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+%
+% 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}