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-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% PMX tutorial by ccn / LaTex header file starts here:
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% ------------------------------------------------------
-%
- % This version dated Thu 2012 Jan 19 /23:8 /ccn
-%
-% ------------------------------------------------------
-
-\documentclass[11pt,twoside]{report}
-\listfiles
-% \usepackage[ten]{vrsion}
- \usepackage[cp437]{inputenc}
- \usepackage[english]{babel}
- \usepackage{amsmath,index}
- \usepackage[dvips]{graphicx}
- \usepackage[dvips,colorlinks=true,linkcolor=red]{hyperref}
-
- \newfont{\hv}{phvbo at 14pt}
-
- \textheight 600pt \textwidth 450pt
- \topmargin -10mm \headsep 10mm
- \oddsidemargin 4mm \evensidemargin 0mm
- \marginparwidth 3em
- \fboxrule 2pt % standard in LaTeX article style is 0.4pt
- \fboxsep 9pt % standard in LaTeX article style is 3pt
- \hfuzz 2pt
-
- \setcounter{secnumdepth}{3}
- \setcounter{tocdepth}{3}
-
-\renewcommand{\thechapter}{\Alph{chapter}}
-\renewcommand{\thesection}{\thechapter~\arabic{section}}
-
-\newcommand{\MusiXTeX}{MusiX\TeX}
-\newcommand{\MiKTeX}{MiK\TeX}
-\newcommand{\PMX}{\textbf{PMX}}
-\newcommand{\MTX}{\textbf{M-Tx}}
-\newcommand{\bs}{\ensuremath\backslash}
-\newcommand{\Example}{\noindent {\large \textbf{Example :} }
- }
-\newcommand{\Examples}{\noindent {\large \textbf{Examples :} }
- }
-\newcommand{\Note}[2][370pt]{\begin{center} \fbox{\begin{minipage}{#1}
- #2 \end{minipage} } \end{center}
- }
-\renewcommand{\seename}{$\;\rightarrow\;$}
-
-\newcommand{\versionline}[1]{[\, Version \quad 2.618
- \quad Mar.\ 2012]
- }
-% \keepversion
-
-\makeindex
-\newindex{myindex}{idx}{ind}{Index}
-\begin{document}
- \shortindexingon
-
- \pagestyle{headings}
- \pagenumbering{Roman}
-
-\begin{titlepage}
-\vspace*{4cm}
-\begin{center}
- {\Huge \textbf{Typesetting music with {\PMX} } \\[3ex] }
- by \\[4ex]
- {\LARGE Cornelius C.\ Noack} \\[1ex]
- \hspace*{1em}\raisebox{-0.75ex}{\includegraphics{addresses/noack}}
-
-\vspace{2cm}
- {\Large --- Version 2.8 / March 2012} \\
- {\large ({\PMX} features up to version 2.618 included)}
-\end{center}
-
-\end{titlepage}
-
-% \newpage
-% \vspace*{\fill}
-\begin{center}
- {\Large Acknowledgement} \\[3ex]
-
- \begin{minipage}{360pt}
- This tutorial owes its very existence to the work by \emph{Luigi
- Cataldi}, who a few years ago produced a wonderful manual for
- {\PMX} in Italian. Luigi's manual features many examples which
- help greatly in understanding some of the arguably arcane {\PMX}
- notation.
-
- \medskip
-_{manual!Cataldi's Italian {\PMX} manual} _{Cataldi, Luigi}
- Even though the Cataldi manual is, as Don Simons has aptly
- remarked, ``written in the language of music'', it nevertheless
- seemed useful to have access to it for non-Italian speakers, so
- Don asked around for help on a `retranslation'.
-
- \medskip
-_{manual!Don Simons' manual for {\PMX}, Version 2.40} _{Simons, Don}
- In fact, that is what the present tutorial started out with:
- essentially a retranslation of the {\PMX} part of Luigis manual
- back into English, using, where that seemed feasible, Don's
- original {\PMX} manual. I had been thinking for some time of
- producing some examples (and an index) for the updated ({\PMX}
- 2.40) version of that manual, and now, taking Luigis italian
- version as a basis, it seemed an easy thing to do.
-
- \medskip
- Of course, as such projects go: soon after the first version had
- appeared in 2002, it tended to get out of hand --- Don Simons
- actively produced one new beta version of {\PMX} after the
- other, and I simply could not keep up with his pace.
-
- \smallskip
- So alas: 5 long years went by before the first update of
- the tutorial -- reflecting all {\PMX} changes from Version 2.40
- to Version 2.514 , in one giant step! -- had become possible.
-
- But, incessantly, as the development of modern {\TeX} and
- {\LaTeX} has moved on in an accelerating pace, and so have
- {\MusiXTeX} and {\PMX}. This tutorial was also bound to
- follow suite. So now the current status of {\PMX}
- (\texttt{2.618}) and this tutorial are closely synchronized.
-
- \bigskip
- After thanking Luigi, in particular for his kind permission to
- use his version of the manual and its examples liberally, it
- behooves me to thank Don even more, not only for originating and
- continuously maintaining and improving {\PMX}; his suggestions
- and continuous assistance in my work on this tutorial throughout
- the years were invaluable, as was his conscientious reading and
- improving, from the first draft to the present version. Many
- friends (too numerous to mention all of them) kept me busy
- trying to keep up with their productive suggestions and
- clarifications on the
- \href{mailto:tex-music@tug.org}{\underline{{\TeX}-music users' list}}
- during the past years.
-
- \vspace*{\fill}
- \begin{flushright}
- {\hv In memoriam Daniel Taupin}
- \end{flushright}
-
- \end{minipage}
-\end{center}
-\vspace*{\fill}
-
-\newpage\tableofcontents
-\listoftables
-\listoffigures
-\cleardoublepage
-
-\pagenumbering{arabic}
-\setcounter{page}{1}
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% PMX tutorial by ccn / chapter A starts here:
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\chapter{Introduction} \label{sec:introduction}
-\pagestyle{headings}
-
-\section*{How to use this tutorial}
-\addcontentsline{toc}{section}{How to use this tutorial}
-_{tutorial}
-
-The purpose and function of this tutorial is, actually, twofold: for the
-novice with {\PMX}, it should be a readable guide to finding out what
-{\PMX} does (and what it doesn't), how it is sensibly used, and what to
-do when you run into difficulties. For the seasoned user, on the other
-hand, it should serve as an extended {\PMX} manual,
-\begin{enumerate}
- \item giving a reasonably accurate account of \emph{all} the
- available features in an order which should make it not too
- tedious to find an answer to whatever question one might have,
- \item indicating some of the more common uses of straight {\MusiXTeX}
- commands to do things not available in {\PMX} directly.
-\end{enumerate}
-
-\medskip
-As a consequence of this twofold purpose, the two types of readers
-should have two very different approaches:
-\begin{description}
- \item[The novice] should, after reading Section~\ref{sec:TeXetc},
- turn right to Section~\ref{sec:concepts} and \ref{sec:notes}.
- After that you should get your fingers dirty as quickly as
- possible: keep your first own {\PMX} file \verb#my_opus.pmx# as
- simple as possible, and proudly produce your first print,
- following the instructions given in Section~\ref{sec:running}.
- From thereon follow your interests!
- \item[The seasoned user] will usually need the tutorial mainly to find
- out the exact usage of some commands he unforgiveably forgot
- about, retrieve some rarely used procedure, or find some clever
- gimmick that he never was aware of. Those people will first scan
- the whole tutorial quickly in a matter of minutes to see what's
- there and gloat about what's missing, and later on rely on the
- index -- or look into authoritative source, the
- \href{http://icking-music-archive.org/software/pmx/pmx260.pdf}%
- {\underline{{\PMX} manual}} by Don Simons.
-\end{description}
-
-_{Quick Reference Table}
-Of course, once you have gotten acquainted well enough with {\PMX}, all
-you'll ever need is Don Simons' ``Quick Reference Table''\,%
-\footnote{The Quick Reference Table is found in the software section of
- the \textbf{W}erner \textbf{I}cking \textbf{M}usic
- \textbf{A}rchive as
- \href{http://icking-music-archive.org/software/pmx/ref260.pdf}%
- {\underline{\texttt{ref260.pdf}}}\,.
- }.
-That summarizes the {\PMX} symbols with all their options and always
-reflects the latest version. Errors found in the
-Quick Reference Table should be reported to Don Simons directly, whereas
-all complaints (outright errors, awkward formulations, missed
-subtleties) should be sent solely to the author.
-
-\bigskip
-_{\PMX}
-This tutorial refers to {\PMX} 2.618 , as of March 2012
-(formally still a `beta' version). For details on the
-differences with previous versions consult the
-\href{http://icking-music-archive.org/software/pmx/pmxbeta.html}{%
- \underline{list of changes}} of \PMX\ in the software section of
-the WIMA (``\textbf{W}erner \textbf{I}cking \textbf{M}usic
-\textbf{A}rchive'')\,%
-\footnote{For details on the staff-wise transposition feature refer to
- \ref{sec:stafftranspos}.
- }.
-
-\section{ {\TeX}, {\MusiXTeX}, {\PMX}, {\MTX} } \label{sec:TeXetc}
-_{\TeX} _{\MusiXTeX} _{\PMX} _{\MTX}
-
-
-{\MusiXTeX} is undoubtedly one of the best programs for typesetting
-musical scores: it produces ready-to-print output in PostScript and PDF
-format, it is stable, is continually updated, and is in the public
-domain and thus \emph{totally free}.
-
-Nevertheless its use seems to be limited, with few exceptions, to
-musicians coming from the world of science. {\MusiXTeX} does not `look
-and feel' very intuitive, and it sometimes requires a familiarity with
-terms that may seem elementary to software programmers but are tough
-going for straight musicians. Furthermore, it is not WYSIWYG software
-(\textbf{W}hat \textbf{Y}ou \textbf{S}ee \textbf{I}s \textbf{W}hat
-\textbf{Y}ou \textbf{G}et). This means that while writing the music you
-cannot immediately see the score as it will look when printed, because
-you do not write the music graphically as you do by hand, but rather in
-terms of a list of symbols that represent it. The system is not
-interactive; rather, the process of producing a musical score consists
-of several steps: \label{p:intoduction}
-
-\begin{enumerate}
- \item One writes the symbols in a special version of the {\TeX}
- language to a normal text file, using any text editor (such as
- \textbf{Emacs}, \textbf{Edit} or \textbf{Notepad}),
- \item this text file is compiled with {\TeX} to produce a
- \texttt{.dvi} output file. This \texttt{.dvi} file is machine
- readable and usually can be previewed on the screen,
- \item another program, e.g.~\texttt{dvips}, produces a PostScript
- file from the \texttt{.dvi} file, which again can be previewed
- on the screen or sent directly to a suitable printer.
-\end{enumerate}
-
-This symbolic and non-graphical nature of the program may discourage
-many people, but it is in many ways an advantage. Being
-fully aware of the symbolic character of the typesetting process while
-working on your input lets you concentrate much better on the final
-typographic output and keeps you from being distracted by the temptation
-to play games with interactiveness.
-
-{\MusiXTeX} is a collection of `macro's that permits producing musical
-scores with the help of {\TeX}, the prestigious electronic typesetting
-program written by Donald Knuth, which is mainly used in scientific
-typesetting. In providing {\TeX}, Knuth not only put it in the public
-domain (to be freely distributed), but stipulated that any application
-that uses {\TeX} should also be in the public domain and freely
-available, without charge or royalty.
-_{Knuth, Donald E.}
-
-_{{\TeX}}
-Before {\TeX} can be used, it has to be properly installed on the
-computer system at hand. Installing {\TeX} from scratch is not an easy
-task; consult Chapter \ref{sec:installation} for the details.
-
-Even after everything is properly installed and running, coding a
-musical score in the {\MusiXTeX} language still remains a tedious
-process. Fortunately, there exist two preprocessors, {\PMX} and {\MTX},
-which dramatically simplify the input process; in fact they provide what
-must be among the simplest possible systems of electronically encoding
-musical scores.
-
-_{\MusiXTeX} _{\PMX} _{\MTX}
-The first two bars of Mozarts \emph{piano sonata KV 545} illuminate the
-difference in coding with either {\MusiXTeX}, {\PMX} or {\MTX}. The
-codes given below for the three systems of software all produce the
-(identical) output, shown in figure~\ref{fig:mozart}:
-
-\begin{figure}[!htb]
- \begin{center}
- \raisebox{-0.75ex}{%
- \includegraphics[scale=.82]{eps/mozart.eps}
- }
- \end{center}
- \caption{\textbf{W.A.\ Mozart}, \emph{Sonata K545}, bars 1--2}
- \label{fig:mozart}
-\end{figure}
-
-\bigskip\bigskip\noindent
-_{\MusiXTeX}
-{\MusiXTeX} :
-
-{\small
-\begin{verbatim}
-\input musixtex
-\parindent10mm
-\setname1{Piano}
-\setstaffs12
-\generalmeter{\meterfrac44}
-\nobarnumbers
-\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
-\end{verbatim}
-}
-
-\bigskip\noindent
-_{\PMX}
-{\PMX} :
-
-{\small
-\begin{verbatim}
-2 1 4 4 4 4 0 0
-1 1 20 0.12
-Piano
-tt
-./
-% Bars 1-2
-c8 g+ e g c- g+ e g | d g f g c- g+ e g Rb /
-c2+ e4 g | bd4- c1 d c2 /
-\end{verbatim}
-}
-
-
-\bigskip\noindent
-_{\MTX}
-{\MTX} :
-
-{\small
-\begin{verbatim}
-Style: piano
-Piano: Voices MD MS; Clefs G G; Continuo
-Name: Piano
-Meter: 4/4
-
-%% w120m
-c2+ e4 g | b4d- c1 d c2 |
-c8+ g+ e g c- g+ e g | d g f g c- g+ e g |
-\end{verbatim}
-}
-
-\bigskip
-Not only is the {\MusiXTeX} much longer, it undoubtedly is less
-intuitive and more complicated than the other two.
-
-\bigskip
-In the present tutorial we shall describe in detail the usage of {\PMX}
-and, in a very cursory way, that of {\MTX}.
-
-_{\MusiXTeX} _{\PMX} _{\MTX}
-In the remaining part of this introduction, we treat questions of
-installation of the entire system of {\MusiXTeX}~\texttt{1.15} and
-{\PMX}. The whole installation procedure may seem a formidable task to
-non-experts. But don't despair: your efforts will be rewarded by the
-best and simplest system of musical typesetting available. And, to
-paraphrase a famous {\TeX} error message: ``If in serious trouble, ask a
-wizard for help''. Such wizards are literally at your fingertips; just
-sign up and post your problem to the mailing list at ^{WIMA} (the
-\textbf{W}erner \textbf{I}cking \textbf{M}usic \textbf{A}rchive),
-and someone is bound to be in the mood to answer.
-
-\section{Installation} \label{sec:installation}
-_{Installation}
-
-Recently, there has been a number of major improvements in the basic
-{\MusiXTeX}~\texttt{1.15} software (increasing, e.g., the maximum number
-of instruments allowed), and subsequently {\PMX} has also undergone
-major improvements. As a consequence, {\PMX} now is really tuned to
-\texttt{\MusiXTeX}~\texttt{1.15}: with {\PMX}\texttt{(2.6xx)} you can
-make full use of most%
-\footnote{An important restriction is: in \PMX\texttt{(2.6xx)} the
- maximum number of staves is 24 .
- }
-of the new features of {\MusiXTeX}~\texttt{1.15}.
-
-\medskip
-The installation instructions given here refer explicitly to installing
-{\MusiXTeX}~\texttt{1.15} and {\PMX} under Windows XP; they assume that
-you have MiKTeX\,%
-\footnote{MikTeX is a {\TeX} system for Microsoft Windows users.
- }
-installed (version 2.6 or higher; preferably the current
-version 2.9 ; cf.\ p.~\pageref{p:tennent}).
-
-
-For Unix, good instructions can be found in the software section of
-WIMA: \\ \quad \href{http://icking-music-archive.org%
- /software/musixtex/musixtex-for-unix.html}%
- {\underline{\texttt{Icking-music-archive.org%
- /software/musixtex/musixtex-for-unix.html}}}~. \hspace*{\fill}
-
-
-% \pagebreak
-\subsection*{Installation of \MusiXTeX\texttt{~115}
- and {\PMX} \texttt{2.6xx} }
-
-\subsubsection*{\MusiXTeX}~\texttt{1.15}
-You can download the basic distribution for {\MiKTeX}~115 from WIMA:
-
-% \smallskip
-\href{http://icking-music-archive.org/software/musixtex/musixtex.zip}%
- {\underline{\texttt{icking-music-archive.org/software/musixtex/musixtex.zip}}} .
-
-\medskip
-A comprehensive -- and very readable -- installation instruction manual
-for {\MusiXTeX}\texttt{~115} has recently been given by Andre van
-Ryckeghem and Don Simons: \\
-\hspace*{\fill}
-\verb#http://icking-music-archive.org/software/musixtex/mxinsuse.pdf#
-\hspace*{\fill} \\
-on the WIMA software page, which you can download
-\href{http://icking-music-archive.org/software/pmxtricks/mxinsuse.pdf}%
- {\underline{here}}. \\
-\noindent
-Even if you consider yourself an expert in installing high-level
-software, it is certainly wise to first read this manual carefully
-(it's only 6 pages) before starting the installation this way.
-
-% \medskip
-% One point, pointed out explicitly in the {\MusiXTeX}~\texttt{1.15} installation
-% manual, is of particular importance:
-%
-% \Note{As Don Simons has pointed out, it is safer to load
-% {\MusiXTeX}~\texttt{1.15} (and all its subfolders, of course)
-% \emph{completely outside} of where {\MiKTeX} is loaded. But
-% whether you do that or load {\MusiXTeX} in a subfolder of
-% {\MiKTeX} (traditionally named `\texttt{localmiktex}'), you must
-% enter the full name of the {\MusiXTeX} main folder in the 'roots'
-% list of the {\MiKTeX} `settings' menu; otherwise {\MiKTeX} will
-% not be able to access any of the files.
-% }
-
-\bigskip \bigskip
-The installation procedure referred to above has the
-advantage that it does not rely on the TDS-compliant
-data structure of the CTAN (`\textbf{C}omprehensive
-\textbf{T}eX \textbf{A}rchive \textbf{N}etwork)
-distribution and, a fortiori, on the MikTeX data system
-being up-to-date with the development of {\MusiXTeX}.
-For many years, this was a serious obstacle against
-making comfortable use of CTAN , and thus of MikTeX as
-well.
-
-\medskip
-\label{p:tennent}
-This has changed drastically in the last few years. As
-of 2012, the {\MusiXTeX} software of WIMA is formally
-maintained by CTAN as well, and in consequence,
-MikTeX is now pledged to be updated with the CTAN data within a
-few months at most. In particular, with its current version
-(MikTeX 2.9) MikTeX now fully supports {\PMX} 2.603 .
-
-\medskip
-So if you have MikTeX 2.9 installed, all you need to
-install {\MusiXTeX}~\texttt{1.15} is to download
-\begin{center}
- \href{http://mirrors.ctan.org/macros/musixtex/musixtex-texmf.zip}%
- {musixtex/musixtex-texmf.zip}
-\end{center}
-and follow the (terse, but clear)
-\href{http://mirrors.ctan.org/macros/musixtex/musixtex-install.pdf}%
- {\underline{Installation instructions}}
-by Bob Tennent.
-
-\bigskip
-\medskip\noindent
-To test the {\MusiXTeX}~\texttt{1.15} installation, download
-\href{http://icking-music-archive.org/software/pmxtricks/sample.zip}%
- {\underline{sample.zip}}
-from WIMA to some temporary folder and unzip it, obtaining the 3 files
-\verb#sample.tex#~, \verb#sample.pmx#~, and \verb#pmxrun.bat#~. Then run \\
-\hspace*{10ex}
-\verb#etex sample.tex# \\
-in a command line.
-
-\Note{Make sure that when using basic {\TeX} you \emph{always} run
- \texttt{etex.exe} (`extended {\TeX}') and \emph{not}
- \texttt{tex.exe} !! Although {\MiKTeX} and {\LaTeX} now use
- extended {\TeX} by default, the 2 commands \texttt{tex.exe} and
- \texttt{etex.exe} still both exist and \emph{differ};
- {\PMX}~\texttt{2.6xx}, will not run properly under ordinary
- \texttt{tex.exe} .
- }
-
-\subsubsection*{\PMX}
-
-\noindent
-Compared to {\MusiXTeX}~\texttt{1.15}, installing {\PMX} 2.6 is a cinch.
-All you need to do is
-\begin{enumerate}
- \item decide which particular version of the \PMX\ 2.6 series you
- need: 2.603 is by now almost standard; the new version 2.617 has
- a very important new feature regarding
- transposing instruments, and 2.618 allows
- adjusting the size of the {\PMX} output
- automatically to the paper size used\,%
- \footnote{remember that formally {\PMX} is still `beta' .
- },
- \item download
- \href{http://icking-music-archive.org/software/pmx/pmx2618.zip}%
- {\underline{pmx 2.618.zip}}
- (or another \texttt{2.6xx}) and unzip it,
- \item copy \verb#pmxab.exe# and \verb#scor2prt.exe#
- to \verb#...\localmixtex\miktex\bin# ,
- \item copy \verb#pmx.tex# to
- \verb#...\localmixtex\tex# ,
- \item run the {\MiKTeX} FNDB (`\texttt{F}ile
- \texttt{N}ame \texttt{D}ata \texttt{B}ase') .
-\end{enumerate}
-
-\medskip\noindent
-To test the installation, run \\
- \hspace*{10ex} \texttt{runpmx sample.pmx} \\
-in a command line.
-
-
-
-\section{Authors of the Software} \label{sec:authors}
-_{authors}
-
-
-\begin{description}
- \item[{\MusiXTeX}:] \emph{Daniel Taupin}
- _{Taupin, Daniel}
-
- \href{http://icking-music-archive.org/software/indexmt6.html}%
- {\underline{\MusiXTeX}} evolved from Music{\TeX} by
- \emph{Daniel Taupin}, a physicist in the Laboratoire de Phisique
- des Solides in Orsay, \emph{Ross Mitchell} (CSIRO Division of
- Atmospheric Research, Private Bag No.1, Mordialloc, Victoria
- 3195, Australia) and \emph{Andreas Egler} (Ruhr--Uni--Bochum,
- Ursulastr. 32, D-44793 Bochum).
-
- {\MusiXTeX} had been maintained actively and conscientiously by
- Daniel Taupin until his untimely death in 2001 --- he died
- accidentally while climbing in the Alps. He is remembered with a
- \href{http://icking-music-archive.org/Memorial/Taupin%
- /Statements.html}{\underline{Memorial}}
- on the web page of the Werner Icking Music Archive.
-
- After Taupins death, {\MusiXTeX} seemed quite stable and could
- thus, for all practical purposes, be considered `frozen' for a
- long time.
-
- However, nothing as lively as {\MusiXTeX} can really remain
- literally frozen forever. A number of improvements have
- been continuously added by a group of {\MusiXTeX}perts, and,
- finally, Hiroaki Morimoto has kindly provided a new version
- of {\MusiXTeX} which corrects known bugs. Then a new and
- \emph{strongly enhanced version} of the {\MusiXTeX} manual was
- prepared by a group led by Don Simons, which has now been
- officially released: {\MusiXTeX}~\texttt{1.15} . It is located
- at the
- \href{http://icking-music-archive.org/software/indexmt6.html#musixtex}%
- {software section} of the Werner Icking Music Archive
- (dubbed `WIMA').
-
- \bigskip
- Finally, here is a list of the authors of essential parts of
- {\PMX} and related software:
-
- \item[{\PMX}:]
- \emph{Don Simons}
-_{Simons, Don} _{\PMX!author}
-
- E-mail: \raisebox{-1.0ex}{%
- \includegraphics[scale=0.7]{addresses/dsimons}
- }
-
- \item[{\MTX}:]
- \emph{Dirk Laurie}
-_{Laurie, Dirk}
-
- E-mail: \raisebox{-1.0ex}{%
- \includegraphics[scale=0.75]{addresses/dlaurie}
- }
-
- \item[Musixlyr and Musixser:]
- \emph{Rainer Dunker}
-_{Dunker, Rainer}
-
- E-mail: \raisebox{-1.0ex}{%
- \includegraphics[scale=0.72]{addresses/rdunker}
- }
-
- \item[PostScript slur package K:]
- \emph{Stanislav Kneifl}
-_{Kneifl, Stanislav}
-
- E-mail: \raisebox{-1.0ex}{%
- \includegraphics[scale=0.7]{addresses/skneifl}
- }
-
- \item[PostScript slur package M:]
- \emph{Hiroaki Morimoto}
-_{Morimoto, Hiroaki}
-
- E-mail: \raisebox{-1.0ex}{%
- \includegraphics[scale=0.7]{addresses/hmorimoto}
- }
-\end{description}
-
-\section{The Werner Icking Music Archive} \label{sec:Icking}
-_{WIMA} _{Werner Icking Music Archive|see{WIMA}} _{Icking, Werner}
-
-\textbf{Werner Icking} (June 25, 1943 -- February 8, 2001) was the
-founder of the \emph{GMD Music Archive}, which contained downloadable
-scores, various {\MusiXTeX} programs, a discussion list, and various
-other musical resources in the public domain. His contributions to the
-development and promulgation of this software were peerless. His
-editions of music (in particular the edition of the complete `Urtext' of
-J.S.\ Bach's pieces for violin and violoncello solo) are examples of
-sophisticated technique, artistic sensibilty and philological
-meticulousness. Everybody, whether expert programmer or complete novice,
-would always find valid and unselfish advice from him, which invariably
-ended with the motto ``\emph{hope this hilft}''. In time a small, but
-regular group of faithfuls gathered around this site, from all over the
-world, who never had met Werner in person, but nevertheless came to see
-a friend in him, mainly through frequent email exchanges.
-
-Werner died suddenly on February 8, 2001, while bicycling home from
-work, as was his regular habit. That very day he had performed
-maintenance work for the site and replied to messages on its discussion
-list, of which he had been the main administrator. The community of
-users of the archive decided not to disband, but to continue Werner's
-work. Starting with the contents of the GMD Archive, a new site was
-created, and dedicated to Werner's memory. It's official name is the
-\emph{Werner Icking Music Archive}.
-
-After some difficult times, it is now hosted by \quad
- \href{http://www.pait.dk}{\texttt{PALDAM IT}} ;
-its URL is \\
-\hspace*{\fill} \href{http://icking-music-archive.org}%
- {\texttt{http://icking-music-archive.org}}\,. \hspace*{\fill} \\
-Its chief administrator is Christian Mondrup,
-_{Mondrup, Christian}
-who more than any other provided reasoned guidance and continuity during
-the difficult transition.
-
-\bigskip
-The archive houses four main categories of information:
-
- \label{p:Icking}
-\begin{description}
- \item[Archive of sheet music]: Contains hundreds of royalty-free
- scores in PDF, many with their source code in {\MusiXTeX},
- {\PMX}, or {\MTX}. It is maintained by \emph{Christian Mondrup},
- who is also the main administrator of the Werner Icking Music
- Archive \\
- E-mail:
- \raisebox{-1.0ex}{%
- \includegraphics[scale=0.72]{addresses/cmondrup}
- } .
-_{Mondrup, Christian}
- \item[{\MusiXTeX} and related software]: Contains {\MusiXTeX} and
- related software, as well as user manuals and various add-ons. It
- is maintained by \emph{Don Simons} \\
- E-mail:
- \raisebox{-1.0ex}{%
- \includegraphics[scale=0.72]{addresses/dsimons}
- } .
-_{Simons, Don}
- \item[{\TeX}-music list]:
-_{{\TeX}-music users' list}
- This discussion list is invaluable to novices, advanced users and
- developers. Themes focus on technical problems of typesetting
- using {\MusiXTeX} and related software, but often drift into
- other musical subjects of historic or esthetic interest. It is
- not moderated, but you need to subscribe in order to participate.
- For information on how to subscribe, visit~
- \href{http://icking-music-archive.org/mailman/listinfo/tex-music}%
- {\texttt{http://icking-music-archive.org/mailman/listinfo/tex-music\/}}~.
- Its administrator is \emph{Maurizio Codogno} (E-mail
- \raisebox{-1.2ex}{%
- \includegraphics[scale=0.80]{addresses/mcodogno}
- }$\!\!$).
-_{Codogno, Maurizio}
- \item [Links to other sources of information regarding music:]
- There are links to search facilities about
- composers/works/editions, a multi-lingual
- glossary of musical terms, and some lists of
- composers' works. This is maintained by
- \emph{Jean-Pierre Coulon}:
-
- \hspace*{10em}
- E-mail: \raisebox{-1.0ex}{\includegraphics[scale=0.72]%
- {addresses/jpcoulon}
- }
-_{Coulon,Jean-Pierre}
-
- \bigskip\bigskip
- As of 2012, ({\MusiXTeX} / \PMX) is coordinated
- with \textbf{CTAN}, thus ensuring that
- \textbf{CTAN} is up to date with ({\MusiXTeX}.
-
- \medskip\noindent
- This coordination with \textbf{CTAN} is
- maintained by \emph{Bob Tennent}.
-
- \hspace*{10em}
- E-mail: \raisebox{-1.0ex}{\includegraphics[scale=0.72]%
- {addresses/btennent}
- }
-_{Tennent,Bob}
-
-\end{description}
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% PMX tutorial by ccn / chapter B starts here:
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-\chapter{A {\PMX} Tutorial} \label{sec:GuidePMX} \section*{Conventions
-for this tutorial} \label{sec:conventions}
-\addcontentsline{toc}{section}{Conventions for this tutorial}
-_{tutorial!conventions of this tutorial}
-
-\renewcommand{\thefootnote}{\fnsymbol{footnote}}
-\hspace*{\fill}\begin{minipage}[b]{200pt}
- ``Hey, this is boring stuff, but if you take a
- minute to understand the typographic conventions
- and a little jargon, it may avoid some confusion
- down the road.''\,%
- \footnotemark[2]
- \end{minipage}
-\footnotetext[2]{Quoted literally from the original introduction to
- {\PMX} by its author, Don Simons. }
-\renewcommand{\thefootnote}{\arabic{footnote}}
-
-\paragraph{Typographical conventions:}
-\begin{itemize}
- \item The \texttt{typewriter} typeface always indicates verbatim text
- \emph{exactly as you would input it to the computer}. This
- includes file names, {\MusiXTeX} tokens, and {\PMX} commands,
- e.g., \verb#barsant.pmx, \internote, c44# .
- \item \textbf{bold} typeface is used for two purposes: first, for
- program names (e.g.~\textbf{pmxab}), and second, when applied
- to a single letter within a normal word, to emphasize the
- mnemonics of a {\PMX} command (e.g.~\texttt{lr} signifies a
- ``\textbf{l}eft-\textbf{r}ight repeat'').
- \item When used in commands, \emph{italics} represent input
- variables for which the user would substitute the appropriate
- actual value. To make this notation quite clear -- and distinct
- from the general use of italics for emphasis -- , the variable
- will be surrounded by square brackets in such cases (e.g.\
- \texttt{L[}$n$\texttt{]P[}$m$\texttt{]M} ), but \emph{the
- brackets are not to be included with the verbatim text}.
-\end{itemize}
-
-\paragraph{Musical terms:} \text{} \\
-The language of music is Italian, and so the radical solution of
-terminological problems would be to use the Italian names throughout.
-This would, however, defeat the whole purpose of this tutorial, so some
-compromises need to be made, and some terms, which may be used
-differently by different people, need to be clearly defined. So in this
-tutorial
-\begin{itemize}
- \item
-_{staves}
- a \emph{staff} (plural \emph{staves}) means the set of 5
- horizontal lines in which music is usually notated, aptly
- called a \emph{pentagramma} in Italian\,%
- \footnote{Note that one-line staves, used for percussion
- instruments (drums, triangles etc.), are presently
- not implemented in {\PMX}.
- }.
- \item a \emph{system} means a coherent set of staves to be played
- simultaneously.
- \item
-_{voice}
- a \emph{voice} means a line of music that is a musical entity
- of its own, such as a melody. In polyphonic music, there is
- often more than one voice to a staff, e.g.~a 4-voice Bach
- choral is often written with the 2 top voices (soprano, alto)
- in one staff, the bottom ones (tenor, basso) in the other\,%
- \footnote{ {\PMX} allows 1 or 2 voices in one staff. }.
-\end{itemize}
-
-\paragraph{technical terms:} \text{} \\
-\begin{itemize}
- \item a \emph{system} means a coherent set of staves to be played
- simultaneously.
- \item a \emph{block} is the series of PMX commands WITHIN ONE SYSTEM,
- formally >ended be a / (slash), which then must be the LAST
- CHARACTER on this input line\,%
- \footnote{This often precludes even \TeX\ comments (started
- with a \%) on the same line, after the slash!
-
- \PMX\ does not check for compliance with this rule,
- but nevertheless it is good practice to adhere to it.
- Otherwise you a liable to encounter weird errors
- which may be difficult to trace.
- }.
-\end{itemize}
-
-
-\section{Running {\PMX}} \label{sec:running}
-_{\PMX!running {\PMX}}
-
-As stated in the introduction (cf.~Section~\ref{sec:introduction}),
-{\PMX} is a \emph{preprocessor} to {\MusiXTeX}. That means that with
-{\PMX} the sequence of steps from the input to the printed paper is one
-step longer:
-\begin{enumerate} \setcounter{enumi}{-1}
- \item The user writes \emph{the symbols of the {\PMX} language} to a
- normal text file, using any text editor. The name of this file,
- ( say, \verb#my_opus.pmx#) \emph{must have the suffix}
- \texttt{pmx},
- \item the file \verb#my_opus.pmx# is run through the {\PMX} processor,
- \textbf{pmxab}.
-_{\textbf{pmxab}}
- This produces the output file \verb#my_opus.tex#, \\[2ex]
- \fbox{\begin{minipage}{390pt}
- Note that in {\PMX} (like in Unix, but unlike Windows)
- spaces within a file name are \emph{not allowed}! If in
- the above example, the input file name were \texttt{my
- opus.pmx} instead of \texttt{my\underline{\;}opus.pmx}, an
- unpredictable error, with confusing error messages, would
- occur.
- \end{minipage}
- }
-
- \item the file \verb#my_opus.tex# is then processed with {\TeX} to
- produce a \texttt{.dvi} output file\,%
- \footnote{This step is a bit more complicated than it sounds
- because it actually is a 3 pass system: it consists of
- (i) running {\TeX}, (ii) running ^{\textbf{musixflx}},
- and (iii) running {\TeX} again (details on the
- rationale behind this are described in the {\MusiXTeX}
-_{Taupin, Daniel}
- manual by Daniel Taupin).
- }.
- This \texttt{.dvi} file is machine readable and (usually) can be
- previewed on the screen,
- \item another program, e.g.~\texttt{dvips}, produces a PostScript file
- from the \texttt{.dvi} file, which again can be previewed on the
- screen, or sent directly to a suitable printer.
-\end{enumerate}
-Usually this whole process is automated to some degree by the use of a
-so-called `script' or `batch' file, or with the help of some more
-elaborate system of interconnecting software (most of these tuned to the
-needs of the general {\TeX} community).
-_{\PMX!running {\PMX}}
-
-\medskip
-There are too many variants of this kind of supporting software -- public
-domain or commercial -- to discuss here, and personal preferences or
-dispositions are too varied. If you are at a loss on what to use, send a
-message to the {\TeX}-music list (cf.~p.\pageref{p:Icking}), and you
-can trust that you get all the individual help you need.
-_{{\TeX}-music users' list}
-
-\begin{table}[!htbp]
-\begin{center}
-\begin{minipage}{380pt}
- \small
-\begin{verbatim}
-:::::::::::::::::::::::: runpmx.bat ::::::::::::::::::::::::
-Call C:\Programme\MikTeX_2.9\localmiktex\miktex\bin\pmxab %1.pmx
-if errorlevel 1 goto pmxerr
-if exist %1.pml del %1.pml
-if exist %1.mx2 del %1.mx2
-if exist %1.mx1 del %1.mx1
-if exist pmxaerr.dat del pmxaerr.dat
-::
-Call C:\Programme\MikTeX_2.9\miktex\bin\etex.exe %1.tex
-if errorlevel 1 goto texerr
-::
-Call C:\Programme\MikTeX_2.9\localmiktex\miktex\bin\musixflx.exe %1.mx1
-::
-Call C:\Programme\MikTeX_2.9\miktex\bin\etex.exe %1.tex
-if errorlevel 1 goto texerr
-if exist %1.log del %1.log
-::
-Call C:\Programme\MikTeX_2.9\miktex\bin\dvips.exe %1.dvi
-if errorlevel 1 goto dvierr
-if exist %1.log del %1.log
-::
-Call C:\Programme\GhostScript\Ghostgum\gsview\gsview32.exe %1.ps
-::
-goto :end
-:::::::::::::::::::
-:: error exits :
-::
-:pmxerr
-echo.
-echo PMX has found errors when processing %1.pmx !
-echo.
-pause
-goto :end
-::
-:texerr
-echo.
-echo TeX has found errors when processing %1.tex !
-echo check %1.log for details.
-echo.
-pause
-goto :end
-::
-:dvierr
-echo.
-echo *** dvips had errors ! ***
-echo.
-pause
-
-::
-:end
-:::::::::::::::::::: end of runpmx.bat ::::::::::::::::::::
-\end{verbatim}
-\end{minipage}
-\end{center}
- \caption{An example of a batch file for running {\PMX}}
- \label{tab:runpmx}
-\end{table}
-
-\bigskip
-To illustrate the above process, however, an example for a typical
-`batch' file, for a standard \textbf{Windows} system, is given in
-table (\ref{tab:runpmx}). This assumes that you have installed
-\begin{enumerate}
- \item a ^{\MiKTeX} system,
- \item a {\MusiXTeX} system,
- \item a \texttt{dvips} system,
-\end{enumerate}
-all installed in the standard way, and that you have produced the {\PMX}
-input file \verb#my_opus.pmx#, using your favorite ASCII text editor.
-
-You would then run
-\begin{center}
- \verb#runpmx my_opus#
-\end{center}
-on a command line, and would see a Ghostview window opening, from which
-you could print your opus (or do with it whatever you like).
-
-\bigskip
-You perhaps will want to write your own batch program\,%
-\footnote{The \texttt{runpmx.bat} given in Table \ref{tab:runpmx} is
- identical with the \texttt{runpmx.bat} used in the installation
- guide (Section \ref{sec:installation}).
-
- When adapting this to your needs or writing your own batch
- file altogether, you should make sure that you use
- \texttt{etex.exe} in the 3 calls of {\TeX}.
- {\MusiXTeX}-\texttt{T115} and {\PMX} texttt{2.6xx} both
- require e{\TeX} (extended {\TeX})!
- }, to suit your personal requirements. Some further remarks on
-how \textbf{pmxab}
-_{\textbf{pmxab}} operates may prove helpful for that.
-
-\medskip
-First, whenever \textbf{pmxab}
-_{\textbf{pmxab}}
-terminates due to a syntax error, the exit code is set 1 (0 when there
-are no errors). There are various ways of detecting this with batch
-commands, and then acting accordingly.
-
-\medskip
-Second, \textbf{pmxab}
-_{\textbf{pmxab}}
-always writes a file \texttt{pmxaerr.dat}
-_{\texttt{pmxaerr.dat}}
-containing a single number: 0 if it exited normally, otherwise the line
-number in the \texttt{.pmx} file where the syntax error was. With
-advanced batch programming techniques, this file can be opened and read,
-and if there was an input error, a text editor can be opened and the
-input point placed on the line with the error.
-
-\bigskip
-There have been several requests to allow {\PMX} to keep running even
-after it detects an input error. This has not been done because in most
-cases, any error messages after the first one would be meaningless, or
-worse, uncorrected errors could cause crashes. In any event, all the
-output from \textbf{pmxab}
-_{\textbf{pmxab}}
-will be stored in the log file [\emph{filename}]\texttt{.pml}.
-
-\newpage
-\subsection{Concatenating several files} \label{sec:concatfiles}
-_{\PMX!concatenating several files}
-
-Sometimes one wants to split the work on a score into several smaller
-parts, not only when otherwise you would exceed some {\PMX} numerical
-limit (cf.~Section~\ref{sec:limits}), but simply for practical reasons.
-Logically, one should distinguish two separate cases:
-\begin{enumerate}
- \item Within \emph{one and the same {\PMX} program}, there might be
- parts that recur identically in several regions of the full code,
- and one would not want to retype these over and over again (both
- for efficiency and for clarity reasons). In such cases, you
- would want to have a command similar to the \verb#\input# of
- {\TeX}, {\LaTeX} and many other programming languages.
-
- In {\PMX}, such an `\verb#\input#' command has the form
- \verb#AR[#\emph{file name}\verb#]#, where \emph{file name} is
- the name of the (ASCII) file you want to include, and
- \verb#AR[#\emph{file name}\verb#]# will insert this file
- at exactly that point in your {\PMX} program where the
- \verb#AR[#\emph{file name}\verb#]# is.\,%
-
- \begin{quote}
- A possible use for this procedure, i.e.\ using the \texttt{AR}
- command, could be to save typing when you want to include your
- favorite option defaults that in fact you use in almost every
- piece of music you write with {\PMX}.
-
- But a simple ``cut \& paste'' is arguably a quite practical
- and more straightforward way of achieving this goal; moreover,
- if you want to be fancy about it, {\PMX} has a much more
- sophisticated tool to offer for that purpose\,%
- \footnote{In fact, there is yet another fancy tool,
- i.e.\ including a `global' file with the specific
- name \texttt{pmx.mod} , useful for special purposes.
- For details on this, refer to the {\PMX} manual.
- },
- viz.\ a macro (cf.\ Sec.~\ref{sec:macros}).
- \end{quote}
-
- \item Sometimes may have reason to make several
- completely independent {\PMX} files, producing their output
- separately. In the end, you would want to concatenate these
- pieces again. This can be easily done:
-
- \medskip
- Suppose you have coded the three movements of a piano sonata in
- three separate {\PMX} files: \verb#son1.pmx#, \verb#son2.pmx#
- and \verb#son3.pmx#. To create one single file from these,
- proceed as follows:
- \begin{enumerate}
- \item Process the three files \verb#.pmx# separately,
- obtaining the three files \verb#son1.tex#,
- \verb#son2.tex# and \verb#son3.tex# ,
- \item Create a {\TeX} file \texttt{son.tex} consisting of the
- following lines:
- \begin{verbatim}
- \input musixtex
- \startmuflex
- \let\startmuflex\empty
- \let\endmuflexsav\endmuflex
- \let\endmuflex\endinput
- \input son1
- \input son2
- \input son3
- \endmuflexsav
- \bye
- \end{verbatim}
- \item Process the file \verb#son.tex# , in the usual three
- passes ({\TeX}~$\Longrightarrow$ \texttt{musixflx}
- $\Longrightarrow$ {\TeX}). The resulting file
- \verb#son.dvi# then contains the full score of the
- entire sonata.
- \end{enumerate}
-\end{enumerate}
-
-\medskip
-Alternatively, you can concatenate the files using {\LaTeX}, or more
-specifically, the \textbf{mtxlatex} package. For details on this
-see Section~\ref{sec:LaTeX}.
-_{\LaTeX} _{\textbf{mtxlatex}|see{\LaTeX}} _{\LaTeX!interface with \PMX}
-
-\vfill\begin{figure}[!htbp]
- \begin{center}
- \raisebox{-0.75ex}{%
- \includegraphics[scale=.82]{eps/Haydn.eps}
- }
- \end{center}
- \caption{\textbf{F.J.\ Haydn},
- \emph{quartet Op.76, no.2}, bars 1--4
- }
- \label{fig:Haydn}
-\end{figure}
-\label{p:Haydn}
-
-\begin{table}[!htb]
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-F.J.\ Haydn, Quartet op.76, no.2, bars 1--4
-PREAMBLE:
-nstaves ninstr mtrnuml mtrdenl mtrnump mtrdenp
- 4 4 4 4 0 6
-npickup nkeys
- 0 -1
-npages nsystems musicsize fracindent
- 1 1 16 .08
-Violoncello
-Viola
-Violin II
-Violin I
-batt
-./
-% BODY:
-% HEADER:
-Tc
-F.J. Haydn
-Tt
-String Quartet op. 76, No.2
-h
-Allegro
-Abep
-w170m
-% begin of music input -
-% bar 1
-d82 Df o. d+ o. d o. d o. r d o. d o. d o. /
-f83 Df o. f o. f o. f o. r f o. f o. f o. /
-r8 a83 Df o. a o. a o. r a o. a o. a o. /
-a24 Df d- /
-
-% bar 2
-r8 d o. d o. d o. r e o. e o. e o. /
-r8 g o. g o. g o. r g o. g o. g o. /
-r8 b o. b o. b o. r cs o. c o. c o. /
-e2 a- /
-
-% bars 3-4
-f8 s e f cs s d4 a | b2 s a4 s o. r Rb /
-a2 t a4 t .cs- | d8 s e f d s e4 o. r /
-d8 s cs d e s e s d c s a1+ s g s | f s g f e s d8 o. d o. cs4 r /
-d8 s cs d e s g s f e s a | d4- zd+ cn1 s b a gs s a4 o. r /
-% end of PMX source file
-\end{verbatim}
-\end{minipage}
- \caption{{\PMX} source for excerpt of F.J.\ Haydn quartet}
- \label{tab:Haydn}
-\end{table}
-
-\section{Preliminary Concepts} \label{sec:concepts}
-
-_{comments}
-The {\PMX} code of a musical score consists of two parts, the
-\emph{preamble} and the \emph{body}. Lines with a \% in column 1 are
-comment lines (as in {\TeX}); they are disregarded by the program\,%
-\footnote{Note, however, the additional conventions of
- the \textbf{scor2prt} program (see Chapter \ref{sec:scor2prt},
- pp.\ \pageref{sec:scor2prt}).
- }.
-
-\medskip
-The \emph{preamble} contains the general specifications for a score,
-some musical (e.g., number of instruments, meter, key signature), and
-some typographical (e.g., number of pages, number of staves per page).
-
-\medskip
-The coding for the music itself is given in the \emph{body}, which in
-turn usually has a \emph{header}. As an example, consider the first few
-bars of Haydns \emph{quartet Op.76, no.2} . The music shown in
-Fig.~\ref{fig:Haydn} is obtained from the {\PMX} source code given in
-Table~\pageref{tab:Haydn}.
-
-\section{Preamble} \label{sec:preamble}
-_{preamble}
-
-The \emph{preamble} consists of one or several lines of numbers,
-followed by lines with typographical data relevant for the whole score.
-The preamble ends with a line giving the name of the directory to which
-_{\textbf{pmxab}}
-\textbf{pmxab} is to write its output \texttt{.tex} file.
-
-\subsection{Numerical input} \label{sec:numinput}
-
-The first line(s) of the preamble must contain 12 numerical
-parameters, separated by one or more spaces (`white space'). In {\PMX},
-as in {\TeX}, a line feed is equivalent to a white space, so the
-following 3 forms of the beginning numerical input are all equivalent:
-
-{\small
-\begin{verbatim}
-4 4 4 4 0 6 0 -1
-1 1 16 .08
-\end{verbatim}
-}
-
-\vspace*{-1.5ex}
-\qquad --- or ---
-
-\vspace*{-1.5ex}
-{\small
-\begin{verbatim}
-4 4 4 4 0 6 0 -1 1 1 16 .08
-\end{verbatim}
-}
-
-\vspace*{-1.5ex}
-\qquad --- or ---
-
-\vspace*{-1.5ex}
-{\small
-\begin{verbatim}
-4
-4
-4
-4
-0
-6
-0
--1
-1
-1
-16
-.08
-\end{verbatim}
-}
-
-\medskip\noindent
-For the purpose of this tutorial, the 12 s are named\,%
-\footnote{Their names are written in typewriter typeface here because in
- a way they \emph{are} input and, as some of the examples show,
- used as such, albeit only in comment lines. But these names
- themselves never occur in {\PMX} commands. (See, however,
- the footnote on p.\pageref{p:errormsg}).
- }.
-\begin{center}
- \parbox{6cm}{\texttt{nstaves}, \texttt{ninstr}, \\[1ex]
- \texttt{mtrnuml}, \texttt{mtrdenl}, \\
- \texttt{mtrnump}, \texttt{mtrdenp}, \\[1ex]
- \texttt{npickup}, \\
- \texttt{nkeys}, \\[1ex]
- \texttt{npages}, \texttt{nsystems}, \\
- \texttt{musicsize}, \texttt{fracindent}
- }
-\end{center}
-
-Their significance is as follows:
-
-\begin{itemize}
-\item
-_{voice!several voices in one staff} _{\texttt{nstaves}}
- \texttt{nstaves}, an integer $\leq 24$, is the total number of
- staves per system. Each staff may contain either one or two voices
- (lines of music). The number of voices in a staff may change as
- the piece progresses, but the total number of voices at any one
- time cannot exceed 24. So if, e.g., there are 24 staves, there can
- only be one voice per staff.
-
-_{\texttt{ninstr}}
- \texttt{ninstr}, an integer $\leq$
- \texttt{nstaves}, is the number of \emph{instruments}. Each
- instrument has a unique name (cf.\ p.~\pageref{p:names}), and any
- instrument with more than one staff will have its staves joined
- with a curly bracket. Often there is only one staff per
- instrument, and \texttt{ninstr $=$ nstaves} in that case. There
- are two ways to assign more than one staff to one or more
- instruments:
-
- \begin{itemize}
- \item if only the first, i.e.\ the \emph{lowest}, instrument has
- more than one staff, such as in a score for piano and a
- one-staff solo instrument, simply make \texttt{ninstr $<$
- nstaves}, and any difference will show up in instrument 1,
- the bottom one in each system,
- \item When you need a more general assignment of staves to
- instruments, put a minus sign in front of \texttt{ninstr},
- and follow \texttt{ninstr} with the number of staves in each
- instrument in succession, in sequence from the bottom one up
- (the same order as the instrument names,
- cf.~p.\pageref{p:names}), separated by spaces. These numbers
- \emph{must} add up to \texttt{nstaves}: in a way, they are
- simply a partition of the numerical parameter
- \texttt{ninstr} .
- \end{itemize}
-
- \Example
- The preamble of the first example (Fig.~\ref{fig:diabolica})
- simply has \texttt{nstaves} $=3$ and \texttt{noinst}
- $=2$ : \begin{figure}[!htb]
- \begin{center}
- \raisebox{-0.75ex}{%
- \includegraphics[scale=.82]{eps/diabolica.eps}
- }
- \end{center}
- \caption{\textbf{C.C.\ Noack}, \emph{sonata diabolica, first
- movement}, bars 12--17
- } \label{fig:diabolica}
- \end{figure}
- while the Stravinsky excerpt of Fig.~\ref{fig:agon} was obtained\,%
- \footnote{In the \PMX\ text with which Fig.~\ref{fig:agon} was
- produced, an additional \MusiXTeX\ command was used to
- gather the strings in a group in the usual way. This
- ``inline use'' of \TeX\ commands will be explained in
- detail in Section~\ref{sec:inlineTeX} .
- }
- with \texttt{nstaves} $=9$ and \texttt{noinst} replaced by
- \[ -7 \; 1 \; 1 \; 1 \; 1 \; 2 \; 2 \; 1 \;\;\; . \]
- This tells \PMX\ that there are 7 instruments in all, with 1 staff
- each for the four strings, 2 each for the piano and the harp, and
- 1 for the trombone. Note that these numbers -- 8 in all in this
- case -- count as \emph{one parameter}, i.e.\ the 12 numerical
- parameters of the preamble are made up of 19 numbers in this case:
- \begin{center}
- \begin{tabular}{l@{\quad:\quad}l}
-9 & (\texttt{nstaves}) \\
--7 1 1 1 1 2 2 1 & (\texttt{ninst}) \\
-4 \quad 8 & (\texttt{mtrnuml, mtrdenl} \\
-4 \quad 8 & (\texttt{mtrnump, mtrdenp}) \\
-2 \quad 0 & (\texttt{npickup}, \texttt{nkeys}) \\
-0 \quad 2 \qquad 16 \qquad 0.14
-& (\texttt{npages, nsystems, musicsize, fracindent})
- \end{tabular}
- \end{center}
-\end{itemize}
-
-\begin{itemize}
-\item _{meter}
- The following 4 numbers serve to define the meter of the piece.
- The first pair,
-_{\texttt{mtrnuml}}
- \texttt{mtrnuml} and
-_{\texttt{mtrdenl}}
- \texttt{mtrdenl}, are the \emph{logical} values which {\PMX} uses
- to calculate the length of a bar: \texttt{mtrnuml} is the logical
- numerator of the meter, i.e.\ the number of beats per measure,
- \texttt{mtrdenl} the denominator. \label{p:meterdefs}
-
-_{meter!printed}
- The second pair,
-_{\texttt{mtrnump}}
- \texttt{mtrnump} and
-_{\texttt{mtrdenp}}
- \texttt{mtrdenp}, determines the appearance of
- the meter in the printed output, but has no effect on the internal
- timing analysis of {\PMX}:
- \begin{itemize}
- \item if \texttt{mtrnump} $>0$, then it and
- \texttt{mtrdenp} are printed literally as the
- numerator and denominator of the time signature. For
- example, \texttt{4 4 4 4} prints a standard
- 4 quarters meter,
- \item if \texttt{mtrnump} $<0$, then the numerator actually
- used by \PMX\ will still be the positive value of
- \texttt{mtrnump}, but the entire time signature will be
- printed with a vertical slash through it,
- \item if \texttt{mtrnump}=0, then \texttt{mtrdenp}
- determines the printed meter as given in
- Table~\ref{tab:meter} and shown in Fig.~\ref{fig:meter}.
- \end{itemize}
-
-\medskip
-There are special rules for n/16 and n/1 time signatures (where the
-latter "1" normally means a semibreve or whole note). To get n/1 time,
-\label{p:meterdefs0}
-use \texttt{mtrdenl} $=0$ (zero) and \texttt{mtrdenp} $=1$\,%
-\footnote{To remember this rule, recall that the printed denominator
- is taken literally, while the logical denominator represents
- the same time value that is denoted when entering ordinary
- notes (see section~\ref{sec:notes} below): there \texttt{0}
- stands for a whole note.
- The special rule for n/16 time is due to programming
- convenience.
- }.
-For n/16 time, it is \texttt{mtrdenl} $=1$ and \texttt{mtrdenp}
-$=16$. So the choice [\texttt{3 0 3 1}] for the 4 meter
-parameters, for example, will give a 3/1 time, both in the {\PMX}
-internal computations and in the printed output, while a 5/16 time is
-indicated by [\texttt{5 1 5 16}].
-\end{itemize}
-
-\medskip
-\begin{figure}[!htbp]
- \begin{center}
- \raisebox{-0.75ex}{%
- \includegraphics[scale=.82]{eps/agon.eps}
- }
- \end{center}
-
- \vspace*{-4ex}
- \caption{\textbf{I.\ Stravinsky}, \emph{agon, first movement},
- bars 1--2 } \label{fig:agon}
-\end{figure}
-
-\begin{table}[!htb]
-\noindent
--------------------------------------------------
- \begin{center}
-_{\PMX!options!meter options}
-_{meter!blind}
- \begin{tabular}{|l|l|}
- \hline
- \texttt{0} & no meter is printed (`blind' meter) \\
- \texttt{1, 2, 3 or 4} & a single digit, between
- the 2nd and 4th lines of each staff\\
- \texttt{5} & cut time (alla breve) \\
- \texttt{6} & common time \\
- \texttt{7} & numeral 3 with a vertical slash
- \\ \hline
- \end{tabular}
- \caption{Meter options for \texttt{mtrdenp} $=0$ }
- \label{tab:meter}
- \end{center}
-\end{table}
-
-\begin{figure}[!htb]
- \begin{center}
- \raisebox{-0.75ex}{%
- \includegraphics[scale=.82]{eps/meter.eps}
- }
-
- \vspace*{-4ex}
- \end{center}
- \caption{Result of meter options for \texttt{mtrdenp} $=0$
- } \label{fig:meter}
-\end{figure}
-
-\begin{itemize}
-\item
-_{pickup bar}
-The $7^{\text{th}}$ parameter,
-_{\texttt{npickup}}
-\texttt{npickup}, is the number of beats in a pickup bar if one is
-present. If there is no pickup bar, set \texttt{npickup} $=0$.
-\texttt{npickup} need not be an integer. Cf.~Fig.~\ref{fig:pickups} for
-examples of pickup bars.
-_{pickup bar}
-
-A pickup bar is the \emph{only} bar that can have a different number of
-beats than the current value of \texttt{mtrnuml}. It must be followed
-with the first regular bar \emph{in the same block}, i.e.\ the pickup
-note(s) \emph{must not be followed} by a \texttt{|}, \texttt{/} or
-\texttt{//}.
-_{pickup bar}
-
-We shall later describe a {\PMX} command to change the meter, and
-explain how to use it for pickups to later sections or movements
-(cf.~section~\ref{sec:meterchg}).
-\end{itemize}
-
-\begin{figure}[!htb]
- \begin{center}
- \raisebox{-0.75ex}{%
- \includegraphics[scale=.82]{eps/pickups.eps}
- }
- \end{center}
- \caption[Examples of pickups in 4/4]%
- {Examples of pickups in 4/4 (the values of \texttt{npickup}
- are given under the staff).
- } \label{fig:pickups}
-
-\end{figure}
-
-\begin{itemize}
-\item
-_{key signature} _{signature|see{key signature}} _{\texttt{nkeys}}
- \texttt{nkeys} is the key signature, positive integer for sharps,
- negative for flats.
-\end{itemize}
-
-\medskip
-The last four numerical parameters concern the layout:
-\begin{itemize}
-\item If
-_{\texttt{npages}}
- \texttt{npages} $>0$, it is the number of
- pages, and
-_{\texttt{nsystems}}
- \texttt{nsystems} is then the
- total number of systems in the entire piece. {\PMX} will spread
- the entire piece horizontally over this number of systems, and
- vertically over \texttt{npages} pages. For proper vertical spacing
- there should be from about 9 to 16 staves per page. If you specify
- too many staves for a given number of pages, one or more staves
- may spill over onto an extra page, but you will not see this until
- you preview the \texttt{.dvi} file. Possible remedies are to
- increase \texttt{npages}, decrease \texttt{nsystems}, or use the
- \texttt{Ae} command, to be described later (cf.~section
- \ref{sec:A}).
-
- \label{p:preamble}
-\item If \texttt{npages} $=0$, \texttt{nsystems} is interpreted as the
- average number of bars per system. This is useful while building
- up a file a little at a time. {\PMX} will decide how many pages to
- use.
-\item
-_{staves!size} _{\texttt{musicsize}}
- \texttt{musicsize} is the height of a staff,
- in points. The only values allowed are: 16, 20, 24 or 29 .
-\item
-_{indenting first system}
- Finally,
-_{\texttt{fracindent}}
- \texttt{fracindent} is the
- indentation of the first system from the left margin, expressed as
- a decimal fraction of the total line width.
-
- \smallskip
- Note that although logically \texttt{fracindent} could have any
- value between $0$ and $1$ , you should never use a value
- seriously over $.5$. It is not only esthetically rather
- unpleasing, but may cause some unexpected havoc for {\MusiXTeX}.
-\end{itemize}
-
-\begin{table}[!htb]
- \begin{center}
-_{preamble!numerical parameters}
-\begin{tabular}{|l@{ : \quad}r@{\qquad\qquad}l|}
-\hline
-\texttt{nstaves} & 4 & (4 staves) \\
-\texttt{ninstr} & 4 & (4 instruments) \\
-\texttt{mtrnuml} & 4 & (4 beats \dots \\
-\texttt{mtrdenl} & 4 & \quad \dots of quarters) \\
-\texttt{mtrnump} & 0 & (option for \dots \\
-\texttt{nmtrdenp} & 6 & \quad \dots common time) \\
-\texttt{npickup} & 0 & (no pickup bar) \\
-\texttt{nkeys} & -1 & (key: d minor) \\
-\texttt{npages} & 1 & (1 page) \\
-\texttt{nsystems} & 1 & (1 system) \\
-\texttt{musicsize} & 16 & (16 pt staff) \\
-\texttt{fracindent} & .085 & (indentation of 1st system) \\ \hline
-\end{tabular}
-\caption{Example of preamble parameters for the F.J.\ Haydn
- quartet in Fig.~\ref{fig:Haydn}, p.~\pageref{p:Haydn}
- } \label{tab:Haydnparams}
-\end{center}
-\end{table}
-
-\medskip \label{p:names}
-_{instruments} _{instruments!names}
-In the next part of the preamble the names of the \emph{ninstr}
-intruments are given, as you want them to appear within the indentation
-in the first system, one per line, \emph{starting with the bottom}
-instrument. If you don't want instrument names to appear, you must still
-leave \texttt{ninstr} blank lines here.
-
-\label{p:clefs}
-_{clefs} _{clefs!exotic}
-Next, on a new line, comes a single string of \emph{nstaves} letters or
-numbers for the clefs, again starting with the bottom staff. The choices
-are\,%
-\footnote{There are several more exotic clefs, available only in
- straight {\MusiXTeX} (cf.~Section \ref{sec:inlineTeX} on
- ``Inline {\TeX}'', and the {\MusiXTeX}~\texttt{1.15} manual,
- Section~2.21).
- }:
-\verb|b, r, n, a, m, s, t, f| , which stand for
-\textbf{b}ass, ba\textbf{r}itone, te\textbf{n}or, \textbf{a}lto,
-\textbf{m}ezzosoprano, \textbf{s}oprano, \textbf{t}reble, or
-\textbf{f}rench violin clef, respectively. Instead of these mnemonic
-abbreviations, you can use the digits 0--7, according to the notation
-\texttt{0} (treble), \texttt{1} (soprano), \texttt{2} (mezzosoprano),
-\texttt{3} (alto), \texttt{4} (tenor), \texttt{5} (bariton), \texttt{6}
-(bass) and \texttt{7} (french violin)\,%
-\footnote{This rather unmnemonic notation has been retained in {\PMX}
- for compatibility with {\MusiXTeX}.
- }.
-These two clef codes are summarized in Fig.~\ref{fig:clefnot}.
-\begin{figure}[!htb] \begin{center}
-_{clefs!symbols} _{clef codes|see{clefs, symbols}}
- \raisebox{-0.75ex}{%
- \includegraphics[scale=.82]{eps/clefnot.eps}
- }
- \end{center}
- \caption{Notation of the clefs}
- \label{fig:clefnot}
-\end{figure}
-
-\bigskip
-_{preamble!end of} _{working directory|see{directory}}
-_{current directory|see{directory}} _{path name|see{directory}}
-The preamble ends with a line that contains the path name of the
-^{directory} to which you want the files (the \verb#.tex# file, in
-particular) to be written when
-_{\textbf{pmxab}}
-\textbf{pmxab} processes your source text. Usually you will want that to
-be the current directory: in UNIX this is denoted by \verb#./#~, in DOS
-(most versions, including Windows) it is \verb#.\#\qquad. In any case,
-the path -- and thus the whole preamble -- must terminate with \verb#/#
-or \verb#\#~~.
-
-\addcontentsline{toc}{section}{Body of the Input File}
-_{body of Input File}
-
-\bigskip
-The rest of the {\PMX} input file is called the \emph{body}. It usually
-begins with a number of global options, each on a line by itself,
-called the \emph{header} (which can be empty).
-\label{p:header}
-_{header} _{\PMX!options!general}
-
-\medskip
-_{input block} _{block|see{input block}}
-Following the header, the input of the actual music begins. The basic
-unit is called a \emph{block}, each one consisting of from 1 to 15
-complete bars. The input data for all bars in a block are entered for
-each staff in turn, starting with the first (i.e.\ the \emph{lowest})
-staff. The sequence of staves (and thus of the instruments) corresponds
-to that in the preamble: the first is the bottom one of the system as it
-appears in the final score, and the last is the top one. The input for
-each staff ends with a \verb#/# (slash). The data for one staff need not
-be contained on a single input line, but may spread over as many as
-needed, with any number of blank lines and comment lines between them\,%
-\footnote{Remember that in {\PMX}, as in {\TeX}, a line feed is
- equivalent to a space, and a sequence of many spaces is
- equivalent to one space.
- },
-but after the end of one staff (i.e.\ after the slash), you \emph{must}
-start the coding for the next staff on a new input line. A \emph{block}
-ends with the slash of the last staff of the last instrument (the top
-staff in the score).
-_{input block!ending}
-
-\medskip
-Though you can put up to 15 bars in one block, many users of {\PMX} have
-the habit of systematically writing one bar per block only. Sometimes,
-however, for reasons of context, {\PMX} \emph{requires} a set of bars to
-be in one and the same block (cf.~Section~\ref{sec:dynamics}). If you
-do put more that one bar in a block, it is advisable (although not
-required) to separate the bars with a \verb#|# (`vertical stroke'). The
-main function of this is to provide visual separation in the input file,
-and to help isolate input errors: if you put a \verb#|# anywhere except
-at a bar end, the {\PMX} processor will stop and show you where it
-detected the timing error. Otherwise (with a few minor
-exceptions%
-\footnote{For such an exception cf.\ the note on p.\pageref{p:repeats}.
- })
-\verb#|# has no effect.
-_{bar lines!in source}
-
-It is also good practice to separate the blocks with comment lines that
-state which bars are represented, as has been done in the input source
-for Fig.~\ref{fig:Haydn} (p.\pageref{p:Haydn}).
-
-_{pickup bar}
-If there is a pickup bar (\verb#npickup# $>0$), it must be in a block
-with the first full bar\,%
-\footnote{If, for some reason, you do need to put the pickup in a
- separate block, set the initial logical meter to fit the
- pickup bar, then after the pickup bar do a blind meter change,
- as described in section~\ref{sec:meterchg}.
- }.
-
-_{voice!several voices in one staff}
-When there are 2 voices in a staff (e.g.~for an organ or other
-polyphonic instrument, or in a choir or symphonic score), these are
-entered consecutively in the coding for that staff, again starting with
-the lower voice, and this voice is ended with a \verb#//# (`double
-slash'). Here again, after the double slash, you \emph{must} start the
-second voice on a separate input line. The coding for this staff is then
-again concluded by a single slash.
-
-\medskip
-The two bars from \emph{Pellas et Melisande} by Debussy in
-Fig.~\ref{fig:debussy} are an example. The bottom staff, that for the
-trumpet, has only one voice, while the top staff (for the flutes) has 2,
-thus giving a total of 3 voices.
-
-\begin{figure}[!htbp]
- \begin{center}
- \raisebox{-0.75ex}{%
- \includegraphics[scale=.82]{eps/debussy.eps}
- } \\[2ex]
- ------------------------------------------
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-%----------------%
-% C. Debussy, Pell‚as et Melisande, p.149
-%----------------%
-%
-2 2
-12 8 12 8
-0 6
-1 1 16 .07
-%
-Trumpet
-Flutes
-tt
-./
-It60itrfl
-h-4
-Lento
-Abepl
-\\nobarnumbers\
-%
-% %%%%%%%%%%%%%%%%%%%%%%%%% Bar 1 %%%%%%%%%%%%%%%%%%%%%%%%%
-cd4 D"con sord."+17 sf dd fd dd sf /
-r8+0 fr sfu+0+1 e sf+0 t ed4 t r8+0
-br+ sfu+0+1 a sf+0 r+0 gr sfu+0+1 f sf+0 //
-rb8 g4+ t gd t rb8 c4 rb8 a4 /
-
-% %%%%%%%%%%%%%%%%%%%%%%%%% Bar 2 %%%%%%%%%%%%%%%%%%%%%%%%%
-cd4 sf dd fd ad sf Rb /
-r8+0 fr sfu+0+1 e sf+0 t ed4 t r8+0 br+ sfu+0+1 a sf+0 t ad4 t //
-rb8 g4 t gd t rb8 c4 t cd t /
-
-% %%%%%%%%%%%%%%%%%%%%%%%%% end of file %%%%%%%%%%%%%%%%%%%
-\end{verbatim}
-\end{minipage}
- \end{center}
-
-
- \caption{\textbf{C.\ Debussy}, \emph{Pellas et Melisande} (excerpt) }
- \label{fig:debussy}
-\end{figure}
-
-\medskip
-_{voice!several voices in one staff}
-The number of voices in a staff (1 or 2) is determined solely by whether
-the first sequence of symbols for that staff ends with \verb#/# or
-\verb#//#. Therefore the number of voices in any given staff can vary
-from block to block, but not within a block. In other words, if you need
-to change the number of voices in a staff, you must start a new block.
-
-\medskip
-_{\PMX!symbols}
-Finally, a general characteristic of {\PMX} coding should be noted: all
-data comprises sequences of \emph{symbols}, each one containing one or
-more adjacent characters. These symbols -- including the
-voice-terminating symbols \verb#/# and \verb#//# -- are \emph{always}
-separated from each other by at least one space or line feed. Whenever
-there are several characters strung together without spaces, they are
-considered \emph{one single} {\PMX} symbol. This concept has already
-been illustrated in prior examples. The construction of the symbols will
-be explained in much more detail in the remainder of this chapter.
-
-\section{Commands for the Individual Staves}
- \label{sec:stave transposition}
-
-_{\PMX!commands for individual staves}
-
-\subsection{Notes} \label{sec:notes}
-_{notes}
-
-The most important input item is of course a single note. Its two
-main features are its \emph{pitch} and its \emph{duration}.
-
-\emph{The pitch} is primarily -- i.e.\ up to octaviation --indicated by
-_{notes!pitch}
-the note \emph{name} in \emph{lower case} letters: \texttt{c, d, e, f,
-g, a, b} (do, re, mi, fa, sol, la, si). If the note is to have an
-accidental, the note name is followed \emph{without a space} by
-\texttt{s, f} or \texttt{n} for a \textbf{s}harp, \textbf{f}lat or
-\textbf{n}atural; \texttt{ss}/\texttt{ff} for a double sharp/double
-flat.
-
-_{accidentals} _{notes!duration}
-
-The \emph{basic duration}, i.e.\ the duration exclusive of a possible
-dot, is indicated by the first unsigned digit following the note name,
-again with no space: \texttt{9, 0, 2, 4, 8, 1, 3, 6} respectively for
-double-whole (^{breve}), whole (^{semibreve}), half, quarter, eighth
-(quaver), sixteenth (semiquaver), thirty-second, and sixty-fourth notes.
-For a consecutive sequence of notes of equal duration, this needs to be
-given explicitly only for the first note of the sequence. Subsequent,
-consecutive notes with no explicit duration will `\emph{inherit}' their
-basic durations from the most recent note with an explicit duration.
-_{eighths} _{sixteenths}
-
-A \emph{dotted/doubly dotted note} is indicated by the letter
-\texttt{d}/\texttt{dd} just about anywhere\,%
-\footnote{The only restriction on the position of \texttt{d} within the
- note symbol occurs if the dot is to be shifted
- (cf.~p.\pageref{p:dotshift}).
- }
-in the note symbol, after the note name, of course.
-
-It is important to note that, in contrast to the basic duration, a
-dot is never inherited by a subsequent note.
-_{notes!duration!not inherited for dotted note} _{dotted notes|see{notes}}
-
-\medskip
-The \emph{pitch} of a note is, of course, not determined by the note
-name alone; the actual octave needs to be specified as well. For this,
-there are three possibilities:
-\begin{description}
- \item[explicit octaves:] \text{} \\
-_{notes!pitch!explicit octave}
- A second unsigned digit\,%
- \footnote{In contrast to the letters for accidentals and dots
- and other letters to be explained in
- Section~\ref{sec:otherparams}, the 2 digits for
- duration and pitch, if present, must always be given
- in this order. Specifically, if by omitting the
- duration digit you use the inherited duration, you
- can no longer specify the octave explicitly by an
- unsigned digit.
- }
- indicates the octave to which the note belongs. For reference,
- octave 4 runs from middle C to the B above. The lowest note on
- an 88-key piano is the A in octave~0, while its highest note is
- the C in octave~8 (cf.~also Fig.~\ref{fig:pitch}).
-
- \begin{figure}[!htb] \begin{center}
- \includegraphics[scale=.82]{eps/pitch.eps}
- \end{center}
- \caption{{\PMX} notation for pitch
- (second digit of note symbol)}
- \label{fig:pitch}
- \end{figure}
-
- \item[inherited pitch:] \text{} \\
-_{notes!pitch!inherited}
- For a note without any explicit octave or relative pitch
- indication, the octave is assigned by {\PMX} such that the note
- is placed in the octave that makes it nearest to the most
- recent note \emph{in the same voice}, i.e. the pitch is
- `inherited'. Thus for jumps of less than a fourth up or down,
- you only need to enter the note name to fully specify the
- pitch. This feature often lets you go for long stretches in a
- voice before needing to enter the octave. For jumps of a fifth
- or more, you need to specify the octave either explicitly as
- described above, or relatively as described below.
-
- \item[relative pitch:]
-_{notes!pitch!relative}
- \text{} \label{p:relativepitch} \\
- A \texttt{+} or \texttt{-} (if not part of one of the signed
- numerical suboptions to be discussed later) indicates that a
- note is to be an octave higher or lower than it would otherwise
- be. Two consecutive \texttt{+}'s will raise the pitch two
- octaves, and so forth\,%
- \footnote{Two consecutive \texttt{+}'s can be abbreviated by
- one \texttt{++} .
- }.
-
- As an example of all this, compare Fig.~\ref{fig:reloctav} with the
- {\PMX} notations given under the staff\,%
- \footnote{The same result would be obtained with the full, absolute
- notation \texttt{c84 d84 e84 c85 b84 a84 g84 g83 | c26 g23
- | c04}; but this is obviously much more verbose.
-
-_{notes!pitch!explicit octave}
- Explicit octave numbers can be combined with one or more
- \texttt{+} or \texttt{-}, although this is not
- recommended.
- }.
-
- \begin{figure}[!htb]
- \begin{center} \includegraphics[scale=.82]{eps/reloctav.eps}
- \end{center} \caption{Relative Octave Notations}
- \label{fig:reloctav}
- \end{figure}
-\end{description}
-
-_{notes!pitch!explicit octave}
-The first note of each line of music in a block must contain at a
-minimum the note name and a basic duration value. It is good
-practice and can simplify editing if in addition an explicit octave is
-set there. However if it is not, {\PMX} will make some assumptions: at
-the start of the first input block the pitch will be set as if there
-were a prior note of middle C. In later blocks {\PMX} will use the
-obvious inheritance rules from the end of the prior block\,%
-\footnote{However, if the number of voices in a staff has changed from
- the prior block, it is safest to reset the octave at the start
- of a new block. Duration is never inherited across block ends,
- and thus must be reset at the start of each input block.
-_{notes!duration!not inherited across blocks} _{voice!several voices in one staff}
- }.
-
-\subsection{Dotted Notes} \label{sec:dotnotes}
-_{notes!dotted note}
-
-Inheritance of dotted notes is a little tricky. As was noted above, the
-dot itself is never inherited; you always have to use a \texttt{d} in
-the note symbol, even if the actual duration and octave are the same as
-the prior note. But the \emph{basic} digit of duration need not be
-reentered if it hasn't changed\,%
-\footnote{There is an exception to this: if you decide to indicate the
- octave with an explicit digit (`absolute octave'), you must
- then enter the duration explicitly as well.
- }.
-So for example, consecutive dotted half notes, each within a fourth of
-the previous one, could be most cleanly entered as \texttt{cd24 ed gd
-ed}, whereas \texttt{cd24 e} would represent a dotted half note followed
-by a plain half note, since the basic digit of duration was for a half
-note all along.
-
-\subsection{Stems} \label{sec:stems}
-_{stems} _{stems!direction forced} _{stems!length}
-
-{\PMX} usually determines the correct stem length and direction
-(\emph{up} or \emph{down}) of a note automatically. This can, however,
-be changed by the user, as needed:
-\begin{itemize}
-_{stems!options}
- \item the stem direction is forced to go \emph{up} with the letter
- \texttt{u} (`\textbf{u}p') anywhere after the note name, or
- \emph{down} with \texttt{l} (`\textbf{l}ower'),
- \item the stem length of non-beamed notes can be shortened by adding
- the option \texttt{S}, followed by a decimal number between .5
- and 4.0 , representing the shortening in units of
- \texttt{\bs{}internote}\,%
- \footnote{1 unit of \texttt{\bs{}internote} is roughly half the
- distance between staff lines.
- }.
- The shortening can be made ``sticky'', i.e.\ applied to all
- following notes by adding a colon (\texttt{:}) after the
- number. Stickiness is terminated by \texttt{S:} .
-
-\end{itemize}
-
-\subsection{Other Note Parameters} \label{sec:otherparams}
-_{\PMX!options} _{\PMX!options!notes}
-Here are some more options that can be appended to a note symbol (as usual
-without spaces):
-
-\begin{description}
- \item[Inhibited beaming (\textbf{a})] \text{} \\
-_{beaming!inhibited}
- Joining the note stems with beams is usually done automatically by
- {\PMX}\,%
- \footnote{For details of this cf.\ Section~\ref{sec:beams}.
- }.
- Sometimes, however, you may want to inhibit this explicitly for a
- single note; this is achieved by the letter \texttt{a} (for
- \texttt{a}lone).
- \item[Horizontal shift (\textbf{e,r})] \text{} \\
-_{notes!horizontal shift}
- Sometimes you want to shift the horizontal position of a note, for
- example to avoid overlap with a note in another voice of the same
- staff. The letters \texttt{e} and \texttt{r} do that: \texttt{e}
- shifts the note to the l\texttt{e}ft by its own width (a `notehead
- width'), while \texttt{r} shifts it to the \texttt{r}ight. An
- example of this can be seen in Fig.~\ref{fig:debussy}.
- \item[Shift of accidentals (\texttt{<} / \texttt{>})]
- \text{} \label{p:accidentals} \\
-_{accidentals!position shift}
- Accidentals can be shifted too. One way is to enter \texttt{+} or
- \texttt{-} immediately after the accidental character, then an
- \emph{integer} for the vertical shift in units of
- \texttt{\bs{}internote}, then another \texttt{+} or \texttt{-} ,
- followed by the horizontal shift, given as a decimal fraction of a
- notehead width. If you use this method, you \emph{must enter both
- numbers}. Alternatively -- if you need only an horizontal shift --,
- you can simply use \texttt{<} or \texttt{>}, followed by the shift,
- in notehead widths. When shifting a sharp to avoid another sharp, a
- left shift of $0.85$ is usually best. When shifting a flat to avoid
- a flat above it, a left shift of $0.3$ is suggested.
- \label{shifts}
- \item[Shift of the dot in dotted notes] \text{} \label{p:dotshift} \\
- The dot in dotted notes can be shifted analogously to the first
- method for accidentals, using signed numbers, except that the first
- (vertical) shift may be a decimal fraction.
- \item[Shorthand for dotted notes]
-_{dotted notes!shorthand} _{shorthand!for dotted notes}
- \text{} \\ There are two special shorthand notations for dotted
- rhythms. For normal dotted rhythms ($3:1$ ratio), if you include a
- period (\texttt{.}) in the note symbol, {\PMX} will
- \begin{itemize}
- \item assign a dot to the note just entered,
- \item terminate that note,
- \item prepare to receive the next note name \emph{without any
- space}, and
- \item automatically assign a time value to the second note equal
- to one-third of the first one.
- \end{itemize}
- No time value may be entered for the second note, but octave and
- accidental parameters may. Ornaments and slurs
- (cf.~Sections~\ref{sec:ornaments} and \ref{sec:psslurs}) following
- this symbol will apply to the second member. If you need to follow
- the main note with some modifying command, you can still use the
- shorthand (\texttt{.}) after that command and a space. The main
- advantage of this shorthand comes if you want to follow one dotted
- pair with another of the same rhythm; then you needn't enter any
- explicit duration value for \emph{either} member of the second
- pair. This is because after using the shorthand, the basic
- inherited duration value is set to that of the \emph{first} note in
- the pair; remember that the basic duration does not include the
- dot!
-
- For paired notes with 2:1 rhythmic ratios, the symbol \texttt{,}
- (comma) behaves similarly to the \texttt{.} (period) for 3:1
- rhythms as just described.
-
- \Note{If you use this shorthand for dotted pairs, either embedded
- in a single symbol or to start a separate symbol for the
- second member, then you \emph{cannot shift the dot position}.
- If you do need to shift the dot, you should not use the
- shorthand notation.
-_{dotted notes!shorthand}
- }
-\end{description}
-\bigskip
-For reference, all the letter-type note parameters are listed in
-Table~\ref{tab:noteparameters}. Examples demonstrating the
-use of most of them are given in Fig.~\ref{fig:notepars} .
-
-\begin{table}[!htb]
- \begin{center}
-_{\PMX!options!notes} _{accidentals} _{accidentals!cautionary}
-_{notes!parameters} _{accidentals!MIDI}
- \begin{tabular}{|l@{\hbox{\quad}}c@{\quad --- }l|}
- \hline
- \multicolumn{3}{|l|}{\textbf{Accidentals:}} \\
- & s & \textbf{s}harp \\
- & f & \textbf{f}lat \\
- & n & \textbf{n}atural \\
- & ss & double \textbf{s}harp \\
- & ff & double \textbf{f}lat \\
- & sc, ssc, fc, ffc, nc
- & cautionary accidental (accidental in parenthesis) \\
- & si, fi, ni & \parbox[t]{300pt}{M\textbf{i}DI accidental {\\}
- [\,does do not appear in the printed score
- ---
- cf.~Section~\ref{sec:MIDIaccidentals}\,]
- } \\[1ex]
- \multicolumn{3}{|l|}{\textbf{Dotted Notes:}} \\
- & d & single \textbf{d}ot \\
- & dd & \textbf{d}ouble \textbf{d}ot \\
- & . & shorthand for $3:1$ rythm \\
- & , & shorthand for $2:1$ rythm \\
- \multicolumn{3}{|l|}{\textbf{Stems:}} \\
- & u & force the stem \textbf{u}p \\
- & l & force the stem down (\textbf{l}ower) \\
- \multicolumn{3}{|l|}{\textbf{Shifts of Position:}} \\
- & e & shift the notehead l\textbf{e}ft
- by the notehead width \\
- & r & shift the notehead \textbf{r}ight
- by the notehead width \\
- & \texttt{<} & left shift of accidental \\
- & \texttt{>} & right shift of accidental \\
- & +, - & general shift of accidental \\
- \multicolumn{3}{|l|}{\textbf{Beam Inhibit:}} \\
- & a & \textbf{a}lone (cf.~Section~\ref{sec:beams}) \\
- \multicolumn{3}{|l|}{\textbf{Xtuplets:}} \\
- & x & (\textbf{x}tuplet) (cf.Section~\ref{sec:xtuplets}) \\
- \hline
- \end{tabular}
- \end{center}
- \caption{Use of Note Parameters as shown in Fig.~\ref{fig:notepars} .}
- \label{tab:noteparameters}
-\end{table}
-
-\begin{figure}[!htb]
- \begin{center}
-
- \includegraphics[scale=.82]{eps/notepara.eps} \\[2ex]
- \includegraphics[scale=.82]{eps/noteparb.eps} \\
- \small{ (Notations for Dotted Notes) } \\[2ex]
- \includegraphics[scale=.82]{eps/noteparc.eps} \\
- \small{ (Position Shifts of Accidentals) } \\[2ex]
- \end{center}
- \caption{Use of Note Parameters} \label{fig:notepars}
-\end{figure}
-
-\pagebreak
-\subsection{Rests} \label{sec:rests}
-_{rest} _{pause|see{rest}}
-
-Rests are denoted by the letter \texttt{r} in place of a note name.
-Rests have duration digits just like notes, but obviously no second
-digit for giving an octave. As inheritance goes, an \texttt{r} behaves
-just like a note: it can inherit its duration from the prior note or
-rest, and notes as well as rests can inherit their duration from prior
-rests.
-
-\medskip
-Any rest or sequence of rests that occupies a full bar will by default
-be horizontally centered in the bar.
-
-\medskip
-There are a few special notations for rests:
-\begin{itemize}
- \item \texttt{rp} (`\textbf{r}est \textbf{p}ause') denotes a full-bar
- rest (whole rest), regardless of what the meter signature for
- the bar may be,
- \item \texttt{rpo} (`\textbf{r}est \textbf{p}ause
- \textbf{o}ff-center'). The option \textbf{o} suppresses the
- centering of a pause,
- \item
-_{rest!blank rest}
- \texttt{b} (`\textbf{b}lank') denotes a blank rest, i.e. one
- that \emph{does not appear in print}. Logically, it has a
- duration that is determined, as usual, either by an explicit
- duration specifier or by inheritance. Blank rests are most
- commonly used when there are two voices in a staff,
- and one drops out for some part of the current input bar\,%
- \footnote{Another interesting application is when you have two
- homophonic voices in one staff and, for simplicity's
- sake you want to write only one rest for both voices
- (cf.~the last 2 bars in Fig.~\ref{fig:rests}) .
- },
- \item
-_{rest!multibar rest} _{\textbf{scor2prt}!multibar rest}
- \texttt{rm} (`rest \texttt{m}ulti-bar') followed -- without
- space! -- by an integer $n$ generates the multi-bar rest symbol
- with the number $n$ above it, signifying a rest for $n$ full
- bars\,%
- \footnote{This is used in particular when the parts for
- individual instruments are generated from a full
- score, as is done automatically by \textbf{scor2prt};
- cf.\ Section~\ref{sec:scor2prt}).
- }.
-\end{itemize}
-\noindent
-\hspace*{2em}\fbox{\begin{minipage}{390pt}
- Note that that there can be \emph{only one instance} of a multibar
- rest in a given input block!
- \end{minipage}
- }
-
-\medskip\noindent
-The default vertical position of a rest depends on whether there are one
-or two voices in the staff. For one voice it is just the {\MusiXTeX}
-default: approximately centered on the middle line. On the other hand,
-in the lower voice in a two-voice staff, the rest is lowered
-by \verb#4\internote#, while in the upper line it is raised
-by \verb#2\internote#. The default can be manually overridden by appending
-\verb#+# or \verb#-# and an integer for the offset (in
-\verb#\internotes#) from the \emph{middle} line of the staff. Note that
-this means that, if in the case of 2 voices in a staff you want to have
-the rest centered on the middle line, you need to code it as \verb#r+0#
---- see the last bar in Fig.~\ref{fig:rests}~.
-
-\medskip
-Some samples of rests are given in Fig.~\ref{fig:rests}.
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/rests.eps}
- \end{center}
-\caption{Rests}
-\label{fig:rests}
-\end{figure}
-
-\pagebreak
-\subsection{Xtuplets} \label{sec:xtuplets}
-_{xtuplet}
-
-{\PMX} insists very strictly on checking that the sum of durations of
-all notes or rests in a bar add up to the total required by the bar's
-meter. Thus, it cannot deal easily with modern extensively\,%
-^{polyrhythmic scores}, percussion in particular \label{p:polyrhythms}
-\footnote{But such problems occur occasionally even in classical music.
- Thus, a real challenge to any {\PMX} expert is to code the
- (in)famous third movement of Mozart's Oboe Quartet KV 370,
- where suddenly the oboe changes to an alla breve (4/4), while
- the strings continue on in a 6/8 meter!
- }.
-The only polyrhythmic feature built into {\PMX} are the traditional
-xtuplets: doublets, triplets etc.\ , together with their usual notation.
-
-\medskip
-Xtuplets (duplets, triplets, etc.) can have from 2 to 24 notes or
-rests\,%
-\footnote{The default maximum of $24$ can be changed.
- Cf.~\ref{sec:limits} .
- }.
-By default all notes in an xtuplet have the same duration; but some can
-be dotted or have twice the basic duration
-(cf.\ p.~\pageref{p:xtupletdoubling}). The notation is as follows:
-\begin{enumerate}
- \item The symbol for the first note of an xtuplet begins exactly like
- a note symbol, with the name of the first note in the xtuplet,
- or an \texttt{r} if the xtuplet starts with a \textbf{r}est --,
- followed, as the case may be, by an accidental, a \texttt{d} or
- \texttt{dd}, a \texttt{+},\texttt{-} or explicit octave, and an
- optional duration digit. However, this duration, whether given
- explicitly or inherited from a previous note or augmented by a
- dot, is not the duration of the first note, but represents the
- \emph{total} duration of the \emph{whole xtuplet}.
-
- \item If the xtuplet is to be \emph{unbeamed}, add an
- `\texttt{a}' (`alone') right after the first note.
- \item Next -- with no space, as usual -- comes \texttt{x} (for
- `\textbf{x}tuplet'), followed by a one- or two-digit integer,
- for the number of notes in the xtuplet . If the first note is to
- be dotted, add the usual \texttt{d}, if it is to have twice the
- basic duration, add a \texttt{D} or \texttt{F} (cf.\
- page~\pageref{p:xtupletdoubling} for more detail on this). The
- only options allowed after this begin with the letter \texttt{n}
- and control the printed appearance of the xtuplet:
- \begin{itemize}
- \item If \texttt{n} is omitted, the xtuplet is printed in the
- standard way, i.e.\ with the xtuplet $3$ printed over (or
- under, as the stemming may dictate) for, say, a triplet.
- Note also that by default {\PMX} prints a bracket only
- if the xtuplet notes are unbeamed; otherwise just the
- xtuplet number is printed.
- \item If \texttt{n} is followed by an \emph{unsigned} integer,
- this integer is taken as the number to be printed
- instead of the natural (default) one.
- \item If \texttt{n} is followed by the letter \texttt{f}
- (\textbf{f}lip), the xtuplet number is \textbf{f}lippped
- vertically from its default position. \item The position
- of the xtuplet number can be adjusted in the usual way
- with one or two \emph{signed decimal numbers} following
- \texttt{n}: the first is a vertical shift in units of
- \texttt{\bs{}internote}, the (optional) second a
- horizontal shift, in notehead widths.
- \item If \texttt{n} is given, but followed by a space, thus
- ending the first-note symbol, \emph{no number} at all
- will be printed.
- \item
-_{xtuplet!tweaking the bracket slope}
- For a \emph{non-beamed xtuplet only} a suboption
- \texttt{s} can be added to the \texttt{n} option by
- which the slope of the bracket can be adjusted ; i.e.\
- you can use \texttt{ns}[\emph{n}], where \emph{n} is
- an \emph{signed} integer (except zero): a positive
- integer will lift the end of the bracket upwards, while
- a negative one will move it downwards.
-
- Note that this suboption will operate in a more
- elegant way for Sicherman-type xtuplets\,%
-_{Sicherman-type xtuplets!see xtuplets}
-_{xtuplets!ajusting slope with Sicherman xtuplets}
- \footnote{For Sichermann xtuplets cf.\ the next page.
- }
- only: when the Sichermann option \textbf{AT} is
- \emph{not in effect}, the bracket number (the 3 in a
- triplet, e.g.) will \emph{not} follow the slope
- adjustment and might have to be tweaked separately.
- \end{itemize}
- \item The second through last notes of the xtuplet are then each
- given by a separate note symbol, containing the meaningful
- subset of the parameters permitted for notes or rests:
- \begin{enumerate}
- \item the note name as the first character. This is the only
- required character. It can be an \texttt{r} (for a
-_{xtuplet!rest in xtuplet} _{rest!in xtuplet}
- rest), except that the \emph{last note of an xtuplet
- cannot be a rest}\,%
- \footnote{Cf.\ however, Sec.\
- \ref{sec:Xtuplets ending with a rest}
- },
- \item an accidental,
- \item an octave change (\texttt{+} or \texttt{-}). The octave
- may also given explicitly; this is the only digit
- allowed,
- \item a \texttt{d} (\textbf{d}ot). The next note after the
- dotted one is automatically shortened to half the
- normal value,
- \item
-_{xtuplet!doubled note}
- \label{p:xtupletdoubling}
- the character \texttt{D} in the note symbol for any
- note in an xtuplet doubles the duration of this note.
- As this accounts for two notes of the xtuplet, it will
- decrease the expected number of notes in the xtuplet by
- one. If used for the first note of an xtuplet,
- \texttt{D} goes \emph{before} an optional \texttt{n}
- parameter, \item
-_{xtuplet!doubled note in Bach notation}
- the character \texttt{F} is the same as \texttt{D},
- except that in the printed output the doubled note will
- appear dotted (a notation Bach sometimes used). As with
- \texttt{D}, an \texttt{F} for the first note goes
- \emph{before} an optional \texttt{n} .
- \item grace notes are allowed in xtuplets.
-_{grace notes!in xtuplet}
- \end{enumerate}
- No explicit duration is allowed in symbols for the
- second through last members of the xtuplet, the
- duration having been determined by the first note.
-\end{enumerate}
-
-\medskip
-_{xtuplet!inhibited beaming} _{beaming!in xtuplet}
-Beaming of xtuplets is done automatically. If it is to be inhibited, add
-the \textbf{a}lone option to the first-note symbol
-(cf.~Section~\ref{sec:otherparams}).
-
-\medskip
-Fig.~\ref{fig:xtuplets} displays some examples of xtuplets, with the {\PMX}
-coding given below the staff:
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]%
- {eps/xtuplets.eps} \\[2ex]
- \end{center}
- \caption{Xtuplets}
- \label{fig:xtuplets}
-\end{figure}
-
-\bigskip
-As was remarked at the end of Section~\ref{sec:preamble}, the
-individual symbols of {\PMX} generally consist of one or several
-characters strung together without spaces. In that sense, each note of
-an xtuplet is considered to be \emph{a separate} {\PMX} symbol; so these
-are separated by spaces as usual.
-
-\bigskip\bigskip
-_{xtuplet!non-standard bracket}
-\label{p:sicherman}
-A special, non-standard bracket can be printed for \emph{non-beamed xtuplets
-only} with an addition to {\PMX} designed by Col.\ G.L.\ Sicherman. This
-prints the xtuplet number not above or below the bracket, but in line
-with it, as shown in Fig.~\ref{fig:xtupletsSich}. To invoke this, simply
-add the option \texttt{AT} as a separate {\PMX} symbol anywhere in the
-body of the source file: this will switch from standard to Sicherman
-brackets \emph{for all xtuplets in the score}.
-_{Sicherman, Col.\ G.L.}
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/xtupletsSich.eps} \\[2ex]
- \end{center}
- \caption{Xtuplets with Sicherman brackets}
- \label{fig:xtupletsSich}
-\end{figure}
-
-\medskip
-If you want to use this for specific xtuplets only or otherwise
-customize your use of the option, you will have to use inline {\TeX}
-commands, following instructions given in \verb#tuplet.tex# as comments.
-
-\Note{To use the Sichermann option, the file
- \href{http://icking-music-archive.org/software/musixtex/%
- add-ons/tuplet.tex}{\texttt{tuplet.tex} }
- (available from the software section of the WIMA) must be
- installed in your {\TeX} system!
- }
-
-\subsection{Chords}
-\label{sec:chords}
-
-_{notes!chordal} _{chords}
-\emph{Chordal notes} are notes that share a common stem and have the
-same duration. They are coded in {\PMX} as follows:
-\begin{itemize}
- \item
-_{chords!main note}
- One of the notes in the chord is chosen to be the `first note'.
- The first note is written as usual and as described in
- Section~\ref{sec:notes} ; all other chordal notes are denoted by
- separate symbols starting with \texttt{z} , followed by a note
- name. The note name can optionally be followed by an accidental
- and an octave indicator (\texttt{+} or \texttt{-}), but no
- absolute octave is allowed. And no duration value is allowed
- either, as this is logically determined by the first note.
-
- Legally the first note can be any one of the chord notes; but wise
- use of this freedom of choice is definitely called for, since
- \begin{itemize}
- \item the first note sets the default stem direction,
- \item in a beam it can affect the height and slope of the
- beam,
- \item if the chord is beamed with other notes, the default
- height and slope of the beam will be determined by the
- `first note' of the chord.
- \end{itemize}
-
- If a beam joining chords looks bad, you can often fix it by
- changing which note acts as the main one [\,of course there are
- other ways to fine-tune beam parameters, as will be described in
- detail in Section~\ref{sec:beams}\,]. For further details, consult
- Section~\ref{sec:arpeggio} .
-
- If the main note is dotted, the dot is obviously `inherited' for
- all other notes as well, so writing another \texttt{d} would be
- redundant. But if you want to shift the dot of a chordal note, you
- \emph{must add} a \texttt{d}, followed by the shift parameters, as
- described on p.\pageref{shifts}.
-
- \item Normally {\PMX} will automatically set notes in a chord so that
- collisions are avoided (in a second, e.g.). If you don't like
- the result, you can shift the note by one notehead width to the
- \textbf{r}ight with \texttt{r}, or to the l\textbf{e}ft
- with \texttt{e} .
- \item The position of accidentals will also be adjusted automatically
- by {\PMX} so as to avoid collisions. But, as with single notes,
- you can shift accidentals of chord notes manually\,%
- \footnote{Note that if, in addition, you use a \texttt{+} or
- \texttt{-} to denote a relative octave
- (cf.~p.\pageref{p:relativepitch}), this sign must
- come \emph{after} the shift parameter for the
- accidental.
- },
- using the parameters described on p.\pageref{p:accidentals}.
-
- If you manually shift \emph{any}\ accidental in a chord, then
- automatic shifting will be disabled for \emph{all}\ the
- accidentals in a chord, \emph{unless}\ you preface the shift
- parameter with \textbf{A} (e.g.~\texttt{zcsA<.5}), in which
- case the manual shift will be \textbf{a}dded to that applied
- automatically by {\PMX}.
- \item
-_{chords!position of accidentals}
- \label{p:chordsoption}
- Another option that affects accidental positioning in chords is
- \texttt{Ao}~, entered in the main note symbol of a chord. It will
- force the accidentals in that chord to be posted in the order they
- come in the source (starting with the main note), each one as
- far to the right as it will go without crashing into a notehead,
- stem, or another accidental.
-\end{itemize}
-
-_{chords!stem length and direction} _{stems!direction forced}
-The stem length and direction of a chord are controlled by the first
-note, but may be manually overridden with \text{u} (\textbf{u}p) or
-\texttt{l} (\textbf{l}ower) in the first note symbol.
-
-\medskip
-As decribed above, every chord note has its own note symbol. This means,
-as always: no space within a note symbol, but at least one space
-between the note symbols of a chord.
-
-\Note{\begin{center} \large\textbf{A beginner's trap} \end{center} When
- slurring two chords, you may get confused by a simple
- programming error. Take, e.g., the sequence
-
- \vspace*{-3ex} \begin{center} \texttt{c45 zf d zg-} \qquad .
- \end{center}
- \vspace*{-2ex}\noindent
- The first notes of the two chords are c and d , the chord notes
- (denoted by \texttt{z} in \PMX) are f and g . However, \PMX\
- following your instruction, sets the lower notes as \emph{c and
- g} , the higher ones as \emph{f and d} .
-
- So if you want to slur the chord say, in the higher notes (as
- shown in the picture),
-
- \vspace*{-3ex} \begin{center}
- \includegraphics{eps/chordslur.eps} ,
- \end{center}
- \vspace*{-3ex}\noindent
- you must obviously write
-
- \noindent
- \hspace*{5em} \texttt{c45 zf s d s zg-} \; , \quad not \quad
- \texttt{c45 zf s d zg- s} \; .
-
- \smallskip
- \textbf{Moral}: if you want to slur chords, look at the
- \emph{names of the notes} you want to slur, not
- the \texttt{z} symbols!
- }
-
-\subsubsection{Arpeggio} \label{sec:arpeggio}
-_{chords!arpeggio} _{arpeggio|see{chords}}
-
-An \textbf{arpeggio} is, of course, simply a special form of a chord,
-denoted by a vertical wavy line in front of the chord proper. To write
-that in {\PMX}, place the symbol \texttt{?} after the symbols, with a
-space as usual, for both the first and last note of the chord.
-
-When doing that, you should remain aware of the fact that the wavy line
-is generally understood as being played from the bottom up: lowest note
-first, highest last.
-
-\medskip
-So far, so easy. There are, however, a few special cases to note:
-\begin{enumerate}
- \item In an arpeggio, the wavy line often turns out to be crowded to
- the chord itself; this happens in particular when some of the
- chord notes have accidentals. In such cases one would want to
- move the arpeggio line away from the chord itself a bit, i.e.\
- to the left.
-_{arpeggio!moving arpeggio line to the left}
-
- This is easily achieved by adding a \texttt{-} and an (unsigned)
- decimal number, without spaces, to one of the \texttt{?}
- designating the arpeggio --- it doesn't matter which one.
- \item Sometimes the composer may want to have the arpeggio played in a
- more virtuose way (on string instruments, in particular): the
- first 2 -- or even 3! -- of the chord notes simultaneously, as a
- double (or triple) stop, then the other chord notes as a true
- arpeggio.
-
- \medskip
- This can be done easily in {\PMX}: simply place the first
- \texttt{?} not after the starting chord note, but later, after
- one of the \verb#z...# notes.
-
- In this case is is even more important to remember the standard meaning
- of the wavy line in musical language that was just
- pointed out! So in general, it is best to stick with the order of
- the chord notes ``bottom to top'' unless you really know what
- you are doing.
- \item In piano music, it is quite common that an arpeggio is meant to
- go across the chords of both hands. This also is easily
-_{arpeggio!across staves}
- implemented in {\PMX}\,%
- \footnote{To my knowledge, this feature of {\PMX} (available
- from Version 2.503 on) has not been explicitly
- documented in the official {\PMX} documentation.
- I am very grateful to Andr‚ van Ryckeghem for drawing
- our attention to this feature in one of his
- contibutions to the WIMA ``Tips \& Tricks'' WEB page.
- }:
- simply place the first \texttt{?} at the start of the left-hand
- chord and the second one \emph{at the end of the
- right-hand chord} --- as common sense would suggest!
-\end{enumerate}
-
-\bigskip\noindent
-To see all this in examples, look at how the chords in
-Fig.~\ref{fig:chords} were coded. When comparing this figure with its
-code it should become obvious that care is called for when
-producing chords with accidentals, and arpeggios in particular: some of
-the chords in bars 1 and 2 look ugly, to say the least, and the arpeggio
-line in bar 3 as well as the first one in bar 4 seem to be downright
-violations of the standards of good typesetting practice.
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/chords.eps} \\[2ex]
- ------------------------------------------
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-% bars 1-3:
-e22f zgn zb zef |
-dn2- zbn+ zen |
-dn4- zbn<1.5+ zen dn- zbnA<1.5+ zen X4 /
-b24 zdf zef zgn |
-bn2- ? zen zgs |
-bn4- zen<1.5 zgs ? bn- zen<1.5 zgs X4 /
-
-% bar 4:
-f8- ? za zc zf gd4f- zb zdf zgfd+0.5+2 /
-cd4- zef zf za ? d8f- zgf zb zdf /
-
-% bar 5:
-c4sAo ? zgs zes zbn ? X2 bn4 zes ? zgs zcs ?-2.9 Rb /
-es2-u zgs zcs /
-\end{verbatim}
-\end{minipage}
- \end{center}
- \caption{Chords}
- \label{fig:chords}
-\end{figure}
-
-\subsection{Grace notes} \label{sec:graces}
-_{grace notes} _{notes!grace notes}
-
-A grace note symbol starts with a \texttt{G}. It is entered in its
-natural order, i.e.\ before the main note symbol for a normal grace,
-behind the main note symbol for an after-grace . After
-\texttt{G} comes any combination of the following options:
-
-\begin{itemize}
- \item A single digit representing the number of notes\,%
- \footnote{The \emph{maximum} number of notes in a grace is not
- fixed, but depends on circumstances
- (cf.~Section~\ref{sec:limits}); but up to 16 is
- usually safe.
- }
- in the grace. The default is 1 .
- \item \texttt{m} (for \texttt{m}ultiplicity) and a digit,
- representing the number of flags or beams. The default is 1; 0 is
- allowed.
- \item
-_{slurs!in grace notes} _{grace notes!slurs|see{slurs, in grace notes}}
- \texttt{s} (for \texttt{s}lur): this joins all notes of the
- grace to the main note. No \texttt{s} is needed in the main
- note symbol.
- \item \texttt{x} for a slash (only for single graces),
- \item \texttt{l} or \texttt{u} to force the direction of the stem(s)
- as desired.
-\end{itemize}
-Next comes the only required character, the first grace-note name. No
-time value must be entered, but, if needed, an octave (relative or
-explicit) or an accidental can be given as in a normal note. Second and
-later notes must follow immediately in sequence, set apart by spaces,
-likewise without any time value, and without any intervening symbols.
-
-\medskip
-_{grace notes!`after'-grace}
-`After'-graces (graces coming \emph{after} a main note) are entered
-similarily to normal graces, with the same parameters as above; but in
-addtion to the other parameters either an \texttt{A} (for
-\textbf{A}fter) or \texttt{W} (for \textbf{W}ay-after) is entered,
-before the grace note(s).
-
-After-grace symbols associate the grace note(s) with the \emph{prior}
-main note and are therefore entered \emph{after} the main note symbol.
-
-\medskip
-By default, {\PMX} will place graces or after-graces \emph{immediately}
-before or after the main note, way-afters as far to the right as
-possible before the next note or bar line. If either type of
-after-grace is slurred, the slur will start on the main note and end on
-the last one in the grace.
-
-_{grace notes!added space}
-For a grace (\emph{not for an `after'-grace}), you can, if necessary,
-add some space between the grace and the main note by inserting an
-\texttt{X} followed by a unsigned decimal in the grace symbol\,%
-\footnote{It doesn't matter where you insert this shift symbol, as long
- as it makes syntactical sense; to state this more simply: the
- \texttt{X}[\emph{n}] may \emph{not be inserted before a
- number} and \emph{not after the leading note} of the grace.
-
- \noindent
- This added space for a grace is indeed essentially a hard
- space, so that
-_{spacing!hard space in grace}
- its name,
- \texttt{X} , is quite appropriate. And, as with almost all
- such cases, it is wise to keep in mind that `hard spaces' are
- what their name implies: a hard -- or brutal, if you will --
- last resort if nothing else seems to help. Used unwisely,
- adding a hard space to a grace is liable to produce rather
- ugly results, as is exemplified in Fig.~\ref{fig:grace}.
- }.
-
-\medskip
-Examples for grace notes are displayed in Fig.~\ref{fig:grace}.
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/grace.eps} \\[2ex]
- ------------------------------------------
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-w150m
-Abepl
-\\nobarnumbers\
-%
-% Bar 1
-G3sm2g++ a b c4 f- G2slAe d c GsX1xb+ c /
-% Bar 2
-Ga- g4 Gfs- g c G13sm3X3d e f g a b c d e f g a b c /
-% Bar 3
-c2- G3slWb a b c2 of Rb /
-%
-\end{verbatim}
-\end{minipage}
- \end{center}
- \caption{Grace Notes} \label{fig:grace}
-\noindent
-------------------------------------------------------------------------------------
-\end{figure}
-
-\subsection{Ornaments} \label{sec:ornaments}
-_{ornaments}
-
-Symbols for ornaments are entered \emph{after} their associated note
-symbol, separated, as usual, by a space\,%
-\footnote{The ornament, although associated with a specific note, is
- considered a separate \PMX\ symbol.
- }.
-
-The ornaments available in \PMX\ are listed in Table~\ref{tab:Ornamenti}
-and are illustrated in Fig.~\ref{fig:ornament}.
-
-\begin{table}[htbp]
-_{breath} _{caesura} _{fermata} _{mordent} _{ornaments} _{pizzicato}
-_{segno} _{shake} _{staccato} _{trill} _{accidentals!editorial}
-_{accidentals!dubious} _{notes!dubious}
-\begin{center}
-\begin{tabular}{|p{5.0cm}|p{4.0cm\tt}|}
- \hline
- staccato & o. \\ \hline
- tenuto & o\_ \\ \hline
- accent & o> \\ \hline
- sforzando & o\^\ \\ \hline
- pizzicato & ou \\ \hline
- spiccato & op \\ \hline
- $\times$ & ox \\ \hline
- $+$ & o+ \\ \hline
- caesura${\,}^\dag$ & oc \\ \hline
- breath${\,}^\dag$ & ob \\ \hline
- upper fermata & of \\ \hline
- lower fermata & ofd \\ \hline
- shake & ot \\ \hline
- mordent & om \\ \hline
- mordent [right parenthesis before notehead]
- & o) \\ \hline
- appogiatura [left parenthesis before notehead]
- & o( \\ \hline
- trill${\,}^\dag$ & oT\emph{x} \\ \hline
- implicit trill${\,}^\dag$ & oTt\emph{x} \\ \hline
- segno${\,}^\dag$ & og\emph{x} \\ \hline
-\end{tabular}
-
- \smallskip
- \begin{tabular}{|p{5.0cm}|p{4.0cm\tt}|}
- \multicolumn{2}{c}{editorial marks:} \\ \hline
- editorial accidentals & oes oef oen \\ \hline
- dubious accidental & oes? oef? oen? \\ \hline
- dubious note & oe? \\ \hline
- \end{tabular}
-
- \smallskip
- \begin{tabular}{p{5.0cm}p{4.0cm\tt}}
- ornament repetition${\,}^\dag$
- & : \\
- \end{tabular}
- \end{center}
- ${}^\dag$ See explanation in main text
- \caption{Ornaments} \label{tab:Ornamenti}
- \end{table}
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/ornament.eps}
- \end{center}
- \caption{Ornaments}
- \label{fig:ornament}
-\end{figure}
-
-All except the staccato, tenuto, down fermata and parentheses will
-appear above the staff; staccato\,%
-\footnote{In fact, the only difference between staccato and pizzicato is
- the vertical positioning of the dot.
- }
-and tenuto appear just above or below the note head, depending on the
-stem direction, the parentheses at the level of the note head, of
-course.
-
-\medskip
-The trill and segno symbol are special in that they may have additional
-optional characters. Either trill symbol may include a decimal number to
-specify the length of the wavy line indicating the duration of trilling,
-in \verb#\noteskip#s . The default is 1 . Thus \texttt{oT0} will be a
-\emph{tr} without any wavy line, and \texttt{oTt2} is a wavy line
-of 2 \verb#\noteskip#s without any \emph{tr} symbol starting the wavy
-line.
-
-\medskip
-A segno may only be entered in the first (lowest) voice. It may be
-immediately followed by a positive or negative integer, which indicates
-a number of points that it will be offset horizontally; and it will
-appear above every staff of the system.
-
-\bigskip
-_{ornaments!repeated}
-Once the ornament type has been specified, most ornaments can be raised
-or lowered from their default position by appending a signed integer to
-the symbol, giving the vertical offset in \verb#\internote#s. Caesura
-and breath may in addition have a signed number, giving the horizontal
-shift from default in notehead widths. These two ornaments also differ
-from the others in their default horizontal position, which is $0.5$
-\verb#noteskip# past the note.
-
-\medskip
-An ornament can be automatically repeated on a series of consecutive
-notes, provided the notes are all in the same input block. To activate
-this feature, terminate the first ornament symbol with \texttt{:} . Then
-every note in that voice will have the same ornament until a
-note is followed by the repeat terminator \texttt{o:} .
-
-
-\subsection{Beams} \label{sec:beams}
-_{beaming}
-
-_{beaming!forced} _{beaming!inhibited}
-For the most part, \PMX\ automatically takes care of the details
-of defining beams: selecting which notes are beamed together,
-and setting the angle, direction, height, and
-\emph{multiplicity} (the number of bars along the top or
-bottom). However, one may define a \emph{forced} beam -- which
-overrides {\PMX}'s selection of which notes are beamed together
--- by surrounding the notes to be beamed with \texttt{[} and
-\texttt{]} (with spaces, as usual). Conversely, if {\PMX}'s
-selection is to beam notes, and you want to inhibit this for a
-single note, add the option \texttt{a} to the note symbol
-(cf.~Section~\ref{sec:otherparams}).
-
-\bigskip
-One may also wish to edit certain features of a beam even when {\PMX}'s
-grouping decision would otherwise be acceptable; this is done by adding
-some parameters to \texttt{[} and \texttt{]} :
-
-_{beaming!parameters}
-\medskip
-The \texttt{[} can be followed, without space, by one or several of the
-following options:
-
-\begin{itemize}
- \item \texttt{u}, \texttt{l} or \texttt{f} will override {\PMX}'s
- selection of the direction of the beam:
- \begin{itemize}
- \item \texttt{u} makes the beam go \emph{above} the noteheads
- (\textbf{u}pper beam),
- \item \texttt{l} makes the beam go \emph{below} the noteheads
- (\textbf{l}ower beam), while
- \item \texttt{f} will \textbf{f}lip the beam from whatever
- \PMX\ would do automatically;
- \end{itemize}
- \item \texttt{h} forces the beam to be \textbf{h}orizontal;
- \item \texttt{m} followed by a single digit (1, 2, 3 or 4) forces the
- \textbf{m}ultiplicity of the beam;
- \item\texttt{j} \textbf{j}oins a beam grouping to a prior one started
- in another staff (cf.\ p.~\pageref{p:jumpbeam}).
-\end{itemize}
-
-The beam symbol constructed so far can be followed, without space, by
-one, two or three consecutive integers, each preceded with \texttt{+} or
-\texttt{-} :
-
-\vspace*{-2ex}
- \begin{enumerate}
- \item first is an adjustment of the starting height; it is
- given in \verb#\internote#s and may range from -30 to
- 30,
- \item the second is a slope adjustment (again in the range
- from -30 to 30),
- \item The third is an additional adjustment to the starting
- height, given in units of the beam thickness. It may
- range from 1 to 3 only. It always acts to
- \emph{increases} the stem length. This would only be
- used in rare cases, e.g.~to align consecutive
- horizontal beams which have internal multiplicity
- changes. An example is shown in Fig.~\ref{fig:beams}, bar
- \emph{f}.
- \end{enumerate}
-Note that for technical reasons all three integers must always be given
-\emph{with a sign} (even the last one, although it always is positive).
-Note also that, since the meaning of these numbers is interpreted by
-\PMX\ in their sequence, if you need only the second or only the third
-number you \emph{must not omit} the preceding number(s), but rather give
-explicit \texttt{0}'s for them.
-\vspace*{-2ex}
-\begin{figure}[!h]
- \begin{center}
- \includegraphics[scale=.82]{eps/beams.eps} \\[2ex]
- ------------------------------------------
-\vspace*{-2ex}
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-% Bar a:
-f1s c f a c fs a c- b g+ b g [l+12-8 b-- g1++ b g ] Rd /
-% Bar b:
-[l f1s- c f a ] [u c fs a c- ] [f b g+ b g ] [ b-- g1++ b g ] Rd /
-% Bar c:
-[m4 f1s- c f a ] [m1 c fs a c- ] b g+ b g [h b-- g1++ b g ] Rd /
-% Bar d:
-[ f1s- c f a ][ c fs a c- ] [ b g+ b g ]-[ b-- g1++ b g ] Rd /
-% Bar e:
-[ fs-4x3nf c a+ c1 fs a c- ] b g+ b g b-- g1++ b g Rd /
-% Bar f:
-m3434
-cd84 c3 c6 c [+0+0+3 cd8 c3 c6 c ] [-1+0+3 cd8 c3 c6 c ] Rd /
-\end{verbatim}
-\end{minipage}
- \end{center}
- \caption{Beams}
- \label{fig:beams}
- \vspace*{-4ex}
-\end{figure}
-\pagebreak
-
-Here are some further possibilities regarding beaming:
-\begin{itemize}
- \item
-_{xtuplet!beamed with other notes} _{beaming!in xtuplet}
- \vspace*{-1ex}
- By default, xtuplets (cf.~Section~\ref{sec:xtuplets}) are set
- apart with their own beam. To beam an xtuplet together with
- other non-xtuplets, just include it with the other notes in a
- forced beam.
- \item
-_{beaming!rest within beamed notes} _{rest!in beam}
- \vspace*{-1ex}
- Rests may also be included within forced beams, provided they
- are shorter than quarter rests, and of course that they come
- \emph{between} the first and last notes under the beam.
- \item
-_{beaming!beamed groupings}
- \vspace*{-1ex}
- Sometimes one may wish to define beamed groupings with subgroups
- joined by a single beam. The symbol \texttt{][} , standing alone
- between two note symbols inside a forced beam, causes the
- multiplicity to decrease to unity and immediately increase to
- its natural value for the next note. An example of this, as well
- as the beaming together with an xtuplet, can be seen in bar 2 of
- the trombone voice of Fig.~\ref{fig:agon}~: the two
- doubly-beamed groups connected by a single beam are generated by
- \texttt{[ c15 c c ][ c c cx3 c c ]} .
- \item
-_{beaming!single-slope beam}
- \vspace*{-1ex}
- Related to this is a
- \emph{single-slope beam group}, which is the same as described
- in the previous item except that there is no connecting beam
- between the beamed subgroups. For this option, the beamed
- subgroups are separated by \texttt{]-[} standing alone between
- two notes inside the forced beam.
- \item
-_{beaming!large jumps} _{beaming!up/down beams}
- \vspace*{-1ex}
- If there are large jumps in pitch between
- notes in a beam within a single staff, as a matter of taste you
- may wish to start the beam for example as an upper one and end
- it as a lower. {\PMX} will never do this automatically, but you
- can accomplish it by forcing the beam with appropriately
- modified up/down-ness, starting level, and slope. If you use
- this technique, there are two details to note:
- \begin{enumerate}
- \item if there are any intermediate multiplicity changes,
- they will only be handled properly if the initially
- specified up/down-ness is consistent with the vertical
- position of the intermediate notes involved\,%
- \footnote{This is due to a fundamental technical
- limitation of \MusiXTeX.
- },
- \item for proper appearance in crowded scores you may
- wish to insert hardspace or shifts as described
- in Section~\ref{sec:spacing}.
- \end{enumerate}
-
- \item Beams cannot normally jump staves. But if that is
-_{beaming!staff-jumping} \label{p:jumpbeam}
- desired, start the beam normally in one voice, and
- terminate the part of the beam in that voice with
- \texttt{]j} . Then resume the beam in the other voice on
- a neighboring staff with \texttt{[j}, ending that part
- with the normal \texttt{]} . For staff-jumping beams,
- it's OK to have just a single note inside one or both of
- the partial beams. Each voice must, however, still have
- the right number of beats, so you will probably need to
- fill in the durations with blank rests after the first
- members of the beam and before the second.
-
- \smallskip
- With staff-jumping beams, some adjustment of the beam height and
- slope will usually be required. Also, sometimes the up/down-ness
- of the ending section must be overridden; you will know that
- this is necessary if on your first try the ending is shifted
- horizontally from the desired position. These editing commands
- may sometimes produce unexpected results, and some iteration may
- be required to get exactly what you want.
-
- \smallskip
- An example of a staff-jumping beam is seen
- in Fig.~\ref{fig:jumpbeam} .
-
-\begin{figure}[!bth]
- \begin{center}
- \raisebox{-0.75ex}{%
- \includegraphics[scale=.82]{eps/jumpbeam.eps}
- }
- \end{center}
- \caption{\textbf{A staff-jumping beam}}
- \label{fig:jumpbeam}
-\end{figure}
- \item
- If the option : (colon) is appended to the starting
- symbol \texttt{[} for a forced beam
-_{automatic beaming!} \label{p:autoforcedbeam}
- (`automatic forced beaming'), then henceforth beams of
- the same length will be force-beamed similarly in that
- line of music \emph{until the end of the input block}.
- Within an input block, the automatic forced beaming can
- also be stopped explicitly by starting a new regular
- forced beam.
-
- But remember that {\PMX} is actually quite good at
- beaming notes in the manner a human musician would
- normally expect; so it will be necessary to use this
- facility only in the special cases when you want (or
- need) beaming different from what {\PMX} provides on its
- own. In such cases, consider this beaming automatism as
- a kind of shorthand; as such, it will be really worth
- your while only when you want to repeat the same
- `non-orthodox' beaming an appreciable number of times.
-
- Regarding automatic forced beaming, you should also be
- aware of the following:
-
- \smallskip
- As with regular beams, you can have notes of different
- durations beamed together in an automatic forced beam.
- The rule in that case is: in the beams following the
- initial one, the next sequence(s) of notes with the
- \emph{same total duration time} as that of the notes
- beamed together initially will then be beamed together
- automatically. As usual, notes given without duration
- will `inherit' their durations from the most recent note
- with an explicit duration.
-
- All this is best seen in the following example:
-
- \vspace*{-2ex}
- \begin{center}
- \includegraphics[scale=.82]{eps/autobeam} \qquad ,
- \end{center}
-
- \vspace*{-3ex}
- which is coded as follows:
-
- \vspace*{-4ex}
- \qquad \begin{verbatim}
- d85 e b a1 b c1 b a8
-[ d85 e ] b a1 b c b a8
-[: d85 e ] b a1 b c b a8
- d85 e b a1 b c1 b a8 /
- d85 e b a1 b c1 b a8 Rd
- \end{verbatim}
- \vspace*{-3ex}
- \nopagebreak
- Note how the automatic beaming ends at the \emph{end of
- the first input block}.
-\end{itemize}
-
- \pagebreak
-A last remark:
-
-\smallskip \noindent
-{\PMX} was never intentionally designed to produce beams across
-bar lines.
-_{beams across bar lines}
-\label{sec:beamjump}
-However, in an (undocumented) exception, {\PMX} \emph{in some
-cases} does accept beams that cross bar lines: as it turns out,
-the machinery designed for staff-jumping beams may also be used
-to force a beam across a bar line, whether the beam jumps to a
-different staff or stays within the same staff.
-
-The syntax for that feature is applied in the obvious way, as
-described on p.\ \pageref{p:jumpbeam}, and then applied
-similarily in the single-staff example of Fig.
-\ref{fig:Donjump}.
-
-\begin{figure}[!ht] \begin{center}
-\includegraphics[scale=.82]{eps/Donjump.eps} \\[2ex]
-------------------------------------------------------------------
-\begin{minipage}{360pt} \small
- \begin{verbatim}
- cd24 c8 [+0+1 c ]j | [jf c d e f ]
- g4 g8 [+0-1 g8 ]j / [j f84 e d c ] c2 /
- \end{verbatim}
-\end{minipage} \end{center}
-
-\hspace*{-2ex}
-\caption{An example of bar-crossing beams within a single staff}
- \label{fig:Donjump}
-\end{figure}
-
-% \addcontentsline{toc}{chapter}{Index}
-
-
-\subsection{Slurs and Ties} \label{sec:psslurs}
-_{slurs}
-
-\subsubsection*{Pick a package} \label{sec:postscriptpackages}
-\addcontentsline{toc}{subsubsection}{Pick a package}
-_{dynamic marks!hairpin!length limit} _{hairpins|see{dynamic marks}}
-
-By default \PMX\ will use {\MusiXTeX}'s built-in, font-based slurs and
-_{ties|see{psslurs}}
-hairpins (crescendi and diminuendi, see Section~\ref{sec:dynamics},
-p.~\pageref{p:dynamics} ff). To use these, you don't have to install any
-more software. But they do have drawbacks: the fonts used by {\MusiXTeX}
-for font-based slurs come in fixed sizes and shapes and are therefore
-often not flexible enough in complicated situations. In contrast, slurs
-and hairpins produced with the help of the PostScript language overcome
-many of the shortcomings of their font-based counterparts.
-
-_{slurs!PostScript} _{PostScript!slurs, ties and hairpins}
-There are two independent ``third-party'' packages that provide
-{\MusiXTeX}~\texttt{1.15} and {\PMX} users with PostScript-based slurs,
-ties, and hairpins:
-\begin{description}
- \item[\emph{Type K} --] \label{sec:pss-K}
-_{Kneifl, Stanislav}
- This package was written by \textbf{Stanislav Kneifl}. It is
- directly supported by \PMX\ and will be the focus of any future
- \PMX\ enhancements. Detailed instructions for its use are given
- in the corresponding paragraph below.
- \item[\emph{Type M} --]
-_{Morimoto, Hiroaki}
- This package, by \textbf{Hiroaki Morimoto}, is somewhat more
- flexible when used directly in {\MusiXTeX}~\texttt{1.15}, but
- it requires the \textbf{Metapost} package to be installed in
- the {\TeX} installation. These are not directly supported by
- {\PMX}, but are advertised to be fully compatible with default
- font-based slurs of {\MusiXTeX}~\texttt{1.15} . From {\PMX}'s
- standpoint they are not different from font-based slurs, and
- the same options and features that apply to font-based slurs
- should apply as well to these.
-\end{description}
-
-Both PostScript slur packages provide excellent slurs, ties and
-crescendi. \label{p:usepsslurs} In fact, for simple slurs, you can
-hardly discern the differences between the three possibilities, as can
-be seen in Fig.~\ref{fig:psslurs1} --- although type M slurs are generally
-somewhat flatter, indeed. On the other hand, for steep and long slurs,
-the difference is appreciable, as can be seen in the example of
-Fig.~\ref{fig:psslurs2}.
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/cslurs1n.eps}
-
- \includegraphics[scale=.82]{eps/cslurs1k.eps}
-
- \includegraphics[scale=.82]{eps/cslurs1m.eps}
- \end{center}
- \caption{Three realizations of simple slurs}
- \label{fig:psslurs1}
-\end{figure}
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/cslurs2n.eps}
-
- \includegraphics[scale=.82]{eps/cslurs2k.eps}
-
- \includegraphics[scale=.82]{eps/cslurs2m.eps}
- \end{center}
- \caption{Three realizations of exotic slurs}
- \label{fig:psslurs2}
-\end{figure}
-
-\bigskip
-Here are some additional factors to consider when deciding which type of
-slurs and hairpins to use with {\PMX}:
-\begin{itemize}
- \item True ties, which are shaped differently from slurs, are only
- available with Type K\,%
- \footnote{In {\MusiXTeX}~\texttt{1.15}, font-based
- true ties are actually available; but they were never
- incorporated in {\PMX}, now being superceded by type K
- slurs.
- }. In all cases, the starting and ending
- positions are different for ties and slurs\,%
- \footnote{The ends of an ordinary slur are centered horizontally
- above or below the notehead, while tie ends are
- shifted inboard and closer to the midheight of the
- notehead.
- }.
- \item Font-based hairpins cannot wrap over a line break, but the
- PostScript ones can.
- \item Font-based hairpins cannot be longer than 68 mm.
- \item With either postscript package, the resulting markings do not
- show up on the screen if you view the score with one of the
- commonly used DVI viewers such as \textbf{XDVI} or \textbf{YAP}.
- To see them, you have to first produce a PostScript file from
- the \texttt{dvi} file (using, for example, \textbf{dvips}), which
- you can then view on the screen and print on your printer using
- \textbf{Ghostview} or some other such program. But if you use
- Type 1 PostScript fonts, as was recommended in
- Section~\ref{sec:psslurs}, you will have all this software at
- hand anyway!
-_{PostScript!fonts}
-\end{itemize}
-
-Detailed instructions for installing the Type K or Type M packages are
-given in Section~\ref{sec:pss-K} .
-
-\subsubsection{General slur usage}
-_{slurs!general usage}
-
-This subsection explains commands that apply to all types of slurs,
-followed by separate subsections describing operational features
-specific to either font-based or Type K slurs, and finally a subsection
-on the use of Type M slurs.
-
-\medskip
-Here are the {\PMX} symbols that normally define slurs or ties, except
-for slurs to or from graces\,%
-\footnote{Recall that the slurring of grace notes is defined
- entirely within the the grace symbol, as described in
- Section~\ref{sec:graces}.
- }:
-\begin{itemize}
- \item An opening parenthesis, `\texttt{(}', begins a slur, and a
- closing parenthesis, `\texttt{)}', ends it; similarly, an
- opening brace, `\verb#{#', begins a tie, and a closing brace,
- `\verb#}#', ends it. The opening parenthesis/brace is placed
- \emph{before} the first note, and the closing parenthesis/brace
- \emph{after} the last note of the slur or tie. As always, these
- symbols (including options, see below) are separated from notes
- and other symbols by spaces.
- \footnote{Braces -- and similarly the tie toggles described
- subsequently -- , although legal with all types of
- slur, are really useful only with Type-K slurs, since
- only with these they will produce a true tie.
- }
- \item Alternatively to parentheses, you can use the letter
- \texttt{s} (for \textbf{s}lur) both to begin \emph{and}
- end a slur; but these come \emph{after} both the
- beginning \emph{and} ending note. This is thus a
- \emph{toggle}, turning a slur off if it's on, and
- starting a new one otherwise.
-
- For ties (instead of slurs), use the letter
- \texttt{t} (for \textbf{t}ie), also a toggle.
- \label{p:tslur}
-\end{itemize}
-
-Note that slurs or ties may end on a rest\,%
-\footnote{If you happen to think that this would be musically
- meaningless, you are wrong. Just watch a really good pianist
- (or conductor, for that matter) ending a piece, say in pp. It
- ain't over until the fat lady has really finished singing:
- until she is really \emph{completely} \emph{done} with taking
- her hands off the keyboard! In other words: she visibly (and
- audibly!!) plays the slur over the final rest.
- },
-but they may \emph{not start} on one.
-_{slur!ending on rest} _{tie!ending on rest}
-The default ending height of the
-tie (or slur) in that case will be that of the note on which it started
-(in other words, it will be horizontal); but you can vary that
-explicitly in the usual way.
-
-\bigskip
-Often you need to open a slur or tie while another one is already open
-\emph{in the same voice}, e.g., with tied chords, or if a second slur
-connects a subgroup of notes within a longer slur. In such cases, {\PMX}
-needs to be told which slur is which. For this purpose, the slur opening
-character [ \texttt{s}, \texttt{t}, \texttt{(} ] can
-optionally be followed by a single-character ID code [ \texttt{0-9},
-\texttt{A-Z} ] to identify that particular slur. To close that slur,
-insert the ID code right after the corresponding \emph{closing}
-character [ \texttt{s}, \texttt{t}, \texttt{)} ]. If an ID code is
-used, it \emph{must} be the second character in the symbol. You cannot
-use any ID that is already in use on a slur or tie for a new slur or
-tie. See Fig.~\ref{fig:bloch} for an example\,%
-\footnote{The example uses Type K slurs.
- }.
-
-\begin{figure}[!htb]
-\begin{center}
- \includegraphics[scale=.82]{eps/bloch.eps} \\[2ex]
- ------------------------------------------
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-Ap
-% Bar 25:
-(A e4x3n g bff cf4x3n b g )A (B e4x3n bf e /
-f8+ (C zf+ e- ze+ c4nc- zcnc+ (Dtl b- D< (Et zb+ /
-% Bar 26:
-g4x3n an g e4x3n b e g4x3n a g )Bh Rb /
-b4- )Dt D< zb+ )Et )C dd4- D< (F+1 zd+ o_ e8- D< ze+ )F /
-%
-\end{verbatim}
-\end{minipage}
-\end{center}
-
- \vspace*{-3ex}
-\caption{\textbf{E.\ Bloch}, \emph{Waves} (\emph{Poems of the Sea} I),
- bars 25,26
- } \label{fig:bloch}
-\end{figure}
-
-\bigskip
-Normally, you can leave further details of slur appearance to {\PMX};
-the result will usually satisfy. If not, you can change some features
-manually by additional options which go right after the initial character
-and any ID code, as usual \emph{without} a space,:
-
-\begin{itemize}
-_{slurs!additional options}
- \item The default vertical position above or below the note heads
- can be overridden with
- \begin{itemize}
- \item \texttt{u} (\textbf{u}pper),
- \item \texttt{l} (\textbf{l}ower) or, equivalently,
- \texttt{d} (\textbf{d}own).
- \end{itemize}
- \item The starting or ending point can be shifted from its
- default by entering one or two explicitly signed numbers: the
- first, which must be an integer, gives the vertical shift, in
- \verb#\internote#s; the second, which may be decimal, the
- horizontal offset, in notehead widths.
- \item A dotted slur is obtained by adding the option \texttt{b} (for
- \textbf{b}roken) in the symbol that starts the slur
- (cf.~Fig.~\ref{fig:dottedslur}).
-\end{itemize}
-\begin{figure}[!htb]
-\begin{center}
- \includegraphics[scale=.82]{eps/dottedslur.eps} \\[2ex]
-\begin{minipage}{380pt}
- \small
- \begin{verbatim}
- ( g44 c ) (b [ e8 d c b ] ) | (u a4 f ) g2 Rb /
- \end{verbatim}
-\end{minipage}
-\end{center}
-
- \vspace*{-3ex}
- \caption{A dotted slur} \label{fig:dottedslur}
-\end{figure}
-
-\paragraph{Slurs for staff-jumping beams} \text{} \\[-2ex]
-_{slurs!with staff-jumping beam}
-
-Often -- in piano music in particular -- when you have a staff-jumping beam
-(cf.~p.\pageref{p:jumpbeam}), you may want to join the two parts by a
-slur as well. {\PMX} will, however, get very confused if you try to put
-the beginning slur symbol in one staff and the corresponding ending
-symbol in a different staff; both slur symbols \emph{must always be in
-the same staff}. The solution is to put the ending slur symbol after
-the invisible rest; but do so carefully: even though the invisible rests are
-indeed invisible, {\PMX} accounts for the horizontal space it would need
-for visible rests, and that determines the length of the slur. So if you
-want to avoid awkwardly adjusting the length of the slur by hand, you
-should subdivide the invisible rest appropriately so that one part of it
-will be at the note of the other staff where you want the slur to end.
-The vertical position of the slur end will have to be done manually.
-Fig.~\ref{fig:jumpslur} shows an example.
-
-\begin{figure}[!htb]
-\begin{center}
- \includegraphics[scale=.82]{eps/jumpslur.eps} \\[2ex]
-\begin{minipage}{380pt}
- \small
- \begin{verbatim}
-r4b [j b1 a g f ] r4b [j c14 b a g ] | Rb /
-( [ f1 e d D"what you want"-22 c ]j r1b r1b r1b r1b )-15
-( [ g14 f e D"what you don't want"-22 d ]j r4b )-15 | /
- \end{verbatim}
-\end{minipage}
-\end{center}
- \caption{Placing the slur ending with a staff-jumping beam}
- \label{fig:jumpslur}
-\end{figure}
-
-\subsubsection{Invoking and using Type K slurs} \label{sec:pss-typeK}
-_{slurs!Type K usage} _{PostScript!slurs, ties and hairpins}
-
-To activate the Type K package, all you need to do is to add a line in
-the header of the {\PMX} source after the preamble, containing the
-symbol \texttt{Ap}\,%
-\footnote{For further details on the use of \texttt{A} see
- Section~\ref{sec:A} .
- }.
-
-\bigskip
-For type K slurs, some optional parameters can be used in the slur
-symbol to change the shape of the slur:
-\begin{itemize}
-_{slurs!additional options}
- \item an \texttt{f} (for \textbf{f}latter) will flatten the slur a
- bit, while
- \item \texttt{h, H} or \texttt{HH} (for \textbf{h}igher) will
- increase the slur's curvature by increasing degrees, thereby
- raising (or lowering) its middle.
-\end{itemize}
-These parameters can be used in either the starting or the ending slur
-symbol. They \emph{do not work with ties}, i.e.\ with symbol \texttt{t},
-and {\PMX} will complain if you try that. Examples are given in
-Fig.~\ref{fig:kslurs}.
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/kslurs1.eps}
-
- \includegraphics[scale=.82]{eps/kslurs2.eps}
- \end{center}
- \caption{Shape variations in type K slurs}
- \label{fig:kslurs}
-\end{figure}
-
-\medskip
-The Type K package contains {\TeX} macros that activate or deactivate an
-automatic vertical adjustment of slurs or ties to avoid tangencies with
-staff lines. In {\PMX} these adjustments are switched off by default,
-because they may alter the endpoint positions from what you would
-normally expect. However, if you wish to use them, they may be switched
-on or off globally at the start of any input block, and locally with
-options to individual slur or tie commands.
-
-To activate these adjustments globally (or deactivate, if previously
-activated), at the beginning of any input block enter \texttt{Ap+s} (or
-\texttt{Ap-s}) for slurs, and \texttt{Ap+t} or (\texttt{Ap-t}) for ties.
-To activate them for one-time use only, simply include \texttt{p+t} or
-\texttt{p+s} as an option in the symbol for the affected slur or tie. No
-deactivation is then needed.
-
-You can also sequentially increase (\texttt{Ap+c}) or decrease
-(\texttt{Ap-c}) the default curvature of slurs or ties (again at the
-beginning of any input block), so that the result is cumulative. But
-after the cumulative change has reached ``HH'' or ``ff'', it will remain
-there, and nothing more will happen.
-
-An example is given in Fig.~\ref{fig:kslurtweaks}. The distinctions are
-fairly subtle; but some would see the adjusted markings as more pleasing
-since on close inspection they clearly avoid tangencies with staff
-lines.
-
-\begin{figure}[!htb]
-\begin{center}
- \includegraphics[scale=1.0]{eps/kslurtweaks.eps} \\[2ex]
-\begin{minipage}{380pt}
- \small
- \begin{verbatim}
- Ap
- a44 s bu s | b s c s /
- Ap+s
- a4 s bu s | b s c s /
- %
- a4 t a t | b t b t /
- Ap+t
- a4 t a t | b t b t /
- \end{verbatim}
-\end{minipage}
-\end{center}
- \caption{Vertical tweaks of slurs and ties} \label{fig:kslurtweaks}
-\end{figure}
-
-\paragraph{Line-break tie options} \text{} \\
-_{line break!tie options} _{slurs!across line break}
-There are two options that only affect ties that span line breaks:
-\begin{enumerate}
- \item by default a full tie is drawn at the beginning of the second
- line in such cases. There is a global option, \texttt{Ap+h},
- which tells {\PMX} to use \emph{half ties} -- which are
- flattened at their left-hand ends -- on the second line, but
- \emph{only} in cases where the second tie segment is shorter
- than 15 pt. This option may be cancelled with \texttt{Ap-h} ,
- \item the second option -- which should not be used together with the
- first one! -- affects \emph{both} the first and second segments
- of linebreak slurs and ties. It is the global option
- ~\texttt{Apl}. It alters two defaults to give what some might
- consider an improved appearance: first, it causes the first
- segment to be drawn as a normal tie, whereas by default it has
- a different shape than a normal tie; second, it moves the
- starting point of the second segment a bit to the left.
-
- \medskip
- The \texttt{Apl} option has been enhanced since {\PMX}
- version 2.411; the main new feature is that it now
- works for slurs as well as for ties. Other
- enhancements are more subtle; read the description of
- these in the announcement text for version 2.411, given
- here:
- \begin{quotation}
- ``\texttt{Apl} in the preamble now activates
- special treatment of line-break slurs and ties
- (before, \texttt{Apl} only affected ties.).
-
- ``Specifically, it enables tweaking the ending
- position of the first segment (seg 1), the
- starting position of the second (seg 2), and the
- curvature of either, or both. [You must have
- musixps.tex available to {\TeX}!] With
- \texttt{Apl} every slur/tie at a line break is
- automagically broken into two separate ones (no
- additional PMX slur start or ending commands are
- required). Vertical/horizontal tweaks to the
- start of the seg 1 and the end of seg 2 are
- handled as before. Vertical/horizontal tweaks
- for the end of the seg 1 and start of seg 2 are
- entered as options in the otherwise normal
- command that starts the slur/tie. The option for
- the end of seg 1 starts with "s" (for sever or
- split), then the usual one or two signed
- numbers, then a second "s" and one or two more
- signed numbers for the start of seg 2.
-
- ``The usual curvature options \texttt{h},
- \texttt{H}, \texttt{HH}, \texttt{f}, if included
- in the starting command for a linebreak slur,
- will apply to seg~1, and if in the closing
- command, to seg~2. Of course, if the slur/tie
- does not come at a linebreak, the special
- position tweaks (those after the "s" option)
- will all be ignored, and the curvature tweaks on
- the closing note take precedence (as before).''
- \end{quotation}
-\end{enumerate}
-\Note{Without either of these options, the second segment sometimes
- becomes too short to be clearly visible.
- }
-
-\bigskip
-The global options mentioned (and in fact any of the other global
-options to be described later) can be combined into a single symbol,
-e.g., \texttt{Ap+sl}.
-
-\subsubsection{Use of Type M Slurs and Ties} \label{p:useMslurs}
-_{slurs!Type M usage} _{PostScript!slurs, ties and hairpins}
-
-In contrast to the type K slurs, type M slurs are not explicitly
-supported by {\PMX}; as a consequence, you have to do some things
-manually. But it's not difficult:
-\begin{itemize}
- \item
-_{\textbf{musixpss}}
- The first step is to insert into the header of your {\PMX}
- source file the following line \\
- \text{\hspace*{10em}} \verb#\\input musixpss\relax\# \qquad .
- \item
-To process a {\PMX} file with type M slurs, three extra steps are
-needed to produce a printed musical score. Here is the full sequence of
-processing steps, for a file named \verb#my_opus#:
-
-\begin{center}
-\begin{tabular}{r@{\qquad}ll@{\qquad\qquad}l}
- & command & & resulting new file(s) \\ \hline
- & & & \\
- 0. & text editor & & \verb#my_opus.pmx# \\
- 1. & \verb#pmx# & \verb#my_opus# & \verb#my_opus.tex# \\
- 2a. & \verb#tex# & \verb#my_opus#
- & \verb#my_opus.mx1, my_opus.slu# \\
- 2b. & \verb#musixflx# & \verb#my_opus# & \verb#my_opus.mx2# \\
- 2c. & \verb#tex# & \verb#my_opus# & \verb#my_opus.dvi# \\
- $\to$ 3a.
- & \verb#musixpss# & \verb#my_opus# & \\
- $\to$ 3b.
- & \verb#mpost# & \verb#my_opus#
- & \verb#my_opus.mp, my_opus.1, #\dots \\
- $\to$ 3c.
- & \verb#tex# & \verb#my_opus# & \verb#my_opus.dvi# \\
- 4a. & \verb#dvips# & \verb#my_opus# & \verb#my_opus.ps# \\
- 4b. & \verb#gsview# & \verb#my_opus#
- & \emph{screen view and printed output} \qquad . \\
-\end{tabular} \end{center}
-\end{itemize}
-
-\subsubsection{Special considerations for font-based slurs}
-_{slurs!font-based}
-
-You should study this section if you choose not to use Type K PostScript
-slurs.
-
-\medskip
-The slur command \texttt{t} (cf.~p.\pageref{p:tslur}) has been retained
-for backward compatibility with earlier {\PMX} versions. As already
-mentioned, with font-based slurs it does \emph{not} provide a true tie
-at all, and it doesn't alter the positions of the endpoints either; in
-fact, it differs from \texttt{s} or \texttt{(} only in the following
-ways:
-\begin{itemize}
- \item ID codes cannot be used with font-based \texttt{t}-slurs.
- \item If a \texttt{t}-slur starts or ends on the same note as an
- \texttt{s}-slur, the former will be moved away from the
- notehead to avoid a collision. This only works if neither
- slur has an ID code.
-\end{itemize}
-The shape of font-based slurs can be changed with options to the
-\texttt{s} or \texttt{)} command as follows:
-\begin{itemize}
- \item at the slur termination only, you must first enter two signed
- numbers that define a position shift as described earlier. Enter
- a zero for either or both if you don't want the shift,
- \item next, enter a signed, nonzero integer which specifies a vertical
- adjustment to the mid-height of the slur in \verb#\internote#s,
- \item if you want to alter the starting or ending slope, enter a
- \texttt{:} (colon), then
- \begin{enumerate}
- \item a signed integer for the alteration to the starting
- slope, then
- \item a signed integer for the alteration to the ending
- slope.
- \end{enumerate}
-\end{itemize}
-These numbers are passed directly as arguments of the {\MusiXTeX} macros
-\verb#\midslur# (if only one is given) or \verb#\curve# (if there are
-three).
-
-\bigskip
-If you want to \emph{simulate a tie} with font-based slurs -- {PMX} does
-not proved true ties with font-based slurs! -- include the option
-\texttt{t} in both the starting and ending command for the slur\,%
-\footnote{For reasons of backward compatibility, it is legal
- to specify a tie with the symbol \texttt{st} or \texttt{(t}
- even when PostScript ties are activated. In that case, these
- symbols are fully equivalent to simply using \texttt{t} .
- }.
-This will draw a slur with altered endpoint positions.
-
-\subsection{Dynamic Marks} \label{sec:dynamics}
-_{dynamic marks} _{D symbol@\texttt{D} symbol}
-
-{\PMX} has a very simple tool for inserting virtually any dynamic mark
-in a score. Its \texttt{D}ynamics symbol is a \texttt{D}, followed one
-of 3 types of parameters, optionally followed by position shifts:
-\begin{enumerate}
- \item \textbf{A standard dynamic mark :} this can be any one of the
- following:
- \texttt{pppp, ppp, pp, p, mp, mf, f, ff, fff, ffff, sfz, fp}.
-\pagebreak
- \item
-_{dynamic marks!hairpin} _{crescendo|see{dynamic marks}}
-_{decrescendo|see{dynamic marks}}
- \textbf{A crescendo/diminuendo :} \texttt{<} or \texttt{>}.
- These crescendo/decrescendo marks -- aptly named ``hairpins''--
- are \emph{toggles}, i.e.\ the first \texttt{D<} starts the
- crescendo, and the next \texttt{D<} ends it; similarily for
- \texttt{D>}.
- \Note{As of version 2.616 {\PMX} allows hairpin
- dynamics to span input blocks!
- }
- \item _{dynamic marks!textual} \textbf{Arbitrary text :}
- \texttt{"\dots\"}, where \, \dots \, stands for any
- text string, e.g.~\texttt{D"}molto
- espressivo\texttt{"}. The text will be set in italics
- unless another \TeX-style font specification is
- included\,
- \footnote{A practical example is \texttt{D"
- $\backslash$ppff fz"}
- (cf.\ \href{http://icking-music-archive.org/%
- software/pmxtricks/dynamic.pdf}%
- {Tips and Tricks}).
- }.
- \end{enumerate}
-
-All dynamics symbols go \emph{after} the note to which they refer (so
-e.g.~\texttt{g Dpp} will write a pianissimo g). Hairpin marks
-must be contained \emph{completely within the same input block}?,%
- \footnote{If need be (e.g.\ for crescendi/decrescendi across bar
- lines), you can adjust the position and length of a
- crescendo/decrescendo by adding position shifts as
- described.
- }
-
-\medskip
-The default position of any dynamic mark or text entered with the
-\texttt{D} symbol is just below the notehead, stem end, or bottom staff
-line, whichever of these is lowest. There are numerous context-sensitive
-automagic adjustments to the positions of all the dynamics symbols. If
-you don't like the result you can add position shifts to the dynamics
-symbol: a signed integer for a vertical shift (in \verb#\internote#s),
-then -- optionally -- another signed number for a horizontal shift (in
-notehead widths).
-
-\medskip
-
-There can be a combination of dynamic marks at a single note\,%
-\footnote{It doesn't make sense, of course, to have 2 different standard
- dynamic marks on the same note, and {\PMX} will complain if
- you try that.
- }.
-Since these are distinct {\PMX} symbols, they must be separated by
-spaces and must come in the right order, e.g.\
-\begin{center}
-[\emph{some notes}] \texttt{D<} [\emph{more notes}] \texttt{D< Dffff D>}
-[\emph{more notes}] \texttt{D>}
-\end{center}
-
-\bigskip
-If you aren't using PostScript slurs, there are some restrictions on
-hairpins which are due to {\MusiXTeX}'s use of font-based hairpins: they
-cannot be longer than 68mm, they cannot wrap over a system break, and
-they must be horizontal. Finally, only certain specific lengths are
-available, so some horizontal position tweaking may be needed,
-especially when standard dynamic marks and hairpins are combined.
-These restrictions don't apply when using one of the PostScript slur
-packages; PostScript hairpins will then be used without any further
- \label{p:dynamics}
-intervention\,%
-\footnote{For details on invoking PostScript slurs, ties and hairpins
- cf.\ Section~\ref{sec:psslurs} ff.
- }.
-Fig.~\ref{fig:dynamics} (a fragment from the \emph{Pathetique} by
-Tschaikowsky) shows some examples\,%
-\footnote{Fig.~\ref{fig:dynamics} was obtained using the PostScript slur
- package type K.
-_{PostScript}
- }.
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/pathetique.eps} \\[2ex]
- ------------------------------------------
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-% Bar 1
-r2 D"Adagio"+16 r4 e8-- Dpp-1 D< s f D< D>-1 s /
-% Bar 2
-g4 D>-1 s f2 s D<-1 f8 s D<-1 Dp-1 g s D>-2 /
-% Bar 3
-a4 s D>-2 D<-2 g2 s D<-2 g8 s Dmp-1 D<-1 a s /
-% Bars 3-4
-b4 D<-1 D>-1 asd2 D>-1 D<-1 /
-% Bars 5-6
-b0 st D<-1 Dsfz-1 D>-1 | b8 st D>-1 Dp-1 r r4 r2 Rb /
-%
-\end{verbatim}
-\end{minipage}
- \end{center}
- \caption{Dynamic marks} \label{fig:dynamics}
-\end{figure}
-
-\subsection{Clef Changes} \label{sec:clefs}
-_{clefs!change} _{C symbol@\texttt{C} symbol}
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/clefchg.eps} \\[2ex]
- ------------------------------------------
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-2 1 4 4 0 6 0 3
-1 1 20 0
-
-bt
-./
-Ap
-w180m
-%
-a12 sh c e a e a c e sh
-Ct f s g a f g a b g s Rd /
-a25 sh f4 d sh /
-%
-\end{verbatim}
-\end{minipage}
- \end{center}
- \caption{A clef change} \label{fig:clefchange}
-\end{figure}
-
-As was noted in Section~\ref{sec:preamble}, the clef for each instrument
-is given in the preamble (cf.~p.~\pageref{p:clefs}). A clef change in
-mid-stream, however -- frequently occurring in piano music --, is
-signaled by a \texttt{C} followed by a single lower-case letter, as
-illustrated in Fig.~\ref{fig:clefchange}.
-
-\bigskip
-_{clefs!change with two voices in a staff}
-When there are two voices in a staff, the clef change command must be
-given in the \emph{first (lower) voice}; if it is entered in the second
-voice, {PMX} will \emph{silently disregard} the clef change completely.
-The clef change holds for all voices in a staff, of course.
-
-\medskip
-A logical effect is worth mentioning: when, before the clef
-change, there is a note the duration of which extends beyond
-the point of the clef change, its clef does not change.
-Fig.~\ref{fig:clefchgtwo} shows an example of such a situation.
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/clefchg2.eps} \\[2ex]
- ------------------------------------------
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-c43u Ct a44u cu au //
-f02 /
-Cb rb4 Ct e4u au eu //
-c23l r2-6 /
-%
-\end{verbatim}
-\end{minipage}
- \end{center}
- \caption{A clef change in a staff with 2 voices}
- \label{fig:clefchgtwo}
-\end{figure}
-
-
-\subsection{Octaviation} \label{sec:octaviation}
-_{octaviation}
-
-When in a voice the pitch of a number of notes extends far beyond the
-staff, resulting in an excessive number of ledger lines, readability is
-usually improved by using an `octaviation' notation: an
-horizontal line above the staff, starting with an ``\emph{8}'' or
-``\emph{8va}'', indicates that the notes under this line are to be
-played an octave higher than printed, and similarily ``\emph{8 bassa}''
-or ``\emph{8va bassa}'' indicate an octave lower.
-
-\medskip
-In the present version, {\PMX} does not provide a notation for this, so
-you will have to take recourse to inline {\TeX} coding. For an example
-see Section~\ref{sec:tricks}.
-
-
-\subsection{Figured bass (basso continuo)} \label{sec:bassocontinuo}
-_{figured bass} _{basso continuo|see{figured bass}}
-
-{\PMX} lets you introduce the basso continuo notation (`figured bass')
-very simply, as illustrated in the example of Fig.~\ref{fig:poppea}, which
-is the basso continuo of an excerpt of the famous aria ``\emph{Pur ti
-miro}'' that concludes the Monteverdi opera \emph{L'Incoronazione di
-Poppea}. Here are the rules:
-
-\begin{itemize}
- \item Figure symbols are entered -- as plain numbers\,%
- \footnote{As of {\PMX} version 2.520, the numbers usually
- needed in figured notation, namely 2, 4, 5, 6 and 9,
- are available in a different graphic design with
- perhaps a more baroque-like look.
-
- If you want to use these, add an `\texttt{s}' after
- the {\PMX} string of every figure which you want to
- appear in that form.
-
- Note that for this to work properly, you must have
- the special fonts for these numbers installed. You
- will find \texttt{figbas.zip}, which provides these
- fonts, in the
- \href{http://icking-music-archive.org/software/%
- musixtex/add-ons/figbas.zip}{WIMA} software page.
- \texttt{figbas.zip} contains 2 files that can be of
- help with the installation: \texttt{README} and
- \texttt{test.tex} .
- } --
- \emph{after} their associated note symbols, with
- a space, as usual. As of {\PMX} version 2.517, they are allowed
- in two staves, the first (lowest) staff and any other one.
- Enter the characters as they would appear from \emph{top to
- bottom}, e.g.\ \verb%64% [\,6 over 4\,], or \verb%642% [\,6
- over 4 over 2\,].
- \item Accidentals that modify a number \emph{must} be entered
- \emph{before} the number. Note that the characters that
- signify accidentals are different here than for notes: flats
- are written as `\verb#-#' (minus), sharps as \verb&#& , and
- naturals as \verb%n% . For example, \emph{sharp third} is
- \verb&#3& (or simply \verb&#&, in the standard shorthand),
- \emph{six} (over) \emph{flat five} is \verb%6-5%, and
- \emph{sharp six} (over) \emph{4} is \verb&#64& .
- \item For each staff with figures, {\PMX} positions all the figures
- within each system below the staff with their tops at the same
- level. If you want to change this vertical position default,
- you have two possibilities:
- \begin{description}
- \item[to lower a figure symbol:] prefix the figure symbol
- -- \emph{no space!} -- with one or several `\verb#_#'
- (underscore). Each underscore will lower the figure symbol
- by 4 lengths of \verb#\internote# ,
- \item[to raise a figure symbol :] \emph{append} the figure
- symbol -- \emph{again no space} -- with a `\verb#+#' (plus)
- followed by an integral number for the number of
- \verb#\internote# lengths by which to raise the figure.
- \end{description}
- The two options can be combined to provide full control over
- the vertical position of the figure symbol.
- \item If you want a figure symbol to align horizontally in
- the second tier, insert a `\verb&_&' (underscore) as placeholder
- for the top tier, before the one you want to go on the second
- tier (cf\ the sharp in bar 16 of Fig.~\ref{fig:poppea}).
- \item Sometimes you may need to enter a figure when there's no bass
- note sounding. To do this, \emph{precede} the figure symbol
- with three additional characters, \verb%x%[\emph{n}][\emph{m}].
- Here \emph{n} is a single-digit repeat count, and \emph{m} is a
- single-digit duration time value, i.e., \verb#0,2,4,8,1# or
- \verb#3# . This will offset the figure from the associated note
- by the specified duration value. For example, if the lowest
- voice contained \verb%c03 x3465%, there would be a whole-note
- c, and 3 quarter notes later a figure 65 below the staff
- (cf.~Fig.~\ref{fig:poppea}, bars 2, 4, 6, 8, 10 and 14).
- \item
-_{figured bass!continuation}
- There is also a \emph{continuation} symbol, viz.\ a \verb&0&
- (zero) followed immediately by an unsigned number. This
- produces a horizontal line under the bass note, starting just
- to the left and extending to the right by the given number of
- \verb&\noteskip&'s (cf.~Fig.~\ref{fig:poppea}, bars
- 9, 11, 16 and 17). The height and length of the line are set by
- the current note's level and \bs\texttt{noteskip}
- respectively\,%
- \footnote{If \bs\texttt{noteskip} changes, or if an unfigured
- note drops below the starting level before the line
- ends, it is possible to trick {\PMX} by entering
- separate \texttt{0}[\emph{n}] symbols under each
- consecutive note: {\PMX} will automagically join them
- together at the lower height (thanks to Werner Icking
- for this idea).
-
- For an explanation of the special {\PMX} coding in
- Bar 16 of Fig.~\ref{fig:poppea} see
- Section~\ref{sec:tricks} .
- }.
- These can be mixed in with other figures to produce vertical
- stacks. If another figure follows in the same symbol, use
- {\tt:} as a separator. For example, a continuation line over a
- 3 would be coded as \texttt{01:3} .
-\end{itemize}
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/poppea.eps} \\[2ex]
- ------------------------------------------
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-% bars 1-4
-gd2 fd 6 | ed 5 x126 dd 4 x123 | gd fd 6 | ed 6 dd 4 x123 | /
-
-% bars 5-8
-gd2 fd 6 | ed 64 x123 dd | gd fd 6 | ed 64 x123 dd | /
-
-% bars 9-12
-gd2 02 fd | ed 6 dd 7 | gd fd 6 | gd ad 4 x12# | /
-
-% bars 13-15
-dd- gd | gd 03 fd | ed dd 4 x12# | /
-
-% batt. 16-17
-cd- dd 64 x145 x12_00.2 x12_# | gd fd 01 Rd /
-%
-\end{verbatim}
-\end{minipage}
- \end{center}
- \caption{Figured bass in \textbf{C.\ Monteverdi},
- \emph{L'Incoronazione di Poppea},
- aria ``\emph{Pur ti miro}''
- } \label{fig:poppea}
-\end{figure}
-
-
-_{F symbol@\texttt{F} symbol} _{\textbf{scor2prt}}
-If there are figured bass commands in a {\PMX} file, but you want them
-all to be ignored, then enter the symbol \texttt{F} in the header. This
-feature is most useful in the form \texttt{\%1F}
-(cf.~Sec.~\ref{sec:scor2prt}, which makes a separate bass part with
-no figures, e.g.~for a violoncello part.
-
-\bigskip
-Figured bass symbols will not be altered in any way under transposition
-by {\PMX} (cf.~Sect. \ref{sec:transpositions}). There is no universal
-set of interpretations of figured bass symbols, so no automatic
-transposition is possible.
-_{transposition!not with figured bass}
-
-\medskip
-_{figured bass!2-digit figures}
-{\PMX} does not admit 2-digit basso continuo figures. This is the
-notation of some old editions; if you want to use it, you will have to
-resort to inline {\TeX} coding (cf.~Section~\ref{sec:inlineTeX}).
-There is an example for this in the Caccini aria in the Appendix
-(Sec.~\ref{sec:Caccini}).
-
-\section{Commands That Affect All Voices} \label{sec:pmxcmds}
-_{\PMX!commands for all voices}
-
-Unless indicated otherwise, the commands dealt with in this section
-affect all staves in a score. They must be entered only \emph{in the
-first (lowest) voice in the first (lowest) staff}.
-
-\medskip
-_{\textbf{scor2prt}}
-Such commands will automatically be transferred from score to parts when
-separate parts are generated by \textbf{scor2prt}
-(cf.~Section~\ref{sec:scor2prt}).
-
-\subsection{Single bars, Double bars, Repeats etc.} \label{sec:bars}
-_{bar lines} _{bar lines!single, double, repeat} _{repeats|see{bars}}
-_{R symbol@\texttt{R} symbol}
-
-In keeping with general typesetting practice, {\PMX} will by default
-produce
-\begin{itemize}
- \item a single bar line at the beginning of each system after the
- first, unless there is only one staff per system,
- \item a single bar line at the end of each bar except the last one in
- a movement or the entire score,
- \item the common ending bar line (thin-thick double bar line) as the
- last bar line of a movement or the entire score.
-\end{itemize}
-
-_{\textbf{scor2prt}} _{\textbf{scor2prt}!placement of bar symbols}
-The user can, however, override these defaults -- except the first one
--- by a bar symbol, viz.\ an \texttt{R} followed by one of the
-parameters given in Table~\ref{tab:bars}. If you are going to make parts
-from your score (cf.~Section~\ref{sec:scor2prt}), you \emph{must} place
-bar symbols either before the first note in an input block or after the
-last one; otherwise \textbf{scor2prt} may behave erratically. Using two
-bar symbols in succession doesn't make sense and will produce
-unpredictable results.
-\footnote{If you are using \texttt{|} marks at the end of bars, a repeat
- must always go \emph{before} the \texttt{|}, or the next line
- must follow in the same input block. In other words: while
- \texttt{Rr | /} will not result in an error, it will produce a
- thin bar line only. \label{p:repeats}
-
- \smallskip
- There is a simple consequence: avoid using \texttt{|}
- altogether, at least in connection with \texttt{R} symbols.
- }
-
-
-\begin{table}
-\begin{center}
-\begin{tabular}{|c|@{\quad}p{250pt}|}
- \hline
-\texttt{b} & thin (single \texttt{b}ar) line \\
-\texttt{d} & thin-thin \textbf{d}ouble bar line \\
-\texttt{D} & thin-thick \textbf{D}ouble bar line \\
-\texttt{z} & invisible bar \\ \hline
-\texttt{l} & \textbf{l}eft repeat \\
-\texttt{r} & \textbf{r}ight repeat \\
-\texttt{lr} & \textbf{l}eft-\textbf{r}ight repeat \\
-\texttt{dl} & thin-thin \textbf{d}ouble bar
- followed by \textbf{l}eft repeat \\ \hline
-\end{tabular}
-\end{center}
-\caption{Parameters of the bar symbol \texttt{R}} \label{tab:bars}
-\end{table}
-
-\medskip
-Here are further comments on some particular bar symbols:
-\begin{itemize}
- \item \texttt{Rb} forces a single bar before a movement break, where
- the default would be a double bar. This can be useful, for
- example if you change the number of instruments, which {\PMX}
- will allow only at a movement break, but you don't want it to
- \emph{look} like a movement break.
- \item \texttt{Rz} will cause an invisible bar line at the end of the
- current system. It can be used together with blind meter
- changes (cf.~Section~\ref{sec:meterchg}) when you want to split a
- bar across a system break.
- \item if a left-right repeat (\texttt{Rlr}) comes at a system break,
- {\PMX} will automatically split it in two.
- \item \texttt{Rdl} is the same as a left repeat
- (\texttt{Rl}) except at a system break: there the first system
- is ended with two thin lines, and the left repeat sign goes to
- the beginning of the next system.
-
- \medskip
- \item Finally, a general remark is in order regarding the \texttt{R}
-_{R symbol!placement at begin of block}
- symbols that designate repeats, double bars etc.\
- (\texttt{Rl,Rr,Rlr,Rd, RD,Rdl,Rb,Rz}). To avoid conflicts with
- \textbf{scor2part}, you should \emph{always}
- place any \texttt{R} command before the first note in an
- input block. This is always possible except at the very end of
- the whole piece. Otherwise, there is always a following input
- block where the command can (and should) be placed.
-\end{itemize}
-
-\medskip\noindent
-Fig.~\ref{fig:bars} gives some examples.
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/bars.eps}
- \end{center}
- \caption{Single bars, double bars, repeats}
- \label{fig:bars}
-\end{figure}
-
-\Note{On some special occasions, you may want dashed or dotted barlines
- instead of the regular ones. For this and similar purposes, there
- is a very good and easy-to-use package by Rainer Dunker:
- \texttt{musixdbr.tex}, included in the {\MusiXTeX}~\texttt{1.15}
- distribution.
-_{Dunker, Rainer} _{bar lines!dotted, dashed}
- }
-
-\subsection{Volta} \label{sec:volta}
-_{volte} _{dacapo|see{volte}} _{repeats|see{volte}} _{V
-symbol@\texttt{V} symbol}
-
-The two versions of the ending of a repeated section of music, called
-`volte' in musical parlance\,%
-\footnote{The term `volta' is, of course, Italian, and `volte' is the
- Italian plural of `volta'.
- },
-are denoted by a symbol starting with a \texttt{V} (for \textbf{V}olta)
-in {\PMX}. {\PMX} needs to know where each volta starts and ends, how
-the ends are shaped, and what text is to be included under each volta. A
-string parameter to the \texttt{V} is used to convey this information:
-\begin{itemize}
- \item to signal the \emph{start} of the first volta, add a text
- string (usually just a \texttt{1}) that doesn't start with
- one of the characters \texttt{b}~, \texttt{x}~, or any literal
- spaces\,%
- \footnote{Actually you can include a space by using the {\TeX}
- space symbol \~\ instead of a blank.
- _{\TeX!space symbol}
- }.
- {\PMX} will print append a period to the text string,
- \item to signal the \emph{end} of a volta and the start of the
- second volta, use a \texttt{V} with a text string that
- \emph{does} start with either the character \texttt{b}~ or
- \texttt{x}~. If \texttt{b}~ is present, a volta symbol ending
- with a vertical stroke will be printed (\textbf{b}ox), while
- \texttt{x}~ will print the ending \emph{without} a vertical
- stroke (no bo\textbf{x})\,%
- \footnote{Note that the characters \texttt{b}~ or \texttt{x}~
- can appear anywhere in the text string and will
- \emph{not appear in print}.
- }.
-
- Often composers will write out only the first ending of a
- repeated section of music, and simply continue play, dropping
- the first ending after the repeat. With {\PMX}, the notation is
- analogous: simply end the first volta, with either \texttt{Vb}
- or \texttt{Vx}, without adding a second volta.
-
- On the other hand, if one volta starts where another one ends,
- the symbols ending the first and starting the second volta can
- be combined into one, e.g.~\texttt{Vb2}~.
-\end{itemize}
-
-\medskip
-Other rules governing volte are:
-\begin{itemize}
- \item Volte should be placed at the beginnimg of an input block, in
- the first (lowest) voice of the first (lowest) staff, before
- the first note if it's the start of a volta, or after the last
- note if it's the end of a volta.
- \item
-_{volte!with \textbf{scor2prt}}
- If you will be making parts from the score using
- \textbf{scor2prt}, then to ensure that the volte are properly
- transferred to the parts, you must only include one volta
- symbol \texttt{V} in each input block, and it must come at the
- beginning of the block.
- \item If a score ends while a volta is still open, {\PMX} will close
- it with a box.
-\end{itemize}
-
-\bigskip
-Examples of volta usage can be seen in Fig.~\ref{fig:volta}.
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/volta.eps}
- \end{center}
- \caption{Volte}
- \label{fig:volta}
-\end{figure}
-
-\subsection{Meter Changes} \label{sec:meterchg}
-_{meter!change} _{polyrhythmic scores}
-
-The meter of a piece can only be changed at the beginning of an input
-block, and thus naturally only at the beginning of a new bar, just
-before the beginning of the first (lowest) voice of the first (lowest)
-staff. As with the initial meter specified in the preamble, any new
-meter applies to all instruments and voices\,%
-\footnote{As was pointed out before (cf.~p.\pageref{p:polyrhythms}),
- this limits the use of {\PMX} for modern polyrhythmic music.
- But you can always try to play with tricks \dots
- }.
-
-A \texttt{m}eter change symbol starts with the letter \texttt{m}. There
-are two different ways to complete the symbol:
-\begin{itemize}
- \item enter the 4 meter-defining numbers \texttt{mtrnuml},
- \texttt{mtrdenl}, \texttt{mtrnump}, \texttt{mtrdenp} for the
- new meter\,%
- \footnote{For the meaning of these numbers
- cf.~p.\pageref{p:meterdefs} .
- },
- \emph{separated by slashes} \texttt{/} .
- \item same as above, but enter the 4 numbers consecutively
- \emph{without spaces}. In this case, it is necessary to
- distinguish between one single 2-digit number and two
- consecutive 1-digit numbers. For this -- and for this case only
- -- the following convention is adopted:
-
- \vspace{-1.5ex}\noindent
- \begin{itemize}
- \item the number 1 is represented by the letter \texttt{o},
- \item consecutive digits \texttt{10},\dots \texttt{19} stand
- for exactly that: the 2-digit numbers 10 through 19.
- \end{itemize}
-
- \vspace{-1.5ex}\noindent
- Thus, 19 is the largest number that can be entered with this
- method.
-\end{itemize}
-_{meter!blind change}
-Note that \texttt{mtrdenl=0} still represents a whole note
-(semibreve), as explained on p.\pageref{p:meterdefs0}, and a `blind'
-meter is given by \texttt{mtrnump=mtrdenp=0}, as explained in
-Table~\ref{tab:meter}.
-
-\medskip _{pickup bar}
-The most common application of a `blind' meter change occurs when a
-piece --- often one starting with a pickup --- has an incomplete final
-bar. In such cases place the last bar in an input block by itself,
-headed by a `blind' meter change. For example, if the meter had been 4/4
-and there was a quarter note pickup, leaving 3 beats in the last bar,
-the last bar might be coded \verb#m3400 cd24 of /#.
-
-Another useful application is for the pickup bar in the second or later
-movements, following a {\PMX} movement break symbol. Since there is
-no special provision for pickups in this case like there is at the
-beginning of a piece, _{movement breaks}
-\begin{enumerate}
- \item the pickup bar should be in a block by itself, starting with a
- meter change symbol with a logical meter representing the
- pickup bar and a printed meter as appropriate, and
- \item the next bar should start a new block and begin with a blind
- meter change symbol with a logical meter representing the true
- meter.
-\end{enumerate}
-
-
-\subsection{Key Changes} \label{sec:keychg}
-_{key change} _{K symbol@\texttt{K} symbol}
-
-A key change can be signalled at any time\,%.
-\footnote{Only one key change is allowed in each input block.
- }.
-It must be entered in the first voice, but will affect all voices. Use
-the command \texttt{K+0}, followed by the new key signature: positive
-integer for sharps, negative for flats (cf.~Section~\ref{sec:numinput})
-.
-
-\medskip
-Some examples are given in Fig.~\ref{fig:keychg}.
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/keychg.eps}
- \end{center}
- \caption{Some key changes}
- \label{fig:keychg}
-\end{figure}
-
-\subsection{Transpositions} \label{sec:transpositions}
-
-_{transposition} _{K symbol@\texttt{K} symbol}
-
-\subsubsection{Transposition of an entire score}
-
-To transpose an entire score to a different key from the one in which
-the data have been entered, use the symbol \texttt{K} (for
-\textbf{K}ey), followed by two explicitly signed digits: (1) the
-distance to transpose by, in units of \verb#\internote# (i.e.\ the
-vertical offset on the staff), and (2) the new key signature. This
-symbol must be entered at the beginning of the piece, in the header
-(cf.~p.\pageref{p:header}).
-
-There is one case that requires special handling, viz., when transposing
-by a half step, but the vertical position doesn't change, e.g.\ from D
-flat to D. In this case the shift parameter (the first parameter of
-\texttt{K}) is \emph{always} \texttt{-0} \emph{regardless} of whether
-the transposition is up or down a half step\,%
-\footnote{This artifact is needed to differentiate a half-note
- transposition from a mere key change without
- transposition (cf.~Section~\ref{sec:keychg}) .
- };
-the direction of the transposition will be determined by the new key
-signature, the second parameter. An example of transposition is given in
-Figs.~\ref{fig:transpose}.
-
-\begin{figure}[!htb]
- \begin{center}
- no transposition: \\
- \begin{small}
- \verb#d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /#
- \end{small} \\
- \includegraphics[scale=.82]{eps/transpose.eps} \\
- transposition by one tone up: \\
- \begin{small}
- \verb#K+1+1 d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /#
- \end{small} \\
- \includegraphics[scale=.82]{eps/transpose1.eps} \\
- transposition by a half tone up: \\
- \begin{small}
- \verb#K-0+6 d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /#
- \end{small} \\
- \includegraphics[scale=.82]{eps/transpose2.eps} \\
- transposition by a half tone down: \\
- \begin{small}
- \verb#K-1+4 d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /#
- \end{small} \\
- \includegraphics[scale=.82]{eps/transpose3.eps} \\
- \end{center}
- \caption{Some transpositions of a d minor scale}
- \label{fig:transpose}
-\end{figure}
-
-
-\begin{figure}
- \begin{center}
- \includegraphics[scale=.82]{eps/tristn.eps} \\
- Standard notation in the original score \\[3ex]
- \includegraphics[scale=.82]{eps/trists.eps} \\
- Actual sound (transposed with \texttt{K-4-4})
- \end{center}
- \caption{\textbf{R.\ Wagner}, \emph{Tristan und Isolde},
- beginning of third act}
- \label{fig:tristan}
-\end{figure}
-
-
-\medskip
-_{accidentals!relative}
-When transposing, one should always use relative accidentals, activated
-by the symbol \texttt{Ar} in the header (cf.~Section~\ref{sec:A} for a
-detailed explanation of this notation).
-
-\medskip
-When transposing an entire score of same-type instruments, it is of
-course easy to obtain both the original score and its actual sound, as
-shown in Fig.~\ref{fig:tristan}.
-
-\subsubsection{Transposition of Individual staves}
- \label{sec:stafftranspos}
-
-In orchestral scores, you usually have individual `transposing
-instruments', i.e.\ instruments that are denoted (and, in fact,
-\emph{played}) in a pitch different from what they sound: clarinets in E or B
-flat, Oboes in A (oboe d'amore) or F (oboe da caccia), and similar. For
-that purpose \PMX\ now provides the option to transpose individual
-staves.
-
-The instructions given by Don Simons himself on introduction of \PMX\
-\texttt{2.613} are so clear that it is best to quote them literally
-here:
-
-\begin{quotation}
-``The syntax is an extension of the existing full-score transpose/key
- change command "K". Just follow "K" with "i", then instrument number,
- then the same parameters as before for transposition amount and new
- key signature:
-
- \verbõKi[instrument #][+/-][trans amt.][+/-][new key]õ
-
- For more than one instrument, you may immediately repeat everything
- after "K". The command must either be at the start of the score (right
- after setup), or if later, must be preceded by a normal (full score)
- key change command K+0[+/-][new key]. (Remember that later full-score
- transpositions are not allowed). ''
-\end{quotation}
-
-An important function is worth repeating/emphasizing:
-\begin{itemize}
- \item It is usually easiest to put the new \texttt{K} command where
- the old one was: right before the start of the actual score,
- i.e.\ in the `header' . But it is now also possible to enter it
- later, albeit with the (somewhat cumbersome) addition of a `dummy'
- full-score key change command (as explained above).
-
- This can indeed occur in practice, e.g.\ when the oboe player
- switches to English Horn in midstream!
-\end{itemize}
-
-\subsection{Titles, and text above and below a system}
- \label{sec:titles} _{titles}
-_{text!above/below system} _{T symbol@\texttt{T} symbol}
-
-A \emph{title block} with up to three elements can be defined in the
-header (cf.~p.\pageref{p:header}):
-\begin{itemize}
-\item \texttt{Ti}: an \textbf{i}nstrument name. It is set \emph{above}
- the title, and left-justified,
-\item \texttt{Tc}: the \textbf{c}omposer's name. It is set \emph{below}
- the title and right-justified,
-\item \texttt{Tt}: a \textbf{t}itle for the whole piece. It is centered
- on the page.
-\end{itemize}
-
-Each of these commands is to be followed by a text string, \emph{on a
-separate line}. This text must be fully contained in one line of {\PMX}
-coding; but the text for the \textbf{t}itle can be spread out over
-several lines in print by using the standard {\TeX} line break symbol
-\verb#\\# . _{\TeX!line break symbol}
-
-\medskip
-Extra vertical space can be added between the whole title block and the
-top system by appending to \texttt{Tt} (without space) a one- or
-two-digit number representing this space, in units of
-\verb#\internote#\,%
-\footnote{{\PMX} does this together with the adjustment of other
- vertical spaces when fixing the general page layout. In some
- rare cases, the result may not be quite what you expect, in
- particular when you haven't used the \texttt{Ae} option to
- equalize inter-system spacing
- (cf.~section~\ref{sec:options}). In such cases you might want
- to use inline {\TeX} --- take a look at the example in
- Section~\ref{sec:shiftname} for how this can be done.
- }.
-This works only if \texttt{Tt} is the \emph{final} title block element
-entered. Thus, although the 3 parts of a title block can be given in any
-order, it is good practice to use the sequence \texttt{Ti} ---
-\texttt{Tc} --- \texttt{Tt}.
-
-_{titles!with \textbf{scor2prt}} _{\textbf{scor2prt}!use of Ti}
-\Note{When you want to generate parts from a score with
- \textbf{scor2prt} (cf.~Section~\ref{sec:scor2prt}), you should
- \emph{omit} \texttt{Ti} with an associated \textbf{i}nstrument
- name, because each separate instrument usually has a different
- name. Rather, \textbf{scor2prt} will automatically supply the
- appropriate instrument names, printing the name of each instrument
- at the upper left of the first page of each part; the names used
- here are the ones specified in the preamble of the {\PMX} file for
- the score\,%
- {\footnotemark}.
-
- If you do have \texttt{Ti} together with an \textbf{i}nstrument
- name in the main score, \textbf{scor2prt} will print that name
- identically to all the parts --- which is usually not what you
- want!
- }
-\footnotetext{\textbf{scor2prt} does this by inserting into the part
- \texttt{.pmx} file a \texttt{Ti} and the appropriate
- instrument name as taken from the preamble of the main
- score. Knowing this may be useful if you want to
- manipulate this process, e.g.~to change the vertical
- shifting of a particular instrument name
- (cf.~Section~\ref{sec:shiftname} for details).
- _{\textbf{scor2prt}!adjusting instrument name}
- }
-
-\bigskip _{h symbol@\texttt{h} symbol} _{l symbol@\texttt{l} symbol}
-The symbols \texttt{h} (for \textbf{h}eader)\,%
-\footnote{This usage of the \textbf{h} symbol is not to be confused with
- that for the page size (see Section~\ref{sec:pagesize})!
- Although both can occur together in the header, they are in
- fact, different {\PMX} symbols, distinguished by their
- differing syntax.
- }
-and \texttt{l} (for \textbf{l}ower) can be used to introduce text
-either above or below a system. These symbols must be placed in the
-first column of an input line (not necessarily the beginning of a
-block), and followed by a blank or -- for \texttt{h} only -- a signed
-integer. In the latter case, this integer is a vertical shift, in units
-of \verb#\internote#.
-
-The text string, which again must lie on a line of its own immediately
-following the symbol, will be printed above or below the \emph{top}
-staff in the \emph{first} bar of the block where it is entered.
-Figs.~\ref{fig:vivaldi1} and \ref{fig:Haydn} show examples.
-
-\subsection{Page numbering and page headers} \label{sec:pagenumbers}
-
-\subsubsection{Page numbering}
-_{page!numbering} _{P symbol@\texttt{P} symbol}
-
-By default, {\PMX} does \emph{not} number the pages of a score, even
-when it has more than one page. You can, however, switch on page
-numbering by using the symbol \texttt{P} (for \textbf{P}age). Placed at
-the beginning of an input block anywhere within the {\PMX} body of
-input, and followed optionally by a page number and/or by \texttt{l}
-(for \textbf{l}eft) or \texttt{r} (for \textbf{r}ight), this will
-\begin{enumerate}
- \item start page numbering at the current page\,%
- \footnote{The `current page' is the page where {\PMX} puts
- the music currently processed at the point where it
- encounters the symbol \texttt{P}.
- }
- with the number given as optional argument. Further page
- numbers are then incremented automatically starting with this
- number. If \texttt{P} has no number argument, the default is
- page 1 . Thus, \texttt{P} and \texttt{P1} are equivalent),
- \item put the page numbers to the top \textbf{l}eft or \texttt{r}ight
- of the first of the pages to be numbered, after which the
- number positions will alternate. If no \textbf{l} or \textbf{r}
- is given, {\PMX} puts the page numbers on the right on
- odd-numbered pages, on the left of even pages.
-\end{enumerate}
-You can have as many \texttt{P} symbols in a score as you like; but
-there is no command to switch off page numbering again once it has been
-switched on.
-
-\subsubsection{page headers}
-_{page!headers}
-
-There is one more option, \texttt{c} (for \textbf{c}entered header),
-available with the \texttt{P} symbol. This option defines a text string
-to be printed at the top of every page \emph{after the first}. The
-notation is as follows:
-\begin{itemize}
- \item The normal usage is \texttt{Pc"}$[$\emph{text
- string}$]$\verb#"#. The text string enclosed in the quotation
- marks must be a single line of text. It may contain blanks, but
- \emph{no} \verb#\\#). If the string consists of blanks only,
- that is what will be printed: a blank page header.
- \item If the text string does not contain any blanks, you may omit
- the quotation marks, but you must then start the text
- immediately after the \texttt{c} \emph{with no space}.
- \item If there is a blank after \texttt{Pc}, \emph{no quotation marks,
- and no further text}, the text printed as the header will be
- the instrument name entered with the symbol \texttt{Ti}, as
- described on p.\ref{sec:titles}.
-\end{itemize}
-\texttt{c} must be the \emph{last} option in the \texttt{P} symbol.
-
-_{P symbol@\texttt{P} symbol} _{\textbf{scor2prt}}
-\Note{The \texttt{P} symbol and all its options will be ignored when
- making parts from a score using \textbf{scor2prt}, since page
- numbering will usually be different in the score from that in the
- parts. Page numbering -- and centered headers -- for parts can,
- however, be initiated independently with another mechanism. For
- the details on this, refer to Section~\ref{sec:scor2prt}.
- }
-
-\clearpage
-\begin{figure}[!htb]
- \begin{center}
-
- \vspace*{20ex}
- \includegraphics[scale=.82]{eps/vivaldi1.eps} \\[2ex]
- ------------------------------------------
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
- 1 1 3 4 0 3 0 -1
- 1 1 16 0.0
-
-t
-./
-% begin header:
-Ti11
-Oboe I
-Tc
-Antonio Vivaldi (1678-1741)
-Tt
-Concerto in d minor \\ RV535
-w150m
-% end header.
-% Bar 1-4
-h-2
-~~~Largo
-
-d45 a44 r4 | g44 f44 r4 | g45 a45 b45 | cs45 d45 r4 /
-% Bar 5-7
-fs45 g45 a45 | b45 r4 r4 | cs45 d45 e45 /
-% Bar 8
-l
-(continued)
-f45 r4 r4 Rb /
-%
-\end{verbatim}
-\end{minipage}
- \end{center}
- \caption{Titles, and text above and below a system}
- \label{fig:vivaldi1}
-\end{figure}
-
-\clearpage
-\subsection{Layout: line, page, and movement breaks}
- \label{sec:breaks}
-_{layout} _{layout!manual line/page breaks}
-_{\texttt{npages}} _{\texttt{nsystems}}
-
-The parameters \verb#npages# and \verb#nsystems# of the preamble
-(cf.~Section~\ref{sec:preamble}) determine the layout of the score,
-either by fixing the total number of pages and systems, or by setting
-the average number of bars per system. With no further instructions,
-{\PMX} will attempt to distribute all the music evenly over the total
-number of systems, and then spread the systems evenly over the specified
-number of pages, either specified or determined by default (with
-\verb#npages=0#).
-
-You can change the average `crowdedness' by changing the preamble
-parameters. Once this is satisfactory, you can exercise finer, more
-local control by forcing, i.e.\ manually inserting, line or page breaks
-at exactly the places you want them to be. You may also want movement
-breaks, and {\PMX} has a convenient way of doing that, in the process
-dealing easily with such `housecleaning' chores as indenting the first
-system of the new movement, reprinting the time signature, resetting the
-bar number counter, and other details to be discussed below.
-_{bar numbering} _{indenting first system}
-
-\medskip
-It is worthwhile, however, to quote Leslie Lamport at this point:
-_{Lamport, Leslie}
-\begin{quote}
- ``Don't worry about line and page breaks until you prepare the
- absolutely final version'' \\
- From: Leslie Lamport, {\LaTeX}, \emph{user's Guide and Reference
- Manual} .
-\end{quote}
-
-This is especially true for a {\PMX}-generated score. Until the final
-edit, you should always use \texttt{npages=0}. Once you specify any
-forced line break, you can no longer use \texttt{npages=0}, and you will
-have to specify values for \texttt{npages} \emph{and}
-\texttt{nsystems}~. And because --- as we'll soon explain --- a movement
-break is a sub-option of the linebreak command, you cannot set movement
-breaks either until the final edit.
-
-But unless your score is just a few pages long, you probably will want
-to set some line, page, or movement breaks in the end. When you are
-ready, always first pick some reasonable values for \texttt{npages} and
-\texttt{nsystems}---perhaps the numbers that finally came out when you
-used \texttt{npages=0} during the main input process. Then one way to
-proceed is to start at the beginning, forcing breaks where desired. The
-most common places would be at movement breaks, and at places associated
-with volte or repeats. Recompile and view the result after each new
-line break is inserted. You may need to adjust the total number of
-systems or even pages depending on how crowded is the remainder of the
-score, after the last forced line break.
-
-The other way to proceed is to begin by inserting any obvious page
-breaks, especially if you are laying out a booklet with facing pages and
-want page turns to come in musically convenient places.
-
-\bigskip\noindent
-Here are the rules for inserting forced line, page, and movement breaks:
-\begin{itemize}
-\item _{line break}
- Line breaks can only come at the start of an input block. To force
- a line break at the start of the $n^\text{th}$ system, enter
- \texttt{L}$[n]$~. $n$ must obviously be greater than 1 and less
- than or equal to the value of \texttt{nsystems} as specified in
- the preamble.
-\item _{page!breaks}
- Page breaks can only come where there is already a line break. To
- force a page break at the start of the $m^\text{th}$ page and the
- $n^\text{th}$ system, enter \texttt{L[}$n$\texttt{]P}$m$~. $m$
- must obviously be greater than 1 and less than or equal to the
- total number of pages.
-
-\item _{movement breaks}
- Movement breaks can only come where there is already a line break.
- To force a movement break at the start of the $n^\text{th}$
- system, enter \texttt{L[}\emph{n}\texttt{]M}~. If in addition you
- want a page break at that point, use
- \texttt{L[}$n$\texttt{]P[}$m$\texttt{]M}~.
-
- \medskip
- The movement break symbol \texttt{M} has several optional
- parameters. They can be used in any combination and should follow
- with no spaces.
-
- \begin{itemize}
- \item \texttt{M+[}$k$\texttt{]} adds $k$ \verb#\internote#
- units of vertical space between movements. \item
- \texttt{Mi[}$.x$\texttt{]} resets the first-line
- indentation of the new movement to
- \texttt{fracindent=}\,$.x$~, where $.x$ is some
- decimal number (cf.~Sec. \ref{sec:preamble}).
-
- \Note{You must write the fracindent number exactly in
- the form $.x$ , i.e.\ \emph{without} the leading
- $0$~. If, e.g.\ , you write $0.2$ instead of
- $.2$~, {\PMX} will complain with an error message,
- asking for a decimal number!
- }
-
- \item Beginning a new movement break, the bar number is reset
- to zero by default, whereas \\
- \texttt{Mc} \textbf{c}ontinues bar numbering.
- \item \texttt{M[}$n$\texttt{]} changes the \textbf{n}umber of
- instruments to $n$~. $n$ must not exceed \texttt{ninstr}
- as set in the preamble. If $n$ exceeds 9, it must be
- \emph{preceded} with \texttt{:} (colon). This should be
- followed (without blanks) by a sequence of $n$ instrument
- numbers in bottom-up order, again preceded with
- \texttt{:} if bigger than 9, then a sequence of clef
- symbols, one for each staff of each instrument starting
- from the bottom. An instrument's numeral is simply its
- position in the original sequence (in the preamble);
- these numerals can be permuted as desired, but the
- sequence of clef symbols should, of course, match the new
- sequence of instruments.
- \item \texttt{Mr+}/\texttt{Mr-} \textbf{r}eprints/suppresses
- reprinting the instrument names at the beginning of the
- new movement. The default is to print them only if the
- number of instruments changes.
- \end{itemize}
-\end{itemize}
-
-_{instruments!numbers increased/decreased}
-It should be emphasized here that the number of instruments in a new
-movement can never exceed the original number of instruments, although
-it is permissible to increase it after it has been decreased, as long as
-it doesn't exceed the original number; in other words, and to give an
-example: a sequence {quartet --- solo --- duet, e.g., is possible,
-while the reverse sequence is not. There are two ways to circumvent this
-restriction:
-\begin{enumerate}
-\item start the score with a dummy page --- to be discarded
- later --- containing the maximum number of instruments. On the
- second page, start a new movement with the desired number and
- sequence of instruments for the first movement,
-\item _{\PMX!concatenating several files}
- make separate {\PMX} files and concatenate them afterwards
- (cf.~Section~\ref{sec:concatfiles} or \ref{sec:LaTeX} on how to
- do this).
-\end{enumerate}
-
-\medskip
-Immediately after a movement break, any desired meter changes, key
-changes, or text can be entered as already described in
-Sections \ref{sec:meterchg}, \ref{sec:keychg} and \ref{sec:titles}
-(p.\pageref{sec:meterchg} ff.).
-
-\bigskip
-The effect of movement breaks is illustrated in the
-example~\ref{sec:Dufay} in the appendix.
-
-\subsection{Bar Numbering} \label{sec:barnumbers}
-_{bar numbering} _{inline \TeX!bar numbering}
-
-By default {\PMX} places a bar number above the first bar of the top
-staff in every system, and there is no provision in {\PMX} to change
-this default. But it is easy to change this by using a straight
-{\MusiXTeX} command:
-\begin{itemize}
- \item if you want no printed bar numbers at all, add a line in the
- header containing \\ \verb#\\nobarnumbers\#
- \item if you want bar numbers printed over every bar, add a line
- containing \\ \verb#\\barnumbers\#
-\end{itemize}
-in the header or at the beginning of an input block.
-
-This is an example of a \textbf{type 2} inline {\TeX} command,
-cf.~Section~\ref{sec:inlineTeX}. As is explained there in detail, {\PMX}
-will place a \textbf{type 2} inline {\TeX} command at the beginning of
-the \verb#.tex# file produced, regardless of where in the \verb#.pmx#
-file the command appears. This means that you cannot change this type of
-bar numbering in mid-stream.
-
-If you do want to change the bar numbering somewhere in the middle of a
-score, use a \textbf{type 3} inline {\TeX} command: if, from the
-current point in the score, you want
-\begin{itemize}
- \item no printed bar numbers, add a line with \\
- \verb#\\\nobarnumbers\#
- \item bar numbers printed over every bar, add \\
- \verb#\\\barnumbers\#
- \item bar numbers above the first bar of every system (the {\PMX}
- default), add \\ \verb#\\\systemnumbers\#
-\end{itemize}
-at the beginning of the current input block.
-
-\medskip
-_{Bar number count adjustment}
-Furthermore, you might want to change the number itself. This occurs most
-frequently when you have a pickup bar at the beginning of a repeat; some
--- including some commercial publishers -- do not include this pickup
-bar in the number count, wheras {\PMX} does so by default. To adjust
-this, use the \textbf{type 3} inline {\TeX} command
-\verb#\\\advance\barno-1\relax\# .
-
-\bigskip
-{\MusiXTeX} provides still more elaborate bar numbering schemes, such as
-a number over every $n^{\text{th}}$ bar. For details refer to the
-{\MusiXTeX}~\texttt{1.15} manual.
-
-\section{Some general options and technical adjustments}
- \label{sec:options} _{\PMX!options!general}
- _{layout!general options}
-
-\subsection{Global options} \label{sec:A}
-_{\PMX!options!global}_{A symbol@\texttt{A} symbol}
-
-{\PMX} has many layout parameters with default settings. Some of these
-can be changed by the user; for that purpose there are several symbols,
-all beginning with \texttt{A}. Many of these are usually included in the
-^{header}, but some may be entered at the beginning of any input block.
-Table~\ref{tab:A} lists these options alphabetically; the following
-subsections, grouped by types of settings, describe them in detail. When
-using several of these commands, it is not necessary to enter them all
-on separate lines; rather, you can concatenate them, in any order, with
-just a single \texttt{A}, e.g.~\texttt{AdI2.3p+hlbr} .
-
-\begin{table}[!ht]
-\begin{center}
-_{\PMX!options!global} _{A symbol} _{global options |see{@\texttt{A} symbol}}
-\begin{tabular}{|l|l|}
-\hline
-\texttt{Aa}$[x]$ & sets space before first note in a bar \\
-\texttt{Ab} & makes accidentals \textbf{b}ig \\
-\texttt{Ac}$[x]$ & sets page sizes and offsets according
- to paper type \\
-\texttt{Ad} & puts \textbf{d}ots in lower voices
- \emph{below} the line \\
-\texttt{Ae} & \textbf{e}qualizes inter-system spacing \\
-\texttt{AI}$[x]$ & changes default \textbf{I}nterstaff spacing
- \emph{for the whole score} \\
-\texttt{Ai}$[x]$ & changes default \textbf{i}nterstaff spacing
- \emph{for the current page only} \\
-\texttt{AK} & adjusts rest heights in 2-voice staves
- depending on context \\
-\texttt{AN}$[i]$``\emph{name}''
- & sets filenames generated by \textbf{scor2prt}
- (cf.~Section~\ref{sec:scor2prt}) \\
-\texttt{Ap}[\emph{further suboptions}]
- & enables PostScript type K slurs \\
- (cf.~Section~\ref{sec:chords}) \\
-\texttt{Ar} & switches accidentals to
- \textbf{r}\emph{elative} \\
-\verb#AR[#\emph{file}\verb#]#
- & inserts a text file in the {\PMX} source file
- (cf.\ Secion \ref{sec:concatfiles}) \\
-\texttt{AS}[\emph{ns}]
- & enables {\PMX} \textbf{S}pacing algorithms
- to small-font staves \\
-\texttt{As} & makes accidentals \textbf{s}mall \\
-\texttt{AT} & activates special xtuplet brackets
- (cf.~Section~\ref{sec:xtuplets}) \\
-\texttt{Av} & spreads systems \textbf{v}ertically over all
- of an unfilled page when `on' \\
-\hline
-\end{tabular}
-\end{center}
- \caption{Symbols beginning with an \texttt{A} (global options)}
- \label{tab:A}
-\end{table}
-
-\subsubsection{Accidentals}
-By default, big accidentals are used unless regular spacing doesn't
-provide enough room. Thus the default behavior may cause a mixture
-of big and small accidentals, and in fact is not recommended. Rather,
-the user is advised to make his choice:
-\begin{itemize}
- \item _{accidentals!big}
- \texttt{Ab} makes all accidentals \textbf{b}ig; this is
- usually preferred,
- \item _{accidentals!small}
- \texttt{As} makes all accidentals \textbf{s}mall.
-\end{itemize}
-
-\medskip _{accidentals!absolute}
-As was mentioned earlier (cf.~Section~\ref{sec:transpositions}), {\PMX}
-by default uses the so-called `absolute' notation for inputting
-accidentals, i.e.\ the notation explained in
-Table~\ref{tab:noteparameters}.
-In this notation, there is an obvious one-to-one correspondence between
-accented characters in the {\PMX} source file (\texttt{s, f, n, ss, ff})
-and the printed characters. This has a disadvantage, but it only
-surfaces if you write the {\PMX} file in one key and later transpose it
-using the \texttt{K} option described in
-Section~\ref{sec:transpositions}. For example, suppose the original key
-is F, with 1 $\flat$ in the signature, and you enter \texttt{bn}. Now if
-you transpose to the key of C with \texttt{K-3+0}~, that note will be
-printed explicitly as F natural, while it should be F sharp.
-
-\medskip _{accidentals!relative} _{key signature}
-The remedy for such problems is to use another notation, aptly named
-`relative' accidental notation, used by some musicians and some
-publishers in some countries. In this notation, a sharp, flat, or
-natural sign denotes an alteration by a half-tone up, down, or none
-\emph{relative to the note which would otherwise be indicated based
-on the signature of the piece}. For example, in D~major, with 2
-$\sharp$s in the signature, an F natural would be denoted not as
-\texttt{fn} but rather as \texttt{ff}, while in d~minor, with one
-$\flat$ in the signature, a B natural would be input not as
-\texttt{bn} but rather as \texttt{bs}. Similarly, $\natural$s
-accidentals refer to the notes prescribed by the signature; e.g., in
-G~Major (1 $\sharp$ in the key) a \texttt{gn} sounds as a \emph{g},
-while \texttt{fn} sounds as an F sharp.
-
-\medskip _{transposition}
-For automatic transpositions to function properly, it is necessary
-that the {\PMX} source for the score to be transposed use the
-\emph{relative accidental notation}. This is effected by \texttt{Ar}
-:
-\begin{itemize}
- \item \texttt{Ar} directs {\PMX} to interpret accidentals
- in \textbf{r}\emph{elative} notation\,%
- \footnote{Note that this makes logical sense only if used in
- the header, and accordingly there is no way to
- `undo' this decision further down in a score.
- }.
-\end{itemize}
-
-\subsubsection{General layout} _{genlayout} The
-esthetic appearance of a score of music depends on the
-white space around it, and thus depends on the physical
-size of the paper.
-
-\medskip
-In {\PMX}, default values for this can be set with a
-global option \texttt{Acl} or \texttt{Ac4}, with no
-further adjustments required in \textbf{dvips} . These
-commands set horizontal and vertical sizes and offsets
-that center the page:
-\begin{itemize}
- \item \texttt{Acl} for letter paper
- \item \texttt{Ac4} for DIN A4 paper .
-\end{itemize}
-
-\Note[180pt]{These 2 global options are available as of {\PMX}
- version 2.618 , not before !!}
-
-\subsubsection{Layout details} _{layout}
-When the note head of a dotted note is \emph{on} the line (e.g.\
-for a \emph{g} in a violin clef), it is customary to place the
-dot slightly \emph{above} the line. In staves with two voices,
-there is an alternate custom, viz., to place the dot \emph{above}
-the line in the \emph{upper} voice and \emph{below} the line in
-the \emph{lower} voice. {\PMX}'s default is the first possiblity;
-dots for both voices \emph{above} the line, but it can be
-overridden:
-
-
-\noindent
-By default {\PMX} inserts a horizontal gap of \verb#1\elemskip#
-between a bar line and the first note in the bar. This can be
-changed globally:
-\begin{itemize}
- \item \texttt{Aa}$[x]$ sets the space before the first note in
- every bar to to $x$ units of \verb#\elemskip# .
-\end{itemize}
-
-\noindent
-In {\PMX} it's not yet possible to specify a smaller font for selected
-staves. But it can be done using an inline {\TeX} command (For details,
-cf.~Section~\ref{sec:inlineTeX} and Section~\ref{sec:varstaves}). If you
-do this, then you ought to use the \texttt{AS} option:
-
-\begin{itemize} _{staves!varying size} _{\texttt{musicsize}}
- \item \texttt{AS}[\emph{ns}] . The additional sequence of
- \emph{ns} is mandatory here. It consists of exactly as
- many characters \texttt{-} (minus) or \texttt{0} (zero)
- as there are staves in the score (\texttt{nstaves},
- cf.~Section~\ref{sec:preamble}): \texttt{0} if the font
- size of this staff is normal, \texttt{-} if it is
- small\,%
- \footnote{The sequence of staves is from bottom to top, as
- described in the preamble. Cf.~p.\pageref{p:header}.
- }.
- This tells {\PMX} to modify some horizontal spacing decisions
- to account for the smaller font size.
-\end{itemize}
-
-\subsubsection{Vertical spacing} _{spacing} _{spacing!vertical}
-\begin{enumerate}
- \item[a)] Spacing of staves within a system: \text{} \\
- If there is more than one staff in a system, {\PMX} computes the
- vertical spacing between the staves automatically. However, the
- algorithm isn't fully robust, and the result may not be pleasing.
- To change the spacing between the staves within a system, you can
- apply a scale factor $x$ to the default, either for the entire
- score, or for the current page only:
- \begin{itemize}
- \item \texttt{AI}$[x]$ multiplies the default
- \textbf{I}nterstaff spacing, \verb#\interstaff#, by the
- decimal number $x$ \emph{for the entire score}. This
- option should be placed in the header.
- \item \texttt{Ai}$[x]$ multiplies the default
- \textbf{i}nterstaff spacing by the
- decimal number $x$ \emph{for the current page only}.
- This option can be placed at the beginning of any input
- block (including the first), and overrides
- \texttt{AI}$[x]$ .
- \end{itemize}
- Note that if there is more than one system on a page, decreasing
- the interstaff spacing will increase the space between systems,
- and vice-versa.
-
- \item[b)] Spacing of systems on a page: \text{} \\
- {\MusiXTeX} normally draws a virtual box around each system and
- inserts equal vertical space between these boxes. When objects
- protrude above the top staff in a system -- such as the note
- \texttt{c46} in the violin clef -- or below the bottom one, this
- can lead to unequal spacing between the bottom staff line of one
- system and the top staff line of the next. You may prefer that
- this vertical spacing be constant for the whole page:
- \begin{itemize}
- \item \texttt{Ae} ensures that the spacing between the bottom
- staff line of one system and the top staff line of the
- next is constant for any one page\,%
- \footnote{It is generally advised to use the \texttt{Ae}
- option by default, unless one has a specific
- reason not to. When using this option, you may
- Nevertheless, in certain cases you may want to
- force more vertical space between certain systems.
- There is a {\TeX} macro, called
- _{\bs\texttt{spread}$[x]$}
- \bs\texttt{spread}$[x]$, that can be inserted
- anywhere in the system before the desired wider
- gap. Its argument $x$ is the desired extra space,
- in units of \bs\texttt{internote}
- (cf.~Section~\ref{sec:inlineTeX}).
- _{layout!\bs\texttt{spread}$[x]$}
- _{\MusiXTeX!\bs\texttt{spread}$[x]$}
- }.
- \end{itemize}
-
- \item[c)] Sparsely filled pages: \text{} \\
- Sometimes it may happen that a page contains just a few staves
- altogether, and then the white space between staves on such a
- page becomes excessive. In such cases -- specifically, if
- \verb#\interstaff# $>$ \verb#20\internote# -- {\PMX} will, instead
- of the equal spacing described above, group all systems near the
- top of the page. This can, however, be changed by the user:
- \begin{itemize}
- \item \texttt{Av} will suppress the grouping near the top,
- and ensure that systems will always be spread vertically
- regardless of how much white space is left between systems.
- \end{itemize}
- Note that \texttt{Av} acts as a toggle; the second time it is
- issued, the behavior will revert to the default.
- \item[d)] Vertical position of rests in 2-voice staves:
- \begin{itemize}
- \item \texttt{AK} activates special rules for vertical positioning
- of rests in two-voice staves.
-
- This general option is rather subtle; its explanation by Don
- Simons follows:
- \begin{quote}
- ``Without this option, rests in two-voice staves have
- default positions based on a simple rule that is not
- context-sensitive: those in the lower voice (the one
- before //\,) are 4 \verb#\internote# heights below their
- single-voice default positions, and those in the upper
- voice are 2 \verb#\internote# heights above the
- single-voice default.
-
- ``The \texttt{AK} option invokes a set of context-sensitive
- _{rest!alignment in 2-voice staves}
- rules to set the default position. The baseline rule is
- to align the rest in a horizontal line with the next
- following note in the same bar. If there is no following
- note in the bar, then the rest is aligned with the last
- note before the rest.
-
- \medskip
- ``If there are simultaneous rests in both voices, the old
- rule is applied.
-
- \medskip
- ``The \texttt{AK} option is a toggle: it may be used at the
- start of any input block to turn these special rules on
- (if previously off) or off (if previously on).
-
- \medskip
- ``When the \texttt{AK} option is on, it only affects
- places where there are two voices in a staff.
-
- \medskip
- ``Any user-defined tweaks on the height of a rest will
- supersede the option for that particular rest, i.e.\ the
- tweak will be applied relative to the single-voice
- default position.''
- \end{quote}
-
- Sometimes you may want the rest to be aligned with the
- \emph{previous} note (the one \emph{to the left} of the
- rest), rather than the following note (the one to the right
- of the rest).
-
- This can be achieved simply by appending an \texttt{L} (for
- `\textbf{L}eft') to the rest symbol, i.e.\ by writing
- `\texttt{rL}' .
- \end{itemize}
-\end{enumerate}
-
-\subsubsection{PostScript type K slurs, ties and hairpins}
- \label{sec:usepsslurs}
-_{PostScript!slurs, ties and hairpins}
-
-The use of PostScript slurs, ties and hairpins circumvents most of the
-shortcomings of the font-based counterparts. Of the two available
-packages, only the type K slurs are explicitly supported by {\PMX}.
-There is an option, \texttt{Ap}, to enable the use of this package.
-
-\begin{itemize}
- \item \texttt{Ap} activate Type K PostScript slurs, ties and hairpins.
-
- \texttt{Ap} may also be entered at the beginning of any input block
- to activate certain suboptions controlling shapes and positions of
- the slurs and ties that are to be used. The first few of these
- options affect vertical positioning. When Type K PostScript slurs
- are activated with \texttt{Ap}~, slurs and ties will by default
- \emph{not} have their verticAl positions tweaked to avoid
- tangencies with staff lines.
-
- To control this type of adjustment, use one of the following
- suboptions to \texttt{Ap}~:
-\begin{enumerate}
- \item
- \begin{itemize}
- \item \texttt{+s} activates automatic slur height adjustment,
- \item \texttt{+t} activates automatic tie height adjustment,
- \item \texttt{-s}/\texttt{-t} deactivate the corresponding
- height adjustment.
- \end{itemize}
-
- \item
- A second suboption, \texttt{+c}/\texttt{-c}, will increase or
- decrease the default curvature of the Type K slurs. The result of
- such commands is cumulative, and more than one suboption
- \texttt{+c} or \texttt{-c} may be used in a single command. If
- the cumulative change goes above \texttt{HH} or below
- \texttt{f}, a warning will be issued, the default will be set to
- \texttt{HH} or \texttt{f}, and processing will continue.
-
- Local curvature options in individual slur commands (cf.\
- Sec.~\ref{sec:usepsslurs}) will take precedence over the global
- default, but will \emph{not change the default}.
- \begin{quote}
- A special local option, \texttt{n} (`\textbf{n}ormal'), is of the
- `undo' type: it will cause that par\-ti\-cu\-lar slur, no matter
- what the global default happens to be, to have the normal
- curvature, i.e.\ between \texttt{f} and \texttt{h}.
- \end{quote}
- \item
- A third suboption, \texttt{l}, changes the appearance of slurs
- and ties that extend across line breaks:
- \begin{itemize} _{slurs!across line break}
- \item Every slur/tie at a line break is automagically broken into
- two separate ones; no additional {\PMX} slur start or ending
- commands are required. Vertical and horizontal tweaks for
- the end of the first segment and Start of the second segment
- are entered as options in the normal command that starts the
- slur/tie:
- \begin{enumerate}
- \item the option for the end of segment 1 starts with
- \texttt{s} (for \textbf{s}ever or \textbf{s}plit),
- then the usual one or two signed numbers, then a
- second \texttt{s} and one or two more signed numbers
- for the start of segment 2,
- \item the usual curvature options \texttt{h, H, HH , f},
- if included in the starting command for a line-break
- slur, will apply to segment 1, and to segment 2 if
- in the closing command. If the slur/tie does not
- come at a line break, the special position tweaks
- (those after the \texttt{s} option) will all be
- ignored, and the curvature tweaks on the closing
- note take precedence.
- \end{enumerate}
-\end{itemize}
-\end{enumerate}
-
- _{global options|see{\PMX!options!global}}
- _{general options|see{\PMX!options!general}}
- The \texttt{l} option can also be invoked globally
- (i.e.\ for the entire score) by specifying \texttt{Apl},
- instead of only \texttt{Ap}, in the header
- (recommended).
-\end{itemize}
-
-The third suboption concerns only line-break ties (it does not
-affect slurs):
-\begin{itemize}
- \item \texttt{+h}/\texttt{-h} activates/deactivates the use
- of special \textbf{h}alf-ties for the second segment of
- line-break ties after the line break. These are
- horizontal at their left end, and are only used if the
- required segment is shorter than 15 pt.
-\end{itemize}
-Note that this option is somewhat incompatible with the
-\texttt{l} option, and they should not be used simultaneously.
-
-
-
-\subsection{Page Size} \label{sec:pagesize} \label{p:pagesize}
- _{page!size} _{h symbol@\texttt{h} symbol}
- _{W symbol@\texttt{W} symbol}
-The default page size\,%
-\footnote{This means the \emph{extent of the print} on the page. The
- -- empty -- top, bottom, left and right margins depend on the
- paper/printer used; they can not be altered within {\PMX}.
- }
-is 740\,pt $\times$ 524\,pt (10.3\," $\times$ 7.3\,", or 261\,mm
-$\times$ 185\,mm). To change the height or width, use the special
-symbols \texttt{h}[\emph{n}][\emph{u}] or \texttt{w}[\emph{n}][\emph{u}]
-in the header. Here \emph{n} is a decimal number for the new size, and
-\emph{u} defines the units: \texttt{i} for inches. \texttt{m} for
-millimeters, and \texttt{p} for points. if no unit name \emph{u} is
-given, \PMX} uses points as the default.
-
-This command can be used together with \texttt{\%\%} or \texttt{\%!}
-(see Section~\ref{sec:scor2prt}) to give the parts made by
-\textbf{scor2prt} different page sizes than the parent score.
-
-\medskip
-\Note{This usage of the \textbf{h} symbol is not to be confused with
- that for a line of text above a system (see
- Section~\ref{sec:titles})! Although both can occur together in the
- header, they are in fact, different {\PMX} symbols, distinguished
- by their differing syntax.
- }
-
-\subsection{Stem direction of bass notes} \label{sec:stemdirs}
- _{stems!direction of bass notes} _{B symbol@\texttt{B} symbol}
-By default {\PMX} makes stems go \emph{up} for middle-line D's in bass
-clef, but \emph{down} for notes on the middle line of all other clefs.
-If you want middle-line bass-clef notes also to have downward stems by
-default, enter the symbol \texttt{B} in the header.
-
-\subsection{Horizontal Spacing} \label{sec:spacing}
- _{spacing!horizontal}
-
-\subsection*{Minimum Spacing between Notes}
-
-_{W symbol@\texttt{W} symbol} _{spacing!minimum between notes}
-{\PMX} does some special, complex analysis to adjust horizontal spacing
-in crowded systems. By default, the minimum space between consecutive
-noteheads is 0.3 notehead widths. If you want to change this value to
-some other fraction, enter \texttt{W.}$[n]$, where $n$ is a single digit
-between \texttt{1} and \texttt{9}, giving the minimum spacing, in tenths
-of a notehead width. This adjustment is very rarely used.
-
-\subsubsection*{Extra Horizontal Shifts and hardspace}
- _{spacing!hard space} _{hard space|see{spacing}}
-
-{\PMX} will usually provide satisfactory horizontal spacing. However,
-there may be some occasions where you will want to adjust it manually. A
-symbol starting with {\tt X} controls one of two available types of
-horizontal adjustment:
-\begin{enumerate}
- \item a \emph{shift} moves one or more characters in the current voice
- but does not affect any other spacing anywhere,
- \item a \emph{hardspace}, by contrast, is a fixed amount of space
- inserted at a particular time. The horizontal positions of
- everything in all staves in the system will be adjusted to
- accommodate the added space while maintaining vertical
- alignment.
-\end{enumerate}
-Here are the syntactic possibilities:
-\begin{itemize} _{X symbol}
- \item \texttt{XS}$[x]$ (for \textbf{S}hift). This command shifts the
- the next character; $x$ is a decimal number, giving the amount
- of shift, in units of a notehead width.
- \item \texttt{X:[}$x$\texttt{]} or \texttt{X[}$x$\texttt{]:}
- initiates a ``group shift'', which operates like
- \texttt{XS[}$x$\texttt{]}, except that everything from the
- insertion point onward in the current voice is shifted until a
- termination symbol (``shift end'') is encountered.
- \item \texttt{X:} ends a ``group shift''.
- \item \texttt{X}$[x]$ (without any \texttt{S} or \texttt{:}) is a
- so-called \emph{hard space}. It inserts the specified space,
- given in units of notehead widths, at the present point in
- \emph{all staves} of the system. If $x$ is negative, space will
- be removed.
-\end{itemize}
-
-_{X symbol!with \textbf{scor2prt}}
-Because horizontal spacing in parts will usually differ from that in the
-score, \textbf{scor2prt} (cf.~Section~\ref{sec:scor2prt}) will by default
-copy \emph{only} the shift commands \texttt{XS}$[x]$, \texttt{X:}$[x]$
-and \texttt{X:} into the parts, but \emph{not} the hardspace command
-\texttt{X}$[x]$ .
-
-
-\medskip
-This behavior can be overridden using the methods described in
-section~\ref{sec:scor2prt}. There is, however, an alternative method that
-helps to keep {\PMX} score files neat and readable: add the suboption
-\texttt{B} or \texttt{P} (without space, as usual) to the \texttt{X}
-symbol:
-\begin{itemize}
- \item \texttt{B} (for \textbf{B}oth): with this option, the spacing
- symbol is to be applied to \textbf{b}oth score and part,
- \item \texttt{P} (for \textbf{P}art): with this option, the spacing
- symbol is to be applied to the \textbf{p}arts only.
-\end{itemize}
-
-\section{Macros} \label{sec:macros} _{\PMX!macros} _{M symbol@\texttt{M} symbol}
-
-A {\PMX} macro is a single symbol that stands literally for any
-any string of characters that may occur in the input file\,%
-\footnote{Note to seasoned programmers: {\PMX} macros are not really
- macros in the usual sense, but merely string abbreviations;
- they \emph{do not allow} for variables.
- _{\PMX!macros!no variables}
- }.
-Macros may be useful to save tedious typing and disk space, and make
-{\PMX} source text more readable if you need to repeat the same string
-many times in a score.
-
-\medskip
-You may define up to 20 macros in any single {\PMX} input file. There is
-no practical limit to the length of the character string that a
-macro represents, but of course it must respect the {\PMX} rules on the
-length of input lines and what must go on separate lines.
-
-\medskip
-Macros only exist within the {\PMX} input file where they are defined;
-you can define a completely new set of macros in another {\PMX} input
-file. Conversely, if you want to re-use the macros of file
-\texttt{myopus1.pmx} in \texttt{myopus2.pmx}, you need to copy them
-explicitly from one file to the other.
-
-\medskip
-There are two distinct ways to define and record a new macro or
-redefine an existing one:
-
-\begin{enumerate}
- \item to \textbf{R}\emph{ecord} a \textbf{M}acro: type
- \texttt{MR}$[n]$, followed by a space, as usual. $n$, the
- ``name'' of the macro, is an integer between 1 and 20.
- Everything you type after this will be processed normally, at
- that point in the input file, as well as stored, until you end
- the macro by entering the symbol \texttt{M},
- \item to \textbf{S}\emph{ave} a \textbf{M}acro: type
- \texttt{MS}$[n]$. Everything you type after this will be
- recorded (saved) as you enter it, \emph{without processing}
- the {\PMX} code. When saving macros, it is usually best to put
- them in the header, for readability's sake.
-\end{enumerate}
-
-Whenever you would otherwise need to re-enter the same character string,
-you can simply \texttt{P}lay back the macro by typing \texttt{MP}$[n]$~.
-
-\medskip
-Macros can be redefined at will; {\PMX} will issue a warning whenever
-this occurs.
-
-\bigskip _{\textbf{scor2prt}!macros} When you use
-macros and want to make separate parts
-(cf.~Section~\ref{sec:scor2prt}), some care is necessary:
-\textbf{scor2prt} will transfer a \texttt{MR} macro only into the part
-where it originated, but will transfer \texttt{MS} macros into all
-parts.
-
-\medskip
-So if you want to make macro 1, which you will use in several or all
-parts and then use it immediately in the part in which you write it,
-dont use simply \verb#MR1#, but rather
-\begin {verbatim}
- MS1
- MP1
-\end{verbatim}
-
-\bigskip
-Fig.~\ref{fig:macro} contains an example of the use of macros.
-
-\bigskip
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/macro.eps} \\[2ex]
-------------------------------------------
-
-\begin{minipage}{300pt}
-\small
-\begin{verbatim}
-% macro 2 saved:
-MS2 e4 f g2 o_ | M
-% Bar 1 (macro 1 recorded and processed):
-Rl MR1 c45 d e c | M
-% Bar 2 (macro 1 played):
-MP1
-% Bar 3 (macro 2 played):
-MP2
-% macro 4 saved:
-MS4 c4 g c2 o_ M
-% Bar 4 (macro 2 played):
-MP2
-% Bar 5 (macro 3 recorded and processed):
-MR3 g85 a g f e4 c | M
-% Bar 6 (macro 3 played):
-MP3
-% Bar 7 (macro 4 played):
-MP4 |
-% Bar 8 (macro 4 played):
-MP4 Rr /
-%
-\end{verbatim}
-
-\vspace*{2ex}
-\end{minipage}
- \end{center}
- \caption{``\emph{FrŠre Jacques}'' (usage of macros)}
- \label{fig:macro}
-\end{figure}
-
-\section{Inline {\TeX} commands} \label{sec:inlineTeX}
- _{inline \TeX}
-
-It may be worthwhile to reiterate at this point the very different
-intentions of the software ingredients which make up the {\PMX} tool. It
-is, in fact, a hierarchy:
-\begin{enumerate}
- \item _{\TeX} _{Knuth, Donald E.}
- At the base of it all is {\TeX}. {\TeX} (written by Donald
- E.\ Knuth) is a general and extremely powerful tool for
- typesetting high-quality documents on a computer that are ready
- for printing\,%
- \footnote{``Its emphasis is on art and technology, as in the
- underlying Greek word.'' (quote from the introduction
- of \emph{the {\TeX}book}, the authoritative book on
- {\TeX}, by Donald E.\ Knuth. _{Knuth, Donald E.}
- }.
- But {\TeX} is much more than that: it is a full-grown and
- powerful computer programming language with which -- if you are
- a {\TeX}pert -- you can do almost anything.
-
- \medskip
- There is, however, a price to pay for this power: while you
- don't have to be a professional computer programmer to use
- {\TeX}, a pretty good familiarity with the basics of
- programming is unavoidable.
- \item _{\MusiXTeX} _{Taupin, Daniel}
- {\MusiXTeX} (written essentially by Daniel Taupin) is a
- `macro' for {\TeX}\,%
- \footnote{To be precise, {\MusiXTeX} consists of a very
- extensive set of {\TeX} `macros' and music
- typesetting fonts.
- }.
- That alleviates most of the {\TeX} programming tasks for the
- special purpose of typesetting music. Thus, while it helps to
- have a programming background, such a background is not
- absolutely essentially for someone who just wants to write a
- few simple music scores.
- \item _{\PMX} _{Simons, Don}
- {\PMX}, the `preprocessor' for {\MusiXTeX} written by Don
- Simons and described in detail in this tutorial, is yet another
- level of abstraction on the long way from the musical ideas
- that make up a score to getting ink on the paper at certain
- points. The whole purpose of {\PMX} is to make typesetting of
- music with {\MusiXTeX}/{\TeX} accessible to people with
- essentially \emph{no} prowess in computer programming.
-\end{enumerate}
-As a consequence of this hierarchy, {\PMX} is vastly simpler to use than
-{\MusiXTeX}, which in turn is simpler than straight {\TeX}. But the
-converse of this is also true: there are elements in {\MusiXTeX} that
-are not directly accessible with the {\PMX} language, just as you cannot
-unleash the full power of {\TeX} with {\MusiXTeX} alone.
-So to allow the user full access to `lower-level' {\MusiXTeX} or {\TeX} --
-while maintaining its higher-level notational simplicity -- {\PMX}
-supports the inclusion of {\TeX} commands either directly in the
-{\PMX} input file or via an external file.
-
-\subsection{Including {\TeX} Commands in the \texttt{.pmx} source file}
- _{inline \TeX!in \texttt{.pmx} source}
-The normal way for a {\PMX} user to insert user-defined {\TeX} code is
-to enter it directly in the \texttt{.pmx} input file; this is what is
-referred to as ``\,inline {\TeX}\,'' in this tutorial. There are four ways
-to do that; these differ mainly in where the {\TeX} code will appear in
-the {\PMX} output \texttt{.tex} file. The first 3 of these have \bs\ ,
-\bs\bs\ or \bs\bs\bs\ (1, 2 or 3 backslashes) as a starting symbol, then
-comes a sequence of {\TeX} commands, then another \bs\ (backslash) as a
-terminating symbol, followed by the usual space\,%
-\footnote{This means that type 1, 2, and 3 {\TeX} strings may \emph{not}
- contain the \TeX\ macro `\bs\,\,\,' \,(backslash-space). If
- you really need that, replace it by \bs\texttt{relax }.
- }.
-All three of these must be contained fully in \emph{one line of input},
-limited by default to 128 characters (cf.~Section~\ref{sec:limits}); but
-this one line can contain any number of concatenated {\TeX} commands.
-
-\medskip
-The above description needs clarification on a subtle point: the
-starting symbols \bs\ , \bs\bs\ or \bs\bs\bs\ \, are \emph{not} really
-{\PMX} symbols in the sense used throughout this tutorial, in that there
-would be `white space' after them, but the {\TeX} command(s) follow them
-\emph{without a blank}. This has to do with the fact that all {\TeX}
-commands -- called `control sequences' -- start out with a \bs\ . And
-thus the last of the starting backslashes (the only one for type 1,
-the second one for type 2, the third one for type 3) counts as the
-{\TeX} control character of the following {\TeX} command. For example,
-if you wanted to define a new {\TeX} command \verb#\Myspace# as a type 1
-inline command, you would write
-\begin{center} \verb#\def\Myspace\hskip{10mm}\ # \end{center}
-whereas if it is to be a type 3 inline command, it would read
-\begin{center} \verb#\\\def\Myspace\hskip{10mm}\ # \end{center}
-in other words: the starting symbol itself also provides the first \bs\
-of the {\TeX} command (control sequence).
-
-This convention can also be seen clearly in the examples given below.
-
-\bigskip
-Here are the characteristics of the first three types:
-\begin{description} _{inline \TeX!Type 1/2/3/4}
- \item[Type 1 ( \bs\ \dots \bs\ ) : ]
- a Type 1 string usually serves to define or execute a command
- that is only needed locally for the current line of music, right
- after the place where it is entered in the \texttt{.pmx} file.
- {\PMX} inserts it in the resulting \texttt{.tex} file right
- before the {\MusiXTeX} command for the next note or rest.
- Multiple type 1 strings associated with the same note or rest
- are allowed, although the total length may not exceed 128
- characters. So there is generally no reason not to combine all
- {\TeX} commands for a single note into a single type 1 string.
-
- \Note{If an inline {\TeX} string contains a new {\TeX}
- definition, this definition is in general \emph{not}
- local; depending on circumstances, it can remain valid
- throughout the score and for \emph{all instruments} unless
- redefined somewhere\,! This is true for all types of
- inline {\TeX}, Type 3 in particular. So be careful!
- }
- \item[Type 2 ( \bs\bs\ \dots \bs\ ) : ] a Type 2 string usually serves
- to define or execute a command that is needed throughout the
- entire score. It will appear near the top of the \texttt{.tex}
- file, right before the \bs\texttt{startmuflex}, regardless of
- where it appears in the \texttt{.pmx} file.
- \item[Type 3 ( \bs\bs\bs\ \dots \bs\ ) : ] Type 3 strings will appear
- in the \texttt{.tex} file right before the \bs\texttt{xbar} or
- \bs\texttt{alaligne} of the current input block, i.e.\ before
- its first bar line. Thus a Type 3 string is typically used when
- you want to redefine a previously defined {\TeX} command, to be
- valid from a certain point on, but not before.
- \item[Type 4 : ] \label{sec:inlinetypefour}
- The fourth way of inserting inline {\TeX} in a \texttt{.pmx}
- file is different from the first three in several ways:
- \begin{itemize}
- \item it is started by the character sequence \verb#---#
- (triple dashes), on a line by itself, as the very first
- line of the \texttt{.pmx} file,
- \item it is terminated by the next appearance of the same
- character sequence, \verb#---# (triple dashes), on a
- separate line,
- \item it can contain any number of lines with {\TeX} code,
- although every single of these lines is again
- restricted to a total of 128 characters,
- \item the lines of {\TeX} code between the opening and
- terminating triple dashes will be copied
- \emph{literally} to the very top of the \texttt{.tex}
- file.
- \end{itemize}
- So Type 4 can also be (ab)used to copy comment lines
- literally from the \texttt{.pmx} file to the \texttt{.tex} file.
- This is convenient for documentation purposes.
-\end{description}
-
-\medskip _{inline \TeX!handled by \textbf{scor2prt}}
-Another difference of practical importance is the way in which
-\textbf{scor2prt} handles these type of inline {\TeX} when making
-separate parts (cf.~Section~\ref{sec:scor2prt}): types 2-4 will be
-copied into all parts, while type 1 only goes into the part in which it
-appears in the original \texttt{.pmx} file.
-
-\bigskip\bigskip
-To understand better the differences between these 4 types on inline
-{\TeX}, it may be useful to study the basic structure of the {\TeX} file
-\texttt{inlinesample.tex}, given in Table~\ref{tab:inlinesample.tex},
-produced from the {\PMX} input file \texttt{inlinesample.pmx}, given in
-Fig.~\ref{fig:inlinesample.pmx}. In doing so, you may want to look at
-the box on p.~\pageref{p:inlinesample.txt}.
-
-\begin{figure}[!ht]
- \begin{center}
- _{\MusiXTeX!\bs\texttt{PED}} _{\MusiXTeX!\bs\texttt{DEP}}
- \includegraphics[scale=.82]{eps/inlinesample.eps} \\[2ex]
- ------------------------------------------
- \begin{minipage}{380pt}
- \small
- \begin{verbatim}
-% beginning of inlinesample.pmx
----
-% This sample demonstrates the use of all 4 types of inline TeX
----
-% PREAMBLE:
-%
-1 1
-1 2 0 0
-0 0
-1 2 16 .0
-%
-
-t
-./
-% BODY:
-% HEADER:
-w80m
-\\nobarnumbers\
-% begin of music input:
-g24 | /
-\\\systemnumbers\
-\zcharnote{-2}{\PED}\ a D"\DEP"+3+15 | /
-\\\barnumbers\ c Rb /
-% end of inlinesample.pmx
- \end{verbatim}
- \end{minipage} \\[2ex]
- \end{center}
- \caption{A sample for the use of inline {\TeX} }
- \label{fig:inlinesample.pmx}
-\end{figure}
-
-\clearpage
-\begin{table}[!ht]
- \begin{center}
- \begin{minipage}{400pt}
- \small
- \begin{verbatim}
- %%%%%%%%%%%%%%%%%
- %
- % inlinesample.tex
- %
- %%%%%%%%%%%%%%%%
- 6 % This sample demonstrates the use of all 4 types of inline TeX
- 7 \input musixtex
- 8 \input pmx
- 9 \input musixmad
- \smallmusicsize%
- \nopagenumbers
- \tracingstats=2\relax
- \hsize=227pt
- \vsize740pt
- \def\nbinstruments{1}
- \setstaffs11
- \setclef10
- \setname1{ }
- \generalsignature{ 0}%
- \parindent 0pt
- \elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
- \stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
-23 \nostartrule
-24 \readmod{inlinesample}
-25 \nobarnumbers%
- \startmuflex\startpiece\addspace\afterruleskip%
- % BODY:
- % begin of music input:
- \znotes\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
- % Bar count 1
-31 \pnotes{4.00}\hu g\en%
-32 \systemnumbers%
- % Bar count 2
-34 \alaligne
-35 \pnotes{4.00}\zcharnote{-2}{\PED}\txtdyn{-2}{15.0}{\normtype\it \DEP}%
- \hu{'a}\en%
-37 \barnumbers%
- % Bar count 3
-39 \xbar
- \pnotes{4.00}\hl{'c}\en%
- \endpiece
- \vfill\eject\endmuflex
- \bye
- \end{verbatim}
- \end{minipage}
- \end{center}
- \caption{\texttt{inlinesample.tex}, as produced from
- \texttt{inlinesample.pmx}
- }
- \label{tab:inlinesample.tex}
-\end{table}
-
-\clearpage
-% _{inline \TeX!in external file}
-\begin{table}[!ht]
-\begin{center} _{inline \TeX!placement in \texttt{.tex} file}
-\fbox{
-\begin{minipage}{350pt}
-Here is a short survey of what happens in the file
-\texttt{inlinesample.tex} (cf.~Table~\ref{tab:inlinesample.tex}),
-produced from \texttt{inlinesample.pmx}
-(cf.~Fig.~\ref{fig:inlinesample.pmx}):
-
-\begin{itemize}
- \item first, after the file name comment, which is inserted
- automatically by _{\textbf{pmxab}} \textbf{pmxab}, the Type 4
- string (the comment line on the top of the \texttt{.pmx} file)
- is inserted [line 6],
- \item then the files \texttt{musixtex.tex, pmx.tex} and
- \texttt{musicmad.tex} are always read in [lines [7,8,9]. This
- means that the \texttt{.tex} that {\PMX} produces has
- \emph{access to all the {\TeX} macros} defined in these files,
- and therefore you can use all of these in your inline {\TeX}
- commands,
- \item next, up to and including \bs\texttt{nostartrule} [line 23],
- there are a lot of settings, the details of which need not
- concern us here,
-
- \medskip
- The following {\TeX} macro [line 24],
- \bs\texttt{readmod{sample}} , tells {\TeX} to read in the file
- \texttt{inlinesample.mod} (if it exists). The file
- \texttt{inlinesample.mod} may contain any valid {\TeX} code of
- your choosing (cf.~Section~\ref{sec:external} for details on
- this),
- \item next [line 25] is the Type 2 string
- ``\bs\bs\texttt{nobarnumbers}\bs''. Type 2 strings are
- \emph{always} inserted at this point of the \texttt{.tex} file,
- \item \bs\texttt{startmuflex} [line 26] -- never mind what exactly it
- does -- is the actual beginning of the musical code,
- \item several lines down [line 31] there is an item
- \bs\texttt{hu g} : this is the half-note $g$ of the first
- bar,
- \item [line 32] contains the Type 3 string
- ``\bs\texttt{systemnumbers}\bs''. This changes the bar
- numbering scheme to the {\PMX} default
- (cf.~Section~\ref{sec:barnumbers}). {\PMX} inserted this Type
- 3 string right before the next \bs\texttt{alaligne} [line 34],
- \item [line 35] contains the Type 1 string
- ``\bs\texttt{zcharnote{-2}}\bs\texttt{PED}\bs'', which prints
- the {\MusiXTeX} pedal\,%
- \footnote{The `end of pedal' symbol \bs\texttt{DEP} is coded
- here in an alternative (perhaps simpler) way by using
- a {\PMX} dynamics textual symbol
- (cf.~Section~\ref{sec:dynamics}).
- _{dynamic marks!textual}
- },
- \item [line 37] contains another Type 3 string
- ``\bs\texttt{barnumbers}\bs'', before the code for bar 3 ,
- inserted right before \bs\texttt{xbar} in line 39 (coding the
- bar line). This changes the bar numbering scheme once again.
-\end{itemize}
-\end{minipage}
- }
-\end{center} \label{p:inlinesample.txt}
-\end{table}
-
-\bigskip
-\subsection{Denoting pitch in inline {\TeX} }
-_{inline \TeX!pitch given as a number}
-_{pitch!in inline \TeX!}
-
-When using inline {\TeX}, you should be aware of a subtle aspect, which
-can be a hazard:
-
-\smallskip
-In {\MusiXTeX}, you can always refer to a pitch with a number, rather
-than a letter, and that number denotes exactly the position on whatever
-staff you are using, counting from the bottom line as $0$ .
-
-When you use this for a pitch, it will not be transposable, nor will it
-respect (or indeed affect!) the memory \PMX\ keeps on the pitch: remember
-that {\PMX} doesn't interpret any inline {\TeX} .
-
-You should keep this in mind when designating a pitch within an inline
-{\TeX} command.
-
-\bigskip\noindent
-We close this section with two practical examples and a final remark:
-\begin{itemize}
- \item _{\textbf{musixpss}}
- As was stated in Section~\ref{p:useMslurs}, when using Type
- M slurs you need to insert the line
- \begin{center}
- \bs\bs\texttt{input~musixpss{\bs}relax}\bs\
- \end{center}
- into the header of the \texttt{.pmx} file. This tells {\PMX} to
- read in the file \texttt{musixpss.tex}, which contains the
- macros for Type M slurs.
-
- \medskip
- This is the case of a type 2 inline {\TeX} string, and thus
- the input command is added to the \texttt{.tex} file right
- before \bs\texttt{startmuflex} (which is where it belongs).
- \item _{clefs!exotic} _{clefs!octave clefs} _{clefs!symbols}
- _{clefs!empty} _{octaviation!of clefs}
- Sometimes one needs clefs other than those defined in {\PMX}
- (cf.~Section~\ref{sec:numinput}). Some special clef symbols
- (among them no clef at all) are defined in {\MusiXTeX} and can
- be invoked by the command \bs\texttt{setclefsymbol} (cf.~the
- {\MusiXTeX}~\texttt{1.15} manual, Sec.~2.21.2). The most common
- of these are octave treble and octave bass clefs, in which a
- small $8$ is attached to either the top or the bottom of the
- clef symbol. To get a higher octave treble key for instrument
- number $2$, for example\,%
- \footnote{Matters are more complicated for instruments with
- more than 1 staff, such as piano or organ, because
- the number in the command refers to the number of the
- \emph{instrument}, not the staff. Cf.~the
- {\MusiXTeX}~\texttt{1.15} manual, Sec.~2.27.10 for
- details.
- },
- just add the following type 2 inline {\MusiXTeX} command
- \begin{center}
- \bs\bs\texttt{setclefsymbol}\{\texttt{2}\}
- \qquad \bs\texttt{trebleoct}\bs \qquad.
- \end{center}
- The other 3 octave clef symbols are \bs\texttt{treblelowoct},
- \bs\texttt{bassoct},\bs\texttt{basslowoct}, for lower octave
- treble, higher octave bass and lower octave bass clefs, resp.
-
-\end{itemize}
-More examples can be seen in Section~\ref{sec:tricks} and in some of the
-scores of the appendix.
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%%%%%%%% Temp %%%%%%%%%%%%%%%%%%%%%%% Fri 2010 Dec 17 /15:6 /ccn
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-\subsection{Putting {\TeX} Commands in an external file}
- \label{sec:external} _{inline \TeX!in external file}
-
-_{directory}
-{\PMX} provides one further option for entering an unlimited set of
-{\TeX} commands, read into the {.tex} file by \verb#\readmod# just
-before the \bs\texttt{startmuflex} line. command, and before any Type 2
-inline {\TeX} strings. Simply put the commands into a text file named
-[\emph{filename}]\texttt{.mod} in the current directory\,%
-\footnote{This feature is retained mainly for backward compatibility
- with previous versions of {\PMX}; it has now been essentially
- replaced by the 4 options for inline {\TeX} strings described
- above.
- }.
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% PMX tutorial by ccn / chapter C starts here:
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\chapter{Special Features} \label{sec:specials}
-
-\section{Making Parts from a Score}
- \label{sec:scor2prt}
-
-\begin{figure}[!ht]
- \begin{center}
- \raisebox{-0.75ex}{%
- \includegraphics[scale=.75]{eps/JChrBach.eps} }
- \end{center}
- \caption{\textbf{F.Chr.\ Bach},
- \emph{quartet B-Dur (p.\ 1)}
- }
- \label{fig:JChBach}
-\end{figure}
-
-Separate parts can be made from a score with the tool
-\textbf{scor2prt} (included in the standard {\PMX}
-distribution).
-
-Suppose you want to produce the parts to page 1 of a J.Chr.Bach
-quartet (Fig.~\ref{fig:JChBach}), and the \texttt{.pmx} file of
-that score is called \verb#JChBach.pmx#.
-All you to need to do is to run
-
-\vspace*{-2ex}
-\begin{center}
- \begin{verbatim}
- scor2prt JChBach
- \end{verbatim}
-\end{center}
-
-\vspace*{-4ex}\noindent
-from the command line (if you omit the file name, you will be
-prompted for one). The program will then create the following
-\texttt{.pmx} files, one for each instrument:
-
-\vspace*{-2ex}
-\begin{center}
- \begin{verbatim}
- JChBach1.pmx
- JChBach2.pmx
- JChBach3.pmx
- JChBach4.pmx
- \end{verbatim}
-\end{center}
-
-\vspace*{-3ex}
-To obtain the parts, you then need to run each of these files
-through {\PMX}, in the usual way.
-
-As can be seen in the example, the parts files will be named
-[\emph{yourscorename}][\emph{n}]\texttt{.pmx}, where [\emph{n}] is the
-number of the instrument, by default; but the names of the files
-created by \textbf{scor2prt} can be changed from within the {\PMX} file
-for the whole score, the ``parent file''. For example, to cause the
-file for instrument 3 to be named \texttt{mviolins.pmx}, include the
-command \texttt{AN3"mviolins"} in the header of the parent file
-(cf.~Table~\ref{tab:A}).
-
-\bigskip
-In the remainder of this section we describe how to control the layout
-of the parts separately from that of the score by using commands that
-are placed in the parent file. This eliminates the need for editing the
-\texttt{.pmx} files for the parts separately. You can accomplish all
-the editing in the parent file, and then re-run \textbf{scor2prt} as
-required. Thus both the score and the parts can be corrected together,
-and the parts need not be re-edited each time they are re-generated from
-the score.
-
-\subsection{Usage}
-_{\textbf{scor2prt}!usage} _{comments!usage with \textbf{scor2prt}}
-
-Since comment lines are by definition disregarded by {\TeX} and by the
-{\PMX} program itself (\textbf{pmxab}, to be exact), they can, with a
-slight extension of their syntax, be used to transfer information
-\emph{meant for the parts only}\,%
-\footnote{This is quite a useful method, employed in a similar way by
- other programs, such as the PostScript language.
- _{PostScript}
- }.
-The following rules are used for this by the \verb#scor2prt# program:
-\begin{itemize}
- \item If a line has \texttt{\%} in columns 1 and a space in column 2,
- it is considered a regular comment and transferred as such to
- all parts.
- \item If a line has \texttt{\%\%} in columns 1-2, both it \emph{and
- the following line} will be ignored when making parts. If the
- ignored line (the second line) has \texttt{h}, \texttt{l}, or
- \texttt{T} in its first column, then \emph{one additional line}
- will be ignored (cf.~\ref{sec:titles} for the rationale behind
- this rule).
- \item If a line has \texttt{\%!} in columns 1-2, these first 2
- characters will be stripped, and the rest of the line will be
- put in the \texttt{.pmx} files for \emph{all} the parts.
- \item If a line has \texttt{\%}[\emph{h}] in columns 1-2, where
- \emph{h} is the hexadecimal digit representing the instrument
- number (\texttt{1, 2,..., 9, a, b, c}), the first two
- characters will be stripped and the rest of the line
- transferred to the part for instrument \emph{h} \emph{only} .
-
- \smallskip
- A good example for this usage is the page break(s) in a longer
- score, where the appropriate page numbers for the parts will be
- different from those in the full score.
- For example, to force a line break to system 15 and a page
- break to page 2 in \emph{part 11 only}, enter
- \texttt{\%bL15P2}.
-
- _{\textbf{scor2prt}!HEX digit usage incompatible with
- previous {\PMX} versions}
-
- \Note{The use of the hexadecimal digits \texttt{a-c} in this
- rule creates a potential incompatibility with previous
- versions of {\PMX}. To minimize this, the character after
- ``{\tt\%}" will \emph{only} be interpreted as a part
- number if it represents a number less than or equal
- \texttt{noinst}, as given in the parent file; otherwise
- the entire line will be treated as an ordinary comment,
- and transferred to all parts.
- }
-
- \item In addition to all entries in the header except \texttt{I}
- options (cf.\ Sec.~\ref{sec:MIDI}, p.~\pageref{sec:MIDI}), the
- following {\PMX} symbols \emph{with all their options} will
- automatically be copied to \emph{all parts} (unless the
- previous line starts with \texttt{\%\%}, of course):
-
- \begin{center}\begin{tabular}{l@{\qquad}l} \texttt{R} & (bar
- symbol) \\ \texttt{V} & (volta) \\ \texttt{K} & (key
- change or transposition) \\ \texttt{A} & (global options)
- \\ \end{tabular}\end{center} This is true for
- \texttt{R,V,K}, in spite of the fact that they can be
- entered in the \emph{first} voice of the score only!
- \end{itemize}
-
-\subsection{The \texttt{S} symbol} \label{sec:Ssymbol}
- _{S symbol@\texttt{S} symbol}
-
-\begin{itemize}
- \item \texttt{S}[\emph{n}]:
-
- By default the total number of systems in each part will be the
- same as in the score. If you want to override this, you can do
- that with \texttt{S}[\emph{n}], where \emph{n} is
- the desired number of systems. \texttt{S}[\emph{n}], if used,
- must appear in the header of the parent file. Legally, you
- could use \texttt{S}[\emph{n}] to reset the number of systems
- for the parent file itself, which you had just defined in the
- preamble. That, of course, does not make much sense, but in
- the form \\
- \text{\quad}\texttt{\%!S}[\emph{n}] \\
- or \\
- \text{\quad}\texttt{\%}[\emph{k}]\texttt{S}[\emph{n}] \\[1ex]
- it does, because then it does \emph{not} affect the full
- score, \emph{but all parts}, or part k only, resp. \\
- \texttt{barsant.pmx}, one of the examples given in Section
- \ref{sec:donsexamples}, includes a demonstration of this.
- \item \texttt{S}[\emph{n}]\texttt{P}[\emph{m}]:
-
- \textbf{scor2prt} will also compute how many pages it thinks
- each part should have, and enter that into the preamble for
- that part. If you wish to override that, then insert into the
- parent file \texttt{\%3S14P2} for example, which would force
- the third part to have 14 systems and 2 pages. You cannot
- override the number of pages without first overriding the
- number of systems.
-
- \item \texttt{S}[\emph{n}]\texttt{m}[\emph{k}]:
-
- A musicsize of 20 is the default in all parts. This may be
- overridden with the option \texttt{m} in the symbol \texttt{S}:
- e.g., \texttt{\%2S15m16}. Again, you must specify the number of
- systems before setting the musicsize.
-\end{itemize}
-
-\Note{Keep in mind the distinction among the various usages of
- \texttt{P}:
- \begin{itemize}
- \item as an option with \texttt{S}, it sets the total number of
- pages in a part,
- \item as an option with \texttt{L}, it forces a page break,
- \item as a {\PMX} command on its own, it controls page
- numbering and centered headings.
- \end{itemize} _{P symbol@\texttt{P} symbol}
- }
-\subsection{Other usage rules}
- _{\textbf{scor2prt}!usage}
-\begin{itemize}
-
- \item Inline {\TeX} strings of Type 2-4 will be copied to all parts,
- while a type 1 inline {\TeX} string will only go into the part
- in which it occurs in the parent file.
- \item _{spacing!hard space use with \textbf{scor2prt}}
- User-defined hardspaces (\texttt{X} without \texttt{:}) are by
- default not copied to parts. There are two ways to change this
- default: _{X symbol}
- \begin{enumerate}
- \item use the options of the \texttt{X} command
- (cf.~Section~\ref{sec:spacing}): \texttt{B} causes
- the hardspace to be used in \textbf{b}oth score and
- parts; \texttt{P} puts it into the \textbf{p}arts, but
- not the score,
- \item to insert \emph{x} notehead widths of hardspace into
- part \emph{n}, place the symbol
- {\tt\%}[\emph{n}]\texttt{X}[\emph{x}], on a line of
- its own, in the parent file.
- \end{enumerate}
- _{page!numbering!with \textbf{scor2prt}}
- _{\textbf{scor2prt}! page numbering}
- \item As was already noted (cf.~Section~\ref{sec:pagenumbers}), a
- \texttt{P} symbol for page numbering in the parent file is
- ignored when making parts. To initiate page numbering in the
- parts, use, for example, \texttt{\%!P} , with appropriate
- options added, anywhere within the {\PMX} code representing the
- first page of the parts\,%
- \footnote{From \TeX 's standpoint the command must occur
- between the beginning and end of the page on which
- the numbering is to begin.
- }.
- It will often be useful in this case to use the option
- \texttt{c} , which by default causes the instrument name to be
- centered in small type at the top of every page after the
- first.
- \item _{MIDI!with \textbf{scor2prt}} \label{p:MIDI}
- MIDI commands, i.e., those starting with \texttt{I}, will never
- be copied into parts, unless they are in a special comment line
- as just described.
- \item _{rest!multibar rest}
- One function of \textbf{scor2prt} is to condense consecutive
- bars of rest into a single group of special printed characters
- with a number above it. Thus \textbf{scor2prt} will automatically
- insert \texttt{rm} symbols (cf.\ Sec.~\ref{sec:rests}) into the
- \texttt{.pmx} files for the parts where appropriate. However,
- for this feature to work, the \emph{first} full-bar rest in the
- sequence \emph{must} have its duration explicitly defined in
- the parent file, either with a digit or with \texttt{p}. In
- other words, the feature will not work if the first rest in the
- sequence inherits its duration from the previous note.
-\end{itemize}
-
-\bigskip
-\Note{In standard {\TeX} the rule for comments is: a \% character
- \emph{and all text that follows it on the same line} is treated as
- a comment, i.e.\ it is totally ignored by the program. As a
- consequence of this rule, many users of {\TeX} have a habit of
- adding comments at the end of short lines of text, instead of
- writing a whole comment line, starting with a \% in column 1 .
- This is fine as far as {\PMX} is concerned; but
- _{\textbf{scor2prt}} \textbf{scor2prt} redefines this rule a bit
- and in general \emph{will misinterpret comments added in the same
- line after} some legal {\PMX} code. _{comments!usage with
- \textbf{scor2prt}}
-
- \medskip
- \emph{So when you intend to make parts using} \textbf{scor2prt},
- it is good practice to restrict true comments to lines with \%
- \emph{in column} 1, \emph{followed by at least one blank}.
- }
-
-\section{Making MIDI Files} \label{sec:MIDI}
-_{MIDI}
-
-Some users of {\PMX} and {\MusiXTeX} may never have heard of MIDI and
-may therefore be a bit bewildered by this section. So here is a quick
-introduction:
-\begin{quotation}
- MIDI stands for ``\textbf{M}usical \textbf{I}nstruments
- \textbf{D}igital \textbf{I}nterface''. It is essentially a standard,
- consisting of a language and its hardware implementation, designed
- to produce digitally coded music with a device like a synthesizer or
- a multi-media computer. If your computer is equipped with the
- appropriate hardware and software (which is standard on PC's these
- days), you can listen to the music encoded in a MIDI file on your
- computer just as you can read the text encoded in a text file\,%
- \footnote{If you are interested in details on MIDI in general, a good
- place to start is the home page of the ``MIDI
- Manufacturer's Association'':
- \href{http://www.midi.org/about-midi/aboutmidi3.shtml}%
- {\texttt{http://www.midi.org/about-midi/aboutmidi3.shtml}%
- }~.
- }.
-\end{quotation}
-
-\bigskip
-This section describes how to produce such MIDI files when writing a
-piece of music with {\PMX}. When using this facility, you should be
-aware both of the general restrictions of MIDI and the special ones that
-{\PMX} imposes:
-
-\begin{itemize}
- \item First of all, you should not expect the MIDI files that {\PMX}
- produces to be anything that resembles a performance of the
- piece by real, human musicians. While MIDI does make different
- shades of sound for the different instruments, the lack of any
- kind of expressivity (rhythmic accentuation, dynamics, vibrato,
- intonation etc.) does not really do justice to the musical
- character of acoustic instruments.
-
- \medskip
- So the MIDI file can be hardly more than an acoustic check on
- whether the notes produced are indeed what you had intended.
- But for that purpose it can be of great help in coding a score
- with {\PMX}, so it is generally advisable to produce the MIDI
- files.
- \item _{grace notes!not in MIDI} _{ornaments!not in MIDI}
- _{repeats!not in MIDI} _{volte!not in MIDI}
- _{volte!not in MIDI} _{slurs!in MIDI}
- \label{p:midi}
- The MIDI module of {\PMX} does not recognize graces, ornaments,
- repeats, volte, or segnos. The only ties that are recognized
- are those using \texttt{s}, \texttt{t} or \texttt{(} \,; alone,
- with no explicit ID number.
- \item the MIDI file generator does not support changing the number of
- instruments in midstream. You will not see an error message,
- but the results will be unpredictable.
-\end{itemize}
-
-The MIDI file is produced by {\PMX} concurrently with the {\MusiXTeX}
-output. To start this, enter the symbol \texttt{I}, together with any
-options (as described below), usually in the header of the input file;
-but \texttt{I} symbols can appear later in the file as well, but only at
-the \emph{start of an input block}.
-_{I symbol@\texttt{I} symbol}
-
-If the name of the {\PMX} source file is, say, \texttt{Mymusic.pmx}, the
-MIDI symbol \texttt{I} will cause a file \texttt{Mymusic.mid} to be
-written in the directory given in the preamble. If \texttt{I} is used
-without any options, {\PMX} will use default values for several of the
-parameters; these default values are indicated below.
-
-\medskip
-Usually, however, you will want to specify some options. They follow the
-MIDI symbol \texttt{I} immediately, without a space. Sometimes the order
-of the options matters, so it is generally advisable to adhere to the
-order in which they are given here:
-
-\begin{enumerate} _{MIDI!parameters}
- \item \texttt{t}[\emph{x}] sets the tempo to \emph{x}
- quarter notes per minute. Default is 96. You can change the
- tempo as often as you like, but only at the start of an input
- block (as with all MIDI commands).
- \item _{instruments!names!in MIDI}
- \texttt{i}[\emph{i1i2...in}] assigns MIDI instrument names
- \emph{i1,i2,...,in} to the staves of the respective {\PMX}
- instruments. The default is harpsichord, of course.
-
- If you use this option, you must specify \emph{all} instruments.
- Each \emph{i} is either an integer between 1 and 255 or a
- 2-letter mnemonic. The instrument mnemonics allowed with {\PMX}
- are listed in Table~\ref{tab:MIDIinstr}. Numbers and mnemonics
- may be mixed, but consecutive pairs of numbers must be separated
- by \texttt{:} (colon)\,%
- \footnote{Otherwise the assignment could be ambiguous!}.
- Care is needed with multi-staff instruments: there must be one
- instrument name \emph{per staff}; so for a sonata for violin and
- piano, e.g., the instrument names entry would be
- \texttt{ipipivl}, not \texttt{ipivl} !
- \item \texttt{v}[\emph{i1}]:[\emph{i2}]:[...]:\emph{in}] assigns the
- relative MIDI volume to each instrument. Each \emph{i} is an
- integer between 1 and 127; the colons are required. The volume
- parameter \texttt{v} must either be given with exactly as many
- parameters as there are instruments, or none at all. The default
- (no parameters given) is 127.
- \item \texttt{b}[\emph{m1}]:[\emph{m2}]:[...]:\emph{mn}] assigns the
- MIDI stereo balances to each instrument. The numbers \emph{m}
- may vary between 1 and 128; otherwise their usage is similar to
- that for the volume. The default value is 64, which represents
- the center; smaller numbers favor the left stereo channel,
- larger ones the right.
- \item \texttt{p}[\emph{x}] inserts a pause of \emph{x} quarter notes
- -- for all instruments! -- at the beginning of the first bar of
- the input block in which the MIDI symbol appears. Decimals are
- allowed, but will be rounded to the nearest sixteenth note.
- \item \texttt{g}[\emph{i}] sets the MIDI gap to \emph{i} MIDI clock
- tics: this is a silence inserted at the end of every note,
- while decreasing the sounding duration by the same amount. The
- default is 10, which corresponds to 2/3 of a 64th note.
-\end{enumerate}
-
-_{MIDI!file players and editors}
-Key signatures, time signatures (meter) and instrument names will be
-written into the MIDI file, the latter as track names. This will have
-no effect whatsoever on audible output, but will affect on-screen
-appearance with some MIDI file players and editors.
-
-\medskip
-The instruments given in Table~\ref{tab:MIDIinstr} are a subset of
-``The General MIDI Instrument Specification''. Of course how they sound
-depends on your hardware and software. Instruments not listed below can
-still be used but must be specified by number
-(cf.~Table~\ref{tab:MIDIspecif}).
-
-\newcommand{\T}[1]{\texttt{#1}}
-\begin{table}[!htb] _{MIDI!instrument mnemonic names}
-\begin{tabular}{ll@{\qquad}ll@{\qquad}ll}
-\T{pi} & Acoustic Grand Piano & \T{vl} & Violin & \T{re} & Recorder \\
-\T{rh} & Rhodes Piano & \T{va} & Viola & \T{fl} & Flute \\
-\T{ha} & Harpsichord & \T{vc} & Cello & \T{ob} & Oboe \\
-\T{ct} & Clavinet & \T{cb} & Contrabass & \T{cl} & Clarinet \\
-\T{or} & Church Organ & \T{ab} & Acoustic Bass & \T{ba} & Bassoon \\
-\T{so} & Soprano Sax & \T{tr} & Trumpet & \T{ma} & Marimba \\
-\T{al} & Alto Sax & \T{fr} & French Horn & \T{gu} & Acoustic Nylon Guitar \\
-\T{te} & Tenor Sax & \T{tb} & Trombone & \T{vo} & Synth Voice \\
-\T{bs} & Baritone Sax & \T{tu} & Tuba & &
-\end{tabular}
- \caption{Mnemonics for instruments acceptable in {\PMX} }
- \label{tab:MIDIinstr}
-\end{table}
-
-\subsection{MIDI macros \protect\footnotemark}
-\footnotetext{{\PMX} normally does not allow tempo changes in MIDI macros.
- As of version 2.511, this restriction no longer holds; but it
- is designated as ``experimental''. So if you use it, be
- prepared for surprises! Naturally, Don Simons will certainly
- be interested to hear of your experiments.
- }
-
-\texttt{IM} initiates a MIDI macro operation. Although the syntax of a
-{\PMX} MIDI macro is analogous to that of regular {\PMX} macros
-(decribed in Section~\ref{sec:macros}), its function is different:
-\begin{enumerate}
- \item a MIDI macro cannot be saved (i.e.\ recorded without playing ---
- there is no command \texttt{IMS[}\emph{i}\texttt{]}),
- \item the code sandwiched between \texttt{IMR[}\emph{i}\texttt{]}
- (``start \textbf{r}ecord \textbf{M}IDI macro'') and \texttt{IM}
- (``end \textbf{M}IDI macro'') will be recorded as with a regular
- macro, but
- \item \texttt{IMP[}\emph{i}\texttt{]} (``\textbf{P}layback of
- \textbf{M}IDI macro \emph{i}'') will \emph{not insert anything
- in the written score}, it will merely replay in the MIDI output
- the number of bars defined by the macro.
-\end{enumerate}
-MIDI macros are needed for repeats or dacapos, as the {\PMX} coding for
-these features of a score merely provides the appropriate notation on
-paper, nothing else. MIDI Macros must have ID numbers between 1 and 20.
-Only one macro may be active at a time, recording or playing, but not
-both. Never try nesting or overlapping macros!
-
-\subsection{MIDI only accidentals} \label{sec:MIDIaccidentals}
-_{MIDI!accidentals} _{accidentals!MIDI}
-
-\begin{table}[!hbp]
-\begin{center} _{MIDI!General Instrument Specification}
- {\scriptsize
- \begin{tabular}{|ll|ll|ll|}
- \hline
- \bfseries 1-8 & \bfseries PIANO & \bfseries 9-16 & \bfseries CHROMAT. PERC. &
- \bfseries 17-24 & \bfseries ORGAN \\
- \hline
- 1 & Acoustic Grand Piano & 9 & Celesta & 17 & Drawbar Organ \\
- 2 & Bright Acoustic Piano & 10 & Glockenspiel & 18 & Percussive Organ \\
- 3 & Electric Grand Piano & 11 & Music Box & 19 & Rock Organ \\
- 4 & Honky-tonk Piano & 12 & Vibraphone & 20 & Church Organ \\
- 5 & Electric Piano 1 & 13 & Marimba & 21 & Reed Organ \\
- 6 & Electric Piano 2 & 14 & Xylophone & 22 & Accordian \\
- 7 & Harpsichord & 15 & Tubular Bells & 23 & Harmonica \\
- 8 & Clavinet & 16 & Dulcimer & 24 & Tango Organ \\
- \hline
- \bfseries 25-32 & \bfseries GUITAR & \bfseries 33-40 &
- \bfseries BASS & \bfseries 41-48 & \bfseries STRINGS \\
- \hline
- 25 & Acoustic Guitar (nylon) & 33 & Acoustic Bass & 41 & Violin \\
- 26 & Acoustic Guitar (steel) & 34 & Electric Bass (finger) & 42 & Viola \\
- 27 & Electric Guitar (jazz) & 35 & Electric Bass (pick) & 43 & Cello \\
- 28 & Electric Guitar (clean) & 36 & Fretless Bass & 44 & Contrabass \\
- 29 & Electric Guitar (muted) & 37 & Slap Bass 1 & 45 & Tremelo Strings \\
- 30 & Overdriven Guitar & 38 & Slap Bass 2 & 46 & Pizzicato Strings \\
- 31 & Distortion Guitar & 39 & Synth Bass 1 & 47 & Orchestral Strings \\
- 32 & Guitar Harmonics & 40 & Synth Bass 2 & 48 & Timpani \\
- \hline
- \bfseries 49-56 & \bfseries ENSEMBLE & \bfseries 57-64 &
- \bfseries BRASS & \bfseries 65-72 & \bfseries REED \\
- \hline
- 49 & String Ensemble 1 & 57 & Trumpet & 65 & Soprano Sax \\
- 50 & String Ensemble 2 & 58 & Trombone & 66 & Alto Sax \\
- 51 & Synth Strings 1 & 59 & Tuba & 67 & Tenor Sax \\
- 52 & Synth Strings 2 & 60 & Muted Trumpet & 68 & Baritone Sax \\
- 53 & Choir Aahs & 61 & French Horn & 69 & Oboe \\
- 54 & Voice Oohs & 62 & Brass Section & 70 & English Horn \\
- 55 & Synth Voice & 63 & Synth Brass 1 & 71 & Bassoon \\
- 56 & Orchestra Hit & 64 & Synth Brass 2 & 72 & Clarinet \\
- \hline
- \bfseries 73-80 & \bfseries PIPE & \bfseries 81-88 &
- \bfseries SYNTH LEAD & \bfseries 89-96 & \bfseries SYNTH PAD \\
- \hline
- 73 & Piccolo & 81 & Lead 1 (square) & 89 & Pad 1 (new age) \\
- 74 & Flute & 82 & Lead 2 (sawtooth) & 90 & Pad 2 (warm) \\
- 75 & Recorder & 82 & Lead 3 (calliope) & 91 & Pad 3 (polysynth) \\
- 76 & Pan Flute & 83 & Lead 4 (chiff) & 92 & Pad 4 (choir) \\
- 77 & Blown Bottle & 84 & Lead 5 (charang) & 93 & Pad 5 (bowed) \\
- 78 & Shakuhachi & 85 & Lead 6 (voice) & 94 & Pad 6 (metallic) \\
- 79 & Whistle & 86 & Lead 7 (fifths) & 95 & Pad 7 (halo) \\
- 80 & Ocarina & 87 & Lead 8 (bass+lead) & 96 & Pad 8 (sweep) \\
- \hline
- \bfseries 97-104 & \bfseries SYNTH EFFECTS & \bfseries 105-112 &
- \bfseries ETHNIC & \bfseries 113-124 & \bfseries PERCUSSIVE \\
- \hline
- 97 & FX 1 (rain) & 105 & Sitar & 113 & Tinkle Bell \\
- 98 & FX 2 (soundtrack) & 106 & Banjo & 114 & Agogo \\
- 99 & FX 3 (crystal) & 107 & Shamisen & 115 & Steel Drums \\
- 100 & FX 4 (atmosphere) & 108 & Koto & 116 & Woodblock \\
- 101 & FX 5 (brightness) & 109 & Kalimba & 117 & Taiko Drum \\
- 102 & FX 6 (goblins) & 110 & Bagpipe & 118 & Melodic Drum \\
- 103 & FX 7 (echoes) & 111 & Fiddle & 119 & Synth Drum \\
- 104 & FX 8 (sci-fi) & 112 & Shanai &120 & Reverse Cymbal \\
- \hline
- \bfseries 121-128 & \bfseries SOUND EFFECTS & & & & \\
- \hline
- 121 & Guitar Fret Noise & & & & \\
- 122 & Breath Noise & & & & \\
- 123 & Seashore & & & & \\
- 124 & Bird Tweet & & & & \\
- 125 & Telephone Ring & & & & \\
- 126 & Helicopter & & & & \\
- 127 & Applause & & & & \\
- 128 & Gunshot & & & & \\
- \hline
- \end{tabular}
- }
- \caption{The General MIDI Instrument Specification}
- \label{tab:MIDIspecif}
-\end{center}
-\end{table}
-
-In rare cases a special notation for accidentals is needed to guarantee
-that the MIDI output corresponds exactly to what is intended in the
-score. Cases in point are:
-\begin{description}
- \item[Repeated notes with accidentals:] the generally accepted rules
- of musical orthography, at least for tonal music, say that when
- two identical notes with accidentals occur in the same bar (and
- in the same voice, of course), only the first one is written with
- an explicit accidental; for the following notes the accidentals are
- implied (`inherited', in {\PMX} parlance).
-
- This rule is less clear when there is a bar line between two
- successive notes. Some composers -- in particular in the baroque
- era, where this notation is almost the default -- will assume the
- first note in the new bar to have `inherited' the accidental
- along with it, while others would insist on repeating the
- accidental, and still others would put a cautionary accidental
- over the first note of the new bar. {\PMX} takes the first
- position, and MIDI files generated by {\PMX} will reflect this
- attitude.
-
- {\PMX} users with a different attitude could thus find their
- intention misrepresented in the MIDI output.
-
- \item[Editorial/dubious accidentals:] in editing an historical piece,
- a conscientious editor will provide information about
- dubious points, but she nevertheless, in creating a MIDI file,
- might want to assert her own position.
-\end{description}
-For these and similar applications {\PMX} provides the \emph{MIDI only
-accidentals}. These are written and used like normal accidentals,
-except with an `\texttt{i}' added . Such accidentals are
-effective \emph{only in the MIDI output}; they are disregarded in the
-printed score.
-
-This is particularly useful when you want to override the MIDI
-``baroque default'' described above. To understand the ``baroque
-default'' clearly, consider the example given in
-Fig.\ref{fig:MIDIbaroquedefault} , where the {\PMX} coding is given
-directly below the system:
-
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/MIDIbaroque.eps}
- \caption{The ``baroque default'', and overriding it with MIDI
- only accidentals}
- \label{fig:MIDIbaroquedefault}
- \end{center}
-\end{figure}
-\noindent
-Now compare the printed score with the MIDI version -- provided
-\href{http://www.itp.uni-bremen.de/~noack/MIDI.mid}{here} for your
-convenience --, and you can hear the differences explicitly\,%
-\footnote{It is also instructive to note the MIDI implementation of
- slurs and ties generated by {\PMX} here (Cf.\ the list of MIDI
- restrictions on p.\pageref{p:midi}).
- }.
-
-\medskip
-Another example for the use of MIDI only accidentals is given in
-Fig.\ref{fig:MIDIaccidentals}:
-\begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.82]{eps/MIDI.eps}
- \end{center}
- \caption{Further use of MIDI only accidentals}
- \label{fig:MIDIaccidentals}
-\end{figure}
-\begin{itemize}
- \item MIDI plays the first $C$ in bar 2 as a $C\sharp$. The editorial
- $\natural$ over the second $C$, however, suggests that
- $C\natural$ was intended (at least from here on), so the MIDI
- accidental \texttt{in} is appended to that $C$,
- \item the final $F$ (in bar 5) suggested to the editor that we are
- moving towards F major here, and thus the $B$ in bar 3 should
- actually have been a $B\flat$. By bar 4 the assumption is
- confirmed, and so he changes the `dubious' accidental to an
- editorial one, and the MIDI only accidental \texttt{fi} is appended
- to that $B$.
-\end{itemize}
-
-\section{Lyrics} \label{sec:lyrics}
-_{\texttt{musixlyr.tex}} _{\textbf{musixlyr}}
-_{lyrics|see{\textbf{musixlyr}}}
-
-{\PMX} has no special provisions for lyrics. One way to include them is
-by using the macro package \texttt{musixlyr.tex} developed by Rainer
-Dunker. It introduces lyrics into {\TeX} more easily than with
-{\MusiXTeX}'s own facilities. The macros could be entered as inline
-{\TeX} directly into the \texttt{.pmx} file, but most would prefer the
-convenient interface to \textbf{musixlyr} via the program {\MTX}
-developed by Dirk Laurie (cf.~Section~\ref{sec:MTX}).
-_{\MTX} _{Laurie, Dirk} _{Dunker, Rainer}
-
-_{accented letters in lyrics}
-
-If you have foreign-language lyrics, you may run into the problem of
-accented letters. Straight {\TeX} does not provide these directly, as
-the modern font encoding schemes used by {\LaTeX} do.
-_{Vogel, Olivier}
-However, Olivier Vogel has developped a method with which to use these
-encoding schemes with {\MTX}/{PMX}/{\MusiXTeX}. For details you should
-look at his contribution on this in the
-\href{http://icking-music-archive.org/software/pmxtricks/tricks.html}%
- {Tricks and Tricks}
-section in the WIMA, or contact Olivier directly: \quad
-\raisebox{-0.8ex}{\includegraphics[scale=0.6]{addresses/ovogel} }
-
-\section{{\PMX} and {\LaTeX} } \label{sec:LaTeX}
-_{\LaTeX}
-
-{\LaTeX} (``A Document Preparation System''), although written for a
-very different purpose, has a lot in common with
-{\PMX}: it is a (huge) set of {\TeX} macros that allows to solve
-complicated layout problems without the need to dive into the --
-sometimes arcane -- depths of {\TeX} itself. So {\LaTeX} simplifies the
-use of {\TeX} for the non-{\TeX}pert in much the same way that {\PMX}
-does for {\MusiXTeX}.
-
-\medskip
-So it would certainly be wonderful to have the best of two worlds: merge
-{\LaTeX} and {\PMX}. The problems with that (or merging {\LaTeX} and
-{\MusiXTeX}, for that matter) are threefold:
-\begin{enumerate}
- \item {\PMX} deals with many of the layout aspects of a musical score
- on its own (such as width of systems, line breaks, page breaks
- etc.), and with techniques that are not really compatible with
- those of {\LaTeX}.
- \item {\MusiXTeX} / {\PMX} and {\LaTeX} make heavy use of
- {\TeX}'s ressources, both in memory and registers, and together
- they may strain these ressources beyond their usual limit.
- \item both {\MusiXTeX} / {\PMX} and {\LaTeX} use many special
- command definitions, often enough incompatible with one another.
-\end{enumerate}
-
-While with modern implementations of ressources are no longer a serious
-problem, the incompatibility problems are, and their resolution would be
-a major programming task. So there have, to this day, not been any
-serious efforts to provide a truly merged version of {\LaTeX} with
-{\PMX}.
-
-\bigskip
-There are, however, several methods to use {\LaTeX} and {\PMX} in
-(partial) ``coexistence'':
-\begin{enumerate}
- \item _{\LaTeX!with short musical scores} _{short scores}
- The best way to include short scores, of less than one printed
- page, in a {\LaTeX} document is to
- \begin{enumerate}
- \item _{PostScript}
- produce the musical score with {\PMX} -- {\MusiXTeX}
- -- \textbf{dvips} in the way described in this tutorial.
- The end product is a PostScript file,
- \item _{encapsulated PostScript file}
- _{\texttt{.eps} file|see{encapsulated PostScript file}}
- make an \texttt{.eps} (``encapsulated PostScript'')\,%
- \footnote{In general, this is possible for
- single-page PostScript files only.
- }
- file from the \texttt{.ps} with one of the standard
- tools, e.g.~\textbf{ghostview},
- \item include this \texttt{.eps} file in the {\LaTeX}
- document with the {\LaTeX} \bs\texttt{includegraphics}
- command, e.g. \\[-1ex]
- \hspace*{\fill}\verb#\includegraphics[scale=0.58]{sample.eps}#
- \hspace*{\fill} .
- \end{enumerate}
- This is the method with which the present tutorial was produced.
- \item _{\textbf{musixltx}} _{\LaTeX!\textbf{musixltx}}
- use the {\LaTeX} package \textbf{musixltx}, together with
- {\MusiXTeX}\,%
- \footnote{\textbf{musixltx} is part of the standard
- distribution of the {\MusiXTeX}~\texttt{1.15} package.
- }.
- The {\MusiXTeX} code is then sandwiched between the start and
- end of a specific environment:
- \begin{center} \vspace*{-2ex}
- \verb#\begin{music}# \dots \verb#\end{music}# .
- \end{center}\noindent
- For more detail on this method see the
- {\MusiXTeX} manual by Daniel Taupin. _{Taupin,
- Daniel}
-
- \medskip
- But be aware of the fact that the \texttt{.tex} files produced
- by {\PMX} contain a number of incompatibilities with {\LaTeX}.
- So if you want to use the \textbf{musixltx} package together
- with {\PMX}, you may have to comment out a few lines in the
- \texttt{.tex} file --- by hand, unfortunately. For that reason,
- the \textbf{musixltx} package usually works well with {\PMX}
- only in rather simple cases. An example of how to proceed can
- be found in the WIMA: \\
- \hspace*{\fill}
- \href{http://icking-music-archive.org%
- /software/musixtex/add-ons/pmx-l2e.tex}%
- {\texttt{http://icking-music-archive.org/%
- /software/musixtex/add-ons/pmx-l2e.tex}}
- \hspace*{\fill} \\
- \item _{\LaTeX!\textbf{mtxlatex}} _{\LaTeX!e\TeX}
- _{\LaTeX!interface with \PMX} _{Laurie, Dirk} _{\MTX}
- Dirk Laurie, the author of {\MTX}, has developped a
- {\LaTeX} package, \textbf{mtxlatex}. It is is part of the
- \href{http://icking-music-archive.org/software/mtx/mtx060.pdf}%
- {{\MTX} 0.60b distribution}, available from the WIMA, and can be
- considered a successor to the \textbf{musixltx} package
- described above. An outstanding feature of this package is that
- it interfaces quite well with {\PMX}; so this is usually the
- method of choice in cases where you want to include longer
- music scores in a long text such as a book. Detailed
- instructions on how to use this package are contained in the
- {\MTX} manual.
-
- When
- using \textbf{mtxlatex}, be sure to
- include the \textbf{mtxlatex} package as the
- \emph{first} package in the {\LaTeX} source file.
-\end{enumerate}
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% PMX tutorial by ccn / chapter D starts here:
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\chapter{Limitations, error messages, and bugs}
-\section{Limitations} \label{sec:limits}
-_{limitations}
-
-For simplicity in writing the program, {\PMX} has numerous variables
-with fixed dimensions. In most cases there are no checks against these
-limits, so occasionally there may be hangups due to exceeding a
-dimension.
-
-\medskip
-The limits of the variables given in Tables~\ref{tab:softlimits} and
-\ref{tab:hardlimits} fall in two distinct classes, named ``soft'' and
-``hard'' limits to distinguish them:
-\begin{enumerate}
- \item soft limits can be increased fairly easily: all it takes (sic!)
- is to change the dimensions in the FORTRAN source of
- _{\texttt{pmxab.exe}} \texttt{pmxab.exe} (the {\PMX} program)
- accordingly, and recompile,
- \item hard limits, on the other hand, could only be increased with
- more or less elaborate reprogramming
- \footnote{Often these hard limits are a consequence of
- features of {\MusiXTeX} and thus cannot be changed
- without changes in {\MusiXTeX}.
-
- Note, however, that this character count
- \emph{includes all empty spaces before the final
- character} (such as \texttt{/}) at the end of an
- input line. If -- for better readability, e.g.\ --
- you are in the habit of aligning these end-of line
- characters, being more stingy on the resulting blanc
- characters often helps to stay within the limit.
- }
- (or at least recompiling the source code), so for all practical
- purposes they are unchangeable.
-
-\end{enumerate}
-In both cases, however, it will usually be possible to work within
-existing limits by breaking the input into smaller blocks. Consider that
-solution before asking Don Simons for changes to the {\PMX} source code,
-or attempting such changes yourself! _{Simons, Don}
-
-\begin{table}[!htb]
-\begin{center}
-_{limitations!soft limits}
-\begin{tabular}{l@{\quad:\quad}r}
-characters per input line & 128 \\
-staves & 24 \\
-voices per staff & 2 \\
-voices per system & 24 \\
-systems & 125 \\
-bars & 600 \\
-forced line breaks & 40 \\
-forced page breaks & 10 \\
-key changes & 18 \\
-pages & 20 \\
-notes per input block & 600 \\
-bars per input block & 15 \\
-slurs per input block & 101 \\
-figures (figured bass) per input block & 74 \\
-grace note groups per input block & 37 \\
-notes in grace note groups per input block & 74 \\
-inline {\TeX} strings per input block & 52 \\
-volte per input block & 6 \\
-trills per input block & 24 \\
-chordal notes (non-spacing) per input block & 62 \\
-beams per voice per bar & 8 \\
-forced beams per voice per input block & 40 \\
-clef changes per voice per input block & 10 \\
-notes per beam & 24 \\
-notes per xtuplet & 24 \\[-3ex]
-\end{tabular}
-\end{center}
- \caption{Numerical limits of {\PMX} variables (soft limits)}
- \label{tab:softlimits}
-\end{table}
-
-\vfill
-\begin{table}[!htbp]
-
-\noindent
--------------------------------------------------
-\begin{center}
-_{limitations!hard limits}
-\begin{tabular}{l@{\quad:\quad}r}
-total number of characters in source file & 65~536 ($2^{16}$) \\
-\bs{\tt notes} groups (total) & 2000 \\
-\bs{\tt notes} groups per bar & 20 \\
-inserted standard anti-collision spaces
- (not xtuplet or end-of-bar) per bar & 20 \\
-inserted anti-collision spaces within xtuplets per bar & 20 \\
-inserted anti-collision end-of-bar hardspaces per system & 19 \\
-inserted anti-collision end-of-bar hardspaces (total) & 83 \\
-inserted standard anti-collision spaces per system & 400 \\
-inserted anti-collision spaces within xtuplets per system & 100 \\
-inserted standard anti-collision spaces & 1000 \\
-inserted anti-collision spaces within xtuplets & 200 \\
-bytes of MIDI output data per line of music & 24576
-\\[-3ex] \end{tabular} \end{center} \caption{Numerical limits of {\PMX}
-variables (hard limits)} \label{tab:hardlimits} \end{table}
-
-\section{{\PMX}'s error messages} \label{sec:errormsg}
-_{error messages}
-
-When run on, say, \verb#my_opus.pmx#, {\PMX} will always generate two
-files in the working directory, \verb#my_opus.pml# and
-_{\texttt{pmxaerr.dat}} \texttt{pmxaerr.dat}. \verb#my_opus.pml# is a
-log file, and \verb#pmxaerr.dat# contains a single integer: 0 if the run
-was successful, otherwise the line number in the source file
-\verb#my_opus.pmx# of the fatal error (useful for batch processing).
-Also, on successful completion, \verb#my_opus..tex# will be placed in
-the path specified in the preamble.
-
-\medskip
-Usually, when there is an error, {\PMX} will give you a pretty good
-explanation\,%
-\footnote{Note that sometimes an error message will use a name for a
- preamble numerical parameter that differs from that used in
- this tutorial --- but it usually is easily recognized.
- \label{p:errormsg}
- }.
-There are some cases, however, in which the error message will be issued
-not by {\PMX}, but by the FORTRAN compiler directly, and it may look
-very cryptic to you. An infamous example is:
-\begin{center} \vspace*{-1ex} \begin{verbatim}
- forrtl: severe (24): end-of-file during read, unit 10
-\end{verbatim} \vspace*{-1ex} \end{center}
-Such messages are almost always caused by an extra line in your source
-file that shouldn't be there, so experiment with deleting lines towards
-the end of your file!
-
-\section{Bugs}
-_{bugs}
-
-As was mentioned before, {\PMX} is continuously maintained and improved
-by Don Simons, and there is a very active group of {\PMX} users. Thus
-there is no serious bug known (as of Version 2.514) that hasn't been
-fixed. _{Simons, Don}
-
-\medskip
-If you think you have discovered a new bug, don't hesitate to send a
-message to the TeX-music users' list:
- \raisebox{-1.0ex}{%
- \includegraphics[scale=0.72]{addresses/texmusiclist}
- }$\!\!$%
-\footnote{Almost all reported ``bugs'' turn out to be misunderstandings.
- So if you state politely that you \emph{think} you may have
- found a bug, and ask for help, you will avoid irate replies of
- the ``RTFM'' species.
- }.
-The same is true if you have a problem with {\PMX} that you simply cannot
-solve by yourself, even though you suspect that it's \emph{not} a bug:
-don't hesitate to ask!
-
-\subsection{A Benign Bug} \label{sec:bug}
-When {\TeX}ing the output of {\PMX} you will usually get an
-\texttt{Underfull \bs vbox} message at the end of each page. This is
-due to {\PMX} inserting \verb#\eject# at the end of every page, which
-automatically spaces the systems vertically without having to fiddle
-with \verb#\staffbotmarg#. As far as is known, the warning is benign,
-and may be ignored.
-
-\vfill
-\vspace*{\fill}
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% PMX tutorial by ccn / chapter E starts here:
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\chapter{Tricks of the Trade} \label{sec:tricks}
-
-\section{Simple tricks}
-
-\subsection{Special coding in L'Incoronazione di Poppea}
-_{figured bass!continuation}
-
-Bar 17 in Fig.~\ref{fig:poppea} requires an explanation: the
-continuation figure appears under the \verb#5#, but the these two
-figures are coded as \verb#x145 x12\_00.2# . Why not \verb#x14500.2# ,
-giving them both the same horizontal offset? That is because the
-continuation figure always starts 0.3 \verb#\noteskip#s to the
-\emph{left} of the associated note's position. This works well in most
-normal situations. But here \verb#\noteskip# is large,based on the
-dotted half, while the desired length is short, so in fact the left
-offset of the starting point is even larger than the desired length.
-Consequently the entry point of the continuation figure has to be offset
-by a half note to make it appear offset by a quarter note.
-
-\subsection{Text after final system}
- _{text!after final system}
-Suppose you want to add some text, Or any other {\TeX} material,
-after the final system of a score. How can you include that in the
-{\PMX} file?\,%
-\footnote{This question was posted to the {\TeX}-music list by Herrmann
- Hinsch. _{Hinsch, Herrmann}
- }
-
-The answer, given by Christian Mondrup, is instructive:
-\begin{enumerate} _{Mondrup, Christian}
- \item Write the text to a separate file, say
- \verb#Myendnotes.tex# ,
- \item Insert
- \begin{center}\begin{verbatim}
- \let\Endpiecesav\Endpiece
- \def\Endpiece{\Endpiecesav\input Myendnotes}
- \end{verbatim}\end{center}
-\end{enumerate}
-in the header of the {\PMX} source file, i.e.\ as a Type 4 inline {\TeX}
-command (cf.\ Sec.~\ref{sec:inlinetypefour}). You can see that the
-redefinition of {\TeX} commands, if done carefully, can be a rather
-powerful tool.
-
-\medskip _{\LaTeX!interface with \PMX} _{\textbf{mtxlatex}}
-Another solution to this problem is to use the {\LaTeX}/{\PMX}
-interface \textbf{mtxlatex} (cf.~\ref{sec:LaTeX}); this may be
-simpler in cases involving more complicated layout.
-
-\subsection{Clef octaviation} \label{sec:clefoctaviation}
-_{octaviation}
-
-As was noted in Section~\ref{sec:octaviation}, {\PMX} does not
-presently provide a notation for octaviation; but native {\MusiXTeX}
-does; cf.~the {\MusiXTeX}~\texttt{1.15} manual, Sec.~2.11 for details.
-
-\medskip
-Consider, for example, bar 155 of the $2^\text{nd}$ movement of
-Beethovens piana sonata op.\ 111 :
-
-\begin{center}
-\includegraphics[scale=.82]{eps/beethoven0.eps} \\[2ex]
- ------------------------------------------
-\begin{minipage}{360pt}
-\small
-\begin{verbatim}
-\\interstaff{13}\
-w170m
-Abepl
-%
-[ e83d ze+ e8- ze+ sl c1- zc+ sl ] c8d-l zc+ | Rb /
-[l c15x3n g+ c b1-x3n g+ b c1-x3n g+ c ]
-[l gs1x3n b gs+ g1-x3n b e a1-x3n e+ a ]
-[l a-1x3n e+ a g1-x3n e+ g a1-x3n e+ a ] | /
-%
-\end{verbatim}
-\end{minipage}
-\end{center}
-In most editions, you will find the figures in the right hand in the
-second and third three beats written in octaviation notation:
-\begin{center}
-\includegraphics[scale=.82]{eps/beethoven1.eps} \\[2ex]
-\end{center}
-which is clearly easier to read. This octaviated version was produced by
-the following {\PMX} code:
-\begin{center}
-\begin{minipage}{360pt}
-\small
-\begin{verbatim}
-\\interstaff{13}\
-w170m
-Abepl
-\\def\octnumber{8$^{va}$}\
-%
-[ e83d ze+ e8- ze+ sfu c1- zc+ sfu ] c8d-l zc+ | Rb /
-[l c15x3n g+ c b1-x3n g+ b c1-x3n g+ c ]
-\Ioctfinup1d\ [l g-s1x3n b gs+ g1-x3n b e a1-x3n e+ a ]
-[l a-1x3n e+ a g1-x3n e+ g a1-x3n e+ a ] \toctfin1\ | /
-%
-\end{verbatim}
-\end{minipage}
-\end{center}
-
-The octaviation is started with the Type 1 inline {\TeX} symbol
-\verb#\Ioctfinup1d\# and ended with \verb#\toctfin1\# ; the
-transposition downward is, of course, generated in the standard {\PMX}
-way by writing \verb#g-s1x3n# instead of \verb#gs1x3n# . By default,
-{\MusiXTeX} will start the octaviation symbol with a simple \texttt{8};
-this is changed to 8$^{va}$ by the Type 2 inline {\TeX} symbol given in
-the preamble.
-
-\medskip
-\Note{When using this octaviation notation in a score, do not try to
- produce a MIDI file for that score: it will come out faulty
- }
-
-\section{More tricks}
-The above examples are actually rather simple cases of the use of inline
-{\TeX}, not really ``tricks''~; they have been included here for you to
-`warm up' to doing such things yourself. But there are many
-further-reaching tricks to overcome shortcomings of {\PMX} ---
-some truly ingenious. Here are a few of general interest:
-
-\subsection{Changing vertical positioning of instrument name}
-\label{sec:shiftname} _{\textbf{scor2prt}!use of Ti}
-_{\textbf{scor2prt}!adjusting instrument name}
-
-When making parts from a score with \textbf{scor2prt}, you will
-sometimes find the adjustment of the vertical position of the instrument
-name not to your liking. In particular, if you have a tempo indicated in
-a line of text above the first system (e.g.~``allegro''), you may find
-that the instrument name of some (but not all) parts collides with the
-tempo indication. How can you fix that?
-
-\medskip _{\textbf{scor2prt}!usage} _{Van Ryckeghem, Andre}
- _{instruments!names} _{comments!usage with \textbf{scor2prt}}
-A practical solution of this problem has been given recently by Andre
-Van Ryckeghem. It is quite instructive to see in this example how
-the mechanism of handing over commands to \textbf{scor2prt} operates:
-
-Suppose that you are writing a string quartet, and the relevant part of
-the preamble and header in the score are:
-\begin{small}\begin{verbatim}
-...
-Violoncello
-Viola
-Violine II
-Violin I
-batt
-./
-h
-Allegro
-Abpl
-...
-\end{verbatim}\end{small}
-
-After running \textbf{scor2prt}, you find that the allegro command is
-positioned the way you want it, but the cello name collides fully, and
-the Violino II slightly, with the ``allegro''. Therefore you want to
-raise the cello by \texttt{3ex}, the Violin II by \texttt{1.5ex} . To do
-so, replace the above part of the preamble and header in the score by
-\begin{small}\begin{verbatim}
- ...
- %% Violoncello
- %1 \raise+3ex \hbox{Violoncello}
- Viola
- %%
- Violin II
- %3 \raise+1.5ex \hbox{Violin II}
- Violin I
- batt
- ./
- h
- Allegro
- Abpl
- ...
-\end{verbatim}\end{small}
-All the comment lines are disregarded in compiling the score; but in the
-\texttt{.pmx} file for the cello, you will find
-\begin{small}\begin{verbatim}
- Ti
- \raise+3ex \hbox{Violoncello}
- b
- ./
- h
- Allegro
- Abpl
- ...
-\end{verbatim}
-and in the part for the second Violin
-\begin{verbatim}
- Ti
- \raise+1.5ex \hbox{Violin II}
- t
- ./
- h
- Allegro
- Abpl
- ...
-\end{verbatim}\end{small}
-which does what you want.
-
-\vspace*{3cm}
-\subsection{Xtuplets ending with a rest}
- \label{sec:Xtuplets ending with a rest}
- _{xtuplets!ending with a rest}
-
- As was pointed out in Section~\ref{sec:xtuplets}, \PMX\ does not
- allow a rest as the last note in an xtuplet.
-
- \medskip
- Can one find a way to circumvent this restriction? A pedestrian,
- awkward way around might be this: remembering that \PMX\ is a
- preprocessor for MusiXTeX, and in a second pass \TeX\ processes the
- \PMX\ output, one could simply enter some arbitrary note in place of
- the desired rest, run \PMX\ , and then in the resulting \TeX\ file
- replace the arbitrary note \emph{manually} by the appropriate
- {\MusiXTeX} rest symbol \emph{before} running the file through \TeX\
- for the the 2nd pass.
-
- This semi-solution however, has two major drawbacks:
- \begin{enumerate}
- \item it takes a certain amount of aquaintance with basic MusiXTeX,
- so this is not for everyone;
- \item more dangerously, this hack goes away if and when you
- rerun \PMX\ ! So if you are still in the middle of a
- development, you may find yourself redoing the hack over and
- over, which could quickly become a real nuisance.
- \end{enumerate}
-
- Luckily, for xtuplets with stand-alone notes there now exists a real
- solution: an ingenious, generally usable inline {\TeX} method --
- developped by Don Simons -- solves the problem completely for
- unbeamed xtuplets. Here is a simple example with two such triplets:
- \begin{center}
- \includegraphics[scale=.82]{eps/triplerest.eps} \end{center}
- \newpage And this is the \PMX\ source text that creates these staves:
-
-------------------------------------
-\begin{verbatim}
-2 2
-2 4 0 0
-0 0
-0 3 20 0.12
-
-
-tt
-./
-w100m
-\\def\qpforqu{\let\qut\qu\def\qu##1{\qp\zcharnote{##1}{~}\let\qu\qut}}\
-\\def\dsforcu{\let\cut\cu\def\cu##1{\ds\zcharnote{##1}{~}\let\cu\cut}}\
-
-e4ax3 \dsforcu\ e \dsforcu\ e e4ax3 \qpforqu\ eD /
-e4ax3 e e e4ax3 eD /
-\end{verbatim}
-------------------------------------
-
-As you can see, there are two inline commands of type 2, which are
-therefore effective throughout the file (from where they are first
-entered), then followed by two standard \PMX\ lines; the lower one (the
-top staff) of these has the standard triplets, as demonstration, while
-the upper one (bottom staff) shows the corresponding triplets with ending
-rests.
-
-The two inline \TeX\ commands produce the type of rest: \verb#\dsforcu#
-stands for a quarter rest, and \verb#\qpforqu# for a half rest. Note
-that these inline \TeX\ commands not only provide the correct graphics,
-but \PMX\ considers them to have the corresponding duration values! So
-if you use wrong ones, \PMX\ will complain in the usual way.
-
-\medskip
-Explaining the inline {\TeX} commands in detail would go beyond the
-scope of this tutorial. But if you know some of the MusiXTeX
-terminology, you will recognize that these commands conform to the
-MusiXTeX names for quarter and half notes etc.\,%
-\footnote{This knowledge may be useful if you want to produce more
- complicated xtuplets with ending rests than the simple
- examples given here. The new {\MusiXTeX}~\texttt{1.15} manual
- may be helpful in such cases. If that doesn't help: consult a
- {\MusiXTeX}pert!
- }
-
-The inline commands are then each followed by a dummy note. Usually it
-is a good (and safe) habit to use the same note name as the last real
-note in the xtuplet; but any {\PMX} note name is valid; variations can
-produce surprising, but possibly useful grahical results. So if you feel
-up to it, you can play with such variations!
-
-\subsection{Shorthand notation for consecutive quavers}
- _{Van Ryckeghem, Andre} _{shorthand!for quavers} _{eighths}
- _{quavers|see{eighths}}
- _{shorthand!for quavers|see also tremolo}
- Often, in accompanying voices, in particular, there are several
- repeated quavers (eighth notes), e.g.~4 quavers to a half note. There
- is a commonly used shorthand notation for this that helps
- sight-reading enormously: a half-note, with a line through its stem,
- indicating the quavers.
-
- Fig.~\ref{fig:JChrBach} shows the beginning of the cello part of a
- Joh.\ Chr.\ Bach quartet. In this example an inline {\MusiXTeX} macro
- (devised by Andre Van Ryckeghem) provides this shorthand.
-
-\begin{figure}[!htb]
- \begin{center}
-\includegraphics[scale=.82]{eps/JChrBach.eps} \\[2ex]
- ------------------------------------------
-\begin{minipage}{380pt}
-\small
-\begin{verbatim}
-%----------------%
-%
-% JCBach.pmx
-%
-%----------------%
-%
----
-\let\husav\hu\
-\let\hlsav\hl\
-\def\FE{\def\hl##1{\let\hu\husav\let\hl\hlsav%
- \relax{\advance\transpose2\loffset{0.5}%
- {\ibl0{##1}9}\roffset{0.5}{\tbl0}}\ha{##1}}%
- \def\hu##1{\let\hu\husav\let\hl\hlsav%
- \relax{\advance\transpose-3\loffset{0.5}%
- {\ibu0{##1}9}\roffset{0.5}{\tbu0}}\ha{##1}}%
- }
----
-%
-1 1 4 4 0 6 1.00 -2
-0 8 16 0.1
-%
-Violoncello
-b
-./
-Abpl
-r4 | b83 Dmf b b b \FE\ b2 | \FE\ a2 a8 a b b |
-\FE\ e2- e8 e f f | \FE\ b2- Dp \FE\ b2 |
-\FE\ b2 \FE\ b2 | \FE\ b2 Df b8 [ b Dp b b ] |
-\FE\ b2 \FE\ b2 Rd /
-\end{verbatim}
-\end{minipage}
- \end{center}
- \caption{\textbf{J.Chr.\ Bach}, Quartet in B Major
- (beginning of cello voice)}
- \label{fig:JChrBach}
-\end{figure}
-
- \medskip _{semiquavers|see{sixteenths}} _{sixteenths}
- _{shorthand!for semiquavers}
- If you want such a shorthand for semiquavers (sixteenth notes), you
- need to consult the {\MusiXTeX}~\texttt{1.15} manual: you will find
- that all you need to do is to replace \bs\texttt{ibl0} and
- \bs\texttt{ibl0} by \bs\texttt{ibbl0} and \bs\texttt{ibbl0} , resp.
-
-
-\subsection{Varying the stave sizes} \label{sec:varstaves}
-_{figured bass!varying staves sizes} _{\texttt{curly.tex}}
-_{staves!varying size}
-
-In modern editions of works with basso continuo e.g., the implementation
-of the bass, as suggested by the editor, is often given in a staff using
-a smaller size. {\MusiXTeX} does not support such a possibility.
-
-\medskip _{Molekwa, Mthimkhulu}
-Fortunately, Mthimkhulu Molekwa has written two macros that provide
-alternative solutions of this problem that are often sufficient. The
-first, \verb#musixbar.tex#, which is included in {\MusiXTeX},
-allows you to easily define a set of staves (the two bottom ones, in the
-case of a basso continuo) that have common bar lines joining these
-staves \emph{and only these}\,%
-\footnote{Normally, {\MusiXTeX} will draw common bar lines for
- \emph{all} staves or for \emph{none}.
- }.
-
-\medskip
-The second macro, named \verb#curly.tex#\,%
-\footnote{\texttt{curly.tex}, if not included in your
- {\MusiXTeX} installation, is available in the ``add-ons''
- software section of the WIMA.
- },
-provides a brace as an accolade of a set of staves\,% to be grouped
-to\-gether\,%
-\footnote{{\MusiXTeX} provides only the choir-type square accolades. For
- the practical usage of \texttt{curly.tex} see the Caccini
- example in the appendix, Fig.~\ref{fig:caccini}.
- }.
-
-\medskip
-Suppose we want to set a sonata for violin and basso continuo with
-{\PMX}. There will be three staves: at the bottom the basso continuo
-proper, then immediately above it, and grouped together with a brace
-accolade (in a smaller size), its implementation, and above these the
-violin staff.
-
-To get this, do the following:
-
-\begin{itemize}
- \item indicate in the preamble the number of instruments,
- \emph{three} in this case!
- \item add a Type 4) {\TeX} inline command at the beginning of
- the file, invoking the macros
- \verb#musixbar.tex# and \verb#curly.tex#, e.g.\,%
-\footnote{The {\MusiXTeX} command
- \texttt{$\backslash$sepbarrules$\backslash$} sets the vertical
- bar to be discontinous, i.e.\ \emph{not} extend across
- different staves.
- }
-
- \vspace*{-2ex}
- {\small
- \begin{verbatim}
- ---
- \let\:=\relax\input musixtex\:\sepbarrules\input pmx
- \input musixbar\input curly
- ---
- \end{verbatim}
- }
-
- \vspace*{-5ex}
- \item insert the following {\TeX} inline commands in the header of
- the {\PMX} input file:
-
- {\small
- \begin{verbatim}
- \\\indivbarrules\sepbarrule3\
- \\setsize2\smallvalue\curlybrackets{{1}{2}}\
- \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{9}\
- \end{verbatim}
- }
-
-
- \vspace*{-3ex}
- The command \verb#\interstaffsav{9}\# determines the extension
- of the brace (and can be adjusted). The command
- \verb#\\\indivbarrules\sepbarrule3\# says that the third staff,
- that for the violin, has its own discontinuous bar line, not
- joined with the other two.
-
- The second line contains two commands:
- \verb#\\setsize2\smallvalue# sets the size of staff 2 to be
- smaller, and \verb#\curlybrackets{{1}{2}}\# says which staves
- are to be accoladed, i.e.\ joined by the brace.
-\end{itemize}
-The file \verb#curly.tex# must, of course, be in a directory where
-{\PMX} and {\TeX} can find it, viz.\ either in the current directory or
-in one in which the other {\MusiXTeX} files are stored.
-
-\subsection{Stuff in front of the clefs of the first system}
- _{inline \TeX!special trick} _{Vogel, Olivier}
- _{\textbf{musixlyr}} _{\MusiXTeX!\bs\texttt{setclefsymbol}}
-And finally, to show you what is possible, here is a special example of
-using inline {\TeX}: it was contributed to the {\MusiXTeX} users' list
-by Olivier Vogel. Here is the literal text of his contribution,
-with the result shown in Fig.~\ref{fig:bruckner}:
-
-\medskip
-\begin{center}\begin{minipage}{380pt}
-Dear all,
-
-\medskip\noindent
-I've got a score of ``\emph{Locus iste}'' by Bruckner, which begins with
-the indication of the range of voices. I tried to reproduce the result,
-and share with you my solution, since it seems to me to be an
-interesting trick.
-\begin{small}\begin{verbatim}
----
-\input musixtex
-\input musixlyr
-\setlyrics{soprano}{%
-Lo-cus i-ste a De-o fa-ctus est lo-cus i-ste a De-o %
-fa-ctus est, a De-o, De-o fa-ctus est in-ae-sti-ma-bi-le}
-\copylyrics{soprano}{alto}
-\copylyrics{soprano}{tenor}
-\copylyrics{soprano}{basse}
----
-4 4 4 4 0 6 0 0 1 2 20 0.04
-
-bttt
-./
-B
-Abd
-h180m
-%1-2
-\\staffbotmarg3\Interligne\
-\\setclefsymbol{2}{\treblelowoct}\
-\\groupbottom{1}{1}\grouptop{1}{4}\
-\\sepbarrules\
-\\startmuflex\indent\hskip-\parindent\hbox{\vbox{\hsize=\parindent\
-\\setclefsymbol{1}{\empty}\setclefsymbol{2}{\empty}\
-\\setclefsymbol{3}{\empty}\setclefsymbol{4}{\empty}\
-\\grouptop{1}{0}\nostartrule\generalmeter{}\parindent=0pt\
-\\startpiece\hardspace{2pt}\notes\zq{F}\nq{''C}&\zq{c}\nq{'e}&\
-\\zq{N}\nq{'b}&\zq{b}\nq{'g}\en\zstoppiece}}\
-\\\assignlyrics{1}{basse}\assignlyrics{2}{tenor}\
-\\\assignlyrics{3}{alto}\assignlyrics{4}{soprano}\
-...
-\end{verbatim}\end{small}
-(The regular {\PMX} encoding of the music follows).
-\end{minipage}\end{center}
-
-\begin{figure}[!htb]
- \begin{center}
-\includegraphics[scale=.82]{eps/bruckner.eps} \\[2ex]
- \end{center}
- \caption{\textbf{A.\ Bruckner}, \emph{Locus iste} }
- \label{fig:bruckner}
-\end{figure}
-
-\pagebreak
-
-\vspace*{10ex}
-If you encounter a tricky {\PMX} problem that you think is of general
-interest, so that it may have been solved by someone else already,
-a good place to search is the
-\href{http://icking-music-archive.org/software/pmxtricks/tricks.html}%
- { {\PMX} `Tips and Tricks'} section of the WIMA.
-
-\medskip
-And if you have found a nice trick yourself, don't hesitate to
-share it via the TeX-music users' list. Perhaps it can be included in
-`Tips and Tricks' !
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% PMX tutorial by ccn / chapter F starts here:
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\chapter{An Extension of {\PMX}: {\MTX}} \label{sec:MTX}
-_{\MTX} _{Laurie, Dirk}
-
-Although {\PMX} is already vastly simpler to use than {\MusiXTeX},
-anything can be improved. So Dirk Laurie
-_{Laurie, Dirk}
-set out to simplify {\PMX} even further, and thus created {\MTX}.
-
-\medskip
-{\MTX} is actually a preprocessor to {\PMX}. Its input is a file with
-extension \verb#.mtx# , for example ~\verb#mymadrigal.mtx# , its output
-has the extension \verb#.pmx# , \verb#mymadrigal.pmx#. Its input
-language is similar, but not identical, to that of {\PMX} and includes
-most of the functionality of {\PMX} as a subset.
-
-\medskip _{\textbf{musixlyr}}
-The major purpose of {\MTX} is to facilitate the introduction of lyrics
-in a musical score of a song, cantata or opera. {\MTX} does this in
-conjunction with the \textbf{musixlyr} package by Rainer Dunker; so if
-you want to use {\MTX}, you ought to have \textbf{musixlyr} installed as
-well. _{Dunker, Rainer}
-
-\bigskip _{Laurie, Dirk}
-Laurie's Work on {\MTX} had essentially been ended in November 1998 with
-the `final' version 0.52. But, as many such projects, {\MTX} continued
-to evolve; presently, the `official' version is 0,60, dated March 2005,
-and the current patch is 0.60c , dated 22 November 2007 !
-
-\bigskip
-Since there is a full
-\href{http://icking-music-archive.org/software/mtx/mtx060.pdf}%
- {manual on {\MTX}}
-available in WIMA, these few remarks may suffice here.
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% PMX tutorial by ccn / Appendix starts here:
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% \renewcommand{\thechapter}{}
-
-\chapter{Appendix: Examples} \label{sec:examples}
-
-\section{Dons Example Files} \label{sec:donsexamples}
-
-The `official' distribution files for {\PMX},
-which are available from WIMA
-\href{http://icking-music-archive.org/software/pmx/pmx2514.zip}%
- {[(pmx2514.zip)]},
-, contain 3 instructive examples (not reproduced here):
-
-\begin{description}
- \item[\texttt{most.pmx}] contains examples of most
- of the {\PMX} commands, and a few programming tricks, including
- examples in the last line of beam groups whose notes vary
- widely in pitch. The printed output displays the {\PMX}
- commands near to the resulting typeset characters. It is more
- useful to look at the printed output rather than the source
- file, since the file is littered with Inline \TeX ~needed to
- output the text strings representing the {\PMX} commands.
- \textbf{WARNING:} Do not try to play this music; it could be
- hazardous.
- \item[\texttt{barsant.pmx}]
- _{\PMX!options!global} _{S symbol@\texttt{S} symbol}
- contains the first movement of a recorder sonata by the Italian
- Francesco Barsanti (1690-1772). It demonstrates many of
- {\PMX}'s strong points in a `battlefield situation': figured
- bass, complex beaming patterns, xtuplets, and automatically
- adjusted horizontal and vertical spacing in crowded scores. In
- fact, this single-page score is at the limit of vertical
- crowding. It uses the global option \texttt{Ae} for equal space
- betweem systems. The space between systems was increased (using
- the option \texttt{AI1.1}) to give a more pleasing appearance.
- This is a good score to try making parts with
- \textbf{scor2prt}. The special command \texttt{\%2S9} is used
- to increase the number of systems in the recorder part (as
- explained in Section \ref{sec:Ssymbol}).
-
- \item[\texttt{mwalmnd.pmx}] is an Allemand for harpsichord by the
- German Matthias Weckmann (1616-1674). It uses many techniques
- peculiar to keyboard scores.
-\end{description}
-
-
-\section{Full-score examples} \label{sec:fullexamples}
-
-_{Cataldi, Luigi}
-In this appendix you will find the {\PMX} code (by Luigi Cataldi) of
-a full piece, together with the actual score which was generated from it
-(Section~\ref{sec:Dufay}), as well as two extended {\MTX} examples (also
-coded by Luigi Cataldi).
-
-\medskip
-The {\PMX} code for the Dufay Kyrie contains a few inline {\TeX}
-commands; this is done intentionally so you again can get a feel of the
-usage of inline {\TeX}; to understand them fully, however, you will have
-to consult the {\MusiXTeX}~\texttt{1.15} documentation.Similarily, you
-can get an idea from the Vivaldi and Caccini example what {\MTX} is all
-about. For a full understanding, you again need to look at the {\MTX}
-documentation.
-
-\subsection{Dufay, \emph{Kyrie} ({\PMX} code) :}
- \label{sec:Dufay} \label{p:Dufay} _{\PMX!full-score example}
-
-\begin{center} \begin{small}
-\begin{verbatim}
-%----------------%
-%
-% Dufay, Kyrie
-%
-%----------------%
-%
----
-\font\tit = cmcsc10 scaled \magstep 5
-\font\dat = cmr12
-\def\comp{\rightline{\medtype Guillaume Dufay}}
-\def\data{\rightline{\medtype (1400?--1474)}}
----
-2 1 3 4 3 4 0 0
-1 6 20 0
-
-bt
-./
-Abe
-\\def\writebarno{\ifnum\barno>1\lrlap{\oldstyle\the\barno\barnoadd}\fi}%\
-\\def\shiftbarno{0\Interligne}\
-Tt
-{\tit Kyrie}
-Tc
-\vbox{\comp\data}
-It92iororb60:68
-% 1-6
-h-4
-Kyrie
-dd23 | a23 bf4 | c24 d4 | ad23 | dd24 | a23 d44 //
-a23 d4 | c2 d4 | e2 d4 | csd2 | f2 f4 | e2 f4 /
-a24 a4 | e2 d4 | g2 f4 | e2 r4 | ad4 g8 a b | cd45 a84 b c85 /
-
-% 7-9
-c24 bf43 | ad2 | g2 d4 //
-e24 d4 | e d8 c4 bf8 | d4 r+7 d /
-a84 bf a g g f | ad2 | bf2 a4 /
-
-% 10-12
-e2 d4 | g4 bf a | gd2 Rd //
-g8- f g e f4 | r8+8 [ d+ d cs c bn ] | dd2 /
-g2 a4 | g2 fs4 | gd2 /
-\end{verbatim}
-
-\pagebreak
-\begin{verbatim}
-% 13-18
-L3Mc+4
-h-5
-Christe
-dd23 | fd2 | gd2 | d2 d4 | e2 d4 | g2 a4 //
-dd24 | c2 f8 e | d4 c bf | ad2 | g2 f4 | r8+7 [ d+ c b c d ] /
-ad24 s | ad2 s | r8 [ bf b a b g ] | fsd2 | g2 a4 | d- e f /
-
-% 19-24
-bf23 a4 | gd2 | d24 c4 | bf43 a g | d f e | dd2 Rd //
-g4-r d+ c | d2 r4 | f2 e4 | d c b | a2 gs4 | ad2 /
-g24 f4 | g r g | a bf a | g8 f4 e8 g d | f e c d cs b | dd2 /
-
-% 25-28
-L5Mc+4
-h-5
-Kyrie
-d23 g4 | d r8 d e f | g4 f ef | d r+0 r+0 //
-d24 ef4 | d2 c4 | bf2 c4 | dd2 /
-a24 g4 | f2 g4 | bf a g | fsd2 /
-
-% 29-32
-g2 a4 | g2 f4 | g2 a4 | d2- d4 //
-d2 cs4 | d2 a4 | bf2 c4 | ad2 /
-r8 [ g g fs f e ] | g4 f8 g a bf | g4 f e | d r r /
-
-% 33-36
-g43 f g | a f e | d d+ c | d f e //
-bf4 a g | fr a8 g4 f8 | a4 bf8r g4 a8 | d4-r d8+r c4 bf8 /
-e84 d4 c8 bf4 | a8 c4 d8 c4 | d8 f4 g8 e4 | f8 d4 a8+ g4 /
-
-% 37-39
-d2 c4 | dd2 | gd2- //
-d2 e4 | fd2 of-2 | dd2 of-2 /
-a4 b c | ad2 of | gd2 of /
-%
-%----------------%
-%
-% end of Dufay, Kyrie
-%
-%----------------%
-\end{verbatim}
-\end{small} \end{center}
-
-\begin{figure}[!htbp]
- \begin{center}
-\includegraphics[scale=.73]{eps/dufay.eps}
- \end{center}
- \caption{\textbf{G.\ Dufay}, \emph{Kyrie}
- (generated by {\PMX})}
- \label{fig:dufay}
-\end{figure}
-
-\pagebreak
-\subsection{Vivaldi, \emph{Mundi Rector} ({\MTX} code) :}
-\label{sec:Vivaldi} _{\MTX!full-score examples}
-
-\vspace*{8ex}
-\begin{center} \begin{small}
-\begin{verbatim}
-%----------------%
-%
-% Vivaldi, Mundi Rector
-%
-%----------------%
-%
-Title: \vbox{\titA\titB}
-Composer: \vbox{\comp\data}
-Flats: 2
-Meter: 3/8
-Pages: 1
-Systems: 2
-Style: SATB4
-Size: 16
-Space: 6 6 6 12
-
-%%\font\rxii = cmr12
-%%\font\tixii = cmti12
-%%\def\titA{\centerline{Mundi rector}}
-%%\def\titB{\centerline{\rxii {\tixii Juditha Triumphans}, I, 27}}
-%%\def\comp{\rightline{\medtype Antonio Vivaldi}}
-%%\def\data{\rightline{\rxii (1678--1741)}}
-%%\let\endpiecesav\endpiece\
-%%\def\endpiece{\endpiecesav\input judt}\
-%%\font\rix = cmr9
-%%\rix
-
-{sopA}={altoA}={tenorA}={basA}
-Mun-di Rec-tor de Cae-lo mi-can-ti
-Au-di pre-ces, au-di pre-ces, et su-sci-pe vo-ta
-Quae de cor-de pro te di-mi-can-ti
-Sunt pie-ta-tis in si-nu de-vo-ta.
-
-{sopB}={altoB}={tenorB}={basB}
-In Ju-di-ta tuae le-gi di-ca-ta
-Flam-mas dul-cis, flam-mas dul-cis, tui_a-mo-ris-ac-cen-de
-Fe-ri-ta-tis sic hos-tis do-ma-ta
-In Be-thu-liae spem pa-cis in-ten-de.
-
-{sopC}={altoC}={tenorC}={basC}
-Re-di, re-di iam Vic-trix pu-gnan-do
-In ci-li-cio, in ci-li-cio in pre-ce ri-vi-ve
-De Ho-lo-fer-ne sic ho-die trium-phan-do
-Pia_Ju-di-tha per sae-cu-la vi-ve.
-\end{verbatim}
-
-\newpage
-\begin{verbatim}
-%%Abp
-%%B
-%%\def\writebarno{\ifnum\barno>1\lrlap{\oldstyle\the\barno\barnoadd}\fi}%
-%%\def\shiftbarno{0\Interligne}
-%%It58ibaclobobb60:70
-% 13
-%%h-4
-%%{\ppff ~~~Allegro}
-r8 d+ e | e d d | [ c1 b ] c8 a | b g4
-L: {sopA,sopB,sopC}
-r8 g g | g g g | fs f f | d d4
-L: {altoA,altoB,altoC}
-r8 b c | c b b | a a c | b b4
-L: {tenorA,tenorB,tenorC}
-@+13 r8 g g | g g g | a d- d | g g4
-L: {basA,basB,basC}
-
-%17-20
-r8 b b | [ b1 a ] b4 | r8 c c | [ c1 b ] c8 e
-r8 f f | [ g1 f ] g4 | r8 g g | [ a1 g ] a8 c
-r8 d d | b b4 | r8 g g | c c e
-r8 d d | e e4 | r8 en e | f f f
-
-%21-24
-d8 e c | (~ [ b1 a b c d e ] | [ f b- ] c4 oT0 )~ | bd4 :|:
-b8 c a | (~ [ bd8 a1 b c ] | d b a4 oT0 )~ | bd4 :|:
-f8 g f | ( fd4 | fd4 ) | fd4 :|:
-b8 e- f | (~ ( bd4- | b8 ) f4+ )~ | bd4- :|:
-
-%25-28
-%%L2
-r8 bn b | [ c1 bn ] c8 g | d+ d d | [ e1 d ] c4 |
-r8 g g | g g g | g g g | g g4 |
-r8 d d | e e e | d d d | c c4 |
-r8 g+ g | c- c c | bn b b | c e4 |
-
-%29-31
-c8 b4 | b8 a c | b c a |
-a8 g4 | g8 fs a | g a fs |
-fs8 d4 | eN8 FS F | D EF D |
-D8 D4 | CS8 D D | G C- D |
-
-%32-34
-(~ [ G1 FS G A B C ] | [ D G- ] A4 OT0 )~ | GD4 OF :|
-(~ [ GD8 FS1 G A ] | [ B G ] FS4 OT0 )~ | GD4 OF :|
-( DD4 | DD ) | DD OF :|
-{~ ( GD4 | G8 ) D4 }~ | GD- OF :|
-\END{VERBATIM}
-
-\NEWPAGE
-\BEGIN{VERBATIM}
-%%%%%%%%%%%%%%% TEXT WRITTEN TO A SEPARATE FILE
-%%%%%%%%%%%%%%% JUDT.TEX
-\FONT\BIG = CMCSC10 SCALED \MAGSTEP 5
-\LEFTSKIP = 3 CM
-\FONT\LYR = CMTI10
-\LYR
-
-\DEF\LYROFFS{5MM}
-
-\VSKIP 10 MM
-\HALIGN{\HSKIP 12MM # \HFILL & # \HFILL & # \HFILL & # \HFILL \CR
-
-MUNDI RECTOR DE CAELO MICANTI
-& IN JUDITA TUAE LEGI DICATA
-& REDI, REDI IAM VICTRIX PUGNANDO \CR
-
-AUDI PRECES ET SUSCIPE VOTA
-& FLAMMAS DULCIS TUI AMORIS ACCENDE
-& IN CILICIO IN PRECE RIVIVE \CR
-
-QUAE DE CORDE PRO TE DIMICANTI
-& FERITATIS SIC HOSTIS DOMATA
-& DE HOLOFERNE SIC HODIE TRIUMPHANDO \CR
-
-SUNT PIETATIS IN SINU DEVOTA.
-& IN BETHULIAE SPEM PACIS INTENDE.
-& PIA JUDITHA PER SAECULA VIVE. \CR
-\END
-%
-%----------------%
-%
-% end of Vivaldi, Mundi Rector
-%
-%----------------%
-\end{verbatim}
-\end{small} \end{center}
-\pagebreak
-
-\begin{figure}[!htbp]
- \begin{center}
-\includegraphics[scale=.73]{eps/vivaldi2.eps}
- \end{center}
- \caption{\textbf{A.\ Vivaldi}, \emph{Mundi Rector}
- (generated by {\MTX}/{\PMX})}
- \label{fig:vivaldi2}
-\end{figure}
-\pagebreak
-
-\subsection{Caccini, \emph{Amor l'ali m'impenna} ({\MTX} code)}
-\label{sec:Caccini} _{\MTX!full-score examples}
-
-\begin{center} \begin{small}
-\begin{verbatim}
-%----------------%
-%
-% Caccini, Amor l'ali m'impenna
-%
-%----------------%
-%
-Title: {\tit {Amor l'ali m'impenna}}
-Composer: \vbox{\compA\compB}
-Meter: C
-Style: Singer Cont Bass
-Singer: Voices Sop; Vocal; Clefs G
-Cont: Voices RH1,RH2; Clefs G
-Bass: Voices B; Clefs F
-Flats: 1
-Systems: 12
-Pages: 3
-Space: 4 1
-Size: 20
-Indent: 0.10
-Name: {\it{Soprano}} ~ {\it{Continuo}}
-
-%%\input musixbar\input curly
-%%\font\data = cmr10
-%%\font\tit = cmb10 scaled \magstep 4
-%%\font\rxii = cmr12
-%\font\mov = cmmib10 scaled \magstep 1
-%%\font\num = cmr9
-%%\def\compA{\rightline{\rxii Giulio Caccini}}
-%%\def\compB{\rightline{\data (1550--1618)}}
-%%\def\writebarno{\ifnum\barno>1\lrlap{\oldstyle\the\barno\barnoadd}\fi}%
-%%\def\shiftbarno{0\Interligne}
-
-{Aria}
-A-mor l'a-li m'im-pen-na.
-A-mor dol-ce, a-mor ca-ro,_a-mor fe-li-ce.
-Tal che non spe-ro pi{\`u} n{\'e} pi{\`u} mi li-ce.
-Pas-so nem-bi_e pro-cel-le,
-pas-so'l ciel e le stel-le,
-del pia-cer que-st'{\`e}'l re-gno.
-Ah, mia for-tu-na non se l'ab-bia a sde-gno.
-Que-sto, que-sto m'ac-co-ra:
-ch'al-tri ca-deo,
-ch'al-tri ca-deo dal pa-ra-di-so_an-co-ra.
-Ah, mia for-tu-na non se l'ab-bia a sde-gno.
-Que-sto, que-sto m'ac-co-ra:
-ch'al-tri ca-deo,
-ch'al-tri ca-deo dal pa-ra-di-so_an-co-ra.
-
-%%w187m
-%%h251m
-%%Ab
-%%B
-%%It86ivchaobb58:70:64
-%% \\setsize2\smallvalue\curlybrackets{{1}{2}}\
-%%\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{9}\
-%%\\\indivbarrules\sepbarrule3\
-% Bar 1
-@+2 f0
-L: {Aria}
-f0
-c0 za
-f0
-
-% Bar 2
-f2 ( f2
-f2 f4 e
-a2 zd c zf-
-d2 - a2 6
-
-% Bar 3
-f4 ) f8 g8 (~ [ a1 b1 c1 b1 ] [ a8 g8 ]
-d4.e f.e
-b2 zf f zc+
-b2 a2 6
-
-% Bar 4
-[ fd8 g1 ] [ f8 g8 ] [ a1 ( g g8 ) ] [ a1 ( f f8 ) ] )~
-d0e
-cd2 zf- g4 zbn
-d2 7 ( d4 7 d4 #6 )
-
-% Bar 5
-g2 r4 g8 g8
-e2 g
-c2 zg e+ zc
-c2 c2
-
-% Bar 6
-b2 g4 d8 d8
-b4 zd- a+ zc- g2+
-g2e+ d zb
-g2 - g2
-
-% Bar 7
-f4 [ f1 e1 f1 g1 ] a4 [ e1 d1 e1 f1 ]
-fd2 za- g4 ze+
-de2 c
-d2+ - a4 c4
-
-% Bar 8
-g0
-d0 zg-
-ce2 bn
-\zcharnote{-6}{\num 11}\ ( g2 \zcharnote{-6}{\num 10}\ g )
-
-% Bar 9
-g0
-e0+
-c0 zg
-c0
-
-% Bar 10
-c4 g8 g8 b4 [ a1 b1 c1 b1 ]
-g2 g
-c2 ze d zb
-c2 g2 -
-
-% Bar 11
-ad4 d8- f4 [ e1 f1 g1 f1 ]
-f2.g
-a2 zd d zb
-d2+ - b4 g4 -
-
-% Bar 12
-e0
-\zw e\ dr2 cs
-a2d-2 g4
-%%%%%% The two following lines must actually be written in one line!
-\zcharnote{-6}{\num 11}\ (5t a2 \zcharnote{-6}{\num $\sharp $10}\
-(6t a4 )5t a 7 )6t
-
-% Bar 13
-d2 r4 fs8 f8
-d2 fs
-fs2 zd+ d za
-d2 # d2
-
-% Bar 14
-g4 d8 d8 (~ [ e8 f1 e1 ] [ f1 e1 d1 e1 ] )~
-g4 fn e2
-b2 zd c zg
-g2- c2
-
-% Bar 15
-f2 r4 fs8 f8
-f2 fs
-a2 zc d za
-f2 d2
-
-% Bar 16
-g4 d8 d8 [ e8 f8 fd8 e1 ]
-g4 fn e2
-b2 zd c zg
-g2- c2
-
-% Bar 17
-f4 f8 g8 a2
-f2 f
-a2 zc c za
-f2 f4 e8 d8
-
-% Bar 18
-cd8 c1 (~ [ b1 a1 g1 f1 ] g2 )~
-e4 ( f f ) e
-g2 zc c zg
-%%%%%% The two following lines must actually be written in one line!
-( c4 \zcharnote{-6}{\num 11}\ c4 )
-\zcharnote{-6}{\num 11}\ c4 \zcharnote{-6}{\num 10}\ c4
-
-% Bar 19
-f0
-f0
-a0 zc
-f0-
-
-% Bar 20
-ad2 g8 f8
-f4 ( c c ) bn
-a4 g ( f f )
-f4+ e4 ( d4 d )
-
-% Bar 21
-e8 d8 e8 f8 g2
-c2 r8+0 e d c
-g2 ze rb
-( c2 c8 ) c8 b8 a8
-
-% Bar 22
-g4 d4 d2
-bnr4 ( c c ) b
-g0 zd+
-%%%%%% The two following lines must actually be written in one line!
-\zcharnote{-6}{\num $\sharp $10}\ ( g4 \zcharnote{-6}{\num 11}\ g )
-( \zcharnote{-6}{\num 11}\ g4 \zcharnote{-6}{\num $\sharp $10}\ g )
-
-% Bar 23
-c0
-e0
-c0 zg
-c0
-
-% Bar 24
-gd4+ e8 a4 g8 f8
-e2 e4 f
-g2 zc c za
-c2 a4 f4
-
-% Bar 25
-g2 f8 f8 f8 e8
-e2 f
-g2 zc c za
-c2+ f2-
-
-% Bar 26 d2 r8 b8+ b a f2 g b2 zd d zb b4 b8 a8 g2 -
-
-% Bar 27 g8 e8 e8 f8 g4 [ f1 g1 a1 b1 ] g4 f e ( f c2 ze c zg c2
-c4 \zcharnote{-4}{\num 11}\ c4
-
-% Bar 28 g0 f2 ) cr4 b g2 zc e zg- %%%%%% The two following
-lines must actually be written in one line! \zcharnote{-4}{\num
-11}\ (5t c2 (6t \zcharnote{-4}{\num 10}\ c4 )5t c 7 )6t
-
-% Bar 29 f0 f0+ a0 f0-
-
-% Bar 30 ad2 g8 f8 f4 ( c c ) bn a4 g ( f f ) f4+ e4 ( d 7 d #6
-)
-
-% Bar 31 e8 d8 e8 f8 g2 c2 r8+0 e d c g2 ze rb ( c2 c8 ) c8 b8
-a8
-
-% Bar 32 gd8 (~ g1 [ f1 e1 d1 c1 ] )~ d2 bnr4 ( c c ) b g0 zd+
-%%%%%% The two following lines must actually be written in one
-line! \zcharnote{-6}{\num $\sharp $10}\ ( g4 \zcharnote{-6}{\num
-11}\ g ) ( \zcharnote{-6}{\num 11}\ g \zcharnote{-6}{\num
-$\sharp $10}\ g )
-
-% Bar 33 c0 e0 c0 zg c0
-
-% Bar 34 gd4+ e8 a4 g8 f8 e2 e4 f g2 zc c za c2 a4 f4
-
-% Bar 35 g2 f8 f8 f8 e8 e2 f g2 zc c za c2+ f2-
-
-% Bar 36 d2 r8 b8+ b a f2 g b2 zd d zb b4 b8 a g2 -
-
-% Bar 37 g2 r8 c8 c8 b8 g2 a4 b c2 ze c4 zf d zg c4 c8 b8 a4 6
-g4
-
-% Bar 38 a4 b4 ( c2 a2 a f2 c f2 a4 6 b4
-
-% Bar 39 [ c8 ) (~ b1 a1 ] [ g1 f1 e1 d1 ] [ e1 d1 c1 d1 ] [ e1
-f1 g1 a1 ] g0 c0 ze c0
-
-% Bar 40 [ g1 c1- d1 e1 ] [ f1 g1 a1 b1 ] [ c1 b1 a g1 ] [ a1 g1
-a1 f1 ] e0 c0 zg c0
-
-% Bar 41 g0 )~ f2 e \zw N\ ce2d+0+1 b4 %%%%%% The two following
-lines must actually be written in one line! \zcharnote{-4}{\num
-11}\ (1t c2 (2t \zcharnote{-4}{\num 10}\ c4 )1t c 7 )2t
-
-% Bar 42 f0 f0 a0 f0- % %----------------% % % end Caccini,
-Amor l'ali m'impenna % %----------------% \end{verbatim}
-\end{small} \end{center}
-
-\begin{figure}[!htb] \begin{center}
- \includegraphics[scale=.75]{eps/caccini1.eps}
- \end{center} \end{figure} \begin{figure}[!htb]
- \begin{center}
- \includegraphics[scale=.75]{eps/caccini2.eps}
- \end{center} \end{figure} \begin{figure}[!htbp]
- \begin{center}
- \includegraphics[scale=.75]{eps/caccini3.eps}
- \end{center} \caption{\textbf{G.\ Caccini}, \emph{Amor
- l'ali m'impenna} (generated by {\MTX}/{\PMX})}
- \label{fig:caccini} \end{figure}
-
-\addcontentsline{toc}{chapter}{Index}
-
-\printindex
-
-\end{document}
-
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-% End of PMX tutorial by ccn / Mon 2003 Sep 22 /19:15
-/ccn
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%)))