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diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex new file mode 100644 index 00000000000..233db6e0360 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesfont.tex @@ -0,0 +1,566 @@ +\chapter{Font-based Slurs, Ties and Hairpins} +Two fundamentally different implementations of slurs, ties, and hairpins are +available. First, there are the +original \ital{font-based} versions. These are constructed with traditional +\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files. +Second, it is now possible +to generate these shapes directly with Postscript, dispensing altogether with +the font characters\footnote{Please do not be confused by the availability of +Postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts). +Once installed in a \TeX\ system, +their function and use are 100\% transparently identical with bitmapped versions +of the slur fonts. On the other +hand, Postscript slurs are functionally distinct from font-based slurs, and only + share some of the same syntax.}. We shall first describe the font-based versions, +then Type~K Postscript slurs, which are one of two available Postscript slur +options\footnote{An +alternate approach to Postscript slurs, called {\it Type~M} after its developer +Hiroaki {\sc Morimoto}, is available from the +\href{http://icking-music-archive.org/software/indexmt6.html} +{\underline{Icking Music Archive}}.}. If you plan to use Type~K Postscript slurs, +you may skip directly to Chapter~\ref{PostscriptSlurs}. + +Font-based slurs and ties provided by \musixtex\ can be divided into two categories: +\label{simpleslur} +\begin{itemize}\setlength{\itemsep}{0ex} + \item Those where the complete slur symbol is composed of a single + character from one of the slur fonts, and + \item those where the slur symbol is composed of three distinct + characters, to form the beginning, middle and end of the slur. +\end{itemize} +The former are called \ital{simple slurs} and the latter, +\ital{compound slurs}. In many cases the distinction between the two is +invisible to the user, in that many of the macros described below will +automatically select between the two types. However, there are other macros +that allow simple slurs to be forced. + +The next few sections describe the usual method of slur coding, where the +choice between simple or compound slurs is made automatically. +In this case, slurs are initiated and terminated by separate macros, +similar to beams. + + \section{Font-based slur initiation} +A slur must be initiated \ital{before} +the spacing note on which the slur begins, and terminated \ital{before} the +note on which it ends. + +The basic slur initiation macro is +\keyindex{isluru}\enpee, which initiates an upper slur, with reference +number $n$, beginning on a note at pitch $p$. The starting point of the slur is +centered above a virtual quarter note head at pitch~$p$\footnote{The slur will start in the same place regardless of whether there is +{\it actually} a note at pitch $p$.}. +Similarly, \keyindex{islurd}\enpee\ initiates a lower slur. +These slurs are terminated by coding +\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the +termination pitch. + +As with beams, the reference number $n$ by default can take values from $0$ to $5$, or +up to $8$ or $11$ respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included. +You can also specify the maximum number +directly with \keyindex{setmaxslurs}\verb|{|$m$\verb|}| where +$7<m\leq 100$% +\footnote{This may require e-\TeX.}; +the reference number $n$ will be in the range between $0$ and $m-1$. +\label{musixmad_setmaxslurs} + +To illustrate with an elementary example, the following passage + +\begin{music}\nostartrule +\startextract +\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en +\bar +\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en +\NOTes\hu g\en +\zendextract +\end{music} + +\noindent was coded as: +\begin{quote}\begin{verbatim} +\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en +\bar +\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en +\NOTes\hu g\en +\end{verbatim}\end{quote} + +Other macros are provided to change the horizontal starting and ending points of the slur +in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\ +initiates a ``short'' upper slur suitable for linking notes involved in chords. +The +starting point is shifted to the right, and is vertically aligned with the +center of a virtual quarter note head at pitch~$p$. If a lower short slur +is wanted, one should use \keyindex{isslurd}\enpee. + +Sometimes, busy scores call for slurs which are vertically aligned with the +ends of note stems rather than note heads. These ``beam'' slurs---so called +because the slur is written at usual beam height---are provided by the +macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros +initiate slurs raised or lowered by the current stem height to accommodate +stems or beams above or below. + %\check + + \section{Font-based slur termination} +Font-based slurs that are not forced to be simple must be terminated by an explicit +command right before the last note under the slur. There are termination +commands analogous to each of the initiation commands alread presented. They +are summarized in the following table: +\begin{center} + \begin{tabular}{ll} + Initiation & Termination \\ + \hline + \keyindex{isluru}, \keyindex{islurd} & \keyindex{tslur} \\ + \keyindex{issluru}, \keyindex{isslurd} & \keyindex{tsslur} \\ + \keyindex{ibsluru} & \keyindex{tbsluru}\\ + \keyindex{ibslurd} & \keyindex{tbslurd}\\ + \hline + \end{tabular} \end{center} + +\noindent All of these command have two parameters, $n$ and $p$. + +These specific termination macros are not restricted to being used with their +initiation counterpart. A slur +started in one sense can be terminated in another. For example, a slur beginning +as a ``beam'' slur may be terminated as a normal slur. This would be achieved +using the macro pair \verb|\ibslur...\tslur|. + + \section{Font-based ties} Font-based ties will have the same shapes as +ordinary font-based slurs of the same length between notes of equal pitch, +but there are two important distinctions: +(1) There cannot be any pitch difference between start and end, and (2) the +positions of both the beginning and end of a tie relative to the note heads +are slightly different from those of an ordinary slur\footnote{Editor's note: In +fact, it appears that the default positioning of the ends of ties is exactly +the same as that of short slurs.}. +Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of +reference number $n$ at pitch $p$. +Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of +reference number $n$ at pitch $p$. The starting position of the tie is the same +as \verb|\issluru| and +\verb|\isslurd| respectively. The tie is terminated by coding +\keyindex{ttie}\onen. Note that no pitch parameter is required. + +There are also \ital{short ties}, which bear the same relation to ordinary +ties as short slurs to ordinary slurs. They are intended to be used between chords. +They are initiated with +\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is +not clear why this command uses ``{\tt l}'' when all other similar ones use +``{\tt d}''.}, and terminated with \keyindex{tten}\onen. + +The following example illustrates the differences in positioning of the various +slur and tie options: + +\begin{music}\nostartrule +\startextract +\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% +\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% +\itenl0g\qu g\tten0\qu g\en +\zendextract +\end{music} +\noindent It was coded as +\begin{quote}\begin{verbatim} +\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% +\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% +\itenl0g\qu g\tten0\qu g\en +\end{verbatim}\end{quote} + +\noindent Here are some more general examples of font-based slurs and ties +discussed so far: + +\begin{music}\nostartrule +\startextract +\NOTes\isluru0g\hl g\tslur0h\hl h\en +\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en +\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en +\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en +\zendextract +\end{music} +\noindent This was coded as: +\begin{quote}\begin{verbatim} +\NOTes\isluru0g\hl g\tslur0h\hl h\en +\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en +\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en +\NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en +\end{verbatim}\end{quote} + +\section{Dotted slurs} + +Any font-based slur may be made dotted by specifying \keyindex{dotted} +just before it is initiated: + +\begin{music}\nostartrule +\startextract +\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar +\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en +\NOTes\hu g\en +\zendextract +\end{music} + +\noindent This was coded as: +\begin{quote}\begin{verbatim} +\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar +\NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en +\NOTes\hu g\en +\end{verbatim}\end{quote} + + \section{Modifying font-based slur properties} +Several macros are provided to modify the shape of slurs already initiated. +These macros must be coded right before the slur \ital{termination}. Invoking +any of the macros described in this section will force the slur to be compound. + +By default, the midpoint of a font-based slur is three \verb|\internote|s +above or below a line between its ends. This can be changed using the macro +\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For +example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to +rise to a maximum height of \verb|6\internote| above the starting position. +For example, + +\begin{music}\nostartrule +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\tslur0g\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\midslur7\tslur0g\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\isluru2g\ql g\en +\notes\midslur{11}\tslur2g\ql g\en +\zendextract +\end{music} +\noindent was coded as +\begin{quote}\begin{verbatim} +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\tslur0g\ql g\en +\NOtes\multnoteskip8\isluru0g\ql g\en +\notes\midslur7\tslur0g\ql g\en +\NOtes\multnoteskip8\isluru2g\ql g\en +\notes\midslur{11}\tslur2g\ql g\en +\end{verbatim}\end{quote} + +The macro \keyindex{curve}$hij$ allows more precise control over the shape +of a slur or tie. The first parameter $h$ +is the vertical deviation and it works exactly like the sole parameter of +\verb|\midslur| described above. The second and +third parameters $i$ and $j$ set the initial and final gradient respectively. +They are defined as the horizontal distance required to attain maximum +vertical deviation. Thus smaller numbers for $i$ +and $j$ lead to more extreme gradients. +The default setting is \verb|\curve344|. Hence, coding \verb|\curve322| +doubles the initial and final gradient relative to the default. +As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before +the slur termination. The example below illustrates the use of \verb|\curve|. + +\begin{music}\nostartrule +\startextract +\NOtes\multnoteskip8\itieu0g\ql g\en +\notes\ttie0\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\itieu1g\ql g\en +\notes\curve 322\ttie1\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\itieu2g\ql g\en +\notes\curve 111\ttie2\ql g\en +\zendextract +\end{music} +\noindent This was coded as +\begin{quote}\begin{verbatim} +\NOtes\multnoteskip8\itieu0g\ql g\en +\notes\ttie0\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\itieu1g\ql g\en +\notes\curve 322\ttie1\ql g\en +\zendextract +\startextract +\NOtes\multnoteskip8\itieu2g\ql g\en +\notes\curve 111\ttie2\ql g\en +\end{verbatim}\end{quote} + +Two macros are provided to control the behaviour of slurs which extend across +line breaks. Normally, the part of the slur before the line break is +treated as a tie. This can be changed using \keyindex{breakslur}\enpee, +which sets the termination height of +the broken slur at the line break to pitch $p$, for slur number $n$. + +After the line break, the slur is normally resumed at the initial pitch +reference, i.e., the one coded in \verb|\islur|. To change this, the macro +\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used. +Here $n$ is again the slur reference +number and $h$ is the change in height relative to the initialization height. +This macro is normally used following line breaks, in which case it is best +coded using the \verb|\atnextline| macro. For example, coding +\verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero +by \verb|6\internote| relative to its initialization height. + +The following example illustrates the use of the macros for broken slurs: +\medskip + +\begin{minipage}[t]{85mm} +Default, without adjustments: + +\begin{music} +\hsize=50mm +\generalmeter{\meterfrac24}% +\parindent 0pt\staffbotmarg0pt% +% +%\interstaff{14\internote}% +% +\nostartrule +\startpiece\bigaccid +\Notes\ibsluru1b\qu b\qu g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\mulooseness1\Endpiece +\end{music} +\begin{verbatim} +\Notes\ibsluru1b\qu b\qu g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\end{verbatim} +\end{minipage}% +\begin{minipage}[t]{75mm} +With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\ +\begin{music} +\hsize=50mm +\generalmeter{\meterfrac24}% +\parindent 0pt\staffbotmarg0pt% +% +%\interstaff{14\internote}% +% +\nostartrule +\startpiece\bigaccid +\def\atnextline{\Liftslur17}% +\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\mulooseness1\Endpiece +\end{music} +\begin{verbatim} +\def\atnextline{\Liftslur17}% +\Notes\ibsluru1b\qu b\qu g% +\breakslur1g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\end{verbatim} +\end{minipage}\medskip + +Occasionally in keyboard works one needs to begin a slur in one +staff but end it in another. This can be done using the macro +\keyindex{invertslur}\onen\ which is best described by +reference to the example +shown below. + +% Finding the final pitch is try and error, sorry, no way out. + +\begin{music} +\setstaffs1{2} +\setclef1\bass\interstaff{10.5} +\startextract +\NOtes\multnoteskip5\isluru0a\ql a\en +\notes\invertslur0\curve311\tslur0j|\qu d\en +\NOtes\multnoteskip{10}\isluru0a\ql a\en +\notes\invertslur0\curve333\tslur0j|\qu d\en +\zendextract +\end{music} +\noindent This was coded as +\begin{quote}\begin{verbatim} +\NOtes\multnoteskip5\isluru0a\ql a\en +\notes\invertslur0\curve311\tslur0g|\qu d\en +\NOtes\multnoteskip{10}\isluru0a\ql a\en +\notes\invertslur0\curve333\tslur0g|\qu d\en +\end{verbatim}\end{quote} + +\noindent Slur inversion as just described takes effect where the slope is zero; therefore it +only works with ascending slurs that were started with \verb|\isluru|, and with +descending slurs started with \verb|\islurd|. Otherwise no horizontal place +can be found and the result is erratic. + +A different approach removes this restriction. The idea is to stop the slur at +the desired inversion point and restart it in the other sense at the +same place. The commands to do this are as follows: + \begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$, +not above or below the virtual note head. + \item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position, +not above a virtual note head. + \item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position, +not below a virtual note head. + \end{itemize} + +\noindent The vertical position may have to be adjusted to minimize any discontinuity +in the slope. For example, the following pattern + + \begin{music}\nostartrule +\setclef1\treble +\startextract +\NOTes\multnoteskip 3\isluru0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en +\Notes\tslur0h\qu h\en +\NOTes\multnoteskip 3\islurd0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en +\Notes\tslur0h\qu h\en +\zendextract +\end{music} +\noindent was coded as +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\NOTes\multnoteskip 3\isluru0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en +\Notes\tslur0h\qu h\en +\NOTes\multnoteskip 3\islurd0a\ql a\en +\NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en +\Notes\tslur0h\qu h\en +\end{music} +\end{verbatim}\end{quote} + +\section{Simple slurs} + +\ital{Simple} slurs and ties have advantages in some cases: (1) They will +always have the best possible shape, and (2) if \verb|\noteskip| doesn't +change from start to finish, they are easier to code. But they have drawbacks +as well: (1) They are limited in length to 68pt +for slurs and 220pt for +ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they +may not extend across a line break. +Despite all these limitations, simple slurs are extremely useful in many +applications where the slurs are short and contained within a bar. + +Simple slurs must be coded {\em before} the note on which the slur begins. +The primary macro is +\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ +where $p_1$ and $p_2$ are respectively the initial and final pitches, +$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length, +in {\tt noteskip}s. +Thus, thirds slured in pairs can be coded + + %\check + +\begin{quote}\begin{verbatim} +\NOtes\slur ced1\qu{ce}\en +\NOtes\slur dfd1\qu{df}\en +\NOtes\slur egd1\qu{eg}\en +\NOtes\slur{'e}cu1\ql{ec}\en +\NOtes\slur{'d}bu1\ql{db}\en +\NOtes\slur{'c}au1\ql{ca}\en +\end{verbatim}\end{quote} +which yields + +\begin{music}\nostartrule +\startextract +\NOtes\slur ced1\qu{ce}\en +\NOtes\slur dfd1\qu{df}\en +\NOtes\slur egd1\qu{eg}\en +\NOtes\slur{'e}cu1\ql{ec}\en +\NOtes\slur{'d}bu1\ql{db}\en +\NOtes\slur{'c}au1\ql{ca}\en +\zendextract +\end{music} +%% + +There are similar commands to force simple versions of the other +variants of font-based slurs and ties. Simple ties may be set using +\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed). +Simple short slurs and short ties can be forced with the macros +\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and +\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally, +simple beam slurs can be forced with +\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$. + + +\section{Font-based hairpins (crescendos and decrescendos)}\label{sec:crescnd} + +There are two categories of font-based hairpins. The first type requires only +one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or +\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{} +dimension, either a fixed one---for example in points---or a scalable one +expressed either explicitly or implicitly as some number of +\verb|\noteskip|s. These should be used as arguments to +\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to +post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm. + +The second type of font-based hairpin requires two commands, one to start it +and another to end it. The starting macro is \keyindex{icresc}. It has no +arguments. Only one invocation suffices to start any number and combination of +crescendos and diminuendos. The ending macros are \keyindex{tcresc} or +\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc, +which will set the altitude. For example, + +\begin{music} +\parindent0pt +\generalmeter{\meterfrac{12}8} +\setstaffs1{2} +\startextract +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en +\endextract +\end{music} + +\noindent which was coded as +\begin{quote}\begin{verbatim} +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en +\end{verbatim}\end{quote} +\medskip + +\noindent while + +\begin{music} +\parindent0pt +\generalmeter{\meterfrac{12}8} +\setstaffs1{2} +\startextract +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en +\endextract +\end{music} + +\noindent was coded as +\begin{quote}\begin{verbatim} +\Notes\cmidstaff\ppp|\ca c\en +\Notes\icresc|\ca{defgh'abcde}\en +\Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en +\end{verbatim}\end{quote} + + \section{Limitations of font-based slurs} + The change in altitude between slur initiation and slur termination is limited to +\verb|16\Internote|. Thus unexpected vertical gaps can appear, as seen in + + \begin{music}\nostartrule +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en\zendextract + +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en\zendextract + \end{music} + \noindent whose coding was + \begin{quote}\begin{verbatim} +\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\en + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\en +\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\en + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\en + \end{music} + \end{verbatim}\end{quote} + +Furthermore, if the slope becomes too steep, even worse results can occur, such as + +\medskip + \begin{music}\nostartrule +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\isluru0c\ql c\en\notes\tslur0j\ql j\en + \bar\NOTes\isluru0c\ql c\en\notes\tslur0n\ql n\en + \NOTes\isluru0c\ql c\en\notes\tslur0s\ql s\en + \bar\NOTes\isluru0c\ql c\en\notes\tslur0z\ql z\en + \zendextract + \end{music} + +Another limitation of font-based slurs crops up when one attempts to +generate bitmapped versions for high-resolution printers: the characters +for long ties can exceed \MF's maximum capacity. |