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-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicadd.tex111
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicdoc.tex4118
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicext.tex225
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicnew.tex28
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicnft.tex938
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicper.tex227
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicpln.tex298
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicpos.tex43
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicpre.tex64
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicref.tex88
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicsix.tex11
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicsty.tex368
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musictex.tex2440
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musictrp.tex175
-rw-r--r--Master/texmf-dist/tex/generic/musictex/musicvbm.tex94
15 files changed, 9228 insertions, 0 deletions
diff --git a/Master/texmf-dist/tex/generic/musictex/musicadd.tex b/Master/texmf-dist/tex/generic/musictex/musicadd.tex
new file mode 100644
index 00000000000..5867fb8165a
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicadd.tex
@@ -0,0 +1,111 @@
+%
+% MUSICADD.TEX version 4.81 October 1992
+\message{Version 5.02 -- February 28th, 1994}%
+%
+\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12
+\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12
+%
+\newcount\t@wvii
+\newcount\t@wviii
+\newcount\t@wix
+\newcount\t@pvii\newcount\t@svii
+\newcount\t@pviii\newcount\t@sviii
+\newcount\t@pix\newcount\t@six
+\newcount\t@px\newcount\t@sx
+\newdimen\b@xvii\newdimen\b@zvii
+\newdimen\b@xviii\newdimen\b@zviii
+\newdimen\b@xix\newdimen\b@zix
+\newdimen\b@xx\newdimen\b@zx
+\newdimen\bb@xvii\newdimen\bb@zvii
+\newdimen\bb@xviii\newdimen\bb@zviii
+\newdimen\bb@xix\newdimen\bb@zix
+\newdimen\bb@xx\newdimen\bb@zx
+\newdimen\bbb@xvii\newdimen\bbb@zvii
+\newdimen\bbb@xviii\newdimen\bbb@zviii
+\newdimen\bbb@xix\newdimen\bbb@zix
+\newdimen\bbb@xx\newdimen\bbb@zx
+\newdimen\bbbb@zvii
+\newdimen\bbbb@zviii
+\newdimen\bbbb@zix
+\newdimen\bbbb@zx
+\newdimen\bbbbb@zvii
+\newdimen\bbbbb@zviii
+\newdimen\bbbbb@zix
+\newdimen\bbbbb@zx
+\newcount\b@pvii\newcount\b@nvii
+\newcount\b@pviii\newcount\b@nviii
+\newcount\b@pix\newcount\b@nix
+\newcount\b@px\newcount\b@nx
+\newcount\nbporteesvii
+\newcount\nbporteesviii
+\newcount\nbporteesix
+%
+\def\stafflinesnbvii{5}
+\def\stafflinesnbviii{5}
+\def\stafflinesnbix{5}
+%
+\def\clefdutvii{\clefdutsymbol}
+\def\clefdutviii{\clefdutsymbol}
+\def\clefdutix{\clefdutsymbol}
+%
+\def\clefdefavii{\clefdefasymbol}
+\def\clefdefaviii{\clefdefasymbol}
+\def\clefdefaix{\clefdefasymbol}
+%
+\def\clefdesolvii{\clefdesolsymbol}%
+\def\clefdesolviii{\clefdesolsymbol}%
+\def\clefdesolix{\clefdesolsymbol}%
+%
+\newcount\signvii
+\newcount\signviii
+\newcount\signix
+%
+\newcount\o@signvii
+\newcount\o@signviii
+\newcount\o@signix
+%
+\newtoks\cleftoksvii
+\newtoks\cleftoksviii
+\newtoks\cleftoksix
+%
+\newtoks\o@cksvii
+\newtoks\o@cksviii
+\newtoks\o@cksix
+%
+\newtoks\tempotoksvii
+\newtoks\tempotoksviii
+\newtoks\tempotoksix
+%
+\def\instrumentvii{}%
+\def\instrumentviii{}%
+\def\instrumentix{}%
+%
+\global\nbporteesvii=1\relax
+\global\nbporteesviii=1\relax
+\global\nbporteesix=1\relax
+%
+\global\cleftoksvii={{0}{0}{0}{0}}\relax
+\global\cleftoksviii={{0}{0}{0}{0}}\relax
+\global\cleftoksix={{0}{0}{0}{0}}\relax
+%
+\newtoks\metertoksvii
+\newtoks\metertoksviii
+\newtoks\metertoksix
+%
+\global\metertoksvii={{0}{0}{0}{0}}\relax
+\global\metertoksviii={{0}{0}{0}{0}}\relax
+\global\metertoksix={{0}{0}{0}{0}}\relax
+%
+\def\maxlegatenuti{9}
+%
+\newdimen\t@xvii\newdimen\t@zvii
+\newdimen\t@xviii\newdimen\t@zviii
+\newdimen\t@xix\newdimen\t@zix
+\newdimen\t@xx\newdimen\t@zx
+
+
+\catcode`\>=\catcode@gt
+\catcode`\<=\catcode@lt
+\catcode`\@=\catcodeat
+
diff --git a/Master/texmf-dist/tex/generic/musictex/musicdoc.tex b/Master/texmf-dist/tex/generic/musictex/musicdoc.tex
new file mode 100644
index 00000000000..6a8db08dd6f
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicdoc.tex
@@ -0,0 +1,4118 @@
+\documentstyle[twoside,multicol,musictex,musictrp,musicper,a4report,11pt]{report}
+
+\def\hboxit#1{\hbox{\vrule\vbox{\hrule\kern3pt
+ \hbox{\kern3pt\small\it #1\kern3pt}\kern3pt\hrule}\vrule}}
+%
+\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\tt}
+%
+\def\text#1{\leavevmode\hbox{\rm #1}}%
+%\check
+\def\ital#1{{\sl #1\/}}%
+\def\mutex{M\raise 2pt\hbox{\kern -1pt u\kern -1pt}\TeX}
+\def\bslash{{\tty\char'134}}%
+\def\unix{{\sc unix}}%
+\def\Bslash{\tty\char'134}%
+\def\|{{\tty\char'174}}%
+\def\#{{\tty\char'043}}%
+\def\{{{\char'173}}%
+\def\}{{\char'175}}%
+\def\musictex{Music\TeX}%
+\def\musixtex{MusiX\TeX}%
+\def\musicxx{\musictwenty}
+\def\keyindex#1{\leavevmode
+ \hbox{\tty\bslash #1}\index{#1=\protect\tty\protect\bslash #1}}
+\def\zkeyindex#1{\index{#1=\protect\tty\protect\bslash #1}}
+\def\ixem#1{#1\index{#1}}
+\def\itxem#1{\ital{#1}\index{#1}}
+\def\aujourdhui{\today}
+%
+%\check
+\tracingstats=1
+%
+%%%% \input musicext : extracting the wanted macro
+
+\makeatletter
+
+\def\tmp@dimenb{\y@ii}
+\newdimen\tmp@dimen
+% \overbracket{p}{l}{s} draws a bracket over the music starting at the
+% current position at pitch p, width l and slope s percent, causing no space.
+\def\overbracket#1#2#3{\relax % height (note), length (dimen) slope (%)
+ \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax
+ \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax
+ \raise\n@i\internote\rlap{\vrule width\lthick height \lthick
+ depth .8\Interligne}\oblique{#2}{#3}{\n@i\internote}\relax
+ \advance\tmp@dimenb by.5\lthick\relax
+ \raise\tmp@dimenb\hbox{\vrule width\lthick height \lthick
+ depth.8\Interligne}}}
+
+% \ovbkt{p}{n}{s} is the same as \overbracket, except that it draws the
+% bracket to cover n notes (note however that glue inserted by \temps
+% commands will expand the space between the notes but will not affect the
+% bracket).
+% I use this macro to indicate triplets, for instance.
+
+\def\ovbkt#1#2#3{\relax % height (note), length (number of notes) slope (%)
+ \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen
+ by -\noteskip\advance\tmp@dimen by\lthick \overbracket{#1}{\tmp@dimen}{#3}}
+
+% \underbracket and \unbkt are similar to the above, but produce
+% brackets under the music.
+\def\underbracket#1#2#3{\relax % height (note), length (dimen) slope (%)
+ \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax
+ \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax
+ \raise\n@i\internote\rlap{\vrule width\lthick depth -\lthick
+ height \Interligne}\oblique{#2}{#3}{\n@i\internote}\relax
+ \advance\tmp@dimenb by.5\lthick\relax
+ \raise\tmp@dimenb\hbox{\vrule width\lthick depth -\lthick
+ height\Interligne}}}
+\def\unbkt#1#2#3{\relax % height (note), length (number of notes) slope (%)
+ \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen
+ by -\noteskip\advance\tmp@dimen by\lthick
+ \kern-2\lthick\underbracket{#1}{\tmp@dimen}{#3}\kern2\lthick}
+
+
+\newdimen\tmp@dimenc
+\newdimen\z@iii\newdimen\z@iv\newdimen\z@v
+
+% \oblique {l}{s}{h} draws an oblique line of length l, slope s percent, and
+% height h. This will cause an unrecorded space so it should be used within
+% \rlap. Note that this macro is a hack and probably gobbles up resources!
+% This macro is used by some of the others which follow.
+
+\def\oblique#1#2#3{\relax % length slope height
+\ifnum #2=0\relax\raise #3\vbox{\hrule width #1 height\lthick depth\z@}\relax
+\else\q@antum=25\lthick\divide\q@antum by #2\relax
+\ifdim\q@antum<0pt\relax\multiply\q@antum by -1\fi
+\global\z@iv=0pt\relax
+\loop\ifdim\z@iv<#1\relax
+ {\z@v=#1\relax\advance\z@v by -\z@iv\relax\advance\z@v by -\q@antum\relax
+ \tmp@dimenc\z@iv\multiply\tmp@dimenc by#2\relax
+ \z@iii=#3\relax\advance\z@iii by .01\tmp@dimenc\relax\advance\z@iii by
+ -0.5\internote
+ \ifnum #2<0\relax\advance\z@iii by \lthick\relax\fi
+ \tmp@dimenc\z@v\multiply\tmp@dimenc by#2\relax
+ \ifdim\z@v<0pt\relax\advance\z@iii by .01\tmp@dimenc\relax\hskip\z@v\fi
+ \advance\z@iii by 0.6\internote\relax
+ \raise\z@iii\hbox to \q@antum{\vrule width\q@antum height .5\lthick depth
+ .5\lthick}\relax
+ \global\advance\z@iv by \q@antum\relax
+}\repeat
+\fi
+}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% end musicext excerpt
+\font\musext=musicbrb
+\tolerance 10000
+\csname normalshape\endcsname\csname mediumseries\endcsname
+\csname pnormalshape\endcsname\csname pmediumseries\endcsname
+\makeindex
+
+\long\def\theindex{\chapter{Index}
+\parindent \z@
+\parskip \z@ \@plus .3\p@ \relax \let \item \@idxitem \columnseprule \z@
+\columnsep 35\p@ \begin{multicols}{2}
+}
+
+\def\endtheindex{\end{multicols}}
+
+%
+\begin{document}
+\title{\Huge\bf \musictex\\\LARGE\bf Using
+ \TeX\ to write polyphonic\\or
+instrumental music\\\Large\sl Version 5.17 -- \today}
+\author{\Large\rm Daniel \sc Taupin\\\large\sl
+ Laboratoire de Physique des Solides\\\normalsize\sl
+ (associ\'e au CNRS)\\\normalsize\sl
+ b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex}
+ \date{}
+\maketitle
+\clearpage
+\thispagestyle{empty}
+\null
+\setcounter{page}0
+\clearpage
+\tableofcontents
+\setcounter{secnumdepth}3
+\pagestyle{headings}
+%
+\chapter{What is \musictex\ ?}
+ \musictex\ 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 the {\tty A4.sty} the {\Bslash textheight} and {\Bslash
+textwidth} of which are too small for musician needs.
+
+ However, a \LaTeX\ style has been also provided (and it is used for the
+typing of the present paper) but this {\tty musictex} style is fit for
+musicographic books rather than for normal scores to be actually played.
+
+ It should be emphasized that \musictex\ 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.
+\musictex\ only typesets staves, notes, chords, beams, slurs and ornaments as
+requested by the composer. Since it makes very few typesetting decisions,
+\musictex\ 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 \musictex\ might appear to be awfully complicated, just as
+the real keyboard or orchestral music. Therefore, it should be interfaced therefore by
+some pre-compiler in the case of the composer/typesetter wanting aesthetic
+decisions to be automatically made by somebody (or something) else.
+
+\section{\musictex\ principal features}
+\subsection{Music typesetting is two-dimensional}
+
+ Most of the people who just learnt a bit of music at college probably think
+that music is a linear sequence of symbols, just as literary texts to be
+\TeX-ed. In fact, with the exception of strictly monodic instruments like
+most orchestral wind instruments and solo voices, one should be aware that
+reading music actually is a matricial operation: the non-soloist musician
+successively reads \ital{columns} of simultaneous notes which he actually plays
+if he is a pianist, clavichordist or organist, which he actually 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 actual
+music reading and composing is a slightly more complicated intellectual
+process: music reading, music composing and music thinking seems 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 part of music lasting roughly a few seconds. Then he handles the
+next \ital{beat} or \ital{bar} of his score.
+
+ Thus, it appears that the humanly logical way of coding music consists
+in horizontally accumulating a set of \ital{vertical combs} with
+\ital{horizontal teeth} as described in Table \ref{readtable}.
+
+ \begin{table}
+ \begin{center}
+ \begin{tabular}{|ll|ll|}\hboxit{note sequence one}
+ &\hboxit{note seq.\ four}
+ &\hboxit{note seq.\ seven}
+ &\hboxit{note seq.\ ten}\\\hboxit{note sequence two}
+ &\hboxit{note seq.\ five}
+ &\hboxit{note seq.\ eight}
+ &\hboxit{note seq.\ eleven}\\\hboxit{note seqence three}
+ &\hboxit{note seq.\ six}
+ &\hboxit{note seq.\ nine}
+ &\hboxit{note seq.\ twelve}\\
+ \end{tabular}
+ \end{center}
+ \caption{The order in which a musician reads music}\label{readtable}
+ \end{table}
+
+This is the reason
+why, in {\bf \musictex} the fundamental \ital{macro} is of the form
+
+\begin{center}
+{\Bslash notes \dots\ \& \dots\ \& \dots\ \bslash enotes}
+\end{center}
+
+\noindent where the character {\tty\&} is used to separate the notes to be
+typeset on respective staffs of the various instruments, starting from the
+bottom.
+
+In the case of an instrument whose score has to be written with
+several staffs, these staffs are separated by the
+character \|. Thus, a score written for a keyboard instrument and
+a monodic instrument (for example piano and violin)
+will be coded as follows:
+
+\begin{center}
+{\Bslash notes \dots\ \| \dots\ \& \dots\ \bslash 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 \musictex,
+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 in practice an important point.
+
+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}
+\def\nbinstruments{1}\relax
+\computewidths
+\generalmeter{\meterfrac{4}{4}}\relax
+\debutextrait
+\normal\elemskip=0.110\hsize
+\temps\Notes\qsk\qsk\rlap{\hu j}\ql h\enotes
+\temps\Notes\hl g\enotes
+\temps\Notes\hu k\enotes
+\temps\Notes\ql f\enotes
+\finextrait
+ \end{music}
+
+%\check
+
+\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}
+%
+
+Therefore, we preferred to provide the composer/typesetter with a
+set of macros, the spacing of which increases by a factor of $\sqrt 2$
+(incidentally, this can be adjusted):
+
+\begin{center}
+{\Bslash notes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \%
+\hbox to 2.5cm{\rm 1 spatial unit\hss}}
+\\
+{\Bslash Notes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \%
+\hbox to 2.5cm{\rm 1.4 spacial unit\hss}}
+\\
+{\Bslash NOtes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \%
+\hbox to 2.5cm{\rm 2 spatial units\hss}}
+\\{\Bslash NOTes \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \%
+\hbox to 2.5cm{\rm 2.8 spatial units\hss}}
+\\{\Bslash NOTEs \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \%
+\hbox to 2.5cm{\rm 4 spatial units\hss}}
+\\{\Bslash NOTES \dots\ \& \dots\ \& \dots\ \bslash enotes\ \ \%
+\hbox to 2.5cm{\rm 5.6 spatial units\hss}}
+\end{center}
+
+%\check
+ The size of the spatial unit (\keyindex{elemskip}) can be freely adjusted.
+In addition, \musictex\ provides a means of adjusting the note spacing
+according to an average number of elementary spaces within a line (macro
+\keyindex{autolines}).
+
+\subsection{Music tokens, rather than a readymade generator}
+%\check
+
+The tokens provided by \musictex\ are:
+
+\begin{itemize}
+\item the note symbols \ital{without stem};
+\item the note symbols \ital{with stems, and hooks for eighth notes and
+beyond};
+\item the indications of beam beginnings and beam ends;
+\item the indications of beginnings and ends of ties and slurs;
+\item the indications of accidentals;
+\item the ornaments: arpeggios, trills, mordents, pinc\'es, turns, staccatos
+and pizzicatos, fermatas;
+\item the bars, the meter and signature changes, etc.
+\end{itemize}
+
+ Thus, {\Bslash 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, {\Bslash wh h} produces an \ital{A
+(445~Hz)} of duration represented by a \ital{whole note}, {\Bslash qu~c}
+produces a \ital{C (250~Hz approx.)} whose value is a \ital{quarter note with
+stem up}, {\Bslash 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.
+
+%\check
+{\def\nbinstruments{1}\relax
+\cleftoksi={{0}{0}{0}{0}}\generalmeter{}\relax
+\debutextrait
+\normal
+\NOTes\qsk\zq c\zq e\zq g\qu j\enotes
+\finextrait}
+
+%\check
+\noindent is coded
+ \hbox{\Bslash zq~c\bslash zq~e\bslash zq~g\bslash qu~j}
+or, in a more concise way, \hbox{\Bslash zq\{ceg\}\bslash qu~j} (stem up):
+in fact, single notes are treated\dots\ like one-note chords.
+
+\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 of 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 hang on
+and which beam is terminated at a given position.
+
+%\check
+\subsection{Setting anything on the score}
+
+A general macro (\keyindex{zcharnote}) provides a means of
+putting any sequence of symbols (in fact, some {\Bslash hbox\{...\}}) at any
+pitch of any staff of any instrument. Thus, any symbol defined in a font
+(letters, math symbols, etc.) can be used to typeset music.
+
+\section{A simple example}
+
+ Before giving more details, we give below an example of the two first
+bars of the sonata in C-major K545 by {\sc\ixem{Mozart}}:
+
+\begin{music}
+\parindent 1cm
+\def\nbinstruments{1}\relax
+\def\instrumenti{Piano}%
+\nbporteesi=2\relax
+\generalmeter{\meterfrac{4}{4}}\relax
+\debutextrait
+\normal
+\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes
+\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\ql l\sk\ql n\enotes
+\barre
+\Notes\ibu0f0\qh0{dgf}|\qlp i\enotes
+\notes\tbu0\qh0g|\ibbl1j3\qb1j\tbl1\qb1k\enotes
+\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes
+\finextrait
+\end{music}
+%\check
+
+ The \ital{coding} is set as follows:
+
+\begin{quote}\begin{verbatim}
+\begin{music}
+\parindent 1cm
+\def\nbinstruments{1}\relax % a single instrument
+\def\instrumenti{Piano}% % whose name is Piano
+\nbporteesi=2\relax % with two staffs
+\generalmeter{\meterfrac{4}{4}}\relax % 4/4 meter chosen
+\debutextrait % starting real score
+\normal % normal 12 pt note spacing
+\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes
+\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\ql l\sk\ql n\enotes
+\barre % bar
+\Notes\ibu0f0\qh0{dgf}|\qlp i\enotes
+\notes\tbu0\qh0g|\ibbl1j3\qb1j\tbl1\qb1k\enotes
+\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes
+\finextrait % terminate excerpt
+\end{music}
+ \end{verbatim}\end{quote}
+
+\begin{itemize}
+\item {\Bslash ibu0f0} begins an upper beam, aligned on the
+\ital{f}, reference number 0, slope 0
+\item {\Bslash tbu0} terminates this beam before writing
+the second \ital{g} by means of {\Bslash qh0g}
+\item {\Bslash qh..} indicates a note hanging on a beam.
+ \item {\Bslash sk } sets a space between the two quarters at the right
+hand, so that the second is aligned with the third eighth of the left hand.
+ \item{\Bslash qlp} is a quarter with a point.
+ \item{\Bslash ibbl1j3} begins
+a double beam, aligned on the \ital{C} ({\tty j} at this pitch)
+of slope 0.15.
+\end{itemize}
+
+\section{Some highlights}
+\subsection{Signatures}
+
+Signatures can be stated either for all instruments, for example by
+\keyindex{generalsignature}{\tty\{-2\}} which sets two flats on each staff, or
+separately for each instrument. Thus, the \keyindex{generalsignature}
+can be partly overridden by \keyindex{signii}{\tty=1} which puts one
+sharp on the staffs of \itxem{instrument number} 2 (ii). 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 \musictex\ 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 of 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, \musictex\ 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 of the current signature.\index{relative accidentals}
+
+
+\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 {\Bslash
+mynotes...\bslash enotes}, {\Bslash myNotes...\bslash enotes} with as many
+arguments as there are in the orchestral score (hope this is less 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 on the value of some
+selection register). But the limitation is that the numbering of instruments
+may change, so that {\Bslash signiii} may have to become {\Bslash signi} if
+instrument $iii$ is alone. But, in turn, this is not a serious problem for
+average \TeX\ wizard apprentices.
+
+ \subsection{Variable staff and note sizes}
+
+ Although the staff size is 20 pt as a standard, \musictex\ allors scores of
+16 pt 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}.
+
+ \section{How to get it}
+
+ The whole \itxem{distribution} fits into a single 1.2Mbyte or
+1.44Mbyte diskette. It can also be obtained through an \ital{anonymous ftp}
+at {\tty rsovax.lps.u-psud.fr} (193.55.39.100), after selecting the
+subdirectory {\tty [.musictex]}. All sources (including fonts) are provided,
+either separately or ``zipped'' or as VMS ``\ixem{savesets}''.
+
+%\check
+\section{Enhancements}
+\subsection{Recent easy enhancements}
+
+Many enhancements have been asked for, and this is a proof that \musictex\ 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. But others may induce heavy problems, for example
+the need of having \ital{nice} slurs and ties.
+
+In the same way, we recently introduce Andreas {\sc Egler}'s fonts to have
+nicer braces at the left of the score, for example for piano music.
+
+Besides, we recently found a hard incompatibility of \musictex\ and a genuine
+product of the author's native country, namely {\tt french.sty} by Bernard
+{\sc Gaulle} which is the \ital{standard} of the French \TeX\ user group,
+namely the GUTenberg association. This was partly due to macro name collisions
+--- easy to solve --- and to the fact that {\tt french.sty} sets a lot of
+characters as \keyindex{active} characters in order to make them handle
+correctly the French spacing before and after punctuation marks. This seems to
+have been solved in the 4.99 version of \musictex, with the restriction that
+French macros cannot be used --- at least easily --- within lyrics.
+
+Besides, \musictex\ has been adapted --- since version 5.00 --- to score
+\ital{gregorian chant} and \ital{percussion music}.
+
+\subsection{The tie/slur problem}
+
+While typesetting notes and even beams is a rather simple problem because it
+is a \ital{local typesetting}, ties and slurs are much more difficult to handle.
+
+Of course there is small problem in case of a typesetter wanting a slur or a
+tie binding two consecutive notes, not separated by a bar. In practice this
+\ital{very restricted} use of slurs or ties can easily be solved by putting
+some symbols extracted from the {\tty slur16} or {\tty slurn16}/{\tty slurn20}
+fonts somewhere on the staffs using the general use \keyindex{zcharnote}
+macro.
+
+ But serious music typesetters or composers know that many ties are supposed
+to link notes which are on both sides of a bar, which is a likely place to
+insert line breakings, so that the coding of \itxem{ties} must have various
+versions and sizes to resist that possible line breaking. What has been said
+about ties is still more serious in the case of \itxem{phrasing slurs} which
+may extend over several bars, lines and sometimes pages. In this case, their
+shape is not only a question of producing a long curved symbol of nice
+looking shape, it also has to cope with \itxem{glue}. An then the worst is
+that music way of typing does not accept \itxem{ragged lines} but equal
+length lines, even for the last line of a music piece. Thus, long distance
+slurs and ties need to be cut into separate parts (beginning, continuing(s),
+endings) which \TeX\ can only link using \ital{horizontal line overlaps}
+or \keyindex{leaders} to insure slur continuity over this unavoidable glue.
+
+
+Therefore and up to now, ties and slurs have been implemented in a way which
+may look rather ugly, but we think it is the only way of implementing
+\ital{in one pass} ties and slurs which run \ital{across glue}. The principle
+is to have tie/slur symbols with a rather long horizontal part.
+Then, at each time a glue occurs and at each time a group of notes is coded
+while a slur or tie is pending, an \keyindex{hrule} is issued which overlaps
+the preceding tie/slur symbol so that the final output seems to contain a
+continuous line. Unfortunately, this is possible only in the glue expansion
+direction, namely in the horizontal direction.
+
+Variable size
+initial and final curved slur symbols have recently been implemented;
+the user has to choose them according
+to his intention to have short or long range slur symbols.
+
+\subsection{\musixtex}
+
+\ixem{\musixtex} is a new package, heavily derived from \musictex\ by Andreas
+{\sc Egler} and Ross {\sc Mitchell}. Its fundamentals are taken from
+\musictex, but it works in three passes~:\index{Egler, A.}\index{Mitchell, R.}
+ \begin{enumerate}
+ \item The first pass \TeX es the source with a different set of macros,
+which generate a special file telling where slurs/ties start and begin.
+ \item The second pass (a C program) computes the optimal length of the
+slurs/recorded.
+ \item The third pass generates the definitive DVI from the initial source,
+owing to information produced by the second pass, name to choose the adequate
+slur/tie symbols according to the chosen final note spacing.
+ \end{enumerate}
+ We do not decribe \musixtex\ here, but we give some suggestion to make the
+same \musictex\ source runable with both \musictex\ and \musixtex.
+
+\subsection{Enhancement limitations}
+Many requested improvements have not been
+\ital{yet} implemented for several reasons:
+
+ \begin{itemize}
+
+ \item The author's natural lazyness (!)
+
+ \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) and we
+are afraid many requested new features would make \TeX\ stupidly crash even
+when typesetting reasonable scores.
+
+ \item We do not think it is wise to introduce in \musictex\ itself a great
+number of macros which would be poorly used by most users: the reason is that
+\TeX\ memory is hardly limited and that unused macros may occupy some \TeX\
+storage which could make things crash because of {\tty TeX capacity
+exceeded}...
+
+ \end{itemize}
+
+
+\section{Acknowledgements}
+
+The idea of implementing the present package is due to the previous work
+(\mutex)\index{mutex=\protect\mutex} of 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 and some line breaking procedures,
+which both are still used here... with 99\% corrections and
+updates.\index{Schofer, A.}\index{Steinbach, A.}
+
+Besides, the original fonts of \musictex, named {\tt musicn20}, {\tt
+musicn16}, {\tt musicn13} and {\tt musicn11}, have been recently reviewed
+by Andreas {\sc Egler} and the new release --- used in the version 5.00 and
+above of \musictex\ --- is called {\tt musikn20}, {\tt musikn16}, {\tt
+musikn13} {\tt musikn11} and {\tt musicbrb}.\index{Egler, A.}
+
+
+\chapter{Practical use}
+\section{Heading statements}
+
+Before any reference to \musictex\ macros:
+
+\medskip{\Bslash input musicnft }
+
+{\Bslash input musictex}
+
+ \medskip\noindent which may be followed by {\Bslash input musicadd}
+in the case you have more than six instruments (voice is two instruments: one
+for the music, one for the text) or more than 6 simultaneous beams or ties or
+slurs.\index{musicnft.tex}\index{musictex.tex}\index{musicadd.tex}
+\index{musicnft.tex}
+
+ \medskip After that, you may write a complete book of \TeX\ provided that
+you do not use {\tty \&} as a tabulation character (its \keyindex{catcode}
+has been changed) inside the music score and that you do not overwrite
+\musictex'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 {\tt musictex} style.
+
+\section{Before you begin to write notes}
+
+You should first specify whether you want to typeset music in size
+20pt\index{sizes} per staff or 16pt. This only optional, the default value
+being 20pt. If you want the 16pt size, then you have to say:
+
+\medskip \keyindex{musicsize}{\tty=16}
+
+\medskip Then, the first compulsory declaration is:
+
+\medskip {\Bslash def\keyindex{nbinstruments}{\tty\{$n$\}}}
+
+\medskip \noindent where $n$ is the number of instruments, used by
+\musictex\ to performs loops building staffs, setting signatures, meters,
+etc. Therefore, it must be defined before any other statements. An instrument
+may consist of several staffs, e.g. the piano. The difference between one
+instrument of several staffs and several instruments is as follows:
+
+\begin{itemize}
+ \item distinct instruments may have distinct \itxem{signatures}, distinct
+staffs of a unique instrument share the same signature.
+ \item \itxem{stems} may be hung to \itxem{beams} belonging to differents
+staffs of the same instrument.
+ \item \itxem{chords} may extend across several staffs of the same
+instrument.
+ \item staffs of a unique \itxem{instrument} are tied together
+with a big brace at the beginning of each line.
+
+\end{itemize}
+
+\medskip If the number of staffs (in French ``\itxem{port\'ees}'') is not
+equal to one, this number must be specified by:
+
+\medskip
+%\check
+{\tty\keyindex{nbportees$r$}=$p$\bslash relax}
+
+ \medskip\noindent where $p$ is the number of staffs, and where $r$ is the
+roman numeral of the instrument considered (e.g. \keyindex{nbporteesiii}
+for the 3rd instrument, starting from the bottom). This value may be zero, in
+which case the staff lines are omitted, and this instrument may be used to
+code the \itxem{lyrics} of a song, below the actual ``instrument''
+representing the notes of the song.
+
+\medskip Unless all your instruments only use the \ital{violin} clef, you
+have to specifiy all the clefs used for all the instruments. This is done by
+coding:
+
+\medskip{\tty\keyindex{cleftoks$r$}=\{\{$s1$\}\{$s2$\}\{$s3$\}\{$s4$\}\}\%}
+
+\medskip\noindent where $r$ is the roman numeral of the instrument, $s1$
+specifies the clef of the lower staff, $s2$ the clef of the second staff,
+etc. One must always give four values with the above syntax, otherwise\dots\
+$s1=0$ means the \ital{violin} clef (\ixem{clef de sol} in French), $s1=1$
+through $s1=4$ mean the \ital{alto} clef (\ixem{clef d'ut} in French) set on
+first (lower) through fourth (next to upper line of the staff), $s1=5$ means
+the \ital{bass} clef at third (middle) line, and $s1=6$ means the usual
+\ital{bass} clef (\ixem{clef de fa} in French) at the usual fourth line.
+\index{violin clef}\index{bass clef}\index{alto clef} As an example, a
+standard piano score should include:
+
+\medskip{\tty\keyindex{cleftoksi}=\{\{6\}\{0\}\{0\}\{0\}\}\%} or {\Bslash
+cleftoksi=\{6000\}\%}
+
+\medskip
+If the signature is not void, one should code:
+
+\medskip{\tty\keyindex{generalsignature}{\tty\{$s$\}}\bslash relax}
+
+\medskip\noindent where $s>0$ indicates the number of \itxem{sharps} in the
+signature and $s<0$ the number of \itxem{flats}\footnote{We have seen once a
+score in G-minor where the signature consisted of two flats (B and E) plus
+one sharp (F). This is not supported by \musictex.}.
+
+\medskip If there a \itxem{meter} indication is to be posted, it should be
+specified using the macro
+
+\medskip {\tty\keyindex{generalmeter}\{$m$\}\%}
+
+\medskip \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
+
+\medskip{\Bslash generalmeter\{\bslash meterfrac\{3\}\{4\}\}\%}
+
+\medskip\noindent or, in a simpler way (if the numbers are less than 10):
+
+\medskip{\Bslash generalmeter\{\bslash meterfrac 34\}\%}
+
+\medskip\rm Special denotations can be used, such as \keyindex{allabreve} to
+get \raise -6pt\hbox{\allabreve} and \keyindex{meterC} to get \raise
+-6pt\hbox{\meterC}.
+
+\medskip 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 means of a more
+sophisticated command:
+
+
+%\check
+\medskip{\Bslash metertoksii=\{\{\bslash
+meterfrac\{12\}8\}\{\bslash
+allabreve\}\{\}\{\}\}\%}
+\zkeyindex{metertoks$i$}
+
+\medskip \rm\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
+(\ital{ii}). Note that there is room for 4 staffs and that void items must be
+specified, otherwise \TeX\ weird errors occur.
+
+\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:
+
+\medskip\Bslash def\bslash instrument$r$\{\ital{name of the instrument}\}\%
+\zkeyindex{instrument$r$}
+
+\medskip \noindent\rm where $r$ is the roman numeral 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.
+This can be specified (but only once per system) by specifying
+
+\medskip{\tty\bslash def\keyindex{lowersonginstrum}\{$m$\}}
+
+{\tty\bslash def\keyindex{uppersonginstrum}\{$n$\}}
+
+\medskip\noindent where $m$ and $n$ are the intrument numbers of the first
+and last choral voices. An example of using this feature is given in
+{\tty PRAETORI} and -- more complicated -- also in {\tty ANGESCAM}
+and {\tty ANGESCAO}.
+
+%\check
+\section{Starting your masterpiece}
+\subsection{Typing the first system}
+
+Just code
+
+\medskip\keyindex{debutmorceau}
+
+\medskip\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 also
+must choose the spacing of the notes.
+
+\subsection{Easy selecting note spacing}
+The easiest way of getting a reasonable note spacing is done by saying
+
+\medskip\keyindex{normal}
+
+\medskip This defines an elementary spacing of {\tty 10pt}. If you say
+\keyindex{large}\footnote{To avoid problems with the \LaTeX\
+\index{LaTeX=\protect\LaTeX}
+macro of the same name, this macro is only activated under \LaTeX\ when
+\keyindex{begin\{music\}} is invoked.} the elementary spacing (\keyindex{elemskip}) is set to {\tty
+12pt}. Once this is done, you can select $\sqrt 2$ multiples of this value to
+select specific note spacing by initiating your note column with {\Bslash
+notes} (spacing {\Bslash elemskip}), {\Bslash Notes} (spacing {\tty
+1.4\bslash elemskip}), etc.
+
+The is also a macro named \keyindex{etroit} which yields
+narrower\footnote{\ital{Etroit} means \ital{narrow} in French.} spacings but
+not increasing in the same way.
+
+\medskip In practice, the choice of the macro {\Bslash notes}, {\Bslash
+Notes}, {\Bslash 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{qh}, \keyindex{hl}, etc.) will be followed by a spacing of
+\keyindex{noteskip}. Then, the advantage of the definition of {\Bslash
+elemskip} is that, whenever it is changed, all subsequent {\Bslash noteskip}s
+will be updated proportionally so that a simple change of {\Bslash elemskip}
+can expand or shrink all consecutive note spacings as a whole.
+
+If these values of {\Bslash elemskip} are not
+fit to your needs, you can also say
+
+\medskip{\tty\keyindex{normal}\keyindex{elemskip}=15pt}
+
+\medskip\noindent or revert to the basic note introducing sequence:
+
+\medskip{\tty\keyindex{vnotes} $q$ \bslash elemskip
+\ital{note specifications} \bslash enotes}
+
+\medskip\noindent where $q$ is a positive integer or decimal number.
+
+\medskip Of course, if you are sufficiently skilled with \TeX, you can also
+compute \keyindex{elemskip} according to the number of bars you want in a
+line and the number of notes in each bar.
+
+
+\medskip However, you may also prefer to ask \musictex\ to compute the size
+of \keyindex{elemskip} from the current page width (\keyindex{hsize}) after
+assuming a constant number of bars of a constant number of beats within each
+line\footnote{This does not meet the requirements of contemporaneous music,
+but fits very well to baroque and romantic music.}. In this case, you have
+better use the \keyindex{autolines} macro, which is described below (see:
+\ref{linepagebreak}, ``Line and page breaking'').
+
+%\check
+ \section{Note pitch specification}
+
+ Note pitches are usually specified by letters ranging from {\tty a} to {\tty
+z} for those which are usually written under the G-clef ({\tty a} corresponds
+to the $A$ of nominal frequency 222.5~Hz; the \ital{G} of the G-clef is denoted
+{\tty g}). Lower pitch notes are specified using upper case letters ranging
+from {\tty A} to {\tty N} (the \ital{F} of the F-clef is denoted {\tty M}, and
+{\tty F} is one octave below).
+%\check
+
+\medskip If necessary, a numeric symbol can be used to place a symbol
+independently of the active clef.
+
+\medskip Besides, notes below {\tty 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}
+
+\medskip The first kind is used to type a melody, the second kind is used to
+type chords.
+%\check
+
+\subsection{Single (spacing) notes}
+
+\begin{quote}\begin{description}
+\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{qu}~$p$ : ]quarter note at pitch $p$ with stem up.
+\item[\keyindex{ql}~$p$ : ]quarter note at pitch $p$ with stem down.
+\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{ccu}~$p$ : ]sixteenth note at pitch $p$ with stem up.
+\item[\keyindex{ccl}~$p$ : ]sixteenth note at pitch $p$ with stem down.
+\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{ccccu}~$p$ : ]64-th note at pitch $p$ with stem up.
+\item[\keyindex{ccccl}~$p$ : ]64-th note at pitch $p$ with stem down.
+%\check
+\end{description}\end{quote}
+
+\medskip As an example, the sequence:
+
+\begin{music}\parindent=0pt\def\nbinstruments{1}\def\instrumenti{}
+ \generalsignature{0}\savesignature\cleftoksi={{0}{0}{0}{0}}
+ \debutextrait\normal
+\notes\cu c\temps\cl j\enotes\barre
+\notes\ccu c\temps\ccl j\enotes\barre
+\notes\cccu c\temps\cccl j\enotes\barre
+\notes\ccccu c\temps\ccccl j\enotes\finextrait
+\end{music}
+
+\medskip \noindent was coded as:
+
+%\check
+\begin{quote}\begin{verbatim}
+\notes\cu c\temps\cl j\enotes\barre
+\notes\ccu c\temps\ccl j\enotes\barre
+\notes\cccu c\temps\cccl j\enotes\barre
+\notes\ccccu c\temps\ccccl j\enotes
+\end{verbatim}\end{quote}
+
+\medskip 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}
+
+\medskip 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.
+
+\medskip \noindent{\sl 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.}
+ \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.
+
+\rm\medskip \par\keyindex{rw}~$p$ : whole note head shifted right by one note
+width ($\approx$ 6pt), no spacing.
+ \par\keyindex{lw}~$p$ : whole note head shifted left by one note
+width ($\approx$ 6pt), no spacing.
+ \par\keyindex{rh}~$p$ : half note head shifted right by one note
+width ($\approx$ 6pt), no spacing.
+ \par\keyindex{lh}~$p$ : half note head shifted left by one note
+width ($\approx$ 6pt), no spacing.
+ \par\keyindex{rq}~$p$ : quarter note head shifted right by one note
+width ($\approx$ 6pt), no spacing.
+ \par\keyindex{lq}~$p$ : quarter note head shifted left by
+one note width ($\approx$ 6pt), no spacing.
+
+\medskip Except that they are shifted left of right, these macros act like
+{\Bslash z...} macros for stem building.
+
+\subsection{Shifted notes}
+
+\begin{quote}\begin{description}
+ \item[\keyindex{rqu} : ]acts like {\Bslash qu} but the note head is
+shifted one note width. This is used for \itxem{chords} with upper note
+on the right side of the stem.
+ \item[\keyindex{rql} : ]same with stem down.
+ \item[\keyindex{rhu} : ]same as above for a half note, stem up.
+ \item[\keyindex{rhl} : ]same with stem down.
+\end{description}\end{quote}
+
+In addition on can use the command \keyindex{roff} to offset any note
+character by one quarter note head, e.g.:
+
+ \verb|\roff{\zqup h}|
+
+\noindent which will post a pointed quarter note with stem up, offset by one
+quarter note head with respect to its normal abscissa. \verb|\roff{...}| is
+heavily recommended instead of \verb|\qsk| if the score is intended to be run
+also with \musixtex.
+
+\subsection{Non-spacing single notes}
+
+\begin{quote}\begin{description}
+ \item[\keyindex{zhu} : ]half note with stem up but no spacing. It acts like
+{\Bslash 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
+{\Bslash qu} for stem building.
+ \item[\keyindex{zql} : ]quarter note with stem down but no spacing. It acts
+like {\Bslash ql} for stem building.
+ \item[\keyindex{zcu} : ]eighth note with stem up but no spacing. It acts like
+{\Bslash cu} for stem building.
+ \item[\keyindex{zcl} : ]eighth note with stem down but no spacing. It acts
+like {\Bslash cl} for stem building.
+
+
+\item[\keyindex{lhu}, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql} : ]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 (\raise
+2.5pt\hbox{\musicxx\char 125}) at pitch $p$ with no spacing after.
+\item[\keyindex{zbv}~$p$ : ]breve note (\raise
+2.5pt\hbox{\musicxx\char 36}) at pitch $p$ with no spacing after.
+\item[\keyindex{zsb}~$p$ : ]semi-breve note (\raise
+2.5pt\hbox{\musicxx\char 32}) at pitch $p$ with no spacing after.
+\end{description}\end{quote}
+
+\subsection{Single (spacing) stemless notes}
+
+ Although not standard in real music scores, one may need to have stemless
+quarter and half noteheads posted in the same way as whole notes. This can be
+done with the following commands:
+
+\begin{quote}\begin{description}
+\item[\keyindex{nh}~$p$ : ]half notehead at pitch $p$.
+\item[\keyindex{nq}~$p$ : ]quarter notehead at pitch $p$.
+\end{description}\end{quote}
+
+\medskip As an example, the sequence:
+
+\begin{music}\parindent=0pt\def\nbinstruments{1}\def\instrumenti{}
+ \generalsignature{0}\savesignature\cleftoksi={{0}{0}{0}{0}}
+ \debutextrait\normal
+\notes\nq c\temps\nq j\enotes\barre
+\Notes\nh c\temps\nh j\enotes\barre
+\notes\nq {cdef}\enotes\finextrait
+\end{music}
+
+\medskip \noindent was coded as:
+
+%\check
+\begin{quote}\begin{verbatim}
+\notes\nq c\temps\nq j\enotes\barre
+\Notes\nh c\temps\nh j\enotes\barre
+\notes\nq {cdef}\enotes\finextrait
+\end{verbatim}\end{quote}
+
+ In case of special need, non spacing variants have been provided, namely
+\keyindex{znh} and \keyindex{znq}.
+
+\subsection{Pointed notes}
+ One simple way of doing consists in putting \keyindex{pt
+$p$} to get a \ital{dot} after the normal note head at pitch $p$. Thus a
+quarter note with a point can be coded {\Bslash pt h\bslash qu h}.
+
+
+\medskip A simpler way of doing consists in using compact macros, namely:
+\keyindex{qup}, \keyindex{qupp}, \keyindex{quppp}, \keyindex{zqp},
+\keyindex{zhp}, \keyindex{zwp} (these three {\Bslash z...p} are useful in
+chords), \keyindex{hup}, \keyindex{whp}, \keyindex{qhp}, \keyindex{qhpp},
+\keyindex{qlp}, \keyindex{qlpp}, etc.
+
+
+\medskip You may also introduce pointed notes, especially in groups by coding
+a \ital{period} before (not after) the letter representing the pitch:
+{\Bslash qu\{.a.\^{}b.c\}} which is equivalent to:
+
+\medskip
+\begin{quote}\begin{verbatim}
+\pt{a}\qu{a}\pt{b}\sh{b}\qu{b}\pt{c}\qu{c}
+\end{verbatim}\end{quote}
+
+Finally, pointed nots can also be produced without spacing aftef, using
+\keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp},
+\keyindex{zcup}, \keyindex{zclp}, and the same with two {\tty p}'s for
+double-pointed notes.
+
+\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}
+
+\subsection{Fixed slope beams}
+
+\begin{quote}\begin{description}
+\item[\keyindex{ibu}~$nps$ : ]initiates an \ital{upper beam} 3 horizontal
+line spacings above the pitch $p$~; $m$ is its reference number, which must be
+in the range [0-5] ([0-9] if {\tty musicadd} file has been {\Bslash
+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\% (the maximum with the
+{\tty beamn20} or {\tty beamn16} fonts), $s=-3$ 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).
+ \item[\keyindex{ibbbbbu}~$nps$ : ]initiates a \ital{quintuple upper beam} (same
+parameter meaning).
+ \item[\keyindex{ibbbbbl}~$nps$ : ]initiates a \ital{quintuple lower beam} (same
+parameter meaning).
+\end{description}\end{quote}
+
+\medskip 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}
+
+\medskip\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}~$n$.
+
+\medskip 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, \keyindex{nbbbbu}~$n$ sets its multiplicity to 4, and
+\keyindex{nbbbbbu}~$n$ sets it to 5. \keyindex{nbbl}~$n$ \dots
+\keyindex{nbbbbbl}~$n$ perform the same functions for lower beams.
+
+\medskip Notes hanging or standing on beams are coded in the form
+{\Bslash qh$n\,\,p$} and {\Bslash qb$n\,\,p$} where $n$ is the beam number and $p$
+the pitch of the note head. \musictex\ adjusts the length of the note stem to
+link the bottom of the chord to an upper beam (normally with \keyindex{qh}) and
+the top of the chord to a lower beam (normally with \keyindex{qb}).
+
+\medskip Note that the difference between upper and lower beams does not
+mainly consist in the beam being above or below the note heads; rather, it
+specifies whether the abscissa of the beginning and the end of this beam is
+aligned on the right (upper beam) or on the left (lower) beam. Thus, the
+sequence:
+
+\begin{music}
+\def\nbinstruments{1}\nbporteesi=1\relax
+\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures\debutextrait
+\large\temps
+\notes\ibu0h0\qh0e\nbbu0\qh0e\nbbbu0\qh0e\nbbbu0\relax
+\qh0e\nbbbbu0\qh0e\nbbbbbu0\qh0e\tbu0\qh0e\enotes
+\finextrait
+\end{music}
+
+%\check
+\noindent has been coded as
+\begin{quote}\begin{verbatim}
+\notes\ibu0h0\qh0e\nbbu0\qh0e\nbbbu0\qh0e\nbbbu0\relax
+\qh0e\nbbbbu0\qh0e\nbbbbbu0\qh0e\tbu0\qh0e\enotes
+\end{verbatim}\end{quote}
+%\check
+
+ \rm It is quite possible to terminate with \keyindex{tbu} a beam initiated
+with \keyindex{ibl}. This may give:
+
+
+\begin{music}
+\def\nbinstruments{1}\nbporteesi=1\relax
+\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures\debutextrait
+\large\temps
+\notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qh0e\enotes
+\finextrait
+\end{music}
+
+%\check
+\noindent which has been coded as
+
+\begin{quote}\begin{verbatim}
+\notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qh0e\enotes
+\end{verbatim}\end{quote}
+%\check
+ \rm 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.
+
+
+\medskip
+The macros \keyindex{tbbu} and \keyindex{tbbl} may also be invoked when only
+a single beam is active. Then, a second beam (upper or lower according
+the initiating procedure) is opened \ital{one note width before
+the current position, and closed immediately}. Thus the following sequence
+
+\begin{music}
+\def\nbinstruments{1}\nbporteesi=1\relax
+\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures\debutextrait
+\large \temps
+\notes\ibu0e0\qh0e\tbbu0\tbu0\qh0e\enotes
+\finextrait
+\end{music}
+
+\medskip\noindent is coded:
+
+\medskip
+\begin{quote}\begin{verbatim}
+\notes\ibu0e0\qh0e\tbbu0\tbu0\qh0e\enotes
+\end{verbatim}\end{quote}
+
+%\check
+
+\rm \medskip The same behaviour occurs in the case of \keyindex{tbbbu},
+\keyindex{tbbbl}, \keyindex{tbbbbu}, \keyindex{tbbbbl}, \keyindex{tbbbbbu}
+and \keyindex{tbbbbbl}.
+
+\medskip The symmetrical pattern is also possible. For example:
+
+\begin{music}\def\nbinstruments{1}\nbporteesi=1\relax
+\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures
+\debutextrait\normal
+\Notes\ibbl0j0\rlap{\qsk\tbbl0}\qb0j\tbl0\qb0j\enotes
+\finextrait
+\end{music}
+
+\noindent has been coded as:
+
+\medskip
+\begin{quote}\begin{verbatim}
+\Notes\ibbl0j0\rlap{\qsk\tbbl0}\qb0j\tbl0\qb0j\enotes
+\end{verbatim}\end{quote}
+
+
+\medskip \noindent{\sl 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:}
+
+\medskip{\Bslash def\bslash qqh\#1\#2\#3\#4\#5\{\%
+
+\bslash ibbl0\#2\#1\bslash qh \#2\bslash qh \#3\bslash tbl0\bslash qh \#4\}}
+
+\medskip\noindent{\sl
+where the first argument is the slope and the other four arguments are the
+pitches of the four consecutive sixteenths wanted.}
+ %\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{hh} and \keyindex{hb} macros, e.g.:
+
+\begin{music}\def\nbinstruments{1}\nbporteesi=1\relax
+\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures
+\debutextrait\normal
+\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes
+\Notes\ibbu0g0\hh0g\tbu0\hh0g\enotes
+\finextrait
+\end{music}
+
+\noindent has been coded as:
+
+\medskip
+\begin{quote}\begin{verbatim}
+\Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes
+\Notes\ibbu0g0\hh0g\tbu0\hh0g\enotes
+\end{verbatim}\end{quote}
+
+It is also possible to write
+
+\begin{music}\def\nbinstruments{1}\nbporteesi=1\relax
+\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures
+\debutextrait\normal
+\Notes\ibbl0j3\wh j\tbl0\wh l\enotes
+\Notes\ibbu0g3\wh g\tbu0\wh i\enotes
+\finextrait
+\end{music}
+
+\noindent which was coded as:
+
+\medskip
+\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.}:
+
+\begin{music}\def\nbinstruments{1}\nbporteesi=1\relax
+\cleftoksi={{0}{0}{0}{0}}\def\instrumenti{}\resetsignatures
+\debutextrait\normal
+\Notes\zw j\qsk\ibbl0j3\sk\tbl0\wh l\enotes
+\Notes\ibbu0g3\wh g\tbu0\qsk\wh i\enotes
+\finextrait
+\end{music}
+
+\noindent which was simply coded as:
+
+\medskip
+\begin{quote}\begin{verbatim}
+\Notes\zw j\qsk\ibbl0j3\sk\tbl0\wh l\enotes
+\Notes\ibbu0g3\wh g\tbu0\qsk\wh i\enotes
+\end{verbatim}\end{quote}
+
+
+\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 (file {\tty musicvbm.tex}). If
+you say {\Bslash Ibu2gj3} \musictex\ will understand that you want to
+build an upper beam (beam number 2) horizontally extending \hbox{3\Bslash
+noteskip}, the first note of which is a {\tty g} and the last note is a{\tty j}.
+Knowing these parameters it will choose the highest slope number which
+corresponds to a slope not more than $(\hbox{\tty j}-\hbox{\tty
+g})/(3\keyindex{noteskip})$. Moreover, if there is no sufficiently steep beam
+slope available, then it will raise the starting point.
+
+
+\medskip Ten such macros are available: \keyindex{Ibu}, \keyindex{Ibbu},
+\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibbbbbu}, \keyindex{Ibl},
+\keyindex{Ibbl}, \keyindex{Ibbbl}, \keyindex{Ibbbbl} and \keyindex{Ibbbbbl}.
+Examples of their use is given in {\tty marcello.tex}.
+
+\par\penalty -8000
+\rm
+ \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};
+smaller rests are \keyindex{hpause} (of duration equal to a \ital{half
+note}), \keyindex{soupir} (duration equal to a \ital{quarter note}),
+\keyindex{dsoupir} (duration equal to an \ital{eighth note}, also
+\keyindex{ds}), \keyindex{quartsoupir} (duration equal to an
+\ital{sixteenth note}, also \keyindex{qs}), \keyindex{huitsoupir} (duration
+equal to an \ital{thirtysecond note}, also \keyindex{hs}),
+\keyindex{seizsoupir} (duration equal to an \ital{sixty fourth note}, also
+\keyindex{qqs}).
+
+ Long rests (lasting several bars) can be coded as \keyindex{PAuse}
+and \keyindex{PAUSe}, which respectively yield:
+
+ \begin{music}
+\def\nbinstruments{1}\relax
+\computewidths
+\generalmeter{\meterfrac{4}{4}}\relax
+\debutextrait
+\normal\elemskip=0.115\hsize
+\temps\Notes\sk\PAuse\enotes
+\barre\Notes\sk\PAUSe\enotes
+\finextrait
+ \end{music}
+
+\subsection{Lifted rests}
+ All the previous rests are \ital{hboxes}; this means that they
+can be vertically offset to meet polyphonic music requirements using the
+standard \TeX\ command \keyindex{raise}.
+
+ 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{expause}~$p$ (spacing) for \hbox to 1.5em{\hss\expause 1\hss}
+at pitch position $p$,
+ \item \keyindex{exhpause}~$p$ (spacing) for \hbox to 1.5em{\hss\exhpause 1\hss},
+ \item \keyindex{zexpause}~$p$ (non spacing) for \hbox to 1.5em{\hss\zexpause 1\hss},
+ \item \keyindex{zexhpause}~$p$ (non spacing) for \hbox to
+1.5em{\hss\zexhpause 1\hss}.
+ \end{itemize}
+
+ \section{Phantom notes}
+
+It may be interesting, when coding a sequence of notes within a unique pair
+{\Bslash notes...\bslash 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{Do not 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.}.
+
+\medskip If you just want to shift a note or a symbol by one note head width,
+you may write \keyindex{qsk}. However, if you want to offset a note by one
+note head width in a chord, you have better use the \keyindex{roff}
+macro\footnote{The reason for that pertains to \ixem{\musixtex} which might
+dilate or shrink the {\bslash \qsk} spacing while the {\bslash roff} offset is
+absolute.}.
+
+\medskip Note that these two latter macros must be used inside a pair {\tty
+\bslash notes...\bslash enotes}. If you want to make a spacing of one note
+head width outside, write \keyindex{nspace}. Conversely, a more general
+spacing is allowed within the {\Bslash notes...\bslash enotes} pairs, namely:
+
+\medskip{\tty\keyindex{off} $d$}
+
+\medskip\noindent where $d$ is any \TeX\ valid dimension, for example
+{\Bslash noteskip} or {\tty 5\bslash Interligne}. In fact, if you look to the
+\musictex\ source, you will find that {\Bslash off} is the basic control
+sequence used to define \keyindex{sk}, \keyindex{qsk}, etc.
+
+
+\section{Collective coding: sequences of notes}
+
+
+As seen in the {\sc Mozart} example, it is not necessary to write a macro
+sequence {\Bslash notes...\bslash enotes} for each column. 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 {\Bslash notes}, {\Bslash Notes}, {\Bslash
+NOtes}, etc.
+
+%\check
+
+
+
+\medskip The major interest of this feature resides in that fact that
+the note macros are able to write several items; for instance
+{\Bslash qu\{cdefghij\}} writes the \ital{C-major} scale in quarters with
+stem up. In the same way {\Bslash 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. They are:
+
+\begin{itemize} \item all the spacing notes: \keyindex{wh}, \keyindex{hu},
+\keyindex{hl}... \keyindex{ccccl} and the beam hooked notes, i.e.
+\keyindex{qh}$n$ and \keyindex{qb}$n$. \item all the chord notes with names
+of the form {\Bslash z...}. \end{itemize}
+
+ Conversely, shifted notes are not supposed to be used in collective coding,
+mainly because they are used in very special cases which do not deserve
+wasting memory space to make them collective.
+
+\medskip If necessary a void space can be inserted in a collective coding by
+using {\tty*}\index{*}.
+
+
+%\check
+\section{Accidentals}
+
+
+Accidentals can be introduced in two ways.
+
+\medskip The first way, the \ital{manual} way of coding them, consists for
+example in coding {\tty\keyindex{fl} 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.
+
+\medskip
+Alternate procedures \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh},
+\keyindex{ldfl} and \keyindex{ldsh}
+place the same accidentals, but their abscissa is shifted one note head width
+on the left. The purpose of this is to avoid collision of accidentals
+in a chord with narrow intervals.
+
+\medskip
+%\check
+ The second way of coding accidentals consists in putting the symbol {\tty
+\^{ }} (sharp), the symbol {\tty\_} (flat), the symbol {\tty=} (natural), the
+symbol {\tty>\relax} (double sharp), or the symbol {\tty<\relax} (double
+flat) within the coding of the note, e.g.: {\Bslash qh\{\^{ }g\}} yields a
+$G\sharp$. This may very well be combined with collective coding, e.g.:
+{\Bslash qu\{ac\^{ }d\}}.
+
+
+\medskip 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 forces 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).
+
+
+\medskip Small accidentals can also be put \ital{above} the note
+heads. This is done using \keyindex{uppersh}~$p$, \keyindex{upperna}~$p$ or
+\keyindex{upperfl}~$p$:
+
+ \begin{music}
+\def\nbinstruments{1}\relax
+\computewidths
+\debutextrait
+\normal
+\temps\NOtes\sk\uppersh l\ql l\enotes
+\temps\NOtes\upperna m\ql m\enotes
+\temps\NOtes\upperfl l\ql l\enotes
+\finextrait
+ \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 {\tty c}, e.g.
+by coding {\tty\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}
+\def\nbinstruments{1}\relax
+\computewidths
+\debutextrait
+\normal
+\temps\NOtes\sk\csh g\qu g\enotes
+\temps\NOtes\cfl h\qu h\enotes
+\temps\NOtes\cna i\qu i\enotes
+\temps\NOtes\cdfl j\qu j\enotes
+\temps\NOtes\cdsh k\qu k\enotes
+\finextrait
+ \end{music}
+
+ Since cautionary accidentals are wider
+that normal ones, it might be useful to insert some spacing before them, either
+using \keyindex{temps} or a \keyindex{sk} within a {\Bslash notes...\bslash
+enotes} group.
+
+
+ \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
+
+\medskip
+{\Bslash transpose=3}
+
+\medskip\rm\noindent all subsequent pitches specified by
+upper or lower case letters 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
+%\check
+
+\medskip
+\Bslash def\bslash soqu\#1\{\bslash zq\{\#1\}\{\bslash transpose=7\bslash relax
+\bslash qu\{\#1\}\}\}
+
+\medskip\rm\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.
+%\check
+
+
+\medskip
+ \ital{Octaviation}\index{octaviation} can also be performed in is another
+way, namely unsing special codes to transpose by multiples of 7 intervals.
+For example {\Bslash qu\{'ab\}} is equivalent to {\Bslash qu\{hi\}} and
+{\Bslash qu\{\`{}kl\}} is equivalent to {\Bslash qu\{de\}}. It should be
+emphasized here that the {\tty'} (\itxem{acute accent}) and the {\tty\`{}}
+(\itxem{grave accent}) have cumulative effects, so that {\Bslash qu\{''A'A\}}
+is equivalent to {\Bslash qu\{ah\}} and that the {\Bslash transpose}
+parameter is only reset to its initial value (not necessarily zero) when
+changing staff or instrument (i.e. {\tty \|} or {\tty \&}) or at {\Bslash
+enotes}. Since this may be confusing, it is useful to use the {\tty !} prefix
+to reset the {\Bslash transpose} register explicitely to the value it had
+when entering {\Bslash notes}\footnote{This value is saved in another
+register named \keyindex{normaltranspose}.}. Thus {\Bslash qu\{!a'a\}} always
+gives the note {\tty a} and its upper octave {\tty h} \ital{shifted by the
+value of {\Bslash transpose} at the beginning of the current} \noindent
+{\Bslash notes...\bslash enotes} group (or {\Bslash Notes...\bslash enotes},
+etc.) whatever the number of previous grave and acute accents occurring
+inbetween.
+
+\medskip
+ 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.
+
+
+\medskip
+ But the composer/typesetter may ask \musictex\ to do that work. In this
+case, he should code \keyindex{Sh}, \keyindex{Fl}, \keyindex{Na},
+\keyindex{dSh} and \keyindex{dFl} (or \keyindex{bigSh}, \keyindex{bigFl},
+\keyindex{bigNa}, \keyindex{bigdSh} and \keyindex{bigdFl} or
+\keyindex{smallSh}, \keyindex{smallFl}, \keyindex{smallNa},
+\keyindex{smalldSh}, \keyindex{smalldFl}, \keyindex{cSh}, \keyindex{cFl},
+\keyindex{cNa}, \keyindex{cdSh} and \keyindex{cdFl}) instead of the usual
+lower case accidental symbols. The symbol \keyindex{Sh} (resp.
+\keyindex{bigSh} and \keyindex{smallSh}) means that the corresponding pitch
+has to be raised by \ital{one half pitch} with respect to its normal value
+\ital{according to the current signature}. Thus {\Bslash Sh b} 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 having an upper case
+forelast letter.
+
+
+\medskip
+ Obviously, the computation is done after taking account of the value of
+the \keyindex{transpose} register.
+
+
+\medskip The compact codes {\tty \^{}}, {\tty \_}, {\tty =} are normally not
+affected by transposition and signatures, but their behaviour can be changed
+by saying \keyindex{relativeaccidentals} and reset by
+\keyindex{absoluteaccidentals} (the default situation).
+
+%\check
+
+
+\medskip 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 {\Bslash na b} to rise the pitch of a $B$ when the
+tonality is $F$ major (i.e. with {\tty\keyindex{sign$n$}=-1} or
+{\tty\keyindex{generalsignature}\{-1\}}). An example of sophisticated
+transposition is given in the score {\tty souvenir.tex} (which {\Bslash
+input}s {\tty souvenix.tex}). It should be noted that \ital{relative accidental
+coding} is compatible with \itxem{cautionary accidental} coding: in this
+case, one should code \keyindex{cNa}, \keyindex{cSh}, \keyindex{cFl},
+\keyindex{cdSh}, \keyindex{cdFl} respectively.
+
+\medskip
+ Besides, the typical piano octave transposition \hbox{\sl 8 - - - - - } can
+be obtained by coding:
+
+%\check
+\medskip \keyindex{octfin} $p$ $n$
+
+\medskip\noindent which puts the 8 and dotted line symbols at the pitch $p$
+(usually {\tty p} to {\tty r}). The length is $n$\keyindex{noteskip}. This
+obviously fit for short octaviation denotations. To transpose a whole line,
+use \keyindex{octline}~$p$. Since \keyindex{octfin} terminates with a small
+hook down, to indicate clearly where octaviation stops, you may also like to
+use \keyindex{octsup} which behaves like \keyindex{octfin} without the final
+hook. All this supposes you have an idea of the actual line breaking of your
+score in that section, and this is admittedly difficult to handle when octave
+transposition is supposed to long a large number of lines. In that latter
+case, you can use the {\Bslash def\keyindex{everystaff}\{...\}} to insert
+whatever code you like at each new line of score. This has been used to set
+octaviation in the score of the \ital{Toccata in F} by Charles-Marie
+\index{Widor, C.-M.}{\sc Widor}\footnote{A French organist (1844-1937) and
+composer who was in charge of the organ of St-Sulpice in Paris, from 1864 to
+1934.}: at each bar (or virtual bar, namely \keyindex{zbarre}), the {\Bslash
+everystaff} procedure is updated to produce the convenient code, in case of
+the line breaking happening before the next definition.
+%\check
+
+ \section{Ties and slurs}
+
+ They have been implemented in a way which may look
+rather ugly, but we think it is the only way of implementing \ital{in one
+pass} ties and slurs which run \ital{across glue}.
+
+
+\medskip Slurs and ties must be initiated within the pair {\Bslash
+notes...\bslash notes} before the spacing note is coded. They must be
+terminated also before the last note is coded.
+
+
+\medskip\keyindex{itenu}~$np$
+
+
+\medskip\noindent\rm (\ital{ten} stands for the Italian word \ital{tenuto})
+initiates an upper tie (convex) at pitch $p$. Just like beams, ties have a
+reference number $n$, from 0 to 6 (or 9 if {\tty musicadd} is included).
+\keyindex{itenl}~$np$ initiates a lower tie (concave).
+
+
+\medskip The tie of reference number $n$ is terminated by
+\keyindex{tten}~$n$.
+
+
+\medskip Slurs are initiated with \keyindex{ilegu}~$np$ and
+\keyindex{ilegl}~$np$, where \ital{leg} stands for the Italian word
+\ital{legato}, and they are terminated with \keyindex{tleg}~$n$. Except that
+slurs start before the note position and stop after, ties and slurs work the
+same way with the same syntax. They also share the same registers so that
+slurs nesting tied notes should have numbers $n$ distinct from each other.
+\subsection{Standard and nicer slurs}
+
+\medskip Since version 4.7, beginnings and ends of slurs are produced using
+a special font ({\tty slurn16} or {\tty slurn20}) rather than using \TeX\
+bracing tokens from {\tty cmex10}. Thus the bending of slurs is now nicer and,
+moreover, several slur sizes are available. For example:
+
+\begin{music}
+\def\nbinstruments{1}\relax
+\computewidths
+\debutextrait
+\normal
+\temps\NOtes\Ilegu0l\qu g\enotes
+\NOtes\qu h\enotes
+\NOtes\ql i\enotes
+\NOtes\tleg0\ql j\enotes
+\finextrait
+ \end{music}
+
+\noindent has been coded using \keyindex{Ilegu} rather than \keyindex{ilegu}
+(resp.\ using \keyindex{Ilegl} rather than \keyindex{ilegl} if a lower slur
+is wanted), namely:
+
+\begin{quote}\begin{verbatim}
+\NOtes\Ilegu0l\qu g\enotes
+\NOtes\qu h\enotes
+\NOtes\ql i\enotes
+\NOtes\tleg0\ql j\enotes
+\end{verbatim}\end{quote}
+
+ It should to be noted that, as a standard, \itxem{ties} still use the \TeX\
+bracing symbols; this is mainly done to avoid visibility problems with ties
+occurring in the middle of staffs, i.e. in a situation where tie lines could
+overlap and be confused with staff lines. But the \musictex\ user can request
+using special slur fonts by coding \keyindex{Itenu} or \keyindex{Itenl}
+instead of \keyindex{itenu} or \keyindex{itenl}. Even more, big symbol ties
+are available using \keyindex{ITenu} or \keyindex{ITenl}.
+
+\medskip As a standard, only two slur and tie symbol sizes are referred by
+\musictex\ macros, but a quick look into {\tty musicnft.tex} show that these
+definitions explicitely refer to a character number of the slur font:
+
+\begin{quote}\begin{verbatim}
+\def\ITenu#1{\selecttenue{#1}\I@tenu{70}}%
+\def\Ilegu#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width
+\I@tenu{70}{#2}}}%
+\def\Itenu#1{\selecttenue{#1}\I@tenu{66}}%
+\def\ilegu#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width
+\I@tenu{66}{#2}}}%
+\end{verbatim}\end{quote}
+
+ Then the \musictex\ user can, for his own special needs, define new macros
+using other character codes in the range 64--79, knowing that each character
+of this range is one point longer than the previous one.
+
+\subsection{Problem with large slur ends}
+
+Due to spacing problems, it may happen that the end of an \keyindex{Ilegu} or
+\keyindex{Ilegl} makses some ugly overlap between the currrent slur
+horizontal rule and the ending symbol itself. This is due to the ending
+symbol being so long that it overlaps the end of the horizontal rule. The
+easiest way of removing that slight trouble consists in replacing --- for
+example --- {\tty\keyindex{tleg}0} with the more sophisticated commands~:
+
+\medskip\verb|\rlap{\qsk\tleg0}|
+
+\medskip\noindent which delays the position of the closing slur symbol by a
+space equal to the note head width.
+
+\subsection{Weird slurs and ties}
+
+In some special cases, usually in romantic music, one may want to invert the
+sense of a slur, linking for example a keyboard phrase beginning at the left
+hand and ending at the right hand. Thus, the slur of number $n$ (a numeric
+vamue, not a roman numeral) can be inverted
+by
+
+\medskip\keyindex{Invertslur} $n$
+
+\medskip Besides, for some good reason, one may want to raise a slur at the
+next line. This is done by
+
+\medskip\verb|\def\atnextline{|\keyindex{liftslur} $n$\verb|{|
+\ital{dimension} \verb|}}|
+
+\medskip\noindent which will lift the slur number $n$ by the given amount at
+the next line change. Of course, \keyindex{liftslur} could be called in the middle
+of a line, but the result would be rather ugly.
+
+These two features are used at bars number 131--132 of examples {\tty
+PACIFIQB} and {\tty PACIFIQN}.
+
+\subsection{Refined slurs for clever typesetters}
+ In addition to the previous extension and improvement of existing features,
+long nice horizontal slurs are also available, but they can be used only with
+two restrictions:
+
+\begin{itemize}
+
+\item They are not managed when \itxem{glue} is inserted, especially by
+\keyindex{temps} and \keyindex{barre};
+
+\item They cannot be cut at line breaking.
+
+\end{itemize}
+
+ Thus, their use is recommended only for nice slurs extending a few bars and
+not supposed to occur across lines. With this restrictions,
+
+\begin{music}
+\def\nbinstruments{1}\relax
+\computewidths
+\debutextrait
+\normal
+\temps\NOtes\zcharnote l{\huslur{3.5\noteskip}}\qu g\enotes
+\NOtes\qu h\enotes
+\NOtes\ql i\enotes
+\NOtes\ql j\enotes
+\finextrait
+\end{music}
+
+\noindent has been obtained by coding:
+
+\begin{quote}\begin{verbatim}
+\NOtes\zcharnote l{\huslur{3.5\noteskip}}\qu g\enotes
+\NOtes\qu h\enotes
+\NOtes\ql i\enotes
+\NOtes\ql j\enotes
+\end{verbatim}\end{quote}
+
+However, the best solution is now to use \ixem{\musixtex} which systematically
+makes beautiful slurs, at the cost of a three pass system instead of one...
+
+\section{Bars}
+
+\subsection{Bars and spacing}
+
+
+ Ordinary \ital{bars} a coded using the macro \keyindex{barre} (this is a
+French word\footnote{Whose advantage is that it differs from {\Bslash
+bar} which is already defined in \TeX.}). This macro provides an optional
+(discretionary) line or page break\footnote{Unless it is triggered according
+to bar counting when \keyindex{autolines} has been invoked.}. It also
+provides some \ital{glue} in order to expand the text over an evenly filled
+line.
+
+
+\medskip However, since the number of bars in a score line is generally
+small, it may be convenient to allow \ital{glue} not only on each sides of
+\ital{bars}. This can be done using the macro \keyindex{temps} (the
+French word for \ital{beat}). This macro has two effects:
+
+\begin{enumerate}
+ \item it inserts some \ital{glue} but prevents line breaking\footnote{This
+could unpleasantly occur if you insert a space...},
+ \item if some ties or slurs are pending it expands them across the glue by
+writing an \keyindex{hrule} which overlaps the unfinished tie and makes it
+look prolongated.
+ \end{enumerate}
+
+
+\medskip
+ Whatever the care you exercize in adjusting the size of the
+\keyindex{elemskip}, you are still likely to find some broken ties (which
+indicate excessive glue disassembling the gliding tie \keyindex{hrule}s) or
+some unexpected (and unwanted) line breaks or some Over[aw]full
+\keyindex{hbox}es. A useful means of estimating the remaining space to be
+filled with glue consists in declaring \keyindex{raggedlinestrue}~: after
+that, an \keyindex{hfil} will be inserted by \musictex\ before each computed
+(when using \keyindex{autolines}) or forced line break. Thus, all the musical
+text will be packed on the left of the line and you will clearly see the
+amount of remaining space. Then, it will be up to you do decide changing some
+spacing parameters.
+
+
+\medskip\noindent{\bf Important: \sl do not use \keyindex{temps} when
+\ital{beams} are pending, otherwise their spatial synchronization would fail.
+ In other words, ties and slurs can jump over glue (because horizontal rules
+may overlap and thus have some elasticity) but beams (as well as any oblique
+lines) cannot.}
+
+\subsection{Bar numbering}
+\rm Unless otherwise specified, \index{bar numbering}bars are
+numbered. This is a good means of finding errors provided that the Music\TeX\
+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:
+
+\medskip{\Bslash def\keyindex{freqbarno}\{1\}}
+
+\medskip
+If you replace the {\tty 1} by {\tty 5}, bar numbering will occur each other five
+bars. You can also inhibit any bar number printing by telling:
+
+\medskip{\Bslash def\bslash wbarno\{\}}
+
+\medskip\noindent or, in a more clever way:
+
+\medskip{\Bslash def\bslash freqbarno\{9999\}}.
+
+\medskip The bar counter is also accessible, its name is \keyindex{barno}.
+This has nothing to do the the bar counting invoked by \keyindex{autolines},
+so you can change it without any dramatic consequence.
+
+\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
+{\tty ANGESCAO} (or {\tty 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}.
+
+\section{Line and page breaking}\label{linepagebreak}
+
+
+Bars provide a line breaking mechanism which is supposed to enable \TeX\
+to break a full score into lines and pages, with an optimal distribution
+of the text into lines and pages. Unfortunately, this does not work
+correctly for scores of more that approximately one page. The reason is
+that \TeX\ must compile the entire contents of a paragraph, before it
+tries to break it into lines and pages. Therefore, one cannot rely on \TeX\
+to make that work which automatically results in the diagnostic {\tty TeX
+capacity exceeded, memory...}.
+%\check
+
+
+\medskip To circumvent this dramatically restrictive capacity\footnote{\TeX\
+has been designed to type text, not music.} unless you use some
+Big\TeX\footnote{Whose drawback is that it is very slow on ordinary PCs.}
+another mechanism must be invoked to break lines.\index{Big\protect\TeX}
+
+
+\medskip The first one is the manual one: you replace some of the {\Bslash
+barre} macro calls by either \keyindex{alaligne} (equivalent to
+\keyindex{break} within text: in fact it contains a \keyindex{break} plus
+some (many) other things). In the same way, you can code {\Bslash alapage} to
+force an \keyindex{eject} with proper reinitialization of staffs, clefs and
+signatures.
+
+
+\medskip The second one is fit for scores with
+bars of regular length: after \keyindex{debutmorceau}, 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\footnote{After having coded nearly one hundred of pages of music, I
+strongly recommend the use of \keyindex{autolines} except when inserting
+short excerpts of less than one line, such as in musicographic books.}.
+
+\medskip This sets some parameters, namely \keyindex{maxbarsinline} and
+\keyindex{maxlinesinpage} which are simply used to count the bars, optionally
+perform \keyindex{alaligne} or \keyindex{alapage} instead of the normal
+\keyindex{barre}. 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.
+
+
+\medskip On the other hand, you may want to forbid line breaking at a bar,
+then you replace {\Bslash barre} by \keyindex{xbarre}.
+
+
+\medskip 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.}. This is allowed by
+\keyindex{zbarre} (optional line break) or forced by {\Bslash
+zalaligne} or \keyindex{zalapage}.
+
+
+\medskip
+The final heavy double bar of a piece is provided by \keyindex{finmorceau}.
+If you just want to terminate the text with a simple bar, you say
+\keyindex{suspmorceau}. If you want to terminate it without a bar, you code
+\keyindex{zsuspmorceau}. Once you have stopped the score by any of these
+means, you can restart it using \keyindex{reprmorceau}.
+
+However, using {\Bslash reprmorceau} after a {\Bslash finmorceau} may have a
+little drawback: if {\Bslash finmorceau} occurs at the bottom of a page
+defined by \keyindex{autolines}, it does not cause a page break which could
+lead to en empty page after the end of the piece but, conversely, this might
+cause another trouble if this only was the end of a scora part, not the end of
+the whole score. Therefore, an alternate command has been provided, namely
+\keyindex{Suspmorceau} which duly performs the page break, in order to be
+ready to score another part of a complex peace. Thus, as a rule~:
+
+\begin{itemize}
+ \item use \keyindex{finmorceau} at the very end of your score,
+ \item use \keyindex{Suspmorceau} at the end of the parts of a complex piece.
+
+\end{itemize}
+
+
+\medskip If you want the next vertical bar to be a double bar, you have to
+declare \keyindex{setdoublebar} before the \keyindex{barre} (or the
+\keyindex{suspmorceau} or \keyindex{alaligne} or \keyindex{alapage}) to be
+marked with a double thin bar.
+
+
+\section{Changing score attributes}
+
+
+ As seen before, you can change the
+signature of the whole set of instruments by \keyindex{generalsignature}~$n$
+where $n>0$ means a number of sharps, $n<0$ means a number of flats. Or, you
+may prefer to change the signature of only one or two instruments by the
+statement:
+
+
+\medskip\Bslash sign$r$=$s$
+
+\medskip\rm\noindent
+ %\check
+ where $r$ is the roman numeral 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).
+%\check
+ In the same way, you may want to change the active clefs.
+This is done by
+
+\medskip\tty\keyindex{cleftoks$r$}=\{\{$s1$\}\{$s2$\}\{$s3$\}\{$s4$\}\}\%
+
+\medskip\rm\noindent where $r$ is the roman numeral of the instrument, $s1$
+specifies the clef of the lower staff, $s2$ the clef of the second staff,
+etc. One must always give four values with the above syntax, otherwise\dots\
+$s1=6$ means the \ital{bass} clef (\ixem{clef de fa} in French), $s1=0$ means
+the \ital{violin} clef (\ixem{clef de sol} in French), $s1=1$ through $s1=5$
+mean the \ital{alto} clef (\ixem{clef d'ut} in French) set on first (lower)
+through fifth (upper line of the staff). \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).
+
+ 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 responsability
+to ensure that no notes will collide with the clef change symbols.
+ %\check
+
+ Caution should be exercized changing clefs when \itxem{beams} are pending:
+in fact the \verb|\changeclefs| and \verb|\zchangeclefs| perturbate the
+computation of beams and this command should be invoked only
+ \begin{itemize}
+ \item out of {\Bslash notes}, {\Bslash Notes}... --- {\Bslash enotes} pairs;
+ \item only when no beam is pending\footnote{No problem with slurs and ties.}.
+\end{itemize}
+
+If a clef change has to be typeset when one or several beams are pending, the
+operation should be done in a more manual way:
+\begin{itemize}
+ \item say \keyindex{saveclefs} instead of \keyindex{changeclefs}~:
+This actually records the \keyindex{cleftoks$r$} statement and no further
+{\Bslash changeclefs} will repeat the clef change; the new clef will not
+be typeset by \verb|\saveclefs| itself but rather by the next \verb|\notes| or
+\verb|\Notes| command;
+ \item say \verb|\charnote0{\smallclefdesol}| (resp.
+\verb|\charnote0{\smallclefdefa}| or \verb|\charnote0{\smallclefdut}|) where
+you like it and at the right staff (i.e. within {\Bslash notes}, {\Bslash
+Notes}... --- {\Bslash enotes} pairs) to type set the wanted clef symbol.
+ \end{itemize}
+ As an example, an excerpt of {\sc Brahms}'s Intermezzo op.~117,1 provided by
+Miguel {\sc Filgueiras}:\index{Brahms}
+
+\begin{music}
+\parindent 1cm
+\def\nbinstruments{1}\relax
+\def\freqbarno{9999}% no bar numbers
+\nbporteesi=2\relax
+\cleftoksi={6000}% F- and G-clefs
+\generalsignature{-3}% 3 flats
+\relax
+\debutextrait
+\normal
+\off{1em}\temps\Notes\larpeggio{E}5\zq{EI}\qu{N}\charnote0{\smallclefdesol}\relax
+\nextstaff\qsk\ibl0e{-1}\zq{eg}\qb0l\zq{d}\qb0k\enotes
+\cleftoksi={0000}\saveclefs\Notes\tbu0\zq{ce}\qh0j\relax
+\nextstaff\zq{sn}\cl{l}\enotes
+\Notes\zq{be}\qu{i}\nextstaff\zq{sn}\ql{l}\enotes
+\cleftoksi={6000}\changeclefs\Notes\zq{E}\cu{I}\relax
+\nextstaff\ibbu1h{-1}\zq{ae}\qh1h\tbu1\zq{N}\qh1g\enotes
+\finextrait
+ \end{music}
+\noindent which was coded as:
+ \begin{verbatim}
+\begin{music}
+\def\nbinstruments{1}\relax
+\def\freqbarno{9999}% no bar numbers
+\nbporteesi=2\relax
+\cleftoksi={6000}\generalsignature{-3}% 3 flats
+\debutextrait
+\normal
+\off{1em}\temps\Notes\larpeggio{E}5\zq{EI}\qu{N}%
+\charnote0{\smallclefdesol}\relax
+\nextstaff\qsk\ibl0e{-1}\zq{eg}\qb0l\zq{d}\qb0k\enotes
+\cleftoksi={0000}\saveclefs\Notes\tbu0\zq{ce}\qh0j\relax
+\nextstaff\zq{sn}\cl{l}\enotes
+\Notes\zq{be}\qu{i}\nextstaff\zq{sn}\ql{l}\enotes
+\cleftoksi={6000}\changeclefs\Notes\zq{E}\cu{I}\relax
+\nextstaff\ibbu1h{-1}\zq{ae}\qh1h\tbu1\zq{N}\qh1g\enotes
+\finextrait
+\end{music}
+ \end{verbatim}
+
+\medskip \ital{Meter} changes are implemented the same way:
+
+\medskip\Bslash metertoks$r$=\{\{$m1$\}\{$m2$\}\{$m3$\}\{$m4$\}\}\%
+
+\medskip\rm\noindent
+ where $r$ is the roman numeral of the instrument, $m1$ specifies the meter
+of the lower staff, $m2$ the meter of the second staff, etc. One must always
+give four values with the above syntax, otherwise\dots\ Since meter changes
+are meaningful only across bars, they are actually taken in account with
+\keyindex{changecontext} or \keyindex{Changecontext} or \keyindex{alaligne}
+or \keyindex{alapage}.
+
+
+\section{Repeats}
+%\check
+
+
+ To insert a \ital{repeat bar} you can use several sets of procedures.
+
+\subsection{Elementary and unsafe solutions} The
+simplest consists in using the commands \keyindex{leftrepeatsymbol},
+\keyindex{rightrepeatsymbol} and \keyindex{leftrightrepeatsymbol} -- coded
+outside the {\Bslash notes...\bslash enotes} pairs -- which will simply
+insert these colon adorned double bars at the requested place. For example:
+
+\begin{music}
+ \def\nbinstruments{1}
+ \generalsignature{0}\savesignature
+ \nbporteesi=1\cleftoksi={{0}{0}{0}{0}}\relax
+ \debutextrait\normal
+ \notes\hu g\enotes
+ \leftrepeatsymbol
+ \notes\hu h\enotes
+ \leftrightrepeatsymbol
+ \notes\hu i\enotes
+ \rightrepeatsymbol
+ \Notes\wh j\enotes
+ \finextrait
+\end{music}
+
+ \noindent has been coded as:
+%\check
+
+
+\begin{quote}\begin{verbatim}
+\notes\hu g\enotes
+\leftrepeatsymbol
+\notes\hu h\enotes
+\leftrightrepeatsymbol
+\notes\hu i\enotes
+\rightrepeatsymbol
+\Notes\wh j\enotes
+\end{verbatim}\end{quote}
+
+\medskip
+ However, the previous way of coding does not provide for line breaking
+at repeat bars, nor does it advance the bar numbering. In fact, this way of
+coding if only fit for repeats occurring in the middle of a bar.
+
+
+\medskip A second way of coding consists in saying \keyindex{setleftrepeat},
+\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before a bar
+(\keyindex{barre}), \keyindex{suspmorceau} or \keyindex{changecontext}). In
+this case, the next single\footnote{\keyindex{setrightrepeat} does not change
+the effect of \keyindex{finmorceau}; in that case use
+\keyindex{finrightrepeat}.} 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{Safe and correct coding} The third coding, namely the correct coding -- i.e. transforming in
+the correct manner when occurring at a line break -- is obtained by
+substituting the \keyindex{barre} command with \keyindex{leftrepeat},
+\keyindex{rightrepeat} and \keyindex{leftrightrepeat}.
+%\check
+
+
+\medskip
+ Now, if you want to force a new line at a repeat, you should code
+respectively:
+
+
+\medskip\keyindex{setrightrepeat}\keyindex{alaligne}
+
+ \keyindex{setrightrepeat}\keyindex{suspmorceau}
+
+ {\Bslash alaligne}\keyindex{leftrepeatsymbol}
+
+ \keyindex{reprmorceau}\keyindex{leftrepeatsymbol}
+
+ \keyindex{debutmorceau}\keyindex{leftrepeatsymbol}
+
+\medskip\noindent or the combination of two of these in the case of a
+left/right repeat.
+
+\subsection{Specific first and second pass scoring}
+
+A frequent situation consists in a long repeated score, but the last few bars
+are different at first pass and at second pass. This can be specified by
+saying \keyindex{setprimavolta} or \keyindex{setsecondavolta}\footnote{From
+the Italian \ital{prima volta} meaning ``first time'', and \ital{seconda
+volta} meaning ``second time''.} before the next \keyindex{barre} or
+\ital{repeat} (usually {\Bslash rightrepeatsymbol}). For example~:
+
+
+\begin{music}
+ \def\nbinstruments{1}
+ \generalsignature{0}\savesignature
+ \nbporteesi=1\cleftoksi={{0}{0}{0}{0}}\relax
+ \debutextrait\normal
+ \Notes\qu {ghij}\enotes
+ \setprimavolta\barre
+ \Notes\qu {hijk}\enotes
+ \setsecondavolta\setrightrepeat\barre
+ \Notes\qu {ijkl}\enotes
+ \barre
+ \NOTes\wh j\enotes
+ \finextrait
+\end{music}
+
+ \noindent has been coded as:
+\begin{quote}\begin{verbatim}
+ \def\nbinstruments{1}
+ \generalsignature{0}\savesignature
+ \nbporteesi=1\cleftoksi={{0}{0}{0}{0}}\relax
+ \debutextrait\normal
+ \Notes\qu {ghij}\enotes
+ \setprimavolta\barre
+ \Notes\qu {hijk}\enotes
+ \setsecondavolta\setrightrepeat\barre
+ \Notes\qu {ijkl}\enotes
+ \barre
+ \NOTes\wh j\enotes
+ \finextrait
+\end{verbatim} \end{quote}
+
+The ``prima volta'' and ``seconda volta'' symbols are normally set at {\tty
+2\bslash Interligne} above the upper line of the staff, and one centimeter
+wide. If the music typesetter does not like that, he can issue for example:
+
+\medskip\keyindex{Setprimavolta}\verb|{4\Interligne}{0.78in}|
+
+\medskip\noindent where the first argument is the vertical offset, and the
+second one is the length of the upper horizontal line. A symmetrical feature is
+\keyindex{Setsecondavolta} with also two dimension arguments.
+
+Note that these special settings are only valid for one usage; after that,
+they are reset to the standard values.
+
+%\check
+\subsection{Large scope repeats} Large scope repeats have also been provided
+special symbols, namely using \keyindex{coda} and \keyindex{segno}~:
+
+ \begin{music}
+\def\nbinstruments{1}\relax
+\computewidths
+\nbporteesi=1\relax
+\debutextrait
+\normal
+\notes\sk\enotes
+\temps\NOtes\coda l\enotes
+\temps\NOtes\segno l\enotes
+\finextrait
+ \end{music}
+
+\medskip\noindent which have been coded:
+
+\begin{quote}\begin{verbatim}
+\NOtes\coda l\enotes
+\NOtes\segno l\enotes
+\end{verbatim}\end{quote}
+
+%\check
+ \section{Miscellaneous}
+
+\subsection{Putting anything anywhere}
+
+Special macros are provided to help the composer to set any \TeX\
+text on the staffs. The macro
+
+\medskip\keyindex{charnote}~$p$\tty\{ {\rm text} \}
+
+\medskip\rm\noindent
+sets the given text with its base line at pitch $p$ of the current staff
+(this means it must be coded inside {\Bslash notes...\bslash enotes}).
+Whatever the length of the text, the spacing is \keyindex{noteskip}.
+If you do not want it to cause spacing, you code \keyindex{zcharnote}.
+If you want the possible spilling text to expand on the left rather than on the
+right, then you can use \keyindex{lcharnote}.
+%
+
+\medskip
+To place some text at the mid-position between the two staffs of
+a keyboard instrument, you may code:
+
+\medskip\tty\keyindex{midtwotext}\{ {\rm text} \}\ \ \% \rm (spacing)
+
+\medskip\tty\keyindex{zmidtwotext}\{ {\rm text} \}\ \ \% \rm (non spacing)
+
+\medskip\rm\noindent being however
+careful, a) to put it inside {\Bslash notes...\bslash enotes}, b) to code it in the
+text of the lower staff.
+
+\medskip A text to be put above the current staff is introduced by
+{\tty\keyindex{uptext}\{...\}}. This may however cause some collision with bar
+numbering or notes above the staff; it is then wise to use {\tty
+\keyindex{Uptext}\{...\}} which puts the text two pitches higher (recommended
+to post the tempo).
+
+\medskip
+The macro \keyindex{zcharnote} is fit for coding special notations like
+accents above or below the notes. It behaves like \keyindex{charnote} but
+causes no spacing.
+\subsection{Metronomic indications}
+
+Metronomic indication deserves a special macro. The mention:
+ \par\centerline{\def\nbinstruments{0}\computewidths
+\metron{\hup}{60}}\smallskip\noindent
+ is coded by {\tty\keyindex{metron}\{\bslash hup\}\{60\}} (normally embedded
+in \keyindex{Uptext} which is in turn embedded within {\Bslash
+notes...\bslash enotes}).
+
+
+
+\subsection{Usual ornaments}
+
+%\check
+\ital{Arpeggios} (i.e. \raise -4pt\hbox{\musicxx\char92}\ ) can be coded with
+ the macro
+
+\medskip\keyindex{arpeggio} $pm$
+
+\medskip\rm\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
+a space of one note head width. If should be issued before the concerned
+chords. Its variant \keyindex{larpeggio} sets the arpeggio symbol slightly
+more on the left, in order to avoid collision with accidentals in front of
+the chords.
+
+ Note the \keyindex{arpeggio} and \keyindex{larpeggio} make an extra spacing
+of width one notehead (i.e; \keyindex{qsk}) so that it is wise to insert a
+{\Bslash qsk} in the other staffs before notes which are syncrhonous to the
+arpeggiated note.
+
+\medskip \ital{Trills} can be coded in several ways. \keyindex{trille}~$l$
+(where $l$ is a \TeX\ dimension) yields \hbox{\trille{1cm}} while
+\keyindex{Trille}~$l$ (where $l$ is a \TeX\ dimension) yields
+\hbox{\Trille{2cm}}. To put these patterns at a given pitch, one may use
+\keyindex{xtrille}~$pl$ or \keyindex{xTrille}~$pl$. On the other hand
+\keyindex{ntrille}~$pn$ is equivalent to
+\keyindex{xtrille}~$p${\tty\{$n$\bslash noteskip\}} and
+\keyindex{nTrille}~$pn$ is equivalent to {\tty
+\keyindex{xTrille}~$p$\{$n$\bslash noteskip\}}
+
+
+\medskip Other \ital{ornaments} are available:
+
+ \begin{itemize}
+ \item \keyindex{mordant}~$p$ for \hbox to 1.5em{\mordant 0\hss},
+ \item \keyindex{pince}~$p$ for \hbox to 1.5em{\pince 0\hss},
+ \item \keyindex{Pince}~$p$ for \hbox to 1.5em{\Pince 0\hss},
+ \item \keyindex{Lpince}~$p$ for \hbox to 2em{\hss\Lpince 0\hss} (thanks to A.
+{\sc Egler})\index{Egler, A.},
+ \item \keyindex{Pincesw}~$p$ for \hbox to 2em{\hss\Pincesw 0\hss},
+ \item \keyindex{Pincene}~$p$ for \hbox to 2em{\hss\Pincene 0\hss},
+ \item \keyindex{Pincenw}~$p$ for \hbox to 2em{\hss\Pincenw 0\hss},
+ \item \keyindex{turn}~$p$ for \hbox to 2.5em{\kern 0.6em\turn 0\hss},
+ \item \keyindex{backturn}~$p$ for \hbox to 2.5em{\kern 0.6em\backturn 0\hss},
+ \item \keyindex{upz}~$p$ (upper \ital{pizzicato}) to put a dot above a note
+head at pitch $p$,
+ \item \keyindex{lpz}~$p$ (lower \ital{pizzicato}) to put a dot below a note
+head at pitch $p$,
+ \item \keyindex{usf}~$p$ (upper \itxem{sforzando}) to put a $>$ accent above
+a note head at pitch $p$,
+ \item \keyindex{lsf}~$p$ (lower \itxem{pizzicato}) to put a $>$ accent below
+a note head at pitch $p$,
+ \item \keyindex{ust}~$p$ (upper \itxem{staccato} or \itxem{portato}) to put a
+hyphen above a note head at pitch $p$,
+ \item \keyindex{lst}~$p$ (lower \ital{staccato} or \ital{portato}) to put a
+hyphen below a note head at pitch $p$,
+ \item \keyindex{uppz}~$p$ (upper strong \ital{pizzicato}) to put an
+apostrophe above a note head at pitch $p$,
+ \item \keyindex{lppz}~$p$ (lower strong \ital{pizzicato}) to put a reversed
+apostrophe below a note head at pitch $p$.
+ \item \keyindex{pointdorgue}~$p$ puts a \itxem{fermata} (in French ``point
+d'orgue'') at pitch $p$. No spacing occurs.
+ \item \keyindex{pointdurgue}~$p$ puts a reverse \ital{fermata} at the same
+place.
+ \item \keyindex{PED} to insert the piano pedal command below the staff;
+pedal release is specified by \keyindex{DEP}; thus the following example
+
+ \begin{music}
+\def\nbinstruments{1}\relax
+\computewidths
+\cleftoksi={{6}{0}{0}{0}}\relax
+\nbporteesi=2\relax
+\debutextrait
+\normal
+\temps\NOtes\qsk\PED\wh J|\qsk\qu h\enotes
+\temps\NOtes|\qu g\enotes
+\temps\NOtes|\hu k\enotes
+\temps\Notes\DEP\enotes
+\finextrait
+ \end{music}
+
+ \noindent was coded as:
+
+\begin{verbatim}
+\temps\NOtes\qsk\PED\wh J|\qsk\qu h\enotes
+\temps\NOtes|\qu g\enotes
+\temps\NOtes|\hu k\enotes
+\temps\Notes\DEP\enotes
+\end{verbatim}
+
+ \end{itemize}
+
+%\check
+
+\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 {\Bslash
+def\keyindex{everystaff}\{...\}}) to tell \musictex\ 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.
+
+
+\medskip
+ The procedure named \keyindex{atnextline}, normally void, is executed at the
+next computed (through \keyindex{autolines}) 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.}.
+
+ \medskip
+ \index{tenor violin clef}In some scores, tenor parts are not code using the
+\ital{bass} clef, but using rather the \ital{violin clef} subscripted by a
+{\tty 8}. This is not directly supported by the \keyindex{cleftoks$r$}{\tty=}
+command, but it can be handled using \keyindex{everystaff} and \keyindex{zcharnote}.
+As an example the following score
+
+\begin{music}
+\def\nbinstruments{4}
+\cleftoksi={6000}
+\cleftoksii={0000}
+\cleftoksiii={0000}
+\cleftoksiv={0000}
+\font\eightfig=cmr8
+\def\everystaff{\znotes&\zcharnote{-6}{\eightfig
+ \kern -1.4\Interligne 8}&\zcharnote{-6}{\eightfig
+ \kern -1.4\Interligne 8}\enotes}
+\debutextrait
+\normal
+\NOtes\hu{HIJK}&\hu{efgh}&\hl{hijk}&\hl{hmlk}\enotes
+\finextrait
+\end{music}
+\noindent was coded as:
+
+\begin{quote}\begin{verbatim}
+\def\nbinstruments{4}
+\cleftoksi={6000}
+\cleftoksii={0000}
+\cleftoksiii={0000}
+\cleftoksiv={0000}
+\font\eightfig=cmr8
+\def\everystaff{\znotes&\zcharnote{-6}{\eightfig
+ \kern -1.4\Interligne 8}&\zcharnote{-6}{\eightfig
+ \kern -1.4\Interligne 8}\enotes}
+\debutextrait
+\normal
+\NOtes\hu{HIJK}&\hu{efgh}&\hl{hijk}&\hl{hmlk}\enotes
+\finextrait
+\end{verbatim}\end{quote}
+ where the \verb|\eightfig| font declaration can obviously be omitted if
+the \TeX\ format declares an 8 point roman font.
+
+%\check
+
+\subsection{Beams across bars}
+
+The \keyindex{barre} macro inserts glue and terminates spacing account. Thus
+it is not compatible with pending \itxem{beams} and this is the usual way most
+composers wrote their scores, at least until the beginning of the XIX-th
+century. Unfortunately, later composers ({\sc Brahms}, {\sc Scriabin}, etc.)
+wanted to write beams jumping across bars.
+
+This can be partly handled by \musictex, using the macro
+\keyindex{xbeambarre}\footnote{An ugly mixture of French and English which is
+therefore not likely to be redefined by somebody else.} which puts a bar line
+of global width {\Bslash elemskip} with no glue around. Bar counting is done
+for \keyindex{autolines} purpose but no line breaking can occur, which means
+that the beams going across line or page breaks are not supported.
+
+We give an example from {\sc Brahms}'s Intermezzo op.~118,1 provided by
+Miguel {\sc Filgueiras}:\index{Brahms}
+
+\begin{music}
+\def\interfacteur{13}
+\def\nbinstruments{1}
+\nbporteesi=2\relax
+\cleftoksi={6000}
+\generalmeter{\allabreve}
+\debutextrait
+\normal
+\off{1em}\temps\Notes\qp\nextstaff\Ilegu0r\zq{q}\ql{j}\enotes
+\barre
+\Notes\qsk\ibu0a1\qh0{CEJLcL}\relax
+\nextstaff\qsk\rw{l}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes
+\Notes\qh0J\itenl1a\qh0a\nextstaff\tleg0\zq{o}\ql{h}\enotes
+\xbeambarre
+\Notes\zh{.L.a}\hl{.e}\relax
+\nextstaff\tten1\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes
+\Notes\qp\nextstaff\zq{q}\ql{j}\enotes
+\finextrait
+ \end{music}
+\noindent whose coding is:
+
+\begin{verbatim}
+\begin{music}
+\def\interfacteur{13}
+\def\nbinstruments{1}
+\nbporteesi=2\relax
+\cleftoksi={6000}
+\generalmeter{\allabreve}
+\debutextrait
+\normal
+\off{1em}\temps\Notes\qp\nextstaff\Ilegu0r\zq{q}\ql{j}\enotes
+\barre
+\Notes\qsk\ibu0a1\qh0{CEJLcL}\relax
+\nextstaff\qsk\rw{l}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes
+\Notes\qh0J\itenl1a\qh0a\nextstaff\tleg0\zq{o}\ql{h}\enotes
+\xbeambarre
+\Notes\zh{.L.a}\hl{.e}\relax
+\nextstaff\tten1\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes
+\Notes\qp\nextstaff\zq{q}\ql{j}\enotes
+\finextrait
+ \end{music}
+\end{verbatim}
+
+%\check
+\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 {\Bslash notes...\bslash 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 {\Bslash
+notes...\bslash enotes} pair. As an example, the following excerpt (beginning
+of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.}
+
+\begin{music}
+\def\DS{\hbox{\ds}}
+\def\FS{\hbox{\kern 0.3\noteskip\soupir}\kern -0.3\noteskip}
+\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}%
+\def\qbu#1#2#3{\ibu{#1}{#2}{#3}\qh{#1}{#2}}%
+\def\nbinstruments{2}%
+\generalmeter{\meterfrac{4}{4}}%
+\signaturegenerale{0}%
+\nbporteesii=1\relax
+\nbporteesii=2\relax
+\cleftoksi={{6}{0}{0}{0}}
+\cleftoksii={{6}{0}{0}{0}}
+\etroit
+\debutextrait
+\NOTes\soupir&\soupir|\qu g\enotes
+% mesure 1
+\advance\barno by -1\relax
+\barre\NOtes\itenu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\enotes
+\notes&\qbl0c0|\noteskip=0.6\elemskip\tinynotesize
+\Ibbu1ki2\qh1{kj}\tqh1i\qsk\enotes
+\Notes&\qb0e\tbl0\qb0c|\qu j\enotes
+\temps\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\enotes
+% mesure 2
+\barre\Notes\tten2\wh J&\ql J\sk\ql L|\ppt g\rlap{\qu g}\qbl1e0\relax
+ \zq c\qb1e\zq c\qb1e\relax
+ \zq c\tbl1\rlap{\qb1e}\ \ \ccu h\enotes
+\temps\Notes&\ql N\sk\pt L\ibl0L{-4}\qb0L|\ibl1e0\zq c\rlap{\qb1e}\cu g\relax
+ \zq c\rlap{\qb1e}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes
+\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\enotes
+\finextrait
+\end{music}
+
+\noindent can be coded as:
+
+\begin{verbatim}
+\def\DS{\hbox{\ds}}
+\def\FS{\hbox{\kern 0.3\noteskip\soupir}\kern -0.3\noteskip}
+\def\qbl#1#2#3{\ibl{#1}{#2}{#3}\qb{#1}{#2}}%
+\def\qbu#1#2#3{\ibu{#1}{#2}{#3}\qh{#1}{#2}}%
+\def\nbinstruments{2}%
+\generalmeter{\meterfrac{4}{4}}%
+\signaturegenerale{0}%
+\nbporteesii=1\relax
+\nbporteesii=2\relax
+\cleftoksi={{6}{0}{0}{0}}
+\cleftoksii={{6}{0}{0}{0}}
+\etroit
+%
+% end of preliminary definitions
+%
+\debutextrait
+\NOTes\soupir&\soupir|\qu g\enotes
+% mesure 1
+\advance\barno by -1\relax
+\barre\NOtes\itenu2J\wh J&\zw N\ibl0c0\qb0e|\qu j\enotes
+\notes&\qbl0c0|\noteskip=0.6\elemskip\tinynotesize
+\Ibbu1ki2\qh1{kj}\tqh1i\qsk\enotes
+\Notes&\qb0e\tbl0\qb0c|\qu j\enotes
+\temps\Notes&\ibl0c0\qb0{ece}\tbl0\qb0c|\ql l\sk\ql j\enotes
+% mesure 2
+\barre\Notes\tten2\wh J&\ql J\sk\ql L|\ppt g\rlap{\qu g}\qbl1e0\relax
+ \zq c\qb1e\zq c\qb1e\relax
+ \zq c\tbl1\rlap{\qb1e}\ \ \ccu h\enotes
+\temps\Notes&\ql N\sk\pt L\ibl0L{-4}\qb0L|\ibl1e0\zq c\rlap{\qb1e}\cu g\relax
+ \zq c\rlap{\qb1e}\raise\Interligne\DS \rlap{\qu g}\qb1g\enotes
+\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\enotes
+\finextrait
+\end{verbatim}
+
+ \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}
+ \def\nbinstruments{1}
+ \nbporteesi=1\relax
+ \cleftoksi={{0}{0}{0}{0}}\relax
+ \debutextrait
+ \normal
+ \NOtes\qsk\hu h\enotes
+ \temps\smallnotesize
+ \notes\grcu j\enotes
+ \temps\normalnotesize
+ \NOtes\hu i\enotes
+ \barre\tinynotesize
+ \notes\qsk\zq h\grcl j\enotes
+ \normalnotesize
+ \NOTEs\wh i\enotes
+ \finextrait
+ \end{music}
+
+ The previous example was coded as:
+
+\begin{quote}\begin{verbatim}
+\NOtes\qsk\hu h\enotes
+\temps\smallnotesize
+\notes\grcu j\enotes
+\temps\normalnotesize
+\NOtes\hu i\enotes
+\barre\tinynotesize
+\notes\qsk\zq h\grcl j\enotes
+\normalnotesize
+\NOTEs\wh i\enotes
+\end{verbatim}\end{quote}
+
+\subsection{Gregorian note shapes}\label{gregnotes}
+ Provided that four line staffs are used, \itxem{gregorian music} was
+frequently quoted using specific \itxem{neumes}, 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. Symbols available in
+\musictex\ are~:
+
+\begin{itemize}
+ \item Diamond shaped \itxem{punctum}: \raise 2.5pt\hbox{\musicxx\char 0} =
+\keyindex{diamg}~$p$~,
+ \item Square \itxem{punctum}: \raise 2.5pt\hbox{\musicxx\char 1} =
+\keyindex{carrg}~$p$~,
+ \item Left stemmed \itxem{virga}: \raise 2.5pt\hbox{\musicxx\char 2} =
+\keyindex{carpg}~$p$~,
+ \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\musicxx\char 3} =
+\keyindex{carqg}~$p$~. \end{itemize}
+
+They all have a non-spacing variant, which are~:
+
+\begin{itemize}
+ \item Non spacing diamond shaped \itxem{punctum}: \raise
+2.5pt\hbox{\musicxx\char 0} = \keyindex{zdiamg}~$p$~,
+ \item Non spacing square \itxem{punctum}: \raise 2.5pt\hbox{\musicxx\char 1}
+= \keyindex{zcarrg}~$p$~,
+ \item Non spacing left stemmed \itxem{virga}: \raise
+2.5pt\hbox{\musicxx\char 2} = \keyindex{zcarpg}~$p$~,
+ \item Non spacing right stemmed \itxem{virga}: \raise
+2.5pt\hbox{\musicxx\char 3} = \keyindex{zcarqg}~$p$~.
+ \end{itemize}
+
+To memorize these symbols, remember that {\tt carr} comes from the French
+word \ital{carr\'e} which means \ital{square}, that the letter {\tt p} has a
+tail on the left side and the {\tt q} has a tail on the right side. Other
+\itxem{neumes} can ne obtained by combining two or more of these symbols
+
+
+\subsection{Percussion stemless note shapes}\label{percunotes}
+Percussion\index{percussion music} music often uses stemless note heads
+different from the usual ones.
+
+\begin{itemize}
+ \item White diamond or \itxem{rimshot}: \raise 2.5pt\hbox{\musicxx\char 127} =
+\keyindex{diamw}~$p$~,
+ \item The \itxem{shaker}: \raise 2.5pt\hbox{\musicxx\char 79} =
+\keyindex{shaker}~$p$~,
+ \item The {tremolo chord}: \hbox to 2em{\hss\musicxx\char 78\hss} =
+\keyindex{tremolord}~$p$~,
+\end{itemize}
+
+
+They all have a non-spacing variant\footnote{Stemless, not to be confused with
+{\bslash zq} qui extends stems within a chord. For that purpose, see
+\ref{genpercus} and \ref{othernotes}.}, which are~:
+
+\begin{itemize}
+ \item Non spacing white diamond or \itxem{rimshot}: \raise
+2.5pt\hbox{\musicxx\char 127} = \keyindex{zdiamw}~$p$~,
+ \item Non spacing \itxem{shaker}: \raise 2.5pt\hbox{\musicxx\char 79} =
+\keyindex{zshaker}~$p$~,
+ \item Non spacing {tremolo chord}: \hbox to 2em{\hss\musicxx\char 78\hss} =
+\keyindex{ztremolord}~$p$~,
+\end{itemize}
+
+
+\subsection{Other note shapes}\label{othernotes} The classical note heads
+given above --- namely \raise 0.5ex\hbox{\musicnorfont\char 33}~, \raise
+0.5ex\hbox{\musicnorfont\char34} and \raise 0.5ex\hbox{\musicnorfont\char35}
+--- 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 are~:
+ \begin{itemize}
+
+ \item The \raise 0.5ex\hbox{\musicnorfont\char 0} symbol which is obtained using the \verb|\qu|,
+\verb|\qh| etc. macros replacing the ``{\tt q}'' letter in the macro name
+with a ``{\tt y}'' or writing \keyindex{ycu}, \keyindex{ycl},
+\keyindex{yccu}, \keyindex{ycup} etc. instead of \verb|\cu|, \verb|\cl|,
+\verb|\ccu|, \verb|\cup|, etc.
+
+ \item The \raise 0.5ex\hbox{\musicnorfont\char 127} symbol which is obtained
+using the \verb|\qu|, \verb|\qh| etc. macros replacing the ``{\tt q}'' letter
+in the macro name with a ``{\tt d}'' (think of \ital{diamond}) or writing
+\keyindex{dcu}, \keyindex{dcl}, \keyindex{dccu}, \keyindex{dcup}, etc.
+instead of \verb|\cu|, \verb|\cl|, \verb|\ccu|, \verb|\cup|, etc.
+
+
+ \item The \raise 0.5ex\hbox{\musicnorfont\char 39} symbol which is obtained
+using the \verb|\qu|, \verb|\qh| etc. macros replacing the ``{\tt q}'' letter
+in the macro name with a ``{\tt k}'' or writing \keyindex{kcu},
+\keyindex{kcl}, \keyindex{kccu}, \keyindex{kcup}, etc. instead of \verb|\cu|,
+\verb|\cl|, \verb|\ccu|, \verb|\cup|, etc.
+
+
+ \item The \raise 0.5ex\hbox{\musicnorfont\char"35} symbol which is obtained
+using the \verb|\qu|, \verb|\qh| etc. macros replacing the ``{\tt q}'' letter
+in the macro name with a ``{\tt x}'' or writing \keyindex{xcu},
+\keyindex{xcl}, \keyindex{xccu}, \keyindex{xcup} instead of \verb|\cu|,
+\verb|\cl|, \verb|\ccu|, \verb|\cup|, etc.
+
+
+ \item The \raise 0.5ex\hbox{\musicnorfont\char38} symbol which is obtained
+using the \verb|\qu|, \verb|\qh| etc. macros replacing the ``{\tt q}'' letter
+in the macro name with the pair ``{\tt ox}'' or writing \keyindex{oxcu},
+\keyindex{oxcl}, \keyindex{oxccu}, \keyindex{oxcup} instead of \verb|\cu|,
+\verb|\cl|, \verb|\ccu|, \verb|\cup|, etc.
+
+ \end{itemize}
+ %\check
+\section{Staff size} \index{staff size}
+\subsection{Moving from 20pt to 16pt general staff sizes and conversely}
+ You also want to write some parts of your score in 20pt
+staff size and in 16pt staff size, namely
+for distinct parts of pieces. Changing the \ixem{general staff size}
+is done by saying:
+
+\tty\keyindex{musicsize}=16\bslash computespecifics\quad \rm or
+
+\Bslash musicsize=20\keyindex{computespecifics}
+
+\rm\noindent respectively.
+
+\subsection{Changing staff size for certain instruments}\label{staffspace}
+Regardless of the general choice of 16pt or 20pt staff sizes, it is now
+possible to assign certain instruments -- not sperate staffs belonging to a
+same instrument -- to have narrower staff size. This is done by giving a
+special definition of \keyindex{staffspacing$r$} where $r$ is the roman
+numeral of the instrument considered. For example, if the second instrument
+(starting from the system bottom) is required to have 25\% narrower staffs,
+one only hase to declare:
+
+\medskip{\Bslash def\bslash staffspacingii\{0.75\}}
+
+\medskip\noindent before the starting command {\Bslash debutmorceau}.
+
+Not only does this statement change the vertical spacing between staff lines,
+but is also changes the size of the key, accidental and note symbols to fit
+the modified staff line spacing. However, the existence of discrete font
+scales for music symbol typing results in some reasonable restrictions of the
+values of \keyindex{staffspacing$r$}~: recommended values are approximately
+1, 0.8 and 0.64; if different values are chosen, then the symbol size is
+taken smaller than the line spacing, which may lead to readable but rather
+ugly typesetting.
+
+As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc
+Gounod}\index{Gounod, C.} using the first prelude of Johann-Sebastian Bach's
+\ital{Well Tempered Clavier} (transcription for organ, violin and voice,
+thanks to Markus {\sc Veittes}):\label{avemaria}
+
+ \begin{music}
+\def\nbinstruments{4}
+\computewidths
+\sepbarrules
+\generalmeter{\meterC}\relax
+\def\oct{\advance\transpose by 7\relax}
+\def\staffspacingii{0.64}
+\def\staffspacingiv{0.64}
+\cleftoksi{{6}{0}{0}{0}}
+\cleftoksii{{0}{0}{0}{0}}
+\cleftoksiv{{0}{0}{0}{0}}
+\nbporteesi=2\relax
+\nbporteesiii=0\relax
+\debutextrait
+\normal\elemskip=0.02\hsize
+%Takt 9
+\Notes\zhl c\raise27pt\qs\qupp e|\ds&\oct
+ \itenu5h\hl h&gra---&\itenl4h\hu h\enotes
+\Notes|\ibbl0j3\qb0h\tqb0l\enotes
+\Notes|\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes
+\temps\Notes\zhl c\raise27pt\qs\qupp e|\ds&\oct
+ \tten5\ibl4c0\qb4h&&\tten4\ibu5g{-3}\qh5h\enotes
+\Notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&---&\tqh5a\enotes
+\Notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\cu b\enotes
+\Notes|\qb1l\tqb1o&\oct\tqb4c&a&\cu c\enotes
+\barre
+%Takt 10
+\Notes\zhl c\raise27pt\qs\qupp d|\ds&\oct
+ \qlp d&ple---&\Ilegu4k\pt d\qu d\enotes
+\Notes|\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes
+\Notes|\ibbu2i0\qh2k\qh2f\enotes
+\Notes|\qh2h\tqh2k&\oct \cl e&&\tleg4\cu e\enotes
+\temps\Notes\zhl c\raise27pt\qs\qupp d|\ds&\oct
+ \ql d&na,&\qu d\enotes
+\Notes|\ibbu1g3\qh1f\tqh1h\enotes
+\Notes|\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp\enotes
+\finextrait
+ \end{music}
+
+ This example was coded as:
+
+\begin{quote}\begin{verbatim}
+\def\nbinstruments{4}
+\sepbarrules
+\generalmeter{\meterC}\relax
+\def\oct{\advance\transpose by 7\relax}
+\def\staffspacingii{0.64}
+\def\staffspacingiv{0.64}
+\cleftoksi{{6}{0}{0}{0}}
+\cleftoksii{{0}{0}{0}{0}}
+\cleftoksiv{{0}{0}{0}{0}}
+\nbporteesi=2\relax
+\nbporteesiii=0\relax
+%
+\debutextrait
+\normal\elemskip=0.02\hsize
+%Takt 9
+\Notes\zhl c\raise27pt\qs\qupp e|\ds&\oct
+ \itenu5h\hl h&gra---&\itenl4h\hu h\enotes
+\Notes|\ibbl0j3\qb0h\tqb0l\enotes
+\Notes|\ibbl1k0\qb1o\qb1h\qb1l\tqb1o\enotes
+\temps\Notes\zhl c\raise27pt\qs\qupp e|\ds&\oct
+ \tten5\ibl4c0\qb4h&&\tten4\ibu5g{-3}\qh5h\enotes
+\Notes|\ibbl0j3\qb0h\tqb0l&\oct\qb4a&---&\tqh5a\enotes
+\Notes|\ibbl1k0\qb1o\qb1h&\oct\qb4b&ti-&\cu b\enotes
+\Notes|\qb1l\tqb1o&\oct\tqb4c&a&\cu c\enotes
+\barre
+%Takt 10
+\Notes\zhl c\raise27pt\qs\qupp d|\ds&\oct
+ \qlp d&ple---&\Ilegu4k\pt d\qu d\enotes
+\Notes|\ibbu1g3\bigaccid\qh1{^f}\tqh1h\enotes
+\Notes|\ibbu2i0\qh2k\qh2f\enotes
+\Notes|\qh2h\tqh2k&\oct \cl e&&\tleg4\cu e\enotes
+\temps\Notes\zhl c\raise27pt\qs\qupp d|\ds&\oct
+ \ql d&na,&\qu d\enotes
+\Notes|\ibbu1g3\qh1f\tqh1h\enotes
+\Notes|\ibbu2i0\qh2k\qh2f\qh2h\tqh2k&\qp&&\qp\enotes
+\end{verbatim}\end{quote}
+
+
+
+ %\check
+ \section{Layout parameters}
+
+
+ Most layout parameters are set by \musictex\ 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.
+
+%\check
+
+\subsection{List of layout parameters}
+
+{\sl 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 {\Bslash 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.}
+
+\begin{description}
+
+ \item[\keyindex{interligne} : ]vertical interval between lines in a staff of
+the current instrument, taking account of a possible specification of \keyindex{staffspacing$r$}
+(see \ref{staffspace})
+\nochange
+ \item[\keyindex{Interligne} : ]vertical distance between the base of staff
+lines of the current instrument, taking account of a possible specification
+of \keyindex{staffspacing$r$} (\keyindex{interligne} is the size of the blank
+space between lines; the difference between them is the line thickness
+\keyindex{lthick}) \nochange.
+ \item[\keyindex{internote} : ]the vertical spacing of contiguous notes of
+the current instrument, taking account of a possible specification of
+\keyindex{staffspacing$r$}, i.e.\ the half of {\Bslash Interligne} \nochange
+ \item[\keyindex{Internote} : ]the vertical spacing of contiguous notes of
+the instrument(s) whose \keyindex{staffspacing$r$} has the \ital{default
+value} of one (1.0). Since this dimension is the same, regardless of the
+actual value of the staff line spacing of any instrument, only this value
+should be used to specify horizontal spacings. It should be used rather than
+absolute dimensions in \verb|pt| or \verb|mm|, since \verb|\Internote| is
+duly proportional to the general size (\keyindex{musicsize}) but not
+dependent on specific changes in \keyindex{staffspacing$r$} \nochange
+ \item[\keyindex{nullthick} : ]reserved height above base line for zero staff
+lines (text of songs)
+ \item[\keyindex{staffbotmarg} : ]margin below the first staff of the lowest
+instrument. If not already assigned a non zero dimension, it is set to
+\keyindex{bottomfacteur}\keyindex{Interligne} at the next system.
+ \item[\keyindex{stafftopmarg} : ]margin above the upper staff of the upper
+instrument.
+ \item[\keyindex{interbeam} : ]vertical distance between beams.
+ \item[\keyindex{interportee} : ]the distance between the bottom of one staff and
+the bottom of the next one. It is set to
+2\keyindex{interfacteur}{\Bslash internote} at the next system.
+ \item[\keyindex{Interportee} : ]the distance between the top of one staff
+and the bottom of the next one. Re-computed at the at the next system.
+ \item[\keyindex{interinstrument} : ]the additional vertical distance between
+two different instruments (must be positive, otherwise weird results can
+happen). 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
+which holds for each of the vertical spaces between instruments, except the
+upper one, in which case this interval is irrelevant. However, this parameter
+can be overridden for the space above a specific instrument. For example (see
+the example {\tty angescao.tex}) one can state:
+
+\medskip
+\begin{quote}\begin{verbatim}
+\def\interinstrumenti{5pt}
+\end{verbatim}\end{quote}
+
+\medskip
+\noindent to force an additional spacing of 5 points above instrument $i$,
+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 insruments in a choir score).
+ \item[\keyindex{systemheight} : ]the distance from the bottom of the
+lowest staff to the top of the highest staff of the upper instrument. This is
+the height of the vertical bars (single, double, repeats, etc.) \nochange.
+\end{description}
+
+
+\medskip
+ 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 {\Bslash def}):
+\begin{itemize}
+ \item\keyindex{altitude} : the altitude of the lowest line of the lowest
+staff of the current instrument \nochange.
+ \item\keyindex{altportee} : the altitude of the lowest line of the current
+staff \nochange.
+ \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:
+
+ \verb|\def\stemfactor{3.5}|
+
+Normal stem length is restored by calling the macro \keyindex{normalstems}.
+
+\end{itemize}
+
+%\check
+
+\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{suspmorceau} (or a \keyindex{finmorceau})
+and a \keyindex{reprmorceau} (or a \keyindex{debutmorceau}), but it is
+wiser to say, for example:
+
+\medskip
+\begin{quote}\begin{verbatim}
+\def\atnextline{\global\staffbotmarg=5\Interligne}
+\end{verbatim}\end{quote}
+
+\medskip
+
+When doing so, the \musictex\ user should be aware that this could disturb
+pending \ital{slurs} or \ital{ties}, since the altitude of these is stored in
+an absolute way, starting from the baseline of the systems. Therefore,
+changing the \keyindex{staffbotmarg} dimension can also be made by means of
+{\tty\keyindex{advancebottom}\{$<dimension>$\}} which updates all pending slur
+and tie altitudes by the given dimension. This has been used in {\tty
+pacifiqn} and {\tty pacifiqb}.
+
+\medskip The user may prefer to redefine {\Bslash
+def\keyindex{bottomfacteur}} or {\Bslash def\keyindex{interfacteur}} to a
+given integer number, but this can be done only between a
+\keyindex{suspmorceau} (or a \keyindex{finmorceau}) and a
+\keyindex{reprmorceau} (or a \keyindex{debutmorceau}), but it is wiser to use
+\keyindex{atnextline} as previously.
+
+\medskip It is also wise to use \keyindex{atnextline} to change the 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}.
+
+\medskip In anycase it is a good idea to look at the procedures
+\keyindex{computewidths} and \keyindex{computespecifics} to understant what
+they really compute, and also to find the places where they are actually
+invoked.
+
+\subsection{Changing the vertical distance between consecutive systems}
+
+If this has to be changed only once at the beginning of a piece, the simplest
+is to say
+
+\medskip
+\begin{quote}\begin{verbatim}
+\def\bottomfacteur{8}
+\end{verbatim}\end{quote}
+
+\medskip\noindent before invoking\keyindex{debutmorceau}. Note that
+\keyindex{bottomfacteur} is invoked to compute the dimension register
+\keyindex{staffbotmarg} whenever this register contains a zero dimension.
+The number (it must be a number) is multiplied by \keyindex{Interligne} and
+affected to \keyindex{staffbotmarg}.
+
+\medskip If this has to be changed several times to meet page layout
+requirements with scores sometimes -- but only sometimes -- going very deep
+below the lowes staff of the systems, it is wiser to use
+\keyindex{advancebottom}, namely:
+
+\medskip
+\begin{quote}\begin{verbatim}
+\advancebottom{10pt}
+\end{verbatim}\end{quote}
+
+\medskip\noindent to advance the bottom margin register by that dimension at
+the next system line break.
+
+{\medskip\noindent\sl REMARK : it is also possible to change the system top
+margin, i.e.\ \keyindex{stafftopmarg} between systems. Changing top and
+bottom margin add together but it may influence the position of the whole in
+the pages.}
+
+\subsection{Changing staff distance within systems}
+
+This can be done at the beginning by changing the definition of
+\keyindex{interfacteur} (it is {\Bslash def}ined to a number) before the
+first \keyindex{debutmorceau}. But it is also possible to give a new
+dimension to the dimension register \keyindex{interportee} and, optionally,
+to the dimension register \keyindex{interinstrument} (see above).
+
+\subsection{Changing the number of lines in staffs}
+
+Unless explicitely specified, staffs consist of five lines, in accordance to
+the normal way of coding music scores. However, two exceptions might be
+preferred when using \musictex~:
+
+\begin{itemize}
+ \item \itxem{gregorian music} is often writen using staff of
+four lines instead of five,
+ \item \itxem{percussion music} (e.g. drums, triangle) only needs one line
+staffs, since the pitch cannot change.
+\end{itemize}
+
+Therefore, since its version 5.00, \musictex\ allows for choosing the number
+of lines of the staffs of an instrument. This is done by defining the macro
+\keyindex{stafflinesnb}$r$ --- where $r$ is the roman numeral of the wanted
+instrument as usual --- to be the number of lines of the specific staff.
+For example~:\label{gregorian}
+
+\begin{quote}
+\noindent\verb|\def\stafflinesii{4}|
+\end{quote}
+will make the instrument number 2 (i.e. {\tt ii}) to have staffs of four
+lines, that is, fit for gregorian music.
+%\check
+
+\subsection{Resetting normal layout parameters}
+
+Except \keyindex{musicsize} which has to be explicitely changed if needed, all
+layour registers are reset to default values by \keyindex{resetfacteurs} which
+put zero dimensions into \keyindex{staffbotmarg} and \keyindex{stafftopmarg},
+so that the next \keyindex{debutmorceau} will recompute them, unless they have
+been given non zero dimensions inbetween.
+
+\subsection{Typesetting one-line excerpts rather than larges 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{debutmorceau} with
+\keyindex{debutextrait}\footnote{\ital{Extrait} is the French word for
+\ital{excerpt}.} and {\Bslash finmorceau} or {\Bslash suspmorceau} with
+\keyindex{finextrait}.
+
+ If you want to terminate it without a bar, you code
+\keyindex{zfinextrait} which acts like {\Bslash zsuspmorceau}..
+
+%\check
+
+ \subsection{Lyrics}\index{lyrics}
+
+ Lyrics can be introduced in several ways~:
+ \begin{enumerate}
+
+ \item The first one consists in dedicating
+one instrument whose \keyindex{nbportees$r$} is zero. Then the text of the
+lyrics is just inserted, note by note, by inserting it at the right position
+between {\Bslash notes}...{\Bslash enotes}. The drawback is that a four voice
+choir needs eight instruments which may lead to troubles if there is also an
+orchestra score below the voices.
+
+ \item Therefore, another solution consists in adjusting \keyindex{interinstrument}
+and \keyindex{staffbotmarg} to give more place below the song
+instruments\footnote{Beware of a shift of one position, since {\Bslash
+intersinstrument$r$} indicates the interval \ital{above} the $r$-th
+instrument.}. Then the texts of the lyrics are indicated with the song tune
+instrument, using \keyindex{zcharnote} with a negative numeric position
+value.
+
+ By the way, the {\Bslash zcharnote} may have a {\Bslash vbox} as a second
+argument, and this \keyindex{vbox} may contain several {\Bslash hbox}es
+describing the text of the different couplets (see example {\tty ANGESCAO}).
+
+ \item Of easier use are the commands \keyindex{zsong} (right of the note),
+\keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics
+at the lower staff line \ital{minus} the previous
+\keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These
+commands only have one argument, namely the lyrics text:
+
+
+\begin{center}
+\keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad
+\keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad
+\keyindex{csong}\verb|{|\ital{text}\verb|}|
+\end{center}
+
+ \medskip As an example, the following French song
+
+ \begin{music}
+ \generalsignature{1}
+ \def\nbinstruments{1}
+ \debutextrait
+ \NOtes\zsong{Au }\qu g\enotes
+ \NOtes\zsong{clair }\qu g\enotes
+ \NOtes\zsong{de }\qu g\enotes
+ \NOtes\zsong{la }\qu h\enotes
+ \barre
+ \NOTes\zsong{lu- }\hu i\enotes
+ \NOTes\zsong{ne, }\hu h\enotes
+ \barre
+ \NOtes\zsong{mon }\qu g\enotes
+ \NOtes\zsong{a- }\qu i\enotes
+ \NOtes\zsong{mi }\qu h\enotes
+ \NOtes\zsong{Pier- }\qu h\enotes
+ \barre
+ \NOTes\zsong{rot, }\wh g\sk\enotes
+ \finextrait
+ \end{music}
+
+\noindent was coded as:
+
+\begin{quote}\begin{verbatim}
+ \generalsignature{1}
+ \def\nbinstruments{1}
+ \debutextrait
+ \NOtes\zsong{Au }\qu g\enotes
+ \NOtes\zsong{clair }\qu g\enotes
+ \NOtes\zsong{de }\qu g\enotes
+ \NOtes\zsong{la }\qu h\enotes
+ \barre
+ \NOTes\zsong{lu- }\hu i\enotes
+ \NOTes\zsong{ne, }\hu h\enotes
+ \barre
+ \NOtes\zsong{mon }\qu g\enotes
+ \NOtes\zsong{a- }\qu i\enotes
+ \NOtes\zsong{mi }\qu h\enotes
+ \NOtes\zsong{Pier- }\qu h\enotes
+ \barre
+ \NOTes\zsong{rot, }\wh g\sk\enotes
+ \finextrait
+\end{verbatim}\end{quote}
+
+ \end{enumerate}
+
+
+%\check
+
+ \section{Other special ornaments}
+
+ Since the first release of \musictex, many users have either asked for
+new features of proposed their own procedures to be included in \musictex.
+Some of them have been added because of their high utility, some others have
+been left aside for several reasons. The major reason for not including many
+proposals in the \musictex\ release is that -- at least on many computers and
+especially PC's -- the \TeX\ memory is limited to 65~000 ``words''. This is a
+very restricted value which causes many trials to exceed the capacity of \TeX\
+(unless using ``big\TeX''). Therefore, only the proposed macros of very
+general use can be introduced in the release as a standard and the users are
+suggested to take their specific procedures and include them (directly of by
+means of an {\Bslash input}) in their own source code.
+
+ This is particularly valid 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 in a separate file
+named {\tty musicext.tex}.
+
+ For example, brackets can be produced:
+
+ \begin{music}
+\def\nbinstruments{1}\relax
+\computewidths
+\nbporteesi=1\relax
+\debutextrait
+\normal
+\temps\Notes\ovbkt j3{15}\ql{hij}\enotes
+\finextrait
+
+ \end{music}
+
+%\check
+ \section{The {\tt musicsty} macros}\label{musicsty}
+% non musical procedures used in typesetting the non-musical
+% texts together with musictex
+ This file is made for non \TeX perts and/or lazy score typesetters. 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 fi for European A4 paper\footnote{People addicted to \itxem{legal} or
+other paper sizes should correct it for their own purpose.}
+ \item a set of text size commands:
+
+ \begin{description}
+ \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm},
+\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 8 point font size;
+ \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm},
+\keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 10 point font size;
+ \item[\keyindex{twlpoint}] to get 12 point font size;
+ \item[\keyindex{frtpoint}] to get 14.4 point font size;
+ \item[\keyindex{svtpoint}] to get 17.28 point font size;
+ \item[\keyindex{twtypoint}] to get 20.74 point font size;
+ \item[\keyindex{twfvpoint}] to get 24.88 point font size;
+ \end{description}
+ \item a set of commands to make easy piece titles~:
+ \begin{itemize} \item \keyindex{author} or
+\keyindex{fullauthor} to be put at the right of the first page, below the
+title of the piece; the calling sequence is, for example:
+
+ \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}|
+
+ \noindent where the \verb|\\| makes theauthor name displayed on two or
+several lines.
+
+
+ \item \keyindex{shortauthor} to be put at the bottom of each page,
+ \item \keyindex{fulltitle} which is the big main title of the piece,
+ \item \keyindex{subtitle} is displayed below the main title of the piece,
+ \item \keyindex{shorttitle} or \keyindex{title}
+ which is the title repeated at the bottom of each page,
+ \item \keyindex{othermention} which is displayed on the left of the page, in
+front of the author's name (it may contain several \verb|\\| to display it on
+several lines,
+ \item \keyindex{maketitle} which displays all the previous stuff.
+ \end{itemize}
+
+ \item Some additional commands to make \itxem{footnotes}.
+ These commands are
+ \begin{itemize}
+ \item The normal Plain-\TeX\ \keyindex{footnote} command which has two
+arguments --- not only one as in \LaTeX\index{LaTeX=\protect\LaTeX} --- namely
+the label of the footnote, i.e. any sequence of characters and not only
+figures, and the text of the footnote.
+
+\noindent{\sl 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).}
+
+ \item The \keyindex{Footnote} command, which counts the footnotes and uses a
+number as the label of the foot note (equivalent to \LaTeX's \verb|\footnote|
+command). The same restriction applies concerning footnotes within the music
+coding.
+
+ \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which
+makes the footnote itself at the bottom of the current page, but does not put
+the footnote label at the place it is referred in the main text.
+
+ Thus, if a footnote is needed whose reference lies inside the music itself,
+the music typesetter must perform it in two steps~:
+ \begin{enumerate}
+ \item quote the reference inside the music, using \verb|zcharnote| for
+example,
+ \item post the footnote itself, using \verb|\vfootnote| outside the music,
+either before \keyindex{debutmorceau} or between \keyindex{suspmorceau} and
+\keyindex{reprmorceau} or equivalent commands.
+ \end{enumerate}
+
+ \end{itemize}
+ \end{itemize}
+
+ Note that \verb|musicsty| should not be used with \LaTeX.
+
+
+\section{Abnormal music coding}
+\subsection{Gregorian chant}
+\index{gregorian music}Gregorian chant is often coded using four line staffs
+(see section \ref{gregorian}) and using special notes (called \itxem{neumes})
+which are described in section \ref{gregnotes}. But the gregorian chant also
+needs a special \itxem{alto clef} which is in fact the ancester of the modern
+alto clef. The gregorian \itxem{alto clef} can be invoked instead of the
+modern one by re-declaring the \keyindex{clefdut}$r$ macro. Thus
+
+\begin{quote}\begin{verbatim}
+\def\clefdutiv{\gclefdut}
+\end{verbatim}\end{quote}
+will cause the instrument number 4 (i.e. {\tt iv}) to exhibit a gregorian C
+clef whenever the value of \verb|\cleftoskiv| refers to an alto clef.
+The modern alto clef can be restored for that instrument by~:
+
+
+\begin{quote}\begin{verbatim}
+\def\clefdutiv{\clefdutsymbol}
+\end{verbatim}\end{quote}
+
+\subsection{Music score without clefs or with special 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 done by declaring some of the following items~:
+
+\medskip
+\verb|\def|\keyindex{clefdesol}$r$\verb|{\relax}|
+
+\verb|\def|\keyindex{clefdut}$r$\verb|{\relax}|
+
+\verb|\def|\keyindex{clefdefa}$r$\verb|{\relax}|
+
+\medskip
+ At first sight, it could be thought to be silly to cancel the G clef, the C
+clef and/or the F clef to have an empty clef symbol. But the reason is that
+the absence of clefs does not mean that notes should not be raised according
+to their pitch. Thus, if the user uses the G clef coding of pitches, he is
+welcome to use the present feature to cancel the G clef, but if he uses some
+alto clef coding, then he should cancel the alto clef symbol. Of course, all
+this is irrelevant if the engraver chooses to use numeric coding of note
+position like \verb|\qu{10}|.
+
+ Normal symbols for these clefs and for instrument or roman number $r$ can be
+restored by~:
+
+
+\medskip
+\verb|\def\clefdesol|$r$\verb|{|\keyindex{clefdesolsymbol}\verb|}|
+
+\verb|\def\clefdefa|$r$\verb|{|\keyindex{clefdefasymbol}\verb|}|
+
+\verb|\def\clefdut|$r$\verb|{|\keyindex{clefdutsymbol}\verb|}|
+
+\medskip Besides, a special \itxem{drum clef} (two heavy vertical bars) can
+replace any of the standard clefs, for exemple the G clef by saying~:
+
+\medskip
+\verb|\def\clefdesol|$r$\verb|{|\keyindex{drumclefsymbol}\verb|}|
+
+
+\medskip It is to be emphasised that these features are specific to one
+instrument --- not one staff of a several staff instrument --- so that some
+weird score for \ital{monks}, \ital{drum} and \ital{electronic keyboard}
+such as
+
+\begin{music}
+\parindent 19mm
+\def\nbinstruments{3} \def\instrumenti{keyboard}
+\def\instrumentii{drum} \def\instrumentiii{monks}
+\def\stafflinesnbii{1} \def\stafflinesnbiii{4}
+\generalsignature{0} \generalmeter{\relax}
+\signi=-1\relax % one flat at keyboard
+\nbporteesi=2\relax % 2 staffs at keyboard
+\cleftoksi={6000}\cleftoksiii={3000}\cleftoksii={1000}
+\def\clefdutiii{\gclefdut} % gregorian C clef at instrument iii
+\def\clefdutii{\drumclefsymbol} % cancel C clef at instrument ii
+\def\interinstrumentii{-4\Interligne} % less spacing above drum
+\normal
+\debutextrait
+\Notes\hu F|\zh c\hu h&\diamw 0&\carrg {acd}\enotes
+\NOtes\qu I|\zq N\qu d&\diamg 0&\diamg f\enotes
+\NOtes\qu J|\zq a\qu e&\diamg 0&\diamg e\enotes
+\notes\hu G|\zh b\hu d&\zshaker 3\diamw {00}&\zcarrg d\carqg g\carrg {hgh}\enotes
+\finextrait
+\end{music}
+\noindent could be coded as follows, regardless this is relevant~:
+\begin{verbatim}
+\parindent 19mm
+\def\nbinstruments{3} \def\instrumenti{keyboard}
+\def\instrumentii{drum} \def\instrumentiii{monks}
+\def\stafflinesnbii{1} \def\stafflinesnbiii{4}
+\generalsignature{0} \generalmeter{\relax}
+\signi=-1\relax % one flat at keyboard
+\nbporteesi=2\relax % 2 staffs at keyboard
+\cleftoksi={6000}\cleftoksiii={3000}\cleftoksii={1000}
+\def\clefdutiii{\gclefdut} % gregorian C clef at instrument iii
+\def\clefdutii{\drumclefsymbol} % cancel C clef at instrument ii
+\def\interinstrumentii{-4\Interligne} % less spacing above drum
+\normal
+\debutextrait
+\Notes\hu F|\zh c\hu h&\diamw 0&\carrg {acd}\enotes
+\NOtes\qu I|\zq N\qu d&\diamg 0&\diamg f\enotes
+\NOtes\qu J|\zq a\qu e&\diamg 0&\diamg e\enotes
+\notes\hu G|\zh b\hu d&\zshaker 3\diamw {00}&\zcarrg d\carqg g\carrg {hgh}\enotes
+\finextrait
+\end{verbatim}
+
+In the same way, a possible violin score with \itxem{harmonic notes} (see
+\ref{othernotes}) could be~:\label{abnormalscores}
+
+\begin{music}
+\def\freqbarno{9999}% no bar numbers
+\def\nbinstruments{1}\nbporteesi=1\relax
+\generalsignature{-2}\generalmeter{\allabreve}\cleftoksi={0000}
+\normal
+\debutextrait
+\NOtes\zd o\zh d\hu h\enotes
+\Notes\ibu0k0\zq g\yh0k\qh0j\zq e\yh0i\tbu0\qh0j\enotes
+\barre
+\NOTes\zd g\hu k\enotes
+\NOTes\hpause\enotes
+\barre
+\NOtes\zd o\zh d\hl h\enotes
+\Notes\ibl0b0\zq g\yb0k\qb0j\zq e\yb0i\tbl0\qb0j\enotes
+\barre
+\NOTes\zd g\hu k\enotes
+\NOTes\hpause\enotes
+\finextrait
+\end{music}
+
+It was coded as follows:
+\begin{quote}\begin{verbatim}
+\def\nbinstruments{1}\nbporteesi=1\relax
+\generalsignature{-2}\generalmeter{\allabreve}\cleftoksi={0000}
+\normal
+\debutextrait
+\NOtes\zd o\zh d\hu h\enotes
+\Notes\ibu0k0\zq g\yh0k\qh0j\zq e\yh0i\tbu0\qh0j\enotes
+\barre
+\NOTes\zd g\hu k\enotes
+\NOTes\hpause\enotes
+\barre
+\NOtes\zd o\zh d\hl h\enotes
+\Notes\ibl0b0\zq g\yb0k\qb0j\zq e\yb0i\tbl0\qb0j\enotes
+\barre
+\NOTes\zd g\hu k\enotes
+\NOTes\hpause\enotes
+\finextrait
+\end{verbatim}\end{quote}
+
+
+\subsection{Usual percussion music}
+\label{genpercus} 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}
+\def\freqbarno{9999}% no bar numbers
+\def\nbinstruments{1}\generalsignature{0}\def\stafflinesbi{5}
+\generalmeter{\meterfrac44}
+\cleftoksi={0000}\def\clefdesoli{\drumclefsymbol}
+\normal
+\debutextrait
+\leftrepeat
+\Notes\zql f\rlap{\soupir}\ibu0m0\xh0{nn}\enotes
+\Notes\zk d\zql f\zq j\xh0n\tbu0\xh0n\enotes
+\Notes\zql f\rlap{\soupir}\ibu0m0\xh0{nn}\enotes
+\Notes\zk d\zql f\zq j\xh0n\tbu0\xh0n\enotes
+\barre
+\Notes\zql f\rlap{\soupir}\ibu0m0\kh0{nn}\enotes
+\Notes\zx d\zql f\zq j\kh0n\tbu0\kh0n\enotes
+\Notes\zql f\rlap{\soupir}\ibu0m0\kh0{nn}\enotes
+\Notes\zx d\zql f\zq j\kh0n\tbu0\kh0n\enotes
+\barre
+\Notes\zql f\rlap{\soupir}\ibu0m0\oxh0{nn}\enotes
+\Notes\zox d\zql f\zq j\kh0n\tbu0\oxh0n\enotes
+\Notes\zql f\rlap{\soupir}\ibu0m0\oxh0{nn}\enotes
+\Notes\zox d\zql f\zq j\kh0n\tbu0\oxh0n\enotes
+\setrightrepeat\finextrait
+\end{music}
+ Its coding was~:
+ \begin{quote}\begin{verbatim}
+\begin{music}
+\def\nbinstruments{1}\generalsignature{0}\def\stafflinesbi{5}
+\generalmeter{\meterfrac44}
+\cleftoksi={0000}\def\clefdesoli{\drumclefsymbol}
+\normal
+\debutextrait
+\leftrepeat
+\Notes\zql f\rlap{\soupir}\ibu0m0\xh0{nn}\enotes
+\Notes\zk d\zql f\zq j\xh0n\tbu0\xh0n\enotes
+\Notes\zql f\rlap{\soupir}\ibu0m0\xh0{nn}\enotes
+\Notes\zk d\zql f\zq j\xh0n\tbu0\xh0n\enotes
+\barre
+\Notes\zql f\rlap{\soupir}\ibu0m0\kh0{nn}\enotes
+\Notes\zx d\zql f\zq j\kh0n\tbu0\kh0n\enotes
+\Notes\zql f\rlap{\soupir}\ibu0m0\kh0{nn}\enotes
+\Notes\zx d\zql f\zq j\kh0n\tbu0\kh0n\enotes
+\barre
+\Notes\zql f\rlap{\soupir}\ibu0m0\oxh0{nn}\enotes
+\Notes\zox d\zql f\zq j\kh0n\tbu0\oxh0n\enotes
+\Notes\zql f\rlap{\soupir}\ibu0m0\oxh0{nn}\enotes
+\Notes\zox d\zql f\zq j\kh0n\tbu0\oxh0n\enotes
+\setrightrepeat\finextrait
+\end{music}
+ \end{verbatim}\end{quote}
+
+ To use these different note heads, one must
+ \begin{itemize}
+ \item either include a specific percussion file namely {\tt
+\ixem{musicper.tex}} after the usual \verb|\input musictex| or invoke the
+\LaTeX\ style option {\tt\ixem{musicper}}\index{musicper.sty};
+ \item use special macro names to replace the usual elliptic back note head
+with either a double sharp sign or with a $+$. These macros are~:
+ \begin{itemize}
+ \item \keyindex{zx}, \keyindex{xu}, \keyindex{xup}, \keyindex{xupp},
+ \keyindex{xl}, \keyindex{xlp}, \keyindex{xlpp},
+ \keyindex{xh}, \keyindex{xb}, \keyindex{zx},
+ \keyindex{xcu}, \keyindex{xcup}, \keyindex{xcupp},
+ \keyindex{xccu}, \keyindex{xcccu}, \keyindex{xccccu},
+ \keyindex{xcl}, \keyindex{xclp}, \keyindex{xclpp},
+ \keyindex{xccl}, \keyindex{xcccl} and \keyindex{xccccl}, which behave exactly like
+ \verb|\zq|, \verb|\qu|, \verb|\qup|, \verb|\qupp|,
+ \verb|\ql|, \verb|\qlp|, \verb|\qlpp|,
+ \verb|\qh|, \verb|\qb|, \verb|\zq|,
+ \verb|\cu|, \verb|\cup|, \verb|\cupp|,
+ \verb|\ccu|, \verb|\cccu|, \verb|\ccccu|,
+ \verb|\cl|, \verb|\clp|, \verb|\clpp|,
+ \verb|\ccl|, \verb|\cccl| and \verb|\ccccl|, except that the note head is
+ \raise 0.6ex\hbox{\musicnorfont\char '65} instead of \raise
+0.5ex\hbox{\musicnorfont\char '41}~.
+ \item \keyindex{zox}, \keyindex{oxu}, \keyindex{oxup}, \keyindex{oxupp},
+ \keyindex{oxl}, \keyindex{oxlp}, \keyindex{oxlpp},
+ \keyindex{oxh}, \keyindex{oxb}, \keyindex{zx},
+ \keyindex{oxcu}, \keyindex{oxcup}, \keyindex{oxcupp},
+ \keyindex{oxccu}, \keyindex{oxcccu}, \keyindex{oxccccu},
+ \keyindex{oxcl}, \keyindex{oxclp}, \keyindex{oxclpp},
+ \keyindex{oxccl}, \keyindex{oxcccl} and \keyindex{oxccccl}, to get a note
+head of
+\raise 0.6ex\hbox{\musicnorfont\char 38} instead of \raise
+0.5ex\hbox{\musicnorfont\char '41}~.
+ \item \keyindex{zk}, \keyindex{ku}, \keyindex{kup}, \keyindex{kupp},
+ \keyindex{kl}, \keyindex{klp}, \keyindex{klpp},
+ \keyindex{kh}, \keyindex{kb}, \keyindex{zk},
+ \keyindex{kcu}, \keyindex{kcup}, \keyindex{kcupp},
+ \keyindex{kccu}, \keyindex{kcccu}, \keyindex{kccccu},
+ \keyindex{kcl}, \keyindex{kclp}, \keyindex{kclpp},
+ \keyindex{kccl}, \keyindex{kcccl} and \keyindex{kccccl}, to get a
+note head of
+ \raise 0.6ex\hbox{\musicnorfont\char 39} instead of \raise
+0.6ex\hbox{\musicnorfont\char '41}~.
+ \end{itemize}
+ \end{itemize}
+
+
+ \section{Writing your own macros: the {\Bslash catcode} problems}
+
+As seen before, the \keyindex{catcodes} of the {\tty\|} and {\tty\&} symbols
+are modified by \musictex, in the range of the actual scores but no
+more\footnote{Since version 4.99.} 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 {\tty\|} or {\tty\&}
+symbols in a part of text where their \keyindex{catcode}s are not correctly set.
+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
+{\tty\&} 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 {\tty\|} and {\tty\&}
+have the correct \musictex\ \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 ``{\tty<\relax}'', ``{\tty>\relax}'', ``\verb|^|,
+etc., if their \keyindex{catcode} has been changed by some other set of
+macros, like {\tty \ixem{french.sty}}.
+
+
+ \section{Musicla\TeX}
+
+\subsection{The {\tt musictex.sty} style}
+
+ As said before, the amount of memory and registers used by \musictex\ makes
+it hardly compatible with \LaTeX. However, Nicolas {\sc
+Brouard}\index{Brouard, N.} succeeded in building a {\tty\ixem{musictex.sty}}
+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 {\tty musictex} in the
+options.
+
+
+\medskip
+ The \LaTeX\ style file {\tty \ixem{musictex.sty}} simply \verb|\input|s
+the following files (in that very order): \begin{itemize}
+ \item {\tty musicpre.tex}
+ \item {\tty musicnft.tex}
+ \item {\tty musictex.tex}
+ \item {\tty musicvbm.tex}
+ \item {\tty musicpos.tex}
+ \end{itemize}
+
+
+
+\medskip
+ In the case of a \LaTeX\index{LaTeX=\protect\LaTeX}
+user wanting to use accidental
+transposition facilities, he should invoke {\tty\ixem{musictrp}} in the
+options of the \keyindex{documentstyle} command.
+
+ In case of {\tty 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}
+
+ 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 \itxem{largemusic} has been
+provided, 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 haddled with the {\tty
+a4wide}\index{a4wide} style option, or any derivate of it.
+
+%\check
+
+ \subsection{The {\Bslash catcode} problems}
+ The {\tty musicpos.tex} file
+merely overrides the \keyindex{catcode}s of the {\tty\|} and {\tty\&} symbols
+which are modified by \musictex. To have access to these symbols when coding
+music, on should then enclose the scores or excerpts within {\Bslash
+begin\{music\}} and {\Bslash end\{music\}}. But there is also another
+possibility, i.e.\ to say \keyindex{nextinstrument} instead of {\tty
+\&}\index{\&} and \keyindex{nextstaff} instead of {\tty\|}.\index{\|}
+
+ Another problem comes from the {\tty \ixem{french.sty}} written by Bernard
+{\sc Gaulle}\index{Gaulle, B.} which is the standard of the \ixem{GUTenberg}
+French association. This style changes many \keyindex{catcode}s which lead
+\musictex\ to fail in many cases. Therefore, since the version 4.99, the
+\keyindex{catcode}s of all are forced to the adequate value at
+\keyindex{debutmorceau}, \keyindex{debutextrait} and restored at their
+original value at \keyindex{finmorceau}, \keyindex{suspmorceau} and
+\keyindex{finextrait}. 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 {\tty french.sty}.
+
+ \section{Implementation and restrictions}
+
+ The macroinstruction file \musictex\ contains approximately 2500 lines of
+code, that is 80~000 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 set \hbox{\Bslash tracingsstats} to 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, perform a great deal of disk input/outputs (on PCs with i286
+processors) which make them awfully slow\footnote{Using i386 or i486
+processors, this problem disappears with the specific version of {\tty
+emTeX}}.\index{Big\protect\TeX}\index{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 may cause unwanted line breakings after which music symbols seem
+to \ital{float} in the air without staffs. To avoid that, it is recommended
+to use \keyindex{relax} rather than {\tty\%} at the end of source lines.
+
+\chapter{Installation}
+
+\section{Getting the stuff}
+
+As seen before, all the files are available at \itxem{anonymous ftp} {\tty
+rsovax.lps.u-psud.fr} (193.55.39.100) in the directory\footnote{{\sc
+unix} addicts whould beware that this primary server is an old MicroVax run
+the VMS system. Therefore the brackets in the directory name are compulsory,
+not optional.}
+{\tty[anonymous.musictex]}, which can more easily be reached
+using the simple command
+
+{\tt cd musictex}
+
+
+This directory normally contains {\tty musictex.zip} which contains
+all the distribution for PC (\ixem{MS-DOS}) computers. This is only for
+{\tty ftp}-ing convenience since all source files are directly available
+in the same directory. In addition a set of examples (i.e. the files
+whose name does not begin with ``{\tty music}'') is packed into
+{\tty musicexa.zip}, and {\tty recueil.zip} contains the zipped DVIs of a large
+subset of the examples. Finally the PK files of specific fonts are provided
+in {\tty musicpk.zip}; getting this file is useless if you are able to {\tty
+metafont} the files whose {\tty *.mf} are provided in the main package.
+
+The \ixem{VMS} files are also packed into {\tty musictex.bck}\index{musictex.zip}
+\index{musictex.bck}. Notwithstanding the fact that files are packed together
+or not, the files provided are of two kinds:
+\begin{enumerate}
+\item the basic files;
+\item the example files.
+\end{enumerate}
+
+All \itxem{basic files} are either of the form {\tty music*.*} (excluding of
+course {\tty *.zip} and {\tty *.bck}), {\tty beamn*.*} and {\tty slurn*.*}. Other
+files ({\tty *.tex} or {\tty *.dvi}) are example files.
+
+\ital{Fonts}\index{fonts} are provided as {\tty *.mf} files but also as {\tty
+*.tfm} and {\tty *.pk} files for 300~dpi printers or previewers. Additional
+values of the \ixem{dpi} parameter are also provided in {\tty musicpk.zip}.
+Normally needed fonts are {\tty musikn20}, {\tty musikn16}, {\tty musikn13},
+{\tty musikn11}, {\tty musicbra} or {\tty musicbrb}\footnote{{\tt musicbra}
+and {\tt musicbrb} exhibit some drawing differences, but they meet the same
+purpose of typing \itxem{piano braces}.}, {\tty beamn20}, {\tty beamn16}, {\tty beamn13},
+{\tty beamn11}, {\tty slurn20} and {\tty slurn16}.
+
+\section{Installing the fonts}
+ \textit{All} files with the extension \verb|.tfm|\footnote{\TeX\ font metric
+files, needed directly from binary for \TeX ing the examples or the doc.} have
+to be copied in the same directory as the other \verb|.tfm|'s.
+Then, if you get the error message:
+
+\verb|! Font ... not loadable: Metric (TFM) file not found.|
+
+\noindent this means
+you did not succeed in installing the \verb|.tfm|'s, or you installed them in
+the wrong directory. Then look at your general \TeX\
+documentation\footnote{The specific \TeX\ installation manual, not necessarily
+the \TeX book.} and try again.
+
+
+The \verb|.tfm| only contains the width, height and depth of each character
+of a font and is the only font file needed for \TeX ing. But, to preview
+and/or view you need the pixel fonts, i.e. not the metrics but the exact
+drawing of the characters. On most systems they are packed and have either
+the extension \verb|.pk| or the extension {\tt.}$<dpi>${\tty pk}, where $dpi$
+is the actual resolution of the font needed in the requested size. This means
+that the the given \verb|*.pk| files provided often have to be renamed as
+\verb|*.300pk|, especially in \unix\ systems.
+
+ Mostly needed and spreaded are the fonts for \verb|dvi|-driver with
+resolution of 300dpi. Using Em\TeX the \verb|.pk|-fonts have to be copied in
+\verb|...\pixel.lj\300dpi\|. In \unix\ systems they often have to be renamed
+as \verb|*.300pk| and put in a directory --- the name of which can be
+provided by your local manual or \TeX-wizard --- of the form
+\verb|.../fonts/pk|.
+
+\section{Building a format}\label{formatbuild}
+
+Introducing the basically needed files in a \itxem{format} (with
+\ixem{INITEX}) is a means of saving computer time and memory. Besides, you
+will have a format compatible with \musixtex\ and --- provided you made the
+symmetrical format for \musixtex that is, including {\tt musixcpt} in your
+\musixtex\ format --- 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 or the other, or whether
+you made some general mistake.
+
+\subsection{Starting from nil}
+\begin{enumerate}
+\item Build up a file called \verb|musictex.ini| with following contents:
+
+\begin{verbatim}
+\input plain % or your local plain-like TeX format
+\input musicnft
+\input musictex
+\input musicvbm
+\input musictrp % optionally
+\input musicsty % optionally
+\def\fmtname{musictex}\def\fmtversion{5.08}
+\dump
+\end{verbatim}
+
+\item Make your format with the command
+
+\smallskip
+ \verb|initex musictex.ini|\footnote{depends on your implementation.
+{\tty initex} may require another form, such as
+``\verb|tex386 -i|''.}
+
+\item Then your format may me invoked for \TeX ing score by something like
+
+
+ \verb|tex &musictex| \textit{jobname}\footnote{depends on your
+implementation. Very often the formatless \TeX is invoked by \verb|virtex|
+rather than \verb|tex| which already invokes a default plain format.}.
+\end{enumerate}
+
+\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 {\sl
+shell\/} procedure under \unix.
+ \item If \verb|tex| is a command try to find the ``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, {\it mutatis mutandis\/}, assuming the ``initex'' command has
+the name \verb|initex| and the ``plain \TeX'' format is \verb|plain|, run the
+shell command:
+
+ \medskip
+ \verb|initex \&plain musictex.ins|
+
+ \medskip\noindent which will produce a format file {\tt musictex.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
+\musictex\ any score you have written using a command such as:
+
+ \medskip
+ \verb|tex \&musictex my-score.tex|
+
+ \medskip\noindent that is, specifying your new format {\tt musictex.fmt}
+instead of the usual {\tt plain.fmt}.
+
+ For MS-DOS/{\tt emTeX} users the format building command is:
+
+ \verb|tex386 -i &plain musictex.ins|
+
+ \noindent (you can change \verb|plain| into \verb|dc-plain| or any other
+plain-like format you have) then:
+
+ \verb|copy musictex.fmt \emtex\btexfmts\*.*|
+
+ \noindent and the {\tt musictex.bat} command can be
+
+% It makes no sense to state -mt20000, perhaps this is useful for MusicTeX,
+% (it uses hyphenation to break a line) but not for MusiXTeX (it uses musixflx)
+\begin{quote}\begin{verbatim}
+if exist %1.tex goto tex
+goto end
+
+:tex
+tex386 -mt20000 &musictex %1 %2 %3 %4 %5 %6 %7 %8 %9
+
+:end
+ \end{verbatim}\end{quote}
+\end{enumerate}
+
+
+
+
+ \input musicdoc.ind
+
+
+\chapter{Examples}
+
+\vskip -8mm
+Due to compatibility problems with \LaTeX\ (used to produce this notice)
+large examples must be \TeX -ed separately, i.e.\ using \TeX\ and not \LaTeX.
+Therefore, the Music\TeX\ future user is suggested to produce
+some of the following examples and to look carefully at the way some
+special features have been coded.
+
+\medskip When producing this examples, care should be taken about the fact
+that many several 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 ``{\Bslash input musicnft}'' or
+ ``\verb|% \input musixtex|''. This latter command indicates that this
+exemple can be run, both with \musictex\ inserting
+
+ \verb|\input musicnft|
+
+ \verb|\input musictex|
+
+ \verb|\input musicvbm|
+
+ \verb|\input musictrp|
+
+ \verb|\input musicsty|
+
+ \noindent at the beginning, or inserting the correcponding files of
+MusiX\TeX\ (see corresponding manual). A simplerway of doing consists in having
+two formats, one for \musictex\ (see \ref{formatbuild}), one for MusiX\TeX\
+plus its compatibility input files.
+
+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.
+
+\medskip Suggested tests are:
+
+\begin{itemize}
+\item{\tty PACIFIQN} for a long original piano work (11 pages);
+ {\tty PACIFIQB} is the same in 16~pt staff size;
+\item{\tty CARILLON} for a sophisticated piano score (use Big\TeX~!);
+\item{\tty PRAETORI} to get an ancient polyphonic song with three
+ transpositions;
+\item{\tty ANGESCAO} if you like Christmas carols with four voices, a
+ three-staff organ score and the same transposed to meet ordinary
+ singer's limitations; {\tty ANGESCAM} is the same without organ. See {\tty
+ angescax.tex} to see how the same source has been used for two distinct
+layouts.
+\item{\tty HPRELFUG} if you like imitations of J.-S. Bach
+ (included in {\tty RECUEIL});
+\item{\tty MARCELLX} if you like pre-baroque music (included in {\tty RECUEIL});
+\item{\tty RECUEIL} if you want to get all the organ works\footnote{All
+subsets of {\tty RECUEIL} can be \musictex-ed separately.} of the author in a
+single book (65 pages);
+ \item{\tty HWIDOR} and {\tty NWIDOR} to get the Toccata by Charles-Marie
+{\sc Widor} in two different sizes;
+ \item{\tty AVEMARIX} to get the ``M\'editation'' (alias ``Ave Maria'') by
+Charles {\sc Gounod} for organ and violin or song.\index{Gounod, C.} and {\tty
+AVEMARIO} to get the same for organ solo;
+ \item{\tty RACINE} to get the ``Cantique de Jean Racine'' by Gabriel {\sc
+Faur\'e} in a transcription fit for organ rather than for
+piano.\index{Faur\'e, G.}
+
+\end{itemize}\index{Widor, C.-M.}\index{Gounod, C.}
+
+\chapter{Summary of denotations}
+\section{Pitches}
+\begin{music}
+\cleftoksi={6000}
+\def\lbnt#1{\zcharnote{9}{\tty #1}\wh{!#1}}
+\def\LBNT#1{\zcharnote{9}{\tty !\relax #1}\wh{!#1}}
+\def\nbinstruments{1}\relax
+\debutextrait\autolines{13}{1}{12}\temps\notes\qsk
+\LBNT {`A}\LBNT {`B}\relax
+\LBNT {`C}\LBNT {`D}\LBNT {`E}\relax
+\LBNT {`F}\LBNT {`G}\relax
+\lbnt A\lbnt B\lbnt C\lbnt D\lbnt E\lbnt F\enotes\finextrait
+\def\lbnt#1{\zcharnote{-5}{\tty #1}\wh{!#1}}\relax
+\debutextrait\autolines{13}{1}{12}\temps\notes\qsk
+\lbnt G\lbnt H\lbnt I\relax
+\lbnt J\lbnt K\lbnt L\lbnt M\lbnt N\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\relax
+\enotes\finextrait
+\def\nbinstruments{1}\relax
+\cleftoksi={0000}
+\def\lbnt#1{\zcharnote{10}{\tty #1}\wh{!#1}}\relax
+\debutextrait\autolines{13}{1}{12}\temps\notes\qsk
+\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\lbnt f\lbnt g\lbnt h\lbnt i\relax
+\lbnt j\lbnt k\lbnt l\lbnt m\enotes\finextrait
+\def\lbnt#1{\zcharnote{-4}{\tty #1}\wh{!#1}}\relax
+\debutextrait\autolines{13}{1}{12}\temps\notes\qsk
+\lbnt n\lbnt o\lbnt p\lbnt q\lbnt r\relax
+\lbnt s\lbnt t\lbnt u\lbnt v\lbnt w\lbnt x\lbnt y\lbnt z\relax
+\enotes
+\finextrait
+\end{music}
+\section{Notes and Rests}
+\begin{music}
+\def\mcra#1{\zcharnote{10}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}}
+\def\Mcra#1{\zcharnote{14}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}}
+\def\nbinstruments{1}
+\debutextrait\normal\temps\NOTes\sk
+\mcra{zbv}\zbv i\sk\mcra{zsb}\zsb i\sk\enotes\Notes\relax
+\mcra{wh}\wh i\qsk
+\mcra{hu}\hu f\qsk\mcra{hl}\hl l\qsk
+\mcra{qu}\qu f\qsk\mcra{ql}\ql l\qsk
+\mcra{cu}\cu f\qsk\mcra{cl}\cl l\qsk
+\qsk\mcra{ccu}\ccu f\qsk\qsk\mcra{ccl}\ccl l\qsk\relax
+\qsk\qsk\mcra{cccu}\cccu d\qsk\qsk\qsk\mcra{cccl}\cccl l\qsk
+\qsk\qsk\mcra{ccccu}\ccccu f\qsk\qsk\qsk\mcra{ccccl}\ccccl l\enotes\finextrait
+\end{music}
+%
+\begin{music}
+\def\mcra#1{\zcharnote{10}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}}
+\def\Mcra#1{\zcharnote{14}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}}
+\def\nbinstruments{1}
+\debutextrait\normal\temps\NOTes\qsk
+\mcra{whp}\whp i\qsk
+\mcra{hup}\hup f\qsk\mcra{hlp}\hlp l\qsk
+\mcra{qup}\qup f\qsk\mcra{qlp}\qlp l\qsk
+\mcra{cup}\cup f\qsk\mcra{clp}\clp l\qsk\enotes
+\Notes\qsk\mcra{qh0}\ibu0f0\qh0f\tbu0\sk
+\qsk\mcra{qb0}\ibl0l0\qb0l\tbl0\sk\relax
+\qsk\mcra{qhp0}\ibu0f0\qhp0f\tbu0\sk
+\qsk\mcra{qbp0}\ibl0l0\qbp0l\tbl0\sk\relax
+\qsk\mcra{qhpp0}\ibu0f0\qhpp0f\tbu0\sk
+\qsk\mcra{qbpp0}\ibl0l0\qbpp0l\tbl0\sk\relax
+\enotes
+\finextrait
+%
+\def\mcrb#1#2{\zcharnote{14}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}%
+\mcra{#2}}%
+\def\Mcrb#1#2{\zcharnote{18}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}%
+\Mcra{#2}}%
+\def\mcrc#1#2#3{\zcharnote{18}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}%
+\mcrb{#2}{#3}}%
+\debutextrait\normal\NOTES\qsk\relax
+\Mcrb{seizsoupir}{qqs}\qqs\qsk% hemi-demi-semi-quaver rest
+\mcrb{huitsoupir}{hs}\hs\qsk% demi-semi-quaver rest
+\mcrc{quartsoupir}{qsoupir}{qs}\qs\qsk\qsk% semi-quaver rest
+\mcrc{demisoupir}{dsoupir}{ds}\ds\qsk% quaver rest
+\enotes\finextrait
+\debutextrait\normal\NOTEs
+\mcrb{soupir}{qp}\qp\qsk% crotchet rest
+\mcra{hpause}\hpause% minim rest
+\mcra{pause}\pause% semibreve rest
+\mcra{PAuse}\PAuse% ? rest
+\enotes\NOTes
+\mcra{PAUSe}\PAUSe% ?? rest
+\enotes\finextrait
+\end{music}
+%
+\section{Other symbols}
+
+
+\begin{music}
+\def\nbinstruments{1}\parindent 0pt
+\def\mcra#1{\zcharnote{17}{\hbox to 1.3\Interligne{\hss\Bslash #1\hss}}}
+\def\Mcra#1{\charnote{17}{\hbox to \noteskip{\Bslash #1\hss}}}
+\debutextrait\NOTEs
+\mcra{nTrille}\nTrille{n}4\sk\qsk
+\mcra{ntrille}\ntrille{n}4\sk\sk
+\mcra{pince}\pince{n}\sk\mcra{Pince}\Pince{n}\sk\relax
+\mcra{mordant}\mordant{n}\sk
+\mcra{turn}\turn{n}\sk\mcra{backturn}\backturn{n}\sk
+\mcra{coda}\coda{n}\sk\mcra{segno}\segno{n}\sk
+\enotes\finextrait
+\debutextrait
+\def\mcra#1{\zcharnote{10}{\hbox to \noteskip{\Bslash #1\hss}}}\relax
+\NOTes\sk\relax
+\mcra{dimin}\zcharnote b{\dimin}\sk\sk
+\mcra{Dimin}\zcharnote b{\Dimin}\sk\sk\relax
+\mcra{DImin}\zcharnote b{\DImin}\sk\sk\sk\relax
+\mcra{DIMin}\zcharnote b{\DIMin}\sk\sk\sk\sk\relax
+\enotes\finextrait
+\debutextrait
+\def\mcra#1{\zcharnote{10}{\hbox to \noteskip{\Bslash #1\hss}}}\relax
+\NOTes\sk\relax
+\mcra{cresc}\zcharnote b{\cresc}\sk\sk\relax
+\mcra{Cresc}\zcharnote b{\Cresc}\sk\sk\relax
+\mcra{CResc}\zcharnote b{\CResc}\sk\sk\sk\relax
+\mcra{CREsc}\zcharnote b{\CREsc}\sk\sk\sk\sk\relax
+\enotes\finextrait
+\debutextrait
+\def\mcra#1{\zcharnote{14}{\hbox to 2\Interligne{\hss\Bslash #1\hss}}}\relax
+\NOTEs\sk
+\mcra{pointdorgue}\pointdorgue{l}\wh k\sk\relax
+\mcra{pointdurgue}\pointdurgue{e}\wh f\sk\enotes
+\NOTes
+\mcra{PED}\PED\sk\mcra{DEP}\DEP\sk\relax
+\enotes\finextrait
+\end{music}
+\end{document}
+
+
diff --git a/Master/texmf-dist/tex/generic/musictex/musicext.tex b/Master/texmf-dist/tex/generic/musictex/musicext.tex
new file mode 100644
index 00000000000..243b1354f17
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicext.tex
@@ -0,0 +1,225 @@
+
+
+\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12
+\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12
+
+% \dyn {pitch}{text} inserts a dynamic
+\def\dyn#1#2{\zcharnote{#1}{{\ppff #2}}}
+
+% \nobarnumbers prevents bar numbering
+\def\nobarnumbers{\def\wbarno{\relax}}
+
+% \barnumbers restores bar numbering
+\def\barnumbers{\def\wbarno{\w@barno}}
+
+% \tab is defined as a tab character, so that I can still use tabs.
+\catcode`\@=4
+\let\tab=@
+\catcode`\@=11
+
+% The next few sections define some extra macros to produce notes.
+
+% shifted dotted whole notes
+\def\rwp#1{\kern \wd@skip\zwp{#1}\kern -\wd@skip}
+\def\lwp#1{\kern -\wd@skip\zwp{#1}\kern \wd@skip}
+
+% Half-shifted notes. I sometimes use these for close intervals: for instance
+% \zlqu g\zrql f
+
+\def\zrwh{\zrw}
+\def\zlwh{\zlw}
+\def\zrw#1{\kern .52\wd@skip\zw{#1}\kern -.52\wd@skip}
+\def\zlw#1{\kern -.52\wd@skip\zw{#1}\kern .52\wd@skip}
+\def\zrhu#1{\kern .45\hn@width\zhu{#1}\kern -.45\hn@width}
+\def\zlhu#1{\kern -.45\hn@width\zhu{#1}\kern .45\hn@width}
+\def\zrhl#1{\kern .45\hn@width\zhl{#1}\kern -.45\hn@width}
+\def\zlhl#1{\kern -.45\hn@width\zhl{#1}\kern .45\hn@width}
+\def\zrhup#1{\kern .45\hn@width\zhup{#1}\kern -.45\hn@width}
+\def\zlhup#1{\kern -.45\hn@width\zhup{#1}\kern .45\hn@width}
+\def\zrhlp#1{\kern .45\hn@width\zhlp{#1}\kern -.45\hn@width}
+\def\zlhlp#1{\kern -.45\hn@width\zhlp{#1}\kern .45\hn@width}
+\def\zrqu#1{\kern .45\qd@skip\zqu{#1}\kern -.45\qd@skip}
+\def\zlqu#1{\kern -.45\qd@skip\zqu{#1}\kern .45\qd@skip}
+\def\zrql#1{\kern .45\qd@skip\zql{#1}\kern -.45\qd@skip}
+\def\zlql#1{\kern -.45\qd@skip\zql{#1}\kern .45\qd@skip}
+\def\zrqup#1{\kern .45\qd@skip\zqup{#1}\kern -.45\qd@skip}
+\def\zlqup#1{\kern -.45\qd@skip\zqup{#1}\kern .45\qd@skip}
+\def\zrqlp#1{\kern .45\qd@skip\zqlp{#1}\kern -.45\qd@skip}
+\def\zlqlp#1{\kern -.45\qd@skip\zqlp{#1}\kern .45\qd@skip}
+\def\zrcu#1{\kern .45\qd@skip\zcu{#1}\kern -.45\qd@skip}
+\def\zlcu#1{\kern -.45\qd@skip\zcu{#1}\kern .45\qd@skip}
+\def\zrcl#1{\kern .45\qd@skip\zcl{#1}\kern -.45\qd@skip}
+\def\zlcl#1{\kern -.45\qd@skip\zcl{#1}\kern .45\qd@skip}
+%
+% half left shifted accidentals - for putting before half shifted notes
+%
+\def\hlfl#1{\getn@i{#1}\global\n@raise=\fl@raise
+ \pl@llap{\f@lat\kern 0.45\qd@skip}%
+}%
+\def\hldfl#1{\getn@i{#1}\global\n@raise=\fl@raise
+ \pl@llap{\df@lat\hskip 0.45\qd@skip}%
+}%
+\def\hlsh#1{\getn@i{#1}\global\n@raise=\sh@raise
+ \pl@llap{\s@harp\hskip 0.45\qd@skip}%
+}%
+\def\hldsh#1{\getn@i{#1}\global\n@raise=\z@
+ \pl@llap{\ds@harp\hskip 0.45\qd@skip}}%
+\def\hlna#1{\getn@i{#1}\global\n@raise=\na@raise
+ \pl@llap{\n@at\hskip 0.45\qd@skip}}%
+
+%
+% The following macros can be used to surround a note by parentheses. They
+% are also used as ornaments by J.P. Rameau.
+% \lpar p produces a left parenthesis, or "port de voix" at pitch p
+% \rpar p produces a right parenthesis, or "pinc\'e"
+
+\def\lpar#1{\zcharnote{#1}{\raise -2.5pt\hbox{\tentt\kern -0.76\wd@skip (}}}
+\def\rpar#1{\zcharnote{#1}{\raise -2.5pt\hbox{\tentt\kern 0.76\wd@skip )}}}
+
+
+\newdimen\tmp@dimen
+\def\bracketshrink{0.17\Interligne}
+
+% \bracket pn draws a square bracket ( [ ) to bracket an interval of an n-th
+% whose lowest note is p.
+
+\def\bracket#1#2{\tmp@dimen #2\Interligne\advance\tmp@dimen by\Interligne
+ \divide\tmp@dimen by2\relax
+ \advance\tmp@dimen by-\bracketshrink\advance\tmp@dimen by-\bracketshrink
+ \advance\tmp@dimen by-\lthick
+ \zcharnote#1{\kern-.75\Interligne\raise-.5\Interligne
+ \hbox{\raise\bracketshrink\hbox{\rlap{\vrule height\tmp@dimen}\relax
+ \rlap{\vbox{\hrule width .5\Interligne}}\relax
+ \raise\tmp@dimen\vbox{\hrule width .5\Interligne}}}}}
+
+\newdimen\tmp@dimenc
+\newdimen\z@iii\newdimen\z@iv\newdimen\z@v
+
+% \oblique {l}{s}{h} draws an oblique line of length l, slope s percent, and
+% height h. This will cause an unrecorded space so it should be used within
+% \rlap. Note that this macro is a hack and probably gobbles up resources!
+% This macro is used by some of the others which follow.
+
+\def\oblique#1#2#3{\relax % length slope height
+\ifnum #2=0\relax\raise #3\vbox{\hrule width #1 height\lthick depth\z@}\relax
+\else\q@antum=25\lthick\divide\q@antum by #2\relax
+\ifdim\q@antum<0pt\relax\multiply\q@antum by -1\fi
+\global\z@iv=0pt\relax
+\loop\ifdim\z@iv<#1\relax
+ {\z@v=#1\relax\advance\z@v by -\z@iv\relax\advance\z@v by -\q@antum\relax
+ \tmp@dimenc\z@iv\multiply\tmp@dimenc by#2\relax
+ \z@iii=#3\relax\advance\z@iii by .01\tmp@dimenc\relax\advance\z@iii by
+ -0.5\internote
+ \ifnum #2<0\relax\advance\z@iii by \lthick\relax\fi
+ \tmp@dimenc\z@v\multiply\tmp@dimenc by#2\relax
+ \ifdim\z@v<0pt\relax\advance\z@iii by .01\tmp@dimenc\relax\hskip\z@v\fi
+ \advance\z@iii by 0.6\internote\relax
+ \raise\z@iii\hbox to \q@antum{\vrule width\q@antum height .5\lthick depth
+ .5\lthick}\relax
+ \global\advance\z@iv by \q@antum\relax
+}\repeat
+\fi
+}
+
+\newdimen\tmp@dimenb\newcount\tmp@ct
+\def\crescwidth{1.8\Interligne}
+
+% These macros produce variable size crescendo and diminuendo marks.
+% \varcresc{p}{l} produces a crescendo at pitch p, and of length l, causing
+% no space.
+\def\varcresc#1#2{\relax% height (note), length (dimen)
+ \tmp@dimenb \crescwidth\tmp@dimen #2\multiply
+ \tmp@dimenb by50\divide\tmp@dimenb by\tmp@dimen \tmp@ct\tmp@dimenb
+ \ifnum 0=\tmp@ct\relax
+ \tmp@ct 1\fi
+ \getn@i{#1}\tmp@dimen\n@i\internote
+ \rlap{\oblique{#2}{\tmp@ct}{\tmp@dimen}}\relax
+ \advance\tmp@dimen by-\lthick
+ \rlap{\oblique{#2}{-\tmp@ct}{\tmp@dimen}}}
+
+% \vardim{p}{l} draws a diminuendo at pitch p, and of length l, causing
+% no space.
+\def\vardim#1#2{\tmp@dimenb 1.6\Interligne\tmp@dimen #2\multiply
+ \tmp@dimenb by50\divide\tmp@dimenb by\tmp@dimen \tmp@ct\tmp@dimenb
+ \ifnum 0=\tmp@ct\relax
+ \tmp@ct 1\fi
+ \getn@i{#1}\tmp@dimen\n@i\internote
+ \tmp@dimenb\crescwidth\divide\tmp@dimenb by2\relax
+ \advance\tmp@dimen by\tmp@dimenb
+ \rlap{\oblique{#2}{-\tmp@ct}{\tmp@dimen}}\relax
+ \advance\tmp@dimen by \lthick
+ \tmp@dimenb #2\multiply\tmp@dimenb by\tmp@ct\advance\tmp@dimen
+ by-.02\tmp@dimenb
+ \rlap{\oblique{#2}{\tmp@ct}{\tmp@dimen}}}
+
+% \overbracket{p}{l}{s} draws a bracket over the music starting at the
+% current position at pitch p, width l and slope s percent, causing no space.
+\def\overbracket#1#2#3{\relax % height (note), length (dimen) slope (%)
+ \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax
+ \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax
+ \raise\n@i\internote\rlap{\vrule width\lthick height \lthick
+ depth .8\Interligne}\oblique{#2}{#3}{\n@i\internote}\relax
+ \advance\tmp@dimenb by.5\lthick\relax
+ \raise\tmp@dimenb\hbox{\vrule width\lthick height \lthick
+ depth.8\Interligne}}}
+
+% \ovbkt{p}{n}{s} is the same as \overbracket, except that it draws the
+% bracket to cover n notes (note however that glue inserted by \temps
+% commands will expand the space between the notes but will not affect the
+% bracket).
+% I use this macro to indicate triplets, for instance.
+
+\def\ovbkt#1#2#3{\relax % height (note), length (number of notes) slope (%)
+ \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen
+ by -\noteskip\advance\tmp@dimen by\lthick \overbracket{#1}{\tmp@dimen}{#3}}
+
+% \underbracket and \unbkt are similar to the above, but produce
+% brackets under the music.
+\def\underbracket#1#2#3{\relax % height (note), length (dimen) slope (%)
+ \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax
+ \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax
+ \raise\n@i\internote\rlap{\vrule width\lthick depth -\lthick
+ height \Interligne}\oblique{#2}{#3}{\n@i\internote}\relax
+ \advance\tmp@dimenb by.5\lthick\relax
+ \raise\tmp@dimenb\hbox{\vrule width\lthick depth -\lthick
+ height\Interligne}}}
+\def\unbkt#1#2#3{\relax % height (note), length (number of notes) slope (%)
+ \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen
+ by -\noteskip\advance\tmp@dimen by\lthick
+ \kern-2\lthick\underbracket{#1}{\tmp@dimen}{#3}\kern2\lthick}
+
+% Here are several macros to make use of the alternative note graphics found
+% in the font files. I copied the idea from the usual note macros in
+% MusicTeX.
+
+
+% \ttrill p makes a terminated trill ...
+\def\ttrill#1{\zcharnote{#1}{\o@skp\musicnorfont\char"58\dimen@4.6pt%
+ \advance\dimen@-1.5\internote\tenrm\lower\dimen@\hbox{'}}}
+
+% J.P. Rameau indicated "arpegements" by drawing oblique strokes through the
+% note stems.
+% \downarpeg p is written just before the note at pitch p with its stem
+% pointing up in order to indicate a descending arpeggio
+% \uparpeg p is written just before the note at pitch p with its stem
+% pointing down in order to indicate an ascending arpeggio
+
+\font\linew=linew10 %would be nice to have slightly shorter lines...
+\def\downarpeg#1{\getn@i{#1}\advance\n@i by3\raise\n@i\internote
+ \rlap{\linew\char"61}}
+\def\uparpeg#1{\getn@i{#1}\advance\n@i by-3\raise\n@i\internote
+ \rlap{\linew\char"21}}
+
+% \qqs is a demi-semiquaver rest
+\def\qqs{\charnote0{{\musicnorfont\char"41}}}
+
+% These macros change context while forbidding line breaks
+\def\xchangecontext{{\def\updatecontext{\x@updatecon}\changecontext}}
+\def\xChangecontext{{\def\updatecontext{\x@updatecon}\Changecontext}}
+
+
+\catcode`\>=\catcode@gt
+\catcode`\<=\catcode@lt
+\catcode`\@=\catcodeat
+
diff --git a/Master/texmf-dist/tex/generic/musictex/musicnew.tex b/Master/texmf-dist/tex/generic/musictex/musicnew.tex
new file mode 100644
index 00000000000..31281827a1e
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicnew.tex
@@ -0,0 +1,28 @@
+%
+ % THIS is MusicTeX
+\def\mcversion{5.13}
+\message{Version \mcversion\space -- September 9th, 1995}%
+
+\def\setclef#1{\noinstrument #1\relax\selectinstr \cleftoks}
+\let\setclefs\setclef
+
+\def\setstaffs#1{\noinstrument #1\relax\selectinstr \nbportees}
+
+\def\setinterinstrument#1#2{\noinstrument #1\relax
+ \expandafter\def\csname interinstrument\romannumeral\noinstrument\endcsname{#2}}
+
+\def\hardnotes#1\notes{\termskip\noteskip=#1\relax \n@otes}
+
+\def\hardlyrics#1\notes{%\termskip
+ \def\thelyrics{\hbox{#1}}%
+ \setbox\ch@box\thelyrics \noteskip\wd\ch@box \n@otes}
+ %\check
+
+\def\dhsong{\rlap}
+\def\thsong{\rlap}
+\def\zsong{\rlap}
+\def\hsong{\rlap}
+
+\endinput
+
+
diff --git a/Master/texmf-dist/tex/generic/musictex/musicnft.tex b/Master/texmf-dist/tex/generic/musictex/musicnft.tex
new file mode 100644
index 00000000000..0e928c75cf9
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicnft.tex
@@ -0,0 +1,938 @@
+%
+% This is MusicNFT from MusicTeX
+\message{Version 5.18 -- August 26th, 1996}%
+%
+% finding which class of fonts is normally used (cmxxx, dmxxx, dcxxx,...)
+\def\wordsplita#1#2#3.XX.{#1}%
+\def\wordsplitb#1#2#3.XX.{#2}%
+\rm
+\edef\fonthdg{\expandafter\wordsplita\fontname\the\font.XX.}%
+\edef\fonthdge{\expandafter\wordsplitb\fontname\the\font.XX.}%
+ %
+\font\cmmi=cmmi10 scaled \magstep1
+\font\cmbxbig=\fonthdg\fonthdge bx10 scaled \magstep2
+\font\cmbx=\fonthdg\fonthdge bx10 scaled \magstep1
+\font\cmbxsmall=\fonthdg\fonthdge bx10
+\font\cmbxtiny=\fonthdg\fonthdge bx8
+\font\cmbxmicro=\fonthdg\fonthdge bx7
+\font\moyen=\fonthdg\fonthdge bx10 scaled \magstep1
+\font\cmex=cmex10
+\font\cmsy=cmsy10 scaled \magstep1
+\font\cmr=\fonthdg\fonthdge r10 scaled \magstep1
+\font\ttyeight=\fonthdg\fonthdge tt8
+
+
+\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12
+\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12
+
+%
+\let\@plainwlog=\wlog
+\def\wlog#1{}%
+%
+\font\musictwenty=musikn20
+\fontdimen35\musictwenty=0pt\relax
+\font\musicsixteen=musikn16
+\font\slurntwenty=slurn20
+\font\slurnsixteen=slurn16
+\font\musicthirteen=musikn13
+\font\musiceleven=musikn11
+\font\beamtwenty=beamn20
+\fontdimen50\beamtwenty=0pt\relax
+\font\beamsixteen=beamn16
+\font\beamthirteen=beamn13
+\font\beameleven=beamn11
+%
+\newif\ifcautionacc
+\cautionaccfalse
+%
+\def\q@u{\musicnfont\char33\hss}%
+\def\h@a{\musicnfont\char34\hss}%
+\def\w@h{\musicnfont\char35\hss}%
+\def\d@iamg{\musicnfont\char0\hss}%
+\def\d@iamw{\musicnfont\char127\hss}%
+\def\s@haker{\musicnfont\char79\hss}%
+\def\t@remolord{\musicnfont\char78\hss}%
+\def\c@arrg{\musicnfont\char1\hss}%
+\def\c@arpg{\musicnfont\char2\hss}%
+\def\c@arqg{\musicnfont\char3\hss}%
+\def\w@hq{\musicnfont\char 125\hss}%
+\def\s@bv{\musicnfont\char36\hss}%
+\def\b@rv{\musicnfont\char32\hss}%
+\def\c@upchar{39}% offset to upper eighth hook
+\def\c@dnchar{44}% offset to upper eighth hook
+%
+ %
+%
+\def\musicxx{\musicnorfont}%
+\def\slurnxx{\slurnorfont}%
+\def\slurnfont{\slurnorfont}%
+%
+\def\set@normalnotesize{\def\beamfont{\beamnorfont}%
+\def\musicnfont{\musicnorfont}%
+\def\i@nterbeam{0.75\Interligne}%
+\def\b@alkthick{0.24\Interligne}}
+%
+\def\set@smallnotesize{\def\beamfont{\beamsmallfont}%
+\def\musicnfont{\musicsmallfont}%
+\def\i@nterbeam{0.6\Interligne}%
+\def\b@alkthick{0.192\Interligne}}
+%
+\def\set@tinynotesize{\def\beamfont{\beamtinyfont}%
+\def\musicnfont{\musictinyfont}%
+\def\i@nterbeam{0.48\Interligne}%
+\def\b@alkthick{0.1536\Interligne}}
+%
+\set@normalnotesize
+%
+\def\qu@raise{\z@}%
+\def\ha@raise{\z@}%
+\def\wh@raise{\z@}%
+\def\zwq#1{\getn@i{#1}\def\n@fon{\zwq}\def\n@sym{\w@hq}\g@zw}%
+\def\zsb#1{\getn@i{#1}\def\n@fon{\zsb}\def\n@sym{\s@bv}\g@zsb}% semi-breve
+\def\zbv#1{\getn@i{#1}\def\n@fon{\zbv}\def\n@sym{\b@rv}\g@zbv}% breve
+\def\g@zbv{\n@raiseq
+ \h@lines{\bv@width}\def\s@tem{\resetstem}\plap@symss\fi}%
+\def\g@zsb{\n@raiseq
+ \h@lines{\sb@width}\def\s@tem{\resetstem}\plap@symss\fi}%
+%
+\newbox\ch@box
+\newdimen\lthick
+\global\lthick=0.4pt
+%\newdimen\qn@width
+%\newdimen\hn@width
+%\newdimen\wn@width
+%\newdimen\sb@width
+%\newdimen\bv@width
+\newdimen\qd@skip
+\newdimen\hd@skip
+\newdimen\wd@skip
+%
+\newcount\musicsize
+%
+\def\musickeyfont{\ifdim\internote<0.76\Internote\musictinyfont
+\else\ifdim\internote<0.95\Internote\musicsmallfont
+ \else\musicnorfont
+ \fi
+\fi}%
+%
+\def\meterfont{\ifdim\internote<0.76\Internote\metersmallfont
+\else\ifdim\internote<0.95\Internote\meternorfont
+ \else\meterbigfont
+ \fi
+\fi}%
+%
+\def\pointfont{\ifdim\internote<0.76\Internote\metertinyfont
+\else\ifdim\internote<0.95\Internote\metersmallfont
+ \else\meternorfont
+ \fi
+\fi}%
+%
+\def\computespecifics{\ifnum\musicsize=0\relax\musicsize=20\relax\fi
+\ifnum\musicsize=20\relax
+ \def\ppff{\ppfftwenty}%
+ \def\beamnorfont{\beamtwenty}\def\musicnorfont{\musictwenty}%
+ \def\beamsmallfont{\beamsixteen}\def\musicsmallfont{\musicsixteen}%
+ \def\beamtinyfont{\beamthirteen}\def\musictinyfont{\musicthirteen}%
+ \def\meternorfont{\cmbx}\def\metersmallfont{\cmbxsmall}%
+ \def\metertinyfont{\cmbxtiny}\def\slurnorfont{\slurntwenty}%
+ \def\meterbigfont{\cmbxbig}%
+\else
+ \def\ppff{\ppffsixteen}%
+ \def\beamnorfont{\beamsixteen}\def\musicnorfont{\musicsixteen}%
+ \def\beamsmallfont{\beamthirteen}\def\musicsmallfont{\musicthirteen}%
+ \def\beamtinyfont{\beameleven}\def\musictinyfont{\musiceleven}%
+ \def\meternorfont{\cmbxsmall}\def\metersmallfont{\cmbxtiny}%
+ \def\metertinyfont{\cmbxmicro}\def\slurnorfont{\slurnsixteen}%
+ \def\meterbigfont{\cmbx}%
+\fi
+\Interligne=\musicsize pt\divide\Interligne by 4\relax
+\Internote=0.5\Interligne
+\interbeam=\i@nterbeam
+\computeqn@w}%
+%
+\def\computeqn@w{%
+\setbox\ch@box=\hbox{\w@h}\wn@width=\wd\ch@box
+\setbox\ch@box=\hbox{\s@bv}\sb@width=\wd\ch@box
+\setbox\ch@box=\hbox{\b@rv}\bv@width=\wd\ch@box
+\setbox\ch@box=\hbox{\c@arrg}\gr@width=\wd\ch@box
+\setbox\ch@box=\hbox{\h@a}\hn@width=\wd\ch@box
+\setbox\ch@box=\hbox{\q@u}\qn@width=\wd\ch@box
+\qd@skip=\qn@width\advance\qd@skip by -\hlthick
+\hd@skip=\hn@width\advance\hd@skip by -\hlthick
+\wd@skip=\wn@width\advance\wd@skip by -\hlthick
+}%
+\def\normalnotesize{\set@normalnotesize\computespecifics
+ \def\currentsize{\normalnotesize}}
+\def\smallnotesize{\set@smallnotesize\computespecifics
+ \def\currentsize{\smallnotesize}}
+\def\tinynotesize{\set@tinynotesize\computespecifics
+ \def\currentsize{\tinynotesize}}
+%
+%\check
+%
+\def\s@oupir{{\musicnfont\char"3E}}%
+%
+ %\newdimen\c@height
+\newcount\c@mult
+%\check
+\def\d@cr#1{\c@mult=#1\relax % queue de #1 croche(s) vers le haut
+\advance\c@mult by \c@upchar\d@crg}%
+\def\d@gru{\c@mult=12\relax\d@crg}% queue de croche barree vers le haut
+\def\d@crg{\setbox\ch@box=\rlap{\musicnfont\char\c@mult}\c@height=\ht\ch@box
+\global\advance\st@top by \c@height
+\global\advance\st@top by \internote
+ \ifdim\st@top>\st@bot
+ \maxst@top
+ \global\advance\st@bot by -\altportee
+ \global\advance\st@top by -\altportee
+ \kern\stem@skip\vrule height\st@top depth -\st@bot width \lthick
+ \advance\st@top by -\c@height\raise\st@top\box\ch@box
+ \kern -\lthick \kern-\stem@skip
+ \fi\resetstem}%
+%\check
+\def\p@cr#1{\c@mult=#1\relax % queue de #1 croche(s) vers le bas
+\advance\c@mult by \c@dnchar\p@crg}%
+\def\p@gru{\c@mult=13\relax\p@crg}% queue de croche barree vers la bas
+\def\p@crg{\setbox\ch@box=\rlap{\kern \hlthick\musicnfont
+ \char\c@mult}\c@height=\ht\ch@box
+\global\advance\st@bot by -\internote
+\global\advance\st@bot by -\c@height
+\ifdim\st@top>\st@bot
+ \minst@bot
+ \global\advance\st@bot by -\altportee
+ \global\advance\st@top by -\altportee
+ \raise\st@bot\box\ch@box
+ \vrule height\st@top depth -\st@bot width \lthick
+ \kern -\lthick
+\fi \resetstem}%
+%
+% grace notes (croches barrees)
+\def\grcu#1{\getn@i{#1}\def\n@sym{\q@u}\def\n@fon{\grcu}\n@raiseq
+ \h@linesqn\global\stem@skip=\qd@skip
+ \def\s@tem{\d@gru}\pl@symssq\fi}%
+\def\grcl#1{\getn@i{#1}\def\n@sym{\q@u}\def\n@fon{\grcl}\n@raiseq
+ \h@linesqn\def\s@tem{\p@gru}\pl@symssq\fi}%
+%
+%\check
+\def\s@harp{\musicnfont\char"34}\def\sh@raise{\z@}%
+\def\f@lat{\musicnfont\char"32}\def\fl@raise{\z@}%
+\def\n@at{\musicnfont\char"36}\def\na@raise{\z@}%
+\def\ds@harp{\musicnfont\char"35}%
+\def\df@lat{\musicnfont\char"33}%
+%
+\def\smalln@at{\cau@left\musicnfont\char"7C\cau@right}%
+\def\smallf@lat{\cau@left\musicnfont\char"78\cau@right}%
+\def\smalls@harp{\cau@left\musicnfont\char"7A\cau@right}%
+\def\smallds@harp{\cau@left\musicnfont\char"7B\cau@right}%
+\def\smalldf@lat{\cau@left\musicnfont\char"79\cau@right}%
+\def\cau@left{\ifcautionacc\raise-.45\Interligne
+ \hbox{\ttyeight(\kern -\lthick}\fi}
+\def\cau@right{\ifcautionacc\raise-.45\Interligne
+ \hbox{\ttyeight\kern -\lthick)\kern -.2\Interligne}\fi\cautionaccfalse}
+%
+\def\n@rpl@lap{\global\n@raise=\z@\pl@llap}%
+\def\bigsh#1{\inhgetn@i{#1}\n@rpl@lap{\s@harp}}%
+\def\smallsh#1{\inhgetn@i{#1}\n@rpl@lap{\smalls@harp}}%
+\def\csh{\cautionacctrue\smallsh}%
+\def\uppersh#1{\zcharnote{#1}{\raise3\internote
+\hbox to \qn@width{\hss\smalls@harp\hss}}}%
+%
+\def\bigdsh#1{\inhgetn@i{#1}\n@rpl@lap{\ds@harp}}%
+\def\smalldsh#1{\inhgetn@i{#1}\n@rpl@lap{\smallds@harp}}%
+\def\cdsh{\cautionacctrue\smalldsh}%
+%
+\def\bigna#1{\inhgetn@i{#1}\n@rpl@lap{\n@at}}%
+\def\smallna#1{\inhgetn@i{#1}\n@rpl@lap{\smalln@at}}%
+\def\cna{\cautionacctrue\smallna}%
+\def\upperna#1{\zcharnote{#1}{\raise3\internote
+\hbox to \qn@width{\hss\smalln@at\hss}}}%
+%
+\def\bigfl#1{\inhgetn@i{#1}\n@rpl@lap{\f@lat}}%
+\def\smallfl#1{\inhgetn@i{#1}\n@rpl@lap{\smallf@lat}}%
+\def\cfl{\cautionacctrue\smallfl}%
+\def\upperfl#1{\zcharnote{#1}{\raise3\internote
+\hbox to \qn@width{\hss\smallf@lat\hss}}}%
+%
+\def\bigdfl#1{\inhgetn@i{#1}\n@rpl@lap{\df@lat}}%
+\def\smalldfl#1{\inhgetn@i{#1}\n@rpl@lap{\smalldf@lat}}%
+\def\cdfl{\cautionacctrue\smalldfl}
+%
+\def\na#1{\ifdim\small@test\bigna{#1}\else\smallna{#1}\fi}%
+\def\fl#1{\ifdim\small@test\bigfl{#1}\else\smallfl{#1}\fi}%
+\def\sh#1{\ifdim\small@test\bigsh{#1}\else\smallsh{#1}\fi}%
+\def\dfl#1{\ifdim\small@test\bigdfl{#1}\else\smalldfl{#1}\fi}%
+\def\dsh#1{\ifdim\small@test\bigdsh{#1}\else\smalldsh{#1}\fi}%
+%
+%\check
+\def\b@adjust{\ifdim\y@ii>2.1\q@antum
+\multiply\q@antum by 2\relax\advance\b@char by 1\relax\fi
+}%
+\newcount\b@char
+\def\b@alkdefs{\b@char=0\relax
+\ifnum \b@p>0\relax\b@char=\b@p\relax\multiply\b@char by 6\relax
+ \advance\b@char by -6\relax\ifnum\b@char>54\relax\b@char=54\relax\fi\fi
+\ifnum \b@p<0\relax\b@char=-\b@p\relax\multiply\b@char by 6\relax
+ \advance\b@char by 58\relax\ifnum\b@char>118\relax\b@char=118\relax\fi\fi
+\q@antum=60pt\divide\q@antum by 32\relax\b@adjust
+\b@adjust
+\b@adjust
+\b@adjust
+\b@adjust
+\chardef\b@alk=\b@char}%
+%\check
+\def\s@lopdefs{\q@antum=60pt\divide\q@antum by 32\relax \def\s@lope{0.0}\relax
+\ifnum \b@p=1\relax\def\s@lope{0.05}\fi
+\ifnum \b@p>1\relax\b@char=\b@p\relax\multiply\b@char by 5\relax
+ \ifnum\b@char>50\relax\b@char=50\relax\fi
+ \edef\s@lope{0.\the\b@char}\fi
+\ifnum \b@p=-1\relax\def\s@lope{-0.05}\fi
+\ifnum \b@p<-1\relax\b@char=-\b@p\relax\multiply\b@char by 5\relax
+ \ifnum\b@char>50\relax\b@char=50\relax\fi
+ \edef\s@lope{-0.\the\b@char}\fi
+}%
+%\check
+\def\p@outre{% \y@ii : longueur, \b@p : pente, \y@i : altitude
+\ifnum \b@p=0\relax
+ \y@iii=\y@i\y@iv=\y@i
+ \advance\y@iii by -\b@alkthick
+ \advance\y@iv by \b@alkthick
+ \vrule height \y@iv depth -\y@iii width \y@ii
+% \raise \y@i\hbox{\vrule height \b@alkthick depth \b@alkthick
+% width \y@ii}
+\else\b@alkdefs\beamfont
+ \global\y@iv=\z@
+ \loop\ifdim\y@iv<\y@ii
+ {\y@v=\y@ii\advance\y@v by -\y@iv
+ \advance\y@v by -\q@antum
+ \y@iii=\y@i
+ \advance\y@iii by \s@lope\y@iv
+ \ifdim\y@v<\z@\advance\y@iii by \s@lope\y@v\hskip\y@v\fi
+ \raise\y@iii\hbox to \q@antum{\b@alk\hss}\global\advance\y@iv by \q@antum
+ }\repeat
+\fi
+}%
+%\check
+\def\clefdefasymbol{\hbox to 3.2\Interligne{\musickeyfont
+ \kern -0.8\internote\hss\char"49\hss}}%
+\def\smallclefdefa{\hbox to 2.8\Interligne{\musickeyfont
+ \kern -0.64\internote\hss\char"4A\hss}}%
+%\check
+\def\clefdesolsymbol{\hbox to 3.2\Interligne{\musickeyfont
+ \kern -1.2\internote\hss\char"47\hss}}%
+\def\smallclefdesol{\hbox to 2.8\Interligne{\musickeyfont
+\kern -0.96\internote\hss\char"48\hss}}%
+%\check
+\def\clefdutsymbol{\hbox to 3.2\Interligne{\musickeyfont
+ \kern -0.8\internote\hss\char"4B\hss}}%
+\def\smallclefdut{\hbox to 2.8\Interligne{\musickeyfont
+ \kern -0.64\internote\hss\char"4C\hss}}%
+\def\gclefdut{\hbox to 3.2\Interligne{\musickeyfont
+ \kern 0.4\internote\hss\char"04\hss}}%
+\def\drumclefsymbol{\hbox to 3.2\Interligne{\musickeyfont
+ \kern 0.4\internote\hss\char"4D\hss}}%
+%
+\def\allabreve{{\kern \internote\musickeyfont\char"52}}%
+\def\meterC{{\kern \internote\musickeyfont\char"53}}%
+%
+\def\d@soup{\hbox{\kern -0.3\qn@width\musicnfont\char"3F}}%
+\def\q@soup{\hbox{\kern -0.3\qn@width\musicnfont\char"40}}%
+\def\h@soup{\hbox{\kern -0.3\qn@width\musicnfont\char"41}}%
+\def\s@soup{\hbox{\kern -0.3\qn@width\musicnfont\char"42}}%
+\def\p@orgue{\hbox{\kern -0.5\hn@width\musicnfont\char"50}}%
+\def\p@urgue{\hbox{\kern -0.5\hn@width\musicnfont\char"51}}%
+\def\trille#1{\hbox to #1{\leaders\hbox{\musicnfont\char"64}\hfill}}%
+\def\Trille#1{\hbox to #1{\it tr\leaders\hbox{\musicnfont\char"64}\hfill}}%
+%
+% Gregorian notes
+%
+\def\diamg#1{\getn@i{#1}\def\n@fon{\diamg}\def\n@sym{\d@iamg}\g@diamg}%
+\def\zdiamg#1{\getn@i{#1}\def\n@fon{\diamg}\def\n@sym{\d@iamg}\rlap{\g@diamg}}%
+\def\diamw#1{\getn@i{#1}\def\n@fon{\diamw}\def\n@sym{\d@iamw}\g@diamg}%
+\def\zdiamw#1{\getn@i{#1}\def\n@fon{\diamw}\def\n@sym{\d@iamw}\rlap{\g@diamg}}%
+\def\carrg#1{\getn@i{#1}\def\n@fon{\carrg}\def\n@sym{\c@arrg}\g@diamg}%
+\def\zcarrg#1{\getn@i{#1}\def\n@fon{\carrg}\def\n@sym{\c@arrg}\rlap{\g@diamg}}%
+\def\carqg#1{\getn@i{#1}\def\n@fon{\carqg}\def\n@sym{\c@arqg}\g@diamg}%
+\def\zcarqg#1{\getn@i{#1}\def\n@fon{\carqg}\def\n@sym{\c@arqg}\rlap{\g@diamg}}%
+\def\carpg#1{\getn@i{#1}\def\n@fon{\carpg}\def\n@sym{\c@arpg}\g@diamg}%
+\def\zcarpg#1{\getn@i{#1}\def\n@fon{\carpg}\def\n@sym{\c@arpg}\rlap{\g@diamg}}%
+%
+\def\g@diamg{\advancetrue\g@diam}%
+\def\g@diam{\global\n@raise=\wh@raise\ifnum\n@i<100\relax
+ \h@lines{\gr@width}\def\s@tem{\resetstem}\pl@symssq\fi}%
+ %\check
+%%%%%%%%%%%%%%%%%%%%%%%%% notes with black diamond heads %%%%%%%%%%%%%%%%%%%%
+
+ %\check
+\def\yu{\advancetrue\yu@z}%
+\def\yup{\advancetrue\yup@z}%
+\def\yupp{\advancetrue\yupp@z}%
+\def\yuppp{\advancetrue\yuppp@z}%
+\def\yu@z#1{\getn@i{#1}\def\n@fon{\yu}\def\n@sym{\d@iamg}\g@qu}%
+\def\yup@z#1{\getn@i{#1}\def\n@fon{\yup}\def\n@sym{\d@iamgp}\g@qu}%
+\def\yupp@z#1{\getn@i{#1}\def\n@fon{\yupp}\def\n@sym{\d@iamgpp}\g@qu}%
+\def\yuppp@z#1{\getn@i{#1}\def\n@fon{\yuppp}\def\n@sym{\d@iamgppp}\g@qu}%
+\def\yl{\advancetrue\yl@z}%
+\def\ylp{\advancetrue\ylp@z}%
+\def\ylpp{\advancetrue\ylpp@z}%
+\def\ylppp{\advancetrue\ylppp@z}%
+\def\yl@z#1{\getn@i{#1}\def\n@fon{\yl}\def\n@sym{\d@iamg}\g@ql}%
+\def\ylp@z#1{\getn@i{#1}\def\n@fon{\ylp}\def\n@sym{\d@iamgp}\g@ql}%
+\def\ylpp@z#1{\getn@i{#1}\def\n@fon{\ylpp}\def\n@sym{\d@iamgpp}\g@ql}%
+\def\ylppp@z#1{\getn@i{#1}\def\n@fon{\ylppp}\def\n@sym{\d@iamgppp}\g@ql}%
+ %\check
+ %
+\def\d@iamgp{\hbox to \qn@width{\d@iamg\hss}\P@t}%
+\def\d@iamgpp{\hbox to \qn@width{\d@iamg\hss}\PP@t}%
+\def\d@iamgppp{\hbox to \qn@width{\d@iamg\hss}\PPP@t}%
+%
+\def\yh#1{\selectpoutre{#1}\yh@}%
+\def\yb#1{\selectpoutre{#1}\yb@}%
+\def\yh@#1{\getn@i{#1}\def\n@fon{\yh@}\def\n@sym{\d@iamg}\g@qh@}% % position
+\def\yb@#1{\getn@i{#1}\def\n@fon{\yb@}\def\n@sym{\d@iamg}\g@qb@} % #1 position
+%
+% x heads without stems
+\def\zy#1{\getn@i{#1}\def\n@fon{\zy}\def\n@sym{\d@iamg}\g@zq}
+\def\zyp#1{\getn@i{#1}\def\n@fon{\zyp}\def\n@sym{\d@iamgp}\g@zq}
+\def\zypp#1{\getn@i{#1}\def\n@fon{\zypp}\def\n@sym{\d@iamgpp}\g@zq}
+\def\zyppp#1{\getn@i{#1}\def\n@fon{\zyppp}\def\n@sym{\d@iamgppp}\g@zq}
+ %
+ % croches, doubles croches, triples croches, quadruple croches queue en
+ % haut et en bas pour percussion x
+ %
+\def\ycu{\advancetrue\mycu1}\def\yccu{\advancetrue\mycu2}
+\def\ycccu{\advancetrue\mycu3}\def\yccccu{\advancetrue\mycu4}%
+\def\ycl{\advancetrue\mycl1}\def\yccl{\advancetrue\mycl2}
+\def\ycccl{\advancetrue\mycl3}\def\yccccl{\advancetrue\mycl4}%
+%
+\def\yclp{\advancetrue\myclp1}\def\ycup{\advancetrue\mycup1}%
+\def\yclpp{\advancetrue\myclpp1}\def\ycupp{\advancetrue\mycupp1}%
+\def\yclppp{\advancetrue\myclppp1}\def\ycuppp{\advancetrue\mycuppp1}%
+ %
+\def\mycu#1#2{\getn@i{#2}\def\n@sym{\d@iamg}%
+\edef\n@fon{\noexpand\mycu #1}\g@cu{#1}}
+\def\mycup#1#2{\getn@i{#2}\def\n@sym{\d@iamgp}%
+\edef\n@fon{\noexpand\mycup #1}\g@cu{#1}}
+\def\mycupp#1#2{\getn@i{#2}\def\n@sym{\d@iamgpp}%
+\edef\n@fon{\noexpand\mycupp #1}\g@cu{#1}}
+\def\mycuppp#1#2{\getn@i{#2}\def\n@sym{\d@iamgppp}%
+\edef\n@fon{\noexpand\mycupp #1}\g@cu{#1}}
+ %
+\def\mycl#1#2{\getn@i{#2}\def\n@sym{\d@iamg}%
+\edef\n@fon{\noexpand\mycl #1}\g@cl{#1}}
+\def\myclp#1#2{\getn@i{#2}\def\n@sym{\d@iamgp}%
+\edef\n@fon{\noexpand\myclp #1}\g@cl{#1}}
+\def\myclpp#1#2{\getn@i{#2}\def\n@sym{\d@iamgpp}%
+\edef\n@fon{\noexpand\myclpp #1}\g@cl{#1}}
+\def\myclppp#1#2{\getn@i{#2}\def\n@sym{\d@iamgppp}%
+\edef\n@fon{\noexpand\myclppp #1}\g@cl{#1}}
+
+%%%%%%%%%%%%%%%%%%%%%%%%% notes with white diamond heads %%%%%%%%%%%%%%%%%%%%
+
+ %\check
+\def\du{\advancetrue\du@z}%
+\def\dup{\advancetrue\dup@z}%
+\def\dupp{\advancetrue\dupp@z}%
+\def\duppp{\advancetrue\duppp@z}%
+\def\du@z#1{\getn@i{#1}\def\n@fon{\du}\def\n@sym{\d@iamw}\g@qu}%
+\def\dup@z#1{\getn@i{#1}\def\n@fon{\dup}\def\n@sym{\d@iamwp}\g@qu}%
+\def\dupp@z#1{\getn@i{#1}\def\n@fon{\dupp}\def\n@sym{\d@iamwpp}\g@qu}%
+\def\duppp@z#1{\getn@i{#1}\def\n@fon{\duppp}\def\n@sym{\d@iamwppp}\g@qu}%
+\def\dl{\advancetrue\dl@z}%
+\def\dlp{\advancetrue\dlp@z}%
+\def\dlpp{\advancetrue\dlpp@z}%
+\def\dlppp{\advancetrue\dlppp@z}%
+\def\dl@z#1{\getn@i{#1}\def\n@fon{\dl}\def\n@sym{\d@iamw}\g@ql}%
+\def\dlp@z#1{\getn@i{#1}\def\n@fon{\dlp}\def\n@sym{\d@iamwp}\g@ql}%
+\def\dlpp@z#1{\getn@i{#1}\def\n@fon{\dlpp}\def\n@sym{\d@iamwpp}\g@ql}%
+\def\dlppp@z#1{\getn@i{#1}\def\n@fon{\dlppp}\def\n@sym{\d@iamwppp}\g@ql}%
+ %\check
+ %
+\def\d@iamwp{\hbox to \qn@width{\d@iamw\hss}\P@t}%
+\def\d@iamwpp{\hbox to \qn@width{\d@iamw\hss}\PP@t}%
+\def\d@iamwppp{\hbox to \qn@width{\d@iamw\hss}\PPP@t}%
+%
+\def\dh#1{\selectpoutre{#1}\dh@}%
+\def\db#1{\selectpoutre{#1}\db@}%
+\def\dh@#1{\getn@i{#1}\def\n@fon{\dh@}\def\n@sym{\d@iamw}\g@qh@}% % position
+\def\db@#1{\getn@i{#1}\def\n@fon{\db@}\def\n@sym{\d@iamw}\g@qb@} % #1 position
+%
+% x heads without stems
+\def\zd#1{\getn@i{#1}\def\n@fon{\zd}\def\n@sym{\d@iamw}\g@zq}
+\def\zdp#1{\getn@i{#1}\def\n@fon{\zdp}\def\n@sym{\d@iamwp}\g@zq}
+\def\zdpp#1{\getn@i{#1}\def\n@fon{\zdpp}\def\n@sym{\d@iamwpp}\g@zq}
+\def\zdppp#1{\getn@i{#1}\def\n@fon{\zdppp}\def\n@sym{\d@iamwppp}\g@zq}
+ %
+ % croches, doubles croches, triples croches, quadruple croches queue en
+ % haut et en bas pour percussion x
+ %
+\def\dcu{\advancetrue\mdcu1}\def\dccu{\advancetrue\mdcu2}
+\def\dcccu{\advancetrue\mdcu3}\def\dccccu{\advancetrue\mdcu4}%
+\def\dcl{\advancetrue\mdcl1}\def\dccl{\advancetrue\mdcl2}
+\def\dcccl{\advancetrue\mdcl3}\def\dccccl{\advancetrue\mdcl4}%
+%
+\def\dclp{\advancetrue\mdclp1}\def\dcup{\advancetrue\mdcup1}%
+\def\dclpp{\advancetrue\mdclpp1}\def\dcupp{\advancetrue\mdcupp1}%
+\def\dclppp{\advancetrue\mdclppp1}\def\dcuppp{\advancetrue\mdcuppp1}%
+ %
+\def\mdcu#1#2{\getn@i{#2}\def\n@sym{\d@iamw}%
+\edef\n@fon{\noexpand\mdcu #1}\g@cu{#1}}
+\def\mdcup#1#2{\getn@i{#2}\def\n@sym{\d@iamwp}%
+\edef\n@fon{\noexpand\mdcup #1}\g@cu{#1}}
+\def\mdcupp#1#2{\getn@i{#2}\def\n@sym{\d@iamwpp}%
+\edef\n@fon{\noexpand\mdcupp #1}\g@cu{#1}}
+\def\mdcuppp#1#2{\getn@i{#2}\def\n@sym{\d@iamwppp}%
+\edef\n@fon{\noexpand\mdcupp #1}\g@cu{#1}}
+ %
+\def\mdcl#1#2{\getn@i{#2}\def\n@sym{\d@iamw}%
+\edef\n@fon{\noexpand\mdcl #1}\g@cl{#1}}
+\def\mdclp#1#2{\getn@i{#2}\def\n@sym{\d@iamwp}%
+\edef\n@fon{\noexpand\mdclp #1}\g@cl{#1}}
+\def\mdclpp#1#2{\getn@i{#2}\def\n@sym{\d@iamwpp}%
+\edef\n@fon{\noexpand\mdclpp #1}\g@cl{#1}}
+\def\mdclppp#1#2{\getn@i{#2}\def\n@sym{\d@iamwppp}%
+\edef\n@fon{\noexpand\mdclppp #1}\g@cl{#1}}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% arpeges
+%
+\def\arpegesym#1{\hbox to \Interligne{\kern -1.2\Interligne
+\vbox to #1{\parindent=\z@
+\offinterlineskip\ifdim #1>4\Interligne\Arp@elem\fi\hrule
+\cleaders\arp@elem\vfill\kern -\interligne}\hss}}%
+\def\arp@elem{\vbox to \Interligne{\vss\musicnorfont\char"5A}}%
+\def\Arp@elem{\vbox to 4\Interligne{\vss\musicnorfont\char"5D}}%
+%
+\def\arpeggio#1#2{\zcharnote{#1}{\n@iii=#2\relax\advance\n@iii by 89\relax
+\musicnorfont\chardef\arp@el=\n@iii\relax\arp@el}\qsk}%
+\def\larpeggio#1#2{\lcharnote{#1}{\n@iii=#2\relax\advance\n@iii by 89\relax
+\musicnorfont\chardef\arp@el=\n@iii\relax\arp@el\kern -0.3\qn@width}\qsk}%
+%
+%
+% This skip aligns some ornaments which appear not to be centred precisely
+% on the notes
+\def\o@skp{\kern-.5\hd@skip}
+\def\mordant#1{\zcharnote{#1}{\musicnfont\char 89}}%
+\def\pince#1{\zcharnote{#1}{\musicnfont\char 87}}%
+\def\Pince#1{\zcharnote{#1}{\musicnfont\char 88}}%
+\def\Lpince#1{\zcharnote{#1}{\musicnfont\char 7}}%
+\def\Pincesw#1{\zcharnote{#1}{\musicnfont\char 11}}%
+\def\Pincenw#1{\zcharnote{#1}{\musicnfont\char 10}}%
+\def\Pincene#1{\zcharnote{#1}{\musicnfont\char 9}}%
+% \turn p makes a turn symbol at pitch p, causing no space
+% \backturn p makes a backward turn symbol at pitch p, causing no space
+% \coda p makes a coda ...
+% \segno p makes the special "S" ...
+\def\turn#1{\zcharnote{#1}{\o@skp\musicnfont\char"44}}
+\def\backturn#1{\zcharnote{#1}{\o@skp\musicnfont\char"43}}
+\def\coda#1{\zcharnote{#1}{\o@skp\musicnorfont\char"55}}
+\def\segno#1{\zcharnote{#1}{\o@skp\musicnorfont\char"56}}
+%
+\def\sforz#1{{\advance\transpose by -2\usf{#1}}}%
+\def\pz#1{{\advance\transpose by -2\upz{#1}}}%
+\def\ppz#1{\uppz{#1}}%
+\def\st#1{{\advance\transpose by -2\ust{#1}}}%
+%
+\def\usf#1{\zcharnote{#1}{\musicnfont\char 30}}%
+\def\lsf#1{\zcharnote{#1}{\musicnfont\char 31}}%
+\def\ust#1{\zcharnote{#1}{\musicnfont\char 26}}%
+\def\lst#1{\zcharnote{#1}{\musicnfont\char 27}}%
+\def\upz#1{\zcharnote{#1}{\musicnfont\char 24}}%
+\def\lpz#1{\zcharnote{#1}{\musicnfont\char 25}}%
+\def\uppz#1{\zcharnote{#1}{\musicnfont\char 28}}%
+\def\lppz#1{\zcharnote{#1}{\musicnfont\char 29}}%
+%
+% placement des accents au-dessus de poutres et non de tetes de notes
+\def\acc@balk{\global\stem@skip=\z@ %
+\y@ii=\b@z % a augmenter avec la pente
+\y@v=\locx@skip\advance\y@v by \stem@skip\advance\y@v by -\b@x
+\advance\y@ii by \s@lope\y@v
+\advance\y@ii by -\altportee
+\raise\y@ii\rlap{\kern\stem@skip\balk@accent}}%
+%\check
+\def\busf#1{\def\balk@accent{\musicnfont\char 30}\selectpoutre{#1}\acc@balk}%
+\def\blsf#1{\def\balk@accent{\musicnfont\char 31}\selectpoutre{#1}\acc@balk}%
+\def\bust#1{\def\balk@accent{\musicnfont\char 26}\selectpoutre{#1}\acc@balk}%
+\def\blst#1{\def\balk@accent{\musicnfont\char 27}\selectpoutre{#1}\acc@balk}%
+\def\bupz#1{\def\balk@accent{\musicnfont\char 24}\selectpoutre{#1}\acc@balk}%
+\def\blpz#1{\def\balk@accent{\musicnfont\char 25}\selectpoutre{#1}\acc@balk}%
+\def\buppz#1{\def\balk@accent{\musicnfont\char 28}\selectpoutre{#1}\acc@balk}%
+\def\blppz#1{\def\balk@accent{\musicnfont\char 29}\selectpoutre{#1}\acc@balk}%
+%
+% soufflets crescendo et decrescendo
+%
+\def\dimin{{\musicnorfont\char"10}}%
+\def\Dimin{{\musicnorfont\char"11}}%
+\def\DImin{{\musicnorfont\char"12}}%
+\def\DIMin{{\musicnorfont\char"13}}%
+\def\cresc{{\musicnorfont\char"14}}%
+\def\Cresc{{\musicnorfont\char"15}}%
+\def\CResc{{\musicnorfont\char"16}}%
+\def\CREsc{{\musicnorfont\char"17}}%
+%
+% colons for repeats (:| |: :||:)
+%
+%\check
+\def\w@coli{\selectinstr{\p@loop\raise\altportee
+ \hbox to \z@{\hss\musickeyfont\char 126\hss}\n@portee\repeat}}%
+%
+% long pauses
+%
+\def\PAuse{\hbox to \noteskip{\musicnorfont\char"3A\hss}\advance\locx@skip
+ by \noteskip}%
+\def\PAUSe{\hbox to \noteskip{\musicnorfont\char"3B\hss}\advance\locx@skip
+ by \noteskip}%
+\def\expause#1{\charnote{#1}{\musicnorfont\char 5\hss}}
+\def\zexpause#1{\zcharnote{#1}{\musicnorfont\char 5\hss}}
+\def\exhpause#1{\charnote{#1}{\musicnorfont\char 6\hss}}
+\def\zexhpause#1{\zcharnote{#1}{\musicnorfont\char 6\hss}}
+%
+% special song system left begins
+%
+\def\type@songsymbols{\raise\lowersongalt\llap{\musicnorfont\char 15}%
+\advance\lowersongalt by \uppersongalt
+\advance\lowersongalt by -\hlthick
+\raise\lowersongalt\llap{\musicnorfont\char 14}}
+%
+%
+% horizontal upper slur offset by #2 noteheads, total width #1
+%
+\def\h@uslur#1#2{\y@v=#1\relax\advance\y@v by -#2\hn@width
+\global\setbox\ch@box=\hbox{\slurnorfont\char31}% maximum of one part slurs
+\ifdim\wd\ch@box>\y@v
+ \global\n@iii=0\relax
+ \loop\global\setbox\ch@box=\hbox{\slurnorfont\char\n@iii}%
+ \ifdim\wd\ch@box<\y@v\global\advance\n@iii by 1\relax
+ \repeat
+ \hbox to #1{\kern #2\hn@width\hss\slurnorfont\char\n@iii\hss}%
+\else
+ \global\n@iii=79\relax
+ \loop\global\setbox\ch@box=\hbox{\slurnorfont\char\n@iii}%
+ \ifdim 2\wd\ch@box>\y@v\global\advance\n@iii by -1\relax
+ \repeat
+ \hbox to #1{\kern #2\hn@width\y@iv=\ht\ch@box\y@iii=-\ht\ch@box
+ \advance\y@iii by \t@y
+ \slurnorfont\char\n@iii
+ \leaders\hrule height \y@iv depth \y@iii\hfill
+ \advance\n@iii by 16\relax \char\n@iii}%
+\fi}
+%
+% horizontal lower slur offset by #2 noteheads, total width #1
+%
+\def\h@dslur#1#2{\y@v=#1\relax\advance\y@v by -#2\hn@width
+\global\setbox\ch@box=\hbox{\slurnorfont\char31}% maximum of one part slurs
+\ifdim\wd\ch@box>\y@v
+ \global\n@iii=32\relax
+ \loop\global\setbox\ch@box=\hbox{\slurnorfont\char\n@iii}%
+ \ifdim\wd\ch@box<\y@v\global\advance\n@iii by 1\relax
+ \repeat
+ \hbox to #1{\kern #2\hn@width\hss\slurnorfont\char\n@iii\hss}%
+\else
+ \global\n@iii=111\relax
+ \loop\global\setbox\ch@box=\hbox{\slurnorfont\char\n@iii}%
+ \ifdim 2\wd\ch@box>\y@v\global\advance\n@iii by -1\relax
+ \repeat
+ \hbox to #1{\kern #2\hn@width\y@iv=\dp\ch@box\y@iii=-\dp\ch@box
+ \advance\y@iii by \t@y
+ \slurnorfont\char\n@iii
+ \leaders\hrule height \y@iii depth \y@iv\hfill
+ \advance\n@iii by 16\relax \char\n@iii}%
+\fi}
+%
+% sames without offsets
+%
+\def\hdslur#1{\h@dslur {#1}0}
+\def\huslur#1{\h@uslur {#1}0}
+%
+% noter un debut de tenue
+%
+\def\ITenu#1{\selecttenue{#1}\I@tenu{70}}%
+\def\Ilegu#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width
+\I@tenu{70}{#2}}}%
+\def\Itenu#1{\selecttenue{#1}\I@tenu{66}}%
+\def\ilegu#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width
+\I@tenu{66}{#2}}}%
+\def\ITenl#1{\selecttenue{#1}\I@tenl{102}}%
+\def\Ilegl#1#2{\selecttenue{#1}\advance\locx@skip by -1.5\qn@width
+\I@tenl{102}{#2}\advance\locx@skip by 1.5\qn@width}%
+\def\Itenl#1{\selecttenue{#1}\I@tenl{98}}%
+\def\ilegl#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width
+\I@tenl{98}{#2}}}%
+%
+\def\I@tenall{\check@tenvoid\global\t@s=1\relax % etat en cours
+ \global\t@x=\locx@skip
+ \global\advance\t@x by 0.8\qd@skip
+ \global\t@y= 0.20\Interligne
+ \pl@base\global\t@z=\y@i\global\advance\t@z by\altportee
+ \setbox\ch@box=\hbox{\L@slur}}%
+%
+\def\I@tenu#1#2{\global\t@p=1\relax % sens=1
+ \global\t@w=#1\relax
+ \inhgetn@i{#2}%
+ \I@tenall
+ \global\advance\t@z by \ht\ch@box
+ \global\advance\t@z by 0.24\Interligne
+ \global\advance\t@z by -\t@y
+ \up@tenbox}%
+%
+\def\I@tenl#1#2{\global\t@p=-1\relax % sens= -1
+ \global\t@w=#1\relax
+ \inhgetn@i{#2}%
+ \I@tenall
+ \global\advance\t@z by -\dp\ch@box
+ \global\advance\t@z by -0.24\Interligne
+ \up@tenbox}%
+
+\def\Invertslur#1{\selecttenue{#1}\global\t@p=-\t@p
+\ifnum\t@w>63\relax
+ \ifnum\t@w<96\global\advance\t@w by 32\relax
+ \else\global\advance\t@w by -32\fi
+\fi}
+
+
+%
+%\check
+%
+\def\Tten{\tten}%
+\def\Tleg#1{\rlap{\qsk\tleg#1}}%
+%
+\def\t@ten{\check@tenopen\y@i=\t@z\advance\y@i by -\altportee
+\y@ii=\locx@skip\advance\y@ii by -\t@x
+\ifnum\t@w=0\relax\else\advance\y@ii by 0.4\qd@skip\fi
+\ifnum\t@p>0\relax
+ \ifnum\t@s=2\relax
+ \raise\y@i\llap{\ifnum\t@w=0\relax
+ \up@rleg\else
+ \Up@rleg\kern -0.2\qd@skip\fi}%
+ \else
+ \raise\y@i\llap{\ifnum\t@w=0\relax
+ \up@leg\else
+ \Up@leg\kern -0.2\qd@skip\fi}%
+ \fi
+\else
+ \ifnum\t@s=2\relax
+ \raise\y@i\llap{\ifnum\t@w=0\relax
+ \lo@rleg\else
+ \Lo@rleg\kern -0.2\qd@skip\fi}%
+ \else
+ \raise\y@i\llap{\ifnum\t@w=0\relax
+ \lo@leg\else
+ \Lo@leg\kern -0.2\qd@skip\fi}%
+ \fi
+\fi
+\global\t@w=0\relax
+\global\t@s=0\relax
+\@uptenubox}%
+%
+%
+\def\L@slur{\slurnorfont\char\t@w}%
+\def\R@slur{\global\advance\t@w by 16\slurnorfont\char\t@w}%
+\newdimen\slur@off
+\newdimen\slur@maxlen
+%
+\def\leg@hrule{\leaders\hrule height \t@y\hfill}%
+%
+% complete slur of length #1 (up and down)
+\def\Up@leg{% longueur \y@ii
+\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=\ht\ch@box
+ \advance\slur@off by -\t@y
+ \ifdim \y@ii>2\wd\ch@box
+ \raise -\slur@off\hbox{\L@slur}\leg@hrule\raise -\slur@off\hbox{\R@slur}%
+ \else
+ \raise -\slur@off\hbox{\huslur{\y@ii}}%
+ \fi}}%
+%
+\def\Lo@leg{% longueur \y@ii
+\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=-\dp\ch@box
+ \advance\slur@off by -0.1pt
+ \ifdim \y@ii>2\wd\ch@box
+ \raise -\slur@off\hbox{\L@slur}\leg@hrule\raise -\slur@off\hbox{\R@slur}%
+ \else
+ \raise -\slur@off\hbox{\hdslur{\y@ii}}%
+ \fi}}%
+%
+% slur termination of length #1 (up and down)
+\def\Up@rleg{% longueur \y@ii
+\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=\ht\ch@box %
+ \advance\slur@off by -\t@y
+ \ifdim \y@ii>\wd\ch@box\leg@hrule
+ \else\hss\fi \raise -\slur@off\hbox{\R@slur}}}%
+%
+\def\Lo@rleg{% longueur \y@ii
+\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=-\dp\ch@box %
+ \advance\slur@off by -0.1pt
+ \ifdim \y@ii>\wd\ch@box\leg@hrule
+ \else\hss\fi \raise -\slur@off\hbox{\R@slur}}}%
+%
+%\check
+%
+% slur beginning (left) (up and down)
+\def\Up@les{% longueur \y@ii
+\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=\ht\ch@box
+ \advance\slur@off by -\t@y
+ \UpLo@les}}%
+%
+%\check
+%
+\def\Lo@les{% longueur \y@ii
+\hbox to \y@ii{\setbox\ch@box=\hbox{\L@slur}\slur@off=-\dp\ch@box
+ \advance\slur@off by -0.1pt
+ \UpLo@les}}%
+%
+%\check
+%
+\def\UpLo@les{\raise -\slur@off\hbox{\L@slur}%
+ \advance\y@ii by -\wd\ch@box
+ \ifdim \y@ii>\z@\leg@hrule
+ \else\hss
+% \ifdim\y@ii<-.8\p@ \vrule height 1cm\fi
+ \fi}%
+%\check
+%
+\def\c@ten{%\rlap{\vrule height 1cm}
+ \y@ii=\x@skip\advance\y@ii by -\t@x
+ \global\t@x=-.8\p@ %<--
+ \ifnum\t@s=1\relax
+ \ifnum\t@w=0\relax
+ \ifnum\t@p>0\relax
+ \raise\t@z\llap{\up@les}\else
+ \raise\t@z\llap{\lo@les}\fi
+ \else
+ \ifnum\t@p>0\relax
+ \raise\t@z\llap{\Up@les}\else
+ \raise\t@z\llap{\Lo@les}\fi
+ \fi
+ \else
+ \ifnum\t@s=2\relax
+ \slur@off=\t@z
+ \advance\slur@off by \t@y
+% \advance\slur@off by 3\p@
+ \kern -\y@ii\vrule height \slur@off depth -\t@z width \y@ii
+ \fi
+ \fi
+ \global\t@s=2\relax
+}%
+%
+\def\n@skmb{\nobreak\global\slur@maxlen=\z@
+% compute the maximum length of slurs to be handled
+ \ten@loop
+ \setbox\ch@box=\hbox{\ifnum\t@w=0\relax\lu@slur
+ \else\L@slur\fi}\ifdim\slur@maxlen<\wd\ch@box
+ \global\slur@maxlen=\wd\ch@box\fi
+ \global\advance\n@l by 1\relax
+ \repeat
+% compute the maximum excess length of beginning slurs
+ \global\slur@off=\z@
+ \ten@loop
+ \y@ii=\x@skip\advance\y@ii by \n@skip\advance\y@ii by -\t@x
+ \advance\y@ii by -\slur@maxlen
+ % \y@ii is the length that will be given to \c@ten for that slur/tie
+ % assuming \slur@maxlen left offset...
+ \ifnum\t@s=1\relax
+ \setbox\ch@box=\hbox{\ifnum\t@w=0\relax\lu@slur\else\L@slur\fi}%
+ {\advance\y@ii by -\wd\ch@box
+ \ifdim\y@ii<\slur@off \global\slur@off=\y@ii\fi}%
+ \fi
+ \global\advance\n@l by 1\relax
+ \repeat
+ \global\advance\slur@maxlen by \slur@off
+%
+ \nobreak\global\advance\n@skip by -\slur@maxlen}%
+\def\skip@b{\hskip \slur@maxlen
+ \global\advance\x@skip by\slur@maxlen}% %
+
+ %
+%
+%\check
+%
+% symboles slurn20 des liaisons et tenues
+%
+\newcount\t@wi
+\newcount\t@wii
+\newcount\t@wiii
+\newcount\t@wiv
+\newcount\t@wv
+\newcount\t@wvi
+%
+\let\wlog=\@plainwlog
+%
+\def\k@ii{\fontdimen 8\musictwenty}
+\def\k@iii{\fontdimen 9\musictwenty}
+\def\k@iiii{\fontdimen 10\musictwenty}
+\def\k@iiv{\fontdimen 11\musictwenty}
+\def\k@iv{\fontdimen 12\musictwenty}
+\def\k@ivi{\fontdimen 13\musictwenty}
+\def\k@ivii{\fontdimen 14\musictwenty}
+\def\k@iviii{\fontdimen 15\musictwenty}
+\def\k@iix{\fontdimen 16\musictwenty}
+%
+\def\internotei{\fontdimen 17\musictwenty}
+\def\internoteii{\fontdimen 18\musictwenty}
+\def\internoteiii{\fontdimen 19\musictwenty}
+\def\internoteiv{\fontdimen 20\musictwenty}
+\def\internotev{\fontdimen 21\musictwenty}
+\def\internotevi{\fontdimen 22\musictwenty}
+\def\internotevii{\fontdimen 23\musictwenty}
+\def\internoteviii{\fontdimen 24\musictwenty}
+\def\internoteix{\fontdimen 25\musictwenty}
+\def\c@height{\fontdimen 26\musictwenty}
+%
+\def\qn@width{\fontdimen 27\musictwenty}
+\def\hn@width{\fontdimen 28\musictwenty}
+\def\wn@width{\fontdimen 29\musictwenty}
+\def\sb@width{\fontdimen 30\musictwenty}
+\def\bv@width{\fontdimen 31\musictwenty}
+\def\gr@width{\fontdimen 32\musictwenty}
+%
+\def\clef@skip{\fontdimen 28\beamtwenty}
+\def\nullthick{\fontdimen 29\beamtwenty}
+\def\bbbb@xi{\fontdimen 30\beamtwenty}
+\def\bbbb@xii{\fontdimen 31\beamtwenty}
+\def\bbbb@xiii{\fontdimen 32\beamtwenty}
+\def\bbbb@xiv{\fontdimen 33\beamtwenty}
+\def\bbbb@xv{\fontdimen 34\beamtwenty}
+\def\bbbb@xvi{\fontdimen 35\beamtwenty}
+\def\bbbb@xvii{\fontdimen 36\beamtwenty}
+\def\bbbb@xviii{\fontdimen 37\beamtwenty}
+\def\bbbb@xix{\fontdimen 38\beamtwenty}
+\def\bbbb@xx{\fontdimen 39\beamtwenty}
+%
+\def\bbbbb@xi{\fontdimen 40\beamtwenty}
+\def\bbbbb@xii{\fontdimen 41\beamtwenty}
+\def\bbbbb@xiii{\fontdimen 42\beamtwenty}
+\def\bbbbb@xiv{\fontdimen 43\beamtwenty}
+\def\bbbbb@xv{\fontdimen 44\beamtwenty}
+\def\bbbbb@xvi{\fontdimen 45\beamtwenty}
+\def\bbbbb@xvii{\fontdimen 46\beamtwenty}
+\def\bbbbb@xviii{\fontdimen 47\beamtwenty}
+\def\bbbbb@xix{\fontdimen 48\beamtwenty}
+\def\bbbbb@xx{\fontdimen 49\beamtwenty}
+
+% this macro sets the new big (piano) braces (due to Andreas Egler)
+% !!! Attention !!!
+% there is no checking of
+% too small or large dimensions
+%
+\font\musext=musicbra
+\newcount\selbrace
+\def\mult@portee{\y@ii=\nbportees\interportee
+ \advance\y@ii by -\Interportee
+ \advance\y@ii by \nbportees\lthick
+ \advance\y@ii by -2\lthick
+%
+ \selbrace=\y@ii\relax\select@brace%
+ \divide\y@ii by 2\raise\y@\llap{%
+ \raise\y@ii\llap{\musext\char\selbrace%
+ \kern.5\Interligne}}}%
+%
+\def\select@brace{\divide\selbrace by 65536%
+\advance\selbrace by -40\divide\selbrace by 2}%
+% dim to count means 1pt -> 65536 sp
+% 40 pt is the length of the smallest brace
+% the next brace is 2pt larger
+
+
+\catcode`\>=\catcode@gt
+\catcode`\<=\catcode@lt
+\catcode`\@=\catcodeat
+
diff --git a/Master/texmf-dist/tex/generic/musictex/musicper.tex b/Master/texmf-dist/tex/generic/musictex/musicper.tex
new file mode 100644
index 00000000000..6d9f41f1754
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicper.tex
@@ -0,0 +1,227 @@
+%
+% This is Musicper from MusicTeX
+\message{Version 5.03 -- March 31st, 1994}%
+%
+
+\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12
+\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12
+
+%%%% notes with a doublesharp-head
+
+\def\x@u{\musicnfont\char"35\hss}%
+ %\check
+\def\xu{\advancetrue\xu@z}%
+\def\xup{\advancetrue\xup@z}%
+\def\xupp{\advancetrue\xupp@z}%
+\def\xuppp{\advancetrue\xuppp@z}%
+\def\xu@z#1{\getn@i{#1}\def\n@fon{\xu}\def\n@sym{\x@u}\g@qu}%
+\def\xup@z#1{\getn@i{#1}\def\n@fon{\xup}\def\n@sym{\x@up}\g@qu}%
+\def\xupp@z#1{\getn@i{#1}\def\n@fon{\xupp}\def\n@sym{\x@upp}\g@qu}%
+\def\xuppp@z#1{\getn@i{#1}\def\n@fon{\xuppp}\def\n@sym{\x@uppp}\g@qu}%
+\def\xl{\advancetrue\xl@z}%
+\def\xlp{\advancetrue\xlp@z}%
+\def\xlpp{\advancetrue\xlpp@z}%
+\def\xlppp{\advancetrue\xlppp@z}%
+\def\xl@z#1{\getn@i{#1}\def\n@fon{\xl}\def\n@sym{\x@u}\g@ql}%
+\def\xlp@z#1{\getn@i{#1}\def\n@fon{\xlp}\def\n@sym{\x@up}\g@ql}%
+\def\xlpp@z#1{\getn@i{#1}\def\n@fon{\xlpp}\def\n@sym{\x@upp}\g@ql}%
+\def\xlppp@z#1{\getn@i{#1}\def\n@fon{\xlppp}\def\n@sym{\x@uppp}\g@ql}%
+ %\check
+ %
+\def\x@up{\hbox to \qn@width{\x@u\hss}\P@t}%
+\def\x@upp{\hbox to \qn@width{\x@u\hss}\PP@t}%
+\def\x@uppp{\hbox to \qn@width{\x@u\hss}\PPP@t}%
+%
+\def\xh#1{\selectpoutre{#1}\xh@}%
+\def\xb#1{\selectpoutre{#1}\xb@}%
+\def\xh@#1{\getn@i{#1}\def\n@fon{\xh@}\def\n@sym{\x@u}\g@qh@}% % position
+\def\xb@#1{\getn@i{#1}\def\n@fon{\xb@}\def\n@sym{\x@u}\g@qb@} % #1 position
+%
+% x heads without stems
+\def\zx#1{\getn@i{#1}\def\n@fon{\zx}\def\n@sym{\x@u}\g@zq}
+\def\zxp#1{\getn@i{#1}\def\n@fon{\zxp}\def\n@sym{\x@up}\g@zq}
+\def\zxpp#1{\getn@i{#1}\def\n@fon{\zxpp}\def\n@sym{\x@upp}\g@zq}
+\def\zxppp#1{\getn@i{#1}\def\n@fon{\zxppp}\def\n@sym{\x@uppp}\g@zq}
+ %
+ % croches, doubles croches, triples croches, quadruple croches queue en
+ % haut et en bas pour percussion x
+ %
+\def\xcu{\advancetrue\mxcu1}\def\xccu{\advancetrue\mxcu2}
+\def\xcccu{\advancetrue\mxcu3}\def\xccccu{\advancetrue\mxcu4}%
+\def\xcl{\advancetrue\mxcl1}\def\xccl{\advancetrue\mxcl2}
+\def\xcccl{\advancetrue\mxcl3}\def\xccccl{\advancetrue\mxcl4}%
+%
+\def\xclp{\advancetrue\mxclp1}\def\xcup{\advancetrue\mxcup1}%
+\def\xclpp{\advancetrue\mxclpp1}\def\xcupp{\advancetrue\mxcupp1}%
+\def\xclppp{\advancetrue\mxclppp1}\def\xcuppp{\advancetrue\mxcuppp1}%
+ %
+\def\mxcu#1#2{\getn@i{#2}\def\n@sym{\x@u}%
+\edef\n@fon{\noexpand\mxcu #1}\g@cu{#1}}
+\def\mxcup#1#2{\getn@i{#2}\def\n@sym{\x@up}%
+\edef\n@fon{\noexpand\mxcup #1}\g@cu{#1}}
+\def\mxcupp#1#2{\getn@i{#2}\def\n@sym{\x@upp}%
+\edef\n@fon{\noexpand\mxcupp #1}\g@cu{#1}}
+\def\mxcuppp#1#2{\getn@i{#2}\def\n@sym{\x@uppp}%
+\edef\n@fon{\noexpand\mxcupp #1}\g@cu{#1}}
+ %
+\def\mxcl#1#2{\getn@i{#2}\def\n@sym{\x@u}%
+\edef\n@fon{\noexpand\mxcl #1}\g@cl{#1}}
+\def\mxclp#1#2{\getn@i{#2}\def\n@sym{\x@up}%
+\edef\n@fon{\noexpand\mxclp #1}\g@cl{#1}}
+\def\mxclpp#1#2{\getn@i{#2}\def\n@sym{\x@upp}%
+\edef\n@fon{\noexpand\mxclpp #1}\g@cl{#1}}
+\def\mxclppp#1#2{\getn@i{#2}\def\n@sym{\x@uppp}%
+\edef\n@fon{\noexpand\mxclppp #1}\g@cl{#1}}
+
+
+%%%% notes with a circled doublesharp-head
+
+\def\ox@u{\musicnfont\char 38\hss}%
+ %\check
+\def\oxu{\advancetrue\oxu@z}%
+\def\oxup{\advancetrue\oxup@z}%
+\def\oxupp{\advancetrue\oxupp@z}%
+\def\oxuppp{\advancetrue\oxuppp@z}%
+\def\oxu@z#1{\getn@i{#1}\def\n@fon{\oxu}\def\n@sym{\ox@u}\g@qu}%
+\def\oxup@z#1{\getn@i{#1}\def\n@fon{\oxup}\def\n@sym{\ox@up}\g@qu}%
+\def\oxupp@z#1{\getn@i{#1}\def\n@fon{\oxupp}\def\n@sym{\ox@upp}\g@qu}%
+\def\oxuppp@z#1{\getn@i{#1}\def\n@fon{\oxuppp}\def\n@sym{\ox@uppp}\g@qu}%
+\def\oxl{\advancetrue\oxl@z}%
+\def\oxlp{\advancetrue\oxlp@z}%
+\def\oxlpp{\advancetrue\oxlpp@z}%
+\def\oxlppp{\advancetrue\oxlppp@z}%
+\def\oxl@z#1{\getn@i{#1}\def\n@fon{\oxl}\def\n@sym{\ox@u}\g@ql}%
+\def\oxlp@z#1{\getn@i{#1}\def\n@fon{\oxlp}\def\n@sym{\ox@up}\g@ql}%
+\def\oxlpp@z#1{\getn@i{#1}\def\n@fon{\oxlpp}\def\n@sym{\ox@upp}\g@ql}%
+\def\oxlppp@z#1{\getn@i{#1}\def\n@fon{\oxlppp}\def\n@sym{\ox@uppp}\g@ql}%
+ %\check
+ %
+\def\ox@up{\hbox to \qn@width{\ox@u\hss}\P@t}%
+\def\ox@upp{\hbox to \qn@width{\ox@u\hss}\PP@t}%
+\def\ox@uppp{\hbox to \qn@width{\ox@u\hss}\PPP@t}%
+%
+\def\oxh#1{\selectpoutre{#1}\oxh@}%
+\def\oxb#1{\selectpoutre{#1}\oxb@}%
+\def\oxh@#1{\getn@i{#1}\def\n@fon{\oxh@}\def\n@sym{\ox@u}\g@qh@}% % position
+\def\oxb@#1{\getn@i{#1}\def\n@fon{\oxb@}\def\n@sym{\ox@u}\g@qb@} % #1 position
+%
+% x heads without stems
+\def\zox#1{\getn@i{#1}\def\n@fon{\zox}\def\n@sym{\ox@u}\g@zq}
+\def\zoxp#1{\getn@i{#1}\def\n@fon{\zoxp}\def\n@sym{\ox@up}\g@zq}
+\def\zoxpp#1{\getn@i{#1}\def\n@fon{\zoxpp}\def\n@sym{\ox@upp}\g@zq}
+\def\zoxppp#1{\getn@i{#1}\def\n@fon{\zoxppp}\def\n@sym{\ox@uppp}\g@zq}
+ %
+ % croches, doubles croches, triples croches, quadruple croches queue en
+ % haut et en bas pour percussion x
+ %
+\def\oxcu{\advancetrue\moxcu1}\def\oxccu{\advancetrue\moxcu2}
+\def\oxcccu{\advancetrue\moxcu3}\def\oxccccu{\advancetrue\moxcu4}%
+\def\oxcl{\advancetrue\moxcl1}\def\oxccl{\advancetrue\moxcl2}
+\def\oxcccl{\advancetrue\moxcl3}\def\oxccccl{\advancetrue\moxcl4}%
+%
+\def\oxclp{\advancetrue\moxclp1}\def\oxcup{\advancetrue\moxcup1}%
+\def\oxclpp{\advancetrue\moxclpp1}\def\oxcupp{\advancetrue\moxcupp1}%
+\def\oxclppp{\advancetrue\moxclppp1}\def\oxcuppp{\advancetrue\moxcuppp1}%
+ %
+\def\moxcu#1#2{\getn@i{#2}\def\n@sym{\ox@u}%
+\edef\n@fon{\noexpand\moxcu #1}\g@cu{#1}}
+\def\moxcup#1#2{\getn@i{#2}\def\n@sym{\ox@up}%
+\edef\n@fon{\noexpand\moxcup #1}\g@cu{#1}}
+\def\moxcupp#1#2{\getn@i{#2}\def\n@sym{\ox@upp}%
+\edef\n@fon{\noexpand\moxcupp #1}\g@cu{#1}}
+\def\moxcuppp#1#2{\getn@i{#2}\def\n@sym{\ox@uppp}%
+\edef\n@fon{\noexpand\moxcupp #1}\g@cu{#1}}
+ %
+\def\moxcl#1#2{\getn@i{#2}\def\n@sym{\ox@u}%
+\edef\n@fon{\noexpand\moxcl #1}\g@cl{#1}}
+\def\moxclp#1#2{\getn@i{#2}\def\n@sym{\ox@up}%
+\edef\n@fon{\noexpand\moxclp #1}\g@cl{#1}}
+\def\moxclpp#1#2{\getn@i{#2}\def\n@sym{\ox@upp}%
+\edef\n@fon{\noexpand\moxclpp #1}\g@cl{#1}}
+\def\moxclppp#1#2{\getn@i{#2}\def\n@sym{\ox@uppp}%
+\edef\n@fon{\noexpand\moxclppp #1}\g@cl{#1}}
+
+%%%% notes with a + head, for bongos ...
+
+\def\k@u{\musicnfont\char 39\hss}%
+ %\check
+\def\ku{\advancetrue\ku@z}%
+\def\kup{\advancetrue\kup@z}%
+\def\kupp{\advancetrue\kupp@z}%
+\def\kuppp{\advancetrue\kuppp@z}%
+\def\ku@z#1{\getn@i{#1}\def\n@fon{\ku}\def\n@sym{\k@u}\g@qu}%
+\def\kup@z#1{\getn@i{#1}\def\n@fon{\kup}\def\n@sym{\k@up}\g@qu}%
+\def\kupp@z#1{\getn@i{#1}\def\n@fon{\kupp}\def\n@sym{\k@upp}\g@qu}%
+\def\kuppp@z#1{\getn@i{#1}\def\n@fon{\kuppp}\def\n@sym{\k@uppp}\g@qu}%
+\def\kl{\advancetrue\kl@z}%
+\def\klp{\advancetrue\klp@z}%
+\def\klpp{\advancetrue\klpp@z}%
+\def\klppp{\advancetrue\klppp@z}%
+\def\kl@z#1{\getn@i{#1}\def\n@fon{\kl}\def\n@sym{\k@u}\g@ql}%
+\def\klp@z#1{\getn@i{#1}\def\n@fon{\klp}\def\n@sym{\k@up}\g@ql}%
+\def\klpp@z#1{\getn@i{#1}\def\n@fon{\klpp}\def\n@sym{\k@upp}\g@ql}%
+\def\klppp@z#1{\getn@i{#1}\def\n@fon{\klppp}\def\n@sym{\k@uppp}\g@ql}%
+ %\check
+ %
+\def\k@up{\hbox to \qn@width{\k@u\hss}\P@t}%
+\def\k@upp{\hbox to \qn@width{\k@u\hss}\PP@t}%
+\def\k@uppp{\hbox to \qn@width{\k@u\hss}\PPP@t}%
+%
+\def\kh#1{\selectpoutre{#1}\kh@}%
+\def\kb#1{\selectpoutre{#1}\kb@}%
+\def\kh@#1{\getn@i{#1}\def\n@fon{\kh@}\def\n@sym{\k@u}\g@qh@}% % position
+\def\kb@#1{\getn@i{#1}\def\n@fon{\kb@}\def\n@sym{\k@u}\g@qb@} % #1 position
+%
+% x heads without stems
+\def\zk#1{\getn@i{#1}\def\n@fon{\zk}\def\n@sym{\k@u}\g@zq}
+\def\zkp#1{\getn@i{#1}\def\n@fon{\zkp}\def\n@sym{\k@up}\g@zq}
+\def\zkpp#1{\getn@i{#1}\def\n@fon{\zkpp}\def\n@sym{\k@upp}\g@zq}
+\def\zkppp#1{\getn@i{#1}\def\n@fon{\zkppp}\def\n@sym{\k@uppp}\g@zq}
+ %
+ % croches, doubles croches, triples croches, quadruple croches queue en
+ % haut et en bas pour percussion x
+ %
+\def\kcu{\advancetrue\mkcu1}\def\kccu{\advancetrue\mkcu2}
+\def\kcccu{\advancetrue\mkcu3}\def\kccccu{\advancetrue\mkcu4}%
+\def\kcl{\advancetrue\mkcl1}\def\kccl{\advancetrue\mkcl2}
+\def\kcccl{\advancetrue\mkcl3}\def\kccccl{\advancetrue\mkcl4}%
+%
+\def\kclp{\advancetrue\mkclp1}\def\kcup{\advancetrue\mkcup1}%
+\def\kclpp{\advancetrue\mkclpp1}\def\kcupp{\advancetrue\mkcupp1}%
+\def\kclppp{\advancetrue\mkclppp1}\def\kcuppp{\advancetrue\mkcuppp1}%
+ %
+\def\mkcu#1#2{\getn@i{#2}\def\n@sym{\k@u}%
+\edef\n@fon{\noexpand\mkcu #1}\g@cu{#1}}
+\def\mkcup#1#2{\getn@i{#2}\def\n@sym{\k@up}%
+\edef\n@fon{\noexpand\mkcup #1}\g@cu{#1}}
+\def\mkcupp#1#2{\getn@i{#2}\def\n@sym{\k@upp}%
+\edef\n@fon{\noexpand\mkcupp #1}\g@cu{#1}}
+\def\mkcuppp#1#2{\getn@i{#2}\def\n@sym{\k@uppp}%
+\edef\n@fon{\noexpand\mkcupp #1}\g@cu{#1}}
+ %
+\def\mkcl#1#2{\getn@i{#2}\def\n@sym{\k@u}%
+\edef\n@fon{\noexpand\mkcl #1}\g@cl{#1}}
+\def\mkclp#1#2{\getn@i{#2}\def\n@sym{\k@up}%
+\edef\n@fon{\noexpand\mkclp #1}\g@cl{#1}}
+\def\mkclpp#1#2{\getn@i{#2}\def\n@sym{\k@upp}%
+\edef\n@fon{\noexpand\mkclpp #1}\g@cl{#1}}
+\def\mkclppp#1#2{\getn@i{#2}\def\n@sym{\k@uppp}%
+\edef\n@fon{\noexpand\mkclppp #1}\g@cl{#1}}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% special percussion symbols moved from musicnft.sty
+
+\def\shaker#1{\charnote{#1}{\s@haker}}%
+\def\zshaker#1{\zcharnote{#1}{\s@haker}}%
+\def\tremolord#1{\charnote{#1}{\t@remolord}}%
+\def\ztremolord#1{\zcharnote{#1}{\t@remolord}}%
+
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\catcode`\>=\catcode@gt
+\catcode`\<=\catcode@lt
+\catcode`\@=\catcodeat
+
+
diff --git a/Master/texmf-dist/tex/generic/musictex/musicpln.tex b/Master/texmf-dist/tex/generic/musictex/musicpln.tex
new file mode 100644
index 00000000000..5db818627d3
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicpln.tex
@@ -0,0 +1,298 @@
+% version 5.00 October 1992 updated jan 94
+\ifx\fonthdg\undefined\def\fonthdg{c}\fi % prefix to cmxxx fonts.
+\ifx\fonthdge\undefined\def\fonthdge{m}\fi % prefix to cmxxx fonts.
+ % change to "d" for dmxxx fonts
+\font\cmmi=cmmi10 scaled \magstep1
+\font\cmbx=\fonthdg\fonthdge bx10 scaled \magstep1
+\font\smcmbx=\fonthdg\fonthdge bx10
+\font\cmex=cmex10
+\font\cmsy=cmsy10 scaled \magstep1
+\font\smcmsy=cmsy10
+\font\cmr=\fonthdg\fonthdge r10 scaled \magstep1
+\font\smcmr=\fonthdg\fonthdge r10
+\font\ttyeight=\fonthdg\fonthdge tt8
+\font\linew=linew10
+\font\circlew=circlew1
+%
+\catcode`\@=11\relax
+\def\q@u{\kern -0.70pt\cmsy\char"0F\kern 0.7pt}\def\qu@raise{-2.1pt}%
+\def\h@a{\kern-0.3pt\cmr\char"6F}\def\ha@raise{-2.1pt}%
+\def\w@h{\cmbx\char"6F}\def\wh@raise{-2.1pt}%
+%\check
+% petites notes
+\def\smq@u{\kern-0.70pt\smcmsy\char"0F\kern 0.7pt}%
+\def\smh@a{\kern-0.3pt\smcmr\char"6F}%
+\def\smw@h{\smcmbx\char"6F}%
+%
+\newbox\ch@box
+\newdimen\lthick
+\global\lthick=0.4pt\relax
+\newdimen\qn@width
+\newdimen\hn@width
+\newdimen\wn@width
+\newdimen\qd@skip
+\newdimen\hd@skip
+\newdimen\wd@skip
+\newcount\musicsize
+\def\computespecifics{\ifnum\musicsize=0\relax\musicsize=20\relax\fi
+\Interligne=\musicsize pt\divide\Interligne by 4\relax
+\def\ppff{\ppffsixteen}%
+\ifnum\musicsize=20\relax\def\meterfont{\moyen}\else\def\meterfont{\cmbx}%
+\def\ppff{\ppfftwenty}\fi%
+\interbeam=0.75\Interligne
+\wn@width=6pt\relax
+\hn@width=4.8pt\relax
+\qn@width=4.5pt \relax
+\qd@skip=\qn@width\relax\advance\qd@skip by -\lthick\relax
+\hd@skip=\hn@width\relax\advance\qd@skip by -\lthick\relax
+\wd@skip=\wn@width\relax\advance\wd@skip by -\lthick\relax
+\setbox\ch@box=\hbox{\c@rochu}\relax\c@height=\ht\ch@box\relax
+}%
+%
+\def\s@oupir{\hbox{\kern 3pt\raise 5pt\hbox{\linew\char"42}\relax
+\kern -4pt\raise 12.5pt\hbox{\cmex\char"7C}\relax
+\kern 0.5pt\raise 14pt\hbox{\circlew\char"72}}}%
+\def\c@rochu{{\ttyeight\char"5C}}%
+\def\c@rochl{{\ttyeight\char"2F}}%
+\newdimen\c@height % hauteur d'un crochet de croche
+%\check
+\def\d@cr#1{% % queue de #1 croche(s) vers le haut
+\global\advance\st@top by #1\Interligne\relax
+\global\advance\st@top by -\st@bot\global\advance\st@top by 2.5\Interligne\relax
+ \ifdim\st@top>1pt\relax
+ \global\advance\st@bot by -\altportee\relax
+ \raise\st@bot\rlap{\kern\stem@skip\vrule height\st@top width \lthick
+ \advance\st@top by -\c@height\relax
+ \ifnum #1>0\relax\raise\st@top\rlap{\c@rochu}\fi
+ \ifnum #1>1\relax\global\advance\st@top by -\Interligne\raise\st@top
+\rlap{\c@rochu}\fi
+ \ifnum #1>2\relax\global\advance\st@top by -\Interligne\raise\st@top
+\rlap{\c@rochu}\fi
+ \ifnum #1>3\relax\global\advance\st@top by -\Interligne\raise\st@top
+\rlap{\c@rochu}\fi
+ }\fi
+ \resetstem}%
+%\check
+\def\p@cr#1{% % queue de #1 croche(s) vers le bas
+\global\advance\st@top by #1\Interligne\relax
+\global\advance\st@top by -\st@bot\global\advance\st@top by 2.5\Interligne\relax
+\global\advance\st@bot by -#1\Interligne\relax
+ \global\advance\st@bot by -2.5\Interligne\relax
+ \ifdim\st@top>1pt\relax
+ \global\advance\st@bot by -\altportee\relax
+ \raise\st@bot\llap{\relax
+ \ifnum #1>0\relax\rlap{\c@rochl}\fi
+ \ifnum #1>1\relax\raise\Interligne\rlap{\c@rochl}\fi
+ \ifnum #1>2\relax\raise 2\Interligne\rlap{\c@rochl}\fi
+ \ifnum #1>3\relax\raise 3\Interligne\rlap{\c@rochl}\fi
+ \vrule height\st@top width \lthick
+ \kern -\lthick}\fi
+ \resetstem}%
+%\check
+\def\s@harp{\cmmi\char"5D}\def\sh@raise{-2.5pt}%
+\def\f@lat{\cmmi\char"5B}\def\fl@raise{-2.5pt}%
+\def\n@at{{\cmmi\char"5C}}\def\na@raise{-2.5pt}%
+\def\balkuu{\char"20}\def\balkuuu{\char"21}\def\balkuuuu{\char"22}%
+\def\balku{\char"28}%
+\def\balkdd{\char"60}\def\balkddd{\char"61}\def\balkdddd{\char"62}%
+\def\balkd{\char"68}%
+\def\ds@harp{\cmbx\char"78\kern -0.4pt}\def\df@lat{\cmmi\char"5B\hskip
+ -1.5pt\char"5B\kern -0.8pt}%
+%\check
+\def\s@lopdefs{\q@antum=10pt\relax\def\s@lope{0.0}%
+\ifnum \b@p>1\relax\def\s@lope{0.15}\fi
+\ifnum \b@p>3\relax\def\s@lope{0.20}\fi
+\ifnum \b@p>5\relax\def\s@lope{0.40}\fi
+\ifnum \b@p>7\relax\def\s@lope{0.60}\fi
+\ifnum \b@p<-1\relax\def\s@lope{-0.15}\fi
+\ifnum \b@p<-3\relax\def\s@lope{-0.20}\fi
+\ifnum \b@p<-5\relax\def\s@lope{-0.40}\fi
+\ifnum \b@p<-7\relax\def\s@lope{-0.60}\fi
+}%
+\def\b@alkdefs{\q@antum=10pt\relax
+\ifnum \b@p>1\relax\def\b@alk{\balku}\fi
+\ifnum \b@p>3\relax\def\b@alk{\balkuu}\fi
+\ifnum \b@p>5\relax\def\b@alk{\balkuuu}\fi
+\ifnum \b@p>7\relax\def\b@alk{\balkuuuu}\fi
+\ifnum \b@p<-1\relax\def\b@alk{\balkd}\fi
+\ifnum \b@p<-3\relax\def\b@alk{\balkdd}\fi
+\ifnum \b@p<-5\relax\def\b@alk{\balkddd}\fi
+\ifnum \b@p<-7\relax\def\b@alk{\balkdddd}\fi
+}%
+%\check
+\def\p@outre{% \y@ii : longueur, \b@p : pente, \y@i : altitude
+\ifnum \b@p=0\relax\raise \y@i\hbox{\vrule height 0.5\internote depth
+ 0.5\internote width \y@ii}\relax
+\else \b@alkdefs\linew
+ \global\y@iv=0pt
+ \loop\ifdim\y@iv<\y@ii\relax
+ {\y@v=\y@ii\relax\advance\y@v by -\y@iv\relax\advance\y@v by -\q@antum\relax
+ \y@iii=\y@i\relax\advance\y@iii by \s@lope\y@iv\relax\advance\y@iii by
+ -0.5\internote
+ \ifnum \b@p<0\relax\advance\y@iii by \s@lope\q@antum\relax\fi
+ \ifdim\y@v<0pt\relax\advance\y@iii by \s@lope\y@v\relax\hskip\y@v\fi
+ \raise\y@iii\hbox to \z@ {\b@alk\hss}\advance\y@iii by 0.2\internote\relax
+ \raise\y@iii\hbox to \z@ {\b@alk\hss}\advance\y@iii by 0.2\internote\relax
+ \raise\y@iii\hbox to \z@ {\b@alk\hss}\advance\y@iii by 0.2\internote\relax
+ \raise\y@iii\hbox to \q@antum{\b@alk\hss}\global\advance\y@iv by \q@antum\relax
+ }\repeat
+\fi
+}%
+%\check
+\def\clefdefa{\hbox{\kern 1.5pt\circlew\raise 4\Interligne
+\rlap{\char7\char4\kern -6.8pt\char4}\relax
+\raise 3.1\Interligne\rlap{\kern 1.7pt\char"73}%
+\raise 2.5\Interligne\rlap{\kern 9pt\vrule height\Interligne width 1.6pt}%
+\kern 8.3pt\raise\Interligne
+\rlap{\char 13\kern -15.2pt\char13}\kern 1.5pt\raise 2.5\Interligne
+\hbox{\moyen :}}}%
+%\check
+\def\clefdesolsymbol{\hbox{\circlew\kern 1pt \raise 11pt\rlap{\kern 4pt\char7\char8}%
+\raise10pt\rlap{\kern 4pt\char7\char8}%
+\raise 5pt\rlap{\kern -1pt\tenbf\char'050}%
+\raise \z@ \rlap{\kern \z@ \char 10\char9}%
+\raise -3pt\rlap{\kern 3.5pt\char"73}%
+\raise 9.5pt\rlap{\kern 1.20pt\linew\char"13}%
+\raise 12pt\rlap{\kern 1.55pt\linew\char"13}%
+\raise 3\Interligne\rlap{\linew\kern 4pt\char"45}%
+\raise \z@\rlap{\kern 7pt\linew\char"45}\raise 2\Interligne\rlap{\linew\kern
+ 5pt\char"45}%
+\raise -5pt\rlap{\kern 8pt\char 5}%
+\raise 27.5pt\rlap{\kern 3.8pt\char3\char0}%
+\raise 26.5pt\rlap{\kern 4pt\char3\char0}%
+\raise 22.2pt\rlap{\kern 6.4pt\eightbf\char'051}%
+\raise 21pt\rlap{\kern 6.4pt\eightbf\char'051}\relax
+\kern 12pt}}%
+%\check
+ \def\clefdutsymbol{\hbox{\kern2pt\vrule width 3pt height
+4\Interligne\kern1pt\vrule height 4\Interligne
+ \def\rempl{\hbox{\vrule width 1pt height 3pt}}%
+\kern 6pt\vbox to 4\Interligne{\offinterlineskip\rempl\hbox{\circlew
+\char"09}\kern -2\Interligne
+\hbox{\circlew\char"08}\rempl}}}%
+%
+\def\smallclefdut{\clefdutsymbol}%
+\def\smallclefdefa{\clefdefasymbol}%
+\def\smallclefdesol{\clefdesolsymbol}%
+%\check
+\def\allabreve{\meterfrac{2}{2}}%
+%\check
+\def\arp@elem{\vbox to 6pt{\vss\cmsy\char"6F}}%
+\def\Arp@elem{\arp@elem}%
+\def\d@soup{\raise\Interligne\hbox{\linew
+\kern 0.8\Interligne\char2\kern -\Interligne\raise 1.8\Interligne
+\hbox{\circlew\char"72}\kern -3pt\raise 7.5pt\hbox{\cmex
+\char"7D}}}
+\def\q@soup{\rlap{\d@soup}\kern 1pt\raise 4pt\hbox{\d@soup}}%
+\def\p@orgue{\hbox{\kern 0.5\qn@width\circlew\char"72\kern -10pt\raise
+ 6pt\rlap{\char11\char8}\raise
+ 7pt\hbox{\char11\char8}}}%
+\def\p@urgue{\hbox{\kern 0.5\qn@width\circlew\char"72\kern -10pt%
+\raise-6pt\rlap{\char10\char9}\raise-7pt\hbox{\char10\char9}}}%
+%
+\def\t@ilde{{\cmex\char"65}}%
+\def\trille#1{\hbox to #1{\leaders\hbox{\t@ilde\kern -0.8pt}\hfill}}%
+\def\Trille#1{\hbox to #1{\raise 1.2\Interligne\hbox{\it tr}\leaders
+\hbox{\t@ilde\kern -0.8pt}\hfill}}%
+%
+\def\st#1{\zcharnote{#1}{\raise -2pt \rlap{\tt -}}}%
+\def\ppz#1{\zcharnote{#1}{\raise 2pt \rlap{\tt \char13}}}%
+\def\pz#1{\zcharnote{#1}{\tenbf\kern 1.5pt .}}%
+\def\sforz#1{\zcharnote{#1}{\cmmi\char"3E}}%
+%
+% arpeges
+%
+\def\arpegesym#1{\hbox to \Interligne{\kern -1.2\Interligne\vbox to
+ #1{\parindent=\z@
+\offinterlineskip% \ifdim #1>4\Interligne\Arp@elem\fi\hrule
+\cleaders\arp@elem\vfill\kern -\interligne}\hss}}%
+%
+\def\sh#1{\getn@i{#1}\global\n@raise=\sh@raise
+ \pl@llap{\s@harp\ifdim\small@test\relax\else\kern -0.20\Interligne\fi}%
+}%
+\def\na#1{\getn@i{#1}\global\n@raise=\na@raise
+ \pl@llap{\n@at\ifdim\small@test\relax\else\kern -0.20\Interligne\fi}%
+}%
+\def\fl#1{\getn@i{#1}\global\n@raise=\fl@raise
+ \pl@llap{\f@lat\ifdim\small@test\relax\else\kern -0.20\Interligne\fi}%
+}%
+\def\dsh#1{\getn@i{#1}\global\n@raise=\z@
+ \pl@llap{\ds@harp}}%
+%\check
+\def\dfl#1{\getn@i{#1}\global\n@raise=\fl@raise
+ \pl@llap{\df@lat}}%
+%
+% colons for repeat bars (:| |: :||:)
+%
+%
+%\check
+\def\w@coli{\selectinstr{\p@loop
+ \y@i=\altportee \n@portee
+ \advance\y@i by 1.4\Interligne
+ \raise\y@i\hbox to \z@{\hss\bf .\hss}%
+ \advance\y@i by \Interligne
+ \raise\y@i\hbox to \z@{\hss\bf .\hss}\repeat}}
+%
+\def\type@songsymbols{}
+%
+\def\ilegu#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width
+\i@tenu{#2}}}%
+\def\ilegl#1#2{\selecttenue{#1}{\advance\locx@skip by -1.5\qn@width
+\i@tenl{#2}}}%
+\def\t@ten{\y@i=\t@z\advance\y@i by -\altportee
+\y@ii=\locx@skip\advance\y@ii by -\t@x
+\ifnum\t@p>0\relax
+ \ifnum\t@s=2\relax
+ \raise\y@i\llap{\up@rleg}%
+ \else
+ \raise\y@i\llap{\up@leg}%
+ \fi
+\else
+ \ifnum\t@s=2\relax
+ \raise\y@i\llap{\lo@rleg}%
+ \else
+ \raise\y@i\llap{\lo@leg}%
+ \fi
+\fi
+\global\t@s=0\relax\@uptenubox}%
+%
+\def\c@ten{\y@ii=\x@skip\advance\y@ii by -\t@x
+\ifnum\t@s=1\relax
+ \ifnum\t@p>0\relax
+ \raise\t@z\llap{\up@les}\else
+ \raise\t@z\llap{\lo@les}\fi
+\else\ifnum\t@s=2\relax
+ \global\t@x=\t@z
+ \global\advance\t@x by \t@y
+ \kern -\y@ii\vrule height \t@x depth -\t@z width \y@ii
+ \fi
+\fi
+\global\t@x=-.8pt%<--
+\global\t@s=2\relax}%
+%
+\newdimen\k@ii
+\newdimen\k@iii
+\newdimen\k@iiii
+\newdimen\k@iiv
+\newdimen\k@iv
+\newdimen\k@ivi
+\newdimen\k@ivii
+\newdimen\k@iviii
+\newdimen\k@iix
+
+%
+% positions x et z de debut des tenues
+\newdimen\t@xi\newdimen\t@zi
+\newdimen\t@xii\newdimen\t@zii
+\newdimen\t@xiii\newdimen\t@ziii
+\newdimen\t@xiv\newdimen\t@ziv
+\newdimen\t@xv\newdimen\t@zv
+\newdimen\t@xvi\newdimen\t@zvi
+\newdimen\t@xvii\newdimen\t@zvii
+\newdimen\t@xviii\newdimen\t@zviii
+\newdimen\t@xix\newdimen\t@zix
+\newdimen\t@xx\newdimen\t@zx
+%
+\newdimen\nullthick % pour les parties sans portees (paroles)
+\newdimen\clef@skip
+
diff --git a/Master/texmf-dist/tex/generic/musictex/musicpos.tex b/Master/texmf-dist/tex/generic/musictex/musicpos.tex
new file mode 100644
index 00000000000..dd666c5a309
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicpos.tex
@@ -0,0 +1,43 @@
+% musicpos.tex Version 4.99 decembre 1993 N. Brouard+D. Taupin
+
+\newenvironment{music}{\catcodesmusic\parskip \z@\resetfacteurs
+\def\large{\normal\elemskip=2.4\Interligne}\relax
+\global\linesinpage=0\relax}{}
+%
+\newdimen\largevaugment
+\newdimen\largehaugment
+%
+\newenvironment{largemusic}{\vfill\eject\catcodesmusic\parskip \z@
+\resetfacteurs\def\large{\normal\elemskip=2.4\Interligne}\relax
+\global\linesinpage=0\relax
+%
+\edef\theoldtextwidth{\the\textwidth}
+\edef\theoldtextheight{\the\textheight}
+%
+\def\largetextwidth{185mm}
+\def\largetextheight{260mm}
+\largevaugment=\largetextheight\relax\advance\largevaugment by -\theoldtextheight
+\largehaugment=\largetextwidth\relax\advance\largehaugment by -\theoldtextwidth
+\divide\largevaugment by 2\relax
+\divide\largehaugment by 2\relax
+\advance\voffset by \largevaugment % essai
+\advance\hoffset by -\largehaugment
+\xdef\thelargehoffset{\the\hoffset}
+\hsize\largetextwidth % pour essai
+\textwidth \largetextwidth % pour essai
+%\check 1
+%
+\bgroup
+%\advance\voffset by \largevaugment % essai
+\textwidth \largetextwidth
+%\textheight \largetextheight
+%
+\hsize\largetextwidth
+\vsize\largetextheight}{\egroup
+%
+\advance\voffset by 0.5\largevaugment % essai
+\clearpage
+\advance\voffset by -0.5\largevaugment % essai
+}
+%-% End of musictex.sty
+
diff --git a/Master/texmf-dist/tex/generic/musictex/musicpre.tex b/Master/texmf-dist/tex/generic/musictex/musicpre.tex
new file mode 100644
index 00000000000..b8fe30390f4
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicpre.tex
@@ -0,0 +1,64 @@
+%-% Musictex.sty version 4.61 of June, 12 1992
+%-% Updates to version 4.31 November 1991 of plain musictex
+%-% Musictex.sty version 0.0 of 5, November 1991
+%-% It is a first attempt to make musictex running by LaTeX
+%-% We defined an environment named music to change the catcodes
+%-% of the vertical bar and the ampersand for musictex.
+%-% We used TeX command instead of LaTeX command inside of music.
+%-% It needs a rather big \Tex{}, but emTeX compiler on PCs does the trip
+%-% for small music arrays. It works better on work stations.
+%-% Nicolas Brouard <brouard@frined51>
+%-% With this file you need extra fonts. If extrafonts are
+%-% are not available then use \documenstyle[musicpln]{article}
+%-%
+%-% In both cas you can add the option file bigmusic.sty which
+%-% enlarges LaTeX page to a big size (A4).
+%-% \documentstyle[musicpln,bigmusic]{article}
+%-%
+%-% Here is an example:
+%-% \documentstyle[musictex]{article}
+%-% \begin{document}
+%-%\def\nbinstruments{1}\relax
+%-%\generalmeter{\meterfrac{4}{4}}\relax
+%-%\debutmorceau
+%-%\normal
+%-%\zglu\Notes\rlap{\hu j}\ql h\enotes
+%-%\temps\Notes\hl g\enotes
+%-%\temps\Notes\hu k\enotes
+%-%\temps\Notes\ql f\enotes
+%-%\suspmorceau
+%-% \end{music}
+%-%
+%-% Latex blabla
+%-%
+%-% \begin{music}
+%-%\def\nbinstruments{1}\relax
+%-%\generalmeter{\meterfrac{4}{4}}\relax
+%-%\debutmorceau
+%-%\normal
+%-%\zglu\Notes\rlap{\hu j}\ql h\enotes
+%-%\temps\Notes\hl g\enotes
+%-%\temps\Notes\hu k\enotes
+%-%\temps\Notes\ql f\enotes
+%-%\suspmorceau
+%-% \end{document}
+%-%
+%-% Building Musictex.sty
+%-%
+%-% Two files are required to build musictex.sty from
+%-% the plain distribution, musicpre.tex and musicpos.\TeX{}.
+%-% Then musictex.sty is the concatenation of
+%-% of musicpre.tex+musicnft.tex+musictex.tex+musicvbm.tex+musicpos.tex
+%-% On unix:
+%-% cat musicpre.tex musicnft.tex musictex.tex
+%-% ... musicvbm.tex musicpos.tex >musictex.sty
+%-% On dos:
+%-% copy musicpre.tex+musicnft.tex+musictex.tex+
+%-% ... musicvbm.tex+musicpos.tex musictex.sty
+%-% If you don't have the fonts, you should use:
+%-% On unix:
+%-% cat musicpre.tex musicpln.tex musictex.tex musicpos.tex >musicpln.sty
+%-% On dos:
+%-% copy musicpre.tex+musicpln.tex+musictex.tex+musicpos.tex musicpln.sty
+%-% You also need the option file bigmusic.sty to make wide scores, but real
+%-% large scores are advised to be compiled under TeX, not LaTeX.
diff --git a/Master/texmf-dist/tex/generic/musictex/musicref.tex b/Master/texmf-dist/tex/generic/musictex/musicref.tex
new file mode 100644
index 00000000000..9e99d179389
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicref.tex
@@ -0,0 +1,88 @@
+\input musicnft
+\input musictex
+\input musicsty
+\parindent 0mm\nopagenumbers\def\wbarno{}\def\nbinstruments{1}
+\def\musictex{Music\TeX}\def\zch{\zcharnote}%
+\centerline{\enorme \musictex\ Reference}\bigskip
+\centerline{\moyen Pitches}\bigskip
+\def\LBNT#1#2{\zch{!g}{#1#2}\wh{!#1#2}}\relax
+\def\lbnt#1{\zch g{#1}\wh{#1}}\relax
+\def\lbnu#1#2{\zch g{#1}\zch B{\hbox{\kern -3pt '#2}}\wh{#1}}\relax
+\cleftoksi={6000}\debutmorceau\autolines{26}{1}{12}\temps\relax
+% Pitches
+\notes\LBNT `A\LBNT `B\LBNT `C\LBNT `D\LBNT `E\LBNT `F\LBNT `G\enotes\relax
+\notes\lbnt A\lbnt B\lbnt C\lbnt D\lbnt E\lbnt F\lbnt G\enotes\relax
+\notes\lbnu HA\lbnu IB\lbnu JC\lbnu KD\lbnu LE\lbnu MF\lbnu NG\enotes\relax
+\notes\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\enotes\relax
+\def\lbnu#1#2{\zch K{#1}\zch a{\hbox{\kern -3pt '#2}}\wh{#1}}\relax
+\def\lbnv#1#2{\zch K{#1}\zch a{\hbox{\kern -4pt ''#2}}\wh{#1}}\relax
+\def\lbnw#1#2{\zch K{#1}\zch a{\hbox{\kern -5pt '{'}'#2}}\wh{#1}}\relax
+\cleftoksi={0000}\def\lbnt#1{\zch K{#1}\wh{#1}}\alaligne\notes\relax
+\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\lbnt f\lbnt g\relax
+\lbnu h a\lbnu i b\lbnu j c\lbnu k d\lbnu l e\lbnu m f\lbnu n g\relax
+\lbnv o a\lbnv p b\lbnv q c\lbnv r d\lbnv s e\lbnv t f\lbnv u g\relax
+\lbnw v a\lbnw w b\lbnw x c\lbnw y d\lbnw z e\enotes\suspmorceau
+%
+\bigskip\centerline{\moyen Notes, Accidentals, Accents, and Rests}\bigskip
+\def\mcra#1{\zch r{$\backslash$#1}}\relax
+\def\mcrx#1#2{\zch r{$\backslash$#1}\zch a{#2}}\relax
+% Notes & Accidentals
+\debutmorceau\temps\NOtes\relax
+\mcrx{zsb}{Accidentals:}\zsb i\sk\mcra{zbv}\zbv i\sk\enotes\Notes\relax
+\mcra{wh}\wh i\relax
+\mcrx{hu}{\tt>}\hu {>f}\mcra{hl}\hl l\relax
+\mcrx{qu}{\tt\^}\qu {^f}\mcra{ql}\ql l\relax
+\mcrx{cu}{\tt=}\cu {=f}\mcra{cl}\cl l\enotes\NOtes\relax
+\mcrx{ccu}{\tt\_}\ccu {_f}\mcra{ccl}\ccl l\relax
+\mcrx{cccu}{\tt<}\cccu {<f}\mcra{cccl}\cccl l\relax
+\mcra{ccccu}\ccccu f\mcra{ccccl}\ccccl l\enotes
+% Pointed Notes and Accents
+\def\mcra#1{\zch o{$\backslash$#1}}\alaligne\Notes\relax
+\mcra{pt$\backslash$zbv}\pt j\zbv j\sk\sk\relax
+\mcra{whp}\whp i\mcra{hup}\hup h\mcra{qup}\qup g\mcra{cup}\cup f\relax
+\sk\mcra{pt$\backslash$ccu}\pt e\ccu e\sk\sk\relax
+\mcra{lpz}\lpz g\qu g\mcra{upz}\upz j\ql j\relax
+\mcra{lsf}\lsf g\qu g\mcra{usf}\usf j\ql j\relax
+\mcra{lst}\lst g\qu g\mcra{ust}\ust j\ql j\relax
+\mcra{lppz}\lppz g\qu g\mcra{uppz}\uppz j\ql j\relax
+\enotes\suspmorceau
+% Rests
+\def\mcra#1{\zch u{$\backslash$#1}}\relax% 1 macro
+\def\mcrb#1#2{\zch u{$\backslash$#1}%
+ \zch q{$\backslash$#2}}\relax% 2 alternative macros
+\def\mcrc#1#2#3{\zch y{$\backslash$#1}%
+ \zch u{$\backslash$#2}%
+ \zch q{$\backslash$#3}}\relax% 3 alternative macros
+\debutmorceau\Notes\sk\relax
+\mcrb{seizsoupir}{qqs}\qqs\sk\mcrc{huitsoupir}{hsoupir}{hs}\hs\sk\relax
+\mcrc{quartsoupir}{qsoupir}{qs}\qs\sk\sk\relax
+\mcrc{demisoupir}{dsoupir}{ds}\ds\sk\mcrb{soupir}{qp}\qp\sk\relax
+\mcra{hpause}\hpause\sk\mcra{pause}\pause\sk\relax
+\mcra{PAuse}\PAuse\sk\mcra{PAUSe}\PAUSe\enotes\suspmorceau
+% more Symbols
+\bigskip\centerline{\moyen Other Symbols}\bigskip
+\def\mcra#1{\zch v{$\backslash$#1}}\relax
+\debutmorceau\NOtes\sk\relax
+\mcra{nTrille}\nTrille n 2\sk\mcra{ntrille}\ntrille n 2\sk\sk\relax
+\mcra{pince}\pince n\sk\mcra{Pince}\Pince n\sk\relax
+\mcra{mordant}\mordant n\sk\sk\relax
+\mcra{turn}\turn n\sk\mcra{backturn}\backturn n\sk\sk\relax
+\mcra{coda}\coda n\sk\mcra{segno}\segno n\sk\enotes\relax
+\def\mcra#1{\zch r{$\backslash$#1}}\alaligne\NOtes\sk\relax
+\mcra{pointdorgue}\pointdorgue l\wh k\sk\relax
+\mcra{pointdurgue}\pointdurgue e\wh f\sk\relax
+\mcra{PED}\PED\sk\mcra{DEP}\DEP\sk\relax
+\mcra{arpeggio f 1}\arpeggio f 1\sk\sk\relax
+\mcra{arpeggio d 4}\arpeggio d 4\sk\sk\relax
+\mcra{arpeggio b 7}\arpeggio b 7\sk\enotes\relax
+\def\mcra#1{\zch o{$\backslash$#1}}\alaligne\NOtes\sk\sk\relax
+\mcra{dimin}\zcharnote b{\dimin}\sk\relax
+\mcra{Dimin}\zcharnote b{\Dimin}\sk\sk\relax
+\mcra{DImin}\zcharnote b{\DImin}\sk\sk\sk\relax
+\mcra{DIMin}\zcharnote b{\DIMin}\sk\sk\sk\mcra{octfin}\octfin r 2\sk\sk\relax
+\enotes\alaligne\NOtes\mcra{octline}\octline r\sk\sk\relax
+\mcra{cresc}\zcharnote b{\cresc}\sk\relax
+\mcra{Cresc}\zcharnote b{\Cresc}\sk\sk\relax
+\mcra{CResc}\zcharnote b{\CResc}\sk\sk\sk\relax
+\mcra{CREsc}\zcharnote b{\CREsc}\sk\sk\sk\sk\sk\relax
+\enotes\suspmorceau\bye
diff --git a/Master/texmf-dist/tex/generic/musictex/musicsix.tex b/Master/texmf-dist/tex/generic/musictex/musicsix.tex
new file mode 100644
index 00000000000..a61bc298eb4
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicsix.tex
@@ -0,0 +1,11 @@
+% This file facilitates compilation of some musixtex features.
+% Version 5.13
+
+\newtoks\t@c
+\def\@fourtoks#1#2#3#4#5+{#1#2#3#4}
+
+\def\setclef#1#2{\noinstrum@nt#1\relax \s@l@ctclefs \t@c{#2000}%
+ \cleftoks\expandafter\expandafter\expandafter{\expandafter\@fourtoks\the\t@c+}}
+ \let\setclefs\setclef
+
+\endinput
diff --git a/Master/texmf-dist/tex/generic/musictex/musicsty.tex b/Master/texmf-dist/tex/generic/musictex/musicsty.tex
new file mode 100644
index 00000000000..9149e37d49b
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicsty.tex
@@ -0,0 +1,368 @@
+%
+% This is Musicsty from MusicTeX
+\message{Version 5.14 -- September 20th, 1995}%
+%
+\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12
+\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12
+\def\makeatletter{\catcode`\@=11}
+\def\makeatother{\catcode`\@=12}
+%
+% non musical procedures used in typesetting the non-musical
+% texts together with musictex
+%
+\def\fontid{\fonthdg\fonthdge}
+%
+% eight point fonts
+%
+\font\eightrm=\fontid r8
+\font\eighti=cmmi8 \skewchar\eighti='177
+\font\eightsy=cmsy8 \skewchar\eightsy='60
+\font\eightbf=\fontid bx8
+\font\eightsl=\fontid sl8
+\font\eightit=\fontid ti8
+\font\eighttt=\fontid tt8
+%
+% nine point fonts
+%
+\font\ninerm=\fontid r9
+\font\ninei=cmmi10 scaled 900 \skewchar\ninei='177
+\font\ninesy=cmsy10 scaled 900 \skewchar\ninesy='60
+\font\ninebf=\fontid bx9
+\font\ninesl=\fontid sl9
+\font\nineit=\fontid ti9
+\font\ninett=\fontid tt9
+%
+% twelve point fonts
+%
+\font\twlrm=\fontid r12
+\font\twli=cmmi12 \skewchar\twli='177
+\font\twlsy=cmsy10 scaled \magstep1 \skewchar\twlsy='60
+\font\twlbf=\fontid bx12
+\font\twlsl=\fontid sl12
+\font\twlit=\fontid ti12
+\font\twltt=\fontid tt12
+%
+% fourteen point fonts
+%
+\font\frtrm=\fontid r12 scaled \magstep1
+\font\frti=cmmi12 scaled \magstep1 \skewchar\frti='177
+\font\frtsy=cmsy10 scaled \magstep2 \skewchar\frtsy='60
+\font\frtbf=\fontid bx12 scaled \magstep1
+\font\frtsl=\fontid sl12 scaled \magstep1
+\font\frtit=\fontid ti12 scaled \magstep1
+\font\frttt=\fontid tt12 scaled \magstep1
+%
+% seventeen point fonts
+%
+\font\svtrm=\fontid r17
+\font\svti=cmmi12 scaled \magstep2 \skewchar\svti='177
+\font\svtsy=cmsy10 scaled \magstep3 \skewchar\svtsy='60
+\font\svtbf=\fontid bx12 scaled \magstep2
+\font\svtsl=\fontid sl12 scaled \magstep2
+\font\svtit=\fontid ti12 scaled \magstep2
+\font\svttt=\fontid tt12 scaled \magstep2
+%
+% twenty point fonts
+%
+\font\twtyrm=\fontid r17 scaled \magstep1
+\font\twtyi=cmmi12 scaled \magstep3 \skewchar\twtyi='177
+\font\twtysy=cmsy10 scaled \magstep4\skewchar\twtysy='60
+\font\twtybf=\fontid bx12 scaled \magstep3
+\font\twtysl=\fontid sl12 scaled \magstep3
+\font\twtyit=\fontid ti12 scaled \magstep3
+\font\twtytt=\fontid tt12 scaled \magstep3
+%
+% twenty five point fonts
+%
+\font\twfvrm=\fontid r17 scaled \magstep2
+\font\twfvi=cmmi12 scaled \magstep4 \skewchar\twfvi='177
+\font\twfvsy=cmsy10 scaled \magstep5 \skewchar\twfvsy='60
+\font\twfvbf=\fontid bx12 scaled \magstep4
+\font\twfvsl=\fontid sl12 scaled \magstep4
+\font\twfvit=\fontid ti12 scaled \magstep4
+\font\twfvtt=\fontid tt12 scaled \magstep4
+%
+% SEVERAL DIFFERENT POINT SIZES
+%
+\def\twfvpoint{\Twfvpoint}
+\def\Twfvpoint{\normalbaselineskip=30pt
+\def\rm{\fam0\twfvrm}%
+\def\it{\fam\itfam\twfvit}%
+\def\sl{\fam\slfam\twfvsl}%
+\def\bf{\fam\bffam\twfvbf}%
+\def\smc{\twfvrm}%
+\def\mit{\fam 1}%
+\def\cal{\fam 2}%
+\textfont0=\twfvrm \scriptfont0=\twtyrm \scriptscriptfont0=\svtrm
+\textfont1=\twfvi \scriptfont1=\twtyi \scriptscriptfont1=\svti
+\textfont2=\twfvsy \scriptfont2=\twtysy \scriptscriptfont2=\svtsy
+\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
+\textfont\itfam=\twfvit \scriptfont\itfam=\twtyit
+\textfont\slfam=\twfvsl \scriptfont\slfam=\twtysl
+\textfont\bffam=\twfvbf \scriptfont\bffam=\twtybf
+\scriptscriptfont\bffam=\twtybf
+\setbox\strutbox=\hbox{\vrule height 22pt depth 8pt width 0pt}%
+\def\tt{\twfvtt}\normalbaselines\rm}
+%
+\def\twtypoint{\Twtypoint}
+\def\Twtypoint{\normalbaselineskip=25pt
+\def\rm{\fam0\twtyrm}%
+\def\it{\fam\itfam\twtyit}%
+\def\sl{\fam\slfam\twtysl}%
+\def\bf{\fam\bffam\twtybf}%
+\def\smc{\twtyrm}%
+\def\mit{\fam 1}%
+\def\cal{\fam 2}%
+\textfont0=\twtyrm \scriptfont0=\svtrm \scriptscriptfont0=\frtrm
+\textfont1=\twtyi \scriptfont1=\svti \scriptscriptfont1=\frti
+\textfont2=\twtysy \scriptfont2=\svtsy \scriptscriptfont2=\frtsy
+\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
+\textfont\itfam=\twtyit \scriptfont\itfam=\svtit
+\textfont\slfam=\twtysl \scriptfont\slfam=\svtsl
+\textfont\bffam=\twtybf \scriptfont\bffam=\svtbf
+\scriptscriptfont\bffam=\svtbf
+\setbox\strutbox=\hbox{\vrule height 18pt depth 7pt width 0pt}%
+\def\tt{\twtytt}\normalbaselines\rm}
+%
+\def\svtpoint{\Svtpoint}
+\def\Svtpoint{\normalbaselineskip=21pt
+\def\rm{\fam0\svtrm}%
+\def\it{\fam\itfam\svtit}%
+\def\sl{\fam\slfam\svtsl}%
+\def\bf{\fam\bffam\svtbf}%
+\def\smc{\svtrm}%
+\def\mit{\fam 1}%
+\def\cal{\fam 2}%
+\textfont0=\svtrm \scriptfont0=\frtrm \scriptscriptfont0=\twlrm
+\textfont1=\svti \scriptfont1=\frti \scriptscriptfont1=\twli
+\textfont2=\svtsy \scriptfont2=\frtsy \scriptscriptfont2=\twlsy
+\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
+\textfont\itfam=\svtit \scriptfont\itfam=\frtit
+\textfont\slfam=\svtsl \scriptfont\slfam=\frtsl
+\textfont\bffam=\svtbf \scriptfont\bffam=\frtbf
+\scriptscriptfont\bffam=\frtbf
+\setbox\strutbox=\hbox{\vrule height 14.5pt depth 6.5pt width 0pt}%
+\def\tt{\svttt}\normalbaselines\rm}
+%
+\def\frtpoint{\Frtpoint}
+\def\Frtpoint{\normalbaselineskip=17pt
+\def\rm{\fam0\frtrm}%
+\def\it{\fam\itfam\frtit}%
+\def\sl{\fam\slfam\frtsl}%
+\def\bf{\fam\bffam\frtbf}%
+\def\smc{\frtrm}%
+\def\mit{\fam 1}%
+\def\cal{\fam 2}%
+\textfont0=\frtrm \scriptfont0=\twlrm \scriptscriptfont0=\eightrm
+\textfont1=\frti \scriptfont1=\twli \scriptscriptfont1=\eighti
+\textfont2=\frtsy \scriptfont2=\twlsy \scriptscriptfont2=\eightsy
+\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
+\textfont\itfam=\frtit \scriptfont\itfam=\twlit
+\textfont\slfam=\frtsl \scriptfont\slfam=\twlsl
+\textfont\bffam=\frtbf \scriptfont\bffam=\twlbf
+\scriptscriptfont\bffam=\twlbf
+\setbox\strutbox=\hbox{\vrule height 12pt depth 5pt width 0pt}%
+\def\tt{\frttt}\normalbaselines\rm}
+%
+\def\twlpoint{\Twlpoint}
+\def\Twlpoint{\normalbaselineskip=14pt
+\def\rm{\fam0\twlrm}%
+\def\it{\fam\itfam\twlit}%
+\def\sl{\fam\slfam\twlsl}%
+\def\bf{\fam\bffam\twlbf}%
+\def\smc{\twlrm}%
+\def\mit{\fam 1}%
+\def\cal{\fam 2}%
+\textfont0=\twlrm \scriptfont0=\tenrm \scriptscriptfont0=\eightrm
+\textfont1=\twli \scriptfont1=\teni \scriptscriptfont1=\eighti
+\textfont2=\twlsy \scriptfont2=\tensy \scriptscriptfont2=\eightsy
+\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
+\textfont\itfam=\twlit \scriptfont\itfam=\tenit
+\textfont\slfam=\twlsl \scriptfont\slfam=\tensl
+\textfont\bffam=\twlbf \scriptfont\bffam=\tenbf
+\scriptscriptfont\bffam=\tenbf
+\setbox\strutbox=\hbox{\vrule height 10pt depth 4pt width 0pt}%
+\def\tt{\twltt}\normalbaselines\rm}
+%
+%
+\def\tenpoint{\Tenpoint}
+\def\Tenpoint{\normalbaselineskip=12pt
+\def\rm{\fam0\tenrm}%
+\def\it{\fam\itfam\tenit}%
+\def\sl{\fam\slfam\tensl}%
+\def\bf{\fam\bffam\tenbf}%
+\def\smc{\tenrm}%
+\def\mit{\fam 1}%
+\def\cal{\fam 2}%
+\textfont0=\tenrm \scriptfont0=\eightrm \scriptscriptfont0=\eightrm
+\textfont1=\teni \scriptfont1=\eighti \scriptscriptfont1=\eighti
+\textfont2=\tensy \scriptfont2=\eightsy \scriptscriptfont2=\eightsy
+\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
+\textfont\itfam=\tenit \scriptfont\itfam=\eightit
+\textfont\slfam=\tensl \scriptfont\slfam=\eightsl
+\textfont\bffam=\tenbf \scriptfont\bffam=\eightbf
+\scriptscriptfont\bffam=\eightbf
+\setbox\strutbox=\hbox{\vrule height 8.5pt depth 3.5pt width 0pt}%
+\def\tt{\tentt}\normalbaselines\rm}
+%
+\def\eightpoint{\Eightpoint}
+\def\Eightpoint{\normalbaselineskip=10pt
+\def\rm{\fam0\eightrm}%
+\def\it{\fam\itfam\eightit}%
+\def\sl{\fam\slfam\eightsl}%
+\def\bf{\fam\bffam\eightbf}%
+\def\mit{\fam 1}%
+\def\cal{\fam 2}%
+\textfont0=\eightrm \scriptfont0=\eightrm \scriptscriptfont0=\eightrm
+\textfont1=\eighti \scriptfont1=\eighti \scriptscriptfont1=\eighti
+\textfont2=\eightsy \scriptfont2=\eightsy \scriptscriptfont2=\eightsy
+\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
+\textfont\itfam=\eightit \scriptfont\itfam=\eightit
+\textfont\slfam=\eightsl \scriptfont\slfam=\eightsl
+\textfont\bffam=\eightbf \scriptfont\bffam=\eightbf
+\scriptscriptfont\bffam=\eightbf
+\setbox\strutbox=\hbox{\vrule height 7pt depth 3pt width 0pt}%
+\def\tt{\eighttt}\normalbaselines\rm}
+%
+\def\ninepoint{\Ninepoint}
+\def\Ninepoint{\normalbaselineskip=10pt
+\def\rm{\fam0\ninerm}%
+\def\it{\fam\itfam\nineit}%
+\def\sl{\fam\slfam\ninesl}%
+\def\bf{\fam\bffam\ninebf}%
+\def\mit{\fam 1}%
+\def\cal{\fam 2}%
+\textfont0=\ninerm \scriptfont0=\ninerm \scriptscriptfont0=\ninerm
+\textfont1=\ninei \scriptfont1=\ninei \scriptscriptfont1=\ninei
+\textfont2=\ninesy \scriptfont2=\ninesy \scriptscriptfont2=\ninesy
+\textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex
+\textfont\itfam=\nineit \scriptfont\itfam=\nineit
+\textfont\slfam=\ninesl \scriptfont\slfam=\ninesl
+\textfont\bffam=\ninebf \scriptfont\bffam=\ninebf
+\scriptscriptfont\bffam=\ninebf
+\setbox\strutbox=\hbox{\vrule height 7pt depth 3pt width 0pt}%
+\def\tt{\ninett}\normalbaselines\rm}
+%
+% GENERAL FOOTNOTES
+%
+\newcount\footmarkcount
+\footmarkcount=0\relax
+\def\resetfootnote{\global\footmarkcount=0\relax}
+%
+\def\footmarknumber{\raise 0.8ex\hbox{\eightpoint\rm\the\footmarkcount}}
+%
+\def\Footnote#1{\global\advance\footmarkcount by 1\relax
+\footnote{\footmarknumber}{#1}}%
+%\check
+% \TeX book footnote
+%
+% En cas de panique: couper en deux (une seule note autorisee)
+%
+\def\markfootnote{{\advance\footmarkcount by 1\relax\footmarknumber}}
+%
+\def\realfootnote#1{\global\advance\footmarkcount by 1\relax
+\vfootnote{{\footmarknumber}#1}}%
+%
+\def\footnotehsize{}% to enable inserting different \hsize (two columns case)
+\def\vfootnote#1{\insert\footins\bgroup\parskip \z@\eightpoint
+ \interlinepenalty=\interfootnotelinepenalty
+ \splittopskip=\ht\strutbox \advance\splittopskip by 1pt
+ \splitmaxdepth=\dp\strutbox \floatingpenalty=20000
+ \leftskip=\z@ \rightskip=\z@
+ \spaceskip \z@ \xspaceskip \z@
+ \eightpoint\footnotehsize\noindent{#1}\footstrut\futurelet\next\fo@t}
+%
+%\check
+%
+\def\footnoterule{\vskip-3pt
+ \hrule width 2truein \vskip 2.6pt } % the \hrule is .4pt high
+%
+%
+\def\aujourdhui{\space\number\day\space\ifcase\month\or
+janvier\or f\'evrier\or mars\or avril\or
+mai\or juin\or juillet\or ao\^ut\or septembre\or
+octobre\or novembre\or d\'ecembre\fi
+\space\number\year}
+\def\today{\space\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,\space\number\year}
+\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt
+ \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}}
+\def\cenboxit#1{\centerline{\hbox{\boxit{#1}}}}
+\def\Item{\medskip\item}
+%
+\def\nologo{}
+%
+\def\umero{\raise 0.8ex\hbox{\kern-0.05em\the\scriptfont\fam o}}
+
+\let\titremorceau\empty
+\def\shorttitle#1{\def\titremorceau{#1}}
+\def\title{\shorttitle}
+\def\subtitle#1{\def\subt@itremorceau{#1}}
+\let\headt@itremorceau\undefined
+\def\headtitle#1{\def\headt@itremorceau{#1}}
+\def\fulltitle{\headtitle}
+\let\othert@itremorceau\empty
+\def\othermention#1{\def\othert@itremorceau{#1}}
+
+\let\s@hortauthor\empty
+\def\shortauthor#1{\def\s@hortauthor{#1}}
+
+\def\fullauthor#1{\def\f@ullauthor{#1}}
+\def\author{\fullauthor}
+
+\newif\ifcopyright
+
+\def\outmorceau{\shipout\vbox to 270mm{\tenpoint\vss\pagecontents\vss\line{%
+\ifodd\pageno\sl \titremorceau\ \ifx\s@hortauthor\empty
+ \else(\s@hortauthor)
+ \fi
+\ifcopyright
+\rm$\copyright$\fi \hss
+\number\pageno
+\else\rm\number\pageno\hss\sl \titremorceau\
+ \ifx\s@hortauthor\empty
+ \else(\s@hortauthor)
+ \fi
+\ifcopyright\rm$\copyright$\fi\fi}}%
+ \global\advance\count0 by 1\relax
+ \ifnum\outputpenalty>-20000 \else\dosupereject\fi}%
+
+\output{\outmorceau}
+
+\def\maketitle{\centerline{\enorme \ifx\headt@itremorceau\undefined
+ \titremorceau\else\headt@itremorceau\fi}
+\medskip
+\ifx\subt@itremorceau\undefined\else
+ \centerline{\tenpoint\sl \subt@itremorceau}
+\medskip
+\fi
+
+
+\hbox to \hsize{\tenpoint
+ \vtop{\def\\{\hss\egroup\hbox to 0.5\hsize\bgroup\relax}\relax
+ \hbox to 0.5\hsize
+ \bgroup\othert@itremorceau\hss
+ \egroup
+ }\hss
+ \vtop{\def\\{\egroup\hbox to 0.5\hsize\bgroup\relax\hss}\relax
+ \hbox to 0.5\hsize
+ \bgroup\hss\f@ullauthor
+ \egroup
+ }}
+\bigskip
+}
+
+\catcode`\>=\catcode@gt
+\catcode`\<=\catcode@lt
+\catcode`\@=\catcodeat
+
+\hsize=185mm
+\vsize=264mm
+\hoffset=-1.79cm
+\voffset=-1.54cm
+
+\endinput
diff --git a/Master/texmf-dist/tex/generic/musictex/musictex.tex b/Master/texmf-dist/tex/generic/musictex/musictex.tex
new file mode 100644
index 00000000000..d384e72438a
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musictex.tex
@@ -0,0 +1,2440 @@
+%
+ % THIS is MusicTeX
+\def\mcversion{5.18}
+\message{Version \mcversion\space -- August 26th, 1996}%
+
+\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+
+\newif\ifcatcodesmusic
+
+\def\catcodesmusic{\ifcatcodesmusic\relax
+ \else
+ \edef\catcode@gt{\the\catcode`\>}\catcode`\>=12%
+ \edef\catcode@lt{\the\catcode`\<}\catcode`\<=12%
+ \edef\catcode@vert{\the\catcode`\|}\catcode`\|=13%
+ \edef\catcode@and{\the\catcode`\&}\catcode`\&=13%
+ \edef\catcode@excl{\the\catcode`\!}\catcode`\!=12%
+ \edef\catcode@star{\the\catcode`\*}\catcode`\*=12%
+ \edef\catcode@pt{\the\catcode`\.}\catcode`\.=12%
+ \edef\catcode@sc{\the\catcode`\:}\catcode`\:=12%
+ \fi\catcodesmusictrue}
+
+ \catcodesmusic
+
+ % PARAMETERS DIFFERENT THAN IN PLAIN
+ %
+\normallineskiplimit=\p@
+\parindent 10mm
+ %
+ % EXTRA FONTS NEEDED
+ %
+\font\enorme=\fonthdg\fonthdge bx12 scaled \magstep4
+\font\moyen=\fonthdg\fonthdge bx12 scaled \magstep1
+\font\tentt=\fonthdg\fonthdge tt10
+\font\ppffsixteen=\fonthdg\fonthdge bxti10
+\font\ppfftwenty=\fonthdg\fonthdge bxti10 scaled \magstep1
+ %
+\tolerance=10000\relax
+ % procedures speciales D. taupin
+ % **** \hsize 16cm \vsize 24cm
+ %
+\let\@plainwlog=\wlog
+\def\wlog#1{}%
+ %
+ %\check
+ %
+\raggedbottom
+\def\p@t{\kern 1.5pt\pointfont\char"2E}%
+\def\P@t{\pt@raise\hbox{\p@t}}%
+\def\PP@t{\pt@raise\hbox{\p@t\char"2E}}%
+\def\PPP@t{\pt@raise\hbox{\p@t\char"2E\char"2E}}%
+ %
+ %\check
+ %
+\def\f@tok#1#2\af@tok{#1}%
+\def\s@tok#1#2\af@tok{#2}%
+ %
+\def\gl@au#1{\ifnum #1<0\relax\global\advance #1 by -1\relax\fi
+ \ifnum #1>0\relax\global\advance #1 by 1\relax\fi}%
+\def\gl@de#1{\ifnum #1<0\relax\global\advance #1 by 1\relax\fi
+ \ifnum #1>0\relax\global\advance #1 by -1\relax\fi}%
+ %
+ %
+ % Amount of skip needed at bar lines
+\newskip\tempsskip
+\newdimen\brace@w
+\newdimen\afterruleskip
+\newdimen\pt@up % offset point de notes pointees
+\newdimen\noteskip
+\newdimen\elemskip
+\newdimen\q@antum
+\newdimen\n@raise
+\newdimen\n@width
+\newdimen\stem@skip
+\newdimen\interligne % entre les lignes
+ %%%% \newdimen\nullthick % pour les parties sans portees (paroles)
+\newdimen\staffbotmarg % marge au-dessous des portees
+\newdimen\stafftopmarg % au-dessus des portees
+\newdimen\Internote % la moitie de \Interligne
+\def\internote{\Internote}%
+\newdimen\interbeam % distance entre poutres
+\newdimen\Interligne % de la base d'une ligne a l'autre
+\newdimen\interportee % distance between staffs of the same instrument (incl)
+\newdimen\Interportee % distance between staffs of the same instrument (excl)
+\newdimen\interinstrument % distance between instruments (added to \interportee)
+\newdimen\systemheight
+ %
+\newdimen\altplancher
+\newdimen\altportee
+\newdimen\line@width
+\newdimen\x@skip
+\newdimen\locx@skip
+\newdimen\st@bot % note stem bottom
+\newdimen\st@top % note stem top
+ %
+ % positions x et z de debut des tenues
+\newdimen\t@xi\newdimen\t@zi
+\newdimen\t@xii\newdimen\t@zii
+\newdimen\t@xiii\newdimen\t@ziii
+\newdimen\t@xiv\newdimen\t@ziv
+\newdimen\t@xv\newdimen\t@zv
+\newdimen\t@xvi\newdimen\t@zvi
+ %
+\newdimen\t@y
+ %
+ % signes des tenues ( \t@p: entier de -1 a +1 )
+ % etat des tenues ( \t@s: 0= inactive, 1= actif, 2= continuation )
+ %
+\newcount\t@pi\newcount\t@si
+\newcount\t@pii\newcount\t@sii
+\newcount\t@piii\newcount\t@siii
+\newcount\t@piv\newcount\t@siv
+\newcount\t@pv\newcount\t@sv
+\newcount\t@pvi\newcount\t@svi
+ %
+ % positions x et z de debut des poutres
+\newdimen\b@xi\newdimen\b@zi
+\newdimen\b@xii\newdimen\b@zii
+\newdimen\b@xiii\newdimen\b@ziii
+\newdimen\b@xiv\newdimen\b@ziv
+\newdimen\b@xv\newdimen\b@zv
+\newdimen\b@xvi\newdimen\b@zvi
+ %
+\newdimen\bb@xi\newdimen\bb@zi
+\newdimen\bb@xii\newdimen\bb@zii
+\newdimen\bb@xiii\newdimen\bb@ziii
+\newdimen\bb@xiv\newdimen\bb@ziv
+\newdimen\bb@xv\newdimen\bb@zv
+\newdimen\bb@xvi\newdimen\bb@zvi
+ %
+\newdimen\bbb@xi\newdimen\bbb@zi
+\newdimen\bbb@xii\newdimen\bbb@zii
+\newdimen\bbb@xiii\newdimen\bbb@ziii
+\newdimen\bbb@xiv\newdimen\bbb@ziv
+\newdimen\bbb@xv\newdimen\bbb@zv
+\newdimen\bbb@xvi\newdimen\bbb@zvi
+ %
+\newdimen\bbbb@zi
+\newdimen\bbbb@zii
+\newdimen\bbbb@ziii
+\newdimen\bbbb@ziv
+\newdimen\bbbb@zv
+\newdimen\bbbb@zvi
+ %
+\newdimen\bbbbb@zi
+\newdimen\bbbbb@zii
+\newdimen\bbbbb@ziii
+\newdimen\bbbbb@ziv
+\newdimen\bbbbb@zv
+\newdimen\bbbbb@zvi
+ %
+ % pentes des poutres ( entier de -3 a +3 )
+ % multiplicite des poutres ( de -5 a +5 . 0= inactive )
+ %
+\newcount\b@pi\newcount\b@ni
+\newcount\b@pii\newcount\b@nii
+\newcount\b@piii\newcount\b@niii
+\newcount\b@piv\newcount\b@niv
+\newcount\b@pv\newcount\b@nv
+\newcount\b@pvi\newcount\b@nvi
+ %
+\newif\ifraggedlines
+ %
+\newcount\barno
+\newcount\lastbarno
+\newcount\notes@open
+\def\check@nopen{\ifnum\notes@open>0\relax\enotes\errmessage{ missing
+ \noexpand\enotes\ mesure \the\barno}\fi}%
+ %
+ % altitudes des portees de chaque instrument
+ %
+\newcount\ut@ref
+\newcount\noportee
+\newcount\noinstrument
+ %
+\newcount\nbporteesi
+\newcount\nbporteesii
+\newcount\nbporteesiii
+\newcount\nbporteesiv
+\newcount\nbporteesv
+\newcount\nbporteesvi
+ %
+\newcount\signi
+\newcount\signii
+\newcount\signiii
+\newcount\signiv
+\newcount\signv
+\newcount\signvi
+ %
+\newif\ifadvance\advancetrue
+\newcount\transpose
+\newcount\normaltranspose
+\newcount\o@signi
+\newcount\o@signii
+\newcount\o@signiii
+\newcount\o@signiv
+\newcount\o@signv
+\newcount\o@signvi
+ %
+\newtoks\cleftoksi
+\newtoks\cleftoksii
+\newtoks\cleftoksiii
+\newtoks\cleftoksiv
+\newtoks\cleftoksv
+\newtoks\cleftoksvi
+ %
+\newtoks\o@cksi
+\newtoks\o@cksii
+\newtoks\o@cksiii
+\newtoks\o@cksiv
+\newtoks\o@cksv
+\newtoks\o@cksvi
+ %
+\newtoks\metertoksi
+\newtoks\metertoksii
+\newtoks\metertoksiii
+\newtoks\metertoksiv
+\newtoks\metertoksv
+\newtoks\metertoksvi
+ %
+\global\nbporteesi=1%
+\global\nbporteesii=1%
+\global\nbporteesiii=1%
+\global\nbporteesiv=1%
+\global\nbporteesv=1%
+\global\nbporteesvi=1%
+\global\cleftoksi={{0}{0}{0}{0}}%
+\global\cleftoksii={{0}{0}{0}{0}}%
+\global\cleftoksiii={{0}{0}{0}{0}}%
+\global\cleftoksiv={{0}{0}{0}{0}}%
+\global\cleftoksv={{0}{0}{0}{0}}%
+\global\cleftoksvi={{0}{0}{0}{0}}%
+ %
+ %\check
+ %
+\def\n@advance{\global\advance\noinstrument by 1\relax}%
+\def\n@loop{\global\noinstrument=0\relax\loop
+ \ifnum\noinstrument<\nbinstruments\relax\n@advance
+ \selectinstr}%
+\def\m@loop{\global\noinstrument=0\relax\loop
+ \ifnum\noinstrument<\maxinstruments\relax\n@advance
+ \selectinstr}%
+ %
+\def\savemeters{\savemeter}%
+\def\savemeter{\m@loop\global\metertoks={{}{}{}{}}\repeat}%
+ %\check
+\def\maxinstruments{6}%
+
+\def\setclef#1{\noinstrument #1\relax\selectinstr \cleftoks}
+\let\setclefs\setclef
+
+\def\setstaffs#1{\noinstrument #1\relax\selectinstr \nbportees}
+
+\def\setinterinstrument#1#2{\noinstrument #1\relax
+ \expandafter\def\csname interinstrument\romannumeral\noinstrument\endcsname{#2}}
+
+ %
+\def\selectinstr{%
+\xdef\altitude{\csname k@i\romannumeral\noinstrument\endcsname}%
+\xdef\nbportees{\csname nbportees\romannumeral\noinstrument\endcsname}%
+\xdef\staffspacing{\csname staffspacing\romannumeral\noinstrument\endcsname}%
+\xdef\stafflinesnb{\csname stafflinesnb\romannumeral\noinstrument\endcsname}%
+\xdef\clefdut{\csname clefdut\romannumeral\noinstrument\endcsname}%
+\xdef\clefdefa{\csname clefdefa\romannumeral\noinstrument\endcsname}%
+\xdef\clefdesol{\csname clefdesol\romannumeral\noinstrument\endcsname}%
+\xdef\internote{\csname internote\romannumeral\noinstrument\endcsname}%
+\xdef\sign{\csname sign\romannumeral\noinstrument\endcsname}%
+\xdef\o@sign{\csname o@sign\romannumeral\noinstrument\endcsname}%
+\xdef\cleftoks{\csname cleftoks\romannumeral\noinstrument\endcsname}%
+\xdef\metertoks{\csname metertoks\romannumeral\noinstrument\endcsname}%
+\xdef\o@cks{\csname o@cks\romannumeral\noinstrument\endcsname}%
+\interportee=\interfacteur\internote
+\interportee=2\interportee
+\Interportee=\interportee
+\advance\Interportee by -\stafflinesnb\internote
+\advance\Interportee by -\stafflinesnb\internote
+\advance\Interportee by 2\internote
+}
+ %\check
+ %
+ % compteurs de travail
+ %
+\newcount\n@i
+\newcount\n@ii
+\newcount\n@iii
+ %
+ % registres de travail
+ %
+\newbox\toks@box
+\newbox\w@rkbox
+\newbox\n@otebox
+ %
+ %%%%\newdimen\clef@skip
+\newdimen\sign@skip
+ %
+\newdimen\y@
+\newdimen\y@i
+\newdimen\y@ii
+\newdimen\y@iii
+\newdimen\y@iv
+\newdimen\y@v
+ %
+\newtoks\arg@suite
+\def\hlthick{0.5\lthick}
+\def\vdlthick{\vrule depth \hlthick}
+ %
+ % fabrique un jeu complet (ou systeme complet de portees)
+ % en fonction de \nbinstruments
+\def\null@portee{\global\advance\y@ by \nullthick
+ \ifdim\systemheight>\p@\global\advance\systemheight by \nullthick
+ \else
+ \global\advance\altplancher by \nullthick
+ \fi
+}%
+ %
+ %\check
+ %
+\ifx\mult@portee\undefined
+ \def\mult@portee{\y@ii=\nbportees\interportee
+ \advance\y@ii by -\Interportee
+ \advance\y@ii by \nbportees\lthick
+ \advance\y@ii by -\lthick
+ \raise\y@\llap{\cmex\raise 8\p@\rlap{\char'072}\raise\y@ii\rlap{\char
+'070}\divide\y@ii by 2\relax{\advance\y@ii by 8\p@\raise\y@ii\rlap{\char
+'074}}\y@v=\y@ii\relax\advance\y@v by -5\p@
+ \kern 3.8\p@
+ \vrule depth -5\p@ height \y@v width 1.2\p@ \kern -1.2\p@
+ \advance\y@v by \y@ii
+ \advance\y@ii by 5\p@
+ \vrule depth -\y@ii height \y@v width 1.2\p@
+ \kern 2.5\p@}}%
+\fi % end \ifx \mult@portee
+ %
+ %\check
+ %
+\def\n@portee{\global\advance\noportee by 1\relax}%
+\def\p@loop{\global\noportee=0\relax
+ \loop\ifnum\noportee<\nbportees\relax\alt@comp}%
+ %
+ %\check
+ %
+\def\alt@comp{\altportee=\altitude
+ \advance\altportee by \noportee\interportee}%
+ %
+\def\lowersonginstrum{99} % to be used to make heavy bars at staff left
+\def\uppersonginstrum{0} % to be used to make heavy bars at staff left
+\newdimen\lowersongalt
+\newdimen\uppersongalt
+ %
+\def\portees{\rlap{\global\y@=\staffbotmarg
+ %
+\lowersongalt=\z@
+\uppersongalt=\z@
+\global\systemheight=\z@
+\global\altplancher=\y@
+\n@loop
+ %
+ \global\noportee=0\relax
+ \global\altitude=\y@
+ \ifnum\noinstrument=\lowersonginstrum\relax
+ \lowersongalt=\altitude
+ \fi
+ %
+ \ifnum\nbportees=0\relax
+ \null@portee
+ \else
+ \ifnum\nbportees>1\relax
+ \mult@portee
+ \fi
+ {\loop \raise\y@\portee
+ \n@portee \global\advance\y@ by \interportee
+ \global\advance\systemheight by \interportee
+ \ifnum\noportee<\nbportees
+ \repeat}\fi % fin du \else pour 0 portees=chant
+ \ifnum\noinstrument=\uppersonginstrum\relax\uppersongalt=\y@
+ \advance\uppersongalt by -\Interportee
+ \advance\uppersongalt by \hlthick
+ \fi
+ \ifnum\noinstrument<\nbinstruments
+ \xdef\interinstrum{\csname interinstrument\romannumeral\noinstrument
+ \endcsname}%
+ \expandafter\ifx\interinstrum\relax\xdef\interinstrum{\interinstrument}\fi
+ \global\advance\systemheight by \interinstrum
+ \global\advance\y@ by \interinstrum
+ \fi
+\repeat
+\global\advance\systemheight by -\Interportee
+\global\advance\systemheight by \hlthick
+ %
+\raise\altplancher\rlap{\vdlthick height \systemheight}%
+\ifnum\uppersonginstrum>\lowersonginstrum\relax
+ \advance\uppersongalt by -\lowersongalt
+ \raise\lowersongalt
+ \llap{\vdlthick height \uppersongalt width 0.6\Interligne
+ \kern 0.3\Interligne
+ \vdlthick height \uppersongalt width \lthick}\type@songsymbols
+\fi
+{\advance\stafftopmarg by \staffbotmarg
+\raise \stafftopmarg\hbox{\vdlthick height \systemheight width \z@}}}}%
+ %
+ %\check
+ % portee simple
+\def\staffline{\kern\internote\kern\internote\kern -\lthick
+\hrule width \line@width height \hlthick depth \hlthick
+}
+\def\portee{\rlap{\vbox to \z@ {\vss
+\ifnum\stafflinesnb>5\staffline\fi
+\ifnum\stafflinesnb>4\staffline\fi
+\ifnum\stafflinesnb>3\staffline\fi
+\ifnum\stafflinesnb>2\staffline\fi
+\ifnum\stafflinesnb>1\staffline\fi
+\ifnum\stafflinesnb>0\staffline\fi\kern -\hlthick
+}}}%
+ %\check
+ %
+ % initialisations des dimensions etc...
+ %
+ %*************** definition des titres des instruments
+ % ***********************
+ %
+\def\instrumenti{}%
+\def\instrumentii{}%
+\def\instrumentiii{}%
+\def\instrumentiv{}%
+\def\instrumentv{}%
+\def\instrumentvi{}%
+ %\check
+ %
+\def\maxlegatenuti{6}%
+\def\ten@loop{\global\n@l=0\relax\loop\ifnum\n@l<\maxlegatenuti\relax
+ \selecttenue{\n@l}}%
+ %
+\def\resettens{\resetlegs}%
+\newcount\n@l
+\def\resetlegs{\global\setbox\@tenubox
+ \hbox{\kern\tenboxwidth}\ten@loop \global\t@p=0\relax \global\t@s=0\relax
+ \global\advance\n@l by 1\relax
+ \repeat}%
+ %
+ %\check
+ %
+\def\piece@begina{\barno=1\relax\global\barsinline=0\relax
+\frenchspacing\ifnum1>\nbinstruments\errmessage{\noexpand\nbinstruments
+ not defined !}\fi
+\def\barvrule{\thinvrule}\resetlegs
+\savesignature\computewidths}%
+ %
+\def\debutmorceau{\catcodesmusic\leavevmode\piece@begina
+\advance\line@width by -\parindent
+\portees\instrumentnames
+\advance\line@width by \parindent
+\tempsskip=2pt plus \gluemaxskip minus 2pt
+\zglueskip=0pt plus \gluemaxskip minus .5pt%
+\piece@beginb\setnormalhyphen}%
+ %
+\def\piece@beginb{\writeclefs\everystaff
+\writesignatures\writemeters
+\save@all\currenthyphenpenalty}%
+ %
+\def\save@all{\saveclefs\savesignature\savemeters}%
+ %
+\def\debutextrait{\catcodesmusic\piece@begina
+\setbox\w@rkbox=\hbox{\portees}% to compute heights
+\setbox\w@rkbox=\hbox\bgroup
+\def\barre{\xbarre}\piece@beginb}%
+ %\check
+\def\zfinextrait{\def\suspmorceau{\zsuspmorceau}\finextrait}
+\def\finextrait{\def\z@suspend{}\suspmorceau\egroup
+\line@width=\wd\w@rkbox
+\centerline{\instrumentnames\portees\unhbox\w@rkbox}\endcatcodesmusic}%
+ %
+ % saving penalties to be able to restore them at the end of music
+ %
+\def\savepenalties{\edef\restorepenalties{%
+\noexpand\linepenalty=\the\linepenalty\noexpand\relax
+\noexpand\interlinepenalty=\the\interlinepenalty\noexpand\relax
+\noexpand\hyphenpenalty=\the\hyphenpenalty\noexpand\relax
+\noexpand\exhyphenpenalty=\the\exhyphenpenalty\noexpand\relax
+\noexpand\finalhyphendemerits=\the\finalhyphendemerits\noexpand\relax
+\noexpand\doublehyphendemerits=\the\doublehyphendemerits\noexpand\relax
+\noexpand\adjdemerits=\the\adjdemerits\noexpand\relax
+\noexpand\pretolerance=\the\pretolerance\noexpand\relax
+}}%
+ %\check
+\def\computewidths{\computespecifics
+\interportee=\interfacteur\Interligne
+\Interportee=\interportee\advance\Interportee by -8\internote
+\ifdim\stafftopmarg<\p@ \stafftopmarg=\topfacteur\Interligne\fi
+\ifdim\staffbotmarg<\p@ \staffbotmarg=\bottomfacteur\Interligne\fi
+\global\interligne=\Interligne
+\global\Internote=0.5\Interligne
+ %
+\ifx\internotei\undefined\relax\else
+ \n@loop
+ % decide staffspacing
+ \expandafter\ifx\staffspacing \undefined\global\internote=\Internote
+ \else
+ \expandafter\ifx\staffspacing \relax\global\internote=\Internote
+ \else\global\internote=\staffspacing\Internote
+ \fi\fi
+ \repeat
+\fi
+ %
+\ifdim\nullthick<\p@ \global\nullthick=4\Interligne\fi
+\global\advance\interligne by -\lthick
+ %
+\afterruleskip=\stdafterruleskip
+\global\line@width=\hsize}%
+ %
+\def\stdafterruleskip{4\Internote}%
+ %
+ %\check
+ %
+\def\n@alaligne{\n@suspmorceau\lreprmorceau}%
+\def\n@zalaligne{\n@zsuspmorceau\lreprmorceau}%
+\def\lreprmorceau{\reprmorceau}%
+\def\n@suspmorceau{\check@nopen\gluebrule\newbar\z@suspend}%
+\def\n@Suspmorceau{\n@suspmorceau}
+\def\n@zsuspmorceau{\check@nopen\termskip\z@suspend}%
+\def\z@suspend{\ifraggedlines\else\hfilneg\ \fi
+ \adv@bottom\par\removelastskip\endcatcodesmusic}%
+\def\alapage{\suspmorceau\preprmorceau}%
+\def\zalapage{\zsuspmorceau\preprmorceau}%
+\def\preprmorceau{\eject\global\linesinpage=0\relax\reprmorceau}%
+\def\reprmorceau{\catcodesmusic\atnextline\computewidths\noindent\leavevmode
+\global\barsinline=0\relax{\advance\linesinpage by 1\relax\message{Line \the
+\linesinpage:}}\relax
+\adv@bottom\portees\writeclefs\kern 0.5\Interligne\wbarno@x
+\kern -0.5\Interligne\everystaff
+\writesignatures\writemeters\zgluearule
+\save@all\currenthyphenpenalty\def\atnextline{}}%
+ %
+\def\everystaff{}\def\atnextline{}%
+ %\check
+ %
+\def\resetsignatures{\generalsignature{0}\savesignature}%
+ %
+\def\savesignature{\m@loop\o@sign=\sign\repeat}%
+ %\check
+\def\saveclefs{\m@loop\global\o@cks=\cleftoks\repeat}
+ %\check
+ %
+ % definitions en fonction du numero de l'instriment
+ %
+\newskip\zglueskip
+ %
+\def\meterfrac#1#2{\setbox\w@rkbox=\vbox{\hbox{\ \meterfont
+ #1}\hbox{\ \meterfont #2}}%
+\vbox to 8\internote{\offinterlineskip\vss\hbox to \wd\w@rkbox{\hss
+\meterfont #1\hss}\vss
+\vss\hbox to \wd\w@rkbox{\hss\meterfont #2\hss}\vss}}%
+ %\check
+\newtoks\t@gene
+\def\generalmeter#1{\t@gene={{#1}{#1}{#1}{#1}}\m@loop
+\global\metertoks=\t@gene\repeat}%
+ %\check
+\def\signaturegenerale{\generalsignature}%
+\def\generalsignature#1{\m@loop\sign=#1\relax\repeat}%
+ %
+ % compteurs de travail
+ %
+ % a completer pour fermer les poutres
+\def\zglu{\zglue}%
+\def\zglue{\nobreak\@tenleader{\zglueskip}\nobreak}%
+ %
+\def\n@skmb{\nobreak\global\advance\n@skip by -\brace@w}%
+ %
+\def\temps{\n@skmb\termskip\nobreak\zglu\nobreak\skip@b}%
+\def\changesignatures{\changesignature}%
+\def\changesignature{\n@skmb\termskip\nobreak\zglu\nobreak
+ \skip@b\writenewsignatures}%
+\def\z@barre{\n@skmb\termskip\nobreak\skip@b\-\hskip\zglueskip\nobreak}%
+
+\def\xz@barre{\temps}%
+ %
+\def\newbar{\barvrule\def\barvrule{\thinvrule}\message{bar \the\barno}%
+\global\advance\barno by 1\relax}%
+ %
+\def\w@barno{\global\n@iii=\barno\global\divide\n@iii by \freqbarno\relax
+\ifnum\n@iii=\lastbarno\relax
+\else{\y@i=\altplancher\advance\y@i by \systemheight
+\advance\y@i by 2\internote\raise\y@i\llap{\it \number\barno
+ \kern -6\p@}}\fi\global\lastbarno=\n@iii
+}%
+\newif\ifprimavolta
+\newif\ifsecondavolta
+\def\freqbarno{1}\def\wbarno{\w@barno}
+\def\wbarno@x{\ifprimavolta\make@prima 1\else
+ \ifsecondavolta\make@prima 2\else
+ \wbarno
+ \fi\fi
+ \primavoltafalse\secondavoltafalse
+ \global\n@iii=\barno\global\divide\n@iii by \freqbarno\relax
+ \global\lastbarno=\n@iii}
+%
+ \def\Setprimavolta#1#2{\primavoltatrue\def\up@volta{#1}\def\lg@volta{#2}}
+ \def\setprimavolta{\Setprimavolta{2\Interligne}{1cm}}
+
+ \def\Setsecondavolta#1#2{\secondavoltatrue\def\up@volta{#1}\def\lg@volta{#2}}
+ \def\setsecondavolta{\Setsecondavolta{2\Interligne}{1cm}}
+
+\def\make@prima#1{{\y@i=\altplancher\advance\y@i by \systemheight
+\advance\y@i by \up@volta
+ \raise\y@i\rlap{\vrule height 2\Interligne\rm\ #1.}\advance\y@i 2\Interligne
+ \raise\y@i\rlap{\vrule height \z@ depth \lthick width \lg@volta}%
+ }}
+\def\up@volta{2\Interligne}\def\lg@volta{1cm}
+ %
+ % discretionary line breaking
+ %
+\def\noautolines{\def\barre{\n@barre}\def\zbarre{\z@barre}%
+\def\alaligne{\c@ountline\n@alaligne}\def\zalaligne{\n@zalaligne}%
+\def\suspmorceau{\c@ountline\n@suspmorceau}\def\zsuspmorceau{\c@ountline\n@zsuspmorceau}%
+\def\Suspmorceau{\n@Suspmorceau}
+\def\currenthyphenpenalty{\setnohyphenpenalty}%
+\def\updatecontext{\n@updatecon}%
+\def\leftrepeat{\n@leftrepeat}%
+\def\leftrightrepeat{\n@leftrightrepeat}%
+\setnohyphenpenalty}%
+ %
+\def\setnohyphenpenalty{\linepenalty=500\pretolerance=-1%
+\finalhyphendemerits=-10\hyphenpenalty=-10%
+\exhyphenpenalty=0\doublehyphendemerits=0%
+\adjdemerits=0\interlinepenalty=0}%
+ %
+\def\sethyphenpenalty{\linepenalty=500\pretolerance=-1%
+\finalhyphendemerits=1000\hyphenpenalty=1000%
+\exhyphenpenalty=0\doublehyphendemerits=0%
+\adjdemerits=0\interlinepenalty=1000}%
+ %
+\newcount\barsinline
+\newcount\linesinpage
+\newcount\maxbarsinline
+\newcount\maxlinesinpage
+\def\c@ountbar{\global\advance\barsinline by 1\relax}%
+\def\c@ountline{\global\advance\linesinpage by 1\relax}%
+ %
+\def\autolines#1#2#3{% #1 nombre d'elemskip par mesure,
+ % #2 nombre de mesures par ligne,
+ % #3 nb lignes par page
+\global\maxbarsinline=#2\relax
+\global\maxlinesinpage=#3\relax
+\global\elemskip=\line@width\global\advance\elemskip by -10\Internote
+\global\divide\elemskip by \maxbarsinline\relax
+\global\advance\elemskip by -6\Internote\global\divide\elemskip by #1\relax
+\def\barre{\t@barre}\def\updatecontext{\t@updatecon}\def\zbarre{\t@zbarre}%
+\def\alaligne{\t@alaligne}\def\zalaligne{\t@zalaligne}%
+\def\suspmorceau{\t@suspmorceau}\def\zsuspmorceau{\t@zsuspmorceau}%
+\def\Suspmorceau{\t@Suspmorceau}%
+\def\leftrepeat{\t@leftrepeat}%
+\def\leftrightrepeat{\t@leftrightrepeat}%
+\def\currenthyphpenalsty{\sethyphenpenalty}\sethyphenpenalty}%
+ %
+\def\t@barre{\c@ountbar
+\ifnum\barsinline<\maxbarsinline\relax\x@barre
+\else\t@alaligne
+\fi}%
+\def\t@zbarre{\c@ountbar
+\ifnum\barsinline<\maxbarsinline\relax\xz@barre
+\else\t@zalaligne
+\fi}%
+ %
+\def\t@alaligne{\c@ountline
+\ifnum\linesinpage<\maxlinesinpage\relax\n@alaligne
+\else\alapage
+\fi}
+ %
+\def\t@suspmorceau{\c@ountline\n@suspmorceau
+\ifnum\linesinpage<\maxlinesinpage\relax
+\else\eject\global\linesinpage=0\relax
+\fi}
+ %
+\def\t@zalaligne{\c@ountline
+\ifnum\linesinpage<\maxlinesinpage\relax\n@zalaligne
+\else\zalapage
+\fi}%
+ %
+\def\t@zsuspmorceau{\c@ountline\n@zsuspmorceau
+\ifnum\linesinpage<\maxlinesinpage\relax
+\else\eject\global\linesinpage=0\relax
+\fi}%
+ %
+\def\t@Suspmorceau{\setdoubleBAR\t@suspmorceau}
+ %
+ %
+\def\tz@barre{\c@ountbar
+\ifnum\barsinline<\maxbarsinline\relax\z@barre
+\else
+ \c@ountline
+ \ifnum\linesinpage<\maxlinesinpage\relax\zalaligne
+ \global\advance\linesinpage by -1\relax % car \alaligne aura aussi augmente
+ \else\zalapage
+\fi\fi}%
+ %
+\def\t@updatecon{\c@ountbar
+ \ifnum\barsinline<\maxbarsinline\relax\x@updatecon
+\else
+ \c@ountline
+ \ifnum\linesinpage<\maxlinesinpage\l@updatecon
+ \else\p@updatecon
+\fi\fi}%
+ %\check
+ %
+\noautolines
+ %
+\def\n@barre{\gluebrule\newbar\gluearule}% barre de mesure
+\def\xbarre{\c@ountbar\x@barre}
+\def\xbeambarre{\notes\charnote0{\hss\altplancher=\z@\newbar\wbarno@x}\enotes}
+\def\x@barre{\gluebrule\newbar\zgluearule}% barre de mesure
+ % sans possibilite de saut
+ %
+\def\d@oubleBAR{\thinvrule\nobreak\hskip
+0.6\Internote\global\advance\x@skip0.6\Internote
+\nobreak\thickvrule}%
+ %
+\def\addspace#1{\kern#1\global\advance\x@skip#1}
+ %
+\def\d@oublebar{\thinvrule\nobreak\hskip 0.8\Internote
+\global\advance\x@skip0.8\Internote
+\nobreak\thinvrule}%
+ %
+\def\r@ightrepeat{\hbox{\w@colons\d@oubleBAR}\global\advance\x@skip
+ 7.12\Internote}
+\def\l@eftrepeat{\hbox{\thickvrule\kern 0.6\Internote\thinvrule\w@colons
+}\global\advance\x@skip7.12\Internote}
+\def\l@eftrightrepeat{\hbox{\w@colons\thickvrule
+ \kern 0.6\Internote\thickvrule\w@colons}\global\advance\x@skip
+ 6.2\Internote}
+ %
+ %\check
+ %
+\def\leftrightrepeatsymbol{\gluebrule\l@eftrightrepeat\glueaftersymbol}
+\def\glueaftersymbol{{\def\wbarno{}\afterruleskip=\Internote\zgluearule}}%
+\def\leftrepeatsymbol{\gluebrule\l@eftrepeat\glueaftersymbol}%
+\def\rightrepeatsymbol{\gluebrule\r@ightrepeat\glueaftersymbol}%
+ %
+ %\check
+ %
+\def\doublebarre{\setdoublebar\barre}% double barre de mesure
+\def\setdoublebar{\def\barvrule{\d@oublebar}}%
+\def\setemptybar{\def\barvrule{\relax}}%
+\def\setdoubleBAR{\def\barvrule{\d@oubleBAR}}%
+\def\rightrepeat{\setrightrepeat\barre}%
+\def\finrightrepeat{\setrightrepeat\suspmorceau}%
+ %
+\def\setrightrepeat{\def\barvrule{\r@ightrepeat}}%
+\def\setleftrepeat{\def\barvrule{\l@eftrepeat}}%
+\def\setleftrightrepeat{\def\barvrule{\l@eftrightrepeat}}%
+ %
+\def\think@vrule@f#1{\raise\altplancher\hbox{\vdlthick height\systemheight width
+ #1}\global\advance\x@skip by #1}%
+
+\def\stdbarrules{\def\think@vrule{\think@vrule@f}} % standard v rules over all instruments
+\stdbarrules
+
+\def\sepbarrules{\def\think@vrule{\think@vrule@s}} % standard v rules over all instruments
+ %
+\def\think@vrule@s#1{\n@loop \selectinstr
+ \y@v=\nbportees\interportee \advance\y@v -\Interportee \advance\y@v \lthick
+ \raise\altitude \hbox to \z@{\vdlthick width #1 height
+ \y@v\hss}\repeat
+ \global\advance\x@skip by #1\kern #1} % separated vrules par instrum
+
+ %\check
+\def\vrule@inst#1{\selectinstr{\p@loop\raise\altportee
+ \hbox to \z@{\vrule width #1 height 8\internote\hss}\n@portee\repeat}}%
+ %
+ %
+\def\thinvrule{\think@vrule{\lthick}}%
+\def\thickvrule{\think@vrule{1.2\Internote}}%
+ %
+\def\finmorceau{\setdoubleBAR\finpartition}%
+\def\zfinmorceau{\setemptybar\finpartition}%
+\def\finpartition{\n@suspmorceau}%
+ %\check
+ %
+\def\c@other{}% void, but possibly changed by lines.tex... and others
+\def\gluearule{\-\zgluearule}%
+\def\zgluearule{\nobreak\wbarno@x\ygluearule}%
+\def\ygluearule{\nobreak\kern\afterruleskip\nobreak
+ \global\advance\x@skip\afterruleskip\global\n@skip=\z@}%
+ % terminate skips and continue slurs and ties if any
+\def\termskip{\upd@sk
+ \ten@loop\ifnum\t@s=0\relax
+ \else\c@ten
+ \fi
+ \global\advance\n@l by 1\relax
+ \repeat\nobreak
+ \c@other\nobreak
+\global\n@skip=\z@\global\x@skip=\z@}%
+ %
+\def\gluebrule{\nobreak\termskip\@tenleader{\tempsskip}\nobreak}%
+ %
+\def\writesignatures{\global\sign@skip=\z@
+\w@ritesigns
+\global\advance\sign@skip by 0.4\Internote \nobreak\hskip\sign@skip
+}%
+\def\Writesignatures{\global\sign@skip=\z@
+\w@ritesigns
+\nobreak\advance\sign@skip by 1.2\Internote\kern\sign@skip\nobreak}%
+ %
+\def\w@ritesigns{\n@loop\writesigni\repeat}%
+ %
+ %\check
+\def\instrumentnames{\n@loop\writeinsname\repeat}%
+ %
+ %\check
+\def\writenewsignatures{\global\sign@skip=\z@
+ \n@loop\writenewsigni\repeat
+ \nobreak\ifdim\sign@skip>0.1pt\global\advance\sign@skip by 1.2\Internote
+ \nobreak\global\n@skip=\sign@skip\termskip
+ \fi
+ \nobreak}%
+ %
+ %\check
+ %
+ % normal hyphenation process when \noautolines
+ %
+\def\setnormalhyphen{\edef\-{\noexpand\discretionary{}%
+ %\check 2
+{\noexpand\hbox{\noexpand\portees\noexpand\writeclefs
+\noexpand\everystaff}%
+\noexpand\hbox{\noexpand\writesignatures}%
+}%
+ %\check 2
+{}}}% fin du def \setnormalhyphen
+ %\check
+ % ecrire toutes les indications de mesure sur toutes les portees
+\def\writemeters{\global\n@skip=\z@
+\n@loop\writemeteri\repeat\nobreak
+\ifdim\n@skip>\z@\advance\n@skip by 1.2\Internote
+ \global\n@skip=\n@skip\termskip
+\fi\nobreak}%
+ %
+ %\check
+\def\writemeteri{\nobreak\selectinstr{\p@loop
+ \edef\w@call{\noexpand\writemeterp{\noexpand\noportee}\the\metertoks}\relax
+ \setbox\toks@box=\hbox{\w@call{}{}{}{}}\relax
+ \ifdim\n@skip<\wd\toks@box\global\n@skip=\wd\toks@box\fi
+ \raise\altportee\rlap {\box\toks@box}\n@portee
+ \repeat}}%
+ %\check
+\def\writeclefs{% ecrire toutes les clefs sur toutes les portees
+\global\clef@skip=\z@
+\w@riteclefs
+\kern\clef@skip}%
+ %
+\def\w@riteclefs{\n@loop\writeclefi\repeat}%
+ %
+ %\check
+\def\writenewclefs{% ecrire toutes les nouvelles clefs sur toutes les
+ % portees
+\global\clef@skip=\z@
+\w@ritenewclefi
+\kern\clef@skip\global\advance\x@skip\clef@skip\nobreak}%
+ %
+ %\check
+\def\zwritenewclefs{% ecrire toutes les nouvelles clefs sur toutes les
+ % portees, a gauche et sans espacement
+\global\clef@skip=\z@
+\setbox\w@rkbox\hbox{\w@ritenewclefi}\kern -\clef@skip\box\w@rkbox
+\kern\clef@skip\nobreak}%
+ %
+\def\w@ritenewclefi{\n@loop\writenewclefi\repeat}%
+ %
+ %\check
+\def\writesigni{\selectinstr\def\o@test{999}\w@ritenewsigni}%
+\def\writenewsigni{\selectinstr\def\o@test{\o@sign}\w@ritenewsigni}%
+\def\w@ritenewsigni{{\p@loop
+ \n@portee
+ \ifnum\o@test=\sign\relax\else
+ \edef\get@ref{\noexpand\get@refs\the\cleftoks{}{}{}{}}%
+ \setbox\toks@box=\hbox{\kern 0.4\Internote\get@ref\compnwsign
+ \kern 0.4\Internote}%
+ \ifdim\sign@skip<\wd\toks@box \global\sign@skip=\wd\toks@box\fi
+ \raise\altportee\rlap{\box\toks@box}%
+ \fi
+\repeat}%
+}%
+ %\check
+\def\writeinsname{\selectinstr
+\xdef\instrument{\csname instrument\romannumeral
+\noinstrument\endcsname}%
+\altportee=\altitude
+\ifnum\nbportees>0\relax\advance\altportee by \nbportees\interportee
+ \advance\altportee by -\Interportee
+ \advance\altportee by \altitude\divide\altportee by 2\relax
+\fi
+ \setbox\n@otebox=\llap{\vbox{\hsize=\parindent\advance\hsize by
+ -0.8\Internote \centerline{\instrument}}\
+ \kern 2\p@}\advance\altportee by -0.5\ht\n@otebox
+ \raise\altportee\box\n@otebox
+}%
+ %\check
+\def\get@refs#1#2#3#4{% #1-#4: cle correspondante 0=sol, 6=fa, 1-4=ut .
+\ifcase\noportee\relax\global\ut@ref=0\relax
+\or\global\ut@ref=#1\relax
+\or\global\ut@ref=#2\relax
+\or\global\ut@ref=#3\relax
+\or\global\ut@ref=#4\relax
+\fi}
+\def\compnwsign{\ifnum\o@sign=0\relax
+ \else\ifnum\sign=0\relax
+ \else\kern 0.4\Internote
+ \fi
+ \fi
+ \ifnum\o@sign<0\relax\w@flats\w@sharps
+ \else\w@sharps\w@flats
+ \fi}%
+ %
+ %\check
+\def\w@flats{%
+\ifnum\sign<0\relax\s@bemol{6}\else\ifnum\o@sign<0\relax\s@becarre{6}\fi\fi
+\ifnum\sign<-1\relax\s@bemol{9}\else\ifnum\o@sign<-1\relax\s@becarre{9}\fi
+\fi
+\ifnum\sign<-2\relax\s@bemol{5}\else\ifnum\o@sign<-2\relax\s@becarre{5}\fi
+\fi
+\ifnum\sign<-3\relax\s@bemol{8}\else\ifnum\o@sign<-3\relax\s@becarre{8}\fi
+\fi
+\ifnum\sign<-4\relax\s@bemol{4}\else\ifnum\o@sign<-4\relax\s@becarre{4}\fi
+\fi
+\ifnum\sign<-5\relax\s@bemol{7}\else\ifnum\o@sign<-5\relax\s@becarre{7}\fi
+\fi
+\ifnum\sign<-6\relax\s@bemol{3}\else\ifnum\o@sign<-6\relax\s@becarre{3}\fi
+\fi
+}%
+ %\check
+\def\w@sharps{%
+\ifnum\sign>0\relax\s@dieze{10}\else\ifnum\o@sign>0\relax\s@becarre{10}\fi
+\fi
+\ifnum\sign>1\relax\s@dieze{7}\else\ifnum\o@sign>1\relax\s@becarre{7}\fi\fi
+\ifnum\sign>2\relax\s@dieze{11}\else\ifnum\o@sign>2\relax\s@becarre{11}\fi
+\fi
+\ifnum\sign>3\relax\s@dieze{8}\else\ifnum\o@sign>3\relax\s@becarre{8}\fi\fi
+\ifnum\sign>4\relax\s@dieze{5}\else\ifnum\o@sign>4\relax\s@becarre{5}\fi\fi
+\ifnum\sign>5\relax\s@dieze{9}\else\ifnum\o@sign>5\relax\s@becarre{9}\fi\fi
+\ifnum\sign>6\relax\s@dieze{6}\else\ifnum\o@sign>6\relax\s@becarre{6}\fi\fi
+}%
+ %\check
+\def\s@bemol#1{\global\n@iii=#1\relax
+ \p@bedieze\global\advance\y@iii by \fl@raise\raise\y@iii\hbox to
+ 2.08\internote{\def\musicnfont{\musickeyfont}\hss\f@lat\hss}%
+}%
+\def\s@becarre#1{\global\n@iii=#1\relax
+ \p@bedieze\global\advance\y@iii by \na@raise\raise\y@iii\hbox to
+ 2.08\internote{\def\musicnfont{\musickeyfont}\hss\n@at\hss}%
+}%
+\def\s@dieze#1{\global\n@iii=#1\relax
+ \p@bedieze\global\advance\y@iii by \sh@raise\raise\y@iii\hbox to
+ 2.16\internote{\def\musicnfont{\musickeyfont}\hss\s@harp\hss}%
+}%
+ %
+\def\p@bedieze{\global\advance\n@iii by \ut@ref\relax
+ \global\advance\n@iii by \ut@ref\relax
+ % cas de la cle de fa
+ \ifnum\ut@ref=6\global\advance\n@iii by -14\relax\else
+ \ifnum\ut@ref>0\global\advance\n@iii by -7\relax\fi\fi
+ \ifnum\n@iii<1\relax\global\advance\n@iii by 7\relax\fi
+ \ifnum\n@iii<1\relax\global\advance\n@iii by 7\relax\fi
+ \ifnum\n@iii>11\relax\global\advance\n@iii by -7\relax\fi
+ \ifnum\n@iii>11\relax\global\advance\n@iii by -7\relax\fi
+ \global\y@iii=\n@iii\internote
+ \global\advance\y@iii by -2\internote
+}
+ %\check
+ %
+ %\check
+ %
+\def\writeclefp#1#2#3#4#5{%
+\n@i=#1\relax
+\ifcase\n@i\singleclef{#2}%
+\or\singleclef{#3}\or\singleclef{#4}\or\singleclef{#5}\fi
+}%
+ %
+ %\check
+\def\writemeterp#1#2#3#4#5{%
+\n@i=#1\relax
+\ifcase\n@i\hbox{#2}\or\hbox{#3}\or\hbox{#4}\or\hbox{#5}\fi
+}%
+ %
+ %\check
+\def\writenewclefp#1#2#3#4#5#6#7#8#9{%
+\n@i=#1\relax
+\ifcase\n@i\newsingleclef{#2}{#6}%
+\or\newsingleclef{#3}{#7}\or\newsingleclef{#4}{#8}\or
+\newsingleclef{#5}{#9}\fi
+}%
+ %\check
+ %
+\def\singleclef#1{%
+\global\n@iii=#1\relax
+\charclef
+}%
+ %\check
+ %
+\def\Clefdut{\global\advance\n@iii by -3\relax\raise\n@iii\Interligne\clefdut}%
+\def\Clefdefa{\global\advance\n@iii by -6\relax
+\raise\n@iii\Interligne\clefdefa}
+ %
+\def\charclef{%
+\ifdim\clef@skip<4.8\Internote\global\clef@skip=4.8\Internote\fi
+\ifcase\n@iii\relax\clefdesol\relax
+\or{\Clefdut}%
+\or{\Clefdut}%
+\or{\Clefdut}%
+\or{\Clefdut}%
+\or{\Clefdefa}%
+\or{\Clefdefa}%
+\fi}%
+ %\check
+ %
+\def\smallClefdut{\global\advance\n@iii by -3\relax\raise\n@iii
+\Interligne\smallclefdut}%
+\def\smallClefdefa{\global\advance\n@iii by -6\relax\raise\n@iii
+\Interligne\smallclefdefa}%
+\def\smallcharclef{%
+\ifdim\clef@skip<4.8\Internote\global\clef@skip=4.8\Internote\fi
+\ifcase\n@iii\relax\smallclefdesol\relax
+\or{\smallClefdut}%
+\or{\smallClefdut}%
+\or{\smallClefdut}%
+\or{\smallClefdut}%
+\or{\smallClefdefa}%
+\or{\smallClefdefa}%
+\fi}%
+ %\check
+\def\newsingleclef#1#2{%
+\global\n@iii=#1\relax
+\n@ii=#2\relax
+\ifnum\n@ii=\n@iii\relax\else\smallcharclef
+\fi}%
+ %\check
+\def\writeclefi{\selectinstr
+{\p@loop
+ \edef\w@call{\noexpand\writeclefp{\noexpand\noportee}\the\cleftoks}%
+ \setbox\toks@box=\hbox{\w@call{}{}{}{}}%
+ \ifdim\clef@skip<\wd\toks@box \global\clef@skip=\wd\toks@box\fi
+ \raise\altportee\rlap{\box\toks@box}\n@portee
+ \repeat}%
+}%
+ %\check
+\def\writenewclefi{\selectinstr{\p@loop
+ \edef\w@call{\noexpand\writenewclefp{\noexpand\noportee}\the\cleftoks\the
+\o@cks}%
+\setbox\toks@box=\hbox{\w@call{}{}{}{}}%
+\ifdim\clef@skip<\wd\toks@box \global\clef@skip=\wd\toks@box\fi
+ \raise\altportee\rlap{\box\toks@box}\n@portee\repeat}%
+}%
+ %\check
+ % minuscule: une seule barre
+ % majuscule: double barre
+\def\changecontexte{\changecontext}%
+\def\Changecontexte{\Changecontext}%
+ %
+\def\changecontext{\gluebrule\newbar\nobreak\updatecontext}%
+\def\pchangecontext{\gluebrule\newbar\nobreak\p@updatecon}%
+\def\lchangecontext{\gluebrule\newbar\nobreak\l@updatecon}%
+ %\check
+\def\Changecontext{\setdoublebar\changecontext}%
+\def\pChangecontext{\setdoublebar\pchangecontext}%
+\def\lChangecontext{\setdoublebar\lchangecontext}%
+ %
+ % write colons on all staffs (a part of [left][right]repeat symbols
+ %
+\def\wrcolons{\w@colons}%
+\def\w@colons{\nobreak\hskip 0.8\Internote\nobreak
+ \n@loop \w@coli\repeat
+ \nobreak\hskip 0.8\Internote\nobreak}%
+ %
+ %\check
+ %
+\def\n@updatecon{% imprime tout ce qui est nouveau
+\nobreak\writenewclefs
+\nobreak\writenewsignatures\nobreak\setnormalhyphen\-\writemeters\zgluearule
+\save@all}%
+ %
+\def\x@updatecon{% imprime tout ce qui est nouveau
+\nobreak\writenewclefs\nobreak\wbarno@x
+\nobreak\writenewsignatures\nobreak\writemeters\ygluearule
+\save@all}%
+ %
+\def\l@updatecon{\nobreak\writenewclefs\nobreak\writenewsignatures
+\z@suspend\reprmorceau}%
+ %
+\def\p@updatecon{\nobreak\writenewclefs\nobreak\writenewsignatures
+\z@suspend\preprmorceau}%
+ %
+ %\check
+ %
+\def\n@leftrepeat{\gluebrule
+\nobreak\writenewclefs
+\discretionary{\newbar}%
+ %\check 1
+{\hbox{\portees\writeclefs\everystaff\Writesignatures}%
+\l@eftrepeat\hbox{\writemeters}}%
+ %\check 1
+{\l@eftrepeat}\nobreak\writemeters\zgluearule
+\save@all\setnormalhyphen}%
+ %
+ %\check
+ %
+\def\n@leftrightrepeat{\gluebrule
+\nobreak\writenewclefs
+ %
+\discretionary{\setrightrepeat\newbar}%
+ %\check 1
+{\hbox{\portees\writeclefs\everystaff\Writesignatures
+\l@eftrepeat\writemeters}}%
+ %\check 1
+{\l@eftrightrepeat}\nobreak\writemeters\zgluearule
+\save@all\setnormalhyphen}%
+ %
+\def\t@leftrepeat{\c@ountbar
+ \ifnum\barsinline<\maxbarsinline\relax\setleftrepeat\x@barre
+\else
+ \c@ountline
+ \ifnum\linesinpage<\maxlinesinpage\l@leftrepeat
+ \else\p@leftrepeat
+\fi\fi}%
+ %
+ %\check
+ %
+\def\t@leftrightrepeat{\c@ountbar
+ \ifnum\barsinline<\maxbarsinline\relax\setleftrightrepeat\x@barre
+\else
+ \c@ountline
+ \ifnum\linesinpage<\maxlinesinpage\l@leftrightrepeat
+ \else\p@leftrightrepeat
+\fi\fi}%
+ %
+ %\check
+ %
+\def\l@leftrepeat{\suspmorceau
+ \reprmorceau\l@eftrepeat}%
+ %
+\def\p@leftrepeat{\suspmorceau
+ \preprmorceau\l@eftrepeat}%
+ %
+ %\check
+ %
+\def\l@leftrightrepeat{\setrightrepeat\suspmorceau
+ \reprmorceau\l@eftrepeat}%
+ %
+\def\p@leftrightrepeat{\setrightrepeat\suspmorceau
+ \preprmorceau\l@eftrepeat}%
+ %
+\def\Changeclef{\Changeclefs}\def\Changeclefs{%
+\gluebrule\thinvrule\nobreak\hskip 1.2\Internote\nobreak\newbar
+\nobreak\writenewclefs\saveclefs}%
+ %\check
+\def\changeclefs{\termskip\writenewclefs\saveclefs}%
+\def\zchangeclefs{\termskip\zwritenewclefs\saveclefs}%
+ %\check
+ %**************************************************************************
+ % les notes proprement dites
+ %**************************************************************************
+\def\vnotes#1\elemskip{\noteskip=#1\elemskip \n@otes}%
+\def\hardnotes#1\notes{\noteskip=#1\relax \n@otes}
+\def\znotes{\noteskip=\z@\n@otes}%
+\def\multnoteskip#1{\noteskip=#1\noteskip\relax}%
+\def\scalenoteskip{1.0}%
+ %
+ %\check
+ %
+\def\enotes{\e@notes}%
+ %
+\newdimen\n@skip
+\def\skip@n{\hskip \n@skip}%
+\def\skip@b{\hskip \brace@w\global\advance\x@skip by\brace@w}%
+ %
+\def\upd@sk{\nobreak\skip@n\global\advance\x@skip by\n@skip\nobreak}%
+ %
+\def\nextstaff{\endstaff\beginstaff}%
+\def\nextinstrument{\endinstrument\begininstrument}%
+ %
+\def\n@otes{\def|{\nextstaff}\def&{\nextinstrument}\normaltranspose=\transpose
+\multnoteskip{\scalenoteskip}\check@nopen
+\global\advance\notes@open by 1\relax\upd@sk
+\def\rq{\rq@}\def\lq{\lq@}\def\ds{\demisoupir}\relax
+\locx@skip=\x@skip
+\global\n@skip=\noteskip
+\global\noinstrument=0\relax
+\begininstrument}%
+ %
+ %\check
+\def\begininstrument{\global\advance\noinstrument by 1\relax
+\selectinstr\resetstem
+\ifdim\internote<0.76\Internote\csname set@tinynotesize\endcsname
+ \computespecifics
+\else\ifdim\internote<0.95\Internote\csname set@smallnotesize\endcsname
+ \computespecifics
+ \else\csname currentsize\endcsname\fi
+\fi
+\global\noportee=0\relax\beginstaff
+}%
+ %\check
+ %
+\def\endinstrument{\endstaff}%
+ %\check
+ %
+\def\beginstaff{\alt@comp
+ \n@portee
+ \edef\get@ref{\noexpand\get@refs\the\cleftoks{}{}{}{}}\relax\get@ref
+ \setbox\n@otebox=\hbox\bgroup\computeqn@w
+ \locx@skip=\x@skip }%
+ %\check
+ %
+\def\endstaff{\egroup
+ \ifdim\n@skip<\wd\n@otebox \global\n@skip=\wd\n@otebox
+ \fi
+ \nobreak\raise\altportee\rlap{\unhbox\n@otebox}\nobreak}%
+ %
+ %\check
+ %
+\def\e@notes{\global\notes@open=0\relax\endinstrument
+\ifdim\n@skip<\noteskip \showthe\noteskip\showthe\n@skip
+\global\n@skip=\noteskip
+\fi}%
+ %
+ %\check
+ %
+\def\shortstems{\def\stemfactor{4.00}}
+\def\normalstems{\def\stemfactor{4.66}}
+\normalstems
+ % queue de note vers le bas
+\def\p@tail{\global\advance\st@bot by -\stemfactor\interbeam\global\stem@skip=\z@
+\minst@bot\pd@tail}%
+ % queue de note vers le haut
+\def\d@tail{\global\advance\st@top by \stemfactor\interbeam\maxst@top\pd@tail}%
+\def\minst@bot{\global\advance\st@bot by -\altportee
+ \ifdim\st@bot>2\Interligne \global\st@bot=2\Interligne\fi
+ \global\advance\st@bot by \altportee}
+\def\maxst@top{\global\advance\st@top by -\altportee
+ \ifdim\st@top<2\Interligne \global\st@top=2\Interligne\fi
+ \global\advance\st@top by \altportee}
+ %
+ %\check
+ %\def\pd@tail{\global\advance\st@top by -\st@bot
+ % \ifdim\st@top>\p@\global\advance\st@bot by -\altportee
+ % \raise\st@bot\rlap{\kern\stem@skip\vrule height\st@top width \lthick}\fi
+ % \resetstem}%
+ %\check
+\def\pd@tail{\ifdim\st@top>\st@bot
+ \global\advance\st@bot by -\altportee
+ \global\advance\st@top by -\altportee
+ \kern\stem@skip
+ \vrule height\st@top depth -\st@bot width \lthick
+ \kern-\stem@skip
+ \kern-\lthick
+\fi \resetstem}%
+ %\check
+\def\resetstem{\global\st@bot=99cm\global\st@top=-\st@bot}%
+ %
+\def\setstem{{\advance\y@i by -\n@raise \advance\y@i by \altportee
+\ifdim\st@bot>\y@i\global\st@bot=\y@i\fi
+\ifdim\st@top<\y@i\global\st@top=\y@i\fi}}%
+ %
+ %\check
+ %
+ % sequence de placement d'un caractere a une position dans la portee
+\def\pl@note{\pl@base \advance\y@i by \n@raise}%
+\def\pl@base{\y@i=\n@i\internote}%
+ %
+ % lignes supplementaires pour \n@i (position)
+ %
+\newcount\h@lnlv
+\newdimen\hlp@width
+\newdimen\h@lineup
+\newdimen\h@linedn
+ %\def\h@linei{\raise\h@lnlv\internote
+ % \llap{\vdlthick width 1.6\hlp@width height \hlthick
+ % \kern -1.3\hlp@width}}%
+\def\h@linei{\h@lineup=\h@lnlv\internote
+\h@linedn=\h@lineup
+\advance\h@lineup by \hlthick
+\advance\h@linedn by -\hlthick
+\kern -0.3\hlp@width
+\vrule height \h@lineup depth -\h@linedn width 1.6\hlp@width
+\kern -1.3\hlp@width}%
+ %\check
+ %
+\def\h@linesqn{\h@lines{\qn@width}}%
+\def\adv@locx@mqn{\advance\locx@skip by -\qn@width}%
+ %
+\def\h@lines#1{%
+\ifnum\stafflinesnb>3 % no help lines for percussion instruments
+ \hlp@width=#1\h@lnlv=0\relax
+ \loop\advance\h@lnlv by -1\relax
+ \ifnum\n@i<\h@lnlv\relax\advance\h@lnlv by -1\relax
+ \ifnum\h@lnlv<-20\relax\showthe\h@lnlv\fi
+ \h@linei\repeat
+% \h@lnlv=8\relax
+\h@lnlv=\stafflinesnb\relax
+\advance\h@lnlv\stafflinesnb\relax
+\advance\h@lnlv -2\relax
+\loop\advance\h@lnlv by 1\relax
+ \ifnum\n@i>\h@lnlv\relax\advance\h@lnlv by 1\relax
+ \ifnum\h@lnlv>30\relax\showthe\h@lnlv\fi
+ \h@linei\repeat
+\fi}%
+ %\check
+ % *********** les symboles de notes ou assimiles ****************
+ %
+ % placement
+ %
+\newcount\inh@alt
+\def\getn@i{\global\inh@alt=0\relax\xgetn@i}%
+ %
+\def\inhgetn@i{\global\inh@alt=1\relax\xgetn@i}%
+ %
+\def\xgetn@i#1{\n@i=9999\relax % par defaut
+\edef\t@ruc{\f@tok #1\noexpand\relax\af@tok}\ifcat a\t@ruc\relax
+\getn@iletter{#1}%
+\else\getn@inonlet{#1}% \ifcat pas lettre
+\fi\global\n@raise=\z@}% %
+\def\getn@inonlet#1{\edef\ss@uite{}\edef\s@uite{\s@tok #1{}\af@tok}%
+\edef\alt@suite{}\ifcat 1\t@ruc\relax
+\t@rucfig{#1}% cas active character dont chiffre
+\else\t@rucexpcar{#1}%
+\fi\alt@suite}% fi du \ifcat 1
+ %\check
+ % analysis of accidentals within collective note coding
+\def\absoluteaccidentals{\def\Xna{\na}\def\Xsh{\sh}\def\Xfl{\fl}%
+\def\Xdsh{\dsh}\def\Xdfl{\dfl}}%
+\absoluteaccidentals
+ %
+\def\t@rucexpcar#1{\if ^\t@ruc\relax
+ \edef\alt@suite{\ifnum
+ \inh@alt=0\relax\noexpand\Xsh{\s@uite}\fi
+ \noexpand\getn@i{\s@uite}}\fi
+ \if _\t@ruc\relax
+ \edef\alt@suite{\ifnum
+ \inh@alt=0\relax\noexpand\Xfl{\s@uite}\fi
+ \noexpand\getn@i{\s@uite}}\fi}%
+ %\check
+\def\t@rucfig#1{\if=\t@ruc\relax
+ \edef\alt@suite{\ifnum
+ \inh@alt=0\relax\noexpand\Xna{\s@uite}\fi
+ \noexpand\getn@i{\s@uite}}\fi
+\if*\t@ruc\relax
+ \sk
+ \edef\alt@suite{\noexpand\getn@i{\s@uite}}\fi
+\if.\t@ruc\relax
+ \edef\alt@suite{\ifnum
+ \inh@alt=0\relax\noexpand\pt{\s@uite}\fi
+ \noexpand\getn@i{\s@uite}}\fi
+\if>\t@ruc\relax
+ \edef\alt@suite{\ifnum
+ \inh@alt=0\relax\noexpand\Xdsh{\s@uite}\fi
+ \noexpand\getn@i{\s@uite}}\fi
+\if<\t@ruc\relax
+ \edef\alt@suite{\ifnum
+ \inh@alt=0\relax\noexpand\Xdfl{\s@uite}\fi
+ \noexpand\getn@i{\s@uite}}\fi
+\if!\t@ruc\relax
+ \transpose=\normaltranspose\relax
+ \edef\alt@suite{\noexpand\getn@i{\s@uite}}\fi
+\if'\t@ruc\relax
+ \advance\transpose by 7\relax
+ \edef\alt@suite{\noexpand\getn@i{\s@uite}}\fi
+\if`\t@ruc\relax
+ \advance\transpose by -7\relax
+ \edef\alt@suite{\noexpand\getn@i{\s@uite}}%
+\else \if -\t@ruc\relax\n@i=#1\relax\fi
+ \if 1\t@ruc\relax\n@i=#1\relax\fi
+ \if 2\t@ruc\relax\n@i=#1\relax\fi
+ \if 3\t@ruc\relax\n@i=#1\relax\fi
+ \if 4\t@ruc\relax\n@i=#1\relax\fi
+ \if 5\t@ruc\relax\n@i=#1\relax\fi
+ \if 6\t@ruc\relax\n@i=#1\relax\fi
+ \if 7\t@ruc\relax\n@i=#1\relax\fi
+ \if 8\t@ruc\relax\n@i=#1\relax\fi
+ \if 9\t@ruc\relax\n@i=#1\relax\fi
+ \if 0\t@ruc\relax\n@i=#1\relax\fi
+\fi}%
+ %\check
+ %
+\def\getn@iletter#1{\n@i=\expandafter`\t@ruc\relax
+\ifnum\n@i >96\relax \advance\n@i by -101\relax % ramener au E (position
+ % zero en clef de sol, ut@ref=0)
+\else\advance\n@i by -83\relax % ramener au S= E + 14
+\fi
+\advance\n@i by \ut@ref\relax
+\advance\n@i by \ut@ref\relax
+\advance\n@i by \transpose\relax
+\edef\s@uite{\s@tok #1{}\af@tok}\edef\ss@uite{\noexpand\n@fon{\s@uite}}}%
+ %\check
+ %
+\def\pt@raise{\ifodd\n@i\relax\pt@up=-0.1\Interligne\else\pt@up
+=0.3\Interligne\fi
+\advance\pt@up by -\n@raise\raise\pt@up}%
+ %
+\def\lcharnote#1#2{\getn@i{#1}\pl@llap{#2}}%
+\def\ccharnote#1#2{\getn@i{#1}\pl@lrlap{#2}}%
+ %
+\def\bigaccid{\def\small@test{\noteskip>-1\p@}}%
+\def\smallaccid{\def\small@test{\noteskip>9999\p@}}%
+\def\varaccid{\def\small@test{\noteskip>1.9\qn@width}}%
+\def\k@eiqdskip{\kern 0.8\qd@skip}
+\def\k@meiqdskip{\kern -0.8\qd@skip}
+ %
+\varaccid % accidents de taille variable
+ %\check
+\def\lfl#1{\getn@i{#1}\global\n@raise=\fl@raise
+ \pl@llap{\ifdim\small@test\f@lat\else\smallf@lat\fi\k@eiqdskip}}%
+ %\check
+\def\ldfl#1{\getn@i{#1}\global\n@raise=\fl@raise
+ \pl@llap{\ifdim\small@test\df@lat\else\smalldf@lt\fi\k@eiqdskip}}%
+ %\check
+\def\lsh#1{\getn@i{#1}\global\n@raise=\sh@raise
+ \pl@llap{\ifdim\small@test\s@harp\else\smalls@harp\fi\k@eiqdskip}}%
+\def\ldsh#1{\getn@i{#1}\global\n@raise=\z@
+ \pl@llap{\ifdim\small@test\ds@harp\else\smallds@harp\fi\k@eiqdskip}}%
+ %\check
+\def\lna#1{\getn@i{#1}\global\n@raise=\na@raise
+ \pl@llap{\ifdim\small@test\n@at\else\smalln@at\fi\k@eiqdskip}}%
+ %\check
+\def\pl@llap{\pl@note\raise\y@i\llap}%
+\def\pl@lrlap{\pl@note\raise\y@i\lrlap}%
+\def\lrlap#1{\rlap{\hss#1}}%
+\def\uplap#1{\vbox to\z@{\vss#1}}
+ %**************** notes (sans queue) *******************
+ %
+\def\xcharnote#1#2#3{\getn@i{#2}\pl@base
+ \raise\y@i\hbox to #1{#3\hss}\advance\locx@skip by #1\relax}%
+ %\check
+ %
+\def\raise@note{\advance\locx@skip by\noteskip\raise\y@i\hbox to \noteskip}%
+ %
+ % rondes sous diverses formes
+ %
+ % ronde decalee a gauche (sans avance)
+\def\lw#1{\kern -\wd@skip\zw{#1}\kern \wd@skip}%
+ %
+ % ronde decalee a droite (sans avance)
+\def\rw#1{\kern \wd@skip\zw{#1}\kern -\wd@skip}%
+ %\check
+ % ronde sans avance
+\def\zw#1{\getn@i{#1}\def\n@fon{\zw}\def\n@sym{\w@h}\g@zw}%
+\def\zwp#1{\getn@i{#1}\def\n@fon{\zwp}\def\n@sym{\w@hp}\g@zw}%
+\def\zwpp#1{\getn@i{#1}\def\n@fon{\zwpp}\def\n@sym{\w@hpp}\g@zw}%
+\def\zwppp#1{\getn@i{#1}\def\n@fon{\zwppp}\def\n@sym{\w@hppp}\g@zw}%
+\def\g@zw{\advancefalse\g@w}%
+ %\check
+ %
+\def\phpause{\hbox to \noteskip{\vrule width
+ 1.2\qn@width height \internote\hss}}%
+\def\pause{\hbox{\raise 5\internote\phpause}\advance\locx@skip by \noteskip}%
+\def\hpause{\hbox{\raise 4\internote\phpause}\advance\locx@skip by \noteskip}%
+\def\demisoupir{\hbox to \noteskip{\d@soup\hss}\advance\locx@skip by \noteskip}%
+\def\qp{\hbox to \noteskip{\s@oupir\hss}\advance\locx@skip by \noteskip}%
+\def\soupir{\qp}%
+\def\dsoupir{\demisoupir}%
+ % quart de soupir
+\def\qs{\hbox to \noteskip{\q@soup\hss}%
+\advance\locx@skip by \noteskip}%
+\def\qsoupir{\qs}%
+\def\quartsoupir{\qs}%
+ % huitieme de soupir
+\def\hs{\hbox to \noteskip{\h@soup\hss}%
+\advance\locx@skip by \noteskip}%
+\def\hsoupir{\hs}%
+\def\huitsoupir{\hs}%
+ % seizieme de soupir
+\def\qqs{\hbox to \noteskip{\s@soup\hss}%
+\advance\locx@skip by \noteskip}%
+\def\seizsoupir{\qqs}%
+ %\check
+\def\pl@noteq{\pl@note \setstem
+ \ifdim\noteskip>\z@
+ \ifdim\st@bot<29cm
+ \s@tem
+ \fi
+ \fi
+}%
+ %
+\def\Ped{{\cmsy P\kern -1\p@\it ed.}}%
+\def\PED{\rlap{\zcharnote{-5}{\kern -2\p@\Ped}}}%
+\def\DEP{\rlap{\zcharnote{-7}{\kern 0.5\noteskip\kern -4\p@\moyen *}}}%
+ %\check
+\def\pl#1{\zcharnote{#1}{\raise 2\p@ \rlap{\ttyeight +}}}%
+\def\pointdorgue#1{\zcharnote{#1}{\raise \Interligne\p@orgue}}%
+\def\pointdurgue#1{\zcharnote{#1}{\raise-\Interligne\p@urgue}}%
+\def\ntrille#1#2{\zcharnote{#1}{\trille{#2\elemskip}}}%
+\def\nTrille#1#2{\zcharnote{#1}{\Trille{#2\elemskip}}}%
+\def\xtrille#1#2{\zcharnote{#1}{\trille{#2}}}%
+\def\xTrille#1#2{\zcharnote{#1}{\Trille{#2}}}%
+ %
+\def\pt#1{\inhgetn@i{#1}\def\n@fon{\pt}\def\n@sym{\z@p}\g@pt}
+\def\ppt#1{\inhgetn@i{#1}\def\n@fon{\ppt}\def\n@sym{\z@pp}\g@pt}
+\def\pppt#1{\inhgetn@i{#1}\def\n@fon{\pppt}\def\n@sym{\z@ppp}\g@pt}
+\def\g@pt{\n@raiseq \pl@note\raise\y@i\rlap{\n@sym}\fi}%
+ %
+\def\n@raiseq{\global\n@raise=\qu@raise\ifnum\n@i<100\relax}
+ %
+ %\check
+ %
+ % blanche sans queue decalee a gauche
+ % blanche pointee sans queue
+ % blanche decalee a gauche
+\def\lh#1{\kern -\hd@skip\zh{#1}\kern \hd@skip}%
+ % blanche decalee a droite sans queue
+\def\rh#1{\kern \hd@skip\zh{#1}\kern -\hd@skip}%
+ % blanche sans queue ni avance
+\def\zh#1{\getn@i{#1}\def\n@fon{\zh}\def\n@sym{\h@a}\g@zh}
+\def\zhp#1{\getn@i{#1}\def\n@fon{\zhp}\def\n@sym{\h@ap}\g@zh}
+\def\zhpp#1{\getn@i{#1}\def\n@fon{\zhpp}\def\n@sym{\h@app}\g@zh}
+\def\zhppp#1{\getn@i{#1}\def\n@fon{\zhppp}\def\n@sym{\h@appp}\g@zh}
+\def\g@zh{\global\n@raise=\ha@raise\global\n@width=\hn@width\g@z}%
+\def\g@z{\ifnum\n@i<100\relax
+ \h@lines{\n@width}\pl@note\setstem\rlap@symss\fi}%
+ %
+ % noires sans queues
+ %
+\def\zq#1{\getn@i{#1}\def\n@fon{\zq}\def\n@sym{\q@u}\g@zq}
+\def\zqp#1{\getn@i{#1}\def\n@fon{\zqp}\def\n@sym{\q@up}\g@zq}
+\def\zqpp#1{\getn@i{#1}\def\n@fon{\zqpp}\def\n@sym{\q@upp}\g@zq}
+\def\zqppp#1{\getn@i{#1}\def\n@fon{\zqppp}\def\n@sym{\q@uppp}\g@zq}
+\def\g@zq{\global\n@raise=\qu@raise\global\n@width=\qn@width\g@z}%
+ %
+ %\check
+\def\rq@#1{\kern \qd@skip\zq{#1}\kern -\qd@skip}%
+\def\lq@#1{\kern -\qd@skip\zq{#1}\kern \qd@skip}%
+ % *********************** notes avec queue **********************
+ %
+ %\check
+\def\qu{\advancetrue\qu@z}%
+\def\qup{\advancetrue\qup@z}%
+\def\qupp{\advancetrue\qupp@z}%
+\def\quppp{\advancetrue\quppp@z}%
+\def\qu@z#1{\getn@i{#1}\def\n@fon{\qu}\def\n@sym{\q@u}\g@qu}%
+\def\qup@z#1{\getn@i{#1}\def\n@fon{\qup}\def\n@sym{\q@up}\g@qu}%
+\def\qupp@z#1{\getn@i{#1}\def\n@fon{\qupp}\def\n@sym{\q@upp}\g@qu}%
+\def\quppp@z#1{\getn@i{#1}\def\n@fon{\quppp}\def\n@sym{\q@uppp}\g@qu}%
+ %\check
+\def\g@qu{\n@raiseq
+ \global\stem@skip=\qd@skip\def\s@tem{\d@tail}\g@qbh@\fi}%
+ %
+\def\q@up{\hbox to \qn@width{\q@u\hss}\P@t}%
+\def\q@upp{\hbox to \qn@width{\q@u\hss}\PP@t}%
+\def\q@uppp{\hbox to \qn@width{\q@u\hss}\PPP@t}%
+\def\h@ap{\hbox to \hn@width{\h@a\hss}\P@t}%
+\def\h@app{\hbox to \hn@width{\h@a\hss}\PP@t}%
+\def\h@appp{\hbox to \hn@width{\h@a\hss}\PPP@t}%
+\def\w@hp{\hbox to \wn@width{\w@h\hss}\P@t}%
+\def\w@hpp{\hbox to \wn@width{\w@h\hss}\PP@t}%
+\def\w@hppp{\hbox to \wn@width{\w@h\hss}\PPP@t}%
+ %
+\def\z@p{\kern \qn@width\P@t}\def\z@pp{\kern \qn@width\PP@t}%
+\def\z@ppp{\kern \qn@width \PPP@t}%
+ %\check
+\def\rqu#1{\getn@i{#1}\def\n@fon{\qu}\def\n@sym{\kern \qd@skip\q@u}%
+ \n@raiseq
+ \kern \qd@skip \h@linesqn\kern -\qd@skip
+ \global\stem@skip=\qd@skip\def\s@tem{\d@tail}\pl@symss\fi}%
+ %\check
+ % noire queue en haut sans avance
+\def\zqu{\advancefalse\qu@z}%
+\def\zqup{\advancefalse\qup@z}%
+\def\zqupp{\advancefalse\qupp@z}%
+\def\zquppp{\advancefalse\quppp@z}%
+ %
+ % espace vide d'une note
+\def\off#1{\advance\locx@skip by #1\kern #1}%
+\def\sk{\off\noteskip}%
+\def\qsk{\off\qn@width}%
+\def\hqsk{\off{0.5\qn@width}}%
+\def\hsk{\off\hn@width}%
+ \def\offs@t#1{\off{-\s@o@}#1\off\s@o@}
+\def\loffset#1{\edef\s@o@{#1\qn@width}\offs@t}
+\def\roffset#1{\edef\s@o@{-#1\qn@width}\offs@t}
+\def\roff{\roffset 1}
+\def\loff{\loffset 1}
+%\check
+\def\lqu#1{\kern -\qd@skip\zqu{#1}\kern \qd@skip}%
+ %\check
+ % noires queue en base
+\def\ql{\advancetrue\ql@z}%
+\def\qlp{\advancetrue\qlp@z}%
+\def\qlpp{\advancetrue\qlpp@z}%
+\def\qlppp{\advancetrue\qlppp@z}%
+\def\ql@z#1{\getn@i{#1}\def\n@fon{\ql}\def\n@sym{\q@u}\g@ql}%
+\def\qlp@z#1{\getn@i{#1}\def\n@fon{\qlp}\def\n@sym{\q@up}\g@ql}%
+\def\qlpp@z#1{\getn@i{#1}\def\n@fon{\qlpp}\def\n@sym{\q@upp}\g@ql}%
+\def\qlppp@z#1{\getn@i{#1}\def\n@fon{\qlppp}\def\n@sym{\q@uppp}\g@ql}%
+\def\g@ql{\n@raiseq
+ \def\s@tem{\p@tail}\g@qbh@\fi}%
+ %
+ % la meme sans avance
+\def\zql{\advancefalse\ql@z}%
+\def\zqlp{\advancefalse\qlp@z}%
+\def\zqlpp{\advancefalse\qlpp@z}%
+\def\zqlppp#1{\advancefalse\qlppp@z}%
+ %\check
+ % decalees a gauche et a droite
+\def\lql#1{\kern -\qd@skip\zql{#1}\kern \qd@skip}%
+\def\rql#1{\kern \qd@skip\zql{#1}\kern -\qd@skip}%
+ %
+ % croches, doubles croches, triples croches, quadruple croches queue en
+ % haut et en bas
+ %
+\def\clp{\advancetrue\mclp1}\def\cup{\advancetrue\mcup1}%
+\def\clpp{\advancetrue\mclpp1}\def\cupp{\advancetrue\mcupp1}%
+\def\clppp{\advancetrue\mclppp1}\def\cuppp{\advancetrue\mcuppp1}%
+ %
+\def\zclp{\advancefalse\mclp1}\def\zcup{\advancefalse\mcup1}%
+\def\zclpp{\advancefalse\mclpp1}\def\zcupp{\advancefalse\mcupp1}%
+\def\zclppp{\advancefalse\mclppp1}\def\zcuppp{\advancefalse\mcuppp1}%
+ %
+\def\cu{\advancetrue\mcu1}\def\ccu{\advancetrue\mcu2}
+\def\cccu{\advancetrue\mcu3}\def\ccccu{\advancetrue\mcu4}%
+\def\cl{\advancetrue\mcl1}\def\ccl{\advancetrue\mcl2}
+\def\cccl{\advancetrue\mcl3}\def\ccccl{\advancetrue\mcl4}%
+ %
+\def\zcu{\advancefalse\mcu1}\def\zccu{\advancefalse\mcu2}%
+\def\zcccu{\advancefalse\mcu3}\def\zccccu{\advancefalse\mcu4}%
+\def\zcl{\advancefalse\mcl1}\def\zccl{\advancefalse\mcl2}%
+\def\zcccl{\advancefalse\mcl3}\def\zccccl{\advancefalse\mcl4}%
+ %
+\def\mcu#1#2{\getn@i{#2}\def\n@sym{\q@u}%
+\edef\n@fon{\noexpand\mcu #1}\g@cu{#1}}
+\def\mcup#1#2{\getn@i{#2}\def\n@sym{\q@up}%
+\edef\n@fon{\noexpand\mcup #1}\g@cu{#1}}
+\def\mcupp#1#2{\getn@i{#2}\def\n@sym{\q@upp}%
+\edef\n@fon{\noexpand\mcupp #1}\g@cu{#1}}
+\def\mcuppp#1#2{\getn@i{#2}\def\n@sym{\q@uppp}%
+\edef\n@fon{\noexpand\mcupp #1}\g@cu{#1}}
+\def\g@cu#1{\n@raiseq
+ \h@linesqn\global\stem@skip=\qd@skip
+ \def\s@tem{\d@cr#1}\pl@symssq\fi}%
+\def\mcl#1#2{\getn@i{#2}\def\n@sym{\q@u}%
+\edef\n@fon{\noexpand\mcl #1}\g@cl{#1}}
+\def\mclp#1#2{\getn@i{#2}\def\n@sym{\q@up}%
+\edef\n@fon{\noexpand\mclp #1}\g@cl{#1}}
+\def\mclpp#1#2{\getn@i{#2}\def\n@sym{\q@upp}%
+\edef\n@fon{\noexpand\mclpp #1}\g@cl{#1}}
+\def\mclppp#1#2{\getn@i{#2}\def\n@sym{\q@uppp}%
+\edef\n@fon{\noexpand\mclppp #1}\g@cl{#1}}
+\def\g@cl#1{\n@raiseq
+ \h@linesqn\def\s@tem{\p@cr#1}\pl@symssq\fi}%
+ %
+ % ronde
+\def\wh#1{\getn@i{#1}\def\n@fon{\wh}\def\n@sym{\w@h}\g@wh}%
+\def\whp#1{\getn@i{#1}\def\n@fon{\whp}\def\n@sym{\w@hp}\g@wh}%
+\def\whpp#1{\getn@i{#1}\def\n@fon{\whpp}\def\n@sym{\w@hpp}\g@wh}%
+\def\whppp#1{\getn@i{#1}\def\n@fon{\whppp}\def\n@sym{\w@hppp}\g@wh}%
+\def\g@wh{\advancetrue\g@w}%
+\def\g@w{\global\n@raise=\wh@raise\ifnum\n@i<100\relax
+ \h@lines{\wn@width}\def\s@tem{\resetstem}\pl@symssq\fi}%
+ %\check
+\def\zwh#1{\getn@i{#1}\def\n@fon{\wh}\def\n@sym{\w@h}\rlap{\g@wh}}%
+ %
+ % blanche sans queue isolee
+\def\nh#1{\getn@i{#1}\def\n@fon{\nh}\def\n@sym{\h@a}\g@nh}%
+\def\g@nh{\advancetrue\g@nhz}%
+\def\g@nhz{\global\n@raise=\ha@raise\ifnum\n@i<100\relax
+ \h@lines{\hn@width}\def\s@tem{\resetstem}\pl@symssq\fi}%
+\def\znh#1{\getn@i{#1}\def\n@fon{\nh}\def\n@sym{\h@a}\rlap{\g@nhz}}%
+ %
+ % noiree sans queue isolee
+\def\nq#1{\getn@i{#1}\def\n@fon{\nq}\def\n@sym{\q@u}\g@nq}%
+\def\g@nq{\advancetrue\g@nqz}%
+\def\g@nqz{\global\n@raise=\qu@raise\ifnum\n@i<100\relax
+ \h@lines{\hn@width}\def\s@tem{\resetstem}\pl@symssq\fi}%
+\def\znq#1{\getn@i{#1}\def\n@fon{\nq}\def\n@sym{\q@u}\rlap{\g@nqz}}%
+ %
+ % blanche avec queue
+\def\ha{\hu}%
+\def\hu#1{\getn@i{#1}\def\n@fon{\hu}\def\n@sym{\h@a}\g@hu}%
+\def\hup#1{\getn@i{#1}\def\n@fon{\hup}\def\n@sym{\h@ap}\g@hu}%
+\def\hupp#1{\getn@i{#1}\def\n@fon{\hupp}\def\n@sym{\h@app}\g@hu}%
+\def\huppp#1{\getn@i{#1}\def\n@fon{\huppp}\def\n@sym{\h@appp}\g@hu}%
+\def\g@hu{\advancetrue\g@huz}%
+\def\g@huz{\global\n@raise=\ha@raise\ifnum\n@i<100\relax
+ \h@lines{\hn@width}\global\stem@skip=\hd@skip
+ \def\s@tem{\d@tail}\pl@symssq\fi}%
+ %
+ %\check
+\def\rhu#1{\getn@i{#1}\def\n@fon{\hu}\global\n@raise=\ha@raise
+\def\n@sym{\kern \hd@skip\h@a}%
+\ifnum\n@i<100\relax
+ \kern \hd@skip
+ \h@lines{\hn@width}\kern -\hd@skip
+ \global\stem@skip=\hd@skip\def\s@tem{\d@tail}\pl@symss\fi}%
+ %\check
+ % blanche avec queue sans avance
+\def\zhu#1{\getn@i{#1}\def\n@fon{\hu}\def\n@sym{\h@a}\g@zhu}%
+\def\zhup#1{\getn@i{#1}\def\n@fon{\hup}\def\n@sym{\h@ap}\g@zhu}%
+\def\zhupp#1{\getn@i{#1}\def\n@fon{\hupp}\def\n@sym{\h@app}\g@zhu}%
+\def\zhuppp#1{\getn@i{#1}\def\n@fon{\huppp}\def\n@sym{\h@appp}\g@zhu}%
+\def\g@zhu{\advancefalse\g@huz}%
+ %\check
+\def\lhu#1{\kern -\hn@width\zhu{#1}\kern \hn@width}%
+ %
+ %
+ % blanches queue en bas
+\def\hl#1{\getn@i{#1}\def\n@fon{\hl}\def\n@sym{\h@a}\g@hl}%
+\def\hlp#1{\getn@i{#1}\def\n@fon{\hlp}\def\n@sym{\h@ap}\g@hl}%
+\def\hlpp#1{\getn@i{#1}\def\n@fon{\hlpp}\def\n@sym{\h@app}\g@hl}%
+\def\hlppp#1{\getn@i{#1}\def\n@fon{\hlppp}\def\n@sym{\h@appp}\g@hl}%
+\def\g@hl{\advancetrue\g@hlz}%
+\def\g@hlz{\global\n@raise=\ha@raise\ifnum\n@i<100\relax
+ \h@lines{\hn@width}\def\s@tem{\p@tail}\pl@symssq\fi}%
+ %\check
+\def\zhl#1{\getn@i{#1}\def\n@fon{\hl}\def\n@sym{\h@a}\rlap{\g@zhl}}%
+\def\zhlp#1{\getn@i{#1}\def\n@fon{\hlp}\def\n@sym{\h@ap}\rlap{\g@zhl}}%
+\def\zhlpp#1{\getn@i{#1}\def\n@fon{\hlpp}\def\n@sym{\h@app}\rlap{\g@zhl}}%
+\def\zhlppp#1{\getn@i{#1}\def\n@fon{\hlppp}\def\n@sym{\h@appp}\rlap{\g@zhl}}%
+\def\g@zhl{\advancefalse\g@hlz}%
+ %\check
+\def\rhl#1{\kern \hd@skip\zhl{#1}\kern -\hd@skip}%
+\def\lhl#1{\kern -\hn@width\zhl{#1}\kern \hn@width}%
+ %\check
+ %**************** initialisation de poutres ******************
+ % \ibu{0<numero<10}{altitude~note}{pente de -9 a +9}
+ % \ibl{0<numero<10}{altitude~note}{pente de -9 a +9}
+ %
+\def\selectpoutre#1{{\n@i=#1\relax
+ \ifnum\n@i<0\relax\n@i=29\relax\fi
+ \advance\n@i by 1\relax
+\xdef\b@x{\csname b@x\romannumeral\n@i\endcsname}%
+\xdef\b@z{\csname b@z\romannumeral\n@i\endcsname}%
+\xdef\bb@x{\csname bb@x\romannumeral\n@i\endcsname}%
+\xdef\bb@z{\csname bb@z\romannumeral\n@i\endcsname}%
+\xdef\bbb@x{\csname bbb@x\romannumeral\n@i\endcsname}%
+\xdef\bbb@z{\csname bbb@z\romannumeral\n@i\endcsname}%
+\xdef\bbbb@x{\csname bbbb@x\romannumeral\n@i\endcsname}%
+\xdef\bbbb@z{\csname bbbb@z\romannumeral\n@i\endcsname}%
+\xdef\bbbbb@x{\csname bbbbb@x\romannumeral\n@i\endcsname}%
+\xdef\bbbbb@z{\csname bbbbb@z\romannumeral\n@i\endcsname}%
+\xdef\b@n{\csname b@n\romannumeral\n@i\endcsname}%
+\xdef\b@p{\csname b@p\romannumeral\n@i\endcsname}}\s@lopdefs}%
+ % fin selectpoutre
+ %
+\def\ibu#1{\selectpoutre{#1}\i@bu}%
+\def\i@bu#1#2{\ifnum\b@n=0\relax\else\t@bu\fi
+ \global\b@n=-1\relax
+ \global\b@x=\locx@skip
+ \global\advance\b@x by \qd@skip\inhgetn@i{#1}\pl@base
+ \global\b@z=\y@i\global\advance\b@z by\altportee\global\b@p=#2\relax
+ \global\advance\b@z by 4.333\interbeam}%
+ %
+\def\ibl#1{\selectpoutre{#1}\i@bl}%
+\def\i@bl#1#2{\ifnum\b@n=0\relax\else\t@bl\fi
+ \global\b@n=1\relax
+ \global\b@x=\locx@skip\inhgetn@i{#1}\pl@base
+ \global\b@z=\y@i\global\advance\b@z by \altportee\global\b@p=#2\relax
+ \global\advance\b@z by -4.333\interbeam}%
+ %\check
+\def\ibbu#1{\selectpoutre{#1}\i@bbu}%
+\def\ibbl#1{\selectpoutre{#1}\i@bbl}%
+\def\i@bbu#1#2{\ifnum\b@n=0\relax\i@bu{#1}{#2}\relax\global\advance\b@z by
+ \interbeam\fi\n@bbu\relax}%
+\def\i@bbl#1#2{\ifnum\b@n=0\relax\i@bl{#1}{#2}\relax\global\advance\b@z by
+ -\interbeam\fi\n@bbl\relax}%
+\def\nbbu#1{\selectpoutre{#1}\ifnum\b@n>-2\relax\ifnum\b@n<2\relax\n@bbu\fi
+\fi}%
+\def\nbbl#1{\selectpoutre{#1}\ifnum\b@n>-2\relax\ifnum\b@n<2\relax\n@bbl\fi
+\fi}%
+\def\n@bbu{\gl@au{\b@n}\global\bb@z=\b@z
+ \ifnum\b@n<0\relax\global\advance\bb@z by -\interbeam
+ \else \global\advance\bb@z by \interbeam
+ \fi
+ {\advance\locx@skip by \qd@skip \global\bb@x=\locx@skip
+ \advance\locx@skip by -\b@x
+ \global\advance\bb@z by \s@lope\locx@skip }}%
+ %
+\def\n@bbl{\gl@au{\b@n}\global\bb@x=\locx@skip
+ \global\advance\bb@x by \lthick
+ \global\bb@z=\b@z\ifnum\b@n<0\relax\global\advance\bb@z by -\interbeam
+ \else \global\advance\bb@z by \interbeam \fi
+ {\advance\locx@skip by -\b@x
+\global\advance\bb@z by \s@lope\locx@skip }}%
+ %\check
+\def\ibbbu#1{\selectpoutre{#1}\i@bbbu}%
+\def\ibbbl#1{\selectpoutre{#1}\i@bbbl}%
+\def\i@bbbu#1#2{\ifnum\b@n=0\relax\i@bbu{#1}{#2}%
+\global\advance\b@z by \interbeam
+\global\advance\bb@z by \interbeam
+\fi\n@bbbu}%
+\def\i@bbbl#1#2{\ifnum\b@n=0\relax\i@bbl{#1}{#2}%
+\global\advance\b@z by -\interbeam
+\global\advance\bb@z by -\interbeam
+\fi\n@bbbl}%
+\def\nbbbu#1{\selectpoutre{#1}\ifnum\b@n=-1\relax\n@bbu\fi\ifnum\b@n
+=1\relax\n@bbu\fi
+ \ifnum\b@n=-2\relax\n@bbbu\fi\ifnum\b@n=2\relax\n@bbbu\fi
+}%
+\def\nbbbl#1{\selectpoutre{#1}\ifnum\b@n=-1\relax\n@bbl\fi\ifnum\b@n
+=1\relax\n@bbl\fi
+ \ifnum\b@n=-2\relax\n@bbbl\fi\ifnum\b@n=2\relax\n@bbbl\fi
+}%
+\def\n@bbbu{\gl@au{\b@n}\global\bbb@z=\b@z
+ \ifnum\b@n<0\relax\global\advance\bbb@z by -2\interbeam
+ \else \global\advance\bbb@z by 2\interbeam
+ \fi
+ {\advance\locx@skip by \qd@skip\global\bbb@x=\locx@skip
+ \advance\locx@skip by -\b@x
+ \global\advance\bbb@z by \s@lope\locx@skip }}%
+ %
+\def\n@bbbl{\gl@au{\b@n}\global\bbb@x=\locx@skip
+ \global\advance\bbb@x by \lthick
+ \global\bbb@z=\b@z\ifnum\b@n<0\relax\global\advance\bbb@z by
+ -2\interbeam
+ \else \global\advance\bbb@z by 2\interbeam
+ \fi
+ {\advance\locx@skip by -\b@x\global\advance\bbb@z by \s@lope\locx@skip }}%
+ %\check
+ %
+\def\ibbbbu#1{\selectpoutre{#1}\i@bbbbu}%
+\def\ibbbbl#1{\selectpoutre{#1}\i@bbbbl}%
+\def\i@bbbbu#1#2{\ifnum\b@n=0\relax\i@bbbu{#1}{#2}%
+\global\advance\b@z by \interbeam
+\global\advance\bb@z by \interbeam
+\global\advance\bbb@z by \interbeam
+\fi\n@bbbbu}%
+\def\i@bbbbl#1#2{\ifnum\b@n=0\relax\i@bbbl{#1}{#2}%
+\global\advance\b@z by -\interbeam
+\global\advance\bb@z by -\interbeam
+\global\advance\bbb@z by -\interbeam
+\fi\n@bbbbl}%
+\def\nbbbbu#1{\selectpoutre{#1}%
+ \ifnum\b@n=-1\relax\n@bbu\fi\ifnum\b@n=1\relax\n@bbu\fi
+ \ifnum\b@n=-2\relax\n@bbbu\fi\ifnum\b@n=2\relax\n@bbbu\fi
+ \ifnum\b@n=-3\relax\n@bbbbu\fi\ifnum\b@n=3\relax\n@bbbbu\fi
+}%
+\def\nbbbbl#1{\selectpoutre{#1}%
+ \ifnum\b@n=-1\relax\n@bbl\fi\ifnum\b@n=1\relax\n@bbl\fi
+ \ifnum\b@n=-2\relax\n@bbbl\fi\ifnum\b@n=2\relax\n@bbbl\fi
+ \ifnum\b@n=-3\relax\n@bbbbl\fi\ifnum\b@n=3\relax\n@bbbbl\fi
+}%
+\def\n@bbbbu{\gl@au{\b@n}\global\bbbb@z=\b@z
+ \ifnum\b@n<0\relax\global\advance\bbbb@z by -3\interbeam
+ \else \global\advance\bbbb@z by 3\interbeam
+ \fi
+ {\advance\locx@skip by \qd@skip \global\bbbb@x=\locx@skip
+ \advance\locx@skip by -\b@x
+ \global\advance\bbbb@z by \s@lope\locx@skip }}%
+ %
+\def\n@bbbbl{\gl@au{\b@n}{\advance\locx@skip by \lthick
+ \global\bbbb@x=\locx@skip}\global\bbbb@z=\b@z
+ \ifnum\b@n<0\relax\global\advance\bbbb@z by -3\interbeam
+ \else \global\advance\bbbb@z by 3\interbeam
+ \fi
+ {\advance\locx@skip by -\b@x\global\advance\bbbb@z by \s@lope\locx@skip }}%
+ %\check
+ %
+ %
+\def\ibbbbbu#1{\selectpoutre{#1}\i@bbbbbu}%
+\def\ibbbbbl#1{\selectpoutre{#1}\i@bbbbbl}%
+\def\i@bbbbbu#1#2{\ifnum\b@n=0\relax\i@bbbbu{#1}{#2}%
+\global\advance\b@z by \interbeam
+\global\advance\bb@z by \interbeam
+\global\advance\bbb@z by \interbeam
+\global\advance\bbbb@z by \interbeam
+\fi\n@bbbbbu}%
+\def\i@bbbbbl#1#2{\ifnum\b@n=0\relax\i@bbbbl{#1}{#2}%
+\global\advance\b@z by -\interbeam
+\global\advance\bb@z by -\interbeam
+\global\advance\bbb@z by -\interbeam
+\global\advance\bbbb@z by -\interbeam
+\fi\n@bbbbbl}%
+\def\nbbbbbu#1{\selectpoutre{#1}\ifnum\b@n=-1\relax\n@bbu\fi\ifnum\b@n
+=1\relax\n@bbu\fi
+ \ifnum\b@n=-2\relax\n@bbbu\fi\ifnum\b@n=2\relax\n@bbbu\fi
+ \ifnum\b@n=-3\relax\n@bbbbu\fi\ifnum\b@n=3\relax\n@bbbbu\fi
+ \ifnum\b@n=-4\relax\n@bbbbbu\fi\ifnum\b@n=4\relax\n@bbbbbu\fi
+}%
+\def\nbbbbbl#1{\selectpoutre{#1}\ifnum\b@n=-1\relax\n@bbl\fi\ifnum\b@n
+=1\relax\n@bbl\fi
+ \ifnum\b@n=-2\relax\n@bbbl\fi\ifnum\b@n=2\relax\n@bbbl\fi
+ \ifnum\b@n=-3\relax\n@bbbbl\fi\ifnum\b@n=3\relax\n@bbbbl\fi
+ \ifnum\b@n=-4\relax\n@bbbbbl\fi\ifnum\b@n=4\relax\n@bbbbbl\fi
+}%
+\def\n@bbbbbu{\gl@au{\b@n}\global\bbbbb@z=\b@z
+ \ifnum\b@n<0\relax\global\advance\bbbbb@z by -4\interbeam
+ \else \global\advance\bbbbb@z by 4\interbeam
+ \fi
+ {\advance\locx@skip by \qd@skip \global\bbbbb@x=\locx@skip
+ \advance\locx@skip by -\b@x
+ \global\advance\bbbbb@z by \s@lope\locx@skip }}%
+ %
+\def\n@bbbbbl{\gl@au{\b@n}{\advance\locx@skip by \lthick
+ \global\bbbbb@x=\locx@skip}\global\bbbbb@z=\b@z
+ \ifnum\b@n<0\relax\global\advance\bbbbb@z by -4\interbeam
+ \else \global\advance\bbbbb@z by 4\interbeam
+ \fi
+ {\advance\locx@skip by -\b@x\global\advance\bbbbb@z by \s@lope\locx@skip }}%
+ %\check
+ %
+ % terminaison de toutes les poutres en suspens
+ %
+ %***** terminer une poutre superieure ****************
+ %\check
+ %
+\def\tbu#1{\selectpoutre{#1}\t@bu}%
+\def\tqh#1{\selectpoutre{#1}\t@qh}%
+\def\tbbu#1{\selectpoutre{#1}\t@bbu}%
+\def\tbbbu#1{\selectpoutre{#1}\t@bbbu}%
+\def\tbbbbu#1{\selectpoutre{#1}\t@bbbbu}%
+\def\tbbbbbu#1{\selectpoutre{#1}\t@bbbbbu}%
+ %\check
+\def\t@qh{\t@bu\qh@}%
+\def\t@bu{\ifnum\b@n<-1\relax\t@bbu\fi
+\ifnum\b@n>1\relax\t@bbu\fi
+\y@i=\b@z
+\advance\y@i by -\altportee
+\y@ii=\locx@skip
+\advance\y@ii by \qn@width
+\advance\y@ii by -\b@x
+\llap{\p@outre\hskip -\qn@width}%
+\global\b@n=0\relax}%
+ %
+ %\check
+\def\t@bbu{\ifnum\b@n<-2\relax\t@bbbu\fi
+ \ifnum\b@n>2\relax\t@bbbu\fi
+\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbu}\fi
+\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbu}\fi
+\y@i=\bb@z\y@ii=-\bb@x\t@xbu}%
+ %\check
+\def\t@xbu{\advance\y@i by -\altportee
+\advance\y@ii by \locx@skip \advance\y@ii by \qn@width
+\llap{\p@outre\hskip -\qn@width}%
+\ifnum\b@n>0\relax
+\advance\y@i by \s@lope\y@ii\raise\y@i\rlap{\kern\qn@width
+\kern -\lthick\vrule height \z@ depth 1.8\internote width \lthick}\fi
+\gl@de{\b@n}}%
+ %\check
+\def\t@bbbu{\ifnum\b@n<-3\relax\t@bbbbu\fi
+ \ifnum\b@n>3\relax\t@bbbbu\fi
+\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbu}\fi
+\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbu}\fi
+\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbu}\fi
+\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbu}\fi
+\y@i=\bbb@z\y@ii=-\bbb@x\t@xbu}%
+ %
+ %\check
+\def\t@bbbbu{\ifnum\b@n<-4\relax\t@bbbbbu\fi
+ \ifnum\b@n>4\relax\t@bbbbbu\fi
+\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbu}\fi
+\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbu}\fi
+\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbu}\fi
+\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbu}\fi
+\ifnum\b@n=3\relax{\adv@locx@mqn\n@bbbbu}\fi
+\ifnum\b@n=-3\relax{\adv@locx@mqn\n@bbbbu}\fi
+\y@i=\bbbb@z\y@ii=-\bbbb@x\t@xbu}%
+ %\check
+\def\t@bbbbbu{\ifnum\b@n<-5\relax\showthe\b@n\global\b@n=-5\relax\fi
+\ifnum\b@n>5\relax\showthe\b@n\global\b@n=5\relax\fi
+\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbu}\fi
+\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbu}\fi
+\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbu}\fi
+\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbu}\fi
+\ifnum\b@n=3\relax{\adv@locx@mqn\n@bbbbu}\fi
+\ifnum\b@n=-3\relax{\adv@locx@mqn\n@bbbbu}\fi
+\ifnum\b@n=4\relax{\adv@locx@mqn\n@bbbbbu}\fi
+\ifnum\b@n=-4\relax{\adv@locx@mqn\n@bbbbbu}\fi
+\y@i=\bbbbb@z\y@ii=-\bbbbb@x\t@xbu}%
+ %***** terminer une poutre inferieure****************
+\def\tbl#1{\selectpoutre{#1}\t@bl}%
+\def\tqb#1{\selectpoutre{#1}\t@qb}%
+\def\tbbl#1{\selectpoutre{#1}\t@bbl}%
+\def\tbbbl#1{\selectpoutre{#1}\t@bbbl}%
+\def\tbbbbl#1{\selectpoutre{#1}\t@bbbbl}%
+\def\tbbbbbl#1{\selectpoutre{#1}\t@bbbbbl}%
+ % provisoire
+\def\t@qb{\t@bl\qb@}%
+\def\t@bl{\relax
+\ifnum\b@n<-1\relax\t@bbl\fi
+\ifnum\b@n>1\relax\t@bbl\fi
+\y@i=\b@z
+\advance\y@i by -\altportee
+\y@ii=\locx@skip
+\advance\y@ii by \lthick
+\advance\y@ii by -\b@x
+\kern\lthick\llap{\p@outre}\kern -\lthick
+\global\b@n=0\relax}%
+ %\check
+ %
+\def\t@bbl{\relax
+\ifnum\b@n<-2\relax\t@bbbl\fi
+\ifnum\b@n>2\relax\t@bbbl\fi
+\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbl}\fi
+\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbl}\fi
+\y@i=\bb@z\y@ii=-\bb@x\t@xbl}%
+ %
+\def\t@xbl{\advance\y@i by -\altportee
+\advance\y@ii by \locx@skip
+\advance\y@ii by \lthick
+\kern\lthick\llap{\p@outre}\kern-\lthick
+\ifnum\b@n<0\relax\advance\y@i by \s@lope\y@ii
+\raise\y@i\rlap{\vrule height \interbeam width \lthick}\fi
+\gl@de{\b@n}}%
+ %\check
+\def\t@bbbl{\ifnum\b@n<-3\relax\t@bbbbl\fi
+ \ifnum\b@n>3\relax\t@bbbbl\fi
+\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbl}\fi
+\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbl}\fi
+\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbl}\fi
+\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbl}\fi
+\y@i=\bbb@z\y@ii=-\bbb@x\t@xbl}%
+ %\check
+\def\t@bbbbl{\ifnum\b@n<-4\relax\t@bbbbbl\fi
+ \ifnum\b@n>4\relax\t@bbbbbl\fi
+\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbl}\fi
+\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbl}\fi
+\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbl}\fi
+\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbl}\fi
+\ifnum\b@n=3\relax{\adv@locx@mqn\n@bbbbl}\fi
+\ifnum\b@n=-3\relax{\adv@locx@mqn\n@bbbbl}\fi
+\y@i=\bbbb@z\y@ii=-\bbbb@x\t@xbl}%
+ %\check
+\def\t@bbbbbl{\relax
+\ifnum\b@n<-5\relax\showthe\b@n\global\b@n=-5\relax\fi
+\ifnum\b@n>5\relax\showthe\b@n\global\b@n=5\relax\fi
+\ifnum\b@n=1\relax{\adv@locx@mqn\n@bbl}\fi
+\ifnum\b@n=-1\relax{\adv@locx@mqn\n@bbl}\fi
+\ifnum\b@n=2\relax{\adv@locx@mqn\n@bbbl}\fi
+\ifnum\b@n=-2\relax{\adv@locx@mqn\n@bbbl}\fi
+\ifnum\b@n=3\relax{\adv@locx@mqn\n@bbbbl}\fi
+\ifnum\b@n=-3\relax{\adv@locx@mqn\n@bbbbl}\fi
+\ifnum\b@n=4\relax{\adv@locx@mqn\n@bbbbbl}\fi
+\ifnum\b@n=-4\relax{\adv@locx@mqn\n@bbbbbl}\fi
+\y@i=\bbbbb@z\y@ii=-\bbbbb@x\t@xbl}%
+ %******************** notes accrchees aux poutres
+ % ************************************
+ %
+\def\zqh#1{\selectpoutre{#1}\advancefalse\qh@}%
+\def\zqb#1{\selectpoutre{#1}\advancefalse\qb@}%
+\def\zqhp#1{\selectpoutre{#1}\advancefalse\qhp@}%
+\def\zqbp#1{\selectpoutre{#1}\advancefalse\qbp@}%
+\def\zqhpp#1{\selectpoutre{#1}\advancefalse\qhpp@}%
+\def\zqbpp#1{\selectpoutre{#1}\advancefalse\qbpp@}%
+ %
+\def\qh#1{\selectpoutre{#1}\qh@}%
+\def\hh#1{\selectpoutre{#1}\hh@}%
+\def\qhp#1{\selectpoutre{#1}\qhp@}%
+\def\qhpp#1{\selectpoutre{#1}\qhpp@}%
+\def\qhppp#1{\selectpoutre{#1}\qhppp@}%
+\def\qh@#1{\getn@i{#1}\def\n@fon{\qh@}\def\n@sym{\q@u}\g@qh@}% % position
+\def\hh@#1{\getn@i{#1}\def\n@fon{\hh@}\def\n@sym{\h@a}\g@qh@}% % position
+\def\qhp@#1{\getn@i{#1}\def\n@fon{\qhp@}\def\n@sym{\q@up}\g@qh@}% % position
+\def\qhpp@#1{\getn@i{#1}\def\n@fon{\qhpp@}\def\n@sym{\q@upp}\g@qh@}% % position
+\def\qhppp@#1{\getn@i{#1}\def\n@fon{\qhppp@}\def\n@sym{\q@uppp}\g@qh@}% %
+ % position
+\def\qb#1{\selectpoutre{#1}\qb@}%
+\def\hb#1{\selectpoutre{#1}\hb@}%
+\def\qbp#1{\selectpoutre{#1}\qbp@}%
+\def\qbpp#1{\selectpoutre{#1}\qbpp@}%
+\def\qbppp#1{\selectpoutre{#1}\qbppp@}%
+\def\qb@#1{\getn@i{#1}\def\n@fon{\qb@}\def\n@sym{\q@u}\g@qb@} % #1 position
+\def\hb@#1{\getn@i{#1}\def\n@fon{\hb@}\def\n@sym{\h@a}\g@qb@} % #1 position
+\def\qbp@#1{\getn@i{#1}\def\n@fon{\qbp@}\def\n@sym{\q@up}\g@qb@} % #1 position
+\def\qbpp@#1{\getn@i{#1}\def\n@fon{\qbpp@}\def\n@sym{\q@upp}\g@qb@} % #1
+ % position
+\def\qbppp@#1{\getn@i{#1}\def\n@fon{\qbppp@}\def\n@sym{\q@uppp}\g@qb@} % #1
+ % position
+\def\g@qb@{\n@raiseq
+ \global\stem@skip=\z@\def\s@tem{\d@balk}\g@qbh@\fi}%
+ %
+\def\g@qh@{\n@raiseq
+ \global\stem@skip=\qd@skip\def\s@tem{\d@balk}\g@qbh@\fi}%
+ %
+\def\g@qbh@{\h@linesqn\pl@symssq}%
+ %
+\def\pl@symss{\pl@noteq\raise@note{\n@sym\hss}\ss@uite}%
+\def\pl@symssq{\ifadvance\pl@symss\else\plap@symss\fi\advancetrue}%
+ %
+\def\rlap@symss{\raise\y@i\rlap{\n@sym}\ss@uite}%
+\def\plap@symss{\pl@noteq\rlap@symss}%
+ %
+\def\d@balk{% % queue de note vers une poutre
+\y@ii=\b@z % a augmenter avec la pente
+\y@v=\locx@skip\advance\y@v by \stem@skip\advance\y@v by -\b@x
+\advance\y@ii by \s@lope\y@v
+\ifdim\y@ii>\st@top % la poutre est au-dessus
+ \ifnum\b@n>0\relax\advance\y@ii by \b@n\interbeam
+ \advance\y@ii by -\interbeam
+ \fi\global\st@top=\y@ii % a mettre a jour avec la pente ulterieurement
+\else
+ \ifdim\y@ii<\st@bot
+ \ifnum\b@n<0\relax\advance\y@ii by \b@n\interbeam
+ \advance\y@ii by \interbeam
+ \fi\global\st@bot=\y@ii
+\fi\fi\pd@tail}%
+ %
+ %*********************************** notes sans avancement (accords)
+\def\zha#1{{\noteskip=\z@\ha{#1}}}%
+ %
+\def\charnote{\xcharnote{\noteskip}}%
+\let\hcharnote\charnote
+\def\zcharnote{\xcharnote{\z@}}%
+
+\def\zchar#1#2{\raise#1\internote\rlap{#2}}
+\def\lchar#1#2{\raise#1\internote\llap{#2}}
+\def\cchar#1#2{\raise#1\internote\lrlap{#2}}
+\let\hchar\zchar
+
+ %\check
+ %
+ %************************* liaisons horizontales **************************
+ % Tie Fixes.
+ % I have rewritten several tie macros to eliminate those annoying gaps which
+ % often appear. The new macros cause ties to be extended with leader, rather
+ % than lines whose length has to be guessed. TeX cannot make multiple
+ % horizontal lines with \leaders, so instead I use an \hbox containing
+ % several short fragments of lines. Each line fragment is of length
+ % \tenboxwidth, which is initially .75pt.
+ % In order for the new ties to work properly, every horizontal space must be
+ % recorded. I have had to amend some macros so that they record the space
+ % which they produce.
+ %
+\newbox\@tenubox \newskip\@tenuskip \newdimen\tenboxwidth \tenboxwidth.75pt
+ %
+ % -macros to maintain a box of tie extenders which is used in the leaders
+\global\setbox\@tenubox\hbox{\kern\tenboxwidth}
+\def\@uptenubox{\global\setbox\@tenubox
+ \hbox{\kern\tenboxwidth}\ten@loop
+ \ifnum\t@s=0\relax\else\up@tenbox\fi
+ \global\advance\n@l by 1\relax\repeat}%
+\def\up@tenbox{\y@ii\t@z\advance\y@ii by \t@y
+ \global\setbox\@tenubox\hbox{\unhbox\@tenubox
+ \kern-\tenboxwidth\vrule width\tenboxwidth height\y@ii depth-\t@z}}
+ %
+ % -This macro makes the leaders. #1 is the amount of skip. It is extended
+ % by \tenboxwidth on each side in order to get the lines to join up.
+\def\@tenleader#1{\@tenuskip=#1\advance\@tenuskip by2\tenboxwidth\relax
+\nobreak\kern-\tenboxwidth\nobreak\cleaders\copy\@tenubox\hskip\@tenuskip
+\kern-\tenboxwidth\nobreak}
+ %
+\def\selecttenue#1{{\n@i=#1\relax
+\ifnum\n@i<0\relax\n@i=29\fi
+ \advance\n@i by 1\relax
+\xdef\t@x{\csname t@x\romannumeral\n@i\endcsname}%
+\xdef\t@z{\csname t@z\romannumeral\n@i\endcsname}%
+\xdef\t@p{\csname t@p\romannumeral\n@i\endcsname}%
+\xdef\t@s{\csname t@s\romannumeral\n@i\endcsname}%
+\xdef\t@w{\csname t@w\romannumeral\n@i\endcsname}}%
+\ifnum\t@w=0\relax
+ \global\t@y=1.2\p@
+\else
+ \global\t@y= 0.2\Interligne
+\fi
+}% fin selecttenue
+ %
+ %\check
+ % mise a jour marge inferieure et correction d'altitude de tenues
+ %
+\newdimen\bottom@adv
+\def\advancebottom#1{\global\bottom@adv=#1\relax}%
+\def\adv@bottom{\global\advance\staffbotmarg by \bottom@adv
+ \ten@loop \global\advance\t@z by \bottom@adv\relax
+ \global\advance\n@l by 1\relax
+ \repeat \@uptenubox
+ \global\bottom@adv=\z@}%
+ %
+ %\check
+ %
+\def\lu@slur{\cmex\char"7A}\def\ru@slur{\cmex\char"7B}%
+\def\ll@slur{\cmex\char"7C}\def\rl@slur{\cmex\char"7D}%
+\setbox\n@otebox=\hbox{\lu@slur}\brace@w=\wd\n@otebox
+ %
+\def\leg@hrule{\leaders\hrule height \t@y\hfill}%
+ %
+ % complete slur of length #1 (up and down)
+\def\up@leg{% longueur y@ii
+\hbox to \y@ii{\lu@slur\ifdim \y@ii>2\brace@w\leg@hrule
+\else\hss\fi\ru@slur}}%
+ %
+\def\lo@leg{% longueur y@ii
+\hbox to \y@ii{\ll@slur\ifdim \y@ii>2\brace@w\leg@hrule
+\else\hss\fi\rl@slur}}%
+ %
+ % slur termination of length #1 (up and down)
+\def\up@rleg{% longueur y@ii
+\hbox to \y@ii{\ifdim \y@ii>\brace@w\leg@hrule
+\else\hss\fi\ru@slur}}%
+ %
+\def\lo@rleg{% longueur y@ii
+\hbox to \y@ii{\ifdim \y@ii>\brace@w\leg@hrule
+\else\hss\fi\rl@slur}}%
+ %\check
+ %
+ % slur beginning (left) (up and down)
+\def\up@les{% longueur y@ii
+\hbox to \y@ii{\lu@slur\ifdim \y@ii>\brace@w\leg@hrule
+\else\hss\fi}}%
+ %
+\def\lo@les{% longueur y@ii
+\hbox to \y@ii{\ll@slur\ifdim \y@ii>\brace@w\leg@hrule
+\else\hss\fi}}%
+ %\check
+ %
+ % noter un debut de tenue
+ %
+\def\itenu#1{\selecttenue{#1}\i@tenu}%
+ % \rtenu starts a 'tenuto' one note head on the right
+\def\rtenu#1#2{\selecttenue{#1}\i@tenu{#2}\global\advance\t@x by \wn@width}%
+ %
+\def\check@tenvoid{\ifnum\t@s=0\relax\else\errmessage{Attemt to re-open an
+opened slur/tie}\fi}
+\def\check@tenopen{\ifnum\t@s=0\errmessage{Attemt to close an
+unopened slur/tie}\fi}
+ %
+\def\i@tenu#1{\check@tenvoid\global\t@p=1\relax % sens=1
+ \global\t@s=1\relax % etat en cours
+ \global\t@x=\locx@skip
+ \global\advance\t@x by \qd@skip
+ \inhgetn@i{#1}\pl@base\global\t@z=\y@i\global\advance\t@z by\altportee
+ \global\advance\t@z by 3.7\p@
+ \global\t@y=1.2\p@
+ \global\t@w=0\relax
+ \up@tenbox}%
+ %
+\def\itenl#1{\selecttenue{#1}\i@tenl}%
+\def\minternote{-\internote}%
+ % \rtenl starts a 'tenuto' one note head on the right
+\def\rtenl#1#2{\selecttenue{#1}\i@tenl{#2}\global\advance\t@x by \wn@width}%
+\def\i@tenl#1{\check@tenvoid\global\t@p=-1\relax % sens= -1
+ \global\t@s=1\relax % actif
+ \global\t@x=\locx@skip
+ \global\advance\t@x by \qd@skip
+ \inhgetn@i{#1}\pl@base\global\t@z=\y@i\global\advance\t@z by \altportee
+ \global\advance\t@z by -4.5\p@\relax
+ \global\t@y=1.2\p@
+ \global\t@w=0\relax
+ \up@tenbox}%
+ %\check
+\def\tten#1{\selecttenue{#1}\t@ten}%
+\def\tleg#1{\selecttenue{#1}\check@tenopen{\advance\locx@skip by
+ 1.5\qn@width\kern 1.5\qn@width\t@ten\kern -1.5\qn@width}}%
+
+\def\liftslur#1{\selecttenue{#1}\l@iftslur}%
+\def\l@iftslur#1{\global\advance\t@z by #1\relax}%
+ %
+ %\check
+ %
+ %********************** ponctuations speciales ****************************
+ %
+\def\breath{\raise 3\Interligne\hbox{\enorme'}}%
+\def\zbreath{\raise 3\Interligne\rlap{\enorme'}}%
+\def\cbreath{\charnote0{\raise 3\Interligne
+ \hbox to \noteskip{\hss\enorme'\hss}}}%
+\def\uptext#1{\resetstem\raise 5\Interligne\rlap{#1}}%
+\def\Uptext#1{\resetstem\raise 7\Interligne\rlap{#1}}%
+\def\text@sp{\vrule width \z@ height 8.5\p@ depth 3.5\p@}
+\def\f{{\ppff {f}}}
+\def\ff{{\ppff {f}\kern -0.1ex{f}}}
+\def\fff{{\ppff {f}\kern -0.1ex{f}\kern -0.1ex{f}}}
+\def\ffff{{\ppff {f}\kern -0.1ex{f}\kern -0.1ex{f}\kern -0.1ex{f}}}
+\def\m@idcomp{\y@v=\interportee\advance\y@v by 4\Interligne\divide\y@v by
+ %%\def\m@idcomp{\y@v=\Interportee\divide\y@v by
+ 2\relax
+\raise\y@v\vbox to \z@}%
+ %
+\def\midtwotext#1{{\m@idcomp
+{\vss\hbox to \noteskip{\hss\text@sp #1\hss}\vss}}}%
+\def\rmidtwotext#1{{\m@idcomp
+{\vss\hbox to \noteskip{\text@sp #1\hss}\vss}}}%
+\def\zmidtwotext#1{{\m@idcomp
+{\vss\rlap{\text@sp #1}\vss}}}%
+\def\lmidtwotext#1{{\m@idcomp
+{\vss\hbox to \noteskip{\hss\text@sp #1}\vss}}}%
+ %\check
+\def\metron#1#2{{\shortstems\noteskip 10\p@ #1 1\ = #2}}%
+ %\check
+ %
+ %**************************************************************************
+ % definition standard, modifiables par l'usager
+ %**************************************************************************
+ %
+\def\resetfacteurs{\stafftopmarg=\z@\staffbotmarg=\z@\nullthick=8\Internote
+ %
+\def\stafflinesnbi{5}%
+\def\stafflinesnbii{5}%
+\def\stafflinesnbiii{5}%
+\def\stafflinesnbiv{5}%
+\def\stafflinesnbv{5}%
+\def\stafflinesnbvi{5}%
+ %
+\def\clefduti{\clefdutsymbol}%
+\def\clefdutii{\clefdutsymbol}%
+\def\clefdutiii{\clefdutsymbol}%
+\def\clefdutiv{\clefdutsymbol}%
+\def\clefdutv{\clefdutsymbol}%
+\def\clefdutvi{\clefdutsymbol}%
+ %
+\def\clefdefai{\clefdefasymbol}%
+\def\clefdefaii{\clefdefasymbol}%
+\def\clefdefaiii{\clefdefasymbol}%
+\def\clefdefaiv{\clefdefasymbol}%
+\def\clefdefav{\clefdefasymbol}%
+\def\clefdefavi{\clefdefasymbol}%
+ %
+\def\clefdesoli{\clefdesolsymbol}%
+\def\clefdesolii{\clefdesolsymbol}%
+\def\clefdesoliii{\clefdesolsymbol}%
+\def\clefdesoliv{\clefdesolsymbol}%
+\def\clefdesolv{\clefdesolsymbol}%
+\def\clefdesolvi{\clefdesolsymbol}%
+ %
+\def\interfacteur{9}%
+\def\bottomfacteur{3}%
+\def\topfacteur{3}%
+\elemskip=4\Internote
+\def\gluemaxskip{0.1\line@width}%
+\zglueskip=0pt plus \gluemaxskip minus .5pt%
+\tempsskip=2pt plus \gluemaxskip minus 2pt
+}%
+\resetfacteurs
+ %\check
+\def\normal{\ifdim\Interligne<\p@\computewidths\fi
+\def\scalenoteskip{1.0}\elemskip=4\Internote
+\def\notes{\vnotes 1.0\elemskip }% double croches
+\def\Notes{\vnotes 1.4\elemskip }% croches
+\def\NOtes{\vnotes 2.0\elemskip }% croches pointees
+\def\NOTes{\vnotes 2.8\elemskip }% noires
+\def\NOTEs{\vnotes 4.0\elemskip }%
+\def\NOTES{\vnotes 5.6\elemskip }%
+}%
+ %
+\ifx\large\undefined
+ \def\large{\normal\elemskip=4.8\Internote}\fi
+ %
+\def\etroit{\normal
+\def\Notes{\vnotes 1.3\elemskip }% croches
+\def\NOtes{\vnotes 1.8\elemskip }% croches pointees
+\def\NOTes{\vnotes 2.6\elemskip }% noires
+\def\NOTEs{\vnotes 3.6\elemskip }%
+\def\NOTES{\vnotes 5.2\elemskip }%
+}%
+ %\check
+\def\testseq{}%
+\def\nspace{\vnotes 0.2\elemskip\sk\enotes}%
+ %
+ %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\def\barfill{\leaders\hbox{ --}\hfill}%
+\def\octnvrule{\vrule width \z@ height 3\p@ depth 3\p@}%
+\def\octvrule{\vrule width \lthick height 3\p@ depth 3\p@}%
+\def\octsup#1#2{\zcharnote{#1}{\hbox to #2\noteskip
+{\llap{\rm 8}\barfill\octnvrule}}}%
+\def\Octsup#1#2{\zcharnote{#1}{\hbox to #2{\rm 8\barfill\octnvrule}}}%
+ %\check
+\def\octfin#1#2{\zcharnote{#1}{\hbox to #2\noteskip{\llap{\rm 8}\barfill
+--\octvrule}}}%
+\def\Octfin#1#2{\zcharnote{#1}{\hbox to #2{\rm 8\barfill
+--\octvrule}}}%
+\def\octline#1{\zcharnote{#1}{\hbox to \line@width{\llap{\rm 8}\barfill
+\octnvrule\hskip 12\Internote}}}%
+\def\Octline#1{\zcharnote{#1}{\hbox to \line@width{\rm 8\barfill
+\octnvrule\hskip 8\Internote}}}%
+ %\check
+\def\xtuplet#1#2{\global\n@l=#1\relax\global\advance\n@l by -1\relax
+{\divide\noteskip by \n@l\relax\zcharnote{#2}{\kern\n@l\noteskip
+ \hbox to\z@{\hss\it #1\hss}}}}%
+\def\triolet{\xtuplet3}%
+ %\check
+ \let\thelyrics\empty
+\def\hardlyrics#1\notes{\let\save@noteskip\noteskip
+ \def\noteskip{\z@\relax\errmessage{You cannot use \noexpand\noteskip
+ in \noexpand\hardlyrics's 1st argument!}}%
+\def\thelyrics{\hbox{#1}}%
+\wd\ch@box\z@ \setbox\ch@box\thelyrics \let\noteskip\save@noteskip
+ \noteskip\wd\ch@box \n@otes}
+ %\check
+
+
+%\def\setsongraise#1#2{\n@v#1\relax % select instrument
+% \expandafter\def\csname T@R\romannumeral\n@v\endcsname{#2}}
+\def\setsongraise#1#2{\noinstrument#1\relax % select instrument
+ \expandafter\def\csname T@R\romannumeral\noinstrument\endcsname{#2}}
+
+\let\T@Ri\z@
+\let\T@Rii\z@
+\let\T@Riii\z@
+\let\T@Riv\z@
+\let\T@Rv\z@
+\let\T@Rvi\z@
+
+\def\zsong{\let\@Ti\rlap \C@t}
+\def\lsong{\let\@Ti\llap \C@t}
+\def\csong{\let\@Ti\lrlap \C@t}
+\def\hsong{\let\@Ti\hard@box \C@t}
+\def\dhsong{\let\@Ti\dhard@box \C@t}
+\def\thsong{\let\@Ti\thard@box \C@t}
+
+\def\C@t#1{\C@tx{\@Ti{\strut#1}\vss}}
+\def\lrlap#1{\rlap{\hss#1}}
+\def\hard@box#1{\rlap{\hbox to\noteskip{#1\hfil}}}
+\def\dhard@box#1{\rlap{\hbox to 2\noteskip{#1\hfil}}}
+\def\thard@box#1{\rlap{\hbox to 3\noteskip{#1\hfil}}}
+
+\def\C@tx{\edef\savenu@iv{\the\y@iv}%
+ \ifnum\noinstrument= 1 \y@iv\staffbotmarg
+ \else
+ \advance\noinstrument -1\relax
+ \y@iv\csname interinstrument\romannumeral\noinstrument\endcsname
+ \C@Inter \advance\y@iv\stem@skip \divide\y@iv 2
+ \advance\noinstrument 1
+ \fi
+ \advance\y@iv-\csname T@R\romannumeral\noinstrument\endcsname
+%% \advance\noinstrument 1 \fi
+ \edef\lower@dim{\the\y@iv}\relax \y@iv\savenu@iv\relax
+ \lower\lower@dim\uplap}
+
+\def\C@Inter{\stem@skip\interportee \advance\stem@skip-8\internote
+ \ifnum\stafflinesnb=4 \advance\stem@skip 2\internote \fi
+ \ifnum\stafflinesnb=6 \advance\stem@skip-2\internote \fi}
+
+
+ %
+\let\wlog=\@plainwlog
+ %
+\def\interfacteur{1}%
+\csname musicnorfont\endcsname
+\def\nbinstruments{\maxinstruments}\savemeter
+\csname normalnotesize\endcsname
+\normal % to get \notes correctly defined
+\resetfacteurs
+\def\nbinstruments{0}%
+ %
+\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}
+ %
+
+\def\endcatcodesmusic{\catcode`\&=\catcode@and
+\catcode`\|=\catcode@vert
+\catcode`\>=\catcode@gt
+\catcode`\<=\catcode@lt
+\catcode`\!=\catcode@excl
+\catcode`\*=\catcode@star
+\catcode`\:=\catcode@sc
+\catcode`\.=\catcode@pt
+\catcodesmusicfalse}
+
+\endcatcodesmusic
+
+\catcode`\@=\catcodeat
+\def\musictexactive{\relax}
+\endinput
+
diff --git a/Master/texmf-dist/tex/generic/musictex/musictrp.tex b/Master/texmf-dist/tex/generic/musictex/musictrp.tex
new file mode 100644
index 00000000000..31c952ef87d
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musictrp.tex
@@ -0,0 +1,175 @@
+
+\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+\edef\catcode@gt{\the\catcode`\>}\catcode`\>=12
+\edef\catcode@lt{\the\catcode`\<}\catcode`\<=12
+%
+\def\Na#1{\ifdim\small@test\bigNa{#1}\else\smallNa{#1}\fi}%
+\def\Fl#1{\ifdim\small@test\bigFl{#1}\else\smallFl{#1}\fi}%
+\def\Sh#1{\ifdim\small@test\bigSh{#1}\else\smallSh{#1}\fi}%
+\def\dFl#1{\ifdim\small@test\bigdFl{#1}\else\smalldFl{#1}\fi}%
+\def\dSh#1{\ifdim\small@test\bigdSh{#1}\else\smalldSh{#1}\fi}%
+%
+\def\cNa{\cautionacctrue\smallNa}
+\def\cFl{\cautionacctrue\smallFl}
+\def\cSh{\cautionacctrue\smallSh}
+\def\cdFl{\cautionacctrue\smalldFl}
+\def\cdSh{\cautionacctrue\smalldSh}
+%
+\def\lNa#1{\k@meiqdskip\bigNa{#1}\k@eiqdskip}%
+\def\lFl#1{\k@meiqdskip\bigFl{#1}\k@eiqdskip}%
+\def\lSh#1{\k@meiqdskip\bigSh{#1}\k@eiqdskip}%
+\def\ldFl#1{\k@meiqdskip\bigdFl{#1}\k@eiqdskip}%
+\def\ldSh#1{\k@meiqdskip\bigdSh{#1}\k@eiqdskip}%
+%
+%\check
+%
+\def\sign@diff{\global\n@iii=\n@i
+ \global\advance\n@iii by -\ut@ref\relax
+ \global\advance\n@iii by -\ut@ref\relax
+ \loop\ifnum\n@iii>6\relax \global\advance\n@iii by -7\relax\repeat
+ \loop\ifnum\n@iii<0\relax \global\advance\n@iii by 7\relax\repeat
+ \n@ii=999\relax
+ \ifcase\n@iii\relax\n@ii=6\relax % mi
+ \or\n@ii=1\relax % fa
+ \or\n@ii=3\relax % sol
+ \or\n@ii=5\relax % la
+ \or\n@ii=7\relax % si
+ \or\n@ii=2\relax % do
+ \or\n@ii=4\relax % re
+ \fi % \n@ii positive signature limit
+ % \n@ii-8 negative signature limit
+ \advance\n@ii by -\sign
+ \advance\n@ii by 6
+ \divide\n@ii by 7\relax
+}
+%
+\def\bigdFl#1{\getn@i{#1}\sign@diff
+ \ifcase\n@ii\relax\global\n@raise=\sh@raise\pl@llap{\f@lat}\relax
+ \or \global\n@raise=\fl@raise\pl@llap{\df@lat}\relax
+ \else \message{Impossible to double flatten the note !
+ \noexpand\Fl #1 }\showthe\n@ii
+ \fi
+}%
+%\check
+%
+\def\bigFl#1{\getn@i{#1}\sign@diff
+ \ifcase\n@ii\relax\global\n@raise=\na@raise\pl@llap{\n@at}\relax
+ \or \global\n@raise=\fl@raise\pl@llap{\f@lat}\relax
+ \or \global\n@raise=\fl@raise\pl@llap{\df@lat}\relax
+ \else \message{Impossible to flatten the note !
+ \noexpand\Fl #1 }\showthe\n@ii
+ \fi
+}%
+%\check
+\def\bigNa#1{\getn@i{#1}\sign@diff
+ \ifcase\n@ii\relax\global\n@raise=\sh@raise\pl@llap{\s@harp}\relax
+ \or \global\n@raise=\na@raise\pl@llap{\n@at}\relax
+ \or \global\n@raise=\fl@raise\pl@llap{\f@lat}\relax
+ \else \message{Impossible to reset natural the note !
+ \noexpand\Na #1 }\showthe\n@ii
+ \fi
+}%
+\def\bigSh#1{\getn@i{#1}\sign@diff
+ \ifcase\n@ii\relax\global\n@raise=\z@\pl@llap{\ds@harp}\relax
+ \or \global\n@raise=\sh@raise\pl@llap{\s@harp}\relax
+ \or \global\n@raise=\na@raise\pl@llap{\n@at}\relax
+ \else \message{Impossible to sharpen the note !
+ \noexpand\Sh #1 }\showthe\n@ii
+ \fi
+}%
+\def\bigdSh#1{\getn@i{#1}\sign@diff
+ \ifcase\n@ii\relax\message{Impossible to double sharpen the note !
+ \noexpand\dSh #1 }\showthe\n@ii
+ \or \global\n@raise=\z@\pl@llap{\ds@harp}\relax
+ \or \global\n@raise=\sh@raise\pl@llap{\s@harp}\relax
+ \else \message{Impossible to double sharpen the note !
+ \noexpand\dSh #1 }\showthe\n@ii
+ \fi
+}%
+%
+\def\smalldFl#1{\getn@i{#1}\sign@diff
+ \ifcase\n@ii\relax\global\n@raise=\fl@raise\pl@llap{\smallf@lat}\relax
+ \or \global\n@raise=\fl@raise\pl@llap{\smalldf@lat}\relax
+ \else \message{Impossible to double flatten the note !
+ \noexpand\Fl #1 }\showthe\n@ii
+ \fi
+}%
+%\check
+%
+\def\smallFl#1{\getn@i{#1}\sign@diff
+ \ifcase\n@ii\relax\global\n@raise=\na@raise\pl@llap{\smalln@at}\relax
+ \or \global\n@raise=\fl@raise\pl@llap{\smallf@lat}\relax
+ \or \global\n@raise=\fl@raise\pl@llap{\smalldf@lat}\relax
+ \else \message{Impossible to flatten the note !
+ \noexpand\Fl #1 }\showthe\n@ii
+ \fi
+}%
+%\check
+\def\smallNa#1{\getn@i{#1}\sign@diff
+ \ifcase\n@ii\relax\global\n@raise=\sh@raise\pl@llap{\smalls@harp}\relax
+ \or \global\n@raise=\na@raise\pl@llap{\smalln@at}\relax
+ \or \global\n@raise=\fl@raise\pl@llap{\smallf@lat}\relax
+ \else \message{Impossible to reset natural the note !
+ \noexpand\Na #1 }\showthe\n@ii
+ \fi
+}%
+\def\smallSh#1{\getn@i{#1}\sign@diff
+ \ifcase\n@ii\relax\global\n@raise=\z@\pl@llap{\smallds@harp}\relax
+ \or \global\n@raise=\sh@raise\pl@llap{\smalls@harp}\relax
+ \or \global\n@raise=\na@raise\pl@llap{\smalln@at}\relax
+ \else \message{Impossible to sharpen the note !
+ \noexpand\Sh #1 }\showthe\n@ii
+ \fi
+}%
+\def\smalldSh#1{\getn@i{#1}\sign@diff
+ \ifcase\n@ii\relax\message{Impossible to double sharpen the note !
+ \noexpand\dSh #1 }\showthe\n@ii
+ \or \global\n@raise=\z@\pl@llap{\smallds@harp}\relax
+ \or \global\n@raise=\sh@raise\pl@llap{\smalls@harp}\relax
+ \else \message{Impossible to double sharpen the note !
+ \noexpand\dSh #1 }\showthe\n@ii
+ \fi
+}%
+\def\pl@hboxq#1{\pl@note\raise\y@i\hbox to \qd@skip{\hss #1 \hss}}%
+\def\upperFl#1{\getn@i{#1}\sign@diff\global\n@raise=3\internote
+ \ifcase\n@ii\relax
+ \pl@hboxq{\smalln@at}\relax
+ \or
+ \pl@hboxq{\smallf@lat}\relax
+ \or
+ \pl@hboxq{\smalldf@lat}\relax
+ \else \message{Impossible to sharpen the note !
+ \noexpand\Sh #1 }\showthe\n@ii
+ \fi
+}%
+\def\upperNa#1{\getn@i{#1}\sign@diff\global\n@raise=3\internote
+ \ifcase\n@ii\relax
+ \pl@hboxq{\smalls@harp}\relax
+ \or
+ \pl@hboxq{\smalln@at}\relax
+ \or
+ \pl@hboxq{\smallf@lat}\relax
+ \else \message{Impossible to sharpen the note !
+ \noexpand\Sh #1 }\showthe\n@ii
+ \fi
+}%
+\def\upperSh#1{\getn@i{#1}\sign@diff\global\n@raise=3\internote
+ \ifcase\n@ii\relax
+ \pl@hboxq{\smallds@harp}\relax
+ \or
+ \pl@hboxq{\smalls@harp}\relax
+ \or
+ \pl@hboxq{\smalln@at}\relax
+ \else \message{Impossible to sharpen the note !
+ \noexpand\Sh #1 }\showthe\n@ii
+ \fi
+}%
+\def\relativeaccidentals{\def\Xna{\Na}\def\Xsh{\Sh}\def\Xfl{\Fl}%
+\def\Xdsh{\dSh}\def\Xdfl{\dFl}}%
+
+
+
+\catcode`\>=\catcode@gt
+\catcode`\<=\catcode@lt
+\catcode`\@=\catcodeat
+
diff --git a/Master/texmf-dist/tex/generic/musictex/musicvbm.tex b/Master/texmf-dist/tex/generic/musictex/musicvbm.tex
new file mode 100644
index 00000000000..f2025bed144
--- /dev/null
+++ b/Master/texmf-dist/tex/generic/musictex/musicvbm.tex
@@ -0,0 +1,94 @@
+% adjustable beam slopes
+% #1: beam number, #2: starting pitch, #3: ending pitch, #4: extension (number
+% of \noteskip's)
+\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
+
+\def\Ibu#1{\selectpoutre{#1}\I@bu{\i@bu}}%
+\def\Ibbu#1{\selectpoutre{#1}\I@bu{\i@bbu}}%
+\def\Ibbbu#1{\selectpoutre{#1}\I@bu{\i@bbbu}}%
+\def\Ibbbbu#1{\selectpoutre{#1}\I@bu{\i@bbbbu}}%
+\def\Ibl#1{\selectpoutre{#1}\I@bl{\i@bl}}%
+\def\Ibbl#1{\selectpoutre{#1}\I@bl{\i@bbl}}%
+\def\Ibbbl#1{\selectpoutre{#1}\I@bl{\i@bbbl}}%
+\def\Ibbbbl#1{\selectpoutre{#1}\I@bl{\i@bbbbl}}%
+%
+\newcount\s@lopenum
+\newcount\the@pitch
+\newdimen\b@eamlength
+%
+% compute altitude difference of tried beam in \y@iv
+% and compare with notes altitude difference
+%
+\def\I@buuchk{\y@iv=0.05\b@eamlength\multiply \y@iv by \s@lopenum\relax
+\ifdim \y@iv>\n@ii\internote\relax
+ \advance\s@lopenum by -1\relax\I@buuchk
+\fi
+\ifnum \s@lopenum>9\relax \advance\n@i by 1\relax
+ \advance\n@ii by -1\relax\I@buuchk
+\fi}%
+%
+\def\I@budchk{\y@iv=0.05\b@eamlength\multiply \y@iv by \s@lopenum\relax
+\ifdim \y@iv<\n@ii\internote\relax
+ \advance\s@lopenum by 1\relax\I@budchk
+\fi}%
+%
+\def\I@bu#1#2#3#4{{\inhgetn@i{#3}\n@ii=\n@i\relax
+\inhgetn@i{#2}\advance\n@ii by -\n@i\relax
+\b@eamlength=\noteskip
+\multiply\b@eamlength by #4\relax
+\ifnum\n@ii=0\relax
+ \edef\I@boper{\noexpand #1}\I@boper{#2}0\relax
+\else\ifnum\n@ii>0\relax\s@lopenum=10\relax \I@buuchk
+ \else \s@lopenum=-10\relax \I@budchk
+ \fi
+ \edef\I@boper{\noexpand #1{\the\n@i}{\the\s@lopenum}\relax}\I@boper
+\fi}}%
+%
+%\check
+%
+\def\I@bldchk{\y@iv=0.05\b@eamlength\multiply \y@iv by \s@lopenum\relax
+\ifdim \y@iv<\n@ii\internote\relax
+ \advance\s@lopenum by 1\relax\I@bldchk
+\fi
+\ifnum \s@lopenum<-9\relax \advance\n@i by -1\relax
+ \advance\n@ii by 1\relax\I@bldchk
+\fi}%
+%
+\def\I@bluchk{\y@iv=0.05\b@eamlength\multiply \y@iv by \s@lopenum\relax
+\ifdim \y@iv>\n@ii\internote\relax
+ \advance\s@lopenum by -1\relax\I@bluchk
+\fi}%
+%
+\def\I@bl#1#2#3#4{{\inhgetn@i{#3}\n@ii=\n@i\relax
+\inhgetn@i{#2}\advance\n@ii by -\n@i\relax
+\b@eamlength=\noteskip
+\multiply\b@eamlength by #4\relax
+\ifnum\n@ii=0\relax
+ \edef\I@boper{\noexpand #1}\I@boper{#2}0\relax
+\else\ifnum\n@ii>0\relax\s@lopenum=10\relax \I@bluchk
+ \else \s@lopenum=-10\relax \I@bldchk
+ \fi
+ \edef\I@boper{\noexpand #1{\the\n@i}{\the\s@lopenum}\relax}\I@boper
+\fi}}%
+%
+%\check
+% sets of double notes with computed slopes
+\def\Dqbbl#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
+\def\Dqbbu#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
+\def\Dqbl#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}%
+\def\Dqbu#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}%
+%\check
+% sets of triple notes with computed slopes
+\def\Tqbbl#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}%
+\def\Tqbbu#1#2#3{\Ibbu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}%
+\def\Tqbl#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}%
+\def\Tqbu#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}%
+%\check
+% sets of quadruple notes with computed slopes
+\def\Qqbbl#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1}\qb0{#2}\qb0{#3}\tqb0{#4}}%
+\def\Qqbbu#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1}\qh0{#2}\qh0{#3}\tqh0{#4}}%
+\def\Qqbl#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1}\qb0{#2}\qb0{#3}\tqb0{#4}}%
+\def\Qqbu#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1}\qh0{#2}\qh0{#3}\tqh0{#4}}%
+%\check
+\catcode`\@=\catcodeat
+