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diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex deleted file mode 100644 index 57279defdf3..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex +++ /dev/null @@ -1,9352 +0,0 @@ -% -% This file is part of MusiXTeX -% -% MusiXTeX 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, or (at your option) -% any later version. -% -% MusiXTeX 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 MusiXTeX; see the file COPYING. If not, write to -% the Free Software Foundation, Inc., 59 Temple Place - Suite 330, -% Boston, MA 02111-1307, USA. -% -% -% 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 - \setlines10\smallmusicsize \nobarnumbers \nostartrule - \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt - \startextract\addspace{-\afterruleskip}#1\zendextract}} -\makeatother -\def\musicintext#1#2{% normal - {\let\extractline\relax - \smallmusicsize \nobarnumbers - \staffbotmarg0pt \setclef1{#1} - \startextract\addspace{-\afterruleskip}#2\endextract}} -% macro adapted to insert music without clef: -\def\musicintextnoclef#1{% no clef small - {\let\extractline\relax - \smallmusicsize \nobarnumbers - \staffbotmarg0pt \setclefsymbol1\empty - \startextract\addspace{-\afterruleskip}#1\endextract}} -\def\musicintextnoclefn#1{% no clef normal - {\let\extractline\relax - \nobarnumbers - \staffbotmarg0pt \setclefsymbol1\empty - \startextract\addspace{-\afterruleskip}#1\endextract}} - -\def\musictex{Music\TeX{}} -\def\onen{{\tt\char123}$n${\tt\char125}} -\def\pitchp{{\tt\char123}$p${\tt\char125}} -\def\itbrace#1{{\tt\char123}$#1${\tt\char125}} -\def\nochange{(\ital{NOT to be changed})} - -\ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi -\ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi - -\startmuflex\makeindex - -\begin{document} - -%\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 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\\\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\\\large\sl - (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum} -\date{} - \maketitle -\clearpage - %\check - -\pagenumbering{roman}\setcounter{page}{2} - -%\thispagestyle{empty} - -\null -\vfill - -\begin{flushright}\it - If you are not familiar with \TeX{} at all\\ -I would recommend to find another software\\ -package to do musical typesetting.\\ -Setting up \TeX{} and \musixtex\\ -on your machine and mastering it\\ -is an awesome job which gobbles up\\ -a lot of your time and disk space.\\[\medskipamount] -But, once you master it...\\[\smallskipamount] -Hans {\sc Kuykens} -\end{flushright} - -\begin{center} -\musixtex{} may be freely copied, duplicated and used in conformance to -the GNU General Public License (Version 2, 1991, see included file {\tt -copying})\footnote{Thanks to Free Software Foundation for advising us. See -\href{http://www.gnu.org}{\underline{\tt http://www.gnu.org}}}. - -You may take it or parts of it to include in other packages, but no packages -called \musixtex{} without specific suffix may be distributed under the name -\musixtex{} if different from the original distribution (except obvious bug -corrections). - - Adaptations for specific implementations (e.g. fonts) should be provided as -separate additional \TeX\ or \LaTeX\ files which override original definitions. - \end{center} - -\clearpage - -\chapter*{Preface to Version T.113} -%\thispagestyle{empty} - -The main author of \musixtex{}, Daniel Taupin, died all too early in a 2003 -climbing accident. The \musixtex\ community was shocked by this tragic and unexpected -event. You may read some tributes to Daniel Taupin which are archived at the -\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. - -Now, almost two years after his death, we would like to help keep his excellent -work alive and current by assembling a new release. This new version corrects various -minor bugs without adding any new functionality. At the same time it incorporates directly -into the distribution some additional packages: -\begin{itemize}\setlength{\itemsep}{0ex} -\item Type 1 (postscript) versions of all the \musixtex{} fonts, created by -Takanori Uchiyama; -\item Postscript Slur Package K (Ver 0.92, 12~May~02) by Stanislav Kneifl; -\item musixlyr (Ver 2.1c, 12 June 03) a \musixtex{} extension package for lyrics -handling, by Rainer Dunker. -\end{itemize} -We would like to thank the authors of these packages for generously agreeing to allow their -contributions to be included in the main \musixtex{} package. - -We have left the remainder of this manual largely as Daniel Taupin left it, -except we have updated various references and provided dynamic links to -archived versions where possible. - -This documentation is rather technical and is probably not the best way to -begin typesetting music. If you are a beginner, you should visit the -software section of the -\href{http://icking-music-archive.org/software/indexmt6.html} -{\underline{Werner Icking Music Archive}}. -In particular, we recommend -\href{http://icking-music-archive.org/software/pmx/pmxccn.pdf} -{\underline{Cornelius Noack's tutorial}}. It contains helpful information for -getting started with \musixtex, as well as a tutorial for \textbf{PMX}, a -preprocessor for \musixtex\ with a much simpler input language, and a brief -introduction to \textbf{M-Tx}, a preprocessor for \textbf{PMX}~which eases -the inclusion of lyrics. - -\bigskip - -\begin{flushright} -In the name of the community, Olivier Vogel, -July 30, 2005 -\end{flushright} - -%\clearpage - -\chapter*{Preface to Version T.114} -%\thispagestyle{empty} - -In order to expedite the release of version T.113 of \musixtex, only the most -essential modifications were made to the manual. With version T.114 the manual -has been extensively edited from cover to cover. Some material has been -rearranged, and references to \musictex, the immediate predecessor to -\musixtex, have been removed. The software itself remains -very stable. Only the slightest changes have been made since version T.113. - -It remains true that this is the definitive reference to all features of -\musixtex, but also that it is not the best place for a novice user to start. -The \href{http://icking-music-archive.org/software/indexmt6.html} -{\underline{Werner Icking Music Archive}}\ contains excellent and detailed -instructions for installing \musixtex{} and the strongly recommended -preprocessors \textbf{PMX} -(for instrumental music) and \textbf{M-Tx} (for vocal) under -\href{http://icking-music-archive.org/software/musixtex/musixtex-for-unix.html} -{\underline{Linux/\unix}} or -\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf} -{\underline{Windows 2000}}. Once the software is installed, most common -music typesetting tasks can be accomplished entirely by using one of these -preprocessors to generate the \musixtex\ input file, relieving the user of -learning any of the commands or syntax of \musixtex\ itself. It is only -for out-of-the-ordinary constructions that one must learn these details, so he -may insert the necessary \musixtex\ commands into the preprocessor's input file -as so called inline \TeX. -\href{http://icking-music-archive.org/software/pmx/pmxccn.pdf} -{\underline{Cornelius Noack's tutorial}} is an important resource which, -in addition to gently introducing the -novice to \textbf{PMX} and \textbf{M-Tx}, gives further details on installing -Postscript slur facilities. - -\begin{flushright} -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} -\renewcommand{\baselinestretch}{.8}\footnotesize\normalsize -\tableofcontents \setcounter{secnumdepth}3 -\renewcommand{\baselinestretch}{1}\footnotesize\normalsize - -%avrb page 4 was on top -\clearpage -%avre - -\setcounter{page}{1} -\pagenumbering{arabic} -\renewcommand{\thepage}{\arabic{page}} - -\pagestyle{headings} - - - -\chapter{Introduction to \musixtex} - -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 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 -contains symbols for staves, notes, chords, beams, slurs and ornaments, -ready to be arranged to form a sheet of music. But it must be told how to position -those symbols on the page. This could be done by the typesetter -himself, if he elects to proceed by entering \musixtex\ commands manually -into an input file. However most users will find it far less taxing to let -such decisions be made largely by the preprocessor -\href{http://icking-music-archive.org/software/indexmt6.html#pmx} -{\underline{\textbf{PMX}}}, which in addition uses a much simpler input -language than \musixtex. - -Lyrics can also be handled by \musixtex. There is a set of primitive -commands for this which are described later. But there is also a far -more adaptable set of macros contained in the extension file -\verb|musixlyr.tex|, and there is the preprocessor -\href{http://icking-music-archive.org/software/indexmt6.html#mtx} -{\underline{\textbf{M-Tx}}}\ which provides easy, transparent access to -these macros. - -Most users of \TeX\ are familiar with \LaTeX, a set of \TeX\ macros -which eases document layout. In fact many may only use \LaTeX. -Until recently, \LaTeX\ and \musixtex\ coexisted only grudgingly, owing -primarily to the limited availabily of storage registers. But with modern -versions of \TeX\ and with the use of e\LaTeX, only a modest increase in -complexity is incurred with the addition of musical excerpts to a \LaTeX\ -document. Still, fortunately, for typesetting a musical score there is -rarely if ever any advantage to using \LaTeX. Only if one wanted to create a -text document with embedded musical examples would there be much use for it. -Even in that case there is a perfectly fine way to avoid using \musixtex\ -directly in the document file, namely, by using \musixtex\ to create -\verb|eps| files for -each of the examples, then embedding references to those in the file for -the book. But for anyone who still wants to use both together, there is -no better example than this manual, as generated with the files -\verb|musixdoc.tex| and \verb|musixdoc.sty|. A few further details about such -nonstandard applications are given in section \ref{excerpts}. - -\section{Primary features of \musixtex} - \subsection{Music typesetting is two-dimensional} Written music is not -usually a linear sequence of symbols like a literary text. Rather, -except for unaccompanied single-note instruments like clarinets, -trumpets and human voices, it has the form of a two-dimensional matrix. - Thus, a logical way of coding music consists -in horizontally accumulating a set of \ital{vertical combs} with -\ital{horizontal teeth} as depicted in Table~\ref{readtable}. -\def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}} - \begin{table} - \begin{center} -%avrb - \small - %avre - \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 sequence three} - &\hboxit{note seq.\ six} - &\hboxit{note seq.\ nine} - &\hboxit{note seq.\ twelve}\\ - \end{tabular} - \end{center} - \caption{A logical way of coding music}\label{readtable} - \end{table} -Accordingly, in \musixtex\ the fundamental macro used to represent -one of those vertical combs (or one of the columns in Table~\ref{readtable}) -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{"&@{\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@{\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: -\begin{center} -\verb=\notes ... | ... & ...\enotes= -\end{center} -\noindent for each column of simultaneous \ital{groups of notes}. -Each of those groups, represented by a single box in Table~\ref{readtable}\ -and by a sequence of three dots in the the two example macros above, may contain -not only chord notes to be played simultaneously, but short sequences of -consecutive -notes or chords. As we'll soon see, this implies the need for two fundamentally different -kinds of elemental macros in \musixtex, those that are automatically followed -by some amount of space (called \ital{spacing macros}, and those that are not. -The former type, for example, -would be used to represent all the notes and rests in a single-line score. -The latter would be used for example for chord notes and ornaments. - -\subsection{Horizontal spacing} -Deciding upon the proper horizontal spacing of notes is a very complicated matter -that we will not address in any detail here. Obviously short-duration notes -should be closer together than longer ones. Almost as obviously, the spacing -cannot be linearly proportional to the duration; otherwise for example a whole -note would occupy 32 times as much horizontal space as a thirty-second note. And -in polyphonic scores the spacing in one staff is often influenced by the notes -in another. This is a decision that the typesetter or preprocessor -must make. Once the decision is made, \musixtex\ can provide the desired spacing. -The main mechanism is through a set of macros described in -section~\ref{newspacings}. At this point we shall only mention that to control -spacing, one of those -macros will be selected to replace the symbol \verb|\notes| in the two examples -above, and it will imply that whenever a spacing macro in encountered within -a group of notes, a -certain specific amount of horizontal space will be inserted. - - \subsection{Music tokens} -The tokens provided by \musixtex\ include -\begin{itemize}\setlength{\itemsep}{0ex} - \item note symbols without stems; - \item note symbols with stems, and flags for eighth notes and -shorter; - \item beam beginnings and endings; - \item beginnings and endings of ties and slurs; - \item accidentals; - \item ornaments: arpeggios, trills, mordents, turns, staccatos, -pizzicatos, fermatas, etc.; - \item bar lines; - \item meters, key signatures, clefs. -\end{itemize} - -\smallskip - - Thus for example, \verb|\wh a| produces a whole note at nominal frequency 222.5~Hz, -\verb|\wh h| produces one an octave higher, \verb|\qu c| -produces an up-stemmed quarter note C (250~Hz), and \verb|\cl J| produces a down-stemmed C -eighth note an octave lower. - - To generate chords with solid note heads, the macro \keyindex{zq} -can be used. It produces a solid note head at the specified pitch, -the vertical position of which -is memorized and recalled whenever the next stemmed note (possibly with a flag) is -coded. The stem length is automatically adjusted to link all simultaneous notes. Thus, the -C-major chord - -\begin{music}\nostartrule -\startextract\NOtes\zq{ceg}\qu j\en\zendextract -\end{music} - \noindent is coded \verb|\zq c\zq e\zq g\qu j| or more concisely, -\verb|\zq{ceg}\qu j|. Here the \verb|u| in the spacing note macro -\verb|\qu| is what causes the upstem. - - \subsection{Beams} -Each beam \index{beams} is generated by a pair of macros. The first defines -the beginning horizontal position (implicitly the current position), altitude, -direction (upper or lower), multiplicity (number of lateral bars), slope and -reference number. This latter feature is needed so independent beams -can overlap. The second macro of the pair specifies the termination -location (again implicitly) and the reference number. - - \subsection{Setting anything on the score} -A general macro (\keyindex{zcharnote}) provides a means of -putting any sequence of symbols (possibly contained in an \verb|\hbox{...}|) at any -pitch of any staff of any instrument. This allows any symbol defined in a font -(letters, math symbols, etc.) to be placed in the score at a position keyed -to the music both in time (horizontally) and pitch (vertically) on the staff, -\section{A simple example} - Before going into more detail, we give below an example of the two first -bars of the sonata in C-major KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc -Mozart, W.A.}}: - -\begin{music} -\parindent11mm -\setname1{Piano} -\setstaffs12 -\generalmeter{\meterfrac44} -\startextract -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en -\bar -\Notes\ibu0f0\qb0{dgf}|\qlp i\en -\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\zendextract -\end{music} - The coding is as follows: -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\parindent10mm -\instrumentnumber{1} % a single instrument -\setname1{Piano} % whose name is Piano -\setstaffs1{2} % with two staffs -\generalmeter{\meterfrac44}% 4/4 meter chosen -\startextract % starting real score -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en -\bar -\Notes\ibu0f0\qb0{dgf}|\qlp i\en -\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\zendextract % terminate excerpt -\end{music} - \end{verbatim}\end{quote} -\begin{itemize}\setlength{\itemsep}{0ex} - \item \verb|\ibu0f0| begins an upper beam, aligned on the -\ital{f}, reference number 0, slope 0 - \item \verb|\tbu0| terminates this beam before writing -the second \ital{g} by means of \verb|\qb0g| - \item \verb|\qb..| indicates a note belonging to a beam. - \item \verb|\sk| sets a space between the two quarters in the right -hand, so that the second one is aligned with the third eighth in the left hand. - \item\verb|\qlp| is a dotted quarter note. - \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C} -(\verb|j| at this pitch) with slope 15\%. -\end{itemize} - -\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. -One might at first consider extending this to music, treating each bar like a -word with no stretchable internal space. But typically this would lead to unsightly -gaps before each bar rule, simply because the number of bars per line -is normally many fewer than the number of words in a line of text. -\musixtex\ needs a more sophisticated horizontal spacing algorithm -than is used in \TeX. - -To understand how \musixtex\ solves this problem, we have to -recognize two different kinds of horizontal space, \ital{hard}\ and -\ital{scalable}. Hard space is fixed and always represents the same -physical distance. -Examples of hard space are the widths of bar rules, clefs, -and key signatures. Scalable space can be stretched as needed. It -is what is normally used for the space after notes or rests. At the -outset it is only defined in a relative sense. In other words, -scalable spaces are defined as multiples of \verb|\elemskip|, an -initially undefined elemental spacing unit. For example, in \textbf{PMX}\ -all sixteenth notes -are typically assigned a scalable width of 1.41\verb|\elemskip|. -One main job of \musixtex\ is to compute the physical value of -\verb|\elemskip|, often expressed in points (72nds of an inch). -The correct value is that which makes all the scalable space on -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\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 -such as line width and paragraph indentation. Then the hard and -scalable space is listed for each bar. -\index{scalable width}\index{hard width} - -The second pass, which is started with \verb|musixflx jobname|, -determines optimal values of the elemental spacing unit \verb|\elemskip| -for each line, so as to properly fill each line, and to spread -the piece nicely over an integral number of full lines. This routine was written -in FORTRAN and now converted to C rather than \TeX, the main reason -being the lack of an array handling capability in \TeX. - -\verb|musixflx| reads in the file \verb|jobname.mx1|, and writes its -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|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. - -You may wonder how the same command can -cause something different to happen the second time it is issued. The explanation -is that \musixtex\ checks for the presence of \verb|jobname.mx2|. If it's -not present, the first pass is executed; if it is, the third pass. Obviously if -you've made some corrections that affect any horizontal spacing, you must remember -to delete the old \verb|jobname.mx2| and then rerun all three passes, or -build or use a batch script that does so. - -Here's an example. Here, no value for \verb|\elemskip| is explicitly specified, -so \musixtex\ assign a single, default value. After the first pass you might get -the following output: - -\begin{music} -\hsize=100mm -\generalmeter{\meterfrac24}% -\parindent 0pt -\setsign1{-3} -\startpiece\bigaccid -\NOtes\qu{ce}\enotes -\bar -\NOtes\qu{gh}\enotes -\bar -\NOtes\qu{=b}\enotes -\Notes\ds\cu g\enotes -\bar -\NOtes\qu{^f=f}\enotes -\raggedstoppiece\contpiece% this is cheated, the problem was to get -% pass 1 and pass 3 at the same time -\NOtes\qu{=e}\itied0e\qu{_e}\enotes -\bar -\Notes\ttie0\Qqbu ed{_d}c\enotes -\bar -\Notes\ibu0b{-2}\qb0{=b}\enotes -\notes\nbbu0\qb0{=a}\tqh0N\enotes -\Notes\Dqbu cf\enotes -\raggedstoppiece\contpiece -\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes -\bar -\NOtes\qu c\qp\enotes -\setdoubleBAR\raggedstoppiece -\end{music} - -\noindent Note that the space after every quarter note is the same, and -that lines are not justified. -After running \verb|musixflx| and \TeX-ing the second time you'll -get: - -\begin{music} -\hsize=100mm -\generalmeter{\meterfrac24}% -\parindent 0pt -\generalsignature{-3} -\startpiece\bigaccid -\NOtes\qu{ce}\enotes -\bar -\NOtes\qu{gh}\enotes -\bar -\NOtes\qu{=b}\enotes -\Notes\ds\cu g\enotes -\bar -\NOtes\qu{^f=f}\enotes -\bar -\NOtes\qu{=e}\itied0e\qu{_e}\enotes -\bar -\Notes\ttie0\Qqbu ed{_d}c\enotes -\bar -\Notes\ibu0b{-2}\qb0{=b}\enotes -\notes\nbbu0\qb0{=a}\tqh0N\enotes -\Notes\Dqbu cf\enotes -\bar -\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes -\bar -\NOtes\qu c\qp\enotes -\Endpiece -\end{music} - -\noindent Now \musixtex\ has determined a number of lines -(which is different from the original number), the lines are justified, -and if you look carefully you -can see that the space after quarters in the first line -is smaller than in the second. This example was coded as: -\begin{verbatim} -\hsize=100mm -\generalmeter{\meterfrac24}% -\parindent 0pt -\generalsignature{-3} -\startpiece\bigaccid -\NOtes\qu{ce}\en\bar -\NOtes\qu{gh}\en\bar -\NOtes\qu{=b}\en -\Notes\ds\cu g\en\bar -\NOtes\qu{^f=f}\en\bar -\NOtes\qu{=e}\itied0e\qu{_e}\en\bar -\Notes\ttie0\Qqbu ed{_d}c\en\bar -\Notes\ibu0b{-2}\qb0{=b}\enotes -\notes\nbbu0\qb0{=a}\tqh0N\enotes -\Notes\Dqbu cf\en\bar -\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar -\NOtes\qu c\qp\en\Endpiece -\end{verbatim} - -One benefit of the 3-pass system is the quick and easy -alteration to the layout which can be achieved -by changing only one parameter, namely \keyindex{mulooseness}. This value -acts analogously to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you -state \verb|\looseness=-1| somewhere inside any paragraph, then -\TeX\ will try to make the paragraph one line shorter than it normally would. -With \verb|\mulooseness|, \musixtex\ does the same, but for \ital{systems} -and \ital{sections} rather than lines and paragraphs. A system is just a group of -staves treated as a unit, and in this discussion is analogous to a line of text. -What is a \ital{section}? It's any chunk of coding not containing a -forced system break, System breaks can be forced with -\keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece}, -\keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne} -\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage}. If none -of these is present, the section comprises the whole piece. -Somewhere\footnote{Advisably, at the beginning or -at the end of the section, for the sake of clarity.} -before the end of the section, you can change the value of -\keyindex{mulooseness} to something different from the default of 0, and -\musixtex\ will typeset that section with a different number of systems. - -To give an easy example, changing the last line in the previous example to: -\begin{verbatim} -\NOtes\qu c\qp\en\mulooseness=1\Endpiece -\end{verbatim} -yields: - -\begin{music} -\hsize=100mm -\generalmeter{\meterfrac24}% -\parindent 0pt -\generalsignature{-3} -\startpiece\bigaccid -\NOtes\qu{ce}\enotes -\bar -\NOtes\qu{gh}\enotes -\bar -\NOtes\qu{=b}\enotes -\Notes\ds\cu g\enotes -\bar -\NOtes\qu{^f=f}\enotes -\bar -\NOtes\qu{=e}\itied0e\qu{_e}\enotes -\bar -\Notes\ttie0\Qqbu ed{_d}c\enotes -\bar -\Notes\ibu0b{-2}\qb0{=b}\enotes -\notes\nbbu0\qb0{=a}\tqh0N\enotes -\Notes\Dqbu cf\enotes -\bar -\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes -\bar -\NOtes\qu c\qp\enotes -\mulooseness1\Endpiece -\end{music} - -\noindent On the other hand, -\begin{verbatim} -\NOtes\qu c\qp\en\mulooseness=-1\Endpiece -\end{verbatim} -yields - -\begin{music} -\hsize=100mm -\generalmeter{\meterfrac24}% -\parindent 0pt -\generalsignature{-3} -\startpiece\bigaccid -\NOtes\qu{ce}\enotes -\bar -\NOtes\qu{gh}\enotes -\bar -\NOtes\qu{=b}\enotes -\Notes\ds\cu g\enotes -\bar -\NOtes\qu{^f=f}\enotes -\bar -\NOtes\qu{=e}\itied0e\qu{_e}\enotes -\bar -\Notes\ttie0\Qqbu ed{_d}c\enotes -\bar -\Notes\ibu0b{-2}\qb0{=b}\enotes -\notes\nbbu0\qb0{=a}\tqh0N\enotes -\Notes\Dqbu cf\enotes -\bar -\NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\enotes -\bar -\NOtes\qu c\qp\enotes -\mulooseness-1\Endpiece -\end{music} - -\noindent which is tighter than you would ever want, but serves to further -demonstrate the use of \keyindex{mulooseness}. - -If you want to build up a \musixtex\ input file -manually (which in fact very few users will ever need to do, considering the -availability of \textbf{PMX}), here is a roadmap for one way to proceed: -\begin{enumerate} - \item Enter the data one \verb|\notes| group at a time, taking care to select the -relative horizontal spacing for each group (via the macros discussed in section~\ref{newspacings}) -so as to maintain a consistent relationship between scalable space and note durations. -This will be discussed in a great deal more detail in Chapter 2. - \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX. - \item Look at the output and decide if you want to have more or fewer -systems, e.g.~to fill the page or to get an even number of -pages.\index{musixflx@{\tt musixflx}} - \item If you want to change the number of systems in a section, adjust -\keyindex{mulooseness} accordingly. Keep in mind that each section cannot have fewer -systems than bars. -\item Delete \verb|jobname.mx2| and repeat the process\\ -\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX. - -\end{enumerate} - -There is an alternate way to proceed if you know at the outset -how many systems -you want in a section. You can specify it directly by assigning a -positive number to \keyindex{linegoal} somewhere within the -section (\verb|\linegoal| requires -version 0.83 or later of \verb|musixflx|). -\keyindex{mulooseness} must be zero -for \keyindex{linegoal} to work. Both are automatically reset to -zero after processing the end of a section e.g. as defined by -\keyindex{stoppiece}. - -Finally, for large scores (more than 4 pages or so), having -only one section and an overall value of \verb|\mulooseness| becomes -impractical since one wants not only to have nicely spaced systems, but also -completely filled pages without empty top and -bottom margins on the last page. It is then wise to force the total number of -pages and possibly the line breaks in each page, which can be done using -\keyindex{alapage} and/or \keyindex{alaligne}\footnote{This is the technique -always used by \textbf{PMX} in constructing a \musixtex\ input file.}. -%avrb -%, or more automatically by -%means of the \keyindex{autolines} command borrowed from \musictex\ and -%implemented in the additional {\ttxem{musixcpt.tex}} file -%avre - -There is another advantage to \musixtex's way of using scalable space and -the three pass system. In -\TeX nical terms it eliminates the need for \ital{glue}, and enables -every horizontal position in a line to be computed. This in turn enables certain -variable length symbols such as slurs to be specified by macros entered at -their beginning and ending points, rather than having to estimate the -length of the symbol and enter it at the starting point. - - \subsection{External executable \texttt{musixflx}} -One issue that compromises portability between computers is the -need for the executable {\tt musixflx}\index{musixflx@{\tt -musixflx}}. -%avrb -To address this, the C source and compiled versions for various OS's are included in -\verb|musixtex.zip| and are available from the -\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. -%avre - -On most computers, the executable is invoked by typing the name of the program -and the name of the file to be acted upon. \ital{i.e.} - -\verb|musixflx jobname.mx1| - -Optionally, you can add a letter to indicate one of the debug modes, which are: -\begin{quote} -\verb|d | for debug information to screen\\ -\verb|f | for debug information to file \verb|jobname.mxl|\\ -\verb|s | to get the computed lines immediately on screen -\end{quote} -To allow for ease of use with a batch file, \verb|musixflx| can either be fed -with \verb|jobname.mx1|, \verb|jobname.tex| or only -\verb|jobname|, any one of which will open \verb|jobname.mx1|. - - \subsection{Unrecorded spaces: the novice's bugaboo} - -Because of the way \musixtex\ accounts for hard and scalable space and avoids -using glue, it is absolutely essential that every horizontal space be -properly entered into the input file. The most common error in this regard -is including a blank space in the midst \ital{or at the end} of an input line. -Such a blank space, or for that matter any stray character not entered with -an appropriate \musixtex\ macro, will not be properly -recognized and recorded by \musixtex, but it will still be treated like -ordinary text by \TeX. The symptoms of such a transgression will be an -{\bf Overfull hbox} warning during the third pass, and the appearance of -either excessive blank horizontal space or thick black vertical lines in -the page image. - -\medskip -\centerline{\boxit{Considerable discipline is needed to avoid this problem!}} - -The best technique for avoiding such unpleasantness is to avoid entering -any nonessential blanks within input lines, and to end every -input line with either \verb|%|\index{%@{\tt\char37}} or -\keyindex{relax}, unless it already ends with a control sequence -ending in a letter. - -There are other ways to enter unrecorded space which should be -avoided. Between \verb|\startpiece| and \verb|\stoppiece| or -\verb|\endpiece|, never use \verb|\hskip| or \verb|\kern| except -within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|, -\verb|\zcharnote|, \verb|\uptext|, etc., and never assign hard -values to scalable dimensions like \verb|\noteskip|, -\verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip| -\footnote{Note that {\Bslash hardspace} does not fall in this -category; it is specifically designed to enter hard space in a way -the \musixtex\ can properly record it}. - -Here is a checklist of tips related to spacing issues. Because the -foregoing several paragraphs are so important, some of their content -is repeated in the list. - -\begin{enumerate} - \item -Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|, -end every input line with a either \verb|%| or a command with no arguments -(including \verb|\relax|). - \item \verb|\off| must only be used with scalable values, e.g. -\verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip|, and - \verb|\beforeruleskip|. - \item Remember that \verb|\qsk| and \verb|\hqsk| are scalable, i.e. \verb|\qsk| - doesn't necessarily mean exactly one note head width (it depends on \verb|\elemskip|). - \item Lyrics and any other non-\musixtex\ text must be put in zero boxes -such as - \verb|\zcharnote|, \verb|\zchar|, \verb|\rlap|, \verb|\lrlap|, \verb|\llap|, -\verb|\uptext|, or \verb|\zsong|. Additional specific capabilities for entering -lyrics are provided by - \verb|\hardlyrics|, \verb|\hsong|, and---most significantly---the -text-emplacement macros defined in \verb|musixlyr.tex| (see \ref{lyrics}, -p.~\pageref{lyrics}). - \item -Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|, -don't assign hard values to \verb|\noteskip|, \verb|\beforeruleskip|, -or \verb|\afterruleskip|. -\end{enumerate} - -\section{Further highlights} - %\check - \subsection{Key signatures} -\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.\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 -called \keyindex{transpose}, the default value of which is zero, but which may be -set to any reasonable positive or negative value. It defines a number of pitch -steps (lines or spaces on a staff) by which all pitched symbols with be offset, provided -they have been entered with letter values to represent their pitch. -However, -it will neither change the local accidentals nor the key signature. - -For -example, suppose a piece were originally input in F major, and it contained a -B natural, and you wanted to transpose it to G. If you simply set -\verb|\transpose| to 1 with no other special considerations, then -the key signature would not change, and -the B natural would appear as a C natural, whereas it should be a C sharp. -So first you must explicitly change the key signature. Then, to -solve the problem with accidentals, you should declare -\verb|\relativeaccid|, which will cause the actual appearance of any -accidental to depend on the pitch of -the accidental as well as the current key signature. But the use of this -facility requires the typesetter to have entered the original set of accidentals -according to a nonstandard convention wherein an accidental does not -specifically refer to the black or white keys on a piano, but to the -amount by which the pitch is altered up or down from what it would naturally -have been, taking the key signature into account.\index{relative accidentals} This -is discussed in more detail in section~\ref{transposeaccids}. Now, finally, you -can enter \verb|\transpose=1| with more or less the desired effect. - -More or less, because there is also an issue with stem -and beam directions. Normally a typesetter would want full control over them, -and would exercise that control by entering them with macros that explicitly -assign the direction. Naturally the assigned directions would persist -even after changing \verb|\transpose|. With respect to stems of unbeamed notes, -this matter can also be addressed at -the input level, by using special macros for notes that leave the -decision about stem directions up to \musixtex. These macros do the right -thing in the face of transposition. They are discussed in -section~\ref{autostemdirections}. Unfortunately there is no corresponding -such facility for beams, so the typesetter will have to edit the transposed -score to adjust beam directions as required\footnote{\textbf{PMX} -will automatically adjust both stem and beam directions when transposing, which -is yet another reason to use it. However -if a piece is to be transposed, the typesetter must still explicitly activate relative accidentals -and enter accidentals according to the relative accidental convention.}. - - %\check - \subsection{Extracting parts from a score} Another question is: -\ital{``Can I write a full score and then extract separate scores for -each individual instrument?''} - -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 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 -% \begin{itemize}\setlength{\itemsep}{0ex} -% \item choosing which instrument the following source code is attached to, -% \item choosing which staff of an instrument the following source code is -%attached to, -% \item hiding one or several instruments by zeroing out their staff sizes and staff -%numbers. -% \end{itemize} - - %\check - \subsection{Staff and note sizes} - Although the standard staff size is 20pt, \musixtex\ allows scores with -sizes of 16, 24, or 29pt. Furthermore, any instrument may be assigned its own special staff -size (usually smaller than the overall staff size), and there are special macros -(e.g. \verb|\smallnotesize|, \verb|\tinynotesize|) that cause notes, beams, and -accidentals all to take a different size. - -\subsection{Add-in macro libraries} -During the early stages of \musixtex's development, common versions of \TeX\ itself were -very limited in capacity, especially in terms of the numbers of registers that could -be defined for use in macros. For this historical reason, many important enhancements -to \musixtex\ are available only via add-in libraries. The user can thus pick and choose -which to include for any particular compilation. Most of these are included in -\verb|musixtex.zip|, and their uses are discussed in this manual. The -libraries have names like \verb|blabla.tex|, and are activated by including a line -like \verb|\input blabla|\ within the the input file. The most common such files -are \ttxem{musixadd.tex} and \ttxem{musixmad.tex} which respectively increase the -number of instruments from the default 6 to 9 or 12 as well as increasing available numbers -of other features; \verb|musixps.tex| which enables Type K postscript slurs; and -\verb|musixlyr.tex| which greatly eases typesetting lyrics. In fact the latter two, -while now included in \verb|musixtex.zip|, are not documented in this manual but -in separate files inside \verb|musixtex.zip|, namely \verb|musixps.tex| itself and -\verb|mxlyrdoc.pdf| respectively. - -\section{Where to get the software and help using it} -The home base for all matters related to \musixtex\ is the -Werner Icking Music Archive, at -\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}. -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. Assuming you already have \TeX\ and only want to install -\musixtex, the file you need to download will be named -\href{http://icking-music-archive.org/software/musixtex/musixtex.zip} -{\underline{\texttt{musixtex.zip}}} . Further details about -the installation process are given in section \ref{installation}. - -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} -The idea of using \TeX\ to typeset music appears to have originated -around 1987 with the master's thesis of Andrea -{\sc Steinbach} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer -A., \ital{Automatisierter Notensatz mit \TeX}, master's thesis, -Rheinische Friedrich-Wilhelms Universit\"at, -Bonn, Germany, 1987}. They called their package -\mutex\index{mutex@\protect\mutex}. It was limited to a single staff. -It introduced two key concepts: (1) using -a large number of font characters to construct beams and slurs, and (2) using -\TeX\ glue to help control horizontal spacing and justification. - -The next major step came around 1991 when Daniel {\sc Taupin} created \musictex. -Its major enhancement was to allow multiple staves. But this came at a -price: some flexibility was lost in controlling horizontal spacing and -a great deal of trial and error became necessary to avoid excessive or -insufficient gaps before and after bar lines. - -\musictex\ was a single-pass system. To remedy its shortcomings it became clear -that a multi-pass system would be required. Around 1997 Dr. Taupin along with Ross {\sc Mitchell} -and Andreas {\sc Egler} created the first version of \musixtex. At last a fully -automatic procedure was coded so as to provide pleasing horizontal spacing in -multi-staff scores. - -Significant enhancements to \musixtex, which have already been mentioned, have been provided -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, \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 -the contributions of Werner {\sc Icking}. From the early days of \mutex\ until -his untimely death in 2001, he served this line of software as its most prominent -proponent, beta tester, web site and mailing list editor, consultant, -problem solver, and inspiration for -many third-party enhancements including \textbf{PMX}. In fact he founded the -mailing list and the archive that now is named in his honor. The web site is -currently edited by Christian {\sc Mondrup}, the software page by Don {\sc Simons}, -and the mailing list by Maurizio {\sc Codogno}. - - - %\check -\chapter{Elements of \musixtex} -\section{Setting up the input file} -\subsection{What makes a \TeX\ file a \musixtex\ file?} -A \musixtex\ input file is a special kind of \TeX\ input file. What makes it -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 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 -use \verb|&| as a tab character like in plain \TeX\ (In \TeX\ lingo, -its \keyindex{catcode} has been changed). - - \subsection{Cautions for the non \TeX pert} -When \TeX\ reads anything, it inputs one \ital{token} at a time. A token -may be either a \ital{command} or a character. A command (or \ital{macro}, -or \ital{control sequence}) is a -\ital{backslash} (``{\Bslash}'') immediately followed by sequence of -letters with no intervening spaces. For practical purposes, any single symbol (letter, digit, -special character, or space) that is not part of a command counts as a character -and therefore as a token. - -Each command expects a specific number of parameters. -The tokens ``\verb|{|'' and ``\verb|}|'' are very special, in that (1) they -must occur in matched pairs, and (2) any matched pair together with -the stuff inside counts as a single parameter. -If the first -parameter expected is a single letter, it must either be -separated from the command by a space or -enclosed in braces (otherwise it would be interpreted as part of the command). -For example the command \verb|\ibu| expects three parameters, so the -following are all OK: \verb|\ibu123|, \verb|\ibu1A3|, \verb|\ibu1{`A}3|, -\verb|\ibu{1}{2}{3}|, \verb|\ibu1{-2}3|, or \verb|\ibu1{23}4|, but -\verb|\ibu1234| is not OK; the first three digits are taken as parameters, -leaving the ``4'' with no purpose other than to cause some of the dreaded -unrecorded space that we have already mentioned. - -In the rest of this manual, when describing commands we will write -things like \verb|\qb{|$n$\verb|}{|$p$\verb|}|. It should be understood that -when $n$ and $p$ are replaced by their literal values, the braces may -or may not be necessary. In particular, if both are single digits, no -braces are needed; but if $n$ has two digits, or if $p$ has more than -one character, they must be surrounded by braces. - -Spaces (blank characters) in the input file must be handled very carefully. -They are ignored at the beginning of a line, enabling logical -indentation schemes to help make the file human-readable. There are also a few -other places within lines where blank spaces are OK (such as mentioned in the prior paragraph), -but in general is it safest to avoid -any unnecessary blanks between the beginning and end of an input line. -At the end of a line, the truth is that a command with no parameters, such as -\verb|\bar| or \verb|\enotes| will cause no trouble. However if a command with -one or more parameters is the last item in an input line, it will cause -unrecorded space. The way around this is to end the line with either ``\verb|%|'' -or \verb|\relax|. - - \subsection{Usual setup commands}\label{whatspecify} - - The first decision is what size type to use. \musixtex\ offers four sizes: -``small'' (16-pt-high staves), ``normal'' (20pt),\index{sizes} ``large'' -(24pt), and ``Large'' (29pt). The default is -\keyindex{normalmusicsize}. If you want a different size, then you have to -enter \keyindex{smallmusicsize}, \keyindex{largemusicsize}, or -\keyindex{Largemusicsize}. Each of these commands defines not only the -desired staff size but many other related sizes such as note heads, ornaments, -stem lengths, etc. - - The command \keyindex{instrumentnumber}\onen~defines the -number of instruments to be $n$. If not entered, the default is 1. This number is used in loops -that build staves, -set key signatures, set meters, etc., so if it differs from 1 it must be explicitly -defined before any further commands. - -An instrument may have one or more staves (e.g.~a piano would normally have 2 staves). -The differences between one -instrument of several staves and several instruments with one staff each are as follows: -\begin{itemize}\setlength{\itemsep}{0ex} - \item Different instruments may have different \itxem{key signatures}, while different -staves of an instrument will all have the same key signature. - \item A \itxem{beam} may include notes in different -staves of the same instrument. - \item A \itxem{chord} may extend across several staves of the same -instrument. - \item If an instrument has more than one staff, they will be linked together -with a big, curly brace at the beginning of each line. -\end{itemize} -The default number of staves per instrument is 1. If it is different, then it -must be specified by \keyindex{setstaffs}\verb|{|$n$\verb|}{|$p$\verb|}| -where $p$ is the number of staves and $n$ is the -number of the instrument. In \musixtex, instruments are numbered -\ital{starting with the lowest}. -So for example \verb|setstaffs32| -assigns two staves to the third instrument from the bottom. - - The default clef for every staff is the \ital{treble} clef. To assign -any other clef, the command is -\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}| -where $n$ is the number of the instrument, $s_1$ is a digit specifying the -clef for the first (lowest) staff, $s_2$ for the second staff, and so forth. -Note that like -instruments, staves of a given instrument are numbered starting with -the lowest. The parameters $s_2$, $s_3$ and $s_4$ can be omitted, in which case -any unspecified staves will be assigned a treble clef. - -The digits $s$ can range from 0 to 9, with the following meanings: -$s=0$ signifies treble or G clef. -$s=1$ to $4$ mean C-clef, respectively on the first (lowest) through fourth staff line. -$1$ is also called \ital{soprano}, $3$ \ital{alto} and $4$ \ital{tenor}. -$s=5$ to $s=7$ mean F-clef, respectively on the third through fifth staff line. $5$ is -also called \ital{baritone} and $6$ is the normal \ital{bass}. - $s=8$ is not used. -$s=9$ represents a G clef on the first line, also called \ital{French violin} clef. - -The three tokens \verb|\treble|, \verb|\alto|, and \verb|\bass| can be used instead -of a digit for $s$, but only if there would have been but one digit in the string. -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 -signature and $s<0$ the number of \itxem{flats}\footnote{We once saw a -score in G-minor where the signature consisted of two flats (B and E) plus -one sharp (F). This is not directly supported by \musixtex.}. To override -the common key signature for instrument $n$, use -\keyindex{setsign}\verb|{|$n$\verb|}{|$s$\verb|}|. Note that differing -key signatures cannot be assigned to different staves of the same instrument. - -A common \itxem{meter} for all staves can be specified by - \keyindex{generalmeter}\verb|{|$m$\verb|}|,\label{generalmeter} -where $m$ describes the appearance of the meter indication, and can take several -different forms. If the meter is a \ital{fraction} (e.g.~3/4) the command is - \verb|\generalmeter{|\keyindex{meterfrac}\verb|{3}{4}}|. -Other possible tokens~$m$ are \keyindex{meterC}, -\keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve} and -\keyindex{meterplus}. These are illustrated in the following example: - - %\check -\begin{music} -\generalmeter\meterC -\nostartrule -\parindent0pt\startpiece -\NOtes\qa{cegj}\enotes -\generalmeter\allabreve\changecontext -\NOTes\ha{ce}\enotes -\generalmeter\reverseC\changecontext -\NOTEs\zbreve g\enotes -\generalmeter\reverseallabreve\changecontext -\NOTEs\zwq g\enotes -\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext -\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes\setemptybar -\endpiece -\end{music} -\noindent which was coded as: -\begin{quote}\begin{verbatim} -\generalmeter\meterC -\nostartrule -\parindent0pt\startpiece -\NOtes\qa{cegj}\enotes -\generalmeter\allabreve\changecontext -\NOTes\ha{ce}\enotes -\generalmeter\reverseC\changecontext -\NOTEs\zbreve g\enotes -\generalmeter\reverseallabreve\changecontext -\NOTEs\zwq g\enotes -\generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext -\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes\setemptybar -\endpiece -\end{verbatim}\end{quote} - -To override the common meter for any staff, use -\keyindex{setmeter}\verb|{|$n$\verb|}{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}|.\linebreak -This works just like \verb|\setclef|. For example, -\verb|setmeter3{{\meterfrac{12}8}\allabreve}| -sets the meter to 12/8 for the first staff of the third instrument, and -\ital{alla breve} for the second staff. - -To insert extra space before the meter is -written, use \keyindex{meterskip}$d$ where $d$ is any hard \TeX\ -%dimension\footnote{{\Bslash\tt meterskip} is not a macro but a -dimension\footnote{{\tt\Bslash meterskip} is not a macro but a -dimension register. Whatever follows it -must be a \TeX\ dimension and {\it it must not be enclosed in braces}.}. -The assignment must occur outside \verb|\startpiece...\endpiece| and will be -reset to zero after first meter is posted. - -To set an \itxem{instrument name}, use -\keyindex{setname}\verb|{|$n$\verb|}{|\ital{name of the instrument}\verb|}|. -This will place the name in the space to the left of the -first staff or group of staves for instrument $n$. To specify the amount of space -available, use \verb|\parindent|$d$ where $d$ is any hard \TeX\ dimension. - \subsection{Groupings of instruments}\label{curlybrackets} -By default, all staves in a system will be joined -at the left by a thin, vertical rule. In addition, if an instrument has more than -one staff, they will be joined by a big, curly brace. Now we introduce a way -to delineate groups of instruments or choirs with a square brace containing two parallel -vertical rules, the left one thick and the right one thin. This is commonly used -to group together the voices in a choir. - -If there is only one choir, this can be done with - \begin{quote} -\keyindex{songtop}\onen\\ -\keyindex{songbottom}\verb|{|$m$\verb|}| -\end{quote} -\noindent where $m$ and $n$ are the instrument numbers of the first -and last voices. An example is shown in section~\ref{song}. - -If there is more than one choir to be set off with -square braces, each one can be specified with - \begin{quote} -\keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\ -\keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}| -\end{quote} -\noindent where $m$ and $n$ are the instrument numbers of the first -and last voices of group number $g$. \musixtex{} allows up to three -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} 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. - -Previously defined square braces can be removed by declaring -\verb|\songtop| less than \verb|\songbottom|. The same applies to -\verb|\grouptop| and \verb|\groupbottom| for the same group number. - - An alternate command allows you to specify all choirs at once: -\begin{quote} - \keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% - \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|% - {\it lower\_3\/}\verb|}{|{\it upper\_3\/}\verb|}}| -\end{quote} -\noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument -numbers that denote the span of bracket number $n$. For -setting fewer than three brackets, just omit all unneeded -\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs. -For example, - \verb|\instrumentnumber{5}\akkoladen{{1}{2}{3}{5}}| -\noindent yields the first example below, with five single-staff instruments -divided into two groups. - -The second example has 2 instruments, the first (lower) with two staves and the -second with three. Each instrument is set off by default with a curly bracket. - -If for some reason you want more than one \ital{instrument}\ grouped -within a curly -bracket, then you can use the extension file -%\ttxem{curly.tex}\footnote{Submitted -\href{http://icking-music-archive.org/software/musixtex/add-ons/curly.tex} -{\underline{\ttxem{curly.tex}}}\footnote{Submitted -by Mthimkhulu {\sc Molekwa} to the mutex list}, which defines the command - - \keyindex{curlybrackets}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% - \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}...| - -\noindent to be used as illustrated in the third example below.\\ -\begin{minipage}[t]{50mm} -\begin{music} - % just to avoid wasting space ... - \sepbarrules - \smallmusicsize -\setsize1\smallvalue\setsize2\smallvalue -\setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue - \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} - \startextract\notes\en\bar\notes\en\zendextract -\end{music} -\begin{quote}is coded as: -\begin{verbatim} - \sepbarrules - \smallmusicsize - \setsize1\smallvalue - \setsize2\smallvalue - \setsize3\smallvalue - \setsize4\smallvalue - \setsize5\smallvalue - \instrumentnumber{5} - \akkoladen{{1}{2}{3}{5}} - \startextract - \notes\en\bar\notes\en - \zendextract -\end{verbatim}\end{quote} -\end{minipage} -\begin{minipage}[t]{50mm} -\begin{music} - \sepbarrules - \smallmusicsize -\setsize1\smallvalue\setsize2\smallvalue - \instrumentnumber2 \setstaffs12\setstaffs23 - \startextract \notes\en\bar\notes\en\zendextract -\end{music} -\begin{quote}is coded as: -\begin{verbatim} - \sepbarrules - \smallmusicsize - \setsize1\smallvalue - \setsize2\smallvalue - \instrumentnumber2 - \setstaffs12 - \setstaffs23 - \startextract - \notes\en\bar\notes\en - \zendextract -\end{verbatim}\end{quote} -\end{minipage} -\begin{minipage}[t]{50mm} -\begin{music} - \input curly - \sepbarrules - \smallmusicsize - \setsize1\smallvalue\setsize2\smallvalue - \smallmusicsize - \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue - \instrumentnumber5 %\setstaffs12\setstaffs23 - \curlybrackets{1235} - \startextract \notes\en\bar\notes\en\zendextract -\end{music} -\begin{quote}is coded as: -\begin{verbatim} - \input curly - \sepbarrules - \instrumentnumber5 - \smallmusicsize - \setsize1\smallvalue - \setsize2\smallvalue - \setsize3\smallvalue - \setsize4\smallvalue - \setsize5\smallvalue - \curlybrackets{1235} - \startextract - \notes\en\bar\notes\en - \zendextract -\end{verbatim}\end{quote} -\end{minipage} - - - - -\section{Preparing to enter notes} - \subsection{After the setup, what next?} - -The command \keyindex{startmuflex} initiates the serious business of -\musixtex. On the first \TeX\ pass it -opens \ital{jobname}{\tt .mx1} for writing bar-by-bar tabulations of all -hard and scalable space to be fed to \verb|musixflx| on the second pass. -\verb|musixflx| generates \ital{jobname}{\tt .mx2} which defines the -number of bars in each system and the factors relating scalable space -to hard space in each system. On the third pass both files will be opened -and read to define the final spacing. These files should be closed before -leaving \TeX, preferably before -\keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\ -closes all open files on its own when terminating the program, but it is still -cleaner to do this explicitly. - -After \verb|\startmuflex|, the command \keyindex{startpiece} will initiate -the first system, containing all instruments you have previously defined. -The indentation will be \keyindex{parindent}, so if you want nonzero -indentation, this register should be set to the desired hard dimension -before issuing \verb|\startpiece|. - - \subsection{Horizontal spacing commands}\label{newspacings} -\subsubsection{Basic note spacing} -\musixtex\ provides a set of macros each of which defines a particular -increment of scalable spacing. The default set is tabulated below: - -\begin{center} -\tinynotesize -\renewcommand{\arraystretch}{1.5}% I hate LaTeX -\begin{tabular}{|l|l|l@{~~~~}l|} -\multicolumn{1}{c}{usage}& -\multicolumn{1}{c}{spacing}& -\multicolumn{2}{c}{suggested use for}\\\hline -\keyindex{znotes}\verb| ... & ... & ... \enotes|&(non spacing) - &&specials\\ -\keyindex{notes}\verb| ... & ... & ... \enotes|&\verb=2=\keyindex{elemskip} - &\ccu1&16th\\ -\keyindex{notesp}\verb| ... & ... & ... \enotes|&\verb=2.5\elemskip= - &\pt1\ccu1&dotted 16th, 8th triplet\\ -\keyindex{Notes}\verb| ... & ... & ... \enotes|&\verb=3\elemskip= - &\cu1&8th\\ -\keyindex{Notesp}\verb| ... & ... & ... \enotes|&\verb=3.5\elemskip= - &\cup1&dotted 8th, quarter triplet\\ -\keyindex{NOtes}\verb| ... & ... & ... \enotes|&\verb=4\elemskip= - &\qu1&quarter\\ -\keyindex{NOtesp}\verb| ... & ... & ... \enotes|&\verb=4.5\elemskip= - &\qup1&dotted quarter, half triplet\\ -\keyindex{NOTes}\verb| ... & ... & ... \enotes|&\verb=5\elemskip= - &\hu1&half\\ -\keyindex{NOTesp}\verb| ... & ... & ... \enotes|&\verb=5.5\elemskip= - &\hup1&dotted half\\ -\keyindex{NOTEs}\verb| ... & ... & ... \enotes|&\verb=6\elemskip= - &\wh1&whole\\\hline -\end{tabular}\end{center} -\smallskip - -\noindent What each of these macros actually does is to set an -internal dimension register \keyindex{noteskip} to the given multiple -of the fundamental spacing unit \keyindex{elemskip} -(which has dimensions of length, usually given in points). -Normally, every \itxem{spacing note} (e.g., -\keyindex{qu}, -\keyindex{qb}, \keyindex{hl}) will then be followed by a spacing of -width \keyindex{noteskip}. By selecting a particular note spacing macro -from the above table, the typesetter can thus control the relative spacing -between notes. - -The actual spacing will therefore be determined by the value of -\verb|\elemskip|. On the first pass, \TeX\ will set a default value for -\verb|\elemskip| based on the declared music size, or the user can -set it to any hard dimension he chooses. However, the value on the -first pass doesn't matter as much as you might think (more about that later). -On the second pass, -\verb|musixflx| determines where the system breaks will come, -and then computes the final value of \verb|\elemskip| for each system. - -If the arthmetic progression of note spacings in the above table does not -meet your wishes, you may activate an alternate set with -the command \keyindex{geometricskipscale}. As implied by the name, this -is a geometric progression, where {\Bslash Notes} is -$\sqrt{2}$ times wider than {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$ -times wider than {\Bslash Notes}, and so forth. -Then the factors in the middle column -of the above table will be replaced by the sequence -2.00, 2.38, 2.83, 3.36, 4.00, 4.76, 5.66, 6.72, and 8.00. Two additional -macros, \verb|\NOTEsp| and \verb|\NOTES|, will be defined corresponding to -factors 9.52 and 11.32. The original arithmetic progression can be -restored by \keyindex{arithmeticskipscale}. - -If neither of the predefined progressions satisfies you, you may define -your own, using the more general macro \verb|\vnotes| in the same manner -that \musixtex\ uses it for the predefined progressions. So for example -\verb|\def\NOtes{\vnotes5.34\elemskip}| will redefine \verb|\NOtes| in -the obvious way, and the extension to the other spacing macros should -likewise be obvious. - -In addition, inside any pair \verb|\notes...\enotes| there are two -equivalent ways to -locally redefine \verb|\noteskip| to another scalable value, namely by -issuing a command like -\verb|\noteskip=2.4\noteskip| or \keyindex{multnoteskip}\verb|{2.4}|, which -have the expected effect until the notes group is terminated or -\verb|\noteskip| is further redefined. - -Finally, by issuing a command like -\keyindex{scale}\verb|{2.4}| outside any notes group, you can scale all subsequent -\verb|\noteskip|s by any desired factor. - -These facilities may be useful, for example, -to control spacing when there are three equal duration notes in one staff against two - in another. - -%\subsubsection{\Bslash{\tt elemskip}, \Bslash{\tt beforeruleskip} and -%\Bslash{\tt afterruleskip}} -% -% avr wants to call these "commands", but das doesn't. -%\subsubsection{Commands {\Bslash\texttt{elemskip}}, -%{\Bslash\texttt{beforeruleskip}} -%and {\Bslash\texttt{afterruleskip}}} -\subsubsection{{\Bslash\texttt{elemskip}}, -{\Bslash\texttt{beforeruleskip}} -and {\Bslash\texttt{afterruleskip}}} - -We've just seen how \verb|\elemskip| is used to scale the spacings between notes. -There are two other spacing units that share some behavior with \verb|\elemskip|. -\verb|\beforeruleskip| is the horizontal space that is automatically inserted -\ital{before} every bar line, while \verb|\afterruleskip| goes \ital{after} -every bar line. (In -practice \verb|\beforeruleskip| is almost aways set to \verb|0pt| because there -will typically already be a space of \verb|1\noteskip| before every barline.) -On the first pass, just as with \verb|\elemskip|, \musixtex\ assigns them default -values according to the following table: - -%\begin{quote}\begin{tabular}{lrrr}\hline -%\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} -% &\keyindex{beforeruleskip}\\\hline -%\keyindex{normalmusicsize}&6pt&8pt&0pt\\ -%\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline -%\end{tabular}\end{quote} - -\begin{center}\begin{tabular}{lrrr}\hline -\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} - &\keyindex{beforeruleskip}\\\hline -\keyindex{normalmusicsize}&6pt&8pt&0pt\\ -\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline -\end{tabular}\end{center} - -\noindent In the second pass, \verb|musixflx| assigns new values to each -of these dimensions, a different set for each line or system. It does this -in such a way that available scalable horizontal space in each system is -exactly filled up. - -The values that are assigned to these dimensions on the first pass, whether by -default or explicitly by the user or in some combination, only matter insofar -as their relative sizes. That's why we earlier stated that the first-pass value -of \verb|\elemskip| didn't matter as much as you might think. For both music sizes -in the table above, it appears that by default \verb|\afterruleskip| is -\verb|1.3333\elemskip|\footnote{Editor's note: It is a mystery why the authors -%of \musixtex\ didn't simply define \Bslash{\tt beforeruleskip} and \Bslash{\tt afterruleskip} as -%specific multiples of \Bslash{\tt elemskip}}. -of \musixtex\ didn't simply define \Bslash\texttt{beforeruleskip} and \Bslash\texttt{afterruleskip} as -specific multiples of \Bslash\texttt{elemskip}}. - -Note that if you do want to change any of these -values, you have to do so \ital{after} setting the -music size and before \verb|\startpiece|. - -Here is an example that illustrates the various dimensions under discussion:\\ - %\check -\begin{music}\nostartrule -\afterruleskip7pt -\beforeruleskip2pt -\parindent0pt -\setclefsymbol1\empty -% special problems afford special solutions -\makeatletter\global\clef@skip\z@ \makeatother -\startpiece -\zchar{16}{\hbox to\afterruleskip{\downbracefill}}% -\zchar{19}{\hbox to\afterruleskip{\hss a\hss}}% -\addspace\afterruleskip -\zchar{16}{\hbox to2\elemskip{\downbracefill}}% -\zchar{19}{\hbox to2\elemskip{\hss b\hss}}% -\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}% -\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}% -\notes\qa l\en -\znotes\en -\zchar{16}{\hbox to4\elemskip{\downbracefill}}% -\zchar{19}{\hbox to4\elemskip{\hss c\hss}}% -\zchar{3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}% - \hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}% -\zchar{-1}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}% - \hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}% -\NOtes\qa l\en -\znotes\en -\zchar{16}{\hbox to\beforeruleskip{\downbracefill}}% -\zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}% -\setemptybar\endpiece -\end{music} -\begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l} -a&\keyindex{afterruleskip}\\ -b&\keyindex{notes}\verb| = \vnotes 2\elemskip|\\ -c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\ -d&\keyindex{beforeruleskip}\\ -e&\keyindex{elemskip} -\end{tabular}\end{quote} - -\subsection{Moving from one staff or instrument to another} - \label{movingtostaffs} - -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@{\tt\char'174}}. - -There are some alternate navigation commands that may be useful in - special situations. Due to ``catcode -problems'' (see section~\ref{catcodeprobs}) it may sometimes be necessary -to use the more explicit commands -\keyindex{nextinstrument} and \keyindex{nextstaff}, which have the same -meanings as ``\verb|&|'' and ``\verb+|+'' respectively. To switch to the previous -(next lower) staff of the same instrument, use \keyindex{prevstaff}. This might -be useful if a beam starts in a higher staff than where it ends. More -generally, to switch to an arbitrary instrument $n$, use -\keyindex{selectinstrument}\onen, and to switch to an arbitrary staff $n$ -of the current instrument, use \keyindex{selectstaff}\verb|{|$n$\verb|}|. In the -latter case if $n$ exceeds the number of staves defined for the instrument, you -will receive an error message. You can enter part of a successive voice on -\ital{same} staff by using \verb|\selectstaff{|$n$\verb|}| with $n$ for -the \ital{current} staff. - - - %\check -\section{Note pitch specification}\label{pitchspec} -Note pitches can be specified either by letters or numbers. If no transposition -or octaviation is in effect, letters ranging -from \verb|a| to \verb|z| represent notes starting with the A below -middle C. Upper case letters from \verb|A| to \verb|N| represent pitches -two octaves lower than their lower case counterparts. Any letter can be used in -any clef, but some users may -prefer to use the lower case letters in treble clef, and the upper case ones -in bass clef. - -Alternatively, a one- or two-digit, positive or negative integer can always be used. -The number represents -the vertical position on the staff, with \verb|0| for the lowest line and -\verb|1| for the space right above, \ital{regardless of the clef}. -Unlike with letters, the -associated pitch will depend on the clef, and notes entered this way are -immune to transposition and octaviation. - -Notes lower than \verb|A| and higher than \verb|z| can be entered, with -either numbers as just described, or with octaviation as will be explained in -section~\ref{octaviation}. - - \section{Writing notes}\label{autostemdirections} -There are two major kinds of note macros, those that include a space (of -length \keyindex{noteskip}) after -the printed symbol, and those that don't cause any space. A single-line melody would be -written using the first type. All notes of a chord except the last would -use the second. - -Another distinction concerns stemmed notes. Some macros explicitly set the -stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of -the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies -\ital{automatic} stem direction selection. In this case notes below the middle -staff line will get up stems, otherwise down. - - \subsection{Normal (unbeamed) spacing notes}\label{NormalNotes} -In the following, \verb|{|$p$\verb|}| signifies a pitch specification as -described in sections~\ref{pitchspec} and \ref{octaviation}. However it -is understood that if the pitch is a single character, the brackets are -not neecessary, provided that if it is a letter, a space separates the -macro from the letter. - - -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) . - \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) . - \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem -direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} . - \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) . - \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss}) -(also used as alternate representation of a \ital{breve}). - \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note -(\hbox to8pt{\zwqq1\hss}) (also used as alternate -representation of a \ital{longa}). - \item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note. - \item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up. - \item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down. - \item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction - \item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up. - \item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down. - \item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction. - \item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}'' -within this macro name stands for the equivalent British term ``crotchet''} with stem up. - \item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down. - \item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction. - \item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up. - \item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down. - \item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction. - \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} :]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 - - %\check -\begin{music}\nostartrule -\startextract -\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\bar -\Notes\cccccu c\cccccl j\enotes -\zendextract -\end{music} - \noindent was coded as -\begin{quote}\begin{verbatim} -\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\bar -\Notes\cccccu c\cccccl j\enotes -\end{verbatim}\end{quote} - - \subsection{Non-spacing note heads} -These macros are used to create chords. Any number of them can be entered -in sequence, followed by a spacing note. All of the note heads will be -joined to the spacing note and the stem length will automatically be adjusted -as needed. - -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head. - \item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head. -\end{description}\end{quote} -%das ??? -% \begin{remark} Notes of duration longer than whole notes are -%always non-spacing. This saves one useless definition, since these notes are -%always longer than other simultaneous ones. If needed they can be followed by -%\keyindex{sk} to force spacing. -%\end{remark} - - \subsection{Shifted non-spacing note heads} -These symbols are used mainly -in chords containing an interval of a \ital{second}. They provide note -heads shifted either to the left or right of the default position by -the width of one note head. - -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} -\item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right. -\item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left. -\item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not -have realized that half and whole note heads have different shapes}. -\item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left. -\item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right. -\item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left. -\end{description}\end{quote} - - \subsection{Non-spacing notes} -These macros provide normal notes, with stems if applicable, but without any -following space. -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like -\verb|\hu| for chord building, i.e., it will join together any immediately -preceding non-spacing note heads. - \item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like -\keyindex{hl} for chord building. - \item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like -\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}, \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}, \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!) - \item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql}, - \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|, - but the note is shifted one note width to the right; others analogous. - \item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql}, - \keyindex{lcu}, \keyindex{lcl} :]same - as above, but the note is shifted one note width to the left. - \item[\keyindex{zw}\pitchp~:]whole note with no following space. - \item[\keyindex{zwq}\pitchp~:]arbitrary duration note - (\hbox to8pt{\zwq1\hss}) with no following space. - \item[\keyindex{zbreve}\pitchp~:]breve - (\hbox to8pt{\zbreve1\hss}) with no following space. - \item[\keyindex{zlonga}\pitchp~:]longa - (\hbox to8pt{\zlonga1\hss}) with no following space. - \item[\keyindex{zmaxima}\pitchp~:]maxima - (\hbox to16pt{\zmaxima1\hss}) with no following space. -\end{description}\end{quote} - %\check - -\subsection{Spacing note heads} - -Although not needed in normal music scores, these may be useful in -very special cases. - -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} -\item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head. -\item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head. -\end{description}\end{quote} - -\noindent As an example, the sequence - -\begin{music}\nostartrule - \startextract -\notes\nq c\nq j\enotes\barre -\Notes\nh c\nh j\enotes\barre -\notes\nq {cdef}\enotes -\zendextract -\end{music} - -\noindent was coded as - -\begin{quote}\begin{verbatim} -\notes\nq c\nq j\enotes\barre -\Notes\nh c\nh j\enotes\barre -\notes\nq {cdef}\enotes -\end{verbatim}\end{quote} - -Non spacing variants are also provided, namely -\keyindex{znh} and \keyindex{znq}. -% DAS: why??? - - \subsection{Dotted notes}\label{dots} - -By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the -macros just introduced provide one or two dots after the notehead: -\keyindex{whp}\pitchp, \keyindex{whpp}, -\keyindex{zwp}, \keyindex{zwpp}, -\keyindex{hup}, \keyindex{hupp}, -\keyindex{hlp}, \keyindex{hlpp}, -\keyindex{zhp}, \keyindex{zhpp}, -\keyindex{qup}, \keyindex{qupp}, -\keyindex{qlp}, \keyindex{qlpp}, -\keyindex{zqp}, \keyindex{zqpp}, -\keyindex{cup}, \keyindex{cupp}, -\keyindex{clp}, \keyindex{clpp}, -\keyindex{qbp} and \keyindex{qbpp}. -Naturally, the ones that start with ``\verb|z|'' are used in chords. -The dot(s) will be raised if the note is on a line. - -A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125}, -\keyindex{ppt}, or \keyindex{pppt} right -before any note macro to place one to three dots after the normal note -head at pitch $p$. Again they will be raised if on a line. In fact this is the only -way to get a triple-dotted note. -For example a -quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots -as \keyindex{ppt}\verb| h\qu h| and with three as -\keyindex{pppt}\verb| h\qu h|. - -Yet another method for posting a dot is to insert a \ital{period} before -the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to -either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when -using \ital{collective coding}, which will be discussed in the next -section. - -Non-spacing dotted notes can be produced using -\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp}, -\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, -and similarly with two \verb|p|'s for -double-dotted notes. - -As a matter of style, if two voices share one staff, the dots in -the lower voice should be lowered if the note is on a line. For -this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and -\keyindex{lppt}{\tt\char123}$p${\tt\char125}. - -\subsection{Sequences of equally spaced notes; collective coding} -\label{CollectiveCoding} - -It isn't necessary to write a separate macro -sequence \verb|\notes...\enotes| for every individual column of notes. -Rather, a single such macro can contain all the notes in all staves -over an extended horizontal range, as long as all spacings are equal or -multiples of a unique value of \keyindex{noteskip}. -The notes in each staff could be entered one after another as normal -spacing notes as already described in section~\ref{NormalNotes}. Then -each spacing note will cause the insertion point to advance horizontally by the -operative value of \verb|\noteskip| defined by the choice of -\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences -non-spacing chord notes can be entered right before their associated -spacing note. If you need to skip forward by one \verb|\noteskip|, for -example after a quarter note when there are two eighth notes in -another staff, you can use \keyindex{sk}. - -If there are only spacing notes in such a sequence, a further -simplification is available, called \ital{collective coding}. For instance -\verb|\qu{cdefghij}| writes the C major scale in quarters with -up stems. Similarly \verb|\cl{abcdef^gh}| writes the -\ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents -a sharp). If necessary a void can be inserted in a collective coding sequence -by using~\verb|*|\index{*}. Not all note generating macros can be -used to perform collective coding, but most of them can. - -\section{Beams} -\subsection{Starting a beam} - -Each beam must be declared with a macro issued before the first spacing -note under the beam is coded. Two distinct kinds of macros are provided -for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary -slope and starting height chosen by the user, while the second kind, a -``semi-automatic'' beam, -\ital{computes}~the slope and, in addition, adjusts the starting height in some -cases. - -\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}} - -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. -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 $s$ -is an integer in the range [-9,9]. When multipled -by 5\%~it gives the actual slope of the heavy bar. Typically a slope of 2 or 3 -is OK for ascending scales, and 6 to 9 for ascending arpeggios. - -The full set of fixed-slope beam initiation macros is as follows: -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - - \item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}. - \item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}. - \item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}. - \item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}. - \item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}. - \item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}. - \item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}. - \item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}. -\end{description}\end{quote} - -A semi-automatic beam is initiated with a command that has \ital{four} -parameters, the beam number, the first and last pitches, and the total -horizontal extent in -\verb|\noteskip|s, based on the value in effect at the start. For example, -if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to -build an upper beam (beam number 2) horizontally extending \verb|3\noteskip|, -the first note of which is a \verb|g| and the last note a \verb|j|. -Knowing these parameters it will choose the highest slope number that -corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt -g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as -for fixed-slope beams. However, if there is no sufficiently steep beam -slope available, then \musixtex\ will raise (or lower) the starting point. - - Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu}, -\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl}, -\keyindex{Ibbbl} and \keyindex{Ibbbbl}. - -\subsection{Adding notes to a beam} - -Spacing notes belonging to beams are coded with the macro -\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is -the beam number and $p$ the pitch of the note. \musixtex\ adjusts the -length of the note stem to link to the beam. - -Chord notes within a beam are entered before the main note with the -non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again, -the stem length will be automatically adjusted as required. - -There are also special macros for semi-automatic beams with -two, three, or four notes: -\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl}, -\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl}, -\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}. - %\check -For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|, -except that the special macros don't require a beam number. -Their use is illustrated in the following example: - -\medskip -\begin{music}\nostartrule -\parindent0pt\startpiece -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en -\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece -\end{music} -\noindent This was coded as\footnote{Editor's note: Most music -typesetting books recommend beam slopes that are \ital{less} than -the slope between the starting and ending note; these macros cannot -provide that.}: -\begin{quote}\begin{verbatim} -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en -\notes\Qqbbu fgge\Qqbbl jhgi\en -\end{verbatim}\end{quote} - %\check - - \subsection{Ending a beam} - The termination of a given -beam must be declared \ital{before} coding the last spacing note -connected to that beam. The macros for doing that are -\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and -\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for -beams of any -multiplicity. So for example an upper triple beam with -32nd notes is initiated by -\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|. - - Since beams usually finish with a \verb|\qb| for the last note, the -following shortcut macros have been provided: - -\def\enpee{{\tt{\char123$n$\char125\char123$p$\char125}}} -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - \item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee~. - \item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee~. - \item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~, -i.e., no spacing afterwards. - \item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~, -i.e., no spacing afterwards. -\end{description}\end{quote} - -\subsection{Changing multiplicity after the beam starts} -Multiplicity (the number of heavy bars) can be increased at any position after -the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of -upper beam -number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to -increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The -commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same -for lower beams. -Thus, the -sequence - -\begin{music}\nostartrule -\startextract -\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes -\zendextract -\end{music} -\noindent has been coded as -\begin{quote}\begin{verbatim} -\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes -\end{verbatim}\end{quote} - -To decrease multiplicity to one, use \keyindex{tbbu}\onen~or -\keyindex{tbbl}\onen. To decrease to two or three use -\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example, - -\begin{music}\nostartrule -\startextract -\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes -\zendextract -\end{music} -\noindent has been coded as - -\begin{quote}\begin{verbatim} -\startextract -\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes -\zendextract -\end{verbatim}\end{quote} - -Although at first it may seem counterintuitive, -the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts -may also be invoked when the multiplicity is one. In this case -a second, third, or fourth heavy bar will be opened one note width \ital{before} -the current stem, and immediately closed \ital{at} the stem. -Thus the following sequences - -\begin{music}\nostartrule -\let\extractline\hbox -\hbox to \hsize{% -\hss - \startextract - \Notes\ibu0e0\qbp0e\tbbu0\tbu0\qb0e\en - \zendextract -\hss\hss - \startextract - \Notes\ibu0e0\qbpp0e\tbbbu0\tbbu0\tbu0\qb0e\en - \zendextract -\hss} -\end{music} -\noindent are coded -\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim} -\Notes\ibu0e0\qbp0e% - \tbbu0\tbu0\qb0e\en -\end{verbatim}\end{minipage}\hfill -\begin{minipage}{.4\textwidth}\begin{verbatim} -\Notes\ibu0e0\qbpp0e% - \tbbbu0\tbbu0\tbu0\qb0e\en -\end{verbatim}\end{minipage}\hfill - -\medskip - - -The symmetrical pattern is also possible. For example: - -\begin{music}\nostartrule -\startextract -\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes -\zendextract -\end{music} -\noindent has been coded as: -\begin{quote}\begin{verbatim} -\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes -\end{verbatim}\end{quote} - -The constructions in this section illustrate some general -properties of -beam initiation and termination commands: To mate properly with the -expected stems, the starting position of the heavy bar(s) (for initiation commands) -and the ending position (for terminations) will be at -different horizontal locations -depending on whether they are for upper or lower beams: The position for -upper beam commands is one note head width to the right of those for -lower beams. In fact this is the \ital{only} difference between upper -and lower termination commands. Both types will operate on whatever kind of -beam is open and has the same beam number. - -Recognizing this principle, in the example just given it was necessary to -shift the double termination to the right by one note head width, using the -command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for -any \musixtex\ macro. - -Here is another, slightly more complicated example which also uses -\verb|\roff|: - -\begin{music}\nostartrule -\startextract -\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en -\notesp\tbbu0\qbp0f\en -\Notes\tbu0\qb0f\en -\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en -\Notes\qb0f\en -\notes\tbbbu0\tbbu0\tbu0\qb0f\en -\zendextract -\end{music} -\noindent has been coded as: -\begin{quote}\begin{verbatim} -\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en -\notesp\tbbu0\qbp0f\en -\Notes\tbu0\qb0f\en -\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en -\Notes\qb0f\en -\notes\tbbbu0\tbbu0\tbu0\qb0f\en -\end{verbatim}\end{quote} - -\noindent Note that the first beam opening command used a pitch one step -below the note. This makes the stem shorter by one pitch unit, since it is always -the \ital{closest} heavy bar that is separated from the given pitch by -three staff spaces. - -We close this section with an example showing how to -open a beam of one sense, increase multiplicity, then terminate with -opposite sense: - -\begin{music}\nostartrule -\startextract -\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes -\zendextract -\end{music} -\noindent which has been coded as -\begin{quote}\begin{verbatim} -\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes -\end{verbatim}\end{quote} - - \begin{remark} One may save some typing by defining personalized -\TeX\ macros to -perform any oft repeated sequence of commands. For example, -one could define a set of four sixteenths by the macro: - -\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}| - -\noindent where the first argument is the slope and the other four -arguments are the pitches of the four successive sixteenths. -\end{remark} - - %\check - \subsection{Shorthand beam notations for repeated notes}\index{repeated patterns} -Sometimes you may want to indicate repeated short notes with open note heads joined -by a beam. Here's an example of how to do that -using the \keyindex{hb} macro: - -\begin{music}\nostartrule -\startextract -\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes -\Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes -\zendextract -\end{music} -\noindent which has been coded as: -\begin{quote}\begin{verbatim} -\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes -\Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes -\end{verbatim}\end{quote} - -It is also possible to dispense with the stems: - -\begin{music}\nostartrule -\startextract -\Notes\ibbl0j3\wh j\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\wh i\enotes -\zendextract -\end{music} -\noindent which was coded as -\begin{quote}\begin{verbatim} -\Notes\ibbl0j3\wh j\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\wh i\enotes -\end{verbatim}\end{quote} -\noindent A different look could be obtained as follows: - -\begin{music}\nostartrule -\startextract -\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace -\zendextract -\end{music} -\noindent which was coded as: -\begin{quote}\begin{verbatim} -\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes -\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace -\end{verbatim}\end{quote} - -Yet another way to indicate repeated notes is given in the -following example: - - \begin{music}\nostartrule -\startextract -\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibu0j0\qb0{jjj}\tbu0\qb0j\en -\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h% - \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar -\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibbu0i0\qb0{jjj}\tbu0\qb0j% - \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibbu0i0\qb0{jjj}\tbu0\qb0j\en -\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% - \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en -\zendextract - \end{music} - \noindent whose coding (due to Werner {\sc Icking}) is - -\begin{quote}\begin{verbatim} -\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibu0j0\qb0{jjj}\tbu0\qb0j\en -\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h% - \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar -\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibbu0i0\qb0{jjj}\tbu0\qb0j% - \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk - \ibbu0i0\qb0{jjj}\tbu0\qb0j\en -\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% - \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en -\end{verbatim}\end{quote} - - \subsection{Beams that cross line breaks} - -Although careful typesetting can usually avoid it, occasionally -a beam may need to cross a line break. If so, it must be manually terminated at -the end of one line and continued in the next. This -can be done by shifting beam terminations and initiations -using \keyindex{roff} and/or -\keyindex{loff}, or by inserting a spacing command such as -\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf -Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip - -\begin{music} -\parindent0pt -\def\rqs{\lower\Interligne\rlap\qs} -\def\snotes{\vnotes1\elemskip} -\setstaffs1{2} -\generalsignature{2} -\setclef1{\bass} -\interstaff{12} -\startpiece -%%% bar 1 -\addspace\afterruleskip -\snotes|\tinynotesize\ibsluru0n\ibbu0m5\qb0{=m}\tqh0n\en -\qspace -\Notes\zchar{-7}\sPed\loffset{.3}{\fl E}\zq E\qu{_I}% - |\zql g\ibu2l0\busf2\qb2{=m}\en -\Notes|\tubslur0o\qb2{_l}\en -\Notes\loffset{.3}{\fl L}\zq L\ibl0L0\qb0{_b}% - |\ibl1h0\zqb1g\bupz2\qb2l\en -\Notes\zq L\tqb0b|\tbl1\zqb1g\bupz2\tqh2l\en -\NOtes\zq L\ql b|\zql g\qu l\en -\notes\zchar{-7}\sPed\zchar{-7}{\eightit ~~~sempre}% - \zchar{14}{\pp\eightit~sempre}\zq I\ibbu1J0\qb1L|\qs\en -\notes\qs|\zq N\ibbu3d0\qb3{_d}\en -\notes\qb1E|\rqs\en -\notes\qs|\fl e\zq N\rq e\qb3d\en -%%% bar 2 -\bar -\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\rqs\en -\qspace -\notes\qs|\lfl d\zq d\zq {=f}\qb3N\en -\notes\tqh1{_E}|\rqs\en -\notes\qs|\zq d\zq g\tqh3N\en -\notes\zq I\ibbu0J0\qb0L|\rqs\en -\notes\qs|\zq d\ibbu1d0\qb1N\en -\notes\qb0E|\rqs\en -\notes\qs|\fl e\rq e\zq d\qb1N\en -\notes\zq I\qb0L|\rqs\en -\notes\qs|\zq f\zq d\qb1N\en -\notes\tqh0E|\rqs\en -\notes\qs|\zq g\zq d\tqh1N\en -\notes\zq I\ibbu0J0\qb0L|\rqs\en -\notes\qs|\zq d\ibbu1d0\qb1N\en -\notes\qb0E|\rqs\en -\notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en -\endpiece -\end{music} -\noindent The prolongation of the two upper beam at the end is -illustrated in the code fragment -\begin{quote}\begin{verbatim} -\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en -\end{verbatim}\end{quote} - %\check - - \subsection{Beams with notes on several different staves} - -Here's a simple example from {\sc Brahms}'s -Intermezzo op.~118,1 provided by -Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip - -\begin{music} -\interstaff{12} -\setstaffs1{2} -\setclef1\bass -\generalmeter\allabreve -\startextract -\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes -\bar -\nspace -\Notes\ibu0L2\qb0{CEJLcL}% - \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes -\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes -\bar -\Notes\ttie1\zh{.L.a}\hl{.e}% - \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes -\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes -\endextract -\end{music} - %\check -\noindent The coding is -\begin{verbatim} -\interstaff{13} -\instrumentnumber{1} -\setstaffs1{2} -\setclef1\bass -\generalmeter\allabreve -\startextract -\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes -\bar -\nspace -\Notes\ibu0a1\qb0{CEJLcL}% - \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes -\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes -\bar -\Notes\ttie1\zh{.L.a}\hl{.e}% - \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes -\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes -\endextract -\end{verbatim} - -\noindent (This example also shows that there is no problem in extending -a beam across a bar line.) - -The general features that enable this type of coding as well as the -more complex example to follow are - \begin{itemize}\setlength{\itemsep}{0ex} -% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl}, -%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm -%define beams whose initial vertical position and slope are fixed -%relative -%to the staff where they begin, but notes in other staves can still be -%connected to them using \Bslash{\tt qb}\onen. -% -% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate -%beam $n$ at the specified position, but \musixtex\ remembers the beam -%parameters until a new beam with the same number is defined. -%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or -%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still -%generate notes connected to the phantom extension of this beam, -%\ital{provided they are issued in a different staff}. If the command -%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after -% the beam had ended, an error would result. -% - \item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}}, -{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}} -define beams whose initial vertical position and slope are fixed -relative -to the staff where they begin, but notes in other staves can still be -connected to them using {\Bslash\texttt{qb}\onen}. - - \item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen} -terminate -beam $n$ at the specified position, but \musixtex\ remembers the beam -parameters until a new beam with the same number is defined. -Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or -\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still -generate notes connected to the phantom extension of this beam, -\ital{provided they are issued in a different staff}. If the command -\verb|\qb|\enpee\rm~were issued on the same staff as the beam after - the beam had ended, an error would result. - - - - - - \item If the beam is initiated on one staff, -notes in a lower staff can be connected to it, but only \ital{after} the beam -has been defined. This may require using the command \keyindex{prevstaff} -to go back one staff, as described in section -\ref{movingtostaffs}. - - \end{itemize} - - Here is an example: - - \begin{music} - \setstaffs13 - \setclef1{6000} - \startextract - \notes - \nextstaff\Ibbbu0Ae7\prevstaff - \qb0{AEH^JLa}\relax\nextstaff - \qb0{******^c}\tqh0e\relax - |\zq{h^jl}\ql o\enotes - \notes - \nextstaff - \Ibbbu0hH6\qb0{hec}\prevstaff - \qb0{***aLJ}\tqh0H\relax\nextstaff - |\zq{h^jl}\ql o\enotes \nspace - \zendextract - \end{music} - - \noindent which is coded as: - - \begin{quote} - \begin{verbatim} - \setstaffs13 - \setclef1{6000} - \startextract - \notes - \nextstaff\Ibbbu0Ae7\prevstaff - \qb0{AEH^JLa}\relax\nextstaff - \qb0{******^c}\tqh0e\relax - |\zq{h^jl}\ql o\enotes - \notes - \nextstaff - \Ibbbu0hH6\qb0{hec}\prevstaff - \qb0{***aLJ}\tqh0H\relax\nextstaff - |\zq{h^jl}\ql o\enotes \nspace - \zendextract - \end{verbatim} - \end{quote} - -In this example we not only see multiple uses of \keyindex{nextstaff} and -\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes -(see section \ref{CollectiveCoding}). - -\section{Rests} - \subsection{Ordinary rests} - A separate macro is defined for each kind of ordinary rest. They cause -a space after the symbol, just like spacing note commands, but they have -no parameters. A whole rest is coded as -\keyindex{pause}, dotted whole rest \keyindex{pausep}, -half rest \keyindex{hpause}, dotted half rest \keyindex{hpausep}, -quarter rest \keyindex{qp} or \keyindex{soupir}, -eighth rest \keyindex{ds}, sixteenth rest \keyindex{qs}, -32nd rest \keyindex{hs}, and 64th rest \keyindex{qqs}. - - Longer rests, normally interpreted as lasting -two or four bars respectively, can be coded as \keyindex{PAuse} -and \keyindex{PAUSe}, which yield: - -\begin{music}\nostartrule -\generalmeter{\meterfrac44} -\startextract -\def\atnextbar{\znotes\centerbar\PAuse\en}% -\NOTEs\en\bar -\def\atnextbar{\znotes\centerbar\PAUSe\en}% -\NOTEs\en\zendextract -\end{music} - %\check - - - \subsection{Raising rests}\index{raising rests} -All the -previous rests except \keyindex{pausep} and -\keyindex{hpausep} are \ital{hboxes}, which means that -they can be vertically offset if needed using the -standard \TeX\ command \keyindex{raise}. For example: - - \begin{quote} - \begin{verbatim} - \raise 2\Interligne\qp - \raise 3mm\qq - \end{verbatim} - \end{quote} - -\noindent where \keyindex{Interligne} is the distance from one staff line to the -next. - -In addition, two macros are available to put a whole or -half rest above or below the staff. The ordinary \verb|\pause| or -\verb|\hpause| cannot be used outside the staff because a short horizontal line -must be added to distinguish between the whole and the half rest. The commands, -which are non-spacing\footnote{Editor's note: The reason for having defined these -as non-spacing is not obvious}, are - \begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{liftpause}~$n$ to get a - \hbox to10pt{\liftpause{-2}\hss} - raised from original position by $n$ staff line intervals, - \item \keyindex{lifthpause}~$n$ to get - \hbox to10pt{\lifthpause{-1}\hss} raised the same way. - \item \keyindex{liftpausep}~$n$ to get a - \hbox to10pt{\liftpausep{-2}\hss} - raised from original position by $n$ staff line intervals, - \item \keyindex{lifthpausep}~$n$ to get - \hbox to10pt{\lifthpausep{-1}\hss} raised the same way. - \end{itemize} - %\check - - \subsection{Bar centered rests}\label{barcentered} -Sometimes it is necessary to place a rest (or any other symbol) exactly in the middle -of a bar. This can be done with combinations of the commands -\keyindex{atnextbar}, -\keyindex{centerbar}, -\keyindex{centerPAUSe}, -\keyindex{centerPAuse}, -\keyindex{centerpause}, -\keyindex{centerhpause}, -as demonstrated in the following example: - -\begin{music} -\generalmeter\meterC -\setclef1\bass -\setstaffs1{2} -\parindent0pt -\startpiece\addspace\afterruleskip -\NOtes|\qa{cegj}\en -\def\atnextbar{\znotes\centerpause\en}\bar -\NOtes|\qa{jgec}\en -\def\atnextbar{\znotes\centerpause\en}\bar -\Notes\ca{`jihgfedc}\en -\def\atnextbar{\znotes|\centerpause\en}\bar -\NOTes\ha{Nc}\en -\def\atnextbar{\znotes|\centerpause\en}\bar -\addspace{10\elemskip}% -\def\atnextbar{\znotes\centerbar\duevolte|\centerbar\duevolte\en}\endpiece -\end{music} -\noindent with the coding -\begin{verbatim} -\generalmeter\meterC -\setclef1\bass -\setstaffs1{2} -\parindent0pt -\startpiece\addspace\afterruleskip -\NOtes|\qa{cegj}\en -\def\atnextbar{\znotes\centerpause\en}\bar -\NOtes|\qa{jgec}\en -\def\atnextbar{\znotes\centerpause\en}\bar -\Notes\ca{`jihgfedc}\en -\def\atnextbar{\znotes|\centerpause\en}\bar -\NOTes\ha{Nc}\en -\def\atnextbar{\znotes|\centerpause\en}\bar -\addspace{10\elemskip}% -\def\atnextbar{\znotes\centerbar{\duevolte}|\centerbar{\duevolte}\en}\endpiece -\end{verbatim} - %\check - -\section{Skipping spaces and shifting symbols}\label{spacing} -We've already mentioned that when coding a sequence of notes inside a -particular pair \verb|\notes...\enotes|, the command \keyindex{sk} can -be used to skip horizontally by one \keyindex{noteskip}. This would be -used for example to align the third note in one staff with the second note -in another. Skipping in this manner is logically equivalent to inserting -blank space; as such, the space must be recorded by \musixtex. This command -and the others discussed here will -do just that, so that \verb|musixflx| can properly account for -the added space. - -To skip by one \verb|noteskip| while in a collective coding sequence, -you may simply insert an asterisk (``\verb|*|''\index{*}). This would have -the same effect as stopping the sequence, entering {\Bslash sk}, then -restarting. For example, - -\begin{music} -\setstaffs12 -\startextract -\Notes\hu{e*f*g}|\qu{gghhii}\en -\zendextract -\end{music} -\noindent was coded as -\verb|\Notes\hu{e*f*g}|{\tt |}\verb|\qu{gghhii}\en| - -To skip forward -by one half of a \verb|\noteskip|, use \keyindex{hsk}. -To insert spacing of approximately one note head width, you can use -\keyindex{qsk}, or for half of that, \keyindex{hqsk}. To skip backward -by one \verb|\noteskip|, use \keyindex{bsk}. More generally, -to skip an arbitrary distance, use \keyindex{off}\verb|{|$D$\verb|}| -where $D$ is any \itxem{scalable dimension}, e.g.~\verb|\noteskip| or -\verb|\elemskip|. Indeed, if you look in the -\musixtex\ source, you will see that \verb|\off| is the basic control -sequence used to define all the other skip commands. - -The foregoing commands only work \ital{inside} a \verb|\notes...\enotes| group. -A different set of commands must be used to insert space \ital{outside} -such a group. \keyindex{nspace} produces an -additional spacing of half a note head width; -\keyindex{qspace}, one note head width. These are ``hard'' spacings. To -insert an arbitrary amount of hard space outside a \verb|\notes...\enotes| -group, use \keyindex{hardspace}\verb|{|$d$\verb|}{|\dots\verb|}| where -$d$ is any fixed dimension\label{hardspace}. The foregoing three commands are the only -space-generating commands that insert hard space; all the others insert -scalable spacing: \keyindex{elemskip}, -\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and -their multiples. Finally, to insert -scalable spacing outside -a \verb|\notes...\enotes| group, use -\keyindex{addspace}\verb|{|$D$\verb|}|. The argument may be negative, in -which case the normal spacing will be reduced. For example, after -\keyindex{changecontext}, many users prefer to reduce the space with -a command like -\verb|addspace{-|\keyindex{afterruleskip}\verb|}|. - -There is yet another set of commands for simply shifting a note, symbol, or sequence -inside \verb|\notes...\enotes| -without adding or subtracting any space. To shift by one note head width, -you may write \keyindex{roff}\verb|{|\ital{any macro}\verb|}| -or \keyindex{loff}\verb|{|\dots\verb|}| for a right or left shift respectively. - To shift by half of a note head width, use -\keyindex{hroff}\verb|{|\dots\verb|}| or -\keyindex{hloff}\verb|{|\dots\verb|}|. -For example, to get - %\check - -\begin{music}\nostartrule -\startextract -\Notes\roff{\zwh g}\qu g\qu h\qu i\enotes -\zendextract -\end{music} -\noindent you would code: - - %\check - -\begin{quote}\begin{verbatim} -\Notes\roff{\zwh g}\qu g\qu h\qu i\enotes -\end{verbatim}\end{quote} - -\noindent To shift notes or symbols by an arbitrary amount, use -\keyindex{roffset}\verb|{|$N$\verb|}{|\dots\verb|}| or -\keyindex{loffset}\verb|{|$N$\verb|}{|\dots\verb|}|, where -$N$ is the distance to be shifted in note head widths. For example - -\begin{music}\nostartrule -\startextract -\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes -\zendextract -\end{music} -\noindent was coded as - -\begin{quote}\begin{verbatim} -\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes -\end{verbatim}\end{quote} - -An important feature of these shift commands is that the offset, -whether implicit or explicit, is \ital{not} added to -the total spacing amount, but any spacing due to the included commands is. - - -\section{Accidentals} - -Accidentals can be introduced in two ways. - - The first way, using explicit macros, consists for -example in coding \keyindex{fl}\pitchp~to put a \ital{flat} at the -pitch $p$, presumably right before a note at the same pitch. This is a -non-spacing command and will automatically place the accidental an -appropriate distance to the left of the anticipated note head. -Naturals, sharps, double flats and double sharps are coded \keyindex{na}\pitchp, -\keyindex{sh}\pitchp, \keyindex{dfl}\pitchp~and \keyindex{dsh}\pitchp~respectively. - -The alternate macros \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh}, -\keyindex{ldfl} and \keyindex{ldsh} -place the same accidentals, but shifted one note head width -to the left. These can be used if a note head has been shifted to the left, or -to avoid collision with other accidentals -in a chord. If you want to shift an accidental by some other amount for -more precise positioning, you could use \keyindex{loffset} with the normal -accidental macro as the second parameter. - - The second way of coding accidentals is to modify the parameter of a -note command. Just put the symbol -\verb|^| for a sharp, \verb|_| for a flat, \verb|=|~for a natural, -\verb|>| for a double sharp, or \verb|<| for a double -flat, right before the letter or number representing the pitch. -For example, \verb|\qb{^g}| yields a -$G\sharp$. This may be used effectively in collective coding, e.g. -\verb|\qu{ac^d}|. - - There are two sizes of accidentals. By default they will be large unless there -is not enough space between notes, in which case they will be made small. Either -size can be forced locally by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or -\keyindex{smallfl}, \keyindex{smallsh}, etc. If you want all accidentals to -be large, then declare \keyindex{bigaccid} near the top of the input file. For -exclusively small ones use \keyindex{smallaccid}. \keyindex{varaccid} will restore -variable sizes. - - For editorial purposes, small accidentals can be placed \ital{above} note -heads. This is done using \keyindex{uppersh}\pitchp, \keyindex{upperna}\pitchp, or -\keyindex{upperfl}\pitchp: - -\begin{music}\nostartrule -\startextract -\NOtes\uppersh l\qa l\enotes -\NOtes\upperna m\qa m\enotes -\NOtes\upperfl l\qa l\enotes -\zendextract -\end{music} - It also possible to introduce \ital{\ixem{cautionary accidental}s}, -i.e.\ small accidentals enclosed in parentheses. This done by preceding -the name of the accidental keyword with ``\verb|c|'',\label{cautionary} - e.g.~\keyindex{cfl}\pitchp~for a cautionary flat. - Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl}, -\keyindex{cna}, -\keyindex{cdfl} and \keyindex{cdsh}, which give - -\begin{music}\nostartrule -\startextract -\NOtes\csh g\qa g\enotes -\NOtes\cfl h\qa h\enotes -\NOtes\cna i\qa i\enotes -\NOtes\cdfl j\qa j\enotes -\NOtes\cdsh k\qa k\enotes -\zendextract -\end{music} -\noindent - -The distance between all notes and accidentals is controlled by -\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension}, where -positive values shift to the left and negative to right, with a -default value of \verb|0pt|. - - \section{Transposition and octaviation}\label{octaviation} -Two different subjects are discussed in this section. First, there -are commands that cause notes to be printed at different pitches than -entered. We shall refer to this as \ital{logical} transposition. -Second, there are notations for octaviation that do -not otherwise alter the appearance of the score, which we'll call -\ital{octaviation lines}. - -\subsection{Logical transposition and octaviation} - -Logical transposition is controlled by an integer-valued \TeX\ register -\keyindex{transpose}. Its default value is 0. If you enter -\verb|\transpose=|$n$, then all subsequent pitches specified by -letters will be transposed by $n$ positions. Normally this method would be -used to transpose an entire piece. Pitches specified with -numbers will not be affected, so if you think you will ever want to -transpose a piece, you should enter all note pitches with letters. - -One way to transpose up or down by one octave would be to set -\keyindex{transpose} to 7 or $-7$. For example, to make a quarter note -octave as a chord, you could define a macro as -\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}|. -Note that because \verb|\transpose| is altered inside a pair of braces, the -effect of the alteration is only local and does not reach outside the braces. - - Another more convenient way to transpose locally up or down by one octave -makes use respectively of the characters -\verb|'| (\itxem{acute accent}) and \verb|`| (\itxem{grave accent}), -placed immediately before the letter specifying the pitch. So -for example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and -\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. These characters have -cumulative effects but in a somewhat restricted sense. They will alter the value of -\verb|\transpose|, but only until changing to a different staff or -instrument or encountering \verb|\enotes|, at which time it will be reset to the -value it had before the accents were used. (That value is stored in -another register called \keyindex{normaltranspose}). Thus for example -\verb|\qu{''A'A}| and \verb|\qu{''A}\qu{'A}| -are both equivalent to \verb|\qu{ah}|. - -At any point it is possible to reset the \verb|\transpose| register -explicitly to the value it had -when entering \verb|\notes|, by prefacing a pitch indication with -``\verb|!|''. Thus \verb|\qu{!a'a}| always -gives the note \verb|a| and its upper octave \verb|h|, shifted by the -value of {\Bslash transpose} at the beginning of the current -\verb|\notes...\enotes| group, regardless of the number of grave and -acute accents occurring previously within that group. - - \subsection{Behavior of accidentals under logical transposition}\label{transposeaccids} - The above processes indeed change the vertical position of the note heads -and associated symbols (e.g.~stems and beams), but they don't take -care of the necessary changes of accidentals when transposing. For example, -suppose an F$\sharp$ occurs in the key of C major. If the piece is -transposed up three steps to the key of F, the F$\sharp$ should logically -become a -B$\natural$. But if all you do is set \verb|\transpose=3|, the note will -be typeset as a B$\sharp$. In other words, \musixtex\ will interpret the~\verb|\sh| -or~\verb|^| to mean ``print a $\sharp$''. - -Naturally there is a solution, but it requires the typesetter to plan -ahead: To force accidentals to behave well under transposition, they -must be entered according to the \ital{relative -accidental convention}. To alert \musixtex\ that you are using this -convention to enter notes, you must issue the command -\keyindex{relativeaccid}. Once you have done this, the meaning of -accidental macros and characters (accents) in the input file is changed. -Under the convention, when for example a -\verb|\sh| is entered, it indicates a note that is supposed to sound -\ital{one half step higher than what it would normally be under the -current key signature}. Flats and naturals on entry similarly indicate -notes one half step lower or at the same pitch as what the key signature -dictates. \musixtex\ will take account of the key signature, and print -the correct symbol according to the modern notational convention, -provided you have explicitly entered the transposed key signature using -for example \verb|\generalsignature|. - -Many people have a difficult time understanding how this works, so -here are two simple examples in great detail. Consider the case already mentioned -of the F$\sharp$ in the key of C major. With -\verb|\relativeaccid| in effect, it should still be entered as \verb|\sh f|, and -with no transposition it will still appear as F$\sharp$. With -\verb|\transpose=3| and \verb|\generalsignature{-1}| it will appear -(correctly) as B$\natural$. Conversely, suppose you want to enter a -B$\natural$ when originally in the key of F. With \verb|\relativeaccid| in effect, it -should be entered as \verb|\sh i|. (That's the part that people -have the most trouble with: ``If I want a natural, why do I have to enter a sharp?'' Answer: -``Go back and re-read the previous paragraph very carefully.'') With no transposition, it will be -printed as B$\natural$. Now to transpose this to C major, set -\verb|\transpose=-3| and \verb|\generalsignature0|, and it will appear -as F$\sharp$. - -If you have invoked \verb|\relativeaccid| and then -later for some reason wish to revert to the ordinary convention, -enter \keyindex{absoluteaccid}. - -\subsection{Octaviation lines} -The first kind of notation for octave transposition covers a -horizontal range that must be specified at the outset. The sequence - -\medskip -\begin{music}\nostartrule -\startextract -\NOTEs\octfinup{10}{3.5}\ql{!'a}\ql b\ql c\ql d\en -\zendextract -\end{music} -\noindent can be coded as -\verb|\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en|. -\zkeyindex{octfinup} -Here, the dashed line is at staff level 10 and extends 3.5\verb|\noteskip|. -Conversely, lower octaviation can be coded. For example - -\begin{music}\nostartrule -\startextract -\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en -\zendextract -\end{music} -\noindent is coded as -\verb|\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en|. -\zkeyindex{octfindown} - To change the text that is part of these notations, redefine one of -the macros \keyindex{octnumberup} or \keyindex{octnumberdown}. The reason for -the distinction between up and down is that, traditionally, upper octaviation -only uses the figure -``8'' to denote its beginning, while lower octaviation uses a more -elaborate indication such as \hbox{\ppffsixteen8$^{va}$ \it bassa}. Thus - -\bigskip -\begin{music}\nostartrule -\startextract -\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en -\zendextract -\end{music} -\noindent is coded - -\noindent\verb|\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en| - -\noindent while - -\begin{music} -\startextract -\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}\octfindown{-5}{2.5}\ql l\ql -k\ql j\en -\endextract -\end{music} -\noindent is coded as -\begin{quote}\begin{verbatim} -\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}% - \octfindown{-5}{2.5}\ql l\ql k\ql j\en -\end{verbatim}\end{quote} - -The foregoing constructions have the drawbacks that (a) the span must be -indicated ahead of time and (b) they cannot extend across a line break. -Both restrictions are removed with the use of the alternate macros \keyindex{Ioctfinup}, -\keyindex{Ioctfindown} and -\keyindex{Toctfin}. - -{\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 -difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is -the relative position of the figure ``8'' with respect to the dashed line, and -the sense of the terminating hook As shorthand, \keyindex{ioctfinup} is equivalent to -\verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to -\verb|\Ioctfindown 0|. - -For example, - -\medskip - \begin{music}\nostartrule -\instrumentnumber{1} -\setstaffs12 -\setclef1{6000} -% -\startextract -\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\enotes -\bar -\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\enotes -\bar -\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes -\bar -\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes -\zendextract -\end{music} -\noindent is coded as -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\instrumentnumber{1} -\setstaffs12 -\setclef1{6000} -% -\startextract -\notes\wh{CDEFGH}|\wh{cde}\Ioctfinup 1p\wh{fgh}\enotes -\bar -\notes\Ioctfindown 2A\wh{IJKLMN}|\wh{ijklmn}\enotes -\bar -\Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes -\bar -\Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes -\zendextract -\end{music} -\end{verbatim}\end{quote} - %\check - - The elevation of octaviation lines may be changed in midstream using -\keyindex{Liftoctline}~$n$$p$, where $n$ is the reference number of the - octave line, and $p$ a (possibly negative) number of -\keyindex{internote}s (staff pitch positions) by which elevation of the dashed line should be changed. -This may be useful when octaviation lines extend over several systems and the -elevation needs to be changed in a systems after the one where it was initiated. - - -\section{Slurs and ties} -Two fundamentally different implementations of slurs, ties, and hairpins are -available. (The hairpins ``go along for the ride'' with slurs and ties.) First, there are the -original \ital{font-based} versions. These are constructed with traditional -\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files. -Second, it is now possible -to generate these shapes directly with postscript, dispensing altogether with -the font characters\footnote{Please do not be confused by the availability of -postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts). -Once installed in a \TeX\ system, -their function and use are 100\% transparently identical with bitmapped versions -of the slur fonts. On the other -hand, postscript slurs are functionally distinct from font-based slurs, and only - share some of the same syntax.}. We shall first describe the font-based versions, -then Type K postscript slurs, which are one of two available postscript slur -options\footnote{An -alternate approach to postscript slurs, called {\it Type M} after its developer -Hiroaki {\sc Morimoto}, is available from the -\href{http://icking-music-archive.org/software/indexmt6.html} -{\underline{Icking Music Archive}}.}. If you plan to use Type K postscript slurs, -you may skip directly to section~\ref{PostscriptSlurs}. - - \subsection{Font-based slurs} - -Font-based slurs and ties provided by \musixtex\ can be divided into two categories: -\label{simpleslur} -\begin{itemize}\setlength{\itemsep}{0ex} - \item Those where the complete slur symbol is composed of a single - character from one of the slur fonts, and - \item those where the slur symbol is composed of three distinct - characters, to form the beginning, middle and end of the slur. -\end{itemize} - -The former are called \ital{simple slurs} and the latter, -\ital{compound slurs}. In many cases the distinction between the two is -invisible to the user, in that many of the macros described below will -automatically select between the two types. However, there are other macros -that allow simple slurs to be forced. - -The next few subsections describe the usual method of slur coding, where the -choice between simple or compound slurs is made automatically. -In this case, slurs are initiated and terminated by separate macros, -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 -\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$.}. -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. - -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 -\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en -\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en -\bar -\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en -\NOTes\hu g\en -\zendextract -\end{music} - -\noindent was coded as: -\begin{quote}\begin{verbatim} -\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en -\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en -\bar -\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en -\NOTes\hu g\en -\end{verbatim}\end{quote} - -Other macros are provided to change the starting and ending point of the slur -in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\ -initiates a ``short'' upper slur suitable for linking notes involved in chords. -The -starting point is shifted to the right, and is vertically aligned with the -center of a virtual quarter note head at pitch $p$. If a lower short slur -is wanted, one should use \keyindex{isslurd}\enpee. - -Sometimes, busy scores call for slurs which are vertically aligned with the -ends of note stems rather than note heads. These ``beam'' slurs---so called -because the slur is written at usual beam height---are provided by the -macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros -initiate slurs raised or lowered by the current stem height to accommodate -stems or beams above or below. - %\check - - \subsubsection{Font-based slur termination} -Font-based slurs that are not forced to be simple must be terminated by an explicit -command right before the last note under the slur. There are termination -commands analogous to each of the initiation commands alread presented. They -are summarized in the following table: -\begin{center} - \begin{tabular}{ll} - Initiation & Termination \\ - \hline - \keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\ - \keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\ - \keyindex{ibsluru} & \keyindex{tbsluru}\\ - \keyindex{ibslurd} & \keyindex{tbslurd}\\ - \hline - \end{tabular} \end{center} - -\noindent All of these command have two parameters, $n$ and $p$. - -These specific termination macros are not restricted to being used with their -initiation counterpart. A slur -started in one sense can be terminated in another. For example, a slur beginning -as a ``beam'' slur may be terminated as a normal slur. This would be achieved -using the macro pair \verb|\ibslur...\tslur|. - - \subsubsection{Font-based ties} Font-based ties will have the same shapes as -ordinary font-based slurs of the same length between notes of equal pitch, -but there are two important distinctions: -(1) There cannot be any pitch difference between start and end, and (2) the -positions of both the beginning and end of a tie relative to the note heads -are slightly different from those of an ordinary slur\footnote{Editor's note: In -fact, it appears that the default positioning of the ends of ties is exactly -the same as that of short slurs.}. -Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of -reference number $n$ at pitch $p$. -Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of -reference number $n$ at pitch $p$. The starting position of the tie is the same -as \verb|\issluru| and -\verb|\isslurd| respectively. The tie is terminated by coding -\keyindex{ttie}\onen. Note that no pitch parameter is required. - -There are also \ital{short ties}, which bear the same relation to ordinary -ties as short slurs to ordinary slurs. They are intended to be used between chords. -They are initiated with -\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is -not clear why this command uses ``{\tt l}'' when all other similar ones use -``{\tt d}''.}, and terminated with \keyindex{tten}\onen. - -The following example illustrates the differences in positioning of the various -slur and tie options: - -\begin{music}\nostartrule -\startextract -\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% -\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% -\itenl0g\qu g\tten0\qu g\en -\zendextract -\end{music} -\noindent It was coded as -\begin{quote}\begin{verbatim} -\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% -\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% -\itenl0g\qu g\tten0\qu g\en -\end{verbatim}\end{quote} - -\noindent Here are some more general examples of font-based slurs and ties -discussed so far: - -\begin{music}\nostartrule -\startextract -\NOTes\isluru0g\hl g\tslur0h\hl h\en -\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en -\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en -\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en -\zendextract -\end{music} -\noindent This was coded as: -\begin{quote}\begin{verbatim} -\NOTes\isluru0g\hl g\tslur0h\hl h\en -\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en -\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en -\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en -\end{verbatim}\end{quote} - -\subsubsection{Dotted slurs} - -Any font-based slur may be made dotted by specifying \keyindex{dotted} -just before it is initiated: - -\begin{music}\nostartrule -\startextract -\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en -\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar -\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en -\NOTes\hu g\en -\zendextract -\end{music} - -\noindent This was coded as: -\begin{quote}\begin{verbatim} -\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en -\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar -\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en -\NOTes\hu g\en -\end{verbatim}\end{quote} - - \subsubsection{Modifying font-based slur properties} -Several macros are provided to modify the shape of slurs already initiated. -These macros must be coded right before the slur \ital{termination}. Invoking -any of the macros described in this section will force the slur to be compound. - -By default, the midpoint of a font-based slur is three \verb|\internote|s -above or below a line between its ends. This can be changed using the macro -\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For -example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to -rise to a maximum height of \verb|6\internote| above the starting position. -For example, - -\begin{music}\nostartrule -\startextract -\NOtes\multnoteskip8\isluru0g\ql g\en -\notes\tslur0g\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\isluru0g\ql g\en -\notes\midslur7\tslur0g\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\isluru2g\ql g\en -\notes\midslur{11}\tslur2g\ql g\en -\zendextract -\end{music} -\noindent was coded as -\begin{quote}\begin{verbatim} -\NOtes\multnoteskip8\isluru0g\ql g\en -\notes\tslur0g\ql g\en -\NOtes\multnoteskip8\isluru0g\ql g\en -\notes\midslur7\tslur0g\ql g\en -\NOtes\multnoteskip8\isluru2g\ql g\en -\notes\midslur{11}\tslur2g\ql g\en -\end{verbatim}\end{quote} - -The macro \keyindex{curve}$hij$ allows more precise control over the shape -of a slur or tie. The first parameter $h$ -is the vertical deviation and it works exactly like the sole parameter of -\verb|\midslur| described above. The second and -third parameters $i$ and $j$ set the initial and final gradient respectively. -They are defined as the horizontal distance required to attain maximum -vertical deviation. Thus smaller numbers for $i$ -and $j$ lead to more extreme gradients. -The default setting is \verb|\curve344|. Hence, coding \verb|\curve322| -doubles the initial and final gradient relative to the default. -As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before -the slur termination. The example below illustrates the use of \verb|\curve|. - -\begin{music}\nostartrule -\startextract -\NOtes\multnoteskip8\itieu0g\ql g\en -\notes\ttie0\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\itieu1g\ql g\en -\notes\curve 322\ttie1\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\itieu2g\ql g\en -\notes\curve 111\ttie2\ql g\en -\zendextract -\end{music} -\noindent This was coded as -\begin{quote}\begin{verbatim} -\NOtes\multnoteskip8\itieu0g\ql g\en -\notes\ttie0\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\itieu1g\ql g\en -\notes\curve 322\ttie1\ql g\en -\zendextract -\startextract -\NOtes\multnoteskip8\itieu2g\ql g\en -\notes\curve 111\ttie2\ql g\en -\end{verbatim}\end{quote} - -Two macros are provided to control the behaviour of slurs which extend across -line breaks. Normally, the part of the slur before the line break is -treated as a tie. This can be changed using \keyindex{breakslur}\enpee, -which sets the termination height of -the broken slur at the line break to pitch $p$, for slur number $n$. - -After the line break, the slur is normally resumed at the initial pitch -reference, i.e., the one coded in \verb|\islur|. To change this, the macro -\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used. -Here $n$ is again the slur reference -number and $h$ is the change in height relative to the initialization height. -This macro is normally used following line breaks, in which case it is best -coded using the \verb|\atnextline| macro. For example, coding -\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero -by \verb|6\internote| relative to its initialization height. - -The following example illustrates the use of the macros for broken slurs: - -\begin{minipage}[t]{75mm} -Default, without adjustments:\\ -\begin{music} -\hsize=50mm -\generalmeter{\meterfrac24}% -\parindent 0pt\staffbotmarg0pt% -% -%\interstaff{14\internote}% -% -\startpiece\bigaccid -\Notes\ibsluru1b\qu b\qu g\en\bar -\Notes\qu{'c!}\tslur1f\qu f\en -\mulooseness1\Endpiece -\end{music} -\begin{verbatim} -\Notes\ibsluru1b\qu b\qu g\en\bar -\Notes\qu{'c!}\tslur1f\qu f\en -\end{verbatim} -\end{minipage}% -\begin{minipage}[t]{75mm} -With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\ -\begin{music} -\hsize=50mm -\generalmeter{\meterfrac24}% -\parindent 0pt\staffbotmarg0pt% -% -%\interstaff{14\internote}% -% -\startpiece\bigaccid -\def\atnextline{\Liftslur17}% -\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar -\Notes\qu{'c!}\tslur1f\qu f\en -\mulooseness1\Endpiece -\end{music} -\begin{verbatim} -\def\atnextline{\Liftslur17}% -\Notes\ibsluru1b\qu b\qu g% -\breakslur1g\en\bar -\Notes\qu{'c!}\tslur1f\qu f\en -\end{verbatim} -\end{minipage}\medskip - -Occasionally in keyboard works one needs to begin a slur in one -staff but end it in another. This can be done using the macro -\keyindex{invertslur}\onen\ which is best described by -reference to the example -shown below. - -% Finding the final pitch is try and error, sorry, no way out. - -\begin{music} -\setstaffs1{2} -\setclef1\bass\interstaff{10.5} -\startextract -\NOtes\multnoteskip5\isluru0a\ql a\en -\notes\invertslur0\curve311\tslur0j|\qu d\en -\NOtes\multnoteskip{10}\isluru0a\ql a\en -\notes\invertslur0\curve333\tslur0j|\qu d\en -\zendextract -\end{music} -\noindent This was coded as -\begin{quote}\begin{verbatim} -\NOtes\multnoteskip5\isluru0a\ql a\en -\notes\invertslur0\curve311\tslur0g|\qu d\en -\NOtes\multnoteskip{10}\isluru0a\ql a\en -\notes\invertslur0\curve333\tslur0g|\qu d\en -\end{verbatim}\end{quote} - -\noindent Slur inversion as just described takes effect where the slope is zero; therefore it -only works with ascending slurs that were started with \verb|\isluru|, and with -descending slurs started with \verb|\islurd|. Otherwise no horizontal place -can be found and the result is erratic. - -A different approach removes this restriction. The idea is to stop the slur at a -the desired inversion point and restart it in the other sense at the -same place. The commands to do this are as follows: - \begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$, -not above or below the virtual note head. - \item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position, -not above a virtual note head. - \item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position, -not below a virtual note head. - \end{itemize} - -\noindent The vertical position may have to be adjusted to minimize any discontinuity -in the slope. For example, the following pattern - - \begin{music}\nostartrule -\setclef1\treble -\startextract -\NOTes\multnoteskip 3\isluru0a\ql a\en -\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en -\Notes\tslur0h\qu h\en -\NOTes\multnoteskip 3\islurd0a\ql a\en -\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en -\Notes\tslur0h\qu h\en -\zendextract -\end{music} -\noindent was coded as -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\NOTes\multnoteskip 3\isluru0a\ql a\en -\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en -\Notes\tslur0h\qu h\en -\NOTes\multnoteskip 3\islurd0a\ql a\en -\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en -\Notes\tslur0h\qu h\en -\end{music} -\end{verbatim}\end{quote} - -\ital{Simple} slurs and ties have advantages in some cases: (1) They will -always have the best possible shape, and (2) if \verb|\noteskip| doesn't -change from start to finish, they are easier to code. But they have drawbacks -as well: (1) They are limited in length to 68pt -for slurs and 220pt for -ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they -may not extend across a line break. -Despite all these limitations, simple slurs are extremely useful in many -applications where the slurs are short and contained within a bar. - -Simple slurs must be coded {\em before} the note on which the slur begins. -The primary macro is -\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ -where $p_1$ and $p_2$ are respectively the initial and final pitches, -$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length, -in {\tt noteskip}s. -Thus, thirds slured in pairs can be coded - - %\check - -\begin{quote}\begin{verbatim} -\NOtes\slur ced1\qu{ce}\en -\NOtes\slur dfd1\qu{df}\en -\NOtes\slur egd1\qu{eg}\en -\NOtes\slur{'e}cu1\ql{ec}\en -\NOtes\slur{'d}bu1\ql{db}\en -\NOtes\slur{'c}au1\ql{ca}\en -\end{verbatim}\end{quote} -which yields - -\begin{music}\nostartrule -\startextract -\NOtes\slur ced1\qu{ce}\en -\NOtes\slur dfd1\qu{df}\en -\NOtes\slur egd1\qu{eg}\en -\NOtes\slur{'e}cu1\ql{ec}\en -\NOtes\slur{'d}bu1\ql{db}\en -\NOtes\slur{'c}au1\ql{ca}\en -\zendextract -\end{music} -%% - -There are similar commands to force simple versions of the other -variants of font-based slurs and ties. Simple ties may be set using -\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed). -Simple short slurs and short ties can be forced with the macros -\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and -\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally, -simple beam slurs can be forced with -\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$. - - \subsubsection{Limitations of font-based slurs} - The change in altitude between slur initiation and slur termination is limited to -16\verb|\Internote|. Thus unexpected vertical gaps can appear, as seen in - - \begin{music}\nostartrule -\instrumentnumber{1} -\generalmeter{\meterfrac34} -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\zendextract - -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\zendextract - \end{music} - \noindent whose coding was - \begin{quote}\begin{verbatim} -\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes -\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes - \end{music} - \end{verbatim}\end{quote} - -Furthermore, if the slope becomes too steep, even worse results can occur, such as - - \begin{music}\nostartrule -\instrumentnumber{1} -\generalmeter{\meterfrac34} -\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes - \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes - \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes - \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes - \zendextract - \end{music} - -Another limitation of font-based slurs crops up when one attempts to -generate bitmapped versions for high-resolution printers: the characters -for long ties can exceed \MF's maximum capacity. - - \subsection{Type K postscript slurs}\label{PostscriptSlurs} -All of the aforementioned limitations of font-based slurs can be circumvented -by using Type~K postscript slurs\footnote{``K'' stands for Stanislav Kneifl, -the developer of the Type K postscript slur package.}. As well as slurs, the package includes -ties and crescendos (see section \ref{sec:crescnd}). -Its use is very similar to font-based slurs, and in fact identical if only -the elementary slur and tie initiation and termination macros are used. - -In order to use Type K postscript slurs, you must first place \texttt{musixps.tex} -anywhere \TeX\ can find it. You must also place \texttt{psslurs.pro} -somewhere that \texttt{dvips} can find it. - -The \index{mxsk font}\texttt{mxsk} font is required for ``half ties,'' which -are special symbols that are used by default for the second portion of a tie -that crosses a line break. If you like -this treatment you must install the font in your \TeX\ system. However, perfectly -acceptable line-breaking ties will appear if you invoke \keyindex{nohalfties}, -and then you will not have to install this font. - -Once the software mentioned in the prior two paragraphs is emplaced and the -\TeX\ filename database is refreshed, the Type K package can be -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}, -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 -\textbf{pdftex}. The former limitation can be circumvented by using a postscript -viewer such as \textbf{GSview}. The latter simply requires that you create an intermediate -postscript file with \textbf{dvips}, then make the PDF with any of the software -mentioned above. - -\subsubsection{Initiating and terminating type K postscript slurs} - -Basic usage of type K slurs is the same as for font-based slurs. To initiate one, -use for example \verb|\isluru0g| to start an upper slur with ID 0 above a virtual note -at pitch level {\tt g}. To terminate one, use a command like -\verb|\tslur0i| which terminates the slur with ID 0 on a -virtual note at pitch level {\tt i}. -Both types of commands are non-spacing and must precede the first or last -note under the slur. - -You can shift the starting or ending point slightly to the left -or right by substituting one of the commands \keyindex{ilsluru}, -\keyindex{ilslurd}, \keyindex{irsluru}, -\keyindex{irslurd}, \keyindex{trslur} or \keyindex{tlslur}. - -You can control the shape of Type K slurs with variants of -the termination command. To make the slur a bit flatter than default use -\keyindex{tfslur}0f; a bit higher, \keyindex{thslur}0f; higher still, -\keyindex{tHslur}0f; or -even higher, \keyindex{tHHslur}0f. These commands have an effect like -\keyindex{midslur} does for font-based slurs. - -All combinations of the shifting and curvature variants are allowed, -e.g.\ \verb|\trHHslur|. - -The following examples demonstrate how much better the type K slurs perform -in the extreme situations of the prior two typeset examples. The coding is -exactly the same as above except that \verb|\input musixps| has been added: -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\input musixps -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes -.... -\end{verbatim}\end{quote} - -%\begin{center} -%\includegraphics[scale=1]{./mxdexamples/pslurvgap.eps} -%\end{center} - -\begin{music}\nostartrule -\input musixps -\instrumentnumber{1} -\generalmeter{\meterfrac34} -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\zendextract - -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\zendextract -% \end{music} - -%\begin{music}\nostartrule -%\input smallmusixpsx -%\instrumentnumber{1} -%\generalmeter{\meterfrac34} -\startextract -\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes\bar -\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes -\NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes\bar -\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes -\zendextract - \end{music} - - -For maximal control over type K slurs, you can use one of the commands -\keyindex{iSlur}~$npvh$ and -\keyindex{tSlur}~$npvhca$, where the characters in -$npvhca$ respectively stand for ID number, height, vertical offset, horizontal offset, -curvature, and angularity. -All offsets are in \verb|internote|, and the slur direction is determined -by the sign of the vertical offset. See the comments in \verb|musixps.tex| -for precise definitions of the other parameters. Examples of permissible forms for -these commands are -\verb|iSlur0c11| and \verb|tSlur0{!d}11{.2}0|. - -The next example shows how you can use \verb|iSlur| in difficult -circumstances: - -\begin{music}\nostartrule -\input musixps -\nobarnumbers -\generalsignature1% -\generalmeter{\meterfrac{2}{4}}% -\nostartrule -\startextract -\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar -% -\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlfslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar -% -\NOtes\zchar{-8}{\Bslash iSlur...\Bslash tSlur}\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en -\zendextract - \end{music} -\noindent with this coding: - -\begin{quote}\begin{verbatim} -\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar -% -\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar -% -\NOtes\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar -\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en -\end{verbatim}\end{quote} - - -The ID number for a slur, tie or crescendo should -normally range from 0 to 9. If it is bigger -than nine but less than 15, -the object can cross a line break but not a page break. If bigger than -14 but less than $2^{31}$, it can't be broken at all, - nor can a slur termination be positioned at a beam with - e.g.~\verb|\tbsluru{17684}{16}|; however \verb|\ibsluru{152867}{16}| is OK. - -It's also OK to have opened simultaneously a slur, tie and crescendo all -with the same ID, or a slur, tie and decrescendo, but not a crescendo and -decrescendo. - -\def\emen{{\tt\char123}$n${\tt\char125\char123}$m${\tt\char125}} - -\subsubsection{Type K postscript beam slurs} -Type K beam slurs are defined differently than the font-based ones: -They require as parameters both a slur ID number $n$ and a beam ID number $m$, -but that's all. The commands are -\keyindex{iBsluru}\emen, \keyindex{iBslurd}\emen, and -\keyindex{tBslur}\emen. -They must be placed \ital{after} the beam initiation or termination command. -Type K slurs may start on one beam and end on another. -For example, - -\begin{quote}\begin{verbatim} -\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% - \slurtext{6}\tBslur00\qb0e\en -\end{verbatim}\end{quote} - -\noindent produces -%\begin{center} -%\includegraphics[scale=1]{./mxdexamples/psbeamslur.eps} -%\end{center} - -\begin{music}\nostartrule\input musixps\startextract -\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% - \slurtext{6}\tBslur00\qb0e\en -\zendextract\end{music} - -The above example also illustrates the use of the macro -\keyindex{slurtext}. It has just one parameter---some text to be -printed---and it centers it just above or below the midpoint of -the next slur that is closed. -This works only for non-breaking slurs; if the slur is broken, -the text -disappears\footnote{If you insist on viewing files with a dvi viewer despite the -fact that Type K slurs will not be visible, you may also find that -figures emplaced with \keyindex{slurtext} will appear at the end of the -slur rather than the middle.}. -%The placing of the slur text is done with a very dirty postscript -%hack, so I am not really sure that everything you want to typeset -%will be placed at the correct position (if you are interested, see -%the end of psslurs.pro for details). If you find something that won't -%work, let me know. - -% DAS: why do we need this ??? -%\paragraph{General coding for postscript slurs and ties of type K.} -%This can be done by: -%\begin{quote}\begin{verbatim} -%\i[h.shift]slur[u|d]{slur ID}{note height} -%\t[h.shift][slur height]slur{slur ID}{note height} -%\iBslur[u|d]{slur ID}{beam ID} -%\tB[slur.height]slur{slur ID}{beam ID} -%\end{verbatim}\end{quote} -%\noindent where h.shift can be 'l', 'r' or nothing -%and slur.height can be 'f', nothing, 'h', 'H' or 'HH' -% -%Example: \keyindex{tlfslur} means 'terminate left flat slur'. -% -% -%There are also simple slurs with same invocation and parameters as the -%original ones. - -\subsubsection{Type K postscript ties} -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. 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 -the beginning of the slur or tie. Only the first slur or tie following this -command will be affected. On the other hand, if you enter \keyindex{Dotted}, then ALL -slurs and ties from this point forward will be dotted until you say -\keyindex{Solid}. Furthermore, inside \verb|\Dotted...\Solid| you can make any individual -slur or tie solid saying \verb|\solid| before its beginning. - -\subsubsection{Avoiding collisions of Type K slurs and ties with staff lines.} -In postscript it is possible to do some computations which would be very hard -to implement directly in TeX. Type K slurs can use this facility to check whether -the curve of a slur or tie is anywhere nearly tangent to any staff line, and if -so, to adjust -the altitude of the curve to avoid the collision. By default this feature is turned -on. -You can disable it either -globally (\keyindex{Nosluradjust}, \keyindex{Notieadjust}) or locally -(\keyindex{nosluradjust}, \keyindex{notieadjust}), and you can also turn it -back on globally (\keyindex{Sluradjust}, -\keyindex{Tieadjust}) or locally (\keyindex{sluradjust}, \keyindex{tieadjust}). -Here ``locally'' -means that the command will only affect the next slur or tie to be opened. - - -\subsubsection{Line breaking slurs and ties} -Tyle K slurs and ties (and crescendos) going across line breaks are handled -automatically. In fact they can go over more lines than two (this is -true also for ties, though it would be somewhat strange). - -There is a switch \verb|\ifslopebrkslurs| that controls the default -height of the end point -of the first segment of all broken slurs. By default the height will be -the same as the beginning. To have it raised by \verb|3\internote|, simply -issue the command \keyindex{slopebrkslurstrue}. To revert to the default, -use \keyindex{slopebrkslursfalse}. - -To locally override the default height of the end of the first segment, -use the command \keyindex{breakslur}\enpee, -which sets the height for slur number $n$ to pitch $p$, just like with -font-based slurs. - -You can raise or lower the starting point of the second segment of a broken slur -with the command \keyindex{liftslur}\verb|{|$n$\verb|}{|$h$\verb|}|, with -parameters slur ID and relative offset in -\verb|\internote|s measured from the slur beginning. Its effect is -the same as \keyindex{Liftslur} for font-based slurs, except it is not -necessary to code -it within \verb|\atnextstaff{}|, just anywhere inside the slur. - -As already mentioned, anything with ID$<$10 is broken fully automatically, but -you should be careful about slurs, ties and crescendos with 10$\le$ID$<$15. -These cannot cross page breaks, although they can cross line breaks. - -If the second segment of a broken tie is less than 15pt long, then by -default it will have a special shape which begins horizontally. These shapes are -called \ital{half ties} and are contained in the font \index{mxsk font}\verb|mxsk|. -Of course if they are to be used, the font files must be integrated into the -\TeX\ installation. Their use can be turned off with \keyindex{nohalfties} -and back on with \keyindex{halfties}. - -%\paragraph{Backwards compatibility.} -%There are several ``aliases'' which allow to use the old, bitmapped slur -%commands for PS slurs without any change. There are however a few differences: -%the \keyindex{invertslur} is not implemented yet and -%the \keyindex{curve} and \keyindex{midslur} macros have no effect. - -%\paragraph{Memory requirements.} -\subsubsection{A few final technical details} -Each \verb|\i...| and \verb|\t...| -produces a \verb|\special| command, which must be stored in TeX's main memory. -Therefore, if too many slurs occur in one page, some memory problems could -occur. The only solutions are to use Big\TeX\ (if you aren't already), or to use -font-based slurs. - -Type K slurs need the postscript header file -\index{psslurs.pro}\texttt{psslurs.pro} to be included in the -output postscript file. This is made to happen by the \TeX\ command -\verb|\special{header=psslurs.pro}|, which is automatically -included when you \verb|\input musixps|. So normally this is not -of concern. However if you wish to extract a subset of pages from -the master \verb|dvi| file using \index{dvidvi}\texttt{dvidvi}, then -you have three options: (1)~include the first page in the subset, -(2)~manually issue the -\verb|\special| command in the \TeX\ source for the first page of the subset, or -(3)~use the option \texttt{-h psslurs.pro} when you run \texttt{dvips}. - - -\section{Bar Lines} - \subsection{Single, double, and invisible bar lines}\label{doublebars} -The usual macro to typeset a single bar line is \keyindex{bar}. -There is a possibility of -confusion with a command in \TeX's math mode that has exactly the same name. -However, there will generally be no problem, because inside -\verb|\startpiece...\endpiece|, -\verb|\bar| will take the musical meaning, while outside, it will have the -mathematical one. -If for some reason you need the math \verb|\bar| inside, you can use -\verb|\endcatcodesmusic...\bar...\catcodesmusic|. - -To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You could -also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or -\keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced -by a double bar. - -There is no specific command to print a thin-thick double bar line, but -\keyindex{setdoubleBAR} will cause one in the same cases where -\verb|\setdoublebar| would cause a thin-thin double bar line. - -To make the next bar line invisible, use \keyindex{setemptybar} before -\verb|\bar|. - -You can suppress the beginning vertical rule with saying \keyindex{nostartrule} -and restore the default with \keyindex{startrule} after that. - -\subsection{Simple discoutinuous bar lines} -Normally, bars (as well as double bars, final bars and repeat bars) are -drawn continuously from the bottom of the lowest staff of the -lowest instrument to the top of the highest staff of the uppermost -instrument. However, if desired, they can be made discontinuous between -instruments by saying \keyindex{sepbarrules}. An example of this is given in -%avrb -%{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the -%avre -\texttt{avemaria.tex} in section \ref{avemaria}\label{avemaria2}. - -Continuous bar lines can be restored with \keyindex{stdbarrules}. In -the extension library are some more types of bar rules, mainly for very old -music, see section \ref{otherbars}. - -% DAS. Andre, are there some other kinds of bars in an addon? - -\subsection{Elementary asynchronous bar lines} - - Situations may arise where the bar lines in different instruments are not -aligned with one another. To set this up, first say \verb|\sepbarrules|. -Then use a combination of the following five commands: - -\begin{itemize}\setlength{\itemsep}{0ex} -\item\keyindex{hidebarrule}\onen~hides the bar rule for instrument $n$, until -this is changed by \verb|\showbarrule|\onen. -\item\keyindex{showbarrule}\onen~stops hiding the bar rule for instrument $n$, -until this is changed by \verb|\hidebarrule|\onen. -\item\keyindex{Hidebarrule}\onen~hides the bar rule for instrument $n$, only -for the next bar. -\item\keyindex{Showbarrule}\onen~shows the bar rule for instrument -$n$ once only, -and then resets it \verb|Hidebarrule|. -% -% DAS ??? -% and then resets it to \verb|hidebarrule|. -% -\item\keyindex{showallbarrules} resets all defined instruments to -\verb|\showbarrule|\onen. This command is automatically inserted with double -bars, final bars and repeats. -\end{itemize} - -Thus, this example - -\begin{music} -\instrumentnumber3 -\setmeter3{{\meterfrac{3}{4}}} -\setmeter2{{\meterfrac{2}{4}}} -\setmeter1{{\meterfrac{3}{8}}} -\nobarnumbers -\sepbarrules - -\startextract -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\hidebarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\showbarrule2\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\showbarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\showbarrule2\hidebarrule3\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\setdoublebar -\bar\hidebarrule3 -\NOtes\pt f\qa f&\qa f&\qa f\en -\Hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\message{Showbarrule3 coming}% -\Hidebarrule2\Showbarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\Hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\setrightrepeat -\endextract -\end{music} - -\noindent was obtained with the following coding: -\begin{quote}\begin{verbatim} -\instrumentnumber3 -\setmeter3{{\meterfrac{3}{4}}} -\setmeter2{{\meterfrac{2}{4}}} -\setmeter1{{\meterfrac{3}{8}}} -\nobarnumbers -\sepbarrules - -\startextract -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\hidebarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\showbarrule2\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\showbarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\showbarrule2\hidebarrule3\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\setdoublebar -\bar\hidebarrule3 -\NOtes\pt f\qa f&\qa f&\qa f\en -\Hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\message{Showbarrule3 coming}% -\Hidebarrule2\Showbarrule3\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\bar -\NOtes\pt f\qa f&\qa f&\qa f\en -\Hidebarrule2\bar -\NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en -\setrightrepeat -\zendextract -\end{verbatim}\end{quote} - -\subsection{Dotted, dashed, and more general asynchronous and discontinuous bar lines}\label{musixdbr} - -The extension -package \href{http://icking-music-archive.org/software/musixtex/add-ons/musixdbr.tex} -{\underline{\ttxem{musixdbr.tex}}} by Rainer {\sc Dunker} provides commands for -dashed, dotted, and arbitrarily discontinuous bar lines. It supports -individual bar line settings for each instrument, multi-staff instruments, -different sizes of staves, and even different numbers of lines per staff, - -To use the package, you must \verb|\input musixdbr| after \verb|musixtex|, and -execute the macro \keyindex{indivbarrules} which activates individual bar line -processing. Then the following commands are available: - -\begin{itemize}\setlength{\itemsep}{0ex} - -\item \keyindex{sepbarrule}\onen~separates bar lines of instrument $n$ from those of instrument $n-1$ - -\item \keyindex{condashbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ - with a dashed line - -\item \keyindex{condotbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ - with a dotted line - -\item \keyindex{conbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ - -\item \keyindex{hidebarrule}\onen~hides bar lines of instrument $n$ - -\item \keyindex{showdashbarrule}\onen~dashes bar lines of instrument $n$ - -\item \keyindex{showdotbarrule}\onen~dots bar lines of instrument $n$ - -\item \keyindex{showbarrule}\onen~shows bar lines of instrument $n$ - -\item \keyindex{sepmultibarrule}\onen~separates bar lines within multistaff instrument $n$ - -\item \keyindex{condashmultibarrule}\onen~dashes bar lines between staves of multistaff instrument $n$ - -\item \keyindex{condotmultibarrule}\onen~dots bar lines between staves of multistaff instrument $n$ - -\item \keyindex{conmultibarrule}\onen~ shows bar lines between staves of multistaff instrument $n$ - -\item \keyindex{allbarrules}[\ital{any of the above commands, without numerical parameter}] sets bar -line style for all instruments together. - -\end{itemize} - -Dashing and dotting style may be changed by redefining the macros -\verb|\barlinedash| or \verb|\barlinedots| respectively (see original definitions in \verb|musixdbr.tex|). - -Here is an example of the use of these macros: - -\begin{music} -\input musixdbr - -\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14\setsize2\tinyvalue -\indivbarrules -\parindent0pt\startextract -%\startpiece -%\scale{2} - % normal barlines - \bar - % separate instrument 2 from 1 - \sepbarrule2 - \notes\en\bar - % barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showbarrule - \NOTes\en\bar - % barlines between staves - \allbarrules\conbarrule - \allbarrules\conmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % dashed barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showdashbarrule - \NOTes\en\bar - % dashed barlines between staves - \allbarrules\condashbarrule - \allbarrules\condashmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % dotted barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showdotbarrule - \NOTes\en\bar - % dotted barlines between staves - \allbarrules\condotbarrule - \allbarrules\condotmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % a wild mixture of all - \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% - \condashbarrule2\conbarrule3\condotbarrule4% - \condashmultibarrule2\sepmultibarrule3% - \NOTes\en\bar - % conventional ending - \allbarrules\showbarrule - \allbarrules\conbarrule - \allbarrules\conmultibarrule - \NOTes\en\setdoubleBAR\endextract -\end{music} - -This is the code: - -\begin{quote}\begin{verbatim} -\input musixdbr -\instrumentnumber4\setstaffs23\setstaffs32\setlines14\setsize2\tinyvalue -\indivbarrules\parindent0pt\startextract - % normal barlines - \bar - % separate instrument 2 from 1 - \sepbarrule2 - \notes\en\bar - % barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showbarrule - \NOTes\en\bar - % barlines between staves - \allbarrules\conbarrule - \allbarrules\conmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % dashed barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showdashbarrule - \NOTes\en\bar - % dashed barlines between staves - \allbarrules\condashbarrule - \allbarrules\condashmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % dotted barlines on staves - \allbarrules\sepbarrule - \allbarrules\sepmultibarrule - \allbarrules\showdotbarrule - \NOTes\en\bar - % dotted barlines between staves - \allbarrules\condotbarrule - \allbarrules\condotmultibarrule - \allbarrules\hidebarrule - \NOTes\en\bar - % a wild mixture of all - \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% - \condashbarrule2\conbarrule3\condotbarrule4% - \condashmultibarrule2\sepmultibarrule3% - \NOTes\en\bar - % conventional ending - \allbarrules\showbarrule - \allbarrules\conbarrule - \allbarrules\conmultibarrule - \NOTes\en\setdoubleBAR\zendextract -\end{verbatim}\end{quote} - -\section{Bar numbering} -The current bar number is stored in a count register call \keyindex{barno}. -When \verb|\startpiece| is encountered, \verb|\barno| is set equal to -another count register called \verb|\startbarno|, whose default value is one. -Therefore, if you want the first bar to have a number $n$ different from 1, you -may either say \verb|\startbarno=|$n$ before \verb|\startpiece|, or say -\verb|\barno=|$n$ afterwards, but before the first bar line. You may also alter the bar -number at any time, either by explicitly resetting \verb|\barno|, or by -incrementing it with a command like \verb|\advance\barno-1|. - -\musixtex\ supports two distinct modes for printing bar numbers. In \ital{periodic} -bar numbering, the bar number is -placed above the top staff with a user-selectable frequency. In -\ital{system} bar numbering, the -number will appear at the beginning of each system. - -\subsection{Periodic bar numbering} -In a normal piece, periodic bar number printing is turned on by default, with a frequency -of one. In an extract, the default is to not print bar numbers. -To turn off bar numbering say \keyindex{nobarnumbers}. To reinstate periodic -bar numbering, or to initiate it in an extract, say \keyindex{barnumbers}. -To change to a -different frequency $n$, say \verb|\def|\keyindex{freqbarno}\verb|{|$n$\verb|}|. - -The appearance and positioning of the bar number is controlled by the -token \keyindex{writethebarno}, which by default is defined as\\ -\verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}| -where the font is defined as \verb|\def\fontbarno{\it}|. You can change -either of these as desired, for example - - \medskip -\begin{music}\barnumbers -\parindent0pt\startpiece -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\def\fontbarno{\bf}% -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en\bar -\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece -\end{music} -\noindent which was coded as -\begin{quote}\begin{verbatim}\barnumbers -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\def\fontbarno{\bf}% -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en\bar -\notes\Qqbbu fgge\Qqbbl jhgi\en -\end{verbatim}\end{quote} - -\subsection{System bar numbering} -To have a bar number printed just above the beginning of each system, use -\keyindex{systemnumbers}. The distance above the staff is controlled -by \verb|\raisebarno|, which by default is \verb|4\internote| (to fit -above a treble clef). This can be redefined with the command\\ -\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}|. -The horizontal position similarly is defined by \keyindex{shiftbarno} -which by default is \verb|0pt|. - -The number normally is enclosed in a -box. If you don't like that, you may redefine the macro \verb|\writebarno| -which by default is defined as\\ -\verb|\def|\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}|.\\ -This uses the utility \musixtex\ macro \keyindex{boxit} which will enclose -any text string in a box. - -Here are some possible alternate formats for system bar numbers: - -\medskip -\begin{music}\nostartrule -\def\fontbarno{\it}% -\let\extractline\hbox -\startbarno=36 -\hbox to \hsize{% -\hss - \raise20pt\hbox{(a) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss - \def\writebarno{\tenrm\the\barno\barnoadd}% - \def\raisebarno{2\internote}% - \def\shiftbarno{2.5\Interligne}% - \raise20pt\hbox{(b) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss - \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% - \def\raisebarno{2\internote}% - \def\shiftbarno{1.3\Interligne}% - \raise20pt\hbox{(c) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss} -\end{music} -\noindent This was coded as -\begin{itemize}\setlength{\itemsep}{0ex} - \item[(a)] (default) - \item[(b)] - \begin{verbatim} -\def\writebarno{\tenrm\the\barno\barnoadd}% -\def\raisebarno{2\internote}% -\def\shiftbarno{2.5\Interligne}% - \end{verbatim} - \item[(c)] - \begin{verbatim} -\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% -\def\raisebarno{2\internote}% -\def\shiftbarno{1.3\Interligne}% - \end{verbatim} -\end{itemize} - -If the previous line does not stop with a bar rule, then the next -printed system bar number will immediately be followed by the contents -of the token \keyindex{writezbarno}, whose -default setting is the lower case character `\verb|a|'. You might want to -change this to `\verb|+|', in which case you should say -\verb|\def\writezbarno{+}|. - -%DAS: Who cares ??? -%\noindent Besides, you can suppress the messages of bar numbers on -%\verb|stdout| (normally screen) with \keyindex{nobarmessage}. In the same way, -%you can suppress the messages abour new lines (new systems) with -%\keyindex{nolinemessages}. - %\check - -\section{Managing the layout of your score} -\subsection{Line and page breaking}\label{linebreak} -If every bar ends with \verb|\bar| and no other line- or page-breaking commands -are used, then the external program \verb|musixflx| will decide where to insert -line and page breaks. Line breaks will only come at bar lines. The total -number of lines will depend on the initial value of \verb|\elemskip|, which by -default is 6 pt in \verb|\normalmusicsize|. - -You can force a line or page break by replacing \keyindex{bar} with -\keyindex{alaligne} or \keyindex{alapage} respectively. On the other hand, -to forbid line-breaking at a particular bar, replace \verb|\bar| -with \keyindex{xbar}. To force a line or page break where there is -no bar line, use \keyindex{zalaligne} or \keyindex{zalapage}. To mark any -mid-bar location as an optional line-breaking point, use \keyindex{zbar}. - -The heavy final double bar of a piece is one of the consequences of -\keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate -the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}. -To terminate it with no bar line at all, code \keyindex{zstoppiece}. - -Once you have stopped the score by any of these means, you may want to restart -it, and there are several ways to do so. If you don't need to change the key -signature, meter, or clef, -you can use \keyindex{contpiece} for no indentation, or \keyindex{Contpiece} -to indent by \keyindex{parindent}. If you do want to change some score -attribute that takes up space, for example -with \keyindex{generalsignature} after \verb|\stoppiece|, then to restart you -must use \keyindex{startpiece}. However, if you don't want \verb|\barno| reset -to 1, you must save its new starting value to \verb|\startbarno|. You may also -wish to modify instrument names or \verb|\parindent| before restarting. - -Recall that thin-thin or thin-thick double bars or blank bar lines can be -inserted without stopping by using the commands described in section -\ref{doublebars}. Those commands can also be used before \verb|\stoppiece|, -\verb|\alaligne|, or \verb|\alapage| - -\subsection{Page layout} -Blank space above and below each staff is controlled by the dimension -registers \keyindex{stafftopmarg} and \keyindex{staffbotmarg}. For more -info see section \ref{LayoutParameters}. - -The macro \keyindex{raggedbottom} will remove all vertical glue and -compact everything toward the top of page. -In contrast, the macro \keyindex{normalbottom} will restore default -behavior, in which vertical space between the systems is distributed -so that the first staff -on the page is all the way at the top and the last staff all the way at -the bottom. - -The macro \keyindex{musicparskip} will allow the existing space between -systems to increase by up to \verb|5\Interligne|. - -The following values of page layout parameters will allow the maximum material -to fit on each page, provided the printer allows the margins that are implied. - -\begin{center} -\begin{tabular}{|l|l|l|}\hline -\multicolumn{1}{|c|}{A4}&\multicolumn{1}{|c|}{letter}&\multicolumn{1}{|c|}{A4 or letter}\\\hline -\multicolumn{3}{|c|}{\tt\Bslash parindent= 0pt}\\\hline -\multicolumn{3}{|c|}{\tt\Bslash hoffset= -15.4mm}\\\hline -\multicolumn{3}{|c|}{\tt\Bslash voffset= -10mm}\\\hline -\verb+\hsize= 190mm+&\verb+\hsize= 196mm+&\verb+\hsize= 190mm+\\\hline -\verb+\vsize= 260mm+&\verb+\vsize= 247mm+&\verb+\vsize= 247mm+\\\hline -\end{tabular} -\end{center} -%avre -\zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset} -\zkeyindex{hsize}\zkeyindex{vsize} - - -\subsection{Page numbering, headers and footers}\index{page -number}\index{footnote} - -There are no special page numbering facilities in \musixtex; you must rely on -macros from plain \TeX. There is a count register in \TeX\ called -\verb|\pageno|. It is always initialized to \verb|1| and incremented by one -at every page break. By saying \keyindex{pageno}$=n$, it can be reset to any -value at any time, and will continue to be incremented from the new value. - -By default, \TeX\ will place a page number on -every page, centered at the bottom. Unfortunately, this is not the preferred -location according to any standard practice. To suppress this default -behavior, say \keyindex{nopagenumbers}. - -One way to initiate page numbering in a more acceptable location is to take -advantage of the facts that (a) \TeX\ prints the contents of the control sequences -\keyindex{headline} and \keyindex{footline} at the top and bottom -respectively of every page, and (b) the value of \verb|\pageno| can be printed by -saying \keyindex{folio}. Therefore, for example, the following sequence of -commands, issued anywhere before the end of the first page, will cause page -numbers and any desired text to be printed at the top of every page, -alternating between placement of the number at the left and right margins, and -alternating between the two different text strings (the capitalized text in -the example): - -\begin{quote}\begin{verbatim} -\nopagenumbers -\headline={\ifodd\pageno\rightheadline\else\leftheadline\fi}% -\def\rightheadline{\tenrm\hfil RIGHT RUNNING HEAD\hfil\folio}% -\def\leftheadline{\tenrm\folio\hfil LEFT RUNNING HEAD\hfil}% -\voffset=2\baselineskip -\end{verbatim}\end{quote} - -\subsection{Controlling the total number of systems and pages}\index{page and line -layout (global)} - -Once all the notes are entered into a \musixtex\ score, it would be convenient -if there were a simple sequence of commands to -cause a specified number of systems to be uniformly distributed over a -specified number of pages. Unfortunately that's not directly -possible\footnote{It \textit{is} possible in \textbf{PMX}.}. -Rather, some trial and error will usually be required to achieve the desired final -layout. To this end, some combination of the following strategies may be used: - - \begin{enumerate}\setlength{\itemsep}{0ex} - \item Assign a value to the count register \keyindex{linegoal} representing -the total number of systems. The count register \keyindex{mulooseness} must be 0 if using -\verb|\linegoal|. - \item Explicitly force line and page breaking as desired, using -the macros \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne| -or \verb|\zalapage|. - \item Adjust both \keyindex{mulooseness} and the initial value of -\keyindex{elemskip}: increasing \verb|\mulooseness| from its default of 0 will -increase the total number of systems, while changing the initial value of -\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) may change the -total number of systems accordingly. - \end{enumerate} - %\check - -\section{Changing clefs, key signatures, and meters} - -\subsection{Introduction}\label{contextintro} - -To define clefs, key signatures, or meters at the start of a piece, -or to change one or more of these attributes\footnote{In this section, -\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere -else in a score, -\musixtex\ requires two steps. The first step is to \ital{set} the new values of -the attributes. -Most of the commands for this have the form \verb|\set|...~. They will be -described in the following subsections. - -But this alone will -not cause anything to be changed or printed. The second step is to activate the -change. This is done by issuing one of the -following commands (outside \verb|\notes|$\dots$\verb|\en|): -\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|, -\verb|\Contpiece|, -\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|, -\verb|\changecontext|, -\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|, -\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform -other functions as well, and some may be used even when no attributes -change. Features unrelated to changing attributes are detailed elsewhere. -The first 11 will activate all pending new attributes. -If more than one type is activated by a single command in this manner, -then regardless of the order -they were set, they will always appear in the following order: clef, key signature, -meter. -The last three commands in the above list obviously activate only -the specific type of attribute referred to in the name of the command. - -The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext| -will respectively insert a single, double, or invisible bar -line before printing the attributes. - -\subsection{Key Signatures} - -We've already seen in section \ref{whatspecify} how to set key -signatures for all instruments with \keyindex{generalsignature}, or for -specific instruments with \keyindex{setsign}. As just noted, these commands only -prepare for the insertion of the signatures into the score; it is -really \verb|\startpiece| that puts them in place at the beginning of the -score. - -The commands \verb|\generalsignature| and \verb|\setsign| also serve to set -new key signature(s) anywhere in score. The change can then be activated with one of -the 11 general commands listed above, or with \keyindex{changesignature} if -in the middle of a bar. -While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar -line, the differences are that the latter increments the bar number counter and -inserts a horizontal space of \verb|\afterruleskip| after the new signature(s). -All of these options will repost signatures that have not been changed. - -Normally, changing a signature from flats to sharps or vice-versa, or -reducing the number of sharps or flats, will produce the appropriate set of -naturals to indicate what has been suppressed. This standard feature can be -temporarily inhibited by the command \keyindex{ignorenats} issued right before -the change-activating command. - -Here is an example showing various possibilities for changing key signatures. -Note the comments between the code lines. - -\begin{quote}\begin{verbatim} -\instrumentnumber2\setstaffs22% -\setclef1{\bass}\generalsignature2% -\startextract -\Notes\qu K&\qu d|\qu e\en -% Signature change in a single instrument with two staves. -% Naturals appear by default, indicating cancelled sharps. -\setsign20\changesignature -\Notes\qu J&\qu d|\qu e\en -% When changing signature in the middle of a bar and no naturals -% are posted, the new signature can be confused with a simple accidental. -\setsign11\ignorenats\changesignature -\Notes\qu M&\qu d|\qu e\en -% New signatures after a double bar line -\generalsignature{-2}\Changecontext% -\Notes\qu K&\qu d|\qu e\en% -\Notes\qu K&\qu d|\qu e\en% -% New signatures after an invisible bar line. Note the -% difference in spacing compared with beat 3 of the prior measure -\generalsignature{1}\zchangecontext% -\Notes\qu K&\qu d|\qu e\en% -\end{verbatim}\end{quote} - -\begin{music} -\instrumentnumber2\setstaffs22% -\setclef1{\bass}\generalsignature2% -\startextract -\Notes\qu K&\qu d|\qu e\en -% Signature changing in a single instrument with 2 staves -% Naturals are allowed to shown there are no more sharps -\setsign20\changesignature -\Notes\qu J&\qu d|\qu e\en -% Signature changing in a single staff without naturals -% if there is no bar line, the signatures are confusing: -% it is not clear if they are for a single note or not -\setsign11\ignorenats\changesignature -\Notes\qu M&\qu d|\qu e\en -% New signatures after a double bar line -\generalsignature{-2}\Changecontext% -\Notes\qu K&\qu d|\qu e\en% -\Notes\qu K&\qu d|\qu e\en% -% New signatures after an invisible bar line -% see the difference in space comparing beat 2 -\generalsignature{1}\zchangecontext% -\Notes\qu K&\qu d|\qu e\en% -\endextract -\end{music} - - -\subsection{Clefs}\label{treblelowoct} - -Macros that define clefs have already been discussed in section -\ref{whatspecify}. By way of review, here are all of the possible clefs -(applied to the lowest staff): -%avrb -\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}} - -\begin{center}\vskip-1ex\footnotesize%\small -\begin{tabular}{||c|c|c|c|c||}\hline\hline -&&&&\\ -\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\ -\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+ -&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline -\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2 -&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline -%\end{tabular} -&&&&\\ -%\begin{tabular}{ccccc} -&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\ -\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+ -&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline -\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7 -&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline -%This one uses \setclefsymbol1\empty : -%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline -\end{tabular} -\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later} -\end{center} -%avre - -Just as with key signatures, these commands only \ital{prepare} for clef changes. -To \ital{activate} them, any of the first 11 commands listed in section -\ref{contextintro} could be used. However, one should keep in mind that -according to modern conventions, a clef change at a bar line is posted -before the bar line, while for example \verb|\changecontext| would post it -after the bar line. In part for this reason, we have the special command -\keyindex{changeclefs}. It can be used anywhere outside -\verb+\notes...\enotes+ to activate a clef change and insert an amount of -horizontal space to accommodate the new clef symbol(s), without printing a -bar line. Sometimes no added -space is required, in which case \keyindex{zchangeclefs} should be used. - -Here are some examples of clef changes: - -\begin{quote}\begin{verbatim} -\instrumentnumber2\setstaffs22% -\setclef1{\bass}\generalsignature2% -\startextract -% Change in one staff only, with added space -\setclef1\treble\changeclefs% -\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en% -% Combined with signature change, also no extra space needed -% twice the same clef in staff 2 - with the help of a blank clef -\setclef28\zchangeclefs\setclef2\treble% -\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% -\ignorenats\changesignature% -\Notes\qu K&\cu{de}|\qu e\en% -% clef change before barline -\setclef1\treble\zchangeclefs\bar% -\Notes\qu k&\cu{de}|\qu e\en% -% clef change after barline -\setclef1\bass\bar\changeclefs% -\Notes\qu K&\cu{de}|\qu e\en% -% clef change after barline with changecontext -\setclef1\treble\changecontext% -\Notes\cu k&\cu d|\qu e\en% -% twice the same clef -\setclef18\zchangeclefs\setclef1\treble\changeclefs% -\Notes\cu k&\cu e |\en% -\zendextract -\end{verbatim}\end{quote} -\begin{music} -\instrumentnumber2\setstaffs22% -\setclef1{\bass}\generalsignature2% -\startextract -% Change in one staff only, with added space -\setclef1\treble\changeclefs% -\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en% -% Combined with signature change, also no extra space needed -% twice the same clef in staff 2 - with the help of a blank clef -\setclef28\zchangeclefs\setclef2\treble% -\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% -\ignorenats\changesignature% -\Notes\qu K&\cu{de}|\qu e\en% -% clef change before barline -\setclef1\treble\zchangeclefs\bar% -\Notes\qu k&\cu{de}|\qu e\en% -% clef change after barline -\setclef1\bass\bar\changeclefs% -\Notes\qu K&\cu{de}|\qu e\en% -% clef change after barline with changecontext -\setclef1\treble\changecontext% -\Notes\cu k&\cu d|\qu e\en% -% twice the same clef -\setclef18\zchangeclefs\setclef1\treble\changeclefs% -\Notes\cu k&\cu e |\en% -\endextract -\end{music} - -\noindent Of course the examples in the last two bars are contrary -to accepted practice. - -Clef changes initiated with the \verb|\setclef| command have several features -in common. When activated after the beginning of the piece, the printed symbol -is smaller than the normal one used at the beginning of the piece. Also, -\musixtex\ automatically adjusts vertical positions of noteheads consistent -with the new clef. - -There is an additional group of macros for setting new clefs which does not share -either of these features. In other words, they will always print full sized symbols, and they -won't change the vertical positions of noteheads from what they would have been -before the new symbol was printed. We could call this process ``clef symbol substitution'', -because all it does is print a different symbol (or no symbol at all) in place of -the underlying clef which was set in the normal way. - -You'll need to use clef symbol substitution if you want to have a so-called -\index{octave clefs}\label{octclef}octave treble clef or octave bass -clef, i.e., one containing a numeral 8 above or -below the normal symbol. The syntax for setting upper -octaviation -is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\ -or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation -it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or -\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to -\ital{replace} normal bass or treble clefs with a different symbol, they -require that the normal clefs be set first. For example - -\noindent\begin{minipage}{80mm} -\begin{music}\nostartrule - \parindent 19mm - \instrumentnumber{4} - \generalmeter{\empty} - \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble - \setbassclefsymbol1\basslowoct - \setbassclefsymbol2\bassoct - \settrebleclefsymbol3\treblelowoct - \settrebleclefsymbol4\trebleoct -\startextract -\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\enotes -\zendextract -\end{music} -\end{minipage} -\begin{minipage}{50mm} -\begin{verbatim} -\parindent 19mm -\instrumentnumber{4} -\generalmeter{\empty} -\setclef1\bass \setclef2\bass -\setclef3\treble \setclef4\treble -\setbassclefsymbol1\basslowoct -\setbassclefsymbol2\bassoct -\settrebleclefsymbol3\treblelowoct -\settrebleclefsymbol4\trebleoct -\startextract -\Notes\qu{`abcdefghi}&\qu{`abcdefghi}% -&\qu{abcdefghi}&\qu{abcdefghi}&\enotes -\zendextract -\end{verbatim} -\end{minipage} - -\index{clefs (empty)} -Another application of clef symbol substitution is to cause no clef to be -printed, as for example might be desired in percussion music, This -can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which -once activated would replace \ital{all} clef symbols in the first (lowest) -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. - -In the following example, (1) is two normal clef changes. At (2) the clef is first changed -back to treble and then the \verb|\treblelowoct| symbol is substituted by using -\verb|\settrebleclefsymbol|. -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 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} -\instrumentnumber1\setclef1\bass -\startpiece -\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{2}\qu J\en -\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\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\smalltreblelowoct\changeclefs -\notes\qu i\en\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 -\end{music} - -\noindent This is the code: - -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\instrumentnumber1\setclef1\bass -\startpiece -\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{2}\qu J\en -\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs -\notes\qu i\en\setclef1\bass\changeclefs\bar -\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\smalltreblelowoct\changeclefs -\notes\qu i\en\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 -\end{verbatim}\end{quote} - -\subsection{Meter changes} - -As mentioned in section \ref{generalmeter}, a common \itxem{meter} for all -staves can be specified by \keyindex{generalmeter}\verb|{|$m$\verb|}|, -where $m$ denotes the meter. On the other hand, meter changes in specific -staves are implemented with -\keyindex{setmeter}\onen\verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}|, -where $n$ is the number of the instrument, $m1$ specifies the meter -of the first (lowest) staff, $m2$ the second staff, and so forth. (Only enter -as many $m$'s as necessary.) - -Since meter changes are meaningful only across bars, there is no special command to -activate a new meter; rather, they are activated with the general commands -\keyindex{changecontext}, etc., listed in section \ref{contextintro}. - -The next example shows a few methods to get a meter change, in all staves or -in a single staff. - -\begin{quote}\begin{verbatim} -\instrumentnumber2\setstaffs22% -\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% -\setclef1{\bass}\generalsignature2% -\startextract -\setmeter1{{\meterfrac{2}{4}}}% -\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}% -{\meterfrac{3}{4}}}\changecontext -\Notes\qu K&\cu{de}|\qu e\en -% bar 11 -% Meters, clefs, and key signatures. -% All 3 clefs after bar (probably bad form) if no changeclefs -\setmeter1{{\meterfrac{2}{8}}}% -\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% -\setsign2{-1}% -% How to force showing the bass clef? -\setclef1\bass\setclef2{23}% -\Changecontext -\Notes\qu K&\cu{de}|\qu e\en -% bar 12 -% Meters, clefs, and key signatures, with clef before the bar. -% Maybe not best form if signatures are involved -\setmeter1{{\meterfrac{2}{4}}}% -\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% -\setsign2{-1}% -\setclef1\treble\zchangeclefs\changecontext -\Notes\qu k&\cu{de}|\qu e\en -\end{verbatim}\end{quote} -\begin{music} -\instrumentnumber2\setstaffs22% -\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% -\setclef1{\bass}\generalsignature2% -\startextract -\setmeter1{{\meterfrac{2}{4}}}% -% How big the '2' must be? -\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}% -{\meterfrac{3}{4}}}\changecontext -\Notes\qu K&\cu{de}|\qu e\en -% bar 11 -% Meter Clefs and Key Signatures -% all 3 clefs after bar if no changeclefs -\setmeter1{{\meterfrac{2}{8}}}% -\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% -\setsign2{-1}% -% How to force showing the bass clef? -\setclef1\bass\setclef2{23}% -\Changecontext -\Notes\qu K&\cu{de}|\qu e\en -% bar 12 -% Meter Clefs Keys Signatures all 3 with clef before the bar -% probably not if signatures are involved -\setmeter1{{\meterfrac{2}{4}}}% -\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% -\setsign2{-1}% -\setclef1\treble\zchangeclefs\changecontext -\Notes\qu k&\cu{de}|\qu e\en -\endextract -\end{music} - -\section{Repeats} - -To replace a bar line with a left, right, or left-right repeat, use one of the -commands \keyindex{leftrepeat}, \keyindex{rightrepeat} or -\keyindex{leftrightrepeat} in place of \verb|\bar|. If a \verb|\leftrepeat| -happens to come at the end of a system, it will automatically be moved to the -start of the next system. If a \verb|\leftrightrepeat| happens to come at the -end if a system, \musixtex\ will automatically post a right repeat at the end -of the system and a left repeat at the beginning of the next. - -For example, - -\begin{music}\nostartrule -\startextract -\NOTes\ha g\enotes -\leftrepeat -\NOTes\ha h\enotes -\leftrightrepeat -\NOTes\ha i\enotes -\rightrepeat -\NOTEs\wh j\enotes -\zendextract -\end{music} - \noindent has been coded as: -\begin{quote}\begin{verbatim} -\NOTes\ha g\enotes -\leftrepeat -\NOTes\ha h\enotes -\leftrightrepeat -\NOTes\ha i\enotes -\rightrepeat -\NOTEs\wh j\enotes -\end{verbatim}\end{quote} - -To insert a right repeat at a forced line break or at the end of a piece, use -\verb|\setrightrepeat| \textit{before}\ \verb|\alaligne| or \verb|\endpiece|. -In contrast, to insert a left repeat at a forced line break or at the -beginning of a piece, simply use \verb|\leftrepeat| immediately \textit{after} -\verb|\startpiece| or \verb|\alaligne|. To insert a left-right repeat at a -forced line break, use \verb|\setrightrepeat\alaligne\leftrepeat|. - -In fact it is possible to use \keyindex{setleftrepeat}, -\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before any -\keyindex{bar}, \keyindex{stoppiece} or \keyindex{changecontext}. But -be aware that while \verb|\setleftrepeat| behaves properly if the -bar is at the end of a system, \verb|\setleftrightrepeat| does not, placing -the symbol only at the end of the system. - - \subsection{First and second endings (Voltas)}\index{volta} - -All volta commands must be entered right before the bar line command -(or repeat, etc.) where they are to take effect. There are three -commands that suffice to set all voltas. To start one, use -\keyindex{Setvolta}\verb|{|\textit{text}\verb|}|; to terminate it -with or without a vertical line, use \keyindex{endvolta} or -\keyindex{endvoltabox} respectively. The text by default will be followed -by a period. There are also various alternate -commands (e.g., \verb|\setendvoltabox| is equivalent to \verb|endvoltabox|). -Some such alternate forms are used in the following example, but the first three -mentioned above are all that are required: - -\medskip \begin{music} - \parindent0pt - \startpiece - \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvoltabox{1.-3}\bar - \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat - \NOTEs\wh d\en\doublebar - \NOTEs\wh e\en\bar - \NOTEs\wh f\en\leftrepeat - \NOTEs\wh g\en\bar - \NOTEs\wh h\en\Setvolta1\bar - \NOTEs\wh i\en\bar - \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat - \NOTEs\wh i\en\bar - \NOTEs\wh h\en\setendvoltabox - \Endpiece - \end{music} - \noindent This was coded as - \begin{quote}\begin{verbatim} - \startpiece \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvoltabox{1.-3}\bar - \NOTEs\wh c\en\setvolta4\setendvolta\rightrepeat - \NOTEs\wh d\en\doublebar - \NOTEs\wh e\en\bar - \NOTEs\wh f\en\leftrepeat - \NOTEs\wh g\en\bar - \NOTEs\wh h\en\Setvolta1\bar - \NOTEs\wh i\en\bar - \NOTEs\wh j\en\Setvolta2\setendvoltabox\rightrepeat - \NOTEs\wh i\en\bar - \NOTEs\wh h\en\setendvoltabox - \Endpiece -\end{verbatim}\end{quote} - \zkeyindex{leftrepeat}\zkeyindex{rightrepeat} - -If the volta only spans one measure and ends without a vertical segment, -it can be specified simply by saying -\keyindex{setvolta}\verb|{|\textit{text}\verb|}| before the bar line command -that starts it, and it will automatically terminate at the -second bar line command: - -\medskip \begin{music} - \parindent0pt \startpiece \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat - \NOTEs\wh d\en\bar - \NOTEs\wh e\en\Endpiece -\end{music} -\noindent which was coded as: - \begin{quote}\begin{verbatim} - \parindent0pt \startpiece \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat - \NOTEs\wh d\en\bar - \NOTEs\wh e\en\Endpiece -\end{verbatim}\end{quote} - -The height above the top staff line of the horizontal line in a volta symbol -is determined by the token \keyindex{raisevolta} which is 4\verb|\internote| by -default. You can change this to any desired dimension. - -The period after the text can be -removed by saying \verb|\def|\keyindex{voltadot}\verb|{}| -and restored by \verb|\def|\keyindex{voltadot}\verb|{.}|\ . - - \subsection{Special symbols for repeating long sections} - -Four special symbols and corresponding macros are available, namely -\keyindex{coda}~$p$, \keyindex{Coda}~$p$, -and \keyindex{segno}~$p$, where $p$ specifies the pitch; and \keyindex{Segno} -with no argument. Their behavior is illustrated in this example: - -\begin{music} -\startextract -\NOtes\segno n\enotes -\bar -\NOtes\coda n\enotes -\NOtes\Segno\enotes -\bar -\NOtes\Coda n\enotes -\endextract -\end{music} -\noindent which has been coded: -\begin{quote}\begin{verbatim} -\NOtes\segno m\enotes\bar -\NOtes\coda m\enotes -\NOtes\Segno\enotes\bar -\NOtes\Coda m\enotes -\end{verbatim}\end{quote} - -\subsection{Repeating a single bar} - The special symbol for a single bar repeat is generated by \keyindex{duevolte}, as shown -in the following example: - -\begin{music} -\generalmeter\meterC -\setclef1\bass\setstaffs1{2} -\startextract -\NOtes\sk\sk\pause|\qa{cegj}\en -\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en -\endextract -\end{music} -\noindent whose coding is: -\begin{quote}\begin{verbatim} -\generalmeter\meterC -\setclef1\bass\setstaffs1{2} -\startextract -\NOtes\sk\sk\pause|\qa{cegj}\en -\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en -\endextract -\end{verbatim}\end{quote} - -\noindent This is often used with \verb|\centerbar| to more easily center the -symbol between bar lines, as shown in the example in section \ref{barcentered}. - -\section{Font selection and text placement} - -\subsection{Predefined text fonts} -While any \TeX\ font can be used by \musixtex, there are certain styles and -sizes that can be selected using shortcut commands. -For ordinary text the shortcuts cover fonts of eight different -sizes and three styles. The sizes in points are 8, 9, 10, 12, 14, 17, 20, and 25; -the styles are from the standard Computer Modern family: Roman, bold and italic. The -four smallest sizes are each available in all three styles, while the larger -sizes, which are intended for titles, are available only in bold style. -The size selection macros from smallest to biggest are \keyindex{smalltype}, -\keyindex{Smalltype}, -\keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype}, -\keyindex{Bigtype} , -\keyindex{BIgtype} and \keyindex{BIGtype}. Following size selection, the -style may be selected or changed using \keyindex{rm} (Roman), \keyindex{bf} -(bold) or \keyindex{it} (italic). If no style is explicitly selected, Roman style -will be used for the sizes \verb|\medtype| or smaller. For the larger sizes, -only bold style is provided and no style selection is required. Thus, for example, -eight point italic is selected with \verb|\smalltype\it|, while -twelve point Roman is selected using \verb|\medtype\rm| or simply -\verb|\medtype|. To change between styles while maintaining the same size, -code \verb|\rm|, \verb|\it| or \verb|\bf| as in Plain \TeX. -When \musixtex\ is started, the default font for ordinary text is -ten point Roman, equivalent to \verb|\normtype\rm|. - -Another group of fonts, in bold extended italic style, is predefined in point sizes -10, 12, 14, and 17 for dynamic markings. The appropriate font for the current -staff size may be selected simply by using \keyindex{ppff} as a -font specification. Macros \verb|\smalldyn|, \verb|\normdyn|, or \verb|\meddyn| may be -used to redefine \verb|\ppff| to represent one of the smallest three. - -All predefined fonts are summarized in the following table. The second column gives an -explicit control sequence that can alternatively be used locally as a font specification. - -\begin{center} - \begin{tabular}{lll} - \hline - Size and style & Font specification & Example \\ - \hline - \verb|\smalltype| & \verb|\eightrm| & {\smalltype small Roman} \\ - \verb|\smalltype\bf| & \verb|\eightbf| & {\smalltype\bf small bold} \\ - \verb|\smalltype\it| & \verb|\eightit| & {\smalltype\it small italic} \\ - \verb|\Smalltype| & \verb|\ninerm| & {\Smalltype Small Roman} \\ - \verb|\Smalltype\bf| & \verb|\ninebf| & {\Smalltype\bf Small bold} \\ - \verb|\Smalltype\it| & \verb|\nineit| & {\Smalltype\it Small italic} \\ - \verb|\normtype| & \verb|\tenrm| & {\normtype normal Roman} \\ - \verb|\normtype\bf| & \verb|\tenbf| & {\normtype\bf normal bold} \\ - \verb|\normtype\it| & \verb|\tenit| & {\normtype\it normal italic}\\ - \verb|\medtype| & \verb|\twelverm| & {\medtype medium Roman} \\ - \verb|\medtype\bf| & \verb|\twelvebf| & {\medtype\bf medium bold} \\ - \verb|\medtype\it| & \verb|\twelveit| & {\medtype\it medium italic}\\ - \verb|\bigtype| & \verb|\bigfont| & {\bigtype big bold} \\ - \verb|\Bigtype| & \verb|\Bigfont| & {\Bigtype Big bold} \\ - \verb|\BIgtype| & \verb|\BIgfont| & {\BIgtype BIg bold} \\ - \verb|\BIGtype| & \verb|\BIGfont| & {\BIGtype BIG bold} \\ - \verb|\smalldyn| & \verb|\ppffsixteen| & {\ppffsixteen pp ff diminuendo}\\ - \verb|\normdyn| & \verb|\ppfftwenty| & {\ppfftwenty pp ff crescendo}\\ - \verb|\meddyn| & \verb|\ppfftwentyfour| & {\ppfftwentyfour pp ff crescendo}\\[.4ex] - ~ & \verb|\ppfftwentynine| & {\ppfftwentynine pp ff diminuendo}\\[.4ex] - \hline - \end{tabular} -\end{center} - -\subsection{User-defined text fonts} - -Since \musixtex\ is a superset of \TeX, you are free to use the standard \TeX\ -machinery for defining and using any special font you desire. You must first -of course ensure that (a) all the necessary font files (e.g., \verb|bla10.tfm|, -\verb|bla10.pfb|, or equivalents) are installed in the right places in your system, (b) all -configuration files (e.g., \verb|config.ps| or equivalent) have been updated, and -(c) the \TeX\ system has been ``rehashed''. Then you can use the font just as -in any \TeX\ document, e.g. by coding \verb|\font blafont=bla10| and then -\verb|\zchar{10}{\blafont Text in user-defined font}|. - -You might also wish to replace once and for all the typefaces invoked by the -commands described in the previous section. Again, before doing this, you must -follow steps (a-c) of the previous paragraph for all fonts in questions. -\label{musixtmr} -You can use the standard bitmapped fonts which are converted to -postscript by e.g.\ \verb|dvips|, but you also may replace them -by native postscript fonts. - -As an example, you can replace the standard \verb|musixtex| fonts by -the Times series of fonts as follows: - -\begin{verbatim} -% 8pt roman, bold, and italic -\font\eightrm=ptmr7t at 8pt -\font\eightbf=ptmb7t at 8pt -\font\eightit=ptmri7t at 8pt -% 9pt -\font\ninerm=ptmr7t at 9pt -\font\ninebf=ptmb7t at 9pt -\font\nineit=ptmri7t at 9pt -% 10pt -\font\tenrm=ptmr7t -\font\tenbf=ptmb7t -\font\tenit=ptmri7t -% 12pt -\font\twelverm=ptmr7t scaled \magstep 1 -\font\twelvebf=ptmb7t scaled \magstep 1 -\font\twelveit=ptmri7t scaled \magstep 1 -% Large fonts for titles : normal shaped Times-Roman fonts are applied -\font\bigfont=ptmr7t scaled \magstep2 % 14pt -\font\Bigfont=ptmr7t scaled \magstep3 % 17pt -\font\BIgfont=ptmr7t scaled \magstep4 % 20pt -\font\BIGfont=ptmr7t scaled \magstep5 % 25pt -% -\normtype -\end{verbatim} -The above definitions are made available in a file -\verb|musixtmr.tex|\footnote{by Hiroaki {\sc Morimoto}}, to be used as -\begin{quote}\begin{verbatim} -\input musixtex -\input musixps -\input musixtmr -... -\end{verbatim}\end{quote} - -\font\tnormtype=ptmr7t -\font\tnormtypebf=ptmb7t -\font\tnormtypeit=ptmri7t -\font\tbigtype=ptmr7t scaled \magstep2 -\font\tBIgtype=ptmr7t scaled \magstep4 - -\noindent Here's a comparison of some of the Computer Modern Roman and Times Roman fonts: -\begin{center} - \begin{tabular}{ll} - \hline - {\normtype normal (10pt) cm Roman} & {\tnormtype normal Times Roman} \\ - {\normtype\bf normal cm bold} & {\tnormtypebf normal Times bold} \\ - {\normtype\it normal cm italic} & {\tnormtypeit normal Times italic}\\ - {\bigtype cm big} & {\tbigtype Times big} \\ - {\BIgtype cm BIg } & {\tBIgtype Times BIg bold} \\ - \hline - \end{tabular} -\end{center} - -\subsection{Text placement}\label{textplacement} -Special macros are provided to allow precise placement of any \TeX\ text, vertically -relative to the staff, and horizontally relative to any note in -the staff. - -The macros in the first group will vertically position the text with the -baseline at any specified pitch or staff line. They must be used -inside \verb|\notes...\enotes|. They will not insert any additional -horizontal space. They have the forms -\keyindex{zcharnote}\pitchp\verb|{|\ital{text}\verb|}|, \keyindex{lcharnote}\pitchp\verb|{|\ital{text}\verb|}|, -and \keyindex{ccharnote}\pitchp\verb|{|\ital{text}\verb|}|, -where \ital{p} is the pitch. With the first one, text will spill to the right -from the current insertion point, with the second it will spill to the left, and with the -third it will be centered horizontally. - -There are similar macros \keyindex{zchar}\pitchp\verb|{|\ital{text}\verb|}|, -\keyindex{lchar}\pitchp\verb|{|\ital{text}\verb|}|, and \keyindex{cchar}\pitchp\verb|{|\ital{text}\verb|}|, -which differ from the previous three in that the pitch \ital{must} be given with -a number (representing the number of staff positions up from the lowest line), -and that the number need not be an integer. - -To vertically position any text midway between two consecutive staves, use -\keyindex{zmidstaff}\verb|{|{\it text}\verb|}|, \keyindex{lmidstaff}\verb|{|{\it text}\verb|}|, -or \keyindex{cmidstaff}\verb|{|{\it text}\verb|}| at the appropriate point in the lower staff. - -The macros \keyindex{uptext}\verb|{|\ital{text}\verb|}| and -\keyindex{Uptext}\verb|{|\ital{text}\verb|}| are simply shorthands for -\verb|\zchar{10}{|\ital{text}\verb|}| and \verb|\zchar{14}{|\ital{text}\verb|}| respectively. - -The text items handled by all of the above macros can include any appropriate -string of \TeX\ -control sequences, including font definitions, \verb|\hbox|'es, etc. - -Material posted with any of the macros described in this section will not -create any additional horizontal or vertical space within the current system, -and will overwrite anything in the current system that gets in the way. It is -the typesetter's responsibility to ensure there is adequate white space -within the current system to accommodate any text emplaced with -these macros. On the other hand, if text is emplaced far above or below a -system, \musixtex\ will usually insert additional vertical space if needed. - -\subsection{Rehearsal marks} - -Rehearsal marks are usually -boxed or circled uppercase letters or digits. They can be defined using the macros -\keyindex{boxit}\verb|{|\ital{text}\verb|}| or -\keyindex{circleit}\verb|{|\ital{text}\verb|}|. For boxed text, -the margin between the text and box is controlled by the dimension -register \keyindex{boxitsep}, which can be reset to any \TeX\ dimension if the -default value of \verb|3pt| is unsatisfactory. To emplace the mark, use \verb|\Uptext| or -any of the other macros defined in the previous section. - - -\section{Miscellaneous other notations} -%avre - \subsection{Metronomic indications} -%Metronomic indication deserves a special macro. The mention: -% -%\medskip -%\centerline{\def\nbinstruments{0}\metron{\hup}{60}} -% -%\smallskip\noindent -%is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in -%\keyindex{Uptext} which is in turn embedded within \verb|\notes...\enotes|). -% -% On the other hand, music writers sometimes want to specify that the duration -%of a previous note is equal to a distinct furthernote. Thus -% -% \smallskip -%\centerline{\def\nbinstruments{0}\metronequiv{\qup}{\qu}} -% -%\smallskip\noindent -%is coded by \keyindex{metronequiv}\verb|{\qup}{\qu}|. - -By way of example, the notations~~~{\def\nbinstruments{0} -\metron{\hup}{60}}~~~and~~~{\def\nbinstruments{0}\metronequiv{\qup}{\qu}}~~~are -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 -these macros don't seem to be constructed to suggest the terms used in the -descriptions is that whoever originally defined the macros had in mind terms -that did not agree with normal English usage.} -\begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{upz}\pitchp~(upper \itxem{staccato}) to put a dot above a note -head at pitch $p$, - \item \keyindex{lpz}\pitchp~(lower \ital{staccato}) to put a dot below a note -head at pitch $p$, - \item \keyindex{usf}\pitchp~(upper \itxem{sforzando}) to put a $>$ accent above -a note head at pitch $p$, - \item \keyindex{lsf}\pitchp~(lower \itxem{sforzando}) to put a $>$ accent below -a note head at pitch $p$, - \item \keyindex{ust}\pitchp~(upper \itxem{tenuto}) to put a -hyphen above a note head at pitch $p$, - \item \keyindex{lst}\pitchp~(lower \ital{tenuto}) to put a -hyphen below a note head at pitch $p$, - \item \keyindex{uppz}\pitchp~(upper \itxem{staccatissimo}) to put a solid vertical -wedge above a note head at pitch $p$, - \item \keyindex{lppz}\pitchp~(lower \ital{staccatissimo}) to put an inverted -solid vertical wedge below a note head at pitch $p$, - \item \keyindex{usfz}\pitchp~(upper \itxem{forzato}) to put a -``dunce cap'' above a note head at pitch $p$, - \item \keyindex{lsfz}\pitchp~(lower \ital{forzato}) to put an inverted -``dunce cap'' below a note head at pitch $p$, - \item \keyindex{upzst}\pitchp~(upper \itxem{staccato/tenuto}) to put a -dot and a hyphen above a note head at pitch $p$, - \item \keyindex{lpzst}\pitchp~(lower \ital{staccato/tenuto}) to put a -dot and a hyphen below a note head at pitch $p$, - \item \keyindex{flageolett}\pitchp~to put a -small circle above a note head at pitch $p$. -\end{itemize} -These marks are horizontally centered relative to solid note heads. To -compensate for the fact that whole notes are wider, you should use -\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents -and other items (e.g.~\verb|\Fermataup|) above a whole note. - -There are also variants of the most common accents\footnote{Thanks to Klaus -{\sc Bechert}'s corrections.} which will be automatically positioned -above or below a beam. They are spelled like the corresponding normal -accent, but preceded with the letter \verb|b|, and their argument, instead of -the pitch, is the beam reference number . Thus - -\medskip -\begin{music}\nostartrule -\startextract -\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% - \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en -\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% - \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en -\zendextract -\end{music} -\noindent was coded as -\begin{quote}\begin{verbatim} \startextract -\Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% - \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en -\Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% - \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en -\zendextract -\end{verbatim}\end{quote} -\zkeyindex{busfz} -\zkeyindex{bupz} -\zkeyindex{bust} -\zkeyindex{buppz} -\zkeyindex{busf} -\zkeyindex{butext} -\zkeyindex{blsfz} -\zkeyindex{blpz} -\zkeyindex{blst} -\zkeyindex{blppz} -\zkeyindex{blsf} -\zkeyindex{bltext} - -The macros \verb|\bltext| and \verb|\butext| are detailed in the next section, -where the mystery of why they produce the number 3 is resolved. - - -\subsection{Numbers and brackets for xtuplets}\label{tuplet} - -The following table lists all the special macros that place a number indicating -an xtuplet. Some also place a bracket above or below the notes, and are -intended for use with unbeamed notes. -In the table, $p$ is a pitch, $k$ is a number, $n$ is a beam number, -$w$ is a bracket width in \verb|\internote|s, and $s$ is the bracket slope as -a multiple of 1.125 degrees. The macro \verb|\txt| contains a default number -and its font, which will be emplaced by the first and third through sixth macros, -and is initially defined as \verb|\def\txt{\eightit 3}|. The macro -\verb|\tuplettxt| serves the same role for the last two macros. The first four -are to be used with beamed xtuplets. As indicated in the -last column, the last four produce a sloping bracket and are to be used with -unbeamed xtuplets. The last two require the extension file -\verb|tuplet.tex| to be input right after \verb|\input musixtex|. - - -\begin{center} - \begin{tabular}{lclcc} - \hline - ~ & Number & ~ & Needs & ~ \\ - Macro and arguments & printed & Where invoked & \verb|tuplet.tex|? & Bracket \\ - \hline - \verb|\triolet|\pitchp & \verb|\txt| & before beam & no & none \\ - \verb|\xtuplet|\itbrace{k}\pitchp & $k$ & before beam & no & none \\ - \verb|\butext|\itbrace{n} & \verb|\txt| & before note at number & no & none \\ - \verb|\bltext|\itbrace{n} & \verb|\txt| & before note at number & no & none \\ - \verb|\uptrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & no & solid \\ - \verb|\downtrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & no & solid \\ - \verb|\uptuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & yes & with gap \\ - \verb|\downtuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & yes & with gap \\ - \hline - \end{tabular} -\end{center} -\medskip - -Here are some examples of the first six macros in the table:\\ -\vskip-3pt -\begin{music} -\parindent0mm -\generalmeter{\meterfrac24} -\startpiece -\addspace\afterruleskip -\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar -\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en -\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar -\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar -\Notesp\uptrio o16\ql l\en\notesp\cl n\en -%avrb -\Notesp\downtrio O16\qu e\en\notesp\cu g\en -%avre -\endpiece -whose coding is -\begin{quote}\begin{verbatim} -\notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar -\notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en -\notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar -\Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar -\Notesp\uptrio o16\ql l\en\notesp\cl n\en -\Notesp\downtrio O16\qu e\en\notesp\cu g\en -\end{verbatim}\end{quote} -\end{music} -\zkeyindex{xtuplet}\zkeyindex{triolet} - -\medskip -Next are examples using the macros from \verb|\tuplet.tex|. Comparison of the -coding with the printed result reveals that (a) a redefinition of -\verb|\tuplettxt| inside a notes group only applies inside that group and -leaves the default definition intact (bar 2), -(b) the default definition is -\verb|\def\tuplettxt{\ppffsixteen3}|, a 10-pt bold extended italic numeral 3 -which may be larger and heavier than desired (first set, bar 3) (c) to get the -number properly centered in the gap, you must include some extra spaces after -the number in the definition of \verb|\tuplettxt|, and (d) as you can see in -the last bar, if the span becomes to small, the macros still won't provide -enough room for the number in the gap; in this case it would be better to -use to the macros without gaps. - -% Examples: -% -% Draw a triplet bracket over the notes, starting at pitch "p", -% 1.25\noteskip wide, with a slope up of 3-3/8 degrees: -% -% \uptuplet p{1.25}3 -% -% Draw a sextuplet bracket under the notes, starting at pitch "a", -% 2.5\noteskip wide, with a slope down of 4-1/2 degrees: -% -% \def\tuplettxt{\smallppff 6\/\/} -% \downtuplet{a}{2.5}{-4} - -\begin{music} -\input tuplet -\parindent0mm -\generalmeter{\meterfrac24} -%\startpiece -\startextract -\addspace\afterruleskip -\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en -\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar -\notesp\def\tuplettxt{\eightit 5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar -\Notesp\uptuplet o16\ql l\en\notesp\cl n\en -\def\tuplettxt{\eightit 3\/\/} -\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar -\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en -\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en -%\endpiece -\endextract -\end{music} - -\noindent with coding - -\begin{quote}\begin{verbatim} -\input tuplet -\parindent0mm\generalmeter{\meterfrac24} -\startextract\addspace\afterruleskip -\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en -\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar -\notesp\def\tuplettxt{\eightit 5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar -\Notesp\uptuplet o16\ql l\en\notesp\cl n\en -\def\tuplettxt{\eightit 3\/\/} -\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar -\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en -\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en -\endextract -\end{verbatim}\end{quote} - - \subsection{Ornaments} - - \subsubsection{Arpeggios} -\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro -\keyindex{arpeggio}\pitchp\itbrace{m} -where $p$ is the pitch of -the base of the arpeggio symbol and $m$ is its height in units of -\verb|\interligne|, the distance from one staff line to the next. It should be -issued before the affected chord. It is -automatically positioned to the left of the chord, but inserts no spacing. -Its variant \keyindex{larpeggio} sets the arpeggio symbol roughly -one note head width to the left of the default position, and is intended to -avoid collision with single accidentals on chord notes. - - \subsubsection{Arbitrary length trills} - There are two styles of arbitrary length trills\index{trills}, each with two -variants. -For a trill with preassigned length, use \keyindex{trille}\pitchp\itbrace{l} -for \hbox to 1cm{\noteskip1cm\trille11\hss} or -\keyindex{Trille}\pitchp\itbrace{l} for~~\hbox to -2cm{\noteskip1cm\Trille12\hss}, where $p$ is the pitch and $l$ the length in -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 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 - \begin{music} -\instrumentnumber{1} -\setstaffs12 -\setclef1{6000} -% -\startextract -\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\enotes -\bar -\notes\Itrille 2A\itenu2E\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\enotes -\bar -\Notes\tten2\itenu2E\whp E|\ql{nmlkji}\enotes -\bar -\Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\enotes -\endextract -\end{music} -whose coding is -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\instrumentnumber{1} -\setstaffs12 -\setclef1{6000} -% -\startextract -\notes\qu{CDEFGH}|\hu k\sk\ITrille 1p\itenu1l\wh l\enotes -\bar -\notes\Itrille 2A\itenu1e\whp E|\tten1\hlp l\sk\Ttrille 1\qu {mno}\enotes -\bar -\Notes\tten1\itenu1E\whp E|\ql{nmlkji}\Toctfin1\enotes -\bar -\Notes\tten1\whp E\sk\sk\sk\sk\Ttrille2|\qu{hgfedc}\enotes -\endextract -\end{verbatim}\end{quote} - - \subsubsection{Piano pedal commands} -The macro \keyindex{PED} inserts a piano pedal command below the staff; -\keyindex{DEP}, a pedal release. Alternate symbols, the first of which -occupies less space, are invoked with \keyindex{sPED} and \keyindex{sDEP}. -For example, - -\begin{music} -\setclef1\bass -\setstaffs1{2} -\startextract -\NOtes\PED\wh J|\qu h\enotes -\NOtes|\qu g\enotes -\NOtes|\hu k\enotes -\Notes\DEP\enotes -\bar -\NOtes\sPED\wh J|\qu h\enotes -\NOtes|\qu g\enotes -\NOtes|\hu k\enotes -\Notes\sDEP\enotes -\endextract -\end{music} - \noindent was coded as \begin{quote}\begin{verbatim} - \NOtes\PED\wh J|\qu h\enotes - \NOtes|\qu g\enotes - \NOtes|\hu k\enotes - \Notes\DEP\enotes \bar - \NOtes\sPED\wh J|\qu h\enotes - \NOtes|\qu g\enotes - \NOtes|\hu k\enotes - \Notes\sDEP\enotes - \end{verbatim}\end{quote} - - The vertical position of -\keyindex{PED}, \keyindex{sPED}, \keyindex{DEP} and \keyindex{sDEP} can be -globally changed by redefining its elevation, which has the default -definition \verb|\def|\keyindex{raiseped}\verb|{-5}|. -To locally change the vertical position of a pedal symbol, use one of the more -fundamental -macros \keyindex{Ped}, \keyindex{sPed}, \keyindex{Dep} and \keyindex{sDep} -in combination with \keyindex{zchar} or \keyindex{zcharnote}. -Since the \hbox to .7cm{ \Ped\hss} symbol is rather wide, it might collide -with adjacent bass notes. To shift it horizontally, you could use \verb|\loff{\PED}|. - - \subsubsection{Other ornaments}\index{ornaments} - -The argument $p$ in the following macros for ordinary ornaments is the -pitch at which the ornament itself appears. They are all nonspacing macros. -You may use -\begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{mordent}\pitchp\ for \hbox to .75em{\mordent 0\hss}, - \item \keyindex{Mordent}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}, - \item \keyindex{shake}\pitchp\ for \hbox to .75em{\shake 0\hss}, - \item \keyindex{Shake}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}, - \item \keyindex{Shakel}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}, - \item \keyindex{Shakesw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}, - \item \keyindex{Shakene}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}, - \item \keyindex{Shakenw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}, - \item \keyindex{turn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}, - \item \keyindex{backturn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}. - \end{itemize} - -In the following macros for fermatas, the argument $p$ is the pitch of the -notehead on which the fermata rests, assuming no additional vertical -adjustments are needed for stems or intervening staff lines. They are all -nonspacing macros. You may use -\begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{fermataup}\pitchp\ for -\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermataup1\en}}, -\end{itemize} -\begin{itemize}\setlength{\itemsep}{3ex} - \item \keyindex{fermatadown}\pitchp\ for -\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermatadown2\en}}, - \item \keyindex{Fermataup}\pitchp\ for -\raisebox{-1ex}[-1ex][0ex]{\musicintextnoclef{\notes\Fermataup 7\zwh{'c}\en}}~, -centered over a whole note, - \item \keyindex{Fermatadown}\pitchp\ for -\raisebox{-1ex}[0ex][0ex]{\musicintextnoclef{\notes\Fermatadown1\zwh{'c}\en}}~, -centered under a whole note. - \end{itemize} -\bigskip - -A \itxem{breath} mark -\raisebox{-5ex}[0ex][0ex]{\notesintext{\notes\zbreath\en}} -can be put just above the staff with \keyindex{zbreath}. This is a nonspacing -macro. On the other hand, \keyindex{cbreath} will cause a space of one -\verb|\noteskip| and place the comma midway through the space. - -The \keyindex{caesura} command inserts a slash \verb|0.5\noteskip| before -the place it is entered, while adding no space: - -\begin{music}\nostartrule -\startextract -\NOTes\zhu j\hl{^e}\caesura\en -\Notes\zcu j\cl e\en -\zendextract -\end{music} - -\subsection{Alphabetic dynamic marks} - Conventional dynamic symbols -\pppp, \ppp, \pp, -\p, -\mezzopiano, -\mf, -\f, -\fp, -\sF, -\ff, -\fff\ and -\ffff\ can be posted using the macros -\keyindex{pppp}, -\keyindex{ppp}, -\keyindex{pp}, -\keyindex{p}, -\keyindex{mp}, -\keyindex{mf}, -\keyindex{f}, -\keyindex{fp}, -\keyindex{sF}, -\keyindex{ff}, -\keyindex{fff}, -\keyindex{ffff} respectively as the second argument of \verb|\zcharnote| or -\verb|\ccharnote|. - -\subsection{Hairpins (crescendos and decrescendos)}\label{sec:crescnd} - -The syntax and properties of hairpins will differ depending on whether or not you -have input \verb|musixps.tex|, which activates not only type K postscript slurs and -ties but hairpins as well. The font-based variety are always horizontal, -are limited in length, and cannot span system breaks. Using the postscript variety -removes all these restrictions, but they will not be visible in DVI previewers. - -\subsubsection{Font-based hairpins} - -There are two categories of font-based hairpins. The first type requires only -one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or -\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{} -dimension, either a fixed one---for example in points---or a scalable one -expressed either explicitly or implicitly as some number of -\verb|\noteskip|s. These should be used as arguments to -\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to -post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm. - -The second type of font-based hairpin requires two commands, one to start it -and another to end it. The starting macro is \keyindex{icresc}. It has no -arguments. Only one invocation suffices to start any number and combination of -crescendos and diminuendos. The ending macros are \keyindex{tcresc} or -\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc, -which will set the altitude. For example, - -\begin{music} -\parindent0pt -\generalmeter{\meterfrac{12}8} -\setstaffs1{2} -\startextract -\Notes\cmidstaff\ppp|\ca c\en -\Notes\icresc|\ca{defgh'abcde}\en -\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en -\endextract -\end{music} -\noindent which was coded as -\begin{quote}\begin{verbatim} -\Notes\cmidstaff\ppp|\ca c\en -\Notes\icresc|\ca{defgh'abcde}\en -\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en -\end{verbatim}\end{quote} -\medskip\noindent while -\begin{music} -\parindent0pt -\generalmeter{\meterfrac{12}8} -\setstaffs1{2} -\startextract -\Notes\cmidstaff\ppp|\ca c\en -\Notes\icresc|\ca{defgh'abcde}\en -\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en -\endextract -\end{music} -\noindent was coded as -\begin{quote}\begin{verbatim} -\Notes\cmidstaff\ppp|\ca c\en -\Notes\icresc|\ca{defgh'abcde}\en -\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en -\end{verbatim}\end{quote} - -\subsubsection{Postscript hairpins} -As already noted, these require that you have input \verb|musixps.tex|. -Once having done that, you should not try to use font-based hairpins -because the syntax is incompatible. - -Again, -there are two different types. The first type is normally initiated with either -\keyindex{icresc}\onen~or \keyindex{idecresc}\onen, and terminated with -\keyindex{tcresc}\onen, where $n$ is a hairpin index, -which is virtually unlimited but certain restrictions apply if it exceeds 14. -The altitude is set by the value of \keyindex{setcrescheight}, which by default -is -5 and which must be expressed numerically. Note that -\keyindex{tcresc}~is the same as \keyindex{tdecresc}. - -You can shift the starting or ending point horizontally by replacing the -foregoing macros with -\keyindex{ilcresc}, \keyindex{ildecresc}, -\keyindex{ircresc}, \keyindex{irdecresc}, -\keyindex{tlcresc}, \keyindex{tldecresc}, -\keyindex{trcresc}, \keyindex{trdecresc}, -for example to make space for an alphabetic dynamic mark. - -The second form of postscript hairpin macros allows individual and arbitrary -specification of the altitude and horizontal offset. The syntax is -\keyindex{Icresc}\itbrace{n}\itbrace{h}\itbrace{s}, where $h$ is the -altitude---which must be numerical---and $s$ is the horizontal offset -in \verb|\internote|. Similar syntax obtains for \keyindex{Idecresc}\ -and \keyindex{Tcresc}. - -These hairpins may span several lines. If one of them spans three systems -then the height of the middle section can be adjusted with -\keyindex{liftcresc}\itbrace{n}\itbrace{h}. The height of the first and last -parts of a broken crescendo will be defined by the height parameter in -\keyindex{Icresc}~or \keyindex{Tcresc}. - -There are numerous other nuances and shorthand macros that are described -in the comments in \verb|musixps.tex|. - -As an example of a postscript hairpin, -\begin{music}\nostartrule -%\input smallmusixpsx -\input musixps -\generalmeter{\meterfrac{12}8} -\startextract -\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en -\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en -\zendextract -\end{music} -\noindent was coded as -\begin{quote}\begin{verbatim} -\input musixps -\generalmeter{\meterfrac{12}8} -\startextract -\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en -\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en -\zendextract -\end{verbatim}\end{quote} - - \subsection{Length of note stems} - -The default length of note stems is the distance of one octave, i.e. -\verb|7\internote| or 4.66 \keyindex{interbeam}. The default may be changed -with the macro \keyindex{stemlength}\itbrace{b}\ where $b$ is the length in -\verb|\interbeam|s. - -The command \keyindex{stemcut} causes stems that extend outside the staff -to be shortened depending on the pitch of the notes. It is the default -behavior. To suppress this adjustment, issue the command -\keyindex{nostemcut}. - -Normally, down stems never end above the middle line of the staff and up stems -never below that line. The command \keyindex{stdstemfalse} will inhibit this -adjustment, but only for the next stem generated. There is no command to globally -suppress this behavior. - - \subsection{Brackets, parentheses, and oblique lines}\label{brapar} - -Several varieties of brackets, parentheses and oblique lines are provided for -use within a score. - \begin{itemize}\setlength{\itemsep}{0ex} - \item \keyindex{lpar}\verb|{|$p$\verb|}| and -\keyindex{rpar}\verb|{|$p$\verb|}| yield left and right -parentheses at pitch $p$. They could be used to enclose notes or to build -\ital{cautionary} accidentals, although the latter are more easily -obtained with predefined macros (see \ref{cautionary}). - -%avrb -For example, - -\begin{tabular}{ll} -\raisebox{-1.5ex}[0ex][0ex]{\musicintextnoclefn{\notes\bsk\lpar{g}\rpar{g}\hu{g}\sk% -\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}\loffset{.4}{\sh g}\hu{g}\en}} -&\begin{tabular}{ll} -&\verb+\notes\lpar{g}\rpar{g}\hu{g}\sk%+\\ -is coded as&\verb+\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}%+\\ -&\verb+\loffset{.4}{\sh g}\hu{g}\en}+ -\end{tabular} -\end{tabular} -%avre - - \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| posts a -square bracket to the left of a chord, vertically spanning $n$ -\verb|internote|s. - \item \keyindex{doublethumb}\verb|{|$p$\verb|}| indicates a bracket as -above spanning 2\verb|\internote|s. - \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and -\keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| -draw a sloped bracket starting at the current position at pitch $p$, -with horizontal extent $n$ \verb|noteskip|s and slope $s$ in multiples of -1-1/8 degree. - \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and -\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| are like -\verb|\ovbkt| but with freely definable \keyindex{txt} centered inside. - - \item \keyindex{varline}\itbrace{h}\itbrace{\ell}\itbrace{s}\ builds an -oblique line starting at the current horizontal position. It must be used -inside a zero box, such as for example as the second argument of -\verb|\zcharnote|. $h$ is the height of the starting point, $\ell$ is the -length, and $s$ is the slope. It is used in the definitions of some of -the foregoing macros, and could be used, for example, to construct various -obscure baroque ornaments made up of diagonal lines. - -\end{itemize} - -For example, - -\begin{music} -\setstaffs1{2} -\setclef1\bass -\startextract -\NOtes\bracket C8\zq C\qu J\en -\NOtes|\doublethumb g\rq h\qu g\en -\NOtes\lpar c\rpar c\qu c\en -\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en -\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en -\endextract -\end{music} -\noindent is coded as -\begin{quote}\begin{verbatim} -\begin{music} -\setstaffs1{2} -\setclef1{\bass} -\startextract -\NOtes\bracket C8\zq C\qu J\en -\NOtes|\doublethumb g\rq h\qu g\en -\NOtes\lpar c\rpar c\qu c\en -\NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en -\NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en -\zendextract -\end{music} -\end{verbatim}\end{quote} - - \subsection{Forcing activity at the beginning of systems} -A macro named \keyindex{everystaff} is executed each time a new system -begins. It is normally void, but it can be defined (simply by \verb|\def|% -\keyindex{everystaff}\verb|{...}|) to cause \musixtex\ to post anything -reasonable at the beginning of each system. For it to affect the first system -in a score, it must be defined \ital{before} -\verb|\startpiece|. - -If a macro named \keyindex{atnextline} is defined at any point in a score, -it will be executed just once, viz., at the next computed or forced system -break. More -precisely, it is executed after the break and before the next system begins. -Thus it is suitable for redefining layout parameters. - - \index{octave treble clef}In some scores, tenor parts are not coded using the -\ital{bass} clef, but using rather the \ital{octave treble clef}, which is -subscripted by a numeral {\tt8}. -This clef is supported by the clef substitution command -\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}, as already -explained in section \ref{treblelowoct}. However, if for some reason you -aren't happy with the height of the ``8'', it can be posted on selected -staves at the beginning of every system using \keyindex{everystaff} and -\keyindex{zcharnote} as follows: - -\begin{music} -\instrumentnumber{4} -\setclef1\bass -\def\everystaff{% - \znotes&\zchar{-6}{\eightrm\kern-2\Interligne8}% - &\zchar{-6}{\eightrm\kern-2\Interligne8}\en}% -\startextract -\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en -\zendextract -\end{music} -\noindent The coding is -\begin{quote}\begin{verbatim} -\instrumentnumber{4} -\setclef1\bass -\def\everystaff{% - \znotes&\zchar{-6}{\eightrm \kern -2\Interligne 8}% - &\zchar{-6}{\eightrm \kern -2\Interligne 8}\en}% -\startextract -\NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en -\endextract -\end{verbatim}\end{quote} - -\section{Smaller notes in normal-sized staves} -Here we describe how to reduce the size of note symbols without changing the -size of the staff itself. Changing overall staff size will be treated in -section \ref{staffspacing}. - -\subsection{Arbitrary sequences of notes} -Written-out ornaments and \itxem{cadenzas} are usually typeset with -smaller notes and spacing than normal. The smaller \ital{size} can be -initiated anywhere inside a \verb|\notes| group by stating -\keyindex{smallnotesize} or \keyindex{tinynotesize}. Normal note size is then -restored by \keyindex{normalnotesize} or simply by terminating the -\verb|notes| group and starting another. Smaller \ital{spacing} must also be -explicitly indicated, usually by redefining \verb|\noteskip| in some way. - -As an example, this excerpt, from the beginning -of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc -Haydn, J.}}, - -\begin{music} -\instrumentnumber{2} -\generalmeter{\meterfrac44} -\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}} -\setstaffs2{2} -\setclef1\bass -\setclef2\bass -\startbarno0 -\startextract -\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en -% mesure 1 -\bar -\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en -\notes&\qbl0c0|\multnoteskip\tinyvalue\tinynotesize - \Ibbu1ki2\qb1{kj}\tqh1i\hqsk\en -\Notes&\qb0e\tbl0\qb0c|\qu j\en -\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en -% mesure 2 -\bar -\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0% - \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en -\notes&|\sk\ccu h\en -\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g% - \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en -\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en -\endextract -\end{music} -\noindent can be coded as -\begin{quote}\begin{verbatim} -\instrumentnumber{2} -\generalmeter{\meterfrac44} -\setstaffs2{2} -\setclef2{\bass} -\setclef1{\bass} -\startbarno=0 -\startextract -\NOtes\qp&\zmidstaff{\bf II}\qp|\qu g\en -% mesure 1 -\bar -\Notes\itieu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\en -\notes&\ibl0c0\qb0c|\multnoteskip\tinyvalue\tinynotesize - \Ibbu1ki2\qb1{kj}\tqh1i\en -\Notes&\qb0e\tbl0\qb0c|\qu j\en -\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\en -% mesure 2 -\bar\Notes\ttie2\wh J&\ql J\sk\ql L|\zqupp g\qbl1e0% - \zq c\qb1e\zq c\qb1e\zq c\tbl1\zqb1e\en -\notes&|\sk\ccu h\en -\Notes&\ql N\sk\ibl0L{-4}\qbp0L|\ibl1e0\zq c\zqb1e\cu g% - \zq c\zqb1e\raise\Interligne\ds\zqu g\qb1g\en -\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en -\endextract -\end{verbatim}\end{quote} - - \subsection{Grace notes} -Grace notes are a special case of small and tiny notes, namely single-stemmed -eighth notes with a diagonal slash through the flag. To enable this, there -are the macros \keyindex{grcu}\pitchp\ and \keyindex{grcl}\pitchp, which by -themselves would -produce normal-sized eighth notes with a slash. They should be used along -with the note size reduction macros and spacing reduction macros just -discussed. In addition, chordal grace notes can be built as in the following -example: - -\begin{music}\nostartrule -\startextract -\NOTes\hu h\enotes -\notes\multnoteskip\smallvalue\smallnotesize\grcu j\enotes -\NOTes\hu i\enotes -\bar -\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes -\NOTEs\wh i\enotes -\zendextract -\end{music} -\noindent which was coded as -\begin{quote}\begin{verbatim} -\startextract -\NOTes\hu h\enotes -\notes\multnoteskip\smallvalue\smallnotesize\grcu j\enotes -\NOTes\hu i\enotes -\bar -\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes -\NOTEs\wh i\enotes -\zendextract -\end{verbatim}\end{quote} - - \subsection[Ossia]{Ossia\texorpdfstring{\protect\footnote{(Italian O sia) Or else}}{}} -This clever example had been provided by Olivier Vogel:\label{ossia} - -%\begin{center} -%\includegraphics[scale=1]{./mxdexamples/ossiavogel.eps} -%\end{center} - -\begin{music} -%\startextract -%\hsize70mm -\let\extractline\hbox -\hbox to \hsize{\hss -\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% -\off{-#1\elemskip}}% -\newbox\ornamentbox -\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% -\makeatletter -\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty\global\clef@skip0pt% -\makeatother -%\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% -%\startpiece -%\addspace{2pt}% -\startextract -\addspace{-2pt}% -\let\notest\notes\def\notes{\vnotes2.1\elemskip}% -\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% -\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% -\notes\ibl2{'c}1\usf e\qb2c\en% -\notes\tbl2\qb2{'d}\en -\let\notes\notest% -%\zstoppiece% -\endextract -}\hss} -%\setbox\ornamentbox=\hbox to 0pt{Hello} -% -% -%\normalmusicsize\nopagenumbers -%\def\nbinstruments{1}% -\setstaffs12\setclef1{60}% -\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% -%\parindent 0pt% -%\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax -%\startpiece\addspace\afterruleskip% -\startextract\addspace\afterruleskip% -\NOtes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% -\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% -\NOtes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% -\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% -\cl d\en% -%\endpiece -\endextract -\hss} -%\vfill\eject\endmuflex -\end{music} - - -The code is: -\begin{quote}\begin{verbatim} -\hsize70mm% -\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% -\off{-#1\elemskip}}% -\newbox\ornamentbox -\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% -\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% -\startpiece\addspace{2pt}% -\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% -\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% -\notes\ibl2{'c}1\usf e\qb2c\en% -\notes\tbl2\qb2{'d}\en% -\zstoppiece% -}\hss} -\normalmusicsize\nopagenumbers -\def\nbinstruments{1}% -\setstaffs12\setclef1{60}% -\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% -\parindent 0pt% -\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax -\startpiece\addspace\afterruleskip% -\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% -\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% -\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% -\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% -\cl d\en% -\end{verbatim}\end{quote} - -% -% Why is this here?? DAS 4/30/06 -% -% \subsection{Other note shapes}\label{othernotes} -% The classical note heads -%given above --- namely \raise.5ex\hbox{\musixchar7}~~, \raise.5ex -%\hbox{\musixchar8}~~ and \raise.5ex\hbox{\musixchar9}~~~ -%--- can be replaced with less classical note heads, for example to code -%special \itxem{violin harmonic notes} or \itxem{percussion music}. See an -%example in \ref{abnormalscores}. -% -% At present time, alternate available note heads can be found in the -%extension library, see \ref{diam}, \ref{perc}, \ref{gregnotes} and \ref{litu}. - -\section{Staff size} \index{staff size}\label{staffspacing} -In contrast with the prior section, here we describe how to change the sizes -of everything...staff, notes, and all other symbols. In -section~\ref{whatspecify} we saw how to set the size for all instruments at -the start of a score. Any one of the same macros---\verb|\normalmusicsize|, -\verb|\smallmusicsize|, \verb|\largemusicsize|, or -\verb|\Largemusicsize|---can be used to change the size of all instruments -midway through a score, but in this case it must come between -\verb|\stoppiece| and \verb|\startpiece|. - -Once the overall staff size is set, you can alter the size of any desired -instrument with the macro \keyindex{setsize}\itbrace{n}\itbrace{s}, where -$n$ is the instrument number and $s$ is a factor by which the size is to be -changed from the prevailing overall size. There are five predefined macros -that should be used for the size factor $s$. Their names and respective values -are \keyindex{normalvalue}~(1.0), \keyindex{smallvalue}~(0.80), -\keyindex{tinyvalue}~(0.64), \keyindex{largevalue}~(1.2), and -\keyindex{Largevalue}~(1.44). \musixtex\ should not crash if you use an -explicit number different from any of these, but the result may be -less than satisfactory. - -Once again, if used at the beginning of a piece, the \verb|\setsize| macro -must precede \verb|\startpiece| (not \verb|\contpiece|), and if used after -the beginning, must be preceded by \verb|\stoppiece|. - -As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc -Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of -J. S. Bach's \ital{Well Tempered Clavier}, as transcribed for -organ, violin and voice by Markus {\sc Veittes}:\label{avemaria} - -\begin{music} -\def\oct{\advance\transpose by 7} -\def\liftqs#1{\raise#1\Interligne\qs} -\parindent0pt -\sepbarrules -\instrumentnumber{3} -\generalmeter{\meterC} -\setinterinstrument2{3\Interligne} -\setsize3\tinyvalue -\setsize2\tinyvalue -\setclef1\bass -\setstaffs1{2} -\startpiece\addspace\afterruleskip -%Takt 9 -\notes\zhl c\liftqs6\qupp e|\ds&\oct - \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\enotes -\notes|\ibbl0j3\qb0h\tqb0l\enotes -\notes|\ibbl1k0\qb1{ohl}\tqb1o\enotes -\notes\zhl c\liftqs6\qupp e|\ds&\oct - \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\enotes -\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\enotes -\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\enotes -\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\enotes -\bar -%Takt 10 -\notes\zhl c\liftqs6\qupp d|\ds&\oct - \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\enotes -\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\enotes -\notes|\ibbu2i0\qb2k\qb2f\enotes -\notes|\qb2h\tqh2k&\oct\cl e&\tubslur4f\cu e\enotes -\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\enotes -\notes|\ibbu1g3\qb1f\tqh1h\enotes -\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\enotes -\endpiece -\end{music} - This example was coded as: -\begin{quote}\begin{verbatim} -\def\oct{\advance\transpose by 7} -\def\liftqs#1{\raise#1\Interligne\qs} -\parindent0pt -\sepbarrules -\instrumentnumber{3} -\generalmeter{\meterC} -\setinterinstrument2{3\Interligne} -\setsize3\tinyvalue -\setsize2\tinyvalue -\setclef1\bass -\setstaffs1{2} -\startpiece\addspace\afterruleskip -%Takt 9 -\notes\zhl c\liftqs6\qupp e|\ds&\oct - \itieu5h\hl h&\tx ~~~gra---*\itied4h\hu h\enotes -\notes|\ibbl0j3\qb0h\tqb0l\enotes -\notes|\ibbl1k0\qb1{ohl}\tqb1o\enotes -\notes\zhl c\liftqs6\qupp e|\ds&\oct - \ttie5\ibl4c0\qb4h&\ttie4\ibu5g{-3}\qb5h\enotes -\notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&\tx ---*\tqh5a\enotes -\notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&\tx ~~ti~-*\cu b\enotes -\notes|\qb1l\tqb1o&\oct\tqb4c&\tx a*\cu c\enotes -\bar -%Takt 10 -\notes\zhl c\liftqs6\qupp d|\ds&\oct - \qlp d&\tx ~~~ple---*\ibsluru4e\qup d\enotes -\notes|\ibbu1g3\bigaccid\qb1{^f}\tqh1h\enotes -\notes|\ibbu2i0\qb2k\qb2f\enotes -\notes|\qb2h\tqh2k&\oct\cl e&\curve222\tubslur4f\cu e\enotes -\notes\zhl c\liftqs6\qupp d|\ds&\oct\ql d&\tx na,*\qu d\enotes -\notes|\ibbu1g3\qb1f\tqh1h\enotes -\notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\enotes -\endpiece -\end{verbatim}\end{quote} - -\section{Layout parameters}\label{LayoutParameters} - Most layout parameters are set by \musixtex\ to reasonable default values. -However, some projects will require altering one or more of them. In this -section we discuss the most important parameters and how to change them. - - \subsection{List of layout parameters} - In the following, the indication ``\nochange'' does not mean that this -parameter cannot be changed at all, but that it should not be modified -directly, e.g.\ by saying something like \verb|\Interligne=14pt|. In other -words, changes in these parameters must be accomplished only by more -comprehensive macros which not only revise them but at the same time perform -other necessary related changes. Even though you cannot \ital{change} these, -you may \ital{refer} to them in your coding if that proves useful. - -\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{Interligne} :]vertical distance between the bottoms of -consecutive staff lines of the current instrument, taking no account of a -possible alteration by \keyindex{setsize} \nochange. - \item[\keyindex{internote} :]vertical spacing between notes one scale -step apart in the current instrument, taking account of a possible alteration -by \keyindex{setsize} \nochange. - \item[\keyindex{Internote} :]vertical spacing between notes one scale -step apart in any instrument whose \keyindex{setsize} has the default -value \keyindex{normalvalue} (1.0), equal to \verb|0.5\Interligne| \nochange -\item[\keyindex{staffbotmarg} :]margin below the first (lowest) staff of the -first (lowest) instrument. Changes are recognized at the next system. -Default is \verb|3\Interligne|. - \item[\keyindex{stafftopmarg} :]margin above the last (uppermost) staff of -last (uppermost) instrument. Changes are recognized at the next system. -Default is \verb|3\Interligne|. - \item[\keyindex{interbeam} :]vertical distance between beams. \nochange. -\item[\keyindex{interstaff} :]a very important macro with a single numerical -argument representing the factor that multiplies \verb|2\internote| to give the -distance between the bottom of one staff and the bottom of the next one. In -fact the macro redefines the parameter \verb|\interfacteur|. -\item[\keyindex{interportee} :]distance between the bottom of one staff and -the bottom of the next one. It is always reset to -\verb|2|\keyindex{interfacteur}\verb|\internote| at the next system. -Therefore, trying to change \verb|\interportee| will have no effect. Change -\verb|\interstaff| instead. Further, note that \verb|\interstaff| applies to all the -instruments, but each distinct instrument may have a different -\verb|\internote| (see \ref{staffspacing}). - -\item[\keyindex{interinstrument} :]additional vertical distance between -two consecutive instruments. This means that the distance between the lowest -line of the previous instrument and the lowest line of the top staff of the current -instrument is \keyindex{interportee+\Bslash interinstrument}. The -default value of \verb|\interinstrument| is zero, but sometimes you -may want additional space between distinct instruments. This is a general -dimension register. As usual in \TeX, it can be set using a command such as -\verb|\interinstrument=10pt| or \verb|\interinstrument=6\internote|. Its -value can be overridden for the space above any particular instrument -with the macro \keyindex{setinterinstrument}\itbrace{n}\itbrace{s}, where -$n$ is the instrument and $s$ is the replacement value of the space to -be added. The \verb|\setinterinstrument| macro may be useful in some vocal -scores to provide vertical space for lyrics. Note that -after you have used \keyindex{setinterinstrument}, -you cannot reset the distances for that instrument with -\keyindex{interinstrument}; you must subsequently use -\keyindex{setinterinstrument} for that purpose. - - \item[\keyindex{systemheight} :]distance from the bottom of the -lowest staff to the top of the highest one. This is the length of any -vertical lines such as repeats that span the full height of a system. -\nochange. -\end{description} - - In addition, when handling notes of a given staff of a given instrument, the -following dimensions are available (note these are not true registers, but -\ital{equivalenced symbols} through a \verb|\def|): - -\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{altplancher} :]altitude of the lowest line of the lowest -instrument \nochange. - \item[\keyindex{altitude} :]altitude of the lowest line of the lowest -staff of the current instrument \nochange. - \item[\keyindex{altportee} :]altitude of the lowest line of the current -staff \nochange. - - %??? Next perhaps will change to steps of \verb|\internote|. - - \item[\keyindex{stemfactor} :]parameter defining the length of stems on -half, quarter, and beamed eighth notes, in units of \verb|\interbeam|. -Normally a stem has the length of one octave, -i.e. 3.5\keyindex{Interligne}. However, this is not correct for small or tiny -note sizes. Therefore, stem length is defined as a multiple of the -dimension \keyindex{interbeam}, which is chosen because it is automatically -redefined as a -different multiple of \keyindex{Interligne} whenever note size is changed. For -example, with \verb|\normalmusicsize| when \verb|\setsize| is -\verb|\normalvalue|, \verb|\interbeam| is 0.75 \keyindex{Interligne}. This -legislates a default value for \keyindex{stemfactor} of 4.66 (=3.5/0.75). -To change stem length, it is easiest to use e.g. -\keyindex{stemlength}\verb|{3.5}|, which simply redefines \verb|\stemfactor|. -Subsequently, \verb|\stemfactor| will not automatically be reset to the default, -but keep in mind that if it is changed -inside a notes group, the change will only be effective within that notes group. -\end{description} - - \subsection{A convenient macro for changing layout parameters in mid-score} -Of the parameters just described that can be changed, many should only be -changed between the end of one system and the beginning of the next. The -command sequence \verb|\def\atnextline{|\ital{any control sequence}\verb|}| -may be useful for this purpose. It will cause \ital{any control sequence} to -be inserted right before the next new line is begun, provided the line break -is not initiated by a \verb|\startpiece|. Thus this will work with -automatically generated line breaks, with those forced by \verb|\alaligne|, and -with those forced by explicit use of \verb|\endpiece| or \verb|\stoppiece| -followed by \verb|\contpiece|. (Note, however, that in the latter case it -would be just as convenient to enter the parameter changes explicitly as well.) -The control sequence will only be executed once, -after which \verb|\atnextline| is redefined as \verb|\empty|. - - \subsection{Changing the number of lines per staff}\label{stafflinenumber} -Naturally, the default number of lines per staff is five. But you may want a -different number in some or all staves, for example for gregorian music, -percussion music, guitar tablature, or early baroque keyboard music. To do so, -use the command \keyindex{setlines}\itbrace{n}\itbrace{m}~where $n$ is the -instrument number and $m$ is the number of lines. - - \subsection{Resetting normal layout parameters} -The general size can only be changed with one of the commands -\keyindex{smallmusicsize}, -\keyindex{normalmusicsize}, \keyindex{largemusicsize}, or -\keyindex{Largemusicsize}. Beyond that, the command -\keyindex{resetlayout} will reset the following key layout parameters -to their default values: \keyindex{staffbotmarg} (3\verb|\Interligne|), -\keyindex{stafftopmarg} (3\verb|\Interligne|), \keyindex{interstaff} (9), - number of lines per staff for all instruments (5); and will reset all clef -symbols to standard clef symbols. - -% The whole subsection on excerpts should go with "MusiXTeX and LaTeX", currently 2.25 -% \subsection{Typesetting one-line excerpts rather than large scores}\label{excerpts} - -% All the old lyrics stuff should be deleted, with a reference to some older version of -% musixdoc. - -\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. -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 the older methods, which may still be useful when -only a small number of words are involved. - -\subsection{Native lyrics method: placing single words} -\subsubsection{Native \musixtex\ commands for lyrics} - \begin{enumerate}\setlength{\itemsep}{0ex} - \item An obvious solution consists in using the commandc -\keyindex{zcharnote} (expanded to the right), -\keyindex{lcharnote} (expanded to the left), -\keyindex{ccharnote} (centered), to post the text at any position (computed in -\verb|\internote|s) with respect to the lower line of the current staff. -The pitch should be usually negative to have the text below the staff. - -Example:\quad -\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\zcharnote{N}{Word}\wh g\sk\en}} -\quad is coded by \quad -\verb|\zcharnote{N}{Word}\wh g|~. - -\item The vertical position can also be given with a number in the commands -\keyindex{zchar} (expanded to the right), -\keyindex{lchar} (expanded to the left), -\keyindex{cchar} (centered). The number is internally multiplied by \verb|\internote|~. - -Example:\quad -\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\cchar{-4}{Word}\wh g\sk\en}} -\quad is coded by \quad -\verb|\cchar{-5}{Word}\wh g|~. - -\item Of easier use are the commands \keyindex{zsong} (right of the note), -\keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics -at the lower staff line \ital{minus} the previous -\keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These -commands only have one argument, namely the lyrics text: -%\begin{center} -\keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad -\keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad -\keyindex{csong}\verb|{|\ital{text}\verb|}| -%\end{center} - Depending on the values of the inter-instrument spacings and margins, the -resulting vertical position might be inappropriate. Then it can be changed for -any specific $n$-th instrument until further change using -\begin{quote} -\keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}| -\end{quote} -As an example, the following French song\\ - \begin{music} - \generalsignature{1} - \startextract - \geometricskipscale - \NOtes\zsong{Au }\qu g\en - \NOtes\zsong{clair }\qu g\en - \NOtes\zsong{de }\qu g\en - \NOtes\zsong{la }\qu h\en - \bar - \NOTes\zsong{lu- }\hu i\en - \NOTes\zsong{ne, }\hu h\en - \bar - \NOtes\zsong{mon }\qu g\en - \NOtes\zsong{a- }\qu i\en - \NOtes\zsong{mi }\qu h\en - \NOtes\zsong{Pier- }\qu h\en - \bar - \NOTes\zsong{rot, }\wh g\sk\en - \endextract - \end{music} - -\noindent was coded as: -\begin{quote}\begin{verbatim} - \generalsignature{1} - \startextract - \geometricskipscale - \NOtes\zsong{Au }\qu g\zsong{clair }\qu g\en - \NOtes\zsong{de }\qu g\zsong{la }\qu h\en\bar - \NOTes\zsong{lu- }\hu i\zsong{ne, }\hu h\en\bar - \NOtes\zsong{mon }\qu g\zsong{a- }\qu i\en - \NOtes\zsong{mi }\qu h\zsong{Pier- }\qu h\en\bar - \NOTes\zsong{rot, }\wh g\sk\en - \zendextract -\end{verbatim}\end{quote} -\end{enumerate} - -\subsubsection{Adapting note spacing for lyrics} - -The command \keyindex{hardlyrics}\verb|{longword}| provides a spacing that is equal to the length -of the text argument \verb|{longword}|. In the same time the argument \verb|{longword}| -is saved in \keyindex{thelyrics} - -As an example \quad -\raisebox{0ex}[5ex][4ex]% -{\musicintextnoclefn{\staffbotmarg2\Interligne% -\hardlyrics{clair}\notes\hsong{\thelyrics}\wh g\en\notes\wh{gg}\en}} -\quad is coded by: -\begin{tabular}{l} -\verb|\hardlyrics{clair}%|\\ -\verb|\notes\hsong{\thelyrics}\wh g\en|\\ -\verb|\notes\wh{gg}\en|\\ -\end{tabular} - -All notes with long lyrics need such a treatment. The commands only carry out on -\verb|\notes| (not on \verb|\Notes|, \verb|\NOtes|...). - -If you want to go back to the normal placing on an easy way, you simply can replace -'\verb|\hardlyrics|' by '\verb|\softlyrics|'. - - A complete score is given in example {\tt glorias.tex}\label{glorias} and in -{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the -organ accompaniment. - -Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed -length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is -\verb|3\noteskip|. These are useful when the text is set below (or above) a -collective coding of two or three notes. - -\subsection{Musixlyr}\label{musixlyr} - -Lyrics are best handled by the \texttt{musixlyr}\index{musixlyr} package by Rainer Dunker. -The package can be used by inserting a file in your source code: -\begin{quote}\begin{verbatim} -\input musixtex -\input musixlyr -... -\end{verbatim}\end{quote} - -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 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 -\end{tabbing} -\vspace{-1ex} -\hrule -\vspace{-2ex} -\begin{tabbing} -\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill -\keyexample{setlyrics}\verb|{sopr}{the ly_-ric words_}|\> defining the lyrics text\\ -\keyexample{copylyrics}\verb|{sopr}{alto}|\> alto has same lyrics as soprano\\ -\keyexample{appendlyrics}\verb|{alto}{more words}|\> alto lyrics is longer\\ -\keyexample{assignlyrics}\verb|2{sopr,alto}|\>soprano and alto lyrics at staff 2\\ -\keyexample{assignlyricsmulti}\verb|{1}{2}{alto}|\>assign alto lyrics to staff 2 of instrument 1\\ -\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\>assigning without staff number\\ -\keyexample{auxlyr}\verb|\assignlyrics{2}{sopr}|\> assign soprano above staff 2\\[.8ex] -\keyexample{lyrrule}\verb|\qu c|...\keyexample{lyrruleend}\verb|\qu c|\>make a melisma by hand\\ -\keyexample{beginmel}\verb|\qu c|...\keyexample{endmel}\verb|\qu c|\>melisma, same as word extension underline\\[.8ex] -\keyexample{lyr}\verb|\qu c|\>force a syllable from lyrics text at this note or rest\\ -\keyexample{lyric}\verb|{word}\qu c|\>insert syllable 'word' at this note\\ -\verb|\loffset{2}{|\keyexample{lyric*}\verb|{1.}}\qu c|\>combine '1.' with regular syllable\\ -\keyexample{lyrich}\verb|{syl}\qu c|\>same as \verb|\lyric|, but with hyphenation\\ -\keyexample{lyrich*}\verb|{}\qu c|\>same as \verb|\lyric*|, but with hyphenation\\ -\keyexample{lyricsoff}...\keyexample{lyricson}\>stop lyrics, then start again\\ -\keyexample{nolyr}\verb|\qu c|\>no syllable at this note\\[.8ex] -\keyexample{llabel}\verb|{labelname}name|\>labelling a ``go to'' target in text\\ -\keyexample{golyr}\verb|{labelname}\qu c|\>perform a jump, in music code\\[.8ex] -\keyexample{lyrpt}\verb|,\qu c|\>add a comma to the syllable under this note\\ -\keyexample{lyrnop}\verb|\qu c|\>remove last character in syllable\\ -\keyexample{lclyr}\verb|\qu c|\>make first character lower case\\ -\keyexample{llyr}\verb|\qu c|\>left justified syllable\\ -\keyexample{leftlyrtrue}\verb|\qu c|...\keyexample{leftlyrfalse}\verb|\qu c|\>start and stop left justification as the default\\ -\keyexample{lyroffset}\verb|{-4}\qu c|\>shift syllable 1 notehead to the left\\[.8ex] -\keyexample{minlyrspace}\verb|{3pt}\qu c|\>define minimum space between the words\\ -\keyexample{forcelyrhyphenstrue}\verb|\qu c|\>always use a hyphen from now on\\ -\keyexample{forcelyrhyphensfalse}\verb|\qu c|\>remove hyphen and make one word if necessary \\ -\keyexample{showlyrshifttrue}\verb|\qu c|\>show the lyric shift\\[.8ex] -\keyexample{lyrraise}\verb|{1}{a 2\Interligne}|\>raise lyrics below staff 1 by \verb|2\Interligne|\\ -\keyexample{lyrraisemulti}\verb|{1}{2}{a 2\Interligne}|\>raise alto lyrics above staff 2 of instrument 1\\ -\keyexample{lyrraisehere}\verb|{b 2\Interligne}\qu c|\>raise lyrics below this staff by \verb|2\Interligne|\\[.8ex] -\keyexample{minlyrrulelength}\verb|{2mm}|\>melismas shorter than 2mm are not shown \\ -\keyexample{minmulthyphens}\verb|{15mm}|\>distance between hyphens in 'hyphen melisma'\\ -\verb|\def|\keyexample{lyrhyphenchar}\verb|{-}|\>chose a hyphen character\\ -\verb|\setlyrics{|\keyexample{lyrlayout}\verb|{\it}..}|\>apply italics to all lyrics lines\\ -\keyexample{verses}\verb|{,\beginmel}\qu c|\>initiate melisma at second verse\\[.8ex] -\verb|\small|\keyexample{setlyrstrut}\>adapt the vertical distance between lyrics lines\\ -\keyexample{lyrstrutbox}\verb|{10pt}|\> (re)define the distance between the lyrics lines\\[.8ex] -\keyexample{lyrmodealter}\verb|2|\>attach lyrics of staff 2 to the upper voice\\ -\keyexample{lyrmodealtermulti}\verb|{1}{2}|\>attach lyrics of instr.\ 1 staff 2 to the upper voice\\ -\keyexample{lyrmodealterhere}\verb|\qu c|\>attach lyrics of this staff to the upper voice\\ -\keyexample{lyrmodenormal}\verb|2|\>restore the default behaviour\\ -\keyexample{lyrmodenormalmulti}\verb|{1}{2}|\>restore the default behaviour at staff 2 of instr.\ 1\\ -\keyexample{lyrmodenormalhere}\verb|\qu c|\>restore the default behaviour of this staff\\[.8ex] -\keyexample{lyrlink}\>linking 2 words with a '$_{_\smile}$'\\ -\keyexample{lowlyrlink}\>same as \verb|\lyrlink| but a little bit lower\\[.8ex] -\keyexample{resetlyrics}\>set word pointer to the first word in all lyrics lines\\[.8ex] -\keyexample{enableauxlyrics}\>don't use this anymore\\ -\keyexample{setsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraise}{1}{b 2\Interligne}|\\ -\keyexample{auxsetsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraisemulti}{1}{b 2\Interligne}|\\ -\keyexample{oldlyrlinestart}\>don't let the lyrics extent to the left margin\\ -\end{tabbing} - -As a further illustration of the use of the commands, have a look at the following -example\footnote{The example is taken from the musixlyr manual.}: - -\medskip\medskip -%\oneversespace -\begin{music} -\input musixlyr - \resetlyrics \small -\lyrmodealter0 - \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}} - \copylyrics{soprano}{alto} \assignlyrics1{alto} - - \generalsignature{-2} - \advance\stafftopmarg1\Interligne - \advance\staffbotmarg2\Interligne - - \startextract\addspace\afterruleskip - \NOtes\zqu g\ql e\en - \bar - \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en - \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en - \Notes\tqb0e\en - \Notes\endmel\tbslurd0e\ql c\en - \notes\ibbu0h{-1}\qb0h\tqh0g\en - \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en - \bar - \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes - \lyr\wh b\en % must be given manually. - \endextract - \lyrmodenormal0 -\end{music} -\medskip - -%\oneversespace - -which was coded as: -\begin{quote} -\begin{verbatim} -% define lyrics above the staff -\setlyrics{soprano}{bring her die Gans,} -% lyric beneath the staff are the same -\copylyrics{soprano}{alto} -% assign alto lyrics below staff 1 on the notes with stem down -\assignlyrics1{alto} -% assign soprano lyrics above staff 1 on the notes with stem up -\auxlyr{\assignlyrics1{soprano}} -% attach both lyrics to the upper voice -\lyrmodealter0 -\generalsignature{-2} -% make place for the lyrics -\advance\stafftopmarg1\Interligne\advance\staffbotmarg2\Interligne -\startextract\addspace\afterruleskip -\NOtes\zqu g\ql e\en\bar -% start melisma in lower lyrics -\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en -% start melisma in upper lyrics -\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\tqb0e\en -% end melisma in lower lyrics -\Notes\endmel\tbslurd0e\ql c\en -\notes\ibbu0h{-1}\qb0h\tqh0g\en -% start melisma in upper lyrics -\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en\bar -% The lyrics of the whole notes (without stem) must be given manually. -\NOTEs\auxlyr\lyr\zwh i\lyr\wh b\en -\endextract -\lyrmodenormal0 -\end{verbatim}\end{quote} - - \subsection{Getting enough vertical space for lyrics} - Since songs are -usually equivalent to a one-staff instrument (possibly with several voices) -the recommended solution consists in adjusting the distance between -instruments using either \keyindex{interinstrument}\verb|=|\ital{any -\TeX-dimension} to give more place below all instruments or using -\keyindex{setinterinstrument} to make more space above. Note that {\Bslash -setinterinstrument} defines spacing above and not below an instrument. Since -lyrics are usually set below the staff, the first argument of a -\verb|\setinterinstrument| should be the song instrument number \ital{minus -one}. - - In the case of a single staff tune, or if the song instrument is the lowest -one, then additional place can be provided using \keyindex{staffbotmarg}. - -\subsection{Fine tuning the placement of the lyrics} - When not using \verb|\hardlyrics|, on short notes, sometimes - the lyrics are shifted away from the notes or they collide with other words. - This are a few approaches to get around this: -\begin{enumerate}\setlength{\itemsep}{0ex} -\item Making more music lines for the notes to go further apart. This could be done with -\verb|\mulooseness|. -\item Stretch a bar with short notes in it by i.e.\ replacing \verb|\notes| by \verb|\NOTes|. -\item Insert space between the notes by using \verb|\sk|, \verb|\hsk|, \verb|\qsk|... -\item Stretch a bar with short notes in it by using the command \keyindex{scale}: -\begin{verbatim} -\scale{1.6}\notes..\en\scale{1}% -\end{verbatim} -This method can be used in \textbf{PMX} but only with care, because it changes horizontal spacing -in a way that \textbf{PMX} will not be aware of. It will not move bars to the next line, but -will shorten the other bars on the line. - -As an example, the lyrics of this music line are better placed by using \verb|\scale| in -the first bar and moving to the left the word 'mon'. Note that the hyphen is removed -when there is no place for it: - - \begin{music} - \input musixlyr - \resetlyrics - \setlyrics{v1}{Au clair de la lu-ne, mon a-mi Pier-rot,}% - \assignlyrics1{}\assignlyrics1{v1}% - \staffbotmarg2\Interligne\generalsignature{1}% - \startextract - \geometricskipscale - \notes\qu{gggh}\en\bar - \Notes\hu{ih}\en\bar - \notes\qu{gihh}\en\bar - \Notes\wh g\en - \endextract -% \end{music} -%%%%% combined for saving registers %%%%% -% \begin{music}\nostartrule -% \input musixlyr - \resetlyrics - \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}% - \assignlyrics1{}\assignlyrics1{v1}% - \staffbotmarg2\Interligne\generalsignature{1}% - \startextract \geometricskipscale - \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}% - \Notes\hu{ih}\en\bar - \notes\qu{gihh}\en\bar - \Notes\wh g\en - \endextract - \end{music} - -\medskip -The code of the second music line is (\verb|\assignlyrics1{}| is only needed because -lyrics are assigned before this in this manual): -\begin{quote}\begin{verbatim} - \begin{music} - \input musixlyr - \resetlyrics - \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}% - \assignlyrics1{}\assignlyrics1{v1}% - \staffbotmarg2\Interligne\generalsignature{1}% - \startextract \geometricskipscale - \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}% - \Notes\hu{ih}\en\bar - \notes\qu{gihh}\en\bar - \Notes\wh g\en - \endextract - \end{music} -\end{verbatim}\end{quote} - -\item Moving a word in any direction - -\noindent\begin{tabular}{ll} -\multicolumn{2}{l}{\Bslash setlyrics\{alto\}\{\Bslash kernm3ex1.$\sim\sim$firstsyllable...\}}\\ -& left moving for numbering verses\\ -\verb|\setlyrics{alto}{...\kern1exword...}| &right moving a single word\\ -\verb|\setlyrics{alto}{...\lower2pt\hbox{word}...}|& lowering a single word\\ -\verb|\setlyrics{alto}{...\raise2pt\hbox{word}...}|& raising a single word\\ -\multicolumn{2}{l}{\Bslash def\Bslash strut\{\Bslash vbox to 2\Bslash Interligne\{\}\}% -\Bslash setlyrics\{alto\}\{\Bslash lyrlayout\{\Bslash strut\}...\}} \\ -& controlling distance between verses\\ -\verb|\lyrlayout{\vphantom{Mp(\lowlyrlink}|& minimum distance between verses\\ -\multicolumn{2}{l}{\Bslash setbox\Bslash lyrstrutbox=\Bslash hbox\{\Bslash vphantom\{yM\Bslash lyrlink\}\}}\\ -& redefining default lyrstrut -\end{tabular} - -\item Placing of accents can be made easier as shows this example: -\begin{center} -\begin{minipage}{50mm} -\begin{music}\nostartrule -\input musixlyr -\catcode`\ä\active \defä{\"a} -\catcode`\ö\active \defö{\"o} -\catcode`\å\active \letå\aa -\setlyrics1{å ä ö} -\assignlyrics1{}\assignlyrics11 -\startextract - \setsongraise1{1ex}\NOtes\qa{ggg}\en -\zendextract -\end{music} -\end{minipage}% -\begin{minipage}{80mm} -\verb|\catcode`\|\"a\verb|\active \def|\"a\verb|{\"a}|\\ -\verb|\catcode`\|\"o\verb|\active \def|\"o\verb|{\"o}|\\ -\verb|\catcode`\|\aa\verb|\active \let|\aa\verb|\aa|\\ -\verb|\setlyrics1{|\aa\ \"a\ \"o\verb|} \assignlyrics1{}|\\ -\verb|\assignlyrics11|\\ -\verb|\startextract|\\ -\verb|\NOtes\qa{ggg}\en|\\ -\verb|\zendextract|\\ -\end{minipage} -\end{center} -\item Using an 8-bit encoded characterset\label{8bit} - -This can be achieved -by putting -\verb+\input plainenc\relax\inputencoding{cp850}+ -at the beginning of the file. - -Here you must adapt the character -set to your region. -To do this, if necessary, replace \verb+cp850+ by -\verb+cp1250+ (Czech, Croation region), -\verb+cp1251+ (Russian, Bulgarian region), -\verb+cp1252+ (most other European regions), -\verb+cp1253+ (Greek region) -or check your \TeX distribution for the right file. - -This is the coding for the previous example by using an 8-bit characterset: - -\begin{center} -\begin{minipage}{25mm} -\begin{music}\nostartrule -% this manual is in latex, the 8bit is taken by -% \usepackage[ansinew]{inputenc} -% -%\input plainenc\relax\inputencoding{cp850} -\input musixtex -\input musixlyr -\setlyrics1{á ä ö}\assignlyrics1{}\assignlyrics11% -\startextract% -\znotes\zcharnote{12}{Poème naïf}\en% -\Notes\qa{ggg}\en% -\zendextract% -\end{music} -\end{minipage} -~~~~~~ -\begin{minipage}{100mm}% program to run apart from musixdoc -\verb+\input plainenc\relax\inputencoding{cp850}+\\ -\verb+\input musixtex+\\ -\verb+\input musixlyr+\\ -\verb+\startpiece%+\\ -\verb+\znotes\zcharnote{16}{Poème naïf}\en%+\\ -\verb+\setlyrics1{á ä ö}\assignlyrics11%+\\ -\verb+\Notes\qa{ggg}\en%+\\ -\verb+\Endpiece\vfill\eject \bye+ -\end{minipage} -\end{center} - -\end{enumerate} - -\section{Embedding musical excerpts in text documents} - -Here we discuss the options for including music in text documents. The first -decision is whether or not to use \LaTeX\footnote{We'll assume a user wanting -to embed a musical excerpt in a \LaTeX\ document is already familiar with the -fundamentals of \LaTeX. For more information about it, see for example the manual -\ital{\LaTeX: A Document Preparation System} by Leslie {\sc Lamport}}. -Because \LaTeX\ so effectively simplifies -production of text-based \TeX\ documents, most users take that path, and most of the -descriptions given here will assume that's the case\footnote{Please do not be confused; -while \LaTeX\ is recommended for text-based documents containing musical -exceprts, its use is definitely discouraged for ordinary self-contained musical scores -of any sort.}. - -If for some reason you choose not to use \LaTeX\ to emplace musical excerpts, -the basic approach is simply to set off the musical -parts between \verb|\startpiece| or \verb|\contpiece| and \verb|\stoppiece| or -\verb|\endpiece|, or between \verb|\startextract| and \verb|\zendextract|. But -some details in what follows will also apply with no \LaTeX. - -There are two basic approaches to embedding musical excerpts in \LaTeX\ -documents. The first method is to directly include the \musixtex\ code in -the \LaTeX\ source file. That will be the subject of the next subsection. The -other is to create an EPS (encapsulated Postscript) file containing only the -excerpt, and then ``paste'' it into the \LaTeX\ file. That will be covered in -subsection \ref{embedeps}. - -The advantages of using the direct method are that all of the source code for -all excerpts can be kept in the same file as the text, and that there is no -limit on the length of the excerpt. -The advantage of the EPS method is that you don't have to burden the \LaTeX\ -source with any of the \musixtex\ paraphernalia. That in turn permits use of -primitive versions of the \TeX\ compiler that may not have the capacity -to handle the direct method (due to the number of registers consumed by \LaTeX\ -and \musixtex). The disadvantages are that you must create and keep -track of a separate \TeX\ and EPS file for every excerpt, and that the excerpt -must not span any page breaks. On balance, the -direct method is probably to be preferred. - -\subsection{Directly embedding excerpts in \LaTeX\ documents}\label{excerpts} - -To use the direct method, you should include ``\verb|musixtex|'' as one of the -arguments of the \keyindex{documentstyle} command. This will cause the file -\ttxem{musixtex.sty} to be loaded, so naturally you must make that file -available in a place where \TeX\ can find it. That file simply inputs two -other files, \verb|musixtex.tex| and \ttxem{musixltx.tex}, which again must -obviously be available to \TeX. - -Now you are in position to directly embed an excerpt by inserting code at the -appropriate place in the source file. The most common type of excerpt is -one that occupies less than a full line and is to be horizontally centered. In -that case, the extract should begin with the command \keyindex{begin\LBR music\RBR}, -followed by any preliminary commands. Then, instead of \verb|\startpiece|, -use \keyindex{startextract}. Now comes the normal \musixtex\ coding. Finally, -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|\endextract|. - -To create a left-justified excerpt, use the sequence -\keyindex{let\Bslash extractline\Bslash leftline}. - -If several extracts are to be placed on the same line, you can -redefine \keyindex{extractline} as demonstrated in the following -example\footnote{The macro {\tt\Bslash extractline} is defined once and for all in -{\tt musixtex.tex} as {\tt\Bslash centerline}. You might think that the suggested -coding would permanently redefine {\tt\Bslash extractline}, thereby upsetting the -normal function of {\tt\Bslash startextract ... \Bslash endextract} for subsequent use. -But it doesn't, because any actions within -\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, not -global.}: - -% DAS temp (where is the reference???) -%An example of this is given at \ref{extractline} on page \pageref{extractline}. -% end DAS temp -\begin{quote}\begin{verbatim} -\begin{music}\nostartrule -\let\extractline\hbox -\hbox to \hsize{% -\hss\startextract ... \zendextract\hss% -\hss\startextract ... \zendextract\hss} -\end{music} -\end{verbatim}\end{quote} - -An even shorter type of extract is one that is embedded \ital{within} a line of text. -To insert \musixtex\ symbols within a line of text, you could begin by defining -\keyindex{notesintext} as follows\footnote{provided by Rainer {\sc Dunker}}: - -\begin{quote}\begin{verbatim}\begin{music}\nostartrule -\makeatletter -\def\notesintext#1{% - {\let\extractline\relax - \setlines10\smallmusicsize \nobarnumbers \nostartrule - \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt - \startextract\addspace{-\afterruleskip}#1\zendextract}} -\makeatother -\end{music}\end{verbatim}\end{quote} - -Then, for example, the code - -\begin{verbatim} -Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} -not \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}} -\end{verbatim} - -\noindent would produce: ``Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} not -\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}~''. - -\noindent The \verb|\raisebox| voids the vertical space that is introduced by the notes. - -Finally, you may want to insert an extract containing more than one line -of music. Once having mastered \musixtex, this is the easiest of all: Between -\verb|\begin{music}\nostartrule| and \verb|\end{music}|, use \ital{exactly} the same -coding you would to make an ordinary score. - -The best way to learn how to apply these methods is to study -\verb|musixdoc.tex|, the source file for this document\footnote{Do note, -however, that {\tt musixdoc.tex} includes {\tt musixdoc} but not {\tt musixtex} -as an argument of {\tt\Bslash documentstyle}. The former performs the functions -of the latter as well as numerous tasks peculiar to this particular document.}. - -%DAS I don't think this section is worth including. - -% \subsection{Wide music in \LaTeX}\label{musixblx} -% Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the -%page size in a way which is not supposed to be changed within a given document. -%This means that text horizontal and vertical sizes are somewhat frozen so that -%one can hardly insert pieces of music of page size different from the size -%specified by the \LaTeX{} \itxem{style}. -%Although a \ttxem{musixblx.tex} has been provided, which makes the -%\ital{environment} \verb|bigmusic| available. -%\zkeyindex{begin\LBR bigmusic\RBR} -%The main drawback is an unpredictable behaviour of top and bottom -%printouts, especially page numberings. -% -% If the whole of a document has wide pages, it can be handled with the -%\ttxem{a4wide} style option, or any derivate of it. - -\subsection{Embedding musical excerpts as encapsulated postscript files} -\label{embedeps} -To use this method of including excerpts, you first must create a separate -\musixtex\ input file for each excerpt. Process each such file with -\TeX\ and \verb|musixflx| to generate a \verb|.dvi| file. Generate -a postscript file from each \verb|.dvi| using \verb|dvips|. Then -convert each postscript file to an \verb|.eps| file. One way to do that is -with \textbf{ghostscript} and---if you are using Windows---\textbf{GSview}. -In general this is possible only for single-page postScript files. - -To set up your \LaTeX\ document for including \verb|.eps| files, you must post -the command \verb|\usepackage[dvips]{graphicx}| in the preamble of the -document. Now, you may include each \texttt{.eps} file at the appropriate place -in the {\LaTeX} document with a command -like \keyindex{includegraphics}\verb|{sample.eps}|. - -\subsection{Issues concerning \texorpdfstring{{\Bslash catcodes}}{catcodes}} -\label{catcodeprobs} - -\musixtex\ uses the following symbols differently from plain \TeX: \verb|>|, - \verb|<|, \verb&|&, \verb|&|, \verb|!|, \verb|*|, \verb|.|, and \verb|:|\ .\\ -The symbols are given their special meanings by executing the macro -\keyindex{catcodesmusic}, and are restored to their plain \TeX\ meanings with -\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|\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 -\verb|\startpiece ... \endpiece|, but which incorporated any of the -symbols with their \musixtex\ meanings. Another would be if you wished to have -access to facilities enabled by alternate style files such as -{\tt\ixem{french.sty}} which change \keyindex{catcode}s themselves. In -such cases, provided you have input \verb|musixtex.tex|, you can always -invoke \keyindex{catcodesmusic} to set the \keyindex{catcode}s at their -\musixtex\ values, and \keyindex{endcatcodesmusic} to restore them to their -prior values. - -\section{Extension Library} -All following files are invoked by saying \keyindex{input} \ital{filename}\ . -Most of them are fully compatible with \musixtex\ in that they do not redefine -any existing macros but rather provide additional functionality. In future -versions of \musixtex\ we may very well incorporate many of them directly into -\verb|musixtex.tex|, but for now we leave them separate. - - \subsection{curly} -Allows you to group more than 1 instrument with curly -brackets (see \ref{curlybrackets}). - - \subsection{musixadd}\ixtt{musixadd.tex} -Increases the number of instruments, slurs and beams from six to nine. - - - \subsection{musixbm} -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}, -\keyindex{nbbbbbl}, -\keyindex{tbbbbbu}, -\keyindex{tbbbbbl}, -\keyindex{Ibbbbbu}, -\keyindex{Ibbbbbl}, -\keyindex{cccccu}, -\keyindex{cccccl}, -\keyindex{ccccca}, -\keyindex{zcccccu} and -\keyindex{zcccccl}. - - - \subsection{musixbbm}\label{musixbbm} - Provides 256th notes, but only for use within beams, via the commands -\keyindex{ibbbbbbu}, -\keyindex{ibbbbbbl}, -\keyindex{nbbbbbbu}, -\keyindex{nbbbbbbl}, -\keyindex{tbbbbbbu}, -\keyindex{tbbbbbbl}, -\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 -simplest lyrics. The extension \texttt{musixcho} is only for those -diehards who choose to ignore this advice}. Provides the following commands: -\keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight}, -\keyindex{Dtx} and \keyindex{Drtx} for two-line text, \keyindex{Ttx} and -\keyindex{Trtx} for three-line text, \keyindex{Qtx} and \keyindex{Qrtx} for -four-line text. To eliminate zigzagging lyrics lines, all multiple line texts -are automatically vertically justified with the macro \keyindex{ChroirStrut}, -defined as \verb|\vphantom{\^Wgjpqy}|. - -The macros \keyindex{tx}\verb|{|$text$\verb|}|, -\keyindex{rtx}\verb|{|$text$\verb|}| cause song text to be left-justified -on the insertion point rather then centered. - \keyindex{hf}\verb|{|$m$\verb|}| sets a text -continuation rule of length $m$ \verb|\noteskip|. - -Consult the source file {\tt musixdoc.tex} to see the coding of the following -example: - -\begin{music} -\tenrm -\parindent11.5mm -\braceheight5.4\Interligne\relax -%\rightline{Arr.: H.~W.~Eichholz} -\instrumentnumber2 -\generalsignature{-2} -\generalmeter{\meterfrac22} -\setclef1\bass -\relativeaccid -\setinterinstrument1{11\Interligne} -\songtop2 -\songbottom1 -\setname2{\vbox{\hsize\parindent\centerline{Sopran}\centerline{Alt}}} -\setname1{\vbox{\hsize\parindent\centerline{Tenor}\centerline{Bass}}} -\sepbarrules\nobarnumbers -\beforeruleskip-2pt -\startpiece -%% bar 1 -\znotes&\rlap{\kernm2em\Qrtx 1.|2.|3.|4.*}\en -\NOTes\sslur ILd1\sslur bNu1\zhl I\hu b% - &\Qtx\ixhf{Oh}|No|No|There'll*\issluru0f\sslur dad1\zhup f\hl d\en -\Notes\zhl L\hu N&\Qtx ~|more|more|~be*\hl{^c}\en -\NOtes&\tsslur0g\qu g\en -%%% bar 2 -\bar -\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql d\en -\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en -%%% bar 3 -\bar -\nspace -\NOTes\sslur JMd1\sslur bau1\zhl J\hu b% - &\Qtx\ixhf{oh}|no|no|there'll*\issluru0j\sslur edd1\zhup j\hl{^e}\en -\Notes\zhl M\hu a&\Qtx~|more|more|~be*\hl{=e}\en -\NOtes&\tsslur0k\qu k\en -%%% bar 4 -\bar -\NOtes\zql I\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu j\ql d\en -\NOTesp\lpt I\zhl I\hup b&\zhup i\hlp d\en -%%% bar 5 -\bar -\NOTesp\sslur IJd1\sslur bau1\lpt I\zhl I\hup b% - &\Qtx\ixhf{oh}|no|no|~there'll*\isslurd0f\issluru1j\zhup k\hlp f\en -\NOtes\zql J\qu a&\Qtx~|more|more|~be*\tsslur1f\zqu f\roff{\tsslur0e\ql e}\en -%%% bar 6 -\bar -\NOtes\zql K\qu b&\Qrtx\thf freedom,|weepin',|moanin',|singin',*\zqu i\ql f\en -\NOtes\zql J\qu b&\zqu i\ql e\en -\NOtes\zql I\qu b&\rlap{\kernm2\Internote\bigrbrace}\rtx~~~over*\zqu i\ql d\en -\NOtes\zql G\qu b&\zqu k\ql f\en -%%% bar 7 -\bar -\nspace -\NOTes\zhl J\hu b\caesura&\tx ~me,*\zhu j\hl{^e}\caesura\en -\Notes\zcl J\cu b&\rtx ~over*\zcu j\cl e\en -\NOtesp\zqlp J\qup b&\zqup k\lpt e\ql e\en -\endpiece -\end{music} - -\subsection{musixcpt} - -Empowers \musixtex\ to run files created under -Musi\textbf{c}TeX, the predecessor of \musixtex, such as some of the examples -provided by Dani\"el {\sc Taupin}. It is not needed for any files created -under \musixtex, and is included mainly for historical completeness. - -\subsection{musixdat} -Enables the command \keyindex{today}, which sets the current date in one of -several possible languages. The language is selected by an optional - preparatory command \verb|\date...|. -The default is \keyindex{dateUSenglish}, but this can changed, either at the -end of \ttxem{musixdat.tex} for a permanant change, or right before issuing -\verb|\today|. Available choices and sample results are summarized below: -\smallskip -\begin{quote}\begin{tabular}{ll}\hline -\verb|\dateUSenglish|&\dateUSenglish\today\\ -\verb|\dateaustrian|&\dateaustrian\today\\ -\verb|\dateenglish|&\dateenglish\today\\ -\verb|\datefrench|&\datefrench\today\\ -\verb|\dategerman|&\dategerman\today\\\hline -\end{tabular}\end{quote} - -\subsection{musixdbr} -Enables dashed and dotted bar lines (see \ref{musixdbr}). - -\subsection{musixdia}\label{diam} -Enables notes with diamond-shaped heads as follows: -\begin{itemize}\setlength{\itemsep}{0ex} - \item Solid note heads (\raise.5ex\hbox to .6em{\musixchar37}) are obtained -using the macros - \keyindex{yqu}, \keyindex{yqup}, -\keyindex{yqupp}, \keyindex{yql}, \keyindex{yqlp}, \keyindex{yqlpp}, -\keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp}, \keyindex{yqb}, -\keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu}, -\keyindex{ycl}, \keyindex{yccl}, \keyindex{ycccl}, \keyindex{yccccl}, -\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}. -(Think of d{\it y}\kern.5pt amond). A solid diamond with no stem is obtained -with \keyindex{ynq} (spacing) or \keyindex{yznq} (non-spacing). - \item Open note heads (\raise.5ex\hbox to .6em{\musixchar38}) are obtained -using the macros -\keyindex{dqu}, \keyindex{dqup}, -\keyindex{dqupp}, \keyindex{dql}, \keyindex{dqlp}, \keyindex{dqlpp}, -\keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp}, \keyindex{dqb}, -\keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu}, -\keyindex{dcl}, \keyindex{dccl}, \keyindex{dcccl}, \keyindex{dccccl}, -\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}. -(Think of {\it d}\kern.5pt iamond). -An open diamond with no stem is obtained -with \keyindex{dnq} (spacing) or \keyindex{dznq} (non-spacing). - \end{itemize} - -One use of these note heads is for a string part with \itxem{harmonic notes}. -%(see \ref{othernotes}) -% DAS removed description which was misplaced in the samll=notes section 2.18 4/30/06 -For example, - -\begin{music} -\parindent0pt -\generalsignature{-2} -\generalmeter\allabreve -\startextract -\NOTes\dzq o\zh d\hu h\enotes -\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\bar -\NOTes\dzq o\zh d\hl h\enotes -\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\endextract -\end{music} -\noindent was coded as follows: -\begin{quote}\begin{verbatim} -\generalsignature{-2} -\generalmeter\allabreve -\startextract -\NOTes\dzq o\zh d\hu h\enotes -\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\bar -\NOTes\dzq o\zh d\hl h\enotes -\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\endextract -\end{verbatim}\end{quote} - -Another use is for percussion parts. In fact the file \verb|musixdia.tex| -is automatically loaded if you input {\tt musixper.tex} (see \ref{perc}). - - \subsection{musixeng} - This package is provided for music typesetters who are allergic to the default -rest names, which are -taken from French, German or Italian. It does not provide new features, only -new command names: -\medskip - \begin{quote}\begin{tabular}{ll}\hline -\ital{original}&\ital{alternate}\\\hline -\keyindex{PAUSe}&\keyindex{Qwr}\\ -\keyindex{PAuse}&\keyindex{Dwr}\\ -\keyindex{liftpause}&\keyindex{liftwr}\\ -\keyindex{pausep}&\keyindex{wrp}\\ -\keyindex{pause}&\keyindex{wr}\\ -\keyindex{lifthpause}&\keyindex{lifthr}\\ -\keyindex{hpausep}&\keyindex{hrp}\\ -\keyindex{hpause}&\keyindex{hr}\\ -\keyindex{qp}&\keyindex{qr}\\ -\keyindex{ds}&\keyindex{er}\\ -\keyindex{qs}&\keyindex{eer}\\ -\keyindex{hs}&\keyindex{eeer}\\ -\keyindex{qqs}&\keyindex{eeeer}\\\hline -\end{tabular}\end{quote} - -\subsection{musixext} -Defines the following two specific macros: - -\keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~, which provides a glissando -starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with -slope {\it s} (ranging from -8 to 8). - -\keyindex{raggedstoppiece}~, which inhibits right-justification of the last -line of a score. - - \subsection{musixf{}l{}l} - \input musixfll - Enables modification of \ixem{ledger lines}. Ledger lines normally exceed the -width of a note head by 25 percent in each direction. If the space between -notes is insufficient, the ledger lines of -consecutive notes may meet, creating visual ambiguities. Therefore, -\musixtex{} shortens the -ledger lines if notes are set so close together that the ledger lines may -meet. But because \musixtex{} does not know whether consecutive notes need -ledger lines, this automatic shortening may be superfluous. The extension -file \ttxem{musixfll.tex} allows this feature to be switched off and on. -Upon inputting \verb|musixfll.tex|, the automatic shortening of ledger lines -is switched off. From then on, it may be switched on again using -\keyindex{autoledgerlines} and switched off again using -\keyindex{longledgerlines}. Both macros have global effect. - - The following example shows that narrowly set scales look better with -\keyindex{autoledgerlines} (the default behavior), while single notes -requiring ledger lines look better with \keyindex{longledgerlines}. -\medskip -\begin{music} -\startextract -\notes\multnoteskip{0.7}\Uptext{autoledgerlines}\autoledgerlines - \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% - \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% - \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% - \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en - \bar -\notes\multnoteskip{0.7}\Uptext{longledgerlines}\longledgerlines - \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% - \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% - \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% - \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en -\endextract -\autoledgerlines -\end{music} - - \subsection{musixgre}\label{gregnotes}\index{gregorian chant} - -% \subsection{Gregorian chant: staffs and clefs} -Gregorian chant is often coded using four line staffs -(see -%sections \ref{gregorian} and -section \ref{stafflinenumber}) and using special notes called -\itxem{neumes} (which are described later in this section). It also requires -special clefs. One way to substitute them for the modern ones is for example -with commands like - -\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef| - -\noindent or - -\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| , - -\noindent which will cause instrument number 3 to display the selected gregorian -clef. The standard clefs can be restored for every instrument with -\keyindex{resetclefsymbols}. Note that when using this method you must -specify whether to substitute for the bass or alto clef -symbol (there is no treble clef in gregorian -chant). The reason is that \musixtex\ selects and -raises the F and C clefs differently, according to the arguments of the -\keyindex{setclef} command. Therefore, if one had substituted any F clef -symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear -on the staff, but it would be set at the position of an alto clef, thus -seriously misleading the musician. - -Another method of clef substitution employs \keyindex{setclefsymbol} (see -section \ref{treblelowoct}), which substitutes the clef given by -the second argument \ital{for all clef symbols} of the instrument given by the first, -regardless of the actual musical meaning of the new clef symbol. This method is -generally appropriate only if you want to change the clef symbol(s) of -an instrument for the whole of the score. - - As an example, the same gregorian scale has been written with a gregorian C -clef on all four lines of the staff: - - \begin{music}\nostartrule - \parindent 19mm - \instrumentnumber{4} - \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} - \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} - \sepbarrules - \generalmeter{\empty} - \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} - \setaltoclefsymbol1\gregorianCclef - \setaltoclefsymbol2\gregorianCclef - \setaltoclefsymbol3\gregorianCclef - \setaltoclefsymbol4\gregorianCclef -\startextract -\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes -\zendextract -\end{music} - - The coding was: - \begin{verbatim} - \instrumentnumber{4} - \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} - \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} - \sepbarrules - \generalmeter{\empty} - \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} - \setaltoclefsymbol1\gregorianCclef - \setaltoclefsymbol2\gregorianCclef - \setaltoclefsymbol3\gregorianCclef - \setaltoclefsymbol4\gregorianCclef -\startextract -\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes -\zendextract - \end{verbatim} - -All of the special gregorian symbols available in \musixtex\ are described -in the following subsections. - -\subsubsection{Clefs} - -\begin{itemize}\setlength{\itemsep}{0ex} - \item Gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~= - \keyindex{gregorianCclef}, normally activated for instrument $n$ with the -command - \keyindex{setaltoclefsymbol}\itbrace{n}\keyindex{gregorianCclef} -\item Gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~= -\keyindex{gregorianFclef}, normally activated with the command -\keyindex{setbassclefsymbol}\itbrace{n}\keyindex{gregorianFclef} - \end{itemize} - - \subsubsection{Elementary symbols} - - - \begin{itemize}\setlength{\itemsep}{0ex} - - \item Diamond shaped \itxem{punctum} (This has a different shape compared to the -percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ = -\keyindex{diapunc}\pitchp\ . - \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ = -\keyindex{squ}\pitchp\ or \keyindex{punctum}\pitchp\ . - \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise -2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}\pitchp\ . - \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ = -\keyindex{rsqu}\pitchp\ or \keyindex{virga}\pitchp\ . - \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ = -\keyindex{apostropha}\pitchp\ . - \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ = -\keyindex{oriscus}\pitchp\ . - - \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ = -\keyindex{quilisma}\pitchp\ . - \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise -2.5pt\hbox{\xgregchar9}~ = -\keyindex{punctumauctup}\pitchp\ . - \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise -2.5pt\hbox{\xgregchar8}~ = -\keyindex{punctumauctdown}\pitchp\ . - \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}: -\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}\pitchp\ . - \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise -2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}\pitchp\ . - \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise -2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}\pitchp\ . - -\end{itemize} - All non-\ital{liquescens} symbols have non-spacing variants, namely -\keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu}, -\keyindex{zapostropha} and \keyindex{zoriscus}. - -\subsubsection{Plain complex neumes} -Other \itxem{neumes} can be obtained by combining two or more of these -symbols. Since \itxem{neumes} have a special note head width, an additional -shifting macro is provided, namely \keyindex{groff}. It is similar to -\verb|\roff|, but the offset is smaller. For use with comples neumes, another -shifting macro is provided, namely \keyindex{dgroff}, which causes an -offset twice the offset of \verb|\groff|. - - Since most of these symbols depend on relative pitches of their components, -we cannot provide all possible compact combinations as single symbols. The ones -that are available in \verb|musixgre| are described below. In the following, -$p_1$, $p_2$, $p_3$, and $p_4$ represent pitches specified as usual. Please refer to -the source file \verb|musixtex.tex| if you wish to see the coding of those -examples for which it is not quoted here. - -\def\twop{\itbrace{p_1}\itbrace{p_2}} -\def\threep{\twop\itbrace{p_3}} -\def\fourp{\threep\itbrace{p_4}} - -\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{bivirga}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \bivirga ab\enotes - \notes \bivirga cc\enotes - \zendextract - \end{music} - - This example was coded as: - \begin{quote}\begin{verbatim} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \bivirga ab\enotes - \notes \bivirga cc\enotes - \zendextract - \end{verbatim}\end{quote} - - \item[\keyindex{trivirga}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \trivirga abc\enotes - \Notes \trivirga cca\enotes - \zendextract - \end{music} - - \item[\keyindex{bistropha}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \bistropha ab\enotes - \notes \bistropha cc\enotes - \zendextract - \end{music} - - \item[\keyindex{tristropha}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \tristropha abc\enotes - \Notes \tristropha cca\enotes - \zendextract - \end{music} - - \item[\keyindex{clivis}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \clivis ba\enotes - \notes \clivis ca\enotes - \zendextract - \end{music} - - \item[\keyindex{lclivis}\twop], for example: - - \begin{music}\nostartrule - \setsize1{\Largevalue} - \elemskip 10pt - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \lclivis ba\enotes - \notes \lclivis ca\enotes - \zendextract - \end{music} - - \item[\keyindex{podatus}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \podatus ab\enotes - \notes \podatus ac\enotes - \notes \podatus cf\enotes - \zendextract - \end{music} - - \item[\keyindex{podatusinitiodebilis}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \podatusinitiodebilis ab\enotes - \notes \podatusinitiodebilis ac\enotes - \notes \podatusinitiodebilis cf\enotes - \zendextract - \end{music} - - \item[\keyindex{lpodatus}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \lpodatus ab\enotes - \notes \lpodatus ce\enotes - \zendextract - \end{music} - - \item[\keyindex{pesquassus}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \pesquassus ab\enotes - \notes \pesquassus ae\enotes - \zendextract - \end{music} - - \item[\keyindex{quilismapes}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \quilismapes ab\enotes - \notes \quilismapes ae\enotes - \zendextract - \end{music} - - \item[\keyindex{torculus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \torculus aba\enotes - \notes \torculus cfd\enotes - \notes \torculus afc\enotes - \zendextract - \end{music} - - \item[\keyindex{torculusinitiodebilis}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \torculusinitiodebilis aba\enotes - \notes \torculusinitiodebilis cfd\enotes - \notes \torculusinitiodebilis afc\enotes - \zendextract - \end{music} - - \item[\keyindex{Porrectus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \Porrectus bab\enotes - \notes \Porrectus bac\enotes - \notes \Porrectus bNd\enotes - \notes \Porrectus bMe\enotes - \notes \Porrectus bLe\enotes - \zendextract - \end{music} -\noindent coded: - \begin{quote}\begin{verbatim} - \notes \Porrectus bab\enotes - \notes \Porrectus bac\enotes - \notes \Porrectus bNd\enotes - \notes \Porrectus bMe\enotes - \notes \Porrectus bLe\enotes - \end{verbatim}\end{quote} - - \verb|\Porrectus| exists in four different shapes, depending on the -difference between first and second argument. The constraint is that - $$ p_1-4 \leq p_2 \leq p_1-1 $$ otherwise a diagnostic occurs. Note also that -\keyindex{bporrectus} provides the first curved part of the \verb|porrectus| -command, if you should need it. It has two arguments, the starting pitch and the lower -pitch. - - \item[\keyindex{Porrectusflexus}\fourp], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \Porrectusflexus bacN\enotes - \notes \Porrectusflexus bNdb\enotes - \notes \Porrectusflexus bMeb\enotes - \notes \Porrectusflexus bLea\enotes - \zendextract - \end{music} -\noindent coded: - \begin{quote}\begin{verbatim} - \notes \Porrectusflexus bacN\enotes - \notes \Porrectusflexus bNdb\enotes - \notes \Porrectusflexus bMeb\enotes - \notes \Porrectusflexus bLea\enotes - \end{verbatim}\end{quote} - - - \item[\keyindex{climacus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \climacus cbN\enotes - \Notes \climacus cba\enotes - \Notes \climacus dbN\enotes - \zendextract - \end{music} - - \item[\keyindex{climacusresupinus}\fourp], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \climacusresupinus cbNa\enotes - \Notes \climacusresupinus cbab\enotes - \Notes \climacusresupinus dbNb\enotes - \zendextract - \end{music} - - \item[\keyindex{lclimacus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} -\instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \lclimacus cbN\enotes - \notes \lclimacus cfd\enotes - \notes \lclimacus afc\enotes - \zendextract - \end{music} - - \item[\keyindex{scandicus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \scandicus abe\enotes - \notes \scandicus ceg\enotes - \zendextract - \end{music} - - \item[\keyindex{salicus}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \salicus abe\enotes - \Notes \salicus ceg\enotes - \zendextract - \end{music} - - \item[\keyindex{salicusflexus}\fourp], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \salicusflexus abec\enotes - \Notes \salicusflexus cegd\enotes - \zendextract - \end{music} - - \item[\keyindex{trigonus}\threep], -%DAS ???????????? -%for example\footnote{The second example is in principle irrelevant, -%but it shows the possibilities, in case of.}: -for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \trigonus aaN\enotes - \Notes \trigonus cef\enotes - \zendextract - \end{music} - -\end{description} - -\subsubsection{Liquescens complex neumes}\index{liquescens neumes} -\begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{clivisauctup}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \clivisauctup ba\enotes - \notes \clivisauctup ca\enotes - \zendextract - \end{music} - \item[\keyindex{clivisauctdown}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \clivisauctdown ba\enotes - \notes \clivisauctdown ca\enotes - \zendextract - \end{music} - \item[\keyindex{podatusauctup}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \podatusauctup ab\enotes - \notes \podatusauctup ac\enotes - \notes \podatusauctup cf\enotes - \zendextract - \end{music} - \item[\keyindex{podatusauctdown}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \podatusauctdown ab\enotes - \notes \podatusauctdown ac\enotes - \notes \podatusauctdown cf\enotes - \zendextract - \end{music} - - \item[\keyindex{pesquassusauctdown}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \pesquassusauctdown ab\enotes - \notes \pesquassusauctdown ae\enotes - \zendextract - \end{music} - - \item[\keyindex{quilismapesauctdown}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \quilismapesauctdown ab\enotes - \notes \quilismapesauctdown ae\enotes - \zendextract - \end{music} - - \item[\keyindex{torculusauctdown}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \torculusauctdown aba\enotes - \notes \torculusauctdown cfd\enotes - \notes \torculusauctdown afc\enotes - \zendextract - \end{music} - - \item[\keyindex{Porrectusauctdown}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \Porrectusauctdown bac\enotes - \notes \Porrectusauctdown bNd\enotes - \notes \Porrectusauctdown bMe\enotes - \notes \Porrectusauctdown bLe\enotes - \zendextract - \end{music} - - \item[\keyindex{climacusauctdown}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \climacusauctdown cbN\enotes - \Notes \climacusauctdown caM\enotes - \Notes \climacusauctdown aNM\enotes - \zendextract - \end{music} - - \item[\keyindex{scandicusauctdown}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \scandicusauctdown abe\enotes - \notes \scandicusauctdown ceg\enotes - \zendextract - \end{music} - - \item[\keyindex{salicusauctdown}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \salicusauctdown abe\enotes - \Notes \salicusauctdown ceg\enotes - \zendextract - \end{music} - - \item[\keyindex{clivisdeminut}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \setsize1{\Largevalue} - \instrumentnumber 1 - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \clivisdeminut ba\enotes - \notes \clivisdeminut ca\enotes - \zendextract - \end{music} - - \item[\keyindex{podatusdeminut}\twop], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \podatusdeminut ab\enotes - \notes \podatusdeminut ac\enotes - \notes \podatusdeminut cf\enotes - \zendextract - \end{music} - - \item[\keyindex{torculusdeminut}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \torculusdeminut aba\enotes - \notes \torculusdeminut cfd\enotes - \notes \torculusdeminut afc\enotes - \zendextract - \end{music} - - \item[\keyindex{torculusdebilis}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \torculusdebilis aba\enotes - \notes \torculusdebilis cfd\enotes - \notes \torculusdebilis afc\enotes - \zendextract - \end{music} - - \item[\keyindex{Porrectusdeminut}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \Porrectusdeminut bac\enotes - \notes \Porrectusdeminut bNd\enotes - \notes \Porrectusdeminut bMe\enotes - \notes \Porrectusdeminut bLe\enotes - \zendextract - \end{music} - - \item[\keyindex{climacusdeminut}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \Notes \climacusdeminut cbN\enotes - \Notes \climacusdeminut caM\enotes - \Notes \climacusdeminut aML\enotes - \zendextract - \end{music} - - \item[\keyindex{scandicusdeminut}\threep], for example: - - \begin{music}\nostartrule - \elemskip 10pt - \instrumentnumber 1 - \setsize1{\Largevalue} - \setstaffs 1 1 - \setlines 1 4 - \setclef 1{3000} - \setaltoclefsymbol 1 \gregorianCclef - \startextract - \notes \scandicusdeminut abe\enotes - \notes \scandicusdeminut ceg\enotes - \zendextract - \end{music} -\end{description} - -\subsection{musixgui}\ixtt{musixgui.tex} Provides macros for -typesetting modern style \itxem{guitar tablatures}. For example: - -\begin{music} -\hsize130mm -\tenrm -\parindent0pt -\generalmeter{\meterfrac34} -\generalsignature1 -\startbarno0 -\def\txh{-6.5} -\def\tx#1*{\zchar\txh{\lrlap{\kern3\Internote#1}}} -\def\rtx#1*{\zchar\txh{\kern-3\Internote#1}} -\stafftopmarg10\Interligne -\raiseguitar{20} -\nostartrule -\startpiece -\addspace{.5\afterruleskip}% -\NOtes\tx We*\qa d\en -\bar -\NOtes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx wish*\qa g\en -\Notes\tx you*\ca g\en -\Notes\tx a*\ca h\en -\Notes\zchar\txh{merry}\ca g\en -\Notes\ca f\en -\bar -\NOtes\guitar C5o-----\gbarre4\gdot26\gdot36\gdot45\rtx christmas,*\qa e\en -\NOtes\qa e\en -\NOtes\guitar {e/H}5o-----\gbarre3\gdot35\gdot45\gdot54\tx we*\qa e\en -\bar -\NOtes\guitar {A$\!^7$}5o-----\gbarre1\gdot23\gdot42\tx wish*\qa h\en -\Notes\tx you*\ca h\en -\Notes\tx a*\ca i\en -\Notes\zchar\txh{merry}\ca h\en -\Notes\ca g\en -\bar -\NOtes\guitar D{}xxo---\gdot42\gdot53\gdot62\rtx christmas,*\qa f\en -\NOtes\qa d\en -\zbar -\NOtes\guitar{D/c}{}xo----\gdot23\gdot42\gdot53\gdot62\tx we*\qa d\en -\bar -\NOtes\guitar{B$^7$}{}xo----\gdot22\gdot31\gdot42\gdot62\tx wish*\qa i\en -\Notes\tx you*\ca i\en -\Notes\tx a*\ca j\en -\Notes\tx ~mer-*\ca i\en -\Notes\tx ry*\ca h\en -\bar -\NOtes\guitar e{}xxo---\gdot32\tx ~christ-*\qa g\en -\NOtes\tx mas*\qa e\en -\Notes\guitar {G/d}{}xxo---\gdot63\tx and*\ca d\en -\Notes\tx a*\ca d\en -\bar -\NOtes\guitar{C$^6$}{}xo----\gdot23\gdot32\gdot42\gdot51\tx ~~hap~-*\qa e\en -\NOtes\tx py*\qa h\en -\NOtes\guitar{D$^7$}{}xo---x\gdot25\gdot34\gdot45\gdot45\gdot53\tx new*\qa f\en -\bar -\NOTes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx ~year.*\ha g\en -\setdoublebar\endpiece -\end{music} - -\medskip -The macro \keyindex{guitar} sets the grid, chord name, barre type, -and on-off indicators for the strings. For example, the first -chord in above example was coded as - -\verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44| - -\noindent where the first argument is the text to be placed above the grid, the -second is empty (relative barre), and the next six characters indicate if the string -is played or not with either \verb|x|, \verb|o| or \verb|-|. The dots are set with -\keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The -rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the position of the barre. - -The whole symbol may be vertically shifted with -\keyindex{raiseguitar}\onen, where $n$ is a number -in units of \keyindex{internote}. When using guitar tablatures, it might be -useful to reserve additional -space above the chord by advancing \keyindex{stafftopmarg} to -something like \verb|stafftopmarg=10\Interligne|. - -For frequently used chords, it might be useful to define your own -macros, e.g. - -\verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%| - - \subsection{musixlit}\label{litu}\label{otherbars} - Provides a notation style intermediate between gregorian and baroque, for -example - -\makeatletter -\catcodesmusic -%\def\vnotes#1\elemskip{\noteskip#1\@l@mskip \multnoteskip\scal@noteskip -% \not@s} - -%\def\not@s{\def|{\nextstaff}\def&{\nextinstrument}\normaltranspose\transpose -% \check@nopen\notes@open\@ne -% \kern\n@skip\advance\x@skip\n@skip \locx@skip\x@skip -% \n@skip\noteskip \noinstrum@nt\z@ \begininstrument} - -%\def\en{\@ndstaff\notes@open\z@ -% \ifx\@ne\V@sw \widthtyp@\z@\t@rmskip \let\V@sw\empty \fi} - -\def\double#1{\roffset{1.2}{\advancefalse#1}#1} -\makeatother - - % Don't know if this example correct ??? But looks nice... -\begin{music} -\parindent0pt -\instrumentnumber{2} -\interstaff{11} -\generalsignature2 -\setclefsymbol2\oldGclef -\setstaffs1{2} -\setclef1\bass -\setinterinstrument1{-\Interligne} -\startpiece -\shortbarrules -\addspace\afterruleskip -\hardlyrics{Il nous a sign\'es de son - }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics*\Hpause h1\en -\qspace\qspace -\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\double{\cnql i}\en -\bar -\hardlyrics{Et nous avons \'e- - }\notes\zw d\wh K|\zw f\wh h&\rtx\thelyrics~-*\Hpause h1\en -\qspace\qspace -\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\double{\cnql i}\en -\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cnqu g\en -\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cnqu f\en -\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\double{\cnqu h}\en -\bar -\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cnqu h\en -\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cnql k\en -\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\double{\cnql j}\en -\bar -\NOTEs\zhl K\hu a|\zhl f\hu k&\tx ~~ia !*\cnhl k\en -\sepbarrules -\endpiece - -\startpiece -\interbarrules -\addspace\afterruleskip -\hardlyrics{Il nous a sign\'es de son - }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics*\Hlonga h1\en -\qspace\qspace -\NOTes\zhl N\hu d|\zhl g\hu i&\tx sang*\chl i\en -\bar -\hardlyrics{Et nous avons \'e - }\notes\zw d\wh K|\zw f\wh h&\rtx \thelyrics~-*\Hlonga h1\en -\qspace\qspace -\NOTes\zhl M\hu c|\zhl f\hu h&\rtx t\'e*\chl i\en -\NOtes\zql L\qu e|\zql b\qu g&\tx ~pro-*\cqu g\en -\NOtes\zql b\qu d|\zql d\qu f&\tx ~t\'e-*\cqu f\en -\NOTes\zhl a\hu c|\zhl e\hu h&\tx g\'es.*\chu h\en -\bar -\NOtes\zql M\qu d|\zql d\qu h&\tx ~~Al~-*\cqu h\en -\NOtes\zql K\qu a|\zql f\qu k&\tx ~~le~-*\cql k\en -\NOTes\zhl H\hu a|\zhl e\hu j&\tx ~~lu~-*\chl j\en -\bar -\NOTEs\zbreve K\breve a|\zbreve f\breve k&\tx ~~ia !*\zbreve k\en -\sepbarrules -\endpiece -\end{music} - - This package provides: - \begin{itemize}\setlength{\itemsep}{0ex} - \item\keyindex{oldGclef} which replaces the ordinary G clef with an old one, -using (for instrument 2 as an example): - \verb|\settrebleclefsymbol2\oldGclef| - - \item\keyindex{cqu} $p$ provides a square headed quarter note with stem up at -pitch $p$. - - \item\keyindex{cql} $p$ provides a square headed quarter note with stem down at -pitch $p$. - - \item\keyindex{chu} $p$ provides a square headed half note with stem up at -pitch $p$. - - \item\keyindex{chl} $p$ provides a square headed half note with stem down at -pitch $p$. - - \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square -headed -quarter note at pitch $p$. - - \item\keyindex{cnhu} $p$ and \keyindex{cnhl} $p$ provide a stemless square -headed half note at pitch $p$. - - \item\keyindex{Hpause} $p$ $n$ provides an arbitrary length pause at pitch -$p$ and of length $n$ \keyindex{noteskip}. However, in the first of the above -example, this feature has been used to denote an arbitrary length note rather -than a rest! - - \item\keyindex{Hlonga} $p$ $n$ provides an arbitrary length note at pitch -$p$ and of length $n$ \keyindex{noteskip}. -This feature has been used to denote an arbitrary length note in the second of -the above examples. - - \item\keyindex{shortbarrules} has been used to provide bar rules shorter than -the staff vertical width. - - \item\keyindex{interbarrules} has been used to provide bars between the -staffs, rather that over them. This is an arbitrary question of taste... - \end{itemize} - - \subsection{musixlyr} \ixtt{musixlyr.tex} - Enables the recommended method for adding lyrics to a score (see \ref{musixlyr}). - - \subsection{musixmad} \ixtt{musixmad.tex} Increases the number of -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} - -Provides special symbols intended for percussion parts. Included are a -\ital{drum clef}---comprising two vertical parallel lines---and notes with -various specially shaped heads. The note symbols that are available are as -follows: - - \begin{itemize}\setlength{\itemsep}{0ex} - \item The \raise.5ex\hbox{\musixchar113}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|dc|'' (think of {\it d}iagonal {\it c}ross). -Available are -\keyindex{dcqu}, -\keyindex{dcql}, -\keyindex{dcqb}, -\keyindex{dczq}, -\keyindex{dccu}, -\keyindex{dcccu}, -\keyindex{dccl} and -\keyindex{dcccl}. - - \item The \raise.5ex\hbox{\musixchar112}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|dh|'' -(think of {\it d}iagonal cross {\it h}alf open). -Available are -\keyindex{dhqu}, -\keyindex{dhql}, -\keyindex{dhqb}, -\keyindex{dhzq}, -\keyindex{dhcu}, -\keyindex{dhccu}, -\keyindex{dhcl} and -\keyindex{dhccl}. - - \item The \raise.5ex\hbox{\musixchar111}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|do|'' -(think of {\it d}iagonal cross {\it o}pen). -Available are -\keyindex{doqu}, -\keyindex{doql}, -\keyindex{doqb}, -\keyindex{dozq}, -\keyindex{docu}, -\keyindex{doccu}, -\keyindex{docl} and -\keyindex{doccl}. - - \item The \raise.5ex\hbox{\musixchar114}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by -``\verb|x|'' (e.g.\ for spoken text of songs). -Available are -\keyindex{xqu}, -\keyindex{xql}, -\keyindex{xqb}, -\keyindex{xzq}, -\keyindex{xcu}, -\keyindex{xccu}, -\keyindex{xcl} and -\keyindex{xccl}. - - \item The \raise.5ex\hbox{\musixchar115}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by -``\verb|ox|'' . -Available are -\keyindex{oxqu}, -\keyindex{oxql}, -\keyindex{oxqb}, -\keyindex{oxzq}, -\keyindex{oxcu}, -\keyindex{oxccu}, -\keyindex{oxcl} and -\keyindex{oxccl}. - - \item The \raise.5ex\hbox{\musixchar118}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by -``\verb|ro|'' (think of {\it r}h{\it o}mbus). -Available are -\keyindex{roqu}, -\keyindex{roql}, -\keyindex{roqb}, -\keyindex{rozq}, -\keyindex{rocu}, -\keyindex{roccu}, -\keyindex{rocl} and -\keyindex{roccl}. - - \item The \raise.5ex\hbox{\musixchar116}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by -``\verb|tg|'' (think of {\it t}rian{\it g}le). -Available are -\keyindex{tgqu}, -\keyindex{tgql}, -\keyindex{tgqb}, -\keyindex{tgzq}, -\keyindex{tgcu}, -\keyindex{tgccu}, -\keyindex{tgcl} and -\keyindex{tgccl}. - - \item The \raise.5ex\hbox to 1em{\musixchar117\hfil}~{}~symbol which is obtained -using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded by -``\verb|k|'' . -Available are -\keyindex{kqu}, -\keyindex{kql}, -\keyindex{kqb}, -\keyindex{kzq}, -\keyindex{kcu}, -\keyindex{kccu}, -\keyindex{kcl} and -\keyindex{kccl}. - \end{itemize} - -The diamond shaped noteheads described in section \ref{diam} are also -available, because \verb|musixper.tex| inputs \verb|musixdia.tex|. - -If any of the foregoing notes need to be dotted, you must use the explicit -dotting macros \verb|\pt|, \verb|\ppt|, or \verb|\pppt| as described in -section \ref{dots}. - -Since the usage of these note symbols is -not standardized, it would be wise to include in the score a explanation -of which symbol corresponds to which specific percussion instrument. - -A special \itxem{drum clef}---comprising two heavy vertical bars---can -be made to replace the normal clef for the $n$-th intrument by saying -\keyindex{setclefsymbol}\onen\keyindex{drumclef} . -To cause this to appear at the right vertical position, the instrument should -previously have been assigned a treble clef (or not explicitly assigned any -clef, thereby giving it a treble clef by default). - -Percussion music might be written on a staff with either one or five lines. -If there are several different percussions instruments it may be useful to -use a five-line staff with a drum clef, and differentiate the instruments -by the type of the note heads and the apparent -pitch of the note on the staff. Here is an example of the -latter\footnote{provided by Agusti {\sc Mart\'in Domingo}}: - -\medskip -\begin{music} -\generalmeter{\meterfrac44} -\setclefsymbol1\drumclef -\parindent0pt\startpiece -\leftrepeat -\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\bar -\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\bar -\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\setrightrepeat\endpiece -\end{music} -\noindent Its coding is - \begin{quote}\begin{verbatim} -\begin{music} -\instrumentnumber{1} -\generalmeter{\meterfrac44} -\setclefsymbol1\drumclef -\parindent0pt\startpiece -\leftrepeat -\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\bar -\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\bar -\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\setrightrepeat\endpiece -\end{music} - \end{verbatim}\end{quote} - -Here is an example of a single-line percussion staff using -diamond-shaped note heads: - -\begin{music} -\parindent 19mm -\instrumentnumber{3} -\setname1{keyboard} \setname2{drum} \setname3{monks} -\setlines2{1} -\setlines3{4} -\setinterinstrument1{-2\Interligne}% less vertical space above -\setinterinstrument2{-2\Interligne}% and below the percussion -\sepbarrules -\setsign1{-1} % one flat at keyboard -\generalmeter{\meterfrac24} -\setmeter3\empty -\setclef3\alto -\setclef1\bass -\setstaffs12 % 2 staffs at keyboard -\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3 -\setclefsymbol2\drumclef % cancel G clef at instrument 2 -\startextract -\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar -\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes -\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\enotes\bar -\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes -\endextract -\end{music} -\noindent which is coded as follows: - -\begin{verbatim} -\parindent 19mm -\instrumentnumber{3} -\setname1{keyboard} \setname2{drum} \setname3{monks} -\setlines2{1} -\setlines3{4} -\setinterinstrument1{-2\Interligne}% less vertical space above -\setinterinstrument2{-2\Interligne}% and below the percussion -\sepbarrules -\setsign1{-1} % one flat at keyboard -\generalmeter{\meterfrac24} -\setmeter3{\empty} -\setclef3{\alto} -\setclef1{\bass} -\setstaffs1{2} % 2 staffs at keyboard -\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3 -\setclefsymbol2{\drumclef} % cancel G clef at instrument 2 -\startextract -\end{verbatim} - -% (DAS) Sorry, guys, I couldn't figure out how to get the |'s to work in this -% verbatim. -% -\vskip-11pt -\def\Vert{{\tt\char'174}} -\noindent\verb|\Notes\hu F|\Vert\verb|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar|\\ -\verb|\NOtes\qu I|\Vert\verb|\zq N\qu d&\qp&\diapunc f\enotes|\\ -\verb|\NOtes\qu J|\Vert\verb|\zq a\qu e&\ynq4&\diapunc f\enotes\bar|\\ -\verb|\notes\hu G|\Vert\verb|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes|\\ -\verb|\endextract| - - \subsection{musixpoi} - Adds definitions of less common singly and doubly dotted notes. -Available are -\keyindex{ccup}, -\keyindex{zccup}, -\keyindex{cclp}, -\keyindex{zcclp}, -\keyindex{ccupp}, -\keyindex{zccupp}, -\keyindex{cclpp}, -\keyindex{zcclpp}, -\keyindex{cccup}, -\keyindex{zcccup}, -\keyindex{ccclp}, -\keyindex{zccclp}, -\keyindex{cccupp}, -\keyindex{zcccupp}, -\keyindex{ccclpp}, -\keyindex{zccclpp}, -\keyindex{ccccup}, -\keyindex{zccccup}, -\keyindex{cccclp}, -\keyindex{zcccclp}, -\keyindex{ccccupp}, -\keyindex{zccccupp}, -\keyindex{cccclpp} and -\keyindex{zcccclpp}. - - %\check - \subsection{musixps}\label{musixps}\index{musixps@{\tt musixps.tex}} - Activates type K postscript slurs, ties, and hairpins (see \ref{PostscriptSlurs}). - - \subsection{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}} - Provides bowing and other symbols for \itxem{string instruments}\footnote{provided -by Werner {\sc Icking}}. The symbol can be posted at the desired position using - \verb|\zcharnote|\pitchp\verb|{|$command$\verb|}|. The available symbols and -their meanings are as follows: - -{\input musixstr -\begin{quote}\begin{description}\setlength{\itemsep}{0ex} - - \item[\hbox to 1em{\AB}~: \keyindex{AB} or \keyindex{downbow}] down-bow - - \item[\hbox to 1em{\AUF}~: \keyindex{AUF} or \keyindex{upbow}] up-bow - - \item[\hbox to 1em{\SP}~: \keyindex{SP}] at the top of bow - - \item[\hbox to 1em{\FR}~: \keyindex{FR}] at the nut of bow - - \item[\GB\ or \Gb~: \keyindex{GB} or \keyindex{Gb}] whole bow - - \item[\UH\ or \Uh~: \keyindex{UH} or \keyindex{Uh}] lower half of bow - - \item[\OH\ or \Oh~: \keyindex{OH} or \keyindex{Oh}] upper half of bow - - \item[\MI\ or \Mi~: \keyindex{MI} or \keyindex{Mi}] middle of bow - - \item[\UD\ or \Ud~: \keyindex{UD} or \keyindex{Ud}] lower third of bow - - \item[\OD\ or \Od~: \keyindex{OD} or \keyindex{Od}] upper third of bow - - \item[\Pizz~: \keyindex{Pizz}] left hand pizzicato or trill - - \end{description}\end{quote} - } - %\check - \subsection{musixsty}\index{musixsty@{\tt musixsty.tex}} - - Provides certain text-handling facilities for titles, footnotes, and other -items not related to lyrics. It should not be used with \LaTeX. It includes - \begin{itemize}\setlength{\itemsep}{0ex} - \item definitions for commonly used fonts such as \verb|\tenrm|, -\verb|\eightrm|, etc.; - \item definitions of \keyindex{hsize}, \keyindex{vsize}, -\keyindex{hoffset}, \keyindex{voffset} suitable for A4 paper; those using -other sizes may wish to modify it once and for all; - \item a set of text size commands: - - \begin{description}\setlength{\itemsep}{0ex} - \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm}, -\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 8 point font size; - \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm}, -\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 10 point font size; - \item[\keyindex{twlpoint}] to get 12 point font size; - \item[\keyindex{frtpoint}] to get 14.4 point font size; - \item[\keyindex{svtpoint}] to get 17.28 point font size; - \item[\keyindex{twtypoint}] to get 20.74 point font size; - \item[\keyindex{twfvpoint}] to get 24.88 point font size; - \end{description} - \item commands for creating titles: - \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{author} or -\keyindex{fullauthor} to be put at the right of the first page, below the -title of the piece; the calling sequence is, for example - - \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}| - - \noindent where the \verb|\\| causes the author's name to be displayed on -two lines; - - \item \keyindex{shortauthor} to be put at the bottom of each page; - \item \keyindex{fulltitle} which is the main title of the piece; - \item \keyindex{subtitle} is displayed below the main title of the piece; - \item \keyindex{shorttitle} or \keyindex{title} - which is the title repeated at the bottom of each page; - \item \keyindex{othermention} which is displayed on the left of the page, -vertically aligned with author's name. It may contain \verb|\\| to display it on -several lines; - \item \keyindex{maketitle} which displays all the previous stuff; - \end{itemize} - - \item commands for making \itxem{footnotes}: - \begin{itemize}\setlength{\itemsep}{0ex} - \item The normal Plain-\TeX\ \keyindex{footnote} command, which has two -arguments---not just one as in \LaTeX\protect\index{LATEX@\LaTeX}---namely -the label of the footnote, which can be any sequence of characters, and -the text of the footnote. This command does not work inside -boxes, so it cannot be issued within music; - - \item The \keyindex{Footnote} command, which counts the footnotes and uses a -number as the label of the footnote (equivalent to \LaTeX's \verb|\footnote| -command). The same restriction as with \verb|\footnote| applies concerning -its use within the music coding; - - \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which -places a footnote at the bottom of the current page, but does not put -the footnote label at the place the command is entered in the main text. This -also may not be used within music, but if a footnote is needed whose reference -lies inside the music, it can be entered in two steps: - \begin{enumerate} - \item manually insert the reference inside the music, using e.g. \verb|zcharnote|; - \item post the footnote itself with \verb|\vfootnote| outside the music, -either before \keyindex{startpiece} or between \keyindex{stoppiece} and -\keyindex{contpiece} or equivalent commands. - \end{enumerate} - - \end{itemize} - - \end{itemize} - - \subsection{musixtmr}\index{musixtmr@{\tt musixtmr.tex}} - Replaces the standard \texttt{musixtex} fonts by the Times series fonts, - as default (see \ref{musixtmr}). - - \subsection{musixtri}\index{musixtri@{\tt musixtri.tex}} -Provides triply dotted note symbols. -Available are: -\keyindex{lpppt}, -\keyindex{whppp}, -\keyindex{zwppp}, -\keyindex{huppp}, -\keyindex{hlppp}, -\keyindex{zhppp}, -\keyindex{zhuppp}, -\keyindex{zhlppp}, -\keyindex{quppp}, -\keyindex{qlppp}, -\keyindex{zquppp}, -\keyindex{zqlppp}, -\keyindex{zqppp}, -\keyindex{cuppp}, -\keyindex{zcuppp}, -\keyindex{clppp}, -\keyindex{zclppp}, -\keyindex{qbppp} and -\keyindex{zqbppp}. - - \subsection{tuplet}\index{tuplet@{\tt tuplet.tex}} - Causes the figure in xtuplets to be printed within a small gap in the bracket -(see \ref{tuplet}). - -% DAS Discussed elsewhere -%\section{The \TeX-music Mailing List} -% -%If you decide to learn to use \musixtex, you are likely to wish that there were -%someone to answer your questions. That is exactly what you'll find on the \TeX-music -%mailing list: experts from all over the world with lots of experience with -%\musixtex{} and related software, who are glad to answer questions and help solve -%problems. You can find out more about the list and sign up at -%\href{http://icking-music-archive.org/mailman/listinfo/tex-music} -%{\underline{\tt http://icking-music-archive.org/mailman/listinfo/tex-music}}. - - -\chapter{Acquiring, Installing, and Using \musixtex}\label{installation} - -This chapter will assume that \TeX\ -is installed. Most \unix\ or Linux systems come with \TeX\ already installed. -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. -% 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} - -As already mentioned, the home base for all matters related to \musixtex\ is -the Werner Icking Music Archive, at -\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}. -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|}}. 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. - -\subsection{Pre-installed \musixtex} -Many versions of \TeX\ include \musixtex\ as a package. The included version is likely -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} -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 -files must be placed in locations where \TeX\ can find them; - \item \TeX\ must be advised of the locations of those files; - \item If you are installing any postscript fonts, you'll have to add a map -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. -\end{itemize} - - -\section{Running \musixtex} - -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}. - -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} - -The file \verb|musixdoc.tex|, the source for this manual, contains many useful -examples. In the manual, many examples are accompanied by a display of the code -that produced them, while for a few only an image of the extract is included and you'll -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 \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 -most DVI previewers and laser printers have -their origin one inch below and one inch to the right of the upper right corner -of the paper, while the musical examples have their upper left -corner just one centimeter to the right and below the top left corner of the page. -Therefore, special parameters may have to be given to the DVI transcription -programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\ -commands have been included within the \TeX\ source. - -\section{Small examples} - -\begin{itemize}\setlength{\itemsep}{0ex} - -\item{\tt ossiaexa.tex}~: This is a stand-alone example of the use of ossia, -provided by Olivier Vogel (section \ref{ossia} on page \pageref{ossia}). - -\item{\tt 8bitchar.tex}~: Using 8bit characters. Here, the European -character set is used. See section \ref{8bit} on page \pageref{8bit} for other sets. - -\end{itemize} - -\section{Full examples} -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} -{\underline{\texttt{musixexa-T112.tar.gz}}}. Some of them require the -presence of \verb|musixcpt.tex| which makes examples created in -Music\TeX\ compatible with \musixtex. Here we only mention a few of -special interest. - -\subsection{Examples mentioned in the manual} - -\begin{itemize}\setlength{\itemsep}{0ex} - \item{\tt avemaria.tex}~: the ``M\'editation'' (alias ``Ave Maria'') by -Charles {\sc Gounod} for organ and violin or voice.\index{Gounod, C.@{\sc Gounod, C.}} -To run this five-page example you'll also need \texttt{avemariax.tex}. -It demonstrates the use of separated bar rules (section \ref{avemaria2}) -and the use of staves of different sizes (section \ref{avemaria}). -Also, an additional instrument is created for lyrics. This was a common -practice before the \texttt{musixlyr} package was created by Rainer Dunker. - - \item{\tt glorias.tex}~: a local melody for the French version of -\ital{Gloria in excelsis Deo}, a three-page piece demonstrating the use of the hardlyrics -commands (section \ref{glorias}). {\tt gloriab.tex} is the same piece, but with organ accompaniment. - -\end{itemize} - -\subsection{Other examples, provided by the authors of \musixtex } - -\begin{itemize}\setlength{\itemsep}{0ex} - - \item{\tt traeumer.tex}~: the famous ``Tr\"aumerei'' by -Robert {\sc Schumann}\index{Schumann, R.@{\sc Schumann, R.}} for piano, in genuine -\musixtex\ but with some -additions to perform ascending bitmapped \itxem{crescendos}. -There are also S-shaped slurs between 2 staves. - - \item{\tt parnasum.tex}~: the first page of ``Doctor gradus ad -Parnassum'' by Claude {\sc Debussy}\index{Debussy, -C.@{\sc Debussy, C.}} for piano. -It contains a rather complex example of a new command \verb+\Special+ -to create staff-jumping doubly beamed notes. -\end{itemize} - -\subsection{Additional documentation} - -\begin{itemize}\setlength{\itemsep}{0ex} - - \item{\tt sottieng}~: Notation mistakes, provided by Jean-Pierre Coulon. - -\end{itemize} - -\section{Compiling musixdoc.tex} - -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 -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 -{\tt File\|Convert}, select \verb|pdfwrite| at 600 dpi resolution, and click -\verb|OK|. - -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 -\hoffset-15.4mm -\voffset-42mm -\hsize190mm -\vsize285mm -\parskip0pt plus 2pt -% not fine, not clean, but works -% !!! don't look at this !!! -%>>> -\makeatletter -\textheight\vsize -\@colht\vsize -\@colroom\vsize -\makeatother -%<<< -\let\MYTEMP\addcontentsline -\def\addcontentsline#1#2#3{} -\chapter{} -\let\addcontentsline\MYTEMP -\addcontentsline{toc}{chapter}{% - \protect\numberline\thechapter{Summary of denotations}} -\vglue-20mm -\centerline{\bigfont Pitches} -\medskip -\tentt -\def\bs{\tentt\char92} -\setclef1\bass -\afterruleskip2pt -\startpiece -% -% Pitches -% -\addspace\afterruleskip -\notes\wh{`ABCDEFG}\wh{!ABCDEFG}\wh{HIJKLMNabcde}\off{-26\noteskip}% - \zchar{14}{\llap`A}\sk - \zchar{14}{\llap`B}\sk - \zchar{14}{\llap`C}\sk - \zchar{14}{\llap`D}\sk - \zchar{14}{\llap`E}\sk - \zchar{14}{\llap`F}\sk - \zchar{14}{\llap`G}\sk - \zchar{14}A\sk - \zchar{14}B\sk - \zchar{14}C\sk - \zchar{14}D\sk - \zchar{14}E\sk - \zchar{14}F\sk - \zchar{14}G\sk - \zchar{-5}{\llap'A}\zchar{14}H\sk - \zchar{-5}{\llap'B}\zchar{14}I\sk - \zchar{-5}{\llap'C}\zchar{14}J\sk - \zchar{-5}{\llap'D}\zchar{14}K\sk - \zchar{-5}{\llap'E}\zchar{14}L\sk - \zchar{-5}{\llap'F}\zchar{14}M\sk - \zchar{-5}{\llap'G}\zchar{14}N\sk - \zchar{14}a\sk - \zchar{14}b\sk - \zchar{14}c\sk - \zchar{14}d\sk - \zchar{14}e\sk\en -\stoppiece\vskip-3\Interligne\setclef1\treble\contpiece -\notes\wh{abcdefg}\wh{hijklmno}\wh{pqrstuvwxyz}\off{-26\noteskip}% - \zchar{-8}a\sk - \zchar{-8}b\sk - \zchar{-8}c\sk - \zchar{-8}d\sk - \zchar{-8}e\sk - \zchar{-8}f\sk - \zchar{-8}g\sk - \zchar{-8}h\zchar{-4}{\llap'a}\sk - \zchar{-8}i\zchar{-4}{\llap'b}\sk - \zchar{-8}j\zchar{-4}{\llap'c}\sk - \zchar{-8}k\zchar{-4}{\llap'd}\sk - \zchar{-8}l\zchar{-4}{\llap'e}\sk - \zchar{-8}m\zchar{-4}{\llap'f}\sk - \zchar{-8}n\zchar{-4}{\llap'g}\sk - \zchar{-8}o\zchar{-4}{\llap{'\kern-2pt'}a}\sk - \zchar{-8}p\zchar{-4}{\llap{'\kern-2pt'}b}\sk - \zchar{-8}q\zchar{-4}{\llap{'\kern-2pt'}c}\sk - \zchar{-8}r\zchar{-4}{\llap{'\kern-2pt'}d}\sk - \zchar{-8}s\zchar{-4}{\llap{'\kern-2pt'}e}\sk - \zchar{-8}t\zchar{-4}{\llap{'\kern-2pt'}f}\sk - \zchar{-8}u\zchar{-4}{\llap{'\kern-2pt'}g}\sk - \zchar{-8}v\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}a}\sk - \zchar{-8}w\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}b}\sk - \zchar{-8}x\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}c}\sk - \zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk - \zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en -\stoppiece -\medskip -\centerline{\bigfont Notes, Accidentals, Accents, Clefs and Rests} -\medskip -% -% Notes& Accidentals -% -\contpiece -\Notes - \zchar{-4}{Accidentals:}% - \zchar9{\bs maxima}\maxima i\relax - \zchar{12}{\bs longa}\longa i% - \zchar9{\bs breve}\breve i% - \zchar{12}{\bs wq}\wq i% - \zchar{12}{\bs wqq}\wqq i% - \zchar{12}{\bs wh}\wh i% - \zchar{12}{\bs hu}\zchar{-4}>\hu{>f}% - \zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l% - \zchar{12}{\bs qu}\zchar{-4}\^\qu{^f}% - \zchar{12}{\bs ql}\loff{\zchar{-4}{\bs csh}}\csh l\ql l% - \zchar{12}{\bs cu}\zchar{-4}=\cu{=f}% - \zchar{12}{\bs cl}\loff{\zchar{-4}{\bs cna}}\cna l\cl l% - \zchar{12}{\bs ccu}\zchar{-4}\_\ccu{_f}% - \zchar{12}{\bs ccl}\loff{\zchar{-4}{\bs cfl}}\cfl l\ccl l% - \zchar{12}{\bs cccu}\zchar{-4}<\cccu{<f}% - \zchar{12}{\bs cccl}\loff{\zchar{-4}{\bs cdfl}}\cdfl l\cccl l% -\multnoteskip{1.2}% - \zchar{12}{\bs ccccu}\ccccu f% - \zchar{12}{\bs ccccl}\ccccl l% -\multnoteskip{.8}% - \zchar{12}{\bs grcu}\grcu f% - \zchar{12}{\bs grcl}\grcl l\en -\stoppiece -% -% various note heads -% -\contpiece -\Notes -\multnoteskip{1.1}% - \zchar{10}{\bs dqu$^{123}$}% - \zchar{-3}{\eightrm 1 musixdia.tex~~2 musixper.tex~~3 musixgre.tex% - ~~4 musixlit.tex~~5 musixext.tex}\dqu g% - \zchar{10}{\bs yqu$^{123}$}\yqu g% -\multnoteskip{.9}% - \zchar{10}{\bs dcqu$^2$}\dcqu g% - \zchar{10}{\bs dhqu$^2$}\dhqu g% - \zchar{10}{\bs doqu$^2$}\doqu g% - \zchar{10}{\bs xqu$^2$}\xqu g% - \zchar{10}{\bs oxqu$^2$}\oxqu g% - \zchar{10}{\bs roqu$^2$}\roqu g% - \zchar{10}{\bs tgqu$^2$}\tgqu f% - \zchar{10}{\bs kqu$^2$}\kqu f% - \zchar{10}{\bs squ$^3$}\squ g% - \zchar{10}{\bs lsqu$^3$}\lsqu j% - \zchar{10}{\bs rsqu$^3$}\rsqu k% - \zchar{10}{\bs cqu$^4$}\cqu g% - \zchar{10}{\bs cql$^4$}\cql k% - \zchar{10}{\bs chu$^4$}\chu g% - \zchar{10}{\bs chl$^4$}\chl k\en -% -% Pointed Notes and Accents -% -\stoppiece -\medskip -\contpiece -\Notes - \zchar{-5}{\eightrm Accent on beam with prefix {\tt b} and beam reference -number instead of the pitch}% - \zchar{13}{\bs lpz}\lpz f\qu f% - \zchar{13}{\bs upz}\upz l\ql l% - \zchar{13}{\bs lsf}\lsf f\qu f% - \zchar{13}{\bs usf}\usf l\ql l% - \zchar{13}{\bs lst}\lst f\qu f% - \zchar{13}{\bs ust}\ust l\ql l% - \zchar{13}{\bs lppz}\lppz f\qu f% - \zchar{13}{\bs uppz}\uppz l\ql l% - \zchar{13}{\bs lsfz}\lsfz f\qu f% - \zchar{13}{\bs usfz}\usfz l\ql l% - \zchar{13}{\bs lpzst}\lpzst f\qu f% - \zchar{13}{\bs upzst}\upzst l\ql l% - \zchar{16}{\bs downbow}\zchar9\downbow\ql l% - \zchar{13}{\bs upbow}\zchar9\upbow\ql l% - \zchar{16}{\bs flageolett}\flageolett l\ql l% - \zchar{13}{\bs whp}\whp i% - \zchar{13}{\bs qupp}\qupp h\en -\stoppiece -\medskip -% -% clefs -% -\setclefsymbol1\empty -%\setlines 11\relax -\nostartrule\contpiece -\NOtes - \zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk - \zchar9{\bs altoclef}\zchar0\altoclef\sk - \zchar{13}{\bs bassclef}\zchar0\bassclef\sk - \zchar9{\bs smalltrebleclef}\zchar0\smalltrebleclef\sk - \zchar{13}{\bs smallaltoclef}\zchar0\smallaltoclef\sk - \zchar9{\bs smallbassclef}\zchar0\smallbassclef\sk - \zchar{13}{\bs drumclef$^2$}\zchar0\drumclef\sk - \zchar9{\bs gregorianCclef$^3$}\zchar0\gregorianCclef\sk - \zchar{13}{\bs gregorianFclef$^3$}\zchar0\gregorianFclef\sk - \zchar9{\bs oldGclef$^4$}\zchar0\oldGclef\sk\en -\zstoppiece\smallskip -% -% Rests -% -\setlines 15\relax -\resetclefsymbols\startrule\contpiece -\NOtes -\multnoteskip{.5}% - \zchar{13}{\bs qqs}\qqs - \zchar{13}{\bs hs}\hs - \zchar{13}{\bs qs}\qs - \zchar{13}{\bs ds}\ds - \zchar{13}{\bs qp}\qp -\multnoteskip2% - \zchar{13}{\bs hpause}\hpause - \zchar{13}{\bs hpausep}\hpausep - \zchar{9}{\bs lifthpause}\roff{\lifthpause5}\sk - \zchar{13}{\bs pause}\pause - \zchar{13}{\bs pausep}\pausep - \zchar{9}{\bs liftpause}\roff{\liftpause4}\sk - \zchar{13}{\bs PAuse}\PAuse - \zchar{13}{\bs PAUSe}\PAUSe - \zchar{13}{\bs Hpause$^4$}\Hpause i{.8}\sk\en -\stoppiece\vskip-2\Interligne -% -\centerline{\bigfont Other Symbols} -\medskip -% -% more Symbols -% -\contpiece -\NOtes - \zchar{14}{\bs Trille}\zchar{-4}{\bs allabreve}\Trille n1% - \zchar0\allabreve\sk - \zchar{14}{\bs trille}\zchar{-4}{\bs meterC}\trille n1\zchar0\meterC\sk - \zchar{14}{\bs shake}\zchar{-4}{\bs reverseC}\shake n\zchar0\reverseC\sk - \zchar{14}{\bs Shake}\zchar{-4}{\bs reverseallabreve}\Shake n% - \zchar0\reverseallabreve\sk - \zchar{14}{\bs mordent}\mordent n\sk - \zchar{14}{\bs Mordent}\Mordent n\zchar{-4}{\bs meterplus}% - \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\sk -\multnoteskip{.66}% - \zchar{14}{\bs turn}\turn n\sk -\multnoteskip{1.25}% - \zchar{14}{\bs backturn}\backturn n\zchar{-4}{\bs duevolte}\duevolte\sk - \zchar{14}{\bs Shakel}\Shakel n\sk - \zchar{14}{\bs Shakesw}\Shakesw n\zchar{-4}{\bs l[r]par}% - \lpar f\rpar f{\stemlength4\qu f}% - \zchar{14}{\bs Shakene}\Shakene n\sk - \zchar{14}{\bs Shakenw}\Shakenw n\sk\en -\stoppiece -\medskip -% -% again -% -\contpiece -\NOtes\zchar9{\bs metron}\zchar{13}{\metron\qu{99}}\sk\en -\setvoltabox1\bar -\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en -\setvolta2\setendvolta\rightrepeat -\NOtes\loff{\zchar{17}{\bs setvolta}}\en -\doublebar -\notes\zchar{17}{\kern-\afterruleskip\bs coda}\coda n\en\bar -\notes\zchar{17}{\kern-\afterruleskip\bs Coda}\Coda n\en -\NOtes - \zchar{17}{\bs segno}\segno n\sk - \zchar{17}{\kern-2\afterruleskip\bs Segno}\Segno\hsk - \zchar{17}{\bs caesura}\sk\caesura - \zchar{17}{\bs cbreath}\cbreath\sk -\multnoteskip{.66}% - \zchar{17}{\bs PED}\PED\sk - \zchar{17}{\bs sPED}\sPED\sk - \zchar{17}{\bs DEP}\DEP\sk - \zchar{17}{\bs sDEP}\sDEP\sk\en -\stoppiece -\medskip -% -% and again ... -% -\contpiece -\Notes - \zchar{17}{\bs fermataup}\fermataup l% - \zchar{-8}{\bs fermatadown}\fermatadown f{\stemlength3\ql i}% - \zchar{13}{\bs Fermataup}\Fermataup l% - \zchar{-4}{\kern8pt\bs Fermatadown}\Fermatadown f\wh i% - \loff{\zchar{17}{\bs arpeggio d5}}\arpeggio d5\sk -\multnoteskip{.66}% - \loff{\zchar{13}{\bs bracket}}\bracket e{10}\zq n\ql e\en -\notes\stemlength3% - \zchar{17}{\bs uptrio}\uptrio{11}16\ql l\ql n\bsk\bsk - \zchar{-8}{\bs downtrio}\downtrio{-5}17\qu c\qu e\en -\Notes - \zchar{17}{\bs octfinup}\octfinup n{.8}% - \zchar{-4}{\bs octfindown}\octfindown K{.8}\sk\hsk - \zchar{17}{\bs slide$^5$}% - \slide i58\slide i57\slide i56\slide i55\slide i54% - \slide i53\slide i52\slide i51\slide i5{-1}% - \slide i5{-2}\slide i5{-3}\slide i5{-4}\slide i5{-5}% - \slide i5{-6}\slide i5{-7}\slide i5{-8}\sk\en -\leftrepeat -\Notes - \loffset2{\zchar{-4}{\bs leftrepeat}}% - \boxitsep=2pt\zchar{17}{\bs boxit A}\zchar9{\boxit A}\en -\leftrightrepeat -\Notes - \loffset2{\zchar{-8}{\bs leftrightrepeat}}% - \zchar{17}{\bs circleit B}\uptext{\circleit B}\en -\rightrepeat -\NOtes - \loffset2{\zchar{-4}{\bs rightrepeat}}\en -\endpiece\advance\textheight-40mm\eject% -\endmuflex -} - -%\makeatletter -%\renewenvironment{theindex}{\newpage -% \addcontentsline{toc}{chapter}{Index}% -% \pagestyle{plain} -% \let\item\@idxitem -% \parskip\z@ \@plus .3\p@\relax -% \begin{multicols}{2}[{\Huge\bfseries Index} ] -% \par\bigskip}% -%{\end{multicols}}% -%\makeatother -%\printindex - -\makeatletter -\renewenvironment{theindex}{\newpage - \setcounter{secnumdepth}{-1} - \chapter[Index]{}\vspace*{-3cm} -% \addcontentsline{toc}{chapter}{Index} - \pagestyle{plain} - \let\item\@idxitem - \parskip\z@ \@plus .3\p@\relax - \begin{multicols}{3}[{\Huge\bfseries Index} ] - \par\bigskip}% -{\end{multicols}}% -\makeatother - \printindex - -\end{document} |