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diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex new file mode 100644 index 00000000000..348955fb88a --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex @@ -0,0 +1,587 @@ +\chapter{Beams} +\section{Starting a beam} + +Each beam must be declared with a macro issued before the first spacing +note under the beam is coded. Two distinct kinds of macros are provided +for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary +slope and starting height chosen by the user, while the second kind, a +``semi-automatic'' beam, +\ital{computes}~the slope and, in addition, adjusts the starting height in some +cases. + +\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}} + +The basic form of the macros for starting fixed-slope beams is exemplified +by the one for a single upper beam, \keyindex{ibu}\nps. Here +$n$ is the reference number of the beam, $p$ the starting ``pitch'', and +$s$ the slope. + +The reference number is assigned by the user. +It is needed because more than one beam may be open at +a time, and it tells \musixtex\ to which beam subsequent beamed notes and +other beam specification commands are assigned. +By default, the reference number must be in the range [$0,5$], +but the range for 8th to 128th beams will be expanded to [$0,8$] or [$0,11$] +if \verb|musixadd| or \verb|musixmad| respectively has been \verb|\input|. + +Alternatively, you can specify the number of $8$th to $64$th beams +directly\footnote{$8$th to $64$th beams are so basic that the maximum +number of these beams is related to the maximum number of instruments +by this command. +Using $m>12$ may require e-\TeX.} +with \keyindex{setmaxinstruments}\verb|{|$m$\verb|}| +within the range $7<m\leq 100$; the corresponding reference number may then be +in the range from 0 to $(m-1)$. +\label{musixmad_setmaxinstruments_ccxviiibeams} +For $128$th beams, use \keyindex{setmaxcxxviiibeams}\verb|{|$m$\verb|}|. +For $256$th notes, which can only appear in beams, see Section~\ref{musixbbm}. + +The ``pitch'' parameter $p$ is a pitch that is three +staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above} +the bar for a lower beam); in many (but not all) +cases it should be input as the actual pitch of the first note. The slope $s$ +is an integer in the range [$-9,9$]. When multipled +by $5$\%~it gives the actual slope of the heavy bar. Typically a slope of $2$ or $3$ +is okay for ascending scales, and $6$ to $9$ for ascending arpeggios. + +The full set of fixed-slope beam initiation macros is as follows: +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + + \item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}. + \item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}. + \item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}. + \item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}. + \item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}. + \item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}. + \item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}. + \item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}. +\end{description}\end{quote} + +A semi-automatic beam is initiated with a command that has \ital{four} +parameters, the beam number, the first and last pitches, and the total +horizontal extent in +\verb|\noteskip|s, based on the value in effect at the start. For example, +if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to +build an upper beam (beam number $2$) horizontally extending \verb|3\noteskip|, +the first note of which is a \verb|g| and the last note a \verb|j|. +Knowing these parameters it will choose the highest slope number that +corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt +g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as +for fixed-slope beams. However, if there is no sufficiently steep beam +slope available, then \musixtex\ will raise (or lower) the starting point. + + Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu}, +\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl}, +\keyindex{Ibbbl} and \keyindex{Ibbbbl}. + +\section{Adding notes to a beam} + +Spacing notes belonging to beams are coded with the macro +\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is +the beam number and $p$ the pitch of the note. \musixtex\ adjusts the +length of the note stem to link to the beam. + +Chord notes within a beam are entered before the main note with the +non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again, +the stem length will be automatically adjusted as required. + +There are also special macros for semi-automatic beams with +two, three, or four notes: +\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl}, +\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl}, +\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}. + %\check +For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|, +except that the special macros don't require a beam number. +Their use is illustrated in the following example: + +\medskip +\begin{music}\nostartrule +\parindent0pt\startpiece +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en +\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece +\end{music} +\noindent This was coded as\footnote{Editor's note: Most music +typesetting books recommend beam slopes that are \ital{less} than +the slope between the starting and ending note; these macros cannot +provide that.}: +\begin{quote}\begin{verbatim} +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en +\notes\Qqbbu fgge\Qqbbl jhgi\en +\end{verbatim}\end{quote} + %\check + + \section{Ending a beam} + The termination of a given +beam must be declared \ital{before} coding the last spacing note +connected to that beam. The macros for doing that are +\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and +\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for +beams of any +multiplicity. So for example an upper triple beam with +32nd notes is initiated by +\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|. + + Since beams usually finish with a \verb|\qb| for the last note, the +following shortcut macros have been provided: + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee~. + \item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee~. + \item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~, +i.e., no spacing afterwards. + \item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~, +i.e., no spacing afterwards. +\end{description}\end{quote} +The following +synonyms may be used: +\begin{quote}\begin{tabular}{lcl} +\keyindex{tql} & for & \keyindex{tqb}\\ +\keyindex{tqu} & for & \keyindex{tqh}\\ +\keyindex{ztql} & for & \keyindex{ztqb}\\ +\keyindex{ztqu} & for & \keyindex{ztqh}\\ +\end{tabular}\end{quote} + + +\section{Changing multiplicity after the beam starts} +Multiplicity (the number of heavy bars) can be increased at any position after +the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of +upper beam +number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to +increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The +commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same +for lower beams. +Thus, the +sequence + +\begin{music}\nostartrule +\startextract +\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en +\zendextract +\end{music} +\noindent has been coded as +\begin{quote}\begin{verbatim} +\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\en +\end{verbatim}\end{quote} + +To decrease multiplicity to one, use \keyindex{tbbu}\onen~or +\keyindex{tbbl}\onen. To decrease to two or three use +\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example, + +\begin{music}\nostartrule +\startextract +\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en +\zendextract +\end{music} +\noindent has been coded as + +\begin{quote}\begin{verbatim} +\startextract +\Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\en +\zendextract +\end{verbatim}\end{quote} + +Although at first it may seem counterintuitive, +the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts +may also be invoked when the multiplicity is one. In this case +a second, third, or fourth heavy bar will be opened one note width \ital{before} +the current stem, and immediately closed \ital{at} the stem. +Thus the following sequences + +\begin{music}\nostartrule +\let\extractline\hbox +\hbox to \hsize{% +\hss + \startextract + \Notes\ibu0e0\qbp0e\tbbu0\tbu0\qb0e\en + \zendextract +\hss\hss + \startextract + \Notes\ibu0e0\qbpp0e\tbbbu0\tbbu0\tbu0\qb0e\en + \zendextract +\hss} +\end{music} +\noindent are coded +\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim} +\Notes\ibu0e0\qbp0e% + \tbbu0\tbu0\qb0e\en +\end{verbatim}\end{minipage}\hfill +\begin{minipage}{.4\textwidth}\begin{verbatim} +\Notes\ibu0e0\qbpp0e% + \tbbbu0\tbbu0\tbu0\qb0e\en +\end{verbatim}\end{minipage}\hfill + +\medskip + + +The symmetrical pattern is also possible. For example: + +\begin{music}\nostartrule +\startextract +\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en +\zendextract +\end{music} +\noindent has been coded as: +\begin{quote}\begin{verbatim} +\Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\en +\end{verbatim}\end{quote} + +The constructions in this section illustrate some general +properties of +beam initiation and termination commands: To mate properly with the +expected stems, the starting position of the heavy bar(s) (for initiation commands) +and the ending position (for terminations) will be at +different horizontal locations +depending on whether they are for upper or lower beams: The position for +upper beam commands is one note head width to the right of those for +lower beams. In fact this is the \ital{only} difference between upper +and lower termination commands. Both types will operate on whatever kind of +beam is open and has the same beam number. + +Recognizing this principle, in the example just given it was necessary to +shift the double termination to the right by one note head width, using the +command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for +any \musixtex\ macro. + +Here is another, slightly more complicated example which also uses +\verb|\roff|: + +\begin{music}\nostartrule +\startextract +\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en +\notesp\tbbu0\qbp0f\en +\Notes\tbu0\qb0f\en +\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en +\Notes\qb0f\en +\notes\tbbbu0\tbbu0\tbu0\qb0f\en +\zendextract +\end{music} +\noindent has been coded as: +\begin{quote}\begin{verbatim} +\notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en +\notesp\tbbu0\qbp0f\en +\Notes\tbu0\qb0f\en +\notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en +\Notes\qb0f\en +\notes\tbbbu0\tbbu0\tbu0\qb0f\en +\end{verbatim}\end{quote} + +\noindent Note that the first beam opening command used a pitch one step +below the note. This makes the stem shorter by one pitch unit, since it is always +the \ital{closest} heavy bar that is separated from the given pitch by +three staff spaces. + +We close this section with an example showing how to +open a beam of one sense, increase multiplicity, then terminate with +opposite sense: + +\begin{music}\nostartrule +\startextract +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en +\zendextract +\end{music} +\noindent which has been coded as +\begin{quote}\begin{verbatim} +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\en +\end{verbatim}\end{quote} + +One may save some typing by defining personalized +\TeX\ macros to +perform any oft-repeated sequence of commands. For example, +one could define a set of four sixteenths by the macro: + +\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}| + +\noindent where the first argument is the slope and the other four +arguments are the pitches of the four successive sixteenths. + + %\check + \section{Shorthand beam notations for repeated notes}\index{repeated patterns} +Sometimes you may want to indicate repeated short notes with open note heads joined +by a beam. Here's an example of how to do that +using the \keyindex{hb} macro: + +\begin{music}\nostartrule +\startextract +\Notes\ibbl0j0\hb0j\tbl0\hb0j\en +\Notes\ibbu0g0\hb0g\tbu0\hb0g\en +\zendextract +\end{music} +\noindent which has been coded as: +\begin{quote}\begin{verbatim} +\Notes\ibbl0j0\hb0j\tbl0\hb0j\en +\Notes\ibbu0g0\hb0g\tbu0\hb0g\en +\end{verbatim}\end{quote} + +It is also possible to dispense with the stems: + +\begin{music}\nostartrule +\startextract +\Notes\ibbl0j3\wh j\tbl0\wh l\en +\Notes\ibbu0g3\wh g\tbu0\wh i\en +\zendextract +\end{music} +\noindent which was coded as +\begin{quote}\begin{verbatim} +\Notes\ibbl0j3\wh j\tbl0\wh l\en +\Notes\ibbu0g3\wh g\tbu0\wh i\en +\end{verbatim}\end{quote} +\noindent A different look could be obtained as follows: + +\begin{music}\nostartrule +\startextract +\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\en +\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\en\qspace +\zendextract +\end{music} +\noindent which was coded as: +\begin{quote}\begin{verbatim} +\Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\en +\Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\en\qspace +\end{verbatim}\end{quote} + +Yet another way to indicate repeated notes is given in the +following example: + + \begin{music}\nostartrule +\startextract +\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibu0j0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar +\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j% + \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en +\zendextract + \end{music} + \noindent whose coding (due to Werner {\sc Icking}) is + +\begin{quote}\begin{verbatim} +\Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibu0j0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibl0j9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibu0g9}\roffset{0.5}{\tbu0}\hu j\en\bar +\notes\ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j% + \ibbl0i0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk + \ibbu0i0\qb0{jjj}\tbu0\qb0j\en +\NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% + \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en +\end{verbatim}\end{quote} + + \section{Beams that cross line breaks} + +Although careful typesetting can usually avoid it, occasionally +a beam may need to cross a line break. If so, it must be manually terminated at +the end of one line and continued in the next. This +can be done by shifting beam terminations and initiations +using \keyindex{roff} and/or +\keyindex{loff}, or by inserting a spacing command such as +\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf +Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip + +\begin{music} +\parindent0pt +\def\rqs{\lower\Interligne\rlap\qs} +\def\snotes{\vnotes1\elemskip} +\setstaffs1{2} +\generalsignature{2} +\setclef1{\bass} +\interstaff{12} +\startpiece +%%% bar 1 +\addspace\afterruleskip +\snotes|\tinynotesize\ibsluru0n\ibbu0m5\qb0{=m}\tqh0n\en +\qspace +\Notes\zchar{-7}\sPed\loffset{.3}{\fl E}\zq E\qu{_I}% + |\zql g\ibu2l0\busf2\qb2{=m}\en +\Notes|\tubslur0o\qb2{_l}\en +\Notes\loffset{.3}{\fl L}\zq L\ibl0L0\qb0{_b}% + |\ibl1h0\zqb1g\bupz2\qb2l\en +\Notes\zq L\tqb0b|\tbl1\zqb1g\bupz2\tqh2l\en +\NOtes\zq L\ql b|\zql g\qu l\en +\notes\zchar{-7}\sPed\zchar{-7}{\eightit ~~~sempre}% + \zchar{14}{\pp\eightit~sempre}\zq I\ibbu1J0\qb1L|\qs\en +\notes\qs|\zq N\ibbu3d0\qb3{_d}\en +\notes\qb1E|\rqs\en +\notes\qs|\fl e\zq N\rq e\qb3d\en +%%% bar 2 +\bar +\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\rqs\en +\qspace +\notes\qs|\lfl d\zq d\zq {=f}\qb3N\en +\notes\tqh1{_E}|\rqs\en +\notes\qs|\zq d\zq g\tqh3N\en +\notes\zq I\ibbu0J0\qb0L|\rqs\en +\notes\qs|\zq d\ibbu1d0\qb1N\en +\notes\qb0E|\rqs\en +\notes\qs|\fl e\rq e\zq d\qb1N\en +\notes\zq I\qb0L|\rqs\en +\notes\qs|\zq f\zq d\qb1N\en +\notes\tqh0E|\rqs\en +\notes\qs|\zq g\zq d\tqh1N\en +\notes\zq I\ibbu0J0\qb0L|\rqs\en +\notes\qs|\zq d\ibbu1d0\qb1N\en +\notes\qb0E|\rqs\en +\notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en +\endpiece +\end{music} +\noindent The prolongation of the two upper beams at the end is +illustrated in the code fragment +\begin{quote}\begin{verbatim} +\notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en +\end{verbatim}\end{quote} + %\check + + \section{Beams with notes on several different staves} + +Here's a simple example from {\sc Brahms}'s +Intermezzo Op.~118, 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}\en +\bar +\nspace +\Notes\ibu0L2\qb0{CEJLcL}% + \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en +\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en +\bar +\Notes\ttie1\zh{.L.a}\hl{.e}% + \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en +\NOtes\qp\nextstaff\zq{q}\ql{j}\en +\endextract +\end{music} + %\check +\noindent The coding is +\begin{verbatim} +\interstaff{13} +\instrumentnumber{1} +\setstaffs1{2} +\setclef1\bass +\generalmeter\allabreve +\startextract +\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\en +\bar +\nspace +\Notes\ibu0a1\qb0{CEJLcL}% + \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\en +\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\en +\bar +\Notes\ttie1\zh{.L.a}\hl{.e}% + \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\en +\NOtes\qp\nextstaff\zq{q}\ql{j}\en +\endextract +\end{verbatim} + +\noindent (This example also shows that there is no problem in extending +a beam across a bar line.) + +The general features that enable this type of coding as well as the +more complex example to follow are + \begin{itemize}\setlength{\itemsep}{0ex} +% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl}, +%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm +%define beams whose initial vertical position and slope are fixed +%relative +%to the staff where they begin, but notes in other staves can still be +%connected to them using \Bslash{\tt qb}\onen. +% +% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate +%beam $n$ at the specified position, but \musixtex\ remembers the beam +%parameters until a new beam with the same number is defined. +%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or +%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still +%generate notes connected to the phantom extension of this beam, +%\ital{provided they are issued in a different staff}. If the command +%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after +% the beam had ended, an error would result. +% + \item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}}, +{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}} +define beams whose initial vertical position and slope are fixed +relative +to the staff where they begin, but notes in other staves can still be +connected to them using {\Bslash\texttt{qb}\onen}. + + \item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen} +terminate +beam $n$ at the specified position, but \musixtex\ remembers the beam +parameters until a new beam with the same number is defined. +Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or +\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still +generate notes connected to the phantom extension of this beam, +\ital{provided they are issued in a different staff}. If the command +\verb|\qb|\enpee\ were issued on the same staff as the beam after + the beam had ended, an error would result. + + + + + + \item If the beam is initiated on one staff, +notes in a lower staff can be connected to it, but only \ital{after} the beam +has been defined. This may require using the command \keyindex{prevstaff} +to go back one staff, as described in Section~\ref{movingtostaffs}. + + \end{itemize} + + Here is an example: + + \begin{music} + \setstaffs13 + \setclef1{6000} + \startextract + \notesp + \nextstaff\Ibbbu0Af7\prevstaff + \qb0{AEH^JLa}\relax\nextstaff + \qb0{******^c}\tqh0e\relax + |\zq{h^jl}\ql o\en + \notesp + \nextstaff + \Ibbbu0hG6\qb0{hec}\prevstaff + \qb0{***aLJ}\tqh0H\relax\nextstaff + |\zq{h^jl}\ql o\en \nspace + \zendextract + \end{music} + + \noindent which is coded as: + + \begin{quote} + \begin{verbatim} + \setstaffs13 + \setclef1{6000} + \startextract + \notesp + \nextstaff\Ibbbu0Af7\prevstaff + \qb0{AEH^JLa}\relax\nextstaff + \qb0{******^c}\tqh0e\relax + |\zq{h^jl}\ql o\en + \notesp + \nextstaff + \Ibbbu0hG6\qb0{hec}\prevstaff + \qb0{***aLJ}\tqh0H\relax\nextstaff + |\zq{h^jl}\ql o\en \nspace + \zendextract + \end{verbatim} + \end{quote} +In this example we see not only multiple uses of \keyindex{nextstaff} and +\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes +(see Section~\ref{CollectiveCoding}). + |