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authorKarl Berry <karl@freefriends.org>2010-11-20 23:13:29 +0000
committerKarl Berry <karl@freefriends.org>2010-11-20 23:13:29 +0000
commit7cbd6550ac55e762ba01ad62261e56f2e9e24f1d (patch)
tree4280b9d7e47f8cef9116a7d724f02a037fa284e0 /Master/texmf-dist/tex
parent612e347f3f21bc4531116e898863f1ccc46143b6 (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rm musictex, superseded by musixtex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')
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicadd.tex111
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicdoc.tex4118
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicext.tex225
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicnew.tex28
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicnft.tex938
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicper.tex227
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicpln.tex298
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicpos.tex43
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicpre.tex64
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicref.tex88
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicsix.tex11
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicsty.tex368
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musictex.tex2440
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musictrp.tex175
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicvbm.tex94
-rw-r--r--Master/texmf-dist/tex/latex/musictex/a4report.sty15
-rw-r--r--Master/texmf-dist/tex/latex/musictex/bigmusic.sty15
-rw-r--r--Master/texmf-dist/tex/latex/musictex/musicper.sty2
-rw-r--r--Master/texmf-dist/tex/latex/musictex/musictex.sty6
-rw-r--r--Master/texmf-dist/tex/latex/musictex/musictrp.sty2
-rw-r--r--Master/texmf-dist/tex/latex/musictex/musicvbm.sty2
21 files changed, 0 insertions, 9270 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
-
diff --git a/Master/texmf-dist/tex/latex/musictex/a4report.sty b/Master/texmf-dist/tex/latex/musictex/a4report.sty
deleted file mode 100644
index eac46a0a587..00000000000
--- a/Master/texmf-dist/tex/latex/musictex/a4report.sty
+++ /dev/null
@@ -1,15 +0,0 @@
-% a4.sty from a4letter.sty H.partl Wien
-
-% \oddsidemargin 53pt \evensidemargin 53pt \marginparwidth 90pt\marginparsep
-% 11pt \marginparpush 5pt
-% \topmargin 27pt \headheight 12pt \headsep 45pt \footheight 12pt \footskip
-% 25pt
-% \textheight 505pt \textwidth 365pt \columnsep 10pt \columnseprule 0pt
-% The above values (letter.sty) are replaced by the following values:
-
-
-\oddsidemargin 0.0in \evensidemargin 0.0in \marginparwidth .08in
-\marginparsep .01in \marginparpush 5pt
-\topmargin -15pt \headheight 12pt \headsep 25pt \footheight 12pt \footskip 25pt
-\textheight 8.9in \columnsep 10pt \columnseprule 0pt
-\textwidth 210mm \advance\textwidth by -2in
diff --git a/Master/texmf-dist/tex/latex/musictex/bigmusic.sty b/Master/texmf-dist/tex/latex/musictex/bigmusic.sty
deleted file mode 100644
index 56c19e67b16..00000000000
--- a/Master/texmf-dist/tex/latex/musictex/bigmusic.sty
+++ /dev/null
@@ -1,15 +0,0 @@
-%-% bigmusic.sty to be used
-%-% \documentstyle[bigmusic,musictex]{article}
-%-% with environment \begin{music}
-%-% It enlarges LaTeX to its near maximum page size for
-%-% large music array.
-%-% Theses lines can be changed just before \begin{document}
-\hoffset -1in % This should theoretically not be changed but if equal to 0
- % tex put a value of 1 inch. So we set it to -1 inch.
-\voffset -1in
-\evensidemargin 5mm
-\oddsidemargin 5mm
-\topmargin 1mm
-\textwidth 190mm
-\textheight 260mm
-
diff --git a/Master/texmf-dist/tex/latex/musictex/musicper.sty b/Master/texmf-dist/tex/latex/musictex/musicper.sty
deleted file mode 100644
index a814c6f9c43..00000000000
--- a/Master/texmf-dist/tex/latex/musictex/musicper.sty
+++ /dev/null
@@ -1,2 +0,0 @@
-\input musicper.tex
-
diff --git a/Master/texmf-dist/tex/latex/musictex/musictex.sty b/Master/texmf-dist/tex/latex/musictex/musictex.sty
deleted file mode 100644
index 3ebde05263f..00000000000
--- a/Master/texmf-dist/tex/latex/musictex/musictex.sty
+++ /dev/null
@@ -1,6 +0,0 @@
-\input musicpre.tex
-\input musicnft.tex
-\input musictex.tex
-\input musicvbm.tex
-\input musicpos.tex
-\endinput
diff --git a/Master/texmf-dist/tex/latex/musictex/musictrp.sty b/Master/texmf-dist/tex/latex/musictex/musictrp.sty
deleted file mode 100644
index 742a5a0dc99..00000000000
--- a/Master/texmf-dist/tex/latex/musictex/musictrp.sty
+++ /dev/null
@@ -1,2 +0,0 @@
-\input musictrp.tex
-
diff --git a/Master/texmf-dist/tex/latex/musictex/musicvbm.sty b/Master/texmf-dist/tex/latex/musictex/musicvbm.sty
deleted file mode 100644
index 0be1490414c..00000000000
--- a/Master/texmf-dist/tex/latex/musictex/musicvbm.sty
+++ /dev/null
@@ -1,2 +0,0 @@
-\input musicvbm.tex
-