musixtex (5apr11)

git-svn-id: svn://tug.org/texlive/trunk@21982 c570f23f-e606-0410-a88d-b1316a301751

29 files changed, 3544 insertions, 2135 deletions

diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-115.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-115.txt
new file mode 100644
index 00000000000..be49e54b041
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-115.txt
@@ -0,0 +1,270 @@
+Changes from MusiXTeX 114 to 115:
+
+replace the changed tex files to T.115. Includes musixbbm.tex, version from Hiroaki's beta3, dtd 11/19/210 
+
+replace musixper.tex to the fixed one, posted by David Fritzsche on 19 Oct.  (version number may be T.60a, is this ok?) Used file emailed to DAS by J-P Coulon, 1/26/11, 
+
+MusiXTeX T.115 
+Hiroaki MORIMOTO <CQX05646(at)nifty.com>
+
+<<<new features>>>
+(1) all-new registers allocation routines, ready for 
+    12<n<100 instruments
+     6<n<100 128th beams
+     6<n<100 256th beams
+     4<n<100 groups
+    12<n<100 font-based slurs (independent of the number of instruments)
+     6<n<100 octlines
+     6<n<100 trills (MusiXTeX trills only. MusicTeX's legacy "trilles" are 
+     out of scope.)
+with e-TeX.
+Syntax-level 100% compatible with T.111-T.114.
+Original (non e-) TeX can be used in case of partial extension.
+All The default settings are exactly equal to T.111-T.114, with and without 
+musix[add|mad|bm|bbm].tex, individually.  
+
+default (musixtex.tex)
+6 voices/128th beams/slurs(font-based)/trills/octave lines
+3 chor groups
+0 256th beams
+
+(musixadd.tex)
+9 voices/slurs(font-based)
+4 chor groups
+6 128th beams/trills/octave lines
+0 256th beams
+
+(musixmad.tex)
+12 voices/slurs(font-based)
+4 chor groups
+6 128th beams/trills/octave lines
+0 256th beams
+
+(musixbm.tex)
+No function since T.111; just for compatibility with old source files.
+
+(musixbbm.tex)
+6 256th beams
+
+
+(2) \smalltrebleoct, \smalltreclelowoct, \smallbassoct, \smallbasslowoct
+
+
+<<<changed features>>>
+(1) In case of use with M-Tx, users can change the font format of 
+instrument names dinamically by redefining \mtxInstrfont in filename.mod.
+(for example, writing \def\mtxInstrfont{\relax} in foo.mod.)
+
+
+<<<bug fixes>>>
+(1) If you load musixper.tex and musixdia.tex is not yet loaded then 
+the catcode of @ will not be reset correctly, because musixdia will 
+overwrite the definition of \catcodeat.  (reported by David Fritzsche)
+
+(2) Other internal macros.
+
+
+-------------------------------------------------------------------------------
+<<<change lists>>>
+
+<<<changes of public macros>>>
+\maxinstruments
+  Separate from the number of slurs.
+  It is defined with \chardef and now a kind of internal values.
+  Read-accecible anywhere; but it should not be set directly by a user.
+  See below for the number of other items. 
+
+\mxversion
+  The expanded string of version string elements.
+  See also \mxvernumber and \mxversuffix.
+
+\setname
+  Using \def instead of \edef.  This allows users to change the font 
+  format of instrument names dynamically by redefining \mtxInstrfont 
+  in filename.mod in case of use with M-Tx.
+
+\resetlayout
+\resetclefsymbols
+  Let them compatible to >12 instruments.
+
+
+<<<new public macros>>>
+\mxvernumber
+  Major version number of the MusiXTeX kernel. (make it possible to use 
+  \ifnum)
+
+\mxversuffix
+  Suffix of the version.  "-beta1", etc.  Optional; it must be empty 
+  in case of completed version.
+
+\setmaxinstruments#1
+\setmaxcxxviiibeams#1
+\setmaxcclvibeams#1
+\setmaxgroups#1
+\setmaxslurs#1
+\setmaxtrills#1
+\setmaxoctlines#1
+  set the available numbers of the elements to #1 and allocate 
+  corresponding registers required.
+
+\maxcxxviiibeams
+\maxcclvibeams
+\maxgroups
+\maxslurs
+\maxtrilles
+\maxtrills
+\maxoctlines
+  They are now dynamically defined by \chardef and now a kind of internal 
+  values.
+  Read-accecible anywhere; but they should not be set directly by a user.
+
+
+\smalltrebleoct
+\smalltreclelowoct
+\smallbassoct
+\smallbasslowoct
+  Reqested by Hermann Hinsch. (beta4)
+
+
+<<<changes of internal macros>>>
+\test@num@slur
+\test@num@beam
+\s@l@ctslur
+\s@l@ctbeam
+  Let them be independent from each other.
+
+\z@suspend
+  The change in cutslur section; to make the number of slurs independent 
+  from the number of instruments.
+  Note: some other extension packages which overrides this macro will 
+  confuse the internal status of linen-breaking font-based slurs.
+
+
+<<<new internal macros>>>
+\noexpand@newcount
+\noexpand@newdimen
+\noexpand@newskip
+\noexpand@newtoks
+  \new... for usage inside the loop, for plain TeX.
+
+\roman@c@
+  A shortcut.
+
+\@oldmaxinstruments
+\@oldmaxcxxviiibeams
+\@oldmaxcclvibeams
+\@oldmaxgroups
+\@oldmaxslurs
+\@oldmaxtrills
+\@oldmaxoctlines
+  Individual element numbers in previous allocation; set by \chardef.
+
+
+-------------------------------------------------------------------------------
+<<<basic usage>>>
+Completely the same of ver T.114-T.103.  It goes on original TeX.
+\input musixtex
+\input musixmad
+...
+\input musixlyr
+\input musixps    <- this is optional
+...
+
+Note that you can use musixps.tex (by Stanislav Kneifl) at your option, 
+without any problem.  You can get the benefit of the increase of voices, 
+beams, groups, octave lines, trills.
+
+
+<<<advanced usages (sometimes requires e-TeX, dependent on the numbers)>>>
+(a) without using musixadd/musixmad (recommended)
+----
+\input musixtex
+\setmaxinstruments{12}
+\setmaxgroups{4}
+\setmaxslurs{12}
+...
+----
+This example is equivalent to musixmad.tex.
+
+
+(b) with musixadd/musixmad
+----
+\input musixtex
+\input musixmad
+\setmaxgroups{6}
+\setmaxslurs{24}
+...
+----
+From this version T.115, the maximum number of slurs becomes independent 
+of the maximum number of instruments.
+
+
+(c) with musixps.tex by S. Kneifl, efficient usage for TeX's main memory
+----
+\input musixtex
+\setmaxinstruments{12}
+\setmaxgroups{4}
+\input musixlyr
+\input musixps
+...
+----
+Note that there is no need to write \setmaxslurs{12}, because musixps.tex 
+0.92a requires pre-allocated registers for font-based slur ID 0-5 
+(internally i-vi)  only.
+
+
+-------------------------------------------------------------------------------
+<<<History of T.115-beta from T.114>>>
+
+[beta1: 2010/05/05] private test version, not published.
+Drastic change from T.114.  
+  _readme_T115-beta1.txt   : this file
+  musixtex.tex : T.115 kernel
+  musixadd.tex : changed version for T.115
+  musixmad.tex : changed version for T.115
+  musixbm.tex  : changed version for T.115
+  musixbbm.tex : changed version for T.115
+  musixper.tex : changed version for T.115
+
+
+[beta2: 2010/06/24]
+musixtex.tex
+Additions: 
+* error message for n>maxinstruments to \s@l@ctinstr, to avoid 
+  the strange error message invoked at \startpiece.
+* error message for n>100 to \setmax...{n}.
+Fixes:
+* \C@acc: adding \expandafter before \@Ti.  
+  \@Ti (dynamically let to other instances) can't take any arguments 
+  since T.109 due to \check@staff.  
+  This is not a bug, however, it is more appropriate to close 
+  \check@staff-\fi conditional clause before encountering \@Ti.  
+  This fix make it compatible with T.107 and T.108, and MusixExp (need to 
+  modify), without any harm.
+Others:
+  Some old codes are deleted.
+
+_readme_T115-beta2.txt
+Others:
+* Typo corrections.  
+
+
+[beta3: 2010/06/27]
+musixbbm.tex
+Fixes: 
+* musixbbm does not work.
+
+
+[beta4: 2011/01/01]
+musixper.tex
+Fixes:
+* If you load musixper.tex and musixdia.tex is not yet loaded then 
+  the catcode of @ will not be reset correctly, because musixdia will 
+  overwrite the definition of \catcodeat.  (reported by David Fritzsche)
+musixtex.tex
+Additions:
+  \smalltrebleoct, \smalltreblelowoct, \smallbassoct, \smallbasslowoct
+  (requested by Hermann Hinsch)
+
+-------------------------------------------------------------------------------
+[End of File]
diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-T114.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-T114.txt
new file mode 100644
index 00000000000..3e770972089
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-T114.txt
@@ -0,0 +1,98 @@
+<<< Changelog of MusiXTeX since T.113 >>>
+
+-------------------------------------------------------------------------
+Version T.114 [official release: 26 Dec 2009]
+(1) \cclp, \zccup, \zcclp are moved from musixpoi.tex to musixtex.tex.
+[14 June 2008, Hiroaki. T114-beta1]
+
+(2) musixpoi.tex does not work since T.111.
+[14 June 2008, Hiroaki. T114-beta1]
+
+(3) musixmad.tex is inessential for typesetting musixdoc.tex, thus excluded from musixdoc.sty (see the next item)
+[14 June 2008, Hiroaki. T114-beta1]
+
+(4) the stem length of \metron (at T.113 manual section 2.17.3: Metronomic indications) is too short when musixadd.tex/musixmad.tex is excluded.
+[14 June 2008, Hiroaki. T114-beta1]
+
+(5) spacing problem when you change the music size.  (\clef@skip\z@)
+[16 June 2008, known bug pointed out by Daniel Taupin on 3 June 2003 before his accident. T114-beta2]
+
+(6) in \ttie and \tleg definition, #1 isn't braced in the expansion which causes a problem at ID>9.
+  * \def\ttie#1{\let\T@i\@c \t@slur{-\p@ne}{#1}\@ne}
+  * \def\tleg#1{\let\T@i\@c \tslur{#1}\@ne}
+[1 Feb 2009, reported by David Allsopp. T114-beta4]
+
+(7) Create readme1st.txt
+[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
+
+(8) Create changelog.txt (this file)
+[16 Oct 2009, Hiroaki Morimoto. T114 official]
+
+(9) Updated musixdoc.pdf and its source code.
+[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
+
+(10) Included the repository of music-notation mistakes, contributed by Jean-Pierre Coulon.
+[16 Oct 2009, T114 official]
+
+(11) Create an install manual for MiKTeX on Win32: mxinsuse.{pdf|tex}.
+[16 Oct 2009, Andre Van Ryckeghem and Don Simons. T114 official]
+
+(12) Create install batchfiles for MiKTeX on Win32.
+[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
+
+(13) Create some MS-Win/DOS batch files for easy use: musixtex.bat, mudvi.bat, mudviall.bat, lapsview.bat, lapdfview.bat.
+[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
+
+(14) utility: add flip.exe, flip.txt to musixtexadd folder instead of former utod.exe and dtou.exe (they don't work in XP).  Run flip.exe on musixtex.bat.
+[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
+
+(15) Changing directory structure.  Add-in tex files are located in musixtexadd directory.  
+  * musixlyr (by Rainer Dunker)
+  * musixps (by Stanislav Kneifl)
+[16 Oct 2009, Don Simons and Andre Van Ryckeghem. T114 official]
+
+(16) Added some well-known add-ins to musixtexadd directory.
+  * curly.tex (by Mthimkhulu Molekwa,19 May 1999)
+  * musixdbr.tex (by Rainer Dunker, 23 February 2002)
+  * musixtmr.tex & musixesf.tex (by Hiroaki Morimoto, updated 2009-10-15)
+  * tuplet.tex. (by Col. G. L. Sicherman. 2003-05-17)... under GNU GPL
+[16 Oct 2009, Don Simons, Andre Van Ryckeghem. T114 official]
+
+-------------------------------------------------------------------------
+Version T.113 [19-Apr-2006]
+no funtional change from 30 July 2005; just a maintenance of archive file and recompiling musicdoc.
+
+-------------------------------------------------------------------------
+Version T.113 [28 June 2005, (rev.1)17 July 2005, (rev.2)30 July 2005]
+(1) Include the contents of following packages.
+  * PostScript Type1 fonts. (by Uchiyama)... under LPPL.
+  * musixlyr ver.2.1c. (by Rainer Dunker)... under GNU GPL v.2.
+  * musixps  ver.0.92a. (by Stanislav Kneifl)... under a unique license; see the file.
+Note that some of these package have different license than GNU GPL v.2.
+
+(2) \Ioctfin[up | down] do not work when \sepbarrules is assigned.  
+musixtex.tex line 2259, \def\rul@sep#1
+
+(3) Correction of a bug in the definition of choir bracket (l.1688-1698)
+
+(4) Added following macros.
+  * \lwp
+  * \rwp
+  * \lwpp
+  * \rwpp
+  * \lhp
+  * \rhp
+  * \lhpp
+  * \rhpp 
+
+(5) bug: \catcode`\@=11 at external level in case using musixmad.tex without prior specifying of musixadd.tex.  
+[30 July 2005, T113-rev.2]
+
+(6) bug: \immediate\write10{...} in many files are corrected into \immediate\write16{...}.
+[30 July 2005, T113-rev.2]
+
+-------------------------------------------------------------------------
+Version T.112 [dated on 3 Jan. 2003, published on 9 Jan. 2003]
+The final milestone by Daniel Taupin himself.
+
+-------------------------------------------------------------------------
diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc-115.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc-115.txt
new file mode 100644
index 00000000000..170d46cd4a8
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-musixdoc-115.txt
@@ -0,0 +1,9 @@
+Musixdoc: Update links to CTAN in 3.1. 
+
+Musixdoc: Set link for musixtex.zip once we decide if it should be 1.15
+
+Musixdoc: Edit 128th beam stuff. 
+
+Musixdoc: Add smalltreblelowoct etc. 
+
+Musixdoc: Explain where musixflx source and binaries are.
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf b/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf
index 6be6b77b006..261f496bf4b 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex
index 17cafecb4c9..988f87f7046 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex
@@ -1,8 +1,4 @@
 %
-%  mxdoc111d.tex (formerly file 110d, internally called 109d1)
-%    Different from version posted in that it has the extra paragraph
-%    "You may wonder ..." in section 1.3
-%
 %   This file is part of MusiXTeX
 %
 %   MusiXTeX is free software; you can redistribute it and/or modify
@@ -20,20 +16,17 @@
 %   the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
 %   Boston, MA 02111-1307, USA.
 %
-%  This version 109d1 postdates the one posted to the site.
 %
-
-\ifx\documentclass\undefined
-  \documentstyle[twoside,11pt,musixdoc,multicol,backgrnd]{report}
-\else
-  \documentclass[twoside,11pt,a4paper]{report}
-  \usepackage{multicol}
-  \usepackage{musixdoc}
-  \usepackage{etex}
-  \usepackage[dvips,bookmarks=true,bookmarksnumbered=true,bookmarksopen=true,colorlinks=true,pdfborder={0 0 0}]{hyperref}
-  \usepackage{url}
-  \usepackage{indentfirst}
-  \usepackage[ansinew]{inputenc}
+%   musixdoc.tex : the document
+%
+\documentclass[twoside,11pt,a4paper]{report}
+\usepackage{multicol}
+\usepackage{musixdoc}
+\usepackage{etex}
+\usepackage[dvips,bookmarks=true,bookmarksnumbered=true,bookmarksopen=false,colorlinks=true,pdfborder={0 0 0},pdfstartview={FitH},pdfmenubar=false]{hyperref}
+\usepackage{url}
+\usepackage{indentfirst}
+\usepackage[ansinew]{inputenc}
 \makeatletter
 \def\notesintext#1{% no staff lines, no clefs
   {\let\extractline\relax
@@ -57,7 +50,7 @@
    \nobarnumbers
    \staffbotmarg0pt \setclefsymbol1\empty
    \startextract\addspace{-\afterruleskip}#1\endextract}}
-\fi
+
 \def\musictex{Music\TeX{}}
 \def\onen{{\tt\char123}$n${\tt\char125}}
 \def\pitchp{{\tt\char123}$p${\tt\char125}}
@@ -74,25 +67,17 @@
 %\changebarsep 10 pt
 \title{\Huge\bf\musixtex\raise1.5ex\hbox{\large\copyright}\\[\bigskipamount]
 \LARGE\bf Using \TeX{} to write polyphonic\\or
-instrumental music\\\Large\sl Version T.114~-- June, 2006}
+instrumental music\\\Large\sl Version 1.15~-- April, 2011}
 \author{\Large\rm Daniel \sc Taupin\\\large\sl
  Laboratoire de Physique des Solides\\\normalsize\sl
  (associ\'e au CNRS)\\\normalsize\sl
-% b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\ E-mail : {\tt
-%taupin@lps.u-psud.fr}\\\medskip
  b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\\medskip
  \\\Large\rm Ross \sc Mitchell\\\large\sl
  CSIRO Division of Atmospheric Research,\\\normalsize\sl
  Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip
-%   \\\Large\rm Andreas \sc Egler\ddag\\\large\sl
    \\\Large\rm Andreas \sc Egler\\\large\sl
    (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum}
 \date{}
-%\let\endtitleORI\endtitlepage
-% \def\endtitlepage{\vfill\noindent $^\ddag$ {\it For personal reasons, Andreas
-%Egler decided to retire from authorship of this work. Nevertherless, he has
-%done an important work about that, and I decided to keep his name on this
-%first page. {\sc D. Taupin}}\endtitleORI}
  \maketitle
 \clearpage
  %\check
@@ -105,12 +90,6 @@ instrumental music\\\Large\sl Version T.114~-- June, 2006}
 \vfill
 
 \begin{flushright}\it
-%.. All the possible is done,\\
-%the impossible is being done,\\
-%for miracles I ask for some delay.\\[\smallskipamount]
-%{\sc N.N.}\\[\bigskipamount]
-%...~time after time~...\\[\smallskipamount]
-%{\sc Cindy Lauper}\\[\bigskipamount]
  If you are not familiar with \TeX{} at all\\
 I would recommend to find another software\\
 package to do musical typesetting.\\
@@ -181,8 +160,7 @@ the inclusion of lyrics.
 \bigskip
 
 \begin{flushright}
-In the name of the community, Olivier Vogel
-(\href{mailto:oliviervogel@freesurf.ch}{\url{oliviervogel@freesurf.ch}}),
+In the name of the community, Olivier Vogel,
 July 30, 2005
 \end{flushright}
 
@@ -225,6 +203,69 @@ Postscript slur facilities.
 Don Simons, Andre van Ryckeghem, Cornelius Noack, August 30, 2005
 \end{flushright}
 
+\chapter*{Preface to Version 1.15}
+
+From the time of \musixtex's predecessor \musictex\ until the
+previous version of \musixtex~(T.114), 
+the maximum numbers of simultaneous appearances of certain basic musical 
+elements were limited: 
+12 instruments, 12 or 6 beams depending on the type,  
+12 font-based slurs%
+\footnote{\texttt{musixps.tex} by Stanislav Kneifl provides different limits.}%
+, and 6 trills or octave lines,
+even with \texttt{musixmad.tex}.
+For some purposes these limits are too tight, and because of them,  
+developers of open-source GUI music editors may deem \musixtex{} 
+unworthy of support in their software. Without such support or enhanced capacity,
+\musixtex{} risks consignment to the junk heap of obsolete software. 
+
+It has been the \musixtex{} community's long-cherished desire to have a 
+new official version with greater capacity. However, for quite some time
+the limits were due not only to the design of 
+\musixtex{} itself but also to limitations in older versions of \TeX\ on the maximum 
+numbers of available registers---256 each  
+for counts (\texttt{\string\count}), dimensions (\texttt{\string\dimen}), 
+skips (\texttt{\string\skip}), and tokens (\texttt{\string\toks}). 
+
+But now, an extended variation of 
+\TeX{}---$\varepsilon$\hbox{-}\nobreak\TeX---is available.\footnote{
+$\varepsilon$\hbox{-}\nobreak\TeX{} (e-\TeX) is a trademark 
+of the NTS group.}  
+One of $\varepsilon$\hbox{-}\nobreak\TeX's features is that it can handle 
+32768 registers. Furthermore, 
+ \LaTeXe\ and other well-known extension packages require the  
+$\varepsilon$\hbox{-}\nobreak\TeX{} engine, 
+so it has spread widely among many \TeX\ users. 
+In fact, the current executable file called \texttt{latex} 
+relies on the $\varepsilon$\hbox{-}\nobreak\TeX{} engine.  
+Many other advanced branches based on $\varepsilon$\hbox{-}\nobreak\TeX{} 
+are also available. 
+
+Here we provide the new \musixtex{} 1.15 as the solution for typesetting larger 
+musical scores, 
+taking advantage of $\varepsilon$\hbox{-}\nobreak\TeX's 32768-register capacity. 
+We have made the new version 1.15 as compatible as possible with 
+earlier versions of \musixtex, existing scores, extension packages, 
+and Prof.~Knuth's original (non~$\varepsilon$\hbox{-}\nobreak) \TeX. 
+With it, you can use many more instruments and other musical elements within the capacity of 
+$\varepsilon$\hbox{-}\nobreak\TeX{} or even with original \TeX.
+Also, as of version 2.6, the preprocessor \textbf{PMX} has been enhanced to 
+allow up to 24 lines of music, and requires both \musixtex{} 1.15 and
+$\varepsilon$\hbox{-}\nobreak\TeX.\footnote{This should pose no problems for
+users, owing 
+to the free availability of all the software, and to capacities of all modern 
+computer hardware.}
+Unfortunately, we have found a few rarely used old extensions 
+not compatible with 1.15; 
+we will provide information for adapting them to the new version.
+
+We hope the new version 1.15 will keep \musixtex{} relevant well into the twenty-first century.
+
+
+\begin{flushright}
+Hiroaki Morimoto, Andre van Ryckeghem, Don Simons, April 2011
+\end{flushright}
+
 \clearpage
 
 %\pagenumbering{roman}
@@ -249,8 +290,8 @@ Don Simons, Andre van Ryckeghem, Cornelius Noack, August 30, 2005
 This chapter is not a tutorial on the use of \musixtex, but instead serves as
 an overview of some of its capabilities, quirks, and history.
 
-\musixtex\ is a set of \TeX\ macros which enables the typesetting of music with
-systems of up to twelve staves. It requires as a prerequisite a working
+\musixtex\ is a set of macros and fonts which enables music typesetting 
+within the \TeX\ system. It requires as a prerequisite a working
 installation of \TeX\footnote{See section \ref{installation}~for guidance on
 installing \TeX.}.
 \musixtex\ might be regarded as the digital equivalent of a box of type. It
@@ -324,14 +365,15 @@ is of the form
 \begin{center}
 \verb|\notes ... & ... & ... \enotes|\footnote{The abbreviation
 \keyindex{en} can be used in place of \keyindex{enotes}.}
-\end{center}\index{\&}
+\end{center}\index{"&@{\tt\char'046}}
 \noindent where the character \verb|&| is used to separate the notes to be
 typeset on respective staves of the various instruments, starting from the
 bottom.
 
 In the case of an instrument whose score has to be written with
 several staves, they are separated by the
-character \|. \index{"|@{\tt\char'174}}
+character \|\index{\tt\char'174@{\tt\char'174}}. 
+
 Thus, a score written for a keyboard instrument and
 a single-line instrument (e.g., piano and violin)
 will be coded as follows:
@@ -467,7 +509,7 @@ hand, so that the second one is aligned with the third eighth in the left hand.
 (\verb|j| at this pitch) with slope 15\%.
 \end{itemize}
 
-\section{The three pass system}
+\section{The three pass system}\label{threepass}
 \TeX's line-breaking procedure implicitly assumes
 that a normal line of text will contain many words, so that inter-word
 glue need not stretch or shrink too much to justify the line.
@@ -497,7 +539,12 @@ a line just fill up what's not occupied by hard space. Obviously
 it may vary from line to line.
 
 To this end a three pass system was developed. To start the
-first pass on the file \verb|jobname.tex|, you would enter \verb|tex jobname|.
+first pass on the file \verb|jobname.tex|, you would enter\footnote{
+In many cases it will suffice to run {\tt tex}, but with \musixtex~1.15,
+it is possible to create a file requiring the enhanced capacity of 
+{\tt etex}. Since {\tt etex} can handle any file {\tt tex} can, it's best
+always to use {\tt etex}.} 
+\verb|etex jobname|.
 Information about each bar is written to
 an external file named \verb|jobname.mx1|.
 This file begins with a header containing parameters
@@ -517,7 +564,7 @@ output to \verb|jobname.mx2|. The latter file contains a single entry for
 each line of music in the reformatted output. The key piece of information
 is the revised value of \keyindex{elemskip} for each line.
 
-Next, the file is \TeX-ed again, by entering \verb|tex jobname|. On this third pass,
+Next, the file is \TeX-ed again, by entering \verb|etex jobname|. On this third pass,
 the \verb|jobname.mx2| file is read in, and the information
 is used to physically define the final score and embed the
 page descriptions into a \verb|dvi|\ file.
@@ -860,13 +907,14 @@ or \verb|\afterruleskip|.
 \section{Further highlights}
  %\check
  \subsection{Key signatures}
-A single key signature can be assigned to all \nolinebreak3
-instruments, for example by \keyindex{generalsignature}\verb|{-2}|
+\begin{sloppypar}
+A single key signature can be assigned~to~all~instruments,~for~example~by 
+\keyindex{generalsignature}\verb|{-2}|
 which sets two flats on each staff. \keyindex{generalsignature}
 can be overridden for selected instruments, for example by
 \keyindex{setsign}\verb|2{1}| which puts one sharp on each staff
 of instrument number 2. Of course, the current signature as well
-as meters and clefs may change at any time.
+as meters and clefs may change at any time.\end{sloppypar}
 \subsection{Transposition}
 With some extra attention, a score can be input in such a way that it is
 fairly easily transposed. There is an internal register
@@ -922,9 +970,10 @@ The answer is yes, but only with a great deal of special attention---so much,
 in fact, that we shall strongly recommend that if you want
 to do this, you should use \textbf{PMX}, which makes the process
 very easy. If for some reason you choose to ignore this advice, you may
-refer to the details that were provided in the prior version of this manual,
-\href{http://icking-music-archive.org/software/musixtex/mxdoc112.pdf}
-{\underline{mxdoc112.pdf}}.
+refer to the details that were provided in Section 1.4.3 of
+an earlier version of this manual,
+\href{http://icking-music-archive.org/software/musixtex/musixdoc-T112.pdf}
+{\underline{musixdoc-T112.pdf}}.
 
 %After assigning symbolic numbers to instruments,
 %there are macros (see \ref{instrum-inhibit}) that permit
@@ -973,9 +1022,9 @@ section of the archive. Assuming you already have \TeX\ and only want to install
 {\underline{\texttt{musixtex.zip}}} . Further details about
 the installation process are given in section \ref{installation}.
 
-The Werner Icking Archive also hosts the
-\href{http://icking-music-archive.org/mailman/listinfo/tex-music}
-{\underline{\TeX-music mailing list}}, where you will always find
+There is a  
+\href{http://tug.org/mailman/listinfo/tex-music}{\underline{mailing list}}, 
+hosted by TUG, the \TeX\ Users Group, where you will always find
 someone willing to answer questions and help solve problems.
 
   \section{A very brief history of \musixtex}
@@ -1006,8 +1055,9 @@ Significant enhancements to \musixtex, which have already been mentioned, have b
 by Stanislav {\sc Kneifl} (Type K postscript slurs) and
 Rainer {\sc Dunker} (Lyrics handling via \verb|musixlyr.tex|).
 
-Since Dr. Taupin passed away in 2003, the primary maintainer of \musixtex\ has been
-Olivier {\sc Vogel}, with substantial assistance from Andre {\sc Van Ryckeghem},
+Since Dr. Taupin passed away in 2003, \musixtex\ has been maintained by a 
+varying cast including Olivier {\sc Vogel}, Hiroaki {\sc Morimoto}, 
+Bob {\sc Tennent}, Andre {\sc Van Ryckeghem}, 
 Cornelius {\sc Noack}, and Don {\sc Simons}.
 
 No discussion of the history of \musixtex\ would be complete without mentioning
@@ -1030,8 +1080,18 @@ special is that it must contain the command
 \verb|\input musixtex|
 before any reference to \musixtex\ macros. After that might follow
 \verb|\input musixadd| or \verb|\input musixmad| if you want to have
-respectively more than six or nine instruments or simultaneous beams,
+respectively up to nine or twelve instruments or simultaneous beams,
 ties, or slurs.\ixtt{musixtex.tex}\ixtt{musixadd.tex}\ixtt{musixmad.tex}
+If you want to have greater numbers of these elements, you can assign them 
+directly by including one or more of these commands: 
+\verb|\setmaxinstruments|, 
+\verb|\setmaxcxxviiibeams|, 
+\verb|\setmaxcclvibeams|, 
+\verb|\setmaxgroups|, 
+\verb|\setmaxslurs|, 
+\verb|\setmaxtrills|, 
+\verb|\setmaxoctlines|.
+
 Since it is still a \TeX\ file, after that, if you wished to,
 you could write a whole non-musical book
 using normal \TeX\ commands provided that you did not
@@ -1144,6 +1204,9 @@ So for example the clefs for a standard piano score
 could be specified by
 \keyindex{setclef}\verb|1{\bass}|.
 
+Treble and bass clefs with the digit 8 above or below are also possible; see 
+section~\ref{treblelowoct}.
+
 To set a common key signature for all instruments, use
  \keyindex{generalsignature}\verb|{|$s$\verb|}|,
 where $s>0$ is the number of \itxem{sharps} in the
@@ -1245,7 +1308,12 @@ groups, numbered from 1 to 3. The command \verb|\songtop| is equivalent
 to \verb|\grouptop 1|; \verb|\songbottom| is equivalent to
 \verb|\groupbottom 1|.
 
-With \ttxem{musixadd.tex}, the allowable number of groups is increased to four.
+With \ttxem{musixadd.tex} or \ttxem{musixmad.tex}, the allowable number of 
+groups is increased to four.
+Alternatively, you can specify the allowable number of groups to $m$ by 
+\keyindex{setmaxgroups}\verb|{|$m$\verb|}|%
+\footnote{Using $m>4$ may require e-\TeX.}.
+\label{musixmad_setmaxgroups}
 
 If any of the instruments grouped this way has more than one staff, the
 heavy curly brace will be shifted to the left of the square brace.
@@ -1579,7 +1647,7 @@ When entering notes inside \verb|\notes ... \enotes|, the usual way to suspend
 input for one instrument and start the next (higher) is with  the character
 ``\verb|&|''\index{"&@{\tt\char'046}}. If the instrument has more than one
 staff, to switch to the next (higher) one you can use the character
-``\verb+|+''\index{"|@{\tt\char'174}}.
+``\verb+|+''\index{\tt\char'174@{\tt\char'174}}.
 
 There are some alternate navigation commands that may be useful in
  special situations. Due to ``catcode
@@ -1670,9 +1738,12 @@ within this macro name stands for the equivalent British term ``crotchet''} with
  \item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]32nd note with stem up.
  \item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]32nd note with stem down.
  \item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]32nd note with automatic stem direction.
- \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]64nd note with stem up.
- \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]64nd note with stem down.
- \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]64nd note with automatic stem direction.
+ \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]64th note with stem up.
+ \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]64th note with stem down.
+ \item[\keyindex{cccca}{\tt\char123}$p${\tt\char125} :]64th note with automatic stem direction.
+ \item[\keyindex{cccccu}{\tt\char123}$p${\tt\char125} :]128nd note with stem up.
+ \item[\keyindex{cccccl}{\tt\char123}$p${\tt\char125} :]128nd note with stem down.
+ \item[\keyindex{ccccca}{\tt\char123}$p${\tt\char125} :]128nd note with automatic stem direction.
 \end{description}\end{quote}
  As an example, the sequence
 
@@ -1682,7 +1753,8 @@ within this macro name stands for the equivalent British term ``crotchet''} with
 \Notes\cu c\cl j\enotes\bar
 \Notes\ccu c\ccl j\enotes\bar
 \Notes\cccu c\cccl j\enotes\bar
-\Notes\ccccu c\ccccl j\enotes
+\Notes\ccccu c\ccccl j\enotes\bar
+\Notes\cccccu c\cccccl j\enotes
 \zendextract
 \end{music}
  \noindent was coded as
@@ -1690,7 +1762,8 @@ within this macro name stands for the equivalent British term ``crotchet''} with
 \Notes\cu c\cl j\enotes\bar
 \Notes\ccu c\ccl j\enotes\bar
 \Notes\cccu c\cccl j\enotes\bar
-\Notes\ccccu c\ccccl j\enotes
+\Notes\ccccu c\ccccl j\enotes\bar
+\Notes\cccccu c\cccccl j\enotes
 \end{verbatim}\end{quote}
 
  \subsection{Non-spacing note heads}
@@ -1739,10 +1812,12 @@ preceding non-spacing note heads.
 \verb|\qu| for chord building.
  \item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts
 like \verb|\ql| for chord building.
- \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu}, \keyindex{zccccu}
+ \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu}, 
+ \keyindex{zccccu}, \keyindex{zcccccu}
 :]eighth, ..., note with stem up but no spacing. They act like
 \verb|\cu| for chord building.
- \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl}, \keyindex{zccccl}
+ \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl}, 
+ \keyindex{zccccl}, \keyindex{zcccccl}
 :]eighth, ..., note with stem down but no spacing. They act
 like \verb|\cl| for chord building.
  \item[\keyindex{zqb}\pitchp~:]note belonging to a beam but no spacing. (DAS: put this later!)
@@ -1884,12 +1959,30 @@ cases.
 The basic form of the macros for starting fixed-slope beams is exemplified
 by the one for a single upper beam, \keyindex{ibu}\nps. Here
 $n$ is the reference number of the beam, $p$ the starting ``pitch'', and
-$s$ the slope. The reference number is assigned by the user. By default it must be
-in the range [0-5], but the maximum can be increased to 8 or 11 respectively
-if \verb|musixadd| or \verb|musixmad| has been \verb|\input|. The beam number is
-needed because more than one beam may be open at a time, and it
-tells \musixtex\ to which beam subsequent beamed notes and other beam specification
-commands are assigned. The ``pitch'' parameter is a pitch that is three
+$s$ the slope. 
+
+The reference number is assigned by the user. 
+It is needed because more than one beam may be open at 
+a time, and it tells \musixtex\ to which beam subsequent beamed notes and 
+other beam specification commands are assigned. 
+By default, the reference number must be in the range [0-5], 
+but the range for 8th to 128th beams will be expanded to [0-8] or [0-11] 
+if \verb|musixadd| or \verb|musixmad| respectively has been \verb|\input|. 
+
+Alternatively, you can specify the number of 8th to 64th beams 
+directly\footnote{8th to 64th beams are so basic that the maximum 
+number of these beams are related with the maximum number of instruments 
+by this command. 
+Using $m>12$ may require e-\TeX.}
+with \keyindex{setmaxinstruments}\verb|{|$m$\verb|}| 
+within the range $7<m\leq 100$; the corresponding reference number may then be 
+in the range from 0 to $(m-1)$. 
+\label{musixmad_setmaxinstruments_ccxviiibeams}  
+For 128th beams, use \keyindex{setmaxcxxviiibeams}\verb|{|$m$\verb|}|.
+
+For 256th notes, which can only appear in beams, see section \ref{musixbbm}.
+
+The ``pitch'' parameter $p$ is a pitch that is three
 staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above}
 the bar for a lower beam); in many (but not all)
 cases it should be input as the actual pitch of the first note. The slope $s$
@@ -2874,8 +2967,16 @@ Both restrictions are removed with the use of the alternate macros \keyindex{Ioc
 \keyindex{Ioctfindown} and
 \keyindex{Toctfin}.
 
-{\Bslash Ioctfinup}~$np$ indicate an upward octave transposition line with reference number
-$n$ ($0\le n<6$) and with dashed line at pitch $p$. Usually $p$ will be numeric and $>9$,
+{\Bslash Ioctfinup}~$np$ indicates an upward octave transposition line with reference number
+$n$ and with dashed line at pitch $p$. 
+By default $n$ must be in the range [0-5], but 
+you can specify a larger maximum number 
+directly with \keyindex{setmaxoctlines}\verb|{|$m$\verb|}| 
+where $7<m\leq 100$\footnote{This may require e-\TeX.}; the
+reference number will be in the range between 0 and $(m-1)$.
+\label{musixmad_setmaxoctlines}
+
+Usually $p$ will be numeric and $>9$,
 but it can also be a letter.
 {\Bslash Ioctfindown}~$np$ starts a lower octave transposition line at pitch $p$
 (usually $p<-1$). Both extend until terminated with {\Bslash Toctfin}. The
@@ -2978,19 +3079,29 @@ similar to beams.
  \subsubsection{Font-based slur initiation}
 A slur must be initiated \ital{before}
 the spacing note on which the slur begins, and terminated \ital{before} the
-note on which it ends. The basic slur initiation macro is
+note on which it ends. 
+
+The basic slur initiation macro is
 \keyindex{isluru}\enpee, which initiates an upper slur, with reference
 number $n$, beginning on a note at pitch $p$. The starting point of the slur is
 centered above a virtual quarter note head at pitch
 $p$\footnote{The slur will start in the same place regardless of whether there is
 {\it actually} a note at pitch $p$.}.
-As with beams, the reference number $n$ can take values from 0 to 5, or
-up to 8 or 11 respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included.
 Similarly, \keyindex{islurd}\enpee\ initiates a lower slur.
 These slurs are terminated by coding
 \keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the
-termination pitch. To illustrate with an elementary example, the following
-passage
+termination pitch. 
+
+As with beams, the reference number $n$ by default can take values from 0 to 5, or
+up to 8 or 11 respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included.
+You can also specify the maximum number 
+directly with \keyindex{setmaxslurs}\verb|{|$m$\verb|}| where 
+$7<m\leq 100$%
+\footnote{This may require e-\TeX.}; 
+the reference number $n$ will be in the range between 0 and $(m-1)$.
+\label{musixmad_setmaxslurs}
+
+To illustrate with an elementary example, the following passage
 
 \begin{music}\nostartrule
 \startextract
@@ -3452,7 +3563,7 @@ invoked by including the command \verb|\input musixps|
 near the beginning of your source file.
 The resulting dvi file should then be converted into postscript using \textbf{dvips}.
 If desired, a PDF file can then be generated with \textbf{ps2pdf}, \textbf{ghostscript},
-\textbf{Adobe Acrobat} (see chapter \ref{installation} for more information on this).
+or \textbf{Adobe Acrobat} (see chapter \ref{installation} for more information on this).
 
 Two minor inconveniences with Type K postscript slurs are that (1) they won't appear
 in any standard dvi previewer, and (2) they won't appear in PDF files generated with
@@ -3643,10 +3754,13 @@ slur rather than the middle.}.
 %original ones.
 
 \subsubsection{Type K postscript ties}
-All of the foregoing Type K slur commands have counterparts for ties. Simply
+All of the foregoing Type K slur commands 
+except the shape-changing ones
+have counterparts for ties. Simply
 replace ``\verb|slur|'' with ``\verb|tie|'', and for terminations omit
 the pitch parameter. Type K ties not only are positioned differently by
-default, but they also have different shapes than slurs.
+default, but they also have different shapes than slurs. If you want to change
+the shape of a tie, redefine \verb|\pstiehgt| from its default of 0.7. 
 
 \subsubsection{Dotted type K slurs and ties.}%please check the capital D(otted)
 A slur or tie can be made dotted simply by entering \keyindex{dotted} anywhere before
@@ -4585,6 +4699,12 @@ staff of instrument $n$ with blanks.
 Normal symbols for those clefs that have been substituted can be restored by
 \keyindex{resetclefsymbols}.
 
+Four other small clef symbols are available: \verb|\smalltrebleoct|, 
+\verb|\smalltreblelowoct|, \verb|\smallbassoct|, and \verb|\smallbasslowoct|. 
+They look just like the corresponding normal-sized symbols, and are useful by
+clef symbol substitution for clef changes after the beginning of a piece, as
+demonstrated in the following example.
+
 The various clef symbol substitution commands can only be used to substitute for
 \texttt{treble}, \texttt{alto}, or \texttt{bass} clefs.
 
@@ -4594,7 +4714,8 @@ back to treble and then the \verb|\treblelowoct| symbol is substituted by using
 When changing the clef away from treble and then back as at (3), the substitution
 symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution.
 If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see
-in the two clefs after (5) in comparison with (2). Obviously the second clef after (5) is
+in the three clefs after (5) in comparison with (2). These also illustrate the use of the small
+octave clef symbol. Obviously the second clef after (5) is
 nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7).
 
 \begin{music}
@@ -4610,10 +4731,10 @@ nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7).
 \notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
 \notes\qu i\en\setclef1\bass\changeclefs\doublebar
 \notes\zchar{-5}{5}\qu J\en
-\setclef1\treble\setclefsymbol1\treblelowoct\changeclefs
+\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
 \notes\qu i\en\setclef1\bass\changeclefs\bar
-\notes\zchar{-5}{6}\qu I\en\setclef1\treble\changeclefs
-\notes\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
+\notes\qu I\en\setclef1\treble\changeclefs
+\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
 \notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
 \notes\qu i\en
 \endpiece
@@ -4635,10 +4756,10 @@ nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7).
 \notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs
 \notes\qu i\en\setclef1\bass\changeclefs\doublebar
 \notes\zchar{-5}{5}\qu J\en
-\setclef1\treble\setclefsymbol1\treblelowoct\changeclefs
+\setclef1\treble\setclefsymbol1\smalltreblelowoct\changeclefs
 \notes\qu i\en\setclef1\bass\changeclefs\bar
-\notes\zchar{-5}{6}\qu I\en\setclef1\treble\changeclefs
-\notes\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
+\notes\qu I\en\setclef1\treble\changeclefs
+\notes\zchar{-5}{6}\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar
 \notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs
 \notes\qu i\en
 \endpiece
@@ -5118,6 +5239,12 @@ respectively coded as
 \keyindex{metron}\verb|{\hup}{60}| and \keyindex{metronequiv}\verb|{\qup}{\qu}|,
 which are normally emplaced using \keyindex{Uptext}.
 
+Also, you can set a smaller metronomic indication like~~~{\def\nbinstruments{0}
+\metron{\smallnotesize\lqu}{ca. 72}}~~~ or ~~~{\def\nbinstruments{0}
+\metron{\tinynotesize\lqu}{ca. 72}}~~~ by writing 
+\verb|\metron{\smallnotesize\lqu}{ca. 72}| or \verb|\metron{\tinynotesize\lqu}{ca. 72}|.
+
+
  \subsection{Accents}
 
 You may use\footnote{Note from the editor: the reason the names of some of
@@ -5349,11 +5476,18 @@ current \verb|\noteskips|.
 
 To let \musixtex\ compute the length of the trill, or if it extends across a
 system break, you can use \keyindex{Itrille}$n$\pitchp\ to start a plain
-trill, where $n$ is a trill reference number between 0 and 6; then
+trill, where $n$ is a trill reference number between 0 and 5; then
 \keyindex{Ttrille}$n$ to terminate it. To get the {\it tr} at the
 beginning, use \keyindex{ITrille}$n$\pitchp\ to start the trill and
 \verb|\Ttrille|$n$ to close it.
 
+As with other elements, you can specify the maximum number 
+directly with \keyindex{setmaxtrills}\verb|{|$m$\verb|}| where $7<m\leq 100$%
+\footnote{This may require e-\TeX.}; 
+the reference number $n$ will be in the range between 0 and $(m-1)$.
+\label{musixmad_setmaxtrills}
+
+
 For example:
 
 \medskip
@@ -6215,12 +6349,12 @@ symbols to standard clef symbols.
 
 \section{Lyrics}\index{lyrics}\label{lyrics}
 \musixtex{} itself doesn't manage lyrics very well. You should use
-\verb+musixlyr+ instead, a MusiXTeX extension package for lyrics handling by Rainer Dunker.
+\verb+musixlyr+ instead, a \musixtex\ extension package for lyrics handling by Rainer Dunker.
 The \TeX~source and
 \href{http://icking-music-archive.org/software/musixtex/add-ons/mxlyrdoc.pdf}
 {\underline{documentation}}~are included in the \musixtex~distribution.
 
-But first we recall briefly on the older methods, who are still usefull when
+But first we recall briefly the older methods, which may still be useful when
 only a small number of words are involved.
 
 \subsection{Native lyrics method: placing single words}
@@ -6343,18 +6477,18 @@ The package can be used by inserting a file in your source code:
 ...
 \end{verbatim}\end{quote}
 
-The manual, the input file and a few examples can be downloaded as
-compact musixlyr packet
+The manual, the input file and a few examples are in \verb|musixtex.zip|, or they 
+may be downloaded 
 \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip}
 {\underline{for Windows}} or \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.tgz}
-{\underline{for \unix}}. Look at the manual for a detailed description. Here you can find an overview
-of the commands and an example of use.
+{\underline{for \unix}}. Look at the manual for a detailed description. Here is an overview
+of the commands and an example of use.\pagebreak
 
 \def\keyexample#1{\keyindex{#1}}
 
 \noindent\begin{tabbing}
 \verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill
-Example\> Explanation
+Example\> Explanation 
 \end{tabbing}
 \vspace{-1ex}
 \hrule
@@ -6715,7 +6849,7 @@ end the extract with \keyindex{endextract} instead of \verb|\endpiece|
 or \verb|\stoppiece|, followed by \keyindex{end\LBR music\RBR}.
 
 To terminate an extract without any bar line, use \keyindex{zendextract}
-instead of \verb|\zendextract|.
+instead of \verb|\endextract|.
 
 To create a left-justified excerpt, use the sequence
 \keyindex{let\Bslash extractline\Bslash leftline}.
@@ -6822,7 +6956,7 @@ The symbols are given their special meanings by executing the macro
 \keyindex{endcatcodesmusic}. When setting either a self-contained score or
 a musical extract, you normally need not worry
 about this at all, because \verb|\startpiece| or \verb|\startextract| executes
-\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\zendextract| executes
+\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\endextract| executes
 \verb|\endcatcodesmusic|. But there are some special situations where you
 might need to use these catcode-modifying macros explicitly. One is if you
 were to define a personalized macro outside
@@ -6849,8 +6983,13 @@ brackets (see \ref{curlybrackets}).
  \subsection{musixadd}\ixtt{musixadd.tex}
 Increases the number of instruments, slurs and beams from six to nine.
 
+
  \subsection{musixbm}
- Provides 128th notes, either with flags or with beams, via the commands
+This file does nothing; it is retained only for compatibility with 
+\musixtex{} T.110 or earlier. 
+Since version T.111, \verb|musixtex.tex| itself contains all the functions 
+of the older \texttt{musixbm}, namely 
+commands for 128th notes, either with flags or with beams:
 \keyindex{ibbbbbu},
 \keyindex{ibbbbbl},
 \keyindex{nbbbbbu},
@@ -6860,13 +6999,14 @@ Increases the number of instruments, slurs and beams from six to nine.
 \keyindex{Ibbbbbu},
 \keyindex{Ibbbbbl},
 \keyindex{cccccu},
+\keyindex{cccccl},
 \keyindex{ccccca},
-\keyindex{zcccccu},
-\keyindex{cccccl} and
+\keyindex{zcccccu} and
 \keyindex{zcccccl}.
 
- \subsection{musixbbm}
- Provides 256th notes, only with beams, via the commands
+
+ \subsection{musixbbm}\label{musixbbm}
+ Provides 256th notes, but only for use within beams, via the commands
 \keyindex{ibbbbbbu},
 \keyindex{ibbbbbbl},
 \keyindex{nbbbbbbu},
@@ -6876,6 +7016,12 @@ Increases the number of instruments, slurs and beams from six to nine.
 \keyindex{Ibbbbbbu} and
 \keyindex{Ibbbbbbl}.
 
+By default \texttt{musixbbm} provides six 256th beams with 
+reference number 0 to 5.  
+You can specify a larger maximum number 
+directly with \keyindex{setmaxcclvibeams}\verb|{|$m$\verb|}| within the
+range\footnote{This may require e-\TeX.} $7\leq m\leq 100$.
+
 \subsection{musixcho}\label{song}
  Enables certain macros intended for choral music\footnote{Remember
 that we now recommend using \texttt{musixlyr} for any except the
@@ -8189,6 +8335,13 @@ staffs, rather that over them. This is an arbitrary question of taste...
 instruments, slurs and beams up to twelve. When using this extension, it is
 not necessary to explicitly input \verb|musixadd.tex|.
 
+If you need greater numbers of these elements, see sections 
+\ref{musixmad_setmaxgroups}, 
+\ref{musixmad_setmaxinstruments_ccxviiibeams}, 
+\ref{musixmad_setmaxoctlines}, 
+\ref{musixmad_setmaxslurs}, and
+\ref{musixmad_setmaxtrills}.
+
 
 \subsection{musixper}\label{perc}
 
@@ -8629,10 +8782,12 @@ If using MS Windows, you'll need to have manually installed some version of
 \TeX. MiK\TeX\ is the most common variant by far and therefore will be assumed. If
 you need to install MiK\TeX, you can get the software from
 \href{http://www.miktex.org/}{\underline{\texttt{http://www.miktex.org}}}
-or from CTAN. The Werner Icking Archive contains excellent
-\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf}%
-{\underline{instructions for installing MiK\TeX}}%
-\footnote{Thanks to Eva {\sc Jaksch}}.
+or from CTAN. 
+% DAS Out of date!
+%The Werner Icking Archive contains excellent
+%\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf}%
+%{\underline{instructions for installing MiK\TeX}}%
+%\footnote{Thanks to Eva {\sc Jaksch}}.
 
 \section{Where to get \musixtex: the Werner Icking Archive}\label{getstuff}
 
@@ -8643,25 +8798,30 @@ The most up-to-date versions of \musixtex\ and friends are located in the
 \href{http://icking-music-archive.org/software/indexmt6.html}{\underline{software}}
 section of the archive. The stable distribution of \musixtex\ will be contained in
 \href{http://icking-music-archive.org/software/musixtex/musixtex.zip}
-{\underline{\verb|musixtex.zip|}}, which is intended to serve all operating
-systems.
-The CTAN servers are official mirrors. The main CTAN server's
-web link is\\
-\href{http://www.ctan.org/tex-archive/macros/musixtex/taupin/}
-{\underline{http://www.ctan.org/tex-archive/macros/musixtex/taupin/}}
-and the FTP link is\\
-\href{http://ftp.ctan.org/tex-archive/macros/musixtex/taupin/}
-{\underline{http://ftp.ctan.org/tex-archive/macros/musixtex/taupin/}}.
-
-\subsection{End of line char in text files}
-The files in the Werner Icking Archive have been contributed by such a wide
+{\underline{\verb|musixtex.zip|}}. This will serve any operating system, but 
+has detailed Windows-specific installation instructions and batch scripts that simplify 
+installing and running the software.
+There is a somewhat differently organized distribution on the CTAN servers at\\ 
+\href{http://www.ctan.org/tex-archive/macros/musixtex/}
+{\underline{http://www.ctan.org/tex-archive/macros/musixtex/}}
+with FTP link\\
+\href{ftp://ftp.ctan.org/tex-archive/macros/musixtex/}
+{\underline{ftp://ftp.ctan.org/tex-archive/macros/musixtex/}}.
+This one is "TDS compliant," which means that it adheres to a recently announced
+standard directory structure for \TeX\ systems. It is accompanied by 
+installation instructions for \unix\ and other OS's, but does not contain any 
+installation scripts. 
+
+\subsection{End of line characters in text files}
+The files in the Werner Icking Archive and in \verb|musixtex.zip| 
+have been contributed by such a wide
 range of authors that there is no common standard for the line endings in text files.
 But the key text files serve as input to programs such as \TeX\ and \MF\
 which are insensitive to this. If you use a PC and run into problems using any of
 these text files, you might be able to solve them with the program 
 \verb|flip.exe| which comes with the \musixtex\ distribution. Run it from a 
 command window by typing \verb|flip -m| $<$filename$>$, and it will 
-convert line endings from the \unix to MS-DOS convention.
+convert line endings from the \unix\ to MS-DOS convention.
 
 \subsection{Pre-installed \musixtex}
 Many versions of \TeX\ include \musixtex\ as a package. The included version is likely
@@ -8669,15 +8829,31 @@ to be out of date and probably should not be used. When an archived version is
 downloaded and properly installed, it will supersede the pre-installed version. 
 
 \section{Installing \musixtex}
-The most useful \musixtex\ uses Postscript and produces PDF files. 
-The installation is very system dependent and therefore beyond the scope of this manual.
-You may refer to the installation manual or to the HOWTO files in the archive for either
-\href{http://icking-music-archive/software/musixtex/musixwinstall.pdf}
-{\underline{Windows}}\ or
-\href{http://icking-music-archive/software/musixtex/musixtex-for-unix.html}
-{\underline{\unix}}.
-Whatever course you choose, there are really just a few
-fundamental tasks you must accomplish:
+Installation of the \TeX~ and 
+\musixtex~ software is very system dependent and will not be detailed here. The
+distribution 
+\href{http://icking-music-archive.org/software/musixtex/musixtex.zip}
+{\underline{\verb|musixtex.zip|}}
+is Windows-centric but does include all the \musixtex\ files
+needed for any OS. For Windows installation, the distribution includes very detailed
+instructions in 
+\href{http://icking-music-archive.org/software/musixtex/musixtex.zip}
+{\underline{\verb|mxinsuse.pdf|}}
+and a batch file {\tt instmus.bat} which greatly 
+simplifies the installation process.
+Users of other OS's may refer to 
+\href{http://icking-music-archive.org/software/musixtex/mxinsuse.pdf}
+{\underline{\verb|mxinsuse.pdf|}}
+or to 
+%DAS Out of date!
+%either
+%\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf}
+%{\underline{Windows}}\ or
+\href{http://icking-music-archive.org/software/musixtex/musixtex-for-unix.html}
+{\underline{HOWTO file for \unix}} in the archive.
+
+Whatever your OS or installation method, there are really just a few
+fundamental tasks you must accomplish for a usable install:
 \begin{itemize}\setlength{\itemsep}{0ex}
   \item \musixtex\ comprises some \TeX\ source files (\verb|.tex|, \verb|.sty|),
 font files, and the executable \verb|musixflx|. The \TeX\ sources and font
@@ -8687,114 +8863,32 @@ files must be placed in locations where \TeX\ can find them;
 file somewhere in the \TeX\ file structure, and locate and modify a configuration
 file such as \verb|config.ps| to record the addition of the map file.
   \item \verb|musixflx| must be placed in a folder that is in your search path,
-so it can be executed from your working directory;
-  \item As stated before, to compile a score, you must run in sequence \verb|tex|, \verb|musixflx|,
-and \verb|tex| again. This will produce a \verb|.dvi| file;
-  \item To view the result, convert the file to
-postscript with \textbf{dvips} and then view it with a postscript viewer such
-as \textbf{GSview} and \textbf{ghostscript}, or convert the \verb|.dvi|
-directly to a PDF file with \textbf{pdftex} and then view it with any PDF viewer
-such as \textbf{Adobe Reader}. You also can use a DVI viewer, but if you are using type K postscript slurs, note that DVI viewers will not display the slurs.
+so it can be executed from your working directory.
 \end{itemize}
 
 
-\section{Running Musix\TeX\ }
-
-In most systems the commands run in a shell. Unix people are familiar with it.
-Also in MS Windows systems, there are a large number of editor/shell programs. Although not recommended, you always can use the DOS
-\verb|cmd| shell (\verb|cmd.exe|).
-
-
-In the examples, a file \verb|mymp|
-(\textbf{my} \textbf{m}aster\textbf{p}iece) is used, for demonstrating
-the batch commands.
-
-
-
-\subsection{Batch commands for making DVI and postscript (MS Windows)}
+\section{Running \musixtex}
 
-This commands are available in the \musixtex\ distribution. They produce
-a DVI file that can be displayed by a viewer
-(normally a part of the \TeX\ installation), or/and a Postscript file (normally with GSview).
+As first stated in Section~\ref{threepass}, to compile a score, you must run 
+in sequence \verb|etex|, \verb|musixflx|,
+and \verb|etex| again. This will produce a \verb|.dvi| file. From this point
+forward, this file can be processed like the device-independent output file
+for any \TeX\ document. The most common approach and the only one to 
+be discussed here is to next generate a postscript file. This is accomplished
+by running \verb|dvips|, which is included in every \TeX\ system. To view the 
+postscript, most users run {\tt GSview} or {\tt ghostscript}, which must
+be separately downloaded and installed. Finally, you may produce a PDF file 
+also using GSview, and view that with Acrobat Reader or {\tt GSview}. 
 
-After running \TeX\ on a music file, \verb|musixflx| must run. The program \verb|musixflx| calculates the number of bars on a system (music line), in order to have a nice layout. Then, \TeX\ must run again.
-
-When the paths to the binaries and the batch files are set properly, then the following commands can be used as is.
-
-\subsubsection{Using \TeX\ }
-The \ixem{musixtex.bat} command fulfills the sequence \texttt{\TeX\ $\Rightarrow$ musixflx $\Rightarrow$ \TeX}~.
-
-\begin{quote}\begin{verbatim}
-rem musixtex.bat
-if not exist %1.tex goto end
-if exist %1.mx1 del %1.mx1
-if exist %1.mx2 del %1.mx2
-tex %1
-if errorlevel 2 goto end
-musixflx %1
-if errorlevel 1 goto end
-tex %1
-:end
-\end{verbatim}\end{quote}
-The next command (\verb|mupsgs.bat|) processes \verb|mymp.tex| and makes a Postscript file  and dispays the file.
-\begin{quote}\begin{verbatim}
-rem mupsgs.bat
-call musixtex.bat %1
-DVIPS.EXE -e0 -t a4 -P pdf -G0 %1.dvi
-gsview32.exe %1.ps
-\end{verbatim}\end{quote}
-The \verb|dvips| output looks a little bit nicer using the options
-\verb|-e0| (character drift value~=~0) and \verb|-G0| (shift low chars
-to higher position).
-\verb|-t a4| is for a4 paper (\verb|-t letter| for letter format).
-If the output is to be converted in Adobe Acrobat pdf format, the option \verb|-P pdf|
-(load \verb|config.pdf|) is needed.
-
-If you want to make a PDF output, you may add the line (after \verb+dvips+):
-
-\noindent{\small
-\verb+gswin32c -dBATCH -dNOPAUSE -sDEVICE=pdfwrite -r600 -sOutputFile=%1.pdf -c save pop -f %1.ps+
-}
-
-\subsubsection{Using La\TeX\ }
-Replace ``\verb+tex+'' by ``\verb+latex+'' in the file \verb+musixtex.bat+~.
-
-
-\subsection{Running \musixtex\ without a shell}
-You also may run the commands without a shell.
-To forward the argument in the batch file,
-use an other batch file which stays in the same directory as your
-masterpiece \verb|mymp.tex| and has the same name: \verb|mymp.bat|~.
-\verb|mymp.bat| consists of 1 line: \verb|musixtex.bat %~n0|~.
-
-\noindent Thus \verb|mymp.bat| passes his own name (\verb|mymp|) via \verb|%~n0|
-to the \verb|musixtex.bat| command.
-
-Here are four examples of batch files, dependent of the method you are using.
-\endcatcodesmusic
-%\begin{quote}\begin{verbatim}
-\begin{center}
-\begin{tabular}{|l|l|l|}
-\multicolumn{3}{c}{Choose only one batch file}\\[.4ex]\hline
-Batch file for&making DVI&making postscript\\\hline
-name &\verb+rem mymp.bat+&\verb+rem mymp.bat+\\
-contents&\verb+musixtex.bat %~n0+&\verb+mupsgs.bat %~n0+\\\hline
-\end{tabular}
-%\end{verbatim}\end{quote}
-\end{center}
-
-\subsection{Running \musixtex\ without giving a file name}
-If you want to process i.e.\ all \texttt{.tex} files in a directory, then you could make a batch file
-\texttt{texall.bat} with the following commands:
-
-\begin{quote}\begin{verbatim}
-rem texall
-for /F %%I in ('dir /B *.tex') do call mupsgs.bat %%~nI
-\end{verbatim}\end{quote}
-
-Of course, this command also works if there is only one file in a directory, which means you
-may use \texttt{texall.bat} for a single file, without giving an argument.
+You also can view the \verb|.dvi| file directly using a DVI viewer such as Yap, 
+but if you are using type K postscript slurs, DVI viewers will not display them.
 
+Rather than executing all the foregoing programs separately, most users will 
+find it more convenient to use either a batch file or a shell. The distribution
+\verb|musixtex.zip| includes various batch files for compiling and viewing 
+\musixtex\ files in Windows. Their use is discussed in detail in
+\href{http://icking-music-archive.org/software/musixtex/mxinsuse.pdf}
+{\underline{\verb|mxinsuse.pdf|}}.
 
 \chapter{\musixtex\ examples}
 
@@ -8804,7 +8898,7 @@ that produced them, while for a few only an image of the extract is included and
 have to look in \verb|musixdoc.tex| to see the coding.
 
 Other useful examples cannot be embedded in the source, either because they are
-meant to be in \TeX, not La\TeX, or because they are simply to large. For
+meant to be in \TeX, not \LaTeX, or because they are simply to large. For
 these the source files also are provided separately.
 
 When compiling or viewing any of the examples, you should keep in mind that
@@ -8829,7 +8923,10 @@ character set is used. See section \ref{8bit} on page \pageref{8bit} for other s
 \end{itemize}
 
 \section{Full examples}
-All of these examples and many others are available in
+The small examples above and the longer ones mentioned below are included in 
+the folder
+\verb|MUSIXTEXdistribution\doc\musixtex\manualexa| of \verb|musixtex115.zip|. 
+Many others are available in
 \href{http://icking-music-archive.org/software/musixtex/musixexa.zip}
 {\underline{\texttt{musixexa.zip}}} or
 \href{http://icking-music-archive.org/software/musixtex/musixexa-T112.tar.gz}
@@ -8855,7 +8952,7 @@ commands (section \ref{glorias}). {\tt gloriab.tex} is the same piece, but with
 
 \end{itemize}
 
-\subsection{Other examples, provided by the authors of MusiX\TeX }
+\subsection{Other examples, provided by the authors of \musixtex }
 
 \begin{itemize}\setlength{\itemsep}{0ex}
 
@@ -8881,70 +8978,43 @@ to create staff-jumping doubly beamed notes.
 \end{itemize}
 
 \section{Compiling musixdoc.tex}
-\subsection{Command sequence}
 
-This is an example of a command sequence (in fact this is the normal procedure for La\TeX\ files). \verb|musixdoc.tex| is a large file, if you use an older version of La\TeX, use ``elatex'' in the command file.
+This manual is an excellent example of a primarily text document with embedded
+musical excerpts. For this reason it is a \LaTeX\ document and must be compiled
+with \verb|latex| rather than \verb|etex|. Those wishing to combine text and 
+musical excerpts should carefully study how it is done here.
+
+Before compiling or recompiling \verb|musixdoc.tex|, you should remove all the auxilliary 
+files {\tt musixdoc.[mx1\|\allowbreak mx2\|\allowbreak aux\|\allowbreak toc\|\allowbreak ind\|\allowbreak idx\|\allowbreak ilg\|\allowbreak out]} 
+if they are present. Then the following command sequence will produce \verb|musixdoc.ps|:
 \begin{quote}\begin{verbatim}
 latex musixdoc
 musixflx musixdoc
 latex musixdoc
 makeindex -l musixdoc
 latex musixdoc
-(may require several more runs of elatex to get rid of
-    "labels may have changed ..." warnings)
-dvips -ta4 musixdoc
+latex musixdoc
+dvips -e0 -t a4 -P pdf -G0 musixdoc
 \end{verbatim}\end{quote}
 
+The initial three steps \verb|latex|\allowbreak$\to$\allowbreak\verb|musixflx|\allowbreak$\to$\allowbreak\verb|latex| build up the basic appearance of the document including many musical examples.
+\verb|makeindex| produces the database for the index.  
+After that, \verb|latex| must be run at least twice to complete cross referencing.  
+Finally, \verb|dvips| converts the \verb|.dvi| file into \verb|.ps| (making PostScript type K slurs
+visible).
 To produce \verb|musixdoc.pdf|, open \verb|musixdoc.ps| in \texttt{GSview}. Go to
-\verb+File|Convert+, select \verb|pdfwrite| at 600 dpi resolution, click
+{\tt File\|Convert}, select \verb|pdfwrite| at 600 dpi resolution, and click
 \verb|OK|.
 
-\subsection{Using batch files}
-There are
-many other files that are required to compile this document but all of them
-are included in \verb|musixtex.zip|, and will be placed in the proper locations
-if you have followed the installation instructions for \musixtex.
-
-The two following batch files reside in the same dir as \texttt{musixdoc.tex} (or \texttt{musixdoc114.tex}).
-
-This batch file makes a DVI, Postscript and PDF file, then displays the Postscript file.
-The full path names are shown as a comment.
-{\small
-\begin{quote}\begin{verbatim}
-rem filename: lapdfview
-LATEX.EXE %1 %2.tex
-if errorlevel 1 goto end
-makeindex -l  %1
-rem C:\musixtex\system\musixflx\win32\musixflx %1
-musixflx %1
-LATEX.EXE %1 %2.tex
-if errorlevel 1 goto end
-rem C:\"Program Files\MiKTeX 2.7"\miktex\bin\DVIPS.EXE -e0 -t a4 -P pdf -G0 %1.dvi
-DVIPS.EXE -e0 -t a4 -P pdf -G0 %1.dvi
-rem C:\"program files"\gs\gs8.63\bin\gswin32c -dBATCH ^
-rem -dNOPAUSE -sDEVICE=pdfwrite -r600 \
-rem -sOutputFile=%1.pdf -c save pop -f %1.ps
-gswin32c -dBATCH -dNOPAUSE -sDEVICE=pdfwrite -r600 ^
--sOutputFile=%1.pdf -c save pop -f %1.ps
-pause
-rem C:\"program files"\Ghostgum\gsview\gsview32.exe %1.ps
-gsview32.exe %1.ps
-rem pause
-:end
-\end{verbatim}\end{quote}
-}
-
-This batch file searches the folder for tex files and calls \texttt{lapdfview.bat}
-{\small
-\begin{quote}\begin{verbatim}
-rem latexall.bat
-rem proces all files with extension tex in this directory
-for /F %%I in ('dir /B *.tex') do call lapdfview.bat %%~nI
-pause
-\end{verbatim}\end{quote}
-}
-
-Thus, to produce \texttt{musixdoc.pdf}, double click on \texttt{latexall.bat}.
+If you use an older version of \LaTeX\ which doesn't automatically 
+invoke $\varepsilon$\hbox{-}\nobreak\TeX, you will encounter the 
+error ``{\tt !~No room for new \string\count}''. 
+This is because \verb|musixdoc.tex| invokes \verb|musixtex.tex|, which together with \LaTeX\ 
+requires more storage registers than available in \TeX.
+You may be able get around this by using the command 
+\verb|elatex| instead of \verb|latex|;
+however, it is strongly recommended to upgrade your \TeX\ system to a more recent 
+version in which \verb|latex| automatically invokes $\varepsilon$\hbox{-}\nobreak\TeX.   
 
 \clearpage
 {\parindent0pt
diff --git a/Master/texmf-dist/doc/generic/musixtex/notationMistakes/coulhack.tex b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/coulhack.tex
new file mode 100644
index 00000000000..1f797876cd4
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/coulhack.tex
@@ -0,0 +1,70 @@
+% thicker ledger lines
+\def\myhlthick{1.5\lthick}
+\makeatletter
+\def\h@linei{%
+  \y@ii\n@v\internote
+  \y@iii\y@ii
+  \advance\y@ii\myhlthick
+  \advance\y@iii-\myhlthick
+  \y@vi\noteskip			% noteskip
+%-\ifnum\y@vi=\z@ \y@vi\maxdimen\fi	% (or maxdimen if noteskip = 0)
+  \advance\y@vi-\y@v			% - notewidth
+  \y@vi0.7\y@vi				% this may be eaten =: additional length
+  \y@iv\h@lf\qn@width\ifnum\y@vi>\y@iv \y@vi\y@iv\fi % not more than 0.5 qn@width
+  \y@iv0.2\qn@width  \ifnum\y@vi<\y@iv \y@vi\y@iv\fi % not less than 0.2 qn@width
+  \y@iv\y@v				% notewidth
+  \advance\y@iv\y@vi			% + additional length =: total length
+  \kernm\h@lf\y@vi			% center the ledger line
+%-\message{noteskip = \the\noteskip, length = \the\y@iv, notewidth = \the\y@v}%
+  \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv
+  \kernm\y@iv\kern\h@lf\y@vi}
+
+% same adapted from MUSIXFLL.TEX
+
+\ifx\undefined\longledgerlines \else \endinput \fi
+
+\immediate\write10{MusiXFormerLedgerLines T.74\space<06 April 1997>}%
+
+%\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+
+\let\h@lineick\h@linei
+\def\h@lineidt{%
+  \y@ii\n@v\internote
+  \y@iii\y@ii
+  \advance\y@ii\myhlthick
+  \advance\y@iii-\myhlthick
+  \y@iv\y@v
+  \advance\y@iv\h@lf\qn@width
+  \kernm.25\qn@width
+  \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv
+  \kernm\y@iv\kern.25\qn@width}
+\def\longledgerlines{\global\let\h@linei\h@lineidt}
+\def\autoledgerlines{\global\let\h@linei\h@lineick}
+\longledgerlines
+%\catcode`\@=\catcodeat
+
+% space between signatures and first note at each system:
+
+\def\contpiece{\noindent \piece@conta \writ@staffs \piece@beginc
+%  \Writ@meters \wbarno@x \hardspace{10pt}\addspace\afterruleskip
+  \Writ@meters \wbarno@x \hardspace{.3\elemskip}\addspace\afterruleskip}
+%                        ^^^^^^^^^^^^^^^^^^^^^^^
+
+% missing pixels at some beam ends:
+\def\beamst@m{% queue de note vers une poutre
+  \getcurpos \advance\y@v-\b@x
+  \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z
+  \ifdim\y@ii>\st@top % la poutre est au-dessus
+    \stem@skip\qd@skip \comp@slope\stem@skip \advance\y@ii\s@lope
+    \advance\y@ii .25\interbeam% hack
+    \ifnum\b@n>\z@ \advance\y@ii\b@n\interbeam \advance\y@ii-\interbeam \fi
+    \st@top\y@ii % a mettre a jour avec la pente ulterieurement
+  \else
+    \advance\y@ii-.25\interbeam% hack
+    \stem@skip\z@
+    \ifdim\y@ii<\st@bot
+      \ifnum\b@n<\z@ \advance\y@ii\b@n\interbeam \advance\y@ii\interbeam \fi
+      \st@bot\y@ii \fi \fi
+  \C@stem}
+
+\makeatother
diff --git a/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottieng.pdf b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottieng.pdf
new file mode 100644
index 00000000000..ab290046450
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottieng.pdf
diff --git a/Master/texmf-dist/doc/generic/musixtex/sottieng.tex b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottieng.tex
index 7028a807d31..7028a807d31 100644
--- a/Master/texmf-dist/doc/generic/musixtex/sottieng.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottieng.tex
diff --git a/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottiger.pdf b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottiger.pdf
new file mode 100644
index 00000000000..3dc37021e2a
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottiger.pdf
diff --git a/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottiger.tex b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottiger.tex
new file mode 100644
index 00000000000..a0b477cd0d0
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottiger.tex
@@ -0,0 +1,1103 @@
+\documentclass[12pt,twoside]{article}
+\usepackage{a4}
+\usepackage{musixtex}
+\usepackage[german]{babel}
+\usepackage[latin1]{inputenc}
+\usepackage{randtext}
+\input coulhack
+\raggedbottom
+\setlength{\textwidth}{18cm} \setlength{\textheight}{26cm}
+\setlength{\oddsidemargin}{0pt}\setlength{\evensidemargin}{0pt}
+\setlength{\parindent}{0cm}\setlength{\parskip}{.5cm}
+\setlength{\marginparwidth}{1in} \setlength{\marginparsep}{0pt}
+\setlength{\hoffset}{-1cm}
+\setlength{\voffset}{-2.5cm}
+%\setlength{\headsep}{2cm}
+\setlength{\itemsep}{0cm}
+
+\newcommand{\milieu}[1]{\begin{center}{#1}\end{center}}
+\newcommand{\pruneau}{$\bullet$~}
+\newcommand{\subsec}{\vspace{-1cm}\subsection{~}\vspace{-.5cm}}
+% \today should work the same in theory
+%\def\mytoday{\ifcase\month\or
+%  January\or February\or March\or April\or May\or June\or
+%  July\or August\or September\or October\or November\or December\fi
+%  \space\number\day, \number\year}
+
+\def\notess{\vnotes2.4\elemskip}
+\def\notesss{\vnotes1.7\elemskip}
+\def\notesm{\vnotes1.5\elemskip}
+\def\appog{\multnoteskip\tinyvalue\tinynotesize}
+\newcommand{\zcn}[2]{\zcharnote{#1}{#2}}
+\newcommand{\lcn}[2]{\lcharnote{#1}{#2}}
+\newcommand{\ccn}[2]{\ccharnote{#1}{#2}}
+\newcommand{\nxst}{\nextstaff}
+\def\hhqsk{\off{.7\elemskip}}
+
+\newcommand{\twoextr}[2]
+%{\begin{music}\let\extractline\hbox
+{\let\extractline\hbox
+\hbox to \hsize{
+\hfill
+\startextract #1
+\zendextract\hfill
+\startextract #2
+\zendextract
+\hfill}
+
+%\let\extractline\centerline\end{music}}
+\let\extractline\centerline}
+
+\accshift=0mm
+\geometricskipscale
+\nostartrule
+\nobarmessages\nobarnumbers
+\let\extractline\centerline
+
+\begin{document}
+\milieu{\ppfftwentynine Sammlung der Irrtümer beim Notensatz}
+\milieu{\medtype oder}
+\milieu{\ppfftwentyfour Essay über die Kunst des guten Notensatzes}
+\milieu{\Huge Jean-Pierre Coulon}
+%\centerline{\tt
+%\kern3.5em{obs-nice}\kern-4.5em{@}\kern-3.5em{coulon}\kern4.5em{.fr}}
+
+\centerline{\tt \randomize{coulon@obs-nice.fr}}
+
+
+%\milieu{\mytoday}
+\milieu{\today}
+
+\milieu{\large gedacht f"ur:}
+\begin{itemize}
+\item Anwender von Notensatz-Software,
+\item Entwickler solcher Software,
+\item konventionelle Notenstecher,
+\item Notensammler,
+\item jene mit geschärftem Blick für Fragen der \textit{Semantik},
+\textit{Semiologie},
+\textit{Philologie} , u. a. 
+\end{itemize}
+
+{\footnotesize NB: Die verwendeten Beispiele sind selbstverständlich
+musikalisch wertlos; spielen Sie diese also nicht auf ihrem
+Instrument nach :-)\\
+Um mich auf das wesentliche zu beschränken und mangels
+ausreichender Fachkompetenz, behandle ich keine der benachbarten,
+aufregenden Sachgebiete:
+
+\pruneau Musiktheorie, Harmonielehre, Komposition u. a.\\
+\pruneau Vergleichstests verschiedener Notensatzprogramme ,\\
+\pruneau wie die zitierten Symbole in den einzelnen Epochen zu
+interpretieren sind,\\
+\pruneau Fragen des Copyrights,\\
+\pruneau Schlagzeug-Notation und Zupfinstrument-Tabulaturen,\\
+\pruneau sehr frühe und avantgardistische Musiknotation.\\
+
+}
+
+\section{Grundsätzliches}
+\subsec
+Wenn Noten zur gleichen Zeit in der gleichen Notenzeile
+auftreten, sind zwei Schreibweisen möglich: als Akkord oder
+mehrstimmig (\textit{polyphon}):
+
+\twoextr
+{\NOtes\qu c\zq c\qu e\en
+\Notes\ibu0e2\zq c\qb0e\zq d\tqh0f\en}
+{\NOtes\zql c\qp\zql c\qu e\en
+\Notes\ibl0c2\ibu1e2\zqb0c\qb1e\tbl0\zqb0d\tqh1f\en}
+
+Natürlich erfordert ein unterschiedlicher Rhythmus der
+Einzelstimmen die polyphone Schreibweise.
+
+\eject\milieu{\ppfftwenty Ab hier gilt:}
+{\ppfftwentyfour Linke Seite: fehlerhaft. \hfill Rechte Seite:
+richtig. }
+
+\subsec
+Bemühe Dich, die Stellen, an denen die \textit{Seiten gewendet}
+werden müssen, für den Musiker annehmbar zu setzen; anderenfalls
+wird er entweder jemanden zum Blättern benötigen oder mit
+aneinandergeklebten Photokopien herumexperimentieren. Seitdem
+moderne Notenausgaben kleiner als früher sind, verlangt diese
+Forderung einen höheren Aufwand vom Notensetzer.
+
+{\footnotesize Die tatsächliche Druckgröße (d.\,h. weggelassene
+Ränder) der meisten Noten aus früheren Epochen entspricht nahezu dem
+üblichen Format der meisten moderner Ausgaben einschließlich der
+Ränder.
+}
+
+Eine einfache Lösung bietet sich durch Verwendung einer kleinen
+Stichgröße. Es ist aber besser, auf Kosten von mehr Aufwand eine
+größere zu verwenden, um den Platz vernünftig auszunutzen.
+Die folgenden Beispiele nehmen den gleichen horizontalen
+Raum ein, jedoch ist das rechte leichter zu lesen:
+
+\bigaccid
+\begin{music}\let\extractline\hbox
+\hbox to \hsize{
+\hfill
+\smallmusicsize
+\setclef1{\treble}
+\startextract%
+\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en
+\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en
+\bar%
+\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en
+\zendextract\hfill
+\normalmusicsize
+\startextract%
+\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en
+\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en
+\bar%
+\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en
+\zendextract
+\hfill}
+\let\extractline\centerline\end{music}
+
+Außerdem mußt Du auch die Abstände zwischen den Zeilen des Systems
+verändern, um keinen vertikalen Raum zu verschwenden
+(s. meine Ausgabe von Dusseks Klaviersonate Op. 35-3).
+
+\subsec
+Wähle horizontale Zwischenräume, die sich entsprechend der
+Notenlänge vergrößern, nicht linear dazu. Ich persönlich bin
+glücklich mit
+1 : \hbox{$\sqrt{2}\approx 1.414$},
+um ein Längenverhältnis von 1 : 2 darzustellen, jedoch ist das keine
+absolute Regel, besonders wenn Zweiunddreißgstel oder
+Vierundsechzigstel vorkommen, weil diese dabei zu dicht
+zusammengedrängt würden. Ändere den Abstand einer absoluten
+Notenlänge innerhalb einer Zeile nie ohne guten Grund.
+
+\nostartrule
+\setclef1\treble
+\hsize82.1mm
+\startpiece
+\NOTEs\hu c\sk\en
+\NOTEs\qu c\en
+\NOtes\cu c\en
+\notes\ibbu0c0\qb0c\en
+\notes\qb0{cc}\tqh0c\en
+\setemptybar
+\endpiece
+
+\hsize18cm
+
+\setclef1\treble
+\twoextr
+{\notes\hu c\en
+\NOtes\qu c\en
+\NOTes\cu c\en
+\notes\ibbu0c0\qb0c\en
+\Notes\qb0{cc}\tqh0c\en}
+{\NOTes\hu c\en
+\NOtes\qu c\en
+\Notes\cu c\en
+\notes\ibbu0c0\qb0{cc}\en
+\notes\qb0c\tqh0c\en}
+
+{\footnotesize Wenn ein System mehrere Zeilen hat, bestimmt die
+Stimme mit den \textbf{kürzesten} Notenwerten die alle anderen Abstände.
+Liedtext, soweit vorhanden, kann noch größere Abstände fordern.
+}
+
+\subsec
+Hier ein guter Grund, engen Notenabstand zu verändern:
+die Vermeidung von Kollisionen:
+
+\twoextr
+{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en}
+{\notesss\ccu c\hqsk\ibbl0k2\qb0{jklm}\hqsk\tqb0{^n}\en}
+
+\subsec
+Wenn keine andere Stimme es verlangt, sollen Notenhälse
+ebenfalls in die Abstandsberechnungen einbezogen werden:
+
+\largemusicsize
+\twoextr
+{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en}
+{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en}
+
+
+\subsec
+Verschiebe die vertikale Ausrichtung nicht unter dem Vorwand, genug
+Platz für die Vorzeichen zu lassen:
+
+\setstaffs1{2}\setclef1\bass\startrule\bigaccid
+\twoextr{
+\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en
+\bar%
+\NOtes\ql M\nxst\hhqsk\qu{^h}\en}
+{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en
+\bar%
+\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en}
+
+\nostartrule
+
+\subsec
+Schreibe die tiefere Note eines \textit{Sekundenintervalls} in
+einem Akkord \textbf{links}. Im polyphonen Satz hingegen sollte sie
+\textbf{rechts} stehen.
+
+\largemusicsize\setstaffs1{1}\setclef1{\treble}
+\twoextr
+{\NOtes\rq b\zq{ce}\qu g\en
+\NOtes\rq b\zq{^ce}\qu g\en
+\NOtes\rq c\rq e\rq g\qu b\en
+\doublebar%
+\NOtes\zql b\roffset{.9}{\qu c}\en
+\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en
+\notes\tbl1\zqb1a\qb0c\tqh0d\en}
+{\NOtes\rq c\zq{be}\qu g\en
+\NOtes\sh c\rq c\zq{be}\qu g\en
+\NOtes\rq c\zq{be}\qu g\en
+\doublebar%
+\NOtes\zqu c\roffset{.9}{\ql b}\en
+\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en
+\notes\tbl1\zqb1a\qb0c\tqh0d\en}
+
+{\footnotesize Ich lasse Fälle von Stimmkreuzung aus. Störe Dich
+nicht an dem Vorzeichen, das zur oberen Note gehört, auch nicht an
+Noten außerhalb dieser Sekunde.
+}
+
+
+\subsec
+Im polyphonen Satz sollen Noten gerade soweit verschoben sein, um sie
+zu unterscheiden, jedenfalls weniger als der Abstand für eine
+Sekunde:
+
+\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble
+\twoextr
+{\NOtes\zql c\roff{\zqu e}\qu g\en
+\NOtes\zql c\zqu e\qu g\en
+\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en
+\NOtes\zqlp c\roff{\zqup f}\qup h\en}
+{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en
+\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en
+\NOtes\zql c\roff{\zqu f}\qu g\en
+\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en}
+
+{\footnotesize Merke für den Fall punktierter Noten: die
+Punkte müssen vertikal ausgerichtet werden.}
+
+\subsec
+Manchmal müssen die Punkte so plaziert werden, damit jede
+Zweideutigkeit vermieden wird:
+
+\twoextr
+{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en
+\notes\tbbu0\tqh0h\en
+\NOtes\zqlp g\qu i\en
+\Notes\qu j\cl f\en
+\Notes\zql e\qu k\en}
+{\Notesp\loffset{.3}{\ibu0h0\zqb0h}%
+\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en
+%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en
+\notes\tbbu0\tqh0h\en
+\NOtes\pt f\zql g\qu i\en
+\Notes\qu j\cl f\en
+\Notes\zql e\qu k\en}
+
+\subsec
+Im zweitimmigen polyphonen Satz sollen die Notenhälse der Oberstimme
+nach oben zeigen, auch wenn die anderen Stimme eine Pause hat:
+
+\normalmusicsize\setclef1{\bass}
+\twoextr
+{\NOTesp\zw H\hup a\en
+\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en}
+{\NOTesp\zw H\hup a\en
+\Notes\qu N\liftpause{-2}\qu{MKLM}\en}
+
+{\footnotesize(Das gleiche gilt für die untere Stimme.)}
+
+
+\subsec
+Einige Verbindungen von Noten oder Pausen können musiktheoretisch
+korrekt, jedoch der Lesbarkeit hinderlich sein:
+
+\normalmusicsize
+\generalmeter{\meterfrac44}\setclef1\treble
+\twoextr
+{\notes\cu c\en
+\bar%
+\notes\cu d\en
+\Notes\qp\en
+\notes\ibu0f2\qb0{efgh}\tqh0i\en
+\bar
+\znotes\en}
+%\notes\cl j\en}
+{\notes\cu c\en
+\bar%
+\notes\cu d\ds\ds\cu e\en
+\notes\ibu0g2\qb0{fgh}\tqh0i\en
+\bar
+\znotes\en}
+
+Mit anderen Worten: Pausen sollen nicht wie synkopierte Noten
+fungieren.
+Teile in einem 3-er-Schlag eine Pause auf, die auf den zweiten und
+dritten Schlag fällt. Verbalkte Noten bedürfen weniger Sorgfalt.
+
+{\footnotesize Jemand könnte vorbringen, daß in der alten
+Musik die Fähnchen-/Balkenschreibung etwas über den Grad der
+Artikulation ausdrückt. Doch deren Regel stimmt fast immer mit
+einer \textit{vernüftigen} Artikulation überein.
+}
+
+
+\section{Verbalkung}
+\subsec
+Balken sollten eine angemessene Schräge haben. Früher hätte man
+eine zu geringe Steigung vermieden, weil die Druckerschwärze
+boshafterweise versucht, den winzigen Winkel zwischen diesen Balken
+und den Notenlinien auszufüllen. Für eine Tonleiter oder ein
+Arpeggio kann diese Steigung weder steiler sein, als sie durch durch
+die Noten gebildet wird, noch flach. Es muß ein Kompromiß
+gefunden werden. Hier ein Beispiel mit einer Lösung zweier
+unterschiedlicher Herausgeber:
+
+\generalmeter{\empty}
+\setstaffs1{1}\setclef1{\treble}
+\twoextr{
+\notes\ibbu0a6\qb0{cdefg}\tqh0h\en
+\notes\ibbu0g0\qb0{cdefg}\tqh0h\en}
+{\notes\zcn q{\scriptsize Peters, 19. Jht.}\ibbu0a4\qb0{cdefg}\tqh0h\en
+\notes\zcn q{\scriptsize Henle, 20. Jht}\ibbu0e1\qb0{cdefg}\tqh0h\en
+\notes\zcn q{empfohlen}\ibbu0d2\qb0{cdefg}\tqh0h\en}
+
+%\footnotesize{If you want to imitate some French publishers :}
+\footnotesize{Wenn Du manche französische Herausgeber nachahmen willst:}
+
+\startextract%
+\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en
+\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en
+\zendextract
+
+\newpage
+
+\subsec
+Die Balkensetzung soll an den Kontext angepaßt werden. Die
+Plazierung variiert abhängig davon, ob diese Notengruppe einzeln
+steht oder in Folge:
+
+\startextract
+\NOTes\hu c\hu d\en
+\bar
+\NOtes\qu f\en
+\notes\ibbu0f4\qb0{ceg}\tqh0j\en
+\NOtes\qu{cd}\en
+\bar%
+\NOtes\qp\en
+\NOTes\hu f\en
+\zendextract
+
+\twoextr
+{\notes\ibbu0f4\qb0{ceg}\tqh0j\en
+\notes\ibbu0f4\qb0{ceg}\tqh0j\en
+\notes\ibbu0f4\qb0{ceg}\tqh0j\en
+\notes\ibbu0f4\qb0{ceg}\tqh0j\en}
+{\notes\ibbu0h1\qb0{ceg}\tqh0j\en
+\notes\ibbu0h1\qb0{ceg}\tqh0j\en
+\notes\ibbu0h1\qb0{ceg}\tqh0j\en
+\notes\ibbu0h1\qb0{ceg}\tqh0j\en}
+
+\subsec
+Vermeide Z-förmige Balken, wie sie in früheren Ausgaben zu finden
+sind:
+
+\vspace{10pt}
+
+\normalmusicsize
+\setclef1\bass
+\twoextr
+{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en
+\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en}
+{\Notes\ibl0H2\qb0G\en
+\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en
+\doublebar%
+\Notes\cu G\en
+\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en}
+
+
+\subsec
+Balken sollten Hilfslinien niemals kreuzen:
+
+\vspace{10pt}
+
+\setclef1{\treble}
+\twoextr
+{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en}
+{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en}
+
+\subsec
+Beeinflusse die Balkensetzung nicht, um Pausen in ihrer üblichen
+Höhe zu setzen. Versetze lieber die Pausen.
+
+\twoextr
+{\Notes\ibl0k1\qb0n\ds\tqb0o\en
+\Notes\ibl0l0\qb0o\ds\tqb0o\en}
+{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en
+\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en}
+
+
+\section{Halte- und Bindebögen}
+\subsec
+Bei \textbf{gebundenen} Noten beginnt und endet der Bogen über oder
+unter der \textbf{Mitte} des Notenkopfes.  \textbf{Haltebögen}
+jedoch beginnen und enden vertikal ausgerichtet am Rand des
+Notenkopfes und nicht höher als dieser. Um Zusammenstöße mit
+Notenhälsen zu vermeiden, kann die erste Regel verletzt werden.
+
+\vspace{10pt}
+
+\largemusicsize
+\twoextr
+{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en
+\bar%
+\NOtesp\tslur0f\roff{\itied0f}\qup f\en
+\NOtes\ttie0\qu f\en}
+{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en
+\bar%
+\NOtesp\ttie0\itied0f\qup f\en
+\NOtes\ttie0\qu f\en}
+
+{\footnotesize Merke, daß der Haltebogen "`ruhiger"' wird.}
+
+\newpage
+
+\subsec
+Vermeide indessen "`Akrobatik"', um diese Regeln strikt einzuhalten:
+
+%\vspace{10pt}
+
+\largemusicsize
+\twoextr
+{\NOtes\islurd0c\qu c\tsslur0j\ql j\en
+\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en}
+{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en
+\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en}
+
+\vspace{-6pt}
+
+\subsec
+In manchen Epochen wurde ein einzelner Haltebogen auf \textbf{alle}
+Noten eines einzelnen Akkords bezogen. Sonderfälle sind so häufig
+geworden, daß es besser ist, alle Haltebögen explizit zu setzen.
+
+\largemusicsize
+\twoextr
+{\NOtes\itieu0g\zq{ce}\qu g\en
+\bar%
+\NOtes\ttie0\zq{ce}\qu g\en}
+{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en
+\bar%
+\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en}
+
+\vspace{-10pt}
+
+\subsec
+Verbindungen von Halte- und Bindebögen mit Punkten und Verzierungen:
+
+\twoextr
+{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en
+\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en}
+{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en
+\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en}
+
+\vspace{-10pt}
+
+\subsec
+Verbindungen von Halte- und Bindebögen:
+
+\twoextr
+{\NOtes\itied0d\qu d\en
+\bar
+\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en
+\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en
+\bar
+\NOtes\ttie0\qu f\en}
+{\NOtes\islurd1d\itied0d\qu d\en
+\bar
+\NOtes\ttie0\qu d\tslur1c\qu c\en
+\NOtes\islurd1e\qu e\itied0f\qu f\en
+\bar
+\NOtes\tslur1f\ttie0\qu f\en}
+
+\vspace{-6pt}
+
+{\footnotesize Streicher werden das als offensichtlich empfinden.}
+
+\subsec
+Der gepunktete Bogen ist die beste Weise, einen \textit{Bogen des
+Herausgebers} hervorzuheben:
+
+\setclef1{\treble}
+\twoextr
+{\NOtes\islurd0c\qu c\tslur0d\qu d\en
+\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e%
+\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en
+\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en}
+{\NOtes\islurd0c\qu c\tslur0d\qu d\en
+\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en
+\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en}
+
+
+\section{Vorzeichen}
+\subsec
+Wenn sich eine Note mit Vorzeichen über mehrere Takte erstreckt,
+wiederhole das Vorzeichen in den nächsten Takten nicht, außer
+wenn dort ein Zeilen- und Seitenumbruch ist.
+
+\twoextr
+{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en
+\bar%
+\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en}
+{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en
+\bar%
+\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en}
+
+\subsec
+Wenn ein Vorzeichen auf \textit{Hilfsnoten} wirkt und es auch für
+nachfolgende Noten gelten soll, muß es wiederholt werden.
+
+\twoextr
+{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en
+\NOTes\wh c\en}
+{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en
+\NOTes\qsk\wh{^c}\en}
+
+\subsec
+Wenn eine Note mit einfachem einer mit doppeltem Vorzeichen folgt,
+schreibe kein Auflösungszeichen vor dem einfachen Vorzeichen, es sei
+denn, Du willst den Stil des 19. Jhts. nachahmen:
+
+\vspace{-3pt}
+
+\twoextr
+{\NOtes\qu{>c}\lna c\qu{^c}\qu{<d}\lna d\qu{_d}\en}
+{\NOtes\qu{>c}\qu{^c}\qu{<d}\qu{_d}\en}
+
+\vspace{-3pt}
+
+\subsec
+Im polyphonen Satz beeinflussen Vorzeichen der einen Stimme die
+andere nicht. Wenn dieses Vorzeichen auf die andere Stimme wirken
+soll, ist es explizit zu schreiben.
+
+\vspace{-3pt}
+
+\normalmusicsize
+\setstaffs1{1}\setclef1\treble
+\twoextr
+{\Notes\zql d\qu f\en
+\bar%
+\NOtes\zql c\qu{_e}\zql d\qu f\zql e\qu g\zql f\qu h\en
+\bar\
+\znotes\en}
+{\Notes\zql d\qu f\en
+\bar%
+\NOtes\zql c\qu{_e}\zql d\qu f\zql{_e}\qu g\zql f\qu h\en
+\bar
+\znotes\en}
+
+\vspace{-3pt}
+
+{\footnotesize Zur Erinnerung: um 1600 wurde eine Fuge für Orgel
+oder Cembalo in \textbf{vier} Zeilen geschrieben. Damit waren die
+Vorzeichen zwischen den Zeilen unanhängig.
+}
+
+\vspace{-3pt}
+
+\subsec
+Früher hätte ein Vorzeichen auch für die entsprechenden Noten in
+anderen Oktaven gegolten:
+
+\startextract
+\Notes\ibu0e4\qb0{^ceg}\tqh0j\en
+\NOtes\zq{_b}\qu i\en
+\zendextract
+
+\vspace{-6pt}
+
+Heutzutage müssen solche Vorzeichen klar ausgeschrieben werden:
+
+\twoextr
+{\Notes\ibu0e4\qb0{^ceg}\uppersh c\tqh0j\en
+\NOtes\zq{_b}\upperfl i\qu i\en}
+{\Notes\ibu0e4\qb0{^ceg}\tqh0{^j}\en
+\NOtes\zq{_b}\qu{_i}\en}
+
+\vspace{-6pt}
+
+{\footnotesize Merke, daß Softwarepakete, die MIDI-Dateien in
+Notenschrift konvertieren können, diese alte Übereinkunft
+beibehalten haben. Dann kann eine MIDI-Datei in einigen Vorzeichen
+den Noten widersprechen.
+}
+
+\subsec
+
+Bei Tonartwechsel mit weniger Vorzeichen werden die
+Auflösungszeichen \textbf{vor} den verbleibenden Vorzeichen
+geschrieben:
+
+\generalsignature5
+\twoextr{%
+\notes\qu{cde}\en
+\doublebar
+\notes\sh m\qsk\sh j\qsk\na n\qsk\na k\qsk\na h\qsk\en
+\notes\qu{fg}\en}
+{\notes\qu{cde}\en
+\generalsignature{2}\Changecontext
+\notes\qu{fg}\en}
+\generalsignature0
+
+\subsec
+Bei einem Zeilen- oder Seitenumbruch muß ein solcher Wechsel 
+\textbf{vor} dem Umbruch erscheinen:
+
+\generalsignature2
+\twoextr
+{\Notes\qu{cdef}\en
+\afterruleskip=-4pt\bar}
+{\afterruleskip=8pt
+\Notes\qu{cdef}\en
+\generalsignature{-2}\Changecontext}
+
+\generalsignature0
+\twoextr
+{\notes\na m\hsk\na j\hsk\en
+\doublebar%
+\notes\fl i\hsk\fl l\hsk\en
+\Notes\qu{ghij}\en}
+{\notes\fl i\hsk\fl l\sk\en
+\Notes\qu{ghij}\en}
+
+\newpage
+
+\subsec
+Wenn es notwendig ist, einige Vorzeichen zu versetzen, um
+Kollisionen zu vermeiden, ist das obere rechts zu lassen und das
+untere nach links zu verschieben, sowohl in Akkord- als auch in
+polyphoner Schreibweise:
+
+\twoextr
+{\NOtes\qsk\lsh f\zq{^d}\qu f\en
+\bar%
+\NOtes\qsk\lsh f\zql{^d}\qu f\en}
+{\NOtes\qsk\lsh d\zq d\qu{^f}\en
+\bar%
+\NOtes\qsk\lsh d\zql d\qu{^f}\en}
+
+
+\subsec
+Andere Vorzeichen als die regulären werden in drei Gruppen
+eingeteilt:
+
+\begin{itemize}
+\item Redaktionelle Vorzeichen \textbf{(r)},
+\item Vorsorgliche Vorzeichen \textbf{(v)},
+\item "`Aufmerksamkeits"'-Vorzeichen \textbf{(a)}.
+\end{itemize}
+
+Setze ein redaktionelles Vorzeichen, wenn Du denkst, die Quelle ist
+falsch. Vermerke es durch ein kleines Vorzeichen über oder unter
+der Note. In einem Akkord plaziere es links der Note.
+
+{\footnotesize Der \textit{Generalbaß} verwendet ebenfalls solche
+kleinen Vorzeichen über den Noten, aber ein Mißverständnis ist
+unwahrscheinlich.
+}
+
+Setze ein vorsorgliches Vorzeichen, wenn es aus dem Kontext heraus
+bereits wirkt, Du aber fürchtest, der Musiker übersieht es, z.\,B. am
+Ende eines "`überfüllten"' Taktes. Es ist in Klammern zu setzen.
+
+Ein Aufmerksamkeits-Vorzeichen ist ein theoretisch überflüssiges, das
+die Löschung eines vorhergehenden Vorzeichens durch den Taktstrich
+bestätigt. Üblicherweise ist es normal zu schreiben.
+
+\twoextr
+{\NOtes\qu{^c}\qu d\cfl e\qu e\qu{^c}\en
+\bar%
+\NOtes\cna c\qu c\en}
+{\NOtes\qu{^c}\qu d\ccn q{(r)}\upperfl L\qu e\ccn q{(v)}\csh c\qu c\en
+\bar%
+\NOtes\ccn q{(a)}\qu{=c}\en}
+
+{\footnotesize In manchen modernen, komplizierten Werken ist es
+besser, \textbf{alle} Vorzeichen zu schreiben.
+}
+
+%-------------------------------------------------------------------\\
+\subsec Früher dachten manche Kopisten, daß das Vorzeichen
+selbstverständlich sei, wenn die erste Note in einem Takt dieselbe
+ist wie diejenige -- mit Vorzeichen -- im vorausgegangenen Takt:
+
+\setstaffs12\setclef1{\bass\treble}
+\startrule
+\interstaff{11}
+
+\startextract
+\NOtesp\zhl K\hu a|\zh{^f}\zhl d\qup j\en
+\notesp|\triolet r\ibbu3i{-1}\qb3j\en
+\notes|\qb3{_i}\tqh3h\en
+\NOtesp\pt F\zql G\qu N|\zqp g\zqlp d\qup i\en
+\notes\ibbl0H1\triolet C\zcu N\qb0G|\zq g\zcl d\cu i\en
+\notesp\qb0H\en
+\notes\tqb0{_I}\en
+\bar
+\NOtes\zhl J\qu N|\pt b\zql c\loffset{.25}{\zql e}\qu i\en
+\Notes\qu M|\zhl f\ibu3h{-1}\qbp3h\en
+\notess|\cl c\en
+\notess|\tbbu3\tqh3g\en
+\NOtes\zhl C\qu N|\pt b\zql c\qu g\en
+\zendextract
+
+\newpage
+
+Die Korrektur ist dann offensichtlich und bedarf keines
+redaktionellen Vorzeichens:
+
+\vspace{6pt}
+
+\smallmusicsize
+\twoextr
+{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en
+\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en
+\notes\nextstaff\qb3{_i}\tqh3h\en
+\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en
+\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en
+\notesp\qb0H\en
+\notes\tqb0{_I}\en
+\bar%
+\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\upperfl n\qu i\en
+\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en
+\notess\nextstaff\cl c\en
+\notess\nextstaff\tbbu3\tqh3g\en
+\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en}
+{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en
+\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en
+\notes\nextstaff\qb3{_i}\tqh3h\en
+\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en
+\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en
+\notesp\qb0H\en
+\notes\tqb0{_I}\en
+\bar%
+\nspace%
+\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\qu{_i}\en
+\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en
+\notess\nextstaff\cl c\en
+\notess\nextstaff\tbbu3\tqh3g\en
+\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en}
+
+\vspace{-6pt}
+
+{\footnotesize (Ein vorsorgliches Vorzeichen wäre zwar ein Beleg für deine
+musiktheoretischen Kenntnisse, aber es wäre überflüssig.)}
+%-----------------------------------------------------------------------//
+
+\subsec
+Einige Vorzeichen in alten Ausgaben scheinen entsprechend unserer
+modernen Regeln überflüssig zu sein wie das Cis am Ende dieses
+Taktes:
+
+\nostartrule
+\setstaffs11
+\largemusicsize
+\setclef1{\bass}
+\startextract
+\bar%
+\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
+\NOtes\zq b\qu d\zq{^c}\qu e\en
+\bar%
+\zendextract
+
+\vspace{-6pt}
+
+Deswegen ist die folgende Theorie abzulehnen: \textit{
+Wenn dieses Vorzeichen in meiner Quelle vorhanden ist, muß es dafür
+einen guten Grund geben, hier aber wurde ein falsches Vorzeichen
+geschrieben. Wenn jedoch der Komponist ein Cis am Ende des Taktes
+gewollt hätte, hätte er dort irgendein Zeichen geschrieben. Also laß
+mich den Fehler korrigieren!}
+
+\vspace{6pt}
+
+\twoextr{
+\bar%
+\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
+\NOtes\zq b\qu d\zq{=c}\qu e\en
+\bar%
+}
+{\bar%
+\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
+\NOtes\zq b\qu d\zq c\qu e\en
+\bar%
+}
+
+\vspace{-16pt}
+
+{\footnotesize Wenn diese drei Viertelnoten polyphon geschrieben
+worden wären, wäre die Erklärung offensichtlich. Ich könnte auch
+ähnliche Mißverständnisse über oktavenübergreifende Vorzeichen
+anführen, wie vorher gezeigt.}
+
+\section{Taktnummern}
+
+\subsec
+Pausen am Anfang, die allen Stimmen gemeinsam sind, werden nicht
+geschrieben, besonders wenn es eine Wiederholung von der ersten Note
+an gibt:
+
+\normalmusicsize\nostartrule\setclef1\treble
+\generalmeter{\meterfrac34}
+
+\twoextr
+{\NOtes\hpause\en
+\Notes\qu c\en
+\bar%
+\Notes\qu{def}\en
+\bar%
+\Notes\qu{hi}\en
+\rightrepeat
+\Notes\ql j\en
+\bar
+\Notes\ql k\en}
+{\Notes\qu c\en
+\bar%
+\Notes\qu{def}\en
+\bar%
+\Notes\qu{hi}\en
+\rightrepeat
+\Notes\ql j\en
+\bar
+\Notes\ql k\en}
+
+\subsec
+Die Nummer des allerersten Taktes eines Stückes wird niemals
+geschrieben.  Ist dieser Takt ein Auftakt, ist seine Nummer
+\textbf{Null}.
+
+\normalmusicsize\nostartrule\setclef1\treble
+\generalmeter{\meterfrac34}
+
+\twoextr
+{\Notes\loffset{8}{\zcharnote o{\eightbf 1}}\qu c\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{def}\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en}
+{\Notes\qu c\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 1}}\qu{def}\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{hi}\ql j\en}
+
+\vspace{-9pt}
+
+{\footnotesize Taktnummern am System links oben gibt es in der
+Praxis genug.}
+
+\newpage
+\subsec
+Wenn ein Doppelstrich innerhalb eines Taktes steht, hat er keinen
+Einfluß auf die Taktnumerierung.
+
+\twoextr
+{\Notes\qu{cde}\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en
+\leftrightrepeat%
+\Notes\qu f\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 4}}\qu{hi}\ql j\en
+\bar}
+{\Notes\qu{cde}\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en
+\leftrightrepeat%
+\Notes\qu f\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en
+\bar}
+
+
+\subsec
+Wenn \textit{Erstes-Ende-Zweites-Ende}-Takte vorkommen, wird nur die
+Taktnummer des \textit{ersten Endes} in die Zählung einbezogen. Wenn
+notwendig, bekommen entsprechende Taktnummern Indices \textit{a}
+und \textit{b}.
+
+\vspace{12pt}
+
+\generalmeter{\null}
+\twoextr
+{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en\bar
+\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en
+\Setvolta1\bar
+\Notes\hu e\en
+\bar
+\Notes\loffset{2}{\zcharnote o{\eightbf 33}}\hu f\en
+\setvolta2\endvoltabox\rightrepeat
+\Notes\hu g\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hu h\en
+\bar%
+\Notes\hu i\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 37}}\hl j\en}
+{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en
+\bar
+\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en
+\Setvolta1\bar%
+\Notes\hu e\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 33a}}\hu f\en
+\setvolta2\endvoltabox\rightrepeat
+\Notes\hu g\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 33b}}\hu h\en
+\bar%
+\Notes\hu i\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hl j\en}
+
+{\footnotesize
+Allerdings haben viele schnelle Sätze Wiederholungsbalken
+inmitten eines Taktes (wie das Allegretto der
+\textit{Mondscheinsonate}). Diese Wiederholung könnte genauso gut
+in der \textit{Erstes-Ende-Zweites-Ende}-Form für diesen Takt
+notiert werden. Deshalb müssen beide Schreibweisen die gleiche
+Taktnummer ergeben.
+}
+
+\section{Verschiedenes}
+
+\subsec
+Am Anfang einer einzeiligen Instrumentenstimme sollte kein
+Taktstrich gesetzt werden, anders als in der Orchesterpartitur.
+
+\setclef1\alto
+\startrule\largemusicsize
+\begin{music}\let\extractline\hbox
+\hbox to \hsize{
+\hfill
+\startextract
+\NOtes\qu{abc}\en
+\zendextract\hfill\nostartrule
+\startextract 
+\NOtes\qu{abc}\en
+\zendextract
+\hfill}
+
+\let\extractline\centerline\end{music}
+
+\subsec
+Früher hatten manche Staccato-Noten einen kleinen Keil anstatt des
+modernen Punktes. Wenn \textbf{beide} Symbole in einem Stück
+vorkommen, bezeichnen sie zwei Arten des Staccato. Diese Schreibweise
+ist dann originalgetreu zu kopieren. Andererseits sind nur Punkte zu
+setzen, wenn ausschließlich Keile vorkommen:
+
+\largemusicsize\setstaffs1{1}\setclef1{\treble}\nostartrule
+\twoextr{
+\Notes\ibu0d1\lppz c\qb0c\lppz d\qb0d\lppz e\qb0e\lppz f\tqh0f\en}
+{\Notes\ibu0d1\lpz c\qb0c\lpz d\qb0d\lpz e\qb0e\lpz f\tqh0f\en}
+
+\subsec
+Solche Zeichen stehen in vertikaler Ausrichtung stets über den
+Notenköpfen statt den Notenhälsen, sogar wenn Polyphonie
+eine halsseitige Stellung verlangt:
+
+\twoextr
+{\NOtes\zhl c\hroff{\upz l}\qu e\hroff{\uppz k}\qu f\en
+\Notes\zql b\ibu0g0\hroff{\upz m}\qb0g\hroff{\upz m}\tqh0g\en}
+{\NOtes\zhl c\upz l\qu e\uppz k\qu f\en
+\Notes\zql b\ibu0g0\upz m\qb0g\upz m\tqh0g\en}
+
+\subsec
+Vorschläge werden \textbf{nach} dem Taktstrich geschrieben,
+ungeachtet ihrer rhythmischen Interpretation:
+
+\twoextr
+{\NOtes\qu N\en
+\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en
+\bar
+\NOtes\hu g\en}
+{\NOtes\qu N\en
+\bar
+\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en
+\NOtes\hu g\en}
+
+\newpage
+
+\subsec
+Die Tempobezeichnung sollte in Antiqua geschrieben werden, andere
+Zeichen in Kursiv:
+
+\vspace{6pt}
+
+\setclef1\treble
+\twoextr
+{\NOtes\zcn o{\medtype\it allegro}\qu{de}\zcn N{Cres}\qu{fg}\en}
+{\NOtes\zcn o{\medtype Allegro}\qu{de}\zcn N{\medtype\it cresc.}\qu{fg}\en}
+
+\vspace{-6pt}
+
+{\footnotesize Merke auch die Großschreibung und den Abkürzungspunkt.}
+
+\subsec
+Früher schrieb man \textbf{loco} (lat. \textit{zum Ort}), um
+das Ende eines Oktavenzeichens (\textit{8}\raisebox{2mm}{- - - - -})
+zu kennzeichnen. Jetzt sind solche Zeichen üblich geworden, so daß
+\textbf{loco} überflüssig ist.
+
+\section{Einige moralische Ratschläge zum Notensatz}
+
+\subsec
+Wenn Du Dich für eine bestimmte Schreibweise entschieden hast, mache
+damit im ganzen Stück so weiter, anstatt nach Deiner Laune zwischen
+zwei Praktiken zu wechseln, selbst wenn wir gesehen haben, daß die
+erste fragwürdig ist.
+
+\subsec
+Fehler bei einer Terz sind aus offensichtlichen Gründen der
+optischen Wahrnehmung viel häufiger als bei einer Sekunde. Sei
+tolerant mit den Autoren Deiner Quelle.
+
+\subsec
+Was machst Du, wenn Du denkst, Deine Noten sind fertig? Klar,
+Du stürzt an Dein Instrument und spielst das Stück aus diesen
+Noten.
+
+Aber wenn Dir das Stück geläufig ist, wirst Du, überwältigt von
+Deiner Begeisterung, sehr wahrscheinlich ziemlich viele Fehler
+übersehen. Laß Dein Instrument beiseite, lege Deine Noten und die
+Vorlage auf den Tisch und nimm einen Stift. Vergleiche Takt für Takt
+und -- wenn es mehrere Zeilen gibt -- Stimme für Stimme. Schließe ab
+mit den Sonderzeichen (Tempo, Interpretation, Pianopedal usw.)
+jeweils für mehrere Stimmen.
+
+Doch das ist noch nicht genug. Tatsächlich hat ein guter Musiker wie
+Du die Fähigkeit, unwillkürlich einige Fehler bei Spielen zu korrigieren
+(z.\,B. Vorzeichen). Der vorhergehende Test wird solche Fehler nicht
+aufdecken, weil sie in beiden Versionen die gleichen sind.
+
+Wenn Deine Notensatzsoftware Dein Stück ins MIDI-Format konvertieren
+kann, wird die dabei erhaltene Datei hilfreich sein. Anderenfalls wirst
+Du Deine Noten einem weniger erfahrenen Musiker geben, der noch nicht
+gegenüber einer solchen automatischen Korrektur anfällig ist.
+
+\subsec
+\textbf{Merke Dir: Noten richtig zu setzen, ist ebenso schwierig wie
+ein Instrument richtig zu spielen.}
+
+\end{document}
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottigra.pdf b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottigra.pdf
new file mode 100644
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+++ b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottigra.pdf
diff --git a/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottigra.tex b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottigra.tex
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+++ b/Master/texmf-dist/doc/generic/musixtex/notationMistakes/sottigra.tex
@@ -0,0 +1,1086 @@
+\documentclass[12pt,twoside]{article}
+\usepackage{a4}
+\usepackage{musixtex}
+\usepackage[francais]{babel}
+\usepackage[T1]{fontenc}
+\usepackage{randtext}
+\input coulhack
+\raggedbottom% supprime messages undefull vbox ...
+\setlength{\textwidth}{18cm} \setlength{\textheight}{26cm}
+\setlength{\oddsidemargin}{0pt}\setlength{\evensidemargin}{0pt}
+\setlength{\parindent}{0cm}\setlength{\parskip}{.5cm}
+\setlength{\marginparwidth}{1in} \setlength{\marginparsep}{0pt}
+\setlength{\hoffset}{-1cm}
+\setlength{\voffset}{-2.5cm}
+%\setlength{\headsep}{2cm}
+\setlength{\itemsep}{0cm}
+
+\newcommand{\milieu}[1]{\begin{center}{#1}\end{center}}
+\newcommand{\pruneau}{$\bullet$~}
+\newcommand{\subsec}{\vspace{-1cm}\subsection{~}\vspace{-.5cm}}
+\def\notess{\vnotes2.4\elemskip}
+\def\notesss{\vnotes1.7\elemskip}
+\def\notesm{\vnotes1.5\elemskip}
+\def\appog{\multnoteskip\tinyvalue\tinynotesize}
+\def\monte#1{\raise#1\Interligne}
+\newcommand{\zcn}[2]{\zcharnote{#1}{#2}}
+\newcommand{\lcn}[2]{\lcharnote{#1}{#2}}
+\newcommand{\ccn}[2]{\ccharnote{#1}{#2}}
+\newcommand{\nxst}{\nextstaff}
+\def\hhqsk{\off{.7\elemskip}}
+
+\newcommand{\twoextr}[2]
+{\let\extractline\hbox
+\hbox to \hsize{
+\hfill
+\startextract #1%
+\zendextract\hfill
+\startextract #2%
+\zendextract
+\hfill}
+
+\let\extractline\centerline}
+
+\accshift=0mm
+\geometricskipscale
+\nostartrule
+\nobarmessages\nobarnumbers
+\let\extractline\centerline
+
+\begin{document}
+\milieu{\ppfftwentynine Sottisier de la gravure de partoches}
+\milieu{\medtype ou}
+%\milieu{\ppfftwentyfour Essai sur la mani\`ere correcte de noter la musique}
+\milieu{\large\textit{\textbf{Essai sur la mani\`ere correcte de noter la
+musique}}}
+\centerline{\Huge Jean-Pierre Coulon}
+%\centerline{\tt
+%\kern3.5em{obs-nice}\kern-4.5em{@}\kern-3.5em{coulon}\kern4.5em{.fr}}
+\centerline{\tt \randomize{coulon@obs-nice.fr}}
+\milieu{\today}
+\milieu{\large \`a l'usage des :}
+\begin{itemize}
+\item utilisateurs de logiciels de gravure musicale,
+\item concepteurs de ces logiciels,
+\item graveurs de musique par des m\'ethodes traditionnelles,
+\item collectionneurs de partitions de musique,
+\item amateurs de \textit{s\'emantique}, \textit{s\'emiologie},
+\textit{philologie}, etc.
+\end{itemize}
+
+{\footnotesize NB : ces exemples n'ont aucune pr\'etention d'int\'er\^et musical.
+Ne les d\'echiffrez pas avec votre instrument :-)\\
+Afin de m'en tenir \`a l'essentiel, et faute d'expertise suffisante,
+je n'aborderai aucun de ces sujets connexes, passionnants :
+
+\pruneau solf\`ege, harmonie, \'ecriture, etc.\\
+\pruneau essai comparatif de diff\'erents logiciels de gravure musicale,\\
+\pruneau interpr\'etation des symboles musicaux mentionn\'es selon les \'epoques,\\
+\pruneau droit d'auteur et droit de copie,\\
+\pruneau notation de percussions, et tablatures
+d'intruments \`a cordes pinc\'ees,\\
+\pruneau notation de la musique tr\`es ancienne, et de la musique d'avant-garde.
+
+}
+
+
+\section{G\'en\'eralit\'es}
+\subsec
+Lorsqu'il existe des notes simultan\'ees sur une m\^eme port\'ee, il y a
+deux notations possibles : la notation \textit{en accords} et la
+notation \textit{polyphonique} :
+
+\twoextr
+{\NOtes\qu c\zq c\qu e\en
+\Notes\ibu0e2\zq c\qb0e\zq d\tqh0f\en}
+{\NOtes\zql c\qp\zql c\qu e\en
+\Notes\ibl0c2\ibu1e2\zqb0c\qb1e\tbl0\zqb0d\tqh1f\en}
+
+Bien entendu, si les parties ont des rythmes diff\'erents, la notation
+polyphonique est la seule possible. 
+
+\eject
+\milieu{\large\textit{\textbf{\`a partir d'ici :}}}
+
+{\ppfftwentyfour A gauche, ce qui n'est pas correct. \hfill
+A droite, ce qui l'est. }
+
+\subsec
+Faire tout son possible pour placer les \textit{tournes} \`a des endroits
+acceptables pour le musicien, faute de quoi il sera oblig\'e, soit de
+recourir \`a un << tourneur de pages >>, soit de faire de laborieux montages
+de morceaux de photocopies. Compte tenu du fait que les partitions
+des temps modernes sont plus petites qu'autrefois, ceci impose un
+effort suppl\'ementaire de la part du graveur.
+
+{\footnotesize La zone effectivement imprim\'ee, c'est-\`a-dire sans tenir
+compte des marges, de la plupart des
+partitions anciennes, correspondait presque au
+format habituel des partitions de notre temps, marges comprises.
+
+}
+
+Un solution de facilit\'e consiste \`a utiliser une petite taille de gravure.
+Il vaut mieux utiliser une gravure de taille sup\'erieure, au prix
+d'un effort plus important pour g\'erer les espacements rationnellement.
+Ces deux extraits prennent le m\^eme espace horizontal, mais celui de
+droite est plus lisible :
+
+\bigaccid
+\begin{music}\let\extractline\hbox
+\hbox to \hsize{
+\hfill
+\smallmusicsize
+\setclef1\treble
+\startextract%
+\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en
+\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en
+\bar%
+\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en
+\zendextract\hfill
+\normalmusicsize
+\startextract%
+\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en
+\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en
+\bar%
+\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en
+\zendextract
+\hfill}
+\let\extractline\centerline\end{music}
+
+De plus, il faut parfois varier \'egalement la distance entre les
+port\'ees d'un m\^eme syst\`eme, afin de ne pas gaspiller d'espace vertical
+(voir mon \'edition de la Sonate op.35-3 de Dussek).
+
+\subsec
+Choisir des espacements horizontaux croissants en fonction des valeurs
+de notes, mais cependant pas proportionnels \`a ces valeurs. Personnellement,
+je suis satisfait avec le rapport \hbox{$\sqrt{2}\approx 1.414$}
+correspondant aux valeurs de notes de rapport 2, mais ce n'est pas une
+r\`egle absolue, surtout s'il y a des triples ou quadruples croches, qui
+peuvent alors \^etre trop serr\'ees.
+Ne pas changer d'espacement au cours d'une ligne sans
+raison valable.
+
+\nostartrule
+\setclef1\treble
+\hsize82.1mm
+\startpiece
+\NOTEs\hu c\sk\en
+\NOTEs\qu c\en
+\NOtes\cu c\en
+\notes\ibbu0c0\qb0c\en
+\notes\qb0{cc}\tqh0c\en
+\setemptybar
+\endpiece
+
+\hsize18cm
+\twoextr
+{\notes\hu c\en
+\NOtes\qu c\en
+\NOTes\cu c\en
+\notes\ibbu0c0\qb0c\en
+\Notes\qb0{cc}\tqh0c\en}
+{\NOTes\hu c\en
+\NOtes\qu c\en
+\Notes\cu c\en
+\notes\ibbu0c0\qb0{cc}\en
+\notes\qb0c\tqh0c\en}
+
+{\footnotesize S'il y a plusieurs port\'ees par syst\`eme, c'est la
+partie comportant les notes les plus \textbf{br\`eves}
+qui impose l'espacement de l'ensemble. S'il y a des paroles, elles
+peuvent imposer un espacement encore plus grand.
+
+}
+
+\subsec
+Voici une raison valable de changer d'espacement pour les notes
+serr\'ees : \'eviter les collisions :
+
+\twoextr
+{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en}
+{\notesss\ccu c\hqsk\ibbl0k2\qb0j\qb0{klm}\hqsk\tqb0{^n}\en}
+
+\newpage
+
+\subsec
+Si aucune autre partie simultan\'ee ne l'interdit, il faut aussi
+tenir compte des queues de notes pour les espacements :
+
+\largemusicsize
+\twoextr
+{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en}
+{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en}
+
+\subsec
+Ne jamais compromettre l'aplomb entre parties sous pr\'etexte de loger
+les alt\'erations :
+
+\setstaffs1{2}\setclef1\bass\startrule\bigaccid
+\twoextr{
+\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en
+\bar%
+\NOtes\ql M\nxst\hhqsk\qu{^h}\en}
+{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en
+\bar%
+\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en}
+\nostartrule
+
+
+\subsec
+Pour noter un intervalle de seconde dans un accord, on met la note
+inf\'erieure \`a gauche. Par contre, dans une \'ecriture polyphonique,
+elle se met \`a droite.
+
+\largemusicsize\setstaffs1{1}\setclef1\treble
+\twoextr
+{\NOtes\rq b\zq{ce}\qu g\en
+\NOtes\rq b\zq{^ce}\qu g\en
+\NOtes\rq c\rq e\rq g\qu b\en
+\doublebar%
+\NOtes\zql b\roffset{.9}{\qu c}\en
+\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en
+\notes\tbl1\zqb1a\qb0c\tqh0d\en}
+{\NOtes\rq c\zq{be}\qu g\en
+\NOtes\sh c\rq c\zq{be}\qu g\en
+\NOtes\rq c\zq{be}\qu g\en
+\doublebar%
+\NOtes\zqu c\roffset{.9}{\ql b}\en
+\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en
+\notes\tbl1\zqb1a\qb0c\tqh0d\en}
+
+{\footnotesize
+Je fais l'impasse sur les cas de \textit{croisements de voix}.
+Ne pas se laisser influencer par une alt\'eration concernant
+la note sup\'erieure. 
+Ne pas perturber les notes \'etrang\`eres
+\`a cette seconde.
+
+}
+
+\subsec
+Pour les \'ecritures polyphoniques, on d\'ecale les notes juste ce qu'il
+faut pour pouvoir les distinguer, en tout cas moins que pour un intervalle
+de seconde :
+
+\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble
+\twoextr
+{\NOtes\zql c\roff{\zqu e}\qu g\en
+\NOtes\zql c\zqu e\qu g\en
+\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en
+\NOtes\zqlp c\roff{\zqup f}\qup h\en}
+{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en
+\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en
+\NOtes\zql c\roff{\zqu f}\qu g\en
+\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en}
+
+{\footnotesize Noter le cas des notes point\'ees.}
+
+\subsec
+Il faut parfois adapter la place du point pour \'eviter les ambigu\"it\'es :
+
+\twoextr
+{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en
+\notes\tbbu0\tqh0h\en
+\NOtes\zqlp g\qu i\en
+\Notes\qu j\cl f\en
+\Notes\zql e\qu k\en}
+{\Notesp\loffset{.3}{\ibu0h0\zqb0h}%
+\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en
+%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en
+\notes\tbbu0\tqh0h\en
+\NOtes\pt f\zql g\qu i\en
+\Notes\qu j\cl f\en
+\Notes\zql e\qu k\en}
+
+
+\newpage
+
+\subsec
+Dans une notation polyphonique \`a deux parties, on met les queues
+des notes de la partie sup\'erieure vers le haut, m\^eme si l'autre partie
+comporte un silence :
+
+\normalmusicsize\setclef1{\bass}
+\twoextr
+{\NOTesp\zw H\hup a\en
+\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en}
+{\NOTesp\zw H\hup a\en
+\Notes\qu N\liftpause{-2}\qu{MKLM}\en}
+
+{\footnotesize(et inversement pour la partie du bas.)}
+
+
+\subsec
+Certains regroupements de notes ou de silences peuvent \^etre
+\textit{solf\'egiquement corrects}, mais rendent le d\'echiffrage difficile :
+
+\normalmusicsize\setclef1\treble
+\generalmeter{\meterfrac44}
+\twoextr
+{\notes\cu c\en
+\bar%
+\notes\cu d\en
+\Notes\qp\en
+\notes\ibu0f2\qb0{efgh}\tqh0i\en
+\bar
+\znotes\en}
+%\notes\cl j\en}
+{\notes\cu c\en
+\bar%
+\notes\cu d\ds\ds\cu e\en
+\notes\ibu0g2\qb0{fgh}\tqh0i\en
+\bar
+\znotes\en}
+
+
+Autrement dit, ne pas faire jouer le r\^ole de syncopes \`a des silences.
+Dans une mesure ternaire, s\'eparer un silence qui concerne les deuxi\`eme
+et troisi\`eme unit\'es de valeur.
+Pour les barres des croches, on peut \^etre un peu plus souple.
+
+{\footnotesize Certains objecteront qu'en musique ancienne, la notation
+des croches en crochets ou en barre exprime un degr\'e d'articulation
+souhait\'e. Mais la r\`egle ci-dessus recoupe presque toujours une
+articulation << raisonnable >>.
+
+}
+
+
+\section{Croches en barres}
+\subsec
+Il faut donner aux << barres >> ou << ligatures >>
+des croches une pente appropri\'ee. Autrefois,
+on \'evitait de trop faibles pentes, parce que l'encre d'imprimerie
+avait une f\^acheuse tendance \`a combler un angle trop petit entre ces
+barres et les lignes de la port\'ee. Pour une gamme ou un arp\`ege, cette
+pente ne peut pas \^etre sup\'erieure \`a celle form\'ee par les notes, ni
+horizontale. Il faut t\^acher de trouver un compromis. Voici un exemple,
+avec sa r\'eponse, par deux illustres \'editeurs :
+
+\generalmeter{\empty}
+\setstaffs1{1}\setclef1\treble
+\twoextr{
+\notes\ibbu0a6\qb0{cdefg}\tqh0h\en
+\notes\ibbu0g0\qb0{cdefg}\tqh0h\en}
+{\notes\zcn q{Peters \smalltype fin XIX$^e$}\ibbu0a4\qb0{cdefg}\tqh0h\en
+\notes\zcn q{Henle \smalltype fin XX$^e$}\ibbu0e1\qb0{cdefg}\tqh0h\en
+\notes\zcn q{conseill\'e}\ibbu0d2\qb0{cdefg}\tqh0h\en}
+
+\footnotesize{Si vous voulez imiter certains \'editeurs fran\c{c}ais :}
+
+\startextract%
+\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en
+\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en
+\zendextract
+
+\newpage
+
+\subsec
+Le placement des barres doit \^etre adapt\'e au contexte. Ce
+placement est diff\'erent selon qu'on a un groupe de croches isol\'ees ou
+un passage de croches semblables :
+
+\startextract
+\NOTes\hu c\hu d\en
+\bar
+\NOtes\qu f\en
+\notes\ibbu0f4\qb0{ceg}\tqh0j\en
+\NOtes\qu{cd}\en
+\bar%
+\NOtes\qp\en
+\NOTes\hu f\en
+\zendextract
+
+\twoextr
+{\notes\ibbu0f4\qb0{ceg}\tqh0j\en
+\notes\ibbu0f4\qb0{ceg}\tqh0j\en
+\notes\ibbu0f4\qb0{ceg}\tqh0j\en
+\notes\ibbu0f4\qb0{ceg}\tqh0j\en}
+{\notes\ibbu0h1\qb0{ceg}\tqh0j\en
+\notes\ibbu0h1\qb0{ceg}\tqh0j\en
+\notes\ibbu0h1\qb0{ceg}\tqh0j\en
+\notes\ibbu0h1\qb0{ceg}\tqh0j\en}
+
+
+
+
+\subsec
+\'Eviter les barres de croches en forme de Z, qu'on trouve dans les
+\'editions d'autrefois :
+
+\normalmusicsize
+\setclef1\bass
+\twoextr
+{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en
+\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en}
+{\Notes\ibl0H2\qb0G\en
+\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en
+\doublebar%
+\Notes\cu G\en
+\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en}
+
+
+\subsec
+On ne fait jamais interf\'erer les barres de croches avec les lignes
+suppl\'ementaires :
+
+\setclef1\treble
+\twoextr
+{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en}
+{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en}
+
+\subsec
+Ne pas affecter le placement des barres pour placer les silences
+\`a leur hauteur normale. Au contraire, d\'eplacer les silences :
+
+\twoextr
+{\Notes\ibl0k1\qb0n\ds\tqb0o\en
+\Notes\ibl0l0\qb0o\ds\tqb0o\en}
+{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en
+\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en}
+
+
+
+\section{Tenues et liaisons}
+\subsec
+Quand on veut exprimer des notes \textbf{li\'ees}, le signe de liaison
+d\'emarre et atterrit au dessus du \textbf{centre} des notes. Par contre,
+pour exprimer des notes \textbf{tenues}, ce m\^eme signe d\'emarre et
+atterrit \`a la verticale de la limite de la t\^ete de la note, et pas
+plus haut que celle-ci. On d\'eroge
+\`a la premi\`ere r\`egle pour \'eviter des collisions avec les queues des
+notes :
+
+
+\largemusicsize
+\twoextr
+{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en
+\bar%
+\NOtesp\tslur0f\roff{\itied0f}\qup f\en
+\NOtes\ttie0\qu f\en}
+{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en
+\bar%
+\NOtesp\ttie0\itied0f\qup f\en
+\NOtes\ttie0\qu f\en}
+{\footnotesize A noter que la tenue en devient plus discr\`ete.}
+
+\subsec
+Ne pas faire quand m\^eme trop d' << acrobaties >> pour suivre ces r\`egles
+\`a la lettre :
+
+\twoextr
+{\NOtes\islurd0c\qu c\tsslur0j\ql j\en
+\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en}
+{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en
+\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en}
+
+
+\subsec
+A certaines \'epoques, on estimait qu'une seule tenue concernait
+\textbf{toutes} les notes d'un m\^eme accord. Les cas particuliers sont
+devenus si nombreux, qu'il vaut mieux noter explicitement toutes
+les tenues :
+
+\largemusicsize
+\twoextr
+{\NOtes\itieu0g\zq{ce}\qu g\en
+\bar%
+\NOtes\ttie0\zq{ce}\qu g\en}
+{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en
+\bar%
+\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en}
+
+\subsec
+Cohabitation de liaisons et tenues avec des notes piqu\'ees et des
+ornements :
+
+\twoextr
+{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en
+\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en}
+{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en
+\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en}
+
+\subsec
+Cohabitation entre liaisons et tenues :
+
+\twoextr
+{\NOtes\itied0d\qu d\en
+\bar
+\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en
+\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en
+\bar
+\NOtes\ttie0\qu f\en}
+{\NOtes\islurd1d\itied0d\qu d\en
+\bar
+\NOtes\ttie0\qu d\tslur1c\qu c\en
+\NOtes\islurd1e\qu e\itied0f\qu f\en
+\bar
+\NOtes\tslur1f\ttie0\qu f\en}
+
+{\footnotesize Les instrumentistes \`a archet trouveront ceci \'evident.}
+
+\subsec
+Lorsqu'on veut ajouter une liaison en temps qu'\'editeur, le pointill\'e
+est la meilleure mani\`ere de signaler cette intervention :
+
+\setclef1\treble
+\twoextr
+{\NOtes\islurd0c\qu c\tslur0d\qu d\en
+\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e%
+\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en
+\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en}
+{\NOtes\islurd0c\qu c\tslur0d\qu d\en
+\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en
+\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en}
+
+
+
+\section{Alt\'erations}
+\subsec
+Quand une note tenue alt\'er\'ee s'\'etend sur plusieurs mesures, on
+ne r\'ep\`ete pas les alt\'erations aux mesures suivantes, sauf en cas de
+saut de ligne ou de page.
+
+\twoextr
+{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en
+\bar%
+\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en}
+{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en
+\bar%
+\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en}
+
+
+\subsec
+Quand une alt\'eration concerne de \textit{petites notes}, et qu'on
+estime qu'elle doit s'appliquer aux notes normales qui suivent, il
+faut r\'ep\'eter cette alt\'eration.
+
+\twoextr
+{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en
+\NOTes\wh c\en}
+{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en
+\NOTes\qsk\wh{^c}\en}
+
+\newpage
+
+\subsec
+Quand une note affect\'ee d'un simple di\`ese succ\`ede \`a la m\^eme note
+affect\'ee d'un double di\`ese dans la m\^eme mesure, on ne met plus de b\'ecarre
+avant le simple di\`ese,
+\`a moins de vouloir imiter le style de gravure du 19$^e$ si\`ecle. De m\^eme pour les
+b\'emols :
+
+\twoextr
+{\NOtes\qu{>c}\lna c\qu{^c}\qu{<d}\lna d\qu{_d}\en}
+{\NOtes\qu{>c}\qu{^c}\qu{<d}\qu{_d}\en}
+
+\subsec
+Dans une \'ecriture polyphonique, les alt\'erations de l'une des parties
+ne sont pas cens\'ees concerner les autres parties. Il faut donc noter
+explicitement ces alt\'erations si on estime qu'elles s'appliquent :
+
+\normalmusicsize
+\setstaffs1{1}\setclef1\treble
+\twoextr
+{\Notes\zql d\qu f\en
+\bar%
+\NOtes\zql c\qu{_e}\zql d\qu f\zql e\qu g\zql f\qu h\en
+\bar\
+\znotes\en}
+{\Notes\zql d\qu f\en
+\bar%
+\NOtes\zql c\qu{_e}\zql d\qu f\zql{_e}\qu g\zql f\qu h\en
+\bar
+\znotes\en}
+
+{\footnotesize Rappelez-vous que vers 1600, on aurait not\'e une Fugue
+\`a quatre voix pour orgue ou pour clavecin sur \textbf{quatre} port\'ees.
+Les alt\'erations \'etaient donc propres \`a chaque port\'ee.
+
+}
+
+\subsec
+Autrefois, une alt\'eration concernait \'egalement les notes correspondantes
+aux autres octaves :
+
+\startextract
+\Notes\ibu0e4\qb0{^ceg}\tqh0j\en
+\NOtes\zq{_b}\qu i\en
+\zendextract
+
+
+De nos jours, il faut indiquer ces alt\'erations
+explicitement :
+
+\twoextr
+{\Notes\ibu0e4\qb0{^ceg}\uppersh c\tqh0j\en
+\NOtes\zq{_b}\upperfl i\qu i\en}
+{\Notes\ibu0e4\qb0{^ceg}\tqh0{^j}\en
+\NOtes\zq{_b}\qu{_i}\en}
+
+{\footnotesize A noter que certains logiciels capables de conversion entre
+fichier MIDI et partition ont conserv\'e cette ancienne convention.
+Un fichier MIDI peut donc  contredire la partition dont il
+est la traduction pour de telles alt\'erations.
+
+}
+
+
+\subsec
+Quand on change l'armure  pour diminuer le nombre d'alt\'erations,
+on nomme les b\'ecarres \textbf{avant} les alt\'erations restantes :
+
+
+\generalsignature5
+\twoextr{%
+\notes\qu{cde}\en
+\doublebar
+\notes\sh m\qsk\sh j\qsk\na n\qsk\na k\qsk\na h\qsk\en
+\notes\qu{fg}\en}
+{\notes\qu{cde}\en
+\generalsignature{2}\Changecontext
+\notes\qu{fg}\en}
+\generalsignature0
+
+\subsec
+Quand un tel changement survient au moment d'un saut de ligne ou de
+page, on l'indique \textbf{avant} ce saut :
+
+\generalsignature2
+\twoextr
+{\Notes\qu{cdef}\en
+\afterruleskip=0pt\bar}
+{\afterruleskip=8pt
+\Notes\qu{cdef}\en
+\generalsignature{-2}\Changecontext}
+
+\generalsignature0
+\twoextr
+{\notes\na m\hsk\na j\hsk\en
+\doublebar%
+\notes\fl i\hsk\fl l\hsk\en
+\Notes\qu{ghij}\en}
+{\notes\fl i\hsk\fl l\sk\en
+\Notes\qu{ghij}\en}
+
+\subsec                                 
+Quand il est n\'ecessaire de d\'ecaler des alt\'erations pour \'eviter les
+collisions, on place celle du haut \`a la position normale, puis on d\'ecale
+vers la gauche celle du bas, que l'\'ecriture soit polyphonique, ou en
+accords :
+
+\twoextr
+{\NOtes\qsk\lsh f\zq{^d}\qu f\en
+\bar%
+\NOtes\qsk\lsh f\zql{^d}\qu f\en}
+{\NOtes\qsk\lsh d\zq d\qu{^f}\en
+\bar%
+\NOtes\qsk\lsh d\zql d\qu{^f}\en}
+
+\subsec
+Les alt\'erations, autres que celles qui sont bien d\'efinies, se divisent en
+trois cat\'egories :
+
+\begin{itemize}
+\item les alt\'erations \'editoriales \textbf(e),
+\item les alt\'erations de pr\'ecaution \textbf(p),
+\item les alt\'erations << cadeau de la maison >> \textbf(c).
+\end{itemize}
+
+On met une alt\'eration \'editoriale quand on estime que la source
+avec laquelle on travaille est erron\'ee. On la note par une alt\'eration
+de petite taille, plac\'ee au dessus de la note si la place le permet,
+sinon au dessous. Si la note
+est au milieu d'un accord, on la place \`a gauche de la note.
+
+{\footnotesize Le chiffrage de la \textit{basse continue} fait aussi
+usage de petites alt\'erations au dessus des notes. Mais en g\'en\'eral, la
+confusion est peu vraisemblable.
+
+}
+
+On met une alt\'eration de pr\'ecaution quand les r\`egles du solf\`ege voudraient
+qu'elle s'applique, mais on craint qu'elle n'\'echappe au musicien, comme
+par exemple, \`a la fin d'une mesure tr\`es riche en notes. Elle se note
+entre parenth\`eses.
+
+Une alt\'eration << cadeau de la maison >> est une alt\'eration superflue
+au regard du solf\`ege, et qui confirme l'effet de la barre de
+mesure sur les alt\'erations pr\'ec\'edentes. L'habitude est de la noter
+normalement :
+
+\twoextr
+{\NOtes\qu{^c}\qu d\cfl e\qu e\qu{^c}\en
+\bar%
+\NOtes\cna c\qu c\en}
+{\NOtes\qu{^c}\qu d\ccn q{(e)}\upperfl L\qu e\ccn q{(p)}\csh c\qu c\en
+\bar%
+\NOtes\ccn q{(c)}\qu{=c}\en}
+
+
+{\footnotesize Pour certaines \oe uvres contemporaines complexes, il
+est pr\'ef\'erable de noter \textbf{toutes} les alt\'erations.}
+
+\subsec Autrefois, pour certains copistes, il allait de soi que quand la
+premi\`ere note d'une mesure est la m\^eme que celle alt\'er\'ee de la
+mesure pr\'ec\'edente, l'alt\'eration continue \`a s'appliquer :
+
+\setstaffs12\setclef1{\bass\treble}
+\startrule
+\interstaff{11}
+
+\startextract
+\NOtesp\zhl K\hu a|\zh{^f}\zhl d\qup j\en
+\notesp|\triolet r\ibbu3i{-1}\qb3j\en
+\notes|\qb3{_i}\tqh3h\en
+\NOtesp\pt F\zql G\qu N|\zqp g\zqlp d\qup i\en
+\notes\ibbl0H1\triolet C\zcu N\qb0G|\zq g\zcl d\cu i\en
+\notesp\qb0H\en
+\notes\tqb0{_I}\en
+\bar
+\NOtes\zhl J\qu N|\pt b\zql c\loffset{.25}{\zql e}\qu i\en
+\Notes\qu M|\zhl f\ibu3h{-1}\qbp3h\en
+\notes|\cl c\en
+\notes|\tbbu3\tqh3g\en
+\NOtes\zhl C\qu N|\pt b\zql c\qu g\en
+\zendextract
+
+La correction est donc \'evidente, et ne justifie donc pas une alt\'eration
+\'editoriale :
+
+\smallmusicsize
+\twoextr
+{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en
+\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en
+\notes\nextstaff\qb3{_i}\tqh3h\en
+\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en
+\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en
+\notesp\qb0H\en
+\notes\tqb0{_I}\en
+\bar%
+\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\upperfl n\qu i\en
+\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en
+\notes\nextstaff\cl c\en
+\notes\nextstaff\tbbu3\tqh3g\en
+\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en}
+{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en
+\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en
+\notes\nextstaff\qb3{_i}\tqh3h\en
+\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en
+\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en
+\notesp\qb0H\en
+\notes\tqb0{_I}\en
+\bar%
+\nspace%
+\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\qu{_i}\en
+\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en
+\notes\nextstaff\cl c\en
+\notes\nextstaff\tbbu3\tqh3g\en
+\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en}
+
+{\footnotesize (\`a plus forte raison une alt\`eration de
+pr\'ecaution. Vos comp\'etances de musicologue sont d\'ej\`a
+reconnues \`a ce stade !)}
+
+\subsec
+Dans une \'edition ancienne, certaines alt\'erations peuvent sembler superflues
+selon nos r\`egles modernes, comme le \textit{do} di\`ese \`a la fin de
+cette mesure :
+
+\nostartrule
+\setstaffs11
+\largemusicsize
+\setclef1{\bass}
+\startextract
+\bar%
+\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
+\NOtes\zq b\qu d\zq{^c}\qu e\en
+\bar%
+\zendextract
+
+ Le raisonnement suivant est donc \`a proscrire :
+<<\textit{si cette alt\'eration est pr\'esente, c'est qu'il
+y a une bonne raison, mais il se trouve que cette alt\'eration est erron\'ee.
+En effet, si le compositeur avait voulu un} do  \textit{di\`ese
+\`a la fin de la mesure, il n'aurait rien mis.
+Je me charge donc de faire la correction qui s'impose.}>>
+
+
+\twoextr{
+\bar%
+\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
+\NOtes\zq b\qu d\zq{=c}\qu e\en
+\bar%
+}
+{\bar%
+\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en
+\NOtes\zq b\qu d\zq c\qu e\en
+\bar%
+}
+
+{\footnotesize Si ces noires en tierces avaient \'et\'e not\'ees de mani\`ere
+polyphonique, tout s'expliquerait. Je pourrais citer d'autres malentendus
+semblables, \`a propos du cas des alt\'erations \`a l'octave,
+que nous avons vu plus haut.
+
+}
+
+
+\section{Num\'eros de mesures}
+
+\subsec
+On ne note jamais les silences initiaux communs \`a toutes les
+parties, surtout s'il y a une reprise partant de la premi\`ere note :
+
+\normalmusicsize\nostartrule\setclef1\treble
+\generalmeter{\meterfrac34}
+
+\twoextr
+{\NOtes\hpause\en
+\Notes\qu c\en
+\bar%
+\Notes\qu{def}\en
+\bar%
+\Notes\qu{hi}\en
+\rightrepeat
+\Notes\ql j\en
+\bar
+\Notes\ql k\en}
+{\Notes\qu c\en
+\bar%
+\Notes\qu{def}\en
+\bar%
+\Notes\qu{hi}\en
+\rightrepeat
+\Notes\ql j\en
+\bar
+\Notes\ql k\en}
+
+
+\subsec
+On n'indique jamais le num\'ero de la toute premi\`ere mesure
+d'un morceau. Si cette premi\`ere mesure est en \textit{lev\'ee}, le
+num\'ero de cette mesure est \textbf{z\'ero}.
+
+\normalmusicsize\nostartrule\setclef1\treble
+\generalmeter{\meterfrac34}
+
+\twoextr
+{\Notes\loffset{8}{\zcharnote o{\eightbf 1}}\qu c\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{def}\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en}
+{\Notes\qu c\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 1}}\qu{def}\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{hi}\ql j\en}
+
+{\footnotesize  En pratique, des num\'eros pour la premi\`ere mesure
+de chaque syst\`eme sont suffisants.
+
+}
+
+\subsec
+Quand il y a une double barre de reprise au cours d'une mesure, cette double barre
+ne compte pas pour la num\'erotation des mesures.
+
+\twoextr
+{\Notes\qu{cde}\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en
+\leftrightrepeat%
+\Notes\qu f\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 4}}\qu{hi}\ql j\en
+\bar}
+{\Notes\qu{cde}\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en
+\leftrightrepeat%
+\Notes\qu f\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en
+\bar}
+
+
+\subsec
+Quand il y a des mesures \textit{premi\`ere fois-deuxi\`eme fois}, seuls les
+num\'eros de mesure de la \textit{premi\`ere fois} comptent. Si n\'ecessaire,
+on distingue les mesures de m\^emes num\'eros par les indices \textit{a}
+et \textit{b}.
+
+\generalmeter{\null}\setclef1\treble\normalmusicsize
+\twoextr{
+\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en\bar
+\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en
+\Setvolta1\bar
+\Notes\hu e\en
+\bar
+\Notes\loffset{2}{\zcharnote o{\eightbf 33}}\hu f\en
+\setvolta2\endvoltabox\rightrepeat
+\Notes\hu g\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hu h\en
+\bar%
+\Notes\hu i\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 37}}\hl j\en}
+{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en
+\bar
+\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en
+\Setvolta1\bar%
+\Notes\hu e\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 33a}}\hu f\en
+\setvolta2\endvoltabox\rightrepeat
+\Notes\hu g\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 33b}}\hu h\en
+\bar%
+\Notes\hu i\en
+\bar%
+\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hl j\en}
+
+
+{\footnotesize En effet, de nombreux mouvements rapides, comportent
+des barres de reprise au cours d'une mesure (comme l'Allegretto de la
+sonate \textit{Clair de lune}). On aurait aussi bien pu noter cette
+reprise sous la forme \textit{premi\`ere fois-deuxi\`eme fois} pour
+cette mesure. Il faut donc
+que ces deux formulations conduisent \`a la m\^eme num\'erotation des
+mesures.
+
+}
+
+\section{Questions diverses}
+
+\subsec
+Quand on note la partie d'un instrument n'exigeant qu'une port\'ee, on ne
+met pas de barres verticales en d\'ebut de port\'ees, contrairement \`a
+une partition de << conducteur >>.
+
+\setclef1\alto
+\startrule\largemusicsize
+\begin{music}\let\extractline\hbox
+\hbox to \hsize{
+\hfill
+\startextract
+\NOtes\qu{abc}\en
+\zendextract\hfill\nostartrule
+\startextract 
+\NOtes\qu{abc}\en
+\zendextract
+\hfill}
+
+\let\extractline\centerline\end{music}
+
+
+\subsec
+Autrefois, certaines notes piqu\'ees \'etaient not\'ees avec un petit triangle
+au lieu du point moderne. Si dans une \oe uvre, ces \textbf{deux} notations
+se pr\'esentent, elles repr\'esentent \'egalement deux degr\'es dans le caract\`ere
+piqu\'e. Il faut donc respecter la notation originale. Si par contre, seuls
+les petits triangles existent, il faut les restituer par de simples
+points :
+
+\largemusicsize\setstaffs1{1}\setclef1\treble\nostartrule
+\twoextr{
+\Notes\ibu0d1\lppz c\qb0c\lppz d\qb0d\lppz e\qb0e\lppz f\tqh0f\en}
+{\Notes\ibu0d1\lpz c\qb0c\lpz d\qb0d\lpz e\qb0e\lpz f\tqh0f\en}
+
+\subsec
+De tels signes se placent toujours \`a la verticale des t\^etes de notes,
+et non pas \`a la verticale des hampes, m\^eme si la polyphonie exige
+un placement cot\'e hampes :
+
+\twoextr
+{\NOtes\zhl c\hroff{\upz l}\qu e\hroff{\uppz k}\qu f\en
+\Notes\zql b\ibu0g0\hroff{\upz m}\qb0g\hroff{\upz m}\tqh0g\en}
+{\NOtes\zhl c\upz l\qu e\uppz k\qu f\en
+\Notes\zql b\ibu0g0\upz m\qb0g\upz m\tqh0g\en}
+
+
+\subsec
+Les appoggiatures, ou \textit{petites notes}, se notent \textbf{apr\`es}
+la barre de mesure. Ceci quelle que soit leur interpr\'etation rythmique
+suppos\'ee :
+
+\twoextr
+{\NOtes\qu N\en
+\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en
+\bar
+\NOtes\hu g\en}
+{\NOtes\qu N\en
+\bar
+\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en
+\NOtes\hu g\en}
+
+\subsec
+On \'ecrit l'indication g\'en\'erale de mouvement en caract\`eres normaux,
+et les indications interm\'ediaires en italique :
+
+\setclef1\treble
+\twoextr
+{\NOtes\zcn o{\medtype\it allegro}\qu{de}\zcn N{Cres}\qu{fg}\en}
+{\NOtes\zcn o{\medtype Allegro}\qu{de}\zcn N{\medtype\it cresc.}\qu{fg}\en}
+
+{\footnotesize Notez aussi l'usage de majuscules, et le point d'abbr\'eviation.}
+
+
+\subsec
+Autrefois on indiquait \textbf{loco} (du latin : \textit{au lieu}
+ pour attirer l'attention sur
+la fin d'un signe d'octaviation (\textit{8}\raisebox{2mm}{- - - - -}).
+Maintenant que ces octaviations sont
+devenues habituelles, ce \textbf{loco} est bien inutile.
+
+\section{Quelques conseils moraux, quand vous gravez une partition}
+
+\subsec
+Quand vous faites un certain choix dans une mani\`ere de noter,
+conservez-le d'un bout \`a l'autre du morceau, au lieu d'alterner
+\`a votre guise avec une autre mani\`ere, m\^eme si cette premi\`ere
+mani\`ere est contestable d'apr\`es ce que nous avons vu.
+
+\subsec
+En typographie musicale,
+les erreurs de hauteur d'une tierce sont beaucoup plus fr\'equentes
+que les erreurs d'une seconde, pour des raisons \'evidentes de
+perception visuelle. Soyez donc compr\'ehensif envers les auteurs de votre
+source.
+
+\subsec
+Que faire, quand vous pensez en avoir termin\'e avec votre \'edition,
+apr\`es tous ces conseils ?
+Bien s–r, vous vous pr\'ecipitez sur votre instrument, et vous jouez
+le morceau avec cette \'edition.
+
+Mais comme ce morceau vous est familier, vous risquez fort,
+emport\'e par votre enthousiasme,
+de laisser \'echapper un certain nombre d'erreurs.
+Abandonnez donc l'instrument,
+posez votre \'edition et sa source sur une table, et prenez un crayon.
+Comparez-les mesure par mesure, et s'il y a plusieurs port\'ees, une
+seule port\'ee \`a la fois. Terminez par les indications diverses (tempo,
+interpr\'etation, p\'edale pour le piano, etc.) qui sont communes \`a
+ces plusieurs port\'ees.
+
+Ceci n'est pas encore suffisant. En effet, un bon musicien, tel que vous,
+poss\`ede la capacit\'e de corriger certaines erreurs (notamment d'alt\'erations)
+en jouant, sans s'en rendre compte. Le test pr\'ec\'edent ne mettra donc
+pas ces erreurs \`a jour, les deux versions comportant la m\^eme erreur.
+
+Si votre logiciel est apte \`a traduire votre morceau au format MIDI,
+le fichier produit pourra vous aider. Sinon, il faudra soumettre votre
+\'edition \`a un musicien moins exp\'eriment\'e que vous, qui n'aurait pas encore
+pris ces habitudes de corrections spontan\'ees.
+
+\subsec
+\textbf{N'oubliez jamais ceci : faire une \'edition correcte est aussi
+difficile que jouer correctement un instrument.}
+\end{document}
+
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixre1.pdf b/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf
index 6c418f505fc..6c418f505fc 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixre1.pdf
+++ b/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.pdf
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixre1.tex b/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.tex
index f600a9d0523..f600a9d0523 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixre1.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/reference/musixre1.tex
diff --git a/Master/texmf-dist/doc/generic/musixtex/sottieng.pdf b/Master/texmf-dist/doc/generic/musixtex/sottieng.pdf
deleted file mode 100644
index 9fee6c052d8..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/sottieng.pdf
+++ /dev/null
diff --git a/Master/texmf-dist/fonts/map/dvipdfm/musixtex/musix.map b/Master/texmf-dist/fonts/map/dvipdfm/musixtex/musix.map
new file mode 100644
index 00000000000..622d08ad6f2
--- /dev/null
+++ b/Master/texmf-dist/fonts/map/dvipdfm/musixtex/musix.map
@@ -0,0 +1,71 @@
+musix11 default musix11.pfb
+musix13 default musix13.pfb  
+musix16 default musix16.pfb  
+musix20 default musix20.pfb  
+musix24 default musix24.pfb  
+musix29 default musix29.pfb
+musixsps default musixsps.pfb
+musixspx default musixspx.pfb
+xgreg11 default xgreg11.pfb
+xgreg13 default xgreg13.pfb
+xgreg16 default xgreg16.pfb
+xgreg20 default xgreg20.pfb
+xgreg24 default xgreg24.pfb
+xgreg29 default xgreg29.pfb
+xsld11 default xsld11.pfb
+xsld11d default xsld11d.pfb
+xsld13 default xsld13.pfb
+xsld13d default xsld13d.pfb
+xsld16 default xsld16.pfb
+xsld16d default xsld16d.pfb
+xsld20 default xsld20.pfb
+xsld20d default xsld20d.pfb
+xsld24 default xsld24.pfb
+xsld24d default xsld24d.pfb
+xsld29 default xsld29.pfb
+xsld29d default xsld29d.pfb
+xsldd20 default xsldd20.pfb
+xsldu20 default xsldu20.pfb
+xslhd11 default xslhd11.pfb
+xslhd11d default xslhd11d.pfb
+xslhd13 default xslhd13.pfb
+xslhd13d default xslhd13d.pfb
+xslhd16 default xslhd16.pfb
+xslhd16d default xslhd16d.pfb
+xslhd20 default xslhd20.pfb
+xslhd20d default xslhd20d.pfb
+xslhd24 default xslhd24.pfb
+xslhd24d default xslhd24d.pfb
+xslhd29 default xslhd29.pfb
+xslhd29d default xslhd29d.pfb
+xslhu11 default xslhu11.pfb
+xslhu11d default xslhu11d.pfb
+xslhu13 default xslhu13.pfb
+xslhu13d default xslhu13d.pfb
+xslhu16 default xslhu16.pfb
+xslhu16d default xslhu16d.pfb
+xslhu20 default xslhu20.pfb
+xslhu20d default xslhu20d.pfb
+xslhu24 default xslhu24.pfb
+xslhu24d default xslhu24d.pfb
+xslhu29 default xslhu29.pfb
+xslhu29d default xslhu29d.pfb
+xslhz20 default xslhz20.pfb
+xslhz20d default xslhz20d.pfb
+xslu11 default xslu11.pfb
+xslu11d default xslu11d.pfb
+xslu13 default xslu13.pfb
+xslu13d default xslu13d.pfb
+xslu16 default xslu16.pfb
+xslu16d default xslu16d.pfb
+xslu20 default xslu20.pfb
+xslu20d default xslu20d.pfb
+xslu24 default xslu24.pfb
+xslu24d default xslu24d.pfb
+xslu29 default xslu29.pfb
+xslu29d default xslu29d.pfb
+xslud20 default xslud20.pfb
+xslup20 default xslup20.pfb
+xslz20 default xslz20.pfb
+xslz20d default xslz20d.pfb
+xtie20 default xtie20.pfb
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixadd.tex b/Master/texmf-dist/tex/generic/musixtex/musixadd.tex
index f5cc37edf18..9e3b7160719 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixadd.tex
+++ b/Master/texmf-dist/tex/generic/musixtex/musixadd.tex
@@ -16,134 +16,15 @@
 %   the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
 %   Boston, MA 02111-1307, USA.
 %
-\ifx\staffspacingix\undefined\else\endinput\fi
-
-\immediate\write16{MusiXADDitional instruments T.99\space<24 March 2000>}%
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\let\@wloG\wlog
-\def\wlog#1{}
-
-\let\maxinstruments\nin@
-
-\let\interinstrumentvii\interinstrument
-\let\interinstrumentviii\interinstrument
-\let\interinstrumentix\interinstrument
-
-\let\T@Rvii\z@
-\let\T@Rviii\z@
-\let\T@Rix\z@
-
-\let\staffspacingvii\@ne
-\let\staffspacingviii\@ne
-\let\staffspacingix\@ne
-
-\newskip\k@ivii
-\newskip\k@iviii
-\newskip\k@iix
-
-\newskip\i@nvii
-\newskip\i@nviii
-\newskip\i@nix
-
-\newskip\b@xvii \newskip\b@zvii
-\newskip\b@xviii\newskip\b@zviii
-\newskip\b@xix  \newskip\b@zix
-
-\newskip\c@xvii \newskip\c@zvii
-\newskip\c@xviii\newskip\c@zviii
-\newskip\c@xix  \newskip\c@zix
-
-\newskip\d@xvii \newskip\d@zvii
-\newskip\d@xviii\newskip\d@zviii
-\newskip\d@xix  \newskip\d@zix
-
-\newskip\e@xvii \newskip\e@zvii
-\newskip\e@xviii\newskip\e@zviii
-\newskip\e@xix  \newskip\e@zix
-
-\newcount\b@pvii \newcount\b@nvii
-\newcount\b@pviii\newcount\b@nviii
-\newcount\b@pix  \newcount\b@nix
-
-\newcount\n@pvii \n@pvii\@ne
-\newcount\n@pviii\n@pviii\@ne
-\newcount\n@pix  \n@pix\@ne
-
-\newskip\s@xvii
-\newskip\s@xviii
-\newskip\s@xix
-\newskip\s@Yvii
-\newskip\s@Yviii
-\newskip\s@Yix
-\newskip\s@avii
-\newskip\s@aviii
-\newskip\s@aix
-\newtoks\s@svii \s@svii={x}
-\newtoks\s@sviii\s@sviii={x}
-\newtoks\s@six  \s@six={x}
-\newcount\s@yvii
-\newcount\s@yviii
-\newcount\s@yix
-\newcount\s@Nvii
-\newcount\s@Nviii
-\newcount\s@Nix
-\newcount\s@zvii \s@zvii\maxdimen
-\newcount\s@zviii\s@zviii\maxdimen
-\newcount\s@zix  \s@zix\maxdimen
-\newtoks\s@dvii
-\newtoks\s@dviii
-\newtoks\s@dix
-
-\newcount\a@svii \newcount\o@svii
-\newcount\a@sviii\newcount\o@sviii
-\newcount\a@six  \newcount\o@six
-
-\newtoks\a@cvii  \a@cvii={{\z@}{\z@}{\z@}{\z@}}
-\newtoks\a@cviii \a@cviii={{\z@}{\z@}{\z@}{\z@}}
-\newtoks\a@cix   \a@cix={{\z@}{\z@}{\z@}{\z@}}
-
-\newtoks\o@cvii
-\newtoks\o@cviii
-\newtoks\o@cix
-
-\newtoks\m@tvii
-\newtoks\m@tviii
-\newtoks\m@tix
-
-\def\resetlayout{\let\interfacteur\nin@
-  \stafftopmarg\thr@@\Interligne \staffbotmarg\thr@@\Interligne
-  \let\n@li\fiv@ \let\n@lii\fiv@ \let\n@liii\fiv@
-  \let\n@liv\fiv@ \let\n@lv\fiv@ \let\n@lvi\fiv@
-  \let\n@lvii\fiv@ \let\n@lviii\fiv@ \let\n@lix\fiv@
-  \resetclefsymbols}
-
-\def\resetclefsymbols{%
-  \let\bassc@si\z@ \let\bassc@sii\z@ \let\bassc@siii\z@ \let\bassc@siv\z@
-  \let\bassc@sv\z@ \let\bassc@svi\z@ \let\bassc@svii\z@ \let\bassc@sviii\z@ \let\bassc@six\z@
-  \let\altoc@si\z@ \let\altoc@sii\z@ \let\altoc@siii\z@ \let\altoc@siv\z@
-  \let\altoc@sv\z@ \let\altoc@svi\z@ \let\altoc@svii\z@ \let\altoc@sviii\z@ \let\altoc@six\z@
-  \let\treblec@si\z@ \let\treblec@sii\z@ \let\treblec@siii\z@ \let\treblec@siv\z@
-  \let\treblec@sv\z@ \let\treblec@svi\z@ \let\treblec@svii\z@ \let\treblec@sviii\z@ \let\treblec@six\z@
-}
-
-% allow one morz gourp of instruments.
-
-\let\maxgroups\f@ur % maximum three groups of instruments or choirs
-
-\newskip\g@biv
-\newskip\g@hiv
-
-\let\lowersonginstrumiv\maxdimen
-\let\uppersonginstrumiv\z@
-
-
-\let\nbinstruments\maxinstruments
-\normalnotesize\resetlayout
-\let\nbinstruments\@ne
-
-\let\wlog\@wloG
-
-\catcode`\@=\catcodeat
+%
+%   musixadd.tex : allocate registers for additional instruments
+%
+\immediate\write16{MusiXADDitional instruments T.115 <19 Nov 2010>}%
+%
+%
+% setup the maximum element numbers
+\setmaxinstruments{9}%
+\setmaxgroups{4}%
+\setmaxslurs\maxinstruments
+%
 \endinput
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixbbm.tex b/Master/texmf-dist/tex/generic/musixtex/musixbbm.tex
index 538bf4a089d..c3c2333002e 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixbbm.tex
+++ b/Master/texmf-dist/tex/generic/musixtex/musixbbm.tex
@@ -16,27 +16,20 @@
 %   the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
 %   Boston, MA 02111-1307, USA.
 %
-
-\ifx\undefined\ibbbbbu
-  \input musixbm
-\fi
-
-\immediate\write16{MusiXBBeaM T.405\space<30 October 1995>}% 256th beams
-
+%
+%   musixbbm.tex : allocate registers and define macros for 256th beam
+%
+\immediate\write16{MusiXBBeaM T.115 <19 Nov 2010>}%
+%
 \ifx\undefined\ibbbbbbu \else \endinput \fi
-
+%
+% setup the maximum element numbers
+\setmaxcclvibeams{6}%
+%
+%
+% definitions for 256th beams
 \edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\newdimen\g@xi  \newskip\g@zi
-\newdimen\g@xii \newskip\g@zii
-\newdimen\g@xiii\newskip\g@ziii
-\newdimen\g@xiv \newskip\g@ziv
-\newdimen\g@xv  \newskip\g@zv
-\newdimen\g@xvi \newskip\g@zvi
-%\newdimen\g@xvii \newskip\g@zvii
-%\newdimen\g@xviii\newskip\g@zviii
-%\newdimen\g@xix  \newskip\g@zix
-
+%
 \def\s@l@ctg{\edef\g@x{\csname g@x\romannumeral\n@i\endcsname}%
   \edef\g@z{\csname g@z\romannumeral\n@i\endcsname}\s@l@ctf}
 
@@ -74,6 +67,3 @@
 
 \catcode`\@=\catcodeat
 \endinput
-
-
-
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixbm.tex b/Master/texmf-dist/tex/generic/musixtex/musixbm.tex
index ba986ac83d9..d07b2070083 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixbm.tex
+++ b/Master/texmf-dist/tex/generic/musixtex/musixbm.tex
@@ -16,62 +16,11 @@
 %   the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
 %   Boston, MA 02111-1307, USA.
 %
-\immediate\write16{MusiXBeaM T.94\space<11 May 1999>}%
-
-\ifx\undefined\ibbbbbu \else \endinput \fi
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-\let\@wloG\wlog
-\def\wlog#1{}
-
-\newdimen\f@xi  \newskip\f@zi
-\newdimen\f@xii \newskip\f@zii
-\newdimen\f@xiii\newskip\f@ziii
-\newdimen\f@xiv \newskip\f@ziv
-\newdimen\f@xv  \newskip\f@zv
-\newdimen\f@xvi \newskip\f@zvi
-
-\def\s@l@ctf{\edef\f@x{\csname f@x\romannumeral\n@i\endcsname}%
-  \edef\f@z{\csname f@z\romannumeral\n@i\endcsname}\s@l@ctcde}
-
-\def\ibbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctf \i@bbbbbu}
-\def\ibbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctf \i@bbbbbl}
-
-\def\i@bbbbbu#1#2{%
-  \ifnum\b@n=\z@ \i@bbbbu{#1}{#2}\C@ba\b@z\@ne \C@ba\c@z\@ne
-    \C@ba\d@z\@ne \C@ba\e@z\@ne \fi \n@bbbbbu}
-\def\i@bbbbbl#1#2{%
-  \ifnum\b@n=\z@ \i@bbbbl{#1}{#2}\C@ba\b@z\m@ne \C@ba\c@z\m@ne
-    \C@ba\d@z\m@ne \C@ba\e@z\m@ne \fi \n@bbbbbl}
-
-\def\nbbbbbu#1{\s@l@ctbeam#1\relax  \s@l@ctf \Dec@b\@ne\n@bbu
-  \Dec@b\tw@\n@bbbu \Dec@b\thr@@\n@bbbbu \Dec@b\f@ur\n@bbbbbu}
-\def\nbbbbbl#1{\s@l@ctbeam#1\relax  \s@l@ctf \Dec@b\@ne\n@bbl
-  \Dec@b\tw@\n@bbbl \Dec@b\thr@@\n@bbbbl \Dec@b\f@ur\n@bbbbbl}
-
-\def\n@bbbbbu{\C@nb\f@z\f@x\f@ur\qd@skip}
-\def\n@bbbbbl{\C@nb\f@z\f@x\f@ur\z@}
-
-\def\tbbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctf \t@bbbbbu}
-\def\tbbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctf \t@bbbbbl}
-
-\def\t@bbbbu{\n@v\f@ur \C@b\t@bbbbbu\n@bbbbu\y@i\e@z \beam@pos\e@x \t@xbu}
-\def\t@bbbbl{\n@v\f@ur \C@b\t@bbbbbl\n@bbbbl\y@i\e@z \beam@pos\e@x \t@xbl}
-
-\def\t@bbbbbu{\n@v\fiv@ \C@b\empty\n@bbbbu\y@i\f@z \beam@pos\f@x \t@xbu}
-\def\t@bbbbbl{\n@v\fiv@ \C@b\empty\n@bbbbl\y@i\f@z \beam@pos\f@x \t@xbl}
-
-\def\Ibbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctf \I@bu\i@bbbbbu}
-\def\Ibbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctf \I@bl\i@bbbbbl}
-
-\def\cccccu{\q@symbol\n@vii44\let\st@m\up@flag \g@q}
-\def\zcccccu{\advancefalse\cccccu}
-\def\cccccl{\q@symbol\n@vii49\let\st@m\down@flag \g@q}
-\def\zcccccl{\advancefalse\cccccl}
-\def\ccccca{\q@symbol\@ccccca}
-
-\let\wlog\@wloG
-
-\catcode`\@=\catcodeat
+%
+%   musixbm.tex : allocate registers for 128th beam
+%
+\immediate\write16{MusiXBeaM T.115 <19 Nov 2010>}%
+%
+% (nothing to do. - T.111 or later provides 128th beam by default.)
+%
 \endinput
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixlex.tex b/Master/texmf-dist/tex/generic/musixtex/musixlex.tex
deleted file mode 100644
index 7d243763c80..00000000000
--- a/Master/texmf-dist/tex/generic/musixtex/musixlex.tex
+++ /dev/null
@@ -1,1201 +0,0 @@
-\begin{theindex}
-
-  \item {\tt\char37}, 12
-  \item *, 34
-  \item \&, 6, 16, 82
-  \item \^{}M, 99
-  \item {\tt\char'174}, 6, 81, 82
-
-  \indexspace
-
-  \item {\tt  a4wide}, 81
-  \item {\Bslash AB}, 96
-  \item {\Bslash absoluteaccid}, 38
-  \item {\Bslash accshift}, 35
-  \item acute accent, 35
-  \item {\Bslash addspace}, 34
-  \item {\Bslash afterruleskip}, 22, 34
-  \item {\Bslash akkoladen}, 20
-  \item {\Bslash alaligne}, 10, 12, 49, 52, 63, 84
-  \item {\Bslash alapage}, 10, 12, 49, 52, 63, 84
-  \item {\Bslash allabreve}, 18
-  \item {\Bslash altitude}, 68
-  \item {\Bslash alto}, 18
-  \item alto clef, 18, 51
-  \item {\Bslash altplancher}, 68
-  \item {\Bslash altportee}, 68
-  \item anonymous ftp, 99
-  \item apostropha, 87
-  \item {\Bslash apostropha}, 87
-  \item apostropha aucta, 87
-  \item {\Bslash apostropha aucta}, 87
-  \item {\Bslash arithmeticskipscale}, 22
-  \item {\Bslash arpeggio}, 58
-  \item {\Bslash atnextline}, 63, 69
-  \item {\Bslash AUF}, 96
-  \item {\Bslash author}, 97
-  \item author names, 96
-  \item {\Bslash autoledgerlines}, 86
-  \item {\Bslash autolines}, 12, 84
-
-  \indexspace
-
-  \item {\sc Bach, J.S.}, 104
-  \item {\Bslash backturn}, 60
-  \item {\Bslash bar}, 45, 49, 52, 53
-  \item {\Bslash bar} \ital{(original meaning)}, 45
-  \item bar numbering, 45
-  \item {\Bslash barno}, 46
-  \item {\Bslash barnumbers}, 46
-  \item baroque, 62
-  \item {\Bslash barre}, 83
-  \item {\Bslash barsinline}, 84
-  \item {\Bslash bass}, 18
-  \item bass clef, 18, 51
-  \item {\Bslash basslowoct}, 78
-  \item {\Bslash bassoct}, 78
-  \item beams, 8, 17
-  \item {\Bslash beforeruleskip}, 22, 34
-  \item {\Bslash begin{\tt  \char '173}bigmusic{\tt  \char '175}}, 81
-  \item {\Bslash begin{\tt  \char '173}music{\tt  \char '175}}, 70
-  \item {\Bslash bf}, 56, 96
-  \item {\Bslash bigaccid}, 35
-  \item {\Bslash bigfl}, 35
-  \item Big\LaTeX, 81, 82
-  \item {\Bslash biglbrace}, 84
-  \item {\Bslash bigrbrace}, 84
-  \item {\Bslash bigsh}, 35
-  \item Big\TeX, 82
-  \item {\Bslash BIGtype}, 56
-  \item {\Bslash BIgtype}, 56
-  \item {\Bslash Bigtype}, 56
-  \item {\Bslash bigtype}, 56
-  \item {\Bslash bistropha}, 88
-  \item {\Bslash bivirga}, 88
-  \item {\Bslash blppz}, 58
-  \item {\Bslash blpz}, 58
-  \item {\Bslash blsf}, 58
-  \item {\Bslash blsfz}, 58
-  \item {\Bslash blst}, 58
-  \item {\Bslash bltext}, 58
-  \item {\Bslash boxit}, 46, 54
-  \item {\Bslash boxitsep}, 54
-  \item {\Bslash bporrectus}, 90
-  \item {\Bslash braceheight}, 84
-  \item {\Bslash bracket}, 62
-  \item {\sc Brahms, J.}, 30, 51
-  \item {\Bslash breakslur}, 43
-  \item {\Bslash breath}, 60
-  \item breathing, 60
-  \item {\Bslash breve}, 23
-  \item {\sc Brouard, N.}, 81
-  \item {\Bslash bsk}, 33
-  \item {\Bslash buppz}, 58
-  \item {\Bslash bupz}, 58
-  \item {\Bslash busf}, 58
-  \item {\Bslash busfz}, 58
-  \item {\Bslash bust}, 58
-  \item {\Bslash butext}, 58
-  \item {\Bslash bye}, 21, 50
-
-  \indexspace
-
-  \item {\Bslash ca}, 23
-  \item cadenzas, 64
-  \item {\Bslash caesura}, 61
-  \item {\Bslash catcode}, 16, 81, 82
-  \item {\Bslash catcodes}, 81
-  \item {\Bslash catcodesmusic}, 82
-  \item cautionary accidental, 35
-  \item {\Bslash cbreath}, 60
-  \item {\Bslash cca}, 23
-  \item {\Bslash ccca}, 24
-  \item {\Bslash ccccca}, 84
-  \item {\Bslash cccccl}, 84
-  \item {\Bslash cccccu}, 84
-  \item {\Bslash ccccl}, 24
-  \item {\Bslash cccclp}, 96
-  \item {\Bslash cccclpp}, 96
-  \item {\Bslash ccccu}, 24
-  \item {\Bslash ccccup}, 96
-  \item {\Bslash ccccupp}, 96
-  \item {\Bslash cccl}, 24
-  \item {\Bslash ccclp}, 96
-  \item {\Bslash ccclpp}, 96
-  \item {\Bslash cccu}, 23
-  \item {\Bslash cccup}, 96
-  \item {\Bslash cccupp}, 96
-  \item {\Bslash cchar}, 55, 71
-  \item {\Bslash ccharnote}, 54, 55
-  \item {\Bslash ccl}, 23
-  \item {\Bslash cclp}, 96
-  \item {\Bslash cclpp}, 96
-  \item {\Bslash ccu}, 23
-  \item {\Bslash ccup}, 96
-  \item {\Bslash ccupp}, 96
-  \item {\Bslash cdfl}, 35
-  \item {\Bslash cdsh}, 35
-  \item {\Bslash centerbar}, 32
-  \item {\Bslash centerhpause}, 32
-  \item {\Bslash centerPAUSe}, 32
-  \item {\Bslash centerPAuse}, 32
-  \item {\Bslash centerpause}, 32
-  \item {\Bslash cfl}, 35
-  \item {\Bslash changeclefs}, 51
-  \item {\Bslash Changecontext}, 51, 52
-  \item {\Bslash changecontext}, 34, 49, 51, 52
-  \item {\Bslash changesignature}, 51
-  \item {\Bslash chl}, 94
-  \item chords, 17
-  \item {\Bslash ChroirStrut}, 85
-  \item {\Bslash chu}, 94
-  \item {\Bslash circleit}, 54
-  \item {\Bslash cl}, 23, 65
-  \item clef d'ut, 17, 51
-  \item clef de fa, 17, 51
-  \item clef de sol, 17, 51
-  \item clefs (empty), 77
-  \item {\Bslash climacus}, 90
-  \item {\Bslash climacusauctdown}, 92
-  \item {\Bslash climacusdeminut}, 93
-  \item {\Bslash climacusresupinus}, 90
-  \item {\Bslash clivis}, 88
-  \item {\Bslash clivisauctdown}, 91
-  \item {\Bslash clivisauctup}, 91
-  \item {\Bslash clivisdeminut}, 92
-  \item {\Bslash clp}, 26
-  \item {\Bslash clpp}, 26
-  \item {\Bslash clppp}, 97
-  \item {\Bslash cmidstaff}, 55
-  \item {\Bslash cna}, 35
-  \item {\Bslash cnhl}, 94
-  \item {\Bslash cnhu}, 94
-  \item {\Bslash cnql}, 94
-  \item {\Bslash cnqu}, 94
-  \item {\Bslash Coda}, 54
-  \item {\Bslash coda}, 54
-  \item {\Bslash Contpiece}, 49
-  \item {\Bslash contpiece}, 49, 52, 69
-  \item {\Bslash cql}, 94
-  \item {\Bslash cqu}, 94
-  \item {\Bslash crescendo}, 61
-  \item crescendos, 103
-  \item {\Bslash csh}, 35
-  \item {\Bslash csong}, 72
-  \item {\Bslash cu}, 23, 65
-  \item {\Bslash cup}, 26
-  \item {\Bslash cupp}, 26
-  \item {\Bslash cuppp}, 97
-  \item {\Bslash curve}, 42
-
-  \indexspace
-
-  \item {\Bslash dateaustrian}, 85
-  \item {\Bslash dateenglish}, 85
-  \item {\Bslash datefrench}, 85
-  \item {\Bslash dategerman}, 85
-  \item {\Bslash dateUSenglish}, 85
-  \item {\Bslash dccccl}, 85
-  \item {\Bslash dccccu}, 85
-  \item {\Bslash dcccl}, 85, 95
-  \item {\Bslash dcccu}, 85, 95
-  \item {\Bslash dccl}, 85, 95
-  \item {\Bslash dccu}, 85, 95
-  \item {\Bslash dcl}, 85
-  \item {\Bslash dclp}, 85
-  \item {\Bslash dclpp}, 85
-  \item {\Bslash dcqb}, 95
-  \item {\Bslash dcql}, 95
-  \item {\Bslash dcqu}, 95
-  \item {\Bslash dcu}, 85
-  \item {\Bslash dcup}, 85
-  \item {\Bslash dcupp}, 85
-  \item {\Bslash dczq}, 95
-  \item {\sc Debussy, C.}, 103
-  \item {\Bslash debutmorceau}, 83
-  \item {\Bslash decrescendo}, 61
-  \item default values, 70
-  \item {\Bslash demisoupir}, 84
-  \item {\Bslash DEP}, 59, 60
-  \item {\Bslash Dep}, 60
-  \item {\Bslash dfl}, 34, 37
-  \item {\Bslash dgroff}, 88
-  \item {\Bslash dhccl}, 95
-  \item {\Bslash dhccu}, 95
-  \item {\Bslash dhcl}, 95
-  \item {\Bslash dhcu}, 95
-  \item {\Bslash dhqb}, 95
-  \item {\Bslash dhql}, 95
-  \item {\Bslash dhqu}, 95
-  \item {\Bslash dhsong}, 73
-  \item {\Bslash dhzq}, 95
-  \item {\Bslash diapunc}, 87
-  \item {\Bslash diapunctumauctdown}, 87
-  \item dictionnaire, 5
-  \item {\Bslash dimen}, 15
-  \item distribution, 14
-  \item {\Bslash dnq}, 85
-  \item {\Bslash doccl}, 95
-  \item {\Bslash doccu}, 95
-  \item {\Bslash docl}, 95
-  \item {\Bslash docu}, 95
-  \item {\Bslash documentstyle}, 81
-  \item {\Bslash doqb}, 95
-  \item {\Bslash doql}, 95
-  \item {\Bslash doqu}, 95
-  \item {\Bslash dotted}, 41
-  \item {\Bslash doublebar}, 49
-  \item {\Bslash doublethumb}, 62
-  \item {\Bslash downbow}, 57, 96
-  \item {\Bslash downtrio}, 62
-  \item {\Bslash dozq}, 95
-  \item dpi, 100
-  \item {\Bslash dqb}, 85
-  \item {\Bslash Dqbbl}, 31
-  \item {\Bslash Dqbbu}, 31
-  \item {\Bslash Dqbl}, 31
-  \item {\Bslash Dqbu}, 31
-  \item {\Bslash dql}, 85
-  \item {\Bslash dqlp}, 85
-  \item {\Bslash dqlpp}, 85
-  \item {\Bslash dqu}, 85
-  \item {\Bslash dqup}, 85
-  \item {\Bslash dqupp}, 85
-  \item {\Bslash Drtx}, 84
-  \item drum clef, 78
-  \item {\Bslash drumclef}, 78, 95
-  \item {\Bslash ds}, 31, 86
-  \item {\Bslash dsh}, 34, 37
-  \item {\Bslash dsoupir}, 84
-  \item {\Bslash Dtx}, 84
-  \item {\Bslash duevolte}, 55
-  \item {\Bslash Dwr}, 86
-  \item {\Bslash dznq}, 85
-  \item {\Bslash dzq}, 85
-  \item {\Bslash dzqp}, 85
-  \item {\Bslash dzqpp}, 85
-
-  \indexspace
-
-  \item {\Bslash eeeer}, 86
-  \item {\Bslash eeer}, 86
-  \item {\Bslash eer}, 86
-  \item {\Bslash eightpoint}, 96
-  \item {\Bslash eject}, 49, 50
-  \item {\Bslash elemskip}, 9, 21, 22, 34, 50
-  \item em\TeX, 82
-  \item {\Bslash en}, 6
-  \item {\Bslash end}, 21
-  \item {\Bslash endcatcodesmusic}, 82
-  \item {\Bslash endextract}, 70, 82
-  \item {\Bslash endmuflex}, 21
-  \item {\Bslash Endpiece}, 10, 49, 83
-  \item {\Bslash endpiece}, 10, 49, 52, 69, 82, 83
-  \item {\Bslash endvolta}, 54
-  \item {\Bslash endvoltabox}, 54
-  \item {\Bslash end{\tt  \char '173}music{\tt  \char '175}}, 70
-  \item {\Bslash enotes}, 6
-  \item {\Bslash er}, 86
-  \item {\Bslash everystaff}, 63
-  \item {\Bslash extractline}, 70
-
-  \indexspace
-
-  \item {\Bslash f}, 61
-  \item FAQ, 98
-  \item fermata, 60
-  \item {\Bslash Fermatadown}, 60
-  \item {\Bslash fermatadown}, 60
-  \item {\Bslash Fermataup}, 60
-  \item {\Bslash fermataup}, 60
-  \item {\Bslash ff}, 61
-  \item {\Bslash fff}, 61
-  \item {\Bslash ffff}, 61
-  \item {\Bslash finmorceau}, 83
-  \item {\Bslash fl}, 34, 37
-  \item {\Bslash flageolett}, 57
-  \item flats, 18
-  \item {\Bslash flushbottom}, 49
-  \item {\Bslash fontbarno}, 46
-  \item fonts, 100
-  \item {\Bslash Footnote}, 97
-  \item {\Bslash footnote}, 97
-  \item footnotes, 97
-  \item format, 100
-  \item {\Bslash fp}, 61
-  \item {\Bslash FR}, 96
-  \item french violin clef, 18
-  \item french.sty, 82
-  \item {\tt  french.sty}, 81
-  \item {\Bslash freqbarno}, 45
-  \item {\Bslash frtpoint}, 96
-  \item full rest, 32
-  \item {\Bslash fullauthor}, 97
-  \item {\Bslash fulltitle}, 97
-
-  \indexspace
-
-  \item {\sc Gaulle, B.}, 82
-  \item {\Bslash GB}, 96
-  \item {\Bslash Gb}, 96
-  \item {\Bslash gbarre}, 93
-  \item {\Bslash gdot}, 93
-  \item general staff size, 65
-  \item {\Bslash generalmeter}, 18, 19
-  \item {\Bslash generalsignature}, 13, 18, 38, 49, 50
-  \item {\Bslash geometricskipscale}, 22
-  \item glossaire, 5
-  \item glossary, 5
-  \item {\sc Gounod, C.}, 66, 103
-  \item {\sc Gouzes, A.}, 104
-  \item grave accent, 35
-  \item {\Bslash grcl}, 65
-  \item {\Bslash grcu}, 65
-  \item gregorian clefs, 76
-  \item gregorian music, 69, 76, 86
-  \item {\Bslash gregorianCclef}, 87
-  \item {\Bslash gregorianFclef}, 87
-  \item {\sc Grieg, E.}, 30
-  \item {\Bslash groff}, 88
-  \item {\Bslash groupbottom}, 19
-  \item {\Bslash grouptop}, 19
-  \item guillemets, 82
-  \item {\Bslash guitar}, 93
-  \item guitar tablature, 70
-  \item guitar tablatures, 93
-  \item GUTenberg, 82
-
-  \indexspace
-
-  \item {\Bslash ha}, 23
-  \item {\sc Haendel, G.F.}, 104
-  \item half rest, 32
-  \item hard spacing, 12, 34, 73
-  \item hard width, 9
-  \item {\Bslash hardlyrics}, 73, 104
-  \item {\Bslash hardnotes}, 73
-  \item {\Bslash hardspace}, 34, 71
-  \item harmonic notes, 79
-  \item {\sc Haydn, J.}, 64
-  \item {\Bslash hb}, 29
-  \item {\Bslash hbox}, 32
-  \item {\Bslash hf}, 84
-  \item {\Bslash Hidebarrule}, 47
-  \item {\Bslash hidebarrule}, 47
-  \item hihat, 95
-  \item {\Bslash hl}, 21, 23, 25
-  \item {\Bslash hloff}, 33
-  \item {\Bslash Hlonga}, 95
-  \item {\Bslash hlp}, 26
-  \item {\Bslash hlpp}, 26
-  \item {\Bslash hlppp}, 97
-  \item {\Bslash hoffset}, 50, 96, 103
-  \item {\Bslash Hpause}, 95
-  \item {\Bslash hpause}, 31, 86
-  \item {\Bslash hpausep}, 31, 86
-  \item {\Bslash hqsk}, 33
-  \item {\Bslash hr}, 86
-  \item {\Bslash hroff}, 33
-  \item {\Bslash hrp}, 86
-  \item {\Bslash hs}, 31, 86
-  \item {\Bslash hsize}, 50, 96
-  \item {\Bslash hsk}, 30, 33
-  \item {\Bslash hskip}, 33
-  \item {\Bslash hsong}, 73
-  \item {\Bslash hu}, 23
-  \item {\Bslash hup}, 26
-  \item {\Bslash hupp}, 26
-  \item {\Bslash huppp}, 97
-
-  \indexspace
-
-  \item {\Bslash Ibbbbbbl}, 84
-  \item {\Bslash ibbbbbbl}, 84
-  \item {\Bslash Ibbbbbbu}, 84
-  \item {\Bslash ibbbbbbu}, 84
-  \item {\Bslash Ibbbbbl}, 84
-  \item {\Bslash ibbbbbl}, 84
-  \item {\Bslash Ibbbbbu}, 84
-  \item {\Bslash ibbbbbu}, 84
-  \item {\Bslash Ibbbbl}, 31
-  \item {\Bslash ibbbbl}, 26
-  \item {\Bslash Ibbbbu}, 31
-  \item {\Bslash ibbbbu}, 26
-  \item {\Bslash Ibbbl}, 31
-  \item {\Bslash ibbbl}, 26
-  \item {\Bslash Ibbbu}, 31
-  \item {\Bslash ibbbu}, 26, 27
-  \item {\Bslash Ibbl}, 31
-  \item {\Bslash ibbl}, 26
-  \item {\Bslash Ibbu}, 31
-  \item {\Bslash ibbu}, 26
-  \item {\Bslash Ibl}, 31
-  \item {\Bslash ibl}, 26, 27
-  \item {\Bslash ibslurd}, 39
-  \item {\Bslash ibsluru}, 39
-  \item {\Bslash Ibu}, 31
-  \item {\Bslash ibu}, 26
-  \item {\sc Icking, W.}, 96
-  \item {\Bslash icresc}, 61
-  \item {\Bslash ignorenats}, 51
-  \item INITEX, 100
-  \item {\Bslash input}, 84, 103
-  \item instrument, 17
-  \item instrument number, 13
-  \item {\Bslash instrumentnumber}, 17
-  \item {\Bslash interbarrules}, 95
-  \item {\Bslash interbeam}, 61, 68, 69
-  \item {\Bslash interfacteur}, 69
-  \item {\Bslash interinstrument}, 68, 69, 71, 72
-  \item {\Bslash interinstrumentiii}, 68
-  \item {\Bslash Interligne}, 67, 69
-  \item {\Bslash Internote}, 67
-  \item {\Bslash internote}, 67, 94
-  \item {\Bslash interportee}, 68
-  \item {\Bslash interportee+\tt  \char '134interinstrument}, 68
-  \item {\Bslash interstaff}, 68--70
-  \item {\Bslash invertslur}, 43
-  \item {\Bslash Ioctfindown}, 36
-  \item {\Bslash ioctfindown}, 37
-  \item {\Bslash Ioctfinup}, 36
-  \item {\Bslash ioctfinup}, 37
-  \item {\Bslash islurd}, 38, 39
-  \item {\Bslash Islurdbreak}, 44
-  \item {\Bslash isluru}, 38, 39
-  \item {\Bslash Islurubreak}, 44
-  \item {\Bslash isslurd}, 39
-  \item {\Bslash issluru}, 39
-  \item {\Bslash it}, 56, 96
-  \item {\Bslash itenl}, 40
-  \item {\Bslash itenu}, 40
-  \item {\Bslash itied}, 39
-  \item {\Bslash itieu}, 39
-  \item {\Bslash ITrille}, 59
-  \item {\Bslash Itrille}, 58
-  \item {\Bslash itrille}, 59
-
-  \indexspace
-
-  \item {\Bslash kccl}, 95
-  \item {\Bslash kccu}, 95
-  \item {\Bslash kcl}, 95
-  \item {\Bslash kcu}, 95
-  \item {\Bslash kern}, 33
-  \item {\sc Kneifl, S.}, 100
-  \item {\Bslash kqb}, 95
-  \item {\Bslash kql}, 95
-  \item {\Bslash kqu}, 95
-  \item {\Bslash kzq}, 95
-
-  \indexspace
-
-  \item {\Bslash Largemusicsize}, 17, 65, 70
-  \item {\Bslash largemusicsize}, 17, 65, 70
-  \item {\Bslash Largevalue}, 66
-  \item {\Bslash largevalue}, 66
-  \item {\Bslash larpeggio}, 58
-  \item \LaTeX, 81
-  \item \protect\LaTeX, 97
-  \item {\Bslash lchar}, 55, 71
-  \item {\Bslash lcharnote}, 55
-  \item {\Bslash lcl}, 25
-  \item {\Bslash lclimacus}, 90
-  \item {\Bslash lclivis}, 89
-  \item {\Bslash lcu}, 25
-  \item {\Bslash ldfl}, 34
-  \item {\Bslash ldsh}, 34
-  \item ledger lines, 86
-  \item {\Bslash leftrepeat}, 52, 53
-  \item {\Bslash leftrightrepeat}, 52
-  \item legal, 96
-  \item {\Bslash let\tt  \char '134extractline\tt  \char '134hbox}, 70
-  \item {\Bslash let\tt  \char '134extractline\tt  \char '134leftline}, 
-		70
-  \item lexique, 5
-  \item {\Bslash lfl}, 34
-  \item {\Bslash lh}, 24
-  \item {\Bslash lhl}, 25
-  \item {\Bslash lhu}, 25
-  \item {\Bslash lifthpause}, 32, 86
-  \item {\Bslash lifthpausep}, 32
-  \item {\Bslash lifthr}, 86
-  \item lifting rests, 31
-  \item {\Bslash Liftoctline}, 37
-  \item {\Bslash liftpause}, 32, 86
-  \item {\Bslash liftpausep}, 32
-  \item {\Bslash Liftslur}, 43
-  \item {\Bslash liftwr}, 86
-  \item {\Bslash linegoal}, 11
-  \item {\Bslash linesinpage}, 84
-  \item liquescens neumes, 91
-  \item {\Bslash llap}, 32
-  \item {\Bslash lmidstaff}, 55
-  \item {\Bslash lna}, 34
-  \item {\Bslash loff}, 30, 33
-  \item {\Bslash loffset}, 33
-  \item {\Bslash longa}, 23
-  \item {\Bslash longaa}, 23
-  \item {\Bslash longledgerlines}, 86
-  \item {\Bslash lpar}, 62
-  \item {\Bslash lpodatus}, 89
-  \item {\Bslash lpppt}, 97
-  \item {\Bslash lppt}, 26
-  \item {\Bslash lppz}, 57
-  \item {\Bslash lpt}, 26
-  \item {\Bslash lpz}, 57
-  \item {\Bslash lpzst}, 57
-  \item {\Bslash lq}, 24
-  \item {\Bslash lql}, 25
-  \item {\Bslash lqu}, 25
-  \item {\Bslash lreprmorceau}, 83
-  \item {\Bslash lsf}, 57
-  \item {\Bslash lsfz}, 57
-  \item {\Bslash lsh}, 34
-  \item {\Bslash lsong}, 72
-  \item {\Bslash lsqu}, 87
-  \item {\Bslash lst}, 57
-  \item {\Bslash lw}, 24
-  \item lyrics, 68, 70, 82
-
-  \indexspace
-
-  \item mailing list, 98
-  \item {\Bslash maketitle}, 97
-  \item {\sc Marcello, B.}, 104
-  \item {\Bslash maxbarsinline}, 84
-  \item {\Bslash maxlinesinpage}, 84
-  \item {\Bslash maxoctlines}, 36
-  \item {\Bslash maxtrills}, 58
-  \item {\Bslash medtype}, 56
-  \item meter, 7, 18
-  \item {\Bslash meterC}, 18
-  \item {\Bslash meterplus}, 18
-  \item {\Bslash meterskip}, 19
-  \item Metric (TFM) not found, 100
-  \item {\Bslash metron}, 57
-  \item {\Bslash mf}, 61
-  \item {\Bslash MI}, 96
-  \item {\Bslash Mi}, 96
-  \item {\Bslash midslur}, 41
-  \item {\Bslash Mordent}, 60
-  \item {\Bslash mordent}, 60
-  \item {\sc Mozart, W.A.}, 8
-  \item {\Bslash mp}, 61
-  \item MS-DOS, 14, 99, 102
-  \item {\Bslash mulooseness}, 10, 11, 13, 50, 73, 76
-  \item {\Bslash multnoteskip}, 22
-  \item musical footnotes, 70
-  \item {\Bslash musicparskip}, 50
-  \item {\tt  musixadd.tex}, 38
-  \item {\tt musixadd.tex}, 16
-  \item {\tt  musixblx.tex}, 81
-  \item {\tt  musixcpt.tex}, 12, 59, 62, 83
-  \item {\tt  musixdat.tex}, 85
-  \item {\tt  musixdoc\underscoreSymbol lj.zip}, 99
-  \item {\tt  musixdoc\underscoreSymbol ps.zip}, 99
-  \item {\tt  musixexa.zip}, 99, 103
-  \item {\tt  musixfll.tex}, 86
-  \item {\tt musixflx}, 11, 12, 22
-  \item {\tt  musixgui.tex}, 93
-  \item {\tt  musixltx.tex}, 81
-  \item {\tt  musixmad.tex}, 95
-  \item {\tt  musixper.tex}, 80
-  \item {\tt  musixpk.zip}, 99
-  \item {\tt  musixpk3.zip}, 99
-  \item {\tt  musixpk6.zip}, 99
-  \item {\tt musixstr.tex}, 96
-  \item {\tt musixsty.tex}, 96
-  \item {\tt  musixtex.sty}, 81
-  \item {\tt musixtex.tex}, 16
-  \item {\tt musixtri.tex}, 97
-  \item \protect\mutex, 15
-  \item {\Bslash mxversion}, 83
-
-  \indexspace
-
-  \item {\Bslash na}, 34, 37
-  \item name of the instrument, 19
-  \item name of the voice, 19
-  \item {\Bslash nbbbbbbl}, 84
-  \item {\Bslash nbbbbbbu}, 84
-  \item {\Bslash nbbbbbl}, 84
-  \item {\Bslash nbbbbbu}, 84
-  \item {\Bslash nbbbbl}, 27
-  \item {\Bslash nbbbbu}, 27
-  \item {\Bslash nbbbu}, 27
-  \item {\Bslash nbbl}, 27
-  \item {\Bslash nbbu}, 27
-  \item neumes, 76, 86, 88, 94
-  \item newsgroups, 98
-  \item {\Bslash nextinstrument}, 82
-  \item {\Bslash nextstaff}, 82
-  \item {\Bslash nh}, 25
-  \item {\Bslash nobarmessage}, 47
-  \item {\Bslash nobarnumbers}, 45
-  \item {\Bslash nolinemessages}, 47
-  \item {\Bslash normalbottom}, 49
-  \item {\Bslash normalmusicsize}, 17, 22, 65, 70
-  \item {\Bslash normalnotesize}, 64
-  \item {\Bslash normaltranspose}, 35
-  \item {\Bslash normalvalue}, 66, 67
-  \item {\Bslash normtype}, 56
-  \item {\Bslash nostartrule}, 18
-  \item {\Bslash nostemcut}, 62
-  \item {\Bslash NOTEs}, 21
-  \item {\Bslash NOTes}, 21
-  \item {\Bslash NOtes}, 21, 22
-  \item {\Bslash Notes}, 21
-  \item {\Bslash notes}, 21, 22
-  \item {\Bslash noteskip}, 21, 23, 26, 31, 33, 34, 50, 83, 95
-  \item {\Bslash NOTesp}, 21
-  \item {\Bslash NOtesp}, 21
-  \item {\Bslash Notesp}, 21
-  \item {\Bslash notesp}, 21
-  \item {\Bslash nq}, 25
-  \item {\Bslash nspace}, 33
-
-  \indexspace
-
-  \item octave clefs, 78
-  \item octaviation, 35
-  \item {\Bslash octfindown}, 36
-  \item {\Bslash octfinup}, 36
-  \item {\Bslash octnumber}, 36
-  \item {\Bslash OD}, 96
-  \item {\Bslash Od}, 96
-  \item {\Bslash off}, 34
-  \item {\Bslash OH}, 96
-  \item {\Bslash Oh}, 96
-  \item {\Bslash oldGclef}, 94
-  \item oriscus, 87
-  \item {\Bslash oriscus}, 87
-  \item ornament codings, 62
-  \item ornaments, 60, 64
-  \item {\Bslash othermention}, 97
-  \item {\Bslash ovbkt}, 62, 63
-  \item {\Bslash oxccl}, 95
-  \item {\Bslash oxccu}, 95
-  \item {\Bslash oxcl}, 95
-  \item {\Bslash oxcu}, 95
-  \item {\Bslash oxqb}, 95
-  \item {\Bslash oxql}, 95
-  \item {\Bslash oxqu}, 95
-  \item {\Bslash oxzq}, 95
-
-  \indexspace
-
-  \item {\Bslash p}, 61
-  \item page and line layout (global), 50
-  \item {\Bslash parindent}, 19, 21, 49, 50
-  \item {\Bslash parskip}, 49
-  \item {\Bslash PAUSe}, 31, 86
-  \item {\Bslash PAuse}, 31, 86
-  \item {\Bslash pause}, 31, 86
-  \item {\Bslash pausep}, 31, 86
-  \item PC end of line coding, 99
-  \item {\Bslash PED}, 59, 60
-  \item {\Bslash Ped}, 60
-  \item percussion music, 65, 69, 77, 80
-  \item {\Bslash pesquassus}, 89
-  \item {\Bslash pesquassusauctdown}, 91
-  \item {\Bslash piececont}, 97
-  \item {\Bslash Pizz}, 96
-  \item {\Bslash podatus}, 89
-  \item {\Bslash podatusauctdown}, 91
-  \item {\Bslash podatusauctup}, 91
-  \item {\Bslash podatusdeminut}, 92
-  \item {\Bslash podatusinitiodebilis}, 89
-  \item {\Bslash Porrectus}, 89
-  \item {\Bslash Porrectusauctdown}, 92
-  \item {\Bslash Porrectusdeminut}, 93
-  \item {\Bslash Porrectusflexus}, 90
-  \item portato, 57
-  \item {\Bslash pp}, 61
-  \item {\Bslash ppff}, 56
-  \item {\Bslash ppffsixteen}, 56
-  \item {\Bslash ppfftwenty}, 56
-  \item {\Bslash ppfftwentyfour}, 56
-  \item {\Bslash ppp}, 61
-  \item {\Bslash pppp}, 61
-  \item {\Bslash pppt}, 26
-  \item {\Bslash ppt}, 26
-  \item {\Bslash preprmorceau}, 83
-  \item {\Bslash pt $p$}, 26
-  \item punctum, 87
-  \item {\Bslash punctum}, 87
-  \item punctum auctum, 87
-  \item punctum deminutum, 87
-  \item {\Bslash punctumauctdown}, 87
-  \item {\Bslash punctumauctup}, 87
-  \item {\Bslash punctumdeminutum}, 87
-
-  \indexspace
-
-  \item {\Bslash qa}, 23
-  \item {\Bslash qb}, 21, 27
-  \item {\Bslash qbp}, 26
-  \item {\Bslash qbpp}, 26
-  \item {\Bslash qbppp}, 97
-  \item {\Bslash qh}, 83
-  \item {\Bslash ql}, 23
-  \item {\Bslash qlp}, 26
-  \item {\Bslash qlpp}, 26
-  \item {\Bslash qlppp}, 97
-  \item {\Bslash qp}, 31, 86
-  \item {\Bslash Qqbbl}, 31
-  \item {\Bslash Qqbbu}, 31
-  \item {\Bslash Qqbl}, 31
-  \item {\Bslash Qqbu}, 31
-  \item {\Bslash qqs}, 31, 86
-  \item {\Bslash qr}, 86
-  \item {\Bslash Qrtx}, 84
-  \item {\Bslash qs}, 31, 86
-  \item {\Bslash qsk}, 33, 34
-  \item {\Bslash qsoupir}, 84
-  \item {\Bslash qspace}, 33
-  \item {\Bslash Qtx}, 84
-  \item {\Bslash qu}, 21, 23
-  \item quilisma, 87
-  \item {\Bslash quilisma}, 87
-  \item {\Bslash quilismapes}, 89
-  \item {\Bslash quilismapesauctdown}, 92
-  \item {\Bslash qup}, 26
-  \item {\Bslash qupp}, 26
-  \item {\Bslash quppp}, 97
-  \item {\Bslash Qwr}, 86
-
-  \indexspace
-
-  \item {\Bslash raggedbottom}, 49
-  \item {\Bslash raggedstoppiece}, 86
-  \item {\Bslash raise}, 31
-  \item {\Bslash raisebarno}, 46
-  \item {\Bslash raiseguitar}, 94
-  \item {\Bslash raiseped}, 60
-  \item {\Bslash raisevolta}, 54
-  \item {\Bslash rcl}, 25
-  \item {\Bslash rcu}, 25
-  \item relative accidentals, 13
-  \item {\Bslash relativeaccid}, 38
-  \item {\Bslash relax}, 12
-  \item repeated patterns, 29
-  \item {\Bslash reprmorceau}, 83
-  \item {\Bslash resetclefsymbols}, 76, 78
-  \item {\Bslash resetlayout}, 70
-  \item rest lifting, 31
-  \item {\Bslash reverseallabreve}, 18
-  \item {\Bslash reverseC}, 18
-  \item {\Bslash rh}, 24
-  \item {\Bslash rhl}, 25
-  \item {\Bslash rhu}, 25
-  \item {\Bslash rightrepeat}, 52, 53
-  \item {\Bslash rlap}, 32
-  \item {\Bslash rm}, 56, 96
-  \item {\Bslash roccl}, 95
-  \item {\Bslash roccu}, 95
-  \item {\Bslash rocl}, 95
-  \item {\Bslash rocu}, 95
-  \item {\Bslash roff}, 30, 33
-  \item {\Bslash roffset}, 33
-  \item {\Bslash roqb}, 95
-  \item {\Bslash roql}, 95
-  \item {\Bslash roqu}, 95
-  \item {\Bslash rozq}, 95
-  \item {\Bslash rpar}, 62
-  \item {\Bslash rq}, 24
-  \item {\Bslash rql}, 25
-  \item {\Bslash rqu}, 25
-  \item {\Bslash rsqu}, 87
-  \item {\Bslash rtx}, 84
-  \item {\Bslash rw}, 24
-
-  \indexspace
-
-  \item {\Bslash salicus}, 91
-  \item {\Bslash salicusauctdown}, 92
-  \item {\Bslash salicusflexus}, 91
-  \item {\sc Satie, E.}, 104
-  \item scalable dimension, 34
-  \item scalable values, 34
-  \item {\Bslash scale}, 22
-  \item {\Bslash scalenoteskip}, 22
-  \item {\Bslash scandicus}, 90
-  \item {\Bslash scandicusauctdown}, 92
-  \item {\Bslash scandicusdeminut}, 93
-  \item {\sc Schofer, A.}, 15
-  \item {\sc Schumann, R.}, 103
-  \item {\Bslash sDEP}, 59, 60
-  \item {\Bslash sDep}, 60
-  \item {\Bslash Segno}, 54
-  \item {\Bslash segno}, 54
-  \item {\Bslash sepbarrules}, 47
-  \item {\Bslash setaltoclefsymbol}, 76, 78, 87
-  \item {\Bslash setbassclefsymbol}, 76, 78
-  \item {\Bslash setclef}, 17, 18, 51, 63, 76
-  \item {\Bslash setclefsymbol}, 77, 78
-  \item {\Bslash setdoubleBAR}, 49
-  \item {\Bslash setdoublebar}, 49
-  \item {\Bslash setemptybar}, 49
-  \item {\Bslash setendvolta}, 53
-  \item {\Bslash setendvoltabox}, 53, 54
-  \item {\Bslash setinterinstrument}, 68, 69, 71
-  \item {\Bslash setleftrepeat}, 52
-  \item {\Bslash setleftrightrepeat}, 52
-  \item {\Bslash setlines}, 70
-  \item {\Bslash setmeter}, 19, 52
-  \item {\Bslash setname}, 19
-  \item {\Bslash setrightrepeat}, 52
-  \item {\Bslash setsign}, 13, 50
-  \item {\Bslash setsign$n$}, 38
-  \item {\Bslash setsize}, 66
-  \item {\Bslash setsize$n$}, 67
-  \item {\Bslash setsongraise}, 72
-  \item {\Bslash setstaffs}, 17, 71
-  \item {\Bslash settrebleclefsymbol}, 78
-  \item {\Bslash Setvolta}, 53
-  \item {\Bslash setvolta}, 53
-  \item {\Bslash setvoltabox}, 54
-  \item {\Bslash sF}, 61
-  \item sforzando, 57
-  \item {\Bslash sh}, 34, 37
-  \item {\Bslash Shake}, 60
-  \item {\Bslash shake}, 60
-  \item {\Bslash Shakel}, 60
-  \item {\Bslash Shakene}, 60
-  \item {\Bslash Shakenw}, 60
-  \item {\Bslash Shakesw}, 60
-  \item sharps, 18
-  \item {\Bslash shiftbarno}, 46
-  \item {\Bslash shortauthor}, 97
-  \item {\Bslash shortbarrules}, 95
-  \item {\Bslash shorttitle}, 97
-  \item {\Bslash showallbarrules}, 48
-  \item {\Bslash Showbarrule}, 47
-  \item {\Bslash showbarrule}, 47
-  \item signatures, 17
-  \item sizes, 17
-  \item {\Bslash sk}, 24, 33, 34
-  \item {\Bslash sl}, 96
-  \item {\Bslash slide}, 86
-  \item {\Bslash slur}, 44
-  \item {\Bslash smallaccid}, 35
-  \item {\Bslash smallfl}, 35
-  \item {\Bslash smallmusicsize}, 17, 22, 65, 70
-  \item {\Bslash smallnotesize}, 64
-  \item {\Bslash smallsh}, 35
-  \item {\Bslash smalltype}, 56
-  \item {\Bslash smallvalue}, 66
-  \item soft width, 9
-  \item {\Bslash softlyrics}, 73
-  \item {\Bslash songbottom}, 19
-  \item {\Bslash songtop}, 19
-  \item {\Bslash soupir}, 31
-  \item {\Bslash SP}, 96
-  \item spacing, 7
-  \item spacing note, 21
-  \item {\Bslash sPED}, 59, 60
-  \item {\Bslash sPed}, 60
-  \item {\Bslash squ}, 87
-  \item {\Bslash sslur}, 45
-  \item staccato, 57
-  \item staff line number, 69
-  \item staff size, 65, 66
-  \item staff spacing, 66
-  \item {\Bslash staffbotmarg}, 49, 68--72
-  \item {\Bslash staffspacing}, 66
-  \item {\Bslash stafftopmarg}, 49, 68, 70, 94
-  \item standard musical notation, 5
-  \item {\Bslash startbarno}, 46
-  \item {\Bslash startextract}, 70, 82
-  \item {\Bslash startmuflex}, 20
-  \item {\Bslash startpiece}, 21, 49, 52, 69, 70, 82--84, 97
-  \item {\Bslash startrule}, 18
-  \item {\Bslash stdbarrules}, 47
-  \item {\Bslash stdstemfalse}, 62
-  \item {\Bslash stdstemtrue}, 62
-  \item {\sc Steinbach, A.}, 15
-  \item {\Bslash stemcut}, 62
-  \item {\Bslash stemfactor}, 69
-  \item {\Bslash stemlength}, 61, 62, 69
-  \item stems, 17
-  \item {\Bslash stie}, 45
-  \item {\Bslash Stoppiece}, 10, 49, 83
-  \item {\Bslash stoppiece}, 10, 11, 49, 52, 69, 82, 83, 97
-  \item string instruments, 96
-  \item style, 81
-  \item subbass, 17
-  \item {\Bslash subtitle}, 97
-  \item {\Bslash suspmorceau}, 83
-  \item {\Bslash svtpoint}, 96
-  \item {\Bslash systemheight}, 68
-  \item {\Bslash systemnumbers}, 46
-  \item {\sc Szukics, B.}, 87
-
-  \indexspace
-
-  \item tabulation, 82
-  \item {\Bslash tbbbbbbl}, 84
-  \item {\Bslash tbbbbbbu}, 84
-  \item {\Bslash tbbbbbl}, 84
-  \item {\Bslash tbbbbbu}, 84
-  \item {\Bslash tbbbbl}, 28
-  \item {\Bslash tbbbbu}, 28
-  \item {\Bslash tbbbl}, 28
-  \item {\Bslash tbbbu}, 28
-  \item {\Bslash tbbl}, 28
-  \item {\Bslash tbbu}, 28
-  \item {\Bslash tbl}, 27
-  \item {\Bslash tbslurd}, 39
-  \item {\Bslash tbsluru}, 39
-  \item {\Bslash tbu}, 27
-  \item {\Bslash tcresc}, 61
-  \item {\Bslash tdecresc}, 61
-  \item {\Bslash temps}, 84
-  \item tenor violin clef, 63
-  \item {\Bslash tenpoint}, 96
-  \item {\Bslash tgccl}, 95
-  \item {\Bslash tgccu}, 95
-  \item {\Bslash tgcl}, 95
-  \item {\Bslash tgcu}, 95
-  \item {\Bslash tgqb}, 95
-  \item {\Bslash tgql}, 95
-  \item {\Bslash tgqu}, 95
-  \item {\Bslash tgzq}, 95
-  \item {\Bslash thelyrics}, 73
-  \item {\Bslash thsong}, 73
-  \item {\Bslash tie}, 45
-  \item ties, 39
-  \item {\Bslash tinynotesize}, 64
-  \item {\Bslash tinyvalue}, 66
-  \item {\Bslash title}, 97
-  \item titles, 96
-  \item {\Bslash Toctfin}, 36
-  \item {\Bslash today}, 85
-  \item {\Bslash torculus}, 89
-  \item {\Bslash torculusauctdown}, 92
-  \item {\Bslash torculusdebilis}, 93
-  \item {\Bslash torculusdeminut}, 92
-  \item {\Bslash torculusinitiodebilis}, 89
-  \item {\Bslash tqb}, 27
-  \item {\Bslash Tqbbl}, 31
-  \item {\Bslash Tqbbu}, 31
-  \item {\Bslash Tqbl}, 31
-  \item {\Bslash Tqbu}, 31
-  \item {\Bslash tqh}, 27
-  \item traduction, 5
-  \item {\Bslash transpose}, 13, 35, 37
-  \item {\Bslash treble}, 18
-  \item {\Bslash treblelowoct}, 78
-  \item {\Bslash trebleoct}, 78
-  \item {\Bslash trigonus}, 91
-  \item {\Bslash Trille}, 58
-  \item {\Bslash trille}, 58
-  \item {\Bslash TrilleC}, 59
-  \item {\Bslash trilleC}, 59
-  \item {\Bslash TrilleX}, 59
-  \item {\Bslash trilleX}, 59
-  \item trills, 58
-  \item {\Bslash triolet}, 58
-  \item {\Bslash tristropha}, 88
-  \item {\Bslash trivirga}, 88
-  \item {\Bslash Trtx}, 84
-  \item {\Bslash tslur}, 38, 39
-  \item {\Bslash Tslurbreak}, 44
-  \item {\Bslash tsslur}, 39
-  \item {\Bslash tten}, 40
-  \item {\Bslash ttie}, 39
-  \item {\Bslash Ttrille}, 59
-  \item {\Bslash tTrille}, 59
-  \item {\Bslash ttrille}, 59
-  \item {\Bslash Ttx}, 84
-  \item {\Bslash turn}, 60
-  \item {\Bslash twfvpoint}, 96
-  \item {\Bslash twlpoint}, 96
-  \item {\Bslash twtypoint}, 96
-  \item {\Bslash tx}, 84
-  \item {\Bslash txt}, 58, 62
-
-  \indexspace
-
-  \item {\Bslash UD}, 96
-  \item {\Bslash Ud}, 96
-  \item {\Bslash UH}, 96
-  \item {\Bslash Uh}, 96
-  \item {\Bslash unbkt}, 62, 63
-  \item {\Bslash upbow}, 57, 96
-  \item {\Bslash upperfl}, 35
-  \item {\Bslash upperna}, 35
-  \item {\Bslash uppersh}, 35
-  \item {\Bslash uppz}, 57
-  \item {\Bslash Uptext}, 54, 55, 57
-  \item {\Bslash uptext}, 55
-  \item {\Bslash uptrio}, 62
-  \item {\Bslash upz}, 57
-  \item {\Bslash upzst}, 57
-  \item {\Bslash usf}, 57
-  \item {\Bslash usfz}, 57
-  \item {\Bslash ust}, 57
-
-  \indexspace
-
-  \item {\Bslash vadjust}, 63
-  \item {\Bslash varaccid}, 35
-  \item {\Bslash varline}, 62
-  \item {\Bslash vfootnote}, 97
-  \item violin, 96
-  \item violin clef, 18, 51
-  \item violin harmonic notes, 65
-  \item virga, 87
-  \item {\Bslash virga}, 87
-  \item {\Bslash voffset}, 50, 96, 103
-  \item voices, 68
-  \item {\Bslash voltadot}, 54
-  \item {\Bslash vsize}, 50, 96
-
-  \indexspace
-
-  \item {\Bslash wh}, 23
-  \item {\Bslash wholeshift}, 57
-  \item {\Bslash whp}, 26
-  \item {\Bslash whpp}, 26
-  \item {\Bslash whppp}, 97
-  \item {\sc Widor, C.M.}, 104
-  \item {\Bslash wq}, 23
-  \item {\Bslash wqq}, 23
-  \item {\Bslash wr}, 86
-  \item {\Bslash writebarno}, 46
-  \item {\Bslash writethebarno}, 46
-  \item {\Bslash writezbarno}, 46
-  \item {\Bslash wrp}, 86
-
-  \indexspace
-
-  \item {\Bslash xbar}, 49
-  \item {\Bslash xccl}, 95
-  \item {\Bslash xccu}, 95
-  \item {\Bslash xcl}, 95
-  \item {\Bslash xcu}, 95
-  \item {\Bslash xqb}, 95
-  \item {\Bslash xql}, 95
-  \item {\Bslash xqu}, 95
-  \item {\Bslash xtuplet}, 58
-  \item {\Bslash xzq}, 95
-
-  \indexspace
-
-  \item {\Bslash yccccl}, 85
-  \item {\Bslash yccccu}, 85
-  \item {\Bslash ycccl}, 85
-  \item {\Bslash ycccu}, 85
-  \item {\Bslash yccl}, 85
-  \item {\Bslash yccu}, 85
-  \item {\Bslash ycl}, 85
-  \item {\Bslash yclp}, 85
-  \item {\Bslash yclpp}, 85
-  \item {\Bslash ycu}, 85
-  \item {\Bslash ycup}, 85
-  \item {\Bslash ycupp}, 85
-  \item {\Bslash ynq}, 85
-  \item {\Bslash yqb}, 85
-  \item {\Bslash yql}, 85
-  \item {\Bslash yqlp}, 85
-  \item {\Bslash yqlpp}, 85
-  \item {\Bslash yqu}, 85
-  \item {\Bslash yqup}, 85
-  \item {\Bslash yqupp}, 85
-  \item {\Bslash yzq}, 85
-  \item {\Bslash yzqp}, 85
-  \item {\Bslash yzqpp}, 85
-
-  \indexspace
-
-  \item {\Bslash zalaligne}, 10, 49
-  \item {\Bslash zalapage}, 10, 49
-  \item {\Bslash zapostropha}, 87
-  \item {\Bslash zbar}, 49
-  \item {\Bslash zbreath}, 60
-  \item {\Bslash zbreve}, 25
-  \item {\Bslash zcccccl}, 84
-  \item {\Bslash zcccccu}, 84
-  \item {\Bslash zccccl}, 25
-  \item {\Bslash zcccclp}, 96
-  \item {\Bslash zcccclpp}, 96
-  \item {\Bslash zccccu}, 25
-  \item {\Bslash zccccup}, 96
-  \item {\Bslash zccccupp}, 96
-  \item {\Bslash zcccl}, 25
-  \item {\Bslash zccclp}, 96
-  \item {\Bslash zccclpp}, 96
-  \item {\Bslash zcccu}, 25
-  \item {\Bslash zcccup}, 96
-  \item {\Bslash zcccupp}, 96
-  \item {\Bslash zccl}, 25
-  \item {\Bslash zcclp}, 96
-  \item {\Bslash zcclpp}, 96
-  \item {\Bslash zccu}, 25
-  \item {\Bslash zccup}, 96
-  \item {\Bslash zccupp}, 96
-  \item {\Bslash zchangeclefs}, 51
-  \item {\Bslash zchangecontext}, 51, 52
-  \item {\Bslash zchar}, 54, 55, 60, 71
-  \item {\Bslash zcharnote}, 8, 54, 55, 60, 63, 71
-  \item {\Bslash zcl}, 25
-  \item {\Bslash zclp}, 26
-  \item {\Bslash zclpp}, 26
-  \item {\Bslash zclppp}, 97
-  \item {\Bslash zcu}, 25
-  \item {\Bslash zcup}, 26
-  \item {\Bslash zcupp}, 26
-  \item {\Bslash zcuppp}, 97
-  \item {\Bslash zdiapunc}, 87
-  \item {\Bslash zendextract}, 70
-  \item {\Bslash zh}, 24
-  \item {\Bslash zhl}, 25
-  \item {\Bslash zhlp}, 26
-  \item {\Bslash zhlpp}, 26
-  \item {\Bslash zhlppp}, 97
-  \item {\Bslash zhp}, 26
-  \item {\Bslash zhpp}, 26
-  \item {\Bslash zhppp}, 97
-  \item {\Bslash zhu}, 25
-  \item {\Bslash zhup}, 26
-  \item {\Bslash zhupp}, 26
-  \item {\Bslash zhuppp}, 97
-  \item {\Bslash zlonga}, 25
-  \item {\Bslash zlsqu}, 87
-  \item {\Bslash zmaxima}, 23, 25
-  \item {\Bslash zmidstaff}, 55
-  \item {\Bslash znh}, 25
-  \item {\Bslash znotes}, 21
-  \item {\Bslash znq}, 25
-  \item {\Bslash zoriscus}, 87
-  \item {\Bslash zq}, 7, 24
-  \item {\Bslash zqb}, 25
-  \item {\Bslash zqbp}, 26
-  \item {\Bslash zqbpp}, 26
-  \item {\Bslash zqbppp}, 97
-  \item {\Bslash zql}, 25
-  \item {\Bslash zqlp}, 26
-  \item {\Bslash zqlpp}, 26
-  \item {\Bslash zqlppp}, 97
-  \item {\Bslash zqp}, 26
-  \item {\Bslash zqpp}, 26
-  \item {\Bslash zqppp}, 97
-  \item {\Bslash zqu}, 25
-  \item {\Bslash zqup}, 26
-  \item {\Bslash zqupp}, 26
-  \item {\Bslash zquppp}, 97
-  \item {\Bslash zrsqu}, 87
-  \item {\Bslash zsong}, 72
-  \item {\Bslash zsqu}, 87
-  \item {\Bslash zstoppiece}, 10, 49
-  \item {\Bslash ztqb}, 27
-  \item {\Bslash ztqh}, 27
-  \item {\Bslash zw}, 25
-  \item {\Bslash zwp}, 26
-  \item {\Bslash zwpp}, 26
-  \item {\Bslash zwppp}, 97
-  \item {\Bslash zwq}, 25
-  \item {\Bslash zynq}, 85
-
-\end{theindex}
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixlyr.tex b/Master/texmf-dist/tex/generic/musixtex/musixlyr.tex
index 753928bf99c..fc9aaaf9b1f 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixlyr.tex
+++ b/Master/texmf-dist/tex/generic/musixtex/musixlyr.tex
@@ -26,7 +26,7 @@
 %%  E-mail:  rainer.dunker@web.de
 %%
 \ifx\undefined\lyr\else\endinput\fi
-\immediate\write10{MusiXLYRics 2.1c\space<June 10, 2003>}
+\immediate\write16{MusiXLYRics 2.1c\space<June 10, 2003>}
 \def\musixlyrversion{2.12}
 
 \makeatletter
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixmad.tex b/Master/texmf-dist/tex/generic/musixtex/musixmad.tex
index 18b705c2e96..6d29d3cd843 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixmad.tex
+++ b/Master/texmf-dist/tex/generic/musixtex/musixmad.tex
@@ -16,135 +16,15 @@
 %   the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
 %   Boston, MA 02111-1307, USA.
 %
-
-\ifx\staffspacingxii\undefined\else\endinput\fi
-
-% input musixadd before changing \catcode`\@ to avoid macro collision
-\ifnum\maxinstruments<9 \input musixadd \fi
-
-\immediate\write16{MusiXMore ADditional instruments T.113\space<28 June 2005>}%
-
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
-
-%\ifx\undefined\documentstyle \else
-%  \errmessage{MusiXMAD+LaTeX will need too many dimension registers, it's
-%better to stop with 'x'}\fi
-
-\let\@wloG\wlog
-\def\wlog#1{}
-
-\let\maxinstruments\tw@lv@
-
-\let\interinstrumentx\interinstrument
-\let\interinstrumentxi\interinstrument
-\let\interinstrumentxii\interinstrument
-
-\let\T@Rx\z@
-\let\T@Rxi\z@
-\let\T@Rxii\z@
-
-\let\staffspacingx\@ne
-\let\staffspacingxi\@ne
-\let\staffspacingxii\@ne
-
-\newskip\k@ix
-\newskip\k@ixi
-\newskip\k@ixii
-
-\newskip\i@nx
-\newskip\i@nxi
-\newskip\i@nxii
-
-\newskip\b@xx  \newskip\b@zx
-\newskip\b@xxi \newskip\b@zxi
-\newskip\b@xxii\newskip\b@zxii
-
-\newskip\c@xx  \newskip\c@zx
-\newskip\c@xxi \newskip\c@zxi
-\newskip\c@xxii\newskip\c@zxii
-
-\newskip\d@xx  \newskip\d@zx
-\newskip\d@xxi \newskip\d@zxi
-\newskip\d@xxii\newskip\d@zxii
-
-\newskip\e@xx  \newskip\e@zx
-\newskip\e@xxi \newskip\e@zxi
-\newskip\e@xxii\newskip\e@zxii
-
-\newcount\b@px  \newcount\b@nx
-\newcount\b@pxi \newcount\b@nxi
-\newcount\b@pxii\newcount\b@nxii
-
-\newcount\n@px  \n@px\@ne
-\newcount\n@pxi \n@pxi\@ne
-\newcount\n@pxii\n@pxii\@ne
-
-\newskip\s@xx
-\newskip\s@xxi
-\newskip\s@xxii
-\newskip\s@Yx
-\newskip\s@Yxi
-\newskip\s@Yxii
-\newskip\s@ax
-\newskip\s@axi
-\newskip\s@axii
-\newtoks\s@sx  \s@sx={x}
-\newtoks\s@sxi \s@sxi={x}
-\newtoks\s@sxii\s@sxii={x}
-\newcount\s@yx
-\newcount\s@yxi
-\newcount\s@yxii
-\newcount\s@Nx
-\newcount\s@Nxi
-\newcount\s@Nxii
-\newcount\s@zx  \s@zx\maxdimen
-\newcount\s@zxi \s@zxi\maxdimen
-\newcount\s@zxii\s@zxii\maxdimen
-\newtoks\s@dx
-\newtoks\s@dxi
-\newtoks\s@dxii
-
-\newcount\a@sx  \newcount\o@sx
-\newcount\a@sxi \newcount\o@sxi
-\newcount\a@sxii\newcount\o@sxii
-
-\newtoks\a@cx   \a@cx={{\z@}{\z@}{\z@}{\z@}}
-\newtoks\a@cxi  \a@cxi={{\z@}{\z@}{\z@}{\z@}}
-\newtoks\a@cxii \a@cxii={{\z@}{\z@}{\z@}{\z@}}
-
-\newtoks\o@cx
-\newtoks\o@cxi
-\newtoks\o@cxii
-
-\newtoks\m@tx
-\newtoks\m@txi
-\newtoks\m@txii
-
-\def\resetlayout{\let\interfacteur\nin@
-  \stafftopmarg\thr@@\Interligne \staffbotmarg\thr@@\Interligne
-  \let\n@li\fiv@ \let\n@lii\fiv@ \let\n@liii\fiv@
-  \let\n@liv\fiv@ \let\n@lv\fiv@ \let\n@lvi\fiv@
-  \let\n@lvii\fiv@ \let\n@lviii\fiv@ \let\n@lix\fiv@
-  \let\n@lx\fiv@ \let\n@lxi\fiv@ \let\n@lxii\fiv@
-  \resetclefsymbols}
-
-\def\resetclefsymbols{%
-  \let\treblec@si\z@ \let\treblec@sii\z@ \let\treblec@siii\z@ \let\treblec@siv\z@
-  \let\treblec@sv\z@ \let\treblec@svi\z@ \let\treblec@svii\z@ \let\treblec@sviii\z@ \let\treblec@six\z@
-  \let\treblec@sx\z@ \let\treblec@sxi\z@ \let\treblec@sxii\z@
-  \let\altoc@si\z@ \let\altoc@sii\z@ \let\altoc@siii\z@ \let\altoc@siv\z@
-  \let\altoc@sv\z@ \let\altoc@svi\z@ \let\altoc@svii\z@ \let\altoc@sviii\z@ \let\altoc@six\z@
-  \let\altoc@sx\z@ \let\altoc@sxi\z@ \let\altoc@sxii\z@
-  \let\bassc@si\z@ \let\bassc@sii\z@ \let\bassc@siii\z@ \let\bassc@siv\z@
-  \let\bassc@sv\z@ \let\bassc@svi\z@ \let\bassc@svii\z@ \let\bassc@sviii\z@ \let\bassc@six\z@
-  \let\bassc@sx\z@ \let\bassc@sxi\z@ \let\bassc@sxii\z@
-}
-
-\let\nbinstruments\maxinstruments
-\normalnotesize\resetlayout
-\let\nbinstruments\@ne
-
-\let\wlog\@wloG
-
-\catcode`\@=\catcodeat
+%
+%   musixmad.tex : allocate registers for more additional instruments
+%
+\immediate\write16{MusiXMore ADditional instruments T.115 <19 Nov 2010>}%
+%
+%
+% setup the maximum element numbers
+\setmaxinstruments{12}%
+\setmaxgroups{4}%
+\setmaxslurs\maxinstruments
+%
 \endinput
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixper.tex b/Master/texmf-dist/tex/generic/musixtex/musixper.tex
index 39dd908fca7..47ad54e6440 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixper.tex
+++ b/Master/texmf-dist/tex/generic/musixtex/musixper.tex
@@ -16,16 +16,16 @@
 %   the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
 %   Boston, MA 02111-1307, USA.
 %
-\immediate\write16{MusiXPERcussion T.60\space<23 September 1996>}%
-
 \ifx\undefined\drumclef \else \endinput \fi
 
-\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+\immediate\write16{MusiXPERcussion T.60\space<27 September 2010>}%
 
 \ifx\undefined\dqb
   \input musixdia
 \fi
 
+\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+
 % if you need pointed percussion notes, say '\p[p][p]t n\xqu n' or '\xqu{.n}'
 % if you need them more often define them by your one
 
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixps.tex b/Master/texmf-dist/tex/generic/musixtex/musixps.tex
index c604de32011..c2a392c80be 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixps.tex
+++ b/Master/texmf-dist/tex/generic/musixtex/musixps.tex
@@ -1,20 +1,5 @@
 %% PostScript slurs, ties and crescendos
-%  Copyright 2002  by Stanislav Kneifl stanislav.kneifl@hieronymus.cz
-%
-% 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.
-
+%   Coded by Stanislav Kneifl
 
 \ifx\undefined\liftcresc\else\endinput\fi
 
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixtex.tex b/Master/texmf-dist/tex/generic/musixtex/musixtex.tex
index 618711cfa53..3dee4a2e36d 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixtex.tex
+++ b/Master/texmf-dist/tex/generic/musixtex/musixtex.tex
@@ -16,18 +16,21 @@
 %   the Free Software Foundation, Inc., 59 Temple Place - Suite 330,
 %   Boston, MA 02111-1307, USA.
 %
-%   New in this version
-%   macros: \lwp \lwpp \rwp \rwpp \lhp \rhp \lhpp \rhpp
+%   Main changes of T.115 (Search the string "T115" for details.)
+%   New user macros:
+%     \mxvernumber, \mxversuffix
+%     \setmaxinstruments, \setmaxcxxviiibeams, \setmaxcclvibeams,
+%     \setmaxgroups, \setmaxslurs, \setmaxtrills, \setmaxoctlines
+%     \smalltrebleoct, \smalltreblelowoct, \smallbassoct, \smallbasslowoct
+%     
+%   Changes functionally/syntax compatible:
+%     \mxversion
+%     \resetlayout, \resetclefsymbols
+%     
+%   Changes which may be incompatible:
+%     \maxinstruments
+%     \setname
 %
-%   Correction of signature spacing at change of the music size (l.1428-35)rev2
-%
-%   Correction of a bug in the definition of choir bracket (l.1690-1700)
-%
-%   Correction of a bug in the macro \rul@sep (l. 2259)(l.2273)
-%
-%   \cclp, \zccup, \zcclp from musixpoi.tex (l.3254)rev3 typo correction
-%
-%   Correction of a historical bug of stem length (l.4460)
 %
 \ifx\undefined\startpiece \else \endinput \fi
 \edef\catcodeat{\the\catcode`\@}\catcode`\@=11
@@ -36,8 +39,12 @@
 \ifx\makeatother\undefined\def\makeatother{\catcode`\@=12\relax}\fi
 
 \def\mufl@x{0.83}%
-\def\mxversion{T.114}
-\def\mxdate{1 Feb 2009} % T.114-rev.4
+\def\mxmajorvernumber{1}
+\def\mxminorvernumber{15}
+\def\mxvernumber{\mxmajorvernumber\mxminorvernumber}% make it possible to compare with \ifnum
+\def\mxversuffix{}% 
+\edef\mxversion{\mxmajorvernumber.\mxminorvernumber\mxversuffix}
+\def\mxdate{3 April 2011}
 
 \immediate\write16{MusiXTeX(c) \mxversion\space<\mxdate>}%
 \everyjob{\immediate\write16{MusiXTeX(c) \mxversion\space<\mxdate>}}%
@@ -57,6 +64,10 @@
 %          marked with +simick for added single lines, -simick for
 %++simick  replaced lines and ++simick...++simick for added blocks
 
+% Hiroaki, May2010, T.115: change register allocation codes into new ones 
+% which enables >12 elements.  Search the string "T115" for details.
+%
+
 % TeXperts may want to change the next
 
 % PARAMETER DIFFERENT THAN PLAIN
@@ -156,9 +167,9 @@
 %...\let\@wloG=\wlog
 %...\def\wlog#1{}
 
-%%% account registers
+%%% account registers 
 
-\let\maxinstruments\si@
+% \let\maxinstruments\si@ % [T115] here disabled to avoid conflict
 
 % temporary registers
 
@@ -183,133 +194,324 @@
 \newdimen\y@iv
 \newdimen\y@v
 
+% [T115] moved out to the new register allocation code -- start from here --
 % altitude
-
-\newskip\k@ii
-\newskip\k@iii
-\newskip\k@iiii
-\newskip\k@iiv
-\newskip\k@iv
-\newskip\k@ivi
-
+%  \newskip\k@ii
 % InterNote
-
-\newdimen\i@ni
-\newdimen\i@nii
-\newdimen\i@niii
-\newdimen\i@niv
-\newdimen\i@nv
-\newdimen\i@nvi
-
+%  \newdimen\i@ni
 \def\i@n{\z@} % safety in case of....
-
 % positions x et z de debut des poutres
-
-\newdimen\b@xi  \newdimen\b@zi
-\newdimen\b@xii \newdimen\b@zii
-\newdimen\b@xiii\newdimen\b@ziii
-\newdimen\b@xiv \newdimen\b@ziv
-\newdimen\b@xv  \newdimen\b@zv
-\newdimen\b@xvi \newdimen\b@zvi
-
-\newdimen\c@xi  \newskip\c@zi
-\newdimen\c@xii \newskip\c@zii
-\newdimen\c@xiii\newskip\c@ziii
-\newdimen\c@xiv \newskip\c@ziv
-\newdimen\c@xv  \newskip\c@zv
-\newdimen\c@xvi \newskip\c@zvi
-
-\newdimen\d@xi  \newskip\d@zi
-\newdimen\d@xii \newskip\d@zii
-\newdimen\d@xiii\newskip\d@ziii
-\newdimen\d@xiv \newskip\d@ziv
-\newdimen\d@xv  \newskip\d@zv
-\newdimen\d@xvi \newskip\d@zvi
-
-\newdimen\e@xi  \newskip\e@zi
-\newdimen\e@xii \newskip\e@zii
-\newdimen\e@xiii\newskip\e@ziii
-\newdimen\e@xiv \newskip\e@ziv
-\newdimen\e@xv  \newskip\e@zv
-\newdimen\e@xvi \newskip\e@zvi
-
-\newdimen\f@xi  \newskip\f@zi
-\newdimen\f@xii \newskip\f@zii
-\newdimen\f@xiii\newskip\f@ziii
-\newdimen\f@xiv \newskip\f@ziv
-\newdimen\f@xv  \newskip\f@zv
-\newdimen\f@xvi \newskip\f@zvi
-
+%  \newdimen\b@xi  \newdimen\b@zi
+%  \newdimen\c@xi  \newskip\c@zi
+%  \newdimen\d@xi  \newskip\d@zi
+%  \newdimen\e@xi  \newskip\e@zi
+%  \newdimen\f@xi  \newskip\f@zi
 % pentes des poutres ( entier de -9 a +9 )
 % multiplicite des poutres ( de -5 a +5 . 0= inactive )
-
-\newcount\b@pi  \newcount\b@ni
-\newcount\b@pii \newcount\b@nii
-\newcount\b@piii\newcount\b@niii
-\newcount\b@piv \newcount\b@niv
-\newcount\b@pv  \newcount\b@nv
-\newcount\b@pvi \newcount\b@nvi
-
+%  \newcount\b@pi  \newcount\b@ni
 % Number of Portees
-
-\newcount\n@pi  \n@pi\@ne
-\newcount\n@pii \n@pii\@ne
-\newcount\n@piii\n@piii\@ne
-\newcount\n@piv \n@piv\@ne
-\newcount\n@pv  \n@pv\@ne
-\newcount\n@pvi \n@pvi\@ne
-
+%  \newcount\n@pi  \n@pi\@ne
 % Actual Signs   Old Signs
-
-\newcount\a@si  \newcount\o@si
-\newcount\a@sii \newcount\o@sii
-\newcount\a@siii\newcount\o@siii
-\newcount\a@siv \newcount\o@siv
-\newcount\a@sv  \newcount\o@sv
-\newcount\a@svi \newcount\o@svi
-
+%  \newcount\a@si  \newcount\o@si
 % ActualCleftoks
-
-\newtoks\a@ci  \a@ci={{\z@}{\z@}{\z@}{\z@}}
-\newtoks\a@cii \a@cii={{\z@}{\z@}{\z@}{\z@}}
-\newtoks\a@ciii\a@ciii={{\z@}{\z@}{\z@}{\z@}}
-\newtoks\a@civ \a@civ={{\z@}{\z@}{\z@}{\z@}}
-\newtoks\a@cv  \a@cv={{\z@}{\z@}{\z@}{\z@}}
-\newtoks\a@cvi \a@cvi={{\z@}{\z@}{\z@}{\z@}}
-
+%  \newtoks\a@ci  \a@ci={{\z@}{\z@}{\z@}{\z@}}
 % OldCleftoks
-
-\newtoks\o@ci
-\newtoks\o@cii
-\newtoks\o@ciii
-\newtoks\o@civ
-\newtoks\o@cv
-\newtoks\o@cvi
-
+%  \newtoks\o@ci
 % MeterToks
-
-\newtoks\m@ti
-\newtoks\m@tii
-\newtoks\m@tiii
-\newtoks\m@tiv
-\newtoks\m@tv
-\newtoks\m@tvi
-
+%  \newtoks\m@ti
 % Altitude of choir groups
-
-\newskip\g@bi
-\newskip\g@bii
-\newskip\g@biii
-
+%  \newskip\g@bi
 % Height of choir groups
+%  \newskip\g@hi
 
-\newskip\g@hi
-\newskip\g@hii
-\newskip\g@hiii
-
-\let\maxgroups\thr@@ % maximum three groups of instruments or choirs
+% [T115] moved out to the new register allocation code -- until here --
+% \let\maxgroups\thr@@ % maximum three groups of instruments or choirs [T115] moved to later, using \setmaxgroups
 \newcount\group@no
 
+%%% [T115] new register allocation code -- start from here --
+%
+% register allocation for use inside \loop...\if...\repeat
+% (only for plain, but no harm even in case of LaTeX)
+\edef\noexpand@newcount{\noexpand\newcount}%
+\edef\noexpand@newdimen{\noexpand\newdimen}%
+\edef\noexpand@newskip{\noexpand\newskip}%
+%\edef\noexpand@newmuskip{\noexpand\newmuskip}% not used
+%\edef\noexpand@newbox{\noexpand\newbox}% not used
+\edef\noexpand@newtoks{\noexpand\newtoks}%
+%\edef\noexpand@newmarks{\noexpand\newmarks}% not used
+%
+% a shortcut for register allocation routines
+\def\roman@c@{\romannumeral\count@}%
+%
+% some registers (i@n, b@x, b@z, c@x, d@x, e@x, s@x, s@Y) 
+% should be allocated by \newdimen (for id 0...5) and \newskip (for id 6...11)
+% because T.114 and earlier did so and for the compatibility to Stanislav 
+% Kneifl's musixps.tex 0.92a.
+% And again \newdimen (for id>11), because both \dimen and \skip are 
+% applicable but \dimen uses less memory in case of >255 on e-TeX.
+\def\noexpand@newdimsk{%
+  \ifnum\count@<7 \let\@@newdimsk=\noexpand@newdimen
+  \else\ifnum\count@<13  \let\@@newdimsk=\noexpand@newskip
+  \else\let\@@newdimsk=\noexpand@newdimen
+  \fi\fi \@@newdimsk}%
+%
+% and some other registers (c@z, d@z, e@z, f@z, g@z) 
+% should be allocated by \newskip (for id 0...11) and \newdimen (for id>11)
+% for the same reason of above.
+\def\noexpand@newskdim{%
+  \ifnum\count@<13 \let\@@newskdim=\noexpand@newskip
+  \else \let\@@newskdim=\noexpand@newdimen
+  \fi \@@newskdim}%
+%
+% registers for instrument
+\newdimen\interinstrument % moved from "distance between instruments" to here
+\def\setmaxinstruments#1{%
+  \ifnum#1>\@oldmaxinstruments
+    \chardef\maxinstruments=#1\relax
+    \ifnum#1>\@c
+      \errmessage{The maximum reference number of elements is limited to \the\@c}
+      \chardef\maxinstruments=\@c
+    \fi
+    \count@\@oldmaxinstruments\loop
+      \advance\count@ by\@ne
+      %
+      \expandafter \let \csname interinstrument\roman@c@\endcsname \interinstrument
+      %
+      % altitude
+      \expandafter \noexpand@newskip  \csname k@i\roman@c@\endcsname
+      %
+      % InterNote
+      \expandafter \noexpand@newdimsk \csname i@n\roman@c@\endcsname
+      %
+      % beam horizontal positions: x=start, z=end, 8th-64th beams
+      \expandafter \noexpand@newdimsk \csname b@x\roman@c@\endcsname
+      \expandafter \noexpand@newdimsk \csname b@z\roman@c@\endcsname
+      \expandafter \noexpand@newdimsk \csname c@x\roman@c@\endcsname
+      \expandafter \noexpand@newskdim \csname c@z\roman@c@\endcsname
+      \expandafter \noexpand@newdimsk \csname d@x\roman@c@\endcsname
+      \expandafter \noexpand@newskdim \csname d@z\roman@c@\endcsname
+      \expandafter \noexpand@newdimsk \csname e@x\roman@c@\endcsname
+      \expandafter \noexpand@newskdim \csname e@z\roman@c@\endcsname
+      %
+      % pentes des poutres ( entier de -9 a +9 ) (slopes of the beams)
+      % multiplicite des poutres ( de -5 a +5 . 0= inactive ) (multiplicity of the beams)
+      \expandafter \noexpand@newcount \csname b@p\roman@c@\endcsname
+      \expandafter \noexpand@newcount \csname b@n\roman@c@\endcsname
+      %
+      % Number of Portees
+      \expandafter \noexpand@newcount \csname n@p\roman@c@\endcsname
+      \csname n@p\roman@c@\endcsname\@ne
+      %
+      % Actual Signs
+      \expandafter \noexpand@newcount \csname a@s\roman@c@\endcsname
+      %
+      % Old Signs
+      \expandafter \noexpand@newcount \csname o@s\roman@c@\endcsname
+      %
+      % ActualCleftoks
+      \expandafter \noexpand@newtoks  \csname a@c\roman@c@\endcsname
+      \csname a@c\roman@c@\endcsname={{\z@}{\z@}{\z@}{\z@}}%
+      %
+      % OldCleftoks
+      \expandafter \noexpand@newtoks  \csname o@c\roman@c@\endcsname
+      %
+      % MeterToks
+      \expandafter \noexpand@newtoks  \csname m@t\roman@c@\endcsname
+      %
+      % staffsize
+      \expandafter \let \csname staffspacing\roman@c@\endcsname \@ne
+      %
+      % text, lyrics, free positioning of chars
+      \expandafter \let \csname T@R\roman@c@\endcsname \z@
+      %
+      % preset clef symbols
+      \expandafter \let \csname treblec@s\roman@c@\endcsname \z@
+      \expandafter \let \csname altoc@s\roman@c@\endcsname \z@
+      \expandafter \let \csname bassc@s\roman@c@\endcsname \z@
+      %
+      % preset default staff lines as 5
+      \expandafter \let \csname n@l\roman@c@\endcsname \fiv@
+      %
+    \ifnum\count@<\maxinstruments\repeat
+    \expandafter\message\expandafter{maxinstruments=\the\maxinstruments}%
+    \chardef\@oldmaxinstruments=\maxinstruments\relax%
+    \normalnotesize\resetlayout
+  \fi
+}%
+%
+% registers for 128th beam
+\def\setmaxcxxviiibeams#1{%
+  \ifnum#1>\maxinstruments
+    \errmessage{The number of 128th beam must not exceed maxinstruments}%
+  \else
+    \ifnum#1>\@oldmaxcxxviiibeams
+      \chardef\maxcxxviiibeams=#1\relax
+      \ifnum#1>\@c
+        \errmessage{The maximum reference number of elements is limited to \the\@c}
+        \chardef\maxcxxviiibeams=\@c
+      \fi
+      \count@\@oldmaxcxxviiibeams \loop
+        \advance\count@ by\@ne
+        \expandafter \noexpand@newdimen \csname f@x\roman@c@\endcsname
+        \expandafter \noexpand@newskdim \csname f@z\roman@c@\endcsname
+      \ifnum\count@<\maxcxxviiibeams\repeat
+      \expandafter\message\expandafter{max128beams=\the\maxcxxviiibeams}%
+      \chardef\@oldmaxcxxviiibeams=\maxcxxviiibeams\relax%
+    \fi
+  \fi
+}%
+%
+% registers for 256th beam
+\def\setmaxcclvibeams#1{%
+  \ifnum#1>\maxcxxviiibeams
+    \errmessage{The number of 256th beam must not exceed the number of 128th beam}%
+  \else
+    \ifnum#1>\@oldmaxcclvibeams
+      \chardef\maxcclvibeams=#1\relax
+      \ifnum#1>\@c
+        \errmessage{The maximum reference number of elements is limited to \the\@c}
+        \chardef\maxcclvibeams=\@c
+      \fi
+      \count@\@oldmaxcclvibeams \loop
+        \advance\count@ by\@ne
+        \expandafter \noexpand@newdimen \csname g@x\roman@c@\endcsname
+        \expandafter \noexpand@newskdim \csname g@z\roman@c@\endcsname
+      \ifnum\count@<\maxcclvibeams\repeat
+      \expandafter\message\expandafter{max256beams=\the\maxcclvibeams}%
+      \chardef\@oldmaxcclvibeams=\maxcclvibeams\relax%
+    \fi
+  \fi
+}%
+%
+% registers for choir group
+\def\setmaxgroups#1{%
+  \ifnum#1>\@oldmaxgroups
+    \chardef\maxgroups=#1\relax
+    \ifnum#1>\@c
+      \errmessage{The maximum reference number of elements is limited to \the\@c}
+      \chardef\maxgroups=\@c
+    \fi
+    \count@\@oldmaxgroups \loop
+      \advance\count@ by\@ne
+      % Altitude
+      \expandafter \noexpand@newskip  \csname g@b\roman@c@\endcsname
+      % Height
+      \expandafter \noexpand@newskip  \csname g@h\roman@c@\endcsname
+      %
+      \expandafter \let \csname lowersonginstrum\roman@c@\endcsname \maxdimen
+      \expandafter \let \csname uppersonginstrum\roman@c@\endcsname \z@
+    \ifnum\count@<\maxgroups\repeat
+    \expandafter\message\expandafter{maxgroups=\the\maxgroups}%
+    \chardef\@oldmaxgroups=\maxgroups\relax%
+  \fi
+}%
+%
+% registers for slur
+\def\setmaxslurs#1{%
+  \ifnum#1>\@oldmaxslurs
+    \chardef\maxslurs=#1\relax
+    \ifnum#1>\@c
+      \errmessage{The maximum reference number of elements is limited to \the\@c}
+      \chardef\maxslurs=\@c
+    \fi
+    \count@\@oldmaxslurs \loop
+      \advance\count@ by\@ne
+      %
+      % horizontal start position of slur
+      \expandafter \noexpand@newdimsk \csname s@x\roman@c@\endcsname
+      %
+      % sense u,d and x (flag) for pending slurs
+      \expandafter \noexpand@newtoks  \csname s@s\roman@c@\endcsname
+      \csname s@s\roman@c@\endcsname={x}%
+      %
+      % vertical offset of slur
+      \expandafter \noexpand@newdimsk \csname s@Y\roman@c@\endcsname
+      %
+      % altportee of slur
+      \expandafter \noexpand@newskip  \csname s@a\roman@c@\endcsname
+      %
+      % vertical start position of slur [steps of internote]
+      \expandafter \noexpand@newcount \csname s@y\roman@c@\endcsname
+      %
+      % instrument number of that slur (to retrieve internote)
+      \expandafter \noexpand@newcount \csname s@N\roman@c@\endcsname
+      %
+      % vertical end position of slur [steps of internote], used from 
+      % \breakslur.  the value \maxdimen is used to decide, if 
+      % \breakslur is used or not (flag)
+      \expandafter \noexpand@newcount \csname s@z\roman@c@\endcsname
+      \csname s@z\roman@c@\endcsname\maxdimen
+      %
+      %++ickd: dotted indicator for pending slurs
+      \expandafter \noexpand@newtoks  \csname s@d\roman@c@\endcsname
+      %
+    \ifnum\count@<\maxslurs\repeat
+    \expandafter\message\expandafter{maxslurs=\the\maxslurs}%
+    \chardef\@oldmaxslurs=\maxslurs\relax%
+  \fi
+}%
+%
+% registers for trill (MusiXTeX-type trill only.  Legacy \trillC and 
+% \TrillC are out of the scope.)
+\def\setmaxtrills#1{%
+  \ifnum#1>\@oldmaxtrills
+    \chardef\maxtrills=#1\relax
+    \ifnum#1>\@c
+      \errmessage{The maximum reference number of elements is limited to \the\@c}
+      \chardef\maxtrills=\@c
+    \fi
+    \count@\@oldmaxtrills \loop
+      \advance\count@ by\@ne
+      % starting horizontal pos
+      \expandafter \noexpand@newskip  \csname tr@x\roman@c@\endcsname
+      \csname tr@x\roman@c@\endcsname\maxdimen\relax 
+      % heading of trill
+      \expandafter \noexpand@newtoks  \csname tr@sw\roman@c@\endcsname
+      % height of trill
+      \expandafter \noexpand@newskip  \csname tr@y\roman@c@\endcsname
+    \ifnum\count@<\maxtrills\repeat
+    \expandafter\message\expandafter{maxtrills=\the\maxtrills}%
+    \chardef\@oldmaxtrills=\maxtrills\relax%
+  \fi
+}%
+%
+% registers for octave line
+\def\setmaxoctlines#1{%
+  \ifnum#1>\@oldmaxoctlines
+    \chardef\maxoctlines=#1\relax
+    \ifnum#1>\@c
+      \errmessage{The maximum reference number of elements is limited to \the\@c}
+      \chardef\maxoctlines=\@c
+    \fi
+    \count@\@oldmaxoctlines \loop
+      \advance\count@ by\@ne
+      % starting horizontal pos
+      \expandafter \noexpand@newskip  \csname o@x\roman@c@\endcsname
+      \csname o@x\roman@c@\endcsname\maxdimen\relax 
+      % height of octline
+      \expandafter \noexpand@newskip  \csname o@y\roman@c@\endcsname
+      % sense of octline
+      \expandafter \noexpand@newtoks  \csname o@sw\roman@c@\endcsname
+    \ifnum\count@<\maxoctlines\repeat
+    \expandafter\message\expandafter{maxoctlines=\the\maxoctlines}%
+    \chardef\@oldmaxoctlines=\maxoctlines\relax%
+  \fi
+}%
+%
+\chardef\@oldmaxinstruments=\z@
+\chardef\@oldmaxcxxviiibeams=\z@
+\chardef\@oldmaxcclvibeams=\z@
+\chardef\@oldmaxgroups=\z@
+\chardef\@oldmaxslurs=\z@
+\chardef\@oldmaxtrills=\z@
+\chardef\@oldmaxoctlines=\z@
+%
+% actual setup (=register allocation) of the maximum element numbers 
+% should be done after fonts definition.
+%
+%%% [T115] new register allocation code -- until here --
+
+
 %%% fonts
 
 %%
@@ -673,86 +875,42 @@
 
 \newcount\N@s
 
+% [T115] moved out to the new register allocation code (except for \s@Y)
 % horizontal start position of slur
-
-\newdimen\s@xi
-\newdimen\s@xii
-\newdimen\s@xiii
-\newdimen\s@xiv
-\newdimen\s@xv
-\newdimen\s@xvi
-
+%  \newdimen\s@xi
 % sense u,d and x (flag) for pending slurs
-
-\newtoks\s@si  \s@si={x}
-\newtoks\s@sii \s@sii={x}
-\newtoks\s@siii\s@siii={x}
-\newtoks\s@siv \s@siv={x}
-\newtoks\s@sv  \s@sv={x}
-\newtoks\s@svi \s@svi={x}
-
+%  \newtoks\s@si  \s@si={x}
 % vertical offset of slur
-
-\newdimen\s@Y
-\newdimen\s@Yi
-\newdimen\s@Yii
-\newdimen\s@Yiii
-\newdimen\s@Yiv
-\newdimen\s@Yv
-\newdimen\s@Yvi
-
+\newdimen\s@Y % this register is for common use
+%  \newdimen\s@Yi
 % altportee of slur
-
-\newskip\s@ai
-\newskip\s@aii
-\newskip\s@aiii
-\newskip\s@aiv
-\newskip\s@av
-\newskip\s@avi
-
+%  \newskip\s@ai
 % vertical start position of slur [steps of internote]
-
-\newcount\s@yi
-\newcount\s@yii
-\newcount\s@yiii
-\newcount\s@yiv
-\newcount\s@yv
-\newcount\s@yvi
-
-
+%  \newcount\s@yi
 % instrument number of that slur (to retrieve internote)
-
-\newcount\s@Ni
-\newcount\s@Nii
-\newcount\s@Niii
-\newcount\s@Niv
-\newcount\s@Nv
-\newcount\s@Nvi
-
+%  \newcount\s@Ni
 % vertical end position of slur [steps of internote], used from \breakslur
 % the value \maxdimen is used to decide, if \breakslur is used or not (flag)
-
-\newcount\s@zi  \s@zi\maxdimen
-\newcount\s@zii \s@zii\maxdimen
-\newcount\s@ziii\s@ziii\maxdimen
-\newcount\s@ziv \s@ziv\maxdimen
-\newcount\s@zv  \s@zv\maxdimen
-\newcount\s@zvi \s@zvi\maxdimen
-
+%  \newcount\s@zi  \s@zi\maxdimen
 %++ickd: dotted indicator for pending slurs
-
-\newtoks\s@di
-\newtoks\s@dii
-\newtoks\s@diii
-\newtoks\s@div
-\newtoks\s@dv
-\newtoks\s@dvi
+%  \newtoks\s@di % moved out to the new register allocation code
 %++ickd
 
 \def\roman@n@i{\romannumeral\n@i\endcsname}
 
+%
+% [T115] make slurs independent from \maxinstruments
+\def\test@slurnum{%
+  \ifnum\n@i<\z@ \n@i\@c \fi
+  \ifnum\n@i<\maxslurs \else
+    \count@\maxslurs \advance\count@\m@ne
+    \errmessage{Wrong slur reference number \the\n@i! (valid: 0 to \the\count@)}% [T115]
+    \n@i\z@% [T115]
+  \fi
+  \advance\n@i\@ne}%
+%
 \def\s@l@ctslur#1\relax{%
-  \n@i#1\relax\test@num
+  \n@i#1\relax\test@slurnum% [T115] make it independent from beams
   \edef\s@a{\csname s@a\roman@n@i}%  dimen (altportee)
   \edef\s@x{\csname s@x\roman@n@i}%  dimen (hor start pos)
   \edef\s@y{\csname s@y\roman@n@i}%  count (startnote [internote])
@@ -1548,12 +1706,8 @@
 \def\setsize#1#2{\n@v#1\relax % select instrument
   \expandafter\edef\csname staffspacing\romannumeral\n@v\endcsname{#2}}
 
-\let\staffspacingi\@ne
-\let\staffspacingii\@ne
-\let\staffspacingiii\@ne
-\let\staffspacingiv\@ne
-\let\staffspacingv\@ne
-\let\staffspacingvi\@ne
+% [T115] moved out to the new register allocation code
+%  \let\staffspacingi\@ne
 
 % number of staffs
 
@@ -1572,6 +1726,9 @@
 \def\interstaff#1{\def\interfacteur{#1}}
 
 \def\s@l@ctinstr{%
+  \ifnum\noinstrum@nt>\maxinstruments % [T115] -- from here --
+    \errmessage{Wrong instrument reference number \the\noinstrum@nt, maxinstruments=\the\maxinstruments}
+  \fi % [T115] -- until here --
   \edef\altitude{\csname k@i\romannumeral\noinstrum@nt\endcsname}%
   \edef\st@ffs{\csname n@p\romannumeral\noinstrum@nt\endcsname}%
   \edef\nblines{\csname n@l\romannumeral\noinstrum@nt\endcsname}%
@@ -1612,12 +1769,9 @@
 \def\songbottom{\groupbottom1}
 \def\songtop{\grouptop1}
 
-\let\lowersonginstrumi\maxdimen
-\let\lowersonginstrumii\maxdimen
-\let\lowersonginstrumiii\maxdimen
-\let\uppersonginstrumi\z@
-\let\uppersonginstrumii\z@
-\let\uppersonginstrumiii\z@
+% [T115] moved out to the new register allocation code
+%  \let\lowersonginstrumi\maxdimen
+%  \let\uppersonginstrumi\z@
 
 \def\g@loop{\group@no\z@ \loop\ifnum\group@no<\maxgroups
   \s@l@ctgroup}
@@ -1631,7 +1785,10 @@
 \def\test@grnum{%
   \ifnum\group@no<\z@ \group@no\@c \fi
   \ifnum\group@no<\maxgroups \else
-    \errmessage{Wrong group number=\the\group@no! max=\the\maxgroups}\group@no\z@ \fi
+    \count@\maxgroups \advance\count@\m@ne
+    \errmessage{Wrong group reference number \the\group@no! (valid: 0 to \the\count@)}% [T115]
+    \group@no\z@% [T115]
+  \fi
   \advance\group@no\@ne}
 
 % \nobarmessages prevents bar messages
@@ -1673,14 +1830,10 @@
 
 %%% distance between instruments (added to \interportee)
 
-\newdimen\interinstrument
-
-\let\interinstrumenti\interinstrument
-\let\interinstrumentii\interinstrument
-\let\interinstrumentiii\interinstrument
-\let\interinstrumentiv\interinstrument
-\let\interinstrumentv\interinstrument
-\let\interinstrumentvi\interinstrument
+% [T115] moved out to the above of the new register allocation code
+% \newdimen\interinstrument
+% [T115] moved out to the new register allocation code
+% \let\interinstrumenti\interinstrument
 
 \def\setinterinstrument#1#2{\n@v#1\relax % select instrument
   \expandafter\def\csname interinstrument\romannumeral\n@v\endcsname{#2}}
@@ -1896,7 +2049,7 @@
   \repeat
 % cutslur
   \ifnum\N@s>\z@%     % any pending slurs ?
-    \n@viii\maxinstruments % test all possible numbers
+    \n@viii\maxslurs % test all possible slur numbers [T115] (Hiroaki)
     \advance\n@viii\m@ne
     \loop\ifnum\n@viii>\m@ne
       \s@l@ctslur\n@viii\relax
@@ -2544,6 +2697,14 @@
 \def\treblelowoct{\trebleclef\raise -7\internote\hbox\@to\z@{\smalltype\it\kern -2.3\Interligne 8\hss}}
 \def\basslowoct{\bassclef\raise -6\internote\hbox\@to\z@{\smalltype\it\kern -2.5\Interligne 8\hss}}
 
+% [T115] reqest from Hermann Hinsch
+\def\smalltrebleoct{\smalltrebleclef\raise 7.2\internote\hbox\@to\z@{\smalltype\it\kern -1.8\Interligne 8\hss}}
+\def\smalltreblelowoct{\smalltrebleclef\raise-6.8\internote\hbox\@to\z@{\smalltype\it\kern -2.1\Interligne 8\hss}} 
+\def\smallbassoct{\smallbassclef\raise 2\internote\hbox\@to\z@{\smalltype\it\kern -2.0\Interligne 8\hss}}
+\def\smallbasslowoct{\smallbassclef\raise-6.2\internote\hbox\@to\z@{\smalltype\it\kern -2.2\Interligne 8\hss}}
+% [T115] reqest from Hermann Hinsch: end
+
+
 \newskip\clef@skip
 
 \def\changeclefs{\t@rmskip\writ@newclefs}
@@ -2664,7 +2825,7 @@
 
 \def\setname#1#2{\n@v#1\relax % select instrument
 %  \let\Writ@names\writ@names
-  \expandafter\edef\csname instrument\romannumeral\n@v\endcsname{#2}}
+  \expandafter\def\csname instrument\romannumeral\n@v\endcsname{#2}}% [T115] changed from \edef to \def (Hiroaki)
 
 \def\writ@names{\n@loop
   \setbox\toks@box\null\relax
@@ -3301,14 +3462,17 @@
 % \b@p slope (-9) - (9)
 % \b@n number of pending beamlines (-4) - (4)
 
-\def\test@num{%
+\def\test@beamnum{% [T115] new macro to make it independent from slur
   \ifnum\n@i<\z@ \n@i\@c \fi
   \ifnum\n@i<\maxinstruments \else
-    \n@i\z@ \errmessage{Wrong slur or beam number!}\fi
-  \advance\n@i\@ne}
+    \count@\maxinstruments \advance\count@\m@ne
+    \errmessage{Wrong beam reference number \the\n@i! (valid: 0 to \the\count@)}
+    \n@i\z@
+  \fi
+  \advance\n@i\@ne}%
 
 \def\s@l@ctbeam#1\relax{%
-  \n@i#1\relax\test@num
+  \n@i#1\relax\test@beamnum % [T115] make it independent from slur
   \edef\b@x{\csname b@x\romannumeral\n@i\endcsname}%
   \edef\b@z{\csname b@z\romannumeral\n@i\endcsname}%
   \edef\b@n{\csname b@n\romannumeral\n@i\endcsname}%
@@ -3750,7 +3914,7 @@
 % \n@ii positive signature limit, \n@ii-8 negative signature limit
     \advance\n@ii-\a@s \advance\n@ii\si@ \divide\n@ii\s@v@n
     \@Tii
-  \fi \advance\n@v\@l \advance\n@v\n@vi \@Ti
+  \fi \advance\n@v\@l \advance\n@v\n@vi \expandafter\@Ti % [T115] (Hiroaki)
   \fi}
 
 \def\@nod{Can't double }
@@ -3933,7 +4097,10 @@
 \let\Trille\TrilleX
 \def\C@trille#1#2{\zcharnote{#1}{\y@v#2\noteskip \trill@}}
 
-\let\maxtrilles\si@
+\let\maxtrilles\si@ 
+% \maxtrilles and \@itrille[i] are only for obsolete Legacy \trillC 
+% and \TrillC; not related with new register allocation code.  Leave 
+% it as-is. [T115]
 
 \newskip\@itrillei
 \newskip\@itrilleii
@@ -3973,28 +4140,12 @@
 
 %%%%%%
 
-\let\maxtrills\si@
-
-\newskip\tr@xi \tr@xi\maxdimen\relax % starting horizontal pos
-\newskip\tr@xii \tr@xii\maxdimen\relax % starting horizontal pos
-\newskip\tr@xiii \tr@xiii\maxdimen\relax % starting horizontal pos
-\newskip\tr@xiv \tr@xiv\maxdimen\relax % starting horizontal pos
-\newskip\tr@xv \tr@xv\maxdimen\relax % starting horizontal pos
-\newskip\tr@xvi \tr@xvi\maxdimen\relax % starting horizontal pos
-
-\newtoks\tr@swi % heading of trill
-\newtoks\tr@swii % heading of trill
-\newtoks\tr@swiii % heading of trill
-\newtoks\tr@swiv % heading of trill
-\newtoks\tr@swv % heading of trill
-\newtoks\tr@swvi % heading of trill
-
-\newskip\tr@yi % height of trill
-\newskip\tr@yii % height of trill
-\newskip\tr@yiii % height of trill
-\newskip\tr@yiv % height of trill
-\newskip\tr@yv % height of trill
-\newskip\tr@yvi % height of trill
+% \let\maxtrills\si@ % here disabled to avoid conflict with new register allocation code
+% [T115] moved out to the new register allocation code
+%  \newskip\tr@xi \tr@xi\maxdimen\relax % starting horizontal pos
+%  \newtoks\tr@swi % heading of trill
+%  \newskip\tr@yi % height of trill
+
 \newcount\tr@number
 
 \def\tr@loop{\tr@number\z@ \loop\ifnum\tr@number<\maxtrills
@@ -4004,7 +4155,10 @@
 \def\s@l@cttrill#1\relax{%
   \n@i#1\relax  \ifnum\n@i<\z@ \n@i\@c \fi
   \ifnum\n@i<\maxtrills \else
-    \n@i\z@ \errmessage{Wrong trill number!}\fi
+    \count@\maxtrills \advance\count@\m@ne
+    \errmessage{Wrong trill reference number \the\n@i! (valid: 0 to \the\count@)}% [T115]
+    \n@i\z@ % [T115]
+  \fi
   \advance\n@i\@ne
   \xdef\tr@x{\csname tr@x\roman@n@i}%
   \xdef\tr@y{\csname tr@y\roman@n@i}%
@@ -4072,29 +4226,12 @@
 
 %%%%%%
 
-\let\maxoctlines\si@
-
-\newskip\o@xi \o@xi\maxdimen\relax % starting horizontal pos
-\newskip\o@xii \o@xii\maxdimen\relax % starting horizontal pos
-\newskip\o@xiii \o@xiii\maxdimen\relax % starting horizontal pos
-\newskip\o@xiv \o@xiv\maxdimen\relax % starting horizontal pos
-\newskip\o@xv \o@xv\maxdimen\relax % starting horizontal pos
-\newskip\o@xvi \o@xvi\maxdimen\relax % starting horizontal pos
-
-\newskip\o@yi % height of octline
-\newskip\o@yii % height of octline
-\newskip\o@yiii % height of octline
-\newskip\o@yiv % height of octline
-\newskip\o@yv % height of octline
-\newskip\o@yvi % height of octline
-
+% \let\maxoctlines\si@ % here disabled to avoid conflict with new register allocation code, except for \o@swz
+% [T115] moved out to the new register allocation code
+%  \newskip\o@xi \o@xi\maxdimen\relax % starting horizontal pos
+%  \newskip\o@yi % height of octline
 \newtoks\o@swz % sense of octline for \octfin[up][down] without number
-\newtoks\o@swi % sense of octline
-\newtoks\o@swii % sense of octline
-\newtoks\o@swiii % sense of octline
-\newtoks\o@swiv % sense of octline
-\newtoks\o@swv % sense of octline
-\newtoks\o@swvi % sense of octline
+%  \newtoks\o@swz % sense of octline for \octfin[up][down] without number
 
 \newcount\o@number
 
@@ -4105,7 +4242,10 @@
 \def\s@l@ctoctline#1\relax{%
   \n@i#1\relax  \ifnum\n@i<\z@ \n@i\@c \fi
   \ifnum\n@i<\maxoctlines \else
-    \n@i\z@ \errmessage{Wrong octaviation line number!}\fi
+    \count@\maxoctlines \advance\count@\m@ne
+    \errmessage{Wrong octaviation line reference number \the\n@i! (valid: 0 to \the\count@)}% [T115]
+    \n@i\z@% [T115]
+  \fi
   \advance\n@i\@ne
   \xdef\o@x{\csname o@x\roman@n@i}%
   \xdef\o@y{\csname o@y\roman@n@i}%
@@ -4341,12 +4481,8 @@
 \def\setsongraise#1#2{\n@v#1\relax % select instrument
   \expandafter\def\csname T@R\romannumeral\n@v\endcsname{#2}}
 
-\let\T@Ri\z@
-\let\T@Rii\z@
-\let\T@Riii\z@
-\let\T@Riv\z@
-\let\T@Rv\z@
-\let\T@Rvi\z@
+% [T115] moved out to the new register allocation code
+%  \let\T@Ri\z@
 
 \def\qlrlap#1{\rlap{\hbox to \qn@width{\hss#1\hss}}}
 \def\zsong{\let\@Ti\rlap \C@t}
@@ -4439,30 +4575,43 @@
 \def\downtrio{\n@vi\@ne \let\@text\@ne \unbkt}
 
 %%% standard settings
-
+% [115] make them compatible to >12 instruments
 \def\resetlayout{\let\interfacteur\nin@
   \stafftopmarg\thr@@\Interligne \staffbotmarg\thr@@\Interligne
-  \let\n@li\fiv@ \let\n@lii\fiv@ \let\n@liii\fiv@
-  \let\n@liv\fiv@ \let\n@lv\fiv@ \let\n@lvi\fiv@
-  \noinstrum@nt1\s@l@ctinstr\internote\Internote
+  \count@\z@ \loop
+    \advance\count@ by\@ne
+    \expandafter \let\csname n@l\roman@c@\endcsname \fiv@
+  \ifnum\count@<\maxinstruments\repeat
   \resetclefsymbols}
 
 \def\resetclefsymbols{%
-  \let\bassc@si\z@ \let\bassc@sii\z@ \let\bassc@siii\z@
-  \let\bassc@siv\z@ \let\bassc@sv\z@ \let\bassc@svi\z@
-  \let\altoc@si\z@ \let\altoc@sii\z@ \let\altoc@siii\z@
-  \let\altoc@siv\z@ \let\altoc@sv\z@ \let\altoc@svi\z@
-  \let\treblec@si\z@ \let\treblec@sii\z@ \let\treblec@siii\z@
-  \let\treblec@siv\z@ \let\treblec@sv\z@ \let\treblec@svi\z@
+  \count@\z@ \loop
+    \advance\count@ by\@ne
+    \expandafter \let\csname treblec@s\roman@c@\endcsname \z@
+    \expandafter \let\csname altoc@s\roman@c@\endcsname \z@
+    \expandafter \let\csname bassc@s\roman@c@\endcsname \z@
+  \ifnum\count@<\maxinstruments\repeat
 }
 
-\resetlayout
-\let\nbinstruments\maxinstruments
-\normalnotesize
+% [T115] setup the default maximum element numbers to the same values of T.114
+\setmaxinstruments\si@
+\setmaxcxxviiibeams\si@ % 128th beam
+\setmaxcclvibeams\z@ % 256th beam
+\setmaxgroups\thr@@ % groups of inst's or choirs
+\setmaxslurs\maxinstruments
+\setmaxtrills\maxinstruments
+\setmaxoctlines\maxinstruments
+%
+
+% [T115] new register allocation code requires some changes
+%\resetlayout % no need
+%\let\nbinstruments\maxinstruments % no need
+%\normalnotesize % already executed in \setmaxinstruments
 \normalmusicsize
-\normalnotesize% needs rerun to initialize \metron stem length (a very historical bug since T.103 or earlier) (T.114, Hiroaki)
-\resetlayout
+\normalnotesize % important: execute it again after the first execute of \normalmusicsize --- to initialize \metron stem length.  but why? 
+%\resetlayout % no need
 \def\nbinstruments{1}
+\noinstrum@nt1\s@l@ctinstr\internote\Internote
 
 %%%
 %
@@ -4724,4 +4873,3 @@
 \catcode`\@=\catcodeat
 \endinput
 
-
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixcpt.sty b/Master/texmf-dist/tex/latex/musixtex/musixcpt.sty
index 54c2ca8dd67..54c2ca8dd67 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixcpt.sty
+++ b/Master/texmf-dist/tex/latex/musixtex/musixcpt.sty
diff --git a/Master/texmf-dist/source/generic/musixtex/musixcrd/musixcrd.sty b/Master/texmf-dist/tex/latex/musixtex/musixcrd.sty
index b185b3ca60f..b185b3ca60f 100644
--- a/Master/texmf-dist/source/generic/musixtex/musixcrd/musixcrd.sty
+++ b/Master/texmf-dist/tex/latex/musixtex/musixcrd.sty
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixltx.tex b/Master/texmf-dist/tex/latex/musixtex/musixltx.tex
index f4eff2cf23c..f4eff2cf23c 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixltx.tex
+++ b/Master/texmf-dist/tex/latex/musixtex/musixltx.tex
diff --git a/Master/texmf-dist/tex/generic/musixtex/musixtex.sty b/Master/texmf-dist/tex/latex/musixtex/musixtex.sty
index c8127f51d08..c8127f51d08 100644
--- a/Master/texmf-dist/tex/generic/musixtex/musixtex.sty
+++ b/Master/texmf-dist/tex/latex/musixtex/musixtex.sty