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diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex new file mode 100644 index 00000000000..68d837a6ae5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex @@ -0,0 +1,8180 @@ +% +% 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. +% + +\ifx\documentclass\undefined + \documentstyle[twoside,11pt,musixdoc,multicol,backgrnd]{report} +\else + \documentclass[twoside,11pt]{report} + \usepackage{multicol} + \usepackage{musixdoc} + \usepackage{backgrnd} +% \usepackage{amsmath} +% \usepackage[emtex]{changebar} +\fi +\def\musictex{Music\TeX{}} + +\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 T.104~-- \today} +\author{\Large\rm Daniel \sc Taupin\\\large\sl + Laboratoire de Physique des Solides\\\normalsize\sl + (associ\'e au CNRS)\\\normalsize\sl + b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\ E-mail : {\tt +taupin@lps.u-psud.fr}\\\medskip + \\\Large\rm Ross \sc Mitchell\\\large\sl + CSIRO Division of Atmospheric Research,\\\normalsize\sl + Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip + \\\Large\rm Andreas \sc Egler\ddag\\\large\sl + (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum} +\date{} +%\show\maketitle +\let\endtitleORI\endtitlepage + \def\endtitlepage{\vfill\noindent $^\ddag$ {\it For personal reasons, Andreas +Egler decided to retire from authorship of this work. Nevertherless, he has +done an important work about that, and I decided to keep his name on this +first page. {\sc D. Taupin}}\endtitleORI} + \maketitle +\clearpage + %\check + +\thispagestyle{empty} + +\null +\vfill + +\begin{flushright}\it +%.. All the possible is done,\\ +%the impossible is being done,\\ +%for miracles I ask for some delay.\\[\smallskipamount] +%{\sc N.N.}\\[\bigskipamount] +%...~time after time~...\\[\smallskipamount] +%{\sc Cindy Lauper}\\[\bigskipamount] + If you are not familiar with \TeX{} at all\\ +I would recommend to find another software\\ +package to do musical typesetting.\\ +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] +{\sc Hans Kuykens} +\end{flushright} + +\begin{center} + Although one of the authors contested that point once the common work had +begun, \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 +{\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 definition. + + \end{center} + +\clearpage + +\setcounter{page}1 +\tableofcontents +\setcounter{secnumdepth}3 +\pagestyle{headings} + +\chapter{What is \musixtex{} ?} + +\hrule\smallskip +\section*{Preface} + +\noindent Dear user, + +This is still an imperfect version, which means that some features will be +added or corrected. However our intent is to avoid removing existing commands, +in order to spare your own adaptation problems or your typing time correcting +scores you already have in your archive. + + +Sections marked with a star, or paragraphs marked ``???'' or ``.!.'', indicate +either that text is partly missing, or that something might change at a +next release. + + \smallskip + \noindent{\bf Remarque, Bemerkung, Cuidado, etc.:} If you have problems +understanding technical musical terms in english, please look at: + +\begin{center} ftp://ftp.gmd.de/music/lists/glossary/glossary.ps \end{center} +which gives the translation of most terms into French, German, Dutch, Danish +and Swedish. This file {\tt glossary.eps.gz} is also included in the +distribution. +\index{glossary}\index{glossaire}\index{lexique}\index{traduction}\index{dictionnaire} + + \smallskip\hrule\medskip + + \musixtex\ is a set of \TeX\ macros to typeset polyphonic, orchestral or +polyphonic music. Therefore, it is mainly supposed to be used to type wide +scores -- just because true musicians seldom like to have to frequently turn +pages -- and this is not really compatible with \LaTeX's standard page +formats. Even with \verb|A4.sty|, the \verb|\textheight| and \verb|\textwidth| +are too small for musician needs. + + +However, a \LaTeX\ style has also been provided (and it is used for the +typing of the present paper) but this \verb|musixtex| style is fit for +musicographic books rather than for normal scores to be actually played. + + It should be emphasized that \musixtex\ is not intended to be a +compiler which would translate some \ixem{standard musical +notation}s into \TeX\, nor to decide by itself about aesthetic problems in music typing. +\musixtex\ only typesets staves, notes, chords, beams, slurs and ornaments as +requested by the composer. Since it makes very few typesetting decisions, +\musixtex\ appears to be a versatile and rather powerful tool. However, due +to the important amount of information to be provided to the typesetting +process, coding \musixtex\ might appear to be as awfully complicated as +the real keyboard or orchestral music. It should therefore be interfaced by +some pre-compiler in the case of the composer/typesetter wanting aesthetic +decisions to be automatically made by somebody (or something) else. +% +%\footnote{A short description to all known compilers for \musixtex\ can be +%found on page \pageref{compiler}f.}. + +\section{\musixtex\ principal features} + %\check + \subsection{Music typesetting is two-dimensional} Most people who have just +learned a bit of music at college, probably think that music is a linear +sequence of symbols, similar to literary texts to be \TeX-ed. On the contrary, +with the exception of strictly monodic instruments like most orchestral wind +instruments and solo voices, one should be aware that +reading music is actually a matricial operation: the non-soloist musician +successively reads \ital{columns} of simultaneous notes which he +plays if he is a pianist, clavichordist or organist, which he reads +and watches if he +conducts an orchestra, and which he is supposed to check and partially play +when he is a soloist who wants to play in time with the accompanying +instrument or choir. + + In fact, our personal experience of playing piano and organ as well as +sometimes helping as an alternate Kapellmeister leads us to think that music +reading and composing is actually a slightly more complicated intellectual +process: music reading, music composing and music thinking seem to be a three +layer process. The musician usually reads or thinks several consecutive notes +(typically a long \ital{beat} or a group of logically connected notes), then +he goes down to the next instrument or voice and finally assembles the whole +to build a sequence of music lasting roughly a few seconds. He then proceeds +to the next \ital{beat} or \ital{bar} of his score. + + Thus, it appears that the humanly logical way of coding music consists +in horizontally accumulating a set of \ital{vertical combs} with +\ital{horizontal teeth} as described in Table \ref{readtable}. +\def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}} + \begin{table} + \begin{center} + \begin{tabular}{|ll|ll|}\hboxit{note sequence one} + &\hboxit{note seq.\ four} + &\hboxit{note seq.\ seven} + &\hboxit{note seq.\ ten}\\\hboxit{note sequence two} + &\hboxit{note seq.\ five} + &\hboxit{note seq.\ eight} + &\hboxit{note seq.\ eleven}\\\hboxit{note sequence three} + &\hboxit{note seq.\ six} + &\hboxit{note seq.\ nine} + &\hboxit{note seq.\ twelve}\\ + \end{tabular} + \end{center} + \caption{The order in which a musician reads music}\label{readtable} + \end{table} +This is the reason +why, in \musixtex\ the fundamental \ital{macro} is of the form +\begin{center} +\verb|\notes ... & ... & ... \enotes|\footnote{Also +available for \keyindex{enotes} is the abbreviation \keyindex{en}.} +\end{center}\index{\&} +\noindent where the character \verb|&| is used to separate the notes to be +typeset on respective staffs of the various instruments, starting from the +bottom. + +In the case of an instrument whose score has to be written with +several staffs, these staffs are separated by the +character \|. \index{"|@{\tt\char'174}} +Thus, a score written for a keyboard instrument and +a monodic instrument (for example 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}. +It is worth emphasizing that we actually said \ital{``groups of notes''}: +this means that in each section of the previous macro, the music typesetter is +welcome to insert, not only chord notes to be played at once, but small +sequences of consecutive notes which build something he understands as a +musical phrase. This is why note typing macros are of two kinds in \musixtex, +namely the note macros which are not followed by spacing afterwards, and those +which induce horizontal spacing afterwards. + \subsection{The spacing of the notes} It seems that many books have dealt +with this problem. Although it can lead to interesting algorithms, we think it +is not an important point in practice. + +In fact, each column of notes has not necessarily the same spacing +and, in principle, this \itxem{spacing} should depend on the shortest +duration of the simultaneous notes. But this cannot be established as a rule, +for at least two reasons: +\begin{enumerate} + \item spacing does not depend only on the local notes, +but also on the context, at least in the same bar. + \item in the case of polyphonic music, exceptions can easily be found. +Here is an example: + +\begin{music} +\generalmeter{\meterfrac44} +\startextract\NOtes\zhu j\ql h\hl g\hu k\ql f\enotes\endextract +\end{music} +\noindent where it can be clearly seen that the half notes at beats 2 and 3 +must be spaced as if they were quarter notes since they overlap, which is +obvious only because of the presence of the indication of the +\itxem{meter} 4/4. +\end{enumerate} +So the typesetter has to take care of good readable spacings on his own. +Therefore, we preferred to provide the composer/typesetter with a +set of macros which can be found in \ref{newspacings}. + \subsection{Music tokens, rather than a ready-made generator} +The tokens provided by \musixtex\ are: +\begin{itemize} + \item the note symbols \ital{without stem}; + \item the note symbols \ital{with stems, and hooks for eighth notes and +shorter}; + \item the indication of beam beginnings and beam ends; + \item the indication of beginnings and ends of ties and slurs; + \item the indication of accidentals; + \item the ornaments: arpeggios, trills, mordents, pinc\'es, turns, staccatos +and pizzicatos, fermatas, etc.; + \item the bars, the meter and signature changes, etc. +\end{itemize} + Thus, \verb|\wh a| produces an \ital{A (of nominal frequency 222.5~Hz, +unless transposed)} of duration being a +\ital{whole note}. In the same way, \verb|\wh h| produces an \ital{A +(445~Hz)} of duration represented by a \ital{whole note}, \verb|\qu c| +produces a \ital{C (250~Hz approx.)} whose value is a \ital{quarter note with +stem up}, \verb|\cl J| produces a \ital{C (125~Hz approx.)} of +duration equal to an \ital{eighth note with stem down}, etc. + + To generate quarter, eighth, sixteenth, etc. chords, the macro \keyindex{zq} +can be used: it produces a quarter note head, the vertical position of which +is memorized and recalled when another stemmed note (possibly with a hook) is +coded; then the stem is adjusted to link all simultaneous notes. Thus, the +perfect C-major chord, i.e. + +\begin{music} +\startextract\NOtes\zq{ceg}\qu j\en\endextract +\end{music} + \noindent is coded \verb|\zq c\zq e\zq g\qu j| or, in a more concise way, +\verb|\zq{ceg}\qu j| (stem up): in fact, single notes are treated\dots\ like +one-note chords. + %\check + + \subsection{Beams} +\ital{Beams}\index{beams} are generated using macros which define their +beginning (at the current horizontal position), together with their altitude, +their direction (upper or lower), their multiplicity, their slope and their +reference number. This latter feature -- the reference number -- appears to +be necessary, since one may want to write beams whose horizontal extents +overlap: therefore, it is necessary to specify which beam the notes belong to +and which beam is terminated at a given position. + \subsection{Setting anything on the score} +A general macro (\keyindex{zcharnote}) provides a means of +putting any sequence of symbols (in fact, some \verb|\hbox{...}|) at any +pitch of any staff of any instrument. Thus, any symbol defined in a font +(letters, math symbols, etc.) can be used to typeset music. +\section{A simple example} + Before giving more details, we give below an example of the two first +bars of the sonata in C-major KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc +Mozart, W.A.}}: + +\begin{music} +\parindent10mm +\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 +\endextract +\end{music} + The \ital{coding} is set as follows: +\begin{quote}\begin{verbatim} +\begin{music} +\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 +\endextract % terminate excerpt +\end{music} + \end{verbatim}\end{quote} +\begin{itemize} + \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 is aligned with the third eighth of the left hand. + \item\verb|\qlp| is a quarter with a point. + \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C} +(\verb|j| at this pitch) of slope 15\%. +\end{itemize} + +\section{The three pass system} +\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. +This strategy does not work very well for music. If each bar of music +is treated as a word, in the sense that inter-bar glue is placed +at the end of each bar, then the usual result is the appearance of +unsightly gaps before each bar rule. This follows naturally from the +fact that the number of bars per line is normally many fewer +than the number of words in a line of text. + +To address the above aim, a three pass system was developed. +On the first pass, information about each bar is written to +an external file, by default \verb|jobname.mx1|. +This file begins with a header listing parameters +such as line width, paragraph indentation, clef, sign and meter widths, +and the first-pass elemental spacing \keyindex{elemskip}. +Width information within the bars is classified either as ``soft'' or ``hard'': +``soft'' widths are those amenable to subsequent rescaling (e.g. a note box), +while ``hard'' widths represent unscalable material such as clef symbols, +key signatures and bar rules.\index{soft width}\index{hard width} + +After the first pass, an external routine is run to +determine optimal values of the elemental spacing (\verb|\elemskip|) +for each line, so as to properly fill each line, and to lead to +the piece filling an integral number of 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, and the concern that if such a routine +were added to \musixtex, storage problems might be exacerbated. + +The resulting routine 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 re-\TeX-ed. On this third pass, +the \verb|jobname.mx2| file is read in, and the information +used as described above. + +To give an easy example: after pass 1 you 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} +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} +which 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} +The biggest advantage of using a 3-pass system is the very easy and fast +alteration to the layout which is possible, especially of a long masterpiece, +by changing only one parameter, namely \keyindex{mulooseness}. This value +acts analogous to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you +end a paragraph and state \verb|\looseness=-1| somewhere inside, then +\TeX\ will try to make this paragraph one line shorter than it normally would. + +\musixtex\ does the same, but instead for paragraphs, for \ital{sections}. +What is a \ital{section}? As long as you don't force a line break, this means +the whole piece. When you force a line break with either +\keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece}, +\keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne} +\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage} you start a +new \ital{section}. Somewhere\footnote{Advisably, at the beginning or +at the end of the section, for the sake of clarity.} +before the end of the \ital{section}, you can change the value of +\keyindex{mulooseness} to something different from the default of 0. + +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} +or: +\begin{verbatim} +\NOtes\qu c\qp\en\mulooseness=-1\Endpiece +\end{verbatim} +yields (a little bit tight, but only for the sake of +demonstration of \keyindex{mulooseness}): + +\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} +Here is the fastest way to get a satisfactory output: +\begin{enumerate} + \item build up the piece bar\footnote{Or two or three, +whatever you prefer.} by bar. Pay much attention to correct spacings, and go +on only when you are really satisfied with them. + \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX. + \item Look at the output and decide if you want to have more or fewer +systems lines, e.g.~to fill the page or to get an even number of +pages.\index{musixflx@{\tt musixflx}} + \item Adjust \keyindex{mulooseness}. However, {\large\bf beware~:} +\verb|\mulooseness| increases the target number of lines by its value. This is +of no serious trouble for large pieces, but if you say \verb|\mulooseness=3| +in a piece or in a section which only has 3 bars (three in the musical sense, +i.e. two \verb|\bar| in the text), then {\tt musixflx} will not be able to split +3 bars into 4 lines... and it will hopefully result in a diagnostic by {\tt +musixflx}, but possibly also in an arithmetic fault... + \item Delete the \verb|jobname.mx2| and again\\ +\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX +\quad\ital{(For hackers: watch the difference in {\tt jobname.mx1}!)} +\end{enumerate} + +\begin{remark} +Instead of looking at the output of the previous run and modifying the +number of systems using \keyindex{mulooseness} one can directly specify +the number of lines in a section by assigning a positive number to +\keyindex{linegoal}. Use \keyindex{linegoal} in the same way as +\keyindex{mulooseness} somewhere in a section, preferable at start +or end. \keyindex{mulooseness} must be zero for \keyindex{linegoal} +to work. Both are automatically set to zero after processing the end +of a section e.g. by \keyindex{stoppiece}. \keyindex{linegoal} +requires the latest version of musixflx (0.83). +\end{remark} + + \noindent If you have really followed this step by step, then your whole +layout will be ready and you will not have to generate \verb|jobname.mx2| +again. This only holds as long as you don't change any spacings. + +If you get the warning: \verb|You can't use \raise ...|, than read the upper +paragraph again and follow the instruction of point 5. + +There are some more advantages. Without using \ital{glue}, +every horizontal position in a line can be computed. This enables using, +e.g.~octave lines, without specifying a dimension, but by saying +\verb|\i...| and \verb|\t...|. + + + \subsection{External executable {\tt musixflx}} +One drawback affecting portability between computers is the executable +{\tt musixflx}\index{musixflx@{\tt musixflx}}. We are still searching for +people who are able to compile the C-source and maintain it. + +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|, all of which opens \verb|jobname.mx1|. + + \medskip For large scores (more than 4 pages approximately), having +only one section and an overall value of \verb|\mulooseness| becomes +impractical since one wants not only to have nicely spaced systems, but one +also usually wants to have completely filled pages to avoid empty top and +bottom margins on the last page. It is then wise to force the total number of +pages and maybe the line breaks in each page, which can be done by either using +explicit \keyindex{alapage} and \keyindex{alaligne}, or more automatically by +means of the \keyindex{autolines} command borrowed from \musictex\ and +implemented in the additional {\ttxem{musixcpt.tex}} file. + \subsection{Restrictions and warnings} If you have worked with \musictex\ +before, you must be aware that two main things have changed, namely the +spacing (and spacing commands) and the line breaking, see section~\ref{spacing}, +p.~\pageref{spacing} and section~\ref{linebreak} p.~\pageref{linebreak}. + + %\check + A serious practical problem concerns the effect of unrecorded spaces, such as +those created by source lines not ended by \verb|%| \index{%@{\tt\char37}} or +\keyindex{relax} or another control sequence ending in a letter. These will +result in the dreadful {\bf Overfull hbox} messages appearing during pass 3. + +\medskip +\centerline{\boxit{Considerable discipline is needed to avoid this problem!}} + +When you start using this software package, you will spend a lot of time +searching for the cause of over/underfull-hbox warnings, which will appear during +pass 3. You may ignore them during pass 1, +but \ital{you must} find their cause when they +appear during pass 3. + +In \musixtex\ there is no glue (only $\pm$ 1pt behind \verb|\writesignatures|), +so it works only if every space is recorded in the correct way. As a result, +never use +\verb|\hskip| or \verb|\kern| with the exception of \ital{zero}-boxes, like +\verb|\rlap|, \verb|\llap|, \verb|\zcharnote|, \verb|\uptext|, etc., or +(apparently) fixed length boxes like \verb|\hsong|. But that is not all---all +spacing commands\footnote{Except {\Bslash hardspace} which is an exception and has +the opposite purpose.} must be fed with scalable values +(\ital{e.g.} \verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip| and +\verb|\beforeruleskip|, optionally preceded by an integer or decimal number). + +\verb|musixflx| can't work if the values of \verb|\noteskip|, +\verb|\afterruleskip|, \verb|\beforeruleskip|, are directly assigned +``hard''\footnote{Hard values are all values which are not scalable} +values in between +\verb|\startpiece| and \verb|\stoppiece|\footnote{{\Bslash endpiece} has the +same meaning}.\index{hard spacing} + +These restrictions make it hardly compatible with most sources designed for +\musictex\footnote{Most examples provided by D. {\sc Taupin} in +\musictex's distribution can be run with \musixtex\ without serious +problems... However, they will eventually have to be corrected for the sake of +compatibility.}. Most of them have to be adjusted to get things going. + +Some values are much more important than in \musictex, +namely \verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip|. +The ratio between them is especially very important if you use +\keyindex{mulooseness} often to adjust the number of lines: +all of them are multiplied by the same factor in each section. + %\check + \subsection{\musixtex's laws} +\begin{enumerate} + \item Never have a line that doesn't finish either with a control sequence +or with a \verb|%| +inside of \verb|\startpiece...\stoppiece| + +\begin{center} +\Large\bf !!! \musixtex\ forgives NOTHING !!! +\end{center} + (a space in the default font (using plain-\TeX) causes 3.33pt of unrecorded space, + but there is only $\pm$ 1pt of glue in \musixtex) + \item \verb|\off| must be used with relative values, like + \verb|\noteskip|, \verb|\elemskip|, \verb|\after[before]ruleskip| + \item \verb|\qsk| and \verb|\hqsk| are now scalable, e.g. \verb|\qsk| + doesn't mean exactly one note head width (it depends on \verb|\elemskip| + and \verb|flex_factor|) + \item Text of songs and any non-\musixtex\ text must be put in zero boxes, like + \verb|\zcharnote|, \verb|zchar|, \verb|rlap|, \verb|lrlap|, \verb|llap|, +\verb|uptext|, \verb|zsong...|. However, specific features are now provided, +namely \verb|\hardlyrics| and \verb|\hsong| (see \ref{lyrics}, +p.~\pageref{lyrics}). + \item Don't touch either \verb|\noteskip| with hard values, + or \verb|\after[before]ruleskip| at all inside of + \verb|\startpiece (\debutmorceau) ... \stop[end]piece (\susp[fin]morceau)| +\end{enumerate} +\section{Some highlights} + %\check + \subsection{Signatures} +Signatures can be stated either for all instruments, for example by +\keyindex{generalsignature}\verb|{-2}| which sets two flats on each staff, or +separately for each instrument. + +Thus, the \keyindex{generalsignature} +can be partly overridden by +\keyindex{setsign}\verb|2{1}| which puts one +sharp on the staffs of \itxem{instrument number} 2. Of course, the +current signature may change at any time as well as the meters and clefs. + \subsection{Transposition} + An important question is: \ital{``can \musixtex\ transpose a score~?''}. +The answer is now 99.5~\% \ital{yes}. If fact, there is an internal register +named \keyindex{transpose} the default value of which is zero, but it may be +set to any reasonable positive or negative value. In that case, it offsets all +symbols pitched with letter symbols by that number of pitch steps. However, +it will neither change the signature nor the local accidentals, and if -- for +example -- you transpose a piece written in $C$ by 1 pitch, \musixtex\ will +not know whether you want it in $D\flat$, in $D$ or in $D\sharp$. This might +become tricky if accidentals occur within the piece, which might have to be +converted into flats, naturals, sharps or double sharps, depending on the new +chosen signature. To avoid this trouble, \ital{relative} accidentals +have been implemented, the actual output of which depends on the pitch of +this accidental and on the current signature.\index{relative accidentals} + %\check + \subsection{Selecting special instrument scores} +Another question is: \ital{``can I write an orchestral score and extract the +separate scores for individual instruments~?''} The answer is 95~\% +\ital{yes}: in fact, you can define your own macros +\verb|\mynotes...\enotes|, \verb|\myNotes...\enotes| with as many +arguments as there are in the orchestral score (hopefully this +is less than, or equal to +9, but \TeX perts know how to work around) and change its definition +depending on the selected instrument (or insert a test dependent +on the value of some +selection register). But the limitation is that the numbering of instruments +may change, so that \verb|\setsign3| may have to become \verb|\setsign1| if +instrument 3 is alone. But, in turn, this is not a serious problem for +average \TeX\ wizard apprentices. + %\check + \subsection{Variable staff and note sizes} + Although the standard staff size is 20pt, \musixtex\ allows scores of 16pt +and 24pt staff sizes. In addition, any instrument may have a special staff +size (usually smaller than the overall staff size) and special commands +\verb|\smallnotesize| or \verb|\tinynotesize| enable notes (and also beams or +accidentals) to be of a smaller size, in order to quote optional notes or +\ital{cadenzas}. + %\check +\section{How to get it} +Primary site is {\tt hprib.lps.u-psud.fr} (anonymous {\tt ftp}); say: + + \verb|cd pub/musixtex| + + \verb|mget musix*.tex| (to get the macros) + + \verb|cd /pub/musixtex/mf| + + \verb|mget *.mf| (to get the source of the fonts) + + \verb|cd /pub/musixtex/tfm| + + \verb|binary| + + \verb|mget *.tfm| (to get the font metrics) + +\noindent or: + + \verb|cd /pub/music\_zips| + + \verb|binary| + + \verb|mget musix*.zip| (to get the zipped packages specific to \musixtex) + +\medskip\noindent Official mirrors are +the CTAN servers. To get it you have tou say: + + \verb|cd ctan| (to go to the CTAN server) + + \verb|cd macros/musixtex/taupin| + + \verb|binary| + + \verb|mget *.zip| (to get the zipped packages) + +\medskip The whole \itxem{distribution} can fit into a single 1.2Mbyte or +1.44Mbyte diskette. All sources (including fonts) are provided, +either separately or ``zipped''. + +{\sl REMARK: normally, the {\tt musixtex.zip} file expands into binary files +valid for any system, and text files (the \TeX{} and \MF{} sources) in the +\unix{} representation, namely with a ``LF'' character between each record. PC +users might complain that their own coding is ``CR+LF'' (``CR'' usually +appears as a ``{\tt \^{}M}''), but we checked that: + \begin{itemize} + \item the \ixem{MS-DOS} editor handles both denotations, + \item the ``emacs'' and ``microemacs'' also do, + \item the \TeX{} and \MF{} executable routines (et least the emTeX ones) +also accept both representations. + \end{itemize} + However, for the sake of compatibility, we now provide two routines for PC's, +namely {\tt dtou.exe} and {\tt utod.exe}, which convert text/source files +from/to the MS-DOS denotation to/from the \unix{} denotation. +} + + %\check +\section{Enhancements} + \subsection{Recent easy enhancements} Many enhancements have been asked for, +to the ``father'' of \musixtex, namely \musictex, and this is a proof that it +is considered as useful by many people. Some of these enhancements which +seemed hard were in fact rather easy to implement, for example small notes to +represent grace notes and cadenzas, or gregorian chant features. + + Some of them were more difficult, such as handling of lyrics now provided +since version T.40. + %\check + \subsection{Enhancement limitations} +Many requested improvements have not been +\ital{yet} implemented for several reasons: + \begin{itemize} + \item The authors' natural laziness (!) + \item More seriously: many of them would require using some more +registers; unfortunately, \TeX\ registers are not numerous (256 of each +kind and the limit of \keyindex{dimen} registers is nearly reached +(especially using \LaTeX), but we do our best). + \item We do not think it is wise to introduce in \musixtex\ itself a great +number of macros which would be poorly used by most users: the reason is that +\TeX\ memory and --- moreover --- \TeX\ registers are severely limited and that +unused macros may occupy many of these, leading to things crashing +because of \verb|TeX capacity exceeded|. + + Therefore, many additional library files are now provided, which may be +invoked or not, depending on the user's specific needs. Most of them are used +to compile this \LaTeXe\ manual... except the {\tt musixadd.tex} and {\tt +musixmad.tex}. + \end{itemize} + %\check + \section{Acknowledgements} The idea of implementing the present package is +due to the previous work (\mutex)\index{mutex@\protect\mutex} of \mbox{Andrea +{\sc Steinbach}} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer +A., \ital{Theses} (1987, 1988), Rheinische Friedrich-Wilhelms Universit\"at, +Bonn, Germany.}. This work provided the basis of the Metafont codes which are +still used here... with 100\% corrections and updates.\index{Schofer, A.@{\sc +Schofer, A.}}\index{Steinbach, A.@{\sc Steinbach, A.}} + + + English language is progressively checked thanks to Cecil {\sc Churms} from +National Accelerator Center (South Africa). + + %\check +\chapter{Practical use} +\section{Heading statements} +Before any reference to \musixtex\ macros: + +\verb|\input musixtex|\footnote{It is highly recommended to build up a format. +If you don't know how to do, you can refer to the same instruction you +perhaps heard or read before: ``Ask you local \TeX-wizard.''. Otherwise +it might be a good idea to look at chapter \ref{installation} +(``Installation'') where some hints are given to build a \musixtex\ format +(ref{formatbuild}).} + + %\check + \noindent which may be followed by \verb|\input musixadd| in the case you +have more than six instruments or more than 6 simultaneous beams +or ties or slurs.\index{musixtex.tex@{\tt musixtex.tex}} +\index{musixadd.tex@{\tt musixadd.tex}} + + %\check + After that, you may write a complete book of \TeX\ provided that you do not +use \verb|&| as a tabulation character (its \keyindex{catcode} has been +changed) inside the music score and that you do not overwrite \musixtex's +definitions. This means that no special macros have been designed to help you +write titles, author names, comments, literature excerpts, etc., unless you +use \LaTeX\ with the \verb|musixtex| style.\index{\&} + %\check + \section{Before you +begin to write notes} + \subsection{Warnings for the non \TeX pert} +\begin{quote} + + %\check +When \TeX\ reads a parameter, it inputs one \ital{token}. This means +\ital{one} figure or \ital{one} character or \ital{one} +command\footnote{Syntactically, a \ital{command} is made of a +\ital{backslash} (``{\Bslash}'') immediately followed by sequence of +\ital{letters}.}. If you want to give more than one char or e.g. a negative +number(`-' is one token and a digit is one) or a command which reads another +parameter, then you have to use braces to transfer the parameter correctly. +For example, the command \verb|\meterfrac| reads two parameters; if you want +to declare a $\frac{8}{12}$ timing and you code: \verb|\meterfrac812|, then +you will get a $\frac{8}{1}$ timing and a misplaced ``\verb|2|''. The correct +coding is \verb|\meterfrac{8}{12}| or \verb|\meterfrac8{12}|. + + + %\check + The next problem is due to spaces. Spaces are ignored at the +beginning of a line. Spaces are ignored immediately behind a \TeX-command +(they indicate the end of that command unless \TeX\ finds characters which are +not \ital{letters}). All other spaces insert \ital{unexpected} space and +they will cause a lot of trouble during third pass. Same remark holds for end +of lines. Thus \verb|\bar| or \verb|\enotes| as last statement in current line +cause no trouble, because an end of line indicates to \TeX\ the end of a +command. + + %\check + If you state \verb|\qu g| and start a new line, then you get into trouble, but +if you say \hbox{\verb|\qu g%|\relax + $<new line><spaces>$}, you have no more problem +and this is better readable. + +If this sounds complicated, remember that \TeX\ was designed to typeset +text and not music... + + \end{quote} + %\check + \subsection{What you have to specify}\label{whatspecify} + \leavevmode + You should first specify whether you want to typeset music in ``normal'' size +(20pt\index{sizes} per staff) or ``small'' size (16pt) or ``large'' size +(24pt). This is only optional, the default setting is +\keyindex{normalmusicsize}. If you want the smaller size, then you have to +say\footnote{This sets up not only the size of staff, but also the elementary +spacing and the space behind the bar rule.} \keyindex{smallmusicsize}, +\keyindex{largemusicsize}, and \keyindex{Largemusicsize} to have the larger +sizes of 24pt and 28.8pt. + + + + Then, the first compulsory declaration is: + + \keyindex{instrumentnumber}\verb|{|$n$\verb|}| + + \noindent where $n$ is the number of instruments, used by +\musixtex\ to performs loops building staffs, setting signatures, meters, +etc. Therefore, it must be defined before any other statements. +If not then default value is one. An instrument +may consist of several staffs, e.g.~the piano. The difference between one +instrument of several staffs and several instruments is as follows: +\begin{itemize} + \item distinct instruments may have distinct \itxem{signatures}, distinct +staffs of a unique instrument share the same signature. + \item \itxem{stems} may be hung to \itxem{beams} belonging to differents +staffs of the same instrument. + \item \itxem{chords} may extend across several staffs of the same +instrument. + \item staffs of a unique \itxem{instrument} are tied together +with a big brace at the beginning of each line. +\end{itemize} + If the number of staffs is not +equal to one, this number must be specified by: + + \keyindex{setstaffs} $n$\verb|{|$p$\verb|}| + + \noindent where $p$ is the number of staffs, and where $n$ is the +number of the instrument considered (e.g.~\verb|setstaffs3| +for the 3rd instrument, starting from the bottom). + + %\check + Unless all your instruments only use the \ital{violin} clef, you +have to specify all the clefs used for all the instruments. This is done by +coding: + +\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%| + +\noindent where $n$ is the number of the instrument, $s_1$ is one figure +specifying the clef of the lower staff, $s_2$ the clef of the second staff, +etc. + + The value $s_1=0$ means the \ital{violin} clef (G clef or \itxem{clef de +sol} in French) for the lower staff, $s_2=0$ means the violin clef for the +second staff, etc. If $s_2$, $s_3$ or $s_4$ are omitted in the second argument +of the \verb|\setclef|, these staffs have de default clef, namely 0, i.e. the +violin clef. + + The values $s_1=1$ through $s_1=4$ +mean the \ital{alto} clef (\itxem{clef d'ut} in French) set on first (lower) +through fourth (next to upper) line of the staff. + + The value $s_1=5$ means the \ital{bass} clef at third (middle) line, +$s_1=6$ means the usual \ital{bass} clef (F clef or \itxem{clef de fa} in +French) at the usual fourth line, and $s_1=7$ means the \ital{bass} +(\itxem{subbass}) clef (F clef or \itxem{clef de fa} in +French) at the fifth line. + + The value $s_1=8$ is not used. + + The value $s_1=9$ means the \itxem{french violin clef}, an ancient feature +which sets the G clef (\ital{clef de sol} in French) at the fist line of the +staff. + + If remembering the digits associated with usual clefs seems too difficult, +one can also say + + \verb|\setclef{|$n$\verb|}{|\keyindex{treble}\verb|}| + +\noindent to get the \ixem{violin clef} on all staffs of the specified +instrument. In the same way the most used \itxem{alto clef} (alto clef on 3rd +line) can also be called with + + + \verb|\setclef{|$n$\verb|}{|\keyindex{alto}\verb|}| + +\noindent which sets the lower staff of thet instrument to the alto clef, but +sets other staffs above to the violin clef. +The usual \itxem{bass clef} on fourth line +can also be called with + + \verb|\setclef{|$n$\verb|}{|\keyindex{bass}\verb|}| + +\noindent {\sl IMPORTANT: the commands \verb|\alto| and \verb|\bass| only set +these clefs at the first staff. Other staffs still have the default value of +violin clef.} +As an example, a standard piano score +should include: + + \keyindex{setclef}\verb|1{\bass}%| \quad or\quad + \keyindex{setclef}\verb|1\bass| + +\noindent taking account of the fact that the bass clef is set on the lower +staff, but the upper one has the default value of violin clef. +If the signature is not void, one should code: + + \keyindex{generalsignature}\verb|{|$s$\verb|}| + +\noindent where $s>0$ indicates the number of \itxem{sharps} in the +signature and $s<0$ the number of \itxem{flats}\footnote{We have seen once a +score in G-minor where the signature consisted of two flats (B and E) plus +one sharp (F). This is not directly supported by \musixtex.} + + If a \itxem{meter} indication is to be posted, it should be +specified using the macro + + \keyindex{generalmeter}\verb|{|$m$\verb|}%| + + %\check + \noindent where $m$ is the description of the meter indication which should +appear on each staff. If it is a \ital{fraction} (e.g.~3/4) on should code + + \verb|\generalmeter{\meterfrac{3}{4}}%| + +\noindent or, in a simpler way (if the numbers are less than 10): + + \verb|\generalmeter{\meterfrac34}%| + +You can suppress the beginning vertical rule with saying \keyindex{nostartrule} +and restore the default with \keyindex{startrule} after that. + + Special denotations can be used, such as \keyindex{meterC}, +\keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve} and +\keyindex{meterplus}. + + %\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 +\endpiece +\end{music} +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 +\endpiece +\end{verbatim}\end{quote} + However, not all music scores have the same meter in each staff. +Especially, some staffs may have \ital{ternary} meters while others have +\ital{binary}. This can be specified by using the \keyindex{generalmeter} macro +to set the meter for most of the scores and overriding it by: + +\keyindex{setmeter}\verb|2{{\meterfrac{12}8}\allabreve}%| + + \noindent which sets the meter to 12/8 for the first (lower) +staff, and \ital{alla breve} for the second staff of the instrument number 2. + +Sometimes it might be useful to insert additional space before the meter is +written. This is possible by assigning a value to \keyindex{meterskip} in the +preamble. It is reset to zero after first meter indication. + \subsection{Instrument names} If you want the \itxem{name of the instrument}s +(or the \itxem{name of the voice}s) to be displayed in front of their +respective staffs at the beginning, you may code: + +\keyindex{setname} $n$\verb|{|\ital{name of the instrument}\verb|}%| + + %\check + \noindent where $n$ is the number of the instrument +considered. In this case, you should also adjust the \keyindex{parindent} +dimension so that the long name of an instrument does not spill too far into +the left margin. + \subsection{Polyphonic songs} +Except staffs of a unique instrument tied together with a big brace, staffs +normally begin on the left with a thin vertical rule. However, it is usual to +tie all human voices together with a left heavy and right thin vertical rule. + + \subsubsection{Case of only one choir} + In the usual case where you have only one choir, this can be specified +by: + \begin{quote} +\keyindex{songtop}\verb|{|$n$\verb|}|\\ +\keyindex{songbottom}\verb|{|$m$\verb|}| +\end{quote} +\noindent where $m$ and $n$ are the instrument numbers of the first +and last choral voices. Example is shown in \ref{song}. + + No heavy square brace is produced when the bottom instrument has a number +greater than the top one. This feature can be used to remove choir heavy +braces between distinct parts of the same score. + + \subsubsection{Case of several choirs or several orchestras} + Your may divide your instruments into up to three groups linked together with +a left square brace. Each of these groups is 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 choral voices of group number $g$. \musixtex{} allows up to three +groups, numbered from 1 to 3, plus the ``zero'' group consisting of the voices +or instruments which belong to no declared group. \verb|\songtop| is equivalent +to \verb|\grouptop 1| and \verb|\songbottom| is equivalent to +\verb|\groupbottom 1|. + + With {\tt musixadd.tex}, this number of groups is raised to four. + + This grouping feature can also be used to collect not only voices but also +instruments with one or several staffs. In that case the normal brace is +shifted left of the square havy brace. + + \subsection{Removing square choir braces} + + Previously defined square choir braces can be removed by stating a +\verb|\songtop| less than the \verb|\songbottom|. The same applies to +\verb|\grouptop| and \verb|\groupbottom| of the same group number. + + \subsection{Specifying all brackets together} + + Alternatively, you can use the following command for specifying all +required brackets together: +\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; +\verb|\akkoladen{}| cancels all brackets. + +Example: +\begin{quote} + \verb|\instrumentnumber{5} \akkoladen{{1}{2}{3}{5}}| +\end{quote} +yields:\par\nopagebreak +\begin{music} + % just to avoid wasting space ... + \smallmusicsize\setsize1\smallvalue\setsize2\smallvalue + \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue + \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} + \startextract \hardspace{2cm}\zendextract +\end{music} +which was coded as: + +\begin{verbatim} + \smallmusicsize\setsize1\smallvalue\setsize2\smallvalue + \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue + \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} + \startextract \hardspace{2cm}\zendextract +\end{verbatim} + + + + %\check +\section{Starting your masterpiece} + \subsection{Typing the first system} +Just code +\keyindex{startmuflex} + +\noindent which opens the \ital{jobname}{\tt .mx1} during \TeX ing the first +time your masterpiece. All informations are now written to it. During pass 3 +it will be open for read in and all computed values are used to set the +lines\footnote{The files must be closed before leaving \TeX, preferably before +\keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\ +closes all open files on his own when terminating the program, but it is still +wiser to do this explicitly.}. + +\begin{remark} do not worry too much if you forget \verb|\startmuflex|; in +most cases --- since version T.39 --- the \verb|\startpiece| command will do +it, if necessary. Conversely, only the first \verb|\startmuflex| is effective, +the others are inefficient... for safety. \end{remark} + +Then code + + %\check +\keyindex{startpiece} + +\noindent which will initiate (with indentation \keyindex{parindent}) +the first set of staffs for all instruments you have previously defined. But +that is not sufficient to begin writing notes and silences. In fact, you +must also choose the spacing of the notes. + \subsection{Easy selecting note spacing}\label{newspacings} +Therefore, we preferred to provide the composer/typesetter with a +set of macros (incidentally, this can be adjusted): +\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&16th pointed, 8th triplet\\ +\keyindex{Notes}\verb| ... & ... & ... \enotes|&\verb=3\elemskip= + &\cu1&8th\\ +\keyindex{Notesp}\verb| ... & ... & ... \enotes|&\verb=3.5\elemskip= + &\cup1&8th pointed, 4th triplet\\ +\keyindex{NOtes}\verb| ... & ... & ... \enotes|&\verb=4\elemskip= + &\qu1&4th\\ +\keyindex{NOtesp}\verb| ... & ... & ... \enotes|&\verb=4.5\elemskip= + &\qup1&4th pointed, 2th triplet\\ +\keyindex{NOTes}\verb| ... & ... & ... \enotes|&\verb=5\elemskip= + &\hu1&2th\\ +\keyindex{NOTesp}\verb| ... & ... & ... \enotes|&\verb=5.5\elemskip= + &\hup1&2th pointed\\ +\keyindex{NOTEs}\verb| ... & ... & ... \enotes|&\verb=6\elemskip= + &\wh1&1th\\\hline +\end{tabular}\end{center} +\noindent +If you don't like them, define your own using e.g.: + +\verb|\def\NOtes{\vnotes5.34\elemskip}| + + %\check +\noindent +which means, when you use this \keyindex{NOtes} definition, that all +\ital{spacing} notes and commands, results a spacing of 5.34 $\times$ +\keyindex{elemskip}. +The size of the spatial unit (\keyindex{elemskip}) can be freely +adjusted (it shows only effect outside \verb|\startpiece...\endpiece|). + + In practice, the choice of the macro \verb|\notes|, \verb|\Notes|, +\verb|\NOtes|, etc., to initiate of column of notes sets an +internal dimension register, named \keyindex{noteskip} to the given multiple +of \keyindex{elemskip}. Thus, each \itxem{spacing note} (\keyindex{qu}, +\keyindex{qb}, \keyindex{hl}, etc.) will be followed by a spacing of +\keyindex{noteskip}. Then, the advantage of the definition of \verb|\elemskip| +is that, whenever it is changed, all subsequent \verb|\noteskip|s +will be updated proportionally so that a simple change of \verb|\elemskip| +can expand or shrink all consecutive note spacings as a whole. + +\medskip +{\bf All said above counts only for first pass.} + +\medskip If the arthmetic progression of note spacings does not meet your +wishes, your may force a geometric progression, where {\Bslash Notes} is +$\sqrt{2}$ times wider as {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$ +times wider as {\Bslash Notes}, etc. In that case, {\Bslash Notesp} is +approximately $\sqrt{\sqrt{2}}=1.189$ times wider as {\Bslash Notes} and so +on. The geometric progression if forced by the command +\keyindex{geometricskipscale}, and the original arithmetic progression is +restored by \keyindex{arithmeticskipscale}. + + Inside the pair \verb|\notes...\enotes| you may freely change the value of +\verb|\noteskip| (not \verb|\elemskip|) provided you keep it scalable in the +normal situation\footnote{But: provided you keep it \ital{not scalable} if +you use the {\Bslash hardnotes} or {\Bslash hardlyrics} features (see +\ref{lyrics}).}. \verb|\noteskip| can be changed with a command like + +\verb|\noteskip=2.4\noteskip| + +\noindent which obviously keeps it scalable, or by means of + +\keyindex{multnoteskip}\verb|{2.4}| + +\noindent which performs the same multiplication in a smarter way. You can +also force all \verb|\noteskip|s to be re-scaled by a factor of 3.1415 using + +\keyindex{scale}\verb|{2.4}| + +\noindent or \verb|\def|\keyindex{scalenoteskip}\verb|{2.4}| which is more +dangerous and not advises although compatible with \musictex. + +\medskip + +To fill the music line (system) without glue, the values of \verb|\elemskip|, +\verb|\afterruleskip| and \verb|\beforeruleskip| are adjusted from the +external program {\tt musixflx}\index{musixflx@{\tt musixflx}}. So what +spacing you really get, depends on the internal line-breaking routine. + +Spacings for advanced \musixtex'ers: a `normal' bar (slightly~!) magnified: +\medskip + + %\check +\begin{music} +\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}}% +\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} +As default the values are set up as follows: +\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{quote} +If you want to change upper values, you have to do that behind +\verb|\normalmusicsize| or \verb|\smallmusicsize| and before +\verb|\startpiece|. +\end{quote} + + %\check +\section{Note pitch specification} + Note pitches are usually specified by letters ranging from \verb|a| to +\verb|z| for those which are usually written under the G-clef (\verb|a| +corresponds to the $A$ of nominal frequency 222.5~Hz; the \ital{G} of the +G-clef is denoted \verb|g|). Lower pitch notes are specified using upper +case letters ranging from \verb|A| to \verb|N| (the \ital{F} of the F-clef +is denoted \verb|M|, and \verb|F| is one octave below). + + If necessary, a numeric symbol can be used to place a symbol +independently of the active clef, which has the drawback not to be +transposable. + + Besides, notes below \verb|A| (i.e. the $A$ of nominal frequency 55.625~Hz), +namely the lowest octave of the modern pianos, can only be coded using the +transposition features (see below: \ital{transposition} and +\ital{octaviation}) or in absolute vertical position using numbers. + \section{Writing notes} +There are two major kinds of note macros: \begin{enumerate} \item those +which terminate a note/chord stem and are followed by a horizontal spacing of +value \keyindex{noteskip}, + \item those which initiate or extend a note/chord stem and do not cause +horizontal spacing. +\end{enumerate} + The first kind is used to type a melody, the second kind is used to +type chords. + \subsection{Single spacing notes} +\begin{quote}\begin{description} + \item[\keyindex{breve}~$p$ :]breve note (\hbox to 8pt{\zbreve1\hss}) at pitch $p$. + \item[\keyindex{longa}~$p$ :]longa note + (\hbox to8pt{\zlonga1\hss}) at pitch $p$. + \item[\keyindex{longaa}~$p$ :]same as \verb|\longa|, with an ``automatic'' +stem up or down. + \item[\keyindex{zmaxima}~$p$ :]maxima note + (\hbox to16pt{\zmaxima1\hss}) at pitch $p$. + \item[\keyindex{wq}~$p$ :]arbitrary duration note (also used as alternate +representation of \ital{breve} note) + (\hbox to8pt{\zwq1\hss}) at pitch $p$. + \item[\keyindex{wqq}~$p$ :]long arbitrary duration note (also used as alternate +representation of \ital{longa} note) + (\hbox to8pt{\zwqq1\hss}) at pitch $p$. + \item[\keyindex{wh}~$p$ :]whole note at pitch $p$. + \item[\keyindex{hu}~$p$ :]half note at pitch $p$ with stem up. + \item[\keyindex{hl}~$p$ :]half note at pitch $p$ with stem down. + \item[\keyindex{ha}~$p$ :]half note at pitch $p$ with automatic +stem\footnote{This +means all stems belonging to notes below the third line are stemmed up, +the other down, they work with every clef, but only for single notes.} choice. + \item[\keyindex{qu}~$p$ :]quarter note at pitch $p$ with stem up. + \item[\keyindex{ql}~$p$ :]quarter note at pitch $p$ with stem down. + \item[\keyindex{qa}~$p$ :]quarter note at pitch $p$ with ``automatic'' stem. + \item[\keyindex{cu}~$p$ :]eighth note\footnote{The {\Bslash c} of this macro + name is taken from the French word ``croche'' which is by the way one + half of the english ``crotchet''; {\Bslash cc...}, {\Bslash ccc...} + are standing for ``double croche'', ``triple croche'', etc.} + at pitch $p$ with stem up. + \item[\keyindex{cl}~$p$ :]eighth note at pitch $p$ with stem down. + \item[\keyindex{ca}~$p$ :]eighth note at pitch $p$ with ``automatic'' stem. + \item[\keyindex{ccu}~$p$ :]sixteenth note at pitch $p$ with stem up. + \item[\keyindex{ccl}~$p$ :]sixteenth note at pitch $p$ with stem down. + \item[\keyindex{cca}~$p$ :]sixteenth note at pitch $p$ with ``automatic'' stem. + \item[\keyindex{cccu}~$p$ :]32-th note at pitch $p$ with stem up. + \item[\keyindex{cccl}~$p$ :]32-th note at pitch $p$ with stem down. + \item[\keyindex{ccca}~$p$ :]32-th note at pitch $p$ with ``automatic'' stem. + \item[\keyindex{ccccu}~$p$ :]64-th note at pitch $p$ with stem up. + \item[\keyindex{ccccl}~$p$ :]64-th note at pitch $p$ with stem down. + \item[\keyindex{ccccl}~$p$ :]64-th note at pitch $p$ with ``automatic'' stem. +\end{description}\end{quote} + As an example, the sequence: + + %\check +\begin{music} +\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 +\endextract +\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 +\end{verbatim}\end{quote} + If these notes are preceded by \ital{non-spacing} notes (i.e. +macros \keyindex{zq} or \keyindex{zh}) their stem is extended up or down so +as to join all notes into a single chord. + \subsection{Non-spacing (chord) notes} +\begin{quote}\begin{description} + \item[\keyindex{zq}~$p$ :]quarter (or shorter) note head at pitch $p$ with no +spacing after. + \item[\keyindex{zh}~$p$ :]half note head at pitch $p$ with no spacing after. +\end{description}\end{quote} + It must be pointed out that the pitch $p$ of these notes is +memorized so that the stem of the further spacing note will join them into +a chord. This stem top and bottom pitch is \ital{reset} at each spacing +note. + + \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 (chord) heads} These symbols are used mainly +in chords where \ital{second} intervals are present. It is the +responsibility of the typist to choose which heads should be shifted left or +right. + +\begin{quote}\begin{description} +\item[\keyindex{rw}~$p$ :]whole note head shifted right by one note +width ($\approx$ 6pt), no spacing. +\item[\keyindex{lw}~$p$ :]whole note head shifted left by one note +width ($\approx$ 6pt), no spacing. +\item[\keyindex{rh}~$p$ :]half note head shifted right by one note +width ($\approx$ 6pt), no spacing. +\item[\keyindex{lh}~$p$ :]half note head shifted left by one note +width ($\approx$ 6pt), no spacing. +\item[\keyindex{rq}~$p$ :]quarter note head shifted right by one note +width ($\approx$ 6pt), no spacing. +\item[\keyindex{lq}~$p$ :]quarter note head shifted left by +one note width ($\approx$ 6pt), no spacing. +\end{description}\end{quote} + %\check + + Except that they are shifted left of right, these macros act like +\verb|\z...| macros for stem building. + \subsection{Single non-spacing notes} +\begin{quote}\begin{description} + \item[\keyindex{zhu} :]half note with stem up but no spacing. It acts like +\verb|\hu| for stem building. + \item[\keyindex{zhl} :]half note with stem down but no spacing. It acts like +\keyindex{hl} for stem building. + \item[\keyindex{zqu} :]quarter note with stem up but no spacing. It acts like +\verb|\qu| for stem building. + \item[\keyindex{zql} :]quarter note with stem down but no spacing. It acts +like \verb|\ql| for stem building. + \item[\keyindex{zcu}, \keyindex{zccu}, \keyindex{zcccu}, \keyindex{zccccu} +:]eighth, ..., note with stem up but no spacing. It acts like +\verb|\cu| for stem building. + \item[\keyindex{zcl}, \keyindex{zccl}, \keyindex{zcccl}, \keyindex{zccccl} +:]eighth, ..., note with stem down but no spacing. It acts +like \verb|\cl| for stem building. + \item[\keyindex{zqb} :]note belonging to a beam but no spacing. + \item[\keyindex{rhu}, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql}, + \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|, + but the note is shifted one note width on the right, other analogous. + \item[\keyindex{lhu}, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql}, + \keyindex{lcu}, \keyindex{lcl} :]same + as above, but the whole of the note is shifted one note width on the left. + \item[\keyindex{zw}~$p$ :]whole note at pitch $p$ with no spacing after. + \item[\keyindex{zwq}~$p$ :]arbitrary duration note + (\hbox to8pt{\zwq1\hss}) at pitch $p$ with no spacing after. + \item[\keyindex{zbreve}~$p$ :]breve note + (\hbox to8pt{\zbreve1\hss}) at pitch $p$ with no spacing after. + \item[\keyindex{zlonga}~$p$ :]longa note + (\hbox to8pt{\zlonga1\hss}) at pitch $p$ with no spacing after. + \item[\keyindex{zmaxima}~$p$ :]maxima note + (\hbox to16pt{\zmaxima1\hss}) at pitch $p$ with no spacing after. +\end{description}\end{quote} + %\check + + +\subsection{Single (spacing) stemless notes} + + Although not standard in real music scores, one may need to have stemless +quarter and half note heads posted in the same way as whole notes. This can be +done with the following commands: + +\begin{quote}\begin{description} +\item[\keyindex{nh}~$p$ :]half note head at pitch $p$. +\item[\keyindex{nq}~$p$ :]quarter note head at pitch $p$. +\end{description}\end{quote} + +\medskip As an example, the sequence: + +\begin{music} + \startextract +\notes\nq c\nq j\enotes\barre +\Notes\nh c\nh j\enotes\barre +\notes\nq {cdef}\enotes +\endextract +\end{music} + +\medskip \noindent was coded as: + +%\check +\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} + + In case of special need, non spacing variants have been provided, namely +\keyindex{znh} and \keyindex{znq}. + + + \subsection{Pointed notes} +One simple way of doing consists in putting \keyindex{pt +$p$} to get a \ital{dot} after the normal note head at pitch $p$. Thus a +quarter note with one point can be coded \verb|\pt h\qu h|, with two points +as \keyindex{ppt}\verb|\qu h| and with three points as +\keyindex{pppt}\verb|\qu h|. + + A simpler way of doing consists in using compact macros, namely: +\keyindex{whp}, \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}. +Where all \verb|\z...p| are useful in chords. + + You may also introduce pointed notes, especially in groups by coding +a \ital{period} before (not after) the letter representing the pitch: +\verb|\qu{.a.^b.c}| which is equivalent to: +\begin{quote}\begin{verbatim} +\pt{a}\qu{a}\pt{b}\sh{b}\qu{b}\pt{c}\qu{c} +\end{verbatim}\end{quote} +Finally, pointed notes can also be produced without spacing after, using +\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp}, +\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, +and the same with two \verb|p|'s for +double-pointed notes, like \keyindex{zhupp}, \keyindex{zhlpp}, +\keyindex{zqupp}, \keyindex{zqlpp}, +\keyindex{zcupp}, \keyindex{zclpp} and \keyindex{zqbpp}. + +If two voices share one staff, the points of the lower voice are lowered, +if the note is on a note line. Therefore you can use \keyindex{lpt}~$p$ and +\keyindex{lppt}~$p$. + + %\check +\section{Beams} + + Beams are not automatically handled, but they must be declared explicitely, +\ital{before} the first spacing note involving them is coded. Two kinds of +macros are provided: + +\begin{enumerate} + + \item fixed slope beams have an arbitrary slope chosen by the user in +the range -45\% to +45\% (by multiples of 5\%); + + \item semi-automatic beams have their slope computed knowing the number +of \keyindex{noteskip} over which they are supposed to extend, and knowing the +initial and final pitch of the notes they are supposed to link. +\end{enumerate} + %\check + \subsection{Fixed slope beams} + \subsubsection{Beam initiation} +\begin{quote}\begin{description} + \item[\keyindex{ibu}~$nps$ :]initiates an \ital{upper beam} 3 horizontal +line spacings above the pitch $p$~; $n$ is its reference number, which must be +in the range [0-5] ([0-8] if \verb|musixadd| file has been \verb|\input|); +$s$ is the slope of the beam. +\end{description}\end{quote} + $s$ is an integer in the range [-9,9]. +$s=1$ means a slope of 5\%, $s=9$ means a slope of 45\%, +$s=-3$ means a slope of -15\%, etc. +With usual spacings a slope of 2 or 3 is fit for ascending scales. A slope of +6 to 9 is fit for ascending arpeggios. + +\begin{quote}\begin{description} + + \item[\keyindex{ibl}~$nps$ :]initiates a \ital{lower beam} 3 horizontal line +spacings below the pitch $p$. Other parameters as above. + + \item[\keyindex{ibbu}~$nps$ :]initiates a \ital{double upper beam} (same +parameter meaning). + \item[\keyindex{ibbl}~$nps$ :]initiates a \ital{double lower beam} (same +parameter meaning). + \item[\keyindex{ibbbu}~$nps$ :]initiates a \ital{triple upper beam} (same +parameter meaning). + \item[\keyindex{ibbbl}~$nps$ :]initiates a \ital{triple lower beam} (same +parameter meaning). + \item[\keyindex{ibbbbu}~$nps$ :]initiates a \ital{quadruple upper beam} (same +parameter meaning). + \item[\keyindex{ibbbbl}~$nps$ :]initiates a \ital{quadruple lower beam} (same +parameter meaning). +\end{description}\end{quote} + +Notes belonging to beams are coded in the form \keyindex{qb}~$np$ where $n$ is +the beam number and $p$ the pitch of the note head. \musixtex\ adjusts the +length of the note stem to link the bottom of the chord to a beam. + + \subsubsection{Beam termination} + Beam termination is also not automatic. The termination of a given +beam must be explicitely declared \ital{before} coding the last spacing note +connected to that beam. +\begin{quote}\begin{description} + \item[\keyindex{tbu}~$n$ :]terminates upper beam number $n$ at current +position. \item[\keyindex{tbl}~$n$ :]terminates lower beam number $n$ at +current position. +\end{description}\end{quote} +\keyindex{tbu} and \keyindex{tbl} terminate beams of any +multiplicity. Therefore 32-th notes hanging on a triple beam are initiated by +\keyindex{ibbbu}~$nps$ and terminated by \keyindex{tbu}~$n$. + + Since beams usualy finish with a \verb|\qb| to link the last note, shorter +macros have been provided: + + \begin{itemize} + + \item \keyindex{tqb} $np$ is equivalent to \verb|\tbl| $n$\verb|\qb| $np$ + + \item \keyindex{tqh} $np$ is equivalent to \verb|\tbu| $n$\verb|\qb| $np$ + + \item \keyindex{ztqb} $np$ is equivalent to \verb|\tbl| $n$\verb|\zqb| $np$ +(no spacing after) + + \item \keyindex{ztqh} $np$ is equivalent to \verb|\tbu| $n$\verb|\zqb| $np$ +(no spacing after) + + \end{itemize} + + \subsubsection{Beams of increasing multiplicity} + It is also possible to code beams whose multiplicity is not the same +at the beginning. The multiplicity can be increased at any position. For +instance, \keyindex{nbbu}~$n$ which sets the multiplicity of upper beam +number $n$ to 2 starting at the current position, \keyindex{nbbbu}~$n$ sets +its multiplicity to 3 and \keyindex{nbbbbu}~$n$ sets its multiplicity to 4. +\keyindex{nbbl}~$n$ \dots +\keyindex{nbbbbl}~$n$ perform the same functions for lower beams. + + + Note that the difference between upper and lower beams does not +mainly consist in the beam being above or below the note heads; rather, it +specifies whether the abscissa of the beginning and the end of this beam is +aligned on the right (upper beam) or on the left (lower) beam. Thus, the +sequence: + +\begin{music} +\startextract +\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes +\endextract +\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} + + It is quite possible to terminate with \keyindex{tbu} a beam initiated +with \keyindex{ibl}. This may give: + +\begin{music} +\startextract +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes +\endextract +\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} + \subsubsection{Beams of decreasing multiplicity} + Partial termination of beams is also possible, by using \keyindex{tbbu} +or \keyindex{tbbl}~: these macros terminate the current beam except that of +order 1 (eighths). \keyindex{tbbbu} or \keyindex{tbbbl} terminate the current +beam except those of order 1 and 2, etc. + +\begin{music} +\startextract +\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes +\endextract +\end{music} +\noindent has been coded as + +\begin{quote}\begin{verbatim} +\startextract +\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes +\endextract +\end{verbatim}\end{quote} + +The macros \keyindex{tbbu} and \keyindex{tbbl} and higher order +may also be invoked when only +a single beam is active. Then, a second beam or third or ... +(upper or lower according +the initiating procedure) is opened \ital{one note width before +the current position, and closed immediately}. Thus the following sequences + +\begin{music} +\let\extractline\hbox +\hbox to \hsize{% +\hss + \startextract + \Notes\ibu0e0\qbp0e\tbbu0\tbu0\qb0e\en + \endextract +\hss\hss + \startextract + \Notes\ibu0e0\qbpp0e\tbbbu0\tbbu0\tbu0\qb0e\en + \endextract +\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 + +\noindent The same behaviour occurs in the case of \keyindex{tbbbu}, +\keyindex{tbbbl}, \keyindex{tbbbbu} and \keyindex{tbbbbl}. + The symmetrical pattern is also possible. For example: + +\begin{music} +\startextract +\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes +\endextract +\end{music} +\noindent has been coded as: +\begin{quote}\begin{verbatim} +\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes +\end{verbatim}\end{quote} + \begin{remark} these codings may seem complicated. In fact, +it is the responsibility of the user to define macros which perform the most +common sequences in his masterpiece. For example, one could define sets of +four sixteenths by the macro: + +\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 consecutive sixteenths wanted. +\end{remark} + + +\noindent A slightly more complicated example is: + +\begin{music} +\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 +\endextract +\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} + %\check + \subsection{Repeated pattern beams}\index{repeated patterns} +Note heads hanging on beams are not necessarily quarter (or higher order) +note heads. It is possible to hang half note heads on beams +using \keyindex{hb} macro, e.g.: + +\begin{music} +\startextract +\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes +\Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes +\endextract +\end{music} +\noindent 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 write + +\begin{music} +\startextract +\Notes\ibbl0j3\wh j\tbl0\wh l\enotes +\Notes\ibbu0g3\wh g\tbu0\wh i\enotes +\endextract +\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 However, a better look could be obtained in a more sophisticated +way\footnote{You are suggested to make your own macro if you have to type many +of these, or better: use a pre-compiler.}: + +\begin{music} +\startextract +\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes +\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace +\endextract +\end{music} +\noindent which was simply 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} + + Single repeated notes can also be made --- in a much more sophisticated +way\footnote{But you can write your own macro, thinking of using +{\tt\char92transpose} to lift the oblique beams.}, for example: + + \begin{music} +\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 +\endextract + \end{music} + \noindent whose coding (due to W. {\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 across bars} +The usual way most composers wrote their scores was beams inside bars, +at least until the beginning of the XIX-th +century. Unfortunately, later composers ({\sc Brahms}, {\sc Scriabin}, +{\sc Grieg}, etc.) wanted to write beams jumping across bars. +This is possible without any problems. +We give an 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 whose 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} +Still to be done manually is the cut and prolongation across line breaks, which +can be easily be done with shifting using \keyindex{roff} and/or +\keyindex{loff}, or with insert of a spacing command (here done with +\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 where the prolongation was coded as: +\begin{verbatim} +\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en +\end{verbatim} + %\check + \subsection{Semi-automatic beams} +In order to avoid tedious checks to adjust the slope (and even the starting +pitch) of beams in music with a lot of steep beams, a set of automatically +slope computing has recently been implemented. If +you say \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 is a \verb|j|. +Knowing these parameters it will choose the highest slope number which +corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt +g})/(3\keyindex{noteskip})$. Moreover, if there is no sufficiently steep beam +slope available, then it will raise 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}. + +Also available are ready definitions for often needed sets of double, +triple and quadruple notes with computed slopes. These are: +\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 + + +\medskip +\begin{music} +\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\endpiece +\end{music} +\noindent which was simply coded as: +\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 + +\section{Rests} + Except that difference that they have no specific pitch, rests are coded in a +very simple way. + \subsection{Ordinary rests} + Full bar rests (also called ``pauses'') are coded as +\keyindex{pause}, with a point behind as \keyindex{pausep}; +smaller rests are +\keyindex{hpause} (of duration equal to a \ital{half note}), +with a point behind as \keyindex{hpausep}, +\keyindex{qp} (duration equal to a \ital{quarter note}, + also \keyindex{soupir}), +\keyindex{ds} (duration equal to an \ital{eighth note}), +\keyindex{qs} (duration equal to an \ital{sixteenth note}), +\keyindex{hs} (duration equal to an \ital{thirty second note}), +\keyindex{qqs} (duration equal to an \ital{sixty fourth note}). + + Long rests (lasting several bars) can be coded as \keyindex{PAuse} +and \keyindex{PAUSe}, which respectively yield: + +\begin{music} +\generalmeter{\meterfrac44} +\startextract +\def\atnextbar{\znotes\centerbar\PAuse\en}% +\NOTEs\en\bar +\def\atnextbar{\znotes\centerbar\PAUSe\en}% +\NOTEs\en\endextract +\end{music} + %\check + + \subsection{Lifted rests}\index{lifting rests}\index{rest lifting} All the +previous rests with exception of \keyindex{pausep} (pause with a point) and +\keyindex{hpausep} (half rest with a point) are \ital{hboxes}; this means that +they can be vertically offset to meet polyphonic music requirements 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{\sl{\bfseries CAUTION:} do not try to lift rests (or notes but this +looks so silly that...) using codings like +\verb|\raise2mm|\keyindex{hbox}\verb|{\qp}|. The reason is that the rest +symbol (e.g. \verb|\qp|) is embedded in braces, so that local counting of +spaces (register \verb|\loc@skip|) will be lost, resulting in turn in +overfull/undfull boxes, beam errors, erratic slurring, etc. In general, all +rests and all notes should be coded at the brace level of the \verb|\notes| +command, unless they are deliberately embedded in \keyindex{rlap} or +\keyindex{llap} which actually overlook spacing counting but finally force no +horizontal spacing, a behaviour which compensates the forgotten spacing count.} + + In addition, two symbols have been provided to put a \itxem{full rest} or a +\itxem{half rest} above or below the staff. Then the ordinary \verb|\pause| or +\verb|\hpause| cannot be used since there is a need for small horizontal line +to distinguish between the full and the half rest. They are: + \begin{itemize} + \item \keyindex{liftpause}~$n$ (non spacing) to get a + \hbox to10pt{\liftpause{-2}\hss} + raised from original position by $n$ staff line intervals, + \item \keyindex{lifthpause}~$n$ (non spacing) to get + \hbox to10pt{\lifthpause{-1}\hss} raised the same way. + \item \keyindex{liftpausep}~$n$ (non spacing) to get a + \hbox to10pt{\liftpausep{-2}\hss} + raised from original position by $n$ staff line intervals, + \item \keyindex{lifthpausep}~$n$ (non spacing) 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 other) exactly in the middle +of a bar. This can be done with more sophisticated commands: +%\keyindex{atnextbar} +\keyindex{centerbar}, +\keyindex{centerPAUSe}, +\keyindex{centerPAuse}, +\keyindex{centerpause}, +\keyindex{centerhpause}. +For 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} +\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{Phantom notes and spacing commands}\label{spacing} +It may be interesting, when coding a sequence of notes within a unique pair +\verb|\notes...\enotes|, to skip one note place in order -- for +example -- to set the third note of one staff at the same abscissa as that of +the second note of another staff. This can be done by inserting \keyindex{sk} +which causes a spacing of one \keyindex{noteskip}\footnote{Never use +\keyindex{kern} nor \keyindex{hskip}~: in fact \keyindex{sk} not only causes +a space but also records that space for correct handling of beams, slurs, +trills, octaviation dashed lines, line-breaking, etc.}. Sometimes it is useful +to \ital{skip back} one noteskip, this can be done with \keyindex{bsk}. The +spacing of a half \verb|\noteskip| can be yielded with \keyindex{hsk}. + + %\check + + If you just want to shift a note or a symbol by one note head width, +you may write \keyindex{roff}\verb|{|\ital{note/symbol}\verb|}| (shift right) +or \keyindex{loff}\verb|{|\ital{note/symbol}\verb|}| (shift left). + If you just want to shift a note or a symbol by one half note head width, +you may write \keyindex{hroff}\verb|{|\ital{note/symbol}\verb|}| (shift right) +or \keyindex{hloff}\verb|{|\ital{note/symbol}\verb|}| (shift left). +For example, to get + %\check + + +\begin{music} +\startextract +\Notes\roff{\zwh g}\qu g\qu h\qu i\enotes +\endextract +\end{music} +you code: + + %\check + +\begin{quote}\begin{verbatim} +\Notes\roff{\zwh g}\qu g\qu h\qu i\enotes +\end{verbatim}\end{quote} + +If you want to shift notes or symbols right by more or less than one note head +width, then you can use \keyindex{roffset} (or \keyindex{loffset} in the other +direction) which has an additional first argument which is the number of note +head widths the second argument should be shifted by. For example + +\begin{music} +\startextract +\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes +\endextract +\end{music} +was coded: + +\begin{quote}\begin{verbatim} +\Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes +\end{verbatim}\end{quote} + +\begin{important} the offset specified or implicitly specified in +\verb|\roff|, \verb|\loff|, \verb|\roffset| and \verb|loffset| does not add to +the total spacing amount; in other words this is just an offset, not a +spacing. Conversely, the possible spacing of commands included in the argument +of \verb|\roff|/\verb|\loff| and in the second argument +of \verb|\roffset|/\verb|\loffset| actually adds to the total spacing in that +bar of the current staff. Therefore, the symbol/note argument of these offset +commands should usually produce no spacing, i.e. begin with \verb|\z|. + + Besides, it is not advised to insert several consecutive spacing notes in +the \verb|\roff|/\verb|\loff| or \verb|\roffset|/\verb|\loffset| arguments, +since it could mess up the global spacing accounting. + \end{important} + + %\check + + +To insert spacing of \ital{nearly} one \ital{note head width}, you can use +\keyindex{qsk}(which has the drawback, that it is scalable, so what spacing +you really get depends on the computed \verb|\elemskip| from \verb|musixflx| +and the user chosen value of \verb|\elemskip|). The half of this spacing can +be forced with \keyindex{hqsk}. Note that these two latter macros must be used +inside a pair \verb|\notes...\enotes|. + + If you want to insert additional spacing before a group of notes, especially +to avoid a collision with an accidental, you can write \keyindex{nspace} --- +outside the \verb|\notes...\enotes| group --- and this will produces an +additional spacing of a half note head width; in the same way, +\keyindex{qspace} will yield a spacing of a note head width. Note that +\verb|\nspace| and \verb|\qspace| are ``hard'' spacings, whose general +feature is \verb|\hardspace|, described below. + +Sometimes the additional space behind \keyindex{changecontext} +disturbs the eye of a typesetter, but this ugly spacing can be reduced with: + +\keyindex{addspace}\verb|{-|\keyindex{afterruleskip}\verb|}%| + +It should be emphasized that all these spacing commands work correctly, only +when their dimension arguments are \itxem{scalable values} and not fixed +dimensions; the scalable dimensions are \keyindex{elemskip}, +\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and +their multiples. + +The only spacing command which can work with ``normal'' (that is, +\ital{not scalable}) dimensions is:\label{hardspace}\index{hard spacing} + + +\keyindex{hardspace}\verb|{|\ital{any \TeX~dimension}\verb|}%| + +\noindent but both \verb|\addspace| and \verb|\hardspace| can only be used +outside of \verb|\notes...\enotes|. + +Conversely, a more general spacing is allowed within the +\verb|\notes...\enotes| pairs, namely: + +\keyindex{off}\verb|{|$D$\verb|}%| + +\noindent where $D$ is a \itxem{scalable dimension}, for example +\verb|\noteskip| or \verb|\elemskip|. In fact, if you look to the +\musixtex\ source, you will find that \verb|\off| is the basic control +sequence used to define \keyindex{sk}, \keyindex{qsk}, etc. + + %\check + +\section{Collective coding: sequences of notes} + +As seen in the {\sc Mozart} example, it is not necessary to write a macro +sequence \verb|\notes...\enotes| for each column\footnote{Although +the compiler compiles it faster.}. If, on all +staffs of all instruments, spacings are equal or multiple of a unique value, +the notes may be concatenated in each staff: each note in each staff makes +the current position horizontally advance by the elementary spacing specified +by the choice of \verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. + + The major interest of this feature resides in that fact that +the note macros are able to write several items; for instance +\verb|\qu{cdefghij}| writes the \ital{C-major} scale in quarters with +stem up. In the same way \verb|\cl{abcdef^gh}| writes the +\ital{A-minor} scale in eighths. Not all note generating macros can be +used to perform collective coding, but most of them can. + + If necessary a void space\footnote{same behaviour as {\Bslash sk}} +can be inserted in a collective coding by using \verb|*|\index{*}. + + %\check + +\section{Accidentals} + +Accidentals can be introduced in two ways. + + The first way, the \ital{manual} way of coding them, consists for +example in coding \keyindex{fl}\verb|a| to put a \ital{flat} at the +pitch $a$, supposedly before the further note of that pitch. +There is no control upon the fact that a note will be put at this position +and at this pitch. +Naturals, sharps, double flats and double sharps are coded \keyindex{na}~$p$, +\keyindex{sh}~$p$, \keyindex{dfl}~$p$ and \keyindex{dsh}~$p$ respectively. + +Alternate procedures \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh}, +\keyindex{ldfl} and \keyindex{ldsh} +place the same accidentals, but their abscissa is shifted one note head width +on the left. The purpose of this is to avoid collision of accidentals +in a chord with narrow intervals. + + The second way of coding accidentals consists in putting the symbol +\verb|^| (sharp), the symbol \verb|_| (flat), the symbol \verb|=| (natural), the +symbol \verb|>| (double sharp), or the symbol \verb|<| (double +flat) within the coding of the note, e.g.: \verb|\qb{^g}| yields a +$G\sharp$. This may very well be combined with collective coding, e.g.: +\verb|\qu{ac^d}|. + + Two sizes are available for accidentals. They revert to the small +version when notes are supposed to be too close to each other. These two +sizes can be forced by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or +\keyindex{smallfl}, \keyindex{smallsh}, etc. If one does not want to have any +small accidentals, then one can declare \keyindex{bigaccid} (conversely +\keyindex{smallaccid} or \keyindex{varaccid} -- the latter restoring variable +sizes). + + Small accidentals can also be put \ital{above} the note +heads. This is done using \keyindex{uppersh}~$p$, \keyindex{upperna}~$p$ or +\keyindex{upperfl}~$p$: + +\begin{music} +\startextract +\NOtes\uppersh l\qa l\enotes +\NOtes\upperna m\qa m\enotes +\NOtes\upperfl l\qa l\enotes +\endextract +\end{music} + It also possible to introduce \ital{\ixem{cautionary accidental}s} on a +score, i.e.\ small size accidentals between parentheses. This done by preceding +the name of the accidental keyword by a \verb|c|,\label{cautionary} + e.g.~by coding \keyindex{cfl}~$p$ to get a cautionary flat. + Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl}, \keyindex{cna}, +\keyindex{cdfl} and \keyindex{cdsh}, which give: + +\begin{music} +\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 +\endextract +\end{music} +\noindent +Besides, the distance between note and accidental is influenced by + +\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension} + +\noindent +positive values shift to left, negative to right, default is \verb|0pt|. + \section{Transposition and octaviation} +An important feature is the existence of a special register +\keyindex{transpose} the normal value of which is 0. If you say + +\verb|\transpose=3| + +\noindent all subsequent pitches specified by +upper or lower case letters\footnote{Pitches specified with figures are +absolute and not transposed.} will be transposed 3 positions. If you set +\keyindex{transpose} to 7 you may write your music one octave below its final +pitch. Thus, you can define \ital{octaviation} macros like + +\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}| + +\noindent to build quarter note octaves in a single call. Note +that the octaviated note is coded within braces so that the transposition +is only local. + + \ital{Octaviation}\index{octaviation} can also be performed in another +way, namely using special codes to transpose by multiples of 7 intervals. +For example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and +\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. It should be +emphasized here that the \verb|'| (\itxem{acute accent}) and the \verb|`| +(\itxem{grave accent}) have cumulative effects, so that \verb|\qu{''A'A}| +is equivalent to \verb|\qu{ah}| and that the \verb|\transpose| +parameter is only reset to its initial value (not necessarily zero) when +changing staff or instrument (i.e. \| or \verb|&|) or at \verb|\enotes|. + Since this may be confusing, it is useful to use the \verb|!| prefix +to reset the \verb|\transpose| register explicitely to the value it had +when entering \verb|\notes|\footnote{This value is saved in another +register named \keyindex{normaltranspose}.}. Thus \verb|\qu{!a'a}| always +gives the note \verb|a| and its upper octave \verb|h| \ital{shifted by the +value of {\Bslash transpose} at the beginning of the current} \noindent +\verb|\notes...\enotes| group (or \verb|\Notes...\enotes|, +etc.) whatever the number of previous grave and acute accents occurring +inbetween. + \subsection{Typical piano octave transposition} + \subsubsection{Local octave transposition of fixed length} +\begin{music} +\startextract +\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en +\endextract +\end{music} +\noindent can be coded as +\begin{quote}\begin{verbatim} +\startextract +\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en +\endextract +\end{verbatim}\end{quote}\zkeyindex{octfinup} +\noindent that is, the dashed line extends 3.5$\times${\Bslash noteskip}. +Conversely, lower octaviation can also be coded, for example: + +\begin{music} +\startextract +\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en +\endextract +\end{music} +\noindent which is coded as +\begin{quote}\begin{verbatim} +\startextract +\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en +\endextract +\end{verbatim}\end{quote}\zkeyindex{octfindown} +If a more sophisticated posting is wanted, this can be achieved refefining +the macro \keyindex{octnumber}, e.g.: + +\begin{music} +\startextract +\NOTEs\def\octnumber{\ppffsixteen8$^{va}$}\octfinup{10}3\qu c\qu d\qu e\en +\endextract +\end{music} +\noindent whose coding is +\begin{quote}\begin{verbatim} +\startextract +\NOTEs\def\octnumber{\ppffsixteen8$^{va}$}\octfinup{10}3\qu c\qu d\qu e\en +\endextract +\end{verbatim}\end{quote} +\noindent or + +\begin{music} +\startextract +\NOTEs\def\octnumber{\ppffsixteen8$^{va\,bassa}$}\octfindown{-5}4\ql l\ql k\ql j\en +\endextract +\end{music} +\noindent coded as: +\begin{quote}\begin{verbatim} +\startextract +\NOTEs\def\octnumber{\ppffsixteen8$^{va\,bassa}$}% + \octfindown{-5}4\ql l\ql k\ql j\en +\endextract +\end{verbatim}\end{quote} + +\subsubsection{Long or variable range octave transposition} +Long range octave transpositions are better handled using +\keyindex{Ioctfinup}, +\keyindex{Ioctfindown} and +\keyindex{Toctfin} whose effect extends over line breaks. + +{\Bslash Ioctfinup}~$np$ starts an octave transposition of reference number +$n$ (with $0\le n<6\equiv$\keyindex{maxoctlines}) dashed line at pitch $p$ +(usually $p>10$ but it can also be an alphabetic pitch specification), +{\Bslash Ioctfindown}~$np$ starts a lower octave transposition at pitch $p$ +(usually $p<-2$), and both extend until terminated with {\Bslash toctfin}. The +difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is +the relative position of the ``8'' figure with respect to the dashed line, and +the sense of the terminating hook (note that {\Bslash Ioctfinup} has a hook +under the dashed line, and conversely). + +For the sake of backward compatibility, \keyindex{ioctfinup} is equivalent to +\verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to +\verb|\Ioctfindown 0|. +For example: + +\medskip + \begin{music} +\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 +\endextract +\end{music} +whose coding is +\begin{quote}\begin{verbatim} +\begin{music} +\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 +\endextract +\end{music} +\end{verbatim}\end{quote} + %\check + + +%\begin{changebar} + + The elevation of octaviation lines may be raised/lowered using +\keyindex{Liftoctline}~$n$~$p$ where $n$ is the reference number of the + wanted ocave line, and $n$ a number (possibly negative) number of +\verb|\internote| by which the dashed line should be lifted. This is +particularly useful when octaviation lines last several systems and need to be +lifted in the systems occuring farther than the initiation. + +%\end{changebar} + + \subsection{Transposition of accidentals} + The above processes indeed change the vertical position of the note heads +and associated symbols (note stems, accents and beams) but they do not take +care of the necessary changes of accidentals when transposing, i.e. the fact +that an $F\sharp$ occurring with a zero signature should become a $B\natural$ +when transposing from the tonality of $C$ major to $F$ major where the normal +$B$ is the $B\flat$. Since the intent of the composer is not obvious -- he +may want to shift a group of notes within the same tonality or conversely to +transpose it in another tonality -- this is not done automatically. Thus the +\keyindex{sh}, \keyindex{fl}, \keyindex{na}, \keyindex{dsh} and +\keyindex{dfl} symbols \ital{are not affected} by a change of the +\keyindex{transpose} register. + + But the composer/typesetter may ask \musixtex\ to do that work. In this +case, he should code \keyindex{relativeaccid}. In that case, a \verb|\sh| +command means that the corresponding pitch\footnote{The musical output note, +not the typesetting position.} has to be raised by \ital{one half pitch} +with respect to its normal value \ital{according to the current signature}. +Thus \verb|\sh b| (using \keyindex{relativeaccid}) means a $B\sharp$ if the +signature is zero or positive, and a $B\natural$ if it is negative. The same +logic applies for all accidentals using \keyindex{relativeaccid}. + +In the same way, the compact codes \verb|^|, \verb|_|, \verb|=| are normally +not affected by transposition and signatures, but their behaviour will be +changed by saying \keyindex{relativeaccid} and reset by +\keyindex{absoluteaccid} (the default situation)\footnote{Note that the +behaviour of {\Bslash sh}, {\Bslash na} and {\Bslash fl} with \musixtex\ +corresponds to the behaviour of {\Bslash Sh}, {\Bslash Na} and {\Bslash Fl} +with \musictex+{musictrp.tex}. But the {\tt musixcpt.tex} file forces the same +behaviour as \musixtex\ in that respect, see page \pageref{compatibility}.}. + + Although \ital{relative accidental coding} is an easy and safe way of +coding \ital{transposable} scores, care should be exercised in getting rid +of the habit of saying \verb|\na b| to raise the pitch of a $B$ when the +tonality is $F$ major (i.e. with \keyindex{setsign$n$}\verb|=-1| or +\keyindex{generalsignature}\verb|{-1}|). An example of sophisticated +transposition is given in the score \verb|souvenir.tex| (which \verb|\input|s +\verb|souvenix.tex|). + + %\check + +\section{Slurs and ties} +The slurs and ties provided by \musixtex\ can be divided into two categories: +\label{simpleslur} +\begin{itemize} + \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 three discrete + characters, to form the beginning, middle and end of the slur. +\end{itemize} +The former are called \ital{simple slurs} and the latter are called +\ital{compound slurs}. To some extent the division between the two is +invisible to the user, in that a number of the macros described below will +select between the two types automatically. However, other macros are +provided to +enable simple slurs to be specified. Note that slurs of both types must be +coded within the pair \verb|\notes...\enotes|. + \subsection{General slur coding} +This section describes 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, +as is the case for beams. + \subsubsection{Slur initiation} +The slur must be initiated {\em before} +the spacing note at which the slur begins, and terminated {\em before} the +note at which the slur ends. The simplest slur initiation macro is + + +\keyindex{isluru}~$np$ + +\noindent which initiates an upper slur, with reference +number $n$, beginning at pitch $p$. The starting point of the slur is +centred above an imaginary quarter note head at pitch $p$. +As for beams, the reference number $n$ takes values from 0 to 5, or +0 to 8 if \ttxem{musixadd.tex} is included. +Similarly, \keyindex{islurd}~$np$ initiates a lower slur. +These slurs are terminated by coding +\keyindex{tslur}~$np$ where $n$ is the reference number and $p$ is the +termination pitch. To illustrate with a simple example, the following +passage + +\begin{music} +\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 +\endextract +\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}~$np$ +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 +centre of an imaginary quarter note head at pitch $p$. If a lower short slur +is wanted, one should use \keyindex{isslurd}~$np$. + + +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}~$np$ and \keyindex{ibslurd}~$np$. These macros +initiate slurs raised or lowered by the current stem height to accommodate +stems or beams above or below. + %\check + + \subsubsection{Slur termination}\label {slurtermin} +Termination of slurs can be achieved in two ways. First, macros matching +each of the initialization macros are provided, as shown below.\\ +\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} These specific termination macros enable slurs +started in one way to 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{Ties} The coding of \itxem{ties} follows from the above +discussion as a special case of slurs, i.e. when there is no pitch change. +Upper ties are initiated by \keyindex{itieu}~$np$ which starts an upper tie of +reference number $n$ at pitch $p$. +Lower ties are initiated by \keyindex{itied}~$np$ 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}~$n$. + +Some simple examples of slurs and ties are illustrated below. + +\begin{music} +\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 +\endextract +\end{music} +\noindent This was coded as: +\begin{quote}\begin{verbatim} +\begin{music} +\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 +\endextract +\end{music} +\end{verbatim}\end{quote} + \subsubsection{Short ties} Usual music coding makes ties not different of +slurs, i.e. a tie is typed exactly like a slur linking two notes of same pitch. +However, this traditional way of doing has two the drawback: + \begin{itemize} + \item in some special cases, a slur might be confused with a tie and +conversely, + \item chord ties cannot be implemented with the slur starting above or below +the note, but only starting just right of the noetead and finishing just left +of the other note head. + \end{itemize} + This can be done using \verb|\issluru| (\ref{slurtermin}, p. +\pageref{slurtermin}) or \keyindex{itenu}~$np$, \keyindex{itenl}~$np$ for tie +initiation, and \keyindex{tten}~$n$ to terminate it. As an example: + + \begin{music} + \startextract + \NOTes\itenl0d\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes + \bar + \NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes + \endextract + \end{music} + \noindent was coded as: + \begin{quote}\begin{verbatim} + \begin{music} + \startextract + \NOTes\itenl0d\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes + \bar + \NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes + \endextract + \end{music} + \end{verbatim}\end{quote} + %\check + + + \subsubsection{Slur limitations} + The vertical gap between slur initiation and slur termination is limited to +16\verb|\Internote|. Thus exceedingly ascending slurs lead to unfortunate +results, such as~: + + \begin{music} +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract + +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract + \end{music} + whose coding was: + \begin{quote}\begin{verbatim} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract + +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract + \end{music} + \end{verbatim}\end{quote} + + Besides, tentative slurs of excessive slope may also yield unexpected shapes, +such as: + \begin{music} +\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 + \endextract + \end{music} + + \subsection{Dotted slurs} Compound and simple slurs (\ref{simpleslur}, +p.\pageref{simpleslur}) may be drawn dotted\footnote{Thanks to Werner {\sc +Icking}.} specifying \keyindex{dotted} just before slur initiation. + +\begin{music} +\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 +\endextract +\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} + + \subsection{*Modifying slur properties} +Several macros are provided to modify the shape of slurs already initiated. +These macros must be coded before the slur termination. Note that only +compound slurs can be modified. Hence, calling any modification macro forces +the slur type to be compound. + \subsubsection{*Changing the rise or fall} + By default, the arch of a slur rises and falls from its original height by +three times the vertical note spacing. This can be changed using the macro +\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For +example, \verb|\midslur{6}| coded before \verb|\tslur| causes an upper slur to +rise to a maximum height of \verb|6\internote| above the starting position. +Note that \verb|\midslur| must be coded {\em immediately} before the slur +termination (eg, \verb|\tslur|). Coding \verb|\midslur| before setting a +simple slur causes problems and should be avoided.\\[20pt] + +\begin{music} +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\tslur0g\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\midslur7\tslur0g\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\isluru2g\ql g\en +\notes\midslur{11}\tslur2g\ql g\en +\endextract +\end{music} +This was coded as: +\begin{quote}\begin{verbatim} +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\tslur0g\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\midslur7\tslur0g\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\isluru2g\ql g\en +\notes\midslur{11}\tslur2g\ql g\en +\endextract +\end{verbatim}\end{quote} + \subsubsection{*Changing the curvature} +The degree of curvature depends primarily on the initial and terminal +gradient of the slur, relative to its mean slope. The macro +\keyindex{curve}~$hij$ allows these to be modified. The first parameter $h$ +is the vertical deviation as for \verb|\midslur| described above. The second +parameter $i$ sets the initial gradient, while the third parameter $j$ sets +the +final gradient. The latter parameters 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. +Likewise, coding \verb|\curve| before +a simple slur causes problems and should be avoided. + +The example below illustrates the use of \verb|\curve| more clearly. + + + +\begin{music} +\startextract +\NOtes\multnoteskip8\itieu0g\ql g\en +\notes\ttie0\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\itieu1g\ql g\en +\notes\curve 322\ttie1\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\itieu2g\ql g\en +\notes\curve 111\ttie2\ql g\en +\endextract +\end{music} +This was coded as: +\begin{quote}\begin{verbatim} +\startextract +\NOtes\multnoteskip8\itieu0g\ql g\en +\notes\ttie0\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\itieu1g\ql g\en +\notes\curve 322\ttie1\ql g\en +\endextract +\startextract +\NOtes\multnoteskip8\itieu2g\ql g\en +\notes\curve 111\ttie2\ql g\en +\endextract +\end{verbatim}\end{quote} + %\check + + + + \subsubsection{*Breaking slurs across a line} +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}~$np$, +which sets the termination height of +the broken slur at the line break to pitch $p$, for slur reference number $n$. + +After the line break, the slur is normally resumed at the initial pitch +reference, the one coded in \verb|\islur|. To change this, the macro +\keyindex{Liftslur}~$np$ may be used. Here $n$ is again the slur reference +number and $p$ 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. + +These macros are illustrated by the following example. +%% +% Example +%% + %\check + + \subsubsection{*Inverting slur termination} +Occasionally in keyboard works one needs to begin a slur in one +stave but end it in another. This can be done using the macro +\keyindex{invertslur}~$n$ 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 +\startextract +\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 +\endextract +\end{music} +This was coded as: +\begin{quote}\begin{verbatim} +\setstaffs1{2} +\setclef1{\bass} +\startextract +\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 +\endextract +\end{verbatim}\end{quote} + + \begin{remark} + Slur inversion is achieved at a place where its slope ise zero~; therefore it +only works with ascending slurs started with \verb|\isluru|, and with +descending slurs started with \verb|\islurd|. Otherwise no horizontal place +can be found and the result is erratic. + + This second situation can be solved manually, stopping the slur at a +reasonable place with \verb|\tslur| and restarting in the other sense at the +same place. Stopping and restarting obviously refer to virtual note pitches (a +vertical position without actual note) which should be adjusted to have the +minimum discontinuity. + \end{remark} + + To make this drawing easier, three commands have been provided: + \begin{itemize} + \item \keyindex{Tslurbreak}$np$ stops slur number $n$ exactly at pitch $p$, +not above or below the virtual note head. + \item \keyindex{Islurubreak}$np$ restarts an upper slur at the same position, +not above a virtual note head. + \item \keyindex{Islurdbreak}$np$ restarts an lower slur at the same position, +not below a virtual note head. + \end{itemize} + Thus, the following pattern + + \begin{music} +\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 +\endextract +\end{music} +was coded as +\begin{quote}\begin{verbatim} + \begin{music} +\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 +\endextract +\end{music} +\end{verbatim}\end{quote} + + + + + \subsection{Simple slurs} +Simple slurs and ties have the advantage +of optimal aesthetics and simple coding, but are limited in length to 68pt +for slurs and 220pt for +ties. Also, the maximum vertical extent of simple slurs is 8 times the +internote spacing, and the slurs 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 extend to the right of the note immediately following. +Hence they must be coded {\em before} the note at which the slur begins. +The primary macro call is +\keyindex{slur}~$p_1p_2sl$ +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 units of the current value of {\tt noteskip}. +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} +\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 +\endextract +\end{music} +%% +Similarly, ties may be set using +\keyindex{tie}~$psl$ where $p$ is the (single) pitch, and the other +parameters are as described above. + +Variants on these macros are provided to change the slur length +and vertical offset relative to the starting note, as follows. +\begin{itemize} + \item \keyindex{sslur}~$p_1p_2sl$, which sets a `short' slur, + designed for the case when a slur is required to link notes which + form part of a chord (see \verb|\isslur| above). + The macro \keyindex{stie}~$psl$ sets analagous ties. +%! \item \keyindex{bslur}~$p_1p_2sl$, which sets a `beam' slur, raised or +%! lowered so that the slur links the ends of note stems rather than +%! note heads. +\end{itemize} + %\check + + \subsection{Restrictions} +Generation of some of the slur fonts is problematic for \MF. +In particular, the long ties tend to exceed \MF's +maximum dimension for high resolution printers. However, for normal 300 dpi +printers there is no problem. A solution to this limitation is planned +for Postscript\raise1.5ex\hbox{\small\copyright} printers using +DVIPS \verb|\special| commands. + +\section{Bars} + \subsection{Bars and spacing} + Ordinary \ital{bars} are coded using the macro \keyindex{bar}. Its drawback +is that it does not differ from \verb|\bar| which is already defined in +\TeX's mathematical mode. \index{bar (original meaning)@{\Bslash bar} +\ital{(original meaning)}} Therefore, inside \verb|\startpiece...\endpiece| +\ital{our} \verb|\bar| means a musician \ital{bar}\footnote{\ital{Mesure} in +French, \ital{Takt} in German.} and outside, it keeps its original meaning. +If you \ital{really} need the original \verb|\bar| inside, you can say +\verb|\endcatcodesmusic...\bar...\catcodesmusic|. + %\check + + \subsection{Bar numbering} +Unless otherwise specified, \index{bar numbering}bars are +numbered. This is a good means of finding errors provided that the \musixtex\ +user has put comments in his source text recording the (expected) bar number. +However, this can look unpleasant for final outputs, since the habit is to +number bars only each other five or ten bars. This is not a serious problem +since the frequency of bar numbering is defined as: + + \verb|\def|\keyindex{freqbarno}\verb|{1}| + +If you replace the {\tt1} by {\tt5}, bar numbering will occur each other five +bars. You can also inhibit any bar number\footnote{default inside this manual} +printing by telling: + +\keyindex{nobarnumbers} + +\noindent If you want to restore bar numbering after \verb|\nobarnumbers|, +you can say + +\keyindex{barnumbers} + + The bar counter is also accessible, its name is \keyindex{barno}. +You can change it without any dramatic consequence. + +Sometimes there is need for to start with a \verb|\barno| value which differs +from 1. Perhaps the piece starts with an \ital{upbeat}, then you can code + +\keyindex{startbarno}\verb|=0| + +\noindent in front of \verb|\startpiece|; or you may want to typeset only an +excerpt starting for example with bar number +198, then you can code \verb|\startbarno=198|. Pay attention because +saying \verb|\startbarno=|$n$ has a global meaning. So if you want to +\verb|\input| several pieces whose starting bar numbers differ, you have to +adjust the value of \verb|\startbarno| each time.\label{startbarno} + + %\check + +The best compromise between information of the bar number and a pleasant +lookout is the command \keyindex{systemnumbers} which draws the bar numbers +only at the left top of every system (or staff? then the command will +be renamed to \verb|\staffnumbers| or \verb|\staffbarnumbers|). + +You can influence the height of the system numbers by coding + +\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}| + +\noindent whose default is set to \verb|4\internote| to fit above +a violin clef. You can influence its horizontal position with + +\verb|\def|\keyindex{shiftbarno}\verb|{|\ital{any \TeX~dimension}\verb|}| + +\noindent which default value is \verb|0pt|. If you don't like the box around +the bar number or its font, you can redefine the macro which sets the system +bar number; its default is + +\verb|\def|\keyindex{writebarno}% + \verb|{\boxit{\eightbf\the\barno\barnoadd}}| + + \noindent where \keyindex{boxit} is a utility macro provided by \musixtex{} +whose purpose is to enclose its argument in a \raise-\boxitsep\hbox{\boxit{box}}. + + +\medskip +\begin{music} +\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} +which was coded as +\begin{itemize} + \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 to the next system bar number +is added the \keyindex{writezbarno} whose default setting is the lower +character {\tt'a'}. If you want a {\tt'+}' instead, you can say + +\verb|\def|\keyindex{writezbarno}\verb|{+}| + + Besides, you can change the font and anything in the format of current bar +numbers by changing the original definition of the macro +\keyindex{writethebarno} or the font in \keyindex{fontbarno}, where the +defaults are: + + \verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}| + + \verb|\def\fontbarno{\it}| + + + \noindent 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 simply 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} + %\check + + + + %\check + +\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 + + \subsection{Full and instrument divided bars} +Normally, bars (as well as double bars, final bars and repeat bars) are +drawn as a continuous line, starting for the bottom of the lower staff of the +lower instrument, and ending at the top of the upper staff of the upper +instrument. However, one may want to have discontinuous bars, that is, one +continuous bar for all the staffs of a unique instrument. This is done by +issuing the command \keyindex{sepbarrules}. An example of this is given in the +{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the +example of section \ref{avemaria}. + + The initial situation can be forced or restored by \keyindex{stdbarrules}. In +the extension library are some more types of bar rules, mainly for very old +music, see \ref{otherbars}. + + \subsection{Instruments with no coherent bar division} + + In some special scores with several instruments, it may happen that distinc +instruments, not only have different meters (e.g. 2/4 and 6/8 to avoid +printing triolet codes for some instrument), but also have bar lines not +synchronized. Obviously, this can be implemented \ital{{\bfseries only if}} +\keyindex{sepbarrules} has been stated. Then, five specific commands can be issued~: + +\begin{itemize} +\item\keyindex{hidebarrule} $n$ hides the bar rule for instrument $n$, until +this is changed by \verb|\showbarrule|~$n$. +\item\keyindex{showbarrule} $n$ stops hiding the bar rule for instrument $n$, until +this is changed by \verb|\hidebarrule|~$n$. +\item\keyindex{Hidebarrule} $n$ hides the bar rule for instrument $n$, only +for the next bar. +\item\keyindex{Showbarrule} $n$ exceptionally shows the bar rule for instrument $n$, +and then resets intrument $n$ to \verb|Hidebarrule|. +\item\keyindex{showallbarrules} resets all defined instruments to +\verb|showbarrule|~$n$. This command is automatically inserted with double +bars, final bars and repeats. +\end{itemize} + +Thus, the following 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 +\endextract +\end{verbatim}\end{quote} + + +\section{Managing the layout of your score} +\subsection{Line and page breaking}\label{linebreak} + +Those who usually worked with \musictex\ before must be aware that this has +been deeply changed in \musixtex. All line-breaking decisions\footnote{With +exception of the \musictex\ command {\Bslash autolines}, which is provided in +the file {\tt musixcpt.tex}, see page \pageref{compatibility}.} are done by +the external program \verb|musixflx|. Then you get the most even results when +you insert the fewest \ital{manual} line breaks possible. But sometimes +there is really need for them, e.g. page break should preferably occur when +the musician has one hand free to turn the sheet. + +You can force a line break with \keyindex{alaligne} instead of \keyindex{bar}. +In the same way, you can code \keyindex{alapage} to force an \keyindex{eject} +with proper reinitialization of staffs, clefs and signatures. + + %\check + + On the other hand, you may want to forbid line-breaking at a bar, +then you should replace \verb|\bar| with \keyindex{xbar}. + + Conversely, you may want to break a line \ital{not at a bar}\footnote{For +example, you may prefer to turn the page at a place where the pianist has one +hand free, in the middle of a bar.}. This is allowed by \keyindex{zbar} +(optional line break) or forced by \keyindex{zalaligne} or +\keyindex{zalapage}. + +The heavy final double bar of a piece is provided by \keyindex{Endpiece} or +\keyindex{Stoppiece}. If you just want to terminate the text with a simple +bar, you say \keyindex{stoppiece} or \keyindex{endpiece}. If you want to +terminate it without a bar, you code \keyindex{zstoppiece}. + + Once you have stopped the score by any of these means, you can restart it +using \keyindex{contpiece}. If you want to restart indenting the next line +(system) by the dimension \keyindex{parindent}, then you should rather use +\keyindex{Contpiece}, which is recommended when changing the +the number of instruments within a single piece. + + However, neither \verb|\contpiece| nor \verb|\Contpiece| can be used if you +change the signature (i.e. using \keyindex{generalsignature}) between +\verb|stoppiece| and \verb|\contpiece|), since the space used by signatures is +not constant and it has to be taken in account, e.g. by some +\keyindex{changecontext}. In that case, you have to restart your score using +\keyindex{startpiece}, which in turn requires you to save \verb|\barno| to its +furtner starting value \verb|\startbarno| if you do not want it reset at 1, +and to manage the instrument names and/or the \verb|\parindent| if necessary. + + If you want the next vertical bar to be a double bar, you have to +declare \keyindex{doublebar} or \keyindex{setdoublebar} before the +\keyindex{bar} (or the \keyindex{stoppiece} or \keyindex{alaligne} or +\keyindex{alapage}) to be marked with a double thin bar. In the same way you +can declare \keyindex{setdoubleBAR} if you want to have a heavy double bar +(the same as \verb|\Stoppiece|) and even \keyindex{setemptybar} to make the +next \verb|\bar| invisible\footnote{These latter features are given for your +information, but they should be used only in case of emergency.}. + + %\check + +\subsection{How to manage individual page layout} +\begin{enumerate} + \item You write your own output routine, which centers the contents in the +middle of the page. Most important are then the values of +\keyindex{stafftopmarg} and \keyindex{staffbotmarg}, because they decide of +the amount of margin between successive systems. + \item If you say \keyindex{raggedbottom}, the vertical glue is removed and +the score is rather compacted at the top of page. + \item You change the value of \keyindex{parskip} and say +\keyindex{normalbottom} (which behaves like \LaTeX's \keyindex{flushbottom} +and which is done by default working with \verb|plain.tex|). Then the +vertical space between the staffs is changed to get the first staff on page +on top and the last staff on page to bottom (depends on \keyindex{vsize}). +It might be clever to insert a \keyindex{eject} before the \keyindex{bye}. +\keyindex{musicparskip} set between two systems no extra distance, but the +possibility to increase the distance up to \verb|5\Interligne|. +\end{enumerate} +\noindent +Besides, following values of e.g.~paper size are changed +(only if you \ital{do not} work with \LaTeX) to: +\begin{quote}\begin{verbatim} +\parindent= 0pt +\hoffset= -15.4mm +\voffset= -10mm +\hsize= 190mm +\vsize= 260mm +\end{verbatim}\end{quote} +\zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset} +\zkeyindex{hsize}\zkeyindex{vsize} + + %\check + +\subsection{How to adjust the global line and page layout}\index{page and line +layout (global)} + + Once you have made your whole score, you will probably find out that all +systems (all ``lines'') have a correct layout with nice beams, nice slurs, and +others. But it is likely that: + \begin{itemize} + \item The result takes too many or too few pages and you estimate a more or +less compact score would be suitable. + \item The results takes a convenient number of pages, but the last page +exhibits a widow line or an ugly blank space at the end. + \end{itemize} + + To solve this, you may revert to two strategies: + \begin{enumerate} + \item Explicitely force line and page breaking at the very places you like; + this can be done using \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne| +or \verb|\zalapage| commands. This can also be done using the +\verb|\autolines| command imported from \musictex\ and provided in the {\tt +musixcpt.tex} additional file. But this way of doing may result in +unfortunately uneven distribution of the notes in the score, which is therefore +not very smart. + \item Adapt both the \keyindex{mulooseness} and the global value of +\keyindex{elemskip}: increasing \verb|\mulooseness| (whose default is 0) +increases the total number of systems, and if you are clever you may be able +to fill an integer number of pages. Besides, increasing the stated +\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) also +makes note spacing wider, and its advantage is that you can tune it by half a +percent if needed. + +\begin{remark} \verb|\elemskip| can be retrieved in both the first and the third +pass (second \TeX-ing pass), but any assignment of a value (a dimension value) +to \verb|\elemskip| will be of no effect at third pass, since it is taken from +the {\tt *.mx2} file yielded by {\tt musixflx}. On the contrary, assigning a +value to \keyindex{noteskip} within \verb|\notes...\enotes| is efficient in +both passes, and cause some weird errors if you mix up scalable and not +scalable dimensions. + \end{remark} + \end{enumerate} + %\check + +\section{Changing score attributes} + + As seen before, you can change the signature of the whole set of instruments +by \keyindex{generalsignature}~$n$ where $n>0$ means a number of sharps, $n<0$ +means a number of flats. Or, you may prefer to change the signature of only +one or two instruments by the statement: + +\keyindex{setsign} $n$\verb|{|$s$\verb|}| + + %\check + +\noindent + where $n$ is the number of the instrument considered, and $s$ its +specific signature. Since you may change simultaneously (with respect to the +score) but consecutively (with respect to your code) the signatures of +several instruments, this change takes place only when you say +\keyindex{changesignature} (within a bar) or \keyindex{changecontext} (after +a single vertical rule) or \keyindex{Changecontext} (after a double vertical +rule) or \keyindex{zchangecontext} (without a bar rule\footnote{Old composers +uses the bar rules very rarely}). + + Normally, changing a signature from flats to sharps or sharps to flats or +reducing the number of sharps/flats will produce the convenient set of +naturals to emphasise what is suppressed. This standard feature can be +temporarily inhibited by the command \keyindex{ignorenats} to be issued before +the next {\Bslash changecontext} or {\Bslash changesignature}. + + + In the same way, you may want to change the active clefs. +This is done by + +\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%| + + %\check + +\noindent where $r$ is the number of the instrument, $s_1$ specifies the clef +of the lower staff, $s_2$ the clef of the second staff, etc. $s_1=6$ means the +\ital{bass} clef (\ixem{clef de fa} in French), $s_1=0$ means the \ital{violin} +clef (\ixem{clef de sol} in French), $s_1=1$ through $s_1=4$ mean the +\ital{alto} clef (\ixem{clef d'ut} in French) set on first (lower) through +fourth (next to upper line of the staff), $s_1=5$ or $s_1=6$ mean the bass clef +on the third or fourth line respectively.\index{violin clef}\index{bass +clef}\index{alto clef} + + As seen above in the case of signatures, several clefs may be changed at the +same time; thus all the clef changes become operational only when the macro +\keyindex{changeclefs} is coded. Normal usage consists in issuing this +command before the bar, not after (this helps the music player when the +change happens across a line break). + %\check + + The \verb|\changeclefs| command normally takes some horizontal space to put +one of more clef symbols, but it may happen that you have no notes +immediately before on the staff whose clef is changed. In that case, you can +use \keyindex{zchangeclefs} which performs the same posting, overwritten left on +the last part of the score in that staff. Of course it is your responsibility +to ensure that no notes will collide with the clef change symbols. + %\check + +The \musictex\ problem if a clef change is coded while one or several beams +are pending has been removed in \musixtex. As an enhanced example, we provide +an excerpt of {\sc Brahms}'s Intermezzo op.~117,1 initially coded by Miguel +{\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip + +\begin{music} +\setstaffs1{2} +\interstaff{11} +\setclef1\bass % F- and G-clefs +\generalsignature{-3}% 3 flats +\parindent-4mm +\advance\hsize8mm +\startpiece +\qspace\nspace +\Notes\arpeggio E5\ibslurd0o\zq{EI}\qu N% + \nextstaff\ibl0e{-2}\zq{eg}\qb0l\zq d\qb0k\enotes +\setclef1\treble\zchangeclefs +\nspace +\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes +\notes\curve{-4}22\invertslur0\tslur0t\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes +\setclef1\bass\changeclefs +\notes\islurd0k\zq E\cu I\nextstaff + \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes +\bar +\Notes\ibu0L{-2}\zq{EI}\qb0M\zqb0L% + \nextstaff{\stemlength4\zql N}\ibu1f{-2}\qb1f\tbu1\zqb1e\hsk\enotes +\setclef1\treble\changeclefs +\nspace +\Notes\tbu0\zq{Me}\qb0g\nextstaff\zq{ln}\cl s\en +\notes\curve{-4}22\invertslur0\tslur0q\zq{be}\qu i\nextstaff\zq{ln}\ql s\en +\setclef1\bass\changeclefs +\notes\islurd0m\zq G\cu L\nextstaff + \ibbu1j3\zq c\qb1j\tbu1\zq d\qb1k\enotes +\bar +\Notes\zq G\qu L% + \nextstaff\ibl0e{-2}\zq{ei}\qb0l\zq d\zqb0k\enotes +\setclef1\treble\changeclefs +\nspace +\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes +\notes\curve{-5}22\invertslur0\tslur0o\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes +\setclef1\bass \changeclefs +\notes\zq B\cu I\nextstaff\ibsluru0j% + \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes +\bar +\Notes\zq{IL}\ql N\nextstaff\zql b\ibu0i{-2}\qb0i\enotes +\scale{.5}% +\Notes\nextstaff\qb0e\enotes +\Notes\nextstaff\tinynotesize\isluru1f\grcu g\enotes +\scale\normalvalue +\Notes\zq B\cu I\nextstaff\zcl a\tslur1f\tbu0\zq d\qb0f\enotes +\Notesp\zq E\qu I\nextstaff\tslur0e\zq N\zql e\ibu0g6\qbp0e\enotes +\notes\sk\icresc\cu E\sk\zmidstaff\tcresc\nextstaff + \ibsluru0i\nbbu0\qb0g\zq i\zcl g\qb0i\tbu0\qb0n\tubslur0k\enotes +\endpiece +\end{music} + + +\noindent The first bar of this excerpt was coded as: + + \begin{verbatim} +\begin{music} +\instrumentnumber{1} +\setstaffs1{2} +\interstaff{11} +\setclef1\bass % F- and G-clefs +\generalsignature{-3}% 3 flats +\parindent0pt +\startpiece +\qspace\nspace +\Notes\arpeggio E5\ibslurd0o\zq{EI}\qu N% + \nextstaff\ibl0e{-2}\zq{eg}\qb0l\zq d\qb0k\enotes +\setclef1\treble\zchangeclefs +\nspace +\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes +\notes\invertslur0\tslur0t\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes +\setclef1\bass \changeclefs +\notes\islurd0k\zq E\cu I\nextstaff + \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes +\end{music}\end{verbatim}% +\ital{Meter} changes are implemented in following way: + +\keyindex{setmeter} $n$% + \verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}%| + +\noindent + where $n$ is the number of the instrument, $m1$ specifies the meter +of the lower staff, $m2$ the meter of the second staff, etc. (if necessary!). + +Since meter changes +are meaningful only across bars, they are actually taken in account with +\keyindex{changecontext} or \keyindex{Changecontext} or +\keyindex{zchangecontext} or \keyindex{alaligne} or \keyindex{alapage}. + +\section{Repeats} + +To insert a \ital{repeat bar} you can use following sets of procedures, +namely \keyindex{leftrepeat}, \keyindex{rightrepeat} and +\keyindex{leftrightrepeat}, which are substitute the \keyindex{bar}. +For example: + +\begin{music} +\startextract +\NOTes\ha g\enotes +\leftrepeat +\NOTes\ha h\enotes +\leftrightrepeat +\NOTes\ha i\enotes +\rightrepeat +\NOTEs\wh j\enotes +\endextract +\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} +Special cases are forced line breaks: +if you want to force a new line at a repeat, you should code +respectively: + +\begin{quote} +\noindent\keyindex{setrightrepeat}\keyindex{alaligne}\\ +\keyindex{setrightrepeat}\keyindex{endpiece}\\ +\keyindex{alaligne}\keyindex{leftrepeat}\\ +\keyindex{contpiece}\keyindex{leftrepeat}\\ +\keyindex{startpiece}\keyindex{leftrepeat} +\end{quote} + +\noindent or the combination of two of these in the case of a left/right +repeat. + + A second way of coding consists in saying \keyindex{setleftrepeat}, +\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before a bar +(\keyindex{bar}), \keyindex{stoppiece} or \keyindex{changecontext}). In +this case, the next single vertical bar will be replaced with the selected +repeat bar. This meets the traditional music typesetting conventions in the +only case of the \ital{right repeat} but, unfortunately, left and left/right +repeats use to behave in a different manner when in the middle of a line and +at a line break. + + \subsection{Specific first and second pass scoring} + +\RuleOn +A frequent situation consists in a long part of score repeated two or several +times, but its last few bars are different at first pass and at second pass. +This can be specified by saying +\keyindex{setvolta}\verb|{|\ital{text}\verb|}| before the \keyindex{bar} +beginning the part specific to that first or second part\footnote{The word +``volta'' comes from Italian, it means ``time'' in the sense of ``first +time'', ``second time'' or ``pass'' in that case.}. + + Then, only one bar has a horizontal rule above. No termination command is +needed since termination is implied by the following \verb|\bar| or repeat +symbol. For example: + +\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} +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} + + + + If the music typesetter wants to include more than one bar in the first +pass[es] section and he wants all these to have a continuous line above, then +he can code \keyindex{Setvolta}\verb|{|\ital{text}\verb|}| before the bar he +wants the ``volta'' to begin, and put \keyindex{setendvolta} or +\keyindex{setendvoltabox} before the bar they should end. +\keyindex{setendvoltabox} makes the upper line to be terminated with a +descending hook, symmetrical to the opening small vertical bar. + + +\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 has been +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} The +``volta'' symbols are normally set at \verb|4\internote| above the upper line +of the staff and one bar(length?) wide. + + The final down hook is stated, either by \keyindex{setendvoltabox} at the end, +or \keyindex{setvoltabox} at the beginning. + +\begin{important} + You are no more allowed to open \verb|\Setvolta| or \verb|\setvoltabox| whan +another of these multi-bar volta is pending. To re-open a \verb|\Setvolta| at +the ens of another one, you must explicitly order the first one to be closed +at the end of the bar where the second one is opened. Given examples had to be +corrected in order to meet this new safety requirement. + +\end{important} + + For the sake of portability, \keyindex{endvolta} is identical ti +\verb|\setendvolta|, and \keyindex{endvoltabox} is identical to +\verb|\setendvoltabox|. Theses changes in the names ar intended to recall that +these commant take effect only at the next bar, repeat or line break. + + +\RuleOff + + The altitude of the ``volta'' above the upper staff can +be changed, redefining \keyindex{raisevolta}, e.g.: + + \verb|\def\raisevolta{7\internote}| + + \noindent or define it to be any other valid dimension. + + \medskip\noindent{\sl REMARK: the dot after "volta" numbering can be removed, +simply by saying:} + + \verb|\def|\keyindex{voltadot}\verb| {}| + +\noindent {\sl and reset by:} + + \verb|\def|\keyindex{voltadot}\verb| {.}| + + \subsection{Large scope repeats and orientation marks} + +Large scope repeats have also been provided +with special symbols, namely \keyindex{coda}~$p$, \keyindex{Coda}~$p$, +\keyindex{segno}~$p$, where $p$ specifies the pitch. A bigger symbol is +\keyindex{Segno} with no argument. For example, the following figure + +\begin{music} +\startextract +\NOtes\segno n\enotes +\bar +\NOtes\coda n\enotes +\NOtes\Segno\enotes +\bar +\NOtes\Coda n\enotes +\endextract +\end{music} +\noindent 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} +Orientation marks are set more often above larger orchestral pieces for +easy come together of all instruments for exercise reasons. Often used are +circled or boxed uppercase characters or digits. This can be done with + +\keyindex{boxit}\verb|{|\ital{text}\verb|}|~~~or\\ +\indent\keyindex{circleit}\verb|{|\ital{text}\verb|}| + +\noindent The distance between the box and the including text is influenced by + +\keyindex{boxitsep}\verb|=|\ital{any \TeX\ dimension} + +\noindent which is setup by default to \verb|3pt|. The usage is recommended +with \keyindex{Uptext}, \keyindex{zcharnote}, \keyindex{zchar} or +\keyindex{ccharnote}. + +\subsection{Repeating the last bar} + This can be done using the symbol \keyindex{duevolte} (often used with +\verb|\centerbar|, see example in \ref{barcentered}, p. +\pageref{barcentered}), e.g.: + +\begin{music} +\generalmeter\meterC +\setclef1\bass\setstaffs1{2} +\startextract +\NOtes\sk\sk\pause|\qa{cegj}\en +\bar\NOtes\qa{cdef}|\sk\sk\duevolte\en +\endextract +\end{music} +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\sk\duevolte\en +\endextract +\end{verbatim}\end{quote} + + %\check + +\section{Miscellaneous} + \subsection{Putting anything anywhere} +\noindent Special macros are provided to help the composer to set any \TeX\ +text on the staffs. The macro + +\keyindex{zcharnote}~$p$\verb|{|text\verb|}| + +\noindent +sets the given text with its base line at pitch $p$ of the current staff +(this means it must be coded inside \verb|\notes...\enotes|). +Whatever the length of the text, no spacing occurs. +If you want the possible spilling text to expand on the left rather than +on the right, then you can use \keyindex{lcharnote}. +If you want the possible spilling text centered to current position, +then you can use \keyindex{ccharnote} which causes no space. + +The macro \keyindex{zcharnote} is fit for coding special notations like +accents above or below the notes. Also available are \keyindex{zchar}, +\keyindex{lchar} and \keyindex{cchar}, which +allows only numbers for pitch, but enables the use of floats too. + +To place some text at the mid-position between the two staffs of +a keyboard instrument, you may code: +\begin{quote} +\keyindex{zmidstaff}\verb|{|{\it text}\verb|}%| (to right)\\ +\keyindex{lmidstaff}\verb|{|{\it text}\verb|}%| (to left)\\ +\keyindex{cmidstaff}\verb|{|{\it text}\verb|}%| (centred) +\end{quote} +\noindent being however +careful, a) to put it inside \verb|\notes...\enotes|, b) to code it in the +text of the lower staff. + + A text to be put above the current staff is introduced by +\keyindex{uptext}\verb|{...}|. +This may however cause some collision with bar +numbering or notes above the staff; it is then wise to use +\keyindex{Uptext}\verb|{...}| +which puts the text two note line distances higher (recommended to post +the tempo). + \subsection{Fonts} The text fonts loaded by \musixtex\ come in six different +type sizes and three styles. The type sizes are 8\,pt, 10\,pt, 12\,pt, 14\,pt, +17\,pt and 25\,pt, while the three styles are roman, bold and italic. The +three smaller type sizes are available in all three styles, while the larger +three sizes, which are intended for titles, are available only in bold style. +The size selection macros are respectively \keyindex{smalltype}, +\keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype}, +\keyindex{Bigtype} , +\keyindex{BIgtype} and \keyindex{BIGtype}. Following the size selection, the +style may be selected or changed using \keyindex{rm} (roman), \keyindex{bf} +(bold) or \keyindex{it} (italic). If no style selection is made, roman style +will result for the sizes smaller than \verb|\medtype|. For the larger sizes, +style selection is not required since only bold style is provided. Thus, +selection of eight point italic is done using \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. This information +is summarized in the following table. + +\begin{center} + \begin{tabular}{clc} + \hline + Size, pt & Size selection & Style selection \\ + \hline + 8 & \verb|\smalltype| & \verb|\rm, \bf, \it| \\ + 10 & \verb|\normtype| & \verb|\rm, \bf, \it| \\ + 12 & \verb|\medtype| & \verb|\rm, \bf, \it| \\ + 14 & \verb|\bigtype| & \verb| (\bf) | \\ + 17 & \verb|\Bigtype| & \verb| (\bf) | \\ + 20 & \verb|\BIgtype| & \verb| (\bf) | \\ + 25 & \verb|\BIGtype| & \verb| (\bf) | \\ + \hline + \end{tabular} \end{center} Two other text fonts are provided for dynamic +markings. These are \keyindex{ppffsixteen}, \keyindex{ppfftwenty} and +\keyindex{ppfftwentyfour}, suitable for dynamic markings with staff sizes of +16\,pt, 20\,pt and 24\,pt respectively. The appropriate font for the current +staff size may be selected by coding \keyindex{ppff}. + +Naturally other fonts may be loaded by the user if required. +When \musixtex\ is started, the default text font is +ten point roman, equivalent to \verb|\normtype\rm|. + \subsubsection{Examples} +\begin{center} + \begin{tabular}{ll} + \hline + Size and style & Example \\ + \hline + \verb|\smalltype| & {\smalltype small roman} \\ + \verb|\smalltype\bf| & {\smalltype\bf small bold} \\ + \verb|\smalltype\it| & {\smalltype\it small italic} \\ + \verb|\normtype| & {\normtype normal roman} \\ + \verb|\normtype\bf| & {\normtype\bf normal bold} \\ + \verb|\normtype\it| & {\normtype\it normal italic}\\ + \verb|\medtype| & {\medtype medium roman} \\ + \verb|\medtype\bf| & {\medtype\bf medium bold} \\ + \verb|\medtype\it| & {\medtype\it medium italic}\\ + \verb|\bigtype| & {\bigtype big bold} \\ + \verb|\Bigtype| & {\Bigtype Big bold} \\ + \verb|\BIgtype| & {\BIgtype BIg bold} \\ + \verb|\BIGtype| & {\BIGtype BIG bold} \\ + \verb|\ppffsixteen| & {\ppffsixteen pp ff diminuendo}\\ + \verb|\ppfftwenty| & {\ppfftwenty pp ff crescendo}\\ + \verb|\ppfftwentyfour| & {\ppfftwentyfour pp ff crescendo}\\ + \hline + \end{tabular} +\end{center} + \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|). + \subsection{Accents} +\begin{itemize} + \item \keyindex{upz}~$p$ (upper \ital{pizzicato}) to put a dot above a note +head at pitch $p$, + \item \keyindex{lpz}~$p$ (lower \ital{pizzicato}) to put a dot below a note +head at pitch $p$, + \item \keyindex{usf}~$p$ (upper \itxem{sforzando}) to put a $>$ accent above +a note head at pitch $p$, + \item \keyindex{lsf}~$p$ (lower \itxem{sforzando}) to put a $>$ accent below +a note head at pitch $p$, + \item \keyindex{ust}~$p$ (upper \itxem{staccato} or \itxem{portato}) to put a +hyphen above a note head at pitch $p$, + \item \keyindex{lst}~$p$ (lower \ital{staccato} or \ital{portato}) to put a +hyphen below a note head at pitch $p$, + \item \keyindex{uppz}~$p$ (upper strong \ital{pizzicato}) to put an +apostrophe above a note head at pitch $p$, + \item \keyindex{lppz}~$p$ (lower strong \ital{pizzicato}) to put a reversed +apostrophe below a note head at pitch $p$. + \item \keyindex{usfz}~$p$ (upper \ital{sforzato}) to put a +`roof' above a note head at pitch $p$, + \item \keyindex{lsfz}~$p$ (lower \ital{sforzato}) to put a reversed +`roof' below a note head at pitch $p$. + \item \keyindex{upzst}~$p$ (upper \ital{portato/staccato}) to put a +combined portato/staccato sign above a note head at pitch $p$, + \item \keyindex{lpzst}~$p$ (lower \ital{portato/staccato}) to put a +combined portato/staccato sign below a note head at pitch $p$. + \item \keyindex{flageolett}~$p$ to put a +thin circle above a note head at pitch $p$. + \item \keyindex{upbow} to indicate a bowing for strings in upper direction. + \item \keyindex{downbow} opposite to {\Bslash upbow}. +\end{itemize} +Because whole notes (breve, arbitrary, ...) have a different note head width +the accents appear not centered above them. Therefore you can use +\keyindex{wholeshift}\verb|{|\ital{text}\verb|}| which centers accents +and others +which are centered above a quarter note head to appear centered above +a whole note. This is used for e.g.~\verb|\Fermataup|. + +Also available are the variants\footnote{Thanks to Klaus {\sc Bechert}'s +corrections.} of the most used accents which will be automatically positioned +above or below a beam. Therefore the known accents are preceeded with the +letter `b' and, instead of the pitch, the beam reference number is appended as +an argument. Thus + +\medskip +\begin{music} +\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 +\endextract +\end{music} +\noindent was coded as: +\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 +\endextract +\end{verbatim} +\zkeyindex{busfz} +\zkeyindex{bupz} +\zkeyindex{bust} +\zkeyindex{buppz} +\zkeyindex{busf} +\zkeyindex{butext} +\zkeyindex{blsfz} +\zkeyindex{blpz} +\zkeyindex{blst} +\zkeyindex{blppz} +\zkeyindex{blsf} +\zkeyindex{bltext} + \subsection{*Indication of \ital{x}-tuplets} + + Triplets and other $x$-tuplets --- in practice the italic numbers \ital{3}, +\ital{4}, \ital{5}, etc. can be set at the right horizontal/vertical position +invoking the \keyindex{triolet} or \keyindex{xtuplet} macros at the leftmost +position of the group, i.e. before the first note is coded. + + {\Bslash triolet} has only one argument, the pitch of the bottom of the +figure 3, {\Bslash xtuplet} has two arguments: the figure and its pitch. + +If the figure has to be put above an upper beam or below a lower beam, using +the macros \keyindex{butext} (above) and \keyindex{bltext} (below) is advisable +to post the figure above or below the given beam. {\Bslash butext} +and {\Bslash bltext} have one argument, namely the beam number (namely the +same as the first argument of commands such as {\Bslash ibu} or {\Bslash +Ibu}). If the group of notes is not a triolet, the actual figure has to be +changed, redefining the macro \keyindex{txt} which is set up by default to: + +\verb|\def\txt{\eightit 3}%| + +\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 +\Notesp\uptrio p16\ql m\en\notesp\cl o\en +\endpiece +\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\uptrio p16\ql m\en\notesp\cl o\en +\end{verbatim}\end{quote} +\end{music} +\zkeyindex{xtuplet}\zkeyindex{triolet} +%\xtuplet{text}{pitch} +% centers text(3 on second note, 4 between second and thirdnote, +% 5 on third note) on notes (-> \triolet{pitch}) + \subsection{*Usual ornaments} + + \subsubsection{Arpeggios} +\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro + +\keyindex{arpeggio} $pm$ + +\noindent where $p$ is the pitch of +the base of the arpeggio symbol and $m$ is its multiplicity (one period is +equal to one space between staff lines, i.e. 5 points). This macro causes +no spacing. If should be issued before the concerned +chords. Its variant \keyindex{larpeggio} sets the arpeggio symbol nearly +one note head width on the left, in order to avoid collision with accidentals +in front of the chords. + + \subsubsection{Trills} + Trills\index{trills} can be coded in several ways. +\keyindex{trille}~$pl$ (where $p$ is the pitch and $l$ is a number of current +\ital{noteskip}) yields \hbox to 1cm{\noteskip1cm\trille11\hss} while +\keyindex{Trille}~$pl$ yields \hbox to 2cm{\noteskip1cm\Trille12\hss}. + + For longer trills expanding over bars and line breaks, a better way consists +in specifying the beginning with \keyindex{Itrille}~$np$ where $n$ is the +trill reference number ($0\le n<6=$\keyindex{maxtrills}) and terminate it with +the command \keyindex{Ttrille}~$n$. If one wants the {\it tr} mention at the +beginning, then one should use \keyindex{ITrille}~$np$. The ancient commands +\keyindex{itrille}, \keyindex{ttrille}~$p$ and \keyindex{tTrille}~$p$ still +work but beware that their syntax is different, that the opening and the +closing must be in the same bar and that the use the same registers as +\verb|\Itrille 0|. + +\medskip +\begin{remark} \verb|trille| and \verb|Trille| also exist in \musictex. +Unfortunately, the same macro names do not have the same syntax and the same +semantic in both packages and {\ttxem{musixcpt.tex}} forces the behaviour and +the syntax of \musictex. A solution to this problem consists in using +\keyindex{trilleC} and \keyindex{TrilleC} to have the \musictex{} behaviour, +and \keyindex{trilleX} and \keyindex{TrilleX} to have the \musixtex{} +behaviour, even when {\tt musixcpt} is invoked. +\end{remark} + +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} +\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} + \keyindex{PED} inserts the piano pedal command below the staff; pedal release +is specified by \keyindex{DEP}; also available are shorter variants of the +pedal signs which are invoked with \keyindex{sPED} and \keyindex{sDEP}; thus +the following 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 is setup by default to + +\verb|\def|\keyindex{raiseped}\verb|{-5}%| + +If you only want to change a few of them, you can use 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 1cm{ \Ped\hss} symbol is rather wide, it might collide +with bass notes in an ugly way. Then a solution consists in shifting if to the +left, by coding \verb|\loff{\PED}|. + + \subsubsection{Other ornaments}\index{ornaments} + + \begin{itemize} + \item \keyindex{mordent}~$p$ for \hbox to .75em{\mordent 0\hss}, + \item \keyindex{Mordent}~$p$ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}, + \item \keyindex{shake}~$p$ for \hbox to .75em{\shake 0\hss}, + \item \keyindex{Shake}~$p$ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}, + \item \keyindex{Shakel}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}, + \item \keyindex{Shakesw}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}, + \item \keyindex{Shakene}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}, + \item \keyindex{Shakenw}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}, + \item \keyindex{turn}~$p$ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}, + \item \keyindex{backturn}~$p$ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}, + \item \keyindex{fermataup}~$p$ puts a \itxem{fermata} at pitch $p$. +No spacing occurs. + \item \keyindex{fermatadown}~$p$ puts a reverse \ital{fermata} at the same +place. + \item \keyindex{Fermataup}~$p$ puts a \itxem{fermata} at pitch $p$ centered +above a whole note. No spacing occurs. + \item \keyindex{Fermatadown}~$p$ puts a reverse \ital{fermata} at the same +place. + \item A big \itxem{breathing} comma can be put above the staff --- to +indicate where the singer is welcome to breath, or to indicate a short rest +--- using \keyindex{zbreath} (no spacing) or \keyindex{cbreath} (centred in a +\verb|\noteskip| space). The \musictex\ \keyindex{breath} is no more available +since it involved a ``hard'' spacing of the width of that character, which +resulted in troubles with \musixtex. + + \item The \keyindex{caesura} command can also be used to insert a small +slash, such as + +\begin{music} +\startextract +\NOTes\zhu j\hl{^e}\caesura\en +\Notes\zcu j\cl e\en +\endextract +\end{music} + + \end{itemize} + + \subsection{Dynamic signs} Various +dynamic signs can be posted with +\keyindex{crescendo}\verb|{|$l$\verb|}| or +\keyindex{decrescendo}\verb|{|$l$\verb|}|, to be used as arguments to +\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc. + +Note: The biggest sign is $\simeq$ 68 mm long. + +Alternately they can be produced using the pair of \keyindex{icresc} and +\keyindex{tcresc} or \keyindex{tdecresc}. Saying one time \verb|\icresc| you +can force several \verb|\tcresc| or \verb|\tdecresc| with the same starting +abscissa. Tha altitude of the [de]crescendo symbol is specified, not by the +\verb|\icresc| macro which only defines the stating abscissa, but by the +\verb|\tcresc| or \verb|\tdecresc| which is normally lifted up or down by +means of a \verb|\zmidstaff| or a \verb|\zcharnote| command whose first +argument has to be adjusted according to your visual needs. + +\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{verbatim} +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en +\end{verbatim} + +\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 which was coded as: +\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} + + + Intensity conventional signs are: \keyindex{ppp}, +\keyindex{pppp}, +\keyindex{ppp}, +\keyindex{pp}, +\keyindex{p}, +\keyindex{mp}, +\keyindex{mf}, +\keyindex{f}, +\keyindex{fp}, +\keyindex{sF}, +\keyindex{ff}, +\keyindex{fff}, +\keyindex{ffff}, resulting in \pppp, \ppp, \pp, +\p, +\mezzopiano, +\mf, +\f, +\fp, +\sF, +\ff, +\fff\ and +\ffff. + + + \subsection{Length of note stems} + +%\begin{changebar} + +Normally, the length of note stems is the distance of one octave, i.e. +\verb|7\internote|. This is equivalent to 4.66 \keyindex{interbeam}. The +length of the stems may be changed using the macro \keyindex{stemlength}, e.g.: + + \verb|\stemlength{5.2}| + + \noindent which will set the stemlength to 5.2 \verb|\interbeam|. The default + is +\keyindex{stemlength}\verb|{4.66}|. + +Choral music with four voices is often typeset into two staffs. Thus, each +staff holds two voices, one being typeset with stems up, the other with stems +down. If the command \keyindex{stemcut} has been previously issued, stems that +are outside the staff are cut depending on the pitch of the notes. If this is +not wanted, this feature may be suppressed with the command +\keyindex{nostemcut}. The default behaviour is \keyindex{stemcut} in plain +\musixtex, and \keyindex{nostemcut} when {\ttxem{musixcpt.tex}} is invoked. + +Normally, down stems never end above the middle line of the staff and up stems +never below that line. This extension of the stems may be inhibited for the +next generated stem using the command \keyindex{stdstemfalse}. There is no +\keyindex{stdstemtrue} since \keyindex{stdstemfalse} is reset after +generating each new stem. + +%\end{changebar} + + + \subsection{*Brackets and parentheses} + + +Several brackets and parentheses have been provided for musical typesetting +needs. These are: + \begin{itemize} + \item \keyindex{lpar}\verb|{|$p$\verb|}| and +\keyindex{rpar}\verb|{|$p$\verb|}| which yield small +parenthesis to enclose notes. These are used for \ital{cautionary} accidentals +but more comprehensive macros fulfill that specific purpose (see \ref{cautionary}) + \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| to post square +brackets of width $n$-internotes at left of a chord. Usually these brackets +are used on keyboard instruments to specify, either two neighbouring notes +played with a single finger, or some chord notes to be played with the +alternate hand. + \item \keyindex{doublethumb}\verb|{|$p$\verb|}|, to indicate a bracket of +height 2\verb|\internote|. + \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and +\keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| +draw a bracket over the music starting at the current position at pitch $p$, +width $n\times$\verb|noteskip| and slope $s$ (1 $\sim$ 1.125[degree]). +causing no space. + \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and +\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|, which are like +\verb|\ovbkt| but with free definable \keyindex{txt} centers in the middle. + + \item \keyindex{varline} $h$ $\ell$ $s$ builds an oblique line of height $h$ (a +dimension), of length $\ell$ and of slope $s$. Used to build oblique brackets. + +This feature is particularly useful for people who want to typeset +\itxem{baroque} music using the ancient \itxem{ornament codings} rather than +the modern equivalents. As a compromise, some macros kindly provided by Ian +{\sc Collier} in Great Britain have slightly been updated and provided. + \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 +\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 +\endextract +\end{music} +\end{verbatim}\end{quote} +\begin{remark} if you used \verb|\input musicext| before, pay attention to the +commands \keyindex{ovbkt} and \keyindex{unbkt}, their parameter meaning has +changed from \musictex{} to \musixtex. + \end{remark} + + \subsection{New line synchronization of coding} + The procedure named \keyindex{everystaff} is executed each time a new system +is typed. It is normally void, but it can be defined (simply by \verb|\def|% +\keyindex{everystaff}\verb|{...}|) to tell \musixtex\ to post anything +reasonable at the beginning of each system. It was used in the example +{NWIDOR} to post octaviation dashed lines at the end of the piece. + +Caution should be exercised to call \verb|\everystaff| before +\verb|\startpiece| if its effect is needed for the first system of the score. + + The procedure named \keyindex{atnextline}, normally void, is executed at the +next computed or forced line break (using +\keyindex{alaligne} or \keyindex{alapage}). More precisely, it is executed +after the break and before the next system is typed. Thus it is fit for +posting new definitions of layout parameters, when no system is +pending\footnote{Its logic is similar to plain \TeX's \keyindex{vadjust} +command.}. + + \index{tenor violin clef}In some scores, tenor parts are not coded using the +\ital{bass} clef, but using rather the \ital{violin clef} subscripted by a +{\tt8}. This is not directly supported by the \keyindex{setclef} +command, but it can be handled using \keyindex{everystaff} and +\keyindex{zcharnote}. +As an example the following score + +\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 +\endextract +\end{music} +\noindent was coded as: +\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} + +\noindent{\sl{\bfseries Caution:} the \verb|\everystaff| must be called before +\verb|startpiece| in order to have that subscript at the first staff.} +\section{Small and tiny notes} +Before entering details, let us point out that we are presently concerned with +typing notes of smaller size than the normal one, without attempting to change +the interval between the five lines building a single staff. Changing staff +line interval will be treated in a further section. + \subsection{Cadenzas and explicit ornaments} + Ornaments and \itxem{cadenzas} usually need to be written using smaller +notes\footnote{This is independent of the staff size.}. This can be done +everywhere by stating \keyindex{smallnotesize} or \keyindex{tinynotesize}. +Normal note size is restored by \keyindex{normalnotesize}.\index{ornaments} + + These macros only have a local scope. Thus, if these macros are invoked +outside the \verb|\notes...\enotes| pair, the change is valid for +the rest of the piece unless explicitely modified but, if they are invoked +inside, their effect is local to the current staff of the current +\verb|\notes...\enotes| pair. +As an example, the following excerpt (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: the difference is +that they are always coded as eighth notes with an oblique bar over the flag. +To perform this, special variants of \keyindex{cu} and \keyindex{cl} have been +provided, namely \keyindex{grcu} and \keyindex{grcl}, with the only difference +that the flag has been slashed. Using this together with the note reduction +macro, grace notes (optionally chord grace notes) can be easily coded: + +\begin{music} +\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 +\endextract +\end{music} +The previous example 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 +\endextract +\end{verbatim}\end{quote} + \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} + \subsection{Moving from 20pt to 16pt, 24pt or 29pt staff sizes and +conversely} + You also want to write some parts of your score in 20pt +staff size and others in 16pt or 24pt or 28.8pt staff size, namely +for distinct parts of pieces. Changing the \ixem{general staff size} +is done by saying: + +\keyindex{smallmusicsize}, or \keyindex{normalmusicsize}, or +\keyindex{largemusicsize}, or \keyindex{Largemusicsize}. + +\noindent respectively. + \subsection{Changing staff size for certain instruments}\label{staffspacing} +Regardless of the general choice of \verb|\smallmusicsize| or +\verb|\normalmusicsize|, it is now possible to assign certain instruments -- +not separate staffs belonging to a same instrument -- to have narrower or larger +\itxem{staff size}, i.e. narrower or larger \itxem{staff spacing}. This is done using + +\keyindex{setsize} $n$\verb|{|\ital{size}\verb|}| + +\noindent where $n$ is the number of the instrument considered. Five different +\ital{sizes} are available as standards: \keyindex{normalvalue}, which is +the default, \keyindex{smallvalue} (0.80 times narrower), +\keyindex{tinyvalue} (0.64 times narrower), \keyindex{largevalue} (1.2 times +larger) and \keyindex{Largevalue} (1.44 +times larger). But, if you know perfectly what +you are doing, you can also say: + +\verb|\setsize 3{2.0}| + +\noindent which will provide the third instrument with staffs of spacing +twice the standard value. In that case, \musixtex\ will use the nearest +symbol size available, but this is likely to be rather ugly. + + An alternate +and equivalent coding --- a remnant from \musictex\ --- could be: + +\verb|\def\staffspacingiii{2.0}|\zkeyindex{staffspacing} + + + +\verb|\setsize| must be invoked before the starting command +\verb|\startpiece|, since this statement does not only change the vertical +spacing between staff lines, but it also changes the size of the key, +accidental and note symbols to fit the modified staff line spacing. + + However, it must be emphasized that non-standard staff spacings use the +nearest available font size. This make no serious problem for notes and +accidentals which may be slightly too small or too big, but clefs and rests +may appear to be shifted upwards or downwards. This trouble is progressively +removed, but it requires changing the {\tt musix*} fonts, with some possible +characters forgotten... or the fact that user uses a font older than T.60 +version. + +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 +Johann-Sebastian Bach's \ital{Well Tempered Clavier} (transcription for +organ, violin and voice, thanks to 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} + Most layout parameters are set by \musixtex\ to reasonable default values. +However, sophisticated scores\footnote{To our knowledge, the most complicated +scores are those written for the piano, during the romantic and post-romantic +periods.} may need more place below the lowest staff, between staves, etc. +\def\nochange{(\ital{NOT to be changed})} We give below a short list of the +most significant parameters. + \subsection{List of layout parameters} + \begin{remark} the mention ``\nochange'' does not mean that this parameter +cannot be changed, but that it should not be modified directly, e.g.\ by +saying something like \verb|\Interligne=14pt|. In other words, changing these +parameters must be performed using more comprehensive macros which not only +update them but also perform some other compulsory related changes. + \end{remark} + +\begin{description} + \item[\keyindex{Interligne} :]vertical distance between the base of staff +lines of the current instrument, taking no account of a possible specification +of \keyindex{setsize$n$} \nochange. + \item[\keyindex{internote} :]the vertical spacing of contiguous notes of +the current instrument, taking account of a possible specification of +\keyindex{setsize$n$} \nochange. + \item[\keyindex{Internote} :]the vertical spacing of contiguous notes of +the instrument(s) whose \keyindex{setsize$n$} has the \ital{default +value} of one (\keyindex{normalvalue}), +i.e.\ the half of \verb|\Interligne| \nochange + + \item[\keyindex{staffbotmarg} :]margin below the first staff of the lowest +instrument. Changes are recognized at the next system and default is +\verb|3\Interligne|. + \item[\keyindex{stafftopmarg} :]margin above the upper staff of the upper +instrument. Changes are recognized at the next system and default is +\verb|3\Interligne|. + \item[\keyindex{interbeam} :]vertical distance between beams. \nochange. + \item[\keyindex{interportee} :]the distance between the bottom of one staff and +the bottom of the next one. It is set to +\verb|2|\keyindex{interstaff}\verb|\internote| at the next system. +Therefore, trying to change \verb|\interportee| will have no effect. + %\check + \item[\keyindex{interinstrument} :]the additional vertical distance between +two different instruments. This means that the distance between the upper +staff of the previous instrument and the lowest line of the current +instrument is equal to \keyindex{interportee+\Bslash interinstrument}. This +value is normally zero, but it helps putting additional space between +distinct instruments for the sake of clarity. This is a general dimension +register which holds for each of the vertical spaces between instruments, +except above the upper one, in which case this interval is irrelevant. +As usual in \TeX, it can be set using a command such as + + \verb|\interinstrument=10pt| + + \noindent or + + \verb|\interinstrument=6\internote| + + + However, this general parameter can be overridden for the space above a +specific instrument. For example (see the example {\tt angescao.tex}) one can +state: + +\keyindex{setinterinstrument} $n$\verb|{1\Interligne}| + +\noindent to force an additional spacing of one \verb|\Interligne| +above instrument $n$, whatever the value of \keyindex{interinstrument}. + This feature can usefully be used to have more space before instruments +representing \itxem{voices}, in order to have enough place to put +\itxem{lyrics} without assigning these lyrics a zero staff specific instrument +(useful to avoid having too many declared instruments in a choir score). + + The \verb|\setinterinstrument| is identical to the ancient --- and still +working --- \musictex\ command: + + \verb|\def|\keyindex{interinstrumentiii}\verb|{5\interligne}| + + \noindent to add 5\verb|\interligne| above the 3rd instrument. + %\check + + + \item[\keyindex{systemheight} :]the distance from the bottom of the +lowest staff to the top of the highest staff of the upper instrument. This is +the height of the vertical bars (single, double, repeats, etc.) \nochange. +\end{description} + 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{itemize} + \item\keyindex{altplancher} : the altitude of the lowest line of the lowest +instrument \nochange. + \item\keyindex{altitude} : the altitude of the lowest line of the lowest +staff of the current instrument \nochange. + \item\keyindex{altportee} : the altitude of the lowest line of the current +staff \nochange. + + %??? Next perhaps will change to steps of \verb|\internote|. + + \item\keyindex{stemfactor} : a parameter defining the size of half, quarter +and hooked eighth notes stems. Normally a stem has the length of one octave, +i.e. 3.5\keyindex{Interligne}. However, this is not valid for small size +notes and, therefore, the stem size is related to the \keyindex{interbeam} +dimensions which, in turn, is \ital{normally} equal to 0.75 +\keyindex{Interligne}. Thus the normal value of \keyindex{stemfactor} is +4.66, but it can be shortened for any purpose by saying, for example: + + \keyindex{stemlength}\verb|{3.5}| +\end{itemize} + \subsection{Changing layout parameters} + Most of these values can be changed, but only between the end of the +previous system and the beginning of the next one. This can be inserted +between a \keyindex{stoppiece} (or a \keyindex{endpiece}) +and a \keyindex{contpiece} (or a \keyindex{startpiece}), but it is +wiser to say, for example: + +\verb|\def\atnextline{\stafftopmarg=5\Interligne}| + + The user may prefer to change \keyindex{staffbotmarg} or +to feed \keyindex{interstaff} with a +given integer number, but this can be done only between a +\keyindex{stoppiece} (or a \keyindex{endpiece}) and a +\keyindex{contpiece} (or a \keyindex{startpiece}), but it is wiser to use +\keyindex{atnextline} as previously. + + It is also wise to use \keyindex{atnextline} to change the +number of instruments, the staff spacings, the number of staffs at the next +line... provided that the coding of the notes \ital{resists} an unexpected +line change executing the \keyindex{atnextline}. + \subsection{Changing the staff distance within systems} The vertical +distance of instruments with more than one staff can be changed, either +outside \verb|\startpiece|...\verb|\endpiece| or using \keyindex{atnextline}, +by saying: + +\keyindex{interstaff}\verb|{|$n$\verb|}| + + Then the spacing between the staffs of the instruments will be +$n$\verb|\internote|. Note that \verb|\interstaff| applies to all the +instruments, but each distinct instrument may have a different +\verb|\internote| (see \ref{staffspacing}). + + Note that this command is equivalent to an existing remnant of \musictex, +namely: + + \verb|\def|\keyindex{interfacteur}\verb|{|$n$\verb|}| + + + \medskip The distance between two different +instruments can be increased by saying + +\keyindex{interinstrument}\verb|=|\ital{any \TeX-dimension} + +\noindent for all additional inter-instrument distances, or + +\keyindex{setinterinstrument} $n$\verb|{|\ital{any \TeX-dimension}\verb|}| + +\noindent for single distances. + \subsection{Changing the number of lines in staffs}\index{staff line number} +\label{stafflinenumber} +Unless explicitely specified, staffs consist of five lines, in accordance to +the normal way of coding music scores. However, exceptions might be +preferred when using \musixtex~: + +\begin{itemize} + \item \itxem{gregorian music} is often written using staff of +four lines instead of five\footnote{German: \ital{Quadratnotation}.}, + \item \itxem{percussion music} (e.g.~drums, triangle) needs one, two, three + or five lines, since the pitch cannot change but the number of percussion + instruments. + \item \itxem{guitar tablature} needs six lines. Although \ital{real} guitar + players hate guitar tablature, + for beginners they are a big help. Not ready yet. The lines + are, but not the additional macros. + + \item Early baroque music sometimes uses staffs with 6, 7, or 8 lines. + + \end{itemize} + + Therefore \musixtex\ allows for choosing the number of lines of +the staffs of an instrument. This is done by +\keyindex{setlines}~$n$\verb|{|$N$\verb|}| --- where $n$ is the number of the +wanted instrument as usual --- and $N$ the number of lines of the specific +staff. Allowed numbers are up to 9 lines. For example:\label{gregorian} + +\keyindex{setlines}\verb|2{4}| + +\noindent will make the instrument number 2 to have staffs of four +lines, that is, fit for gregorian music. + \subsection{Resetting normal layout parameters} + Except the general size which +has to be explicitely changed if needed using \keyindex{smallmusicsize}, +\keyindex{normalmusicsize}, \keyindex{largemusicsize}, or +\keyindex{Largemusicsize}, all layout registers are reset to \ixem{default +values} by \keyindex{resetlayout}, which are explicitly: + + \begin{itemize} + \item \keyindex{staffbotmarg} and \keyindex{stafftopmarg} are set to +\verb|3\Interligne|. + \item \keyindex{interstaff} is set to \verb|9|. + \item The number of lines of all instruments are reset to 5. + \item All clef symbols are standard clef symbols. +\end{itemize} +\noindent +Besides, saying \keyindex{begin\LBR music\RBR} invokes \verb|\resetlayout|. + \subsection{Typesetting one-line excerpts rather than large scores} +Very often, what is wanted is not to typeset a large comprehensive score of +several lines and pages, but an excerpt of one or two bars, preferably +centered such as the various examples of this manual. This can be done simply +by replacing \keyindex{startpiece} with +\keyindex{startextract} and \verb|\endpiece| or \verb|\stoppiece| with +\keyindex{endextract}. It is sometimes useful to get more than one excerpt in +one line, this can be done with redefining of \keyindex{extractline}. + +With saying: + +\keyindex{let\Bslash extractline\Bslash hbox} + +\noindent you can put more than one example in one line. Helpful for getting +\itxem{musical footnotes}, which explain the playing of special trills or +give alternative ways of playing, is the redefining to: + +\keyindex{let\Bslash extractline\Bslash leftline} + +Besides, all changes inbetween +\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, +means not global. + + If you want to terminate it without a bar, you code +\keyindex{zendextract} which acts like \verb|\zstoppiece|. + \subsection{*Lyrics}\index{lyrics}\label{lyrics} + While they pose nearly no problem with \musictex\ which works using the glue +facility of \TeX, lyrics raise several serious difficulties with \musixtex. +The reason for that is that lyrics usually consist of \ital{text} which in +turn consists of characters whose width is definitely not stretchable nor +shrinkable proportionally to \verb|\noteskip| or \verb|\elemskip|. + + Thus the width of a sequence of notes like + + \begin{music} + \startextract + \NOTEs\zcharnote{-5}{Words }\qu h\en + \endextract + \end{music} + + \noindent may be either the width of ``{\tt Words }'' with the current font, +or it may be \verb|1\elemskip|, whatever the largest. In the first case, the +width is fixed (see \keyindex{hardspace}), in the second its width is not the +same at \musixtex's first and second passes. But the unfortunate situation is that +\musixtex\ \ital{must} know whether this feature has a \ital{hard} (not scalable) +or a \ital{scalable} width \ital{at the first pass}, while the inequality +is solved only at the second. + + This means that, in addition to the three pass system, the user must run +trial and errors to find out whether some lyrics are wider than the final note +spacing, or smaller. In that case a wrong decision might lead to questionable +``\verb|Underfull hbox|''-es filled with ugly glue, or it may result in +awful ``\verb|Overfull hbox|'' with its heavy bar punishment and possible +over writings. + + However, before discussing this problem, we first describe the various ways of +inserting lyrics under --- or above --- a staff. + + \subsubsection{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}. + + \subsubsection{Posting lyrics} + Lyrics can be introduced in several ways. + \begin{enumerate} + \item One archaic solution could be to define a special instrument for the lyrics +text, without effective staff, namely using the command +\keyindex{setstaffs}~$n$\verb|{|$p$\verb|}| described in \ref{whatspecify}. +The inconvenience of this solution is that it increases the number of +instruments, which is limited to 6 in standard \musixtex, although it can be +increased to 9 using {\tt musixadd.tex} and 12 with {\tt musixmad.tex}. + + \medskip + Therefore, better solutions consist is posting the lyrics in the same +instrument as the tune, provided that inter-instrument spacing has been +adapted. + + \item Another simple obvious solution consists in using the command +\keyindex{zcharnote} 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. It +could also be specified like a note pitch, for example ``{\tt a}'' if the song +is in G-clef. The drawback is that the pitch has to be repeated for each text +of each note, which is tideous unless a special macro has been defined. + + \item Rather than \verb|\zcharnote| and other \verb|\?charnote| commands, one +should rather use \keyindex{zchar}, \keyindex{cchar} (centered) or +\keyindex{lchar} (expanded to left) which only allow absolute numbers +(internally multiplied by {\Bslash internote}). These command have the same +drawback as above, namely the vertical position has to be repeated each time. + + \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} + + \medskip 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\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{verbatim}\end{quote} + + + You can also use the macros from \verb|musixcho.tex|, which result in the +same vertical positionning as \keyindex{zsong} and other \verb|\?song| do, but +the text of the lyrics are better justified around the related note. + + \end{enumerate} + + \subsubsection{Handling lyrics width versus scalable note spacings} + + If one uses either \verb|\zsong| or \verb|\csong| or \verb|\lsong| without +caution, one will probably get awful things such as: + + \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 which is the same example as above, with all spacings divided by +1.41. Although locating ``overfull'' lyrics seems easy, it might be wiser to +force their visibility, which is done replacing \verb|\zsong| with +\keyindex{hsong} which encloses the hazardous text in a \verb|\hbox| of width +\verb|\noteskip|, whose overfilling is diagnosed as usual by Plain \TeX\ or +(especially in \LaTeX) by means of the \verb|\overfullrule=...| command: + + + \begin{music} + \generalsignature{1} + \startextract + \overfullrule 3pt% + \geometricskipscale + \Notes\hsong{Au }\qu g\en + \Notes\hsong{clair }\qu g\en + \Notes\hsong{de }\qu g\en + \Notes\hsong{la }\qu h\en + \bar + \NOtes\hsong{lu- }\hu i\en + \NOtes\hsong{ne, }\hu h\en + \bar + \Notes\hsong{mon }\qu g\en + \Notes\hsong{a- }\qu i\en + \Notes\hsong{mi }\qu h\en + \Notes\hsong{Pier- }\qu h\en + \bar + \NOTes\hsong{rot, }\wh g\sk\en + \endextract + \end{music} + + 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. + + Once one has diagnosed --- in the tentative final layout --- which lyrics +lead to overfull texts, several corrections may be tried: + +\begin{enumerate} + \item Increase the \keyindex{mulooseness} to have wider note spacing. This +may work, but the inconvenience is that all notes would be stretched, and not +only the faulty notes. + \item Increase specific note spacings, replacing for example \verb|\Notes| +with \verb|\NOtes| or \verb|\Notesp|. This is the easiest solution which may +require several trials and errors since an increase of a few notes in a system +may lead to a small shrinking of the others, to keep the total length +constant. + \item Decide that some notes --- only ``some'' notes, not all notes of the +score, neither all the notes of a given system --- would have a \itxem{hard +spacing} and not a scalable spacing. This is done using the command + + \begin{quote} + \keyindex{hardnotes}\ital{ any hard \TeX\ dimension }\verb|\notes|\ital{ +normal note specif. }\verb|\en| + \end{quote} + \noindent which ends the \verb|\notes...\en| with a \itxem{hard spacing} (see +\verb|\hardspace| in \ref{hardspace}, p. \pageref{hardspace}) rather than a +scalable spacing. + + A more practical variant has been provided especially for lyrics, namely + + \begin{quote} + \keyindex{hardlyrics}\ital{ any text }\verb|\notes|\ital{ +normal note specif. }\verb|\en| + \end{quote} + \noindent which computes the width of ``any text'' by putting it in a +\verb|\hbox| and reverting to \verb|\hardnotes| to perform the remainder of the +task. In order to save repetitions, the text of the lyrics which has been used +to compute the hard note spacing can be retrieved under the command name +\keyindex{thelyrics}. \verb|\hardlyrics| must be followed by \verb|\notes| +(with the lyrics text inbetween), not by \verb|\Notes| nor \verb|\NOtes|, etc. + + + Besides, since moving the lyrics text between \verb|\hardlyrics| and +\verb|\notes|\footnote{{\Bslash notes}, neither {\Bslash Notes} nor {\Bslash +NOtes} nor {\Bslash NOTes} etc.} together with replacing it with +\keyindex{thelyrics} at the initial location is a rather tedious operation +with text editors, another command has been provided, namely +\keyindex{softlyrics}: + + \verb|\softlyrics{|\ital{ any text }\verb|}| + + \noindent defines \verb|\thelyrics| to be ``\ital{ any text }'', so that +going from \verb|\hardlyrics| to the default scalable behaviour of +\verb|\noteskip| and inversely can easily be done by changing \verb|\hard| +into \verb|\soft| in the source text, with optional change of the number of +uppercase letters in \verb|\notes|. + + + + \medskip\begin{important} since \/\verb|\hardlyrics| computes +\/\verb|\noteskip|, its argument (before \/\verb|\notes|) may not refer to +\/\verb|\noteskip|... which is not already computed. + \end{important} + \end{enumerate} + + \subsubsection{A more comprehensive example of lyrics} + Here is an example taken from the French catholic liturgy (a French +translation of the traditional \ital{Gloria in excelsis Deo}). We give first +the adapted source of a part of the score: + + +\begin{quote}\begin{verbatim} +\overfullrule 3pt +\instrumentnumber{1} +\setstaffs11 +% +\generalsignature{-1}\relax % one flat +\generalmeter{\meterfrac{2}{2}} +% +\staffbotmarg=5\Interligne\stafftopmarg=1.5\Interligne +\startpiece +\setsongraise1{2\Interligne}% +\znotes\uptext{\kern -9mm\raise 9pt\hbox{\bigtype + Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes +\hardlyrics {\kern-5pt Gloire }\notes\hsong{\thelyrics }\cu c\enotes +\notes\hsong{\`a }\cu c\enotes +\barre +\NOTes\hsong{Dieu~}\hu f\enotes +\notes\hsong{au}\cu f\enotes +\hardlyrics{plus~}\notes\hsong{\thelyrics }\cu f\enotes +\hardlyrics{haut~}\notes\hsong{\thelyrics }\cu g\enotes +\notes\hsong{des}\cu g\enotes +\barre +\NOtes\hsong{cieux~}\qup h\enotes +\notes\hsong{et~}\cu h\enotes +\hardlyrics{paix~}\notes\hsong{\thelyrics }\qu i\enotes +\hardlyrics{sur~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{la~}\cu g\enotes +\barre +\Notes\hsong{ter-}\qu f\enotes +\notes\hsong{re~}\cu f\enotes +\hardlyrics{aux~}\notes\hsong{\thelyrics}\cu f\enotes +\hardlyrics{hom- }\notes\hsong{\thelyrics}\qu g\enotes +\hardlyrics{mes~}\notes\hsong{\thelyrics }\cu h\enotes +\hardlyrics{qu'il~}\notes\hsong{\thelyrics }\cu i\enotes +\barre +\NOtes\hsong{ai-}\hu g\enotes +\Notes\hsong{me.}\hu f\enotes +\Notes\uptext{\bf II }\enotes +\barre +\hardlyrics{Nous~}\notes\hsong{\thelyrics}\qu h\enotes +\notes\hsong{Te~}\cu g\enotes +\notes\hsong{lou-}\cu g\enotes +\NOtes\hsong{ons,}\hu h\enotes +\barre +\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{b\'e-}\cu j\enotes +\notes\hsong{nis-}\cu j\enotes +\NOtes\hsong{sons,}\hu h\enotes +\barre +\Notes\hsong{nous~}\qu h\enotes +\NOtes\hsong{t'a-}\hu g\enotes +\Notes\hsong{do-}\qu f\enotes +\barre +\NOtes\hsong{rons,~}\hu f\enotes +\notes\uptext{\bf I}\enotes +\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{glo-}\cu g\enotes +\notes\hsong{ri-}\cu g\enotes +\barre +\NOTEs\hsong{fions,~}\hu h\enotes +\hardlyrics{\kern -4pt nous~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{ren-}\cu h\enotes +\notes\zsong{dons~}\cu i\enotes +\barre +\NOtes\hsong{gr\^a~-}\qu g\enotes +\notes\hsong{ces~}\cu g\enotes +\hardlyrics{pour~}\notes\hsong\thelyrics\cu g\enotes +\hardlyrics{Ton~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{im-}\cu i\enotes +\hardlyrics{men-}\notes\hsong\thelyrics\cu j\enotes +\notes\zsong{se~}\cu k\enotes +\barre +\Notes\hsong{gloi-}\ql j\enotes +\Notes\hsong{-}\ql i\enotes +\Notes\hsong{re~!}\qu h\enotes +\notes\uptext{\bf II}\enotes +\notes\hardlyrics{Sei-}\hsong\thelyrics\cu h\enotes +\notes\zsong{gneur~}\cu i\enotes +\barre +\hardlyrics{Dieu,~}\notes\hsong\thelyrics\qu j\enotes +\hardlyrics{Roi~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{du~}\cu g\enotes +\Notes\hsong{Ciel,~}\qu h\enotes +\hardlyrics{Dieu~}\notes\hsong\thelyrics\cu h\enotes +\notes\zsong{le~}\cu g\enotes +\barre +\hardlyrics{P\`e-~}\notes\thelyrics\hsong\cu h\enotes +\notes\hsong{re~}\cu i\enotes +\hardlyrics{tout-}\notes\hsong\thelyrics\cu g\enotes +\hardlyrics{puis-}\notes\hsong\thelyrics\cu h\enotes +\hardlyrics{sant~!}\notes\hsong\thelyrics\qup h\enotes +\notes\uptext{\bf I}\enotes +\notes\zsong{Sei-}\cu h\enotes +\mulooseness 2% +\stoppiece +\end{verbatim}\end{quote} + + The result clearly shows the inequality between note spacings, +some of them forced by lyrics length, some others related to the +value of \verb|\elemskip| choosen by {\tt musixflx} according to the +given value of \keyindex{mulooseness}. Note that \verb|\zsong| still has been +used for lyrics followed by a bar, since their extension across the bar is +usually harmless. + +\begin{music} +\small +\overfullrule 3pt +\instrumentnumber{1} +\setstaffs11 +% +\generalsignature{-1}\relax % one flat +\generalmeter{\meterfrac{2}{2}} +% +\staffbotmarg=5\Interligne\stafftopmarg=1.5\Interligne +\startpiece +\setsongraise1{2\Interligne}% +\znotes\uptext{\kern -9mm\raise 9pt\hbox{\bigtype + Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes +\hardlyrics {\kern-5pt Gloire }\notes\hsong{\thelyrics }\cu c\enotes +\notes\hsong{\`a }\cu c\enotes +\barre +\NOTes\hsong{Dieu~}\hu f\enotes +\notes\hsong{au}\cu f\enotes +\hardlyrics{plus~}\notes\hsong{\thelyrics }\cu f\enotes +\hardlyrics{haut~}\notes\hsong{\thelyrics }\cu g\enotes +\notes\hsong{des}\cu g\enotes +\barre +\NOtes\hsong{cieux~}\qup h\enotes +\notes\hsong{et~}\cu h\enotes +\hardlyrics{paix~}\notes\hsong{\thelyrics }\qu i\enotes +\hardlyrics{sur~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{la~}\cu g\enotes +\barre +\Notes\hsong{ter-}\qu f\enotes +\notes\hsong{re~}\cu f\enotes +\hardlyrics{aux~}\notes\hsong{\thelyrics}\cu f\enotes +\hardlyrics{hom- }\notes\hsong{\thelyrics}\qu g\enotes +\hardlyrics{mes~}\notes\hsong{\thelyrics }\cu h\enotes +\hardlyrics{qu'il~}\notes\hsong{\thelyrics }\cu i\enotes +\barre +\NOtes\hsong{ai-}\hu g\enotes +\Notes\hsong{me.}\hu f\enotes +\Notes\uptext{\bf II }\enotes +\barre +\hardlyrics{Nous~}\notes\hsong{\thelyrics}\qu h\enotes +\notes\hsong{Te~}\cu g\enotes +\notes\hsong{lou-}\cu g\enotes +\NOtes\hsong{ons,}\hu h\enotes +\barre +\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{b\'e-}\cu j\enotes +\notes\hsong{nis-}\cu j\enotes +\NOtes\hsong{sons,}\hu h\enotes +\barre +\Notes\hsong{nous~}\qu h\enotes +\NOtes\hsong{t'a-}\hu g\enotes +\Notes\hsong{do-}\qu f\enotes +\barre +\NOtes\hsong{rons,~}\hu f\enotes +\notes\uptext{\bf I}\enotes +\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{glo-}\cu g\enotes +\notes\hsong{ri-}\cu g\enotes +\barre +\NOTEs\hsong{fions,~}\hu h\enotes +\hardlyrics{\kern -4pt nous~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{Te~}\cu h\enotes +\notes\hsong{ren-}\cu h\enotes +\notes\zsong{dons~}\cu i\enotes +\barre +\NOtes\hsong{gr\^a~-}\qu g\enotes +\notes\hsong{ces~}\cu g\enotes +\hardlyrics{pour~}\notes\hsong\thelyrics\cu g\enotes +\hardlyrics{Ton~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{im-}\cu i\enotes +\hardlyrics{men-}\notes\hsong\thelyrics\cu j\enotes +\notes\zsong{se~}\cu k\enotes +\barre +\Notes\hsong{gloi-}\ql j\enotes +\Notes\hsong{-}\ql i\enotes +\Notes\hsong{re~!}\qu h\enotes +\notes\uptext{\bf II}\enotes +\hardlyrics{Sei-}\notes\hsong\thelyrics\cu h\enotes +\notes\zsong{gneur~}\cu i\enotes +\barre +\hardlyrics{Dieu,~}\notes\hsong\thelyrics\qu j\enotes +\hardlyrics{Roi~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{du~}\cu g\enotes +\hardlyrics{Ciel,~}\notes\hsong\thelyrics\qu h\enotes +\hardlyrics{Dieu~}\notes\hsong\thelyrics\cu h\enotes +\notes\zsong{le~}\cu g\enotes +\barre +\hardlyrics{P\`e-~}\notes\hsong\thelyrics\cu h\enotes +\notes\hsong{re~}\cu i\enotes +\hardlyrics{tout-}\notes\hsong\thelyrics\cu g\enotes +\hardlyrics{puis-}\notes\hsong\thelyrics\cu h\enotes +\hardlyrics{sant~!}\notes\hsong\thelyrics\qup h\enotes +\notes\uptext{\bf I}\enotes +\notes\zsong{Sei-}\cu h\enotes +\mulooseness 2% +\stoppiece +\end{music} + + + The complete score of this carol --- with slightly different layout +due to different page size --- is given in example {\tt glorias.tex} and in +{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the +organ accompaniment +(both require {\tt musixsty.tex}). + + +\section{Abnormal music coding} + \subsection{Gregorian chant: staffs and clefs} \index{gregorian +music}Gregorian chant is often coded using four line staffs (see sections +\ref{gregorian} and \ref{stafflinenumber}) and using special notes (called +\itxem{neumes}) which are described in section \ref{gregnotes}. But the +gregorian chant also needs special clefs which are in fact the ancestors of +the modern ones. The \itxem{gregorian clefs} can be invoked instead of the +modern ones by: + +\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef| + +\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| + +\noindent will cause the instrument number 3 to exhibit the chosen gregorian +clefs. The standard clefs can be restored for every instrument with +\keyindex{resetclefsymbols}. + +It is to be emphasized that, since version T.40 of \musixtex, one should +specify whether one wants to change the bass clef symbol or the alto clef +symbol (also the treble clef symbol, but there is no treble clef in gregorian +chant). The reason is that \musixtex\ (as well as \musictex) selects and +raises differently the F, G and C clefs 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 have been set at the position of an alto clef, thus +seriously misleading the musician. + + However, for compatibility with what was previously choosen\footnote{By A. +{\sc Egler}...}, the \keyindex{setclefsymbol} still exists, but it substitutes +the given second argument \ital{to all clef symbols} of that instrument, +regardless of the actual musical meaning of this symbol. \verb|\setclefsymbol| +is therefore discouraged, unless one changes the design of the clef symbol 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} + \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 +\endextract +\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 +\endextract + \end{verbatim} + + + \subsection{Music score without clefs or with special clefs} + + \subsubsection{Empty clefs} +\index{clefs (empty)} + Regardless of the number of lines of the staffs, an instrument may +have no clefs, e.g.~for \itxem{percussion music} but also for any weird +purpose. This is done by declaring the following item: + +\keyindex{setclefsymbol}~$n$\verb|\empty| + +\noindent Normal symbols for these clefs can be restored by: + +\keyindex{resetclefsymbols} + + \subsubsection{Octave clefs}\index{octave clefs} + + Octave treble clefs and octave bass clefs are provided. They can replace the usual + treble and bass clefs by saying: + + \keyindex{setclefsymbol}~$n$\keyindex{bassoct} + + \keyindex{setclefsymbol}~$n$\keyindex{trebleoct} + + \noindent for upper octaviation, and + + \keyindex{setclefsymbol}~$n$\keyindex{basslowoct} + + \keyindex{setclefsymbol}~$n$\keyindex{treblelowoct} + + \noindent for lower octaviation. + + \begin{music} + \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 +\endextract +\end{music} + +{\noindent\sl REMARKS: \begin{itemize} \item The \keyindex{setclefsymbol}, +\keyindex{settrebleclefsymbol}, \keyindex{setaltoclefsymbol} and +\keyindex{setbassclefsymbol} commands only change the symbol posted, not the +altitude of the note head. Thus, if you say \verb|\setclef1\bass| and then +|\setbassclefsymbol1\trebleclef|, your score will be definitely wrong. In the +same way, \keyindex{trebleoct} and similar octave clefs will only change the +symbol, but a note coded {\tt a} wiull have the same vertical position, +regardless of the clef symbol chosen. + \item Changing clef symbols also affect clef changes within the score, but +this clef changes will be posted by large symbols, not smaller clefs as usual. +Anyway, it can be remarked that clef changes only concern scores with standard +treble, alto and bass clefs... +\end{itemize} +} + + \subsubsection{Drum clef} + A special \itxem{drum clef} (two heavy vertical bars) can +replace for the $n$-th intrument any of the standard clefs by saying: + +\keyindex{setclefsymbol}~$n$\keyindex{drumclef}\label{sectiondrum} + +\noindent However, since the vertical position of the clef depends on the +previously stated clef, it is not wise to replace any clef symbol with the +drum clef, but to have the instrument previously configured with the default +violin clef, i.e. \verb|{0000}|. + + It is to be emphasised that these features are specific to one +instrument --- not one staff of a several staff instrument --- so that some +weird score for \ital{monks}, \ital{drum} and \ital{electronic keyboard} +such as + +\begin{music} +\parindent 19mm +\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 could be coded as follows, regardless this is relevant (see remark +in \ref{gregoriancappella}, p. \pageref{gregoriancappella}): +\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 +\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 f\enotes\bar +\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes +\end{verbatim} +In the same way, a possible violin score with \itxem{harmonic notes} (see +\ref{othernotes}) could be:\label{abnormalscores} + +\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} +It 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} + + \subsection{Usual percussion music} +Besides single percussion scores usually +written using one-line staffs, percussion music involving several instruments +is often writen on five-line staffs with a \ital{drum clef}, where the +instruments are distinguished by the type of the note heads and the apparent +pitch of the note on the staff. We give an example --- kindly provided by +Agusti {\sc Mart\'in Domingo}: + +\medskip +\begin{music} +\generalmeter{\meterfrac44} +\setclefsymbol1\drumclef +\parindent0pt\startpiece +\leftrepeat +\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\bar +\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\bar +\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\setrightrepeat\endpiece +\end{music} + Its coding was: + \begin{quote}\begin{verbatim} +\begin{music} +\instrumentnumber{1} +\generalmeter{\meterfrac44} +\setclefsymbol1\drumclef +\parindent0pt\startpiece +\leftrepeat +\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\bar +\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\bar +\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\setrightrepeat\endpiece +\end{music} + \end{verbatim}\end{quote} + To use these different note heads, one must + \begin{itemize} + \item either include a specific percussion file namely\index{percussion +music} \ttxem{musixper.tex} after the usual \verb|\input musixtex|; + \item use special macro names to replace the usual elliptic black note head +with other available note heads. Today only the most used note types are +supported. + \end{itemize} + + +\section{Writing your own macros: the {\Bslash catcode} problems} +As seen before, the \keyindex{catcodes} of the \| and \verb|&| symbols +are modified by \musixtex, in the range of the actual scores but not +in the whole of the \TeX\ source. +Thus, if you define your own macros to make +your writing easier, you are likely to invoke the \| or \verb|&| +symbols in a part of text where their \keyindex{catcode}s are not correctly set. +\index{"|@{\tt\char'174}} +This may result typically in a diagnostic like: + +\verb|! Misplaced alignment tab character &.| + +\noindent when you attempt, not to define, but to use your macro using the +\verb|&| symbol to change the instrument. Smart \TeX ers know that the +\keyindex{catcode}s are attached to the characters \ital{when they are input} +and not when they are used; thus you must be sure that \| and \verb|&| +have the correct \musixtex\ \keyindex{catcode} when the macro is defined, +which may well occur outside the actual score. + +It is also worth pointing out that the same problem may occur with other +punctuation marks like ``\verb|<|'', ``\verb|>|'', ``\verb|^|, +etc., if their \keyindex{catcode} has been changed by some other set of +macros, like \ttxem{french.sty}. + +\section{\LaTeX~and \musixtex} + \subsection{The {\tt musixtex.sty} style}\label{musixltx} + As said before, the amount of memory and registers used by \musixtex\ makes +it hardly compatible with \LaTeX. However, Nicolas {\sc +Brouard}\index{Brouard, N.@{\sc Brouard, N.}} succeeded in building a +\ttxem{musixltx.tex} which is now included in the distribution. This is +not recommended to make separate music scores. Its purpose is rather to +provide a means of inserting short musical excerpts in books or articles +written with \LaTeX. Then, the \keyindex{documentstyle} command should +include {\tt musixtex} in the options. + +The \LaTeX\ \index{LaTeX@\LaTeX}style file \ttxem{musixtex.sty} +simply \verb|\input|s the following files (in that very order): +\begin{itemize} + \item \verb|musixtex.tex| + \item \verb|musixltx.tex| +\end{itemize} + In case of \verb|TeX capacity exceeded...|, use a ``Bigla\TeX'' (after +checking there is no visible error in the source +code).\index{BigLaTeX@Big\LaTeX} + \subsection{Wide music in \LaTeX}\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{The {\Bslash catcode} problems} + The \verb|musixltx.tex| file merely overrides the \keyindex{catcode}s of the +\| and \verb|&| symbols which are modified by \musixtex. To have access to +these symbols when coding music, you should enclose the scores or excerpts +within \verb|\begin{music}| and \verb|\end{music}|. But there is also another +possibility, i.e.\ to say \keyindex{nextinstrument} instead of +\verb|&|\index{\&} and \keyindex{nextstaff} instead of \|. +\index{"|@{\tt\char'174}} + + Another problem comes from the {\tt\ixem{french.sty}} written by Bernard +{\sc Gaulle}\index{Gaulle, B.@{\sc Gaulle, B.}} which is the standard of the +\ixem{GUTenberg} French association. This style changes many +\keyindex{catcode}s which lead \musixtex\ to fail in many cases. Therefore +the \keyindex{catcode}s of all are forced to the adequate value at +\keyindex{startpiece}, \keyindex{startextract} and restored at their original +value at \keyindex{endpiece}, \keyindex{stoppiece} and \keyindex{endextract}. +This means that some facilities like the \itxem{guillemets} or the +\itxem{tabulation} character are inhibited within music scores (possible +problem with sophisticated \itxem{lyrics}) but perfectly available within the +normal text. + + Anyway, in case of emergency, one can invoke \keyindex{catcodesmusic} to +establish the \keyindex{catcode}s at their value fit for music, and +\keyindex{endcatcodesmusic} to reset them at their external value, for example +those chosen by \verb|french.sty|. + +\section{Implementation and restrictions} + + The macroinstruction file \musixtex\ contains approximately 4200 lines of +code, that is 98~000 bytes approximately. This requires your score to be +compiled by the most extended versions of \TeX\ (65~000 words of working +memory). It is therefore wise to say \verb|\tracingsstats=2| in +order to have an information about the memory used in each page. In desperate +situations, we recommend using the ``Big\TeX'' processors which, +unfortunately, performed a great deal of disk input/outputs (on PCs with i286 +processors) which made them awfully slow. Of course, using i386 or i486 or Pentium +processors, this problem disappears with the specific version of +{\tt emTeX}, namely {\tt tex386}.\index{BigTeX@Big\TeX}\index{emTeX@em\TeX} + +In particular, the number of registers it uses and the amount of memory used +by \LaTeX\ macros makes it doubtfully compatible with \LaTeX, unless using +Big\LaTeX.\index{BigLaTeX@Big\LaTeX} + +Other precautions are necessary: beware of end-of-line spaces; they corrupt +layout and cause {\tt underfull/overfull hbox} warnings during third pass. +To avoid that, it is recommended +to use \verb|%| at the end of source lines. + + +%\subsection{ABC2MTeX} +% Generally: yes +%\subsection{MIDI2TeX} +% s.a.a. (I already use a modified one, Thanx to C) +%\subsection{SceX} +% next time + +\section{From \musictex~to \musixtex: {\tt musixcpt}} +\label{compatibility} + +This file is intended to run `{\bf old}' input files with as less changes +(read \verb|musicdoc| {\bf and} \musixtex's laws~!) as possible. It slows +down the speed and makes it impossible to use some\footnote{This was the will +of one of the authors (A.E.) but we (we=D.T.) are now tending to remove any +incompatibilities of {\tt musixcpt} with plain \musixtex.} of \musixtex\ +commands. + + To run \musictex\ examples --- not withstanding restrictions related to +glue and ``hard'' spacings forbidden with +\musixtex\ --- just replace all previous \verb|\input music*| by: + + \verb|\input musixtex| + + \verb|\input musixcpt| + +\noindent and, optionally + + \verb|\input musixsty| + +\subsection{Compatibility restrictions} + +The \ttxem{musixcpt.tex} file holds up +compatibility to \musictex's sources, but there are some restrictions, which +are caused either by missing glue in \musixtex\ --- sometimes ugly, but +generally harmless --- or by some hard spacings such as \verb|\hbox|es +containing lyrics exceeding the \keyindex{noteskip} dimension, and resulting +in ``overfull hbox[es]'' that is, notes and symbols outside the score limits, +with the heavy vertical bar as a standard \TeX\ punishment. + +The easiest way to avoid this consists in ending systematically +\ital{all}\footnote{ALL lines, not ``most of them''.} input +lines between \keyindex{startpiece}...\keyindex{stoppiece}\footnote{or +\keyindex{Stoppiece} or \keyindex{endpiece} or \keyindex{Endpiece}.} +with a comment sign\footnote{For \TeX perts: every line +which does not end with a command}, namely a ``\verb|%|''. + +\medskip Besides, one might want to have a unique source file to be compiled +with both the \musictex\ format and the \musixtex\ format, and\footnote{This +might be considered as an excessive requirement, but we (D.T.) think it is a +good way of including \musixtex's new facilities...} taking advantage of some +specific possibilities of \musixtex. The leads to a need of testing whether +the source file is compiled with one format or the other. In fact this test is +easy:\zkeyindex{mxversion} + +\verb|\ifx\mxversion\undefined| + +\ \ \ the specific \musictex\ code + +\verb|\else| + +\ \ \ the specific \musixtex\ code, taking advantage of new features + +\verb|\fi| + +\medskip Several examples are now included in \musictex's examples, for +example {\tt pacifiqn.tex}. Of course this would fail if the user +inadvertently decided to define the command {\Bslash mxversion} in his source +text. + %\check + +\subsection{Additional commands in {\tt musixcpt.tex}} + +The tentative user looking in given examples might find commands not described +in the \musixtex\ manual (this one). Most frequent are (in case of missing +description, revert to \musictex's manual, namely {\tt musicdoc.tex}, {\tt +musicdoc.dvi}, {\tt musicdoc.ps}, {musicdoc.lj}, etc.): + +\begin{itemize} + \item\keyindex{qh} : same as \verb|\qb|, but was different with \musictex, +since it distinguished notes hanging above (\verb|\qb|) and below (\verb|\qh|) +the beam(s). + \item\keyindex{debutmorceau} : nearly but not exactly the same as +\verb|\startpiece|. + \item\keyindex{suspmorceau} : suspends the score at the end of the line, in +order to permit inserting ordinary \TeX\ commands. Similar to +\keyindex{stoppiece} but performs line counting necessary then using +\musictex's \verb|\autolines| feature. + \item \keyindex{reprmorceau} is synonym of \verb|\contpiece|. + \item \keyindex{lreprmorceau} is synonym of \verb|\contpiece|. + \item \keyindex{preprmorceau} ejects a newpage and performs \verb|\contpiece|. + \item \keyindex{finmorceau} is synonym of \verb|\Stoppiece|, i.e. with heavy +ending double bar.. + + \item\keyindex{barre} : same as \verb|\bar|. + \item\keyindex{dsoupir} : same as \verb|\ds|. + \item\keyindex{qsoupir} : same as \verb|\qs|. + \item\keyindex{demisoupir} : same as \verb|\ds|. + \item\keyindex{temps} : was glue in \musictex, now equivalent to +\verb|\empty|. + \item\keyindex{autolines} is fit for scores with +bars of regular length: after \keyindex{startpiece}, you code the +following macro: + + +\medskip\Bslash autolines $tml$ + +\medskip\noindent\rm where $t$ is the number of \ital{elementary spacings} +(the length of {\Bslash notes...\Bslash enotes}) in an average bar, $m$ is the +number of bars you wish in a line and $l$ is the number of lines you wish in a +page. This sets some parameters, namely \keyindex{maxbarsinline} and +\keyindex{maxlinesinpage} which are simply used to count the bars (counter is +\keyindex{barsinline}), optionally perform \keyindex{alaligne} or +\keyindex{alapage} (counter is \keyindex{linesinpage}) instead of the normal +\verb|barre| or \verb|bar|. You may freely alter the values of these +parameters, once they have been established by \keyindex{autolines}. Moreover, +you can still force line-breaking of page ejection using {\Bslash alaligne} or +\keyindex{alapage} without problem since these macros actually reset the bar +counters appropriately. + + \end{itemize} + + %\check +% \subsection{Often reported problems} + + %\check +\section{Extension Library} +All following files are invoked with saying \keyindex{input} \ital{filename} + \subsection{musixadd} +Increases the number of instruments, slurs and beams up to nine. + \subsection{musixbm} + Provides 128th notes, either with hooks or with beams, namely the +\keyindex{ibbbbbu}, +\keyindex{ibbbbbl}, +\keyindex{nbbbbbu}, +\keyindex{nbbbbbl}, +\keyindex{tbbbbbu}, +\keyindex{tbbbbbl}, +\keyindex{Ibbbbbu}, +\keyindex{Ibbbbbl}, +\keyindex{cccccu}, +\keyindex{ccccca}, +\keyindex{zcccccu}, +\keyindex{cccccl} and +\keyindex{zcccccl} commands. + \subsection{musixbbm} + Provides 256th notes, only with beams, namely the +\keyindex{ibbbbbbu}, +\keyindex{ibbbbbbl}, +\keyindex{nbbbbbbu}, +\keyindex{nbbbbbbl}, +\keyindex{tbbbbbbu}, +\keyindex{tbbbbbbl}, +\keyindex{Ibbbbbbu} and +\keyindex{Ibbbbbbl} commands. + \subsection{*musixcho}\label{song} + These are some macros fit for chorus music. Provides following commands: +\keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight}, +\keyindex{Dtx} and \keyindex{Drtx} for double text, \keyindex{Ttx} and +\keyindex{Trtx} for triple text, \keyindex{Qtx} and \keyindex{Qrtx} for +quadruple text. + +\keyindex{tx}\verb|{|$text$\verb|}|, +\keyindex{rtx}\verb|{|$text$\verb|}| for text of songs, with text extending +to right instead centered. + \keyindex{hf}\verb|{|$m$\verb|}| sets text +continuation rule of width $m$ \verb|\noteskip|. + + +\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} + + See {\tt musixdoc.tex} source to get the coding of this long example. + + Note that, since vertion T.89, multiple line texts are vertically justified + with a \keyindex{ChroirStrut} macro defined as \verb|\vphantom{\^Wgjpqy}| to +eliminate zigzagging lyrics lines. + + %\check + \subsection{musixdat} +Here is the command \keyindex{today} defined for several languages. +The default is \keyindex{dateUSenglish}, but this can freely be changed at +end of \ttxem{musixdat.tex}. +Also available are \keyindex{dategerman}, \keyindex{dateaustrian}, +\keyindex{dateenglish} and \keyindex{datefrench}, which yields: +\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{*musixdia}\label{diam} +These file is automatically loaded, if you use {\tt musixper.tex}. +Here is the list of notes it provides: + \begin{itemize} + \item The \raise.5ex\hbox to 1em{\musixchar37} symbol is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|y|'' +(think of ``dyamond''). Available are \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}. The +symbol without a stem can be obtained by saying \keyindex{ynq} and the +non-spacing variant with \keyindex{zynq}. + \item The \raise.5ex\hbox to 1em{\musixchar38} symbol is obtained using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|d|'' +(think of \ital{diamond}). Available are \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}. The +symbol without a stem can be obtained by saying \keyindex{dnq} and the +non-spacing variant with \keyindex{dznq}. + \end{itemize} + %\check + \subsection{*musixeng} + This package is made for music typesetters who are allergic to rest names +taken from French, German or Italian\footnote{By the way, note that a +\ital{whole rest} is called \ital{pause} in French, \ital{ganze Pause} in +German, and \ital{pausa} in Italian.}. It does not provide new features, only +new command names. + \begin{quote}\begin{tabular}{ll}\hline +\ital{original}&\ital{alternative}\\\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} + +\keyindex{slide}\verb|{|pitch\verb|}{|elements\verb|}{|slope[-8 to 8]\verb|}|~: + glissando. + +\keyindex{raggedstoppiece} : + provides a ragged last line. + %\check + + \subsection{musixf{}l{}l} + \input musixfll + \ttxem{musixfll.tex} may be used to modify the automatic +generation of \ixem{ledger lines}. Ledger lines --- German Hilfslinien +--- are generated for notes placed above or below normal staff lines. +Ledger lines normally exceed the note head by a quarter of the width of +the note head. If notes are set very narrowly, the ledger lines of +consecutive notes may meet. In this case a player may misread the +ledger lines as normal lines. Therefore \musixtex{} shortens the +ledger lines if notes are set so narrowly that the ledger lines may +meet. Because \musixtex{} does not know whether consecutive notes need +ledger lines, this automatic shortening may be superfluous. So this +automatism may be switched off and on. After including +\ttxem{musixfll.tex} the automatic shortening of ledger lines is +switched off. Afterwards 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}, while single notes requiring ledger lines +look better with \keyindex{longledgerlines}. + +\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} + + + Provided that four line staffs (see \ref{stafflinenumber}) are used, +\itxem{gregorian music} is frequently quoted using specific \itxem{neumes}, +established in the thirteenth century, and this way of coding has been +commonly used for the coding of liturgical chant in the Catholic Church until +the middle of the twentieth century. Nevertheless, gregorian chant coding is +not really an antique feature, since it has been codified in 1905 with recent +quasi-official updates in the eightties. + + +{\noindent\sl REMARK:\label{gregoriancappella} strictly writing, including +gregorian chant coding in \musixtex{} is a pure nonsense. Of course, many +people find it interesting to have the possibility of coding gregorian neumes +together with modern music, but having a score with both a gregorian chant and +a choir or instruments is definitely \ital{heretic}. The reason is that +grogorian chant must be sung \ital{a cappella}, without instrument and without +underlying polyphony. As a matter of fact, serious music schools ceased to +teach how to accompany gregorian chant approximately 20 years ago. + + However, there are still some pseudo-gregorian chants in the Catholic +repertoire which deserve organ or orchestra accompaniment: these are latine +speaking gregorian imitations composed in the eighteenth century, such as the +famous \ital{Angel's mass} of the \ital{Messe royale de Du Mont} which were +printed using gregorian neumes by official catholic publishers instead of +using the music denotations fit for renaissance and baroque pieces...} + + + Symbols available in \musixtex\ are +mainly those of the 1905 standard, as provided by Beda {\sc +Szukics}\index{Szukics, B.@{\sc Szukics, B.}}: + +\subsubsection{The clefs} + +\begin{itemize} + \item The gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~= + \keyindex{gregorianCclef}, normally activated for instrument $n$ with the +command: + \begin{quote} + \keyindex{setaltoclefsymbol} $n$ \keyindex{gregorianCclef} + \end{quote} + \item The gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~= +\keyindex{gregorianFclef}, normally activated with the +\verb|\setbassclefsymbol| command. + \end{itemize} + + \subsubsection{The basic elementary symbols} + \begin{itemize} + + \item Diamond shaped \itxem{punctum} (of different shape compared to the +percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ = +\keyindex{diapunc}~$p$~. + \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ = +\keyindex{squ}~$p$ or \keyindex{punctum}~$p$~. + \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise +2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}~$p$~. + \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ = +\keyindex{rsqu}~$p$ or \keyindex{virga}~$p$~. + \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ = +\keyindex{apostropha}~$p$~. + \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ = +\keyindex{oriscus}~$p$~. + + \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ = +\keyindex{quilisma}~$p$~. + \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise 2.5pt\hbox{\xgregchar9}~ = +\keyindex{punctumauctup}~$p$~. + \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise 2.5pt\hbox{\xgregchar8}~ = +\keyindex{punctumauctdown}~$p$~. + \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}: +\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}~$p$~. + \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise +2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}~$p$~. + \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise +2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}~$p$~. + + +\end{itemize} + All non-\ital{liquescens} symbols have a non-spacing variant, which are +\keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu}, +\keyindex{zapostropha} and \keyindex{zoriscus}. + +\subsubsection{The 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; to implement also triple symbol neumes, +another shifting macro is provided, namely \keyindex{dgroff} which performs an +offset twice the offset of \verb|\groff|.. + + Since most of these symbols depend on relative pitches of their components, +one could not provide all compact combinations as single symbols. Following +compound symbols are: + +\begin{description} + \item[\keyindex{bivirga} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \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 + \endextract + \end{verbatim}\end{quote} + + \item[\keyindex{trivirga} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{bistropha} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{tristropha} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{clivis} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{lclivis} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{podatus} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{podatusinitiodebilis} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{lpodatus} $n$ $p$], for example: + + \begin{music} + \elemskip 10pt + \instrumentnumber 1 + \setstaffs 1 1 + \setlines 1 4 + \setclef 1{3000} + \setaltoclefsymbol 1 \gregorianCclef + \startextract + \notes \lpodatus ab\enotes + \notes \lpodatus ce\enotes + \endextract + \end{music} + + \item[\keyindex{pesquassus} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{quilismapes} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{torculus} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{torculusinitiodebilis} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{Porrectus} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \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 + $$ n-4 \leq p \leq n-1 $$ otherwise a diagnostic occurs. Note also that +\keyindex{bporrectus} provides the first curved part of the \verb|porrectus| +command, if you need it... It has two arguments, the starting pitch, the lower +pitch. + + \item[\keyindex{Porrectusflexus} $n$ $p$ $q$ $r$], for example: + + \begin{music} + \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 + \endextract + \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} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{climacusresupinus} $n$ $p$ $q$ $r$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{lclimacus} $n$ $p$ $q$], for example: + + \begin{music} + \elemskip 10pt + \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 + \endextract + \end{music} + + + \item[\keyindex{scandicus} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{salicus} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{salicusflexus} $n$ $p$ $q$ $r$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{trigonus} $n$ $p$ $q$], for example\footnote{The second +example is in principle irrelevant, but it shows the possibilities, in case +of.}: + + \begin{music} + \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 + \endextract + \end{music} + +\end{description} + +\subsubsection{The liquescens complex neumes}\index{liquescens neumes} +\begin{description} + \item[\keyindex{clivisauctup} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + \item[\keyindex{clivisauctdown} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + \item[\keyindex{podatusauctup} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + \item[\keyindex{podatusauctdown} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{pesquassusauctdown} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{quilismapesauctdown} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{torculusauctdown} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{Porrectusauctdown} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{climacusauctdown} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{scandicusauctdown} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{salicusauctdown} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{clivisdeminut} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{podatusdeminut} $n$ $p$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{torculusdeminut} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{torculusdebilis} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{Porrectusdeminut} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{climacusdeminut} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} + + \item[\keyindex{scandicusdeminut} $n$ $p$ $q$], for example: + + \begin{music} + \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 + \endextract + \end{music} +\end{description} + + %\check + \subsection{musixgui} \ttxem{musixgui.tex} provides some macros for +typesetting \itxem{guitar tablatures}. Most times they are used above modern +music. To give an 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 +\keyindex{guitar} sets the grid, the chord name, the relative barre and play +indicators. As example the first chord in upper example was coded as: + +\verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44| + +where the first argument is put above the grid to indicate the chord name, the +second is empty (relative barre) and the other six indicates if the string +is played 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 barre. + +The whole chord may be vertically shifted with +\keyindex{raiseguitar}\verb|{|$n$\verb|}|, where $n$ is a number +in units of \keyindex{internote}. It might be useful to reserve additional +space above the chord by advancing \keyindex{stafftopmarg} to +something like \verb|stafftopmarg=10\Interligne|. + +If you need the chords more often, it might be useful to define your own +macros, e.g.~saying: + +\verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%| + \subsection{*musixlit}\label{litu}\label{otherbars} + Provides a way of coding intermediate between gregorian and baroque/romantic, +still used\footnote{Was written by A. {\sc Egler}. To my knowledge (D. T.), +liturgical works are either written with modern music quotation, or using the +gregorian \itxem{neumes} which have been normalized in 1905.} for liturgical +works! + +\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} + \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{musixmad} \ttxem{musixmad.tex} increases the number of +instruments, slurs and beams up to twelve. + \subsection{musixper}\label{perc} + + Provides specific percussion symbols, especially \keyindex{drumclef} +(used in section \ref{sectiondrum}). These definitions cause problems +since drum and percussion notation is not standardized. +So it might be clever to specifiy the names of instruments for each +used symbol. + + + %\check + \begin{itemize} + \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 \ital{DiagonalCross} for e.g. closed \itxem{hihat}). +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 \ital{DiagonalcrossHalfcircle} for e.g. half open \itxem{hihat}). +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 \ital{DiagonalCross and O for circle} for open \itxem{hihat}). +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 with a +``\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 with a +``\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 with a +``\verb|ro|'' (think of \ital{RhOmbus} for e.g.~shaker). +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 with a +``\verb|tg|'' (think of \ital{TrianGle} for e.g.~rattle). +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 with a +``\verb|k|'' (for bongos). +Available are +\keyindex{kqu}, +\keyindex{kql}, +\keyindex{kqb}, +\keyindex{kzq}, +\keyindex{kcu}, +\keyindex{kccu}, +\keyindex{kcl} and +\keyindex{kccl}. + \end{itemize} + \subsection{musixpoi} + Adds pointed compact definitions of 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{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}} + This file provides a set of indications for \itxem{string instruments} (e.g. +\ixem{violin}) execution, provided by Werner {\sc Icking}\index{Icking, +W.@{\sc Icking, W.}}. + + + {\input musixstr + The symbols described below should be posted at the wanted place using + \verb|\zcharnote|$p$\verb|{|$<command-name>$\verb|}|. + +\begin{quote}\begin{description} + + \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}} + + This file is made for non \TeX perts and/or lazy score typesetters. Although +related to \musixtex, it has little to see with music, but it helps writing +all surrounding texts, like \itxem{titles}, \itxem{author names}, historical +comments, etc. It provides + \begin{itemize} + \item a set of font definitions of common use, such as \verb|\tenrm|, +\verb|\eightrm|, etc., + \item a reasonable setting of \keyindex{hsize}, \keyindex{vsize}, +\keyindex{hoffset}, \keyindex{voffset} dimensions in order to have a good +layout fit for European A4 paper\footnote{People addicted to \itxem{legal} or +other paper sizes should correct it for their own purpose.} + \item a set of text size commands: + + \begin{description} + \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm}, +\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 8 point font size; + \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm}, +\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 10 point font size; + \item[\keyindex{twlpoint}] to get 12 point font size; + \item[\keyindex{frtpoint}] to get 14.4 point font size; + \item[\keyindex{svtpoint}] to get 17.28 point font size; + \item[\keyindex{twtypoint}] to get 20.74 point font size; + \item[\keyindex{twfvpoint}] to get 24.88 point font size; + \end{description} + \item a set of commands to make easy piece titles: + \begin{itemize} \item \keyindex{author} or +\keyindex{fullauthor} to be put at the right of the first page, below the +title of the piece; the calling sequence is, for example: + + \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}| + + \noindent where the \verb|\\| makes the author's name displayed on two or +several lines. + + + \item \keyindex{shortauthor} to be put at the bottom of each page, + \item \keyindex{fulltitle} which is the big main title of the piece, + \item \keyindex{subtitle} is displayed below the main title of the piece, + \item \keyindex{shorttitle} or \keyindex{title} + which is the title repeated at the bottom of each page, + \item \keyindex{othermention} which is displayed on the left of the page, in +front of the author's name (it may contain several \verb|\\| to display it on +several lines, + \item \keyindex{maketitle} which displays all the previous stuff. + \end{itemize} + + \item Some additional commands to make \itxem{footnotes}. + These commands are + \begin{itemize} + \item The normal Plain-\TeX\ \keyindex{footnote} command which has two +arguments --- not only one as in \LaTeX\index{LaTeX@\protect\LaTeX} --- namely +the label of the footnote, i.e. any sequence of characters and not only +figures, and the text of the footnote. + +\begin{important} the \verb|\footnote| command does not work inside +boxes\footnote{This is not a \TeX-bug, this is a feature!}, therefore this +command must not be issued within music. But another alternate feature is +provided (see below). + \end{important} + + \item The \keyindex{Footnote} command, which counts the footnotes and uses a +number as the label of the foot note (equivalent to \LaTeX's \verb|\footnote| +command). The same restriction applies concerning footnotes within the music +coding. + + \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which +makes the footnote itself at the bottom of the current page, but does not put +the footnote label at the place it is referred in the main text. + + Thus, if a footnote is needed whose reference lies inside the music itself, +the music typesetter must perform it in two steps: + \begin{enumerate} + \item quote the reference inside the music, using \verb|zcharnote| for +example, + \item post the footnote itself, using \verb|\vfootnote| outside the music, +either before \keyindex{startpiece} (or \verb|\debutmorceau| with {\tt +musixcpt.tex}) or between \keyindex{stoppiece} and +\keyindex{piececont} or equivalent commands. + \end{enumerate} + + \end{itemize} + + \end{itemize} + + Note that \verb|musixsty| should not be used with \LaTeX. + \subsection{musixtri}\index{musixtri@{\tt musixtri.tex}} +Provides triple pointed 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}. + +\section{Often reported problems and discussion faxilities} + +\subsection{Newsgroups}\index{newsgroups} No specific newsgroup exist +concerning \mutex, \musictex{} or \musixtex; nevertheless W. Icking saw +articles on this topic in {\tt comp.text.tex} as well as in {\tt +de.comp.text.tex}. + +\subsection{Mailing list} A mailing-list does exist which was formerly +dedicated to \mutex, and now to \musictex{} and mostly to \musixtex. +You can subscribe to it by +sending an e-mail to {\tt mutex-request@gmd.de} +with the message line\index{mailing list} + +{\tt subscribe} + +\subsection{FAQs}\index{FAQ} + +{\tt gmd.de}, too, has a FAQ which is presently out-of-date and quite unusable +since it displays many questions and comments without giving the answer. +However, it will be probably enhanced in a near future. This +FAQ can be accessed using {\tt +ftp}: + +{\tt ftp://ftp.gmd.de/music/mutex/faq} + +\noindent and the archive of the mailing list may be accessed also by {\tt +ftp}: + +{\tt ftp://ftp.gmd.de/music/mutex/archive} + +\noindent or: + +{\tt http://www.gmd.de/Mail/} + + {\tt ftp.gmd.de} also contains a lot of stuff concerning music and +typesetting music, which can be accessed by WWW at: + +{\tt http://www.gmd.de/Misc/Music/} + + + +\chapter{Installation}\label{installation} + +\section{*Getting the stuff} + +As seen before, all the files are available at \itxem{anonymous ftp} +\verb|hprib.lps.u-psud.fr| (193.55.39.152) in the directory + + {\tt /pub/musixtex} + + The {\tt *.mf} source files are in + + {\tt /pub/musixtex/mf} + +\noindent and the {\tt *.tfm} files are in + + {\tt /pub/musixtex/tfm} + +\noindent Besides, this manual is in + + {\tt /pub/musixtex/musixdoc.ps} + + Another directory, namely {\tt /pub/music\_zips} normally contains {\tt +musixtex.zip} which contains all the distribution for PC (\ixem{MS-DOS}) +computers. This is only for {\tt ftp}-ing convenience since all source files +are directly available in the general directory and subdirectories. In +addition a set of examples (i.e. the files whose name does not begin with +``\verb|musix|'') is packed into \ttxem{musixexa.zip} and this manual is also in +\ttxem{musixdoc\_ps.zip} (the PostScript version) and +\ttxem{musixdoc\_lj.zip} (the PCL version for Laserjets). +Finally the PK files of specific fonts are provided in \ttxem{musixpk.zip}, +\ttxem{musixpk3.zip} (300 and 360 dpi) and \ttxem{musixpk6.zip} (600 dpi); +getting these files is useless if you are able to \MF{} the files whose {\tt +*.mf} are provided in the main package. + +{\sl\noindent CAUTION: the zipped files are provided in the PC line coding, +i.e. with {\tt <cr><lf>} at line ends, rather than single {\tt <lf>} as in the +\unix{} coding. This means that \unix{} users must carefully unzip these files +using the ``{\tt-a}'' (our ``{\tt-aa}'' options of {\tt unzip} to get correct +coding of the source files. Other wise they would find a lot of ``{\tt\^{}M}'' in +their files, which may cause further troubles.}\index{PC end of line +coding}\index{\^{}M} + + + Besides, /unix{} users can also --- when in directory {\tt /pub} --- ask for: + + {\tt get musixtex.tar}\quad or + + {\tt get musixtex.tar.Z}\quad or + + {\tt get musixtex.tar.gz}\quad and even + + {\tt get musixtex.zip} + + Then, the {\tt hprib.lps.u-psud.fr} server will perform required collection +and/or compression ``on-the-fly''. Note that in that case the source files +will be in the \unix{} coding rather than PC coding of end of lines. Usually, +this is harmless for PC editors and \TeX{} motors, but who knows... + + +\ital{Fonts}\index{fonts} are provided in {\tt musixtex.zip} as {\tt *.mf} +files but also as {\tt *.tfm} and {\tt*.pk} files for 300~dpi printers or +previewers. Other values of the \ixem{dpi} parameter are also provided in +\verb|musixpk*.zip|. + +Needed fonts are {\tt musix20}, {\tt musix16}, {\tt musix13}, {\tt musix11}, +{\tt musix24}, {\tt musix29}, {\tt musixspx}\footnote{Inside this file are two +types of piano brackets available. The default you can see printing this doc, +the other you can see printing {\tt musicdoc}. If you prefer the other, which +are designed by Stanislav Kneifl, follow the instruction inside {\tt +musixsps.mf}},\index{Kneifl, S.@{\sc Kneifl, S.}} + {\tt xslhu20}, {\tt xslhu16}, {\tt xslhu24}, {\tt xslhu29}, +{\tt xslhd20}, {\tt xslhd16}, {\tt xslhd24}, {\tt xslhd29}, +{\tt xslu20}, {\tt xslu16}, {\tt xslu24}, {\tt xslu29}, +{\tt xsld20}, {\tt xsld16}, {\tt xsld24}, {\tt xsld29}, +{\tt xslz20} and {\tt xslhz20}. + +\section{Installing the fonts} +\ital{All} files with the extension {\tt .tfm}\footnote{\TeX\ font metric, +needed directly from binary for \TeX ing the examples or the doc.} must +be copied in that directory, in which the other {\tt .tfm}'s are. + +If you get the error message: + +{\tt! Font ... not loadable: Metric (TFM) file not found.} + +\index{Metric (TFM) not found}\noindent this means you have not succeeded to +install the {\tt .tfm}'s in the right directory. This is not a \musixtex\ +error, but a local \TeX\ implementation error/misunderstanding. Then read or +re-read your \TeX\ installation doc, put the {\tt tfm}'s at the very right +place and start again. + +The {\tt .tfm} only contains the width, height and depth of every character of +a font and is the only needed font-file for \TeX ing. For previewing and/or +printing you need the pixel fonts. On most systems they are packed and have +the extension \verb|.pk|(but perhaps you need the \verb|.gf|-files or +\verb|.300|-files or other: Ask your local \TeX-wizard\footnote{I have read a +mail from somebody, who has said, that he is able --- because he is a +professional --- to write an \verb|install| for installation of packages like +\musixtex. Really? Do it.}!) Most needed and spreaded are fonts for +\verb|dvi|-driver with resolution of 300dpi. Using em\TeX{} associated drivers +the \verb|.pk|-fonts have to be copied in \verb|...\pixel.lj\300dpi\| as a +default, and in general in a directory specified by the environment variable +{\tt DVIDRVFONTS}\footnote{Look at {\tt dvidrv.doc} for more information.}. For +other resolution refer your local manual or \TeX-wizard. + +\section{Building a format}\label{formatbuild} + +Introducing these files in a \itxem{format} (with \ixem{INITEX}) is a mean of +saving computer time and memory. Besides, if you include {\tt musixcpt.tex} in +your format, you will have a format compatible with \musictex\ and --- +provided you made the symmetrical format for \musictex\ --- you can compile +exactly the same source files with both \musictex\ and \musixtex, which is a +good means of finding whether some strange behaviour is specific to one +implementation of the other, or whether you made some general +mistake\footnote{Not all authors have the same opinion :-). But I was told, +that my opinion doesn't count, so forget it -- A.E.}... + +However, although having a \musixtex{} format saves much time, it can also +lead to time wasting weird things in case of updates~: if you update your +source of {\tt musixtex.tex} but not the format {\tt musixtex.fmt}, then +running the command {\tt musixtex} will invoke the old unmodified format... + +\subsection{Starting from nil} +\begin{enumerate} + \item Build up a file called \verb|musixtex.ini| with following content:\\ +\begin{verbatim} +\input plain % or dcplain or eplain or see later a safer way of doing +\input musixtex +% here can you add your most needed files from extension lib +% musixcpt at very last ! +\end{verbatim} +\verb|\def\fmtname{musixtex}\def\fmtversion{|{\tt\mxversion}\verb|}| +\verb|\dump| + \item \verb|initex musixtex.ini|\footnote{depends on your implementation}. + \item \verb|tex &musixtex| \ital{jobname}\footnote{depends on your +implementation}. +\end{enumerate} +\vfill + +\subsection{Starting from your usual plain format} +\begin{enumerate} + \item First, try to find --- on your favourite system --- whether \verb|tex| +is an executable routine, or a \verb|tex.bat| command in MS-DOS or a +\ital{shell} procedure under \unix. + \item If \verb|tex| is a command try to find the ``{\tt initex}'' local +command: usually it is either \verb|initex| or \verb|tex -i|. + \item Try to find the name of the ``plain \TeX'' format (usually posted +when \TeX ing anything). + \item Then, \ital{mutatis mutandis}, assuming the ``{\tt initex}'' command +has the name \verb|initex| and the ``plain \TeX'' format is \verb|plain|, run +the shell command: + + \medskip + \verb|initex \&plain musixtex.ins| + + \medskip\noindent which will produce a format file {\tt musixtex.fmt} which +you shall put in the same directory as the others formats (hoping you have +the access rights...). Note --- in \unix{} systems --- the backslash before +the \verb|&| which tells the system to consider this character as a member of +the command, not a batch execution indication. Once this is done, you can +\musixtex\ any score you have written using a command such as: + + \medskip + \verb|tex \&musixtex my-score.tex| + + \medskip\noindent that is, specifying your new format {\tt musixtex.fmt} +instead of the usual {\tt plain.fmt}. + + For \ixem{MS-DOS}/{\tt emTeX} users the format building command is: + + \verb|tex386 -i &plain musixtex.ins| + + \noindent (you can change \verb|plain| into \verb|dc-plain| or any other +plain-like format you have) then: + + \verb|copy musixtex.fmt \emtex\btexfmts\*.*| + + \noindent and the {\tt musixtex.bat} command can be + +% It makes no sense to state -mt20000, perhaps this is useful for MusicTeX, +% (it uses hyphenation to break a line) but not for MusiXTeX (it uses musixflx) +\begin{quote}\begin{verbatim} +if exist %1.tex goto tex +goto end + +:tex +if exist %1.mx1 del %1.mx1 +if exist %1.mx2 del %1.mx2 +tex386 -mt20000 &musixtex %1 %2 %3 %4 %5 %6 %7 %8 %9 + +if errorlevel 2 goto end +musixflx %1 + +if errorlevel 1 goto end +tex386 -mt20000 &musixtex %1 %2 %3 %4 %5 %6 %7 %8 %9 + +:end + \end{verbatim}\end{quote} +\end{enumerate} + +\begin{flushright}\it +Don't expect a perfect package or miracles.\\ +There will be enough unexpected miracles.\\[\smallskipamount] +{\sc Eberhard Mattes} +\end{flushright} + +\chapter{Examples} + Due to compatibility problems with \LaTeX\ (used to produce this notice) +large examples must be \TeX -ed separately, i.e.\ using plain \TeX{} and not +\LaTeX. Therefore, the \musixtex\ future user is suggested to produce some of +the following examples and to look carefully at the way some special features +have been coded. + + When producing this examples, care should be taken about the fact +that several given files are supposed to be included (by means of +\keyindex{input}) in other files. Thus the only good files to be directly +\TeX-ed are those which begin with \verb|\input musixtex| or + \verb|% \input musixtex|. This latter command is often commented out so that +the examples can be run either using a \musixtex\ format including {\tt +musixcpt.tex} and {\tt musixsty.tex} --- namely the format generated by {\tt +musixtex.ins} --- or using a \musictex\ format including {\tt musictrp.tex}, +{\tt musicvbm.tex} and {\tt musicsty.tex} --- namely the format generated by +{\tt musixtex.ins}. + +In addition, it must be noted that most DVI previewers and laser printers have +their origin at one inch below and one inch right of the right upper corner +of the paper, while the musical examples have their upper left significant +corner only at one centimeter right and below the left top of the paper. +Therefore, special parameters have to be given to the DVI transcription +programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\ +commands are introduced within the source \TeX\ text. + +\section{Clean \musixtex\ examples} + +\begin{itemize} + \item{\tt avemaria.tex} to get the ``M\'editation'' (alias ``Ave Maria'') by +Charles {\sc Gounod} for organ and violin or song in clean \musixtex-input. +\index{Gounod, C.@{\sc Gounod, C.}} + \item{\tt traeumer.tex} to get the famous ``Tr\"aumerei'' by +Robert {\sc Schumann} for piano, in genuine \musixtex-input but with some +additions to perform ascending \itxem{crescendos}. +\index{Schumann, R.@{\sc Schumann, R.}} + \item{\tt parnasum.tex} to get the first page of ``Doctor gradus ad +Parnassum'' by Claude {\sc Debussy} for piano.\index{Debussy, +C.@{\sc Debussy, C.}} + \item{\tt glorias.tex} to get a local melody for the French version of +\ital{Gloria in excelsis Deo}, showing use of lyrics commands. {\tt +gloriab.tex} is the same, with organ accompaniment. + \item Other clean \musixtex\ examples seem to be no more compatible with +the present version, but they should be updated in a near future. +\end{itemize} + +These examples are packed (zipped) in the {\ttxem{musixexa.zip}} file of the +\musixtex\ distribution. + +\section{Nearly compatible \musictex\ examples} + +These are examples using not only {\tt musixtex} but also {\tt musixcpt} and +{\tt musixsty}, which means their coding is easily understandable for +\musictex{} previous users. However, they cannot be run as is with \musictex, +since a few specific commands have been included, either for spacing, or for +oblique slurs. They are given in {\tt musixexa.zip}, for example: + + \begin{itemize} + \item {\tt gymnoman}~: an imitation of Erik {\sc Satie}'s +\ital{Gymnop\'edies}\index{Satie, E.@{\sc Satie, E.}}, + \item {\tt canticor.tex}/{\tt canticox.tex}~: +a famous tune by Georg Friedrich {\sc Haendel}\index{Haendel, G.F.@{\sc +Haendel, G.F.}}, + \item {\tt ilfaitda.tex}/{\tt ilfaitdx.tex}~: a famous choral by J.-S. +{\sc Bach}\index{Bach, J.S.@{\sc Bach, J.S.}} adapted with French lyrics for +French churches, + \item {\tt widor\_20.tex}~: the famous toccata for organ by Charles-Marie {\sc +Widor}\index{Widor, C.M.@{\sc Widor, C.M.}} in 10 pages (more compact than +commercial editions, and easier to play if nobody can turn the pages), and +{\tt widor\_16.tex} which is the same in 16~pt size, i.e. more compact. + \item{\tt souveni*.tex}~: a nice French tune of the fifties, by Oreste {\sc +Rossi} and Fernand {\sc Capitani} with several transpositions. + \item {\tt marcello.tex}~: the adagio of Benedetto {\sc +Marcello}\index{Marcello, B.@{\sc Marcello, B.}}'s oboe concerto, transcribed +for organ. + \item {\tt hymnepas.tex}~: a modern Eastern canticle by A. {\sc Gouzes} and +{\sc Palestrina}, showing heavy use of \keyindex{hardlyrics} for choral +music.\index{Gouzes, A.@{\sc Gouzes, A.}} + + \end{itemize} + +\section{Compatible \musictex\ examples} + +They are all the examples provided in the \musictex\ distribution. To run them +the easiest way is to have both a {\tt musictex} and a {\tt musixtex} format as +described in \ref{formatbuild}. Otherwise, insert + + \verb|\input musixtex| + + \verb|\input musixcpt| + + \verb|\input musixsty| + + \noindent at the beginning of each example, and \TeX\ it. + + \section{Looking at examples before installing \musixtex} + + Most of the above examples (and some others) are posted, ready to print, as +PostScript files in: + \begin{itemize} + \item {\tt ftp://hprib.lps.u-psud.fr/pub/music\_scores.zip/*/*/*.zip} (zipped +PostScript 300dpi files) + \item {\tt ftp://hprib.lps.u-psud.fr/pub/music\_scores.gz/*/*/*.ps.gz} (gzipped +PostScript 300dpi files) + \end{itemize} + + Printing them on any PostScript printer (needs A4 paper) is a good means of +getting an overview of \musixtex's capabilities. + + +\printindex + +\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 \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 +% +\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\eject}% +\endmuflex +\end{document} |