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diff --git a/Master/texmf-dist/doc/generic/musictex/euromtex.tex b/Master/texmf-dist/doc/generic/musictex/euromtex.tex new file mode 100644 index 00000000000..380c845340f --- /dev/null +++ b/Master/texmf-dist/doc/generic/musictex/euromtex.tex @@ -0,0 +1,814 @@ +% +\def\text#1{\hbox{\rm #1}}% +%\check +\def\ital#1{{\sl #1\/}}% +\def\mutex{M\raise 2pt\hbox{\kern -1pt u\kern -1pt}\TeX} +\def\bslash{{\tt\char'134}}% +\def\|{{\tt\char'174}}% +\def\#{{\tt\char'043}}% +\def\{{{\char'173}}% +\def\}{{\char'175}}% +\def\@{{\char'100}}% +\def\musictex{Music\TeX}% +\def\musicxx{\musictwenty} +\def\keyindex#1{{\tt\bslash #1}\index{#1 \&\&\protect\tt\protect\bslash #1}} +\def\zkeyindex#1{\index{#1 \&\&\protect\tt\protect\bslash #1}} +\def\ixem#1{#1\index{#1}} +\def\itxem#1{\ital{#1}\index{#1}} +\def\aujourdhui{\today} +\def\vboxit#1{\vbox{\hrule\hbox{\vrule\kern3pt + \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} +\def\hboxit#1{\hbox{\vrule\vbox{\hrule\kern3pt + \hbox{\kern3pt\small\it #1\kern3pt}\kern3pt\hrule}\vrule}} +% +%\check +\tracingstats=1 +% +\input musicext +\documentstyle[musictex,musictrp,euro92]{article} +%% local commands +\tolerance 10000 +\font\mf=logo10 \hyphenchar\mf=-1 \newcommand{\METAFONT}{{\mf METAFONT}} +\begin{document} + +\title{\musictex : using \TeX\ to write\\polyphonic or +instrumental music} +\titlehead{\musictex -- Euro\TeX{}~92} + +\author{Daniel {\sc Taupin}$^{\dag}$} +\authorhead{Taupin} + +\affiliation{$\dag$ Universit\'e de Paris-Sud\\ +Laboratoire de Physique des Solides\\ +b\^atiment 510\\ +F-91405 ORSAY Cedex, France} + +\maketitle + +\begin{abstract} \musictex\ is a set of \TeX\ or La\TeX\ macros which are +fit to typeset polyphonic, instrumental or orchestral music. It is able to +handle an important number of instruments or voices (up to nine) and staffs +(up to four for each instrument). Many usual ornaments have been provided, including +several note sizes which can handle grace notes or extra music like cadenzas. + +Except the risk of typing errors due to a sophisticated set of macros, +the major difficulty still resides in glue and line breaking in the case of +irregular music and slurs. + \end{abstract} + +\begin{resume}{R\'esum\'e} +\musictex\ est un jeu de macro-instructions \TeX\ ou La\TeX\ adapt\'ees \`a +l'\'ecriture de partitions polyphoniques, instrumentales ou orchestrales. +\musictex\ est capable de g\'erer un nombre important d'instruments ou de voix +(jusqu'\`a neuf) et de port\'ees (jusqu'\`a quatre par instrument). +En outre, beaucoup d'ornements sont maintenant disponibles, notamment les notes +de petite taille our indiquer les ornements explicites ou les cadences. + +\`A part les risques d'erreurs li\'ees \`a la difficult\'e d'usage de +certaines proc\'edures, la principale difficult\'e est celle des coupures de +lignes dans le cas o\`u d'une musique irr\'eguli\`ere et la r\'alisation de +liaisons ou de phras\'es esth\'etiques. \end{resume} + +\begin{keywords} +music typesetting, orchestral music, polyphonic music. +\end{keywords} + +\section{What is \musictex\ ?} + \musictex\ is a set of \TeX\ macros to typeset polyphonic, orchestral or +polyphonic music. Therefore, it is mainly supposed to be used to type wide +scores -- just because true musicians seldom like to have to frequently turn +pages -- and this is not really compatible with La\TeX's standard page +formats, even the {\tt A4.sty} whose {\tt\bslash textheight} and {\tt\bslash +textwidth} are too small for musician needs. + + However, a La\TeX\ style has been also provided (and it is used for the +typing of the present paper) but this {\tt musictex} style is fit for +musicographic books rather than for normal scores to be actually played. + + It is to be emphasized that \musictex\ is not intended to be a +compiler which would translate into \TeX\ some \ixem{standard musical +notation}s, nor to decide by itself about aesthetic problems in music typing. +\musictex\ only typesets staves, notes, chords, beams, slurs and ornaments as +requested by the composer. Since it makes very few typesetting decisions, +\musictex\ appears to be a versatile and rather powerful tool. However, due +to the important amount of informations to be provided to the typesetting +process, coding \musictex\ might appear to be awfully complicated, just as +the real keyboard or orchestral music. It should be interfaced therefore by +some pre-compiler in the case of the composer/typesetter wanting aesthetic +decisions to be automatically made by somebody (or something) else. + +\section{\musictex\ pricipal features} +\subsection{Music typesetting is two-dimensional} + + Most of the people who just learnt a bit of music at college probably think +that music is a linear sequence of symbols, just as literary texts to be +\TeX-ed. In fact, with the exception of strictly monodic instruments like +most orchestral wind instruments and solo voices, one should be aware that +reading music actually is a matricial operation~: the non-soloist musician +successively reads \ital{columns} of simultaneous notes which he actually plays +if he is a pianist, clavichordist or organist, which he actually reads and +watches if he conducts an orchertra, and which he is supposed to check and +partially play when he is a soloist who wants to play in time with the +accompanying instrument or choir. + + In fact, our personal experience of playing piano and organ as well as +sometimes helping as an alternate Kapellmeister leads us to think that actual +music reading and composing is a slightly more complicated intellectual +process~: music reading, music composing and music thinking seems to be a +three layer process. The musician usually reads or thinks several consecutive +notes (typically a long \ital{beat} or a group of logically connected notes), then +he goes down to the next instrument or voice and finally assembles the whole +to build a part of music lasting roughly a few seconds. Then he handles the +next \ital{beat} or \ital{bar} of his score. + + Thus, it appears that the humanly logical way of coding music consists +in horizontaly accumulating a set of \ital{vertical combs} with +\ital{horizontal teeth} as described in Table \ref{readtable}. + + \begin{table} + \begin{center} + \begin{tabular}{|ll|ll|}\hboxit{note sequence one} + &\hboxit{note seq.\ four} + &\hboxit{note seq.\ seven} + &\hboxit{note seq.\ ten}\\\hboxit{note sequence two} + &\hboxit{note seq.\ five} + &\hboxit{note seq.\ eight} + &\hboxit{note seq.\ eleven}\\\hboxit{note seqence three} + &\hboxit{note seq.\ six} + &\hboxit{note seq.\ nine} + &\hboxit{note seq.\ twelve}\\ + \end{tabular} + \end{center} + \caption{The order in which a musician reads music}\label{readtable} + \end{table} + +This is the reason +why, in {\bf \musictex} the fundamental \ital{macro} is of the form + +\begin{center} +{\tt \bslash notes \dots\ \& \dots\ \& \dots\ \bslash enotes} +\end{center} + +\noindent where the character {\tt\&} is used to separate the notes to be +typeset on respective staffs of the various instruments, starting from the +bottom. + +In the case of an instrument whose score has to be written with +several staffs, these staffs are separated by the +character \|. Thus, a score written for a keyboard instrument and +a monodic instrument (for example piano and violin) +will be coded as follows~: + +\begin{center} +{\tt \bslash notes \dots\ \| \dots\ \& \dots\ \bslash enotes} +\end{center} +\noindent for each column of simultaneous \ital{groups of notes}. +It is worth emphasizing that we actually said \ital{``groups of notes''}: +this means that in each section of the previous macro, the music typesetter is +welcome to insert, not only chord notes to be played at once, but small +sequences of consecutive notes which build something he understands as a +musical phrase. This is why note typing macros are of two kinds in \musictex, +namely the note macros which are not followed by spacing afterwards, and those +which induce horizontal spacing afterwards. + +\subsection{The spacing of the notes} + +It seems that many books have dealt with this problem. +Although it can lead to interesting algorithms, we think it is +in practice a rather minor one. + +In fact, each column of notes has not necessarily the same spacing +and, in principle, this \itxem{spacing} should depend on the shortest +duration of the simultaneous notes. But this cannot be established as a rule, +for at least two reasons~: + +\begin{enumerate} + \item spacing does not depend only of the local notes, +but also on the context, at least in the same bar. +\item in the case of polyphonic music, exceptions can easily be found. +Here is an example~: + + + \begin{music} +\computewidths +\def\nbinstruments{1}\relax +\generalmeter{\meterfrac{4}{4}}\relax +\debutextrait +\normal\elemskip=0.110\hsize +\temps\Notes\qsk\qsk\rlap{\hu j}\ql h\enotes +\temps\Notes\hl g\enotes +\temps\Notes\hu k\enotes +\temps\Notes\ql f\enotes +\finextrait + \end{music} + +%\check + +\noindent where it can be clearly seen that the half notes at beats 2 and 3 +must be spaced as if they were quarter notes since they overlap, which is +obvious only because of the presence of the indication of the \itxem{meter} 4/4. +\end{enumerate} +% + +Therefore, we prefered to provide the composer/typesetter with a +set of macros, the spacing of which increases by a factor of $\sqrt 2$ +(incidentally, this can be adjusted)~: + +\begin{center} +{\tt \bslash notes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 1 spatial unit\hss}} +\\ +{\tt \bslash Notes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 1.4 spacial unit\hss}} +\\ +{\tt \bslash NOtes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 2 spatial units\hss}} +\\{\tt \bslash NOTes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 2.8 spatial units\hss}} +\\{\tt \bslash NOTEs \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 4 spatial units\hss}} +\\{\tt \bslash NOTES \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \% +\hbox to 2.5cm{\rm 5.6 spatial units\hss}} +\end{center} + +%\check + The size of the spatial unit (\keyindex{elemskip}) can be freely adjusted. +In addition, \musictex\ provides a means of adjusting the note spacing +according to an average number of elementary spaces within a line (macro +\keyindex{autolines}). + +\subsection{Music tokens, rather than a readymade generator} +%\check + +The tokens provided by \musictex\ are~: + +\begin{itemize} +\item the note symbols \ital{without stem}~; +\item the note symbols \ital{with stems, and hooks for eighth notes and +beyond}~; +\item the indications of beam beginnings and beam ends~; +\item the indications of beginnings and ends of ties and slurs~; +\item the indications of accidentals~; +\item the ornaments~: arpeggios, trills, mordents, pinc\'es, turns, staccatos +and pizzicatos, fermatas~; +\item the bars, the meter and signature changes, etc. +\end{itemize} + + Thus, {\tt\bslash wh g} produces an \ital{A (445~Hz)} whose +duration is a \ital{whole note}. In the same way, {\tt\bslash qu~c} produces +a \ital{C (250~Hz approx.)} whose value is a \ital{quarter note with stem +up}, {\tt \bslash cl J} produces a \ital{C (125~Hz approx.)} whose duration +is an \ital{eighth note with stem down}, etc. + + To generate quarter, eighth, sixteenth, etc. chords, the macro +\keyindex{zq} can be used~: it produces a quarter note head whose position is +memorized and recalled when another stemmed note (possibly with a hook) is +coded~; then the stem is adjusted to link all simultaneous notes. Thus, the +perfect C-major chord, i.e. + +%\check +{\def\nbinstruments{1}\relax +\cleftoksi={{0}{0}{0}{0}}\generalmeter{}\relax +\debutextrait +\normal +\NOTes\qsk\zq c\zq e\zq g\qu j\enotes +\finextrait} + +%\check +\noindent is coded + \hbox{\tt\bslash zq~c\bslash zq~e\bslash zq~g\bslash qu~j} +or, in a more concise way, \hbox{\tt\bslash zq\{ceg\}\bslash qu~j} (stem up)~: +in fact, single notes are treated\dots\ like one-note chords. + +\subsection{Beams} + \ital{Beams}\index{beams} are generated using macros which define their +beginning (at the current horizontal position), together with their altitude, +their sense (upper of lower), their multiplicity, their slope and their +reference number. This latter feature -- the reference number -- appears to +be necessary, since one may want to write beams whose horizontal extents +overlap~: therefore, it is necessary to specify which beam the notes hang on +and which beam is terminated at a given position. + +%\check +\subsection{Setting anything on the score} + +A general macro (\keyindex{zcharnote}) provides a means of +putting any sequence of symbols (in fact, some {\tt \bslash hbox\{...\}}) at any +pitch of any staff of any instrument. Thus, any symbol defined in a font +(letters, math symbols, etc.) can be used to typeset music. + +\subsection{A simple example} + + Before entering other details, we give below an example of the two first +bars of the sonata in C-major K545 by {\sc\ixem{Mozart}}~: + +\begin{music} +\parindent 1cm +\def\nbinstruments{1}\relax +\def\instrumenti{Piano}% +\nbporteesi=2\relax +\generalmeter{\meterfrac{4}{4}}\relax +\debutextrait +\normal +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\ql l\sk\ql n\enotes +\barre +\Notes\ibu0f0\qh0{dgf}|\qlp i\enotes +\notes\tbu0\qh0g|\ibbl1j3\qb1j\tbl1\qb1k\enotes +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes +\finextrait +\end{music} +%\check + + The \ital{coding} is set as follows~: + +\begin{quote}\begin{verbatim} +\begin{music} +\parindent 1cm +\def\nbinstruments{1}\relax % a single instrument +\def\instrumenti{Piano}% % whose name is Piano +\nbporteesi=2\relax % with two staffs +\generalmeter{\meterfrac{4}{4}}\relax % 4/4 meter choosen +\debutextrait % starting real score +\normal % normal 12 pt note spacing +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\ql l\sk\ql n\enotes +\barre % bar +\Notes\ibu0f0\qh0{dgf}|\qlp i\enotes +\notes\tbu0\qh0g|\ibbl1j3\qb1j\tbl1\qb1k\enotes +\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes +\finextrait % terminate excerpt +\end{music} + \end{verbatim}\end{quote} + +\begin{itemize} +\item {\tt\bslash ibu0f0} begins an upper beam, aligned on the +\ital{f}, reference number 0, slope 0 +\item {\tt\bslash tbu0} terminates this beam before writing +the second \ital{g} by means of {\tt\bslash qh0g} +\item {\tt\bslash qh..} indicates a note hanging on a beam. + \item {\tt\bslash sk } sets a space between the two quarters at the right +hand, so that the second is aligned with the third eighth of the left hand. + \item{\tt\bslash qlp} is a quarter with a point. + \item{\tt\bslash ibbl1j3} begins +a double beam, aligned on the \ital{C} ({\tt j} at this pitch) +of slope 0.15. +\end{itemize} + +\subsection{Signatures} + +Signatures are stated either for all instruments, such as~: +\keyindex{generalsignature}{\tt=-2} which sets two flats on each staff, but +this can be partly overrided by \keyindex{signatureii}{\tt=1} which puts one +sharp on the staffs of \itxem{instrument number} 2 (ii). Of course, the +current signature may change at any time as well as meters and clefs. + +\subsection{Transposition} + + An important question is~: \ital{``can \musictex\ transpose a score~?''}. +The answer is now 99.5~\% \ital{yes}. If fact, there is an internal register +named \keyindex{transpose} the default value of which is zero, but it may be +set to any positive of negative reasonable value. Then, it offsets all +symbols pitched with letter symbols by that number of pitch steps. However, +it will neither change the signature nor the local accidentals, and if -- for +example -- you transpose by 1 pitch a piece written in $C$, \musictex\ will +not know whether you want it in $D\flat$, in $D$ or in $D\sharp$. This might +become tricky if accidentals occur within the piece, which might have to be +converted into flats, naturals, sharps or double sharps, depending on the new +choosen signature. To circumvent this trouble, \ital{relative} accidentals +have been implemented, the actual output of which depends of the pitch of +this accidental and of the current signature.\index{relative accidentals} + +\subsection{Grace notes and cadenzas} + +In addition to its facility of generating either sixteen point or twenty point +staffs with note heads of corresponding size, \musictex\ also allows the user +to type smaller notes, in order to represent either \ital{grace notes}, +\ital{cadenzas} or a proposed realization of a \ital{figured bass}. This may +give something like~: + +\begin{music} +\def\DS{\hbox{\ds}} +\def\FS{\hbox{\kern 0.3\noteskip\soupir}\kern -0.3\noteskip} +\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}% +\def\qbu#1#2#3{\ibu{#1}{#2}{#3}\qh{#1}{#2}}% +\def\nbinstruments{2}% +\generalmeter{\meterfrac{4}{4}}% +\signaturegenerale{0}% +\nbporteesii=1\relax +\nbporteesii=2\relax +\cleftoksi={{6}{0}{0}{0}} +\cleftoksii={{6}{0}{0}{0}} +\etroit +\debutextrait +\NOTes\soupir&\soupir|\qu g\enotes +% mesure 1 +\advance\barno by -1\relax +\barre\NOtes\itenu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\enotes +\notes&\qbl0c0|\noteskip=0.6\elemskip\tinynotesize +\Ibbu1ki2\qh1{kj}\tqh1i\qsk\enotes +\Notes&\qb0e\tbl0\qb0c|\qu j\enotes +\temps\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\enotes +% mesure 2 +\barre\Notes\tten2\wh J&\ql J\sk\ql L|\ppt g\rlap{\qu g}\qbl1e0\relax + \zq c\qb1e\zq c\qb1e\relax + \zq c\tbl1\rlap{\qb1e}\ \ \ccu h\enotes +\temps\Notes&\ql N\sk\pt L\ibl0L{-4}\qb0L|\ibl1e0\zq c\rlap{\qb1e}\cu g\relax + \zq c\rlap{\qb1e}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes +\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\enotes +\finextrait +\end{music} + +\subsection{Selecting special instrument scores} + +Another question is~: \ital{``can I write an orchestral score and extract the +separate scores for individual instruments~?''} The answer is 95~\% +\ital{yes}~: in fact, you can define your own macros {\tt \bslash +mynotes...\bslash enotes}, {\tt \bslash myNotes...\bslash enotes} with as +many arguments as there are in the orchestral score (hope this is less or +equal to 9, but \TeX perts know how to work around) and change its definition +depending on the selected instrument (or insert a test on the value of some +selection register). But the limitation is that the numbering of instruments +may change, so that {\tt \bslash signatureiii} may have to become {\tt +\bslash signaturei} if instrument $iii$ is alone. But, in turn, this is not a +serious problem for average \TeX\ wizard apprentices. + + \section{How to get it} + + The whole \itxem{distribution} fits into a single 1.2Mbyte or +1.44Mbyte diskette. It can also be obtained through an \ital{anonymous ftp} +at {\tt rsovax.ups.circe.fr} (130.84.128.100), after selecting the +subdirectory {\tt [.musictex]}. All sources (including fonts) are provided, +either separately or ``zipped'' or as VMS `savesets''. + +%\check +\section{Implementation, restrictions and enhancement possibilities} + +The macroinstruction file \musictex\ contains approximately 2500 lines of +code, that is 80~000 bytes approximately. This requires your score to be +compiled by the most extended versions of \TeX\ (65~000 words of working +memory). In desperate situations, we recommend using the +``Big\TeX''\index{Big\protect\TeX} processors which, unfortunately, perform +a great deal of disk input/outputs (on PCs) which make them awfully slow. + +In particular, the number of registers it uses can hinder its compatibility +with some La\TeX\ styles or with La\TeX\ itself in case of restricted memory +availability\index{La\protect\TeX}. + +\subsection{Recent easy enhancements} + +Many enhancements have been asked for, and this is a proof thet \musictex\ is +considered as useful by many people. Some of these enhancements which seemed +hard were in fact rather easy to implement, for example small notes to represent +grace notes and cadenzas. But others may induce heavy problems, for example +the need of having \ital{nice} slurs and ties. + +\subsection{The tie/slur problem} + +While typesetting notes and even beams is a rather simple problem because is +is a \ital{local typesetting}, ties and slurs are much more difficult to handle. + +Or course there is little problem in case of a typesetter wanting a slur or a +tie binding two consecutive notes, not separated by a bar. In practice this +\ital{very restricted} use of slurs or ties can easily be solved by putting +some symbols extracted from the {\tt slur16} or {\tt slurn16}/{\tt slurn20} +fonts somewhere on the staffs using the general use \keyindex{zcharnote} +macro. + + But serious music typesetters or composers know that many ties are supposed +to link notes which are on both sides of a bar, which is a likely place to +insert line breakings, so that the \itxem{tie} coding must have various +versions and sizes to resist that possible line breaking. What has been said +about ties is still more serious in the case of \itxem{phrasing slurs} which +may extend over several bars, lines and sometimes pages. In this case, their +shape is not only a question of producing a long curved symbol of nice +looking shape, it also has to cope with \itxem{glue}. An then the worst is +that music way of typing does not accept \itxem{ragged lines} but equal +length lines, even for the last line of a music piece. Thus, long distance +slurs and ties need to be cut into separate parts (beginning, continuing(s), +endings) which \TeX\ can only link using \ital{horizontal line overlaps} +or \keyindex{leaders} to insure slur continuity over this unavoidable glue. + + + +Therefore and up to now, ties and slurs have been implemented in a way which +may look rather ugly, but we think it is the only way of implementing +\ital{in one pass} ties and slurs which run \ital{across glue}. The principle +is to have tie/slur symbols with a rather long part of horizontal stuff. +Then, at each time a glue occurs and at each time a group of notes is coded +while a slur or tie is pending, an \keyindex{hrule} is issued which overlaps +the preceeding tie/slur symbol so that the final output seems to contain a +continuous line. Unfortunately, this is possible only in the glue expansion +direction, namely in the horizontal direction. + + It could be requested -- and this is thought of -- to have variable size +initial and final curved slur symbols which the user would choose according +to his intention to have short or long range slur symbols. This has not been +\ital{yet} implemented for several reasons~: + + \begin{itemize} + + \item The author's natural lazyness (!) + + \item More seriously~: this would require using some more registers (at +least a dozen) to record the initial sizes (horizontal and vertical) of this +symbol \ital{for each slur/tie} in order to make adequate links over glue and +to close it with the symmetrical symbol. Unfortunately, \TeX\ registers are +not numerous (256 of each kind) and we are afraid such a feature would make +\TeX\ stupidly crash even when typesetting reasonable scores. + + \item We do not think it wise to introduce in \musictex\ itself a great +number of macros which would be pooly used by most users~: the reason is that +\TeX\ memory is hardly limited and that unused macros may occupy some \TeX\ +storage which could make things crash because of {\tt TeX capacity +exceeded}... + + \end{itemize} + +\section{Acknowledgements} + +The idea of implementing the present package is due to the previous work +(\mutex)\index{mutex\&\%\protect\mutex} of Andrea {\sc Steinbach} and Angelika +{\sc Schofer}[1]. This work +provided the basis of the Metafont codes and some line breaking procedures, +which both are still used here... with 99\% corrections and +updates.\index{Schofer, A.}\index{Steinbach, A.} + + +\section{Some examples} + +Many examples can be typeset from the \musictex\ distribution, but they are +not included here because of their need to be compiled with \TeX\ rather than +La\TeX\ and because they need output paper of the extended +291$\times$297~mm$^2$ european size. However we chose to produce a small type +size version of {\sc Haydn}'s \ital{aria} from the Creation and a piece of a +personal composition heavily using beams. + +\vspace{.5cm} +\begin{thebibliography}{Taupin 92} +\bibitem[1]{} Andrea {\sc Steinbach} and Angelika +{\sc Schofer}, {\em Theses} (1987, 1988), +Rheinische Friedrich-Wilhelms Universit\"at, Bonn, Germany. + +\end{thebibliography} + +\newpage + +\begin{center} +{\Large\bf Aria No. 24} +\\{\large\bf (The Creation)} +\\{\large Joseph {\sc Haydn}} +\\Transcription for organ and tenor, D. {\sc Taupin} (1990) +\end{center} + +\begin{music} +\musicsize=16\relax +\def\nbinstruments{2}% +\generalmeter{\meterfrac{4}{4}}% +\signaturegenerale{0}% +\nbporteesii=2\relax +\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}% +\def\qbu#1#2#3{\ibu{#1}{#2}{#3}\qh{#1}{#2}}% +\def\DS{\hbox{\ds}}\def\FS{\hbox{\kern 0.3\noteskip\soupir}\kern -0.3\noteskip} +\cleftoksi={{6}{0}{0}{0}} +\cleftoksii={{6}{0}{0}{0}} +\debutmorceau +\autolines {16}24\relax +\NOTes\soupir&\rlap{\rmidtwotext{\bf II}}\relax +\soupir\relax|\qu g\enotes +% mesure 1 +\advance\barno by -1\relax +\advance\barsinline by -1\relax +\barre\NOtes\itenu2J\wh J&\zw N\ibl0c0\qb0e|\itenl0j\ibu1l0\qh1j\enotes +\notes&\qbl0c0|\nbbu1\nbbbu1\tten0\qh1{jkj}\tbu1\qh1i\enotes +\Notes&\qb0e\tbl0\qb0c|\qu j\enotes +\temps\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\enotes +% mesure 2 +\barre\Notes\tten2\wh J&\ql J\sk\ql L|\ppt g\rlap{\qu g}\qbl1e0\relax + \zq c\qb1e\zq c\qb1e\relax + \zq c\tbl1\rlap{\qb1e}\ \ \ccu h\enotes +\temps\Notes&\ql N\sk\pt L\ibl0L{-4}\qb0L|\ibl1e0\zq c\rlap{\qb1e}\cu g\relax + \zq c\rlap{\qb1e}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes +\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\enotes +% mesure 3 +\autolines {14}24\relax +\barre\NOtes\itenl2G\wh G&\zw N\raise 3.5\Interligne\ds +|\rlap{\cl f}\itenl0k\ibu1m0\qh1k\enotes +\notes&\qbl0b0|\nbbu1\nbbbu1\tten0\qh1{klk}\tbu1\qh1{^j}\enotes +\Notes&\zq d\qb0f\tbl0\qb0b|\qu k\enotes +\temps\Notes&\ibl0d0\zq d\qb0{fb}\zq d\qb0f|\qu m\sk\pt k\qbu1k{-4}\enotes +\notes&\tbl0\qb0b|\sk\tbbu1\tbu1\qh1i\enotes +% mesure 4 +\barre\Notes\tten2\wh G&\ql G\sk\ql I|\rlap{\qupp g}\ibl1c0\qb1g\relax + \zq{bd}\qb1f\zq{bd}\qb1f\relax + \zq{bd}\tbl1\rlap{\qb1f}\ \ \ccu h\enotes +\temps\Notes&\ql K\sk\pt I\qbl0I{-4}|\ibl1d0\rlap{\qb1b}\cu g\relax + \zq{bd}\rlap{\qb1f}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes +\notes&\sk\tbbl0\tbl0\qb0G|\tbl1\zq{bd}\qb1f\enotes +% mesure 5 +\barre\Notes\hu J&\rlap{\lhu J}\ibl0M0\qb0J\zq N\qb0c\zq N\qb0c\tbl0\zq N\qb0c\relax + |\rlap{\hl e}\qu j\sk\qbu1l{-4}\tbu1\qh1j\enotes +\temps\Notes\hu K&\rlap{\lhu K}\ibl0M0\qb0K\zq N\qb0b\zq N\qb0b\tbl0\zq N\qb0b\relax + |\rlap{\hl f}\ibu1k0\qh1{ikm}\tbu1\qh1k\enotes +%\check +% mesure 6 +\barre\Notes\wh L&\zw N\raise 3.5\Interligne\ds\qbl0c0\qb0e\relax + |\rlap{\hl g}\ppt j\qu j\enotes +\notes&\tbl0\qb0c|\sk\ccu l\enotes +\temps\Notes&\ibl0c0\qb0{ece}|\rlap{\hl g}\qu n\sk\raise 2\Interligne\DS\enotes +\notes&\tbl0\qb0c|\ibbu1m{-3}\qh1m\tbu1\qh1l\enotes +%\check +% mesure 7 +\barre\Notes\wh M&\zw a\raise 3.5\Interligne\ds\qbl0d0\qb0f\tbl0\qb0d\relax + |\rlap{\hlp h}\qu k\sk\qu m\enotes +\temps\Notes&\ibl0d0\qb0f|\pt o\qbu1o{-3}\enotes +\notes&\zq d\qb0f\sk +\zq d\qb0f\sk\tbl0\zq d\qb0f|\sk\tbbu1\tbu1\qh1n\relax + \ibbu1m{-3}\rlap{\raise -\Interligne\qp}\qh1{mlk}\tbu1\qh1j\enotes +%\check +% mesure 8 +\barre\Notes\hu G&\lcharnote c{\bf I}\relax +\pz b\ibl0M3\qb0N\pz d\qb0b\pz f\qb0d\pz d\tqb0b|\ql i\rlap{\uptext{\bf I}}\sk\ds\ppz p\zq{km}\cl p\enotes +\temps\Notes\hu G&\ibl0M3\pz b\qb0N\pz e\qb0c\pz g\qb0e\pz e\tqb0c\relax + |\zq{jl}\ql q\sk\ds\ppz l\zq{gj}\cl l\enotes +%\check +% mesure 9 +\barre\Notes\hu G&\pz b\ibl0M3\qb0N|\zq{gi}\ql k\enotes +\notes&\nbbl0\qb0b\tqb0c\enotes +\zglu\Notes&\pz f\ibl0d{-4}\qb0d\pz d\tqb0b|\ds\ppz p\zq{km}\cl p\enotes +\temps\Notes\hu G&\pz b\ibl0M3\qb0N|\ppz q\ibl1m3\zq l\qb1q\enotes +\notes&\nbbl0\qb0c\tqb0d|\nbbl1\qb1q\tqb1p\enotes +\temps\notes&\pz g\ibl0e{-4}\qb0e\sk\pz e\tqb0c|\ibbl1p0\qb1{qpq}\tqb1s\enotes +%\check +% mesure 10 +\barre\Notes\hu G&\zq{Nb}\ql d|\pz t\ibl1o{-3}\qb1r\enotes +\notes&|\nbbl1\qb1n\tqb1{^m}\enotes +\zglu\notes&\soupir|\ibbl1m0\qb1{nmn}\tqb1m\enotes +\temps\Notes\hpause&\ibl0I6\pz J\qb0G|\pz p\cl n\enotes +\notes&\nbbl0\qb0N\tqb0{^M}|\ibbu1g{-3}\qh1g\tqh1{^f}\enotes +\notes&\ibbl0N0\qb0{NMN}\tqb0M|\ibbu1g0\qh1{gfg}\tqh1f\enotes +%\check +\suspmorceau +\def\nbinstruments{4}% +\nbporteesiii=0\relax +% mesure 11 +\reprmorceau +\autolines {11}23\relax +\NOtes\qu G&\ql N|\st n\qu g&&\hpause\enotes +\zglu\NOtes\soupir&\rlap{\rmidtwotext{\bf II}}\soupir|\zq d\qu{=f}&&\enotes +\temps\NOtes\hpause&\hpause|\zq c\qu e&&\soupir\enotes +\zglu\NOtes&|\zq b\qu d&Mit~&\ilegu0p\qu g\enotes +% mesure 12 +\barre\Notes&\qu J|\zw N\zq c\ibu0e0\qh0e\zq c\qh0e&W\"urd~&\ql j\enotes +\Notes&\soupir|\zq c\qh0e\zq c\tqh0e&und~&\ql j\enotes +\temps\Notes\pause&\hpause|\zq c\ibu0e0\qh0e\zq c\qh0e&Ho-&\ql l\enotes +\Notes&\zcharnote C{\bf I}|\zq c\qh0e\zq c\tqh0e&heit~&\ql j\enotes +% mesure 13 +\autolines {12}23\relax +\barre\Notes&\qu C|\zw N\zq c\ibu0e0\qh0e\zq c\qh0e&an-&\qup g\enotes +\Notes&\qu E|\zq c\qh0e\zq c\tqh0e&\sk ge-&\sk\cu h\enotes +\temps\Notes\pause&\qu G|\zq c\ibu0e0\qh0e\zq c\qh0e&tan,~&\tleg0\qu g\enotes +\Notes&\ibu1E{-3}\qhp1E|\zq c\qh0e&mit~&\ilegu0p\qu g\enotes +\notes&\sk\tbbu1\tqh1C|\zq c\tqh0e&&\enotes +% mesure 14 +\barre\Notes&\qu G|\zw N\ibu0e0\zq{bd}\qh0f\zq{bd}\qh0f\relax + &Sch\"on-&\ql k\enotes +\Notes&\soupir|\zq{bd}\qh0f\zq{bd}\tqh0f&heit,~&\ql k\enotes +\temps\Notes\pause&\hpause|\ibu0e0\zq{bd}\qh0f\zq{bd}\qh0f&St\"ark~&\ql m\enotes +\Notes&|\zq{bd}\qh0f\zq{bd}\tqh0f&und~&\ibu2k{-4}\qh2k\tqh2i\enotes +\suspmorceau +\end{music} +%\removelastskip\rightline{\sl\aujourdhui} +\newpage + +\def\testpgs{4}% +\begin{music} +% +\resettens +\musicsize=16\relax +\nbporteesi=2\relax +\def\nbinstruments{1}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{-3}\relax % trois bemols a la clef +\def\quatretemps{\generalmeter{\meterfrac{4}{2}}}% +%\check +\def\instrumenti{Piano} +\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% +\def\ff{{f}\kern -1pt{f}}% +% formes frequentes +% +%\check +% +\def\Tqbbh{\Tqbbu}% +\def\Tqbh{\Tqbu}% +% +%\check +% octave basse en blanche +\def\bohl#1{\zh{`#1}\hl{'#1}}% +\def\bohu#1{\zh{`#1}\hu{'#1}}% +\def\sohl#1{\zh{'#1}\hl{`#1}}% +\def\sohu#1{\zh{'#1}\hu{`#1}}% +% +\def\bozh#1{\zh{`#1'#1}}% +\def\bozq#1{\zq{`#1'#1}}% +\def\boql#1{\zq{`#1}\ql{'#1}}% +\def\boqu#1{\zq{`#1}\qu{'#1}}% +% octave sup. en croches u +\def\soqh#1{\zq{'#1}\qh0{`#1}}% +\def\soqb#1{\zq{'#1}\qb0{`#1}}% +\def\soqu#1{\zq{'#1}\qu{`#1}}% +\def\soql#1{\zq{'#1}\ql{`#1}}% +%\check +% +\def\interfacteur{11}% +\computewidths +\staffbotmarg=5\Interligne % +\def\sfhu#1{\lsf #1\hu #1}% +\def\sfwu#1{\lsf #1\wh #1}% +\def\sfhl#1{\usf #1\hl #1}% +\def\sfwl#1{\usf #1\wh #1}% +\def\Sfwu#1{\zw{'#1}\usf{#1}\wh{!#1}}% +\def\Sfwp#1{\pt{'#1}\zw{#1}\pt{!#1}\usf{#1}\wh{#1}}% +% +\parindent 1cm\debutmorceau +% +\autolines{28}14\relax +\znotes\zmidtwotext{\kern -3.5mm\ppff ff}|\raise 9\Interligne +\llap{\moyen + appassionnato\kern -1.5cm}\uptext{\kern -1mm\rm(\metron{\qu}{80})}\enotes +% +%\check +\newif\ifsupa +\supafalse +\def\accord#1#2#3#4#5#6#7{\notes +\raise -2\Interligne\llap{\PED\sk}\Ibbu0{#1}{#3}3\qh0{!`#1!#1#2}\tqh0{#3}\relax +|\pt{#5}\pt{#6}\pt{#7}\zw{#5}\zw{#6}\zw{#7}\relax +\usf{!'#5}\pt{!'#5}\wh{!'#5}\Ibbu0{!#5}{!#7}3\qh0{!#5#6}\tqh0{#7}\enotes +%\check 1 +\temps\notes +\Qqbbu{!#4}{!'#2}{!'#3}{!'#4}|\Qqbbu{!'#5}{!'#5}{!'#6}{!'#7}\enotes +%\check 1 +\temps\notes +|\rlap{\Qqbbl{!''#2}{!''#3}{!''#4}{!'''#2}}\relax +\Qqbbu{!''#5}{!''#5}{!''#6}{!''#7}\enotes +%\check 1 +\temps\notes|\rlap{\Qqbbl{!'''#3}{!'''#2}{!''#4}{!''#3}}\relax +\Qqbbu{!'''#5}{!''#7}{!''#6}{!''#5}\enotes +%\check 1 +\temps\notes +\ifsupa|\rlap{\Qqbbl{!'#4}{!'#4}{!'#3}{!'#2}}\relax +\else\ibbu0{!''#3}{-9}\qh0{!''#3#2`#4}\tqh0{#3}|\fi +\Qqbbu{!''#5}{!'#7}{!'#6}{!'#5}\enotes +%\check 1 +\temps\notes\raise -2\Interligne +\rlap{\sk\sk\DEP}\Ibbu0{!#4}{!`#4}3\qh0{!#4#3#2}\tqh0{!`#4}\relax +|\Ibbu0{!'#5}{!#5}3\qh0{!'#5`#7#6}\tqh0{#5}\enotes +}% +% +%\check +\accord CEGJNce\relax +% mesure 2 +\autolines{25}1{\testpgs}\relax +\barre\accord CFHJacf\relax +% mesure 3 +\barre\supatrue\accord CFHJcfh\relax +% mesure 4 +\barre +\accord CFHJdfh\relax +% mesure 5 +\def\Accord#1#2#3#4#5#6#7{\notes +\raise -2\Interligne\llap{\PED\sk}\Ibbu0{#1}{#3}3\qh0{`#1!#1#2}\tqh0{#3}\relax +|\pt{#5}\pt{#6}\pt{#7}\zw{#5#6#7}\relax +\usf{!'#5}\whp{!'#5}\Tqbbu{!#5}{!#6}{!#7}\enotes +%\check 1 +\temps\notes\Qqbbu{!#4}{!'#2}{!'#3}{!'#4}\relax +|\Qqbbu{!'#5}{!'#5}{!'#6}{!'#7}\enotes +%\check 1 +\temps\notes|\rlap{\Qqbbl{!''#2}{!''#3}{!''#4}{!'''#2}}\relax +\Qqbbu{!''#5}{!''#5}{!''#6}{!''#7}\enotes}\relax +% +%\check +\barre\Accord CEGJNce\relax +\temps\notes|\qsk\octfin{22}{12}\rlap{\Qqbbl gjln}\Qqbbu nnqs\enotes +\temps\notes|\rlap{\Qqbbl qnlj}\Qqbbu usqn\enotes +\temps\notes|\rlap{\Qqbbl gecN}\Qqbbu nljg\enotes +% mesure 6 +\barre\notes\Qqbbu ecNL|\Qqbbu nljg\enotes +\temps\notes\Qqbbu cNLJ|\Qqbbu ljge\enotes +\temps\notes\Qqbbu NLJG|\zcharnote{a}{\DIMin}\Qqbbu jgec\enotes +\temps\notes\Qqbbu LJGE|\Qqbbu gecN\enotes +\temps\notes\Qqbbu JGEC|\Qqbbu ecNL\enotes +\temps\notes\boqu C\DEP\qsk|\qu J\enotes +% mesure 7 +\barre\supafalse\znotes\zmidtwotext{\llap{\ppff ff}}\enotes +\accord CEGJNce\relax +% mesure 8 +\barre\accord CFHJacf\relax +\suspmorceau + + + +\end{music} +\end{document} + |