ctan:support/m-tx/m-tx.texmf.zip

git-svn-id: svn://tug.org/texlive/trunk@26335 c570f23f-e606-0410-a88d-b1316a301751

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diff --git a/Master/texmf-dist/doc/generic/m-tx/m-tx.1 b/Master/texmf-dist/doc/generic/m-tx/m-tx.1
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@@ -0,0 +1,106 @@
+.\" This manpage is licensed under the GNU Public License
+.TH m-tx 1 2012-04-09  "m-tx script, version 0.3" ""
+
+.SH NAME
+m-tx \- This script processes mtx files then deletes intermediate files
+
+.SH SYNOPSIS
+[ texlua ]
+.B m-tx[.lua]
+{
+.IR option
+|
+.IR jobname 
+[ .mtx ] 
+} ...
+.TP 
+The default effect is to process each file using 
+.TP 12
+.BR prepmx  (1)
+(pre-pre-processing pass)
+.TP
+.BR pmxab (1)
+(pre-processing pass)
+.TP 
+.BR etex (1)
+(first pass)
+.TP
+.BR musixflx (1)
+(second pass)
+.TP
+.BR etex (1)
+(third pass)
+.TP
+.BR dvips (1)
+(dvi to Postscript)
+.TP
+.BR ps2pdf (1)
+(Postscript to Portable Document Format)
+.TP
+followed by removal of intermediate files.
+
+.SH OPTIONS
+.TP 8
+.B -v 
+output program name and version number, and quit
+.TP
+.B -h
+output usage summary and quit
+.TP
+.B -l 
+changes the TeX processor to
+.BR latex (1)
+or
+.BR pdflatex (1)
+.TP
+.B -p 
+changes the TeX processor to 
+.BR pdfetex (1) 
+or
+.BR pdflatex (1)
+(and doesn't run 
+.BR dvips (1)
+and 
+.BR ps2pdf (1)
+or
+.BR dvipdfm (1)
+)
+.TP
+.B -d 
+changes the dvi processor to
+.BR dvipdfm (1)
+.TP
+.B -s 
+stops processing at the dvi file
+.TP
+.B -t
+stops processing at the tex (and midi) files
+.TP
+.B -m
+stops processing at the pmx file
+.TP
+.B -i
+retain intermediate files
+.TP
+.B -f
+default processing 
+.TP 0
+Options affect processing of all succeeding mtx files unless changed by another option.
+
+.SH SEE ALSO
+.BR prepmx (1)
+.BR pmxab (1)
+.BR scor2prt (1)
+.BR etex (1),
+.BR latex (1),
+.BR pdfetex (1),
+.BR pdflatex (1),
+.BR musixflx (1),
+.BR dvipdfm (1),
+.BR dvips (1),
+.BR ps2pdf (1).
+.br
+mtx260.pdf
+
+.SH AUTHOR 
+This manual page was written by Bob Tennent <rdt@cs.queensu.ca>.
diff --git a/Master/texmf-dist/doc/generic/m-tx/m-tx.1.pdf b/Master/texmf-dist/doc/generic/m-tx/m-tx.1.pdf
new file mode 100644
index 00000000000..1b0d722836a
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/m-tx.1.pdf
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060.pdf b/Master/texmf-dist/doc/generic/m-tx/mtx060.pdf
new file mode 100644
index 00000000000..317c1daddd9
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060.pdf
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/Makefile b/Master/texmf-dist/doc/generic/m-tx/mtx060/Makefile
new file mode 100644
index 00000000000..c99862d03d0
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/Makefile
@@ -0,0 +1,113 @@
+PREPMX = ./prepmx
+include make-target
+
+sources = mtxdoc.tex mtxdoc.sty mtxlatex.sty mozart0.mtx mozart.mtx\
+ netfirst.mtx meter.mtx notes.tex lyrics.tex mtxindex.tex\
+ dertod.mtx volta.mtx title.mtx title1.mtx psalm42.mtx netsoos1.mtb \
+ netsoos2.mtb borup.mtx melisma1.mtb dwoman.mtb \
+ melisma2.mtb melisma3.mtb melisma4.mtb melisma5.mtb melisma6.mtb \
+ dwoman.mta melisma.mta netsoos.mta kroonhom.mtx loofnou.mtx \
+ viva.mtx dona.mtx sanctus.mtx halleluja.ltx kanons.ltx chord.mtx \
+ macro.mtx
+
+examples = mozart0.tex mozart.tex netfirst.tex meter.tex \
+ dertod.tex volta.tex title.tex title1.tex psalm42.tex netsoos1.tex \
+ netsoos2.tex borup.tex melisma1.tex dwoman.tex \
+ melisma2.tex melisma3.tex melisma4.tex melisma5.tex melisma6.tex \
+ chord.tex macro.tex
+
+halleluja_pieces = kroonhom.tex loofnou.tex
+
+kanons_pieces = viva.tex dona.tex sanctus.tex
+
+%.tex: %.mtx
+	$(PREPMX) $* 
+	pmxab $*
+	rm $*.pml $*.pmx pmxaerr.dat
+
+DOC: mtx.$(target)
+
+mtxdoc.$(target): mtxdoc.tex mtxdoc.sty $(examples)
+	touch mtxdoc.mx1
+	rm *.mx?
+	- $(latex) mtxdoc
+	musixflx mtxdoc
+	makeindex mtxdoc
+	- $(latex) mtxdoc
+	- $(latex) mtxindex
+	rm mtxdoc.log mtxdoc.idx mtxdoc.ilg mtxindex.log mtxindex.aux
+
+%.mtx: %.mta %.mtb
+	cat $*.mta $*.mtb > $*.mtx
+
+melisma%.mtx: melisma.mta melisma%.mtb
+	cat melisma.mta melisma$*.mtb > melisma$*.mtx
+
+netsoos%.mtx: netsoos.mta netsoos%.mtb
+	cat netsoos.mta netsoos$*.mtb > netsoos$*.mtx
+
+once: mtxdoc.tex mtxdoc.sty $(examples)
+	- $(latex) mtxdoc
+
+index: mtxdoc.idx mtxindex.tex
+	makeindex mtxdoc
+	$(latex) mtxindex
+
+%.$(target): %.ltx
+	- rm $*.mx?; $(latex) $*.ltx; musixflx $*; $(latex) $*.ltx
+
+kanons.$(target): kanons.ltx $(kanons_pieces)
+
+halleluja.$(target): halleluja.ltx $(halleluja_pieces)
+
+all: mtxdoc.$(target) kanons.$(target) halleluja.$(target) mtxindex.$(target)
+
+config:
+	@echo "Configuring mtxdoc Version `./docversion`"
+	@echo "Looking for prepmx ... `which prepmx`"
+	ln -sf `which prepmx` .
+	@echo "Looking for pmxab ... `which pmxab`"
+	@echo "Looking for musixflx ... `which musixflx`"
+	@echo "Looking for musixtex ... `kpsewhich musixtex.tex`"
+	@echo "Looking for musixlyr ... `kpsewhich musixlyr.tex`"
+	@echo "Looking for $(latex) ... `which $(latex)`"
+	@echo "Looking for $(concat) ... `which $(concat)`"
+
+pdftarget: 
+	ln -sf make-pdf make-target
+
+
+dvitarget: 
+	ln -sf make-dvi make-target
+
+paperus:
+	echo \\def\\paperUS{} > mypaper.tex
+
+papera4:
+	echo \\def\\paperA4{} > mypaper.tex
+
+mtxdocus.$(target): paperus mtxdoc.$(target)
+	mv mtxdoc.$(target) mtxdocus.$(target)	
+
+mtxdoca4.$(target): papera4 mtxdoc.$(target)
+	mv mtxdoc.$(target) mtxdoca4.$(target)
+
+ps: mtxdoc.ps halleluja.ps kanons.ps mtxindex.ps
+
+pdf: mtxdoc.pdf halleluja.pdf kanons.pdf mtxindex.pdf
+
+mtx.pdf: mtxdoc.pdf mtxindex.pdf
+	./pdfcat -a -o mtx.pdf -i "mtxdoc.pdf mtxindex.pdf"
+
+mtx.dvi: mtxdoc.dvi mtxindex.dvi
+	dviconcat -o mtx.dvi mtxdoc.dvi mtxindex.dvi
+
+support = docversion Makefile make-dvi make-pdf make-target pdfcat
+
+Dzip: 
+	- @zip -ju mtxD`./docversion` $(sources) $(support) README
+
+bare:
+	rm $(examples) $(halleluja_pieces) $(kanons_pieces) *.dvi *.lj *.ps *.pdf\
+     netsoos?.mtx melisma?.mtx *.mx? *.ind *.ilg *.toc *.aux *.log 
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/README b/Master/texmf-dist/doc/generic/m-tx/mtx060/README
new file mode 100644
index 00000000000..f8d3d306fe5
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/README
@@ -0,0 +1,73 @@
+                   M-Tx Documentation Package
+
+This is the development version of the M-Tx documentation.  It contains
+all the sources for generating the Users's Manual (mtxdoc.?), its index
+(mtxindex.?), and two sample music documents (halleluja.?, kanons.?), where
+'?' might be 'dvi', 'ps', 'pdf' or 'lj'.  
+
+On a GNU system (e.g. Linux; or Cygwin running under Windows) you need
+to change to some empty directory and unzip a file with a name of the
+form mtxD????.zip (use GNU unzip with the -a option, or some other
+unzipper that can convert text files to your operating system format).
+You need to have MusiXTEX, PMX, musixlyr and M-Tx already installed.
+
+Now decide whether you will need:
+ .ps, .pdf, .dvi or .lj files (go to 1); 
+ only .ps or .pdf files (goto 2).
+
+
+                1. If you want .dvi or .lj files
+
+This option allows you to make any of the four file formats.  Type
+
+  make dvitarget && make config
+
+to configure the option.  Make sure that everything looked for was found.
+You can then choose between:
+
+  make	      Makes mtx.dvi (and mtxdoc.dvi, mtxindex.dvi on the way there)
+  make all    Make .dvi files.  
+  make ps     Make .dvi and .ps files
+  make pdf    Make .dvi, .ps and .pdf files
+  make ?.lj   Make the specified .lj file
+
+
+                2. If you want only .ps or .pdf files
+
+You need to have pdflatex installed (any good TeX distribution has it). Type
+
+  make pdftarget && make config
+
+to configure the option.  Make sure that everything looked for was found.
+You can then choose between:
+
+  make	      Makes mtx.pdf (and mtxdoc.pdf, mtxindex.pdf on the way there)
+  make all    Make .pdf files.  
+  make ps     Make .pdf and .ps files
+ 
+You don't have the option of making .dvi or .lj files.
+
+
+Dirk Laurie  <dlaurie@na-net.ornl.gov> 
+
+
+FAQ - Frequently Asked Questions 
+
+1. I get "make: ./prepmx: Command not found".
+
+   A: You have omitted the "make config" step.
+
+2. I have configured, but the make still fails.
+
+   A: Look at the screen output from "make config".  Make sure that
+      there is a file name after each "...".
+
+3. Is there any difference between the .pdf and .ps files made by the
+   two options?
+
+   A: Yes.  If you go by the second route, slurs tend to look smoother
+      and certain additional slur shapes are possible; see the PMX manual.
+      Also, the two versions look a little different on a low-resolution 
+      monitor, but apart from slurs, should be virtually indistinguishable
+      when printed.
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/borup.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/borup.mtx
new file mode 100644
index 00000000000..0f00f9712a5
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/borup.mtx
@@ -0,0 +1,20 @@
+Meter: 3/4
+Title: Song of May
+Flats: 1
+Style: Singer
+Systems: 2
+Space: 10
+
+%% \\let\endpiecesav\endpiece\
+%% \\def\endpiece{\endpiecesav\input lyrics \input notes}\ 
+( d4 e ) g | ( d e ) g | ( f e ) f | d2 r4 |
+L: In ver-na-lis tem-po-ris
+L: Dum re-ces-sum fri-go-ris
+
+( f g ) a | ( a g ) f | g2d | g2 r4 :|: g2 d4+ | d2 d4 | ( d c ) b | a2 r4 |
+L: or-tu lae-ta-bun-do, ter-rae, ma-ris, ne-mo-ris
+L: nun-ti-at hi-run-do, vi-gor re-dit cor-po-ris,
+
+g2 a4 | ( b a ) g | ( f e ) f | d2 r4 | ( f g ) a | ( a g ) f | g2d | g2 r4 :|
+L: de-cus ad-est de-fo-ris re-no-va-to mun-do,
+L: ce-dit do-lor pec-to-ris tem-po-re iu-cun-do.
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/chord.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/chord.mtx
new file mode 100644
index 00000000000..a5b0ca6a798
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/chord.mtx
@@ -0,0 +1,10 @@
+Style: Organ 
+Meter: C
+Flats: 1
+
+{ cs0  c }{ c }{ c }
+C: {e{g{b {e{g{b {e{g{b egb
+{ cs0  c }{ c }{ c }
+C: {e{g{b {e{g{b {e{g{b egb
+{ cs0-  c }{ c }{ c }
+C: {b+ {b+ {b+ b+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dertod.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/dertod.mtx
new file mode 100644
index 00000000000..26cbd7b43e8
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/dertod.mtx
@@ -0,0 +1,9 @@
+Style: PianoBass
+PianoBass: Voices RH LH; Clefs F F; Continuo
+Meter: C/
+Flats: 1
+
+   f2 g4 e  | f2 a4   a | a2  f4 e | f2 f4 e | f2 g4 e | f2 a4   a | a2  f4 e |
+C: ad bd gd+ ad gle+ f+ gle+ ad acs ad d+ gd+ ad bd gd+ ad gle+ f+ gle+ ad acs
+   d2 d4 d  | d2 d4   a | a2  a4 a | a2 d4 d | d2 d4 d | d2 d4   a | a2  a4 a |
+C: d- d- d-   d- d-   d   a-  a- a-  d- d- d-  d- d- d-  d- d-   d   a-  a- a-
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/docversion b/Master/texmf-dist/doc/generic/m-tx/mtx060/docversion
new file mode 100755
index 00000000000..22dbcf815ec
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/docversion
@@ -0,0 +1 @@
+grep 'def\\versionname' mtxdoc.tex | sed -e "s/.*{\(.*\)\.\(.*\)}.*/\1\2/"
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dona.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/dona.mtx
new file mode 100644
index 00000000000..2921ad5a387
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/dona.mtx
@@ -0,0 +1,19 @@
+Title: Dona Nobis Pacem
+Flats: 1
+Meter: 3/4
+Style: Singer
+Bars/line: 8
+Size: 20
+
+U: !bf 1
+@+3 [ f8 c ] a2+ [ g8 c- ] b2+ ( a4 g ) f f e2 ( d4+ c8 b ) [ a g ] ( c4.b ) a ( a8 g f4 e ) f2d
+L: Do-na no-bis pa-cem, pa-cem, do-na no-bis pa-cem, 
+
+U: 2
+c2d+ cd ( c4 b ) a a g2 d4+ d2 c4 c2 ( c8 b a4 g )+5 f2d
+L: do-na no-bis pa-cem, do-na no-bis pa-cem,
+
+U: 3
+@=+1 f2d ed ( f4d g8 ) [ a b ] c4 c2- b4+ b2 a4 a2 ( e8 g c4 c- ) f2d
+L: do-na no-bis pa-cem, do-na no-bis pa-cem.
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mta b/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mta
new file mode 100644
index 00000000000..77f00c576b4
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mta
@@ -0,0 +1,4 @@
+Style: Singer
+Meter: 3/4
+
+%% w80m
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mtb
new file mode 100644
index 00000000000..c9003cbf5bf
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mtb
@@ -0,0 +1,3 @@
+e f g ( a2d a ) (" g8 f ) (" e4 e ) 
+L: She is a dan-ge-rous wo-man
+L: You'll get a bro--ken heart_  
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/halleluja.ltx b/Master/texmf-dist/doc/generic/m-tx/mtx060/halleluja.ltx
new file mode 100644
index 00000000000..4b09e89f67b
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/halleluja.ltx
@@ -0,0 +1,75 @@
+\documentclass[a4paper]{article}
+\usepackage{etex}
+\usepackage{mtxlatex,times}
+\mtxlatex
+\pagestyle{headings}
+\title{    {\Huge Halleluja!\\ [2ex]}
+  {\Large\textit{Anthems for unaccompanied church choir (SATB)}\\ [5ex]}}
+\author{\Large Edited by Dirk Laurie} 
+\date{} 
+\let\Writebarno\writebarno
+\begin{document}
+  \maketitle
+  \thispagestyle{empty}
+  \tableofcontents
+  \section*{} % Foreword
+The scores in this booklet were edited from nearly illegible photocopies
+of crudely duplicated manuscripts, themselves made by inexpert copyists 
+from unknown originals in the days before photo-copying machines existed.
+Any remaining errors are the responsibility of the editor.
+
+Unfortunately the available sources did not specify who the composers
+and lyrics writers of these anthems are.
+\pagebreak
+
+\def\writebarno{\vbox to 24pt{}{\Writebarno}}
+\begin{Score} {Kroon Hom!} {kroonhom} \end{Score}
+\def\writebarno{\vbox to 16pt{}{\Writebarno}}
+\begin{Score} {Loof nou die Heer} {loofnou} \end{Score}
+
+  \section*{Technical notes}
+The score was typeset by the editor using his own \MTx\ typesetting program, 
+which in turn relies on the programs \PMX\ by Don Simons, \texttt{musixlyr.tex}
+by Rainer Dunker, MusiX\TeX\ by Daniel 
+Taupin \textit{et al.}, \LaTeX\ by Leslie Lamport and \TeX\ by Donald Knuth.
+
+  \section*{The lyrics}
+Here is a literal translation of the words of the first anthem.
+\begin{verse}
+  \begin{center} Crown Him! \end{center}
+Crown Him! Crown Him! Crown Him! \\
+Around the throne of God on high rejoices a crowd of people, 
+a crowd redeemed of sin and guilt.  \\
+And crown Him as your Lord.  \\
+Bring praise and thanks and glorify his Name and crown Him as your Lord. \\
+The promise of the Second Coming and the Advocacy of the Spirit causes men and
+the Creation to wait hopefully for eternal freedom. \\
+One day corn and chaff will be separated. \\
+He will lead us in freedom. \\
+Throw all your sorrows before Him and crown Him as your Lord. \\
+Let every person, every nation on this earth praise Thee. \\
+Unto Him eternal praise and glory and crown Him as your Lord. \\
+O ye that are chosen, come and assemble before his feet. \\
+Join everyone in eternal song and crown Him as your Lord. \\
+Amen.
+\end{verse}
+
+The second anthem is a translation of Psalm 150.  Rather than
+an attempt at rendering that version into English, here are the
+relevant verses from the Authorised Version (King James Bible).
+\begin{verse}
+  Praise ye the \textsc{Lord}.  Praise God in his sanctuary: praise
+him in the firmament of his power. \\
+  Praise him for his mighty acts: praise him according to his excellent
+greatness. \\
+  Praise him with the sound of the trumpet: praise him with the psaltery
+and harp. \\
+  Praise him with the timbrel and dance: praise hom with stringed instruments 
+and organs. \\
+  Praise him upon the loud cymbals: praise him upon the high sounding 
+cymbals. \\
+  Let every thing that hath breath praise the \textsc{Lord}.
+ Praise ye the \textsc{Lord}. 
+\end{verse}
+\end{document}
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/kanons.ltx b/Master/texmf-dist/doc/generic/m-tx/mtx060/kanons.ltx
new file mode 100644
index 00000000000..973ce3f982e
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/kanons.ltx
@@ -0,0 +1,13 @@
+\documentclass{article}
+\usepackage{etex}
+\usepackage{mtxlatex,charter}
+\mtxlatex
+\pagestyle{empty}
+\renewcommand{\writebarno}{\rule{0pt}{12pt}}
+\begin{document}
+ \begin{excerpts}
+\input{dona.tex} \vskip 8mm
+\input{sanctus.tex} \vskip 8mm
+\input{viva.tex} \newpage
+  \end{excerpts}
+\end{document}
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/kroonhom.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/kroonhom.mtx
new file mode 100644
index 00000000000..3908d39d43c
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/kroonhom.mtx
@@ -0,0 +1,144 @@
+Title: Kroon Hom!
+Flats: 2
+Style: SATB
+Pages: 3
+Systems: 14
+Space: 0 4
+% %\font\tensf=cmss10 \tensf
+
+%% h280m w193m 
+% 0
+f | b2 r4 b | d2 r4 d | { f0 | f2 } r4 || f- | fd f8 [ g a ] [ b c ] | 
+L: Kroon Hom, kroon Hom, kroon Hom! Rond-om die troon van 
+f | d2 r4 f | g2 r4 g | (-4 b2 a4 g | a2 )-4 r4 || c- | dd d8 e4 e | 
+f | b2 r4 d | d2 r4 d | (+2 d2 c4 b | c2 )+2 r4 || f- | bd b8 b4 b | 
+f | b2- r4 b+ | b2 r4 b | { f0 | f2 } r4 || a- | b2 e4 g | 
+
+% 5
+d4 d d e | d [ c8 b ] c4d b8 | b2d b4 | 
+L: God om-hoog juig steeds 'n men-se-skaar, 'n 
+f fs g g | f f fd f8 | f2d b4 | 
+b c b c | b b a a | b0 | 
+b a g c- | f f f e | (-6 d f8 e d c )-6 d4 |
+
+% 10
+[ a8 g ] [ a b ] c4 c | [ b8 a ] [ b c ] d4 [ c8 b ] | [ a b ] c4 a g | 
+L: skaar ver-los van sond' en skuld.   En kroon Hom as u 
+f f f fs | g g g g | f f f e | 
+c2 a4 d | c2 b4 c | c a c b | 
+@-6 e2 e4 d | g2d e4n | f2 c | 
+L: skaar los van sond', en kroon Hom
+
+% 13
+f2d |: f4 | [ b8 c ] [ d c ] b4 f | g2d g4 | [ c8 d ] [ e d ] c4 g | a2d f4 | 
+L: Heer, en kroon hom as u Heer, en kroon Hom as u Heer. Bring 
+c2d |: [ f8 e ] | [ d e ] [ f e ] d4 d | e2d f4r | [ e8 f ] [ g f ] e4 e | f2d f4 | 
+a2d |: f4 | f b f b | b2d b4n | c c g c | c2d a4 | 
+fd |: f4 | b2d- b4 | [ e8 f ] [ g f ] e4 d | c2d c4 | [ f8 g ] [ a g ] [ f g ] [ f e ] | 
+L: Heer, en kroon, en kroon Hom as u Heer, kroon Hom as Heer. Bring
+                       
+% 18-19
+b c d e | fd b8- a4 g | fd f8 [ a g ] [ f e ] | 
+L: lof en dank en prys sy Naam en kroon Hom as u 
+g a b b | bd f8 f4 cs | dd d8 e4 c | 
+b f+ f e | bd b8 b4 b | bd b8 [ c b ] a4 | 
+d4 f b g | dd d8 e4 en | fd f8 f4 [ f8 fs ] | 
+
+% 20-23
+d2d f4 | (+6 g c8 b a4 d8 c | b4 e d )+5 c |
+L: Heer. En kroon Hom 
+b2d f4+ | (-2 e g f a | b c b )-2 g | 
+b2d b4 | (+6 b e8 d c4 f8 e | d4 f2 )+4 e4 |
+g4 g- (-8 g8+ f e d | e d c4 f8 e d4 | g a b )-6 e- | 
+L: ~ En kroon Hom
+
+% 24-
+%%L5
+b2 a | bd :| d4 | dd d8 c4 b a g fsd d8 g4 a b c d2d r4
+L: as u Heer. Be-lof-te van die We-der-koms en Voor-spraak van die Gees
+f2 f | fd :| f4s | g4d g8 g4 g en e dd d8 | d4 d d g | f2sd r4
+d2 ( c4 e ) | d2d :| d4 | b b c c cs c d [ a8 fs ] | g4 fs g g | a2d r4
+f2 f2 zf- | b2d :| d4 | g g e g a a d- d | b a g e+ | d2d r4
+
+d c8 b a4 g c f- en d [ c8 f ] [ g a ] g4d f8 f2d r4
+g g8 g f4 en f c c cr c c end c8 c2d r4
+L: laat mens (en) skep-ping hoop-vol wag om e-wig vry te wees.
+b c c c c f- g g f en c+ b a2d r4
+g en f [ c8 b ] a4 a c b a b c c f2d r4 
+
+fs8 f4 f8 g4 g a a8 a b4 b c8 c4 c8 b4 c d2d d4 dd d8 d c b af 
+d8 d4 d8 d4 d d d8 d d4 f f8 f4 f8 f4 f f2d f4s g4d g8 f e d f 
+L: Een-maal word kaf en ko-ring ge-skei.  Hy sal ons in vre-de lei. Werp al jou sor-ge voor Hom 
+a4 a g2 fs g4 b a a b a b2d a4 b b ad b8 | 
+d c b2 a g4 d+ f e d c b2d d4 g g b- b | 
+L: Een-maal kom Hy weer, hy sal in vre-de lei. Werp al jou sor-ge
+
+g2d g4 ad g8 fs4 g a2d of f4
+e2d e4 en e d d d2d f4
+L: neer, (en) kroon Hom as u Heer.  En
+b0 | a4 a a g fs2d fn4
+e0 | cs4 c [ d8 cn ] b4 a2d ofd f4+
+
+[ b8 c ] [ d c ] b4 f g2d g4  [ c8 d ] [ e d ] c4 g a2d f4 
+[ d8 e ] [ f e ] d4 d e2d f4r [ e8 f ] [ g f ] e4 en f2d f4 
+L: kroon Hom as u Heer, en kroon Hom as u Heer.  Bring 
+f b f b b2d bn4 c c g c c2d a4 
+b2d- b4 [ e8 f ] [ g f ] e4 d c2d c4 [ f8 g ] [ a g ] [ f g ] [ f e ] | 
+L: kroon, en kroon Hom as u Heer, kroon Hom as Heer. Bring
+
+b c d e fd b8- a4 g fd f8 [ a g ] [ f e ]
+f a b b bd f8 f4 cs dd d8 e4 c
+L: lof en dank en prys sy Naam en kroon Hom as u
+b f+ f e bd b8 b4 b bd b8 [ c b ] a4
+d4 f b g | dd d8 e4 en | fd f8 f4 [ f8 fs ]
+
+d2d f4 (+8 g c8 b a4 d8 c b4 e d )+6 c b2 c
+L: Heer. En kroon Hom as u
+b2d f+4 g [ c8 b ] a4 [ d8 c ] b4 e d f- f2 en
+b2d f4  g [ c8 b ] a4 [ d8 c ] b4 e d c d2 ( c4 b )
+g2d f4  (-2 g c8 b a4 d8 c b4 e d )-6 a g2 c-
+
+fd- f4 fd f8 [ g a ] [ b c ] d4 d d e d [ c8 b ] c4d b8 
+fd c4 dd d8 e4 e f fs g g f f f f
+L: Heer.  Laat al-le men-se, el-ke volk op hier-die aard U 
+a2d f4 b b b b b c b c b b a a
+f2d a4- b b e g b a g c- f f f e
+
+b2d b4 [ a8 g ] [ a b ] c4 c 
+f2d f4 f f f fs 
+L: loof.  Aan Hom die eew'-ge 
+b2d b4 c c a d 
+( d f8 e d c )-6 d4 e e e d 
+
+[ b8 a ] [ b c ] d4 b [ a8 b ] c4 a g
+g g g g f f f en
+L: lof en eer, en kroon Hom as u        
+d d b c c a c b
+g2d en4 f2 c
+L: lof, en kroon Hom
+
+f2d g4  [ a8 b ] [ c d ] e4 en f2d of f4-
+c2d f4r [ f8 g ] [ a b ] a4 b a2d d4-
+L: Heer.  En kroon Hom as u Heer.  O 
+a2d b4 f+ f f c c2d b4
+f2d g4 [ c8 d ] [ c b ] c4 c f2d- ofd b4-
+
+b b b c d [ c8 b ] c4 f- g f8 e d4 f
+f g f f f en f f e b8 b b4 c 
+L: die wat uit-ver-ko-re is, kom skaar jul-le voor sy 
+b b b a b b a b b b8 g f4 a
+d e d f b g f d e d8 e f4 f 
+
+b2d f4 b b b c d [ c8 b ] c4 f- b2 b d d
+d2d d4 f f f f f en f [ f8 ef ] [ d e f g ] f2 ( g4d a8 ) b2
+L: voet.  Voeg al-mal saam in eew'-ge sang, en kroon Hom, kroon Hom,
+b2d b4 b b b a b g a a b2d [ d8 c ] [ b c d c ] [ b c d e ]
+b2d- b4 d e d f b- c f f [ b8- c d e ] [ d f b a ] [ g a b a ] [ g a b c ]
+
+f f d e d c b0 b b of
+@+2 b2 b b g b f f0 g f 
+L: kroon Hom, kroon Hom, as u Heer! A-men.
+f2 d f e [ f8 d c b ] a2 d0 e d
+%[ d b a g ] [ f e d c ] [ b c d b ] [ e b d e ] f2 f zf- b0 e b ofd
+[ d b a g ] [ f e d c ] [ b c d b ] [ e b d e ] f2 f zf- b0 e b ofd 
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/loofnou.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/loofnou.mtx
new file mode 100644
index 00000000000..be0289f32c1
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/loofnou.mtx
@@ -0,0 +1,104 @@
+Title: Loof nou die Heer
+Composer: Psalm 150
+Style: SATB
+Pages: 2
+Systems: 10
+Space: 2
+
+%% h280m w193m 
+g e8.g c2 | c4 b8.a g2 | 
+e c8.e e2 | a4 g8.f e2 | 
+L: Loof nou die Heer, loof nou die Heer,
+c+ g8.c c2 | c4 c8.c c2 | 
+c c8.c c2 | f4 f8.f c2 | 
+
+g8 g c d e.e e4 | e8 e d c  d.d d4 |  
+e8 e g g g.g g4 | g8 g g fs g.g g4 | 
+L: loof Hom in Sy hei-lig-dom, loof Hom in Sy hei-lig-dom,
+c8 c c b c.c c4 | c8 c d c b.b b4 |  
+c8 c e g c.c c4 | c8 c b a g.g g4 | 
+
+d8 d c b c4 g8 g  | b4 a g g of  |            
+g8 g g f e4 g8 g  | g4 fs g fne |            
+L: loof Hom in die uit-span-sel van Sy sterk-te.
+b8 b c g g4 e+8 e | d4 c b b |               
+g8 f e d c4 c8 c  | d4 d g g ofd |
+
+g8 g e g c.c c4     | c8 c b a g.g g4 |  
+e8 e c e e.e e4     | a8 a g f e.e e4 |  
+L: Loof Hom om Sy mo-\"end-heid, loof Hom om Sy mo-\"end-heid, 
+c8 c g c g.g [ g8 c ] | c8 c c c c.c c4 |  
+c-8 c c c c.c c4    | f8 g a br c.c- c4 |
+
+U: | ~ ~ ~ ~ !bf ~~~~~~Fine
+c8 c d d e c a d  | c8 c b b c2 of |]
+g8 g g g g g f a  | g8 g f f e2    |]  
+L: loof Hom na die groot-heid, na die groot-heid van Sy krag.
+c8 c b b c c c f  | e8 e d d c2    |]  
+e8 e g g c e- f d | g8 g g g c-2 ofd  |]  
+                
+   r0 |                  r0 | e8.e e e d4 b8 g |  a0e |                
+d8.d d d d4 d8 d |    b+2 g | g8.g g g g4 g8 g |  (-6 g4 f8s e f2 )-6 |
+L: Loof Hom met die klank van ba-sui-ne, loof Hom met die luit en die harp; 
+ r0+4 |                r0+4 | c8.c c c d4 d8 cs | d0 |                 
+d8.d d d d4 d8 d | b+2 g | c8.c c c b4 g8 e |  d0 |              
+       
+b8.b b b c4 d8 d |  e2 g | d8 cs d g- b4 a8.g | g0e       
+g8.g g g g4 g8 g |  g2 g | g8 g g g g4 fs8.g | ( g2 fn ) 
+L: Loof Hom met die klank van ba-sui-ne, loof Hom met die luit en die harp; 
+d8.d d d c4 b8 b |  c2 as | b8 as b cs d4 c8.b | b0     
+g8.g g fn e4 d8 d | c2 cs | d8 e d e d4 d8.g | g0        
+
+%% L6P2
+Space: 3
+|: g8.g g g g4 g8 g |    g8 e+ c a g2 |
+|: e8.e e e f4r f8r fr | e8 g e ds e2 |
+L: loof hom met die trom-mel, die trom-mel en die fluit.
+|: c8.c c c b4 b8 b  |   c8 c g fs g2 |
+|: c-8.c c c d4 d8 d |   c8 c c c c2 | 
+              
+@+8 (+8 g8 a b d f4- )+8 f | (+9 e8 g c g e4 )+7 e |
+LS: Loof Hom, loof  Hom
+d4 f d2 |        c4 e c2 |      
+L: Loof die Heer, loof die Heer;
+b4 b b2 |        g4 g g2 |      
+g4+ g g2 |       c-4 c c2 |     
+
+g8.g g g g4 g8 g |    g8 e+ c a g2 |
+e8.e e e f4r f8r fr | e8 g e ds e2 |
+L: loof hom met die trom-mel, die trom-mel en die fluit.
+c8.c c c b4 b8 b |    c8 c g fs g2 |
+c8.c c c d4 d8 d |    c8 c c c c2 | 
+              
+f8 g b d f d b g   | c2 c       :|         
+f8 fr f f f f f fr | ( e4 ds ) e2 :|
+L: Loof die Heer met sna-re-spel en or-rel.
+b8 b b b b b b b   | ( c4 a ) g2  :| 
+g8+ g g g g g g g  | c-2  c   :|     
+               
+r0 | r0 | c4 c8 d e e d c |  d2 d |          
+r0 | r0 | e4 g8 g g g g fs | g2 g |          
+@^-3 a4 a8.a c.c a4 |  e2 e2 | g4 c8 b c c b c |  (+6 c4 b8 a )+6 b2 |
+L: Loof Hom met sim-bel-spel, loof Hom, loof Hom met klin-ken-de sim-ba-le.
+a+4 a8.a c.c a4 | e2 e2 | c4 e8 g c c g a |  g2 g |        
+       
+e4 d8.d c4 b8.b | a4 g8.g f2 | 
+g4 f8.f e4 g8.g | f4 e8.e d2 | 
+L: Al-les wat a-dem, kom loof, loof die Heer;
+c4 b8.b c4 c8.c | c4 a8.a b2 | 
+c4 g8.g a4 e8.e | f4 cs8.c d2 |
+
+f+4 e8.e d4 c8.c | b4 a8.a g2 |        
+g4 g8.g a4 a8.a |  g4 fs8.f g2 |       
+L: al-les wat a-dem, kom loof, loof die Heer;
+b4 c8.c c4 d8.d |  d4 c8.c b2 |        
+d4 e8.e f4 fs8.f | g4 d8.d ( g4 fn ) |
+
+U: | | | ~~D.C.~al~Fine 
+g+4 f8.f e4 d8.d | c4 b8.b a4 of f+8.f | e4 [ c8.e ] g4 b- | c0 :|   
+g4 g8.g g4 f8.f |  e4 g8.g f4 a8.a | g4 g g g | e0 :|   
+L: al-les wat a-dem, kom loof, loof die Heer; Hal-le-lu-ja, loof die Heer. 
+c4 c8.c c4 c8.c |  c4 c8.c c4 c8.c | c4 [ e8.c ] b4 d | c0 :|   
+e d8.d c4 g+8.g | a4 e8.e f4 ofd d8.d | g4 g g g  | c-0 :| 
+
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/lyrics.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/lyrics.tex
new file mode 100644
index 00000000000..d9ee84a1ee5
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/lyrics.tex
@@ -0,0 +1,14 @@
+% -------- file lyrics.tex ---------------------------------------
+\vskip 8 mm
+\halign{\hskip 35 mm # \hfill & \hskip 25 mm \it # \hfill \cr
+In vernalis temporis 		& In the time when \cr
+ortu laetabundo, 		& spring rises joyfully, \cr
+dum recessum frigoris		& the end of frost \cr
+nuntiat hirundo, 		& is heralded by the swallow, \cr 
+terrae, maris, nemoris 		& earth, sea and grove \cr 
+decus adest deforis 		& is full of beauty \cr 
+renovato mundo, 		& like a renewed world, \cr 
+vigor redit corporis, 		& the body regains strength, \cr
+cedit dolor pectoris 		& the sorrow of the heart ends \cr
+tempore iucundo.		& in this playful time \cr
+}
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/macro.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/macro.mtx
new file mode 100644
index 00000000000..f75ac802447
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/macro.mtx
@@ -0,0 +1,15 @@
+Style: Woodwind Violins
+Woodwind: Voices FlObCl; Clefs G
+Violins: Voices Violini; Clefs G
+Flats: 1
+Meter: C
+Enable: countMacro
+
+MS1 c8+ za zf zc M [u MP1 MP1 MP1 MP1 ] [u MP1 MP1 MP1 MP1 ]
+r2 r4 r8 b1n d 
+
+[u MP1 MP1 MP1 MP1 ] [u MP1 MP1 MP1 MP1 ] 
+c8 b1n d c8  b1 d c4.a    
+
+[u MR3 c8+ zb zg ze zc M MP3 MP3 MP3 ] [u MP1 MP1 MP1 MP1 ]
+a1 g g a b8 g1 a1 f4d r8
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-dvi b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-dvi
new file mode 100644
index 00000000000..ea88e471c27
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-dvi
@@ -0,0 +1,16 @@
+target = dvi
+latex = latex
+concat = dviconcat
+
+%.lj: %.dvi
+	dvicopy $* xxx
+	dvilj -e$*.lj xxx
+	rm xxx.dvi
+
+%.pdf: %.ps
+	ps2pdf $*.ps
+
+%.ps: %.dvi
+	dvips -D 600 $* -o $*.ps 
+	
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-pdf b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-pdf
new file mode 100644
index 00000000000..355b8e48682
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-pdf
@@ -0,0 +1,6 @@
+target = pdf
+latex = pdflatex
+concat = gs
+
+%.ps: %.pdf
+	pdf2ps $*.pdf $*.ps 
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-target b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-target
new file mode 100644
index 00000000000..355b8e48682
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-target
@@ -0,0 +1,6 @@
+target = pdf
+latex = pdflatex
+concat = gs
+
+%.ps: %.pdf
+	pdf2ps $*.pdf $*.ps 
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma.mta b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma.mta
new file mode 100644
index 00000000000..273f446bcc8
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma.mta
@@ -0,0 +1,5 @@
+Style: Singer
+Meter: C
+Start: @+2
+ 
+%% w2i
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma1.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma1.mtb
new file mode 100644
index 00000000000..3f36f53124b
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma1.mtb
@@ -0,0 +1,2 @@
+( c8 d1 e1 d8 e1 f1 ) e2 |
+L: A-men
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma2.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma2.mtb
new file mode 100644
index 00000000000..d35cbcc5288
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma2.mtb
@@ -0,0 +1,2 @@
+[ c8 d1 e1 d8 e1 f1 ] e2 |
+L: A-men
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma3.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma3.mtb
new file mode 100644
index 00000000000..70973365b6c
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma3.mtb
@@ -0,0 +1,2 @@
+( [ c8 d1 e1 d8 e1 f1 ] ) e2 |
+L: A-men
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma4.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma4.mtb
new file mode 100644
index 00000000000..73a6efb78ee
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma4.mtb
@@ -0,0 +1,3 @@
+%% \\let\BM\beginmel\let\EM\endmel\
+[[ \BM\ c8 d1 e1 ] [[ d8 e1 \EM\ f1 ] e2 |
+L: A-men
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma5.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma5.mtb
new file mode 100644
index 00000000000..4d6dafa134c
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma5.mtb
@@ -0,0 +1,2 @@
+[ c8 d1 e1 ] [ \nolyr\ d8 e1 f1 ] e2 |
+L: A-men
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma6.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma6.mtb
new file mode 100644
index 00000000000..85a0e3a162f
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma6.mtb
@@ -0,0 +1,3 @@
+@-3 (" [ c8  \lyr\ d1 e1 ] [ d8 e1 f1 ] ) e2 |
+L: Hal-le-lu-ja
+L: A---men
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/meter.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/meter.mtx
new file mode 100644
index 00000000000..7223d511c32
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/meter.mtx
@@ -0,0 +1,10 @@
+Style: Piano
+Meter: m3406
+%% \def\upiii#1{\raise3\internote\hbox{{#1}}}
+%% \def\chacarera{\meterfrac34\upiii{\Big(}\meterfrac68\upiii{\Big)}}
+%% \let\oldmeterC=\meterC  \let\meterC=\chacarera
+
+%% w100m
+a-2d o> a8 r r a r r a2d o> |
+C: dfsa cea cea dfsa 
+d-2d o>-15 a4 a { [h d8 {u d+ ] d2d } zd- } |
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart.mtx
new file mode 100644
index 00000000000..88a4123c24d
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart.mtx
@@ -0,0 +1,7 @@
+Title:  Riff in C
+Composer: W. A. Mozart (1756--1791)
+Style: piano
+
+%% w120m
+c2+       e4    g   | b4d-  c1 d c2        |
+c8 g+ e g c- g+ e g | d g f g    c- g+ e g |
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart0.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart0.mtx
new file mode 100644
index 00000000000..b6538192716
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart0.mtx
@@ -0,0 +1,2 @@
+c2+       e4    g   | b4d-  c1 d c2        |
+c8 g+ e g c- g+ e g | d g f g    c- g+ e g |
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.sty b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.sty
new file mode 100644
index 00000000000..521d823bfd0
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.sty
@@ -0,0 +1,108 @@
+%  mtxdoc.sty: macro package for writing documents with music examples  
+%  Some comments on usage appear at the bottom
+
+%  Thanks to Daniel Taupin whose 'musixdoc.sty' is the source 
+%  for some of these
+
+%  Fonts and mark-up 
+
+\newfont{\mflogo}{logo10 scaled 1200}
+\font\tentt=\fontid tt10
+\def\ital#1{{\sl #1\/}}
+\def\textbs#1{\textbf{\textsl{#1}}}
+
+%  Characters
+
+\def\Bslash{\tt\char'134}
+\def\lquote{{\tt\char'140}}
+\def\rquote{{\tt\char'047}}
+\def\squote{{\tt\char'015}}
+\def\dquote{{\tt\char'042}}
+\def\|{{\tt\char'174}}
+\def\LBR{{\tt\char'173}}
+\def\RBR{{\tt\char'175}}
+\def\snake{{\tt\char'176}}
+\def\atsign{{\tt\char'100}}
+\def\less{{\tt\char'074}}
+\def\more{{\tt\char'076}}
+\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}%
+
+%  Logos
+
+\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX}
+\def\MF{{\mflogo METAFONT}}
+\def\unix{{\sc unix}}
+\def\ABC{\textbf{\texttt{ABC2M\TeX}}}
+
+%  Making an index
+
+\long\def\theindex{\renewcommand{\thesection}{}\section{Index}\parindent\z@
+  \parskip\z@ plus.3\p@\relax \let\item\@idxitem \columnseprule\z@
+  \columnsep35\p@ \begin{multicols}{2}}
+\def\endtheindex{\end{multicols}}
+\def\keyindex#1{\leavevmode
+ \hbox{{\color{red}\Bslash #1}}\index{#1@{\protect\Bslash #1}}}
+\def\zkeyindex#1{\index{#1@{\color{red}\protect\Bslash #1}}}
+\def\indexed#1{{\color{green}#1}}
+\def\ixem#1{\indexed{#1}\index{#1}}
+\def\itxem#1{\indexed{\ital{#1}}\index{#1}}
+\def\ttxem#1{\indexed{\tt #1}\index{#1@{\tt #1}}}
+\newcommand{\ttxi}[1]{\item{\ttxem{#1}}}
+\def\ibxem#1{\indexed{\bf#1}\index{#1}}
+\def\dotxem#1{\indexed{\tt .#1}\index{#1@{\tt .#1}}}
+\def\mark#1{\underline{\ttxem{#1}}}
+\def\printindex{\@input{\jobname.ind}}
+
+%  Version highlighting
+
+\def\current{ \version}
+\def\newfrom{0.0}
+\def\NEW#1{\ifdim#1 pt<\newfrom pt\else%
+\index{NEW!\textsf{#1}}\marginpar{\fbox{\textsf{#1}}}\fi}
+
+%  Paper size
+
+% A4
+\newcommand{\paperAfour}{
+\immediate\typeout{A4 paper size}
+\global\textheight 240mm
+\global\textwidth 160mm
+\global\topmargin -16mm
+\global\oddsidemargin 0mm}
+% US Letter
+\newcommand{\paperUS}{ 
+\immediate\typeout{US paper size}
+\textheight 9.2in 
+\textwidth 6.5in
+\topmargin -0.84in 
+\oddsidemargin 0mm
+}
+
+%  If there is no file 'mypaper.tex' then \paperA4 is the default paper size. 
+%  Historically 'mypaper.tex' was used to select paper size only.
+%  It can of course contain any TeX macros suitable for the preamble.
+\newread\mypaper
+\openin\mypaper mypaper.tex\relax
+\ifeof\mypaper\paperAfour\else\input mypaper.tex\fi\closein\mypaper
+
+\endinput
+
+=======================================================================
+
+The macros  \example  and  \fullExample  are designed to let the
+music appear side by side with some verbatim code.
+
+\fullExample{basename} takes the input from file  basename.tex  and
+  puts the source from file  basename.mtx  next to it.  The right-hand
+  minipage is centered because the source is expected to be taller than 
+  the music.
+
+\example{basename} takes the input from file  basename.tex  and
+  puts the source from file  basename.mtb  next to it.  In the
+  case of the M-Tx manual,  basename.mtb  is part of  basename,mtx,
+  but of course one could put anything in the file.  The right-hand
+  minipage is bottom=aligned ed because the source is expected to be 
+  not taller than the music.
+ 
+There are some small differences in dimensions between the two macros,
+which are intended to make them look just right when used together.
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.tex
new file mode 100644
index 00000000000..ff9ce04d016
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.tex
@@ -0,0 +1,2108 @@
+\documentclass[11pt]{article}
+\usepackage{etex}
+\usepackage{a4wide,color,mtxlatex,mtxdoc} 
+% You might like to put \paperUS here
+\usepackage{verbatim,charter}
+% \renewcommand{\ttdefault}{cmtt}  
+% Some such font packages override cmtt with wider fonts like 'courier', 
+% and then 80-character lines don't fit
+\mtxlatex
+\newcommand{\delete}[1]{\relax}
+\newcommand{\archiveSite}{
+ \texttt{http://icking-music-archive.sunsite.dk/mailinglist/archive}
+}
+\newcommand{\mailingList}{
+\texttt{tex-music@sunsite.dk}
+}
+
+\def\versionname{0.60}
+\def\version{0.60}
+\def\newfrom{0.60}
+\date{16 March 2005}
+\title{\Huge \textbf{\MTx: Music from Text \\ \LARGE Version\current} \\
+  User's Guide \vfill}
+\author{\LARGE Dirk Laurie\\ \texttt{dlaurie@na-net.ornl.gov} }
+
+\makeindex
+\begin{document}
+
+\vfill
+\maketitle
+\vfill
+\begin{center}  
+  \framebox[5in]{\parbox{3.6in}{
+    \begin{mus} \input title.tex \bigskip \end{mus}
+  }}        
+\end{center}
+\vfill\vfill\vfill
+\thispagestyle{empty}
+
+\pagebreak
+\pagenumbering{roman}
+\tableofcontents
+\pagebreak
+\pagenumbering{arabic}
+\section{Music from Text}
+  Written music has a distinctive appearance, very unlike written text.
+But if we want to enlist the aid of the computer to print our scores, we 
+either need a sophisticated graphical interface\footnote{One such is
+\texttt{noteedit} by J\"org Anders obtainable from the Archive --- 
+see Section \ref{Archive}.}, or we must describe 
+music in terms of what we are able to type.   Text input is not going to 
+look much like printed music, but we would like it to resemble printed 
+music closely enough that we can see the correspondence. 
+
+\MTx~is a language for typed music aimed at people who are not experts.
+Later in this document a full description of \MTx~is given, but to start 
+with, here is a sample of what \MTx~input looks like.
+\verbatiminput{mozart0.mtx}
+Before showing you how it comes out, let's observe and discuss it.
+There are two lines of input, which means that there are two voices 
+of music, one for each line.  (Line boundaries are important in \MTx.)
+The lines read from top to bottom as printed music reads from top to 
+bottom.
+
+Each voice contains a number of `words' separated by blanks.   In this 
+example, each \ixem{word} stands for either a note or a bar line.  Bars are 
+also important in \MTx, although the example is simple enough that I 
+could have omitted them.  For greater readability, I have typed extra 
+blanks so that notes and bars that are aligned in the printed version 
+also line up here, but that is not necessary.  What is necessary, 
+though, is that each line ends at the end of a complete bar.
+
+The \ixem{notes} are written in the \PMX\ language designed by Don Simons.  
+Each note starts with one of the letters \texttt{a} to \texttt{g}, which mean 
+exactly what you think.  Lower case is easier than capitals, because it is 
+quicker to type.  Some notes have suffixes after them.  A digit indicates the 
+duration (1/\mark2, 1/\mark4, 1/\mark8, 1/\mark16, 1/\mark32, 1/\mark64).\footnote{Yes, it is more 
+logical to think \texttt{1} should mean a whole note, but we don't want to 
+type two digits for something so common as a semiquaver.  A whole
+note is denoted by \ttxem{0}, which looks a bit like a printed semibreve.}  
+When a note has 
+no digit, it means that the \ixem{duration} is the same as that of the 
+previous note in the same voice.  Some note names have a \ttxem{+} or 
+\ttxem{-} after them, which means that it is not the nearest note of that 
+name, but that there is a \ixem{jump} of at least a fifth up or down from the 
+previous note.  One note is dotted, \index{notes!dotted} which is indicated 
+with a \ttxem{d}.  It cannot be confused with a note name, because it is not 
+the first letter of its word. A double-dotted note\NEW{0.51}
+would have \texttt{dd}. 
+
+The first note in each voice of the piece doesn't have a previous note.  
+Since you haven't specified anything else, it is assumed that the top 
+line is in the treble clef and its notes come in the \ixem{octave} running from 
+middle C upwards; and the bottom line is in the bass clef and its notes 
+come in the octave just below the one for the treble clef.  The first 
+note of the top voice is the C above middle C, so we need a \texttt{+} 
+for it.   \NEW{0.30}  If ever again you prefer the initial octave of a voice to wherever
+the previous note puts you, use a \ttxem{=} after the note name. This
+can be combined with \ttxem{+} or \ttxem{-}.
+
+Here is the printed version of the above excerpt.
+
+\vskip-5mm\hskip -18mm
+\begin{mus}
+\input mozart0.tex
+\end{mus}
+
+Do you think this looks good?  Much better than handwritten?  You are 
+right, but look at the following version:
+
+\begin{center}
+\begin{mus}
+\input mozart.tex
+\end{mus}
+\end{center}
+
+There is a \ixem{heading}, the notes are not stretched out so much, and the two 
+staves of the piano are grouped together.  To achieve this, the input looks
+as follows:
+\verbatiminput{mozart.mtx}
+The notes are exactly the same as before, but there is an introductory 
+paragraph, or \ixem{preamble}, that specifies what to do with them.  A 
+\ixem{paragraph} in \MTx~is a group of consecutive lines set apart by 
+one or more blank lines.  Most of the paragraphs contain notes, but the 
+printed music will not necessarily be broken at the same places as 
+the paragraphs. 
+
+Only in the simplest cases (every music line in the paragraph starts with
+what might be a note) are you allowed to omit the preamble.  
+
+The preamble lines in this example are self-explanatory. The one 
+mysterious line is the one starting with \ttxem{\%\%}at the top of 
+the music paragraph.  The present 
+implementation of \MTx~acts as a front end to the \PMX\ program.  
+Things that 
+can be done easily in \PMX\ are not re-invented, but instead the \ttxem{\%\%} 
+facility is  provided to pass information directly to \PMX. The \PMX\ command 
+\texttt{w120m}  means `width 120 millimetres'.  A short tutorial on \PMX\ 
+appears in Appendix \ref{pmx}. 
+
+A few words on technical terms, to make sure that we know what we are 
+talking about:
+\begin{itemize}
+  \item  A \ibxem{line} is a text line of typed music.
+  \item  A \ibxem{word} is a string of consecutive non-blank characters,
+separated by blanks from other words on the same line.
+  \item  A \ibxem{stave} is the familiar group of five closely spaced 
+parallel lines on which music is written.
+  \item  A \ibxem{voice} is a melodic strand of music, of which there 
+may be either one or two per stave.\footnote{Experienced \PMX\ users 
+please note: the \PMX\ manual uses `voice' as a synonym for `stave',
+and `line of music' for what I call a `voice'.}
+  \item An \ibxem{instrument} corresponds either to a single stave or to a 
+group of two or more adjacent staves linked together with a brace
+\verb'{', usually representing a single instrument like a piano. 
+  \item  A \ibxem{system} is a group of staves for the various 
+voices that are heard at the same time.
+\end{itemize}
+
+
+
+\subsection{Lyrics}
+
+I wrote the \MTx\ converter because \ixem{lyrics} are not part of the \PMX\ 
+design.   It used to be\footnote{Rainer Dunker's \texttt{musixlyr} package,
+on which \MTx\ depends, can now be used directly with \PMX.}
+a major effort to obtain pretty output like the 
+following:
+\vskip 12pt \hskip -20mm
+\begin{mus}
+\small
+\input netfirst.tex
+\end{mus}
+
+The lyrics are in \ixem{Afrikaans}, which maybe looks incomprehensible, but 
+knowing as much as you do already, it 
+should be quite easy to understand the following input:
+\verbatiminput{netfirst.mtx}
+There are a few new things: \ttxem{Style}\texttt{: }\ttxem{SATB} to 
+indicate four-voice choral music on two staves, \ttxem{Sharps} for the key 
+signature (of course there is \ttxem{Flats} available too), \ttxem{Meter} 
+for the time signature, and \ttxem{Space}\texttt{:~9} to 
+indicate that there should be nine interlines of extra space between the 
+staves.\footnote{One \ixem{interline} is the distance between two lines in 
+a stave.  The normal distance between staves is five interlines, but 
+sometimes extra space on a page is distributed between the staves: you may 
+need to experiment.}  If there are more than two staves, you can prescribe 
+a different extra distance for each on the \texttt{Space} line.  This is 
+the one preamble command that may also appear later in a music paragraph. 
+
+Among the notes, you notice suffixes \ttxem{s} and \ttxem{n} for 
+`\mark sharp' and `\mark natural', and \ttxem{r} for `displace 
+notehead to the \mark right'. 
+
+But the main novelty is the lines of lyrics.  The rule is: each lyrics 
+line is identified by the \ixem{label} \ttxem{L:}, followed by lyrics of the 
+verse in question.  Syllables are indicated by hyphens, and you don't 
+use bar lines on lyrics lines.  If more than one note belongs to a 
+\ixem{syllable}, you need not worry, as long as the notes in question have been 
+slurred or beamed together ---  each lyrics line is synchronized to the
+immediately preceding voice.  There may be a set of lyrics lines for 
+each stave in the score: if a stave has two voices, only one of
+them can have lyrics specified by \texttt{L:} --- see Section
+\ref{More lyrics} for a feature that allows both voices to have lyrics.
+
+Note the \ixem{verse numbers}.  The rule is: 
+if you code a number followed by a point and a blank at the 
+start of a lyrics line, this number will not be treated as a syllable but 
+will be printed to the left of the first lyrics syllable: the position of that 
+syllable will be the same as if the number was not there.  This may not be
+just what you want: see the \musixlyr\ reference manual (Section
+\ref{help}) for commands that can modify this behaviour.
+
+\subsection{Bars and meter changes}
+
+The notation for bars is taken from Chris Walshaw's \ABC\ music 
+language, with one small modification.  
+\vskip 1ex
+\begin{tabular}{ll}
+\ttxem{\|} & Normal bar line \\
+\ttxem{\|]} & Thin-thick double bar line (as at the end of a piece) \\
+\ttxem{\|\|} & Thin-thin double bar line (to separate sections) \\
+\ttxem{:\|} & Left repeat \\
+\ttxem{\|:} & Right repeat \\
+\ttxem{:\|:} & Left-right repeat 
+\end{tabular}
+\vskip 1ex
+
+Bar lines make life easier, but are normally optional.  Only the
+normal bar line actually implies a bar separation: the double line and
+\ixem{repeat} signs may appear in mid-bar.  The fancy bars must appear
+in the bottom voice and are optional elsewhere.
+  \begin{itemize}
+    \item  If you do put them in, \MTx\ will check that there are no shorter 
+bars than the currently defined one.   If a too-short bar occurs at the end of 
+the final paragraph, \MTx\ assumes you know what you are doing, and 
+automatically redefines the meter without printing a new time signature.  If 
+it appears elsewhere, it is an error. 
+    \item  If your piece starts with a \ixem{pickup}, it is defined by a bar 
+line at the end of ``bar 0'', i.e.~the incomplete bar containing the pickup. 
+Even when there is a repeat sign after the pickup, so that you don't actually 
+see a bar line in the printed music, you still need a bar line before the 
+repeat sign, otherwise \MTx\ cannot know where the pickup stops.  The bar line 
+defining the pickup is compulsory in the first voice found, and optional but 
+recommended in the others.      When there is a pickup, the meter is not 
+redefined. 
+    \item   If you do not explicitly end the piece with 
+one of the other types of bar line, a thin-thick bar line is 
+automatically provided: you don't need to code it. 
+    \item  \PMX\ allows you to put two voices on a single stave by
+giving the notes of the lower voice first, followed by \ttxem{//} and the 
+notes of the upper voice.  This construct works in \MTx\ too when only
+one voice for the stave was specified in the style, but for just 
+one bar at a time; such a bar \emph{must} be terminated by a bar line. 
+Use it only for very short stretches.  You will probably need to
+set the octave in the first note using \verb"=".
+  \item  If you are using \PMX\ features that are not recognized by \MTx\ but 
+simply passed through, you may need a bar line to tell \MTx\ to which bar 
+they belong.  
+ \end{itemize} 
+
+Apart from the final `blind' meter change that is automatically made if 
+required, you can also define other meter changes.  \index{blind!meter~change}
+The rules are:
+  \begin{itemize}  
+  \item  The \ixem{meter change} may only occur at the \emph{very} beginning 
+of a bar after 
+a full bar of the meter previously in effect, and must be made in all 
+voices.  In particular, any key change, volta indication etc.\ must come
+\emph{after} the meter change; also, the bar following the pickup may
+not contain a meter change but must have the length specified in the
+preamble.
+  \item  The normal meter change word looks like a fraction, 
+e.g.~\ttxem{3/4}.  This always gives a visible meter change.
+  \item  If the printed meter symbol looks different from the logical one (you 
+want a big `C' instead of `4 over 4', for instance), you may use a \PMX\ 
+formatted meter change word. \NEW{0.30}  
+E.g.~\ttxem{m3/4/0/0} gives a blind meter change 
+--- one that takes effect but is not printed.  See the \PMX\ manual.
+This is also legal in the preamble \ttxem{Meter:} command. 
+You may not introduce a meter change directly to \PMX\ via a \verb"%%"
+command --- \MTx\ must know about it too.    
+  \end{itemize}
+
+\subsection{Beams and \ixem{slurs}}  \label{beamslur}
+
+Thanks to \PMX, \ixem{beams} in instrumental voices are automatic. \MTx~does, 
+however recognize that it is customary in vocal music to use beams only 
+when the notes in question are sung to the same single syllable.  So if you 
+select a style like \ttxem{SATB} or \ttxem{Singer} that involves 
+voices, notes will normally appear unbeamed, except those that appear 
+under slurs. To override this, you need to use the \PMX\ ``forced beam'' 
+feature, e.g. \verb"[ c d ]", or disable the 
+\ttxem{unbeamVocal} feature (Section \ref{customize}).  \index{beam!forced}
+See Section \ref{beam&slur} on how to 
+fine-tune beams, and Appendix \ref{melisma} for some examples involving
+lyrics.  
+
+The slur notation is similar to forced beams, but uses parentheses.
+Look at the second system of the same song: 
+
+\hskip -20mm
+\begin{mus}
+\small
+\input netsoos1.tex
+\end{mus}
+Omitting the preamble and \PMX\ lines, this is coded 
+as:\footnote{The coding is for this 
+morsel only, not an extract out of the coding for the whole piece.  The 
+octave of the first note here is the default, not deduced from a 
+previous note.} 
+\verbatiminput{netsoos1.mtb} 
+Apart from \ttxem{f} for `\mark flat' you should notice the left 
+parenthesis \ttxem{(} to start a slur and the right parenthesis 
+\ttxem{)} to close it.  So 
+\MTx\ knows that e.g.~the \texttt{c} in the top voice falls under the 
+slur, and does not use up a syllable of lyrics.  The default direction
+\index{slur!direction}
+of a slur is up for the upper and down for the lower voice in a stave, 
+but you can override that: see Section \ref{beam&slur}.
+
+You are allowed to have a slur under another slur, \index{slur!nested} 
+e.g.~\verb"( c8 d e ( f g ) f d b ) c2".
+
+Occasionally a slur ends at a note and the next one starts 
+immediately.  \NEW{0.30} For such a slur continuation \index{slur!continuation}
+you code \ttxem{)(} as a single word after the note.   
+
+If you want a tie rather than a slur, \NEW{0.55}
+use braces \ixem{\LBR} \ixem{\RBR} instead of parentheses.  
+A continuation tie is of course \ixem{\RBR\LBR}.
+
+In obscure situations you may want absolute control over slur stops and
+starts.  To do this, put an identifier, which must be a non-zero digit
+or a capital letter, immediately after the slur parenthesis or brace,
+before any adjustments.  Of course, any labelled slur of either kind
+that you open must be closed again by its exact partner.  If you really
+must have interlocking slurs,  \verb"(1 c8 d e (2 g g )1 f d b )2 c2"
+is the way to get them.  \delete{Labelling slurs in this way is also the only way
+of getting more than two leves of slurs.}
+
+It may happen that you do not wish \MTx\ to put more than one note to a 
+syllable even though the notes are under a beam or slur.  
+For example, you 
+may wish to use \ixem{phrase marks} that only look like slurs, or you may be 
+writing music that has so many consecutive short notes that the beat 
+becomes difficult to follow without beams.   \NEW{0.30}The way to do
+this is to double the first symbol of the word starting the forced beam
+or slur.  E.g.  \verb"{{+10" \index{\LBR\LBR} or \ttxem{((} may be used
+to start a phrasing slur, and \ttxem{[[} may be used to start a forced
+beam \index{beam!forced} that will still keep one note to a syllable.
+The terminator for the beam or slur should not be doubled.  A variation
+of this feature occurs mainly when you have multi-verse lyrics and
+\NEW{0.43} there should be a slur in one verse but not in another.
+Start the slur with \ttxem{(\dquote} or \ttxem{\LBR\dquote} to get 
+the same effect as  
+\verb'((' or \verb'{{', except that the slur symbol itself is no longer
+solid, but broken like a dotted line.  \index{slur!broken}
+\NEW{0.54} Synchronize lyrics by using void syllables and extension rules, e.g.
+
+\bigskip
+\example{dwoman}{mtb}{80mm}{\fill}{72mm}{-10mm}{c}{5mm}
+\bigskip
+
+The trailing underscore on ``heart'' takes the place of a
+syllable of lyrics, and on a longer note would
+produces a lyrics rule that extends to the end of the melisma.
+You can use as many underscores as required; for very long melismas,
+you can code e.g.\ \verb"Ah_6" instead of \verb"Ah______".
+ 
+The converse of this situation is that you want \MTx\ to
+make a melisma, but you don't want a visible slur.  \NEW{0.42}
+Code
+the slur beginning as \ttxem{(\snake} or \ttxem{\LBR\snake} and 
+the slur end as \ttxem{)\snake}
+or \ttxem{\RBR\snake}.  This gives a ``blind'' slur: invisible, but having the
+same effect on lyrics as a normal slur.  \index{blind!slur} Blind slurs
+should not have any other tuning marks.
+
+\subsection{More complicated lyrics}  \label{More lyrics}
+
+Lines of lyrics that start with \ttxem{L:} are set in the middle 
+between two staves (or below the bottom stave) and are aligned with the 
+notes of the voice under which they appear in the input file (in this 
+case, the alto).   Such lines are referred to as \emph{normal} lyrics
+lines.  \index{lyrics!normal}
+
+Sometimes different words apply to different voices, as in the last line 
+of the song: 
+
+\hskip -20mm
+\begin{mus}
+\small
+\input netsoos2.tex
+\end{mus}
+\vskip 12pt
+This is coded as:
+\verbatiminput{netsoos2.mtb}
+Some interesting \PMX\ features in this piece are \ttxem{of} for 
+`\mark ornament: \mark fermata' and \NEW{0.43}
+\ttxem{rp+6} (\mark rest: 
+\mark pause) for a full-bar rest moved up six interlines.  
+For the meaning of the \verb'@...' words, see the next section. 
+
+The label \ttxem{LT:} (\mark Lyrics: \mark Tenor) marks the line as 
+belonging to a particular voice.  Such a line is referred to as an 
+\emph{auxiliary} \index{lyrics!auxiliary}
+lyrics line, and may only appear on a stave that
+already has a normal lyrics line.  Labels for voices are defined in the 
+\ttxem{Style}, or may simply be numbers: the voices are numbered 
+1,2,\ldots\ from the top line downwards. Auxiliary lyrics for the top voice 
+on a stave (soprano and tenor) will be set above the stave, and those 
+for the bottom voice (alto and bass) below. Their input lines may appear 
+anywhere in the paragraph, since the labels show where they go. 
+
+You can also use voice \ixem{labels} without a leading \texttt{L} to identify 
+the voice lines.  This is necessary if some voice is omitted from the 
+paragraph (\MTx\ will fill its stave with rests) or if you prefer to 
+have the voices in a different order (e.g.~bottom-up) than top-down.  
+You need only label a voice line if it does not belong to the voice 
+immediately following the previous one. 
+
+\subsection{Preamble commands}
+
+Here is a complete list of built-in \ixem{preamble} commands, with examples and 
+explanations.  Case in preamble commands is immaterial: all command and 
+style names are translated to uppercase internally.
+\vskip 1ex  
+\begin{tabular}{ll}
+\verb"Part: Recorder" & Part name (set flush left above title) \\
+\verb"Title: Clarinet Quintet" & Title of piece. \\
+\verb"Composer: Mozart" & Name of composer (set flush right below title) \\
+\verb"Poet: Rellstab" & Name of poet (set flush left below title)  \\
+\verb"Meter: C/" & \textit{Alla breve} meter: another notation for \verb"2/2". \\
+\verb"Flats: 3" & Key signature has three flats. \\
+\verb"Sharps: 2" & Key signature has two sharps. \\
+\verb"Space: 6 0 3" & Extra interlines of space below staves. \\
+\verb"PMX: h10i" & \PMX\ command in preamble. Rather like \verb"%%" feature.\\
+\verb"Options: x" & Forces the \texttt x option to be in effect, despite the command line. \\
+\verb"Enable: pedanticWarnings" & Enables the \texttt{pedanticWarnings} feature. \\
+\verb"Disable: unbeamVocal" & Disables the \texttt{unbeamVocal} feature. \\
+\verb"Pages: 2" & Set the piece over two pages. \\
+\verb"Systems: 11" & Use a total of eleven systems. \\
+\verb"Bars/line: 4" & Try to use on the average four bars to a line. \\
+\verb"Size: 16" & Size of music in points: default is 20. \\
+\verb"Style: Singer Piano" & 
+  The piece is for a singer with piano accompaniment. \\
+\verb"Name: Dietrich Gerald" & Names of instruments, performers etc. \\
+\verb"Indent: 0.10" & Indent first system by 10\% of the music width. \\
+\verb"Start: @+1;@-3" & Put specified items at the start of voice lines\\
+\verb"Octave: 4 4 3 3" & Specify \indexed{initial octaves} for each stave
+\end{tabular}  \NEW{0.54}
+\vskip 1ex
+The \ttxem{Bars/line} command should only be used when you do not yet 
+know what \ttxem{Pages} and \ttxem{Systems} should be.
+
+The style line may contain several style elements (instruments etc.).
+\index{style!elements}
+At present, \MTx\ knows the following style elements:
+\begin{verbatim}
+SATB:    Voices S,A T,B; Choral; Clefs G F
+SATB4:   Voices S A T B; Choral; Clefs G G G8 F
+SINGER:  Voices S; Vocal; Clefs G
+PIANO:   Voices RH LH; Continuo; Clefs G F
+ORGAN:   Voices RH LH Ped; Continuo; Clefs G F F
+SOLO:    Voices V; Clefs G
+DUET:    Voices V1 Vc; Clefs G F
+TRIO:    Voices V1 Va Vc; Clefs G C F
+QUARTET: Voices V1 V2 Va Vc; Clefs G G C F
+QUINTET: Voices V1 V2 Va Vc1 Vc2; Clefs G G C F F
+SEXTET:  Voices V1 V2 Va1 Va2 Vc1 Vc2; Clefs G G C C F F
+SEPTET:  Voices V1 V2 Va1 Va2 Vc1 Vc2 Cb; Clefs G G C C F F F
+\end{verbatim}
+\ttxem{Voices}  gives the labels of the voices, later used to identify 
+lyrics lines and out-of-sequence music lines.  You should not use labels
+like \texttt{L}, \texttt{U}, \texttt{C}, \texttt{1} or \texttt{L1} 
+that conflict with \MTx's use of labelled lines for chords, lyrics etc.
+Labels separated by
+blanks belong to voices on different staves; labels separated by a comma, 
+to voices on the same stave.  \ttxem{Clefs} define the clefs, one for each
+stave.  You can use any PMX-supported clef symbol in addition to G and F
+--- see Appendix \ref{ornaments}.
+The symbol \verb'8' or \verb'G8' indicates music written in the treble clef 
+\NEW{0.49} but sounding an octave lower, as is usual for the tenor voice in 
+choral music.
+
+\ttxem{Vocal} means that the voices will be treated as vocal for the 
+purpose of beams and lyrics, and \ttxem{Continuo} means that the staves 
+belong to 
+a single instrument, and will be grouped together by a \ixem{brace}. 
+You may not have too many voices or staves --- see Appendix \ref{limits}.
+
+\ttxem{Choral} means that the voices form a choir.  This implies that each
+voice is vocal, and their staves will be grouped together by a bracket.  
+You can get the \ixem{bracket} for instrumental voices too, by using
+\ttxem{Group} instead of \texttt{Choral}.
+
+You may define your own style elements, \index{style!elements}
+e.g.: \\
+
+\texttt{Honky-Tonk: Voices R L; Clefs G F; Continuo} \\
+
+The whole preamble is read, and new style elements saved, before any of the 
+commands is interpreted.  So it does not matter in which order the commands 
+come.  The preamble may be spread over more than one paragraph. \NEW{0.49}  
+But if you issue a command more than once, only the last instance counts. 
+
+The \ttxem{Start} command is mildly convenient when you are experimenting with 
+fine-tuning, since it allows small additions affecting the beginning of 
+each voice to be collected in one place.  It comes into its own when
+combined with the multi-score option (see Section  \ref{multiscore}).
+\NEW{0.42}  Items for each voice are separated by semicolons and may contain
+blanks.  These are prepended to the corresponding line of the first
+paragraph, so the \emph{combined} length of the starting item and the
+line in question should not be too long (see Section \ref{limits}).
+
+You don't normally need to specify \NEW{0.54} \ttxem{Octave}, 
+\index{octave@octave!defining initial}
+since most of the time the octave implied by the clef is correct.
+
+\subsection{Customizing \MTx} \NEW{0.55} \label{customize}
+
+You have a lot of control over how \MTx\ does its translation.  The old way
+of customizing \MTx\ was by compiler options and the \ttxem{Options:}
+preamble command.  That method uses one-character switches, which is
+only slightly mnemonic and anyway the letters get used up.  
+The new way is to use the \ttxem{Enable:} and \ttxem{Disable:} 
+preamble commands to select the features you want.  
+
+	Here is a list of switchable \MTx\ features that are 
+enabled by default:
+
+\begin{description}
+  \ttxi{splitShortcut}  Separate 2:1 and 3:1 shortcuts into two words, and
+   explicitly code their durations.
+  \ttxi{newWordShortcut}  Allow 2:1 and 3:1 shortcuts to be entered as 
+    separate words.
+  \ttxi{multiFile}  Take \texttt{Include:} lines into account, otherwise
+    ignore them.
+  \ttxi{doChords} Take \texttt{C:} lines into account, otherwise ignore them.
+  \ttxi{doUptext} Take \texttt{U:} lines into account, otherwise ignore them.
+  \ttxi{doLyrics} Take \texttt{L:} lines and inline lyrics changes into
+    account, otherwise ignore them.
+  \ttxi{unbeamVocal} Unbeam non-melismatic notes in vocal lines.
+  \ttxi{hideBlindSlurs} Hide \verb"{~" and \verb"(~" slurs.
+  \ttxi{interpretSlurs} Translate slur signs to PMX \texttt{s} and \texttt{t}
+    slurs.
+  \ttxi{uptextOnRests} Synchronize uptext with notes and rests, not only with
+    notes.
+\end{description}
+
+Here is a list of switchable \MTx\ features that are 
+disabled by default:
+
+\begin{description}
+  \ttxi{solfaNoteNames} Use \ixem{tonic sol-fa} 
+  note names \texttt{d r m f s l t} (for \emph{do, re, mi, fa, sol, la, ti}).
+  This will be translated to the usual note names \texttt{c d e f g a b} 
+  in C major.  Use the \PMX\ transposition feature to obtain the desired
+  key.  Only the basic note names are supported: you should not use the 
+  sol-fa chromatic note names (e.g.\ \emph{re, ma,}) but the basic sol-fa
+  note names with \PMX\ accidentals (e.g.\ \texttt{ds}, \texttt{rf}).  
+
+  This feature conflicts in some cases with other uses of these letters.
+  To retain the standard meaning in sol-fa mode, precede the word with a 
+  \verb'"', e.g.\ use \verb'"r' for a rest since \verb'r' translates to
+  a \verb'd'.
+
+  \ttxi{pedanticWarnings}  Suppress pedantic warnings, i.e.\ cases where
+you omitted something but the default action is probably what you want.
+  \ttxi{ignoreErrors} Do not stop on the first error.   
+(Errors are messages clearly marked with \ttxem{ERROR} --- 
+any other message printed is informative or a warning only.)
+
+  \ttxi{instrumentNames}  Indent first system and print default 
+   instrument names.
+  \ttxi{beVerbose} Verbose progress report.  Default behaviour is 
+to print out errors, warnings, and very little more.
+  \ttxi{debugMode}  Give messages that may be helpful in finding bugs
+in the \texttt{prepmx} program.
+\end{description}
+
+You can put as many features as you like on the \texttt{Enable:}
+and \texttt{Disable:} lines, just separate them by spaces.  You can 
+also have as many \texttt{Enable:} and \texttt{Disable:} lines as you want.
+For example, to imitate the way \MTx\ 0.54c did things, put
+\begin{verbatim}
+Enable: interpretSlurs
+Disable: newWordShortcut multiFile
+\end{verbatim}
+
+\section{Fine-tuning the printed output}
+
+The decisions made by \PMX\ represent a good compromise in the majority 
+of cases, but sometimes the first printout is disappointing.  You can 
+influence the details of the layout in various ways.  You will probably 
+need to look at the first draft, make fine-tuning changes, look at the 
+second draft, \dots several times, if you are a real perfectionist.
+
+\subsection{General vertical and horizontal spacing}
+
+It is best to use \ttxem{Bars/line} in the preamble for the first draft.  
+You can then decide how many systems in total are required for proper 
+horizontal spacing, and over how many pages they need to be spread for 
+proper vertical spacing.  On the later drafts you will therefore use 
+\ttxem{Pages} and \ttxem{Systems} in the preamble. 
+
+There are \PMX\ commands to put line and page breaks where you like --- 
+see Appendix \ref{pmx}. 
+
+You can use \ttxem{Space} to control the vertical space between the
+staves.  There may be a number for every stave: the last number is
+interpreted as extra space below the bottom stave.   You will probably
+need to specify it if you have lyrics or very low notes down there.
+This command can be issued in any music paragraph, not only in
+the preamble.  It will take effect at the start of the next system.
+See Appendix \ref{voltas} for an example of how this command interacts
+with lyrics adjustments.
+
+You can specify different sizes for the instruments, 
+e.g.\verb" "\ttxem{Size:}\verb" 13 16 "  \NEW{0.30}
+might be appropriate for the main score
+of a violin sonata, with the notes of the violin smaller than those
+of the piano.  Valid sizes are 13, 16, 20, 24 and 29. 
+Size is a delicate issue: see Appendix \ref{sizes}.   
+
+You should be aware of what the \PMX\ manual calls a ``benign bug''.
+Pages more than approximately half full get filled out by distributing
+the vertical space among the staves.  This means that the appearance of
+the score may drastically change when you add one more stave.  For this
+reason it is best to leave space adjustments till last, when you already
+know what values to give for \ttxem{Systems} and \ttxem{Pages}.
+
+Occasionally \PMX\ underestimates
+the total height of a page and you end up with one system less than
+you wanted, which then appears by itself on a page of its own.  This
+is particularly likely if you asked for extra space between the
+staves, or are using different-sized staves.  A dirty 
+trick that fixes this problem is to specify a little more height
+directly to MusiX\TeX\ than you told \PMX: see Appendix \ref{pmx}.
+
+\subsection{Lyrics placement}  \label{fine-tune-lyrics}
+
+Sometimes the default position for placing lyrics causes ugly clashes 
+with note stems, beams, slurs etc.  
+You can move lyrics up or down by 
+inserting a word starting with \ixem{\atsign} in the music line to which that
+lyrics line is attached.   For example, \verb"@-2" (`at minus two') 
+indicates that the lyrics should be moved down two internotes.  One 
+\ixem{internote} is the vertical distance between e.g. a B and a C, i.e.~half 
+of one interline.  The change takes effect at the start of the bar 
+in which it appears, and remains in effect until further modified 
+by another shift.  Each voice has its own associated shifts: one for
+normal lyrics and a different one for auxiliary lyrics.  
+\index{lyrics!auxiliary}
+
+You can also say \verb'@^-2' (``put the lyrics above the stave at
+two internotes below the default position'') or \verb'@v'  (``put the 
+lyrics below the stave at the default position'').   These commands 
+discard any shift that may have been in effect for that set of lyrics before.
+
+Be warned that the default position itself is not fixed relative to the 
+stave but depends on the general vertical layout.  So if you change a 
+layout parameter after having placed the lyrics `perfectly', they may 
+need a further adjustment. 
+
+\NEW{0.30}Occasionally you need a syllable spanning two words.
+You can code a \ixem{hard blank} to string the words together,
+e.g.  \verb'Egit-to~ad I-si-de', but it also looks good to use an
+underscore which will be translated to a link, \index{lyrics!link}
+e.g. \verb'Egit-to_ad I-si-de' will become: Egit-to\lyrlink ad I-si-de.
+If the link gets in the way of letters with descenders, you can lower
+it,  e.g.  \verb'pretty\_and smart' becomes: pretty\lowlyrlink and smart.
+
+\subsection{Beam and slur placement}  \label{beam&slur}
+
+The decisions made by \PMX\ in choosing the height and direction of 
+beams and slurs may differ from what you would like.  The slur start 
+character may have the suffixes \mark up, \mark down or \mark lower (the 
+last two mean the same) to control the direction of the slur, and a 
+suffix \verb"+#" or \verb"-#" to raise or lower the start of the slur by 
+\verb"#" internotes.  The slur end character may also have an adjustment 
+suffix.  Remember to fine-tune both end points when you wish to move the 
+whole slur up or down!  
+
+It is also possible to fine-tune the horizontal position. The most common case 
+occurs when two notes on the same pitch are linked by a\NEW{0.51} tie.  In 
+that case \verb"{"\ldots\verb"}" give a neater result than \verb"("\ldots\verb")".  
+See the \PMX\ user's manual for details on other horizontal adjustments. 
+
+In the case of a slur continuation you should code the height adjustment 
+\emph{between} the two parentheses, e.g.~\ttxem{)-3(}.  You must not have two 
+adjustments. 
+
+Fine-tuning beams is all done on the beam start character.  It may have
+the suffixes \mark upper or \mark lower for direction, and up to 
+three \verb"+#" or \verb"-#" suffixes.  The first raises or lowers the 
+beam by so many internotes, the second makes the beam more or less 
+steep, and the third also raises or lowers the beam, but this time in 
+units of beam thickness.
+
+\subsection{Instrument names} \NEW{0.40}  \label{stavename}
+
+Some scores have indications like \textbf{Violin} to the left of the
+first system.  The easiest way to do this is to enable the \ttxem{instrumentNames} feature, 
+which uses the line labels as names, but you may not like the result.
+
+To do it yourself, use the \ttxem{Name:} command in the preamble,
+e.g. 
+\verb"Name: Violin Piano".
+The names can be any valid \TeX\ expressions that have no spaces, such as
+\verb"{\it{French~Horn}}".
+Remember, it's one name per instrument, not one name per stave.  If you
+have too few names, the remaining instruments will not be named.
+You can
+also use a single hard space (\verb"~") when some instrument in the middle 
+should not have a name.
+
+You will probably also need the \ttxem{Indent:} command to specify the
+indentation required to provide space for the names.  
+E.g.\ \verb"Indent: 0.12" says the indentation should be 12\% of the music
+width.  
+
+
+\section{Shortcuts}
+
+This section introduces \ixem{shortcuts} for things that are perfectly
+possible in other ways, but a little clumsy.
+
+
+\subsection{Chords}  \label{chords}
+
+An isolated \ixem{chord} in the middle of a melodic line is best treated
+by the \PMX\ construction of chordal notes with the \ttxem{z} prefix, e.g.
+\verb"c ze zg zc" 
+for a C major chord.  Sometimes a whole string of successive chords appears,
+as in the introduction to Schubert's song \textit{Der Tod und das M\"adchen.}
+You can see that the coding for this can become quite cumbersome.
+Therefore \MTx\ allows you to put the chordal notes on a second line,
+as shown below.  
+
+\hskip -18mm
+\begin{mus}
+\input dertod.tex
+\end{mus}
+\vskip 12pt
+\verbatiminput{dertod.mtx}
+\begin{itemize}
+  \item  There is a basic melodic line, with a separate line for the chordal
+notes, labelled like a lyrics line, but with \ttxem{C} instead of \verb'L'.  
+\index{line!melodic}
+  \item  For each chord there is one word on the \indexed{chord line}.  
+\index{line!chord} \index{chord} If the
+chord contains more than one \indexed{chordal note}, \index{note!chordal} 
+the notes follow with no spaces
+in between.  The notation is the usual \PMX\ notation, with two changes: 
+fla\mark t and notehead \mark left.  These changes are used only on chord 
+lines, and are unavoidable because \ttxem{e} and \ttxem{f} are needed for 
+note names.   
+  \item  The note chosen as melodic note \index{note!melodic}
+on the main music line must not
+be a shifted note (i.e. one with displaced notehead): 
+all shifted notes must be on the chord line.  
+  \item  The stem direction of the chord is what that of the melodic
+note would have been in the absence of chordal notes.
+  \item  Pitch on the melodic line (i.e.~the choice of the closest note 
+with the given name) is not affected by the chordal notes. Each chord has 
+its own local frame of reference, starting anew from its melodic note. This 
+differs from the \PMX\ \texttt{z\dots} notation, where the pitch of each 
+note is determined by the previous note, whether chordal or not.
+\index{pitch!of chordal note} 
+  \item  Sometimes in the middle of a chordal passage there might be an 
+isolated melodic note that does not have any chordal notes. To indicate this, 
+the chord line must contain a \ixem{spacer}, which is a one-character word 
+containing just a tilde (\ttxem{\snake}). 
+  \item  Sometimes you only need a few isolated chords.  A one-character
+word consisting of a bar symbol
+\ttxem{\|} on a chord line indicates that no more chords appear in the
+current bar even though one or more melodic notes are still left.  
+In that case you do not need a \ttxem{\snake} for the `missing' chords.
+Don't use bar symbols on a chord line just to separate bars when there
+are no missing chords.
+
+Two or more consecutive such words indicate one or more bars with no chords.
+If the very first word on a chord line is a bar symbol, the first bar has no 
+chords.  
+  \item  You can get an \ixem{arpeggio} sign (wavy line) in front of the whole chord 
+including the melodic note by starting the chord word with a question mark, 
+e.g. \verb'?ad' instead of \verb'ad' in the first chord above would have put 
+an arpeggio sign in front of all three notes.  For more complicated
+arpeggio constructions, you need to put \ttxem{?} signs on the music lines 
+themselves: consult the \PMX~manual.         
+
+\item You can tie notes in chords.  \NEW{0.60}  The notation is more compact
+than ties in the music line itself: put a \verb'{' before each note that should
+be tied, no blanks, but don't put anything to close the tie.  It is an error
+if you open a tie and there is no note at that pitch in the next chord.
+All the notes in that chord that close ties should appear before
+all the notes that open ties, e.g.\ \verb"{c c{e" is OK but
+\verb"{c {ec" is not.
+
+
+\hskip -18mm
+\begin{mus}
+\input chord.tex
+\end{mus}
+\vskip 12pt
+\verbatiminput{chord.mtx}
+
+
+\end{itemize}
+
+\subsection{Expression marks and other annotations}
+
+Annotations and interpretation marks ({\ppff p}, {\ppff f}, \textit{rit.}, 
+\textit{cresc.} and so on) are inserted using lines like lyrics lines, but 
+with \ttxem{U} (for \mark Uptext) instead of \verb'L'.   
+Note, though, that uptext lines are synchronized with rests as well as
+notes, whereas lyrics are synchronized with notes only.
+
+The normal position 
+for an \ixem{uptext} line is \emph{above} the music line to which it applies: 
+if it appears anywhere else, the \ixem{label} must include the voice name or 
+number. I'll speak of an \emph{uptext voice} \index{uptext!voice} to refer to 
+the totality of uptext lines (no more than one per paragraph) 
+associated with a particular voice. 
+ \begin{itemize}
+ \item Spacers \ttxem{\snake} and bar symbols \ttxem{\|} work for uptext in 
+exactly the same way as for chords --- see Section \ref{chords}.  
+\index{spacer} 
+ \item Vertical adjustment signs starting with \ixem{\atsign}
+like {\verb"@^"} \verb"@v" \verb"@=4" 
+\verb"@+4" \verb"@-4" may appear 
+in uptext lines, and have the same effect on the position of the uptext as in 
+the fine-tuning of lyrics --- see Section \ref{fine-tune-lyrics}.  The only 
+difference is that these signs appear in the uptext line itself, whereas the 
+lyrics adjustments appear in the corresponding music line. A line starting 
+\verb"U: @v " is actually a downtext line!  Each uptext voice retains its own 
+adjustments which remain in effect even after the paragraph in which they 
+appear.                                     
+
+ \item Uptext lines may also have horizontal adjustment signs, namely 
+\ixem{\atsign\less} and \ixem{\atsign\more}.  There are three possible 
+positions for aligning uptext to a note: left, right and centre.  The 
+default position is to align to the right, but the horizontal adjustment 
+shifts the position in the indicated direction, e.g. one \verb"@<" causes 
+centred uptext and another \verb"@<" causes uptext extending to the left of the 
+note.  Yet a third \verb"@<" will be ignored.  Here, too, each uptext 
+voice retains its own adjustments which remain in effect even after the 
+paragraph in which they appear.                                
+
+  \item Uptext lines are useful for indicating \ixem{guitar chords}.  
+To make this
+easier, the sharp character \ttxem{\#} may be used on an uptext line as a 
+normal text character (usually in \TeX\ you need \verb'\#' to get it)
+and the \ttxem{\%} character is used to indicate a 
+\indexed{\mtxFlat}. \index{\Flat@\mtxFlat} 
+  \item The preprocessor tries to guess whether the word is a dynamic 
+indication like {\ppff mp}, {\ppff sf}, {\ppff rfz} etc.\ and will use the 
+MusiX\TeX\ \keyindex{ppff} font for it.  The current algorithm is highly 
+unsophisticated: if all the letters in a word come from the list 
+\verb'fmprsz' it is diagnosed as a dynamic indication.
+  \item A more permanent \indexed{font} \index{uptext!font} 
+change is indicated by a word like \verb"!bf" or  \verb"!it" (no
+backslash --- the \texttt{prepmx} program will put it in).  
+Every word of that uptext voice (except \verb"\ppff" words) will be set in the 
+indicated font.  Each uptext voice retains its own font which remains in 
+effect even after the paragraph in which it appears. 
+  \item  You can indicate \ixem{crescendo} and
+\ixem{decrescendo} signs in uptext by two methods:
+ \begin{enumerate} 
+  \item Put \verb'<' or \verb'>'
+where the sign starts, and \verb'<.' or \verb'>.' where it ends.
+This feature gives unpredictable results when you try to use it
+in more than one voice at the same time.  
+  \item  
+Put e.g.~\verb"<18" or \verb">7" where the sign starts.   
+\NEW{0.42}  The number gives the length of the crescendo in elementary 
+skip units or
+``elemskips''.\footnote{It is quite technical to define precisely how
+long an \ixem{elemskip} is.  The important thing about them is that they
+stretch or shrink with spacing of the notes, so that if say a half-note
+is followed by two elemskips in one place, it will be followed by two
+elemskips everywhere.}
+ \end{enumerate}
+  
+\end{itemize} 
+
+\subsection{Lyrics paragraphs}
+
+You may prefer to have all the lyrics for a particular voice together
+in one paragraph.  To do this, the first line of the paragraph consists
+of a name for the group of lyrics in braces, e.g.~\verb'{verse1}'.
+
+When you later wish to use these lyrics, you put a list of names on a lyrics
+line where you would normally have put the lyrics, e.g. 
+\verb'L: {verse1,verse2}' replaces:
+\begin{verbatim}
+L: Lyr-ics for the first verse
+L: Lyr-ics for the second verse
+\end{verbatim}
+You do not repeat this instruction in the next paragraph, but if the voice 
+concerned no longer has lyrics attached to it, you should indicate that by a 
+blank lyrics line, i.e.~\verb'L:' by itself. 
+
+A particular lyrics paragraph name should not be used in more than one 
+place.  If two voices have exactly the same lyrics, you need only one lyrics 
+paragraph, but more than one name.  E.g.~\verb'{soprano}={bass}' makes two 
+identical sets of lyrics, one to be used by \verb'L: {soprano}' and the 
+other by \verb'L: {bass}'. 
+
+One useful property of lyrics paragraphs is to allow you to
+switch lyrics in the middle of a line instead of between music paragraphs.
+\NEW{0.40}
+This is only allowed if the voice in question already possesses lyrics:
+it cannot be used to replace the \texttt{L:} line.  E.g.  
+ \verb"a b {chorus} c d"  
+means that starting at the note \texttt{c} lyrics will be taken
+from the lyrics paragraph labelled \verb"{chorus}", and 
+ \verb"a b {} c d" 
+means that lyrics are switched off at that point.
+
+\subsection{Long/short note combinations} \label{longshort}
+
+Passages containing dotted notes \index{notes!dotted}
+require duration changes for every note:
+
+\verb"c8d g1 c8d g1 c8d g1 c8d g1 c4"  \\
+There is a shorthand notation for this, namely:
+
+\verb"c8.g c.d c.g c.d c" \\
+The first note in a dotted group may have an explicit duration, which then 
+becomes the default duration, but the second must not.  There is a similar
+shortcut\NEW{0.51} \verb"c..d" for double-dotted notes.
+
+When the dotted note appears not in a group but on its own, as in triple and 
+compound time (3/4, 12/8 etc.), you must use a \ttxem{d} to indicate the 
+dot, not a period. 
+
+Similarly, in compound meter passages containing long and short notes
+require frequent duration changes:
+\verb"6/8 c8 g1 c8 d1 c8 g1 c8 d1 c8d"  
+The shorthand notation for this reads:
+\verb"6/8 c8,g c,d c,g c,d cd" 
+
+\subsection{Barless music}   \NEW{0.40}
+
+Many old hymn tunes do not fit into the modern pattern of regular bars.
+You could get this effect by carefully counting the length of each music
+line and issuing your own blind meter \index{blind!meter~change}
+change instructions.
+
+Instead, specify in the preamble that you have zero beats per bar.  
+E.g.~\verb"Meter: 0/4" means that each paragraph of music
+should be treated as a single bar, and that the basic counting unit is
+a quarter-note.  You need not issue any other meter change instructions.
+\MTx\ will check that each of the lines in the paragraph have the same total 
+duration, which must a multiple of the specified counting unit.
+
+\subsection{Sticky ornaments and suffixes}
+
+You may need to mark a whole run of notes as staccato.  To do so,
+put \verb'o.:' instead of \verb'o.' after the first staccato note and
+\verb'o:' after the last one.  This method also works with tenuto
+and all the other \ixem{ornaments} in \ref{ornaments}.  
+The stickyness of ornaments lasts only till the end of the bar.
+
+On notes and rests there are many possible suffixes, some of which you have 
+already encountered and some of which are given in Appendix \ref{pmx}.  There 
+are situations where you might wish to have several consecutive notes or rests 
+with the same attribute.  The method is similar: put a colon (\texttt{:}) 
+after the letter involved on the first note of such a sequence,  leave out the 
+letter on all the notes except the last,\NEW{0.50} on which you again put the 
+letter.  For example, in \verb'12/8' meter you might have a passage moving at 
+four beats to the bar, normally coded \verb"c4d cd ed ed gd gd c2d", which 
+becomes \verb"c4d: c e e g g c2d" when you use this shortcut.  The stickyness 
+of note and rest suffixes lasts until cancelled. 
+
+Each voice is treated on its own, and notes and rests are considered 
+independently, so if you make the \verb'd' sticky on a note it will not affect 
+rests.  My favourite application of this feature occurs in homophonic music 
+with two voices per stave: I prefer to have only one rest per stave rather two 
+rests, one on top of the other, and so I make all the rests in one of the 
+voices blank by marking the first rest of that voice. 
+
+\subsection{Multi-bar rests}   \label{rests}
+
+\NEW{0.40}It may happen that all the instruments in your score
+simultaneously have a rest of two or more bars.  In that case a succession
+of empty bars may be difficult to count, and the conventional notation
+is to put all the rests in a single bar, with the total number of
+bars printed above them.  The word for a \mark multi-bar rest is e.g.\
+\texttt{rm8} for a rest of eight bars.  You code this for one voice only,
+and there may be no other notes or rests on that line.  The same rest
+will be printed on all staves.
+
+
+You can tune the appearance of the rest by appending a signed integer
+to the word, e.g.\ \texttt{rm19+18}.   \NEW{0.41}Roughly speaking,
+this moves the front end of the rest to the right by 18 points. Since
+multibar rests can have several shapes and may even contain as many as
+three separate symbols (in the case of \texttt{rm7}) it is difficult to
+describe precisely what happens and you are advised to experiment.
+
+\subsection{Skipping and including portions of a score}   \label{multiscore} 
+
+To read in another file at the start of a paragraph, \NEW{0.55}
+use the \ttxem"Include:" directive, e.g.\ \verb"Include: mylayout.mti".
+The effect is exactly the same as if those lines had been part of the original
+input file.  The file thus included may also contain "Include:"
+directives; there is no restriction on the number of levels.  You may
+re-include a file that was included before, but you may not include any
+file that has already been included but has not yet been fully read. 
+
+You may have various reasons for wanting \MTx\ to omit one or more lines of 
+your score.  There are several ways to do so, of which the simplest is the 
+comment symbol \verb'%' that you have met before, which skips that one line.  
+
+A line starting with \ttxem{SUSPEND} all in capitals, at the start of a
+paragraph, tells \MTx\ to discard all following paragraphs until a line 
+starting with \ttxem{RESUME} all in capitals is found at the start of a
+paragraph.  The material in between must still be organized into paragraphs
+that are not too large (see Appendix \ref{limits}) but need not in any other
+way conform to \MTx\ input rules.
+
+A line starting with \ttxem{Only:} defines a subset of line numbers, 
+e.g.~\verb"Only: 1,3-7,9" defines the set \{1,3,4,5,6,7,9\}. \NEW{0.43} Only 
+the corresponding lines from all non-lyrics paragraphs after the paragraph 
+containing the \texttt{Only} are processed until another \texttt{Only} is 
+found.  Any paragraph containing an \texttt{Only} is always fully taken into 
+account: it is not subjected to the masking action of any \texttt{Only}. 
+\emph{WARNING: this feature is deprecated and may behave
+differently in future versions.}
+
+You can also conditionally ignore portions of the score depending on a 
+compiler variable.  \NEW{0.42} The compiler options \texttt{0} to \texttt{9} 
+identify ten special cases of a score.  Together with the basic unnumbered 
+version of the score, you can therefore have up to eleven versions. A line 
+starting with \ttxem{Case:} at the start of a paragraph gives a list of those 
+cases that include the paragraph in question,  e.g. \verb"Case: 137" 
+identifies a paragraph that is only included when one of the options 
+\texttt{1}, \texttt{3} or \texttt{7} was selected, either as a command option 
+or on and \texttt{Options:} line.  
+
+All paragraphs headed by \texttt{Case:} occurring \emph{before} the first 
+music paragraph are treated as extensions of the preamble.  The very first 
+music paragraph may therefore not start with \texttt{Case:}. 
+
+For example, the score \texttt{cervus.mtx} of Palestrina's four-part
+setting of Psalm 42 (see the \texttt{source} directory in the \MTx\
+distribution) is set up to give by default a score for the conductor with all 
+voices in 16-point type.   When one of the \texttt{1}, \texttt{2}, \texttt{3} 
+or \texttt{4} options is specified, you get a score with one voice in 20-point 
+type and the others in 13-point.  When the \texttt{0} option is given, 
+20-point is used throughout and the score is spread over three pages. 
+
+%A combination of \texttt{Case} and \texttt{Only} allows you to make parts from 
+%a score in a flexible way, e.g.~only the chorus parts, or both flutes 
+%together, etc.  The \texttt{Case} command can never be masked out by a 
+%previous \texttt{Only.} 
+
+\subsection{Macros}  \NEW{0.60}
+
+\MTx\ offers limited support for the \PMX\ macro feature, which is 
+a shorthand notation for pieces of text that appear often in your input.
+In \PMX, you define macro number $i$ by \texttt{MS}$i$ and end it by \texttt{M},
+each a separate word, where $i$ is a number from 1 to 20.  
+Everything in between (which may not contain
+any word starting with \texttt{M}) is not acted on, but only stored, 
+but when you later ``play'' the macro by the single word \texttt{MP}$i,$ 
+the effect is the same as if you had typed the text you defined earlier.
+In other words, a \PMX\ macro works as a purely literal text insertion.
+You can also start a macro definition by \texttt{MR}$i:$ this has the effect
+of immediately playing the macro, not just storing it.
+
+The default behaviour in \MTx\ is to pass along such \texttt{M}-words
+without looking at them, which in expert hands can be quite effective,
+but for the rest of us is simply a disaster.
+The problem is that in that case \MTx\ does not know that notes 
+are being inserted, let alone what their duration is.  It is in the
+position of a musician who has lost count.
+
+\MTx\ offers two solutions to this problem, either of
+which you can \texttt{Enable} in the preamble.  In both cases, macros 
+may only appear on music lines.
+\begin{description}
+  \ttxi{expandMacro}  All macros are fully expanded at the \MTx\ level.
+The \PMX\ file will not contain any macros.  If you use this feature,
+you can have macros numbered from 1 to 99, and macro definitions
+may contain plays of other macros.  Error messages apply to the expanded
+text and may be difficult to understand.
+  \ttxi{countMacro}  \texttt{M}-words are still passed along,
+but when a macro is defined, \MTx\ determines its duration
+and counts correctly when it is played.  
+\end{description}
+
+If you have enabled \texttt{countMacro}, there is one unavoidable
+restriction:  a macro definition or play may not spill over into
+the next bar.   Hence the total duration of a macro may not be more 
+than what remains of the current bar.  
+
+A word of caution: because you cannot see the macro 
+definition when you play it, it is easy to lose track of duration and octave.  
+It is therefore just sound common sense
+to set duration and octave at the first note in the macro definition, 
+and at the first note after the macro play, to avoid mistakes.
+
+\hskip -18mm
+\begin{mus}
+\input macro.tex
+\end{mus}
+\vskip 12pt
+\verbatiminput{macro.mtx}
+
+If you used \texttt{expandMacro} instead, the first music line
+could have read \\
+\verb"     MS1 c8=+ za zf zc M MR2 [u MP1 MP1 MP1 MP1 ] M MP2" \\
+in which case the first line of the second bar would only be \verb"MP2 MP2".
+This is shorter for you to code, and in this case it works.
+It is not always feasible to use macros within macros: 
+\texttt{expandMacro} works
+by actually inserting the strings into \MTx\ input lines, which
+may not be longer than 255 characters.  Too many macro expansions,
+and you hit your head against the ceiling.
+
+
+\section{Acknowledgments} I still have the 
+\texttt{.tex} and \texttt{.dvi} files of my first attempt at setting music 
+(Bach, no less) with the \mutex\ package of Andrea Steinbach and Angelika 
+Schofer.  The first phrase goes: \begin{verbatim} 
+\4\,\F\~\B\.\c\|\2\A\.\|\4\B\,\E\E\| \2\group{\\\E\\\d}{\\0\\{-1}}\lslur12\go\| 
+\end{verbatim} 
+In \MTx\ that would be                        
+
+\verb"f bd c8 | a2d | b4 e- e | ( e2 d4 )" \\
+A tantalizing glimpse of a preprocessor appeared in the \mutex\ 
+documentation, but the software for it was never released.  
+
+None of this would have been possible without the late Daniel Taupin, 
+who was the first to emphasize that printed music has a fundamentally 
+two-dimensional layout, and whose MusiX\TeX\ package is the engine that 
+actually performs the typesetting.
+
+I made a previous attempt to implement something like \MTx\ as a direct 
+preprocessor to Music\TeX\ (Daniel's first package).  My lack of 
+expertise caused that project to die.  The appearance in January 1997 of 
+\PMX\ 1.1 inspired me to resurrect the idea --- thanks to Don Simons. 
+Don has also made some comments which helped me to improve the \MTx\ 
+input language.  Some \MTx\ features that are implemented by using \TeX\ directly, 
+such as multi-bar rests in scores with more than one stave, make use of
+MusiXTeX code written by Don.
+
+Since version 0.21, \MTx\ uses Rainer Dunker's \ttxem{musixlyr} package.  
+This gives much neater horizontal spacing of lyrics than the manual system 
+used in previous versions, and virtually eliminates the need for 
+horizontal tuning. 
+
+Chris Walshaw's \ABC\ provided the repeat notation.  
+
+The layout of \MTx\ bears some resemblance to a language developed by 
+Miguel Filgueras, not yet publicly available in software, although I did 
+not consciously borrow his ideas. 
+
+I had some enlightening e-mail correspondence with the developers of 
+MPP, Jan Nieuwenhuizen and Han-Wen Nienhuys. 
+This package (no longer being maintained, unfortunately: the authors are 
+working on something altogether grander called LilyPond) was the first 
+music package which made me believe that one could write good-looking 
+scores in a reasonable amount of time. 
+
+Eric Petersen, Reenen Laurie, Kestell Laurie and Joel Hunsberger found
+several bugs in earlier versions of \MTx.  Christian Mondrup did this for 
+\MTx\ 0.50 and later.  
+The subscribers to the discussion list \mailingList\ --- 
+too many to name --- found many more and contributed to the development by 
+requesting new features.  Details of these contribution are given in the
+\ttxem{Corrections} file distributed with the \texttt{prepmx} code.
+
+The success of public domain music publishing owes an incalculable debt
+to the late Werner Icking.  He maintained an online archive for music
+software and sheet music, set
+standards for music typesetting, tested software packages, gave 
+genuinely expert advice to would-be experts, and encouraged newbies
+with patience and understanding.  When he died unexpectedly at a
+comparatively young age, each of the small but globewide community of users
+of MusiX\TeX\ lost a personal friend and mentor.  His music archive
+as it was at the time of his death can still be accessed at 
+\texttt{ftp://ftp.gmd.de/music} or \texttt{http://www.gmd.de/Music}.
+
+Werner's work is still being carried on, but it requires three people
+to fill his shoes.  Maurizio Codogno is the mailing list administrator,
+Christian Mondrup the maintainer of the software archive, and Don Simons
+the maintainer of the sheet music archive.
+
+My wife, Trienke, has had to suffer many effectively husbandless evenings
+and weekends while I hammered the program and documentation into good enough 
+shape to be able to offer it around.
+
+\appendix
+\setcounter{page}{1}
+\renewcommand{\thepage}{A-\arabic{page}}
+
+\section{Where to find help}  \label{help}
+
+ \MTx\ is the tip of an iceberg.  Things can go wrong at many levels.
+Fortunately, here are many ways to get information and help.
+\begin{itemize}
+  \item  Consult the Table of Contents and \emph{index} in search of
+         a likely-looking topic.  
+  \item  The annotated examples might be useful.
+  \item  There is a file \texttt{FAQ} in the distribution that contains
+         the sort of questions that new users often ask.
+  \item  The packages on which \MTx\ relies all have their own reference
+         manuals.  Look for the following files:
+    \begin{description}
+      \item{\PMX:~} \texttt{pmx230.pdf}, \texttt{ref230.pdf} 
+           (these names will obviously be different
+           if your \PMX\ is not Version 2.30); 
+      \item{\musixlyr:~} \texttt{musixlyr.pdf};
+      \item{MusiX\TeX:~} \texttt{musixdoc.dvi}. 
+    \end{description}
+  \item  Consult the mailing list archive at 
+ \begin{quote}\archiveSite \end{quote}
+  \item  Join the \ixem{mailing list} by sending an e-mail message to 
+     \begin{quote}\mailingList\end{quote}
+with the word \texttt{subscribe}
+as subject --- no message body needed.
+\end{itemize} 
+
+\section{A short \PMX\ tutorial}  \label{pmx}
+
+  This section describes the parts of \ibxem{PMX} that you are likely to need 
+when coding scores in \MTx.  I have left out or simplified features 
+that are not 
+necessary or too advanced.  In most cases, you can still use them, as 
+\MTx\ simply passes through anything that it does not recognize.  
+
+  \PMX\ resembles English in that it is made up of \ixem{word}s, which are 
+strings of non-blank characters separated by blanks.  Each word, though, 
+has the character of an acronym, in that its letters each stand for 
+something longer, and in fact Don Simons designed the notation so that 
+you can actually say out loud what the acronym stands for.
+
+  \textsl{In the following, the symbol \ttxem{\#} stands for some number.}
+
+ \subsection{Words that contribute to the count}
+
+  Each bar of music has a certain \ixem{duration}, which is is the total of the 
+notes and rests in it.  The word for a note that contributes to the 
+count starts with \texttt{a} to \texttt{g}, which indicates \ixem{pitch}; and 
+the word for a \ixem{rest} starts with \ttxem{r}.  
+
+  A note may have a number of \ixem{suffix}es, which may come in any order.  
+The duration is indicated by a digit: from short to long, these are
+6 (1/\mark64-th note), 3, 1, 8, 4, 2, 0, (whole note), 9 (double note, 
+also known as `breve').   
+Moving a 
+note an \ixem{octave}\footnote{The \ttxem{=} suffix is not part of \PMX.
+Instead, \PMX\ offers the ability to specify octaves by numbers. \emph{This
+feature is not supported by \MTx.}}
+ up or down is indicated by \ttxem{+} and \ttxem{-},
+repeated if necessary.
+The other suffixes are the following marked letters: \mark dotted,
+\mark flat, \mark sharp, \mark natural, stem \mark upper, 
+stem \mark lower, offset to the \mark right, offset to the 
+l\mark eft, \mark apart (not attached to a beam).
+
+You can fine-tune \index{dot!fine-tuning} dot position,\NEW{0.52} e.g.\
+\verb"gd-2" puts the dot two internotes lower than it would normally go, 
+and \verb"gd-0+1" puts it one notehead to the right.  
+
+You can also fine-tune\NEW{0.52} accidental position in a similar way.  For
+accidentals (but not for dots) you are allowed to write \verb"gs>1"
+instead of \verb"gs-0+1".
+
+  A rest may also have suffixes: duration and \mark dot as for notes,
+\mark pause (duration is the whole bar), \mark blank (rest is 
+counted but not printed).    
+It can be moved up and down by \ttxem{+} and 
+\ttxem{-} followed by a number, e.g. \texttt{r0-4} is a whole-note rest 
+moved down four internotes.  The other rest suffixes mentioned
+in Section \ref{rests} are not yet (version 1.3.8) part of \PMX, 
+except \texttt{m}, which is allowed in a score for a single one-stave 
+instrument.  \NEW{0.43}  Also the `blind' and adjustment suffixes on the pause 
+\texttt{rp} are legal in \MTx, but not yet in \PMX.
+
+ The duration of a note may be influenced in various ways by a previous
+note: if unspecified, it is the same as the previous note; or the note 
+may be part of a chord, a multiplet, or a grace note group.
+
+ \subsection{Words excluded from the count} 
+
+Except for the first note of a chord or multiplet, the following words 
+for notes are excluded from the count, and should not have a duration 
+suffix. 
+
+\paragraph*{Chords:} Each note in a chord except the first has the 
+prefix \ttxem{z}.  It is excluded from the count, and suffixes 
+\ttxem{a} \ttxem{d} \ttxem{l} \ttxem{u} may only appear on the first, 
+non-\texttt{z} note. 
+The ``melodic note'' of Section \ref{chords} becomes the first note
+of the chord when the \MTx\ code is translated to \PMX.
+
+\paragraph*{Multiplets:} A normal note may have an extra suffix, after 
+all the others, of the form \verb"x#" \index{\texttt{x}} 
+or \verb"x#n", where \ttxem{\#} 
+stands for a number.  This means that the note is the first of a 
+multiplet (or $x$-tuplet) with \verb"#" equal notes in the time of one.  
+Only the duration coded on this first note is included in the count. The 
+appearance of the first note will not be the normal one for its 
+specified duration: it will look like all the others.  
+E.g.~\verb"g4x3 a b" defines a \ixem{triplet} of total duration a quarter-note 
+looking like three eighth-notes. The \ttxem{n} means that the number 
+\verb"#" is not to be printed. 
+
+\paragraph*{Grace notes:} A normal note may have a prefix group starting
+with \verb"G#" or \ttxem{G}.  This indicates that the note is the first 
+of a grace note \index{note!grace}
+group with \verb"#" notes, to be set in a tiny font.   
+All the notes in the group, even the first, are excluded from the 
+count. 
+
+\subsection{Words for other things than notes}  \label{ornaments}
+
+Other things than notes go into a music score: ornaments, 
+clefs,                                          
+expression markings, changes in key and time signature, etc.  
+\PMX\ contains support for many of these.  Here I mention only a small 
+selection: see the \PMX\ manual for items you need but which are not 
+described here.  A word for each such feature has its characteristic 
+first letter followed by a selection of \ixem{suffix}es that qualify it.
+
+\begin{description}
+ \item{Ornament:}  An \ixem{ornament} is set off-stave in line with its note, 
+and its word, starting with \ttxem{o}, comes directly after that of its 
+note.   The more commonly needed suffixes are           
+\texttt{u} (dot for 
+pizzicato), \texttt{p} (\mark prime for sharp pizzicato), 
+\mark fermata above, \textbf{fd} (\mark fermata \mark down). 
+The suffixes \texttt{.} (staccato) and
+\texttt{-} (tenuto) differ from the others by being set close to the
+note, not off-stave.
+There are several more in \PMX\ and many others in MusiX\TeX. 
+ \item{Clef change:}  You get a small \ixem{clef} at the point where 
+the clef change occurs and a big one at the start of the next line.
+The clef change word begins with \ttxem{C}.  The suffix \verb"#" places 
+middle C on line \verb"#" of the stave, where \ttxem{1} is the bottom 
+line and \ttxem{5} the top.  An appropriate clef is selected 
+automatically, e.g. \ttxem{C0} is the G-clef (treble) and \ttxem{C6} is 
+the F-clef (bass). 
+ \item{Voltas:}  \index{volta} These are the labels to mark sections of the score
+that are not played at every repeat.  You put \ttxem{V}\textbf{1} to indicate
+that a bracket containing the number 1 should appear above the bar
+in question.  Since \PMX\ wants all such indications in the bottom
+voice only, they are deleted by the \MTx\ preprocessor if found
+elsewhere.   See Appendix \ref{voltas}.
+ \item{Key change:} Put \verb'K+0-2' in a music line where a \ixem{key} change
+to two flats should occur.  As with voltas, this indication is deleted
+if not in the bottom voice.
+\end{description}
+
+\subsection{Useful things to put on \ttxem{\%\%} lines}
+\label{usefulPMX}
+
+Most of the following commands should appear in the first music paragraph
+or on a \ttxem{PMX} preamble command line.
+Some of them are actually raw \ixem{MusiX\TeX} ---
+consult the MusiX\TeX\ manual for other interesting commands.
+\verb"%%" lines in the preamble are treated a little differently -- see 
+Appendix \ref{expert}.
+\begin{description}
+ \item{Line, page and movement breaks:}  
+Put \ttxem{\%\%L}\texttt{6} above a paragraph
+to make the 6th system start there, and \verb'%%L6P2'  to put that
+paragraph at the top of page 2.  You can't ask for a \ixem{page break}
+without a \ixem{line break}.  Use this feature only when necessary.  
+Put \verb'L10M+10i0.1' to make a new movement start at the 6th system,
+with 10 internotes of extra space between movements and an indentation
+of $0.1=10\%$ of the width.
+ \item{\verb"h260m"} Height is 260 millimetres.
+ \item{\verb"w8i"} Width is 8 inches.
+ \item{\verb"\\vsize 270mm\"} Height given to MusiX\TeX\ is 270 millimetres. 
+ \item{\verb"Ar"}  Use relative \ixem{accidentals}.  This requires a different 
+  way of coding flats and sharps ---think of \verb's' as meaning 
+  `sharpened' instead of `sharp'.  E.g.~if the key signature has one or 
+  more flats, then \verb'bs' means a B natural, \verb'bn' a B flat, and 
+  \verb'bf' a B double flat.   If you need to \ixem{transpose} music often, 
+  it is a good idea to acquire the habit of using relative accidentals 
+  always.  If you don't, only pieces in C major or A minor can be 
+  transposed without trouble. 
+ \item{\verb"As"}  Always use small \ixem{accidentals}.  Normally \PMX\
+uses big accidentals and only switches to smaller ones if there is a
+reason to do so.  You can also force all big accidentals by \verb"Ab."
+ \item{\verb"Ar K+1-3"}  Use relative accidentals and transpose the 
+  piece up one internote, to a key with three flats.  You can only 
+  \ixem{transpose} correctly when using relative accidentals! 
+ \item{\verb"\\stdbarrules\"}  This will cause bar lines to be 
+  drawn solidly \index{bar lines!solid}
+  from the top to the bottom of each system, maybe
+  cutting through lyrics in the process. 
+  \item{Midi commands}  \PMX\ can make MIDI files.  For example, if you put
+\begin{verbatim}
+PMX: Ii55:55:55:55t96b56:72:48:80v127:100:73:46
+\end{verbatim}
+in your preamble, a MIDI file will be generated in which all four
+instruments
+are played on MIDI instrument number 54 (if you use the default
+instruments together with \texttt{Timidity++}, this means `voices')
+at a tempo of 96 quarter-notes to a minute, with MIDI balances
+of 56, 72, 48 and 80 (centre is 64) and MIDI velocities
+of 127, 100, 73 and 46 respectively.  More details appear in the
+\PMX\ manual.  
+\end{description}
+
+\section{How to get and use \MTx}
+
+\textit{Sorry, this section assumes that you have some knowledge of 
+computers! Get a \TeX-pert to help you if necessary.}
+
+\subsection{Installation} \label{Archive}
+
+The primary official source for all the software you need is 
+the MusiX\TeX\ \ixem{Archive} at 
+\begin{quote} \archiveSite \end{quote} in the 
+\texttt{/music/musixtex/} directory
+and its subdirectories.
+Copies spread from there to other official CTAN (Comprehensive \TeX\
+Archive Network) sites.  
+\MTx\ is in the \texttt{software/mtx} subdirectory. 
+You might find there a binary package suitable for your system; 
+if so, you can ignore the part of this section that discusses compilation.
+
+\begin{quote}
+Read the \ttxem{README} file that comes with the \MTx\ zip file.
+\end{quote}
+
+If you are still reading on despite the previous line, here is a
+general description --- but the most recent stuff, the real nitty-gritty,
+is in the \texttt{README} file.
+
+To use \MTx, you need a working \ibxem{PMX} installation (version 
+2.502 or later, 
+although many scores will work with earlier versions)  which 
+is in the \texttt{software/pmx} subdirectory of the Archive.
+\PMX\ itself is a 
+preprocessor to Daniel Taupin's \ixem{MusiX\TeX} (Version T.112 was used
+to prepare this manual), which is in the  MusiX\TeX\ Archive directory itself.
+All of these depend on Donald Knuth's \TeX\ typesetting package.
+If your system does not already have \TeX, put pressure on your system
+administrator.
+
+You will need Rainer Dunker's \ttxem{musixlyr} extension package (version
+2.0c or later).  This package is available with full documentation in the
+\texttt{add-ons} subdirectory of the Archive, and you should read
+that documentation if you need more lyrics features than 
+those accessible from \MTx.  
+
+My \MTx\ translator was originally written in Turbo Pascal, but I use  
+the Free Pascal compiler, available for many systems, for current development
+work.  
+For the sake of those users whose systems do not yet run Free Pascal, 
+but have a C compiler that accepts ANSI C source code,
+the Pascal source distribution provides the possiblity of making a C translation,
+using Dave Gillespie's Pascal-to-C converter \texttt{p2c}
+and a bit of post-translation hacking.  
+ 
+Once you have all the software, make an \MTx\ file with extension 
+\dotxem{mtx} using your normal text editor.  It must be an \ixem{editor} that
+respects the line boundaries and empty lines that you type in: in other 
+words, something fairly primitive, not an upmarket word processor.  Run 
+the program \ttxem{prepmx} with argument \texttt{basename} when
+your file is called \texttt{basename.mtx}.  The output 
+will be a file \texttt{basename.pmx} which then goes through \PMX\ 
+and \TeX.  The error detection capabilities of \texttt{prepmx} are 
+reasonable but not extensive: much is passed through unexamined to \PMX. 
+
+\subsection{The \texttt{prepmx} command line} \label{commandline}
+You could also supply other arguments on the \ixem{command line}.  
+A complicated command line in Unix (replace \verb'/' by \verb'\'
+in DOS) might be
+\begin{verbatim}
+prepmx -bvn mysong /home/dirk/texinput /home/dirk/mtx/mystyles.txt
+\end{verbatim}
+
+This line contains switches (recognized by the leading hyphen), 
+a basename, the directory where
+the final \dotxem{tex} file will be put (if you omit it, files go in the 
+current directory), and the file where I keep my
+own styles (if omitted, the file \ttxem{mtxstyle.txt} in the current directory
+is used, if there is one).  Instead of putting the switches as here on the 
+command line, you can specify them 
+in a preamble \ttxem{Options:} line, which takes precedence over the command 
+line. 
+
+\begin{description}  \index{command line!switch}
+ \item {\ttxem{-b}} \quad Disable \texttt{unbeamVocal}.
+ \item {\ttxem{-c}} \quad Disable \texttt{doChords}.
+ \item {\ttxem{-D}} \quad Enable \texttt{debugMode}.
+ \item {\ttxem{-f}} \quad Enable \texttt{solfaNoteNames}.
+ \item {\ttxem{-i}} \quad Enable \texttt{ignoreErrors}. 
+ \item {\ttxem{-m}} \quad Disable \texttt{doLyrics}.
+ \item {\ttxem{-n}} \quad Enable \texttt{instrumentNames}.
+ \item {\ttxem{-t}} \quad Disable \texttt{doUptext}. 
+ \item {\ttxem{-u}} \quad Disable \texttt{uptextOnRests}.
+ \item {\ttxem{-v}} \quad Enable \texttt{beVerbose}.
+ \item {\ttxem{-w}} \quad Enable \texttt{pedanticWarnings}.    
+ \item {\ttxem{-0}, \ttxem{-1}, \dots, \ttxem{-9}} \quad Select specified 
+case of multiple score.  See Section \ref{multiscore}. 
+\end{description}
+
+The \texttt{prepmx} program exits with \ixem{return code} 0 if no error was 
+found, and return code $n$ if an error was found while processing line $n$ of 
+the input.  \NEW{0.40}Return code 10000 means that the input file was
+empty or could not be opened, or that an invalid option was encountered.  
+In the latter case, a list of available features is displayed ---
+this is a quick way of obtaining such a list.
+
+In some cases, the actual error may be on
+another line, e.g.\ when it is found that music lines have a different
+duration, the first line processed may be in error, but the discrepancy
+is only found  later.
+
+
+\subsection{Bugs, restrictions and incompatibilities} \label{limits}
+
+The status of bugs changes too quickly for this document.  Please 
+consult the files supplied with the package, in particular 
+\texttt{README}, \texttt{Corrections} and \texttt{Bugs}.
+
+In \MTx\current\ a paragraph may not be more than 100 lines long, 
+an input line 
+(including those in lyrics paragraphs) not more than 255 characters, 
+a lyrics 
+line in a music paragraph not more than 128 characters, and you may define a 
+maximum of 12 extra style elements of your own, whether in the preamble or in 
+the \ttxem{mtxstyle.txt} file.  It is possible to change these easily: see 
+\texttt{README}.
+
+\NEW{0.42} You can have up to 15 voices, using up to 15
+staves.  For each two-voice stave, the number of staves you can have goes
+down by 1. 
+
+Other limitations are described in the \PMX\ documentation. 
+
+\subsubsection{Compatibility}
+
+In \MTx\ 0.55 a small but wide-ranging change has been made in \verb"mtx.tex"
+which affects the \verb"\musixlyr" interface and vertical spacing.  The net 
+result is that new scores will need much less tweaking with \texttt{Space:}
+and \verb"@".  On the other hand, old scores that have laboriously been 
+manipulated into correctness will now look wrong unless you put an old copy
+of \verb"mtx.tex" where it will be found first, preferably in the same 
+directory as the \MTx\ score.
+
+\MTx\ 0.55 takes advantage of the new slur syntax of \PMX\ 2.502.
+In some cases the slurs will look a little different, because \verb"{"...\verb"}"
+now generates ties.
+
+Scores made using \MTx\ 0.52 and later should still compile under 
+\MTx\current.  Older scores may need to be revised.  
+
+Some command line options allowed in \MTx\ 0.52 have been removed.
+ 
+The \MTx\ 0.52 documentation stated falsely:
+\begin{quote} \small
+   The default duration at the completion of a line is that of the 
+last note appearing at that stage, which in the case of an expanded
+group is the shorter note.   Since this is opposite to what happens
+during the line itself, a line ending with a
+group should have an explicit duration code for the first note 
+on the next line for that voice.   
+\end{quote}
+Actually, duration is taken from what you code,
+so e.g.\ \texttt{c4.d} will leave the duration code as \texttt{4}.
+Of course, explicitly coding the duration can never hurt.
+
+\subsubsection{Unsupported features of Musix\TeX\ and \PMX}
+
+Unlike MusiX\TeX\ itself, which is stable and nearly complete,
+\PMX\ and \MTx\ are both still in a stage of growth.  Their authors
+are reasonable people who subscribe to the discussion list \mailingList\
+and are open to suggestions
+made there.  If you have any ideas, please email them to the list,
+so other users can see them and comment on them. 
+
+The implementation of new features depends on three factors: what I
+need in my own scores; what users of \MTx\ have asked me to do; and how
+easy and quick it is to do them.  But bear in mind that the underlying
+philosophy of \MTx\ is to be simple and intuitive: arcane features are
+best left to \PMX\ if not MusiX\TeX.  I don't mind how sophisticated the
+\PMX\ code generated needs to be, but the \MTx\ input language must not
+acquire a cluttered and obscure appearance.
+
+Support or otherwise of Musix\TeX\ and \PMX\ features comes at three 
+levels:
+\begin{enumerate}
+ \item  The most frequently used features are transparently 
+incorporated into the basic \MTx\ language.
+ \item  The default action of \MTx\ is to pass through unchanged 
+anything it does not recognize.  Most \PMX\ and MusiX\TeX\ features 
+still work in this case.  For example, you can use \verb"\PED\"\NEW{0.51}  
+in front of a 
+note to obtain a \ixem{pedal} annotation below the stave, and \verb"\DEP\" 
+to get the big asterisk for pedal release.  This is an example of a ``Type 1
+\TeX\ string'' \index{TeX string@{\TeX\ string}!Type 1} as 
+described in the \PMX\ manual.  
+ \item  When a new \PMX\ feature affects aspects like count
+or pitch of which \MTx\ should be aware, it is likely to be
+incompatible with the preceding release of \MTx, although I do try
+to catch up later.
+\end{enumerate}
+
+Some pertinent aspects:
+\begin{enumerate}
+ \item \MTx\current\ does not recognize the macro features of \PMX.
+You should therefore not use macros for notes or anything else that 
+affects the count, the duration, the current octave and other properties
+that are inherited by a note from the next.  But there is no harm in
+using macros for things like extra space.
+ \item \MTx\current\ is not aware of movement breaks and the possibility 
+to change the number of voices.
+ \end{enumerate}
+
+\subsection{For \PMX- and MusiX\TeX-perts only}  \label{expert}
+
+You can send commands directly to \ibxem{PMX}.  All lines starting with 
+\ttxem{\%\%} in music paragraphs are collected, stripped of the leading 
+\verb"%%" and passed otherwise uninterpreted to \PMX\ before anything 
+else from that paragraph is translated.  \NEW{0.41}  If such a line
+is found in a preamble paragraph, it is treated as a ``Type 4 \TeX\ string'',
+\TeX\ string'' \index{TeX string@{\TeX\ string}!Type 4}
+which means that it will eventually appear at the top of the \TeX\ file,
+after \texttt{musixtex.tex} and \texttt{pmx.tex} have been read in.  
+Such lines should \emph{not} end with \verb"\".
+An example appears in Appendix \ref{dirty}.
+As in \TeX, a line starting with only one \ttxem{\%} is treated as a 
+\ixem{comment}: such lines do not appear in the \PMX\ file. 
+
+If you ever need to pass through something involving stave or instrument 
+numbers, remember that \PMX\ and MusiX\TeX\ number these from bottom to
+top, not from top to bottom, and that the ``first voice'' in \PMX\ is the 
+\emph{bottom stave} to \MTx.  
+
+Apart from the conversion of lyrics and chord lines into \PMX\ commands 
+(which is the main job of \MTx) the notes are modified in various ways.
+\begin{itemize}
+  \item Octave is inserted into the first note of each voice, depending 
+on the \NEW{0.54} \texttt{Octave} command, or if none is supplied, 
+on the clef.  
+Absolute \ixem{octave} numbers are not recognized by \MTx\ and
+may cause unexpected side effects.  You can get something like absolute 
+octave numbers by combining \verb"=" with \verb"-" or \verb"-".  This
+may cause an irritating but harmless error message about backward 
+incompatibiliy at the PMX stage. 
+  \item If a line is vocal, an \ttxem{a} is inserted into quavers and 
+shorter notes when not under slurs, to protect them from being beamed. 
+  \item Duration codes are inserted into all notes and rests before any 
+serious processing is done.   
+  \item  Long/short note groups are expanded into separate notes.
+Although \PMX\ allows these shortcuts, lyrics
+cannot be properly synchronized unless the groups are expanded. 
+  \item  \PMX\ syntax allows great freedom in the order in which
+different parts of a node are coded.  \MTx\ is not aware of
+all the subtleties, but extracts only those parts of which it needs to
+be aware, and reassembles the note afterwards.
+    \item Labels in the range
+    \texttt{I} to \texttt{T} are inserted into unlabelled slurs and ties.  \NEW{0.55}  
+    You should therefore avoid those labels for slurs that you label yourself.
+  \item  Chord lines are expanded into standard \PMX\ code and inserted
+into the main line for each voice.
+  \end{itemize} 
+
+Other ways in which an \MTx\ score differs from a native \PMX\ score in 
+more than layout are: a bar line is \emph{required} for a \ixem{pickup}; 
+\ixem{repeat} bars 
+are coded by the \ABC\ symbols instead of \ttxem{Rl} etc.; you don't 
+need to insert a meter change for an incomplete \ixem{final bar}: 
+\MTx\ does it.
+
+All the ability of \PMX\ to pass through \TeX\ (including MusiX\TeX) 
+commands is still there.   You might for example like to read the 
+\ttxem{musixlyr} documentation for a large variety of ways to 
+fine-tune horizontal lyrics placement, but I can promise that you hardly 
+ever will need to do horizontal tuning except to align multi-verse lyrics as 
+in Section \ref{fine-tune-lyrics}.
+
+
+\pagebreak
+\section{Annotated examples}
+ \subsection{Voltas} \label{voltas}
+ \hskip -12mm
+\begin{mus}
+ \input volta.tex
+\end{mus}
+\verbatiminput{volta.mtx}
+The main rule is: put every \ttxem{V} command in the \emph{bottom} voice
+at the start of a measure,
+after the bar line (if any) but before the first note, and don't try
+to use more than one at a time: the new volta automatically closes the
+old one.  Volta signs in other voices are silently ignored.
+When reading the \PMX\ manual, remember that \emph{your} last part will 
+become the first part for \PMX. 
+
+In the above example \texttt{V1} starts a volta box, 
+but to get the first volta box to be closed at the end, you must later
+say \texttt{Vb}.  Also, to get the text \texttt{2} into the ``second ending" 
+box, you add the \texttt{2}
+after the \texttt{Vb} to make \verb"Vb2".  Finally, to make the second 
+box open ended, you must enter \texttt{Vx} at the point you want it to be 
+done.  (If you forget to enter the \texttt{Vx} after your last volta box, you 
+will get a strange unwanted volta box at the end of your piece.)  
+
+This example also illustrates the interplay between \ttxem{Space}
+and \ixem{\atsign} required for proper spacing of lyrics when there
+is stuff above the staves.
+\hfill --- \textsl{Contributed by Joel Hunsberger}
+
+\subsection{Music size} \label{sizes}
+
+\verbatiminput{title1.mtx}
+\begin{center}
+\begin{mus}
+ \input title1.tex
+\end{mus}
+\end{center}
+
+The above does not look quite right, for a complicated reason.
+A piece as a whole has a basic music size, and then each stave can have its
+own ``local'' size.  The local size affects everything on the stave itself,
+but not the annotations, ornaments etc.  The range of legal basic sizes 
+is quite small: \PMX\ allows only 16-point and 20-point.
+In this example, the basic size is 20-point and the local size 29-point.
+
+To get the perfectly matched annotations displayed on the title page of this
+manual, the 
+input looks like this:
+\verbatiminput{title.mtx}
+MusiX\TeX\ has four size commands relative the basic size (called 
+\verb"\normalsize"). These commands affect all music fonts.  They are:
+
+\hskip 15mm
+\begin{tabular}{lrr}
+\keyindex{smallmusicsize}  & 13pt  & 16pt \\
+\keyindex{normalmusicsize} & 16pt  & 20pt \\
+\keyindex{largemusicsize}  & 20pt  & 24pt \\
+\keyindex{Largemusicsize}  & 24pt  & 29pt
+\end{tabular}
+
+There is no \verb"\tinymusicsize", although several of the music fonts are 
+individually available in 11-point size.
+
+\pagebreak \subsection{A psalm tune} 
+\hskip -20mm \begin{mus} 
+ \input psalm42.tex
+\end{mus}
+\vskip 12pt
+\verbatiminput{psalm42.mtx}
+\begin{itemize} 
+  \item \verb"Meter: 0/2" indicates counting in half-notes, but no bar
+lines.
+  \item Line breaks in the \texttt{Title} are made by \verb"\\".
+\end{itemize}
+
+\pagebreak
+\subsection{Beams, slurs and melismas}  \label{melisma}
+
+%  Macros for music examples
+
+\example{melisma1}{mtx}{60mm}{4mm}{90mm}{-5mm}{c}{5mm}
+
+\example{melisma2}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm}
+
+\example{melisma3}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm}
+
+\example{melisma4}{mtb}{60mm}{4mm}{90mm}{-15mm}{b}{5mm}
+
+\example{melisma5}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm}
+
+\example{melisma6}{mtb}{60mm}{4mm}{90mm}{-15mm}{b}{5mm}
+
+\bigskip\bigskip
+
+Some points to note: Example 1 uses a slur with default PMX beaming, 
+Example 2 uses forced beaming to beam all notes, 
+Example 3 does both.  Examples 4 and 5 violate the \MTx\ convention
+that notes sung to a single syllable must be slurred or beamed together,
+so we override this in either of two ways using \texttt{musixlyr}
+commands.  Example 4 uses \verb"\beginmel" and \verb"\endmel"
+to force melismas in a situation where \verb"[[" has suppressed them;
+this method is good for long melismas
+over several beamed components.  Example 5 suppresses lyrics where
+the beaming would have put them.  
+Example 6 uses \verb"\lyr" to force lyrics where the beaming
+would have suppressed them, and shows the use of empty
+syllables to synchronize lyrics and of broken slurs to indicate different
+slurring in the two verses.
+\hfill --- \textsl{Suggested by Stefan Haller}
+
+\pagebreak
+\subsection{Dirty Tricks} \label{dirty}  \NEW{0.41}
+
+\verbatiminput{meter.mtx}
+\begin{center}
+\begin{mus}
+ \input meter.tex
+\end{mus}
+\end{center}
+
+These are bars 7--9 of the \emph{Credo} from \emph{Misa Criolla}
+by Ariel Ram{\'\i}rez.  It is in the \emph{chacarera trunca} meter, which
+mixes $\frac34$ and $\frac68$ time.  There is no \PMX\ construction for 
+such \ixem{exotic meters}, so we need to be ingenious.  
+
+We specify the meter as \verb"m3406"
+which tells \PMX\ to use $\frac34$ meter but to print the C symbol for common
+time.  Of course we do not actually want the C symbol, we want something
+that looks like $\frac34(\frac68).$  Now all that \PMX\ knows about the C 
+symbol is that it is called \verb"\meterC" in MusiX\TeX.  So we define
+\verb"\chacarera" and assign it to
+\verb"\meterC" in preamble \verb"%%" commands. These appear in the \TeX\
+file after the command to read in \texttt{musixtex.tex} but before the 
+commands that actually print something.   If later we need the original
+\verb"\meterC" it can be restored by \verb"\let\meterC=\oldmeterC".
+
+The excerpt illustrates some sophisticated \PMX\ features too.
+Since the \verb">" ornament on the bottom stave 
+goes above the stave by default, we
+need to move it down explicitly.  The beamed eighths look better with
+a horizontal beam, which is enforced by \verb"[h."  Finally, there is
+a tie involving a melodic note with a note in a chord; to allow this, 
+the chordal note must
+come on a music line, not on a \texttt{C:} line.
+\pagebreak
+
+\subsection{Extra text after the piece} \label{extra}  \NEW{0.50}
+
+\verbatiminput{borup.mtx}
+
+
+When typesetting a vocal composition you may sometimes want to put only the
+text of the initial stanza into your score and let the remaining part of the
+lyrics be printed below the score. You might also want to add some notes or
+comments.
+
+Apparently this is not possible according to the set of commands available
+for \MTx\ and \PMX. There is, however, a workaround to do things like
+that. The trick is to look for a command \keyindex{Endpiece} or --- as in
+this example --- \verb'\setrightrepeat\endpiece' near the bottom of the
+MusiX\TeX\ file generated by the \PMX\ preprocessing. You may extend the
+actions of \verb'\Endpiece' (or \keyindex{endpiece}) by saving the command
+with another name (\verb'\endpiecesav') and redefine \verb'\Endpiece'
+to first execute \verb'\endpiecesav' and then request the inclusion of
+one or more files containg plain \TeX\ code. The text of the included
+file(s) will be typeset on unutilized space on the last page or else on
+a new page.
+
+MusiX\TeX\ commands like these may --- as noted in Appendix \ref{usefulPMX}
+--- be put directly into the mtx source file in \verb"%%"-lines at the
+head of the first music paragraph.
+
+In the current example two files have been included. \texttt{lyrics.tex}
+contains the original Latin lyrics and an English translation. A \TeX\
+table\footnote{See Michael Doob: A Gentle Introduction to \TeX, section
+6.2. The book may be found as \texttt{gentle.tex} in the Documentation
+subdirectory of the \TeX\ CTAN mirror archives.} consisting of a template
+line followed by item lines for each lyrics line has been used to set
+up the text in two columns - one for the lyrics and one in italics for
+the translation. Notes on the song is included from \texttt{notes.tex}
+and appended below the lyrics.
+\hfill --- \textsl{Contributed by Christian Mondrup, following a hint by
+Werner Icking}
+
+\verbatiminput{notes.tex}
+\pagebreak
+
+\verbatiminput{lyrics.tex}
+
+\hskip -20mm
+\begin{mus}
+ \input borup.tex
+\end{mus}
+
+\pagebreak
+
+\section{\MTx\ and \LaTeX}  \NEW{0.54}
+
+\textit{This section assumes that you have some knowledge of 
+\LaTeX.}
+
+The normal output from \PMX\ is a stand-alone plain \TeX\ file, which 
+cannot without further ado succesfully be input into \LaTeX.  
+The file \ttxem{mtxlatex.tex} allows you to prepare music scores using
+\LaTeX\ rather than plain \TeX, which is particularly useful when you 
+need the enhanced font handling features of \LaTeX, and to produce
+books combining the outputs of several \PMX\ runs into a single
+document, such as a collection of songs, or a mainly text document
+ (like this one) with many small music excerpts.
+
+Two points apply to all cases:
+\begin{enumerate} 
+  \item Order of inclusion of packages is important.  \texttt{mtxlatex}
+    must be the first package included, before any font packages.
+  \item It is easy to incur \ttxem{TeX capacity exceeded}.  For
+example, the index to this manual is a separate document because
+package \texttt{multicol} won't load on top of all the others.
+If you wish to do large scores, it is probably advisable to change 
+\texttt{texmf.cnf} so that \verb"save_size = 10000" and run
+\texttt{initex}.
+\end{enumerate}
+
+\subsection{Collections of complete pieces}
+
+Suppose you need to make a document containing several complete
+pieces, with
+perhaps a title page, a foreword and an afterword, like a typical
+published book of piano pieces or songs.  
+\begin{enumerate}
+  \item Prepare a \texttt{.tex} file for each separate piece, using the methods
+described previously, and be sure that it is fully debugged and looks
+the way you want it, using the standard \texttt{tex-musixflx-tex}
+compiling cycle.
+  \item Write a \LaTeX\ file looking something like this:
+\verbatiminput{hallelujashort.ltx}
+  \item Use a \texttt{latex-musixflx-latex}
+compiling cycle to make the finished document.
+  \item If you make small changes in the \LaTeX\ part only, a single
+\LaTeX\ pass is sufficient, unless the page numbering has changed.
+\end{enumerate}
+You can see the finished product in \texttt{halleluja.pdf}.
+Some points to note: 
+\begin{itemize}
+  \item The package \texttt{mtxlatex} comes with \MTx.
+You must put the command \keyindex{mtxlatex} in the preamble.
+  \item The package \texttt{times} comes with standard distributions.
+You could use any \LaTeXe\ font package here.  The \texttt{times}
+font is quite narrow and therefore useful when the lyrics are crowded. 
+If you do use a font a package, load it \emph{after} \texttt{mtxlatex}. 
+  \item \verb"\pagestyle{headings}" puts page
+numbers and running headings at the top of the page.
+  \item To change fonts, use pure \LaTeXe\
+\ixem{font change} commands, as above.  Don't try to use \verb"\it", \verb"\bf"
+etc.  Briefly, subject to what fonts you have installed,
+you can independently change:
+  \begin{description}
+   \item[size]  \verb"\tiny",
+      \verb"\scriptsize", \verb"\footnotesize", \verb"\small",
+      \verb"\normalsize", \verb"\large", \verb"\Large", \verb"\LARGE",
+      \verb"\huge", \verb"\Huge";
+   \item[shape] \verb"\upshape", \verb"\itshape", \verb"\slshape", 
+     \verb"\scshape"; 
+    \item[family] \verb"\rmfamily", \verb"\sffamily", \verb"\ttfamily";
+    \item[series] \verb"\mdseries", \verb"\bfseries". 
+  \end{description}
+For a full description, see any good \LaTeXe\ manual.
+  \item  The blank line after \verb"\pagebreak" is essential.
+  \item  The environment \ttxem{Score} is used to include each piece.
+It takes two arguments: the first will appear in the list of
+contents and as a running page heading; the second is the name
+of the \texttt{.tex} file.  As usual, the extension \texttt{.tex}
+may be omitted.  There is also an environment \ttxem{score}
+which is less convenient but more flexible: it has no arguments,
+reads in nothing, puts nothing in the table of contents, and
+does not change the running page heading.  Use it when you need
+a special lyrics font, e.g.
+\begin{verbatim}
+\begin{score} \headingandcontents{Loof nou die Heer}
+  \sffamily \input loofnou 
+\end{score}
+\end{verbatim}
+\end{itemize}
+
+\subsection{Collections of morsels}
+
+The situation is a little different when the pieces are so short
+that more than one of them fit on one page.  For these, use the
+environment \ttxem{excerpts}, as in the following example:
+\verbatiminput{kanons.ltx}
+The rest of the procedure is the same as for collections of longer
+pieces.
+You can see the finished product in \texttt{halleluja.pdf}.
+Some points to note: 
+\begin{itemize}
+  \item The \texttt{excerpts} environment redefines the heading fonts
+to more modest sizes.
+  \item A page break should be made before quitting the environment.
+  \item The pieces do not have bar numbers, but space should be reserved
+for the numbers that show where the voices enter.  This is done
+by redefining the \keyindex{writebarno} command.
+\end{itemize}
+
+\subsection{Documents with small music excerpts}
+   
+This manual relies heavily on the \ttxem{mus} environment.  
+For example, the 
+musical emblem on the front page was set using the commands
+\begin{verbatim}
+\begin{center}  
+  \framebox[5in]{\parbox{3.6in}{
+    \begin{mus} \input title.tex \bigskip \end{mus}
+  }}        
+\end{center}
+\end{verbatim}
+Some points to note: 
+\begin{itemize}
+  \item  The excerpts vary in length and some experimentation is
+required to get the dimensions and positioning just right. 
+  \item  Putting the \texttt{mus} environment inside a \texttt{center}
+environment only works when the music line is not longer than the text.
+Otherwise, it is useful to use \verb"\hskip", as in the case of the
+first example in the manual:
+\begin{verbatim}
+\hskip -18mm
+\begin{mus}
+\input mozart0.tex
+\end{mus}
+\end{verbatim}
+For this technique to work properly, it is essential that the above four
+lines form a paragraph of their own, i.e.\ they are preceded and
+followed by blank lines.  
+\end{itemize}
+
+Appendix \ref{melisma} was produced using the command \keyindex{example}.
+This is a rather complicated macro with eight parameters, which is
+documented at the end of the file \ttxem{mtxlatex.sty}.
+ 
+\section{Overriding predefined \TeX\ commands}  \NEW{0.54}
+
+\textit{This section assumes that you are an experienced \TeX\
+user. }
+
+The logical structure of \TeX\ is such that most of the time, a command used
+in a definition need not exist at the time that the definition is made,
+as long as it is defined by the time that the definition is used.  This
+behaviour is known to computer programmers as \emph{run-time binding}.
+
+We have already met examples of how to exploit this feature in Sections
+\ref{dirty} and \ref{extra}, where respectively \verb"\meterC" and
+\verb"\Endpiece" were redefined. 
+The macros of the previous section also work in that way, by locally
+(i.e.\ inside the various environments) redefining commands that appear
+in the \TeX\ file generated by \PMX.
+
+The technique is an extremely powerful and flexible one, and in the
+hands of an expert can achieve practically any desired result.  
+Here we can only scratch the surface.  One point to note is that
+good programming practice requires that you save the current meaning
+of the command and restore it later, e.g.
+\begin{verbatim}
+  \let\commandsave\command\def\command{...}
+  ...
+  \let\command\commandsave
+\end{verbatim}
+In \LaTeX, if you redefine a command inside an environment, the saving and
+restoring is automatic.
+
+\subsection{Changing fonts}
+
+The font used for lyrics is the default text font of the moment,
+which usually is ten-point roman.
+It can be changed globally, e.g. 
+\verb"%% \twelverm" in the preamble will change the font to
+twelve-point.  When using \LaTeX, you can use font-changing commands
+inside the environment to change the lyrics font only for that
+particular piece.
+
+The fonts used for titles and other items in headers are respectively 
+called \keyindex{BIGfont} and \keyindex{Bigfont}.  In \verb"mtxlatex.sty"
+they are redefined as follows:
+\begin{verbatim}
+\renewcommand{\BIGfont}{\Huge\bfseries}
+\renewcommand{\Bigfont}{\Large} 
+\end{verbatim}
+If you are not using \LaTeX, they can be redefined in two ways:
+\begin{itemize}
+  \item You can simply assign an existing font, e.g.\ to get
+ somewhat smaller fonts,\\
+\verb"  \let\Bigfont\bigfont\let\BIGfont\BIgfont"
+  \item You can define the font explicitly, e.g.\ \\
+\verb"  \font\BIGfont=cmss9 scaled \magstep4"
+\end{itemize}
+
+\subsection{\Large \texttt{mtx.tex}}  \label{mtxtex}
+
+The \MTx\ preprocessor, as far as possible, issues commands starting
+with \verb"\mtx" instead of direct \TeX\ commands.  The main purpose
+for so doing is that the user can modify their effect by redefining
+them in the source file.  These macros, together with a few others
+that make life easier, are collected in the file \ttxem{mtx.tex}.
+
+Documentation of these commands can be found at the end of the file
+\texttt{mtx.tex}. 
+
+%\pagebreak
+
+%\printindex
+\end{document}  
+
+\endinput
+
+so it is a good idea to use \texttt{musixlyr} commands 
+for left-alignment (\keyindex{llyr}) and horizontal shift
+(\keyindex{lyroffset}) on the corresponding music line, for example:
+\begin{verbatim}
+\llyr\lyroffset{-2}\ d | g g ( a8 b ) | g4 g ( b8 c ) | d4 d e | c2
+L: 1. A-way in a man-ger, no crib for his bed,
+L: 2. The stars in the bright sky looked down where He lay.
+\end{verbatim}
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxindex.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxindex.tex
new file mode 100644
index 00000000000..5015e7f58fe
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxindex.tex
@@ -0,0 +1,18 @@
+\documentclass[11pt]{article}
+\input musixtex
+\usepackage{a4wide,mtxdoc,multicol,charter} 
+\def\LBR{{\tt\char'173}}                
+\def\Bslash{\tt\char'134} 
+\def\Flat{{\musixfont\char'062}}
+\def\Sharp{{\musixfont\char'064}}    
+\def\mtxSharp{\mbox{\raise1ex\hbox{\Sharp}}}
+\def\mtxFlat{\mbox{\raise1ex\hbox{\Flat}}}    
+\begin{document}
+\setcounter{page}{1}
+\pagebreak
+\renewcommand{\thepage}{I-\arabic{page}}
+If you can't find what you need here, also try the Table of Contents.
+Other sources of help are listed in Appendix A. 
+
+\input mtxdoc.ind
+\end{document}
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxlatex.sty b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxlatex.sty
new file mode 100644
index 00000000000..6061de4b40b
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxlatex.sty
@@ -0,0 +1,91 @@
+% mtxlatex.sty: Macro package to make music scores using Latex
+%   or produce LaTeX documents containing music examples
+%   Dirk Laurie  dlaurie@na-net.ornl.gov  2001-12-27
+%   Update: see \mtxdate below
+% Some comments on usage appear at the bottom
+
+\ifx\mtxlatex\undefined\else\endinput\fi
+
+\def\MTx{\mbox{\textbf{\textsl{M-Tx}}}}
+\def\PMX{\textbf{PMX}}
+\def\musixlyr{\texttt{\textbf{musixlyr}}}
+
+\input musixtex
+\input musixltx
+
+%  Preamble TeX commands for documents that contain .ex files
+%   generated by M-Tx/PMX
+
+\def\mtxlatex{
+\input musixmad
+\def\mtxversion{mtxLaTeX}
+\def\mtxdate{<16 March 2005>}
+\input mtx
+\renewcommand{\BIGfont}{\Huge\bfseries}
+\renewcommand{\Bigfont}{\Large\bfseries} 
+% Kill the PMX definition of \parskip.
+\parskip=0pt plus 1pt
+}
+% Extra vertical space evenly spread between systems
+\renewcommand\alaligne{\stoppiece\vfill\contpiece}
+\def\scoreheight{\textheight 260mm}
+\def\scorewidth{\textwidth 193mm}
+
+\newcommand{\startscore}{\let\SmuF\startmuflex\let\EmuF\endmuflex
+\scorewidth\scoreheight
+\oddsidemargin -15mm\evensidemargin -15mm\topmargin -20mm
+\ifx\mysizes\undefined\else\mysizes\fi
+\let\startmuflex\relax\let\endmuflex\relax\let\bye\relax%
+\let\nopagenumbers\relax\musicparskip}
+\newcommand\headingandcontents[1]{\markboth{#1}{#1}\addcontentsline{toc}
+  {section}{\protect\numberline{}{#1}}}
+
+% The environment 'Score' is suitable for scores submitted to the
+% Werner Icking music archive
+\newenvironment{Score}[2]{\headingandcontents{#1}
+\startscore\input #2
+}{\markboth{}{}}
+
+% The environment 'score' requires you to do your own input
+\newenvironment{score}{\startscore}{}
+
+\newenvironment{excerpts}{
+\newlength\keepOSM\setlength\keepOSM\oddsidemargin
+\newlength\keepTM\setlength\keepTM\topmargin
+\global\setlength\oddsidemargin{-13mm} \global\setlength\topmargin{-20mm}
+\let\startmuflex\relax\let\endmuflex\relax
+\let\nopagenumbers\relax \let\bye\relax \let\vfill\relax \let\eject\relax
+\musicparskip
+\renewcommand{\BIGfont}{\Large\bfseries}
+\renewcommand{\Bigfont}{\large\bfseries}
+}{\global\setlength\oddsidemargin\keepOSM\global\setlength\topmargin\keepTM}
+
+\newenvironment{mus}%
+{\begin{minipage}{260mm}\startscore\musicparskip}%
+{\assignlyrics1{}\assignlyrics2{}%
+\gdef\mtxTitle{}\end{minipage}}
+
+\def\example#1#2#3#4#5#6#7#8{
+\noindent\begin{minipage}[t]{#3}
+\begin{mus} \vskip #6
+\input{#1.tex}
+\end{mus}
+\end{minipage}\hskip #4
+\begin{minipage}[#7]{#5} \vskip #8
+\verbatiminput{#1.#2}
+\end{minipage}}
+
+\endinput
+
+============================================================================
+
+\example{basename}{ext}
+        {musicwidth}{separation}{codewidth}
+        {musicvskip}{alignment}{codevskip}
+
+Set music example together with M-Tx (or other) code.
+
+basename   - musicfile is basename.tex
+ext        - codefile is basename.ext
+separation - distance between music and code minipages
+alignment  - c, t or b (for code minipage)
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netfirst.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/netfirst.mtx
new file mode 100644
index 00000000000..8a902b00a1a
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/netfirst.mtx
@@ -0,0 +1,15 @@
+Title: Net soos ek is
+Composer: Charlotte Elliott
+Style: SATB
+Sharps: 2
+Meter: 3/4
+Space: 9
+
+%% w190m 
+f f f | e2s e4  | f2 b4 | a2d | g4 g g | f2 f4  | g2 c4n | b2d  |
+d d d | d2r d4r | d2 d4 | d2d | e4 e e | d2s d4 | e2 f4  | f2d  |
+L: 1. Net soos ek is, geen hulp na-by, al-leen U bloed ge-stort vir my,
+L: 2. Net soos ek is, nooi U vir my, ver-ge-we, rei-nig en be-vry.
+L: 3. Net soos ek is, U lief-de teer werp al-le hin-der-pa-le neer.
+a a a | g2s g4  | a2 g4 | a2d | b4 b b | c2n c4 | b2 e4  | ds2d |
+d d d | d2 d4   | d2 g4 | f2d | e4 e e | a2 a4  | g2 g4  | b2d  |
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos.mta b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos.mta
new file mode 100644
index 00000000000..6e126843cb4
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos.mta
@@ -0,0 +1,6 @@
+Style: SATB
+Sharps: 2
+Meter: 3/4
+Space: 9
+
+%% w190m 
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos1.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos1.mtb
new file mode 100644
index 00000000000..43b015fe49c
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos1.mtb
@@ -0,0 +1,7 @@
+b4 b c  | d2  a4 | g2 a4  | f2 f4 | e2  a4 | ( d4 c ) b | a2d |
+g4 g e  | d2  d4 | d2 c4  | d2 d4 | b2  e4 | ( f4 e ) d | c2d |
+L: ge-trek tot U deur-boor-de sy, O Lam van God, ek kom.
+L: Op U be-lof-te steun ek bly; O Lam van God, ek kom.
+L: Dan wy ek my vir e-wig, Heer; O Lam van God, ek kom.
+b4 b bf | a2  a4 | b2 a4  | a2 a4 | g2s a4 |   a2   g4s | a2d |
+e4 e g  | f2 f4  | e2 a4- | d2 d4 | d2  c4 | ( b4 e ) e | a2d |
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos2.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos2.mtb
new file mode 100644
index 00000000000..1d971a9fed0
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos2.mtb
@@ -0,0 +1,8 @@
+@+5 b4 b b  | b2d    | a4 a a | a2d     | d4 e- f  | g2 e4    | d2d of  |]
+L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
+    d4s g f | e2d    | e4 f e | d2d     | d4 dr d  | d2 c4    | d2d     |]
+@^+5   rp+6 | b4 e d | c2d    | a4 d c  | ( b2d | b2 ) g4     | f2d     |]
+LT:           Net soos ek is, O Lam van God, ek kom. 
+    a4 a a  | g2d    | g4 g g | f2d     | b4- g+ f | e2 a4-   | d2d ofd |]
+L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
+             
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/notes.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/notes.tex
new file mode 100644
index 00000000000..02d08b1b4ff
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/notes.tex
@@ -0,0 +1,6 @@
+% ------- file notes.tex ----------------------------------------
+\vskip 10 mm
+\noindent Lyrics by Morten B\o{}rup, 1446-1526, headmaster at the
+grammar school of Aarhus.  The song was published \par
+with an anonymous melody in \it Piae Cantiones
+\rm by Theodoricus Petri, Greifswald 1582.
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/pdfcat b/Master/texmf-dist/doc/generic/m-tx/mtx060/pdfcat
new file mode 100755
index 00000000000..fd773f76903
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/pdfcat
@@ -0,0 +1,32 @@
+#!/bin/sh
+
+# pdfcat.sh
+# Thanks to Christian Mondrup for this script
+
+FILENAME=`basename $0`
+
+USAGE="Usage: $FILENAME [-a (A4 paper)] -o outputfile -i \"inputfile1 inputfile12 ...\""
+
+if [ $# -le 3 ]
+then
+    echo $USAGE
+    exit 2
+fi 
+
+GSARGS="-q -dNOPAUSE -dBATCH -dSAFER -sDEVICE=pdfwrite"
+
+while getopts "i:o:a" ARG_STRING
+do
+    case $ARG_STRING in
+    a)	GSARGS="-sPAPERSIZE=a4 $GSARGS"
+        ;;
+    i)  INPUTFILES=$OPTARG
+	;;
+    o)	OUTPUTNAME=$OPTARG
+	;;
+    *)	echo $USAGE
+	exit 2;;
+    esac
+done
+
+gs $GSARGS -sOutputFile=$OUTPUTNAME $INPUTFILES
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/psalm42.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/psalm42.mtx
new file mode 100644
index 00000000000..c5ad930720a
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/psalm42.mtx
@@ -0,0 +1,15 @@
+Meter: 0/2
+Style: Singer
+Sharps: 1
+Title: Psalm 42\\{\textit{\normalsize Ainsi que la biche r\'ee}}
+
+@0 g2 a4 b2 a4 g f e2 d2 \caesura\ g2 a4 b2 c4 b2 a g :|
+L: Soos 'n hert in dor-re stre-ke, skreeu-end dors na die ge-not
+L: van die hel-der wa-ter-be-ke, skreeu my siel na U, o God.
+
+@+1 b2 b4 d2 c4 b a b2 \caesura\ d2 d4 e2 d4 c b a2 
+L: Ja, my siel dors na die Heer, na die Le-wens-bron.  Wan-neer
+
+b2 d4 c2 b4 g a b2 g2 \caesura\ b2 b4 c2 b4 a g f2 g2
+L: sal ek sien in klaar aan-skou-e?  Op die Heer is my ver-trou-e.
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/sanctus.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/sanctus.mtx
new file mode 100644
index 00000000000..102a400cc80
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/sanctus.mtx
@@ -0,0 +1,13 @@
+Title: Sanctus
+Composer: Jacobus Clemens non Papa
+Flats: 1
+Meter: C
+Style: Singer
+Systems: 2
+Size: 20
+%% \hidebarrule1
+
+U: !bf 1 | | 2 | | 3 | | 4 | | 5
+(~ c4+.b a of g f e d2 )~ { c2 c4 } of (~ c4 f g a g8 f g2 )~ f4 of (~ c+ d c2 b8 a b4 g cd of b8 a4 g2 { f4 f } e )~ fd of (~ g8 a b c4 )~ f2-
+L: Sa-nctus, sa-nctus, sa-nctus, sa-nctus.
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/title.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/title.mtx
new file mode 100644
index 00000000000..2bee58c2706
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/title.mtx
@@ -0,0 +1,8 @@
+Bars/line: 2 
+Style: Solo 
+Meter: m3400
+
+%% w3.7i \\Largemusicsize\
+U: @<v-2 ~ ~ ~ ~ sf ~ ~ sf sf
+[ c1+ r g g ] ( [ af8 g ] ) r b o. | c o. 
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/title1.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/title1.mtx
new file mode 100644
index 00000000000..9535e62b47a
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/title1.mtx
@@ -0,0 +1,9 @@
+Bars/line: 2 
+Style: Solo 
+Meter: m3400
+Size: 29pt
+
+%% w3.7i 
+U: @<v ~ ~ ~ ~ sf ~ ~ sf sf
+[ c1+ r g g ] ( [ af8 g ] ) r b o. | c o. 
+
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/viva.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/viva.mtx
new file mode 100644
index 00000000000..652203d10b1
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/viva.mtx
@@ -0,0 +1,11 @@
+Title: Viva la Musica
+Composer: M. Pr{\ae}torius
+Meter: C
+Sharps: 1
+Systems: 1
+Size: 20
+Style: Singer
+
+U: 1 | | 2 | | 3
+d+.c b a8 g f4 g f2 of b4.c d c8 b a4 g a2 of g4 g2 c4- d e d2 of
+L: Vi-va, vi-va la mu-si-ca. Vi-va, vi-va la mu-si-ca. Vi-va la mu-si-ca. 
diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/volta.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/volta.mtx
new file mode 100644
index 00000000000..8052b4ec2c3
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/mtx060/volta.mtx
@@ -0,0 +1,21 @@
+Meter: 4/4
+Style:  Singer
+Bars/Line: 4
+Size: 16
+Space: 6
+ 
+@+4 |: c4 c g+ g | a a g2 | f4 f e e | V1 d d c2 :|
+L: Now to learn this vol-ta thing, lead up to the first end-ing.
+
+Vb2 d4 d  c2  |: 
+L: next end-ing.
+
+Vx g4+ g f f | 
+L: Try to write a 
+L: Try to learn more
+
+V1 e e d2 :|  Vb2 e4 e d2 | 
+L: sim-ple TeX   P-M-X.  
+
+Vx c4 c g+ g | a a g2 | f4 f e e | d d c2 |]
+L: Now it's time to end the test, so I wish you all the best! 
diff --git a/Master/texmf-dist/doc/generic/m-tx/prepmx.1 b/Master/texmf-dist/doc/generic/m-tx/prepmx.1
new file mode 100644
index 00000000000..299591e2e9d
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/prepmx.1
@@ -0,0 +1,95 @@
+.TH prepmx 1 "01 September 2005" "M-Tx Version 0.60" "prepmx Manual Page"
+.SH NAME
+prepmx \- preprocessor for PMX, easy music typesetting program
+.SH SYNOPSIS
+.B prepmx
+.RI [ options ]
+.I jobname
+.RI [ outdir/ ]
+.RI [ stylefile ]
+.SH DESCRIPTION
+.B M-Tx
+is an easy to use preprocessor language for the
+.B PMX
+music typesetting program, aimed at people who are not experts.  For an
+easy example, have a look at the following example:
+
+  c2+       e4    g   | b4d-  c1 d c2        |
+  c8 g+ e g c- g+ e g | d g f g    c- g+ e g |
+
+For syntax reference, please look at the M-Tx manual written by Dirk
+Laurie, the creator of the M-Tx language and the author of prepmx, its
+command line utility.
+
+.B prepmx
+processes the file
+.IR jobname .mtx
+to generate
+.IR jobname .pmx.
+You can then process this file using the `pmx' command.
+.B PMX
+is a preprocessor for MusiXTeX.
+
+.I outdir/
+is the directory where `pmx' will put the final .tex file. Note that the
+trailing slash is mandatory. You can provide a
+.I stylefile
+for M-Tx. If omitted, the file `mtxstyle.txt' in the current
+directory is used, if there is one.
+.SH OPTIONS
+Options can also be specified in a `Options:' line in the preamble,
+which takes precedence over the command line.
+.TP
+.B \-b
+never unbeam eighth notes and shorter
+.TP
+.B \-c
+main music lines only \- ignore chords
+.TP
+.B \-D
+enable debug mode
+.TP
+.B \-f
+use tonic sol\-fa note names
+.TP
+.B \-i
+ignore errors
+.TP
+.B \-m
+music only \- ignore lyrics
+.TP
+.B \-n
+indent first system and print default instrument names
+.TP
+.B \-t
+ignore uptext lines
+.TP
+.B \-u
+uptext synchronizes with notes only, not rests
+.TP
+.B \-v
+verbose progress report
+.TP
+.B \-w
+enable pedantic warnings
+.TP
+.BI \- n
+select specified case of multiple score
+.SH EXIT STATUS
+If no error was found,
+.B prepmx
+exits with return code 0.  In case of an error, the line number of the
+processed line is returned. This may not always be the line containing
+the actual error. A return status of 10000 means that the input file was
+empty or could not be opened.
+.SH SEE ALSO
+.B M-Tx
+User's Guide (mtx060.pdf)
+.br
+pmx(1), musixtex(1)
+.SH AUTHORS
+prepmx was written by Dirk Laurie <dpl@sun.ac.za>.
+This manual page was written by Roland Stigge <stigge@antcom.de> for the Debian
+project. It was revised and extended by Nis Martensen
+<nis.martensen@web.de>, mostly by copying text from Dirk Laurie's M-Tx
+User's Guide.
diff --git a/Master/texmf-dist/doc/generic/m-tx/prepmx.1.pdf b/Master/texmf-dist/doc/generic/m-tx/prepmx.1.pdf
new file mode 100644
index 00000000000..16978d4df1e
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/m-tx/prepmx.1.pdf
diff --git a/Master/texmf-dist/scripts/m-tx/Windows/m-tx.bat b/Master/texmf-dist/scripts/m-tx/Windows/m-tx.bat
new file mode 100755
index 00000000000..0faf4136651
--- /dev/null
+++ b/Master/texmf-dist/scripts/m-tx/Windows/m-tx.bat
@@ -0,0 +1,6 @@
+:: wrapper script to call m-tx.lua

+:: Usage: m-tx [options] basename[.mtx]

+:: Suggested by Tomasz Luczak (Tomek) t34www@googlemail.com

+

+@for /f "delims=" %%I in ('kpsewhich --format=texmfscripts %~n0.lua') do texlua "%%I" %*

+:end

diff --git a/Master/texmf-dist/scripts/m-tx/m-tx.lua b/Master/texmf-dist/scripts/m-tx/m-tx.lua
new file mode 100755
index 00000000000..3ed578563ed
--- /dev/null
+++ b/Master/texmf-dist/scripts/m-tx/m-tx.lua
@@ -0,0 +1,174 @@
+#!/usr/bin/env texlua  
+
+VERSION = "0.3"
+
+--[[
+     m-tx.lua: processes MusiXTeX files using prepmx and pmxab as pre-processors (and deletes intermediate files)
+
+     (c) Copyright 2011-2012 Bob Tennent rdt@cs.queensu.ca
+
+     This program is free software; you can redistribute it and/or modify it
+     under the terms of the GNU General Public License as published by the
+     Free Software Foundation; either version 2 of the License, or (at your
+     option) any later version.
+
+     This program is distributed in the hope that it will be useful,
+     but WITHOUT ANY WARRANTY; without even the implied warranty of
+     MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General
+     Public License for more details.
+
+     You should have received a copy of the GNU General Public License along
+     with this program; if not, write to the Free Software Foundation, Inc.,
+     51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA.
+
+--]]
+
+--[[
+
+  ChangeLog:
+     version 0.3   2012-04-09 RDT
+       Change name to m-tx to avoid clash with another program.
+
+     version 0.2   2011-11-28 RDT
+       Added -i (retain intermediate files) option
+
+     version 0.1.1 2011-07-18 RDT
+
+       Removed a file check that caused it to fail (only on Windows!)
+
+     version 0.1   2011-07-15 RDT
+
+--]]
+
+function usage()
+  print("Usage:  [texlua] m-tx.lua { option | basename[.mtx] } ... ")
+  print("options: -v  version")
+  print("         -h  help")
+  print("         -l  latex (or pdflatex)")
+  print("         -p  pdfetex (or pdflatex)")
+  print("         -d  dvipdfm")
+  print("         -s  stop at dvi")
+  print("         -t  stop at tex/mid")
+  print("         -m  stop at pmx")
+  print("         -i  retain intermediate files")
+  print("         -f  restore default processing")
+end
+
+function whoami ()
+  print("This is m-tx.lua version ".. VERSION .. ".")
+end
+
+whoami()
+if #arg == 0 then
+  usage()
+  os.exit(0)
+end
+
+-- defaults:
+prepmx = "prepmx"
+pmx = "pmxab"
+tex = "etex"  
+musixflx = "musixflx"
+dvi = "dvips"
+ps2pdf = "ps2pdf"
+intermediate = 1
+
+exit_code = 0
+narg = 1
+repeat
+  this_arg = arg[narg]
+  if this_arg == "-v" then
+    os.exit(0)
+  elseif this_arg == "-h" then
+    usage()
+    os.exit(0)
+  elseif this_arg == "-l" then
+    if tex == "pdfetex" then
+      tex = "pdflatex"
+    else
+      tex = "latex"
+    end
+  elseif this_arg == "-p" then
+    if tex == "latex" then
+      tex = "pdflatex"
+    else
+      tex = "pdfetex"
+    end
+    dvi = ""; ps2pdf = ""
+  elseif this_arg == "-d" then
+    dvi = "dvipdfm"; ps2pdf = ""
+  elseif this_arg == "-s" then
+    dvi = ""; ps2pdf = ""
+  elseif this_arg == "-i" then
+    intermediate = 0
+  elseif this_arg == "-f" then
+    pmx = "pmxab"; tex = "etex"; dvi = "dvips"; ps2pdf = "ps2pdf"; intermediate = 1
+  elseif this_arg == "-t" then
+    tex = ""; dvi = ""; ps2pdf = ""
+  elseif this_arg == "-m" then
+    pmx = ""; tex = ""; dvi = ""; ps2pdf = ""
+  else
+    filename = this_arg 
+    if filename ~= "" and string.sub(filename, -4, -1) == ".mtx" then
+        filename = string.sub(filename, 1, -5)
+    end
+    print("Processing ".. filename .. ".mtx.")
+    OK = true
+    if ( os.execute(prepmx .. " " .. filename ) ~= 0 ) then
+      OK = false
+    end
+    if  (OK and pmx ~= "") then 
+      os.execute(pmx .. " " .. filename)  -- does pmx return an error code?
+      pmxaerr = io.open("pmxaerr.dat", "r")
+      if (not pmxaerr) then
+        print("No log file.")
+        OK = false
+      else
+        linebuf = pmxaerr:read()
+        err = tonumber(linebuf)
+        if (err ~= 0) then
+          OK = false
+        end
+        pmxaerr:close()
+      end
+    end
+    os.remove( filename .. ".mx2" )
+    if ( OK ) and
+       ((tex == "") or os.execute(tex .. " " .. filename) == 0) and
+       ((tex == "") or os.execute(musixflx .. " " .. filename) == 0) and
+       ((tex == "") or os.execute(tex .. " " .. filename) == 0) and
+       ((tex ~= "latex" and tex ~= "pdflatex") 
+         or (os.execute(tex .. " " .. filename) == 0)) and
+       (dvi == "" or  (os.execute(dvi .. " " .. filename) == 0)) and
+       (ps2pdf == "" or (os.execute(ps2pdf .. " " .. filename .. ".ps") == 0) )
+    then 
+      if ps2pdf ~= "" then 
+        print(filename .. ".pdf generated by " .. ps2pdf .. ".")
+      end
+      if intermediate == 1 then -- clean-up:
+        os.remove( "pmxaerr.dat" )
+        os.remove( filename .. ".mx1" )
+        os.remove( filename .. ".mx2" )
+        if pmx ~= "" then
+          os.remove( filename .. ".pmx" )
+        end
+        if dvi ~= "" then
+          os.remove( filename .. ".dvi" )
+        end
+        if ps2pdf ~= "" then 
+          os.remove( filename .. ".ps" )
+        end
+      end
+    else
+      print("M-Tx/pmx/MusiXTeX processing of " .. filename .. ".mtx fails.\n")
+      exit_code = 2
+      --[[ uncomment for debugging
+      print("tex = ", tex)
+      print("dvi = ", dvi)
+      print("ps2pdf = ", ps2pdf)
+      --]]
+    end
+  end --if this_arg == ...
+  narg = narg+1
+until narg > #arg 
+os.exit( exit_code )
diff --git a/Master/texmf-dist/tex/generic/m-tx/mtx.tex b/Master/texmf-dist/tex/generic/m-tx/mtx.tex
new file mode 100644
index 00000000000..a12633d4fff
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/m-tx/mtx.tex
@@ -0,0 +1,139 @@
+% mtx.tex   Dirk Laurie 2001-3-11  Corrections: see mtxtexdate, below.
+
+% All TeX commands put directly into PMX files by M-Tx are defined below,
+%   except the following:
+% 1. \input mtx
+% 2. code to achieve a multi-bar rest
+% 3. User's own inline TeX
+% 4. \mtxversion and \mtxdate are defined in prepmx itself
+% 5. Utterly basic TeX commands like "\ " and "%"
+% It is therefore possible for a TeXpert to tune the performance
+%   of M-Tx without touching the preprocessor.
+
+% The commands all start with the letters "\mtx" except one:
+%  "\:" is a short alias for "\relax" to save space on input line length
+
+\ifx\mtxtexversion\undefined\else\endinput\fi 
+
+\def\mtxtexversion{0.60}
+\def\mtxtexdate{16 March 2005}
+\let\:=\relax
+\message{mtx.tex \mtxtexversion\space<\mtxtexdate>} 
+\message{M-Tx \mtxversion\space(Music from TeXt) <\mtxdate>} 
+
+\input musixtex
+\ifx\akkoladen\undefined\message{Your musixtex.tex is too old}\fi
+
+\input pmx
+\def\pmxneeded{2.5}
+\ifdim\pmxversion pt<\pmxneeded  pt\message{Requires PMX Version
+\pmxneeded. Please upgrade.}\fi
+ 
+\input musixlyr
+\ifx\assignlyricshere\undefined\message{Your musixlyr.tex is too old}\fi
+
+% M-Tx font definitions
+% Three macros are associated with each lyrics font, e.g.
+%   \mtxmyfont defines \myfont but does not select it
+%   \myfont selects it later
+%   \mtxMyfont (note capital) defines and selects \myfont
+
+\def\mtxInstrfont{\twelvebf}
+
+\def\mtxeightsf{\font\eightsf=cmss8}
+\def\mtxEightsf{\mtxeightsf\eightsf}
+
+\def\mtxtensf{\font\tensf=cmss10}
+\def\mtxTensf{\mtxtensf\tensf}
+
+\def\mtxelevensf{\font\elevensf=cmss10 scaled \magstephalf}
+\def\mtxElevensf{\mtxelevensf\elevensf}
+
+\def\mtxtwelvesf{\font\twelvesf=cmss12}
+\def\mtxTwelvesf{\mtxtwelvesf\twelvesf}
+
+% Title fonts are immediately selected
+
+\def\mtxBigsf{\font\Bigtype=cmss9 scaled \magstep2}
+\def\mtxBIGsf{\font\BIGtype=cmss9 scaled \magstep4}
+
+\def\mtxAllsf{\mtxElevensf\mtxBigsf\mtxBIGsf}
+
+% M-Tx music sizes
+
+\def\mtxTinySize{\tinyvalue}
+\def\mtxSmallSize{\smallvalue}
+\def\mtxNormalSize{\normalvalue}
+\def\mtxLargeSize{\largevalue}
+\def\mtxHugeSize{\Largevalue}
+
+% musixlyr interface
+
+\def\mtxSetLyrics#1#2{\setlyrics{#1}{#2}}
+\def\mtxCopyLyrics#1#2{\copylyrics{#1}{#2}}
+\def\mtxAssignLyrics#1#2{\assignlyrics{#1}{#2}}
+\def\mtxAuxLyr#1{\auxlyr{#1}}
+\def\mtxLyrlink{\lyrlink}
+%
+% 2003-08-05, scancm@biobase.dk: corrected definition of \mtxLowLyrlink
+%
+\def\mtxLowLyrlink{\lowlyrlink}
+\def\mtxLyricsAdjust#1#2{\setsongraise{#1}{#2\internote}}
+\def\mtxAuxLyricsAdjust#1#2{\auxsetsongraise{#1}{#2\internote}}
+\def\mtxLyrModeAlter#1{\lyrmodealter{#1}}
+\def\mtxLyrModeNormal#1{\lyrmodenormal{#1}}
+\def\mtxBM{\beginmel}
+\def\mtxEM{\endmel}
+\def\mtxAuxBM{\auxlyr\mtxBM}
+\def\mtxAuxEM{\auxlyr\mtxEM}
+
+% Other macros
+
+\def\mtxTenorClef#1{\settrebleclefsymbol{#1}\treblelowoct}
+\def\mtxVerseNumber#1{#1 }
+\def\mtxInterInstrument#1#2{\setinterinstrument{#1}{#2\Interligne}}
+\def\mtxStaffBottom#1{\gdef\atnextline{\stafftopmarg #1\Interligne}}
+\def\mtxGroup#1#2#3{\grouptop{#1}{#2}\groupbottom{#1}{#3}}
+\def\mtxPageHeight#1{\vsize #1}
+\def\mtxTwoInstruments#1#2{\vbox{\hbox{#1}\hbox{#2}}}
+\def\mtxTitleLine#1{\gdef\mtxTitle{#1}}
+\def\mtxComposerLine#1#2{\gdef\mtxPoetComposer{#1\hfill #2}}
+\def\mtxInstrName#1{{\mtxInstrfont #1}}
+\def\mtxSetSize#1#2{\setsize{#1}{#2}}
+\def\mtxDotted{\dotted}
+\let\mathflat\flat
+\let\mathsharp\sharp
+\def\flat{\musixfont\char'062}
+\def\sharp{\musixfont\char'064}
+%\def\mtxSharp{\raise1ex\hbox{\musicsmallfont\char'064}}
+%\def\mtxFlat{\raise1ex\hbox{\musicsmallfont\char'062}}
+\def\mtxSharp{\raise1ex\hbox{\sharp}}
+\def\mtxFlat{\raise1ex\hbox{\flat}}
+\def\mtxIcresc{\icresc}
+\def\mtxTcresc{\tcresc}
+\def\mtxCresc#1{\crescendo{#1\elemskip}}
+\def\mtxIdecresc{\icresc}
+\def\mtxTdecresc{\tdecresc}
+\def\mtxDecresc#1{\decrescendo{#1\elemskip}}
+\def\mtxPF{\ppff}
+\def\mtxLchar#1#2{\lchar{#1}{#2}}
+\def\mtxCchar#1#2{\cchar{#1}{#2}}
+\def\mtxZchar#1#2{\zchar{#1}{#2}}
+\def\mtxVerseNumberOffset{3}
+\def\mtxVerse{\loffset{\mtxVerseNumberOffset}\lyr}
+\makeatletter
+\def\comma#1{\check@staff\raise1.2\internote\llap{\BIGfont'\kern#1\noteskip}\fi}
+\makeatother
+
+%\def\mtxVerse{%
+%  \znotes\minlyrspace=-10cm%     to inhibit right-shifting of the numbers
+%         \llyr\lyroffset{-2}%    make the numbers stand off to the left
+%         \lyr%                   post the numbers
+%  \en}
+
+% M-Tx default settings
+
+\sepbarrules
+
+\immediate\write10{=== end of mtx.tex ===}
+\endinput