diff options
Diffstat (limited to 'Master/texmf-dist')
13 files changed, 3861 insertions, 70 deletions
diff --git a/Master/texmf-dist/tex/generic/musixtex/curly.tex b/Master/texmf-dist/doc/generic/musixtex/addons/curly.tex index dfe75653818..476486a9a8d 100644 --- a/Master/texmf-dist/tex/generic/musixtex/curly.tex +++ b/Master/texmf-dist/doc/generic/musixtex/addons/curly.tex @@ -29,10 +29,9 @@ \noinstrum@nt=#1\s@l@ctinstr\b@zi\altitude \noinstrum@nt=#2\s@l@ctinstr\b@zii\altitude \advance\b@zii-\b@zi + \advance\b@zii-\Interligne \C@Inter - \advance\b@zii\nblines\internote - \advance\b@zii\nblines\internote - \advance\b@zii-2\internote + \advance\b@zii\stem@skip \n@v\b@zii \sp@pt\tw@ \advance\n@v\@cxxviii \divide\b@zii\tw@ \advance\b@zi\b@zii @@ -42,3 +41,4 @@ \makeatother %%%%%%%%%%%%%%%%%%%%%%%%%% End of curly.tex %%%%%%%%%%%%%%%%%%%%%%%%%% + diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/musixcrd/doc.pdf b/Master/texmf-dist/doc/generic/musixtex/addons/musixcrd/doc.pdf new file mode 100644 index 00000000000..51b187f4872 --- /dev/null +++ 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+/Info 1 0 R +>> +startxref +174808 +%%EOF diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/musixcrd/musixcrd.tex b/Master/texmf-dist/doc/generic/musixtex/addons/musixcrd/musixcrd.tex new file mode 100644 index 00000000000..2701d104ee6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/addons/musixcrd/musixcrd.tex @@ -0,0 +1,272 @@ +%% +%% This is file `musixcrd.tex', +%% generated with the docstrip utility. +%% +%% The original source files were: +%% +%% musixcrd.dtx +%% +%% IMPORTANT NOTICE: +%% +%% For the copyright see the source file. +%% +%% Any modified versions of this file must be renamed +%% with new filenames distinct from musixcrd.tex. +%% +%% For distribution of the original source see the terms +%% for copying and modification in the file musixcrd.dtx. +%% +%% This generated file may be distributed as long as the +%% original source files, as listed above, are part of the +%% same distribution. (The sources need not necessarily be +%% in the same archive or directory.) +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% musixcrd - typsetting chord symbols with %% +%% musixtex %% +%% main source file contains code, doc, and examples %% +%% $Id: musixcrd.dtx,v 1.7 2004/11/02 13:13:41 hennig Exp $ %% +%% copyright 2004 , Robert Hennig %% +%% this code is licensed in terms of the %% +%% GNU Public License %% +%% %% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\ifx\makeatletter\undefined\def\makeatletter{\catcode`\@=11\relax}\fi +\ifx\makeatother\undefined\def\makeatother{\catcode`\@=12\relax}\fi + +\makeatletter% ^^A allows to use @ as ordinary letter +\def\crddefaultheight{10} +\def\crdtranspose{0} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\def\crd@append#1\to#2{% + \toks0=\expandafter{#1}\toks2=\expandafter{#2}% + \edef#2{\the\toks2 \the\toks0}} +\def\crd@prepend#1\by#2{% + \toks0=\expandafter{#1}\toks2=\expandafter{#2}% + \edef#1{\the\toks2 \the\toks0}} +\def\crd@movetoken#1\to#2{% + \ifx#1\empty\else\expandafter\crd@moveoff#1\crd@moveoff#1#2\fi}% +\def\crd@moveoff#1#2\crd@moveoff#3#4{\def#3{#2}\crd@prepend#4\by#1} +\newif\ifcrd@parsematched% true if parse matched +\newcount\crd@parsedepth% internal register + +\def\crd@parse#1\for#2{% parse tokens #1 for occurence of items of table #2 + \crd@parsedepth=1 % default if not defined + \expandafter\ifx\csname#2depth\endcsname\relax\else% + \crd@parsedepth=\csname#2depth\endcsname% + \fi% + \def\stack{}%\def\crd@parseresult{} + \crd@parsematchedfalse% initialisation + \crd@parser#1\for#2% call the recursive part +} +\def\crd@parser#1\for#2{% recursive part of parser + \ifx#1\empty\else% is list filled ? + \ifnum\crd@parsedepth>0 % and do we have to read more chars into stack + \advance\crd@parsedepth by-1 % + \crd@movetoken#1\to\stack% + \crd@parser#1\for#2% recursive call + \ifcrd@parsematched\else% if still not matched + \expandafter\ifx\csname#2\stack\endcsname\relax% does item match + \crd@movetoken\stack\to#1% no match, put char back to source + \else% match + \csname#2\stack\endcsname% + \crd@parsematchedtrue% signal success + \fi% + \fi% + \fi% + \fi% +} +\newcount\crd@vshift% +\newcount\crd@hshift% +\def\crd@number{crd@number}% +\def\crd@numberdepth{2}% +\expandafter\def\csname\crd@number0\endcsname{\crd@numberval=0 }% +\expandafter\def\csname\crd@number1\endcsname{\crd@numberval=1 }% +\expandafter\def\csname\crd@number2\endcsname{\crd@numberval=2 }% +\expandafter\def\csname\crd@number3\endcsname{\crd@numberval=3 }% +\expandafter\def\csname\crd@number4\endcsname{\crd@numberval=4 }% +\expandafter\def\csname\crd@number5\endcsname{\crd@numberval=5 }% +\expandafter\def\csname\crd@number6\endcsname{\crd@numberval=6 }% +\expandafter\def\csname\crd@number7\endcsname{\crd@numberval=7 }% +\expandafter\def\csname\crd@number8\endcsname{\crd@numberval=8 }% +\expandafter\def\csname\crd@number9\endcsname{\crd@numberval=9 }% +\expandafter\def\csname\crd@number1-\endcsname{\crd@numberval=-1 }% +\expandafter\def\csname\crd@number2-\endcsname{\crd@numberval=-2 }% +\expandafter\def\csname\crd@number3-\endcsname{\crd@numberval=-3 }% +\expandafter\def\csname\crd@number4-\endcsname{\crd@numberval=-4 }% +\expandafter\def\csname\crd@number5-\endcsname{\crd@numberval=-5 }% +\expandafter\def\csname\crd@number6-\endcsname{\crd@numberval=-6 }% +\expandafter\def\csname\crd@number7-\endcsname{\crd@numberval=-7 }% +\expandafter\def\csname\crd@number8-\endcsname{\crd@numberval=-8 }% +\expandafter\def\csname\crd@number9-\endcsname{\crd@numberval=-9 }% +\newcount\crd@quint% register used to represent notes in the circle of +\def\crd@quintval{crd@quintval}% +\def\crd@quintvalA{\crd@quint=3 }% A +\def\crd@quintvalB{\crd@quint=5 }% B +\def\crd@quintvalC{\crd@quint=0 }% C +\def\crd@quintvalD{\crd@quint=2 }% D +\def\crd@quintvalE{\crd@quint=4 }% E +\def\crd@quintvalF{\crd@quint=-1 }% F +\def\crd@quintvalG{\crd@quint=1 }% G +\def\crd@quintmod{crd@quintmod} +\def\crd@quintmoddepth{2} +\def\crd@quintmods{\advance\crd@quint by7 }% sharp +\def\crd@quintmodf{\advance\crd@quint by-7 }% flat +\def\crd@quintmodsd{\advance\crd@quint by14 }% double sharp +\def\crd@quintmodfd{\advance\crd@quint by-14 }% double flat +\def\crd@note{crd@note} +\expandafter\def\csname\crd@note3\endcsname{A} +\expandafter\def\csname\crd@note5\endcsname{B} +\expandafter\def\csname\crd@note0\endcsname{C} +\expandafter\def\csname\crd@note2\endcsname{D} +\expandafter\def\csname\crd@note4\endcsname{E} +\expandafter\def\csname\crd@note-1\endcsname{F} +\expandafter\def\csname\crd@note1\endcsname{G} +\def\crd@notelow{-1} % lowest quint without accidental +\def\crd@notehigh{5} % highest quint without accidental +\def\crd@sharp{\sharp} +\def\crd@flat{\flat} +\def\crd@doublesharp{\sharp\sharp} +\def\crd@doubleflat{\flat\flat} +\def\crd@parsenote#1#2{% parse input results: #1 + \def#1{}\def#2{}% + \crd@parse\crd@input\for\crd@quintval% + \ifcrd@parsematched% we got an valid note + \crd@parse\crd@input\for\crd@quintmod% + \advance\crd@quint by\crdtranspose \relax% transposition, space is needed! + \crd@enharmonic% + \ifnum\crd@quint>\crd@notehigh % sharps ? + \advance\crd@quint by-7 % + \ifnum\crd@quint>\crd@notehigh % double sharp ? + \advance\crd@quint by-7 % + \ifnum\crd@quint>\crd@notehigh % too much sharps ! + \relax ERROR:too much sharps% + \else\edef#2{\crd@doublesharp}\fi% + \else\edef#2{\crd@sharp}\fi% + \fi% + \ifnum\crd@quint<\crd@notelow % flats ? + \advance\crd@quint by7 % + \ifnum\crd@quint<\crd@notelow % double flat ? + \advance\crd@quint by7 % + \ifnum\crd@quint<\crd@notelow % too much flats ! + \relax ERROR:too much flats% + \else\edef#2{\crd@doubleflat}\fi% + \else\edef#2{\crd@flat}\fi% + \fi% + \expandafter\ifx\csname\crd@note\number\crd@quint\endcsname\relax% + ERROR:notename for (\number\crd@quint) is not defined. + \fi% + \edef#1{\csname\crd@note\number\crd@quint\endcsname}% set note + \fi% +} +\def\crd@enharmonic{}% +\def\crd@qualinit{% + \def\crd@lo{}% lower extensions + \def\crd@up{}% upper extensioins + \def\crd@alt{}% alterations +} +\def\crd@qual{crd@qual}% +\def\crd@qualdepth{2} +\def\crd@qualm{\crd@append{\crd@smalltype m}\to\crd@lo}% minor +\def\crd@qualM{\crd@append{\crd@capitaltype M}\to\crd@lo}% major7 +\expandafter\def\csname\crd@qual5+\endcsname% aug. 5 +{\crd@append{+}\to\crd@lo} +\expandafter\def\csname\crd@qual6\endcsname% 6 +{\crd@append{\crd@numbertype6}\to\crd@up} +\expandafter\def\csname\crd@qual7\endcsname% dominant 7 +{\crd@append{\crd@numbertype7}\to\crd@up} +\def\crd@quald{\crd@append{\crd@dim}\to\crd@up}% diminished +\def\crd@qualh{\crd@append{\crd@hdim}\to\crd@up}% half diminished +\expandafter\def\csname\crd@qual9-\endcsname% -9 +{\crd@append{\crd@numbertype\crd@numberflat9}\to\crd@alt} +\expandafter\def\csname\crd@qual9+\endcsname% +9 +{\crd@append{\crd@numbertype\crd@numbersharp9}\to\crd@alt} +\def\crd@skipcrdnote{crd@skipcrdnote} +\expandafter\def\csname\crd@skipcrdnote/\endcsname{} +\def\crd@parsecrd{% + \crd@vshift=0 % + \let\crd@numberval=\crd@vshift% + \crd@parse\crd@input\for\crd@number% + \crd@hshift=0 % + \let\crd@numberval=\crd@hshift% + \crd@parse\crd@input\for\crd@number% + \def\crd@crdnote{}% chord note + \def\crd@crdacc{}% chord note accidental + \def\crd@bassnote{}% bass note + \def\crd@bassacc{}% bass note accidental + \crd@qualinit% initialize qualifiers + \let\crd@flat=\crd@noteflat% + \let\crd@doubleflat=\crd@notedoubleflat% + \let\crd@sharp=\crd@notesharp% + \let\crd@doublesharp=\crd@notedoublesharp% + \crd@parsenote\crd@crdnote\crd@crdacc% read chord note + \loop\crd@parse\crd@input\for\crd@qual% read qualifiers + \ifcrd@parsematched\repeat% + \crd@parse\crd@input\for\crd@skipcrdnote% skip eventually + \let\crd@flat=\crd@bassflat% + \let\crd@doubleflat=\crd@bassdoubleflat% + \let\crd@sharp=\crd@basssharp% + \let\crd@doublesharp=\crd@bassdoublesharp% + \crd@parsenote\crd@bassnote\crd@bassacc% read bass note + \crd@formatcrd\hfil% call rendering +} +\def\crd@crddelim{crd@crddelim}% +\expandafter\def\csname\crd@crddelim,\endcsname{}% +\def\crd@parsecrds{% + \crd@parsecrd% + \crd@parse\crd@input\for\crd@crddelim% + \ifcrd@parsematched\crd@parsecrds\fi% +} +\def\c#1 {\def\crd@input{#1}\crd@output\crd@parsecrds} +\def\crd@fontstylea{% + \font\crd@eightrm=cmr8 + \font\crd@eightit=cmmi8 + \font\crd@seventeenrm=cmr17 + \font\crd@fourteenrm=cmr14 + \font\crd@twelverm=cmr12 + \font\crd@ninerm=cmr9 + \font\crd@smallninerm=cmr9 scaled 900 + \font\crd@bigninerm=cmr9 scaled 1100 + \let\crd@notetype=\crd@seventeenrm + \def\crd@noteflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty2}} + \def\crd@notedoubleflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty3}} + \def\crd@notesharp{\raise0.8ex\hbox{\musictwenty4}} + \def\crd@notedoublesharp{\raise0.8ex\hbox{\musictwenty5}} + \let\crd@basstype=\crd@fourteenrm + \def\crd@bassflat{\raise.5ex\hbox{\musicsixteen2}} + \def\crd@bassdoubleflat{\raise0.6ex\hbox{\kern-0.085em\musicsixteen3}} + \def\crd@basssharp{\raise1ex\hbox{\musicsixteen4}} + \def\crd@bassdoublesharp{\raise0.8ex\hbox{\musicsixteen5}} + \let\crd@numbertype=\crd@ninerm + \def\crd@numberflat{\raise.5ex\hbox{\musiceleven2}} + \def\crd@numbersharp{\raise1ex\hbox{\musiceleven4}} + \def\crd@numberminus{\crd@ninerm-} + \def\crd@numberplus{\crd@ninerm+} + \let\crd@capitaltype=\crd@smallninerm % capitals + \let\crd@smalltype=\crd@bigninerm % small + \def\crd@hdim{\crd@eightit$\circ$\kern-4.4pt\raise.9pt\hbox{\crd@eightrm/}} + \def\crd@dim{\crd@eightit$\circ$} +} +\def\crd@formatcrda{% + \hbox{\kern\crd@hshift\elemskip\raise\crd@vshift\internote\hbox{% + {\crd@notetype\crd@crdnote\crd@crdacc}% + \vbox{% + \hbox{% + \crd@up% + \ifx\crd@alt\empty\else\crd@numbertype(\crd@alt\crd@numbertype)\fi% + }% + \nointerlineskip\vskip1pt% + \hbox{\vphantom{\crd@capitaltype M}\crd@lo}}% + \ifx\crd@bassnote\empty\else% + {\crd@basstype/% + \lower0.5ex\hbox{\kern-0.17em \crd@bassnote\crd@bassacc}}% + \fi%\ + }} +} +\let\crd@formatcrd=\crd@formatcrda +\crd@fontstylea +\def\crd@musixOutput#1{\hbox{\zchar{\crddefaultheight}{\hbox to\elemskip{#1\hss}}}} +\let\crd@output=\crd@musixOutput +\makeatother +\endinput +%% +%% End of file `musixcrd.tex'. diff --git a/Master/texmf-dist/doc/generic/musixtex/addons/musixcrd/readme b/Master/texmf-dist/doc/generic/musixtex/addons/musixcrd/readme new file mode 100644 index 00000000000..d1baf7ea576 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/addons/musixcrd/readme @@ -0,0 +1,54 @@ +#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +#%% musixcrd - typsetting chord symbols with %% +#%% musixtex %% +#%% readme %% +#%% $Id$ %% +#%% copyright 2004 , Robert Hennig %% +#%% this code is licensed in terms of the %% +#%% GNU Public License %% +#%% %% +#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Chord setting for musixtex or pmx. + +There exist two distributions, the sources and the compiled on. +The sources are only necessary for development. Normal usage +requires only the compiled version. + + +compiled distribution +--------------------- + The archive musixcrd.tgz contains the following files: + + o readme this file + o musixcrd.tex tex macros + o doc.pdf documentation + + Put the musixcrd.tex file or an link to it into your + musixtex/pmx working directory. For pmx use the lines + + --- + \input musixtex % These commands are necessary + \input pmx % because pmx.tex MUST be \input + \input musixcrd + --- + + as preamble in your pmx source file to include musixcrd.tex. + Look at doc.ps for further instructions of how to use musixcrd. + + +source distribution +------------------- + The archive musixcrdsrc.tgz contains the following files: + + o readme this file + o musixcrd.dtx tex macros and documentation + o makefile makefile + o musixcrd.sty latex stylefile is a link to musixcrd.dtx + o doc.tex latex macros for documentation generation + using musixcrd.dtx + o strip.tex tex file for strip documentation from musixcrd.dtx + + Extract the file into an directory. Use make with the arguments + doc, strip, srcdist and dist to generate the targets. + diff --git a/Master/texmf-dist/tex/generic/musixtex/tuplet.tex b/Master/texmf-dist/doc/generic/musixtex/addons/tuplet.tex index 0dcb7aca469..0f579a59bd0 100644 --- a/Master/texmf-dist/tex/generic/musixtex/tuplet.tex +++ b/Master/texmf-dist/doc/generic/musixtex/addons/tuplet.tex @@ -31,7 +31,7 @@ % % \uptuplet p{1.25}3 % -% Draw a sextuplet bracket over the notes, starting at pitch "a", +% Draw a sextuplet bracket under the notes, starting at pitch "a", % 2.5\noteskip wide, with a slope down of 4-1/2 degrees: % % \def\tuplettxt{\smallppff 6\/\/} @@ -53,8 +53,8 @@ %%% The rest is adapted from standard MusixTeX. -\newdimen\y@vii % x of right end of left part of bracket. -\newdimen\y@viii % x of left end of right part of bracket. +\newdimen\y@vii % x of right end of left part of bracket. +\newdimen\y@viii % x of left end of right part of bracket. \newdimen\y@ix \newbox\tuptxtb@x diff --git a/Master/texmf-dist/tex/generic/musixtex/underbracket.sty b/Master/texmf-dist/doc/generic/musixtex/addons/underbracket.sty index 994aee60ba1..994aee60ba1 100644 --- a/Master/texmf-dist/tex/generic/musixtex/underbracket.sty +++ b/Master/texmf-dist/doc/generic/musixtex/addons/underbracket.sty diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.underbracket b/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.underbracket deleted file mode 100644 index 4345cb63fdc..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.underbracket +++ /dev/null @@ -1,64 +0,0 @@ -LaTeX package underbracket - -draws brackets to underline (song) text - -v1.2 by Bernd Jantzen -For e-mail contact please use "ctan" before the "@"-sign -and "bernd-jantzen.de" after it to form my address -(not given in full clear text here to prevent spam). - -This package draws brackets to underline text (especially, -but not exclusively, syllables of song text). -It may be combined with musixtex/musixlyr, within the argument of -the \setlyrics command or outside the music score. -It provides several macros to define brackets which may e.g. start -and end centered below syllables. -Three length variables are provided to allow a fine adjustment -of the bracket parameters. - -This material is subject to the LaTeX Project Public License. -See http://www.ctan.org/tex-archive/help/Catalogue/licenses.lppl.html -for the details of that license. - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -Commands: - -\underbracket{TEXT} - draws a bracket underlining TEXT - the bracket starts below the left end of TEXT - and stops below the right end of TEXT - -\Underbracket{TEXT} - like \underbracket, but reserves no vertical space below the text - -\cunderbracket{LEFT}{TEXT}{RIGHT} - draws a bracket underlining LEFTTEXTRIGHT - the bracket starts centered below LEFT and stops centered below RIGHT - -\cUnderbracket{LEFT}{TEXT}{RIGHT} - like cunderbracket, but reserves no vertical space below the text - - -The commands \[c]underbracket do well in normal text which is aligned -according to the baseline. The vertical space reserved below the text -guarantees the distance to the next line. -The commands \[c]Underbracket do well within the \setlyrics command of -musixlyr where the text is vertically centered between the staves. Vertical -space reserved below the text would shift the whole text upwards here. - - -Adjustable length parameters: -(change e.g. with \setlength{\underbracketheight}{4pt}) - -\underbracketwidth (default 0.3pt): - linewidth of the bracket - -\underbracketheight (default 3pt): - height of the bracket (length of the vertical lines) - -\underbracketsep (default 2pt): - vertical distance between the lowest part of the text - and the upper end of the bracket; - also minimal vertical distance below the bracket - diff --git a/Master/texmf-dist/source/generic/musixtex/musixcrd/doc.tex b/Master/texmf-dist/source/generic/musixtex/musixcrd/doc.tex new file mode 100644 index 00000000000..b919dcbc4d3 --- /dev/null +++ b/Master/texmf-dist/source/generic/musixtex/musixcrd/doc.tex @@ -0,0 +1,24 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% musixcrd - typsetting chord symbols with %% +%% musixtex %% +%% doc.tex documentation generation %% +%% $Id$ %% +%% copyright 2004 , Robert Hennig %% +%% this code is licensed in terms of the %% +%% GNU Public License %% +%% %% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\documentclass{ltxdoc} +\usepackage{musixtex,musixcrd,syntax,sverb} +\EnableCrossrefs +\PageIndex +\CodelineIndex +\setlength\hfuzz{15pt} +\begin{document} + \DocInput{musixcrd.dtx} +\end{document} + +%%% Local Variables: +%%% mode: plain-tex +%%% TeX-master: t +%%% End: diff --git a/Master/texmf-dist/source/generic/musixtex/musixcrd/makefile b/Master/texmf-dist/source/generic/musixtex/musixcrd/makefile new file mode 100644 index 00000000000..68202db9028 --- /dev/null +++ b/Master/texmf-dist/source/generic/musixtex/musixcrd/makefile @@ -0,0 +1,45 @@ +#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +#%% musixcrd - typsetting chord symbols with %% +#%% musixtex %% +#%% makefile %% +#%% $Id$ %% +#%% copyright 2004 , Robert Hennig %% +#%% this code is licensed in terms of the %% +#%% GNU Public License %% +#%% %% +#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +SOURCES = readme musixcrd.dtx makefile musixcrd.sty doc.tex strip.tex +TARGETS = readme musixcrd.tex doc.pdf + +doc: doc.dvi + +strip: musixcrd.tex + +srcdist: musixcrdsrc.tgz + +dist: musixcrd.tgz + +all: strip doc srcdist dist + +musixcrd.tex: strip.tex musixcrd.dtx + tex strip.tex + +doc.toc: doc.tex musixcrd.dtx + latex doc.tex + latex doc.tex + +doc.dvi: doc.tex musixcrd.dtx doc.toc + latex doc.tex + +doc.ps: doc.dvi + dvips -o doc.ps doc.dvi + +doc.pdf: doc.dvi + dvipdfm -o doc.pdf doc.dvi + +musixcrdsrc.tgz: $(SOURCES) + tar czvf musixcrdsrc.tgz $(SOURCES) + +musixcrd.tgz: makefile $(TARGETS) + tar czvf musixcrd.tgz $(TARGETS)
\ No newline at end of file diff --git a/Master/texmf-dist/source/generic/musixtex/musixcrd/musixcrd.dtx b/Master/texmf-dist/source/generic/musixtex/musixcrd/musixcrd.dtx new file mode 100644 index 00000000000..3caf93ff06b --- /dev/null +++ b/Master/texmf-dist/source/generic/musixtex/musixcrd/musixcrd.dtx @@ -0,0 +1,811 @@ +%\iffalse +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% musixcrd - typsetting chord symbols with %% +%% musixtex %% +%% main source file contains code, doc, and examples %% +%% $Id$ %% +%% copyright 2004 , Robert Hennig %% +%% this code is licensed in terms of the %% +%% GNU Public License %% +%% %% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%\fi +\ifx\makeatletter\undefined\def\makeatletter{\catcode`\@=11\relax}\fi +\ifx\makeatother\undefined\def\makeatother{\catcode`\@=12\relax}\fi + +\makeatletter% ^^A allows to use @ as ordinary letter +% +% \def\backslash{\tt\char'134} +% \def\musixtex{MusiX\TeX} +% \def\musixcrd{MusixCrd} +% \def\crdexample#1{{\tt\backslash c #1 }$\rightarrow$ \c #1 \medskip} +% \def\pmx{PMX} +% \title{ +% {\bf \musixcrd} \\ +% --- Typesetting Chord Symbols with \musixtex --- \\ +% Version 1.1 \\ +% {\large $Revision$}} +% +% \author{Robert Hennig\thanks{robert.hennig@freylax.de}} +% \maketitle +% \tableofcontents +% +% \section{Usage} +% This package was written to ease the typesetting of chord symbols +% for music scores. +% One point of focus was that the user should have not to much to type +% if placing the cord. So one macro will be used which takes characters +% as argument which describe the chord to type. \par +% Thought the syntax of the chord description could easily be altered they +% should become somewhat stable whereas the output format can be adapted to +% individual needs. +% Further the notenames can be transposed, so transposing a music piece +% with chord symbols can be done easily. \par +% The package can be used with \musixtex\ and \pmx\ +% -- which also gave the idea for the usage of an short chord--description +% `language'. +% \footnote{If the default output functions are changed the package could +% also be used with \TeX{} and \LaTeX{} alone.} +% \par +% +% \DescribeMacro{\c} +% The main macro which the package defines is +% \verb*|\c |\synt{chord-list}\verb*| |. The argument is an space +% terminated \synt{chord-list} +% \footnote{This form of argument was choosen because it leads to a +% short notation inside \pmx\ e.g.: \\ +% {\tt \backslash c AfM \backslash\ e8 f g4 \backslash c Gm7 \backslash\ b4 g} +% }. +% \begin{demo}[w]{\musixtex} +% \nobarnumbers +% \startextract +% \NOtes\c CM7 \hu e\c Dm7 \hu f\en\bar +% \NOTEs\c Ch/E \hu g\c F6/A \hu h\en\bar +% \NOtes\c 0-1E7/G \hl i\c Fd/Af \hl j\en +% \endextract +% \end{demo} +% +% \subsection{Syntax} +% \begin{grammar} +% <empty> ::= `' +% +% <digit> ::= `0' | `1' | `2' | `3' | `4' | `5' | `6' | `7' | `8' | `9' +% +% <number> ::= <digit> | `-' <digit> +% +% <vertical-shift> ::= <number> | <empty> +% +% <horizontal-shift> ::= <number> | <empty> +% +% <note-base-name> ::= `C' | `D' | `E' | `F' | `G' | `A' | `B' +% +% <accidental> ::= `s' | `f' | `ds' | `df' +% +% <note-name> ::= <empty> | <note-base-name> +% | <note-base-name> <accidental> +% +% <chord-qualifier> ::= +% `m' | `d' | `h' | `M' | `4' | `+5' | `-5' | `6' | `7' | `-9' | `+9' +% +% <chord-qualifier-list> ::= <empty> +% | <chord-qualifier> <chord-qualifier-list> +% +% <begin-bass-note> ::= <empty> | `/' +% +% <chord> ::= <vertical-shift> <horizontal-shift> \\ +% <note-name> <chord-qualifier-list> \\ +% <begin-bass-note> <note-name> <chord-qualifier-list> +% +% <chord-list> ::= <chord-list> `,' <chord-list> | <chord> | <empty> +% \end{grammar} +% +% +% \subsection{Semantics} +% \paragraph{\synt{vertical-shift}} +% \DescribeMacro{\crddefaultheight} +% Adjustment of the vertical chord position in internotes, +% relative to the default value defined with +% \verb*|\crddefaultheight|. You may change this default within +% your sheet. +% \begin{macrocode} +\def\crddefaultheight{10} +% \end{macrocode} +% \paragraph{\synt{horizontal-shift}} +% Horizontal adjustment in multiples of \verb*|\elemskip|. +% +% \paragraph{\synt{accidental}} +% Allowed accidentals are: sharp, flat, double-sharp, double-flat. +% +% \paragraph{\synt{note-name}} +% \DescribeMacro{\crdtranspose} +% The given note names are transposed by the number of quint steps +% given in \verb*|\crdtranspose|. You may change this value within +% your sheet. +% \begin{macrocode} +\def\crdtranspose{0} +% \end{macrocode} +% \paragraph{\synt{chord-qualifier}} +% Currently known qualifiers are: +% \begin{description} +% \item[m] minor +% \item[d] diminished +% \item[h] half-diminished +% \item[M] major +% \item[4] suspended fourth +% \item[+5] augmented fifth +% \item[-5] diminished fifth +% \item[6] 6th +% \item[7] 7th +% \item[9] 9th +% \item[-9] diminished 9th +% \item[+9] augmented 9th +% \end{description} +% Note that the syntax is independent of the visualization +% of the qualifier so different chord styles could be applied. +% +% \paragraph{\synt{begin-bass-note}} +% Use the `/' symbol to skip the \synt{note-name} and +% \synt{chord-qualifier-list} to allow the notation of +% bass-notes without chord-notes. +% +% \paragraph{\synt{chord-list}} +% With `,' separated chords are spread evenly +% within one bar. Use this notation if the horizontal positions +% of the chords do not line up with the notes. +% +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% \section{Implementation} +% \subsection{Input Guard} +% To prevent repeated defenition of the main macros +% we end the inclusion of this file if we already now +% about our macros. +% \begin{macrocode} +\ifx\crd@parser\undefined\else\makeatother\endinput\fi% +% \end{macrocode} +% \subsection{List Macros} +% For the parsing of the chord description some macros are needed which +% can do simple string operations. \medskip \\ +% \DescribeMacro{\crd@append} +% \syntax{"\\crd@append"<tokens-a>"\\to"<tokens-b>}\\ +% Append \synt{tokens-a} to \synt{tokens-b}. +% \begin{macrocode} +\def\crd@append#1\to#2{% + \toks0=\expandafter{#1}\toks2=\expandafter{#2}% + \edef#2{\the\toks2 \the\toks0}} +% \end{macrocode} +% \DescribeMacro{\crd@prepend} +% \syntax{"\\crd@prepend"<tokens-a>"\\by"<tokens-b>}\\ +% Prepend \synt{tokens-a} by \synt{tokens-b}. +% \begin{macrocode} +\def\crd@prepend#1\by#2{% + \toks0=\expandafter{#1}\toks2=\expandafter{#2}% + \edef#1{\the\toks2 \the\toks0}} +% \end{macrocode} +% \DescribeMacro{\crd@movetoken} +% \syntax{"\\crd@movetoken"<tokens-a>"\\to"<tokens-b>}\\ +% Move the first token of \synt{tokens-a} to the front of +% \synt{tokens-b}. +% \begin{macrocode} +\def\crd@movetoken#1\to#2{% + \ifx#1\empty\else\expandafter\crd@moveoff#1\crd@moveoff#1#2\fi}% +\def\crd@moveoff#1#2\crd@moveoff#3#4{\def#3{#2}\crd@prepend#4\by#1} +% \end{macrocode} +% \begin{demo}[w]{test} +% \makeatletter +% \def\l{oo} (\l) % +% \crd@append{ns}\to\l append:(\l) % +% \crd@prepend\l\by{sp} prepend:(\l)\\% +% \def\swap#1#2{(#1,#2) % +% \ifx#1\empty\else\crd@movetoken#1\to#2\swap#1#2\fi} +% \def\r{} movetoken:\\ \swap\l\r +% \makeatother +% \end{demo} +% +% \subsection{Parsing} +% To describe the syntatic items which exists for a distinct semantic +% a \synt{syntax-table} is used. +% For each item exists a coresponding macro which will be executed +% if it name matches. The name of the item consists of the +% \synt{syntax-table} name and the \emph{reverse} syntax of this item. \par +% +% \DescribeMacro{\crd@parse} +% The \syntax{"\\crd@parse"<tokens>"\\for"<syntax-table>} macro is used +% to test if the first part of \synt{tokens} has matches for the longest +% possible item described in \synt{syntax-table}. +% If an item matched its macro will be expanded and +% and the tokens of the item are cut of from the given \synt{tokens}. +% \DescribeMacro{\crd@parsematched} +% The conditional \verb|\crd@parsematched| is true if an item matched and +% false otherwise. +% +% \begin{macrocode} +\newif\ifcrd@parsematched% true if parse matched +\newcount\crd@parsedepth% internal register + +\def\crd@parse#1\for#2{% parse tokens #1 for occurence of items of table #2 + \crd@parsedepth=1 % default if not defined + \expandafter\ifx\csname#2depth\endcsname\relax\else% + \crd@parsedepth=\csname#2depth\endcsname% + \fi% + \def\stack{}%\def\crd@parseresult{} + \crd@parsematchedfalse% initialisation + \crd@parser#1\for#2% call the recursive part +} +\def\crd@parser#1\for#2{% recursive part of parser + \ifx#1\empty\else% is list filled ? + \ifnum\crd@parsedepth>0 % and do we have to read more chars into stack + \advance\crd@parsedepth by-1 % + \crd@movetoken#1\to\stack% + \crd@parser#1\for#2% recursive call + \ifcrd@parsematched\else% if still not matched + \expandafter\ifx\csname#2\stack\endcsname\relax% does item match + \crd@movetoken\stack\to#1% no match, put char back to source + \else% match + \csname#2\stack\endcsname% + \crd@parsematchedtrue% signal success + \fi% + \fi% + \fi% + \fi% +} +% \end{macrocode} +% For an example suppose that we want to express the +% semantic \synt{bool} by the following grammar: +% \begin{grammar} +% <bool> ::= `y' | `n' | `yes' | `no' +% \end{grammar} +% +% \begin{demo}[w]{bool} +% \def\bool{bool} % syntax-table with name `bool' +% \def\booldepth{3} % max length of text to looking for is 3 +% \def\booly{true} +% \def\booln{false} +% \def\boolsey{true*} % reverse syntax !!! +% \def\boolon{false*} % reverse syntax !!! +% \makeatletter +% \def\p#1{ (#1) \crd@parse#1\for\bool : (#1)\\} +% \makeatother +% \def\l{nonyyestest} \p\l\p\l\p\l\p\l\p\l +% \end{demo} +% +% +% \subsection{Chord parsing} +% \subsubsection{Vertical and Horizontal shifting} +% \begin{macrocode} +\newcount\crd@vshift% +\newcount\crd@hshift% +\def\crd@number{crd@number}% +\def\crd@numberdepth{2}% +\expandafter\def\csname\crd@number0\endcsname{\crd@numberval=0 }% +\expandafter\def\csname\crd@number1\endcsname{\crd@numberval=1 }% +\expandafter\def\csname\crd@number2\endcsname{\crd@numberval=2 }% +\expandafter\def\csname\crd@number3\endcsname{\crd@numberval=3 }% +\expandafter\def\csname\crd@number4\endcsname{\crd@numberval=4 }% +\expandafter\def\csname\crd@number5\endcsname{\crd@numberval=5 }% +\expandafter\def\csname\crd@number6\endcsname{\crd@numberval=6 }% +\expandafter\def\csname\crd@number7\endcsname{\crd@numberval=7 }% +\expandafter\def\csname\crd@number8\endcsname{\crd@numberval=8 }% +\expandafter\def\csname\crd@number9\endcsname{\crd@numberval=9 }% +\expandafter\def\csname\crd@number1-\endcsname{\crd@numberval=-1 }% +\expandafter\def\csname\crd@number2-\endcsname{\crd@numberval=-2 }% +\expandafter\def\csname\crd@number3-\endcsname{\crd@numberval=-3 }% +\expandafter\def\csname\crd@number4-\endcsname{\crd@numberval=-4 }% +\expandafter\def\csname\crd@number5-\endcsname{\crd@numberval=-5 }% +\expandafter\def\csname\crd@number6-\endcsname{\crd@numberval=-6 }% +\expandafter\def\csname\crd@number7-\endcsname{\crd@numberval=-7 }% +\expandafter\def\csname\crd@number8-\endcsname{\crd@numberval=-8 }% +\expandafter\def\csname\crd@number9-\endcsname{\crd@numberval=-9 }% + +\def\crd@bracketinit{% + \def\crd@bracketopen{}% + \def\crd@bracketclose{}% +} +\def\crd@bracket{crd@bracket}% +\def\crd@bracketdepth{1}% +\expandafter\def\csname\crd@bracket(\endcsname{% + \crd@append(\to\crd@bracketopen}% +\expandafter\def\csname\crd@bracket)\endcsname{% + \crd@append)\to\crd@bracketclose}% + +% \end{macrocode} +% \subsubsection{Notes and Accidentals} +% \paragraph{Syntax} +% In order to allow transposition of notes we use the circle of fifth +% for representing notes. +% \DescribeMacro{\crd@quintval} +% The syntax table \verb|\crd@quintval| contains the mapping from note +% names to the note position in the circle of fifth. \\ +% \DescribeMacro{\crd@quint} +% The count register \verb|\crd@quint| is used to receive the result. +% \begin{macrocode} +\newcount\crd@quint% register used to represent notes in the circle of +\def\crd@quintval{crd@quintval}% +\def\crd@quintvalA{\crd@quint=3 }% A +\def\crd@quintvalB{\crd@quint=5 }% B +\def\crd@quintvalC{\crd@quint=0 }% C +\def\crd@quintvalD{\crd@quint=2 }% D +\def\crd@quintvalE{\crd@quint=4 }% E +\def\crd@quintvalF{\crd@quint=-1 }% F +\def\crd@quintvalG{\crd@quint=1 }% G +% \end{macrocode} +% \DescribeMacro{\crd@quintmod} +% The modification of the note position in the circle of fifth +% which is caused by the accidentals is coded in the +% \verb|\crd@quintmod| syntax table. +% \begin{macrocode} +\def\crd@quintmod{crd@quintmod} +\def\crd@quintmoddepth{2} +\def\crd@quintmods{\advance\crd@quint by7 }% sharp +\def\crd@quintmodf{\advance\crd@quint by-7 }% flat +\def\crd@quintmodsd{\advance\crd@quint by14 }% double sharp +\def\crd@quintmodfd{\advance\crd@quint by-14 }% double flat +% \end{macrocode} +% \paragraph{Notenames and accidental symbols} +% After transpositon and enharmonic adaption an reverse mapping +% from the circle of fifth to notenames and accidentals is needed. +% \DescribeMacro{\crd@note} +% The mapping from circle of fifth to notenames without accidentals +% is specified in the \verb|\crd@note| table. +% \DescribeMacro{\crd@notelow}\DescribeMacro{\crd@notehigh} +% In addition we need to now where the notes without accidentals +% start and end which is defined in \verb|\crd@notelow| and +% \verb|crd@notehigh|. +% \begin{macrocode} +\def\crd@note{crd@note} +\expandafter\def\csname\crd@note3\endcsname{A} +\expandafter\def\csname\crd@note5\endcsname{B} +\expandafter\def\csname\crd@note0\endcsname{C} +\expandafter\def\csname\crd@note2\endcsname{D} +\expandafter\def\csname\crd@note4\endcsname{E} +\expandafter\def\csname\crd@note-1\endcsname{F} +\expandafter\def\csname\crd@note1\endcsname{G} +\def\crd@notelow{-1} % lowest quint without accidental +\def\crd@notehigh{5} % highest quint without accidental +% \end{macrocode} +% +% \DescribeMacro{\crd@sharp}\DescribeMacro{\crd@flat} +% \DescribeMacro{\crd@doublesharp}\DescribeMacro{\crd@doubleflat} +% The following macros define the representation of the +% (default) accidentals. +% \begin{macrocode} +\def\crd@sharp{\sharp} +\def\crd@flat{\flat} +\def\crd@doublesharp{\sharp\sharp} +\def\crd@doubleflat{\flat\flat} +% \end{macrocode} +% \paragraph{Parsing} +% \DescribeMacro{\crd@input} +% The following functions read their input from \verb|\crd@input|.\\ +% \DescribeMacro{\crd@parsenote} +% The \syntax{"\\crd@parsenote"<note><accidental>} +% macro parses the input \verb|\crd@input| and if note and +% accidental could be detected the transposed note position +% in the circle of fifth will be calculated, transposed and +% adapted using the \verb|\crd@enharmonic| macro. +% Then the position in the circle of fifth is calculated back +% to the \synt{note} and \synt{accidental} representation which +% is stored in the arguments. +% \begin{macrocode} +\def\crd@parsenote#1#2{% parse input results: #1 + \def#1{}\def#2{}% + \crd@parse\crd@input\for\crd@quintval% + \ifcrd@parsematched% we got an valid note + \crd@parse\crd@input\for\crd@quintmod% + \advance\crd@quint by\crdtranspose \relax% transposition, space is needed! + \crd@enharmonic% + \ifnum\crd@quint>\crd@notehigh % sharps ? + \advance\crd@quint by-7 % + \ifnum\crd@quint>\crd@notehigh % double sharp ? + \advance\crd@quint by-7 % + \ifnum\crd@quint>\crd@notehigh % too much sharps ! + \relax ERROR:too much sharps% + \else\edef#2{\crd@doublesharp}\fi% + \else\edef#2{\crd@sharp}\fi% + \fi% + \ifnum\crd@quint<\crd@notelow % flats ? + \advance\crd@quint by7 % + \ifnum\crd@quint<\crd@notelow % double flat ? + \advance\crd@quint by7 % + \ifnum\crd@quint<\crd@notelow % too much flats ! + \relax ERROR:too much flats% + \else\edef#2{\crd@doubleflat}\fi% + \else\edef#2{\crd@flat}\fi% + \fi% + \expandafter\ifx\csname\crd@note\number\crd@quint\endcsname\relax% + ERROR:notename for (\number\crd@quint) is not defined. + \fi% + \edef#1{\csname\crd@note\number\crd@quint\endcsname}% set note + \fi% +} +% \end{macrocode} +% +% +% \DescribeMacro{\crd@enharmonic} +% To allow different enharmonic adaptions the \verb|\crd@enharmonic| +% macro is provided which default behaviour is to do nothing. +% \begin{macrocode} +\def\crd@enharmonic{}% +% \end{macrocode} +% +% \begin{demo}[w]{noteparsing} +% \makeatletter +% \def\parsenoter{\crd@parsenote\n\a% +% \ifx\n\empty\else{\crd@notetype\n\a}\parsenoter\fi}% +% \def\parsenotes#1{% +% \let\crd@flat=\crd@noteflat% +% \let\crd@sharp=\crd@notesharp% +% \def\crd@input{#1}\parsenoter} +% \makeatother +% +% \parsenotes{CDfDEfEFFsGAfAsB} +% \end{demo} +% +% +% \subsubsection{Chord Qualifiers} +% To cover a broad range of different styles for setting chord qualifiers +% the design is open for extensions. For the sake of demonstration and +% simple usability an default implementation is provided and discussed +% furtherwards. \\ +% Suppose we want to distinguish 3 different kinds of qualifiers, +% some go down, some go up and alterations are put in brackets. +% \DescribeMacro{\crd@qualinit} +% We choose to use 3 lists (macros) to hold the parsing results. +% For initialisation of these lists the \verb|\crd@qualinit| macro +% has to be implemented. +% \begin{macrocode} +\def\crd@qualinit{% + \def\crd@lo{}% lower extensions + \def\crd@up{}% upper extensioins + \def\crd@alt{}% alterations +} +% \end{macrocode} +% \DescribeMacro{\crd@qual} +% Now the syntax table \verb|\crd@qual| has to be defined which fills +% the lists appropriatly. +% \begin{macrocode} +\def\crd@qual{crd@qual}% +\def\crd@qualdepth{2} +\def\crd@qualm{\crd@append{\crd@smalltype m}\to\crd@lo}% minor +\def\crd@qualM{\crd@append{\crd@capitaltype M}\to\crd@up}% major7 +\expandafter\def\csname\crd@qual4\endcsname% 4 +{\crd@append{\crd@numbertype4}\to\crd@lo} +\expandafter\def\csname\crd@qual5+\endcsname% aug. 5 +{\crd@append{\crd@numbertype\crd@numbersharp5}\to\crd@alt} +\expandafter\def\csname\crd@qual5-\endcsname% dim. 5 +{\crd@append{\crd@numbertype\crd@numberflat5}\to\crd@alt} +\expandafter\def\csname\crd@qual6\endcsname% 6 +{\crd@append{\crd@numbertype6}\to\crd@up} +\expandafter\def\csname\crd@qual7\endcsname% dominant 7 +{\crd@append{\crd@numbertype7}\to\crd@up} +\def\crd@quald{\crd@append{\crd@dim}\to\crd@up}% diminished +\def\crd@qualh{\crd@append{\crd@hdim}\to\crd@up}% half diminished +\expandafter\def\csname\crd@qual9-\endcsname% -9 +{\crd@append{\crd@numbertype\crd@numberflat9}\to\crd@alt} +\expandafter\def\csname\crd@qual9+\endcsname% +9 +{\crd@append{\crd@numbertype\crd@numbersharp9}\to\crd@alt} +% \end{macrocode} +% +% \begin{demo}[w]{qualparsing} +% \makeatletter +% \def\parsequal#1{\def\crd@input{#1}% +% \crd@qualinit% +% \loop\crd@parse\crd@input\for\crd@qual% +% \ifcrd@parsematched\repeat% +% (\crd@lo,\crd@up,\crd@alt)% +% }% +% \makeatother +% +% \parsequal{mMdh4+5-567-9+9} +% \end{demo} +% +% \subsubsection{Parsing the whole chord} +% We are now ready to parse the whole chord, consisting +% of chordnote, qualifiers and bassnote. However +% if one likes to set only a bassnote one needs to tell +% that there is no chord note to set. For this purpose +% the \DescribeMacro{\crd@skipcrdnote} \verb|\crd@skipcrdnote| +% syntax table defines the `/' item which does this skip. +% \begin{macrocode} +\def\crd@skipcrdnote{crd@skipcrdnote} +\expandafter\def\csname\crd@skipcrdnote/\endcsname{} +% \end{macrocode} +% \DescribeMacro{\crd@parsecrd} +% +% \begin{macrocode} +\def\crd@parsecrd{% + \crd@vshift=0 % + \let\crd@numberval=\crd@vshift% + \crd@parse\crd@input\for\crd@number% + \crd@hshift=0 % + \let\crd@numberval=\crd@hshift% + \crd@parse\crd@input\for\crd@number% + \crd@bracketinit% + \crd@parse\crd@input\for\crd@bracket% + \def\crd@crdnote{}% chord note + \def\crd@crdacc{}% chord note accidental + \def\crd@bassnote{}% bass note + \def\crd@bassacc{}% bass note accidental + \crd@qualinit% initialize qualifiers + \let\crd@flat=\crd@noteflat% + \let\crd@doubleflat=\crd@notedoubleflat% + \let\crd@sharp=\crd@notesharp% + \let\crd@doublesharp=\crd@notedoublesharp% + \crd@parsenote\crd@crdnote\crd@crdacc% read chord note + \loop\crd@parse\crd@input\for\crd@qual% read qualifiers + \ifcrd@parsematched\repeat% + \crd@parse\crd@input\for\crd@skipcrdnote% skip eventually + \let\crd@flat=\crd@bassflat% + \let\crd@doubleflat=\crd@bassdoubleflat% + \let\crd@sharp=\crd@basssharp% + \let\crd@doublesharp=\crd@bassdoublesharp% + \crd@parsenote\crd@bassnote\crd@bassacc% read bass note + \crd@parse\crd@input\for\crd@bracket% + \crd@formatcrd\hfil% call rendering +} +% \end{macrocode} +% \subsubsection{ Multiple chords} +% \DescribeMacro{\crd@parsecrds} +% The \verb|\crd@parsecrds| macro is used to read more then one +% chord. This can be usefull if no corresponding note over which +% one can put the note exist. +% \DescribeMacro{\crd@crddelim} +% The syntax table \verb|\crd@crddelim| is used. +% \begin{macrocode} +\def\crd@crddelim{crd@crddelim}% +\expandafter\def\csname\crd@crddelim,\endcsname{}% +\def\crd@parsecrds{% + \crd@parsecrd% + \crd@parse\crd@input\for\crd@crddelim% + \ifcrd@parsematched\crd@parsecrds\fi% +} +% \end{macrocode} +% \begin{demo}[w]{multiple chords} +% \c (Cm),2CM,Cm7 +% \end{demo} +% \DescribeMacro{\c} +% The main entry point for the user is the +% \verb*|\c |\synt{chord-list}\verb*| | macro which calls the +% \verb|\crd@output| routine with the formatted chords. +% \begin{macrocode} +\def\crd#1 {\def\crd@input{#1}\crd@output\crd@parsecrds} +\let\cedilla=\c +\let\c=\crd +% \end{macrocode} +% +% \subsection{Formatting} +% To allow the use of different fonts the +% notion of fontstyles is introduced. +% The initialisation of fontstyles is done in different macros. +% \DescribeMacro{\crd@fontstylea} +% \begin{macrocode} +\def\crd@fontstylea{% + \font\crd@eightrm=cmr8 + \font\crd@eightit=cmmi8 + \font\crd@seventeenrm=cmr17 + \font\crd@fourteenrm=cmr14 + \font\crd@twelverm=cmr12 + \font\crd@ninerm=cmr9 + \font\crd@smallninerm=cmr9 scaled 900 + \font\crd@bigninerm=cmr9 scaled 1100 + \let\crd@notetype=\crd@seventeenrm + \def\crd@noteflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty2}} + \def\crd@notedoubleflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty3}} + \def\crd@notesharp{\raise0.8ex\hbox{\musictwenty4}} + \def\crd@notedoublesharp{\raise0.8ex\hbox{\musictwenty5}} + \let\crd@basstype=\crd@fourteenrm + \def\crd@bassflat{\raise.5ex\hbox{\musicsixteen2}} + \def\crd@bassdoubleflat{\raise0.6ex\hbox{\kern-0.085em\musicsixteen3}} + \def\crd@basssharp{\raise1ex\hbox{\musicsixteen4}} + \def\crd@bassdoublesharp{\raise0.8ex\hbox{\musicsixteen5}} + \let\crd@numbertype=\crd@ninerm + \def\crd@numberflat{\raise.5ex\hbox{\musiceleven2}} + \def\crd@numbersharp{\raise1ex\hbox{\musiceleven4}} + \def\crd@numberminus{\crd@ninerm-} + \def\crd@numberplus{\crd@ninerm+} + \let\crd@capitaltype=\crd@smallninerm % capitals + \let\crd@smalltype=\crd@bigninerm % small + \def\crd@hdim{\crd@eightit$\circ$\kern-4.4pt\raise.9pt\hbox{\crd@eightrm/}} + \def\crd@dim{\crd@eightit$\circ$} +} +% \end{macrocode} +% The formating of the chords is done in the +% \DescribeMacro{\crd@formatcrd} +% \verb|\crd@formatcrd| macro. The parse results are +% stored in the following macros: +% \verb|\crd@crdnote| -- chord note, +% \verb|\crd@crdacc| -- chord note accidental, +% \verb|\crd@bassnote| -- bass note and +% \verb|\crd@bassacc| -- bass note accidental. +% +% +%\iffalse % dont include this, just experimental code +%<*gobble> +\def\mymatrix#1{\null\,\vcenter{\normalbaselines\m@th + \ialign{\hfil$##$\hfil&&\quad\hfil$##$\hfil\crcr + \mathstrut\crcr\noalign{\kern-\baselineskip} + #1\crcr\mathstrut\crcr\noalign{\kern-\baselineskip}}}\,} +\def\crd@formatcrdb{% + ${\rm \crd@crdnote}\crd@crdacc% + ^{\crd@up}_{\raise0pt\hbox{{\rm \crd@lo}}} + \ifx\crd@alt\empty\else\left(\mymatrix\crd@alt\right)\fi% + \ifx\crd@bassnote\empty\else% do we have an bass note set ? + /{\rm \crd@bassnote}\crd@bassacc% + \fi$% +} +%</gobble> +%\fi +% \begin{macrocode} +\def\crd@formatcrda{% + \hbox{\kern\crd@hshift\elemskip\raise\crd@vshift\internote\hbox{% + {\crd@notetype\crd@bracketopen}% + {\crd@notetype\crd@crdnote\crd@crdacc}% + \vbox{% + \hbox{% + \crd@up% + \ifx\crd@alt\empty\else\crd@numbertype(\crd@alt\crd@numbertype)\fi% + }% + \nointerlineskip\vskip1pt% + \hbox{\vphantom{\crd@capitaltype M}\crd@lo}}% + \ifx\crd@bassnote\empty\else% + {\crd@basstype/% + \lower0.5ex\hbox{\kern-0.17em \crd@bassnote\crd@bassacc}}% + \fi%\ + {\crd@notetype\crd@bracketclose}% + }} +} +% \end{macrocode} +% \begin{macrocode} +\let\crd@formatcrd=\crd@formatcrda +\crd@fontstylea +% \end{macrocode} +% +% \begin{demo}[w]{formatting} +% \generalsignature{0}\generalmeter{\meterfrac44} +% \nobarnumbers +% \startextract +% \NOtes\c Cm,CM,Dm7 \hu f\en\bar +% \endextract +% \end{demo} +% +% +% \DescribeMacro{\crd@output} +% The output function puts the formatted chords on their place. +% +% \begin{macrocode} +\def\crd@musixOutput#1{\hbox{\zchar{\crddefaultheight}{\hbox to\elemskip{#1\hss}}}} +\let\crd@output=\crd@musixOutput +% \end{macrocode} +% +% +\makeatother +% +% \section{Customization} +% If the default implementation does not suite the needs +% some tips of how to change the default behaviour will be +% given. +% \subsection{Changing the extensions} +% \begin{description} +% \item[Q:] How do I get the symbol $Dm^{M7}$ ? +% \item[A:] The M has to be put to the upper extensions list, so we +% have to change the definition in the \verb|\crd@qual| table: +% \def\crddefaultheight{0} +% \begin{demo}[w]{$Dm^{M7}$} +% \makeatletter% +% \def\crd@qualM{\crd@append{\crd@capitaltype M}\to\crd@up}% major7 +% \makeatother% +% \c DmM7 % +% \end{demo} +% \item[Q:] How do I get the symbol $Dm^{7-5}$ ? +% \item[A:] +% \begin{itemize} +% \renewcommand{\labelitemi}{-} +% \item +% The predefined symbol can be found by using `h' -- for +% half dimineshed. +% \begin{demo}[w]{h} +% \c Dh % +% \end{demo} +% \item +% to ge the diminished fifth explicit to the upper extensions one could +% either change the definition of the `h' to: +% \begin{demo}[w]{Dmh : $Dm^{7-5}$} +% \makeatletter% +% \def\crd@qualh% +% {\crd@append{\crd@numbertype 7-5}\to\crd@up}% half diminished +% \makeatother% +% \c Dmh % +% \end{demo} +% \item +% or may introduce an mapping for the -5 and has to write: D7-5 +% \begin{demo}[w]{Dm7-5 : $Dm^{7-5}$} +% \makeatletter% +% \expandafter\def\csname\crd@qual5-\endcsname% dimin. 5 +% {\crd@append{\crd@numberminus\crd@numbertype5}\to\crd@up}% +% \makeatother% +% \c Dm7-5 % +% \end{demo} +% \end{itemize} +% \end{description} +% +% \subsection{change fonts} +% \begin{description} +% \item[Q:] How do I change the font? +% \item[A:] One has to create his own fontstyle definition +% with a suitable formatting like for example: +% \begin{demo}[w]{change fonts} +% \makeatletter% +% \def\crd@fontstyleb{% +% \font\crd@newfont=cmssbx10% +% \let\crd@notetype=\crd@newfont% +% \def\crd@noteflat{\raise2pt\hbox{\musixchar90}}% +% \def\crd@notedoubleflat{\crd@noteflat\crd@noteflat}% +% \def\crd@notesharp{\raise3.5pt\hbox{\musixchar92}}% +% \def\crd@notedoublesharp{\crd@notesharp\crd@notesharp}% +% \let\crd@basstype=\crd@newfont% +% \def\crd@bassflat{\crd@noteflat}% +% \def\crd@bassdoubleflat{\crd@notedoubleflat}% +% \def\crd@basssharp{\crd@notesharp}% +% \def\crd@bassdoublesharp{\crd@notedoublesharp}% +% \let\crd@numbertype=\crd@newfont% +% \def\crd@numberflat{\crd@noteflat}% +% \def\crd@numbersharp{\crd@notesharp}% +% \def\crd@numberminus{\crd@newfont-}% +% \def\crd@numberplus{\crd@newfont+}% +% \let\crd@capitaltype=\crd@newfont % capitals in extension +% \let\crd@smalltype=\crd@newfont % small letters in extension +% \def\crd@hdim% +% {\crd@newfont$\circ$\kern-4.4pt\raise.9pt\hbox{\crd@newfont/}}% +% \def\crd@dim{\crd@newfont$\circ$}% +% }% +% \def\crd@formatcrdb{% +% \hbox{\kern\crd@hshift\elemskip\raise\crd@vshift\internote\hbox{% +% {\crd@notetype\crd@crdnote\crd@crdacc}% +% \crd@lo% +% \raise4pt% +% \hbox{% +% \crd@up% +% \ifx\crd@alt\empty\else\crd@numbertype(\crd@alt\crd@numbertype)\fi% +% }% +% \ifx\crd@bassnote\empty\else% +% {\crd@basstype/\crd@bassnote\crd@bassacc}% +% \fi%\ +% }} +% } +% \crd@fontstyleb% +% \let\crd@formatcrd=\crd@formatcrdb +% \makeatother% +% \nobarnumbers% +% \startextract\NOtes\c D7,AfM7 \hu f\en\bar\endextract% +% \end{demo} +% \end{description} +% Contributions for improving either the current fontstyle +% or the definition of new ones are welcome. +% +% \section{Todo} +% +% The actual implementation is not really open for changing +% the input format and the way the chords are displayed. +% One should implement an middle layer which is fixed and +% offer various implementations either for the input format +% and the output format which are written using this layer. +% +% \section{Change Log} +% +% \begin{description} +% \item[Version 1.0] (2.11.2004) \par Initial version. +% \item[Version 1.1] (1.7.2005) \par +% Added input guard and resetting of parameters +% if file is included more than once. +% \end{description} +% +% \Finale \PrintIndex +% +%\iffalse +%<*gobble> +%%% Local Variables: +%%% mode: plain-tex +%%% TeX-master: t +%%% End: +%</gobble> +%\fi
\ No newline at end of file diff --git a/Master/texmf-dist/source/generic/musixtex/musixcrd/musixcrd.sty b/Master/texmf-dist/source/generic/musixtex/musixcrd/musixcrd.sty new file mode 100644 index 00000000000..b185b3ca60f --- /dev/null +++ b/Master/texmf-dist/source/generic/musixtex/musixcrd/musixcrd.sty @@ -0,0 +1,11 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% musixcrd - typsetting chord symbols with %% +%% musixtex %% +%% musixcrd stylefile for documentation generation %% +%% $Id$ %% +%% copyright 2004 , Robert Hennig %% +%% this code is licensed in terms of the %% +%% GNU Public License %% +%% %% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\input musixcrd.dtx
\ No newline at end of file diff --git a/Master/texmf-dist/source/generic/musixtex/musixcrd/readme b/Master/texmf-dist/source/generic/musixtex/musixcrd/readme new file mode 100644 index 00000000000..d1baf7ea576 --- /dev/null +++ b/Master/texmf-dist/source/generic/musixtex/musixcrd/readme @@ -0,0 +1,54 @@ +#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +#%% musixcrd - typsetting chord symbols with %% +#%% musixtex %% +#%% readme %% +#%% $Id$ %% +#%% copyright 2004 , Robert Hennig %% +#%% this code is licensed in terms of the %% +#%% GNU Public License %% +#%% %% +#%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Chord setting for musixtex or pmx. + +There exist two distributions, the sources and the compiled on. +The sources are only necessary for development. Normal usage +requires only the compiled version. + + +compiled distribution +--------------------- + The archive musixcrd.tgz contains the following files: + + o readme this file + o musixcrd.tex tex macros + o doc.pdf documentation + + Put the musixcrd.tex file or an link to it into your + musixtex/pmx working directory. For pmx use the lines + + --- + \input musixtex % These commands are necessary + \input pmx % because pmx.tex MUST be \input + \input musixcrd + --- + + as preamble in your pmx source file to include musixcrd.tex. + Look at doc.ps for further instructions of how to use musixcrd. + + +source distribution +------------------- + The archive musixcrdsrc.tgz contains the following files: + + o readme this file + o musixcrd.dtx tex macros and documentation + o makefile makefile + o musixcrd.sty latex stylefile is a link to musixcrd.dtx + o doc.tex latex macros for documentation generation + using musixcrd.dtx + o strip.tex tex file for strip documentation from musixcrd.dtx + + Extract the file into an directory. Use make with the arguments + doc, strip, srcdist and dist to generate the targets. + diff --git a/Master/texmf-dist/source/generic/musixtex/musixcrd/strip.tex b/Master/texmf-dist/source/generic/musixtex/musixcrd/strip.tex new file mode 100644 index 00000000000..21ff28fafbb --- /dev/null +++ b/Master/texmf-dist/source/generic/musixtex/musixcrd/strip.tex @@ -0,0 +1,20 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% musixcrd - typsetting chord symbols with %% +%% musixtex %% +%% docstrip batchfile %% +%% $Id$ %% +%% copyright 2004 , Robert Hennig %% +%% this code is licensed in terms of the %% +%% GNU Public License %% +%% %% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\def\batchfile{strip.tex} +\input docstrip +\askforoverwritefalse +\generate{\file{musixcrd.tex}{\from{musixcrd.dtx}{}}} +\endbatchfile + +%%% Local Variables: +%%% mode: plain-tex +%%% TeX-master: t +%%% End: |