2{\getn@i{#2}\def\n@sym{\d@iamw}% -\edef\n@fon{\noexpand\mdcu #1}\g@cu{#1}} -\def\mdcup#1#2{\getn@i{#2}\def\n@sym{\d@iamwp}% -\edef\n@fon{\noexpand\mdcup #1}\g@cu{#1}} -\def\mdcupp#1#2{\getn@i{#2}\def\n@sym{\d@iamwpp}% -\edef\n@fon{\noexpand\mdcupp #1}\g@cu{#1}} -\def\mdcuppp#1#2{\getn@i{#2}\def\n@sym{\d@iamwppp}% -\edef\n@fon{\noexpand\mdcupp #1}\g@cu{#1}} - % -\def\mdcl#1#2{\getn@i{#2}\def\n@sym{\d@iamw}% -\edef\n@fon{\noexpand\mdcl #1}\g@cl{#1}} -\def\mdclp#1#2{\getn@i{#2}\def\n@sym{\d@iamwp}% -\edef\n@fon{\noexpand\mdclp #1}\g@cl{#1}} -\def\mdclpp#1#2{\getn@i{#2}\def\n@sym{\d@iamwpp}% -\edef\n@fon{\noexpand\mdclpp #1}\g@cl{#1}} -\def\mdclppp#1#2{\getn@i{#2}\def\n@sym{\d@iamwppp}% -\edef\n@fon{\noexpand\mdclppp #1}\g@cl{#1}} - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% arpeges -% -\def\arpegesym#1{\hbox to \Interligne{\kern -1.2\Interligne -\vbox to #1{\parindent=\z@ -\offinterlineskip\ifdim #1>4\Interligne\Arp@elem\fi\hrule -\cleaders\arp@elem\vfill\kern -\interligne}\hss}}% -\def\arp@elem{\vbox to \Interligne{\vss\musicnorfont\char"5A}}% -\def\Arp@elem{\vbox to 4\Interligne{\vss\musicnorfont\char"5D}}% -% -\def\arpeggio#1#2{\zcharnote{#1}{\n@iii=#2\relax\advance\n@iii by 89\relax -\musicnorfont\chardef\arp@el=\n@iii\relax\arp@el}\qsk}% -\def\larpeggio#1#2{\lcharnote{#1}{\n@iii=#2\relax\advance\n@iii by 89\relax -\musicnorfont\chardef\arp@el=\n@iii\relax\arp@el\kern -0.3\qn@width}\qsk}% -% -% -% This skip aligns some ornaments which appear not to be centred precisely -% on the notes -\def\o@skp{\kern-.5\hd@skip} -\def\mordant#1{\zcharnote{#1}{\musicnfont\char 89}}% -\def\pince#1{\zcharnote{#1}{\musicnfont\char 87}}% -\def\Pince#1{\zcharnote{#1}{\musicnfont\char 88}}% -\def\Lpince#1{\zcharnote{#1}{\musicnfont\char 7}}% -\def\Pincesw#1{\zcharnote{#1}{\musicnfont\char 11}}% -\def\Pincenw#1{\zcharnote{#1}{\musicnfont\char 10}}% -\def\Pincene#1{\zcharnote{#1}{\musicnfont\char 9}}% -% \turn p makes a turn symbol at pitch p, causing no space -% \backturn p makes a backward turn symbol at pitch p, causing no space -% \coda p makes a coda ... -% \segno p makes the special "S" ... -\def\turn#1{\zcharnote{#1}{\o@skp\musicnfont\char"44}} -\def\backturn#1{\zcharnote{#1}{\o@skp\musicnfont\char"43}} -\def\coda#1{\zcharnote{#1}{\o@skp\musicnorfont\char"55}} -\def\segno#1{\zcharnote{#1}{\o@skp\musicnorfont\char"56}} -% -\def\sforz#1{{\advance\transpose by -2\usf{#1}}}% -\def\pz#1{{\advance\transpose by -2\upz{#1}}}% -\def\ppz#1{\uppz{#1}}% -\def\st#1{{\advance\transpose by -2\ust{#1}}}% -% -\def\usf#1{\zcharnote{#1}{\musicnfont\char 30}}% -\def\lsf#1{\zcharnote{#1}{\musicnfont\char 31}}% -\def\ust#1{\zcharnote{#1}{\musicnfont\char 26}}% -\def\lst#1{\zcharnote{#1}{\musicnfont\char 27}}% -\def\upz#1{\zcharnote{#1}{\musicnfont\char 24}}% -\def\lpz#1{\zcharnote{#1}{\musicnfont\char 25}}% -\def\uppz#1{\zcharnote{#1}{\musicnfont\char 28}}% -\def\lppz#1{\zcharnote{#1}{\musicnfont\char 29}}% -% -% placement des accents au-dessus de poutres et non de tetes de notes -\def\acc@balk{\global\stem@skip=\z@ % -\y@ii=\b@z % a augmenter avec la pente -\y@v=\locx@skip\advance\y@v by \stem@skip\advance\y@v by -\b@x -\advance\y@ii by \s@lope\y@v -\advance\y@ii by -\altportee -\raise\y@ii\rlap{\kern\stem@skip\balk@accent}}% -%\check -\def\busf#1{\def\balk@accent{\musicnfont\char 30}\selectpoutre{#1}\acc@balk}% -\def\blsf#1{\def\balk@accent{\musicnfont\char 31}\selectpoutre{#1}\acc@balk}% -\def\bust#1{\def\balk@accent{\musicnfont\char 26}\selectpoutre{#1}\acc@balk}% -\def\blst#1{\def\balk@accent{\musicnfont\char 27}\selectpoutre{#1}\acc@balk}% -\def\bupz#1{\def\balk@accent{\musicnfont\char 24}\selectpoutre{#1}\acc@balk}% -\def\blpz#1{\def\balk@accent{\musicnfont\char 25}\selectpoutre{#1}\acc@balk}% -\def\buppz#1{\def\balk@accent{\musicnfont\char 28}\selectpoutre{#1}\acc@balk}% -\def\blppz#1{\def\balk@accent{\musicnfont\char 29}\selectpoutre{#1}\acc@balk}% -% -% soufflets crescendo et decrescendo -% -\def\dimin{{\musicnorfont\char"10}}% -\def\Dimin{{\musicnorfont\char"11}}% -\def\DImin{{\musicnorfont\char"12}}% -\def\DIMin{{\musicnorfont\char"13}}% -\def\cresc{{\musicnorfont\char"14}}% -\def\Cresc{{\musicnorfont\char"15}}% -\def\CResc{{\musicnorfont\char"16}}% -\def\CREsc{{\musicnorfont\char"17}}% -% -% colons for repeats (:| |: :||:) -% -%\check -\def\w@coli{\selectinstr{\p@loop\raise\altportee - \hbox to \z@{\hss\musickeyfont\char 126\hss}\n@portee\repeat}}% -% -% long pauses -% -\def\PAuse{\hbox to \noteskip{\musicnorfont\char"3A\hss}\advance\locx@skip - by \noteskip}% -\def\PAUSe{\hbox to \noteskip{\musicnorfont\char"3B\hss}\advance\locx@skip - by \noteskip}% -\def\expause#1{\charnote{#1}{\musicnorfont\char 5\hss}} -\def\zexpause#1{\zcharnote{#1}{\musicnorfont\char 5\hss}} -\def\exhpause#1{\charnote{#1}{\musicnorfont\char 6\hss}} -\def\zexhpause#1{\zcharnote{#1}{\musicnorfont\char 6\hss}} -% -% special song system left begins -% -\def\type@songsymbols{\raise\lowersongalt\llap{\musicnorfont\char 15}% -\advance\lowersongalt by \uppersongalt -\advance\lowersongalt by -\hlthick -\raise\lowersongalt\llap{\musicnorfont\char 14}} -% -% -% horizontal upper slur offset by #2 noteheads, total width #1 -% -\def\h@uslur#1#2{\y@v=#1\relax\advance\y@v by -#2\hn@width -\global\setbox\ch@box=\hbox{\slurnorfont\char31}% maximum of one part slurs -\ifdim\wd\ch@box>\y@v - \global\n@iii=0\relax - \loop\global\setbox\ch@box=\hbox{\slurnorfont\char\n@iii}% - \ifdim\wd\ch@box<\y@v\global\advance\n@iii by 1\relax - \repeat - \hbox to #1{\kern #2\hn@width\hss\slurnorfont\char\n@iii\hss}% -\else - \global\n@iii=79\relax - \loop\global\setbox\ch@box=\hbox{\slurnorfont\char\n@iii}% - \ifdim 2\wd\ch@box>\y@v\global\advance\n@iii by -1\relax - \repeat - \hbox to #1{\kern #2\hn@width\y@iv=\ht\ch@box\y@iii=-\ht\ch@box - \advance\y@iii by \t@y - \slurnorfont\char\n@iii - \leaders\hrule height \y@iv depth \y@iii\hfill - \advance\n@iii by 16\relax \char\n@iii}% -\fi} -% -% horizontal lower slur offset by #2 noteheads, total width #1 -% -\def\h@dslur#1#2{\y@v=#1\relax\advance\y@v by -#2\hn@width -\global\setbox\ch@box=\hbox{\slurnorfont\char31}% maximum of one part slurs -\ifdim\wd\ch@box>\y@v - \global\n@iii=32\relax - \loop\global\setbox\ch@box=\hbox{\slurnorfont\char\n@iii}% - \ifdim\wd\ch@box<\y@v\global\advance\n@iii by 1\relax - \repeat - \hbox to #1{\kern #2\hn@width\hss\slurnorfont\char\n@iii\hss}% -\else - \global\n@iii=111\relax - \loop\global\setbox\ch@box=\hbox{\slurnorfont\char\n@iii}% - \ifdim 2\wd\ch@box>\y@v\global\advance\n@iii by -1\relax - \repeat - \hbox to #1{\kern #2\hn@width\y@iv=\dp\ch@box\y@iii=-\dp\ch@box - \advance\y@iii by \t@y - \slurnorfont\char\n@iii - \leaders\hrule height \y@iii depth \y@iv\hfill - \advance\n@iii by 16\relax \char\n@iii}% -\fi} -% -% sames without offsets -% -\def\hdslur#1{\h@dslur {#1}0} -\def\huslur#1{\h@uslur {#1}0} -% -% noter un debut de tenue -% -\def\ITenu#1{\selecttenue{#1}\I@tenu{70}}% -\def\Ilegu#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width -\I@tenu{70}{#2}}}% -\def\Itenu#1{\selecttenue{#1}\I@tenu{66}}% -\def\ilegu#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width -\I@tenu{66}{#2}}}% -\def\ITenl#1{\selecttenue{#1}\I@tenl{102}}% -\def\Ilegl#1#2{\selecttenue{#1}\advance\locx@skip by -1.5\qn@width -\I@tenl{102}{#2}\advance\locx@skip by 1.5\qn@width}% -\def\Itenl#1{\selecttenue{#1}\I@tenl{98}}% -\def\ilegl#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width -\I@tenl{98}{#2}}}% -% -\def\I@tenall{\check@tenvoid\global\t@s=1\relax % etat en cours - \global\t@x=\locx@skip - \global\advance\t@x by 0.8\qd@skip - \global\t@y= 0.20\Interligne - \pl@base\global\t@z=\y@i\global\advance\t@z by\altportee - \setbox\ch@box=\hbox{\L@slur}}% -% -\def\I@tenu#1#2{\global\t@p=1\relax % sens=1 - \global\t@w=#1\relax - \inhgetn@i{#2}% - \I@tenall - \global\advance\t@z by \ht\ch@box - \global\advance\t@z by 0.24\Interligne - \global\advance\t@z by -\t@y - \up@tenbox}% -% -\def\I@tenl#1#2{\global\t@p=-1\relax % sens= -1 - \global\t@w=#1\relax - \inhgetn@i{#2}% - \I@tenall - \global\advance\t@z by -\dp\ch@box - \global\advance\t@z by -0.24\Interligne - \up@tenbox}% - -\def\Invertslur#1{\selecttenue{#1}\global\t@p=-\t@p -\ifnum\t@w>63\relax - \ifnum\t@w<96\global\advance\t@w by 32\relax - \else\global\advance\t@w by -32\fi -\fi} - - -% -%\check -% -\def\Tten{\tten}% -\def\Tleg#1{\rlap{\qsk\tleg#1}}% -% -\def\t@ten{\check@tenopen\y@i=\t@z\advance\y@i by -\altportee -\y@ii=\locx@skip\advance\y@ii by -\t@x -\ifnum\t@w=0\relax\else\advance\y@ii by 0.4\qd@skip\fi -\ifnum\t@p>0\relax - \ifnum\t@s=2\relax - \raise\y@i\llap{\ifnum\t@w=0\relax - \up@rleg\else - \Up@rleg\kern -0.2\qd@skip\fi}% - \else - \raise\y@i\llap{\ifnum\t@w=0\relax - \up@leg\else - \Up@leg\kern -0.2\qd@skip\fi}% - \fi -\else - \ifnum\t@s=2\relax - \raise\y@i\llap{\ifnum\t@w=0\relax - \lo@rleg\else - \Lo@rleg\kern -0.2\qd@skip\fi}% - \else - \raise\y@i\llap{\ifnum\t@w=0\relax - \lo@leg\else - \Lo@leg\kern -0.2\qd@skip\fi}% - \fi -\fi -\global\t@w=0\relax -\global\t@s=0\relax -\@uptenubox}% -% -% -\def\L@slur{\slurnorfont\char\t@w}% -\def\R@slur{\global\advance\t@w by 16\slurnorfont\char\t@w}% -\newdimen\slur@off -\newdimen\slur@maxlen -% -\def\leg@hrule{\leaders\hrule height \t@y\hfill}% -% -% complete slur of length #1 (up and down) -\def\Up@leg{% longueur \y@ii -\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=\ht\ch@box - \advance\slur@off by -\t@y - \ifdim \y@ii>2\wd\ch@box - \raise -\slur@off\hbox{\L@slur}\leg@hrule\raise -\slur@off\hbox{\R@slur}% - \else - \raise -\slur@off\hbox{\huslur{\y@ii}}% - \fi}}% -% -\def\Lo@leg{% longueur \y@ii -\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=-\dp\ch@box - \advance\slur@off by -0.1pt - \ifdim \y@ii>2\wd\ch@box - \raise -\slur@off\hbox{\L@slur}\leg@hrule\raise -\slur@off\hbox{\R@slur}% - \else - \raise -\slur@off\hbox{\hdslur{\y@ii}}% - \fi}}% -% -% slur termination of length #1 (up and down) -\def\Up@rleg{% longueur \y@ii -\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=\ht\ch@box % - \advance\slur@off by -\t@y - \ifdim \y@ii>\wd\ch@box\leg@hrule - \else\hss\fi \raise -\slur@off\hbox{\R@slur}}}% -% -\def\Lo@rleg{% longueur \y@ii -\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=-\dp\ch@box % - \advance\slur@off by -0.1pt - \ifdim \y@ii>\wd\ch@box\leg@hrule - \else\hss\fi \raise -\slur@off\hbox{\R@slur}}}% -% -%\check -% -% slur beginning (left) (up and down) -\def\Up@les{% longueur \y@ii -\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=\ht\ch@box - \advance\slur@off by -\t@y - \UpLo@les}}% -% -%\check -% -\def\Lo@les{% longueur \y@ii -\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=-\dp\ch@box - \advance\slur@off by -0.1pt - \UpLo@les}}% -% -%\check -% -\def\UpLo@les{\raise -\slur@off\hbox{\L@slur}% - \advance\y@ii by -\wd\ch@box - \ifdim \y@ii>\z@\leg@hrule - \else\hss -% \ifdim\y@ii<-.8\p@ \vrule height 1cm\fi - \fi}% -%\check -% -\def\c@ten{%\rlap{\vrule height 1cm} - \y@ii=\x@skip\advance\y@ii by -\t@x - \global\t@x=-.8\p@ %<-- - \ifnum\t@s=1\relax - \ifnum\t@w=0\relax - \ifnum\t@p>0\relax - \raise\t@z\llap{\up@les}\else - \raise\t@z\llap{\lo@les}\fi - \else - \ifnum\t@p>0\relax - \raise\t@z\llap{\Up@les}\else - \raise\t@z\llap{\Lo@les}\fi - \fi - \else - \ifnum\t@s=2\relax - \slur@off=\t@z - \advance\slur@off by \t@y -% \advance\slur@off by 3\p@ - \kern -\y@ii\vrule height \slur@off depth -\t@z width \y@ii - \fi - \fi - \global\t@s=2\relax -}% -% -\def\n@skmb{\nobreak\global\slur@maxlen=\z@ -% compute the maximum length of slurs to be handled - \ten@loop - \setbox\ch@box=\hbox{\ifnum\t@w=0\relax\lu@slur - \else\L@slur\fi}\ifdim\slur@maxlen<\wd\ch@box - \global\slur@maxlen=\wd\ch@box\fi - \global\advance\n@l by 1\relax - \repeat -% compute the maximum excess length of beginning slurs - \global\slur@off=\z@ - \ten@loop - \y@ii=\x@skip\advance\y@ii by \n@skip\advance\y@ii by -\t@x - \advance\y@ii by -\slur@maxlen - % \y@ii is the length that will be given to \c@ten for that slur/tie - % assuming \slur@maxlen left offset... - \ifnum\t@s=1\relax - \setbox\ch@box=\hbox{\ifnum\t@w=0\relax\lu@slur\else\L@slur\fi}% - {\advance\y@ii by -\wd\ch@box - \ifdim\y@ii<\slur@off \global\slur@off=\y@ii\fi}% - \fi - \global\advance\n@l by 1\relax - \repeat - \global\advance\slur@maxlen by \slur@off -% - \nobreak\global\advance\n@skip by -\slur@maxlen}% -\def\skip@b{\hskip \slur@maxlen - \global\advance\x@skip by\slur@maxlen}% % - - % -% -%\check -% -% symboles slurn20 des liaisons et tenues -% -\newcount\t@wi -\newcount\t@wii -\newcount\t@wiii -\newcount\t@wiv -\newcount\t@wv -\newcount\t@wvi -% -\let\wlog=\@plainwlog -% -\def\k@ii{\fontdimen 8\musictwenty} -\def\k@iii{\fontdimen 9\musictwenty} -\def\k@iiii{\fontdimen 10\musictwenty} -\def\k@iiv{\fontdimen 11\musictwenty} -\def\k@iv{\fontdimen 12\musictwenty} -\def\k@ivi{\fontdimen 13\musictwenty} -\def\k@ivii{\fontdimen 14\musictwenty} -\def\k@iviii{\fontdimen 15\musictwenty} -\def\k@iix{\fontdimen 16\musictwenty} -% -\def\internotei{\fontdimen 17\musictwenty} -\def\internoteii{\fontdimen 18\musictwenty} -\def\internoteiii{\fontdimen 19\musictwenty} -\def\internoteiv{\fontdimen 20\musictwenty} -\def\internotev{\fontdimen 21\musictwenty} -\def\internotevi{\fontdimen 22\musictwenty} -\def\internotevii{\fontdimen 23\musictwenty} -\def\internoteviii{\fontdimen 24\musictwenty} -\def\internoteix{\fontdimen 25\musictwenty} -\def\c@height{\fontdimen 26\musictwenty} -% -\def\qn@width{\fontdimen 27\musictwenty} -\def\hn@width{\fontdimen 28\musictwenty} -\def\wn@width{\fontdimen 29\musictwenty} -\def\sb@width{\fontdimen 30\musictwenty} -\def\bv@width{\fontdimen 31\musictwenty} -\def\gr@width{\fontdimen 32\musictwenty} -% -\def\clef@skip{\fontdimen 28\beamtwenty} -\def\nullthick{\fontdimen 29\beamtwenty} -\def\bbbb@xi{\fontdimen 30\beamtwenty} -\def\bbbb@xii{\fontdimen 31\beamtwenty} -\def\bbbb@xiii{\fontdimen 32\beamtwenty} -\def\bbbb@xiv{\fontdimen 33\beamtwenty} -\def\bbbb@xv{\fontdimen 34\beamtwenty} -\def\bbbb@xvi{\fontdimen 35\beamtwenty} -\def\bbbb@xvii{\fontdimen 36\beamtwenty} -\def\bbbb@xviii{\fontdimen 37\beamtwenty} -\def\bbbb@xix{\fontdimen 38\beamtwenty} -\def\bbbb@xx{\fontdimen 39\beamtwenty} -% -\def\bbbbb@xi{\fontdimen 40\beamtwenty} -\def\bbbbb@xii{\fontdimen 41\beamtwenty} -\def\bbbbb@xiii{\fontdimen 42\beamtwenty} -\def\bbbbb@xiv{\fontdimen 43\beamtwenty} -\def\bbbbb@xv{\fontdimen 44\beamtwenty} -\def\bbbbb@xvi{\fontdimen 45\beamtwenty} -\def\bbbbb@xvii{\fontdimen 46\beamtwenty} -\def\bbbbb@xviii{\fontdimen 47\beamtwenty} -\def\bbbbb@xix{\fontdimen 48\beamtwenty} -\def\bbbbb@xx{\fontdimen 49\beamtwenty} - -% this macro sets the new big (piano) braces (due to Andreas Egler) -% !!! Attention !!! -% there is no checking of -% too small or large dimensions -% -\font\musext=musicbra -\newcount\selbrace -\def\mult@portee{\y@ii=\nbportees\interportee - \advance\y@ii by -\Interportee - \advance\y@ii by \nbportees\lthick - \advance\y@ii by -2\lthick -% - \selbrace=\y@ii\relax\select@brace% - \divide\y@ii by 2\raise\y@\llap{% - \raise\y@ii\llap{\musext\char\selbrace% - \kern.5\Interligne}}}% -% -\def\select@brace{\divide\selbrace by 65536% -\advance\selbrace by -40\divide\selbrace by 2}% -% dim to count means 1pt -> 65536 sp -% 40 pt is the length of the smallest brace -% the next brace is 2pt larger - - -\catcode`\>=\catcode@gt -\catcode`\<=\catcode@lt -\catcode`\@=\catcodeat - diff --git a/Master/texmf-dist/tex/generic/musictex/musicper.tex b/Master/texmf-dist/tex/generic/musictex/musicper.tex deleted file mode 100644 index 6d9f41f1754..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicper.tex +++ /dev/null @@ -1,227 +0,0 @@ -% -% This is Musicper from MusicTeX -\message{Version 5.03 -- March 31st, 1994}% -% - -\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 -\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12 -\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12 - -%%%% notes with a doublesharp-head - -\def\x@u{\musicnfont\char"35\hss}% - %\check -\def\xu{\advancetrue\xu@z}% -\def\xup{\advancetrue\xup@z}% -\def\xupp{\advancetrue\xupp@z}% -\def\xuppp{\advancetrue\xuppp@z}% -\def\xu@z#1{\getn@i{#1}\def\n@fon{\xu}\def\n@sym{\x@u}\g@qu}% -\def\xup@z#1{\getn@i{#1}\def\n@fon{\xup}\def\n@sym{\x@up}\g@qu}% -\def\xupp@z#1{\getn@i{#1}\def\n@fon{\xupp}\def\n@sym{\x@upp}\g@qu}% -\def\xuppp@z#1{\getn@i{#1}\def\n@fon{\xuppp}\def\n@sym{\x@uppp}\g@qu}% -\def\xl{\advancetrue\xl@z}% -\def\xlp{\advancetrue\xlp@z}% -\def\xlpp{\advancetrue\xlpp@z}% -\def\xlppp{\advancetrue\xlppp@z}% -\def\xl@z#1{\getn@i{#1}\def\n@fon{\xl}\def\n@sym{\x@u}\g@ql}% -\def\xlp@z#1{\getn@i{#1}\def\n@fon{\xlp}\def\n@sym{\x@up}\g@ql}% -\def\xlpp@z#1{\getn@i{#1}\def\n@fon{\xlpp}\def\n@sym{\x@upp}\g@ql}% -\def\xlppp@z#1{\getn@i{#1}\def\n@fon{\xlppp}\def\n@sym{\x@uppp}\g@ql}% - %\check - % -\def\x@up{\hbox to \qn@width{\x@u\hss}\P@t}% -\def\x@upp{\hbox to \qn@width{\x@u\hss}\PP@t}% -\def\x@uppp{\hbox to \qn@width{\x@u\hss}\PPP@t}% -% -\def\xh#1{\selectpoutre{#1}\xh@}% -\def\xb#1{\selectpoutre{#1}\xb@}% -\def\xh@#1{\getn@i{#1}\def\n@fon{\xh@}\def\n@sym{\x@u}\g@qh@}% % position -\def\xb@#1{\getn@i{#1}\def\n@fon{\xb@}\def\n@sym{\x@u}\g@qb@} % #1 position -% -% x heads without stems -\def\zx#1{\getn@i{#1}\def\n@fon{\zx}\def\n@sym{\x@u}\g@zq} -\def\zxp#1{\getn@i{#1}\def\n@fon{\zxp}\def\n@sym{\x@up}\g@zq} -\def\zxpp#1{\getn@i{#1}\def\n@fon{\zxpp}\def\n@sym{\x@upp}\g@zq} -\def\zxppp#1{\getn@i{#1}\def\n@fon{\zxppp}\def\n@sym{\x@uppp}\g@zq} - % - % croches, doubles croches, triples croches, quadruple croches queue en - % haut et en bas pour percussion x - % -\def\xcu{\advancetrue\mxcu1}\def\xccu{\advancetrue\mxcu2} -\def\xcccu{\advancetrue\mxcu3}\def\xccccu{\advancetrue\mxcu4}% -\def\xcl{\advancetrue\mxcl1}\def\xccl{\advancetrue\mxcl2} -\def\xcccl{\advancetrue\mxcl3}\def\xccccl{\advancetrue\mxcl4}% -% -\def\xclp{\advancetrue\mxclp1}\def\xcup{\advancetrue\mxcup1}% -\def\xclpp{\advancetrue\mxclpp1}\def\xcupp{\advancetrue\mxcupp1}% -\def\xclppp{\advancetrue\mxclppp1}\def\xcuppp{\advancetrue\mxcuppp1}% - % -\def\mxcu#1#2{\getn@i{#2}\def\n@sym{\x@u}% -\edef\n@fon{\noexpand\mxcu #1}\g@cu{#1}} -\def\mxcup#1#2{\getn@i{#2}\def\n@sym{\x@up}% -\edef\n@fon{\noexpand\mxcup #1}\g@cu{#1}} -\def\mxcupp#1#2{\getn@i{#2}\def\n@sym{\x@upp}% -\edef\n@fon{\noexpand\mxcupp #1}\g@cu{#1}} -\def\mxcuppp#1#2{\getn@i{#2}\def\n@sym{\x@uppp}% -\edef\n@fon{\noexpand\mxcupp #1}\g@cu{#1}} - % -\def\mxcl#1#2{\getn@i{#2}\def\n@sym{\x@u}% -\edef\n@fon{\noexpand\mxcl #1}\g@cl{#1}} -\def\mxclp#1#2{\getn@i{#2}\def\n@sym{\x@up}% -\edef\n@fon{\noexpand\mxclp #1}\g@cl{#1}} -\def\mxclpp#1#2{\getn@i{#2}\def\n@sym{\x@upp}% -\edef\n@fon{\noexpand\mxclpp #1}\g@cl{#1}} -\def\mxclppp#1#2{\getn@i{#2}\def\n@sym{\x@uppp}% -\edef\n@fon{\noexpand\mxclppp #1}\g@cl{#1}} - - -%%%% notes with a circled doublesharp-head - -\def\ox@u{\musicnfont\char 38\hss}% - %\check -\def\oxu{\advancetrue\oxu@z}% -\def\oxup{\advancetrue\oxup@z}% -\def\oxupp{\advancetrue\oxupp@z}% -\def\oxuppp{\advancetrue\oxuppp@z}% -\def\oxu@z#1{\getn@i{#1}\def\n@fon{\oxu}\def\n@sym{\ox@u}\g@qu}% -\def\oxup@z#1{\getn@i{#1}\def\n@fon{\oxup}\def\n@sym{\ox@up}\g@qu}% -\def\oxupp@z#1{\getn@i{#1}\def\n@fon{\oxupp}\def\n@sym{\ox@upp}\g@qu}% -\def\oxuppp@z#1{\getn@i{#1}\def\n@fon{\oxuppp}\def\n@sym{\ox@uppp}\g@qu}% -\def\oxl{\advancetrue\oxl@z}% -\def\oxlp{\advancetrue\oxlp@z}% -\def\oxlpp{\advancetrue\oxlpp@z}% -\def\oxlppp{\advancetrue\oxlppp@z}% -\def\oxl@z#1{\getn@i{#1}\def\n@fon{\oxl}\def\n@sym{\ox@u}\g@ql}% -\def\oxlp@z#1{\getn@i{#1}\def\n@fon{\oxlp}\def\n@sym{\ox@up}\g@ql}% -\def\oxlpp@z#1{\getn@i{#1}\def\n@fon{\oxlpp}\def\n@sym{\ox@upp}\g@ql}% -\def\oxlppp@z#1{\getn@i{#1}\def\n@fon{\oxlppp}\def\n@sym{\ox@uppp}\g@ql}% - %\check - % -\def\ox@up{\hbox to \qn@width{\ox@u\hss}\P@t}% -\def\ox@upp{\hbox to \qn@width{\ox@u\hss}\PP@t}% -\def\ox@uppp{\hbox to \qn@width{\ox@u\hss}\PPP@t}% -% -\def\oxh#1{\selectpoutre{#1}\oxh@}% -\def\oxb#1{\selectpoutre{#1}\oxb@}% -\def\oxh@#1{\getn@i{#1}\def\n@fon{\oxh@}\def\n@sym{\ox@u}\g@qh@}% % position -\def\oxb@#1{\getn@i{#1}\def\n@fon{\oxb@}\def\n@sym{\ox@u}\g@qb@} % #1 position -% -% x heads without stems -\def\zox#1{\getn@i{#1}\def\n@fon{\zox}\def\n@sym{\ox@u}\g@zq} -\def\zoxp#1{\getn@i{#1}\def\n@fon{\zoxp}\def\n@sym{\ox@up}\g@zq} -\def\zoxpp#1{\getn@i{#1}\def\n@fon{\zoxpp}\def\n@sym{\ox@upp}\g@zq} -\def\zoxppp#1{\getn@i{#1}\def\n@fon{\zoxppp}\def\n@sym{\ox@uppp}\g@zq} - % - % croches, doubles croches, triples croches, quadruple croches queue en - % haut et en bas pour percussion x - % -\def\oxcu{\advancetrue\moxcu1}\def\oxccu{\advancetrue\moxcu2} -\def\oxcccu{\advancetrue\moxcu3}\def\oxccccu{\advancetrue\moxcu4}% -\def\oxcl{\advancetrue\moxcl1}\def\oxccl{\advancetrue\moxcl2} -\def\oxcccl{\advancetrue\moxcl3}\def\oxccccl{\advancetrue\moxcl4}% -% -\def\oxclp{\advancetrue\moxclp1}\def\oxcup{\advancetrue\moxcup1}% -\def\oxclpp{\advancetrue\moxclpp1}\def\oxcupp{\advancetrue\moxcupp1}% -\def\oxclppp{\advancetrue\moxclppp1}\def\oxcuppp{\advancetrue\moxcuppp1}% - % -\def\moxcu#1#2{\getn@i{#2}\def\n@sym{\ox@u}% -\edef\n@fon{\noexpand\moxcu #1}\g@cu{#1}} -\def\moxcup#1#2{\getn@i{#2}\def\n@sym{\ox@up}% -\edef\n@fon{\noexpand\moxcup #1}\g@cu{#1}} -\def\moxcupp#1#2{\getn@i{#2}\def\n@sym{\ox@upp}% -\edef\n@fon{\noexpand\moxcupp #1}\g@cu{#1}} -\def\moxcuppp#1#2{\getn@i{#2}\def\n@sym{\ox@uppp}% -\edef\n@fon{\noexpand\moxcupp #1}\g@cu{#1}} - % -\def\moxcl#1#2{\getn@i{#2}\def\n@sym{\ox@u}% -\edef\n@fon{\noexpand\moxcl #1}\g@cl{#1}} -\def\moxclp#1#2{\getn@i{#2}\def\n@sym{\ox@up}% -\edef\n@fon{\noexpand\moxclp #1}\g@cl{#1}} -\def\moxclpp#1#2{\getn@i{#2}\def\n@sym{\ox@upp}% -\edef\n@fon{\noexpand\moxclpp #1}\g@cl{#1}} -\def\moxclppp#1#2{\getn@i{#2}\def\n@sym{\ox@uppp}% -\edef\n@fon{\noexpand\moxclppp #1}\g@cl{#1}} - -%%%% notes with a + head, for bongos ... - -\def\k@u{\musicnfont\char 39\hss}% - %\check -\def\ku{\advancetrue\ku@z}% -\def\kup{\advancetrue\kup@z}% -\def\kupp{\advancetrue\kupp@z}% -\def\kuppp{\advancetrue\kuppp@z}% -\def\ku@z#1{\getn@i{#1}\def\n@fon{\ku}\def\n@sym{\k@u}\g@qu}% -\def\kup@z#1{\getn@i{#1}\def\n@fon{\kup}\def\n@sym{\k@up}\g@qu}% -\def\kupp@z#1{\getn@i{#1}\def\n@fon{\kupp}\def\n@sym{\k@upp}\g@qu}% -\def\kuppp@z#1{\getn@i{#1}\def\n@fon{\kuppp}\def\n@sym{\k@uppp}\g@qu}% -\def\kl{\advancetrue\kl@z}% -\def\klp{\advancetrue\klp@z}% -\def\klpp{\advancetrue\klpp@z}% -\def\klppp{\advancetrue\klppp@z}% -\def\kl@z#1{\getn@i{#1}\def\n@fon{\kl}\def\n@sym{\k@u}\g@ql}% -\def\klp@z#1{\getn@i{#1}\def\n@fon{\klp}\def\n@sym{\k@up}\g@ql}% -\def\klpp@z#1{\getn@i{#1}\def\n@fon{\klpp}\def\n@sym{\k@upp}\g@ql}% -\def\klppp@z#1{\getn@i{#1}\def\n@fon{\klppp}\def\n@sym{\k@uppp}\g@ql}% - %\check - % -\def\k@up{\hbox to \qn@width{\k@u\hss}\P@t}% -\def\k@upp{\hbox to \qn@width{\k@u\hss}\PP@t}% -\def\k@uppp{\hbox to \qn@width{\k@u\hss}\PPP@t}% -% -\def\kh#1{\selectpoutre{#1}\kh@}% -\def\kb#1{\selectpoutre{#1}\kb@}% -\def\kh@#1{\getn@i{#1}\def\n@fon{\kh@}\def\n@sym{\k@u}\g@qh@}% % position -\def\kb@#1{\getn@i{#1}\def\n@fon{\kb@}\def\n@sym{\k@u}\g@qb@} % #1 position -% -% x heads without stems -\def\zk#1{\getn@i{#1}\def\n@fon{\zk}\def\n@sym{\k@u}\g@zq} -\def\zkp#1{\getn@i{#1}\def\n@fon{\zkp}\def\n@sym{\k@up}\g@zq} -\def\zkpp#1{\getn@i{#1}\def\n@fon{\zkpp}\def\n@sym{\k@upp}\g@zq} -\def\zkppp#1{\getn@i{#1}\def\n@fon{\zkppp}\def\n@sym{\k@uppp}\g@zq} - % - % croches, doubles croches, triples croches, quadruple croches queue en - % haut et en bas pour percussion x - % -\def\kcu{\advancetrue\mkcu1}\def\kccu{\advancetrue\mkcu2} -\def\kcccu{\advancetrue\mkcu3}\def\kccccu{\advancetrue\mkcu4}% -\def\kcl{\advancetrue\mkcl1}\def\kccl{\advancetrue\mkcl2} -\def\kcccl{\advancetrue\mkcl3}\def\kccccl{\advancetrue\mkcl4}% -% -\def\kclp{\advancetrue\mkclp1}\def\kcup{\advancetrue\mkcup1}% -\def\kclpp{\advancetrue\mkclpp1}\def\kcupp{\advancetrue\mkcupp1}% -\def\kclppp{\advancetrue\mkclppp1}\def\kcuppp{\advancetrue\mkcuppp1}% - % -\def\mkcu#1#2{\getn@i{#2}\def\n@sym{\k@u}% -\edef\n@fon{\noexpand\mkcu #1}\g@cu{#1}} -\def\mkcup#1#2{\getn@i{#2}\def\n@sym{\k@up}% -\edef\n@fon{\noexpand\mkcup #1}\g@cu{#1}} -\def\mkcupp#1#2{\getn@i{#2}\def\n@sym{\k@upp}% -\edef\n@fon{\noexpand\mkcupp #1}\g@cu{#1}} -\def\mkcuppp#1#2{\getn@i{#2}\def\n@sym{\k@uppp}% -\edef\n@fon{\noexpand\mkcupp #1}\g@cu{#1}} - % -\def\mkcl#1#2{\getn@i{#2}\def\n@sym{\k@u}% -\edef\n@fon{\noexpand\mkcl #1}\g@cl{#1}} -\def\mkclp#1#2{\getn@i{#2}\def\n@sym{\k@up}% -\edef\n@fon{\noexpand\mkclp #1}\g@cl{#1}} -\def\mkclpp#1#2{\getn@i{#2}\def\n@sym{\k@upp}% -\edef\n@fon{\noexpand\mkclpp #1}\g@cl{#1}} -\def\mkclppp#1#2{\getn@i{#2}\def\n@sym{\k@uppp}% -\edef\n@fon{\noexpand\mkclppp #1}\g@cl{#1}} - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% special percussion symbols moved from musicnft.sty - -\def\shaker#1{\charnote{#1}{\s@haker}}% -\def\zshaker#1{\zcharnote{#1}{\s@haker}}% -\def\tremolord#1{\charnote{#1}{\t@remolord}}% -\def\ztremolord#1{\zcharnote{#1}{\t@remolord}}% - - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\catcode`\>=\catcode@gt -\catcode`\<=\catcode@lt -\catcode`\@=\catcodeat - - diff --git a/Master/texmf-dist/tex/generic/musictex/musicpln.tex b/Master/texmf-dist/tex/generic/musictex/musicpln.tex deleted file mode 100644 index 5db818627d3..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicpln.tex +++ /dev/null @@ -1,298 +0,0 @@ -% version 5.00 October 1992 updated jan 94 -\ifx\fonthdg\undefined\def\fonthdg{c}\fi % prefix to cmxxx fonts. -\ifx\fonthdge\undefined\def\fonthdge{m}\fi % prefix to cmxxx fonts. - % change to "d" for dmxxx fonts -\font\cmmi=cmmi10 scaled \magstep1 -\font\cmbx=\fonthdg\fonthdge bx10 scaled \magstep1 -\font\smcmbx=\fonthdg\fonthdge bx10 -\font\cmex=cmex10 -\font\cmsy=cmsy10 scaled \magstep1 -\font\smcmsy=cmsy10 -\font\cmr=\fonthdg\fonthdge r10 scaled \magstep1 -\font\smcmr=\fonthdg\fonthdge r10 -\font\ttyeight=\fonthdg\fonthdge tt8 -\font\linew=linew10 -\font\circlew=circlew1 -% -\catcode`\@=11\relax -\def\q@u{\kern -0.70pt\cmsy\char"0F\kern 0.7pt}\def\qu@raise{-2.1pt}% -\def\h@a{\kern-0.3pt\cmr\char"6F}\def\ha@raise{-2.1pt}% -\def\w@h{\cmbx\char"6F}\def\wh@raise{-2.1pt}% -%\check -% petites notes -\def\smq@u{\kern-0.70pt\smcmsy\char"0F\kern 0.7pt}% -\def\smh@a{\kern-0.3pt\smcmr\char"6F}% -\def\smw@h{\smcmbx\char"6F}% -% -\newbox\ch@box -\newdimen\lthick -\global\lthick=0.4pt\relax -\newdimen\qn@width -\newdimen\hn@width -\newdimen\wn@width -\newdimen\qd@skip -\newdimen\hd@skip -\newdimen\wd@skip -\newcount\musicsize -\def\computespecifics{\ifnum\musicsize=0\relax\musicsize=20\relax\fi -\Interligne=\musicsize pt\divide\Interligne by 4\relax -\def\ppff{\ppffsixteen}% -\ifnum\musicsize=20\relax\def\meterfont{\moyen}\else\def\meterfont{\cmbx}% -\def\ppff{\ppfftwenty}\fi% -\interbeam=0.75\Interligne -\wn@width=6pt\relax -\hn@width=4.8pt\relax -\qn@width=4.5pt \relax -\qd@skip=\qn@width\relax\advance\qd@skip by -\lthick\relax -\hd@skip=\hn@width\relax\advance\qd@skip by -\lthick\relax -\wd@skip=\wn@width\relax\advance\wd@skip by -\lthick\relax -\setbox\ch@box=\hbox{\c@rochu}\relax\c@height=\ht\ch@box\relax -}% -% -\def\s@oupir{\hbox{\kern 3pt\raise 5pt\hbox{\linew\char"42}\relax -\kern -4pt\raise 12.5pt\hbox{\cmex\char"7C}\relax -\kern 0.5pt\raise 14pt\hbox{\circlew\char"72}}}% -\def\c@rochu{{\ttyeight\char"5C}}% -\def\c@rochl{{\ttyeight\char"2F}}% -\newdimen\c@height % hauteur d'un crochet de croche -%\check -\def\d@cr#1{% % queue de #1 croche(s) vers le haut -\global\advance\st@top by #1\Interligne\relax -\global\advance\st@top by -\st@bot\global\advance\st@top by 2.5\Interligne\relax - \ifdim\st@top>1pt\relax - \global\advance\st@bot by -\altportee\relax - \raise\st@bot\rlap{\kern\stem@skip\vrule height\st@top width \lthick - \advance\st@top by -\c@height\relax - \ifnum #1>0\relax\raise\st@top\rlap{\c@rochu}\fi - \ifnum #1>1\relax\global\advance\st@top by -\Interligne\raise\st@top -\rlap{\c@rochu}\fi - \ifnum #1>2\relax\global\advance\st@top by -\Interligne\raise\st@top -\rlap{\c@rochu}\fi - \ifnum #1>3\relax\global\advance\st@top by -\Interligne\raise\st@top -\rlap{\c@rochu}\fi - }\fi - \resetstem}% -%\check -\def\p@cr#1{% % queue de #1 croche(s) vers le bas -\global\advance\st@top by #1\Interligne\relax -\global\advance\st@top by -\st@bot\global\advance\st@top by 2.5\Interligne\relax -\global\advance\st@bot by -#1\Interligne\relax - \global\advance\st@bot by -2.5\Interligne\relax - \ifdim\st@top>1pt\relax - \global\advance\st@bot by -\altportee\relax - \raise\st@bot\llap{\relax - \ifnum #1>0\relax\rlap{\c@rochl}\fi - \ifnum #1>1\relax\raise\Interligne\rlap{\c@rochl}\fi - \ifnum #1>2\relax\raise 2\Interligne\rlap{\c@rochl}\fi - \ifnum #1>3\relax\raise 3\Interligne\rlap{\c@rochl}\fi - \vrule height\st@top width \lthick - \kern -\lthick}\fi - \resetstem}% -%\check -\def\s@harp{\cmmi\char"5D}\def\sh@raise{-2.5pt}% -\def\f@lat{\cmmi\char"5B}\def\fl@raise{-2.5pt}% -\def\n@at{{\cmmi\char"5C}}\def\na@raise{-2.5pt}% -\def\balkuu{\char"20}\def\balkuuu{\char"21}\def\balkuuuu{\char"22}% -\def\balku{\char"28}% -\def\balkdd{\char"60}\def\balkddd{\char"61}\def\balkdddd{\char"62}% -\def\balkd{\char"68}% -\def\ds@harp{\cmbx\char"78\kern -0.4pt}\def\df@lat{\cmmi\char"5B\hskip - -1.5pt\char"5B\kern -0.8pt}% -%\check -\def\s@lopdefs{\q@antum=10pt\relax\def\s@lope{0.0}% -\ifnum \b@p>1\relax\def\s@lope{0.15}\fi -\ifnum \b@p>3\relax\def\s@lope{0.20}\fi -\ifnum \b@p>5\relax\def\s@lope{0.40}\fi -\ifnum \b@p>7\relax\def\s@lope{0.60}\fi -\ifnum \b@p<-1\relax\def\s@lope{-0.15}\fi -\ifnum \b@p<-3\relax\def\s@lope{-0.20}\fi -\ifnum \b@p<-5\relax\def\s@lope{-0.40}\fi -\ifnum \b@p<-7\relax\def\s@lope{-0.60}\fi -}% -\def\b@alkdefs{\q@antum=10pt\relax -\ifnum \b@p>1\relax\def\b@alk{\balku}\fi -\ifnum \b@p>3\relax\def\b@alk{\balkuu}\fi -\ifnum \b@p>5\relax\def\b@alk{\balkuuu}\fi -\ifnum \b@p>7\relax\def\b@alk{\balkuuuu}\fi -\ifnum \b@p<-1\relax\def\b@alk{\balkd}\fi -\ifnum \b@p<-3\relax\def\b@alk{\balkdd}\fi -\ifnum \b@p<-5\relax\def\b@alk{\balkddd}\fi -\ifnum \b@p<-7\relax\def\b@alk{\balkdddd}\fi -}% -%\check -\def\p@outre{% \y@ii : longueur, \b@p : pente, \y@i : altitude -\ifnum \b@p=0\relax\raise \y@i\hbox{\vrule height 0.5\internote depth - 0.5\internote width \y@ii}\relax -\else \b@alkdefs\linew - \global\y@iv=0pt - \loop\ifdim\y@iv<\y@ii\relax - {\y@v=\y@ii\relax\advance\y@v by -\y@iv\relax\advance\y@v by -\q@antum\relax - \y@iii=\y@i\relax\advance\y@iii by \s@lope\y@iv\relax\advance\y@iii by - -0.5\internote - \ifnum \b@p<0\relax\advance\y@iii by \s@lope\q@antum\relax\fi - \ifdim\y@v<0pt\relax\advance\y@iii by \s@lope\y@v\relax\hskip\y@v\fi - \raise\y@iii\hbox to \z@ {\b@alk\hss}\advance\y@iii by 0.2\internote\relax - \raise\y@iii\hbox to \z@ {\b@alk\hss}\advance\y@iii by 0.2\internote\relax - \raise\y@iii\hbox to \z@ {\b@alk\hss}\advance\y@iii by 0.2\internote\relax - \raise\y@iii\hbox to \q@antum{\b@alk\hss}\global\advance\y@iv by \q@antum\relax - }\repeat -\fi -}% -%\check -\def\clefdefa{\hbox{\kern 1.5pt\circlew\raise 4\Interligne -\rlap{\char7\char4\kern -6.8pt\char4}\relax -\raise 3.1\Interligne\rlap{\kern 1.7pt\char"73}% -\raise 2.5\Interligne\rlap{\kern 9pt\vrule height\Interligne width 1.6pt}% -\kern 8.3pt\raise\Interligne -\rlap{\char 13\kern -15.2pt\char13}\kern 1.5pt\raise 2.5\Interligne -\hbox{\moyen :}}}% -%\check -\def\clefdesolsymbol{\hbox{\circlew\kern 1pt \raise 11pt\rlap{\kern 4pt\char7\char8}% -\raise10pt\rlap{\kern 4pt\char7\char8}% -\raise 5pt\rlap{\kern -1pt\tenbf\char'050}% -\raise \z@ \rlap{\kern \z@ \char 10\char9}% -\raise -3pt\rlap{\kern 3.5pt\char"73}% -\raise 9.5pt\rlap{\kern 1.20pt\linew\char"13}% -\raise 12pt\rlap{\kern 1.55pt\linew\char"13}% -\raise 3\Interligne\rlap{\linew\kern 4pt\char"45}% -\raise \z@\rlap{\kern 7pt\linew\char"45}\raise 2\Interligne\rlap{\linew\kern - 5pt\char"45}% -\raise -5pt\rlap{\kern 8pt\char 5}% -\raise 27.5pt\rlap{\kern 3.8pt\char3\char0}% -\raise 26.5pt\rlap{\kern 4pt\char3\char0}% -\raise 22.2pt\rlap{\kern 6.4pt\eightbf\char'051}% -\raise 21pt\rlap{\kern 6.4pt\eightbf\char'051}\relax -\kern 12pt}}% -%\check - \def\clefdutsymbol{\hbox{\kern2pt\vrule width 3pt height -4\Interligne\kern1pt\vrule height 4\Interligne - \def\rempl{\hbox{\vrule width 1pt height 3pt}}% -\kern 6pt\vbox to 4\Interligne{\offinterlineskip\rempl\hbox{\circlew -\char"09}\kern -2\Interligne -\hbox{\circlew\char"08}\rempl}}}% -% -\def\smallclefdut{\clefdutsymbol}% -\def\smallclefdefa{\clefdefasymbol}% -\def\smallclefdesol{\clefdesolsymbol}% -%\check -\def\allabreve{\meterfrac{2}{2}}% -%\check -\def\arp@elem{\vbox to 6pt{\vss\cmsy\char"6F}}% -\def\Arp@elem{\arp@elem}% -\def\d@soup{\raise\Interligne\hbox{\linew -\kern 0.8\Interligne\char2\kern -\Interligne\raise 1.8\Interligne -\hbox{\circlew\char"72}\kern -3pt\raise 7.5pt\hbox{\cmex -\char"7D}}} -\def\q@soup{\rlap{\d@soup}\kern 1pt\raise 4pt\hbox{\d@soup}}% -\def\p@orgue{\hbox{\kern 0.5\qn@width\circlew\char"72\kern -10pt\raise - 6pt\rlap{\char11\char8}\raise - 7pt\hbox{\char11\char8}}}% -\def\p@urgue{\hbox{\kern 0.5\qn@width\circlew\char"72\kern -10pt% -\raise-6pt\rlap{\char10\char9}\raise-7pt\hbox{\char10\char9}}}% -% -\def\t@ilde{{\cmex\char"65}}% -\def\trille#1{\hbox to #1{\leaders\hbox{\t@ilde\kern -0.8pt}\hfill}}% -\def\Trille#1{\hbox to #1{\raise 1.2\Interligne\hbox{\it tr}\leaders -\hbox{\t@ilde\kern -0.8pt}\hfill}}% -% -\def\st#1{\zcharnote{#1}{\raise -2pt \rlap{\tt -}}}% -\def\ppz#1{\zcharnote{#1}{\raise 2pt \rlap{\tt \char13}}}% -\def\pz#1{\zcharnote{#1}{\tenbf\kern 1.5pt .}}% -\def\sforz#1{\zcharnote{#1}{\cmmi\char"3E}}% -% -% arpeges -% -\def\arpegesym#1{\hbox to \Interligne{\kern -1.2\Interligne\vbox to - #1{\parindent=\z@ -\offinterlineskip% \ifdim #1>4\Interligne\Arp@elem\fi\hrule -\cleaders\arp@elem\vfill\kern -\interligne}\hss}}% -% -\def\sh#1{\getn@i{#1}\global\n@raise=\sh@raise - \pl@llap{\s@harp\ifdim\small@test\relax\else\kern -0.20\Interligne\fi}% -}% -\def\na#1{\getn@i{#1}\global\n@raise=\na@raise - \pl@llap{\n@at\ifdim\small@test\relax\else\kern -0.20\Interligne\fi}% -}% -\def\fl#1{\getn@i{#1}\global\n@raise=\fl@raise - \pl@llap{\f@lat\ifdim\small@test\relax\else\kern -0.20\Interligne\fi}% -}% -\def\dsh#1{\getn@i{#1}\global\n@raise=\z@ - \pl@llap{\ds@harp}}% -%\check -\def\dfl#1{\getn@i{#1}\global\n@raise=\fl@raise - \pl@llap{\df@lat}}% -% -% colons for repeat bars (:| |: :||:) -% -% -%\check -\def\w@coli{\selectinstr{\p@loop - \y@i=\altportee \n@portee - \advance\y@i by 1.4\Interligne - \raise\y@i\hbox to \z@{\hss\bf .\hss}% - \advance\y@i by \Interligne - \raise\y@i\hbox to \z@{\hss\bf .\hss}\repeat}} -% -\def\type@songsymbols{} -% -\def\ilegu#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width -\i@tenu{#2}}}% -\def\ilegl#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width -\i@tenl{#2}}}% -\def\t@ten{\y@i=\t@z\advance\y@i by -\altportee -\y@ii=\locx@skip\advance\y@ii by -\t@x -\ifnum\t@p>0\relax - \ifnum\t@s=2\relax - \raise\y@i\llap{\up@rleg}% - \else - \raise\y@i\llap{\up@leg}% - \fi -\else - \ifnum\t@s=2\relax - \raise\y@i\llap{\lo@rleg}% - \else - \raise\y@i\llap{\lo@leg}% - \fi -\fi -\global\t@s=0\relax\@uptenubox}% -% -\def\c@ten{\y@ii=\x@skip\advance\y@ii by -\t@x -\ifnum\t@s=1\relax - \ifnum\t@p>0\relax - \raise\t@z\llap{\up@les}\else - \raise\t@z\llap{\lo@les}\fi -\else\ifnum\t@s=2\relax - \global\t@x=\t@z - \global\advance\t@x by \t@y - \kern -\y@ii\vrule height \t@x depth -\t@z width \y@ii - \fi -\fi -\global\t@x=-.8pt%<-- -\global\t@s=2\relax}% -% -\newdimen\k@ii -\newdimen\k@iii -\newdimen\k@iiii -\newdimen\k@iiv -\newdimen\k@iv -\newdimen\k@ivi -\newdimen\k@ivii -\newdimen\k@iviii -\newdimen\k@iix - -% -% positions x et z de debut des tenues -\newdimen\t@xi\newdimen\t@zi -\newdimen\t@xii\newdimen\t@zii -\newdimen\t@xiii\newdimen\t@ziii -\newdimen\t@xiv\newdimen\t@ziv -\newdimen\t@xv\newdimen\t@zv -\newdimen\t@xvi\newdimen\t@zvi -\newdimen\t@xvii\newdimen\t@zvii -\newdimen\t@xviii\newdimen\t@zviii -\newdimen\t@xix\newdimen\t@zix -\newdimen\t@xx\newdimen\t@zx -% -\newdimen\nullthick % pour les parties sans portees (paroles) -\newdimen\clef@skip - diff --git a/Master/texmf-dist/tex/generic/musictex/musicpos.tex b/Master/texmf-dist/tex/generic/musictex/musicpos.tex deleted file mode 100644 index dd666c5a309..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicpos.tex +++ /dev/null @@ -1,43 +0,0 @@ -% musicpos.tex Version 4.99 decembre 1993 N. Brouard+D. Taupin - -\newenvironment{music}{\catcodesmusic\parskip \z@\resetfacteurs -\def\large{\normal\elemskip=2.4\Interligne}\relax -\global\linesinpage=0\relax}{} -% -\newdimen\largevaugment -\newdimen\largehaugment -% -\newenvironment{largemusic}{\vfill\eject\catcodesmusic\parskip \z@ -\resetfacteurs\def\large{\normal\elemskip=2.4\Interligne}\relax -\global\linesinpage=0\relax -% -\edef\theoldtextwidth{\the\textwidth} -\edef\theoldtextheight{\the\textheight} -% -\def\largetextwidth{185mm} -\def\largetextheight{260mm} -\largevaugment=\largetextheight\relax\advance\largevaugment by -\theoldtextheight -\largehaugment=\largetextwidth\relax\advance\largehaugment by -\theoldtextwidth -\divide\largevaugment by 2\relax -\divide\largehaugment by 2\relax -\advance\voffset by \largevaugment % essai -\advance\hoffset by -\largehaugment -\xdef\thelargehoffset{\the\hoffset} -\hsize\largetextwidth % pour essai -\textwidth \largetextwidth % pour essai -%\check 1 -% -\bgroup -%\advance\voffset by \largevaugment % essai -\textwidth \largetextwidth -%\textheight \largetextheight -% -\hsize\largetextwidth -\vsize\largetextheight}{\egroup -% -\advance\voffset by 0.5\largevaugment % essai -\clearpage -\advance\voffset by -0.5\largevaugment % essai -} -%-% End of musictex.sty - diff --git a/Master/texmf-dist/tex/generic/musictex/musicpre.tex b/Master/texmf-dist/tex/generic/musictex/musicpre.tex deleted file mode 100644 index b8fe30390f4..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicpre.tex +++ /dev/null @@ -1,64 +0,0 @@ -%-% Musictex.sty version 4.61 of June, 12 1992 -%-% Updates to version 4.31 November 1991 of plain musictex -%-% Musictex.sty version 0.0 of 5, November 1991 -%-% It is a first attempt to make musictex running by LaTeX -%-% We defined an environment named music to change the catcodes -%-% of the vertical bar and the ampersand for musictex. -%-% We used TeX command instead of LaTeX command inside of music. -%-% It needs a rather big \Tex{}, but emTeX compiler on PCs does the trip -%-% for small music arrays. It works better on work stations. -%-% Nicolas Brouard <brouard@frined51> -%-% With this file you need extra fonts. If extrafonts are -%-% are not available then use \documenstyle[musicpln]{article} -%-% -%-% In both cas you can add the option file bigmusic.sty which -%-% enlarges LaTeX page to a big size (A4). -%-% \documentstyle[musicpln,bigmusic]{article} -%-% -%-% Here is an example: -%-% \documentstyle[musictex]{article} -%-% \begin{document} -%-%\def\nbinstruments{1}\relax -%-%\generalmeter{\meterfrac{4}{4}}\relax -%-%\debutmorceau -%-%\normal -%-%\zglu\Notes\rlap{\hu j}\ql h\enotes -%-%\temps\Notes\hl g\enotes -%-%\temps\Notes\hu k\enotes -%-%\temps\Notes\ql f\enotes -%-%\suspmorceau -%-% \end{music} -%-% -%-% Latex blabla -%-% -%-% \begin{music} -%-%\def\nbinstruments{1}\relax -%-%\generalmeter{\meterfrac{4}{4}}\relax -%-%\debutmorceau -%-%\normal -%-%\zglu\Notes\rlap{\hu j}\ql h\enotes -%-%\temps\Notes\hl g\enotes -%-%\temps\Notes\hu k\enotes -%-%\temps\Notes\ql f\enotes -%-%\suspmorceau -%-% \end{document} -%-% -%-% Building Musictex.sty -%-% -%-% Two files are required to build musictex.sty from -%-% the plain distribution, musicpre.tex and musicpos.\TeX{}. -%-% Then musictex.sty is the concatenation of -%-% of musicpre.tex+musicnft.tex+musictex.tex+musicvbm.tex+musicpos.tex -%-% On unix: -%-% cat musicpre.tex musicnft.tex musictex.tex -%-% ... musicvbm.tex musicpos.tex >musictex.sty -%-% On dos: -%-% copy musicpre.tex+musicnft.tex+musictex.tex+ -%-% ... musicvbm.tex+musicpos.tex musictex.sty -%-% If you don't have the fonts, you should use: -%-% On unix: -%-% cat musicpre.tex musicpln.tex musictex.tex musicpos.tex >musicpln.sty -%-% On dos: -%-% copy musicpre.tex+musicpln.tex+musictex.tex+musicpos.tex musicpln.sty -%-% You also need the option file bigmusic.sty to make wide scores, but real -%-% large scores are advised to be compiled under TeX, not LaTeX. diff --git a/Master/texmf-dist/tex/generic/musictex/musicref.tex b/Master/texmf-dist/tex/generic/musictex/musicref.tex deleted file mode 100644 index 9e99d179389..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicref.tex +++ /dev/null @@ -1,88 +0,0 @@ -\input musicnft -\input musictex -\input musicsty -\parindent 0mm\nopagenumbers\def\wbarno{}\def\nbinstruments{1} -\def\musictex{Music\TeX}\def\zch{\zcharnote}% -\centerline{\enorme \musictex\ Reference}\bigskip -\centerline{\moyen Pitches}\bigskip -\def\LBNT#1#2{\zch{!g}{#1#2}\wh{!#1#2}}\relax -\def\lbnt#1{\zch g{#1}\wh{#1}}\relax -\def\lbnu#1#2{\zch g{#1}\zch B{\hbox{\kern -3pt '#2}}\wh{#1}}\relax -\cleftoksi={6000}\debutmorceau\autolines{26}{1}{12}\temps\relax -% Pitches -\notes\LBNT `A\LBNT `B\LBNT `C\LBNT `D\LBNT `E\LBNT `F\LBNT `G\enotes\relax -\notes\lbnt A\lbnt B\lbnt C\lbnt D\lbnt E\lbnt F\lbnt G\enotes\relax -\notes\lbnu HA\lbnu IB\lbnu JC\lbnu KD\lbnu LE\lbnu MF\lbnu NG\enotes\relax -\notes\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\enotes\relax -\def\lbnu#1#2{\zch K{#1}\zch a{\hbox{\kern -3pt '#2}}\wh{#1}}\relax -\def\lbnv#1#2{\zch K{#1}\zch a{\hbox{\kern -4pt ''#2}}\wh{#1}}\relax -\def\lbnw#1#2{\zch K{#1}\zch a{\hbox{\kern -5pt '{'}'#2}}\wh{#1}}\relax -\cleftoksi={0000}\def\lbnt#1{\zch K{#1}\wh{#1}}\alaligne\notes\relax -\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\lbnt f\lbnt g\relax -\lbnu h a\lbnu i b\lbnu j c\lbnu k d\lbnu l e\lbnu m f\lbnu n g\relax -\lbnv o a\lbnv p b\lbnv q c\lbnv r d\lbnv s e\lbnv t f\lbnv u g\relax -\lbnw v a\lbnw w b\lbnw x c\lbnw y d\lbnw z e\enotes\suspmorceau -% -\bigskip\centerline{\moyen Notes, Accidentals, Accents, and Rests}\bigskip -\def\mcra#1{\zch r{$\backslash$#1}}\relax -\def\mcrx#1#2{\zch r{$\backslash$#1}\zch a{#2}}\relax -% Notes & Accidentals -\debutmorceau\temps\NOtes\relax -\mcrx{zsb}{Accidentals:}\zsb i\sk\mcra{zbv}\zbv i\sk\enotes\Notes\relax -\mcra{wh}\wh i\relax -\mcrx{hu}{\tt>}\hu {>f}\mcra{hl}\hl l\relax -\mcrx{qu}{\tt\^}\qu {^f}\mcra{ql}\ql l\relax -\mcrx{cu}{\tt=}\cu {=f}\mcra{cl}\cl l\enotes\NOtes\relax -\mcrx{ccu}{\tt\_}\ccu {_f}\mcra{ccl}\ccl l\relax -\mcrx{cccu}{\tt<}\cccu {<f}\mcra{cccl}\cccl l\relax -\mcra{ccccu}\ccccu f\mcra{ccccl}\ccccl l\enotes -% Pointed Notes and Accents -\def\mcra#1{\zch o{$\backslash$#1}}\alaligne\Notes\relax -\mcra{pt$\backslash$zbv}\pt j\zbv j\sk\sk\relax -\mcra{whp}\whp i\mcra{hup}\hup h\mcra{qup}\qup g\mcra{cup}\cup f\relax -\sk\mcra{pt$\backslash$ccu}\pt e\ccu e\sk\sk\relax -\mcra{lpz}\lpz g\qu g\mcra{upz}\upz j\ql j\relax -\mcra{lsf}\lsf g\qu g\mcra{usf}\usf j\ql j\relax -\mcra{lst}\lst g\qu g\mcra{ust}\ust j\ql j\relax -\mcra{lppz}\lppz g\qu g\mcra{uppz}\uppz j\ql j\relax -\enotes\suspmorceau -% Rests -\def\mcra#1{\zch u{$\backslash$#1}}\relax% 1 macro -\def\mcrb#1#2{\zch u{$\backslash$#1}% - \zch q{$\backslash$#2}}\relax% 2 alternative macros -\def\mcrc#1#2#3{\zch y{$\backslash$#1}% - \zch u{$\backslash$#2}% - \zch q{$\backslash$#3}}\relax% 3 alternative macros -\debutmorceau\Notes\sk\relax -\mcrb{seizsoupir}{qqs}\qqs\sk\mcrc{huitsoupir}{hsoupir}{hs}\hs\sk\relax -\mcrc{quartsoupir}{qsoupir}{qs}\qs\sk\sk\relax -\mcrc{demisoupir}{dsoupir}{ds}\ds\sk\mcrb{soupir}{qp}\qp\sk\relax -\mcra{hpause}\hpause\sk\mcra{pause}\pause\sk\relax -\mcra{PAuse}\PAuse\sk\mcra{PAUSe}\PAUSe\enotes\suspmorceau -% more Symbols -\bigskip\centerline{\moyen Other Symbols}\bigskip -\def\mcra#1{\zch v{$\backslash$#1}}\relax -\debutmorceau\NOtes\sk\relax -\mcra{nTrille}\nTrille n 2\sk\mcra{ntrille}\ntrille n 2\sk\sk\relax -\mcra{pince}\pince n\sk\mcra{Pince}\Pince n\sk\relax -\mcra{mordant}\mordant n\sk\sk\relax -\mcra{turn}\turn n\sk\mcra{backturn}\backturn n\sk\sk\relax -\mcra{coda}\coda n\sk\mcra{segno}\segno n\sk\enotes\relax -\def\mcra#1{\zch r{$\backslash$#1}}\alaligne\NOtes\sk\relax -\mcra{pointdorgue}\pointdorgue l\wh k\sk\relax -\mcra{pointdurgue}\pointdurgue e\wh f\sk\relax -\mcra{PED}\PED\sk\mcra{DEP}\DEP\sk\relax -\mcra{arpeggio f 1}\arpeggio f 1\sk\sk\relax -\mcra{arpeggio d 4}\arpeggio d 4\sk\sk\relax -\mcra{arpeggio b 7}\arpeggio b 7\sk\enotes\relax -\def\mcra#1{\zch o{$\backslash$#1}}\alaligne\NOtes\sk\sk\relax -\mcra{dimin}\zcharnote b{\dimin}\sk\relax -\mcra{Dimin}\zcharnote b{\Dimin}\sk\sk\relax -\mcra{DImin}\zcharnote b{\DImin}\sk\sk\sk\relax -\mcra{DIMin}\zcharnote b{\DIMin}\sk\sk\sk\mcra{octfin}\octfin r 2\sk\sk\relax -\enotes\alaligne\NOtes\mcra{octline}\octline r\sk\sk\relax -\mcra{cresc}\zcharnote b{\cresc}\sk\relax -\mcra{Cresc}\zcharnote b{\Cresc}\sk\sk\relax -\mcra{CResc}\zcharnote b{\CResc}\sk\sk\sk\relax -\mcra{CREsc}\zcharnote b{\CREsc}\sk\sk\sk\sk\sk\relax -\enotes\suspmorceau\bye diff --git a/Master/texmf-dist/tex/generic/musictex/musicsix.tex b/Master/texmf-dist/tex/generic/musictex/musicsix.tex deleted file mode 100644 index a61bc298eb4..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicsix.tex +++ /dev/null @@ -1,11 +0,0 @@ -% This file facilitates compilation of some musixtex features. -% Version 5.13 - -\newtoks\t@c -\def\@fourtoks#1#2#3#4#5+{#1#2#3#4} - -\def\setclef#1#2{\noinstrum@nt#1\relax \s@l@ctclefs \t@c{#2000}% - \cleftoks\expandafter\expandafter\expandafter{\expandafter\@fourtoks\the\t@c+}} - \let\setclefs\setclef - -\endinput diff --git a/Master/texmf-dist/tex/generic/musictex/musicsty.tex b/Master/texmf-dist/tex/generic/musictex/musicsty.tex deleted file mode 100644 index 9149e37d49b..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicsty.tex +++ /dev/null @@ -1,368 +0,0 @@ -% -% This is Musicsty from MusicTeX -\message{Version 5.14 -- September 20th, 1995}% -% -\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 -\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12 -\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12 -\def\makeatletter{\catcode`\@=11} -\def\makeatother{\catcode`\@=12} -% -% non musical procedures used in typesetting the non-musical -% texts together with musictex -% -\def\fontid{\fonthdg\fonthdge} -% -% eight point fonts -% -\font\eightrm=\fontid r8 -\font\eighti=cmmi8 \skewchar\eighti='177 -\font\eightsy=cmsy8 \skewchar\eightsy='60 -\font\eightbf=\fontid bx8 -\font\eightsl=\fontid sl8 -\font\eightit=\fontid ti8 -\font\eighttt=\fontid tt8 -% -% nine point fonts -% -\font\ninerm=\fontid r9 -\font\ninei=cmmi10 scaled 900 \skewchar\ninei='177 -\font\ninesy=cmsy10 scaled 900 \skewchar\ninesy='60 -\font\ninebf=\fontid bx9 -\font\ninesl=\fontid sl9 -\font\nineit=\fontid ti9 -\font\ninett=\fontid tt9 -% -% twelve point fonts -% -\font\twlrm=\fontid r12 -\font\twli=cmmi12 \skewchar\twli='177 -\font\twlsy=cmsy10 scaled \magstep1 \skewchar\twlsy='60 -\font\twlbf=\fontid bx12 -\font\twlsl=\fontid sl12 -\font\twlit=\fontid ti12 -\font\twltt=\fontid tt12 -% -% fourteen point fonts -% -\font\frtrm=\fontid r12 scaled \magstep1 -\font\frti=cmmi12 scaled \magstep1 \skewchar\frti='177 -\font\frtsy=cmsy10 scaled \magstep2 \skewchar\frtsy='60 -\font\frtbf=\fontid bx12 scaled \magstep1 -\font\frtsl=\fontid sl12 scaled \magstep1 -\font\frtit=\fontid ti12 scaled \magstep1 -\font\frttt=\fontid tt12 scaled \magstep1 -% -% seventeen point fonts -% -\font\svtrm=\fontid r17 -\font\svti=cmmi12 scaled \magstep2 \skewchar\svti='177 -\font\svtsy=cmsy10 scaled \magstep3 \skewchar\svtsy='60 -\font\svtbf=\fontid bx12 scaled \magstep2 -\font\svtsl=\fontid sl12 scaled \magstep2 -\font\svtit=\fontid ti12 scaled \magstep2 -\font\svttt=\fontid tt12 scaled \magstep2 -% -% twenty point fonts -% -\font\twtyrm=\fontid r17 scaled \magstep1 -\font\twtyi=cmmi12 scaled \magstep3 \skewchar\twtyi='177 -\font\twtysy=cmsy10 scaled \magstep4\skewchar\twtysy='60 -\font\twtybf=\fontid bx12 scaled \magstep3 -\font\twtysl=\fontid sl12 scaled \magstep3 -\font\twtyit=\fontid ti12 scaled \magstep3 -\font\twtytt=\fontid tt12 scaled \magstep3 -% -% twenty five point fonts -% -\font\twfvrm=\fontid r17 scaled \magstep2 -\font\twfvi=cmmi12 scaled \magstep4 \skewchar\twfvi='177 -\font\twfvsy=cmsy10 scaled \magstep5 \skewchar\twfvsy='60 -\font\twfvbf=\fontid bx12 scaled \magstep4 -\font\twfvsl=\fontid sl12 scaled \magstep4 -\font\twfvit=\fontid ti12 scaled \magstep4 -\font\twfvtt=\fontid tt12 scaled \magstep4 -% -% SEVERAL DIFFERENT POINT SIZES -% -\def\twfvpoint{\Twfvpoint} -\def\Twfvpoint{\normalbaselineskip=30pt -\def\rm{\fam0\twfvrm}% -\def\it{\fam\itfam\twfvit}% -\def\sl{\fam\slfam\twfvsl}% -\def\bf{\fam\bffam\twfvbf}% -\def\smc{\twfvrm}% -\def\mit{\fam 1}% -\def\cal{\fam 2}% -\textfont0=\twfvrm \scriptfont0=\twtyrm \scriptscriptfont0=\svtrm -\textfont1=\twfvi \scriptfont1=\twtyi \scriptscriptfont1=\svti -\textfont2=\twfvsy \scriptfont2=\twtysy \scriptscriptfont2=\svtsy -\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex -\textfont\itfam=\twfvit \scriptfont\itfam=\twtyit -\textfont\slfam=\twfvsl \scriptfont\slfam=\twtysl -\textfont\bffam=\twfvbf \scriptfont\bffam=\twtybf -\scriptscriptfont\bffam=\twtybf -\setbox\strutbox=\hbox{\vrule height 22pt depth 8pt width 0pt}% -\def\tt{\twfvtt}\normalbaselines\rm} -% -\def\twtypoint{\Twtypoint} -\def\Twtypoint{\normalbaselineskip=25pt -\def\rm{\fam0\twtyrm}% -\def\it{\fam\itfam\twtyit}% -\def\sl{\fam\slfam\twtysl}% -\def\bf{\fam\bffam\twtybf}% -\def\smc{\twtyrm}% -\def\mit{\fam 1}% -\def\cal{\fam 2}% -\textfont0=\twtyrm \scriptfont0=\svtrm \scriptscriptfont0=\frtrm -\textfont1=\twtyi \scriptfont1=\svti \scriptscriptfont1=\frti -\textfont2=\twtysy \scriptfont2=\svtsy \scriptscriptfont2=\frtsy -\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex -\textfont\itfam=\twtyit \scriptfont\itfam=\svtit -\textfont\slfam=\twtysl \scriptfont\slfam=\svtsl -\textfont\bffam=\twtybf \scriptfont\bffam=\svtbf -\scriptscriptfont\bffam=\svtbf -\setbox\strutbox=\hbox{\vrule height 18pt depth 7pt width 0pt}% -\def\tt{\twtytt}\normalbaselines\rm} -% -\def\svtpoint{\Svtpoint} -\def\Svtpoint{\normalbaselineskip=21pt -\def\rm{\fam0\svtrm}% -\def\it{\fam\itfam\svtit}% -\def\sl{\fam\slfam\svtsl}% -\def\bf{\fam\bffam\svtbf}% -\def\smc{\svtrm}% -\def\mit{\fam 1}% -\def\cal{\fam 2}% -\textfont0=\svtrm \scriptfont0=\frtrm \scriptscriptfont0=\twlrm -\textfont1=\svti \scriptfont1=\frti \scriptscriptfont1=\twli -\textfont2=\svtsy \scriptfont2=\frtsy \scriptscriptfont2=\twlsy -\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex -\textfont\itfam=\svtit \scriptfont\itfam=\frtit -\textfont\slfam=\svtsl \scriptfont\slfam=\frtsl -\textfont\bffam=\svtbf \scriptfont\bffam=\frtbf -\scriptscriptfont\bffam=\frtbf -\setbox\strutbox=\hbox{\vrule height 14.5pt depth 6.5pt width 0pt}% -\def\tt{\svttt}\normalbaselines\rm} -% -\def\frtpoint{\Frtpoint} -\def\Frtpoint{\normalbaselineskip=17pt -\def\rm{\fam0\frtrm}% -\def\it{\fam\itfam\frtit}% -\def\sl{\fam\slfam\frtsl}% -\def\bf{\fam\bffam\frtbf}% -\def\smc{\frtrm}% -\def\mit{\fam 1}% -\def\cal{\fam 2}% -\textfont0=\frtrm \scriptfont0=\twlrm \scriptscriptfont0=\eightrm -\textfont1=\frti \scriptfont1=\twli \scriptscriptfont1=\eighti -\textfont2=\frtsy \scriptfont2=\twlsy \scriptscriptfont2=\eightsy -\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex -\textfont\itfam=\frtit \scriptfont\itfam=\twlit -\textfont\slfam=\frtsl \scriptfont\slfam=\twlsl -\textfont\bffam=\frtbf \scriptfont\bffam=\twlbf -\scriptscriptfont\bffam=\twlbf -\setbox\strutbox=\hbox{\vrule height 12pt depth 5pt width 0pt}% -\def\tt{\frttt}\normalbaselines\rm} -% -\def\twlpoint{\Twlpoint} -\def\Twlpoint{\normalbaselineskip=14pt -\def\rm{\fam0\twlrm}% -\def\it{\fam\itfam\twlit}% -\def\sl{\fam\slfam\twlsl}% -\def\bf{\fam\bffam\twlbf}% -\def\smc{\twlrm}% -\def\mit{\fam 1}% -\def\cal{\fam 2}% -\textfont0=\twlrm \scriptfont0=\tenrm \scriptscriptfont0=\eightrm -\textfont1=\twli \scriptfont1=\teni \scriptscriptfont1=\eighti -\textfont2=\twlsy \scriptfont2=\tensy \scriptscriptfont2=\eightsy -\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex -\textfont\itfam=\twlit \scriptfont\itfam=\tenit -\textfont\slfam=\twlsl \scriptfont\slfam=\tensl -\textfont\bffam=\twlbf \scriptfont\bffam=\tenbf -\scriptscriptfont\bffam=\tenbf -\setbox\strutbox=\hbox{\vrule height 10pt depth 4pt width 0pt}% -\def\tt{\twltt}\normalbaselines\rm} -% -% -\def\tenpoint{\Tenpoint} -\def\Tenpoint{\normalbaselineskip=12pt -\def\rm{\fam0\tenrm}% -\def\it{\fam\itfam\tenit}% -\def\sl{\fam\slfam\tensl}% -\def\bf{\fam\bffam\tenbf}% -\def\smc{\tenrm}% -\def\mit{\fam 1}% -\def\cal{\fam 2}% -\textfont0=\tenrm \scriptfont0=\eightrm \scriptscriptfont0=\eightrm -\textfont1=\teni \scriptfont1=\eighti \scriptscriptfont1=\eighti -\textfont2=\tensy \scriptfont2=\eightsy \scriptscriptfont2=\eightsy -\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex -\textfont\itfam=\tenit \scriptfont\itfam=\eightit -\textfont\slfam=\tensl \scriptfont\slfam=\eightsl -\textfont\bffam=\tenbf \scriptfont\bffam=\eightbf -\scriptscriptfont\bffam=\eightbf -\setbox\strutbox=\hbox{\vrule height 8.5pt depth 3.5pt width 0pt}% -\def\tt{\tentt}\normalbaselines\rm} -% -\def\eightpoint{\Eightpoint} -\def\Eightpoint{\normalbaselineskip=10pt -\def\rm{\fam0\eightrm}% -\def\it{\fam\itfam\eightit}% -\def\sl{\fam\slfam\eightsl}% -\def\bf{\fam\bffam\eightbf}% -\def\mit{\fam 1}% -\def\cal{\fam 2}% -\textfont0=\eightrm \scriptfont0=\eightrm \scriptscriptfont0=\eightrm -\textfont1=\eighti \scriptfont1=\eighti \scriptscriptfont1=\eighti -\textfont2=\eightsy \scriptfont2=\eightsy \scriptscriptfont2=\eightsy -\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex -\textfont\itfam=\eightit \scriptfont\itfam=\eightit -\textfont\slfam=\eightsl \scriptfont\slfam=\eightsl -\textfont\bffam=\eightbf \scriptfont\bffam=\eightbf -\scriptscriptfont\bffam=\eightbf -\setbox\strutbox=\hbox{\vrule height 7pt depth 3pt width 0pt}% -\def\tt{\eighttt}\normalbaselines\rm} -% -\def\ninepoint{\Ninepoint} -\def\Ninepoint{\normalbaselineskip=10pt -\def\rm{\fam0\ninerm}% -\def\it{\fam\itfam\nineit}% -\def\sl{\fam\slfam\ninesl}% -\def\bf{\fam\bffam\ninebf}% -\def\mit{\fam 1}% -\def\cal{\fam 2}% -\textfont0=\ninerm \scriptfont0=\ninerm \scriptscriptfont0=\ninerm -\textfont1=\ninei \scriptfont1=\ninei \scriptscriptfont1=\ninei -\textfont2=\ninesy \scriptfont2=\ninesy \scriptscriptfont2=\ninesy -\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex -\textfont\itfam=\nineit \scriptfont\itfam=\nineit -\textfont\slfam=\ninesl \scriptfont\slfam=\ninesl -\textfont\bffam=\ninebf \scriptfont\bffam=\ninebf -\scriptscriptfont\bffam=\ninebf -\setbox\strutbox=\hbox{\vrule height 7pt depth 3pt width 0pt}% -\def\tt{\ninett}\normalbaselines\rm} -% -% GENERAL FOOTNOTES -% -\newcount\footmarkcount -\footmarkcount=0\relax -\def\resetfootnote{\global\footmarkcount=0\relax} -% -\def\footmarknumber{\raise 0.8ex\hbox{\eightpoint\rm\the\footmarkcount}} -% -\def\Footnote#1{\global\advance\footmarkcount by 1\relax -\footnote{\footmarknumber}{#1}}% -%\check -% \TeX book footnote -% -% En cas de panique: couper en deux (une seule note autorisee) -% -\def\markfootnote{{\advance\footmarkcount by 1\relax\footmarknumber}} -% -\def\realfootnote#1{\global\advance\footmarkcount by 1\relax -\vfootnote{{\footmarknumber}#1}}% -% -\def\footnotehsize{}% to enable inserting different \hsize (two columns case) -\def\vfootnote#1{\insert\footins\bgroup\parskip \z@\eightpoint - \interlinepenalty=\interfootnotelinepenalty - \splittopskip=\ht\strutbox \advance\splittopskip by 1pt - \splitmaxdepth=\dp\strutbox \floatingpenalty=20000 - \leftskip=\z@ \rightskip=\z@ - \spaceskip \z@ \xspaceskip \z@ - \eightpoint\footnotehsize\noindent{#1}\footstrut\futurelet\next\fo@t} -% -%\check -% -\def\footnoterule{\vskip-3pt - \hrule width 2truein \vskip 2.6pt } % the \hrule is .4pt high -% -% -\def\aujourdhui{\space\number\day\space\ifcase\month\or -janvier\or f\'evrier\or mars\or avril\or -mai\or juin\or juillet\or ao\^ut\or septembre\or -octobre\or novembre\or d\'ecembre\fi -\space\number\year} -\def\today{\space\ifcase\month\or -January\or February\or March\or April\or -May\or June\or July\or August\or September\or -October\or November\or December\fi -\space\number\day,\space\number\year} -\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt - \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} -\def\cenboxit#1{\centerline{\hbox{\boxit{#1}}}} -\def\Item{\medskip\item} -% -\def\nologo{} -% -\def\umero{\raise 0.8ex\hbox{\kern-0.05em\the\scriptfont\fam o}} - -\let\titremorceau\empty -\def\shorttitle#1{\def\titremorceau{#1}} -\def\title{\shorttitle} -\def\subtitle#1{\def\subt@itremorceau{#1}} -\let\headt@itremorceau\undefined -\def\headtitle#1{\def\headt@itremorceau{#1}} -\def\fulltitle{\headtitle} -\let\othert@itremorceau\empty -\def\othermention#1{\def\othert@itremorceau{#1}} - -\let\s@hortauthor\empty -\def\shortauthor#1{\def\s@hortauthor{#1}} - -\def\fullauthor#1{\def\f@ullauthor{#1}} -\def\author{\fullauthor} - -\newif\ifcopyright - -\def\outmorceau{\shipout\vbox to 270mm{\tenpoint\vss\pagecontents\vss\line{% -\ifodd\pageno\sl \titremorceau\ \ifx\s@hortauthor\empty - \else(\s@hortauthor) - \fi -\ifcopyright -\rm$\copyright$\fi \hss -\number\pageno -\else\rm\number\pageno\hss\sl \titremorceau\ - \ifx\s@hortauthor\empty - \else(\s@hortauthor) - \fi -\ifcopyright\rm$\copyright$\fi\fi}}% - \global\advance\count0 by 1\relax - \ifnum\outputpenalty>-20000 \else\dosupereject\fi}% - -\output{\outmorceau} - -\def\maketitle{\centerline{\enorme \ifx\headt@itremorceau\undefined - \titremorceau\else\headt@itremorceau\fi} -\medskip -\ifx\subt@itremorceau\undefined\else - \centerline{\tenpoint\sl \subt@itremorceau} -\medskip -\fi - - -\hbox to \hsize{\tenpoint - \vtop{\def\\{\hss\egroup\hbox to 0.5\hsize\bgroup\relax}\relax - \hbox to 0.5\hsize - \bgroup\othert@itremorceau\hss - \egroup - }\hss - \vtop{\def\\{\egroup\hbox to 0.5\hsize\bgroup\relax\hss}\relax - \hbox to 0.5\hsize - \bgroup\hss\f@ullauthor - \egroup - }} -\bigskip -} - -\catcode`\>=\catcode@gt -\catcode`\<=\catcode@lt -\catcode`\@=\catcodeat - -\hsize=185mm -\vsize=264mm -\hoffset=-1.79cm -\voffset=-1.54cm - -\endinput diff --git a/Master/texmf-dist/tex/generic/musictex/musictex.tex b/Master/texmf-dist/tex/generic/musictex/musictex.tex deleted file mode 100644 index d384e72438a..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musictex.tex +++ /dev/null @@ -1,2440 +0,0 @@ -% - % THIS is MusicTeX -\def\mcversion{5.18} -\message{Version \mcversion\space -- August 26th, 1996}% - -\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 - -\newif\ifcatcodesmusic - -\def\catcodesmusic{\ifcatcodesmusic\relax - \else - \edef\catcode@gt{\the\catcode`\>}\catcode`\>=12% - \edef\catcode@lt{\the\catcode`\<}\catcode`\<=12% - \edef\catcode@vert{\the\catcode`\|}\catcode`\|=13% - \edef\catcode@and{\the\catcode`\&}\catcode`\&=13% - \edef\catcode@excl{\the\catcode`\!}\catcode`\!=12% - \edef\catcode@star{\the\catcode`\*}\catcode`\*=12% - \edef\catcode@pt{\the\catcode`\.}\catcode`\.=12% - \edef\catcode@sc{\the\catcode`\:}\catcode`\:=12% - \fi\catcodesmusictrue} - - \catcodesmusic - - % PARAMETERS DIFFERENT THAN IN PLAIN - % -\normallineskiplimit=\p@ -\parindent 10mm - % - % EXTRA FONTS NEEDED - % -\font\enorme=\fonthdg\fonthdge bx12 scaled \magstep4 -\font\moyen=\fonthdg\fonthdge bx12 scaled \magstep1 -\font\tentt=\fonthdg\fonthdge tt10 -\font\ppffsixteen=\fonthdg\fonthdge bxti10 -\font\ppfftwenty=\fonthdg\fonthdge bxti10 scaled \magstep1 - % -\tolerance=10000\relax - % procedures speciales D. taupin - % **** \hsize 16cm \vsize 24cm - % -\let\@plainwlog=\wlog -\def\wlog#1{}% - % - %\check - % -\raggedbottom -\def\p@t{\kern 1.5pt\pointfont\char"2E}% -\def\P@t{\pt@raise\hbox{\p@t}}% -\def\PP@t{\pt@raise\hbox{\p@t\char"2E}}% -\def\PPP@t{\pt@raise\hbox{\p@t\char"2E\char"2E}}% - % - %\check - % -\def\f@tok#1#2\af@tok{#1}% -\def\s@tok#1#2\af@tok{#2}% - % -\def\gl@au#1{\ifnum #1<0\relax\global\advance #1 by -1\relax\fi - \ifnum #1>0\relax\global\advance #1 by 1\relax\fi}% -\def\gl@de#1{\ifnum #1<0\relax\global\advance #1 by 1\relax\fi - \ifnum #1>0\relax\global\advance #1 by -1\relax\fi}% - % - % - % Amount of skip needed at bar lines -\newskip\tempsskip -\newdimen\brace@w -\newdimen\afterruleskip -\newdimen\pt@up % offset point de notes pointees -\newdimen\noteskip -\newdimen\elemskip -\newdimen\q@antum -\newdimen\n@raise -\newdimen\n@width -\newdimen\stem@skip -\newdimen\interligne % entre les lignes - %%%% \newdimen\nullthick % pour les parties sans portees (paroles) -\newdimen\staffbotmarg % marge au-dessous des portees -\newdimen\stafftopmarg % au-dessus des portees -\newdimen\Internote % la moitie de \Interligne -\def\internote{\Internote}% -\newdimen\interbeam % distance entre poutres -\newdimen\Interligne % de la base d'une ligne a l'autre -\newdimen\interportee % distance between staffs of the same instrument (incl) -\newdimen\Interportee % distance between staffs of the same instrument (excl) -\newdimen\interinstrument % distance between instruments (added to \interportee) -\newdimen\systemheight - % -\newdimen\altplancher -\newdimen\altportee -\newdimen\line@width -\newdimen\x@skip -\newdimen\locx@skip -\newdimen\st@bot % note stem bottom -\newdimen\st@top % note stem top - % - % positions x et z de debut des tenues -\newdimen\t@xi\newdimen\t@zi -\newdimen\t@xii\newdimen\t@zii -\newdimen\t@xiii\newdimen\t@ziii -\newdimen\t@xiv\newdimen\t@ziv -\newdimen\t@xv\newdimen\t@zv -\newdimen\t@xvi\newdimen\t@zvi - % -\newdimen\t@y - % - % signes des tenues ( \t@p: entier de -1 a +1 ) - % etat des tenues ( \t@s: 0= inactive, 1= actif, 2= continuation ) - % -\newcount\t@pi\newcount\t@si -\newcount\t@pii\newcount\t@sii -\newcount\t@piii\newcount\t@siii -\newcount\t@piv\newcount\t@siv -\newcount\t@pv\newcount\t@sv -\newcount\t@pvi\newcount\t@svi - % - % positions x et z de debut des poutres -\newdimen\b@xi\newdimen\b@zi -\newdimen\b@xii\newdimen\b@zii -\newdimen\b@xiii\newdimen\b@ziii -\newdimen\b@xiv\newdimen\b@ziv -\newdimen\b@xv\newdimen\b@zv -\newdimen\b@xvi\newdimen\b@zvi - % -\newdimen\bb@xi\newdimen\bb@zi -\newdimen\bb@xii\newdimen\bb@zii -\newdimen\bb@xiii\newdimen\bb@ziii -\newdimen\bb@xiv\newdimen\bb@ziv -\newdimen\bb@xv\newdimen\bb@zv -\newdimen\bb@xvi\newdimen\bb@zvi - % -\newdimen\bbb@xi\newdimen\bbb@zi -\newdimen\bbb@xii\newdimen\bbb@zii -\newdimen\bbb@xiii\newdimen\bbb@ziii -\newdimen\bbb@xiv\newdimen\bbb@ziv -\newdimen\bbb@xv\newdimen\bbb@zv -\newdimen\bbb@xvi\newdimen\bbb@zvi - % -\newdimen\bbbb@zi -\newdimen\bbbb@zii -\newdimen\bbbb@ziii -\newdimen\bbbb@ziv -\newdimen\bbbb@zv -\newdimen\bbbb@zvi - % -\newdimen\bbbbb@zi -\newdimen\bbbbb@zii -\newdimen\bbbbb@ziii -\newdimen\bbbbb@ziv -\newdimen\bbbbb@zv -\newdimen\bbbbb@zvi - % - % pentes des poutres ( entier de -3 a +3 ) - % multiplicite des poutres ( de -5 a +5 . 0= inactive ) - % -\newcount\b@pi\newcount\b@ni -\newcount\b@pii\newcount\b@nii -\newcount\b@piii\newcount\b@niii -\newcount\b@piv\newcount\b@niv -\newcount\b@pv\newcount\b@nv -\newcount\b@pvi\newcount\b@nvi - % -\newif\ifraggedlines - % -\newcount\barno -\newcount\lastbarno -\newcount\notes@open -\def\check@nopen{\ifnum\notes@open>0\relax\enotes\errmessage{ missing - \noexpand\enotes\ mesure \the\barno}\fi}% - % - % altitudes des portees de chaque instrument - % -\newcount\ut@ref -\newcount\noportee -\newcount\noinstrument - % -\newcount\nbporteesi -\newcount\nbporteesii -\newcount\nbporteesiii -\newcount\nbporteesiv -\newcount\nbporteesv -\newcount\nbporteesvi - % -\newcount\signi -\newcount\signii -\newcount\signiii -\newcount\signiv -\newcount\signv -\newcount\signvi - % -\newif\ifadvance\advancetrue -\newcount\transpose -\newcount\normaltranspose -\newcount\o@signi -\newcount\o@signii -\newcount\o@signiii -\newcount\o@signiv -\newcount\o@signv -\newcount\o@signvi - % -\newtoks\cleftoksi -\newtoks\cleftoksii -\newtoks\cleftoksiii -\newtoks\cleftoksiv -\newtoks\cleftoksv -\newtoks\cleftoksvi - % -\newtoks\o@cksi -\newtoks\o@cksii -\newtoks\o@cksiii -\newtoks\o@cksiv -\newtoks\o@cksv -\newtoks\o@cksvi - % -\newtoks\metertoksi -\newtoks\metertoksii -\newtoks\metertoksiii -\newtoks\metertoksiv -\newtoks\metertoksv -\newtoks\metertoksvi - % -\global\nbporteesi=1% -\global\nbporteesii=1% -\global\nbporteesiii=1% -\global\nbporteesiv=1% -\global\nbporteesv=1% -\global\nbporteesvi=1% -\global\cleftoksi={{0}{0}{0}{0}}% -\global\cleftoksii={{0}{0}{0}{0}}% -\global\cleftoksiii={{0}{0}{0}{0}}% -\global\cleftoksiv={{0}{0}{0}{0}}% -\global\cleftoksv={{0}{0}{0}{0}}% -\global\cleftoksvi={{0}{0}{0}{0}}% - % - %\check - % -\def\n@advance{\global\advance\noinstrument by 1\relax}% -\def\n@loop{\global\noinstrument=0\relax\loop - \ifnum\noinstrument<\nbinstruments\relax\n@advance - \selectinstr}% -\def\m@loop{\global\noinstrument=0\relax\loop - \ifnum\noinstrument<\maxinstruments\relax\n@advance - \selectinstr}% - % -\def\savemeters{\savemeter}% -\def\savemeter{\m@loop\global\metertoks={{}{}{}{}}\repeat}% - %\check -\def\maxinstruments{6}% - -\def\setclef#1{\noinstrument #1\relax\selectinstr \cleftoks} -\let\setclefs\setclef - -\def\setstaffs#1{\noinstrument #1\relax\selectinstr \nbportees} - -\def\setinterinstrument#1#2{\noinstrument #1\relax - \expandafter\def\csname interinstrument\romannumeral\noinstrument\endcsname{#2}} - - % -\def\selectinstr{% -\xdef\altitude{\csname k@i\romannumeral\noinstrument\endcsname}% -\xdef\nbportees{\csname nbportees\romannumeral\noinstrument\endcsname}% -\xdef\staffspacing{\csname staffspacing\romannumeral\noinstrument\endcsname}% -\xdef\stafflinesnb{\csname stafflinesnb\romannumeral\noinstrument\endcsname}% -\xdef\clefdut{\csname clefdut\romannumeral\noinstrument\endcsname}% -\xdef\clefdefa{\csname clefdefa\romannumeral\noinstrument\endcsname}% -\xdef\clefdesol{\csname clefdesol\romannumeral\noinstrument\endcsname}% -\xdef\internote{\csname internote\romannumeral\noinstrument\endcsname}% -\xdef\sign{\csname sign\romannumeral\noinstrument\endcsname}% -\xdef\o@sign{\csname o@sign\romannumeral\noinstrument\endcsname}% -\xdef\cleftoks{\csname cleftoks\romannumeral\noinstrument\endcsname}% -\xdef\metertoks{\csname metertoks\romannumeral\noinstrument\endcsname}% -\xdef\o@cks{\csname o@cks\romannumeral\noinstrument\endcsname}% -\interportee=\interfacteur\internote -\interportee=2\interportee -\Interportee=\interportee -\advance\Interportee by -\stafflinesnb\internote -\advance\Interportee by -\stafflinesnb\internote -\advance\Interportee by 2\internote -} - %\check - % - % compteurs de travail - % -\newcount\n@i -\newcount\n@ii -\newcount\n@iii - % - % registres de travail - % -\newbox\toks@box -\newbox\w@rkbox -\newbox\n@otebox - % - %%%%\newdimen\clef@skip -\newdimen\sign@skip - % -\newdimen\y@ -\newdimen\y@i -\newdimen\y@ii -\newdimen\y@iii -\newdimen\y@iv -\newdimen\y@v - % -\newtoks\arg@suite -\def\hlthick{0.5\lthick} -\def\vdlthick{\vrule depth \hlthick} - % - % fabrique un jeu complet (ou systeme complet de portees) - % en fonction de \nbinstruments -\def\null@portee{\global\advance\y@ by \nullthick - \ifdim\systemheight>\p@\global\advance\systemheight by \nullthick - \else - \global\advance\altplancher by \nullthick - \fi -}% - % - %\check - % -\ifx\mult@portee\undefined - \def\mult@portee{\y@ii=\nbportees\interportee - \advance\y@ii by -\Interportee - \advance\y@ii by \nbportees\lthick - \advance\y@ii by -\lthick - \raise\y@\llap{\cmex\raise 8\p@\rlap{\char'072}\raise\y@ii\rlap{\char -'070}\divide\y@ii by 2\relax{\advance\y@ii by 8\p@\raise\y@ii\rlap{\char -'074}}\y@v=\y@ii\relax\advance\y@v by -5\p@ - \kern 3.8\p@ - \vrule depth -5\p@ height \y@v width 1.2\p@ \kern -1.2\p@ - \advance\y@v by \y@ii - \advance\y@ii by 5\p@ - \vrule depth -\y@ii height \y@v width 1.2\p@ - \kern 2.5\p@}}% -\fi % end \ifx \mult@portee - % - %\check - % -\def\n@portee{\global\advance\noportee by 1\relax}% -\def\p@loop{\global\noportee=0\relax - \loop\ifnum\noportee<\nbportees\relax\alt@comp}% - % - %\check - % -\def\alt@comp{\altportee=\altitude - \advance\altportee by \noportee\interportee}% - % -\def\lowersonginstrum{99} % to be used to make heavy bars at staff left -\def\uppersonginstrum{0} % to be used to make heavy bars at staff left -\newdimen\lowersongalt -\newdimen\uppersongalt - % -\def\portees{\rlap{\global\y@=\staffbotmarg - % -\lowersongalt=\z@ -\uppersongalt=\z@ -\global\systemheight=\z@ -\global\altplancher=\y@ -\n@loop - % - \global\noportee=0\relax - \global\altitude=\y@ - \ifnum\noinstrument=\lowersonginstrum\relax - \lowersongalt=\altitude - \fi - % - \ifnum\nbportees=0\relax - \null@portee - \else - \ifnum\nbportees>1\relax - \mult@portee - \fi - {\loop \raise\y@\portee - \n@portee \global\advance\y@ by \interportee - \global\advance\systemheight by \interportee - \ifnum\noportee<\nbportees - \repeat}\fi % fin du \else pour 0 portees=chant - \ifnum\noinstrument=\uppersonginstrum\relax\uppersongalt=\y@ - \advance\uppersongalt by -\Interportee - \advance\uppersongalt by \hlthick - \fi - \ifnum\noinstrument<\nbinstruments - \xdef\interinstrum{\csname interinstrument\romannumeral\noinstrument - \endcsname}% - \expandafter\ifx\interinstrum\relax\xdef\interinstrum{\interinstrument}\fi - \global\advance\systemheight by \interinstrum - \global\advance\y@ by \interinstrum - \fi -\repeat -\global\advance\systemheight by -\Interportee -\global\advance\systemheight by \hlthick - % -\raise\altplancher\rlap{\vdlthick height \systemheight}% -\ifnum\uppersonginstrum>\lowersonginstrum\relax - \advance\uppersongalt by -\lowersongalt - \raise\lowersongalt - \llap{\vdlthick height \uppersongalt width 0.6\Interligne - \kern 0.3\Interligne - \vdlthick height \uppersongalt width \lthick}\type@songsymbols -\fi -{\advance\stafftopmarg by \staffbotmarg -\raise \stafftopmarg\hbox{\vdlthick height \systemheight width \z@}}}}% - % - %\check - % portee simple -\def\staffline{\kern\internote\kern\internote\kern -\lthick -\hrule width \line@width height \hlthick depth \hlthick -} -\def\portee{\rlap{\vbox to \z@ {\vss -\ifnum\stafflinesnb>5\staffline\fi -\ifnum\stafflinesnb>4\staffline\fi -\ifnum\stafflinesnb>3\staffline\fi -\ifnum\stafflinesnb>2\staffline\fi -\ifnum\stafflinesnb>1\staffline\fi -\ifnum\stafflinesnb>0\staffline\fi\kern -\hlthick -}}}% - %\check - % - % initialisations des dimensions etc... - % - %*************** definition des titres des instruments - % *********************** - % -\def\instrumenti{}% -\def\instrumentii{}% -\def\instrumentiii{}% -\def\instrumentiv{}% -\def\instrumentv{}% -\def\instrumentvi{}% - %\check - % -\def\maxlegatenuti{6}% -\def\ten@loop{\global\n@l=0\relax\loop\ifnum\n@l<\maxlegatenuti\relax - \selecttenue{\n@l}}% - % -\def\resettens{\resetlegs}% -\newcount\n@l -\def\resetlegs{\global\setbox\@tenubox - \hbox{\kern\tenboxwidth}\ten@loop \global\t@p=0\relax \global\t@s=0\relax - \global\advance\n@l by 1\relax - \repeat}% - % - %\check - % -\def\piece@begina{\barno=1\relax\global\barsinline=0\relax -\frenchspacing\ifnum1>\nbinstruments\errmessage{\noexpand\nbinstruments - not defined !}\fi -\def\barvrule{\thinvrule}\resetlegs -\savesignature\computewidths}% - % -\def\debutmorceau{\catcodesmusic\leavevmode\piece@begina -\advance\line@width by -\parindent -\portees\instrumentnames -\advance\line@width by \parindent -\tempsskip=2pt plus \gluemaxskip minus 2pt -\zglueskip=0pt plus \gluemaxskip minus .5pt% -\piece@beginb\setnormalhyphen}% - % -\def\piece@beginb{\writeclefs\everystaff -\writesignatures\writemeters -\save@all\currenthyphenpenalty}% - % -\def\save@all{\saveclefs\savesignature\savemeters}% - % -\def\debutextrait{\catcodesmusic\piece@begina -\setbox\w@rkbox=\hbox{\portees}% to compute heights -\setbox\w@rkbox=\hbox\bgroup -\def\barre{\xbarre}\piece@beginb}% - %\check -\def\zfinextrait{\def\suspmorceau{\zsuspmorceau}\finextrait} -\def\finextrait{\def\z@suspend{}\suspmorceau\egroup -\line@width=\wd\w@rkbox -\centerline{\instrumentnames\portees\unhbox\w@rkbox}\endcatcodesmusic}% - % - % saving penalties to be able to restore them at the end of music - % -\def\savepenalties{\edef\restorepenalties{% -\noexpand\linepenalty=\the\linepenalty\noexpand\relax -\noexpand\interlinepenalty=\the\interlinepenalty\noexpand\relax -\noexpand\hyphenpenalty=\the\hyphenpenalty\noexpand\relax -\noexpand\exhyphenpenalty=\the\exhyphenpenalty\noexpand\relax -\noexpand\finalhyphendemerits=\the\finalhyphendemerits\noexpand\relax -\noexpand\doublehyphendemerits=\the\doublehyphendemerits\noexpand\relax -\noexpand\adjdemerits=\the\adjdemerits\noexpand\relax -\noexpand\pretolerance=\the\pretolerance\noexpand\relax -}}% - %\check -\def\computewidths{\computespecifics -\interportee=\interfacteur\Interligne -\Interportee=\interportee\advance\Interportee by -8\internote -\ifdim\stafftopmarg<\p@ \stafftopmarg=\topfacteur\Interligne\fi -\ifdim\staffbotmarg<\p@ \staffbotmarg=\bottomfacteur\Interligne\fi -\global\interligne=\Interligne -\global\Internote=0.5\Interligne - % -\ifx\internotei\undefined\relax\else - \n@loop - % decide staffspacing - \expandafter\ifx\staffspacing \undefined\global\internote=\Internote - \else - \expandafter\ifx\staffspacing \relax\global\internote=\Internote - \else\global\internote=\staffspacing\Internote - \fi\fi - \repeat -\fi - % -\ifdim\nullthick<\p@ \global\nullthick=4\Interligne\fi -\global\advance\interligne by -\lthick - % -\afterruleskip=\stdafterruleskip -\global\line@width=\hsize}% - % -\def\stdafterruleskip{4\Internote}% - % - %\check - % -\def\n@alaligne{\n@suspmorceau\lreprmorceau}% -\def\n@zalaligne{\n@zsuspmorceau\lreprmorceau}% -\def\lreprmorceau{\reprmorceau}% -\def\n@suspmorceau{\check@nopen\gluebrule\newbar\z@suspend}% -\def\n@Suspmorceau{\n@suspmorceau} -\def\n@zsuspmorceau{\check@nopen\termskip\z@suspend}% -\def\z@suspend{\ifraggedlines\else\hfilneg\ \fi - \adv@bottom\par\removelastskip\endcatcodesmusic}% -\def\alapage{\suspmorceau\preprmorceau}% -\def\zalapage{\zsuspmorceau\preprmorceau}% -\def\preprmorceau{\eject\global\linesinpage=0\relax\reprmorceau}% -\def\reprmorceau{\catcodesmusic\atnextline\computewidths\noindent\leavevmode -\global\barsinline=0\relax{\advance\linesinpage by 1\relax\message{Line \the -\linesinpage:}}\relax -\adv@bottom\portees\writeclefs\kern 0.5\Interligne\wbarno@x -\kern -0.5\Interligne\everystaff -\writesignatures\writemeters\zgluearule -\save@all\currenthyphenpenalty\def\atnextline{}}% - % -\def\everystaff{}\def\atnextline{}% - %\check - % -\def\resetsignatures{\generalsignature{0}\savesignature}% - % -\def\savesignature{\m@loop\o@sign=\sign\repeat}% - %\check -\def\saveclefs{\m@loop\global\o@cks=\cleftoks\repeat} - %\check - % - % definitions en fonction du numero de l'instriment - % -\newskip\zglueskip - % -\def\meterfrac#1#2{\setbox\w@rkbox=\vbox{\hbox{\ \meterfont - #1}\hbox{\ \meterfont #2}}% -\vbox to 8\internote{\offinterlineskip\vss\hbox to \wd\w@rkbox{\hss -\meterfont #1\hss}\vss -\vss\hbox to \wd\w@rkbox{\hss\meterfont #2\hss}\vss}}% - %\check -\newtoks\t@gene -\def\generalmeter#1{\t@gene={{#1}{#1}{#1}{#1}}\m@loop -\global\metertoks=\t@gene\repeat}% - %\check -\def\signaturegenerale{\generalsignature}% -\def\generalsignature#1{\m@loop\sign=#1\relax\repeat}% - % - % compteurs de travail - % - % a completer pour fermer les poutres -\def\zglu{\zglue}% -\def\zglue{\nobreak\@tenleader{\zglueskip}\nobreak}% - % -\def\n@skmb{\nobreak\global\advance\n@skip by -\brace@w}% - % -\def\temps{\n@skmb\termskip\nobreak\zglu\nobreak\skip@b}% -\def\changesignatures{\changesignature}% -\def\changesignature{\n@skmb\termskip\nobreak\zglu\nobreak - \skip@b\writenewsignatures}% -\def\z@barre{\n@skmb\termskip\nobreak\skip@b\-\hskip\zglueskip\nobreak}% - -\def\xz@barre{\temps}% - % -\def\newbar{\barvrule\def\barvrule{\thinvrule}\message{bar \the\barno}% -\global\advance\barno by 1\relax}% - % -\def\w@barno{\global\n@iii=\barno\global\divide\n@iii by \freqbarno\relax -\ifnum\n@iii=\lastbarno\relax -\else{\y@i=\altplancher\advance\y@i by \systemheight -\advance\y@i by 2\internote\raise\y@i\llap{\it \number\barno - \kern -6\p@}}\fi\global\lastbarno=\n@iii -}% -\newif\ifprimavolta -\newif\ifsecondavolta -\def\freqbarno{1}\def\wbarno{\w@barno} -\def\wbarno@x{\ifprimavolta\make@prima 1\else - \ifsecondavolta\make@prima 2\else - \wbarno - \fi\fi - \primavoltafalse\secondavoltafalse - \global\n@iii=\barno\global\divide\n@iii by \freqbarno\relax - \global\lastbarno=\n@iii} -% - \def\Setprimavolta#1#2{\primavoltatrue\def\up@volta{#1}\def\lg@volta{#2}} - \def\setprimavolta{\Setprimavolta{2\Interligne}{1cm}} - - \def\Setsecondavolta#1#2{\secondavoltatrue\def\up@volta{#1}\def\lg@volta{#2}} - \def\setsecondavolta{\Setsecondavolta{2\Interligne}{1cm}} - -\def\make@prima#1{{\y@i=\altplancher\advance\y@i by \systemheight -\advance\y@i by \up@volta - \raise\y@i\rlap{\vrule height 2\Interligne\rm\ #1.}\advance\y@i 2\Interligne - \raise\y@i\rlap{\vrule height \z@ depth \lthick width \lg@volta}% - }} -\def\up@volta{2\Interligne}\def\lg@volta{1cm} - % - % discretionary line breaking - % -\def\noautolines{\def\barre{\n@barre}\def\zbarre{\z@barre}% -\def\alaligne{\c@ountline\n@alaligne}\def\zalaligne{\n@zalaligne}% -\def\suspmorceau{\c@ountline\n@suspmorceau}\def\zsuspmorceau{\c@ountline\n@zsuspmorceau}% -\def\Suspmorceau{\n@Suspmorceau} -\def\currenthyphenpenalty{\setnohyphenpenalty}% -\def\updatecontext{\n@updatecon}% -\def\leftrepeat{\n@leftrepeat}% -\def\leftrightrepeat{\n@leftrightrepeat}% -\setnohyphenpenalty}% - % -\def\setnohyphenpenalty{\linepenalty=500\pretolerance=-1% -\finalhyphendemerits=-10\hyphenpenalty=-10% -\exhyphenpenalty=0\doublehyphendemerits=0% -\adjdemerits=0\interlinepenalty=0}% - % -\def\sethyphenpenalty{\linepenalty=500\pretolerance=-1% -\finalhyphendemerits=1000\hyphenpenalty=1000% -\exhyphenpenalty=0\doublehyphendemerits=0% -\adjdemerits=0\interlinepenalty=1000}% - % -\newcount\barsinline -\newcount\linesinpage -\newcount\maxbarsinline -\newcount\maxlinesinpage -\def\c@ountbar{\global\advance\barsinline by 1\relax}% -\def\c@ountline{\global\advance\linesinpage by 1\relax}% - % -\def\autolines#1#2#3{% #1 nombre d'elemskip par mesure, - % #2 nombre de mesures par ligne, - % #3 nb lignes par page -\global\maxbarsinline=#2\relax -\global\maxlinesinpage=#3\relax -\global\elemskip=\line@width\global\advance\elemskip by -10\Internote -\global\divide\elemskip by \maxbarsinline\relax -\global\advance\elemskip by -6\Internote\global\divide\elemskip by #1\relax -\def\barre{\t@barre}\def\updatecontext{\t@updatecon}\def\zbarre{\t@zbarre}% -\def\alaligne{\t@alaligne}\def\zalaligne{\t@zalaligne}% -\def\suspmorceau{\t@suspmorceau}\def\zsuspmorceau{\t@zsuspmorceau}% -\def\Suspmorceau{\t@Suspmorceau}% -\def\leftrepeat{\t@leftrepeat}% -\def\leftrightrepeat{\t@leftrightrepeat}% -\def\currenthyphpenalsty{\sethyphenpenalty}\sethyphenpenalty}% - % -\def\t@barre{\c@ountbar -\ifnum\barsinline<\maxbarsinline\relax\x@barre -\else\t@alaligne -\fi}% -\def\t@zbarre{\c@ountbar -\ifnum\barsinline<\maxbarsinline\relax\xz@barre -\else\t@zalaligne -\fi}% - % -\def\t@alaligne{\c@ountline -\ifnum\linesinpage<\maxlinesinpage\relax\n@alaligne -\else\alapage -\fi} - % -\def\t@suspmorceau{\c@ountline\n@suspmorceau -\ifnum\linesinpage<\maxlinesinpage\relax -\else\eject\global\linesinpage=0\relax -\fi} - % -\def\t@zalaligne{\c@ountline -\ifnum\linesinpage<\maxlinesinpage\relax\n@zalaligne -\else\zalapage -\fi}% - % -\def\t@zsuspmorceau{\c@ountline\n@zsuspmorceau -\ifnum\linesinpage<\maxlinesinpage\relax -\else\eject\global\linesinpage=0\relax -\fi}% - % -\def\t@Suspmorceau{\setdoubleBAR\t@suspmorceau} - % - % -\def\tz@barre{\c@ountbar -\ifnum\barsinline<\maxbarsinline\relax\z@barre -\else - \c@ountline - \ifnum\linesinpage<\maxlinesinpage\relax\zalaligne - \global\advance\linesinpage by -1\relax % car \alaligne aura aussi augmente - \else\zalapage -\fi\fi}% - % -\def\t@updatecon{\c@ountbar - \ifnum\barsinline<\maxbarsinline\relax\x@updatecon -\else - \c@ountline - \ifnum\linesinpage<\maxlinesinpage\l@updatecon - \else\p@updatecon -\fi\fi}% - %\check - % -\noautolines - % -\def\n@barre{\gluebrule\newbar\gluearule}% barre de mesure -\def\xbarre{\c@ountbar\x@barre} -\def\xbeambarre{\notes\charnote0{\hss\altplancher=\z@\newbar\wbarno@x}\enotes} -\def\x@barre{\gluebrule\newbar\zgluearule}% barre de mesure - % sans possibilite de saut - % -\def\d@oubleBAR{\thinvrule\nobreak\hskip -0.6\Internote\global\advance\x@skip0.6\Internote -\nobreak\thickvrule}% - % -\def\addspace#1{\kern#1\global\advance\x@skip#1} - % -\def\d@oublebar{\thinvrule\nobreak\hskip 0.8\Internote -\global\advance\x@skip0.8\Internote -\nobreak\thinvrule}% - % -\def\r@ightrepeat{\hbox{\w@colons\d@oubleBAR}\global\advance\x@skip - 7.12\Internote} -\def\l@eftrepeat{\hbox{\thickvrule\kern 0.6\Internote\thinvrule\w@colons -}\global\advance\x@skip7.12\Internote} -\def\l@eftrightrepeat{\hbox{\w@colons\thickvrule - \kern 0.6\Internote\thickvrule\w@colons}\global\advance\x@skip - 6.2\Internote} - % - %\check - % -\def\leftrightrepeatsymbol{\gluebrule\l@eftrightrepeat\glueaftersymbol} -\def\glueaftersymbol{{\def\wbarno{}\afterruleskip=\Internote\zgluearule}}% -\def\leftrepeatsymbol{\gluebrule\l@eftrepeat\glueaftersymbol}% -\def\rightrepeatsymbol{\gluebrule\r@ightrepeat\glueaftersymbol}% - % - %\check - % -\def\doublebarre{\setdoublebar\barre}% double barre de mesure -\def\setdoublebar{\def\barvrule{\d@oublebar}}% -\def\setemptybar{\def\barvrule{\relax}}% -\def\setdoubleBAR{\def\barvrule{\d@oubleBAR}}% -\def\rightrepeat{\setrightrepeat\barre}% -\def\finrightrepeat{\setrightrepeat\suspmorceau}% - % -\def\setrightrepeat{\def\barvrule{\r@ightrepeat}}% -\def\setleftrepeat{\def\barvrule{\l@eftrepeat}}% -\def\setleftrightrepeat{\def\barvrule{\l@eftrightrepeat}}% - % -\def\think@vrule@f#1{\raise\altplancher\hbox{\vdlthick height\systemheight width - #1}\global\advance\x@skip by #1}% - -\def\stdbarrules{\def\think@vrule{\think@vrule@f}} % standard v rules over all instruments -\stdbarrules - -\def\sepbarrules{\def\think@vrule{\think@vrule@s}} % standard v rules over all instruments - % -\def\think@vrule@s#1{\n@loop \selectinstr - \y@v=\nbportees\interportee \advance\y@v -\Interportee \advance\y@v \lthick - \raise\altitude \hbox to \z@{\vdlthick width #1 height - \y@v\hss}\repeat - \global\advance\x@skip by #1\kern #1} % separated vrules par instrum - - %\check -\def\vrule@inst#1{\selectinstr{\p@loop\raise\altportee - \hbox to \z@{\vrule width #1 height 8\internote\hss}\n@portee\repeat}}% - % - % -\def\thinvrule{\think@vrule{\lthick}}% -\def\thickvrule{\think@vrule{1.2\Internote}}% - % -\def\finmorceau{\setdoubleBAR\finpartition}% -\def\zfinmorceau{\setemptybar\finpartition}% -\def\finpartition{\n@suspmorceau}% - %\check - % -\def\c@other{}% void, but possibly changed by lines.tex... and others -\def\gluearule{\-\zgluearule}% -\def\zgluearule{\nobreak\wbarno@x\ygluearule}% -\def\ygluearule{\nobreak\kern\afterruleskip\nobreak - \global\advance\x@skip\afterruleskip\global\n@skip=\z@}% - % terminate skips and continue slurs and ties if any -\def\termskip{\upd@sk - \ten@loop\ifnum\t@s=0\relax - \else\c@ten - \fi - \global\advance\n@l by 1\relax - \repeat\nobreak - \c@other\nobreak -\global\n@skip=\z@\global\x@skip=\z@}% - % -\def\gluebrule{\nobreak\termskip\@tenleader{\tempsskip}\nobreak}% - % -\def\writesignatures{\global\sign@skip=\z@ -\w@ritesigns -\global\advance\sign@skip by 0.4\Internote \nobreak\hskip\sign@skip -}% -\def\Writesignatures{\global\sign@skip=\z@ -\w@ritesigns -\nobreak\advance\sign@skip by 1.2\Internote\kern\sign@skip\nobreak}% - % -\def\w@ritesigns{\n@loop\writesigni\repeat}% - % - %\check -\def\instrumentnames{\n@loop\writeinsname\repeat}% - % - %\check -\def\writenewsignatures{\global\sign@skip=\z@ - \n@loop\writenewsigni\repeat - \nobreak\ifdim\sign@skip>0.1pt\global\advance\sign@skip by 1.2\Internote - \nobreak\global\n@skip=\sign@skip\termskip - \fi - \nobreak}% - % - %\check - % - % normal hyphenation process when \noautolines - % -\def\setnormalhyphen{\edef\-{\noexpand\discretionary{}% - %\check 2 -{\noexpand\hbox{\noexpand\portees\noexpand\writeclefs -\noexpand\everystaff}% -\noexpand\hbox{\noexpand\writesignatures}% -}% - %\check 2 -{}}}% fin du def \setnormalhyphen - %\check - % ecrire toutes les indications de mesure sur toutes les portees -\def\writemeters{\global\n@skip=\z@ -\n@loop\writemeteri\repeat\nobreak -\ifdim\n@skip>\z@\advance\n@skip by 1.2\Internote - \global\n@skip=\n@skip\termskip -\fi\nobreak}% - % - %\check -\def\writemeteri{\nobreak\selectinstr{\p@loop - \edef\w@call{\noexpand\writemeterp{\noexpand\noportee}\the\metertoks}\relax - \setbox\toks@box=\hbox{\w@call{}{}{}{}}\relax - \ifdim\n@skip<\wd\toks@box\global\n@skip=\wd\toks@box\fi - \raise\altportee\rlap {\box\toks@box}\n@portee - \repeat}}% - %\check -\def\writeclefs{% ecrire toutes les clefs sur toutes les portees -\global\clef@skip=\z@ -\w@riteclefs -\kern\clef@skip}% - % -\def\w@riteclefs{\n@loop\writeclefi\repeat}% - % - %\check -\def\writenewclefs{% ecrire toutes les nouvelles clefs sur toutes les - % portees -\global\clef@skip=\z@ -\w@ritenewclefi -\kern\clef@skip\global\advance\x@skip\clef@skip\nobreak}% - % - %\check -\def\zwritenewclefs{% ecrire toutes les nouvelles clefs sur toutes les - % portees, a gauche et sans espacement -\global\clef@skip=\z@ -\setbox\w@rkbox\hbox{\w@ritenewclefi}\kern -\clef@skip\box\w@rkbox -\kern\clef@skip\nobreak}% - % -\def\w@ritenewclefi{\n@loop\writenewclefi\repeat}% - % - %\check -\def\writesigni{\selectinstr\def\o@test{999}\w@ritenewsigni}% -\def\writenewsigni{\selectinstr\def\o@test{\o@sign}\w@ritenewsigni}% -\def\w@ritenewsigni{{\p@loop - \n@portee - \ifnum\o@test=\sign\relax\else - \edef\get@ref{\noexpand\get@refs\the\cleftoks{}{}{}{}}% - \setbox\toks@box=\hbox{\kern 0.4\Internote\get@ref\compnwsign - \kern 0.4\Internote}% - \ifdim\sign@skip<\wd\toks@box \global\sign@skip=\wd\toks@box\fi - \raise\altportee\rlap{\box\toks@box}% - \fi -\repeat}% -}% - %\check -\def\writeinsname{\selectinstr -\xdef\instrument{\csname instrument\romannumeral -\noinstrument\endcsname}% -\altportee=\altitude -\ifnum\nbportees>0\relax\advance\altportee by \nbportees\interportee - \advance\altportee by -\Interportee - \advance\altportee by \altitude\divide\altportee by 2\relax -\fi - \setbox\n@otebox=\llap{\vbox{\hsize=\parindent\advance\hsize by - -0.8\Internote \centerline{\instrument}}\ - \kern 2\p@}\advance\altportee by -0.5\ht\n@otebox - \raise\altportee\box\n@otebox -}% - %\check -\def\get@refs#1#2#3#4{% #1-#4: cle correspondante 0=sol, 6=fa, 1-4=ut . -\ifcase\noportee\relax\global\ut@ref=0\relax -\or\global\ut@ref=#1\relax -\or\global\ut@ref=#2\relax -\or\global\ut@ref=#3\relax -\or\global\ut@ref=#4\relax -\fi} -\def\compnwsign{\ifnum\o@sign=0\relax - \else\ifnum\sign=0\relax - \else\kern 0.4\Internote - \fi - \fi - \ifnum\o@sign<0\relax\w@flats\w@sharps - \else\w@sharps\w@flats - \fi}% - % - %\check -\def\w@flats{% -\ifnum\sign<0\relax\s@bemol{6}\else\ifnum\o@sign<0\relax\s@becarre{6}\fi\fi -\ifnum\sign<-1\relax\s@bemol{9}\else\ifnum\o@sign<-1\relax\s@becarre{9}\fi -\fi -\ifnum\sign<-2\relax\s@bemol{5}\else\ifnum\o@sign<-2\relax\s@becarre{5}\fi -\fi -\ifnum\sign<-3\relax\s@bemol{8}\else\ifnum\o@sign<-3\relax\s@becarre{8}\fi -\fi -\ifnum\sign<-4\relax\s@bemol{4}\else\ifnum\o@sign<-4\relax\s@becarre{4}\fi -\fi -\ifnum\sign<-5\relax\s@bemol{7}\else\ifnum\o@sign<-5\relax\s@becarre{7}\fi -\fi -\ifnum\sign<-6\relax\s@bemol{3}\else\ifnum\o@sign<-6\relax\s@becarre{3}\fi -\fi -}% - %\check -\def\w@sharps{% -\ifnum\sign>0\relax\s@dieze{10}\else\ifnum\o@sign>0\relax\s@becarre{10}\fi -\fi -\ifnum\sign>1\relax\s@dieze{7}\else\ifnum\o@sign>1\relax\s@becarre{7}\fi\fi -\ifnum\sign>2\relax\s@dieze{11}\else\ifnum\o@sign>2\relax\s@becarre{11}\fi -\fi -\ifnum\sign>3\relax\s@dieze{8}\else\ifnum\o@sign>3\relax\s@becarre{8}\fi\fi -\ifnum\sign>4\relax\s@dieze{5}\else\ifnum\o@sign>4\relax\s@becarre{5}\fi\fi -\ifnum\sign>5\relax\s@dieze{9}\else\ifnum\o@sign>5\relax\s@becarre{9}\fi\fi -\ifnum\sign>6\relax\s@dieze{6}\else\ifnum\o@sign>6\relax\s@becarre{6}\fi\fi -}% - %\check -\def\s@bemol#1{\global\n@iii=#1\relax - \p@bedieze\global\advance\y@iii by \fl@raise\raise\y@iii\hbox to - 2.08\internote{\def\musicnfont{\musickeyfont}\hss\f@lat\hss}% -}% -\def\s@becarre#1{\global\n@iii=#1\relax - \p@bedieze\global\advance\y@iii by \na@raise\raise\y@iii\hbox to - 2.08\internote{\def\musicnfont{\musickeyfont}\hss\n@at\hss}% -}% -\def\s@dieze#1{\global\n@iii=#1\relax - \p@bedieze\global\advance\y@iii by \sh@raise\raise\y@iii\hbox to - 2.16\internote{\def\musicnfont{\musickeyfont}\hss\s@harp\hss}% -}% - % -\def\p@bedieze{\global\advance\n@iii by \ut@ref\relax - \global\advance\n@iii by \ut@ref\relax - % cas de la cle de fa - \ifnum\ut@ref=6\global\advance\n@iii by -14\relax\else - \ifnum\ut@ref>0\global\advance\n@iii by -7\relax\fi\fi - \ifnum\n@iii<1\relax\global\advance\n@iii by 7\relax\fi - \ifnum\n@iii<1\relax\global\advance\n@iii by 7\relax\fi - \ifnum\n@iii>11\relax\global\advance\n@iii by -7\relax\fi - \ifnum\n@iii>11\relax\global\advance\n@iii by -7\relax\fi - \global\y@iii=\n@iii\internote - \global\advance\y@iii by -2\internote -} - %\check - % - %\check - % -\def\writeclefp#1#2#3#4#5{% -\n@i=#1\relax -\ifcase\n@i\singleclef{#2}% -\or\singleclef{#3}\or\singleclef{#4}\or\singleclef{#5}\fi -}% - % - %\check -\def\writemeterp#1#2#3#4#5{% -\n@i=#1\relax -\ifcase\n@i\hbox{#2}\or\hbox{#3}\or\hbox{#4}\or\hbox{#5}\fi -}% - % - %\check -\def\writenewclefp#1#2#3#4#5#6#7#8#9{% -\n@i=#1\relax -\ifcase\n@i\newsingleclef{#2}{#6}% -\or\newsingleclef{#3}{#7}\or\newsingleclef{#4}{#8}\or -\newsingleclef{#5}{#9}\fi -}% - %\check - % -\def\singleclef#1{% -\global\n@iii=#1\relax -\charclef -}% - %\check - % -\def\Clefdut{\global\advance\n@iii by -3\relax\raise\n@iii\Interligne\clefdut}% -\def\Clefdefa{\global\advance\n@iii by -6\relax -\raise\n@iii\Interligne\clefdefa} - % -\def\charclef{% -\ifdim\clef@skip<4.8\Internote\global\clef@skip=4.8\Internote\fi -\ifcase\n@iii\relax\clefdesol\relax -\or{\Clefdut}% -\or{\Clefdut}% -\or{\Clefdut}% -\or{\Clefdut}% -\or{\Clefdefa}% -\or{\Clefdefa}% -\fi}% - %\check - % -\def\smallClefdut{\global\advance\n@iii by -3\relax\raise\n@iii -\Interligne\smallclefdut}% -\def\smallClefdefa{\global\advance\n@iii by -6\relax\raise\n@iii -\Interligne\smallclefdefa}% -\def\smallcharclef{% -\ifdim\clef@skip<4.8\Internote\global\clef@skip=4.8\Internote\fi -\ifcase\n@iii\relax\smallclefdesol\relax -\or{\smallClefdut}% -\or{\smallClefdut}% -\or{\smallClefdut}% -\or{\smallClefdut}% -\or{\smallClefdefa}% -\or{\smallClefdefa}% -\fi}% - %\check -\def\newsingleclef#1#2{% -\global\n@iii=#1\relax -\n@ii=#2\relax -\ifnum\n@ii=\n@iii\relax\else\smallcharclef -\fi}% - %\check -\def\writeclefi{\selectinstr -{\p@loop - \edef\w@call{\noexpand\writeclefp{\noexpand\noportee}\the\cleftoks}% - \setbox\toks@box=\hbox{\w@call{}{}{}{}}% - \ifdim\clef@skip<\wd\toks@box \global\clef@skip=\wd\toks@box\fi - \raise\altportee\rlap{\box\toks@box}\n@portee - \repeat}% -}% - %\check -\def\writenewclefi{\selectinstr{\p@loop - \edef\w@call{\noexpand\writenewclefp{\noexpand\noportee}\the\cleftoks\the -\o@cks}% -\setbox\toks@box=\hbox{\w@call{}{}{}{}}% -\ifdim\clef@skip<\wd\toks@box \global\clef@skip=\wd\toks@box\fi - \raise\altportee\rlap{\box\toks@box}\n@portee\repeat}% -}% - %\check - % minuscule: une seule barre - % majuscule: double barre -\def\changecontexte{\changecontext}% -\def\Changecontexte{\Changecontext}% - % -\def\changecontext{\gluebrule\newbar\nobreak\updatecontext}% -\def\pchangecontext{\gluebrule\newbar\nobreak\p@updatecon}% -\def\lchangecontext{\gluebrule\newbar\nobreak\l@updatecon}% - %\check -\def\Changecontext{\setdoublebar\changecontext}% -\def\pChangecontext{\setdoublebar\pchangecontext}% -\def\lChangecontext{\setdoublebar\lchangecontext}% - % - % write colons on all staffs (a part of [left][right]repeat symbols - % -\def\wrcolons{\w@colons}% -\def\w@colons{\nobreak\hskip 0.8\Internote\nobreak - \n@loop \w@coli\repeat - \nobreak\hskip 0.8\Internote\nobreak}% - % - %\check - % -\def\n@updatecon{% imprime tout ce qui est nouveau -\nobreak\writenewclefs -\nobreak\writenewsignatures\nobreak\setnormalhyphen\-\writemeters\zgluearule -\save@all}% - % -\def\x@updatecon{% imprime tout ce qui est nouveau -\nobreak\writenewclefs\nobreak\wbarno@x -\nobreak\writenewsignatures\nobreak\writemeters\ygluearule -\save@all}% - % -\def\l@updatecon{\nobreak\writenewclefs\nobreak\writenewsignatures -\z@suspend\reprmorceau}% - % -\def\p@updatecon{\nobreak\writenewclefs\nobreak\writenewsignatures -\z@suspend\preprmorceau}% - % - %\check - % -\def\n@leftrepeat{\gluebrule -\nobreak\writenewclefs -\discretionary{\newbar}% - %\check 1 -{\hbox{\portees\writeclefs\everystaff\Writesignatures}% -\l@eftrepeat\hbox{\writemeters}}% - %\check 1 -{\l@eftrepeat}\nobreak\writemeters\zgluearule -\save@all\setnormalhyphen}% - % - %\check - % -\def\n@leftrightrepeat{\gluebrule -\nobreak\writenewclefs - % -\discretionary{\setrightrepeat\newbar}% - %\check 1 -{\hbox{\portees\writeclefs\everystaff\Writesignatures -\l@eftrepeat\writemeters}}% - %\check 1 -{\l@eftrightrepeat}\nobreak\writemeters\zgluearule -\save@all\setnormalhyphen}% - % -\def\t@leftrepeat{\c@ountbar - \ifnum\barsinline<\maxbarsinline\relax\setleftrepeat\x@barre -\else - \c@ountline - \ifnum\linesinpage<\maxlinesinpage\l@leftrepeat - \else\p@leftrepeat -\fi\fi}% - % - %\check - % -\def\t@leftrightrepeat{\c@ountbar - \ifnum\barsinline<\maxbarsinline\relax\setleftrightrepeat\x@barre -\else - \c@ountline - \ifnum\linesinpage<\maxlinesinpage\l@leftrightrepeat - \else\p@leftrightrepeat -\fi\fi}% - % - %\check - % -\def\l@leftrepeat{\suspmorceau - \reprmorceau\l@eftrepeat}% - % -\def\p@leftrepeat{\suspmorceau - \preprmorceau\l@eftrepeat}% - % - %\check - % -\def\l@leftrightrepeat{\setrightrepeat\suspmorceau - \reprmorceau\l@eftrepeat}% - % -\def\p@leftrightrepeat{\setrightrepeat\suspmorceau - \preprmorceau\l@eftrepeat}% - % -\def\Changeclef{\Changeclefs}\def\Changeclefs{% -\gluebrule\thinvrule\nobreak\hskip 1.2\Internote\nobreak\newbar -\nobreak\writenewclefs\saveclefs}% - %\check -\def\changeclefs{\termskip\writenewclefs\saveclefs}% -\def\zchangeclefs{\termskip\zwritenewclefs\saveclefs}% - %\check - %************************************************************************** - % les notes proprement dites - %************************************************************************** -\def\vnotes#1\elemskip{\noteskip=#1\elemskip \n@otes}% -\def\hardnotes#1\notes{\noteskip=#1\relax \n@otes} -\def\znotes{\noteskip=\z@\n@otes}% -\def\multnoteskip#1{\noteskip=#1\noteskip\relax}% -\def\scalenoteskip{1.0}% - % - %\check - % -\def\enotes{\e@notes}% - % -\newdimen\n@skip -\def\skip@n{\hskip \n@skip}% -\def\skip@b{\hskip \brace@w\global\advance\x@skip by\brace@w}% - % -\def\upd@sk{\nobreak\skip@n\global\advance\x@skip by\n@skip\nobreak}% - % -\def\nextstaff{\endstaff\beginstaff}% -\def\nextinstrument{\endinstrument\begininstrument}% - % -\def\n@otes{\def|{\nextstaff}\def&{\nextinstrument}\normaltranspose=\transpose -\multnoteskip{\scalenoteskip}\check@nopen -\global\advance\notes@open by 1\relax\upd@sk -\def\rq{\rq@}\def\lq{\lq@}\def\ds{\demisoupir}\relax -\locx@skip=\x@skip -\global\n@skip=\noteskip -\global\noinstrument=0\relax -\begininstrument}% - % - %\check -\def\begininstrument{\global\advance\noinstrument by 1\relax -\selectinstr\resetstem -\ifdim\internote<0.76\Internote\csname set@tinynotesize\endcsname - \computespecifics -\else\ifdim\internote<0.95\Internote\csname set@smallnotesize\endcsname - \computespecifics - \else\csname currentsize\endcsname\fi -\fi -\global\noportee=0\relax\beginstaff -}% - %\check - % -\def\endinstrument{\endstaff}% - %\check - % -\def\beginstaff{\alt@comp - \n@portee - \edef\get@ref{\noexpand\get@refs\the\cleftoks{}{}{}{}}\relax\get@ref - \setbox\n@otebox=\hbox\bgroup\computeqn@w - \locx@skip=\x@skip }% - %\check - % -\def\endstaff{\egroup - \ifdim\n@skip<\wd\n@otebox \global\n@skip=\wd\n@otebox - \fi - \nobreak\raise\altportee\rlap{\unhbox\n@otebox}\nobreak}% - % - %\check - % -\def\e@notes{\global\notes@open=0\relax\endinstrument -\ifdim\n@skip<\noteskip \showthe\noteskip\showthe\n@skip -\global\n@skip=\noteskip -\fi}% - % - %\check - % -\def\shortstems{\def\stemfactor{4.00}} -\def\normalstems{\def\stemfactor{4.66}} -\normalstems - % queue de note vers le bas -\def\p@tail{\global\advance\st@bot by -\stemfactor\interbeam\global\stem@skip=\z@ -\minst@bot\pd@tail}% - % queue de note vers le haut -\def\d@tail{\global\advance\st@top by \stemfactor\interbeam\maxst@top\pd@tail}% -\def\minst@bot{\global\advance\st@bot by -\altportee - \ifdim\st@bot>2\Interligne \global\st@bot=2\Interligne\fi - \global\advance\st@bot by \altportee} -\def\maxst@top{\global\advance\st@top by -\altportee - \ifdim\st@top<2\Interligne \global\st@top=2\Interligne\fi - \global\advance\st@top by \altportee} - % - %\check - %\def\pd@tail{\global\advance\st@top by -\st@bot - % \ifdim\st@top>\p@\global\advance\st@bot by -\altportee - % \raise\st@bot\rlap{\kern\stem@skip\vrule height\st@top width \lthick}\fi - % \resetstem}% - %\check -\def\pd@tail{\ifdim\st@top>\st@bot - \global\advance\st@bot by -\altportee - \global\advance\st@top by -\altportee - \kern\stem@skip - \vrule height\st@top depth -\st@bot width \lthick - \kern-\stem@skip - \kern-\lthick -\fi \resetstem}% - %\check -\def\resetstem{\global\st@bot=99cm\global\st@top=-\st@bot}% - % -\def\setstem{{\advance\y@i by -\n@raise \advance\y@i by \altportee -\ifdim\st@bot>\y@i\global\st@bot=\y@i\fi -\ifdim\st@top<\y@i\global\st@top=\y@i\fi}}% - % - %\check - % - % sequence de placement d'un caractere a une position dans la portee -\def\pl@note{\pl@base \advance\y@i by \n@raise}% -\def\pl@base{\y@i=\n@i\internote}% - % - % lignes supplementaires pour \n@i (position) - % -\newcount\h@lnlv -\newdimen\hlp@width -\newdimen\h@lineup -\newdimen\h@linedn - %\def\h@linei{\raise\h@lnlv\internote - % \llap{\vdlthick width 1.6\hlp@width height \hlthick - % \kern -1.3\hlp@width}}% -\def\h@linei{\h@lineup=\h@lnlv\internote -\h@linedn=\h@lineup -\advance\h@lineup by \hlthick -\advance\h@linedn by -\hlthick -\kern -0.3\hlp@width -\vrule height \h@lineup depth -\h@linedn width 1.6\hlp@width -\kern -1.3\hlp@width}% - %\check - % -\def\h@linesqn{\h@lines{\qn@width}}% -\def\adv@locx@mqn{\advance\locx@skip by -\qn@width}% - % -\def\h@lines#1{% -\ifnum\stafflinesnb>3 % no help lines for percussion instruments - \hlp@width=#1\h@lnlv=0\relax - \loop\advance\h@lnlv by -1\relax - \ifnum\n@i<\h@lnlv\relax\advance\h@lnlv by -1\relax - \ifnum\h@lnlv<-20\relax\showthe\h@lnlv\fi - \h@linei\repeat -% \h@lnlv=8\relax -\h@lnlv=\stafflinesnb\relax -\advance\h@lnlv\stafflinesnb\relax -\advance\h@lnlv -2\relax -\loop\advance\h@lnlv by 1\relax - \ifnum\n@i>\h@lnlv\relax\advance\h@lnlv by 1\relax - \ifnum\h@lnlv>30\relax\showthe\h@lnlv\fi - \h@linei\repeat -\fi}% - %\check - % *********** les symboles de notes ou assimiles **************** - % - % placement - % -\newcount\inh@alt -\def\getn@i{\global\inh@alt=0\relax\xgetn@i}% - % -\def\inhgetn@i{\global\inh@alt=1\relax\xgetn@i}% - % -\def\xgetn@i#1{\n@i=9999\relax % par defaut -\edef\t@ruc{\f@tok #1\noexpand\relax\af@tok}\ifcat a\t@ruc\relax -\getn@iletter{#1}% -\else\getn@inonlet{#1}% \ifcat pas lettre -\fi\global\n@raise=\z@}% % -\def\getn@inonlet#1{\edef\ss@uite{}\edef\s@uite{\s@tok #1{}\af@tok}% -\edef\alt@suite{}\ifcat 1\t@ruc\relax -\t@rucfig{#1}% cas active character dont chiffre -\else\t@rucexpcar{#1}% -\fi\alt@suite}% fi du \ifcat 1 - %\check - % analysis of accidentals within collective note coding -\def\absoluteaccidentals{\def\Xna{\na}\def\Xsh{\sh}\def\Xfl{\fl}% -\def\Xdsh{\dsh}\def\Xdfl{\dfl}}% -\absoluteaccidentals - % -\def\t@rucexpcar#1{\if ^\t@ruc\relax - \edef\alt@suite{\ifnum - \inh@alt=0\relax\noexpand\Xsh{\s@uite}\fi - \noexpand\getn@i{\s@uite}}\fi - \if _\t@ruc\relax - \edef\alt@suite{\ifnum - \inh@alt=0\relax\noexpand\Xfl{\s@uite}\fi - \noexpand\getn@i{\s@uite}}\fi}% - %\check -\def\t@rucfig#1{\if=\t@ruc\relax - \edef\alt@suite{\ifnum - \inh@alt=0\relax\noexpand\Xna{\s@uite}\fi - \noexpand\getn@i{\s@uite}}\fi -\if*\t@ruc\relax - \sk - \edef\alt@suite{\noexpand\getn@i{\s@uite}}\fi -\if.\t@ruc\relax - \edef\alt@suite{\ifnum - \inh@alt=0\relax\noexpand\pt{\s@uite}\fi - \noexpand\getn@i{\s@uite}}\fi -\if>\t@ruc\relax - \edef\alt@suite{\ifnum - \inh@alt=0\relax\noexpand\Xdsh{\s@uite}\fi - \noexpand\getn@i{\s@uite}}\fi -\if<\t@ruc\relax - \edef\alt@suite{\ifnum - \inh@alt=0\relax\noexpand\Xdfl{\s@uite}\fi - \noexpand\getn@i{\s@uite}}\fi -\if!\t@ruc\relax - \transpose=\normaltranspose\relax - \edef\alt@suite{\noexpand\getn@i{\s@uite}}\fi -\if'\t@ruc\relax - \advance\transpose by 7\relax - \edef\alt@suite{\noexpand\getn@i{\s@uite}}\fi -\if`\t@ruc\relax - \advance\transpose by -7\relax - \edef\alt@suite{\noexpand\getn@i{\s@uite}}% -\else \if -\t@ruc\relax\n@i=#1\relax\fi - \if 1\t@ruc\relax\n@i=#1\relax\fi - \if 2\t@ruc\relax\n@i=#1\relax\fi - \if 3\t@ruc\relax\n@i=#1\relax\fi - \if 4\t@ruc\relax\n@i=#1\relax\fi - \if 5\t@ruc\relax\n@i=#1\relax\fi - \if 6\t@ruc\relax\n@i=#1\relax\fi - \if 7\t@ruc\relax\n@i=#1\relax\fi - \if 8\t@ruc\relax\n@i=#1\relax\fi - \if 9\t@ruc\relax\n@i=#1\relax\fi - \if 0\t@ruc\relax\n@i=#1\relax\fi -\fi}% - %\check - % -\def\getn@iletter#1{\n@i=\expandafter`\t@ruc\relax -\ifnum\n@i >96\relax \advance\n@i by -101\relax % ramener au E (position - % zero en clef de sol, ut@ref=0) -\else\advance\n@i by -83\relax % ramener au S= E + 14 -\fi -\advance\n@i by \ut@ref\relax -\advance\n@i by \ut@ref\relax -\advance\n@i by \transpose\relax -\edef\s@uite{\s@tok #1{}\af@tok}\edef\ss@uite{\noexpand\n@fon{\s@uite}}}% - %\check - % -\def\pt@raise{\ifodd\n@i\relax\pt@up=-0.1\Interligne\else\pt@up -=0.3\Interligne\fi -\advance\pt@up by -\n@raise\raise\pt@up}% - % -\def\lcharnote#1#2{\getn@i{#1}\pl@llap{#2}}% -\def\ccharnote#1#2{\getn@i{#1}\pl@lrlap{#2}}% - % -\def\bigaccid{\def\small@test{\noteskip>-1\p@}}% -\def\smallaccid{\def\small@test{\noteskip>9999\p@}}% -\def\varaccid{\def\small@test{\noteskip>1.9\qn@width}}% -\def\k@eiqdskip{\kern 0.8\qd@skip} -\def\k@meiqdskip{\kern -0.8\qd@skip} - % -\varaccid % accidents de taille variable - %\check -\def\lfl#1{\getn@i{#1}\global\n@raise=\fl@raise - \pl@llap{\ifdim\small@test\f@lat\else\smallf@lat\fi\k@eiqdskip}}% - %\check -\def\ldfl#1{\getn@i{#1}\global\n@raise=\fl@raise - \pl@llap{\ifdim\small@test\df@lat\else\smalldf@lt\fi\k@eiqdskip}}% - %\check -\def\lsh#1{\getn@i{#1}\global\n@raise=\sh@raise - \pl@llap{\ifdim\small@test\s@harp\else\smalls@harp\fi\k@eiqdskip}}% -\def\ldsh#1{\getn@i{#1}\global\n@raise=\z@ - \pl@llap{\ifdim\small@test\ds@harp\else\smallds@harp\fi\k@eiqdskip}}% - %\check -\def\lna#1{\getn@i{#1}\global\n@raise=\na@raise - \pl@llap{\ifdim\small@test\n@at\else\smalln@at\fi\k@eiqdskip}}% - %\check -\def\pl@llap{\pl@note\raise\y@i\llap}% -\def\pl@lrlap{\pl@note\raise\y@i\lrlap}% -\def\lrlap#1{\rlap{\hss#1}}% -\def\uplap#1{\vbox to\z@{\vss#1}} - %**************** notes (sans queue) ******************* - % -\def\xcharnote#1#2#3{\getn@i{#2}\pl@base - \raise\y@i\hbox to #1{#3\hss}\advance\locx@skip by #1\relax}% - %\check - % -\def\raise@note{\advance\locx@skip by\noteskip\raise\y@i\hbox to \noteskip}% - % - % rondes sous diverses formes - % - % ronde decalee a gauche (sans avance) -\def\lw#1{\kern -\wd@skip\zw{#1}\kern \wd@skip}% - % - % ronde decalee a droite (sans avance) -\def\rw#1{\kern \wd@skip\zw{#1}\kern -\wd@skip}% - %\check - % ronde sans avance -\def\zw#1{\getn@i{#1}\def\n@fon{\zw}\def\n@sym{\w@h}\g@zw}% -\def\zwp#1{\getn@i{#1}\def\n@fon{\zwp}\def\n@sym{\w@hp}\g@zw}% -\def\zwpp#1{\getn@i{#1}\def\n@fon{\zwpp}\def\n@sym{\w@hpp}\g@zw}% -\def\zwppp#1{\getn@i{#1}\def\n@fon{\zwppp}\def\n@sym{\w@hppp}\g@zw}% -\def\g@zw{\advancefalse\g@w}% - %\check - % -\def\phpause{\hbox to \noteskip{\vrule width - 1.2\qn@width height \internote\hss}}% -\def\pause{\hbox{\raise 5\internote\phpause}\advance\locx@skip by \noteskip}% -\def\hpause{\hbox{\raise 4\internote\phpause}\advance\locx@skip by \noteskip}% -\def\demisoupir{\hbox to \noteskip{\d@soup\hss}\advance\locx@skip by \noteskip}% -\def\qp{\hbox to \noteskip{\s@oupir\hss}\advance\locx@skip by \noteskip}% -\def\soupir{\qp}% -\def\dsoupir{\demisoupir}% - % quart de soupir -\def\qs{\hbox to \noteskip{\q@soup\hss}% -\advance\locx@skip by \noteskip}% -\def\qsoupir{\qs}% -\def\quartsoupir{\qs}% - % huitieme de soupir -\def\hs{\hbox to \noteskip{\h@soup\hss}% -\advance\locx@skip by \noteskip}% -\def\hsoupir{\hs}% -\def\huitsoupir{\hs}% - % seizieme de soupir -\def\qqs{\hbox to \noteskip{\s@soup\hss}% -\advance\locx@skip by \noteskip}% -\def\seizsoupir{\qqs}% - %\check -\def\pl@noteq{\pl@note \setstem - \ifdim\noteskip>\z@ - \ifdim\st@bot<29cm - \s@tem - \fi - \fi -}% - % -\def\Ped{{\cmsy P\kern -1\p@\it ed.}}% -\def\PED{\rlap{\zcharnote{-5}{\kern -2\p@\Ped}}}% -\def\DEP{\rlap{\zcharnote{-7}{\kern 0.5\noteskip\kern -4\p@\moyen *}}}% - %\check -\def\pl#1{\zcharnote{#1}{\raise 2\p@ \rlap{\ttyeight +}}}% -\def\pointdorgue#1{\zcharnote{#1}{\raise \Interligne\p@orgue}}% -\def\pointdurgue#1{\zcharnote{#1}{\raise-\Interligne\p@urgue}}% -\def\ntrille#1#2{\zcharnote{#1}{\trille{#2\elemskip}}}% -\def\nTrille#1#2{\zcharnote{#1}{\Trille{#2\elemskip}}}% -\def\xtrille#1#2{\zcharnote{#1}{\trille{#2}}}% -\def\xTrille#1#2{\zcharnote{#1}{\Trille{#2}}}% - % -\def\pt#1{\inhgetn@i{#1}\def\n@fon{\pt}\def\n@sym{\z@p}\g@pt} -\def\ppt#1{\inhgetn@i{#1}\def\n@fon{\ppt}\def\n@sym{\z@pp}\g@pt} -\def\pppt#1{\inhgetn@i{#1}\def\n@fon{\pppt}\def\n@sym{\z@ppp}\g@pt} -\def\g@pt{\n@raiseq \pl@note\raise\y@i\rlap{\n@sym}\fi}% - % -\def\n@raiseq{\global\n@raise=\qu@raise\ifnum\n@i<100\relax} - % - %\check - % - % blanche sans queue decalee a gauche - % blanche pointee sans queue - % blanche decalee a gauche -\def\lh#1{\kern -\hd@skip\zh{#1}\kern \hd@skip}% - % blanche decalee a droite sans queue -\def\rh#1{\kern \hd@skip\zh{#1}\kern -\hd@skip}% - % blanche sans queue ni avance -\def\zh#1{\getn@i{#1}\def\n@fon{\zh}\def\n@sym{\h@a}\g@zh} -\def\zhp#1{\getn@i{#1}\def\n@fon{\zhp}\def\n@sym{\h@ap}\g@zh} -\def\zhpp#1{\getn@i{#1}\def\n@fon{\zhpp}\def\n@sym{\h@app}\g@zh} -\def\zhppp#1{\getn@i{#1}\def\n@fon{\zhppp}\def\n@sym{\h@appp}\g@zh} -\def\g@zh{\global\n@raise=\ha@raise\global\n@width=\hn@width\g@z}% -\def\g@z{\ifnum\n@i<100\relax - \h@lines{\n@width}\pl@note\setstem\rlap@symss\fi}% - % - % noires sans queues - % -\def\zq#1{\getn@i{#1}\def\n@fon{\zq}\def\n@sym{\q@u}\g@zq} -\def\zqp#1{\getn@i{#1}\def\n@fon{\zqp}\def\n@sym{\q@up}\g@zq} -\def\zqpp#1{\getn@i{#1}\def\n@fon{\zqpp}\def\n@sym{\q@upp}\g@zq} -\def\zqppp#1{\getn@i{#1}\def\n@fon{\zqppp}\def\n@sym{\q@uppp}\g@zq} -\def\g@zq{\global\n@raise=\qu@raise\global\n@width=\qn@width\g@z}% - % - %\check -\def\rq@#1{\kern \qd@skip\zq{#1}\kern -\qd@skip}% -\def\lq@#1{\kern -\qd@skip\zq{#1}\kern \qd@skip}% - % *********************** notes avec queue ********************** - % - %\check -\def\qu{\advancetrue\qu@z}% -\def\qup{\advancetrue\qup@z}% -\def\qupp{\advancetrue\qupp@z}% -\def\quppp{\advancetrue\quppp@z}% -\def\qu@z#1{\getn@i{#1}\def\n@fon{\qu}\def\n@sym{\q@u}\g@qu}% -\def\qup@z#1{\getn@i{#1}\def\n@fon{\qup}\def\n@sym{\q@up}\g@qu}% -\def\qupp@z#1{\getn@i{#1}\def\n@fon{\qupp}\def\n@sym{\q@upp}\g@qu}% -\def\quppp@z#1{\getn@i{#1}\def\n@fon{\quppp}\def\n@sym{\q@uppp}\g@qu}% - %\check -\def\g@qu{\n@raiseq - \global\stem@skip=\qd@skip\def\s@tem{\d@tail}\g@qbh@\fi}% - % -\def\q@up{\hbox to \qn@width{\q@u\hss}\P@t}% -\def\q@upp{\hbox to \qn@width{\q@u\hss}\PP@t}% -\def\q@uppp{\hbox to \qn@width{\q@u\hss}\PPP@t}% -\def\h@ap{\hbox to \hn@width{\h@a\hss}\P@t}% -\def\h@app{\hbox to \hn@width{\h@a\hss}\PP@t}% -\def\h@appp{\hbox to \hn@width{\h@a\hss}\PPP@t}% -\def\w@hp{\hbox to \wn@width{\w@h\hss}\P@t}% -\def\w@hpp{\hbox to \wn@width{\w@h\hss}\PP@t}% -\def\w@hppp{\hbox to \wn@width{\w@h\hss}\PPP@t}% - % -\def\z@p{\kern \qn@width\P@t}\def\z@pp{\kern \qn@width\PP@t}% -\def\z@ppp{\kern \qn@width \PPP@t}% - %\check -\def\rqu#1{\getn@i{#1}\def\n@fon{\qu}\def\n@sym{\kern \qd@skip\q@u}% - \n@raiseq - \kern \qd@skip \h@linesqn\kern -\qd@skip - \global\stem@skip=\qd@skip\def\s@tem{\d@tail}\pl@symss\fi}% - %\check - % noire queue en haut sans avance -\def\zqu{\advancefalse\qu@z}% -\def\zqup{\advancefalse\qup@z}% -\def\zqupp{\advancefalse\qupp@z}% -\def\zquppp{\advancefalse\quppp@z}% - % - % espace vide d'une note -\def\off#1{\advance\locx@skip by #1\kern #1}% -\def\sk{\off\noteskip}% -\def\qsk{\off\qn@width}% -\def\hqsk{\off{0.5\qn@width}}% -\def\hsk{\off\hn@width}% - \def\offs@t#1{\off{-\s@o@}#1\off\s@o@} -\def\loffset#1{\edef\s@o@{#1\qn@width}\offs@t} -\def\roffset#1{\edef\s@o@{-#1\qn@width}\offs@t} -\def\roff{\roffset 1} -\def\loff{\loffset 1} -%\check -\def\lqu#1{\kern -\qd@skip\zqu{#1}\kern \qd@skip}% - %\check - % noires queue en base -\def\ql{\advancetrue\ql@z}% -\def\qlp{\advancetrue\qlp@z}% -\def\qlpp{\advancetrue\qlpp@z}% -\def\qlppp{\advancetrue\qlppp@z}% -\def\ql@z#1{\getn@i{#1}\def\n@fon{\ql}\def\n@sym{\q@u}\g@ql}% -\def\qlp@z#1{\getn@i{#1}\def\n@fon{\qlp}\def\n@sym{\q@up}\g@ql}% -\def\qlpp@z#1{\getn@i{#1}\def\n@fon{\qlpp}\def\n@sym{\q@upp}\g@ql}% -\def\qlppp@z#1{\getn@i{#1}\def\n@fon{\qlppp}\def\n@sym{\q@uppp}\g@ql}% -\def\g@ql{\n@raiseq - \def\s@tem{\p@tail}\g@qbh@\fi}% - % - % la meme sans avance -\def\zql{\advancefalse\ql@z}% -\def\zqlp{\advancefalse\qlp@z}% -\def\zqlpp{\advancefalse\qlpp@z}% -\def\zqlppp#1{\advancefalse\qlppp@z}% - %\check - % decalees a gauche et a droite -\def\lql#1{\kern -\qd@skip\zql{#1}\kern \qd@skip}% -\def\rql#1{\kern \qd@skip\zql{#1}\kern -\qd@skip}% - % - % croches, doubles croches, triples croches, quadruple croches queue en - % haut et en bas - % -\def\clp{\advancetrue\mclp1}\def\cup{\advancetrue\mcup1}% -\def\clpp{\advancetrue\mclpp1}\def\cupp{\advancetrue\mcupp1}% -\def\clppp{\advancetrue\mclppp1}\def\cuppp{\advancetrue\mcuppp1}% - % -\def\zclp{\advancefalse\mclp1}\def\zcup{\advancefalse\mcup1}% -\def\zclpp{\advancefalse\mclpp1}\def\zcupp{\advancefalse\mcupp1}% -\def\zclppp{\advancefalse\mclppp1}\def\zcuppp{\advancefalse\mcuppp1}% - % -\def\cu{\advancetrue\mcu1}\def\ccu{\advancetrue\mcu2} -\def\cccu{\advancetrue\mcu3}\def\ccccu{\advancetrue\mcu4}% -\def\cl{\advancetrue\mcl1}\def\ccl{\advancetrue\mcl2} -\def\cccl{\advancetrue\mcl3}\def\ccccl{\advancetrue\mcl4}% - % -\def\zcu{\advancefalse\mcu1}\def\zccu{\advancefalse\mcu2}% -\def\zcccu{\advancefalse\mcu3}\def\zccccu{\advancefalse\mcu4}% -\def\zcl{\advancefalse\mcl1}\def\zccl{\advancefalse\mcl2}% -\def\zcccl{\advancefalse\mcl3}\def\zccccl{\advancefalse\mcl4}% - % -\def\mcu#1#2{\getn@i{#2}\def\n@sym{\q@u}% -\edef\n@fon{\noexpand\mcu #1}\g@cu{#1}} -\def\mcup#1#2{\getn@i{#2}\def\n@sym{\q@up}% -\edef\n@fon{\noexpand\mcup #1}\g@cu{#1}} -\def\mcupp#1#2{\getn@i{#2}\def\n@sym{\q@upp}% -\edef\n@fon{\noexpand\mcupp #1}\g@cu{#1}} -\def\mcuppp#1#2{\getn@i{#2}\def\n@sym{\q@uppp}% -\edef\n@fon{\noexpand\mcupp #1}\g@cu{#1}} -\def\g@cu#1{\n@raiseq - \h@linesqn\global\stem@skip=\qd@skip - \def\s@tem{\d@cr#1}\pl@symssq\fi}% -\def\mcl#1#2{\getn@i{#2}\def\n@sym{\q@u}% -\edef\n@fon{\noexpand\mcl #1}\g@cl{#1}} -\def\mclp#1#2{\getn@i{#2}\def\n@sym{\q@up}% -\edef\n@fon{\noexpand\mclp #1}\g@cl{#1}} -\def\mclpp#1#2{\getn@i{#2}\def\n@sym{\q@upp}% -\edef\n@fon{\noexpand\mclpp #1}\g@cl{#1}} -\def\mclppp#1#2{\getn@i{#2}\def\n@sym{\q@uppp}% -\edef\n@fon{\noexpand\mclppp #1}\g@cl{#1}} -\def\g@cl#1{\n@raiseq - \h@linesqn\def\s@tem{\p@cr#1}\pl@symssq\fi}% - % - % ronde -\def\wh#1{\getn@i{#1}\def\n@fon{\wh}\def\n@sym{\w@h}\g@wh}% -\def\whp#1{\getn@i{#1}\def\n@fon{\whp}\def\n@sym{\w@hp}\g@wh}% -\def\whpp#1{\getn@i{#1}\def\n@fon{\whpp}\def\n@sym{\w@hpp}\g@wh}% -\def\whppp#1{\getn@i{#1}\def\n@fon{\whppp}\def\n@sym{\w@hppp}\g@wh}% -\def\g@wh{\advancetrue\g@w}% -\def\g@w{\global\n@raise=\wh@raise\ifnum\n@i<100\relax - \h@lines{\wn@width}\def\s@tem{\resetstem}\pl@symssq\fi}% - %\check -\def\zwh#1{\getn@i{#1}\def\n@fon{\wh}\def\n@sym{\w@h}\rlap{\g@wh}}% - % - % blanche sans queue isolee -\def\nh#1{\getn@i{#1}\def\n@fon{\nh}\def\n@sym{\h@a}\g@nh}% -\def\g@nh{\advancetrue\g@nhz}% -\def\g@nhz{\global\n@raise=\ha@raise\ifnum\n@i<100\relax - \h@lines{\hn@width}\def\s@tem{\resetstem}\pl@symssq\fi}% -\def\znh#1{\getn@i{#1}\def\n@fon{\nh}\def\n@sym{\h@a}\rlap{\g@nhz}}% - % - % noiree sans queue isolee -\def\nq#1{\getn@i{#1}\def\n@fon{\nq}\def\n@sym{\q@u}\g@nq}% -\def\g@nq{\advancetrue\g@nqz}% -\def\g@nqz{\global\n@raise=\qu@raise\ifnum\n@i<100\relax - \h@lines{\hn@width}\def\s@tem{\resetstem}\pl@symssq\fi}% -\def\znq#1{\getn@i{#1}\def\n@fon{\nq}\def\n@sym{\q@u}\rlap{\g@nqz}}% - % - % blanche avec queue -\def\ha{\hu}% -\def\hu#1{\getn@i{#1}\def\n@fon{\hu}\def\n@sym{\h@a}\g@hu}% -\def\hup#1{\getn@i{#1}\def\n@fon{\hup}\def\n@sym{\h@ap}\g@hu}% -\def\hupp#1{\getn@i{#1}\def\n@fon{\hupp}\def\n@sym{\h@app}\g@hu}% -\def\huppp#1{\getn@i{#1}\def\n@fon{\huppp}\def\n@sym{\h@appp}\g@hu}% -\def\g@hu{\advancetrue\g@huz}% -\def\g@huz{\global\n@raise=\ha@raise\ifnum\n@i<100\relax - \h@lines{\hn@width}\global\stem@skip=\hd@skip - \def\s@tem{\d@tail}\pl@symssq\fi}% - % - %\check -\def\rhu#1{\getn@i{#1}\def\n@fon{\hu}\global\n@raise=\ha@raise -\def\n@sym{\kern \hd@skip\h@a}% -\ifnum\n@i<100\relax - \kern \hd@skip - \h@lines{\hn@width}\kern -\hd@skip - \global\stem@skip=\hd@skip\def\s@tem{\d@tail}\pl@symss\fi}% - %\check - % blanche avec queue sans avance -\def\zhu#1{\getn@i{#1}\def\n@fon{\hu}\def\n@sym{\h@a}\g@zhu}% -\def\zhup#1{\getn@i{#1}\def\n@fon{\hup}\def\n@sym{\h@ap}\g@zhu}% -\def\zhupp#1{\getn@i{#1}\def\n@fon{\hupp}\def\n@sym{\h@app}\g@zhu}% -\def\zhuppp#1{\getn@i{#1}\def\n@fon{\huppp}\def\n@sym{\h@appp}\g@zhu}% -\def\g@zhu{\advancefalse\g@huz}% - %\check -\def\lhu#1{\kern -\hn@width\zhu{#1}\kern \hn@width}% - % - % - % blanches queue en bas -\def\hl#1{\getn@i{#1}\def\n@fon{\hl}\def\n@sym{\h@a}\g@hl}% -\def\hlp#1{\getn@i{#1}\def\n@fon{\hlp}\def\n@sym{\h@ap}\g@hl}% -\def\hlpp#1{\getn@i{#1}\def\n@fon{\hlpp}\def\n@sym{\h@app}\g@hl}% -\def\hlppp#1{\getn@i{#1}\def\n@fon{\hlppp}\def\n@sym{\h@appp}\g@hl}% -\def\g@hl{\advancetrue\g@hlz}% -\def\g@hlz{\global\n@raise=\ha@raise\ifnum\n@i<100\relax - \h@lines{\hn@width}\def\s@tem{\p@tail}\pl@symssq\fi}% - %\check -\def\zhl#1{\getn@i{#1}\def\n@fon{\hl}\def\n@sym{\h@a}\rlap{\g@zhl}}% -\def\zhlp#1{\getn@i{#1}\def\n@fon{\hlp}\def\n@sym{\h@ap}\rlap{\g@zhl}}% -\def\zhlpp#1{\getn@i{#1}\def\n@fon{\hlpp}\def\n@sym{\h@app}\rlap{\g@zhl}}% -\def\zhlppp#1{\getn@i{#1}\def\n@fon{\hlppp}\def\n@sym{\h@appp}\rlap{\g@zhl}}% -\def\g@zhl{\advancefalse\g@hlz}% - %\check -\def\rhl#1{\kern \hd@skip\zhl{#1}\kern -\hd@skip}% -\def\lhl#1{\kern -\hn@width\zhl{#1}\kern \hn@width}% - %\check - %**************** initialisation de poutres ****************** - % \ibu{0<numero<10}{altitude~note}{pente de -9 a +9} - % \ibl{0<numero<10}{altitude~note}{pente de -9 a +9} - % -\def\selectpoutre#1{{\n@i=#1\relax - \ifnum\n@i<0\relax\n@i=29\relax\fi - \advance\n@i by 1\relax -\xdef\b@x{\csname b@x\romannumeral\n@i\endcsname}% -\xdef\b@z{\csname b@z\romannumeral\n@i\endcsname}% -\xdef\bb@x{\csname bb@x\romannumeral\n@i\endcsname}% -\xdef\bb@z{\csname bb@z\romannumeral\n@i\endcsname}% -\xdef\bbb@x{\csname bbb@x\romannumeral\n@i\endcsname}% -\xdef\bbb@z{\csname bbb@z\romannumeral\n@i\endcsname}% -\xdef\bbbb@x{\csname bbbb@x\romannumeral\n@i\endcsname}% -\xdef\bbbb@z{\csname bbbb@z\romannumeral\n@i\endcsname}% -\xdef\bbbbb@x{\csname bbbbb@x\romannumeral\n@i\endcsname}% -\xdef\bbbbb@z{\csname bbbbb@z\romannumeral\n@i\endcsname}% -\xdef\b@n{\csname b@n\romannumeral\n@i\endcsname}% -\xdef\b@p{\csname b@p\romannumeral\n@i\endcsname}}\s@lopdefs}% - % fin selectpoutre - % -\def\ibu#1{\selectpoutre{#1}\i@bu}% -\def\i@bu#1#2{\ifnum\b@n=0\relax\else\t@bu\fi - \global\b@n=-1\relax - \global\b@x=\locx@skip - \global\advance\b@x by \qd@skip\inhgetn@i{#1}\pl@base - \global\b@z=\y@i\global\advance\b@z by\altportee\global\b@p=#2\relax - \global\advance\b@z by 4.333\interbeam}% - % -\def\ibl#1{\selectpoutre{#1}\i@bl}% -\def\i@bl#1#2{\ifnum\b@n=0\relax\else\t@bl\fi - \global\b@n=1\relax - \global\b@x=\locx@skip\inhgetn@i{#1}\pl@base - \global\b@z=\y@i\global\advance\b@z by \altportee\global\b@p=#2\relax - \global\advance\b@z by -4.333\interbeam}% - %\check -\def\ibbu#1{\selectpoutre{#1}\i@bbu}% -\def\ibbl#1{\selectpoutre{#1}\i@bbl}% -\def\i@bbu#1#2{\ifnum\b@n=0\relax\i@bu{#1}{#2}\relax\global\advance\b@z by - \interbeam\fi\n@bbu\relax}% -\def\i@bbl#1#2{\ifnum\b@n=0\relax\i@bl{#1}{#2}\relax\global\advance\b@z by - -\interbeam\fi\n@bbl\relax}% -\def\nbbu#1{\selectpoutre{#1}\ifnum\b@n>-2\relax\ifnum\b@n<2\relax\n@bbu\fi -\fi}% -\def\nbbl#1{\selectpoutre{#1}\ifnum\b@n>-2\relax\ifnum\b@n<2\relax\n@bbl\fi -\fi}% -\def\n@bbu{\gl@au{\b@n}\global\bb@z=\b@z - \ifnum\b@n<0\relax\global\advance\bb@z by -\interbeam - \else \global\advance\bb@z by \interbeam - \fi - {\advance\locx@skip by \qd@skip \global\bb@x=\locx@skip - \advance\locx@skip by -\b@x - \global\advance\bb@z by \s@lope\locx@skip }}% - % -\def\n@bbl{\gl@au{\b@n}\global\bb@x=\locx@skip - \global\advance\bb@x by \lthick - \global\bb@z=\b@z\ifnum\b@n<0\relax\global\advance\bb@z by -\interbeam - \else \global\advance\bb@z by \interbeam \fi - {\advance\locx@skip by -\b@x -\global\advance\bb@z by \s@lope\locx@skip }}% - %\check -\def\ibbbu#1{\selectpoutre{#1}\i@bbbu}% -\def\ibbbl#1{\selectpoutre{#1}\i@bbbl}% -\def\i@bbbu#1#2{\ifnum\b@n=0\relax\i@bbu{#1}{#2}% -\global\advance\b@z by \interbeam -\global\advance\bb@z by \interbeam -\fi\n@bbbu}% -\def\i@bbbl#1#2{\ifnum\b@n=0\relax\i@bbl{#1}{#2}% -\global\advance\b@z by -\interbeam -\global\advance\bb@z by -\interbeam -\fi\n@bbbl}% -\def\nbbbu#1{\selectpoutre{#1}\ifnum\b@n=-1\relax\n@bbu\fi\ifnum\b@n -=1\relax\n@bbu\fi - \ifnum\b@n=-2\relax\n@bbbu\fi\ifnum\b@n=2\relax\n@bbbu\fi -}% -\def\nbbbl#1{\selectpoutre{#1}\ifnum\b@n=-1\relax\n@bbl\fi\ifnum\b@n -=1\relax\n@bbl\fi - \ifnum\b@n=-2\relax\n@bbbl\fi\ifnum\b@n=2\relax\n@bbbl\fi -}% -\def\n@bbbu{\gl@au{\b@n}\global\bbb@z=\b@z - \ifnum\b@n<0\relax\global\advance\bbb@z by -2\interbeam - \else \global\advance\bbb@z by 2\interbeam - \fi - {\advance\locx@skip by \qd@skip\global\bbb@x=\locx@skip - \advance\locx@skip by -\b@x - \global\advance\bbb@z by \s@lope\locx@skip }}% - % -\def\n@bbbl{\gl@au{\b@n}\global\bbb@x=\locx@skip - \global\advance\bbb@x by \lthick - \global\bbb@z=\b@z\ifnum\b@n<0\relax\global\advance\bbb@z by - -2\interbeam - \else \global\advance\bbb@z by 2\interbeam - \fi - {\advance\locx@skip by -\b@x\global\advance\bbb@z by \s@lope\locx@skip }}% - %\check - % -\def\ibbbbu#1{\selectpoutre{#1}\i@bbbbu}% -\def\ibbbbl#1{\selectpoutre{#1}\i@bbbbl}% -\def\i@bbbbu#1#2{\ifnum\b@n=0\relax\i@bbbu{#1}{#2}% -\global\advance\b@z by \interbeam -\global\advance\bb@z by \interbeam -\global\advance\bbb@z by \interbeam -\fi\n@bbbbu}% -\def\i@bbbbl#1#2{\ifnum\b@n=0\relax\i@bbbl{#1}{#2}% -\global\advance\b@z by -\interbeam -\global\advance\bb@z by -\interbeam -\global\advance\bbb@z by -\interbeam -\fi\n@bbbbl}% -\def\nbbbbu#1{\selectpoutre{#1}% - \ifnum\b@n=-1\relax\n@bbu\fi\ifnum\b@n=1\relax\n@bbu\fi - \ifnum\b@n=-2\relax\n@bbbu\fi\ifnum\b@n=2\relax\n@bbbu\fi - \ifnum\b@n=-3\relax\n@bbbbu\fi\ifnum\b@n=3\relax\n@bbbbu\fi -}% -\def\nbbbbl#1{\selectpoutre{#1}% - \ifnum\b@n=-1\relax\n@bbl\fi\ifnum\b@n=1\relax\n@bbl\fi - \ifnum\b@n=-2\relax\n@bbbl\fi\ifnum\b@n=2\relax\n@bbbl\fi - \ifnum\b@n=-3\relax\n@bbbbl\fi\ifnum\b@n=3\relax\n@bbbbl\fi -}% -\def\n@bbbbu{\gl@au{\b@n}\global\bbbb@z=\b@z - \ifnum\b@n<0\relax\global\advance\bbbb@z by -3\interbeam - \else \global\advance\bbbb@z by 3\interbeam - \fi - {\advance\locx@skip by \qd@skip \global\bbbb@x=\locx@skip - \advance\locx@skip by -\b@x - \global\advance\bbbb@z by \s@lope\locx@skip }}% - % -\def\n@bbbbl{\gl@au{\b@n}{\advance\locx@skip by \lthick - \global\bbbb@x=\locx@skip}\global\bbbb@z=\b@z - \ifnum\b@n<0\relax\global\advance\bbbb@z by -3\interbeam - \else \global\advance\bbbb@z by 3\interbeam - \fi - {\advance\locx@skip by -\b@x\global\advance\bbbb@z by \s@lope\locx@skip }}% - %\check - % - % -\def\ibbbbbu#1{\selectpoutre{#1}\i@bbbbbu}% -\def\ibbbbbl#1{\selectpoutre{#1}\i@bbbbbl}% -\def\i@bbbbbu#1#2{\ifnum\b@n=0\relax\i@bbbbu{#1}{#2}% -\global\advance\b@z by \interbeam -\global\advance\bb@z by \interbeam -\global\advance\bbb@z by \interbeam -\global\advance\bbbb@z by \interbeam -\fi\n@bbbbbu}% -\def\i@bbbbbl#1#2{\ifnum\b@n=0\relax\i@bbbbl{#1}{#2}% -\global\advance\b@z by -\interbeam -\global\advance\bb@z by -\interbeam -\global\advance\bbb@z by -\interbeam -\global\advance\bbbb@z by -\interbeam -\fi\n@bbbbbl}% -\def\nbbbbbu#1{\selectpoutre{#1}\ifnum\b@n=-1\relax\n@bbu\fi\ifnum\b@n -=1\relax\n@bbu\fi - \ifnum\b@n=-2\relax\n@bbbu\fi\ifnum\b@n=2\relax\n@bbbu\fi - \ifnum\b@n=-3\relax\n@bbbbu\fi\ifnum\b@n=3\relax\n@bbbbu\fi - \ifnum\b@n=-4\relax\n@bbbbbu\fi\ifnum\b@n=4\relax\n@bbbbbu\fi -}% -\def\nbbbbbl#1{\selectpoutre{#1}\ifnum\b@n=-1\relax\n@bbl\fi\ifnum\b@n -=1\relax\n@bbl\fi - \ifnum\b@n=-2\relax\n@bbbl\fi\ifnum\b@n=2\relax\n@bbbl\fi - \ifnum\b@n=-3\relax\n@bbbbl\fi\ifnum\b@n=3\relax\n@bbbbl\fi - \ifnum\b@n=-4\relax\n@bbbbbl\fi\ifnum\b@n=4\relax\n@bbbbbl\fi -}% -\def\n@bbbbbu{\gl@au{\b@n}\global\bbbbb@z=\b@z - \ifnum\b@n<0\relax\global\advance\bbbbb@z by -4\interbeam - \else \global\advance\bbbbb@z by 4\interbeam - \fi - {\advance\locx@skip by \qd@skip \global\bbbbb@x=\locx@skip - \advance\locx@skip by -\b@x - \global\advance\bbbbb@z by \s@lope\locx@skip }}% - % -\def\n@bbbbbl{\gl@au{\b@n}{\advance\locx@skip by \lthick - \global\bbbbb@x=\locx@skip}\global\bbbbb@z=\b@z - \ifnum\b@n<0\relax\global\advance\bbbbb@z by -4\interbeam - \else \global\advance\bbbbb@z by 4\interbeam - \fi - {\advance\locx@skip by -\b@x\global\advance\bbbbb@z by \s@lope\locx@skip }}% - %\check - % - % terminaison de toutes les poutres en suspens - % - %***** terminer une poutre superieure **************** - %\check - % -\def\tbu#1{\selectpoutre{#1}\t@bu}% -\def\tqh#1{\selectpoutre{#1}\t@qh}% -\def\tbbu#1{\selectpoutre{#1}\t@bbu}% -\def\tbbbu#1{\selectpoutre{#1}\t@bbbu}% -\def\tbbbbu#1{\selectpoutre{#1}\t@bbbbu}% -\def\tbbbbbu#1{\selectpoutre{#1}\t@bbbbbu}% - %\check -\def\t@qh{\t@bu\qh@}% -\def\t@bu{\ifnum\b@n<-1\relax\t@bbu\fi -\ifnum\b@n>1\relax\t@bbu\fi -\y@i=\b@z -\advance\y@i by -\altportee -\y@ii=\locx@skip -\advance\y@ii by \qn@width -\advance\y@ii by -\b@x -\llap{\p@outre\hskip -\qn@width}% -\global\b@n=0\relax}% - % - %\check -\def\t@bbu{\ifnum\b@n<-2\relax\t@bbbu\fi - \ifnum\b@n>2\relax\t@bbbu\fi -\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbu}\fi -\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbu}\fi -\y@i=\bb@z\y@ii=-\bb@x\t@xbu}% - %\check -\def\t@xbu{\advance\y@i by -\altportee -\advance\y@ii by \locx@skip \advance\y@ii by \qn@width -\llap{\p@outre\hskip -\qn@width}% -\ifnum\b@n>0\relax -\advance\y@i by \s@lope\y@ii\raise\y@i\rlap{\kern\qn@width -\kern -\lthick\vrule height \z@ depth 1.8\internote width \lthick}\fi -\gl@de{\b@n}}% - %\check -\def\t@bbbu{\ifnum\b@n<-3\relax\t@bbbbu\fi - \ifnum\b@n>3\relax\t@bbbbu\fi -\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbu}\fi -\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbu}\fi -\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbu}\fi -\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbu}\fi -\y@i=\bbb@z\y@ii=-\bbb@x\t@xbu}% - % - %\check -\def\t@bbbbu{\ifnum\b@n<-4\relax\t@bbbbbu\fi - \ifnum\b@n>4\relax\t@bbbbbu\fi -\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbu}\fi -\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbu}\fi -\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbu}\fi -\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbu}\fi -\ifnum\b@n=3\relax{\adv@locx@mqn\n@bbbbu}\fi -\ifnum\b@n=-3\relax{\adv@locx@mqn\n@bbbbu}\fi -\y@i=\bbbb@z\y@ii=-\bbbb@x\t@xbu}% - %\check -\def\t@bbbbbu{\ifnum\b@n<-5\relax\showthe\b@n\global\b@n=-5\relax\fi -\ifnum\b@n>5\relax\showthe\b@n\global\b@n=5\relax\fi -\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbu}\fi -\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbu}\fi -\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbu}\fi -\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbu}\fi -\ifnum\b@n=3\relax{\adv@locx@mqn\n@bbbbu}\fi -\ifnum\b@n=-3\relax{\adv@locx@mqn\n@bbbbu}\fi -\ifnum\b@n=4\relax{\adv@locx@mqn\n@bbbbbu}\fi -\ifnum\b@n=-4\relax{\adv@locx@mqn\n@bbbbbu}\fi -\y@i=\bbbbb@z\y@ii=-\bbbbb@x\t@xbu}% - %***** terminer une poutre inferieure**************** -\def\tbl#1{\selectpoutre{#1}\t@bl}% -\def\tqb#1{\selectpoutre{#1}\t@qb}% -\def\tbbl#1{\selectpoutre{#1}\t@bbl}% -\def\tbbbl#1{\selectpoutre{#1}\t@bbbl}% -\def\tbbbbl#1{\selectpoutre{#1}\t@bbbbl}% -\def\tbbbbbl#1{\selectpoutre{#1}\t@bbbbbl}% - % provisoire -\def\t@qb{\t@bl\qb@}% -\def\t@bl{\relax -\ifnum\b@n<-1\relax\t@bbl\fi -\ifnum\b@n>1\relax\t@bbl\fi -\y@i=\b@z -\advance\y@i by -\altportee -\y@ii=\locx@skip -\advance\y@ii by \lthick -\advance\y@ii by -\b@x -\kern\lthick\llap{\p@outre}\kern -\lthick -\global\b@n=0\relax}% - %\check - % -\def\t@bbl{\relax -\ifnum\b@n<-2\relax\t@bbbl\fi -\ifnum\b@n>2\relax\t@bbbl\fi -\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbl}\fi -\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbl}\fi -\y@i=\bb@z\y@ii=-\bb@x\t@xbl}% - % -\def\t@xbl{\advance\y@i by -\altportee -\advance\y@ii by \locx@skip -\advance\y@ii by \lthick -\kern\lthick\llap{\p@outre}\kern-\lthick -\ifnum\b@n<0\relax\advance\y@i by \s@lope\y@ii -\raise\y@i\rlap{\vrule height \interbeam width \lthick}\fi -\gl@de{\b@n}}% - %\check -\def\t@bbbl{\ifnum\b@n<-3\relax\t@bbbbl\fi - \ifnum\b@n>3\relax\t@bbbbl\fi -\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbl}\fi -\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbl}\fi -\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbl}\fi -\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbl}\fi -\y@i=\bbb@z\y@ii=-\bbb@x\t@xbl}% - %\check -\def\t@bbbbl{\ifnum\b@n<-4\relax\t@bbbbbl\fi - \ifnum\b@n>4\relax\t@bbbbbl\fi -\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbl}\fi -\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbl}\fi -\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbl}\fi -\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbl}\fi -\ifnum\b@n=3\relax{\adv@locx@mqn\n@bbbbl}\fi -\ifnum\b@n=-3\relax{\adv@locx@mqn\n@bbbbl}\fi -\y@i=\bbbb@z\y@ii=-\bbbb@x\t@xbl}% - %\check -\def\t@bbbbbl{\relax -\ifnum\b@n<-5\relax\showthe\b@n\global\b@n=-5\relax\fi -\ifnum\b@n>5\relax\showthe\b@n\global\b@n=5\relax\fi -\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbl}\fi -\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbl}\fi -\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbl}\fi -\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbl}\fi -\ifnum\b@n=3\relax{\adv@locx@mqn\n@bbbbl}\fi -\ifnum\b@n=-3\relax{\adv@locx@mqn\n@bbbbl}\fi -\ifnum\b@n=4\relax{\adv@locx@mqn\n@bbbbbl}\fi -\ifnum\b@n=-4\relax{\adv@locx@mqn\n@bbbbbl}\fi -\y@i=\bbbbb@z\y@ii=-\bbbbb@x\t@xbl}% - %******************** notes accrchees aux poutres - % ************************************ - % -\def\zqh#1{\selectpoutre{#1}\advancefalse\qh@}% -\def\zqb#1{\selectpoutre{#1}\advancefalse\qb@}% -\def\zqhp#1{\selectpoutre{#1}\advancefalse\qhp@}% -\def\zqbp#1{\selectpoutre{#1}\advancefalse\qbp@}% -\def\zqhpp#1{\selectpoutre{#1}\advancefalse\qhpp@}% -\def\zqbpp#1{\selectpoutre{#1}\advancefalse\qbpp@}% - % -\def\qh#1{\selectpoutre{#1}\qh@}% -\def\hh#1{\selectpoutre{#1}\hh@}% -\def\qhp#1{\selectpoutre{#1}\qhp@}% -\def\qhpp#1{\selectpoutre{#1}\qhpp@}% -\def\qhppp#1{\selectpoutre{#1}\qhppp@}% -\def\qh@#1{\getn@i{#1}\def\n@fon{\qh@}\def\n@sym{\q@u}\g@qh@}% % position -\def\hh@#1{\getn@i{#1}\def\n@fon{\hh@}\def\n@sym{\h@a}\g@qh@}% % position -\def\qhp@#1{\getn@i{#1}\def\n@fon{\qhp@}\def\n@sym{\q@up}\g@qh@}% % position -\def\qhpp@#1{\getn@i{#1}\def\n@fon{\qhpp@}\def\n@sym{\q@upp}\g@qh@}% % position -\def\qhppp@#1{\getn@i{#1}\def\n@fon{\qhppp@}\def\n@sym{\q@uppp}\g@qh@}% % - % position -\def\qb#1{\selectpoutre{#1}\qb@}% -\def\hb#1{\selectpoutre{#1}\hb@}% -\def\qbp#1{\selectpoutre{#1}\qbp@}% -\def\qbpp#1{\selectpoutre{#1}\qbpp@}% -\def\qbppp#1{\selectpoutre{#1}\qbppp@}% -\def\qb@#1{\getn@i{#1}\def\n@fon{\qb@}\def\n@sym{\q@u}\g@qb@} % #1 position -\def\hb@#1{\getn@i{#1}\def\n@fon{\hb@}\def\n@sym{\h@a}\g@qb@} % #1 position -\def\qbp@#1{\getn@i{#1}\def\n@fon{\qbp@}\def\n@sym{\q@up}\g@qb@} % #1 position -\def\qbpp@#1{\getn@i{#1}\def\n@fon{\qbpp@}\def\n@sym{\q@upp}\g@qb@} % #1 - % position -\def\qbppp@#1{\getn@i{#1}\def\n@fon{\qbppp@}\def\n@sym{\q@uppp}\g@qb@} % #1 - % position -\def\g@qb@{\n@raiseq - \global\stem@skip=\z@\def\s@tem{\d@balk}\g@qbh@\fi}% - % -\def\g@qh@{\n@raiseq - \global\stem@skip=\qd@skip\def\s@tem{\d@balk}\g@qbh@\fi}% - % -\def\g@qbh@{\h@linesqn\pl@symssq}% - % -\def\pl@symss{\pl@noteq\raise@note{\n@sym\hss}\ss@uite}% -\def\pl@symssq{\ifadvance\pl@symss\else\plap@symss\fi\advancetrue}% - % -\def\rlap@symss{\raise\y@i\rlap{\n@sym}\ss@uite}% -\def\plap@symss{\pl@noteq\rlap@symss}% - % -\def\d@balk{% % queue de note vers une poutre -\y@ii=\b@z % a augmenter avec la pente -\y@v=\locx@skip\advance\y@v by \stem@skip\advance\y@v by -\b@x -\advance\y@ii by \s@lope\y@v -\ifdim\y@ii>\st@top % la poutre est au-dessus - \ifnum\b@n>0\relax\advance\y@ii by \b@n\interbeam - \advance\y@ii by -\interbeam - \fi\global\st@top=\y@ii % a mettre a jour avec la pente ulterieurement -\else - \ifdim\y@ii<\st@bot - \ifnum\b@n<0\relax\advance\y@ii by \b@n\interbeam - \advance\y@ii by \interbeam - \fi\global\st@bot=\y@ii -\fi\fi\pd@tail}% - % - %*********************************** notes sans avancement (accords) -\def\zha#1{{\noteskip=\z@\ha{#1}}}% - % -\def\charnote{\xcharnote{\noteskip}}% -\let\hcharnote\charnote -\def\zcharnote{\xcharnote{\z@}}% - -\def\zchar#1#2{\raise#1\internote\rlap{#2}} -\def\lchar#1#2{\raise#1\internote\llap{#2}} -\def\cchar#1#2{\raise#1\internote\lrlap{#2}} -\let\hchar\zchar - - %\check - % - %************************* liaisons horizontales ************************** - % Tie Fixes. - % I have rewritten several tie macros to eliminate those annoying gaps which - % often appear. The new macros cause ties to be extended with leader, rather - % than lines whose length has to be guessed. TeX cannot make multiple - % horizontal lines with \leaders, so instead I use an \hbox containing - % several short fragments of lines. Each line fragment is of length - % \tenboxwidth, which is initially .75pt. - % In order for the new ties to work properly, every horizontal space must be - % recorded. I have had to amend some macros so that they record the space - % which they produce. - % -\newbox\@tenubox \newskip\@tenuskip \newdimen\tenboxwidth \tenboxwidth.75pt - % - % -macros to maintain a box of tie extenders which is used in the leaders -\global\setbox\@tenubox\hbox{\kern\tenboxwidth} -\def\@uptenubox{\global\setbox\@tenubox - \hbox{\kern\tenboxwidth}\ten@loop - \ifnum\t@s=0\relax\else\up@tenbox\fi - \global\advance\n@l by 1\relax\repeat}% -\def\up@tenbox{\y@ii\t@z\advance\y@ii by \t@y - \global\setbox\@tenubox\hbox{\unhbox\@tenubox - \kern-\tenboxwidth\vrule width\tenboxwidth height\y@ii depth-\t@z}} - % - % -This macro makes the leaders. #1 is the amount of skip. It is extended - % by \tenboxwidth on each side in order to get the lines to join up. -\def\@tenleader#1{\@tenuskip=#1\advance\@tenuskip by2\tenboxwidth\relax -\nobreak\kern-\tenboxwidth\nobreak\cleaders\copy\@tenubox\hskip\@tenuskip -\kern-\tenboxwidth\nobreak} - % -\def\selecttenue#1{{\n@i=#1\relax -\ifnum\n@i<0\relax\n@i=29\fi - \advance\n@i by 1\relax -\xdef\t@x{\csname t@x\romannumeral\n@i\endcsname}% -\xdef\t@z{\csname t@z\romannumeral\n@i\endcsname}% -\xdef\t@p{\csname t@p\romannumeral\n@i\endcsname}% -\xdef\t@s{\csname t@s\romannumeral\n@i\endcsname}% -\xdef\t@w{\csname t@w\romannumeral\n@i\endcsname}}% -\ifnum\t@w=0\relax - \global\t@y=1.2\p@ -\else - \global\t@y= 0.2\Interligne -\fi -}% fin selecttenue - % - %\check - % mise a jour marge inferieure et correction d'altitude de tenues - % -\newdimen\bottom@adv -\def\advancebottom#1{\global\bottom@adv=#1\relax}% -\def\adv@bottom{\global\advance\staffbotmarg by \bottom@adv - \ten@loop \global\advance\t@z by \bottom@adv\relax - \global\advance\n@l by 1\relax - \repeat \@uptenubox - \global\bottom@adv=\z@}% - % - %\check - % -\def\lu@slur{\cmex\char"7A}\def\ru@slur{\cmex\char"7B}% -\def\ll@slur{\cmex\char"7C}\def\rl@slur{\cmex\char"7D}% -\setbox\n@otebox=\hbox{\lu@slur}\brace@w=\wd\n@otebox - % -\def\leg@hrule{\leaders\hrule height \t@y\hfill}% - % - % complete slur of length #1 (up and down) -\def\up@leg{% longueur y@ii -\hbox to \y@ii{\lu@slur\ifdim \y@ii>2\brace@w\leg@hrule -\else\hss\fi\ru@slur}}% - % -\def\lo@leg{% longueur y@ii -\hbox to \y@ii{\ll@slur\ifdim \y@ii>2\brace@w\leg@hrule -\else\hss\fi\rl@slur}}% - % - % slur termination of length #1 (up and down) -\def\up@rleg{% longueur y@ii -\hbox to \y@ii{\ifdim \y@ii>\brace@w\leg@hrule -\else\hss\fi\ru@slur}}% - % -\def\lo@rleg{% longueur y@ii -\hbox to \y@ii{\ifdim \y@ii>\brace@w\leg@hrule -\else\hss\fi\rl@slur}}% - %\check - % - % slur beginning (left) (up and down) -\def\up@les{% longueur y@ii -\hbox to \y@ii{\lu@slur\ifdim \y@ii>\brace@w\leg@hrule -\else\hss\fi}}% - % -\def\lo@les{% longueur y@ii -\hbox to \y@ii{\ll@slur\ifdim \y@ii>\brace@w\leg@hrule -\else\hss\fi}}% - %\check - % - % noter un debut de tenue - % -\def\itenu#1{\selecttenue{#1}\i@tenu}% - % \rtenu starts a 'tenuto' one note head on the right -\def\rtenu#1#2{\selecttenue{#1}\i@tenu{#2}\global\advance\t@x by \wn@width}% - % -\def\check@tenvoid{\ifnum\t@s=0\relax\else\errmessage{Attemt to re-open an -opened slur/tie}\fi} -\def\check@tenopen{\ifnum\t@s=0\errmessage{Attemt to close an -unopened slur/tie}\fi} - % -\def\i@tenu#1{\check@tenvoid\global\t@p=1\relax % sens=1 - \global\t@s=1\relax % etat en cours - \global\t@x=\locx@skip - \global\advance\t@x by \qd@skip - \inhgetn@i{#1}\pl@base\global\t@z=\y@i\global\advance\t@z by\altportee - \global\advance\t@z by 3.7\p@ - \global\t@y=1.2\p@ - \global\t@w=0\relax - \up@tenbox}% - % -\def\itenl#1{\selecttenue{#1}\i@tenl}% -\def\minternote{-\internote}% - % \rtenl starts a 'tenuto' one note head on the right -\def\rtenl#1#2{\selecttenue{#1}\i@tenl{#2}\global\advance\t@x by \wn@width}% -\def\i@tenl#1{\check@tenvoid\global\t@p=-1\relax % sens= -1 - \global\t@s=1\relax % actif - \global\t@x=\locx@skip - \global\advance\t@x by \qd@skip - \inhgetn@i{#1}\pl@base\global\t@z=\y@i\global\advance\t@z by \altportee - \global\advance\t@z by -4.5\p@\relax - \global\t@y=1.2\p@ - \global\t@w=0\relax - \up@tenbox}% - %\check -\def\tten#1{\selecttenue{#1}\t@ten}% -\def\tleg#1{\selecttenue{#1}\check@tenopen{\advance\locx@skip by - 1.5\qn@width\kern 1.5\qn@width\t@ten\kern -1.5\qn@width}}% - -\def\liftslur#1{\selecttenue{#1}\l@iftslur}% -\def\l@iftslur#1{\global\advance\t@z by #1\relax}% - % - %\check - % - %********************** ponctuations speciales **************************** - % -\def\breath{\raise 3\Interligne\hbox{\enorme'}}% -\def\zbreath{\raise 3\Interligne\rlap{\enorme'}}% -\def\cbreath{\charnote0{\raise 3\Interligne - \hbox to \noteskip{\hss\enorme'\hss}}}% -\def\uptext#1{\resetstem\raise 5\Interligne\rlap{#1}}% -\def\Uptext#1{\resetstem\raise 7\Interligne\rlap{#1}}% -\def\text@sp{\vrule width \z@ height 8.5\p@ depth 3.5\p@} -\def\f{{\ppff {f}}} -\def\ff{{\ppff {f}\kern -0.1ex{f}}} -\def\fff{{\ppff {f}\kern -0.1ex{f}\kern -0.1ex{f}}} -\def\ffff{{\ppff {f}\kern -0.1ex{f}\kern -0.1ex{f}\kern -0.1ex{f}}} -\def\m@idcomp{\y@v=\interportee\advance\y@v by 4\Interligne\divide\y@v by - %%\def\m@idcomp{\y@v=\Interportee\divide\y@v by - 2\relax -\raise\y@v\vbox to \z@}% - % -\def\midtwotext#1{{\m@idcomp -{\vss\hbox to \noteskip{\hss\text@sp #1\hss}\vss}}}% -\def\rmidtwotext#1{{\m@idcomp -{\vss\hbox to \noteskip{\text@sp #1\hss}\vss}}}% -\def\zmidtwotext#1{{\m@idcomp -{\vss\rlap{\text@sp #1}\vss}}}% -\def\lmidtwotext#1{{\m@idcomp -{\vss\hbox to \noteskip{\hss\text@sp #1}\vss}}}% - %\check -\def\metron#1#2{{\shortstems\noteskip 10\p@ #1 1\ = #2}}% - %\check - % - %************************************************************************** - % definition standard, modifiables par l'usager - %************************************************************************** - % -\def\resetfacteurs{\stafftopmarg=\z@\staffbotmarg=\z@\nullthick=8\Internote - % -\def\stafflinesnbi{5}% -\def\stafflinesnbii{5}% -\def\stafflinesnbiii{5}% -\def\stafflinesnbiv{5}% -\def\stafflinesnbv{5}% -\def\stafflinesnbvi{5}% - % -\def\clefduti{\clefdutsymbol}% -\def\clefdutii{\clefdutsymbol}% -\def\clefdutiii{\clefdutsymbol}% -\def\clefdutiv{\clefdutsymbol}% -\def\clefdutv{\clefdutsymbol}% -\def\clefdutvi{\clefdutsymbol}% - % -\def\clefdefai{\clefdefasymbol}% -\def\clefdefaii{\clefdefasymbol}% -\def\clefdefaiii{\clefdefasymbol}% -\def\clefdefaiv{\clefdefasymbol}% -\def\clefdefav{\clefdefasymbol}% -\def\clefdefavi{\clefdefasymbol}% - % -\def\clefdesoli{\clefdesolsymbol}% -\def\clefdesolii{\clefdesolsymbol}% -\def\clefdesoliii{\clefdesolsymbol}% -\def\clefdesoliv{\clefdesolsymbol}% -\def\clefdesolv{\clefdesolsymbol}% -\def\clefdesolvi{\clefdesolsymbol}% - % -\def\interfacteur{9}% -\def\bottomfacteur{3}% -\def\topfacteur{3}% -\elemskip=4\Internote -\def\gluemaxskip{0.1\line@width}% -\zglueskip=0pt plus \gluemaxskip minus .5pt% -\tempsskip=2pt plus \gluemaxskip minus 2pt -}% -\resetfacteurs - %\check -\def\normal{\ifdim\Interligne<\p@\computewidths\fi -\def\scalenoteskip{1.0}\elemskip=4\Internote -\def\notes{\vnotes 1.0\elemskip }% double croches -\def\Notes{\vnotes 1.4\elemskip }% croches -\def\NOtes{\vnotes 2.0\elemskip }% croches pointees -\def\NOTes{\vnotes 2.8\elemskip }% noires -\def\NOTEs{\vnotes 4.0\elemskip }% -\def\NOTES{\vnotes 5.6\elemskip }% -}% - % -\ifx\large\undefined - \def\large{\normal\elemskip=4.8\Internote}\fi - % -\def\etroit{\normal -\def\Notes{\vnotes 1.3\elemskip }% croches -\def\NOtes{\vnotes 1.8\elemskip }% croches pointees -\def\NOTes{\vnotes 2.6\elemskip }% noires -\def\NOTEs{\vnotes 3.6\elemskip }% -\def\NOTES{\vnotes 5.2\elemskip }% -}% - %\check -\def\testseq{}% -\def\nspace{\vnotes 0.2\elemskip\sk\enotes}% - % - %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\def\barfill{\leaders\hbox{ --}\hfill}% -\def\octnvrule{\vrule width \z@ height 3\p@ depth 3\p@}% -\def\octvrule{\vrule width \lthick height 3\p@ depth 3\p@}% -\def\octsup#1#2{\zcharnote{#1}{\hbox to #2\noteskip -{\llap{\rm 8}\barfill\octnvrule}}}% -\def\Octsup#1#2{\zcharnote{#1}{\hbox to #2{\rm 8\barfill\octnvrule}}}% - %\check -\def\octfin#1#2{\zcharnote{#1}{\hbox to #2\noteskip{\llap{\rm 8}\barfill ---\octvrule}}}% -\def\Octfin#1#2{\zcharnote{#1}{\hbox to #2{\rm 8\barfill ---\octvrule}}}% -\def\octline#1{\zcharnote{#1}{\hbox to \line@width{\llap{\rm 8}\barfill -\octnvrule\hskip 12\Internote}}}% -\def\Octline#1{\zcharnote{#1}{\hbox to \line@width{\rm 8\barfill -\octnvrule\hskip 8\Internote}}}% - %\check -\def\xtuplet#1#2{\global\n@l=#1\relax\global\advance\n@l by -1\relax -{\divide\noteskip by \n@l\relax\zcharnote{#2}{\kern\n@l\noteskip - \hbox to\z@{\hss\it #1\hss}}}}% -\def\triolet{\xtuplet3}% - %\check - \let\thelyrics\empty -\def\hardlyrics#1\notes{\let\save@noteskip\noteskip - \def\noteskip{\z@\relax\errmessage{You cannot use \noexpand\noteskip - in \noexpand\hardlyrics's 1st argument!}}% -\def\thelyrics{\hbox{#1}}% -\wd\ch@box\z@ \setbox\ch@box\thelyrics \let\noteskip\save@noteskip - \noteskip\wd\ch@box \n@otes} - %\check - - -%\def\setsongraise#1#2{\n@v#1\relax % select instrument -% \expandafter\def\csname T@R\romannumeral\n@v\endcsname{#2}} -\def\setsongraise#1#2{\noinstrument#1\relax % select instrument - \expandafter\def\csname T@R\romannumeral\noinstrument\endcsname{#2}} - -\let\T@Ri\z@ -\let\T@Rii\z@ -\let\T@Riii\z@ -\let\T@Riv\z@ -\let\T@Rv\z@ -\let\T@Rvi\z@ - -\def\zsong{\let\@Ti\rlap \C@t} -\def\lsong{\let\@Ti\llap \C@t} -\def\csong{\let\@Ti\lrlap \C@t} -\def\hsong{\let\@Ti\hard@box \C@t} -\def\dhsong{\let\@Ti\dhard@box \C@t} -\def\thsong{\let\@Ti\thard@box \C@t} - -\def\C@t#1{\C@tx{\@Ti{\strut#1}\vss}} -\def\lrlap#1{\rlap{\hss#1}} -\def\hard@box#1{\rlap{\hbox to\noteskip{#1\hfil}}} -\def\dhard@box#1{\rlap{\hbox to 2\noteskip{#1\hfil}}} -\def\thard@box#1{\rlap{\hbox to 3\noteskip{#1\hfil}}} - -\def\C@tx{\edef\savenu@iv{\the\y@iv}% - \ifnum\noinstrument= 1 \y@iv\staffbotmarg - \else - \advance\noinstrument -1\relax - \y@iv\csname interinstrument\romannumeral\noinstrument\endcsname - \C@Inter \advance\y@iv\stem@skip \divide\y@iv 2 - \advance\noinstrument 1 - \fi - \advance\y@iv-\csname T@R\romannumeral\noinstrument\endcsname -%% \advance\noinstrument 1 \fi - \edef\lower@dim{\the\y@iv}\relax \y@iv\savenu@iv\relax - \lower\lower@dim\uplap} - -\def\C@Inter{\stem@skip\interportee \advance\stem@skip-8\internote - \ifnum\stafflinesnb=4 \advance\stem@skip 2\internote \fi - \ifnum\stafflinesnb=6 \advance\stem@skip-2\internote \fi} - - - % -\let\wlog=\@plainwlog - % -\def\interfacteur{1}% -\csname musicnorfont\endcsname -\def\nbinstruments{\maxinstruments}\savemeter -\csname normalnotesize\endcsname -\normal % to get \notes correctly defined -\resetfacteurs -\def\nbinstruments{0}% - % -\def\magstep#1{\ifcase#1 \@m\or 1200\or 1440\or 1728\or 2074\or - 2488\or 2986\or 3583\or 4300\or 5160\fi\relax} - % - -\def\endcatcodesmusic{\catcode`\&=\catcode@and -\catcode`\|=\catcode@vert -\catcode`\>=\catcode@gt -\catcode`\<=\catcode@lt -\catcode`\!=\catcode@excl -\catcode`\*=\catcode@star -\catcode`\:=\catcode@sc -\catcode`\.=\catcode@pt -\catcodesmusicfalse} - -\endcatcodesmusic - -\catcode`\@=\catcodeat -\def\musictexactive{\relax} -\endinput - diff --git a/Master/texmf-dist/tex/generic/musictex/musictrp.tex b/Master/texmf-dist/tex/generic/musictex/musictrp.tex deleted file mode 100644 index 31c952ef87d..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musictrp.tex +++ /dev/null @@ -1,175 +0,0 @@ - -\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 -\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12 -\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12 -% -\def\Na#1{\ifdim\small@test\bigNa{#1}\else\smallNa{#1}\fi}% -\def\Fl#1{\ifdim\small@test\bigFl{#1}\else\smallFl{#1}\fi}% -\def\Sh#1{\ifdim\small@test\bigSh{#1}\else\smallSh{#1}\fi}% -\def\dFl#1{\ifdim\small@test\bigdFl{#1}\else\smalldFl{#1}\fi}% -\def\dSh#1{\ifdim\small@test\bigdSh{#1}\else\smalldSh{#1}\fi}% -% -\def\cNa{\cautionacctrue\smallNa} -\def\cFl{\cautionacctrue\smallFl} -\def\cSh{\cautionacctrue\smallSh} -\def\cdFl{\cautionacctrue\smalldFl} -\def\cdSh{\cautionacctrue\smalldSh} -% -\def\lNa#1{\k@meiqdskip\bigNa{#1}\k@eiqdskip}% -\def\lFl#1{\k@meiqdskip\bigFl{#1}\k@eiqdskip}% -\def\lSh#1{\k@meiqdskip\bigSh{#1}\k@eiqdskip}% -\def\ldFl#1{\k@meiqdskip\bigdFl{#1}\k@eiqdskip}% -\def\ldSh#1{\k@meiqdskip\bigdSh{#1}\k@eiqdskip}% -% -%\check -% -\def\sign@diff{\global\n@iii=\n@i - \global\advance\n@iii by -\ut@ref\relax - \global\advance\n@iii by -\ut@ref\relax - \loop\ifnum\n@iii>6\relax \global\advance\n@iii by -7\relax\repeat - \loop\ifnum\n@iii<0\relax \global\advance\n@iii by 7\relax\repeat - \n@ii=999\relax - \ifcase\n@iii\relax\n@ii=6\relax % mi - \or\n@ii=1\relax % fa - \or\n@ii=3\relax % sol - \or\n@ii=5\relax % la - \or\n@ii=7\relax % si - \or\n@ii=2\relax % do - \or\n@ii=4\relax % re - \fi % \n@ii positive signature limit - % \n@ii-8 negative signature limit - \advance\n@ii by -\sign - \advance\n@ii by 6 - \divide\n@ii by 7\relax -} -% -\def\bigdFl#1{\getn@i{#1}\sign@diff - \ifcase\n@ii\relax\global\n@raise=\sh@raise\pl@llap{\f@lat}\relax - \or \global\n@raise=\fl@raise\pl@llap{\df@lat}\relax - \else \message{Impossible to double flatten the note ! - \noexpand\Fl #1 }\showthe\n@ii - \fi -}% -%\check -% -\def\bigFl#1{\getn@i{#1}\sign@diff - \ifcase\n@ii\relax\global\n@raise=\na@raise\pl@llap{\n@at}\relax - \or \global\n@raise=\fl@raise\pl@llap{\f@lat}\relax - \or \global\n@raise=\fl@raise\pl@llap{\df@lat}\relax - \else \message{Impossible to flatten the note ! - \noexpand\Fl #1 }\showthe\n@ii - \fi -}% -%\check -\def\bigNa#1{\getn@i{#1}\sign@diff - \ifcase\n@ii\relax\global\n@raise=\sh@raise\pl@llap{\s@harp}\relax - \or \global\n@raise=\na@raise\pl@llap{\n@at}\relax - \or \global\n@raise=\fl@raise\pl@llap{\f@lat}\relax - \else \message{Impossible to reset natural the note ! - \noexpand\Na #1 }\showthe\n@ii - \fi -}% -\def\bigSh#1{\getn@i{#1}\sign@diff - \ifcase\n@ii\relax\global\n@raise=\z@\pl@llap{\ds@harp}\relax - \or \global\n@raise=\sh@raise\pl@llap{\s@harp}\relax - \or \global\n@raise=\na@raise\pl@llap{\n@at}\relax - \else \message{Impossible to sharpen the note ! - \noexpand\Sh #1 }\showthe\n@ii - \fi -}% -\def\bigdSh#1{\getn@i{#1}\sign@diff - \ifcase\n@ii\relax\message{Impossible to double sharpen the note ! - \noexpand\dSh #1 }\showthe\n@ii - \or \global\n@raise=\z@\pl@llap{\ds@harp}\relax - \or \global\n@raise=\sh@raise\pl@llap{\s@harp}\relax - \else \message{Impossible to double sharpen the note ! - \noexpand\dSh #1 }\showthe\n@ii - \fi -}% -% -\def\smalldFl#1{\getn@i{#1}\sign@diff - \ifcase\n@ii\relax\global\n@raise=\fl@raise\pl@llap{\smallf@lat}\relax - \or \global\n@raise=\fl@raise\pl@llap{\smalldf@lat}\relax - \else \message{Impossible to double flatten the note ! - \noexpand\Fl #1 }\showthe\n@ii - \fi -}% -%\check -% -\def\smallFl#1{\getn@i{#1}\sign@diff - \ifcase\n@ii\relax\global\n@raise=\na@raise\pl@llap{\smalln@at}\relax - \or \global\n@raise=\fl@raise\pl@llap{\smallf@lat}\relax - \or \global\n@raise=\fl@raise\pl@llap{\smalldf@lat}\relax - \else \message{Impossible to flatten the note ! - \noexpand\Fl #1 }\showthe\n@ii - \fi -}% -%\check -\def\smallNa#1{\getn@i{#1}\sign@diff - \ifcase\n@ii\relax\global\n@raise=\sh@raise\pl@llap{\smalls@harp}\relax - \or \global\n@raise=\na@raise\pl@llap{\smalln@at}\relax - \or \global\n@raise=\fl@raise\pl@llap{\smallf@lat}\relax - \else \message{Impossible to reset natural the note ! - \noexpand\Na #1 }\showthe\n@ii - \fi -}% -\def\smallSh#1{\getn@i{#1}\sign@diff - \ifcase\n@ii\relax\global\n@raise=\z@\pl@llap{\smallds@harp}\relax - \or \global\n@raise=\sh@raise\pl@llap{\smalls@harp}\relax - \or \global\n@raise=\na@raise\pl@llap{\smalln@at}\relax - \else \message{Impossible to sharpen the note ! - \noexpand\Sh #1 }\showthe\n@ii - \fi -}% -\def\smalldSh#1{\getn@i{#1}\sign@diff - \ifcase\n@ii\relax\message{Impossible to double sharpen the note ! - \noexpand\dSh #1 }\showthe\n@ii - \or \global\n@raise=\z@\pl@llap{\smallds@harp}\relax - \or \global\n@raise=\sh@raise\pl@llap{\smalls@harp}\relax - \else \message{Impossible to double sharpen the note ! - \noexpand\dSh #1 }\showthe\n@ii - \fi -}% -\def\pl@hboxq#1{\pl@note\raise\y@i\hbox to \qd@skip{\hss #1 \hss}}% -\def\upperFl#1{\getn@i{#1}\sign@diff\global\n@raise=3\internote - \ifcase\n@ii\relax - \pl@hboxq{\smalln@at}\relax - \or - \pl@hboxq{\smallf@lat}\relax - \or - \pl@hboxq{\smalldf@lat}\relax - \else \message{Impossible to sharpen the note ! - \noexpand\Sh #1 }\showthe\n@ii - \fi -}% -\def\upperNa#1{\getn@i{#1}\sign@diff\global\n@raise=3\internote - \ifcase\n@ii\relax - \pl@hboxq{\smalls@harp}\relax - \or - \pl@hboxq{\smalln@at}\relax - \or - \pl@hboxq{\smallf@lat}\relax - \else \message{Impossible to sharpen the note ! - \noexpand\Sh #1 }\showthe\n@ii - \fi -}% -\def\upperSh#1{\getn@i{#1}\sign@diff\global\n@raise=3\internote - \ifcase\n@ii\relax - \pl@hboxq{\smallds@harp}\relax - \or - \pl@hboxq{\smalls@harp}\relax - \or - \pl@hboxq{\smalln@at}\relax - \else \message{Impossible to sharpen the note ! - \noexpand\Sh #1 }\showthe\n@ii - \fi -}% -\def\relativeaccidentals{\def\Xna{\Na}\def\Xsh{\Sh}\def\Xfl{\Fl}% -\def\Xdsh{\dSh}\def\Xdfl{\dFl}}% - - - -\catcode`\>=\catcode@gt -\catcode`\<=\catcode@lt -\catcode`\@=\catcodeat - diff --git a/Master/texmf-dist/tex/generic/musictex/musicvbm.tex b/Master/texmf-dist/tex/generic/musictex/musicvbm.tex deleted file mode 100644 index f2025bed144..00000000000 --- a/Master/texmf-dist/tex/generic/musictex/musicvbm.tex +++ /dev/null @@ -1,94 +0,0 @@ -% adjustable beam slopes -% #1: beam number, #2: starting pitch, #3: ending pitch, #4: extension (number -% of \noteskip's) -\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 - -\def\Ibu#1{\selectpoutre{#1}\I@bu{\i@bu}}% -\def\Ibbu#1{\selectpoutre{#1}\I@bu{\i@bbu}}% -\def\Ibbbu#1{\selectpoutre{#1}\I@bu{\i@bbbu}}% -\def\Ibbbbu#1{\selectpoutre{#1}\I@bu{\i@bbbbu}}% -\def\Ibl#1{\selectpoutre{#1}\I@bl{\i@bl}}% -\def\Ibbl#1{\selectpoutre{#1}\I@bl{\i@bbl}}% -\def\Ibbbl#1{\selectpoutre{#1}\I@bl{\i@bbbl}}% -\def\Ibbbbl#1{\selectpoutre{#1}\I@bl{\i@bbbbl}}% -% -\newcount\s@lopenum -\newcount\the@pitch -\newdimen\b@eamlength -% -% compute altitude difference of tried beam in \y@iv -% and compare with notes altitude difference -% -\def\I@buuchk{\y@iv=0.05\b@eamlength\multiply \y@iv by \s@lopenum\relax -\ifdim \y@iv>\n@ii\internote\relax - \advance\s@lopenum by -1\relax\I@buuchk -\fi -\ifnum \s@lopenum>9\relax \advance\n@i by 1\relax - \advance\n@ii by -1\relax\I@buuchk -\fi}% -% -\def\I@budchk{\y@iv=0.05\b@eamlength\multiply \y@iv by \s@lopenum\relax -\ifdim \y@iv<\n@ii\internote\relax - \advance\s@lopenum by 1\relax\I@budchk -\fi}% -% -\def\I@bu#1#2#3#4{{\inhgetn@i{#3}\n@ii=\n@i\relax -\inhgetn@i{#2}\advance\n@ii by -\n@i\relax -\b@eamlength=\noteskip -\multiply\b@eamlength by #4\relax -\ifnum\n@ii=0\relax - \edef\I@boper{\noexpand #1}\I@boper{#2}0\relax -\else\ifnum\n@ii>0\relax\s@lopenum=10\relax \I@buuchk - \else \s@lopenum=-10\relax \I@budchk - \fi - \edef\I@boper{\noexpand #1{\the\n@i}{\the\s@lopenum}\relax}\I@boper -\fi}}% -% -%\check -% -\def\I@bldchk{\y@iv=0.05\b@eamlength\multiply \y@iv by \s@lopenum\relax -\ifdim \y@iv<\n@ii\internote\relax - \advance\s@lopenum by 1\relax\I@bldchk -\fi -\ifnum \s@lopenum<-9\relax \advance\n@i by -1\relax - \advance\n@ii by 1\relax\I@bldchk -\fi}% -% -\def\I@bluchk{\y@iv=0.05\b@eamlength\multiply \y@iv by \s@lopenum\relax -\ifdim \y@iv>\n@ii\internote\relax - \advance\s@lopenum by -1\relax\I@bluchk -\fi}% -% -\def\I@bl#1#2#3#4{{\inhgetn@i{#3}\n@ii=\n@i\relax -\inhgetn@i{#2}\advance\n@ii by -\n@i\relax -\b@eamlength=\noteskip -\multiply\b@eamlength by #4\relax -\ifnum\n@ii=0\relax - \edef\I@boper{\noexpand #1}\I@boper{#2}0\relax -\else\ifnum\n@ii>0\relax\s@lopenum=10\relax \I@bluchk - \else \s@lopenum=-10\relax \I@bldchk - \fi - \edef\I@boper{\noexpand #1{\the\n@i}{\the\s@lopenum}\relax}\I@boper -\fi}}% -% -%\check -% sets of double notes with computed slopes -\def\Dqbbl#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% -\def\Dqbbu#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% -\def\Dqbl#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% -\def\Dqbu#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% -%\check -% sets of triple notes with computed slopes -\def\Tqbbl#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}% -\def\Tqbbu#1#2#3{\Ibbu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}% -\def\Tqbl#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}% -\def\Tqbu#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}% -%\check -% sets of quadruple notes with computed slopes -\def\Qqbbl#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1}\qb0{#2}\qb0{#3}\tqb0{#4}}% -\def\Qqbbu#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1}\qh0{#2}\qh0{#3}\tqh0{#4}}% -\def\Qqbl#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1}\qb0{#2}\qb0{#3}\tqb0{#4}}% -\def\Qqbu#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1}\qh0{#2}\qh0{#3}\tqh0{#4}}% -%\check -\catcode`\@=\catcodeat - 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