diff options
Diffstat (limited to 'Master/texmf-dist/doc')
58 files changed, 13045 insertions, 7750 deletions
diff --git a/Master/texmf-dist/doc/generic/musixtex/README b/Master/texmf-dist/doc/generic/musixtex/README deleted file mode 100644 index 3490a07d215..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/README +++ /dev/null @@ -1,114 +0,0 @@ - PostScript (Type 1) Fonts for MusiXTeX - Ver 1.13 - - 19-February-2003 - - Takanori Uchiyama, uchiyama@appi.keio.ac.jp - -1. DESCRIPTION - -This package provides PostScript (type 1) fonts (PFB format), and dvips and -dvipdfm map files for MusiXTeX. The fonts are based on the original METAFONT -sources, such as musix20.mf, which are distributed with MusiXTeX. The fonts -provided here may be used to produce printer-independent Postscript files. PDF -files generated using type 1 fonts are well displayed by the Acrobat Reader and -xpdf. - -The fonts were generated from the METAFONT sources in the TeX Live CD 2000 July -using TeXtrace 0.45 or mftrace 1.0.12 but musix11-20, xslhz20 and xslhz20d -were upgraded to those in musixtex-T102.tar.gz. - -Here is a list of the 71 generated fonts. - -musix11.pfb xgreg24.pfb xsld29.pfb xslhd24.pfb xslhu24.pfb xslu20.pfb -musix13.pfb xgreg29.pfb xsld29d.pfb xslhd24d.pfb xslhu24d.pfb xslu20d.pfb -musix16.pfb xsld11.pfb xsldd20.pfb xslhd29.pfb xslhu29.pfb xslu24.pfb -musix20.pfb xsld11d.pfb xsldu20.pfb xslhd29d.pfb xslhu29d.pfb xslu24d.pfb -musix24.pfb xsld13.pfb xslhd11.pfb xslhu11.pfb xslhz20.pfb xslu29.pfb -musix29.pfb xsld13d.pfb xslhd11d.pfb xslhu11d.pfb xslhz20d.pfb xslu29d.pfb -musixsps.pfb xsld16.pfb xslhd13.pfb xslhu13.pfb xslu11.pfb xslud20.pfb -musixspx.pfb xsld16d.pfb xslhd13d.pfb xslhu13d.pfb xslu11d.pfb xslup20.pfb -xgreg11.pfb xsld20.pfb xslhd16.pfb xslhu16.pfb xslu13.pfb xslz20.pfb -xgreg13.pfb xsld20d.pfb xslhd16d.pfb xslhu16d.pfb xslu13d.pfb xslz20d.pfb -xgreg16.pfb xsld24.pfb xslhd20.pfb xslhu20.pfb xslu16.pfb xtie20.pfb -xgreg20.pfb xsld24d.pfb xslhd20d.pfb xslhu20d.pfb xslu16d.pfb - -Note: musix25 and xgreg25 were not generated because they are not used in - musixgre.tex or musixtex.tex. - - -The control points were reduced with Fontographer. -The fonts were hinted automatically with Fontographer. musix11 - 29 were -hand tuned by Takanori Uchiyama. - -2. METHOD - -Most of fonts were generated using TeXtrace 0.45 running on Mac OS X 10.0.4. -xslz20 was generated using mftrace 1.0.12 running on Mac OS X 10.2.3. -Thirty-two fonts were generated with the original traceall.sh script. Others -were generated with traceall.sh modified by Takanori Uchiyama. The modification -involved reducing resolution, corresponding to enlargement of "1 thou" in -traceall.sh. The following are lists of fonts that were generated with N-fold -thou scripts. - -twofold - musix11, musix13, xsld11, xsld11d, xsld13, xsld13d, xsld16, xsld16d, - xslhd13, xslhd13d, xslhd16, xslhd16d, xslhd20, xslhd20d, xslhd24d, - xslhu13, xslhu13d, xslhu16, xslhu16d, xslhu20, xslhu20d, xslhu24d, - xslu13, xslu13d, xslu16, xslu16d, xslud20 - -threefold - musixsps, musixspx, xslhd11, xslhd11d, xslhu11, xslhu11d, xslz20, xslz20d - -fivefold - xslhz20, xslhz20d, xtie20 - -The reason for reducing resolution is that METAFONT supports only limited -values of real numbers and so cannot generate very high resolution MusiXTeX -fonts. - -3. INSTALLATION - - 1) Make a directory such as $TEXMF/fonts/type1/musixtex, for PFBs. - 2) Copy all PFBs to the above directory; they should be readable by all users. - 3) Copy the map file ./dvips/musix.map to the appropriate directory, such as - $TEXMF/dvips/config - 4) Add a line - - p +musix.map - - to a suitable config.xxx file or, in a tetex-based distribution, add - musix.map to the list of map files for Type1 fonts with Metafont - equivalents in the updmap script, which should then be executed - by doing "./updmap". - 5) Copy the map file ./dvipdfm/musix.map to the appropriate directory, such as - $TEXMF/dvipdfm/config - 6) Add a line - - f musix.map - - to the config file. - 7) Do mktexlsr or texhash or whatever is necessary on your system to - re-generate the TeX database. - -When these fonts are used, type 1 fonts should also be used for non-music text; -for example, type 1 versions of the Computer Modern fonts are available. - -4. TODO - - + Hinting - + Modifying METAFONT sources to get high resolution outputs - -5. LICENSE - - The license of this package is LPPL. - -6. ACKNOWLEDGEMENTS - - Thanks to Dr. Daniel Taupin, Ross Mitchell and Andreas Egler for their -MusiXTeX package, to Dr. Peter Szabo for his excellent TeXtrace tool, -and to Dr. Han-Wen Nienhuys for his smart mftrace tool. -And thanks to Dr. Bob Tennent for his helpful comments, and to Mr. David -Fritzsche for his suggestions. - -[End of README] diff --git a/Master/texmf-dist/doc/generic/musixtex/backgrnd.sty b/Master/texmf-dist/doc/generic/musixtex/backgrnd.sty deleted file mode 100644 index 0c06073ad95..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/backgrnd.sty +++ /dev/null @@ -1,320 +0,0 @@ -%%% backgrnd.sty = background.sty -%%% Experimental version 24 march 1996 -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% -%%% This macro file aims at implementing marking of text, -%%% either by a grey background or by a change bar -%%% using TeX's own resoureces only, -%%% (i.e., without resorting to any pstricks). -%%% Grey background uses a shade font defined using MetaFont -%%% The macros seem to work satisfactory under plain TeX, -%%% however, I have also tried (rudimentarily) to integrate it with -%%% LaTeX, too. It seems to work with (simple) LaTeX 2.09, at least. -%%% -%%% commands : -%%% \RuleOn and \RuleOff : changebar -%%% \RuleON : backs up to mark current line, too -%%% \RuleStyle { ( dimension ) % width of rule -%%% % rule offset on pages -%%% [ # dimension | % with even pagenumbers -%%% # dimension ] } % with odd pagenumbers -%%% % # is either < : left margin -%%% % or > : right margin -%%% e.g.: default values are set by -%%% \RuleStyle { (2pt)[<18pt|>18pt] } -%%% -%%% -%%% \ShadeON ( backs up to mark current line, too ) and -%%% \ShadeOn and \ShadeOff : grey background, requires shade.sty -%%% therefore, by default, - \let\ifUseGrey\iffalse % grey background will not be installed -%%% - and will be replaced by rules -%%% if grey background is required then -%%% remove comment signs %%% from next line : -%%% \let\ifUseGrey\iftrue -%%% -%%% (At present) it is not possible to use both commands -%%% in the same document ! -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% Peter Schmitt %%% -%%% Institut f\"ur Mathematik, Universit\"at Wien %%% -%%% Strudlhofgasse 4, A-1090 Wien, Austria %%% -%%% email: schmitt@awirap.bitnet %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\catcode`\: 11 % make internal macros private -\countdef\int: 255 % scratch registers -\dimendef\dim: 0 -\skipdef\skip: 0 - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% commands and options %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\def \RuleOn {\bg:ini \bg:rule - \RuleStyle { (2pt)[<18pt|>18pt] } - \bg:commands \RuleOn \RuleON \RuleOff - \RuleOn - } -\def \RuleStyle #1{\set:hsize #1(\bg:hsize)\\% - \set:offsets #1[*|*]\iftrue]\iffalse\\% - } - -\def \bg:rule {\leaders\vrule width\bg:hsize\vskip} -\def \bg:empty {\vskip} -\let \bg:offset \relax - -%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% interface tools %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\def\bg:commands #1#2#3{\def #1{\bg:option {\vbox{}\pos:on}} - \def #2{\bg:option {\nobreak\vskip-\baselineskip - \vbox{}\pos:on - \nobreak\vskip\baselineskip } - } - \def #3{\bg:option {\vbox{}\pos:off}} - } -\def \bg:ini {\output{\bg:output} % should be followed by desired \bg:style - \zero:pos - \global\let \bg:skip \bg:empty - \let \bg:style - } -\def\bg:option #1{\ifvmode #1\else \vadjust{#1}\fi } - -\def \set:hsize #1(#2)#3\\{\edef\bg:hsize{#2}} -\def \set:offsets #1[#2#3|#4#5]#6]#7#8\\{#7 - \def\bg:shift{} - \set:offset #2#3 - \set:offset #4#5 - \expandafter \set:shifts \bg:shift - \fi } -\def\set:offset #1#2 {\setbox0\hbox{\dim: -#2\bg:offset\xdef\bg:offset{\the\dim:}} - \dim:\bg:offset - \expandafter\expandafter\expandafter - \set:shift \csname bg:#1\endcsname - } -\def\set:shift #1#2{\dim: \bg:offset \advance\dim: #2% - \edef\bg:shift {\bg:shift {#1\the\dim:}} - } -\expandafter\def \csname bg:<\endcsname {\moveleft \bg:hsize} -\expandafter\def \csname bg:>\endcsname {\moveright \hsize} -\def \set:shifts #1#2{\def\bg:shift{\ifodd\pageno #2\else #1\fi}} - -%%% not used : -\def\bg:err #1{\errmessage {% - Warning ! Background mode \noexpand#1 already active ! } - } -%%% saving position without eject yields not always correct result -%%% \def\bg:on {\switch:to \bg:style } \def\bg:off {\switch:to \bg:empty } - -%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% grey background %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%% -\ifUseGrey - -\def\ShadeOn {\bg:ini \bg:grey - \let\bg:shift\relax - \let\bg:hsize\hsize - \setbox\grey:line - \vbox{\shade{\line:{\vphantom{\grey:\char0}\hfil}}} - \bg:commands \ShadeOn \ShadeON \ShadeOff - \ShadeOn - } -\csname newbox\endcsname\grey:line % allow \newbox in conditional text -\def\bg:grey {\leaders\copy\grey:line\vskip} -\let\line:\line -\input shade - -\else - \def\ShadeOn{\RuleOn} \def\ShadeOff{\RuleOff} \def\ShadeON{\RuleON} - \fi -%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% output routine %%% -%%%%%%%%%%%%%%%%%%%%%%%%%% - - \newbox \bg:page - \newdimen \v:size - \newskip \v:pos - \newcount \true:penalty - \chardef \the:page 255 - -\def\option: #1{\advance\int: -1 - \edef#1{\penalty\the\int: } - \expandafter\def\csname\the\int:\endcsname - } \int: -12345 -\def\bg:output{\expandafter\ifx\csname\the\outputpenalty\endcsname\relax - \global\true:penalty\outputpenalty - \expandafter\bg:pagecontents - \else \expandafter\expandafter - \csname\the\outputpenalty\endcsname - \fi } -\option: \pos:on {\bg:switch \bg:style } -\option: \pos:off {\bg:switch \bg:empty } -\option: \bg:top {\save:pos \add:bg\bg:empty\v:skip{} - \repeat:page \unvbox\the:page } -\option: \bg:bot {\save:pos \repeat:page \unvbox\the:page } -\option: \fg:end {\save:pos \add:bg\bg:empty{}\v:skip \bg:makepage } - -\def \bg:switch #1{\setbox\the:page - \vbox{\unvbox\the:page \setbox0\lastbox } - \ifdim \pagetotal=\topskip - \global\let \bg:skip #1 - \unvbox\the:page - \else \switch:to #1 - \repeat:page\repeat:inserts \unvbox\the:page - \fi - } -\def\switch:to #1{\save:pos - \add:bg \bg:skip{}\v:skip - \global\let \bg:skip #1} -\def\bg:pagecontents {\switch:to \bg:skip - \setbox\the:page \vbox - {\vbox{}\bg:top \unvbox\the:page \bg:bot } - \zero:pos \repeat:page - \pagecontents \fg:end - } -\def\bg:makepage {\global\v:size\vsize \advance\v:size \dp\the:page - \def\pagecontents{% - \bg:shift - \vbox to0pt{\vbox to\v:size{\unvbox\bg:page}\vss} - \unvbox\the:page } - \outputpenalty\true:penalty - \plainoutput - \zero:pos \reset:inserts - } - -%%%%%%%%%%%%%%%%% -%%% tools %%% -%%%%%%%%%%%%%%%%% - -\def\repeat:page {\vbox{}\nobreak\kern-\topskip } -\def\add:bg #1#2#3{\let\bg:vskip #1 - \global\setbox\bg:page \vbox{#2\unvbox\bg:page#3} - } - -\newdimen \v:fil -\newdimen \v:fill -\newdimen \v:filll -\def\zero:pos {\global \v:pos 0pt - \global \v:fil 0pt - \global \v:fill 0pt - \global \v:filll 0pt - } -\def\save:pos {\skip: -\v:pos % save -last:pos - \global \v:pos \pagetotal - \global\advance \v:pos \pagedepth - \ifnum \pagedepth=0 \advance\v:pos \dp\the:page \fi - \global\advance \v:pos 0ptplus\pagestretch minus\pageshrink - \save:skip - } -\def\save:pos {\skip: -\v:pos % save -last:pos - \global \v:pos \pagetotal - \global\advance \v:pos \pagedepth - \ifnum \pagedepth=0 \advance\v:pos \dp\the:page \fi - \global\advance \v:pos 0ptplus\pagestretch minus\pageshrink - \save:skip - \global\skip\ins:size \vsize - \global\advance\skip\ins:size -\pagegoal - \global\advance\skip\ins:size -\ins:skip - } -\def\save:skip {\advance\skip:\v:pos % v:pos - last:pos - \let\bg:vskip\relax - \edef\v:skip{\bg:vskip\the\skip:} - \fil:skip l \fil:skip ll \fil:skip lll - } -\def\fil:skip #1 {\set:fil {\csname v:fi#1\endcsname} - {\csname pagefi#1stretch\endcsname} - \edef\v:skip{\v:skip \bg:vskip0ptplus\the:pt \dim: fi#1 } - } -\def\set:fil #1#2{\dim: -#1 - \advance \dim: #2 - \global #1 #2 - } -\def\the:pt {\expandafter\PT:\the} - { \catcode`p 12 \catcode`t 12 -\gdef\PT: #1pt{#1} }% \catcode`p 11 \catcode`t 11 - -%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% insert handling %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\newcount\ins: -\newinsert\ins:size -\newdimen\ins:skip - -\let\do:insert \insert -\def\inserts:{} -\def\insert {\afterassignment\adjust:pos\ins:} -\def\adjust:pos {\csname ins:\the\ins:\endcsname\csname iftrue\endcsname - \add:plus \ins: \add:minus \ins: - \advance\ins:skip\skip\ins: - \let\temp:\relax - \edef\inserts:{\inserts: \temp:{\the\ins:}} - \fi - \global\expandafter\let\csname ins:\the\ins:\endcsname \iffalse - \do:insert\ins: } -\def\repeat:inserts{\def\temp:##1{\do:insert##1{}}\inserts: } -\def\reset:inserts{% - \def\temp: ##1{\global\expandafter\let\csname ins:##1\endcsname \relax } - \inserts: \gdef\inserts:{}\global\ins:skip 0pt } - -%%% tools for insert handling %%% - - \catcode `L12 \catcode `N12 \catcode `S12 \catcode `U12 \lowercase{ -\def\plus: #1LUS #2 #3\\{#2} -\def\Plus: #1{\expandafter\plus:\the#1 LUS 0.0pt \\} -\def\minus: #1NUS #2 #3\\{#2} -\def\Minus: #1{\expandafter\minus:\the#1 NUS 0.0pt \\} - } \catcode `L11 \catcode `N11 \catcode `S11 \catcode `U11 - -\def\set:int {\afterassignment\set:frac\int: } -\def\set:frac #1{\afterassignment\csname\count0 } -\def\adv:pos #1{\global\advance#1\the\int:.\the\count0 pt } -\def \pt:p {\adv:pos {\v:pos 0ptplus}} -\def \pt:m {\adv:pos {\v:pos 0ptminus}} -\def \fil:p {\adv:pos \v:fil } -\def \fill:p {\adv:pos \v:fill } -\def\filll:p {\adv:pos \v:filll } - -\def\add:plus #1{{\expandafter\set:int \Plus: {\skip#1}:p\endcsname }} -\def\add:minus #1{{\expandafter\set:int \Minus:{\skip#1}:m\endcsname }} - -%%%%%%%%%%%%%%%%%%%%%%%% -%%% LaTeX extras %%% -%%%%%%%%%%%%%%%%%%%%%%%% - -\catcode`@ 11 -\ifx \@outputbox\undefined \endinput \catcode`@12 \catcode`: 12 \fi - -\newtoks\latex:output \latex:output \output -\newdimen\v:ht % possibly \textheight could be used - -\def\bg:@makecol {\switch:to \bg:skip - \setbox\the:page \vbox - {\vbox{}\bg:top \unvbox\the:page \bg:bot } - \@makecol - \global\v:ht\ht\@outputbox \global\v:size\v:ht - \global\advance\v:size\dp\@outputbox - \zero:pos \outputpenalty\true:penalty - \repeat:page \unvbox\@outputbox \fg:end - } -\def\bg:@makepage {\setbox\@outputbox \vbox to \v:ht {% - \bg:shift - \vbox to0pt{\vbox to\v:size{\unvbox\bg:page}\vss} - \unvbox\the:page } - \outputpenalty\true:penalty - \let\@makecol\relax \the\latex:output - \zero:pos \reset:inserts - } -\let \bg:makepage \bg:@makepage -\let \bg:pagecontents \bg:@makecol -\def \line: {\hbox to\textwidth} -\let \pageno \c@page - -\catcode`@ 12 \catcode`: 12 - -\endinput %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% end : background.sty [ 0.3 ] %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/8bitchar.tex b/Master/texmf-dist/doc/generic/musixtex/examples/8bitchar.tex new file mode 100644 index 00000000000..54969d68d02 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/8bitchar.tex @@ -0,0 +1,12 @@ + +\input plainenc\relax\inputencoding{cp1252} +\input musixtex +\input musixlyr +\hsize50mm +\setlyrics1{á ä ö}\assignlyrics11% +\startpiece\addspace{4pt}% +\znotes\zcharnote{12}{Poème naïf}\en% +\Notes\qa{ggg}\en% +\endpiece +\vfill\eject +\end diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex b/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex index 85bd6861b34..67348d04233 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex @@ -12,8 +12,7 @@ \linesinpage=0\relax \resetfacteurs \computewidths +\sepbarrules % \input avemarix \bye - - diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/canticor.tex b/Master/texmf-dist/doc/generic/musixtex/examples/canticor.tex deleted file mode 100644 index 7e3bb3e70b1..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/examples/canticor.tex +++ /dev/null @@ -1,23 +0,0 @@ - -\resetfacteurs\advance\staffbotmarg by 2\Interligne -\barsinline=0\relax\linesinpage=0\relax -\def\Transpose{0}% -\def\Signature{1}\relax % trois diezes a la clef -\input canticox -\resetfacteurs\advance\staffbotmarg by 2\Interligne -\barsinline=0\relax\linesinpage=0\relax -\def\Transpose{-1}\relax -\def\Signature{-1}\relax % deux diezes a la clef -\input canticox -\resetfacteurs\advance\staffbotmarg by 2\Interligne -\barsinline=0\relax\linesinpage=0\relax -\def\Transpose{-2}\relax -\def\Signature{-3}\relax % un bemol a la clef -\input canticox -\resetfacteurs\advance\staffbotmarg by 2\Interligne -\barsinline=0\relax\linesinpage=0\relax -\def\Transpose{-3}\relax -\def\Signature{2}\relax % un bemol a la clef -\input canticox -\bye - diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/canticox.tex b/Master/texmf-dist/doc/generic/musixtex/examples/canticox.tex deleted file mode 100644 index 795204a8c4b..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/examples/canticox.tex +++ /dev/null @@ -1,156 +0,0 @@ -\fulltitle{Canticorum jubilo} -\shorttitle{Canticorum jubilo} - \fullauthor{Georg Friedrich H„ndel\\Transposition -Daniel Taupin} - \shortauthor{G.-F. H„ndel} - \maketitle - % -\tracingstats=1\relax -\relativeaccidentals -\sepbarrules - % -\parindent 15mm - % soufflets crescendo et decrescendo - % -\def\soufflcr#1{\zcharnote{#1}{\kern -0.5cm\cresc}}% -\def\Soufflcr#1{\zcharnote{#1}{\kern -0.5cm\CResc}}% - % -\def\souffldim#1{\zcharnote{#1}{\kern -0.5cm\dimin}}% -\def\Souffldim#1{\zcharnote{#1}{\kern -0.5cm\DImin}}% - % - %\check -\def\nbinstruments{2}\resetsignatures -\global\nbporteesi=1\relax -\global\nbporteesii=1\relax -\global\cleftoksi={{6}{0}{0}{0}}% -\global\cleftoksii={{0}{0}{0}{0}}% -\def\lowersonginstrum{1} % to be used to make heavy bars at staff left -\def\uppersonginstrum{2} % to be used to make heavy bars at staff left - % -\signaturegenerale{\Signature}% -\generalmeter{\allabreve} - %\check -\def\interfacteur{18}% -\def\instrumenti{\vbox{\hsize=\parindent -\centerline{T\'enors}\centerline{basses}}}% -\def\instrumentii{\vbox{\hsize=\parindent -\centerline{Sopran.}\centerline{Altos}}}% - %\check - % -\def\eightpoint{\Tenpoint}% - %\check -\catcode`\@=13 -\catcodesmusic - % -\def\respire{\notes&\cbreath\enotes}% - % -\def\txt#1|#2&{{\vbox to 0pt{\Smalltype\baselineskip 9pt -\vss\hrule width 9pt height 0pt -\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote - #2\kern\internote}\smallskip -\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote - #1\kern\internote}\kern -6pt}}}% - % -\elemskip 20pt\relax -\debutmorceau - %\autolines 754\relax - \transpose=\Transpose - \qspace - % - \NOtes\zhl N\hu b&\hsong{Can-}\zhl g\hu k\enotes - \Notes\islurd0b\zqlp b\isluru1d\qup d&\zsong{ti- }\islurd2g\zqlp g\isluru3i\qup i\enotes - \notes\tslur0a\zcl a\tslur1c\cu c&\hsong{---}\tslur2f\zcl f\tslur3j\cu j\enotes - % - %\check - \barre %2 - \NOtes\zhl N\hu b&\hsong{co-}\zhl g\hu k\enotes - \NOtes\zhl b\hu d&\hsong{rum}\zhl d\hu g\enotes - % - %\check - \barre %3 - \notes\zqlp a\qu c&\zsong{ju-}\Ibl0fi3\Ibu1hk3\zqb0f\qh1h\enotes - \notes&\hsong{- }\zqb0g\qh1i\enotes - \notes\qu a&\hsong{- }\zqb0h\qh1j\enotes - \notes\cl N&\hsong{- }\tbl0\zqb0i\tqh1k\enotes - \Notes\zql M\qu d&\hsong{- }\zql h\qu j\enotes - \Notes\zql N\qu d&\zsong{bi- }\zql g\qu i\enotes - % - %\check - \barre %4 - \NOTEs\zw K\wh d&\hsong{lo}\zw f\wh h\enotes - % - %\check - \barre %5 - \notes\Ibl0bc3\zhup d\qb0b&\hsong{Re-}\zhlp g\Ibu1kl3\qh1k\enotes - \notes\qb0a&\hsong{- }\qh1j\enotes - \notes\qb0b&\hsong{- }\qh1k\enotes - \notes\tqb0c&\hsong{- }\tqh1l\enotes - \Notes\ql b&\hsong{- }\qu k\enotes - \Notes\zql b\qu d&\hsong{gi }\zql g\qu k\enotes - % - %\check - \barre %6 - \NOtes\zhl b\hu d&\hsong{ma-}\zhl g\hu n\enotes - \NOtes\zhl N\hu b&\hsong{gno }\zhl g\hu k\enotes - % - %\check - \barre %7 - \Notes\zql a\isluru0c\qu c&\zsong{psal-}\islurd1f\isluru2j\zql f\qu j\enotes - \notes\tslur0d\zhu d\Ibl0bc1\qb0b\tqb0c&\tslur1g\tslur2i\hsong{- }\zhl g\qu i\enotes - \Notes\ql d\zql K\qu c&\hsong{- }\hu h\hsong{li-}\ql f\enotes - % - %\check - \barre %8 - \NOTes\zw N\wh b&\hsong{te !}\roff{\zw g}\wh g\enotes - \setrightrepeat - % - %\check - \barre %9 - \notes\zhlp N\hup d&\zsong{\txt Per-|Jam-&}\Ibl0gh3\Ibu1ij3\zqb0g\qh1i\zqb0f\qh1h\zqb0g\qh1i\tbl0\tbu1\zqb0h\qh1j\enotes - \Notes&\hsong{\txt - |- &}\zql g\qu i\enotes - \Notes\zql N\qu d&\hsong{\txt so- |re- &}\zql g\qu i\enotes - % - %\check - \barre %10 - \NOtes\zhl K\hu c\zhl L\hu b&\hsong{\txt nan-|sul-&}\zhl f\hu h\hsong{\txt -tes |tent &}\zhl e\hu g\enotes - % - %\check - \barre %11 - \Notes\islurd0M\isluru1d\zql M\qu{^d}&\hsong{\txt or-|mu-&}\islurd2h\isluru3j\zql h\qu j\enotes - \Notes\zql N\qu e&\hsong{\txt - |- &}\zql g\qu i\enotes - \Notes\tslur0a\tslur1c\zql a\qu c&\hsong{\txt - |- &}\tslur2f\tslur3h\zql f\qu h\enotes - \Notes\zql L\qu b&\hsong{\txt ga-|si-&}\zql e\qu g\enotes - % - %\check - \barre %12 - \NOTes\roff{\zw b}\wh b&\hsong{\txt nis,!|ca, &}\zw{^d}\wh f\enotes - % - %\check - \barre %13 - \notes\zhlp L\hup b&\zsong{\txt Ju-|Un-&}\Ibl0ef3\Ibu1gh3\zqb0e\qh1g\zqb0{^d}\qh1f\zqb0e\qh1g\tbl0\tbu1\zqb0f\qh1h\enotes - \Notes&\hsong{\txt - |- &}\zql e\qu g\enotes - \Notes\loff{\zql d}\qu b&\hsong{\txt bi- |da, &}\zql e\qu g\enotes - % - %\check - \barre %14 - \NOtes\zhl{^c}\hu c&\hsong{\txt la-|tel-&}\zhlp g\hu l\enotes - \Notes\zhl a\hu e&\hsong{\txt te, |lus, &}\hu{^j}\ql g\enotes - % - %\check - \barre %15 - \Notes\zql b\qu d&\hsong{\txt plau-|si-&}\zql f\qu k\enotes - \notes\zql N\qu b&\hsong{\txt - |- &}\Ibl0gf1\Ibu1lk1\zqb0g\qh1l\tbl0\tbu1\zqb0f\qh1k\enotes - %\check - \Notes\zql a\qu e&\hsong{\txt - |- &}\zql e\qup{^j}\enotes - \notes\zql a\qu e&\hsong{\txt di-|de-&}\ql h\cu k\enotes - % - %\check - \barre %16 - \NOTes\zw K\wh f&\hsong{\txt te.|ra.&}\zw h\wh k\enotes - \finmorceau -\medskip\rightline{\it le \aujourdhui} -\absoluteaccidentals -\vfil\eject - -\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/changecontext.tex b/Master/texmf-dist/doc/generic/musixtex/examples/changecontext.tex new file mode 100644 index 00000000000..819a59131fa --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/changecontext.tex @@ -0,0 +1,95 @@ +\input musixtex +\instrumentnumber2\setstaffs22% +\hsize 100mm \vsize 230mm +\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% +\setclef1{\bass}\generalsignature2% +\startpiece +\notes\qu K&\qu d|\qu e\en +% +% Signatures +% if there is no bar line, the signatures are confusing +% it is not clear if they are for a single note or not +% bar 1 +%% Signature changing in a single instrument with 2 staves +\setsign21\changesignature +\notes\qu J&\qu d|\qu e\en +% Signature changing in a single instrument +%\setsign1{-1}\changesignature +%\notes\qu K&\qu d|\qu e\en +% Signature changing in a single staff without naturals +\setsign11\ignorenats\changesignature +\notes\qu M&\qu d|\qu e\en +% bar 2 +% New signatures after a bar line +\generalsignature{-2}\changecontext% +\notes\qu K&\qu d|\qu e\en% +\notes\qu K&\qu d|\qu e\en% +% New signatures after an invisible bar line +\generalsignature{1}\zchangecontext% +\notes\qu K&\qu d|\qu e\en% +% +% new music line caused by mulooseness +\mulooseness1 +% +% bar 3 +%\setsign2{-1}\changesignature\Changecontext% +\setsign2{-1}\ignorenats\Changecontext% +%\zalaligne% +\notes\qu K&\qu d|\qu e\en% +% bar 4 +\generalsignature{2}\ignorenats\Changecontext% +\notes\qu K&\qu d|\qu e\en% +% bar 5 OK : +\setsign1{-3}\setsign2{-3}\changecontext% +\notes\qu K&\qu d|\qu e\en% +% bar 6 +% Are all this options common (choose 1 line of 3)? +%\generalsignature{-3}\changecontext\alaligne% +%\generalsignature{-3}\changesignature\setdoublebar\alaligne% +\generalsignature{-3}\changesignature\Changecontext% +% +\notes\qu K&\qu d|\qu e\en% +% bar 7 +\generalsignature{2}\ignorenats\Changecontext% +\notes\qu K&\qu d|\qu e\en% +% +% Clefs +% in 1 staff and taking space +\setclef1\treble\changeclefs% +\notes\qu k&\cu{.d}\ccu{e}|\qu e\en% +% combined with signature change - space is already available +\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% +\ignorenats\changesignature% +\notes\qu K&\cu{de}|\qu e\en% +% clef change before barline +\setclef1\treble\zchangeclefs\bar% +\notes\qu k&\cu{de}|\qu e\en% +% clef change after barline +\setclef1\bass\bar\zchangeclefs% +\notes\qu K&\cu{de}|\qu e\en% +% bar 10 +% Meter +\setmeter1{{\meterfrac{2}{4}}}% +% How big the '2' must be? +\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}% +{\meterfrac{3}{4}}}\changecontext +\notes\qu K&\cu{de}|\qu e\en +% bar 11 +% Meter Clefs and Key Signatures +% all 3 clefs after bar if no changeclefs +\setmeter1{{\meterfrac{2}{8}}}% +\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% +\setsign2{-1}% +% How to force showing the bass clef? +\setclef1\bass\setclef2{23}% +\Changecontext +\notes\qu K&\cu{de}|\qu e\en +% bar 12 +% Meter Clefs Keys Signatures all 3 with clef before the bar +% probably not if signatures are involved +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% +\setsign2{-1}% +\setclef1\treble\zchangeclefs\changecontext +\notes\qu k&\cu{de}|\qu e\en +\mulooseness1\Stoppiece\eject\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/coulhack.tex b/Master/texmf-dist/doc/generic/musixtex/examples/coulhack.tex new file mode 100644 index 00000000000..1f797876cd4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/coulhack.tex @@ -0,0 +1,70 @@ +% thicker ledger lines +\def\myhlthick{1.5\lthick} +\makeatletter +\def\h@linei{% + \y@ii\n@v\internote + \y@iii\y@ii + \advance\y@ii\myhlthick + \advance\y@iii-\myhlthick + \y@vi\noteskip % noteskip +%-\ifnum\y@vi=\z@ \y@vi\maxdimen\fi % (or maxdimen if noteskip = 0) + \advance\y@vi-\y@v % - notewidth + \y@vi0.7\y@vi % this may be eaten =: additional length + \y@iv\h@lf\qn@width\ifnum\y@vi>\y@iv \y@vi\y@iv\fi % not more than 0.5 qn@width + \y@iv0.2\qn@width \ifnum\y@vi<\y@iv \y@vi\y@iv\fi % not less than 0.2 qn@width + \y@iv\y@v % notewidth + \advance\y@iv\y@vi % + additional length =: total length + \kernm\h@lf\y@vi % center the ledger line +%-\message{noteskip = \the\noteskip, length = \the\y@iv, notewidth = \the\y@v}% + \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv + \kernm\y@iv\kern\h@lf\y@vi} + +% same adapted from MUSIXFLL.TEX + +\ifx\undefined\longledgerlines \else \endinput \fi + +\immediate\write10{MusiXFormerLedgerLines T.74\space<06 April 1997>}% + +%\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 + +\let\h@lineick\h@linei +\def\h@lineidt{% + \y@ii\n@v\internote + \y@iii\y@ii + \advance\y@ii\myhlthick + \advance\y@iii-\myhlthick + \y@iv\y@v + \advance\y@iv\h@lf\qn@width + \kernm.25\qn@width + \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv + \kernm\y@iv\kern.25\qn@width} +\def\longledgerlines{\global\let\h@linei\h@lineidt} +\def\autoledgerlines{\global\let\h@linei\h@lineick} +\longledgerlines +%\catcode`\@=\catcodeat + +% space between signatures and first note at each system: + +\def\contpiece{\noindent \piece@conta \writ@staffs \piece@beginc +% \Writ@meters \wbarno@x \hardspace{10pt}\addspace\afterruleskip + \Writ@meters \wbarno@x \hardspace{.3\elemskip}\addspace\afterruleskip} +% ^^^^^^^^^^^^^^^^^^^^^^^ + +% missing pixels at some beam ends: +\def\beamst@m{% queue de note vers une poutre + \getcurpos \advance\y@v-\b@x + \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z + \ifdim\y@ii>\st@top % la poutre est au-dessus + \stem@skip\qd@skip \comp@slope\stem@skip \advance\y@ii\s@lope + \advance\y@ii .25\interbeam% hack + \ifnum\b@n>\z@ \advance\y@ii\b@n\interbeam \advance\y@ii-\interbeam \fi + \st@top\y@ii % a mettre a jour avec la pente ulterieurement + \else + \advance\y@ii-.25\interbeam% hack + \stem@skip\z@ + \ifdim\y@ii<\st@bot + \ifnum\b@n<\z@ \advance\y@ii\b@n\interbeam \advance\y@ii\interbeam \fi + \st@bot\y@ii \fi \fi + \C@stem} + +\makeatother diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex index 8b74bc93760..5068f32e649 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex @@ -15,10 +15,10 @@ \transpose=\ftranspose\relax \newif\iffiveoctaves \ifnum\transpose=0\relax - \subtitle{(pour orgue … 5 octaves)} + \subtitle{(pour orgue \`a 5 octaves)} \fiveoctavestrue \else\ifnum\transpose=-1\relax - \subtitle{(pour orgue … 4 octaves et demi, do--sol)} + \subtitle{(pour orgue \`a 4 octaves et demi, do--sol)} \fiveoctavesfalse \else \subtitle{(pour orgue)} diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fstsaens.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fstsaens.tex new file mode 100644 index 00000000000..4d612535bad --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fstsaens.tex @@ -0,0 +1,174 @@ + +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + +\ifx\pdfoutput\undefined +\immediate\write16{Standard TeX/LaTeX} +\else +\immediate\write16{--------------------} +\immediate\write16{Running PDF[la]TeX} +\immediate\write16{--------------------} +\fi + +\fullauthor{Daniel TAUPIN -- Camille Saint-Saens\\Compos\'e en juin 2002} +\shortauthor{D. Taupin -- St-Saens -- \aujourdhui} +\shorttitle{Fantaisie concertante} +\title{Fantaisie concertante} +\subtitle{pour orgue \`a 2 claviers sur +les th\`emes du final du 4\fup{e} concerto pour piano de St-Saens} + + +\maketitle +\def\ShortVersion{\relax} + +\parindent 18mm +\tracingstats=2\relax +% +% formes fr\'equentes +% +%au moins deux croches basses et hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +%au moins deux croches basses et hautes +\def\Dqb#1#2{\Ibl0{#1}{#2}1{\advance\transpose 7\zq{#1}}\qb0{#1}{\advance\transpose 7\zq{#2}}\tqb0{#2}}% +\def\Dqh#1#2{\Ibu0{#1}{#2}1{\advance\transpose -7\zq{#1}}\qh0{#1}{\advance\transpose -7\zq{#2}}\tqh0{#2}}% +%au moins trois croches basses et hautes +\def\tql#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}% +\def\tqu#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}% +%au moins deux doubles croches basses et hautes +\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +%au moins trois doubles croches basses et hautes +\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}% +\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}% +\def\sTqbb#1#2#3{{\smallnotesize\Tqbb{#1}{#2}{#3}}}% +%au moins quatre croches basses et hautes +\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +%au moins quatre doubles croches basses et hautes +\def\qqbb#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\sqqbb#1#2#3#4{{\smallnotesize\qqbb{#1}{#2}{#3}{#4}}}% +\def\Qqbb#1#2#3#4{\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sQqbb#1#2#3#4{{\smallnotesize\Qqbb{#1}{#2}{#3}{#4}}}% +\def\qqBB#1#2#3#4{\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sqqBB#1#2#3#4{{\smallnotesize\qqBB{#1}{#2}{#3}{#4}}}% +\def\qqhh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\qqhhlow#1#2#3#4{{\advance\transpose -2\Ibbu0{#1}{#4}3}\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqhh#1#2#3#4{\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqHH#1#2#3#4{\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +\def\sqqHH#1#2#3#4{{\smallnotesize\qqHH{#1}{#2}{#3}{#4}}}% +% +\def\PlusH{\multnoteskip{1.5}} +\def\Double{\multnoteskip{2}} +\def\Triple{\multnoteskip{3}} +\def\Quadr{\multnoteskip{4}} +% +\instrumentnumber 3\relax +\setstaffs11\relax +\setstaffs22\relax +\setstaffs31\relax +\setclef1{6000} +\setclef2{6000} +\setclef3{0000} + +% +\signaturegenerale{-3}\relax % ut mineur +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +\def\Quatretemps{\generalmeter{\meterfrac{4}{2}}}% +\def\Troistemps{\generalmeter{\meterfrac{3}{2}}}% +\def\Deuxtemps{\generalmeter{\meterfrac{2}{2}}}% +\def\GO{{\bf I}} +\def\REC{{\bf III}} +\def\POS{{\bf II}} +\def\GO{{\bf GO}} +\def\REC{{\bf R\'ec.}} +\def\POS{{\bf Pos.}} +\def\Go{(\GO)} +\def\Rec{(\REC)} +\def\Pos{(\POS)} +%\check +\setname1{\vbox{\hbox{P\'ed. 16' }\hbox{8, 4, mix.}\hbox{sans acc.}}}% +\setname2{M. gauche}% +\setname3{M. droite}% +%\check + +\hbox to \hsize{\rm I (G.O.): Plein jeu, fonds 16' {\sl ad libitum.}\hss \rm +\ifx\pdfoutput\undefined Reg. dom~: 5-1, AA, sans tirasses, sans anches\fi +} + + +\hbox to \hsize{\rm II (Pos.) et III (R\'ecit): fonds 8', mixtures\hss}% + +\hbox to \hsize{\rm Claviers accoupl\'es \hss + \ifx\pdfoutput\undefined\rm Reg. Gif~: 1, 2, 4, 5/ 9---14, 16, 18---20, 22---25, 28/\fi +}% + +\hbox to \hsize{\rm P\'ed.: fonds 16, 6, 4, mixtures [anches 8, 4 +annul\'ees]\hss + \ifx\pdfoutput\undefined\rm 32, 33, 35---39, +41/ 46, 47, 48, 54\fi +}% +\smallskip + +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\doubler{\multiply\noteskip by 2\relax}% +\staffbotmarg=10pt +\setstaffs11\relax +\setstaffs21\relax +\setstaffs31\relax +\setclef1{6000} +\setclef2{6000} +\setclef3{0000} +\setname2{M. gauche}% +\setname3{M. droite}% +\generalsignature{0} +\troistemps + %\check + % mesure-2 111 + \def\thefirstlinegoal{7}% +\debutmorceau +\systemnumbers\relax +\let\writebarnoOrg\writebarno +\def\writebarno{\vbox to 0pt{\vss\hbox{\writebarnoOrg}}}% +\def\freqbarno{9999}% + \NOtes&\zcharnote C{\kern -0.5em\GO}\zmidtwotext{\f}\relax + &\zcharnote n{\kern -0.5em\POS}\relax + \Uptext{\raise 10\Internote\hbox{\kern -16mm\moyen Allegro maestoso + \bf(\metron{\qu}{90})}}\enotes +\nspace +\nspace +\notes\Double\itenl1G\hup G\relax + &\sk\pause\relax + &\itenu2t\hlp t\enotes + \input cstsaen2.tex +%\def\freqbarno{4}% +%\barre + \znotes\zcharnote A{\null}\relax + &\zcharnote C{\kern -0.5em\POS}\zmidtwotext{\f}\relax + &\zcharnote n{\kern -0.5em\GO}\enotes +\input cstsaen3.tex + % \mulooseness -1\relax +\finmorceau + + + + + +\rightline{\sk\sk\sk\aujourdhui}\vfil\eject + + + +\bye + +\endinput + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex b/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex index 2b455cee38a..8813989fc3b 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex @@ -1,9 +1,9 @@ -%\input musixtex -%\input musixcpt -%\input musixsty -\ifx\qh\undefined\let\qh\qb\fi % -\ifx\qhp\undefined\let\qhp\qbp\fi % -\ifx\qhpp\undefined\let\qhpp\qbpp\fi % +\input musixtex +\input musixcpt +\input musixsty +\ifx\qh\undefined\let\qh\qb\fi % +\ifx\qhp\undefined\let\qhp\qbp\fi % +\ifx\qhpp\undefined\let\qhpp\qbpp\fi % \parindent 15mm % \title{Gloria} diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex b/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex index 6d5bad41fbc..351730c6767 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex @@ -1,6 +1,6 @@ -%\input musixtex -%\input musixcpt -%\input musixsty +\input musixtex +\input musixcpt +\input musixsty % \parindent 15mm % diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex index c304a1eca58..dd9ce0b0180 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex @@ -1,4 +1,8 @@ - +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi \resetfacteurs\advance\staffbotmarg by 2\Interligne \barsinline=0\relax\linesinpage=0\relax \def\Transpose{0}\relax @@ -9,5 +13,10 @@ \def\Transpose{-1}\relax \def\Signature{-1}\relax % un bemol a la clef \input ilestnex +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-2}\relax +\def\Signature{-3}\relax % un bemol a la clef +\input ilestnex \bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex index 64da5c3b21e..c264edb9377 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex @@ -1,6 +1,7 @@ -\fulltitle{Il est n‚, le divin enfant} -\title{Il est n‚, le divin enfant} +\fulltitle{Il est n\'e, le divin enfant} +\title{Il est n\'e, le divin enfant} \author{traditionnel\\Harmonisation Pierre Darmon} +\shortauthor{traditionnel} \maketitle \tracingstats=1\relax @@ -29,8 +30,8 @@ \global\nbporteesii=1\relax \global\cleftoksi={{6}{0}{0}{0}}% \global\cleftoksii={{0}{0}{0}{0}}% -\def\lowersonginstrum{1} % to be used to make heavy bars at staff left -\def\uppersonginstrum{2} % to be used to make heavy bars at staff left +\songbottom{1} % to be used to make heavy bars at staff left +\songtop{2} % to be used to make heavy bars at staff left % \ifx\Signature\undefined\def\Signature{1}\fi \ifx\Transpose\undefined\def\Transpose{0}\fi @@ -71,7 +72,7 @@ \temps\Notes\zql N\qu b&\hsong{\txt |est|&}\qu g\enotes % %\check -\barre\Notes\zql N\qu b&\hsong{\txt |n‚|&}\qu g\enotes +\barre\Notes\zql N\qu b&\hsong{\txt |n\'e|&}\qu g\enotes \notes\rlap{\dqb NK}\dqu db&\zsong{\txt |le di-|&}\thelyrics\dqu ig\enotes % %\check @@ -88,7 +89,7 @@ % %\check \barre\hardlyrics{\txt |bois, |&}\notes\zql L\qu d&\hsong\thelyrics\ql i\enotes -\temps\notes\rlap{\dqb NL}\dqu ed&\zsong{\txt |r‚son-|&}\dql ji\enotes +\temps\notes\rlap{\dqb NL}\dqu ed&\zsong{\txt |r\'eson-|&}\dql ji\enotes % %\check \barre\Notes\zql M\qu c&\hsong{\txt |nez|&}\qu h\enotes @@ -104,7 +105,7 @@ \temps\notes\zql N\qu b&\zsong{\txt |est |&}\zql g\dqu lk\enotes % %\check -\barre\notes\zql N\qu b&\hsong{\txt |n‚ |&}\zql g\dqu lk\enotes +\barre\notes\zql N\qu b&\hsong{\txt |n\'e |&}\zql g\dqu lk\enotes \temps\notes\rlap{\dqb NK}\dqu db&\zsong{\txt |le di-|&}% \Ibl0 ig1\zqb0 i\loff{\Ibu1ji1\qh1j}\tbl0\zqb0g\tqh1i\enotes % @@ -125,7 +126,7 @@ \temps\notes\rlap{\dqb LJ}\qu a&\zsong{\txt |son a-|&}\zqu l\dql ji\enotes % %\check -\barre\Notes\zql K\qu d&\hsong{\txt |vŠ-|&}\zql h\qu m\enotes +\barre\Notes\zql K\qu d&\hsong{\txt |v\`e-|&}\zql h\qu m\enotes \temps\Notes\zql K\qu c&\hsong{\txt |ne-|&}\zql k\qu m\enotes % %\check @@ -160,7 +161,7 @@ \temps\Notes&\hsong{\txt |pro-|&}\zql g\qu i\enotes % %\check -\barre\Notes\tten0\qlp N&\hsong{\txt |phŠ-|&}\zql g\qu i\enotes +\barre\Notes\tten0\qlp N&\hsong{\txt |ph\`e-|&}\zql g\qu i\enotes \temps\notes&\hsong{\txt |tes|&}\zcl f\cu h\enotes \temps\notes\ds&\ds\enotes % diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kv315org.tex b/Master/texmf-dist/doc/generic/musixtex/examples/kv315org.tex new file mode 100644 index 00000000000..ab58cef2736 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/kv315org.tex @@ -0,0 +1,813 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{Andante KV 315}\subtitle{pour fl\^ute et orchestre} +\author{W. A. Mozart\\transcription pour orgue solo \`a 3 claviers\\(disposition +baroque avec G.O. entre R\'ecit et Positif)\\D. Taupin, 2001} +\shortauthor{W. A. Mozart / D. Taupin} + \othermention{R\'ecit : fl\^utes 8', 4', nazard {\it ad lib.} +\\G.O. : principaux 8', 4' +\\Positif : fonds 8', 4', 2' {\it ad lib.}, acc. G.O. +\\P\'edale : bourdon 16', tirasse positif +\csname HomeReg\endcsname} +\maketitle + +\parindent 2cm +\generalsignature{0} +\instrumentnumber{3} +\setname1{P\'edale 16'} +\setname2{Orgue} +\setname3{R\'ecit} +\setstaffs22 +\setclef1{6000} +\setclef2{6000} +\setclef3{0000} +\generalmeter{\meterfrac 24} +\def\dble{\multnoteskip 2} + +\def\FourStaff{\relax + \gdef\Nextstaff{\nextstaff}\relax + \setclef2{6000}\relax + \setstaffs22\relax} + +\def\ThreeStaff{\relax + \gdef\Nextstaff{\relax}\setstaffs21\relax + \setclef2{0000}\relax +} + + \FourStaff + +\systemnumbers +\def\freqbarno{9999} + + +\debutmorceau +\zbarre +\NOTes\qu J\qu G&\zmidtwotext{\llap{\bf G.O.}}\ql N\ql N|\zq c\zq e\qu j\zq d\zq f\qu i&\multnoteskip{0.7}\sk\pause\enotes +% +\barre %2 +\NOtes + \ibu0K0\lpz J\qh0J\lpz G\qh0G&\Ibl1Na2\upz c\zq c\qb1N\upz b\zq N\qb1b\relax + |\Ibl2fh2\upz j\zq e\qb2j\Pince n\multnoteskip{0.6}\zq g\qb2k\relax + {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax + &\soupir\enotes +\NOtes + \lpz J\tqh0J&\upz c\tqb1c\relax + |\zq g\tqb2l&\ds\enotes +\notes\ds&\zmidtwotext{\bf Pos.}\ds|\ds&\Ibbl0lm2\qbp0l\turn n\sk\tbbbl0\tqb0m\enotes +% +\barre %3 +\def\atnextline{\ThreeStaff}% +\notes\dble\cl J\ds\cl G\ds + &\Nextstaff\ibbu0e0\zcl N\qh0c\zq c\qh0e\zq e\qh0g\zq +e\tqh0c\zq e\ibbu0e0\qh0g\zq c\qh0e\zq d\qh0f\zq b\tqh0d\relax + &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes +% +\barre %4 +\notes\dble\cu J\ds\cu C\ds\relax + &\Nextstaff\qs\ibbu0d0\zq b\qh0{^d}\zq c\qh0e\zq b\tqh0d\relax + \Ibbu0df3\zq c\qh0e\zq c\qh0e\zq {=d}\qh0f\zq e\tqh0g\relax + &\Ibl0kl2\qb0{^k}\sk\tqb0l\sk\qs\Ibbl0ln2\qb0{lm}\tqb0n\enotes +% +\barre %5 +\notes\dble\cu J\ds\cu J\ds + &\Nextstaff\qs\ibbu0g0\zq f\qh0h\zq c\qh0f\zq f\tqh0h\Ibbu0ig3\zq h\qh0j\zq +h\qh0j\sk\zq g\qh0i\zq f\tqh0h\relax + &\ibbl0o0\qb0o\tbbl0\qb0m\itenu0q\tqb0q\sk + \ibbl0o0\tten0\qbp0q\relax + {\multnoteskip{0.66}\sk\nbbbl0\qb0r\tqb0q}\relax + \Ibbl0po1\qb0p\tqb0o\enotes +% +\barre %6 +\notes\dble\cu J\ds\cu J\ds + &\Nextstaff\qs\Ibbu0fd2\zq f\qh0h\zq e\qh0g\zq{^d}\tqh0{^f}\relax + \ibbu0i0\zq e\qh0g\zq g\qh0j\zq c\qh0e\zq e\tqh0g\relax + &\dble\Ibl0on1\Pince q\qb0o\tqb0n\ds + \multnoteskip{0.33}\ibbl0n0\qbp0n\uppersh m\turn r\sk\tbbbl0\tqb0n\enotes +% +\barre %7 +\notes\dble \cu H\ds\qu{_H}\ds\relax + &\Nextstaff\qs\Ibbu0fj2\zq c\qh0f\zq f\qh0h\zq h\tqh0j\ds\Ibbu0fj2\zq c\qh0f\zq +f\qh0{_h}\zq h\tqh0j\relax + &\Ibbl0qo1\qb0q\tqb0o\dble\ql m\sk\cl m\enotes +% +\barre %8 +\Notes\cu G\relax + &\Nextstaff\qs\Ibbu0di2\zq b\qh0d\relax + &\multnoteskip{0.5}\Ibbbl1nk3\qb1{nml}\tqb1k\enotes +\notes\ds&\Nextstaff\zq d\qh0f\zq f\tqh0i\relax + &\ql k\sk\enotes +\notes\dble\cu J\sk\relax + &\Nextstaff\qs\ibbu0i0\zq f\qh0i\zq e\qh0j\zq e\tqh0g\relax + &\sk\sk\multnoteskip{0.7}\Ibbl0lj2\qbp0l\sk\tbbbl0\tqb0j\enotes +% +\barre %9 +\notes\dble\cu F\ds\cu G\ds + &\Nextstaff\dble\zql d\qup f\sk\Ibu0ad0\qh0N\zq{d}\tqh0b\relax + &\ibbl0i0\isluru0i\qb0i\tslur0h\qb0h\isluru0m\qb0m\tslur0k\tqb0k\relax + \ibbl0j0\isluru0j\qb0j\tslur0i\qb0i\isluru0n\qb0n\tslur0m\tqb0m\enotes +% +\barre %10 +\notes\dble\qu J\sk\Ibu0JI1\qh0J\tqh0I\relax + &\Nextstaff\zql N\ds\Ibbu0ef2\zq{^d}\qh0b\zq e\qh0c\zq +f\tqh0{=d}\Ibbu0eg3\zq{^f}\qh0{^d}\zq e\qh0{g}\zq{=d}\qh0h\zq i\tqh0g\relax + &\dble\Ibl0kl1\qb0{^k}\tqb0l\ds + \multnoteskip{0.4}\ibbl0n0\qbp0n\turn o\sk\tbbbl0\tqb0n\enotes +% +\barre %11 +\notes\dble\qu H\sk\qu{_H}\relax + &\Nextstaff\zcu j\raise -4\Internote\qs\Ibbu0fj2\zq f\qh0c\zq f\qh0h\zq h\tqh0j\relax + \qs\Ibbu0fj2\zq c\qh0f\zq f\qh0{_h}\zq h\tqh0j\relax + &{\multnoteskip{0.667}\triolet q\Ibbl0qm2\qb0{qo}\tqb0m}\relax + \dble\ql m\sk\cl m\enotes +% +\barre %12 +\notes\dble\Ibu0GF1\lpz G\qh0G\tqh0F\ds + &\Nextstaff\dble\lpz d\zq d\zq g\Ibu0ig1\qh0i\zq b\zq g\tqh0d\ds + &\ibbl0k0\qb0m\tbbl0\qb0p\tqb0p\sk\ds\enotes +\notes\cl L&\Nextstaff\zq c\cu g&\Ibbbl0qo3\qb0{qp_p}\tqb0o\enotes +% +\barre %13 +\notes\ql M\relax + &\Nextstaff\dble\dble\Ibu0fh1\zq c\qh0f\zq d\tqh0h\relax + &\ibbbl0n0\qb0{^no=p}\tqb0o\Ibbbl0nk3\qb0{=nml}\tqb0k\enotes +\Notes\dble\ql N\relax + &\Nextstaff\ds\Ibbu0gd2\zq e\qh0g\zq c\qh0e\zq b\tqh0d\relax + &\ibbl0j0\roff{\tbbl0}\qh0{jl}\sk + \multnoteskip{0.6}\nbbbl0\qb0m\tqb0k\enotes +% +\barre %14 +\notes\dble\qu J\sk\ql{_L}\relax + &\Nextstaff\Ibbu0bg3\qh0M\zq c\qh0N\zq c\qh0e\zq e\tqh0g\relax + \qs\Ibbu0ej2\zq c\qh0{_e}\zq e\qh0g\zq g\tqh0j\relax + &\pince n\Ibbl0kj2\qb0k\tbbl0\qb0 j\tqb0j\sk\ds\sk + \multnoteskip{0.67}\Ibbl0jn2\qbp0j\sk\tbbbl0\tqb0n\enotes +% +\barre %15 +\notes\hl K\relax + &\Nextstaff\dble\raise 4\Internote\rlap{\ds}\ibl1h0\qb1h\zqu k\qb1{^f}\relax + &\Ibbl0nm2\qb0n\tbbl0\qb0{^m}\itenu3m\tqb0m\enotes +\notes&\Nextstaff\multnoteskip{0.75}\dble\dble\qb1g\zcu j\tqb1h\relax + &\multnoteskip{0.75}\tten3\ibbbl0m0\qb0{mln}\tqb0m\Ibbbl0ol3\qb0{onm}\tqb0l\enotes +% +\barre %16 +\notes\hl K\relax + &\Nextstaff\dble\zql{^f}\raise 2\Internote\ds\Ibu0ji1\zq h\qh0j\raise -6\Internote\rlap{\ds}\relax + \zq g\tqh0i\zq g\cu i\relax + &\uppersh o\pince n\Ibbl0lk2\qb0l\tbbl0\qb0k\itenu3k\tqb0k\sk + \tten3\ibbl0k0\qb0k\tqb0p\multnoteskip{0.8}\Ibbbl0ol2\qb0{on^m}\tqb0l\enotes +% +\def\atnextline{\FourStaff}% +\barre %17 +\notes\hl K\relax + &\Nextstaff\dble\zql e\raise 2\Internote\ds\raise +-6\Internote\rlap{\ds}\Ibu0ih1\roff{\zq h\itenu0h}\qb0g\zq +{^f}\tten0\itenu0h\tqh0h\zq d\tten0\itenl0d\zq h\cu {^f}\relax + &\ibbl3k0\qb3k\tbbl3\qb3j\itenu3q\tqb3q\sk + \tten3\Ibbl0qj2\qb0{qo^m}\tqb0j\enotes +% +\barre %18 +\notes\dble\ql N\sk\soupir + &\Nextstaff\tten0\zq d\zq i\qu g\sk\sk\sk\ds\ibbu0f0\qh0d\zcl b\qh0g\tqh0{=f}\relax + &\Ibbl0ip3\qb0{ikn}\tqb0p\itenu4r\ql r\enotes +% +\barre %19 +\notes\hl L\relax + &\Nextstaff\rlap{\ibbu0j0\roff{\tbbu0}\qh0g\qh0l\sk\qh0k\sk\qh0j\sk\tbbu0\tqh0i}\relax + \dble\Ibl0eg3\qb0{e^gh}\tqb0{=g}\relax + &\tten4\Ibbl0rn7\roff{\tbbl0}\qb0r\qb0q\sk\qb0p\sk\qb0o\sk\tbbl0\tqb0n\enotes +% +\barre %20 +\NOtes\dble\qup K\sk\multnoteskip{0.5}\sk\ds + &\Nextstaff \dble\ibu0h0\zq{^f}\qh0h\zq f\tqh0h\multnoteskip{0.5}\zq f\cu h\ds + &{\multnoteskip{0.5}\Ibbbl0nk3\qb0{n^ml}\tqb0k\Ibbbl0jk3\qb0{^jkl}\tqb0k}\relax + \cl k\ds\enotes +% +\barre %21 +\Notes\cu G\ds\cu D\ds + &\uptext{\rlap{\bf G.O.}}\relax + \cl N\ds\cl K\ds|\zq b\zq g\cu d\ds\zq h\zq c\rq d\cu{^f}\ds + &\sk\sk\pause\enotes +% +\barre %22 +\Notes\Ibu0GI2\lpz G\qh0G\lpz H\qh0H\relax + &\Ibl3Nb3\upz N\qb3N\upz a\qb3a\relax + |\Ibu1ik2\lpz d\zq i\zq d\qh1g\lpz d\zq j\zq d\qh1{^f}\relax + &\soupir\enotes +\notes\lpz I\tqh0I\sk\ds + &\upz b\tqb3b\sk\ds + |\lpz d\zq d\zq k\tqh1g\sk\ds + &\qs\Ibbl2kp2\qb2{kn}\tqb2p\enotes +% +\def\atnextline{\ThreeStaff}% +\barre %23 +\NOtes\ql a\ql N\relax + &\Nextstaff\lsh m\zq k\itenu2k\zhl k\islurd0j\lq j\isluru1m\ql{m}\tten2\zq k\tslur0i\zq i\tslur1n\ql n\relax + &\itenu5r\hl r\enotes +% +\barre %24 +\NOtes\upz M\Ibl0Ma2\qb0{^M}\upz N\qb0N\upz a\tqb0a\relax + &\Nextstaff\upz o\lq j\zq k\Ibl0jk2\qb0o\Pince r\relax + \rlap{\multnoteskip{0.25}\sk\sk\tinynotesize\Ibbu1op1\qh1o\tqh1p}\relax + \zq k\qb0p\zq{^m}\tqb0q\relax + &\tten5\itenu5r\ql r\sk + \tten5\multnoteskip{0.6}\ibbl0r0\qb0r\relax + \nbbbl0\multnoteskip{0.6}\qb0s\tqb0r\enotes +\notes\ds&\Nextstaff\ds&\multnoteskip{0.72}\Ibbbl0ro3\qb0{rqp}\tqb0o\enotes +% +\barre %25 +\Notes\ql N\relax + &\Nextstaff\zmidtwotext{\bf Pos.}\qs\ibbu1i0\zq b\qh1g\relax + &\multnoteskip{0.5}\ibbbl0n0\qb0{nop}\tqb0o\enotes +\notes\dble\sk\ql b\relax + &\Nextstaff\zq i\qh1k\zq g\tqh1i\ibbu0g0\zq d\qh0g\zq d\qh0g\zq d\qh0g\zq d\tqh0g\relax + &\dble\isluru0n\ql n\sk\tslur0m\cl{^m}\enotes +% +\barre %26 +\Notes\ql c\relax + &\Nextstaff\qs\ibbu1g0\zq e\qh1g\relax + &\multnoteskip{0.5}\ibbbl0l0\qb0{l^mn}\tqb0m\enotes +\notes\dble\sk\ql N\relax + &\Nextstaff\qh1e\zq g\tqh1e\ibbu0i0\zq j\qh0g\zq j\qh0g\zq i\qh0g\zq i\tqh0g\relax + &\dble\isluru0l\ql l\sk\tslur0k\cl{k}\enotes +% +\barre %27 +\notes\ql a\relax + &\Nextstaff\ds\ibbu0g0\zq e\qh0g\zq e\qh0g\zq e\tqh0g\relax + &\ibl0j0\xTrille n{3\noteskip}\qbp0j\sk\sk\nbbbl0\multnoteskip{0.7}\qb0i\tqb0j\enotes +\notes\ql K\relax + &\Nextstaff\ibbu0h0\zq{^f}\qh0h\zq f\qh0h\zq f\qh0h\zq f\tqh0h\relax + &\Ibl0kj2\isluru0k\qb0k\sk\tslur0j\tqb0j\enotes +% +\barre %28 +\NOtes\ds\Ibl1LJ3\qb1L\relax + &\Nextstaff\ds\zql b\zq g\ibu2g0\qu2g\relax + &\Ibu3hi1\islurd3h\qh3{^h}\tslur3i\tqh3i\enotes +\notes\dble\dble\qb1K\tqb1J\relax + &\Nextstaff\dble\dble\qh2{^f}\zcl e\tqh2g\relax + &\hs\Ibbbu0gi2\qh0{g=h}\tqh0i\Ibbbl0jm3\qb0{jkl}\tqb0{^m}\enotes +% +\barre %29 +\Notes\cu I\relax + &\Nextstaff\zqup g\raise -6\Internote\qs\ibbl1f0\zq b\qb1d\relax + &\multnoteskip{0.5}\ibbbl0n0\qb0{nop}\tqb0o\enotes +\notes\dble\ds\cu I\ds + &\Nextstaff\zq d\qb1b\zq d\tqb1b\Ibbl0ef3\zq b\qb0d\zq b\qb0d\zcu +{^g}\qb0g\zq d\tqb0f\relax + &\itenu0n\cl n\sk\tten0\ibbl0o0\qb0{nrq}\tqb0p\enotes +% +\def\atnextline{\FourStaff}% +\barre %30 +\notes\ibu1J0\qh1J\sk\qh1J\relax + &\Nextstaff\Ibbu0ih2\zq d\zq i\qh0f\zq c\zq h\tbbu0\qh0e\zq {hc}\tqh0e\relax + &\Ibbl0no1\qb0{^n}\tqb0o\qs\ccl s\enotes +\Notes\dble\qh1J\tqh1J\relax + &\Nextstaff\dble\Ibu0jl1\zq {je}\qh0h\zq {lh}\tqh0j\relax + &\multnoteskip{0.5}\qs\sk\Ibbbl0rq1\qb0r\tqb0q\qs\sk\Ibbbl0po1\qb0p\tqb0o\enotes +% +\barre %31 +\Notes\ql K\relax + &\Nextstaff\qs\Ibbu1ik2\zq g\qh1i\relax + &\multnoteskip{0.71}\ibbl3n0\qbp3p\sk\tbbbl3\tbbl3\qb3n\enotes +\Notes\dble\sk\ql K\relax + &\Nextstaff\zq k\qh1i\zq k\tqh1i\Ibbu0ki3\zq k\qh0i\lsh h\zq{^j}\zq e\qh0h\zq{=j}\lna +h\zq{^f}\qh0h\zq i\tqh0g\relax + &\itenu1r\tqb3r\sk\tten1\Ibbl0rp3\qb0{r^q=q}\tqb0p\enotes +% +\barre %32 +\Notes\ql K\relax + &\midtwotext{\bf G.O.}|\zqu h\itenu2h\raise -4\Internote\qs\ibbl0g0\qh0{gg}\tqb0g\relax + &\zhl o\xTrille q{8\noteskip}\enotes +\notes\dble\zcl K\sk\sk\ds + &\Nextstaff\zcl {^f}\tten2\Ibbbu0hi3\qh0{hij}\tqh0i\Ibbbu0jm3\qh0{jkl}\tqh0{^m}\relax + &\sk\sk\sk\sk\sk\sk\sk\multnoteskip{0.7}\tinynotesize\Ibbbu0lm1\qh0n\tqh0o\enotes +% +\barre %33 +\notes\qu G\relax + &\Nextstaff\Uptext{\bf m.g.}\Ibbbl0no3\qb0{nop}\tqb0o\relax + &\itenu3n\cl n\enotes + \nspace +\Notes\dble\sk\qu I\sk\relax + &\zcharnote f{\bf m.g.}\qs\ccl d\ibbl0N0\qb0{bNb}\tqb0N\relax + |\bracket m{22}\Uptext{\bf m.d.}\dble\isluru0n\ql n\sk\tslur0k\cl{^m}\relax + &\dble\tten3\cl n\ds\soupir\enotes +% +\barre %34 +\notes\qu J\relax + &\qs\sk\ibbl1M0\qh1N\relax + |\Ibbbl0lm3\qb0{l^mn}\tqb0m\relax + &\enotes +\Notes\dble\sk\Ibu0JK1\qh0J\tqh0K\relax + &\qb1c\tqb1N\Ibbl0aM3\qb0{cNb}\tqb0N\relax + |\dble\isluru0l\ql l\sk\tslur0k\cl k\relax + &\dble\sk\pause\enotes +% +\barre %35 +\notes\zqlp L\relax + &\Ibbbl0LM3\qb0{L=MN}\tqb0M\relax + |\Ibbbl0jk3\qb0{jkl}\tqb0k\relax + &\enotes +\Notes\dble\sk\sk\cl K\relax + &\ibbl0L0\qb0L\tqb0N\Ibbl0LK2\qb0{LN}\qb0K\tqb0N\relax + |\dble\isluru0j\ql j\sk\tslur0i\cl i\relax + &\dble\sk\pause\enotes +% +\barre %36 +\Notes\qu J\relax + &\Ibl0Lc3\qb0L\sk\nbbl0\qb0a\tqb0c\relax + |\rlap{\dble\ibl0g0\qb0e\tqb0e}\Ibbu0gl3\qh0{^ghj}\tqh0l\enotes +\notes\qu K\relax + &\ibl0d0\qb0d\sk\sk\tqb0d\relax + |\islurd0k\Ibbu0ki2\qhp0k\sk\tbbbu0\tqh0i\Ibbbu0kh3\qh0{kji}\tslur0h\tqh0h\relax + &\sk\pause\enotes +% +\barre %37 +\Notes\cu G\sk\ds + &\zq {Nb}\cl d\sk\ds|\cu g\sk\ds + &\qs\isluru0g\Ibbl0gk2\qb0{gi}\tqb0k\enotes +\notes\soupir&\soupir|\soupir + &\tslur0n\ibbbl0n0\qb0n\upz k\qb0k\upz l\qb0l\upz +m\tqb0{^m}\Ibbbl0nq3\upz n\qb0n\upz o\qb0o\upz p\qb0p\upz q\tqb0q\enotes +% +\barre %38 +\Notes\cu G\ds\cu D\ds\relax + &\Nextstaff\zq {_bd}\cu g\ds\zq{ac}\rq d\cu{^f}\sk + &\itenu0r\hl r\enotes +% +\barre %39 +\Notes\Ibl1GN2\upz G\qb1G\upz K\qb1K\relax + &\Nextstaff\Ibu2gi2\lpz b\zq{_bd}\qh2g\lpz d\zq{d^f}\qh2h\relax + &\tten0\itenu0r\ql r\enotes +\notes\upz N\tqb1N\sk\ds + &\Nextstaff\lpz d\zq{dg}\tqh2{_i}\sk\ds + &\tten0\ibbl0r0\qb0{rrr}\tqb0r\enotes +% +\barre %40 +\notes\hu H\relax + &\qs\Ibbu0Ma1\qh0{^Ma}\tqh0c\relax + &\dble\dble\isluru1s\ql{_s}\enotes +\notes + &\Nextstaff\Ibbu0ej3\qh0{_e^fh}\tqh0j\relax + &\tslur1m\ql{^m}\enotes +% +\barre %41 +\NOtes\lpz I\Ibu0IG2\qh0{_I}\lpz F\qh0{^F}\lpz G\tqh0G\ds + &\Nextstaff\lpz d\Ibu0ki2\zq{dg}\qh0k\lpz d\zq{dh}\qh0j\lpz d\zq{dg}\tqh0{_i}\ds + &\Ibl0no1\qb0n\turn q\upperfl r\qb0o\tqb0{_p}\ds + \enotes +% +\barre %42 +\notes\qu J&\zmidtwotext{\bf Pos.}|\ds&\multnoteskip{0.8}\ibbbl0o0\qb0{_poq}\tqb0o\enotes +\Notes\sk\qu K\relax + &\Nextstaff\Ibl0jh2\zq{_l}\qb0j\zq k\qb0{_i}\zq j\tqb0 h\relax + &\isluru0n\ql n\sk\tslur0m\cl{^m}\enotes +% +\barre %43 +\notes\dble\ql N\sk\ql{=M}\relax + &\Nextstaff\zhl d\Ibbu0ji3\zq{^f}\qh0j\zq g\qh0{_i}\zq g\qh0i\zq g\tqh0i\relax + \qs\ibbu0i0\zq g\qh0i\zq f\qh0h\zq g\tqh0i\relax + &\Ibbl0on2\qb0o\tbbl0\qb0n\tqb0n\sk\ds\sk\cl n\enotes +% +\barre %44 +\notes\dble\qu L\sk\qu K\relax + &\Nextstaff\zql{^c}\qs\ibbu0i0\zq g\qh0{_i}\zq{^f}\qh0h\zq g\tqh0i\relax + \zql d\qs\ibbu0i0\zq g\qh0i\zq f\qh0h\zq g\tqh0i\relax + &\itenu1n\ql n\sk\sk\sk\tten1\ibbl0n0\qb0n\qb0n\qb0{^m}\tqb0n\enotes +% +\barre %45 +\notes\dble\qu{^J}\sk\qu K\relax + &\Nextstaff\zql e\ibbu0h0\qh0{gh^g}\tqh0h\ibbu0h0\zq d\qh0{=f}\zq f\qh0h\zq +e\qh0{=g}\zq d\tqh0f\relax + &\Ibbl0po2\qb0{_p}\tbbl0\qb0o\itenu0o\tqb0o\sk + \tten0\Ibbl0oq3\qb0{or^q}\tqb0r\enotes +% +\barre %46 +\notes\qu E\relax + &\zmidtwotext{\bf G.O.}\qs\Ibbu0JN2\qh0{^JL}\tqh0N\relax + &\dble\dble\isluru1p\ql{_p}\enotes + \nspace +\notes\soupir + &\Nextstaff\Ibbu0bg3\qh0{_b^ce}\tqh0g\relax + &\tslur1j\ql{^j}\enotes +% +\barre %47 +\def\atnextline{\ThreeStaff}% +\NOtes\lpz F\Ibu0FK2\qh0F\lpz J\qh0{^J}\lpz K\tqh0K\ds + &\Nextstaff\lpz a\Ibu0hf2\zq{ad}\qh0h\lpz a\zq{ae}\qh0g\lpz a\zq{ad}\tqh0f\ds + &\Ibl0kl1\qb0k\turn n\qb0l\tqb0m\ds + \enotes +% +\barre %48 +\notes\ql N\relax + &\zmidtwotext{\bf Pos.}|\ds&\multnoteskip{0.8}\ibbbl0l0\qb0{mln}\tqb0l\enotes +\Notes\sk\ql a\relax + &\Nextstaff\Ibu0hf2\zq{_i}\qh0g\zq h\qh0f\zq g\tqh0 e\relax + &\isluru0k\ql k\sk\tslur0j\cl{^j}\enotes +% +\barre %49 +\notes\dble\qu K\sk\ql{=b}\relax + &\Nextstaff\ibbu0g0\zq{^c}\qh0h\zq d\qh0f\lpz d\zq d\qh0f\lpz d\zq d\tqh0f\zq d\qh0{^g}\relax + &\Ibbl0lk2\qb0l\tbbl0\qb0k\tqb0k\sk\qs\ibbl0m0\qb0{mm}\tqb0m\enotes +% +\barre %50 +\notes\dble\qu J\sk\ql{^N}\relax + &\Nextstaff\qs\ibbu0i0\zq e\qh0h\zq e\qh0h\zq e\tqh0h\zq e\qh0{=i}\relax + &\Ibbl0ml2\qb0m\tbbl0\qb0l\tqb0l\sk\qs\ibbl0k0\qb0{kk}\tqb0k\enotes +% +\barre %51 +\notes\dble\qu H\sk\qu F\relax + &\Nextstaff\zcl e\Ibbu0ih1\qh0i\tqh0h\zq c\dble\qu h\relax + &\ibbl0k0\qb0k\tbbl0\qb0j\itenu0o\tqb0o\sk + \multnoteskip{0.6}\Ibbl0om3\tten0\qb0o\sk\nbbbl0\qb0n\tqb0m\enotes +\notes&\Nextstaff\zq a\cu h&\Ibbl0lk1\qb0l\tqb0{^k}\enotes +% +\def\atnextline{\FourStaff}% +\barre %52 +\notes\dble\qu E\sk\cu L\ds + &\Nextstaff\Ibbu0hg3\zq c\qh0h\zq b\qh0{^g}\zq b\zq e\qh0g\zq b\zq e\tqh0g\dble\zq + {be}\cu g\ds + &\Ibbl0kl2\qb0{^k}\tbbl0\qb0l\tqb0l\sk\qs\ibbl0l0\qb0{ll}\tqb0l\enotes +% +\barre %53 +\notes\qs\ibbl0K0\qb0{KK}\tqb0K\relax + &\Nextstaff\qs\ibbu0i0\rq g\sh g\zq f\qh0i\rq g\zq f\qh0i\rq g\zq f\tqh0i\relax + &\Ibbl0nm2\qb0n\tbbl0\qb0m\tqb0m\enotes +\notes\multnoteskip{0.7}\cl K\sk\sk\sk\ds + &\Nextstaff\multnoteskip{0.7}\zq f\rq g\cu i\sk\sk\sk\ds + &\multnoteskip{0.7}\hs\ibbbl0l0\qb0{ml}\tqb0m\ibbbl0l0\qb0{nml}\tqb0m\enotes +% +\barre %54 +\notes\zql G\raise3\Internote\qs\ibbl0N0\qb0{NN}\tqb0N\relax + &\Nextstaff\zcharnote N{\bf G.O.}\relax + \qs\ibbu0i0\zq d\zq f\qh0i\zq d\zq f\qh0i\zq d\zq f\tqh0i\relax + &\Ibbl0qp2\qb0q\tbbl0\qb0p\tqb0p\enotes +\notes\multnoteskip{0.7}\cl N\sk\sk\sk\ds + &\Nextstaff\multnoteskip{0.7}\zq f\rq g\cu i\sk\sk\sk\ds + &\multnoteskip{0.7}\hs\ibbbl0o0\qb0{po}\tqb0p\ibbbl0o0\qb0{qpo}\tqb0p\enotes +% +\barre %55 +\NOTes\qu J\qu G\relax + &\sk\cl N|\zq c\zq j\qu e\zq d\zq g\qu i&\ql q\soupir\enotes +% +\barre %56 +\NOtes + \ibl0K0\upz J\qb0J\upz N\qb0 N\relax + &\ibl1b0\qb1{cb} + |\Ibl2fh2\zq {ce}\qb2j\zq g\Pince n\multnoteskip{0.6}\qb2k\relax + {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax + &\soupir\enotes +\NOtes + \upz J\tqb0J\relax + &\tqb1c|\zq g\tqb2l&\ds\enotes +\notes\ds&\zmidtwotext{\bf Pos.}\ds&\Ibbl0lm2\qbp0l\turn o\sk\tbbbl0\tqb0m\enotes +\def\atnextline{\ThreeStaff}% +% +\barre %57 +\notes\dble\cu J\ds\cu G\ds + &\Nextstaff\ibbu0e0\zq N\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq +c\qh0e\zq d\qh0f\zq b\tqh0d\relax + &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes +% +\barre %58 +\notes\dble\cu J\ds\cu J\ds\relax + &\Nextstaff\qs\ibbu0d0\zq b\qh0{^d}\zq c\qh0e\zq b\tqh0d\relax + \Ibbu0df3\zq c\qh0e\zq c\qh0e\zq {=d}\qh0f\zq e\tqh0g\relax + &\Ibl0kl2\qb0{^k}\sk\tqb0l\sk\qs\Ibbl0ln2\qb0{lm}\tqb0n\enotes +% +\barre %59 +\notes\dble\cu J\ds\cu J\ds + &\Nextstaff\qs\ibbu0g0\zq f\qh0h\zq c\qh0f\zq f\tqh0h\Ibbu0ig3\zq h\qh0j\zq +h\qh0j\sk\zq g\qh0i\zq f\tqh0h\relax + &\ibbl0o0\qb0o\tbbl0\qb0m\itenu0q\tqb0q\sk + \ibbl0o0\tten0\qbp0q\relax + {\multnoteskip{0.66}\sk\nbbbl0\qb0r\tqb0q}\relax + \Ibbl0po1\qb0p\tqb0o\enotes +% +\barre %60 +\notes\dble\cu J\ds\cu J\ds + &\Nextstaff\qs\Ibbu0fd2\zq f\qh0h\zq e\qh0g\zq{^d}\tqh0{^f}\relax + \ibbu0i0\zq e\qh0g\zq g\qh0j\zq c\qh0e\zq e\tqh0g\relax + &\dble\Ibl0on1\Pince q\qb0o\tqb0n\ds + \multnoteskip{0.33}\ibbl0n0\qbp0n\turn p\sk\tbbbl0\tqb0n\enotes +% +\barre %61 +\notes\dble\qu H\sk\qu{_H}\relax + &\Nextstaff\qs\Ibbu0fj2\zq c\qh0f\zq f\qh0h\zq h\tqh0j\ds\Ibbu0fj2\zq c\qh0f\zq +f\qh0{_h}\zq h\tqh0j\relax + &\Ibbl0qo1\qb0q\tqb0o\dble\ql m\sk\cl m\enotes +% +\barre %62 +\Notes\qu G\relax + &\Nextstaff\qs\Ibbu2di2\zq b\qh2d\relax + &\multnoteskip{0.5}\Ibbbl3nk3\qb3{nml}\tqb3k\enotes +\notes&\Nextstaff\zq d\qh2f\zq f\tqh2i\relax + &\ql k\sk\enotes +\notes\dble\Ibu0GJ1\qh0G\tqh0J\relax + &\Nextstaff\qs\ibbu0i0\zq f\qh0i\zq e\qh0j\zq e\tqh0g\relax + &\sk\sk\multnoteskip{0.7}\Ibbl0lj2\qbp0l\sk\tbbbl0\tqb0j\enotes +% +\barre %63 +\notes\dble\qu F\sk\qu G\relax + &\Nextstaff\dble\zq d\qup f\sk\Ibu0bd1\qh0N\zq b\tqh0d\relax + &\ibbl0i0\isluru0i\qb0i\tslur0h\qb0h\isluru0m\qb0m\tslur0k\tqb0k\relax + \ibbl0j0\isluru0j\qb0j\tslur0i\qb0i\isluru0n\qb0n\tslur0m\tqb0m\enotes +% +\barre %64 +\notes\dble\qu J\sk\Ibu0JI1\qh0J\tqh0I\relax + &\Nextstaff\zcl N\qs\Ibbu0ef2\zq b\qh0{^d}\zq c\qh0e\zq{=d}\tqh0f\relax + \Ibbu0fi3\zq{^d}\qh0{^f}\zq e\qh0g\zq{=d}\qh0h\zq g\tqh0i\relax + &\dble\Ibl0kl1\qb0{^k}\tqb0l\ds + \turn p\multnoteskip{0.4}\ibbl0n0\qbp0n\sk\tqb0n\enotes +% +\barre %65 +\notes\dble\qu H\sk\qu{_H}\relax + &\Nextstaff\zcu j\raise -4\Internote\qs\Ibbu0fj2\zq f\qh0c\zq f\qh0h\zq h\tqh0j\relax + \qs\Ibbu0fj2\zq c\qh0f\zq f\qh0{_h}\zq h\tqh0j\relax + &{\multnoteskip{0.667}\triolet q\Ibbl0qm2\qb0{qo}\tqb0m}\relax + \dble\ql m\sk\cl m\enotes +% +\barre %66 +\notes\dble\Ibu0HM1\lpz G\qb0G\lpz M\tqh0M\ds + &\Nextstaff\dble\lpz d\zq d\Ibu0ig1\zq i\qh0g\lpz b\zq g\zq b\tqh0d\ds + &\ibbl0k0\qb0m\tbbl0\qb0p\tqb0p\sk\ds\enotes +\notes\cl L&\Nextstaff\zq c\cu g&\Ibbbl0qo3\qb0{qp_p}\tqb0o\enotes +% +\barre %67 +\notes\ql M\relax + &\Nextstaff\dble\dble\Ibu0fh1\zq f\qh0c\zq h\tqh0d\relax + &\ibbbl0n0\qb0{^no=p}\tqb0o\Ibbbl0nk3\qb0{=nml}\tqb0k\enotes +\Notes\dble\ql N\relax + &\Nextstaff\ds\Ibbu0gd2\zq e\qh0g\zq c\qh0e\zq b\tqh0d\relax + &\ibbl0j0\roff{\tbbl0}\qh0{jl}\sk + \multnoteskip{0.6}\nbbbl0\qb0m\tqb0k\enotes +% +\barre %68 +\notes\dble\qu J\sk\dble\ql N\relax + &\Nextstaff\Ibbu0bg3\qh0M\zq c\qh0N\zq c\qh0e\zq e\tqh0g\qs + \Ibbu0ej2\zq c\qh0{e}\zq e\qh0g\zq g\tqh0j\relax + &\pince n\Ibbl0kj2\qb0k\tbbl0\qb0 j\tqb0j\sk\ds\sk + \multnoteskip{0.67}\Ibbl0jj2\qbp0j\sk\tbbbl0\tqb0j\enotes +% +\barre %69 +\Notes\qu J\relax + &\Nextstaff\qs\Ibbu0fj2\zq c\qh0{^f}\zq f\qh0h\zq h\tqh0j\relax + &\Ibbl0jn2\qb0{^j}\tbbl0\qb0k\itenu0r\tqb0r\enotes +\notes\qu{_I}\relax + &\Nextstaff\dble\qs\Ibbu0gk2\zq d\qh0g\zq g\qh0{_i}\zq i\tqh0k\relax + &\tten0\isluru0r\Ibbbl0ro3\qb0{r=q_p}\tqb0o\Ibbbl0nk3\qb0{nml}\tslur0k\tqb0k\enotes +% +\barre %70 +\def\atnextline{\FourStaff}% +\Notes\qu J\relax + &\Nextstaff\qs\Ibbu0gk2\zq d\qh0g\zq g\qh0{_i}\zq i\tqh0k\relax + &\pince m\ibbl0j0\qb0k\tbbl0\qb0j\itenu0q\tqb0q\enotes +\notes\qu H\relax + &\Nextstaff\dble\qs\Ibbu0fj2\zq c\qh0{=f}\zq f\qh0h\zq h\tqh0j\relax + &\tten0\isluru0q\Ibbbl0qn3\qb0{q_po}\tqb0n\Ibbbl0mj3\qb0{mlk}\tslur0j\tqb0j\enotes +% +\barre %71 +\Notes\qu J\relax + &\Nextstaff\qs\Ibbu0fj2\zq N\qh0d\zq d\qh0f\zq f\tqh0h\relax + &\pince m\ibbl0i0\qb0j\tbbl0\qb0{_i}\itenu0p\tqb0{_p}\enotes +\Notes\qu J\relax + &\Nextstaff\ibbu0g0\zq e\qh0{g_ih}\tqh0g\relax + &\tten0\ibbl0p0\qb0{prq}\tqb0p\enotes +% +\barre %72 +\notes\dble\ibl0N0\qb0M\qb0N\qb0a\tqb0N\relax + &\Nextstaff\dble\ibu0g0\zq c\qh0f\zq c\qh0e\zq c\qh0f\zq c\tqh0g\relax + &\Ibbl0nl7\roff{\tbbl0}\qb0{^no}\sk\qb0{=n}\sk\qb0m\sk\tbbl0\tqb0l\enotes +% +\barre %73 +\notes\dble\dble\ibl0M0\qb0{MMM}\tqb0M\relax + &\Nextstaff\zhlp a\dble\dble\ibu0h0\qh0{hhh}\zcl f\tqh0h\relax + &\isluru0k\Ibbbl0jk3\qb0{^jkl}\tqb0k\Ibbbl0lm3\qb0{lmn}\tslur0m\tqb0m\relax + \isluru0n\Ibbbl0no3\qb0{^nop}\tqb0o\Ibbbl0nk3\qb0{=nml}\tslur0k\tqb0k\enotes +% +\barre %74 +\notes\dble\ql N\sk\relax + &\Nextstaff\ibl0e0\zqu g\itenu0g\qbp0e\sk\multnoteskip{0.7}\sk\nbbbl0\qb0f\tqb0e\relax + &\ibl0j0\qbp0j\sk\multnoteskip{0.7}\sk\nbbbl0\qb0k\tqb0j\enotes +\Notes\cu G\ds + &\Nextstaff\tten0\zcl d\cu g\ds + &\cl i\ds\enotes +% +\barre %75 +\NOtes\cu J\ds\cl N\ds\relax + &\zmidtwotext{\bf G.O.}\cl c\ds\cl b\ds\relax + |\zq g\zq e\cu j\ds\zq d\zq g\zq i\cu k\ds + &\sk\sk\pause\enotes +% +\barre %76 +\def\atnextline{\ThreeStaff}% +\Notes\lpz J\Ibu1JL1\qh1J\lpz K\qh1K\relax + &\Ibl2ce2\upz c\qb2c\upz d\qb2d\relax + |\upz l\Ibl3gi2\zq j\zq g\qb3l\upz m\zq g\zq i\qb3m\relax + &\soupir\enotes +\notes\lpz L\tqh1L\sk\ds + &\upz e\tqb2e\sk\ds + |\upz n\zq g\zq j\tqb3n\sk\ds + &\qs\Ibbl0gl2\qb0{gj}\tqb0l\enotes +% +\barre %77 +\NOtes\ql M\ql L\relax + &\Nextstaff\zq i\zq d\qu g\zq e\zq j\qu g\relax + &\itenu3n\hl n\enotes +% +\barre %78 +\NOtes\Ibu1IK2\lpz I\qh1I\lpz J\qh1J\relax + &\Nextstaff\Ibl3fh2\zq i\zq g\qb3k\Pince n\multnoteskip{0.33}\zq j\zq g\qb3l\sk\tinynotesize\Ibbu0kl1\qh0k\tqh0l\relax + &\tten3\itenu3n\ql n\enotes +\notes\lpz K\tqh1K\sk\ds + &\Nextstaff\Uptext{\hbox to 4\noteskip{\hss\bf R\'ec./G.O.}}\zq g\zq i\tqb3m\sk\ds + &\tten3\Ibbl0np3\qb0{n^no}\tqb0p\enotes +% +\barre %79 +\Notes\qu J\relax + &\zmidtwotext{\bf Pos.}\Nextstaff\qs\Ibbl1ij2\zq e\qb1j\relax + &\multnoteskip{0.5}\ibbbl0q0\qb0{qrs}\tqb0r\enotes +\notes\dble\sk\qu L\relax + &\Nextstaff\zq l\qb1n\zq j\tqb1l\ibbu0i0\zq j\qh0g\zq j\qh0g\zq j\qh0g\zq j\tqh0g\relax + &\dble\isluru0q\ql q\sk\tslur0p\cl p\enotes +% +\barre %80 +\Notes\ql M\relax + &\Nextstaff\qs\Ibbl1hg0\zq h\qb1j\relax + &\multnoteskip{0.5}\ibbbl0o0\qb0{opq}\tqb0p\enotes +\notes\dble\sk\qu J\relax + &\Nextstaff\zq m\qb1j\zq j\tqb1h\ibbu0h0\zq f\qh0h\zq f\qh0h\zq e\qh0g\zq e\tqh0g\relax + &\dble\isluru0o\ql o\sk\tslur0n\cl n\enotes +% +\barre %81 +\notes\qu K\relax + &\Nextstaff\qs\ibbu0i0\zq j\qh0h\zq j\qh0h\zq j\tqh0h\relax + &\ibl0m0\xTrille o{3\noteskip}\qbp0m\sk\sk\nbbbl0\multnoteskip{0.7}\qb0l\tqb0m\enotes +\notes\qu G\relax + &\Nextstaff\ibbu0h0\zq g\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0i\relax + &\Ibl0nm2\isluru0n\qb0n\sk\tslur0m\tqb0m\enotes +% +\barre %82 +\NOtes\ds\Ibu1HF3\qh1H\relax + &\Nextstaff\ds\zql e\ibu2i0\qh2j\relax + &\Ibl3kl1\isluru3k\qh3{^k}\tslur3l\tqb3l\enotes +\notes\dble\dble\qh1G\tqh1F\relax + &\Nextstaff\dble\dble\rq j\qh2i\zcl f\zq h\tqh2j\relax + &\hs\Ibbbl0jl2\qh0{j=k}\tqb0l\Ibbbl0mp3\qb0{mno}\tqb0p\enotes +% +\barre %83 +\Notes\cu E\relax + &\Nextstaff\zqu j\raise -6\Internote\qs\ibbl1f0\zq e\qb1g\relax + &\multnoteskip{0.5}\ibbbl0q0\qb0{qrs}\tqb0r\enotes +\notes\dble\ds\cu J\ds + &\Nextstaff\raise 3\Internote\rlap{\ds}\zq e\qb1g\zq e\tqb1g\ibbl0f0\zq e\qb0g\zq +g\qb0{_i}\zcu j\zq f\qb0h\zq e\tqb0{^g}\relax + &\itenu0q\cl q\sk\tten0\Ibbl0qn3\qb0{q_po}\tqb0{^n}\enotes +% +\def\atnextline{\FourStaff}% +\barre %84 +\notes\ibu1M0\qh1M\relax + &\Nextstaff\ibu3j0\zq {fh}\qh3j\relax + &\Ibbl0no1\qb0{^n}\tqb0o\enotes +\Notes\dble\qh1M\qh1M\tqh1M\relax + &\Nextstaff\dble\zq j\qh3h\zq h\qh3f\zq k\tqh3h\relax + &\multnoteskip{0.5}\qs\sk\Ibbbl0rq1\qb0r\tqb0q\relax + \qs\sk\Ibbbl0po1\qb0{=p}\tqb0o\relax + \qs\sk\Ibbbl0nm1\qb0{=n}\tqb0m\enotes +% +\barre %85 +\notes\dble\ql N\sk\ql N\relax + &\Nextstaff\qs\ibbu0f0\zq c\qh0e\zq e\qh0g\zq e\tqh0e\relax + \Ibbu0ge3\zq e\qh0g\zq{a^d}\qh0{^f}\zq{b=d}\qh0{=f}\zq c\tqh0e\relax + &\Ibbl0ln2\qb0l\tbbl0\qb0n\itenu0n\tqb0n\sk\tten0\Ibbl0nl3\qb0{n^m=m}\tqb0l\enotes +% +\barre %86 +\Notes\cl G\sk\ds\relax % \roff{\zq N\itenl1N}\itenl0M\qu M\sk\raise -4\Internote\ds + &\Nextstaff\uptext{G.O.}\itenu2d\zq f\zqu d\raise -8\Internote\ds\ibbl0e0\qb0{cc}\tqb0c\relax + &\zhl k\xTrille q{8\noteskip}\enotes +\notes\dble\zcl G\raise 2\Internote\qs\ibbu0L0\qh0M\zqh0M\raise -4\Internote\ds\tqh0M\relax + &\Nextstaff\tten2\Ibbbu0df3\zcl b\qh0{def}\tqh0e\Ibbbu0fi3\qh0{fgh}\tqh0i\relax + &\dble\sk\sk\sk\multnoteskip{0.3}\tinynotesize\Ibbu0jk1\qh0j\tqh0k\enotes + \setclefs2{6000}\zchangeclefs +% +\barre %87 +\qspace +\Notes\qu C\relax + &\uptext{\bf m.g.}\ibbl1N0\qb1L\qb1N\relax + |\zcharnote b{\bf m.d.}\bracket h{22}\multnoteskip{0.5}\ibbbu0j0\qb0{jkl}\tqh0k\relax + &\ql j\enotes +\notes\dble\sk\qu E\relax + &\qh1c\tqb1N\ibbl1N0\qb1{LNc}\tqb1N\relax + |\dble\isluru0p\qu j\sk\tslur0p\cl p\relax + &\dble\sk\soupir\enotes +% +\barre %88 +\Notes\qu F\relax + &\ibbl1N0\qb1M\qb1a\relax + |\multnoteskip{0.5}\advance\transpose7\ibbbl0h0\qh0{hij}\tqb0i\relax + &\enotes +\notes\dble\sk\qu{^J}\relax + &\qh1c\tqb1N\ibbl1L0\qb1{^JLa}\tqb1L\relax + |\dble\advance\transpose 7\isluru0h\ql h\sk\tslur0g\cl g\relax + &\dble\sk\pause\enotes +% +\barre %89 +\Notes\qu K\relax + &\ibbu1a0\qh1K\qh1a\relax + |\multnoteskip{0.5}\advance\transpose7\ibbbl0h0\qh0{fgh}\tqb0g\relax + &\enotes +\notes\dble\sk\Ibu0IJ1\qh0I\tqh0J\relax + &\qh1d\tqh1{_a}\ibbu1N0\qh1{NdN}\tqh1c\relax + |\dble\advance\transpose 7\isluru0f\ql f\sk\tslur0e\cl e\relax + &\dble\sk\pause\enotes +% +\barre %90 +\Notes\qup F\relax + &\multnoteskip{0.5}\ibbbu0M0\qh0{MNa}\tqh0N\relax + |\multnoteskip{0.5}\advance\transpose7\ibbbl0g0\qh0{def}\tqb0e\relax + &\enotes +\notes\dble\sk\sk\cu{^F}\relax + &\ibbl0N0\qb0M\tqb0c\ibbl0N0\qb0{Mc^M}\tqb0c\relax + |\dble\zq h\isluru0k\ql k\sk\zq h\tslur0l\cl{_l}\relax + &\sk\sk\pause\enotes +% +\barre %91 +\notes\dble\ibu0G0\qh0{G_HG}\tqh0{^F}\relax + &\ibbu0N0\qh0{Nc_a}\tqh0c\ibbu0N0\qh0{Nc^M}\tqh0c\relax + |\dble\ibl0k0\zq j\upz l\qb0{=l}\zq j\upz m\qh0m\zq j\upz l\qh0l\lsh k\lq j\upz k\tqb0{k}\relax + &\dble\dble\sk\pause\enotes +% +\barre %92 +\notes\dble\pointdurgue F\qu G\sk\soupir + &\dble\pointdorgue b\qu N\sk\soupir + |\dble\pointdorgue o\zq{gj}\qu{=l}\sk\soupir + &\Ibl0lj3\pointdorgue o\qbp0n\Uptext{\it cadenza ad lib.}\sk\sk\tbbl0\tqb0j\xTrille n{3\noteskip}\ibl0j0\qbp0k\sk\sk\multnoteskip{0.7}\nbbbl0\qb0j\tqb0k\enotes +% +\barre %93 +\NOtes\qu J\qu G\relax + &\zmidtwotext{G.O.}\ql N\ql N|\zq e\zq j\qu c\zq f\zq i\qu d\relax + &\uptext{\vbox{\hbox{R\'ecit}\hbox{non acc.}}}\ql j\soupir\enotes +% +\barre %94 +\NOtes + \ibl0K0\upz J\qb0J\upz N\qb0N\relax + &\Ibu1Lc2\lpz J\qh1J\lpz N\qh1N\relax + |\Ibu2jl2\zq{ce}\qb2j\Pince n\multnoteskip{0.6}\zq g\qb2k\relax + {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax + &\soupir\enotes +\NOtes + \upz J\tqb0J\relax + &\tqh1c\relax + |\zq g\tqh2l&\ds\enotes +\notes\ds&\ds&\Ibbl0lm2\qbp0l\turn o\sk\tbbbl0\tqb0m\enotes +% +\def\atnextline{\ThreeStaff}% +\barre %95 + %\check +\notes\dble\cu J\ds\cu G\ds + &\Nextstaff\zhl N\ibbu0e0\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq +c\qh0e\zq d\qh0f\zq b\tqh0d\relax + &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes +% +\barre %96 + %\check +\Notes\hu J\relax + &\Nextstaff\qs\Ibbu2dg2\zq b\qh2{^d}\zq c\qh2e\relax + &\Ibl3kl3\qb3{^k}\sk\nbbl3\qb3l\enotes + %\check +\Notes\sk + &\Nextstaff\zq e\tqh2g\relax + &\multnoteskip{0.6}\raise2\Interligne\hs\tbbbl3\tqb3l\enotes + %\check +\Notes\Ibl0aM2\qb0a\sk\tqb0M\relax + &\Nextstaff\Ibbu0gc3\roff{\tbbu0}\zq f\qh0h\zq{=d}\qh0f\sk\tbbu0\zq{=b}\tqh0d\relax + &\pince o\multnoteskip{0.5}\ibbbl0n0\qb0{mlm}\tqb0n\relax + \pince q\ibbbl0p0\qb0{ono}\tqb0p\enotes +% +\barre %97 + %\check +\notes\Ibl1LI{10}\qb1L\relax + &\Nextstaff\zq c\ibu2f0\qh2g\relax + &\Ibbl3on2\qbp3q\sk\tbbbl3\tqb3n\enotes +\notes\qb1M\relax + &\Nextstaff\nbbbu2\qh2{gfe}\tqh2d\relax + &\Ibbbl3pm3\isluru4p\qb3{pon}\tqb3m\enotes + %\check +\NOtes\qb1N\tqb1G\relax + &\Nextstaff\cu c\zq{df}\cu i\relax + &\Ibl0lk1\qb0l\tslur4k\tqb0k\enotes + %\check +% +\barre %98 +\NOTes\qu J\multnoteskip{0.7}\cu C\ds + &\Nextstaff\isluru0i\zq d\zq f\qu i\tslur0j\multnoteskip{0.7}\zq c\zq e\cu j\ds + &\Pince n\isluru0k\ql k\tslur0j\multnoteskip{0.7}\cl j\ds\enotes +% +\linegoal20 +\finmorceau + +\rightline{\today} +\eject + +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/musixdbrexample.tex b/Master/texmf-dist/doc/generic/musixtex/examples/musixdbrexample.tex new file mode 100644 index 00000000000..94bd968e569 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/musixdbrexample.tex @@ -0,0 +1,52 @@ +\input musixtex +\input musixdbr + +\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14 +\setsize2\tinyvalue +\indivbarrules + +\startpiece + % normal barlines + \bar + % separate instrument 2 from 1 + \sepbarrule2\bar + % barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showbarrule + \bar + % barlines between staves + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \allbarrules\hidebarrule + \bar + % dashed barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdashbarrule + \bar + % dashed barlines between staves + \allbarrules\condashbarrule + \allbarrules\condashmultibarrule + \allbarrules\hidebarrule + \bar + % dotted barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdotbarrule + \bar + % dotted barlines between staves + \allbarrules\condotbarrule + \allbarrules\condotmultibarrule + \allbarrules\hidebarrule + \bar + % a wild mixture of all + \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% + \condashbarrule2\conbarrule3\condotbarrule4% + \condashmultibarrule2\sepmultibarrule3% + \bar + % conventional ending + \allbarrules\showbarrule + \allbarrules\conbarrule + \allbarrules\conmultibarrule +\Endpiece \bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex index 28add2aca77..55bc22b61c1 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex @@ -1,18 +1,25 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi -\resetfacteurs\advance\staffbotmarg by 2\Interligne +\advance\staffbotmarg by 2\Interligne \barsinline=0\relax\linesinpage=0\relax \def\Transpose{0}% \def\Signature{3}\relax % trois diezes a la clef \input onuitbrx -\resetfacteurs\advance\staffbotmarg by 2\Interligne \barsinline=0\relax\linesinpage=0\relax \def\Transpose{1}\relax \def\Signature{-2}\relax % deux diezes a la clef \input onuitbrx -\resetfacteurs\advance\staffbotmarg by 2\Interligne \barsinline=0\relax\linesinpage=0\relax \def\Transpose{2}\relax \def\Signature{0}\relax % un bemol a la clef \input onuitbrx +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-1}\relax +\def\Signature{1}\relax % un bemol a la clef +\input onuitbrx \bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex index eb3f97b0b89..b18ba5f25e9 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex @@ -1,6 +1,6 @@ \fulltitle{\^O nuit brillante} \shorttitle{\^O nuit brillante} - \fullauthor{No‰l ancien\\Musique A. Sala\\Texte J. Bovet\\Transposition + \fullauthor{No\"el ancien\\Musique A. Sala\\Texte J. Bovet\\Transposition Daniel Taupin} \othermention{Paroisse de Gif-sur-Yvette\\Transposition \`a usage priv\'e} @@ -26,8 +26,8 @@ priv\'e} \global\nbporteesii=1\relax \global\cleftoksi={{6}{0}{0}{0}}% \global\cleftoksii={{0}{0}{0}{0}}% -\def\lowersonginstrum{1} % to be used to make heavy bars at staff left -\def\uppersonginstrum{2} % to be used to make heavy bars at staff left +\songbottom{1} % to be used to make heavy bars at staff left +\songtop{2} % to be used to make heavy bars at staff left % \signaturegenerale{\Signature}% \generalmeter{\meterfrac68} @@ -61,7 +61,7 @@ priv\'e} % \znotes\zcharnote {-3}{\ppff p}&\zcharnote{10}{\ppff p}\enotes \qspace -\NOtes\zqlp M\qup a&\hsong{â}\zqlp c\qup f\enotes +\NOtes\zqlp M\qup a&\hsong{\^O}\zqlp c\qup f\enotes \notes\zql L\qu b\sk&\zsong{nuit }\zql e\Ibu0gf1\qh0g\tqh0f\enotes \notes\zcl L\cu b&\hsong{bri-}\zcl e\cu g\enotes % @@ -86,8 +86,8 @@ priv\'e} \barre \Notes\zql M\qu a&\hsong{Ta }\zql c\qu f\enotes \notes\zcl M\cu b&\Soufflcr q\hsong{lu-}\zcl e\cu g\enotes - \hardlyrics{\kern -4pt miŠre }\notes\zcl M\cu c&\hsong\thelyrics\zcl f\cu h\enotes - \notes\zcl M\cu d&\hsong{‚-}\zcl g\cu i\enotes + \hardlyrics{\kern -4pt mi\`ere }\notes\zcl M\cu c&\hsong\thelyrics\zcl f\cu h\enotes + \notes\zcl M\cu d&\hsong{\'e-}\zcl g\cu i\enotes \notes\zcl M\cu e&\hsong{cla-}\zcl h\cu j\enotes % \barre @@ -145,7 +145,7 @@ j\enotes j\enotes \hardlyrics{\txt se |d'hum-&}\notes\zql L\qu e&\hsong\thelyrics\zql g\qu i\enotes - \notes\zcl L\cu d&\hsong{\txt r‚-|bles &}\zcl g\cu j\enotes + \notes\zcl L\cu d&\hsong{\txt r\'e-|bles &}\zcl g\cu j\enotes % \barre \Notes\zqlp M\qup c&\hsong{\txt veil-|voi-&}\zqlp f\isluru2i\qu i\enotes @@ -156,7 +156,7 @@ i\enotes \barre \Notes\zcharnote {-3}{\ppff p}\zql M\qu a&\zcharnote{10}{\ppff p}\hsong{\txt Paix |Vient &}\zql c\qu h\enotes - \notes\zcl M\cu a&\Soufflcr q\hsong{\txt sur |… &}\zcl c\cu h\enotes + \notes\zcl M\cu a&\Soufflcr q\hsong{\txt sur |\`a &}\zcl c\cu h\enotes \notes\roff{\itenl0M\zqlp M}\cu N&\hsong{\kern -4pt\txt terre |nous &}\zcl d\cu i\enotes \notes\cu a&\hsong{\txt en |cet-&}\zcl d\cu h\enotes \notes\cu b&\hsong{\txt tous |te &}\zcl d\cu g\enotes diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ossiaexa.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ossiaexa.tex new file mode 100644 index 00000000000..4a5da5b12b5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ossiaexa.tex @@ -0,0 +1,30 @@ +\input musixtex +\startmuflex +\hsize70mm +\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% +\off{-#1\elemskip}}% +\newbox\ornamentbox +\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% +\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% +\startpiece\addspace{2pt}% +\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% +\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% +\notes\ibl2{'c}1\usf e\qb2c\en% +\notes\tbl2\qb2{'d}\en% +\zstoppiece% +}\hss} +\normalmusicsize\nopagenumbers +\def\nbinstruments{1}% +\setstaffs12\setclef1{60}% +\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% +\parindent 0pt% +\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax +\startpiece\addspace\afterruleskip% +\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% +\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% +\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% +\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% +\cl d\en% +\endpiece +\vfill\eject\endmuflex +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqb.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqb.tex new file mode 100644 index 00000000000..c40994059ba --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqb.tex @@ -0,0 +1,9 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\musicsize=16\relax +\def\NoPageCut{\relax} +\input c:/taupin/musixtex/scores/pacifiqn +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqc.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqc.tex deleted file mode 100644 index 7354d7b7e8a..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqc.tex +++ /dev/null @@ -1,1063 +0,0 @@ -\ifx\mxversion\undefined - \input musixtex - \input musixcpt - \input musixsty -\fi -% -\parindent 12mm -% -\title{Pacifique} -\shortauthor{D. Taupin} -\fullauthor{Daniel TAUPIN\\\`a Christiane} - \othermention{Compos\'e en 1972, \sl San Jose (Calif.)\\r\'ev. mai 1981, -janvier 1990} -\maketitle - -\musicsize=16\relax -\def\lppage{7}% - -\tracingstats=2\relax -% -\nbporteesi=2\relax -\def\nbinstruments{1} -\global\cleftoksi={{6}{0}{0}{0}}% -% -\generalsignature{-4}\relax % quatre bemols a la clef -\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% -\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% -%\check -\def\instrumenti{Piano} -%\check -\generalmeter{\allabreve} -\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% -\def\gluemaxskip{6pt}% -% -% formes frequentes -% -%au moins deux croches basses et hautes -\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% -\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% -%au moins quatre croches basses et hautes -\def\qqb#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% -\def\qqB#1#2#3#4#5{\ibl0{#3}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% -\def\qqh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% -\def\qqH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% -% octave basse en blanche -\def\bohl#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hl{#1}}% -\def\bohu#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hu{#1}}% -\def\sohl#1{\zh{#1}{\advance\transpose by 7\relax\hl{#1}}\sk}% -\def\sohu#1{\zh{#1}{\advance\transpose by 7\relax\hu{#1}}\sk}% -% -% octave sup. en croches u -\def\soqh#1{\zq{#1}\rlap{\advance\transpose by 7\qh0{#1}}\sk}% -\def\soqu#1{\zq{#1}\rlap{\advance\transpose by 7\qu{#1}}\sk}% -\def\soqb#1{\zq{#1}\rlap{\advance\transpose by 7\qb0{#1}}\sk}% -\def\soql#1{\zq{#1}\rlap{\advance\transpose by 7\ql{#1}}\sk}% -\def\dsoqh#1#2#3{{\advance\transpose by 7\ibu0{#2}{#1}}\soqh{#2}\tbu0\soqh{#3}}% -\def\dsoqb#1#2#3{\ibl0{#2}{#1}\soqb{#2}\tbl0\soqb{#3}}% -%\check -\def\qsoqh#1#2#3#4#5{{\advance\transpose by 7\relax\ibu0{#2}{#1}}\soqh{#2}\relax - \soqh{#3}\soqh{#4}\tbu0\soqh{#5}}% -\def\qsoqb#1#2#3#4#5{\ibl0{#2}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% -%\check -\def\qsoqB#1#2#3#4#5{\ibl0{#3}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% -%\check -% octave inf. en croches u -\def\boqh#1{{\advance\transpose by -7\relax\zq{#1}}\qh0{#1}}% -\def\boqb#1{{\advance\transpose by -7\relax\zq{#1}}\qb0{#1}}% -\def\dboqh#1#2#3{\ibu0{#2}{#1}\boqh{#2}\tbu0\boqh{#3}}% -\def\dboqb#1#2#3{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\tbl0\boqb{#3}}% -%\check -\def\qboqb#1#2#3#4#5{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\relax - \boqb{#3}\boqb{#4}\tbl0\boqb{#5}}% -\def\qboqh#1#2#3#4#5{\ibu0{#2}{#1}\boqh{#2}\boqh{#3}\boqh{#4}\tbu0\boqh{#5}}% -%\check -% -\def\arpg#1#2{\znotes\arpeggio{#1}{#2}\enotes} -\def\Arpg#1#2{\znotes\larpeggio{#1}{#2}\enotes} -\def\uarpg#1#2{\znotes\nextstaff\arpeggio{#1}{#2}\enotes} -\def\uArpg#1#2{\znotes\nextstaff\larpeggio{#1}{#2}\enotes} -% -% soufflets crescendo -% -\def\soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Cresc}}} -\def\Soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\CREsc}}} -% -\def\interfacteur{11}% -\computewidths -\staffbotmarg=5\Interligne -% -\debutmorceau\autolines 95\lppage -% -\advance\linesinpage by 1\relax -% -\hyphenpenalty -50\relax -\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{90})}\enotes -\vnotes 0.2\elemskip\uptext{\kern -5mm\ppff p}|\uptext{\ppff mp}\enotes -\zglu\Notes\PED\zh{Ma}\hl c|\soupir\enotes -\zglu\notes\sk\DEP|\Ilegl0d\dqh3fg\enotes -\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0hfgh\enotes -% mesure 2 -\barre\notes\PED\zh{Mb}\hl d\sl\sk\DEP|\qqh0ighi\enotes -\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0jhij\enotes -% mesure 3 -\barre\notes\PED\zh{Mb}\hl d\sk\zcharnote{-5}{\it simile}|\Tleg0\qu k\sk\Ilegl0d\dqh4ik\enotes -\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes -% mesure 4 -\barre\notes\zh{Mb}\lh N\hl d|\qqh0ihgi\enotes -\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes -% mesure 5 -\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes -\temps\notes|\raise -\internote\rlap{\Uptext{\kern -15mm\it sempre -\ppff mp}}\Ilegl0d\dqh3gh\enotes -% mesure 6 -\barre\notes\zh{LN}\hl b|\qqh0ighi\enotes -\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes -% mesure 7 -\barre\notes\zh{N=b}\hl d|\qqh0{=k}{=i}jk\enotes -\temps\notes\zh{Nc}\hl{=e}|\qqh0{=l}jkl\enotes -% mesure 8 -\barre\notes\zh{Mc}\hl f|\qqh{-3}m{_l}{_k}j\enotes -\temps\notes\zh{M_b}\hl d|\qqh0k{_i}jk\enotes -% mesure 9 -\barre\notes\zh{LN}\hl b|\qqh{-3}lkji\enotes -\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes -% mesure 10 -\barre\notes\zh{ad}\hl f|\qqh{-3}kjih\enotes -\temps\notes\lh b\zh c\hl{=e}|\qqh0ighi\enotes -% mesure 11 -\barre\notes\zh{Nb}\hl{=e}|\qqh{-3}jihg\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\sk\enotes -\temps\notes|\Ilegl0d\dqh3gh\enotes -% mesure 12 -\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes -\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes -% mesure 13 -\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes -\temps\notes\rmidtwotext{\kern -3mm\it un poco}|\Ilegu0r\dqh3gh\enotes -% mesure 14 -\barre\notes\bohl e\rmidtwotext{\it pi\`u forte}\relax - |\zq g\qqh0ighi\enotes -\temps\notes\bohl a|\rlap{\hl e}\zq h\qqh0jhij\enotes -% mesure 15 -\barre\notes\bohu M|\rlap{\hl f}\zq h\qqh0kijk\enotes -\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes -% mesure 16 -\barre\notes\bohu a|\rlap{\hl e}\zq h\qqh0jijk\enotes -\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes -% mesure 17 -\barre\Notes\bohu M|\zq f\tleg0\qu h\enotes -\temps\notes|\Ilegu0q\dqh3ij\enotes -\temps\notes\bohu K|\rlap{\hl f}\zq h\qqh{-3}kjih\enotes -% mesure 18 -\barre\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh3ghik\enotes -\temps\notes\bohu{=L}|\rlap{\hl e}\zq g\qqh{-3}jihg\enotes -% mesure 19 -\barre\Notes\bohu M|\rlap{\ql f}\zq f\tleg0\qu h\enotes -\temps\notes|\Ilegu0p\dqh3gh\enotes -\temps\notes\bohu K|\rlap{\hl d}\zq f\qqh0ihgi\enotes -% mesure 20 -\barre\notes\bohu J|\rlap{\hl c}\zq f\qqh0hgfh\enotes -\temps\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh0gfeg\enotes -% mesure 21 -\barre\Notes\zq F\ql M|\zq{ac}\tleg0\qu f\enotes -\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax - |\soupir\uptext{\ppff p}\enotes -\temps\notes\qqB0aMNa|\zh{fh}\hu j\enotes -% mesure 22 -\barre\notes\qqB0bNab|\zh{gi}\hu{=l}\enotes -\temps\notes\qqB0cabc|\zh{hj}\hu m\enotes -% mesure 23 -\barre\notes\Tleg0\ql d\sk|\zh{hk}\hu m\enotes -\temps\notes\Ilegu0d\dqb4bd|\enotes -\temps\notes\qqB0cbac|\zh{hj}\hu{_l}\enotes -% mesure 24 -\barre\notes\qqB0baNb|\zh i\rh j\hu{=l}\enotes -\temps\notes\qqB0aNMa|\zh{hj}\hu m\enotes -% mesure 25 -\barre\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes -\temps\notes\Tleg0\ql M\zmidtwotext{\it crescendo}\sk|\zh{hjm}\hl o\enotes -\temps\notes\Ilegl0F\dqb3Na|\enotes -% mesure 26 -\barre\notes\zmidtwotext{\it\ poco\ \ a\ \ poco}\qqB0bNab\relax - |\zh{gi_l}\hu n\enotes -\temps\notes\qqB0cabc|\zh{fhj}\hu m\enotes -% mesure 27 -\barre\notes\qqB0{=d}bcd|\zh{fi=k}\hu m\enotes -\temps\notes\qqB0{=e}cde|\zh{gj}\rh i\hu{=l}\enotes -%\check -% mesure 28 -\barre\notes\qqb{-3}f{_e}{_d}c|\zh{f=hj}\hu m\enotes -\temps\notes\qqb{1}bcde|\zh{gil}\hu n\enotes -% mesure 29 -\barre\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes -\temps\notes\qqb0cbab|\zh{fhj}\hl m\enotes -% mesure 30 -\barre\notes\qqb{-3}cbaN|\zh{gj=l}\hl n\enotes -\temps\notes\qqb3MNac|\zh{hjm}\hl o\enotes -%\check -% mesure 31 -\barre\notes\qqb{-3}baNM|\zh{i_ln}\hl p\enotes -\temps\notes\qqb3LMNb|\zh{gil}\hu n\enotes -%\check -%mesure 32 -\barre\notes\Tleg0\ql a\sk|\zh{hjl}\hl o\enotes -\temps\notes\Ilegl0F\dqb3bc|\enotes -\temps\notes\qqb0dcde|\zh{iln}\hl p\enotes -% -% mesure 33 -% changement d'espacement -\barre\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes -\temps\notes\Tleg0\ql a\sk|\zh{hjm}\hl o\enotes -\temps\notes\Ilegl0F\dqb3bc|\enotes -% mesure 34 -\barre\notes\qqb{-3}dcba|\zh{ikm}\hl p\enotes -\temps\notes\qqb3Nabc|\zh{j=ln}\hl q\enotes -% mesure 35 -\barre\notes\qqb0dcde|\zh{kmp}\hl r\enotes -\temps\notes\soufflcr\qqb{-3}cbaN|\zh{=lnq}\hl{=s}\enotes -% mesure 36 -\barre\nspace\notes\zmidtwotext{\ppff f}\tleg0\ql M|\zq{m_oq}\ql t\zbreath\enotes -\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes -\temps\arpg K5\relax -\notes \zh{Mac}\hl f\uptext{\vbox{\offinterlineskip\hbox{\it arpeggi}\vskip 1mm\hbox{\it nervosi}}}\relax - |\qsoqb0hfgh\enotes -%\check -% mesure 37 -\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0ighi\enotes -\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jhij\enotes -%\check -% mesure 38 -\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0kjik\enotes -\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jihj\enotes -%\check -% mesure 39 -\barre\Arpg J5\notes\zh{=LNc}\lh b\hl{=e}|\qsoqb0ihgi\enotes -\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0hgfh\enotes -%\check -% mesure 40 -\barre\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes -\temps\arpg F6\notes\zq{FJMa}\ql c|\Tleg0\zq f\ql m\sk\enotes -\notes\soupir|\Ilegu0t\dsoqb3gh\enotes -%\check -% mesure 41 -\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb0ighi\enotes -\temps\arpg a4\notes\zh{ace}\hl h|\qsoqb0jhij\enotes -%check -% mesure 42 -\barre\Arpg K5\notes\zh{Mb=d}\hl f|\qsoqb0{=k}ijk\enotes -\temps\Arpg J5\notes\zh{JNc}\hl{=e}|\qsoqb0{=l}jkl\enotes -%check -% mesure 43 -\barre\Arpg K5\notes\zh{Mcf}\hl{=h}|\qsoqb{-3}m{_l}{_k}j\enotes -\temps\Arpg I5\notes\zh{IMb}\hl{_d}\sk|\Tleg0\zq i\ql p\enotes -\temps\notes|\Ilegu0t\dsoqb3jk\enotes -%\check -% mesure 44 -\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes -\temps\arpg K5\notes\zh{Mac}\hl f\sk|\Tleg0\zq h\ql o\enotes -\temps\notes|\Ilegu0r\dsoqb3gh\enotes -%\check -% mesure 45 -\barre\arpg I5\notes\zh{IMb}\hl d|\qsoqb0ihgi\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\qsoqb0hgfh\enotes -%check -% mesure 46 -\def\sfql#1{\usf{#1}\ql{#1}}% -\barre\Arpg J5\notes\soufflcr\zh{JNc}\hl{=e}|\qsoqb0gf{=e}g\enotes -\temps\arpg E5\notes\zq{FJM}\sfql a\sk|\Tleg0\zq f\sfql m\enotes -\temps\notes\zmidtwotext{\ppff f}\dsoqb{-3}F{=E}|\Ilegu0s\dsoqb3fg\enotes -%\check -% mesure 47 -\barre\notes\zq F\ql M\sk\dsoqb3{_E}F|\zq{jm}\qsoqb0hfgh\enotes -\temps\notes\qsoqb0GEFG|\zq{_ln}\qsoqb0ighi\enotes -%\check -% mesure 48 -\barre\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes -\temps\notes\zq D\ql K\sk\dsoqb3EF|\zq{mp}\qsoqb0kijk\enotes -%\check -% mesure 49 -\barre\notes\zq G\ql N\sk\zq E\ql L|\zq{np}\qsoqb{-3}lkji\enotes -\temps\notes\qsoqb0HGHI|\zq{mo}\qsoqb0jijk\enotes -%\check -% mesure 50 -\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{=ln}\qsoqb{-3}jihg\enotes -\temps\notes\qboqb{-3}fe{=d}{_d}|\zq{jm}\qsoqb0hghi\enotes -%\check -% mesure 51 -\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes -\temps\arpg F5\notes\zq{FJM}\ql a\sk|\Tleg0\zq{fhj}\ql m\enotes -\temps\notes\Ilegl0F\zmidtwotext{\it meno}\dqb3MN|\soupir\enotes -%\check -% mesure 52 -\barre\nspace\uarpg h4\notes\zmidtwotext{\it\ \ forte}\qqb0aNab|\zh{hjm}\hl o\enotes -\temps\uArpg h5\notes\qqb0cbcd|\zh{j_lo}\hl q\enotes -%\check -% mesure 53 -\barre\nspace\uarpg l4\notes\qqb0edef|\zh{lnp}\hl s\enotes -\temps\uarpg l4\notes\qqb{-3}edcb|\zh{lnp}\hl s\enotes -%\check -% mesure 54 -\barre\nspace\uarpg h5\notes\tleg0\ql a\sk|\zh{jlo}\hl q\enotes -\notes\dsoqb3J{=K}|\enotes -\temps\uArpg h5\notes\qsoqb0{=L}KLM|\zh{j=ln}\hl q\enotes -% mesure 55 -\barre\nspace\uArpg h5\notes\qboqb0gfg{=h}|\zh{j=ln}\hl q\enotes -\temps\uArpg i4\notes\qboqb{-3}gf{=e}d|\zh{=ikn}\hl{=p}\enotes -%\check -%mesure 56 -\barre\nspace\uArpg h5\notes\zq J\ql c\sk\dboqb3{=d}{=e}|\zh{j=ln}\hl q\enotes -\temps\notes\zcharnote j{\kern -2\noteskip\it senza arpeggiare}\relax -\qboqb{-3}f{_e}{_d}c|\zq{m=oq}\ql t\sk\zq{moq}\ql t\enotes -%\check -% mesure 57 -\barre\notes\zmidtwotext{\ppff f}\zq I\ql b\sk|\zh{ikm}\hl p\enotes -\temps\notes\dsoqb3JK|\enotes -\temps\notes\Soufflcr\qsoqb{-3}LKJI|\zq{_lnp}\ql s\sk\zq{lnp}\ql s\enotes -%\check -% mesure 58 -\barre\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes -\temps\notes\dsoqb3IJ|\enotes -\temps\notes\qsoqb0KJIK|\zq{ikm}\ql p\sk\zq{ikm}\ql p\enotes -%\check -% mesure 59 -\barre\notes\qsoqb0JIHJ|\zh{hjm}\hl o\enotes -\temps\notes\qsoqb0IHGI|\zq{i=ln}\ql p\sk\zq{i=ln}\ql p\sk\enotes -%\check -% mesure 60 -\barre\notes\soufflcr\zq H\ql a|\zh{jmo}\hl q\enotes -\temps\notes\dsoqb3GH|\enotes -\temps\notes\rlap{\sk\sk\zmidtwotext{\ppff ff}}\qsoqb0IHGI\relax - |\zq{kmp}\ql r\sk\zq{kmp}\ql r\sk\enotes -% mesure 61 -%\check -\barre\notes\qsoqb0HGFH|\zq{jmo}\ql q\sk\zq{jmo}\ql q\sk\enotes -\temps\notes\qsoqb0GF{=E}G|\zq{j=ln}\ql q\sk\zq{jln}\ql q\sk\enotes -%\check -%mesure 62 -\barre\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax - |\zq{moq}\ql t\zbreath\enotes -\temps\notes\zmidtwotext{\ppff mp \it subito}\soupir|\Ilegu0r\dqh3fg\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hfgh\enotes -%\check -% mesure 63 -\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0ighi\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jhij\enotes -%\check -% mesure 64 -\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0kjik\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jihj\enotes -%\check -% mesure 65 -% -\barre\Arpg H5\notes\zh{JN}\lh b\hl c|\qqh0ihgi\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\Tleg0\qu h\sk\enotes -\temps\notes|\Ilegu0q\dqh3gh\enotes -%\check -% mesure 66 -\barre\arpg I5\notes\zh{KMb}\hl d|\qqh0ihgi\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hgfh\enotes -%\check -% mesure 67 -\barre\Arpg H5\notes\zh{J=LN}\hl c|\qqh0gf{=e}g\enotes -\temps\arpg M3\notes\zq{Ma}\ql c|\Tleg0\qu f\enotes -\cleftoksi={{6}{6}{0}{0}}% -\changeclefs\nspace -\notes\soupir|\zcharnote A{\ppff f}\Ilegu0g\dqb3MN\enotes -%\check -% mesure 68 -\def\bozh#1{{\advance\transpose by -7\zh{#1}}\zh{#1}}\relax -\def\bozq#1{{\advance\transpose by -7\zq{#1}}\zq{#1}}\relax -\barre\arpg{!`F}6\notes\uptext{\ppff f \it e nervoso}\bozh F\hu J\relax - |\qqB0aMNa\enotes -\temps\arpg{!`E}6\notes\bozh E\hu I|\qqB0bNab\enotes -% mesure 69 -%\check -\barre\arpg A6\notes\bozh H\hu L|\qqB0cabc\enotes -\temps\arpg B6\notes\bozh I\hu M|\qqB0{=d}bcd\enotes -%\check -% mesure 70 -\barre\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes -\temps\arpg {!`E}8\notes\bozh F\zh{=H}\hu M|\qqb{-3}f{_e}{_d}c\enotes -%\check -% mesure 71 -\barre\arpg B6\notes\bozh I\hu M|\qqb3bcdf\enotes -\temps\arpg A8\notes\bozh E\zh I\hu N|\qqb{-3}edcb\enotes -%\check -% mesure 72 -\barre\arpg A6\notes\bozh H\hu L|\qqb3abce\enotes -\temps\arpg B6\notes\bozh I\hu M|\qqb{-3}dcba\enotes -%\check -% mesure 73 -\barre\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes -\temps\arpg B6\notes\bozh J\hu N|\qqb{-3}cbaN\enotes -% -% mesure 74 -\barre\arpg {!`D}6\notes\bozh F\hu J|\Tleg0\ql a\sk\enotes -\temps\notes|\Ilegu0d\dqb3Na\enotes -\temps\arpg B5\notes\bozh I\hu K|\qqB0baNb\enotes -%\check -% mesure 75 -\barre\arpg C5\notes\bozh J\hu M|\qqB0aNMa\enotes -\temps\Arpg C5\notes\bozh J\hu {=L}\zmidtwotext{\ppff mf}|\qqB0NM{=L}N\enotes -%\check -% mesure 76 -\barre\arpg{-8}6\notes\bozq F\zq H\qu J\relax - |\Tleg0\ql M\enotes -\cleftoksi={{6}{0}{0}{0}}% -\changeclefs -\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes -\temps\arpg D5\notes\bozh L\hu N|\qboqh0ighi\enotes -% mesure 77 -%\check -\barre\arpg A6\notes\bozh H\hu L|\qboqh0jijk\enotes -\temps\arpg E5\notes\bozh L\hu N|\qboqh{-3}lkji\enotes -% mesure 78 -%\check -\barre\arpg F4\notes\zh{FJ}\hu M|\zq a\qu h\sk\enotes -\temps\notes|\dboqh3ij\enotes -\temps\arpg {!`G}7\notes\bozh I\hu M|\qboqh{-3}kjih\enotes -% mesure 79 -\barre\Arpg C5\Notes\bozh J\hu{=L}|\zq N\qu g\enotes -\temps\notes|\dboqh3hi\enotes -\temps\arpg C6\notes\bozh J\hu N|\qboqh{-3}jihg\enotes -%\check -% mesure 80 -\barre\arpg {`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes -\temps\notes|\dboqh3gh\enotes -\temps\arpg B5\notes\bozh I\hu K|\qboqh0ihgi\enotes -% mesure 81 -\barre\arpg B6\notes\bozh J\hu M|\qboqh0hgfh\enotes -\temps\Arpg B5\notes\bozh J\hu{=L}|\qboqh0gfeg\enotes -%\check -%mesure 82 -\barre\arpg {!`F}6\notes\bozq F\qu J\zmidtwotext{\ppff f}|\Tleg0\zq{Ma}\qu f\sk\enotes -\temps\notes\dboqh3LM\zmidtwotext{\it sempre}|\dsoqb3gh\enotes -\temps\notes\qboqb0NLMN|\zq{ln}\qsoqh0ighi\enotes -% mesure 83 -\barre\notes\zmidtwotext{\it crescendo}\qboqb0aMNa|\zq{lo}\qsoqb0jhij\enotes -\temps\notes\zmidtwotext{\it\kern 1.5\noteskip e}\qboqb0bNab\relax - |\zq{mp}\qsoqb0kijk\enotes -% \check -% mesure 84 -\barre\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes -\temps\notes\zmidtwotext{\it animato}\zh F\hl M|\zq{jm}\qsoqb2hijl\enotes -% \check -% mesure 85 -\def\boql#1{{\advance\transpose by -7\relax\zq{#1}}\ql{#1}}% -\def\boqu#1{{\advance\transpose by -7\relax\zq{#1}}\qu{#1}}% -\barre\notes\boql b\sk\boql b|\zq{mp}\qsoqb{-3}kjih\enotes -\temps\notes\bohu L|\zq{jl}\qsoqb2ghik\enotes -% mesure 86 -\barre\notes\boql a\sk\boql a|\zq{mo}\qsoqb{-3}jihg\enotes -\temps\notes\bohu K|\zq{ik}\qsoqb2fghj\enotes -% mesure 87 -\barre\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes -\temps\notes\bohu J|\zq{gi}\qsoqh2{=e}fgi\enotes -% mesure 88 -\barre\notes\qboqh0M{=L}MN|\zq{jm}\qsoqb0hghi\enotes -\temps\notes\qboqb0aNab|\zq{mo}\qsoqb0jij{=k}\enotes -%\check -% mesure 89 -\barre\notes\zmidtwotext{\ppff \fff}\qboqb0c{=b}c{=d}|\octfin v{18}\zq{gj}\qsoqh0{=e}{=d}ef\enotes -\temps\notes\qboqb0{=e}def|\zq{j=l}\qsoqh0gfgh\enotes -%\check -% mesure 90 -\barre\notes\qboqb{-2}gg{=e}{_d}|\zq{=ln}\qsoqb{-2}iig{=e}\enotes -\temps\notes\qboqb{-2}cbN{=L}|\qsoqh{-2}{_d}dbN\enotes -% mesure 91 -%\check -\advance\elemskip by -1pt -\barre\notes\qboqh{-2}JIG{=E}|\qsoqh{-2}ddbN\enotes -\temps\notes\rlap{\qboqb0CGEC}\ibu0d{-2}\boqh d\boqh d\boqh b\tbu0\boqh N\enotes -%\check -% mesure 92 -\barre\notes\rlap{\qsk\ibu0A0\boqh C\tbu0\boqh C}\ibu0K0\boqh K\qsk\rq K\tbu0\qh0J|\enotes -\temps\notes\rlap{\qsk\dsoqb0CC}\ibu0d0\boqh d\qsk\rq d\tbu0\qh0c|\enotes -\temps\notes\dsoqb0JJ|\ibu0k0\boqh k\rq k\tbu0\qh0j\enotes -\temps\notes|\rlap{\qsk\dsoqb0cc}\ibu0q0\soqh k\qsk\rq r\tbu0\qh0q\enotes -\cleftoksi={{0}{0}{0}{0}}\changeclefs -%\check -% mesure 93 -\barre\notes\dsoqb0jj\dsoqh0cc|\octline v\ibl0l0\soqb k\lq q\soqb k\zq p\soqb k\lq p\tbl0\soqb j\enotes -\temps\notes\zmidtwotext{\kern 2\Interligne\it sempre - \ppff \fff}\zq M\cu f|\zq m\cl t\enotes -\rlap{\notes|\zbreath\enotes}\relax -\cleftoksi={{6}{0}{0}{0}}\changeclefs -\temps\notes\dsoupir\boql f|\ibl0f1\soqb f\soqb g\tbl0\soqb h\enotes -% mesure 94 -\barre\notes\zmidtwotext{\it ed accelerando}\boql f\sk\boql f|\qsoqb0ighi\enotes -\temps\notes\boql f\sk\boql f|\qsoqb0jhij\enotes -%\check -% mesure 95 -\barre\notes\boql f\sk\boql f|\qsoqb0kjik\enotes -\temps\notes\boql f\sk\boql f|\qsoqb0jihj\enotes -%\check -% mesure 96 -\autolines 95\lppage\relax -\barre\notes\boql f\sk\boql f|\octline t\qsoqb0ihgi\enotes -\temps\notes\boql f\sk\boql f|\qsoqb0hgfh\enotes -%\check -% mesure 97 -\barre\notes\boql{=e}\sk\boql e|\qsoqb0gf{=e}g\enotes -\temps\notes\boql f\sk\boql f|\qsoqb3ffgh\enotes -%\check -% mesure 98 -\barre\notes\boql d\sk\boql d|\qsoqb0ighi\enotes -\temps\notes\boql c\sk\boql c|\qsoqb0jhij\enotes -%\check -% mesure 99 -\barre\notes\boql b\sk\boql b|\qsoqb0kjik\enotes -\temps\notes\boql a\sk\boql a|\qsoqb0jihj\enotes -%\check -% mesure 100 -\barre\notes\boql N\sk\boql N|\qsoqb0ihgi\enotes -\temps\notes\boql M\sk\boql M|\soql h\sk\dsoqb3gh\enotes -%\check -% mesure 101 -\barre\notes\boql K\sk\boql K|\octfin u{17}\qsoqb0ihgi\enotes -\temps\notes\boql J\sk\boql J|\qsoqb0hgfh\enotes -%\check -% mesure 102 -\barre\notes\boql J\sk\boql J|\qsoqb0gf{=e}g\enotes -\temps\NOtes\pointdorgue d\bohu K|\pointdorgue o\zh{hk}\bohl m\zbreath\enotes -% mesure 103 -\barre\notes\zmidtwotext{\ppff mp \it dolce}\soupir|\Uptext{\moyen A tempo}\enotes -\temps\notes\Ilegl0F\dqb3Na|\hpause\enotes -\temps\notes\qqb2bcdf|\zh{fi}\hu k\enotes -%\check -% mesure 104 -\barre\notes\qqb{-3}edcb|\zh{gi}\lh k\hl l\enotes -\temps\notes\tleg0\ql c\sk|\zh{hj}\hl l\enotes -\temps\notes\Ilegu0f\dqb3bc\enotes -%\check -% mesure 105 -\barre\notes\qqB0dcbd|\zh{il}\hl n\enotes -\temps\notes\qqB0cbac|\zh{hj}\hl m\enotes -% mesure 106 -\barre\notes\qqB0baNb|\lh i\zh j\hl{=l}\enotes -\temps\notes\tleg0\ql a\sk|\zh{hj}\hl m\enotes -\temps\notes\Ilegu0f\dqb3Na|\enotes -%\check -% mesure 107 -\barre\notes\qqB0baNb|\zh{gik}\hl m\enotes -\temps\notes\qqB0aNMa|\zh{hj}\hl m\enotes -%\check -% mesure 108 -\barre\notes\qqB0NM{=L}N|\zh{gj}\lh i\hl{=l}\enotes -\temps\notes\Tleg0\ql M\sk|\zq{hj}\ql m\enotes -\temps\notes\soupir|\Ilegl0M\dqh3MN\enotes -% mesure 109 -%\check -\barre\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax - |\uptext{\it espressivo e delicato}\qqh3abcd\enotes -\temps\notes\rlap{\zh{EI}\hl L}\zh N|\qqh{-3}edcb\enotes -% mesure 110 -\barre\notes\zh H\hl L|\Tleg0\qu a\sk\enotes -\temps\notes|\Ilegl0a\dqh3c{=d}\enotes -\temps\notes\zh{JN}\hl c|\qqh4{=e}fgh\enotes -%\check -% mesure 111 -\barre\notes\zh{JN}\hl b|\qqh{-6}ig{_d}c\enotes -\temps\notes\zh{FJ}\hl M|\Tleg0\qu c\sk\enotes -\temps\notes|\Ilegl0b\dqh3fg\enotes -% mesure 112 -\barre\notes\zh F\hl L|\rlap{\hl c}\qqh0{=h}ijh\enotes -\temps\notes\zh{IM}\hl b|\rlap{\hl d}\Tleg0\qu f\sk\enotes -\temps\notes|\Ilegl0b\dqh3ij\enotes -% mesure 113 -\barre\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes -\temps\notes\zh{JN}\hl c|\qqH6{=e}gkj\enotes -% mesure 114 -\barre\notes\zh{FJ}\hu M|\ibu0j{-6}\qh0{j=h}\tbu0\tleg0\qh0f\enotes -\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0s\cl{_n}\enotes -\Arpg F5\notes\zh{FJ}\hu{=a}|\qqB0mljl\enotes -% mesure 115 -\barre\Arpg G5\notes\zh{IM}\hl d|\qqh{-5}lkif\enotes -\temps\notes\Soufflcr\zh{JN}\hl c\sk\sk\tleg0|\qqH6{=e}gkj\enotes -%\check -% mesure 116 -\barre\notes\zmidtwotext{\ppff ff}\zq{J=L}\ql N|\dsoqh{-3}dc\enotes -\cleftoksi={{0}{0}{0}{0}}\zchangeclefs -\nspace\notes\zq{c=e}\qu g|\dsoqb{-3}kj\enotes -\temps\notes\zq{j=l}\ql n|\dsoqb{-3}rq\enotes -\temps\notes\zq{ce}\qu g|\dsoqb{-3}kj\enotes -\cleftoksi={{6}{0}{0}{0}}\zchangeclefs -%\check -% mesure 117 -\def\motif#1#2#3{\notes\ibu0F4\boqh F\relax - |\sk{\advance\transpose by 3\relax\ibu1{#3}6}\zq{#1}\zq{#2}\qh1{#3}\relax - \tbl0\zq{#1}\zq{#2}\qb0{#3}\tbu1{\advance\transpose by 7\relax - \zq{#1}\zq{#2}\qh1{#3}}\enotes}% -%\check -\barre\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm -\moyen pi\`u vivo \rm(\metron{\qu}{110})}\enotes -% -\advance\linesinpage by 1\relax -% -\motif acf\temps\motif bdg\relax -% mesure 118 -\barre\motif cfh\temps\motif acf\relax -% mesure 119 -\barre\motif bdg\temps\motif cfh\relax -% mesure 120 -\barre\motif dgi\temps\motif bdg\relax -% mesure 121 -\barre\motif cfh\temps\motif dgi\relax -% mesure 122 -\barre\znotes\Soufflcr\enotes\motif {cf}hj\temps\motif cfh\relax -% mesure 123 -\barre\motif dfi\temps\motif fhj\relax -% mesure 124 -\barre\motif fik\temps\motif dfi\relax -\generalmeter{\meterfrac 54}\hyphenpenalty -5000\relax\changecontext -\hyphenpenalty -10\relax -\znotes\zmidtwotext{\kern -5mm\ppff ff}\enotes -% mesure 125 -%\check -\def\motif#1#2#3#4#5#6{\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax -\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes -\notes{\advance\transpose by -7\relax -\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes -\notes|\zq{#1}\zq{#2}\qb1{#3}\zq{#4}\zq{#5}\qb0{#6}\enotes -\notes|{\advance\transpose by 7\relax -\zq{#1}\zq{#2}\qb1{#3}\tbl0\zq{#4}\zq{#5}\qb0{#6}}\enotes -\notes|{\advance\transpose by 14\relax -\tbl1\zq{#1}\zq{#2}\qb1{#3}}\enotes}% -%\check -\motif {=e}gjegj\relax -% mesure 126 -\barre\motif fhjfhj\relax -% mesure 127 -\barre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax -\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes -\notes{\advance\transpose by -7\relax -\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes -\notes|\zq g\lq i\qb1j\zq g\lq i\qb0j\enotes -\notes|{\advance\transpose by 7\relax -\zq g\lq i\qb1j\tbl0\zq g\lq i\qb0j}\enotes -\notes|{\advance\transpose by 14\relax -\tbl1\zq g\lq i\qb1j}\enotes -%\check -% mesure 128 -\barre\motif fikfik\relax -% mesure 129 -\barre\motif gi{=l}gil\relax -% mesure 130 -\generalmeter{\allabreve}\changecontext -\normal\NOtes|\octfin z1\rlap{\sforz I\zh{ce}\hl g}\relax -\sforz x\zh{j=ln}\hu q\enotes -\temps\NOtes\pointdorgue c\hpause|\pointdorgue o\hpause\enotes -% mesure 131 -\transpose=0\relax\barre -\autolines 95\lppage -\notes\rlap{\bohu F}\Ilegu0g\qqh3MNab\relax -|\zcharnote{-4}{\it dolce ed espressivo}\Uptext{\kern -3mm\moyen tempo I$^{\bf o}$}\enotes -\temps\notes\qqb0cbcd|\zh{hj}\hu m\uptext{\it m.s.}\enotes -% mesure 132 -%\check -\barre\notes\Tslurbreak0c\Islurdbreak0c\bohu L|\qqb0edef\enotes -\temps\notes|\rlap{\zh{il}\hu n}\qqb{-3}edcb\enotes -% mesure 133 -\barre\Notes\tslur0d\bohu H|\hl c\enotes -\temps\notes|\raise -5\Interligne\rlap{\soupir}\zh{lo}\hl q\enotes -\temps\notes|\Ilegl0K\ibl0c1\qb0{=b}\tqb0c\enotes -% mesure 134 -%\check -\barre\notes\bohu J|\qqb5{=e}gkj\enotes -\temps\notes|\rlap{\zh n\rh p\hu q}\qqB{-6}igdc\enotes -% mesure 135 -\barre\notes\bohl M|\ibl0e0\qb0{=h=ef}\tqb0g\enotes -\temps\notes|\rlap{\zh{m=o}\hu q}\qqb3hijk\enotes -%\check -% mesure 136 -\barre\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk\tleg0}\qqb{-6}lj{=h}f\enotes -\temps\arpg G6\notes\zh{IMb}\hl d|\qqb{-6}ki{_h}g\enotes -%\check -% mesure 137 -\barre\arpg I5\notes\zh{KMb}\hl d|\qqb{-6}ki{_h}g\enotes -\temps\Arpg H5\notes\zmidtwotext{\it crescendo}\zh{JN}\lh b\hl c|\qqh{-6}{=l}kig\enotes -% mesure 138 -%\check -\barre\Arpg H6\notes\zh{=Lb=e}\hl g\zmidtwotext{\it molto}|\qqh{-6}n{=l}ki\enotes -\temps\Arpg b{9}\notes\zh c|\rlap{\zh {=eg}\hl j}\qqh{-6}pnlk\enotes -%\check -% mesure 139 -\barre\Arpg H5\notes\zh{=LN}\bohl c|\qqb{-8}rpnj\enotes -\temps\notes\zmidtwotext{\ppff f}\boql c\sk\boql c|\qsoqb{-8}rpnj\enotes -%\check -% mesure 140 -\barre\autolines {17}4\lppage\relax\bigaccid -\notes\zmidtwotext{\vbox{\hbox{\ppff ff \it con fuoco}\smallskip - \hbox{\it e crescendo}}}\soupir|\soupir\enotes -%\check -\notes\ibbl0F3\soqb F\qs\tbl0\soqb G\qs|\qs\ibbu0m3\soqh f\qs\tbu0\soqh g\enotes -%\check -\def\motif#1#2#3#4{\notes\ibbu0b0{\advance\transpose by -7\relax\boqh{#1}}\sk - |\qsk\sk\rlap{\soqb{#1}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#2}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#3}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk -\tbl0\soqb{#4}}\enotes -}% fin motif -%\check -\temps\motif hfgh\relax -%\check -% mesure 141 -\autolines {18}4\lppage -\barre\motif ighi\temps\motif jhij\nspace -% mesure 142 -\barre\motif kjik\temps\motif jihj\nspace -% mesure 143 -\barre\motif ihgi\temps\motif hgfh\nspace -%\check -% mesure 144 -\barre\motif gf{=e}g\temps\motif ffgh\relax -% mesure 145 -\barre\motif ighi\temps\motif jhij\nspace -% mesure 146 -\barre\motif {=k}ijk\temps\motif {=l}jkl\nspace -% mesure 147 -\barre\motif m{_l}{_k}j\temps\motif iijk\nspace -% mesure 148 -\barre\motif lkji\temps\motif hhij\relax -% mesure 149 -\barre\motif kjik\relax -%\check -\def\motif#1#2#3#4#5#6#7#8{\notes\ibbu0b0{\advance\transpose by -7\relax -\boqh{#1}}\sk|\qsk\sk\rlap{\soqb{#5}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#6}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#7}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk -\tbl0\soqb{#8}}\enotes}% fin motif -%\check -\temps\motif j{^j}{=k}{^k}jjjj\nspace -% mesure 150 -\barre\motif {=l}{_l}{=k}{_k}jjjj\relax -\temps\motif jihgjj{=k}{=l}\nspace -% mesure 151 -\barre\Notes\pointdorgue a\zcharnote i{\kern -\elemskip\ppff \fff}\bohl M\relax - |\pointdorgue u\zh{=oq}\sohl m\enotes -%\check -\NOTes\rlap{\pointdurgue F\soupir}\midtwotext{\kern \elemskip\it\vbox{\hsize 2\noteskip -\centerline{a piacere }\centerline{% -quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes -\transpose=-7\relax -% -\Notes\charnote C{\ppff f}\dqh8FJ\enotes -% -% -% mesure 152 -% -\varaccid -\def\motif{}% -\def\motifb#1#2#3#4#5#6#7{\ibbl0{#2}{#1}\usf{#2}\qb0{#2}\tbbl0\qb0{#3}% -\nbbl0\qb0{#4}\tbbl0\qb0{#5}\nbbl0\qb0{#6}\tqb0{#7}}% -\def\motifh#1#2#3#4#5#6#7{\ibbu0{#2}{#1}\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}% -\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% -\def\motifH#1#2#3#4#5#6#7{{\advance\transpose by 3\ibbu0{#2}{#1}}% -\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% -%\check -\transpose=0\relax -\barre\autolines {25}2\lppage -\notes\motifh8FHJMac\enotes -\temps\notes|\motifb8fhjmoq\enotes -%\check -% mesure 153 -\barre\notes|\motifb{-6}t{=s}tqom\enotes -\temps\notes|\na l\motifb{-6}lmjhf{=e}\enotes -\temps\notes|\usf f\ibbl0d0\qb0f\tbbl0\qb0c\enotes -\notes\nbbu0\qh0a\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes -\temps\notes\motifh{-4}JHF{=E}FC\enotes -\transpose=-7\relax -\temps\notes\ibbu0I{-6}\qh0H\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes -%\check -% mesure 154 -\barre -\transpose=-7\relax -\notes\motifh8FIKMbd\enotes -\temps\notes|\motifh8fikmpr\enotes -\transpose=7\relax -\notes|\usf f\ibbl0f4\qb0{fi}\tqb0k\enotes -%\check -% mesure 155 -\transpose=0\relax -\barre\notes|\motifb{-6}t{=s}trpm\enotes -\temps\notes|\na l\motifb{-6}lmkif{=e}\enotes -\temps\notes|\usf f\ibbl0e0\qb0f\tbbl0\qb0d\enotes -\notes\nbbu0\qh0b\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes -\temps\notes\motifh{-4}KIF{=E}FD\enotes -\transpose=-7\relax -\temps\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes -%\check -% mesure 156 -\transpose=-7\relax -\barre\notes\motifH8FJ{_L}Mc{_e}\enotes -\temps\notes|\motifH8fj{_l}mq{_s}\enotes -\transpose=7\relax -\temps\notes|\sforz h\ibbl0g4\qb0{fj}\tqb0{_l}\enotes -%\check -% mesure 157 -\transpose=0\relax -\barre\notes|\motifb{-6}t{=s}t{_s}qm\enotes -\temps\notes|\na l\motifb{-6}lm{_l}jf{=e}\enotes -\temps\notes|\sforz h\ibbl0e0\qb0f\tbbl0\qb0{_e}\enotes -\notes\nbbu0\qh0c\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes -\temps\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes -\transpose=-7\relax -\temps\notes\ibbu0I{-4}\qh0J\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes -%\check -% mesure 158 -\def\motif{}% -\def\motifb{}% -\def\motifh{}% -\normal -\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FIK}\tqh0M\enotes -\temps\notes\transpose=0\relax\ibbu0I8\qh0{IK}\tqh0M\enotes -\temps\notes|\transpose=7\relax\ibbu0I8\qh0{IK}\tqh0M\enotes -\temps\notes|\transpose=0\relax\lsf i\ibbu0i8\qh0{ik}\tqh0m\enotes -\temps\notes|\transpose=7\relax\lsf g\ibbu0g8\qh0{gik}\tqh0m\enotes -%\check -\def\souffldim{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Dimin}}}% -% mesure 159 -\transpose=7\relax\def\motifa{\sforz u\ibbu0m0\qh0{nm}\tqh0n}\relax -\def\motifb{\ibbl0k{-8}\qb0{ki}\tqb0f}\relax -\barre\notes\souffldim|\motifa\enotes -\notes|\motifb\enotes -\transpose=0\relax -\temps\notes|\motifa\enotes -\notes|\motifb\enotes -\transpose=-7\relax -\temps\notes|\motifa\enotes -\notes\motifb\enotes -\transpose=-14\relax -\temps\notes\motifa\enotes -\notes\motifb\enotes -\transpose=-21\relax -\temps\notes\motifa\enotes -\notes\motifb\enotes -%\check -% mesure 160 -\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FJM}\tqh0N\enotes -\temps\notes\transpose=0\relax\ibbu0H8\qh0{HJM}\tqh0N\enotes -\temps\notes\transpose=7\relax\ibbu0J0\qh0{HJ}\enotes -\notes|\transpose=7\qb0M\tqb0N\enotes -\temps\notes|\transpose=0\relax\ibbu0h8\qh0{hjm}\tqh0n\enotes -\temps\notes|\transpose=7\relax\ibbl0h8\qb0{hjm}\tqb0n\enotes -% -% mesure 161 -% sixte et quinte inferieures -\transpose=0\relax -\def\motifb{}\def\motifh{}\def\motifH{}% -\def\bsqh#1{{\advance\transpose by -5\relax\zq{#1}}\qh0{#1}}% -\def\bqqh#1{{\advance\transpose by -4\relax\zq{#1}}\qh0{#1}}% -\def\tbsqh{\tbu0\bsqh}\def\tbqqh{\tbu0\bqqh}% -\cleftoksi={{0}{0}{0}{0}}\changeclefs -\generalmeter{\meterfrac 44}\changecontext -\def\serre{\normal\elemskip=8pt}\serre -\def\motif{\ibbbl2n{-6}\qb2{onm}\tqb2j}% -\transpose=0\relax -\temps\notes|\octline r\motif\enotes -\temps\notes\souffldim|\motif\enotes -\temps\notes\hpause|\motif\enotes -\temps\notes|\motif\enotes -% -% -\temps\notes\soupir|\motif\enotes -\temps\notes\zmidtwotext{\ppff p}|\motif\enotes -\temps\notes\ibu0f1\bsqh f|\motif\enotes -\notes\tbsqh g|\motif\enotes -% mesure 162 -\def\Motif#1#2#3#4{\ibbbl2{#1}{-6}\hb2{#1#2#3}\tbl2\hb2{#4}}% -\barre\NOtes\ibu0g0\bsqh h\bsqh f\bsqh g\tbsqh h\relax - |\Motif onmj\enotes -\temps\NOtes\ibu0h0\bsqh i\bsqh g\bsqh h\tbsqh i|\Motif ponk\enotes -% mesure 163 -%\check -\def\motif#1#2#3#4{\ibbbl1#1{-6}\qb1{#1#2#3}\tbl1\qb1{#4}}% -\barre\NOtes\ibu0i0\bsqh j\bsqh h\bsqh i\tbsqh j\relax - |\octline t\Motif qpom\enotes -\autolines {23}2\lppage -\temps\notes\ibu0j{-4}\bsqh k|\motif rqpm\enotes -\notes\tbsqh i|\motif rqpm\enotes -\temps\notes\ibu0i{-4}\bsqh j|\motif qpom\enotes -\notes\tbsqh h|\motif qpom\enotes -%\check -% mesure 164 -\generalmeter{\meterfrac 34}\changecontext -\notes\ibu0h{-4}\zq d\qh0i|\motif pon{=l}\enotes -\notes\tbsqh g|\motif ponl\enotes -\temps\NOtes\zh b\zh{=e}\hu g|\Motif ponl\enotes -%\check -% mesure 165 -\generalmeter{\meterfrac 44}\changecontext\serre -\notes\ibu0h{-6}\bsqh i|\octline t\motif ponk\enotes -\notes\tbsqh g|\motif ponk\enotes -\temps\notes\ibu0g{-6}\bsqh h|\motif onmj\enotes -\notes\tbsqh f|\motif onmj\enotes -\temps\NOtes\zq a\qu f\sk\ibu0g{-6}\bsqh h\tbsqh f|\Motif onmj\enotes -%\check -% mesure 166 -\barre\serre\notes\ibu0g1\na e\bsqh e\relax|\motif nm{=l}i\enotes -\notes\bsqh g|\motif nmli\enotes -\notes\bsqh f|\motif onmj\enotes -\notes\tbsqh h|\motif onmj\enotes -\temps\notes\ibu0i1\bsqh g|\motif ponk\enotes -\notes\bsqh i|\motif ponk\enotes -\notes\bsqh h|\motif qpo{_l}\enotes -\notes\bigfl e\tbu0\bsqh j|\motif qpol\enotes -%\check -% mesure 167 -\generalmeter{\meterfrac 34}% -\changecontext\autolines {25}2\lppage\noautolines -\notes\ibu0j1\bigna h\bsqh h|\octline t\motif qp{=o}m\enotes -\notes\bsqh j|\motif qpom\enotes -\notes\bsqh i|\motif rqpm\enotes -\notes\tbsqh k|\motif rqpm\enotes -\temps\notes\ibu0j1\bsqh j|\motif srqm\enotes -\Notes\fl g\tbsqh l|\motif srqm\enotes -% -% mesure 168 -\generalmeter{\meterfrac 44}\changecontexte -\Notes\zq f\qu k\sk\ibu0i2\bsqh i\tbsqh k|\Motif rqpm\enotes -\temps\Notes\ibu0i0\bsqh j\bsqh i\fl h\bsqh h\tbsqh j|\Motif qpom\enotes -% -% mesure 169 -\xbarre\Notes\ibu0h0\bsqh i\bsqh h\bsqh g\tbsqh i|\Motif ponk\enotes -\autolines{11}5\lppage\noautolines -\zalaligne\Notes\ibu0g0\bsqh h\bsqh g\bsqh f\tbsqh h|\octline t\Motif onmj\enotes -% mesure 170 -\xbarre\Notes\ibu0f0\bsqh g\bsqh f\na e\bsqh e\tbsqh g|\Motif nm{=l}i\enotes -\temps\Notes\zq a\qu f\sk\ibu0f0\zq c\bsqh f\zq c\tbsqh f|\Motif onmj\enotes -% mesure 171 -\xbarre\Notes\ibu0f0\na a\zq c\bsqh f\zq c\bsqh f\zq c\bsqh f\zq c\tbsqh -f|\na o\Motif onmj\enotes -\temps\Notes\ibu0f0\zq d\bqqh f\zq d\bqqh f\zq d\bqqh f\zq d\tbqqh -f|\Motif p{_o}nk\enotes -%\check -% mesure 172 -\xbarre\Notes\ibu0g0\zq d\bsqh g\zq d\bsqh g\zq d\bsqh g\zq d\tbsqh -g|\Motif ponk\enotes -\temps\Notes\ibu0h0\zq f\bsqh h\zq f\bsqh h\zq f\bsqh h\zq f\tbsqh -h|\Motif qpom\enotes -% mesure 173 -\xbarre\Notes\ibu0g0\zmidtwotext{\it smorz.}\relax -\zq{c=e}\qh0i\zq{ce}\qh0i\zq{ce}\qh0i\zq{ce}\tqh0i|\Motif pon{=l}\enotes -\nspace\NOtes\pointdorgue l\hpause|\pointdorgue l\hpause\enotes - \suspmorceau -\eject -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% finale % -\transpose=0\relax\cleftoksi={{6}{0}{0}{0}}% -% mesure 200 -\linesinpage=0\relax -\barno=200\relax\autolines 95\lppage -\generalmeter{\allabreve}\reprmorceau -\savemeters\saveclefs -\notes\zmidtwotext{\ppff p}|\Uptext{\kern -7mm\moyen -a tempo primo, con molta delicatezza}\soupir\enotes -\temps\notes\hpause|\Ilegl0d\dqh3fg\enotes -\temps\notes\zh{Ma}\hl c|\qqh0hfgh\enotes -% mesure 201 -\barre\notes\zh{Mb}\hl d|\qqh0ighi\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu j\sk\enotes -\temps\notes|\Ilegl0d\dqh3ij\enotes -% mesure 202 -\barre\notes\zh{Mb}\hl d|\qqh0kjik\enotes -\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes -%\check -% mesure 203 -\barre\notes\zh M\lh N\hl b|\qqh0ihgi\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\enotes -\temps\notes|\Ilegl0d\dqh3gh\enotes -%\check -% mesure 204 -\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes -\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes -% mesure 205 -\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes -\temps\notes|\Ilegu0r\dqh3gh\enotes -% mesure 206 -\barre\notes\zh{LN}\hl b|\rlap{\hl e}\qqh0ighi\enotes -\temps\notes\zh{La}\hl c|\rlap{\hl e}\qqh0jijk\enotes -% mesure 207 -\barre\notes\zh b\bohl e|\rlap{\hl g}\qqh{-3}lkji\enotes -\cleftoksi={{0}{0}{0}{0}}\changeclefs -\temps\notes\zh{ac}\hl e|\Tleg0\qu h\sk\enotes -\temps\notes|\Ilegu0t\dqh3jk\enotes -% mesure 208 -\barre\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes -\temps\notes\zh{ce}\hu i|\qqb{-6}pnkj\enotes -% mesure 209 -\barre\nspace\notes\zh{cf}\hu{=h}|\Uptext{\it sempre \ppff p}\relax - \ibl0m0\qb0{=o=lm}\tqb0n\enotes -\temps\notes\zh{c_e}\hu h|\qqb3opqr\enotes -%\check -% mesure 210 -\barre\notes\zh{=ac}\hu{_g}|\qqb{-7}sq{=o}m\enotes -\temps\notes\zh{bd}\hu f|\Tleg0\ql r\enotes -\temps\notes|\Ilegu0s\dqb4pr\enotes -% mesure 211 -\barre\notes\zh{ac}\hu f|\qqB0qpoq\enotes -\cleftoksi={{6}{0}{0}{0}}\changeclefs -\temps\notes\zh{Nb}\hl{=e}|\qqB0ponp\enotes -% mesure 212 -\generalmeter{\meterfrac 32}\changecontexte -\Notes\zh{Ma}\hl c|\Tleg0\ql o\enotes -\temps\notes|\Ilegu0r\dqb3no\enotes -\temps\notes\zh{KM}\hl b|\qqB0ponp\enotes -\temps\notes\zh{JM}\hl a|\qqB0onmo\enotes -%\check -% mesure 213 -\generalmeter{\allabreve}\changecontexte -\notes\zh{J=L}\hl N|\qqB0nm{=l}n\enotes -\temps\Notes\boqu M|\Tleg0\hl m\enotes -\temps\notes\zmidtwotext{\kern -1.5\noteskip\ppff pp}\Ilegu0e\dqb3MN\enotes -%\check -% mesure 214 -\alaligne\notes\qqb3abcd|\zh{fh}\hu j\enotes -\temps\notes\qqb{-3}cbaN|\zh{=eg}\hu j\enotes -%\check -% mesure 215 -\barre\Notes\tleg0\ql a|\zh{fh}\hu j\enotes -\temps\notes\Ilegu0d\dqb3Na\enotes -\temps\notes\qqb0baNb|\zh{fi}\hu k\enotes% mesure 216 -\barre\notes\qqB0aNMa|\zh{fh}\hl j\enotes -\temps\notes\qqB0NM{=L}N|\zh{=eg}\hu j\enotes -% mesure 217 -\barre\notes\Tleg0\hl M|\zh{fh}\hu j\enotes -\cleftoksi={{6}{6}{0}{0}}\changeclefs -\notes|\Ilegl0E\dqh3Na\enotes -\temps\notes\bohu K|\rlap{\hl M}\qqh5bcdf\enotes -% mesure 218 -\barre\notes\bohu L|\rlap{\hl N}\qqh{-3}edcb\enotes -\temps\Notes\bohu H|\Tleg0\rlap{\ql a}\qu c\enotes -\temps\notes|\Ilegl0E\dqh3bc\enotes -%\check -% mesure 219 -\barre\notes\bohu I|\rlap{\hl M}\qqh0dcbd\enotes -\temps\notes\bohu J|\rlap{\hl M}\qqh0cbac\enotes -%\check -% mesure 220 -\barre\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes -\temps\notes\bohu F\sk|\Tleg0\rlap{\ql J}\qu a\enotes -\temps\notes|\Ilegl0F\dqh3Na\enotes -% mesure 221 -\barre\notes\Uptext{\it diminuendo,\ \ ma senza}\bohu D\relax - |\rlap{\hl K}\qqh0baNb\enotes -\temps\notes\bohu C|\rlap{\hl J}\qqh0aNMa\enotes -% mesure 222 -%\check -\barre\notes\Uptext{\it rallentare}\bohu C|\rlap{\hl J}\qqh0NMLN\enotes -\temps\NOtes\bohu F|\Tleg0\rlap{\hl J}\hu M\enotes -% mesure 223 -\barre\notes\bohu F|\itenu0f\itenl1M\rlap{\qsk\zqp b\qup d}\bohl f\sk\sk -\itenu2a\itenu3c\zq a\cu c\qsk\enotes -\NOtes\pointdorgue a\bohu F\relax - |\pointdurgue F\tten0\tten1\tten2\tten3\zh{ac}\bohl f\enotes -\finmorceau \rightline{\sl \aujourdhui} -\eject\bye - diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex index 554314e05e4..78395927451 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex @@ -89,11 +89,19 @@ janvier 1990} \computewidths \staffbotmarg=5\Interligne % +% Changes for 16 pt musicsize +%\showthe\musicsize +\def\Zalapage{\ifx\NoPageCut\undefined\zalapage\else\zbarre\fi}% +\def\Zalaligne{\ifx\NoPageCut\undefined\zalaligne\else\zbarre\fi}% +\def\Alapage{\ifx\NoPageCut\undefined\alapage\else\barre\fi}% +\def\Alaligne{\ifx\NoPageCut\undefined\alaligne\else\barre\fi}% +\def\Eject{\ifx\NoPageCut\undefined\eject\else\par\fi}% +% \debutmorceau % \noteskipLarge \hyphenpenalty -50\relax -\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{90})}\enotes +\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{70})}\enotes \vnotes 0.2\elemskip\uptext{\kern -5mm\ppff p}|\uptext{\ppff mp}\enotes \zglu\Notes\PED\zh{Ma}\hl c|\soupir\enotes \zglu\notes\sk\DEP|\Ilegl0d\dqh3fg\enotes @@ -134,7 +142,7 @@ janvier 1990} \barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes \temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes % mesure 13 -\alaligne\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\Alaligne\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes \temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes \temps\notes\rmidtwotext{\kern -3mm\it un poco}|\Ilegu0r\dqh3gh\enotes % mesure 14 @@ -148,7 +156,7 @@ janvier 1990} \barre\notes\bohu a|\rlap{\hl e}\zq h\qqh0jijk\enotes \temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes % mesure 17 -\alaligne\Notes\bohu M|\zq f\tleg0\qu h\enotes +\Alaligne\Notes\bohu M|\zq f\tleg0\qu h\enotes \temps\notes|\Ilegu0q\dqh3ij\enotes \temps\notes\bohu K|\rlap{\hl f}\zq h\qqh{-3}kjih\enotes % mesure 18 @@ -163,7 +171,7 @@ janvier 1990} \temps\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh0gfeg\enotes % mesure 21 \xbarre\Notes\zq F\ql M|\zq{ac}\tleg0\qu f\enotes -\zalapage\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax +\Zalapage\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax |\soupir\uptext{\ppff p}\enotes \temps\notes\qqB0aMNa|\zh{fh}\hu j\enotes % mesure 22 @@ -177,7 +185,7 @@ janvier 1990} \barre\notes\qqB0baNb|\zh i\rh j\hu{=l}\enotes \temps\notes\qqB0aNMa|\zh{hj}\hu m\enotes % mesure 25 -\alaligne\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes +\Alaligne\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes \temps\notes\Tleg0\ql M\zmidtwotext{\it crescendo}\sk|\zh{hjm}\hl o\enotes \temps\notes\Ilegl0F\dqb3Na|\enotes % mesure 26 @@ -192,7 +200,7 @@ janvier 1990} \barre\notes\qqb{-3}f{_e}{_d}c|\zh{f=hj}\hu m\enotes \temps\notes\qqb{1}bcde|\zh{gil}\hu n\enotes % mesure 29 -\alaligne\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes +\Alaligne\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes \temps\notes\qqb0cbab|\zh{fhj}\hl m\enotes % mesure 30 \barre\notes\qqb{-3}cbaN|\zh{gj=l}\hl n\enotes @@ -209,8 +217,8 @@ janvier 1990} % % mesure 33 % changement d'espacement -\def\interfacteur{12}% -\alaligne\noteskipLARGE\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes +\def\atnextline{\def\interfacteur{12}}% +\Alaligne\noteskipLARGE\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes \temps\notes\Tleg0\ql a\sk|\zh{hjm}\hl o\enotes \temps\notes\Ilegl0F\dqb3bc|\enotes % mesure 34 @@ -221,7 +229,7 @@ janvier 1990} \temps\notes\soufflcr\qqb{-3}cbaN|\zh{=lnq}\hl{=s}\enotes % mesure 36 \barre\nspace\notes\zmidtwotext{\ppff f}\tleg0\ql M|\zq{m_oq}\ql t\cbreath\enotes -\zalapage\noteskipLarge\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes +\Zalapage\noteskipLarge\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes \temps\arpg K5\relax \notes \zh{Mac}\hl f\uptext{\vbox{\offinterlineskip\hbox{\it arpeggi}\vskip 1mm\hbox{\it nervosi}}}\relax |\qsoqb0hfgh\enotes @@ -239,7 +247,7 @@ janvier 1990} \temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0hgfh\enotes %\check % mesure 40 -\alaligne\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes +\Alaligne\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes \temps\arpg F6\notes\zq{FJMa}\ql c|\Tleg0\zq f\ql m\sk\enotes \notes\soupir|\Ilegu0t\dsoqb3gh\enotes %\check @@ -257,8 +265,8 @@ janvier 1990} \temps\notes|\Ilegu0t\dsoqb3jk\enotes %\check % mesure 44 -\advancebottom{\Interligne}\relax -\alaligne\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes +\def\atnextline{\advancebottom{\Interligne}}\relax +\Alaligne\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes \temps\arpg K5\notes\zh{Mac}\hl f\sk|\Tleg0\zq h\ql o\enotes \temps\notes|\Ilegu0r\dsoqb3gh\enotes %\check @@ -281,7 +289,7 @@ janvier 1990} \temps\notes\qsoqb0GEFG|\zq{_ln}\qsoqb0ighi\enotes %\check % mesure 48 -\alaligne\noteskipLARGE\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes +\Alaligne\noteskipLARGE\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes \temps\notes\zq D\ql K\sk\dsoqb3EF|\zq{mp}\qsoqb0kijk\enotes %\check % mesure 49 @@ -293,7 +301,7 @@ janvier 1990} \temps\notes\qboqb{-3}fe{=d}{_d}|\zq{jm}\qsoqb0hghi\enotes %\check % mesure 51 -\alaligne\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes +\Alaligne\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes \temps\arpg F5\notes\zq{FJM}\ql a\sk|\relax \ifx\mxversion\undefined\Tleg0\relax \else\tslur0o\relax @@ -311,8 +319,8 @@ janvier 1990} %\check % mesure 54 \barre\nspace\uarpg h5\notes\tleg0\ql a\sk|\zh{jlo}\hl q\enotes -\advancebottom{-\Interligne}\relax \def\interfacteur{10}% -\zalapage\noteskipLarge\notes\dsoqb3J{=K}|\enotes +\def\atnextline{\advancebottom{-\Interligne}\relax\def\interfacteur{10}}% +\Zalapage\noteskipLarge\notes\dsoqb3J{=K}|\enotes \temps\uArpg h5\notes\qsoqb0{=L}KLM|\zh{j=ln}\hl q\enotes % mesure 55 \barre\noteskipLarge\nspace\uArpg h5\notes\qboqb0gfg{=h}|\zh{j=ln}\hl q\enotes @@ -329,7 +337,7 @@ janvier 1990} \temps\notes\Soufflcr\qsoqb{-3}LKJI|\zq{_lnp}\ql s\sk\zq{lnp}\ql s\enotes %\check % mesure 58 -\alaligne\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes +\Alaligne\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes \temps\notes\dsoqb3IJ|\enotes \temps\notes\qsoqb0KJIK|\zq{ikm}\ql p\sk\zq{ikm}\ql p\enotes %\check @@ -348,8 +356,8 @@ janvier 1990} \temps\notes\qsoqb0GF{=E}G|\zq{j=ln}\ql q\sk\zq{jln}\ql q\sk\enotes %\check %mesure 62 -\def\interfacteur{9}% -\alaligne\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax +\def\atnextline{\def\interfacteur{9}}% +\Alaligne\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax |\zq{moq}\ql t\cbreath\enotes \temps\noteskipLarge\notes\zmidtwotext{\ppff mp \it subito}\soupir|\Ilegu0r\dqh3fg\enotes \temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hfgh\enotes @@ -369,7 +377,7 @@ janvier 1990} \temps\notes|\Ilegu0q\dqh3gh\enotes %\check % mesure 66 -\alaligne\arpg I4\notes\zh{KMb}\hl d|\qqh0ihgi\enotes +\Alaligne\arpg I4\notes\zh{KMb}\hl d|\qqh0ihgi\enotes \temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hgfh\enotes %\check % mesure 67 @@ -393,7 +401,7 @@ janvier 1990} \temps\arpg B6\notes\bozh I\hu M|\qqB0{=d}bcd\enotes %\check % mesure 70 -\alaligne\noteskipLARGE\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes +\Alaligne\noteskipLARGE\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes \temps\Arpg {!`E}8\notes\bozh F\zh{=H}\hu M|\qqb{-3}f{_e}{_d}c\enotes %\check % mesure 71 @@ -405,7 +413,7 @@ janvier 1990} \temps\arpg B6\notes\bozh I\hu M|\qqb{-3}dcba\enotes %\check % mesure 73 -\alaligne\noteskipLARGE\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes +\Alaligne\noteskipLARGE\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes \temps\arpg B6\notes\bozh J\hu N|\qqb{-3}cbaN\enotes % % mesure 74 @@ -423,9 +431,9 @@ janvier 1990} \barre\noteskipLarge\arpg{-8}6\notes\bozq F\zq H\qu J\relax |\Tleg0\ql M\enotes \cleftoksi={{6}{0}{0}{0}}% -\changeclefs\def\interfacteur{11}% -\advancebottom{\Interligne}\relax -\zalapage\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes +\changeclefs +\def\atnextline{\def\interfacteur{11}\advancebottom{\Interligne}}\relax +\Zalapage\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes \temps\arpg D5\notes\bozh L\hu N|\qboqh0ighi\enotes % mesure 77 %\check @@ -442,7 +450,7 @@ janvier 1990} \temps\arpg C6\notes\bozh J\hu N|\qboqh{-3}jihg\enotes %\check % mesure 80 -\alaligne\arpg {!`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes +\Alaligne\arpg {!`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes \temps\notes|\dboqh3gh\enotes \temps\arpg B5\notes\bozh I\hu K|\qboqh0ihgi\enotes % mesure 81 @@ -459,7 +467,7 @@ janvier 1990} |\zq{mp}\qsoqb0kijk\enotes % \check % mesure 84 -\alaligne\noteskipLARGE\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes +\Alaligne\noteskipLARGE\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes \temps\notes\zmidtwotext{\it animato}\zh F\hl M|\zq{jm}\qsoqb2hijl\enotes % \check % mesure 85 @@ -471,7 +479,7 @@ janvier 1990} \barre\notes\boql a\sk\boql a|\zq{mo}\qsoqb{-3}jihg\enotes \temps\notes\bohu K|\zq{ik}\qsoqb2fghj\enotes % mesure 87 -\alaligne\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes +\Alaligne\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes \temps\notes\bohu J|\zq{gi}\qsoqh2{=e}fgi\enotes % mesure 88 \barre\notes\qboqh0M{=L}MN|\zq{jm}\qsoqb0hghi\enotes @@ -485,7 +493,7 @@ janvier 1990} \temps\notes\qboqb0{=e}def|\zq{j=l}\qsoqh0gfgh\enotes %\check % mesure 90 -\alaligne\noteskipLarge\notes\qboqb{-2}gg{=e}{_d}|\relax +\Alaligne\noteskipLarge\notes\qboqb{-2}gg{=e}{_d}|\relax \ifx\mxversion\undefined\octfin v9\fi \zq{=ln}\qsoqb{-2}iig{=e}\enotes \temps\notes\qboqb{-2}cbN{=L}|\qsoqh{-2}{_d}dbN\relax @@ -509,8 +517,8 @@ janvier 1990} \ibl0l0\soqb k\lq q\soqb k\zq p\soqb k\lq p\tbl0\soqb j\enotes \temps\notes\zq M\cu f|\zq m\cl t\zbreath\enotes \cleftoksi={{6}{0}{0}{0}}\changeclefs -\staffbotmarg=3\Interligne\def\interfacteur{11}% -\zalapage\notes\midtwotext{\kern -6mm\it sempre +\def\atnextline{\staffbotmarg=3\Interligne\def\interfacteur{11}}% +\Zalapage\notes\midtwotext{\kern -6mm\it sempre \ppff \fff}\enotes \temps\notes\dsoupir\boql f|\ifx\mxversion\undefined\octline v\fi \ibl0f1\soqb f\soqb g\tbl0\soqb h\enotes @@ -527,7 +535,7 @@ janvier 1990} \temps\notes\boql f\sk\boql f|\qsoqb0hgfh\enotes %\check % mesure 97 -\alaligne\noteskipLarge +\Alaligne\noteskipLarge \notes\boql{=e}\sk\boql e|\ifx\mxversion\undefined\octline t\fi \qsoqb0gf{=e}g\enotes \temps\notes\boql f\sk\boql f|\qsoqb3ffgh\enotes @@ -545,7 +553,7 @@ janvier 1990} \temps\notes\boql M\sk\boql M|\soql h\sk\dsoqb3gh\enotes %\check % mesure 101 -\alaligne\notes\boql K\sk\boql K|\ifx\mxversion\undefined\octfin u{17}\fi +\Alaligne\notes\boql K\sk\boql K|\ifx\mxversion\undefined\octfin u{17}\fi \qsoqb0ihgi\enotes \temps\notes\boql J\sk\boql J|\qsoqb0hgfh\enotes %\check @@ -555,21 +563,21 @@ janvier 1990} \ifx\mxversion\undefined\else\toctfin\fi \enotes % mesure 103 \barre\notes\zmidtwotext{\ppff mp \it dolce}\soupir|\Uptext{\moyen A tempo}\enotes -\temps\notes\Ilegl0F\dqb3Na|\hpause\enotes +\temps\notes\islurd0G\dqb3Na|\hpause\enotes \temps\notes\qqb2bcdf|\zh{fi}\hu k\enotes %\check % mesure 104 \barre\notes\qqb{-3}edcb|\zh{gi}\lh k\hl l\enotes -\temps\notes\tleg0\ql c\sk|\zh{hj}\hl l\enotes -\temps\notes\Ilegu0f\dqb3bc\enotes +\temps\notes\tslur0G\ql c\sk|\zh{hj}\hl l\enotes +\temps\notes\Ilegu0d\dqb3bc\enotes %\check % mesure 105 -\alaligne\notes\qqB0dcbd|\zh{il}\hl n\enotes +\Alaligne\notes\qqB0dcbd|\zh{il}\hl n\enotes \temps\notes\qqB0cbac|\zh{hj}\hl m\enotes % mesure 106 \barre\notes\qqB0baNb|\lh i\zh j\hl{=l}\enotes \temps\notes\tleg0\ql a\sk|\zh{hj}\hl m\enotes -\temps\notes\Ilegu0f\dqb3Na|\enotes +\temps\notes\Ilegu0c\dqb3Na|\enotes %\check % mesure 107 \barre\notes\qqB0baNb|\zh{gik}\hl m\enotes @@ -580,9 +588,9 @@ janvier 1990} \temps\notes\Tleg0\ql M\sk|\zq{hj}\ql m\enotes \temps\notes\soupir|\Ilegl0M\dqh3MN\enotes % mesure 109 -\advancebottom{-2\Interligne}% +\def\atnextline{\advancebottom{-2\Interligne}}% %\check -\alaligne\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax +\Alaligne\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax |\uptext{\it espressivo e delicato}\qqh3abcd\enotes \temps\notes\rlap{\zh{EI}\hl L}\zh N|\qqh{-3}edcb\enotes % mesure 110 @@ -600,11 +608,11 @@ janvier 1990} \temps\notes\zh{IM}\hl b|\rlap{\hl d}\tleg0\qu f\sk\enotes \temps\notes|\Ilegl0b\dqh3ij\enotes % mesure 113 -\alaligne\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes +\Alaligne\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes \temps\notes\zh{JN}\hl c|\qqH6{=e}gkj\enotes % mesure 114 \barre\notes\zh{FJ}\hu M|\ibu0j{-6}\qh0{j=h}\tbu0\tleg0\qh0f\enotes -\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0s\cl{_n}\enotes +\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0q\cl{_n}\enotes \Arpg F5\notes\zh{FJ}\hu{=a}|\qqB0mljl\enotes % mesure 115 \barre\arpg I5\notes\zh{IM}\hl d|\qqh{-5}lkif\enotes @@ -625,7 +633,7 @@ janvier 1990} \zq{#1}\zq{#2}\qh1{#3}}\enotes}% %\check \staffbotmarg=5\Interligne -\alapage\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm +\Alapage\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm \moyen pi\`u vivo \rm(\metron{\qu}{110})}\enotes \motif acf\temps\motif bdg\relax % mesure 118 @@ -635,14 +643,15 @@ janvier 1990} % mesure 120 \barre\motif dgi\temps\motif bdg\relax % mesure 121 -\alaligne\motif cfh\temps\motif dgi\relax +\Alaligne\motif cfh\temps\motif dgi\relax % mesure 122 \xbarre\znotes\Soufflcr\enotes\motif {cf}hj\temps\motif cfh\relax % mesure 123 \xbarre\motif dfi\temps\motif fhj\relax % mesure 124 -\xbarre\motif fik\temps\motif dfi\relax -\generalmeter{\meterfrac 54}\relax\lchangecontext +\barre\motif fik\temps\motif dfi\relax +\generalmeter{\meterfrac 54}\relax +\changecontext \znotes\zmidtwotext{\kern -5mm\ppff ff}\enotes % mesure 125 %\check @@ -659,9 +668,9 @@ janvier 1990} \noteskipLarge\relax \motif {=e}gjegj\relax % mesure 126 -\xbarre\motif fhjfhj\relax +\barre\motif fhjfhj\relax % mesure 127 -\xbarre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax +\barre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax \zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes \notes{\advance\transpose by -7\relax \zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes @@ -672,32 +681,37 @@ janvier 1990} \tbl1\zq g\lq i\qb1j}\enotes %\check % mesure 128 -\alaligne\motif fikfik\relax +\Alaligne\motif fikfik\relax % mesure 129 -\xbarre\motif gi{=l}gil\relax +\barre\motif gi{=l}gil\relax % mesure 130 \generalmeter{\allabreve}\changecontext \noteskipnormal\NOtes|\octfin z1\rlap{\sforz I\zh{ce}\hl g}\relax \sforz x\zh{j=ln}\hu q\enotes \temps\NOtes\pointdorgue c\hpause|\pointdorgue o\hpause\enotes % mesure 131 -\noteskipLarge\transpose=0\relax\barre -\notes\rlap{\bohu F}\ifx\mxversion\undefined\Ilegu0g\else\Ilegu0e\fi +\noteskipLarge\transpose=0\relax +\ifx\HalfPieceCut\undefined + \barre +\else + \advance\mulooseness -2\relax + \alapage + \advance\mulooseness 3\relax +\fi +\notes\rlap{\bohu F}\isluru0e\relax \qqh3MNab|\zcharnote{-4}{\it dolce ed espressivo}\Uptext{\kern -3mm\moyen tempo I$^{\bf o}$}\enotes -\temps\notes\qqb0cbcd|\zh{hj}\hu m\uptext{\it m.s.}\enotes +\temps\notes\qqb0cbcd% +\off{\beforeruleskip}\hloff{\Tslurbreak0h}\off{-\beforeruleskip}% +|\zh{hj}\hu m\uptext{\it m.s.}\enotes % mesure 132 -\ifx\mxversion\undefined - \def\atnextline{\Invertslur0\relax\liftslur0{-2\Interligne}}% -\else - \def\atnextline{\Invertslur0\relax}% -\fi -%\show\Invertslur -%\show\liftslur -\alaligne\notes\bohu L|\qqb0edef\enotes +\Alaligne +\notes +\off{-\afterruleskip}\hloff{\Islurdbreak0h}\off{\afterruleskip}% +\bohu L|\qqb0edef\enotes \temps\notes|\rlap{\zh{il}\hu n}\qqb{-3}edcb\enotes % mesure 133 -\barre\Notes\tslur0L\bohu H|\hl c\enotes +\barre\Notes\tslur0f\bohu H|\hl c\enotes \temps\notes|\raise -5\Interligne\rlap{\soupir}\zh{lo}\hl q\enotes \temps\notes|\Ilegl0K\ibl0c1\qb0{=b}\tqb0c\enotes % mesure 134 @@ -709,7 +723,7 @@ janvier 1990} \temps\notes|\rlap{\zh{m=o}\hu q}\qqb3hijk\enotes %\check % mesure 136 -\alapage\noteskipLarge\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk +\Alapage\noteskipLarge\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk \ifx\mxversion\undefined\tleg0\else\tslur0a\fi}\qqb{-6}lj{=h}f\enotes \temps\arpg G6\notes\zh{IMb}\hl d|\qqb{-6}ki{_h}g\enotes %\check @@ -726,7 +740,7 @@ janvier 1990} \temps\notes\zmidtwotext{\ppff f}\boql c\sk\boql c|\qsoqb{-8}rpnj\enotes %\check % mesure 140 -\alaligne\noteskiplarge\bigaccid +\Alaligne\noteskiplarge\bigaccid \notes\zmidtwotext{\vbox{\hbox{\ppff ff \it con fuoco}\smallskip \hbox{\it e crescendo}}}\soupir|\soupir\enotes %\check @@ -744,24 +758,24 @@ janvier 1990} \temps\motif hfgh\relax %\check % mesure 141 -\xbarre\motif ighi\temps\motif jhij\relax +\barre\motif ighi\temps\motif jhij\relax % mesure 142 -\xbarre\motif kjik\temps\motif jihj\relax +\barre\motif kjik\temps\motif jihj\relax % mesure 143 -\def\scalenoteskip{0.7}\alaligne\motif ihgi\temps\motif hgfh\relax +\def\scalenoteskip{0.7}\Alaligne\motif ihgi\temps\motif hgfh\relax %\check % mesure 144 -\xbarre\motif gf{=e}g\temps\motif ffgh\relax +\barre\motif gf{=e}g\temps\motif ffgh\relax % mesure 145 -\xbarre\motif ighi\temps\motif jhij\relax +\barre\motif ighi\temps\motif jhij\relax % mesure 146 -\alaligne\motif {=k}ijk\temps\motif {=l}jkl\relax +\Alaligne\motif {=k}ijk\temps\motif {=l}jkl\relax % mesure 147 -\xbarre\motif m{_l}{_k}j\temps\motif iijk\relax +\barre\motif m{_l}{_k}j\temps\motif iijk\relax % mesure 148 -\xbarre\motif lkji\temps\motif hhij\relax +\barre\motif lkji\temps\motif hhij\relax % mesure 149 -\alaligne\motif kjik\relax +\Alaligne\motif kjik\relax %\check \def\motif#1#2#3#4#5#6#7#8{\notes\ibbu0b0{\advance\transpose by -7\relax \boqh{#1}}\sk|\qsk\sk\rlap{\soqb{#5}}\enotes @@ -772,7 +786,7 @@ janvier 1990} %\check \temps\motif j{^j}{=k}{^k}jjjj\relax % mesure 150 -\xbarre\motif {=l}{_l}{=k}{_k}jjjj\relax +\barre\motif {=l}{_l}{=k}{_k}jjjj\relax \temps\motif jihgjj{=k}{=l}\relax % mesure 151 \noteskipLarge\varaccid @@ -783,6 +797,7 @@ janvier 1990} \centerline{a piacere }\centerline{% quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes +\Zalapage \transpose=-7\relax % \staffbotmarg=3\Interligne @@ -801,7 +816,7 @@ quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes %\check \noteskipnormal\def\scalenoteskip{1.11}\hyphenpenalty -20\relax \transpose=0\relax -\alapage\notes\motifh8FHJMac\enotes +\barre\notes\motifh8FHJMac\enotes \temps\notes|\motifb8fhjmoq\enotes %\check % mesure 153 @@ -814,7 +829,7 @@ quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes \zbarre\notes\ibbu0I{-6}\qh0H\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes %\check % mesure 154 -\alaligne +\Alaligne \transpose=-7\relax \notes\motifh8FIKMbd\enotes \zbarre\notes|\motifh8fikmpr\enotes @@ -829,7 +844,7 @@ quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes \notes\nbbu0\qh0b\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes \zbarre\notes\motifh{-4}KIF{=E}FD\enotes \transpose=-7\relax -\zalaligne\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +\Zalaligne\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes %\check % mesure 156 \transpose=-7\relax @@ -844,7 +859,7 @@ quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes \zbarre\notes|\na l\motifb{-6}lm{_l}jf{=e}\enotes \zbarre\notes|\sforz h\ibbl0e0\qb0f\tbbl0\qb0{_e}\enotes \notes\nbbu0\qh0c\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes -\zalaligne\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes +\Zalaligne\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes \transpose=-7\relax \zbarre\notes\ibbu0I{-4}\qh0J\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes %\check @@ -902,7 +917,7 @@ quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes \ifx\mxversion\undefined \def\everystaff{\znotes\nextstaff\octline t\enotes}\relax \fi -\zalapage +\Zalapage \ifx\mxversion\undefined\else \znotes|\ioctfinup t\enotes \fi @@ -994,12 +1009,12 @@ h|\Motif qpom\enotes \zq{c=e}\qh0i\zq{ce}\qh0i\zq{ce}\qh0i\zq{ce}\tqh0i|\Motif pon{=l}\enotes \nspace\NOtes\pointdorgue l\hpause|\pointdorgue l\hpause\toctfin\enotes \suspmorceau\def\everystaff{}\relax -\eject +\Eject %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% % finale % \transpose=0\relax\cleftoksi={{6}{0}{0}{0}}% - \eject\staffbotmarg=3\Interligne\relax -\def\interfacteur{11}% + \Eject\staffbotmarg=3\Interligne\relax +\def\atnextline{\def\interfacteur{11}}% \def\scalenoteskip{1.0}% % mesure 200 \barno=200\relax @@ -1023,7 +1038,7 @@ a tempo primo, con molta delicatezza}\soupir\enotes \temps\notes|\Ilegl0d\dqh3gh\enotes %\check % mesure 204 -\alaligne\notes\zh{Mb}\hl d|\qqh0ihgi\enotes +\Alaligne\notes\zh{Mb}\hl d|\qqh0ihgi\enotes \temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes % mesure 205 \barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes @@ -1038,7 +1053,7 @@ a tempo primo, con molta delicatezza}\soupir\enotes \temps\notes\zh{ac}\hl e|\Tleg0\qu h\sk\enotes \temps\notes|\Ilegu0t\dqh3jk\enotes % mesure 208 -\alaligne\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes +\Alaligne\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes \temps\notes\zh{ce}\hu i|\qqb{-6}pnkj\enotes % mesure 209 \barre\nspace\notes\zh{cf}\hu{=h}|\Uptext{\it sempre \ppff p}\relax @@ -1074,7 +1089,7 @@ a tempo primo, con molta delicatezza}\soupir\enotes \xbarre\Notes\tleg0\ql a|\zh{fh}\hu j\enotes \temps\notes\Ilegu0d\dqb3Na\enotes \temps\notes\qqb0baNb|\zh{fi}\hu k\enotes% mesure 216 -\alaligne\notes\qqB0aNMa|\zh{fh}\hl j\enotes +\Alaligne\notes\qqB0aNMa|\zh{fh}\hl j\enotes \temps\notes\qqB0NM{=L}N|\zh{=eg}\hu j\enotes % mesure 217 \barre\notes\Tleg0\hl M|\zh{fh}\hu j\enotes @@ -1091,7 +1106,7 @@ a tempo primo, con molta delicatezza}\soupir\enotes \temps\notes\bohu J|\rlap{\hl M}\qqh0cbac\enotes %\check % mesure 220 -\alaligne\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes +\Alaligne\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes \temps\notes\bohu F\sk|\Tleg0\rlap{\ql J}\qu a\enotes \temps\notes|\Ilegl0F\dqh3Na\enotes % mesure 221 diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqt.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqt.tex new file mode 100644 index 00000000000..2077a6b8015 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqt.tex @@ -0,0 +1,10 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\musicsize=20\relax +\def\NoPageCut{\relax} +\def\HalfPieceCut{\relax} +\input c:/taupin/musixtex/scores/pacifiqn +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/partitur.tex b/Master/texmf-dist/doc/generic/musixtex/examples/partitur.tex new file mode 100644 index 00000000000..bb2288e7a7e --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/partitur.tex @@ -0,0 +1,433 @@ +% partitur.tex to demonstrate MusiXTeX's capabilities for large scores +% (c) 1997, Werner Icking + +\ifx\mxversion\undefined + \input musixtex + \fi + +% A4-width, letter-length +\hoffset-15.4mm\voffset-15.4mm +\hsize210mm\advance\hsize-20mm +\vsize11in\advance\vsize-20mm\advance\vsize-20pt + +\def\myfootline#1{% +\def\crtextde{Nicht-kommerzielle Vervielf\"altigung erw\"unscht.}% +\def\crtexten{Non-commercial copying welcome.}% +\def\cryear{#1}\setfootline} + +\def\setfootline{\footline={\ifodd\pageno% +{\rlap{\sevenrm\copyright~\cryear, Werner Icking, D-53721 Siegburg, Farnweg 28}% + \hfill\folio\hfill + \llap{\sevenrm\crtextde}}% +\else +{\rlap{\sevenrm\copyright~\cryear, Werner.Icking@gmd.de}% + \hfill\folio\hfill + \llap{\sevenrm\crtexten}}% +\fi}} +\myfootline{1997} + +\input musixmad + +\startmuflex + +\arithmeticskipscale +\let\ni\nextinstrument +\let\ns\nextstaff + +%= Example 1 ============================================================ + +\centerline{\BIGtype C}\par\medskip + +\parindent 90pt + +\instrumentnumber{12} + +\generalmeter{\allabreve} +\generalsignature 0 + +\groupbottom11 +\setstaffs11\setclef1\bass \setname1{Contrabassi} +\setstaffs21\setclef2\bass \setname2{Violoncelli} +\setstaffs31\setclef3\alto \setname3{Viole} +\setstaffs42\setclef4{\treble\treble} \setname4{\vbox{\hbox{Violini I}% + \vskip 6\Interligne\hbox{Violini II}}} +\grouptop14 +\setstaffs52\setclef5{\treble\treble} \setname5{Celesta} +\groupbottom26 +\setstaffs61\setclef6\treble\setclefsymbol6\empty + \setlines61 \setname6{Batteria} +\setstaffs71\setclef7\treble \setname7{Silofono} +\setstaffs81\setclef8\treble \setname8{3 Timpani} +\grouptop28 + +\groupbottom39 +\setstaffs91\setclef9\bass \setname9{Tuba} +\setstaffs{10}1\setclef{10}\bass \setname{10}{3 Tromboni} +\setstaffs{11}1\setclef{11}\treble \setname{11}{3 Trombe in Do} +\setstaffs{12}2\setclef{12}{\treble\treble} + \setsign{12}{-1} \setname{12}{4 Corni in Fa} +\grouptop3{12} + +\systemnumbers\startpiece\addspace\afterruleskip +\Notes \qa{CDEF}&\qa{CDEF}&\qa{`cdef}&\qa{cdef}|\qa{cdef}\ni + \qa{cdef}|\qa{cdef}\ni + \ni\ni\ni + \qa{CDEF}&\qa{CDEF}&\qa{cdef}\ni + \transpose3\qa{cdef}|\transpose3\qa{cdef}\en +\def\atnextbar{% +\znotes&&&&&\lower2\internote\hbox{\centerpause}&\centerpause&\centerpause&\en}% +\generalmeter{\meterfrac34}\changecontext +\Notes \qa{G'AB}&\qa{G'AB}&\qa{`g'ab}&\qa{g'ab}|\qa{g'ab}\ni + \qa{g'ab}|\qa{g'ab}\ni + \ni\ni\ni + \qa{G'AB}&\qa{G'AB}&\qa{g'ab}\ni + \transpose3\qa{g'ab}|\transpose3\qa{g'ab}\en +\def\atnextbar{% +\znotes&&&&&\lower2\internote\hbox{\centerpause}&\centerpause&\centerpause&\en}% +\generalmeter{\meterfrac44}\changecontext +\NOTes \wh{'C}&\wh{'C}&\wh{c}&\wh{'c}|\wh{'c}\ni + \wh{'c}|\wh{'c}\ni + \ni\ni\ni + \wh{'C}&\wh{'C}&\wh{'c}\ni + \transpose3\wh{'c}|\transpose3\wh{'c}\en +\def\atnextbar{% +\znotes&&&&&\lower2\internote\hbox{\centerpause}&\centerpause&\centerpause&\en}% +\setdoubleBAR\stoppiece + +\vfill\eject + +%= Example 2 ============================================================ + +\def\namespace{14mm} % provide space for instrument names +\advance\hoffset\namespace\advance\hsize-\namespace + +\centerline{\BIGtype Sinfonie D-Dur} \par\medskip +\centerline{\BIgtype Haffner Sinfonie} \par\medskip +\centerline{\Bigtype K.V. 385} \par\medskip +\rightline{\medtype Wolfgang Amadeus Mozart (1756--1791)}\par\bigskip + +\instrumentnumber{10}\resetlayout + +\interinstrument 1\Interligne + +\generalmeter{\meterC} +\generalsignature 2 + +\parindent 60pt + +\groupbottom11 +\setstaffs11\setclef1\bass \setname1{\vbox{\hbox{Violoncelli e} + \hbox{Contrabassi}}} +\setstaffs21\setclef2\alto \setname2{Viole} +\setstaffs32\setclef3{\treble\treble} \setname3{\vbox{\hbox{Violini I} + \vskip 6\Interligne\hbox{Violini II}}} +\setinterinstrument3{3\Interligne} +\grouptop13 + +\setstaffs41\setclef4\bass\setsign40 \setname4{Timpani} +\setinterinstrument4{3\Interligne} + +\groupbottom25 +\setstaffs51\setclef5\treble\setsign50 \setname5{\vbox{\hbox{2 Trombe}\hbox{~~~in Re}}} +\setstaffs61\setclef6\treble\setsign60 \setname6{\vbox{\hbox{2 Corni}\hbox{~~~in Re}}} +\setinterinstrument6{3\Interligne} +\grouptop26 + +\groupbottom37 +\setstaffs71\setclef7\bass \setname7{2 Fagotti} +\setstaffs81\setclef8\treble\setsign8{-1}\setname8{\vbox{\hbox{2 Clarinetti}\hbox{~~~in La}}} +\setstaffs91\setclef9\treble \setname9{2 Oboi} +\setstaffs{10}1\setclef{10}\treble \setname{10}{2 Flauti} +\grouptop3{10} +\stafftopmarg 8\Interligne +\staffbotmarg 5\Interligne + +\def\dsp{\pt 5\ds} +\def\TR#1{\zcharnote{#1}{\it tr}} +\def\adue{\zcharnote9{\llap{a}2}} +\def\dyn#1#2{\lower4\internote\hbox{\zcharnote{-#1}{#2}}} +\def\sFp{\sF\ppff p}% + +\afterruleskip0.8\afterruleskip +\beforeruleskip0.2\afterruleskip + +\nobarnumbers\startpiece\addspace\afterruleskip\systemnumbers +\makeatletter +\def\everystaff{\kern-\clef@skip\kern-\namespace\znotes + \zcharnote0{\vbox{\hbox{Vlc. e}\hbox{Cb.}}}\ni + \zcharnote2{Vle.}\ni + \zcharnote2{Vl.II}|\zcharnote4{Vl.I}\ni + \zcharnote2{Timp.}\ni + \zcharnote0{\vbox{\hbox{2 Tr.}\hbox{(Re)}}}\ni + \zcharnote0{\vbox{\hbox{2 Cor.}\hbox{(Re)}}}\ni% + \zcharnote2{2 Fg.}\ni + \zcharnote0{\vbox{\hbox{2 Cl.}\hbox{(Fa)}}}\ni + \zcharnote2{2 Ob.}\ni + \zcharnote2{2 Fl.}% + \en\kern\clef@skip\kern\namespace}% +\makeatother +\NOTEs \dyn0\f\wh{'D}&\dyn0\f\wh d\ni + \dyn2\f\roffset{1.4}{\zwh d}\wh d|\dyn2\f\roffset{1.4}{\zwh d}\zwh d\ni + \dyn0\f\Trille9{1.6}\wh{'D}\ni + \dyn3\f\adue\transpose-1\wh d&\dyn3\f\adue\transpose-1\wh d\ni + \dyn0\f\adue\wh{'D}&\dyn0\f\adue\transpose2\wh d\ni + \dyn0\f\adue\wh{'d}\ni + \loffset{5}{\zcharnote{'''b}{\medtype\bf Allegro con spirito}}% + \dyn0\f\adue\wh{```'d}\en +\bar\addspace{-.5\afterruleskip}% +\notes \ni\ni + \multnoteskip{.7}\tinynotesize\ibbbu0{'b}3\islurd0{`d}\qb0d\tslur0{'a}\tbu0\qb0d\ns + \multnoteskip{.7}\tinynotesize\ibbbu1{'b}3\islurd0{`d}\qb1d\tslur0{'a}\tbu1\qb1d\en + \Notes \isluru0{''D}\ha D&\isluru1{'d}\ha d\ni + \isluru2{''d}\ha d|\isluru3{''d}\ha d\ni + \qa{'D}\ni + \transpose-1\isluru4{'d}\ha d&\transpose-1\isluru5{'d}\ha d\ni + \isluru6{''D}\ha D&\transpose2\isluru7{'d}\ha d\ni + \isluru8{''d}\ha d&\isluru9{''d}\ha d\en +\NOtes &&&\qp\en +\NOtes \tslur0{''D}\ppt D\qa D&\tslur1{'d}\ppt d\qa d\ni + \tslur2{''d}\ppt d\qa d|\tslur3{''d}\ppt d\qa d\ni + \hpause\ni + \transpose-1\tslur4{'d}\qa d&\transpose-1\tslur5{'d}\qa d\ni + \tslur6{''D}\ppt D\qa D&\transpose2\tslur7{'d}\ppt d\qa d\ni + \tslur8{''d}\ppt d\qa d&\tslur9{''d}\ppt d\qa d\en +\Notesp &&&&\qp&\qp\en +\notes \cca{'D}&\cca d&\cca d|\cca d\ni + \ni + \ni\ni + \cca{'D}&\transpose2\cca d&\cca{'d}&\cca{'d}\en +\bar +\NOtes \lpz{'C}\qu C\upz{'C}\qa C\qp&\upz c\ql c\upz{'c}\ql c\qp\ni + \lpz c\qu c\upz{''c}\ql c\qp|\lpz c\qu c\upz{''c}\ql c\qp\ni + \lpz{'A}\qu A\lpz A\qu A\hpause\ni + \transpose-1\lpz{'a}\qu a\lpz a\qu a\hpause\ni + \transpose-1\lpz{'a}\qu a\lpz a\qu a\hpause\ni + \lpz{'C}\qu C\upz{'C}\qa C\qp&\transpose2\lpz c\qu c\upz{'c}\ql c\qp\ni + \upz{'c}\ql c\upz{'c}\ql c\qp&\upz{'c}\ql c\upz{'c}\ql c\qp\en +\Notesp \dsp&\dsp&\dsp|\dsp\ni + \ni + \ni\ni + \dsp&\dsp&\dsp&\dsp\en +\notes \cca{'C}&\cca c&\cca c|\cca c\ni + \ni + \ni\ni + \cca{'C}&\transpose2\cca c&\cca{'c}&\cca{'c}\en +\bar +\NOtes \qa{'B}&\qa b&\qa b|\qa b\ni + \qa{'D}\ni + \transpose-1\zq d\qu{'d}&\transpose-1\zq d\qu{'d}\ni + \qa{'B}&\transpose2\qa b&\qa{'b}&\qa{'b}\en +\Notesp \ibu0{'B}0\qbp0B&\ibu1b0\qbp1b&\ibu2b0\qbp2b|\ibu3b0\qbp3b\ni + \ibl4{'D}0\qbp4D\ni + \transpose-1\zqp d\ibu5{'d}0\qbp5d\ni + \transpose-1\zqp d\ibu6{'d}0\qbp6d\ni + \ibu7{'B}0\qbp7B&\transpose2\ibu8b0\qbp8b\ni + \ibl9{'b}0\qbp9b&\ibl{10}{'b}0\qbp{10}b\en +\notes \tbbu0\tbu0\qb0{'B}&\tbbu1\tbu1\qb1b\ni + \tbbu2\tbu2\qb2b|\tbbu3\tbu3\qb3b\ni + \tbbl4\tbl4\qb4{'D}\ni + \transpose-1\zq d\tbbu5\tbu5\qb5{'d}\ni + \transpose-1\zq d\tbbu6\tbu6\qb6{'d}\ni + \tbbu7\tbu7\qb7{'B}&\transpose2\tbbu8\tbu8\qb8b\ni + \tbbl9\tbl9\qb9{'b}&\tbbl{10}\tbl{10}\qb{10}{'b}\en +\NOtes \TR{10}\islurd0{'B}\pt B\qa B&\TR{11}\islurd1b\pt b\qa b\ni + \TR9\islurd2b\pt b\qa b|\TR9\islurd3b\pt b\qa b\ni + \qa{'D}\ni + \transpose-1\zq d\qu{'d}&\transpose-1\zq d\qu{'d}\ni + \TR{10}\islurd7{'B}\pt B\qa B&\transpose2\TR9\islurd8b\pt b\qa b\ni + \TR9\isluru9{'b}\pt b\qa b&\TR9\isluru{10}{'b}\pt b\qa b\en +\Notes \ni\ni\ni + \qa{'D}\ni + \transpose-1\zq d\qu{'d}&\transpose-1\zq d\qu{'d}\en +\notes \ibbu0{'A}3\qb0A\tslur0B\tbu0\qb0B\ni + \ibbu1a3\qb1a\tslur1b\tbu1\qb1b\ni + \ibbu2a3\qb2a\tslur2b\tbu2\qb2b|\ibbu3a3\qb3a\tslur3b\tbu3\qb3b\ni + \ni + \ni\ni + \ibbu7{'A}3\qb7A\tslur7B\tbu7\qb7B\ni + \transpose2\ibbu8a3\qb8a\tslur8b\tbu8\qb8b\ni + \ibbu9{'a}3\qb9a\tslur9{'b}\tbu9\qb9{`b}\ni + \ibbu{10}{'a}3\qb{10}a\tslur{10}{'b}\tbu{10}\qb{10}{`b}\en +\def\atnextline{% + \setinterinstrument3{8\Interligne}% + \setinterinstrument4{8\Interligne}% + \setinterinstrument6{8\Interligne}% + \stafftopmarg 11\Interligne + \staffbotmarg 8\Interligne }% +\barno200\alaligne +\NOtes \ha{'D}&\ha d\ni + \loffset{1.8}{\isluru2{'d}}\tslur2d\pt d\qa d\ns + \loffset{1.8}{\isluru3{'d}}\tslur3d\pt d\qa d\ni + \qa{'D}\ni + \transpose-1\adue\ha d&\transpose-1\adue\ha d\ni + \adue\ha{'D}&\transpose2\zh{`d}\hu{'d}\ni + \adue\ha{'d}&\adue\ha{'d}\en +\Notes &&&\qp\en +\notes \ni\ni + \ibbl2{'d}2\isluru2d\qb2d\tbl2\qb2e\ns + \ibbl3{'d}2\isluru3d\qb3d\tbl3\qb3e\en +\Notes \qa{'F}&\qa f\ni + \ibl2{'d}2\tslur2f\qb2f|\ibl3{'d}2\tslur3f\qb3f\ni + \hpause\ni + \transpose-1\qa f&\transpose-1\qa f\ni + \qa{'F}&\transpose2\zq{`f}\qu{'f}\ni + \qa{'f}&\qa{'f}\en +\notes \ni\ni + \nbbl2\isluru2{'f}\qb2f\tbl2\qb2g\ns + \nbbl3\isluru3{'f}\qb3f\tbl3\qb3g\en +\Notes \qa{''A}&\qa{'a}\ni + \ibl2{'f}2\tslur2{'a}\qb2a|\ibl3{'f}2\tslur3{'a}\qb3a\ni + \ni + \transpose-1\qa{'a}&\transpose-1\qa{'a}\ni + \qa{''A}&\transpose2\zq a\qu{'a}\ni + \qa{''a}&\qa{''a}\en +\notes \ni\ni + \multnoteskip{.707}\nbbl2\triolet d\isluru2{''a}\qb2{ab}\tbl2\qb2c\ns + \multnoteskip{.707}\nbbl3\triolet d\isluru3{''a}\qb3{ab}\tbl3\qb3c\en +\bar +\NOtes \qa{''DDA`F}&\qa{'dda`f}\ni + \tslur2{''d}\qa d\zq{``d'a}\ql f\zq{`d'a}\ql f\zq{`d'a}\ql f\ns + \tslur3{''d}\qa d\zq{``d'd}\ql{'d}\zq{``d'd}\ql{'d}\zq{``d'd}\ql{'d}\ni + \qa{'DDDD}\ni + \transpose-1\qa{'d}\zq{`f}\qu{'a}\zq{`f}\qu{'a}\zq{`f}\qu{'a}\ni + \transpose-1\qa{'d}\zq{`d}\qu{'d}\zq{`d}\qu{'d}\zq{`d}\qu{'d}\ni + \qa{''DDA`F}&\transpose2\zq d\qa{'d}\zq{``f}\qu{'a}\zq{`f}\qu{'a}\zq{`f}\qu{'a}\ni + \qa{''d}\zq{`d}\ql f\zq d\ql f\zq d\ql f\ni + \qa{''d}\zq{`f}\ql{'d}\zq{`f}\ql{'d}\zq{`f}\ql{'d}\en +\bar +\NOTes \ha{'DD}&\ha{dd}\ni + \zq{d'a}\hl f\zq{`d'a}\hl f|\zq{d'd}\hl{'d}\zq{``d'd}\hl{'d}\ni + \ha{'DD}\ni + \transpose-1\zh f\hu{'a}\zh{`f}\hu{'a}\ni + \transpose-1\zh d\hu{'d}\zh{`d}\hu{'d}\ni + \ha{'DD}&\transpose2\zh{`f}\hu{'a}\zh{`f}\hu{'a}\ni + \zh{'d}\hl f\zh d\hl f&\zh{'f}\hl{'d}\zh{`f}\hl{'d}\en +\bar +\NOTes \ha{'D}\hpause&\ha{d}\hpause\ni + \zq{d'a}\hl f\hpause|\zq{d'd}\hl{'d}\hpause\ni + \ha{'D}\hpause\ni + \transpose-1\zh f\hu{'a}\hpause&\transpose-1\zh d\hu{'d}\hpause\ni + \ha{'D}\hpause&\transpose2\zh{`f}\ha{'a}\hpause\ni + \zh{'d}\ha f\hpause&\zh{'f}\ha{'d}\hpause\en +\Endpiece\def\everystaff{} +\vfill\eject + +\instrumentnumber{6}\resetlayout + +\interinstrument 1\Interligne + +\generalmeter{\meterfrac 2 4} +\generalsignature 1 + +\parindent 60pt + +\groupbottom11 +\setstaffs11\setclef1\bass \setname1{\vbox{\hbox{Violoncelli e} + \hbox{Contrabassi}}} +\setinterinstrument1{0\Interligne} +\setstaffs21\setclef2\alto \setname2{Viole} +\setinterinstrument2{1\Interligne} +\setstaffs32\setclef3{\treble\treble} \setname3{\vbox{\hbox{Violini I} + \vskip 6\Interligne\hbox{Violini II}}} +\setinterinstrument3{2\Interligne} +\grouptop13 + +\groupbottom24 +\setstaffs41\setclef4\treble\setsign60 \setname4{\vbox{\hbox{2 Corni}\hbox{~~~in Sol}}} +\setinterinstrument4{1\Interligne} +\grouptop24 + +\groupbottom35 +\setstaffs51\setclef5\bass \setname5{2 Fagotti} +\setinterinstrument5{1\Interligne} +\setstaffs61\setclef6\treble \setname6{2 Oboi} +\grouptop36 + +\nobarnumbers\startpiece\addspace\afterruleskip\systemnumbers +\makeatletter +\newif\ifstaffseparator\staffseparatortrue +\def\everystaff{\kern-\clef@skip\kern-\namespace\znotes + \zcharnote0{\vbox{\hbox{Vlc. e}\hbox{Cb.}}}\ni + \zcharnote2{Vle.}\ni + \zcharnote2{Vl.II}|\zcharnote4{Vl.I}\ni + \zcharnote0{\vbox{\hbox{2 Cor.}\hbox{(Sol)}}}\ni + \zcharnote2{2 Fg.}\ni + \zcharnote2{2 Ob.}% + \ifstaffseparator\zcharnote{20}{\vbox{\hbox to 8mm{\leaders\hrule height 3pt\hfill}% + \vskip-7pt\hbox to 8mm{\leaders\hrule height 3pt\hfill}}}% + \else\staffseparatortrue\fi + \en\kern\clef@skip\kern\namespace}% +\makeatother +\notes \dyn0\p\qa{'G}&\dyn0\p\qa g\ni + \loffset{1.5}{\dyn4\p}\ibbu2c0\lpz{`g}\qb2g\lpz{'b}\qb2b\lpz d\qb2d\tbu2\lpz b\qb2b\ns + \dyn0\p\roffset{0.5}{\isluru3g}\qa g\ni + \dyn2\p\transpose-4\zh g\hu{'g}\ni + \dyn0\p\zh{''B}\isluru5D\hl D\ni + \loffset{5}{\zcharnote{''b}{\medtype\bf Andante}}% + \roffset{0.3}{\dyn1\p}\zhl{``g}\hu g\en +\notes \qp&\qp\ni + \ibbu2c0\lpz{`g}\qb2g\lpz{'b}\qb2b\lpz d\qb2d\tbu2\lpz b\qb2b\ns + \ibl3{'b}2\tslur3b\qbp3{b**}\tbbl3\tbl3\upz d\qb3d\en +\bar +\notes \dyn1\sF\qa{'D}&\dyn0\sF\qa d\ni + \dyn6\sF\ibbu2d0\lpz a\qb2a\lpz c\qb2c\lpz f\qb2f\tbu2\lpz c\qb2c\ns + \dyn0\sF\pt{'d}\qa d\ni + \dyn6\sFp\transpose-4\zh d\hu{'d}\ni + \dyn0\sFp\loff{\zh{''C}}\tslur5D\hl D\ni + \dyn0\sFp\zh f\hu{'a}\en +\notes \qp&\qp\ni + \ibbu2d0\lpz a\qb2a\lpz c\qb2c\lpz f\qb2f\tbu2\lpz c\qb2c\ns + \sk\sk\dyn2\p\multnoteskip{.667}\ibbl3{'d}{-2}\triolet d\qb3{cb}\tbl3\qb3a\en +\bar +\notes \dyn0\p\ibl0{'G}{-1}\upz G\qb0{G*}\upz{'B}\qb0{B*}\upz D\qb0{D*}\tbl0\upz{`D}\qb0{D*}\ni + \dyn1\p\ibl1d0\upz d\qb1{d*}\upz d\qb1{d*}\upz d\qb1{d*}\tbl1\upz f\qb1{f*}\ni + \dyn4\p\ibbu2e0\lpz b\qb2b\lpz d\qb2d\lpz g\qb2g\tbu2\lpz d\qb2d% + \ibbu2c0\lpz b\qb2b\lpz d\qb2d\lpz c\qb2c\tbu2\lpz a\qb2a\ns + \ibu3g1\lpz g\qb3{g*}\lpz g\qb3{g*}\lpz g\qb3{g*}\tbu3\lpz{'a}\qb3{a*}\en +\def\atnextbar{\znotes&&&\centerpause&\centerpause&\centerpause\en}\alaligne +\notes \slur{'G}Bu4\qa{G***}\ca{`G*}\ds\ni + \slur fgu4\qa{f***}\ca{g*}\ds\ni + \ibbu2c0\lpz a\qb2a\lpz c\qb2c\lpz d\qb2d\tbu2\lpz c\qb2c% + \ibbu2b0\lpz{`g}\qb2g\lpz{'b}\qb2b\lpz d\qb2d\tbu2\lpz b\qb2b\ns + \ibu3{'a}0\slur aad3\qbp3{a**}\tbbu3\tbu3\qb3{^a}\ca{b*}\ds\en +\def\atnextbar{\znotes&&&\centerpause&\centerpause&\centerpause\en}\bar +\notes \ds\dyn3\f\ibbl0{'F}{-3}\qb0{GE}\tbl0\qb0C\qa{`G}\ni + \ds\dyn2\f\ibbl0f{-3}\qb0{ge}\tbl0\qb0c\qa{`g}\ni + \dyn5\f\ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e% + \dyn5\p\ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e\ns + \roffset{0.3}{\dyn1\f}\zq g\zq{'c}\ql{e***}\qs\multnoteskip{0.5}% + \tinynotesize\slur fgd1\grcu f\normalnotesize\dyn0\p\ibbl3g0\qb3g% + \tinynotesize\slur fgd1\grcu f\normalnotesize\qb3g% + \tinynotesize\slur fgd1\grcu f\normalnotesize\tbl3\qb3g\ni + \dyn4\sFp\transpose-4\islurd4g\zh g\roffset{0.5}{\isluru5{'g}}\hu g\ni + \dyn0\sFp\islurd6{''C}\zh C\isluru7E\hl E\ni + \dyn0\sFp\islurd8{'c}\zh c\isluru9e\hl e\en +\bar +\notes \ni\ni + \ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e% + \ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e\ns + \ibbl3{''b}{-3}\slur cau1\qb3c\tbl3\qb3{`g}\qs\TR{'b}\cca{`g}% + \ibbl3{'b}{-3}\slur cau1\qb3c\qb3{`g}\slur geu1\qb3g\tbl3\qb3e\ni + \transpose-4\tslur4g\islurd4g\zh g\tslur5{'g}\roffset{0.5}{\isluru5g}\hu g\ni + \loffset{0.5}{\tslur6{''C}}\zh C\loffset{0.5}{\tslur7E}\hl E\ni + \loffset{0.5}{\tslur8{'c}}\zh c\loffset{0.5}{\tslur9e}\hl e\en +\def\atnextbar{\znotes\centerpause&\centerpause\en}\bar +\notes \ds\dyn3\f\ibbl0{'F}{-3}\qb0{GD}\tbl0\qb0B\qa{`G}\ni + \ds\dyn2\f\ibbl0f{-3}\qb0{gd}\tbl0\qb0b\qa{`g}\ni + \dyn5\f\ibbu2e0\lpz b\qb2b\lpz d\qb2d\lpz g\qb2g\tbu2\lpz d\qb2d% + \dyn5\p\ibbu2e0\lpz b\qb2b\lpz d\qb2d\lpz g\qb2g\tbu2\lpz d\qb2d\ns + \dyn6\f\zq{`g}\zq{'d}\qu{'d***}\qs\multnoteskip{0.5}% + \tinynotesize\slur fgd1\grcu f\normalnotesize\dyn0\p\ibbl3g0\qb3g% + \tinynotesize\slur fgd1\grcu f\normalnotesize\qb3g% + \tinynotesize\slur fgd1\grcu f\normalnotesize\tbl3\qb3g\ni + \dyn4\sFp\transpose-4\tslur4g\islurd4g\zh g% + \tslur5{'g}\roffset{0.5}{\isluru5g}\hu{g*******}% + \tslur4{`g}\tslur5{'g}\ni + \dyn0\sFp\islurd6{''B}\zh B\isluru7D\hl{D*******}\tslur6B\tslur7D\ni + \dyn1\sFp\islurd8{'b}\zh b\isluru9d\hl{d*******}\tslur8b\tslur9d\en +\endpiece\def\everystaff{} + +\vfill\eject + +\endmuflex +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pslurvgap.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pslurvgap.tex new file mode 100644 index 00000000000..216f3d183de --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/pslurvgap.tex @@ -0,0 +1,21 @@ +\input musixtex +\input musixps + +\footline={} + \Nosluradjust \Notieadjust + +\startmuflex \nobarnumbers + +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract + + \instrumentnumber{1} \generalmeter{\meterfrac34} +\startextract +\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes + \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes + \endextract + +\endmuflex +\end diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex b/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex new file mode 100644 index 00000000000..8b3b39ad134 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex @@ -0,0 +1,188 @@ +\input musixtex.tex +\input musixsty.tex +% (c) Copyright R. D. Tennent 2010 +% Licensed under a Creative Commons Attribution--Share Alike license. + +\def\tr#1{\zcharnote{#1}{\ppff tr}}% +\def\pince#1{\shake{#1}}% +\vsize9.75in +\voffset-0.5in +\hsize7.0in +\hoffset-0.25in +\smallmusicsize +\bigaccid +\advance\parindent by 10pt +\def\writebarno{\llap{\ninebf\the\barno\barnoadd}}% +\def\raisebarno{4\internote}% +\def\shiftbarno{1.5\Interligne}% +\nobarnumbers +\geometricskipscale + +\def\omit#1{}% + +\def\tql#1#2{\tbl{#1}\qb{#1}{#2}} +\def\tqu#1#2{\tbu{#1}\qb{#1}{#2}} +\def\nbbqu#1#2{\nbbu{#1}\qb{#1}{#2}} +\def\nbbql#1#2{\nbbl{#1}\qb{#1}{#2}} + +\def\nqql#1#2{\roffset{0.25}{\tbbl{#1}\tbbl{#1}\qb{#1}{#2}}} +\def\nqqu#1#2{\roffset{0.25}{\tbbu{#1}\tbbu{#1}\qb{#1}{#2}}} +\def\tqql#1#2{\roffset{0.25}{\tbbl{#1}\tbl{#1}\qb{#1}{#2}}} +\def\tqqu#1#2{\roffset{0.25}{\tbbu{#1}\tbu{#1}\qb{#1}{#2}}} +\def\tqqql#1#2{\roffset{0.25}{\tbbbl{#1}\tbl{#1}\qb{#1}{#2}}} +\def\tqqqu#1#2{\roffset{0.25}{\tbbbu{#1}\tbu{#1}\qb{#1}{#2}}} + +\instrumentnumber4 +\setclef1\bass\setbassclefsymbol1\bassoct +\setclef4\treble\settrebleclefsymbol4\trebleoct +\catcodesmusic +\generalsignature{+1} +\generalmeter\meterC +\setname1{B} +\setname2{T} +\setname3{A} +\setname4{S} +\songtop4 +\songbottom1 +\fulltitle{Quodlibet} +\subtitle{Variation 30 of the Goldberg Variations for Clavier} +\title{Quodlibet} +\author{J. S. Bach (1685-1750)} +\shortauthor{J. S. Bach} +\othermention{Arranged for Recorders by R. D. Tennent} +\maketitle +\startbarno=0 +\nobarnumbers +\stafftopmarg=4.0\Interligne% +\staffbotmarg=4.0\Interligne% +%\setinterinstrument3{2.5\internote}% +\startpiece\addspace\afterruleskip% +\systemnumbers% +\Notes\ds&\cu d&\ds&\ds\en +\bar%1 +\Notes\hl N&\ibu1g2\qb1{ghi}\tqu1j&&\hpause\en +\Notes\hl M&\ibl1k{-2}\qb1k\en +\notes&\nbbl1\qb1j\tql1i&&\qp\en +\Notes&\ibu1h0\qb1h&&\ds\en +\notes&\nbbu1\qb1g\tqu1h&&\cu d\en +\def\atnextbar{\znotes&&\centerpause&&\en}% +\bar%2 +\Notes\hl L&\ibu1i{-2}\qb1i\tqu1h&\ql n&\ibu3g2\qb3{gh}\en +\Notes&\itied1g\qu g&\ql n&\qb3i\tqu3j\en +\Notes\ql{.K}&\ttie1\qu g&\ql o&\ibl3k{-2}\qb3k\en +\notes&&&\nbbl3\qb3j\tql3i\en +\Notes&\ibu1f0\pince{n}\qb1f&\cl o&\cu h\en +\notes\cu J&\nbbu1\qb1e\tqu1f&\ds&\ds\en +\bar%3 +\Notes\hu I&\qu g&\ibl2n{-1}\qb2{no}&\ql k\en +\Notes&\ds\cl k&\qb2{n}\tql2{=m}&\ql k\en +\Notes\hu J&\ibu1j{-2}\qb1{ji}&\ibl2j{0}\qb2{lk}&\ql l\en +\Notes&\qb1h\tqu1g&\qb2j\tql2p&\ql l\en +\bar%4 +\Notes\hl K&\itied1f\pince{n}\qu f&\ibl2o{-1}\qb2{on}&\ibl3k{-1}\qb3{kl}\en +\notes&\ttie1\ibbu1e{-2}\qb1f\tbbu1\qb1e&\qb2o&\qb3k\en +%\vnotes1.5\elemskip&\nbbbu1\qb1e\tbbu1\qb1f&&\en +\Notes&\itied1d\tqu1d&\tql2m&\tql3j\en +\Notes\qu G&\ttie1\qu d&\ibl2n{-2}\qb2n\tql2m&\ibu3h{-1}\pince{p}\qb3i\tqu3h\en +\Notes\ds&\qp&\ibl2n{-5}\qb2n&\qu g\en +\notes\ibbl0b{-1}\qb0b\tql0a&&\tql2k&\en +\bar%5 +\Notes\ibl0M0\qb0N&\ql n&\ibl2n2\qb2n&\hpause\en +\notes\nbbl0\qb0M\tql0N&&\qb2o&\en +\Notes\ibl0K0\qb0L&\ql n&\qb2p&\en +\notes\nbbl0\qb0K\tql0L&&\tql2q&\en +\Notes\ql{.M}&\ql o&\ibl2r{-2}\qb2r&\qp\en +\notes&&\nbbl2\qb2q\tql2p&\en +\Notes\sk\cu I&\ql o&\ibl2o6\qb2o\itieu2r\tql2r&\ds\cl k\en +\bar%6 +\Notes\ql{.L}&\ibl1n{-1}\qb1{no}&\ttie2\ibl2r{-2}\qb2r\tql2q&\ibl3n{-2}\qb3{nm}\en +\Notes&\qb1n&\ql p&\qb3l\en +\notes\ibbl0M2\qb0M\tql0N&\tql1m&&\tql3k\en +\Notes\itieu0a\ql a&\ibl1l{-2}\qb1l&\ql{.o}&\pince{n}\ibl3i0\qb3{^j}\en +\notes&\tql1k&&\nbbl3\qb3i\tql3j\en +\notes\ttie0\ibbl0a{-2}\qb0{aN}&\cl{^j}&&\cu h\en +\notes\qb0M\tql0L&\ds&\ibbl2i2\qb2i\qsk\tql2{^j}&\ds\en +\bar%7 +\Notes\ql M&\ibu1g0\qb1{fg}&\ibl2k0\qb2{kl}&\qu h\en +\Notes\ql K&\qb1h\tqu1f&\qb2m\tql2k&\qu h\en +\Notes\ql N&\ibu1g{-2}\qb1{gf}&\ibl2i4\qb2{ik}&\ql i\en +\Notes\qu G&\qb1e\tqu1d&\qb2n\tql2m&\ql i\en +\bar%8 +\Notes\qu{.H}&\ibu1c4\qb1{^cd}&\ibl2l{-1}\qb2{.l}\tqql2k\isluru2j&\ibu3i{-1}\qb3{hi}\en +\notes&\qb1e&\tslur2j\ibbl2j0\qb2k\hqsk\tbbl2\qb2{^j}&\qb3h\en +\Notes\cu{^J}&\itied1h\tqu1h&\itieu2l\tql2l&\tqu3g\en +\notes\ql K&\ttie1\ibu1h{-1}\qb1h&\ttie2\ibbl2l{-1}\qb2{lk}&\ibu3f{-1}\qb3f\en +\notes&\tqu1g&\qb2l\tql2j&\tqu3e\en +\Notes\cl K&\cu f&\cl k&\cu d\en +%\nobarnumbers% +%\setrightrepeat% +%\alaligne% +\advance\barno by -1% +%\leftrepeat% +%\systemnumbers% +\leftrightrepeat +%\advance\barno by -1% +\Notes\ds&\cl m&\ds&\cl o\en +\bar%9 +%\notes&&&\lcharnote q{\ninebf \the\barno}\enotes +\Notes\ql d\sk\ql c&\ibl1k0\qb1{kmk}\tql1{m}&\ql o\sk\ql o&\ibl3m0\qb3{mom}\tql3o\en +\Notes\ql b&\ibl1k0\qb1n&\ql p&\ibl3k2\qb3k\en +\notes&\qb1k&&\nbbl3\qb3l\tql3m\en +\Notes\ql N&\qb1k\tql1n&\ql p&\ibl3n{-4}\qb3n\tql3l\en +\bar%10 +\Notes\ibl0b{-1}\qb0{cbc}\tql0a&\cl l\ds\qp&\ibl2o{-1}\qb2{opo}\tql2n&\ibl3o{-2}\qb3{onm}\tql3l\en +\Notes\ql{.b}&\ql m&\ibl2m{-2}\qb2m&\ibl3j0\qb3{^k}\en +\notes&&\tql2l&\nbbl3\qb3{^j}\tql3k\en +\Notes\sk\cl a&\ql m&\cl{^k}\ds&\ibl3i8\qb3i\tql3p\en +\bar%11 +\Notes\ql{N}\sk\ql{N}&\ibl1l0\qb1{nln}\tql1l&\ql p\sk\ql p&\ibl3m0\qb3{lpl}\tql3p\en +\notes\ql{.a}&\ibl1m{-1}\qb1{m*n}&\ql q&\ibbl3k2\qb3{^klm}\tql3n\en +\Notes&\qb1m&\ql q&\ibl3o{-2}\qb3o\en +\notes\cl{^a}&\tql1l&&\nbbl3\qb3n\tql3m\en +\bar%12 +\Notes\ql b&\ibl1k2\qb1{^k}&\ibl2o{-1}\qb2p&\ibl3n{-2}\qb3n\en +\notes&\nbbl1\qb1l\tql1m&\qb2q&\nbbl3\qb3m\tql3l\qsk\en +\notes\qu I&\itied1i\qu i&\qb2p&\ibbl3k0\qb3{^kl}\en +\notes&&\tql2o&\qb3m\tql3k\en +\Notes\ql{.L}&\ttie1\ibu1i0\qb1i&\ibl2n0\qb2n&\itieu3l\hl l\en +\notes&\nbbu1\qb1h\tqu1i&\nbbl2\qb2m\tql2n&\en +\Notes&\ibu1g2\qb1g&\cl l&\en +\notes\cl{=K}&\nbbu1\qb1h\tqu1i&\ds&\en +\bar%13 +\notes\qu J&\ibl1j2\qb1j\sk\qb1k&\hpause&\ttie3\ibbl3k1\isluru3l\qb3l\tslur3k\qb3k\isluru3m\qb3m\tslur3l\tql3l\en +\notes\ql c&\qb1l\sk\tql1m&&\ibbl3m1\isluru3n\qb3n\tbbl3\tslur3m\qb3m\tql3o\en +\notes\ql{.b}&\ibl1n{-1}\qb1n\sk\nbbl1\qb1m\tql1l&\ql n&\ql{.k}\en +\Notes&\cl k&\ibl2k{-4}\qb2n&\en +\notes\ibbu0J{-2}\qb0J\tqu0I&\ds&\tql2g&\ibbl3j2\qb3j\tql3k\en +\bar%14 +\Notes\qu{.H}&\ds&\ibl2j1\qb2{.j}&\ibl3l2\qb3l\en +\notes&\cu h&\qsk\tqql2k&\nbbl3\qb3m\tql3n\en +\Notes&\ibu1e0\qb1e&\ibl2j{-2}\qb2j&\ibl3o{-2}\qb3o\en +\notes\ibbu0I2\qb0I\tqu0J&\nbbu1\qb1d\tqu1e&\tql2i&\tql3n\en +\notes\ql{.K}&\ibu1g1\qb1f&\ibu2h1\qb2h&\ibbl3l{-2}\pince{o}\qb3m\tbbl3\qb3l\en +%\vnotes1.4\elemskip&&&\nbbbl3\qb3l\tbbl3\qb3m\en +\Notes&\itied1g\tqu1g&\tqu2i&\tql3k\en +\Notes&\ttie1\ibu1g{-1}\qb1g&\ibl2j2\qb2j&\ibu3i{-6}\qb3j\en +\notes\ibbu0J2\qb0J\tqu0K&\tqu1f&\tql2k&\tqu3d\en +\bar%15 +\Notes\ibu0I0\qb0G&\qu d&\ibu2i0\qb2i&\ibl3i0\qb3i\en +\notes\qb0H&&\nbbu2\qb2h\tqu2i&\qb3j\en +\Notes\qb0I&\qu d&\cu g&\qb3k\en +\Notes\tqu0G&&\ds&\tql3i\en +\Notes\qu{.J}&\qu e&\ds&\ibu3j{-2}\qb3j\en +\notes&&\ibbl2l{-2}\qb2l\tql2k&\qb3i\en +\Notes&\qu e&\ibl2j4\qb2j&\qb3h\en +\Notes\cu{^J}&&\tql2l&\tqu3g\en +\bar%16 +\notes\ql K&\ibu1g{1}\qb1d&\ibbl2h1\qb2{hk}&\ibu3f2\qb3f\en +\notes&\qb1e&\qb2j\tql2i&\tqu3g\en +\notes\ql K&\qb1d&\ibbl2j0\qb2j\tbbl2\qb2h&\ibu3h{-4}\qb3h\en +\Notes&\tqu1j&\itieu2k\tql2k&\tqu3f\en +\Notes\ql N&\ibu1i{-2}\qb1i&\ttie2\ibl2j0\qb2k&\qu g\en +\notes&\tqu1h&\nbbl2\qb2j\tql2k&\en +\Notes\cu G&\cu g&\cl i&\cu g\en +\setrightrepeat +%\mulooseness=+1% +\endpiece% +\eject +\end diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/racine.tex b/Master/texmf-dist/doc/generic/musixtex/examples/racine.tex new file mode 100644 index 00000000000..0354b45c264 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/racine.tex @@ -0,0 +1,596 @@ + +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + +\hsize 190mm \vsize 280mm +\hoffset -1.84cm + + +\fulltitle{Cantique de Jean Racine} +\shorttitle{Cantique de Jean Racine} +\shortauthor{G. Faur\'e} +\fullauthor{Gabriel Faur\'e\\Transcription Orgue Daniel Taupin} +\othermention{Gif~: 2.4/9.11.13/19.23/33.37.41/54/46.47.48.51} +\maketitle + +% +\parindent 14mm +\musicsize=20 + +\def\quatreinstruments{\def\nbinstruments{4}\relax +\nbporteesi=1\relax +\nbporteesii=2\relax +\nbporteesiii=1\relax +\nbporteesiv=1\relax +\cleftoksi{6000}\relax +\cleftoksii{6000}\relax +\cleftoksiii{6000}\relax +\cleftoksiv{0000}\relax +\def\staffspacingi{1.0}\def\interinstrumenti{0pt}\relax +\def\staffspacingii{1.0}\def\interinstrumentii{-2\Interligne}\relax +\def\staffspacingiii{0.64}\def\interinstrumentiii{0pt}\relax +\def\staffspacingiv{0.64}\def\interinstrumentiv{0pt}\relax +} + % +\def\sanspedale{\def\nbinstruments{3}\relax +\nbporteesi=2\relax +\nbporteesii=1\relax +\nbporteesiii=1\relax +\cleftoksi{6000}\relax +\cleftoksii{6000}\relax +\cleftoksiii{0000}\relax +\def\staffspacingi{1.0}\def\interinstrumenti{-2\Interligne}\relax +\def\staffspacingii{0.64}\def\interinstrumentii{0pt}\relax +\def\staffspacingiii{0.64}\def\interinstrumentiii{0pt}\relax +} + % + +\def\paroles{\eightrm} + +%\paroles +% \line{G.O. ({\bf I}) : 8'+4', acc. Positif/R\'ecit\hss Gabriel Faur\'e} +% \line{Positif ({\bf II}) : 8'+4'+1 1/3, acc. R\'ecit\hss Transcription Orgue Daniel +%Taupin } +% \line{R\'ecit ({\bf III}) : 8'+4'\hss... } +% \line{P\'edale : 16'+8', acc. Positif\hss } + +\quatreinstruments +\normal +\def\instrumenti{P\'edale} +\def\instrumentii{Manuel} +\def\instrumentiii{\vbox{\hbox{T\'enors}\hbox{Basses}}} +\def\instrumentiv{\vbox{\hbox{Sopran.}\hbox{Altos}}} +\generalmeter{\meterC}% +% +% +% formes frequentes +% deux croches hautes +\def\dqb#1#2{\bigaccid\Ibl0{#1}{#2}1\qb0{#1}\varaccid\tqb0{#2}} +\def\dqh#1#2{\bigaccid\Ibu0{#1}{#2}1\qh0{#1}\varaccid\tqh0{#2}} +\def\sdqh{\ds\dqh} +\def\lsdqb{\raise-3\Internote\ds\dqb} +\def\sdqb{\ds\dqb} +\def\Tqb#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\varaccid\qb0{#2}\tqb0{#3}} +\def\tQb#1#2#3{\ibl0{#2}0\qb0{#1}\varaccid\qb0{#2}\tqb0{#3}} +\def\Tqh#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\varaccid\qh0{#2}\tqh0{#3}} +\def\tQh#1#2#3{\ibu0{#2}0\qh0{#1}\varaccid\qh0{#2}\tqh0{#3}} +\def\Sqh#1#2#3{\bigaccid\Tqh{#1}{#2}{#3}\Tqh} +\def\Sqb#1#2#3{\bigaccid\Tqb{#1}{#2}{#3}\Tqb} +\def\Qqh#1#2{\sdqh{#1}{#2}\Tqh} +\def\Qqb#1#2{\sdqb{#1}{#2}\Tqb} +\def\dnu#1#2{\bigaccid\qu{#1}\sk\sk\qu{#2}}% +\def\Dnu#1#2{\bigaccid\zq{!#1}\qu{!`#1}\sk\sk\zq{!`#2}\qu{!#2}}% +\def\dnb#1#2{\bigaccid\ql{#1}\sk\sk\ql{#2}}% +\def\Dnb#1#2{\bigaccid\zq{!#1}\ql{!`#1}\sk\sk\zq{!`#2}\ql{!#2}}% +\def\dnl{\dnb}\def\Dnl{\Dnb} +\def\Hu#1{\bigaccid\zh{!`#1}\hu{!#1}} +\def\Hl#1{\bigaccid\zh{!`#1}\hl{!#1}} +\def\hlu#1#2{\bigaccid\zhl{#1}\hu{#2}} +\def\huu#1#2{\bigaccid\zh{#1}\hu{#2}} +\def\hll#1#2{\bigaccid\zh{#1}\hl{#2}} +\def\qlu#1#2{\bigaccid\zql{#1}\qu{#2}} +\def\quu#1#2{\bigaccid\zq{#1}\qu{#2}} +\def\qll#1#2{\bigaccid\zq{#1}\ql{#2}} +\def\Pause{\sk\sk\sk\sk\sk\pause} +\def\Hpause{\sk\sk\hpause} +% +\def\zmid#1{\zcharnote{12}{\paroles #1}} +% +\staffbotmarg\Interligne + +\generalsignature{-5} +\def\nbinstruments{2}% +\debutmorceau +\autolines{14}{4}{4}% +%Takt 1 +\notes\zcharnote b{$\wedge$}\wh K&\uptext{\kern -1.5\Interligne + \bf II}\sdqb cd\Tqb fcd|\uptext{\moyen Andante}\Hpause\enotes +\temps\notes&\Tqb acd\sdqb cd|\sk\sk\sk\qu f\enotes +%Takt 2 +\barre\notes\hu F&\Sqb acdfda|\hu h\enotes +\temps\notes\hu H&\Qqb {=b}ceca|\hu g\enotes +%Takt 3 +\autolines{13}{4}{4}% +\barre\notes\hu K&\Qqb acdaM|\hup f\enotes +\temps\notes\hu J&\Sqb acdfda|\sk\sk\sk\qu h\enotes +%Takt 4 +\def\atnextline{\autolines{13}44}% +\barre\notes\qu I&\sdqb{=e}f|\qu k\enotes +\temps\notes\qu H&\sdqb fc|\qu j\enotes +\temps\notes\qu G&\sdqb cd|\qu i\enotes +\temps\notes\qu F&\sdqb da|\qu h\enotes +%Takt 5 +\barre\notes\hu H&\sdqb{=b}c|\qu h\enotes +\temps\notes &\Tqb eca|\qu g\enotes +\temps\notes\qu K&\sdqb{=N}a|\qu f\enotes +\temps\notes\qu F&\Tqb daM|\qu f\enotes +%Takt 6 +\barre\notes\hu G&\Qqb{=a}bdbL|\hu e\enotes +\temps\notes\hu H&\Qqb {=b}cec{_a}|\hu g\enotes +%Takt 7 +\barre\notes\dnu KJ&\Qqb{=N}adaM|\hu f\enotes +\temps\notes\dnu IH&\sdqb cd\sdqb da|\soupir\sk\sk\qu f\enotes +%Takt 8 +\barre\notes\hup G&\Qqb {=a}bdbL|\hu e\enotes +\temps\notes\sk\sk\sk\ql N&\Qqb{=b}cedc|\hu i\enotes +%Takt 9 +\barre\notes\dnb ML&\Qqb{=b}cfc{=a}|\hu{=h}\enotes +\temps\notes\dnb KJ&\sdqb ae\sdqb ea|\sk\sk\sk\qu f\enotes +%Takt 10 +\barre\notes\dnu IH&\sdqb{=e}f\sdqb fc|\dnu kj\enotes +\temps\notes\dnu GF&\sdqb cd\Tqb fd{_a}|\dnu i{_h}\enotes +%Takt 11 +\barre\notes\hu H&\Qqb{=b}ceca|\dnu hg\enotes +\temps\notes\dnu DF&\Qqb{=N}adad|\dnu fh\enotes +%Takt 12 +\advance\linesinpage by -1\relax + % +\barre\notes\hu G&\Qqb{=a}bdb{_N}|\hu f\enotes +\temps\notes\hu H&\Qqb N{_a}caN|\hu e\enotes +\def\atnextline{\sanspedale\def\nbinstruments{2}\savemeters}% + % +%Takt 13 +\barre\notes\zcharnote B{\kern -2\Interligne\rm(P\'ed.)}\zhl K\relax + \raise 2\Interligne\sdqb Ma\sdqb aM|\cu d\sk\ds\itenl1d\qu d&\Hpause\enotes +\temps\notes\cl a\sk\ds|\tten1\Tqh dcd&\soupir\enotes +\temps\notes\zcharnote C{\bf I \rm(G.O.)}\soupir|\Tqh fda&\relax + \zmid{Verbe \'e-}\clp M\sk\ccl M\enotes +%Takt 14 +\barre\notes\hu F|\Qqh cdfda&\zmid{gal}\hl a\enotes +\temps\notes\hu H|\Qqh {=b}ceca&\zmid{au}\qlp N\sk\sk\sk\zmid{Tr\`es-}\sk\cl N\enotes +%Takt 15 +\barre\notes\hu K|\Qqh acdaM&\zmid{Haut}\hlp M\enotes +\temps\notes\hu J|\Sqh acdfda&\sk\sk\sk\zmid{notre}\qll Ma\enotes +%Takt 16 +\barre\notes\qu I|\sdqh{=e}f&\zmid{u-}\qll Md\enotes +\temps\notes\qu H|\sdqh fc&\zmid{ni-}\zq M\ql c\enotes +\temps\notes\qu G|\sdqh cd&\zmid{que es-}\zq K\ql b\enotes +\temps\notes\qu F|\sdqh da&\zmid{p\'e}\zq a\ql a\enotes + %\check +%Takt 17 +\def\atnextline{\sanspedale\def\nbinstruments{3}\savemeters}% +\barre\notes\hu H|\Qqh aceca&\zmid{ran-}\zql a\hu c\sk\sk\ql N&\Pause\enotes +\temps\notes\dnu DF|\Qqh acdaM&\zmid{ce}\zq M\ql d\sk\sk\zmid{Jour}\zq M\ql d\enotes + %\check +%Takt 18 +\barre\notes\hu G|\Qqh bdedb&\zmid{\'e-}\zh L\hl d&\Pause\enotes +\temps\notes\hu H|\Qqh NcecN&\zmid{ter-}\zh N\hl c\enotes + %\check +%Takt 19 +\barre\notes\wh I|\Qqh MbdbM&\zmid{nel}\zh M\hl d&\Hpause\enotes +\temps\notes|\Sqh bcdfdb&\zmid{de}\zq M\ql d\sk\sk + \zmid{la}\zq M\ql d&\soupir\sk\sk\zmid{De}\qu f\enotes + %\check +%Takt 20 +\barre\notes\wh H|\Qqh cdfda&\zmid{terre}\hll Md&\zmid{la}\qu h\sk\sk + \zmid{pai-}\qu h\enotes +\temps\notes|\Qqh NdedN&\zmid{et}\zq L\ql d\sk\sk + \zmid{des}\zq M\ql c&\zmid{si-}\qu g\sk\sk + \zmid{ble}\qu g\enotes + %\check +%Takt 21 +\barre\notes\hu K|\Qqh MadaM&\zmid{cieux,}\zh K\hlp d&\zmid{nuit,}\hup f\enotes +\temps\notes\hu J|\Sqh acdfda&\hl J\sk\sk\zmid{nous}\qu a&\sk\sk\sk + \zq f\qu h\enotes + %\check +%Takt 22 +\barre\notes\dnu IH|\sdqh{=e}f\sdqh fc&\zmid{rom-}\qll Ib\sk\sk + \zmid{pons}\qll Hd&\quu fk\sk\sk\quu fj\enotes +\temps\notes\dnu {=G}J|\sdqh bf\sdqh eb&\zmid{le}\qll {=G}d\sk\sk + \zmid{si-}\qll Jc&\quu fi\sk\sk\quu {=e}j\enotes + %\check +%Takt 23 +\barre\notes\hup F|\Qqh {=N}c{=e}cN&\zmid{len-}\hll Fc&\huu {=e}i\enotes +\temps\notes\sk\sk\sk\qu J|\Sqh acfh{_e}c&\zmid{ce,}\qll Mc\sk\sk + \zmid{Di-}\qll Je&\quu fh\sk\sk\quu hj\enotes + %\check +%Takt 24 +\barre\notes\hu K|\Qqh bfhfb&\zmid{vin}\hll Kf&\zhu i\qsk\hl h\enotes +\temps\notes\hu L|\Qqh bd{=g}db&\zmid{Sau-}\hll Lb&\zh{=g}\hu k\enotes + %\check +%Takt 25 +\barre\notes\Dnu a{=N}|\sdqh ce\ds\rq c\dqh b{=e}\relax + &\zmid{veur,}\qll aa\sk\sk\qll{=N}b&\zhup j\dnb e{=e}\enotes +\temps\notes\Dnu ML|\ds\zq a\dqh cf\ds\zq{=a}\dqh c{_g}&\relax +\qll Ma\sk\sk\zmid{jet-}\qll L{=a}&\ql f\sk\sk\quu{_g}j\enotes + %\check +%Takt 26 +\barre\notes\Hu K|\Qqh bdfdb&\zmid{te}\zh K\hlp b\sk\sk\zmid{sur}\relax + &\zhl f\qu i\sk\sk\qu i\enotes +\temps\notes\Hu L|\Qqh bd{=g}db&\hl L\sk\sk\qu b&\zhl{=g}\qu k\sk\sk\qu k\enotes + %\check +%Takt 27 +\barre\notes\Hu{=L}|\Qqh c{=g}igc&\zmid{yeux,}\hll {=L}b&\zhl{=g}\hup j\enotes +\temps\notes\zq F\dnu MH|\Qqh ch{_g}ca&\quu Ma\sk\sk\zmid{Di-}\qll ac\relax + &\ql h\sk\sk\lfl g\zqu h\qsk\ql g\enotes + %\check +%Takt 28 +\barre\notes\Dnu KM|\sdqh fk\zq{=h}\Tqh jfe&\zmid{vin}\qll Kd\sk\sk\quu M{=a}\relax + &\Ilegu1q\zhl f\qu m\sk\sk\qu j\sk\tleg1\enotes +\temps\notes\Dnu ba|\Qqh di{_j}f{=d}&\zmid{Sau-}\qll bb\sk\sk\quu a{=d}&\relax + \Ilegu1q\quu fk\sk\sk\quu {_j}m\sk\tleg1\enotes + %\check +%Takt 29 +\barre\notes\Dnu{=N}{=L}|\Qqh ei{=g}{_d}i&\zmid{veur}\qll {=N}e\sk\sk + \zmid{jet-}\qll {=L}b&\quu il\sk\sk\quu {=g}k\enotes +\temps\notes\Dnu{M}{=K}|\Qqh chfca&\zmid{te}\qll Ma\sk\sk + \zmid{sur}\qll {=K}a&\quu hj\sk\sk\quu fj\enotes + %\check +%Takt 30 +\barre\notes\zh E\hu L|\Qqh c{=g}ec{=N}&\zmid{nous}\hll L{=N}&\huu ej\enotes +\temps\notes\hu E|\Qqh dgedN&\zmid{les}\hll LN&\huu di\enotes + %\check +%Takt 31 +\barre\notes\hu H|\Qqh cehec&\zmid{yeux !}\hll Ha&\huu ch\enotes +\temps\notes\Hpause|\Tqh e{=g}h\zqu j\Tqb jgh&\Hpause + &\Hpause\enotes + %\check +%Takt 32 +\barre\notes\hu J|\zhu l\Qqb{=g}hjgh&\Pause&\Pause\enotes +\temps\notes\hu L|\zhu k\raise -\interligne\ds\dqb{^f}g\Tqb ifg\enotes +\def\atnextline{\sanspedale\def\nbinstruments{1}}% + %\check +%Takt 33 +\advance\linesinpage by -1\relax + % +\barre\notes\hl a|\zhup j\raise -\interligne\ds\dqb e{=g}\Tqb hec\enotes +\temps\notes\hl{=N}|\Tqb egh\zqu l\sdqb jh\enotes + %\check +%Takt 34 +\barre\notes\dnb ML|\bigaccid\zqu o\sdqb{=i}j\bigaccid\zqu{=n}\sdqb kj\enotes +\temps\notes\dnb KJ|\bigaccid\zqu m\sdqb{=g}h\zqu l\sdqb ih\enotes + %\check +%Takt 35 +\barre\notes\dnu IL|\zqu l\sdqb fh\zqu k\raise -\Interligne\ds\dqb e{=g}\enotes +\temps\notes\dnu HJ|\zqu j\raise -2\Interligne\ds\dqb eg\zqu j\Tqb heh\enotes + %\check +%Takt 36 +\barre\notes\hl K|\zhu i\raise -2\Interligne\ds\dqb fh\Tqb dfh\enotes +\temps\notes\hl L|\zhu k\raise -2\Interligne\ds\dqb e{=g}\Tqb ieg\enotes + %\check +\def\atnextline{\quatreinstruments\savemeters}% + %\check +%Takt 37 +\barre\notes&\hl{=L}|\zhu j\raise -2\Interligne\ds\dqb {=g}i\Tqb {=e}gi&\Pause + &\Pause\enotes +\temps\notes\soupir\sk\sk\qu J&\dnb Mc|\Sqh cfhjeh\enotes + %\check +%Takt 38 +\barre\notes\hl K&\hl b|\Qqh fhifh&\Pause&\Pause\enotes +\temps\notes\hl L&\hl d|\Qqh e{=g}ieg\enotes + %\check +%Takt 39 +\barre\notes\wh H&\hlp c|\Qqh e{=g}hec&\Hpause&\Hpause\enotes +\temps\notes&\uptext{\bf II}\sk\sk\sk\soupir|\Sqh eghjhe&\soupir\sk\sk + \zmid{R\'e-}\qll Ha&\soupir\sk\sk\quu ej\enotes + \ifx\mxversion\undefined\hskip -\Interligne\fi % only with MusiCTeX, not MusiX +\cleftoksii{0000}\changeclefs + %\check +%Takt 40 +\barre\notes\hu H&\Qqh eecee|\zh h\hu j&\zmid{pands}\hll Ha&\huu ej\enotes +\temps\notes\hu I&\Qqh ddbdd|\zh f\hu i&\zmid{sur}\hll IM&\huu di\enotes + %\check +%Takt 41 +\barre\notes\wh J&\Qqh cc{=N}cc|\lna e\zq e\qu{=g}\sk\sk\qu e&\relax + \zmid{nous}\qll J{=L}\sk\sk + \zmid{le}\qll Jc&\quu c{=g}\sk\sk\zq c\qu {=e}\enotes +\temps\notes&\Qqh ccbcc|\zq{=d}\qu f\sk\sk\zq e\qu g&\zmid{feu}\qll +Jb\sk\sk\zmid{de la}\zq J\cl b\sk\zq J\cl b&\zq {=d}\qu f\sk + \sk\zq{=e}\cu h\sk\zq e\cu h\enotes + %\check +%Takt 42 +\barre\notes\wh M&\sdqh cc\sdqh cc|\zq f\qu h\sk\sk\zq f\qu h&\zmid{gr\^a-}\zhl +M\qu a\sk\sk\ql f&\huu fh\enotes +\temps\notes&\Qqh ffeff|\zq{=g}\qu i\sk\sk\zq{=h}\qu j&\zmid{ce}\qll Mf\sk\sk + \zmid{puis-}\qll Me&\zq {=g}\qu i\sk\sk\zq {=h}\qu j\enotes + %\check +%Takt 43 +\barre\notes\wh I&\Qqh ffeff|\zh{=h}\hu j&\zmid{gr\^a}\hll Ie&\zh h\hu j\enotes +\temps\notes&\Qqh ffiff|\zq i\qu k\sk\sk\zcharnote{n}{\bf I\rm(G.O.)}\soupir + &\zmid{te,}\qll Id\sk\sk\zmid{que}\qll bf&\zq i\qu k\sk\sk\zq i\qu k\enotes + %\check +%Takt 44 +\barre\notes\hl b&\Qqh ffdff|\zh i\hu k&\zmid{tout}\hll bf&\huu ik\enotes +\temps\notes\hl L&\Qqh eecee|\zh{_g}\hu j&\zmid{l'en-}\hll Le&\zh{_g}\hu j\enotes + %\check +%Takt 45 +\barre\notes\wh M&\Qqh ccfcc|\zh f\hu{=h}&\zmid{fer,}\qll Mc\sk\sk + \zmid{que}\qll Mf&\quu f{=h}\sk\sk\quu fh\enotes +\temps\notes&\Qqh ffeff|\zq{=g}\qu i\sk\sk\zq h\qu j&\zmid{tout}\qll {=N}f\sk\sk + \zmid{l'en-}\qll {=a}e&\quu fi\sk\sk\quu fj\enotes + %\check +%Takt 46 +\barre\notes\wh b&\Qqh ffiff|\zh i\hl k&\zmid{fer}\qll bd\sk\sk + \zmid{fuie}\ql b&\quu fk\sk\sk\quu ik\enotes +\temps\notes&\Qqh iihii|\zq j\ql l\sk\sk\zq{=k}\ql m&\zmid{au}\lq c\ql b\sk\sk + \zmid{son}\qll b{=d}&\quu il\sk\sk\qll hm\enotes + %\check +%Takt 47 +\barre\notes\wh L&\Qqb iihii|\zh{=k}\hl m\zcharnote m{\bf II \rm(Pos.)}\relax + &\zmid{de}\zqp L\qlp{=d}\sk\sk\sk\zmid{ta}\relax + \zq L\cl d&\zhp h\hup m\sk\sk\sk\zq g\cu n\enotes +\temps\notes&\sdqb ig\Tqb ebe|\zq l\cl n\sk\ds\sk\soupir&\zmid{voix}\qll Le\sk + \sk\soupir&\quu gn\sk\sk\zmid{Dis-}\quu in\enotes +\cleftoksii{6000}\changeclefs + %\check +%Takt 48 +\barre\notes\itenl0F\wh F&\Hpause|\sdqh{c}f\zql g\Tqh geb&\soupir\sk\sk + \zmid{Dis-}\qll bg&\Ilegu1o\zmid{si}\quu {=h}m\sk\sk\quu ej\tleg1\enotes +\temps\notes&\soupir\sk\sk\ql N|\zql f\Tqh fc{=h}\zql i\Tqh iec&\relax + \zmid{si-}\qll{=a}f\sk\sk\zmid{pe}\qll{N}e&\zq e\hu j\sk\sk\qu i\enotes +\def\atnextline{\sanspedale\savemeters}% + %\check +%Takt 49 +\barre\notes\tten0\zhl F\zhlp M\qsk\zcharnote D{\it(Ped.)}\relax + |\zhu h\raise -3\Interligne\ds\dqb ce\tQb fce\relax + &\zmid{le}\qll Me\sk\sk\zmid{som-}\zql M\noteskip=1.5\noteskip\dqh dc\relax + &\zq j\zqu{=h}\noteskip=1.5\noteskip\sk\sk\zql h\dqh kl\enotes +\temps\notes\ql I\sk\sk\soupir|\Sqh idfifd&\zmid{meil}\qll Id\sk\sk\soupir + &\quu ik\sk\sk\zmid{d'une}\quu fk\enotes + %\check +%Takt 50 +\barre\notes\itenl1J\wh J\sk\sk\ql d|\sdqh{=e}{=g}\zql f\Tqh fgi&\soupir + \sk\sk\zmid{lan-}\qll Md&\zmid{\^a-}\quu{=e}j\sk\sk\zmid{me}\quu d{=g}\enotes +\temps\notes\ql c\sk\sk\itenu2b\ql b|\bigaccid\zql{=e}\Tqh egi\ds\zq d\dqh fg\relax + &\qll{=L}c\sk\sk\zmid{guis-}\qll{_K}b&\zmid{lan-}\quu bg\sk\sk\rq g\qu f\enotes + %\check +%Takt 51 +\barre\notes\tten1\zhl J\tten2\ql b\sk\sk\noteskip=1.5\noteskip\dqh{=a}{=N}\relax + |\ds\zq c\dqh{=e}{=g}\Tqh{=h}ei&\zmid{san-}\zhl J\ql b\sk\sk\noteskip + =1.5\noteskip\dqb {=a}{=N}&\zhl{=e}\qu{=g}\sk\sk\noteskip=1.5\noteskip + \dqh{=h}i\enotes +\temps\notes\zcl M\cu a\sk\ds\zq F\qu M|\Qqh cfhfc&\zmid{te,}\qll Fa\sk + \sk\zmid{qui}\ql M&\quu fh\sk\sk\soupir\enotes + %\check +%Takt 52 +\barre\notes\Hu b|\Qqh dfifd&\hl b\sk + \zmid{qui}\sk\qu b&\hpause\enotes +\temps\notes\Hu{_a}|\Qqh cfjfc&\zmid{la}\zhl a\ql f\sk + \sk\zmid{con-}\ql f&\soupir\sk\sk\qu f\enotes + %\check +%Takt 53 +\barre\notes\Hu N|\Qqh fiebe&\zmid{duit}\zhl N\ql f\sk\sk\ql e\relax + &\hlp i\sk\sk\qu i\enotes +\temps\notes\Dnu MK|\Qqh dfifb&\zmid{\`a}\qll Md\sk\sk\zmid{l'ou-}\qll Kf\relax + &\qu m\sk\sk\qlu ii\enotes + %\check +%Takt 54 +\barre\notes\Hu L|\Qqh cgigc&\zmid{bli}\hll Lb&\rq j\qu i\sk\sk\noteskip + =1.5\noteskip\rq j\cu i\rq j\cu i\enotes +\temps\notes\Hu M|\Qqh ce{=h}ec&\zmid{ de}\zql M\noteskip=1.5\noteskip + \dqh fe\zmid{tes}\dqh dc&\quu {=h}j\sk\sk\noteskip=1.5\noteskip + \zq h\cu k\zq h\cu l\enotes + %\check +%Takt 55 +\barre\notes\Hu N|\Qqh d{=h}igd&\zmid{lois,}\zhl N\ql c\sk\sk\ql b\relax + &\quu{=h}l\sk\sk\quu ik\enotes +\temps\notes\zmidtwotext{\kern -2\Interligne\bf I \rm(G.O.)}\Dnu ML|\relax + \Qqh df{=h}fc&\soupir\sk\sk\ql M&\Hpause\enotes + %\check +%Takt 56 +\barre\notes\Hu K\zcharnote I{(+P\'ed.)}|\sdqh bf\itenu1i\zqu i\Tqb ifb&\hl b\sk + \zmid{qui}\sk\qu b&\hpause\enotes +\temps\notes\Hu J\zcharnote I{(+P\'ed.)}|\tten1\zqu i\raise -2\Interligne\ds + \dqb bf\zqu {_h}\qsk + \Tqb ifb&\zmid{la}\qll bf\sk\sk\zmid{con-}\qll af&\soupir\sk\sk\qu f\enotes + \def\atnextline{\quatreinstruments}% + %\check +%Takt 57 +\barre\notes\wh I&\hu I|\zhu g\raise -5\Internote\ds\dqb bf\Tqb ifb\relax + &\zmid{duit}\zhl N\ql f\sk\sk\ql e&\hlp i\sk\sk\qu i\enotes +\temps\notes&\Hl b|\zqu f\raise -6\Internote\ds\dqb df\zqu i\Tqb ifd\relax + &\zmid{\`a}\qll Md\sk\sk\zmid{l'ou-}\qll bd&\qu m\sk\sk\quu fk\enotes + %\check +%Takt 58 +\barre\notes\hu H&\Hl a|\itenu1j\zh h\zhu j\raise -3\Interligne\ds + \dqb ce\Tqb ece&\zmid{bli}\hll ac&\quu hl\sk\sk\noteskip=1.5\noteskip + \zq h\cu l\zq h\cu l\enotes +\temps\notes\hu G&\Hl N|\tten1\rh i\zhu j\raise -3\Interligne\ds + \dqb ce\Tqb ece&\zmid{de}\qll Nb\sk\sk\zmid{tes}\qll Nb&\quu il\sk\sk + \noteskip=1.5\noteskip\zq i\cu k\zq i\cu l\enotes + %\check +%Takt 59 +\barre\notes\hu F&\zw F\wh M|\zq{=h}\zqu j\raise -3\Interligne\ds + \dqb c{=e}\Tqb fc{=a}&\zmid{lois !}\zhp M\hl c&\huu {=h}m\enotes +\temps\notes\Hpause&\zmidtwotext{\bf II \rm(Pos.)}|\Sqh cefhfc&\sk + \sk\sk\zmid{\^O}\ql M&\Hpause\enotes +\def\atnextline{\sanspedale}% + %\check +%Takt 60 +\barre\notes\Pause + &\hu F|\Qqh cdfd{_a}&\zmid{Christ sois}\dnb aa&\Pause\enotes +\temps\notes&\hu H|\Qqh {=b}c{_e}ca&\zmid{fa-\ \ \ \ vo-}\dnb NN\enotes + %\check +%Takt 61 +\barre\notes\hu K|\Qqh acdaM&\zmid{ra-}\hl M&\Pause\enotes +\temps\notes\hu J|\Sqh acdfda&\zmid{ble \`a}\ql M\sk\sk\zmid{\ ce}\zql M\cu +a\sk\cu a\enotes + %\check +%Takt 62 +\barre\notes\dnu IH|\sdqh{=e}f\sdqh fc&\zmid{peu-}\zhl M\qu d\sk + \sk\qu c&\Pause\enotes +\temps\notes\qu G|\sdqh cd&\zmid{ple}\qll Kb\enotes +\temps\notes\qu F|\sdqh da&\zmid{fi-}\qll aa\enotes + %\check +%Takt 63 +\barre\notes\hu H|\sdqh ac\Tqh eca&\relax + \Ilegl1F\zmid{d\`e-}\zql a\hu c\sk\sk\ql N\tleg1&\Pause\enotes +\temps\notes\qu D|\sdqh ac&\zmid{le}\qll Md&\enotes +\temps\notes\qu F|\Tqh daM&\zmid{pour}\qll Md\sk\sk\enotes + %\check +%Takt 64 +\barre\notes\hu G|\Qqb bdedb&\zmid{te}\hll Ld&\Pause\enotes +\temps\notes\hu H|\Qqb NcecN&\zmid{b\'e-}\hll Nc\enotes + %\check +%Takt 65 +\barre\notes\wh I|\Qqh MbdbM&\zmid{nir}\hll Md&\Hpause\enotes +\temps\notes|\Sqh bcdfdb&\zmid{main-}\qll Md\sk\sk\zmid{te-}\qll Md&\relax + \soupir\sk\sk\zmid{Re-}\qu f\enotes +%Takt 66 +\barre\notes\wh H|\zh f\zhu h\raise -4\Interligne\ds\dqb ac\Tqb dad&\relax + \zmid{nant}\hll Md&\zmid{\c cois}\ql h\sk\sk\zmid{\c les}\ql h\enotes +\temps\notes|\zh e\zhu g\raise -4\Interligne\ds\dqb ac\Tqb dad&\relax + \zmid{ras-}\qll Ld\sk\sk\zmid{sem-}\qll Lc&\zmid{chants}\ql g\sk\sk + \zmid{qu'il}\ql g\enotes + %\check +%Takt 67 +\barre\notes\zql D\sdqh ac\zql H\Tqh daM|\zh d\zhu f&\relax + \zmid{bl\'e,}\zw d\ql K\sk\sk\qu H&\zmid{of-}\hu f\enotes +\temps\notes\dnb KJ|\Sqh adfhfd&\ql K\sk\sk\ql J&\zmid{re}\hl f\sk + \sk\zmid{Re-}\qu h\enotes + %\check +%Takt 68 +\barre\notes\wh I|\sdqh ad\zqu h\Tqb fda&\zmid{chants}\zhl I\raise\Interligne + \soupir\sk\sk + \qu a&\zmid{\c cois}\zhlp f\qu k\sk\sk\zmid{les}\qu j\enotes +\temps\notes|\zqu k\Tqb fdf\zqu j\Tqb hfd&\zmid{qu'il}\zhl I\ql d\sk\sk\ql c&\relax + \zmid{chants}\qu i\sk\sk\zmid{qu'il}\quu fh\enotes + %\check +%Takt 69 +\barre\notes\qsk\dnu LI|\zhu i\qsk\tQb hbe\Tqb heb&\zmid{offre}\zql L\hu b\sk + \sk\zmid{\`a}\ql I&\zmid{of-}\zh e\hu h\enotes +\temps\notes\dnu LK|\zqu i\Sqb gbegeb&\zmid{ta}\zql L\hu b\sk\sk + \zmid{gloi-}\ql K&\zmid{fre,}\zq e\qu g\sk\sk\zmid{\`a}\qu i\enotes + %\check +%Takt 70 +\barre\notes\zmidtwotext{\kern -\Interligne\bf I \rm(G.O.)}\wh J|\sdqb be\zqu i\Tqb geb\relax + &\zmid{ta}\zhl J\raise\Interligne\soupir\sk\sk\zmid{gloire}\qu b\relax + &\zhlp g\qu l\sk\sk\qu k\enotes +\temps\notes|\zqu l\Tqb geg\zqu k\Tqb ige&\zmid{im-}\zhl J\ql e\sk\sk + \zmid{mor-}\ql d&\qu j\sk\sk\quu gi\enotes + %\check +%Takt 71 +\barre\notes\qsk\Dnl MJ|\zhu j\qsk\tQb icf\Tqb ifc&\zmid{tel-}\zql M\hl c\sk\sk + \ql J&\zh f\hu i\enotes +\temps\notes\Dnl ML|\zqu j\tQb hcf\itenu1h\zqu h\qsk\Tqb gca&\zmid{le,}\relax + \qll Mc\sk\sk\zmid{et}\qll Lc&\zq f\qu h\sk\sk\rq h\qu g\enotes + %\check +%Takt 72 +\barre\notes\Dnl KM|\tten1\zqu h\tQb fdf\zqu{=h}\tQb ece&\zmid{de}\qll Kd\sk\sk + \qll M{=a}&\zhl f\qu m\sk\sk\qu j\enotes +\temps\notes\Dnl ba|\zqu i\Tqb dfd\zqu{_j}\tQb f{=d}f&\zmid{tex}\ql b\sk\sk + \qll {_a}{=d}&\zq f\qu k\sk\sk\zq{j}\qu m\enotes + %\check +%Takt 73 +\barre\notes\Dnl{=N}{=L}|\zqu i\tQb ebe\zqu{=g}\tQb{_d}bd&\zmid{dons}\qll {=N}e\sk + \sk\qll{=L}b&\zq i\qu l\sk\sk\zq{=g}\qu k\enotes +\temps\notes\Dnl M{=K}|\zqu h\tQb cac\zq h\zqu j\tQb fcf&\zmid{qu'il}\qll Ma\sk + \sk\qll{=K}a&\quu hj\sk\sk\quu fj\enotes + %\check +%Takt 74 +\barre\notes\zh E\hu L|\zh{=g}\zhu j\tQb ece\tQb ece&\zmid{tour-}\hll L{=N}\relax + &\huu ej\enotes +\temps\notes\zh{_D}\hu{_K}|\zh g\zhu i\raise -3\Interligne\ds + \dqb be\Tqb ebe&\zmid{ne}\zqp{_K}\qlp N\sk\sk\sk\zmid{com-}\zq K\cl N&\zqp e\qup i\sk + \sk\sk\zq e\cu i\enotes + %\check +%Takt 75 +\barre\notes\Hu J|\zhu h\raise -3\Interligne\ds\dqb ae\tQb eae\relax + &\hll Ja&\zh e\hup h\enotes +\temps\notes|\zcharnote n{\bf II}\sk\enotes +\temps\notes\hu K|\zhu{_j}\tQb fdf\Tqb hfd&\zmid{Et}\hll K{_c}&\hu f\sk + \sk\ql h\enotes + %\check +%Takt 76 +\barre\notes\dnu GI|\zqu i\raise -3\Interligne\ds\dqb dg\zqu h\relax + \raise -3\Interligne\ds\dqb {=d}f&\zmid{de}\qll Gd\sk\sk\qll Ia&\zq d\qu i\sk + \sk\zq{=d}\qu f\enotes +\temps\notes\dnb L{_K}|\zqu{_g}\raise -3\Interligne\ds + \dqb be\zq{=g}\zqu i\tQb gb{=e}&\zmid{tes}\qll LN\sk\sk\qll K{=N}&\relax + \zq d\qu g\sk\sk\zq{=f}\qu i\enotes + %\check +%Takt 77 +\def\atnextline{\quatreinstruments\savemeters}% + % +\barre\notes\Pause&\dnu JG|\zqu h\raise -3\Interligne\ds + \dqb a{_e}\zqu j\tQb {=h}eh&\zmid{dons}\qll Ja\sk\sk\qll Nc&\quu eh\sk\sk + \dfl i\quu il\enotes +\temps\notes\Pause&\dnu F{=G}\relax + |\zqu k\tQb {_h}fh\raise 2\Interligne\rlap{\ds}\Tqh bdb&\zmid{qu'il}\relax + \qll Md\sk\sk\zmid{re-}\qll {=N}b&\zq h\qu k\sk\sk\zq d\qu f\enotes + %\check +%Takt 78 +\barre\notes&\wh H|\Qqh acfca&\zmid{tour-}\hll aa&\zh c\hu h\enotes +\temps\notes&|\Qqh NcecN&\zmid{ne}\zqp H\qlp{_N}\sk\sk\sk + \zmid{com-}\zq H\cl N&\zqp c\qup e\sk\sk\sk\cu d\enotes + %\check + %Takt 79 +\barre\notes\zcharnote b{$\wedge$}\hl K&\zmidtwotext{\bf III + \rm(r\'ecit)}\sdqb Ma\Tqb daM|\sk\hpause&\zmid{bl\'e !}\zhp K\hlp M\relax + &\hup d\enotes +\temps\notes\hpause&\Tqb acd\sdqb da|\soupir\sk\sk\qu f&\sk\sk\sk\soupir + &\sk\sk\sk\soupir \enotes + %\check + %Takt 80 +\barre\notes\hu F&\Qqb cdfda|\hu h&\Pause&\Pause\enotes +\temps\notes\hu G&\Qqb {=a}bdbN|\hu g\enotes + %\check + %Takt 81 +\barre\notes\itenl1H\wh H&\Qqb {=N}adaM|\hup f&\Hpause&\Hpause\enotes +\temps\notes&\Sqb acdfda|\sk\sk\sk\soupir&\soupir\sk\sk +\zmid{Et}\qll Ha&\soupir\sk\sk\zq d\qu f\enotes + %\check + %Takt 82 +\barre\notes\tten1\wh H&\Qqb NdedN|&\zmid{de}\zhl H\dnu NM&\zhu e\qsk\hl d\enotes +\temps\notes&\Qqb NcecN|&\zmid{tes}\hll HL&\huu cg\enotes + %\check + %Takt 83 +\barre\notes\wh K&\Qqb MadaM|&\zmid{dons}\zhp K\hlp M&\zhp d\hup f\enotes +\temps\notes&\Tqb acd\sdqb da|\soupir\sk\sk\qu f&\sk\sk\sk\soupir + &\sk\sk\sk\soupir\enotes + %\check + %Takt 84 +\barre\notes\hu{=H}&|\zqu k\Tqb efe\zqu j\Tqb fef&\Pause&\Pause\enotes +\temps\notes\dnu IJ&|\zqu i\Tqb dfd\zqu h\tQb fcf&\enotes + %\check + %Takt 85 +\barre\notes\dnu KL&|\zqu h\Tqb cfc\zqu g\tQb ebe&\Hpause&\Hpause\enotes +\temps\notes\dnu MF&\Sqb {=a}cMd{_a}M|\qu f\sk\sk\soupir + &\zmid{qu'il}\qll F{=a}\sk\sk + \zmid{re-}\qll F{_a}&\zq c\qu f\sk\sk\zq d\qu {_h}\enotes + %\check + %Takt 86 +\barre\notes\wh G&\Qqh MbdbM|&\zmid{tour-}\zw G\wh b&\zw d\wh f\enotes +\temps\notes&|\Tqh bdf\zq i\cu k\ds\enotes + %\check + %Takt 87 +\barre\notes\wh H&\sdqh Na|\sk\sk\sk\Tqh ceg&\zmid{ne}\relax + \zhlp H\hup N&\zhp c\hup e\enotes +\temps\notes&|\zq h\cu j\sk\ds\soupir&\sk\sk\zmid{com-}\qll HN\relax + &\sk\sk\quu dd\enotes + %\check + %Takt 88 +\barre\notes\itenl1K\wh K&|\Qqh acdaM&\relax + \zmid{bl\'e}\itenl0K\itenu3M\zw K\wh M&\itenl4d\wh d\enotes +\temps\notes&|\Tqb acd\itenu2f\zqu f\Tqb fda\enotes + \advance\barsinline by -1\relax % accepter une mesure de plus + %\check + %Takt 89 +\barre\notes\tten1\wh K&|\tten2\zw {Mad}\wh f\sk + &\tten0\tten3\zw K\wh M&\tten4\wh d\enotes +\finmorceau +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex b/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex index 2a704a09cfa..9e540aa192a 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex @@ -8,6 +8,10 @@ \tracingstats=2\relax \line{\ \hss} \vskip 15mm + +\def\magstep#1{\ifcase#1 \@m\or 1200\or 1440\or 1728\or 2074\or + 2488\or 2986\or 3583\or 4300\or 5160\fi\relax} + \message{Font name: \fontname\the\font} \iflongDCfontnames \font\geant=\fontid bx3583 @@ -39,21 +43,21 @@ \vfil \hbox to \hsize{\hss\vbox{\hsize 12cm \centerline{\moyen PR\'EFACE ET AVERTISSEMENT} - \bigskip Pour pouvoir avoir l'outrecuidance de se pr\'etendre compositeur -\`a la fin du XX\`eme si\`ecle, il est indispensable de faire preuve -d'audaces, de produire du jamais entendu, m\^eme si seule une minorit\'e -infime d'initi\'es, c'est-\`a-dire l'\'elite musicale et musicologique, est -capable d'appr\'ecier la d\'elicate saveur des \'etranget\'es harmoniques -qu'on lui propose. + \bigskip Pour pouvoir avoir l'outrecuidance de se pr\'etendre compositeur \`a +la fin du XX\raise 0.7ex \hbox{\eightrm e} si\`ecle, il est indispensable de +faire preuve d'audaces, de produire du jamais entendu, m\^eme si seule une +minorit\'e infime d'initi\'es, c'est-\`a-dire l'\'elite musicale et +musicologique, est capable d'appr\'ecier la d\'elicate saveur des +\'etranget\'es harmoniques qu'on lui propose. \medskip Ou bien alors, si l'on veut produire de la musique tonale, il faut se r\'esigner \`a \^etre catalogu\'e dans cette musique de vari\'et\'es, qui est r\'eput\'ee \^etre \`a la vraie musique ce que le ``fast-food'' est \`a la gastronomie. - \medskip En d\'efinitive, l'audace de l'auteur de ces ``Petites Pi\`eces -Pour Plaire'' est d'avoir os\'e \'ecrire de la musique qui n'est ni de la -musique ``contemporaine'', ni de la musique de ``vari\'et\'es'', et qui aurait -pu \^etre \'ecrite -- disons modestement~: comme exercices de style -- par -des \'el\`eves des compositeurs des deux ou trois si\`ecles pass\'es. Leur + \medskip En d\'efinitive, l'audace de l'auteur de ces <<~Petites Pi\`eces +Pour Plaire~>> est d'avoir os\'e \'ecrire de la musique qui n'est ni de la +musique <<~contemporaine~>>, ni de la musique de <<~vari\'et\'es~>>, et qui +aurait pu \^etre \'ecrite -- disons modestement~: comme exercices de style -- +par des \'el\`eves des compositeurs des deux ou trois si\`ecles pass\'es. Leur simple objectif est de charmer les oreilles d'auditeurs de culture classique, tout en restant compatibles avec le genre des lieux o\`u l'on trouve le plus d'orgues classiques, \`a savoir les \'eglises. @@ -137,6 +141,9 @@ TAUPIN}\smallskip \centerline{\sl \aujourdhui}}} \input chanson % \misazero +\input quietude +% +\misazero \input marcello % \misazero diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/rests.tex b/Master/texmf-dist/doc/generic/musixtex/examples/rests.tex new file mode 100644 index 00000000000..188c770f94d --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/rests.tex @@ -0,0 +1,227 @@ +% format plain musixTex musixtEx musIxtex musiCtex +% (c) 1996, Werner Icking +\ifx\mxversion\undefined + \input musixtex + \fi +\input musixlit +\hoffset-15.4mm\voffset-15.4mm +\hsize210mm\advance\hsize-20mm +\vsize11in\advance\vsize-20mm\advance\vsize-20pt +\footline{\smalltype Edited by Werner.Icking@gmd.de using \it Herbert Chlapik, + Die Praxis des Notensetzers, Doblinger Wien 1987, ISBN 3-9000~035-96-2 \hfil} +\parskip 12pt minus 12pt +\nobarnumbers +%\smallmusicsize +\geometricskipscale +\transpose7 +\settrebleclefsymbol1\empty +\settrebleclefsymbol2\empty +\setinterinstrument1{-2\Interligne} +\def\qpp{\pt 5\qp} +\newbox\xtrcti\newbox\xtrctii\newbox\xtrctiii +\def\xtrct#1{ + \def\writeextract{\extract#1\vskip-6pt} + \ifnum#1=3\def\extractline{\setbox\xtrctiii\hbox}\fi + \ifnum#1=2\def\extractline{\setbox\xtrctii\hbox}\fi + \ifnum#1=1\def\extractline{\setbox\xtrcti\hbox}\fi + \ifnum#1=0\def\extractline{\centerline}\def\writeextract{}\fi} +\def\extract#1{ + \ifnum#1=1\line{\hfil\unhbox\xtrcti\hfil}\fi + \ifnum#1=2\line{\xhfil\unhbox\xtrcti\hfil\unhbox\xtrctii\xhfil}\fi + \ifnum#1=3\line{\xhfil\unhbox\xtrcti\hfil\unhbox\xtrctii\hfil + \unhbox\xtrctiii\xhfil}\fi} +\def\centeron{\def\xhfil{\hfil}}\def\centeroff{\def\xhfil{}}\centeron +\def\wrong{\uPtext{wrong}} +\def\right{\uPtext{right}} +\def\better{\uPtext{better}} +\def\notrec{\uPtext{not recommended}} +\def\uPtext#1{\uptext{\kern-\afterruleskip\medtype\it #1}} +\def\Endextract{\setdoubleBAR\endextract} +\def\Startextract{\startextract\addspace{-0.5\afterruleskip}} + +\bigtype + +Whole rest as whole rest\par + +\xtrct1\generalmeter{\meterfrac21}\Startextract +\NOTes\wh c\pause\en\endextract +\xtrct2\generalmeter{\meterfrac42}\Startextract +\NOtes\wrong\ha c\en\NOTes\pause\en\NOtes\hpause\en\endextract +\xtrct3\generalmeter{\meterfrac42}\Startextract +\NOtes\right\ha c\hpause\en\NOTes\pause\en\setdoublebar\bar +\NOtes\better\ha c\hpause\hpause\hpause\en\endextract +\writeextract + +Whole rest as full bar rest {\medtype --- not used for e.g. 3/16}\par + +\def\CP{\def\atnextbar{\znotes\centerpause\en}} +\def\CPB{\def\atnextbar{\znotes\nextinstrument\centerpause\en}} + +\xtrct1\generalmeter{\meterfrac18}\Startextract\notesp\sk\en\CP +\generalmeter{\meterfrac28}\Changecontext\Notes\sk\en\CP +\generalmeter{\meterfrac38}\Changecontext\Notesp\sk\en\CP +\generalmeter{\meterfrac48}\Changecontext\NOtes\sk\en\CP +\generalmeter{\meterfrac14}\Changecontext\Notesp\sk\en\CP +\generalmeter{\meterfrac24}\Changecontext\NOtes\sk\en\CP +\generalmeter{\meterfrac34}\Changecontext\NOtesp\sk\en\CP +\generalmeter{\meterfrac44}\Changecontext\NOTes\sk\en\CP +\generalmeter{\meterfrac54}\Changecontext\NOTes\sk\en\CP +\generalmeter{\meterfrac64}\Changecontext\NOTes\sk\en\CP +\endextract\writeextract + +\xtrct1\generalmeter{\meterfrac12}\Startextract\Notesp\sk\en\CP +\generalmeter{\meterfrac22}\Changecontext\NOtes\sk\en\CP +\generalmeter{\meterfrac32}\Changecontext\NOtesp\sk\en\CP +\generalmeter{\meterfrac42}\Changecontext\NOTes\sk\en\CP +\generalmeter{\meterfrac62}\Changecontext\NOTes\sk\en\CP +\generalmeter{\meterfrac21}\Changecontext\NOTES\wrong\sk\en\CP +\generalmeter{\meterfrac21}\Changecontext\NOTes\right\pause\pause\en +\endextract\writeextract + +\instrumentnumber2 +\xtrct1\generalmeter{\meterfrac24}\Startextract +\Notes\ca c&\ds\en\bar +\NOtesp\pt c\qa c\en\Notes\ca c\en\CPB\bar +\Notes\ca c\en\NOtesp\pt c\qa c\en\CPB\bar +\NOtesp\pt c\qa c&\wrong\en\CPB\Endextract +\xtrct2\generalmeter{\meterfrac24}\Startextract +\Notes\ca c&\ds\en\bar +\NOtesp\pt c\qa c\en\Notes\ca c\en\CPB\bar +\Notes\ca c\en\NOtesp\pt c\qa c\en\CPB\bar +\NOtes\pt c\qa c&\right\qp\en\Notes&\ds\en\Endextract +\writeextract + +\xtrct1\generalmeter{\meterfrac68}\Startextract +\NOtesp\pt c\qa c&\qpp\en\bar +\NOtesp\pt c\qa c\en\Notes\ibl0c0\qb0{cc}\tbl0\qb0c\en\CPB\bar +\NOtesp\pt c\qa c&\wrong\en\CPB\Endextract +\xtrct2\generalmeter{\meterfrac68}\Startextract +\Notesp\pt c\qa c&\qpp\en\bar +\NOtesp\pt c\qa c\en\Notes\ibl0c0\qb0{cc}\tbl0\qb0c\en\CPB\bar +\NOtesp\pt c\qa c&\right\qpp\en\Endextract +\writeextract +\instrumentnumber1 + +Rests and rhythm\par + +\centeroff +\scale{0.9} +\xtrct1\generalmeter{\meterfrac38}\Startextract +\NOtes\wrong\qp\en\Notes\ca c\en\bar +\Notes\right\ds\ds\ca c\en\setdoublebar\bar +\Notes\wrong\ca c\en\NOtes\qp\en\bar +\Notes\right\ca c\ds\ds\en\endextract +\xtrct2\generalmeter{\meterfrac34}\Startextract +\NOTes\wrong\hpause\en\NOtes\qa c\en\bar +\NOtes\right\qp\qp\qa c\en\setdoublebar\bar +\NOtes\wrong\qa c\en\NOTes\hpause\en\bar +\NOtes\right\qa c\qp\qp\en\endextract +\writeextract + +\scale{0.75} +\xtrct1\generalmeter{\meterfrac68}\Startextract +\Notes\wrong\ca c\en\NOtes\qp\en\Notes\ca c\en\NOtes\qp\en\bar +\Notes\right\ca c\ds\ds\ca c\ds\ds\en\setdoublebar\bar +\Notes\wrong\ca c\ds\ds\ds\ds\ca c\en\bar +\Notes\right\ca c\ds\ds\en\NOtes\qp\en\Notes\ca c\en\endextract +\xtrct2\generalmeter{\meterfrac44}\Startextract +\NOtes\wrong\qa c\en\NOTes\hpause\en\NOtes\qa c\en\bar +\NOtes\right\qa c\qp\qp\qa c\en\endextract +\writeextract + +\scale{0.7} +\xtrct1\generalmeter{\meterfrac34}\Startextract +\NOtes\uPtext{3/4 versus 6/8}\qa c\qp\qp\en +\generalmeter{\meterfrac68}\changecontext +\NOtes\qa c\en\Notes\ds\en\NOtes\qp\en\Notes\ds\en\endextract +\xtrct2\generalmeter{\meterfrac34}\Startextract +\Notes\ca c\ds\en\NOtes\qp\en\Notes\ds\ca c\en +\generalmeter{\meterfrac68}\changecontext +\Notes\ca c\ds\ds\en\NOtes\qp\en\Notes\ca c\en\endextract +\xtrct3\generalmeter{\meterfrac34}\Startextract +\Notes\ca c\ds\en\NOtes\qp\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en +\generalmeter{\meterfrac68}\changecontext +\Notes\ca c\ds\ds\ds\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en\endextract +\writeextract + +\scale{0.7} +\xtrct1\generalmeter{\meterfrac34}\Startextract +\NOtes\qp\qp\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en +\generalmeter{\meterfrac68}\changecontext +\NOtes\qp\en\Notes\ds\ds\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en\endextract +\xtrct2\generalmeter{\meterfrac34}\Startextract +\NOtesp\pt c\qa c\en\Notes\ds\en\NOtes\qp\en +\generalmeter{\meterfrac68}\changecontext +\NOtesp\pt c\qa c\en\NOtes\qp\en\Notes\ds\en\endextract +\xtrct3\generalmeter{\meterfrac32}\Startextract +\NOTes\uPtext{3/2 versus 6/4}\ha c\hpause\hpause\en +\generalmeter{\meterfrac64}\changecontext +\NOTes\ha c\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qp\en\endextract +\writeextract + +\scale{0.8} +\xtrct1\generalmeter{\meterfrac{12}8}\Startextract +\NOTesp\wrong\pt c\ha c\hpausep\en\endextract +\xtrct2\generalmeter{\meterfrac{12}8}\Startextract +\Notes\notrec\ca c\ds\ds\en\NOtes\qp\en\Notes\ds\en\NOtes\qp\en\Notes\ds\en +\NOtes\qp\en\Notes\ds\en\endextract +\xtrct3\generalmeter{\meterfrac{12}8}\Startextract +\NOTesp\right\pt c\ha c\en\NOtesp\qpp\qpp\en\bar +\NOTesp\right\pt c\ha c\en\NOtesp\qp\en\Notes\ds\en\NOtesp\qp\en\Notes\ds\en +\endextract +\writeextract + +\scale{0.6} +\xtrct1\generalmeter{\meterfrac{12}8}\Startextract +\Notes\right\ca c\ds\ds\en\NOtesp\qpp\en\NOTesp\hpausep\en\bar +\Notes\right\ca c\ds\ds\en\NOtes\qp\en\Notes\ds\en\NOTesp\hpausep\en\endextract +\xtrct2\generalmeter{\meterfrac{15}8}\Startextract +\Notes\wrong\ca c\ds\ds\en\NOtesp\qpp\qpp\qpp\qpp\en\bar +\Notes\notrec\ca c\ds\ds\en\Notesp\qp\en\Notes\ds\en +\Notesp\qp\en\Notes\ds\en\Notesp\qp\en\Notes\ds\en\Notesp\qp\en\Notes\ds\en\bar +\Notes\right\ca c\ds\ds\en\NOTes\hpausep\hpausep\en\endextract +\writeextract + +\scale{0.8} +\xtrct1\generalmeter{\meterfrac64}\Startextract +\NOTesp\notrec\hpausep\en\NOTes\hpause\en\NOtes\qa c\en\endextract +\xtrct2\generalmeter{\meterfrac64}\Startextract +\NOTes\right\hpause\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qa c\en\bar +\NOTesp\right\hpausep\en\NOtes\qp\qp\qa c\en\endextract +\xtrct3\generalmeter{\meterfrac64}\Startextract +\NOTesp\right\pt c\ha c\en\NOTes\hpause\en\NOtes\qp\en\bar +\NOTesp\right\pt c\ha c\hpausep\en\endextract +\writeextract + +%\scale{0.8} +%\xtrct1\generalmeter{\meterfrac{3\meterplus 2}8}\Startextract +%\NOTesp\notrec\hpausep\en\NOTes\hpause\en\NOtes\qa c\en\endextract +%\xtrct2\generalmeter{\meterfrac64}\Startextract +%\NOTes\right\hpause\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qa c\en\bar +%\NOTesp\right\hpausep\en\NOtes\qp\qp\qa c\en\endextract +%\xtrct3\generalmeter{\meterfrac64}\Startextract +%\NOTesp\right\pt c\ha c\en\NOTes\hpause\en\NOtes\qp\en\bar +%\NOTesp\right\pt c\ha c\hpausep\en\endextract +%\writeextract + +Multibar rests + +\scale{1.1} +\def\TPF{\off{2.5\elemskip}} +\def\CB#1{\centerbar{#1}} +\def\CN#1{\CB{\zcharnote{9}{\meterfont\lrlap{#1}}}} +\xtrct1\generalmeter{}\Startextract +\NOtesp\sk\en\def\atnextbar{\znotes\CN2\CB{\PAuse}\en}\bar +\NOTes \sk\en\def\atnextbar{\znotes\CN3\CB{\PAuse\TPF\pause}\en}\bar +\NOtesp\sk\en\def\atnextbar{\znotes\CN4\CB{\PAUSe}\en}\bar +\NOTes \sk\en\def\atnextbar{\znotes\CN5\CB{\PAUSe\TPF\pause}\en}\bar +\NOTes \sk\en\def\atnextbar{\znotes\CN6\CB{\PAUSe\TPF\PAuse}\en}\bar +\NOTEs \sk\en\def\atnextbar{\znotes\CN7\CB{\PAUSe\TPF\PAuse\TPF\pause}\en}\bar +\NOTes \sk\en\def\atnextbar{\znotes\CN8\CB{\PAUSe\TPF\PAUSe}\en}\bar +\NOTEs \sk\en\def\atnextbar{\znotes\CN9\CB{\PAUSe\TPF\PAUSe\TPF\pause}\en}\bar +\NOTEs \Hpause 4{0.83}\en\def\atnextbar{\znotes\CN{10}\en}\bar +\NOTEsp\Hpause 4{0.83}\en\def\atnextbar{\znotes\CN{11}\en}\endextract +\writeextract +\vfill\eject + +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/reves.tex b/Master/texmf-dist/doc/generic/musixtex/examples/reves.tex new file mode 100644 index 00000000000..04702a1dd4c --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/reves.tex @@ -0,0 +1,543 @@ + +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{R\^eves} +\fulltitle{V. \titremorceau} +\subtitle{(pour orgue)} +\csname titremorceautoc\endcsname +\othermention{Compos\'e en 1990} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} +\maketitle +\parindent 18mm +% + +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{0}\relax % pas d'armature +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +\def\Mordant{\mordant{10}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt + \centerline{G.O.}}}% +%\check +\def\gluemaxskip{7pt}% +% +\def\doubler{\multnoteskip 2\relax}% +\def\tripler{\multnoteskip 3\relax}% +% formes frequentes +% deux croches hautes +\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% deux doubles croches hautes +\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +% +% croche pointee et double croche meme hauteur +\def\cpdcl#1{\trioskip\ibl0{#1}0\qbp0{#1}\sk\tbbl0\tqb0{#1}}% +\def\cpdcu#1{\trioskip\ibu0{#1}0\qhp0{#1}\sk\tbbu0\tqh0{#1}}% +% +% croche et deux doubles croches (1ere = 3eme) +\def\cddcu#1#2{\ibu0{#1}0\qh0{#1}\trioskip + \nbbu0\qh0{#2}\tqh0{#1}}% +\def\cddcl#1#2{\ibl0{#1}0\qb0{#1}\trioskip + \nbbl0\qb0{#2}\tqb0{#1}}% +% +\medskip\noindent{\rm G.O.: bourdon 8', unda maris ou tremblant}% +\par\noindent{\rm R\'ec.: nasard, tremblant}% +\par\noindent{\rm P\'ed.: 16', tirasse G.O.}% +\smallskip +% +\generalmeter{\meterfrac 44\meterfrac 54}% +% +\def\trioskip{\doubler\relax\divide\noteskip by 3\relax}% +\debutmorceau +\autolines {10}45\relax +\footnote{}{\noteskip=18pt\altportee=0pt\resetstem +\tenpoint\bf* \rm Notation :\ \ \zwq 1\ \ \ = \itenl01\wh 1\tten0\qu 1\ \ .}% +\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}% +%\check +% +\hyphenpenalty -50\relax +\notes&|\Uptext{\hbox{\kern -16mm\moyen Adagio molto \bf(\metron{\qu}{50})}}\enotes +\advance\linesinpage by 1\relax +% \advance\barsinline by 1\relax +% +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{\ibbu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\dqbbh#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tqh0{#3}}\relax +\def\dqbbu{\dqbbh}\def\dqbbb{\dqbbl}% +\def\dqbbl#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tqb0{#3}}\relax +%\check +\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +%\check +% +% mesure 1 +\Notes\itenu0J\zwq J\zcharnote 8 {\bf *}&\itenl1c\qu c\enotes +\Notes&\tten1\itenl1c\zw c\qsk\wh d\enotes +\Notes&\qu g|\pause\enotes +\Notes&\qu{_h}\enotes +\Notes&\qu{_i}\enotes +% mesure 2 +\barre\nspace\nspace + \notes\tten0\itenu0J\zwq J&\tten1\itenl1c\lh d\lfl d\zhl c\relax + \ibu0g0\qh0g\trioskip\nbbu0\qh0{=h}\tqh0g|\sk\hpause\enotes +\notes&\dqu3ef\enotes +\NOTEs&\tten1\itenl1c\itenl2e\itenu3g\relax + \zhp c\zhp e\hup g|\divide\noteskip by 2\relax\sk\hpause\enotes +\NOtes&|\qu c\enotes +% mesure 3 +\def\atnextline{\autolines {9}45}\relax +\barre\nspace +\Notes\tten0\wh J&\tten1\tten2\tten3\zw c\zw e\itenu1g\wh g|\qu{_d}\enotes +\Notes&|\qu g\enotes +\Notes&|\qu{_h}\enotes +\Notes&|\qu{_i}\enotes +% mesure 4 +\barre\nspace\notes\doubler\hu{=H}&\zw g\tten1\lfl d\fl e\kern 3pt\lh d\hl e\relax + |\ibu0g0\qh0g\trioskip\nbbu0\qh0{_h}\tqh0g\enotes +\notes&|\dqu3{_e}f\enotes +\NOTEs\itenu0J\hup J&\itenu1c\itenu2e\zhp c\hlp{=e}|\hu g\enotes +\NOtes&\qu{_h}|\qu j\enotes +% mesure 5 +%\barre +\alaligne +\notes\tten0\wh J&\tten1\tten2\itenu1c\itenu2e\zw{ceg}\relax + |\ibu0g0\qh0g\trioskip\nbbu0\qh0f\tqh0g\enotes +\notes&|\dqh3ef\enotes +\NOtes&|\qu g\enotes +\NOtes&|\qu{_h}\enotes +% mesure 6 +\barre\NOtes\wh{_H}&\tten1\tten2\itenu2e\zw{_ac}\wh e|\qu{_i}\enotes +\NOtes&|\qu j\enotes +\NOtes&|\qu k\enotes +\notes&|\dql3l{^m}\enotes +% mesure 7 +\barre\nspace\NOtes\zwq E&\tten2\itenu2e\zwq{be}\zwq{^g}|\ql{^n}\enotes +\NOtes&|\ql l\enotes +\notes&|\cddcu i{^j}\enotes +\notes&|\dqu3{^g}h\enotes +\NOtes&|\qu i\enotes +% mesure 8 +\barre\NOtes\zwq J&\tten2\itenl1c\zwq{ce}\zwq{=g}|\ql j\enotes +\NOtes&|\qu{=g}\enotes +\notes&|\cddcu e{^f}\enotes +\notes&|\dqu3cd\enotes +\NOtes&|\qu e\enotes +% mesure 9 +\barre\Notes\zw{^G}&\tten1\itenl1c\zw{ac_e}|\qu{^f}\enotes +\Notes&|\qu{^g}\enotes +\Notes&|\qu{^h}\enotes +\notes&|\dql3jk\enotes +%\check +% mesure 10 +\barre\NOtes\zwq J&\tten1\zwq{Nc=e}|\ql l\enotes +\NOtes&|\ql j\enotes +\notes&|\na g\cddcu g{=h}\enotes +\notes&|\dqu3e{=f}\enotes +\NOtes&|\qu g\enotes +% mesure 11 +\barre\NOtes\zwq F&\fl d\zwq{_af}\rlap{\qsk\hup d}|\qu{_h}\enotes +\NOtes&|\qu{_i}\enotes +\NOtes&|\ql j\enotes +\notes&\itenl0b\hu b|\dql3kl\enotes +\NOtes&|\ql{^m}\enotes +% mesure 12 +\barre\nspace\Notes\zwq E&\tten0\zw b\zwq{e^g}|\ql{^n}\enotes +\Notes&|\ql l\enotes +\notes&|\cddcu i{^j}\enotes +\notes&|\dqu3{^g}{^h}\enotes +\NOtes&\qu{^b}|\qu{^i}\enotes +\def\atnextline{\autolines {11}45}\relax +% mesure 13 +\barre\NOtes\zwq{^J}&\lsh f\zwq{^c^g}\qsk\hu f|\qsk\ql{^j}\enotes +\NOtes&|\qu{^g}\enotes +\notes&\hu d|\na e\cddcu e{^f}\enotes +\notes&|\dqu3{^c}d\enotes +\NOtes&\qu e|\qu e\enotes +% mesure 14 +\barre\NOtes\wh F&\rlap{\lna c\qsk\hup{c}}\zw{a=f}|\qu {=f}\enotes +\NOtes&|\qu{=c}\enotes +\notes&|\dqu3de\enotes +\NOtes&\qu{_d}|\qu f\enotes +% mesure 15 +\barre\nspace\NOtes\wh{_E}&\lfl e\rlap{\qsk\hup e}\zw{_b_g}|\qu{_g}\enotes +\NOtes&|\qu{_d}\enotes +\notes&|\bigfl e\dqu3{e}f\enotes +\NOtes&\qu{=d}|\qu g\enotes +% mesure 16 +\advance\barsinline by -1\relax +\barre\nspace\NOtes\wh{=E}&\lna e\rlap{\qsk\hup e}\zw{=b_h}|\qu{_h}\enotes +\NOtes&|\qu{=e}\enotes +\notes&|\bigfl g\dqu3{g}{_h}\enotes +\NOtes&\qu f|\qu{_i}\enotes +% mesure 17 +\barre\NOtes\zwq J&\zwq{ce}\zwq g|\ql j\enotes +\NOtes&|\qu{=g}\enotes +\notes&|\cddcu ef\enotes +\notes&|\dqu3cd\enotes +\NOtes&|\qu e\enotes +% mesure 18 +\barre\nspace\NOtes\wh{^F}&\zw a\zw{_e}\qsk\itenu1d\wh d|\qu{_e}\enotes +\notes&|\dqu{3}de\enotes +\notes&|\dqu{3}cd\enotes +\notes&|\dqu{3}ef\enotes +% mesure 19 +\barre\NOtes\wh G&\tten1\zw b\zw d\zw g|\qu g\enotes +\notes&|\cddcu d{_e}\enotes +\Notes&|\dqu3bc\enotes +\Notes&|\qu d\enotes +% mesure 20 +\advance\barsinline by -1\relax +\autolines {22}25\relax +\cleftoksii={{6}{0}{0}{0}}\changeclefs +\def\sxtu#1#2#3#4#5#6{{\advance\transpose by 4\ibbu0{#1}2}\qh0{#1}\relax + \qh0{#2}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}% +%\check +\def\sxtl#1#2#3#4#5#6{{\advance\transpose by 2\ibbl0{#1}2}\qb0{#1}\relax + \qb0{#2}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}% +%\check +% croche et deux doubles croches (1ere = 3eme) +\def\duoskip{\tripler\relax + \divide\noteskip by 2\relax}% +\def\cddcu#1#2{\duoskip\ibu0{#1}0\qh0{#1}\sk + \nbbu0\qh0{#2}\tqh0{#1}}% +\def\cddcl#1#2{\duoskip\ibl0{#1}0\qb0{#1}\sk + \nbbl0\qb0{#2}\tqb0{#1}}% +% +\barre\notes\doubler\wh{_G}&\fl N\sxtl N{_a}{_d}{_e}da|\bigaccid\qu{_e}\enotes +\notes&\sxtl{N}ad{e}da|\qu f\enotes +\notes&\sxtl{N}ad{e}da|\qu g\enotes +\notes&\sxtl{N}{a}{=d}{=e}da|\tripler\dqu2hi\enotes +% mesure 21 +\autolines {29}25\relax +\barre\notes\doubler\wh{^J}&\sxtl M{_a}d{_e}da|\bigsh j\cddcu jk\enotes +\notes&\sxtl M{a}d{e}da|\tripler\dqu{-2}{^g}{^f}\enotes +\notes&\sxtl M{a}d{e}da|\tripler\dqu{2}{^e}f\enotes +\notes&\sxtl M{a}d{e}da|\qu g\enotes +% mesure 22 +\barre\notes\zwq K&\sxtl KMbcbM|\qu h\enotes +\notes&\sxtl KMbcbM|\qu i\enotes +\notes&\sxtl KMbcbM|\tripler\dqu2jk\enotes +\notes&\sxtl KMbcbM|\ql l\enotes +\notes&\sxtl KMbcbM|\ql m\enotes +\autolines {27}25\relax +% mesure 23 +\cleftoksii={{0}{0}{0}{0}}\changeclefs +\barre\notes\itenu0J\zwq J&\sxtu Ncefec|\ql n\enotes +\notes&\sxtu Ncefec|\tripler\dql{-2}lj\enotes +\notes&\sxtu Ncefec|\cddcu gh\enotes +\notes&\sxtu Ncefec|\tripler\dqu2ef\enotes +\notes&\sxtu Ncefec|\qu g\enotes +% mesure 24 +\barre\notes\tten0\hup J&\sxtu Ncefec|\tripler\dqu2hi\enotes +\notes&\sxtu Ncefec|\tripler\dqu2jk\enotes +\notes&\sxtu Ncefec|\tripler\dql4ln\enotes +\notes\qu H&\multnoteskip{1.1}\sxtu ac{_e}{^f}ec|\bigsh m\ql{m}\enotes +% mesure 25 +\autolines {31}25\relax +\barre\notes\zwq G&\noteskip 1.2\noteskip\sxtu ac{=e}{^f}ec|\ql n\enotes +\notes&\sxtu acefec|\tripler\dql{-4}lj\enotes +\notes&\sxtu acefec|\cddcu gh\enotes +\notes&\sxtu acefec|\tripler\dqu2e{^f}\enotes +\notes&\sxtu acegec|\qu g\enotes +% mesure 26 +\barre\notes\doubler\zwq{_G}&\noteskip 1.3\noteskip +\lfl N\bigfl a\sxtu N{a}e{^f}ea|\doubler\qu{_h}\enotes +\notes&\sxtu Naefea|\tripler\dql2{_i}j\enotes +\notes&\sxtu Naefea|\tripler\dql2kl\enotes +\notes&\sxtu Naefea|\tripler\dql2{^m}{^n}\enotes +\notes&\sxtu Naefea|\tripler\ql{_p}\enotes +% mesure 27 +\autolines {28}25\relax\barre\notes\zwq J&\bigna N\sxtu Ncegec|\ql q\enotes +\notes&\sxtu Ncegec|\doubler\ql{=n}\enotes +\notes&\sxtu Ncegec|\bigaccid\cddcl l{=m}\enotes +\notes&\sxtu Ncegec|\tripler\dql2jk\enotes +\notes&\sxtu Ncegec|\ql l\enotes +%\check +% mesure 28 +\barre\notes\zwq H&\noteskip 1.2\noteskip\sxtu ac{_e}{_g}ec|\bigaccid\ql{^m}\enotes +\notes&\sxtu acegec|\tripler\dql{-2}{=l}k\enotes +\notes&\fl a\sxtu ac{=e}fec|\tripler\dql{-2}j{_i}\enotes +\notes&\sxtu acefec|\tripler\dqu{-2}{_h}{_g}\enotes +% mesure 29 +\autolines {24}25\relax +\barre\notes\wh J&\sxtu Ncegec|\cddcu ef\enotes +\notes&\sxtu Ncegec|\tripler\dqu3{=g}{=i}\enotes +\notes&\sxtu Ncegec|\tripler\dql2jk\enotes +\notes&\sxtu Ncegec|\tripler\dql4ln\enotes +%\check +% mesure 30 +\barre\notes\wh H&\sxtu ac{^f}{^g}fc|\ql q\enotes +\notes&\sxtu acfgfc|\tripler\dql{-2}{_p}{^n}\enotes +\notes&\sxtu acfgfc|\tripler\dql{-2}{^m}l\enotes +\notes&\sxtu acfgfc|\tripler\dql{-2}kj\enotes +%\check +\cleftoksii={{6}{0}{0}{0}}\changeclefs +% mesure 31 +\autolines {25}25\relax +\barre\notes\hup J&\sxtl Ncegec|\cddcu gh\enotes +\notes&\sxtl Nce{^f}ec|\tripler\dqu{-2}{^f}e\enotes +\notes&\sxtl Ncefec|\tripler\dqu{-2}dc\enotes +\notes\itenl0H\doubler\qu{_H}&\fl N\sxtl N{_a}d{_e}da|\doubler + \itenl1e\qu{_e}\enotes +%\check +% mesure 32 +\barre\notes\doubler\tten0\wh{_H}&\noteskip 1.1\noteskip\fl N\sxtl +N{_a}d{_e}da|\bigfl e\tten1\qu{e}\enotes +\notes&\noteskip 1.1\noteskip\sxtl Nad{=e}da|\bigaccid\hup{=e}\enotes +\notes&\sxtl Nadeda|\enotes +\notes&\sxtl Nadeda|\enotes +%\check +% mesure 33 +\barre\notes\doubler\wh{_K}&\sxtl M{_a}{_d}fda|\qu f\enotes +\notes&\sxtl Madfda|\tripler\dql2{_h}{_i}\enotes +\notes&\sxtl Madfda|\tripler\dql2j{_k}\enotes +\notes&\sxtl Madfda|\tripler\dql2{_l}m\enotes +%\check +% mesure 34 +\barre\nspace\notes\doubler\wh{_L}&\noteskip 1.2\noteskip + \sxtl M{_N}{_b}{_e}bN|\bigaccid\ql{_p}\enotes +\notes&\sxtl MNbebN|\tripler\dql{-2}{_o}{_n}\enotes +\notes&\sxtl MNbebN|\tripler\dql{-2}m{_l}\enotes +\notes&\sxtl MNbebN|\tripler\dql{-4}{_k}{_i}\enotes +%\check +% mesure 35 +\barre\notes\doubler\wh{_K}&\sxtl M{_a}{_d}fda|\bigfl h\cddcu h{_i}\enotes +\notes&\sxtl Madfda|\tripler\dqu{-2}f{_e}\enotes +\notes&\sxtl Madfda|\tripler\dqu2{_d}e\enotes +\notes&\sxtl Madfda|\qu f\enotes +%\check +% mesure 36 +\barre\notes\doubler\wh{_L}&\sxtl M{_N}{_b}ebN|\doubler\uptext{\it rit.}\qu{_g}\enotes +\notes&\sxtl MNbebN|\doubler\qu{_h}\enotes +\notes&\sxtl MNbebN|\doubler\qu{_i}\enotes +\notes&\sxtl MNbebN|\qu j\enotes +%\check +% mesure 37 +\autolines{30}25\relax +\barre\notes\doubler\itenl0L\wh{=K}&\noteskip 1.2\noteskip\sxtl M{=a}{=d}fda|\itenu2m\wh m\enotes +\notes&\sxtl M{_a}dfda|\enotes +\notes&\noteskip 1.15\noteskip\sxtl M{=N}{_d}{_e}dN|\enotes +\notes&\noteskip 1.15\noteskip\sxtl M{_N}{=d}edN|\enotes +%\check +\barre\autolines{15}35\relax +% mesure 38 +\notes\tten0\itenl0L\wh K&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0{_N}\tqb0d|\tten2\hlp m\enotes +\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0{_e}\qb0d\tqb0N\enotes +\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0N\tqb0d\enotes +\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0e\qb0d\tqb0N|\sk\soupir\enotes +% mesure 39 +\barre\notes\tten0\hup K&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0{_N}\tqb0d|\enotes +\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0{_e}\qb0d\tqb0N|\sk\sk\pause\enotes +\NOtes&\itenl3L\hl L\enotes +\NOtes\itenl2J\qu J&|\enotes +%\check +% mesure 40 +\barre\nspace\autolines{11}45\relax +\NOtes\tten2\zwq J&\tten3\zwq L\itenl1L|\uptext{\it a tempo}\qu c\enotes +\NOtes&\wh{=N}|\qu{_d}\enotes +\NOtes&\itenu2c\hup c|\qu g\enotes +\NOtes&|\qu{_h}\enotes +\NOtes&|\qu{_i}\enotes +% mesure 41 +% +% croche et deux doubles croches (1ere = 3eme) +\def\cddcu#1#2{\ibu0{#1}0\qh0{#1}\trioskip + \nbbu0\qh0{#2}\tqh0{#1}}% +\def\cddcl#1#2{\ibl0{#1}0\qb0{#1}\trioskip + \nbbl0\qb0{#2}\tqb0{#1}}% +% +\barre +\nspace\notes\doubler\hu{_H}&\doubler\tten1\itenl1L\relax +\tten2\itenu2c\zwq L\zwq c\hl{_a}|\cddcu g{_h}\enotes +\notes&|\dqu3{_e}f\enotes +\NOTEs\itenu0J\hup J&\hl{N}|\hu g\enotes +\NOtes&\ql{a}|\qu j\enotes +% mesure 42 +\barre\notes\tten0\wh J&\tten1\tten2\itenu1c\itenl2L\zw{LNc}\relax + |\cddcu gf\enotes +\notes&|\dqh3ef\enotes +\NOtes&|\qu g\enotes +\NOtes&|\qu{_h}\enotes +% mesure 43 +\barre\NOtes\wh{_H}&\tten1\tten2\itenl1N\zw{_ac}\wh L|\qu{_i}\enotes +\NOtes&|\qu j\enotes +\NOtes&|\qu k\enotes +\notes&|\dql3l{^m}\enotes +% mesure 44 +\barre\nspace\NOtes\zwq E&\tten1\itenu2e\zwq{be}\zwq{^N}|\ql{^n}\enotes +\NOtes&|\ql l\enotes +\notes&|\cddcu i{^j}\enotes +\notes&|\dqu3{^g}h\enotes +\NOtes&|\qu i\enotes +% mesure 45 +\barre\NOtes\zwq J&\tten2\itenu1c\zwq{ce}\zwq{=N}|\ql j\enotes +\NOtes&|\qu{=g}\enotes +\notes&|\cddcu e{^f}\enotes +\notes&|\dqu3cd\enotes +\NOtes&|\qu e\enotes +% mesure 46 +\barre\NOtes\zw{^G}&\tten1\itenu1c\zw{ac_e}|\qu{^f}\enotes +\NOtes&|\qu{^g}\enotes +\NOtes&|\qu{^h}\enotes +\notes&|\dql3jk\enotes +%\check +% mesure 47 +\barre\NOtes\zwq J&\tten1\zwq{Lc}\kern 3pt\qsk\zhl M|\ql l\enotes +\NOtes&|\ql j\enotes +\notes&\hl{_a}|\na g\cddcu g{=h}\enotes +\notes&|\dqu3e{=f}\enotes +\NOtes&\ql N|\qu g\enotes +% mesure 48 +\barre\nspace\NOtes\zwq{_G}&\lfl a\zwq{_Nc}\qsk\zwq a|\qu{_h}\enotes +\NOtes&|\qu{_i}\enotes +\NOtes&|\ql j\enotes +\notes&|\dql3kl\enotes +\NOtes&|\ql{^m}\enotes +\cleftoksii={{0}{0}{0}{0}}\changeclefs +% mesure 49 +\barre\NOtes\zwq E&\zw b\zwq{b^g}\zw d|\ql{^n}\enotes +\NOtes&|\ql l\enotes +\notes&|\cddcu i{^j}\enotes +\notes&|\dqu3{^g}{^h}\enotes +\NOtes&\qu{^d}|\qu{^i}\enotes +% mesure 50 +\barre\NOtes\zwq{^J}&\lsh f\zwq{^c^g}\qsk\hu f|\qsk\ql{^j}\enotes +\NOtes&|\qu{^g}\enotes +\notes&\hu d|\bigna e\cddcu e{^f}\enotes +\notes&|\dqu3{^c}d\enotes +\NOtes&\qu e|\qu e\enotes +% mesure 51 +\barre\NOtes\wh F&\lna c\rlap{\qsk\hup c}\zw{a=f}|\qu f\enotes +\NOtes&|\qu{=c}\enotes +\notes&|\dqu3de\enotes +\NOtes&\qu{_d}|\qu f\enotes +% mesure 52 +\barre\autolines{10}35\nspace +\NOtes\wh{_E}&\bigna d\lfl b\rlap{\qsk\hup d}\zw{b_g}|\qu{_g}\enotes +\NOtes&|\qu{_d}\enotes +\notes&|\bigfl e\dqu3{e}f\enotes +\NOtes&\qu{_e}|\qu g\enotes +% mesure 53 +\barre\nspace\NOtes\wh{=E}&\lna e\rlap{\qsk\hup e}\zw{=b_h}|\qu{_h}\enotes +\NOtes&|\qu{=e}\enotes +\notes&|\dqu3{_g}{_h}\enotes +\NOtes&\qu f|\qu{_i}\enotes +% mesure 54 +\barre\NOtes\zwq J&\zwq{cf}\qsk\zw g|\ql j\enotes +\notes&|\cddcu gf\enotes +\notes&|\dqu{-2}ed\enotes +\notes&|\dqu2cd\enotes +\NOtes&\qu{_h}|\qu e\enotes +% mesure 55 +\barre\nspace\NOtes\wh H&\lfl d\zw{c=f}\qsk\zw{dg}|\qu{^f}\enotes +\notes&|\dqu{-2}gf\enotes +\notes&|\dqu{-2}ih\enotes +\notes&|\noteskip 0.9\noteskip\ibu0g{-1}\qh0g\zcharnote n{\sl 3}\relax +\qh0{^f}\tqh0{=f}\enotes +\cleftoksii={{6}{0}{0}{0}}\changeclefs +% mesure 56 +\barre\nspace\NOtes\wh J&\fl a\fl e\zw{Nd}\qsk\zw{ae}|\qu{=e}\enotes +\notes&|\bigsh f\dqu{-2}{f}e\enotes +\notes&|\dqu3{^g}{^h}\enotes +\notes&|\dqu3jk\enotes +%\check +% mesure 57 +\barre\bigaccid +\NOtes\zwq C&\zwq{Nc=e}|\ql l\enotes +\NOtes&|\ql j\enotes +\notes&|\cddcu gh\enotes +\notes&|\dqu{-2}{^f}e\enotes +\notes&|\dqu{-2}dc\enotes +%\check +% mesure 58 +\barre\NOtes\wh{_H}&\zw{^M}\rw d\wh{_e}|\qu{_e}\enotes +\notes&|\trioskip\fl f\ibu0f0\qh0f\zcharnote l{\sl 3}\qh0e\tqh0f\enotes +\notes&|\dqu2ef\enotes +\notes&|\dqu2de\enotes +% mesure 59 +\barre\NOtes\wh J&\zw{Nb}\rw c\wh{=e}|\qu{=e}\enotes +\notes&|\dqu{-2}{=f}e\enotes +\notes&|\dqu4gi\enotes +\notes&|\dqu4jl\enotes +% mesure 60 +\barre\NOtes\wh{_G}&\fl N\zw M\rw N\rw d\wh c|\ql{^m}\enotes +\notes&|\trioskip\ibl0l0\qb0l\zcharnote c{\sl 3}\qb0m\tqb0l\enotes +\notes&|\dqb{-2}kj\enotes +\notes&|\dqu{-2}{_i}{_h}\enotes +% mesure 61 +\barre\NOtes\wh H&\sh M\zw M\zw a\wh d|\qu{=h}\enotes +\notes&|\trioskip\ibu0e0\qh0{^f}\zcharnote n{\sl 3}\qh0e\tqh0f\enotes +\notes&|\dqu2de\enotes +\notes&|\dqu6fi\enotes +% mesure 62 +\barre\NOTEs\hup E&\itenu0a\zwq a\qsk\zhp L\hup N|\hu h\enotes +\notes&|\trioskip\ibu0g{-1}\qhp0g\sk\tbbu0\tqh0{^f}\enotes +\NOTEs\hu D&\itenu1d\zh {^M}\hu d|\hu f\enotes +\resp +% mesure 63 +\barre\Notes\itenl3D\zwq D&\tten0\tten1\itenu1d\zwq{^fad}|\qu d\enotes +\Notes&|\qu{_e}\enotes +\Notes&|\qu h\enotes +\Notes&|\qu{_i}\enotes +\Notes&|\qu j\enotes +% mesure 64 +\barre\notes\tten3\itenl3D\zwq D&\tten1\itenu1d\zh L\zhl N\zwq d|\cddcu h{_i}\enotes +\notes&|\dqu2{^f}g\enotes +\NOTEs&\itenl0M\zhu a\hlp{^M}|\hu h\enotes +\NOtes&\qu{_b}|\ql k\enotes +%\check +% mesure 65 +\barre\notes\tten3\itenl3D\zwq D&\tten0\tten1\itenu1d\zhp{^M}\zwq d\hlp a|\cddcu h{_i}\enotes +\notes&|\dqu2{^f}g\enotes +\NOtes&|\qu h\enotes +\notes&\zh{LN}\hl{_b}|\dqu2gh\enotes +\notes&|\dqu2gh\enotes +% mesure 66 +\barre\notes\tten3\itenl3D\zw D&\tten1\itenu1d\zh{^M}\zw d\hl a|\sh f\cddcu fe\enotes +\NOtes&|\qu d\enotes +\notes&\zh{LN}\hl{_b}|\dqu2gh\enotes +\notes&|\dqu2gh\enotes +% mesure 67 +\barre\notes\tten3\itenl3D\zw D&\tten1\zh{^M}\zw d\hl a|\sh f\cddcu fe\enotes +\NOtes&|\qu d\enotes +\notes&\zh{LN}\itenu2b\hl{_b}|\dqu2gh\enotes +\notes&|\dqu2gh\enotes +% mesure 68 +\barre\nspace\NOTes\tten3\itenl3D\zw D&\tten2\lfl b\zw{_L_Nb_e}|\hl{_i}\enotes +\NOtes&|\ql j\enotes +\NOtes&|\sh j\ql j\enotes +% mesure 69 +\barre\NOTes\tten3\zwq D\pointdorgue 8&\na L\na N\zwq{Kd}\qsk\itenl2N\zh L\hu N|\pointdorgue m\zwq k\enotes +\NOTes&\tten2\zh N\hu {_b}\enotes +\NOtes&\zq{^M}\pointdorgue {11}\qu a\enotes +\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject +\varaccid + +\ifx\toc\undefined + \let\finishpiece \end +\else + \let\finishpiece\relax +\fi +\finishpiece +\endinput + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/scale.tex b/Master/texmf-dist/doc/generic/musixtex/examples/scale.tex new file mode 100644 index 00000000000..ac0d005ce91 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/scale.tex @@ -0,0 +1,67 @@ +\voffset-15.4mm\vsize=259mm +\hoffset-10.4mm\hsize=185mm +\nobarnumbers\nopagenumbers +\smallmusicsize\relativeaccid +\parindent45pt +\def\scale#1#2{\setname1{\vbox{\hbox{#1}\hbox{#2}}\hfill}% + \startpiece\addspace\afterruleskip + \notesp\qa{cdefg'abcba`gfedc}\en\setdoublebar\bar + \notesp\qa{abcde^f^g'a`=g=fedcba}\en\endpiece} +\def\german{\parindent45pt\def\Dur{Dur}\def\Moll{Moll} + \def\C{C}\def\Cis{Cis}\def\Des{Des}\def\D{D}\def\Es{Es}\def\E{E} + \def\F{F}\def\Fis{Fis}\def\Ges{Ges}\def\G{G}\def\As{As}\def\A{A} + \def\B{B}\def\H{H}\def\Ces{Ces} + \def\a{a}\def\ais{ais}\def\b{b}\def\h{h}\def\c{c}\def\cis{cis} + \def\d{d}\def\dis{dis}\def\es{es}\def\e{e}\def\f{f}\def\fis{fis} + \def\g{g}\def\gis{gis}\def\as{as}} + +\def\flat{\raise 0.5\Interligne\hbox{\musicsixteen 2}} +\def\sharp{\raise1.0\Interligne\hbox{\hskip1pt\musicsixteen 4}} +\def\english{\parindent45pt\def\Dur{major}\def\Moll{minor} + \def\C{C}\def\Cis{C\sharp}\def\Des{D\flat}\def\D{D}\def\Es{E\flat}\def\E{E} + \def\F{F}\def\Fis{F\sharp}\def\Ges{G\flat}\def\G{G}\def\As{A\flat}\def\A{A} + \def\B{B\flat}\def\H{B}\def\Ces{C\flat} + \def\a{a}\def\ais{a\sharp}\def\b{b\flat}\def\h{b}\def\c{c}\def\cis{c\sharp} + \def\d{d}\def\dis{d\sharp}\def\es{e\flat}\def\e{e}\def\f{f}\def\fis{f\sharp} + \def\g{g}\def\gis{g\sharp}\def\as{a\flat}} + +%--\german +\english + +\startmuflex +\transpose0 \generalsignature{-7} \scale{\Ces-\Dur}{\as-\Moll} +\vfil\hrule\vfil +\transpose4 \generalsignature{-6} \scale{\Ges-\Dur}{\es-\Moll} +\transpose1 \generalsignature{-5} \scale{\Des-\Dur}{\b-\Moll} +\transpose5 \generalsignature{-4} \scale{\As-\Dur}{\f-\Moll} +\transpose2 \generalsignature{-3} \scale{\Es-\Dur}{\c-\Moll} +\transpose6 \generalsignature{-2} \scale{\B-\Dur}{\g-\Moll} +\transpose3 \generalsignature{-1} \scale{\F-\Dur}{\d-\Moll} +\transpose0 \generalsignature0 \scale{\C-\Dur}{\a-\Moll} +\transpose4 \generalsignature1 \scale{\G-\Dur}{\e-\Moll} +\transpose1 \generalsignature2 \scale{\D-\Dur}{\h-\Moll} +\transpose5 \generalsignature3 \scale{\A-\Dur}{\fis-\Moll} +\transpose2 \generalsignature4 \scale{\E-\Dur}{\cis-\Moll} +\transpose6 \generalsignature5 \scale{\H-\Dur}{\gis-\Moll} +\transpose3 \generalsignature6 \scale{\Fis-\Dur}{\dis-\Moll} +\vfil\hrule\vfil +\transpose0 \generalsignature7 \scale{\Cis-\Dur}{\ais-\Moll} +\eject\musicparskip +\transpose0 \generalsignature0 \scale{\C-\Dur}{\a-\Moll} +\transpose0 \generalsignature7 \scale{\Cis-\Dur}{\ais-\Moll} +\transpose1 \generalsignature{-5} \scale{\Des-\Dur}{\b-\Moll} +\transpose1 \generalsignature2 \scale{\D-\Dur}{\h-\Moll} +\transpose2 \generalsignature{-3} \scale{\Es-\Dur}{\c-\Moll} +\transpose2 \generalsignature4 \scale{\E-\Dur}{\cis-\Moll} +\transpose3 \generalsignature{-1} \scale{\F-\Dur}{\d-\Moll} +\transpose3 \generalsignature6 \scale{\Fis-\Dur}{\dis-\Moll} +\transpose4 \generalsignature{-6} \scale{\Ges-\Dur}{\es-\Moll} +\transpose4 \generalsignature1 \scale{\G-\Dur}{\e-\Moll} +\transpose5 \generalsignature{-4} \scale{\As-\Dur}{\f-\Moll} +\transpose5 \generalsignature3 \scale{\A-\Dur}{\fis-\Moll} +\transpose6 \generalsignature{-2} \scale{\B-\Dur}{\g-\Moll} +\transpose6 \generalsignature5 \scale{\H-\Dur}{\gis-\Moll} +\transpose7 \generalsignature{-7} \scale{\Ces-\Dur}{\as-\Moll} +\transpose7 \generalsignature0 \scale{\C-\Dur}{\a-\Moll} +\endmuflex +\eject\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex b/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex index 25e4d9304a8..5fc02a89f89 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex @@ -176,6 +176,7 @@ \ifnum\musicsize=16\relax \autolines{19}47\else \autolines{19}36\fi +\ifx\undefined\horizontalscore \else\autolines{19}54\fi %\check % \bigaccid @@ -196,21 +197,22 @@ \ifnum\musicsize=16\relax \autolines {17}47\else \autolines {17}36\fi +\ifx\undefined\horizontalscore \else\autolines{17}54\fi \zbnotes\tbuqr kjhf|\umotif r!q!q!o!m\enotes \tnotes\na i\tbuq lige|\umotif s=p!p!n!m\enotes % mesure 3 \bnotes\lmotbba jgec|\umotif q=p!n!l!j\enotes -\tnotes\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\nspace\tnotes\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes \zbnotes\tbuqr hgec|\umotif o!n!n!l!j\enotes \tnotes\tbuq igec|\umotif p!o!n!l!j\enotes % mesure 4 \bnotes\lmotbba jgec|\umotif q=p!n!l!j\enotes -\tnotes\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\nspace\tnotes\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes \zbnotes\tbuqr hgec|\umotif o!n!n!l!j\enotes -\tnotes\sh f\na i\tbut ifd|\umotif p^m!m!k!j\enotes +\tnotes\sh f\na i\tbut ifd|\na p\umotif p^m!m!k!j\enotes % mesure 5 \bnotes\na b\lmotbbc gdbN|\umotif n^m!k=i!g\enotes -\tnotes\sh c\tbut gec|\umotif o^n!l^j!h\enotes +\nspace\tnotes\sh c\tbut gec|\umotif o^n!l^j!h\enotes \zbnotes\tbutr gfd|\umotif o=m!m!k!h\enotes \tnotes\sh c\tbut gec|\umotif o^n!l^j!h\enotes % mesure 6 @@ -221,7 +223,7 @@ \tnotes\tbut hfd|\umotif p!o!m!k!i\enotes % mesure 7 \bnotes\lmotbbb ge!N|\na p\umotif p!n!n!l=i\enotes -\tnotes\fl i\tbut ige|\umotif q!p!n!l!j\enotes +\nspace\tnotes\fl i\tbut ige|\umotif q!p!n!l!j\enotes \zbnotes\tbut ifd|\umotif q!m!m!k!j\enotes \tnotes\tbutr ihf|\umotif q!o!o!m!j\enotes % mesure 8 @@ -266,14 +268,14 @@ \tnotes\doubler\qlp e\sk\sk\cu G&\na i\tbut lig|\umotif s=p!p!n!m\enotes % mesure 11 \bnotes\itenu1c\wh c&\lmotbba jgec|\umotif q=p!n!l!j\enotes -\tnotes&\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\nspace\tnotes&\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes \zbnotes\tten1\hl c&\tbuqr hgec|\umotif o!n!n!l!j\enotes -\tnotes\hpause&\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\tnotes\hpause&\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes % mesure 12 \bnotes\doubler\qlp c\sk\sk\cu C&\lmotbba jgec|\umotif q=p!n!l!j\enotes -\tnotes\doubler\qlp{=b}\sk\sk\cu C&\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\nspace\tnotes\doubler\qlp{=b}\sk\sk\cu C&\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes \zbnotes\doubler\qlp a\sk\sk\cu C&\tbuqr hgec|\umotif o!n!n!l!j\enotes -\tnotes\doubler\qlp b\sk\sk\cu D&\sh f\na i\tbut ifd|\umotif p^m!m!k!j\enotes +\tnotes\doubler\qlp b\sk\sk\cu D&\sh f\na i\tbut ifd|\na p\umotif p^m!m!k!j\enotes % mesure 13 \bnotes\whp N&\na b\lmotbbc gdbN|\umotif n^m!k=i!g\enotes \tnotes&\tbut gec|\umotif n!m!l!j!g\enotes @@ -292,6 +294,7 @@ q!o!o!n^j\enotes \autolines{17}46\else \autolines{17}35\relax \fi +\ifx\undefined\horizontalscore \else\autolines{17}53\fi \bnotes\itenu1K\wh K&\lmotbbd hfd|\umotif r^q!o!m!k\enotes \tnotes&\tbud hf|\umotif r!q!o!m!k\enotes \zbnotes\tten1\hl K&\na i\tbut ifd|\na p\umotif p!o!o!m!k\enotes @@ -302,32 +305,32 @@ ifd|\na p\umotif p^o^m^k=i\enotes \tnotes\doubler\qlp a\sk\sk\cu H&\tbut ifd|\umotif p!o!m!k!i\enotes \zbnotes\doubler\qlp N\sk\sk\cu G&\tbut ige|\sh q\umotif q!n!n!l^j\enotes -\tnotes\doubler\qlp{^M}\sk\sk\cu{^F}&\sh f\tbutr ihf|\sh r\umotif +\tnotes\doubler\qlp{^M}\sk\sk\cu{^F}&\na i\sh f\tbutr ihf|\sh r\umotif r!p!p!o^k\enotes %\check % mesure 17 \bnotes\itenu1L\wh L&\na i\dbud ig\ddbud ge|\umotif s^r=p!n!l\enotes \tnotes&\dbud ig\but ige|\umotif s!r!p!n!l\enotes -\zbnotes\tten1\hl L&\tbut jge|\umotif q!p!p!n!l\enotes -\tnotes\hpause&\tbut kge|\na r\umotif r!p!p!n!l\enotes +\zbnotes\tten1\hl L&\tbut jge|\umotif q=p!p!n!l\enotes +\tnotes\hpause&\tbut kge|\na r\umotif r=p!p!n!l\enotes % mesure 18 \bnotes\doubler\fl b\qlp b\sk\sk\cu I&\dbut jge\bud ge|\umotif q=p!n!l!j\enotes \tnotes\doubler\qlp b\sk\sk\cu I&\dbut jge\bud ge|\umotif q!p!n!m!j\enotes \zbnotes\doubler\qlp a\sk\sk\cu H&\dbuqr kjhf\but jhf|\umotif r^q!o!m!k\enotes -\tnotes\doubler\qlp N\sk\sk\cu G&\tbuqr ljig\relax +\tnotes\doubler\qlp N\sk\sk\cu G&\fl i\tbuqr ljig\relax |\varaccid\ibbl0{p}0\ilegu0{s}\qb0{s}\tleg0\qb0{^r}% \qbupz{s}\qbupz{=q}\qbupz{_p}\qbupz{n}\qbupz{p}\tbl0\qbupz{s}\enotes % mesure 19 \bnotes\doubler\qlp M\sk\sk\cu F&\lmotbba mkhf|\umotif t!s!r!n!m\enotes -\tnotes\doubler\qlp N\sk\sk\cu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes -\zbnotes\doubler\qlp M\sk\sk\cu F&\tbut khf|\sh q\umotif +\nspace\tnotes\doubler\qlp N\sk\sk\cu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes +\nspace\zbnotes\doubler\qlp M\sk\sk\cu F&\tbut khf|\sh q\umotif r!q!o!m!l\enotes \tnotes\doubler\qlp L\sk\sk\cu E&\na j\tbut jhe|\na q\umotif q!o!o!l!j\enotes % mesure 20 -\bnotes\doubler\qlp K\sk\sk\cu D&\tbutr ihd|\umotif p!o!o!m!i\enotes +\bnotes\doubler\qlp K\sk\sk\cu D&\fl i\tbutr ihd|\umotif p!o!o!m!i\enotes \tnotes\doubler\qlp L\sk\sk\cu E&\tbut ige|\umotif p!n!n!l!i\enotes \zbnotes\doubler\qlp{^J}\sk\sk\cu{^C}&\sh c\tbutr hgc|\umotif o!n!n!l!h\enotes @@ -358,7 +361,7 @@ oki\na p\blt pki\enotes \tnotes&\tblt dbN|\mmotif k!i!i!g!e\enotes % mesure 25 \bnoteP&\umotif e^d=b^N!L|\lsh g\na i\dblt lig\ddblt lig\enotes -\tnotes&\umotif d^c!b!N!L|\sh k\tblt kig\enotes +\nspace\tnotes&\umotif d^c!b!N!L|\sh k\tblt kig\enotes \zbnotes\sk\hpause&\qsk\sh c\umotif c=b!b^N!L|\sh g\sh j\lna i\qsk\tbltl jig\enotes \tnotes\lpz E\qu E\sk\sk\sk\soupir&\umotif c^a!a!N!L|\relax \sh h\sh n\dblt njh\sh o\blt ojh\enotes @@ -371,17 +374,17 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes j!i!i!g!e\enotes \global\cleftoksii={{0}{0}{0}{0}}\changeclefs \tnotes\ilegl1G\fl L\hl L&\sh c\dbutmr gcb\zq g\rq c\culpz b|\umotif - n^m!j!i!g\enotes + n^m^j!i!g\enotes % mesure 27 \bnotes\tleg1\hu G&\na b\dbut gdb\ddbud db|\umotif n^m!k=i!g\enotes -\tnotes\sk\hpause&\sh f\tbut fdb|\umotif m!k!k!i!g\enotes +\nspace\tnotes\sk\hpause&\sh f\tbut fdb|\umotif m!k!k!i!g\enotes \zbnotes\Pause&\sh e\tbutr edb|\bigsh l\umotif l!k!k!i!g\enotes \tnotes\ilegl1I\hl N&\na i\tbutr ied|\bigna p\umotif p^o!l!k!i\enotes % mesure 28 %\check \bnotes\na I\tleg1\hu I&\na i\lsh f\sh d\dbut ifd\ddbud fd|\na p\umotif p^o^m^k=i\enotes -\tnotes\sk\hpause&\sh h\tbut hfd|\umotif o!m!m!k!i\enotes +\nspace\tnotes\sk\hpause&\sh h\tbut hfd|\sh o\umotif o!m!m!k!i\enotes \zbnotes\Pause&\na h\tbut hfd|\na o\umotif o!m!m!k!i\enotes \tnotes\na b\ilegu1c\hl b&\sh k\dbut khf\zq{kh}\culpz f|\sh r\umotif r!o!o!m!k\enotes @@ -389,11 +392,11 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes %\check \bnotes\fl b\tleg1\hl b&\na f\lfl i\na k\dbut kif\ddbut ifd|\na r\umotif r^q!p!m!k\enotes -\tnotes\doubler\soupir\sk\dsoupir\cu I\relax +\nspace\tnotes\doubler\soupir\sk\dsoupir\cu I\relax &\fl g\fl l\dbutmr lhg\rq h\lpz g\cu g|\fl s\umotif s!o!o_n_l\enotes \zbnotes\hl b&\dbut kif\ddbut ifd|\na r\umotif r^q!o!m!k\enotes -\tnotes\doubler\soupir\sk\dsoupir\cu I\relax +\nspace\tnotes\doubler\soupir\sk\dsoupir\cu I\relax &\fl g\fl l\dbutmr lhg\rq h\lpz g\zq l\cu g|\fl s\umotif s!o!o_n_l\enotes % mesure 30 @@ -443,7 +446,7 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes %\check % mesure 35 \bnotes\pedalepause\manuale\dbut hec\ddbud ec|\umotif o^n!l!j!h\enotes -\tnotes\manuale\bigsh g\tbut gec|\umotif n!m!l!j!h\enotes +\nspace\tnotes\manuale\bigsh g\tbut gec|\umotif n!m!l!j!h\enotes \zbnotes\pedalepause\manuale\tbutr fec|\umotif m!l!l!j!h\enotes \tnotes\manuale\sh g\tbut gec|\bigsh n\umotif n!l!l!j!h\enotes % @@ -452,7 +455,7 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes \ifnum\musicsize=16\advance\linesinpage by -1\relax\fi % \bnotes\pedalepause\manuale\mmotif h^g!e!c!a|\dblt olj\ddblt olj\enotes -\tnotes\manuale\mmotif g!f!e!c!a|\bigsh n\tblq nljh\enotes +\nspace\tnotes\manuale\mmotif g!f!e!c!a|\bigsh n\tblq nljh\enotes \zbnotes\pedalepause\manuale\mmotif f!e!e!c!a|\tblql mljh\enotes \tnotes\manuale\mmotif g^d!d!b!a|\bigsh k\tblql nhki\enotes % @@ -495,7 +498,7 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes % mesure 41 \bnotes\pedalepause\manuale\qsk\zcharnote f{\llap{\pp}}\lsh N\tbltl cbN|\qsk \mmotif j!i!i^g^e\enotes -\tnotes\manuale\tbltl cbM|\bigsh k\mmotif k!i!i!g^d\enotes +\nspace\tnotes\manuale\tbltl cbM|\bigsh k\mmotif k!i!i!g^d\enotes \qspace \zbnotes\pedalepause\manuale\bigaccid\lsh a\tbltl cba|\bigna l\mmotif l!j!j!i=e\enotes \qspace @@ -503,13 +506,13 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes \ifnum\nbinstruments=1\relax \global\cleftoksi={{0}{0}{0}{0}}\else \global\cleftoksi={{6}{0}{0}{0}}\global\cleftoksii={{0}{0}{0}{0}}\fi -\addspace{-\afterruleskip}\changeclefs\notes\manuale \zcharnote N{\register{II}}\enotes +\addspace{-2\afterruleskip}\changeclefs\notes\manuale \zcharnote N{\register{II}}\enotes %\check % mesure 42 \bnotes\pedalepause\manuale \zcharnote o{\it cresc.}\relax \zwp{^a}\Dbud fc\ddbud fc|\zcharnote r{(III)}\umotif m!j!j^h!f\enotes -\tnotes\manuale\bigna f\Tbud fc|\bigna m\umotif m=l!j!h=f\enotes +\nspace\tnotes\manuale\bigna f\Tbud fc|\bigna m\umotif m=l!j!h=f\enotes \zbnotes\pedalepause\manuale\Tbud ec|\umotif l^k!j!h!e\enotes \tnotes\manuale\zhl c\bigsh h\Tbud he|\bigsh o\umotif o!l!l!j!h\enotes % @@ -541,7 +544,7 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes \bigsh g\bigsh l\zhl g\Dbud lj\budr ji|\zcharnote r{\llap{\register{II}}}\qsk \bigsh s\umotif s>r!q!p^l\enotes \tnotes\manuale\zhl h\bigna j\Tbud mj|\umotif t=q!q!o!m\enotes -\zbnotes\pedalepause\manuale\zhl g\bigsh j\Dbud lj\ddbudr ji|\umotif s!r^q!p!l\enotes +\zbnotes\pedalepause\manuale\zhl g\bigsh j\Dbud lj\loff{\ddbudr ji}|\umotif s!r^q!p!l\enotes \tnotes\manuale\qsk\zhl h\bigna j\Tbud mj|\qsk\umotif t=q!q!o!m\enotes % %\check @@ -594,12 +597,12 @@ b&\qsk\lfl h\na i\zcharnote N{\llap{\register{I}}}\qsk \tnotes\doubler\zh E\hu L&\zhl e\na i\Tbut lig|\umotif s=p!p!n!m\enotes % mesure 52 \bnotes\zbv C\zbv J&\zbv c\Dbut jge\ddbut jge|\umotif q=p!n!l!j\enotes -\tnotes&\na i\Tbut ige|\umotif p!o!n!l!j\enotes +\nspace\tnotes&\na i\Tbut ige|\umotif p!o!n!l!j\enotes \zbnotes&\Tbutr hge|\umotif o!n!n!l!j\enotes \tnotes&\Tbut ige|\umotif p!o!n!l!j\enotes % mesure 53 \bnotes\doubler\zh J\hl c&\dbut jge\ddbud ge|\umotif q=p!n!l!j\enotes -\tnotes\doubler\zh{=I}\hl{=b}&\na i\tbut ige|\umotif p!o!n!l!j\enotes +\nspace\tnotes\doubler\zh{=I}\hl{=b}&\na i\tbut ige|\umotif p!o!n!l!j\enotes \zbnotes\doubler\zh H\hl a&\tbutr hge|\umotif o!n!n!l!j\enotes \tnotes\doubler\zh I\hl b&\sh f\na i\tbuqr idfc|\umotif p^m!m!k!j\enotes % mesure 54 @@ -633,7 +636,7 @@ r!p!p!o^k\enotes \bnotes\itenl2E\itenu1L\zw E\wh L&\na i\dbud ig\ddbud ge|\umotif s^r=p!n!l\enotes \tnotes&\dbud ig\but ige|\umotif s!r!p!n!l\enotes -\zbnotes\tten2\tten1\zh E\hu L&\tbut jge|\umotif q!p!p!n!l\enotes +\zbnotes\tten2\tten1\zh E\hu L&\tbut jge|\umotif q=p!p!n!l\enotes \tnotes\hpause&\tbut kge|\na r\umotif r!p!p!n!l\enotes % mesure 59 \bnotes\doubler\fl b\fl I\zh b\hu I&\dbut jge\bud ge|\umotif q=p!n!l!j\enotes @@ -645,9 +648,9 @@ r^q!o!m!k\enotes \qbupz{s}\qbupz{=q}\qbupz{_p}\qbupz{n}\qbupz{p}\tbl0\qbupz{s}\enotes % mesure 60 \bnotes\doubler\zh M\hu F&\lmotbba mkhf|\umotif t!s!r!n!m\enotes -\tnotes\doubler\zh N\hu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes -\zbnotes\doubler\zh M\hu F&\tbut khf|\sh q\umotif -r!q!o!m!l\enotes +\nspace\tnotes\doubler\zh N\hu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes +\zbnotes\doubler\zh M\hu F&\tbut khf|\umotif +r^q!o!m!l\enotes \tnotes\doubler\zh L\hu E&\na j\tbut jhe|\na q\umotif q!o!o!l!j\enotes % mesure 61 @@ -664,7 +667,7 @@ o!n!n!l!h\enotes %\check % mesure 63 \bnotes\zbv F&\dblql mkjf\ddbutr kjf|\umotif t!r!r!q!m\enotes -\tnotes&\dblq mkif\but kif|\umotif t!r!r!p!m\enotes +\nspace\tnotes&\dblq mkif\but kif|\umotif t!r!r!p!m\enotes \zbnotes&\dblql mijf\bltl jif|\umotif t!q!q!p!m\enotes \tnotes&\dblq mjhf\bld jf|\umotif t!q!q!o!m\enotes %\check @@ -704,7 +707,7 @@ o!n!n!l!h\enotes % % mesure 69 \bnotes\doubler\ql f\sk\soupir&\dbut ifd\ddblt ifd|\Mmotif ihhfd\enotes -\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\bigna e\tblt ige|\Mmotif igged\enotes +\nspace\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\bigna e\tblt ige|\Mmotif igged\enotes \zbnotes\doubler\ql f\sk\soupir&\dbut hec\ddbut hec|\Mmotif hggec\enotes \tnotes\doubler\pt 5\soupir\sk\sk\cu F&\tbut hfd|\Mmotif hffda\enotes % @@ -724,6 +727,7 @@ o!n!n!l!h\enotes \zq{hfc}\lpz a\qu a\sk\soupir|\Mmotif fecaM\enotes \tnotes\sk\hpause&\Mmotif hgfda|\doubler \ibu0h0\zq{hf}\qhlpz a\tbu0\zq{hf}\qhlpz a\soupir\enotes + \ifx\undefined\horizontalscore \else\autolines{17}43\fi % % mesure 72 \bnotes\doubler\upz M\ql M\sk\soupir&\doubler @@ -764,9 +768,11 @@ o!n!n!l!h\enotes % mesure 76 \ifnum\musicsize=16\relax \elemskip=0.66\elemskip\advance\barsinline by -1\fi +\ifx\undefined\horizontalscore\else + \elemskip=0.66\elemskip\advance\barsinline by -1\fi \barre\NOTes\pause&\pause|\zbv t\itenu1t\pause\sk\enotes \tnotes\midtwotext{\fff}&\midtwotext{\fff}\enotes -\temps\NOTEs\wh F|\fl e\zw e\rw f\zw h\wh j|\zw m\zw o\wh q\sk\enotes +\temps\NOTEs\wh F&\fl e\zw e\rw f\zw h\wh j|\zw m\zw o\wh q\sk\enotes % % mesure 77 \barre\NOTEs\qsk\wh I&\qsk\fl e\zw e\rw f\zw h\wh j|\qsk @@ -777,7 +783,7 @@ o!n!n!l!h\enotes \barre\ifnum\musicsize=16\NOTes\else\NOtes\fi \tinynotesize\itenl2F\cu F&\tinynotesize \zq c\zq f\cu h|\tinynotesize\tinynotesize\zq m\cl o\enotes -\NOTES\tten2\pointdurgue E\zbv F\zbv M|\relax +\NOTES\tten2\pointdurgue E\zbv F\zbv M&\relax \zbv c\zbv f\zbv h\sk|\zbv m\zbv o\tten1\zbv t\pointdorgue t\enotes \temps\temps\finmorceau \rightline{\sl\aujourdhui}\vfil\eject diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex b/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex index 4a0b638da01..24f3ba04a45 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex @@ -1,6 +1,8 @@ -%\input musicnft -%\input musictex -%\input musicsty +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi \musicsize=16\relax \vsize 275mm @@ -11,6 +13,7 @@ \staffbotmarg\Interligne \resetfacteurs \computewidths +\othermention{\'edition compacte aide-m\'emoire} % \input widor \bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex b/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex index 9b39f6417c5..9d318ff5882 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex @@ -1,4 +1,11 @@ -\musicsize=20\relax\hyphenation{re-gis-tra-tion} +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + +\musicsize=20\relax +\hyphenation{re-gis-tra-tion} \csname french\endcsname \tracingstats=2\relax \barsinline=0\relax diff --git a/Master/texmf-dist/doc/generic/musixtex/license.txt b/Master/texmf-dist/doc/generic/musixtex/license.txt deleted file mode 100644 index 180cc2345b3..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/license.txt +++ /dev/null @@ -1,20 +0,0 @@ - - - MusiXTeX may be freely copied, duplicated and used. However, since it is -intended to be a "no cost software" you are not allowed to sell it, and the fee -you may ask for distributing it must be limited to maintenance, support and -duplication costs. You may take it or parts of it to include in other -packages, but no packages called MusiXTeX may be distributed under this name -if different from the original distribution (except obvious bug corrections). - - Adaptations for specific implementations (e.g. fonts) should be provided as -separate additional TeX or LaTeX files which override original definition. - - MusiXTeX may be included in further commercial packages, provided that no -additional fee is charged for MusiXTeX itself. - - Daniel Taupin - mailto:taupin@lps.u-psud.fr - Laboratoire de Physique des solides - batiment 510, centre universitaire - F - 91405 ORSAY cedex diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.bat b/Master/texmf-dist/doc/generic/musixtex/musixdoc.bat deleted file mode 100644 index fea551442f0..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.bat +++ /dev/null @@ -1,16 +0,0 @@ -rem cm-ltx2e = latex2e based on cm* fonts
-del musixdoc.mx*
-call cm-ltx2e musixdoc
-if errorlevel 2 goto end
-musixflx musixdoc
-call cm-ltx2e musixdoc
-if errorlevel 2 goto end
-makeindx musixdoc.idx
-call cm-ltx2e musixdoc
-if errorlevel 2 goto end
-makeindx musixdoc.idx
-call cm-ltx2e musixdoc
-call prthplj musixdoc musixdoc.lj
-%emtexdir%\bin\dvips32 musixdoc -o musixdoc.ps -P300 -ta4
-:end
-
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3.33548pt}{ 0.00000pt}% 4 - 4 -\lineset{ 36}{ 1}{10.03562pt}{ 3.34522pt}{ 0.00000pt}% 5 - 5 -\lineset{ 37}{ 1}{12.78253pt}{ 4.26086pt}{ 0.00000pt}% 0 - 0 -\lineset{ 38}{ 1}{11.11860pt}{ 3.70621pt}{ 0.00000pt}% 6 - 6 -\lineset{ 39}{ 1}{11.85004pt}{ 3.95003pt}{ 0.00000pt}% 7 - 7 -\lineset{ 40}{ 5}{10.89547pt}{ 3.63184pt}{ 0.00000pt}% 8 - 12 -\lineset{ 41}{ 4}{14.36894pt}{ 4.78966pt}{ 0.00000pt}% 13 - 16 diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty b/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty index 269cd551814..22586249cd3 100644 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty @@ -17,9 +17,16 @@ % Boston, MA 02111-1307, USA. % % american people perhaps may want to change the paper size +% +% LaTeX2e compliant (6 Oct 2009) -\textheight= 50\baselineskip -\textwidth= 210mm \advance\textwidth-2in % +%\textheight= 50\baselineskip +\textheight= 297mm \advance\textheight-2in % +\textwidth= 210mm \advance\textwidth-1.8in % +% +% Allow dvips -tletter and it still fits. +%\voffset-5mm\hoffset-.1in +\voffset1mm\hoffset-.1in \input musixtex \input musixbm @@ -31,7 +38,7 @@ \input musixlit \input musixltx \input musixper -\input musixmad +%\input musixmad% removed because inessential (6 June 2008) % we don't need margin \oddsidemargin\z@ \evensidemargin\z@ @@ -60,23 +67,24 @@ % more place for digits in \tableofcontents \def\l@subsection{\@dottedtocline{2}{3.8em}{3.4em}}%original 2 3.8 3.2 -\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\tt} +\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\ttfamily} \def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX} -\def\Bslash{\tt\char'134} -\def\|{{\tt\char'174}} -\def\LBR{{\tt\char'173}} -\def\RBR{{\tt\char'175}} +\def\Bslash{\ttfamily \char'134} +\def\|{\texttt{\char'174}} +\def\LBR{\texttt{\char'173}} +\def\RBR{\texttt{\char'175}} \def\keyindex#1{\leavevmode \hbox{\Bslash #1}\index{#1@{\protect\Bslash #1}}} \def\zkeyindex#1{\index{#1@{\protect\Bslash #1}}} \def\ixem#1{#1\index{#1}} -\def\itxem#1{\ital{#1}\index{#1}} -\def\ttxem#1{{\tt #1}\index{#1@{\tt #1}}} -\def\ital#1{{\sl #1\/}} +\def\itxem#1{\textsl{#1}\index{#1}} +\def\ttxem#1{\texttt{#1}\index{#1@\texttt{#1}}} +\def\ixtt#1{\index{#1@\texttt{#1}}} +\def\ital#1{\textsl{#1\/}} \newfont{\mflogo}{logo10 scaled 1200} \def\MF{{\mflogo METAFONT}} -\def\unix{{\sc unix}} +\def\unix{\textsc{unix}} \iflongDCfontnames \font\tentt=\fontid tt1000 @@ -94,14 +102,14 @@ \def\_{\protect\underscoreSymbol} -\def\remark{\par\noindent\sl REMARK:} +\def\remark{\par\noindent\slshape REMARK:} \def\endremark{\leavevmode\/} -\def\important{\par\noindent\sl IMPORTANT:} +\def\important{\par\noindent\slshape IMPORTANT:} \def\endimportant{\leavevmode\/} -\def\caution{\par\noindent\sl CAUTION:} +\def\caution{\par\noindent\slshape CAUTION:} \def\endcaution{\leavevmode\/} - +\def\st@ffs{1} \endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex index 68d837a6ae5..17cafecb4c9 100644 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex @@ -1,4 +1,8 @@ % +% mxdoc111d.tex (formerly file 110d, internally called 109d1) +% Different from version posted in that it has the extra paragraph +% "You may wonder ..." in section 1.3 +% % This file is part of MusiXTeX % % MusiXTeX is free software; you can redistribute it and/or modify @@ -16,18 +20,49 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % +% This version 109d1 postdates the one posted to the site. +% \ifx\documentclass\undefined \documentstyle[twoside,11pt,musixdoc,multicol,backgrnd]{report} \else - \documentclass[twoside,11pt]{report} + \documentclass[twoside,11pt,a4paper]{report} \usepackage{multicol} \usepackage{musixdoc} - \usepackage{backgrnd} -% \usepackage{amsmath} -% \usepackage[emtex]{changebar} + \usepackage{etex} + \usepackage[dvips,bookmarks=true,bookmarksnumbered=true,bookmarksopen=true,colorlinks=true,pdfborder={0 0 0}]{hyperref} + \usepackage{url} + \usepackage{indentfirst} + \usepackage[ansinew]{inputenc} +\makeatletter +\def\notesintext#1{% no staff lines, no clefs + {\let\extractline\relax + \setlines10\smallmusicsize \nobarnumbers \nostartrule + \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt + \startextract\addspace{-\afterruleskip}#1\zendextract}} +\makeatother +\def\musicintext#1#2{% normal + {\let\extractline\relax + \smallmusicsize \nobarnumbers + \staffbotmarg0pt \setclef1{#1} + \startextract\addspace{-\afterruleskip}#2\endextract}} +% macro adapted to insert music without clef: +\def\musicintextnoclef#1{% no clef small + {\let\extractline\relax + \smallmusicsize \nobarnumbers + \staffbotmarg0pt \setclefsymbol1\empty + \startextract\addspace{-\afterruleskip}#1\endextract}} +\def\musicintextnoclefn#1{% no clef normal + {\let\extractline\relax + \nobarnumbers + \staffbotmarg0pt \setclefsymbol1\empty + \startextract\addspace{-\afterruleskip}#1\endextract}} \fi \def\musictex{Music\TeX{}} +\def\onen{{\tt\char123}$n${\tt\char125}} +\def\pitchp{{\tt\char123}$p${\tt\char125}} +\def\itbrace#1{{\tt\char123}$#1${\tt\char125}} +\def\nochange{(\ital{NOT to be changed})} \ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi \ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi @@ -39,29 +74,32 @@ %\changebarsep 10 pt \title{\Huge\bf\musixtex\raise1.5ex\hbox{\large\copyright}\\[\bigskipamount] \LARGE\bf Using \TeX{} to write polyphonic\\or -instrumental music\\\Large\sl Version T.104~-- \today} +instrumental music\\\Large\sl Version T.114~-- June, 2006} \author{\Large\rm Daniel \sc Taupin\\\large\sl Laboratoire de Physique des Solides\\\normalsize\sl (associ\'e au CNRS)\\\normalsize\sl - b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\ E-mail : {\tt -taupin@lps.u-psud.fr}\\\medskip +% b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\ E-mail : {\tt +%taupin@lps.u-psud.fr}\\\medskip + b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\\medskip \\\Large\rm Ross \sc Mitchell\\\large\sl CSIRO Division of Atmospheric Research,\\\normalsize\sl Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip - \\\Large\rm Andreas \sc Egler\ddag\\\large\sl +% \\\Large\rm Andreas \sc Egler\ddag\\\large\sl + \\\Large\rm Andreas \sc Egler\\\large\sl (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum} \date{} -%\show\maketitle -\let\endtitleORI\endtitlepage - \def\endtitlepage{\vfill\noindent $^\ddag$ {\it For personal reasons, Andreas -Egler decided to retire from authorship of this work. Nevertherless, he has -done an important work about that, and I decided to keep his name on this -first page. {\sc D. Taupin}}\endtitleORI} +%\let\endtitleORI\endtitlepage +% \def\endtitlepage{\vfill\noindent $^\ddag$ {\it For personal reasons, Andreas +%Egler decided to retire from authorship of this work. Nevertherless, he has +%done an important work about that, and I decided to keep his name on this +%first page. {\sc D. Taupin}}\endtitleORI} \maketitle \clearpage %\check -\thispagestyle{empty} +\pagenumbering{roman}\setcounter{page}{2} + +%\thispagestyle{empty} \null \vfill @@ -81,15 +119,14 @@ on your machine and mastering it\\ is an awesome job which gobbles up\\ a lot of your time and disk space.\\[\medskipamount] But, once you master it...\\[\smallskipamount] -{\sc Hans Kuykens} +Hans {\sc Kuykens} \end{flushright} \begin{center} - Although one of the authors contested that point once the common work had -begun, \musixtex{} may be freely copied, duplicated and used in conformance to +\musixtex{} may be freely copied, duplicated and used in conformance to the GNU General Public License (Version 2, 1991, see included file {\tt copying})\footnote{Thanks to Free Software Foundation for advising us. See -{\tt http://www.gnu.org}}. +\href{http://www.gnu.org}{\underline{\tt http://www.gnu.org}}}. You may take it or parts of it to include in other packages, but no packages called \musixtex{} without specific suffix may be distributed under the name @@ -97,104 +134,176 @@ called \musixtex{} without specific suffix may be distributed under the name corrections). Adaptations for specific implementations (e.g. fonts) should be provided as -separate additional TeX or LaTeX files which override original definition. - +separate additional \TeX\ or \LaTeX\ files which override original definitions. \end{center} \clearpage -\setcounter{page}1 -\tableofcontents -\setcounter{secnumdepth}3 -\pagestyle{headings} - -\chapter{What is \musixtex{} ?} - -\hrule\smallskip -\section*{Preface} - -\noindent Dear user, - -This is still an imperfect version, which means that some features will be -added or corrected. However our intent is to avoid removing existing commands, -in order to spare your own adaptation problems or your typing time correcting -scores you already have in your archive. - +\chapter*{Preface to Version T.113} +%\thispagestyle{empty} + +The main author of \musixtex{}, Daniel Taupin, died all too early in a 2003 +climbing accident. The \musixtex\ community was shocked by this tragic and unexpected +event. You may read some tributes to Daniel Taupin which are archived at the +\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. + +Now, almost two years after his death, we would like to help keep his excellent +work alive and current by assembling a new release. This new version corrects various +minor bugs without adding any new functionality. At the same time it incorporates directly +into the distribution some additional packages: +\begin{itemize}\setlength{\itemsep}{0ex} +\item Type 1 (postscript) versions of all the \musixtex{} fonts, created by +Takanori Uchiyama; +\item Postscript Slur Package K (Ver 0.92, 12~May~02) by Stanislav Kneifl; +\item musixlyr (Ver 2.1c, 12 June 03) a \musixtex{} extension package for lyrics +handling, by Rainer Dunker. +\end{itemize} +We would like to thank the authors of these packages for generously agreeing to allow their +contributions to be included in the main \musixtex{} package. + +We have left the remainder of this manual largely as Daniel Taupin left it, +except we have updated various references and provided dynamic links to +archived versions where possible. + +This documentation is rather technical and is probably not the best way to +begin typesetting music. If you are a beginner, you should visit the +software section of the +\href{http://icking-music-archive.org/software/indexmt6.html} +{\underline{Werner Icking Music Archive}}. +In particular, we recommend +\href{http://icking-music-archive.org/software/pmx/pmxccn.pdf} +{\underline{Cornelius Noack's tutorial}}. It contains helpful information for +getting started with \musixtex, as well as a tutorial for \textbf{PMX}, a +preprocessor for \musixtex\ with a much simpler input language, and a brief +introduction to \textbf{M-Tx}, a preprocessor for \textbf{PMX}~which eases +the inclusion of lyrics. + +\bigskip + +\begin{flushright} +In the name of the community, Olivier Vogel +(\href{mailto:oliviervogel@freesurf.ch}{\url{oliviervogel@freesurf.ch}}), +July 30, 2005 +\end{flushright} -Sections marked with a star, or paragraphs marked ``???'' or ``.!.'', indicate -either that text is partly missing, or that something might change at a -next release. +%\clearpage + +\chapter*{Preface to Version T.114} +%\thispagestyle{empty} + +In order to expedite the release of version T.113 of \musixtex, only the most +essential modifications were made to the manual. With version T.114 the manual +has been extensively edited from cover to cover. Some material has been +rearranged, and references to \musictex, the immediate predecessor to +\musixtex, have been removed. The software itself remains +very stable. Only the slightest changes have been made since version T.113. + +It remains true that this is the definitive reference to all features of +\musixtex, but also that it is not the best place for a novice user to start. +The \href{http://icking-music-archive.org/software/indexmt6.html} +{\underline{Werner Icking Music Archive}}\ contains excellent and detailed +instructions for installing \musixtex{} and the strongly recommended +preprocessors \textbf{PMX} +(for instrumental music) and \textbf{M-Tx} (for vocal) under +\href{http://icking-music-archive.org/software/musixtex/musixtex-for-unix.html} +{\underline{Linux/\unix}} or +\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf} +{\underline{Windows 2000}}. Once the software is installed, most common +music typesetting tasks can be accomplished entirely by using one of these +preprocessors to generate the \musixtex\ input file, relieving the user of +learning any of the commands or syntax of \musixtex\ itself. It is only +for out-of-the-ordinary constructions that one must learn these details, so he +may insert the necessary \musixtex\ commands into the preprocessor's input file +as so called inline \TeX. +\href{http://icking-music-archive.org/software/pmx/pmxccn.pdf} +{\underline{Cornelius Noack's tutorial}} is an important resource which, +in addition to gently introducing the +novice to \textbf{PMX} and \textbf{M-Tx}, gives further details on installing +Postscript slur facilities. + +\begin{flushright} +Don Simons, Andre van Ryckeghem, Cornelius Noack, August 30, 2005 +\end{flushright} - \smallskip - \noindent{\bf Remarque, Bemerkung, Cuidado, etc.:} If you have problems -understanding technical musical terms in english, please look at: +\clearpage -\begin{center} ftp://ftp.gmd.de/music/lists/glossary/glossary.ps \end{center} -which gives the translation of most terms into French, German, Dutch, Danish -and Swedish. This file {\tt glossary.eps.gz} is also included in the -distribution. -\index{glossary}\index{glossaire}\index{lexique}\index{traduction}\index{dictionnaire} +%\pagenumbering{roman} +\renewcommand{\baselinestretch}{.8}\footnotesize\normalsize +\tableofcontents \setcounter{secnumdepth}3 +\renewcommand{\baselinestretch}{1}\footnotesize\normalsize - \smallskip\hrule\medskip +%avrb page 4 was on top +\clearpage +%avre - \musixtex\ is a set of \TeX\ macros to typeset polyphonic, orchestral or -polyphonic music. Therefore, it is mainly supposed to be used to type wide -scores -- just because true musicians seldom like to have to frequently turn -pages -- and this is not really compatible with \LaTeX's standard page -formats. Even with \verb|A4.sty|, the \verb|\textheight| and \verb|\textwidth| -are too small for musician needs. +\setcounter{page}{1} +\pagenumbering{arabic} +\renewcommand{\thepage}{\arabic{page}} +\pagestyle{headings} -However, a \LaTeX\ style has also been provided (and it is used for the -typing of the present paper) but this \verb|musixtex| style is fit for -musicographic books rather than for normal scores to be actually played. - It should be emphasized that \musixtex\ is not intended to be a -compiler which would translate some \ixem{standard musical -notation}s into \TeX\, nor to decide by itself about aesthetic problems in music typing. -\musixtex\ only typesets staves, notes, chords, beams, slurs and ornaments as -requested by the composer. Since it makes very few typesetting decisions, -\musixtex\ appears to be a versatile and rather powerful tool. However, due -to the important amount of information to be provided to the typesetting -process, coding \musixtex\ might appear to be as awfully complicated as -the real keyboard or orchestral music. It should therefore be interfaced by -some pre-compiler in the case of the composer/typesetter wanting aesthetic -decisions to be automatically made by somebody (or something) else. -% -%\footnote{A short description to all known compilers for \musixtex\ can be -%found on page \pageref{compiler}f.}. -\section{\musixtex\ principal features} - %\check - \subsection{Music typesetting is two-dimensional} Most people who have just -learned a bit of music at college, probably think that music is a linear -sequence of symbols, similar to literary texts to be \TeX-ed. On the contrary, -with the exception of strictly monodic instruments like most orchestral wind -instruments and solo voices, one should be aware that -reading music is actually a matricial operation: the non-soloist musician -successively reads \ital{columns} of simultaneous notes which he -plays if he is a pianist, clavichordist or organist, which he reads -and watches if he -conducts an orchestra, and which he is supposed to check and partially play -when he is a soloist who wants to play in time with the accompanying -instrument or choir. - - In fact, our personal experience of playing piano and organ as well as -sometimes helping as an alternate Kapellmeister leads us to think that music -reading and composing is actually a slightly more complicated intellectual -process: music reading, music composing and music thinking seem to be a three -layer process. The musician usually reads or thinks several consecutive notes -(typically a long \ital{beat} or a group of logically connected notes), then -he goes down to the next instrument or voice and finally assembles the whole -to build a sequence of music lasting roughly a few seconds. He then proceeds -to the next \ital{beat} or \ital{bar} of his score. - - Thus, it appears that the humanly logical way of coding music consists +\chapter{Introduction to \musixtex} + +This chapter is not a tutorial on the use of \musixtex, but instead serves as +an overview of some of its capabilities, quirks, and history. + +\musixtex\ is a set of \TeX\ macros which enables the typesetting of music with +systems of up to twelve staves. It requires as a prerequisite a working +installation of \TeX\footnote{See section \ref{installation}~for guidance on +installing \TeX.}. +\musixtex\ might be regarded as the digital equivalent of a box of type. It +contains symbols for staves, notes, chords, beams, slurs and ornaments, +ready to be arranged to form a sheet of music. But it must be told how to position +those symbols on the page. This could be done by the typesetter +himself, if he elects to proceed by entering \musixtex\ commands manually +into an input file. However most users will find it far less taxing to let +such decisions be made largely by the preprocessor +\href{http://icking-music-archive.org/software/indexmt6.html#pmx} +{\underline{\textbf{PMX}}}, which in addition uses a much simpler input +language than \musixtex. + +Lyrics can also be handled by \musixtex. There is a set of primitive +commands for this which are described later. But there is also a far +more adaptable set of macros contained in the extension file +\verb|musixlyr.tex|, and there is the preprocessor +\href{http://icking-music-archive.org/software/indexmt6.html#mtx} +{\underline{\textbf{M-Tx}}}\ which provides easy, transparent access to +these macros. + +Most users of \TeX\ are familiar with \LaTeX, a set of \TeX\ macros +which eases document layout. In fact many may only use \LaTeX. +Until recently, \LaTeX\ and \musixtex\ coexisted only grudgingly, owing +primarily to the limited availabily of storage registers. But with modern +versions of \TeX\ and with the use of e\LaTeX, only a modest increase in +complexity is incurred with the addition of musical excerpts to a \LaTeX\ +document. Still, fortunately, for typesetting a musical score there is +rarely if ever any advantage to using \LaTeX. Only if one wanted to create a +text document with embedded musical examples would there be much use for it. +Even in that case there is a perfectly fine way to avoid using \musixtex\ +directly in the document file, namely, by using \musixtex\ to create +\verb|eps| files for +each of the examples, then embedding references to those in the file for +the book. But for anyone who still wants to use both together, there is +no better example than this manual, as generated with the files +\verb|musixdoc.tex| and \verb|musixdoc.sty|. A few further details about such +nonstandard applications are given in section \ref{excerpts}. + +\section{Primary features of \musixtex} + \subsection{Music typesetting is two-dimensional} Written music is not +usually a linear sequence of symbols like a literary text. Rather, +except for unaccompanied single-note instruments like clarinets, +trumpets and human voices, it has the form of a two-dimensional matrix. + Thus, a logical way of coding music consists in horizontally accumulating a set of \ital{vertical combs} with -\ital{horizontal teeth} as described in Table \ref{readtable}. +\ital{horizontal teeth} as depicted in Table~\ref{readtable}. \def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}} \begin{table} \begin{center} +%avrb + \small + %avre \begin{tabular}{|ll|ll|}\hboxit{note sequence one} &\hboxit{note seq.\ four} &\hboxit{note seq.\ seven} @@ -207,116 +316,114 @@ in horizontally accumulating a set of \ital{vertical combs} with &\hboxit{note seq.\ twelve}\\ \end{tabular} \end{center} - \caption{The order in which a musician reads music}\label{readtable} + \caption{A logical way of coding music}\label{readtable} \end{table} -This is the reason -why, in \musixtex\ the fundamental \ital{macro} is of the form +Accordingly, in \musixtex\ the fundamental macro used to represent +one of those vertical combs (or one of the columns in Table~\ref{readtable}) +is of the form \begin{center} -\verb|\notes ... & ... & ... \enotes|\footnote{Also -available for \keyindex{enotes} is the abbreviation \keyindex{en}.} +\verb|\notes ... & ... & ... \enotes|\footnote{The abbreviation +\keyindex{en} can be used in place of \keyindex{enotes}.} \end{center}\index{\&} \noindent where the character \verb|&| is used to separate the notes to be -typeset on respective staffs of the various instruments, starting from the +typeset on respective staves of the various instruments, starting from the bottom. In the case of an instrument whose score has to be written with -several staffs, these staffs are separated by the +several staves, they are separated by the character \|. \index{"|@{\tt\char'174}} Thus, a score written for a keyboard instrument and -a monodic instrument (for example piano and violin) +a single-line instrument (e.g., piano and violin) will be coded as follows: \begin{center} \verb=\notes ... | ... & ...\enotes= \end{center} \noindent for each column of simultaneous \ital{groups of notes}. -It is worth emphasizing that we actually said \ital{``groups of notes''}: -this means that in each section of the previous macro, the music typesetter is -welcome to insert, not only chord notes to be played at once, but small -sequences of consecutive notes which build something he understands as a -musical phrase. This is why note typing macros are of two kinds in \musixtex, -namely the note macros which are not followed by spacing afterwards, and those -which induce horizontal spacing afterwards. - \subsection{The spacing of the notes} It seems that many books have dealt -with this problem. Although it can lead to interesting algorithms, we think it -is not an important point in practice. - -In fact, each column of notes has not necessarily the same spacing -and, in principle, this \itxem{spacing} should depend on the shortest -duration of the simultaneous notes. But this cannot be established as a rule, -for at least two reasons: -\begin{enumerate} - \item spacing does not depend only on the local notes, -but also on the context, at least in the same bar. - \item in the case of polyphonic music, exceptions can easily be found. -Here is an example: - -\begin{music} -\generalmeter{\meterfrac44} -\startextract\NOtes\zhu j\ql h\hl g\hu k\ql f\enotes\endextract -\end{music} -\noindent where it can be clearly seen that the half notes at beats 2 and 3 -must be spaced as if they were quarter notes since they overlap, which is -obvious only because of the presence of the indication of the -\itxem{meter} 4/4. -\end{enumerate} -So the typesetter has to take care of good readable spacings on his own. -Therefore, we preferred to provide the composer/typesetter with a -set of macros which can be found in \ref{newspacings}. - \subsection{Music tokens, rather than a ready-made generator} -The tokens provided by \musixtex\ are: -\begin{itemize} - \item the note symbols \ital{without stem}; - \item the note symbols \ital{with stems, and hooks for eighth notes and -shorter}; - \item the indication of beam beginnings and beam ends; - \item the indication of beginnings and ends of ties and slurs; - \item the indication of accidentals; - \item the ornaments: arpeggios, trills, mordents, pinc\'es, turns, staccatos -and pizzicatos, fermatas, etc.; - \item the bars, the meter and signature changes, etc. +Each of those groups, represented by a single box in Table~\ref{readtable}\ +and by a sequence of three dots in the the two example macros above, may contain +not only chord notes to be played simultaneously, but short sequences of +consecutive +notes or chords. As we'll soon see, this implies the need for two fundamentally different +kinds of elemental macros in \musixtex, those that are automatically followed +by some amount of space (called \ital{spacing macros}, and those that are not. +The former type, for example, +would be used to represent all the notes and rests in a single-line score. +The latter would be used for example for chord notes and ornaments. + +\subsection{Horizontal spacing} +Deciding upon the proper horizontal spacing of notes is a very complicated matter +that we will not address in any detail here. Obviously short-duration notes +should be closer together than longer ones. Almost as obviously, the spacing +cannot be linearly proportional to the duration; otherwise for example a whole +note would occupy 32 times as much horizontal space as a thirty-second note. And +in polyphonic scores the spacing in one staff is often influenced by the notes +in another. This is a decision that the typesetter or preprocessor +must make. Once the decision is made, \musixtex\ can provide the desired spacing. +The main mechanism is through a set of macros described in +section~\ref{newspacings}. At this point we shall only mention that to control +spacing, one of those +macros will be selected to replace the symbol \verb|\notes| in the two examples +above, and it will imply that whenever a spacing macro in encountered within +a group of notes, a +certain specific amount of horizontal space will be inserted. + + \subsection{Music tokens} +The tokens provided by \musixtex\ include +\begin{itemize}\setlength{\itemsep}{0ex} + \item note symbols without stems; + \item note symbols with stems, and flags for eighth notes and +shorter; + \item beam beginnings and endings; + \item beginnings and endings of ties and slurs; + \item accidentals; + \item ornaments: arpeggios, trills, mordents, turns, staccatos, +pizzicatos, fermatas, etc.; + \item bar lines; + \item meters, key signatures, clefs. \end{itemize} - Thus, \verb|\wh a| produces an \ital{A (of nominal frequency 222.5~Hz, -unless transposed)} of duration being a -\ital{whole note}. In the same way, \verb|\wh h| produces an \ital{A -(445~Hz)} of duration represented by a \ital{whole note}, \verb|\qu c| -produces a \ital{C (250~Hz approx.)} whose value is a \ital{quarter note with -stem up}, \verb|\cl J| produces a \ital{C (125~Hz approx.)} of -duration equal to an \ital{eighth note with stem down}, etc. - - To generate quarter, eighth, sixteenth, etc. chords, the macro \keyindex{zq} -can be used: it produces a quarter note head, the vertical position of which -is memorized and recalled when another stemmed note (possibly with a hook) is -coded; then the stem is adjusted to link all simultaneous notes. Thus, the -perfect C-major chord, i.e. -\begin{music} -\startextract\NOtes\zq{ceg}\qu j\en\endextract +\smallskip + + Thus for example, \verb|\wh a| produces a whole note at nominal frequency 222.5~Hz, +\verb|\wh h| produces one an octave higher, \verb|\qu c| +produces an up-stemmed quarter note C (250~Hz), and \verb|\cl J| produces a down-stemmed C +eighth note an octave lower. + + To generate chords with solid note heads, the macro \keyindex{zq} +can be used. It produces a solid note head at the specified pitch, +the vertical position of which +is memorized and recalled whenever the next stemmed note (possibly with a flag) is +coded. The stem length is automatically adjusted to link all simultaneous notes. Thus, the +C-major chord + +\begin{music}\nostartrule +\startextract\NOtes\zq{ceg}\qu j\en\zendextract \end{music} - \noindent is coded \verb|\zq c\zq e\zq g\qu j| or, in a more concise way, -\verb|\zq{ceg}\qu j| (stem up): in fact, single notes are treated\dots\ like -one-note chords. - %\check + \noindent is coded \verb|\zq c\zq e\zq g\qu j| or more concisely, +\verb|\zq{ceg}\qu j|. Here the \verb|u| in the spacing note macro +\verb|\qu| is what causes the upstem. \subsection{Beams} -\ital{Beams}\index{beams} are generated using macros which define their -beginning (at the current horizontal position), together with their altitude, -their direction (upper or lower), their multiplicity, their slope and their -reference number. This latter feature -- the reference number -- appears to -be necessary, since one may want to write beams whose horizontal extents -overlap: therefore, it is necessary to specify which beam the notes belong to -and which beam is terminated at a given position. +Each beam \index{beams} is generated by a pair of macros. The first defines +the beginning horizontal position (implicitly the current position), altitude, +direction (upper or lower), multiplicity (number of lateral bars), slope and +reference number. This latter feature is needed so independent beams +can overlap. The second macro of the pair specifies the termination +location (again implicitly) and the reference number. + \subsection{Setting anything on the score} A general macro (\keyindex{zcharnote}) provides a means of -putting any sequence of symbols (in fact, some \verb|\hbox{...}|) at any -pitch of any staff of any instrument. Thus, any symbol defined in a font -(letters, math symbols, etc.) can be used to typeset music. +putting any sequence of symbols (possibly contained in an \verb|\hbox{...}|) at any +pitch of any staff of any instrument. This allows any symbol defined in a font +(letters, math symbols, etc.) to be placed in the score at a position keyed +to the music both in time (horizontally) and pitch (vertically) on the staff, \section{A simple example} - Before giving more details, we give below an example of the two first + Before going into more detail, we give below an example of the two first bars of the sonata in C-major KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc Mozart, W.A.}}: \begin{music} -\parindent10mm +\parindent11mm \setname1{Piano} \setstaffs12 \generalmeter{\meterfrac44} @@ -327,11 +434,11 @@ Mozart, W.A.}}: \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 +\zendextract \end{music} - The \ital{coding} is set as follows: + The coding is as follows: \begin{quote}\begin{verbatim} -\begin{music} +\begin{music}\nostartrule \parindent10mm \instrumentnumber{1} % a single instrument \setname1{Piano} % whose name is Piano @@ -344,63 +451,88 @@ Mozart, W.A.}}: \Notes\ibu0f0\qb0{dgf}|\qlp i\en \notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\endextract % terminate excerpt +\zendextract % terminate excerpt \end{music} \end{verbatim}\end{quote} -\begin{itemize} +\begin{itemize}\setlength{\itemsep}{0ex} \item \verb|\ibu0f0| begins an upper beam, aligned on the \ital{f}, reference number 0, slope 0 \item \verb|\tbu0| terminates this beam before writing the second \ital{g} by means of \verb|\qb0g| \item \verb|\qb..| indicates a note belonging to a beam. \item \verb|\sk| sets a space between the two quarters in the right -hand, so that the second is aligned with the third eighth of the left hand. - \item\verb|\qlp| is a quarter with a point. +hand, so that the second one is aligned with the third eighth in the left hand. + \item\verb|\qlp| is a dotted quarter note. \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C} -(\verb|j| at this pitch) of slope 15\%. +(\verb|j| at this pitch) with slope 15\%. \end{itemize} \section{The three pass system} \TeX's line-breaking procedure implicitly assumes that a normal line of text will contain many words, so that inter-word glue need not stretch or shrink too much to justify the line. -This strategy does not work very well for music. If each bar of music -is treated as a word, in the sense that inter-bar glue is placed -at the end of each bar, then the usual result is the appearance of -unsightly gaps before each bar rule. This follows naturally from the -fact that the number of bars per line is normally many fewer -than the number of words in a line of text. - -To address the above aim, a three pass system was developed. -On the first pass, information about each bar is written to -an external file, by default \verb|jobname.mx1|. -This file begins with a header listing parameters -such as line width, paragraph indentation, clef, sign and meter widths, -and the first-pass elemental spacing \keyindex{elemskip}. -Width information within the bars is classified either as ``soft'' or ``hard'': -``soft'' widths are those amenable to subsequent rescaling (e.g. a note box), -while ``hard'' widths represent unscalable material such as clef symbols, -key signatures and bar rules.\index{soft width}\index{hard width} - -After the first pass, an external routine is run to -determine optimal values of the elemental spacing (\verb|\elemskip|) -for each line, so as to properly fill each line, and to lead to -the piece filling an integral number of lines. This routine was written +One might at first consider extending this to music, treating each bar like a +word with no stretchable internal space. But typically this would lead to unsightly +gaps before each bar rule, simply because the number of bars per line +is normally many fewer than the number of words in a line of text. +\musixtex\ needs a more sophisticated horizontal spacing algorithm +than is used in \TeX. + +To understand how \musixtex\ solves this problem, we have to +recognize two different kinds of horizontal space, \ital{hard}\ and +\ital{scalable}. Hard space is fixed and always represents the same +physical distance. +Examples of hard space are the widths of bar rules, clefs, +and key signatures. Scalable space can be stretched as needed. It +is what is normally used for the space after notes or rests. At the +outset it is only defined in a relative sense. In other words, +scalable spaces are defined as multiples of \verb|\elemskip|, an +initially undefined elemental spacing unit. For example, in \textbf{PMX}\ +all sixteenth notes +are typically assigned a scalable width of 1.41\verb|\elemskip|. +One main job of \musixtex\ is to compute the physical value of +\verb|\elemskip|, often expressed in points (72nds of an inch). +The correct value is that which makes all the scalable space on +a line just fill up what's not occupied by hard space. Obviously +it may vary from line to line. + +To this end a three pass system was developed. To start the +first pass on the file \verb|jobname.tex|, you would enter \verb|tex jobname|. +Information about each bar is written to +an external file named \verb|jobname.mx1|. +This file begins with a header containing parameters +such as line width and paragraph indentation. Then the hard and +scalable space is listed for each bar. +\index{scalable width}\index{hard width} + +The second pass, which is started with \verb|musixflx jobname|, +determines optimal values of the elemental spacing unit \verb|\elemskip| +for each line, so as to properly fill each line, and to spread +the piece nicely over an integral number of full lines. This routine was written in FORTRAN and now converted to C rather than \TeX, the main reason -being the lack of an array -handling capability in \TeX, and the concern that if such a routine -were added to \musixtex, storage problems might be exacerbated. +being the lack of an array handling capability in \TeX. -The resulting routine reads in the file \verb|jobname.mx1|, and writes its +\verb|musixflx| reads in the file \verb|jobname.mx1|, and writes its output to \verb|jobname.mx2|. The latter file contains a single entry for each line of music in the reformatted output. The key piece of information is the revised value of \keyindex{elemskip} for each line. -Next, the file is re-\TeX-ed. On this third pass, +Next, the file is \TeX-ed again, by entering \verb|tex jobname|. On this third pass, the \verb|jobname.mx2| file is read in, and the information -used as described above. +is used to physically define the final score and embed the +page descriptions into a \verb|dvi|\ file. -To give an easy example: after pass 1 you get the following output: +You may wonder how the same command can +cause something different to happen the second time it is issued. The explanation +is that \musixtex\ checks for the presence of \verb|jobname.mx2|. If it's +not present, the first pass is executed; if it is, the third pass. Obviously if +you've made some corrections that affect any horizontal spacing, you must remember +to delete the old \verb|jobname.mx2| and then rerun all three passes, or +build or use a batch script that does so. + +Here's an example. Here, no value for \verb|\elemskip| is explicitly specified, +so \musixtex\ assign a single, default value. After the first pass you might get +the following output: \begin{music} \hsize=100mm @@ -431,7 +563,11 @@ To give an easy example: after pass 1 you get the following output: \NOtes\qu c\qp\enotes \setdoubleBAR\raggedstoppiece \end{music} -After running \verb|musixflx| and \TeX-ing the second time you'll get: + +\noindent Note that the space after every quarter note is the same, and +that lines are not justified. +After running \verb|musixflx| and \TeX-ing the second time you'll +get: \begin{music} \hsize=100mm @@ -461,7 +597,12 @@ After running \verb|musixflx| and \TeX-ing the second time you'll get: \NOtes\qu c\qp\enotes \Endpiece \end{music} -which was coded as: + +\noindent Now \musixtex\ has determined a number of lines +(which is different from the original number), the lines are justified, +and if you look carefully you +can see that the space after quarters in the first line +is smaller than in the second. This example was coded as: \begin{verbatim} \hsize=100mm \generalmeter{\meterfrac24}% @@ -481,23 +622,27 @@ which was coded as: \NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar \NOtes\qu c\qp\en\Endpiece \end{verbatim} -The biggest advantage of using a 3-pass system is the very easy and fast -alteration to the layout which is possible, especially of a long masterpiece, -by changing only one parameter, namely \keyindex{mulooseness}. This value -acts analogous to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you -end a paragraph and state \verb|\looseness=-1| somewhere inside, then -\TeX\ will try to make this paragraph one line shorter than it normally would. -\musixtex\ does the same, but instead for paragraphs, for \ital{sections}. -What is a \ital{section}? As long as you don't force a line break, this means -the whole piece. When you force a line break with either +One benefit of the 3-pass system is the quick and easy +alteration to the layout which can be achieved +by changing only one parameter, namely \keyindex{mulooseness}. This value +acts analogously to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you +state \verb|\looseness=-1| somewhere inside any paragraph, then +\TeX\ will try to make the paragraph one line shorter than it normally would. +With \verb|\mulooseness|, \musixtex\ does the same, but for \ital{systems} +and \ital{sections} rather than lines and paragraphs. A system is just a group of +staves treated as a unit, and in this discussion is analogous to a line of text. +What is a \ital{section}? It's any chunk of coding not containing a +forced system break, System breaks can be forced with \keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece}, \keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne} -\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage} you start a -new \ital{section}. Somewhere\footnote{Advisably, at the beginning or +\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage}. If none +of these is present, the section comprises the whole piece. +Somewhere\footnote{Advisably, at the beginning or at the end of the section, for the sake of clarity.} -before the end of the \ital{section}, you can change the value of -\keyindex{mulooseness} to something different from the default of 0. +before the end of the section, you can change the value of +\keyindex{mulooseness} to something different from the default of 0, and +\musixtex\ will typeset that section with a different number of systems. To give an easy example, changing the last line in the previous example to: \begin{verbatim} @@ -533,12 +678,12 @@ yields: \NOtes\qu c\qp\enotes \mulooseness1\Endpiece \end{music} -or: + +\noindent On the other hand, \begin{verbatim} \NOtes\qu c\qp\en\mulooseness=-1\Endpiece \end{verbatim} -yields (a little bit tight, but only for the sake of -demonstration of \keyindex{mulooseness}): +yields \begin{music} \hsize=100mm @@ -568,56 +713,72 @@ demonstration of \keyindex{mulooseness}): \NOtes\qu c\qp\enotes \mulooseness-1\Endpiece \end{music} -Here is the fastest way to get a satisfactory output: + +\noindent which is tighter than you would ever want, but serves to further +demonstrate the use of \keyindex{mulooseness}. + +If you want to build up a \musixtex\ input file +manually (which in fact very few users will ever need to do, considering the +availability of \textbf{PMX}), here is a roadmap for one way to proceed: \begin{enumerate} - \item build up the piece bar\footnote{Or two or three, -whatever you prefer.} by bar. Pay much attention to correct spacings, and go -on only when you are really satisfied with them. + \item Enter the data one \verb|\notes| group at a time, taking care to select the +relative horizontal spacing for each group (via the macros discussed in section~\ref{newspacings}) +so as to maintain a consistent relationship between scalable space and note durations. +This will be discussed in a great deal more detail in Chapter 2. \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX. \item Look at the output and decide if you want to have more or fewer -systems lines, e.g.~to fill the page or to get an even number of +systems, e.g.~to fill the page or to get an even number of pages.\index{musixflx@{\tt musixflx}} - \item Adjust \keyindex{mulooseness}. However, {\large\bf beware~:} -\verb|\mulooseness| increases the target number of lines by its value. This is -of no serious trouble for large pieces, but if you say \verb|\mulooseness=3| -in a piece or in a section which only has 3 bars (three in the musical sense, -i.e. two \verb|\bar| in the text), then {\tt musixflx} will not be able to split -3 bars into 4 lines... and it will hopefully result in a diagnostic by {\tt -musixflx}, but possibly also in an arithmetic fault... - \item Delete the \verb|jobname.mx2| and again\\ -\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX -\quad\ital{(For hackers: watch the difference in {\tt jobname.mx1}!)} -\end{enumerate} - -\begin{remark} -Instead of looking at the output of the previous run and modifying the -number of systems using \keyindex{mulooseness} one can directly specify -the number of lines in a section by assigning a positive number to -\keyindex{linegoal}. Use \keyindex{linegoal} in the same way as -\keyindex{mulooseness} somewhere in a section, preferable at start -or end. \keyindex{mulooseness} must be zero for \keyindex{linegoal} -to work. Both are automatically set to zero after processing the end -of a section e.g. by \keyindex{stoppiece}. \keyindex{linegoal} -requires the latest version of musixflx (0.83). -\end{remark} - - \noindent If you have really followed this step by step, then your whole -layout will be ready and you will not have to generate \verb|jobname.mx2| -again. This only holds as long as you don't change any spacings. - -If you get the warning: \verb|You can't use \raise ...|, than read the upper -paragraph again and follow the instruction of point 5. - -There are some more advantages. Without using \ital{glue}, -every horizontal position in a line can be computed. This enables using, -e.g.~octave lines, without specifying a dimension, but by saying -\verb|\i...| and \verb|\t...|. + \item If you want to change the number of systems in a section, adjust +\keyindex{mulooseness} accordingly. Keep in mind that each section cannot have fewer +systems than bars. +\item Delete \verb|jobname.mx2| and repeat the process\\ +\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX. +\end{enumerate} - \subsection{External executable {\tt musixflx}} -One drawback affecting portability between computers is the executable -{\tt musixflx}\index{musixflx@{\tt musixflx}}. We are still searching for -people who are able to compile the C-source and maintain it. +There is an alternate way to proceed if you know at the outset +how many systems +you want in a section. You can specify it directly by assigning a +positive number to \keyindex{linegoal} somewhere within the +section (\verb|\linegoal| requires +version 0.83 or later of \verb|musixflx|). +\keyindex{mulooseness} must be zero +for \keyindex{linegoal} to work. Both are automatically reset to +zero after processing the end of a section e.g. as defined by +\keyindex{stoppiece}. + +Finally, for large scores (more than 4 pages or so), having +only one section and an overall value of \verb|\mulooseness| becomes +impractical since one wants not only to have nicely spaced systems, but also +completely filled pages without empty top and +bottom margins on the last page. It is then wise to force the total number of +pages and possibly the line breaks in each page, which can be done using +\keyindex{alapage} and/or \keyindex{alaligne}\footnote{This is the technique +always used by \textbf{PMX} in constructing a \musixtex\ input file.}. +%avrb +%, or more automatically by +%means of the \keyindex{autolines} command borrowed from \musictex\ and +%implemented in the additional {\ttxem{musixcpt.tex}} file +%avre + +There is another advantage to \musixtex's way of using scalable space and +the three pass system. In +\TeX nical terms it eliminates the need for \ital{glue}, and enables +every horizontal position in a line to be computed. This in turn enables certain +variable length symbols such as slurs to be specified by macros entered at +their beginning and ending points, rather than having to estimate the +length of the symbol and enter it at the starting point. + + \subsection{External executable \texttt{musixflx}} +One issue that compromises portability between computers is the +need for the executable {\tt musixflx}\index{musixflx@{\tt +musixflx}}. +%avrb +To address this, the C source and compiled versions for various OS's are included in +\verb|musixtex.zip| and are available from the +\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. +%avre On most computers, the executable is invoked by typing the name of the program and the name of the file to be acted upon. \ital{i.e.} @@ -632,443 +793,375 @@ Optionally, you can add a letter to indicate one of the debug modes, which are: \end{quote} To allow for ease of use with a batch file, \verb|musixflx| can either be fed with \verb|jobname.mx1|, \verb|jobname.tex| or only -\verb|jobname|, all of which opens \verb|jobname.mx1|. - - \medskip For large scores (more than 4 pages approximately), having -only one section and an overall value of \verb|\mulooseness| becomes -impractical since one wants not only to have nicely spaced systems, but one -also usually wants to have completely filled pages to avoid empty top and -bottom margins on the last page. It is then wise to force the total number of -pages and maybe the line breaks in each page, which can be done by either using -explicit \keyindex{alapage} and \keyindex{alaligne}, or more automatically by -means of the \keyindex{autolines} command borrowed from \musictex\ and -implemented in the additional {\ttxem{musixcpt.tex}} file. - \subsection{Restrictions and warnings} If you have worked with \musictex\ -before, you must be aware that two main things have changed, namely the -spacing (and spacing commands) and the line breaking, see section~\ref{spacing}, -p.~\pageref{spacing} and section~\ref{linebreak} p.~\pageref{linebreak}. - - %\check - A serious practical problem concerns the effect of unrecorded spaces, such as -those created by source lines not ended by \verb|%| \index{%@{\tt\char37}} or -\keyindex{relax} or another control sequence ending in a letter. These will -result in the dreadful {\bf Overfull hbox} messages appearing during pass 3. +\verb|jobname|, any one of which will open \verb|jobname.mx1|. + + \subsection{Unrecorded spaces: the novice's bugaboo} + +Because of the way \musixtex\ accounts for hard and scalable space and avoids +using glue, it is absolutely essential that every horizontal space be +properly entered into the input file. The most common error in this regard +is including a blank space in the midst \ital{or at the end} of an input line. +Such a blank space, or for that matter any stray character not entered with +an appropriate \musixtex\ macro, will not be properly +recognized and recorded by \musixtex, but it will still be treated like +ordinary text by \TeX. The symptoms of such a transgression will be an +{\bf Overfull hbox} warning during the third pass, and the appearance of +either excessive blank horizontal space or thick black vertical lines in +the page image. \medskip \centerline{\boxit{Considerable discipline is needed to avoid this problem!}} -When you start using this software package, you will spend a lot of time -searching for the cause of over/underfull-hbox warnings, which will appear during -pass 3. You may ignore them during pass 1, -but \ital{you must} find their cause when they -appear during pass 3. - -In \musixtex\ there is no glue (only $\pm$ 1pt behind \verb|\writesignatures|), -so it works only if every space is recorded in the correct way. As a result, -never use -\verb|\hskip| or \verb|\kern| with the exception of \ital{zero}-boxes, like -\verb|\rlap|, \verb|\llap|, \verb|\zcharnote|, \verb|\uptext|, etc., or -(apparently) fixed length boxes like \verb|\hsong|. But that is not all---all -spacing commands\footnote{Except {\Bslash hardspace} which is an exception and has -the opposite purpose.} must be fed with scalable values -(\ital{e.g.} \verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip| and -\verb|\beforeruleskip|, optionally preceded by an integer or decimal number). - -\verb|musixflx| can't work if the values of \verb|\noteskip|, -\verb|\afterruleskip|, \verb|\beforeruleskip|, are directly assigned -``hard''\footnote{Hard values are all values which are not scalable} -values in between -\verb|\startpiece| and \verb|\stoppiece|\footnote{{\Bslash endpiece} has the -same meaning}.\index{hard spacing} - -These restrictions make it hardly compatible with most sources designed for -\musictex\footnote{Most examples provided by D. {\sc Taupin} in -\musictex's distribution can be run with \musixtex\ without serious -problems... However, they will eventually have to be corrected for the sake of -compatibility.}. Most of them have to be adjusted to get things going. - -Some values are much more important than in \musictex, -namely \verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip|. -The ratio between them is especially very important if you use -\keyindex{mulooseness} often to adjust the number of lines: -all of them are multiplied by the same factor in each section. - %\check - \subsection{\musixtex's laws} -\begin{enumerate} - \item Never have a line that doesn't finish either with a control sequence -or with a \verb|%| -inside of \verb|\startpiece...\stoppiece| +The best technique for avoiding such unpleasantness is to avoid entering +any nonessential blanks within input lines, and to end every +input line with either \verb|%|\index{%@{\tt\char37}} or +\keyindex{relax}, unless it already ends with a control sequence +ending in a letter. + +There are other ways to enter unrecorded space which should be +avoided. Between \verb|\startpiece| and \verb|\stoppiece| or +\verb|\endpiece|, never use \verb|\hskip| or \verb|\kern| except +within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|, +\verb|\zcharnote|, \verb|\uptext|, etc., and never assign hard +values to scalable dimensions like \verb|\noteskip|, +\verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip| +\footnote{Note that {\Bslash hardspace} does not fall in this +category; it is specifically designed to enter hard space in a way +the \musixtex\ can properly record it}. + +Here is a checklist of tips related to spacing issues. Because the +foregoing several paragraphs are so important, some of their content +is repeated in the list. -\begin{center} -\Large\bf !!! \musixtex\ forgives NOTHING !!! -\end{center} - (a space in the default font (using plain-\TeX) causes 3.33pt of unrecorded space, - but there is only $\pm$ 1pt of glue in \musixtex) - \item \verb|\off| must be used with relative values, like - \verb|\noteskip|, \verb|\elemskip|, \verb|\after[before]ruleskip| - \item \verb|\qsk| and \verb|\hqsk| are now scalable, e.g. \verb|\qsk| - doesn't mean exactly one note head width (it depends on \verb|\elemskip| - and \verb|flex_factor|) - \item Text of songs and any non-\musixtex\ text must be put in zero boxes, like - \verb|\zcharnote|, \verb|zchar|, \verb|rlap|, \verb|lrlap|, \verb|llap|, -\verb|uptext|, \verb|zsong...|. However, specific features are now provided, -namely \verb|\hardlyrics| and \verb|\hsong| (see \ref{lyrics}, +\begin{enumerate} + \item +Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|, +end every input line with a either \verb|%| or a command with no arguments +(including \verb|\relax|). + \item \verb|\off| must only be used with scalable values, e.g. +\verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip|, and + \verb|\beforeruleskip|. + \item Remember that \verb|\qsk| and \verb|\hqsk| are scalable, i.e. \verb|\qsk| + doesn't necessarily mean exactly one note head width (it depends on \verb|\elemskip|). + \item Lyrics and any other non-\musixtex\ text must be put in zero boxes +such as + \verb|\zcharnote|, \verb|\zchar|, \verb|\rlap|, \verb|\lrlap|, \verb|\llap|, +\verb|\uptext|, or \verb|\zsong|. Additional specific capabilities for entering +lyrics are provided by + \verb|\hardlyrics|, \verb|\hsong|, and---most significantly---the +text-emplacement macros defined in \verb|musixlyr.tex| (see \ref{lyrics}, p.~\pageref{lyrics}). - \item Don't touch either \verb|\noteskip| with hard values, - or \verb|\after[before]ruleskip| at all inside of - \verb|\startpiece (\debutmorceau) ... \stop[end]piece (\susp[fin]morceau)| + \item +Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|, +don't assign hard values to \verb|\noteskip|, \verb|\beforeruleskip|, +or \verb|\afterruleskip|. \end{enumerate} -\section{Some highlights} - %\check - \subsection{Signatures} -Signatures can be stated either for all instruments, for example by -\keyindex{generalsignature}\verb|{-2}| which sets two flats on each staff, or -separately for each instrument. - -Thus, the \keyindex{generalsignature} -can be partly overridden by -\keyindex{setsign}\verb|2{1}| which puts one -sharp on the staffs of \itxem{instrument number} 2. Of course, the -current signature may change at any time as well as the meters and clefs. - \subsection{Transposition} - An important question is: \ital{``can \musixtex\ transpose a score~?''}. -The answer is now 99.5~\% \ital{yes}. If fact, there is an internal register -named \keyindex{transpose} the default value of which is zero, but it may be -set to any reasonable positive or negative value. In that case, it offsets all -symbols pitched with letter symbols by that number of pitch steps. However, -it will neither change the signature nor the local accidentals, and if -- for -example -- you transpose a piece written in $C$ by 1 pitch, \musixtex\ will -not know whether you want it in $D\flat$, in $D$ or in $D\sharp$. This might -become tricky if accidentals occur within the piece, which might have to be -converted into flats, naturals, sharps or double sharps, depending on the new -chosen signature. To avoid this trouble, \ital{relative} accidentals -have been implemented, the actual output of which depends on the pitch of -this accidental and on the current signature.\index{relative accidentals} - %\check - \subsection{Selecting special instrument scores} -Another question is: \ital{``can I write an orchestral score and extract the -separate scores for individual instruments~?''} The answer is 95~\% -\ital{yes}: in fact, you can define your own macros -\verb|\mynotes...\enotes|, \verb|\myNotes...\enotes| with as many -arguments as there are in the orchestral score (hopefully this -is less than, or equal to -9, but \TeX perts know how to work around) and change its definition -depending on the selected instrument (or insert a test dependent -on the value of some -selection register). But the limitation is that the numbering of instruments -may change, so that \verb|\setsign3| may have to become \verb|\setsign1| if -instrument 3 is alone. But, in turn, this is not a serious problem for -average \TeX\ wizard apprentices. - %\check - \subsection{Variable staff and note sizes} - Although the standard staff size is 20pt, \musixtex\ allows scores of 16pt -and 24pt staff sizes. In addition, any instrument may have a special staff -size (usually smaller than the overall staff size) and special commands -\verb|\smallnotesize| or \verb|\tinynotesize| enable notes (and also beams or -accidentals) to be of a smaller size, in order to quote optional notes or -\ital{cadenzas}. - %\check -\section{How to get it} -Primary site is {\tt hprib.lps.u-psud.fr} (anonymous {\tt ftp}); say: - - \verb|cd pub/musixtex| - - \verb|mget musix*.tex| (to get the macros) - - \verb|cd /pub/musixtex/mf| - - \verb|mget *.mf| (to get the source of the fonts) - - \verb|cd /pub/musixtex/tfm| - - \verb|binary| - - \verb|mget *.tfm| (to get the font metrics) - -\noindent or: - - \verb|cd /pub/music\_zips| - - \verb|binary| - \verb|mget musix*.zip| (to get the zipped packages specific to \musixtex) - -\medskip\noindent Official mirrors are -the CTAN servers. To get it you have tou say: - - \verb|cd ctan| (to go to the CTAN server) - - \verb|cd macros/musixtex/taupin| - - \verb|binary| - - \verb|mget *.zip| (to get the zipped packages) - -\medskip The whole \itxem{distribution} can fit into a single 1.2Mbyte or -1.44Mbyte diskette. All sources (including fonts) are provided, -either separately or ``zipped''. - -{\sl REMARK: normally, the {\tt musixtex.zip} file expands into binary files -valid for any system, and text files (the \TeX{} and \MF{} sources) in the -\unix{} representation, namely with a ``LF'' character between each record. PC -users might complain that their own coding is ``CR+LF'' (``CR'' usually -appears as a ``{\tt \^{}M}''), but we checked that: - \begin{itemize} - \item the \ixem{MS-DOS} editor handles both denotations, - \item the ``emacs'' and ``microemacs'' also do, - \item the \TeX{} and \MF{} executable routines (et least the emTeX ones) -also accept both representations. - \end{itemize} - However, for the sake of compatibility, we now provide two routines for PC's, -namely {\tt dtou.exe} and {\tt utod.exe}, which convert text/source files -from/to the MS-DOS denotation to/from the \unix{} denotation. -} - - %\check -\section{Enhancements} - \subsection{Recent easy enhancements} Many enhancements have been asked for, -to the ``father'' of \musixtex, namely \musictex, and this is a proof that it -is considered as useful by many people. Some of these enhancements which -seemed hard were in fact rather easy to implement, for example small notes to -represent grace notes and cadenzas, or gregorian chant features. - - Some of them were more difficult, such as handling of lyrics now provided -since version T.40. - %\check - \subsection{Enhancement limitations} -Many requested improvements have not been -\ital{yet} implemented for several reasons: - \begin{itemize} - \item The authors' natural laziness (!) - \item More seriously: many of them would require using some more -registers; unfortunately, \TeX\ registers are not numerous (256 of each -kind and the limit of \keyindex{dimen} registers is nearly reached -(especially using \LaTeX), but we do our best). - \item We do not think it is wise to introduce in \musixtex\ itself a great -number of macros which would be poorly used by most users: the reason is that -\TeX\ memory and --- moreover --- \TeX\ registers are severely limited and that -unused macros may occupy many of these, leading to things crashing -because of \verb|TeX capacity exceeded|. - - Therefore, many additional library files are now provided, which may be -invoked or not, depending on the user's specific needs. Most of them are used -to compile this \LaTeXe\ manual... except the {\tt musixadd.tex} and {\tt -musixmad.tex}. - \end{itemize} +\section{Further highlights} %\check - \section{Acknowledgements} The idea of implementing the present package is -due to the previous work (\mutex)\index{mutex@\protect\mutex} of \mbox{Andrea -{\sc Steinbach}} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer -A., \ital{Theses} (1987, 1988), Rheinische Friedrich-Wilhelms Universit\"at, -Bonn, Germany.}. This work provided the basis of the Metafont codes which are -still used here... with 100\% corrections and updates.\index{Schofer, A.@{\sc -Schofer, A.}}\index{Steinbach, A.@{\sc Steinbach, A.}} - - - English language is progressively checked thanks to Cecil {\sc Churms} from -National Accelerator Center (South Africa). + \subsection{Key signatures} +A single key signature can be assigned to all \nolinebreak3 +instruments, for example by \keyindex{generalsignature}\verb|{-2}| +which sets two flats on each staff. \keyindex{generalsignature} +can be overridden for selected instruments, for example by +\keyindex{setsign}\verb|2{1}| which puts one sharp on each staff +of instrument number 2. Of course, the current signature as well +as meters and clefs may change at any time. +\subsection{Transposition} +With some extra attention, a score can be input in such a way that it is +fairly easily transposed. There is an internal register +called \keyindex{transpose}, the default value of which is zero, but which may be +set to any reasonable positive or negative value. It defines a number of pitch +steps (lines or spaces on a staff) by which all pitched symbols with be offset, provided +they have been entered with letter values to represent their pitch. +However, +it will neither change the local accidentals nor the key signature. + +For +example, suppose a piece were originally input in F major, and it contained a +B natural, and you wanted to transpose it to G. If you simply set +\verb|\transpose| to 1 with no other special considerations, then +the key signature would not change, and +the B natural would appear as a C natural, whereas it should be a C sharp. +So first you must explicitly change the key signature. Then, to +solve the problem with accidentals, you should declare +\verb|\relativeaccid|, which will cause the actual appearance of any +accidental to depend on the pitch of +the accidental as well as the current key signature. But the use of this +facility requires the typesetter to have entered the original set of accidentals +according to a nonstandard convention wherein an accidental does not +specifically refer to the black or white keys on a piano, but to the +amount by which the pitch is altered up or down from what it would naturally +have been, taking the key signature into account.\index{relative accidentals} This +is discussed in more detail in section~\ref{transposeaccids}. Now, finally, you +can enter \verb|\transpose=1| with more or less the desired effect. + +More or less, because there is also an issue with stem +and beam directions. Normally a typesetter would want full control over them, +and would exercise that control by entering them with macros that explicitly +assign the direction. Naturally the assigned directions would persist +even after changing \verb|\transpose|. With respect to stems of unbeamed notes, +this matter can also be addressed at +the input level, by using special macros for notes that leave the +decision about stem directions up to \musixtex. These macros do the right +thing in the face of transposition. They are discussed in +section~\ref{autostemdirections}. Unfortunately there is no corresponding +such facility for beams, so the typesetter will have to edit the transposed +score to adjust beam directions as required\footnote{\textbf{PMX} +will automatically adjust both stem and beam directions when transposing, which +is yet another reason to use it. However +if a piece is to be transposed, the typesetter must still explicitly activate relative accidentals +and enter accidentals according to the relative accidental convention.}. %\check -\chapter{Practical use} -\section{Heading statements} -Before any reference to \musixtex\ macros: - -\verb|\input musixtex|\footnote{It is highly recommended to build up a format. -If you don't know how to do, you can refer to the same instruction you -perhaps heard or read before: ``Ask you local \TeX-wizard.''. Otherwise -it might be a good idea to look at chapter \ref{installation} -(``Installation'') where some hints are given to build a \musixtex\ format -(ref{formatbuild}).} + \subsection{Extracting parts from a score} Another question is: +\ital{``Can I write a full score and then extract separate scores for +each individual instrument?''} + +The answer is yes, but only with a great deal of special attention---so much, +in fact, that we shall strongly recommend that if you want +to do this, you should use \textbf{PMX}, which makes the process +very easy. If for some reason you choose to ignore this advice, you may +refer to the details that were provided in the prior version of this manual, +\href{http://icking-music-archive.org/software/musixtex/mxdoc112.pdf} +{\underline{mxdoc112.pdf}}. + +%After assigning symbolic numbers to instruments, +%there are macros (see \ref{instrum-inhibit}) that permit +% \begin{itemize}\setlength{\itemsep}{0ex} +% \item choosing which instrument the following source code is attached to, +% \item choosing which staff of an instrument the following source code is +%attached to, +% \item hiding one or several instruments by zeroing out their staff sizes and staff +%numbers. +% \end{itemize} %\check - \noindent which may be followed by \verb|\input musixadd| in the case you -have more than six instruments or more than 6 simultaneous beams -or ties or slurs.\index{musixtex.tex@{\tt musixtex.tex}} -\index{musixadd.tex@{\tt musixadd.tex}} + \subsection{Staff and note sizes} + Although the standard staff size is 20pt, \musixtex\ allows scores with +sizes of 16, 24, or 29pt. Furthermore, any instrument may be assigned its own special staff +size (usually smaller than the overall staff size), and there are special macros +(e.g. \verb|\smallnotesize|, \verb|\tinynotesize|) that cause notes, beams, and +accidentals all to take a different size. + +\subsection{Add-in macro libraries} +During the early stages of \musixtex's development, common versions of \TeX\ itself were +very limited in capacity, especially in terms of the numbers of registers that could +be defined for use in macros. For this historical reason, many important enhancements +to \musixtex\ are available only via add-in libraries. The user can thus pick and choose +which to include for any particular compilation. Most of these are included in +\verb|musixtex.zip|, and their uses are discussed in this manual. The +libraries have names like \verb|blabla.tex|, and are activated by including a line +like \verb|\input blabla|\ within the the input file. The most common such files +are \ttxem{musixadd.tex} and \ttxem{musixmad.tex} which respectively increase the +number of instruments from the default 6 to 9 or 12 as well as increasing available numbers +of other features; \verb|musixps.tex| which enables Type K postscript slurs; and +\verb|musixlyr.tex| which greatly eases typesetting lyrics. In fact the latter two, +while now included in \verb|musixtex.zip|, are not documented in this manual but +in separate files inside \verb|musixtex.zip|, namely \verb|musixps.tex| itself and +\verb|mxlyrdoc.pdf| respectively. + +\section{Where to get the software and help using it} +The home base for all matters related to \musixtex\ is the +Werner Icking Music Archive, at +\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}. +The most up-to-date versions of \musixtex\ and friends are located in the +\href{http://icking-music-archive.org/software/indexmt6.html}{\underline{software}} +section of the archive. Assuming you already have \TeX\ and only want to install +\musixtex, the file you need to download will be named +\href{http://icking-music-archive.org/software/musixtex/musixtex.zip} +{\underline{\texttt{musixtex.zip}}} . Further details about +the installation process are given in section \ref{installation}. + +The Werner Icking Archive also hosts the +\href{http://icking-music-archive.org/mailman/listinfo/tex-music} +{\underline{\TeX-music mailing list}}, where you will always find +someone willing to answer questions and help solve problems. + + \section{A very brief history of \musixtex} +The idea of using \TeX\ to typeset music appears to have originated +around 1987 with the master's thesis of Andrea +{\sc Steinbach} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer +A., \ital{Automatisierter Notensatz mit \TeX}, master's thesis, +Rheinische Friedrich-Wilhelms Universit\"at, +Bonn, Germany, 1987}. They called their package +\mutex\index{mutex@\protect\mutex}. It was limited to a single staff. +It introduced two key concepts: (1) using +a large number of font characters to construct beams and slurs, and (2) using +\TeX\ glue to help control horizontal spacing and justification. + +The next major step came around 1991 when Daniel {\sc Taupin} created \musictex. +Its major enhancement was to allow multiple staves. But this came at a +price: some flexibility was lost in controlling horizontal spacing and +a great deal of trial and error became necessary to avoid excessive or +insufficient gaps before and after bar lines. + +\musictex\ was a single-pass system. To remedy its shortcomings it became clear +that a multi-pass system would be required. Around 1997 Dr. Taupin along with Ross {\sc Mitchell} +and Andreas {\sc Egler} created the first version of \musixtex. At last a fully +automatic procedure was coded so as to provide pleasing horizontal spacing in +multi-staff scores. + +Significant enhancements to \musixtex, which have already been mentioned, have been provided +by Stanislav {\sc Kneifl} (Type K postscript slurs) and +Rainer {\sc Dunker} (Lyrics handling via \verb|musixlyr.tex|). + +Since Dr. Taupin passed away in 2003, the primary maintainer of \musixtex\ has been +Olivier {\sc Vogel}, with substantial assistance from Andre {\sc Van Ryckeghem}, +Cornelius {\sc Noack}, and Don {\sc Simons}. + +No discussion of the history of \musixtex\ would be complete without mentioning +the contributions of Werner {\sc Icking}. From the early days of \mutex\ until +his untimely death in 2001, he served this line of software as its most prominent +proponent, beta tester, web site and mailing list editor, consultant, +problem solver, and inspiration for +many third-party enhancements including \textbf{PMX}. In fact he founded the +mailing list and the archive that now is named in his honor. The web site is +currently edited by Christian {\sc Mondrup}, the software page by Don {\sc Simons}, +and the mailing list by Maurizio {\sc Codogno}. - %\check - After that, you may write a complete book of \TeX\ provided that you do not -use \verb|&| as a tabulation character (its \keyindex{catcode} has been -changed) inside the music score and that you do not overwrite \musixtex's -definitions. This means that no special macros have been designed to help you -write titles, author names, comments, literature excerpts, etc., unless you -use \LaTeX\ with the \verb|musixtex| style.\index{\&} - %\check - \section{Before you -begin to write notes} - \subsection{Warnings for the non \TeX pert} -\begin{quote} %\check -When \TeX\ reads a parameter, it inputs one \ital{token}. This means -\ital{one} figure or \ital{one} character or \ital{one} -command\footnote{Syntactically, a \ital{command} is made of a +\chapter{Elements of \musixtex} +\section{Setting up the input file} +\subsection{What makes a \TeX\ file a \musixtex\ file?} +A \musixtex\ input file is a special kind of \TeX\ input file. What makes it +special is that it must contain the command +\verb|\input musixtex| +before any reference to \musixtex\ macros. After that might follow +\verb|\input musixadd| or \verb|\input musixmad| if you want to have +respectively more than six or nine instruments or simultaneous beams, +ties, or slurs.\ixtt{musixtex.tex}\ixtt{musixadd.tex}\ixtt{musixmad.tex} +Since it is still a \TeX\ file, after that, if you wished to, +you could write a whole non-musical book +using normal \TeX\ commands provided that you did not +use \verb|&| as a tab character like in plain \TeX\ (In \TeX\ lingo, +its \keyindex{catcode} has been changed). + + \subsection{Cautions for the non \TeX pert} +When \TeX\ reads anything, it inputs one \ital{token} at a time. A token +may be either a \ital{command} or a character. A command (or \ital{macro}, +or \ital{control sequence}) is a \ital{backslash} (``{\Bslash}'') immediately followed by sequence of -\ital{letters}.}. If you want to give more than one char or e.g. a negative -number(`-' is one token and a digit is one) or a command which reads another -parameter, then you have to use braces to transfer the parameter correctly. -For example, the command \verb|\meterfrac| reads two parameters; if you want -to declare a $\frac{8}{12}$ timing and you code: \verb|\meterfrac812|, then -you will get a $\frac{8}{1}$ timing and a misplaced ``\verb|2|''. The correct -coding is \verb|\meterfrac{8}{12}| or \verb|\meterfrac8{12}|. - - - %\check - The next problem is due to spaces. Spaces are ignored at the -beginning of a line. Spaces are ignored immediately behind a \TeX-command -(they indicate the end of that command unless \TeX\ finds characters which are -not \ital{letters}). All other spaces insert \ital{unexpected} space and -they will cause a lot of trouble during third pass. Same remark holds for end -of lines. Thus \verb|\bar| or \verb|\enotes| as last statement in current line -cause no trouble, because an end of line indicates to \TeX\ the end of a -command. - - %\check - If you state \verb|\qu g| and start a new line, then you get into trouble, but -if you say \hbox{\verb|\qu g%|\relax - $<new line><spaces>$}, you have no more problem -and this is better readable. - -If this sounds complicated, remember that \TeX\ was designed to typeset -text and not music... - - \end{quote} - %\check - \subsection{What you have to specify}\label{whatspecify} - \leavevmode - You should first specify whether you want to typeset music in ``normal'' size -(20pt\index{sizes} per staff) or ``small'' size (16pt) or ``large'' size -(24pt). This is only optional, the default setting is -\keyindex{normalmusicsize}. If you want the smaller size, then you have to -say\footnote{This sets up not only the size of staff, but also the elementary -spacing and the space behind the bar rule.} \keyindex{smallmusicsize}, -\keyindex{largemusicsize}, and \keyindex{Largemusicsize} to have the larger -sizes of 24pt and 28.8pt. - - - - Then, the first compulsory declaration is: - - \keyindex{instrumentnumber}\verb|{|$n$\verb|}| - - \noindent where $n$ is the number of instruments, used by -\musixtex\ to performs loops building staffs, setting signatures, meters, -etc. Therefore, it must be defined before any other statements. -If not then default value is one. An instrument -may consist of several staffs, e.g.~the piano. The difference between one -instrument of several staffs and several instruments is as follows: -\begin{itemize} - \item distinct instruments may have distinct \itxem{signatures}, distinct -staffs of a unique instrument share the same signature. - \item \itxem{stems} may be hung to \itxem{beams} belonging to differents -staffs of the same instrument. - \item \itxem{chords} may extend across several staffs of the same +letters with no intervening spaces. For practical purposes, any single symbol (letter, digit, +special character, or space) that is not part of a command counts as a character +and therefore as a token. + +Each command expects a specific number of parameters. +The tokens ``\verb|{|'' and ``\verb|}|'' are very special, in that (1) they +must occur in matched pairs, and (2) any matched pair together with +the stuff inside counts as a single parameter. +If the first +parameter expected is a single letter, it must either be +separated from the command by a space or +enclosed in braces (otherwise it would be interpreted as part of the command). +For example the command \verb|\ibu| expects three parameters, so the +following are all OK: \verb|\ibu123|, \verb|\ibu1A3|, \verb|\ibu1{`A}3|, +\verb|\ibu{1}{2}{3}|, \verb|\ibu1{-2}3|, or \verb|\ibu1{23}4|, but +\verb|\ibu1234| is not OK; the first three digits are taken as parameters, +leaving the ``4'' with no purpose other than to cause some of the dreaded +unrecorded space that we have already mentioned. + +In the rest of this manual, when describing commands we will write +things like \verb|\qb{|$n$\verb|}{|$p$\verb|}|. It should be understood that +when $n$ and $p$ are replaced by their literal values, the braces may +or may not be necessary. In particular, if both are single digits, no +braces are needed; but if $n$ has two digits, or if $p$ has more than +one character, they must be surrounded by braces. + +Spaces (blank characters) in the input file must be handled very carefully. +They are ignored at the beginning of a line, enabling logical +indentation schemes to help make the file human-readable. There are also a few +other places within lines where blank spaces are OK (such as mentioned in the prior paragraph), +but in general is it safest to avoid +any unnecessary blanks between the beginning and end of an input line. +At the end of a line, the truth is that a command with no parameters, such as +\verb|\bar| or \verb|\enotes| will cause no trouble. However if a command with +one or more parameters is the last item in an input line, it will cause +unrecorded space. The way around this is to end the line with either ``\verb|%|'' +or \verb|\relax|. + + \subsection{Usual setup commands}\label{whatspecify} + + The first decision is what size type to use. \musixtex\ offers four sizes: +``small'' (16-pt-high staves), ``normal'' (20pt),\index{sizes} ``large'' +(24pt), and ``Large'' (29pt). The default is +\keyindex{normalmusicsize}. If you want a different size, then you have to +enter \keyindex{smallmusicsize}, \keyindex{largemusicsize}, or +\keyindex{Largemusicsize}. Each of these commands defines not only the +desired staff size but many other related sizes such as note heads, ornaments, +stem lengths, etc. + + The command \keyindex{instrumentnumber}\onen~defines the +number of instruments to be $n$. If not entered, the default is 1. This number is used in loops +that build staves, +set key signatures, set meters, etc., so if it differs from 1 it must be explicitly +defined before any further commands. + +An instrument may have one or more staves (e.g.~a piano would normally have 2 staves). +The differences between one +instrument of several staves and several instruments with one staff each are as follows: +\begin{itemize}\setlength{\itemsep}{0ex} + \item Different instruments may have different \itxem{key signatures}, while different +staves of an instrument will all have the same key signature. + \item A \itxem{beam} may include notes in different +staves of the same instrument. + \item A \itxem{chord} may extend across several staves of the same instrument. - \item staffs of a unique \itxem{instrument} are tied together -with a big brace at the beginning of each line. + \item If an instrument has more than one staff, they will be linked together +with a big, curly brace at the beginning of each line. \end{itemize} - If the number of staffs is not -equal to one, this number must be specified by: - - \keyindex{setstaffs} $n$\verb|{|$p$\verb|}| - - \noindent where $p$ is the number of staffs, and where $n$ is the -number of the instrument considered (e.g.~\verb|setstaffs3| -for the 3rd instrument, starting from the bottom). - - %\check - Unless all your instruments only use the \ital{violin} clef, you -have to specify all the clefs used for all the instruments. This is done by -coding: - -\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%| - -\noindent where $n$ is the number of the instrument, $s_1$ is one figure -specifying the clef of the lower staff, $s_2$ the clef of the second staff, -etc. - - The value $s_1=0$ means the \ital{violin} clef (G clef or \itxem{clef de -sol} in French) for the lower staff, $s_2=0$ means the violin clef for the -second staff, etc. If $s_2$, $s_3$ or $s_4$ are omitted in the second argument -of the \verb|\setclef|, these staffs have de default clef, namely 0, i.e. the -violin clef. - - The values $s_1=1$ through $s_1=4$ -mean the \ital{alto} clef (\itxem{clef d'ut} in French) set on first (lower) -through fourth (next to upper) line of the staff. - - The value $s_1=5$ means the \ital{bass} clef at third (middle) line, -$s_1=6$ means the usual \ital{bass} clef (F clef or \itxem{clef de fa} in -French) at the usual fourth line, and $s_1=7$ means the \ital{bass} -(\itxem{subbass}) clef (F clef or \itxem{clef de fa} in -French) at the fifth line. - - The value $s_1=8$ is not used. - - The value $s_1=9$ means the \itxem{french violin clef}, an ancient feature -which sets the G clef (\ital{clef de sol} in French) at the fist line of the -staff. - - If remembering the digits associated with usual clefs seems too difficult, -one can also say - - \verb|\setclef{|$n$\verb|}{|\keyindex{treble}\verb|}| - -\noindent to get the \ixem{violin clef} on all staffs of the specified -instrument. In the same way the most used \itxem{alto clef} (alto clef on 3rd -line) can also be called with - - - \verb|\setclef{|$n$\verb|}{|\keyindex{alto}\verb|}| - -\noindent which sets the lower staff of thet instrument to the alto clef, but -sets other staffs above to the violin clef. -The usual \itxem{bass clef} on fourth line -can also be called with - - \verb|\setclef{|$n$\verb|}{|\keyindex{bass}\verb|}| - -\noindent {\sl IMPORTANT: the commands \verb|\alto| and \verb|\bass| only set -these clefs at the first staff. Other staffs still have the default value of -violin clef.} -As an example, a standard piano score -should include: - - \keyindex{setclef}\verb|1{\bass}%| \quad or\quad - \keyindex{setclef}\verb|1\bass| - -\noindent taking account of the fact that the bass clef is set on the lower -staff, but the upper one has the default value of violin clef. -If the signature is not void, one should code: - - \keyindex{generalsignature}\verb|{|$s$\verb|}| - -\noindent where $s>0$ indicates the number of \itxem{sharps} in the -signature and $s<0$ the number of \itxem{flats}\footnote{We have seen once a +The default number of staves per instrument is 1. If it is different, then it +must be specified by \keyindex{setstaffs}\verb|{|$n$\verb|}{|$p$\verb|}| +where $p$ is the number of staves and $n$ is the +number of the instrument. In \musixtex, instruments are numbered +\ital{starting with the lowest}. +So for example \verb|setstaffs32| +assigns two staves to the third instrument from the bottom. + + The default clef for every staff is the \ital{treble} clef. To assign +any other clef, the command is +\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}| +where $n$ is the number of the instrument, $s_1$ is a digit specifying the +clef for the first (lowest) staff, $s_2$ for the second staff, and so forth. +Note that like +instruments, staves of a given instrument are numbered starting with +the lowest. The parameters $s_2$, $s_3$ and $s_4$ can be omitted, in which case +any unspecified staves will be assigned a treble clef. + +The digits $s$ can range from 0 to 9, with the following meanings: +$s=0$ signifies treble or G clef. +$s=1$ to $4$ mean C-clef, respectively on the first (lowest) through fourth staff line. +$1$ is also called \ital{soprano}, $3$ \ital{alto} and $4$ \ital{tenor}. +$s=5$ to $s=7$ mean F-clef, respectively on the third through fifth staff line. $5$ is +also called \ital{baritone} and $6$ is the normal \ital{bass}. + $s=8$ is not used. +$s=9$ represents a G clef on the first line, also called \ital{French violin} clef. + +The three tokens \verb|\treble|, \verb|\alto|, and \verb|\bass| can be used instead +of a digit for $s$, but only if there would have been but one digit in the string. +So for example the clefs for a standard piano score +could be specified by +\keyindex{setclef}\verb|1{\bass}|. + +To set a common key signature for all instruments, use + \keyindex{generalsignature}\verb|{|$s$\verb|}|, +where $s>0$ is the number of \itxem{sharps} in the +signature and $s<0$ the number of \itxem{flats}\footnote{We once saw a score in G-minor where the signature consisted of two flats (B and E) plus -one sharp (F). This is not directly supported by \musixtex.} - - If a \itxem{meter} indication is to be posted, it should be -specified using the macro - - \keyindex{generalmeter}\verb|{|$m$\verb|}%| - - %\check - \noindent where $m$ is the description of the meter indication which should -appear on each staff. If it is a \ital{fraction} (e.g.~3/4) on should code - - \verb|\generalmeter{\meterfrac{3}{4}}%| - -\noindent or, in a simpler way (if the numbers are less than 10): - - \verb|\generalmeter{\meterfrac34}%| - -You can suppress the beginning vertical rule with saying \keyindex{nostartrule} -and restore the default with \keyindex{startrule} after that. - - Special denotations can be used, such as \keyindex{meterC}, +one sharp (F). This is not directly supported by \musixtex.}. To override +the common key signature for instrument $n$, use +\keyindex{setsign}\verb|{|$n$\verb|}{|$s$\verb|}|. Note that differing +key signatures cannot be assigned to different staves of the same instrument. + +A common \itxem{meter} for all staves can be specified by + \keyindex{generalmeter}\verb|{|$m$\verb|}|,\label{generalmeter} +where $m$ describes the appearance of the meter indication, and can take several +different forms. If the meter is a \ital{fraction} (e.g.~3/4) the command is + \verb|\generalmeter{|\keyindex{meterfrac}\verb|{3}{4}}|. +Other possible tokens~$m$ are \keyindex{meterC}, \keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve} and -\keyindex{meterplus}. +\keyindex{meterplus}. These are illustrated in the following example: %\check \begin{music} @@ -1083,10 +1176,10 @@ and restore the default with \keyindex{startrule} after that. \generalmeter\reverseallabreve\changecontext \NOTEs\zwq g\enotes \generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext -\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes +\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes\setemptybar \endpiece \end{music} -which was coded as: +\noindent which was coded as: \begin{quote}\begin{verbatim} \generalmeter\meterC \nostartrule @@ -1099,82 +1192,69 @@ which was coded as: \generalmeter\reverseallabreve\changecontext \NOTEs\zwq g\enotes \generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext -\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes +\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes\setemptybar \endpiece \end{verbatim}\end{quote} - However, not all music scores have the same meter in each staff. -Especially, some staffs may have \ital{ternary} meters while others have -\ital{binary}. This can be specified by using the \keyindex{generalmeter} macro -to set the meter for most of the scores and overriding it by: - -\keyindex{setmeter}\verb|2{{\meterfrac{12}8}\allabreve}%| - - \noindent which sets the meter to 12/8 for the first (lower) -staff, and \ital{alla breve} for the second staff of the instrument number 2. - -Sometimes it might be useful to insert additional space before the meter is -written. This is possible by assigning a value to \keyindex{meterskip} in the -preamble. It is reset to zero after first meter indication. - \subsection{Instrument names} If you want the \itxem{name of the instrument}s -(or the \itxem{name of the voice}s) to be displayed in front of their -respective staffs at the beginning, you may code: -\keyindex{setname} $n$\verb|{|\ital{name of the instrument}\verb|}%| - - %\check - \noindent where $n$ is the number of the instrument -considered. In this case, you should also adjust the \keyindex{parindent} -dimension so that the long name of an instrument does not spill too far into -the left margin. - \subsection{Polyphonic songs} -Except staffs of a unique instrument tied together with a big brace, staffs -normally begin on the left with a thin vertical rule. However, it is usual to -tie all human voices together with a left heavy and right thin vertical rule. - - \subsubsection{Case of only one choir} - In the usual case where you have only one choir, this can be specified -by: +To override the common meter for any staff, use +\keyindex{setmeter}\verb|{|$n$\verb|}{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}|.\linebreak +This works just like \verb|\setclef|. For example, +\verb|setmeter3{{\meterfrac{12}8}\allabreve}| +sets the meter to 12/8 for the first staff of the third instrument, and +\ital{alla breve} for the second staff. + +To insert extra space before the meter is +written, use \keyindex{meterskip}$d$ where $d$ is any hard \TeX\ +%dimension\footnote{{\Bslash\tt meterskip} is not a macro but a +dimension\footnote{{\tt\Bslash meterskip} is not a macro but a +dimension register. Whatever follows it +must be a \TeX\ dimension and {\it it must not be enclosed in braces}.}. +The assignment must occur outside \verb|\startpiece...\endpiece| and will be +reset to zero after first meter is posted. + +To set an \itxem{instrument name}, use +\keyindex{setname}\verb|{|$n$\verb|}{|\ital{name of the instrument}\verb|}|. +This will place the name in the space to the left of the +first staff or group of staves for instrument $n$. To specify the amount of space +available, use \verb|\parindent|$d$ where $d$ is any hard \TeX\ dimension. + \subsection{Groupings of instruments}\label{curlybrackets} +By default, all staves in a system will be joined +at the left by a thin, vertical rule. In addition, if an instrument has more than +one staff, they will be joined by a big, curly brace. Now we introduce a way +to delineate groups of instruments or choirs with a square brace containing two parallel +vertical rules, the left one thick and the right one thin. This is commonly used +to group together the voices in a choir. + +If there is only one choir, this can be done with \begin{quote} -\keyindex{songtop}\verb|{|$n$\verb|}|\\ +\keyindex{songtop}\onen\\ \keyindex{songbottom}\verb|{|$m$\verb|}| \end{quote} \noindent where $m$ and $n$ are the instrument numbers of the first -and last choral voices. Example is shown in \ref{song}. +and last voices. An example is shown in section~\ref{song}. - No heavy square brace is produced when the bottom instrument has a number -greater than the top one. This feature can be used to remove choir heavy -braces between distinct parts of the same score. - - \subsubsection{Case of several choirs or several orchestras} - Your may divide your instruments into up to three groups linked together with -a left square brace. Each of these groups is specified with: +If there is more than one choir to be set off with +square braces, each one can be specified with \begin{quote} \keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\ \keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}| \end{quote} \noindent where $m$ and $n$ are the instrument numbers of the first -and last choral voices of group number $g$. \musixtex{} allows up to three -groups, numbered from 1 to 3, plus the ``zero'' group consisting of the voices -or instruments which belong to no declared group. \verb|\songtop| is equivalent -to \verb|\grouptop 1| and \verb|\songbottom| is equivalent to +and last voices of group number $g$. \musixtex{} allows up to three +groups, numbered from 1 to 3. The command \verb|\songtop| is equivalent +to \verb|\grouptop 1|; \verb|\songbottom| is equivalent to \verb|\groupbottom 1|. - With {\tt musixadd.tex}, this number of groups is raised to four. - - This grouping feature can also be used to collect not only voices but also -instruments with one or several staffs. In that case the normal brace is -shifted left of the square havy brace. +With \ttxem{musixadd.tex}, the allowable number of groups is increased to four. - \subsection{Removing square choir braces} +If any of the instruments grouped this way has more than one staff, the +heavy curly brace will be shifted to the left of the square brace. - Previously defined square choir braces can be removed by stating a -\verb|\songtop| less than the \verb|\songbottom|. The same applies to -\verb|\grouptop| and \verb|\groupbottom| of the same group number. +Previously defined square braces can be removed by declaring +\verb|\songtop| less than \verb|\songbottom|. The same applies to +\verb|\grouptop| and \verb|\groupbottom| for the same group number. - \subsection{Specifying all brackets together} - - Alternatively, you can use the following command for specifying all -required brackets together: + An alternate command allows you to specify all choirs at once: \begin{quote} \keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|% @@ -1183,63 +1263,135 @@ required brackets together: \noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument numbers that denote the span of bracket number $n$. For setting fewer than three brackets, just omit all unneeded -\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs; -\verb|\akkoladen{}| cancels all brackets. - -Example: -\begin{quote} - \verb|\instrumentnumber{5} \akkoladen{{1}{2}{3}{5}}| -\end{quote} -yields:\par\nopagebreak +\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs. +For example, + \verb|\instrumentnumber{5}\akkoladen{{1}{2}{3}{5}}| +\noindent yields the first example below, with five single-staff instruments +divided into two groups. + +The second example has 2 instruments, the first (lower) with two staves and the +second with three. Each instrument is set off by default with a curly bracket. + +If for some reason you want more than one \ital{instrument}\ grouped +within a curly +bracket, then you can use the extension file +%\ttxem{curly.tex}\footnote{Submitted +\href{http://icking-music-archive.org/software/musixtex/add-ons/curly.tex} +{\underline{\ttxem{curly.tex}}}\footnote{Submitted +by Mthimkhulu {\sc Molekwa} to the mutex list}, which defines the command + + \keyindex{curlybrackets}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% + \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}...| + +\noindent to be used as illustrated in the third example below.\\ +\begin{minipage}[t]{50mm} \begin{music} % just to avoid wasting space ... - \smallmusicsize\setsize1\smallvalue\setsize2\smallvalue - \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue + \sepbarrules + \smallmusicsize +\setsize1\smallvalue\setsize2\smallvalue +\setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} - \startextract \hardspace{2cm}\zendextract + \startextract\notes\en\bar\notes\en\zendextract \end{music} -which was coded as: - +\begin{quote}is coded as: +\begin{verbatim} + \sepbarrules + \smallmusicsize + \setsize1\smallvalue + \setsize2\smallvalue + \setsize3\smallvalue + \setsize4\smallvalue + \setsize5\smallvalue + \instrumentnumber{5} + \akkoladen{{1}{2}{3}{5}} + \startextract + \notes\en\bar\notes\en + \zendextract +\end{verbatim}\end{quote} +\end{minipage} +\begin{minipage}[t]{50mm} +\begin{music} + \sepbarrules + \smallmusicsize +\setsize1\smallvalue\setsize2\smallvalue + \instrumentnumber2 \setstaffs12\setstaffs23 + \startextract \notes\en\bar\notes\en\zendextract +\end{music} +\begin{quote}is coded as: \begin{verbatim} - \smallmusicsize\setsize1\smallvalue\setsize2\smallvalue + \sepbarrules + \smallmusicsize + \setsize1\smallvalue + \setsize2\smallvalue + \instrumentnumber2 + \setstaffs12 + \setstaffs23 + \startextract + \notes\en\bar\notes\en + \zendextract +\end{verbatim}\end{quote} +\end{minipage} +\begin{minipage}[t]{50mm} +\begin{music} + \input curly + \sepbarrules + \smallmusicsize + \setsize1\smallvalue\setsize2\smallvalue + \smallmusicsize \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue - \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} - \startextract \hardspace{2cm}\zendextract -\end{verbatim} + \instrumentnumber5 %\setstaffs12\setstaffs23 + \curlybrackets{1235} + \startextract \notes\en\bar\notes\en\zendextract +\end{music} +\begin{quote}is coded as: +\begin{verbatim} + \input curly + \sepbarrules + \instrumentnumber5 + \smallmusicsize + \setsize1\smallvalue + \setsize2\smallvalue + \setsize3\smallvalue + \setsize4\smallvalue + \setsize5\smallvalue + \curlybrackets{1235} + \startextract + \notes\en\bar\notes\en + \zendextract +\end{verbatim}\end{quote} +\end{minipage} - %\check -\section{Starting your masterpiece} - \subsection{Typing the first system} -Just code -\keyindex{startmuflex} - -\noindent which opens the \ital{jobname}{\tt .mx1} during \TeX ing the first -time your masterpiece. All informations are now written to it. During pass 3 -it will be open for read in and all computed values are used to set the -lines\footnote{The files must be closed before leaving \TeX, preferably before + +\section{Preparing to enter notes} + \subsection{After the setup, what next?} + +The command \keyindex{startmuflex} initiates the serious business of +\musixtex. On the first \TeX\ pass it +opens \ital{jobname}{\tt .mx1} for writing bar-by-bar tabulations of all +hard and scalable space to be fed to \verb|musixflx| on the second pass. +\verb|musixflx| generates \ital{jobname}{\tt .mx2} which defines the +number of bars in each system and the factors relating scalable space +to hard space in each system. On the third pass both files will be opened +and read to define the final spacing. These files should be closed before +leaving \TeX, preferably before \keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\ -closes all open files on his own when terminating the program, but it is still -wiser to do this explicitly.}. +closes all open files on its own when terminating the program, but it is still +cleaner to do this explicitly. -\begin{remark} do not worry too much if you forget \verb|\startmuflex|; in -most cases --- since version T.39 --- the \verb|\startpiece| command will do -it, if necessary. Conversely, only the first \verb|\startmuflex| is effective, -the others are inefficient... for safety. \end{remark} +After \verb|\startmuflex|, the command \keyindex{startpiece} will initiate +the first system, containing all instruments you have previously defined. +The indentation will be \keyindex{parindent}, so if you want nonzero +indentation, this register should be set to the desired hard dimension +before issuing \verb|\startpiece|. -Then code + \subsection{Horizontal spacing commands}\label{newspacings} +\subsubsection{Basic note spacing} +\musixtex\ provides a set of macros each of which defines a particular +increment of scalable spacing. The default set is tabulated below: - %\check -\keyindex{startpiece} - -\noindent which will initiate (with indentation \keyindex{parindent}) -the first set of staffs for all instruments you have previously defined. But -that is not sufficient to begin writing notes and silences. In fact, you -must also choose the spacing of the notes. - \subsection{Easy selecting note spacing}\label{newspacings} -Therefore, we preferred to provide the composer/typesetter with a -set of macros (incidentally, this can be adjusted): \begin{center} \tinynotesize \renewcommand{\arraystretch}{1.5}% I hate LaTeX @@ -1252,89 +1404,138 @@ set of macros (incidentally, this can be adjusted): \keyindex{notes}\verb| ... & ... & ... \enotes|&\verb=2=\keyindex{elemskip} &\ccu1&16th\\ \keyindex{notesp}\verb| ... & ... & ... \enotes|&\verb=2.5\elemskip= - &\pt1\ccu1&16th pointed, 8th triplet\\ + &\pt1\ccu1&dotted 16th, 8th triplet\\ \keyindex{Notes}\verb| ... & ... & ... \enotes|&\verb=3\elemskip= &\cu1&8th\\ \keyindex{Notesp}\verb| ... & ... & ... \enotes|&\verb=3.5\elemskip= - &\cup1&8th pointed, 4th triplet\\ + &\cup1&dotted 8th, quarter triplet\\ \keyindex{NOtes}\verb| ... & ... & ... \enotes|&\verb=4\elemskip= - &\qu1&4th\\ + &\qu1&quarter\\ \keyindex{NOtesp}\verb| ... & ... & ... \enotes|&\verb=4.5\elemskip= - &\qup1&4th pointed, 2th triplet\\ + &\qup1&dotted quarter, half triplet\\ \keyindex{NOTes}\verb| ... & ... & ... \enotes|&\verb=5\elemskip= - &\hu1&2th\\ + &\hu1&half\\ \keyindex{NOTesp}\verb| ... & ... & ... \enotes|&\verb=5.5\elemskip= - &\hup1&2th pointed\\ + &\hup1&dotted half\\ \keyindex{NOTEs}\verb| ... & ... & ... \enotes|&\verb=6\elemskip= - &\wh1&1th\\\hline + &\wh1&whole\\\hline \end{tabular}\end{center} -\noindent -If you don't like them, define your own using e.g.: - -\verb|\def\NOtes{\vnotes5.34\elemskip}| - - %\check -\noindent -which means, when you use this \keyindex{NOtes} definition, that all -\ital{spacing} notes and commands, results a spacing of 5.34 $\times$ -\keyindex{elemskip}. -The size of the spatial unit (\keyindex{elemskip}) can be freely -adjusted (it shows only effect outside \verb|\startpiece...\endpiece|). - - In practice, the choice of the macro \verb|\notes|, \verb|\Notes|, -\verb|\NOtes|, etc., to initiate of column of notes sets an -internal dimension register, named \keyindex{noteskip} to the given multiple -of \keyindex{elemskip}. Thus, each \itxem{spacing note} (\keyindex{qu}, -\keyindex{qb}, \keyindex{hl}, etc.) will be followed by a spacing of -\keyindex{noteskip}. Then, the advantage of the definition of \verb|\elemskip| -is that, whenever it is changed, all subsequent \verb|\noteskip|s -will be updated proportionally so that a simple change of \verb|\elemskip| -can expand or shrink all consecutive note spacings as a whole. - -\medskip -{\bf All said above counts only for first pass.} - -\medskip If the arthmetic progression of note spacings does not meet your -wishes, your may force a geometric progression, where {\Bslash Notes} is -$\sqrt{2}$ times wider as {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$ -times wider as {\Bslash Notes}, etc. In that case, {\Bslash Notesp} is -approximately $\sqrt{\sqrt{2}}=1.189$ times wider as {\Bslash Notes} and so -on. The geometric progression if forced by the command -\keyindex{geometricskipscale}, and the original arithmetic progression is +\smallskip + +\noindent What each of these macros actually does is to set an +internal dimension register \keyindex{noteskip} to the given multiple +of the fundamental spacing unit \keyindex{elemskip} +(which has dimensions of length, usually given in points). +Normally, every \itxem{spacing note} (e.g., +\keyindex{qu}, +\keyindex{qb}, \keyindex{hl}) will then be followed by a spacing of +width \keyindex{noteskip}. By selecting a particular note spacing macro +from the above table, the typesetter can thus control the relative spacing +between notes. + +The actual spacing will therefore be determined by the value of +\verb|\elemskip|. On the first pass, \TeX\ will set a default value for +\verb|\elemskip| based on the declared music size, or the user can +set it to any hard dimension he chooses. However, the value on the +first pass doesn't matter as much as you might think (more about that later). +On the second pass, +\verb|musixflx| determines where the system breaks will come, +and then computes the final value of \verb|\elemskip| for each system. + +If the arthmetic progression of note spacings in the above table does not +meet your wishes, you may activate an alternate set with +the command \keyindex{geometricskipscale}. As implied by the name, this +is a geometric progression, where {\Bslash Notes} is +$\sqrt{2}$ times wider than {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$ +times wider than {\Bslash Notes}, and so forth. +Then the factors in the middle column +of the above table will be replaced by the sequence +2.00, 2.38, 2.83, 3.36, 4.00, 4.76, 5.66, 6.72, and 8.00. Two additional +macros, \verb|\NOTEsp| and \verb|\NOTES|, will be defined corresponding to +factors 9.52 and 11.32. The original arithmetic progression can be restored by \keyindex{arithmeticskipscale}. - Inside the pair \verb|\notes...\enotes| you may freely change the value of -\verb|\noteskip| (not \verb|\elemskip|) provided you keep it scalable in the -normal situation\footnote{But: provided you keep it \ital{not scalable} if -you use the {\Bslash hardnotes} or {\Bslash hardlyrics} features (see -\ref{lyrics}).}. \verb|\noteskip| can be changed with a command like - -\verb|\noteskip=2.4\noteskip| - -\noindent which obviously keeps it scalable, or by means of - -\keyindex{multnoteskip}\verb|{2.4}| - -\noindent which performs the same multiplication in a smarter way. You can -also force all \verb|\noteskip|s to be re-scaled by a factor of 3.1415 using - -\keyindex{scale}\verb|{2.4}| - -\noindent or \verb|\def|\keyindex{scalenoteskip}\verb|{2.4}| which is more -dangerous and not advises although compatible with \musictex. - -\medskip - -To fill the music line (system) without glue, the values of \verb|\elemskip|, -\verb|\afterruleskip| and \verb|\beforeruleskip| are adjusted from the -external program {\tt musixflx}\index{musixflx@{\tt musixflx}}. So what -spacing you really get, depends on the internal line-breaking routine. - -Spacings for advanced \musixtex'ers: a `normal' bar (slightly~!) magnified: -\medskip +If neither of the predefined progressions satisfies you, you may define +your own, using the more general macro \verb|\vnotes| in the same manner +that \musixtex\ uses it for the predefined progressions. So for example +\verb|\def\NOtes{\vnotes5.34\elemskip}| will redefine \verb|\NOtes| in +the obvious way, and the extension to the other spacing macros should +likewise be obvious. + +In addition, inside any pair \verb|\notes...\enotes| there are two +equivalent ways to +locally redefine \verb|\noteskip| to another scalable value, namely by +issuing a command like +\verb|\noteskip=2.4\noteskip| or \keyindex{multnoteskip}\verb|{2.4}|, which +have the expected effect until the notes group is terminated or +\verb|\noteskip| is further redefined. + +Finally, by issuing a command like +\keyindex{scale}\verb|{2.4}| outside any notes group, you can scale all subsequent +\verb|\noteskip|s by any desired factor. + +These facilities may be useful, for example, +to control spacing when there are three equal duration notes in one staff against two + in another. + +%\subsubsection{\Bslash{\tt elemskip}, \Bslash{\tt beforeruleskip} and +%\Bslash{\tt afterruleskip}} +% +% avr wants to call these "commands", but das doesn't. +%\subsubsection{Commands {\Bslash\texttt{elemskip}}, +%{\Bslash\texttt{beforeruleskip}} +%and {\Bslash\texttt{afterruleskip}}} +\subsubsection{{\Bslash\texttt{elemskip}}, +{\Bslash\texttt{beforeruleskip}} +and {\Bslash\texttt{afterruleskip}}} + +We've just seen how \verb|\elemskip| is used to scale the spacings between notes. +There are two other spacing units that share some behavior with \verb|\elemskip|. +\verb|\beforeruleskip| is the horizontal space that is automatically inserted +\ital{before} every bar line, while \verb|\afterruleskip| goes \ital{after} +every bar line. (In +practice \verb|\beforeruleskip| is almost aways set to \verb|0pt| because there +will typically already be a space of \verb|1\noteskip| before every barline.) +On the first pass, just as with \verb|\elemskip|, \musixtex\ assigns them default +values according to the following table: + +%\begin{quote}\begin{tabular}{lrrr}\hline +%\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} +% &\keyindex{beforeruleskip}\\\hline +%\keyindex{normalmusicsize}&6pt&8pt&0pt\\ +%\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline +%\end{tabular}\end{quote} + +\begin{center}\begin{tabular}{lrrr}\hline +\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} + &\keyindex{beforeruleskip}\\\hline +\keyindex{normalmusicsize}&6pt&8pt&0pt\\ +\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline +\end{tabular}\end{center} +\noindent In the second pass, \verb|musixflx| assigns new values to each +of these dimensions, a different set for each line or system. It does this +in such a way that available scalable horizontal space in each system is +exactly filled up. + +The values that are assigned to these dimensions on the first pass, whether by +default or explicitly by the user or in some combination, only matter insofar +as their relative sizes. That's why we earlier stated that the first-pass value +of \verb|\elemskip| didn't matter as much as you might think. For both music sizes +in the table above, it appears that by default \verb|\afterruleskip| is +\verb|1.3333\elemskip|\footnote{Editor's note: It is a mystery why the authors +%of \musixtex\ didn't simply define \Bslash{\tt beforeruleskip} and \Bslash{\tt afterruleskip} as +%specific multiples of \Bslash{\tt elemskip}}. +of \musixtex\ didn't simply define \Bslash\texttt{beforeruleskip} and \Bslash\texttt{afterruleskip} as +specific multiples of \Bslash\texttt{elemskip}}. + +Note that if you do want to change any of these +values, you have to do so \ital{after} setting the +music size and before \verb|\startpiece|. + +Here is an example that illustrates the various dimensions under discussion:\\ %\check -\begin{music} +\begin{music}\nostartrule \afterruleskip7pt \beforeruleskip2pt \parindent0pt @@ -1361,7 +1562,7 @@ Spacings for advanced \musixtex'ers: a `normal' bar (slightly~!) magnified: \znotes\en \zchar{16}{\hbox to\beforeruleskip{\downbracefill}}% \zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}% -\endpiece +\setemptybar\endpiece \end{music} \begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l} a&\keyindex{afterruleskip}\\ @@ -1370,227 +1571,236 @@ c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\ d&\keyindex{beforeruleskip}\\ e&\keyindex{elemskip} \end{tabular}\end{quote} -As default the values are set up as follows: -\begin{quote}\begin{tabular}{lrrr}\hline -\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} - &\keyindex{beforeruleskip}\\\hline -\keyindex{normalmusicsize}&6pt&8pt&0pt\\ -\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline -\end{tabular}\end{quote} -\begin{quote} -If you want to change upper values, you have to do that behind -\verb|\normalmusicsize| or \verb|\smallmusicsize| and before -\verb|\startpiece|. -\end{quote} + +\subsection{Moving from one staff or instrument to another} + \label{movingtostaffs} + +When entering notes inside \verb|\notes ... \enotes|, the usual way to suspend +input for one instrument and start the next (higher) is with the character +``\verb|&|''\index{"&@{\tt\char'046}}. If the instrument has more than one +staff, to switch to the next (higher) one you can use the character +``\verb+|+''\index{"|@{\tt\char'174}}. + +There are some alternate navigation commands that may be useful in + special situations. Due to ``catcode +problems'' (see section~\ref{catcodeprobs}) it may sometimes be necessary +to use the more explicit commands +\keyindex{nextinstrument} and \keyindex{nextstaff}, which have the same +meanings as ``\verb|&|'' and ``\verb+|+'' respectively. To switch to the previous +(next lower) staff of the same instrument, use \keyindex{prevstaff}. This might +be useful if a beam starts in a higher staff than where it ends. More +generally, to switch to an arbitrary instrument $n$, use +\keyindex{selectinstrument}\onen, and to switch to an arbitrary staff $n$ +of the current instrument, use \keyindex{selectstaff}\verb|{|$n$\verb|}|. In the +latter case if $n$ exceeds the number of staves defined for the instrument, you +will receive an error message. You can enter part of a successive voice on +\ital{same} staff by using \verb|\selectstaff{|$n$\verb|}| with $n$ for +the \ital{current} staff. + %\check -\section{Note pitch specification} - Note pitches are usually specified by letters ranging from \verb|a| to -\verb|z| for those which are usually written under the G-clef (\verb|a| -corresponds to the $A$ of nominal frequency 222.5~Hz; the \ital{G} of the -G-clef is denoted \verb|g|). Lower pitch notes are specified using upper -case letters ranging from \verb|A| to \verb|N| (the \ital{F} of the F-clef -is denoted \verb|M|, and \verb|F| is one octave below). - - If necessary, a numeric symbol can be used to place a symbol -independently of the active clef, which has the drawback not to be -transposable. - - Besides, notes below \verb|A| (i.e. the $A$ of nominal frequency 55.625~Hz), -namely the lowest octave of the modern pianos, can only be coded using the -transposition features (see below: \ital{transposition} and -\ital{octaviation}) or in absolute vertical position using numbers. - \section{Writing notes} -There are two major kinds of note macros: \begin{enumerate} \item those -which terminate a note/chord stem and are followed by a horizontal spacing of -value \keyindex{noteskip}, - \item those which initiate or extend a note/chord stem and do not cause -horizontal spacing. -\end{enumerate} - The first kind is used to type a melody, the second kind is used to -type chords. - \subsection{Single spacing notes} -\begin{quote}\begin{description} - \item[\keyindex{breve}~$p$ :]breve note (\hbox to 8pt{\zbreve1\hss}) at pitch $p$. - \item[\keyindex{longa}~$p$ :]longa note - (\hbox to8pt{\zlonga1\hss}) at pitch $p$. - \item[\keyindex{longaa}~$p$ :]same as \verb|\longa|, with an ``automatic'' -stem up or down. - \item[\keyindex{zmaxima}~$p$ :]maxima note - (\hbox to16pt{\zmaxima1\hss}) at pitch $p$. - \item[\keyindex{wq}~$p$ :]arbitrary duration note (also used as alternate -representation of \ital{breve} note) - (\hbox to8pt{\zwq1\hss}) at pitch $p$. - \item[\keyindex{wqq}~$p$ :]long arbitrary duration note (also used as alternate -representation of \ital{longa} note) - (\hbox to8pt{\zwqq1\hss}) at pitch $p$. - \item[\keyindex{wh}~$p$ :]whole note at pitch $p$. - \item[\keyindex{hu}~$p$ :]half note at pitch $p$ with stem up. - \item[\keyindex{hl}~$p$ :]half note at pitch $p$ with stem down. - \item[\keyindex{ha}~$p$ :]half note at pitch $p$ with automatic -stem\footnote{This -means all stems belonging to notes below the third line are stemmed up, -the other down, they work with every clef, but only for single notes.} choice. - \item[\keyindex{qu}~$p$ :]quarter note at pitch $p$ with stem up. - \item[\keyindex{ql}~$p$ :]quarter note at pitch $p$ with stem down. - \item[\keyindex{qa}~$p$ :]quarter note at pitch $p$ with ``automatic'' stem. - \item[\keyindex{cu}~$p$ :]eighth note\footnote{The {\Bslash c} of this macro - name is taken from the French word ``croche'' which is by the way one - half of the english ``crotchet''; {\Bslash cc...}, {\Bslash ccc...} - are standing for ``double croche'', ``triple croche'', etc.} - at pitch $p$ with stem up. - \item[\keyindex{cl}~$p$ :]eighth note at pitch $p$ with stem down. - \item[\keyindex{ca}~$p$ :]eighth note at pitch $p$ with ``automatic'' stem. - \item[\keyindex{ccu}~$p$ :]sixteenth note at pitch $p$ with stem up. - \item[\keyindex{ccl}~$p$ :]sixteenth note at pitch $p$ with stem down. - \item[\keyindex{cca}~$p$ :]sixteenth note at pitch $p$ with ``automatic'' stem. - \item[\keyindex{cccu}~$p$ :]32-th note at pitch $p$ with stem up. - \item[\keyindex{cccl}~$p$ :]32-th note at pitch $p$ with stem down. - \item[\keyindex{ccca}~$p$ :]32-th note at pitch $p$ with ``automatic'' stem. - \item[\keyindex{ccccu}~$p$ :]64-th note at pitch $p$ with stem up. - \item[\keyindex{ccccl}~$p$ :]64-th note at pitch $p$ with stem down. - \item[\keyindex{ccccl}~$p$ :]64-th note at pitch $p$ with ``automatic'' stem. +\section{Note pitch specification}\label{pitchspec} +Note pitches can be specified either by letters or numbers. If no transposition +or octaviation is in effect, letters ranging +from \verb|a| to \verb|z| represent notes starting with the A below +middle C. Upper case letters from \verb|A| to \verb|N| represent pitches +two octaves lower than their lower case counterparts. Any letter can be used in +any clef, but some users may +prefer to use the lower case letters in treble clef, and the upper case ones +in bass clef. + +Alternatively, a one- or two-digit, positive or negative integer can always be used. +The number represents +the vertical position on the staff, with \verb|0| for the lowest line and +\verb|1| for the space right above, \ital{regardless of the clef}. +Unlike with letters, the +associated pitch will depend on the clef, and notes entered this way are +immune to transposition and octaviation. + +Notes lower than \verb|A| and higher than \verb|z| can be entered, with +either numbers as just described, or with octaviation as will be explained in +section~\ref{octaviation}. + + \section{Writing notes}\label{autostemdirections} +There are two major kinds of note macros, those that include a space (of +length \keyindex{noteskip}) after +the printed symbol, and those that don't cause any space. A single-line melody would be +written using the first type. All notes of a chord except the last would +use the second. + +Another distinction concerns stemmed notes. Some macros explicitly set the +stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of +the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies +\ital{automatic} stem direction selection. In this case notes below the middle +staff line will get up stems, otherwise down. + + \subsection{Normal (unbeamed) spacing notes}\label{NormalNotes} +In the following, \verb|{|$p$\verb|}| signifies a pitch specification as +described in sections~\ref{pitchspec} and \ref{octaviation}. However it +is understood that if the pitch is a single character, the brackets are +not neecessary, provided that if it is a letter, a space separates the +macro from the letter. + + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) . + \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) . + \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem +direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} . + \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) . + \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss}) +(also used as alternate representation of a \ital{breve}). + \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note +(\hbox to8pt{\zwqq1\hss}) (also used as alternate +representation of a \ital{longa}). + \item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note. + \item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up. + \item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down. + \item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction + \item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up. + \item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down. + \item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction. + \item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}'' +within this macro name stands for the equivalent British term ``crotchet''} with stem up. + \item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down. + \item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction. + \item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up. + \item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down. + \item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction. + \item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]32nd note with stem up. + \item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]32nd note with stem down. + \item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]32nd note with automatic stem direction. + \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]64nd note with stem up. + \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]64nd note with stem down. + \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]64nd note with automatic stem direction. \end{description}\end{quote} - As an example, the sequence: + As an example, the sequence %\check -\begin{music} +\begin{music}\nostartrule \startextract \Notes\cu c\cl j\enotes\bar \Notes\ccu c\ccl j\enotes\bar \Notes\cccu c\cccl j\enotes\bar \Notes\ccccu c\ccccl j\enotes -\endextract +\zendextract \end{music} - \noindent was coded as: + \noindent was coded as \begin{quote}\begin{verbatim} \Notes\cu c\cl j\enotes\bar \Notes\ccu c\ccl j\enotes\bar \Notes\cccu c\cccl j\enotes\bar \Notes\ccccu c\ccccl j\enotes \end{verbatim}\end{quote} - If these notes are preceded by \ital{non-spacing} notes (i.e. -macros \keyindex{zq} or \keyindex{zh}) their stem is extended up or down so -as to join all notes into a single chord. - \subsection{Non-spacing (chord) notes} -\begin{quote}\begin{description} - \item[\keyindex{zq}~$p$ :]quarter (or shorter) note head at pitch $p$ with no -spacing after. - \item[\keyindex{zh}~$p$ :]half note head at pitch $p$ with no spacing after. -\end{description}\end{quote} - It must be pointed out that the pitch $p$ of these notes is -memorized so that the stem of the further spacing note will join them into -a chord. This stem top and bottom pitch is \ital{reset} at each spacing -note. - - \begin{remark} Notes of duration longer than whole notes are -always non-spacing. This saves one useless definition, since these notes are -always longer than other simultaneous ones. If needed they can be followed by -\keyindex{sk} to force spacing. -\end{remark} - \subsection{Shifted non-spacing (chord) heads} These symbols are used mainly -in chords where \ital{second} intervals are present. It is the -responsibility of the typist to choose which heads should be shifted left or -right. - -\begin{quote}\begin{description} -\item[\keyindex{rw}~$p$ :]whole note head shifted right by one note -width ($\approx$ 6pt), no spacing. -\item[\keyindex{lw}~$p$ :]whole note head shifted left by one note -width ($\approx$ 6pt), no spacing. -\item[\keyindex{rh}~$p$ :]half note head shifted right by one note -width ($\approx$ 6pt), no spacing. -\item[\keyindex{lh}~$p$ :]half note head shifted left by one note -width ($\approx$ 6pt), no spacing. -\item[\keyindex{rq}~$p$ :]quarter note head shifted right by one note -width ($\approx$ 6pt), no spacing. -\item[\keyindex{lq}~$p$ :]quarter note head shifted left by -one note width ($\approx$ 6pt), no spacing. + \subsection{Non-spacing note heads} +These macros are used to create chords. Any number of them can be entered +in sequence, followed by a spacing note. All of the note heads will be +joined to the spacing note and the stem length will automatically be adjusted +as needed. + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head. + \item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head. +\end{description}\end{quote} +%das ??? +% \begin{remark} Notes of duration longer than whole notes are +%always non-spacing. This saves one useless definition, since these notes are +%always longer than other simultaneous ones. If needed they can be followed by +%\keyindex{sk} to force spacing. +%\end{remark} + + \subsection{Shifted non-spacing note heads} +These symbols are used mainly +in chords containing an interval of a \ital{second}. They provide note +heads shifted either to the left or right of the default position by +the width of one note head. + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} +\item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right. +\item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left. +\item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not +have realized that half and whole note heads have different shapes}. +\item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left. +\item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right. +\item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left. \end{description}\end{quote} - %\check - Except that they are shifted left of right, these macros act like -\verb|\z...| macros for stem building. - \subsection{Single non-spacing notes} -\begin{quote}\begin{description} - \item[\keyindex{zhu} :]half note with stem up but no spacing. It acts like -\verb|\hu| for stem building. - \item[\keyindex{zhl} :]half note with stem down but no spacing. It acts like -\keyindex{hl} for stem building. - \item[\keyindex{zqu} :]quarter note with stem up but no spacing. It acts like -\verb|\qu| for stem building. - \item[\keyindex{zql} :]quarter note with stem down but no spacing. It acts -like \verb|\ql| for stem building. - \item[\keyindex{zcu}, \keyindex{zccu}, \keyindex{zcccu}, \keyindex{zccccu} -:]eighth, ..., note with stem up but no spacing. It acts like -\verb|\cu| for stem building. - \item[\keyindex{zcl}, \keyindex{zccl}, \keyindex{zcccl}, \keyindex{zccccl} -:]eighth, ..., note with stem down but no spacing. It acts -like \verb|\cl| for stem building. - \item[\keyindex{zqb} :]note belonging to a beam but no spacing. - \item[\keyindex{rhu}, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql}, + \subsection{Non-spacing notes} +These macros provide normal notes, with stems if applicable, but without any +following space. +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like +\verb|\hu| for chord building, i.e., it will join together any immediately +preceding non-spacing note heads. + \item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like +\keyindex{hl} for chord building. + \item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like +\verb|\qu| for chord building. + \item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts +like \verb|\ql| for chord building. + \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu}, \keyindex{zccccu} +:]eighth, ..., note with stem up but no spacing. They act like +\verb|\cu| for chord building. + \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl}, \keyindex{zccccl} +:]eighth, ..., note with stem down but no spacing. They act +like \verb|\cl| for chord building. + \item[\keyindex{zqb}\pitchp~:]note belonging to a beam but no spacing. (DAS: put this later!) + \item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql}, \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|, - but the note is shifted one note width on the right, other analogous. - \item[\keyindex{lhu}, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql}, + but the note is shifted one note width to the right; others analogous. + \item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql}, \keyindex{lcu}, \keyindex{lcl} :]same - as above, but the whole of the note is shifted one note width on the left. - \item[\keyindex{zw}~$p$ :]whole note at pitch $p$ with no spacing after. - \item[\keyindex{zwq}~$p$ :]arbitrary duration note - (\hbox to8pt{\zwq1\hss}) at pitch $p$ with no spacing after. - \item[\keyindex{zbreve}~$p$ :]breve note - (\hbox to8pt{\zbreve1\hss}) at pitch $p$ with no spacing after. - \item[\keyindex{zlonga}~$p$ :]longa note - (\hbox to8pt{\zlonga1\hss}) at pitch $p$ with no spacing after. - \item[\keyindex{zmaxima}~$p$ :]maxima note - (\hbox to16pt{\zmaxima1\hss}) at pitch $p$ with no spacing after. + as above, but the note is shifted one note width to the left. + \item[\keyindex{zw}\pitchp~:]whole note with no following space. + \item[\keyindex{zwq}\pitchp~:]arbitrary duration note + (\hbox to8pt{\zwq1\hss}) with no following space. + \item[\keyindex{zbreve}\pitchp~:]breve + (\hbox to8pt{\zbreve1\hss}) with no following space. + \item[\keyindex{zlonga}\pitchp~:]longa + (\hbox to8pt{\zlonga1\hss}) with no following space. + \item[\keyindex{zmaxima}\pitchp~:]maxima + (\hbox to16pt{\zmaxima1\hss}) with no following space. \end{description}\end{quote} %\check +\subsection{Spacing note heads} -\subsection{Single (spacing) stemless notes} - - Although not standard in real music scores, one may need to have stemless -quarter and half note heads posted in the same way as whole notes. This can be -done with the following commands: +Although not needed in normal music scores, these may be useful in +very special cases. -\begin{quote}\begin{description} -\item[\keyindex{nh}~$p$ :]half note head at pitch $p$. -\item[\keyindex{nq}~$p$ :]quarter note head at pitch $p$. +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} +\item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head. +\item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head. \end{description}\end{quote} -\medskip As an example, the sequence: +\noindent As an example, the sequence -\begin{music} +\begin{music}\nostartrule \startextract \notes\nq c\nq j\enotes\barre \Notes\nh c\nh j\enotes\barre \notes\nq {cdef}\enotes -\endextract +\zendextract \end{music} -\medskip \noindent was coded as: +\noindent was coded as -%\check \begin{quote}\begin{verbatim} \notes\nq c\nq j\enotes\barre \Notes\nh c\nh j\enotes\barre \notes\nq {cdef}\enotes \end{verbatim}\end{quote} - In case of special need, non spacing variants have been provided, namely +Non spacing variants are also provided, namely \keyindex{znh} and \keyindex{znq}. +% DAS: why??? + \subsection{Dotted notes}\label{dots} - \subsection{Pointed notes} -One simple way of doing consists in putting \keyindex{pt -$p$} to get a \ital{dot} after the normal note head at pitch $p$. Thus a -quarter note with one point can be coded \verb|\pt h\qu h|, with two points -as \keyindex{ppt}\verb|\qu h| and with three points as -\keyindex{pppt}\verb|\qu h|. - - A simpler way of doing consists in using compact macros, namely: -\keyindex{whp}, \keyindex{whpp}, +By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the +macros just introduced provide one or two dots after the notehead: +\keyindex{whp}\pitchp, \keyindex{whpp}, \keyindex{zwp}, \keyindex{zwpp}, \keyindex{hup}, \keyindex{hupp}, \keyindex{hlp}, \keyindex{hlpp}, @@ -1601,188 +1811,250 @@ as \keyindex{ppt}\verb|\qu h| and with three points as \keyindex{cup}, \keyindex{cupp}, \keyindex{clp}, \keyindex{clpp}, \keyindex{qbp} and \keyindex{qbpp}. -Where all \verb|\z...p| are useful in chords. - - You may also introduce pointed notes, especially in groups by coding -a \ital{period} before (not after) the letter representing the pitch: -\verb|\qu{.a.^b.c}| which is equivalent to: -\begin{quote}\begin{verbatim} -\pt{a}\qu{a}\pt{b}\sh{b}\qu{b}\pt{c}\qu{c} -\end{verbatim}\end{quote} -Finally, pointed notes can also be produced without spacing after, using +Naturally, the ones that start with ``\verb|z|'' are used in chords. +The dot(s) will be raised if the note is on a line. + +A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125}, +\keyindex{ppt}, or \keyindex{pppt} right +before any note macro to place one to three dots after the normal note +head at pitch $p$. Again they will be raised if on a line. In fact this is the only +way to get a triple-dotted note. +For example a +quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots +as \keyindex{ppt}\verb| h\qu h| and with three as +\keyindex{pppt}\verb| h\qu h|. + +Yet another method for posting a dot is to insert a \ital{period} before +the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to +either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when +using \ital{collective coding}, which will be discussed in the next +section. + +Non-spacing dotted notes can be produced using \keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp}, \keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, -and the same with two \verb|p|'s for -double-pointed notes, like \keyindex{zhupp}, \keyindex{zhlpp}, -\keyindex{zqupp}, \keyindex{zqlpp}, -\keyindex{zcupp}, \keyindex{zclpp} and \keyindex{zqbpp}. - -If two voices share one staff, the points of the lower voice are lowered, -if the note is on a note line. Therefore you can use \keyindex{lpt}~$p$ and -\keyindex{lppt}~$p$. +and similarly with two \verb|p|'s for +double-dotted notes. + +As a matter of style, if two voices share one staff, the dots in +the lower voice should be lowered if the note is on a line. For +this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and +\keyindex{lppt}{\tt\char123}$p${\tt\char125}. + +\subsection{Sequences of equally spaced notes; collective coding} +\label{CollectiveCoding} + +It isn't necessary to write a separate macro +sequence \verb|\notes...\enotes| for every individual column of notes. +Rather, a single such macro can contain all the notes in all staves +over an extended horizontal range, as long as all spacings are equal or +multiples of a unique value of \keyindex{noteskip}. +The notes in each staff could be entered one after another as normal +spacing notes as already described in section~\ref{NormalNotes}. Then +each spacing note will cause the insertion point to advance horizontally by the +operative value of \verb|\noteskip| defined by the choice of +\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences +non-spacing chord notes can be entered right before their associated +spacing note. If you need to skip forward by one \verb|\noteskip|, for +example after a quarter note when there are two eighth notes in +another staff, you can use \keyindex{sk}. + +If there are only spacing notes in such a sequence, a further +simplification is available, called \ital{collective coding}. For instance +\verb|\qu{cdefghij}| writes the C major scale in quarters with +up stems. Similarly \verb|\cl{abcdef^gh}| writes the +\ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents +a sharp). If necessary a void can be inserted in a collective coding sequence +by using~\verb|*|\index{*}. Not all note generating macros can be +used to perform collective coding, but most of them can. - %\check \section{Beams} - - Beams are not automatically handled, but they must be declared explicitely, -\ital{before} the first spacing note involving them is coded. Two kinds of -macros are provided: - -\begin{enumerate} - - \item fixed slope beams have an arbitrary slope chosen by the user in -the range -45\% to +45\% (by multiples of 5\%); - - \item semi-automatic beams have their slope computed knowing the number -of \keyindex{noteskip} over which they are supposed to extend, and knowing the -initial and final pitch of the notes they are supposed to link. -\end{enumerate} - %\check - \subsection{Fixed slope beams} - \subsubsection{Beam initiation} -\begin{quote}\begin{description} - \item[\keyindex{ibu}~$nps$ :]initiates an \ital{upper beam} 3 horizontal -line spacings above the pitch $p$~; $n$ is its reference number, which must be -in the range [0-5] ([0-8] if \verb|musixadd| file has been \verb|\input|); -$s$ is the slope of the beam. -\end{description}\end{quote} - $s$ is an integer in the range [-9,9]. -$s=1$ means a slope of 5\%, $s=9$ means a slope of 45\%, -$s=-3$ means a slope of -15\%, etc. -With usual spacings a slope of 2 or 3 is fit for ascending scales. A slope of -6 to 9 is fit for ascending arpeggios. - -\begin{quote}\begin{description} - - \item[\keyindex{ibl}~$nps$ :]initiates a \ital{lower beam} 3 horizontal line -spacings below the pitch $p$. Other parameters as above. - - \item[\keyindex{ibbu}~$nps$ :]initiates a \ital{double upper beam} (same -parameter meaning). - \item[\keyindex{ibbl}~$nps$ :]initiates a \ital{double lower beam} (same -parameter meaning). - \item[\keyindex{ibbbu}~$nps$ :]initiates a \ital{triple upper beam} (same -parameter meaning). - \item[\keyindex{ibbbl}~$nps$ :]initiates a \ital{triple lower beam} (same -parameter meaning). - \item[\keyindex{ibbbbu}~$nps$ :]initiates a \ital{quadruple upper beam} (same -parameter meaning). - \item[\keyindex{ibbbbl}~$nps$ :]initiates a \ital{quadruple lower beam} (same -parameter meaning). +\subsection{Starting a beam} + +Each beam must be declared with a macro issued before the first spacing +note under the beam is coded. Two distinct kinds of macros are provided +for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary +slope and starting height chosen by the user, while the second kind, a +``semi-automatic'' beam, +\ital{computes}~the slope and, in addition, adjusts the starting height in some +cases. + +\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}} + +The basic form of the macros for starting fixed-slope beams is exemplified +by the one for a single upper beam, \keyindex{ibu}\nps. Here +$n$ is the reference number of the beam, $p$ the starting ``pitch'', and +$s$ the slope. The reference number is assigned by the user. By default it must be +in the range [0-5], but the maximum can be increased to 8 or 11 respectively +if \verb|musixadd| or \verb|musixmad| has been \verb|\input|. The beam number is +needed because more than one beam may be open at a time, and it +tells \musixtex\ to which beam subsequent beamed notes and other beam specification +commands are assigned. The ``pitch'' parameter is a pitch that is three +staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above} +the bar for a lower beam); in many (but not all) +cases it should be input as the actual pitch of the first note. The slope $s$ +is an integer in the range [-9,9]. When multipled +by 5\%~it gives the actual slope of the heavy bar. Typically a slope of 2 or 3 +is OK for ascending scales, and 6 to 9 for ascending arpeggios. + +The full set of fixed-slope beam initiation macros is as follows: +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + + \item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}. + \item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}. + \item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}. + \item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}. + \item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}. + \item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}. + \item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}. + \item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}. \end{description}\end{quote} -Notes belonging to beams are coded in the form \keyindex{qb}~$np$ where $n$ is -the beam number and $p$ the pitch of the note head. \musixtex\ adjusts the -length of the note stem to link the bottom of the chord to a beam. - - \subsubsection{Beam termination} - Beam termination is also not automatic. The termination of a given -beam must be explicitely declared \ital{before} coding the last spacing note -connected to that beam. -\begin{quote}\begin{description} - \item[\keyindex{tbu}~$n$ :]terminates upper beam number $n$ at current -position. \item[\keyindex{tbl}~$n$ :]terminates lower beam number $n$ at -current position. -\end{description}\end{quote} -\keyindex{tbu} and \keyindex{tbl} terminate beams of any -multiplicity. Therefore 32-th notes hanging on a triple beam are initiated by -\keyindex{ibbbu}~$nps$ and terminated by \keyindex{tbu}~$n$. - - Since beams usualy finish with a \verb|\qb| to link the last note, shorter -macros have been provided: - - \begin{itemize} - - \item \keyindex{tqb} $np$ is equivalent to \verb|\tbl| $n$\verb|\qb| $np$ +A semi-automatic beam is initiated with a command that has \ital{four} +parameters, the beam number, the first and last pitches, and the total +horizontal extent in +\verb|\noteskip|s, based on the value in effect at the start. For example, +if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to +build an upper beam (beam number 2) horizontally extending \verb|3\noteskip|, +the first note of which is a \verb|g| and the last note a \verb|j|. +Knowing these parameters it will choose the highest slope number that +corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt +g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as +for fixed-slope beams. However, if there is no sufficiently steep beam +slope available, then \musixtex\ will raise (or lower) the starting point. - \item \keyindex{tqh} $np$ is equivalent to \verb|\tbu| $n$\verb|\qb| $np$ + Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu}, +\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl}, +\keyindex{Ibbbl} and \keyindex{Ibbbbl}. - \item \keyindex{ztqb} $np$ is equivalent to \verb|\tbl| $n$\verb|\zqb| $np$ -(no spacing after) +\subsection{Adding notes to a beam} - \item \keyindex{ztqh} $np$ is equivalent to \verb|\tbu| $n$\verb|\zqb| $np$ -(no spacing after) +Spacing notes belonging to beams are coded with the macro +\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is +the beam number and $p$ the pitch of the note. \musixtex\ adjusts the +length of the note stem to link to the beam. - \end{itemize} +Chord notes within a beam are entered before the main note with the +non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again, +the stem length will be automatically adjusted as required. - \subsubsection{Beams of increasing multiplicity} - It is also possible to code beams whose multiplicity is not the same -at the beginning. The multiplicity can be increased at any position. For -instance, \keyindex{nbbu}~$n$ which sets the multiplicity of upper beam -number $n$ to 2 starting at the current position, \keyindex{nbbbu}~$n$ sets -its multiplicity to 3 and \keyindex{nbbbbu}~$n$ sets its multiplicity to 4. -\keyindex{nbbl}~$n$ \dots -\keyindex{nbbbbl}~$n$ perform the same functions for lower beams. +There are also special macros for semi-automatic beams with +two, three, or four notes: +\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl}, +\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl}, +\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}. + %\check +For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|, +except that the special macros don't require a beam number. +Their use is illustrated in the following example: +\medskip +\begin{music}\nostartrule +\parindent0pt\startpiece +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en +\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece +\end{music} +\noindent This was coded as\footnote{Editor's note: Most music +typesetting books recommend beam slopes that are \ital{less} than +the slope between the starting and ending note; these macros cannot +provide that.}: +\begin{quote}\begin{verbatim} +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en +\notes\Qqbbu fgge\Qqbbl jhgi\en +\end{verbatim}\end{quote} + %\check - Note that the difference between upper and lower beams does not -mainly consist in the beam being above or below the note heads; rather, it -specifies whether the abscissa of the beginning and the end of this beam is -aligned on the right (upper beam) or on the left (lower) beam. Thus, the -sequence: + \subsection{Ending a beam} + The termination of a given +beam must be declared \ital{before} coding the last spacing note +connected to that beam. The macros for doing that are +\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and +\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for +beams of any +multiplicity. So for example an upper triple beam with +32nd notes is initiated by +\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|. + + Since beams usually finish with a \verb|\qb| for the last note, the +following shortcut macros have been provided: + +\def\enpee{{\tt{\char123$n$\char125\char123$p$\char125}}} +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee~. + \item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee~. + \item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~, +i.e., no spacing afterwards. + \item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~, +i.e., no spacing afterwards. +\end{description}\end{quote} -\begin{music} +\subsection{Changing multiplicity after the beam starts} +Multiplicity (the number of heavy bars) can be increased at any position after +the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of +upper beam +number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to +increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The +commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same +for lower beams. +Thus, the +sequence + +\begin{music}\nostartrule \startextract \Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes -\endextract +\zendextract \end{music} \noindent has been coded as \begin{quote}\begin{verbatim} \Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes \end{verbatim}\end{quote} - It is quite possible to terminate with \keyindex{tbu} a beam initiated -with \keyindex{ibl}. This may give: - -\begin{music} -\startextract -\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes -\endextract -\end{music} -\noindent which has been coded as -\begin{quote}\begin{verbatim} -\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes -\end{verbatim}\end{quote} - \subsubsection{Beams of decreasing multiplicity} - Partial termination of beams is also possible, by using \keyindex{tbbu} -or \keyindex{tbbl}~: these macros terminate the current beam except that of -order 1 (eighths). \keyindex{tbbbu} or \keyindex{tbbbl} terminate the current -beam except those of order 1 and 2, etc. +To decrease multiplicity to one, use \keyindex{tbbu}\onen~or +\keyindex{tbbl}\onen. To decrease to two or three use +\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example, -\begin{music} +\begin{music}\nostartrule \startextract \Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes -\endextract +\zendextract \end{music} \noindent has been coded as \begin{quote}\begin{verbatim} \startextract \Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes -\endextract +\zendextract \end{verbatim}\end{quote} -The macros \keyindex{tbbu} and \keyindex{tbbl} and higher order -may also be invoked when only -a single beam is active. Then, a second beam or third or ... -(upper or lower according -the initiating procedure) is opened \ital{one note width before -the current position, and closed immediately}. Thus the following sequences +Although at first it may seem counterintuitive, +the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts +may also be invoked when the multiplicity is one. In this case +a second, third, or fourth heavy bar will be opened one note width \ital{before} +the current stem, and immediately closed \ital{at} the stem. +Thus the following sequences -\begin{music} +\begin{music}\nostartrule \let\extractline\hbox \hbox to \hsize{% \hss \startextract \Notes\ibu0e0\qbp0e\tbbu0\tbu0\qb0e\en - \endextract + \zendextract \hss\hss \startextract \Notes\ibu0e0\qbpp0e\tbbbu0\tbbu0\tbu0\qb0e\en - \endextract + \zendextract \hss} \end{music} -\noindent are coded: +\noindent are coded \hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim} \Notes\ibu0e0\qbp0e% \tbbu0\tbu0\qb0e\en @@ -1792,34 +2064,42 @@ the current position, and closed immediately}. Thus the following sequences \tbbbu0\tbbu0\tbu0\qb0e\en \end{verbatim}\end{minipage}\hfill -\noindent The same behaviour occurs in the case of \keyindex{tbbbu}, -\keyindex{tbbbl}, \keyindex{tbbbbu} and \keyindex{tbbbbl}. - The symmetrical pattern is also possible. For example: +\medskip -\begin{music} + +The symmetrical pattern is also possible. For example: + +\begin{music}\nostartrule \startextract \Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes -\endextract +\zendextract \end{music} \noindent has been coded as: \begin{quote}\begin{verbatim} \Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes \end{verbatim}\end{quote} - \begin{remark} these codings may seem complicated. In fact, -it is the responsibility of the user to define macros which perform the most -common sequences in his masterpiece. For example, one could define sets of -four sixteenths by the macro: - -\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}| - -\noindent where the first argument is the slope and the other four -arguments are the pitches of the four consecutive sixteenths wanted. -\end{remark} - - -\noindent A slightly more complicated example is: -\begin{music} +The constructions in this section illustrate some general +properties of +beam initiation and termination commands: To mate properly with the +expected stems, the starting position of the heavy bar(s) (for initiation commands) +and the ending position (for terminations) will be at +different horizontal locations +depending on whether they are for upper or lower beams: The position for +upper beam commands is one note head width to the right of those for +lower beams. In fact this is the \ital{only} difference between upper +and lower termination commands. Both types will operate on whatever kind of +beam is open and has the same beam number. + +Recognizing this principle, in the example just given it was necessary to +shift the double termination to the right by one note head width, using the +command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for +any \musixtex\ macro. + +Here is another, slightly more complicated example which also uses +\verb|\roff|: + +\begin{music}\nostartrule \startextract \notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en \notesp\tbbu0\qbp0f\en @@ -1827,7 +2107,7 @@ arguments are the pitches of the four consecutive sixteenths wanted. \notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en \Notes\qb0f\en \notes\tbbbu0\tbbu0\tbu0\qb0f\en -\endextract +\zendextract \end{music} \noindent has been coded as: \begin{quote}\begin{verbatim} @@ -1838,59 +2118,86 @@ arguments are the pitches of the four consecutive sixteenths wanted. \Notes\qb0f\en \notes\tbbbu0\tbbu0\tbu0\qb0f\en \end{verbatim}\end{quote} + +\noindent Note that the first beam opening command used a pitch one step +below the note. This makes the stem shorter by one pitch unit, since it is always +the \ital{closest} heavy bar that is separated from the given pitch by +three staff spaces. + +We close this section with an example showing how to +open a beam of one sense, increase multiplicity, then terminate with +opposite sense: + +\begin{music}\nostartrule +\startextract +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes +\zendextract +\end{music} +\noindent which has been coded as +\begin{quote}\begin{verbatim} +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes +\end{verbatim}\end{quote} + + \begin{remark} One may save some typing by defining personalized +\TeX\ macros to +perform any oft repeated sequence of commands. For example, +one could define a set of four sixteenths by the macro: + +\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}| + +\noindent where the first argument is the slope and the other four +arguments are the pitches of the four successive sixteenths. +\end{remark} + %\check - \subsection{Repeated pattern beams}\index{repeated patterns} -Note heads hanging on beams are not necessarily quarter (or higher order) -note heads. It is possible to hang half note heads on beams -using \keyindex{hb} macro, e.g.: + \subsection{Shorthand beam notations for repeated notes}\index{repeated patterns} +Sometimes you may want to indicate repeated short notes with open note heads joined +by a beam. Here's an example of how to do that +using the \keyindex{hb} macro: -\begin{music} +\begin{music}\nostartrule \startextract \Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes \Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes -\endextract +\zendextract \end{music} -\noindent has been coded as: +\noindent which has been coded as: \begin{quote}\begin{verbatim} \Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes \Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes \end{verbatim}\end{quote} +It is also possible to dispense with the stems: -It is also possible to write - -\begin{music} +\begin{music}\nostartrule \startextract \Notes\ibbl0j3\wh j\tbl0\wh l\enotes \Notes\ibbu0g3\wh g\tbu0\wh i\enotes -\endextract +\zendextract \end{music} -\noindent which was coded as: +\noindent which was coded as \begin{quote}\begin{verbatim} \Notes\ibbl0j3\wh j\tbl0\wh l\enotes \Notes\ibbu0g3\wh g\tbu0\wh i\enotes \end{verbatim}\end{quote} -\noindent However, a better look could be obtained in a more sophisticated -way\footnote{You are suggested to make your own macro if you have to type many -of these, or better: use a pre-compiler.}: +\noindent A different look could be obtained as follows: -\begin{music} +\begin{music}\nostartrule \startextract \Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes \Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace -\endextract +\zendextract \end{music} -\noindent which was simply coded as: +\noindent which was coded as: \begin{quote}\begin{verbatim} \Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes \Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace \end{verbatim}\end{quote} - Single repeated notes can also be made --- in a much more sophisticated -way\footnote{But you can write your own macro, thinking of using -{\tt\char92transpose} to lift the oblique beams.}, for example: +Yet another way to indicate repeated notes is given in the +following example: - \begin{music} + \begin{music}\nostartrule \startextract \Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk \ibu0j0\qb0{jjj}\tbu0\qb0j\en @@ -1902,9 +2209,9 @@ way\footnote{But you can write your own macro, thinking of using \ibbu0i0\qb0{jjj}\tbu0\qb0j\en \NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en -\endextract +\zendextract \end{music} - \noindent whose coding (due to W. {\sc Icking}) is; + \noindent whose coding (due to Werner {\sc Icking}) is \begin{quote}\begin{verbatim} \Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk @@ -1919,58 +2226,15 @@ way\footnote{But you can write your own macro, thinking of using \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en \end{verbatim}\end{quote} - \subsection{Beams across bars} -The usual way most composers wrote their scores was beams inside bars, -at least until the beginning of the XIX-th -century. Unfortunately, later composers ({\sc Brahms}, {\sc Scriabin}, -{\sc Grieg}, etc.) wanted to write beams jumping across bars. -This is possible without any problems. -We give an example from {\sc Brahms}'s Intermezzo op.~118,1 provided by -Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip + \subsection{Beams that cross line breaks} -\begin{music} -\interstaff{12} -\setstaffs1{2} -\setclef1\bass -\generalmeter\allabreve -\startextract -\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes -\bar -\nspace -\Notes\ibu0L2\qb0{CEJLcL}% - \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes -\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes -\bar -\Notes\ttie1\zh{.L.a}\hl{.e}% - \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes -\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes -\endextract -\end{music} - %\check -\noindent whose coding is: -\begin{verbatim} -\interstaff{13} -\instrumentnumber{1} -\setstaffs1{2} -\setclef1\bass -\generalmeter\allabreve -\startextract -\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes -\bar -\nspace -\Notes\ibu0a1\qb0{CEJLcL}% - \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes -\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes -\bar -\Notes\ttie1\zh{.L.a}\hl{.e}% - \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes -\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes -\endextract -\end{verbatim} -Still to be done manually is the cut and prolongation across line breaks, which -can be easily be done with shifting using \keyindex{roff} and/or -\keyindex{loff}, or with insert of a spacing command (here done with -\keyindex{hsk}). We give an example from {\sc Grieg}'s ``Hochzeit auf +Although careful typesetting can usually avoid it, occasionally +a beam may need to cross a line break. If so, it must be manually terminated at +the end of one line and continued in the next. This +can be done by shifting beam terminations and initiations +using \keyindex{roff} and/or +\keyindex{loff}, or by inserting a spacing command such as +\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip \begin{music} @@ -2019,89 +2283,187 @@ Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip \notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en \endpiece \end{music} -\noindent where the prolongation was coded as: -\begin{verbatim} +\noindent The prolongation of the two upper beam at the end is +illustrated in the code fragment +\begin{quote}\begin{verbatim} \notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en -\end{verbatim} +\end{verbatim}\end{quote} %\check - \subsection{Semi-automatic beams} -In order to avoid tedious checks to adjust the slope (and even the starting -pitch) of beams in music with a lot of steep beams, a set of automatically -slope computing has recently been implemented. If -you say \verb|\Ibu2gj3| \musixtex\ will understand that`you want to -build an upper beam (beam number 2) horizontally extending \verb|3\noteskip|, -the first note of which is a \verb|g| and the last note is a \verb|j|. -Knowing these parameters it will choose the highest slope number which -corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt -g})/(3\keyindex{noteskip})$. Moreover, if there is no sufficiently steep beam -slope available, then it will raise the starting point. - Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu}, -\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl}, -\keyindex{Ibbbl} and \keyindex{Ibbbbl}. - -Also available are ready definitions for often needed sets of double, -triple and quadruple notes with computed slopes. These are: -\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl}, -\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl}, -\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}. - %\check + \subsection{Beams with notes on several different staves} +Here's a simple example from {\sc Brahms}'s +Intermezzo op.~118,1 provided by +Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip -\medskip \begin{music} -\parindent0pt\startpiece -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en -\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece +\interstaff{12} +\setstaffs1{2} +\setclef1\bass +\generalmeter\allabreve +\startextract +\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes +\bar +\nspace +\Notes\ibu0L2\qb0{CEJLcL}% + \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes +\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes +\bar +\Notes\ttie1\zh{.L.a}\hl{.e}% + \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes +\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes +\endextract \end{music} -\noindent which was simply coded as: -\begin{quote}\begin{verbatim} -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en -\notes\Qqbbu fgge\Qqbbl jhgi\en -\end{verbatim}\end{quote} %\check +\noindent The coding is +\begin{verbatim} +\interstaff{13} +\instrumentnumber{1} +\setstaffs1{2} +\setclef1\bass +\generalmeter\allabreve +\startextract +\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes +\bar +\nspace +\Notes\ibu0a1\qb0{CEJLcL}% + \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes +\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes +\bar +\Notes\ttie1\zh{.L.a}\hl{.e}% + \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes +\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes +\endextract +\end{verbatim} + +\noindent (This example also shows that there is no problem in extending +a beam across a bar line.) + +The general features that enable this type of coding as well as the +more complex example to follow are + \begin{itemize}\setlength{\itemsep}{0ex} +% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl}, +%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm +%define beams whose initial vertical position and slope are fixed +%relative +%to the staff where they begin, but notes in other staves can still be +%connected to them using \Bslash{\tt qb}\onen. +% +% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate +%beam $n$ at the specified position, but \musixtex\ remembers the beam +%parameters until a new beam with the same number is defined. +%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or +%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still +%generate notes connected to the phantom extension of this beam, +%\ital{provided they are issued in a different staff}. If the command +%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after +% the beam had ended, an error would result. +% + \item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}}, +{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}} +define beams whose initial vertical position and slope are fixed +relative +to the staff where they begin, but notes in other staves can still be +connected to them using {\Bslash\texttt{qb}\onen}. + + \item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen} +terminate +beam $n$ at the specified position, but \musixtex\ remembers the beam +parameters until a new beam with the same number is defined. +Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or +\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still +generate notes connected to the phantom extension of this beam, +\ital{provided they are issued in a different staff}. If the command +\verb|\qb|\enpee\rm~were issued on the same staff as the beam after + the beam had ended, an error would result. + + + + + + \item If the beam is initiated on one staff, +notes in a lower staff can be connected to it, but only \ital{after} the beam +has been defined. This may require using the command \keyindex{prevstaff} +to go back one staff, as described in section +\ref{movingtostaffs}. + + \end{itemize} + + Here is an example: + + \begin{music} + \setstaffs13 + \setclef1{6000} + \startextract + \notes + \nextstaff\Ibbbu0Ae7\prevstaff + \qb0{AEH^JLa}\relax\nextstaff + \qb0{******^c}\tqh0e\relax + |\zq{h^jl}\ql o\enotes + \notes + \nextstaff + \Ibbbu0hH6\qb0{hec}\prevstaff + \qb0{***aLJ}\tqh0H\relax\nextstaff + |\zq{h^jl}\ql o\enotes \nspace + \zendextract + \end{music} + + \noindent which is coded as: + + \begin{quote} + \begin{verbatim} + \setstaffs13 + \setclef1{6000} + \startextract + \notes + \nextstaff\Ibbbu0Ae7\prevstaff + \qb0{AEH^JLa}\relax\nextstaff + \qb0{******^c}\tqh0e\relax + |\zq{h^jl}\ql o\enotes + \notes + \nextstaff + \Ibbbu0hH6\qb0{hec}\prevstaff + \qb0{***aLJ}\tqh0H\relax\nextstaff + |\zq{h^jl}\ql o\enotes \nspace + \zendextract + \end{verbatim} + \end{quote} + +In this example we not only see multiple uses of \keyindex{nextstaff} and +\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes +(see section \ref{CollectiveCoding}). \section{Rests} - Except that difference that they have no specific pitch, rests are coded in a -very simple way. \subsection{Ordinary rests} - Full bar rests (also called ``pauses'') are coded as -\keyindex{pause}, with a point behind as \keyindex{pausep}; -smaller rests are -\keyindex{hpause} (of duration equal to a \ital{half note}), -with a point behind as \keyindex{hpausep}, -\keyindex{qp} (duration equal to a \ital{quarter note}, - also \keyindex{soupir}), -\keyindex{ds} (duration equal to an \ital{eighth note}), -\keyindex{qs} (duration equal to an \ital{sixteenth note}), -\keyindex{hs} (duration equal to an \ital{thirty second note}), -\keyindex{qqs} (duration equal to an \ital{sixty fourth note}). - - Long rests (lasting several bars) can be coded as \keyindex{PAuse} -and \keyindex{PAUSe}, which respectively yield: - -\begin{music} + A separate macro is defined for each kind of ordinary rest. They cause +a space after the symbol, just like spacing note commands, but they have +no parameters. A whole rest is coded as +\keyindex{pause}, dotted whole rest \keyindex{pausep}, +half rest \keyindex{hpause}, dotted half rest \keyindex{hpausep}, +quarter rest \keyindex{qp} or \keyindex{soupir}, +eighth rest \keyindex{ds}, sixteenth rest \keyindex{qs}, +32nd rest \keyindex{hs}, and 64th rest \keyindex{qqs}. + + Longer rests, normally interpreted as lasting +two or four bars respectively, can be coded as \keyindex{PAuse} +and \keyindex{PAUSe}, which yield: + +\begin{music}\nostartrule \generalmeter{\meterfrac44} \startextract \def\atnextbar{\znotes\centerbar\PAuse\en}% \NOTEs\en\bar \def\atnextbar{\znotes\centerbar\PAUSe\en}% -\NOTEs\en\endextract +\NOTEs\en\zendextract \end{music} %\check - \subsection{Lifted rests}\index{lifting rests}\index{rest lifting} All the -previous rests with exception of \keyindex{pausep} (pause with a point) and -\keyindex{hpausep} (half rest with a point) are \ital{hboxes}; this means that -they can be vertically offset to meet polyphonic music requirements using the + + \subsection{Raising rests}\index{raising rests} +All the +previous rests except \keyindex{pausep} and +\keyindex{hpausep} are \ital{hboxes}, which means that +they can be vertically offset if needed using the standard \TeX\ command \keyindex{raise}. For example: \begin{quote} @@ -2111,45 +2473,39 @@ standard \TeX\ command \keyindex{raise}. For example: \end{verbatim} \end{quote} - \noindent{\sl{\bfseries CAUTION:} do not try to lift rests (or notes but this -looks so silly that...) using codings like -\verb|\raise2mm|\keyindex{hbox}\verb|{\qp}|. The reason is that the rest -symbol (e.g. \verb|\qp|) is embedded in braces, so that local counting of -spaces (register \verb|\loc@skip|) will be lost, resulting in turn in -overfull/undfull boxes, beam errors, erratic slurring, etc. In general, all -rests and all notes should be coded at the brace level of the \verb|\notes| -command, unless they are deliberately embedded in \keyindex{rlap} or -\keyindex{llap} which actually overlook spacing counting but finally force no -horizontal spacing, a behaviour which compensates the forgotten spacing count.} - - In addition, two symbols have been provided to put a \itxem{full rest} or a -\itxem{half rest} above or below the staff. Then the ordinary \verb|\pause| or -\verb|\hpause| cannot be used since there is a need for small horizontal line -to distinguish between the full and the half rest. They are: - \begin{itemize} - \item \keyindex{liftpause}~$n$ (non spacing) to get a +\noindent where \keyindex{Interligne} is the distance from one staff line to the +next. + +In addition, two macros are available to put a whole or +half rest above or below the staff. The ordinary \verb|\pause| or +\verb|\hpause| cannot be used outside the staff because a short horizontal line +must be added to distinguish between the whole and the half rest. The commands, +which are non-spacing\footnote{Editor's note: The reason for having defined these +as non-spacing is not obvious}, are + \begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{liftpause}~$n$ to get a \hbox to10pt{\liftpause{-2}\hss} raised from original position by $n$ staff line intervals, - \item \keyindex{lifthpause}~$n$ (non spacing) to get + \item \keyindex{lifthpause}~$n$ to get \hbox to10pt{\lifthpause{-1}\hss} raised the same way. - \item \keyindex{liftpausep}~$n$ (non spacing) to get a + \item \keyindex{liftpausep}~$n$ to get a \hbox to10pt{\liftpausep{-2}\hss} raised from original position by $n$ staff line intervals, - \item \keyindex{lifthpausep}~$n$ (non spacing) to get + \item \keyindex{lifthpausep}~$n$ to get \hbox to10pt{\lifthpausep{-1}\hss} raised the same way. \end{itemize} %\check \subsection{Bar centered rests}\label{barcentered} -Sometimes it is necessary to place a rest (or other) exactly in the middle -of a bar. This can be done with more sophisticated commands: -%\keyindex{atnextbar} +Sometimes it is necessary to place a rest (or any other symbol) exactly in the middle +of a bar. This can be done with combinations of the commands +\keyindex{atnextbar}, \keyindex{centerbar}, \keyindex{centerPAUSe}, \keyindex{centerPAuse}, \keyindex{centerpause}, -\keyindex{centerhpause}. -For example: +\keyindex{centerhpause}, +as demonstrated in the following example: \begin{music} \generalmeter\meterC @@ -2168,6 +2524,7 @@ For example: \addspace{10\elemskip}% \def\atnextbar{\znotes\centerbar\duevolte|\centerbar\duevolte\en}\endpiece \end{music} +\noindent with the coding \begin{verbatim} \generalmeter\meterC \setclef1\bass @@ -2187,36 +2544,79 @@ For example: \end{verbatim} %\check -\section{Phantom notes and spacing commands}\label{spacing} -It may be interesting, when coding a sequence of notes within a unique pair -\verb|\notes...\enotes|, to skip one note place in order -- for -example -- to set the third note of one staff at the same abscissa as that of -the second note of another staff. This can be done by inserting \keyindex{sk} -which causes a spacing of one \keyindex{noteskip}\footnote{Never use -\keyindex{kern} nor \keyindex{hskip}~: in fact \keyindex{sk} not only causes -a space but also records that space for correct handling of beams, slurs, -trills, octaviation dashed lines, line-breaking, etc.}. Sometimes it is useful -to \ital{skip back} one noteskip, this can be done with \keyindex{bsk}. The -spacing of a half \verb|\noteskip| can be yielded with \keyindex{hsk}. - - %\check +\section{Skipping spaces and shifting symbols}\label{spacing} +We've already mentioned that when coding a sequence of notes inside a +particular pair \verb|\notes...\enotes|, the command \keyindex{sk} can +be used to skip horizontally by one \keyindex{noteskip}. This would be +used for example to align the third note in one staff with the second note +in another. Skipping in this manner is logically equivalent to inserting +blank space; as such, the space must be recorded by \musixtex. This command +and the others discussed here will +do just that, so that \verb|musixflx| can properly account for +the added space. + +To skip by one \verb|noteskip| while in a collective coding sequence, +you may simply insert an asterisk (``\verb|*|''\index{*}). This would have +the same effect as stopping the sequence, entering {\Bslash sk}, then +restarting. For example, - If you just want to shift a note or a symbol by one note head width, -you may write \keyindex{roff}\verb|{|\ital{note/symbol}\verb|}| (shift right) -or \keyindex{loff}\verb|{|\ital{note/symbol}\verb|}| (shift left). - If you just want to shift a note or a symbol by one half note head width, -you may write \keyindex{hroff}\verb|{|\ital{note/symbol}\verb|}| (shift right) -or \keyindex{hloff}\verb|{|\ital{note/symbol}\verb|}| (shift left). +\begin{music} +\setstaffs12 +\startextract +\Notes\hu{e*f*g}|\qu{gghhii}\en +\zendextract +\end{music} +\noindent was coded as +\verb|\Notes\hu{e*f*g}|{\tt |}\verb|\qu{gghhii}\en| + +To skip forward +by one half of a \verb|\noteskip|, use \keyindex{hsk}. +To insert spacing of approximately one note head width, you can use +\keyindex{qsk}, or for half of that, \keyindex{hqsk}. To skip backward +by one \verb|\noteskip|, use \keyindex{bsk}. More generally, +to skip an arbitrary distance, use \keyindex{off}\verb|{|$D$\verb|}| +where $D$ is any \itxem{scalable dimension}, e.g.~\verb|\noteskip| or +\verb|\elemskip|. Indeed, if you look in the +\musixtex\ source, you will see that \verb|\off| is the basic control +sequence used to define all the other skip commands. + +The foregoing commands only work \ital{inside} a \verb|\notes...\enotes| group. +A different set of commands must be used to insert space \ital{outside} +such a group. \keyindex{nspace} produces an +additional spacing of half a note head width; +\keyindex{qspace}, one note head width. These are ``hard'' spacings. To +insert an arbitrary amount of hard space outside a \verb|\notes...\enotes| +group, use \keyindex{hardspace}\verb|{|$d$\verb|}{|\dots\verb|}| where +$d$ is any fixed dimension\label{hardspace}. The foregoing three commands are the only +space-generating commands that insert hard space; all the others insert +scalable spacing: \keyindex{elemskip}, +\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and +their multiples. Finally, to insert +scalable spacing outside +a \verb|\notes...\enotes| group, use +\keyindex{addspace}\verb|{|$D$\verb|}|. The argument may be negative, in +which case the normal spacing will be reduced. For example, after +\keyindex{changecontext}, many users prefer to reduce the space with +a command like +\verb|addspace{-|\keyindex{afterruleskip}\verb|}|. + +There is yet another set of commands for simply shifting a note, symbol, or sequence +inside \verb|\notes...\enotes| +without adding or subtracting any space. To shift by one note head width, +you may write \keyindex{roff}\verb|{|\ital{any macro}\verb|}| +or \keyindex{loff}\verb|{|\dots\verb|}| for a right or left shift respectively. + To shift by half of a note head width, use +\keyindex{hroff}\verb|{|\dots\verb|}| or +\keyindex{hloff}\verb|{|\dots\verb|}|. For example, to get %\check - -\begin{music} +\begin{music}\nostartrule \startextract \Notes\roff{\zwh g}\qu g\qu h\qu i\enotes -\endextract +\zendextract \end{music} -you code: +\noindent you would code: %\check @@ -2224,290 +2624,271 @@ you code: \Notes\roff{\zwh g}\qu g\qu h\qu i\enotes \end{verbatim}\end{quote} -If you want to shift notes or symbols right by more or less than one note head -width, then you can use \keyindex{roffset} (or \keyindex{loffset} in the other -direction) which has an additional first argument which is the number of note -head widths the second argument should be shifted by. For example +\noindent To shift notes or symbols by an arbitrary amount, use +\keyindex{roffset}\verb|{|$N$\verb|}{|\dots\verb|}| or +\keyindex{loffset}\verb|{|$N$\verb|}{|\dots\verb|}|, where +$N$ is the distance to be shifted in note head widths. For example -\begin{music} +\begin{music}\nostartrule \startextract \Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes -\endextract +\zendextract \end{music} -was coded: +\noindent was coded as \begin{quote}\begin{verbatim} \Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes \end{verbatim}\end{quote} -\begin{important} the offset specified or implicitly specified in -\verb|\roff|, \verb|\loff|, \verb|\roffset| and \verb|loffset| does not add to -the total spacing amount; in other words this is just an offset, not a -spacing. Conversely, the possible spacing of commands included in the argument -of \verb|\roff|/\verb|\loff| and in the second argument -of \verb|\roffset|/\verb|\loffset| actually adds to the total spacing in that -bar of the current staff. Therefore, the symbol/note argument of these offset -commands should usually produce no spacing, i.e. begin with \verb|\z|. - - Besides, it is not advised to insert several consecutive spacing notes in -the \verb|\roff|/\verb|\loff| or \verb|\roffset|/\verb|\loffset| arguments, -since it could mess up the global spacing accounting. - \end{important} - - %\check - - -To insert spacing of \ital{nearly} one \ital{note head width}, you can use -\keyindex{qsk}(which has the drawback, that it is scalable, so what spacing -you really get depends on the computed \verb|\elemskip| from \verb|musixflx| -and the user chosen value of \verb|\elemskip|). The half of this spacing can -be forced with \keyindex{hqsk}. Note that these two latter macros must be used -inside a pair \verb|\notes...\enotes|. - - If you want to insert additional spacing before a group of notes, especially -to avoid a collision with an accidental, you can write \keyindex{nspace} --- -outside the \verb|\notes...\enotes| group --- and this will produces an -additional spacing of a half note head width; in the same way, -\keyindex{qspace} will yield a spacing of a note head width. Note that -\verb|\nspace| and \verb|\qspace| are ``hard'' spacings, whose general -feature is \verb|\hardspace|, described below. - -Sometimes the additional space behind \keyindex{changecontext} -disturbs the eye of a typesetter, but this ugly spacing can be reduced with: - -\keyindex{addspace}\verb|{-|\keyindex{afterruleskip}\verb|}%| - -It should be emphasized that all these spacing commands work correctly, only -when their dimension arguments are \itxem{scalable values} and not fixed -dimensions; the scalable dimensions are \keyindex{elemskip}, -\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and -their multiples. - -The only spacing command which can work with ``normal'' (that is, -\ital{not scalable}) dimensions is:\label{hardspace}\index{hard spacing} - - -\keyindex{hardspace}\verb|{|\ital{any \TeX~dimension}\verb|}%| - -\noindent but both \verb|\addspace| and \verb|\hardspace| can only be used -outside of \verb|\notes...\enotes|. - -Conversely, a more general spacing is allowed within the -\verb|\notes...\enotes| pairs, namely: +An important feature of these shift commands is that the offset, +whether implicit or explicit, is \ital{not} added to +the total spacing amount, but any spacing due to the included commands is. -\keyindex{off}\verb|{|$D$\verb|}%| - -\noindent where $D$ is a \itxem{scalable dimension}, for example -\verb|\noteskip| or \verb|\elemskip|. In fact, if you look to the -\musixtex\ source, you will find that \verb|\off| is the basic control -sequence used to define \keyindex{sk}, \keyindex{qsk}, etc. - - %\check - -\section{Collective coding: sequences of notes} - -As seen in the {\sc Mozart} example, it is not necessary to write a macro -sequence \verb|\notes...\enotes| for each column\footnote{Although -the compiler compiles it faster.}. If, on all -staffs of all instruments, spacings are equal or multiple of a unique value, -the notes may be concatenated in each staff: each note in each staff makes -the current position horizontally advance by the elementary spacing specified -by the choice of \verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. - - The major interest of this feature resides in that fact that -the note macros are able to write several items; for instance -\verb|\qu{cdefghij}| writes the \ital{C-major} scale in quarters with -stem up. In the same way \verb|\cl{abcdef^gh}| writes the -\ital{A-minor} scale in eighths. Not all note generating macros can be -used to perform collective coding, but most of them can. - - If necessary a void space\footnote{same behaviour as {\Bslash sk}} -can be inserted in a collective coding by using \verb|*|\index{*}. - - %\check \section{Accidentals} Accidentals can be introduced in two ways. - The first way, the \ital{manual} way of coding them, consists for -example in coding \keyindex{fl}\verb|a| to put a \ital{flat} at the -pitch $a$, supposedly before the further note of that pitch. -There is no control upon the fact that a note will be put at this position -and at this pitch. -Naturals, sharps, double flats and double sharps are coded \keyindex{na}~$p$, -\keyindex{sh}~$p$, \keyindex{dfl}~$p$ and \keyindex{dsh}~$p$ respectively. + The first way, using explicit macros, consists for +example in coding \keyindex{fl}\pitchp~to put a \ital{flat} at the +pitch $p$, presumably right before a note at the same pitch. This is a +non-spacing command and will automatically place the accidental an +appropriate distance to the left of the anticipated note head. +Naturals, sharps, double flats and double sharps are coded \keyindex{na}\pitchp, +\keyindex{sh}\pitchp, \keyindex{dfl}\pitchp~and \keyindex{dsh}\pitchp~respectively. -Alternate procedures \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh}, +The alternate macros \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh}, \keyindex{ldfl} and \keyindex{ldsh} -place the same accidentals, but their abscissa is shifted one note head width -on the left. The purpose of this is to avoid collision of accidentals -in a chord with narrow intervals. - - The second way of coding accidentals consists in putting the symbol -\verb|^| (sharp), the symbol \verb|_| (flat), the symbol \verb|=| (natural), the -symbol \verb|>| (double sharp), or the symbol \verb|<| (double -flat) within the coding of the note, e.g.: \verb|\qb{^g}| yields a -$G\sharp$. This may very well be combined with collective coding, e.g.: +place the same accidentals, but shifted one note head width +to the left. These can be used if a note head has been shifted to the left, or +to avoid collision with other accidentals +in a chord. If you want to shift an accidental by some other amount for +more precise positioning, you could use \keyindex{loffset} with the normal +accidental macro as the second parameter. + + The second way of coding accidentals is to modify the parameter of a +note command. Just put the symbol +\verb|^| for a sharp, \verb|_| for a flat, \verb|=|~for a natural, +\verb|>| for a double sharp, or \verb|<| for a double +flat, right before the letter or number representing the pitch. +For example, \verb|\qb{^g}| yields a +$G\sharp$. This may be used effectively in collective coding, e.g. \verb|\qu{ac^d}|. - Two sizes are available for accidentals. They revert to the small -version when notes are supposed to be too close to each other. These two -sizes can be forced by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or -\keyindex{smallfl}, \keyindex{smallsh}, etc. If one does not want to have any -small accidentals, then one can declare \keyindex{bigaccid} (conversely -\keyindex{smallaccid} or \keyindex{varaccid} -- the latter restoring variable -sizes). + There are two sizes of accidentals. By default they will be large unless there +is not enough space between notes, in which case they will be made small. Either +size can be forced locally by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or +\keyindex{smallfl}, \keyindex{smallsh}, etc. If you want all accidentals to +be large, then declare \keyindex{bigaccid} near the top of the input file. For +exclusively small ones use \keyindex{smallaccid}. \keyindex{varaccid} will restore +variable sizes. - Small accidentals can also be put \ital{above} the note -heads. This is done using \keyindex{uppersh}~$p$, \keyindex{upperna}~$p$ or -\keyindex{upperfl}~$p$: + For editorial purposes, small accidentals can be placed \ital{above} note +heads. This is done using \keyindex{uppersh}\pitchp, \keyindex{upperna}\pitchp, or +\keyindex{upperfl}\pitchp: -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\uppersh l\qa l\enotes \NOtes\upperna m\qa m\enotes \NOtes\upperfl l\qa l\enotes -\endextract +\zendextract \end{music} - It also possible to introduce \ital{\ixem{cautionary accidental}s} on a -score, i.e.\ small size accidentals between parentheses. This done by preceding -the name of the accidental keyword by a \verb|c|,\label{cautionary} - e.g.~by coding \keyindex{cfl}~$p$ to get a cautionary flat. - Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl}, \keyindex{cna}, -\keyindex{cdfl} and \keyindex{cdsh}, which give: - -\begin{music} + It also possible to introduce \ital{\ixem{cautionary accidental}s}, +i.e.\ small accidentals enclosed in parentheses. This done by preceding +the name of the accidental keyword with ``\verb|c|'',\label{cautionary} + e.g.~\keyindex{cfl}\pitchp~for a cautionary flat. + Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl}, +\keyindex{cna}, +\keyindex{cdfl} and \keyindex{cdsh}, which give + +\begin{music}\nostartrule \startextract \NOtes\csh g\qa g\enotes \NOtes\cfl h\qa h\enotes \NOtes\cna i\qa i\enotes \NOtes\cdfl j\qa j\enotes \NOtes\cdsh k\qa k\enotes -\endextract +\zendextract \end{music} \noindent -Besides, the distance between note and accidental is influenced by -\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension} +The distance between all notes and accidentals is controlled by +\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension}, where +positive values shift to the left and negative to right, with a +default value of \verb|0pt|. + + \section{Transposition and octaviation}\label{octaviation} +Two different subjects are discussed in this section. First, there +are commands that cause notes to be printed at different pitches than +entered. We shall refer to this as \ital{logical} transposition. +Second, there are notations for octaviation that do +not otherwise alter the appearance of the score, which we'll call +\ital{octaviation lines}. + +\subsection{Logical transposition and octaviation} + +Logical transposition is controlled by an integer-valued \TeX\ register +\keyindex{transpose}. Its default value is 0. If you enter +\verb|\transpose=|$n$, then all subsequent pitches specified by +letters will be transposed by $n$ positions. Normally this method would be +used to transpose an entire piece. Pitches specified with +numbers will not be affected, so if you think you will ever want to +transpose a piece, you should enter all note pitches with letters. + +One way to transpose up or down by one octave would be to set +\keyindex{transpose} to 7 or $-7$. For example, to make a quarter note +octave as a chord, you could define a macro as +\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}|. +Note that because \verb|\transpose| is altered inside a pair of braces, the +effect of the alteration is only local and does not reach outside the braces. + + Another more convenient way to transpose locally up or down by one octave +makes use respectively of the characters +\verb|'| (\itxem{acute accent}) and \verb|`| (\itxem{grave accent}), +placed immediately before the letter specifying the pitch. So +for example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and +\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. These characters have +cumulative effects but in a somewhat restricted sense. They will alter the value of +\verb|\transpose|, but only until changing to a different staff or +instrument or encountering \verb|\enotes|, at which time it will be reset to the +value it had before the accents were used. (That value is stored in +another register called \keyindex{normaltranspose}). Thus for example +\verb|\qu{''A'A}| and \verb|\qu{''A}\qu{'A}| +are both equivalent to \verb|\qu{ah}|. + +At any point it is possible to reset the \verb|\transpose| register +explicitly to the value it had +when entering \verb|\notes|, by prefacing a pitch indication with +``\verb|!|''. Thus \verb|\qu{!a'a}| always +gives the note \verb|a| and its upper octave \verb|h|, shifted by the +value of {\Bslash transpose} at the beginning of the current +\verb|\notes...\enotes| group, regardless of the number of grave and +acute accents occurring previously within that group. + + \subsection{Behavior of accidentals under logical transposition}\label{transposeaccids} + The above processes indeed change the vertical position of the note heads +and associated symbols (e.g.~stems and beams), but they don't take +care of the necessary changes of accidentals when transposing. For example, +suppose an F$\sharp$ occurs in the key of C major. If the piece is +transposed up three steps to the key of F, the F$\sharp$ should logically +become a +B$\natural$. But if all you do is set \verb|\transpose=3|, the note will +be typeset as a B$\sharp$. In other words, \musixtex\ will interpret the~\verb|\sh| +or~\verb|^| to mean ``print a $\sharp$''. + +Naturally there is a solution, but it requires the typesetter to plan +ahead: To force accidentals to behave well under transposition, they +must be entered according to the \ital{relative +accidental convention}. To alert \musixtex\ that you are using this +convention to enter notes, you must issue the command +\keyindex{relativeaccid}. Once you have done this, the meaning of +accidental macros and characters (accents) in the input file is changed. +Under the convention, when for example a +\verb|\sh| is entered, it indicates a note that is supposed to sound +\ital{one half step higher than what it would normally be under the +current key signature}. Flats and naturals on entry similarly indicate +notes one half step lower or at the same pitch as what the key signature +dictates. \musixtex\ will take account of the key signature, and print +the correct symbol according to the modern notational convention, +provided you have explicitly entered the transposed key signature using +for example \verb|\generalsignature|. + +Many people have a difficult time understanding how this works, so +here are two simple examples in great detail. Consider the case already mentioned +of the F$\sharp$ in the key of C major. With +\verb|\relativeaccid| in effect, it should still be entered as \verb|\sh f|, and +with no transposition it will still appear as F$\sharp$. With +\verb|\transpose=3| and \verb|\generalsignature{-1}| it will appear +(correctly) as B$\natural$. Conversely, suppose you want to enter a +B$\natural$ when originally in the key of F. With \verb|\relativeaccid| in effect, it +should be entered as \verb|\sh i|. (That's the part that people +have the most trouble with: ``If I want a natural, why do I have to enter a sharp?'' Answer: +``Go back and re-read the previous paragraph very carefully.'') With no transposition, it will be +printed as B$\natural$. Now to transpose this to C major, set +\verb|\transpose=-3| and \verb|\generalsignature0|, and it will appear +as F$\sharp$. + +If you have invoked \verb|\relativeaccid| and then +later for some reason wish to revert to the ordinary convention, +enter \keyindex{absoluteaccid}. + +\subsection{Octaviation lines} +The first kind of notation for octave transposition covers a +horizontal range that must be specified at the outset. The sequence -\noindent -positive values shift to left, negative to right, default is \verb|0pt|. - \section{Transposition and octaviation} -An important feature is the existence of a special register -\keyindex{transpose} the normal value of which is 0. If you say - -\verb|\transpose=3| - -\noindent all subsequent pitches specified by -upper or lower case letters\footnote{Pitches specified with figures are -absolute and not transposed.} will be transposed 3 positions. If you set -\keyindex{transpose} to 7 you may write your music one octave below its final -pitch. Thus, you can define \ital{octaviation} macros like - -\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}| - -\noindent to build quarter note octaves in a single call. Note -that the octaviated note is coded within braces so that the transposition -is only local. - - \ital{Octaviation}\index{octaviation} can also be performed in another -way, namely using special codes to transpose by multiples of 7 intervals. -For example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and -\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. It should be -emphasized here that the \verb|'| (\itxem{acute accent}) and the \verb|`| -(\itxem{grave accent}) have cumulative effects, so that \verb|\qu{''A'A}| -is equivalent to \verb|\qu{ah}| and that the \verb|\transpose| -parameter is only reset to its initial value (not necessarily zero) when -changing staff or instrument (i.e. \| or \verb|&|) or at \verb|\enotes|. - Since this may be confusing, it is useful to use the \verb|!| prefix -to reset the \verb|\transpose| register explicitely to the value it had -when entering \verb|\notes|\footnote{This value is saved in another -register named \keyindex{normaltranspose}.}. Thus \verb|\qu{!a'a}| always -gives the note \verb|a| and its upper octave \verb|h| \ital{shifted by the -value of {\Bslash transpose} at the beginning of the current} \noindent -\verb|\notes...\enotes| group (or \verb|\Notes...\enotes|, -etc.) whatever the number of previous grave and acute accents occurring -inbetween. - \subsection{Typical piano octave transposition} - \subsubsection{Local octave transposition of fixed length} -\begin{music} +\medskip +\begin{music}\nostartrule \startextract -\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en -\endextract +\NOTEs\octfinup{10}{3.5}\ql{!'a}\ql b\ql c\ql d\en +\zendextract \end{music} \noindent can be coded as -\begin{quote}\begin{verbatim} -\startextract -\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en -\endextract -\end{verbatim}\end{quote}\zkeyindex{octfinup} -\noindent that is, the dashed line extends 3.5$\times${\Bslash noteskip}. -Conversely, lower octaviation can also be coded, for example: +\verb|\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en|. +\zkeyindex{octfinup} +Here, the dashed line is at staff level 10 and extends 3.5\verb|\noteskip|. +Conversely, lower octaviation can be coded. For example -\begin{music} +\begin{music}\nostartrule \startextract \NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en -\endextract +\zendextract \end{music} -\noindent which is coded as -\begin{quote}\begin{verbatim} +\noindent is coded as +\verb|\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en|. +\zkeyindex{octfindown} + To change the text that is part of these notations, redefine one of +the macros \keyindex{octnumberup} or \keyindex{octnumberdown}. The reason for +the distinction between up and down is that, traditionally, upper octaviation +only uses the figure +``8'' to denote its beginning, while lower octaviation uses a more +elaborate indication such as \hbox{\ppffsixteen8$^{va}$ \it bassa}. Thus + +\bigskip +\begin{music}\nostartrule \startextract -\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en -\endextract -\end{verbatim}\end{quote}\zkeyindex{octfindown} -If a more sophisticated posting is wanted, this can be achieved refefining -the macro \keyindex{octnumber}, e.g.: - -\begin{music} -\startextract -\NOTEs\def\octnumber{\ppffsixteen8$^{va}$}\octfinup{10}3\qu c\qu d\qu e\en -\endextract +\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en +\zendextract \end{music} -\noindent whose coding is -\begin{quote}\begin{verbatim} -\startextract -\NOTEs\def\octnumber{\ppffsixteen8$^{va}$}\octfinup{10}3\qu c\qu d\qu e\en -\endextract -\end{verbatim}\end{quote} -\noindent or +\noindent is coded + +\noindent\verb|\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en| + +\noindent while \begin{music} \startextract -\NOTEs\def\octnumber{\ppffsixteen8$^{va\,bassa}$}\octfindown{-5}4\ql l\ql k\ql j\en +\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}\octfindown{-5}{2.5}\ql l\ql +k\ql j\en \endextract \end{music} -\noindent coded as: +\noindent is coded as \begin{quote}\begin{verbatim} -\startextract -\NOTEs\def\octnumber{\ppffsixteen8$^{va\,bassa}$}% - \octfindown{-5}4\ql l\ql k\ql j\en -\endextract +\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}% + \octfindown{-5}{2.5}\ql l\ql k\ql j\en \end{verbatim}\end{quote} -\subsubsection{Long or variable range octave transposition} -Long range octave transpositions are better handled using -\keyindex{Ioctfinup}, +The foregoing constructions have the drawbacks that (a) the span must be +indicated ahead of time and (b) they cannot extend across a line break. +Both restrictions are removed with the use of the alternate macros \keyindex{Ioctfinup}, \keyindex{Ioctfindown} and -\keyindex{Toctfin} whose effect extends over line breaks. +\keyindex{Toctfin}. -{\Bslash Ioctfinup}~$np$ starts an octave transposition of reference number -$n$ (with $0\le n<6\equiv$\keyindex{maxoctlines}) dashed line at pitch $p$ -(usually $p>10$ but it can also be an alphabetic pitch specification), -{\Bslash Ioctfindown}~$np$ starts a lower octave transposition at pitch $p$ -(usually $p<-2$), and both extend until terminated with {\Bslash toctfin}. The +{\Bslash Ioctfinup}~$np$ indicate an upward octave transposition line with reference number +$n$ ($0\le n<6$) and with dashed line at pitch $p$. Usually $p$ will be numeric and $>9$, +but it can also be a letter. +{\Bslash Ioctfindown}~$np$ starts a lower octave transposition line at pitch $p$ +(usually $p<-1$). Both extend until terminated with {\Bslash Toctfin}. The difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is -the relative position of the ``8'' figure with respect to the dashed line, and -the sense of the terminating hook (note that {\Bslash Ioctfinup} has a hook -under the dashed line, and conversely). - -For the sake of backward compatibility, \keyindex{ioctfinup} is equivalent to +the relative position of the figure ``8'' with respect to the dashed line, and +the sense of the terminating hook As shorthand, \keyindex{ioctfinup} is equivalent to \verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to \verb|\Ioctfindown 0|. -For example: + +For example, \medskip - \begin{music} + \begin{music}\nostartrule \instrumentnumber{1} \setstaffs12 \setclef1{6000} @@ -2520,11 +2901,11 @@ For example: \Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes \bar \Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes -\endextract +\zendextract \end{music} -whose coding is +\noindent is coded as \begin{quote}\begin{verbatim} -\begin{music} +\begin{music}\nostartrule \instrumentnumber{1} \setstaffs12 \setclef1{6000} @@ -2537,112 +2918,88 @@ whose coding is \Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes \bar \Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes -\endextract +\zendextract \end{music} \end{verbatim}\end{quote} %\check + The elevation of octaviation lines may be changed in midstream using +\keyindex{Liftoctline}~$n$$p$, where $n$ is the reference number of the + octave line, and $p$ a (possibly negative) number of +\keyindex{internote}s (staff pitch positions) by which elevation of the dashed line should be changed. +This may be useful when octaviation lines extend over several systems and the +elevation needs to be changed in a systems after the one where it was initiated. -%\begin{changebar} - - The elevation of octaviation lines may be raised/lowered using -\keyindex{Liftoctline}~$n$~$p$ where $n$ is the reference number of the - wanted ocave line, and $n$ a number (possibly negative) number of -\verb|\internote| by which the dashed line should be lifted. This is -particularly useful when octaviation lines last several systems and need to be -lifted in the systems occuring farther than the initiation. - -%\end{changebar} - - \subsection{Transposition of accidentals} - The above processes indeed change the vertical position of the note heads -and associated symbols (note stems, accents and beams) but they do not take -care of the necessary changes of accidentals when transposing, i.e. the fact -that an $F\sharp$ occurring with a zero signature should become a $B\natural$ -when transposing from the tonality of $C$ major to $F$ major where the normal -$B$ is the $B\flat$. Since the intent of the composer is not obvious -- he -may want to shift a group of notes within the same tonality or conversely to -transpose it in another tonality -- this is not done automatically. Thus the -\keyindex{sh}, \keyindex{fl}, \keyindex{na}, \keyindex{dsh} and -\keyindex{dfl} symbols \ital{are not affected} by a change of the -\keyindex{transpose} register. - - But the composer/typesetter may ask \musixtex\ to do that work. In this -case, he should code \keyindex{relativeaccid}. In that case, a \verb|\sh| -command means that the corresponding pitch\footnote{The musical output note, -not the typesetting position.} has to be raised by \ital{one half pitch} -with respect to its normal value \ital{according to the current signature}. -Thus \verb|\sh b| (using \keyindex{relativeaccid}) means a $B\sharp$ if the -signature is zero or positive, and a $B\natural$ if it is negative. The same -logic applies for all accidentals using \keyindex{relativeaccid}. - -In the same way, the compact codes \verb|^|, \verb|_|, \verb|=| are normally -not affected by transposition and signatures, but their behaviour will be -changed by saying \keyindex{relativeaccid} and reset by -\keyindex{absoluteaccid} (the default situation)\footnote{Note that the -behaviour of {\Bslash sh}, {\Bslash na} and {\Bslash fl} with \musixtex\ -corresponds to the behaviour of {\Bslash Sh}, {\Bslash Na} and {\Bslash Fl} -with \musictex+{musictrp.tex}. But the {\tt musixcpt.tex} file forces the same -behaviour as \musixtex\ in that respect, see page \pageref{compatibility}.}. - - Although \ital{relative accidental coding} is an easy and safe way of -coding \ital{transposable} scores, care should be exercised in getting rid -of the habit of saying \verb|\na b| to raise the pitch of a $B$ when the -tonality is $F$ major (i.e. with \keyindex{setsign$n$}\verb|=-1| or -\keyindex{generalsignature}\verb|{-1}|). An example of sophisticated -transposition is given in the score \verb|souvenir.tex| (which \verb|\input|s -\verb|souvenix.tex|). - - %\check \section{Slurs and ties} -The slurs and ties provided by \musixtex\ can be divided into two categories: +Two fundamentally different implementations of slurs, ties, and hairpins are +available. (The hairpins ``go along for the ride'' with slurs and ties.) First, there are the +original \ital{font-based} versions. These are constructed with traditional +\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files. +Second, it is now possible +to generate these shapes directly with postscript, dispensing altogether with +the font characters\footnote{Please do not be confused by the availability of +postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts). +Once installed in a \TeX\ system, +their function and use are 100\% transparently identical with bitmapped versions +of the slur fonts. On the other +hand, postscript slurs are functionally distinct from font-based slurs, and only + share some of the same syntax.}. We shall first describe the font-based versions, +then Type K postscript slurs, which are one of two available postscript slur +options\footnote{An +alternate approach to postscript slurs, called {\it Type M} after its developer +Hiroaki {\sc Morimoto}, is available from the +\href{http://icking-music-archive.org/software/indexmt6.html} +{\underline{Icking Music Archive}}.}. If you plan to use Type K postscript slurs, +you may skip directly to section~\ref{PostscriptSlurs}. + + \subsection{Font-based slurs} + +Font-based slurs and ties provided by \musixtex\ can be divided into two categories: \label{simpleslur} -\begin{itemize} +\begin{itemize}\setlength{\itemsep}{0ex} \item Those where the complete slur symbol is composed of a single character from one of the slur fonts, and - \item those where the slur symbol is composed three discrete + \item those where the slur symbol is composed of three distinct characters, to form the beginning, middle and end of the slur. \end{itemize} -The former are called \ital{simple slurs} and the latter are called -\ital{compound slurs}. To some extent the division between the two is -invisible to the user, in that a number of the macros described below will -select between the two types automatically. However, other macros are -provided to -enable simple slurs to be specified. Note that slurs of both types must be -coded within the pair \verb|\notes...\enotes|. - \subsection{General slur coding} -This section describes the usual method of slur coding, where the -choice between simple or compound slurs is made automatically. -In this case, slurs are initiated and terminated by separate macros, -as is the case for beams. - \subsubsection{Slur initiation} -The slur must be initiated {\em before} -the spacing note at which the slur begins, and terminated {\em before} the -note at which the slur ends. The simplest slur initiation macro is +The former are called \ital{simple slurs} and the latter, +\ital{compound slurs}. In many cases the distinction between the two is +invisible to the user, in that many of the macros described below will +automatically select between the two types. However, there are other macros +that allow simple slurs to be forced. -\keyindex{isluru}~$np$ - -\noindent which initiates an upper slur, with reference -number $n$, beginning at pitch $p$. The starting point of the slur is -centred above an imaginary quarter note head at pitch $p$. -As for beams, the reference number $n$ takes values from 0 to 5, or -0 to 8 if \ttxem{musixadd.tex} is included. -Similarly, \keyindex{islurd}~$np$ initiates a lower slur. +The next few subsections describe the usual method of slur coding, where the +choice between simple or compound slurs is made automatically. +In this case, slurs are initiated and terminated by separate macros, +similar to beams. + + \subsubsection{Font-based slur initiation} +A slur must be initiated \ital{before} +the spacing note on which the slur begins, and terminated \ital{before} the +note on which it ends. The basic slur initiation macro is +\keyindex{isluru}\enpee, which initiates an upper slur, with reference +number $n$, beginning on a note at pitch $p$. The starting point of the slur is +centered above a virtual quarter note head at pitch +$p$\footnote{The slur will start in the same place regardless of whether there is +{\it actually} a note at pitch $p$.}. +As with beams, the reference number $n$ can take values from 0 to 5, or +up to 8 or 11 respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included. +Similarly, \keyindex{islurd}\enpee\ initiates a lower slur. These slurs are terminated by coding -\keyindex{tslur}~$np$ where $n$ is the reference number and $p$ is the -termination pitch. To illustrate with a simple example, the following +\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the +termination pitch. To illustrate with an elementary example, the following passage -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\islurd0g\qu g\tslur0{'c}\qu c\en \Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en \bar \NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en \NOTes\hu g\en -\endextract +\zendextract \end{music} \noindent was coded as: @@ -2655,24 +3012,26 @@ passage \end{verbatim}\end{quote} Other macros are provided to change the starting and ending point of the slur -in relation to the initial and final notes. Thus, \keyindex{issluru}~$np$ -initiates a ``short'' upper slur suitable for linking notes involved in chords. The +in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\ +initiates a ``short'' upper slur suitable for linking notes involved in chords. +The starting point is shifted to the right, and is vertically aligned with the -centre of an imaginary quarter note head at pitch $p$. If a lower short slur -is wanted, one should use \keyindex{isslurd}~$np$. - +center of a virtual quarter note head at pitch $p$. If a lower short slur +is wanted, one should use \keyindex{isslurd}\enpee. Sometimes, busy scores call for slurs which are vertically aligned with the -ends of note stems rather than note heads. These ``beam'' slurs --- so called -because the slur is written at usual beam height --- are provided by the -macros \keyindex{ibsluru}~$np$ and \keyindex{ibslurd}~$np$. These macros +ends of note stems rather than note heads. These ``beam'' slurs---so called +because the slur is written at usual beam height---are provided by the +macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros initiate slurs raised or lowered by the current stem height to accommodate stems or beams above or below. %\check - \subsubsection{Slur termination}\label {slurtermin} -Termination of slurs can be achieved in two ways. First, macros matching -each of the initialization macros are provided, as shown below.\\ + \subsubsection{Font-based slur termination} +Font-based slurs that are not forced to be simple must be terminated by an explicit +command right before the last note under the slur. There are termination +commands analogous to each of the initiation commands alread presented. They +are summarized in the following table: \begin{center} \begin{tabular}{ll} Initiation & Termination \\ @@ -2682,123 +3041,87 @@ each of the initialization macros are provided, as shown below.\\ \keyindex{ibsluru} & \keyindex{tbsluru}\\ \keyindex{ibslurd} & \keyindex{tbslurd}\\ \hline - \end{tabular} \end{center} These specific termination macros enable slurs -started in one way to be terminated in another. For example, a slur beginning + \end{tabular} \end{center} + +\noindent All of these command have two parameters, $n$ and $p$. + +These specific termination macros are not restricted to being used with their +initiation counterpart. A slur +started in one sense can be terminated in another. For example, a slur beginning as a ``beam'' slur may be terminated as a normal slur. This would be achieved using the macro pair \verb|\ibslur...\tslur|. - \subsubsection{Ties} The coding of \itxem{ties} follows from the above -discussion as a special case of slurs, i.e. when there is no pitch change. -Upper ties are initiated by \keyindex{itieu}~$np$ which starts an upper tie of -reference number $n$ at pitch $p$. -Lower ties are initiated by \keyindex{itied}~$np$ which starts an lower tie of -reference number $n$ at pitch $p$. -The starting position of the tie is the same as \verb|\issluru| and + \subsubsection{Font-based ties} Font-based ties will have the same shapes as +ordinary font-based slurs of the same length between notes of equal pitch, +but there are two important distinctions: +(1) There cannot be any pitch difference between start and end, and (2) the +positions of both the beginning and end of a tie relative to the note heads +are slightly different from those of an ordinary slur\footnote{Editor's note: In +fact, it appears that the default positioning of the ends of ties is exactly +the same as that of short slurs.}. +Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of +reference number $n$ at pitch $p$. +Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of +reference number $n$ at pitch $p$. The starting position of the tie is the same +as \verb|\issluru| and \verb|\isslurd| respectively. The tie is terminated by coding -\keyindex{ttie}~$n$. +\keyindex{ttie}\onen. Note that no pitch parameter is required. -Some simple examples of slurs and ties are illustrated below. +There are also \ital{short ties}, which bear the same relation to ordinary +ties as short slurs to ordinary slurs. They are intended to be used between chords. +They are initiated with +\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is +not clear why this command uses ``{\tt l}'' when all other similar ones use +``{\tt d}''.}, and terminated with \keyindex{tten}\onen. -\begin{music} +The following example illustrates the differences in positioning of the various +slur and tie options: + +\begin{music}\nostartrule +\startextract +\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% +\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% +\itenl0g\qu g\tten0\qu g\en +\zendextract +\end{music} +\noindent It was coded as +\begin{quote}\begin{verbatim} +\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% +\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% +\itenl0g\qu g\tten0\qu g\en +\end{verbatim}\end{quote} + +\noindent Here are some more general examples of font-based slurs and ties +discussed so far: + +\begin{music}\nostartrule \startextract \NOTes\isluru0g\hl g\tslur0h\hl h\en \NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en \NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en \NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en -\endextract +\zendextract \end{music} \noindent This was coded as: \begin{quote}\begin{verbatim} -\begin{music} -\startextract \NOTes\isluru0g\hl g\tslur0h\hl h\en \NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en \NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en \NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en -\endextract -\end{music} \end{verbatim}\end{quote} - \subsubsection{Short ties} Usual music coding makes ties not different of -slurs, i.e. a tie is typed exactly like a slur linking two notes of same pitch. -However, this traditional way of doing has two the drawback: - \begin{itemize} - \item in some special cases, a slur might be confused with a tie and -conversely, - \item chord ties cannot be implemented with the slur starting above or below -the note, but only starting just right of the noetead and finishing just left -of the other note head. - \end{itemize} - This can be done using \verb|\issluru| (\ref{slurtermin}, p. -\pageref{slurtermin}) or \keyindex{itenu}~$np$, \keyindex{itenl}~$np$ for tie -initiation, and \keyindex{tten}~$n$ to terminate it. As an example: - - \begin{music} - \startextract - \NOTes\itenl0d\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes - \bar - \NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes - \endextract - \end{music} - \noindent was coded as: - \begin{quote}\begin{verbatim} - \begin{music} - \startextract - \NOTes\itenl0d\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes - \bar - \NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes - \endextract - \end{music} - \end{verbatim}\end{quote} - %\check - - - \subsubsection{Slur limitations} - The vertical gap between slur initiation and slur termination is limited to -16\verb|\Internote|. Thus exceedingly ascending slurs lead to unfortunate -results, such as~: - - \begin{music} -\instrumentnumber{1} -\generalmeter{\meterfrac34} -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract - \end{music} - whose coding was: - \begin{quote}\begin{verbatim} -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract +\subsubsection{Dotted slurs} -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract - \end{music} - \end{verbatim}\end{quote} +Any font-based slur may be made dotted by specifying \keyindex{dotted} +just before it is initiated: - Besides, tentative slurs of excessive slope may also yield unexpected shapes, -such as: - \begin{music} -\instrumentnumber{1} -\generalmeter{\meterfrac34} -\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes - \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes - \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes - \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes - \endextract - \end{music} - - \subsection{Dotted slurs} Compound and simple slurs (\ref{simpleslur}, -p.\pageref{simpleslur}) may be drawn dotted\footnote{Thanks to Werner {\sc -Icking}.} specifying \keyindex{dotted} just before slur initiation. - -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en \Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar \NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en \NOTes\hu g\en -\endextract +\zendextract \end{music} \noindent This was coded as: @@ -2809,181 +3132,190 @@ Icking}.} specifying \keyindex{dotted} just before slur initiation. \NOTes\hu g\en \end{verbatim}\end{quote} - \subsection{*Modifying slur properties} + \subsubsection{Modifying font-based slur properties} Several macros are provided to modify the shape of slurs already initiated. -These macros must be coded before the slur termination. Note that only -compound slurs can be modified. Hence, calling any modification macro forces -the slur type to be compound. - \subsubsection{*Changing the rise or fall} - By default, the arch of a slur rises and falls from its original height by -three times the vertical note spacing. This can be changed using the macro +These macros must be coded right before the slur \ital{termination}. Invoking +any of the macros described in this section will force the slur to be compound. + +By default, the midpoint of a font-based slur is three \verb|\internote|s +above or below a line between its ends. This can be changed using the macro \keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For -example, \verb|\midslur{6}| coded before \verb|\tslur| causes an upper slur to +example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to rise to a maximum height of \verb|6\internote| above the starting position. -Note that \verb|\midslur| must be coded {\em immediately} before the slur -termination (eg, \verb|\tslur|). Coding \verb|\midslur| before setting a -simple slur causes problems and should be avoided.\\[20pt] +For example, -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\multnoteskip8\isluru0g\ql g\en \notes\tslur0g\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\isluru0g\ql g\en \notes\midslur7\tslur0g\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\isluru2g\ql g\en \notes\midslur{11}\tslur2g\ql g\en -\endextract +\zendextract \end{music} -This was coded as: +\noindent was coded as \begin{quote}\begin{verbatim} -\startextract \NOtes\multnoteskip8\isluru0g\ql g\en \notes\tslur0g\ql g\en -\endextract -\startextract \NOtes\multnoteskip8\isluru0g\ql g\en \notes\midslur7\tslur0g\ql g\en -\endextract -\startextract \NOtes\multnoteskip8\isluru2g\ql g\en \notes\midslur{11}\tslur2g\ql g\en -\endextract \end{verbatim}\end{quote} - \subsubsection{*Changing the curvature} -The degree of curvature depends primarily on the initial and terminal -gradient of the slur, relative to its mean slope. The macro -\keyindex{curve}~$hij$ allows these to be modified. The first parameter $h$ -is the vertical deviation as for \verb|\midslur| described above. The second -parameter $i$ sets the initial gradient, while the third parameter $j$ sets -the -final gradient. The latter parameters are defined as the horizontal distance -required to attain maximum vertical deviation. Thus smaller numbers for $i$ + +The macro \keyindex{curve}$hij$ allows more precise control over the shape +of a slur or tie. The first parameter $h$ +is the vertical deviation and it works exactly like the sole parameter of +\verb|\midslur| described above. The second and +third parameters $i$ and $j$ set the initial and final gradient respectively. +They are defined as the horizontal distance required to attain maximum +vertical deviation. Thus smaller numbers for $i$ and $j$ lead to more extreme gradients. The default setting is \verb|\curve344|. Hence, coding \verb|\curve322| doubles the initial and final gradient relative to the default. As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before -the slur termination. -Likewise, coding \verb|\curve| before -a simple slur causes problems and should be avoided. - -The example below illustrates the use of \verb|\curve| more clearly. - - +the slur termination. The example below illustrates the use of \verb|\curve|. -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\multnoteskip8\itieu0g\ql g\en \notes\ttie0\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\itieu1g\ql g\en \notes\curve 322\ttie1\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\itieu2g\ql g\en \notes\curve 111\ttie2\ql g\en -\endextract +\zendextract \end{music} -This was coded as: +\noindent This was coded as \begin{quote}\begin{verbatim} -\startextract \NOtes\multnoteskip8\itieu0g\ql g\en \notes\ttie0\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\itieu1g\ql g\en \notes\curve 322\ttie1\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\itieu2g\ql g\en \notes\curve 111\ttie2\ql g\en -\endextract \end{verbatim}\end{quote} - %\check - - - \subsubsection{*Breaking slurs across a line} Two macros are provided to control the behaviour of slurs which extend across line breaks. Normally, the part of the slur before the line break is -treated as a tie. This can be changed using \keyindex{breakslur}~$np$, +treated as a tie. This can be changed using \keyindex{breakslur}\enpee, which sets the termination height of -the broken slur at the line break to pitch $p$, for slur reference number $n$. +the broken slur at the line break to pitch $p$, for slur number $n$. After the line break, the slur is normally resumed at the initial pitch -reference, the one coded in \verb|\islur|. To change this, the macro -\keyindex{Liftslur}~$np$ may be used. Here $n$ is again the slur reference -number and $p$ is the change in height relative to the initialization height. +reference, i.e., the one coded in \verb|\islur|. To change this, the macro +\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used. +Here $n$ is again the slur reference +number and $h$ is the change in height relative to the initialization height. This macro is normally used following line breaks, in which case it is best coded using the \verb|\atnextline| macro. For example, coding \verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero by \verb|6\internote| relative to its initialization height. -These macros are illustrated by the following example. -%% -% Example -%% - %\check +The following example illustrates the use of the macros for broken slurs: + +\begin{minipage}[t]{75mm} +Default, without adjustments:\\ +\begin{music} +\hsize=50mm +\generalmeter{\meterfrac24}% +\parindent 0pt\staffbotmarg0pt% +% +%\interstaff{14\internote}% +% +\startpiece\bigaccid +\Notes\ibsluru1b\qu b\qu g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\mulooseness1\Endpiece +\end{music} +\begin{verbatim} +\Notes\ibsluru1b\qu b\qu g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\end{verbatim} +\end{minipage}% +\begin{minipage}[t]{75mm} +With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\ +\begin{music} +\hsize=50mm +\generalmeter{\meterfrac24}% +\parindent 0pt\staffbotmarg0pt% +% +%\interstaff{14\internote}% +% +\startpiece\bigaccid +\def\atnextline{\Liftslur17}% +\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\mulooseness1\Endpiece +\end{music} +\begin{verbatim} +\def\atnextline{\Liftslur17}% +\Notes\ibsluru1b\qu b\qu g% +\breakslur1g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\end{verbatim} +\end{minipage}\medskip - \subsubsection{*Inverting slur termination} Occasionally in keyboard works one needs to begin a slur in one -stave but end it in another. This can be done using the macro -\keyindex{invertslur}~$n$ which is best described by reference to the example +staff but end it in another. This can be done using the macro +\keyindex{invertslur}\onen\ which is best described by +reference to the example shown below. % Finding the final pitch is try and error, sorry, no way out. \begin{music} \setstaffs1{2} -\setclef1\bass +\setclef1\bass\interstaff{10.5} \startextract \NOtes\multnoteskip5\isluru0a\ql a\en -\notes\invertslur0\curve311\tslur0g|\qu d\en +\notes\invertslur0\curve311\tslur0j|\qu d\en \NOtes\multnoteskip{10}\isluru0a\ql a\en -\notes\invertslur0\curve333\tslur0g|\qu d\en -\endextract +\notes\invertslur0\curve333\tslur0j|\qu d\en +\zendextract \end{music} -This was coded as: +\noindent This was coded as \begin{quote}\begin{verbatim} -\setstaffs1{2} -\setclef1{\bass} -\startextract \NOtes\multnoteskip5\isluru0a\ql a\en \notes\invertslur0\curve311\tslur0g|\qu d\en \NOtes\multnoteskip{10}\isluru0a\ql a\en \notes\invertslur0\curve333\tslur0g|\qu d\en -\endextract \end{verbatim}\end{quote} - \begin{remark} - Slur inversion is achieved at a place where its slope ise zero~; therefore it -only works with ascending slurs started with \verb|\isluru|, and with +\noindent Slur inversion as just described takes effect where the slope is zero; therefore it +only works with ascending slurs that were started with \verb|\isluru|, and with descending slurs started with \verb|\islurd|. Otherwise no horizontal place can be found and the result is erratic. - This second situation can be solved manually, stopping the slur at a -reasonable place with \verb|\tslur| and restarting in the other sense at the -same place. Stopping and restarting obviously refer to virtual note pitches (a -vertical position without actual note) which should be adjusted to have the -minimum discontinuity. - \end{remark} - - To make this drawing easier, three commands have been provided: - \begin{itemize} - \item \keyindex{Tslurbreak}$np$ stops slur number $n$ exactly at pitch $p$, +A different approach removes this restriction. The idea is to stop the slur at a +the desired inversion point and restart it in the other sense at the +same place. The commands to do this are as follows: + \begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$, not above or below the virtual note head. - \item \keyindex{Islurubreak}$np$ restarts an upper slur at the same position, + \item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position, not above a virtual note head. - \item \keyindex{Islurdbreak}$np$ restarts an lower slur at the same position, + \item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position, not below a virtual note head. \end{itemize} - Thus, the following pattern - \begin{music} +\noindent The vertical position may have to be adjusted to minimize any discontinuity +in the slope. For example, the following pattern + + \begin{music}\nostartrule \setclef1\treble \startextract \NOTes\multnoteskip 3\isluru0a\ql a\en @@ -2992,43 +3324,37 @@ not below a virtual note head. \NOTes\multnoteskip 3\islurd0a\ql a\en \NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en \Notes\tslur0h\qu h\en -\endextract +\zendextract \end{music} -was coded as +\noindent was coded as \begin{quote}\begin{verbatim} - \begin{music} -\setclef1\treble -\startextract +\begin{music}\nostartrule \NOTes\multnoteskip 3\isluru0a\ql a\en \NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en \Notes\tslur0h\qu h\en \NOTes\multnoteskip 3\islurd0a\ql a\en \NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en \Notes\tslur0h\qu h\en -\endextract \end{music} -\end{verbatim}\end{quote} - - +\end{verbatim}\end{quote} - - \subsection{Simple slurs} -Simple slurs and ties have the advantage -of optimal aesthetics and simple coding, but are limited in length to 68pt +\ital{Simple} slurs and ties have advantages in some cases: (1) They will +always have the best possible shape, and (2) if \verb|\noteskip| doesn't +change from start to finish, they are easier to code. But they have drawbacks +as well: (1) They are limited in length to 68pt for slurs and 220pt for -ties. Also, the maximum vertical extent of simple slurs is 8 times the -internote spacing, and the slurs may not extend across a line break. +ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they +may not extend across a line break. Despite all these limitations, simple slurs are extremely useful in many applications where the slurs are short and contained within a bar. -Simple slurs extend to the right of the note immediately following. -Hence they must be coded {\em before} the note at which the slur begins. -The primary macro call is -\keyindex{slur}~$p_1p_2sl$ +Simple slurs must be coded {\em before} the note on which the slur begins. +The primary macro is +\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ where $p_1$ and $p_2$ are respectively the initial and final pitches, -$s$ is the sense, either {\tt u} or {\tt d}, and $l$ is the length, -in units of the current value of {\tt noteskip}. -Thus, thirds slured in pairs can be coded: +$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length, +in {\tt noteskip}s. +Thus, thirds slured in pairs can be coded %\check @@ -3040,9 +3366,9 @@ Thus, thirds slured in pairs can be coded: \NOtes\slur{'d}bu1\ql{db}\en \NOtes\slur{'c}au1\ql{ca}\en \end{verbatim}\end{quote} -which yields: +which yields -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\slur ced1\qu{ce}\en \NOtes\slur dfd1\qu{df}\en @@ -3050,241 +3376,435 @@ which yields: \NOtes\slur{'e}cu1\ql{ec}\en \NOtes\slur{'d}bu1\ql{db}\en \NOtes\slur{'c}au1\ql{ca}\en -\endextract +\zendextract \end{music} %% -Similarly, ties may be set using -\keyindex{tie}~$psl$ where $p$ is the (single) pitch, and the other -parameters are as described above. - -Variants on these macros are provided to change the slur length -and vertical offset relative to the starting note, as follows. -\begin{itemize} - \item \keyindex{sslur}~$p_1p_2sl$, which sets a `short' slur, - designed for the case when a slur is required to link notes which - form part of a chord (see \verb|\isslur| above). - The macro \keyindex{stie}~$psl$ sets analagous ties. -%! \item \keyindex{bslur}~$p_1p_2sl$, which sets a `beam' slur, raised or -%! lowered so that the slur links the ends of note stems rather than -%! note heads. -\end{itemize} - %\check - - \subsection{Restrictions} -Generation of some of the slur fonts is problematic for \MF. -In particular, the long ties tend to exceed \MF's -maximum dimension for high resolution printers. However, for normal 300 dpi -printers there is no problem. A solution to this limitation is planned -for Postscript\raise1.5ex\hbox{\small\copyright} printers using -DVIPS \verb|\special| commands. - -\section{Bars} - \subsection{Bars and spacing} - Ordinary \ital{bars} are coded using the macro \keyindex{bar}. Its drawback -is that it does not differ from \verb|\bar| which is already defined in -\TeX's mathematical mode. \index{bar (original meaning)@{\Bslash bar} -\ital{(original meaning)}} Therefore, inside \verb|\startpiece...\endpiece| -\ital{our} \verb|\bar| means a musician \ital{bar}\footnote{\ital{Mesure} in -French, \ital{Takt} in German.} and outside, it keeps its original meaning. -If you \ital{really} need the original \verb|\bar| inside, you can say -\verb|\endcatcodesmusic...\bar...\catcodesmusic|. - %\check - \subsection{Bar numbering} -Unless otherwise specified, \index{bar numbering}bars are -numbered. This is a good means of finding errors provided that the \musixtex\ -user has put comments in his source text recording the (expected) bar number. -However, this can look unpleasant for final outputs, since the habit is to -number bars only each other five or ten bars. This is not a serious problem -since the frequency of bar numbering is defined as: +There are similar commands to force simple versions of the other +variants of font-based slurs and ties. Simple ties may be set using +\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed). +Simple short slurs and short ties can be forced with the macros +\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and +\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally, +simple beam slurs can be forced with +\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$. - \verb|\def|\keyindex{freqbarno}\verb|{1}| + \subsubsection{Limitations of font-based slurs} + The change in altitude between slur initiation and slur termination is limited to +16\verb|\Internote|. Thus unexpected vertical gaps can appear, as seen in -If you replace the {\tt1} by {\tt5}, bar numbering will occur each other five -bars. You can also inhibit any bar number\footnote{default inside this manual} -printing by telling: + \begin{music}\nostartrule +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\zendextract -\keyindex{nobarnumbers} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\zendextract + \end{music} + \noindent whose coding was + \begin{quote}\begin{verbatim} +\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes +\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes + \end{music} + \end{verbatim}\end{quote} -\noindent If you want to restore bar numbering after \verb|\nobarnumbers|, -you can say +Furthermore, if the slope becomes too steep, even worse results can occur, such as -\keyindex{barnumbers} + \begin{music}\nostartrule +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes + \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes + \zendextract + \end{music} - The bar counter is also accessible, its name is \keyindex{barno}. -You can change it without any dramatic consequence. +Another limitation of font-based slurs crops up when one attempts to +generate bitmapped versions for high-resolution printers: the characters +for long ties can exceed \MF's maximum capacity. + + \subsection{Type K postscript slurs}\label{PostscriptSlurs} +All of the aforementioned limitations of font-based slurs can be circumvented +by using Type~K postscript slurs\footnote{``K'' stands for Stanislav Kneifl, +the developer of the Type K postscript slur package.}. As well as slurs, the package includes +ties and crescendos (see section \ref{sec:crescnd}). +Its use is very similar to font-based slurs, and in fact identical if only +the elementary slur and tie initiation and termination macros are used. + +In order to use Type K postscript slurs, you must first place \texttt{musixps.tex} +anywhere \TeX\ can find it. You must also place \texttt{psslurs.pro} +somewhere that \texttt{dvips} can find it. + +The \index{mxsk font}\texttt{mxsk} font is required for ``half ties,'' which +are special symbols that are used by default for the second portion of a tie +that crosses a line break. If you like +this treatment you must install the font in your \TeX\ system. However, perfectly +acceptable line-breaking ties will appear if you invoke \keyindex{nohalfties}, +and then you will not have to install this font. + +Once the software mentioned in the prior two paragraphs is emplaced and the +\TeX\ filename database is refreshed, the Type K package can be +invoked by including the command \verb|\input musixps| +near the beginning of your source file. +The resulting dvi file should then be converted into postscript using \textbf{dvips}. +If desired, a PDF file can then be generated with \textbf{ps2pdf}, \textbf{ghostscript}, +\textbf{Adobe Acrobat} (see chapter \ref{installation} for more information on this). + +Two minor inconveniences with Type K postscript slurs are that (1) they won't appear +in any standard dvi previewer, and (2) they won't appear in PDF files generated with +\textbf{pdftex}. The former limitation can be circumvented by using a postscript +viewer such as \textbf{GSview}. The latter simply requires that you create an intermediate +postscript file with \textbf{dvips}, then make the PDF with any of the software +mentioned above. + +\subsubsection{Initiating and terminating type K postscript slurs} + +Basic usage of type K slurs is the same as for font-based slurs. To initiate one, +use for example \verb|\isluru0g| to start an upper slur with ID 0 above a virtual note +at pitch level {\tt g}. To terminate one, use a command like +\verb|\tslur0i| which terminates the slur with ID 0 on a +virtual note at pitch level {\tt i}. +Both types of commands are non-spacing and must precede the first or last +note under the slur. + +You can shift the starting or ending point slightly to the left +or right by substituting one of the commands \keyindex{ilsluru}, +\keyindex{ilslurd}, \keyindex{irsluru}, +\keyindex{irslurd}, \keyindex{trslur} or \keyindex{tlslur}. + +You can control the shape of Type K slurs with variants of +the termination command. To make the slur a bit flatter than default use +\keyindex{tfslur}0f; a bit higher, \keyindex{thslur}0f; higher still, +\keyindex{tHslur}0f; or +even higher, \keyindex{tHHslur}0f. These commands have an effect like +\keyindex{midslur} does for font-based slurs. + +All combinations of the shifting and curvature variants are allowed, +e.g.\ \verb|\trHHslur|. + +The following examples demonstrate how much better the type K slurs perform +in the extreme situations of the prior two typeset examples. The coding is +exactly the same as above except that \verb|\input musixps| has been added: +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\input musixps +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes +.... +\end{verbatim}\end{quote} -Sometimes there is need for to start with a \verb|\barno| value which differs -from 1. Perhaps the piece starts with an \ital{upbeat}, then you can code +%\begin{center} +%\includegraphics[scale=1]{./mxdexamples/pslurvgap.eps} +%\end{center} -\keyindex{startbarno}\verb|=0| +\begin{music}\nostartrule +\input musixps +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\zendextract -\noindent in front of \verb|\startpiece|; or you may want to typeset only an -excerpt starting for example with bar number -198, then you can code \verb|\startbarno=198|. Pay attention because -saying \verb|\startbarno=|$n$ has a global meaning. So if you want to -\verb|\input| several pieces whose starting bar numbers differ, you have to -adjust the value of \verb|\startbarno| each time.\label{startbarno} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\zendextract +% \end{music} - %\check +%\begin{music}\nostartrule +%\input smallmusixpsx +%\instrumentnumber{1} +%\generalmeter{\meterfrac34} +\startextract +\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes\bar +\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes +\NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes\bar +\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes +\zendextract + \end{music} -The best compromise between information of the bar number and a pleasant -lookout is the command \keyindex{systemnumbers} which draws the bar numbers -only at the left top of every system (or staff? then the command will -be renamed to \verb|\staffnumbers| or \verb|\staffbarnumbers|). -You can influence the height of the system numbers by coding +For maximal control over type K slurs, you can use one of the commands +\keyindex{iSlur}~$npvh$ and +\keyindex{tSlur}~$npvhca$, where the characters in +$npvhca$ respectively stand for ID number, height, vertical offset, horizontal offset, +curvature, and angularity. +All offsets are in \verb|internote|, and the slur direction is determined +by the sign of the vertical offset. See the comments in \verb|musixps.tex| +for precise definitions of the other parameters. Examples of permissible forms for +these commands are +\verb|iSlur0c11| and \verb|tSlur0{!d}11{.2}0|. -\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}| +The next example shows how you can use \verb|iSlur| in difficult +circumstances: -\noindent whose default is set to \verb|4\internote| to fit above -a violin clef. You can influence its horizontal position with +\begin{music}\nostartrule +\input musixps +\nobarnumbers +\generalsignature1% +\generalmeter{\meterfrac{2}{4}}% +\nostartrule +\startextract +\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar +% +\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlfslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar +% +\NOtes\zchar{-8}{\Bslash iSlur...\Bslash tSlur}\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en +\zendextract + \end{music} +\noindent with this coding: -\verb|\def|\keyindex{shiftbarno}\verb|{|\ital{any \TeX~dimension}\verb|}| +\begin{quote}\begin{verbatim} +\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar +% +\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar +% +\NOtes\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en +\end{verbatim}\end{quote} -\noindent which default value is \verb|0pt|. If you don't like the box around -the bar number or its font, you can redefine the macro which sets the system -bar number; its default is -\verb|\def|\keyindex{writebarno}% - \verb|{\boxit{\eightbf\the\barno\barnoadd}}| +The ID number for a slur, tie or crescendo should +normally range from 0 to 9. If it is bigger +than nine but less than 15, +the object can cross a line break but not a page break. If bigger than +14 but less than $2^{31}$, it can't be broken at all, + nor can a slur termination be positioned at a beam with + e.g.~\verb|\tbsluru{17684}{16}|; however \verb|\ibsluru{152867}{16}| is OK. - \noindent where \keyindex{boxit} is a utility macro provided by \musixtex{} -whose purpose is to enclose its argument in a \raise-\boxitsep\hbox{\boxit{box}}. +It's also OK to have opened simultaneously a slur, tie and crescendo all +with the same ID, or a slur, tie and decrescendo, but not a crescendo and +decrescendo. +\def\emen{{\tt\char123}$n${\tt\char125\char123}$m${\tt\char125}} -\medskip -\begin{music} -\let\extractline\hbox -\startbarno=36 -\hbox to \hsize{% -\hss - \raise20pt\hbox{(a) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss - \def\writebarno{\tenrm\the\barno\barnoadd}% - \def\raisebarno{2\internote}% - \def\shiftbarno{2.5\Interligne}% - \raise20pt\hbox{(b) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss - \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% - \def\raisebarno{2\internote}% - \def\shiftbarno{1.3\Interligne}% - \raise20pt\hbox{(c) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss} -\end{music} -which was coded as -\begin{itemize} - \item[(a)] (default) - \item[(b)] - \begin{verbatim} -\def\writebarno{\tenrm\the\barno\barnoadd}% -\def\raisebarno{2\internote}% -\def\shiftbarno{2.5\Interligne}% - \end{verbatim} - \item[(c)] - \begin{verbatim} -\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% -\def\raisebarno{2\internote}% -\def\shiftbarno{1.3\Interligne}% - \end{verbatim} -\end{itemize} -If the previous line does not stop with a bar rule to the next system bar number -is added the \keyindex{writezbarno} whose default setting is the lower -character {\tt'a'}. If you want a {\tt'+}' instead, you can say +\subsubsection{Type K postscript beam slurs} +Type K beam slurs are defined differently than the font-based ones: +They require as parameters both a slur ID number $n$ and a beam ID number $m$, +but that's all. The commands are +\keyindex{iBsluru}\emen, \keyindex{iBslurd}\emen, and +\keyindex{tBslur}\emen. +They must be placed \ital{after} the beam initiation or termination command. +Type K slurs may start on one beam and end on another. +For example, -\verb|\def|\keyindex{writezbarno}\verb|{+}| +\begin{quote}\begin{verbatim} +\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% + \slurtext{6}\tBslur00\qb0e\en +\end{verbatim}\end{quote} - Besides, you can change the font and anything in the format of current bar -numbers by changing the original definition of the macro -\keyindex{writethebarno} or the font in \keyindex{fontbarno}, where the -defaults are: +\noindent produces +%\begin{center} +%\includegraphics[scale=1]{./mxdexamples/psbeamslur.eps} +%\end{center} + +\begin{music}\nostartrule\input musixps\startextract +\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% + \slurtext{6}\tBslur00\qb0e\en +\zendextract\end{music} + +The above example also illustrates the use of the macro +\keyindex{slurtext}. It has just one parameter---some text to be +printed---and it centers it just above or below the midpoint of +the next slur that is closed. +This works only for non-breaking slurs; if the slur is broken, +the text +disappears\footnote{If you insist on viewing files with a dvi viewer despite the +fact that Type K slurs will not be visible, you may also find that +figures emplaced with \keyindex{slurtext} will appear at the end of the +slur rather than the middle.}. +%The placing of the slur text is done with a very dirty postscript +%hack, so I am not really sure that everything you want to typeset +%will be placed at the correct position (if you are interested, see +%the end of psslurs.pro for details). If you find something that won't +%work, let me know. + +% DAS: why do we need this ??? +%\paragraph{General coding for postscript slurs and ties of type K.} +%This can be done by: +%\begin{quote}\begin{verbatim} +%\i[h.shift]slur[u|d]{slur ID}{note height} +%\t[h.shift][slur height]slur{slur ID}{note height} +%\iBslur[u|d]{slur ID}{beam ID} +%\tB[slur.height]slur{slur ID}{beam ID} +%\end{verbatim}\end{quote} +%\noindent where h.shift can be 'l', 'r' or nothing +%and slur.height can be 'f', nothing, 'h', 'H' or 'HH' +% +%Example: \keyindex{tlfslur} means 'terminate left flat slur'. +% +% +%There are also simple slurs with same invocation and parameters as the +%original ones. + +\subsubsection{Type K postscript ties} +All of the foregoing Type K slur commands have counterparts for ties. Simply +replace ``\verb|slur|'' with ``\verb|tie|'', and for terminations omit +the pitch parameter. Type K ties not only are positioned differently by +default, but they also have different shapes than slurs. + +\subsubsection{Dotted type K slurs and ties.}%please check the capital D(otted) +A slur or tie can be made dotted simply by entering \keyindex{dotted} anywhere before +the beginning of the slur or tie. Only the first slur or tie following this +command will be affected. On the other hand, if you enter \keyindex{Dotted}, then ALL +slurs and ties from this point forward will be dotted until you say +\keyindex{Solid}. Furthermore, inside \verb|\Dotted...\Solid| you can make any individual +slur or tie solid saying \verb|\solid| before its beginning. + +\subsubsection{Avoiding collisions of Type K slurs and ties with staff lines.} +In postscript it is possible to do some computations which would be very hard +to implement directly in TeX. Type K slurs can use this facility to check whether +the curve of a slur or tie is anywhere nearly tangent to any staff line, and if +so, to adjust +the altitude of the curve to avoid the collision. By default this feature is turned +on. +You can disable it either +globally (\keyindex{Nosluradjust}, \keyindex{Notieadjust}) or locally +(\keyindex{nosluradjust}, \keyindex{notieadjust}), and you can also turn it +back on globally (\keyindex{Sluradjust}, +\keyindex{Tieadjust}) or locally (\keyindex{sluradjust}, \keyindex{tieadjust}). +Here ``locally'' +means that the command will only affect the next slur or tie to be opened. + + +\subsubsection{Line breaking slurs and ties} +Tyle K slurs and ties (and crescendos) going across line breaks are handled +automatically. In fact they can go over more lines than two (this is +true also for ties, though it would be somewhat strange). + +There is a switch \verb|\ifslopebrkslurs| that controls the default +height of the end point +of the first segment of all broken slurs. By default the height will be +the same as the beginning. To have it raised by \verb|3\internote|, simply +issue the command \keyindex{slopebrkslurstrue}. To revert to the default, +use \keyindex{slopebrkslursfalse}. + +To locally override the default height of the end of the first segment, +use the command \keyindex{breakslur}\enpee, +which sets the height for slur number $n$ to pitch $p$, just like with +font-based slurs. + +You can raise or lower the starting point of the second segment of a broken slur +with the command \keyindex{liftslur}\verb|{|$n$\verb|}{|$h$\verb|}|, with +parameters slur ID and relative offset in +\verb|\internote|s measured from the slur beginning. Its effect is +the same as \keyindex{Liftslur} for font-based slurs, except it is not +necessary to code +it within \verb|\atnextstaff{}|, just anywhere inside the slur. + +As already mentioned, anything with ID$<$10 is broken fully automatically, but +you should be careful about slurs, ties and crescendos with 10$\le$ID$<$15. +These cannot cross page breaks, although they can cross line breaks. + +If the second segment of a broken tie is less than 15pt long, then by +default it will have a special shape which begins horizontally. These shapes are +called \ital{half ties} and are contained in the font \index{mxsk font}\verb|mxsk|. +Of course if they are to be used, the font files must be integrated into the +\TeX\ installation. Their use can be turned off with \keyindex{nohalfties} +and back on with \keyindex{halfties}. + +%\paragraph{Backwards compatibility.} +%There are several ``aliases'' which allow to use the old, bitmapped slur +%commands for PS slurs without any change. There are however a few differences: +%the \keyindex{invertslur} is not implemented yet and +%the \keyindex{curve} and \keyindex{midslur} macros have no effect. + +%\paragraph{Memory requirements.} +\subsubsection{A few final technical details} +Each \verb|\i...| and \verb|\t...| +produces a \verb|\special| command, which must be stored in TeX's main memory. +Therefore, if too many slurs occur in one page, some memory problems could +occur. The only solutions are to use Big\TeX\ (if you aren't already), or to use +font-based slurs. + +Type K slurs need the postscript header file +\index{psslurs.pro}\texttt{psslurs.pro} to be included in the +output postscript file. This is made to happen by the \TeX\ command +\verb|\special{header=psslurs.pro}|, which is automatically +included when you \verb|\input musixps|. So normally this is not +of concern. However if you wish to extract a subset of pages from +the master \verb|dvi| file using \index{dvidvi}\texttt{dvidvi}, then +you have three options: (1)~include the first page in the subset, +(2)~manually issue the +\verb|\special| command in the \TeX\ source for the first page of the subset, or +(3)~use the option \texttt{-h psslurs.pro} when you run \texttt{dvips}. + + +\section{Bar Lines} + \subsection{Single, double, and invisible bar lines}\label{doublebars} +The usual macro to typeset a single bar line is \keyindex{bar}. +There is a possibility of +confusion with a command in \TeX's math mode that has exactly the same name. +However, there will generally be no problem, because inside +\verb|\startpiece...\endpiece|, +\verb|\bar| will take the musical meaning, while outside, it will have the +mathematical one. +If for some reason you need the math \verb|\bar| inside, you can use +\verb|\endcatcodesmusic...\bar...\catcodesmusic|. - \verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}| - - \verb|\def\fontbarno{\it}| +To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You could +also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or +\keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced +by a double bar. +There is no specific command to print a thin-thick double bar line, but +\keyindex{setdoubleBAR} will cause one in the same cases where +\verb|\setdoublebar| would cause a thin-thin double bar line. - \noindent For example: +To make the next bar line invisible, use \keyindex{setemptybar} before +\verb|\bar|. - \medskip -\begin{music}\barnumbers -\parindent0pt\startpiece -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\def\fontbarno{\bf}% -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en\bar -\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece -\end{music} -\noindent which was simply coded as: -\begin{quote}\begin{verbatim}\barnumbers -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\def\fontbarno{\bf}% -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en\bar -\notes\Qqbbu fgge\Qqbbl jhgi\en -\end{verbatim}\end{quote} - %\check +You can suppress the beginning vertical rule with saying \keyindex{nostartrule} +and restore the default with \keyindex{startrule} after that. +\subsection{Simple discoutinuous bar lines} +Normally, bars (as well as double bars, final bars and repeat bars) are +drawn continuously from the bottom of the lowest staff of the +lowest instrument to the top of the highest staff of the uppermost +instrument. However, if desired, they can be made discontinuous between +instruments by saying \keyindex{sepbarrules}. An example of this is given in +%avrb +%{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the +%avre +\texttt{avemaria.tex} in section \ref{avemaria}\label{avemaria2}. + +Continuous bar lines can be restored with \keyindex{stdbarrules}. In +the extension library are some more types of bar rules, mainly for very old +music, see section \ref{otherbars}. +% DAS. Andre, are there some other kinds of bars in an addon? - %\check +\subsection{Elementary asynchronous bar lines} -\noindent Besides, you can suppress the messages of bar numbers on -\verb|stdout| (normally screen) with \keyindex{nobarmessage}. In the same way, -you can suppress the messages abour new lines (new systems) with -\keyindex{nolinemessages}. - %\check + Situations may arise where the bar lines in different instruments are not +aligned with one another. To set this up, first say \verb|\sepbarrules|. +Then use a combination of the following five commands: - \subsection{Full and instrument divided bars} -Normally, bars (as well as double bars, final bars and repeat bars) are -drawn as a continuous line, starting for the bottom of the lower staff of the -lower instrument, and ending at the top of the upper staff of the upper -instrument. However, one may want to have discontinuous bars, that is, one -continuous bar for all the staffs of a unique instrument. This is done by -issuing the command \keyindex{sepbarrules}. An example of this is given in the -{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the -example of section \ref{avemaria}. - - The initial situation can be forced or restored by \keyindex{stdbarrules}. In -the extension library are some more types of bar rules, mainly for very old -music, see \ref{otherbars}. - - \subsection{Instruments with no coherent bar division} - - In some special scores with several instruments, it may happen that distinc -instruments, not only have different meters (e.g. 2/4 and 6/8 to avoid -printing triolet codes for some instrument), but also have bar lines not -synchronized. Obviously, this can be implemented \ital{{\bfseries only if}} -\keyindex{sepbarrules} has been stated. Then, five specific commands can be issued~: - -\begin{itemize} -\item\keyindex{hidebarrule} $n$ hides the bar rule for instrument $n$, until -this is changed by \verb|\showbarrule|~$n$. -\item\keyindex{showbarrule} $n$ stops hiding the bar rule for instrument $n$, until -this is changed by \verb|\hidebarrule|~$n$. -\item\keyindex{Hidebarrule} $n$ hides the bar rule for instrument $n$, only +\begin{itemize}\setlength{\itemsep}{0ex} +\item\keyindex{hidebarrule}\onen~hides the bar rule for instrument $n$, until +this is changed by \verb|\showbarrule|\onen. +\item\keyindex{showbarrule}\onen~stops hiding the bar rule for instrument $n$, +until this is changed by \verb|\hidebarrule|\onen. +\item\keyindex{Hidebarrule}\onen~hides the bar rule for instrument $n$, only for the next bar. -\item\keyindex{Showbarrule} $n$ exceptionally shows the bar rule for instrument $n$, -and then resets intrument $n$ to \verb|Hidebarrule|. +\item\keyindex{Showbarrule}\onen~shows the bar rule for instrument +$n$ once only, +and then resets it \verb|Hidebarrule|. +% +% DAS ??? +% and then resets it to \verb|hidebarrule|. +% \item\keyindex{showallbarrules} resets all defined instruments to -\verb|showbarrule|~$n$. This command is automatically inserted with double +\verb|\showbarrule|\onen. This command is automatically inserted with double bars, final bars and repeats. \end{itemize} -Thus, the following example~: +Thus, this example \begin{music} \instrumentnumber3 @@ -3324,7 +3844,7 @@ Thus, the following example~: \endextract \end{music} -\noindent was obtained with the following coding +\noindent was obtained with the following coding: \begin{quote}\begin{verbatim} \instrumentnumber3 \setmeter3{{\meterfrac{3}{4}}} @@ -3360,301 +3880,860 @@ Thus, the following example~: \Hidebarrule2\bar \NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en \setrightrepeat -\endextract +\zendextract \end{verbatim}\end{quote} +\subsection{Dotted, dashed, and more general asynchronous and discontinuous bar lines}\label{musixdbr} -\section{Managing the layout of your score} -\subsection{Line and page breaking}\label{linebreak} +The extension +package \href{http://icking-music-archive.org/software/musixtex/add-ons/musixdbr.tex} +{\underline{\ttxem{musixdbr.tex}}} by Rainer {\sc Dunker} provides commands for +dashed, dotted, and arbitrarily discontinuous bar lines. It supports +individual bar line settings for each instrument, multi-staff instruments, +different sizes of staves, and even different numbers of lines per staff, -Those who usually worked with \musictex\ before must be aware that this has -been deeply changed in \musixtex. All line-breaking decisions\footnote{With -exception of the \musictex\ command {\Bslash autolines}, which is provided in -the file {\tt musixcpt.tex}, see page \pageref{compatibility}.} are done by -the external program \verb|musixflx|. Then you get the most even results when -you insert the fewest \ital{manual} line breaks possible. But sometimes -there is really need for them, e.g. page break should preferably occur when -the musician has one hand free to turn the sheet. +To use the package, you must \verb|\input musixdbr| after \verb|musixtex|, and +execute the macro \keyindex{indivbarrules} which activates individual bar line +processing. Then the following commands are available: -You can force a line break with \keyindex{alaligne} instead of \keyindex{bar}. -In the same way, you can code \keyindex{alapage} to force an \keyindex{eject} -with proper reinitialization of staffs, clefs and signatures. +\begin{itemize}\setlength{\itemsep}{0ex} - %\check +\item \keyindex{sepbarrule}\onen~separates bar lines of instrument $n$ from those of instrument $n-1$ - On the other hand, you may want to forbid line-breaking at a bar, -then you should replace \verb|\bar| with \keyindex{xbar}. - - Conversely, you may want to break a line \ital{not at a bar}\footnote{For -example, you may prefer to turn the page at a place where the pianist has one -hand free, in the middle of a bar.}. This is allowed by \keyindex{zbar} -(optional line break) or forced by \keyindex{zalaligne} or -\keyindex{zalapage}. - -The heavy final double bar of a piece is provided by \keyindex{Endpiece} or -\keyindex{Stoppiece}. If you just want to terminate the text with a simple -bar, you say \keyindex{stoppiece} or \keyindex{endpiece}. If you want to -terminate it without a bar, you code \keyindex{zstoppiece}. - - Once you have stopped the score by any of these means, you can restart it -using \keyindex{contpiece}. If you want to restart indenting the next line -(system) by the dimension \keyindex{parindent}, then you should rather use -\keyindex{Contpiece}, which is recommended when changing the -the number of instruments within a single piece. - - However, neither \verb|\contpiece| nor \verb|\Contpiece| can be used if you -change the signature (i.e. using \keyindex{generalsignature}) between -\verb|stoppiece| and \verb|\contpiece|), since the space used by signatures is -not constant and it has to be taken in account, e.g. by some -\keyindex{changecontext}. In that case, you have to restart your score using -\keyindex{startpiece}, which in turn requires you to save \verb|\barno| to its -furtner starting value \verb|\startbarno| if you do not want it reset at 1, -and to manage the instrument names and/or the \verb|\parindent| if necessary. - - If you want the next vertical bar to be a double bar, you have to -declare \keyindex{doublebar} or \keyindex{setdoublebar} before the -\keyindex{bar} (or the \keyindex{stoppiece} or \keyindex{alaligne} or -\keyindex{alapage}) to be marked with a double thin bar. In the same way you -can declare \keyindex{setdoubleBAR} if you want to have a heavy double bar -(the same as \verb|\Stoppiece|) and even \keyindex{setemptybar} to make the -next \verb|\bar| invisible\footnote{These latter features are given for your -information, but they should be used only in case of emergency.}. +\item \keyindex{condashbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ + with a dashed line - %\check +\item \keyindex{condotbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ + with a dotted line + +\item \keyindex{conbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ + +\item \keyindex{hidebarrule}\onen~hides bar lines of instrument $n$ + +\item \keyindex{showdashbarrule}\onen~dashes bar lines of instrument $n$ + +\item \keyindex{showdotbarrule}\onen~dots bar lines of instrument $n$ + +\item \keyindex{showbarrule}\onen~shows bar lines of instrument $n$ + +\item \keyindex{sepmultibarrule}\onen~separates bar lines within multistaff instrument $n$ + +\item \keyindex{condashmultibarrule}\onen~dashes bar lines between staves of multistaff instrument $n$ + +\item \keyindex{condotmultibarrule}\onen~dots bar lines between staves of multistaff instrument $n$ + +\item \keyindex{conmultibarrule}\onen~ shows bar lines between staves of multistaff instrument $n$ + +\item \keyindex{allbarrules}[\ital{any of the above commands, without numerical parameter}] sets bar +line style for all instruments together. + +\end{itemize} + +Dashing and dotting style may be changed by redefining the macros +\verb|\barlinedash| or \verb|\barlinedots| respectively (see original definitions in \verb|musixdbr.tex|). + +Here is an example of the use of these macros: + +\begin{music} +\input musixdbr + +\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14\setsize2\tinyvalue +\indivbarrules +\parindent0pt\startextract +%\startpiece +%\scale{2} + % normal barlines + \bar + % separate instrument 2 from 1 + \sepbarrule2 + \notes\en\bar + % barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showbarrule + \NOTes\en\bar + % barlines between staves + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dashed barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdashbarrule + \NOTes\en\bar + % dashed barlines between staves + \allbarrules\condashbarrule + \allbarrules\condashmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dotted barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdotbarrule + \NOTes\en\bar + % dotted barlines between staves + \allbarrules\condotbarrule + \allbarrules\condotmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % a wild mixture of all + \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% + \condashbarrule2\conbarrule3\condotbarrule4% + \condashmultibarrule2\sepmultibarrule3% + \NOTes\en\bar + % conventional ending + \allbarrules\showbarrule + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \NOTes\en\setdoubleBAR\endextract +\end{music} + +This is the code: -\subsection{How to manage individual page layout} -\begin{enumerate} - \item You write your own output routine, which centers the contents in the -middle of the page. Most important are then the values of -\keyindex{stafftopmarg} and \keyindex{staffbotmarg}, because they decide of -the amount of margin between successive systems. - \item If you say \keyindex{raggedbottom}, the vertical glue is removed and -the score is rather compacted at the top of page. - \item You change the value of \keyindex{parskip} and say -\keyindex{normalbottom} (which behaves like \LaTeX's \keyindex{flushbottom} -and which is done by default working with \verb|plain.tex|). Then the -vertical space between the staffs is changed to get the first staff on page -on top and the last staff on page to bottom (depends on \keyindex{vsize}). -It might be clever to insert a \keyindex{eject} before the \keyindex{bye}. -\keyindex{musicparskip} set between two systems no extra distance, but the -possibility to increase the distance up to \verb|5\Interligne|. -\end{enumerate} -\noindent -Besides, following values of e.g.~paper size are changed -(only if you \ital{do not} work with \LaTeX) to: \begin{quote}\begin{verbatim} -\parindent= 0pt -\hoffset= -15.4mm -\voffset= -10mm -\hsize= 190mm -\vsize= 260mm +\input musixdbr +\instrumentnumber4\setstaffs23\setstaffs32\setlines14\setsize2\tinyvalue +\indivbarrules\parindent0pt\startextract + % normal barlines + \bar + % separate instrument 2 from 1 + \sepbarrule2 + \notes\en\bar + % barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showbarrule + \NOTes\en\bar + % barlines between staves + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dashed barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdashbarrule + \NOTes\en\bar + % dashed barlines between staves + \allbarrules\condashbarrule + \allbarrules\condashmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dotted barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdotbarrule + \NOTes\en\bar + % dotted barlines between staves + \allbarrules\condotbarrule + \allbarrules\condotmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % a wild mixture of all + \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% + \condashbarrule2\conbarrule3\condotbarrule4% + \condashmultibarrule2\sepmultibarrule3% + \NOTes\en\bar + % conventional ending + \allbarrules\showbarrule + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \NOTes\en\setdoubleBAR\zendextract +\end{verbatim}\end{quote} + +\section{Bar numbering} +The current bar number is stored in a count register call \keyindex{barno}. +When \verb|\startpiece| is encountered, \verb|\barno| is set equal to +another count register called \verb|\startbarno|, whose default value is one. +Therefore, if you want the first bar to have a number $n$ different from 1, you +may either say \verb|\startbarno=|$n$ before \verb|\startpiece|, or say +\verb|\barno=|$n$ afterwards, but before the first bar line. You may also alter the bar +number at any time, either by explicitly resetting \verb|\barno|, or by +incrementing it with a command like \verb|\advance\barno-1|. + +\musixtex\ supports two distinct modes for printing bar numbers. In \ital{periodic} +bar numbering, the bar number is +placed above the top staff with a user-selectable frequency. In +\ital{system} bar numbering, the +number will appear at the beginning of each system. + +\subsection{Periodic bar numbering} +In a normal piece, periodic bar number printing is turned on by default, with a frequency +of one. In an extract, the default is to not print bar numbers. +To turn off bar numbering say \keyindex{nobarnumbers}. To reinstate periodic +bar numbering, or to initiate it in an extract, say \keyindex{barnumbers}. +To change to a +different frequency $n$, say \verb|\def|\keyindex{freqbarno}\verb|{|$n$\verb|}|. + +The appearance and positioning of the bar number is controlled by the +token \keyindex{writethebarno}, which by default is defined as\\ +\verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}| +where the font is defined as \verb|\def\fontbarno{\it}|. You can change +either of these as desired, for example + + \medskip +\begin{music}\barnumbers +\parindent0pt\startpiece +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\def\fontbarno{\bf}% +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en\bar +\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece +\end{music} +\noindent which was coded as +\begin{quote}\begin{verbatim}\barnumbers +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\def\fontbarno{\bf}% +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en\bar +\notes\Qqbbu fgge\Qqbbl jhgi\en \end{verbatim}\end{quote} + +\subsection{System bar numbering} +To have a bar number printed just above the beginning of each system, use +\keyindex{systemnumbers}. The distance above the staff is controlled +by \verb|\raisebarno|, which by default is \verb|4\internote| (to fit +above a treble clef). This can be redefined with the command\\ +\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}|. +The horizontal position similarly is defined by \keyindex{shiftbarno} +which by default is \verb|0pt|. + +The number normally is enclosed in a +box. If you don't like that, you may redefine the macro \verb|\writebarno| +which by default is defined as\\ +\verb|\def|\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}|.\\ +This uses the utility \musixtex\ macro \keyindex{boxit} which will enclose +any text string in a box. + +Here are some possible alternate formats for system bar numbers: + +\medskip +\begin{music}\nostartrule +\def\fontbarno{\it}% +\let\extractline\hbox +\startbarno=36 +\hbox to \hsize{% +\hss + \raise20pt\hbox{(a) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss + \def\writebarno{\tenrm\the\barno\barnoadd}% + \def\raisebarno{2\internote}% + \def\shiftbarno{2.5\Interligne}% + \raise20pt\hbox{(b) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss + \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% + \def\raisebarno{2\internote}% + \def\shiftbarno{1.3\Interligne}% + \raise20pt\hbox{(c) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss} +\end{music} +\noindent This was coded as +\begin{itemize}\setlength{\itemsep}{0ex} + \item[(a)] (default) + \item[(b)] + \begin{verbatim} +\def\writebarno{\tenrm\the\barno\barnoadd}% +\def\raisebarno{2\internote}% +\def\shiftbarno{2.5\Interligne}% + \end{verbatim} + \item[(c)] + \begin{verbatim} +\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% +\def\raisebarno{2\internote}% +\def\shiftbarno{1.3\Interligne}% + \end{verbatim} +\end{itemize} + +If the previous line does not stop with a bar rule, then the next +printed system bar number will immediately be followed by the contents +of the token \keyindex{writezbarno}, whose +default setting is the lower case character `\verb|a|'. You might want to +change this to `\verb|+|', in which case you should say +\verb|\def\writezbarno{+}|. + +%DAS: Who cares ??? +%\noindent Besides, you can suppress the messages of bar numbers on +%\verb|stdout| (normally screen) with \keyindex{nobarmessage}. In the same way, +%you can suppress the messages abour new lines (new systems) with +%\keyindex{nolinemessages}. + %\check + +\section{Managing the layout of your score} +\subsection{Line and page breaking}\label{linebreak} +If every bar ends with \verb|\bar| and no other line- or page-breaking commands +are used, then the external program \verb|musixflx| will decide where to insert +line and page breaks. Line breaks will only come at bar lines. The total +number of lines will depend on the initial value of \verb|\elemskip|, which by +default is 6 pt in \verb|\normalmusicsize|. + +You can force a line or page break by replacing \keyindex{bar} with +\keyindex{alaligne} or \keyindex{alapage} respectively. On the other hand, +to forbid line-breaking at a particular bar, replace \verb|\bar| +with \keyindex{xbar}. To force a line or page break where there is +no bar line, use \keyindex{zalaligne} or \keyindex{zalapage}. To mark any +mid-bar location as an optional line-breaking point, use \keyindex{zbar}. + +The heavy final double bar of a piece is one of the consequences of +\keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate +the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}. +To terminate it with no bar line at all, code \keyindex{zstoppiece}. + +Once you have stopped the score by any of these means, you may want to restart +it, and there are several ways to do so. If you don't need to change the key +signature, meter, or clef, +you can use \keyindex{contpiece} for no indentation, or \keyindex{Contpiece} +to indent by \keyindex{parindent}. If you do want to change some score +attribute that takes up space, for example +with \keyindex{generalsignature} after \verb|\stoppiece|, then to restart you +must use \keyindex{startpiece}. However, if you don't want \verb|\barno| reset +to 1, you must save its new starting value to \verb|\startbarno|. You may also +wish to modify instrument names or \verb|\parindent| before restarting. + +Recall that thin-thin or thin-thick double bars or blank bar lines can be +inserted without stopping by using the commands described in section +\ref{doublebars}. Those commands can also be used before \verb|\stoppiece|, +\verb|\alaligne|, or \verb|\alapage| + +\subsection{Page layout} +Blank space above and below each staff is controlled by the dimension +registers \keyindex{stafftopmarg} and \keyindex{staffbotmarg}. For more +info see section \ref{LayoutParameters}. + +The macro \keyindex{raggedbottom} will remove all vertical glue and +compact everything toward the top of page. +In contrast, the macro \keyindex{normalbottom} will restore default +behavior, in which vertical space between the systems is distributed +so that the first staff +on the page is all the way at the top and the last staff all the way at +the bottom. + +The macro \keyindex{musicparskip} will allow the existing space between +systems to increase by up to \verb|5\Interligne|. + +The following values of page layout parameters will allow the maximum material +to fit on each page, provided the printer allows the margins that are implied. + +\begin{center} +\begin{tabular}{|l|l|l|}\hline +\multicolumn{1}{|c|}{A4}&\multicolumn{1}{|c|}{letter}&\multicolumn{1}{|c|}{A4 or letter}\\\hline +\multicolumn{3}{|c|}{\tt\Bslash parindent= 0pt}\\\hline +\multicolumn{3}{|c|}{\tt\Bslash hoffset= -15.4mm}\\\hline +\multicolumn{3}{|c|}{\tt\Bslash voffset= -10mm}\\\hline +\verb+\hsize= 190mm+&\verb+\hsize= 196mm+&\verb+\hsize= 190mm+\\\hline +\verb+\vsize= 260mm+&\verb+\vsize= 247mm+&\verb+\vsize= 247mm+\\\hline +\end{tabular} +\end{center} +%avre \zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset} \zkeyindex{hsize}\zkeyindex{vsize} - %\check -\subsection{How to adjust the global line and page layout}\index{page and line -layout (global)} +\subsection{Page numbering, headers and footers}\index{page +number}\index{footnote} - Once you have made your whole score, you will probably find out that all -systems (all ``lines'') have a correct layout with nice beams, nice slurs, and -others. But it is likely that: - \begin{itemize} - \item The result takes too many or too few pages and you estimate a more or -less compact score would be suitable. - \item The results takes a convenient number of pages, but the last page -exhibits a widow line or an ugly blank space at the end. - \end{itemize} +There are no special page numbering facilities in \musixtex; you must rely on +macros from plain \TeX. There is a count register in \TeX\ called +\verb|\pageno|. It is always initialized to \verb|1| and incremented by one +at every page break. By saying \keyindex{pageno}$=n$, it can be reset to any +value at any time, and will continue to be incremented from the new value. - To solve this, you may revert to two strategies: - \begin{enumerate} - \item Explicitely force line and page breaking at the very places you like; - this can be done using \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne| -or \verb|\zalapage| commands. This can also be done using the -\verb|\autolines| command imported from \musictex\ and provided in the {\tt -musixcpt.tex} additional file. But this way of doing may result in -unfortunately uneven distribution of the notes in the score, which is therefore -not very smart. - \item Adapt both the \keyindex{mulooseness} and the global value of -\keyindex{elemskip}: increasing \verb|\mulooseness| (whose default is 0) -increases the total number of systems, and if you are clever you may be able -to fill an integer number of pages. Besides, increasing the stated -\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) also -makes note spacing wider, and its advantage is that you can tune it by half a -percent if needed. - -\begin{remark} \verb|\elemskip| can be retrieved in both the first and the third -pass (second \TeX-ing pass), but any assignment of a value (a dimension value) -to \verb|\elemskip| will be of no effect at third pass, since it is taken from -the {\tt *.mx2} file yielded by {\tt musixflx}. On the contrary, assigning a -value to \keyindex{noteskip} within \verb|\notes...\enotes| is efficient in -both passes, and cause some weird errors if you mix up scalable and not -scalable dimensions. - \end{remark} - \end{enumerate} - %\check +By default, \TeX\ will place a page number on +every page, centered at the bottom. Unfortunately, this is not the preferred +location according to any standard practice. To suppress this default +behavior, say \keyindex{nopagenumbers}. -\section{Changing score attributes} +One way to initiate page numbering in a more acceptable location is to take +advantage of the facts that (a) \TeX\ prints the contents of the control sequences +\keyindex{headline} and \keyindex{footline} at the top and bottom +respectively of every page, and (b) the value of \verb|\pageno| can be printed by +saying \keyindex{folio}. Therefore, for example, the following sequence of +commands, issued anywhere before the end of the first page, will cause page +numbers and any desired text to be printed at the top of every page, +alternating between placement of the number at the left and right margins, and +alternating between the two different text strings (the capitalized text in +the example): - As seen before, you can change the signature of the whole set of instruments -by \keyindex{generalsignature}~$n$ where $n>0$ means a number of sharps, $n<0$ -means a number of flats. Or, you may prefer to change the signature of only -one or two instruments by the statement: +\begin{quote}\begin{verbatim} +\nopagenumbers +\headline={\ifodd\pageno\rightheadline\else\leftheadline\fi}% +\def\rightheadline{\tenrm\hfil RIGHT RUNNING HEAD\hfil\folio}% +\def\leftheadline{\tenrm\folio\hfil LEFT RUNNING HEAD\hfil}% +\voffset=2\baselineskip +\end{verbatim}\end{quote} -\keyindex{setsign} $n$\verb|{|$s$\verb|}| +\subsection{Controlling the total number of systems and pages}\index{page and line +layout (global)} +Once all the notes are entered into a \musixtex\ score, it would be convenient +if there were a simple sequence of commands to +cause a specified number of systems to be uniformly distributed over a +specified number of pages. Unfortunately that's not directly +possible\footnote{It \textit{is} possible in \textbf{PMX}.}. +Rather, some trial and error will usually be required to achieve the desired final +layout. To this end, some combination of the following strategies may be used: + + \begin{enumerate}\setlength{\itemsep}{0ex} + \item Assign a value to the count register \keyindex{linegoal} representing +the total number of systems. The count register \keyindex{mulooseness} must be 0 if using +\verb|\linegoal|. + \item Explicitly force line and page breaking as desired, using +the macros \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne| +or \verb|\zalapage|. + \item Adjust both \keyindex{mulooseness} and the initial value of +\keyindex{elemskip}: increasing \verb|\mulooseness| from its default of 0 will +increase the total number of systems, while changing the initial value of +\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) may change the +total number of systems accordingly. + \end{enumerate} %\check -\noindent - where $n$ is the number of the instrument considered, and $s$ its -specific signature. Since you may change simultaneously (with respect to the -score) but consecutively (with respect to your code) the signatures of -several instruments, this change takes place only when you say -\keyindex{changesignature} (within a bar) or \keyindex{changecontext} (after -a single vertical rule) or \keyindex{Changecontext} (after a double vertical -rule) or \keyindex{zchangecontext} (without a bar rule\footnote{Old composers -uses the bar rules very rarely}). +\section{Changing clefs, key signatures, and meters} + +\subsection{Introduction}\label{contextintro} + +To define clefs, key signatures, or meters at the start of a piece, +or to change one or more of these attributes\footnote{In this section, +\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere +else in a score, +\musixtex\ requires two steps. The first step is to \ital{set} the new values of +the attributes. +Most of the commands for this have the form \verb|\set|...~. They will be +described in the following subsections. + +But this alone will +not cause anything to be changed or printed. The second step is to activate the +change. This is done by issuing one of the +following commands (outside \verb|\notes|$\dots$\verb|\en|): +\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|, +\verb|\Contpiece|, +\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|, +\verb|\changecontext|, +\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|, +\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform +other functions as well, and some may be used even when no attributes +change. Features unrelated to changing attributes are detailed elsewhere. +The first 11 will activate all pending new attributes. +If more than one type is activated by a single command in this manner, +then regardless of the order +they were set, they will always appear in the following order: clef, key signature, +meter. +The last three commands in the above list obviously activate only +the specific type of attribute referred to in the name of the command. + +The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext| +will respectively insert a single, double, or invisible bar +line before printing the attributes. + +\subsection{Key Signatures} + +We've already seen in section \ref{whatspecify} how to set key +signatures for all instruments with \keyindex{generalsignature}, or for +specific instruments with \keyindex{setsign}. As just noted, these commands only +prepare for the insertion of the signatures into the score; it is +really \verb|\startpiece| that puts them in place at the beginning of the +score. + +The commands \verb|\generalsignature| and \verb|\setsign| also serve to set +new key signature(s) anywhere in score. The change can then be activated with one of +the 11 general commands listed above, or with \keyindex{changesignature} if +in the middle of a bar. +While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar +line, the differences are that the latter increments the bar number counter and +inserts a horizontal space of \verb|\afterruleskip| after the new signature(s). +All of these options will repost signatures that have not been changed. + +Normally, changing a signature from flats to sharps or vice-versa, or +reducing the number of sharps or flats, will produce the appropriate set of +naturals to indicate what has been suppressed. This standard feature can be +temporarily inhibited by the command \keyindex{ignorenats} issued right before +the change-activating command. + +Here is an example showing various possibilities for changing key signatures. +Note the comments between the code lines. - Normally, changing a signature from flats to sharps or sharps to flats or -reducing the number of sharps/flats will produce the convenient set of -naturals to emphasise what is suppressed. This standard feature can be -temporarily inhibited by the command \keyindex{ignorenats} to be issued before -the next {\Bslash changecontext} or {\Bslash changesignature}. +\begin{quote}\begin{verbatim} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +\Notes\qu K&\qu d|\qu e\en +% Signature change in a single instrument with two staves. +% Naturals appear by default, indicating cancelled sharps. +\setsign20\changesignature +\Notes\qu J&\qu d|\qu e\en +% When changing signature in the middle of a bar and no naturals +% are posted, the new signature can be confused with a simple accidental. +\setsign11\ignorenats\changesignature +\Notes\qu M&\qu d|\qu e\en +% New signatures after a double bar line +\generalsignature{-2}\Changecontext% +\Notes\qu K&\qu d|\qu e\en% +\Notes\qu K&\qu d|\qu e\en% +% New signatures after an invisible bar line. Note the +% difference in spacing compared with beat 3 of the prior measure +\generalsignature{1}\zchangecontext% +\Notes\qu K&\qu d|\qu e\en% +\end{verbatim}\end{quote} +\begin{music} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +\Notes\qu K&\qu d|\qu e\en +% Signature changing in a single instrument with 2 staves +% Naturals are allowed to shown there are no more sharps +\setsign20\changesignature +\Notes\qu J&\qu d|\qu e\en +% Signature changing in a single staff without naturals +% if there is no bar line, the signatures are confusing: +% it is not clear if they are for a single note or not +\setsign11\ignorenats\changesignature +\Notes\qu M&\qu d|\qu e\en +% New signatures after a double bar line +\generalsignature{-2}\Changecontext% +\Notes\qu K&\qu d|\qu e\en% +\Notes\qu K&\qu d|\qu e\en% +% New signatures after an invisible bar line +% see the difference in space comparing beat 2 +\generalsignature{1}\zchangecontext% +\Notes\qu K&\qu d|\qu e\en% +\endextract +\end{music} - In the same way, you may want to change the active clefs. -This is done by -\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%| +\subsection{Clefs}\label{treblelowoct} + +Macros that define clefs have already been discussed in section +\ref{whatspecify}. By way of review, here are all of the possible clefs +(applied to the lowest staff): +%avrb +\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}} + +\begin{center}\vskip-1ex\footnotesize%\small +\begin{tabular}{||c|c|c|c|c||}\hline\hline +&&&&\\ +\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\ +\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+ +&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline +\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2 +&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline +%\end{tabular} +&&&&\\ +%\begin{tabular}{ccccc} +&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\ +\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+ +&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline +\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7 +&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline +%This one uses \setclefsymbol1\empty : +%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline +\end{tabular} +\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later} +\end{center} +%avre + +Just as with key signatures, these commands only \ital{prepare} for clef changes. +To \ital{activate} them, any of the first 11 commands listed in section +\ref{contextintro} could be used. However, one should keep in mind that +according to modern conventions, a clef change at a bar line is posted +before the bar line, while for example \verb|\changecontext| would post it +after the bar line. In part for this reason, we have the special command +\keyindex{changeclefs}. It can be used anywhere outside +\verb+\notes...\enotes+ to activate a clef change and insert an amount of +horizontal space to accommodate the new clef symbol(s), without printing a +bar line. Sometimes no added +space is required, in which case \keyindex{zchangeclefs} should be used. + +Here are some examples of clef changes: - %\check +\begin{quote}\begin{verbatim} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +% Change in one staff only, with added space +\setclef1\treble\changeclefs% +\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en% +% Combined with signature change, also no extra space needed +% twice the same clef in staff 2 - with the help of a blank clef +\setclef28\zchangeclefs\setclef2\treble% +\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% +\ignorenats\changesignature% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change before barline +\setclef1\treble\zchangeclefs\bar% +\Notes\qu k&\cu{de}|\qu e\en% +% clef change after barline +\setclef1\bass\bar\changeclefs% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change after barline with changecontext +\setclef1\treble\changecontext% +\Notes\cu k&\cu d|\qu e\en% +% twice the same clef +\setclef18\zchangeclefs\setclef1\treble\changeclefs% +\Notes\cu k&\cu e |\en% +\zendextract +\end{verbatim}\end{quote} +\begin{music} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +% Change in one staff only, with added space +\setclef1\treble\changeclefs% +\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en% +% Combined with signature change, also no extra space needed +% twice the same clef in staff 2 - with the help of a blank clef +\setclef28\zchangeclefs\setclef2\treble% +\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% +\ignorenats\changesignature% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change before barline +\setclef1\treble\zchangeclefs\bar% +\Notes\qu k&\cu{de}|\qu e\en% +% clef change after barline +\setclef1\bass\bar\changeclefs% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change after barline with changecontext +\setclef1\treble\changecontext% +\Notes\cu k&\cu d|\qu e\en% +% twice the same clef +\setclef18\zchangeclefs\setclef1\treble\changeclefs% +\Notes\cu k&\cu e |\en% +\endextract +\end{music} -\noindent where $r$ is the number of the instrument, $s_1$ specifies the clef -of the lower staff, $s_2$ the clef of the second staff, etc. $s_1=6$ means the -\ital{bass} clef (\ixem{clef de fa} in French), $s_1=0$ means the \ital{violin} -clef (\ixem{clef de sol} in French), $s_1=1$ through $s_1=4$ mean the -\ital{alto} clef (\ixem{clef d'ut} in French) set on first (lower) through -fourth (next to upper line of the staff), $s_1=5$ or $s_1=6$ mean the bass clef -on the third or fourth line respectively.\index{violin clef}\index{bass -clef}\index{alto clef} - - As seen above in the case of signatures, several clefs may be changed at the -same time; thus all the clef changes become operational only when the macro -\keyindex{changeclefs} is coded. Normal usage consists in issuing this -command before the bar, not after (this helps the music player when the -change happens across a line break). - %\check +\noindent Of course the examples in the last two bars are contrary +to accepted practice. + +Clef changes initiated with the \verb|\setclef| command have several features +in common. When activated after the beginning of the piece, the printed symbol +is smaller than the normal one used at the beginning of the piece. Also, +\musixtex\ automatically adjusts vertical positions of noteheads consistent +with the new clef. + +There is an additional group of macros for setting new clefs which does not share +either of these features. In other words, they will always print full sized symbols, and they +won't change the vertical positions of noteheads from what they would have been +before the new symbol was printed. We could call this process ``clef symbol substitution'', +because all it does is print a different symbol (or no symbol at all) in place of +the underlying clef which was set in the normal way. + +You'll need to use clef symbol substitution if you want to have a so-called +\index{octave clefs}\label{octclef}octave treble clef or octave bass +clef, i.e., one containing a numeral 8 above or +below the normal symbol. The syntax for setting upper +octaviation +is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\ +or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation +it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or +\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to +\ital{replace} normal bass or treble clefs with a different symbol, they +require that the normal clefs be set first. For example + +\noindent\begin{minipage}{80mm} +\begin{music}\nostartrule + \parindent 19mm + \instrumentnumber{4} + \generalmeter{\empty} + \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble + \setbassclefsymbol1\basslowoct + \setbassclefsymbol2\bassoct + \settrebleclefsymbol3\treblelowoct + \settrebleclefsymbol4\trebleoct +\startextract +\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\enotes +\zendextract +\end{music} +\end{minipage} +\begin{minipage}{50mm} +\begin{verbatim} +\parindent 19mm +\instrumentnumber{4} +\generalmeter{\empty} +\setclef1\bass \setclef2\bass +\setclef3\treble \setclef4\treble +\setbassclefsymbol1\basslowoct +\setbassclefsymbol2\bassoct +\settrebleclefsymbol3\treblelowoct +\settrebleclefsymbol4\trebleoct +\startextract +\Notes\qu{`abcdefghi}&\qu{`abcdefghi}% +&\qu{abcdefghi}&\qu{abcdefghi}&\enotes +\zendextract +\end{verbatim} +\end{minipage} - The \verb|\changeclefs| command normally takes some horizontal space to put -one of more clef symbols, but it may happen that you have no notes -immediately before on the staff whose clef is changed. In that case, you can -use \keyindex{zchangeclefs} which performs the same posting, overwritten left on -the last part of the score in that staff. Of course it is your responsibility -to ensure that no notes will collide with the clef change symbols. - %\check +\index{clefs (empty)} +Another application of clef symbol substitution is to cause no clef to be +printed, as for example might be desired in percussion music, This +can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which +once activated would replace \ital{all} clef symbols in the first (lowest) +staff of instrument $n$ with blanks. + +Normal symbols for those clefs that have been substituted can be restored by +\keyindex{resetclefsymbols}. -The \musictex\ problem if a clef change is coded while one or several beams -are pending has been removed in \musixtex. As an enhanced example, we provide -an excerpt of {\sc Brahms}'s Intermezzo op.~117,1 initially coded by Miguel -{\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip +The various clef symbol substitution commands can only be used to substitute for +\texttt{treble}, \texttt{alto}, or \texttt{bass} clefs. + +In the following example, (1) is two normal clef changes. At (2) the clef is first changed +back to treble and then the \verb|\treblelowoct| symbol is substituted by using +\verb|\settrebleclefsymbol|. +When changing the clef away from treble and then back as at (3), the substitution +symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution. +If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see +in the two clefs after (5) in comparison with (2). Obviously the second clef after (5) is +nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7). \begin{music} -\setstaffs1{2} -\interstaff{11} -\setclef1\bass % F- and G-clefs -\generalsignature{-3}% 3 flats -\parindent-4mm -\advance\hsize8mm +\instrumentnumber1\setclef1\bass \startpiece -\qspace\nspace -\Notes\arpeggio E5\ibslurd0o\zq{EI}\qu N% - \nextstaff\ibl0e{-2}\zq{eg}\qb0l\zq d\qb0k\enotes -\setclef1\treble\zchangeclefs -\nspace -\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes -\notes\curve{-4}22\invertslur0\tslur0t\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes -\setclef1\bass\changeclefs -\notes\islurd0k\zq E\cu I\nextstaff - \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes -\bar -\Notes\ibu0L{-2}\zq{EI}\qb0M\zqb0L% - \nextstaff{\stemlength4\zql N}\ibu1f{-2}\qb1f\tbu1\zqb1e\hsk\enotes -\setclef1\treble\changeclefs -\nspace -\Notes\tbu0\zq{Me}\qb0g\nextstaff\zq{ln}\cl s\en -\notes\curve{-4}22\invertslur0\tslur0q\zq{be}\qu i\nextstaff\zq{ln}\ql s\en -\setclef1\bass\changeclefs -\notes\islurd0m\zq G\cu L\nextstaff - \ibbu1j3\zq c\qb1j\tbu1\zq d\qb1k\enotes -\bar -\Notes\zq G\qu L% - \nextstaff\ibl0e{-2}\zq{ei}\qb0l\zq d\zqb0k\enotes -\setclef1\treble\changeclefs -\nspace -\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes -\notes\curve{-5}22\invertslur0\tslur0o\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes -\setclef1\bass \changeclefs -\notes\zq B\cu I\nextstaff\ibsluru0j% - \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes -\bar -\Notes\zq{IL}\ql N\nextstaff\zql b\ibu0i{-2}\qb0i\enotes -\scale{.5}% -\Notes\nextstaff\qb0e\enotes -\Notes\nextstaff\tinynotesize\isluru1f\grcu g\enotes -\scale\normalvalue -\Notes\zq B\cu I\nextstaff\zcl a\tslur1f\tbu0\zq d\qb0f\enotes -\Notesp\zq E\qu I\nextstaff\tslur0e\zq N\zql e\ibu0g6\qbp0e\enotes -\notes\sk\icresc\cu E\sk\zmidstaff\tcresc\nextstaff - \ibsluru0i\nbbu0\qb0g\zq i\zcl g\qb0i\tbu0\qb0n\tubslur0k\enotes +\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{2}\qu J\en +\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\doublebar +\notes\zchar{-5}{5}\qu J\en +\setclef1\treble\setclefsymbol1\treblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{6}\qu I\en\setclef1\treble\changeclefs +\notes\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs +\notes\qu i\en \endpiece \end{music} +\noindent This is the code: -\noindent The first bar of this excerpt was coded as: - - \begin{verbatim} -\begin{music} -\instrumentnumber{1} -\setstaffs1{2} -\interstaff{11} -\setclef1\bass % F- and G-clefs -\generalsignature{-3}% 3 flats -\parindent0pt +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\instrumentnumber1\setclef1\bass \startpiece -\qspace\nspace -\Notes\arpeggio E5\ibslurd0o\zq{EI}\qu N% - \nextstaff\ibl0e{-2}\zq{eg}\qb0l\zq d\qb0k\enotes -\setclef1\treble\zchangeclefs -\nspace -\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes -\notes\invertslur0\tslur0t\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes -\setclef1\bass \changeclefs -\notes\islurd0k\zq E\cu I\nextstaff - \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes -\end{music}\end{verbatim}% -\ital{Meter} changes are implemented in following way: +\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{2}\qu J\en +\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\doublebar +\notes\zchar{-5}{5}\qu J\en +\setclef1\treble\setclefsymbol1\treblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{6}\qu I\en\setclef1\treble\changeclefs +\notes\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs +\notes\qu i\en +\endpiece +\end{verbatim}\end{quote} -\keyindex{setmeter} $n$% - \verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}%| +\subsection{Meter changes} -\noindent - where $n$ is the number of the instrument, $m1$ specifies the meter -of the lower staff, $m2$ the meter of the second staff, etc. (if necessary!). +As mentioned in section \ref{generalmeter}, a common \itxem{meter} for all +staves can be specified by \keyindex{generalmeter}\verb|{|$m$\verb|}|, +where $m$ denotes the meter. On the other hand, meter changes in specific +staves are implemented with +\keyindex{setmeter}\onen\verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}|, +where $n$ is the number of the instrument, $m1$ specifies the meter +of the first (lowest) staff, $m2$ the second staff, and so forth. (Only enter +as many $m$'s as necessary.) + +Since meter changes are meaningful only across bars, there is no special command to +activate a new meter; rather, they are activated with the general commands +\keyindex{changecontext}, etc., listed in section \ref{contextintro}. -Since meter changes -are meaningful only across bars, they are actually taken in account with -\keyindex{changecontext} or \keyindex{Changecontext} or -\keyindex{zchangecontext} or \keyindex{alaligne} or \keyindex{alapage}. +The next example shows a few methods to get a meter change, in all staves or +in a single staff. + +\begin{quote}\begin{verbatim} +\instrumentnumber2\setstaffs22% +\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% +\setclef1{\bass}\generalsignature2% +\startextract +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}% +{\meterfrac{3}{4}}}\changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 11 +% Meters, clefs, and key signatures. +% All 3 clefs after bar (probably bad form) if no changeclefs +\setmeter1{{\meterfrac{2}{8}}}% +\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% +\setsign2{-1}% +% How to force showing the bass clef? +\setclef1\bass\setclef2{23}% +\Changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 12 +% Meters, clefs, and key signatures, with clef before the bar. +% Maybe not best form if signatures are involved +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% +\setsign2{-1}% +\setclef1\treble\zchangeclefs\changecontext +\Notes\qu k&\cu{de}|\qu e\en +\end{verbatim}\end{quote} +\begin{music} +\instrumentnumber2\setstaffs22% +\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% +\setclef1{\bass}\generalsignature2% +\startextract +\setmeter1{{\meterfrac{2}{4}}}% +% How big the '2' must be? +\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}% +{\meterfrac{3}{4}}}\changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 11 +% Meter Clefs and Key Signatures +% all 3 clefs after bar if no changeclefs +\setmeter1{{\meterfrac{2}{8}}}% +\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% +\setsign2{-1}% +% How to force showing the bass clef? +\setclef1\bass\setclef2{23}% +\Changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 12 +% Meter Clefs Keys Signatures all 3 with clef before the bar +% probably not if signatures are involved +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% +\setsign2{-1}% +\setclef1\treble\zchangeclefs\changecontext +\Notes\qu k&\cu{de}|\qu e\en +\endextract +\end{music} \section{Repeats} -To insert a \ital{repeat bar} you can use following sets of procedures, -namely \keyindex{leftrepeat}, \keyindex{rightrepeat} and -\keyindex{leftrightrepeat}, which are substitute the \keyindex{bar}. -For example: +To replace a bar line with a left, right, or left-right repeat, use one of the +commands \keyindex{leftrepeat}, \keyindex{rightrepeat} or +\keyindex{leftrightrepeat} in place of \verb|\bar|. If a \verb|\leftrepeat| +happens to come at the end of a system, it will automatically be moved to the +start of the next system. If a \verb|\leftrightrepeat| happens to come at the +end if a system, \musixtex\ will automatically post a right repeat at the end +of the system and a left repeat at the beginning of the next. -\begin{music} +For example, + +\begin{music}\nostartrule \startextract \NOTes\ha g\enotes \leftrepeat @@ -3663,7 +4742,7 @@ For example: \NOTes\ha i\enotes \rightrepeat \NOTEs\wh j\enotes -\endextract +\zendextract \end{music} \noindent has been coded as: \begin{quote}\begin{verbatim} @@ -3675,71 +4754,33 @@ For example: \rightrepeat \NOTEs\wh j\enotes \end{verbatim}\end{quote} -Special cases are forced line breaks: -if you want to force a new line at a repeat, you should code -respectively: - -\begin{quote} -\noindent\keyindex{setrightrepeat}\keyindex{alaligne}\\ -\keyindex{setrightrepeat}\keyindex{endpiece}\\ -\keyindex{alaligne}\keyindex{leftrepeat}\\ -\keyindex{contpiece}\keyindex{leftrepeat}\\ -\keyindex{startpiece}\keyindex{leftrepeat} -\end{quote} -\noindent or the combination of two of these in the case of a left/right -repeat. - - A second way of coding consists in saying \keyindex{setleftrepeat}, -\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before a bar -(\keyindex{bar}), \keyindex{stoppiece} or \keyindex{changecontext}). In -this case, the next single vertical bar will be replaced with the selected -repeat bar. This meets the traditional music typesetting conventions in the -only case of the \ital{right repeat} but, unfortunately, left and left/right -repeats use to behave in a different manner when in the middle of a line and -at a line break. - - \subsection{Specific first and second pass scoring} - -\RuleOn -A frequent situation consists in a long part of score repeated two or several -times, but its last few bars are different at first pass and at second pass. -This can be specified by saying -\keyindex{setvolta}\verb|{|\ital{text}\verb|}| before the \keyindex{bar} -beginning the part specific to that first or second part\footnote{The word -``volta'' comes from Italian, it means ``time'' in the sense of ``first -time'', ``second time'' or ``pass'' in that case.}. - - Then, only one bar has a horizontal rule above. No termination command is -needed since termination is implied by the following \verb|\bar| or repeat -symbol. For example: - -\medskip \begin{music} - \parindent0pt \startpiece \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat - \NOTEs\wh d\en\bar - \NOTEs\wh e\en\Endpiece -\end{music} -which was coded as: - \begin{quote}\begin{verbatim} - \parindent0pt \startpiece \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat - \NOTEs\wh d\en\bar - \NOTEs\wh e\en\Endpiece -\end{verbatim}\end{quote} - - - - If the music typesetter wants to include more than one bar in the first -pass[es] section and he wants all these to have a continuous line above, then -he can code \keyindex{Setvolta}\verb|{|\ital{text}\verb|}| before the bar he -wants the ``volta'' to begin, and put \keyindex{setendvolta} or -\keyindex{setendvoltabox} before the bar they should end. -\keyindex{setendvoltabox} makes the upper line to be terminated with a -descending hook, symmetrical to the opening small vertical bar. - +To insert a right repeat at a forced line break or at the end of a piece, use +\verb|\setrightrepeat| \textit{before}\ \verb|\alaligne| or \verb|\endpiece|. +In contrast, to insert a left repeat at a forced line break or at the +beginning of a piece, simply use \verb|\leftrepeat| immediately \textit{after} +\verb|\startpiece| or \verb|\alaligne|. To insert a left-right repeat at a +forced line break, use \verb|\setrightrepeat\alaligne\leftrepeat|. + +In fact it is possible to use \keyindex{setleftrepeat}, +\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before any +\keyindex{bar}, \keyindex{stoppiece} or \keyindex{changecontext}. But +be aware that while \verb|\setleftrepeat| behaves properly if the +bar is at the end of a system, \verb|\setleftrightrepeat| does not, placing +the symbol only at the end of the system. + + \subsection{First and second endings (Voltas)}\index{volta} + +All volta commands must be entered right before the bar line command +(or repeat, etc.) where they are to take effect. There are three +commands that suffice to set all voltas. To start one, use +\keyindex{Setvolta}\verb|{|\textit{text}\verb|}|; to terminate it +with or without a vertical line, use \keyindex{endvolta} or +\keyindex{endvoltabox} respectively. The text by default will be followed +by a period. There are also various alternate +commands (e.g., \verb|\setendvoltabox| is equivalent to \verb|endvoltabox|). +Some such alternate forms are used in the following example, but the first three +mentioned above are all that are required: \medskip \begin{music} \parindent0pt @@ -3759,8 +4800,7 @@ descending hook, symmetrical to the opening small vertical bar. \NOTEs\wh h\en\setendvoltabox \Endpiece \end{music} - \noindent has been -coded as: + \noindent This was coded as \begin{quote}\begin{verbatim} \startpiece \addspace\afterruleskip \NOTEs\wh a\en\bar @@ -3777,52 +4817,44 @@ coded as: \NOTEs\wh h\en\setendvoltabox \Endpiece \end{verbatim}\end{quote} - \zkeyindex{leftrepeat}\zkeyindex{rightrepeat} The -``volta'' symbols are normally set at \verb|4\internote| above the upper line -of the staff and one bar(length?) wide. - - The final down hook is stated, either by \keyindex{setendvoltabox} at the end, -or \keyindex{setvoltabox} at the beginning. - -\begin{important} - You are no more allowed to open \verb|\Setvolta| or \verb|\setvoltabox| whan -another of these multi-bar volta is pending. To re-open a \verb|\Setvolta| at -the ens of another one, you must explicitly order the first one to be closed -at the end of the bar where the second one is opened. Given examples had to be -corrected in order to meet this new safety requirement. - -\end{important} - - For the sake of portability, \keyindex{endvolta} is identical ti -\verb|\setendvolta|, and \keyindex{endvoltabox} is identical to -\verb|\setendvoltabox|. Theses changes in the names ar intended to recall that -these commant take effect only at the next bar, repeat or line break. - - -\RuleOff + \zkeyindex{leftrepeat}\zkeyindex{rightrepeat} - The altitude of the ``volta'' above the upper staff can -be changed, redefining \keyindex{raisevolta}, e.g.: +If the volta only spans one measure and ends without a vertical segment, +it can be specified simply by saying +\keyindex{setvolta}\verb|{|\textit{text}\verb|}| before the bar line command +that starts it, and it will automatically terminate at the +second bar line command: - \verb|\def\raisevolta{7\internote}| - - \noindent or define it to be any other valid dimension. - - \medskip\noindent{\sl REMARK: the dot after "volta" numbering can be removed, -simply by saying:} - - \verb|\def|\keyindex{voltadot}\verb| {}| +\medskip \begin{music} + \parindent0pt \startpiece \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat + \NOTEs\wh d\en\bar + \NOTEs\wh e\en\Endpiece +\end{music} +\noindent which was coded as: + \begin{quote}\begin{verbatim} + \parindent0pt \startpiece \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat + \NOTEs\wh d\en\bar + \NOTEs\wh e\en\Endpiece +\end{verbatim}\end{quote} -\noindent {\sl and reset by:} +The height above the top staff line of the horizontal line in a volta symbol +is determined by the token \keyindex{raisevolta} which is 4\verb|\internote| by +default. You can change this to any desired dimension. - \verb|\def|\keyindex{voltadot}\verb| {.}| +The period after the text can be +removed by saying \verb|\def|\keyindex{voltadot}\verb|{}| +and restored by \verb|\def|\keyindex{voltadot}\verb|{.}|\ . - \subsection{Large scope repeats and orientation marks} + \subsection{Special symbols for repeating long sections} -Large scope repeats have also been provided -with special symbols, namely \keyindex{coda}~$p$, \keyindex{Coda}~$p$, -\keyindex{segno}~$p$, where $p$ specifies the pitch. A bigger symbol is -\keyindex{Segno} with no argument. For example, the following figure +Four special symbols and corresponding macros are available, namely +\keyindex{coda}~$p$, \keyindex{Coda}~$p$, +and \keyindex{segno}~$p$, where $p$ specifies the pitch; and \keyindex{Segno} +with no argument. Their behavior is illustrated in this example: \begin{music} \startextract @@ -3834,227 +4866,320 @@ with special symbols, namely \keyindex{coda}~$p$, \keyindex{Coda}~$p$, \NOtes\Coda n\enotes \endextract \end{music} -\noindent has been coded: +\noindent which has been coded: \begin{quote}\begin{verbatim} \NOtes\segno m\enotes\bar \NOtes\coda m\enotes \NOtes\Segno\enotes\bar \NOtes\Coda m\enotes \end{verbatim}\end{quote} -Orientation marks are set more often above larger orchestral pieces for -easy come together of all instruments for exercise reasons. Often used are -circled or boxed uppercase characters or digits. This can be done with - -\keyindex{boxit}\verb|{|\ital{text}\verb|}|~~~or\\ -\indent\keyindex{circleit}\verb|{|\ital{text}\verb|}| -\noindent The distance between the box and the including text is influenced by - -\keyindex{boxitsep}\verb|=|\ital{any \TeX\ dimension} - -\noindent which is setup by default to \verb|3pt|. The usage is recommended -with \keyindex{Uptext}, \keyindex{zcharnote}, \keyindex{zchar} or -\keyindex{ccharnote}. - -\subsection{Repeating the last bar} - This can be done using the symbol \keyindex{duevolte} (often used with -\verb|\centerbar|, see example in \ref{barcentered}, p. -\pageref{barcentered}), e.g.: +\subsection{Repeating a single bar} + The special symbol for a single bar repeat is generated by \keyindex{duevolte}, as shown +in the following example: \begin{music} \generalmeter\meterC \setclef1\bass\setstaffs1{2} \startextract \NOtes\sk\sk\pause|\qa{cegj}\en -\bar\NOtes\qa{cdef}|\sk\sk\duevolte\en +\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en \endextract \end{music} -whose coding is: +\noindent whose coding is: \begin{quote}\begin{verbatim} \generalmeter\meterC \setclef1\bass\setstaffs1{2} \startextract \NOtes\sk\sk\pause|\qa{cegj}\en -\bar\NOtes\qa{cdef}|\sk\sk\duevolte\en +\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en \endextract \end{verbatim}\end{quote} - %\check - -\section{Miscellaneous} - \subsection{Putting anything anywhere} -\noindent Special macros are provided to help the composer to set any \TeX\ -text on the staffs. The macro - -\keyindex{zcharnote}~$p$\verb|{|text\verb|}| - -\noindent -sets the given text with its base line at pitch $p$ of the current staff -(this means it must be coded inside \verb|\notes...\enotes|). -Whatever the length of the text, no spacing occurs. -If you want the possible spilling text to expand on the left rather than -on the right, then you can use \keyindex{lcharnote}. -If you want the possible spilling text centered to current position, -then you can use \keyindex{ccharnote} which causes no space. - -The macro \keyindex{zcharnote} is fit for coding special notations like -accents above or below the notes. Also available are \keyindex{zchar}, -\keyindex{lchar} and \keyindex{cchar}, which -allows only numbers for pitch, but enables the use of floats too. - -To place some text at the mid-position between the two staffs of -a keyboard instrument, you may code: -\begin{quote} -\keyindex{zmidstaff}\verb|{|{\it text}\verb|}%| (to right)\\ -\keyindex{lmidstaff}\verb|{|{\it text}\verb|}%| (to left)\\ -\keyindex{cmidstaff}\verb|{|{\it text}\verb|}%| (centred) -\end{quote} -\noindent being however -careful, a) to put it inside \verb|\notes...\enotes|, b) to code it in the -text of the lower staff. - - A text to be put above the current staff is introduced by -\keyindex{uptext}\verb|{...}|. -This may however cause some collision with bar -numbering or notes above the staff; it is then wise to use -\keyindex{Uptext}\verb|{...}| -which puts the text two note line distances higher (recommended to post -the tempo). - \subsection{Fonts} The text fonts loaded by \musixtex\ come in six different -type sizes and three styles. The type sizes are 8\,pt, 10\,pt, 12\,pt, 14\,pt, -17\,pt and 25\,pt, while the three styles are roman, bold and italic. The -three smaller type sizes are available in all three styles, while the larger -three sizes, which are intended for titles, are available only in bold style. -The size selection macros are respectively \keyindex{smalltype}, +\noindent This is often used with \verb|\centerbar| to more easily center the +symbol between bar lines, as shown in the example in section \ref{barcentered}. + +\section{Font selection and text placement} + +\subsection{Predefined text fonts} +While any \TeX\ font can be used by \musixtex, there are certain styles and +sizes that can be selected using shortcut commands. +For ordinary text the shortcuts cover fonts of eight different +sizes and three styles. The sizes in points are 8, 9, 10, 12, 14, 17, 20, and 25; +the styles are from the standard Computer Modern family: Roman, bold and italic. The +four smallest sizes are each available in all three styles, while the larger +sizes, which are intended for titles, are available only in bold style. +The size selection macros from smallest to biggest are \keyindex{smalltype}, +\keyindex{Smalltype}, \keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype}, \keyindex{Bigtype} , -\keyindex{BIgtype} and \keyindex{BIGtype}. Following the size selection, the -style may be selected or changed using \keyindex{rm} (roman), \keyindex{bf} -(bold) or \keyindex{it} (italic). If no style selection is made, roman style -will result for the sizes smaller than \verb|\medtype|. For the larger sizes, -style selection is not required since only bold style is provided. Thus, -selection of eight point italic is done using \verb|\smalltype\it|, while -twelve point roman is selected using \verb|\medtype\rm| or simply +\keyindex{BIgtype} and \keyindex{BIGtype}. Following size selection, the +style may be selected or changed using \keyindex{rm} (Roman), \keyindex{bf} +(bold) or \keyindex{it} (italic). If no style is explicitly selected, Roman style +will be used for the sizes \verb|\medtype| or smaller. For the larger sizes, +only bold style is provided and no style selection is required. Thus, for example, +eight point italic is selected with \verb|\smalltype\it|, while +twelve point Roman is selected using \verb|\medtype\rm| or simply \verb|\medtype|. To change between styles while maintaining the same size, -code \verb|\rm|, \verb|\it| or \verb|\bf| as in Plain \TeX. This information -is summarized in the following table. +code \verb|\rm|, \verb|\it| or \verb|\bf| as in Plain \TeX. +When \musixtex\ is started, the default font for ordinary text is +ten point Roman, equivalent to \verb|\normtype\rm|. + +Another group of fonts, in bold extended italic style, is predefined in point sizes +10, 12, 14, and 17 for dynamic markings. The appropriate font for the current +staff size may be selected simply by using \keyindex{ppff} as a +font specification. Macros \verb|\smalldyn|, \verb|\normdyn|, or \verb|\meddyn| may be +used to redefine \verb|\ppff| to represent one of the smallest three. + +All predefined fonts are summarized in the following table. The second column gives an +explicit control sequence that can alternatively be used locally as a font specification. \begin{center} - \begin{tabular}{clc} + \begin{tabular}{lll} \hline - Size, pt & Size selection & Style selection \\ + Size and style & Font specification & Example \\ \hline - 8 & \verb|\smalltype| & \verb|\rm, \bf, \it| \\ - 10 & \verb|\normtype| & \verb|\rm, \bf, \it| \\ - 12 & \verb|\medtype| & \verb|\rm, \bf, \it| \\ - 14 & \verb|\bigtype| & \verb| (\bf) | \\ - 17 & \verb|\Bigtype| & \verb| (\bf) | \\ - 20 & \verb|\BIgtype| & \verb| (\bf) | \\ - 25 & \verb|\BIGtype| & \verb| (\bf) | \\ + \verb|\smalltype| & \verb|\eightrm| & {\smalltype small Roman} \\ + \verb|\smalltype\bf| & \verb|\eightbf| & {\smalltype\bf small bold} \\ + \verb|\smalltype\it| & \verb|\eightit| & {\smalltype\it small italic} \\ + \verb|\Smalltype| & \verb|\ninerm| & {\Smalltype Small Roman} \\ + \verb|\Smalltype\bf| & \verb|\ninebf| & {\Smalltype\bf Small bold} \\ + \verb|\Smalltype\it| & \verb|\nineit| & {\Smalltype\it Small italic} \\ + \verb|\normtype| & \verb|\tenrm| & {\normtype normal Roman} \\ + \verb|\normtype\bf| & \verb|\tenbf| & {\normtype\bf normal bold} \\ + \verb|\normtype\it| & \verb|\tenit| & {\normtype\it normal italic}\\ + \verb|\medtype| & \verb|\twelverm| & {\medtype medium Roman} \\ + \verb|\medtype\bf| & \verb|\twelvebf| & {\medtype\bf medium bold} \\ + \verb|\medtype\it| & \verb|\twelveit| & {\medtype\it medium italic}\\ + \verb|\bigtype| & \verb|\bigfont| & {\bigtype big bold} \\ + \verb|\Bigtype| & \verb|\Bigfont| & {\Bigtype Big bold} \\ + \verb|\BIgtype| & \verb|\BIgfont| & {\BIgtype BIg bold} \\ + \verb|\BIGtype| & \verb|\BIGfont| & {\BIGtype BIG bold} \\ + \verb|\smalldyn| & \verb|\ppffsixteen| & {\ppffsixteen pp ff diminuendo}\\ + \verb|\normdyn| & \verb|\ppfftwenty| & {\ppfftwenty pp ff crescendo}\\ + \verb|\meddyn| & \verb|\ppfftwentyfour| & {\ppfftwentyfour pp ff crescendo}\\[.4ex] + ~ & \verb|\ppfftwentynine| & {\ppfftwentynine pp ff diminuendo}\\[.4ex] \hline - \end{tabular} \end{center} Two other text fonts are provided for dynamic -markings. These are \keyindex{ppffsixteen}, \keyindex{ppfftwenty} and -\keyindex{ppfftwentyfour}, suitable for dynamic markings with staff sizes of -16\,pt, 20\,pt and 24\,pt respectively. The appropriate font for the current -staff size may be selected by coding \keyindex{ppff}. - -Naturally other fonts may be loaded by the user if required. -When \musixtex\ is started, the default text font is -ten point roman, equivalent to \verb|\normtype\rm|. - \subsubsection{Examples} + \end{tabular} +\end{center} + +\subsection{User-defined text fonts} + +Since \musixtex\ is a superset of \TeX, you are free to use the standard \TeX\ +machinery for defining and using any special font you desire. You must first +of course ensure that (a) all the necessary font files (e.g., \verb|bla10.tfm|, +\verb|bla10.pfb|, or equivalents) are installed in the right places in your system, (b) all +configuration files (e.g., \verb|config.ps| or equivalent) have been updated, and +(c) the \TeX\ system has been ``rehashed''. Then you can use the font just as +in any \TeX\ document, e.g. by coding \verb|\font blafont=bla10| and then +\verb|\zchar{10}{\blafont Text in user-defined font}|. + +You might also wish to replace once and for all the typefaces invoked by the +commands described in the previous section. Again, before doing this, you must +follow steps (a-c) of the previous paragraph for all fonts in questions. +\label{musixtmr} +You can use the standard bitmapped fonts which are converted to +postscript by e.g.\ \verb|dvips|, but you also may replace them +by native postscript fonts. + +As an example, you can replace the standard \verb|musixtex| fonts by +the Times series of fonts as follows: + +\begin{verbatim} +% 8pt roman, bold, and italic +\font\eightrm=ptmr7t at 8pt +\font\eightbf=ptmb7t at 8pt +\font\eightit=ptmri7t at 8pt +% 9pt +\font\ninerm=ptmr7t at 9pt +\font\ninebf=ptmb7t at 9pt +\font\nineit=ptmri7t at 9pt +% 10pt +\font\tenrm=ptmr7t +\font\tenbf=ptmb7t +\font\tenit=ptmri7t +% 12pt +\font\twelverm=ptmr7t scaled \magstep 1 +\font\twelvebf=ptmb7t scaled \magstep 1 +\font\twelveit=ptmri7t scaled \magstep 1 +% Large fonts for titles : normal shaped Times-Roman fonts are applied +\font\bigfont=ptmr7t scaled \magstep2 % 14pt +\font\Bigfont=ptmr7t scaled \magstep3 % 17pt +\font\BIgfont=ptmr7t scaled \magstep4 % 20pt +\font\BIGfont=ptmr7t scaled \magstep5 % 25pt +% +\normtype +\end{verbatim} +The above definitions are made available in a file +\verb|musixtmr.tex|\footnote{by Hiroaki {\sc Morimoto}}, to be used as +\begin{quote}\begin{verbatim} +\input musixtex +\input musixps +\input musixtmr +... +\end{verbatim}\end{quote} + +\font\tnormtype=ptmr7t +\font\tnormtypebf=ptmb7t +\font\tnormtypeit=ptmri7t +\font\tbigtype=ptmr7t scaled \magstep2 +\font\tBIgtype=ptmr7t scaled \magstep4 + +\noindent Here's a comparison of some of the Computer Modern Roman and Times Roman fonts: \begin{center} \begin{tabular}{ll} \hline - Size and style & Example \\ - \hline - \verb|\smalltype| & {\smalltype small roman} \\ - \verb|\smalltype\bf| & {\smalltype\bf small bold} \\ - \verb|\smalltype\it| & {\smalltype\it small italic} \\ - \verb|\normtype| & {\normtype normal roman} \\ - \verb|\normtype\bf| & {\normtype\bf normal bold} \\ - \verb|\normtype\it| & {\normtype\it normal italic}\\ - \verb|\medtype| & {\medtype medium roman} \\ - \verb|\medtype\bf| & {\medtype\bf medium bold} \\ - \verb|\medtype\it| & {\medtype\it medium italic}\\ - \verb|\bigtype| & {\bigtype big bold} \\ - \verb|\Bigtype| & {\Bigtype Big bold} \\ - \verb|\BIgtype| & {\BIgtype BIg bold} \\ - \verb|\BIGtype| & {\BIGtype BIG bold} \\ - \verb|\ppffsixteen| & {\ppffsixteen pp ff diminuendo}\\ - \verb|\ppfftwenty| & {\ppfftwenty pp ff crescendo}\\ - \verb|\ppfftwentyfour| & {\ppfftwentyfour pp ff crescendo}\\ + {\normtype normal (10pt) cm Roman} & {\tnormtype normal Times Roman} \\ + {\normtype\bf normal cm bold} & {\tnormtypebf normal Times bold} \\ + {\normtype\it normal cm italic} & {\tnormtypeit normal Times italic}\\ + {\bigtype cm big} & {\tbigtype Times big} \\ + {\BIgtype cm BIg } & {\tBIgtype Times BIg bold} \\ \hline \end{tabular} \end{center} + +\subsection{Text placement}\label{textplacement} +Special macros are provided to allow precise placement of any \TeX\ text, vertically +relative to the staff, and horizontally relative to any note in +the staff. + +The macros in the first group will vertically position the text with the +baseline at any specified pitch or staff line. They must be used +inside \verb|\notes...\enotes|. They will not insert any additional +horizontal space. They have the forms +\keyindex{zcharnote}\pitchp\verb|{|\ital{text}\verb|}|, \keyindex{lcharnote}\pitchp\verb|{|\ital{text}\verb|}|, +and \keyindex{ccharnote}\pitchp\verb|{|\ital{text}\verb|}|, +where \ital{p} is the pitch. With the first one, text will spill to the right +from the current insertion point, with the second it will spill to the left, and with the +third it will be centered horizontally. + +There are similar macros \keyindex{zchar}\pitchp\verb|{|\ital{text}\verb|}|, +\keyindex{lchar}\pitchp\verb|{|\ital{text}\verb|}|, and \keyindex{cchar}\pitchp\verb|{|\ital{text}\verb|}|, +which differ from the previous three in that the pitch \ital{must} be given with +a number (representing the number of staff positions up from the lowest line), +and that the number need not be an integer. + +To vertically position any text midway between two consecutive staves, use +\keyindex{zmidstaff}\verb|{|{\it text}\verb|}|, \keyindex{lmidstaff}\verb|{|{\it text}\verb|}|, +or \keyindex{cmidstaff}\verb|{|{\it text}\verb|}| at the appropriate point in the lower staff. + +The macros \keyindex{uptext}\verb|{|\ital{text}\verb|}| and +\keyindex{Uptext}\verb|{|\ital{text}\verb|}| are simply shorthands for +\verb|\zchar{10}{|\ital{text}\verb|}| and \verb|\zchar{14}{|\ital{text}\verb|}| respectively. + +The text items handled by all of the above macros can include any appropriate +string of \TeX\ +control sequences, including font definitions, \verb|\hbox|'es, etc. + +Material posted with any of the macros described in this section will not +create any additional horizontal or vertical space within the current system, +and will overwrite anything in the current system that gets in the way. It is +the typesetter's responsibility to ensure there is adequate white space +within the current system to accommodate any text emplaced with +these macros. On the other hand, if text is emplaced far above or below a +system, \musixtex\ will usually insert additional vertical space if needed. + +\subsection{Rehearsal marks} + +Rehearsal marks are usually +boxed or circled uppercase letters or digits. They can be defined using the macros +\keyindex{boxit}\verb|{|\ital{text}\verb|}| or +\keyindex{circleit}\verb|{|\ital{text}\verb|}|. For boxed text, +the margin between the text and box is controlled by the dimension +register \keyindex{boxitsep}, which can be reset to any \TeX\ dimension if the +default value of \verb|3pt| is unsatisfactory. To emplace the mark, use \verb|\Uptext| or +any of the other macros defined in the previous section. + + +\section{Miscellaneous other notations} +%avre \subsection{Metronomic indications} -Metronomic indication deserves a special macro. The mention: +%Metronomic indication deserves a special macro. The mention: +% +%\medskip +%\centerline{\def\nbinstruments{0}\metron{\hup}{60}} +% +%\smallskip\noindent +%is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in +%\keyindex{Uptext} which is in turn embedded within \verb|\notes...\enotes|). +% +% On the other hand, music writers sometimes want to specify that the duration +%of a previous note is equal to a distinct furthernote. Thus +% +% \smallskip +%\centerline{\def\nbinstruments{0}\metronequiv{\qup}{\qu}} +% +%\smallskip\noindent +%is coded by \keyindex{metronequiv}\verb|{\qup}{\qu}|. + +By way of example, the notations~~~{\def\nbinstruments{0} +\metron{\hup}{60}}~~~and~~~{\def\nbinstruments{0}\metronequiv{\qup}{\qu}}~~~are +respectively coded as +\keyindex{metron}\verb|{\hup}{60}| and \keyindex{metronequiv}\verb|{\qup}{\qu}|, +which are normally emplaced using \keyindex{Uptext}. -\medskip -\centerline{\def\nbinstruments{0}\metron{\hup}{60}}\smallskip\noindent -is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in -\keyindex{Uptext} which is in turn embedded within \verb|\notes...\enotes|). \subsection{Accents} -\begin{itemize} - \item \keyindex{upz}~$p$ (upper \ital{pizzicato}) to put a dot above a note + +You may use\footnote{Note from the editor: the reason the names of some of +these macros don't seem to be constructed to suggest the terms used in the +descriptions is that whoever originally defined the macros had in mind terms +that did not agree with normal English usage.} +\begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{upz}\pitchp~(upper \itxem{staccato}) to put a dot above a note head at pitch $p$, - \item \keyindex{lpz}~$p$ (lower \ital{pizzicato}) to put a dot below a note + \item \keyindex{lpz}\pitchp~(lower \ital{staccato}) to put a dot below a note head at pitch $p$, - \item \keyindex{usf}~$p$ (upper \itxem{sforzando}) to put a $>$ accent above + \item \keyindex{usf}\pitchp~(upper \itxem{sforzando}) to put a $>$ accent above a note head at pitch $p$, - \item \keyindex{lsf}~$p$ (lower \itxem{sforzando}) to put a $>$ accent below + \item \keyindex{lsf}\pitchp~(lower \itxem{sforzando}) to put a $>$ accent below a note head at pitch $p$, - \item \keyindex{ust}~$p$ (upper \itxem{staccato} or \itxem{portato}) to put a + \item \keyindex{ust}\pitchp~(upper \itxem{tenuto}) to put a hyphen above a note head at pitch $p$, - \item \keyindex{lst}~$p$ (lower \ital{staccato} or \ital{portato}) to put a + \item \keyindex{lst}\pitchp~(lower \ital{tenuto}) to put a hyphen below a note head at pitch $p$, - \item \keyindex{uppz}~$p$ (upper strong \ital{pizzicato}) to put an -apostrophe above a note head at pitch $p$, - \item \keyindex{lppz}~$p$ (lower strong \ital{pizzicato}) to put a reversed -apostrophe below a note head at pitch $p$. - \item \keyindex{usfz}~$p$ (upper \ital{sforzato}) to put a -`roof' above a note head at pitch $p$, - \item \keyindex{lsfz}~$p$ (lower \ital{sforzato}) to put a reversed -`roof' below a note head at pitch $p$. - \item \keyindex{upzst}~$p$ (upper \ital{portato/staccato}) to put a -combined portato/staccato sign above a note head at pitch $p$, - \item \keyindex{lpzst}~$p$ (lower \ital{portato/staccato}) to put a -combined portato/staccato sign below a note head at pitch $p$. - \item \keyindex{flageolett}~$p$ to put a -thin circle above a note head at pitch $p$. - \item \keyindex{upbow} to indicate a bowing for strings in upper direction. - \item \keyindex{downbow} opposite to {\Bslash upbow}. + \item \keyindex{uppz}\pitchp~(upper \itxem{staccatissimo}) to put a solid vertical +wedge above a note head at pitch $p$, + \item \keyindex{lppz}\pitchp~(lower \ital{staccatissimo}) to put an inverted +solid vertical wedge below a note head at pitch $p$, + \item \keyindex{usfz}\pitchp~(upper \itxem{forzato}) to put a +``dunce cap'' above a note head at pitch $p$, + \item \keyindex{lsfz}\pitchp~(lower \ital{forzato}) to put an inverted +``dunce cap'' below a note head at pitch $p$, + \item \keyindex{upzst}\pitchp~(upper \itxem{staccato/tenuto}) to put a +dot and a hyphen above a note head at pitch $p$, + \item \keyindex{lpzst}\pitchp~(lower \ital{staccato/tenuto}) to put a +dot and a hyphen below a note head at pitch $p$, + \item \keyindex{flageolett}\pitchp~to put a +small circle above a note head at pitch $p$. \end{itemize} -Because whole notes (breve, arbitrary, ...) have a different note head width -the accents appear not centered above them. Therefore you can use -\keyindex{wholeshift}\verb|{|\ital{text}\verb|}| which centers accents -and others -which are centered above a quarter note head to appear centered above -a whole note. This is used for e.g.~\verb|\Fermataup|. - -Also available are the variants\footnote{Thanks to Klaus {\sc Bechert}'s -corrections.} of the most used accents which will be automatically positioned -above or below a beam. Therefore the known accents are preceeded with the -letter `b' and, instead of the pitch, the beam reference number is appended as -an argument. Thus +These marks are horizontally centered relative to solid note heads. To +compensate for the fact that whole notes are wider, you should use +\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents +and other items (e.g.~\verb|\Fermataup|) above a whole note. + +There are also variants of the most common accents\footnote{Thanks to Klaus +{\sc Bechert}'s corrections.} which will be automatically positioned +above or below a beam. They are spelled like the corresponding normal +accent, but preceded with the letter \verb|b|, and their argument, instead of +the pitch, is the beam reference number . Thus \medskip -\begin{music} +\begin{music}\nostartrule \startextract \Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en \Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en -\endextract +\zendextract \end{music} -\noindent was coded as: -\begin{verbatim} -\startextract +\noindent was coded as +\begin{quote}\begin{verbatim} \startextract \Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en \Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en -\endextract -\end{verbatim} +\zendextract +\end{verbatim}\end{quote} \zkeyindex{busfz} \zkeyindex{bupz} \zkeyindex{bust} @@ -4067,26 +5192,49 @@ an argument. Thus \zkeyindex{blppz} \zkeyindex{blsf} \zkeyindex{bltext} - \subsection{*Indication of \ital{x}-tuplets} - Triplets and other $x$-tuplets --- in practice the italic numbers \ital{3}, -\ital{4}, \ital{5}, etc. can be set at the right horizontal/vertical position -invoking the \keyindex{triolet} or \keyindex{xtuplet} macros at the leftmost -position of the group, i.e. before the first note is coded. +The macros \verb|\bltext| and \verb|\butext| are detailed in the next section, +where the mystery of why they produce the number 3 is resolved. - {\Bslash triolet} has only one argument, the pitch of the bottom of the -figure 3, {\Bslash xtuplet} has two arguments: the figure and its pitch. -If the figure has to be put above an upper beam or below a lower beam, using -the macros \keyindex{butext} (above) and \keyindex{bltext} (below) is advisable -to post the figure above or below the given beam. {\Bslash butext} -and {\Bslash bltext} have one argument, namely the beam number (namely the -same as the first argument of commands such as {\Bslash ibu} or {\Bslash -Ibu}). If the group of notes is not a triolet, the actual figure has to be -changed, redefining the macro \keyindex{txt} which is set up by default to: +\subsection{Numbers and brackets for xtuplets}\label{tuplet} -\verb|\def\txt{\eightit 3}%| +The following table lists all the special macros that place a number indicating +an xtuplet. Some also place a bracket above or below the notes, and are +intended for use with unbeamed notes. +In the table, $p$ is a pitch, $k$ is a number, $n$ is a beam number, +$w$ is a bracket width in \verb|\internote|s, and $s$ is the bracket slope as +a multiple of 1.125 degrees. The macro \verb|\txt| contains a default number +and its font, which will be emplaced by the first and third through sixth macros, +and is initially defined as \verb|\def\txt{\eightit 3}|. The macro +\verb|\tuplettxt| serves the same role for the last two macros. The first four +are to be used with beamed xtuplets. As indicated in the +last column, the last four produce a sloping bracket and are to be used with +unbeamed xtuplets. The last two require the extension file +\verb|tuplet.tex| to be input right after \verb|\input musixtex|. + + +\begin{center} + \begin{tabular}{lclcc} + \hline + ~ & Number & ~ & Needs & ~ \\ + Macro and arguments & printed & Where invoked & \verb|tuplet.tex|? & Bracket \\ + \hline + \verb|\triolet|\pitchp & \verb|\txt| & before beam & no & none \\ + \verb|\xtuplet|\itbrace{k}\pitchp & $k$ & before beam & no & none \\ + \verb|\butext|\itbrace{n} & \verb|\txt| & before note at number & no & none \\ + \verb|\bltext|\itbrace{n} & \verb|\txt| & before note at number & no & none \\ + \verb|\uptrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & no & solid \\ + \verb|\downtrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & no & solid \\ + \verb|\uptuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & yes & with gap \\ + \verb|\downtuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & yes & with gap \\ + \hline + \end{tabular} +\end{center} +\medskip +Here are some examples of the first six macros in the table:\\ +\vskip-3pt \begin{music} \parindent0mm \generalmeter{\meterfrac24} @@ -4097,61 +5245,114 @@ changed, redefining the macro \keyindex{txt} which is set up by default to: \notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar \Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar \Notesp\uptrio o16\ql l\en\notesp\cl n\en -\Notesp\uptrio p16\ql m\en\notesp\cl o\en +%avrb +\Notesp\downtrio O16\qu e\en\notesp\cu g\en +%avre \endpiece +whose coding is \begin{quote}\begin{verbatim} \notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar \notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en \notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar \Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar \Notesp\uptrio o16\ql l\en\notesp\cl n\en -\Notesp\uptrio p16\ql m\en\notesp\cl o\en +\Notesp\downtrio O16\qu e\en\notesp\cu g\en \end{verbatim}\end{quote} \end{music} \zkeyindex{xtuplet}\zkeyindex{triolet} -%\xtuplet{text}{pitch} -% centers text(3 on second note, 4 between second and thirdnote, -% 5 on third note) on notes (-> \triolet{pitch}) - \subsection{*Usual ornaments} - \subsubsection{Arpeggios} -\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro +\medskip +Next are examples using the macros from \verb|\tuplet.tex|. Comparison of the +coding with the printed result reveals that (a) a redefinition of +\verb|\tuplettxt| inside a notes group only applies inside that group and +leaves the default definition intact (bar 2), +(b) the default definition is +\verb|\def\tuplettxt{\ppffsixteen3}|, a 10-pt bold extended italic numeral 3 +which may be larger and heavier than desired (first set, bar 3) (c) to get the +number properly centered in the gap, you must include some extra spaces after +the number in the definition of \verb|\tuplettxt|, and (d) as you can see in +the last bar, if the span becomes to small, the macros still won't provide +enough room for the number in the gap; in this case it would be better to +use to the macros without gaps. + +% Examples: +% +% Draw a triplet bracket over the notes, starting at pitch "p", +% 1.25\noteskip wide, with a slope up of 3-3/8 degrees: +% +% \uptuplet p{1.25}3 +% +% Draw a sextuplet bracket under the notes, starting at pitch "a", +% 2.5\noteskip wide, with a slope down of 4-1/2 degrees: +% +% \def\tuplettxt{\smallppff 6\/\/} +% \downtuplet{a}{2.5}{-4} -\keyindex{arpeggio} $pm$ - -\noindent where $p$ is the pitch of -the base of the arpeggio symbol and $m$ is its multiplicity (one period is -equal to one space between staff lines, i.e. 5 points). This macro causes -no spacing. If should be issued before the concerned -chords. Its variant \keyindex{larpeggio} sets the arpeggio symbol nearly -one note head width on the left, in order to avoid collision with accidentals -in front of the chords. - - \subsubsection{Trills} - Trills\index{trills} can be coded in several ways. -\keyindex{trille}~$pl$ (where $p$ is the pitch and $l$ is a number of current -\ital{noteskip}) yields \hbox to 1cm{\noteskip1cm\trille11\hss} while -\keyindex{Trille}~$pl$ yields \hbox to 2cm{\noteskip1cm\Trille12\hss}. - - For longer trills expanding over bars and line breaks, a better way consists -in specifying the beginning with \keyindex{Itrille}~$np$ where $n$ is the -trill reference number ($0\le n<6=$\keyindex{maxtrills}) and terminate it with -the command \keyindex{Ttrille}~$n$. If one wants the {\it tr} mention at the -beginning, then one should use \keyindex{ITrille}~$np$. The ancient commands -\keyindex{itrille}, \keyindex{ttrille}~$p$ and \keyindex{tTrille}~$p$ still -work but beware that their syntax is different, that the opening and the -closing must be in the same bar and that the use the same registers as -\verb|\Itrille 0|. +\begin{music} +\input tuplet +\parindent0mm +\generalmeter{\meterfrac24} +%\startpiece +\startextract +\addspace\afterruleskip +\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en +\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar +\notesp\def\tuplettxt{\eightit 5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar +\Notesp\uptuplet o16\ql l\en\notesp\cl n\en +\def\tuplettxt{\eightit 3\/\/} +\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar +\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en +\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en +%\endpiece +\endextract +\end{music} -\medskip -\begin{remark} \verb|trille| and \verb|Trille| also exist in \musictex. -Unfortunately, the same macro names do not have the same syntax and the same -semantic in both packages and {\ttxem{musixcpt.tex}} forces the behaviour and -the syntax of \musictex. A solution to this problem consists in using -\keyindex{trilleC} and \keyindex{TrilleC} to have the \musictex{} behaviour, -and \keyindex{trilleX} and \keyindex{TrilleX} to have the \musixtex{} -behaviour, even when {\tt musixcpt} is invoked. -\end{remark} +\noindent with coding + +\begin{quote}\begin{verbatim} +\input tuplet +\parindent0mm\generalmeter{\meterfrac24} +\startextract\addspace\afterruleskip +\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en +\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar +\notesp\def\tuplettxt{\eightit 5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar +\Notesp\uptuplet o16\ql l\en\notesp\cl n\en +\def\tuplettxt{\eightit 3\/\/} +\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar +\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en +\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en +\endextract +\end{verbatim}\end{quote} + + \subsection{Ornaments} + + \subsubsection{Arpeggios} +\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro +\keyindex{arpeggio}\pitchp\itbrace{m} +where $p$ is the pitch of +the base of the arpeggio symbol and $m$ is its height in units of +\verb|\interligne|, the distance from one staff line to the next. It should be +issued before the affected chord. It is +automatically positioned to the left of the chord, but inserts no spacing. +Its variant \keyindex{larpeggio} sets the arpeggio symbol roughly +one note head width to the left of the default position, and is intended to +avoid collision with single accidentals on chord notes. + + \subsubsection{Arbitrary length trills} + There are two styles of arbitrary length trills\index{trills}, each with two +variants. +For a trill with preassigned length, use \keyindex{trille}\pitchp\itbrace{l} +for \hbox to 1cm{\noteskip1cm\trille11\hss} or +\keyindex{Trille}\pitchp\itbrace{l} for~~\hbox to +2cm{\noteskip1cm\Trille12\hss}, where $p$ is the pitch and $l$ the length in +current \verb|\noteskips|. + +To let \musixtex\ compute the length of the trill, or if it extends across a +system break, you can use \keyindex{Itrille}$n$\pitchp\ to start a plain +trill, where $n$ is a trill reference number between 0 and 6; then +\keyindex{Ttrille}$n$ to terminate it. To get the {\it tr} at the +beginning, use \keyindex{ITrille}$n$\pitchp\ to start the trill and +\verb|\Ttrille|$n$ to close it. For example: @@ -4173,7 +5374,7 @@ For example: \end{music} whose coding is \begin{quote}\begin{verbatim} -\begin{music} +\begin{music}\nostartrule \instrumentnumber{1} \setstaffs12 \setclef1{6000} @@ -4190,10 +5391,10 @@ whose coding is \end{verbatim}\end{quote} \subsubsection{Piano pedal commands} - \keyindex{PED} inserts the piano pedal command below the staff; pedal release -is specified by \keyindex{DEP}; also available are shorter variants of the -pedal signs which are invoked with \keyindex{sPED} and \keyindex{sDEP}; thus -the following example +The macro \keyindex{PED} inserts a piano pedal command below the staff; +\keyindex{DEP}, a pedal release. Alternate symbols, the first of which +occupies less space, are invoked with \keyindex{sPED} and \keyindex{sDEP}. +For example, \begin{music} \setclef1\bass @@ -4210,9 +5411,8 @@ the following example \Notes\sDEP\enotes \endextract \end{music} - \noindent was coded as: \begin{quote}\begin{verbatim} - \NOtes\PED\wh J|\qu -h\enotes + \noindent was coded as \begin{quote}\begin{verbatim} + \NOtes\PED\wh J|\qu h\enotes \NOtes|\qu g\enotes \NOtes|\hu k\enotes \Notes\DEP\enotes \bar @@ -4224,74 +5424,120 @@ h\enotes The vertical position of \keyindex{PED}, \keyindex{sPED}, \keyindex{DEP} and \keyindex{sDEP} can be -globally changed by redefining its elevation, which is setup by default to - -\verb|\def|\keyindex{raiseped}\verb|{-5}%| - -If you only want to change a few of them, you can use the more fundamental +globally changed by redefining its elevation, which has the default +definition \verb|\def|\keyindex{raiseped}\verb|{-5}|. +To locally change the vertical position of a pedal symbol, use one of the more +fundamental macros \keyindex{Ped}, \keyindex{sPed}, \keyindex{Dep} and \keyindex{sDep} in combination with \keyindex{zchar} or \keyindex{zcharnote}. - - Since the \hbox to 1cm{ \Ped\hss} symbol is rather wide, it might collide -with bass notes in an ugly way. Then a solution consists in shifting if to the -left, by coding \verb|\loff{\PED}|. +Since the \hbox to .7cm{ \Ped\hss} symbol is rather wide, it might collide +with adjacent bass notes. To shift it horizontally, you could use \verb|\loff{\PED}|. \subsubsection{Other ornaments}\index{ornaments} - \begin{itemize} - \item \keyindex{mordent}~$p$ for \hbox to .75em{\mordent 0\hss}, - \item \keyindex{Mordent}~$p$ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}, - \item \keyindex{shake}~$p$ for \hbox to .75em{\shake 0\hss}, - \item \keyindex{Shake}~$p$ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}, - \item \keyindex{Shakel}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}, - \item \keyindex{Shakesw}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}, - \item \keyindex{Shakene}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}, - \item \keyindex{Shakenw}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}, - \item \keyindex{turn}~$p$ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}, - \item \keyindex{backturn}~$p$ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}, - \item \keyindex{fermataup}~$p$ puts a \itxem{fermata} at pitch $p$. -No spacing occurs. - \item \keyindex{fermatadown}~$p$ puts a reverse \ital{fermata} at the same -place. - \item \keyindex{Fermataup}~$p$ puts a \itxem{fermata} at pitch $p$ centered -above a whole note. No spacing occurs. - \item \keyindex{Fermatadown}~$p$ puts a reverse \ital{fermata} at the same -place. - \item A big \itxem{breathing} comma can be put above the staff --- to -indicate where the singer is welcome to breath, or to indicate a short rest ---- using \keyindex{zbreath} (no spacing) or \keyindex{cbreath} (centred in a -\verb|\noteskip| space). The \musictex\ \keyindex{breath} is no more available -since it involved a ``hard'' spacing of the width of that character, which -resulted in troubles with \musixtex. - - \item The \keyindex{caesura} command can also be used to insert a small -slash, such as +The argument $p$ in the following macros for ordinary ornaments is the +pitch at which the ornament itself appears. They are all nonspacing macros. +You may use +\begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{mordent}\pitchp\ for \hbox to .75em{\mordent 0\hss}, + \item \keyindex{Mordent}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}, + \item \keyindex{shake}\pitchp\ for \hbox to .75em{\shake 0\hss}, + \item \keyindex{Shake}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}, + \item \keyindex{Shakel}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}, + \item \keyindex{Shakesw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}, + \item \keyindex{Shakene}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}, + \item \keyindex{Shakenw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}, + \item \keyindex{turn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}, + \item \keyindex{backturn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}. + \end{itemize} -\begin{music} +In the following macros for fermatas, the argument $p$ is the pitch of the +notehead on which the fermata rests, assuming no additional vertical +adjustments are needed for stems or intervening staff lines. They are all +nonspacing macros. You may use +\begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{fermataup}\pitchp\ for +\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermataup1\en}}, +\end{itemize} +\begin{itemize}\setlength{\itemsep}{3ex} + \item \keyindex{fermatadown}\pitchp\ for +\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermatadown2\en}}, + \item \keyindex{Fermataup}\pitchp\ for +\raisebox{-1ex}[-1ex][0ex]{\musicintextnoclef{\notes\Fermataup 7\zwh{'c}\en}}~, +centered over a whole note, + \item \keyindex{Fermatadown}\pitchp\ for +\raisebox{-1ex}[0ex][0ex]{\musicintextnoclef{\notes\Fermatadown1\zwh{'c}\en}}~, +centered under a whole note. + \end{itemize} +\bigskip + +A \itxem{breath} mark +\raisebox{-5ex}[0ex][0ex]{\notesintext{\notes\zbreath\en}} +can be put just above the staff with \keyindex{zbreath}. This is a nonspacing +macro. On the other hand, \keyindex{cbreath} will cause a space of one +\verb|\noteskip| and place the comma midway through the space. + +The \keyindex{caesura} command inserts a slash \verb|0.5\noteskip| before +the place it is entered, while adding no space: + +\begin{music}\nostartrule \startextract \NOTes\zhu j\hl{^e}\caesura\en \Notes\zcu j\cl e\en -\endextract +\zendextract \end{music} - \end{itemize} - - \subsection{Dynamic signs} Various -dynamic signs can be posted with -\keyindex{crescendo}\verb|{|$l$\verb|}| or -\keyindex{decrescendo}\verb|{|$l$\verb|}|, to be used as arguments to -\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc. - -Note: The biggest sign is $\simeq$ 68 mm long. - -Alternately they can be produced using the pair of \keyindex{icresc} and -\keyindex{tcresc} or \keyindex{tdecresc}. Saying one time \verb|\icresc| you -can force several \verb|\tcresc| or \verb|\tdecresc| with the same starting -abscissa. Tha altitude of the [de]crescendo symbol is specified, not by the -\verb|\icresc| macro which only defines the stating abscissa, but by the -\verb|\tcresc| or \verb|\tdecresc| which is normally lifted up or down by -means of a \verb|\zmidstaff| or a \verb|\zcharnote| command whose first -argument has to be adjusted according to your visual needs. +\subsection{Alphabetic dynamic marks} + Conventional dynamic symbols +\pppp, \ppp, \pp, +\p, +\mezzopiano, +\mf, +\f, +\fp, +\sF, +\ff, +\fff\ and +\ffff\ can be posted using the macros +\keyindex{pppp}, +\keyindex{ppp}, +\keyindex{pp}, +\keyindex{p}, +\keyindex{mp}, +\keyindex{mf}, +\keyindex{f}, +\keyindex{fp}, +\keyindex{sF}, +\keyindex{ff}, +\keyindex{fff}, +\keyindex{ffff} respectively as the second argument of \verb|\zcharnote| or +\verb|\ccharnote|. + +\subsection{Hairpins (crescendos and decrescendos)}\label{sec:crescnd} + +The syntax and properties of hairpins will differ depending on whether or not you +have input \verb|musixps.tex|, which activates not only type K postscript slurs and +ties but hairpins as well. The font-based variety are always horizontal, +are limited in length, and cannot span system breaks. Using the postscript variety +removes all these restrictions, but they will not be visible in DVI previewers. + +\subsubsection{Font-based hairpins} + +There are two categories of font-based hairpins. The first type requires only +one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or +\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{} +dimension, either a fixed one---for example in points---or a scalable one +expressed either explicitly or implicitly as some number of +\verb|\noteskip|s. These should be used as arguments to +\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to +post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm. + +The second type of font-based hairpin requires two commands, one to start it +and another to end it. The starting macro is \keyindex{icresc}. It has no +arguments. Only one invocation suffices to start any number and combination of +crescendos and diminuendos. The ending macros are \keyindex{tcresc} or +\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc, +which will set the altitude. For example, \begin{music} \parindent0pt @@ -4303,13 +5549,13 @@ argument has to be adjusted according to your visual needs. \Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en \endextract \end{music} -\noindent which was coded as: -\begin{verbatim} +\noindent which was coded as +\begin{quote}\begin{verbatim} \Notes\cmidstaff\ppp|\ca c\en \Notes\icresc|\ca{defgh'abcde}\en \Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en -\end{verbatim} - +\end{verbatim}\end{quote} +\medskip\noindent while \begin{music} \parindent0pt \generalmeter{\meterfrac{12}8} @@ -4320,106 +5566,138 @@ argument has to be adjusted according to your visual needs. \Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en \endextract \end{music} -\noindent which was coded as: -\begin{verbatim} +\noindent was coded as +\begin{quote}\begin{verbatim} \Notes\cmidstaff\ppp|\ca c\en \Notes\icresc|\ca{defgh'abcde}\en \Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en -\end{verbatim} - - - Intensity conventional signs are: \keyindex{ppp}, -\keyindex{pppp}, -\keyindex{ppp}, -\keyindex{pp}, -\keyindex{p}, -\keyindex{mp}, -\keyindex{mf}, -\keyindex{f}, -\keyindex{fp}, -\keyindex{sF}, -\keyindex{ff}, -\keyindex{fff}, -\keyindex{ffff}, resulting in \pppp, \ppp, \pp, -\p, -\mezzopiano, -\mf, -\f, -\fp, -\sF, -\ff, -\fff\ and -\ffff. +\end{verbatim}\end{quote} +\subsubsection{Postscript hairpins} +As already noted, these require that you have input \verb|musixps.tex|. +Once having done that, you should not try to use font-based hairpins +because the syntax is incompatible. + +Again, +there are two different types. The first type is normally initiated with either +\keyindex{icresc}\onen~or \keyindex{idecresc}\onen, and terminated with +\keyindex{tcresc}\onen, where $n$ is a hairpin index, +which is virtually unlimited but certain restrictions apply if it exceeds 14. +The altitude is set by the value of \keyindex{setcrescheight}, which by default +is -5 and which must be expressed numerically. Note that +\keyindex{tcresc}~is the same as \keyindex{tdecresc}. + +You can shift the starting or ending point horizontally by replacing the +foregoing macros with +\keyindex{ilcresc}, \keyindex{ildecresc}, +\keyindex{ircresc}, \keyindex{irdecresc}, +\keyindex{tlcresc}, \keyindex{tldecresc}, +\keyindex{trcresc}, \keyindex{trdecresc}, +for example to make space for an alphabetic dynamic mark. + +The second form of postscript hairpin macros allows individual and arbitrary +specification of the altitude and horizontal offset. The syntax is +\keyindex{Icresc}\itbrace{n}\itbrace{h}\itbrace{s}, where $h$ is the +altitude---which must be numerical---and $s$ is the horizontal offset +in \verb|\internote|. Similar syntax obtains for \keyindex{Idecresc}\ +and \keyindex{Tcresc}. + +These hairpins may span several lines. If one of them spans three systems +then the height of the middle section can be adjusted with +\keyindex{liftcresc}\itbrace{n}\itbrace{h}. The height of the first and last +parts of a broken crescendo will be defined by the height parameter in +\keyindex{Icresc}~or \keyindex{Tcresc}. + +There are numerous other nuances and shorthand macros that are described +in the comments in \verb|musixps.tex|. + +As an example of a postscript hairpin, +\begin{music}\nostartrule +%\input smallmusixpsx +\input musixps +\generalmeter{\meterfrac{12}8} +\startextract +\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en +\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en +\zendextract +\end{music} +\noindent was coded as +\begin{quote}\begin{verbatim} +\input musixps +\generalmeter{\meterfrac{12}8} +\startextract +\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en +\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en +\zendextract +\end{verbatim}\end{quote} \subsection{Length of note stems} -%\begin{changebar} +The default length of note stems is the distance of one octave, i.e. +\verb|7\internote| or 4.66 \keyindex{interbeam}. The default may be changed +with the macro \keyindex{stemlength}\itbrace{b}\ where $b$ is the length in +\verb|\interbeam|s. -Normally, the length of note stems is the distance of one octave, i.e. -\verb|7\internote|. This is equivalent to 4.66 \keyindex{interbeam}. The -length of the stems may be changed using the macro \keyindex{stemlength}, e.g.: - - \verb|\stemlength{5.2}| - - \noindent which will set the stemlength to 5.2 \verb|\interbeam|. The default - is -\keyindex{stemlength}\verb|{4.66}|. - -Choral music with four voices is often typeset into two staffs. Thus, each -staff holds two voices, one being typeset with stems up, the other with stems -down. If the command \keyindex{stemcut} has been previously issued, stems that -are outside the staff are cut depending on the pitch of the notes. If this is -not wanted, this feature may be suppressed with the command -\keyindex{nostemcut}. The default behaviour is \keyindex{stemcut} in plain -\musixtex, and \keyindex{nostemcut} when {\ttxem{musixcpt.tex}} is invoked. +The command \keyindex{stemcut} causes stems that extend outside the staff +to be shortened depending on the pitch of the notes. It is the default +behavior. To suppress this adjustment, issue the command +\keyindex{nostemcut}. Normally, down stems never end above the middle line of the staff and up stems -never below that line. This extension of the stems may be inhibited for the -next generated stem using the command \keyindex{stdstemfalse}. There is no -\keyindex{stdstemtrue} since \keyindex{stdstemfalse} is reset after -generating each new stem. - -%\end{changebar} +never below that line. The command \keyindex{stdstemfalse} will inhibit this +adjustment, but only for the next stem generated. There is no command to globally +suppress this behavior. + \subsection{Brackets, parentheses, and oblique lines}\label{brapar} - \subsection{*Brackets and parentheses} - - -Several brackets and parentheses have been provided for musical typesetting -needs. These are: - \begin{itemize} +Several varieties of brackets, parentheses and oblique lines are provided for +use within a score. + \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{lpar}\verb|{|$p$\verb|}| and -\keyindex{rpar}\verb|{|$p$\verb|}| which yield small -parenthesis to enclose notes. These are used for \ital{cautionary} accidentals -but more comprehensive macros fulfill that specific purpose (see \ref{cautionary}) - \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| to post square -brackets of width $n$-internotes at left of a chord. Usually these brackets -are used on keyboard instruments to specify, either two neighbouring notes -played with a single finger, or some chord notes to be played with the -alternate hand. - \item \keyindex{doublethumb}\verb|{|$p$\verb|}|, to indicate a bracket of -height 2\verb|\internote|. +\keyindex{rpar}\verb|{|$p$\verb|}| yield left and right +parentheses at pitch $p$. They could be used to enclose notes or to build +\ital{cautionary} accidentals, although the latter are more easily +obtained with predefined macros (see \ref{cautionary}). + +%avrb +For example, + +\begin{tabular}{ll} +\raisebox{-1.5ex}[0ex][0ex]{\musicintextnoclefn{\notes\bsk\lpar{g}\rpar{g}\hu{g}\sk% +\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}\loffset{.4}{\sh g}\hu{g}\en}} +&\begin{tabular}{ll} +&\verb+\notes\lpar{g}\rpar{g}\hu{g}\sk%+\\ +is coded as&\verb+\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}%+\\ +&\verb+\loffset{.4}{\sh g}\hu{g}\en}+ +\end{tabular} +\end{tabular} +%avre + + \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| posts a +square bracket to the left of a chord, vertically spanning $n$ +\verb|internote|s. + \item \keyindex{doublethumb}\verb|{|$p$\verb|}| indicates a bracket as +above spanning 2\verb|\internote|s. \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and \keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| -draw a bracket over the music starting at the current position at pitch $p$, -width $n\times$\verb|noteskip| and slope $s$ (1 $\sim$ 1.125[degree]). -causing no space. +draw a sloped bracket starting at the current position at pitch $p$, +with horizontal extent $n$ \verb|noteskip|s and slope $s$ in multiples of +1-1/8 degree. \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and -\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|, which are like -\verb|\ovbkt| but with free definable \keyindex{txt} centers in the middle. +\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| are like +\verb|\ovbkt| but with freely definable \keyindex{txt} centered inside. - \item \keyindex{varline} $h$ $\ell$ $s$ builds an oblique line of height $h$ (a -dimension), of length $\ell$ and of slope $s$. Used to build oblique brackets. - -This feature is particularly useful for people who want to typeset -\itxem{baroque} music using the ancient \itxem{ornament codings} rather than -the modern equivalents. As a compromise, some macros kindly provided by Ian -{\sc Collier} in Great Britain have slightly been updated and provided. - \end{itemize} + \item \keyindex{varline}\itbrace{h}\itbrace{\ell}\itbrace{s}\ builds an +oblique line starting at the current horizontal position. It must be used +inside a zero box, such as for example as the second argument of +\verb|\zcharnote|. $h$ is the height of the starting point, $\ell$ is the +length, and $s$ is the slope. It is used in the definitions of some of +the foregoing macros, and could be used, for example, to construct various +obscure baroque ornaments made up of diagonal lines. +\end{itemize} -For example: +For example, \begin{music} \setstaffs1{2} @@ -4432,7 +5710,7 @@ For example: \NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en \endextract \end{music} -\noindent +\noindent is coded as \begin{quote}\begin{verbatim} \begin{music} \setstaffs1{2} @@ -4443,38 +5721,33 @@ For example: \NOtes\lpar c\rpar c\qu c\en \NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en \NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en -\endextract +\zendextract \end{music} \end{verbatim}\end{quote} -\begin{remark} if you used \verb|\input musicext| before, pay attention to the -commands \keyindex{ovbkt} and \keyindex{unbkt}, their parameter meaning has -changed from \musictex{} to \musixtex. - \end{remark} - - \subsection{New line synchronization of coding} - The procedure named \keyindex{everystaff} is executed each time a new system -is typed. It is normally void, but it can be defined (simply by \verb|\def|% -\keyindex{everystaff}\verb|{...}|) to tell \musixtex\ to post anything -reasonable at the beginning of each system. It was used in the example -{NWIDOR} to post octaviation dashed lines at the end of the piece. - -Caution should be exercised to call \verb|\everystaff| before -\verb|\startpiece| if its effect is needed for the first system of the score. - - The procedure named \keyindex{atnextline}, normally void, is executed at the -next computed or forced line break (using -\keyindex{alaligne} or \keyindex{alapage}). More precisely, it is executed -after the break and before the next system is typed. Thus it is fit for -posting new definitions of layout parameters, when no system is -pending\footnote{Its logic is similar to plain \TeX's \keyindex{vadjust} -command.}. - - \index{tenor violin clef}In some scores, tenor parts are not coded using the -\ital{bass} clef, but using rather the \ital{violin clef} subscripted by a -{\tt8}. This is not directly supported by the \keyindex{setclef} -command, but it can be handled using \keyindex{everystaff} and -\keyindex{zcharnote}. -As an example the following score + + \subsection{Forcing activity at the beginning of systems} +A macro named \keyindex{everystaff} is executed each time a new system +begins. It is normally void, but it can be defined (simply by \verb|\def|% +\keyindex{everystaff}\verb|{...}|) to cause \musixtex\ to post anything +reasonable at the beginning of each system. For it to affect the first system +in a score, it must be defined \ital{before} +\verb|\startpiece|. + +If a macro named \keyindex{atnextline} is defined at any point in a score, +it will be executed just once, viz., at the next computed or forced system +break. More +precisely, it is executed after the break and before the next system begins. +Thus it is suitable for redefining layout parameters. + + \index{octave treble clef}In some scores, tenor parts are not coded using the +\ital{bass} clef, but using rather the \ital{octave treble clef}, which is +subscripted by a numeral {\tt8}. +This clef is supported by the clef substitution command +\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}, as already +explained in section \ref{treblelowoct}. However, if for some reason you +aren't happy with the height of the ``8'', it can be posted on selected +staves at the beginning of every system using \keyindex{everystaff} and +\keyindex{zcharnote} as follows: \begin{music} \instrumentnumber{4} @@ -4484,9 +5757,9 @@ As an example the following score &\zchar{-6}{\eightrm\kern-2\Interligne8}\en}% \startextract \NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en -\endextract +\zendextract \end{music} -\noindent was coded as: +\noindent The coding is \begin{quote}\begin{verbatim} \instrumentnumber{4} \setclef1\bass @@ -4498,27 +5771,23 @@ As an example the following score \endextract \end{verbatim}\end{quote} -\noindent{\sl{\bfseries Caution:} the \verb|\everystaff| must be called before -\verb|startpiece| in order to have that subscript at the first staff.} -\section{Small and tiny notes} -Before entering details, let us point out that we are presently concerned with -typing notes of smaller size than the normal one, without attempting to change -the interval between the five lines building a single staff. Changing staff -line interval will be treated in a further section. - \subsection{Cadenzas and explicit ornaments} - Ornaments and \itxem{cadenzas} usually need to be written using smaller -notes\footnote{This is independent of the staff size.}. This can be done -everywhere by stating \keyindex{smallnotesize} or \keyindex{tinynotesize}. -Normal note size is restored by \keyindex{normalnotesize}.\index{ornaments} - - These macros only have a local scope. Thus, if these macros are invoked -outside the \verb|\notes...\enotes| pair, the change is valid for -the rest of the piece unless explicitely modified but, if they are invoked -inside, their effect is local to the current staff of the current -\verb|\notes...\enotes| pair. -As an example, the following excerpt (beginning +\section{Smaller notes in normal-sized staves} +Here we describe how to reduce the size of note symbols without changing the +size of the staff itself. Changing overall staff size will be treated in +section \ref{staffspacing}. + +\subsection{Arbitrary sequences of notes} +Written-out ornaments and \itxem{cadenzas} are usually typeset with +smaller notes and spacing than normal. The smaller \ital{size} can be +initiated anywhere inside a \verb|\notes| group by stating +\keyindex{smallnotesize} or \keyindex{tinynotesize}. Normal note size is then +restored by \keyindex{normalnotesize} or simply by terminating the +\verb|notes| group and starting another. Smaller \ital{spacing} must also be +explicitly indicated, usually by redefining \verb|\noteskip| in some way. + +As an example, this excerpt, from the beginning of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc -Haydn, J.}} +Haydn, J.}}, \begin{music} \instrumentnumber{2} @@ -4547,7 +5816,7 @@ Haydn, J.}} \notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en \endextract \end{music} -\noindent can be coded as: +\noindent can be coded as \begin{quote}\begin{verbatim} \instrumentnumber{2} \generalmeter{\meterfrac44} @@ -4573,15 +5842,18 @@ Haydn, J.}} \notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en \endextract \end{verbatim}\end{quote} - \subsection{Grace notes} - Grace notes are a special case of small and tiny notes: the difference is -that they are always coded as eighth notes with an oblique bar over the flag. -To perform this, special variants of \keyindex{cu} and \keyindex{cl} have been -provided, namely \keyindex{grcu} and \keyindex{grcl}, with the only difference -that the flag has been slashed. Using this together with the note reduction -macro, grace notes (optionally chord grace notes) can be easily coded: -\begin{music} + \subsection{Grace notes} +Grace notes are a special case of small and tiny notes, namely single-stemmed +eighth notes with a diagonal slash through the flag. To enable this, there +are the macros \keyindex{grcu}\pitchp\ and \keyindex{grcl}\pitchp, which by +themselves would +produce normal-sized eighth notes with a slash. They should be used along +with the note size reduction macros and spacing reduction macros just +discussed. In addition, chordal grace notes can be built as in the following +example: + +\begin{music}\nostartrule \startextract \NOTes\hu h\enotes \notes\multnoteskip\smallvalue\smallnotesize\grcu j\enotes @@ -4589,9 +5861,9 @@ macro, grace notes (optionally chord grace notes) can be easily coded: \bar \notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes \NOTEs\wh i\enotes -\endextract +\zendextract \end{music} -The previous example was coded as: +\noindent which was coded as \begin{quote}\begin{verbatim} \startextract \NOTes\hu h\enotes @@ -4600,76 +5872,137 @@ The previous example was coded as: \bar \notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes \NOTEs\wh i\enotes +\zendextract +\end{verbatim}\end{quote} + + \subsection[Ossia]{Ossia\texorpdfstring{\protect\footnote{(Italian O sia) Or else}}{}} +This clever example had been provided by Olivier Vogel:\label{ossia} + +%\begin{center} +%\includegraphics[scale=1]{./mxdexamples/ossiavogel.eps} +%\end{center} + +\begin{music} +%\startextract +%\hsize70mm +\let\extractline\hbox +\hbox to \hsize{\hss +\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% +\off{-#1\elemskip}}% +\newbox\ornamentbox +\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% +\makeatletter +\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty\global\clef@skip0pt% +\makeatother +%\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% +%\startpiece +%\addspace{2pt}% +\startextract +\addspace{-2pt}% +\let\notest\notes\def\notes{\vnotes2.1\elemskip}% +\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% +\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% +\notes\ibl2{'c}1\usf e\qb2c\en% +\notes\tbl2\qb2{'d}\en +\let\notes\notest% +%\zstoppiece% +\endextract +}\hss} +%\setbox\ornamentbox=\hbox to 0pt{Hello} +% +% +%\normalmusicsize\nopagenumbers +%\def\nbinstruments{1}% +\setstaffs12\setclef1{60}% +\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% +%\parindent 0pt% +%\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax +%\startpiece\addspace\afterruleskip% +\startextract\addspace\afterruleskip% +\NOtes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% +\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% +\NOtes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% +\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% +\cl d\en% +%\endpiece \endextract +\hss} +%\vfill\eject\endmuflex +\end{music} + + +The code is: +\begin{quote}\begin{verbatim} +\hsize70mm% +\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% +\off{-#1\elemskip}}% +\newbox\ornamentbox +\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% +\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% +\startpiece\addspace{2pt}% +\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% +\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% +\notes\ibl2{'c}1\usf e\qb2c\en% +\notes\tbl2\qb2{'d}\en% +\zstoppiece% +}\hss} +\normalmusicsize\nopagenumbers +\def\nbinstruments{1}% +\setstaffs12\setclef1{60}% +\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% +\parindent 0pt% +\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax +\startpiece\addspace\afterruleskip% +\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% +\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% +\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% +\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% +\cl d\en% \end{verbatim}\end{quote} - \subsection{Other note shapes}\label{othernotes} The classical note heads -given above --- namely \raise.5ex\hbox{\musixchar7}~~, \raise.5ex -\hbox{\musixchar8}~~ and \raise.5ex\hbox{\musixchar9}~~~ ---- can be replaced with less classical note heads, for example to code -special \itxem{violin harmonic notes} or \itxem{percussion music}. See an -example in \ref{abnormalscores}. - - At present time, alternate available note heads can be found in the -extension library, see \ref{diam}, \ref{perc}, \ref{gregnotes} and \ref{litu}. - -\section{Staff size} \index{staff size} - \subsection{Moving from 20pt to 16pt, 24pt or 29pt staff sizes and -conversely} - You also want to write some parts of your score in 20pt -staff size and others in 16pt or 24pt or 28.8pt staff size, namely -for distinct parts of pieces. Changing the \ixem{general staff size} -is done by saying: - -\keyindex{smallmusicsize}, or \keyindex{normalmusicsize}, or -\keyindex{largemusicsize}, or \keyindex{Largemusicsize}. - -\noindent respectively. - \subsection{Changing staff size for certain instruments}\label{staffspacing} -Regardless of the general choice of \verb|\smallmusicsize| or -\verb|\normalmusicsize|, it is now possible to assign certain instruments -- -not separate staffs belonging to a same instrument -- to have narrower or larger -\itxem{staff size}, i.e. narrower or larger \itxem{staff spacing}. This is done using - -\keyindex{setsize} $n$\verb|{|\ital{size}\verb|}| - -\noindent where $n$ is the number of the instrument considered. Five different -\ital{sizes} are available as standards: \keyindex{normalvalue}, which is -the default, \keyindex{smallvalue} (0.80 times narrower), -\keyindex{tinyvalue} (0.64 times narrower), \keyindex{largevalue} (1.2 times -larger) and \keyindex{Largevalue} (1.44 -times larger). But, if you know perfectly what -you are doing, you can also say: - -\verb|\setsize 3{2.0}| - -\noindent which will provide the third instrument with staffs of spacing -twice the standard value. In that case, \musixtex\ will use the nearest -symbol size available, but this is likely to be rather ugly. - - An alternate -and equivalent coding --- a remnant from \musictex\ --- could be: - -\verb|\def\staffspacingiii{2.0}|\zkeyindex{staffspacing} - - - -\verb|\setsize| must be invoked before the starting command -\verb|\startpiece|, since this statement does not only change the vertical -spacing between staff lines, but it also changes the size of the key, -accidental and note symbols to fit the modified staff line spacing. - - However, it must be emphasized that non-standard staff spacings use the -nearest available font size. This make no serious problem for notes and -accidentals which may be slightly too small or too big, but clefs and rests -may appear to be shifted upwards or downwards. This trouble is progressively -removed, but it requires changing the {\tt musix*} fonts, with some possible -characters forgotten... or the fact that user uses a font older than T.60 -version. + +% +% Why is this here?? DAS 4/30/06 +% +% \subsection{Other note shapes}\label{othernotes} +% The classical note heads +%given above --- namely \raise.5ex\hbox{\musixchar7}~~, \raise.5ex +%\hbox{\musixchar8}~~ and \raise.5ex\hbox{\musixchar9}~~~ +%--- can be replaced with less classical note heads, for example to code +%special \itxem{violin harmonic notes} or \itxem{percussion music}. See an +%example in \ref{abnormalscores}. +% +% At present time, alternate available note heads can be found in the +%extension library, see \ref{diam}, \ref{perc}, \ref{gregnotes} and \ref{litu}. + +\section{Staff size} \index{staff size}\label{staffspacing} +In contrast with the prior section, here we describe how to change the sizes +of everything...staff, notes, and all other symbols. In +section~\ref{whatspecify} we saw how to set the size for all instruments at +the start of a score. Any one of the same macros---\verb|\normalmusicsize|, +\verb|\smallmusicsize|, \verb|\largemusicsize|, or +\verb|\Largemusicsize|---can be used to change the size of all instruments +midway through a score, but in this case it must come between +\verb|\stoppiece| and \verb|\startpiece|. + +Once the overall staff size is set, you can alter the size of any desired +instrument with the macro \keyindex{setsize}\itbrace{n}\itbrace{s}, where +$n$ is the instrument number and $s$ is a factor by which the size is to be +changed from the prevailing overall size. There are five predefined macros +that should be used for the size factor $s$. Their names and respective values +are \keyindex{normalvalue}~(1.0), \keyindex{smallvalue}~(0.80), +\keyindex{tinyvalue}~(0.64), \keyindex{largevalue}~(1.2), and +\keyindex{Largevalue}~(1.44). \musixtex\ should not crash if you use an +explicit number different from any of these, but the result may be +less than satisfactory. + +Once again, if used at the beginning of a piece, the \verb|\setsize| macro +must precede \verb|\startpiece| (not \verb|\contpiece|), and if used after +the beginning, must be preceded by \verb|\stoppiece|. As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of -Johann-Sebastian Bach's \ital{Well Tempered Clavier} (transcription for -organ, violin and voice, thanks to Markus {\sc Veittes}):\label{avemaria} +J. S. Bach's \ital{Well Tempered Clavier}, as transcribed for +organ, violin and voice by Markus {\sc Veittes}:\label{avemaria} \begin{music} \def\oct{\advance\transpose by 7} @@ -4742,330 +6075,196 @@ organ, violin and voice, thanks to Markus {\sc Veittes}):\label{avemaria} \notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\enotes \endpiece \end{verbatim}\end{quote} -\section{Layout parameters} + +\section{Layout parameters}\label{LayoutParameters} Most layout parameters are set by \musixtex\ to reasonable default values. -However, sophisticated scores\footnote{To our knowledge, the most complicated -scores are those written for the piano, during the romantic and post-romantic -periods.} may need more place below the lowest staff, between staves, etc. -\def\nochange{(\ital{NOT to be changed})} We give below a short list of the -most significant parameters. +However, some projects will require altering one or more of them. In this +section we discuss the most important parameters and how to change them. + \subsection{List of layout parameters} - \begin{remark} the mention ``\nochange'' does not mean that this parameter -cannot be changed, but that it should not be modified directly, e.g.\ by -saying something like \verb|\Interligne=14pt|. In other words, changing these -parameters must be performed using more comprehensive macros which not only -update them but also perform some other compulsory related changes. - \end{remark} - -\begin{description} - \item[\keyindex{Interligne} :]vertical distance between the base of staff -lines of the current instrument, taking no account of a possible specification -of \keyindex{setsize$n$} \nochange. - \item[\keyindex{internote} :]the vertical spacing of contiguous notes of -the current instrument, taking account of a possible specification of -\keyindex{setsize$n$} \nochange. - \item[\keyindex{Internote} :]the vertical spacing of contiguous notes of -the instrument(s) whose \keyindex{setsize$n$} has the \ital{default -value} of one (\keyindex{normalvalue}), -i.e.\ the half of \verb|\Interligne| \nochange - - \item[\keyindex{staffbotmarg} :]margin below the first staff of the lowest -instrument. Changes are recognized at the next system and default is -\verb|3\Interligne|. - \item[\keyindex{stafftopmarg} :]margin above the upper staff of the upper -instrument. Changes are recognized at the next system and default is -\verb|3\Interligne|. + In the following, the indication ``\nochange'' does not mean that this +parameter cannot be changed at all, but that it should not be modified +directly, e.g.\ by saying something like \verb|\Interligne=14pt|. In other +words, changes in these parameters must be accomplished only by more +comprehensive macros which not only revise them but at the same time perform +other necessary related changes. Even though you cannot \ital{change} these, +you may \ital{refer} to them in your coding if that proves useful. + +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{Interligne} :]vertical distance between the bottoms of +consecutive staff lines of the current instrument, taking no account of a +possible alteration by \keyindex{setsize} \nochange. + \item[\keyindex{internote} :]vertical spacing between notes one scale +step apart in the current instrument, taking account of a possible alteration +by \keyindex{setsize} \nochange. + \item[\keyindex{Internote} :]vertical spacing between notes one scale +step apart in any instrument whose \keyindex{setsize} has the default +value \keyindex{normalvalue} (1.0), equal to \verb|0.5\Interligne| \nochange +\item[\keyindex{staffbotmarg} :]margin below the first (lowest) staff of the +first (lowest) instrument. Changes are recognized at the next system. +Default is \verb|3\Interligne|. + \item[\keyindex{stafftopmarg} :]margin above the last (uppermost) staff of +last (uppermost) instrument. Changes are recognized at the next system. +Default is \verb|3\Interligne|. \item[\keyindex{interbeam} :]vertical distance between beams. \nochange. - \item[\keyindex{interportee} :]the distance between the bottom of one staff and -the bottom of the next one. It is set to -\verb|2|\keyindex{interstaff}\verb|\internote| at the next system. -Therefore, trying to change \verb|\interportee| will have no effect. - %\check - \item[\keyindex{interinstrument} :]the additional vertical distance between -two different instruments. This means that the distance between the upper -staff of the previous instrument and the lowest line of the current -instrument is equal to \keyindex{interportee+\Bslash interinstrument}. This -value is normally zero, but it helps putting additional space between -distinct instruments for the sake of clarity. This is a general dimension -register which holds for each of the vertical spaces between instruments, -except above the upper one, in which case this interval is irrelevant. -As usual in \TeX, it can be set using a command such as - - \verb|\interinstrument=10pt| - - \noindent or - - \verb|\interinstrument=6\internote| - - - However, this general parameter can be overridden for the space above a -specific instrument. For example (see the example {\tt angescao.tex}) one can -state: - -\keyindex{setinterinstrument} $n$\verb|{1\Interligne}| - -\noindent to force an additional spacing of one \verb|\Interligne| -above instrument $n$, whatever the value of \keyindex{interinstrument}. - This feature can usefully be used to have more space before instruments -representing \itxem{voices}, in order to have enough place to put -\itxem{lyrics} without assigning these lyrics a zero staff specific instrument -(useful to avoid having too many declared instruments in a choir score). - - The \verb|\setinterinstrument| is identical to the ancient --- and still -working --- \musictex\ command: - - \verb|\def|\keyindex{interinstrumentiii}\verb|{5\interligne}| - - \noindent to add 5\verb|\interligne| above the 3rd instrument. - %\check - +\item[\keyindex{interstaff} :]a very important macro with a single numerical +argument representing the factor that multiplies \verb|2\internote| to give the +distance between the bottom of one staff and the bottom of the next one. In +fact the macro redefines the parameter \verb|\interfacteur|. +\item[\keyindex{interportee} :]distance between the bottom of one staff and +the bottom of the next one. It is always reset to +\verb|2|\keyindex{interfacteur}\verb|\internote| at the next system. +Therefore, trying to change \verb|\interportee| will have no effect. Change +\verb|\interstaff| instead. Further, note that \verb|\interstaff| applies to all the +instruments, but each distinct instrument may have a different +\verb|\internote| (see \ref{staffspacing}). - \item[\keyindex{systemheight} :]the distance from the bottom of the -lowest staff to the top of the highest staff of the upper instrument. This is -the height of the vertical bars (single, double, repeats, etc.) \nochange. +\item[\keyindex{interinstrument} :]additional vertical distance between +two consecutive instruments. This means that the distance between the lowest +line of the previous instrument and the lowest line of the top staff of the current +instrument is \keyindex{interportee+\Bslash interinstrument}. The +default value of \verb|\interinstrument| is zero, but sometimes you +may want additional space between distinct instruments. This is a general +dimension register. As usual in \TeX, it can be set using a command such as +\verb|\interinstrument=10pt| or \verb|\interinstrument=6\internote|. Its +value can be overridden for the space above any particular instrument +with the macro \keyindex{setinterinstrument}\itbrace{n}\itbrace{s}, where +$n$ is the instrument and $s$ is the replacement value of the space to +be added. The \verb|\setinterinstrument| macro may be useful in some vocal +scores to provide vertical space for lyrics. Note that +after you have used \keyindex{setinterinstrument}, +you cannot reset the distances for that instrument with +\keyindex{interinstrument}; you must subsequently use +\keyindex{setinterinstrument} for that purpose. + + \item[\keyindex{systemheight} :]distance from the bottom of the +lowest staff to the top of the highest one. This is the length of any +vertical lines such as repeats that span the full height of a system. +\nochange. \end{description} + In addition, when handling notes of a given staff of a given instrument, the following dimensions are available (note these are not true registers, but \ital{equivalenced symbols} through a \verb|\def|): -\begin{itemize} - \item\keyindex{altplancher} : the altitude of the lowest line of the lowest + +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{altplancher} :]altitude of the lowest line of the lowest instrument \nochange. - \item\keyindex{altitude} : the altitude of the lowest line of the lowest + \item[\keyindex{altitude} :]altitude of the lowest line of the lowest staff of the current instrument \nochange. - \item\keyindex{altportee} : the altitude of the lowest line of the current + \item[\keyindex{altportee} :]altitude of the lowest line of the current staff \nochange. %??? Next perhaps will change to steps of \verb|\internote|. - \item\keyindex{stemfactor} : a parameter defining the size of half, quarter -and hooked eighth notes stems. Normally a stem has the length of one octave, -i.e. 3.5\keyindex{Interligne}. However, this is not valid for small size -notes and, therefore, the stem size is related to the \keyindex{interbeam} -dimensions which, in turn, is \ital{normally} equal to 0.75 -\keyindex{Interligne}. Thus the normal value of \keyindex{stemfactor} is -4.66, but it can be shortened for any purpose by saying, for example: - - \keyindex{stemlength}\verb|{3.5}| -\end{itemize} - \subsection{Changing layout parameters} - Most of these values can be changed, but only between the end of the -previous system and the beginning of the next one. This can be inserted -between a \keyindex{stoppiece} (or a \keyindex{endpiece}) -and a \keyindex{contpiece} (or a \keyindex{startpiece}), but it is -wiser to say, for example: - -\verb|\def\atnextline{\stafftopmarg=5\Interligne}| - - The user may prefer to change \keyindex{staffbotmarg} or -to feed \keyindex{interstaff} with a -given integer number, but this can be done only between a -\keyindex{stoppiece} (or a \keyindex{endpiece}) and a -\keyindex{contpiece} (or a \keyindex{startpiece}), but it is wiser to use -\keyindex{atnextline} as previously. - - It is also wise to use \keyindex{atnextline} to change the -number of instruments, the staff spacings, the number of staffs at the next -line... provided that the coding of the notes \ital{resists} an unexpected -line change executing the \keyindex{atnextline}. - \subsection{Changing the staff distance within systems} The vertical -distance of instruments with more than one staff can be changed, either -outside \verb|\startpiece|...\verb|\endpiece| or using \keyindex{atnextline}, -by saying: - -\keyindex{interstaff}\verb|{|$n$\verb|}| - - Then the spacing between the staffs of the instruments will be -$n$\verb|\internote|. Note that \verb|\interstaff| applies to all the -instruments, but each distinct instrument may have a different -\verb|\internote| (see \ref{staffspacing}). - - Note that this command is equivalent to an existing remnant of \musictex, -namely: - - \verb|\def|\keyindex{interfacteur}\verb|{|$n$\verb|}| - - - \medskip The distance between two different -instruments can be increased by saying - -\keyindex{interinstrument}\verb|=|\ital{any \TeX-dimension} - -\noindent for all additional inter-instrument distances, or - -\keyindex{setinterinstrument} $n$\verb|{|\ital{any \TeX-dimension}\verb|}| - -\noindent for single distances. - \subsection{Changing the number of lines in staffs}\index{staff line number} -\label{stafflinenumber} -Unless explicitely specified, staffs consist of five lines, in accordance to -the normal way of coding music scores. However, exceptions might be -preferred when using \musixtex~: - -\begin{itemize} - \item \itxem{gregorian music} is often written using staff of -four lines instead of five\footnote{German: \ital{Quadratnotation}.}, - \item \itxem{percussion music} (e.g.~drums, triangle) needs one, two, three - or five lines, since the pitch cannot change but the number of percussion - instruments. - \item \itxem{guitar tablature} needs six lines. Although \ital{real} guitar - players hate guitar tablature, - for beginners they are a big help. Not ready yet. The lines - are, but not the additional macros. - - \item Early baroque music sometimes uses staffs with 6, 7, or 8 lines. - - \end{itemize} + \item[\keyindex{stemfactor} :]parameter defining the length of stems on +half, quarter, and beamed eighth notes, in units of \verb|\interbeam|. +Normally a stem has the length of one octave, +i.e. 3.5\keyindex{Interligne}. However, this is not correct for small or tiny +note sizes. Therefore, stem length is defined as a multiple of the +dimension \keyindex{interbeam}, which is chosen because it is automatically +redefined as a +different multiple of \keyindex{Interligne} whenever note size is changed. For +example, with \verb|\normalmusicsize| when \verb|\setsize| is +\verb|\normalvalue|, \verb|\interbeam| is 0.75 \keyindex{Interligne}. This +legislates a default value for \keyindex{stemfactor} of 4.66 (=3.5/0.75). +To change stem length, it is easiest to use e.g. +\keyindex{stemlength}\verb|{3.5}|, which simply redefines \verb|\stemfactor|. +Subsequently, \verb|\stemfactor| will not automatically be reset to the default, +but keep in mind that if it is changed +inside a notes group, the change will only be effective within that notes group. +\end{description} - Therefore \musixtex\ allows for choosing the number of lines of -the staffs of an instrument. This is done by -\keyindex{setlines}~$n$\verb|{|$N$\verb|}| --- where $n$ is the number of the -wanted instrument as usual --- and $N$ the number of lines of the specific -staff. Allowed numbers are up to 9 lines. For example:\label{gregorian} - -\keyindex{setlines}\verb|2{4}| + \subsection{A convenient macro for changing layout parameters in mid-score} +Of the parameters just described that can be changed, many should only be +changed between the end of one system and the beginning of the next. The +command sequence \verb|\def\atnextline{|\ital{any control sequence}\verb|}| +may be useful for this purpose. It will cause \ital{any control sequence} to +be inserted right before the next new line is begun, provided the line break +is not initiated by a \verb|\startpiece|. Thus this will work with +automatically generated line breaks, with those forced by \verb|\alaligne|, and +with those forced by explicit use of \verb|\endpiece| or \verb|\stoppiece| +followed by \verb|\contpiece|. (Note, however, that in the latter case it +would be just as convenient to enter the parameter changes explicitly as well.) +The control sequence will only be executed once, +after which \verb|\atnextline| is redefined as \verb|\empty|. + + \subsection{Changing the number of lines per staff}\label{stafflinenumber} +Naturally, the default number of lines per staff is five. But you may want a +different number in some or all staves, for example for gregorian music, +percussion music, guitar tablature, or early baroque keyboard music. To do so, +use the command \keyindex{setlines}\itbrace{n}\itbrace{m}~where $n$ is the +instrument number and $m$ is the number of lines. -\noindent will make the instrument number 2 to have staffs of four -lines, that is, fit for gregorian music. \subsection{Resetting normal layout parameters} - Except the general size which -has to be explicitely changed if needed using \keyindex{smallmusicsize}, +The general size can only be changed with one of the commands +\keyindex{smallmusicsize}, \keyindex{normalmusicsize}, \keyindex{largemusicsize}, or -\keyindex{Largemusicsize}, all layout registers are reset to \ixem{default -values} by \keyindex{resetlayout}, which are explicitly: - - \begin{itemize} - \item \keyindex{staffbotmarg} and \keyindex{stafftopmarg} are set to -\verb|3\Interligne|. - \item \keyindex{interstaff} is set to \verb|9|. - \item The number of lines of all instruments are reset to 5. - \item All clef symbols are standard clef symbols. -\end{itemize} -\noindent -Besides, saying \keyindex{begin\LBR music\RBR} invokes \verb|\resetlayout|. - \subsection{Typesetting one-line excerpts rather than large scores} -Very often, what is wanted is not to typeset a large comprehensive score of -several lines and pages, but an excerpt of one or two bars, preferably -centered such as the various examples of this manual. This can be done simply -by replacing \keyindex{startpiece} with -\keyindex{startextract} and \verb|\endpiece| or \verb|\stoppiece| with -\keyindex{endextract}. It is sometimes useful to get more than one excerpt in -one line, this can be done with redefining of \keyindex{extractline}. - -With saying: - -\keyindex{let\Bslash extractline\Bslash hbox} - -\noindent you can put more than one example in one line. Helpful for getting -\itxem{musical footnotes}, which explain the playing of special trills or -give alternative ways of playing, is the redefining to: - -\keyindex{let\Bslash extractline\Bslash leftline} - -Besides, all changes inbetween -\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, -means not global. +\keyindex{Largemusicsize}. Beyond that, the command +\keyindex{resetlayout} will reset the following key layout parameters +to their default values: \keyindex{staffbotmarg} (3\verb|\Interligne|), +\keyindex{stafftopmarg} (3\verb|\Interligne|), \keyindex{interstaff} (9), + number of lines per staff for all instruments (5); and will reset all clef +symbols to standard clef symbols. + +% The whole subsection on excerpts should go with "MusiXTeX and LaTeX", currently 2.25 +% \subsection{Typesetting one-line excerpts rather than large scores}\label{excerpts} + +% All the old lyrics stuff should be deleted, with a reference to some older version of +% musixdoc. + +\section{Lyrics}\index{lyrics}\label{lyrics} +\musixtex{} itself doesn't manage lyrics very well. You should use +\verb+musixlyr+ instead, a MusiXTeX extension package for lyrics handling by Rainer Dunker. +The \TeX~source and +\href{http://icking-music-archive.org/software/musixtex/add-ons/mxlyrdoc.pdf} +{\underline{documentation}}~are included in the \musixtex~distribution. + +But first we recall briefly on the older methods, who are still usefull when +only a small number of words are involved. + +\subsection{Native lyrics method: placing single words} +\subsubsection{Native \musixtex\ commands for lyrics} + \begin{enumerate}\setlength{\itemsep}{0ex} + \item An obvious solution consists in using the commandc +\keyindex{zcharnote} (expanded to the right), +\keyindex{lcharnote} (expanded to the left), +\keyindex{ccharnote} (centered), to post the text at any position (computed in +\verb|\internote|s) with respect to the lower line of the current staff. +The pitch should be usually negative to have the text below the staff. - If you want to terminate it without a bar, you code -\keyindex{zendextract} which acts like \verb|\zstoppiece|. - \subsection{*Lyrics}\index{lyrics}\label{lyrics} - While they pose nearly no problem with \musictex\ which works using the glue -facility of \TeX, lyrics raise several serious difficulties with \musixtex. -The reason for that is that lyrics usually consist of \ital{text} which in -turn consists of characters whose width is definitely not stretchable nor -shrinkable proportionally to \verb|\noteskip| or \verb|\elemskip|. +Example:\quad +\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\zcharnote{N}{Word}\wh g\sk\en}} +\quad is coded by \quad +\verb|\zcharnote{N}{Word}\wh g|~. - Thus the width of a sequence of notes like +\item The vertical position can also be given with a number in the commands +\keyindex{zchar} (expanded to the right), +\keyindex{lchar} (expanded to the left), +\keyindex{cchar} (centered). The number is internally multiplied by \verb|\internote|~. - \begin{music} - \startextract - \NOTEs\zcharnote{-5}{Words }\qu h\en - \endextract - \end{music} +Example:\quad +\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\cchar{-4}{Word}\wh g\sk\en}} +\quad is coded by \quad +\verb|\cchar{-5}{Word}\wh g|~. - \noindent may be either the width of ``{\tt Words }'' with the current font, -or it may be \verb|1\elemskip|, whatever the largest. In the first case, the -width is fixed (see \keyindex{hardspace}), in the second its width is not the -same at \musixtex's first and second passes. But the unfortunate situation is that -\musixtex\ \ital{must} know whether this feature has a \ital{hard} (not scalable) -or a \ital{scalable} width \ital{at the first pass}, while the inequality -is solved only at the second. - - This means that, in addition to the three pass system, the user must run -trial and errors to find out whether some lyrics are wider than the final note -spacing, or smaller. In that case a wrong decision might lead to questionable -``\verb|Underfull hbox|''-es filled with ugly glue, or it may result in -awful ``\verb|Overfull hbox|'' with its heavy bar punishment and possible -over writings. - - However, before discussing this problem, we first describe the various ways of -inserting lyrics under --- or above --- a staff. - - \subsubsection{Getting enough vertical space for lyrics} Since songs are -usually equivalent to a one-staff instrument (possibly with several voices) -the recommended solution consists in adjusting the distance between -instruments using either \keyindex{interinstrument}\verb|=|\ital{any -\TeX-dimension} to give more place below all instruments or using -\keyindex{setinterinstrument} to make more space above. Note that {\Bslash -setinterinstrument} defines spacing above and not below an instrument. Since -lyrics are usually set below the staff, the first argument of a -\verb|\setinterinstrument| should be the song instrument number \ital{minus -one}. - - In the case of a single staff tune, or if the song instrument is the lowest -one, then additional place can be provided using \keyindex{staffbotmarg}. - - \subsubsection{Posting lyrics} - Lyrics can be introduced in several ways. - \begin{enumerate} - \item One archaic solution could be to define a special instrument for the lyrics -text, without effective staff, namely using the command -\keyindex{setstaffs}~$n$\verb|{|$p$\verb|}| described in \ref{whatspecify}. -The inconvenience of this solution is that it increases the number of -instruments, which is limited to 6 in standard \musixtex, although it can be -increased to 9 using {\tt musixadd.tex} and 12 with {\tt musixmad.tex}. - - \medskip - Therefore, better solutions consist is posting the lyrics in the same -instrument as the tune, provided that inter-instrument spacing has been -adapted. - - \item Another simple obvious solution consists in using the command -\keyindex{zcharnote} to post the text at any position (computed in -\verb|\internote|s) with respect to the lower line of the current staff. -The pitch should be usually negative to have the text below the staff. It -could also be specified like a note pitch, for example ``{\tt a}'' if the song -is in G-clef. The drawback is that the pitch has to be repeated for each text -of each note, which is tideous unless a special macro has been defined. - - \item Rather than \verb|\zcharnote| and other \verb|\?charnote| commands, one -should rather use \keyindex{zchar}, \keyindex{cchar} (centered) or -\keyindex{lchar} (expanded to left) which only allow absolute numbers -(internally multiplied by {\Bslash internote}). These command have the same -drawback as above, namely the vertical position has to be repeated each time. - - \item Of easier use are the commands \keyindex{zsong} (right of the note), +\item Of easier use are the commands \keyindex{zsong} (right of the note), \keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics at the lower staff line \ital{minus} the previous \keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These commands only have one argument, namely the lyrics text: - - -\begin{center} +%\begin{center} \keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad \keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad \keyindex{csong}\verb|{|\ital{text}\verb|}| -\end{center} - +%\end{center} Depending on the values of the inter-instrument spacings and margins, the resulting vertical position might be inappropriate. Then it can be changed for any specific $n$-th instrument until further change using - \begin{quote} \keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}| \end{quote} - - \medskip As an example, the following French song - +As an example, the following French song\\ \begin{music} \generalsignature{1} \startextract @@ -5088,919 +6287,570 @@ any specific $n$-th instrument until further change using \end{music} \noindent was coded as: - \begin{quote}\begin{verbatim} \generalsignature{1} \startextract \geometricskipscale - \NOtes\zsong{Au }\qu g\en - \NOtes\zsong{clair }\qu g\en - \NOtes\zsong{de }\qu g\en - \NOtes\zsong{la }\qu h\en - \bar - \NOTes\zsong{lu- }\hu i\en - \NOTes\zsong{ne, }\hu h\en - \bar - \NOtes\zsong{mon }\qu g\en - \NOtes\zsong{a- }\qu i\en - \NOtes\zsong{mi }\qu h\en - \NOtes\zsong{Pier- }\qu h\en - \bar + \NOtes\zsong{Au }\qu g\zsong{clair }\qu g\en + \NOtes\zsong{de }\qu g\zsong{la }\qu h\en\bar + \NOTes\zsong{lu- }\hu i\zsong{ne, }\hu h\en\bar + \NOtes\zsong{mon }\qu g\zsong{a- }\qu i\en + \NOtes\zsong{mi }\qu h\zsong{Pier- }\qu h\en\bar \NOTes\zsong{rot, }\wh g\sk\en - \endextract + \zendextract \end{verbatim}\end{quote} +\end{enumerate} +\subsubsection{Adapting note spacing for lyrics} - You can also use the macros from \verb|musixcho.tex|, which result in the -same vertical positionning as \keyindex{zsong} and other \verb|\?song| do, but -the text of the lyrics are better justified around the related note. - - \end{enumerate} - - \subsubsection{Handling lyrics width versus scalable note spacings} - - If one uses either \verb|\zsong| or \verb|\csong| or \verb|\lsong| without -caution, one will probably get awful things such as: +The command \keyindex{hardlyrics}\verb|{longword}| provides a spacing that is equal to the length +of the text argument \verb|{longword}|. In the same time the argument \verb|{longword}| +is saved in \keyindex{thelyrics} - \begin{music} - \generalsignature{1} - \startextract - \geometricskipscale - \Notes\zsong{Au }\qu g\en - \Notes\zsong{clair }\qu g\en - \Notes\zsong{de }\qu g\en - \Notes\zsong{la }\qu h\en - \bar - \NOtes\zsong{lu- }\hu i\en - \NOtes\zsong{ne, }\hu h\en - \bar - \Notes\zsong{mon }\qu g\en - \Notes\zsong{a- }\qu i\en - \Notes\zsong{mi }\qu h\en - \Notes\zsong{Pier- }\qu h\en - \bar - \NOTes\zsong{rot, }\wh g\sk\en - \endextract - \end{music} +As an example \quad +\raisebox{0ex}[5ex][4ex]% +{\musicintextnoclefn{\staffbotmarg2\Interligne% +\hardlyrics{clair}\notes\hsong{\thelyrics}\wh g\en\notes\wh{gg}\en}} +\quad is coded by: +\begin{tabular}{l} +\verb|\hardlyrics{clair}%|\\ +\verb|\notes\hsong{\thelyrics}\wh g\en|\\ +\verb|\notes\wh{gg}\en|\\ +\end{tabular} - \noindent which is the same example as above, with all spacings divided by -1.41. Although locating ``overfull'' lyrics seems easy, it might be wiser to -force their visibility, which is done replacing \verb|\zsong| with -\keyindex{hsong} which encloses the hazardous text in a \verb|\hbox| of width -\verb|\noteskip|, whose overfilling is diagnosed as usual by Plain \TeX\ or -(especially in \LaTeX) by means of the \verb|\overfullrule=...| command: +All notes with long lyrics need such a treatment. The commands only carry out on +\verb|\notes| (not on \verb|\Notes|, \verb|\NOtes|...). +If you want to go back to the normal placing on an easy way, you simply can replace +'\verb|\hardlyrics|' by '\verb|\softlyrics|'. - \begin{music} - \generalsignature{1} - \startextract - \overfullrule 3pt% - \geometricskipscale - \Notes\hsong{Au }\qu g\en - \Notes\hsong{clair }\qu g\en - \Notes\hsong{de }\qu g\en - \Notes\hsong{la }\qu h\en - \bar - \NOtes\hsong{lu- }\hu i\en - \NOtes\hsong{ne, }\hu h\en - \bar - \Notes\hsong{mon }\qu g\en - \Notes\hsong{a- }\qu i\en - \Notes\hsong{mi }\qu h\en - \Notes\hsong{Pier- }\qu h\en - \bar - \NOTes\hsong{rot, }\wh g\sk\en - \endextract - \end{music} + A complete score is given in example {\tt glorias.tex}\label{glorias} and in +{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the +organ accompaniment. - Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed +Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is \verb|3\noteskip|. These are useful when the text is set below (or above) a collective coding of two or three notes. - Once one has diagnosed --- in the tentative final layout --- which lyrics -lead to overfull texts, several corrections may be tried: - -\begin{enumerate} - \item Increase the \keyindex{mulooseness} to have wider note spacing. This -may work, but the inconvenience is that all notes would be stretched, and not -only the faulty notes. - \item Increase specific note spacings, replacing for example \verb|\Notes| -with \verb|\NOtes| or \verb|\Notesp|. This is the easiest solution which may -require several trials and errors since an increase of a few notes in a system -may lead to a small shrinking of the others, to keep the total length -constant. - \item Decide that some notes --- only ``some'' notes, not all notes of the -score, neither all the notes of a given system --- would have a \itxem{hard -spacing} and not a scalable spacing. This is done using the command - - \begin{quote} - \keyindex{hardnotes}\ital{ any hard \TeX\ dimension }\verb|\notes|\ital{ -normal note specif. }\verb|\en| - \end{quote} - \noindent which ends the \verb|\notes...\en| with a \itxem{hard spacing} (see -\verb|\hardspace| in \ref{hardspace}, p. \pageref{hardspace}) rather than a -scalable spacing. - - A more practical variant has been provided especially for lyrics, namely - - \begin{quote} - \keyindex{hardlyrics}\ital{ any text }\verb|\notes|\ital{ -normal note specif. }\verb|\en| - \end{quote} - \noindent which computes the width of ``any text'' by putting it in a -\verb|\hbox| and reverting to \verb|\hardnotes| to perform the remainder of the -task. In order to save repetitions, the text of the lyrics which has been used -to compute the hard note spacing can be retrieved under the command name -\keyindex{thelyrics}. \verb|\hardlyrics| must be followed by \verb|\notes| -(with the lyrics text inbetween), not by \verb|\Notes| nor \verb|\NOtes|, etc. - - - Besides, since moving the lyrics text between \verb|\hardlyrics| and -\verb|\notes|\footnote{{\Bslash notes}, neither {\Bslash Notes} nor {\Bslash -NOtes} nor {\Bslash NOTes} etc.} together with replacing it with -\keyindex{thelyrics} at the initial location is a rather tedious operation -with text editors, another command has been provided, namely -\keyindex{softlyrics}: - - \verb|\softlyrics{|\ital{ any text }\verb|}| - - \noindent defines \verb|\thelyrics| to be ``\ital{ any text }'', so that -going from \verb|\hardlyrics| to the default scalable behaviour of -\verb|\noteskip| and inversely can easily be done by changing \verb|\hard| -into \verb|\soft| in the source text, with optional change of the number of -uppercase letters in \verb|\notes|. - - - - \medskip\begin{important} since \/\verb|\hardlyrics| computes -\/\verb|\noteskip|, its argument (before \/\verb|\notes|) may not refer to -\/\verb|\noteskip|... which is not already computed. - \end{important} - \end{enumerate} - - \subsubsection{A more comprehensive example of lyrics} - Here is an example taken from the French catholic liturgy (a French -translation of the traditional \ital{Gloria in excelsis Deo}). We give first -the adapted source of a part of the score: - +\subsection{Musixlyr}\label{musixlyr} +Lyrics are best handled by the \texttt{musixlyr}\index{musixlyr} package by Rainer Dunker. +The package can be used by inserting a file in your source code: \begin{quote}\begin{verbatim} -\overfullrule 3pt -\instrumentnumber{1} -\setstaffs11 -% -\generalsignature{-1}\relax % one flat -\generalmeter{\meterfrac{2}{2}} -% -\staffbotmarg=5\Interligne\stafftopmarg=1.5\Interligne -\startpiece -\setsongraise1{2\Interligne}% -\znotes\uptext{\kern -9mm\raise 9pt\hbox{\bigtype - Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes -\hardlyrics {\kern-5pt Gloire }\notes\hsong{\thelyrics }\cu c\enotes -\notes\hsong{\`a }\cu c\enotes -\barre -\NOTes\hsong{Dieu~}\hu f\enotes -\notes\hsong{au}\cu f\enotes -\hardlyrics{plus~}\notes\hsong{\thelyrics }\cu f\enotes -\hardlyrics{haut~}\notes\hsong{\thelyrics }\cu g\enotes -\notes\hsong{des}\cu g\enotes -\barre -\NOtes\hsong{cieux~}\qup h\enotes -\notes\hsong{et~}\cu h\enotes -\hardlyrics{paix~}\notes\hsong{\thelyrics }\qu i\enotes -\hardlyrics{sur~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{la~}\cu g\enotes -\barre -\Notes\hsong{ter-}\qu f\enotes -\notes\hsong{re~}\cu f\enotes -\hardlyrics{aux~}\notes\hsong{\thelyrics}\cu f\enotes -\hardlyrics{hom- }\notes\hsong{\thelyrics}\qu g\enotes -\hardlyrics{mes~}\notes\hsong{\thelyrics }\cu h\enotes -\hardlyrics{qu'il~}\notes\hsong{\thelyrics }\cu i\enotes -\barre -\NOtes\hsong{ai-}\hu g\enotes -\Notes\hsong{me.}\hu f\enotes -\Notes\uptext{\bf II }\enotes -\barre -\hardlyrics{Nous~}\notes\hsong{\thelyrics}\qu h\enotes -\notes\hsong{Te~}\cu g\enotes -\notes\hsong{lou-}\cu g\enotes -\NOtes\hsong{ons,}\hu h\enotes -\barre -\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{b\'e-}\cu j\enotes -\notes\hsong{nis-}\cu j\enotes -\NOtes\hsong{sons,}\hu h\enotes -\barre -\Notes\hsong{nous~}\qu h\enotes -\NOtes\hsong{t'a-}\hu g\enotes -\Notes\hsong{do-}\qu f\enotes -\barre -\NOtes\hsong{rons,~}\hu f\enotes -\notes\uptext{\bf I}\enotes -\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{glo-}\cu g\enotes -\notes\hsong{ri-}\cu g\enotes -\barre -\NOTEs\hsong{fions,~}\hu h\enotes -\hardlyrics{\kern -4pt nous~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{ren-}\cu h\enotes -\notes\zsong{dons~}\cu i\enotes -\barre -\NOtes\hsong{gr\^a~-}\qu g\enotes -\notes\hsong{ces~}\cu g\enotes -\hardlyrics{pour~}\notes\hsong\thelyrics\cu g\enotes -\hardlyrics{Ton~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{im-}\cu i\enotes -\hardlyrics{men-}\notes\hsong\thelyrics\cu j\enotes -\notes\zsong{se~}\cu k\enotes -\barre -\Notes\hsong{gloi-}\ql j\enotes -\Notes\hsong{-}\ql i\enotes -\Notes\hsong{re~!}\qu h\enotes -\notes\uptext{\bf II}\enotes -\notes\hardlyrics{Sei-}\hsong\thelyrics\cu h\enotes -\notes\zsong{gneur~}\cu i\enotes -\barre -\hardlyrics{Dieu,~}\notes\hsong\thelyrics\qu j\enotes -\hardlyrics{Roi~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{du~}\cu g\enotes -\Notes\hsong{Ciel,~}\qu h\enotes -\hardlyrics{Dieu~}\notes\hsong\thelyrics\cu h\enotes -\notes\zsong{le~}\cu g\enotes -\barre -\hardlyrics{P\`e-~}\notes\thelyrics\hsong\cu h\enotes -\notes\hsong{re~}\cu i\enotes -\hardlyrics{tout-}\notes\hsong\thelyrics\cu g\enotes -\hardlyrics{puis-}\notes\hsong\thelyrics\cu h\enotes -\hardlyrics{sant~!}\notes\hsong\thelyrics\qup h\enotes -\notes\uptext{\bf I}\enotes -\notes\zsong{Sei-}\cu h\enotes -\mulooseness 2% -\stoppiece +\input musixtex +\input musixlyr +... \end{verbatim}\end{quote} - The result clearly shows the inequality between note spacings, -some of them forced by lyrics length, some others related to the -value of \verb|\elemskip| choosen by {\tt musixflx} according to the -given value of \keyindex{mulooseness}. Note that \verb|\zsong| still has been -used for lyrics followed by a bar, since their extension across the bar is -usually harmless. - +The manual, the input file and a few examples can be downloaded as +compact musixlyr packet +\href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip} +{\underline{for Windows}} or \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.tgz} +{\underline{for \unix}}. Look at the manual for a detailed description. Here you can find an overview +of the commands and an example of use. + +\def\keyexample#1{\keyindex{#1}} + +\noindent\begin{tabbing} +\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill +Example\> Explanation +\end{tabbing} +\vspace{-1ex} +\hrule +\vspace{-2ex} +\begin{tabbing} +\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill +\keyexample{setlyrics}\verb|{sopr}{the ly_-ric words_}|\> defining the lyrics text\\ +\keyexample{copylyrics}\verb|{sopr}{alto}|\> alto has same lyrics as soprano\\ +\keyexample{appendlyrics}\verb|{alto}{more words}|\> alto lyrics is longer\\ +\keyexample{assignlyrics}\verb|2{sopr,alto}|\>soprano and alto lyrics at staff 2\\ +\keyexample{assignlyricsmulti}\verb|{1}{2}{alto}|\>assign alto lyrics to staff 2 of instrument 1\\ +\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\>assigning without staff number\\ +\keyexample{auxlyr}\verb|\assignlyrics{2}{sopr}|\> assign soprano above staff 2\\[.8ex] +\keyexample{lyrrule}\verb|\qu c|...\keyexample{lyrruleend}\verb|\qu c|\>make a melisma by hand\\ +\keyexample{beginmel}\verb|\qu c|...\keyexample{endmel}\verb|\qu c|\>melisma, same as word extension underline\\[.8ex] +\keyexample{lyr}\verb|\qu c|\>force a syllable from lyrics text at this note or rest\\ +\keyexample{lyric}\verb|{word}\qu c|\>insert syllable 'word' at this note\\ +\verb|\loffset{2}{|\keyexample{lyric*}\verb|{1.}}\qu c|\>combine '1.' with regular syllable\\ +\keyexample{lyrich}\verb|{syl}\qu c|\>same as \verb|\lyric|, but with hyphenation\\ +\keyexample{lyrich*}\verb|{}\qu c|\>same as \verb|\lyric*|, but with hyphenation\\ +\keyexample{lyricsoff}...\keyexample{lyricson}\>stop lyrics, then start again\\ +\keyexample{nolyr}\verb|\qu c|\>no syllable at this note\\[.8ex] +\keyexample{llabel}\verb|{labelname}name|\>labelling a ``go to'' target in text\\ +\keyexample{golyr}\verb|{labelname}\qu c|\>perform a jump, in music code\\[.8ex] +\keyexample{lyrpt}\verb|,\qu c|\>add a comma to the syllable under this note\\ +\keyexample{lyrnop}\verb|\qu c|\>remove last character in syllable\\ +\keyexample{lclyr}\verb|\qu c|\>make first character lower case\\ +\keyexample{llyr}\verb|\qu c|\>left justified syllable\\ +\keyexample{leftlyrtrue}\verb|\qu c|...\keyexample{leftlyrfalse}\verb|\qu c|\>start and stop left justification as the default\\ +\keyexample{lyroffset}\verb|{-4}\qu c|\>shift syllable 1 notehead to the left\\[.8ex] +\keyexample{minlyrspace}\verb|{3pt}\qu c|\>define minimum space between the words\\ +\keyexample{forcelyrhyphenstrue}\verb|\qu c|\>always use a hyphen from now on\\ +\keyexample{forcelyrhyphensfalse}\verb|\qu c|\>remove hyphen and make one word if necessary \\ +\keyexample{showlyrshifttrue}\verb|\qu c|\>show the lyric shift\\[.8ex] +\keyexample{lyrraise}\verb|{1}{a 2\Interligne}|\>raise lyrics below staff 1 by \verb|2\Interligne|\\ +\keyexample{lyrraisemulti}\verb|{1}{2}{a 2\Interligne}|\>raise alto lyrics above staff 2 of instrument 1\\ +\keyexample{lyrraisehere}\verb|{b 2\Interligne}\qu c|\>raise lyrics below this staff by \verb|2\Interligne|\\[.8ex] +\keyexample{minlyrrulelength}\verb|{2mm}|\>melismas shorter than 2mm are not shown \\ +\keyexample{minmulthyphens}\verb|{15mm}|\>distance between hyphens in 'hyphen melisma'\\ +\verb|\def|\keyexample{lyrhyphenchar}\verb|{-}|\>chose a hyphen character\\ +\verb|\setlyrics{|\keyexample{lyrlayout}\verb|{\it}..}|\>apply italics to all lyrics lines\\ +\keyexample{verses}\verb|{,\beginmel}\qu c|\>initiate melisma at second verse\\[.8ex] +\verb|\small|\keyexample{setlyrstrut}\>adapt the vertical distance between lyrics lines\\ +\keyexample{lyrstrutbox}\verb|{10pt}|\> (re)define the distance between the lyrics lines\\[.8ex] +\keyexample{lyrmodealter}\verb|2|\>attach lyrics of staff 2 to the upper voice\\ +\keyexample{lyrmodealtermulti}\verb|{1}{2}|\>attach lyrics of instr.\ 1 staff 2 to the upper voice\\ +\keyexample{lyrmodealterhere}\verb|\qu c|\>attach lyrics of this staff to the upper voice\\ +\keyexample{lyrmodenormal}\verb|2|\>restore the default behaviour\\ +\keyexample{lyrmodenormalmulti}\verb|{1}{2}|\>restore the default behaviour at staff 2 of instr.\ 1\\ +\keyexample{lyrmodenormalhere}\verb|\qu c|\>restore the default behaviour of this staff\\[.8ex] +\keyexample{lyrlink}\>linking 2 words with a '$_{_\smile}$'\\ +\keyexample{lowlyrlink}\>same as \verb|\lyrlink| but a little bit lower\\[.8ex] +\keyexample{resetlyrics}\>set word pointer to the first word in all lyrics lines\\[.8ex] +\keyexample{enableauxlyrics}\>don't use this anymore\\ +\keyexample{setsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraise}{1}{b 2\Interligne}|\\ +\keyexample{auxsetsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraisemulti}{1}{b 2\Interligne}|\\ +\keyexample{oldlyrlinestart}\>don't let the lyrics extent to the left margin\\ +\end{tabbing} + +As a further illustration of the use of the commands, have a look at the following +example\footnote{The example is taken from the musixlyr manual.}: + +\medskip\medskip +%\oneversespace \begin{music} -\small -\overfullrule 3pt -\instrumentnumber{1} -\setstaffs11 -% -\generalsignature{-1}\relax % one flat -\generalmeter{\meterfrac{2}{2}} -% -\staffbotmarg=5\Interligne\stafftopmarg=1.5\Interligne -\startpiece -\setsongraise1{2\Interligne}% -\znotes\uptext{\kern -9mm\raise 9pt\hbox{\bigtype - Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes -\hardlyrics {\kern-5pt Gloire }\notes\hsong{\thelyrics }\cu c\enotes -\notes\hsong{\`a }\cu c\enotes -\barre -\NOTes\hsong{Dieu~}\hu f\enotes -\notes\hsong{au}\cu f\enotes -\hardlyrics{plus~}\notes\hsong{\thelyrics }\cu f\enotes -\hardlyrics{haut~}\notes\hsong{\thelyrics }\cu g\enotes -\notes\hsong{des}\cu g\enotes -\barre -\NOtes\hsong{cieux~}\qup h\enotes -\notes\hsong{et~}\cu h\enotes -\hardlyrics{paix~}\notes\hsong{\thelyrics }\qu i\enotes -\hardlyrics{sur~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{la~}\cu g\enotes -\barre -\Notes\hsong{ter-}\qu f\enotes -\notes\hsong{re~}\cu f\enotes -\hardlyrics{aux~}\notes\hsong{\thelyrics}\cu f\enotes -\hardlyrics{hom- }\notes\hsong{\thelyrics}\qu g\enotes -\hardlyrics{mes~}\notes\hsong{\thelyrics }\cu h\enotes -\hardlyrics{qu'il~}\notes\hsong{\thelyrics }\cu i\enotes -\barre -\NOtes\hsong{ai-}\hu g\enotes -\Notes\hsong{me.}\hu f\enotes -\Notes\uptext{\bf II }\enotes -\barre -\hardlyrics{Nous~}\notes\hsong{\thelyrics}\qu h\enotes -\notes\hsong{Te~}\cu g\enotes -\notes\hsong{lou-}\cu g\enotes -\NOtes\hsong{ons,}\hu h\enotes -\barre -\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{b\'e-}\cu j\enotes -\notes\hsong{nis-}\cu j\enotes -\NOtes\hsong{sons,}\hu h\enotes -\barre -\Notes\hsong{nous~}\qu h\enotes -\NOtes\hsong{t'a-}\hu g\enotes -\Notes\hsong{do-}\qu f\enotes -\barre -\NOtes\hsong{rons,~}\hu f\enotes -\notes\uptext{\bf I}\enotes -\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{glo-}\cu g\enotes -\notes\hsong{ri-}\cu g\enotes -\barre -\NOTEs\hsong{fions,~}\hu h\enotes -\hardlyrics{\kern -4pt nous~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{ren-}\cu h\enotes -\notes\zsong{dons~}\cu i\enotes -\barre -\NOtes\hsong{gr\^a~-}\qu g\enotes -\notes\hsong{ces~}\cu g\enotes -\hardlyrics{pour~}\notes\hsong\thelyrics\cu g\enotes -\hardlyrics{Ton~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{im-}\cu i\enotes -\hardlyrics{men-}\notes\hsong\thelyrics\cu j\enotes -\notes\zsong{se~}\cu k\enotes -\barre -\Notes\hsong{gloi-}\ql j\enotes -\Notes\hsong{-}\ql i\enotes -\Notes\hsong{re~!}\qu h\enotes -\notes\uptext{\bf II}\enotes -\hardlyrics{Sei-}\notes\hsong\thelyrics\cu h\enotes -\notes\zsong{gneur~}\cu i\enotes -\barre -\hardlyrics{Dieu,~}\notes\hsong\thelyrics\qu j\enotes -\hardlyrics{Roi~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{du~}\cu g\enotes -\hardlyrics{Ciel,~}\notes\hsong\thelyrics\qu h\enotes -\hardlyrics{Dieu~}\notes\hsong\thelyrics\cu h\enotes -\notes\zsong{le~}\cu g\enotes -\barre -\hardlyrics{P\`e-~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{re~}\cu i\enotes -\hardlyrics{tout-}\notes\hsong\thelyrics\cu g\enotes -\hardlyrics{puis-}\notes\hsong\thelyrics\cu h\enotes -\hardlyrics{sant~!}\notes\hsong\thelyrics\qup h\enotes -\notes\uptext{\bf I}\enotes -\notes\zsong{Sei-}\cu h\enotes -\mulooseness 2% -\stoppiece +\input musixlyr + \resetlyrics \small +\lyrmodealter0 + \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}} + \copylyrics{soprano}{alto} \assignlyrics1{alto} + + \generalsignature{-2} + \advance\stafftopmarg1\Interligne + \advance\staffbotmarg2\Interligne + + \startextract\addspace\afterruleskip + \NOtes\zqu g\ql e\en + \bar + \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en + \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en + \Notes\tqb0e\en + \Notes\endmel\tbslurd0e\ql c\en + \notes\ibbu0h{-1}\qb0h\tqh0g\en + \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en + \bar + \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes + \lyr\wh b\en % must be given manually. + \endextract + \lyrmodenormal0 \end{music} +\medskip +%\oneversespace - The complete score of this carol --- with slightly different layout -due to different page size --- is given in example {\tt glorias.tex} and in -{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the -organ accompaniment -(both require {\tt musixsty.tex}). - - -\section{Abnormal music coding} - \subsection{Gregorian chant: staffs and clefs} \index{gregorian -music}Gregorian chant is often coded using four line staffs (see sections -\ref{gregorian} and \ref{stafflinenumber}) and using special notes (called -\itxem{neumes}) which are described in section \ref{gregnotes}. But the -gregorian chant also needs special clefs which are in fact the ancestors of -the modern ones. The \itxem{gregorian clefs} can be invoked instead of the -modern ones by: - -\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef| - -\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| - -\noindent will cause the instrument number 3 to exhibit the chosen gregorian -clefs. The standard clefs can be restored for every instrument with -\keyindex{resetclefsymbols}. - -It is to be emphasized that, since version T.40 of \musixtex, one should -specify whether one wants to change the bass clef symbol or the alto clef -symbol (also the treble clef symbol, but there is no treble clef in gregorian -chant). The reason is that \musixtex\ (as well as \musictex) selects and -raises differently the F, G and C clefs according to the arguments of the -\keyindex{setclef} command. Therefore, if one had substituted any F clef -symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear -on the staff, but it would have been set at the position of an alto clef, thus -seriously misleading the musician. - - However, for compatibility with what was previously choosen\footnote{By A. -{\sc Egler}...}, the \keyindex{setclefsymbol} still exists, but it substitutes -the given second argument \ital{to all clef symbols} of that instrument, -regardless of the actual musical meaning of this symbol. \verb|\setclefsymbol| -is therefore discouraged, unless one changes the design of the clef symbol of -an instrument for the whole of the score. - - As an example, the same gregorian scale has been written with a gregorian C -clef on all four lines of the staff: - - \begin{music} - \parindent 19mm - \instrumentnumber{4} - \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} - \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} - \sepbarrules - \generalmeter{\empty} - \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} - \setaltoclefsymbol1\gregorianCclef - \setaltoclefsymbol2\gregorianCclef - \setaltoclefsymbol3\gregorianCclef - \setaltoclefsymbol4\gregorianCclef -\startextract -\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes -\endextract -\end{music} - - The coding was: - \begin{verbatim} - \instrumentnumber{4} - \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} - \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} - \sepbarrules - \generalmeter{\empty} - \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} - \setaltoclefsymbol1\gregorianCclef - \setaltoclefsymbol2\gregorianCclef - \setaltoclefsymbol3\gregorianCclef - \setaltoclefsymbol4\gregorianCclef -\startextract -\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes +which was coded as: +\begin{quote} +\begin{verbatim} +% define lyrics above the staff +\setlyrics{soprano}{bring her die Gans,} +% lyric beneath the staff are the same +\copylyrics{soprano}{alto} +% assign alto lyrics below staff 1 on the notes with stem down +\assignlyrics1{alto} +% assign soprano lyrics above staff 1 on the notes with stem up +\auxlyr{\assignlyrics1{soprano}} +% attach both lyrics to the upper voice +\lyrmodealter0 +\generalsignature{-2} +% make place for the lyrics +\advance\stafftopmarg1\Interligne\advance\staffbotmarg2\Interligne +\startextract\addspace\afterruleskip +\NOtes\zqu g\ql e\en\bar +% start melisma in lower lyrics +\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en +% start melisma in upper lyrics +\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\tqb0e\en +% end melisma in lower lyrics +\Notes\endmel\tbslurd0e\ql c\en +\notes\ibbu0h{-1}\qb0h\tqh0g\en +% start melisma in upper lyrics +\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en\bar +% The lyrics of the whole notes (without stem) must be given manually. +\NOTEs\auxlyr\lyr\zwh i\lyr\wh b\en \endextract - \end{verbatim} - - - \subsection{Music score without clefs or with special clefs} - - \subsubsection{Empty clefs} -\index{clefs (empty)} - Regardless of the number of lines of the staffs, an instrument may -have no clefs, e.g.~for \itxem{percussion music} but also for any weird -purpose. This is done by declaring the following item: - -\keyindex{setclefsymbol}~$n$\verb|\empty| - -\noindent Normal symbols for these clefs can be restored by: - -\keyindex{resetclefsymbols} - - \subsubsection{Octave clefs}\index{octave clefs} - - Octave treble clefs and octave bass clefs are provided. They can replace the usual - treble and bass clefs by saying: - - \keyindex{setclefsymbol}~$n$\keyindex{bassoct} +\lyrmodenormal0 +\end{verbatim}\end{quote} - \keyindex{setclefsymbol}~$n$\keyindex{trebleoct} + \subsection{Getting enough vertical space for lyrics} + Since songs are +usually equivalent to a one-staff instrument (possibly with several voices) +the recommended solution consists in adjusting the distance between +instruments using either \keyindex{interinstrument}\verb|=|\ital{any +\TeX-dimension} to give more place below all instruments or using +\keyindex{setinterinstrument} to make more space above. Note that {\Bslash +setinterinstrument} defines spacing above and not below an instrument. Since +lyrics are usually set below the staff, the first argument of a +\verb|\setinterinstrument| should be the song instrument number \ital{minus +one}. - \noindent for upper octaviation, and + In the case of a single staff tune, or if the song instrument is the lowest +one, then additional place can be provided using \keyindex{staffbotmarg}. - \keyindex{setclefsymbol}~$n$\keyindex{basslowoct} +\subsection{Fine tuning the placement of the lyrics} + When not using \verb|\hardlyrics|, on short notes, sometimes + the lyrics are shifted away from the notes or they collide with other words. + This are a few approaches to get around this: +\begin{enumerate}\setlength{\itemsep}{0ex} +\item Making more music lines for the notes to go further apart. This could be done with +\verb|\mulooseness|. +\item Stretch a bar with short notes in it by i.e.\ replacing \verb|\notes| by \verb|\NOTes|. +\item Insert space between the notes by using \verb|\sk|, \verb|\hsk|, \verb|\qsk|... +\item Stretch a bar with short notes in it by using the command \keyindex{scale}: +\begin{verbatim} +\scale{1.6}\notes..\en\scale{1}% +\end{verbatim} +This method can be used in \textbf{PMX} but only with care, because it changes horizontal spacing +in a way that \textbf{PMX} will not be aware of. It will not move bars to the next line, but +will shorten the other bars on the line. - \keyindex{setclefsymbol}~$n$\keyindex{treblelowoct} +As an example, the lyrics of this music line are better placed by using \verb|\scale| in +the first bar and moving to the left the word 'mon'. Note that the hyphen is removed +when there is no place for it: - \noindent for lower octaviation. + \begin{music} + \input musixlyr + \resetlyrics + \setlyrics{v1}{Au clair de la lu-ne, mon a-mi Pier-rot,}% + \assignlyrics1{}\assignlyrics1{v1}% + \staffbotmarg2\Interligne\generalsignature{1}% + \startextract + \geometricskipscale + \notes\qu{gggh}\en\bar + \Notes\hu{ih}\en\bar + \notes\qu{gihh}\en\bar + \Notes\wh g\en + \endextract +% \end{music} +%%%%% combined for saving registers %%%%% +% \begin{music}\nostartrule +% \input musixlyr + \resetlyrics + \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}% + \assignlyrics1{}\assignlyrics1{v1}% + \staffbotmarg2\Interligne\generalsignature{1}% + \startextract \geometricskipscale + \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}% + \Notes\hu{ih}\en\bar + \notes\qu{gihh}\en\bar + \Notes\wh g\en + \endextract + \end{music} +\medskip +The code of the second music line is (\verb|\assignlyrics1{}| is only needed because +lyrics are assigned before this in this manual): +\begin{quote}\begin{verbatim} \begin{music} - \parindent 19mm - \instrumentnumber{4} - \generalmeter{\empty} - \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble - \setbassclefsymbol1\basslowoct - \setbassclefsymbol2\bassoct - \settrebleclefsymbol3\treblelowoct - \settrebleclefsymbol4\trebleoct + \input musixlyr + \resetlyrics + \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}% + \assignlyrics1{}\assignlyrics1{v1}% + \staffbotmarg2\Interligne\generalsignature{1}% + \startextract \geometricskipscale + \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}% + \Notes\hu{ih}\en\bar + \notes\qu{gihh}\en\bar + \Notes\wh g\en + \endextract + \end{music} +\end{verbatim}\end{quote} + +\item Moving a word in any direction + +\noindent\begin{tabular}{ll} +\multicolumn{2}{l}{\Bslash setlyrics\{alto\}\{\Bslash kernm3ex1.$\sim\sim$firstsyllable...\}}\\ +& left moving for numbering verses\\ +\verb|\setlyrics{alto}{...\kern1exword...}| &right moving a single word\\ +\verb|\setlyrics{alto}{...\lower2pt\hbox{word}...}|& lowering a single word\\ +\verb|\setlyrics{alto}{...\raise2pt\hbox{word}...}|& raising a single word\\ +\multicolumn{2}{l}{\Bslash def\Bslash strut\{\Bslash vbox to 2\Bslash Interligne\{\}\}% +\Bslash setlyrics\{alto\}\{\Bslash lyrlayout\{\Bslash strut\}...\}} \\ +& controlling distance between verses\\ +\verb|\lyrlayout{\vphantom{Mp(\lowlyrlink}|& minimum distance between verses\\ +\multicolumn{2}{l}{\Bslash setbox\Bslash lyrstrutbox=\Bslash hbox\{\Bslash vphantom\{yM\Bslash lyrlink\}\}}\\ +& redefining default lyrstrut +\end{tabular} + +\item Placing of accents can be made easier as shows this example: +\begin{center} +\begin{minipage}{50mm} +\begin{music}\nostartrule +\input musixlyr +\catcode`\ä\active \defä{\"a} +\catcode`\ö\active \defö{\"o} +\catcode`\å\active \letå\aa +\setlyrics1{å ä ö} +\assignlyrics1{}\assignlyrics11 \startextract -\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\enotes -\endextract + \setsongraise1{1ex}\NOtes\qa{ggg}\en +\zendextract \end{music} +\end{minipage}% +\begin{minipage}{80mm} +\verb|\catcode`\|\"a\verb|\active \def|\"a\verb|{\"a}|\\ +\verb|\catcode`\|\"o\verb|\active \def|\"o\verb|{\"o}|\\ +\verb|\catcode`\|\aa\verb|\active \let|\aa\verb|\aa|\\ +\verb|\setlyrics1{|\aa\ \"a\ \"o\verb|} \assignlyrics1{}|\\ +\verb|\assignlyrics11|\\ +\verb|\startextract|\\ +\verb|\NOtes\qa{ggg}\en|\\ +\verb|\zendextract|\\ +\end{minipage} +\end{center} +\item Using an 8-bit encoded characterset\label{8bit} -{\noindent\sl REMARKS: \begin{itemize} \item The \keyindex{setclefsymbol}, -\keyindex{settrebleclefsymbol}, \keyindex{setaltoclefsymbol} and -\keyindex{setbassclefsymbol} commands only change the symbol posted, not the -altitude of the note head. Thus, if you say \verb|\setclef1\bass| and then -|\setbassclefsymbol1\trebleclef|, your score will be definitely wrong. In the -same way, \keyindex{trebleoct} and similar octave clefs will only change the -symbol, but a note coded {\tt a} wiull have the same vertical position, -regardless of the clef symbol chosen. - \item Changing clef symbols also affect clef changes within the score, but -this clef changes will be posted by large symbols, not smaller clefs as usual. -Anyway, it can be remarked that clef changes only concern scores with standard -treble, alto and bass clefs... -\end{itemize} -} - - \subsubsection{Drum clef} - A special \itxem{drum clef} (two heavy vertical bars) can -replace for the $n$-th intrument any of the standard clefs by saying: - -\keyindex{setclefsymbol}~$n$\keyindex{drumclef}\label{sectiondrum} +This can be achieved +by putting +\verb+\input plainenc\relax\inputencoding{cp850}+ +at the beginning of the file. -\noindent However, since the vertical position of the clef depends on the -previously stated clef, it is not wise to replace any clef symbol with the -drum clef, but to have the instrument previously configured with the default -violin clef, i.e. \verb|{0000}|. +Here you must adapt the character +set to your region. +To do this, if necessary, replace \verb+cp850+ by +\verb+cp1250+ (Czech, Croation region), +\verb+cp1251+ (Russian, Bulgarian region), +\verb+cp1252+ (most other European regions), +\verb+cp1253+ (Greek region) +or check your \TeX distribution for the right file. - It is to be emphasised that these features are specific to one -instrument --- not one staff of a several staff instrument --- so that some -weird score for \ital{monks}, \ital{drum} and \ital{electronic keyboard} -such as +This is the coding for the previous example by using an 8-bit characterset: -\begin{music} -\parindent 19mm -\instrumentnumber{3} -\setname1{keyboard} \setname2{drum} \setname3{monks} -\setlines2{1} -\setlines3{4} -\setinterinstrument1{-2\Interligne}% less vertical space above -\setinterinstrument2{-2\Interligne}% and below the percussion -\sepbarrules -\setsign1{-1} % one flat at keyboard -\generalmeter{\meterfrac24} -\setmeter3\empty -\setclef3\alto -\setclef1\bass -\setstaffs12 % 2 staffs at keyboard -\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3 -\setclefsymbol2\drumclef % cancel G clef at instrument 2 -\startextract -\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar -\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes -\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\enotes\bar -\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes -\endextract +\begin{center} +\begin{minipage}{25mm} +\begin{music}\nostartrule +% this manual is in latex, the 8bit is taken by +% \usepackage[ansinew]{inputenc} +% +%\input plainenc\relax\inputencoding{cp850} +\input musixtex +\input musixlyr +\setlyrics1{á ä ö}\assignlyrics1{}\assignlyrics11% +\startextract% +\znotes\zcharnote{12}{Poème naïf}\en% +\Notes\qa{ggg}\en% +\zendextract% \end{music} -\noindent could be coded as follows, regardless this is relevant (see remark -in \ref{gregoriancappella}, p. \pageref{gregoriancappella}): -\begin{verbatim} -\parindent 19mm -\instrumentnumber{3} -\setname1{keyboard} \setname2{drum} \setname3{monks} -\setlines2{1} -\setlines3{4} -\setinterinstrument1{-2\Interligne}% less vertical space above -\setinterinstrument2{-2\Interligne}% and below the percussion -\sepbarrules -\setsign1{-1} % one flat at keyboard -\generalmeter{\meterfrac24} -\setmeter3{\empty} -\setclef3{\alto} -\setclef1{\bass} -\setstaffs1{2} % 2 staffs at keyboard -\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3 -\setclefsymbol2{\drumclef} % cancel G clef at instrument 2 -\startextract -\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar -\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes -\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc f\enotes\bar -\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes -\end{verbatim} -In the same way, a possible violin score with \itxem{harmonic notes} (see -\ref{othernotes}) could be:\label{abnormalscores} +\end{minipage} +~~~~~~ +\begin{minipage}{100mm}% program to run apart from musixdoc +\verb+\input plainenc\relax\inputencoding{cp850}+\\ +\verb+\input musixtex+\\ +\verb+\input musixlyr+\\ +\verb+\startpiece%+\\ +\verb+\znotes\zcharnote{16}{Poème naïf}\en%+\\ +\verb+\setlyrics1{á ä ö}\assignlyrics11%+\\ +\verb+\Notes\qa{ggg}\en%+\\ +\verb+\Endpiece\vfill\eject \bye+ +\end{minipage} +\end{center} -\begin{music} -\parindent0pt -\generalsignature{-2} -\generalmeter\allabreve -\startextract -\NOTes\dzq o\zh d\hu h\enotes -\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\bar -\NOTes\dzq o\zh d\hl h\enotes -\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\endextract -\end{music} -It was coded as follows: +\end{enumerate} + +\section{Embedding musical excerpts in text documents} + +Here we discuss the options for including music in text documents. The first +decision is whether or not to use \LaTeX\footnote{We'll assume a user wanting +to embed a musical excerpt in a \LaTeX\ document is already familiar with the +fundamentals of \LaTeX. For more information about it, see for example the manual +\ital{\LaTeX: A Document Preparation System} by Leslie {\sc Lamport}}. +Because \LaTeX\ so effectively simplifies +production of text-based \TeX\ documents, most users take that path, and most of the +descriptions given here will assume that's the case\footnote{Please do not be confused; +while \LaTeX\ is recommended for text-based documents containing musical +exceprts, its use is definitely discouraged for ordinary self-contained musical scores +of any sort.}. + +If for some reason you choose not to use \LaTeX\ to emplace musical excerpts, +the basic approach is simply to set off the musical +parts between \verb|\startpiece| or \verb|\contpiece| and \verb|\stoppiece| or +\verb|\endpiece|, or between \verb|\startextract| and \verb|\zendextract|. But +some details in what follows will also apply with no \LaTeX. + +There are two basic approaches to embedding musical excerpts in \LaTeX\ +documents. The first method is to directly include the \musixtex\ code in +the \LaTeX\ source file. That will be the subject of the next subsection. The +other is to create an EPS (encapsulated Postscript) file containing only the +excerpt, and then ``paste'' it into the \LaTeX\ file. That will be covered in +subsection \ref{embedeps}. + +The advantages of using the direct method are that all of the source code for +all excerpts can be kept in the same file as the text, and that there is no +limit on the length of the excerpt. +The advantage of the EPS method is that you don't have to burden the \LaTeX\ +source with any of the \musixtex\ paraphernalia. That in turn permits use of +primitive versions of the \TeX\ compiler that may not have the capacity +to handle the direct method (due to the number of registers consumed by \LaTeX\ +and \musixtex). The disadvantages are that you must create and keep +track of a separate \TeX\ and EPS file for every excerpt, and that the excerpt +must not span any page breaks. On balance, the +direct method is probably to be preferred. + +\subsection{Directly embedding excerpts in \LaTeX\ documents}\label{excerpts} + +To use the direct method, you should include ``\verb|musixtex|'' as one of the +arguments of the \keyindex{documentstyle} command. This will cause the file +\ttxem{musixtex.sty} to be loaded, so naturally you must make that file +available in a place where \TeX\ can find it. That file simply inputs two +other files, \verb|musixtex.tex| and \ttxem{musixltx.tex}, which again must +obviously be available to \TeX. + +Now you are in position to directly embed an excerpt by inserting code at the +appropriate place in the source file. The most common type of excerpt is +one that occupies less than a full line and is to be horizontally centered. In +that case, the extract should begin with the command \keyindex{begin\LBR music\RBR}, +followed by any preliminary commands. Then, instead of \verb|\startpiece|, +use \keyindex{startextract}. Now comes the normal \musixtex\ coding. Finally, +end the extract with \keyindex{endextract} instead of \verb|\endpiece| +or \verb|\stoppiece|, followed by \keyindex{end\LBR music\RBR}. + +To terminate an extract without any bar line, use \keyindex{zendextract} +instead of \verb|\zendextract|. + +To create a left-justified excerpt, use the sequence +\keyindex{let\Bslash extractline\Bslash leftline}. + +If several extracts are to be placed on the same line, you can +redefine \keyindex{extractline} as demonstrated in the following +example\footnote{The macro {\tt\Bslash extractline} is defined once and for all in +{\tt musixtex.tex} as {\tt\Bslash centerline}. You might think that the suggested +coding would permanently redefine {\tt\Bslash extractline}, thereby upsetting the +normal function of {\tt\Bslash startextract ... \Bslash endextract} for subsequent use. +But it doesn't, because any actions within +\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, not +global.}: + +% DAS temp (where is the reference???) +%An example of this is given at \ref{extractline} on page \pageref{extractline}. +% end DAS temp \begin{quote}\begin{verbatim} -\generalsignature{-2} -\generalmeter\allabreve -\startextract -\NOTes\dzq o\zh d\hu h\enotes -\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\bar -\NOTes\dzq o\zh d\hl h\enotes -\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\endextract +\begin{music}\nostartrule +\let\extractline\hbox +\hbox to \hsize{% +\hss\startextract ... \zendextract\hss% +\hss\startextract ... \zendextract\hss} +\end{music} \end{verbatim}\end{quote} - \subsection{Usual percussion music} -Besides single percussion scores usually -written using one-line staffs, percussion music involving several instruments -is often writen on five-line staffs with a \ital{drum clef}, where the -instruments are distinguished by the type of the note heads and the apparent -pitch of the note on the staff. We give an example --- kindly provided by -Agusti {\sc Mart\'in Domingo}: - -\medskip -\begin{music} -\generalmeter{\meterfrac44} -\setclefsymbol1\drumclef -\parindent0pt\startpiece -\leftrepeat -\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\bar -\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\bar -\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\setrightrepeat\endpiece -\end{music} - Its coding was: - \begin{quote}\begin{verbatim} -\begin{music} -\instrumentnumber{1} -\generalmeter{\meterfrac44} -\setclefsymbol1\drumclef -\parindent0pt\startpiece -\leftrepeat -\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\bar -\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\bar -\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\setrightrepeat\endpiece -\end{music} - \end{verbatim}\end{quote} - To use these different note heads, one must - \begin{itemize} - \item either include a specific percussion file namely\index{percussion -music} \ttxem{musixper.tex} after the usual \verb|\input musixtex|; - \item use special macro names to replace the usual elliptic black note head -with other available note heads. Today only the most used note types are -supported. - \end{itemize} +An even shorter type of extract is one that is embedded \ital{within} a line of text. +To insert \musixtex\ symbols within a line of text, you could begin by defining +\keyindex{notesintext} as follows\footnote{provided by Rainer {\sc Dunker}}: +\begin{quote}\begin{verbatim}\begin{music}\nostartrule +\makeatletter +\def\notesintext#1{% + {\let\extractline\relax + \setlines10\smallmusicsize \nobarnumbers \nostartrule + \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt + \startextract\addspace{-\afterruleskip}#1\zendextract}} +\makeatother +\end{music}\end{verbatim}\end{quote} -\section{Writing your own macros: the {\Bslash catcode} problems} -As seen before, the \keyindex{catcodes} of the \| and \verb|&| symbols -are modified by \musixtex, in the range of the actual scores but not -in the whole of the \TeX\ source. -Thus, if you define your own macros to make -your writing easier, you are likely to invoke the \| or \verb|&| -symbols in a part of text where their \keyindex{catcode}s are not correctly set. -\index{"|@{\tt\char'174}} -This may result typically in a diagnostic like: - -\verb|! Misplaced alignment tab character &.| - -\noindent when you attempt, not to define, but to use your macro using the -\verb|&| symbol to change the instrument. Smart \TeX ers know that the -\keyindex{catcode}s are attached to the characters \ital{when they are input} -and not when they are used; thus you must be sure that \| and \verb|&| -have the correct \musixtex\ \keyindex{catcode} when the macro is defined, -which may well occur outside the actual score. - -It is also worth pointing out that the same problem may occur with other -punctuation marks like ``\verb|<|'', ``\verb|>|'', ``\verb|^|, -etc., if their \keyindex{catcode} has been changed by some other set of -macros, like \ttxem{french.sty}. - -\section{\LaTeX~and \musixtex} - \subsection{The {\tt musixtex.sty} style}\label{musixltx} - As said before, the amount of memory and registers used by \musixtex\ makes -it hardly compatible with \LaTeX. However, Nicolas {\sc -Brouard}\index{Brouard, N.@{\sc Brouard, N.}} succeeded in building a -\ttxem{musixltx.tex} which is now included in the distribution. This is -not recommended to make separate music scores. Its purpose is rather to -provide a means of inserting short musical excerpts in books or articles -written with \LaTeX. Then, the \keyindex{documentstyle} command should -include {\tt musixtex} in the options. - -The \LaTeX\ \index{LaTeX@\LaTeX}style file \ttxem{musixtex.sty} -simply \verb|\input|s the following files (in that very order): -\begin{itemize} - \item \verb|musixtex.tex| - \item \verb|musixltx.tex| -\end{itemize} - In case of \verb|TeX capacity exceeded...|, use a ``Bigla\TeX'' (after -checking there is no visible error in the source -code).\index{BigLaTeX@Big\LaTeX} - \subsection{Wide music in \LaTeX}\label{musixblx} - Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the -page size in a way which is not supposed to be changed within a given document. -This means that text horizontal and vertical sizes are somewhat frozen so that -one can hardly insert pieces of music of page size different from the size -specified by the \LaTeX{} \itxem{style}. -Although a \ttxem{musixblx.tex} has been provided, which makes the -\ital{environment} \verb|bigmusic| available. -\zkeyindex{begin\LBR bigmusic\RBR} -The main drawback is an unpredictable behaviour of top and bottom -printouts, especially page numberings. - - If the whole of a document has wide pages, it can be handled with the -\ttxem{a4wide} style option, or any derivate of it. - \subsection{The {\Bslash catcode} problems} - The \verb|musixltx.tex| file merely overrides the \keyindex{catcode}s of the -\| and \verb|&| symbols which are modified by \musixtex. To have access to -these symbols when coding music, you should enclose the scores or excerpts -within \verb|\begin{music}| and \verb|\end{music}|. But there is also another -possibility, i.e.\ to say \keyindex{nextinstrument} instead of -\verb|&|\index{\&} and \keyindex{nextstaff} instead of \|. -\index{"|@{\tt\char'174}} - - Another problem comes from the {\tt\ixem{french.sty}} written by Bernard -{\sc Gaulle}\index{Gaulle, B.@{\sc Gaulle, B.}} which is the standard of the -\ixem{GUTenberg} French association. This style changes many -\keyindex{catcode}s which lead \musixtex\ to fail in many cases. Therefore -the \keyindex{catcode}s of all are forced to the adequate value at -\keyindex{startpiece}, \keyindex{startextract} and restored at their original -value at \keyindex{endpiece}, \keyindex{stoppiece} and \keyindex{endextract}. -This means that some facilities like the \itxem{guillemets} or the -\itxem{tabulation} character are inhibited within music scores (possible -problem with sophisticated \itxem{lyrics}) but perfectly available within the -normal text. - - Anyway, in case of emergency, one can invoke \keyindex{catcodesmusic} to -establish the \keyindex{catcode}s at their value fit for music, and -\keyindex{endcatcodesmusic} to reset them at their external value, for example -those chosen by \verb|french.sty|. - -\section{Implementation and restrictions} - - The macroinstruction file \musixtex\ contains approximately 4200 lines of -code, that is 98~000 bytes approximately. This requires your score to be -compiled by the most extended versions of \TeX\ (65~000 words of working -memory). It is therefore wise to say \verb|\tracingsstats=2| in -order to have an information about the memory used in each page. In desperate -situations, we recommend using the ``Big\TeX'' processors which, -unfortunately, performed a great deal of disk input/outputs (on PCs with i286 -processors) which made them awfully slow. Of course, using i386 or i486 or Pentium -processors, this problem disappears with the specific version of -{\tt emTeX}, namely {\tt tex386}.\index{BigTeX@Big\TeX}\index{emTeX@em\TeX} - -In particular, the number of registers it uses and the amount of memory used -by \LaTeX\ macros makes it doubtfully compatible with \LaTeX, unless using -Big\LaTeX.\index{BigLaTeX@Big\LaTeX} - -Other precautions are necessary: beware of end-of-line spaces; they corrupt -layout and cause {\tt underfull/overfull hbox} warnings during third pass. -To avoid that, it is recommended -to use \verb|%| at the end of source lines. - - -%\subsection{ABC2MTeX} -% Generally: yes -%\subsection{MIDI2TeX} -% s.a.a. (I already use a modified one, Thanx to C) -%\subsection{SceX} -% next time - -\section{From \musictex~to \musixtex: {\tt musixcpt}} -\label{compatibility} - -This file is intended to run `{\bf old}' input files with as less changes -(read \verb|musicdoc| {\bf and} \musixtex's laws~!) as possible. It slows -down the speed and makes it impossible to use some\footnote{This was the will -of one of the authors (A.E.) but we (we=D.T.) are now tending to remove any -incompatibilities of {\tt musixcpt} with plain \musixtex.} of \musixtex\ -commands. - - To run \musictex\ examples --- not withstanding restrictions related to -glue and ``hard'' spacings forbidden with -\musixtex\ --- just replace all previous \verb|\input music*| by: - - \verb|\input musixtex| - - \verb|\input musixcpt| - -\noindent and, optionally - - \verb|\input musixsty| - -\subsection{Compatibility restrictions} - -The \ttxem{musixcpt.tex} file holds up -compatibility to \musictex's sources, but there are some restrictions, which -are caused either by missing glue in \musixtex\ --- sometimes ugly, but -generally harmless --- or by some hard spacings such as \verb|\hbox|es -containing lyrics exceeding the \keyindex{noteskip} dimension, and resulting -in ``overfull hbox[es]'' that is, notes and symbols outside the score limits, -with the heavy vertical bar as a standard \TeX\ punishment. - -The easiest way to avoid this consists in ending systematically -\ital{all}\footnote{ALL lines, not ``most of them''.} input -lines between \keyindex{startpiece}...\keyindex{stoppiece}\footnote{or -\keyindex{Stoppiece} or \keyindex{endpiece} or \keyindex{Endpiece}.} -with a comment sign\footnote{For \TeX perts: every line -which does not end with a command}, namely a ``\verb|%|''. - -\medskip Besides, one might want to have a unique source file to be compiled -with both the \musictex\ format and the \musixtex\ format, and\footnote{This -might be considered as an excessive requirement, but we (D.T.) think it is a -good way of including \musixtex's new facilities...} taking advantage of some -specific possibilities of \musixtex. The leads to a need of testing whether -the source file is compiled with one format or the other. In fact this test is -easy:\zkeyindex{mxversion} - -\verb|\ifx\mxversion\undefined| - -\ \ \ the specific \musictex\ code - -\verb|\else| - -\ \ \ the specific \musixtex\ code, taking advantage of new features - -\verb|\fi| - -\medskip Several examples are now included in \musictex's examples, for -example {\tt pacifiqn.tex}. Of course this would fail if the user -inadvertently decided to define the command {\Bslash mxversion} in his source -text. - %\check +Then, for example, the code -\subsection{Additional commands in {\tt musixcpt.tex}} +\begin{verbatim} +Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} +not \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}} +\end{verbatim} -The tentative user looking in given examples might find commands not described -in the \musixtex\ manual (this one). Most frequent are (in case of missing -description, revert to \musictex's manual, namely {\tt musicdoc.tex}, {\tt -musicdoc.dvi}, {\tt musicdoc.ps}, {musicdoc.lj}, etc.): +\noindent would produce: ``Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} not +\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}~''. + +\noindent The \verb|\raisebox| voids the vertical space that is introduced by the notes. + +Finally, you may want to insert an extract containing more than one line +of music. Once having mastered \musixtex, this is the easiest of all: Between +\verb|\begin{music}\nostartrule| and \verb|\end{music}|, use \ital{exactly} the same +coding you would to make an ordinary score. + +The best way to learn how to apply these methods is to study +\verb|musixdoc.tex|, the source file for this document\footnote{Do note, +however, that {\tt musixdoc.tex} includes {\tt musixdoc} but not {\tt musixtex} +as an argument of {\tt\Bslash documentstyle}. The former performs the functions +of the latter as well as numerous tasks peculiar to this particular document.}. + +%DAS I don't think this section is worth including. + +% \subsection{Wide music in \LaTeX}\label{musixblx} +% Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the +%page size in a way which is not supposed to be changed within a given document. +%This means that text horizontal and vertical sizes are somewhat frozen so that +%one can hardly insert pieces of music of page size different from the size +%specified by the \LaTeX{} \itxem{style}. +%Although a \ttxem{musixblx.tex} has been provided, which makes the +%\ital{environment} \verb|bigmusic| available. +%\zkeyindex{begin\LBR bigmusic\RBR} +%The main drawback is an unpredictable behaviour of top and bottom +%printouts, especially page numberings. +% +% If the whole of a document has wide pages, it can be handled with the +%\ttxem{a4wide} style option, or any derivate of it. + +\subsection{Embedding musical excerpts as encapsulated postscript files} +\label{embedeps} +To use this method of including excerpts, you first must create a separate +\musixtex\ input file for each excerpt. Process each such file with +\TeX\ and \verb|musixflx| to generate a \verb|.dvi| file. Generate +a postscript file from each \verb|.dvi| using \verb|dvips|. Then +convert each postscript file to an \verb|.eps| file. One way to do that is +with \textbf{ghostscript} and---if you are using Windows---\textbf{GSview}. +In general this is possible only for single-page postScript files. + +To set up your \LaTeX\ document for including \verb|.eps| files, you must post +the command \verb|\usepackage[dvips]{graphicx}| in the preamble of the +document. Now, you may include each \texttt{.eps} file at the appropriate place +in the {\LaTeX} document with a command +like \keyindex{includegraphics}\verb|{sample.eps}|. + +\subsection{Issues concerning \texorpdfstring{{\Bslash catcodes}}{catcodes}} +\label{catcodeprobs} + +\musixtex\ uses the following symbols differently from plain \TeX: \verb|>|, + \verb|<|, \verb&|&, \verb|&|, \verb|!|, \verb|*|, \verb|.|, and \verb|:|\ .\\ +The symbols are given their special meanings by executing the macro +\keyindex{catcodesmusic}, and are restored to their plain \TeX\ meanings with +\keyindex{endcatcodesmusic}. When setting either a self-contained score or +a musical extract, you normally need not worry +about this at all, because \verb|\startpiece| or \verb|\startextract| executes +\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\zendextract| executes +\verb|\endcatcodesmusic|. But there are some special situations where you +might need to use these catcode-modifying macros explicitly. One is if you +were to define a personalized macro outside +\verb|\startpiece ... \endpiece|, but which incorporated any of the +symbols with their \musixtex\ meanings. Another would be if you wished to have +access to facilities enabled by alternate style files such as +{\tt\ixem{french.sty}} which change \keyindex{catcode}s themselves. In +such cases, provided you have input \verb|musixtex.tex|, you can always +invoke \keyindex{catcodesmusic} to set the \keyindex{catcode}s at their +\musixtex\ values, and \keyindex{endcatcodesmusic} to restore them to their +prior values. -\begin{itemize} - \item\keyindex{qh} : same as \verb|\qb|, but was different with \musictex, -since it distinguished notes hanging above (\verb|\qb|) and below (\verb|\qh|) -the beam(s). - \item\keyindex{debutmorceau} : nearly but not exactly the same as -\verb|\startpiece|. - \item\keyindex{suspmorceau} : suspends the score at the end of the line, in -order to permit inserting ordinary \TeX\ commands. Similar to -\keyindex{stoppiece} but performs line counting necessary then using -\musictex's \verb|\autolines| feature. - \item \keyindex{reprmorceau} is synonym of \verb|\contpiece|. - \item \keyindex{lreprmorceau} is synonym of \verb|\contpiece|. - \item \keyindex{preprmorceau} ejects a newpage and performs \verb|\contpiece|. - \item \keyindex{finmorceau} is synonym of \verb|\Stoppiece|, i.e. with heavy -ending double bar.. - - \item\keyindex{barre} : same as \verb|\bar|. - \item\keyindex{dsoupir} : same as \verb|\ds|. - \item\keyindex{qsoupir} : same as \verb|\qs|. - \item\keyindex{demisoupir} : same as \verb|\ds|. - \item\keyindex{temps} : was glue in \musictex, now equivalent to -\verb|\empty|. - \item\keyindex{autolines} is fit for scores with -bars of regular length: after \keyindex{startpiece}, you code the -following macro: - - -\medskip\Bslash autolines $tml$ - -\medskip\noindent\rm where $t$ is the number of \ital{elementary spacings} -(the length of {\Bslash notes...\Bslash enotes}) in an average bar, $m$ is the -number of bars you wish in a line and $l$ is the number of lines you wish in a -page. This sets some parameters, namely \keyindex{maxbarsinline} and -\keyindex{maxlinesinpage} which are simply used to count the bars (counter is -\keyindex{barsinline}), optionally perform \keyindex{alaligne} or -\keyindex{alapage} (counter is \keyindex{linesinpage}) instead of the normal -\verb|barre| or \verb|bar|. You may freely alter the values of these -parameters, once they have been established by \keyindex{autolines}. Moreover, -you can still force line-breaking of page ejection using {\Bslash alaligne} or -\keyindex{alapage} without problem since these macros actually reset the bar -counters appropriately. +\section{Extension Library} +All following files are invoked by saying \keyindex{input} \ital{filename}\ . +Most of them are fully compatible with \musixtex\ in that they do not redefine +any existing macros but rather provide additional functionality. In future +versions of \musixtex\ we may very well incorporate many of them directly into +\verb|musixtex.tex|, but for now we leave them separate. - \end{itemize} + \subsection{curly} +Allows you to group more than 1 instrument with curly +brackets (see \ref{curlybrackets}). - %\check -% \subsection{Often reported problems} + \subsection{musixadd}\ixtt{musixadd.tex} +Increases the number of instruments, slurs and beams from six to nine. - %\check -\section{Extension Library} -All following files are invoked with saying \keyindex{input} \ital{filename} - \subsection{musixadd} -Increases the number of instruments, slurs and beams up to nine. \subsection{musixbm} - Provides 128th notes, either with hooks or with beams, namely the + Provides 128th notes, either with flags or with beams, via the commands \keyindex{ibbbbbu}, \keyindex{ibbbbbl}, \keyindex{nbbbbbu}, @@ -6013,9 +6863,10 @@ Increases the number of instruments, slurs and beams up to nine. \keyindex{ccccca}, \keyindex{zcccccu}, \keyindex{cccccl} and -\keyindex{zcccccl} commands. +\keyindex{zcccccl}. + \subsection{musixbbm} - Provides 256th notes, only with beams, namely the + Provides 256th notes, only with beams, via the commands \keyindex{ibbbbbbu}, \keyindex{ibbbbbbl}, \keyindex{nbbbbbbu}, @@ -6023,20 +6874,28 @@ Increases the number of instruments, slurs and beams up to nine. \keyindex{tbbbbbbu}, \keyindex{tbbbbbbl}, \keyindex{Ibbbbbbu} and -\keyindex{Ibbbbbbl} commands. - \subsection{*musixcho}\label{song} - These are some macros fit for chorus music. Provides following commands: +\keyindex{Ibbbbbbl}. + +\subsection{musixcho}\label{song} + Enables certain macros intended for choral music\footnote{Remember +that we now recommend using \texttt{musixlyr} for any except the +simplest lyrics. The extension \texttt{musixcho} is only for those +diehards who choose to ignore this advice}. Provides the following commands: \keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight}, -\keyindex{Dtx} and \keyindex{Drtx} for double text, \keyindex{Ttx} and -\keyindex{Trtx} for triple text, \keyindex{Qtx} and \keyindex{Qrtx} for -quadruple text. +\keyindex{Dtx} and \keyindex{Drtx} for two-line text, \keyindex{Ttx} and +\keyindex{Trtx} for three-line text, \keyindex{Qtx} and \keyindex{Qrtx} for +four-line text. To eliminate zigzagging lyrics lines, all multiple line texts +are automatically vertically justified with the macro \keyindex{ChroirStrut}, +defined as \verb|\vphantom{\^Wgjpqy}|. -\keyindex{tx}\verb|{|$text$\verb|}|, -\keyindex{rtx}\verb|{|$text$\verb|}| for text of songs, with text extending -to right instead centered. - \keyindex{hf}\verb|{|$m$\verb|}| sets text -continuation rule of width $m$ \verb|\noteskip|. +The macros \keyindex{tx}\verb|{|$text$\verb|}|, +\keyindex{rtx}\verb|{|$text$\verb|}| cause song text to be left-justified +on the insertion point rather then centered. + \keyindex{hf}\verb|{|$m$\verb|}| sets a text +continuation rule of length $m$ \verb|\noteskip|. +Consult the source file {\tt musixdoc.tex} to see the coding of the following +example: \begin{music} \tenrm @@ -6097,19 +6956,21 @@ continuation rule of width $m$ \verb|\noteskip|. \endpiece \end{music} - See {\tt musixdoc.tex} source to get the coding of this long example. - - Note that, since vertion T.89, multiple line texts are vertically justified - with a \keyindex{ChroirStrut} macro defined as \verb|\vphantom{\^Wgjpqy}| to -eliminate zigzagging lyrics lines. - - %\check - \subsection{musixdat} -Here is the command \keyindex{today} defined for several languages. -The default is \keyindex{dateUSenglish}, but this can freely be changed at -end of \ttxem{musixdat.tex}. -Also available are \keyindex{dategerman}, \keyindex{dateaustrian}, -\keyindex{dateenglish} and \keyindex{datefrench}, which yields: +\subsection{musixcpt} + +Empowers \musixtex\ to run files created under +Musi\textbf{c}TeX, the predecessor of \musixtex, such as some of the examples +provided by Dani\"el {\sc Taupin}. It is not needed for any files created +under \musixtex, and is included mainly for historical completeness. + +\subsection{musixdat} +Enables the command \keyindex{today}, which sets the current date in one of +several possible languages. The language is selected by an optional + preparatory command \verb|\date...|. +The default is \keyindex{dateUSenglish}, but this can changed, either at the +end of \ttxem{musixdat.tex} for a permanant change, or right before issuing +\verb|\today|. Available choices and sample results are summarized below: +\smallskip \begin{quote}\begin{tabular}{ll}\hline \verb|\dateUSenglish|&\dateUSenglish\today\\ \verb|\dateaustrian|&\dateaustrian\today\\ @@ -6117,40 +6978,89 @@ Also available are \keyindex{dategerman}, \keyindex{dateaustrian}, \verb|\datefrench|&\datefrench\today\\ \verb|\dategerman|&\dategerman\today\\\hline \end{tabular}\end{quote} - \subsection{*musixdia}\label{diam} -These file is automatically loaded, if you use {\tt musixper.tex}. -Here is the list of notes it provides: - \begin{itemize} - \item The \raise.5ex\hbox to 1em{\musixchar37} symbol is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|y|'' -(think of ``dyamond''). Available are \keyindex{yqu}, \keyindex{yqup}, + +\subsection{musixdbr} +Enables dashed and dotted bar lines (see \ref{musixdbr}). + +\subsection{musixdia}\label{diam} +Enables notes with diamond-shaped heads as follows: +\begin{itemize}\setlength{\itemsep}{0ex} + \item Solid note heads (\raise.5ex\hbox to .6em{\musixchar37}) are obtained +using the macros + \keyindex{yqu}, \keyindex{yqup}, \keyindex{yqupp}, \keyindex{yql}, \keyindex{yqlp}, \keyindex{yqlpp}, \keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp}, \keyindex{yqb}, \keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu}, \keyindex{ycl}, \keyindex{yccl}, \keyindex{ycccl}, \keyindex{yccccl}, -\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}. The -symbol without a stem can be obtained by saying \keyindex{ynq} and the -non-spacing variant with \keyindex{zynq}. - \item The \raise.5ex\hbox to 1em{\musixchar38} symbol is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|d|'' -(think of \ital{diamond}). Available are \keyindex{dqu}, \keyindex{dqup}, +\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}. +(Think of d{\it y}\kern.5pt amond). A solid diamond with no stem is obtained +with \keyindex{ynq} (spacing) or \keyindex{yznq} (non-spacing). + \item Open note heads (\raise.5ex\hbox to .6em{\musixchar38}) are obtained +using the macros +\keyindex{dqu}, \keyindex{dqup}, \keyindex{dqupp}, \keyindex{dql}, \keyindex{dqlp}, \keyindex{dqlpp}, \keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp}, \keyindex{dqb}, \keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu}, \keyindex{dcl}, \keyindex{dccl}, \keyindex{dcccl}, \keyindex{dccccl}, -\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}. The -symbol without a stem can be obtained by saying \keyindex{dnq} and the -non-spacing variant with \keyindex{dznq}. +\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}. +(Think of {\it d}\kern.5pt iamond). +An open diamond with no stem is obtained +with \keyindex{dnq} (spacing) or \keyindex{dznq} (non-spacing). \end{itemize} - %\check - \subsection{*musixeng} - This package is made for music typesetters who are allergic to rest names -taken from French, German or Italian\footnote{By the way, note that a -\ital{whole rest} is called \ital{pause} in French, \ital{ganze Pause} in -German, and \ital{pausa} in Italian.}. It does not provide new features, only -new command names. + +One use of these note heads is for a string part with \itxem{harmonic notes}. +%(see \ref{othernotes}) +% DAS removed description which was misplaced in the samll=notes section 2.18 4/30/06 +For example, + +\begin{music} +\parindent0pt +\generalsignature{-2} +\generalmeter\allabreve +\startextract +\NOTes\dzq o\zh d\hu h\enotes +\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\bar +\NOTes\dzq o\zh d\hl h\enotes +\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\endextract +\end{music} +\noindent was coded as follows: +\begin{quote}\begin{verbatim} +\generalsignature{-2} +\generalmeter\allabreve +\startextract +\NOTes\dzq o\zh d\hu h\enotes +\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\bar +\NOTes\dzq o\zh d\hl h\enotes +\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\endextract +\end{verbatim}\end{quote} + +Another use is for percussion parts. In fact the file \verb|musixdia.tex| +is automatically loaded if you input {\tt musixper.tex} (see \ref{perc}). + + \subsection{musixeng} + This package is provided for music typesetters who are allergic to the default +rest names, which are +taken from French, German or Italian. It does not provide new features, only +new command names: +\medskip \begin{quote}\begin{tabular}{ll}\hline -\ital{original}&\ital{alternative}\\\hline +\ital{original}&\ital{alternate}\\\hline \keyindex{PAUSe}&\keyindex{Qwr}\\ \keyindex{PAuse}&\keyindex{Dwr}\\ \keyindex{liftpause}&\keyindex{liftwr}\\ @@ -6165,153 +7075,204 @@ new command names. \keyindex{hs}&\keyindex{eeer}\\ \keyindex{qqs}&\keyindex{eeeer}\\\hline \end{tabular}\end{quote} - \subsection{musixext} -\keyindex{slide}\verb|{|pitch\verb|}{|elements\verb|}{|slope[-8 to 8]\verb|}|~: - glissando. +\subsection{musixext} +Defines the following two specific macros: -\keyindex{raggedstoppiece} : - provides a ragged last line. - %\check +\keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~, which provides a glissando +starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with +slope {\it s} (ranging from -8 to 8). + +\keyindex{raggedstoppiece}~, which inhibits right-justification of the last +line of a score. \subsection{musixf{}l{}l} \input musixfll - \ttxem{musixfll.tex} may be used to modify the automatic -generation of \ixem{ledger lines}. Ledger lines --- German Hilfslinien ---- are generated for notes placed above or below normal staff lines. -Ledger lines normally exceed the note head by a quarter of the width of -the note head. If notes are set very narrowly, the ledger lines of -consecutive notes may meet. In this case a player may misread the -ledger lines as normal lines. Therefore \musixtex{} shortens the -ledger lines if notes are set so narrowly that the ledger lines may -meet. Because \musixtex{} does not know whether consecutive notes need -ledger lines, this automatic shortening may be superfluous. So this -automatism may be switched off and on. After including -\ttxem{musixfll.tex} the automatic shortening of ledger lines is -switched off. Afterwards it may be switched on again using + Enables modification of \ixem{ledger lines}. Ledger lines normally exceed the +width of a note head by 25 percent in each direction. If the space between +notes is insufficient, the ledger lines of +consecutive notes may meet, creating visual ambiguities. Therefore, +\musixtex{} shortens the +ledger lines if notes are set so close together that the ledger lines may +meet. But because \musixtex{} does not know whether consecutive notes need +ledger lines, this automatic shortening may be superfluous. The extension +file \ttxem{musixfll.tex} allows this feature to be switched off and on. +Upon inputting \verb|musixfll.tex|, the automatic shortening of ledger lines +is switched off. From then on, it may be switched on again using \keyindex{autoledgerlines} and switched off again using \keyindex{longledgerlines}. Both macros have global effect. The following example shows that narrowly set scales look better with -\keyindex{autoledgerlines}, while single notes requiring ledger lines -look better with \keyindex{longledgerlines}. - +\keyindex{autoledgerlines} (the default behavior), while single notes +requiring ledger lines look better with \keyindex{longledgerlines}. +\medskip \begin{music} \startextract \notes\multnoteskip{0.7}\Uptext{autoledgerlines}\autoledgerlines - \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% - \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% - \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% - \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en - \bar + \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% + \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% + \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% + \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en + \bar \notes\multnoteskip{0.7}\Uptext{longledgerlines}\longledgerlines - \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% - \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% - \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% - \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en + \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% + \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% + \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% + \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en \endextract \autoledgerlines \end{music} - \subsection{*musixgre}\label{gregnotes} + \subsection{musixgre}\label{gregnotes}\index{gregorian chant} +% \subsection{Gregorian chant: staffs and clefs} +Gregorian chant is often coded using four line staffs +(see +%sections \ref{gregorian} and +section \ref{stafflinenumber}) and using special notes called +\itxem{neumes} (which are described later in this section). It also requires +special clefs. One way to substitute them for the modern ones is for example +with commands like - Provided that four line staffs (see \ref{stafflinenumber}) are used, -\itxem{gregorian music} is frequently quoted using specific \itxem{neumes}, -established in the thirteenth century, and this way of coding has been -commonly used for the coding of liturgical chant in the Catholic Church until -the middle of the twentieth century. Nevertheless, gregorian chant coding is -not really an antique feature, since it has been codified in 1905 with recent -quasi-official updates in the eightties. +\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef| +\noindent or -{\noindent\sl REMARK:\label{gregoriancappella} strictly writing, including -gregorian chant coding in \musixtex{} is a pure nonsense. Of course, many -people find it interesting to have the possibility of coding gregorian neumes -together with modern music, but having a score with both a gregorian chant and -a choir or instruments is definitely \ital{heretic}. The reason is that -grogorian chant must be sung \ital{a cappella}, without instrument and without -underlying polyphony. As a matter of fact, serious music schools ceased to -teach how to accompany gregorian chant approximately 20 years ago. +\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| , - However, there are still some pseudo-gregorian chants in the Catholic -repertoire which deserve organ or orchestra accompaniment: these are latine -speaking gregorian imitations composed in the eighteenth century, such as the -famous \ital{Angel's mass} of the \ital{Messe royale de Du Mont} which were -printed using gregorian neumes by official catholic publishers instead of -using the music denotations fit for renaissance and baroque pieces...} +\noindent which will cause instrument number 3 to display the selected gregorian +clef. The standard clefs can be restored for every instrument with +\keyindex{resetclefsymbols}. Note that when using this method you must +specify whether to substitute for the bass or alto clef +symbol (there is no treble clef in gregorian +chant). The reason is that \musixtex\ selects and +raises the F and C clefs differently, according to the arguments of the +\keyindex{setclef} command. Therefore, if one had substituted any F clef +symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear +on the staff, but it would be set at the position of an alto clef, thus +seriously misleading the musician. +Another method of clef substitution employs \keyindex{setclefsymbol} (see +section \ref{treblelowoct}), which substitutes the clef given by +the second argument \ital{for all clef symbols} of the instrument given by the first, +regardless of the actual musical meaning of the new clef symbol. This method is +generally appropriate only if you want to change the clef symbol(s) of +an instrument for the whole of the score. - Symbols available in \musixtex\ are -mainly those of the 1905 standard, as provided by Beda {\sc -Szukics}\index{Szukics, B.@{\sc Szukics, B.}}: + As an example, the same gregorian scale has been written with a gregorian C +clef on all four lines of the staff: -\subsubsection{The clefs} + \begin{music}\nostartrule + \parindent 19mm + \instrumentnumber{4} + \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} + \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} + \sepbarrules + \generalmeter{\empty} + \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} + \setaltoclefsymbol1\gregorianCclef + \setaltoclefsymbol2\gregorianCclef + \setaltoclefsymbol3\gregorianCclef + \setaltoclefsymbol4\gregorianCclef +\startextract +\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes +\zendextract +\end{music} -\begin{itemize} - \item The gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~= + The coding was: + \begin{verbatim} + \instrumentnumber{4} + \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} + \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} + \sepbarrules + \generalmeter{\empty} + \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} + \setaltoclefsymbol1\gregorianCclef + \setaltoclefsymbol2\gregorianCclef + \setaltoclefsymbol3\gregorianCclef + \setaltoclefsymbol4\gregorianCclef +\startextract +\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes +\zendextract + \end{verbatim} + +All of the special gregorian symbols available in \musixtex\ are described +in the following subsections. + +\subsubsection{Clefs} + +\begin{itemize}\setlength{\itemsep}{0ex} + \item Gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~= \keyindex{gregorianCclef}, normally activated for instrument $n$ with the -command: - \begin{quote} - \keyindex{setaltoclefsymbol} $n$ \keyindex{gregorianCclef} - \end{quote} - \item The gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~= -\keyindex{gregorianFclef}, normally activated with the -\verb|\setbassclefsymbol| command. +command + \keyindex{setaltoclefsymbol}\itbrace{n}\keyindex{gregorianCclef} +\item Gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~= +\keyindex{gregorianFclef}, normally activated with the command +\keyindex{setbassclefsymbol}\itbrace{n}\keyindex{gregorianFclef} \end{itemize} - \subsubsection{The basic elementary symbols} - \begin{itemize} + \subsubsection{Elementary symbols} + - \item Diamond shaped \itxem{punctum} (of different shape compared to the + \begin{itemize}\setlength{\itemsep}{0ex} + + \item Diamond shaped \itxem{punctum} (This has a different shape compared to the percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ = -\keyindex{diapunc}~$p$~. +\keyindex{diapunc}\pitchp\ . \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ = -\keyindex{squ}~$p$ or \keyindex{punctum}~$p$~. +\keyindex{squ}\pitchp\ or \keyindex{punctum}\pitchp\ . \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise -2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}~$p$~. +2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}\pitchp\ . \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ = -\keyindex{rsqu}~$p$ or \keyindex{virga}~$p$~. +\keyindex{rsqu}\pitchp\ or \keyindex{virga}\pitchp\ . \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ = -\keyindex{apostropha}~$p$~. +\keyindex{apostropha}\pitchp\ . \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ = -\keyindex{oriscus}~$p$~. +\keyindex{oriscus}\pitchp\ . \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ = -\keyindex{quilisma}~$p$~. - \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise 2.5pt\hbox{\xgregchar9}~ = -\keyindex{punctumauctup}~$p$~. - \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise 2.5pt\hbox{\xgregchar8}~ = -\keyindex{punctumauctdown}~$p$~. +\keyindex{quilisma}\pitchp\ . + \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise +2.5pt\hbox{\xgregchar9}~ = +\keyindex{punctumauctup}\pitchp\ . + \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise +2.5pt\hbox{\xgregchar8}~ = +\keyindex{punctumauctdown}\pitchp\ . \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}: -\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}~$p$~. +\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}\pitchp\ . \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise -2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}~$p$~. +2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}\pitchp\ . \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise -2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}~$p$~. - +2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}\pitchp\ . \end{itemize} - All non-\ital{liquescens} symbols have a non-spacing variant, which are + All non-\ital{liquescens} symbols have non-spacing variants, namely \keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu}, \keyindex{zapostropha} and \keyindex{zoriscus}. -\subsubsection{The plain complex neumes} +\subsubsection{Plain complex neumes} Other \itxem{neumes} can be obtained by combining two or more of these symbols. Since \itxem{neumes} have a special note head width, an additional shifting macro is provided, namely \keyindex{groff}. It is similar to -\verb|\roff|, but the offset is smaller; to implement also triple symbol neumes, -another shifting macro is provided, namely \keyindex{dgroff} which performs an -offset twice the offset of \verb|\groff|.. +\verb|\roff|, but the offset is smaller. For use with comples neumes, another +shifting macro is provided, namely \keyindex{dgroff}, which causes an +offset twice the offset of \verb|\groff|. Since most of these symbols depend on relative pitches of their components, -one could not provide all compact combinations as single symbols. Following -compound symbols are: +we cannot provide all possible compact combinations as single symbols. The ones +that are available in \verb|musixgre| are described below. In the following, +$p_1$, $p_2$, $p_3$, and $p_4$ represent pitches specified as usual. Please refer to +the source file \verb|musixtex.tex| if you wish to see the coding of those +examples for which it is not quoted here. -\begin{description} - \item[\keyindex{bivirga} $n$ $p$], for example: +\def\twop{\itbrace{p_1}\itbrace{p_2}} +\def\threep{\twop\itbrace{p_3}} +\def\fourp{\threep\itbrace{p_4}} - \begin{music} +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{bivirga}\twop], for example: + + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6322,8 +7283,9 @@ compound symbols are: \startextract \notes \bivirga ab\enotes \notes \bivirga cc\enotes - \endextract + \zendextract \end{music} + This example was coded as: \begin{quote}\begin{verbatim} \instrumentnumber 1 @@ -6334,12 +7296,12 @@ compound symbols are: \startextract \notes \bivirga ab\enotes \notes \bivirga cc\enotes - \endextract + \zendextract \end{verbatim}\end{quote} - \item[\keyindex{trivirga} $n$ $p$ $q$], for example: + \item[\keyindex{trivirga}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6350,12 +7312,12 @@ compound symbols are: \startextract \Notes \trivirga abc\enotes \Notes \trivirga cca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{bistropha} $n$ $p$], for example: + \item[\keyindex{bistropha}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6366,12 +7328,12 @@ compound symbols are: \startextract \notes \bistropha ab\enotes \notes \bistropha cc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{tristropha} $n$ $p$ $q$], for example: + \item[\keyindex{tristropha}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6382,12 +7344,12 @@ compound symbols are: \startextract \Notes \tristropha abc\enotes \Notes \tristropha cca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{clivis} $n$ $p$], for example: + \item[\keyindex{clivis}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6398,12 +7360,13 @@ compound symbols are: \startextract \notes \clivis ba\enotes \notes \clivis ca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{lclivis} $n$ $p$], for example: + \item[\keyindex{lclivis}\twop], for example: - \begin{music} + \begin{music}\nostartrule + \setsize1{\Largevalue} \elemskip 10pt \instrumentnumber 1 \setstaffs 1 1 @@ -6413,12 +7376,12 @@ compound symbols are: \startextract \notes \lclivis ba\enotes \notes \lclivis ca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{podatus} $n$ $p$], for example: + \item[\keyindex{podatus}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6430,12 +7393,12 @@ compound symbols are: \notes \podatus ab\enotes \notes \podatus ac\enotes \notes \podatus cf\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{podatusinitiodebilis} $n$ $p$], for example: + \item[\keyindex{podatusinitiodebilis}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6447,14 +7410,15 @@ compound symbols are: \notes \podatusinitiodebilis ab\enotes \notes \podatusinitiodebilis ac\enotes \notes \podatusinitiodebilis cf\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{lpodatus} $n$ $p$], for example: + \item[\keyindex{lpodatus}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt - \instrumentnumber 1 + \setsize1{\Largevalue} + \instrumentnumber 1 \setstaffs 1 1 \setlines 1 4 \setclef 1{3000} @@ -6462,12 +7426,12 @@ compound symbols are: \startextract \notes \lpodatus ab\enotes \notes \lpodatus ce\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{pesquassus} $n$ $p$], for example: - - \begin{music} + \item[\keyindex{pesquassus}\twop], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6478,12 +7442,12 @@ compound symbols are: \startextract \notes \pesquassus ab\enotes \notes \pesquassus ae\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{quilismapes} $n$ $p$], for example: - - \begin{music} + \item[\keyindex{quilismapes}\twop], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6494,12 +7458,12 @@ compound symbols are: \startextract \notes \quilismapes ab\enotes \notes \quilismapes ae\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{torculus} $n$ $p$ $q$], for example: + \item[\keyindex{torculus}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6511,12 +7475,12 @@ compound symbols are: \notes \torculus aba\enotes \notes \torculus cfd\enotes \notes \torculus afc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{torculusinitiodebilis} $n$ $p$ $q$], for example: + \item[\keyindex{torculusinitiodebilis}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6528,12 +7492,12 @@ compound symbols are: \notes \torculusinitiodebilis aba\enotes \notes \torculusinitiodebilis cfd\enotes \notes \torculusinitiodebilis afc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{Porrectus} $n$ $p$ $q$], for example: + \item[\keyindex{Porrectus}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6547,7 +7511,7 @@ compound symbols are: \notes \Porrectus bNd\enotes \notes \Porrectus bMe\enotes \notes \Porrectus bLe\enotes - \endextract + \zendextract \end{music} \noindent coded: \begin{quote}\begin{verbatim} @@ -6560,14 +7524,14 @@ compound symbols are: \verb|\Porrectus| exists in four different shapes, depending on the difference between first and second argument. The constraint is that - $$ n-4 \leq p \leq n-1 $$ otherwise a diagnostic occurs. Note also that + $$ p_1-4 \leq p_2 \leq p_1-1 $$ otherwise a diagnostic occurs. Note also that \keyindex{bporrectus} provides the first curved part of the \verb|porrectus| -command, if you need it... It has two arguments, the starting pitch, the lower +command, if you should need it. It has two arguments, the starting pitch and the lower pitch. - \item[\keyindex{Porrectusflexus} $n$ $p$ $q$ $r$], for example: + \item[\keyindex{Porrectusflexus}\fourp], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6580,7 +7544,7 @@ pitch. \notes \Porrectusflexus bNdb\enotes \notes \Porrectusflexus bMeb\enotes \notes \Porrectusflexus bLea\enotes - \endextract + \zendextract \end{music} \noindent coded: \begin{quote}\begin{verbatim} @@ -6590,10 +7554,10 @@ pitch. \notes \Porrectusflexus bLea\enotes \end{verbatim}\end{quote} - - \item[\keyindex{climacus} $n$ $p$ $q$], for example: - \begin{music} + \item[\keyindex{climacus}\threep], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6605,12 +7569,12 @@ pitch. \Notes \climacus cbN\enotes \Notes \climacus cba\enotes \Notes \climacus dbN\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{climacusresupinus} $n$ $p$ $q$ $r$], for example: + \item[\keyindex{climacusresupinus}\fourp], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6622,14 +7586,15 @@ pitch. \Notes \climacusresupinus cbNa\enotes \Notes \climacusresupinus cbab\enotes \Notes \climacusresupinus dbNb\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{lclimacus} $n$ $p$ $q$], for example: + \item[\keyindex{lclimacus}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt - \instrumentnumber 1 + \setsize1{\Largevalue} +\instrumentnumber 1 \setstaffs 1 1 \setlines 1 4 \setclef 1{3000} @@ -6638,13 +7603,12 @@ pitch. \notes \lclimacus cbN\enotes \notes \lclimacus cfd\enotes \notes \lclimacus afc\enotes - \endextract + \zendextract \end{music} + \item[\keyindex{scandicus}\threep], for example: - \item[\keyindex{scandicus} $n$ $p$ $q$], for example: - - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6655,12 +7619,12 @@ pitch. \startextract \notes \scandicus abe\enotes \notes \scandicus ceg\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{salicus} $n$ $p$ $q$], for example: + \item[\keyindex{salicus}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6671,12 +7635,12 @@ pitch. \startextract \Notes \salicus abe\enotes \Notes \salicus ceg\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{salicusflexus} $n$ $p$ $q$ $r$], for example: + \item[\keyindex{salicusflexus}\fourp], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6687,14 +7651,16 @@ pitch. \startextract \Notes \salicusflexus abec\enotes \Notes \salicusflexus cegd\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{trigonus} $n$ $p$ $q$], for example\footnote{The second -example is in principle irrelevant, but it shows the possibilities, in case -of.}: + \item[\keyindex{trigonus}\threep], +%DAS ???????????? +%for example\footnote{The second example is in principle irrelevant, +%but it shows the possibilities, in case of.}: +for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6705,16 +7671,16 @@ of.}: \startextract \Notes \trigonus aaN\enotes \Notes \trigonus cef\enotes - \endextract + \zendextract \end{music} \end{description} -\subsubsection{The liquescens complex neumes}\index{liquescens neumes} -\begin{description} - \item[\keyindex{clivisauctup} $n$ $p$], for example: +\subsubsection{Liquescens complex neumes}\index{liquescens neumes} +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{clivisauctup}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6725,11 +7691,11 @@ of.}: \startextract \notes \clivisauctup ba\enotes \notes \clivisauctup ca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{clivisauctdown} $n$ $p$], for example: + \item[\keyindex{clivisauctdown}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6740,11 +7706,11 @@ of.}: \startextract \notes \clivisauctdown ba\enotes \notes \clivisauctdown ca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{podatusauctup} $n$ $p$], for example: + \item[\keyindex{podatusauctup}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6756,11 +7722,11 @@ of.}: \notes \podatusauctup ab\enotes \notes \podatusauctup ac\enotes \notes \podatusauctup cf\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{podatusauctdown} $n$ $p$], for example: + \item[\keyindex{podatusauctdown}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6772,12 +7738,12 @@ of.}: \notes \podatusauctdown ab\enotes \notes \podatusauctdown ac\enotes \notes \podatusauctdown cf\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{pesquassusauctdown} $n$ $p$], for example: - - \begin{music} + \item[\keyindex{pesquassusauctdown}\twop], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6788,12 +7754,12 @@ of.}: \startextract \notes \pesquassusauctdown ab\enotes \notes \pesquassusauctdown ae\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{quilismapesauctdown} $n$ $p$], for example: - - \begin{music} + \item[\keyindex{quilismapesauctdown}\twop], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6804,12 +7770,12 @@ of.}: \startextract \notes \quilismapesauctdown ab\enotes \notes \quilismapesauctdown ae\enotes - \endextract + \zendextract \end{music} - - \item[\keyindex{torculusauctdown} $n$ $p$ $q$], for example: - \begin{music} + \item[\keyindex{torculusauctdown}\threep], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6821,12 +7787,12 @@ of.}: \notes \torculusauctdown aba\enotes \notes \torculusauctdown cfd\enotes \notes \torculusauctdown afc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{Porrectusauctdown} $n$ $p$ $q$], for example: + \item[\keyindex{Porrectusauctdown}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6839,12 +7805,12 @@ of.}: \notes \Porrectusauctdown bNd\enotes \notes \Porrectusauctdown bMe\enotes \notes \Porrectusauctdown bLe\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{climacusauctdown} $n$ $p$ $q$], for example: + \item[\keyindex{climacusauctdown}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6856,12 +7822,12 @@ of.}: \Notes \climacusauctdown cbN\enotes \Notes \climacusauctdown caM\enotes \Notes \climacusauctdown aNM\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{scandicusauctdown} $n$ $p$ $q$], for example: + \item[\keyindex{scandicusauctdown}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6872,12 +7838,12 @@ of.}: \startextract \notes \scandicusauctdown abe\enotes \notes \scandicusauctdown ceg\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{salicusauctdown} $n$ $p$ $q$], for example: + \item[\keyindex{salicusauctdown}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6888,12 +7854,12 @@ of.}: \startextract \Notes \salicusauctdown abe\enotes \Notes \salicusauctdown ceg\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{clivisdeminut} $n$ $p$], for example: + \item[\keyindex{clivisdeminut}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6904,12 +7870,12 @@ of.}: \startextract \notes \clivisdeminut ba\enotes \notes \clivisdeminut ca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{podatusdeminut} $n$ $p$], for example: + \item[\keyindex{podatusdeminut}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6921,12 +7887,12 @@ of.}: \notes \podatusdeminut ab\enotes \notes \podatusdeminut ac\enotes \notes \podatusdeminut cf\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{torculusdeminut} $n$ $p$ $q$], for example: + \item[\keyindex{torculusdeminut}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6938,12 +7904,12 @@ of.}: \notes \torculusdeminut aba\enotes \notes \torculusdeminut cfd\enotes \notes \torculusdeminut afc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{torculusdebilis} $n$ $p$ $q$], for example: + \item[\keyindex{torculusdebilis}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6955,12 +7921,12 @@ of.}: \notes \torculusdebilis aba\enotes \notes \torculusdebilis cfd\enotes \notes \torculusdebilis afc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{Porrectusdeminut} $n$ $p$ $q$], for example: + \item[\keyindex{Porrectusdeminut}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6973,12 +7939,12 @@ of.}: \notes \Porrectusdeminut bNd\enotes \notes \Porrectusdeminut bMe\enotes \notes \Porrectusdeminut bLe\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{climacusdeminut} $n$ $p$ $q$], for example: + \item[\keyindex{climacusdeminut}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6990,12 +7956,12 @@ of.}: \Notes \climacusdeminut cbN\enotes \Notes \climacusdeminut caM\enotes \Notes \climacusdeminut aML\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{scandicusdeminut} $n$ $p$ $q$], for example: + \item[\keyindex{scandicusdeminut}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -7006,14 +7972,12 @@ of.}: \startextract \notes \scandicusdeminut abe\enotes \notes \scandicusdeminut ceg\enotes - \endextract + \zendextract \end{music} \end{description} - %\check - \subsection{musixgui} \ttxem{musixgui.tex} provides some macros for -typesetting \itxem{guitar tablatures}. Most times they are used above modern -music. To give an example: +\subsection{musixgui}\ixtt{musixgui.tex} Provides macros for +typesetting modern style \itxem{guitar tablatures}. For example: \begin{music} \hsize130mm @@ -7073,33 +8037,33 @@ music. To give an example: \end{music} \medskip -\keyindex{guitar} sets the grid, the chord name, the relative barre and play -indicators. As example the first chord in upper example was coded as: +The macro \keyindex{guitar} sets the grid, chord name, barre type, +and on-off indicators for the strings. For example, the first +chord in above example was coded as \verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44| -where the first argument is put above the grid to indicate the chord name, the -second is empty (relative barre) and the other six indicates if the string -is played with either \verb|x|, \verb|o| or \verb|-|. The dots are set with +\noindent where the first argument is the text to be placed above the grid, the +second is empty (relative barre), and the next six characters indicate if the string +is played or not with either \verb|x|, \verb|o| or \verb|-|. The dots are set with \keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The -rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the barre. +rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the position of the barre. -The whole chord may be vertically shifted with -\keyindex{raiseguitar}\verb|{|$n$\verb|}|, where $n$ is a number -in units of \keyindex{internote}. It might be useful to reserve additional +The whole symbol may be vertically shifted with +\keyindex{raiseguitar}\onen, where $n$ is a number +in units of \keyindex{internote}. When using guitar tablatures, it might be +useful to reserve additional space above the chord by advancing \keyindex{stafftopmarg} to something like \verb|stafftopmarg=10\Interligne|. -If you need the chords more often, it might be useful to define your own -macros, e.g.~saying: +For frequently used chords, it might be useful to define your own +macros, e.g. \verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%| - \subsection{*musixlit}\label{litu}\label{otherbars} - Provides a way of coding intermediate between gregorian and baroque/romantic, -still used\footnote{Was written by A. {\sc Egler}. To my knowledge (D. T.), -liturgical works are either written with modern music quotation, or using the -gregorian \itxem{neumes} which have been normalized in 1905.} for liturgical -works! + + \subsection{musixlit}\label{litu}\label{otherbars} + Provides a notation style intermediate between gregorian and baroque, for +example \makeatletter \catcodesmusic @@ -7177,7 +8141,7 @@ works! \end{music} This package provides: - \begin{itemize} + \begin{itemize}\setlength{\itemsep}{0ex} \item\keyindex{oldGclef} which replaces the ordinary G clef with an old one, using (for instrument 2 as an example): \verb|\settrebleclefsymbol2\oldGclef| @@ -7194,7 +8158,8 @@ pitch $p$. \item\keyindex{chl} $p$ provides a square headed half note with stem down at pitch $p$. - \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square headed + \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square +headed quarter note at pitch $p$. \item\keyindex{cnhu} $p$ and \keyindex{cnhl} $p$ provide a stemless square @@ -7217,24 +8182,25 @@ the staff vertical width. staffs, rather that over them. This is an arbitrary question of taste... \end{itemize} + \subsection{musixlyr} \ixtt{musixlyr.tex} + Enables the recommended method for adding lyrics to a score (see \ref{musixlyr}). + \subsection{musixmad} \ixtt{musixmad.tex} Increases the number of +instruments, slurs and beams up to twelve. When using this extension, it is +not necessary to explicitly input \verb|musixadd.tex|. - \subsection{musixmad} \ttxem{musixmad.tex} increases the number of -instruments, slurs and beams up to twelve. - \subsection{musixper}\label{perc} - Provides specific percussion symbols, especially \keyindex{drumclef} -(used in section \ref{sectiondrum}). These definitions cause problems -since drum and percussion notation is not standardized. -So it might be clever to specifiy the names of instruments for each -used symbol. +\subsection{musixper}\label{perc} +Provides special symbols intended for percussion parts. Included are a +\ital{drum clef}---comprising two vertical parallel lines---and notes with +various specially shaped heads. The note symbols that are available are as +follows: - %\check - \begin{itemize} + \begin{itemize}\setlength{\itemsep}{0ex} \item The \raise.5ex\hbox{\musixchar113}~{}~symbol which is obtained using the \verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|dc|'' (think of \ital{DiagonalCross} for e.g. closed \itxem{hihat}). +``\verb|dc|'' (think of {\it d}iagonal {\it c}ross). Available are \keyindex{dcqu}, \keyindex{dcql}, @@ -7248,7 +8214,7 @@ Available are \item The \raise.5ex\hbox{\musixchar112}~{}~symbol which is obtained using the \verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|dh|'' -(think of \ital{DiagonalcrossHalfcircle} for e.g. half open \itxem{hihat}). +(think of {\it d}iagonal cross {\it h}alf open). Available are \keyindex{dhqu}, \keyindex{dhql}, @@ -7262,7 +8228,7 @@ Available are \item The \raise.5ex\hbox{\musixchar111}~{}~symbol which is obtained using the \verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|do|'' -(think of \ital{DiagonalCross and O for circle} for open \itxem{hihat}). +(think of {\it d}iagonal cross {\it o}pen). Available are \keyindex{doqu}, \keyindex{doql}, @@ -7274,8 +8240,8 @@ Available are \keyindex{doccl}. \item The \raise.5ex\hbox{\musixchar114}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|x|'' (e.g. for spoken text of songs). +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|x|'' (e.g.\ for spoken text of songs). Available are \keyindex{xqu}, \keyindex{xql}, @@ -7287,8 +8253,8 @@ Available are \keyindex{xccl}. \item The \raise.5ex\hbox{\musixchar115}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|ox|'' (.!.). +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|ox|'' . Available are \keyindex{oxqu}, \keyindex{oxql}, @@ -7300,8 +8266,8 @@ Available are \keyindex{oxccl}. \item The \raise.5ex\hbox{\musixchar118}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|ro|'' (think of \ital{RhOmbus} for e.g.~shaker). +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|ro|'' (think of {\it r}h{\it o}mbus). Available are \keyindex{roqu}, \keyindex{roql}, @@ -7313,8 +8279,8 @@ Available are \keyindex{roccl}. \item The \raise.5ex\hbox{\musixchar116}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|tg|'' (think of \ital{TrianGle} for e.g.~rattle). +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|tg|'' (think of {\it t}rian{\it g}le). Available are \keyindex{tgqu}, \keyindex{tgql}, @@ -7325,9 +8291,10 @@ Available are \keyindex{tgcl} and \keyindex{tgccl}. - \item The \raise.5ex\hbox to 1em{\musixchar117\hfil} symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded with a -``\verb|k|'' (for bongos). + \item The \raise.5ex\hbox to 1em{\musixchar117\hfil}~{}~symbol which is obtained +using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded by +``\verb|k|'' . Available are \keyindex{kqu}, \keyindex{kql}, @@ -7338,8 +8305,142 @@ Available are \keyindex{kcl} and \keyindex{kccl}. \end{itemize} + +The diamond shaped noteheads described in section \ref{diam} are also +available, because \verb|musixper.tex| inputs \verb|musixdia.tex|. + +If any of the foregoing notes need to be dotted, you must use the explicit +dotting macros \verb|\pt|, \verb|\ppt|, or \verb|\pppt| as described in +section \ref{dots}. + +Since the usage of these note symbols is +not standardized, it would be wise to include in the score a explanation +of which symbol corresponds to which specific percussion instrument. + +A special \itxem{drum clef}---comprising two heavy vertical bars---can +be made to replace the normal clef for the $n$-th intrument by saying +\keyindex{setclefsymbol}\onen\keyindex{drumclef} . +To cause this to appear at the right vertical position, the instrument should +previously have been assigned a treble clef (or not explicitly assigned any +clef, thereby giving it a treble clef by default). + +Percussion music might be written on a staff with either one or five lines. +If there are several different percussions instruments it may be useful to +use a five-line staff with a drum clef, and differentiate the instruments +by the type of the note heads and the apparent +pitch of the note on the staff. Here is an example of the +latter\footnote{provided by Agusti {\sc Mart\'in Domingo}}: + +\medskip +\begin{music} +\generalmeter{\meterfrac44} +\setclefsymbol1\drumclef +\parindent0pt\startpiece +\leftrepeat +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\bar +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\bar +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\setrightrepeat\endpiece +\end{music} +\noindent Its coding is + \begin{quote}\begin{verbatim} +\begin{music} +\instrumentnumber{1} +\generalmeter{\meterfrac44} +\setclefsymbol1\drumclef +\parindent0pt\startpiece +\leftrepeat +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\bar +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\bar +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\setrightrepeat\endpiece +\end{music} + \end{verbatim}\end{quote} + +Here is an example of a single-line percussion staff using +diamond-shaped note heads: + +\begin{music} +\parindent 19mm +\instrumentnumber{3} +\setname1{keyboard} \setname2{drum} \setname3{monks} +\setlines2{1} +\setlines3{4} +\setinterinstrument1{-2\Interligne}% less vertical space above +\setinterinstrument2{-2\Interligne}% and below the percussion +\sepbarrules +\setsign1{-1} % one flat at keyboard +\generalmeter{\meterfrac24} +\setmeter3\empty +\setclef3\alto +\setclef1\bass +\setstaffs12 % 2 staffs at keyboard +\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3 +\setclefsymbol2\drumclef % cancel G clef at instrument 2 +\startextract +\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar +\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes +\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\enotes\bar +\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes +\endextract +\end{music} +\noindent which is coded as follows: + +\begin{verbatim} +\parindent 19mm +\instrumentnumber{3} +\setname1{keyboard} \setname2{drum} \setname3{monks} +\setlines2{1} +\setlines3{4} +\setinterinstrument1{-2\Interligne}% less vertical space above +\setinterinstrument2{-2\Interligne}% and below the percussion +\sepbarrules +\setsign1{-1} % one flat at keyboard +\generalmeter{\meterfrac24} +\setmeter3{\empty} +\setclef3{\alto} +\setclef1{\bass} +\setstaffs1{2} % 2 staffs at keyboard +\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3 +\setclefsymbol2{\drumclef} % cancel G clef at instrument 2 +\startextract +\end{verbatim} + +% (DAS) Sorry, guys, I couldn't figure out how to get the |'s to work in this +% verbatim. +% +\vskip-11pt +\def\Vert{{\tt\char'174}} +\noindent\verb|\Notes\hu F|\Vert\verb|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar|\\ +\verb|\NOtes\qu I|\Vert\verb|\zq N\qu d&\qp&\diapunc f\enotes|\\ +\verb|\NOtes\qu J|\Vert\verb|\zq a\qu e&\ynq4&\diapunc f\enotes\bar|\\ +\verb|\notes\hu G|\Vert\verb|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes|\\ +\verb|\endextract| + \subsection{musixpoi} - Adds pointed compact definitions of notes. + Adds definitions of less common singly and doubly dotted notes. Available are \keyindex{ccup}, \keyindex{zccup}, @@ -7367,24 +8468,22 @@ Available are \keyindex{zcccclpp}. %\check - \subsection{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}} - This file provides a set of indications for \itxem{string instruments} (e.g. -\ixem{violin}) execution, provided by Werner {\sc Icking}\index{Icking, -W.@{\sc Icking, W.}}. - + \subsection{musixps}\label{musixps}\index{musixps@{\tt musixps.tex}} + Activates type K postscript slurs, ties, and hairpins (see \ref{PostscriptSlurs}). - {\input musixstr - The symbols described below should be posted at the wanted place using - \verb|\zcharnote|$p$\verb|{|$<command-name>$\verb|}|. + \subsection{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}} + Provides bowing and other symbols for \itxem{string instruments}\footnote{provided +by Werner {\sc Icking}}. The symbol can be posted at the desired position using + \verb|\zcharnote|\pitchp\verb|{|$command$\verb|}|. The available symbols and +their meanings are as follows: -\begin{quote}\begin{description} +{\input musixstr +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} \item[\hbox to 1em{\AB}~: \keyindex{AB} or \keyindex{downbow}] down-bow - \item[\hbox to 1em{\AUF}~: \keyindex{AUF} or \keyindex{upbow}] up-bow - \item[\hbox to 1em{\SP}~: \keyindex{SP}] at the top of bow \item[\hbox to 1em{\FR}~: \keyindex{FR}] at the nut of bow @@ -7408,20 +8507,17 @@ W.@{\sc Icking, W.}}. %\check \subsection{musixsty}\index{musixsty@{\tt musixsty.tex}} - This file is made for non \TeX perts and/or lazy score typesetters. Although -related to \musixtex, it has little to see with music, but it helps writing -all surrounding texts, like \itxem{titles}, \itxem{author names}, historical -comments, etc. It provides - \begin{itemize} - \item a set of font definitions of common use, such as \verb|\tenrm|, -\verb|\eightrm|, etc., - \item a reasonable setting of \keyindex{hsize}, \keyindex{vsize}, -\keyindex{hoffset}, \keyindex{voffset} dimensions in order to have a good -layout fit for European A4 paper\footnote{People addicted to \itxem{legal} or -other paper sizes should correct it for their own purpose.} + Provides certain text-handling facilities for titles, footnotes, and other +items not related to lyrics. It should not be used with \LaTeX. It includes + \begin{itemize}\setlength{\itemsep}{0ex} + \item definitions for commonly used fonts such as \verb|\tenrm|, +\verb|\eightrm|, etc.; + \item definitions of \keyindex{hsize}, \keyindex{vsize}, +\keyindex{hoffset}, \keyindex{voffset} suitable for A4 paper; those using +other sizes may wish to modify it once and for all; \item a set of text size commands: - \begin{description} + \begin{description}\setlength{\itemsep}{0ex} \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm}, \keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 8 point font size; \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm}, @@ -7432,69 +8528,62 @@ other paper sizes should correct it for their own purpose.} \item[\keyindex{twtypoint}] to get 20.74 point font size; \item[\keyindex{twfvpoint}] to get 24.88 point font size; \end{description} - \item a set of commands to make easy piece titles: - \begin{itemize} \item \keyindex{author} or + \item commands for creating titles: + \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{author} or \keyindex{fullauthor} to be put at the right of the first page, below the -title of the piece; the calling sequence is, for example: +title of the piece; the calling sequence is, for example \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}| - \noindent where the \verb|\\| makes the author's name displayed on two or -several lines. - + \noindent where the \verb|\\| causes the author's name to be displayed on +two lines; - \item \keyindex{shortauthor} to be put at the bottom of each page, - \item \keyindex{fulltitle} which is the big main title of the piece, - \item \keyindex{subtitle} is displayed below the main title of the piece, + \item \keyindex{shortauthor} to be put at the bottom of each page; + \item \keyindex{fulltitle} which is the main title of the piece; + \item \keyindex{subtitle} is displayed below the main title of the piece; \item \keyindex{shorttitle} or \keyindex{title} - which is the title repeated at the bottom of each page, - \item \keyindex{othermention} which is displayed on the left of the page, in -front of the author's name (it may contain several \verb|\\| to display it on -several lines, - \item \keyindex{maketitle} which displays all the previous stuff. + which is the title repeated at the bottom of each page; + \item \keyindex{othermention} which is displayed on the left of the page, +vertically aligned with author's name. It may contain \verb|\\| to display it on +several lines; + \item \keyindex{maketitle} which displays all the previous stuff; \end{itemize} - \item Some additional commands to make \itxem{footnotes}. - These commands are - \begin{itemize} - \item The normal Plain-\TeX\ \keyindex{footnote} command which has two -arguments --- not only one as in \LaTeX\index{LaTeX@\protect\LaTeX} --- namely -the label of the footnote, i.e. any sequence of characters and not only -figures, and the text of the footnote. - -\begin{important} the \verb|\footnote| command does not work inside -boxes\footnote{This is not a \TeX-bug, this is a feature!}, therefore this -command must not be issued within music. But another alternate feature is -provided (see below). - \end{important} + \item commands for making \itxem{footnotes}: + \begin{itemize}\setlength{\itemsep}{0ex} + \item The normal Plain-\TeX\ \keyindex{footnote} command, which has two +arguments---not just one as in \LaTeX\protect\index{LATEX@\LaTeX}---namely +the label of the footnote, which can be any sequence of characters, and +the text of the footnote. This command does not work inside +boxes, so it cannot be issued within music; \item The \keyindex{Footnote} command, which counts the footnotes and uses a -number as the label of the foot note (equivalent to \LaTeX's \verb|\footnote| -command). The same restriction applies concerning footnotes within the music -coding. +number as the label of the footnote (equivalent to \LaTeX's \verb|\footnote| +command). The same restriction as with \verb|\footnote| applies concerning +its use within the music coding; \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which -makes the footnote itself at the bottom of the current page, but does not put -the footnote label at the place it is referred in the main text. - - Thus, if a footnote is needed whose reference lies inside the music itself, -the music typesetter must perform it in two steps: +places a footnote at the bottom of the current page, but does not put +the footnote label at the place the command is entered in the main text. This +also may not be used within music, but if a footnote is needed whose reference +lies inside the music, it can be entered in two steps: \begin{enumerate} - \item quote the reference inside the music, using \verb|zcharnote| for -example, - \item post the footnote itself, using \verb|\vfootnote| outside the music, -either before \keyindex{startpiece} (or \verb|\debutmorceau| with {\tt -musixcpt.tex}) or between \keyindex{stoppiece} and -\keyindex{piececont} or equivalent commands. + \item manually insert the reference inside the music, using e.g. \verb|zcharnote|; + \item post the footnote itself with \verb|\vfootnote| outside the music, +either before \keyindex{startpiece} or between \keyindex{stoppiece} and +\keyindex{contpiece} or equivalent commands. \end{enumerate} \end{itemize} \end{itemize} - Note that \verb|musixsty| should not be used with \LaTeX. + \subsection{musixtmr}\index{musixtmr@{\tt musixtmr.tex}} + Replaces the standard \texttt{musixtex} fonts by the Times series fonts, + as default (see \ref{musixtmr}). + \subsection{musixtri}\index{musixtri@{\tt musixtri.tex}} -Provides triple pointed note symbols. +Provides triply dotted note symbols. Available are: \keyindex{lpppt}, \keyindex{whppp}, @@ -7516,364 +8605,346 @@ Available are: \keyindex{qbppp} and \keyindex{zqbppp}. -\section{Often reported problems and discussion faxilities} - -\subsection{Newsgroups}\index{newsgroups} No specific newsgroup exist -concerning \mutex, \musictex{} or \musixtex; nevertheless W. Icking saw -articles on this topic in {\tt comp.text.tex} as well as in {\tt -de.comp.text.tex}. + \subsection{tuplet}\index{tuplet@{\tt tuplet.tex}} + Causes the figure in xtuplets to be printed within a small gap in the bracket +(see \ref{tuplet}). -\subsection{Mailing list} A mailing-list does exist which was formerly -dedicated to \mutex, and now to \musictex{} and mostly to \musixtex. -You can subscribe to it by -sending an e-mail to {\tt mutex-request@gmd.de} -with the message line\index{mailing list} +% DAS Discussed elsewhere +%\section{The \TeX-music Mailing List} +% +%If you decide to learn to use \musixtex, you are likely to wish that there were +%someone to answer your questions. That is exactly what you'll find on the \TeX-music +%mailing list: experts from all over the world with lots of experience with +%\musixtex{} and related software, who are glad to answer questions and help solve +%problems. You can find out more about the list and sign up at +%\href{http://icking-music-archive.org/mailman/listinfo/tex-music} +%{\underline{\tt http://icking-music-archive.org/mailman/listinfo/tex-music}}. + + +\chapter{Acquiring, Installing, and Using \musixtex}\label{installation} + +This chapter will assume that \TeX\ +is installed. Most \unix\ or Linux systems come with \TeX\ already installed. +If using MS Windows, you'll need to have manually installed some version of +\TeX. MiK\TeX\ is the most common variant by far and therefore will be assumed. If +you need to install MiK\TeX, you can get the software from +\href{http://www.miktex.org/}{\underline{\texttt{http://www.miktex.org}}} +or from CTAN. The Werner Icking Archive contains excellent +\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf}% +{\underline{instructions for installing MiK\TeX}}% +\footnote{Thanks to Eva {\sc Jaksch}}. + +\section{Where to get \musixtex: the Werner Icking Archive}\label{getstuff} + +As already mentioned, the home base for all matters related to \musixtex\ is +the Werner Icking Music Archive, at +\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}. +The most up-to-date versions of \musixtex\ and friends are located in the +\href{http://icking-music-archive.org/software/indexmt6.html}{\underline{software}} +section of the archive. The stable distribution of \musixtex\ will be contained in +\href{http://icking-music-archive.org/software/musixtex/musixtex.zip} +{\underline{\verb|musixtex.zip|}}, which is intended to serve all operating +systems. +The CTAN servers are official mirrors. The main CTAN server's +web link is\\ +\href{http://www.ctan.org/tex-archive/macros/musixtex/taupin/} +{\underline{http://www.ctan.org/tex-archive/macros/musixtex/taupin/}} +and the FTP link is\\ +\href{http://ftp.ctan.org/tex-archive/macros/musixtex/taupin/} +{\underline{http://ftp.ctan.org/tex-archive/macros/musixtex/taupin/}}. + +\subsection{End of line char in text files} +The files in the Werner Icking Archive have been contributed by such a wide +range of authors that there is no common standard for the line endings in text files. +But the key text files serve as input to programs such as \TeX\ and \MF\ +which are insensitive to this. If you use a PC and run into problems using any of +these text files, you might be able to solve them with the program +\verb|flip.exe| which comes with the \musixtex\ distribution. Run it from a +command window by typing \verb|flip -m| $<$filename$>$, and it will +convert line endings from the \unix to MS-DOS convention. + +\subsection{Pre-installed \musixtex} +Many versions of \TeX\ include \musixtex\ as a package. The included version is likely +to be out of date and probably should not be used. When an archived version is +downloaded and properly installed, it will supersede the pre-installed version. + +\section{Installing \musixtex} +The most useful \musixtex\ uses Postscript and produces PDF files. +The installation is very system dependent and therefore beyond the scope of this manual. +You may refer to the installation manual or to the HOWTO files in the archive for either +\href{http://icking-music-archive/software/musixtex/musixwinstall.pdf} +{\underline{Windows}}\ or +\href{http://icking-music-archive/software/musixtex/musixtex-for-unix.html} +{\underline{\unix}}. +Whatever course you choose, there are really just a few +fundamental tasks you must accomplish: +\begin{itemize}\setlength{\itemsep}{0ex} + \item \musixtex\ comprises some \TeX\ source files (\verb|.tex|, \verb|.sty|), +font files, and the executable \verb|musixflx|. The \TeX\ sources and font +files must be placed in locations where \TeX\ can find them; + \item \TeX\ must be advised of the locations of those files; + \item If you are installing any postscript fonts, you'll have to add a map +file somewhere in the \TeX\ file structure, and locate and modify a configuration +file such as \verb|config.ps| to record the addition of the map file. + \item \verb|musixflx| must be placed in a folder that is in your search path, +so it can be executed from your working directory; + \item As stated before, to compile a score, you must run in sequence \verb|tex|, \verb|musixflx|, +and \verb|tex| again. This will produce a \verb|.dvi| file; + \item To view the result, convert the file to +postscript with \textbf{dvips} and then view it with a postscript viewer such +as \textbf{GSview} and \textbf{ghostscript}, or convert the \verb|.dvi| +directly to a PDF file with \textbf{pdftex} and then view it with any PDF viewer +such as \textbf{Adobe Reader}. You also can use a DVI viewer, but if you are using type K postscript slurs, note that DVI viewers will not display the slurs. +\end{itemize} -{\tt subscribe} -\subsection{FAQs}\index{FAQ} +\section{Running Musix\TeX\ } -{\tt gmd.de}, too, has a FAQ which is presently out-of-date and quite unusable -since it displays many questions and comments without giving the answer. -However, it will be probably enhanced in a near future. This -FAQ can be accessed using {\tt -ftp}: +In most systems the commands run in a shell. Unix people are familiar with it. +Also in MS Windows systems, there are a large number of editor/shell programs. Although not recommended, you always can use the DOS +\verb|cmd| shell (\verb|cmd.exe|). -{\tt ftp://ftp.gmd.de/music/mutex/faq} -\noindent and the archive of the mailing list may be accessed also by {\tt -ftp}: +In the examples, a file \verb|mymp| +(\textbf{my} \textbf{m}aster\textbf{p}iece) is used, for demonstrating +the batch commands. -{\tt ftp://ftp.gmd.de/music/mutex/archive} -\noindent or: -{\tt http://www.gmd.de/Mail/} +\subsection{Batch commands for making DVI and postscript (MS Windows)} - {\tt ftp.gmd.de} also contains a lot of stuff concerning music and -typesetting music, which can be accessed by WWW at: +This commands are available in the \musixtex\ distribution. They produce +a DVI file that can be displayed by a viewer +(normally a part of the \TeX\ installation), or/and a Postscript file (normally with GSview). -{\tt http://www.gmd.de/Misc/Music/} +After running \TeX\ on a music file, \verb|musixflx| must run. The program \verb|musixflx| calculates the number of bars on a system (music line), in order to have a nice layout. Then, \TeX\ must run again. +When the paths to the binaries and the batch files are set properly, then the following commands can be used as is. +\subsubsection{Using \TeX\ } +The \ixem{musixtex.bat} command fulfills the sequence \texttt{\TeX\ $\Rightarrow$ musixflx $\Rightarrow$ \TeX}~. -\chapter{Installation}\label{installation} +\begin{quote}\begin{verbatim} +rem musixtex.bat +if not exist %1.tex goto end +if exist %1.mx1 del %1.mx1 +if exist %1.mx2 del %1.mx2 +tex %1 +if errorlevel 2 goto end +musixflx %1 +if errorlevel 1 goto end +tex %1 +:end +\end{verbatim}\end{quote} +The next command (\verb|mupsgs.bat|) processes \verb|mymp.tex| and makes a Postscript file and dispays the file. +\begin{quote}\begin{verbatim} +rem mupsgs.bat +call musixtex.bat %1 +DVIPS.EXE -e0 -t a4 -P pdf -G0 %1.dvi +gsview32.exe %1.ps +\end{verbatim}\end{quote} +The \verb|dvips| output looks a little bit nicer using the options +\verb|-e0| (character drift value~=~0) and \verb|-G0| (shift low chars +to higher position). +\verb|-t a4| is for a4 paper (\verb|-t letter| for letter format). +If the output is to be converted in Adobe Acrobat pdf format, the option \verb|-P pdf| +(load \verb|config.pdf|) is needed. -\section{*Getting the stuff} +If you want to make a PDF output, you may add the line (after \verb+dvips+): -As seen before, all the files are available at \itxem{anonymous ftp} -\verb|hprib.lps.u-psud.fr| (193.55.39.152) in the directory +\noindent{\small +\verb+gswin32c -dBATCH -dNOPAUSE -sDEVICE=pdfwrite -r600 -sOutputFile=%1.pdf -c save pop -f %1.ps+ +} - {\tt /pub/musixtex} +\subsubsection{Using La\TeX\ } +Replace ``\verb+tex+'' by ``\verb+latex+'' in the file \verb+musixtex.bat+~. - The {\tt *.mf} source files are in - {\tt /pub/musixtex/mf} +\subsection{Running \musixtex\ without a shell} +You also may run the commands without a shell. +To forward the argument in the batch file, +use an other batch file which stays in the same directory as your +masterpiece \verb|mymp.tex| and has the same name: \verb|mymp.bat|~. +\verb|mymp.bat| consists of 1 line: \verb|musixtex.bat %~n0|~. -\noindent and the {\tt *.tfm} files are in +\noindent Thus \verb|mymp.bat| passes his own name (\verb|mymp|) via \verb|%~n0| +to the \verb|musixtex.bat| command. - {\tt /pub/musixtex/tfm} +Here are four examples of batch files, dependent of the method you are using. +\endcatcodesmusic +%\begin{quote}\begin{verbatim} +\begin{center} +\begin{tabular}{|l|l|l|} +\multicolumn{3}{c}{Choose only one batch file}\\[.4ex]\hline +Batch file for&making DVI&making postscript\\\hline +name &\verb+rem mymp.bat+&\verb+rem mymp.bat+\\ +contents&\verb+musixtex.bat %~n0+&\verb+mupsgs.bat %~n0+\\\hline +\end{tabular} +%\end{verbatim}\end{quote} +\end{center} -\noindent Besides, this manual is in +\subsection{Running \musixtex\ without giving a file name} +If you want to process i.e.\ all \texttt{.tex} files in a directory, then you could make a batch file +\texttt{texall.bat} with the following commands: - {\tt /pub/musixtex/musixdoc.ps} +\begin{quote}\begin{verbatim} +rem texall +for /F %%I in ('dir /B *.tex') do call mupsgs.bat %%~nI +\end{verbatim}\end{quote} - Another directory, namely {\tt /pub/music\_zips} normally contains {\tt -musixtex.zip} which contains all the distribution for PC (\ixem{MS-DOS}) -computers. This is only for {\tt ftp}-ing convenience since all source files -are directly available in the general directory and subdirectories. In -addition a set of examples (i.e. the files whose name does not begin with -``\verb|musix|'') is packed into \ttxem{musixexa.zip} and this manual is also in -\ttxem{musixdoc\_ps.zip} (the PostScript version) and -\ttxem{musixdoc\_lj.zip} (the PCL version for Laserjets). -Finally the PK files of specific fonts are provided in \ttxem{musixpk.zip}, -\ttxem{musixpk3.zip} (300 and 360 dpi) and \ttxem{musixpk6.zip} (600 dpi); -getting these files is useless if you are able to \MF{} the files whose {\tt -*.mf} are provided in the main package. +Of course, this command also works if there is only one file in a directory, which means you +may use \texttt{texall.bat} for a single file, without giving an argument. -{\sl\noindent CAUTION: the zipped files are provided in the PC line coding, -i.e. with {\tt <cr><lf>} at line ends, rather than single {\tt <lf>} as in the -\unix{} coding. This means that \unix{} users must carefully unzip these files -using the ``{\tt-a}'' (our ``{\tt-aa}'' options of {\tt unzip} to get correct -coding of the source files. Other wise they would find a lot of ``{\tt\^{}M}'' in -their files, which may cause further troubles.}\index{PC end of line -coding}\index{\^{}M} +\chapter{\musixtex\ examples} - Besides, /unix{} users can also --- when in directory {\tt /pub} --- ask for: +The file \verb|musixdoc.tex|, the source for this manual, contains many useful +examples. In the manual, many examples are accompanied by a display of the code +that produced them, while for a few only an image of the extract is included and you'll +have to look in \verb|musixdoc.tex| to see the coding. - {\tt get musixtex.tar}\quad or +Other useful examples cannot be embedded in the source, either because they are +meant to be in \TeX, not La\TeX, or because they are simply to large. For +these the source files also are provided separately. - {\tt get musixtex.tar.Z}\quad or +When compiling or viewing any of the examples, you should keep in mind that +most DVI previewers and laser printers have +their origin one inch below and one inch to the right of the upper right corner +of the paper, while the musical examples have their upper left +corner just one centimeter to the right and below the top left corner of the page. +Therefore, special parameters may have to be given to the DVI transcription +programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\ +commands have been included within the \TeX\ source. - {\tt get musixtex.tar.gz}\quad and even +\section{Small examples} - {\tt get musixtex.zip} +\begin{itemize}\setlength{\itemsep}{0ex} - Then, the {\tt hprib.lps.u-psud.fr} server will perform required collection -and/or compression ``on-the-fly''. Note that in that case the source files -will be in the \unix{} coding rather than PC coding of end of lines. Usually, -this is harmless for PC editors and \TeX{} motors, but who knows... - +\item{\tt ossiaexa.tex}~: This is a stand-alone example of the use of ossia, +provided by Olivier Vogel (section \ref{ossia} on page \pageref{ossia}). -\ital{Fonts}\index{fonts} are provided in {\tt musixtex.zip} as {\tt *.mf} -files but also as {\tt *.tfm} and {\tt*.pk} files for 300~dpi printers or -previewers. Other values of the \ixem{dpi} parameter are also provided in -\verb|musixpk*.zip|. +\item{\tt 8bitchar.tex}~: Using 8bit characters. Here, the European +character set is used. See section \ref{8bit} on page \pageref{8bit} for other sets. -Needed fonts are {\tt musix20}, {\tt musix16}, {\tt musix13}, {\tt musix11}, -{\tt musix24}, {\tt musix29}, {\tt musixspx}\footnote{Inside this file are two -types of piano brackets available. The default you can see printing this doc, -the other you can see printing {\tt musicdoc}. If you prefer the other, which -are designed by Stanislav Kneifl, follow the instruction inside {\tt -musixsps.mf}},\index{Kneifl, S.@{\sc Kneifl, S.}} - {\tt xslhu20}, {\tt xslhu16}, {\tt xslhu24}, {\tt xslhu29}, -{\tt xslhd20}, {\tt xslhd16}, {\tt xslhd24}, {\tt xslhd29}, -{\tt xslu20}, {\tt xslu16}, {\tt xslu24}, {\tt xslu29}, -{\tt xsld20}, {\tt xsld16}, {\tt xsld24}, {\tt xsld29}, -{\tt xslz20} and {\tt xslhz20}. +\end{itemize} -\section{Installing the fonts} -\ital{All} files with the extension {\tt .tfm}\footnote{\TeX\ font metric, -needed directly from binary for \TeX ing the examples or the doc.} must -be copied in that directory, in which the other {\tt .tfm}'s are. +\section{Full examples} +All of these examples and many others are available in +\href{http://icking-music-archive.org/software/musixtex/musixexa.zip} +{\underline{\texttt{musixexa.zip}}} or +\href{http://icking-music-archive.org/software/musixtex/musixexa-T112.tar.gz} +{\underline{\texttt{musixexa-T112.tar.gz}}}. Some of them require the +presence of \verb|musixcpt.tex| which makes examples created in +Music\TeX\ compatible with \musixtex. Here we only mention a few of +special interest. + +\subsection{Examples mentioned in the manual} + +\begin{itemize}\setlength{\itemsep}{0ex} + \item{\tt avemaria.tex}~: the ``M\'editation'' (alias ``Ave Maria'') by +Charles {\sc Gounod} for organ and violin or voice.\index{Gounod, C.@{\sc Gounod, C.}} +To run this five-page example you'll also need \texttt{avemariax.tex}. +It demonstrates the use of separated bar rules (section \ref{avemaria2}) +and the use of staves of different sizes (section \ref{avemaria}). +Also, an additional instrument is created for lyrics. This was a common +practice before the \texttt{musixlyr} package was created by Rainer Dunker. + + \item{\tt glorias.tex}~: a local melody for the French version of +\ital{Gloria in excelsis Deo}, a three-page piece demonstrating the use of the hardlyrics +commands (section \ref{glorias}). {\tt gloriab.tex} is the same piece, but with organ accompaniment. -If you get the error message: +\end{itemize} -{\tt! Font ... not loadable: Metric (TFM) file not found.} +\subsection{Other examples, provided by the authors of MusiX\TeX } -\index{Metric (TFM) not found}\noindent this means you have not succeeded to -install the {\tt .tfm}'s in the right directory. This is not a \musixtex\ -error, but a local \TeX\ implementation error/misunderstanding. Then read or -re-read your \TeX\ installation doc, put the {\tt tfm}'s at the very right -place and start again. +\begin{itemize}\setlength{\itemsep}{0ex} -The {\tt .tfm} only contains the width, height and depth of every character of -a font and is the only needed font-file for \TeX ing. For previewing and/or -printing you need the pixel fonts. On most systems they are packed and have -the extension \verb|.pk|(but perhaps you need the \verb|.gf|-files or -\verb|.300|-files or other: Ask your local \TeX-wizard\footnote{I have read a -mail from somebody, who has said, that he is able --- because he is a -professional --- to write an \verb|install| for installation of packages like -\musixtex. Really? Do it.}!) Most needed and spreaded are fonts for -\verb|dvi|-driver with resolution of 300dpi. Using em\TeX{} associated drivers -the \verb|.pk|-fonts have to be copied in \verb|...\pixel.lj\300dpi\| as a -default, and in general in a directory specified by the environment variable -{\tt DVIDRVFONTS}\footnote{Look at {\tt dvidrv.doc} for more information.}. For -other resolution refer your local manual or \TeX-wizard. - -\section{Building a format}\label{formatbuild} - -Introducing these files in a \itxem{format} (with \ixem{INITEX}) is a mean of -saving computer time and memory. Besides, if you include {\tt musixcpt.tex} in -your format, you will have a format compatible with \musictex\ and --- -provided you made the symmetrical format for \musictex\ --- you can compile -exactly the same source files with both \musictex\ and \musixtex, which is a -good means of finding whether some strange behaviour is specific to one -implementation of the other, or whether you made some general -mistake\footnote{Not all authors have the same opinion :-). But I was told, -that my opinion doesn't count, so forget it -- A.E.}... - -However, although having a \musixtex{} format saves much time, it can also -lead to time wasting weird things in case of updates~: if you update your -source of {\tt musixtex.tex} but not the format {\tt musixtex.fmt}, then -running the command {\tt musixtex} will invoke the old unmodified format... - -\subsection{Starting from nil} -\begin{enumerate} - \item Build up a file called \verb|musixtex.ini| with following content:\\ -\begin{verbatim} -\input plain % or dcplain or eplain or see later a safer way of doing -\input musixtex -% here can you add your most needed files from extension lib -% musixcpt at very last ! -\end{verbatim} -\verb|\def\fmtname{musixtex}\def\fmtversion{|{\tt\mxversion}\verb|}| -\verb|\dump| - \item \verb|initex musixtex.ini|\footnote{depends on your implementation}. - \item \verb|tex &musixtex| \ital{jobname}\footnote{depends on your -implementation}. -\end{enumerate} -\vfill + \item{\tt traeumer.tex}~: the famous ``Tr\"aumerei'' by +Robert {\sc Schumann}\index{Schumann, R.@{\sc Schumann, R.}} for piano, in genuine +\musixtex\ but with some +additions to perform ascending bitmapped \itxem{crescendos}. +There are also S-shaped slurs between 2 staves. -\subsection{Starting from your usual plain format} -\begin{enumerate} - \item First, try to find --- on your favourite system --- whether \verb|tex| -is an executable routine, or a \verb|tex.bat| command in MS-DOS or a -\ital{shell} procedure under \unix. - \item If \verb|tex| is a command try to find the ``{\tt initex}'' local -command: usually it is either \verb|initex| or \verb|tex -i|. - \item Try to find the name of the ``plain \TeX'' format (usually posted -when \TeX ing anything). - \item Then, \ital{mutatis mutandis}, assuming the ``{\tt initex}'' command -has the name \verb|initex| and the ``plain \TeX'' format is \verb|plain|, run -the shell command: + \item{\tt parnasum.tex}~: the first page of ``Doctor gradus ad +Parnassum'' by Claude {\sc Debussy}\index{Debussy, +C.@{\sc Debussy, C.}} for piano. +It contains a rather complex example of a new command \verb+\Special+ +to create staff-jumping doubly beamed notes. +\end{itemize} - \medskip - \verb|initex \&plain musixtex.ins| +\subsection{Additional documentation} - \medskip\noindent which will produce a format file {\tt musixtex.fmt} which -you shall put in the same directory as the others formats (hoping you have -the access rights...). Note --- in \unix{} systems --- the backslash before -the \verb|&| which tells the system to consider this character as a member of -the command, not a batch execution indication. Once this is done, you can -\musixtex\ any score you have written using a command such as: +\begin{itemize}\setlength{\itemsep}{0ex} - \medskip - \verb|tex \&musixtex my-score.tex| + \item{\tt sottieng}~: Notation mistakes, provided by Jean-Pierre Coulon. - \medskip\noindent that is, specifying your new format {\tt musixtex.fmt} -instead of the usual {\tt plain.fmt}. +\end{itemize} - For \ixem{MS-DOS}/{\tt emTeX} users the format building command is: +\section{Compiling musixdoc.tex} +\subsection{Command sequence} - \verb|tex386 -i &plain musixtex.ins| +This is an example of a command sequence (in fact this is the normal procedure for La\TeX\ files). \verb|musixdoc.tex| is a large file, if you use an older version of La\TeX, use ``elatex'' in the command file. +\begin{quote}\begin{verbatim} +latex musixdoc +musixflx musixdoc +latex musixdoc +makeindex -l musixdoc +latex musixdoc +(may require several more runs of elatex to get rid of + "labels may have changed ..." warnings) +dvips -ta4 musixdoc +\end{verbatim}\end{quote} - \noindent (you can change \verb|plain| into \verb|dc-plain| or any other -plain-like format you have) then: +To produce \verb|musixdoc.pdf|, open \verb|musixdoc.ps| in \texttt{GSview}. Go to +\verb+File|Convert+, select \verb|pdfwrite| at 600 dpi resolution, click +\verb|OK|. - \verb|copy musixtex.fmt \emtex\btexfmts\*.*| +\subsection{Using batch files} +There are +many other files that are required to compile this document but all of them +are included in \verb|musixtex.zip|, and will be placed in the proper locations +if you have followed the installation instructions for \musixtex. - \noindent and the {\tt musixtex.bat} command can be +The two following batch files reside in the same dir as \texttt{musixdoc.tex} (or \texttt{musixdoc114.tex}). -% It makes no sense to state -mt20000, perhaps this is useful for MusicTeX, -% (it uses hyphenation to break a line) but not for MusiXTeX (it uses musixflx) +This batch file makes a DVI, Postscript and PDF file, then displays the Postscript file. +The full path names are shown as a comment. +{\small \begin{quote}\begin{verbatim} -if exist %1.tex goto tex -goto end - -:tex -if exist %1.mx1 del %1.mx1 -if exist %1.mx2 del %1.mx2 -tex386 -mt20000 &musixtex %1 %2 %3 %4 %5 %6 %7 %8 %9 - -if errorlevel 2 goto end +rem filename: lapdfview +LATEX.EXE %1 %2.tex +if errorlevel 1 goto end +makeindex -l %1 +rem C:\musixtex\system\musixflx\win32\musixflx %1 musixflx %1 - +LATEX.EXE %1 %2.tex if errorlevel 1 goto end -tex386 -mt20000 &musixtex %1 %2 %3 %4 %5 %6 %7 %8 %9 - +rem C:\"Program Files\MiKTeX 2.7"\miktex\bin\DVIPS.EXE -e0 -t a4 -P pdf -G0 %1.dvi +DVIPS.EXE -e0 -t a4 -P pdf -G0 %1.dvi +rem C:\"program files"\gs\gs8.63\bin\gswin32c -dBATCH ^ +rem -dNOPAUSE -sDEVICE=pdfwrite -r600 \ +rem -sOutputFile=%1.pdf -c save pop -f %1.ps +gswin32c -dBATCH -dNOPAUSE -sDEVICE=pdfwrite -r600 ^ +-sOutputFile=%1.pdf -c save pop -f %1.ps +pause +rem C:\"program files"\Ghostgum\gsview\gsview32.exe %1.ps +gsview32.exe %1.ps +rem pause :end - \end{verbatim}\end{quote} -\end{enumerate} - -\begin{flushright}\it -Don't expect a perfect package or miracles.\\ -There will be enough unexpected miracles.\\[\smallskipamount] -{\sc Eberhard Mattes} -\end{flushright} - -\chapter{Examples} - Due to compatibility problems with \LaTeX\ (used to produce this notice) -large examples must be \TeX -ed separately, i.e.\ using plain \TeX{} and not -\LaTeX. Therefore, the \musixtex\ future user is suggested to produce some of -the following examples and to look carefully at the way some special features -have been coded. - - When producing this examples, care should be taken about the fact -that several given files are supposed to be included (by means of -\keyindex{input}) in other files. Thus the only good files to be directly -\TeX-ed are those which begin with \verb|\input musixtex| or - \verb|% \input musixtex|. This latter command is often commented out so that -the examples can be run either using a \musixtex\ format including {\tt -musixcpt.tex} and {\tt musixsty.tex} --- namely the format generated by {\tt -musixtex.ins} --- or using a \musictex\ format including {\tt musictrp.tex}, -{\tt musicvbm.tex} and {\tt musicsty.tex} --- namely the format generated by -{\tt musixtex.ins}. - -In addition, it must be noted that most DVI previewers and laser printers have -their origin at one inch below and one inch right of the right upper corner -of the paper, while the musical examples have their upper left significant -corner only at one centimeter right and below the left top of the paper. -Therefore, special parameters have to be given to the DVI transcription -programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\ -commands are introduced within the source \TeX\ text. - -\section{Clean \musixtex\ examples} - -\begin{itemize} - \item{\tt avemaria.tex} to get the ``M\'editation'' (alias ``Ave Maria'') by -Charles {\sc Gounod} for organ and violin or song in clean \musixtex-input. -\index{Gounod, C.@{\sc Gounod, C.}} - \item{\tt traeumer.tex} to get the famous ``Tr\"aumerei'' by -Robert {\sc Schumann} for piano, in genuine \musixtex-input but with some -additions to perform ascending \itxem{crescendos}. -\index{Schumann, R.@{\sc Schumann, R.}} - \item{\tt parnasum.tex} to get the first page of ``Doctor gradus ad -Parnassum'' by Claude {\sc Debussy} for piano.\index{Debussy, -C.@{\sc Debussy, C.}} - \item{\tt glorias.tex} to get a local melody for the French version of -\ital{Gloria in excelsis Deo}, showing use of lyrics commands. {\tt -gloriab.tex} is the same, with organ accompaniment. - \item Other clean \musixtex\ examples seem to be no more compatible with -the present version, but they should be updated in a near future. -\end{itemize} - -These examples are packed (zipped) in the {\ttxem{musixexa.zip}} file of the -\musixtex\ distribution. - -\section{Nearly compatible \musictex\ examples} - -These are examples using not only {\tt musixtex} but also {\tt musixcpt} and -{\tt musixsty}, which means their coding is easily understandable for -\musictex{} previous users. However, they cannot be run as is with \musictex, -since a few specific commands have been included, either for spacing, or for -oblique slurs. They are given in {\tt musixexa.zip}, for example: - - \begin{itemize} - \item {\tt gymnoman}~: an imitation of Erik {\sc Satie}'s -\ital{Gymnop\'edies}\index{Satie, E.@{\sc Satie, E.}}, - \item {\tt canticor.tex}/{\tt canticox.tex}~: -a famous tune by Georg Friedrich {\sc Haendel}\index{Haendel, G.F.@{\sc -Haendel, G.F.}}, - \item {\tt ilfaitda.tex}/{\tt ilfaitdx.tex}~: a famous choral by J.-S. -{\sc Bach}\index{Bach, J.S.@{\sc Bach, J.S.}} adapted with French lyrics for -French churches, - \item {\tt widor\_20.tex}~: the famous toccata for organ by Charles-Marie {\sc -Widor}\index{Widor, C.M.@{\sc Widor, C.M.}} in 10 pages (more compact than -commercial editions, and easier to play if nobody can turn the pages), and -{\tt widor\_16.tex} which is the same in 16~pt size, i.e. more compact. - \item{\tt souveni*.tex}~: a nice French tune of the fifties, by Oreste {\sc -Rossi} and Fernand {\sc Capitani} with several transpositions. - \item {\tt marcello.tex}~: the adagio of Benedetto {\sc -Marcello}\index{Marcello, B.@{\sc Marcello, B.}}'s oboe concerto, transcribed -for organ. - \item {\tt hymnepas.tex}~: a modern Eastern canticle by A. {\sc Gouzes} and -{\sc Palestrina}, showing heavy use of \keyindex{hardlyrics} for choral -music.\index{Gouzes, A.@{\sc Gouzes, A.}} - - \end{itemize} - -\section{Compatible \musictex\ examples} - -They are all the examples provided in the \musictex\ distribution. To run them -the easiest way is to have both a {\tt musictex} and a {\tt musixtex} format as -described in \ref{formatbuild}. Otherwise, insert - - \verb|\input musixtex| - - \verb|\input musixcpt| - - \verb|\input musixsty| - - \noindent at the beginning of each example, and \TeX\ it. - - \section{Looking at examples before installing \musixtex} - - Most of the above examples (and some others) are posted, ready to print, as -PostScript files in: - \begin{itemize} - \item {\tt ftp://hprib.lps.u-psud.fr/pub/music\_scores.zip/*/*/*.zip} (zipped -PostScript 300dpi files) - \item {\tt ftp://hprib.lps.u-psud.fr/pub/music\_scores.gz/*/*/*.ps.gz} (gzipped -PostScript 300dpi files) - \end{itemize} - - Printing them on any PostScript printer (needs A4 paper) is a good means of -getting an overview of \musixtex's capabilities. +\end{verbatim}\end{quote} +} +This batch file searches the folder for tex files and calls \texttt{lapdfview.bat} +{\small +\begin{quote}\begin{verbatim} +rem latexall.bat +rem proces all files with extension tex in this directory +for /F %%I in ('dir /B *.tex') do call lapdfview.bat %%~nI +pause +\end{verbatim}\end{quote} +} -\printindex +Thus, to produce \texttt{musixdoc.pdf}, double click on \texttt{latexall.bat}. \clearpage {\parindent0pt @@ -8054,7 +9125,9 @@ number instead of the pitch}% % % clefs % -\setclefsymbol1\empty \nostartrule\contpiece +\setclefsymbol1\empty +%\setlines 11\relax +\nostartrule\contpiece \NOtes \zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk \zchar9{\bs altoclef}\zchar0\altoclef\sk @@ -8070,6 +9143,7 @@ number instead of the pitch}% % % Rests % +\setlines 15\relax \resetclefsymbols\startrule\contpiece \NOtes \multnoteskip{.5}% @@ -8175,6 +9249,34 @@ number instead of the pitch}% \rightrepeat \NOtes \loffset2{\zchar{-4}{\bs rightrepeat}}\en -\endpiece\eject}% +\endpiece\advance\textheight-40mm\eject% \endmuflex +} + +%\makeatletter +%\renewenvironment{theindex}{\newpage +% \addcontentsline{toc}{chapter}{Index}% +% \pagestyle{plain} +% \let\item\@idxitem +% \parskip\z@ \@plus .3\p@\relax +% \begin{multicols}{2}[{\Huge\bfseries Index} ] +% \par\bigskip}% +%{\end{multicols}}% +%\makeatother +%\printindex + +\makeatletter +\renewenvironment{theindex}{\newpage + \setcounter{secnumdepth}{-1} + \chapter[Index]{}\vspace*{-3cm} +% \addcontentsline{toc}{chapter}{Index} + \pagestyle{plain} + \let\item\@idxitem + \parskip\z@ \@plus .3\p@\relax + \begin{multicols}{3}[{\Huge\bfseries Index} ] + \par\bigskip}% +{\end{multicols}}% +\makeatother + \printindex + \end{document} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixflx.1 b/Master/texmf-dist/doc/generic/musixtex/musixflx.1 deleted file mode 100644 index 6b6c7ae50a1..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/musixflx.1 +++ /dev/null @@ -1,36 +0,0 @@ -.\" musixflx.1 -.\" Written by Andreas Tille <tille@debian.org> for the Debian GNU/Linux -.\" distribution but might be useful for others, too. -.\" This manpage is licensed under the GNU Public License -.TH MUSIXFLX 1 - -.SH NAME -musixflx \- preprocess mx1 files - -.SH SYNOPSIS -.B musixflx -.I "[debugmode] jobname.mx1" - -.SH "DESCRIPTION" - -Optionally, you can add a letter to indicate one of the debug modes, which are: - - d for debug information to screen -.br - f for debug information to file jobname.mxl -.br - s to get the computed lines immediately on screen - -To allow for ease of use with a batch file, \fB musixflx\fR -can either be fed with \fI jobname.mx1\fP, \fI jobname.tex\fP -or only \fI jobname\fP, all of which opens \fI jobname.mx1\fP. - -.SH SEE ALSO -musixtex(1) -.br -/usr/share/doc/musixtex/musixdoc.ps on a Debian GNU/Linux system - - -.SH AUTHOR -This manual page was written by Andreas Tille <tille@debian.org> -for the Debian GNU/Linux system (but may be used by others). diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.musixlyr b/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.musixlyr new file mode 100644 index 00000000000..bbf9abd9bea --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.musixlyr @@ -0,0 +1,74 @@ + + musixlyr -- a MusiXTeX Extension Package for Lyrics Handling + Version 2.1c + + (C) Rainer Dunker 1996-2003 + + +musixlyr is a set of TeX macros to be used with Taupin MusiXTeX +(version T.52 or later) for typesetting vocal music. Its purpose is +to compensate two drawbacks of MusiXTeX's lyrics handling: + + o Typesetting lyrics with the ``native'' MusiXTeX commands \zcharnote, + \zsong etc. tends to be quite inefficient, particularly if the + lyrics have to be changed or corrected. The idea underlying + musixlyr is to separate lyrics coding from music coding and let TeX + weave them together with as little manual interference as + possible. As a result you can enter and edit lyrics (nearly) as + easily as normal text. + + o MusiXTeX has no built-in mechanism for centering hyphens between + syllables and for handling hyphenation at long melismas. This is + implemented in musixlyr following the example of engraved music. + + +New in version 2.1: + + o \appendlyrics: Appends additional lyrics to existing lyrics line + without discarding the remainder of the current lyrics + + o A couple of bugs fixed + + +New in version 2.0: + + o Support for lyrics on multi-staff instruments + + o Melisma declaration as part of the lyrics definition, + i.e. within \setlyrics + + o Improved scheme for vertical lyrics positioning + + o Using PMX: Automatic detection of upper/lower voice context in + a two-voice staff; explicitly addressing lyrics commands to + auxiliary lyrics with \auxlyr is no longer required + + o Context-dependent lyrics settings that do not need to be + adressed to absolute instrument/staff numbers, making lyrics + assignment robust against PMX part extraction + + o No more TeX register allocations per verse + (i.e. musixlyr uses only a small, fixed number of registers) + + o Facility for posting "extra" lyrics anywhere on a staff, + even where no notes are present at all + + o Slightly more robust processing of undefined verses + + +See the included file mxlyrdoc.dvi about how to make use of musixlyr. +This DVI file has been created using MusiXTeX T.103. If you have +another version installed, the music examples of the manual may be +corrupted due to font incompatibilities. Nevertheless, the rest of +the manual will remain readable so that you will be able to install +musixlyr and recompile the mxlyrdoc.tex file in order to get +everything right. + +All kinds of comments, suggestions, and bug reports are welcome! + +Author: Rainer Dunker + Wachtelweg 31 + 85591 Vaterstetten + Germany + + E-mail: rainer.dunker@web.de diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.underbracket b/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.underbracket new file mode 100644 index 00000000000..4345cb63fdc --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.underbracket @@ -0,0 +1,64 @@ +LaTeX package underbracket + +draws brackets to underline (song) text + +v1.2 by Bernd Jantzen +For e-mail contact please use "ctan" before the "@"-sign +and "bernd-jantzen.de" after it to form my address +(not given in full clear text here to prevent spam). + +This package draws brackets to underline text (especially, +but not exclusively, syllables of song text). +It may be combined with musixtex/musixlyr, within the argument of +the \setlyrics command or outside the music score. +It provides several macros to define brackets which may e.g. start +and end centered below syllables. +Three length variables are provided to allow a fine adjustment +of the bracket parameters. + +This material is subject to the LaTeX Project Public License. +See http://www.ctan.org/tex-archive/help/Catalogue/licenses.lppl.html +for the details of that license. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Commands: + +\underbracket{TEXT} + draws a bracket underlining TEXT + the bracket starts below the left end of TEXT + and stops below the right end of TEXT + +\Underbracket{TEXT} + like \underbracket, but reserves no vertical space below the text + +\cunderbracket{LEFT}{TEXT}{RIGHT} + draws a bracket underlining LEFTTEXTRIGHT + the bracket starts centered below LEFT and stops centered below RIGHT + +\cUnderbracket{LEFT}{TEXT}{RIGHT} + like cunderbracket, but reserves no vertical space below the text + + +The commands \[c]underbracket do well in normal text which is aligned +according to the baseline. The vertical space reserved below the text +guarantees the distance to the next line. +The commands \[c]Underbracket do well within the \setlyrics command of +musixlyr where the text is vertically centered between the staves. Vertical +space reserved below the text would shift the whole text upwards here. + + +Adjustable length parameters: +(change e.g. with \setlength{\underbracketheight}{4pt}) + +\underbracketwidth (default 0.3pt): + linewidth of the bracket + +\underbracketheight (default 3pt): + height of the bracket (length of the vertical lines) + +\underbracketsep (default 2pt): + vertical distance between the lowest part of the text + and the upper end of the bracket; + also minimal vertical distance below the bracket + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.dvi b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.dvi Binary files differnew file mode 100644 index 00000000000..bafd467dd6f --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.dvi diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.pdf b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.pdf Binary files differnew file mode 100644 index 00000000000..d23648bb6a3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.pdf diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.tex b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.tex new file mode 100644 index 00000000000..4f0c45a12f3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.tex @@ -0,0 +1,23 @@ +\input musixtex +\input musixlyr + +\generalmeter\allabreve +\generalsignature2 +\nobarnumbers +\scale{0.9} +\setlyrics{latin} {Non mo-ri-ar sed} +\setlyrics{german}{Ich wer-de nicht ster-ben, son-dern} +\assignlyrics1{latin,german} +\setsongraise1{-1.5mm} +\startextract + \znotes\verses{,\lyrlayout{\it}}\en + \NOTEs\wh{'a}\en\bar + \NOTes\verses{\beginmel}\ha{'b}\verses{\endmel}\ha a\en\bar + \NOtesp\beginmel\qup{'a}\en + \Notes\ca{'b}\en + \NOtes\verses{,\endmel}\qa{'c}\verses{,\beginmel}\itieu0d\qa d\en\bar + \NOtes\ttie0\qa{'d}\endmel\qa c\en + \NOtes\verses{\beginmel}\ha{'d}\en\bar + \NOTes\verses{\endmel}\ha{'ee}\en +\endextract +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.dvi b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.dvi Binary files differnew file mode 100644 index 00000000000..5c6cfc34948 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.dvi diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.pdf b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.pdf Binary files differnew file mode 100644 index 00000000000..be0b5bbf898 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.pdf diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.tex new file mode 100644 index 00000000000..e5b897cc882 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.tex @@ -0,0 +1,1876 @@ +%% +%% mxlyrdoc.tex: Manual for the MusiXTeX lyrics package musixlyr +%% +%% Copyright (C) 1996-2003 Rainer Dunker +%% +%% This document is free software; you can redistribute it and/or modify +%% it under the terms of the GNU General Public License as published by +%% the Free Software Foundation; either version 2 of the License, or +%% any later version. +%% +%% This document is distributed in the hope that it will be useful, +%% but WITHOUT ANY WARRANTY; without even the implied warranty of +%% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +%% GNU General Public License for more details. +%% +%% You should have received a copy of the GNU General Public License +%% along with this document; if not, write to the Free Software +%% Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA. +%% +%% Author: +%% Rainer Dunker +%% Wachtelweg 31 +%% 85591 Vaterstetten +%% Germany +%% +%% E-mail: rainer.dunker@web.de +%% +\documentclass[twoside]{article} +\usepackage{musixtex,multicol,makeidx} + +\input musixlyr + +\textwidth210mm \advance\textwidth-2in % These format settings +\textheight297mm \advance\textheight-2in % can be freely changed! +\advance\textheight-\headheight \advance\textheight-\headsep +\footskip0pt \topmargin0pt \evensidemargin0pt \oddsidemargin0pt + +\pagestyle{headings} +\parskip0.5ex plus 0.25ex minus 0.25ex +\parindent0pt +\sloppy + +\nobarnumbers +\smallmusicsize + +% +% command index +% +\makeatletter +\renewenvironment{theindex} + {\let\item\@idxitem + \begin{multicols}{2} + \parskip0pt} + {\end{multicols}} +\def\printcmd#1{{\tt\char92 #1}} +\def\ci#1{\printcmd{#1}\bci{#1}} +\def\bci#1{\index{#1@\printcmd{#1}}} % "blind" command index entry +\makeindex + +\let\myqnwidth\qn@width +\makeatother + +\def\musixlyr{{\tt musixlyr}} +\def\PMX{{\bf PMX}} +\def\var#1{\hbox{$\langle$#1$\rangle$}} +\def\oneversespace{\par\vspace*{2mm}} +\def\twoversesspace{\par\vspace*{7mm}} + + + + +\begin{document} + + +\title{\musixlyr\ --- a \musixtex\ Extension Package for Lyrics Handling + (Version 2.1c)} +\author{\copyright\ Rainer Dunker 1996--2003\\ + {\tt rainer.dunker@web.de}} +\maketitle +\thispagestyle{empty} + + +{\small\sl (The page layout of this document is tailored to A4 paper + format, but the text width and height can be freely changed in order + to meet other paper sizes; no part of the layout relies on a + particlular size.)\/} + +{\parskip0pt\tableofcontents} + + + +\section{Introduction} + + +\subsection{Basic concepts} + +\musixlyr\ is a set of \TeX\ macros to be used with Taupin \musixtex\ +(version T.52 or later) for typesetting vocal music. Its purpose is +to compensate two drawbacks of \musixtex's lyrics handling: +\begin{itemize} + \item Typesetting lyrics with the ``native'' \musixtex\ commands + \verb|\zcharnote|, \verb|\zsong| etc.\ tends to be quite + inefficient, particularly if the lyrics have to be changed or + corrected. The idea underlying \musixlyr\ is to separate lyrics + coding from music coding and let \TeX\ weave them together with as + little manual interference as possible. As a result you can enter + and edit lyrics (nearly) as easily as normal text. + \item \musixtex\ has no built-in mechanism for centering hyphens between + syllables and for handling hyphenation at long melismas. This is + implemented in \musixlyr\ following the example of engraved music. +\end{itemize} + + + +\subsection{New since version~2.0} + +\musixlyr~2.0 provides the following major enhancements: +\begin{itemize} + \item Support for lyrics on multi-staff instruments + $\longrightarrow$~section~\ref{multi-staff-instruments} + % + \item Melisma declaration as part of the lyrics definition, + i.\,e.~within \ci{setlyrics} + $\longrightarrow$~section~\ref{melismas} + % + \item Improved scheme for vertical lyrics positioning + $\longrightarrow$~section~\ref{vertical-positioning} + % + \item Facility for posting lyrics anywhere on a staff, even where no + notes are present at all + $\longrightarrow$~section~\ref{lyric*-verse-numbers} +\end{itemize} + +These new features are especially interesting when \musixlyr\ is used in +conjunction with \PMX: +\begin{itemize} + \item Automatic detection of upper/lower voice context in + a two-voice staff; explicitly addressing lyrics commands to + auxiliary lyrics with \ci{auxlyr} is no longer required + $\longrightarrow$~section~\ref{auxlyr-attachment} + % + \item Context-dependent lyrics settings that do not need to be + adressed to absolute instrument/staff numbers, making lyrics + assignment robust against part extraction + $\longrightarrow$~section~\ref{assignment-by-context} +\end{itemize} + +Finally, a few improvements have been made that do not bear explicit +new features but work rather behind the scenes: +\begin{itemize} + \item No more \TeX\ register allocations for each verse name newly + defined by \ci{setlyrics} or \ci{copylyrics}; the use + of those registers has been replaced by macros. + % + \item Due to the abandoned per-verse register allocations, the + \ci{enableauxlyrics} command is obsolete. It is retained for the + sake of backward compatibility, but it has no effect. + % + \item Slightly more robust processing of undefined verses. An error + is raised immediately when an undefined verse is assigned to a + staff/instrument, and the undefined verse name is implicitly + defined as having empty lyrics. This avoids obscure errors in later + stages of \TeX\ processing. +\end{itemize} + +The current version~2.1c is mainly a bugfix version of~2.0, with a few +functional additions: +\begin{itemize} + \item Possibility to add additional lyrics to an existing lyrics + definition without discarding the remainder of the current lyrics + line contents; useful if lyrics are defined in several portions + spread over the score (see~\ref{appendlyrics}). + \item The \musixlyr\ version is identified by the predefined macro + \verb|\musixlyrversion|, enabling other \TeX\ code to check for + version compatibility (according to a suggestion by Dirk Laurie). +\end{itemize} + +Suggestions for other useful things are welcome. + + + +\subsection{Backward incompatibility issues} + +The following properties make \musixlyr\ versions~2.$x$ incompatible +to earlier versions: +\begin{itemize} + \item + It is no longer possible to represent ``empty syllables'' by + empty \TeX\ environments `\verb|{}|' within \ci{setlyrics}; see + also section~\ref{empty-syllable}. + % + \item + Within \ci{setlyrics}, the underscore character has got a + special meaning and thus can no longer be used as usual; see + section~\ref{melismas-by-underscores}. + % + \item + By default, auxiliary lyrics are now placed vertically {\em + above\/} (no longer below) the staff they are assigned to; see + section~\ref{auxlyr-vertical-position-default}. +\end{itemize} + + +The following bugfix of \musixlyr~2.1b also implies a slight backward +incompatibility: +\begin{itemize} + \item + At the beginning of a music line (system), lyrics have often been + right-shifted because \musixlyr\ has assumed MusiXTeX's horizontal + ``zero'' position as the left boundary for lyrics positioning. Now, + lyrics are allowed to extend into the left margin as far as + required for centered placement under/above the note. + + Although this is a more ``natural'' behaviour, it may lead to + collisions between lyrics and other stuff (like dynamic marks) that + have not occurred using older \musixlyr\ versions. In such a case, + there are two ways to solve the problem: + % + \begin{itemize} + \item Restore the former \musixlyr\ behaviour globally by saying + \begin{quote} + \ci{oldlyrlinestart} + \end{quote} + near the top of your score source. + % + \item Right-shift the colliding lyrics where necessary using + \ci{lyroffset} (see~\ref{lyroffset}). + \end{itemize} + \end{itemize} + + + +\subsection{Restrictions} + +\begin{itemize} + \item \musixlyr\ does not influence the \musixtex/{\tt musixflx} + spacing algorithm in order to make the notes spacing dependent on + the space requirements of the lyrics. See section~\ref{horizpos} + about how spacing problems are handled. + % + \item \musixlyr\ seems to work correctly in my preferred working + environment, but I cannot exclude problems in situations I have + not undergone (especially concerning the use of \musixtex\ + preprocessors, the \musixtex\ extension library, and past or + future \musixtex\ releases). Thus it is important that you point out + encountered bugs and incompatibilities to me; there is little + chance that I notice them on my own. + + Please do also bother me if you find this manual --- or parts of + it --- incomprehensible or incomplete. +\end{itemize} + + + +\section{Installation} + +Put the {\tt musixlyr.tex} file into a directory that is included in +your \verb|TEXINPUTS| search path --- that's all. (Refer to your local \TeX\ +documentation for details on this.) + + + +\section{Usage} + +Before using \musixlyr\ macros, state +\begin{quote}\verb|\input musixlyr|\end{quote} +near the beginning of your source file but {\bf after} the +\verb|\input musixtex| (\LaTeX: \verb|\usepackage{musixtex}|) +command. + + + +\subsection{Entering lyrics} + + +\subsubsection{Lyrics as lines of words} + +As opposed to the ``vertical'' music construction of +\musixtex, \musixlyr\ treats lyrics ``horizontally'' as {\em lyrics +lines.\/} Each separate ``thread'' of words is a separate lyrics +line; thus, in the following example\footnote{Excerpt from +``Tourdion'' by {\sc Pierre Attaignant} ({\sl ars +musica\/} vol.\,4, M\"oseler Verlag Wolfenb\"uttel/Z\"urich)}, + +\begin{music} + \setlyrics{soprano} + {Quand je bois du vin clai-ret, a-mi tout} + \setlyrics{alto}{Le bon vin nous} + \setlyrics{tenor}{Bu-vons bien, bu-vons mes a-mis,} + \copylyrics{tenor}{bass} + \assignlyrics4{soprano} + \assignlyrics3{alto} + \assignlyrics2{tenor} + \assignlyrics1{bass} + \setsongraise3{-1.5mm} + \small + \instrumentnumber4 + \generalsignature2 + \generalmeter{\meterfrac32} + \setclef1\bass + \songtop4 + \songbottom1 + \sepbarrules + \startextract + \NOtes\wh{`e}\sk\sk\sk\ha e&% + \wh g\sk\sk\sk\ha e&% + \wh b\sk\sk\sk\ha b&% + \qa{efg'a!gf}\en\bar + \NOTesp\wh{`e}&\wh{'b}&\wh e&\hup e\en + \NOtes\sk\ha{`e}&\sk\ha{'b}&\sk\ha e&\qa{fg'a}\en + % force hyphens of incomplete words: + \def\atnextbar{\znotes\lyric{}&\lyric{}\en}% + \endextract +\end{music} +\oneversespace + +there are four lyrics lines notwithstanding that two of them consist +of the same words. + +Note that the number of lyrics lines does not depend on the number +of staves: Any number of lyrics lines (including none) can be attached +to each staff (more about multiple lyrics lines per staff in +section~\ref{multilyrlines}). + + +\subsubsection{Setting up a lyrics line} + +A lyrics line is set up using the command +\begin{quote} + \ci{setlyrics}\verb|{|\var{name}\verb|}{|\var{words}\/\verb|}| +\end{quote} +where \var{name} is a name\footnote{This name must not contain +backslashes or commas. Most other characters do not cause problems; +however, it is safer to use only letters and digits.} for the lyrics +line (e.\,g.\ the name of the voice singing these lyrics) and +\var{words} is the complete text where multi-syllable words must be +given {\bf hyphenated.} For example, the soprano lyrics of the above +example are set as follows: +\begin{quote} + \bci{setlyrics} + \begin{verbatim} +\setlyrics{soprano}{Quand je bois du vin clai-ret, a-mi tout}\end{verbatim} +\end{quote} + +Important notes on using \ci{setlyrics}: +\begin{itemize} + \item + Within the lyrics definition, spaces and hyphens are used to + split the whole text into words or syllables. If you want a space + or hyphen appear {\em within\/} a word/syllable, use the command + \verb|\space| or \ci{lyrhyphenchar}, respectively, instead. + \item + \label{empty-syllable}% + If you want the lyrics attachment to skip over a note, + i.\,e.~a certain note shall not receive a syllable, you may + achieve this by inserting an empty syllable in the \var{words} + text. However, neither a ``really empty'' syllable (i.\,e.~two + consecutive separating spaces) nor an empty environment \verb|{}| + will work, but you may use either \verb|{\empty}| or + \verb|\empty{}| for this. + + Normally, the \ci{nolyr} command (discussed later in this + manual) should be used for this purpose, but an empty syllable may + be more handy if it occurs in only one of multiple assigned + verses; see also sections~\ref{melismas-by-underscores} + and~\ref{multilyrlines}. + \item + Note that, since lyrics lines are cut into pieces which are + processed separately, you cannot apply things like temporary font + changes in the usual manner (i.\,e.~using \TeX\ + environments). See section~\ref{layoutpar} about how to accomplish + layout changes. + \item + Applying \ci{setlyrics} to an already defined \var{name} + redefines the lyrics line. This may be useful at very long pieces + because setting up and applying lyrics in smaller portions + (e.\,g.\ movement by movement) saves both time and memory. + \item + It is possible to specify melismas --- that shall occur later when + a verse is attached to the music --- already within + \ci{setlyrics}; see section~\ref{melismas-by-underscores} for + details. + +\end{itemize} + +There are two variants of the \verb|\setlyrics| command available: +\begin{itemize} + \item + If several voices have the same lyrics, you do not have to copy + and paste the lyrics for each further voice; just say + \begin{quote}\ci{copylyrics}\verb|{|\var{from name}% + \verb|}{|\var{to name}\verb|}|\end{quote} + to set up a lyrics line named \var{to name} with the same contents + as \var{from name}. + \item + Applying \ci{setlyrics} to an already defined \var{name} + has the effect of discarding all previous contents of \var{name}, + even if part of the lyrics is still pending for being + processed. If you want to {\em append\/} further lyrics to an already + existing lyrics line instead --- without interrupting the + processing of the current lyrics contents ---, use the command + \label{appendlyrics} + \begin{quote} + \ci{appendlyrics}\verb|{|\var{name}\verb|}{|\var{words}\/\verb|}| + \end{quote} + instead of \verb|\setlyrics|. + % A warning about performance loss due to \appendlyrics's material + % accumulation may be added here; it should occur only if \golyr + % jumps to or near to the lyrics beginning are performed. +\end{itemize} + + +\subsubsection{Assigning lyrics lines to staves} + +{\bf Note:} During the following discussion, the term {\em staff\/} is +used wherever \musixtex\ would precisely use the term {\em +instrument\/} instead, assuming that lyrics are posted to single-staff +instruments only. However, everything also applies to the assignment +of lyrics to staves of multi-staff instruments; see +section~\ref{multi-staff-instruments} about how to use lyrics in a +multi-staff instrument context. + +To assign a lyrics line to a staff, say +\begin{quote}\ci{assignlyrics}\verb|{|\var i% + \verb|}{|\var{name}\verb|}|\end{quote} +where \var i is the instrument number (counted as usual from bottom to +top) and \var{name} the name of the lyrics line. + +The resulting assignment can be redefined everywhere. This is useful +if the arrangement of voices on staves changes within the score; when +a voice is continued on a different staff at the next system, use +\ci{assignlyrics} (preferrably enclosed in \verb|\atnextline{...}|) to +make the respective lyrics line follow this change without +interrupting the flow of words. + +If a lyrics line is assigned to instrument \var i and you want it to be +continued on a different instrument while assigning no other lyrics line +to instrument \var i, you must explicitly cancel the former assignment by +saying \ci{assignlyrics}\verb|{|\var i\verb|}{}|. + +{\bf Caution:} Never assign a lyrics line to more than one +staff simultaneously; if the same lyrics are needed at +several staves in parallel, use \ci{copylyrics} (see above). + +As a summary of this section, here is the complete ``lyrics +definition section'' of the above example: +\begin{quote} + \bci{setlyrics} + \bci{copylyrics} + \bci{assignlyrics} + \begin{verbatim} +\setlyrics {soprano}{Quand je bois du vin clai-ret, a-mi tout} +\setlyrics {alto} {Le bon vin nous} +\setlyrics {tenor} {Bu-vons bien, bu} +\copylyrics{tenor} {bass} +\assignlyrics4{soprano} +\assignlyrics3{alto} +\assignlyrics2{tenor} +\assignlyrics1{bass}\end{verbatim} +\end{quote} + +See also section~\ref{assignment-by-context} about an alternative way +to assign lyrics to staves. + + + +\subsection{Managing the attachment of lyrics to notes} +\label{manipulation} + + +\subsubsection{Automatic lyrics attachment} +\label{auto-attachment} + +By default, the syllables of a lyrics line are consecutively attached to +all {\em spacing\/} notes of the assigned staff. Chords thus receive only +one syllable since they usually contain exactly one spacing note. +However, this may be different if you are using auxiliary lyrics; +see section~\ref{auxlyrics} for details. + +``Spacing'' in this context means: generated by one of the commands +\verb|\qu|, \verb|\hu|, \verb|\wh|, etc.\ and not by \verb|\zqu|, +\verb|\zhu|, \verb|\zq|, etc. Spacing or not does {\em not\/} depend on +whether the note-generating command is enclosed in \verb|\znotes| or +any other \verb|\notes| command. So if any note seems to have been +left out by the attachment automatism, first make sure that this +note is generated using a command not beginning with \verb|\z|. + +If the number of words of a lyrics line gets exhausted before all +notes of the respective staff are processed, ``???'' is posted at all +remaining notes. + + +\subsubsection{Addressing manipulations to lyrics} + +In the ``ideal'' case, the attachment automatism perfectly distributes the +lyrics over the music. In practice, however, situations in which the +automatism must be ``helped'' manually are frequent. Such +manipulations must be posted within the music code. Here are the +basic rules: +\begin{enumerate} + \item All lyrics manipulations must be stated inside + \verb|\notes...\enotes|. + (Exception: melisma specifications within \verb|\setlyrics|, see + section~\ref{melismas-by-underscores}). + \item Lyrics manipulations solely refer to the lyrics line(s) + attached to the current staff (``current'' with respect to the + enclosing `\verb|&|' characters). + \item Similar to many other \musixtex\ commands (e.\,g.\ for beams + and slurs), lyrics manipulations must be issued before the + corresponding note commands. +\end{enumerate} +Examples in the following sections will illustrate the application. + + +\subsubsection{Melismas} +\label{melismas} + +Regarding lyrics and music separately, melismas are no property of +either one; instead, they characterize the relation between both and +play a role only where music and lyrics occur together. Using +\musixlyr, however, lyrics coding and music coding are basically +unrelated, but melismas do have to be specified somewhere. You have to +decide yourself whether you regard melismas as an attribute rather of +the lyrics or rather of the music (this may vary according to the type +of score you are preparing, or may even differ within a score); +\musixlyr\ provides two corresponding styles of melisma specification +which are discussed in the following paragraphs. + +\begin{description} + \item[Melismas as a music property.] + Within the music code, a melisma is initiated and terminated by the + command pair + \begin{quote} + \hspace*{\fill}\ci{beginmel}\hfill\ci{endmel}\hspace*{\fill} + \end{quote} + issued before the first and last note, respectively, of the melisma. + This left-justifies the current word/syllable, suspends lyrics until + after the melisma, and sets up a ``word extension + underline''\footnote{I am not sure whether this is the appropriate + term; it is taken from the {\sl Finale\/} reference manual.} unless + the current word is continued afterwards and thus has to be + hyphenated. For example, + + \begin{music} + \resetlyrics + \instrumentnumber1 + \small\scale{0.6} + \setlyrics{melismatic}{a me-lis-ma} + \assignlyrics1{melismatic} + \startextract + \NOtes\beginmel\qa{def}\endmel\qa e\en\bar + \NOtes\beginmel\qa{def}\endmel\qa g\en\bar + \NOtes\beginmel\qa{'a!gf}\endmel\qa e\en\bar + \NOtes\beginmel\qa{defe}\en\bar + \NOTEs\endmel\wh d\en + \endextract + \end{music} + \oneversespace + + has been coded as: + \begin{quote} + \bci{beginmel} + \bci{endmel} + \begin{verbatim} +... +\NOtes\beginmel\qa{def}\endmel\qa e\en\bar +\NOtes\beginmel\qa{def}\endmel\qa g\en\bar +\NOtes\beginmel\qa{'a!gf}\endmel\qa e\en\bar +\NOtes\beginmel\qa{defe}\en\bar +\NOTEs\endmel\wh d\en +...\end{verbatim} + \end{quote} + If a system break occurs within the melisma, hyphenation or underline + is continued at the next system, thus automatic line breaking is + applicable. + + \item[Melismas as a lyrics property.] + \label{melismas-by-underscores} + To specify a melisma within a lyrics definition (i.\,e.~within + \ci{setlyrics} or \ci{appendlyrics}), simply append an underscore + character to a syllable to make it span over an additional note, + two underscores to span over two additional notes, and so + on. Alternatively, you may append to a syllable a single underscore + followed by a number which denotes the number of {\em additional\/} + melisma notes: \verb|abc_| is equivalent to \verb|abc_1|, + \verb|abc__| to \verb|abc_2|, and so on. + + No matter which of the two underscore appendix styles you use: If a + melismatic syllable is hyphenated to the following one, the melisma + denotation must {\bf precede} the hyphen --- for example: + \verb|abc__-def| ({\bf not:} \verb|abc-__def|). + + All melisma properties mentioned above (lyrics suspension, left + justification of syllable, word extension underline, system break + support) also apply to melismas specified this way. For reference, + here is the lyrics definition section of the example above, this time + utilizing the underscore melisma technique (note that, in this case, + all \ci{beginmel} and \ci{endmel} commands must be omitted in the + music section): + + \begin{quote} + \ci{setlyrics}\verb|{melismatic}{a___ me_3-lis___-ma_4}| + \end{quote} + + \item[Comparing both points of view.] + The music-oriented melisma view (using \ci{beginmel}/\ci{endmel}) is + advantageous for music with a rather loose binding to certain lyrics, + e.\,g.~folk songs that are to be printed with various verse compilations + or in different languages. You may then enter each verse without + taking care of melismas because they are coded just once as part of + the music. + + On the other hand, the lyrics-focused melisma style (using + underscores) is best suited to pieces with a fixed lyrics-to-music + binding; it is easier to type and to read, but less flexible as + regards combining the same lyrics with different music. It is + especially advantageous for multiple verses (see + section~\ref{multilyrlines}) with different syllables-to-notes + distribution (see verse~3 of the ``Drunken sailor'' example in + section~\ref{versenumbers}); it is much easier to code each verse's + melismas individually than tracking all melismas in parallel using + the \ci{verses} command (see again section~\ref{multilyrlines}). + + \item[Note.] + You may use both styles within the same score but you should avoid + activating both melisma types simultaneously at the same lyrics line; + the result of such an occurrence is undefined. +\end{description} + + +\subsubsection{Turning automatic lyrics attachment on/off} + +If the attachment automatism is unsuitable for some +situation --- e.\,g.\ at complex polyphonic voicings or wherever you +want to place all syllables manually --- you can turn it off using +\begin{quote}\ci{lyricsoff}\end{quote} +after the last note that shall get a syllable. (If your piece begins +with a lyrics-less section, state \ci{lyricsoff} before the first +note of a staff.) To re-enable automatic lyrics attachment, use +\begin{quote}\ci{lyricson}\end{quote} +before the first note that shall get a syllable. + +If automatic lyrics attachment shall skip over certain single notes +only, the \ci{nolyr} command is more suitable (see +section~\ref{nolyr-command}). + + +\subsubsection{Lyrics repetition and skipping} + +As in the following example of a polyphonic piece, + +\begin{music} + \resetlyrics + \instrumentnumber2 + \setclef1\bass + \songtop2 + \songbottom1 + \small + \setlyrics{amen1} + {\llabel{amenlabel}A-men!} \assignlyrics1{amen1} + \copylyrics{amen1}{amen2} \assignlyrics2{amen2} + \startextract + \NOtes% lower staff: + \itenu0K\beginmel\wh K\sk\sk\sk + \midslur2\tten0\endmel\hlp K&% + % upper staff: + \qa f\lyrnop\lyrpt,\qa g% + \golyr{amenlabel}\lclyr\qa h\lyrnop\lyrpt,\qa{_i}% + \golyr{amenlabel}\lclyr\beginmel\islurd1h\qa{hg}% + \tslur1f\endmel\qa f\en + \NOTEs\wh N&\wh g\en + \endextract +\end{music} +\oneversespace + +it often happens that some lyrics phrases are repeated by some but +not all voices, or that each voice has its individual arrangement of +lyrics repetitions. Nevertheless, you do not have to enter +these repetitions directly within \ci{setlyrics}; instead, you +enter the lyrics as if they were performed in an unbroken +sequence. Repetitions and skips are then handled using a ``go to'' +technique involving the following steps: +\begin{description} + \item[Labelling ``go to'' targets.] A syllable which has to be jumped at + must be preceded (without spaces in between) by + \begin{quote}\ci{llabel}\verb|{|\var{label name}\verb|}|\end{quote} + within \ci{setlyrics}. + \item[Performing jumps.] Within the music code, say + \begin{quote}\ci{golyr}\verb|{|\var{label name}\verb|}|\end{quote} + before the note at which the jump has to be performed. + + {\bf Caution:} If you try to jump to an undefined lyrics label, no + meaningful error message is produced. However, if \TeX\ reports an + error at a \ci{golyr} command, you should check conformity of + defined and used labels. +\end{description} +The following actions must be taken in special cases: +\begin{description} + \item[Adding punctuation marks.] Usually a comma or period is + appended to the word preceding a jump; this is done by the command + \begin{quote}\ci{lyrpt}\var{punctuation char}\end{quote} + where \var{punctuation char} can be any single punctuation + character. + \item[Removing punctuation marks.] Before adding a punctuation mark + to a word as said above, an already existing punctuation mark + should be removed by the command: + \begin{quote}\ci{lyrnop}\end{quote} + \item[Lower case letters.] Words at jump targets often begin with a + capital letter which should appear lower case after a jump; + this can be forced by the command: + \begin{quote}\ci{lclyr}\end{quote} +\end{description} +Here is a code excerpt from the above example, summarizing the use of +all mentioned commands: +\begin{quote}\small + \bci{llabel} + \bci{copylyrics} + \bci{setlyrics} + \bci{lyrnop} + \bci{lyrpt} + \bci{golyr} + \bci{lclyr} + \bci{beginmel} + \bci{endmel} + \begin{verbatim} +\setlyrics{amen1} + {\llabel{amenlabel}A-men!} \assignlyrics1{amen1} +\copylyrics{amen1}{amen2} \assignlyrics2{amen2} +\startextract + \NOtes% lower staff: + \itenu0K\beginmel\wh K\sk\sk\sk + \midslur2\tten0\endmel\hlp K&% + % upper staff: + \qa f\lyrnop\lyrpt,\qa g% + \golyr{amenlabel}\lclyr\qa h\lyrnop\lyrpt,\qa{_i}% + \golyr{amenlabel}\lclyr\beginmel\islurd1h\qa{hg}% + \tslur1f\endmel\qa f\en + \NOTEs\wh N&\wh g\en +\endextract\end{verbatim} +\end{quote} +Note that the ``go to'' technique is recommendable mainly if different +voices perform different repetitions or skips on the same lyrics; if +all voices perform the same sequence of repetitions, however, it is +easier to hard-code them within \ci{setlyrics}. + + +\subsubsection{Miscellaneous} +\label{miscmanip} + +\begin{description} + \item[Excluding single notes.] + \label{nolyr-command}% + In the following situation, + + \begin{music} + \resetlyrics + \instrumentnumber1 + \setlyrics1{ca-den-za} + \assignlyrics11 + \startextract + \NOtes\zqlp{'c}\qu e\en + \Notes\qu{'d}\nolyr\cl b\en + \bar + \NOTes\zhl{'c}\hu c\en + \endextract + \end{music} + \oneversespace + + the eighth note must be excluded from receiving a syllable. This + can be accomplished saying + \begin{quote}\ci{nolyr}\end{quote} + before the command generating this note. + \item[Manual lyrics posting.] When automatic lyrics attaching is + switched off, a word or syllable can be placed manually saying + \begin{quote}\ci{lyr}\end{quote} + before the command generating the note that shall get this + word/syllable. + + This command also works independently from a following note command; + you can issue it before a rest, a \verb|\sk| or even alone for + itself in order to place a word/syllable wherever you want (no + matter whether the attachment automatism is on or off). + + Manipulations to the posted word/syllable have to be placed {\em + before\/} the \ci{lyr} command. + \item[Left justification.] Say + \begin{quote}\ci{llyr}\end{quote} + in order to have the next word/syllable left-justified to the + notehead instead of centered. + + If you prefer to have left justification as the default, say + \begin{quote}\ci{leftlyrtrue}\end{quote} + before your piece begins (\ci{leftlyrfalse} to restore centered + lyrics). + \item[Word extension underlines.] The melisma commands (see + \ref{melismas}) automatically manage word extension underlines; + however, they can be set manually: Say + \begin{quote}\ci{lyrrule}\end{quote} + before the respective note command to initiate an underline {\em + after\/} the word, and + \begin{quote}\ci{lyrruleend}\end{quote} + before the note where the underline shall be terminated. + + Note that no underline will be drawn if the word is continued + afterwards so that the underline would interfere with the + hyphenation. + \item[Horizontal offset.]\label{lyroffset}% + To shift a word/syllable out of its default + horizontal position, say + \begin{quote}\ci{lyroffset}\verb|{|\var n\verb|}|\end{quote} + which --- similar to \verb|\roffset| --- moves the next word/syllable + \var n quarter note head widths to the right (left if \var n + is negative). + + Note that the effect of \ci{lyroffset} may be overridden by + automatic lyrics shifting. If you want to gain complete manual + control over the positioning, you have to disable the shifting + automatism; see section \ref{horizpos} for details. + \item[Extra lyrics.] If, as in the following + example\footnote{Excerpt from ``In the town where I was born'' + ({\sl Eine kleine Melodie,\/} Strube, M\"unchen 1989)}, + + \begin{music} + \resetlyrics + \instrumentnumber2 + \generalsignature1 + \setclef1\bass + \songtop2 + \songbottom1 + \interinstrument=6mm + \setsongraise2{-0.5mm} + \scale{1.5} + \forcelyrhyphenstrue + \small + \setlyrics{lower}{yel-low sub-ma-rine,} \assignlyrics1{lower} + \copylyrics{lower}{upper} \assignlyrics2{upper} + \startextract + \Notes\ibl0N0\zqbp0N\ibu1N0\qbp1b&% + \ibl2f0\zqbp2d\ibu3g0\qbp3g\en + \notes\tbbl0\tbl0\zqb0N\tbbu1\tbu1\qb1b&% + \tbbl2\tbl2\zqb2d\tbbu3\tbu3\qb3g\en + \Notes\ibl0M0\zqbp0M\ibu1N0\qbp1b&% + \ibl2f0\zqbp2d\ibu3g0\qbp3g\en + \notes\tbbl0\tbl0\zqb0M\tbbu1\tbu1\qb1b&% + \tbbl2\tbl2\zqb2d\tbbu3\tbu3\qb3g\en + \Notes\ibl0L{-1}\zqbp0L\hu b&\zhl d\hu g\en + \notes\tbbl0\tbl0\lyric{ya,}\qb0K\en + \Notes\ibl0L1\lyric{ya,}\qbp0L\en + \notes\tbbl0\tbl0\lyric{ya,}\qb0M\en + \endextract + \end{music} + \oneversespace + + a voice has ``extra'' lyrics (such as ``hmm'', ``ah'', ``ya'', etc.) + in addition to the ``main'' lyrics, you need not enter them within + \ci{setlyrics} (which would inhibit using \ci{copylyrics}); + instead, you can enter them directly within the music code using + the command + \begin{quote}\ci{lyric}\verb|{|\var{extra syllable}\verb|}|\end{quote} + before the note where they shall appear. (Note that the effect is + different from using \verb|\csong| which would not apply automatic + hyphenation, horizontal positioning control, and \musixlyr's + vertical positioning scheme.) Automatic lyrics attaching --- if + active --- is suspended at that note. All manipulations can be + applied; they must be given before the \ci{lyric} command. + + If you want the syllable linked to the following one by a hyphen, + use \ci{lyrich} instead of \ci{lyric}. + + It may sometimes be necessary to post lyrics where no note is + present at all, i.\,e.~in the empty space between notes. This is, + however, possible with \verb|\lyric|, but is is unsuitable because + automatic lyrics attachment shall {\em not\/} be suspended at the + next note. In this case one of the commands \ci{lyric*} or --- for + hyphenated syllables --- \ci{lyrich*} should rather be used; they + have no effect on the ``regular'' flow of lyrics. + \label{lyric*-verse-numbers}% + One application for this are vertically aligned verse numbers. For + example, + + \begin{quote} + \bci{lyric*} + \bci{verses} + \begin{verbatim} +\setlyrics1{Spring time} +\setlyrics2{Au-tumn} +\assignlyrics1{1,2} +... +\znotes\loffset{2.2}{\verses{\lyric*{1.},\lyric*{2.}}}\en +\hardspace{4mm}% +\NOTes\hu{ee}\en +...\end{verbatim} + \end{quote} + + yields: + + \begin{music} + \resetlyrics + \setlyrics1{Spring time} + \setlyrics2{Au-tumn} + \assignlyrics1{1,2} + \lyrraise1{b -1.5mm} + \scale{1.2} + \startextract + \znotes\loffset{2.2}{\verses{\lyric*{1.},\lyric*{2.}}}\en + \hardspace{4mm}% + \NOTes\hu{ee}\en + \endextract + \twoversesspace + \end{music} + + (See section~\ref{multilyrlines} about attaching multiple verses + to a single staff, a feature that has not been introduced so far.) + + You may even obtain verse numbers that are repeated at the + beginning of each system by enclosing the \verb|\znotes...| command + for setting the numbers in \verb|\def\everystaff{...}|. + + Another possible application --- combined with empty syllables --- + is coping with unusual lyrics situations at voltas; for example, + + \begin{music} + \twoversesspace + \setlyrics1{first pass} + \setlyrics2{se-cond pass} + \assignlyrics1{1,2} + \resetlyrics + \scale{2} + \startextract + \NOTEs\wh g\en + \Setvolta1\def\atnextbar{\znotes\verses{,\lyric{}}\en}\bar + \NOTEs\wh g\en + \znotes\verses{,\lyrich*{}}\en \Setvolta2\setendvoltabox\rightrepeat + \NOTEs\verses\lyricsoff\pause\en\bar + \NOTEs\ha{gg}\en\setendvolta + \endextract + \twoversesspace + \end{music} + + is accomplished by: + + \begin{quote} + \bci{verses} + \bci{lyric} + \bci{lyrich*} + \begin{verbatim} +\setlyrics1{first pass} +\setlyrics2{se-cond pass} +\assignlyrics1{1,2} +\startextract + \NOTEs\wh g\en + \Setvolta1\def\atnextbar{\znotes\verses{,\lyric{}}\en}\bar + \NOTEs\wh g\en + \znotes\verses{,\lyrich*{}}\en + \Setvolta2\setendvoltabox\rightrepeat + \NOTEs\verses\lyricsoff\pause\en\bar + \NOTEs\ha{gg}\en\setendvolta +\endextract\end{verbatim} + \end{quote} + + The trick used here is to inject empty syllables into the second + verse at the barlines around the first volta; they serve as anchors + for the hyphenation suspended under this volta. + + Note that the \ci{lyric}, \ci{lyric*}, \ci{lyrich}, and + \ci{lyrich*} commands cannot be used at staves without assigned + lyrics lines. +\end{description} + + + +\subsection{Horizontal positioning} +\label{horizpos} + +\musixlyr\ takes care of blank space between words. If a word --- at +its default position --- would come too close to or overlap the +previous word, it is shifted right in order to ensure a minimum of +blank space. This minimal interword space can be set by +\begin{quote}\ci{minlyrspace}\verb|=|\var{any \TeX\ dimension}\end{quote} +and is initially set to~3\,pt. + +%The situation is different if two syllables belong to the same +%word. Such syllables are allowed to close up; only overlapping is +%inhibited by shifting. If the space between such syllables is +%narrower than a hyphen, the hyphen is omitted unless you force +%hyphens in every spatial situation saying +%\begin{quote}\verb|\forcelyrhyphenstrue|\end{quote} +%(to restore the default behaviour: \verb|\forcelyrhyphensfalse|). In +%this case, enough room is made for the hyphen by shifting the right +%syllable if necessary. + +\leavevmode\label{nicerhyphens}% +The situation is different if two syllables belong to the same +word. Such syllables are allowed to close up; only overlapping is +inhibited by shifting. If the ``natural'' space between such syllables is +narrower than a hyphen, the hyphen is omitted and the two syllables +close up completely (eventually by left-shifting the second syllable +to prevent a small gap). You may though force +hyphens in every spatial situation saying +\begin{quote}\ci{forcelyrhyphenstrue}\end{quote} +(to restore the default behaviour: \ci{forcelyrhyphensfalse}). In +this case, enough room is made for the hyphen by right-shifting the +second syllable if necessary. + +If the note spacing is quite narrow, lyrics shifting may get +accumulated within a system. In order to prevent shifting words too +far out of their original position, a wider note spacing should be +considered. The command +\begin{quote}\ci{showlyrshifttrue}\end{quote} +marks each lyric shift with a black rectangle of the respective +width, thus making it easy to detect questionable positionings. + +If you prefer to completely disable lyrics shifting, set +\ci{minlyrspace} to a large negative value (e.\,g.~$-10$\,cm). + + + +\subsection{Vertical positioning} +\label{vertical-positioning} + +By default, \musixlyr\ places lyrics vertically centered between the +two adjacent staves. Lyrics below the lowest or above the topmost +staff of a system are centered around the system's bottom or top +margin line.% +\footnote{This is not necessarily the most reasonable way, but it is + compatible to \musixtex's \printcmd{csong} behaviour.} + +In most scores, you will have to deviate from this standard and +manually adjust the lyrics' vertical position. This can be done per +staff with the command +\begin{quote} + \ci{lyrraise}\verb|{|\var n\verb|}|\verb|{|\var{pos}\var{raise}\verb|}| +\end{quote} +which applies the following setting to the lyrics attached to staff +number~\var n: \var{pos} is one of the letters \verb|a| +and~\verb|b|. \verb|a| sets the lyrics above the staff, \verb|b| below +the staff. \var{raise} is a dimension value by which the lyrics are +lifted above (or lowered under, if it is negative) the default +position as mentioned above. \ci{lyrraise}\verb|{|\var n\verb|}{b0pt}| +is the initial setting for all staves. + +It is possible to apply changes to the vertical position at any place +within the score, but in most cases it is most reasonable to do so +within \verb|\atnextline{...}| which ensures consistent, even spacing +within each system. + +For the sake of backward compatibility, applying \musixtex's command +\ci{setsongraise}\verb|{|\var n\verb|}{|\var{raise}\verb|}| +implicitly performs a +\ci{lyrraise}\verb|{|\var n\verb|}|\verb|{b|\var{raise}\verb|}|, +but not vice versa --- i.\,e.~\ci{lyrraise} has no effect on lyrics +set with \musixtex's lyrics commands \verb|\csong|, +\verb|\zsong|,~etc. Likewise, the obsolete \musixlyr\ command +\ci{auxsetsongraise} implies \verb|\auxlyr{\lyrraise...{b...}}|, but +not vice versa (see section~\ref{auxlyrics} to learn about the meaning +of \verb|\auxlyr|). + + + +\subsection{Setting lyrics layout parameters} +\label{layoutpar} + + +\subsubsection{Available parameters} + +\begin{description} + \item[Font:] There is no special font command; the current font is + used for lyrics. It can be changed using the usual \TeX/\LaTeX\ + commands. + \item[Minimum length of word extension underlines:] A word extension + underline is omitted if it would become too short. The minimum + length can be set by + \begin{quote}\ci{minlyrrulelength}\verb|=|\var{any \TeX\ dimension} + \end{quote} + and is initially set to~2\,mm. If you prefer to completely inhibit + the underlines, set this parameter to an unsurpassably high value + (e.\,g.~the width of your paper). + \item[Minimum inter-syllable distance for multiple hyphens:] If the + space between two hyphenated syllables (or between one of the + syllables and the respective system margin) is wider than this + distance, it is filled with a line of hyphens instead of a single + hyphen. The minimum distance to be filled with more than one + hyphen can be set by + \begin{quote}\ci{minmulthyphens}\verb|=|\var{any \TeX\ dimension}\end{quote} + and is initially set to~15\,mm. If you prefer to completely inhibit + filling with multiple hyphens, set this parameter to an + unsurpassably high value. + \item[Hyphen character:] This can be redefined by: + \begin{quote}\verb|\def|\ci{lyrhyphenchar}\verb|{|\dots\verb|}|\end{quote} +\end{description} +Further layout parameters discussed elsewhere are: vertical +positioning (section \ref{vertical-positioning}), word justification +(section \ref{miscmanip}), minimum interword distance, and forcing +hyphens (section \ref{horizpos}). + +{\bf Note:} In order to change the mentioned parameters globally, the +respective commands must be issued {\em outside\/} +\verb|\notes...\enotes|. + +\subsubsection{Individual settings per staff} +\label{indivlayout} + +All layout parameters can be set either globally (applying to all +lyrics lines) or individually, i.\,e.\ valid for a single specified staff. +An individual change is accomplished by enclosing the proper command +in +\begin{quote}\ci{lyrlayout}\verb|{|\dots\verb|}|\end{quote} +and issuing this within \verb|\notes...\enotes| in the section of the +referred-to staff. For example, +\begin{quote} + \verb|\notes...&|\ci{lyrlayout}\verb|{\it\leftlyrtrue}...&...\en| +\end{quote} +applies italic font and left justification to the lyrics line(s) +assigned to the second staff. + +Applying \ci{lyrlayout} to the same staff again overrides +{\em all\/} previous individual settings for this staff; +pay attention to this if you have made several individual settings and +want to reset some but retain others. Saying \ci{lyrlayout}\verb|{}| +restores the global settings for a staff. + +The \ci{lyrlayout} command can also be used within +\ci{setlyrics}; this is useful if an individual setting +(especially a font change) should apply to a particular +portion of lyrics rather than to a portion of music. For example, +\begin{quote} + \ci{setlyrics}\verb|{x}{An |\ci{lyrlayout}% + \verb|{\it}em-pha-sized\lyrlayout{} phrase}| +\end{quote} +causes the word ``emphasized'' to appear italic wherever it is posted +within the music. (Be sure to attach \ci{lyrlayout} commands to +the corresponding lyrics portions {\em without\/} blank spaces in +between.) + +{\bf As an exception,} the {\bf vertical positioning of lyrics} cannot be +changed within \ci{lyrlayout}; instead, it is handled staff-wise +using the special commands discussed in +section~\ref{vertical-positioning}. + + + +\subsection{Multiple verses per staff} +\label{multilyrlines} + +An arbitrary number of verses can be assigned to a staff +straightforwardly by saying +\begin{quote}\ci{assignlyrics}\verb|{|\var n\verb|}{|% + \var{names}\verb|}|\end{quote} +where \var{names} is a {\bf comma-separated list} of the desired +lyrics line names, listed from top to bottom. In the following +example\footnote{Excerpt from: ``Non moriar sed vivam'', motet by +{\sc Martin Luther}}, + +\begin{music} + \resetlyrics + \generalmeter\allabreve + \generalsignature2 + \scale{0.9} + \setlyrics{latin} {Non mo-ri-ar sed} + \setlyrics{german}{Ich wer-de nicht ster-ben, son-dern} + \assignlyrics1{latin,german} + \small + \setsongraise1{-1.5mm} + \startextract + \znotes\verses{,\lyrlayout{\footnotesize\it}}\en + \NOTEs\wh{'a}\en\bar + \NOTes\verses{\beginmel}\ha{'b}\verses{\endmel}\ha a\en\bar + \NOtesp\beginmel\qup{'a}\en + \Notes\ca{'b}\en + \NOtes\verses{,\endmel}\qa{'c}\verses{,\beginmel}\itieu0d\qa d\en\bar + \NOtes\ttie0\qa{'d}\endmel\qa c\en + \NOtes\verses{\beginmel}\ha{'d}\en\bar + \NOTes\verses{\endmel}\ha{'ee}\en + \endextract +\end{music} +\twoversesspace + +the lyrics lines have been set up as follows: +\begin{quote} + \bci{assignlyrics} + \begin{verbatim} +\setlyrics{latin} {Non mo-ri-ar sed} +\setlyrics{german}{Ich wer-de nicht ster-ben, son-dern} +\assignlyrics1{latin,german}\end{verbatim} +\end{quote} + + +\subsubsection{Handling verses individually} + +If you code lyrics attachment manipulations the way +described in section~\ref{manipulation}, these manipulations apply +{\em to all lyrics lines\/} of the referred staff {\em +simultaneously.\/} In order to address each lyrics line separately, +use the command +\begin{quote} + \ci{verses}\verb|{|\var{man1}\verb|,|\var{man2}\verb|,|\dots\verb|}| +\end{quote} +where \var{man1} is a sequence of commands to manipulate the upper +lyrics line, \var{man2} to manipulate the second lyrics line from +above, and so on. These command sequences may be empty. Delimiting +commas after the last non-empty list entry can be omitted. For example, +\begin{quote} + \ci{verses}\verb|{,,\beginmel,\golyr{abc}}| +\end{quote} +leaves the upper two lyrics lines unaltered, initiates a melisma at +the third, performs a jump to label {\tt abc} at the fourth, and +leaves all further ones (whatever their number may be) unaltered. As +another example, the font change for the german lyrics of the above +excerpt is accomplished by +\begin{quote} + \verb|\znotes|\ci{verses}\verb|{,\lyrlayout{\footnotesize\it}}\en| +\end{quote} +before the first note is coded. + + +\subsubsection{Vertical positioning} +\label{multiple-vert-pos} + +A block of multiple lyrics lines is vertically centered around the position +which a single lyrics line would have taken; thus you can do things +like + +{\small\setlyrstrut + \resetlyrics + \setlyrics{Winter1}{Win-ter a-de\rlap{,} a-ber dein Schei-den macht\rlap{,}} + \setlyrics{Winter2}{schei-den tut weh\rlap,} + \assignlyrics1{Winter1,Winter2} + \generalmeter{\meterfrac34} + \generalsignature2 + \setsongraise1{-2mm} + \startextract + \NOtes\qa{ffe}\en\bar + \NOTesp\hup d\en\rightrepeat + \assignlyrics1{Winter1}% + \NOtes\qa{fgh}\en\bar + \NOtes\qa h\en + \Notes\beginmel\Ibu0gf1\qb0g\endmel\tqh0f\en + \NOtes\qa g\en + \endextract} +\twoversesspace + +without having to adjust the vertical position within the +piece. (See the source of this manual for the coding of this +example.) + +\leavevmode\label{lyrstrut}% +The vertical distance between the baselines of multiple verses is +appropriate for the default 10~points font size of plain \TeX. +However, the size-switching commands \verb|\smalltype|, +\verb|\medtype|~etc.\ do not implicitly adjust the vertical distance +to the chosen font size. Since the vertical distance of lyrics is +controlled by the concept of a {\em lyrics strut\/}\footnote{In +analogy to \TeX's {\tt\char92 strut}; see {\sl The \TeX book\/} by +{\sc D.~E.~Knuth.}}, you should perform this adjustment explicitly with +the command +\begin{quote}\ci{setlyrstrut}\end{quote} +directly after each ``global'' font size change (i.\,e.~after each size +change not issued within \verb|\lyrlayout{...}|; +see~\ref{indivlayout}) unless you do not want the spacing to be +adjusted. (\TeX perts only: If you like to define your own vertical +spacing, you may redefine the \ci{lyrstrutbox} yourself.) + + + +\subsection{Auxiliary lyrics} +\label{auxlyrics} + +If you have typeset two voices of a polyphonic arrangement within one +staff, you normally want to give each voice its own lyrics lines. +Usually, the two voices are distinguished by means of the notes' stem +direction; the lyrics of the up-stemmed voice are typeset above, +those of the down-stemmed voice below the staff. \musixlyr\ +provides the facility to maintain such two lyrics ``streams'' per +staff; one of them --- which is handled exactly as described so +far --- will be called {\em main lyrics,\/} the second one {\em +auxiliary lyrics.\/} + + +\subsubsection{Addressing auxiliary lyrics} + +Only two rules are to be obeyed for directing commands to auxiliary lyrics: +\begin{enumerate} + \item Enclose everything concerning auxiliary lyrics in: + \begin{quote}\ci{auxlyr}\verb|{...}|\end{quote} + For example, assign lyrics line~{\tt verse1} to staff~2 as + auxiliary lyrics by: + \begin{quote}\ci{auxlyr}\verb|{\assignlyrics{2}{verse1}}|\end{quote} + For example, begin a melisma at the next note of the ``auxiliary'' voice by: + \begin{quote}\ci{auxlyr}\verb|{\beginmel}|\end{quote} + (For \TeX perts: If the argument of \ci{auxlyr} consists of + only one token, the braces can be omitted, so that + \verb|\auxlyr\beginmel| does the same.) + \item There are exactly two exceptions to the first rule. The first + one are the \ci{setlyrics}, \ci{appendlyrics}, and \ci{copylyrics} + commands which need not be enclosed in \ci{auxlyr}\verb|{...}|; + their function is independent of the later use of the defined + lyrics lines as either main or auxiliary lyrics. + + The second exception concerns lyrics commands issued as type-1 + \TeX\ strings in a \PMX\ source; see below for details. +\end{enumerate} + +\label{auxlyr-vertical-position-default}% +Auxiliary lyrics are lifted above the staff by default, i.\,e.~they have +the same vertical position as main lyrics belonging to the staff above +the current staff. If this causes collisions with the main lyrics of +the upper staff, you have to shift the lyrics away from each other +using the vertical spacing commands discussed in +section~\ref{vertical-positioning}. + + +\subsubsection{Automatic attachment of auxiliary lyrics} +\label{auxlyr-attachment} + +While it is easy to attach only one lyrics ``stream'' to a single +voice within a system automatically, the attachment of both main and +auxiliary lyrics involves the task of determining which note belongs +to which voice. Unfortunately, \musixtex\ does not explicitly state a +note's membership of a particular voice; therefore, a heuristic +method has to be used to gather this information. However, +the situation is completely different if you prepare your scores with +the \PMX% +\footnote{If you don't know what \PMX\ is, have a look at: + {\tt http://icking-music-archive.sunsite.dk/musixtex/software/pmx/}} +preprocessor. The following paragraphs explain managing the lyrics +attachment automatism for both cases --- \PMX\ and +non-\PMX\ --- separately. + + +\paragraph{Using \PMX.} +\label{pmx-autodetection} + +(This paragraph requires some \PMX\ knowledge.) For \PMX-prepared +scores (which \musixlyr\ detects automagically\footnote{% + This automatic \PMX\ detection may cause problems for processing + \PMX\ scores prepared with the \PMX-unaware \musixlyr\ + version~1.0. See section~\ref{no-pmx-autodetection} about how to + solve this backward-incompatibility issue. +}), the distinction +between the two voices of a staff works fully automatic. This applies +to both the automatic lyrics attachment as well as explicit lyrics +manipulations --- i.\,e.,~you do not have to use \ci{auxlyr}\verb|{...}| for +manipulating auxiliary lyrics. (This only applies to manipulations +that appear in a voice's context, i.\,e.~within a type-1 \TeX\ string.) +For reference, see the following example\footnote{Excerpt from +``Waldesnacht, du wunderk\"uhle'' by {\sc Johannes Brahms} ({\sl Eine +kleine Melodie,\/} Strube, M\"unchen 1989)}, + +\oneversespace +\begin{music} + \resetlyrics\small + \setlyrics{soprano}{all der ir-ren Qua-len los.} + \auxlyr{\assignlyrics1{soprano}} + \copylyrics{soprano}{alto} + \assignlyrics1{alto} + + \auxlyr{\lyrraise1{a -3\internote}} + \staffbotmarg5.5\Interligne + \stafftopmarg5\Interligne + \generalsignature2 + \lyrmodealter0 + + \startextract\addspace\afterruleskip + \scale{1.2}% + \NOtes\zhu{=j}\lower6\internote\qp\lifthpause{-3}\sk\qu h\en + \bar + \NOtes\auxlyr\beginmel\roffset{.8}{\isluru2j}\zhup f\lower8\internote\qp\en + \NOTes\hl{^d}\en + \NOTes\zql e\itieu0e\qu e\en + \bar + \NOtes\beginmel\islurd1c\zql c\ttie0\tslur2h\auxlyr\endmel\qu e% + \roff{\endmel\tsslur1d\zhl d}\qu{=d}% + \auxlyr\beginmel\itieu0d\hu d% + \ql d\en + \bar + \NOTes\zhl d\ttie0\auxlyr\endmel\hu d% + \zhl a\hu c\en + \bar + \NOTes\zhl a\fermataup l\hu d\hpause\en + \setdoubleBAR\endextract +\end{music} +\oneversespace + +which can be obtained by the following \PMX\ code (processed with +\PMX\ version~2.3): +\begin{quote} +\bci{auxlyr} +\begin{verbatim} +--- +\input musixtex % These commands are necessary +\input pmx % because pmx.tex MUST be \input +\input musixlyr % before musixlyr.tex! + +\setlyrics{soprano} % \setlyrics and \copylyrics + {all der ir-ren Qua-len los.} % need not be enclosed in +\copylyrics{soprano}{alto} % \auxlyr{...}. + +\assignlyrics1{alto} +\auxlyr{\assignlyrics1{soprano} + \lyrraise1{a 3\Interligne}} + +\let\BM\beginmel % For brevity within the subsequent +\let\EM\endmel % music coding recommended. +--- +1 1 4 4 0 0 3 2 0 5 20 0 + +t +./ + +% 1st and 2nd bar: +r4-6 r2-6 | r4-8 d24s e4 // +c25n a4 | \BM\ f2d s+4 \isu0e{.8}\ e4 / +% 3rd bar: +\BM\ c s \EM\ d2r s d4 // +\ts0e0\EM\ e s+3 dn \BM\ d2 s / +% 4th bar: + d2 a // % Note that \BM and \EM +\EM\ d s c / % apply either to main +% 5th bar: % or to auxiliary lyrics, +a r+0 // % depending on which voice +d of rb / % they appear in.\end{verbatim} +\end{quote} + +By default, main lyrics are attached to the lower voice (whose +lines end with \verb|//| in the \PMX\ source), auxiliary lyrics to the +upper voice; due to \PMX\ internals, this ensures that if only one +voice is present, main lyrics are attached to it. However, situations +exist in which it is desirable to have main lyrics attached to the +upper voice, e.\,g.~when you have only main lyrics and want to +synchronize them with the soprano voice instead of the alto voice +(both of them set on the same staff). In this case, you can toggle the +attachment of lyrics to voices with the command +\begin{quote}\ci{lyrmodealter}\verb|{|\var n\verb|}|\end{quote} for +staff number \var n; the command +\begin{quote}\ci{lyrmodenormal}\verb|{|\var n\verb|}|\end{quote} +restores the default behaviour. If $\hbox{\var n}=0$ then the change +affects all staves. + + +\paragraph{Using ``plain'' \musixtex\ without \PMX.} + +In this context, there are two basically different modes for lyrics +attachment: +\begin{enumerate} + \item In {\em normal mode\/} (which is active by default) only main + lyrics are provided automatically as described in + section~\ref{auto-attachment}. All auxiliary lyrics must be issued + manually by saying \ci{auxlyr}\ci{lyr} before the respective note. + This mode is useful when you do not have auxiliary lyrics at all + or when auxiliary lyrics occur only occasionally within the piece. + \item In {\em alternative mode\/}, both main and auxiliary lyrics + are provided automatically. The two voices of a staff are + distinguished by means of their notes' stem direction; the lower + voice gets main lyrics, the upper one auxiliary lyrics. This + implies that the automatism fails at stemless + notes\footnote{Ancient notes, namely breve, longa, and maxima, are + also treated as stemless notes by \musixtex's internals.}, thus you + have to provide lyrics manually by saying \ci{lyr} or + \ci{auxlyr}\ci{lyr}, respectively, before such notes. This mode is + meant for staves which continuously contain two polyphonic voices + with separate lyrics. +\end{enumerate} + +The appropriate mode can be chosen staff-wise: The command +\begin{quote}\ci{lyrmodealter}\verb|{|\var n\verb|}|\end{quote} +enables alternative mode for staff number \var n; the command +\begin{quote}\ci{lyrmodenormal}\verb|{|\var n\verb|}|\end{quote} +restores normal mode. As stated above, $\hbox{\var n}=0$ performs the +choice affecting all staves. + +For illustration, have a look at the following +example\footnote{Excerpt from ``Audite nova'' by {\sc Orlando di +Lasso} ({\sl ars musica\/} vol.\,4, M\"oseler Verlag +Wolfenb\"uttel/Z\"urich)}: + +\oneversespace +\begin{music} + \resetlyrics \small + \lyrmodealter0 + \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}} + \copylyrics{soprano}{alto} \assignlyrics1{alto} + + \generalsignature{-2} + \advance\stafftopmarg3\Interligne + \advance\staffbotmarg2\Interligne + + \startextract\addspace\afterruleskip + \NOtes\zqu g\ql e\en + \bar + \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0f\en + \Notes\qb0e\en + \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en + \Notes\tqb0e\en + \Notes\endmel\tbslurd0e\ql c\en + \notes\ibbu0h{-1}\qb0h\en + \notes\tqh0g\en + \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en + \bar + \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes + \lyr\wh b\en % must be given manually. + \endextract + \lyrmodenormal0 +\end{music} +\oneversespace + +The lyrics were defined as follows: +\begin{quote} + \bci{auxlyr} + \bci{assignlyrics} + \begin{verbatim} +\setlyrics{soprano}{bring her die Gans,} +\copylyrics{soprano}{alto} + +\assignlyrics1{alto} +\auxlyr{\assignlyrics1{soprano}} + +\lyrmodealter0 % provide main + aux. lyrics automatically\end{verbatim} +\end{quote} + +This is the complete notes section: +\begin{quote} + \bci{auxlyr} + \begin{verbatim} +\NOtes\zqu g\ql e\en +\bar +\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0f\en +\Notes\qb0e\en +\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en +\Notes\tqb0e\en +\Notes\endmel\tbslurd0e\ql c\en +\notes\ibbu0h{-1}\qb0h\en +\notes\tqh0g\en +\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en +\bar +\NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes + \lyr\wh b\en % must be given manually.\end{verbatim} +\end{quote} + +Note that, as opposed to using \PMX, there is no special provision +for attaching main lyrics to the upper voice. If you desire a single +lyrics ``thread'' synchronized with the upper voice, please use +auxiliary lyrics instead and position them below the staff (see +section~\ref{vertical-positioning}). +Alternatively, you may use main lyrics in normal lyrics mode and code +the lower voice completely non-spacing (in the sense explained +in~\ref{auto-attachment}), the upper voice completely spacing; this +should not be too complicated for mainly homophonic pieces. + + + +\subsection{Lyrics at multi-staff instruments} +\label{multi-staff-instruments} + +So far in this manual, the term {\em staff\/} has always been used for +what \musixtex\ precisely calls an {\em instrument\/}. This section, +however, correctly adopts the \musixtex\ terminology. + +Lyrics can be assigned to staves of a multi-staff instrument. To do +so, use +\begin{quote} + \ci{assignlyricsmulti}\verb|{|\var i\verb|}{|\var s\verb|}{...}| +\end{quote} +instead of \verb|\assignlyrics...|; here, \var s~addresses the desired +staff number (counted from bottom to top) of instrument~\var i. + +Nevertheless, +\ci{assignlyrics}\verb|{|\var i\verb|}{...}| +can be used as well if instrument~\var i has multiple staves; in this +case, it is equivalent to +\verb|\assignlyricsmulti{|\var i\verb|}{1}{...}|, +i.\,e.~it affects only the first staff (and not all staves, as may be +presumed). + +In the same spirit, the following ``multi'' commands replace the +standard ones within a multi-staff instrument context: +\begin{quote} + \ci{lyrraisemulti}\\ + \ci{lyrmodenormalmulti}\\ + \ci{lyrmodealtermulti} +\end{quote} + +All other \musixlyr\ commands or features can be used the same way as +within a single-staff instrument context. + +Using lyrics at multi-staff instruments can be useful, for example, +for typesetting songs with piano accompaniment:% +\footnote{Example taken from songbook {\sl Am Brunnen vor dem Tore\/}, +Delphin Verlag M\"unchen/Z\"urich 1981} + +\begin{music} + \resetlyrics + \setlyrics{verse}{Gu-ter Mond, du gehst_ so_ stil_-le} + \assignlyricsmulti11{} + \assignlyricsmulti12{verse} + \lyrraisemulti12{b 2\internote} + \setstaffs12 + \generalsignature{-1} + \generalmeter\meterC + \setclef1\bass + \interstaff{13} + \scale{1.3} + \startextract + \Notes\qp|\ibl0j{-2}\qb0j\tqb0i\en + \bar\hardspace{1.7\myqnwidth}% + \NOtes\isluru1d\lq c\zq M\ql d|\qa h\en + \NOtes\zq c\zq M\ql e|\qa h\en + \Notes\lq c\zq M\ql d|\islurd0h\ibu0h2\qb0h\tslur0i\tqh0i\en + \Notes\tslur1e\zq c\zq M\ql e|\isluru0j\ibl0j2\qb0j\tslur0k\tqb0k\en + \bar\hardspace\myqnwidth + \Notes\isluru1d\lq c\zq M\ql d|\isluru0j\ibl0j{-2}\qb0j\tslur0i\tqb0i\en + \NOtes\zq c\zq M\ql e|\qa g\en + \NOtes\lq c\zq M\ql d|\qp\en + \znotes\midslur2\tsslur1d\en + \zendextract +\end{music} + +The lyrics of this example are defined as follows: +\begin{quote} + \bci{assignlyricsmulti} + \bci{lyrraisemulti} + \begin{verbatim} +\setlyrics{verse}{Gu-ter Mond, du gehst_ so_ stil_-le} +\assignlyricsmulti{1}{2}{verse} +\lyrraisemulti {1}{2}{b \internote}\end{verbatim} +\end{quote} + + + +\subsection{Managing lyrics assignment according to current context} +\label{assignment-by-context} + +Managing the properties of lyrics lines assignment to instruments by +absolute instrument numbers --- as it is done with the +\ci{assignlyrics}, \ci{lyrraise}, and \ci{lyrmodealter} +commands --- may cause difficulties whenever the score's number and +order of instruments shall be rearranged; in this case instrument +numbers change, thus the instrument number parameters of the +mentioned lyrics-related commands have to be adjusted. + +This is especially unpleasant where such a rearrangement is done +automatically, e.\,g.~by \PMX's part extraction facility {\em +scor2prt\/}; this is intended to work without any manual editing +of the generated part files. + +To address this issue, \musixlyr\ provides {\em context-dependent\/} +variants of the commands mentioned above. For example: Instead of +\verb|\assignlyrics{2}{soprano}|, you may say something like: +\begin{quote} + \verb|\notes...&|\ci{assignlyricshere}\verb|{soprano}...\en| +\end{quote} +\ci{assignlyricshere}\verb|{|\var{name(s)}\verb|}| assigns the given verse +\var{name(s)} to the instrument/staff whose context it occurs in within the +\verb|\notes...\en| construct; no absolute instrument/staff number needs to +be specified. + +For example, the following two code fragments are equivalent: + +\begin{quote} + \footnotesize + \hfill + \def\arraystretch{1}% + \begin{tabular}{l@{\qquad}|@{\qquad}l} + \begin{tabular}[t]{@{}l@{}} + \ci{assignlyrics}\verb| {1} {acct}%|\\ + \ci{assignlyricsmulti}\verb|{2}{2}{verse}%|\\ + \verb.\NOtes\qa c&\qa e|\qa g\en. + \end{tabular} + & + \begin{tabular}[t]{@{}l@{}} + \verb|\NOtes|\ci{assignlyricshere}\verb|{acct}\qa c%|\\ + \verb| &\qa e%|\\ + \verb. |.\ci{assignlyricshere}\verb|{verse}\qa g\en| + \end{tabular} + \end{tabular} + \hfill\strut +\end{quote} + +Using \PMX, the context-dependent commands must be given as type-1 +inline \TeX\ strings. Here is the same example, coded as \PMX input: + +\begin{quote} + \footnotesize + \hfill + \def\arraystretch{1}% + \begin{tabular}{l@{\qquad}|@{\qquad}l} + \begin{tabular}[t]{@{}l@{}} + \ci{assignlyrics}\verb| {1} {acct}\|\\ + \ci{assignlyricsmulti}\verb|{2}{2}{verse}\|\\ + \verb|c44 /|\\ + \verb|e44 /|\\ + \verb|g44 /|\\ + \end{tabular} + & + \begin{tabular}[t]{@{}l@{}} + \hphantom{\tt .NOtes.assignlyricshere.acct..qa cg.en}\\ + \\ + \ci{assignlyricshere}\verb|{acct}\ c44 /|\\ + \verb| e44 /|\\ + \ci{assignlyricshere}\verb|{verse}\ g44 /|\\ + \end{tabular} + \end{tabular} + \hfill\strut +\end{quote} + +The first one (left) results in wrong lyrics assignments in {\em +scor2prt\/} output; the second one (right) is robust against part +extraction. + +This is the complete set of ``here'' commands that can be applied the +same way: +\begin{quote} + \ci{assignlyricshere}\\ + \ci{lyrraisehere}\\ + \ci{lyrmodenormalhere}\\ + \ci{lyrmodealterhere} +\end{quote} + +All other \musixlyr\ commands are context-driven anyway, i.\,e.~using +the mentioned ``here'' commands you can completely omit any absolute +instrument/staff number assignment. + + + +\subsection{Miscellaneous} + +\subsubsection{Avoiding problems after {\tt\char92 + endpiece...\char92 startpiece}} + +Sometimes, after having suspended the music with \verb|\endpiece| and +restarted it with \verb|\startpiece| (or the respective +\verb|\...extract| commands), the lyrics lines are totally misaligned +because the internal lyrics positioning parameters are not reset +properly. Saying +\begin{quote}\ci{resetlyrics}\end{quote} +before the beginning of the new music section should solve this +problem. + + +\subsubsection{Improved centering of words with punctuation marks} + +Centered words with an attached punctuation mark often seem a bit +left-shifted since the punctuation mark also counts for the +centering. To have a word centered solely with respect to its +letters, enclose the punctuation mark in \verb|\rlap{...}| as it is +done in the example of section~\ref{multiple-vert-pos}. Unfortunately, +this circumvents the lyrics shifting automatism, and is incompatible +with the use of \ci{lyrnop}. + + +\subsubsection{Verse numbers} +\label{versenumbers} + +There is no special command for this topic. See the following example: + +\begin{music} + \resetlyrics + \generalmeter{\meterfrac24} + \scale{1.8} + \setlyrics{sailor1} + {\llap{1.} What shall we do with a drun-ken sail-or\rlap{?}} + \setlyrics{sailor2} + {\llap{2.} Take him and shake him and try to\lyrlink a-wake him,} + \setlyrics{sailor3}{\llap{3.} Give him a dose of_ salt and wa-ter,} + \setlyrics{sailor4}{\llap{4.} Give him a dash with a bo-som's rub-ber,} + \assignlyrics1{sailor1,sailor2,sailor3,sailor4} + \small\setlyrstrut + \setsongraise1{-6mm} + \startextract + \znotes\llyr\lyroffset{-2}% make the numbers stand off to the left + \lyr% post the numbers + \en + \Notes\ibu0h0\qb0h\en + \notes\nbbu0\qb0h\tqh0h\en + \Notes\ibu0h0\qb0h\en + \notes\nbbu0\qb0h\tqh0h\en\bar + \Notes\Dqbu hd\Dqbu fh\en + \endextract +\end{music} +\oneversespace +\twoversesspace + +To see how this is accomplished, look for the example's coding within +{\tt mxlyrdoc.tex}. + +Section~\ref{lyric*-verse-numbers} explains an alternative method for +setting vertically aligned verse numbers. + + +\subsubsection{``Lyrics slurs''} + +If two consecutive syllables of a lyrics line share the same note (as +in the second verse of the above example), you may want to link them +together with a small slur under them \mbox{like\lyrlink this.} To do +this, use the command \ci{lyrlink} instead of the respective blank +space within the \verb|\setlyrics| definition. + +If any of the adjacent characters extend under their \TeX\ baseline +(like `g', `j', `p', etc.), use \ci{lowlyrlink} which lowers the +slur accordingly (e.\,g.: \mbox{sing\lowlyrlink gladly}). + + +\subsubsection{Restoring the \PMX-unaware behaviour of \musixlyr~1.0} +\label{no-pmx-autodetection} + +As stated in section~\ref{pmx-autodetection}, \musixlyr\ distinguishes +between main and auxiliary lyrics context in a special way when it +detects that the score has been set up using \PMX. However, this +automatic \PMX\ detection may cause problems for processing \PMX\ +scores prepared with the \PMX-unaware \musixlyr\ version~1.0. To solve +this, you can force the old \musixlyr\ behaviour by an explicit macro +redefinition as follows: + +Within {\tt musixlyr.tex}, find the code fragment +\begin{quote}\begin{verbatim} +\ifx\nextvoice\undefined + \def\decide@lyrmode{% + \call@lyrmode + ... + \fi\fi\fi\fi\fi\fi\fi} +\else\end{verbatim}\end{quote} +(which is about 25 lines long). Copy it, exluding the first and the +last line, to your score source and surround it by the +\verb|\makeatletter...\makeatother| command pair. This +should then look like this: +\begin{quote}\begin{verbatim} +\makeatletter + \def\decide@lyrmode{% + \call@lyrmode + ... + \fi\fi\fi\fi\fi\fi\fi} +\makeatother\end{verbatim}\end{quote} + +To restore the \PMX-aware \musixlyr\ behaviour of version~1.1 and +newer, copy the {\em second\/} \verb|\decide@lyrmode| definition +from {\tt musixlyr.tex} to the desired place in your score and +surround it with \verb|\makeatletter...\makeatother|. + +To do these redefinitions within a \PMX\ input file, it is probably +always best to wrap them in macro definitions within the \PMX\ file +preamble. This way, you can switch between the ``old'' and ``new'' +\musixlyr\ behaviour by simply calling these macros in \PMX's +inline-\TeX\ style. + +\pagebreak[4] +\section{Command index} +\printindex + + + +\section{Software license} + +\musixlyr\ (including this manual) is free software; you can +redistribute it and/or modify it under the terms of the GNU General +Public License as published by the Free Software Foundation; either +version~2 of the License, or any later version. + +\musixlyr\ is distributed in the hope that it will be useful, +but WITHOUT ANY WARRANTY; without even the implied warranty of +MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +GNU General Public License for more details. + +You should have received a copy of the GNU General Public License +along with \musixlyr; if not, write to the Free Software +Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA. + +\medskip +Author: +\begin{tabular}[t]{l} + Rainer Dunker\\ + Wachtelweg 31\\ + 85\,591 Vaterstetten\\[0.5ex] + Germany\\[1ex] + E-mail: \tt rainer.dunker@web.de +\end{tabular} + +\end{document} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixre1.pdf b/Master/texmf-dist/doc/generic/musixtex/musixre1.pdf Binary files differnew file mode 100644 index 00000000000..6c418f505fc --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixre1.pdf diff --git a/Master/texmf-dist/doc/generic/musixtex/musixre1.tex b/Master/texmf-dist/doc/generic/musixtex/musixre1.tex new file mode 100644 index 00000000000..f600a9d0523 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixre1.tex @@ -0,0 +1,286 @@ +%format musix + +% version compatible with T103 12 Aug. 2001 D. Taupin + +%II 59.9 + +\input musixtex +%\input musixcpt +\input musixhou +\input musixper +\input musixlit +\input musixgre +\input musixext + +\parindent 0mm +\nopagenumbers\nobarnumbers + +\ifx\MusiXTeX\indefined\def\MusiXTeX{MusiX\TeX}\fi +%\centerline{\cmbxbig\MusiXTeX---Reference}\medskip +\centerline{\Bigfont\MusiXTeX---Reference}\medskip +\centerline{\bigfont Pitches}\medskip +\tt +\def\bs{\char92} +\setclef1{6000} +\afterruleskip2pt +\startmuflex\startpiece +% +% Pitches +% +\addspace\afterruleskip +\notes\wh{`ABCDEFG!ABCDEFGHIJKLMNabcde}\off{-26\noteskip}% + \zchar{14}{\llap`A}\sk + \zchar{14}{\llap`B}\sk + \zchar{14}{\llap`C}\sk + \zchar{14}{\llap`D}\sk + \zchar{14}{\llap`E}\sk + \zchar{14}{\llap`F}\sk + \zchar{14}{\llap`G}\sk + \zchar{14}A\sk + \zchar{14}B\sk + \zchar{14}C\sk + \zchar{14}D\sk + \zchar{14}E\sk + \zchar{14}F\sk + \zchar{14}G\sk + \zchar{-5}{\llap'A}\zchar{14}H\sk + \zchar{-5}{\llap'B}\zchar{14}I\sk + \zchar{-5}{\llap'C}\zchar{14}J\sk + \zchar{-5}{\llap'D}\zchar{14}K\sk + \zchar{-5}{\llap'E}\zchar{14}L\sk + \zchar{-5}{\llap'F}\zchar{14}M\sk + \zchar{-5}{\llap'G}\zchar{14}N\sk + \zchar{14}a\sk + \zchar{14}b\sk + \zchar{14}c\sk + \zchar{14}d\sk + \zchar{14}e\sk\en +\stoppiece\vskip-3\Interligne\setclef1{0000}\contpiece +\notes\wh{abcdefghijklmnopqrstuvwxyz}\off{-26\noteskip}% + \zchar{-8}a\sk + \zchar{-8}b\sk + \zchar{-8}c\sk + \zchar{-8}d\sk + \zchar{-8}e\sk + \zchar{-8}f\sk + \zchar{-8}g\sk + \zchar{-8}h\zchar{-4}{\llap'a}\sk + \zchar{-8}i\zchar{-4}{\llap'b}\sk + \zchar{-8}j\zchar{-4}{\llap'c}\sk + \zchar{-8}k\zchar{-4}{\llap'd}\sk + \zchar{-8}l\zchar{-4}{\llap'e}\sk + \zchar{-8}m\zchar{-4}{\llap'f}\sk + \zchar{-8}n\zchar{-4}{\llap'g}\sk + \zchar{-8}o\zchar{-4}{\llap{'\kern-2pt'}a}\sk + \zchar{-8}p\zchar{-4}{\llap{'\kern-2pt'}b}\sk + \zchar{-8}q\zchar{-4}{\llap{'\kern-2pt'}c}\sk + \zchar{-8}r\zchar{-4}{\llap{'\kern-2pt'}d}\sk + \zchar{-8}s\zchar{-4}{\llap{'\kern-2pt'}e}\sk + \zchar{-8}t\zchar{-4}{\llap{'\kern-2pt'}f}\sk + \zchar{-8}u\zchar{-4}{\llap{'\kern-2pt'}g}\sk + \zchar{-8}v\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}a}\sk + \zchar{-8}w\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}b}\sk + \zchar{-8}x\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}c}\sk + \zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk + \zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en +\stoppiece +\medskip\centerline{\bigfont Notes, Accidentals, Accents, Clefs and Rests} +\medskip +% +% Notes& Accidentals +% +\contpiece +\Notes + \zchar{-4}{Accidentals:}% + \zchar9{\bs zmaxima}\zmaxima i\sk + \zchar{12}{\bs zlonga}\zlonga i\sk + \zchar9{\bs zbreve}\zbreve i\sk + \zchar{12}{\bs zwq}\zwq i\sk + \zchar{12}{\bs wh}\wh i% + \zchar{12}{\bs hu}\zchar{-4}>\hu{>f}% + \zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l% + \zchar{12}{\bs qu}\zchar{-4}\^\qu{^f}% + \zchar{12}{\bs ql}\loff{\zchar{-4}{\bs csh}}\csh l\ql l% + \zchar{12}{\bs cu}\zchar{-4}=\cu{=f}% + \zchar{12}{\bs cl}\loff{\zchar{-4}{\bs cna}}\cna l\cl l% + \zchar{12}{\bs ccu}\zchar{-4}\_\ccu{_f}% + \zchar{12}{\bs ccl}\loff{\zchar{-4}{\bs cfl}}\cfl l\ccl l% + \zchar{12}{\bs cccu}\zchar{-4}<\cccu{<f}% + \zchar{12}{\bs cccl}\loff{\zchar{-4}{\bs cdfl}}\cdfl l\cccl l% +\multnoteskip{1.2}% + \zchar{12}{\bs ccccu}\ccccu f% + \zchar{12}{\bs ccccl}\ccccl l% +\multnoteskip{.8}% + \zchar{12}{\bs grcu}\grcu f% + \zchar{12}{\bs grcl}\grcl l\en +\stoppiece\medskip +% +% various noteheads +% +\contpiece +\Notes +\multnoteskip{1.1}% + \zchar{10}{\bs dqu$^{123}$}% + \zchar{-3}{\eightrm 1 musixdia.tex~~2 musixper.tex~~3 musixgre.tex% + ~~4 musixlit.tex~~5 musixext.tex}\dqu g% + \zchar{10}{\bs yqu$^{123}$}\yqu g% +\multnoteskip{.9}% + \zchar{10}{\bs dcqu$^2$}\dcqu g% + \zchar{10}{\bs dhqu$^2$}\dhqu g% + \zchar{10}{\bs doqu$^2$}\doqu g% + \zchar{10}{\bs xqu$^2$}\xqu g% + \zchar{10}{\bs oxqu$^2$}\oxqu g% + \zchar{10}{\bs roqu$^2$}\roqu g% + \zchar{10}{\bs tgqu$^2$}\tgqu f% + \zchar{10}{\bs kqu$^2$}\kqu f% + \zchar{10}{\bs squ$^3$}\squ g% + \zchar{10}{\bs lsqu$^3$}\lsqu j% + \zchar{10}{\bs rsqu$^3$}\rsqu k% + \zchar{10}{\bs cqu$^4$}\cqu g% + \zchar{10}{\bs cql$^4$}\cql k% + \zchar{10}{\bs chu$^4$}\chu g% + \zchar{10}{\bs chl$^4$}\chl k\en +% +% Pointed Notes and Accents +% +\stoppiece\medskip\contpiece +\Notes + \zchar{-5}{\eightrm Accent on beam with prefix {\it b} and beamrefnumber + instead pitch}% + \zchar{13}{\bs lpz}\lpz f\qu f% + \zchar{13}{\bs upz}\upz l\ql l% + \zchar{13}{\bs lsf}\lsf f\qu f% + \zchar{13}{\bs usf}\usf l\ql l% + \zchar{13}{\bs lst}\lst f\qu f% + \zchar{13}{\bs ust}\ust l\ql l% + \zchar{13}{\bs lppz}\lppz f\qu f% + \zchar{13}{\bs uppz}\uppz l\ql l% + \zchar{13}{\bs lsfz}\lsfz f\qu f% + \zchar{13}{\bs usfz}\usfz l\ql l% + \zchar{13}{\bs lpzst}\lpzst f\qu f% + \zchar{13}{\bs upzst}\upzst l\ql l% + \zchar{16}{\bs downbow}\zchar9\downbow\ql l% + \zchar{13}{\bs upbow}\zchar9\upbow\ql l% + \zchar{16}{\bs flageolett}\flageolett l\ql l% + \zchar{13}{\bs whp}\whp i% + \zchar{13}{\bs qupp}\qupp h\en +\stoppiece\medskip +% +% clefs +% +\let\clefdesoli\empty \nostartrule \contpiece +\NOtes + \zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk + \zchar9{\bs altoclef}\zchar0\altoclef\sk + \zchar{13}{\bs bassclef}\zchar0\bassclef\sk + \zchar9{\bs smalltrebleclef}\zchar0\smalltrebleclef\sk + \zchar{13}{\bs smallaltoclef}\zchar0\smallaltoclef\sk + \zchar9{\bs smallbassclef}\zchar0\smallbassclef\sk + \zchar{13}{\bs drumclef$^2$}\zchar0\drumclef\sk + \zchar9{\bs gregorianCclef$^3$}\zchar0\gregorianCclef\sk + \zchar{13}{\bs gregorianFclef$^3$}\zchar0\gregorianFclef\sk + \zchar9{\bs oldGclef$^4$}\zchar0\oldGclef\sk\en +\zstoppiece\smallskip +% +% Rests +% +\let\clefdesoli\trebleclef \startrule\contpiece +\NOtes +\multnoteskip{.5}% + \zchar{13}{\bs qqs}\qqs + \zchar{13}{\bs hs}\hs + \zchar{13}{\bs qs}\qs + \zchar{13}{\bs ds}\ds + \zchar{13}{\bs qp}\qp +\multnoteskip2% + \zchar{13}{\bs hpause}\hpause + \zchar{13}{\bs hpausep}\hpausep + \zchar{9}{\bs lifthpause}\roff{\lifthpause5}\sk + \zchar{13}{\bs pause}\pause + \zchar{13}{\bs pausep}\pausep + \zchar{9}{\bs liftpause}\roff{\liftpause4}\sk + \zchar{13}{\bs PAuse}\PAuse + \zchar{13}{\bs PAUSe}\PAUSe + \zchar{13}{\bs Hpause$^4$}\Hpause i{.8}\sk\en +\stoppiece\centerline{\bigfont Other Symbols}\medskip +% +% Other Symbols +% +\contpiece +\NOtes + \zchar{14}{\bs Trille}\zchar{-4}{\bs allabreve}\Trille n1% + \zchar0\allabreve\sk + \zchar{14}{\bs trille}\zchar{-4}{\bs meterC}\trille n1\zchar0\meterC\sk + \zchar{14}{\bs shake}\zchar{-4}{\bs reverseC}\shake n\zchar0\reverseC\sk + \zchar{14}{\bs Shake}\zchar{-4}{\bs meterplus}\Shake n% + \zchar0{\meterfrac{3\meterplus2\meterplus3}8}\off{.66\noteskip}% + \zchar{14}{\bs mordent}\mordent n\sk + \zchar{14}{\bs Mordent}\zchar{-4}{\bs duevolte}\Mordent n\duevolte\sk +\multnoteskip{.66}% + \zchar{14}{\bs turn}\turn n\sk +\multnoteskip{1.25}% + \zchar{14}{\bs backturn}\zchar{-4}{\bs l[r]par}\backturn n% + \lpar f\rpar f{\stemlength4\qu f}% + \zchar{14}{\bs Shakel}\Shakel n\sk + \zchar{14}{\bs Shakesw}\Shakesw n\sk + \zchar{14}{\bs Shakene}\Shakene n\sk + \zchar{14}{\bs Shakenw}\Shakenw n\sk\en +\stoppiece\medskip +% +% again +% +\contpiece +\NOtes\zchar9{\bs metron}\zchar{13}{\metron\qu{99}}\sk\en +\setvoltabox1\bar +\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en +\setvolta2\setendvolta\rightrepeat +\NOtes\loff{\zchar{17}{\bs setvolta}}\loff{\zchar{20}{\bs setendvolta}}\en +\doublebar +\notes\zchar{17}{\kern-\afterruleskip\bs coda}\coda n\en\bar +\notes\zchar{17}{\kern-\afterruleskip\bs Coda}\Coda n\en +\NOtes + \zchar{17}{\bs segno}\segno n\sk + \zchar{17}{\kern-3\Interligne\bs Segno}\Segno\hsk + \zchar{17}{\bs caesura}\sk\caesura + \zchar{17}{\bs cbreath}\cbreath\sk +\multnoteskip{.66}% + \zchar{17}{\bs PED}\PED\sk + \zchar{17}{\bs sPED}\sPED\sk + \zchar{17}{\bs DEP}\DEP\sk + \zchar{17}{\bs sDEP}\sDEP\sk\en +\stoppiece\medskip +% +% and again ... +% +\contpiece +\Notes + \zchar{17}{\bs fermataup}\fermataup l% + \zchar{-8}{\bs fermatadown}\fermatadown f{\stemlength3\ql i}% + \zchar{13}{\bs Fermataup}\Fermataup l% + \zchar{-4}{\kern8pt\bs Fermatadown}\Fermatadown f\wh i% + \loff{\zchar{17}{\bs arpeggio d5}}\arpeggio d5\sk +\multnoteskip{.66}% + \loff{\zchar{13}{\bs bracket}}\bracket e{10}\zq n\ql e\en +\notes\stemlength3% + \zchar{17}{\bs uptrio}\uptrio{11}16\ql l\ql n\bsk\bsk + \zchar{-8}{\bs downtrio}\downtrio{-5}17\qu c\qu e\en +\Notes + \zchar{17}{\bs octfinup}\octfinup n{.8}% + \zchar{-4}{\bs octfindown}\octfindown K{.8}\sk\hsk + \zchar{17}{\bs slide$^5$}% + \slide i58\slide i57\slide i56\slide i55\slide i54% + \slide i53\slide i52\slide i51\slide i5{-1}% + \slide i5{-2}\slide i5{-3}\slide i5{-4}\slide i5{-5}% + \slide i5{-6}\slide i5{-7}\slide i5{-8}\sk\en +\leftrepeat +\Notes + \loffset2{\zchar{-4}{\bs leftrepeat}}% + \boxitsep=2pt\zchar{17}{\bs boxit A}\zchar9{\boxit A}\en +\leftrightrepeat +\Notes + \loffset2{\zchar{-8}{\bs leftrightrepeat}}% + \zchar{17}{\bs circleit B}\uptext{\circleit B}\en +\rightrepeat +\NOtes + \loffset2{\zchar{-4}{\bs rightrepeat}}\en +\endpiece\endmuflex\vfill\eject\end diff --git a/Master/texmf-dist/doc/generic/musixtex/CHANGES b/Master/texmf-dist/doc/generic/musixtex/psfonts/CHANGES.psfonts index 984f109f364..47ef978a546 100644 --- a/Master/texmf-dist/doc/generic/musixtex/CHANGES +++ b/Master/texmf-dist/doc/generic/musixtex/psfonts/CHANGES.psfonts @@ -1,10 +1,13 @@ PostScript (Type 1) Fonts for MusiXTeX - Ver 1.13 + Ver 1.14 - 19-February-2003 + 28-September-2010 Takanori Uchiyama, uchiyama@appi.keio.ac.jp +28-September-2010 + + Augment mxsk from slur-ps package. + 19-February-2003 + Fix a problem that xslz20 disappears with Acrobat 5. diff --git a/Master/texmf-dist/doc/generic/musixtex/README.psfonts b/Master/texmf-dist/doc/generic/musixtex/psfonts/README.psfonts index 5285b7dcc30..24c14c70735 100644 --- a/Master/texmf-dist/doc/generic/musixtex/README.psfonts +++ b/Master/texmf-dist/doc/generic/musixtex/psfonts/README.psfonts @@ -1,7 +1,7 @@ PostScript (Type 1) Fonts for MusiXTeX - Ver 1.11 + Ver 1.14 - 28-August-2001 + 28-September-2010 Takanori Uchiyama, uchiyama@appi.keio.ac.jp @@ -11,14 +11,16 @@ This package provides PostScript (type 1) fonts (PFB format), and dvips and dvipdfm map files for MusiXTeX. The fonts are based on the original METAFONT sources, such as musix20.mf, which are distributed with MusiXTeX. The fonts provided here may be used to produce printer-independent Postscript files. PDF -files generated using type 1 fonts are well displayed by the Acrobat Reader and +files generated using type 1 fonts are well displayed by the Adobe Reader and xpdf. -The fonts were generated from the METAFONT sources in the TeX Live CD 2000 July -using TeXtrace 0.45 but musix11-20, xslhz20 and xslhz20d were upgraded to those -in musixtex-T102.tar.gz. +The most of fonts were generated from the METAFONT sources in the TeX Live +CD 2000 July using TeXtrace 0.45 or mftrace 1.0.12 but musix11-20, xslhz20 +and xslhz20d were upgraded to those in musixtex-T102.tar.gz. +mxsk was generated from the METAFONT source in slur-ps package using mftrace +1.2.16. -Here is a list of the 71 generated fonts. +Here is a list of the 72 generated fonts. musix11.pfb xgreg24.pfb xsld29.pfb xslhd24.pfb xslhu24.pfb xslu20.pfb musix13.pfb xgreg29.pfb xsld29d.pfb xslhd24d.pfb xslhu24d.pfb xslu20d.pfb @@ -32,6 +34,7 @@ xgreg11.pfb xsld20.pfb xslhd16.pfb xslhu16.pfb xslu13.pfb xslz20.pfb xgreg13.pfb xsld20d.pfb xslhd16d.pfb xslhu16d.pfb xslu13d.pfb xslz20d.pfb xgreg16.pfb xsld24.pfb xslhd20.pfb xslhu20.pfb xslu16.pfb xtie20.pfb xgreg20.pfb xsld24d.pfb xslhd20d.pfb xslhu20d.pfb xslu16d.pfb +mxsk.pfb Note: musix25 and xgreg25 were not generated because they are not used in musixgre.tex or musixtex.tex. @@ -43,7 +46,9 @@ hand tuned by Takanori Uchiyama. 2. METHOD -All fonts were generated using TeXtrace 0.45 running on Mac OS X 10.0.4. +Most of fonts were generated using TeXtrace 0.45 running on Mac OS X 10.0.4. +xslz20 was generated using mftrace 1.0.12 running on Mac OS X 10.2.3. +mxsk was generated using mftrace 1.2.16 running on Mac OS X 10.6.4. Thirty-two fonts were generated with the original traceall.sh script. Others were generated with traceall.sh modified by Takanori Uchiyama. The modification involved reducing resolution, corresponding to enlargement of "1 thou" in @@ -80,16 +85,12 @@ fonts. musix.map to the list of map files for Type1 fonts with Metafont equivalents in the updmap script, which should then be executed by doing "./updmap". - 5) Copy the map file ./dvipdfm/musix.map to the appropriate directory, such as - $TEXMF/dvipdfm/config - 6) Add a line - - f musix.map - - to the config file. - 7) Do mktexlsr or texhash or whatever is necessary on your system to + 5) Do mktexlsr or texhash or whatever is necessary on your system to re-generate the TeX database. +Note: dvipdfm does not need a map file for these fonts because the PFBs' +names are identical to TFMs' names. + When these fonts are used, type 1 fonts should also be used for non-music text; for example, type 1 versions of the Computer Modern fonts are available. @@ -105,7 +106,9 @@ for example, type 1 versions of the Computer Modern fonts are available. 6. ACKNOWLEDGEMENTS Thanks to Dr. Daniel Taupin, Ross Mitchell and Andreas Egler for their -MusiXTeX package, and to Dr. Peter Szabo for his excellent TeXtrace tool. -And thanks to Dr. Bob Tennent for his helpful comments. +MusiXTeX package, to Dr. Peter Szabo for his excellent TeXtrace tool, +and to Dr. Han-Wen Nienhuys for his smart mftrace tool. +And thanks to Dr. Bob Tennent for his helpful comments, and to Mr. David +Fritzsche for his suggestions. [End of README] diff --git a/Master/texmf-dist/doc/generic/musixtex/psslurs/README.psslurs b/Master/texmf-dist/doc/generic/musixtex/psslurs/README.psslurs new file mode 100644 index 00000000000..22ab61cea5b --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/psslurs/README.psslurs @@ -0,0 +1,36 @@ +This package adds the PostScript slurs, ties and crescendos into MusiXTeX. +It is possible to use it in almost the same way as the original bitmapped +slur simply saying "\input musixps" at the beginning of your source file. +The resulting dvi file should be then converted into PostScript by dvips +(and then to PDF using ps2pdf, ghostscript or Adobe Distiller, if necessary). + +Please note that the slurs won't appear in any other dvi previewer, nor when +you use pdftex to produce the PDF file directly. + +The mxsk font is used for "half ties" - short breaked ties at the beginning of the line. +If you use \nohalfties, you do not need to install this font. +The musixps.tex should be placed anywhere TeX can find it, +prefferably into the musixtex directory. +Do not include it into your TeX format file! +The psslurs.pro should be placed somewhere dvips can find it. + +You can freely use or modify this package, but you are not allowed to distribute +any modified versions without my prior permission, or redistribute the package +without my name inside it. And of course, do not blame me for anything that goes +wrong... + +Stanislav Kneifl, +standa@hiero.cz + + +HISTORY +~~~~~~~ + +0.92 (12.5.2002) + added: \nosluradjust, \sluradjust, \notieadjust, \tieadjust + added: \slopebrkslurtrue, \slopebrkslurfalse + fixed: shaded slurs now do not break up to separate curves + at high resolutions + +0.91 (10.1.2002) + First public release, adopted from OpusTeX version.
\ No newline at end of file diff --git a/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.pdf b/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.pdf Binary files differnew file mode 100644 index 00000000000..d2bc50629f6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.pdf diff --git a/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.tex b/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.tex new file mode 100644 index 00000000000..037233fc7e5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.tex @@ -0,0 +1,77 @@ +\input musixtex +\input musixps + +\Nosluradjust +\Notieadjust + +\startmuflex + +\startpiece +\NOtes\qu{cdef}\isluru0k\qu{ghij}\en\bar +\NOtes\idecresc0\qu{cdefghij}\en +\alaligne +\NOtes\qu{cdefghij}\tcresc0\en\bar +\NOtes\tslur0h\qu{cdefghij}\en +\endpiece + +\startextract +\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en +\bar +\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en +\NOTes\hu g\en +\endextract + +\startextract +\NOTes\isluru0g\hl g\tslur0h\hl h\en +\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en +\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en +\NOTes\itieu0k\hl k\ttie0\tdbslur1k\hl k\en +\endextract + +\startextract +\NOTes\itenl0c\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes +\bar +\NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes +\endextract + +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract + +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract + +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes + \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes + \endextract + +\startextract +\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar +\NOtes\dotted\slur hmd1\qu{hm}\en +\NOTes\hu g\en +\endextract + +\startextract +\NOtes\slur ced1\qu{ce}\en +\NOtes\slur dfd1\qu{df}\en +\NOtes\slur egd1\qu{eg}\en +\NOtes\slur{'e}cu1\ql{ec}\en +\NOtes\slur{'d}bu1\ql{db}\en +\NOtes\slur{'c}au1\ql{ca}\en +\endextract + +\startextract +\NOtes\ibu0g1\iBsluru00\qb0g\en +\NOtes\tBslur00\tbu0\qb0h\en +\NOtes\ibl0k1\iBslurd00\qb0k\en +\NOtes\tBslur00\tbl0\qb0l\en +\endextract + +\endmuflex +\end diff --git a/Master/texmf-dist/doc/generic/musixtex/sottieng.pdf b/Master/texmf-dist/doc/generic/musixtex/sottieng.pdf Binary files differnew file mode 100644 index 00000000000..9fee6c052d8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/sottieng.pdf diff --git a/Master/texmf-dist/doc/generic/musixtex/sottieng.tex b/Master/texmf-dist/doc/generic/musixtex/sottieng.tex new file mode 100644 index 00000000000..7028a807d31 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/sottieng.tex @@ -0,0 +1,1075 @@ +\documentclass[12pt,twoside]{article} +\usepackage{a4} +\usepackage{musixtex} +\usepackage[english]{babel} +\usepackage{randtext} +\input coulhack +\raggedbottom +\setlength{\textwidth}{18cm} \setlength{\textheight}{26cm} +\setlength{\oddsidemargin}{0pt}\setlength{\evensidemargin}{0pt} +\setlength{\parindent}{0cm}\setlength{\parskip}{.5cm} +\setlength{\marginparwidth}{1in} \setlength{\marginparsep}{0pt} +\setlength{\hoffset}{-1cm} +\setlength{\voffset}{-2.5cm} +%\setlength{\headsep}{2cm} +\setlength{\itemsep}{0cm} + +\newcommand{\milieu}[1]{\begin{center}{#1}\end{center}} +\newcommand{\pruneau}{$\bullet$~} +\newcommand{\subsec}{\vspace{-1cm}\subsection{~}\vspace{-.5cm}} +% \today should work the same in theory +\def\mytoday{\ifcase\month\or + January\or February\or March\or April\or May\or June\or + July\or August\or September\or October\or November\or December\fi + \space\number\day, \number\year} + +\def\notess{\vnotes2.4\elemskip} +\def\notesss{\vnotes1.7\elemskip} +\def\notesm{\vnotes1.5\elemskip} +\def\appog{\multnoteskip\tinyvalue\tinynotesize} +\newcommand{\zcn}[2]{\zcharnote{#1}{#2}} +\newcommand{\lcn}[2]{\lcharnote{#1}{#2}} +\newcommand{\ccn}[2]{\ccharnote{#1}{#2}} +\newcommand{\nxst}{\nextstaff} +\def\hhqsk{\off{.7\elemskip}} + +\newcommand{\twoextr}[2] +%{\begin{music}\let\extractline\hbox +{\let\extractline\hbox +\hbox to \hsize{ +\hfill +\startextract #1 +\zendextract\hfill +\startextract #2 +\zendextract +\hfill} + +%\let\extractline\centerline\end{music}} +\let\extractline\centerline} + +\accshift=0mm +\geometricskipscale +\nostartrule +\nobarmessages\nobarnumbers +\let\extractline\centerline + +\begin{document} +\milieu{\ppfftwentynine Repository of music-notation mistakes} +\milieu{\medtype or} +\milieu{\ppfftwentyfour Essay on the true art of music engraving} +\milieu{\Huge Jean-Pierre Coulon} +%\centerline{\tt +%\kern3.5em{obs-nice}\kern-4.5em{@}\kern-3.5em{coulon}\kern4.5em{.fr}} + +\centerline{\tt \randomize{coulon@obs-nice.fr}} + + +\milieu{\mytoday} +%\milieu{\today} + +\milieu{\large intended for:} +\begin{itemize} +\item users of music-typesetting software packages, +\item developers of such packages, +\item traditional music-engravers, +\item sheet-music collectors, +\item those keen on problems of \textit{semantics}, \textit{semiology}, +\textit{philology} , etc. +\end{itemize} + +{\footnotesize NB: These examples are certainly musically worthless: +do not read them with your instrument :-)\\ +To limit myself to the essential, and lacking sufficient expertise, +I do not deal with any of these neighboring, exciting topics: + +\pruneau music theory, harmony, composition, etc.\\ +\pruneau comparative test of various typesetting packages,\\ +\pruneau how to interpret the quoted symbols according to epochs,\\ +\pruneau copyright issues,\\ +\pruneau percussion notation, and plucked-string instrument tablatures,\\ +\pruneau very-early-music notation, and avant-garde music +notation.\\ +\textit{ I apologize to readers of some countries for having adhered +to the U.S. terminology} + +} + + +\section{General issues} +\subsec +When simultaneous notes are present on the same staff, two notations +are posssible: chord notation, or multiple-voice, a.k.a. \textit{polyphonic} +notation. + +\twoextr +{\NOtes\qu c\zq c\qu e\en +\Notes\ibu0e2\zq c\qb0e\zq d\tqh0f\en} +{\NOtes\zql c\qp\zql c\qu e\en +\Notes\ibl0c2\ibu1e2\zqb0c\qb1e\tbl0\zqb0d\tqh1f\en} + +Of course, if parts have distinct rythms, the polyphonic notation is +required. + +\eject\milieu{\ppfftwenty from here:} +{\ppfftwentyfour This side: incorrect. \hfill This side: correct. } + +\subsec +Do your best to place \textit{page-turns} at places +acceptable for the musician, otherwise he will either +require a ``page-turner'', or labor to arrange +chunks of photocopies. Since modern musical scores are smaller +than before, this demands more efforts from the music engraver. + +{\footnotesize The actual print size, i.e. omitting margins, +of most scores from former epochs, almost matched the usual format +of most of modern scores including the margins. + +} + +An easy solution consists in using a small engraving size. +It is better to use a bigger size, at the price of more effort +to manage the spacing rationally. +These two excerpts require the same horizontal space, but that on the +right is easier to read: + +\bigaccid +\begin{music}\let\extractline\hbox +\hbox to \hsize{ +\hfill +\smallmusicsize +\setclef1{\treble} +\startextract% +\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en +\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en +\bar% +\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en +\zendextract\hfill +\normalmusicsize +\startextract% +\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en +\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en +\bar% +\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en +\zendextract +\hfill} +\let\extractline\centerline\end{music} + +Moreover, you also have to vary the distances between the staves +of systems, to avoid wasting some vertical space +(see my edition of Dussek's piano Sonata op.35-3). + + + + +\subsec +Choose horizontal spacings that increase according to note durations, +but not proportional to these durations. Personally I am happy with a +spacing ratio +of \hbox{$\sqrt{2}\approx 1.414$} to represent a duration-ratio of 2, +but this is not an absolute rule, especially if thirty-second or +sixty-fourth notes are present, because this would bring them +too close to each other. +Do not change the spacing of a specific duration within a line without +a good reason. + +\nostartrule +\setclef1\treble +\hsize82.1mm +\startpiece +\NOTEs\hu c\sk\en +\NOTEs\qu c\en +\NOtes\cu c\en +\notes\ibbu0c0\qb0c\en +\notes\qb0{cc}\tqh0c\en +\setemptybar +\endpiece + +\hsize18cm + +\setclef1\treble +\twoextr +{\notes\hu c\en +\NOtes\qu c\en +\NOTes\cu c\en +\notes\ibbu0c0\qb0c\en +\Notes\qb0{cc}\tqh0c\en} +{\NOTes\hu c\en +\NOtes\qu c\en +\Notes\cu c\en +\notes\ibbu0c0\qb0{cc}\en +\notes\qb0c\tqh0c\en} + +{\footnotesize If a system has several staves, the part +with the \textbf{shortest} durations governs the overall spacing. +Lyrics, if any, may demand still wider spacings. + +} + +\subsec +Here is a good reason to modify tight note spacing: avoiding clashes: + +\twoextr +{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en} +{\notesss\ccu c\hqsk\ibbl0k2\qb0{jklm}\hqsk\tqb0{^n}\en}k + +\subsec +If no other simultaneous part prevents it, note stems should also be +taken into account for the spacing: + +\largemusicsize +\twoextr +{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en} +{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en} + + +\subsec +Never displace the vertical alignment to accommodate accidentals: + +\setstaffs1{2}\setclef1\bass\startrule\bigaccid +\twoextr{ +\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en +\bar% +\NOtes\ql M\nxst\hhqsk\qu{^h}\en} +{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en +\bar% +\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en} + +\nostartrule + + + +\subsec +Write an interval of a \textit{second} in a chord with the lower note +\textbf{left}. On the other hand, in polyphonic writing, +it should be put \textbf{right}. + +\largemusicsize\setstaffs1{1}\setclef1{\treble} +\twoextr +{\NOtes\rq b\zq{ce}\qu g\en +\NOtes\rq b\zq{^ce}\qu g\en +\NOtes\rq c\rq e\rq g\qu b\en +\doublebar% +\NOtes\zql b\roffset{.9}{\qu c}\en +\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en +\notes\tbl1\zqb1a\qb0c\tqh0d\en} +{\NOtes\rq c\zq{be}\qu g\en +\NOtes\sh c\rq c\zq{be}\qu g\en +\NOtes\rq c\zq{be}\qu g\en +\doublebar% +\NOtes\zqu c\roffset{.9}{\ql b}\en +\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en +\notes\tbl1\zqb1a\qb0c\tqh0d\en} + +{\footnotesize +I omit cases of voice crossing. +Do not be perturbed by an accidental associated with the +upper note. Do not perturb notes aside this second. + +} + + +\subsec +In polyphonic writing, notes should be shifted just enough to +distinguish them, anyway less than the spacing for a second: + +\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble +\twoextr +{\NOtes\zql c\roff{\zqu e}\qu g\en +\NOtes\zql c\zqu e\qu g\en +\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en +\NOtes\zqlp c\roff{\zqup f}\qup h\en} +{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en +\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en +\NOtes\zql c\roff{\zqu f}\qu g\en +\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en} + +{\footnotesize Note the case of dotted notes: the augmentation dots +must be aligned vertically.} + +\subsec +Sometimes augmentations dots must be placed so as to avoid any +ambiguity: + +\twoextr +{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en +\notes\tbbu0\tqh0h\en +\NOtes\zqlp g\qu i\en +\Notes\qu j\cl f\en +\Notes\zql e\qu k\en} +{\Notesp\loffset{.3}{\ibu0h0\zqb0h}% +\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en +%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en +\notes\tbbu0\tqh0h\en +\NOtes\pt f\zql g\qu i\en +\Notes\qu j\cl f\en +\Notes\zql e\qu k\en} + + + + +\subsec +In a two-part polyphonic notation, upper-part note stems should be +upwards, even if the other part has a rest: + +\normalmusicsize\setclef1{\bass} +\twoextr +{\NOTesp\zw H\hup a\en +\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en} +{\NOTesp\zw H\hup a\en +\Notes\qu N\liftpause{-2}\qu{MKLM}\en} + +{\footnotesize(same for the lower part.)} + + +\subsec +Some linkings of notes or rests may be correct +according to music theory, +but impede sight reading: + +\normalmusicsize +\generalmeter{\meterfrac44}\setclef1\treble +\twoextr +{\notes\cu c\en +\bar% +\notes\cu d\en +\Notes\qp\en +\notes\ibu0f2\qb0{efgh}\tqh0i\en +\bar +\znotes\en} +%\notes\cl j\en} +{\notes\cu c\en +\bar% +\notes\cu d\ds\ds\cu e\en +\notes\ibu0g2\qb0{fgh}\tqh0i\en +\bar +\znotes\en} + +In other words, rests should not act as syncopated notes. In a ternary +beat, separate a rest that affects the second and third time values. +Beams do not demand so much care. + +{\footnotesize Some will argue that in early music, flag/beam notation +expresses some degree of articulation. But the rule above almost always +coincides with some \textit{reasonable} articulation. + +} + + +\section{Beaming} +\subsec +Beams should have an appropriate slope. In the past, one would avoid +too weak a slope, because the printing ink would maliciously attempt +to fill the tiny angle between these beams and the staff lines. +For a scale or an arpeggio, this slope cannot be steeper than that +formed by the notes, nor horizontal. A compromise must be found. +Here is an example, with its solution, by two distinguished publishers: + +\generalmeter{\empty} +\setstaffs1{1}\setclef1{\treble} +\twoextr{ +\notes\ibbu0a6\qb0{cdefg}\tqh0h\en +\notes\ibbu0g0\qb0{cdefg}\tqh0h\en} +{\notes\zcn q{\smalltype Peters end 19$^{th}$C.}\ibbu0a4\qb0{cdefg}\tqh0h\en +\notes\zcn q{\smalltype Henle end 20$^{th}$C.}\ibbu0e1\qb0{cdefg}\tqh0h\en +\notes\zcn q{recommended}\ibbu0d2\qb0{cdefg}\tqh0h\en} + +\footnotesize{If you want to imitate some French publishers :} + +\startextract% +\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en +\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en +\zendextract + +\subsec +Beam placement should be adapted to the contexte. This placement varies +depending on this group of notes is isolated or in a series: + +\startextract +\NOTes\hu c\hu d\en +\bar +\NOtes\qu f\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\NOtes\qu{cd}\en +\bar% +\NOtes\qp\en +\NOTes\hu f\en +\zendextract + +\twoextr +{\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en} +{\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en} + +\subsec +Avoid Z-like beams, as found in former editions: + +\normalmusicsize +\setclef1\bass +\twoextr +{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en +\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} +{\Notes\ibl0H2\qb0G\en +\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en +\doublebar% +\Notes\cu G\en +\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} + + +\subsec +Beams should never cross ledger lines: + +\setclef1{\treble} +\twoextr +{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en} +{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en} + +\subsec +Do not affect beam placement to place rests at their usual height. +Rather move the rests: + +\twoextr +{\Notes\ibl0k1\qb0n\ds\tqb0o\en +\Notes\ibl0l0\qb0o\ds\tqb0o\en} +{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en +\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en} + + +\section{Ties and slurs} +\subsec +When \textbf{slurred} notes are intended, the slur takes off and lands +above or below the \textbf{centers} of note heads. But for \textbf{tied} +notes, +the same sign takes off and lands vertically aligned with the boundary +of the note head, and not higher than this head. +One breaks from the first rule to +avoid colliding the note stems. + + +\largemusicsize +\twoextr +{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en +\bar% +\NOtesp\tslur0f\roff{\itied0f}\qup f\en +\NOtes\ttie0\qu f\en} +{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en +\bar% +\NOtesp\ttie0\itied0f\qup f\en +\NOtes\ttie0\qu f\en} + +{\footnotesize Note that the tie becomes ``quieter''.} + + +\subsec +Meanwhile avoid ``acrobatics'' to strictly abide these rules: + +\largemusicsize +\twoextr +{\NOtes\islurd0c\qu c\tsslur0j\ql j\en +\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en} +{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en +\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en} + + +\subsec +At some epochs a single tie was supposed to refer to \textbf{all} +notes of a particular chord. Particular cases have become so frequent, +that it is better to note all ties explicitly. + +\largemusicsize +\twoextr +{\NOtes\itieu0g\zq{ce}\qu g\en +\bar% +\NOtes\ttie0\zq{ce}\qu g\en} +{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en +\bar% +\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en} + +\subsec +Associations of ties and slurs with dots and ornaments: + +\twoextr +{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en +\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en} +{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en +\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en} + +\newpage +\subsec +Associations of ties and slurs: + +\twoextr +{\NOtes\itied0d\qu d\en +\bar +\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en +\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en +\bar +\NOtes\ttie0\qu f\en} +{\NOtes\islurd1d\itied0d\qu d\en +\bar +\NOtes\ttie0\qu d\tslur1c\qu c\en +\NOtes\islurd1e\qu e\itied0f\qu f\en +\bar +\NOtes\tslur1f\ttie0\qu f\en} + +{\footnotesize Bowed-instruments players will find this obvious.} + + + +\subsec +The dotted slur is the best way to emphasize an \textit{editorial slur}: + +\setclef1{\treble} +\twoextr +{\NOtes\islurd0c\qu c\tslur0d\qu d\en +\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e% +\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en +\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en} +{\NOtes\islurd0c\qu c\tslur0d\qu d\en +\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en +\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en} + + +\section{Accidentals} +\subsec +When a note with an accidental expands over several measure, +do not repeat the accidental on the next measures, except if there is +a line-break or a page-break: + +\twoextr +{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en +\bar% +\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en} +{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en +\bar% +\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en} + +\subsec + +When an accidental affects \textit{small notes}, and is desired +to also affect subsequent notes, it must be repeated. + +\twoextr +{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en +\NOTes\wh c\en} +{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en +\NOTes\qsk\wh{^c}\en} + +\subsec +When a note with a single sharp comes after the same note with a +double sharp, you no longer put a natural sign before the single +sharp, unless you want to mimic 19th engraving style. Same for flats: + +\twoextr +{\NOtes\qu{>c}\lna c\qu{^c}\qu{<d}\lna d\qu{_d}\en} +{\NOtes\qu{>c}\qu{^c}\qu{<d}\qu{_d}\en} + + + +\subsec +In polyphonic writing, accidentals of either part are not +supposed to affect other parts. If such accidentals are to +affect other parts, they should be written explicitly: + + +\normalmusicsize +\setstaffs1{1}\setclef1\treble +\twoextr +{\Notes\zql d\qu f\en +\bar% +\NOtes\zql c\qu{_e}\zql d\qu f\zql e\qu g\zql f\qu h\en +\bar\ +\znotes\en} +{\Notes\zql d\qu f\en +\bar% +\NOtes\zql c\qu{_e}\zql d\qu f\zql{_e}\qu g\zql f\qu h\en +\bar +\znotes\en} + +{\footnotesize Remember, around 1600 a Fugue for organ or harpsichord +would have been written on \textbf{four} staves. Then accidentals where +not dependent between staves. + +} + +\newpage +\subsec +In the old days, an accidental would also affect corresponding notes +at other octaves: + +\startextract +\Notes\ibu0e4\qb0{^ceg}\tqh0j\en +\NOtes\zq{_b}\qu i\en +\zendextract + + + +Nowadays, such accidentals should be explicitly written: + +\twoextr +{\Notes\ibu0e4\qb0{^ceg}\uppersh c\tqh0j\en +\NOtes\zq{_b}\upperfl i\qu i\en} +{\Notes\ibu0e4\qb0{^ceg}\tqh0{^j}\en +\NOtes\zq{_b}\qu{_i}\en} + + +{\footnotesize Note that some software packages, able to convert +between a MIDI file and a score, have kept this former convention. Then +a MIDI file may contradict its source score for some accidentals. + +} + +\subsec + +When changing the key signature to decrease the number +of accidentals, the natural signs should be written \textbf{before} the +remaining accidentals: + +\generalsignature5 +\twoextr{% +\notes\qu{cde}\en +\doublebar +\notes\sh m\qsk\sh j\qsk\na n\qsk\na k\qsk\na h\qsk\en +\notes\qu{fg}\en} +{\notes\qu{cde}\en +\generalsignature{2}\Changecontext +\notes\qu{fg}\en} +\generalsignature0 + +\subsec +When such a change comes at a line- or page break, it must be shown +\textbf{before} this break: + +\generalsignature2 +\twoextr +{\Notes\qu{cdef}\en +\afterruleskip=-4pt\bar} +{\afterruleskip=8pt +\Notes\qu{cdef}\en +\generalsignature{-2}\Changecontext} + +\generalsignature0 +\twoextr +{\notes\na m\hsk\na j\hsk\en +\doublebar% +\notes\fl i\hsk\fl l\hsk\en +\Notes\qu{ghij}\en} +{\notes\fl i\hsk\fl l\sk\en +\Notes\qu{ghij}\en} + + +\subsec +When there is a need to shift some accidentals to avoid collisions, +the upper is left at its normal position, and the lower is shifted +to the left, either in chord- or in polyphonic-writing: + +\twoextr +{\NOtes\qsk\lsh f\zq{^d}\qu f\en +\bar% +\NOtes\qsk\lsh f\zql{^d}\qu f\en} +{\NOtes\qsk\lsh d\zq d\qu{^f}\en +\bar% +\NOtes\qsk\lsh d\zql d\qu{^f}\en} + + +\subsec +Accidentals other than well defined ones, get classified in three sets: + +\begin{itemize} +\item editorial accidentals \textbf(e), +\item cautionary accidentals \textbf(y), +\item ``courtesy'' accidentals \textbf(c). +\end{itemize} + +Put an editorial accidental when you think the source is wrong. +Note it with a small-size accidental above or below the note. +If this note is within a chord, place it left to the note. + +{\footnotesize \textit{Thorough bass} also uses such small accidentals above +notes. But the misunderstanding is unlikely most of the time. + +} + +Put a cautionary accidental when music-theory rules demand its effect, +but you fear the musician misses it, e.g. at the end of a ``crowded'' measure. +It must be parenthesized. + +A courtesy accidental is a theoretically redundant accidental, which +confirms the cancelling effect of a barline on previous accidentals. +The usage is to write it normally. + +\twoextr +{\NOtes\qu{^c}\qu d\cfl e\qu e\qu{^c}\en +\bar% +\NOtes\cna c\qu c\en} +{\NOtes\qu{^c}\qu d\ccn q{(e)}\upperfl L\qu e\ccn q{(y)}\csh c\qu c\en +\bar% +\NOtes\ccn q{(c)}\qu{=c}\en} + +{\footnotesize It is better to notate \textbf{all} accidentals in +some modern, complex works. + +} + +\subsec In ancient times some copists thought that when the +first note of a measure is the same as that, with an accidental, of the +previous measure, the accidental was implicit: + +\setstaffs12\setclef1{\bass\treble} +\startrule +\interstaff{11} + +\startextract +\NOtesp\zhl K\hu a|\zh{^f}\zhl d\qup j\en +\notesp|\triolet r\ibbu3i{-1}\qb3j\en +\notes|\qb3{_i}\tqh3h\en +\NOtesp\pt F\zql G\qu N|\zqp g\zqlp d\qup i\en +\notes\ibbl0H1\triolet C\zcu N\qb0G|\zq g\zcl d\cu i\en +\notesp\qb0H\en +\notes\tqb0{_I}\en +\bar +\NOtes\zhl J\qu N|\pt b\zql c\loffset{.25}{\zql e}\qu i\en +\Notes\qu M|\zhl f\ibu3h{-1}\qbp3h\en +\notes|\cl c\en +\notes|\tbbu3\tqh3g\en +\NOtes\zhl C\qu N|\pt b\zql c\qu g\en +\zendextract + +The correction is then obvious, and does not require an editorial +accidental: + +\smallmusicsize +\twoextr +{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en +\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en +\notes\nextstaff\qb3{_i}\tqh3h\en +\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en +\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en +\notesp\qb0H\en +\notes\tqb0{_I}\en +\bar% +\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\upperfl n\qu i\en +\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en +\notes\nextstaff\cl c\en +\notes\nextstaff\tbbu3\tqh3g\en +\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en} +{\NOtesp\zhl K\hu a\nextstaff\zh{^f}\zhl d\qup j\en +\notesp\nextstaff\triolet r\ibbu3i{-1}\qb3j\en +\notes\nextstaff\qb3{_i}\tqh3h\en +\NOtesp\pt F\zql G\qu N\nextstaff\zqp g\zqlp d\qup i\en +\notes\ibbl0H1\triolet C\zcu N\qb0G\nextstaff\zq g\zcl d\cu i\en +\notesp\qb0H\en +\notes\tqb0{_I}\en +\bar% +\nspace% +\NOtes\zhl J\qu N\nextstaff\pt b\zql c\loffset{.25}{\zql e}\qu{_i}\en +\Notes\qu M\nextstaff\zhl f\ibu3h{-1}\qbp3h\en +\notes\nextstaff\cl c\en +\notes\nextstaff\tbbu3\tqh3g\en +\NOtes\zhl C\qu N\nextstaff\pt b\zql c\qu g\en} + +{\footnotesize (a fortiori a cautionary accidental. Your musicologist's +abilities are recognized at this stage!)} + + +\subsec +Some accidentals in ancient editions may seem redundant according to +our modern rules, like the C sharp at the end of this bar: + +\nostartrule +\setstaffs11 +\largemusicsize +\setclef1{\bass} +\startextract +\bar% +\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en +\NOtes\zq b\qu d\zq{^c}\qu e\en +\bar% +\zendextract + + +Therefore the following theory must be banned: +\textit{if this accidental is present in my source, +there must be a good reason for this, +but a wrong accidental has been written here. Indeed, if the composer +had wanted a C-sharp at the end of this bar, he wouldn't have +written any sign there. So let me correct this mistake!} + +\twoextr{ +\bar% +\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en +\NOtes\zq b\qu d\zq{=c}\qu e\en +\bar% +} +{\bar% +\NOtes\zw N\zq b\qu d\lsh a\zq a\qu{^c}\en +\NOtes\zq b\qu d\zq c\qu e\en +\bar% +} + +{\footnotesize If these thirds of fourth-notes had been written +as polyphonic notes, the explanation would be obvious. +I could also quote similar misunderstandings about accidentals +an octave away, as seen before. + +} + +\section{Measure numbers} + +\subsec +Initial rests, common to all parts, are never notated, especially if +there is a repeat from the first note: + +\normalmusicsize\nostartrule\setclef1\treble +\generalmeter{\meterfrac34} + +\twoextr +{\NOtes\hpause\en +\Notes\qu c\en +\bar% +\Notes\qu{def}\en +\bar% +\Notes\qu{hi}\en +\rightrepeat +\Notes\ql j\en +\bar +\Notes\ql k\en} +{\Notes\qu c\en +\bar% +\Notes\qu{def}\en +\bar% +\Notes\qu{hi}\en +\rightrepeat +\Notes\ql j\en +\bar +\Notes\ql k\en} + + + +\subsec +The number of the very first measure of a piece is never written. +If this measure is an upbeat, this number is \textbf{zero}. + +\normalmusicsize\nostartrule\setclef1\treble +\generalmeter{\meterfrac34} + +\twoextr +{\Notes\loffset{8}{\zcharnote o{\eightbf 1}}\qu c\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{def}\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en} +{\Notes\qu c\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 1}}\qu{def}\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{hi}\ql j\en} + +{\footnotesize Measure numbers at system left-tops are enough in practice. + +} + +\subsec +If there is a double bar within a measure it does not act on measure +numbering. + +\twoextr +{\Notes\qu{cde}\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en +\leftrightrepeat% +\Notes\qu f\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 4}}\qu{hi}\ql j\en +\bar} +{\Notes\qu{cde}\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 2}}\qu{de}\en +\leftrightrepeat% +\Notes\qu f\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 3}}\qu{hi}\ql j\en +\bar} + + + +\subsec + +When \textit{first ending-second ending} measures are present, measure +numbers of only the \textit{first ending} measure act on the numbering. +If necessary, corresponding measure numbers have the subscripts +\textit{a} and \textit{b}. + +\generalmeter{\null} +\twoextr +{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en\bar +\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en +\Setvolta1\bar +\Notes\hu e\en +\bar +\Notes\loffset{2}{\zcharnote o{\eightbf 33}}\hu f\en +\setvolta2\endvoltabox\rightrepeat +\Notes\hu g\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hu h\en +\bar% +\Notes\hu i\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 37}}\hl j\en} +{\Notes\loffset{5}{\zcharnote o{\eightbf 30}}\hu c\en +\bar +\Notes\loffset{2}{\zcharnote o{\eightbf 31}}\hu d\en +\Setvolta1\bar% +\Notes\hu e\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 33a}}\hu f\en +\setvolta2\endvoltabox\rightrepeat +\Notes\hu g\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 33b}}\hu h\en +\bar% +\Notes\hu i\en +\bar% +\Notes\loffset{2}{\zcharnote o{\eightbf 35}}\hl j\en} + +{\footnotesize +Indeed many fast movements have repeats bars amid a measure (like the +Allegretto of the \textit{Moonloght sonata}). This repeat could as well had +been noted under the \textit{first ending-second ending} form for this +measure. Hence both notations must yield the same measure numbering. + + +} + + +\section{Miscellaneous} + +\subsec +No barline should be written at the beginning of an instrument part +involving a single staff, unlike a conductor score. + +\setclef1\alto +\startrule\largemusicsize +\begin{music}\let\extractline\hbox +\hbox to \hsize{ +\hfill +\startextract +\NOtes\qu{abc}\en +\zendextract\hfill\nostartrule +\startextract +\NOtes\qu{abc}\en +\zendextract +\hfill} + +\let\extractline\centerline\end{music} + + +\subsec + +In ancient times, some staccato notes had a small wedge instead of +the modern dot. If \textbf{both} symbols show up in a piece, they also +represent two degrees of staccato. This notation must then be faithfully +reproduced. On the other hand, if only wedges exist, they must be +replaced with dots.: + +\largemusicsize\setstaffs1{1}\setclef1{\treble}\nostartrule +\twoextr{ +\Notes\ibu0d1\lppz c\qb0c\lppz d\qb0d\lppz e\qb0e\lppz f\tqh0f\en} +{\Notes\ibu0d1\lpz c\qb0c\lpz d\qb0d\lpz e\qb0e\lpz f\tqh0f\en} + +\subsec +Such signs are always located above the note heads, rather than above the +note stems, even if polyphony requires a stem-side location: + +\twoextr +{\NOtes\zhl c\hroff{\upz l}\qu e\hroff{\uppz k}\qu f\en +\Notes\zql b\ibu0g0\hroff{\upz m}\qb0g\hroff{\upz m}\tqh0g\en} +{\NOtes\zhl c\upz l\qu e\uppz k\qu f\en +\Notes\zql b\ibu0g0\upz m\qb0g\upz m\tqh0g\en} + + + +\subsec +Appoggiature, or \textit{small notes}, are written \textbf{after} +the bar, regardless of their rythmic interpretation: + + +\twoextr +{\NOtes\qu N\en +\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en +\bar +\NOtes\hu g\en} +{\NOtes\qu N\en +\bar +\notes\multnoteskip\tinyvalue\tinynotesize\ibbu0e4\qb0c\tqh0e\en +\NOtes\hu g\en} + + +\subsec +The tempo indication should be written in roman characters, and other marks +should in italic: + +\setclef1\treble +\twoextr +{\NOtes\zcn o{\medtype\it allegro}\qu{de}\zcn N{Cres}\qu{fg}\en} +{\NOtes\zcn o{\medtype Allegro}\qu{de}\zcn N{\medtype\it cresc.}\qu{fg}\en} + +{\footnotesize Also note the capitalization, and the abbreviation dot.} + + +\subsec +In the old days one would write \textbf{loco} (from Latin \textit{at +the place}) +to emphasize the end +of an octave sign (\textit{8}\raisebox{2mm}{- - - - -}). +Now such signs have become common, +and this \textbf{loco} is well redundant. + +\newpage + +\section{Some moral advice if you make engrave a score} + +\subsec +If you elect to using a specific notation practice, keep up with it +along the entire piece, instead of toggling between two practices +according to your whim, even if we have seen that this first +practice is questionable. + +\subsec +Pitch errors of a third are much more frequent than those of +a second, for obvious visual-perception reasons. Be tolerant +with the authors of your source. + +\subsec +What to do when you think you've done with your edition? Of course, +you rush on your instrument, and you play the piece with this edition. + +But since you are familiar with the piece, you will very likely +miss quite a few misprints, overwhelmed by your enthusiasm. +Quit your instrument, put your edition and its source on a desk, +and take a pencil. Compare measures one at a time, and if there are +multiple staves, one staff at a time. End up with the miscellaneous +signs (tempo, interpretation, piano pedalling, etc.) common to these +several staves. + +But this is not enough yet. Indeed a good musician like you has the ability +to correct some misprints (like accidentals) when playing, without noticing. +The previous test will not detect such misprints, because they are the +same in both versions. + +If your typesetting software is able to convert your piece into +MIDI format, the obtained file will be helpful. Otherwise you will +have to submit your edition to a musician less experienced than you, +who would not yet be prone to such automatic corrections. + + +\subsec +\textbf{Remember: Noting music correctly is as difficult as playing +an instrument correctly.} + +\end{document} + |